Let's not kid ourselves, when it comes to gangster films or any kind of crime syndicate based film, they're always inevitably compared to "The Godfather". Whether it's the scope, the themes, or stylization, a mob film is always (fairly or unfairly) compared to Francis Ford Coppola's masterpiece. Yet, let's pump our brakes here. No, the film doesn't come close to touching the golden idol, but it does come close to reaching the heights of another masterpiece: Martin Scorsese's "Goodfellas". Now, one thing that we have to realize is that comparing "Goodfellas" to "The Godfather" would be like comparing a Honeycrisp apple with a Braeburn. Both are of the same genre, yet both give differing tastes and texture. Certainly, "A Prophet" could be compared to "The Godfather" as far as its overall effect and quality, but to completely compare its subject matter would be unfair, especially when it's much more maligned with "Goodfellas".
Where "The Godfather" tackles mob and familial themes, "A Prophet" tackles more so the rise of a mob built business, an idea running rampant in "Goodfellas". The film follows the rise of Malik, a prison inmate who finds himself caught in the middle between Corsican and Arabian inmates. Initially Malik is a feeble inmate. He can't read or write, nor does he have the gumption to defend himself in a hostile environment. So, he aligns himself as the whipping boy to the Corsicans boss, Cesar Luciani, as a way to not only progress in his environment, but as a means for protection. Slowly, but surely Malik works his way up through Cesar's caste system and soon he finds himself as Cesar's right hand man. But, this isn't enough for Malik as he sees a golden opportunity to leverage his stature with Cesar to further a drug ring he has established on the outside with a former inmate and a drug dealer on the inside. It's a daring power play that forces Malik to work around his new found Corsican brethren(Cesar becomes a stepping stone), and the Arab inmates as well. This creates an interesting shift for Malik who has to consistently alter his identity from Corsican supporter to Corsican manipulator in order to continue to play Cesar and the Arab inmates.
Through this Malik gains enough power and clout to effectively call the shots for himself. Although the rise to the top is quite similar to the one found in "Goodfellas", its portrayal and style is the opposite. Where "Goodfellas" is stylish, lush, and vibrant, "A Prophet" is desolate and cold as it captures a prison system wrought with inefficiencies and betrayal. Much like Malik's venture into a world built with crime, we are never at ease as director Jacques Audiard places us directly in the middle of a grim and violent world. And from this comes yet another aspect of the film that I think resembles that of Scorsese's gangster opus: it has a raucous attitude. With the use of a few vicious violent acts, and some well placed songs, the film has a hard edge that cuts deep. Never does it pretend to have a complete moral center. Instead it's far more focused on telling the story about these particular characters and slitting your throat than it is about wondering if Malik's decisions are justified. Some will say that a dose of morality would add depth, but in all honesty it would betray the characters found in the film. Malik isn't interested in doing the right thing. Hell, no one outside of maybe one character are interested in doing the right thing. They're all focused on what they can do for themselves and if that means bribing officials or murdering a car full of Corsicans, then so be it.
These are the acts these characters would commit and giving in to more politically correct characterizations would be an insult. Speaking of the characters, the film features some tremendous acting and none are more impressive than that of Tahar Rahim, who plays Malik. A relative unknown, Rahim delivers a spot on performance as he is able to capture Malik's feeble beginnings to his epic rise. Through Malik's transformation, Rahim most importantly able to build a swagger with expert precision as he slowly works his ways through the ranks. His turn is edgy, raw, and simply captivating. It goes without saying that those three terms also define "A Prophet" as an entity. It may not have the fluidity of "Goodfellas" and may be too cold at times for its own good, but it has the ballsy attitude and intricate crime workings that made Scorsese's film a touchstone back in the early 90's. In addition to its undeniable attitude, the film is filled with wonderful performances and an impressively constructed journey for its protagonist, and it's a film that will set the pace for any mobster cinematic experience that will come out within the next decade.
Where "The Godfather" tackles mob and familial themes, "A Prophet" tackles more so the rise of a mob built business, an idea running rampant in "Goodfellas". The film follows the rise of Malik, a prison inmate who finds himself caught in the middle between Corsican and Arabian inmates. Initially Malik is a feeble inmate. He can't read or write, nor does he have the gumption to defend himself in a hostile environment. So, he aligns himself as the whipping boy to the Corsicans boss, Cesar Luciani, as a way to not only progress in his environment, but as a means for protection. Slowly, but surely Malik works his way up through Cesar's caste system and soon he finds himself as Cesar's right hand man. But, this isn't enough for Malik as he sees a golden opportunity to leverage his stature with Cesar to further a drug ring he has established on the outside with a former inmate and a drug dealer on the inside. It's a daring power play that forces Malik to work around his new found Corsican brethren(Cesar becomes a stepping stone), and the Arab inmates as well. This creates an interesting shift for Malik who has to consistently alter his identity from Corsican supporter to Corsican manipulator in order to continue to play Cesar and the Arab inmates.
Through this Malik gains enough power and clout to effectively call the shots for himself. Although the rise to the top is quite similar to the one found in "Goodfellas", its portrayal and style is the opposite. Where "Goodfellas" is stylish, lush, and vibrant, "A Prophet" is desolate and cold as it captures a prison system wrought with inefficiencies and betrayal. Much like Malik's venture into a world built with crime, we are never at ease as director Jacques Audiard places us directly in the middle of a grim and violent world. And from this comes yet another aspect of the film that I think resembles that of Scorsese's gangster opus: it has a raucous attitude. With the use of a few vicious violent acts, and some well placed songs, the film has a hard edge that cuts deep. Never does it pretend to have a complete moral center. Instead it's far more focused on telling the story about these particular characters and slitting your throat than it is about wondering if Malik's decisions are justified. Some will say that a dose of morality would add depth, but in all honesty it would betray the characters found in the film. Malik isn't interested in doing the right thing. Hell, no one outside of maybe one character are interested in doing the right thing. They're all focused on what they can do for themselves and if that means bribing officials or murdering a car full of Corsicans, then so be it.
These are the acts these characters would commit and giving in to more politically correct characterizations would be an insult. Speaking of the characters, the film features some tremendous acting and none are more impressive than that of Tahar Rahim, who plays Malik. A relative unknown, Rahim delivers a spot on performance as he is able to capture Malik's feeble beginnings to his epic rise. Through Malik's transformation, Rahim most importantly able to build a swagger with expert precision as he slowly works his ways through the ranks. His turn is edgy, raw, and simply captivating. It goes without saying that those three terms also define "A Prophet" as an entity. It may not have the fluidity of "Goodfellas" and may be too cold at times for its own good, but it has the ballsy attitude and intricate crime workings that made Scorsese's film a touchstone back in the early 90's. In addition to its undeniable attitude, the film is filled with wonderful performances and an impressively constructed journey for its protagonist, and it's a film that will set the pace for any mobster cinematic experience that will come out within the next decade.
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