I haven’t read Mohsin Hamid’s novel on which the film is based which is an oversight as anything, like Amy Waldman’s excellent The Submission, that tries to get to grips with the ‘war on terror’, which threatens to run as long as the wars in Orwell’s 1984, is important. There was a lot to like about the adaptation, not least Riz Ahmed’s performance in the lead. The subtleties of identity politics are well rendered as Ahmed’s Changez finds himself caught between tradition and rampant capitalism. Kiefer Sutherland, incidentally, excels as the slimy capitalist, a role he may be danger of becoming typecast in – see Melancholia.
The febrile atmosphere of Lahore is thrillingly caught; a fellow member of the audience told me that only a few exteriors were shot in Lahore, not surprisingly given the state of play in Pakistan at the moment. The glass mausoleums of capitalism are also well shot though the problems inherent in using ‘9/11’ footage (that it was far more dramatic than anything cinema can render) were not resolved.
But… While I understood the reasons for the romance narrative, Changez is after all a young man seeking his way in the world, this didn’t ‘come off’ at all. Changez is in his early 20s and while there’s no reason why he wouldn’t fall for a thirty something Kate Hudson (34), she looked far older to me; unlikely as it is, she seemed to have suffered from botox. But that’s probably just me.
Without spoiling the film, I can comment that I admired the way Changez developed convincingly throughout the film but found the final scene, with Liev Schrieber’s journalist, risible. The expression on Schrieber’s character’s face should be mortified and not a wry smile.
Incidentally I saw this at a packed out screening at the close of the Bradford International Film Festival.