Perhaps
this is the first time a movie produced in Europe depicts some of the true
meanings of Islam. The film moves away from the stereotypes of extremism and
violence that the Western audiences have become used to, and pinpoints the
true complexity of Muslim societies and the virtues of mercy, tolerance, and
mutual love that Islam embraces.
The
movie Le Grand Voyage, is written by Ismail Farroukhi who won the
Lion du Futur prize in the Mostra de Venise 2004 festival.
A
Journey’s Dialogue
The
movie recounts the story of the cultural clashes between a father and his
son due to the different environments they were nurtured in. Reda, the son,
is a 20-year-old student who lives with his family in Provence, France. His
father, on the other hand, spent most of his life in a Bedouin society in
the Moroccan desert before he emigrated. Life’s harshness and austerity
forced him to travel to France where he settled and worked. However, he was
keen on his original identity. He committed himself to speaking Arabic to
his children and continuing the performance of his religious duties—the
five daily prayers, fasting during the month of Ramadan, paying the annual
zakah[1],
and so on—all of which trigger his son’s irritation.
Reda
is astonished at his father paying zakah money at a time he himself is badly
in need of that money. The young son is deeply impressed by French culture,
customs, and conduct, and does not see anything wrong with spending his life
lavishing himself with alcohol and girls.
When
the father grows older, he wants to fulfill the religious duty of Hajj
(pilgrimage to Makkah) and requests that his son drive him to the holy city
of Makkah. Reda, whose university entrance exams are soon to be held,
refuses to carry out his father’s request because he thinks the journey
would be very strenuous and that the timing is inappropriate. A conflict
flares up between the father and son and ends with the son’s assent to
carry out his father’s request.
The
long journey, which starts in France and terminates in Makkah, runs parallel
to an exciting dialogue between father and son, the pitch of which
intensifies at times and at other times slackens, according to the
fluctuations in their relationship on the road. The dialogue is
characterized by many shifts: initial fury and rage as father and son clash,
move into times of long silent pauses when the language of mutual
understanding has run dry.
Both
reject the other’s attitude and conduct and each tries to spend the
journey’s time according to his own disposition and customs. Nonetheless,
after spending long nights in the car, the dialogue gradually transforms
from the language of mutual respect to the language of mutual understanding,
love, and acceptance. The seeds of love begin to sprout between the two
after a crisis in which the familial bond was about to break up. As the
relationship develops, another aspect of Reda’s character is brought to
the fore. He no longer responds to his girlfriend’s phone calls, whereas
before, he seized any traffic jam or self-absorption on his father’s part
to send her SMS messages.
The
writer, Ismail Farroukhi, has succeeded in bringing out his message through
the concept of the “road movie,” in the course of which, he highlights
how father and son learn to co-exist in spite of their differences. Despite
the collisions between the Arab and the French backgrounds, father and son
eventually reach a mutual understanding.
The
writer’s choice of a journey to Makkah was a fortunate one as Makkah is
the only terminus towards which divergent characters and cultures can share
a journey.
The
journey leads the audience, the father, and his son through numerous
countries—Italy, Slovenia, Croatia, Serbia, Bulgaria, Turkey, Syria and
Jordan—however, these locations are no more than passing stations. The
complete focus is on the two characters, father and son, and how their
relationship evolves over space and time. The writer leaves the upbringings,
cultures, and experiences that have created the cultural gap between the
two, to our imagination, and instead focuses on the way the characters deal
with and transcend the differences. He depicts how Reda’s feelings towards
his father transform from no more and no less than respect, to love,
cordiality, and esteem. This transformation reaches a climax when the son
turns down his girlfriend’s phone call, reflecting a new rupture with his
old self and a new closeness to his father.
The
Autobiographical Factor
 |
| It's
a road movie highlighting how both father and son could co-exist |
The
movie’s idea stems from the personal experience of the director. Ismail
Farrouqi was born in Morocco in 1962 and traveled to France with his family
at the age of three. From there, he traveled by car with his father to the
holy city of Makkah to carry out the Hajj. When he was older and his father
recounted the adventure to Ismail, he thought it must be a joke or a
delusion. The writer stored the idea in his subconscious until it
crystallized into this movie, which bears several socio-educational and
religious meanings.
The
writer’s skill manifests itself in the quick-paced scenes and pauses.
Fleeting glances and reactions between father and son have special
prominence in the movie and stir up the audience’s emotions. The father
gazing into the sky to determine the direction—a practice he used in his
youth; reciting the Qur’an and invoking Allah for help when the car
becomes covered in snow; and the father selling his camera in order to buy a
lamb for the ritual sacrifice are just a few other examples.
At
the close of the movie, as father and son reach the holy Ka`bah[2],
Reda sees the thousands of people in white clothing who are heading for the
holy House to perform their pilgrimage rituals. Astonishment and affection
overwhelm him, strengthened as he hears the recitation of the Qur’an. He
feels that God is supporting them. He feels there is no room for extremists
who deface the religion’s reputation. He feels that his father has always
been a tolerant, religious man who performs his religious duties of prayer
and fasting and has never been extremist or fanatic.
|
|
|
A
silent dialogue |
It
seems that Ismail Farroukhi has been deeply moved by the unjust accusations
against Islam and decided to defend it through this movie.
In
spite of difficulties faced by the crew, the movie’s scenes were all shot
on location. Curfews were imposed on them in Serbia, when the Serbian prime
minister was assassinated, and during the first weeks of the war in Iraq,
and the Turkish authorities denied them access to the Blue Mosque
altogether. It is thrilling that part of the movie was shot inside the holy
city of Makkah, where the two stars are shown walking through the holy
precinct and circumambulating the Ka`bah. The camera crew, however, could
not shoot all the Makkah scenes inside the city due to official agreements.
The
Cinema Defensive
The
French media showed a strong interest in the film and expressed both
admiration and criticism. Expresse magazine praised the writer and
his successful presentation of a simple human story devoid of any dramatic
complications, but also criticized some technical issues. The CineLife
magazine presented a critical analysis of the film, whereas the TeleDrama
magazine praised the work, its moving impact, its realism, and its
truthfulness, and referred to the exact circumstances in which the
screenplay had been shot as the “first truthful depiction of Makkah.”
Many
other papers pointed out how members of different layers of French society
had felt touched by the relationship between the calm but bossy father and
his morally deviant but respectful son. What really fascinated the
audience—as media coverage reflects—is the realism of the dialogues and
the physical journey, where people felt like they were experiencing the
journey themselves.
Shereen
El Habaak, is an Egyptian journalist and is studying for an MA in
European Affairs.
[1]
Money paid by Muslims every year to the poor as a religious duty.
[2]
The holy mosque in Makkah where Muslims perform most of their
pilgrimage rituals.
