Comparing and Contrasting The Namesake Book and Movie

Chen 1 Comparing and Contrasting The Namesake – Namesake – Book Book and Movie

Sunny Chen Ms. Wilson AP English Literature and Composition 30 September 2013

I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page o f my paper, I am certifying that I have not cheated or o r plagiarized in the process of completing comple ting this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand und erstand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course.

Novels and plays often include scenes of weddings, funerals, parties, and other social occasions. Such scenes may reveal the values of the characters and the society in which they live. Select a novel or play that includes such a scene and, in a focused essay, discuss the contribution the scene makes to the meaning of the work as a whole.

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Chen 2 Sunny Chen Ms. Wilson AP English Literature and Composition 2 October 2013 The Namesake Prose Passage The Namesake, Namesake, by Jhumpa Lahiri, is Gogol’s journey of denying denying and discovering identity. By learning the truth of his namesake from his father, Gogol is able to start accepting the family and identity he has run away from for so long. Through the telling of the train accident, Gogol attains a new level of intimacy with his father he did not have before. Before, exchanges between Gogol and his father have been brief, distant, and cold, such as when his father gifted him the book of short stories. This is evident during the first half of the car ride, where wh ere Lahiri describes, “the night is windy” (122). This creates an icy atmosphere that is also seen in Lahiri’s choice of autumn as the season; the seasonal archetype represents the deterioration in Gogol and Ashoke’s relationship (122). But after Ashoke tells tells Gogol the story, Gogol becomes fully focused on his father. He is “fixed on his father’s profile” and “there are only inches b etween them” showing a clear decrease in distance between father and son that mirrors the state of their relationship (123). Their dialogue also reflects their bond. No longer is Gogol replying with shrugs and one-syllable sentences. He engages through questions, inquiring his father and wanting to know more, asking “Why “Wh y don’t I know this about you?” and “Why haven’t you told me this until now?” (Lahiri 123). Gogol’s new level of intimacy is furthered emphasized with his changing mental state towards his father;







Chen 3 realizes the importance of his father to him. After learning about his namesake, Gogol begins to understand the significance of his name to his family. Gogol takes another step towards discovering his identity b y accepting the name that has troubled him in the past. As a teenager, “the sound” of his name had “[upset “[upset]] him”, which had caused him to change it (122). Interestingly enough, despite the legal change, Lahiri continues to use “Gogol” to address him through the book, implying that “Gogol” had always been always been his true name, the name that reflects his cultural identity and family ties. Before his father tells him the story, Gogol is uncaring and sarcastic towards the reason behind his name – name – “Right, “Right, Baba,” he says. “Gogol’s your favorite author. I know” (123). The short sentences Lahiri Lahiri chooses to use here reflect his superficial understanding. But when Gogol discovers his true story of his namesake, he has a new level of growth, a new understanding understanding in the “catastrophe he has unwittingly embodied for years” (124). He realizes that his n ame is not a random last name of an author, but significant to the history of his family. Through his father’s story, he b egins to understand the uniqueness of his name and what it means. After all, if it was not n ot for the book page, his father would have died, and Gogol would have never been born. This new conne ction with his name enables him to come to realize his misunderstandings towards his given identity. Deception leads to hope; at first Gogol’s shock leads him to feel like his father has “lied to him all these years”, he soon realizes that his father waited for the right time so he could understand the true legacy of his namesake (123). The initial initial revelation from his father’s story is quickly contrasted by Gogol’s “harsh” and “ accusing” tone (123). This is a defense d efense mechanism he uses, shown through his struggle “to abso rb the information” even after a while passes,







Chen 4 “Gogol” because it reminds him of the night of the incident. However, this is not the case, seen seen when his father finally says, “You remind me of everything that followed” (pg. 124). Lahiri purposely chooses to end the chapter here, leaving both the reader and Gogol a new idea to digest, that Gogol’s identity is not a grim story of lies, but a hopeful hope ful story of acceptance. His name symbolizes the future. After all the years he has denied his Bengali identity, this moment allows Gogol to begin accepting that part of him. The true story of his namesake proves to be b e a turning point in Gogol’s life. He begins to repair the relationship between his father and himself as well as b uild new connections with his past. He begins to understand the importance of his name to his identity. And finally, he begins to realize his Bengali identity is truly a part of hi m.







Chen 5 Sunny Chen Ms. Wilson AP English Literature and Composition 2 October 2013 The Namesake Movie Scene In the film version of The Namesake, the director, Mira Nair, accentuates the closeness and intimacy between Gogol and Ashoke during the story of Gogol’s namesake in order to portray the moment as a turning point in his search for identity. By conducting the scene in a car, Gogol and Ashoke are forced to build their relationship as father and son; this choice of setting allows Gogol to connect with his father for the first time. Until this moment, the two have never had a true bond, seen when Gogol brushes his father off when receiving The Short Stories of Nikolai Gogol on on his birthday. He dismisses his father often as he does not believe that his family’s cultural beliefs have a place in America and in his life. Now, the privacy of the car and small distance between them gives them the opportunity to connect as well as show their growing relationship. This positioning of the characters and the background sound also creates the mood needed without the distractions of Maxine or Ashima. Ashoke and Gogol sit side by side, not one in the front and one in the back, allowing an intimate mood to be expressed. There is a lack in music and background back ground noise - even the passing traffic is muted - which allows the focus to be b e on the father and son relationship. Not only does the setting reflect Gogol and his his father’s budding relationship, but the lighting and camera angles that are influenced by the setting show their newfound intimacy. Nair







Chen 6 as he tells the story, Gogol’s incredulousness as he discovers a missing piece of his life - all of these are clearly expressed through the camera angles. The lack of background music, along with bringing focus to Ashoke and Gogol’s relationship, also directs attention to the characters’ facial expressions. This scene is the first time Gogol has expressed such emotions to his father and understood his father’s feelings towards him; this new comprehension of his family allows him to start accepting that side of his identity that be gins with the story of his namesake of the scene. The lighting in the scene is natural, filtering in from the windows of the car. This makes the moment feel real and human, creating the effect of closeness between the c haracters. The soft lighting also emphasizes natural shadows in Gogol and Ashoke’s faces so the scene does not appear artificial; it is genuine, just like the bond between father and son. Along with with the scene in the car, the story of Gogol’s namesake is accompanied by a flashback to the aftermath of the train wreck. Th e choices of mis en scene in the flashback reflects Gogol and Ashoke’s growing relationship by putting the aud ience in the eyes e yes of the the two characters. As the camera pans through the dead and the remains of the disaster, the lighting is dark, the main source coming from a small flashlight the illuminates Ashoke’s hand. This panning almost appears like the scene is unfolding in Gogol’s mind. mind. The camera then changes to a point of view shot, letting the audience and Gogol see through Ashoke’s eyes. Both the lighting choices and the camera angles emphasize the connection between father and son through Ashoke’s survival through Gogol’s mind. This This is most clearly seen with the non-diegetic sounds the scene uses - Ashoke’s voiceovers narrate the narrate the flashback as he tells the story to Gogol outside of the scene. The lilting, ethnic background b ackground music, on the other hand, h and, reflects the connection of









Chen 7 relationship between him and his family, now shows the beginning of Gogol’s transition into accepting his cultural identity. The story of his namesake is the first step for Gogol in achieving his goal of self-identity. At first he rejects his cultural background by pushing a way his family; but upon learning the truth about his name, he begins to accept his father, a necessary nec essary step to discovering himself. By emphasizing their newfound relationship through Nair’s mis en scene choices, Go gol can now begin to accept his cultural heritage.







Chen 8 Sunny Chen Ms. Wilson AP English Literature and Composition 2 October 2013 Comparing and Contrasting The Namesake – Namesake – Book Book and Movie Names. They can signal a future, lead back to the past, continue a legacy, or memorialize a life. A name is an identity. iden tity. In The Namesake, Namesake, the book by Jhumpa Lahiri and movie directed by Mira Nair, Gogol struggles with the meaning of his na me. He does not view it as his own, but rather a product of his parents’ whims; he tries to leave it behind without trying to understand and accept it, creating rifts between him and an d his family. It is only when Gogol learns the truth behind his name that he begins to rebuild his relationship with his family and himself. Brought Brought together by the visual impact of the movie and the emotional psychology in the book, the true story of his namesake is a turning point of Gogol’s acceptance of his Bengali identity through the new connection he makes to his family. The book version of The Namesake explores the mentality of the moment through the behavior of the characters and the inner thoughts and reactions of Gogol; the transition between distant to intimate shows the new connection Go gol has to his father and to his heritage. In the







Chen 9 father to further emphasize their superficial bond. In the be ginning, the car ride is silent, with “Ashoke concentrating on driving” and Gogol fidgeting “with the radio” (122). This implies the awkwardness and distance between them despite their close proximity within the car. When Ashoke brings up his name, Gogol replies, “Right Baba. Gogol’s your favorite author. I know” (123). The short, cho ppy sentences Lahiri chooses to utilize here not only show Gogol’s unwillingness to converse with his father, but also his nonchalant attitude towards him, almost as if he perceives that what his father is saying is no t worth his time. His words also convey conve y the superficiality of his opinion towards his father. However, after Ashoke tells Gogol the stor y of his name, how book pages bearing Gogol’s namesake saved his life, Gogol’s behavior and thoughts completely change. He no longer tries to brush off his father; father; instead “his eyes [are] fixed on his father’s profile” (123). This imagery shows his new mind set and attention to the man he thought he knew and the name that saved his father, and consequently, him as well. Lahiri also chooses to keep the telling of the story brief, as readers already know the information, instead focusing on the emotional reactions of Gogol towards the story. Her use of repetition “He imagines his father...He struggles to picture...he tries to imagine life without his father” ex plores and emphasizes his shock and disbelief. When he speaks, Gogol’s voice is “harsh” and “accusing, but his eyes well with tears” (123). He abandons his aloof attitude towards his father







Chen 10 focus is on the flashback, the story that Lahiri only briefly skimmed over in the moment; th is visual and the decisions Nair chooses to make mak e while filming the scene shows Gogol’s immersion in his new understanding of his name. na me. As the camera pans through the debris and bodies of the train wreck, it mirrors Gogol seeing the image in his mind. This is further supported by Ashoke’s voiceovers as he tells the story. The camera angles and non-diegetic sounds show Gogol’s attention to his father, one he had not had before; they also imply a new mental connection the two have. The lighting in this scene is particularly important, both to the flashback and the setting outside as they work together to create create Gogol’s transition from pushing his family away to letting them in. During the flashback, the lighting is dim and dark, and the details of the wreck are barely visible save for a lone flashlight scanning the remains. This represents the hopelessness of the situation and generates panic for Ashoke, who was on the train when it crashed. Then all of a sudden, sudden , the flashlight rests on Ashoke’s motionless hand, still clutching the pages of “The Overcoat”, by Gogol. Not only does this represent a physical moment moment of hope, but also stresses the importance of Gogol’s name to his father. father. Natural light takes over as the scene returns back to the present reality. This is another important deviation the movie makes from the book; instead of setting the car ride on a windy night, Nair chooses to film the scene on a normal day. This allows the scene to contrast with the low key lighting of the flashback,







Chen 11 had grown accustomed to. It provides a larger contrast between the identity he wants to have and the cultural identity his name carries, as that is what co nnects him to his family and background. By introducing the true story behind his na mesake at this moment, Nair is able to emphasize the first lone connection from Gogol to his father. While the movie does focus more on the flashback, it does not detract from the changing chan ging behaviors of Gogol to his father present in the book, merely using the flashback as a dramatic break between his initial disinterest and new understanding. The awkwardness between father and son can be seen in the positioning and camera shots of the two in the car. They sit side by side, but the camera chooses to focus on Ashoke rather than Gogol, showing Gogol’s detach ment at his father’s words. Even his words, taken from the book, reflect his cool attitude. However, once the flashback has passed, the camera zooms in on their faces, taking particular time on Gogol. This choice allows for Gogol’s emotions to be seen - his disbelief, d isbelief, his shock - just as the book portrayed through a narration of his inner thoughts that cannot be reproduced in the movie. The close-up shots also show the decreasing proximity between father and son, the growth of their bond to one another. Identity. What is identity? Is it a name, a past, p ast, a story, a family? To Gogol Ganguli, it is all of that. However, to understand and accept his identity, he needs to look back to its origin. By By learning the origins of his name, he is able to transition from a young boy bo y escaping his familial









Chen 12 meaning behind Gogol’s search for identity - by reconnecting with the lost parts of his life, he is able to take the next step in the desire for self-knowledge and a true understanding of himself. This, to an era of second-generation young adults striving to comprehend themselves, is the ultimate moment of internal metamorphosis.







Chen 13 Works Cited

Lahiri, Jhumpa. The Namesake. Namesake. 2004. New York: Houghton Mifflin Company, 2003. Print. 2 October 2013. The Namesake. Namesake. By Jhumpa Lahiri and Soona Soon a Taraporevala. Dir. Mira Nair. Prod. Mira Nair. 2006. Web. 2 October 2013. Viooz. The Namesake. Namesake. 2006. Web. 2 October 2013. .

Comparing and Contrasting The Namesake Book and Movie

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