THE BIG SICK could well be the title of an article about the health of the romantic comedy, a noble genre that has been gasping for breath lately due to anaemic scripts and endemic malnutrition.
The film, THE BIG SICK, brings the rom com back from the brink of death, and restores it to the rudest of health, even though a life and death experience embodies the film’s narrative and story.
Based on the real-life courtship between Kumail Nanjiani and Emily V. Gordon, THE BIG SICK tells the story of Pakistan-born aspiring comedian Kumail, played by co-writer, Nanjiani, who connects with psychology graduate student Emily after one of his stand-up sets. However, what they thought would be just a one-night stand blossoms into the real thing, an ankle over ears love affair, which complicates the life that is expected of Kumail by his traditional Muslim parents.
Kumail, out of filial duty, keeps Emily’s existence a secret, and continues to have dinner with his family, meals that are always punctuated by an impromptu arrival of a marriageable Pakistani girl. The girls bring pictures of themselves as if they were actors looking to be cast in a role, the role of Mrs. Kumail.
Kumail flings these photos into a cigar box in his bedroom where they are discovered by Emily, who takes a dim view of Kumail’s explanation and the subsequent confession that he has hidden her existence from his parents.
Distraught, dishonoured, dismayed, Emily ditches Kumail with all the hell hath no fury like the heartbroken: utter contempt and cuts off of all communication.
Then Kumail receives a call from Emily’s girlfriend, informing him that Emily is in hospital emergency beset with a mystery illness, an ailment that necessitates Emily being placed in an induced coma. The situation forces Kumail to navigate the medical crisis with her parents, Beth and Terry, whom he’s never met, while dealing with the emotional tug- of-war between his family and his heart.
Without sinking into some dire and dreary, tiresome and teary disease of the weak sop story, THE BIG SICK battles the anti bodies of sloppy sentimentality and septic schmaltz by being authentic.
THE BIG SICK’s vital signs are there in the script by Emily V. Gordon & Kumail Nanjiani and are revitalised with the transfusion of full blooded performances.
Nanjiana is a charming, natural leading man, and Zoe Kazan is superb as Emily, a full blooded characterisation that establishes a real, three dimensional person, not just a side kick or stooge. Her introduction is as a heckler at one of Kumail’s gigs and the equilibrium of attraction is brilliantly built and sustained.
In a super piece of synchronicity, her mum, Beth, a whole hearted Holly Hunter, demonstrates the inherent strength of like mother like daughter, when she confronts a racist heckler at a Kumail gig.
And Ray Romano is delightfully deadpan as her dazed dad.
Kumail’s clan is headed up by Zenobia Shroff as his mother, a majestic matriarch, a ferocious feline whose fur you ruffle at your peril and Bollywood veteran Anupam Kher as his father, himself trying to fathom the tangle of tradition with the contemporary.
THE BIG SICK is a big entertainment that not only entertains but encourages thought about custom and culture, the binds of family ties and the love struck lassoing of heart strings and the knots that they cause when intertwined.
It doesn’t dwell in the darker areas of dowries or the horrors of honour killings, instead offering hope and humour, those two life affirming traits common to all.
THE BIG SICK is a big social, multi-cultural mural with a focus on a star crossed lovers story and a definite cure for the blues.