Such a frustrating disappointment

Pretty good movie overall. First half was nothing special but it got better as it went along.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

"My Son the Fanatic," writer Hanif Kureishi and director Udayan Prasad's 1997 film about Farid, an English-born Pakistani boy who becomes a devout Muslim who firebombs a brothel, is a train wreck. Its art is shoddy and its politics are repugnant. But Om Puri as Parvez, the taxi- driver father of the fanatic son, gives a performance that is solid gold. Rachel Griffiths, as a prostitute, is brilliant. Parvez (Om Puri) is a taxi driver in a depressed English mill town. He befriends Bettina (Griffiths) a prostitute. He works for a monstrous German sex tourist named S---t. Parvez's son, Farid, is engaged to the lovely Madeline Fingerhut, daughter of the chief of police. Farid breaks off his engagement and becomes the Muslim "fanatic" of the title. Parvez tries to stop his son's fanaticism. He also enters into an affair with Bettina, the prostitute, who loves him. "My Son the Fanatic" struggles to combine several disparate themes and subplots. It is never successful because it never probes deeply enough into any of its material. The film ends ambiguously; the viewer has no idea how any of the story strands will resolve themselves. The two most powerful features of the film, the only real reason to see the film, are Om Puri and Rachel Griffiths. They are very different and they are both powerhouses. Om Puri feels like a beating heart. He is totally believable, irresistibly lovable, and charismatic. Puri had smallpox when he was two and his face is cratered. These scars just make you stare at him all the more.Rachel Griffiths is perfect as Bettina, the stereotypical "hooker with a heart of gold." She's smart, and she's in pain. In spite of their age and culture differences, Parvez and Bettina's love is completely believable and poignant. It's clear that Parvez's wife Minoo is not providing him with passion, respect, or either emotional or physical intimacy. She calls him a "useless idiot," and at one point it appears she may leave him to go back to Pakistan. While Parvez resists his son's fanaticism, Minoo supports it. You really want to know – can a man fall in love with a prostitute? Parvez's friend Fizzy reminds him cruelly that Bettina has been penetrated by thousands of men. Could Parvez ever get over that? Could Parvez and Minoo separate in a way that worked for them both and spared them both great pain? Could Bettina settle down with one man? Could the couple survive the disdain of respectable people? Again, the chemistry between Parvez and Bettina is so compelling you really want the film to attempt to answer any of these questions. In fact, it answers none. Sadly, Parvez and Bettina are merely Hanif Kureishi's little wind-up toys. He has zero respect or affection for his own characters. Kureishi created Parvez and Bettina just to make his own, repugnant, political point. They are agitprop. With the exception of Madeline Fingerhut, who is on screen for about 120 seconds, every last Westerner the innocent Muslims encounter is a racist, a prostitute, or a monster. The thrust of "My Son the Fanatic" is this. Innocent, decent Pakistani Muslims immigrate to England and are confronted by orgies, naked women selling their bodies in the streets, racism, violence, and booze. The film is graphic and disgusting. There are gratuitous scenes of Bettina being used by her johns. The German sex tourist S– is depicted abusing men and women and hosting orgies. There is no logic in this; this man is shown to be ridiculously wealthy. A sex tourist with that kind of money would not travel to some grim northern English mill town. S–-, the German sex tourist for whom Parvez works, is named after feces. He is utterly disgusting. There are graphic scenes of his exploitation of Bettina. Later, she is shown with bruises from his beatings. He also beats Parvez. When Parvez goes out, he is cruelly mocked by an English comedian. There is no other English life depicted in "My Son the Fanatic." Not a single English person is kind to children or animals. The English are all violent, sexually perverse, racist scum. Farid becomes a fanatic after Madeline's father is rude to him. "You are the only pig I've ever wanted to eat," Farid tells his future father-in-law. All this graphic perversion is thrust into the viewer's face to emphasize: innocent, decent Muslims are forced by Western ugliness to become terrorists.Okay, let's rejoin planet Earth, shall we? On May 21, 2013, the BBC reported on 54 separate child sex slave rings in England run by Pakistani men. The descriptions of the activities of these gangs are nightmarish. Western Civilization did not corrupt these men; their corruption was already installed. And as for the charge that racism forces otherwise innocent men to become fanatics; please see Tamerlan and Dzhokhar Tsarneav, two beloved, funded, coddled, immigrants who arrived in the US as "refugees." The refuge the US gave these men was used by them to murder innocents. The London Times named Hanif Kureishi one of "The 50 greatest British writers since 1945." Given the shoddiness of the plotting and characterization of "My Son the Fanatic," and its skewed politics, one has to wonder why.

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

After hearing about the terrible London blasts, which happened just a few days ago, the first thing which came to my mind was this movie. I watched a few years ago and loved it. Doubtless, I don't agree with B24: this is not a comedy at all, and it's nothing to share with "East is East". This movie is extremely forward-looking, not only because it – somehow – anticipated the "Clash of Civilization", but also because it gives you an extremely good description of all the difficulties that the first generation of Western-born people have to face.The character has to face reality: he is sure that he will never be able to be a real British (Western) citizen: despite his father's efforts and open-mind, the guy is too young to realize that if you don't accept yourself first, you will hardly find out people ready to welcome you. This is why he finds it more convenient (and much easier) to be surrounded by other Pakistani people. Among all the characters, the portrait of the "Imam" is very good: he is shown as an hypocritical man, always ready to blame the West, but still living in the UK, where he can get anything he wants: women, sex, movies… all those same things that – he says – are supposed to represent our flaws. But perhaps these people must forget something: despite their words, we're not afraid!

Comedies featuring Asians in Britain have met with much recent success . BEND IT LIKE BECKHAM was an international hit while EAST IS EAST was a big hit at the British box office . MY SON THE FANATIC came out a couple of years earlier than the aforementioned comedies and fails to hit the funny bone An Asian taxi driver forms a platonic bond with a prostitute while his son becomes more and more of a Muslim fanatic . The problem with this is that the story tries to say too much on the dangers of racism , religious fundamentalism , assimilation and that we all have the same basic needs despite our differences . I also got the impression that the movie didn't want to offend sensibilties too much , but there's a scene featuring a nasty and racist comic which is somewhat sickening . Needless to say the comic is white ( A Bernard Manning clone ? ) and his target is Asian . As has been mentioned MY SON THE FANATIC has taken on special signicance post 9/11 but this makes it an even more uneasy watch I will praise the cast which includes Om Puri as the Asian taxi driver who's son is becoming more and more fanatical and mixing with the wrong crowd . Puri gives a sad and haunting performance . Rachael Griffiths who I'm sure is going to become a big name soon gives a performance as a prostitute while Stellan Skarsgaard proves as always that he's the most convincing actor to have come out Europe for many years .