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Everywhere and Nowhere
R2 - United Kingdom - Icon Home Entertainment Review written by and copyright: Jon Meakin (3rd October 2011). |
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The Film
 When asked where he comes from, Ash (James Floyd) replies, “everywhere and nowhere”. Everywhere being that he was born in the UK to a traditional Pakistani family where his older brother, Ahmed (Alvy Khan), is his guardian and who encourages him to embrace his heritage. But nowhere because he's a teenager, trying to find a direction in life, preferably to be a DJ and mix with his friends, eschewing his traditional and strict upbringing. The story of a teenager trying to please his family and follow his ambition at the same time is an old one, but always relevant and perhaps more so for this current generation of Asian youth. Ash considers himself British and more importantly, his is possibly the first Asian generation that is largely accepted as British, so the story refreshingly has almost no racism agenda outside of his older brother’s ignorance. The conflict comes not from the community refusing to accept Ash (on the contrary, his friends encourage him), but from his brother assuming the community is the same one he grew up in suffering persecution. His success as a small business man has made him arrogant and elitist. He still has a “them and us” attitude, so he assumes Ash must follow him into that business and keep away from the filthy nightclubs. In fact, it seems to be to keep away from anyone who isn’t Pakistani. The theme extends to Ash’s sister (Shivani Ghai), who despite encouraging Ash to be proud of his talent, nevertheless is in an inter-racial relationship with Ronnie (Simon Webbe) that she can’t bring herself to reveal because the family wouldn’t accept him. And the idea of family loyalty is further explored in Ash’s friends, Zaf (Adam Deacon) who is streetwise, but devoted to his ill father, and Jaz (Elyes Gabel) who sleeps around, yet is talking about accepting an arranged marriage as the easy option, therefore possibly exploiting the very traditions he otherwise seems to rebel against. Finally there is Ash’s cousin Riz (Neet Mohan) who is impressionable and being seduced by extremist ideas. That was an interesting angle that could have been built on more, but it’s let down by a dreadful cliché of a scene, the only time the film feels truly clumsy. Riz is pulled over for no reason by a policeman (Dexter Fletcher), who is such an unlikely stereotype, you think the film must be poking fun at him and the idea that Asian youths get stopped by police on a whim. Yet the scene then validates the police action because they find leaflets in the car! It needed Four Lions confidence to make that work. Any notions that the film had lost its way though, are forgotten during a fantastic club scene, where Ronnie gives Ash a chance to DJ. It’s exhilarating stuff and revitalises the story as Ash’s ambition is now validated. Music is a big part of the film throughout, as you might expect, and it all comes together here. Menhaj Huda is not an overly ambitious director and he keeps focus on the characters and story. The narrative is straightforward and borderline naïve, predictable in many ways, but the quality cast treat it honestly and make it easily watchable. The relationship between Ash and his various family members (including Shaheen Khan and Art Malik) is very well realised. Alvy Khan is particularly good in an awkward role to judge as the brother. The supporting cast of friends vary, but Elyes Gabel stands out (some may recognise him from his long stint on Casualty) especially in a very funny scene on a cricket pitch. Katia Winter brings confidence to the role of Ash’s love interest and her scenes always seem to bring a spark to the story.
Video
Menhaj Huda has photographed the film in an anamorphic widescreen ratio of 2.35:1, which gives the urban look a little more character than the typical 16:9 such dramas usually choose. The DVD is consistent, but the contrast occasionally suffers from harsh colours. Still, it’s a good looking film.
Audio
There is a choice between Dolby Digital 2.0 stereo and 5.1 surround tracks. The difference seems to be mainly in the music and it’s a highly recommended choice. While dialogue is clear and well presented, the film comes alive every time the soundtrack kicks in. Even if the club scene isn’t your favourite, it gives the story a good, unique atmosphere. As they say in the interviews, the same story could have been told with Ash in a rock band or something, but it wouldn’t quite work the same way. English subtitles are selectable, though occasionally there are also burned in subtitles for scenes with the family.
Extras
There are interviews with Menhaj Huda, James Floyd and Adam Deacon, while a more generalised behind the scenes explores the casts own experiences growing up as British in an immigrant family. There is also a piece on how the music was created, largely featuring the musical consultant, a DJ called Nerm, whose interest in the film was piqued because of his own similar background. All these features average about 7 minutes each. Finally, there is a remix of the theme by a “competition winner”. There is no explanation of what competition this was! Good value for those that enjoy the music though.
Overall
Without any hint of hyperbole, Everywhere And Nowhere had potential to be as relevant to this generation of Asian youth as Billy Liar did to the post-war teenager. It also stands as a more optimistic companion to This Is England or Trainspotting, not to mention undermining the cynicism of My Beautiful Laundrette. It just isn’t sharp enough to match up to those previous films, but hopefully that won’t matter to the target audience and they’ll take it under their wing. It deserves such attention. The extra features expand on what was clearly an important production for those involved.
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