Category: 2000-2010

“Devdas” (2002) starring Shah Rukh Khan, Madhuri Dixit, Aishwarya Rai, & Jackie Shroff

Emma3 Comments

[1] The dance sequences are stunning…

[2] I will start off by stating my bias….that I generally hate Bollywood movies because of their excesses, and their general lack of realism. In that light, Devdas is classic Bollywood.

[3] Devdas and Paro, or Chandramukhi and Devdas had a lot of emotions and feeling unexpressed in the original story. The love the three possessed was spiritual, not physical. That is why Paro loved Devdas for so many years without having seen him.

[4] One has to admire the technical execution of parts of the film, the sometimes stunning cinematography, the lavish sets and costumes. But the director forgets that form and content can not be separated, that more is not always more, that often less is more.

-Excerpts from comments on IMDB

This Bollywood movie is based on a Bengali romance novel by Sarat Chandra Chatterjee. Despite being finished in 1900, the novel was not published until 1917 (due to Chatterjee’s hesitance over some autobiographical elements). He wrote it under the influence of alcohol and was embarrassed by it. According to Wikipedia: “he is arguably the most popular novelist in the Bengali language. His notable works incl. Devdas, Srikanto, Choritrohin, Grihadaha, etc. Most of his works deal with the lifestyle, tragedy and struggle of the village people and the contemporary social practices that prevailed in Bengal.” Due to lack of funds, he couldn’t attend college. Chatterjee wrote since his teen years and lived in Burma (Myanmar), working in the public works office. His first wife and son died due to illness. Eventually, he moved to Calcutta (Kolkata); he married his second wife, who he taught to read and write.

Devdas has been adapted for the screen 19 times in various South Indian languages. This version is directed by Sanjay Leela Bhansali; he later went on to make Ram-Leela, Bajirao Mastani, and Padmaavat. At the time of its release, Devdas was the most expensive Bollywood film ever, w/ a budget of $10.3 million. It was a commercial success in India and abroad, becoming the highest grossing Indian film of the year. Devdas was nominated for the BAFTA Award for Best Foreign Language Film and was also submitted for the Academy Award for Best Foreign Language Film. The film was screened at the 2002 Cannes Film Festival- not something you hear often (or maybe ever) re: a Bollywood film!

In the early 1900s, Devdas Mukherji (Shah Rukh Khan- then 36 y.o.) is the only son of wealthy zamindar (landowner) of a Bengali Brahmin family. After 10 yrs of boarding school and studying law in England, he returns to his village, where his extended family prepares to welcome him. In the original story, Devdas comes back from studying in Calcutta. However, their happiness changes to shock when Devdas prefers to visit his childhood sweetheart, Parvati AKA Paro (Aishwarya Rai- in her most notable role at 28 y.o.) before paying respect to his mother, Kaushalya (Smita Jaykar). In the first song (Silsila Ye Chaahat Ka), we see Paro dancing w/ the diya (small lamp) which represents the life of Devdas. Then only 16 y.o. Shreya Ghoshal sang five songs for this movie as the singing voice of Paro.

When Devdas’ grandma, Badima (Dina Pathak), lays out her jewelry, his greedy/cranky sister-in-law Kumud (Ananya Khare) giggles and picks up an elaborate bangle. Badima says she can have it all, but not that bracelet, b/c she saved it for Devdas’ future bride. Devdas jokes w/ Kumud, but she gets mad and storms off. She is followed by Kaushalya, who wants to calm her down (b/c she’s pregnant). Later that night, Devdas gives Paro the bangle (Bairi Piya). Kumud watches them (w/ binoculars) and then shows this to Kaushalya.

Devdas’ mother isn’t keen on the match, as she tells her husband when they are alone. The father (a lawyer knighted by the British government) flatly says no way. Paro’s mother, Sumitra (Kiron Kher), tells her husband that Devdas will ask for Paro’s hand, but her father looks worried. Sumitra dresses up and goes next door to Devdas’ house, full of hope. We learn that Paro comes from family that had a tradition of being entertainers and accepting “bride price” (dowry) from the groom’s family. Sumitra explains that was a long ago; they plan to give Paro away (send dowry with her). Kaushalya says it’s settled; both sides will handle the costs of Paro’s wedding. Sumita performs a song and dance re: the love between two Hindu deities- Radha and Krishna (Morey Piya)- while Paro and Devdas frolic by a lake. I esp. liked the lighting in the lake scene.

After her (emotional/dramatic) performance, Sumitra learns the bitter truth- her friend/neighbor thinks Paro- and therefore her family- beneath them. Sumitra explains that their children are deeply in love and pleads w/ Kaushalya to allow them to marry. Kumud (a one-note villain) makes a nasty remark, insulting Paro’s character. That’s the last straw for Sumitra; she declares (in tears) that this decision will lead to the “ruination” of Devdas.

Paro still holds out hope for marrying Devdas (after her mother has been insulted). In a bold move, Paro sneaks into Devdas’ room and declares her love for him. He is nervous and tells her that his father is opposed. Paro (not thinking of her reputation) says they can change his mind. Devdas says he will escort her home, but they run into his father, Narayan (Vijay Crishna), who insults Paro (and her mother). She runs away in tears. Devdas gets mad at his father; he gets slapped. After their big argument (which I thought could’ve been acted better), Devdas leaves home w/ the shawl that Paro dropped. Paro runs after his buggy, but is left in the dust. As I noted before, this director is not a fan of subtlety. After the first 45 mins-1 hr, the film becomes slower.

As journalist Rajib Kanti Roy noted (in an article published on September 14, 2018 in Daily Sun): According to Sarat Chandra, pure love of a woman is a treasure for the world. That is why he has made no mistake in highlighting true love of Bengali women in his fictions. The character of Parboti in Devdas is a classic example of that. A girl of strong willpower and passionate feelings, Paru (Parboti) is not dependent on Devdas. When confronted with the practical choice of marrying a rich man to save her family name, or pining for a fickle lover who changes his mind on the whim, Paru chooses the former.

Devdas writes a letter to Paro, saying that he doesn’t love her, but sees her only as the “girl next door/friend.” We realize that he doesn’t want to go against his father. Devdas stays w/ a friend from college who drinks and lives a life of debauchery, Chunnilal (Jackie Shroff). When Devdas looks “stressed,” Chunnilal (who some viewers consider annoying) tells him to relax and offers him a drink. Devdas says no, as he never drinks alcohol. The men go off to “escape” in the next scene; Devdas meets a courtesan named Chandramukhi (Madhuri Dixit- then 34 y.o.) She and her fellow dancing girls perform (Kaahe Chhed Mohe). This song (by Kavita Krishnamurthy, Dixit, and Birju Maharaj) carries on the Radha-Krishna romance theme. Before the number ends, Devdas gets up to leave; he regrets that letter and wants to go to Paro. Chandramukhi stops him; he advises her to do something else w/ her life (giving her his wallet). Suddenly, she goes from flirty to very serious; she has fallen in love w/ Devdas. I thought Dixit did as well w/ this clunky dialogue; her eyes expressed much.

As Roy noted: Chondromukhi is a prostitute who stands out for her assertiveness and independence. Though repeatedly scorned by the man she loves, her body and mind remain free from the societal control that women are subjected to. She stoops only to love and that too out of her own choice.

Sumitra (w/ in a week) arranges a marriage for Paro; she helps dress and adorn her daughter as Devdas returns. We take notice of their big argument; Paro stands up for herself and the pride of her family. Devdas (who is spoiled and temperamental) thinks it’s not too late, but she is headed for a new life (where she will be “an aristocrat”). About 12 yrs ago, I met a young Indian-American woman at a literary event in NYC; she was writing a PhD dissertation on domestic violence in Hindi cinema and discussed the next scene. Devdas calls Paro “vain,” grabs a heavy pearl choker, and hits the top of her forehead. Though he claims this is “the mark of his love,” we see that it is physical abuse. The saddest song of the movie follows (Hamesha Tumko Chaha) as Paro leaves home; the two voices are Krishnamurthy and Udit Narayan. One of the main things here is that before touching her parents’ feet (sign of respect), Paro crosses the courtyard to touch Devdas’ feet.

Bhuvan Choudhry is a widower w/ a large estate; his white-haired mother introduces Paro to his adolescent son and daughter (who will call her Choti Ma- “little mother”). We also hear of an older daughter who is not happy about having a stepmother. After the wedding night, some giggling maids reveal that the bride and groom slept apart. Bhuvan explains that he married only b/c he needed a “lady of the manor and a mother for his children.” He shows Paro a picture of his late wife, saying that he will remain loyal to her memory. The look on her face is hard to determine- maybe she is a bit surprised and relieved.

We learn from Chunnilal that Devdas (very distraught) was taken care of for two nights by Chandramukhi. When Devdas cuts her down and offers her money, she retorts that he already paid her. We see that she wants to dance for him. She waits for his arrival, which annoys Kali Babu (an impatient patron w/ a thick mustache). As Devdas watches this song/dance (Maar Dala), he pours out some drink. (SRK actually drank alcohol while shooting some drunk scenes, so had to do many retakes.) He admits to Chandramukhi that he’s drinking to forget memories of Paro that haunt him- yeah, no kidding! I never got the feeling that SRK was losing control here, or in the following scene (where he cries, yells, and displays self-pity).

Back at her mansion, Paro is handling things quite diplomatically. She isn’t intimidated by a formidable guest (mother-in-law of Yashomati, Bhuvan’s oldest child). Since they are close in age, Paro explains to Yashomati that they can relate to each other as mom and daughter or friends. Yashomati (also a new bride) is very touched and gives her a hug. Then the groom enters to touch Paro’s feet- it’s Kali Babu- the creepy guy we saw earlier.

Paro goes to visit her family and sees that many people of the village are flocking next door. Sumitra explains that Narayan is at death’s door. Paro (being forgiving/kind-hearted) insists that they go to pay their respects, too. The old man weakly calls out for his son, but finds Paro instead. Kaushalya weeps, recalling how Paro used go find Devdas when he’d run off. Now, the family doesn’t know where to look for him.

Devdas is staying w/ Chandramukhi, but they are not together; he won’t let her touch him. She continues to listen to him go on… and on… Suddenly, Dharamdas (a loyal servant from his house) comes w/ a message- his father is dead! At the funeral, Devdas is falling-down drunk in front of his relatives and other mourners. I liked this next scene- both actors played it well (and it wasn’t too over-the-top). He opens a small treasure chest filled w/ items which belonged to her- anklets, a water pitcher, and the shawl (from when they were last alone). Paro (again in tears) insists that he stop drinking, but he refuses. She can’t bare to see him in this condition. Paro says she wants to take care of him; Devdas asks her to “elope” w/ him that night. What a clueless man- that’s what some viewers were thinking- no doubt! We see that Paro has matured, but Devdas is still a little boy.

Devdas finds Kumud (who holds a big ring of keys) and his older brother plotting to steal all the inheritance. He comments that Kumud doesn’t know re: the “crazy” side of his family, then sets a fire in his father’s office. For six mos. after he’s kicked out of the house (by his mother), there is no sign of Devdas. Paro finds an excuse (Durga Puja) and goes to check out the brothel (having learned of it from Dharamdas). Chandramukhi is no longer a courtesan and keeps praying for Devdas’ return. We see an altar, some of his possessions, and a diya which she lit for him (a recurring motif). Paro realizes that this woman also loves Devdas; Chandramukhi says she “worships” him. Before Paro leaves, she presents the bangle (which Devdas gave her) to Chandramukhi. They meet again at the Durga Puja, talk, and dance together (Dola Re Dola). This has a mix of Indian classical dance forms w/ steps that come from Kathak and Bharatnatyam.

As an Indian viewer noted (on IMDB), it is unlikely that a conservative Hindu woman (like Paro) would’ve visited a brothel or danced at a gathering (even in her own home). When Kali Babu reveals who she is, Chandramukhi is not bowed- she gives some strong retorts (calling out the hypocrisy of the aristocrats). I enjoyed that scene- she’s a badass! As he leaves, Kali Babu apologizes for what he did, but also tells Paro that her husband and mother-in-law now know of her er “friendship” w/ Devdas. When Bhuvan asks re: Devdas, Paro replies that he’s her “first love” (just as his dead wife). Bhuvan decides that she will not be allowed to step outside the manor, and she accepts his punishment. When the old lady tries to put out the diya (“fire in own house”)- Paro quickly stops her. I think this was a kind of gutsy scene- I hadn’t remembered from previous viewings.

At a bar, then on the streets, Devdas and Chunnilal drink (Chalak Chalak). Some women join in, incl. Chandramukhi (who is very happy to see Devdas again). Some viewers commented that they liked this number (sung by Ghosal, Narayan, and a few others). It starts out humorous, then becomes more frenzied/unsettled. We see that Devdas’ health has deteriorated; a doctor says he’s in a “treacherous” state. This is basically a drawn-out form of suicide. Devdas (finally) tells Chandramukhi that he loves her! He also tells her “if they meet again in Heaven, he will not be able to renounce her.”

Devdas travels by train w/ Dharamdas watching over him; Chunnilal finds him and they drink to friendship (not a good idea). His friend learns that Devdas is “incurable.” Devdas gets off at a station and travels to Paro’s manor, as he promised. Paro hears his voice (in her mind) and wakes up in the middle of the night. In the early morning, there is a crowd of men gathered around Devdas sleeping on the lawn just outside the manor’s gate. Paro runs through the house, evading servants and family, but her husband orders the gate to be shut. Devdas dies and the diya’s fire is blown away w/ the wind. This last sequence is well done and very intense, even to those of us who know how it ends.

“Humraaz” (2002) starring Bobby Deol, Akshaye Khanna, & Ameesha Patel

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…a look into the dark side of ambition. Each character has questionable motives, and the human drama alone kept me riveted through the film. The acting is convincing and the plot has many surprising twists and turns.

The plot was sneaky. You didn’t know what was going to happen next. I was totally shocked with the ending. They put a lot of work into the dancing, and it showed.

Abbas Mustan [the directing duo] lay pretty heavy emphasis on the villains in their films, and this film is no exception.

This is the Bollywood remake (or re-imagining) of A Perfect Murder (1998) starring Michael Douglas, Gwenyth Paltrow, and Viggo Mortensen. It was also somewhat influenced by Hitchcock’s Dial M for Murder (1954). The title of Humraaz (“soulmate”) refers to “someone who knows your secret or someone whom you have shared your secret with.” You can’t skip the songs here, b/c every great playback singer of that era sung in this movie! Karan (Akshaye Khanna), the head of a dance troupe and his girlfriend, Priya (Ameesha Patel), are two 20-somethings who have energy, passion, and talent. They audition to perform on a cruise ship owned by young industrialist, Raj Singhania (Bobby Deol).

They get the cruise job and put on a fun number (Bardaasht Nahin Kar Sakta sung by KK and Sunidhi Chuahan). Raj can’t keep his eyes off Priya. He sends her flowers, invites her to a fancy dinner, and they dance under the stars. Raj is quickly developing feelings for Priya; they go sightseeing in Malaysia (Dil Ne Kar Liya sung by Udit Narayan and Alka Yagnik, my favorite Bollywood duo). Priya didn’t want to go out, b/c she vowed to walk barefoot all day (since the troupe had become “permanent status” on the cruise line). Raj decides to go barefoot also; he finds her beautiful, charming, and innocent (basically the girl of his dreams)!

On her birthday, Raj throws a big bash, and asks Karan for a “special song” (Piyar Kar sung by Udit Narayan, Shaan, and Kavita Krishnamurthy). The lyrics fit very well w/ the story. Later on deck, Raj offers Priya a ring. For a brief moment, Priya looks conflicted, but then puts it on, saying “some dreams do come true!” Priya reveals to Karan that she’s engaged. At first, Karan looks shocked, but then smiles and hugs her, exclaiming “I can’t believe it happened so fast.” It was their plan all along- get Raj to marry Priya! One of the guys in their troupe watches from afar, wondering what is up.

Raj takes Priya to his family estate in Jaipur. Dadi (Raj’s grandma w/ whom he shares a close bond) declares the couple will be married ASAP. The family and guests celebrate w/ a sweet/hopeful song (Life Ban Jaayige sung by Sonu Nigam and Jaspinder Narula). On their wedding night, Priya tells Raj that she took a vow of celibacy for one month (b/c destiny had brought them together, as she’d prayed). Raj is surprised, but then says he respects her decision.

Raj and Priya hold a reception at their house; Karan comes to congratulate them. Raj describes his new life and the many emotions w/in him (Tune Zindagi Mein by Udit Narayan). This song starts off as pretty innocent, but we get some lines where Raj talks about jealousy (foreshadowing). More drama (life-altering) ensues. We see more of the violent side of Karan (as in the opener). One morning, Priya realizes that she does love her husband! We get the title song (Sanam Mere Humraaz sung by Kumar Sanu and Alka Yagnik). From here on (the last 45 mins or so), the movie takes dark turns (w/ scenes that are guaranteed to shock some viewers)!

Are you missing the (loud/colorful) hair and fashions of the ’90s? FYI: Khanna is wearing a hairpiece (as he started losing his hair before his mid-20s). Do you get a kick out of seeing (old) technology? Then this may be the movie for you! It’s around 3 hrs long (no joke), so it could take 2 days to watch. The first 90 mins go pretty quickly, thanks mainly to the musical numbers. The dancers here are also supporting actors (which is rare for Bollywood). I’m a fan of Khanna; his older brother (Rahul Khanna) is also actor. Rahul is seen in indies and TV shows (in both the US and India). I recently came across an article re: Patel (who is now 44); she celebrated 20 yrs of working in Bollywood. She still looks youthful and fit; she is producing movies now.

The comedic supporting characters are mostly one-note; they are present to serve the larger story. Raj’s loyal personal assistant, Mr. Darshan (Johnny Lever) is a veteran of Bollywood. In one scene w/ Karan, Darshan (who is always worried re: “what ifs”) sums up the entire story! After leaving school (lack of funds) as teen, Lever worked on the streets (selling small items) and copied famous actors. He worked at Lever’s soap factory in Mumbai, where he entertained co-workers and earned the nickname “Johnny Lever.” Eventually, he studied comedy and toured in variety shows. In the ’80s, he met Amitabh Bachchan and started getting small roles in movies. Lever is short, stocky, curly-haired, and dark-skinned. He is from Andra Pradesh; Telegu was his first language, not Hindi. In Bollywood, there are few actors like him who have become a success.

Page 3 (2005) starring Konkona Sen Sharma

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Delving below the glitz and glamour of celebrity lifestyle to touch upon such dark subjects… Page 3 doesn’t shy away from tackling controversial issues. -Excerpt from BBCi – Films

[1] Clever writing, skillfully incorporated songs, able performances and a genuine feeling of sincerity are what make this film worthy in spite of its lack of finesse and poor production values. 

[2] The movie defines so many characters who are completely with completely different priorities and different ideologies and yet they are all a part of the system which is all the more apathetic. …one of the most mature films of the recent times.

-Excerpts from IMDB reviews

This is currently streaming on Netflix; it’s worth a look (esp. if you’re looking for intelligent, thought-provoking Hindi cinema). If you’re bored w/ (or NOT a fan of) Bollywood, check this out. The dialogue is written with great attention to detail; characters from different social classes are represented (and get their own voices). Kareena Kapoor Khan was offered the lead role, which she turned down (thank goodness)!  

I don’t know what has happened to journalism. -Madhavi comments in the newsroom

Who told you that you are a journalist? This is what you write in the page 3 column, isn’t it? Who went in whose party, with whom who went… And with whom who came back… What one wore, ate and drank what… And what one didn’t wear. Miss Madhavi Sharma, this is called entertainment, not journalism. -Vinayak retorts

Madhavi Sharma (Konkona Sen Sharma- one of my fave actresses) is a 22 y.o. journalist living in Mumbai who covers page 3 (gossip, celebs, parties) for Nation Today (an English language newspaper). After just 6 mos, she’s disillusioned w/ her beat; she wants to do something more meaningful. Madhavi admires the work of crime reporter, Vinayak Mane (Atul Kulkarni), who rides around town on his motorcycle, meeting w/ snitches, and embedding himself w/ cops. This movie is not only about Madhavi, BUT also about her editor- Mr. Suri (veteran character actor Boman Irani), disillusioned socialite- Anjali Thapar (Soni Razdan from Monsoon Wedding), and her two roommates- tough-taking air hostess- Pearl (Sandhya Mridul) and naive aspiring actress- Gayatri (Tara Sharma), as well as others. 

Nothing can be achieved w/o being a former Miss India/Miss World or being connected to a somebody, Pearl explains to Gayatri. Madhavi thinks that a Bollywood hero she knows, Rohit Kumar (Bikram Saluja), can help Gayatri get an audition w/ a famous producer. A male model, Tarun (Jai Kalra), notices Madhavi while she’s sitting in the audience of a fashion show. They keep running into each other, so decide to start meeting up more. Rohit discusses show biz w/ Gayatri; they become romantically involved. Pearl meets an older NRI businessman who could be her ticket out of singlehood and working for a living. 

Today’s Special (2009)

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todaysspecialposter

See Aasif Mandvi before he got famous (I did- he visited an youth center where I volunteered)!  While he was pretty awkward with the teens (he’s a single guy with no kids), the theatrically-trained actor has become a name in comedy, thanks to The Daily Show with Jon Stewart.  Recently, he relased his funny memoir- No Land’s Man. 

 

harishpatel_todaysspecialMandvi recently commented that the romance was tacked on to market the story, but it’s essentially a story about dealing with your past (in this case, one’s heritage and father)  in order to move forward in life.  NYC-based sous chef Samir (Mandvi) is passed over for a much-anticipated promotion by his egotistical boss/chef, Steve (Dean Winters of Oz and SVU fame).  He goes back to check out how things are going in the family restaurant (Tandoori Palace) in the old ‘hood.  This film was mainly shot inside an Indian restaurant in my old ‘hood (Jackson Heights, Queens) in the Summer of 2008.  (I noticed that there was a covering around it for a few days, with a few young PAs hanging about.)   His father Hakim (Harish Patel, an Indian TV star) is shocked to see Samir out of the blue.  Suddenly, a health issue forces Hakim to rest at home, and Samir takes over the restaurant.

spices

Samir, who knows nothing re: Indian food, luckily meets Akbar (Naseeruddin Shah, a veteran of international cinema)- a horrid taxi driver but  masterful chef.   Shah steals the film with his charm, humor, and laid-back style.  Rarely has an elderly desi man been so cool!  This is one father-figure that understands Samir easily, unlike his own dad. 

todaysspecialmom

Ironically, actress/cookbook author Madhur Jaffrey (mother of Mandv’is close pal, Sakina) does no cooking here!  (Sakina Jaffrey played the VP on House of Cards recently.)  She plays Samir’s matchmaking mom, Farida, who sets him up on dates w/ Indian-American women via an online database (like Shaadi.com).  LOL… or is this getting TOO real for some of you?  There are some touching scenes in this film,  aside from the relatable comedy (esp. for desi Muslims out there).  Check this film (on Netflix now) out ASAP! 

GREAT Films about the Immigrant Experience

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Avalon (1990)

This is a gorgeous film directed by Barry Levinson (Diner, Homicide, Liberty Heights, etc.)  It’s a talent-laden (Armin Mueller-Stahl, Aiden Quinn, and a very young Elijah Wood play the male leads) drama set in ’50s Baltimore.  The film explores 3 generations of a tightly-knit, middle-class, Jewish-American family.  My dad really liked this story; it’s suitable for all ages!   

Mississippi Masala (1999)

I tell all my desi friends (and anyone who likes good films) about this one!  I first saw it as an undergrad.  This small-budget/educational/realistic film was directed by Mira Nair; she also plays a small role as a catty auntie.  The screenwriter, Nair’s close friend/collaborator Sooni Taraporevela, said the basis for the love story between Meena (Sarita Choudhury) and Demetrius (Denzel Washington) was partly inspired by a fellow Indian gal pal at Harvard who fell in love with a black (Jamaican) man.  The dialogue is spot-on and the sweet romance between Meena and Demetrius is as hot as the setting (small towns of Mississippi).  There is another kind of love in this story- Jay (veteran Indian actor Roshan Seth), Meena’s father/lawyer-turned-motel manager, desperately trying to get back property/citizenship in his native Uganda (scenes were filmed in Nair’s own Kampala house).

Sidenote: I saw Sarita at a staged play reading in NYC (back in 2006).  Film does NOT do her justice; she’s stunning in real life! 

My Family/Mi Familia (1995)

Unfair deportation, police aggression, gangs/crime, Catholicism, and the ties that bind families are explored in one of my all-time favorite films.  I saw this first during my 12th grade American History class; later I saw it w/ my family (they all liked it a lot, too).  It was directed superbly by a Californian of Mexican heritage, Gregory Nava (Selena, Frida).  The music is an integral part of the story, as is the moral compass/strength of matriarch Maria Sanchez, who is played by Jennifer Lopez (younger) and Jenny Gago (older).  The male leads are played by Jacob Vargas (Jose), Esai Morales (Chucho), and  Jimmy Smits (Jimmy).  Edward James Olmos plays the aspiring writer, also the narrator.  Scott Bakula plays the husband of Toni (Constance Marie).  The setting is primarily East L.A. (a long-established Latino neighborhood). 

Nuovomundo/Golden Door (1996)

Don’t let the language (primarily Italian) deter you from this unique/educational film; it contains some magical realism.  It was produced by the famed Martin Scorcese, himself a proud Italian-American.  The (nearly unspoken) love story in the film is between kind-hearted Italian peasant Salvatore (Vincenzo Amato) and mysterious/redheaded Englishwoman Lucy (Charlotte Gainsbourg).  Salvatore decides to sail to the U.S. so his family, which includes two teen sons and mother, can survive.  Crops won’t grow on his land, and his brother is already settled in NYC.  However, after their ship lands on Ellis Island, there are more tests/tribulations ahead! 

Liberty Heights (1999)

Another of Levinson’s fine films- this time focusing on brothers who live in a Jewish-American enclave of ’50s Baltimore.  The narrator, 17 y.o. Van (Ben Foster), and his college-going brother, Ben (Adrien Brody) are good kids trying to figure themselves out. You will relate to this film, especially if you are a 1st generation American, as the Kurtzman brothers navigate around heritage, parents, and wider racial issues of the ’50s.  Van befriends Sylvia (Rebekah Johnson), the only black girl in his class.  Ben makes new friends at a party and eventually falls for Dubbie (Carolyn Murphy), a gorgeous/troubled WASP.  Yussel (David Krumholtz), Ben’s best pal/smart-aleck, provides a lot of the comedy.  The parents in the film are portrayed by Joe Mantegna and Bebe Neuwirth.       

The Namesake (2006)

This is the first film exploring two generations of an Indian-American family (Bengali in heritage); it is based on Jhumpa Lahiri’s novel and directed by Mira Nair.  I saw it in 3 different theaters w/ different groups of family/friends (who all loved it).  Gogol/Nikhil (Kal Penn) and his little sister, Sonia, grow up on Long Island, the children of successful/overprotective immigrant parents, professor Ashok (Irrfan Khan) and homemaker Ashima Ganguli (Tabu).  Though the novel’s main focus was Gogol, Nair takes a deeper focus into the slow-burn love story between Ashok and Ashima (I enjoyed their scenes most).  Irrfan Khan is amazing; too bad he decided not to come to Hollywood!