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Great performances, an iridescent canvas and a topical theme: The Namesake is Mira Nair's tribute to her janmabhoomi.JON CORY WRITES HUMOROUS NOVELS AND YOUNG ADULT FANTASY. India is an idea that lives in the heart and the mind, rather than a land-locked territory and India is a style of upbringing and attitude that transcends territory. They go through their regular round of Americanisms, only to find out that there’s a long journey of self-discovery still beckoning them.
Except that Gogol can’t understand why he had to be given such a strange name. The story soon shifts to the second generation - their son Gogol and daughter Sonia - who ostensibly are thoroughbred Americans.
But the passage is almost lyrical and the hiccups are mild as the good Bengali couple soon find an extended family of Bengalis who join them on births, christenings and birthdays. They need to discover each other and the new country too. Ashima and Ashok (Tabu and Irrfan) leave for foreign shores after their arranged marriage and try and build a home and a family in a culture that both lures and scares them. The film captures the journey of two generations of the Ganguli family in America. But more than the cinematography, it is the soundtrack - long tracks of silence and solitary dialogues - that brings out the loneliness of the protagonists as they try to find new ground beneath their feet. The grandmother shopping for fresh vegetables at her doorstep, the grandfather creating canvases of Howrah and the Hooghly, the shabby trams rattling down the decrepit tracks and the folk singer finding a resonance in foreign souls.the camera simply seduces the scenery into syrupy frames. If New York is captured in its winter whites, greys and pastel interiors - with just an occasional shot of autumnal fire - then the 1970s Calcutta is virtually a riot of colour and chaos.
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