Love is hard. That’s an undeniable fact. But, as many South Asians and other minority communities know all too well, acceptance can be much harder. That’s a truth underlined and examined with expert maturity and humor in the new film “The Big Sick.”
Written by and starring “Silicon Valley” star Kumail Nanjiani, the film is based on Nanjiani’s real-life romance with his real-life wife, Emily Gordon. The film chronicles the usual story of how the two of them met and fell in love, but with an unusual twist: During their courtship, Emily fell so sick, she had to be put in a medically induced coma until her team of doctors could find out what mysterious illness was ailing her.
While it may seem hard to find a connection with this particular part of their story, Kumail and Emily’s romance hit highs and lows that make their tale unique and yet somehow so very relatable, all thanks to how deftly Nanjiani’s script maneuvers his relationship with his future wife with his struggle to tell his traditional Muslim family about the woman with whom he is falling in love.
From the very start of the film, it’s easy to see that Kumail’s family are strict in many beliefs, from a number of times they hope Kumail prays every day to the type of girl Kumail should marry. In fact, his mother even surprises Kumail with a new, nice Muslim girl to meet every time he comes home for a family dinner with his parents, his brother and his sister-in-law. Meanwhile, Kumail silently goes down to the basement when his parents tell him to pray, but instead plays games on his phone. He patiently meets the women his mother brings over but has no intention of even seeing the potential of a relationship with any of them, no matter how hard they may try to appreciate his interest. (One girl’s desire to relate to Kumail through his favorite show, “The X-Files,” provides a particularly funny side moment.)
His father, played by the incomparable Anupam Kher, is just as oblivious as his wife to Kumail’s real life, only Kumail’s brother (played by the very funny Adeel Akhtar) knows certain truths about Kumail’s growing relationship with “the white girl.” While it might be fun to meet the montage of women who are clearly wrong for Kumail, it’s obvious that the humor these early moments provide are setting the stage for a confrontation with his parents about how non-traditionally Kumail lives his life. We know even as we’re laughing, that their big revelation of harsh truths is coming.
But before the film gets to that moment, we first see how Emily handles the realization that she and Kumail may not have a future if he doesn’t come clean to his family, and more importantly, if he doesn’t figure out how about how feels about their relationship (Shoutout to Zoe Kazan who excellent, especially here, as Emily). The couple has a huge fight and is then, unfortunately, unable to speak about the matter until Emily recovers from her hospital visit. The resulting conversation illustrates how Kumail’s acceptance of their relationship is likely the easiest hurdle to clear before they can truly be together.
Kumail’s time at the hospital clearly changes him and his desire to be forthright about his real life with his family, and it’s all thanks to Emily’s parents, Beth and Terry, played by Holly Hunter and Ray Romano. The parents have their own issues that Kumail later becomes privy to, and while they first neither appreciate nor accept Kumail’s help and offer to stay with Emily at the hospital, they soon connect with their daughter’s ex-boyfriend and see just how much he really loves Emily, though there are a few bumps along the way.
There is also a level of acceptance on their part as well as they accept the life he has chosen for himself, and they accept him into their family, even as Emily has not yet taken Kumail back. Kumail’s conversations and interactions with Emily’s family make him realize just how much he loves this girl and just how wrong he’s been by not sharing this with his family.
The fear of not being accepted, of being shunned, is what stops Kumail from not only introducing the love of his life to his family but also explaining to them that his stand-up “hobby” is his chosen profession. It’s a truth and fear many South Asians share, especially for those who choose any less-than “stable” career and choose to love people outside of their family’s religions, ethnicities, our typically accepted sexes, among other signifiers. And seeing that truth unfold onscreen in a way that is both fascinating and relatable is what makes “The Big Sick” truly great. Kumail Nanjiani’s life is uniquely his own, but features so many truths we all share.
The word “representation” has become a hot talking point in Hollywood as of late, but rather than focus on just putting more South Asians in already established movies and shows, the way to get real representation is provide more stories about South Asians, to show just how connected we all are. There are so many people that will likely watch Nanjiani’s story and point to something that they have done or felt before. Love and acceptance are universal, and “The Big Sick” shows us that in spades.
After spending childhood in Texas, college in Missouri, and her adult life in both New York and now Los Angeles, Keertana Sastry has a unique perspective on being Indian in different areas of America. Keertana has worked as both an entertainment, culture and lifestyle reporter, as well as a casting assistant for the film and TV industry. She loves to infuse her Indian heritage into work and life.
January 25, 2023June 22, 2023 2min readBy BrownGirlMag
Indian-American commercial real estate and land consultant Anita Verma-Lallian launched Camelback Productions at an event held in Paradise Valley, Arizona, Jan. 7. Billed as the state’s first women-and South Asian-owned film production and entertainment company, it will focus on South Asian representation and storytelling, according to a press statement issued by Verma-Lallian. The announcement follows “Arizona Governor Doug Ducey’s $125 million film tax credit for film and TV production that was introduced in July 2022, “ the statement added.
The Jan. 7 private launch party and meet and greet introduced investors and supporters to what’s ahead for Camelback Productions.
Noting the “major push to see minority groups represented in the media over the past few years,” Verma-Lallian said she wants to see more South Asians represented. “I want my children to see themselves when they watch TV. I want my daughter’s dream to become an actress to become a reality. Skin color shouldn’t be a barrier to that.”
The event opened with remarks from Phoenix Mayor Kate Gallego, who has served as the city’s 62nd mayor since 2019. She welcomes the company to “the greater Phoenix community.” She expressed confidence that “the team will attract some of the country’s top talent to the Valley.”
Guests at the event included actor and comedian Lilly Singh, actor Nik Dodani, Aparna of Netflix’s “Indian Matchmaking,” Bali Chainani and Anisha Ramakrishna of Bravo’s “Family Karma” fame, and Paramount+ executive P. Sean Gupta, to name a few.
The company is Verma-Lallian’s first venture into the film industry. She is known for providing full concierge services for land seekers and developers of all types of sites and assists investors in discovering viable properties in the Phoenix area through her company, Arizona Land Consulting, the statement added.
Named in honor of the iconic Camelback Mountain in the Valley, Verma-Lallian says she wants her production company to have the same indestructible foundation. Camelback Productions plans to begin its first project later this summer.
“Don’t bully me with your kindness,” says Pi Patel (Hiran Abeysekera) to Lulu Chen (Kirstin Louie), from the Canadian embassy who is visiting Pi in his hospital room in Mexico. Pi was the sole survivor of a cargo ship traveling from Pondicherry, India, en route to Canada. His family and the animals from his zoo from back home all passed away, and Pi turned up after being stranded for 227 days at sea.
In this scene from the “Life of Pi,” that recently won in three categories at the Tony Awards, Pi’s sanity is being questioned as his account of what transpired at sea is too…fantastical. His vivid imagination and inspired attention to detail seem like a story a child would share. The character Lulu, from the embassy, is trying to gently nudge him into telling her the more ‘truthful’ account of what happened —one that doesn’t include a carnivorous tiger, a cannibalistic island, and a horrific Frenchman. Pi finally tells her to stop patronizing him. To stop bullying him with her perceived kindness. To actually listen to what he is saying.
On Sunday June 13, the “Life of Pi” won three @thetonyawards in Best Scenic Design in a Play, Best Sound Design of a Play, and Best Lighting Design in a Play.
It is this one line from the show that has become one of the most surprising and thoughtful lines I have encountered in all the art I have consumed in 2023 thus far. In fact, surprising and thoughtful are words that I would use to describe the overall musical itself. Directed by Max Webster, and adapted by the playwright Lolita Chakrabarti from Yann Martel’s Booker Prize-winning novel, “Life of Pi” is so enchanting, charming, and fantastical that with every beat of the show, I would hear gasps emanating from the crowd. The 24 cast members, many of whom were puppeteers, brought the different animals to life as we switched between the two timelines of Pi recounting his life at sea, in the hospital room, and Pi living out his life at sea.
Dreamlike to the audience and a nightmare to Pi, the scenes depicting his challenging, lonely, and magical time at sea beautifully depicted the magical realism of the novel. The choreography of the different cast members puppeteering the animals added a sense of whimsy and movement that lent itself to Pi’s childlike imagination. The lighting, the sound, the set, and the actors all came together to create a musical that is like almost being in a drug-induced trip — the set moves seamlessly from the hospital room to the boat, and back to the hospital room, and then the boat; sometimes both at the same time. You can feel the waves when Pi is on the water and see the little fish moving about. It’s as though you are with Pi throughout his journey — you feel scared when he is attacked, you feel inspired when he is in bliss, and you feel pain when he longs for his family.
Directed by Max Webster and adapted by the playwright Lolita Chakrabarti from Yann Martel’s Booker Prize-winning novel, “Life of Pi” has received rave reviews throughout its run in New York City.
The biggest marvel, though, is Richard Parker. The puppeteering behind this character is excellent — he is at once menacing, vulnerable, scared, and strong. The transformation of Parker is such that he starts out as such a grand animal and when we see him finally arrive on the island, he looks so frail and thin. You root for him as much as you root for Pi. And Pi himself is the heart of the musical. Abeysekera imbues Pi with so much confidence, playfulness, wit, and fear, that it makes you believe his stories and his relationship with the relentless tiger.
When Pi tells Lulu to not bully him with her kindness, he is telling her to not shatter his perception of the world he has lived; either it be real or constructed. Pi eventually shares with Lulu and Mr. Okamoto (Daisuke Tsuji), a representative from the Japanese Ministry of Transport, a version of events that is devoid of animals but one that is darker as it depicts human beings in their primal, selfish states. He then asks them, “Which story is better?” Lulu and Mr. Okamoto are speechless, as is the audience. In the end, it’s not about the story they believe but the one he believes. For the one he believes is the one he lived. And no one can bully him into thinking otherwise.
Born and raised in Bangkok, Thailand, Nimarta grew up devouring Hindi movies, coming-of-age novels and one too many psychology textbooks. … Read more ›
February 28, 2023March 5, 2023 5min readBy Arun S.
Anya Banerjee
Born in the US and raised in New Zealand, actor Anya Banerjee made her television debut, this past Sunday, in season 10 of NBC’s “The Blacklist.” She is seen playing the character of Siya Malik, daughter of former task force member Meera Malik who met with an untimely death in season one.
An MI6 agent, Malik is hoping to learn more about her mother and the work she did with Raymond Reddington. Her character is a sharp, inventive, fearless spy with a knack for spotting what motivates others. Even though this is her first-ever television role, one can see how deeply involved Banerjee is in the character, pushing you to connect back the dots to the history her character comes with. In an interview with Brown Girl Magazine, Banerjee talks more about her journey into acting, what drew her to the role of Siya and what should the audience expect from the 10th and final season of the show:
People, in general, are very influenced by the content they consume. Was there a specific film, play, or television series that got you interested in acting?
As the first in my family to be raised in “the West,” just being in the world involved performing some kind of identity. Film and TV acted as a third parent in that regard. I’m the first actor in my family, but have wanted to do this since before I can remember. Watching “Bend It Like Beckham” when I was in primary school showed me there was a place for South Asian female leads in Hollywood. I’ve also always been drawn to media with some element of the fantastical. I loved Baz Lurhmann’s “Moulin Rouge” because it brought the theatricality of the stage to the screen in a spectacular way. I remember being tickled by the cultural fusion in the film. It reflected my own sense of being at the intersection of various cultures and the appeal of escaping into a made-up world.
Were you a part of any productions in school or in college that influenced you?
I did a lot of singing and dancing as a kid; Indian dance-dramas at Durga Puja and yearly ballet recitals. We did musicals and Shakespeare productions at secondary school and that’s also when I started working in Auckland’s professional theatre scene.
What were some of your favorite roles while pursuing the acting program at Columbia University and how did they prepare you for your television debut?
Casting director James Calleri headed the acting MFA program at Columbia when I was there and his on-camera classes really set us up for success in TV. We also had the tremendous good fortune of being Ron Van Lieu’s first cohort at Columbia. The master acting teacher directed our thesis production of “Where Do We Live?” by Christopher Shinn. I played Lily, a British party girl who has to be physically and emotionally vulnerable in the play. With the help of movement coach Sita Mani and intimacy co-ordinator Alicia Rodis, I gained the confidence to take more risks in my acting. Now I’m playing a very different Brit with a totally different background and disposition but I’m using many of the same tools I used as Lily to feel grounded as Siya.
How would you describe “The Blacklist” to people wanting to learn more about the show?
Action-packed, full of intrigue, and endlessly entertaining. There’s a reason this show has been killing it for a decade and that’s the high caliber of the cast and crew, as well as the inventive and topical writing that keeps fans coming back for more. Audience members who’ve watched from the beginning will appreciate the full circle moments that my character ushers in — I play the daughter of Meera Malik, late CIA agent from season one so my storyline is a bit of a throwback. But new viewers can use me as an access point into the world of “The Blacklist” as Siya uncovers it, bit by bit, as a newcomer herself.
How did you prepare for the role of Siya Malik and how similar are you in real life to the character you’re playing on screen?
Some of the first things I had to learn on the job were stunts and how to operate a firearm. You’ll be seeing a lot of Siya kicking butt. The gun stuff was entirely new for me but I took to it very quickly and my background as a dancer helped with the fight scenes. Something I identify with in Siya is her resilience. She’s turned the tragedy of her mother’s death into the fuel that led to her own career as an MI6 agent, overcoming obstacles and others’ underestimation of her. That’s the kind of fire inside that I really admire and hope to practice in my own life.
I love characters with complex inner worlds — ones who are deeply flawed and may even be outcast from society, but who rise above the odds to carve out space for themselves and the ones they love.
Do you feel South Asians are still pigeonholed into certain roles or has it gotten better?
I think things are a lot better than what I grew up seeing in the early 2000s. “Sound of Metal,” for example, is one of my favorite movies because Riz Ahmed’s riveting performance has little to do with him being South Asian and everything to do with his commitment to an expertly crafted role.
Is there a dream role you would want to play?
On stage, someone as volatile as Emma from Duncan Macmillian’s “People Places & Things.” On screen, someone as funny as Amina in “We Are Lady Parts” or as brave as the title character in “Kimi.”
You have worked with many talented individuals. Is there anyone still on your list you would want to work with in terms of directors, actors, actresses, and others?
Parminder Nagra, obviously! As a Kiwi, it would be a dream come true to work with Jane Campion or Taika Waititi. I’m most excited to form meaningful relationships with artists daring enough to challenge the status quo.
You describe yourself as a “Kiwi-Bengali in the Big City.” How have you felt as an Indian American, raised in New Zealand, coming into the acting world?
There’s been a lot of juggling aspects of my triangular identity. A lot of the times in this industry people want you to be just one thing, or maybe two, but three’s pushing it! The reality is that we live in a globalized world. We have to make room for cultural nuance in the media. So maybe I’ll lean into my American side today, turn up the Kiwi tomorrow, and speak Bengali with my Indian parents on the phone. All are valid, authentic expressions of myself and reflections of the real world.
It’s okay to be a chameleon — in fact it’s a gift. Adapting aspects of your personality and identity to different circumstances is part of being a multicultural artist.
What is something not many people know about you?
I can be a little introverted and have struggled with social anxiety since I was a teenager. I had a bit of an emo phase then, but have since learned to take life less seriously and it’s made me a lot happier. My loved ones nurture and embrace the goofball in me. If you get to know me, I might let you see my inner clown!
Lastly, what do you hope individuals take away from this interview?
Take pride in your difference and embrace the outsider in you. It’s your superpower. There’s no one right way to be a Brown Girl so get out there and be whoever you want to be!
After spending childhood in Texas, college in Missouri, and her adult life in both New York and now Los Angeles, Keertana Sastry has a unique perspective on being Indian in different areas of America. Keertana has worked as both an entertainment, culture and lifestyle reporter, as well as a casting assistant for the film and TV industry. She loves to infuse her Indian heritage into work and life.
