The Great Journey

I won't repeat all that has been said already by other viewers of this film.

In my opinion this is an excellent film, not only as a very human tale of the developing relationship between a father and his grown-up son, but also as a little window onto the world of practising Islam, for those like me who are not very familiar with that religion.

An important aspect of this story is that of the young man's relation to his father's beliefs and practices, and how his attitude towards the religion seems to alter in subtle ways as we progress on their journey with them.

This is a very thought-provoking, enjoyable and well-made film that I would recommend to anyone with brain and heart.

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.

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.

this isn't 'Bonnie and Clyde' or 'Thelma and Louise' but it is a fine road movie. it sets up its two main characters gently and easily. viewers learn the underlying tensions quickly, which is a tribute to the director. there is the young french (and English) speaking son who wants to do well in France, has a french girlfriend and who drinks alcohol, parties as young men do. And there is his moroccan arabic (and french) speaking father who devoutly follows his Muslim faith, with generosity and the wisdom of elders and who rejects the new culture surrounding him (like mobile phones). the film could explore very powerful politics - the odd couple drive thru the former Yugoslavia, thru Turkey and then thru the Middle East to get to Mecca. these are areas where the Muslim populations have been involved in wars, repression, ethnic cleansing; where dictators have pursued torture and summary executions to hold power and where religious communities are in constant deadly battle with each other. yet the film moves thru those places and possibilities with only hints of such agendas. the relationship between the two is key to this film, and faith, politics are the backdrop. it seems to be saying that we are all human, and need to understand and care for each other in order to manage well in this world. it certainly isn't 'Natural Born Killers' and is all the better for it.