Honouring heroes: The legacy of martyrdom in Arab cinema
Thousands of martyrs from Gaza and, more recently, southern Lebanon have joined the extensive and honourable list etched in the annals of history. They stand alongside figures like Hamza, Ali, Omar, and Uthman, and the martyrs of Badr, Hattin, Ain Jalut, Jerusalem, Sinai, Ismailia, Suez, Bahr al-Baqar, Port Said, and those who fell in the wars of 1948, 1956, the setback of 1967, and the great victory of 1973. Egyptians, in particular, have borne a significant share of martyrdom, immortalizing their memories through bravery and earning their reward with steadfastness and courage in the face of treachery and malice from a handful of ignorant mercenaries, enemies of humanity and faith.
The concepts of martyrdom and victory have long served as emblems of believers in warfare. Various mediums have celebrated and honoured martyrs, engaging the public through newspapers, magazines, books, and artistic works ranging from theatre to cinema and television. Highlighting some of the most notable martyrs in Arab cinema exemplifies the enduring memory of nations and peoples for their heroes, whether they achieved victory or martyrdom. Many cinematic works have addressed themes of war, resistance, and the martyrdom of heroes from various Arab nations. Due to space constraints, only a few examples will be mentioned.
Among the most significant films depicting martyrdom as a fitting conclusion to a journey of struggle and honourable resistance in pursuit of mercy, justice, and freedom for all humanity are: “The Message” directed by Syrian-American Mustafa Akkad and featuring the late Abdullah Ghaith, “The Lion of the Desert” (also known as “Omar Mukhtar”) produced by Mustafa Akkad, starring the renowned actor Anthony Quinn, and “Days of Sadat”: Directed by the late Mohamed Khan and featuring the unforgettable Ahmed Zaki.
Hamza, the Master of Martyrs
One of the most notable cinematic works depicting the martyr is the film “The Message,” directed by the renowned Mustafa Akkad, featuring the late star Abdullah Ghaith, who portrayed the character of Hamza ibn Abdul Muttalib, the Master of Martyrs and the Lion of God. His appearance in the film begins when he is informed that Abu Jahl is harming his nephew, Muhammad, peace be upon him. He swiftly rides his horse towards Amr ibn Hisham, known as Abu Jahl, striking him in the face, and causing him to fall to the ground. At the same time, he curses him and threatens him if he approaches Muhammad with ill intent, declaring his allegiance to Muhammad’s faith. This scene highlights Hamza’s formidable presence in Meccan society, unmatched by any other, as the Arabs of that time referred to him as the “Wrestler of Lions.” Hamza then visited the house of Al-Arqam ibn Abi Al-Arqam, where he met the Prophet Muhammad, peace be upon him, and recounted his encounter with Abu Jahl, subsequently declaring his conversion to Islam. He migrated with the Prophet from Mecca to Medina, settling there with other converts. When the Prophet learned of the Quraysh’s seizure of the emigrants’ wealth, he permitted the Muslims to head to Badr in search of a Quraysh caravan. Instead, they encountered the Meccan army, fought valiantly, and defeated them, killing all the leaders who had come against them. Hind bint Utbah, the wife of Abu Sufyan, vowed to kill Hamza ibn Abdul Muttalib for having slain her father, Utbah, in the Battle of Badr. She and her husband continued to rally the people of Mecca for another confrontation until the Battle of Uhud, where the Muslims achieved victory.
However, Khalid ibn al-Walid, who had not yet converted to Islam, skillfully exploited the Muslims’ disobedience to the Prophet Muhammad’s command not to descend from their positions to collect spoils. He launched a surprise attack, turning their victory into a defeat. During the battle, Hamza was killed by the slave “Wahshi,” who had been hired by Hind bint Utbah to carry out the act. Once the fighting ceased, Hind approached Hamza’s body, cut open his abdomen, and consumed his liver. Hamza, known as the Lion of God and the chief of martyrs, is a figure of great reverence. It is undeniable that this act garnered significant publicity, especially when the film depicting it was banned in Egypt due to objections from Al-Azhar regarding the portrayal of the companion Hamza ibn Abd al-Muttalib, the uncle of the Prophet Muhammad. This ban ultimately benefited the film, piquing public interest, and leading many to seek it out, especially with the advent of satellite television. Viewers praised the film, recognizing it as a commendable work that conveyed numerous positive messages, particularly highlighting the sweetness of martyrdom in the path of God.
Omar Mukhtar: The Lion of the Desert
“The Lion of the Desert” is a significant work in global cinema, directed by the Syrian-American Mustafa Akkad. It exists in two versions: the English version titled “Lion of the Desert” and an Arabic dubbed version named “Omar Mukhtar.” The lead role is portrayed by the renowned actor Anthony Quinn, who embodies the character of the Libyan hero Omar Mukhtar. Mukhtar formed an army of freedom fighters to defend Libya against the Italian occupation, achieving remarkable victories in numerous battles. This success greatly troubled Benito Mussolini, the Italian leader at the time, prompting him to dispatch his most skilled commander, Graziani, played by Oliver Reed, to confront Mukhtar and his forces. However, Graziani also faced a devastating defeat in his initial encounter. Subsequently, he attempted to buy time to reinforce his troops through deceptive negotiations with Mukhtar and his men. Despite receiving numerous tanks to invade the desert, he ultimately suffered a humiliating defeat at the hands of Mukhtar’s army. Graziani then sought to sever the supply line between Egypt and Libya by erecting barbed wire along the border to prevent reinforcements from reaching Mukhtar and his fighters. Determined to outsmart Mukhtar, Graziani devised a trap that led to Mukhtar’s capture. He was sentenced to death in front of his people, yet in his final moments, he uttered words that ignited the fervour of his supporters.
He stated, “We will not surrender… we will either triumph or perish… you will have to contend with the next generation and those that follow… As for me, my life will outlast that of my oppressor.” He then recited the testimonies of faith and passed away, becoming a martyr of whom the Arab nation can be proud, from its eastern to its western reaches.
Syrian director Mustafa Akkad demonstrated through his works that art is a noble message capable of enriching humanity with values that elevate human existence and refine behaviour, in stark contrast to much of what contemporary cinema offers.
Champion of War and Peace
The film “Days of Sadat” stands as a significant landmark in the history of Egyptian and Arab cinema, chronicling the life of the martyr and hero, Mohamed Anwar Sadat. Currently, we commemorate the 51st anniversary of his remarkable victory, regarded as one of the greatest triumphs of our modern era and continues to be studied in universities worldwide. The screenplay and dialogue were crafted by Ahmed Bahgat, drawing from Sadat’s autobiographical works “In Search of Identity” and “A Woman from Egypt,” authored by Jehan Sadat. The film features the late Ahmed Zaki in the role of Sadat, alongside Mervat Amin and Mona Zaki portraying Jehan Sadat. The musical score was composed by Yasser Abdel Rahman, with cinematography by Tarek El Telmissany and direction by the late Mohamed Khan. This production narrates the life of President Mohamed Anwar Sadat over a duration of two hours and forty-eight minutes, resulting from a collaboration between Ahmed Zaki and the Radio and Television Union, with a budget of six million Egyptian pounds in 2001, ultimately generating revenues that doubled the initial investment. The narrative unfolds through a flashback technique, commencing with a scene of Sadat seated in Nasser’s chair following his death, reflecting on his life journey from childhood to his ascension to the presidency.
He recalls his role in the national movement resisting British occupation and his collaboration with the Germans during World War II, which led to his imprisonment and subsequent accusation of murdering Amin Osman Pasha. This resulted in his dismissal from the army, after which he worked in construction for a time before returning to military service. He joined the Free Officers and participated in the July 1952 Revolution. The director employs flashbacks to revisit the assassination attempt on Nasser in 1954, the nationalization of the Suez Canal, and the tripartite aggression against Egypt in 1956, culminating in the setback of 1967 and the death of Marshal Abdel Hakim Amer, followed by Sadat’s appointment as Vice President. Shortly thereafter, Nasser passed away in September 1970, and Sadat assumed the presidency as the vice president. The film also highlights the corrective revolution in which Sadat dismantled the centres of power in 1971, the release of political prisoners, and the preparations for war, including planning, armament, training, and camouflage for the liberation battle. It places significant emphasis on the crossing battle, where the Egyptian army triumphed over the Israeli enemy, delivering a harsh lesson under the leadership of the heroic President Anwar Sadat, and includes a segment of the victory speech. The film then presents a stunning portrayal, both visually and musically, of Sadat’s visit to Jerusalem and his historic address to the Israeli Knesset, before shifting focus to the peace negotiations.
The negotiations culminated in the peace treaty signed between Egypt and Israel in 1979, which stipulated that Egypt would receive the remaining occupied territories in Sinai by April 1981. However, Sadat was not fortunate enough to witness the return of the land on the scheduled date, as he was assassinated during the victory celebrations in October 1980, tragically falling as a martyr in his military uniform among his soldiers, commanders, and senior state officials, in a sorrowful and regrettable incident orchestrated by the Islamic group.
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