He's an ethnic Pakistani who's trying to make it in the world of stand-up comedy. That's a tall enough order for anybody, but Kumail also must deal with constant nagging from his family. Mom and Dad want him to marry a nice Muslim woman, have children and solidify his relationship to the Pakistani community, a group consisting largely of recent arrivals to the US.
Kumail (Kumail Nanjiani) has other ideas. He does his best to resist the women that his mother invites over every time he shows up for dinner. He keeps photos of these possible brides in a cigar box in his apartment, claiming to have no interest in living the life his family wants for him.
But Kumail's assimilationist values are put to the test when he meets a white woman and their relationship begins to click.
In most rom-coms that might be the whole story. Not so, The Big Sick, a pleasing and provocative comedy that forces its main character to admit that he lacks the gumption to pursue a love interest that could jeopardize his relationship with his family.
When his new girlfriend (Zoe Kazan) learns that Kumail isn't willing to go the distance with her, she walks out on him.
But that's not the end of the story, either. The screenplay -- written by Nanjiani and Emily V. Gordon, Nanjiani's real-life wife -- includes an ingenious plot twist. Kazan's Emily falls ill and is put into a medically induced coma.
Emily's illness brings Kumail into contact with Emily's understandably anxious parents (Holly Hunter and Ray Romano). The irony is obvious, but still painful. Kumail was afraid to introduce Emily to his parents (Anupam Kher and Zenobia Shroff). Suddenly, he's deeply involved with Emily's parents.
Both sets of parents are quite good. Kher and Shroff are insistent about their Pakistani roots without entirely giving way to caricature. Hunter and Romano are especially sharp as an apparently mismatched pair. She's rural; he's a city guy. Somehow, they've managed to negotiate the difficult pathways of a long marriage.
Nanjiani makes for an easy-going film presence. He can be funny without constantly resorting to shtick, and Kazan serves up a winning mixture of eccentricity and strength.
Additional color is added by real-life comics Bo Burnham, Aidy Bryant and Kurt Braunohler; they play a trio of aspiring comedians who perform at the Chicago comedy club where Kumail, who earns his keep as an Uber driver, spends most of his spare time.
Obviously, putting a major character into a coma pushes the movie toward the dire side of things. Even so, Nanjiani doesn't overplay Emily's life-and-death drama or the agonizing ordeal her parents suffer through. He trusts us to understand the seriousness of the situation.
Co-writing the screenplay and starring in the movie must have been enough for Nanjiani who turns the directing chores over to Michael Showalter (Hello, My Name Is Doris). Showalter keeps the movie humming along nicely.
Vella Lovell has a nice turn as the one woman who might well entice Kumail away from his relationship with Emily. Not only would Lovell's character satisfy Kumail's parents, she's engaging enough to make us wonder exactly why Kumail remains stuck on Emily, who may never emerge from her coma.
But love is love, and there's not much to be done about it.
At its best, The Big Sick is one of those increasingly rare movies that works the way a romantic comedy should.
Nanjiani also has his finger on a brand of ethnic and religious tribalism that feels both current and rooted in the American experience. Although no one will accuse Nanjiani of writing a treatise, he deals with identity issues that resemble those faced by numerous generations of immigrants.
In this case: How can a Pakistani-born Muslim integrate into a new country and still honor his heritage?
My only complaint about the movie involves its protracted ending -- or should I say several endings. But that doesn't diminish the credit Nanjiani deserves for having taken a genial and entertaining leap into the multicultural melting pot.
Stay for the end credits, which feature photos of the real people on whom Nanjiani has based the characters with whom we've just spent one hour and 59 minutes. Clearly, The Big Sick has its roots in autobiography -- which, after all, may be the basis of some of our best comedies.