Exploring Identity and Culture in My Beautiful Launderette

This essay provides an in-depth analysis of Hanif Kureishi's 1985 film, 'My Beautiful Launderette,' set in Thatcher's Britain. The essay delves into the film's exploration of complex themes including queer theory, cultural identity, gender, sexuality, post-colonial identity, and the impact of Thatcherism on British society. It examines the interactions between Pakistani and British communities, focusing on the protagonist Omar's hybrid identity and his relationships, particularly the homosexual relationship with Johnny. The essay explores how the film challenges societal constructs, cultural norms, and prejudices, while also addressing issues of racial and class differences. It highlights the dynamic and evolving nature of identity, as portrayed through the characters' experiences and the film's representation of a marginalized South Asian diaspora. The essay also discusses the film's commentary on masculinity, sexuality and the challenges faced by immigrants in a post-colonial context, as well as the portrayal of hybridity and the negotiation of different identities.

Name
College
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Contents
Introduction................................................................................................................. 3
Queer Theory..............................................................................................................4
Culture, Gender and Sexuality....................................................................................4
Post Colonial Identity.................................................................................................. 6
Hyrid Identity............................................................................................................... 8
Thatcherism and the Politicl Scenario.......................................................................10
Conclusion................................................................................................................ 12
References................................................................................................................13
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Introduction
My Beautiful Launderette is a 1985, Hanif Kuereishi British film, set in Thatcher’s
Britain depicting the interaction between the Pakistani and British communities.
However, it addresses poignant issues of importance like gender identity,
homosexuality, precolonial identity, Thatcherism and queer theory among others.
The movie can best be described as a hybrid film that questions the ‘black identity’
as per the pre-colonial definition, tries to bring about the interrelation between ethnic
and class differences through the main protagonist, Omar. The movie is an attempt
to examine the societal construct and cultural identity in Britain under Thatcher. The
two generations (Omar and his father) give a comparative analysis of pre-colonial
and post-colonial identity of the immigrants. Stemming from the undertones of
homosexuality, it also attempts to depict how the commendations pertaining to
interpellation in the South Asian queer diaspora of Britain under Thatcher are
resisted. As labelled by Cameron Bailey, films of this kind could be referred to as
‘cinema of duty’ as it tries to tranquilize the negative portrayal of ‘Blacks’ by ‘Whites’.
Through his depictions, Hanif tries to understand the hegemonic discussions related
to identity formation while focusing on alterations in the desires and sexuality within
the societal and cultural bounds of Britain, intentionally attempting to include the
politically and socially disenfranchised section of the society, here, the marginalized
South Asian diaspora. Such readings make us revisit identity as something dynamic
and constantly evolving which is difficult to bind in categories.
The essay will try to address how identity-cultural, social, sexual instigate
responsibility, pre-colonial identity of the marginalized and Thatcherism and queer
theory as depicted in My Beautiful Launderette.
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Queer theory
Queer theory is an ideology based upon the thinking of non-fixation of identities.
Identities do not determine who we are! To assume that an individual can be
described on the basis of one characteristic is absurd and hence it does not make
any sense to call someone a ‘man’ or ‘woman’. Thus, queer theory questions the
status quo and challenges the set notions of the society. Queerness likewise
challenges well known national representations and consequently national lucidness,
in the event that we consider that the country in it its plans for citizenship, work and
so on benefits. Queerness is like a diaspora space, a middle space which is not
bounded by a nation or even the world. (Wilson, 2013)
The movie is laying emphasis on the South Asian gay diaspora, which assumes that
South Asians in general are homophobic and that westerners are more tolerant of
such deviating sexualities. So, to a south Asian queer a western refuge is like
welcoming into an acceptable world. Thus, this diaspora space makes him feel
comfortable in his own skin. As can be seen in the movie, the protagonist Omar does
not feel self-hate and he is neither concerned about his ethnicity. He is pretty much
comfortable being a British and gay. The characters are seen challenging the sexual
and racial identities through the relationship between Johnny and Omar.
Culture, Genderand Sexuality
Kureishi, through My Beautiful Launderette has attempted to challenge the
prejudices that exist in every culture. He has used sexuality as the instrument to
highlight these pre conceived socio-cultural notions. The homosexual relationship
between Omar and Johnny paves way for the distinct path than conceived by their
cultures, societies and families. Their relationship is shown to be unacceptable to
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their near and dear. As O’Sullivan points out, the concepts of relativism and
absolutism are entangled with the representation of this homosexual relationship.
Absolutism, when attributed to morality, points out how a socio-cultural construct is
rigid and is unaltered with situations, their enactment and outcomes.(Lindsley, 2004)
An attribute of deontological ethics, these absolutes do not change with culture or
era. In retrospect, Relativism is an anti-thesis to the concept of absolutism and does
not attribute morality to any fixed standards defined by cultures and societies.
(Beckwith & Koukl, 1998) A relativistic understanding of morals tells us that morality
or ‘truth’ is a function of many variable such as individualistic desires, circumstances
and prevalent socio-cultural norms.(Berry, 2002)(Barry, 1980) Thus, relativism and
absolutism exist in opposition. The film through sexuality leaves these contradictory
principles open to interpretations and personal discretion. The movie validates both
absolutism and relativism in theory. The prejudices hindering the relationship
between Omar and Johnny exist in both Asian and British cultures but yet the
reasons behind them are very different. Thus, though the principals are absolutes
but the explanations are relative to cultural leanings of the two societies. The
resistance shown by Naseer (uncle) and Johnny’ white supremacist and male
chauvinistic gang illustrates the above two philosophies as applied in the movie.
The filmalso presents the racial friction around their relationship on top of being a
homosexual relationship. This elevated the difficulties it, already, is knee deep in.
However, we can try and interpret the intermingling of two societies through this too.
The representation of gender in terms of the opportunities accorded and freedom is
ironical in the film. The character of Tania (Naseer’s daughter) depicts this conflict.
Even though she is living at a time where the opportunities provided to the fairer sex
are considered at par with their male counterparts, it is ironical that her families’
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orthodoxy fuelled by their Asian cultural values prevents her from experiencing and
feeling the winds of change under Thatcher’s Britain. She is not expected to take
care of her father’s business or accompany the males over drinks. She faces a sort
of identity crisis as even though she is British but still is bogged down by her cultural
identity of a Pakistani. (O'Sullivan, 2013)
This presents the problem of conflicting cultures in a post-colonial world where even
after being the second generation, the Asian community (represented here by Tania)
finds it difficult to coexist in a society torn between two values and thus to break
away from them.
Post-Colonial Identity
The film depicts the lives of individual immigrated from a colonized state and the next
generation which is born and brought up in the society of their ‘actual’ homeland’s
colonizer. The film deals and examines the aftermath of colonization through the
lives of these characters. This is where the political landscape of Britain under
Thatcher is of relevance in the film. The cultural and social consequences of the
Thatcher’s thinking and emphasis on entrepreneurialism are conspicuous in the film.
The film in sense of its economic showing is anti-thesis to the colonial era. Here, the
colonized Pakistanis are shown as wealthy businessmen whereas the British
characters are shown as lower class. This is a) indicative of the political landscape
and b) that it is the work ethic and not ethnicity that is of prime importance.
(O'Sullivan, 2013)
Omar’s father is another character which portrays the cultural effects of the policies
of the post-colonial time Britain. He is seen whining about how an immigrant has to
always snatch an opportunity and is never given one. He is now an unemployed
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alcoholic although he was once a respected journalist. Thatcher administration’s
policy on education is challenged by his values for education. He is seen
emphasizing the importance of education throughout the film. The film hints on how
even after economic progress the racial tensions have not simmered down. The
economic well-being of the Pakistanis is indicative of the society’s progress in
achieving equality for races.
Manifestations of Masculine Sexuality with respect to a post-colonial identity
Desire and sexuality as concepts can pace way of re-visiting how we define the
‘identity’. Through his work, My Beautiful Launderette, Hanif has tried to depict how
his dynamic model of representation of the story can appreciate a sense of identity
which is not only post-colonial but also above the racial bias. He has tried to break
away the shackles of xenophobia while presenting struggles of immigrants
simultaneously. A specific representation of masculine sexuality vis-à-vis the
formation of a post-colonial identity can be explored through the film.
Hanif, in general has been seen to shy away from portraying feminine characters as
powerful in his work. He has tried to touch upon the concepts of sexuality and
identity from a male perspective only. This is what is conspicuous in the film, My
Beautiful Launderette where through the characters of Omar, his father and Johnny
he has referred to masculine sexuality and changing identities.
The aestheticism of masculine sexuality is based on a feeling of imagination that is
utilized as a review substitute for a genuine encounter. The manifestation of
masculine sexuality offers, in the film, offers new insights into this understanding.
Hanif is often accused of not doing justice to his female characters and presenting
issues like sexuality only from a male point of view. But his dealing with sexuality is
radical because of the manner in which he talks about masculine sexuality in My
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Beautiful Launderette. His representation in fact subverts the normative heterosexual
and phallocentric ideology, scrutinizing masculinity and offering a radical perception.
Hybrid Identity
The film can be termed as a hybrid film that investigates the inevitably
incomprehensible nature of "third space" diaspora distinguishing pieces of proof.
(PASCUAL, 2002) Any unitary representation of an identity is like reinstating the idea
of racial profiling which has been prevalent in the colonial times. Any identity [ethnic
or national] is constantly evolving phenomenon which is dynamic, ever changing and
in the process of ‘becoming’. But My Beautiful Launderette is different in this respect
as it does not put the ‘burden of representation’ on the filmmakers. This has
stemmed from the changing societal scenario where the Black filmmakers started
getting more freedom in representation. John Hill remarked in context of this film that
the identities of the characters has been made across different axis of sex, race,
religion and orientation. The different attributes are not simply overlaid but occupy
‘interstitial’ spaces. The film very distinctively focuses on the representation of
Omar’s (the protagonist)sexuality. “Kureishi and Frears’ representation of Omar’s
“national” or “ethnic identity” as a process of negotiation of its different components
may be interpreted in the light of Homi Bhabha’s notion of the “third space” as a new
position that emerges
from the interactions of two or more “original moments” whose histories are
simultaneously displaced and traceable in the subject’s different identifications”
(Rutherford 1990b: 211) The building up of one’s identity encapsulates the notion of
freedom of choice in the construction of one’s ‘hybrid identity’. This has been
illustrated through the constant struggle that Omar’s character undergoes in
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negotiating with his relative identifications until thee diverging identities merge into
his individualistic and particular one.
Omar’s identity is somewhat crisscrossed between Asian and British culture.
(Geraghty, n.d.) The notable point is that he traverses between the two identities as
per his own interests. Even though he is shown to share the zeal for economic
upheaval and ambition attributed to an Asian immigrant, he is seen deviating from
his Asian mindset when he is shown putting his own individual benefit over that of his
family as is seen in a typical Asian household. Individualism as a concept has been
seen growing in Europe due the changes in economic, scientific and religious
thinking. Thus, this individualistic characteristic shown by Omar is indicative of his
British identification. The relationship between Omar's corrupt individual aspiration,
his association with Johnny and lack of respect for his ethnic system is obvious in
the scenes.
The ‘launderette’ is shown as the symbol of new beginnings in Omar’s life. His
resolve for the relationship with Johnny is shown strengthening there only. Even
though the film shows the homosexual relationship between Omar and Johnny still it
is not homosexuality that has been shown as a big issue in the movie. In fact, the
fact that Omar is defying his father by not following the Pakistani tradition of marrying
a family member has been shown as a bigger issue than his sexual preference.
Omar’s character has been shown trying to showcase an assertive and powerful
portrayal but he is again shown to have paradoxical emotions when he is torn
between the emotions of revenge form his relatives and his affection for Johnny.
My Beautiful Launderette thus gives no definitive understanding of Omar’s emotions
and leaves them as contradicting. The movie even though establishes realism of
social emotions like any other movie genre such a romantic comedy where the
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lovers overcome quarrels and family issues to live happily ever after but still the
undertones of a homosexual relationship takes it far away fromthe generic ‘happy
ending’. Thus, the movie through the protagonist, representing the ‘black’ brings
about the support to the ‘common interests’ of the ilk. It breaks away from the pre-
defined notions of realism and presents reality as conflicting, relative and
fragmented. It also shows his own struggle to ascertain his identity amidst the ‘hybrid
identities’ attributed to him. Thus, through such contrasts the film depicts the
paradoxical nature of identity torn between two different worlds.
Thatcherism and the Political Scenario
Thatcherism is a coherent political ideology and a set of policies implemented by the
Thatcher government. This encapsulates the social, cultural and economic policies
put forward by the Conservative party leader Margaret Thatcher. Her policies favored
a privatized, market oriented economy working with least interference from the
government i.e. ‘minimum governance’. Under her a breed of risk taking and
confident entrepreneurs came up who wanted to maximize wealth and welfare, well
supported by the government policies. She had a neo-liberal perspective towards
identity of an individual believing in the right to self-determination of one’s life. Her
policies were a break away from ‘one nation’ conservatism, focusing on the ever
widening gap between the rich and poor, to what is called as “New right”.
The shake-up of the status quo stirred through her policies was not well received by
the left. But they had no worthy manifestations or alternatives of her policies. The
‘left’ in the Britain of 80s thus, proved to be completely incapable of presenting an
alternative to the Thatcher government even though it vehemently resented at the
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policies of the Thatcher government, which were decisive and convincing. This weak
political path of the Left has been incorporated through the portrayal of Omar’s father
who is not only physically weak but also in an emotional meltdown due to the loss of
his wife. The relationship between Omar and Johnny is not only a homosexual
relationship but it has cut across many layers and prejudices of the society. It cuts
across caste, race, class, religion and sexuality as presented in the imperial Britain.
Thus, it is anti-thesis to Thatcherite politics which was trying to glorify and make the
imperial past of its nation memorable and hence it presented a challenge to the
British national identity under the Thatcher government.
The film time and again has tried to bring about the friction between the Thatcherite
and Asian ethos through Omar’s and Johnny’s character and also through the
father’s character, to an extent.(Fuller, 1988) But these two distinct, yet issues
central to the film, have commonality in regards to aspects. Firstly, the role that they
play in the understanding of the economics framework for private business and how
not relying on state resources for private businesses work out. Secondly, the
imperative role of a family in the development of not only an individual’s identity but
also for the community as a whole.
Another aspect of Thatcher’s administrative policies was the boost given to
entrepreneurship. The film takes a take on the entanglement of education and
entrepreneurship, questioning the importance of each in presence of other. Omar’s
character has been shown to have the ignition of an entrepreneurial mind who is kind
of forced to work at the launderette. Although reluctant prima facie, he sees that as
an opportunity to quench his ambitions of doing something of his own and asks his
uncle to let him take care of the launderette. However, his entrepreneurial desires do
not go well with his father who with his typical Asian mindset emphasizes on the
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need of education. And since this prevented Omar from completing his education,
his father is shown to be not too enthusiastic about it. Thus, it emphasizes that in an
attempt to maximize wealth and satiate their craze for money, young entrepreneurs
cannot be seduced by Thatcher’s policies i.e. Thatcherism and let the education take
a back seat.
Conclusion
The essay aimed at addressing the issues of homosexuality with queer theory,
hybrid identities through a discussion of post-colonial identities and their
contradictions, political undertones to cultures through Thatcherism, gender and
masculine sexuality through the narrative of homosexual relationships and also the
racial friction and cultural prejudices in post-colonial Britain, all with the backdrop of
Hanif Kureishi’s My Beautiful Landerette. It has been attempted to analyze the
intermingling of two different cultures-Asian and British. The film as mentioned has
tried to present the contrast in the way the immigrants and their next generation
relate with and view their native culture. The essay through the mention of narratives
from the film has been able to tell that second immigrant generation does not relate
with its Asian identity as their parents did and wanted them to.
The film addresses the different identities (hybrid) attributed to an individual and his
conflict to carve out an individualistic identity. The many identities problem has been
stated through the conflict in Omar’s character when we talk about his many
identities with reference to his sexuality, ethnicity and culture. The central character
has conflicted with but later accepted his many identities.
The essay can conclude that gender politics was equally affected by the post-
colonial policies as well as the ‘homeland cultures’ of immigrants. The post-colonial
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