Chen 1 Comparing and Contrasting The Namesake 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 of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand 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.

Chen 2 Sunny Chen Ms. Wilson AP English Literature and Composition 2 October 2013 The Namesake Prose Passage The Namesake, by Jhumpa Lahiri, is Gogols journey of 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 Lahiri describes, the night is windy (122). This creates an icy atmosphere that is also seen in Lahiris choice of autumn as the season; the seasonal archetype represents the deterioration in Gogol and Ashokes relationship (122). But after Ashoke tells Gogol the story, Gogol becomes fully focused on his father. He is fixed on his fathers profile and there are only inches between 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 dont I know this about you? and Why havent you told me this until now? (Lahiri 123). Gogols new level of intimacy is furthered emphasized with his changing mental state towards his father; he struggles to picturehis fathers mangled body and tries to imagine life without his father (123). The parallel structure and repetition used in this section stresses how Gogol now

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 by accepting the name that has troubled him in the past. As a teenager, the sound of his name had [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 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 Right, Baba, he says. Gogols your favorite author. I know (123). The short sentences 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 in the catastrophe he has unwittingly embodied for years (124). He realizes that his name is not a random last name of an author, but significant to the history of his family. Through his fathers story, he begins to understand the uniqueness of his name and what it means. After all, if it was not for the book page, his father would have died, and Gogol would have never been born. This new connection with his name enables him to come to realize his misunderstandings towards his given identity. Deception leads to hope; at first Gogols 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 revelation from his fathers story is quickly contrasted by Gogols harsh and accusing tone (123). This is a defense mechanism he uses, shown through his struggle to absorb the information even after a while passes, implied when his father says the car is getting cold (124). Gogol is unable to comprehend the true story, and therefore lashes out as his father. He also believes that his father named him

Chen 4 Gogol because it reminds him of the night of the incident. However, this is not the case, 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 Gogols identity is not a grim story of lies, but a hopeful 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 a turning point in Gogols life. He begins to repair the relationship between his father and himself as well as build 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 him.

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 Gogols 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 his birthday. He dismisses his father often as he does not believe that his familys 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 noise - even the passing traffic is muted - which allows the focus to be on the father and son relationship. Not only does the setting reflect Gogol and his fathers budding relationship, but the lighting and camera angles that are influenced by the setting show their newfound intimacy. Nair chooses to use close-up shots and over the shoulder shots in the car scene to emphasize Gogol and Ashokes emotions and draw the audiences attention to those reactions. Ashokes nostalgia

Chen 6 as he tells the story, Gogols 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 Gogols 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 fathers feelings towards him; this new comprehension of his family allows him to start accepting that side of his identity that begins 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 characters. The soft lighting also emphasizes natural shadows in Gogol and Ashokes faces so the scene does not appear artificial; it is genuine, just like the bond between father and son. Along with the scene in the car, the story of Gogols namesake is accompanied by a flashback to the aftermath of the train wreck. The choices of mis en scene in the flashback reflects Gogol and Ashokes growing relationship by putting the audience in the eyes of 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 Ashokes hand. This panning almost appears like the scene is unfolding in Gogols mind. The camera then changes to a point of view shot, letting the audience and Gogol see through Ashokes eyes. Both the lighting choices and the camera angles emphasize the connection between father and son through Ashokes survival through Gogols mind. This is most clearly seen with the non-diegetic sounds the scene uses - Ashokes voiceovers narrate the flashback as he tells the story to Gogol outside of the scene. The lilting, ethnic background music, on the other hand, reflects the connection of father and son through their culture, which with the story of Gogols namesake and the growing

Chen 7 relationship between him and his family, now shows the beginning of Gogols 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 away his family; but upon learning the truth about his name, he begins to accept his father, a necessary step to discovering himself. By emphasizing their newfound relationship through Nairs mis en scene choices, Gogol 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 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. In The Namesake, the book by Jhumpa Lahiri and movie directed by Mira Nair, Gogol struggles with the meaning of his name. 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 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 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 Gogols 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 Gogol has to his father and to his heritage. In the past, Gogol has always dismissed his family because he believes their cultural beliefs are oldfashioned and unfitting in the American world. When Ashoke tells his son about the true story behind his name, the atmosphere reflects the cold and restrained attitude Gogol has. The night is windy the setting imagery Lahiri describes is dark, creating a silent, awkward mood between father and son (122). Even the season, autumn, shown through the brown leaves, exemplifies the decay in their relationship (122). Lahiri uses the interactions between between Gogol and his

Chen 9 father to further emphasize their superficial bond. In the beginning, 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. Gogols your favorite author. I know (123). The short, choppy sentences Lahiri chooses to utilize here not only show Gogols 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 not worth his time. His words also convey the superficiality of his opinion towards his father. However, after Ashoke tells Gogol the story of his name, how book pages bearing Gogols namesake saved his life, Gogols behavior and thoughts completely change. He no longer tries to brush off his father; instead his eyes [are] fixed on his fathers profile (123). This imagery shows his new mindset 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 explores and emphasizes his shock and disbelief. When he speaks, Gogols voice is harsh and accusing, but his eyes well with tears (123). He abandons his aloof attitude towards his father as he truly begins to connect with his father for the first time and, despite his tone at first, his tears reflect his true thoughts - regret that he had pushed away his family for so long. In contrast to the book version of The Namesake - which chooses to focus on the mental state and emotional reactions of Gogol - the movie version visually juxtaposes the ordinary scene to the vivid flashback of the train wreck in order to highlight the importance of Gogols name to his father while still emphasizing the growing connection between the two. The movies main

Chen 10 focus is on the flashback, the story that Lahiri only briefly skimmed over in the moment; this visual and the decisions Nair chooses to make while filming the scene shows Gogols immersion in his new understanding of his name. 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 Ashokes voiceovers as he tells the story. The camera angles and non-diegetic sounds show Gogols 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 Gogols 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, the flashlight rests on Ashokes motionless hand, still clutching the pages of The Overcoat, by Gogol. Not only does this represent a physical moment of hope, but also stresses the importance of Gogols name to his 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, showing that the memory embodied within Gogols name has brought Ashoke happiness and joy, the name that reminds him of everything that followed, and not just the name of his favorite author (124). Another stark difference between the movie and the book is the timeline for which the scene is cast in. Instead of having Ashoke tell the story before Gogol meets Maxine, Nair chooses to reveal the story during Maxines visit to the Gangulis house. This allows the story of Gogols namesake to have the most impact on him, as it begins to pull him away from the life he

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 connects him to his family and background. By introducing the true story behind his namesake 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 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 Gogols detachment at his fathers 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 Gogols emotions to be seen - his disbelief, 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, 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 learning the origins of his name, he is able to transition from a young boy escaping his familial ties to an adult capable of welcoming all facets of his identity. Lahiris book portrays this transformation through symbolic imagery, character interactions and dialogue, and stressed emotional output, reflecting the mental change from distant apathy to poignant respect. Nairs movie augments this through close up shots of Gogols expression while also diverting to emphasize the impact of his name on both Ashoke and Gogols lives through the flashback. Although they are both similar and different, the movie and book together illuminate the greater

Chen 12 meaning behind Gogols 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. 2004. New York: Houghton Mifflin Company, 2003. Print. 2 October 2013. The Namesake. By Jhumpa Lahiri and Soona Taraporevala. Dir. Mira Nair. Prod. Mira Nair. 2006. Web. 2 October 2013. Viooz. The Namesake. 2006. Web. 2 October 2013. <http://viooz.co/movies/5565-the-namesake2006.html>.