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Dirty Pretty Things 2002 |
Review by Jonathan Cornwell |
Directed by Stephen Frears
R, 107 min. (sexual content, disturbing images, language) |
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Starring: Chiwetel Ejofor, Audrey Tautou, Sergi Lopez, Sophie Okonedo, Benedict Wong, Zlatko Buric, Kriss Dosanjh
Producers: Robert Jones, Tracey Seaward
Screenplay: Steve Knight
Cinematography: Chris Menges
Distributor: Miramax Films
Released: 7.18.03 (Limited) |
Rating:
 (out of ) |
Director Stephen Frears has a fascination with the unfortunate in society, specifically the lower class worker in the form
of illegal immigrants searching for a new life in a better country. His penchant for poignant character studies became
apparent after his early films and a couple of American films, The Grifters (1990) and High Fidelity (2000);
he also helmed another film, Liam (2000),
about a young boy from an emigrant family struggling to survive a growing disdain for his family's presence in the community.
Now he fashions one of his best films, Dirty Pretty Things, which is his darkest, most searing commentary on the
plight of many illegals who must do society's dirty work in order to survive. His characters toil in London's heterogeneous
underground, enduring humiliation and disgust in order to somehow gain citizenship (whether by illegal or legal means).
He combines elements of the thriller and comedy genres to provide one of the most thought-provoking films of the year.
The characters are as disparate as their backgrounds. Okwe (Chiwetel Ejofor), a Nigerian doctor in exile, works two
jobs - a cab driver during the day and a hotel clerk at night - in order to make ends meet. He is currently provided shelter
from his friend, Senay (Audrey Tautou), who herself is struggling to make it through each day. According to her immigration
status (she is from Turkey), Senay cannot rent space in her apartment or take any job - she has done both. So it's
no surprise when the authorities come calling, threatening to deport her. Meanwhile, Okwe has stumbled onto a shady
organ donor business within his hotel, run by his boss, Sneaky (Sergi Lopez), who offers illegals $10,000 for a kidney
in exchange for a forged passport. So, when Sneaky learns of Okwe surgical skills, he offers him a deal that is difficult
to turn down, despite its moral implications. And when Senay becomes involved in the underground business, he must
choose between his conscience and a new lease on life.
Frears presents London's illegal class as hard-working and honest, looking for the right opportunity to break into a better
life. Their employers prey on their predicament, sometimes demanding sexual favors or demeaning work in exchange
for keeping silent about their presence in the community. It's obvious that Frears argues that these type of workers
are necessary to keep economies in these international cities thriving, and that forcing them to endure such lifestyles is
morally repugnant. Of course, in the post 9/11 world, security has become paramount for every city government, especially
in places such as London, Paris, and New York City. As a result, illegals have little choice but to stay the course until
their opportunity arises. Unfortunately, many of those "opportunities" come at a very high price.
At the heart of Dirty Pretty Things is the burgeoning, but unspoken, love between Okwe and Senay. She is eager
to take the next step (she is a virgin and sees a husband in Okwe), but Okwe has a secret past that keeps him at arm's length.
As their situation becomes desperate, his intentions and feelings for Senay cannot be ignored, thus his ultimate decision
to trade one principle for another. Chiwetel Ejofor and Audrey Tautou (Amelie) provide heartfelt performances,
fully inhabiting their characters' sad eyes and state of helpless dillusion. Their chemistry is palpable, and they help Frears
communicate a much larger issue than simply a love story. Supporting work by Sophie Okonedo (a local prostitute) and
Benedict Wong (Okwe's coroner friend) further reflect the crises that faces even those who befriend illegals.
Dirty Pretty Things won't appeal to everyone, yet has a real world authority that bolsters its characters and
the sometimes shocking situations that they find themselves in. The film's resolution rings true, avoiding the all too
common trap of convenient, neatly wrapped conclusions. Frears sees his characters as somewhere in the middle,
managing escape from societal exile to one of muted anticipation for things to come.
© 2003 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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