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    At the Arthouse

    Desert Flower tackles the rarely-talked-about subject of female circumcision

    Regina Scruggs
    Apr 1, 2011 | 6:00 am
    • Liya Kebede as Waris Dirie in "Desert Flower"
      Film still by Walter Wehner/National Geographic
    • Liya Kebede, left, with Waris Dirie
      Film still by Walter Wehner/National Geographic
    • Film still of Liya Kebede, left, and Sally Hawkins in "Desert Flower"
      Film still by Walter Wehner/National Geographic
    • Liya Kebede as Waris Dirie in "Desert Flower"
      Film still by Walter Wehner/National Geographic

    Desert Flower, a 2009 movie making its Houston debut today, is based on the 1999 best-seller of the same name, written by Waris Dirie with Cathleen Miller. Dirie is a Somali-born woman who fled her home country to escape an arranged marriage; she eventually became an international top model of the late '80s and early '90s.

    The movie stars Ethiopian-born Liya Kebede, herself a well-known model and actress, along with a British supporting cast of familiar names. Sally Hawkins (Happy-Go-Lucky, the current Jane Eyre), Timothy Spall (the Harry Potter films, The King's Speech), Anthony Mackie (The Adjustment Bureau, The Hurt Locker), and Juliet Stevenson (Bend It Like Beckham, Infamous) round out the impressive cast.

    So where has Desert Flower been?

    Just based on the synopsis, that cast, and the trailer, you might think it's a fairly-commercial rags-to-riches story where a poor African girl makes good in the decadent, capitalist West. Dirie, however, had more to deal with than learning the ways of a new culture. She was also the victim, at 5 years old, of the practice of female circumcision (also known as female genital mutilation), a common ritual in parts of Africa, Asia, Australia and South America. It is also practiced in the United States by immigrants from these regions.

    National Geographic Entertainment is giving Desert Flower a limited release in theaters after it played the festival circuit, primarily in Europe. (In Houston, it's playing at the Edwards Grand Palace.) Sherry Hormann, a U.S.-born filmmaker who lives and works in Germany, adapted Dirie's book for the screen and also directed. Hormann deftly handles a sensitive subject which wasn't widely discussed until recently. Although the movie is rated "R" there is no graphic depiction of the ritual; it is discussed in detail, however, so that the viewer does know just what happened to Dirie.

    So what is this practice, who does it, and why does it occur? This ancient rite of passage requires that the female genitals be partly or entirely removed or injured with the goal of inhibiting a girl's sexual feelings; it is thought this will help keep the girl "pure" before marriage. It's typically performed before puberty, often on girls between four and eight, but sometimes even younger. In certain societies there are designated women who perform this practice; sometimes they are also midwives, sometimes healers, nurses or doctors. Often the ritual is performed without anesthetic, under unhygienic circumstances.

    In the movie, Dirie, who survived this operation (many girls don't), is sold by her father in marriage at 13 to a man old enough to be her grandfather. She refuses this match and runs away, across the desert, to Mogadishu and her estranged grandmother. Eventually she is sent to London to be a maid in the residence of the Somali ambassador. When war breaks out in Somalia, the London embassy is shut down and Dirie, knowing she cannot return to her country, becomes a street person. After years of servitude as a maid, she still knows very little of London life, language, and mores.

    Yet, she learns. She's befriended by Marilyn (Hawkins), a Cockney shopgirl and aspiring dancer; they become roommates and light comedic moments occur as they get to know each other. Tall, strikingly beautiful, and (once she overcomes her language difficulties) naturally friendly, Dirie begins to be noticed by a rooming-house neighbor (Craig Parkinson), an American tourist (Mackie), and a fashion photographer (Spall), who takes her to a model-agency head (Stevenson).

    It's not a smooth ride to the top of the modeling world, however. One of the most poignant moments occurs when Dirie, not yet comfortable with English, goes to the hospital for an infection arising from her long-ago operation. A British doctor asks a Somali male nurse to translate his instructions to her, but by subtitles we see that the nurse berates her instead "for bringing shame on our people."

    Desert Flower is an entertaining film which manages to be more than just a tale of empowerment. It's the story of one woman's triumph over adversity, yes; but it's also a learning experience. One incredible fact: Although the barbaric practice of female genital mutilation has been condemned by the World Health Organzation and the United Nations, it's still commonly performed on as many as 6,000 girls per day.

    The real Waris Dirie has become a United Nations spokesperson for women's rights. On International Women's Day 2011 (March 8), Dirie stated, "In Egypt and Tunisia, the people have succeeded in overthrowing their dictators and are working on establishing democratic systems. Let's make sure that while we watch, support, and appreciate the steps taken in these countries, and hopefully in Libya soon, we do not forget to keep an eye on the situation of women in these societies. Let us not pass by this opportunity to make lasting changes and improve women's rights in North Africa and all around the world."

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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