Film Review – “The Reluctant Fundamentalist”


Starring: Riz Ahmed, Liev Schreiber, Kate Hudson, Kiefer Sutherland, Om Puri, Shabana Azmi and Haluk Bilginer. Directed by Mira Nair. (130 mins).

Reviewed by Randeep Purewall

The film adaptation of Mohsin Hamid’s 2007 novel took three years to adapt for the screen. Whereas Hamid’s novel centered on two characters, the protagonist Changez Khan and an anonymous American, in a Lahore café, Nair’s film adaptation is a full-charactered narrative shot which shows the protagonist leaving Lahore (filmed in Delhi) to pursue an education and career in the United States where he lives the American Dream in New York City until 9-11. He returns to Lahore, becoming a professor.

The lead is played by Riz Ahmed who did well as a streetwise Brit and jihadist in “The Four Lions.” As Changez, Ahmed does well enough as someone searching for himself but falls short in scenes such as his having to leave America, moments otherwise rich in dramatic potential which would have underlined the torment of the character’s being American, Pakistani and Muslim.

His limitations are all the more apparent when he’s is surrounded by a stellar supporting cast including Liev Schreiber as Bobby, the American in the Lahore café, Kate Hudson as Changez’ partner Erica and a superb Kiefer Sutherland as Jimmy, Changez’ Wall Street boss. Turkish actor Haluk Bilinger is a revelation in a small but seminal role as a publisher in Istanbul who compares Changez to the Janissaries, Christian children taken from their homes and trained to fight in a Muslim army only to reconquer and destroy the homelands where they were born and nurtured.

The film is stunningly shot with searing images such as the one above. After being stripped and probed by American airport security, Changez looks through opaque glass at footage of the Twin Towers coming crashing down along with his American Dream. Nair uses music to great effect too. In one of the film most poignant scenes, Changez looks at men performing namaaz in the Suleyman Mosque in Istanbul while a boy looks back at him. The scene erupts in a clash of drums in a explosive mix of Khusrao’s “Mori Araj Suno” and Faiz’ “Rabba Sachiyaan,” highlighting Changez’ inner turmoil.

Amongst growing student protests over the presence of Americans in Pakistan, Bobby urges (Professor) Changez to control the protests: the white man tells the brown man or Muslim man to “do the right thing.” Nair say she wanted the film to start a dialogue but she provides an answer instead. Reading a eulogy at the funeral of a friend killed in the protests, Changez prays the youth of Pakistan will let their inner lights shine with a force greater than the suns’. Perhaps that is the Pakistani dream which Changez asks his students about in an earlier scene. Only for many Pakistanis, the dream is to send their kids to the West, have them score good jobs there and perhaps go West themselves.



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