The Great Journey

LE GRAND VOYAGE is a gentle miracle of a film, a work made more profound because of its understated script by writer/director Ismaël Ferroukhi who allows the natural scenery of this 'road trip' story and the sophisticated acting of the stars Nicolas Cazalé and Mohamed Majd to carry the emotional impact of the film. Ferroukhi's vision is very capably enhanced by the cinematography of Katell Djian (a sensitive mixture of travelogue vistas of horizons and tightly photographed duets between characters) and the musical score by Fowzi Guerdjou who manages to maintain some beautiful themes throughout the film while paying homage to the many local musical variations from the numerous countries the film surveys.

Reda (Nicolas Cazalé) lives with his Muslim family in Southern France, a young student with a Western girlfriend who does not seem to be following the religious direction of his heritage. His elderly father (Mohamed Majd) has decided his time has come to make his Hadj to Mecca, and being unable to drive, requests the reluctant Reda to forsake his personal needs to drive him to his ultimate religious obligation. The two set out in a fragile automobile to travel through France, into Italy, and on through Bulgaria, Croatia, Slovenia, and Turkey to Saudi Arabia. Along the trip Reda pleads with his father to visit some of the interesting sights, but his father remains focused on the purpose of the journey and Reda is irritably left to struggle with his father's demands. On their pilgrimage they encounter an old woman (Ghina Ognianova) who attaches herself to the two men and must eventually be deserted by Reda, a Turkish man Mustapha (Jacky Nercessian) who promises to guide the father/son duo but instead brings about a schism by getting Reda drunk in a bar and disappearing, and countless border patrol guards and custom agents who delay their progress for various reasons. Tensions between father and son mount: Reda cannot understand the importance of this pilgrimage so fraught with trials and mishaps, and the father cannot comprehend Reda's insensitivity to the father's religious beliefs and needs. At last they reach Mecca where they are surrounded by hoards of pilgrims from all around the world and the sensation of trip's significance is overwhelming to Reda. The manner in which the story comes to a close is touching and rich with meaning. It has taken a religious pilgrimage to restore the gap between youth and old age, between son and father, and between defiance and acceptance of religious values.

The visual impact of this film is extraordinary - all the more so because it feels as though the camera just 'happens' to catch the beauty of the many stopping points along the way without the need to enhance them with special effects. Nicolas Cazalé is a superb actor (be sure to see his most recent and currently showing film 'The Grocer's Son') and it is his carefully nuanced role that brings the magic to this film. Another fine film from The Film Movement, this is a tender story brilliantly told. Highly recommended.

Grady Harp

Father and son communicate very little. IN fact they speak different languages. BUt when the son drives his father 3000 miles for his pilgrimage's to Mecca, the conversations finally take place. they are difficult and growth is necessary on both parts.

This movie takes us into the hearts of these two travelers, and it is indeed a grand voyage for the audience as well as the two principals. The imagery throughout is impressive, especially the final scenes in Mecca. It underlines for me once again how much different the world can be, but also at the same time, how similar. The same was true for the father and son in this film.

See this movie. Tell your friends to see it. You'll be glad you did.

Reda is a young Frenchman of Moroccan descent. Despite his Muslim heritage, he is very French in attitudes and values. Out of the blue, his father announces that Reda will be driving him to the Hajj (pilgrimage) to Mecca--something that Reda has no interest in doing but agrees only out of obligation. As a result, from the start, Reda is angry but being a traditional Muslim man, his father is difficult to talk to or discuss his misgivings. Both father and son seem very rigid and inflexible--and it's very ironic when the Dad tells his son that he should not be so stubborn.

When I read the summary, it talks about how much the characters grew and began to know each other. However, I really don't think they did and that is the fascinating and sad aspect of the film. Sure, there were times of understanding, but so often there was an undercurrent of hostility and repression. I actually liked this and appreciated that there wasn't complete resolution of this--as it would have seemed phony.

Overall, the film is well acted and fascinating--giving Westerners an unusual insight into Islam and the Hajj. It also provides a fascinating juxtaposition of traditional Islam and the secular younger generation. While the slow pace and lack of clarity about the relationship throughout the film may annoy some, I think it gave the film intense realism and made it look like a film about people--not some formula. A nice and unusual film.

What starts out as generational conflict in this movie, ends in understanding, solemnity and grace. The movie meanders through Europe with the father and the young son cramped in a car over 3000 miles. The cramping forces lifestyles, beliefs and life skills to collide. There's really no clear winner. It all adds up in the end as experience, experience of multiple layers of life. For those interested in understanding Islam, this movie offers a generous and gentle outlook, without being pushy about the agenda. It's a coming of age story for the young son, his dismissive and rebellious nature turning to openness for receiving more ways of life.

This movie is great! This movie is beautiful! Finally, a movie that portrays Moslems as PEOPLE, no stereotypes here. This movie is driven by the story, by the acting and above all by its theme, that of cultural affirmation and discovery. They may seem like clichés but they are not, at least not in this movie. The vista of the Grand Mosque of Mecca is absolutely stupendous and the audience is given a glimpse of a side of the Moslem world that is rarely of ever shown in the West. Here the people are caring, supportive, devout, tolerant and devoted to each other. What a welcomed and way overdue departure from the usual negative portrayals of Arabs. Outstanding movie.