The result is a film capable of being an authentic ambassador for Iranian and Persian cinema. It is noted that an effort was made to make the film a work capable of meeting the European and American films. Technically, the film was better than I expected: cinematography is excellent, with exquisite film work, excellent visual effects, CGI and great colors. Dariush Farhang appears little, but he does his job well and Mohsen Tanabandeh was a competent villain, within the cliché role he had to play. They are very competent and she is a beautiful actress with a calm voice. I especially liked Mahdi Pakdel and Mina Sadati.
MUHAMMAD MESSENGER OF GOD 2015 MOVIE FULL
The cast is full of good actors, but none of them are known to me: as for almost everyone in the West, Arab or Persian actors are illustrious strangers to my eyes. Another problem with this film is it's potential anti-Semitism. At one point, Majidi seems to be competing with western Christian films. I think the script went a little overboard in reporting Muhammad's miracles. Directed by Majid Majidi, this film tells us how Muhammad, the prophet of the Islamic faith, came into the world and how his birth and life path had been prophesied and were eagerly awaited. In both, the figure of Muhammad is never shown. There is no relationship between the two films, I am merely comparing them, and I believe it is a pertinent exercise: even without a direct relationship between them apart from the theme and some characters, I felt that the two films complement each other very well. Initially, I thought it would be a kind of Iranian remake of that film, already a few years old, but in fact it ends up working almost like a prequel, as the events of this film happen before those reported in the older film. I discovered this film shortly after seeing "The Messenger". All in all, the film can be best characterized as "promising" (especially when held against the technological status quo of the Iranian cinema) regarding the potentials of cinema for engendering harmony and peace in our ominous and volatile times. The focus is predominantly on the commonalities of the Shia-Sunni accounts, and the chosen story time-Muhammad's childhood-is certainly helpful towards that end. The film strives towards Shia-Sunni neutrality, and succeeds remarkably-unless viewed with absolute cynicism (anything can be deemed as biased if viewed from that lens). What happened to the sense of perfection of the whole team there, I am not sure.
MUHAMMAD MESSENGER OF GOD 2015 MOVIE PROFESSIONAL
In addition to the CGI, the voice of Muhammad is an illustrative example: letting alone professional actors, I am sure that even among Iranian children doing TV commercials there are who are by far better voice actors, both in terms of enunciation and acting, than the kid chosen in this film for the role of Muhammad. This evinces an odd feature of this film: the sense of perfectionism in this film is oddly inconsistent some parts are perfected masterfully with amazing care, and a few are not even average. The CGI was noticeably weak understandable, since it was the very first experience Iranian cinema went through, but still, within the given bounds, could be trimmed down and could easily be improved significantly. The second act is stale, and the last act, though adequate, could be substantially improved. Though the story does justice vis-à-vis this challenge, it is far from perfection the script does not mesh well with the visual artistry. Hence, the point of view must be shifted, the story must unfold from distributed viewpoints, that must gel together skillfully in order to retain coherence.
It is of note that, the filmmaker, working within the confines of Islamic conventions, cannot show Muhammad's face, which undeniably renders the project formidable. The historical period drama, said to be the first part of a trilogy, focuses on prophet Muhammad's childhood. Juxtaposed with masterful cinematography of Storaro (although occasionally overdone), Majidi delivers imagery that satisfies aesthetic palates superbly. The film immerses the audience in an orchestra of beautiful colors, Majidi's specialty, and an outpouring of sublime tunes. Majidi is a king within the realm of art film, and he sure faced immense challenges managing the first Iranian cinematic project of this scale.
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