Movie Yasmin Essay

Yasmin is re secernable as a photograph for its cinematic economy non a ikon, beam of light or lyric is wasted. Explore some elements of the get in relation to this statement. The characterisation Yasmin, released in 2004 and written by the highly acclaimed writer of The Full Monty, Simon Beaufoy, is an impressive compete period about what it means to be an Asian-looking Muslim in Britain of the 21st Century. The bosh is about the young and vivid Yasmin, a woman who tries to succeed, by the scrape of her teeth,1 in the both worlds she grew up in.On the unitary hand at that place is her liveness at home with her believing bring and rebellious little brother, for whom she has to mark time as a dutiful Muslim wife until her act marriage give the bounce be terminated. 2 On the other hand t here(predicate) is her look out grimace this domesticity, where she is like a fugitive, maintaining a double smell as she changes into Western frock, wins employee of month awar d at work and goes to the pub with colleagues. 3 One of the main topics of the movie is the laborious tension in the midst of world a religious and detectful woman and integrating into the Western society.Another of import theme in the movie is the electrical shock that the terror attacks in family 2001 had on the British Asian community in Britain. Yasmins apologue whence deals with a wide range of themes such as discrimination, guilt, and the build of searching for ones own identity. It is especially remarkable as a photo for its cinematic economy (since) not a guess, centering or speech is wasted. There be no fill-ups in this movie, every(prenominal)thing has a meaning. This essay depart explore some c atomic egress 18fully chosen snapshots of the movie concerning its sometimes hidden or masked intention and meaning.It impart therefore especially concentrate on the set out scene, which is regarded as being the strongest federal agency of the sprout4. A clo ser look at the spread of the film is worth it since every well composed novel or film is creating a turn oer relationship between the seed and the rest of the movie. It provide be examined in the following, that additionally in the case of Yasmin the directors develop a consistency, a pattern of the main themes of the film, in the beginning.Everything is already there in the very low gear three and a half minutes things shown in the open reappear later in the movie conflicts the film deals with nates already be assumed in moves, placements, and pictures. It entrust be turn out that, if taken into account every specific, every shot of the scene, the knockout will already be able to play the completely film in miniature in the beginning. The essay will therefore as well arrive at a closer look on what is shown in the opening scene and will then search for coherences and connections by means ofout the rest of the movie.It will herewith not go with the scene chronolog ically except will pick up separate shots of it and put them together in categories although it will start with the first shot to which the spectator is introduced in the movie. When Khalid, Yasmin? s father, lopes everywhere a typical grey English street followed by Nazir, Yasmin? s brother, a few step behind him, Nazir? s bearing strikes the ravisher presently the way he creeps a few steps behind his father with the hands in his pockets expresses discouragement, maybe even irritation.He seems to be unhappy with the situation, possibly because it? s too early in the morning, since calm beams of sunrise upright touch the wall behind them possibly because he dislikes the purpose of their walk. His father, however, hastens to raise this purpose in his hurry he turns or so to see where his son has got to. It becomes clear that it is the father who controls the situation that he is the attracter whom the son has to follow. So apart from the obvious, the authority person walkin g in front might tell the attestator something about the relation between father and son.One could even go further and suggest it might too tell something about their attitude towards life, about their religion, about the way the operate of the family is treated in the Islam faith. The scene therefore implicates the parental respect of which is set value in this family. How important this topic is to Yasmin? s father Khalid becomes to a greater extent and more clear during the course of the movie he repeatedly calls for respect towards the parental authority over his children. When Yasmin is complaining about her husband and gives him wound names, Khalid repreh closes her immediately and stresses his will with a slight slap.He even repudiates Yasmin when she dares to apply for a divorce against his will. So the attestant already gets in this very first scene, in the very first seconds, an initial impression of what domestic life in this family is about about respect and family ties. The two move on and finally arrive at the mosque, which is gated by a metallic blind. later onwards abandoning their shoes, Nazir and Khalid enter the interior of the mosque and in doing so they pace over a formidable political machinepet in a remarkable red. It s admirable how strikingly this little scene influences the movie? s atmosphere later on the grey and dusty outside of the mosque with its bleak stone-walls and metallic blinds covering the entrance, the sweetheart sequential gets an impression of the inside the gay, silver, shining red carpet. The jump is a quiet astonishing little jiffy the greyness outside opposes the bright shining colour of the capacious carpet these seemingly little concourse are crossing ( adenosine monophosphatelified by the way the scene is shot with domestic fowl? eye view). Inside the mosque the lulu gets a sense of richness, a glimpse on the whole usage, an idea about the Islam faith. The scene is not bonnie remarkable beca use of its visual orchestration, plainly also in introducing the viewer to this huge and rich religion and the way it sees the world. Later in the beginning scene there is a shot that shows the grey and grim wall of a Yorkshire stone house in the front, again contrasted by the beautiful outlines of the colourful mosque in the background.The two absolutely diametric styles of architecture supporting abutting to a nibble other implicate a huge imagery the mosque as a symbol for the tradition and a stonewall which symbolizes the here and without delay, indicates how the life of the Muslim people in Great Britain stands side by side with the traditional life of the British natives. This deliberate expression of a coexistence of the two traditions is an expression of crossing cultures at its best in this movie, and at this item of the movie it also stands for a successful integration of the Muslim tradition into the British society.This impression is furthermore stressed during th e course of the beginning scene the mosque is using modern techniques it is using the loudspeaker, the microphone, so a lot of quite a modern technology. Satellites are shown. Here the movie is not only supposing the age culture of Islam against the modern British culture of science and technology but goes further it brings it together. There is an interchange going on here through what the viewer sack up hear (the singing of Nazir) and what he can see (the loudspeakers and satellites).By bringing these aspects together at the same time the fusion becomes immediately clear to the viewer. In another shot of the beginning scene the viewer observes the vivid life of the Muslim community that is taking place in the streets of the townspeople. Even though one quickly might suggest that this shot might be just a fill-up it, in fact, goes further the viewer here gets an impression of what the life in this Muslim community is like. The reason for that is that later in the film, after th e 11th of September 2001, the same streets are depicted deserted, isolated, dead.Whereas the beginning scene expresses the successful integration of the Muslim tradition into the British society, the contrasting scene in the middle of the movie now stands for the failure of this coexistence, for the loss of community. The remarkable contrast of this two scenes is to illuminate Muslims change magnitude disenchantment with Western society5 after the terror attacks. So it now comes clear that nothing in the movie is there without reason covering a typical East-Asian community in a British town is not a fill-in but is a part of the whole effort of later showing a community being disrupted. postcode in the movie is wasted.One of the most impressing returning scenes of the movie is Nazir singing in front of the microphone. Also this theme is introduced in the beginning scene after watching the film the first time, the peaceful scene in the beginning immediately reminds the viewer to th e very last scene in the movie, when Khalid, the father is putting in a tape into the recorder as an substitute(a) for the son. This final scene has a huge impact on the viewer since one here really realizes that Nazir has gone off and will not come back. It is therefore a really tragic little moment it is emotional even though there is no actor playing the emotion.What is on the first glance less striking but not less important is that the image of the son singing comes back three times during the course of the movie in the beginning, in the middle, and in the end. It runs through the film like a red thread in the beginning it is, as said, introducing not only to the family? s religion but also to the family background itself. In the scene in the middle of the movie Nazir, beforehand he starts, coughs as if he smoked too much. Since the viewer knows that he started indulg(ing) in petty drug dealing and consorting with local girls6, it seems as if he became corrupted by what he is doing with his life.His coughing therefore is again not without meaning but stands for Nazir? s life becoming more difficult to handle. The returning scene is a marker in the film and each time it means something different in the beginning it is quite straight forward, in the middle it appears as a comment for what happened to Nazir and his life, and in the end it is tragic since he is gone and will neer come back. So as a major thread end-to-end the movie the scene with the singing Nazir displays the different states the movie and its protagonists are currently in. A equivalent red thread s the theme of back and clothes that recurs throughout the film and, again, the theme is already introduced in the opening. By watching Yasmin changing her clothes hidden by one of the typical grey stone-walls one gets an impression of this girl transforming herself into another person. Yasmin makes an enormous effort of putting herself into the trousers, since they are really too tight. She tries hard to plump herself in, she even has to jump up and down. The connection is easy to make this movie is about someone who tries to fit in with two different worlds, tries to force herself in.So here the choice of fabulously tight trousers simply indicate what Yasmin really wants she wants to make herself fit. If something returns deliberately, a number of times, during the film it becomes a symbolic act when Yasmin for example dresses up to churn up against her father later in the movie, it symbolizes Yasmin? s wish to break out, to be able to be herself. In the end of the film she switches to traditional Muslim clothes, since she is at this point of the movie staying in the side of the traditional. Here the clothes express how a religious thought became fixed and hardened. Dressing here becomes a signifier for her state of mind.Since it returns later in the movie some(prenominal) times it always tells the viewer something when it comes to clothes. So by following how the dressing in this movie changes throughout the plot one gets a square impression of how the state of Yasmins mind changes with it. The clothes are never chosen without reason in Yasmin, there is an intention in every piece the actors wear. Even though it is just a little detail it strikes the viewer and is therefore very well-thought. So after Yasmin changed her clothes she turns over to her car and plays around with it she locks and unlocks it with her remote control several times.This car is, as Yasmin later in the movie declares, not a ? t. p. car, a ? typical paki-car, but a sporty, feminine little cabriolet in an outstanding red. With this car, she wants to separate herself from those typical Pakistani people, and, even further, wants to declare her emancipation it gives her a life away from her husband and her home7. By acquire this car she is able to show herself and everybody else that she is different, what makes it an act of almost deliberate despair. just on the other hand, by playing around with the car, she expresses her excitement.She does it simply because she can. This gives the viewer a sense of how she is playing with things she owns, how she creates the parts of the world around her she can control in the way she likes it. The motif also returns later in the movie, after 9/11 Yasmin gets in the car and there is a news report on the radio about the terror-attacks. Yasmin? s response is as playfully as in the beginning of the movie she just puts a CD in, and listens to the music. She does simply not want to think about, does not want to care. The viewer gets an impression of the ambiguity of Yasmin? life, of how difficult it must be to live in two different worlds, to create her life successfully around the different expectations the people she deals with have of her. The last shot of the opening scene in the movie depicts this challenge in a deliberate way it shows the long, small, winding road Yasmin has to take twenty-four hours by da y to drive to work and back. This road is the connection of the two worlds she lives in it is a connecting thread between not only two different locations but two different worlds. Yasmin is having this journey this transformation, this struggle every day.By driving over this street she is migrating from one world to another and she has to transform herself before she is fulfill with the migration, since she changes her identity day by day. Furthermore the road is connecting the two different worlds as well as dividing them. That becomes clear through the visual impact of this shot the road is crossing the whole screen and Yasmin and her little car have to follow its way through the landscape it deliberately makes the viewer ask how long will it take her? And how long will she stand this?The struggle of balancing two separate worlds in quest to delight (a) conservative family, without sacrificing the obvious advantages of the Western environment8 is depicted as gentle and rich in detail in the movie Yasmin. It is the beautifully gain opening, entirely without dialogue for a good few minutes, (that) is the strongest part of the film9 as it, as shown, already gives the whole of the movie, its main conflicts, themes and topics in miniature. Although this is a primarily visual scene, dialogue, if employ in the movie, is very effectively non a scene, shot or speech is wasted. But the dialogue is used economically and not in the opening it is a visual opening in general, Yasmin is a visual movie. Every scene, every act, every piece of clothing has a meaning. As the director of the movie, Kenny Glenaan himself, says obviously the beauty is what you can do within the frame and some people are astonish at doing that. 10 Bibliography Dilks, Richard, Yasmin, in Close-Up Film, 2003, http//www. close-upfilm. com/reviews/y/yasmin. htm Docherty, Alan, Yasmin Kenny Glenaan, in elaboration Wars, 2001, http//www. culturewars. org. uk/2004-02/yasmin. tm Glenaan, Kenny , in a BBC Interview, last updated in September 2004, http//www. bbc. co. uk/films/festivals/edinburgh/yasmin. shtml Jennigs, Tom, Tom Jennings essay on cinema representations of European Asians & Muslims, 2005, http//libcom. org/library/ae-fond-kiss-dir-ken-loach-yasmin-dir-kenny-glenaan-head-dir-fatih-akin-film-review The Hindu Magazine, creation Asian, Muslim and British, Online edition of Indias National Newspaper, 2003, http//www. hindu. com/mag/2004/11/14/stories/2004111400270200. htm &8212&8212&8212&8212&8212&8212&8212&8212&8212&8212&8212 1 .Docherty, Alan, Yasmin Kenny Glenaan, in Culture Wars, 2011, http//www. culturewars. org. uk/2004-02/yasmin. htm 2 . Docherty, Alan, Yasmin Kenny Glenaan, in Culture Wars, 2011, http//www. culturewars. org. uk/2004-02/yasmin. htm 3 . Docherty, Alan, Yasmin Kenny Glenaan, in Culture Wars, 2011, http//www. culturewars. org. uk/2004-02/yasmin. htm 4 . Dilks, Richard, Yasmin, in Close-Up Film, 2003, http//www. close-upfilm. com/rev iews/y/yasmin. htm 5 . Docherty, Alan, Yasmin Kenny Glenaan, in Culture Wars, 2011, http//www. culturewars. org. uk/2004-02/yasmin. tm 6 . Jennigs, Tom, Tom Jennings essay on cinema representations of European Asians & Muslims, 2005, http//libcom. org/library/ae-fond-kiss-dir-ken-loach-yasmin-dir-kenny-glenaan-head-dir-fatih-akin-film-review 7 . Dilks, Richard, Yasmin, in Close-Up Film, 2003, http//www. close-upfilm. com/reviews/y/yasmin. htm 8 . The Hindu Magazine, Being Asian, Muslim and British, Online edition of Indias National Newspaper, 2003, http//www. hindu. com/mag/2004/11/14/stories/2004111400270200. htm 9 . Dilks, Richard, Yasmin, in Close-Up Film, 2003,