Hideous Kinky (1998) User Reviews

An Honest Movie

[gbheron · 7/10 · 23 February 2002]

A young English mother, Julia (Kate Winslet), packs up her two daughters, aged 5 and 7, moves to Morocco and embarks on a voyage of self discovery. Set in 1972, the film catches up with Julia and kids nine months into their trip. We're never told why she left London, but her artist-husband back home has just stopped providing the rent checks. This is putting a crimp in the self-awareness game. In the process of surviving and searching for Sufic fulfillment, Julia must also deal with her children's growing disenchantment with life in Morocco, and their desire to return to a stable, normal (and English) childhood. Family friction increases when she takes a young Moroccan lover, and a group of wealthy English ex-pats start second guessing Julia's childrearing abilities.

There is no big story here, no buildup of drama, and no real endgame. "Hideous Kinky" is a study of the family dynamics amongst this odd troupe. The acting is very good, especially the two children, and the on-location filming in Morocco is a treat. This film is definitely not for everyone, but if you are in to this type of movie, you should enjoy it. The single word that I would use to describe "Hideous Kinky" is 'honest'.

A simple, beautiful film

[jennifer-99 · 7/10 · 15 November 2000]

It has been quite a while since I saw this film (I viewed it in the theatres when it opened), but I read some of the negative user comments and decided to throw in my 2 cents.

I remember not having a clue what to expect as I walked into the theatre as I had heard nothing of the film and was accompanying a friend who wanted to see it.

I also remember being touched by the performances of all involved, especially Ms. Winslet and her lovely on-screen children. The scenery was beautiful and the story was a poignant journey into the life of a young family uprooted from their London home to travel to the Moroccan countryside. As the final scene ended and the credits began I remember sighing with enjoyment and satisfaction at an hour and a half of viewing pleasure.

While the movie will not appeal to everyone, I must say that it is nice to sit and watch a simple film that is not bursting with gore, nudity and profanity for a change.

A surprise treat!

meandering movie

[SnoopyStyle · 5/10 · 21 May 2015]

It's 1972 Marrakesh. Julia (Kate Winslet) moves from London to Morocco with his young daughters Bea and Lucy. The girls' father has another woman in London. They struggle waiting for the father's check to come in. Julia falls for acrobat street performer Bilal (Saïd Taghmaoui). She goes to study in Algiers with Sufi mystic Ben Said.

There is a meandering pointlessness about this movie. It doesn't have enough exotic style. The movie doesn't tap into a child's wonder. It doesn't have tension of surviving in a foreign land. Kate Winslet looks downbeat which somewhat fits her character. She may want to be someone looking for spirituality but she strikes as someone self-obsessed running away from her troubled home. She's more about her love life than taking care of her children.

Transporting

[tedg · 5 March 2001]

Spoilers herein.

The perfect movie for me does a few things. The first is that it should take me some place that I have never been: not just a strange location, but a perspective with exotic causalities. It should be deeply self-referential, in that the form of the cinematic vision should convey as much or more than the `story.' The images must captivate and flow, and a significant part of that is the image presented by the actors.

What stance they present is up to them, whether they charm or amuse or tease. But it must show deliberation and be consonant with the whole. My absolutely perfect film will be intelligent, and deal with some great ideas rather than fey emotions, but it is nearly good enough to be competently transported.

This is a nearly perfect film. It takes us to an era that some of us remember fondly but placed in a warm sensuous Morocco. What's so strange here is the film has a superstar, newly from `Titanic,' but she is there primarily to walk us through the environment. This is an expertly architectural film. Not arty, so much as giving a presence an enclosure that sometimes contrasts with an (unsheltering) sky.

It is deeply self-referentially wrapped: it has no goal, just an opportunistic drift. Nothing is resolved, nothing illuminated, no moral imparted. Just as it really was -- a large part of the transportation is to remove us from the need for linear narrative. Thankfully, this is not hammered home by the slight references to sufism.

These three: Kate and the two girls, are absolutely endearing. So without guile. It is a dangerous type of acting to act so open -- you need to be bigger than the part, which means more open than this totally open Julia. Small wonder Kate fell in love on the set. She is surely one of the best film actresses alive. It is especially appealing she chose this path, plus `Holy Smoke,' which can be seen as a companion film.

I wonder about how small children can act so. Bigger mystery than any special effect I've encountered -- the magic is greater. Makes the viewing somewhat dangerous if you yourself choose to be open.

The only flaw is that this is not about any great idea. But the strange thing is that it is about something we believed in the seed of our souls to be important at the time. Richie Havens!

A nearly perfect film.

It's easy going and exotic

[GiraffeDoor · 6/10 · 26 March 2019]

Sorting out my thoughts about this movie is tricky since I did read the book and it's hard to forget it.

The book has the distinction of being narrated by the younger sister and so a crucial part of the book's identity is lost. But I think this is for the best since it instead chooses to tell its story visually rather than use an annoying narrator to tell us what we can see. A first person novel is incredibly intimate while a movie (when made like a movie, not a book) has the advantage of a certain aloofness and there is something voyeuristic in the cool pacing and candour of this story.

There is a much stronger character in the mother here as someone on a quest for spirituality but not sure what kind of spirituality. The focus is on the family and isn't centred on the little girl so much.

The on location filming is beautiful even if it could have given us more in terms of local colour.

Overall I enjoyed this breezy movie about people on an indeterminate path in life and trying to find identity in exotic lands and how this doesn't turn out as will as you hope. The light touch is much appreciated and the sense of intimacy of the family is evident from their physical interaction. The little girl strolls dressed in nothing but underpants to cuddle with Mom; later she slides up close to Mum making love with her Muslim lover.

At it's core a little disquieting but ultimately warm experience.

Makes a change, at least!

["boz" · 6/10 · 26 September 1999]

I liked this film. I recall purchasing the Esther Freud novel a few years ago and I honestly must say that reading it was a pretty tedious affair; even for a novel, its pace was sometimes excruciatingly slow and its adequate use of character development greatly marred by the story's very weak plot. When I heard that director Gillies Mackinnon was producing a film adaptation of Hideous Kinky I had very large doubts. From reading the first few pages of the book, you could tell that this was not something that could be adapted to screen with ease.

Hideous Kinky (its mysterious title derived from the two girls' favourite words) is a semi-autobiographical story by Esther Freud, concerning her time in Morocco during the early seventies. Julia (Kate Winslet) and her two daughters Bea (Bella Riza) and Lucy (Carrie Mullan) have left London and Julia's husband (a character that is often talked of but intriguingly never seen) in order to move to Africa, living an unstable life in the north of Morocco. Soon Julia meets Bilal al Hamal (Said Taghmaoui), a poor man who works as a public entertainer and acrobat, with whom she soon falls in love. Life seems reasonably stable but very depressing and uncomfortable, and Julia's various attempts to find work are all flawed, forcing her to move and so leave Bilal and his newly found occupation behind. She attempts to become a Sufi in a Muslim monastery. However, upon her return she discovers that her eldest daughter has gone missing from the apparently reliable company of Santoni (Pierre Clementi) during her travels. She finds her in a convent school, later discovering that she is severely ill. Upon her recovery, the returned Bilal manages to sell a stolen item and therefore buy tickets for the family back to London in order for Bea to be treated properly.

The film is handled with masterful style, and is often a great improvement on the novel. Many scenes are cut shorter and sometimes deleted (as they should be with a film adaptation), the faster pace therefore rendering the plot more interesting. The visually clever and sometimes awe-inspiring touches that occur in the film throughout also add depth, as does the film's music, which effectively blends the traditional hippie atmosphere of the time with the country's hypnotic rural rhythms. What's more, the performances are first-rate all round, especially the two young actresses Bella Riza and Carrie Mulan (the film's real stars), playing the two daughters aged 6 and 8, Riza arguably the weaker of the two, but in no way discredited. The star presence, Kate Winslet, complete with long hair, bracelets and the usual hippie gear, makes you wonder at the fact that this was almost instantly filmed after the box-office smash, "Titanic," the contrast (especially in appearance) from the previous film is just one of the aspects of this film that illustrates how good an actress she is. Said Taghmauoi plays Bilal, his appearance is a little briefer than the other three characters. His deliverance of lines may be a little weak at times but his character and its background allows us to let it pass. Good supporting roles also from the likes of Abigail Cruttenden and Pierre Clementi.

Some may complain of the film's occasionally tedious sentimentality, but this picture gives us a pleasant rest from the usual Hollywood film full of unnecessarily foul language, gratuitous sex and heavy gore. Simply enjoy a wonderful film of style that deserves more recognition.

Not the Same Old Thing

[JimFK · 7/10 · 25 April 1999]

Nicely mounted flick, with near-astonishing performances from the 2 girls playing Winslett's daughters...a film that may seem to wander from time to time. But by the end you realize it's hit all its targets and made a memorable impression.

Meandering plot

[Bede · 7/10 · 16 February 1999]

This film can boast superb cinematography, excellent performances by all (the two children in particular), dense atmosphere ... but a meandering plot that had me looking at my watch with 15 minutes to go. Basically there was little suspense because there was no sense of direction in the film. It is a series of episodes rather than a coherent story. As a result the characters lack real lives, and there is little incentive to care much about them.

Finely crafted film with a weak story

[Nobody-27 · 3/10 · 4 September 2000]

I liked this film's tone, loved the acting, cinematography, but disliked the story.

The film is about a mother who is irresponsible towards her children and dependent on others while on a quest for spiritual enlightenment. As much as it may seem attractive that she is ready to give up on traditional values for the sake of freedom, this film showed a rebellious, immature and naive person falling in love out of desperation (with a person of dubious character) who's not capable of leading an independent and responsible life. By being the way she is, she looses the very freedom she's looking for. She also never realizes any of it.

Hardly anything inspiring or interesting about that.

Excellent, interesting, could have been even better

[uksigma · 7/10 · 19 June 2006]

A very good film, very well cast, Kate Winslet in fine form, Bella Riza acted with a great power for conveying emotion. Carrie Mullan was charming, and enabled all of the others to act off her. The set was excellent, the script seemed good but I felt was portrayed badly by the editing - however I have not read the novel, so this is a personal judgement call. A good film that could have been even better save for the fact I felt like I had missed bits due to the editing.

At times the disjointed editing helped to put across the disjointed experiences the girls were having, however at times it just felt like you had skipped a chapter.

Overall an excellent film and another example of a should-have-seen-but-hadn't-heard-of-it.

It never quite comes together.

[rhombus · 5/10 · 15 July 2000]

This movie has much that one would expect to enjoy, not the least of which is the lovely Kate Winslet. Many things about it are good, and all the performances are quite strong (again, including Ms. Winslet's).

But I didn't enjoy it. I'm all for long, slow, understated movies, but this one didn't make the grade. I suspect the problem was either the direction or the editing; I'm not sure which. Permit me to explain:

Movies that have a leisurely pace need to allow their events to "breathe" by surrounding more "dynamic" moments, if you will, with more tranquil ones. (Any of the better Merchant-Ivory films will provide an excellent example of this.)

This movie, however, suffers from being perpetually caught between calming down and taking wing. There's not enough happening to make it exciting in a moment-to-moment way, but there's too much happening to give one the same sense of scale that one gets in a true "leisurely masterpiece". Sometimes it's the soundtrack (which gets a bit much in places), sometimes it's the direction, sometimes it's something one can't quite put one's finger on. To put it differently, I don't think the film ever finds its rhythm, and as a result, the problems with the narrative and character motivation become far more of an issue than they would have been had the movie been better paced.

In any event, throughout the entire movie, something is amiss, and it's never put quite right. As a result, what could have been a great movie comes out muddled and jumbled, and leaves one feeling oddly unsatisfied and apathetic.

Warm and Colourful

[SaintNo1 · 8/10 · 15 February 1999]

Kate Winslet and her young co-stars are charming in this film. The children have some priceless scenes which are faultlessly acted and leave you wishing that you could encounter such vibrant children in real life instead of the ones prone to throwing tantrums in crowded shopping malls.

The story drifts all over the place - more of a string of events meandering along in search of a purpose, much like Winslet's character. The scenery is stunning, the colours of Morrocco vibrant and the glimpse into another culture is well executed. A fine film to watch if you want visual stimulation, but don't wish to concentrate on a complex story.

Good teaming of Kate Winslet and Said Taghmaoui.

[james362001 · 7/10 · 8 January 2002]

Spoiler: Well once again you have the makings of a good movie to watch and it doesn't end the way it should. The teaming of Kate Winslet and Taghmaoui is a good one and they are very comfortable to watch together. I realize this is only a small film but it could have become a bigger movie with a bigger storyline. (Spoiler) Oh how I wish the movie ended with Said going to London with Kate Winslet and the kids. Then it would have been a good feel-good therapeutic film to watch. Thanks for the revealing skinny-dipping scene of Said. I will continue to look for more films of Said Taghmaoui as well as Kate Winslet.

Hideously Boring

[wm-4 · 1/10 · 28 June 1999]

The main problem with this movie was that I was never given any reason to care what happened to these people. Their characters were all very shallow. The mother was clueless. The children were totally unreal -- always doing cute children things, but never going beyond that. The remaining actors were all cliches. The editing was random. The story was predictable; there was never any dramatic tension. Things just happened, and they reacted to them (or didn't). Who cares. At least the scenery was nice.

Kinky Holiday

[Chrysanthepop · 11 September 2009]

'Hideous Kinky' initially gives the impression of being a movie about a woman's adventurous and spiritual journey when it is actually about her journey to self-discovery. MacKinnon captures the landscape of Marrakech beautifully. The wild exotic culture looks authentic. The cinematography and music blend superbly with the overall mood of the film. The director makes the viewer feel like a silent observer and travelling companion of Julia and her children. I loved how her relationship with Bilal was portrayed as a beautiful friendship based on love, compassion, kindness and in the end, sacrifice. Kate Winslet does a phenomenal job once again. Said Taghmaoui does an equally convincing job but unfortunately, he still remains an underrated actor typecast in terrorist roles. It's a pity that Hollywood does not offer this actor much else to do. Child actors Bella Riza and Carrie Mullan deliver some of the better performances by child actors. 'Hideous Kinky' is an adventurous movie in the true sense of the genre. It's not an 'Indiana Jones' or 'Pirates of the Caribbean' type experience but rather something more layered, subtle and profound. Think of a kinky summer holiday about self examination somewhere exotic and less known.

Warm, charming and honest, but lacks tension

[DennisLittrell · 6/10 · 30 November 2000]

Kate Winslet (Julia) eschews the glamour here in favor of depicting a 25-year-old mother of two seeking adventure and enlightenment with the Sufis in Morocco (instead of with the yogis in India, as was once the fashion). The year is 1972 and Julia might be a welfare mother except that there's no dole and the locale is rather exotic. Having left her poet husband behind in London, rather than "share him," Julia seeks the annihilation of the ego, and the god within. What she finds (aside from the fact that she's a little too young for that) is Bilal (Said Taghmaoui), a Marrakech street performer of questionable character who speaks English and charms her and her daughters.

Beautiful cinematography combined with a steady effort by Kate and winning performances from Bella Riza (Bea) and Carrie Mullan (Lucy) as her pre-adolescent daughters, however, cannot quite save this slightly plotted, although always realistic tale, from the bargain video bin.

Too bad because there is something wonderfully charming and honest about this film. "Wow! Hideous! Kinky!" is what the girls like to exclaim (in their London accents) in reaction to their experiences in the world. When Bea, wise as only a seven-year-old can be, describes the women on the balcony as "prostitutes," so thick is her accent that only the context allowed this old Yankee's ears to comprehend. There is a little peek-a-boo nudity that might offend some, and yes Marrakech and environs look as clean and sparkling as an upscale suburban mall, and true the editing is jumpy and a little chaotic; but in the land of the whirling dervishes perhaps this is as it should be. Bea is the daughter who disapproves of mum's adventurous spirit and wants to be "normal" and go to school every day (reminding me of Cher and Winona Ryder in Mermaids (1990)), while younger daughter Lucy finds love in her heart for all, especially for mum's new boy friend, Bilal. Somehow she actually teaches him the beginnings of responsibility, while he shares with them the delight of being alive.

I think what carries this story (from the novel by Esther Freud–yes, a relation) and made it an attractive part for Kate Winslet is the fair and honest character of Julia who struggles to find herself while caring for two little girls, which is what it is like for all women. A woman cannot find herself alone. She cannot throw off the constraints and responsibility of being a mother, because those are HER children. So she must take them along where ever she goes and find with them whatever it is she seeks, and this is a burden and a delight, as this film, despite its shortcomings, clearly shows.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

Winslet Is Anything But "Hideous"

[jhclues · 7/10 · 14 March 2001]

Though the `Beat' generation of the ‘50s may have been the genesis of it all, there is no doubt that the ‘60s spawned an accelerated social upheaval like nothing that came before it. It was an era that was to become synonymous with uninhibited freedom and free love, as well as a quest for change and enlightenment on a variety of levels. `Hideous Kinky,' directed by Gillies MacKinnon, has it's roots in that ‘60s sensibility, but the story picks up in the early ‘70s in Marrakech, Morocco, where a twenty-five year old mother of two has come seeking not only enlightenment, but a means to effect the `annihilation of the ego.' Kate Winslet stars as Julia, who has left her home in London behind, as well as her children's father, in order to pursue her quest for spiritual freedom. But, as often happens when reality sets in, that quest becomes something of a trial in itself, as life becomes a matter of living hand to mouth, depending upon the generosity of others-- in many cases strangers-- and unfortunately at times putting not only Julia, but her two young daughters in peril for their lives. As a friend tells her early on in the film, in response to her reaction to the brutality to which he is subjected at work, `This isn't London--' And had she been a bit more astute, those simple words from her friend would've been all the enlightenment she needed. But to one with an eye on the prize and an adamant attitude, such simple wisdom is rarely perceptible, and-- as in Julia's case-- more often than not will go unheeded, as it does here.

There's beauty in much of what Julia encounters on her journey, but mostly it's something of a travelogue for places to avoid at any cost; and the film is disconcerting in that the audience-- as an impartial observer-- can readily discern the futility of Julia's endeavors, and the fact that her children are subjected to it, as well, is unnerving at times. Of course, hindsight is always the nectar of the gods, and it's easy to see the `big picture' when you're able to view it at arm's length. There is no question that her quest is admirable, but because this is a person you come to like early on-- her personal qualities and motivations are beyond reproach; it's her decisions that are questionable-- it is frustrating to watch her muddle her way through (even during the happier moments) when it all seems so unnecessary, somehow. What is required, perhaps, is a thorough understanding of the times, and the attitudes effectuated by them; for the allurement of an awareness that can effect spiritual release is compelling, and the wisdom thought to be afforded by the fool on the hill can be an irresistible enticement even today. You have to admire Winslet for taking on a fairly unglamorous, though somewhat sympathetic role, after her mainstream success in `Titanic.' With what I'm sure must have been a plethora of plum parts from which to choose, rather than play it safe she took the daring route and determined upon a project with character and substance. And though Julia may not be her most memorable creation, there is no question that her performance here is the highlight of the film. She lends an earthy, endearing quality to the character that make her not only likable, but believable; and because you sense the danger of her situation, it evokes a feeling of uneasiness that cannot be dispelled. It also makes you empathize with those whose loved ones embarked upon journeys similar to Julia's during this era; and there were many. The supporting cast includes Said Taghmaoui (Bilal), Bella Riza (Bea), Carrie Mullan (Lucy), Pierre Clementi (Santoni), Abigail Cruttenden (Charlotte), Ahmed Bouland (Ben Said), Sira Stampe (Eva) and Amidou (Sufi Sheikh). A film that prompts emotional involvement on a number of levels, `Hideous Kinky' is a paean of sorts to those who seek the fulfillment of a better way of life, and are willing to take the road less traveled to find it. And the strength of Winslet's performance alone makes it a film worth seeing. In her previous outing, she may have had a beautiful blue jewel to wear around her neck, but in this one, she `is' the jewel. And, make no mistake, it's the magic of the movie. I rate this one 7/10.

A fine film with some great acting, weak story

[jsoff · 7/10 · 29 April 1999]

A fine film with some very good actors and a beautiful setting. However, the film lacks a message. It is a movie of episodes, which is fine. However the scenes seem to cut out a little too quickly, making hard to get to know any of the supporting characters. Despite the relatively weak story, the characters are engrossing, especially the two girls.

A fine, dreamy little film

[Kiwi-7 · 7/10 · 15 July 2000]

Lots of the reviews here are negative. Well, I liked this film. It's short on plot, but it moves with a dreamy vagueness that matched real life in the era/social environment portrayed, and it is beautifully filmed. As a mother, I feared for Julia's children--and indeed for poor, naive Julia--which no doubt is what the writers and director intended. A lovely little film, gentle and exotic, that explores the conflict between generations and ideologies. Accolades too for the fine acting of young Bella Riza and Carrie Mullan, who carry much of this story on their small shoulders. (And of course Winslet is very fine.) Good soundtrack too...guess I'm the target audience because I remember these songs and this era well... Dumb title, though.

If you like this film, check out "Heat and Dust".

What an annoying movie!

[Boba_Fett1138 · 4/10 · 22 August 2009]

Every now and then I come across a movie that I found truly genuinely annoying to watch. Coicidence or not, these type of movies also often star Kate Winslet.

Well, let me just say that Kate Winslet is a great young actress, who often impresses with her roles and has won many awards, even at a still very young age already. I just wished she would stop in playing in these sort of semi-artistic and deep dramatic movies. They just annoy me with everything in it.

The movie just never really got to me, as it featured a distant story, set in a strange foreign country, with a completely different culture. As a cultural movie this movie does have its strong points and it also is insightful and refreshing seeing this movie shed some light on the Muslim culture, in Morroco, without prejudices. It's an open movie, that tries to create some understanding and handles its with respect, even though you still won't sympathize for with just everything.

Just problem is its overall story and main character. It's a young mother who in my opinion selfishly drags along her 2 young daughters with her to a strange and far off country, with a culture that is potentially dangerous for the young girls and women in general. They don't really have any money and the mother doesn't act very responsible, by getting her and her daughters and trouble and mingle in with dangerous men. How can I enjoy watching a movie such as this one?

Also it's visual style annoyed me. Sure, it's beautiful looking with its sets and locations and all but yet the movie feels the need to feature some artistic shots and editing in it. This is mostly what annoys me about the movie.

Also the British accents did nothing but annoyed me, especially those of the little girls. Of course British accents normally don't bother me much but in this case it did, which was probably due to the overall style of the movie added to it and it's unlikely and/or uninteresting moments. Perhaps the movie is more of a chick-flick, more or less and I'm simply not the right type of audience for this movie.

Deserves some credit but overall a weak, uninteresting and annoying little movie.

4/10

http://bobafett1138.blogspot.com/

I Got This Confused With Something Else

[Theo Robertson · 3/10 · 9 April 2004]

Ah yes HIDEOUS KINKY that`s the one with Kate Winslet getting abducted by a cult and Harvey Keitel races to save the day . I was slightly confused as to why Keitel`s name didn`t appear in the credits but this is for the simple reason that I had got this movie mixed up with HOLY SMOKE . I won`t bother to apologise , it`s an easy mistake to make

Actually I would have enjoyed Harvey Keitel turning up in this film blowing away a few bad guys because this would have given HIDEOUS KINKY some male appeal since this is a dreary chick flick about nothing much of interest . Julia is a single mother who takes her two young daughters to Morocco , so there you go that`s the plot summed up .

Anymore comments ? Not much except to say I thought Julia was one helluva poor role model for mothers everywhere . She doesn`t mind letting her daughters see her rolling around in bed with a man she`s just met , or letting them live in some drug fuelled doss house full of hash heads . In truth women like Julia should be barred from having children

And film makers should be banned from making low concept feature films like HIDEOUS KINKY unless they feature Harvey Keitel blowing away bad guys

A movie that rewards you to the degree of your own insights

[makrygialos · 10/10 · 7 January 2001]

This film has all the qualities of an exquisite poem: the rhythm of feeling, the power of understated experience, the slender and subtle plot. Some elements of this story--the existential search for identity, the lack of obvious momentum, the subjective encounter with alternative civilisations etc.--are very much out of fashion at the moment, as is evident from several reviews. Poetry may be out of fashion for similar reasons, but probably not forever. I admire this film as a gesture of art, one that enriches the viewer without spelling out a heavy-handed individualistic message. I hope we will see more movies like this one.

Kate Winslet is fabulous...movie is so-so

[moonspinner55 · 5/10 · 14 April 2002]

From Esther Freud's book about a single 25-year old British woman and her two pre-teen daughters living on a shoestring budget in 1972 Morocco, hoping to experience a journey of wisdom and truth but finding that difficult without benefit of money. Flashy but disappointingly one-note odyssey is about as appealing as its ungainly title (which certainly didn't help the picture at the box-office). Still, Kate Winslet is terrific in the difficult leading role, beautiful and pliable under such heavy-handed circumstances, and nothing prepared me for the quiet simplicity of the finale. That sequence, staggering in its subtle nuances of beauty and emotion, gives the viewer a sense of grandeur that the rest of the film fails to adequately capture. ** from ****

A Refreshing And Responsible Film About An Unconventional Encounter Between European and Arab

[Afzal-s2007 · 5 October 2007]

Hideous Kinky is based on the semi-autobiographical novel by Esther Freud (descended from a certain Swiss Psychiatrist). The film, set in the 1960's, follows Julia, a young English mother with her small children, Bea and Lucy, recently divorced from her creative, and philandering, husband. She is in Morocco, like many young Europeans inspired by the counter-culture philosophy of the time, to explore herself with respect to its eastern philosophy and culture.

It would be so easy for a film with such a subject to fall into the trap of using the 'orient' as merely a backdrop to depict fun backpackers engaging in pseudo-spiritual experiments. Or, on the other hand, take a more malevolent track of exploiting the bad feeling between Europeans and Arabs by having the bright young Julia encounter the traditional savage, woman-hating Arab as depicted in most western films, and pioneered by Valentino in Hollywood's silent classic The Sheik (1921).

However Hideous Kinky is refreshing as it is fun and 'exotic', but does not compromise in its sense of responsibility. It attempts to show an intelligent, though wayward, young mother with the genuine desire to explore her self internally, and captures the richness and humanity of the country and its people around her, exhibiting their interesting religious life and culture.

The feel of place in the film is astonishing. Marrakech, with the narrow streets and courtyards of its old town, dark and forbidding, but also revealing wonder, and the surrounding desert, are filmed deliciously with ambition and assurance. Julia, as well as being part of the 'drop out' European expat community, finds herself accessing different strands of Moroccan society, the common society of Morocco via her relationship with Bilal, a shady character who turns out to be a convict, played wonderfully by Said Taghmaoui, and the higher rungs via her ex-husband's friend, Santoni.

Central to the film- and what also complicates it, giving it an added, new dimension- is Julia's relationship with her two children, played astoundingly well by Bella Riza and Carrie Mullan. They, in turn, have their own incredible experiences, good and bad, as shown by their delightful but confused sayings. Julia, unusually in film, is a complex female character with many shades. She is naïve, foolish and irresponsible. At one point, she even manages to lose one of her daughters. But she is also smart, soulful and canny, and from her time in Morrocco, Julia does gain an insight into her self, but it is not the insight that she expected, and perhaps it is a genuine insight for that reason. She is played by Kate Winslet with characteristic heart and intelligence, and a brave choice as she had just come off the safety of the glitzy but vacuous blockbuster, Titanic.

Hideous Kinky is a rare thing- despite being government financed, usually the kiss of death for a British film, it is a refreshing and responsible film about an unconventional encounter between European and Arab.

A choppy, plot-deficient melodrama.

[Bike Boy · 2/10 · 3 December 1999]

Choppy, choppy, choppy. After the first 20 minutes, I was beginning to wonder if this film had a plot at all. The director couldn't stay focused on one scene long enough to engage me in the story. What story? Trust me, I could sum it up in one fragmented sentence, but I don't want to be blacklisted. One technique annoyingly overdone is ending scenes with one of the characters staring pensively off into the distance while the next song from the MTV soundtrack begins. The only redeeming quality to Hideous Kinky for me was some fairly good photography, but it wasn't good enough to warrant one hour and 40 minutes of disjointed storytelling.