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What do you get when you combine desperation, a search for home, and heartbreak? You find a surprising tale of love, loss, and resilience on the streets of London. In Dirty Pretty Things we find a Nigerian doctor working as a night porter, a Muslim Turkish woman working as a housekeeper, and a Hispanic hotel manager working as an organ broker. We also find a world of depict, a world where tough decisions with no right answers are made on a daily basis. At it’s heart, Dirty Pretty Things is a movie about immigrants, the desperate situations they face, and those who try to take advantage of them. But it is also a story of resilience, of love, and of trying to be good in a bad world. This movie portrays a strikingly diverse world, centered around the Baltic Hotel, where all of the main characters work. The one thread which seems to tie them all together is desperation and a desire to avoid entanglement with the law. Here we find Okwe (Chiwetel Ejiofor), a night porter and cab driver who was a doctor back in Nigeria. We also find Senay (Audrey Tautou), the Muslim housekeeper who is trying to hold on to her faith and dignity while making her way in London. We also find Juliette, a prostitute and Ivan, a doorman. Everyone has a story, and nobody is there by choice. One thing that becomes quickly apparent is the lack of power held by those …show more content…
In addition, it perpetuates the trope of the Muslim woman as acquiescent, as someone who needs rescue, who needs liberation. Fortunately, this movie did not stoop to the level of a dramatic uncovering of the head, representing the ultimate liberation of a former wearer of the hijab. But having Okwe, the more qualified, more composed man sweep in and try to make everything better does still perpetuate this stereotype. Still, as the movie rolled towards its conclusion, this unlikely duo of Okwe and Senay had my unquestioning
Now a major motion picture, this novel contained the true story of a man named Louie
One of Sultana Yusufali’s strongest arguments in “My body is my own business” is her scrutinization of the exploitation of female sexuality. Initially Yusufali writes about the injudicious individuals that assume she is oppressed by her hijab. Thereafter, she describes them as “brave individuals who have mustered the courage to ask me about the way I dress”. Moreover, Yusufali’s word choice is intriguing as she utilizes the word “brave” when laymen hear this word they habitually associate the aforementioned with heroic, valiant and courageous. Consequently, Yusufali ensues to comprise her opinions on the hijab and how it carries a number of negative connotations in western society. Furthermore, Yusufali proceeds to strike on the importance
In the film “Bordertown”, the protagonist, Johnny Ramirez ultimately finds solace, happiness and satisfaction in the aftermath of his own failure. If one were to believe the notion that we are all at a fixed station in both life and society, then the Mexican protagonist’s ambitions and their disastrous outcomes would only serve to bolster this opinion. This is, however, what the film “Bordertown” attempts to convey to its audience. As Johnny Ramirez ambitiously sets out, attempting to acquire material success, in the world outside of his neighborhood, he finds only offers of wickedness and corruption. His final retreat back into his barrio is where he finds goodness and love. This film, then, suggests that not only should Ramirez not have bothered in his undertaking, but that any venture outside of one’s own “station” or “place” would put that person out of his or her natural element. The results of this can be dangerous or disastrous. The film’s message is clear: Stay where you belong.
Anelle Dupuy, played by Daryl Hannah, is a young woman straight out of beauty school and trying to start over in a new town after her husband mysteriously disappears, along with most of her belongings. Last but not least, we have Ouiser Boudreaux, played by Shirley MacLaine. She is abrasive, eccentric, rude and “richer than God”. She also happens to be my favorite character in the movie. The chemistry between these great actresses is what makes this movie one of the best, if not the best I’ve ever seen.
It is no secret that there is an obvious difference of how women are portrayed in the media versus men. This movie discussed female characters never having lead roles and stated that when they did it ended in the women depending on, loving, or having to have a man. One young high school girl said, “Women never play the protagonist. The girls are
In the novel She and in the stories of The Arabian Nights, both Haggard and Haddawy explore the expanding gender roles of women within the nineteenth century. At a time that focused on the New Woman Question, traditional gender roles were shifted to produce greater rights and responsibilities for women. Both Ayesha, from Haggard’s novel She, and Shahrazad, from Haddawy’s translation of The Arabian Nights, transgress the traditional roles of women as they are being portrayed as strong and educated females, unwilling to yield to men’s commands. While She (Ayesha) takes her power to the extreme (i.e. embodying the femme fatale), Shahrazad offers a counterpart to She (i.e. she is strong yet selfless and concerned with the welfare of others). Thus, from the two characters emerge the idea of a woman who does not abide by the constraints of nineteenth century gender roles and, instead, symbolizes the New Woman.
By chronicling the journey of this immensely talented young girl, the documentary explores the current issues of immigration and homelessness in America in a strikingly personal way.
The Underground Society: Critical Analysis of ‘Dirty, Pretty Things’ Natassha Quemi 500713356 Ryerson University The movie ‘Dirty, Pretty Things’ directed by Stephen Frears set in London, UK in the early 2000s is a movie that serves reveal another side of London society, the invisible in society, the ones who help run the infrastructure that the higher class relies on. However, these individuals often go over looked and face much abuse by those who know they are in need. The movie sets the spotlight on a side of London which takes a backseat to the well-known tourist attractions London is most known for (Hovet, 2006).
Ever since the beginning of time, women have been looked at as possessions, items of pleasure, and lesser than men. These views are often skewed by a corrupt society that is driven by masculinity and power. The movie Arabian Nights and the stories in The Thousand and One Nights, show a unique perspective of the roles of women in a Muslim society. Some of the stories portray women as disobedient wives, beautiful slaves who are always eager to please men, and as prisoners isolated from the real world. The main character, Scheherazade, decided to challenge these standards and fight for freedom, as well as love.
Okonkwo’s fear of unmanliness is kindled by his father, who was a lazy, unaccomplished man. Okonkwo strives to have a high status from a young age and eventually achieves it. He has a large family, many yams and is well known throughout the village for his valor. He raises his family by his mentality of manliness and is ...
As an Arab American, a Muslim and a woman writer, Mohja Kahf challenges the stereotypes and misrepresentation of Arab and Muslim women. Her style is always marked by humor, sarcasm, anger and confrontation. “The Marvelous Women,” “The Woman Dear to Herself,” “Hijab Scene #7” and “Hijab Scene #5” are examples of Kahf’s anger of stereotypes about Muslim women and her attempts to fight in order to eradicate them, in addition to her encouragement to women who help her and fight for their rights.
Okonkwo is one of the respected leaders of his village. When a man from a neighboring village kills one of the women from Okonkwo 's village, a peace settlement requires the son of the man who killed the women to come live in Okonkwo 's village. Unfortunately, a decision is made to kill the boy. After the boy dies, Okonkwo accidentally kills Ezeudu’s son. For his crime, the village determines he must spend seven years in exile to appease the gods.
His goal throughout the film is only to reunite with his daughter and because of that Okwe adjusts some of his own personal laws to reach his goal. Since this film is shot in a chronological order, viewers can watch how Okwe is portrayed early in the film compared to late in the film. The goal of reuniting with his daughter determines his entire way of thinking throughout the film. In the first scene of the film, Okwe eludes to his distrust in the system when looking for someone who needs a taxi, “I’m not here to meet you in particular, but I am here to rescue those let down by the system. (00:01:10)”
Okonkwo is a self-made man. He achieves greatness through his own hard work and determination. Okonkwo started his life without the benefits that other young men had. His father, Unoka, was a lazy man. He had acquired no honorary titles. When Unoka died, Okonkwo did not inherit any barn, title, or young wife. He merely acquired his father’s debts. Therefore, Okonkwo sets about to make a name for himself and to achieve greatness in his community. He diligently plants and harvests his yams, building a farm from scratch. He builds a large commune for his family. He marries three wives; one of them was the village beauty. He acquires two titles. Okonkwo is not a failure, like is father was. In Umuofia, “achievement was revered”, and Okonkwo’s achievement was immense (8). He was “clearly cut out for great things” (8). To the Igbo people, Okonkwo epitomizes greatness and success.
The drama surrounds the story of a young woman called Anowa who disobeys her parents by marrying Kofi Ako, a man who has a reputation for indolence and migrates with him to a far place. Childless after several years of marriage Anowa realises that Kofi had sacrificed his manhood for wealth. Upon Anowa’s realisation Kofi in disgrace shoots himself whiles Anowa too drowns herself.