A Review by Phil Calabro
2004, VPRO Television (Netherlands), Dir. Theo Van Gogh, Starring Ayaan Hirsi Ali,
In English with Dutch subtitles
"What Dutch filmmaker and columnist Theo Van Gogh saw as the shabby treatment of females throughout the Muslim community led him to produce documentaries that portrayed Muslim men as tormentors of women, especially their wives. One recent scathingly critical Van Gogh film carried the message that Islam promotes violence against women. Last week, Van Gogh, a grandnephew of the painter, was shot as he cycled to work. He managed to get up and stagger across the street to his building where he collapsed. The assailant followed him and slit his throat before pinning to his chest with a knife a five-page manifesto that called on Muslims to rise against the "infidel enemies" in the West."
--- Arnaud de Borchgrave, Washington Times, November 15 2004
Just recently, Dutch filmmaker Theo Van Gogh was killed by a radical who had become angered by the topic of his last -and very short at 11 minutes- documentary Submission, which had aired on Dutch television much to the chagrin of the public. It focused on one fictional Muslim woman, written by Ayaan Hirsi Ali, who bases most of the speech from personal memories. She begins the short by praising Allah for a minute or two, and then begins her frightful and dark narrative. She speaks to the audience about how her position in Muslim society has been hindered by the traditional teaching of the Quran, and the power from paternal figures that oppress her being. She then talks about how her praise to Allah seems worthless, because he shelters them from the world, and then bestows faith in the male figures - although her uncle raped her from her virginity and dignity. In the end, she leaves us with the question of why she continues to preach the faith when all she told to do is keep herself away from expressing herself. Despite tradition, is it right to keep one young woman in a new generation stuck in the former one?
It is incredibly hard to review this film, especially because of its newfound notoriety and the sensitive material. But in the end, I found myself completely thrown. First off, the film's material did not justify the death of Theo Van Gogh - no expression of free speech is ever an excuse to end someone's life. But it is quite understandable why many people were appalled by the film - and I was for the same reason. It's easy to understand that this Muslim woman's life has been terrible, and she has begun to question her faith. But is she the only example possible for this scenario? Is it right in saying that every Muslim woman feels oppressed by the laws of Quran? I'd say it would not - one bad apple doesn't spoil the entire tree. But her point does raise some awareness about freedom of expression, even if in spite of traditional values. Also, Van Gogh's direction is incredibly unconventional, and it comes across very rude. The way some of the writing is executed seems too brash, and needs to be handled a lot more lightly. I can understand some people may have strong views of the topic, but there should certainly be a 'cool-down period'.
Although Van Gogh himself is a rather strong critic on Muslims, I feel this film is more of a argument against intolerance more than on the faith of Islam. However, the director and writer did not use enough tact in distinguishing the two, but rather left it up to the audience to make their own decisions (which is the choice usually given to documentary viewers). When I saw the sight of a transparent ayaba on our film's center, I was shocked, but took it in the sight not of a woman angry at Islam, but at her pent-up sense of expression. It is very hard to recommend this very short piece to anyone, just in hopes of not offending the crowd. But it will make you think about the line between tolerance, free speech, and tradition.
