My Beautiful Laundrette

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.

A classic film in my book, My Beautiful Laundrette is the story of Omar, a young restless Asian man caring for his alcoholic father in Thatcherite London. Escape comes in the form of his uncles many and varied business ventures,...

Anyone who experienced anything of life in '80's Britain will recognise the craving for instant financial success. Similarly I am sure Asian viewers will recognise the struggles inherent in finding an identity in a country which is your home but which can never feel quite like your real home.

Omar dreams of success so works to achieve it...along the way he meets up with old school-friend Johnny, who has betrayed him by falling in with a group of neo-nazi's. Omar soon has Johnny working for him and his uncle. Turning the tables on him as he is made to rely on the very people he has been taught to hate. The chemistry between Omar and Johnny is palpable and their relationship handled totally matter-of-factly. About the only part of the film not trying to score any political points is the gay relationship. There is a "so-what" attitude and no-one comes out at any point. And why should they?

Tension in the film is far more the result of socio-economic and racial inequalities. The whole thing is handled with grace, charm and wit. Anyone remotely familier with British film in particular will note the starry casting of supporting roles, though Danial Day Lewis is - now - the biggest star of the show. Here he shows the real substance behind his fame - more so than in any other film of his seen to date. The cast is universally excellent and the unique shooting, pacing and dialogue, quite quite brilliant.

Some of the shots in this film could be used as a template for brilliance...An unexpected kiss in a dark alley is easily the most erotic single shot I have seen in a film.

Despite a few reviews I have read claiming otherwise, I don't believe you need to be gay or Asian to get something out of this picture. Living in Britain may help, though it's a lot less than essential.......

And hey! Wouldn't you love to throw your knickers into the washing machines of a neon-lit music-filled laudrette from heaven run by two insatiably young and energetic lovers?

Well I would anyway! Pass the detergent this way please!

Stephen Frears' film of Hanif Kureshi's script about the Pakistani and the NF punk who grew up as friends, and find themselves attracted to each other again. Gordon Warneke and Daniel Day-Lewis play the lovers in this intelligent movie which has a cheap British tinge but has some superb moments (Saeed Jaffrey as Warneke's uncle, ‘a professional businessman, not a professional Pakistani') within it.

Perhaps the longest-lasting image is the two boys in the back room of the launderette, splashing each other with water, and putting aside the political differences between them. Whether it truly makes its points about race and sexuality I'm not sure.

Johnny and Omar live in a world of multiple cogenerating, coexisting, modifying, negating, enforcing and enhancing forms of discrimination -- racism, sexism, groupism, homophobia, cultural elitism, snobbery, reverse colonialism, neocolonialism and fascism -- which they successfully grapple and topple in the form of their launderette with the power of economic enterprise. These squabbling goblins are left to each others excesses as economic success lifts them up and out of these, but many questions remain: will they remain; would others succeed; what does luck have to do with it? Kureshi has pissed off all groups who find themselves part of this smashing satire, prime among them the identity conscious confused second/third generation Subcontinental British kids, the same contingency that staunchly supported the Rushdie fatwa. Brilliant and stupendously enjoyable.

A rare instance of magic-realism that actually works in the cinema. The realism is a scrupulously observed portrait of 80s London, its people (entrepreneurs, drunks, racists, wide-boys), locales (dingy flats, delapidated laundrettes, murky car lots) and attitudes (strutting capitalism, dessicated liberalism, farcical extremism).

The magic comes from Frears' style, tweaking and heightening the real; from stylised scenes such as Omar's reuniting with Johnny; from some magical set-pieces, especially the opening of the laundrette, Omar and Johnny making love cut with Nasser and Rachel's waltz; from the clashing of an exotic, Oriental world in a determinedly materialist context.

Kureishi's script is occasionally heavy-handed, but sex is never far from his analyses of power and identity - Omar's crucial tirade against Johnny has a thrilling, Genet-esque frisson.