TBJCSKCNRRQTreviews We watched this in English class, after having read the short story, written by Hanif Kureishi. Going by how powerful the original text is, this is somewhat unimpressive. I think the real problem is that the short story was so compact, so rich in detail yet so brief, and it was thoroughly well-told. There are always problems when one lengthens a short story, and that fact is very evident here. There just isn't enough good material. There are attempts made at drama that fall flat, often due to the lack of proper build-up to them. Film requires more drama, stronger feelings. Maybe the story just wasn't suited for the medium. The original had the lead character's son filled with hatred, one instilled from an invisible enemy, leading to much frustration in the father. The ending was almost sublime in its pure emotion, the release experienced. Here, this enemy has gotten a face and a body, the hatred in the son isn't as credible(partially due to the son's occasional weakness, which stands in stark contrast to the strength of his convictions, both herein and in the original), and the ending is... just not anywhere near as strong as that of the book(it even messes up the original ending, by including the same scene, deprived of its powerful emotion, near the conclusion of the story here). Characters are added, some for little reason. Breaks of comedic relief are inserted, presumably to ease the heavy message, themes and story of the film. I suppose this could have been a good addition, but it just takes away from the serious nature of it. The plot is good, if some of the new material seems of little interest. The focus has shifted some; the film is entirely about Parvez, and how he relates to those around him. The pacing is decent enough, it doesn't drag too noticeably. The cinematography and editing is fine. It would be difficult to claim that it tries too hard, since it hardly tries at all. In spite of all the negatives, I'm glad to have seen this film, and I wish Kureishi more luck with feature films in the future... and I certainly will keep my eyes open for his other films. He's a quite gifted writer, I think the main problem here was that this story did not fit the medium and length of feature film. I recommend this to any fan of stories that deal with the cultures, in particular conflicts between them. 7/10

walward-2 Boy, has this movie gained significance since September 11. It's about a man whose son, Farid, grows to feel alienated in Northern England. His parents immigrated from Pakistan, but Farid has never been there. As an adult, he rejects his British culture to seek his Pakistani roots that he's never known. The film is about the father, Parvez, as he watches the boy, whom he has adored and doted on, slip into Islamic fundamentalism. At first he thinks his son is on drugs, but then he finds the truth. Which one would be worse? This is a complicated film in that none of the characters are really good people. Parvez is a true gentleman who is completely tolerant of everyone around him, but he is essentially a pimp. He has a good heart, but his lack of morals is partly what pushes Farid toward the Islamic fanatics. Farid, on the other hand, does not have a good heart. He and the rest of his fanatical friends want to impose their rigid moral code on everyone else. When they fail, they resort to violence. Sound familiar? Can you say "Taliban?" It's this attitude that has spawned the terrorism we live with today.This is a thought-provoking film that sheds some insight into the clash of the Eastern and Western cultures. When you see middle-class kids like Farid, who have been raised entirely in a western culture, turn to fundamentalist Islam, you know we're all in a lot of trouble.

Gary-161 Hanif Kureshi recently adapted his book 'The Buddah Of Suburbia' for television and it was un-watchable. Not because it was bad but because the action and dialogue was so true to life it was too uncomfortable to keep your eyes on. We are not used to reality on tv. One of the Brit pack of new directors stated that they are the generation that hate Merchant Ivory and Hanif Kureshi but I know which will last, although I can live without Ivory.Kureshi has long been a fierce critic of Islamic Fundamentalism but not being Pakistani myself, I have no idea how accurate his portrayal of immigrant life in this country is but I can tell you that his handling of women is less assured. This mostly fine film ends just when the narrative is getting going, leaving you with a moving sense of pathos about the lead character but that's no criticism. It's better that you are left asking more questions than being hit with an over long film bludgeoning you with too many answers.

Varlaam While this film is superficially about East Indian immigrants in Yorkshire, its themes are universal. Anyone who is or is related to an immigrant should feel at home here.As far as religion goes, these characters could be Jewish or Christian as easily as Moslem. The mediaevalist/modernist conflict is the same. There's no reason why the audience for this film should be just a parochial one.Om Puri gives a brilliant and nuanced performance as the central character, the resilient Punjabi cab driver. Rachel Griffiths is very fine as always as his kindred spirit, a hooker, although her character here is a little more limited in scope than those she portrayed in "Muriel's Wedding" and especially "Hilary and Jackie". Stellan Skarsgård also steps into a pair of shoes a few sizes smaller than those he has worn in the past.Unheralded though it may have been, this is another thoughtful comedy-drama from Hanif Kureishi, author of "My Beautiful Laundrette" amongst others.