A Prophet (2009)

After successfully combining the genres of crime and romance in his previous film “The Beat That My Heart Skipped” (2005), French director Jacques Audiard returns with an even stronger piece in his latest work, the Grand Prix winner of the 62nd Cannes film festival - “A Prophet”. This time, Audiard delicately balances the sensibilities of both arthouse cinema and genre filmmaking in this enthralling film that arguably rivals the best crime films in the history of world cinema.

“A Prophet” revolves around a 19-year old man, Malik El Djebena (Tahar Rahim), convicted for 6 years. We follow his dealings with the Corsican gang currently ruling the jailhouse; they turn Malik into their slave, sending him in missions - eventually, notably strengthening his manhood. He makes friends with a few co-Arabs as well, but his loyalty seemingly lies with the Corsicans who provide him special privileges inside the jail. A special encounter takes place in his first task – being illiterate, his conversation with a political prisoner, whom he is to kill, inspires him to learn while in prison. His education along with his experiences with the gangs then motivates him to take things in his own hands.

“A Prophet” is honest in its dealing with its socio-political themes. It is not preachy as we are simply presented with the human experience. The film does not throw questions that we are forced to answer. It is purely fiction based on solid reality that is entertaining as it is eye-opening.

Undeniably central to the film as a successful character study is Tahar Rahim’s performance as Malik. We are drawn into his world as we try to relate to his character, at times we are alienated and yet we can’t quite resist his natural charms. I have a bad feeling, and I hope I’m wrong here, but by any chance Hollywood decides to remake this exceptional film, Rahim’s portrayal would be difficult to recreate. His powerful performance is subtly intense; it arguably echoes Robert DeNiro as the young Vito Corleone from “The Godfather Part Two”.

With a 150-minute running time, one fears the film losing its momentum, eventually dragging its audience along the way. Audiard avoids this by triumphantly utilizing elements from the crime genre, established in its straightforward narrative, while presenting it in a stylized manner through a meandering camera and visual poetry spread in key moments – it’s like watching a Martin Scorsese gangster movie through the eyes of an auteur like Julian Schnabel.

Thrilling, compelling and moving - Jacques Audiard’s “A Prophet” explorations on social realism and the crime genre is a rare cinematic feat.