YASMIN
UK, 2004, 87 minutes, Colour.
Archie Punjabi, Renu Setna, Steve Jackson.
Directed by Kenneth Glenaan.
Winner of the Ecumenical Award in Locarno, 2004, and then winner of the Templeton award for best European film, Yasmin is a timely picture of inter-racial life in Yorkshire.
Yasmin herself, played with vivacious charm by Archie Panjabi, lives in two worlds. She works at a social services organisation and blends with the accepted British ways. She then changes back into her Muslim dress as she goes back home to her Pakistani background. Her father is a devout man but an embodiment of patriarchal traditions. Her brother is a local drug-dealer just waiting to be recruited by militant organisations. Her husband, part of an arranged marriage, is inept.
The film shows this double life taking its toll on Yasmin. Ordinary relationships, celebrating and going out, less constrained dress and make-up are part of the world she goes out to. At home, she is covered, dutiful, modest – and angry. The film makes its point about double standards for men compared with the restrictions on women.
Then comes September 11th, 2001, with devastating consequences in terms of suspicions and bigotry against any ethnic group that might be thought of as potential terrorists. When her family is victim of a brutish police raid and she spends time in a cell, though there is no reason for it, it leads to a re-thinking of where she stands as a woman, as being of Pakistani origin, as a Muslim.
In the light of the London bombings of July 2005 and along with films like Love + Hate and Red Mercury which deal with all these issues, Yasmin should be seen and talked about, especially in Britain.
1.A Yorkshire film? A British film? Pakistanis in England? Muslims in England? Race issues? Religion issues? Terrorism issues – especially after September 11, 2001?
2.The Yorkshire town, the suburbs, the locations, the homes and streets, social work centres? The Yorkshire countryside and dales? The musical score? Authentic atmosphere?
3.The title, the focus on Yasmin herself, at home, the husband with the arranged marriage, his laziness around the house? Her changing clothes, her different appearance, the social work, her friends, the work with John? Her work with clients? Her moving from one world to another? The divisions in her life – her ability to cope? The film as a journey into greater consciousness of her Pakistani and Muslim background? The picture of Yasmin in the United Kingdom, her attempts at integration, going to the pubs, clothes and make-up? The contrast with the police coming to her home, her being taken, the interrogations, the cell? Her change of attitudes? The final step of her journey with the traditional clothes, going to the mosque?
4.The realistic approach to film-making, the film-maker observing the realities of Yorkshire life? The symbolism of the divided way of life for Pakistani British citizens? The possibilities for openness, for change, for dialogue?
5.The portrait of Yasmin at home, her clothes, her relationship with her father, his severity? Her relationship with her husband – accepting him, contempt? Her work at home, the dutiful daughter? Her relationship with her brother, her relationship with the neighbours?
6.The contrast at work, her presence, efficiency, British style, her friends from work, their celebrations in the pub? Her working with people? The growing friendship with John – and his coming to her home?
7.September 11, people watching it on the television, the immediate reactions, the reactions of the police? The blame attributed to Muslims, to Pakistanis? The phobia? Fears of terrorism in Yorkshire? The effect on people, relationships?
8.Yasmin’s husband, at home, lazy, the arranged marriage, with the goat? The suddenness of his arrest, its effect on him, in jail?
9.Yasmin’s brother, lazing around at home, drug dealing, the thugs and confrontations? September 11, his listening to the leaders, the urging for consciousness about Islam, terrorism? His change, going to the rallies? Yasmin’s reaction to him? Not supporting him? His leaving home, going to Asia – his future? As a terrorist?
10.Her father, the patriarch, his traditional style, dominance, arguments? The way he related to his son, to Yasmin? Talking or not talking? The effect of his son’s leaving, of Yasmin’s arrest? His changing – the possibility of mellowing?
11.Yasmin after September 11, the hurt by people’s treatment of her? Her attempt to integrate, the dress, the make-up, drinking vodka? Her friends, at the pub, their reaction?
12.John, his personality, his liking Yasmin? The visit, helping with the washing up? The police, the arrest, the treatment? The subsequent behaviour? His breaking with her?
13.The police, the interrogation, the presumption that Yasmin had information? Putting her in the cells? Her reaction? The copy of the Koran?
14.Yasmin getting out, the attitude of the police and the inspector? Her waiting for her husband? The train ride, support of him, the change?
15.The credibility of her change? Her future? Consciousness of her heritage?
16.The film directed by an Englishman, co-written by an Englishman? The importance of this kind of story for England, for the north? For Pakistani British? The prejudice, action? The unscripted sequences where the old lady and the man apologised in the street? How fair was the film, its exploration of identity, traditions? Consequences?
