Room to Rent (Cert 15)

by ALEXANDER WALKER, Evening 基準

Fifty years ago, the late Wolf Mankowitz and Carol Reed gave us a fairy tale of Old Soho.

A Kid for Two Farthings was about an East End boy who buys a one-horned goat believing it to be a unicorn that can 認める wishes.

Egyptian writer-director-in-住居 Khaled El Hagar, 続けざまに猛撃するing 概略で the same （警官の）巡回区域，受持ち区域 today in the Edgware Road's Little Araby, 示唆するs not much has moved on since 1954: life's still a fairy story for true 信奉者s.

Welcome news to the Home Office, since it puts the best possible spin on 経済的な migrants like Hagar's hero, a young Egyptian scriptwriter 捜し出すing to break into the British film 産業, 一方／合間 延長するing his student ビザ by 契約ing a 偽の marriage.

After 存在 chucked out of his digs for leaving his melodramatic シナリオs around to be read by those who 人物／姿／数字 in them, Ali, played by handsome Sa?d Taghmaoui from Hideous Kinky, engages in the はしけ 肉親，親類d of 違法な 貿易（する）s: waiter in an 民族の restaurant, dubbing movies into Arabic, teaching belly dancing (on the 水平の) to a 需要・要求するing French lady, and 提起する／ポーズをとるing nude for a gay snapper (Rupert 墓／厳粛／彫る／重大なs).

Hardly a picture of 移民，移住（する） hell. And かもしれない so 軟化するd by the writer's film-school memories of old-fashioned movies of the pre-移民，移住（する） Ealing school as to be 事実上 unrecognisable as England today.

The retro feeling thickens with the 外見 of Juliette 吊りくさび as a Marilyn Monroe impersonator in a Soho club who 申し込む／申し出s to marry Ali for money and the lead 役割 as Cleopatra in his 最新の script, which the English exploiter then tries to turn into a hard-porn flick.

To watch 行方不明になる 吊りくさび 持続する her breathy, little girl lost MM 行為／法令／行動する, even off 行う／開催する／段階, throughout the whole of this movie is creepy, to say the least: she seems 害のない, but unhinged. But still not so creepy as Anna Massey's dotty septuagenarian, a blind seer who believes Ali is the reincarnation of her long-lost childhood lover in Luxor, and 提案するs marriage, though the spectral white of 行方不明になる Massey's make-up 示唆するs her character is readier for a winding sheet than a bridal 隠す.

At this point, one blushes 深く，強烈に for what remains of the British film 産業. (Not much, after Chris Smith's four-year deconstruction 職業.) But Room to Rent is scarcely 価値（がある） getting angry over: it's competently made, but 全く without 辛勝する／優位.

Taghmaoui's 業績／成果 is as 甘い as syrup, as odorous as rosewater. But its ingenuousness - he humps his pet goldfish loyally from one digs to the next, a 記念品 of his own entrapped vulnerability - 緊張するs 信用性 to snapping point.

From 福利事業 移民，移住（する） to kept toyboy in 12 平易な weeks, without 遭遇（する）ing a 選び出す／独身 white Londoner who wants to send you 支援する where you （機の）カム from: it's a Home 長官's dream 政策.

A movie about 奇蹟s, then? The biggest 奇蹟 is Khaled El Hagar's success in 抽出するing £333,376 of 国家の 宝くじ cash 加える 付加 支援 to the tune of £2.2 million from the British Film 学校／設ける, フラン's Studio Canal-加える and our own FilmFour - all for this whimsy.

明確に, there are more closet softies in film 財政／金融ing than even I knew about.

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