While it was oncea genre that dominated both the box office and cultural conversation, romantic comedies have somewhat declined in recent years. Given how often rom-coms are sent directly to streaming, it’s harder to see them as “events,” as viewers have less opportunity to enjoy them with a packed audience of avid filmgoers. While this is not necessarily reflective of the genre’s quality, it does suggest that viewers want to see something more authentic from their big-screen romances.What’s most remarkable about Michael Showalter’s heartbreaking 2017 romantic comedyThe Big Sickis that it is based on a true story.
The Big Sickwas written by the husband and wife writing team ofKumail NanjianiandEmily V. Gordon, and tracks the origins of their relationship, as Nanjiani stars as a semi-fictionalized version of himself, withZoe Kazanstepping in to play Gordon. What could have easily been an awkward, egocentric attempt ata “slice of life” exerciseends up being one of the most honest and painfully funny movies about modern dating in recent years. Showalter turnsThe Big Sickinto an earnest examination of how relationships are affected by cultural and generational differences.
The Big Sick
Written by Emily V. Gordon and Kumail Nanjiani, The Big Sick stars Nanjiani as a fictionalized version of himself whose budding relationship with a woman named Emily is tested by their cultural differences and Emily’s sudden and baffling illness. Gordon and Nanjiani based the film on their lives and relationship, and Zoe Kazan stars alongside Nanjiani as Emily.
What Is ‘The Big Sick’ About?
The inherent risk with any film that is directly based on the life of its writer is that it risks calling too much attention to details that aren’t relevant to the viewer. While realism is appreciated, it doesn’t always make for a cinematic structure. However,The Big Sickbegins with a typical “meet cute”premise similar toa classic 1990s romantic comedy.The film tracks Kumail’s experiences as a comedian in Chicago, where he works as an Uber driver while he attempts to break into the comedy scene. There’s a natural entertainment value that comes from simply seeing Kumail in his element performing on stage, however, the emergence of the young University of Chicago student Emily forces him to think about his perspective. Kumail has very few ambitions about his future, yet the conversation with Emily inspires him to think about a life where he might be more independent.
What’s most impressive aboutThe Big Sick’s screenplay is thatNanjiani is able to put himself in a vulnerable position on screen. The film tracks the challenges he faces as a first-generation immigrant from Pakistan, as his parents, Azmat (Anupam Kher) and Sharmeen (Zenobia Shroff),want him to conform to religious fundamentalism and agree to participate in an arranged marriage. The film highlights Nanjiani’s struggles to retain his identity without necessarily criticizing his parents’ beliefs. As a son who loves his parents and a first-generation American trying to crack the entertainment industry, Kumail feels like he is part of two worlds, yet accepted by neither. It’s a remarkably insightfuldepiction of the immigrant experiencein which Nanjiani’s words couldn’t feel more personal.
‘The Dropout’: Michael Showalter on the Appeal of Directing Reality-Based Stories and Working With Amanda Seyfried
He also discusses whether there are any plans for more ‘Wet Hot American Summer’ stories.
Despite the pressures that Kumail faces to stand up to his family,The Big Sickis at its most successful when developing the chemistry between Kazan and Nanjiani.It quickly becomes evident that the connection that they share is beyond a set of shared interests. Emly and Kumail realize they’re both looking for someone who offers a different insight into life than the one that they were used to. Theyboth come from somewhat dysfunctional home lives, Kumail and Emily are both characters who are stronger as a result of their history. By interacting with each other, they are once again challenging themselves to look at their approach from a different perspective.
‘The Big Sick’ Inverts a Typical Romantic Comedy Structure
Even thoughThe Big Sickbegins as a fairly charming series of romantic escapades,ittakes a dramatic turn when it deals withthe ramifications of illness. After a bitter fight with Emily about his obligation to perform an arranged marriage, Kumail is informed that his now ex-girlfriend Emily is in the hospital in an induced coma. Given that the film is based on his lived experience, this doesn’t feel like a jarring tonal shift in the slightest. In fact, it somewhat explains Emily’s comments about wanting to make the best use of the time she had earlier on in the film. The interpersonal relationship dynamics become further complicated when Kumail is forced to spend time with Emily’s parents, Beth (Holly Hunter) and Terry (Ray Romano).
The notion ofmeeting a significant other’s parentsis essential within romantic comedy history, butThe Big Sicktreats the generational divide earnestly. Beth and Terry are initially opposed to Kumail out of principle, as they feel that he is not responsible enough to care for their daughter. However, there’s also a cultural divide that comes from their ignorance about his culture. What’s most inspiring about the film is that the most harrowing circumstances imaginable end up inspiring the best out of everyone who cares about Emily. Kumail begins to take ownership of his life, and both Beth and Terry look to him for guidance when addressing flaws within their relationship.
‘The Big Sick’ Proved Michael Showalter Was a Dynamic Director
The Big Sickreceived an Academy Award nomination for Best Original Screenplay, andproved that Showalter was a filmmaker with a strong attention to detail.Scenes of Kumailperforming in comedy clubsfeel entirely authentic, capturing the excitement and fear that comes with live performance. Era-specific references to both the cultural landmarks of Chicago and the relevant popular culture events of the early 21st century only further solidify that Showalter did his research.
By proving his ability to crack a classic genre,The Big Sickopened Showalter’s career up to work on more ambitious projects. In the aftermath, he reunited with Nanjiani for the slapstick comedyThe Lovebirds,directedJessica Chastainto an Oscar-winning performanceinThe Eyes of Tammy Faye, and helmed the emotional biopicSpoiler Alert.From his directorial debut withThe Baxterto his latest,The Idea of You, Showalter has proven that few directors today know how to do romantic comedies quite like him.
