(2011) Dramedy (Sony Classics) Claude Baz Moussawbaa, Leyla Hakim, Nadine Labaki, Yvonne Maalouf, Antoinette Noufaily, Julian Farhat, Ali Haidar, Kevin Abboud, Petra Saghbini, Mostafa Al Sakka, Sasseen Kawzally, Anjo Rihane. Directed by Nadine Labaki
It is sometimes mystifying why men fight and kill over religious belief. It’s not like our religions vary to so much degree that they are completely incompatible; at the end of the day, they’re more like than unalike.
A small village in an unnamed country (but thee and me can call it Lebanon, where the movie was filmed) has been cut off from the rest of the world by land mines, leaving the only way in and out a tiny road over a terrifying bridge. In some ways this has benefitted the village; the Muslims and Christians who make up equal parts of the population live in relative harmony, the mosque and church alongside each other and the priest and imam both in agreement that peace between their flocks would be beneficial to all.
That doesn’t mean they achieved it without cost; the town’s cemetery is littered with graves of men and boys taken well before their time over religious violence. The women of the town have grown tired of endless funerals and mourning their husbands, sons and fathers. They all get along famously; why can’t the men?
When Roukoz (Haidar), whose scooter trips to neighboring towns for supplies represent the only contact with the rest of the world, brings in an antenna, the town once again is blessed with television reception – albeit on a single television set. With it comes news of strife between Muslims and Christians elsewhere in the country. This sets the men to muttering amongst themselves.
Some have no time for this. Beautiful Amale (Labaki), a Christian, is having her cafe repainted by the handsome handyman Rabih (Farhat) and she dreams of a relationship with him. He also finds himself attracted to her but neither know how to breach the subject of actually dating.
However, little incidents begin to inflame the men of the town. The holy water in the Church is substituted by chicken blood. A herd of goats is let into the mosque. The women do whatever they can to defuse the situation; Takla (Moussawbaa), the mayor’s wife, fakes a miracle. Ukrainian strippers are brought in to distract the men. When that fails, the women host a party in which treats laced with hashish are served to mellow out the boys.
However, things get a great deal more serious when Roukoz, on one of his trips to town, is caught in the crossfire between Christian and Muslim militia and is killed. Nassim (Abboud), his cousin, mournfully brings back the body, unable to tell even which side shot the fatal bullet. Realizing that this incident could set off the powder keg, the women resolve to keep the incident quiet until tempers cool down. But can they be successful, or will more bodies be joining Nassim in the graveyard?
This is a story that in many ways is close to Labaki’s heart. Obviously she’s passionate about it, having co-written, starred in and directed the material. She grew up in Lebanon where, as she put it, time was equally divided between home and shelter. There were many days, she said in a studio interview, when it was too dangerous for her to go outside. She got a front row seat to religious conflict.
A significant number of the cast were locals with no acting experience and yet they perform well as an ensemble here. Labaki and Farhat by necessity take much of the attention, having a romantic attraction but even the Ukrainian actresses who plaid the strippers have a naturalistic feel to them. The people here seem comfortable in their roles; one wonders how much of it is what they are used to in their real lives.
This is definitely a bit of a fantasy, a what-if women were in charge in that region. When given the more subordinate role women play in that part of the world, it’s a legitimate question and I’m sure one that many women in that war-weary region must ask themselves as they attend another funeral, or read in the newspapers of another atrocity.
My issue with the movie is the attempt to juxtapose levity and pathos. When it’s done right, it’s seamless and natural but here it’s kind of jarring. On the one hand, there’s a fairly comic scene of the men high on hashish, but prior to that the mother of the slain Roukoz is comforted by the women of the village. It’s an extremely emotional scene whose effectiveness is cut off at the knees by the blissed-out men thereafter. The movie could have been that much more powerful had it been more successful at balancing the two elements.
The village life depicted here is endearing and comforting in its own way; even big city dwellers long for the familiarity of small town life (although not necessarily the insular attitudes which are largely absent here). While there is an element of the fantastic here (there are musical numbers here which also serve to jar the audience out of the movie a bit, although they are admittedly well-staged), it is the realism of the village life that I found stayed with me most, although I admired the subject matter a great deal. It’s not as effective as it might have been in addressing it but the movie is still one I can give a strong recommendation to without hesitating.
REASONS TO GO: Moving in places and amusing in others. Fascinating subject matter and canvas.
REASONS TO STAY: Lacks focus.
FAMILY VALUES: There is some implied sexuality, some images of violence and thematic drug use in one scene.
TRIVIAL PURSUIT: Where Do We Go Now? is the highest grossing Arabic language film in Lebanese history and the third-highest overall.
CRITICAL MASS: As of 5/22/12: Rotten Tomatoes: 41% positive reviews. Metacritic: 57/100. The reviews are strongly positive.
COMPARISON SHOPPING: Lysistrada
VOGUE LOVERS: In the opening scene, a group of women walk in to the town cemetery. Along the way the walk evolves into a bit of a dance which looks very much like Madonna’s old Vogue thing.
FINAL RATING: 7/10
NEXT: The Eclipse