Director: Mira Nair
Starring: Irfan Khan, Tabu, Kal Penn, Jacinda Barrett

Tabu, Kal Penn, and Jacinda Barrett in The Namesake. (Courtesy photo)

Six new movies debuted this past weekend, but none looked very good. So instead of trying out The Hills Have Eyes 2 or Teenage Mutant Ninja Turtles, I opted for the new film from director Mira Nair. The Namesake was adapted by Nair and screenwriter Sooni Taraporevala from the semi-autobiographical novel from Jumpha Lahiri. It’s a very good movie, and at its best moments heartbreakingly so. The Namesake spans 30 years in the Ganguli family, examining how two generations of an Indian family adapt to the United States. Nair and Taraporevala tell the story from three different perspectives, a choice that doesn’t always serve the storytelling. The film has turned into a career re-definer for its young star, Kal Penn. As American-born Gogol Ganguli, Penn has impressed critics who considered him little more than Kumar from the minor hit Harold and Kumar go to White Castle. But there are two better and truly mesmerizing performances. Bollywood stars Irfan Khan and Tabu play Gogol’s parents. They give two of the most stirring, touching performances I’ve seen in a long time, and they alone make The Namesake worth seeking out.

Ashoke Ganguli (Khan) brings his new wife, Ashima (Tabu), from her home in Bangladesh to his tiny apartment in New York City. There they raise two children and try their best to find their place in America. Much of their treasured traditions are diminished here, such as the granting of a “good name” and a “pet name.” Ashoke and Ashima give their first child (Penn) the pet name Gogol, after Ashoke’s favorite author. It sticks until he graduates from high school, and decides to take on his good name, Nikhil. This way he can simply go by “Nick.” It’s one of the many small heartbreaks for Ashoke and Ashima. Ashoke struggles to impress upon his son the significance of his pet name, because it stirs memories too raw for the contained man to talk about. As the parents grow older, they watch their son move further and further from his Indian roots.

The plot for The Namesake is as familiar as it sounds. The movie’s strength is not in originality, but in the honesty and warmth of its telling. Nair doesn’t shy away from the tough moments. But she infuses her story with constant streams of warmth and beauty. When the story is seen through the eyes of Ashoke or Ashima, it flows. When the point of view shifts primarily to Gogol, the movie veers into more clichéd territory. Scenes with the two women in Gogol’s life—rich, white Maxine (Jacinda Barrett) and sultry Indian-American Moushumi (Zuleikha Robinson)—play more like cheesy New York–shot commercials than a thoughtful family drama. It’s as if Nair and Taraporevala don’t have their hearts in these scenes. It’s surprising, considering the care Nair has put into her films (Mississippi Masala, Monsoon Wedding). But it helps explain why Nair made so many good films, but no masterpieces.

Irfan Khan first broke into Indian cinema with a small role in Nair’s intense 1989 debut film, Salaam Bombay. His part didn’t make it into the final edit, but Nair never forgot Khan. He didn’t find stardom in India until his breakthrough role in the 2001 film The Warrior. Since then he has become a Bollywood mainstay, making no less than 30 films since then. This is the first time I’ve seen Khan act, but it instantly has become one of my favorite performances of recent memory. Khan puts forth a rare mix of intelligence and sweetness. His every move feels completely real. He also ages quite convincingly. Tabu ages well, too, and is almost as good as Khan. Another star of the prolific Indian film industry, Tabu has made over 60 films in her 16-year career. The Namesake has none of the heightened Bollywood style, and Tabu disposes of it effortlessly. Her Ashima is so vulnerable, so easy to injure, yet possesses enough resilience to surprise even herself. Kal Penn first gained attention in a comic supporting role in 2002’s Van Wilder. His well-reviewed turn here should help keep Penn from being trapped in “funny Indian guy” roles. I thought Penn was OK, but hardly special as the mopey Gogol. But in spite of Ryan Phillippe’s bad pronunciation, Penn grew on me as the film progressed. Hopefully he’ll continue to grow.

There are a few rough shots of a train disaster, along with some brief sensuality. Otherwise The Namesake is suitable for a wide audience. Outside of the truly memorable performances from Irfan Khan and Tabu, my favorite thing about The Namesake is its gently seductive power: it pulls us into an overwhelming burst of people and culture. We feel out of place, like tourists intruding on a story that isn’t for us. But in no time we assimilate, and it doesn’t even sink in that this cold, dirty city of New York seems more foreign than Bangladesh. That is the power of Mira Nair. She may not make masterpieces, but her films always have something special to them.

Alex Manugian lives in Sherman Oaks, California, and works for the Cartoon Network. He grew up in Groton and has reviewed movies for Harvard residents for many years.