Category: 1. Jason Apuzzo

[Editor’s Note: LFM has recently been covering a series of provocative films debuting at The Los Angeles Film Festival.]

By Jason Apuzzo. Chris Morris’ striking new film Four Lions, which showed yesterday at The Los Angeles Film Festival is so wickedly funny, shatters so many taboos, and is so brazen in its satire of Islamic terrorism – and the vacuous political correctness that supports it – that it’s a wonder Morris isn’t in a witness protection program right now.  Not that he would need to be protected from jihadis, whom I imagine spend little time watching indie cinema – but from the Western cultural establishment, whose protective covering over the lunacy of Islamic radicalism Morris rips away with comic gusto and flair in this marvelous new film.

Four Lions was a big hit at Sundance earlier this year, and has already done killer business at the indie box office in the UK (it opened the same weekend as Iron Man 2, yet had a better per-screen average), but the film has yet to secure distribution here in the U.S.  Seeing the film last night, it’s not hard to understand why.  This uproariously funny and sophisticated film, that had the audience in hysterics from the opening scene on, is nonetheless so subversive in its vision of Islamic terrorism – so thoroughly and mercilessly dismissive of any justification for terrorism – that by the end of the film any lingering shred of sympathy that might exist toward the terrorists’ point of view has simply been pulverized.  Imagine starting up a heavy-metal band fresh off watching Spinal Tap, or becoming a French police officer after watching Peter Sellars play Inspector Clouseau, and you can imagine the kind of effect Four Lions must have on young Brits thinking of starting up a terror cell.

Four Lions is about a bumbling UK terror cell living in Sheffield.  The two key leaders of the cell are Omar (Riz Ahmed) – the only reasonably sane or professional one in the group, around whom most of the film revolves – and Azzam al-Britanni (or ‘Barry’ to his friends, played with Falstaffian flair by Nigel Lindsay), who’s actually just an abrasive, working class white-guy convert to Islam.  Nigel Lindsay’s portrayal of Azzam al-Britanni almost steals the show; the combination of belligerence and stupidity he brings to the character is pitch-perfect.  Other guys in the terror cell include the sweet but utterly moronic Waj (Kayvan Novak), and Faisal (Adeel Akhtar) – a mumbling doofus who for some reason is convinced he can train crows to be suicide bombers.  A fifth member of the group, Hassan (Arsher Ali), is a pretentious wanna-be rapper (his music conducts a ‘jihad of the mind’) who is recruited while Omar and Waj are in Pakistan botching their terrorist training.

The film follows the different members of the group as they struggle to conceal their activities, aided only by blind luck – and a kind of inane cunning – with the film climaxing in the terror cell’s effort to bomb the London Marathon.  That last sequence in particular is a tour-de-force of action, comic-timing, suspense … and ultimately, great emotional power.  Without giving away the film’s ending, let’s say simply that Four Lions does not exist to pull punches about the full tragedy and inhumanity of terrorism.

What struck me the most about this film was the intelligence and sophistication Chris Morris and his actors brought to this material.  The trailer for the film (see below) captures the opera buffa aspects of Four Lions – but not necessarily the anarchic, Paddy Chayefskyian verve and insight of the film’s satire.  Having made a film on this subject matter myself, I can tell you that Morris has accomplished no small feat in bringing out the sheer lunacy of the terrorist worldview – while keeping the tone light, and respecting the earthy humanity of the characters.  The inevitable question that films like Four Lions or The Infidel or Living with the Infidels or Kalifornistan always inspire is: is the film ‘humanizing’ terrorists?  And the answer is, of course, yes … which is exactly what real-world terrorists, intoxicated with their self-image as divinely inspired warriors, never want.  In the real world terrorists do not consider themselves mere human beings … but jihadis inspired by Allah.  This is the pompous bubble that Four Lions exists to pop.  And pop it the film does, with the force of an atomic blast.

What has happened to American filmmaking that we let the Brits get to this subject matter first?  Watching Four Lions I was reminded of how utterly repressed, how politically correct, how tendentious and boring American filmmaking has become of late.  How have we become so morally clouded and unsure of ourselves, so confused by our own basic humanity, that we can’t make clear-eyed films like this anymore?  As recently as the 1970s, I think a film like Four Lions would’ve still been possible to make in the United States.  For now, however, it apparently takes the Brits to make a film like this – and the only way to see it for the moment here in the U.S. will be through bootlegged copies, digitally smuggled-in via the internet.  It’s almost like we’re living in the the old Soviet Union, actually.  Congratulations to the LA Film Festival for breaking the blockade.  Memo to Fox News, talk radio, the blogosphere and related alternative media: you should get behind this film NOW, and bang every pot and pan you’ve got, so that this film gets proper distribution.  Or else this film will basically not be seen here in the U.S. – and that would be a genuine tragedy.

One final note: Govindini and I had a nice chat after the screening with actor Kayvan Novak, who plays the clueless ‘Waj’ in the film.  He did a wonderful job in Four Lions – there’s nothing tougher than playing dumb on camera, and doing it in an entertaining and engaging way – and we wish him and this scintillating film the very best.

Posted on June 25th, 11:24am.