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• VIDEO FILM NABI MUHAMMAD DI IRAN MOVIE

VIDEO FILM NABI MUHAMMAD DI IRAN MOVIE

He does convey the connections and similarities among Islam, Judaism and Christianity, but with storytelling that’s more distancing than engaging, the movie won’t reach many audiences unschooled in the Islamic faith. But he hasn’t breathed much vibrancy into that world, let alone urgency. And the film’s climactic action, in an impoverished seaside town, delivers a dynamic fusion of mystery and physicality that’s all too lacking elsewhere.Įxcept for a few scenes produced in South Africa, most of the shoot took place at a large-scale set in the Iranian city of Qom, where, with the essential contributions of production designer Miljen Kreka Kljakovic and costume designers Michael O’Connor and Seyed Mohsen Shahebrahimi, Majidi re-created an ancient world, beautifully detailed (among the many costume personnel are a considerable number of veil sewers). The kinetic fluency of the latter sequence also enlivens a pivotal chase involving an errant camel. Quieter moments, though, have a lyrical or transporting quality, especially when Storaro is shooting from Muhammad’s p.o.v.: a crescent moon reflected in water the child’s glittering vision of the Kaaba, Mecca’s central structure a joyous sprint through Medina, with its stream-washed fruit and baskets of rose petals. The would-be bravura sequence never transcends artifice. CGI elements can be similarly strained, as in the rain of stones that saves Mecca from the Abyssinian “army of elephant riders” led by Abraheh ( Arash Falahat Pishe) and presages the birth of the prophet. Muhammad’s compassion is evidenced in the kindness he extends to a group of slaves, while a drastically overdone scene at his foster mother’s sickbed announces his healing abilities in a way that’s as histrionic as Rahman’s score. Read more Fatwa Issued Against Slumdog Millionaire Composer A.R. “Let him remain unknown if you love him,” Ameneh’s father-in-law tells her, and she’s offered little comfort as she recognizes that the boy belongs to something far greater than their blood bond. But just when Ameneh is celebrating the boy’s return, his paternal grandfather ( Alireza Shoja Nouri) sends him away again to protect him from the prying of those who suspect that he’s the prophesied spiritual messenger, among them the Jewish leader Samuel ( Mohsen Tanappabandeh). Muhammad is denied a wet nurse by a grudging, materialistic uncle Abu-Lahab (Mohammad Asgari) and his Lady Macbeth-ish wife, Jamileh ( Rana Azadivar), and eventually is fostered by a Bedouin couple ( Hamidreza Tajdolat and Sareh Bayat).

The infant Muhammad’s widowed mother, Ameneh (Mina Sadati), who isn’t able to feed the baby, is at the mercy of her late husband’s prominent Meccan family. Choppy transitions don’t help.īut between the variously stiff and schmaltzy scenes, Majidi taps into some wrenching maternal drama. Those not familiar with the story of God’s last prophet on Earth will spend a good portion of the running time trying to sort out who’s who.

Majidi and co-scripter Kambozia Partoei have bookended the story with scenes set decades later, when Muhammad and his followers are fighting for survival against the sanctions of the pagan elders of Mecca, led by Abu-Sofian ( Darioush Farhang), who disdains the upstart worshippers of an “invisible god.” The bulk of the film is an episodic flashback to Muhammad’s childhood and the intrigue brewing around him.

From a birth tableau not unlike the Nativity, through his peripatetic youth as a merchant with his uncle Abu-Talib ( Mehdi Pakdel), the figure of Muhammad is always infused with a white light that marks him as extraordinary, as does the profound effect he has on those around him. Muhammad is seen mainly from the back or with his long hair obscuring his face, and his voice is heard on occasion (in comparison, the last major film on the subject, Moustapha Akkad’s 1976 The Message, avoided onscreen images and dialogue for the prophet). Read more “Terrorism, Bombing and Brutality” Nothing To Do With True Islam, Says Mohammed Director