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Hideous Kinky/** (rated R)
 
 
This is the kind of film that film critics like to describe as "lush", "picturesque", or even "sweeping". Indeed, Hideous Kinky does benefit from the presence of Kate Winslet in a standout performance, even better than that in "Titanic". Unfortunately, her character is that
of a horribly irresponsible and self-centered mother who escapes the security of England in order to drag her children throughout the poverty filled streets of Morocco. All in a futile attempt to "find herself" in the haze of the "if-it-feels-good-do-it" era of the 1970's.
 
Hideous Kinky is adapted from the book by novelist Esther Freud in which she fictionalizes her real-life adventures with her mother and sister in Marrakech during her childhood. So
to begin with, just so no one is disappointed, there is nothing "kinky" in this movie. Apparently "Hideous Kinky" is the result of two words put together by the daughter of
writer Esther Freud and means anything absurd or frightening. Though this is meant to
refer to the different life and religious ideas to be found at the feet of the religious leaders
of the region, it unfortunately also aptly fits Julia's disturbing lack of parental values.
 
As the film opens, it is 1972 and Julia (Kate Winslet), fresh from a failed relationship in London, has taken her two daughters Lucy (Carrie Mullan) and Bea (Bella Riza) live in
the "colorful' city of Morocco. Here of course, "colorful" means horribly poverty stricken. Believing that there is no life to be found in the 40-hour week, guaranteed weekly paycheck world of London, Julia has taken to this like in order to find spiritual renewal in the world
of a religious leader known as the "Sufi of Algeria". Traveling with them through this search
is Bilal (Said Taghmaoui), a thief and sometime acrobat who helps them find food and amusement. Without giving any of the tedious story away, Julia travels throughout Morocco, living among hippies and almost losing her daughter (to illness and to a Christian missionary) in the process, before she realizes that there is nothing to be found in this place and returns
to London.
 
Here is the problem. Yes this is the 1970's, and people did many stupid things in the name
of drugs and "spiritual enlightenment". If this was the story of Julia and her search for the meaning of life, there might be some interesting material here. But I simply found it too uncomfortable to watch a mother subject her too children to this life. Too often in this
movie, Lucy and Bea are shown poorly dressed (sometimes wearing only underwear)
upset that they are not getting an education and worrying were their next meal would come from. It is bad enough that there are sadly children who live this type of life today due to
their parent's unfortunate situation. But to see a mother willingly subject her children to this life borders on the criminal. In one horrific scene, Bea becomes ill with a polio-type disease. When she realizes that she cannot afford the treatment, Instead of immediately contacting the English embassy to seek the emergency help that embassy's can offer its citizens, Julia only thinks of how this will change HER situation and desire for inner peace. Julia only gets the push to take her children back to England when Bilal steals from his employer to buy airplane tickets for Juila, Bea and Lucy.
 
Those of us who watch films professionally are often accused of reading too much into the story, or taking it all too seriously. Yes this is only a film, but the question must be asked. Why was this movie made? Behind the lush cinematography by Director Gillies MacKinnon and Director of Photography John de Borman is the story of a very disturbed and irresponsible mother. It is one thing to go on a spiritual journey when one is single with no responsibilities. It is quite another when one is responsible for two young children. Yet, the film makes no attempt to question her behavior, or even condemn the willful neglect of her children. In typical fashion, the only voice of reason, Patricia (Michelle Fairley), the leader of a polio orphanage is depicted as an evil person who would dare to provide Bea with proper food and shelter. Her belief in Christianity, over-zealous as it may be, is presented as somehow dangerous to Bea; as opposed to the danger presented by Julia's willful neglect.
In the final analysis, Hideous Kinky takes us back to a time that gave us drugs, bad music, too much sex and selfish people like Julia. This film might be set in 1972, but if you look around, you can see that we are still suffering from the lifestyle that it seems to glorify.
 
Studio: Stratosphere Entertainment Presents a film by Gillies MacKinnon.
Director: Gillies MacKinnon.
Producer: Ann Scott
Executive Producers: Simon Relph and Mark Shivas
Screenplay: Billy MacKinnon, from the novel by Esther Fraud
Cast: Kate Winslet, Said Taghmaoui, Bella Riza and Carrie Mullan.
Rated R
 
Website: http://www.hideouskinkymovie.com