Courtesy of Channel Four Television

Originally shot for television in six weeks on a low budget, My Beautiful Laundrette (1985) was directed by Stephen Frears, from author Hanif Kureishi's first screenplay. Originally shot on 16mm, it was so well received by critics at the Edinburgh Film Festival that it was internationally distributed for cinema on 35mm. Heralded as one of Britain's most commercially and critically successful films of 1986, it earned Kureishi an Oscar nomination for Best Screenplay.

My Beautiful Laundrette was ground-breaking in its bold exploration of issues of sexuality, race, class and generational difference. It also sparked controversy, particularly within the Asian community, which was disgusted by its perceived degrading representation of Pakistanis. At a New York demonstration by the Pakistan Action Committee, banners called the film "the product of a vile and perverted mind".

Much of the outrage was targeted at the homosexual affair between Omar and Johnny, whch develops from a genuine mutual fondness through the buzz of sexual experimentation, before hinting, at the end, at something deeper. On the way, it survives several obstacles, including Johnny's racist connections and Omar's resentment.

The film highlights a dilemma at the heart of the immigrant experience - the desire to belong to Western society while maintaining a clear sense of Pakistani identity. The two brothers, Nasser and Papa, demonstrate this cultural conflict. An ardent intellectual socialist, Papa belongs to old school Pakistan because, like most first generation immigrants, he believes fervently in education combating racism and is vehemently against the greed and conservative economics of Thatcherism.

Nasser, however, has largely abandoned his immigrant roots, toasting "Thatcher and your [Omar's] beautiful laundrette". He has deserted eastern traditions in favour of money, success, and a white mistress. Despite this, Nasser retains many Asian ways: returning to his rancorous wife and attempting to arrange his daughter's marriage.

Kureishi writes characters for what they are rather than what they represent, and while he may dislike his character's actions, it is evident that he is fascinated by their humanity. It is for this reason that we are able to grasp the underlying truths of My Beautiful Laundrette, often ambiguous and contradictory, sometimes obscure, but hauntingly resonant, even today.

My Beautiful Laundrette's international success helped establish Channel 4's fledgling feature film production arm, Film on Four, and confirmed a move away from television single drama. The Frears-Kureishi collaboration continued with Sammy and Rosie Get Laid (1987).

Shalini Chanda

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