Director Michael Showalter and his cast pull off an
impressive high-wire act with The Big Sick, an account of the early days in
the relationship between Pakistani comedian Kumail Nanjiani and his wife
Emily. The first act follows the usual
rom-com beats but then the film abruptly shifts gears as one of the main
characters becomes gravely ill. Trying to combine comedy and pathos is a tricky
proposition, yet the talented cast is able to sell the humor that can be found
in the most serious of situations while Showalter creates the perfect tone for
these seemingly disparate narrative elements to co-exist.
Nanjiani plays himself in the film, the son of two Pakistani
immigrants who expect that he follow their traditions, which includes his
marrying a woman from their culture. His
mother (Zenobia Shroff) is less than subtle when it comes to her efforts to fix
him up with a proper match, these awkward encounters peppered throughout the
film. Not only does he not want an arranged
marriage but also Nanjiani does not want to be a lawyer, pursuing instead a
career in stand-up comedy. While at a
gig one night he meets Emily (Zoe Kazan) and there’s an obvious spark between
them. One thing leads to another and
before you know it, they’re dating, a fact Nanjiani keeps from his
parents. Things are going smoothly until
Emily realizes her new beau has not spoken to his family about her, prompting
her to end the relationship.
Shortly after this moment, the script abandons many of its
rom-com trappings as Emily becomes deathly ill and is put into an induced coma
so her body can better fight a serious infection. Nanjiani contacts her parents
(a perfect Holly Hunter & Ray Romano), who initially keep him at a
distance, but come to see that he truly loves their daughter. The film is at its best in its portrayal of
the speed with which one’s life can be turned upside down by a debilitating
disease as well as the sense of frustration and hopelessness felt by loved ones
who are left to simply watch and wait.Â
Hunter and Romano realize the stress and tension of this, and their
character’s strained marriage, in a genuine, lived-in manner, as they deliver
moments that ring painfully honest.Â
Equally fine are Anupam Kher and Shroff, effectively underplaying
feelings of betrayal and confusion in light of their son’s rejection of their
traditions.
Kazan isn’t given much screen time but makes the most of
what she has, while Nanjiani gives a surprisingly effective performance, a
particular highlight being the moment he’s forced to perform on stage after
receiving a dire piece of news concerning Emily. The ending is a bit soft and feels contrived,
but that’s a slight flaw. The Big Sick is a minor miracle of a movie, a sincere film that somehow manages to move as
well as amuse its audience, providing us an honest look at how we respond to
joy and sadness as well as the many minor emotional notes in between.
This article appears in Jul 13-19, 2017.
