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Despite the dangers of the neighborhood and the lack of affection between them, Sammy and Rosie live pleasant, lower middle-class lives until Sammy's estranged father, Rafi (Shashi Kapoor) arrives. Once a high-ranking Indian politico, Rafi moves into Sammy and Rosie's apartment with the intention of giving them their substantial inheritance so that they can move into a real house and bless him with grandchildren...

Author: By Gary L. Susman, | Title: Return of the Naive | 11/13/1987 | See Source »

...Rafi poses a problem for these well-intentioned liberals: how can they extend hospitality to and accept money from a man who, instrumental as he was in casting off British imperialism and building Indian democracy, may have used terror and torture...

Author: By Gary L. Susman, | Title: Return of the Naive | 11/13/1987 | See Source »

...Rafi is also a problem because he is an anachronism. His conception of a domestic life for Sammy and Rosie is as out of date as his Machiavellian politics. He does not understand Sammy and Rosie's open marriage anymore than he understands their openly homosexual friends. Sex is inherently political in Sammy and Rosie's circle, and Rafi longs for a bygone world where "a kiss is just a kiss...

Author: By Gary L. Susman, | Title: Return of the Naive | 11/13/1987 | See Source »

...does Rafi understand why they choose to live in a neighborhood torn by violence that itself makes no sense to him. The irony is that the violence stems from the "domestic colonialism" that Britain imposes on her Blacks, and that Rafi, despite his Indianness, is so fully assimilated into the old British mindset that he cannot see this...

Author: By Gary L. Susman, | Title: Return of the Naive | 11/13/1987 | See Source »

...here is Rafi, who has come to London to escape his old crimes as a despot in the Pakistani government. If Cry Freedom finds easy outrage nestling with the victims of state torture, Sammy & Rosie is prepared at least to make the deathbed that a genial torturer can lie in. But Rafi gets no more or less sympathy than any other character in this exuberant egalitarian stew of a movie. Once the empire has died, taking with it the old notions of great men who shape destinies and insignificant men who suffer like extras in an antediluvian epic, every motive...

Author: /time Magazine | Title: Cinema: The Empire Strikes Out | 11/9/1987 | See Source »

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