In early 1970s England, a Pakistani father finds the authority he has previously maintained challenged by his increasingly Anglicized children.In early 1970s England, a Pakistani father finds the authority he has previously maintained challenged by his increasingly Anglicized children.In early 1970s England, a Pakistani father finds the authority he has previously maintained challenged by his increasingly Anglicized children.
- Won 1 BAFTA Award
- 16 wins & 14 nominations total
Storyline
Did you know
- TriviaThe drawing of a penis with a foreskin that Saleem shows his brothers and sister proved unexpectedly difficult. Chris Bisson can't draw so an artist was commissioned to sketch the object in question, but upon seeing the finished result, it was quickly decided that it looked too odd. It transpired that the artist was in fact circumcised and had no familiarity with foreskins, so the cast and crew were asked if anyone could draw and would like to volunteer his penis. Fortunately, one of the set photographers fit both requirements.
- GoofsIn the film they constantly use the term "shillings" when referring to prices and money. Britain adopted the pounds and pence decimal system on 15 February 1971, and over the next year or two ditched the shilling and pence currency. In the film's opening scene the caption reads "Salford, Manchester, 1971," and after the eldest brother runs out on his wedding a second caption, in the second or third scene, then reads "six months later," meaning that Britain had changed over the currency, so when one of the brothers keeps begging his mum for 10 shillings, etc., it might sound factually incorrect, but there was a changeover period and use of both currencies was permitted. Shilling coins remained legal tender and in circulation for many years; the sixpence remained in circulation until 1980 for machines, but was removed from general use after 1973; conversely the 50 New Pence coin (worth 10 shillings) was introduced two years before decimalisation. People didn't stop using the word "shilling" for many years although by 1974, the use of old money had gone.
- Quotes
George Khan: ...when I come this country, I have no luggage. Today what I got?
Meenah Khan: You got a chip shop, Dad.
George Khan: Right. Own bloody business, see.
- Crazy creditsSpecial thanks to ... and all the residents of Openshaw.
- ConnectionsFeatured in Siskel & Ebert: Instinct/The Loss of Sexual Innocence/Limbo (1999)
- SoundtracksThe Banner Man
Written by Roger Greenaway, Herbie Flowers and Roger Cook
Copyright 1971, Cauliflower Music Ltd.
Performed by Blue Mink
Licensed from Trojan Recordings Ltd.
Featured review
low keyed comedy/drama
`East is East,' something of a modern day version of `Fiddler on the Roof,' explores the culture clash that occurs in the context of a half Pakistani/half British family living in early 1970's England. George Khan is a Muslim who, upon immigrating to Great Britain in 1937, married a British woman despite the fact that his first wife still lives in Pakistan. Now, twenty five years later, the still happily married couple lives in a small apartment with their daughter and six sons all of whom have been raised to honor their father's religion and traditions. Yet, like Tevye, George is suddenly confronted with the fact that, as times change and the world moves on, the younger generation will no longer abide by the archaic rituals of an ancient age. In many ways, this is the flip side of `Fiddler' in that here the reluctant marriage partners are sons and not daughters. For indeed, George's ultimate goal in life is to arrange marriages for his teenaged sons within the accepted tradition of the Muslim faith. But culture is often a force that parents try in vain to withstand and these children, raised in the far more open and liberated society of `mod' England, are not about to take such dictatorial parental control lying down.
In the script based on his play, Ayub Khan-Din provides an evenhanded and comprehensive view of the situation. George is not presented to us as an inflexible or unreasonable ogre, yet at the same time, he will, in his frustration, strike out even physically at the children and the wife who seem to oppose him. We sense the fear that runs through him that, if his sons are allowed to exercise their freedom in this one crucial area, the family will sever that connection with the past which brings stability to their lives. Thus, without any traditions to anchor them, George dreads that he and the family will be cut adrift in a seemingly rudderless world that suddenly seems in the 1970's to be in such great and terrifying moral flux. Moreover, we are left to ponder the strange contradiction between George's own words and the choices he himself has made. After all, his opting to marry a British woman who does not share the tenets of his faith obviously went beyond the bounds of the very traditions he is now so dogmatically insisting his sons uphold. This type of ambiguity within the characters enhances their credibility, for indeed life and the people we meet therein come replete with such maddening inconsistencies.
Khan-Din and director Damien O'Donnell establish an effective balance between low-key humor and occasionally searing drama. The relationship between the husband and wife who comprise this interracial marriage is complexly realized and fully drawn; the obvious difficulties the two have experienced as a result of the nonconformity of their union has obviously strengthened their devotion to one another and they appear to greatly enjoy each other's company. She has undoubtedly made any number of concessions and compromises to her husband's belief system, yet she has retained her British feistiness and knows how far to let George go before she draws the line, especially when it comes to protecting the rights and happiness of her own progeny. In a similar way, we see, in thorough detail, the complexities that make up the two very different sets of relationships between the respective parents and their children. Din and O'Donnell have, wisely, chosen to limit the scope of their film by downplaying the broader theme of how a suspicious and prejudiced society deals with so unconventional a marriage and family. We see only bits and pieces of this in the form of bigoted comments uttered by a disapproving neighbor and a mere mention of a political rally intended to rouse the populace on the issue of `repatriation.' Instead, the authors concentrate almost exclusively on the internecine struggles taking place within this one family. This helps to keep the scale of the film life-sized, thus enhancing our identification with the characters and their universal parent/child conflicts. For, in a way, the Khan family is really not undergoing any crisis not already familiar to countless families the world over, as parents cope with children eager to cut the filial chords and establish life on their own terms and as children, likewise, deal with parents who want to determine the course those lives will take. The Khans just happen to provide a more heightened and intensified view of this subject.
`East is East' is a small movie but an absorbing one. Thanks to uniformly excellent performances from a gifted cast and a careful modulation between humor and drama, the film emerges as a compelling and insightful glimpse into a life that is, as for all of us, so full of both terrifying and wonderful complexity.
In the script based on his play, Ayub Khan-Din provides an evenhanded and comprehensive view of the situation. George is not presented to us as an inflexible or unreasonable ogre, yet at the same time, he will, in his frustration, strike out even physically at the children and the wife who seem to oppose him. We sense the fear that runs through him that, if his sons are allowed to exercise their freedom in this one crucial area, the family will sever that connection with the past which brings stability to their lives. Thus, without any traditions to anchor them, George dreads that he and the family will be cut adrift in a seemingly rudderless world that suddenly seems in the 1970's to be in such great and terrifying moral flux. Moreover, we are left to ponder the strange contradiction between George's own words and the choices he himself has made. After all, his opting to marry a British woman who does not share the tenets of his faith obviously went beyond the bounds of the very traditions he is now so dogmatically insisting his sons uphold. This type of ambiguity within the characters enhances their credibility, for indeed life and the people we meet therein come replete with such maddening inconsistencies.
Khan-Din and director Damien O'Donnell establish an effective balance between low-key humor and occasionally searing drama. The relationship between the husband and wife who comprise this interracial marriage is complexly realized and fully drawn; the obvious difficulties the two have experienced as a result of the nonconformity of their union has obviously strengthened their devotion to one another and they appear to greatly enjoy each other's company. She has undoubtedly made any number of concessions and compromises to her husband's belief system, yet she has retained her British feistiness and knows how far to let George go before she draws the line, especially when it comes to protecting the rights and happiness of her own progeny. In a similar way, we see, in thorough detail, the complexities that make up the two very different sets of relationships between the respective parents and their children. Din and O'Donnell have, wisely, chosen to limit the scope of their film by downplaying the broader theme of how a suspicious and prejudiced society deals with so unconventional a marriage and family. We see only bits and pieces of this in the form of bigoted comments uttered by a disapproving neighbor and a mere mention of a political rally intended to rouse the populace on the issue of `repatriation.' Instead, the authors concentrate almost exclusively on the internecine struggles taking place within this one family. This helps to keep the scale of the film life-sized, thus enhancing our identification with the characters and their universal parent/child conflicts. For, in a way, the Khan family is really not undergoing any crisis not already familiar to countless families the world over, as parents cope with children eager to cut the filial chords and establish life on their own terms and as children, likewise, deal with parents who want to determine the course those lives will take. The Khans just happen to provide a more heightened and intensified view of this subject.
`East is East' is a small movie but an absorbing one. Thanks to uniformly excellent performances from a gifted cast and a careful modulation between humor and drama, the film emerges as a compelling and insightful glimpse into a life that is, as for all of us, so full of both terrifying and wonderful complexity.
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Details
- Release date
- Country of origin
- Official site
- Languages
- Also known as
- Схід є схід
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- £1,900,000 (estimated)
- Gross US & Canada
- $4,177,818
- Opening weekend US & Canada
- $53,569
- Apr 16, 2000
- Gross worldwide
- $4,177,818
- Runtime1 hour 36 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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