My Beautiful Laundrette

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Cast & Crew

Daniel Day-Lewis
Johnny

Gordon Warnecke
Omar

Saeed Jaffrey
Nasser

Roshan Seth
Papa

Derrick Branche
Salim

Shirley Anne Field
Rachel

Rita Wolf
Tania N. Ali

Souad Faress
Cherry N. Ali

Stephen Frears
Director

Hanif Kureishi
Writer

Tim Bevan
Producer

Sarah Radclyffe
Producer

Stanley Myers
Original Music

Ludus Tonalis
Original Music

Oliver Stapleton
Cinematographer

Mick Audsley
Film Editing

Debbie McWilliams
Casting

Hugo Luczyc-Wyhowski
Production Design

Lindy Hemming
Costume Design

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News & Interviews for My Beautiful Laundrette

Audience Reviews for My Beautiful Laundrette

• Feb 15, 2015

  I have seen this film on several "100 Best Films" lists (well, for sub-genres), but I just don't get it. Other than having progressive social messages, there's little that keeps the film from being a complete washout. The acting is not impressive -- and indeed, the main star (Warnecke) has an impenetrable, silly smile for no reason throughout the film, even when a smile is completely out of synch with what's going on around him. The cinematography, editing, sound and everything else technical sinks to the level of your typical 1980's "B movie". Even the opening credits are ineffective novelties, with titles spinning around like they're going down the drain with the rest of the movie. And the writing! Nothing is adequately explained other than the point that both Pakistani immigrants and blue collar street toughs perceive themselves to be disadvantaged by each other. Romances and sexuality issues come out of nowhere and subsequently disappear without even seeming to register on Warnecke's silly grin. I wouldn't recommend this movie to anyone other than film historians who care about its influence on 1980's British cinema because it sure ain't enjoyable otherwise.
  Christian C Super Reviewer
• Aug 27, 2010

  Within the context of film history, this film is surely important as a pioneer in discussion homosexuality in a straight-forward, even endorsing, manner. But I can't help noticing that the dialogue is stolid and expository. Additionally, the gay relationship is not adequately set up. We get no looks of longing or attraction between Omar and Johnny; they rather suddenly kiss. No matter the sexuality of the relationship, the audience needs some clue about the characters' objectives. With Warnecke's performance, it is almost impossible to tell anything about his character's emotional life because during much of his screen time he has a plastic, "I-smile-just-because" grin, which often belies the events going on around him. Finally, we get a lot of generalized complaints about "this country," and the anti-Pakistani sentiment is revealed, but is this only what the complaints refer to? I shouldn't have to ask this question. I think the biggest surprise about this film isn't the gay relationship but the fact that this was nominated for Best Screenplay.
  Jim H Super Reviewer
• Sep 14, 2009

  Had to watch it for a film class. Might not have watched it otherwise.
  Jennifer D Super Reviewer
• Jun 08, 2009

  Stephen Frears's 1985 film is a testament for a group of confused, irreverent middle to lower class youths of the Thatcher years in London. The characters of My Beautiful Laundrette are young, they have nothing to do, they want to do something... but they don't know when, or what to do. Above all, they want out of the niche. They want money. The epicenter is Omar, the son of Pakistani emigrees. He's constantly harassed by a group of skinheads, who can't understand why Johnny -who is white- hangs out with him more than he does with them. So not only are Johnny and Omar adrift and lacking a definite social circle, they are also romantically involved, which doesn't incite much approval either. They are pretty much alone in their quest for stability and success. This is what the film is about. A slice of their daily lives, and how Omar wants to start working at his Uncle's laundrette and turn it into the fanciest laundrette in the area. And make money. Johnny helps him. They overcome some of the obstacles, the frowning, and the pressure to take a more 'normal' path and split up, but when the film ends it is obvious the trouble is not over and never will be. I have never understood MBL as a generalization of the Thatcher years, especially considering how specific the conditions of the characters are. Of course, it must be parting from a generally uniform view of the social climate, but I would hate to suggest it reflects an entire society. However, that doesn't make the story any less important. A general knowledge of the average, slightly fundamentalist Western man is enough to understand how realistic the attitudes of harassment towards Omar and Johnny are. Therefore, although so specific, the film addresses real issues. So if you're not in for some critical thinking it's better you don't watch it. Omar and Johnny's relationship is both same gender and interracial, and it's interesting to see ourselves react before this scenario. Every film that takes on gay or racial issues is bound to be provocative. Although I personally didn't learn anything with MBL, mainly because I have no problem at all with anything, I admire how naturally the film explores controversial themes. I guess what truly struck me is that the "questioning" doesn't feel forced. It's also an interesting watch for any enthusiasts of Daniel Day-Lewis like myself. He had not worked much before (was this his first film?) but the magnetic screen presence is there as much as ever. MBL is an easy-going film with much more depth than it appears to have. You just flow with it and get to know Omar and Johnny. You yell at them for being so stupid sometimes, and you laugh with them on other occasions for being so clever. It is not the best film I've ever seen, but one of the most involving... yes.
  Elvira B Super Reviewer

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