O Destino

The movie is simply great. So beautiful, so entertaining, so well-made. As beautiful as I had expected from yousef shaheen, the director, as a leader of the modern Egyptian movie making. The ideal declared by the film is a throbbing hot one. Liberal thought and freedom from all pre-made and superimposed thought is a subject that I never saw treated in such an open manner, especially in a conservative society like the Egyptian one. The Camera playing, the lighting modules, the music, the positioning of the right song in the right situation are all points that count on the director's side. The scene where the Khaleefa says: "I'm the Andalus" with him being zoomed out to appear dotted in the centre of the screen, is one scene that I don't think will forget. The actors choice was also very successful. If you have never seen an Egyptian film before, this is a good one to start with.

Mr. Chahine is masterful and downright crafty in pushing forward his message for cosmopolitan rationality vs. parochial fanaticism: Starting from a telegraphed overview of historical events, ideological currents and characters from the two-century period (XI-XII) in Andalusia that saw a wave of North-African fundamentalist mercenary Berbers wrestle power away from the weakened remnants of the enlightened Umayyad dynasty, he made a deceivingly simple parable using old-time Hollywood formats and entertainment values à la `Thief of Baghdad.' Chahine is thus successfully addressing matters of dense philosophical and political import under the guise of an almost infantile entertainment. The plot, furthermore, echoes `Fahrenheit 451' and its overall ideological stance is reminiscent of ‘A Man for All Seasons.' On the other hand, seeing its `musical' values as a bow to Hollywood is merely scratching at the surface, since it must be kept in mind that poetry in song – the obsessive discipline of enlightened Islam – was the most efficient vehicle for the birth and expansion of all values appropriated by Christian Western (read, European) civilization. Hence, the formal solution signifies much more than the surface. On the other hand, Chahine ties the past quite neatly -- through his storytelling and filmmaking craft -- with current world events and thought convolutions. For example, the stabbing of the bard character in Destiny couldn't be less than a painful fictionalization of the fundamentalist attack on the contemporary Egyptian novelist Mafouz. El Massir is an important piece of work, and I think everyone who is at all concerned or curious about the nature of the global forces at work today should take a long and detained look at it. This film carries a hefty punch and – what's best -- you can barely feel it, as the masterful handling of the narrative, in terms of nothing but an entertaining parable, lets the dense message flow without any pretensions of `avant-garde' stylist truculence. M

"The Ideas have Wings, you can never stop them from reaching the people".

That was Al Massir, or the Destiny of Youssef Chahine. After his previous movie "El Mohager", Chahine was taken to court by a fundamentalist lawyer who claimed that Chahine presented the prophet Joseph in this movie and this is something forbidden "To show prophets on the screen" by Al Azhar. The lawyer wanted the court to stop showing the movie on the Egyptian screens as well as its distribution outside Egypt.

Regardless of the final conclusion of the court, this case was the major motive behind the script of "Al Massir". Jo (Chahine) wanted to send a clear message to this people "You can never stop ideas from reaching the people, neither by burning the books (last scene of the movie), nor by forbidding movies, etc....' As usual, Averoes in this movie was Chahine himself. Trying to keep a good balance between what the history says about Averoes and what Chahine wanted to reflect on this character, he chose his characters to include all the contradictions he wanted to show. Politics, philosophy, love, integrism, etc.... they are everywhere. This idea of combining Islam with Terrorism bothers Chahine, that is why he started the movie with the french religious authorities burning a man who "Translated the books of this Averoes", so don't you be surprised when Muslims burn "Only" the books of Averoes. This analysis of Chahine is what really makes the movie special. It was expected after what happened to him in his last movie (as I said in the beginning), he could have just make it a good reason for a movie showing Muslims as Terrorists, an easy way to attract a Western spectator. But Jo chose the hard way to do it, showing that among all this terrorism, people are still "Life lovers" as mentioned by the first song. These people who just love their life were those fighting against terrorist - not with weapons - but with love. "We have to know first why they are doing this', said Averoes. Actors were really good specially Nour Elsherif, Mahmoud Hemeida, Khaled Elnabawi and Ahmed Fouad Selim. Mohamed Mounir is as usual the voice of Chahine singing "Sing out loud, we still can sing".

This film is an entertaining and thrilling mix of melodrama, music, history, grief and joy, showing the best and worst sides of human nature.

The story is set in medieval Moorish Spain, about the conflict between Averroes; a historical humanistic Muslim philosopher; and a group of reactionary fundamentalists. It is very well acted and the characters are sympathetic as well as credible. Often forgotten is that many of the Islamic societies of the Early Middle Ages (particularly in Spain) were ahead of Europe in science, mathematics, medicine, religious tolerance and many intellectual pursuits. But, there were periodic and sometimes serious conflicts with those who resented these trends.

This is not just an historical epic. The Egyptian director, a very courageous man named Youssef Chanine, deliberately molded the script to show how fanaticism undermines not only a society's intellect, but destroys it's soul. Particularly disturbing, but highly relevant to our times, is showing the subtle manner in which young men are recruited into these movements and about how empty and dishonest they turn out to be.

Although the population of medieval Andalusia was 10-15% Jewish and Averroes had extensive contact with both Jewish and Christian intellectuals, there isn't a Jew in sight and the only Christians are depicted as evil, fanatical, external enemies who enter into a secret pact with the fundamentalist cult. While this is not entirely accurate and a gross simplification of the actual situation at the time, I don't fault Mr. Chanine. He has endured extreme legal harassment in the Egyptian courts over this and another film as well as extensive death threats against himself and his family. Merely exploring the themes portrayed in this movie has put his head on the chopping block, and any sympathetic depiction of Jews or Christians would have resulted in the banning of the film and possibly his head rolling into the basket. He deliberately crafted this film to educate his own society about the debasement and moral corruption wrought by cultism and violence, and, no doubt, wanted to make sure the message got out.

A bold, and gently provocative film by a very brave man.

Egyptian director Youssef Chahine biopic of Arab philosopher Averroes (who lived in Andalusia during the 1100s) is surprisingly compelling, with fine production values, including a lavish color cinematography (this was a co production with France that won awards at the Cannes film festival in 1997). Averroes (played by Nour el Sheriff) is seen in the movie, avant la lettre, as a wise champion of rationality and against fundamentalism. Aside having to fight the intrigue of fundamentalists, he has to do some optical experiments and also has to deal with family problems, a misguided caliph, and Christian troops eager to attack Andalusia. The movie also includes ridiculous but charming musical interludes reminiscent of Indian movies.