The darling of Sundance proves to be a game-changer in the romantic comedy genre.
There is one instance in The Big Sick where our lovable hero becomes the subject of racism. It was an inevitable moment in the film (one of many which the film’s writer/star surely must have encountered in real life). The moment happens in a public place, with many onlookers witnessing the incident. It’s the only time The Big Sick ventures somewhere which could be considered expected or cliched, and the way the film tackles the issue with both depth and humor is truly commendable. Apart from that moment, The Big Sick is blissfully free of such situations and hang-ups, purely existing as a film about a 21st century relationship.
In The Big Sick, aspiring stand-up comedian Kumail (Kumail Nanjiani) encounters beautiful psychology student Emily (Zoe Kazan) after performing a set. Sparks fly between them and the two begin a solid relationship, a fact which Kumail decides to keep from his strict Pakistani family out of fear that they will be enraged with him for getting involved with someone outside his culture. When Emily finds out Kumail has been keeping their relationship a secret, she immediately breaks up with him. Not long after, Emily finds herself being admitted into the hospital following the discovery of an infection in her system, which requires her to be put into a medically-induced coma. Kumail insists on being by her side the entire time, much to the initial chagrin and confusion of Emily’s parents Beth (Holly Hunter) and Terry (Ray Romano).
The Big Sick more than excels as a romantic comedy where so many others don’t simply through its approach. There is such a gentle and organic flow to the film which is more than content to let the events unfold in their own time, allowing the audience to bathe in the absolute loveliness of the relationship happening on the screen. It becomes clear that Najiani and director Michael Showalter (whose last film Hello, My Name is Doris remains one of the best of 2016) aren’t eager to tick off any rom-com boxes. Instead they follow the natural progression of the events and how they realistically affect the individuals they happen to. This is especially true with the way the film treats its central couple. The Big Sick is totally honest and genuine with regards to how it illustrates the real problems all couples face, but also the problems that this specific couple must face. However, the movie so brilliantly goes a step further after Emily gets sick by posing the question: How much of a right do you have to care about someone once they are no longer in your life?
On the flip side, The Big Sick gives a deep and telling comment about the importance of family. Watching the bond that exists between Emily and her parents is touching without her even being around to interact with them most of the time. Seeing the way Beth and Terry embrace Kumail after the initial awkwardness regarding his and Emily’s history has passed is just downright beautiful. Yet it’s the way the film examines what it means to come from a family with such a strong cultural background, and specifically, the cost of breaking from tradition, which is truly brave. Any person from a cultural background can relate to the spiritual and mental struggle Kumail faces when he decides to go against both family and culture in his pursuit of Emily. The question of where the line between devotion to family and culture, and the obligation each person has to his or herself as an individual lies, is dealt with front and center. While The Big Sick doesn’t fully answer the question of where the line should exist to everyone’s satisfaction, it provides an genuinely thought-provoking perspective.
Nanjiani makes for a perfect lead; and not just because he is acting out the real-life story of how he met his wife. The actor seamlessly moves between excellent comedic timing and emotional conflict, giving him the perfect kind of leading man likability. While she’s offscreen for much more than the audience would like, Kazan has never been lovelier playing a young woman who believes in the romance she is chasing, making her heartache all the more difficult to watch when it ends. Hunter shows a knack for comedy here, giving a captivating and invigorating spin on what could have been a standard character, while Romano does just the opposite by displaying a warmth and sensitivity, showing him to be more than just a comic actor.
For all its thoughtful comments on culture, family, and romance, the best thing about The Big Sick is that it never forgets that it’s a comedy. While most comedies eventually run out of steam, there is joke after joke layered carefully among the depth, ensuring its audience has a good time. One of the film’s most hilarious moments comes in the hospital cafeteria where a clearly nervous Terry says to Kumail, “I’ve always wanted to have a conversation with people about 9/11,” while signalling to Kumail, causing him to reply, “You’ve never talked to people about 9/11?” Terry tries to clarify by saying, “I was just wondering what your stance was on it,” to which Kumail responds, “Anti” before jokingly adding, “We lost 19 of our best men that day.” It’s moments such as that one when The Big Sick proves its worthiness as a film which richly blends humor, honesty and integrity that will surely stand the test of time.
