This technique had a profound effect on the audience. For the Muslim viewer watching the Arabic version, this wasn't just a narrative trick; it was an act of participation . By placing the viewer in the position of the Prophet, the film dissolved the barrier between the screen and the pew. The audience felt as though they were receiving the revelation, standing in the courtyard of the Kaaba, or enduring the stoning at Ta'if.
In the 1970s, the Western world’s perception of Islam was fraught with stereotypes and misunderstanding. Akkad sought to dismantle these misconceptions not through a documentary or a sermon, but through the universal language of cinema. He wanted to tell the story of the Prophet Muhammad—not as a divine figure floating in the ether, but as a historical giant who changed the course of human history.
How does one make a film about a protagonist who cannot be seen or heard? the message 1976 arabic version
This constraint birthed a revolutionary cinematic technique. In the , the Prophet is never shown. Instead, Akkad utilized a first-person perspective (POV) technique. When the Prophet speaks, the camera assumes his eyes. The characters look directly into the lens, addressing the audience as if they are the Prophet. When he moves, the camera tracks forward; when the scene grows tense, the camera shakes slightly, implying a physical presence.
While the film is famous for its English version starring Anthony Quinn, the holds a distinct and perhaps more profound place in the hearts of millions. It is a cinematic artifact that not only bridged the gap between Hollywood technical prowess and Middle Eastern storytelling but also established a visual language for Islamic history that persists to this day. The Vision of Moustapha Akkad To understand the significance of the Arabic version, one must first understand the ambition of its creator. Moustapha Akkad, a filmmaker who had studied at UCLA and worked under the tutelage of the master of suspense, Alfred Hitchcock, possessed a dual identity. He was a Hollywood insider with the know-how to mount a massive production, but he was also a Syrian Muslim deeply connected to his heritage. This technique had a profound effect on the audience
The casts, while sharing some members, were different in key roles. The English version featured Anthony Quinn as Hamza (the Prophet's uncle) and Irene Papas as Hind. In the Arabic version, the cast was populated by titans of Arab theater and cinema. The legendary Egyptian actor voiced the role of Hamza, bringing a Shakespearean gravitas to the character. Muna Wassef , a celebrated Syrian actress, played Hind, delivering a performance that captured the complexity of a woman torn between tribal loyalty and a new spiritual awakening.
While the English version was targeted at Western audiences to bridge cultural gaps, the was crafted for the Muslim world. This decision speaks volumes about Akkad’s respect for his core audience. He understood that for Arabic speakers, hearing the dialogue in the language of the Quran added a layer of sanctity and emotional weight that English could never replicate. The audience felt as though they were receiving
The Arabic version is often cited by critics and audiences as the superior artistic product. The rhythm of the Arabic language, particularly in the delivery of the poetic dialogue by screenwriter Tawfiq al-Hakim (and others), flows more naturally than the English script. The performances in the Arabic version feel more rooted in the cultural context of the 7th century Hijaz. The most daunting challenge facing the production was the Islamic prohibition against depictions of the Prophet Muhammad and his immediate family (the Rashidun Caliphs). This was not a studio mandate, but a divine law that Akkad was determined to respect.
Financing the film was a struggle. Akkad famously secured funding from Libyan leader Muammar Gaddafi and Moroccan King Hassan II, a diplomatic feat in itself. The budget eventually ballooned to a staggering $17 million (equivalent to nearly $90 million today), making it one of the most expensive films of its time. One of the most unique aspects of The Message is that Akkad shot two versions of the film simultaneously. This was not merely a matter of dubbing; the scenes were lensed twice, once in English and once in Arabic, to ensure authenticity in performance and lip-sync.
In the history of global cinema, there are few films as audacious, controversial, and spiritually resonant as The Message (released in Arabic as Al-Risalah ). Released in 1976 by the legendary Syrian-American director Moustapha Akkad, the film stands as a monumental achievement. It was the first major international production to tackle the story of the birth of Islam, and it did so with a scope and reverence that had never been attempted before.