Honour (2014)
It
is thought that up to 12 honour killings happen each year in the UK.
Honour killings are violent acts of vengeance, committed by male family
members against female relatives who allegedly brought dishonour upon
the family. Refusing to enter into an arranged marriage, being the
victim of a sexual assault, seeking a divorce and committing adultery
are all valid reasons to sentence a family member to death.
Honour presents the story of Mona, a young and beautiful Muslim British girl who lives with her (originally Pakistani) family in London. Since her dad passed away, she has been sharing the house with her strict mother and her two brothers: Kasim, a policeman who tries to play the worthy head of the household, and Adel, the naïve younger brother. Mona is all but submissive; she works as estate agent, wears heels, refuses to wear a headscarf. It is thanks to her job that she meets Tanvir, a Punjabi colleague whom she falls in love with. Due to the fundamental incompatibility between their cultural and religious backgrounds, they decide for a reckless getaway. This is too much for her family to bear, and the film opens with what seems to be the ending, the same ending many young girls still endure: Mona is attacked by her family.
The plot unfolds in a non-linear way: many details of Mona's life roll on the big screen, all contributing to give depth to her doomed character. The expedient works only partially, making you wonder if this is just a trick to make up for the plot's lack of complexity. But the rhythm is engaging; the more we learn about Mona, the more we want her to escape from the gloominess that dominates her life. One of the main characters who cross Mona's path is Paddy Considine's (Hot Fuzz, The Bourne Ultimatum, director of the acclaimed Tyrannosaur) Bounty Hunter, hired directly by her mother to track her and bring her home; this is just one of many dirty affairs he settles for a living. "You understand: do what you must do", demands the tyrannical woman as she offers him a bundle of money. A sinister doubt arises: is this scene really taking place before the attack on Mona's life? Honour tackles a difficult topic that not many films have addressed before, and partially hits the mark. It tells a striking, riveting tale of hate and longing for freedom, and raises numerous questions on cultures that legitimise violence as a valid solution to problems. This is a harsh critique to both sides: Asian and Muslim culture, and the Western world's cult of money. Honour also hints at the possibility of redemption: Adel resigns himself to his family's demands, but he understands his sister's need for a different life; even the ruthless and shady Bounty Hunter starts questioning his priorities.
Both their roles, however, are hardly as substantial as the director, newcomer Shan Khan, may have intended. His choice to give a commercial appeal to the film spoils its credibility: by trying to soften the tone, he ends up watering down the story that kept us on the edge of our seats. It's only fair to doubt the authenticity of a project that exploits one of the most dramatic modern tragedies to create easy-going entertainment. Ironically, when the thriller plot kicks in, we can't help but wonder what happened to the interesting film we were watching half an hour earlier.
Honour presents the story of Mona, a young and beautiful Muslim British girl who lives with her (originally Pakistani) family in London. Since her dad passed away, she has been sharing the house with her strict mother and her two brothers: Kasim, a policeman who tries to play the worthy head of the household, and Adel, the naïve younger brother. Mona is all but submissive; she works as estate agent, wears heels, refuses to wear a headscarf. It is thanks to her job that she meets Tanvir, a Punjabi colleague whom she falls in love with. Due to the fundamental incompatibility between their cultural and religious backgrounds, they decide for a reckless getaway. This is too much for her family to bear, and the film opens with what seems to be the ending, the same ending many young girls still endure: Mona is attacked by her family.
The plot unfolds in a non-linear way: many details of Mona's life roll on the big screen, all contributing to give depth to her doomed character. The expedient works only partially, making you wonder if this is just a trick to make up for the plot's lack of complexity. But the rhythm is engaging; the more we learn about Mona, the more we want her to escape from the gloominess that dominates her life. One of the main characters who cross Mona's path is Paddy Considine's (Hot Fuzz, The Bourne Ultimatum, director of the acclaimed Tyrannosaur) Bounty Hunter, hired directly by her mother to track her and bring her home; this is just one of many dirty affairs he settles for a living. "You understand: do what you must do", demands the tyrannical woman as she offers him a bundle of money. A sinister doubt arises: is this scene really taking place before the attack on Mona's life? Honour tackles a difficult topic that not many films have addressed before, and partially hits the mark. It tells a striking, riveting tale of hate and longing for freedom, and raises numerous questions on cultures that legitimise violence as a valid solution to problems. This is a harsh critique to both sides: Asian and Muslim culture, and the Western world's cult of money. Honour also hints at the possibility of redemption: Adel resigns himself to his family's demands, but he understands his sister's need for a different life; even the ruthless and shady Bounty Hunter starts questioning his priorities.
Both their roles, however, are hardly as substantial as the director, newcomer Shan Khan, may have intended. His choice to give a commercial appeal to the film spoils its credibility: by trying to soften the tone, he ends up watering down the story that kept us on the edge of our seats. It's only fair to doubt the authenticity of a project that exploits one of the most dramatic modern tragedies to create easy-going entertainment. Ironically, when the thriller plot kicks in, we can't help but wonder what happened to the interesting film we were watching half an hour earlier.
Indonesian Subtitler : BACK IDs
Release Date : 4 April 2014
Genre : Thriller
Stars : Aisya Hart, Paddy Considine, Faraz Ayub, Shubham Saraf
Download Indonesian Subtitle :
Download Movie :
Visit to http://idfl.me/forum.php <-------- Register First
Tidak ada komentar:
Posting Komentar