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About ‘Bhaji on the beach’ - by UP2033785

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About ‘Bhaji on the beach’ - by UP2033785

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The acclaimed British film “Bhaji on the beach”, directed by Gurinder Chadha and written by Meera Syal, was released in 1993. Praised for its insightful portrayal of the South Asian diaspora in the United Kingdom; the film follows a story of a group of women from different generations and cultural backgrounds, predominantly Punjabis, who embark on a bus trip heading to Blackpool for a day out.

The narrative follows and explores each woman's life, addressing issues of traditional values, societal expectations, and personal freedom.

Simi, portrayed as a leader, and her story follows her struggles with modern feminism. She is meant to be a voice of the younger Indian generation, grappling between the expectation of her heritage and her own personal modern aspirations.

Ginder is a young mother attempting to escape her abusive marriage with her young son, the trip is a temporary refuge for her. Ginder’s character addresses the theme of domestic violence, and her journey begins with her a victim of her husband's abuse but the bus trip serves as a catalyst that opens up the conversation about women and their rights.

Hashida is a medical student and she has to face the complexities of an unplanned pregnancy involving her Afro-Caribbean boyfriend. Her pregnancy and interracial relationship is used to explore the themes of her cultural identity and the generational divide.

These are a few among the characters sharing their stories.

As the story unfolds tension and clashing among the women, reflecting the cultural and generational gaps within the group. The main issues are related to their identity, family and the struggles of being a South Asian women living in the UK. As the day goes by the characters despite the conflicts lead to personal growth and understanding of each other as the day progresses.

Gurinder Chadha made her directorial debut with this film, setting the stage for subsequent international acclaim with hits like 'Bend It Like Beckham' and 'Bride and Prejudice.' The acclaimed British cinematographer Brian Tufano contributed to 'Bhaji on the Beach.'

Sight & Sound commented on the film's meaning "Issues of home, hybridity, identity and belonging preoccupy Chadha in Bhaji, the first feature film to be directed by an Asian woman in Britain. 'What I’ve tried to do with all my work is to open up all that stuff – what it is to be British. What I’m doing is making a claim, as well as documenting a history of British Asian people.'”

Stuart, A. (2023, July 3). Blackpool illumination: Gurinder Chadha on Bhaji on the Beach. Sight & Sound. British Film Institute. https://www.bfi.org.uk/sight-and-sound/features/blackpool-illumination-gurinder-chadha-bhaji-beach

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I chose two locations that are very close to each other, less than a minute apart. This proximity is advantageous for logistical reasons, making it easier to transport filming equipment, cast, and crew. It saves both time and money due to the convenience.

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The colour palette and mood board accurately capture the scene's essence, with darker hues mirroring the somber tone in the hidden part of the pier. Against the dark sky, the vibrant lights of the arcade games create a stark contrast, heightening the chaotic atmosphere and amplifying Ginder's fear.

Lighting:

For Scene 50, which will be filmed during sunset, I aim to use primarily natural light to achieve the most authentic look. Soft fill lights will gently illuminate the characters' faces, enhancing their presence without overpowering the scene. Additionally, the ambient glow from arcade lights will add to the chaotic atmosphere, casting subtle highlights on the characters' features and expressions of stress..

In Scene 51, my goal is to create dramatic shadows by strategically positioning my actors away from direct light sources. This approach ensures that shadows play a prominent role in shaping the scene's mood. Using barn doors on lights will help control and restrict light spillage, maintaining the desired contrast between light and shadow.

Throughout both scenes, I will experiment with lighting techniques to refine and perfect the visual aesthetics that best complement the narrative and emotional tone of the film.

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Ginder's outfit for the outdoor setting should prioritise practicality while resonating with her role as a mother facing a distressing situation. She will be dressed in casual, comfortable clothing, opting for jeans paired with a cosy jumper. These choices are both sensible for the environment and reflective of her age.The colours of her outfit will be chosen deliberately to maintain the scene's focus on the emotional intensity and urgency of the moment. Neutral and muted tones are ideal, making sure  they do not distract from the gravity of the situation. By keeping her outfit simple to avoid drawing unnecessary attention away from the emotions and actions unfolding as she searches frantically for her missing son, Amrik.

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Since Amrik is portrayed as a young boy, I aimed to dress the character in a youthful look inspired by the fashion of the 1990s. This choice not only evokes a sense of nostalgia but also emphasises his innocence and youthfulness. His outfit reflects this era's charm, exaggerating his youthful spirit. For practicality purposes, I opted for jeans or dungarees that offer protection from the weather while allowing him freedom of movement during outdoor scenes. This blend of nostalgic fashion and practical clothing enhances Amrik's character, making him relatable and authentic within the context of the film's setting and narrative.

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I want Ranjit’s outfit to convey a sense of mystery by using dark or muted colours emphasising his creepy presence and uncertainty with the character. His hair and outfit should be slightly dishevelled suggesting he has not taken care of himself due to having lost touch with reality.

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