Movie: My Son the Fanatic

Actors: Om Puri, Gopi Desai, Akbar Kurtha
Director: Udayan Prasad / Hanif Kureishi, Producer:

The master of the Pakistani-British culture clash does it again. Hanif
Kureishi , the screenplay writer and novelist who to his credit brought
us "My Beautiful Laudrette" and "Sammi and Rosie - -" during the mid
1980`s, once again proves that he remains the Sultan of South Asian
culture shock in Britain. And in the careful hands of Udayan Prasad,
(since no Pakistani with the possible exception of Dehalvi could be
brave enough to direct Kureshi`s work due to its severe content) "My Son
the Fanatic" comes to us here in the United States as a important movie
that could possibly generate a following.

This is a story of a Pakistani immigrant cab driver Parvez
(brilliantly played by Om Puri) and his son Farid (Akbar Kurtha), a
traditional wife and mother Minoo (Gopi Desai) and Bettina ( Rachel
Griffith) whose real name is Sandra, a prostitute who comes into their
lives in a most unusual manner. These characters along with a German
businessman-tourist (Stellan Skarskard), the Fingerhut family, a maulvi
or religious figure from Lahore (Bhasker Patel) and "Fizzy" (Harish
Patel) a business success story and old friend of Parvez, all come
together to make this movie a cut above most of the plain vanilla that
has become today`s Hollywood mainstay.

The story opens up as the engagement of Farid is being set with the
daughter of Chief Inspector Fingerhut, something that the seemingly
liberal Parvez sees as a step forward for both Farid and the family.
Status consciousness is an important aspect of the character of Parvez.
Although the young Farid and the Fingerhut daughter appear quite happy,
the expressions on the face of Mrs. Fingerhut and that on the late
arriving Mr. Fingerhut tell quite another story. Racism and its impact
are a continuing subject in Kureshi`s work, and in "My Son the Fanatic"
its role is as vivid as ever. Because no matter what Parvez and Minoo
are willing to overlook, the young Farid cannot. And it is from here
that the transformation of an angry Farid is mapped, from a cricket and
guitar playing youngster who was supposed to take up accounting in
college, towards a desire to rediscover his cultural roots and identity
in Islam.

On the one hand we have the character of Parvez, the family man who
discusses his hopes for his son and his transformation with Bettina,
whom he sets up with a rich German for carnal entertainment (Parvez is
more than a cab driver it seems). And on the other we have Parvez and
Bettina being drawn closer together as two human beings. In one of the
most well written dialogues for this unusual relationship, Kureishi has
done a service to all the South Asian males in the West by projecting
their most sensitive side. Needless to say that such a positive
portrayal of the Pakistani male character in his relationship with
western women, is indeed a rarity. Both Om Puri and Rachel Griffith are
simply great in their roles here.

Farid as a topic of conversation is indirectly responsible for the
growing bonds between Parvez and Bettina, two misfits on the fringes of
their respective cultures. Parvez, a regular drinker who is a fan of
Louis Armstrong music, and Bettina who once aspired to be a teacher but
took the path of the oldest profession.

Farid`s growing hate of England`s "morally lax" environment and his
transformation to traditional "Islamic Values" starts at the comical and
ends with serious confrontation with his father. As an example, Parvez
suspects drug use by his son because of the sudden changes occurring in
his life (his change of friends, rebelliousness and spiritual
awakening). While trying to strengthen the bonds between father and son
Parvez encourages his son to drink alcohol with him but fails. It is
Farid and Minoo that end up trying to change him instead. Who wins? In
the tradition of movie reviews the ending will be left for the benefit
of the future viewer.

Now to put on the hat of a serious critic, the weakness of the
character of Minoo does not do justice to South Asian women in their
wife/mother role. Although some resistance is shown by her to protect
Farid`s wishes, her acceptance of Parvez and his indiscretions weaken
somewhat the good acting job done by Gopi Desai.

And on one final note: This continued attack on the fast shrinking
bastion of Pakistani male liberalism in the West which has become the
hallmark of Kureishi`s work once again does not seem fair. Although the
awakening of Farid due to his observations of and reaction to his
environment is a commendable character creation here, Kureishi for the
Nth. time attacks the Pakistani modernist/idealist in the West, yet he
lets off the successful "Fizzy" much too easily. It would be nice if
Hanif Kureishi remained equally brutal to both.

Note: This movie is for mature audiences. It contains many scenes not
suitable for young viewers.