Unraveling, “West Beirut” a journey of conflict and humanity

By Isabella Yepez

The film West Beirut provides an emotional journey delving into the historical relevance and societal issues of the Lebanese Civil War while illustrating a story that underscores humanity in times of conflict. Director Ziad Doueriri transports the audience into the streets of a city ripped apart by violence on an emotional level. Themes of chaos and fear are painted within elements in the opening scene, showing the aftermath of a horrific bus assault. Soldiers and snipers surround the streets, standing guard against the perpetual fear and tension that pervade daily life.

“West Beirut” primarily addresses the several effects of the Lebanese Civil War on people and communities. Specifically, in the characters Tark, Omar, and May, their identities have to revolve around the constant reminder of the city’s hardship, yet despite the constant challenge, they search for happiness. Themes of love, resiliency, and human connection are at the core of the film, primarily in Tarek and May’s blossoming romance, transcending sectarian barriers and providing a glimpse of a hopeful future for peace. The power of love is a notable theme in the film as Tarek overcomes the established societal divisions and the biases of his friend Omar as he pursues May despite her Christian beliefs. The film’s intricate features are visually appealing, with symbolism that strengthens the narrative. In Tarek and May’s secret encounters, the film’s imagery encourages the audience to fully immerse themselves in their world.

            Moments like Omar consoling Tarek and assuring him that safety is universal, despite religion, highlight the film’s powerful theme of unity amidst division.

The scene where Tarek, Omar, and May are walking around their war-torn city, searching for moments of normalcy, is an exemplary moment of their daily environment. The sounds of gunfire and explosions in the distance as they wander through the streets littered with debris fill the streets at every turn. The trio finds comfort in each other’s presence despite the destruction, and their moments of laughter together contrast the devastating reality of destruction that surrounds them.

The complex relationship between characters who are each in search of their own identity and personal challenges. This is prominent within Tarek’s friendship, and his constant optimism gives hope, and his interactions with Omar bring to light the underlying tension that boils underneath sectarian boundaries. The divide of Beirut into East and West signifies the intricacies of identification and mining relationships, while conflict is prevalent, reflecting a metaphor for a divided society. 

The lasting impression the film West Beirut induces in the viewer is an inspiring contemplation on the spirit of humanity’s resiliency and brings awareness to conflict. The timeless message of optimism and unity in the face of war is reinstated with a fresh perspective from the director through the depiction of universal themes of love and friendship.

“West Beirut” pushes past the boundaries of ideology, race, and religion, serving as a reminder that, in the end, what ties society together is common humanity. Using empathy, comprehension, and group efforts, viewers are left with a reflection of how conflict can pave the way for peace and reconciliation.

On Lion of the Desert’s trial

by Joshua Zuckerman

Lion of the Desert, a film by Moustapha Akkad, is an extremely well-portrayed film that highlights the struggle of Omar Al-Mukhtar against the Italian subjugation of Libya during the 1920s. However, while being a film based almost entirely on real events, the film takes some liberties for the sake of dramatizing the story. One specific event of note is the trial of Omar Mukhtar, in which an Italian lawyer is depicted defending Mukhtar and justifying his actions as those of someone not under Italian rule. However, this event never transpired in reality during Omar Mukhtar’s trial. Due to this, the film’s historical accuracy loses some level of credibility, leaving the audience to ponder the true nature of the trial.

The scene begins with Omar Mukhtar admitting to attacks against Italian soldiers and being armed at the time of his capture. However, Captain Lontano, an Italian Army officer serving in Libya during the Second Italo-Senussi War, defends him by asserting that, due to his refusal to submit to Italian rule and his lack of receipt of any money or rewards for good behavior during the Italian subjugation of Libya, he must be treated as a prisoner of war. Realizing that this event didn’t occur, viewers may wonder why it was included. The answer is simple: by portraying Omar Mukhtar as openly described as a prisoner of war during the trial, it emphasizes the unjust nature of his trial and underscores the fact that Omar Mukhtar never received assistance from Italy, nor did he ever submit to their rule.

The scene then continues with the judge stating that Captain Lontano “overstepped [his] orders,” as he was only instructed to defend Omar Mukhtar from the charge of treason rather than attempt to discredit the fairness of the charge. This continuation of the fictional scene emphasizes that Omar Mukhtar was openly known to have never submitted to Italian rule, opposing their colonization of Libya for 20 years. This raises the question: Why did the Italians hang Mukhtar rather than treat him as a prisoner of war? The movie implies that by executing Mukhtar, they hoped to quell the resistance as a whole. Omar Mukhtar represented the face of the Libyan resistance to Italian colonization, and Italy sought to make an example of him by hanging him in public, as depicted in both the film and historical records. This, followed by the public outcry shown in the film after his execution, illustrates the impact of his death on the resistance, severely weakening it despite galvanizing efforts to repel Italian colonization.

In conclusion, Omar Mukhtar’s “trial” was never truly a trial. Italy’s goal was always to execute Mukhtar in hopes of crushing the resistance. Although it achieved some success, it also paved the way for generational resistance to colonization and a continued desire for Libyan independence. By fictionalizing this scene, Akkad drew attention to the unfair treatment and execution of Mukhtar, portraying him as a hero who died for his beliefs rather than a (forced) Italian citizen who committed treason.

West Beirut (1998): Identity and resilience

By Nicholas Schwab

The Lebanese Civil War, which raged from 1975 to 1990, is still regarded as one of the more crucial periods in the country’s turbulent history and has left a lasting impact on the collective consciousness of Lebanon. Ziad Doueiri’s “West Beirut” (1998) is one of the many artistic interpretations of this time that attempts to captures the essence of life amid the chaos of the war. With its setting in Beirut in the early years of the conflict, the movie weaves together themes of identity, resilience, and the devastating effects of conflict on people and communities to present a gripping examination of the human condition. Ultimately, the film shows the 1975 Lebanese Civil war, successfully highlighting the identity crises caused by the war as well as the resilience of the human spirit using a narrative focused on its young protagonists, Tarek, Omar, and May.

“West Beirut” illustrates the impact of the war on individual identity, as in many ways, the film is a coming-of-age story about the teenage main characters. Tarek and Omar’s friendship in fact serves as a microcosm of Lebanon’s fractured society during this period, especially underlining the arbitrary nature of the conflict and its human cost. Throughout the film, the two are put into dangerous situations, such as crossing areas with snipers aimed at them, and even being shot at in the street. In addition, they argue often, whether it is about Tarek almost getting Omar into trouble, or even more complex topics such as the addition of May, a Christian, into their friend group. Despite all of this, the friends ultimately realize that their shared humanity transcends the boundaries imposed by war and external pressures of sectarian traditionalism. 

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This is evident toward the end of the film in the scene where Tarek truly opens up to Omar on the rooftop and the two cry and hug.

As previously stated, “West Beirut” is also a testament to the resilience of the human spirit. Despite the horrors of war, the characters demonstrate courage, finding moments of joy and laughter amidst the chaos. Tarek, Omar, and May refuse to be defined by the violence surrounding them, choosing instead to and defy the limitations imposed by their circumstances. In example, they make valiant attempts to cling to innocence, such as when Tarek empties the bucket onto his neighbor who wakes everyone up with a tirade of negativity from her balcony each morning. Their unwavering determination to preserve their sense of self and also protect their loved ones (shown by Tarek worrying about his parents dying when he is crying on the roof) portrays indomitable human spirit.

Overall, “West Beirut” is a poignant and powerful portrayal of the Lebanese Civil War, using the experiences of its young protagonists, to highlight the profound impact of war on individual identity while celebrating the resilience and strength of the human spirit. As Lebanon continues to reckon with the legacy of its turbulent past, “West Beirut” remains a powerful beacon of hope and confidence in the strength of humankind to survive and prosper.

My home in Libya

By Charles Sonalia

In the touching film My Home in Libya,  directed by Martina Melilli, the narrative begins with a compelling exploration of self-identity, memory, and the constant looking for a sense of belonging in order to “rekindle” her family. Through direct scenes and evidence from the film, viewers are sent through the journey of Martina Melilli as she deals with her family’s history and the unfavorable displacement.

One key scene that shows Martina’s desire for connection is when she sits down to sketch a map of the city, cautiously tracing the places that hold memories of her grandparents. This  representation becomes a symbolic act of storytelling, as Martina attempts to navigate the ruins of her family’s past and find her place within it. The camera hangs around on Martina’s hands as she draws, shedding light on  her emotions and the desire for her  to have a sense of home. Another compelling moment occurs when Martina finds a connection with online communication with a young man from Libya named Mahmoud. During their digital exchanges, the viewers of the film get to see the combination of two worlds and the bridges of geographical divides. In one particular exchange, Mahmoud shares stories from his own life in Libya, giving Martina a view into a world she has never known. These major conversations are a major character building moment within the film, serving as a catalyst for Martina’s “soul searching”, causing her to confront the complexities of memory and the fluidity of identity.

The film also strategically mixes the  historical context with personal narrative, putting the spotlight on the major negative implications of displacement. In a flashback scene, viewers are taken to the political turmoil of 1969, as Antonio Melilli and thousands of other Italians are exiled from Libya following the major government overthrow (coup d’etat) of  Gaddafi. This major moment in history shadows largely over Martina’s journey, building her understanding of self and family.

As Martina goes deeper and deeper into her family’s history, she deals with the selective nature of memory and the ways in which it shapes personal stories. In a short moment of recollection, Martina confides in Mahmoud about her struggles to fully grasp and understand her Italian heritage with her family’s connection to Libya. Through their dialogue, viewers are meant to think about the intricacies of cultural identity and the shifting ideals behind a sense of belonging.

All in all, My Home in Libya is a cinematic masterpiece that allows a connection with viewers on a major emotional level. Through its vivid storytelling and deep character development, the film invites audiences to embark on a journey of self-discovery and introspection. By tying together direct scenes and evidence from the film, viewers are transported into Martina’s world, where the search for identity and belonging takes center stage. In an era marked by geopolitical disruption and cultural changeability, My Home in Libya  serves as a steady reminder of the  human longing for connection, understanding, and a place to call home.

Works Cited

My Home in Libya [Martina Melilli] (2018)