GENERIC ELECTIVE : INTERNATIONAL
RELATIONS
MOVIE REVIEW
EAST IS EAST (1999)
"East is East," directed by Damien O'Donnell and released in 1999, is a semi-autobiographical
comedy-drama that explores the complex dynamics of a mixed-heritage family in the 1970s England.
The story revolves around a Pakistani father, George Khan, and his British wife, Ella, as they navigate
the cultural tensions arising from their marriage and the upbringing of their children. This film, while
presented through the intimate lens of family drama and humor, can be analyzed in the broader
context of international relations, particularly concerning multiculturalism, integration, and identity in
a post-colonial world.
This review seeks to explore the film's themes through the lens of international relations, examining
the implications of cultural exchange, identity politics, and the ongoing dialogues regarding
immigration and multiculturalism in the contemporary world. By articulating these concepts, "East is
East" serves as a microcosm of larger international phenomena and provides insight into the
complexities of identity in a globalized society.
Cultural Identity and Post-Colonial Britain
The film's setting in 1970s Britain provides a crucial backdrop for understanding the post-colonial
dynamics at play. George Khan, a Pakistani immigrant who runs a fish and chip shop, embodies the
complex position of former colonial subjects who became residents of the imperial center. His strict
adherence to traditional Pakistani values, particularly in arranging marriages for his children, reflects
a broader phenomenon in international relations: the intensification of cultural identity as a response
to displacement and migration.This tension between preservation and adaptation mirrors larger
debates in international relations about national sovereignty in an increasingly interconnected world.
George's insistence on maintaining Pakistani traditions within his British household can be seen as a
microcosmic version of nation-states attempting to preserve their cultural sovereignty amid
globalizing forces. from an international relations perspective, the film provides a microcosm of the
broader post-colonial tension between the former imperial powers (in this case, Britain) and their
former colonies (Pakistan). The migration of South Asians to Britain, particularly after the end of the
British Empire, resulted in a complex interplay between the new immigrant communities and the
broader British society. The children in East is East struggle to reconcile their British upbringing with
the expectations of their Pakistani father, embodying the dilemma of post-colonial identity.
The international relations theory of post-colonialism seeks to understand the political, economic, and
cultural consequences of colonialism and how these legacies shape the identities and power dynamics
of both the former colonizers and the colonized. In East is East, George Khan’s insistence on
preserving his traditional values and his frustration with the British society’s perceived disregard for
his culture reflects the broader post-colonial struggle for recognition and respect. His children, on the
other hand, embody the tensions of hybrid identities, caught between the expectations of their father’s
culture and the pull of British societal norms.
Transnationalism and Hybrid Identities
The Khan children represent a new type of transnational identity that challenges traditional
international relations frameworks. Their hybrid British-Pakistani identity demonstrates how
globalization has complicated the notion of fixed national allegiances. The children's struggle to
navigate between their father's traditional expectations and their British upbringing reflects a broader
phenomenon in international relations: the emergence of transnational identities that transcend
conventional state boundaries. This generational divide illuminates a key debate in international
relations theory: whether globalization leads to cultural homogenization or heightened awareness of
cultural differences. The Khan children's experience suggests a more nuanced reality, where new
hybrid identities emerge from the intersection of different cultural traditions. In the context of
international relations, intergenerational conflict can have significant implications for foreign policy
and diplomacy. The values and beliefs of a country's leaders can shape its foreign policy choices, and
generational differences can lead to shifts in national priorities. The film's exploration of this theme
offers insights into the complex dynamics of cultural transmission and its impact on international
relations.
Migration and Integration Politics
The film's portrayal of immigrant life in Britain speaks directly to contemporary debates about
migration and integration in international relations. George Khan's position as both a small business
owner and a cultural outsider highlights the complex economic and social dimensions of immigration.
His insistence on arranged marriages for his children reflects broader concerns about cultural
preservation in diaspora communities, a phenomenon that has significant implications for immigration
policy and international relations. The family's experiences reveal the limitations of simplistic
integration models. While George maintains strong ties to Pakistani traditions, his children's cultural
identity is more fluid and negotiated. These dynamic challenges conventional assimilation theories in
international relations, suggesting that integration is a more complex and multifaceted process than
often acknowledged. The migration of South Asians to Britain, which forms the backdrop of East is
East, provides an important entry point for discussing the impact of migration on both domestic and
foreign policy. After World War II, Britain saw a significant influx of migrants from its former
colonies, especially from India, Pakistan, and the Caribbean. These migrants came in search of better
economic opportunities but faced significant challenges in adapting to a society that was often hostile
to their presence.In East is East, the Khan family’s experiences with racism, discrimination, and the
struggle for acceptance reflect the broader challenges faced by immigrant communities in the UK.
From an international relations perspective, the film highlights the intersection between migration,
national security, and domestic policy. The British government’s approach to immigration in the post-
war era was often characterized by restrictive policies aimed at limiting the number of immigrants
from former colonies. This restrictive approach, coupled with economic recessions and rising
nationalism, contributed to a climate of hostility toward immigrants.
Multiculturalism and Social Dynamics
The film can also be contextualized within the framework of multiculturalism, a concept that
advocates for the recognition and celebration of diverse cultural backgrounds within a society. The
Khan family reflects a microcosm of Britain's multicultural society, which contrasts the realities of
diversity with the persistence of racial and cultural tensions. The discussions surrounding
multiculturalism are deeply intertwined with international relations. Nations grapple with how to
manage cultural diversity, often leading to policies that either embrace pluralism or promote
assimilation. In "East is East," George's authoritarian stance towards his children's cultural upbringing
can be seen as a reflection of broader socio-political challenges and tensions that arise when
immigrant populations confront the dominant culture. The film’s exploration of these themes
resonates with the contemporary context of multiculturalism in Britain. Issues such as community
cohesion, racial identity, and the integration of immigrant cultures remain hotly debated, highlighting
that while the immediate narratives of "East is East" are situated within the Khan family, the
implications have far-reaching resonance in international discourses on multicultural societies.
From a realist perspective, this tension is a reflection of the challenges that many Western nations face
in balancing the rights and identities of immigrant communities with the need to maintain a cohesive
national identity. The children’s struggle to assert their British identity while still being tethered to
their Pakistani heritage mirrors the tensions that arise in international relations when national borders
become porous to migration and cultural exchange. The film thus raises questions about the limits of
multiculturalism and the challenges that multicultural societies face in reconciling individual cultural
identities with a collective national identity.
The Clash of Civilizations?
One of the most famous theories in international relations is Samuel Huntington’s "Clash of
Civilizations," which argues that future conflicts will be shaped by cultural and religious identities
rather than ideological or economic divides. Although East Is East does not explicitly engage with
Huntington’s thesis, it provides a nuanced portrayal of the cultural and identity-based conflicts that
may underpin such a "clash."The film presents George Khan’s worldview as one deeply rooted in the
idea that Pakistani and British cultures are irreconcilable. He believes that to preserve his cultural
identity, he must impose his values on his children, especially his sons, who are expected to conform
to traditional norms. This perspective reflects a cultural essentialism that has been a central point of
contention in debates about multiculturalism. In contrast, the younger generation of Khans, while still
respectful of their heritage, navigates a more fluid identity. They are British by virtue of their
upbringing but also remain connected to their Pakistani roots. This divide between father and children
highlights the tension between cultural preservation and integration, a theme that resonates with the
larger political discourse on immigration and multiculturalism in Western countries.In the context of
international relations, this clash between George and his children mirrors broader societal debates
about cultural assimilation. For many politicians and policymakers, the question of how to balance the
integration of immigrant populations while maintaining national cultural integrity is a complex and
contentious one. East Is East dramatizes the personal dimension of this struggle, demonstrating how
deeply cultural values influence individual and family decisions, while also showing the potential for
reconciliation when understanding and empathy replace rigid, dichotomous thinking.
Power Dynamics and Cultural Hegemony
The power dynamics within the Khan household mirror larger international relations patterns.
George's authoritarian parenting style, particularly his attempt to control his children's marriages and
cultural practices, reflects broader questions about cultural hegemony and resistance. His children's
various forms of rebellion – from secret relationships to rejection of arranged marriages – parallel
resistance movements against cultural domination in international relations. The film's portrayal of
these family conflicts provides insight into how power operates at both micro and macro levels. Just
as George's children find ways to resist his authority while maintaining family ties, nations and
cultures often negotiate complex relationships of resistance and accommodation with dominant global
forces.
Gender and International Relations
The treatment of gender in "East Is East" connects to feminist perspectives in international relations.
The experiences of Ella Khan (George's English wife) and her daughter Meenah highlight how gender
intersects with cultural identity and power. The arranged marriages George attempts to orchestrate for
his sons reveal how gender roles and expectations can become battlegrounds for cultural
authority.This gendered dimension of cultural conflict speaks to broader feminist international
relations theory about how gender shapes global politics. The film demonstrates how personal
decisions about marriage and family become sites of international political struggle, particularly in
immigrant communities.
From an international relations perspective, the film’s depiction of gender and race offers insight into
how power dynamics within both domestic and international spheres are often shaped by race and
gender. George Khan’s authoritarian control over his family can be seen as an expression of racialized
power structures, where racial identity and gender roles are often tied to notions of authority and
control. His insistence on traditional gender roles, such as forcing his daughters to adhere to strict
notions of femininity, further complicates the film’s exploration of identity, power, and migration.
Moreover, the film’s portrayal of racism, both within the immigrant community and from British
society, speaks to the ways in which race and ethnicity are intertwined with national identity. The
Khan family is subjected to both racial discrimination from their British neighbors and internalized
racial prejudices within their own community. This dual experience of racism highlights how
racialized identities play a crucial role in shaping both the individual’s sense of belonging and the
broader social and political dynamics of migration.
Globalization and Cultural Flows
The film's 1970s setting captures an important moment in globalization history, when increasing
mobility and cultural exchange were transforming traditional societies. The Khan family's story
demonstrates how globalization operates not just through economic and political channels, but
through intimate personal and family relationships. The children's hybrid identities and cultural
practices show how globalization creates new forms of belonging that transcend national boundaries.
Their ability to move between British and Pakistani cultural contexts, albeit with tension, illustrates
the emergence of transnational social spaces that challenge traditional international relations
frameworks.
Perseverance and Transformation
At the heart of "East is East" is a story of perseverance and transformation. Despite the challenges
posed by cultural differences and identity struggles, the Khan family ultimately embodies resilience in
the face of adversity. In international relations, this resilience can be symbolized by the capacity of
nations and individuals to evolve, adapt, and forge new identities amid changing social landscapes.
The film ends on a note of ambiguity, reflecting the complexities of family dynamics and cultural
negotiations. The resolution suggests that while cultural conflicts may remain unresolved, the journey
towards understanding and acceptance continues. This mirrors broader international relations
narratives where, despite challenges, there exists the potential for collaboration, fostering
understanding, and building bridges across cultural divides.
By depicting a family's struggle to find common ground amidst cultural differences, "East is East"
mirrors the ongoing quest for peace and understanding in an increasingly polarized world. It
encourages reflection on how diverse communities can learn from each other, and how collective
identity can form from shared experiences and challenges.
Conclusion
"East is East" serves not only as an engaging exploration of a mixed-heritage family's life in 1970s
Britain but also provides valuable insights into international relations concepts. Through the dynamics
of cultural exchange, identity politics, and post-colonial reflections, the film engages with pertinent
questions of multiculturalism and social cohesion.
As societies grapple with issues of immigration, identity, and cultural belonging, "East is East" stands
as a poignant reminder of the ongoing complexities of living in a globalized world. Ultimately, the
film advocates for dialogue, understanding, and the recognition of multiple identities, urging viewers
to refrain from oversimplified narratives and instead appreciate the rich, intricate tapestries of human
experience that span cultures and borders. In doing so, "East is East" not only entertains but also
educates, offering vital reflections that resonate within the context of international relations today.
NAME: SHREELAGNA DUTTA
ROLL NUMBER: 2023/1202
COURSE: B.A. (HONS) GEOGRAPHY
