West Beirut

Having lived in North America my entire life, and only seeing the rest of the world through movies, books, and TV, I confess I have no experience of what the world is like when your home is a battlefield, especially in places like the Balkans and the Middle East, which have been sources of strife for several centuries. For many, of course, it's a source of tragedy. But what about those who may live on the edge of conflict, but aren't directly involved? For those who the challenge is simply to fit your day to day life around the war? HOPE AND GLORY was a film like that, though it was also about a little boy who could of course only see school was out, and WEST BEIRUT is like that as well; in fact, it retains the child-like view of HOPE AND GLORY but balances it with the adult viewpoint.

Writer-director Ziad Doueiri isn't interested in making a tract about the Lebanese Civil War(though he doesn't slight from its horrors, as in its opening scene of the bus massacre), but rather picking up the details of everyday life there. If there's a message, and Doueiri refreshingly doesn't hammer us over the head with one, it seems to be this; you do what you can. That's the attitude of the father of the main character Tarak; when both his wife and his son want to leave, he reminds them they really have no place else to go, these things have happened before, but they will stop, and life will go on. You can even find humor in your existence(as when Tarak escapes a battle by hiding in a car, which then takes him to what he thinks is a group of guerrillas but turns out to be something else entirely).

Doueiri, who was the second-unit cameraman on every film Quentin Tarantino directed, not only shows his visual flair, but also tells a compelling story, although with a few slow spots, and while the main characters are teens coming of age, we see the adult point of view as well; sometimes it's mocked(when Tarak's friend Omar complains his father thinks all Western culture is the devil's work, Tarak replies, puzzled, "How does Paul Anka come from Satan?"), but mostly it's taken seriously, and that, I think, helps make this a good film. Doueiri and his brother Rami(who plays Tarak) are ones to watch.

I have seen this movie several times, the first time at a private screening in Los Angeles. It was a powerful experience shared by the many attendees that connected and understood this movie in a very special way. The roller coaster of emotions (sadness, laughter, anger, hope, despair, etc.) left me so exhausted I literally needed an energy bar afterwards.

There are a few things I MUST say about this movie. First, it is an excellent work overall, light with its humor, touching with its sincerity, striking with its honesty, and plain good looking and sounding (hats off to the awesome tracks by Stewart Copeland, the man is a genius). Second, this movie is not only a Herculean first effort for Director/Writer Ziad Doueiri (who had to seek funding and support from around the globe), but also the first respectable and universal Lebanese film to invade the world cinematic circuit. Third, the movie's inaccuracies are irrelevant especially to a worldwide audience that seeks entertainment and dramatic content; and this movie achieves both with adeptness. If you are a history buff and/or have zero tolerance for fiction and poetry (in pictures, words, and music) then this movie is not for you.

I wondered after the screening what it was that moved me to tears in West Beirut, and I could not remember one single moment. I later realized that this movie did for me (a Lebanese that grew up in the west part of Beirut during the war) what no other movie has done before it: tell OUR story. I felt like a released prisoner, like a person who regained the ability to speak after years of silence, like....you get the idea. The sad thing is that very few in the Western hemisphere either really cared or understood the Lebanese people or their war experience, but this movie opens a big door and sheds a great light into one of the many dark corners of this Middle Eastern region.

For the "universal" emigrant (whether Lebanese or Bosnian or Kosovar)this movie is a must see; it offer a lifeline to those with a past that is both lamented and cherished. As to the rest of you out there, this movie is not only highly entertaining, but also a refreshing and necessary look at a people and area of the world that have been unfortunately misunderstood and maligned for years. So kill your TV for one night and activate your energy to go see this movie, you will not regret it.

Ziad and West Beirut deserve big applause and respect for what they have achieved. They have broken barriers (how many Lebanese movies have you seen lately?), taboos ("In the West we are called camel jockeys"), and Western perceptions of the Lebanese in general. I frankly can't wait to see the fruits of Ziad's next film. Hurry man, We need the fix!

Right from the get go, you get immersed in West Beirut, especially if you grew up in this area of the world. From the fighter jets flying overhead, to the gun-totting militiamen you feel completely entangeled and immersed in the action and emotions, well perhaps not if you are an American. But worry not, the movie is simple to follow and you, sooner rather than latter, associate with the characters and the story being told: there is a bit of history (although a little inaccurate), lots of character building (Tarek did such and excellent job portraying a careless but yet affected youth) and a lot of drama especially from Tarek's parents who display some world class acting. The music was also right on track when it came to enhancing the story, whether the mood was going up, down, or portraying stillness.

For his first effort the Director (Ziad Doueiri) does a marvelous job at displaying his handy camera work and his craftsmanship in bringing out a rather complex story in a simple and close-to-the-heart way. It is true that this first effort lacked the polish of experience and confused some a bit (I was asked a lot of questions after the movie by my American friends) but its shortcomings are far outweighed by its style and class. I still do recommend this movie to all audiences, after all, how many Lebanese movies do manage to make it to the American market? None before, and probably none in a long time to follow, unless Mr. Doueiri is working on another great film. Is he? (I will keep my fingers crossed and tied)

Ziad Doueiri, whose credentials as a cameraman include "Pulp Fiction" and "Jackie Brown", crafts one of the most memorable directorial debuts of the 90's in this coming of age tale set in Beirut in 1975 after the civil war breaks out. The film is a remarkably realistic (and obviously autobiographical) portrayal of a Beirut at the time as well as the numerous social and religious rifts in Lebanese culture, but is mostly focused on the experiences of three teenagers, Tarek (the main character, played by the director's brother Rami), Omar (his friend), and May, a Christian girl who recently moved to Beirut.

That is what makes this film completely unique among those centered on Middle Eastern political and relgious issues, that it uses three young characters who are just beginning to explore life and sex to look at the issues that keep Lebanon so fractured to this day. It's through their relatively innocent eyes that much of the ugliness of war is portrayed in the film, and the scenes with them are far more affecting than those with Tarek's parents or any of the other supporting characters simply because Doueiri expertly captures the initial playfulness of their movement through the city and how naive their view of war is, only for them to slowly realize how serious the situation is (at one point Omar and Tarek join in a rally without knowing the implications of what they were calling for, only for the rally to be attacked by militants. The group's innocence is completely lost in a remarkable scene where the three attempt to get a Super 8 film developed only to come across a group of fervent Islamist militants, who capture them and are literally seconds away from discovering the cross May wears around her neck, the equivalent of a death sentence at the time, before Omar talks them into releasing the three. Doueiri claims this incident actually occurred.

Doueiri's style is loose and liberated, obviously influenced by the French New Wave and featuring excellent use of hand-held camera. Anyone expecting a concise, tight narrative will be disappointed, as "West Beyrouth" (the title is a reflection of how frequently and interchangeably French and English are used in Lebanon in place of Arabic) is a loosely-knit, episodic sort of film which suits the nature of its story very well.

What is really refreshing about this film is that it has absolutely no political agenda to push, it is purely about the characters and about how normal citizens are affected by this sort of guerrilla warfare. The film is remarkably human in its approach and execution, never attempting to be a tear-jerker and always maintaining a sense of humor (not one always well-captured by the English subtitles, which are otherwise serviceable), which only makes the drama seem more real when it does occur, not that much of this film is fiction. An outstanding debut from a gifted director.

9/10

When making a film about divisive national conflicts, a familiar device is to frame the historical subject matter in a rites-of-passage narrative. This device produces a number of effects - a contrast between life as the audience knows it, and a historical reality they do not; by following a child's awakening, growing experience and knowledge of the world, it can reveal history and war as a lived experience, and not as something isolated in a textbook; it can show the progress of history as a kind of fall from innocence, as if any child's entering adulthood forces him to acknowledge shocking truths that are merely intensified in a war situation.

'West Beirut' tells the tale of Tarek, a gawky, humungously hootered smart aleck and class clown whom we first see disrupting assembly by blaring Lebanese over a megaphone during 'La Marseillaise'. For some reason, his liberal-left parents have sent him to a French school - this is the first historical nuance the viewer is expected to pick up on: if s/he doesn't, tough.

These opening sequences, messing about with his cousin Omar at school, furtively smoking and staring at attractive relatives, winding up obese neighbours, have something of the freewheeling joy found in a contemporaneous film about adolescence ('West Beirut' is set in 1975), Louis Malle's 'Murmur of the Heart'.

Except, even at this stage, everything is fraught, riven by division - the two languages Tarek speaks, the different religions among whom he co-exists; the different levels of space he inhabits. When he is punished and thrown out of class for disrupting the anthem, he witnesses the beginning of war, the shooting of the passengers on a bus. Again, we are expected to know which side is which, what they're fighting for etc. The main thing is, Tharek's expulsion and the beginning of the war seem to be intimately mixed, almost as if his transgression caused it; and so beings a pattern that shapes the film.

Everything you would expect from a rites-of-passage film is here, but tainted by the war environment - Tarek's first girlfriend is a Christian, making him aware of religious bigotry; his accidental visit to a brothel, his first sexual experience, brings alive to him the division of his city - it's always the subculture that suffers in situations like this. 1970s Lebanon is surprisingly Westernised and liberal, but a general retrenchment occurs, and Omar is expected to go to Mosque. It suddenly becomes dangerous to know the 'wrong' people, and the pressure of this division extends beyond friends into the family itself, between a pride that refuses to be bullied (Tarek's father), and a fear that just wants to get out (his mother).

One of the great things about this film is the way it brings you into a war situation - like us, the characters don't really know what's happening, they have no context - this is random, present-tense, frightening, where the morning cock crow is replaced by bombs as an alarm clock; where military 'protection' is no different from gangsterism. Doueiri's handheld style, used initially to heighten the vividness of youth, can easily adapt to the urgency of war, flitting between the two. The film never betrays either, never suggests childish games are somehow less important.

Omar is a young filmmaker, filming his friends and the city around him. One subplot centres around a film developer on the other side of the city border. A recurrent motif is of looking, being a voyeur, getting to know the world through accessing and interpreting visual information. This may be a biographical portrait of the director as a Young Artist. But, in its modest way, 'West Beirut' performs the same function as Nabokov's 'Speak Memory', using memory, nostalgia, autobiography, not as a comfy escape, but as an artistic weapon against a totalitarian present.