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cuses on the 1970s and hence is a retrospect portrait of a Muslim family of six sons and one daughter in working-class Salford. In terms of genre, the movie can be described as a tragicomedy with grotesque elements.1* However, the film was advertised as a funny multi-cultural family movie and viewers might not have ex- pected the scenes of brutal domestic violence. Judging from the colourful movie posters and trailers that highlighted the comic aspects of the movie, scenes such as when the dog attacks Mrs Shaw (Leena Dhingra) and her grotesquely ugly daughters, viewers might have been misled. In many respects, it seems as if the Muslim father simply cannot be depicted without irrational aggressive outbursts at his family. Once more, the father figure is featured prominently, and interest- ingly, this character is played again by the actor Om Puri, who now stars as the patriarch George. Nonetheless, the two characters represent quite different models of patriarchy. Even if George and Parvez are both immigrants to Britain with a Pakistani background,?3 they are not of the same generation: George came to the UK in the 1930s and has adult sons in 1970. The war between India and Pakistan over the independence of East Pakistan features prominently in the film (although there are even more references to it in the play). Even if there are less explicit allusions to historical events in My Son the Fanatic, Parvez must have come to the country after WWII and has an adult son in the late eighties/early nineties.1* Both of them have low paying but labour-intensive jobs: Parvez works all night as a taxi driver and George owns an all-English fish and chip shop. His whole family — most significantly his English wife Ella (Linda Bassett) — have to work in the family business. Especially in their religious background and moral ideals, the characters could not be more drastically opposed: while Parvez dreams of the marriage between his son and the daughter of the English chief in- spector Fingerhut, George insists unsuccessfully that his sons enter an arranged marriage with a suitable Pakistani bride. The familial conflict is revealed when the eldest son, Nazir (lan Aspinall), runs away from his arranged marriage at the very last minute to the embarrassment of his whole family because it signifies his failure to fulfil his filial duty. Consequently, his portrait disappears and is shown to fade away from the family gallery (cf. illustration 3) leaving only the smpty spot on the wall.
cuses on the 1970s and hence is a retrospect portrait of a Muslim family of six sons and one daughter in working-class Salford. In terms of genre, the movie can be described as a tragicomedy with grotesque elements.1* However, the film was advertised as a funny multi-cultural family movie and viewers might not have ex- pected the scenes of brutal domestic violence. Judging from the colourful movie posters and trailers that highlighted the comic aspects of the movie, scenes such as when the dog attacks Mrs Shaw (Leena Dhingra) and her grotesquely ugly daughters, viewers might have been misled. In many respects, it seems as if the Muslim father simply cannot be depicted without irrational aggressive outbursts at his family. Once more, the father figure is featured prominently, and interest- ingly, this character is played again by the actor Om Puri, who now stars as the patriarch George. Nonetheless, the two characters represent quite different models of patriarchy. Even if George and Parvez are both immigrants to Britain with a Pakistani background,?3 they are not of the same generation: George came to the UK in the 1930s and has adult sons in 1970. The war between India and Pakistan over the independence of East Pakistan features prominently in the film (although there are even more references to it in the play). Even if there are less explicit allusions to historical events in My Son the Fanatic, Parvez must have come to the country after WWII and has an adult son in the late eighties/early nineties.1* Both of them have low paying but labour-intensive jobs: Parvez works all night as a taxi driver and George owns an all-English fish and chip shop. His whole family — most significantly his English wife Ella (Linda Bassett) — have to work in the family business. Especially in their religious background and moral ideals, the characters could not be more drastically opposed: while Parvez dreams of the marriage between his son and the daughter of the English chief in- spector Fingerhut, George insists unsuccessfully that his sons enter an arranged marriage with a suitable Pakistani bride. The familial conflict is revealed when the eldest son, Nazir (lan Aspinall), runs away from his arranged marriage at the very last minute to the embarrassment of his whole family because it signifies his failure to fulfil his filial duty. Consequently, his portrait disappears and is shown to fade away from the family gallery (cf. illustration 3) leaving only the smpty spot on the wall.
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