Thursday, 15 October 2015

My beautiful landrette

beautiful laundrette reviews

Not just a gay love story!

This film works on a number of different levels. Firstly, there is the love affair between the two main characters, Omar and Johnny, brought to life by brilliant performances from both Gordon Warnecke and Daniel Day-Lewis. The audience remains mostly in the dark about the history shared by the lovers... were they lovers before their chance meeting and subsequent re-discovery or were they just friends as children and lovers as adults? Clearly, though, there has always been a close bond between the two which has remained in tact, even after Johnny had abandoned his friend to join a group of Neo-Nazis. This is where the real complexities of the story lie. The fact that Omar and Johnny embark on a gay love affair seems almost incidental. Rather, it is the power relations between the two that is important. Class, ethnicity, kinship and community are central in shaping the way in which each character perceives their role within the world. Thatcherism and the 'entrepreneurial spirit' has fuelled Omar's ambition to make something of himself in 80s Britain. Conversely, Johnny seems to have resigned himself to his downtrodden status since society has done nothing to help him, so why should he do anything for society? Thus, class is very much an issue here. Ethnicity, too, is key, as the roles of the downtrodden and oppressed seem to have been reversed, with the white, working-class Johnny being the 'victim' of the system rather than the Pakistani, middle-class Omar. Despite all of the differences, however, essentially it is their love for each other that keeps them together. There are occasions when Omar questions whether he and Johnny can really be together in the long-term, such as when he contemplates marriage, whilst Johnny seems to be subordinate, almost passive, towards Omar because of his love for him. Despite all of their differences they both seem to have a profound respect for one another, which will hopefully enable them to continue their relationship, although the ending is left rather open. The main thing when watching this is to view it not only as a gay love story. It also provides a snapshot of 80s Britain and an illustration of the fluidity of identity, and of the different life chances that people had, which is clearly still as relevant today as it was back then.

He'll go to college


"He'll (Omar) go to college and study. He must. We all must. So we can see clearly who is doing what to whom." This is the view of Poppa, Omar's father. This bedridden man is an ex-journalist from Pakistan who has lived to see his wife throw herself in front of the trains that rattle incessantly outside his flat and his own students march past with National Front. To top it off, his younger brother, Nasser, who carried his typewriter when they were boys back in Pakistan, has become the "Sardou of South London," a big enough cheese to give his own son a failed laundrette to run. "Government grant." But, Uncle Nasser has a chink in his armor, too: will his relationship with his mistress, Rachel, last as long as that with his wife? Both brothers look to a union between Omar and Tania, yep, Nasser's daughter, as the key to the future of their band of Pakistani immigrants in a land that doesn't want them. Will these energetic offspring comply with their plans? Omar seems closer to the randy and remorseful Johnny than anyone. Smart cookie that she is, Tania packs her belongings in her Princess suitcase and...Everyone has a decision to make in this fascinating sociological study of Thatcherite England. Wonder what everyone is doing now?

Politics, Sex, and Punk Rock


Want to see a side of London you won't get from any other director? Then watch My Beautiful Launderette... The film opens with a scene in which squatters are forcibly evicted from a derelict building. Londoner viewers will recognize this as a sad yet common event... Immediately, we are attuned to the political bent of the movie. Fortunately for that intent, the dialogue in the film is intelligently written (note: this will not appeal to the lowest common denominator -- it scores low on commercial appeal). Unfortunately, the often "stiff" delivery of that dialogue is a significant impediment. That said, Daniel Day Lewis lends a powerful presence to his role as the punk squatter, Johnny.

The climax of the film aptly integrates the various tensions in the film: political, sexual, and social. We're surprised with a love scene between Johnny and Omar which is well-paced, erotic, and genuine.



My review
Positive review
'My Beautiful Laundrette' takes a look at the 80's local life within the Asian communities in England and between the British Southeast Asians and the British Caucasians. What I loved about this film is that it presents its themes without going overboard to explain or to resolve anything. When we see a relationship develop between Omar and Johnny, one would expect to see them get attacked for it and then expect a preachy message like gays have rights too but there is nothing like that. There are scenes where the British Asians are being humiliated but this too does not lead to a bloodbath of sorts. It is all downplayed and subtle. It's about the characters, rather than a social message (but that's there too).

'My Beautiful Laundrette' mainly centres on Omar and his relationship with Johnny. Hanif Kureishi is known for telling tales about unconventional relationships and I thought it was great that both characters were shown to be open about their relationships in spite of their background. I mean they weren't screaming from the roof or anything but these two individuals did not care what others would think concerning their relationships. Frears deserves full marks for telling the story in such a raw, real, humorous and coherent way. The humour too is subtle and dry and flows well through the story.

The renovated laundrette too plays a crucial role. It is a place of comfort for Omar and Johnny, kind of like a home they built and decorated. The customers are amused by the beauty of it. A fascinated Nasser dances with his girlfriend while the customers eagerly wait outside. Thus, it becomes a place of comfort for many.



Tuesday, 6 October 2015

06/10/2015 Film Industry Topic: Diversity

‘99% of women working in the film and TV industries have experienced sexism’


more on this article here http://www.theguardian.com/film/2015/sep/27/sexism-film-industry-stories



Researchers show diversity in film has not improved in almost a decade


A new study has revealed that out of over 30,000 characters since 2007, only 30.2% were female, while just 5.8% of directors were black

http://www.theguardian.com/film/2015/sep/23/research-diversity-film-not-improved-gender-race-sexuality

Tuesday, 22 September 2015

Film news week 1

Doris Day Might Make Her First Movie In 47 Years

According to the German tabloid bild, via The Guardian, the American Sniper director recently gave the 91-year-old actress, who just so happens to be his neighbor in Carmel Valley, California, a script. She was reportedly "delighted" at the opportunity, and things have moved on the point where the two sides are reportedly trying to work out a deal to make this thing happen. The film will be called "Sully"

Hayden Christensen to return in Star Wars episode VIII

Godzilla VS King Kong by 2018

My Beautiful Laundrette

As a cinematic examination of postcolonial Britain, Stephen Frears’ My Beautiful Laundrette, written by Hanif Kureishi, Here, I will discuss the ways in which the film explores postcolonial identity, particularly in relation to the politics of gender, questions of sexuality and the family unit, as well as the cultural connotations that are inherent across each of these. 
In the production, Frears takes the approach of the postmodernist, examining the social structures and cultural identity of Thatcher’s England in a realist fashion, offering a narrative centred upon anti-heroes that hides from its viewers the judgements of the storyteller. This notion is supported by Hill, who links Kureishi’s work in the film to “ideas about the constructedness and fluidity of social identities promoted in postmodern thinking and suggests that such formulations are helpful in accounting for the strong sense of the criss-crossed nature of identities”