Comparing The Best Exotic Marigold Hotel and Notting Hill
How does your chosen film compare or contrast in its representations with historical texts studied?
‘The Best Exotic Marigold Hotel’, a film that features a group of white British pensioners retiring to India to live out their days in luxury, the plot-line, like the imagery, is full of contradictions and cultural collisions. In ‘Notting Hill’ there is a completely positive stereotypical approach towards Britain and specifically London. The director aims to show London as that amazing place you would love to live in. The street market having a different charm each season, the peaceful neighbourhood, the small stores, the routine that never changes yet doesn't get boring.
In contrast ‘Notting Hill’ is represented as a village. Though it is a part of London, William describes Notting Hill as ‘a village in the middle of the city,’ and in representing its private, walled gardens as wide open spaces the film conveys the image of a rural idyll. The high angle shot at the end of the scene in which William and Anna climb into a garden gives the impression of an expanse of green, English countryside, and the wall that surrounds the garden cuts this space off from urban London. This rural quality is attributed to William when he arrives at the Ritz to meet with Anna only to be mistaken for a journalist for Horse and Hound. Though this is played for laughs, it is a persona that suits William well: he demonstrates no knowledge of the modern world of the cinema, an art form that is typically associated with urbanisation, and mistakes Leonardo Da Vinci for Leonardo Di Caprio, and assumes that the latter is an Italian director. When Marigold Hotel does try to expose British prejudices about India it does so without acknowledging the oppressive imperial history behind such images or the singularity of the cultural histories upon which it treads. For example, the discomfiting scene where the retired maid Muriel (Maggie Smith) is depicted on equal footing with her untouchable cook forces the question: can we really equate the experiences of a domestic servant of a well-to-do British family with those of an untouchable woman?