Contents. Plot The film follows Muhammad starting with Islam's beginnings in in which the first Muslims are persecuted for their beliefs, the, and ending with the Muslims' triumphant return to Mecca.
A number of crucial events, such as the and are depicted, and the majority of the story is told from the point of view of peripheral individuals such as (Muhammad's uncle) who, in this movie, is a composite of not only Hamza, but the Prophet's cousin Ali and Umar ibn al-Khattab, Bilal and Zayd (two of the Muhammad's closest companions), and on the other side (the leader of Mecca) and his wife (initially enemies of Islam who later become Muslims themselves). English version.
as. as. as.
as. as. as. as. as. as.
as. as. as. as. as. as.
as. as. as.
as. as Baraa'.
as. as.
as. as. as Silk Merchant. as Poet Sinan. as.
as Toothless Man. as. as. as. as Money Lender Arabic version.
as. as. as. Ali Ahmed Salem as. as. as. as.
as. as Production While creating The Message, director Akkad, who was Muslim, consulted Islamic clerics in a thorough attempt to be respectful towards Islam and its views on portraying Muhammad. He received approval from in but was rejected by the in,. Akkad had to go outside the in order to raise the production money needed for the film. Lack of financing nearly shut down the film because its initial backers pulled out. Financing for the project finally came from the governments of, and, but when it was rejected by the Muslim World League, of Kuwait withdrew financial support.
Of gave Akkad full support for the production, while of Saudi Arabia and then-Libyan leader provided financial support too. The film was shot in and, with production taking four and a half months to build the cities of Mecca and Medina as they looked in Muhammad's time. Production took one year, Akkad filmed for six months in Morocco, but had to stop when the Saudi government exerted great pressure on the Moroccan government to stop the project. Akkad went to al-Gaddafi for support in order to complete the project, and the Libyan leader allowed him to move the filming to Libya for the remaining six months. Akkad saw the film as a way to bridge the gap between the and, stating in a 1976 interview: 'I did the film because it is a personal thing for me. Besides its production values as a film, it has its story, its intrigue, its drama. Besides all this I think there was something personal, being a Muslim myself who lived in the west I felt that it was my obligation my duty to tell the truth about Islam.
It is a religion that has a 700 million following, yet it's so little known about which surprised me. I thought I should tell the story that will bring this bridge, this gap to the west.' Akkad also filmed an Arabic version of the film (in which played Hind) simultaneously with an Arab cast, for Arabic-speaking audiences. He felt that dubbing the English version into Arabic would not be enough, because the Arabic acting style differs significantly from that of Hollywood and Bollywood.
The actors took turns doing the English and Arabic versions in each scene, and both are now sold together on some DVDs. Depiction of Muhammad In accordance with Muslim beliefs regarding, he was not depicted on-screen nor was his voice heard because Islamic tradition generally forbids any direct representation of religious figures.
At the beginning of the film, the following disclaimer is displayed: The makers of this film honour the Islamic tradition which holds that the impersonation of the Prophet offends against the spirituality of his message. Therefore, the person of Mohammad will not be shown (or heard). The rule above was also extended to, his daughters including, his sons-in-law, and the (, and his paternal cousin). This left Muhammad's uncle Hamza and his adopted son Zayd as the central characters. During the battles of and depicted in the movie, Hamza was in nominal command, even though the actual fighting was led by Muhammad. Whenever Muhammad was present or very close by, his presence was indicated by light organ music. His words, as he spoke them, were repeated by someone else such as Hamza, Zayd or Bilal.
When a scene called for him to be present, the action was filmed from his. Others in the scene nodded to the unheard dialogue or moved with the camera as though moving with Muhammad. The closest the film comes to a depiction of Muhammad or are the view of 's famous two-pronged sword during the battle scenes, a glimpse of a staff in the scenes at the or in, and Muhammad's camel,. Reception In July 1976, five days before the film opened in, threatening phone calls to a cinema prompted Akkad to change the title from Mohammed, Messenger of God to The Message, at a cost of £50,000. Film critic described the film as a ' crossed with Early Christian'. She noted a similar avoidance of direct depictions of in early, and suggested that 'from an artistic as well as a religious point of view the film is absolutely right'. In 1977, as the film was scheduled to premiere in the United States, a splinter group of the calling itself the of the chapter of the.
Under the mistaken belief that Anthony Quinn played Muhammad in the film, the group threatened to blow up the building and its inhabitants unless the film's opening was cancelled. The standoff was resolved after the deaths of a journalist and a policeman , but 'the film's American box office prospects never recovered from the unfortunate controversy.' The film proved 'a huge success' with. ’s role as in the Arabic-language version won her international recognition.
Awards and nominations The film was nominated for an in 1977 for Best Music, Original Score for the music. Music The of The Message was composed and conducted by Maurice Jarre, and performed by the. 20 August 1976. Retrieved 28 January 2016. 'Muhammad film title changed after threats.' The Times (London, 27 July 1976), 4. Dilys Powell, 'In pursuit of the Prophet', Sunday Times (London, 1 August 1976), p.
^ Brockopp, Jonathan E (19 April 2010). The Cambridge Companion to Muhammad. Cambridge University Press.
Official Sites
^ Deming, Mark. Archived from on 21 May 2008. Retrieved 8 August 2016. 'Can Iranian movie 'Muhammad' alter Islam's violent image?' , Deutsche Welle (31 August 2015).
Samir Twair and Pat Twair, 'Syrian stars receive first Al-Ataa awards', The Middle East (1 December 1999). Retrieved 2012-03-25. Irvine, Chris (2008-10-28). The Daily Telegraph. Retrieved 2010-05-13. Brooks, Xan (2008-10-27).
The Guardian. Retrieved 2010-05-13. Retrieved 2010-05-13. Retrieved 2012-03-25. External links Wikimedia Commons has media related to.