Honestly, making a movie about the Prophet of Islam is a bit like trying to paint the wind. You know it’s there, you feel its power, but how do you actually show it without getting into a massive amount of trouble?
Majid Majidi, the acclaimed Iranian director behind Children of Heaven, decided to take that risk. He spent seven years and roughly $40 million—making it the most expensive Iranian film ever produced—to bring Muhammad: The Messenger of God to the screen.
It wasn’t just a movie. It was a statement.
The film focused on the childhood of the Prophet, specifically the years before he received his revelation. This was a clever move. By sticking to his youth, Majidi hoped to bypass some of the stricter theological bans on depicting the Prophet. But in the world of religious cinema, nothing is ever that simple.
What Really Happened With Muhammad: The Messenger of God
When the film finally premiered in 2015, the visuals were nothing short of breathtaking. That shouldn’t be a surprise, though. Majidi didn’t just hire local talent; he went out and got Vittorio Storaro.
If that name doesn’t ring a bell, Storaro is the legendary cinematographer behind Apocalypse Now and The Last Emperor. He’s won three Oscars. He doesn’t just "film" scenes; he writes with light.
The result? The 6th-century Hejaz looks visceral and tactile. You can almost feel the grit of the sand and the oppressive heat of the Meccan sun.
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The story kicks off with a framing device—the Muslim community under a harsh Meccan boycott—before diving into an extended flashback of the Prophet’s birth and childhood. We see the "Year of the Elephant," where a miraculous flock of birds (the Ababeel) stops an invading army. It’s high-drama stuff, shot with a pre-CGI epic feel that reminds you of old-school Hollywood, yet it remains distinctly Middle Eastern in its soul.
The Music That Almost Caused a Riot
Then there’s the score. A.R. Rahman, the "Mozart of Madras" and Slumdog Millionaire composer, spent over a year and a half working on the music. He recorded with 200 musicians across five countries, including Germany, France, and Egypt.
It’s a gorgeous, haunting soundtrack. But it also landed him in hot water.
A Mumbai-based group called the Raza Academy issued a fatwa against Rahman and Majidi. Their argument? Just being involved in a film that depicts the Prophet—even if his face is never shown—is a mockery of the faith.
Rahman’s response was pretty legendary. He basically asked: "What if, on Judgment Day, Allah asks me why I didn't use my talent to tell the story of His beloved Prophet?" He stood by the work. He saw it as a way to bridge the gap between East and West, a way to show the world a version of Islam rooted in kindness rather than the headlines of the day.
The Face That Wasn't There
The biggest hurdle for Muhammad: The Messenger of God was the "depiction" problem. In mainstream Sunni tradition, any physical representation of the Prophet is strictly forbidden. Shia tradition is sometimes a bit more relaxed, but for a global film, the stakes were sky-high.
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Majidi’s solution was to use "subjective" camera angles.
- We see the Prophet from behind.
- We see his hands.
- We see the top of his head.
- We see through his eyes.
But we never see his face.
Even with this caution, Al-Azhar University in Cairo—the gold standard for Sunni scholarship—called for the film to be banned. They weren't just worried about the face. They were worried that the actor playing the Prophet might eventually take a role as a villain or a criminal in another movie, which would "taint" the image of the Prophet in the minds of the audience.
It’s a fascinating dilemma. How do you humanize a figure if you can't show them? Some critics felt the film suffered for it, arguing the characters felt a bit like "cardboard cutouts" because the central figure was so heavily shrouded in mystery and special camera tricks.
Beyond the Controversy: Is it Actually Good?
If you strip away the religious politics, what are you left with?
At 171 minutes, it’s a long sit. Some call it a masterpiece; others find it a bit "stiff." The Guardian gave it four stars, praising its intellectual honesty. Variety, on the other hand, felt it lacked psychological depth.
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But honestly? You’ve got to respect the craft.
The production design by Miljen Kreka Kljakovic is insane. They built a massive, historically accurate set of Mecca near the city of Qom. They didn't rely on green screens. They built the world. That authenticity carries the film through its slower moments.
Actionable Insights for the Curious Viewer
If you’re planning to watch Muhammad: The Messenger of God, or if you're a filmmaker looking at it as a case study, keep these points in mind:
- Look at the Light: Pay close attention to how Storaro uses natural light. He treats light as a character, symbolizing the "divine" presence without needing to show a face.
- Context is Key: Research the "Year of the Elephant" before watching. The opening miracle scene makes much more sense if you know the traditional Islamic narrative.
- The Soundtrack is a Standalone: Even if you don't watch the full three hours, listen to the score by A.R. Rahman. The track "Ababeel" is a masterclass in tension-building using traditional and orchestral elements.
- Compare and Contrast: Watch it alongside Moustapha Akkad’s 1977 film The Message. While Akkad’s film covers the rise of Islam and the adult life of the Prophet, Majidi’s film is strictly an origin story of the child. They make a fascinating "unofficial" double feature.
Muhammad: The Messenger of God remains a polarizing piece of cinema. It’s a film caught between the desire to be a universal epic and the rigid boundaries of religious tradition. Whether you see it as a beautiful tribute or a controversial risk, there’s no denying that it changed the landscape of Islamic cinema forever.
To get the most out of the experience, try to find the high-definition Blu-ray or a 4K stream if available. The visual detail in the textures of the costumes and the set construction is far too intricate to be appreciated on a small phone screen or a low-quality upload. Understanding the historical geography of the Hejaz region will also help clarify the tribal dynamics that drive the film's secondary conflicts.