Narrative

An analysis of the narrative structure of East is East can give us clues as to the film's preferred reading (that is, what message it is trying to convey). Here we focus on the theories of Tzvetan Todorov and Vladimir Propp.

East is East and Todorov

Tzvetan Todorov suggested that conventional narratives are structured in five stages:

1. a state of equilibrium at the outset;
2. a disruption of the equilibrium by some action;
3. a recognition that there has been a disruption;
4. an attempt to repair the disruption;
5. a reinstatement of the equilibrium

This type of narrative structure is very familiar to us. In the James Bond movies, for example, a megalomaniac usually creates the disruption by attempting to take over the world. Once this is recognised Bond is despatched by M and most of the film is taken up with stage four before finishing at stage five.

	Apply Todorov's structure to East is East.

The film opens with a Christian parade within which the Khan family is integrated (if George is not a part of it he is among the admiring spectators). This scene can be taken as the 'statement of equilibrium'. The following scene is the preparation for Nazir's marriage (see sequence), which is followed by the groom's dramatic escape. Here the equilibrium is disrupted, as the family are no longer in harmony. The disruption in East is East is George's insistence on arranging his children's marriages.

The fact that the narrative disruption is a problem within a family suggests that East is East is a melodrama (see genre). In common with many melodramas, the narrative is not action driven; there are no crimes committed that need solving or disasters that need averting. However, it is clear how the spectre of arranged marriages hangs over the film's protagonists. Because this disruption, to their 'integrated' life, is caused by the George, it is he who takes on the narrative function of the villain - see below.

Once Tariq and Nazir realise that they are being set up to be married, after being informed by Sajid, they attempt to repair the disruption. They do not do this by trying to persuade George that he is wrong, thereby helping the family to return to an equilibrium. They attempt to resolve the conflict by escaping, which will mean there can be no stage five as there will be no return to the status quo. They travel to Eccles to seek Nazir's advice.

Unlike in most action driven narratives, their attempt fails. There is, however, a certain restoration of the equilibrium at the end after the Shah family have been driven away and George and Ella are reconciled in the chip shop.

	What do you think would happen next after the end of the film? Remember George now knows that Saleem is not studying engineering but art, in a thoroughly 'sexually liberated 1970s' fashion. Do you think he will continue to try and impose his will or accept that his children are lost to his culture?

East is East and Propp

Vladimir Propp suggested that characters took on the role of narrative 'spheres of action' or functions:

The seven spheres of action are
(adapted from Lacey, 2000, p. 51-2):

The hero, usually male, is the agent who restores the narrative equilibrium often by embarking upon a quest (or search), saves the princess and wins her hand. Propp distinguishes between the victim hero, who is the centre of the villain's attentions, and the seeker hero who aids others who are the villains victims. The hero is invariably the texts protagonist or central character.

The villain who creates the narrative disruption.

The donor gives the hero something, it may be an object, information or advice, which helps in resolution of the narrative.

The helper aids the hero in the task of restoring equilibrium.

The princess (the victim) is usually the character most threatened by the villain and has to be saved, at the climax, by the hero. The father's (who in fairy tales was often the king) role is usually to give the princess away to the hero at the narrative's conclusion. He may also despatch the hero.

The dispatcher sends the hero on her or his task (who can also be the princess father) - not applicable to East is East.

The false hero appears to be good but is revealed, at the narrative's end, to have been bad - not applicable to East is East.

Characters can fulfil more than one sphere of action and spheres of action can be made up of more than one character; so a princess may also be a helper and a text may have several villains.

	Apply Propp's narrative functions to East is East. Do not be surprised if you find the task difficult.

As we have defined the narrative disruption as the 'arranged marriages' this situates George in the sphere of action of the villain. The princesses, therefore, must be the children, specifically Nazir, Tariq and Abdul. We can assign Sajid the role of donor as he told his elder brothers about George's plans. However, as noted above, as the disruption is only temporarily resolved there is no specific hero in the film, although it is Saleem's intervention with his sculpture that precipitates the disappearance of the Shah family.

On the face of it Propp's functions are not particularly useful in East is East but the definition of George as the villain also casts his religion in a negative light. After all, arranged marriages are a Muslim tradition. In this way we can see that East is East is reinforcing the Western stereotype of Islam as being old fashioned with little or no role in modern society. See also debates.