Editor: Faye Jackson Sound Recording : Joe King Cinematography: Nick Matthews Producer: Les BEAUCHISTES Director: Nilesh Patel

My mother is 52. She arrived in the UK in 1966 She had 2 children between 1967-1970 She worked for 20 years as a lockstich machinist in several knitwear factories. She was made redundant in 1989 and developed rheumatoid arthritis soon afterwards. She has not worked since then. She left school aged 16 with no qualifications. She speaks five languages. She has been driving for 25 years. She has recently gained an O + A Level-both with distinction in English/Gujarati translation. She has also gained a qualification equivalent to a first degree in English/Gujarati translation. She has in the last year or so learnt to swim without lessons, and can now do complete lengths. She has worked as a professional reader for the RNIB talking books service. She wears a hearing aid. She has learnt how to cultivate bonsai trees. She works as a volunteer at age concern She is computer literate.Her favourite films include Les Quatre Cents Coups by Truffaut, the original Cape Fear, almost everything by Hitchcock, Lift to the Scaffold by Malle, Pickpocket by Bresson, most things by Scorsese & De Niro, Manon des Sources, Jean de Florette, Cinema Paradiso etc.She has transcended race, gender, generation and a disability.

My own motivations for making this film:

• is it to celebrate or lament?
• is it to remake Raging Bull (a machismo inspired film) as a feminist film?
• is it to pay homage to two inspirational film-makers?

Its many of these, as well as a technical exercise in aesthetics/style. 'A Love Supreme'© Les BEAUCHISTES 2000 was shot in my flat, over 2 days last February. It was shot in black and white, and in 35mm. It is a combination of a receipe and music video, illustrating the various stages involved in the making of a samosa. It was shot in the style of the fight sequences in 'Raging Bull'. The music varies from Bollywood soundtracks (Lata), to classical music by the blind sitar player Baluji Srivastav, to drum and bass with Indian samples, depending on the tempo of the action. There will be no voice over, only simple white on black titles between the various stages.

My mother, has Rheumatoid Arthritis, which affects her knees an shoulers. One of the key scenes is a close up of her hands, viewed from below to reveal 'mendhi/henna' patterns on her palms. The camera speed varies from 12fps to 72. The film is a 'home movie' an is a visual record for myself, and future generations. The film will stylise cooking rather than boxing, creation rather than destruction, decorated female palms rather than gloved male fists, rolling and folding rather than jabbing and punching, but will still celebrate skill, speed, and accuracy. It is the remaking of a film about a macho boxer and a downtrodden women into a portrait of a radical (feminist). I have borrowed film techniques from male directors, many of whom have made their reputations filming violence, but use them to show the skills and artistry of women, which are often unrecognised. I think that women who prepare such elaborate dishes, for example Italians who painstakingly spend hours making hand made pasta shapes should be celebrated in the same way.

I have used Marcel Duchamps' idea of combing two unrelated elements, the stool and bicycle wheel. In this case, its Raging Bull and my mother, and also, the use of a readymade, but an aesthetic or film style, rather than an object. I have also used Jasper Johns idea of re-presenting something seen but not looked at, but in a highly crafted way. Cooking here is like a martial art or ballet but with hands rather than feet, and the folding of pastry is origami. The title is from the most celebrate album by Jazz legend John Coltrane, famous for 'sheets of sound'. A LOVE SUPREME' is considered by most Jazz enthuiasts to be an highly 'spiritual' piece of music. His wife was called India.

The final credit reads: 'Dedicated to my Mother, her Mother and Your Mother'. I anticipate discussing the film, and my reasons for making it on 'Richard and Judy', 'Network East' and 'The Late Review'. The Head of Acquisitions at Channel 4 has expressed a keen interest in this project, even though it's a non-fiction film. Its also being published by Kodak in their global 'In Camera' magazine later this year.

I would ultimately like to arrange a deal with a distributor in Bombay so that it may be seen by an audience of 1 billion people, who love film, music and samosas. It is scheuled to published by Koday in 'In-Camera', their global cinematography magazine later this year. My film opens with melancholic humming by Lata, which replaces Scorseses' Cavelleria Rusticana. We have two white on black titles; Produced by... followed by my mothers name... Cut to a woman peeling a potato in slow motion(72fps) replacing De Niro shadow boxing, we do not see her face(throughout the entire 9min film). Overlay red title; 'A LOVE SUPREME' then fade to black.