My Son the Fanatic

Unremittingly difficult to sit through this one. Whoever finds any comic relief in its minor ironies ("Fingerhut," "Mr. Shits," etc.) is just not concentrating on the main theme. This is a film about people living out their lives in more or less distinct states of alienation from those around them as well as from their own self-concepts. As with all such stories, there is nothing to laugh about.

Be that as it may, the actors and the direction are first-rate. While nothing much happens to develop plot, a great deal comes into view in progressively more intimate sketches that delineate character and advance one's awareness of just how "out of synch" everyone is. Central to appreciating it all is how easily universal values of love, compassion, integrity, and objectivity come unstuck when someone heeds the call of looking for greener pastures.

Specifically, the problem of ambitious people moving out of their native countries to find a better life elsewhere is one that we find in history and literature from the beginning of time. And even more specifically, the clash of one culture or religion with another -- together with elements of racism and competition -- are certainly nothing new to cinematic representations. This is a kind of story with neither end nor beginning, only one bitter scene fading into another.

A very dark film indeed.

I think this movie will resonate especially with any first-and-up generation person whose parents emigrated from east to west. The innocence and almost childlike approach taken by Parvez, Om Puri's character, to things light and dark in England reminded me very much of my own experiences in trying to show my parents "how things work" in America. He has done a beautiful job with this character. All in all a well-written and enlightening movie for anyone who is curious about the complex and often convoluted dynamic between immigrants and their transplanted realities.

I was pleasantly surprised when I just saw "My Son the Fanatic" (I write this as the video rewinds!). I'm quite averse to watching gratuitous violence and listening to obscenities, and I looked askance at the cover jacket of this video at my public library, thinking it may be akin to films like "East is East", "Sammy and Rosie", and "My Beautiful Laundrette". Like those films, this one explores English lower middle class South Asian immigrants, but I found "My Son the Fanatic" to be much more palatable - and in fact endearing and more interesting - than the others.

The story is of Parvez (played by Om Puri), a Pakistani who has immigrated to England 25 or 30 years ago. He is a taxi driver and is very proud of his son, Farid (Akbar Kurtha), who appears to be in his mid-20s. The film opens with Parvez, his wife Minoo (Gopi Desai), and Farid all meeting the family of Madelaine (Sarah-Jane Potts), Farid's girlfriend. Madelaine's father is chief of police, and Parvez is enthusiastic for the marriage presumably because the young couple love each other, but also, it seems, because of the status of the chief inspector.

Parvez is a hard-working, kind, and friendly man. Some of his customers are prostitutes, and he honorably befriends one, Bettina (Rachel Griffiths), maintaining a respectful and supportive platonic relationship.

Life is turned upside down when Farid abandons his engagement and school when religious fundamentalism beckons him. This forms the framework for the climax and resolution of the film.

Om Puri, consistent with his reputation, puts in an excellent and believable performance of a parent trying to provide a good life for his family and looking to harness qualities from both his traditional and adopted cultures. Though she seems to be stuck at home, Minoo is more dimensional than other S.Asian mothers are often portrayed to be. I think more could have been done to have developed the son's character, and Bettina had a radiance, charm, and optimism that made it hard to believe her to be a prostitute.

"My Son the Fanatic" is a film that I enjoyed seeing. It's neither uplifting nor depressing, but the story is interesting and believable, and Om Puri's credible acting is a delight to see.

My Son the Fanatic was a surprizing treat. I never heard of it before renting at blockbuster last night. I don't think it ever played in Toronto theatres. Never the less I must applaud at Hanif Kureshi's yet again bold and honest attempt at highlighting a recent phenomenon in the South Asian community: the son going "holier than thou" on the family. This film touched me personally because in my case the opposite happened; my father turned fanatic muslim on me. Hanif Qureshi's "My Beautiful Laundrette" is one of my favourite films of all time and after "Budha of Suburbia" I fell in love with this brilliant man and his work. "My Son" is a lot less shocking but still weaves it's way through the father and son conflict elegantly and I am shocked at how blind the Oscar nominators are when it comes to Om Puri's brilliant acting! This is the first film portraying South Asians where the wife has some personality and actually speaks out so I see her as a mother, a wife and a woman that I know because she exists in my community. She is dull and fat and stuck in her little world within the four walls of her home. I dislike her but I know her. The subtle emotions and body language of this lower middle-class family might not be fully understood by a non-south asian critic and that is why some find it moves slowly sometimes. I could not agree with Earnest Hardy more when he says this film (and others by the writer) "endorse a morality of compassion". I think that is the only moral value worth pushing!

My Son The Fanatic demands repeated viewings for its appreciation. It is a dark comedy about an affable taxi driver in the throes of an alcoholic depression, and the eventual disintegration of his family unit.

It starts off making you think that this is going to be a comedy about a social-ladder-climbing father undermined by his son's discovery and subsequent rapture of Islamic fundamentalism. When re-viewing the consistency of the tones and hues, it seems that most scenes are being seen through the main character's (Parvez) eyes. And he turns out to be the most unreliable of narrators -- a literary device difficult to translate into film. In most of the darker and smoky hues, Parvez seems to be a warm, loving, tolerant, supportive, and protective soul.

In the lighter-toned scenes, we learn that Parvez is actually is clueless to who he is and how he is perceived. The fact is that he is a pathetic failure as a husband, father, and "career" man -- a 25-year taxi driver in a poor town in England (Does anyone know what city/town this is supposed to be? It was unclear to me.) where the cab drivers serve as a conduit between prostitutes and their clients. Throughout the movie, he sinks further into the throes of an alcoholic depression. He is an affable and engaging drunk, but a drunk nonetheless.

His son's rejection of his depressed and drunken father manifests itself in turning to Islamic Fundamentalism. His wife tries to awaken him as to what is going on, but to no avail. Pervez's sodden eyes sees life only in his own terms. Pervez sees the holy man as a fraud, and thus invents a scene in his mind that everyone else denies, played in near-total darkness, where the holy man asks him for immigration help from his (actually non-existent) political connections with the Fingerhuts, who despise him.

Someone else correctly pointed out that the son's adulation of Ayatollah Khomeni is inconsistent with the Pakistani fundamentalist sects that populate Karachi. This is the one well-lit scene where falsehood prevails, but I think that was just a fact-checking error.

As he sinks deeper, Pervez conjures up a loving relationship with his favorite whore, the reality of which is depicted in the final scenes as the credits roll.

The movie was never really about his son at all. His life was never really about the love he invested in his family at all. It is about a disintegration of a once-noble soul due to depression and alcoholism, and how the world looks through his forgiving eyes.

This is a fascinating study in duality, but you need to watch it twice to see it that way. Bravura performances by Puri, the actress who played the wife, and Griffiths as the multi-wigged prostitute are a joy to behold. There are slow and murky patches, but worth sticking with as a fascinating exploration into the culture clashes and reality blurring characteristic of alcoholic depression -- a disease with an acutely higher incidence in the UK among Asian immigrants.

Well worth watching.