Or running through those streets while "Born to Run" is blasting through the speakers at triumphant volumes.
BLINDED BY THE LIGHT BRUCE MOVIE
journalist whose memoir was adapted for the screenplay of "Blinded By the Light," to find the film both deeply moving and utterly charming.īut it couldn't hurt to be at least a casual fan, given how often the movie slips into an overt celebration of the Boss' legacy, complete with huge production numbers of characters singing along to Springsteen's music in the streets.
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And it helps, of course, that the Desi-British setting is still relatively novel to American audiences.You don't have to love Bruce Springsteen with the all-consuming passion of Sarfraz Manzoor, the U.K. It’s in that third-act reverse journey that Blinded by the Light retunes and overcomes those tropes, as Javed sheds his rockist snootiness, adds new layers to his relationship with his dad, and susses out what he needs to take from-or to take leave of-his idol. Blinded by the Light sits squarely in the tradition of movies where the protagonists go too far in their revolt and have to find a happy medium between accommodation and self-importance.
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Once converted, his new priorities are simple: kiss a girl (Nell Williams), get his writing taken seriously, get out of his claustrophobic hometown, and stop being the good boy whose goodness is slowly killing him inside. Javed never seems to have heard of teenage rebellion until he’s introduced to Springsteen by another friend (Aaron Phagura). Even darker is the assimilationist (or is it colonial?) logic that such premises suggest: The “good” protagonists of color-the ones who deserve to be the heroes of their own wide-release, feel-good movies-are the ones who happen to like and identify with all the same stuff white people do.īlinded by the Light is a moving exploration of how the identities of second-generation immigrants are formed by choosing and adapting the parts of each culture that speak to us. (If he has any thoughts about the band’s Eastern excursions, which sometimes took turns into Orientalism, we’re certainly never privy to them.) Mainstream cinema is no stranger to post-racial fantasies, but-with two of these movies released practically back to back-there’s something undeniably icky about the prospect that brown protagonists are more palatable if they worship at the altars of white cultural figures. Yesterday never acknowledges the Fab Four’s (rather well-known) dabblings in Indian music and philosophies, so Jack (Himesh Patel), the protagonist who carries on their musical legacy, doesn’t grapple with them, either. The first, of course, was Yesterday, in which director Danny Boyle and screenwriter Richard Curtis fashion an alternate universe that has somehow never been touched by either the Beatles or race. That’s certainly how I approached Blinded by the Light, the second movie in nearly as many months about a Desi Brit obsessed with white boomer music. Some movies, especially on paper, feel like minefields: You enter them gingerly, if at all, waiting for flashes of irritation to erupt.
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