Posted by Roy Stafford on 23 October 2013
In the third week of this course we discussed Cherchez Hortense and then traced links through to other French comedies. We made various links, the most important of which was via the star of Cherchez Hortense, Jean-Pierre Bacri.
We looked in some detail at Jean-Pierre Bacri’s work with his wife Agnès Jaoui via an extract from Comme une image (Look At Me 2004). The extract featured a succession of shortish scenes, at the centre of which was a family lunch at the country house of the publisher played by Bacri. This character is very different from the Bacri character in Cherchez Hortense. He’s waspish and cruel, always putting people down. But he is also generous in providing contacts and support, even if he doesn’t know how to help in a gracious way (and he is himself vulnerable). In fact most of the characters in the film are ‘flawed’ with various weaknesses and each is capable of forms of betrayal, hypocrisy etc. Yet Bacri and Jaoui manage to construct their narrative so that it performs a coherent social satire on families and relationships that is both socially accurate and very entertaining. There are few laugh out loud moments but this is a true comedy in the sense that there is a resolution which is happy for at least one couple.
We then traced Bacri’s career back to the 1990s noting how prolific he has been. We looked at two trailers. The first was for the film adaptation, by Cédric Klapisch, of the successful stage comedy that Bacri and Jaoui wrote in the early 1990s. The film of Un air de famille from 1996 provides another example of a ‘family dinner’ that goes wrong. This is more clearly a comedy, though still with a dark satirical edge. We noted the similarity to certain British theatrical comedies (and the play has recently been performed in London). Bacri and Jaoui have also worked with the director Alain Resnais on a musical comedy tribute to Denis Potter, Same Old Song (On connaît la chanson, 1997) – Resnais has also adapted Alan Ayckbourn (as Smoking/No Smoking in 1993). Finally on Bacri we looked at a trailer for Didier (1997), a very broad comedy including slapstick that demonstrates the range of Bacri’s roles.
In the latter part of the session we looked at the recent work of François Ozon on Potiche (2010), also an adaptation, this time from a ‘boulevard comedy’. ‘Potiche’ in its slang usage means a ‘trophy wife’ – in the unlikely shape of Catherine Deneuve, wife of a factory owner who takes over its operation when her husband is ill. ‘Excessive’ in its use of colour and design (the story is set in the 1970s) the film draws on elements of farce as well as serious social issues about gender equality. We just had time to squeeze in the trailer for the more recent Ozon comedy Dans la maison (2012) – a much darker (but also very witty) comedy starring Fabrice Luchini from Potiche and Kristin Scott Thomas.
Week 3′s notes to download: FamilyWeek3
Posted in Comedies, French Cinema | Tagged: All in the Family | Leave a Comment »
Posted by Roy Stafford on 14 October 2013
Bladesy (Eddie Marsan) and Bruce (James McAvoy) on the Reeperbahn in Hamburg.
This is a thoroughly entertaining film. It’s scabrous, perverse, surreal and offensive but nonetheless engaging. You need to know that is an adaptation of an Irvine Welsh novel and that therefore there will be sex, drugs, violence and various obscenities. Nothing is to be taken seriously. In strict Aristotelean terms this is possibly a tragedy rather than a comedy – but even then the ending is ambiguous.
I haven’t read the Welsh novel, but a glance at Wikipedia’s page suggests that the adaptation has changed several aspects of the narrative and this may be a problem for Welsh fans. Non-Brits should be aware that ‘Filth’ is a slang term for both the police (‘Polis’ in Scotland) and for pornography as well as more properly for ‘dirt’. The anti-hero of Filth is a Detective Sergeant in the Edinburgh CID, Bruce Robertson, played by James McAvoy. Robertson is put in charge of a murder case which he must solve in order to gain promotion – and win back his wife and child who have left him. But this is a policeman who has a serious mental health problem and who is declining rapidly under a regime of cocaine, alcohol and obsessive sex. He is haunted by a childhood memory that begins to haunt him after he becomes involved in a street incident. Ironically this incident offers Robertson a possibility of some form of redemption but he is already set on a path of destruction which will damage all his colleagues.
Director John S. Baird is not an innovator matching the Danny Boyle of Trainspotting and there is nothing too surprising in the aesthetics of the film, but those of Welsh’s ideas that have made it into the film adaptation added to the array of fine performances by a truly stellar cast carry the film through: Baird keeps the pace going at a fair lick. It’s perhaps invidious to pick out only one or two actors and many of Scotland’s finest are here including Gary Lewis, Kate Dickie, Shirley Henderson, Martin Compston and John Sessions. You can’t really go wrong with talent like that, especially when you throw in the English stars like Eddie Marsan, Jamie Bell, Jim Broadbent and Imogen Poots. But above all there is James McAvoy. I’ve previously questioned his casting in action roles but here he is unassailable, generating viciousness, self-loathing and gleeful pleasure in tricking his colleagues.
This production is a good case study for an investigation of ‘British independent’ production in 2013. Despite the the Irvine Welsh connection (or perhaps because of it – two other adaptations after Trainspotting failed) and the excellent cast, money was hard to come by and the producers appear to have been in that classic position of paying the actors out of their own pockets at one point. Once again Europe comes to the rescue with public funding from Film i väst in Sweden and various funds in Germany and Belgium. This explains the insertion of a trip to Hamburg in the narrative. It looks like an injection of cash from Trudie Styler’s company topped off a £3 million budget. That’s about twice the size of a ‘domestic’ UK movie budget these days but it does appear that the money has been well spent on cast and effects plus music. Clint Mansell is in charge of music and though I have no real knowledge of the tracks used in the film, I think that they work pretty well. I’m sure that eventually there will be a fan community analysis of the music.
After three weekends on release (the first only in Scotland) Lionsgate are probably fairly pleased with the box office returns, especially given the ’18′ certificate in the UK and distribution to certain overseas territories has been finalised. Censorship will keep it out of India and North America might be a problem but in Northern Europe I think it will play well. So far the UK total is just over $4 million with only a 25% drop in Week 3.
It’s been a good couple of weeks for Scottish films with Sunshine on Leith and the specialised offering For Those in Peril. Here’s the shortest of many official trailers for Filth:
Posted in British Cinema, Comedies | Tagged: co-production, crime film, Irvine Welsh, James McAvoy, Scotland, Scottish Cinema | 1 Comment »
Posted by Roy Stafford on 9 October 2013
In the first week of this Evening Class course we started with the first 90 seconds of The Searchers, featuring the melodrama tableaux of the family as John Wayne’s Ethan Edwards rides towards his brother’s homestead. I was surprised that quite a few of the students were unaware of The Searchers – or of its influence on later films. This extract and discussion helped us to think about the family as a symbol in that most American genre, the Western. Thinking about a classic Western in this way offers a completely different ‘way in’ to a familiar genre. The French title of The Searchers – The Prisoner of the Desert seems very appropriate when we consider that Ethan is a man whose bitterness means that he can’t enter the family home/the ‘community’ which represents the ‘civilising’ force in the West, but must instead roam the desert. There are so many connotations of the struggle over values in 1950s America here!
We then looked at three examples of different kinds of family films as a preparation for the full screenings on the course over the next few weeks. Pour elle is a French thriller in which a woman is imprisoned after a conviction for murder. Her husband, believing she is innocent, attempts to organise her escape so that the couple and their small son can be a family again, somewhere overseas. Khosla Ga Khosla is an Indian family comedy, one of the ‘new Bollywood’ films. A civil servant plans his retirement which will involve building a dream home just outside Delhi but the land he has bought is occupied by a local gangster – will the family rally round and find a way to oust the gangster? Finally we looked at Still Walking, the highly personal film by Kore-eda Hirokazu about the 24 hours of a family reunion. In each case we looked at just the opening 6 or 7 minutes in which the main narrative of the film is introduced. I hope that students will want to watch the remainder of three enjoyable and interesting films.
Week 1 notes (pdf) are downloadable here: FamilyWeek1
I introduced the Week 2 screening with the suggestion that the UK poster for Cherchez Hortense was grossly misleading, suggesting a romcom starring Kristin Scott Thomas. The French poster gives a much more accurate representation of what is actually in the film. Here is the UK poster:
and here is the French poster:
I also introduced Pascal Bonitzer with some background on his earlier scriptwriting career and talked a little about Jean-Pierre Bacri, the lead in the film, and his partnership with Agnès Jaoui in other French comedies, some using a similar milieu.
The full notes for the Week 2 screening of Cherchez Hortense are here: FamilyWeek2
All the material relating to this course is now tagged ‘All in the Family’
Posted in Comedies, French Cinema | Tagged: All in the Family, film courses | Leave a Comment »
Posted by Roy Stafford on 7 October 2013
Etienne (Jean-Pierre Bacri) and his daughter Lolita (Marilou Berry)
I’m looking again at some French ‘comedy’ films as part of work on Cherchez Hortense. In Comme une image, the partnership of Agnès Jaoui and Jean-Pierre Bacri offers the same milieu as Cherchez Hortense with Bacri himself as a very different leading character.
Comme une image refers to Lolita, a self-conscious young woman, who is attempting to become a (classical singer). She feels herself to be overweight and unattractive and suffers low esteem because her father Étienne (Bacri), a successful publisher and writer, doesn’t give her much encouragement. (The title could also refer, in a different way, to the father who has a very high opinion of himself – and somehow persuades several others to look ‘up’ to him.) Lolita’s singing teacher Sylvia (Jaoui) is more understanding and through her partner Pierre, also a writer, she meets the publisher. Lolita has a boyfriend who turns out to be interested in her only as a means of getting an introduction to her father. Meanwhile she accidentally meets Sébastien, a young North African-French trainee journalist who she in turn treats badly, though he seems to genuinely care for her. Finally, Karine is Etienne’s new, young and pretty wife, with whom he has a small daughter, step-sister to Lolita. Karine also struggles to maintain her esteem in the face of Etienne’s sarcasm and cruel wit.
‘Comme une image’ is also the title of the novel written by Pierre who becomes drawn into Etienne’s circle. The narrative actually follows the creative projects of Lolita (to sing in a group performance), Pierre (to promote his current title and to start the next) and Etienne (to get over his writer’s block). The strains between the characters culminate in the singing concert at a country church and an after-show party hosted by Eitienne in his nearby country house. The brilliance of the film, directed by Jaoui and co-written by her and Bacri, is in its humanist/realist approach to dialogue and settings. Its conventional staging directs our attention to the swift interchange of lines that seem believable rather than scripted for effect. Bacri is extremely effective as Eitienne who sometimes seems genuinely surprised that others find him cold, cruel, unfeeling etc. and indeed he often speaks and acts in ways that most of us would probably want to emulate at certain times, but are too polite to actually carry through. But if Etienne is at times insufferable, even the most sympathetic character, Sylvia, is capable of anger towards someone else – hurting their feelings (even though she is arguably justified in venting her anger). Most of the characters are simply too weak to risk Etienne’s displeasure – feeling that his patronage will benefit them.
I’ve seen Woody Allen mentioned as a reference point for the Jaoui/Bacri films and I can see some resemblances but overall I find the differences more striking. Comme une image is intelligent and serious, yet somehow also light and entertaining. It never strikes me (as Allen’s films sometimes do) as ‘smart’, ‘knowing’ etc. with the expectation of a possible gag or self-conscious aside. (But this may be because I’ve given up on Woody Allen films for many years now.) When I first saw this film on its cinema release I don’t think I was aware of Jaoui’s background which is in part Tunisian-Jewish (the North African Jewish connection is also evident in the backgrounds of Claude Lelouch and Joann Sfar). I don’t recognise any connection to the New York Jewish humour of Woody Allen (I’m sure somebody can correct me on that) but in Comme une image, there is a nicely judged pair of scenes in which Sebastién’s North African heritage is commented on and sensitively ‘dealt with’ as an issue.
Comme une image is a ‘comedy’ because it has a happy ending for two of the main characters. Some of the dialogue is witty but mainly the humour comes from the human frailties displayed by all the characters. I’ve seen the film described as social satire, but I think that usually satire is sharper and more exaggerated. This has an effective satire effect but it is more subtle. I think that the film is a triumph for Agnès Jaoui and Jean-Pierre Bacri. He is a very good actor and writer but she manages to sing and to direct as well. Formidable!
Here’s an American trailer (note that the film was a Cannes Prizewinner for the Script):
Posted in Comedies, Directors, Films by women, French Cinema | Tagged: Agnès Jaoui, All in the Family, family comedy, Jean-Pierre Bacri | Leave a Comment »
Posted by nicklacey on 10 September 2013
Does tradition triumph?
I’m planning to teach ‘sixties UK cinema this year so took the opportunity of watching Georgy Girl for ‘free’, via a PS3, as part of my Lovefilm subscription. I ended up shoving another 19 items onto my ‘watchlist’ including a number of tasty ‘world cinema’ offerings. As in music, we live in a time that offers a cornucopia of films and finding time to watch them all, and listen to the music, almost makes me yearn for the days of ‘drought’. In the 1970s there were three terrestrial television channels in the UK which meant there were three channels available. The system of ‘barring’ meant it was five years before films could be shown on television. There was a decent library of 16mm films for hire but that required specialist equipment.
So, no I’m not yearning for the ’70s. During that decade videocassette started the revolution in home entertainment that is now moving online; there’s little point in buying DVDs unless you’re going to study the film. This dip into the past was partly instigated by watching Georgy Girl as I remember The Seekers’ theme tune being a hit at the time (I was four!). According to Wikipedia, the film was too.
It was funded by Columbia Pictures who, along with other Hollywood studios, assumed that because London was ‘swinging’ it was also ‘where it’s at’ and money could be made appealing to young people. Robert Murphy (in Sixties British Cinema) names Georgy Girl as one of the few genuinely ‘swinging’ films, and the last in black and white, but it also starred James Mason which, presumably, appealed to an older audience who might have looked askance at the antics of the young people.
Lynn Redgrave plays the titular character, who’s supposedly over-weight and so not attractive, with great verve and she does embody a character who is capable of breaking stultifying tradition. She’s contrasted with her friend, the definitely good-time girl Meredith (Charlotte Rampling), who the film does, I think, condemn for her selfishness. But Murphy’s also correct when he states: ‘her defiance of conventions of marriage and motherhood gives the film a shocking frisson’ (p. 143).
The film remains engaging, 47 years later, though the (obligatory?) ‘swinging’ scene of a young person running through the streets shouting (and stripping in this film’s case) in defiance of convention does look dated. Alan Bates, looking startlingly like Mel Gibson in his prime, performs the role of Jos with great conviction even when he is stripping off when running through the underground walkways.
Today’s release of the annual Social Trends survey, in the UK, shows how much more tolerant we are, as a nation, of difference. That, I think, is certainly a positive legacy of the 1960s.
Posted in British Cinema, Comedies | Tagged: British New Wave | 1 Comment »
Posted by Roy Stafford on 31 July 2013
‘Chuck’ (Kevin Spacey) and Li (Daniel Wu) meet on the top of Li’s apartment block.
This is an important film in terms of the current developments in Chinese cinemas and I enjoyed watching it. Whether it captures the imagination of audiences in China or overseas is another question but it is about to be released on DVD in the UK and deserves serious consideration. I first came across the title at the Chinese Film Forum in Manchester earlier this year and I’ve been intrigued ever since.
Writer-director Dayyan Eng was born in Taiwan in 1975 and trained at both the Beijing Film Academy and the University of Washington. In China Eng is known as Wu Shixian. Inseparable or ’Follow like a shadow‘ in its Chinese translation is one the first Chinese features to cast a leading Hollywood player, Kevin Spacey, in a leading role. Spacey speaks English in the film and plays a character who gets very close to Li, a young man played by the Hong Kong star Daniel Wu. Wu was born in the US and he speaks in English when with Spacey. The rest of the dialogue in the film is delivered in Mandarin and subtitled in English. The third lead is Gong Beibi who plays Li’s wife Pang.
Dayaan Eng came to the fore with festival prizes for his shorts East 22nd Street (1997), Bus 44 (2001) and his feature Waiting Alone (2004), but Inseparable aims for the popular market and its mix of popular genres might turn out to be a problem because I suspect that it will confuse some of both the popular and specialised film fans who would otherwise enjoy the film. But, if approached with an open mind, the film is enjoyable and mildly provocative in terms of social commentary. Inseparable is a difficult film to discuss because I don’t want to give away too much of the plot and spoil its narrative pleasures. I’ll try to give something of its flavour.
The pair dressed as superheroes – HLF refers to the Maoist era ‘hero’ figure Lei Feng.
Lei Feng poster (from Wikipedia)
Li works as an engineer developing prosthetic limbs for a large corporation – enabling Eng to explore aspects of the office culture in modern China, including the pressure on workers at all levels. (The film looks great throughout courtesy of Thierry Arbogast’s cinematography, reminiscent of his work with Luc Besson.) Li has a good income and a nice apartment but is clearly unhappy and depressed. His wife is often away working as a reporter for a TV company. When Spacey mysteriously appears in Li’s apartment block neither Li or the audience is sure what to make of him, but he is persuasive and full of advice. He convinces Li that he needs to ‘discover himself’ and in effect become a ‘Superhero’, seeking out injustices and vanquishing the bad guys. This leads to the possibility that the film will become a comedy-action-drama with a focus on some of the social problems of China’s growing urban areas including the boorish behaviour of the newly wealthy, the adulteration of foodstuffs and scandals involving the health system. Li’s concept of a superhero refers back to a Mao era ‘hero’, Lei Feng – a figure used in official part propaganda as a role model. But enjoyable though this side of the film may be, the question remains, who is ‘Chuck’ the character played by Spacey? Does he exist at all? Is he like the imaginary friends of childhood? In turn, do we really understand what is going on inside Li’s head? In some ways Inseparable resembles those Charlie Kaufman-scripted films such as Being John Malkovich or Adaptation. There is also a suggestion that Li might be one of Phil K. Dick’s ‘ordinary Joes’ caught up in a world of uncertainty.
The UK trailer is here:
My fear is that the action fans and the science fiction/fantasy fans will not get enough of their genre pleasures from the film. Kevin Spacey’s presence may draw his fans in. I’m not a Spacey fan and for me his presence was the weak point of the film. However, it didn’t detract from my overall enjoyment too much and I’d recommend the film as an interesting example of what global film is now starting to become. The technical credits are excellent, the performances are good and there are many pleasures – the battle against rogue tofu suppliers was my favourite.
Inseparable is released on Region 2 DVD on August 19th. Here’s the link to Amazon’s offer on DVD pre-orders. The film is also available on Blu-ray. Thanks to Matchbox Films for sending me a review copy.
Posted in Chinese Cinema, Comedies | Tagged: superhero | Leave a Comment »
Posted by Roy Stafford on 1 July 2013
Louis (Romain Duris) and Rose (Déborah François)
This is the film that I have enjoyed most in the cinema this year. I found it compelling entertainment for two reasons. One was the casting of Romain Duris and Déborah François and the other was the use of costume, colour, lighting, graphics and music. Duris and François are my favourite francophone actors of the current crop and that might explain why I am so taken with a film which too many critics seem to have dismissed as simply ‘conventional’. Philip French has announced his retirement from the Observer but in one of his last published reviews he gave the film the full works and found many interesting connections – whereas his colleague on the Guardian, Peter Bradshaw, dismissed it with hardly a second glance. That’s a big mistake because there is plenty to see.
Budgeted at a whopping €14.7 million, Populaire has been inevitably linked with The Artist and Mad Men because of its meticulously presented period detail. It shares The Artist‘s female star Bérénice Bejo (in a small but important role) and its cinematographer Guillaume Schiffman and it’s set in 1958-9 with the same attention to period offered by Mad Men. But that’s where the connection to the TV series ends – and the lazy hype perpetrated by distributors has arguably damaged the film’s box office. Think instead an hommage to the American sex comedies of the 1950s with Duris as Cary Grant or Jack Lemmon and François as an amalgam of all those greats such as Doris Day and before her Judy Holliday – but also decidedly Déborah François. This feeling of borrowing from Hollywood is underlined by the clever use of colours and lighting – like the bright colours of early Technicolor. The music is also well chosen with a mix of French and Anglo-American popular styles. There is a real sense of that keen French interest in American modernity associated with the need for speed – the typing competition is an excellent vehicle for this. Populaire is the first feature by director Régis Roinsard who had the original idea and co-wrote the script. It has its flaws and weaknesses but overall it works extremely well. Of course, a romcom/social comedy set in the 1950s raises questions about gender and we’ll come to those later. First though a brief outline.
Rose is the hopeless secretary.
The local finals in Normandy.
Rose takes piano lessons from Marie (Bérénice Bejo) in order to improve her dexterity.
Rose is a young woman bored by live in her Normandy village where her father owns the village store. When insurance agent Louis advertises for a secretary in a nearby town she applies for the post and gets it – because she is pretty and Louis is a letch, we assume. In fact she is hopeless as a secretary but she can type like a whirlwind. Louis keeps her on and begins to train her for the typing speed contests which were apparently all the rage in the late 1950s. From then on the narrative structure is highly conventional with Rose going on to contest the ‘World Championship’ in New York. Along the way there are a couple of innovations and some tricky decisions over what to show/hint at in terms of offering what might be seen as nostalgia to a contemporary audience. (The ‘Populaire’ is a model of typewriter manufactured by the Japy company of Paris who become Rose’s sponsors when she wins the national title.)
Rose as the new star of promotions for Japy typewriters in one of the witty musical montages
The romcom demands that Louis at first doesn’t recognise his own desire for Rose, allowing him to be quite determined and distanced in his ‘use’ of her typing skills to achieve the success as a trainer that eluded him as an athlete himself. He is that familiar figure, the man in his late thirties running the family business but feeling that he has not succeeded. Rose loves him from the start but is too proud to show it, going along with his madcap training schemes to please him. The narrative material that Roinsard attempts to work with here includes a backstory that involves Louis as member of the Résistance in the latter stages of the war – which in turn led to his separation from his childhood sweetheart (Bejo), now married to an American who parachuted onto her parents’ farm in June 1944. For me, none of this worked, partly I think because despite his many talents I just couldn’t see Duris in the Résistance – but perhaps the fault is mine, there is no reason why a man looking good in a sharp suit in 1958 shouldn’t have a wartime past. But the back story does lead into some potentially darker sides to the drama. Allied to this the sudden appearance of Louis’ family at Christmas provides one of the highlights of the film.
In the end, the film stands or falls for me on the performance of Ms François and she is formidable. She has the ability to move convincingly from village shop assistant to flirtatious romcom heroine, from childlike student to steely contestant and from clumsy office worker to assertive and confident young woman. In all of these roles she is convincing and she dominates the screen. The criticisms of the film’s ‘sexist’ and ‘gendered’ view claims that the film is conservative and backward looking and this is linked by some commentators to the inclusion of one sex scene and one ‘gratuitous’ ‘wet blouse’ moment – see the image at the head of the post. In the UK the film was given a 12A certificate which seems about right – but in the US it seems to be heading for ‘Restricted’. The sex certainly is an issue for a film which I’ve suggested is attempting to work like those 1950s Hollywood comedies with their Hays Code approved scripts. A similar problem comes up when characters appear to be speaking ‘out of time’ – e.g. with references to smoking and when Rose cries “but this is 1959″ (and therefore she can be a ‘liberated’ young woman). I think, on balance Populaire gets these decisions right. I also think that, like Doris Day and Judy Holliday before her, Déborah François is capable of taking the script away from its ideological implications of a submissive and restricted female underclass. Rose is a strong woman who works hard to get what she wants, standing up to whoever gets in her way. The narrative does validate the skills of the typist and it underlines the fact that secretarial work was one of the ways by which women were able to become independent and to establish themselves in the office before moving into a wider range of white collar jobs. The film has suffered because of some of the negative reviews. I hope more audiences are able to see it and enjoy it for what it is – a conventional romcom with great performances that recalls some of the under-rated popular films of the 1950s. It has already created a buzz among the collectors of antique typewriters!
Rose on the big stage
And if you do enjoy this, can I recommend Déborah François in the generically very different La tourneuse de pages (The Pageturner) which nonetheless has some narrative similarities?
Posted in Comedies, French Cinema, Romance | Tagged: Déborah François, Romain Duris, romcom | 5 Comments »
Posted by Roy Stafford on 25 June 2013
Aqib Khan as Sajid on arrival in Punjab.
West is West is an odd film. You wonder about why it was made – or at least why it was made in 2011. Ayub Khan-Din is a British actor and playwright whose 1997 play East is East was adapted as a film in 1999 and was a considerable commercial hit. At the time I found the film quite troubling in terms of its racial politics. Khan-Din has always maintained that the play was autobiographical and it felt to me that his anger – directed at his father and the way that he treated his mixed race children – derailed the narrative to a certain extent. The film was a social comedy and a ‘coming of age’ film about the teenagers in the Khan family of Salford and I felt that the humour invited non-Pakistani audiences to laugh at rather than with British Pakistanis. I think it is fair to say that the film was controversial in academic film studies/cultural studies for that reason – though some of the audiences that I thought would be offended seemed to have enjoyed the comedy.
Because I hadn’t ‘enjoyed’ the earlier film – though I could understand its success based on a strong narrative and excellent performances – and because the reviews were not very good, I ignored West is West on its cinema release. But when it turned up on TV (it’s a BBC Film) a few weeks ago I recorded it out of a sense of duty. And I actually enjoyed it more than the first film. However, it is slight as a narrative and I’ll explain my puzzlement about why it was made.
East is East was set in 1970-1 when the older children of ‘George’ Khan (Om Puri) and Ella (Linda Bassett), owners of a chip shop amongst the back-to-back terraces of Salford, are struggling against their father’s traditional view and trying to escape home and make their own lives. The youngest child, Sajid (the author’s alter ego) is still at school and it is he who becomes the focus of West is West. The sequel takes place four or five years later. Worried by Sajid’s behaviour at school, George decides to take him on a trip back to Pakistan where his older brother Maneer (Emil Marwa) has been living with George’s other family in rural Punjab.
The ostensible reason for the trip to Pakistan is in fact to find Maneer (the only ‘compliant’ son) a wife. Once in Punjab, a conventional comedy of ‘culture class’ develops in which Sajid, dressed in his uncomfortable (and too small) British suit and tie – see above – rails against his new family and environment. But of course he eventually makes friends and in a conscious nod to Kipling (from whence the two films’ titles are derived) he ‘goes native’ like the Brits before him under the Raj. This narrative is mildly amusing but would have been improved without the wily/eccentric teacher (who seems even more a caricature from Kipling) who George has found for him. More interesting is the developing narrative about George, now back in his village as Jahingar, who has to deal with the resentment and coldness of his first wife Basheera (Ila Arun) who he abandoned with her daughters when he went to the UK thirty years earlier. Basheera is understandably still hurt. Her son-in-law, who is effectively the head of the household sees an opportunity to persuade George to invest in a new house for the farm. All this means that George stays longer than the month he had promised, setting up Ella’s arrival in the village. In the meantime, the marriage quest – the conventional high point of such films – remains somewhere in the background and the drama focuses, quite effectively, on the George-Basheera-Ella triangle.
Sajid, now dressed sensibly, with his new friend (left) his dad and Maneer
This plot outline makes the film narrative sound quite ‘packed’ but the overall effect is muted. Partly, I think that this is because the production is basically British, plonked down in India (Punjab and Chandigarh). The technical credits are very good – director Andy De Emmony and cinematographer Peter Robertson are both highly experienced in UK TV filmed series production – and the music by Shankar Mahadevan and Robert Lane is excellent but the authenticity of the music can’t overcome a sense that the film simply isn’t ‘local’. This is emphasised by a plot point that I won’t reveal but the mostly very good acting performances here are undercut by this lack of involvement with local film culture.
Ila Arun as Basheera, George’s first wife.
I hope I’ve indicated that this is a film with many worthwhile elements that doesn’t come together for audiences. Several comments I read said it isn’t funny. Well no, it isn’t. That’s because it is more a family melodrama that doesn’t have enough faith in the mix of stories it wants to tell. The other problem is that most of the audience will have forgotten the details of the first film from over ten years ago. Why wait so long for the sequel? Ayub Khan-Din is clearly a gifted writer and this film had the possibility of working in the South Asian market. After its Toronto Festival appearance it was widely reviewed in India but for all the reasons outlined above it never took off. I think that Khan-Din would have been better off de-personalising the story and writing something from a more distanced perspective. A mixed British-South Asian creative team might have given the narrative a more ‘rooted’ feel. It’s still worth watching, especially for the moving scenes between Linda Bassett and Ila Arun, but overall a missed opportunity.
Posted in British Cinema, Comedies, Melodrama | Tagged: diaspora writer, Om Puri | Leave a Comment »