La gran enfermedad del amor

Otra gran pieza de conversación a lo Judd Apatow, con una visión maravillosamente desenfadada y educativamente positiva sobre el tema global más candente del momento, el musulmán. Y con una relación tradicionalmente humana y acertadamente desmontada. Emotiva, inteligente, con un guion (diálogos) dignos de una nominación al Oscar. Y Zoe Kazan supongo que también. (08.07.2017)

Of course, there is nothing wrong with films that cater to the tastes of the masses. The fact they want to be liked (even though they may deal with rather painful issues) and do not arouse any antipathy in viewers only puts critics in a non-conformal position, as they are being manipulated. Therefore, I had a similar problem with The Big Sick as I did with last year’s Sundance hit Captain Fantastic. In a film that boldly combines observational comedy about the clash of different genders and cultures (with humour based on commenting on everyday situations in the manner of stand-up comedy) and melodrama, there is less banality and more truth. The first welcome disruption of the romantic-comedy formula is the unexpectedly early break-up, which is not the worst thing to happen in the central couple’s relationship. After the sudden genre shift, a relationship remains the focal point of the film, but it’s not the relationship between the guy and the girl, but between one of the partners and the other partner’s parents. Considerations as to whether the solution is original or cowardly and rather insensitive toward one of the characters are not very relevant, given the knowledge that this is how it actually happened. Though the film does not completely lose its humour after a change of tone, which may be reminiscent of some of James L. Brooks’s comedy-dramas, it is more serious, more moving and less egocentric than other romantic comedies by young filmmakers. The parents are given almost as much attention as the children, whose self-centredness and unreadiness for life are that much more apparent. The unexpected change of perspective, which Aziz Ansari also works with brilliantly in Master of None, leads us, just like the protagonists, to reassess what is really important in life. Emily and Kumail’s inability or unwillingness to perceive the situation that has arisen from the other’s perspective is more thoroughly elaborated in the slightly repetitive final act of this somewhat drawn-out film (which is, however, a shortcoming of most of the films made or produced by Judd Apatow). The filmmakers like to spend time with their characters and let them carry on dialogue often lasting a few minutes longer than is necessary. Most of the time, however, they adhere to the central theme of "love in spite of” and never deviate from the main storyline for so long that the narrative loses traction and starts to be boring. Besides that, they succeed in utilising most of the plot detours in an emotionally powerful climax, where the alternating perspectives make you care not only about the fortunes of the central couple, but also about the many characters around them. 75% (03.07.2017)

It took me a while to get used to Kumail. For about twenty minutes, I was even pretty uncertain whether this comedy was actually a comedy, or if it was simply an unusual drama. But once Zoe Kazan made an appearance on the scene (or rather in a coma), a whirlwind of great situational humor started that went so natural for Kumail that it really was a pleasure to watch him. For instance, his first encounter with Emily’s parents is really good fun. And there are plenty more similar scenes in the film. Eventually, the unusual drama turns into an unusual dramedy which managed to put me in a really good mood that didn’t disappear even after I finished the movie. The thing is, I read about the film that it was based on a true story and that the main character is the same Kumail as the one in the film. At that point, the movie reached a whole new dimension. (30.11.2017)

It follows strictly the tried and tested plot of a typical Sundance midcult feel-good flick; i.e. it’s not serious about serious things, with social overtones, not overdone and with likeable characters. Of course, it doesn't matter at all if it makes you laugh, moves you, and also teaches you something about cricket in Pakistan. (16.07.2017)

Don't expect a romantic comedy from this. Except for one inappropriate joke about September 11th and a few amusing moments, the attempts at humor fall flat - especially considering the environment of stand-up comedians in which Kumail works. As a melodrama that wants to touch and manipulate your emotions, it surprisingly works well. The mere three stars I'm giving it are due to the cast. The chemistry between the central duo is minimal, but it's not just about their interaction. They simply lack the charisma to capture the audience's attention and carry the main roles in their respective genre. Kumail is simply not Hugh Grant or Colin Firth, and Zoe Kazan is not Meg Ryan. And here's another observation: rather than an indie film from the Sundance festival, this reminds me of a Hollywood studio production. The arranged brides look like a portfolio of a Pakistani modeling agency, and potential conflicts and barriers are overlooked and retouched. Rebelling against established norms, such as arranged marriages, is one thing, but admitting to parents the loss of religious faith and transitioning to agnosticism or even atheism in the conservative environment of Pakistani Islamic conception is incomparably more serious and hardly imaginable. The only possible consequence here would be immediate and complete expulsion from the family and community. It is good to remember that the (extended) family and community have a crucial significance in Islamic society, which the individualistic and rationalized West usually underestimates and disregards. Overall impression: 65%. (04.08.2019)

A very nicely constructed romantic conversational drama with a delightful final scene and a thematic update in the form of Muslim traditions in the midst of Western society. But my impressions are mixed, on the one hand, there are several times in the first half when the film goes against conventional expectations, moving from traditional romantic formulas to more serious and expansive themes, but then it uses quite unbelievable characters with exaggerated reactions for its social expression, and only the otherwise routine romantic storyline fully works in the end. At times it can be emotional, and in the second half the story surprises again by stubbornly delaying the happy ending, but the cathartic effect is weakened by the fact that easygoing humour is constantly injected into a hugely complex life situation, and the narrative somewhat unthinkingly gives so much space to the parents of the sick Emily, whose life views and attitudes go well beyond intellectual conventions. In any case, it's a very smart film that, unlike most of its contemporaries, has something to say globally and intergenerationally. Very strong 3*. (25.12.2017)

Las respuestas entusiastas del Sundance anunciaron que podríamos tener la comedia del año aquí, pero el milagro no sucede. La gran enfermedad del amor es una comedia romántica independiente completamente estándar, de las cuales hay de decenas a cientos. Aunque podría decir que es moderadamente divertida. Sin embargo, se diferencia de las demás por los temas pakistaníes y sus graciosos orígenes, que ciertamente se le pueden atribuir, así como también por los motivos no del todo habituales de la madre que separa a su hijo de la familia por ignorar las tradiciones culturales, bromas sobre terroristas musulmanes y posibles interpretaciones metafóricas de las consecuencias mortales por una mentira entre dos socios. (24.06.2017)

Pěkně blbě je film, u kterého jsem se cítil velmi spokojeně, vychutnával si povedené komediální i dramatické scény a u nějž nemohu nadávat, že je to americká slátanina, protože se ten příběh opravdu stal. Nejlepší vtipy - vykonání potřeby v noci a 11. září. (12.07.2017)

The film had a really slow start for my taste. I didn't really get why it was supposed to be a comedy. Ironically, I only got it when things started to get serious and Emily's parents came on the scene. That's when I started enjoying myself and it lasted almost till the end of the film. Almost. The ending was all-American, sappy and predictable and robbed the film of a potential fourth star. (30.01.2018)

I was wondering how a romantic comedy could be so entertaining that it dazzled at the Sundance Film Festival and then also as the opening film at the Karlovy Vary festival. It turns out that romantic comedy really can be very funny and perfectly disarming. At first glance, it's a seemingly unoriginal romance involving a stand-up comedian, but on the other hand, it's fantastic fun with great jokes and interesting developments. (23.07.2017)

A standard relaxing feel-good movie which is predictable through and through. But such movies are necessary, too. It is not exactly a comedy which would have you roll on the floor, but rather an intelligent romance to make you chuckle. Despite the dramatic plot and some painful life lessons, it doesn’t turn into a tearjerker but retains its cynically humorous worldview. What's more, the main character's confrontation with his conservative Muslim background gives even completely banal situations a comedic touch. As a bonus, you will get bizarre yet hilarious lectures on Pakistan. (16.12.2017)