Beginning with a limited release, The Big Sick took hold of the 2017 highest grossing theatre average take, giving the little independent-picture-that-could positive word of mouth, and just as importantly, momentum, going into its wide release this July 14th, 2017 weekend.
Labelled as a romantic comedy. . . and there are most definitely many of those elements found within it, in many ways it is the emotional dramatic flourishes that stand out, and, when fused with those laugh induced moments, make for a nuanced, exquisitely crafted dramedy.
Perhaps the first based-on-a-true-story that’s absurdity can rival the previously reviewed Frank and Cindy – read the opening paragraph of this link to recall what I mean: http://filmizon.com/movie_reviews/frankly-speaking-see-this-great-comedy/, this tale of an interracial couple who break up, only to have him sign the papers to place her into a coma after a dangerous infection attacks her body, seems like a fantastical Hollywood fairytale. Quasi spoiler alert, screenwriters Kumail Nanjiani (he also plays the lead) and Emily V. Gordon (Zoe Kazan takes on this role) based the whole narrative on their own outrageous relationship tale.
Without these dramatic elements, The Big Sick might have come off as something somewhat similar to My Big Fat Greek Wedding or Bend It Like Beckham, but revolving around Pakistani traditions. It is this happened-in-real-life coma episode that adds a certain gravitas and grandeur, pushing it into different and more original terrain – that falls less within the straightforward comedy field.
To catch you up, Kumail, who immigrated to America (specifically, Chicago) with his parents during his teenage years, is in that difficult predicament of being stuck between two cultures. Trying to wrap his head around the thousands of years of history that has helped navigate the Pakistani people, as well as deal with the traditional outlook of his parents Azmat (Anupam Kher – a Bollywood icon who has also appeared in Bend It Like Beckham and Silver Linings Playbook) and Sharmeen (Zenobia Shroff), he is also trying to live an American life – attempting to walk two narrow tightropes at the same time. With every visit he makes to his parents, he must also deal with a poorly disguised, ‘supposed’ unexpected drop in – a rotating door of young Pakistani women his mother hopes to set him up with (aka arranged marriage).
Kumail, not taking his parents’ advice on love, or in pursuing law, is a struggling stand-up comic and Uber driver. While onstage one night, Emily hollers, showing him some support, thrusting them together in some sort of cosmic public unity. Hitting it off, they sleep together, casually trying to avoid commitment. When she calls Uber to escape the awkward sex on a first date scenario, of course it is Kumail’s phone that rings. Driving her home, it is clear that fate has thrown them together.
Despite the fast moving pace of their relationship, vital secrets are withheld. Emily has been married once before, while Kumail does not have the nerve to tell his parents that he is dating a white woman – fearing that he will be banished from his very conservative family. It is mostly this second point (it does not help that he has a cigar box full of possible candidates for an arranged marriage) that brings things to a head, causing Emily to break the relationship off.
It is soon after that Kumail receives the call, learning that she is in the hospital. Rushing over, he is told that it is of the utmost importance to put her into a coma immediately – he is forced to sign the papers.
This is only the beginning, as Emily’s parents, Terry (Ray Romano) and Beth (Holly Hunter) soon arrive, unimpressed that her ex is by her side. Beth is bombastic towards Kumail, knowing of his lying past, while the more timid and subdued Terry tries to blend into the woodwork. While most films would see the potential future parents-in-law as being the perfect meddlesome unwanted couple, The Big Sick takes a different tone, doing something utterly unexpected. Comedy does come from their encounters – the best perhaps being their uncomfortable conversation revolving around 9/11, but it is the quiet welcoming nature of Terry that slowly brings Kumail into their distressed fold. This bond is further strengthened when the couple attend one of the comic’s shows, only to witness a piece of disgusting racist heckling – the audience member continuously telling him to go back to Isis. Beth, never a fan of Kumail, touchingly comes to his defence, followed by a rare outburst from Terry. Wonderfully well rounded personas, they too are going through their own tough times in their frayed relationship.
With a major theme being the culture clash (Pakistani Muslim versus American life), one of the most thought-provoking moments comes when Kumail finally reveals his long hidden relationship to his parents. Speaking frankly, he cogitates as to why they moved to the United States if they simply wanted to continue living within their long-rooted traditions, questioning why they do not want to immerse themselves in their new country’s life and culture. The guilt placed on his shoulders is never more evident, a man with no true home. He knows that he will be ostracized for pursuing his passions and falling in love with a white woman, but is tired of hiding his very essence from the family that he so loves and desperately needs. Yet, we all know that family is multi-faceted and truly complex, so, two scenes, one in which Kumail returns home for dinner, using his comedy to help break the silent treatment, the second, when his parents come to see him off when he decides to leave for New York (his mother will not look at him, but has made him his favourite dish for the ride), demonstrate that these rebellious actions are not the end for Kumail, but just a hurdle along the way.
Despite the fact that we know how things turn out, the real life couple’s story and Michael Showalter’s fluid direction transcend the foreseeable conclusion, managing to tug on our heartstrings and move us many a time. But just when things seem to be getting too heavy, the mood is lightened; for instance, when Terry and Kumail are having a heart to heart conversation, with the father explaining, “let me give you some advice, Kumail. Love isn’t easy. That’s why they call it love”, to which Kumail replies, “I don’t really get that”. Coming clean, Terry admits “I know. I thought I could just start saying something and something smart would come out” – a prime example of this fusion of drama and levity. There is another piece of stupid advice that he also spouts, though I will let you discover that theory for yourself. It must also be added that despite the Rolodex of possible Pakistani brides, the final set-up between Kumail and one of his mom’s choices brings with it its own emotions – an example of building a rich character in a wholly short period of screen time.
Masquerading as a romantic comedy, The Big Sick is a modernist drama, analysing race, culture, love, and pain with a twenty-first century filter. Able to transcend being placed in one genre, it will bring laughter and drama, as well as romance and possible tears, and many an intriguing question about life in this modern world. So, take a trip to see these special someones, a character driven tale that will have you stand-up and smile. . . though perhaps with a tissue in hand.
Sounds like something I would enjoy – enjoyed the review too