![]() 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
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