Ten years after his gruesome demise, Muammar Gaddafi still divides world opinion. Whether you consider him bloodthirsty tyrant, dangerous megalomaniac, misunderstood visionary or martyr in struggle against Western imperialism, he should be credited for at least one positive thing. Lybian leader brought a brief moment of cinema glory to his country by bankrolling Lion of the Desert, 1981 historical epic written and directed by Moustapha Akkad.
The title refers to the nickname of the protagonist, Omar Moukhtar, played by Anthony Quinn. He was highly respected Islamic scholar and important figure in Senussi movement during the last decades of Ottoman rule over today’s Libya. In 1911 Italy, relative latecomer to the Scramble of Africa among European powers, tried to snatch new territory by staging what was supposed to be a splendid little war against decaying Ottoman Empire. The campaign formally ended with Italian conquest of Libya, but in reality, Italian rule over the country was limited to few isolated strongholds on the coast, with the interior more or less controlled by local rebels. Moukhtar proved to be the their best leader, skilfully using guerilla tactics to defeat numerically and technical superior enemy forces. This state of affairs continued for years, even after Fascists arrived to power in Italy. In 1929 their leader Benito Mussolini (played by Rod Steiger) considers lack of control over renegade province insulting to his regime and incompatible with stated aim of resurrecting Roman Empire. Rodolfo Graziani (played by Oliver Reed), ambitious young general and dedicated Fascist, is appointed as new governor of Libya and tasked of finally crushing the rebellion. He concludes that Moukhtar’s guerillas can’t be defeated through conventional means and instead opts for much simpler, but brutal solution. Realising that the Moukhtar’s strength comes from the support among local population, he decides to remove it by rounding up Bedouins and imprisoning them in concentration camps where they would be subjected to disease, physical abuse, rape and summary executions. Although Moukthar doesn’t seem to be discouraged by new policy, it begins to affect his forces, with their numbers dwindling and the logistics drying up.
With the budget of 35 million US$, Lion of the Desert was one of the most expensive films of its time. Gadaffi was generous towards this film because he saw a little bit of himself in the protagonist – a Libyan national hero, Arab nationalist, devout Muslim who fights invading infidels, as well as source of inspiration for various anti-colonialist liberation movements in Third World. But, most importantly, Moukthar was also one of the first historical figures to take arms against what is now considered the most evil ideology of 20th Century, which could in the eyes of Western public bring his Moukthar’s spiritual successor among the Good Guys. Lion of the Desert benefited most from having Moustapha Akkad, Syrian film maker with Hollywood connection. Five years earlier, Akkad directed The Message, film about Prophet Muhammad, made in co-production of various Arab countries, including Libya. This experience served Akkad well and he handled enormous technical, organisational and logistical challenges of such project with great ease. Lion of the Desert has truly impressive scenes featuring ten thousands of extras (including five thousands Libyan soldiers playing Italian troops), dozens of vehicles, town-size sets built in the middle of the desert. Even more impressive is great care for authenticity, not only in events displayed but also in various period details, like the use of authentic Fiat 3000 light tanks, used by Italians in interwar years. Those vehicles, obsolete years before WW2, were impossible to find so the producers simply had their replicas produced. Most of the film consists of spectacular and effective battle scenes, with only brief pauses for some minor character exposition and scenes in which both sides contemplate their respective war strategies.
Just like in The Message, Akkad brought Western actors to the cast. Quinn, who had played Muhammad’s uncle Hamza in the previous film, plays Moukhtar as a person of great dignity, compassion, virtue and willingness to die for what he thinks it’s right. Oliver Reed is given much more interesting role of his villainous opponent, a ruthless but intelligent man who nevertheless learns to respect his adversary. Irene Papas, who has played Hind bint Utbah in The Message is, on the other hand, wasted in the role of Mabrouka, woman whose character is reduced to symbolic depiction of Bedouin women’s suffering during the conflict. Lion of the Desert was, due to similar themes and style, as well as the use of Maurice Jarre as soundtrack composer, compared to David Lean’s Lawrence of Arabia. Those comparisons are, naturally, in favour of Lean’s film. While technically well-done, Lion of the Desert has simpler story with mostly one-dimensional characters. Italian Army is mostly portrayed as bunch of genocidal racists (which explains why the film was banned in Italy for decades), although Akkad allows some Italian officers – like Colonel Deodice (played by Raf Vallone) and young Lieutenant Sandrini (played by Stefano Patrizi) - to express doubts and displeasure with what their comrades are doing to innocent civillians. Libyan characters are, on the other hand, portrayed as noble, brave and saintly, with only exception in the form of Moukthar’s old friend Sharif el-Gariani (played by Sir John Gielgud in glorified cameo) who advocates collaboration with Italian occupiers. Yet, despite those flaws, Lion of the Desert works well as an old school “larger than life” history epic and it could be recommended even to viewers not interested in history lessons about certain troubled parts of the world.
RATING: 7/10 (++)
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