The queer optimism of My Beautiful Laundrette

My partner and I headed from the suburbs into the city to attend a 40^th anniversary screening of My Beautiful Laundrette, a film neither of us had seen despite always intending to. Directed by Stephen Frears and written by Hanif Kureishi, this TV-movie-turned-sleeper-success is considered by many to be a cult classic and an early paragon of queer representation, meaning it necessarily carries the burden of fixed opinions and critical interpretations. It seemed there was no room to think about it for ourselves, so we put it off until it appeared at the cinematheque. 

What surprised me most about the film, which I’d assumed centred around Daniel Day-Lewis’ Johnny Burfoot – who a friend understandably claims as one of her pivotal cinematic crushes – is the taciturn protagonist, Omar. Played by Gordon Warnecke, whose attentive, beady gaze radiates desolation in one instance and child-like elation the next, Omar, when we first encounter him, is conscientiously washing clothes by hand and hanging them out to dry on the balcony of his father’s ​“black hole of a flat.” For a long time, he doesn’t speak, but we keenly observe him. 

As we hear, instead, from his perpetually-inebriated father, Nasser (Saeed Jaffrey), his savvy, philosophizing uncle Hussein (Roshan Seth) and his disagreeable cousin Salim (Derrick Branche), Omar functions asa sponge, ravenously absorbing their influence as he stirs out of a stupor– his immature outsiderdom – and transforms into a man of consequence. It is like watching a larva become a butterfly: his overlong hair gets cut, the pimples peppering his cheeks disappear, his sweats are exchanged for ironed shirts and suits. As the film progresses, Warnecke’s performance of passivity suddenly becomes a vibrant, dynamic portrait of an unprecedented cinematic figure: proudly brown, unashamedly queer and full of promise. He unassumingly eases us into Omar’s plight. 

​“The way the script was written had very…actually no dialogue for Omar in the beginning,” Warnecke told me over email. ​“That enabled the viewer to see the way I reacted to what was going on around me. Sometimes, a look or non-verbal reaction can say much more than words.” The first time he speaks, at drinks with Hussein and his mistress Rachel (Shirley Ann Field), Omar discloses a personal vision: ​“If I pick up Papa and squeezed him… I often imagine I’d get a pure bottle of pure vodka.” The word ​“squeeze” recurs throughout the film, whether from Nasser, who complains Omar’s squeezing of shirts doesn’t stretch him, or Hussein, who says of succeeding in Britain, ​“You have to know how to squeeze the tits of the system.” 

Kureishi’s script thinks in these terms: stretch and squeeze; rub and tug; hard and soft; screw and unscrew. The world is a tangible, malleable thing, and Omar, who an uncle says is ​“the future”,is an embodiment of all these sensibilities. ​“If you take [squeeze] literally,” Warnecke says to me, ​“it is almost a metaphor of what the government was doing to the people of Britain at the time. Come to think of it, they were ​‘squeezing’ them and ​‘rinsing’ them. Rather like clothes. It’s about putting pressure and getting something out of something or someone.” 

Over time, as he cleans cars at Hussein’s garage, unknowingly traffics drugs for Salim, and inevitably inherits the titular laundrette that he will successfully re-invent and ultimately make his name, he applies the pressure to himself to sharpen his look and learn to speak up for himself. ​“I’m not going to be beat down by this country,” Omar says to Johnny – and we believe him. Perhaps it is only those who refuse the constraints placed on them, by birth or by circumstance, to make something of themselves, to strive for a sort of life where renovation results in regeneration, that ambitious dreams like Omar’s can become actual possibilities. 

Of Omar, Gordon, who played Nasser in a stage adaptation of the film in 2024, told me: ​“Back then he took stock of what and who was around him. He saw his father was beaten by the system and did not want to make the same mistakes. He was a progressive entrepreneur who wanted to better himself. He had seen how his father had battled the racists and how his father was bitter and angry not only with himself but society as a whole… Omar went the other way.”

The way that Johnny is weaved into Omar’s narrative is that he appears in the film’s prologue, a memory that fades away the longer we don’t return to it. But during a racist attack, accompanied by a gang of fascists in an underpass, his presence causes Omar to exit his car,the same way that working for his uncle gets him ​“outta the house.” As Omar, grinning, advances towards Johnny, followed in cinematographer Olivier Stapleton’s elegant tracking shot and bathed in a dreamy score produced by Stanley Myers and Hans Zimmer, it is as though he is the antidote to the world trying to do you in, a beacon of hope from the darkness of modern existence. 

That juxtaposition – between the tensions of their lives and the pleasures that each other’s presence respectively brings – is repeated throughout the film as the stakes, and subplots, continue to converge. After Omar has been attacked by Salim, while receiving a lecture from his father whose fungal, brittle toenails he clips, Johnny’s phone call overrides all the dread. Then there is their silent, electric kiss in the shadows, interrupted by an attack on the laundrette. It even occurs on opening day at the laundrette, when the men’s heated, champagne-sodden love-making is contrasted with Hussein and Rachel, a classical heterosexual pair whose a bond will soon extinguish itself, on the other side of the one-way glass (“Daniel improvised the pouring champagne into my mouth,” Gordon said. ​“A brilliant invention.”).

The intimacy of their bond is expressed in an accumulation of private gestures like these: the way Omar wants to remove an eyelash from Johnny’s face, or the scene when the men embrace and Johnny sticks his tongue out to lick behind Omar’s ear. Much attention has been paid to the tongue, but how about the nape of the neck, as the wet trace of it dries? In these brief, blushing instances, Omar manages to get out of his mind and be delivered back into his body. 

“Let’s open,” Johnny says after buttoning up their shirts: ​“The whole world is waiting.” 

The most moving scene – and one which I’ve returned to since – is when, after the laundrette opens, Omar stands on the other side of the glass watching the neighbourhood file in, but it is only his back that we see. He seems to be proud, his dream finally realised, his potential stretched Having gone the other way, he has circumvented becoming like his father, who is nowhere to be seen in the crowd, an absent presence dampening the festivities. But no matter: just then Johnny approaches the glass and peers in, so that, for a moment, their grinning reflections transpose and form a new kind of face: neither white or brown, rich or poor, dirty or clean. It’s optimistic.