Directed by Gurinder Chadha Writing Credits Gurinder Chadha ... written by & Guljit Bindra ... written by & Paul Mayeda Berges ... written by Cast in credits order verified as complete sh/ class="loadlate hidden " loadlate="._V1_UX32_CR0,0,32, /> Parminder Nagra ... Jess Keira Knightley ... Jules Jonathan Rhys Meyers ... Joe Anupam Kher ... Mr. Bhamra Archie Panjabi ... Pinky Bhamra Shaznay Lewis ... Mel Frank Harper ... Alan Paxton Juliet Stevenson ... Paula Paxton Shaheen Khan ... Mrs. Bhamra Ameet Chana ... Tony Pooja Shah ... Meena as Poojah Shah Paven Virk ... Bubbly Preeya Kalidas ... Monica Trey Farley ... Taz Saraj Chaudhry ... Sonny as Saraj Chaudry Imran Ali ... Gary Kulvinder Ghir ... Teetu Harvey Virdi ... Teetu's Mum Ash Varrez ... Teetu's Dad Adlyn Ross ... Elderly Aunt Shobu Kapoor ... Polly Zohra Sehgal ... Biji as Zohra Segal Ace Bhatti ... Nairobi Grandson as Ahsen Bhatti Tanveer Ghani ... Video Man Nina Wadia ... Wedding Guest Jenni Birch ... Hounslow Harrier Olivia Schofield ... Hounslow Harrier as Olivia Scholfield Natasha Lee ... Hounslow Harrier Louise Walker ... Hounslow Harrier Danielle Richards ... Hounslow Harrier Suzanna Keeka ... Hounslow Harrier Tanya Beverly ... Hounslow Harrier Sally Kirkbride ... Hounslow Harrier Maki Okumurakami ... Hounslow Harrier Nav Bopari Gary Lineker ... Gary Lineker Alan Hansen ... Alan Hansen John Barnes ... John Barnes John Motson ... Commentator voice Rest of cast listed alphabetically David Beckham ... Self archive footage uncredited Gurinder Chadha ... Woman in Park / Wedding Guest uncredited Brandi Chastain ... Self archive footage uncredited Simon Clifford ... Cup Final Referee uncredited Amerjit Deu ... Uncle Raj uncredited Ray Donn ... Man at Airport uncredited Ryan Giggs ... Self archive footage uncredited Mia Hamm ... Self archive footage uncredited Andy Harmer ... David Beckham uncredited Kristine Lilly ... Self archive footage uncredited Tiffeny Milbrett ... Self archive footage uncredited Jeff Mirza ... Wedding Compere uncredited Gary Neville ... Self archive footage uncredited Panayiota Panteli ... Cup Final Footballer uncredited Gill Penny ... Victoria Beckham uncredited Bill Ridealgh ... Man at Airport uncredited Paul Scholes ... Self archive footage uncredited Tony Wood ... Football Supporter uncredited Produced by Paul Mayeda Berges ... associate producer Gurinder Chadha ... producer Ulrich Felsberg ... executive producer Russel Fischer ... executive producer Simon Franks ... executive producer Zygi Kamasa ... executive producer Deepak Nayar ... producer Paul Ritchie ... line producer Haneet Vaswani ... executive producer Barbara von Wrangell ... line producer Germany as Barbara Von Wrangell Music by Craig Pruess Cinematography by Jong Lin ... director of photography Editing by Justin Krish Casting By Carrie Hilton Liora Reich Production Design by Nick Ellis Art Direction by Mark Scruton Set Decoration by Sara Cheeky Neighbour ... as 'Cheeky' Sara Neighbour Costume Design by Ralph Wheeler-Holes ... as Ralph Holes Makeup Department Sarah Astley ... hair stylist / makeup artist Tal Botzer ... assistant hair stylist Germany / assistant makeup artist Germany Emma Cowen ... assistant hair stylist / assistant makeup artist Julie Kendrick ... daily hair stylist / daily makeup artist Lucky ... henna and nail artist Rita Patel ... daily hair stylist / daily makeup artist Paula Price ... hair stylist / makeup artist Sara Tuohey ... makeup trainee Julie Van Praag ... hair stylist supervisor / makeup supervisor Production Management Claudia Blümel ... production manager Germany as Claudia Bluemel Sandra Shuttleworth ... production manager Claudia Sumner ... post-production supervisor Second Unit Director or Assistant Director Paul Mayeda Berges ... second unit director Phil Booth ... second assistant director Gundula Dietrich ... second assistant director Germany Fiona Gosden ... additional third assistant director as Fiona Godsen Guy Heeley ... first assistant director Oliver Kester ... third assistant director Germany Vicky Marks ... third assistant director Art Department Ian Bee ... carpenter as Ian 'Buzz' Bee Sarah Bicknell ... assistant art director as Sarah Stuart Lee Bryant ... additional stand-by props Jaswinder Bushell ... art department consultant Jay Butcher ... carpenter Phil Clarke ... art department assistant Lisa Collins ... painter Nina Cowan-Russell ... assistant props buyer as Nina Russell-Cowan John Drury ... carpenter Lizzie Hagan ... junior buyer Andrew Hall ... painter as Andrew 'Hally' Hall Russell Hanson ... dressing props Nick Holmes ... scenic artist Henry Jones ... chargehand carpenter adr recordist US Bryan Pennington ... consultant Dolby Rudy Pi ... re-recording mixer Paul Schwartz ... boom operator Alec St. John ... assistant sound editor as Alec St John Graeme Stoten ... adr mixer UK as Graham Stoten Lucy Sustar ... foley mixer James Wright ... consultant Dolby Chris Elam ... re-recording mixer uncredited Tim Maxwell ... sound re-recordist uncredited John Soukup ... sound transfer uncredited Visual Effects by Minky Billups ... lead digital artist Scott Billups ... visual effects supervisor Chris Buchakjian ... digital artist Tim Cutt ... digital artist Josh Levine ... digital artist Brian Allan ... optical camera uncredited Mark Edwards ... visual effects producer uncredited Camera and Electrical Department Jim Bishop ... focus puller Lou Bogue ... gaffer Neil Brown ... additional focus puller Ben Chads ... additional focus puller Philip Coleman ... additional grip Chris Connatty ... clapper loader John Cridlin ... additional focus puller Sara Deane ... camera trainee Rupert Goldbeck ... camera trainee Germany Matthew Hale ... additional focus puller Star Hart ... camera trainee as Star Tony Hennessey ... stand-by rigger as Tony Hennessy Finch Judges ... camera trainee Mary Kyte ... additional camera operator Callum Milne ... electrician Jamie Monks ... additional grip Phil Mullally ... additional focus puller Peter Myslowski ... grip Joel O'Sullivan ... stills assistant Charlie Palmer ... additional camera operator as Charles Palmer Christine Parry ... still photographer Ralph Ramsden ... additional focus puller Gary Romaine ... additional grip Martin Stephens ... additional camera operator Pat Sweeney ... best boy David Taylor ... electrician Simon Ward ... additional grip as Simon Wards Peter Wignall ... camera operator as Peter Wignal / steadicam operator as Peter Wignal Terry Williams ... additional grip as Terry William Jonathan Yates ... generator operator Jamie Monks ... key grip uncredited Niki Roberton ... camera trainee uncredited Casting Department Carole Ruggier ... adr casting USA Stephen Moore ... casting assistant uncredited Costume and Wardrobe Department Johnathon de Domenico ... costume supervisor as Johnathon De Domenico Samantha Green ... costume trainee Rebecca Townsend ... costume assistant Eva Vellmer ... costume trainee Germany Editorial Department Fred Chandler ... post production executive Carlos Domeque ... assistant editor Karin C. Müller ... post-production Road Movies as Karin C. Mueller John Scott ... post-production assistant Chuck Winston ... color timer Aaron Coot ... dailies operator uncredited Konstantinos Topalis ... television commercial editor uncredited Location Management Andrew Cooke ... location manager Alison Skinner ... location assistant Karin Werbeer ... location manager Germany as Karin Verbeek Lucy Williams ... additional location manager Music Department Liz Gallacher ... music supervisor Malkith Singh ... music performer "Jind Mahi" as Malkit Singh Thomas Cavanaugh ... music business & legal affairs uncredited Script and Continuity Department Victoria Chambers-Pike ... script supervisor Transportation Department Kevin Canty ... driver bus David Gwyther ... unit driver as Dave Gwyther Ben Hibbert ... driver American trailer Charles Jaffrey ... unit driver Vidya Krishnamurthy ... runner driver Darren Mackie ... runner driver Ian McLoughlin ... driver camera truck Mark O'Hanlan ... dining bus driver David Taylor ... driver Additional Crew Reno Antoniades ... legal services Lee & Thompson Joanna Ashton-Jones ... development executive Road Movies Jamie Atkins ... assistant chef Denise Booth ... sales manager Road Movies Philip Clark ... scout Simon Clifford ... football coach / football coordinator Lauren Cox ... assistant to producer Charlotte Craib ... production runner Jeremy Crane ... production runner Josh Davies ... assistant production coordinator Laurie Dodsworth ... post-production accountant Susan Dretzka ... production coordinator Steve Dyke ... assistant chef Christin Freitas ... extras wrangler Germany Frank Graf ... head of business affairs Road Movies / head of finance Road Movies Dewi Grobecker ... floor runner Germany Uwe Grobecker ... accounting KSG, Germany Claudia Hallemann ... production coordinator Germany Christian Hilgers ... runner Germany / trainee Germany Simon Hill ... assistant accountant Lisa Inman ... trainee FT2 Clyde Lane ... chef Richard Lever ... legal services Lee & Thompson Hailon Li ... assistant Ulrich Felsberg, Road Movies Raj Malde ... post-production accountant as Raju Malde Daniel Manea ... runner Germany / trainee Germany Paul Mason ... floor runner Christian Meinecke ... runner Germany / trainee Germany Karin C. Müller ... legal administrator Road Movies as Karin C. Mueller Louise O'Malley ... production accountant Arthur Oleszczuk ... extras wrangler Germany as Arthur Meinert Volker Otte ... funding manager Road Movies / legal affairs Road Movies Rainer Pyls ... accountant Road Movies Bill Ridealgh ... nurse as Bill 'The Pill' Ridealgh Christopher Scharf ... floor runner Germany Ute Schneider ... head of development Road Movies Eve Swannell ... production secretary Jesse Acton Thompson ... floor runner as Jesse Acton-Thompson Eva Tuecking ... extras wrangler Germany Kai-Peter Uhlig ... legal services Road Movies Sven Weingand ... runner Germany / trainee Germany Mary Brehony ... legal services Arts Coun ... website design uncredited Laurence Parker ... post-production accountant uncredited Heidi Philipsen ... production intern uncredited Jona Wirbeleit ... project assistant Road Movies uncredited Thanks Thomas Augsberger ... additional thanks Mr. Bakshi ... additional thanks Bakshi Catering Co. David Beckham ... special thanks Victoria Beckham ... special thanks Manjeet Bedi ... additional thanks Sudha Bhuchar ... special thanks Bajinder Bindra ... special thanks Mrs. Tarlochau Singh Bindra ... special thanks Tarlochau Singh Bindra ... special thanks as Mr. Tarlochau Singh Bindra Karsten Brünig ... additional thanks as Karsten Bruenig Ezme Bushell ... special thanks Balwant Kaur Chadha ... additional thanks as Mrs. Balwant Kaur Chadha / special thanks as Mrs. Balwant Kaur Chadha Sardar Bhajan Singh Chadha ... dedicatee dear dad as Bhajan Singh Chadha Sheran Chadha ... special thanks Satyendar Pal Chaudhry ... additional thanks Martino Chevannes ... additional thanks Ajay Chhabra ... special thanks Kulwant Singh Chowdhary ... special thanks as Mr. Kulwant Singh Chowdhary Mrs. Kulwant Singh Chowdhary ... special thanks Chris Craib ... additional thanks Amerjit Deu ... special thanks Pierre Du Plessis ... special thanks Matthias Emcke ... additional thanks Pat Farmer ... additional thanks Anthony Farthing ... additional thanks Mia Hamm ... special thanks Mandy Hayes ... additional thanks Vince Holden ... special thanks Hamish Hunter ... additional thanks Piers Jackson ... additional thanks Ayub Kahn ... additional thanks Oriental Star Agency as Mr. Ayub Kahn Milica Kastner ... additional thanks Marisa Knightley ... additional thanks Tim Levy ... special thanks Harvir Mahajan ... special thanks Kaval Mahajan ... special thanks Mrs. Satpal Kaur Mahajan ... special thanks Tripat Mahajan ... special thanks Sirish Malde ... special thanks Tarlochan Singh Mangat ... special thanks Nick Manzi ... additional thanks Cameron McCracken ... special thanks Nathaniel McNeil ... additional thanks Mrs. Tajwant Singh Mohindru ... special thanks Tajwant Singh Mohindru ... special thanks as Mr. Tajwant Singh Mohindru Mary Nayar ... additional thanks Ryan Noto ... additional thanks Bharti Padharia ... additional thanks Sita Pall ... additional thanks Caroline Peacock ... additional thanks Adidas UK Simon Perry ... special thanks Bill Perryman ... additional thanks Yeading Football Club Nancy Ross ... additional thanks Parminder Sekhon ... special thanks Amerjit Sidhu ... additional thanks Chandru Vaswani ... additional thanks Kiran Vaswani ... additional thanks Kara Walters ... additional thanks Matthew Waters ... additional thanks Hugh Whittaker ... additional thanks Peter Wicks ... additional thanks John Woodward ... special thanks Kurt Woolner ... additional thanks Crew verified as complete

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Bend It Like Beckham 2002 depicts a number of cultural differences that may result in potential conflict between British and Indian Punjabi, Sikh cultures. The film focuses on the main character, Jesminder Bhamra’s desire to play football and the conflict she faces due to her family obligations to her Sikh family. Jessminder Bhamra or Jess is left with a dilemma whether to choose to pursue football or to follow her parents’ wish which is simply to complete her studies and marry an Indian man. The film uses comedy to diffuse the tension in the cultural clash between Western values on personal freedom, personal choices, personal achievement and Indian values that strongly value loyalty and obedience to the family as well as a more low profile or humble role of an Asian woman. Now, let us explore some of the issues, cultures, values and worldviews in the Indian Sikh culture from within the movie. Gender Bias Gender bias is one of the predominantly portrayed features in the movie. Female are looked down on and are believed as not capable of playing football as well as males do. The interview in the beginning scene has explicitly described that Indian girls are not supposed to play football for it is considered as inappropriate and that is a shame for girls wearing shorts running in the field chasing after a ball being watched by the crowd. Interestingly, Jess, an Indian girl loves football and is fantasizing to be a professional footballer. Unfortunately her gender and her Asian cultural background are not in favor for her aspirations. Being an Asian girl, Jess is not supposed to play football with boys at the park and to play for the girls’ team, not to say wearing shorts showing off her legs to the spectators. Her acts have ashamed and outraged her parents. For Jess is expected to behave like an Indian girl in general; cook Indian dishes and marry an Indian man. Juliet, a British girl who eventually befriends Jess also fancies football. It is her who brings Jess to join the girl’s team. Juliet’s mother also disapproves her daughter’s hobby. However, it is not a matter of personal freedom, as we know individual freedom is much emphasized in Western culture. Although, it may seem similar to Jess’ parents’ disapproval but if we observe closely, we will discover that Juliet’s mother’s disapproval is not so much of a cultural issue but rather a very pragmatic and parental reason of a mother who worries about her daughter’s chance of marriage. For according to her personal feminine worldview, a woman’s primary goal in life is to be married and in order to be married, one has to look pretty. Her worldview tells that to be beautiful is to have fair skin and a slim body. As playing football will make her daughter’s skin grow darker and her muscle grow bigger and therefore she will eventually lose her beauty. Her main concern is more “individual-based” – personal ideals. Admittedly, Jess’s mother does share similar worldview regarding the idea of “beauty” and a woman’s primary goal in life is to marry a good husband however Jess’s mother’s worldview is intermingled with her Sikh cultural background. Her main concern is more “community-based” – community acceptance, shame. From a gender perspective, both mothers share similar perspective on the role of women and their purpose in life. They are supposed to focus more on attracting husbands, marry good husbands therefore they are to dress up, make up, play no football and behave like girls. Half-naked There was one scene in the movie picturing Jesminder Jess and Juliet running side by side passing two Indian women jogging in their Sari. This scene caught my eyes and remind me of Moslems girls who would go jogging in their long sleeves and long pants with their jilbab or veils on. Obviously, Sikh culture requires girls to wear longer dress that provide more cover to their bodies and definitely “Sari” is the most appropriate dress. It is considered as indecent or inappropriate to reveal too much of their bodies. Jess’s mom explicitly conveys her thinking on the issue of appearance when she said, “I will not allow my daughter running on the field half-naked.” It is my shame! Punjabi or Sikh culture is not so much a guilt-culture but it is obviously a shame-culture as depicted in the movie. Jess’s mom felt ashamed of having her daughter “running half-naked” wearing shorts is regarded as inappropriate in the football field. Pinky and Teetu do not feel guilty of their sex behavior marriage but they would feel ashamed if their sexual behavior is exposed. Honor and shame are very crucial in Asian culture. Pinky and Teetu’s marriage is jeopardized when Teetu’s mom mistakenly saw Jess kissing with an English boy it was not Juliet and they were not kissing but they were both laughing and hugging overwhelmed by joy at the bus-stop. It is a shame for Teetu's parents to have their son married to Pinky with a sister who is regarded to be immoral as she engages in intimate behavior in public. In order to avoid shame to the family, they have to call off the wedding although the engagement ceremony has already been completed. Only when they eventually found out that it was actually a misunderstanding as Jess was just laughing and hugging Juliet as any younger generation will do expressing their close friendship. Same reason why Jess is not allowed to be a footballer, it is a matter of shame and larger family acceptance. The Sikh family is just trying to protect their family’s honor and avoid becoming a laughing stock in their community. Evidently, the family’s honour is paramount in Asian culture. Respecting elder It is interesting in the movie when Jessica’s mom asked Jess to teach her daughter some respect to parents when she said, "Jess, I hope you can teach my daughter a bit about your culture, including respect for elders” She recognizes and emphasizes Indian cultures strong value on respect to their elders. It implicitly portrays the value differences between Western culture represented by the British and the Asian cultures represented by the Indian Sikh culture in the movie. Arranged Marriage - Am I free to marry? Arranged marriage is common in the Sikh culture that is why Pinky and Teetu’s marriage is very special as their marriage is not an arranged marriage, instead it is a love-match which is not the norm of the society. A "love match" means that the two people fall in love and make the choice to get married. However, parents’ approval does play an important role in Asian culture. Inter-religious as well as inter-race marriage is described as unfavorable in the film. It is considered as disloyalty or a betrayal to marry someone from a different race or religion. Cultural and racial prejudice is obviously depicted in the movie that convey against inter-racial and inter-religious marriages. Sad Bride, Happy Family Indian bride is not supposed to smile or to show her joy in her marriage. Pinky is filled with joy and is not able to hide her joy and therefore is reminded by the cameraman that Indian bride is not supposed to smile. However, the family is to be happy and show their happy faces in the wedding. After a serious ritualistic wedding, the family will shift to singing and dancing joyfully. What a contrast! Guru Nanak – the founder of Sikhism The camera frequently shoots on the picture of Bubaji hanging on the wall in the living room. Guru Nanak or Babaji is an Indian saint, the founder of Sikhism whom is much revered. Jess’ mother prays to Guru Nanak for good result on Jess’ exam. This shows that Guru Nanak is very important in protecting and blessing the family. On another scene, Jess is asked by her mom to swear on Guru Nanak in order to prove that she is telling the truth. Guru Nanak seems to serve as the family’s Reference Point to constantly remind them of their values, protection and blessings. Am I free to choose? Religion or faith is not something one can freely choose in the Sikh culture. It is absolutely not an option but it is what someone is born to be. Neither it is an individual matter but it is absolutely a family matter. Inheriting the traditional religion and faith is a way to safeguard the family’s honor and it is regarded as the duty of the family members. Indian parents expect their children and even grand children to continue to be loyal to their family faith. In other words, their traditional religion and faith is their legacy and it is their honor to pass down and to live out their legacy. Bias Superior and Inferior Culture Asian culture is often viewed as being more inferior to Western culture. Jess’ father was rejected to play for the cricket team due to his wearing of turban. On another scene, Jess is deeply hurt, furious and overreacts when she is called “Paki” by the opponent player. Presumably, Asian culture is considered as being inferior by Western culture due to the fact that Western civilization is more developed in their technology. However, the rise of China and India as well as the wave of Korean culture does elevate Asian dignities. Joe, an Irish, does express that he himself also experienced racism from the English. He sympathizes with Jess who is deeply hurt when she is humiliated by an English player. And on one occasion when Joe visits Jess’ parents informing her parents about an upcoming important match, Joe parents’ dislike Joe because Joe is a Westerner. Obviously, cultural prejudice is strongly portrayed in the movie. Homosexuality Indian can’t be gays Another interesting message is Indian cannot be gays. Jess’s Indian friend admits that he is a gay and Jess’ response is interesting for she said, but you are an Indian”. This shows that an Indian should not be a gay or it is not a norm neither it is acceptable for Indians to be gays. Gay and lesbian behavior are indeed a controversial issue and a taboo for Asian culture. However, the movie does portray that it is also not acceptable in the British family when Juliet’s mother thinks that Juliet is dating Jess. Unfortunately, the movie does not depict how Tony’s family and Indian friends will react when they find out that Tony is a gay. Worldview What have I done wrong? Instead of blaming on their ways of educating the children, the parents Jess’ parents are asking whether they have done anything wrong that causes both their daughters to lie and bring so much shame to their family. Their worldview on life is karma. They are blaming themselves and their past-lives for their misfortunes and for what they are experiencing in their current state. Worldview Change, Cultural Change! Almost at the end of the movie, a shift of cultural views occurs. Juliet’s mother opens up herself to football and allows Juliet to pursue her hobby when she understands that female football players can also have normal family with children. It is paramount to note that Jess’ father also has a dramatic change of worldview. He allows Jess to skip out from her sister’s wedding and play in the tournament. At the end of the movie, he himself returns to play cricket with Jess’s boyfriend. The most touching script is Jess’ father’s new perspective when he says; "I don't want Jessie to suffer. I don't want her to make the same mistakes her father made of accepting life, accepting situations. I want her to fight and I want her to win." For me it is the peak of the movie, a point of awareness and realization, a point of worldview renewal and cultural transformation. Final Remarks Bend it like Beckham is an interesting movie that portrays cultural clash in a humorous way. It highlights some important features in both British and Sikh cultures that may potentially result in cultural clash. Most importantly, the movie also portrays that cultural clash does not only occur between or among different cultures but also within a culture itself such as between the older and the younger generations. It is indeed an enjoyable film to watch as it contains rich messages for reflection. BendIt Like Beckham book. Read reviews from world's largest community for readers. High Quality Content by WIKIPEDIA articles! Bend It Like Beckham is a What to know Inspiring, compassionate, and with a sly undercurrent of social commentary, Bend It Like Beckham is a lively feel-good movie that genuinely charms. Read critic reviews Rent/buy Subscription Subscription Rent/buy Subscription Buy Bend It Like Beckham Photos Movie Info Jess Bhamra Parminder Nagra, the daughter of a strict Indian couple Anupam Kher, Shaheen Khan in London, is not permitted to play organized soccer, even though she is 18. When Jess is playing for fun one day, her impressive skills are seen by Jules Paxton Keira Knightley, who then convinces Jess to play for her semi-pro team. Jess uses elaborate excuses to hide her matches from her family while also dealing with her romantic feelings for her coach, Joe. Rating PG-13 Sexual ContentLanguage Genre Comedy Original Language English Director Gurinder Chadha Producer Deepak Nayar, Gurinder Chadha Writer Paul Mayeda Berges, Gurinder Chadha, Guljit Bindra Release Date Theaters Mar 12, 2003 wide Release Date Streaming Sep 30, 2003 Box Office Gross USA $ Runtime 1h 52m Distributor Fox Production Co Helkon Media AG, Kintop Pictures, British Screen Productions, Film Council, Scion Films Sound Mix Dolby Digital, Surround, Dolby SR, Dolby Stereo, Dolby A Aspect Ratio Flat Cast & Crew News & Interviews for Bend It Like Beckham Critic Reviews for Bend It Like Beckham Audience Reviews for Bend It Like Beckham Jul 29, 2015 Winning blend of culture clash, generation gap, and female empowerment as an English-born Indian girl Jess tries to pursue her dream of playing soccer, much to the consternation of her deeply-rooted traditional family. This was the last movie when you might've asked yourself "Who's Keira Knightley?" as 2003 was her springboard to superstardom - you may have heard about a movie released just one month earlier she was in about some cursed pirates. Her appeal is just as evident here as the striker who recruits Jess off the park pitch into an organized league and the two become fast friends. Parminder Negra is equally charismatic as Jess and a pity she hasn't been in more movies. Sharp eyes will recognize Anupam Kher playing her father as Bradley Cooper's sympathetic psychiatrist from Silver Linings Playbook. Jess' attempt to keep her feet in both worlds provides an enthralling look into a culture with very different values, existing as a country within a country. A crowd-pleaser to be sure, and may be faulted for trying to please too much by fitting everything in a too-neat little package by the end. I also felt uneasy with the evolving relationship the team coach who appears mid-twenties has towards the girls, who presumably are near 18 since they talk about attending university soon, but look more like they are 15. Super Reviewer Sep 09, 2012 A funny and uplifting tale about self discovery and acceptance. An enjoyable watch for the whole family, can be enjoyed by football fans and haters alike. Super Reviewer May 23, 2012 A film about following your dream, friendship and family. The inter-culture relation of the Indians and the Europeans was particularly interesting to watch. It's a feel good drama about a girl's dream to become a soccer player but due to her heritage, she had a hard time finding acceptance to do so. The use of racial jokes was effective, also there were some elements of lesbianism which was a play on the stereotype of girls playing soccer. Overall, it's a clever film that can inspire young people Super Reviewer Jul 10, 2011 Well-acted and brilliantly directed by Chadha, Bend it Like Beckham is both a brilliant satire and excellent comedy that keeps you laughing well beyond the first laugh. Super Reviewer

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I’d forgotten how Bend It Like Beckham begins with a spoof BBC football commentary in which Gary Lineker, Alan Hansen and John Barnes wax lyrical about the silky skills of Jesminder “Jess” Bhamra. It’s a fantasy, obviously, which is why her mum soon butts in to tell her off for “running around with all these men, showing [your] bare legs to 70,000 people”. As openings go, it’s supremely silly and very British, perfectly setting the tone for what follows a relentlessly cheerful comedy about a British Indian girl torn between her love of football and her traditional Punjabi family. And how often do we get one of those? Erm, once. Twenty years the intervening decades, Gurinder Chadha’s surprise hit starring Parminder Nagra and Keira Knightley – who, obviously, was the one who went on to become a global superstar – has matured into the highest grossing football film of all time. Which is amazing, even if you think Bend It Like Beckham is a bit glib, cliched, overreliant on stereotypes and dodgy when it comes to sexuality, which for 20 years I did. Until I rewatched it this week and was destroyed by its glinting moments of authenticity. The scene where all the Indian ammas and aunties pull out their mobile phones! The dancing at the wedding! But more of that It Like Beckham 20 Years On BBC Three, Miriam Walker-Khan’s lighthearted documentary examining the film’s impact, also opens with … Gary Lineker. Rewatching his cameo, he reckons he might have “overacted a bit”. He had no idea nor did I that Chadha was originally inspired not by Beckham but by Ian Wright. Apparently she saw him in a union jack flag and caught a glimpse of an evolving concept of Britishness in football. Which, 20 years on, has not evolved enough. “It’s surprising that things haven’t changed too much in terms of the Asian presence in the game,” Lineker it’s off to the National Football Museum in Manchester to talk to some young sportswomen. Coach Ali Speechly, who was 19 when she first saw the film, remembers thinking “Oh my God, this is me.” For freestyle footballer Kaljit Atwal, “it’s sad that it’s still relatable 20 years later”. Walker-Khan meets real-life Jesminder, Rosie Kmita the first south Asian woman to play in the Women’s Super League WSL. Like Jess, she grew up playing football in the park, using jumpers as goalposts and facing the difficulties “that come with being Asian and playing the game”. Jess may have been a great role model, Kmita and Walker-Khan agree, but she wasn’t an up-and-coming BBC Sport journalist, is a bright and engaging presenter with lots to say on Bend It Like Beckham’s intersectionality how it tackles race, class, gender and sexuality with a fleet-footedness that belies both the subject matter and times. It’s a shame she doesn’t interview Chadha there’s only one clip of the director, and it’s from 2007. In its time, Bend It Like Beckham was criticised for being too upbeat and sidestepping the issues, but the Canadian sports journalist Shireen Ahmed points out that its multicultural positivity was sorely needed less than a year after 9/11. “This film,” she says, “gave us a moment to stop apologising.”Essentially, though, this is a documentary about football. It’s about how much the landscape has changed, with the WSL now regarded as the best women’s league in the world. And it’s about how little it has changed, with south Asians remaining vastly underrepresented in women’s football. Ahmed points out that, 20 years later, the local team on which the film’s Hounslow Harriers is based is still made up of “a lot of white girls”.I’ve been on my own vexed journey with Bend It Like Beckham. I was 23 when it came out at a defiant, confused stage when a film like this seemed to have nothing to say to a British Asian like me. An Indian who did not grow up in an Asian community. Whose south Indian parents weren’t strict like the caricatures we so rarely saw on the telly. Whose football-mad, sari-wearing Hindu mum would take weeks off work every time the World Cup was on. Bend It Like Beckham was yet another thing that made me feel like a bad years on, I see my response was forged both by the times and what Chimamanda Ngozi Adichie called “the danger of a single story”; a shame born out of only getting to see one version of myself. I know, now, that there are as many ways to be British Asian as there are Asians in Britain. Which is why, 20 years later, and nearly two years after my wonderful and unusual mum’s death, watching Bend It Like Beckham made me cry. It was for me after all.

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