My Beautiful Laundrette


Action / Comedy / Drama / Romance


Uploaded By: OTTO
Downloaded 0 times
July 18, 2015 at 10:07 PM

752.61 MB
23.976 fps
1hr 37 min
P/S 2 / 17

Movie Reviews

Reviewed by movietrail 9 / 10

A perfect slice of Thatcherite Britain.....oh! And a fab gay romance..

It figures this movie was not made in the USA... If it was, then main gay characters would either have to get killed or at least decently commit, or try to commit, suicide, get castigated or openly persecuted or both for their sexuality, and of course there would have to be a gays-are-people-too sermon somewhere in there. In fact, in this movie, while the gays may not have it easy, neither does anyone else; while in fact the non-gays get much more s--t than our two gay heroes, who seem to playing everybody off of each other anyway. You keep expecting someone to burst in upon their smooching or harassing them on the street or some other such low-down thing, but no (and knowing this makes it so much more easy to watch the second time)! To the Hollywood-weaned watcher, the start is slow and you don't quite know which way things are going, but we are very naturally eased into the two guys' relationship. It's very sweet, Romeo and Jules-like stuff. And like other reviewers mention, it is also so natural and well- made (and carried so many other taboos) that gay seems barely to be the issue. It is not a happy ending for many of the main characters in the movie, but life goes on. Just like life actually does.

Reviewed by metalheadmichelle 9 / 10

Not just a gay love story!

This film works on a number of different levels. Firstly, there is the love affair between the two main characters, Omar and Johnny, brought to life by brilliant performances from both Gordon Warnecke and Daniel Day-Lewis. The audience remains mostly in the dark about the history shared by the lovers... were they lovers before their chance meeting and subsequent re-discovery or were they just friends as children and lovers as adults? Clearly, though, there has always been a close bond between the two which has remained in tact, even after Johnny had abandoned his friend to join a group of Neo-Nazis. This is where the real complexities of the story lie. The fact that Omar and Johnny embark on a gay love affair seems almost incidental. Rather, it is the power relations between the two that is important. Class, ethnicity, kinship and community are central in shaping the way in which each character perceives their role within the world. Thatcherism and the 'entrepreneurial spirit' has fuelled Omar's ambition to make something of himself in 80s Britain. Conversely, Johnny seems to have resigned himself to his downtrodden status since society has done nothing to help him, so why should he do anything for society? Thus, class is very much an issue here. Ethnicity, too, is key, as the roles of the downtrodden and oppressed seem to have been reversed, with the white, working-class Johnny being the 'victim' of the system rather than the Pakistani, middle-class Omar. Despite all of the differences, however, essentially it is their love for each other that keeps them together. There are occasions when Omar questions whether he and Johnny can really be together in the long-term, such as when he contemplates marriage, whilst Johnny seems to be subordinate, almost passive, towards Omar because of his love for him. Despite all of their differences they both seem to have a profound respect for one another, which will hopefully enable them to continue their relationship, although the ending is left rather open. The main thing when watching this is to view it not only as a gay love story. It also provides a snapshot of 80s Britain and an illustration of the fluidity of identity, and of the different life chances that people had, which is clearly still as relevant today as it was back then.

Reviewed by Alice Liddel ([email protected]) 8 / 10

Magic-realist masterpiece.

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.

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