The views expressed in this essay do not necessarily represent the views of the Department of State or the U. S. Government. Attention must be paid — so it's a pity that at the end, in a departure from Hamid's enigmatic restraint, The Reluctant Fundamentalist collapses in a heap of wool-gathering humanism that feels warm to the touch, yet fatally hedges its political bets. While Changez explores New York, he recognizes some parallels and contrasts with Lahore.
Nair likes to have fun even when her material is somber, and for this movie she deploys a rich palette and a multi-culti but mostly kitsch-free score that fuses old and new with a lovely Sufi devotional piece, and is peppered with Pakistani pop. I liked the way the author ended the novel leaving it open ended and the reader can imagine it in anyway it suits them and yeah, Changez was a really lovable character so, I naturally assumed an ending suiting how I saw the characters in the novel but you, as a reader, can end it in any way you want to. "Looks can be deceiving. Mohsin Hamid's novel "The Reluctant Fundamentalist" was published in 2007, and the comparison it makes between American cultural and economic imperialism and violent Islamic radicalism probably seemed braver and more original then. Fundamentalists bring order and a certain sense of functionality and reluctantly squelch chaos.
Like Erica's mythologizing of her dead partner, America – as with many 'Great' nations – too is swept up in the mythology it creates around its history. And swaths of the plot are changed. However, as the story progresses, Hamid displays the change in the lead character's perception of America, making him realize that the land of opportunity can, in fact, be a rather hostile environment (Nair 17). On September 11, life for Changez changed. It would have been far more difficult to devote themselves to their adopted empire, you see, if they had memories they could not forget. We are still seeing his story retold, over and over — delays at airport security gates, anti-Middle Eastern sentiment, verbal and physical harassment.
What Hamid conveys here is a sense of displacement, a realization that allegiances cannot be split between countries, jobs, or even people. He lives in Pakistan. The film, which is often a self-conscious attempt to bridge the gap between civilisations in our troubled times, has many beautiful things in it. They adopt what we might call a Changezian view. They were ferocious and utterly loyal: they had fought to erase their own civilizations, so they had nothing else to turn to. As for me, I'm probably a pessimist, but as the credits scrolled down and I prepared to leave the cinema, the scene that came to my mind (and that sums up the whole film to me) was the one in which Changez asked his students, during a lecture, to forget about the "American Dream" and help him build/find a "Pakistani Dream" instead. Declan Quinn's stunning cinematography makes it enthralling it to watch, but the book's probe of cultural identity in an era of globalization is ill-served by making the film a generic espionage thriller.
It's not Hamid's job to right the problems of his country of birth. The book suggests that she commits suicide, but in the movie, she and Changez merely split over an argument about a piece of art. He grew a beard to identify as a Pakistani. Such devices are tied to the abstractness of the novel and can seem heavy-handed in a realist film. With a supportive boss (Kiefer Sutherland) and an artistic girlfriend (Kate Hudson), the American dream seems in reach. He takes a chilling pride in the nativism prevalent in parts of his country. No one had forced him to work in American finance. In the meantime, it is evident that the young man had little illusions about his place in the American society. How much this will effectively broaden the audience after its bow in Venice and Toronto remains to be seen, because it is still a serious-minded film whose politics demand soul-searching and attention.
When comparing the book and the film, I should mention some of the big differences between them. Is Khan the exception? She is a visual artist instead of a novelist, and in the book, she has deep psychological issues that do not appear as strongly in the movie. Ahmed's Khan is first aghast at footage of the planes flying into the Twin Towers: Nair centers him in the frame, his eyes wide and disbelieving, his hand covering his mouth. But to think that Nair's film is only about the emboldening effect of rebelling against imperialism would be to miss its nuanced examination of identity as the result of a broad spectrum of factors: the yawning sprawl of globalism, the intimate cruelty of unrequited love, the yoke of familial expectations. The stranger is fidgety and anxious, and at first Changez's elaborate self-justifications for his contentious sentiments begin to suggest that perhaps he is a more sinister figure than he allows. For January, we look back at the multi-faceted career of Indian-American filmmaker Mira Nair, whose textured works expertly thread social, cultural, and narrative borders.
In the novel, he had cancer; in the film, Changez's said Erica was the reason for his death. Then she returns to Khan, still centered, but no hand covering his mouth now. Sept. 11, 2001, changes all that—both outwardly, in terms of how others treat this young brown man who dares to aspire for more, and inwardly, in terms of how that same man assesses the factors attempting to limit his ascension. And unbeknownst to Khan, a nearby C. team spies on his every move, collecting information about who he meets with, where he goes, and what he says. What do you think r/lit?
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