Bilal--A New Breed of Hero, Review: Idol greed v/s rebel breed

Here’s the first animation feature film coming out from the middle-east, and it makes you wonder what took them so long. It’s a new, breakthrough breed, and may the genre prosper!

A thousand and four hundred years ago, a slave boy, Bilal bin Rabah, dreamt of becoming a great warrior. Instead, he found himself and his sister working for a wealthy merchant, in a land far away from home. Thrown into a world where idol worship, greed and injustice ruled all, Bilal found the courage to raise his voice, and make a difference. He was led by a mentor and a trainer, who helped him, and prepared him, to stand-up against the greedy merchant army that felt threatened by the awakening of a gullible populace. Inspired by true events, it is a story of a real black hero, who was to become the first ‘muazzin’ (Arabic for the man who calls to prayer, the call being ‘azaan’).

Most of the script had to be the product of cinematic licence, since Bilal lived during 580-640 AD, and the historical records of his life may be sketchy. Also, he is a respected and revered figure, so great care had to be taken while making the narrative interesting, retaining the spiritual aspects of his life. Kudos to Alex Roemer (graduate of Harvard Divinity School, previously served in the U.S. Department of State’s Bureau of Human Rights, lecturer, and documentary film-maker, whose work focuses on religious diversity, and cross-cultural understanding), Michael Wolfe (American poet, author, and frequent lecturer at universities across the United States, including Harvard, Stanford and Princeton; holds a degree in Classics from Wesleyan University), Yassin Kamel (Saudi Arabian, settled in Egypt, now 36, who wrote the film El Alamy at just 25 years of age) and director Khurram H. Alavi himself.

Khurram H. Alavi learnt his basics at the Indus Valley School of Art & Architecture, Karachi, Pakistan. With over 10 years of media experience, Alavi makes his move from advertising to cinema, and this is his directorial debut. Alavi has also served as the resident concept sculptor for characters. Co-director Ayman Jamal, also the producer, is the founder of the banner, Barajoun Entertainment (Dubai). He has extensive expertise in developing and producing media content, branded entertainment, animation and documentaries.

It’s a team that comes good on many fronts: blending the old art of clay animation and cell animation, where one had to shoot 24 frames for each second of footage, with CGI and VFX. Expressive eyes, flashing movements, clashing swords, flashing arrows, good use of birds and animals to create ambience, ornate masks, variety in characters’ girth, and realistic battle scenes, are to their credit. Perhaps the animation is just that wee bit jerky in places and, occasionally, hooves are not grounded when horses gallop. Dream sequences are perhaps one too many. Also, some of the characters look very similar to each other and their voices, too, become difficult to discern. It is still amazing that the film manages to keep the giant of a figure, Bilal’s true lord, out of the proceedings, and, in the end, when Bilal is supposed to do what he has been destined to, the film ends as soon as he opens his mouth. It is sheer technique--leaves you hungry, yet raises no controversies. Bilal features an eleven minute long battle sequence, pitting an army of 300 soldiers against 1000, in an effective use of CGI.

Titles and music are done in Hollywood, mythical battle-tale styles, with great use of various instrument sections, whether brass or strings or rhythms or exotic. Icelander Atli Orvarsson, who specialises in film scores, is the composer. Atli's credits include the Pirates of the Caribbean, Angels and Demons, The Holiday, The Eagle, Vantage Point, Babylon A.D., Thick as Thieves, The Fourth Kind, and Season of the Witch. Together with Hans Zimmer, Orvarsson contributed music to the Zack Snyder Superman re-instalment, Man of Steel. Here, he blends middle-eastern, European and Norse elements. And guess where most of the music was recorded? Abbey Road Studios, London, where legends of more recent centuries worked to create their masterpieces: The Beatles!

The film is slickly edited by Patricia Heneine, except for some parts of the second half, that tend to drag on a bit. It is mixed by Academy-Award winning Michael Hedges (Lord of the Rings, King Kong), in New Zealand, with a team that included some of Sir Peter Jackson’s very own retinue. Costing a relatively modest $30m, Bilal is 105 minutes in length and was made by a team of 360 people, from over 20 nationalities, including many Indians.

Adewale Akinnuoye-Agbaje (Concussion, Trumbo, Annie Pompeii, Thor: The Dark World) voices the adult Bilal, while Ian McShane (Lancastrian who lives in California; Sexy Beast, Pirates of the Caribbean, Hot Rod) plays Umayya, the cruel slave-driver. Both are understated, unlike some historicals/mythologicals, where the tendency is to go completely overboard. Andre Robinson and Jacob Latimore give their voices to the little Bilal and teen Bilal respectively.   

Bilal’s sister, Ghufaira (teen), is China Anne McClain (she and her sisters Sierra and Lauryn make up the singing group McClain; played Aretha Franklin, Janet Jackson, and Ella Fitzgerald in Disney’s A.N.T.FARM). Adult Ghufaira and Hamama are the vocal contributions of Cynthia Kaye McWilliams. The Lord of Merchants and the Charlatan Priest, Fred, has an uncommon surname, Tatasciore (pronounced Tata-shore), a prolific American voice-actor and former stand-up comedian; the voice of the Hulk in the Ultimate Avengers). Overall, voice performances are of a high standard.

How many animation/CGI films would have a 1400 year-old true story to tell? And how many of them would be without animals and birds talking, or super-powers engaging in over-the-top action? Bilal is refreshingly devoid of familiar trappings, yet consummate in its artistry.

Rating: *** ½