If nothing else, 2017 has been a great year to learn about the lives of 30-something, male, 1st or 2nd generation American immigrants from the Indian subcontinent of Muslim origin who went on to become stand-up comedians. In May the second season of Aziz Ansari’s excellent Netflix series “Master of None” came out, a show that’s most about the romantic and professional life of a thinly veiled Ansari analogue but which also had a memorable episode about his childhood and his hesitance to tell his old school parents that he eats pork and has more or less abandoned his Muslim roots. Less than two weeks later Netflix also released “Hasan Minhaj: Homecoming King” a strong one-man show from the titular stand-up comedian and Daily Show correspondent which focused largely on what it was like to be the only Indian and Muslim in town when he was growing up in Davis, California and about how difficult it could be to deal with his traditional and rather image conscious parents. And now, we finally get the much buzzed about and arguably most high profile of these projects yet which from Kumail Nanjiani, who is one of the stars of HBO’s “Silicon Valley.” Nanjiani is of course a little different from Minhaj and Ansari, firstly because he’s Pakistani rather than Indian and secondly because he was actually born abroad rather than in the United States and then emigrated in his teens, but based on the projects these various comedians have made I think there’s a good chance that all three would find some common ground in their experiences as his new film, the Sundance hit The Big Sick, looks at (among several other things) a by now somewhat familiar push and pull between American pursuits and traditional family norms.
The film is overtly biographical and follows Nanjiani (who literally plays himself, his character’s name has not been changed) during his pre-success years working in Chicago as an Uber driver while trying to make a name for himself as a stand-up comedian. Early I the movie we see Nanjiani hook up with a woman named Emily (Zoe Kazan), who he meets at one of his comedy shows, and though both are a little leery about getting into a “real” relationship they do find themselves growing close over the next couple of months. Nanjiani is not, however, willing to tell all of this to his father (Anupam Kher) and mother (Zenobia Shroff), especially after his brother (Adeel Akhtar) warns him that they will never accept him again if he marries outside the faith. As such Nanjiani ends up sitting by as his parents present a series of Pakistani women of marrying age to him in hopes that he’ll go along to get along. Eventually Emily learns about this and storms out and strongly suggests that it’s over between them. The next time Nanjiani sees Emily she’s in the hospital with some unknown lung infection and as the first person on the scene he’s forced to give the doctors permission to put her in a medically induced coma. Soon Emily’s parents Beth (Holly Hunter) and Terry (Ray Romano) show up, both of whom know about the messiness in Kumail and Emily’s relationship, and wonder why he’s sticking around as long as he is.
The Big Sick has been described as a romantic comedy, which is accurate insomuch as it’s a comedy and it’s about a romance of sorts but insomuch as “romantic comedy” has come to be shorthand for a very specific formula it might be a bit misleading. In film the “romance” is usually suggests a plotline wherein the boy wants to get the girl (or vice versa), roadblocks are placed in the way of this, and by the end we know if he or she has achieved their goal and lived happily ever after. In the broadest of strokes that’s true of this film as well, but with one of the participants spending the majority of the film in a coma things play out differently… and not in some kind of creepy Talk to Her kind of way. In many ways the film is less about Nanjiani’s pursuit of Emily and more about his own reconsideration of what he wants in life and what he’s willing to sacrifice to get it. Specifically he needs to decide whether he’s willing to alienate himself from his family in order to date outside of the traditions of the home country, where he sees his stand-up career going, and what he really thinks about Emily now that he’s in this strange situation related to her.
Joining the movie in its second half are Ray Romano and Holly Hunter as Emily’s parents, and the movie does a pretty good job of making these two rather average people seem both interesting and likable. Their presence serves as something of a “what if” scenario for Nanjiani and to make him consider the implications of monogamy and what he wants for his future. Those two kind of steal the show when they show up but Nanjiani himself is no slouch either and Kazan is believably desirable as well. All told the romantic elements of this are pretty well thought out and interesting, it’s actually the comedy elements that disappointed me a little. The film is intermittedly funny but for something with Judd Apatow’s name on it I maybe expected something that would be a bit more consistently hilarious than what I got. Ironically given that complaint, I could have done with less stand-up comedy as well. I know this is depicting a reality of Nanjiani’s life when this happened to him, but I’m sick to death of these insidery indie movies about struggling stand-up comedians and I just kind of wish they had turned that into some other career ambition. Really there’s a lot of “autobiographical indie comedy” syndrome going on here and that’s not really a genre I tend to get too excited about unless it just so happens to hit me in just the right way. It’s certainly an enjoyable little movie but is it one for the ages? Maybe not, but it’s certainly worth a rental.
*** out of Five