Crossposted on Feminist Review.
The repressive, corseted Victorian culture of the novel found a perfect foil in the rigid caste strictures of Indian society. (The Times, 27 April 2009)
Parminder Nagra in Compulsion (2009)
Nesrine Malik’s scathing review of the ITV drama Compulsion got me thinking a lot more about modern day adaptations of pre-20th century literary works featuring ethnic Indian actors. She has fair enough reasons to be perturbed: it seems that when diversity is presented on British TV, what’s served up for a wider, mostly white audience are actually tired stereotypes of overbearing family members, arranged marriages, and the ever recurring theme of honour and shame. Oppressive family values have become the only representative force for British Asians in the media.
The impetus for disaster in Compulsion begins with Parminder Nagra’s character Anjika, who flatly refuses a marriage arranged by her dad, sending out all sorts of warning signals to women out there who disobey The Great Patriarch. The one person who knows of her troubles happens to be her sleazy chauffeur, Flowers (played by Ray Winstone). He offers to ‘fix’ her potential suitor in exchange for one night of sex with her, which she later, tearfully, accepts. So far very Indecent Proposal.
This leads to her discovering how great sex with Flowers is, sealing her doomed fate. But with every tryst she demands of him, we are made to feel diminishing sympathy for her, and somehow more for Flowers, as he is by now treated as a sex object(!). Murder and a spontaneous yet elaborate cover-up ends with Flowers dead, leaving Anjika happily off the hook to marry her secret White boyfriend. The end.