![]() ![]() Restricted by both its narrative scope (it follows Muhammad from the year of his birth to the age of 12) and religious prohibitions against showing the prophet’s face, Majidi tries to enliven matters whenever possible with action scenes (legendary battles, chases through the marketplace, pilgrims circling the Kaaba, hand-to-hand combat, camel caravans, horses galloping across the desert), but action is not this helmer’s forte. 27, a venue where Majidi previously won the Grand Prize of the Americas with “The Children of Heaven,” “The Color of Paradise” and “Baran.” On the same date, it rolled out in 57 screens in Iran, and may expand to 140 (nearly half the Islamic Republic’s 320 screens). “Muhammad: The Messenger of God” opened the Montreal World Film Festival on Aug. It hasn’t been worth the wait: The end result is something more akin to 1950s Hollywood biblical fare rather than Darren Aronofsky’s recent “Noah” or anything in Majidi’s previous oeuvre. ![]() Rahman, as well as craft departments bristling with foreign technicians, the 171-minute pic is the first of a projected trilogy that took seven years to complete. Majid Majidi, the first Iranian helmer nominated for the foreign-language film Oscar (for 1997’s “The Children of Heaven”), delivers his country’s most expensive film to date with the lumbering, old-fashioned and overlong historical epic “ Muhammad: The Messenger of God.” Budgeted in the neighborhood of $40 million, and boasting big names behind the scenes such as lenser Vittorio Storaro and composer A.R.
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