The Power of Animation and Poetry
When I was young I loved Disney’s Fantasia. I wasn’t concerned with the classical masterpieces that provided the background for the art. No, I was not that insightful as a five year old. I loved the simplicity of music and no dialogue and the beautiful tales that played out in the animation. But those little stories, like the Sorcerer’s Apprentice, are powerful and the music and pictures have stuck with me into adulthood. Compelling art is made by combining the audible and the visual in Fantasia and the same can be said about The Prophet. Produced by Salma Hayek as a loving tribute to her grandfather, The Prophet is based on the poetry book written by Lebanese artist and philosopher Kahlil Gibran back in 1923. In the story Almitra (Quvenzhané Wallis) is a little thief who has refused to speak since her father’s death. Almitra and her mother Kamila (Hayek) are introduced to the political prisoner Mustafa (Liam Neeson) who’s only crime is the poetry he writes for the people of Orphalese. Throughout the film you hear Mustafa tell eight poetic lessons to the people around him as he pursues his freedom. And all along little Almitra is listening and learning about life.
The magic of this film is in the eight poetic lessons that are told. Each one is animated by a different director and these are no rookies. Tomm Moore, (The Song of the Sea, The Secret of the Kells) Gaëtan Brizzi (The Emperor’s New Groove, 9, and Fantasia 2000) and Roger Allers (The Lion King) each direct different parts and add their style to Gibran’s words. Joan C. Gratz (Mona Lisa Descending a Staircase) directed the poem “On Work” and created each image herself. Hayek said this about Gratz work in an interview with Time, “It’s Van Gogh-ish, the way the images keep on forming—she does it all on one hard surface. She paints the whole animation, all of it, on that same surface and she does it all with one finger.” All of the animation is stunning. There are times that you feel warmth from the images of light. The way that wind is drawn and how the animation changes to express feelings of flight is enchanting. These artist have each contributed true treasures to enjoy in The Prophet, and they had some rich words to work with.
Let me give you some examples of those words. Mustafa comforts Kamila with, “For even as the maker loves the arrow that flies, so he loves the bow that is stable.” At a wedding feast he tells the bride and groom, “You will be together in the silent memory of God.” And I could go on, “Work is love made visible.” These are deep philosophical points that Gibran meant for adults. So why make them into a cartoon and is this for children? Hayek said this, “I wanted it to be for all generations. Kids are profound thinkers. Animation is limitless—to be able to do the poetry in images allowed the young kids that don’t understand some of the words to understand the concept of the poem.” So I believe that adults will connect with this film so much more than children, but that doesn’t mean that children won’t enjoy it. I have learned from The Chronicles of Narnia and Pixar that a good story can be told to a child and loved but you comprehend the meaning and theme as you mature. That said The Prophet is rated PG for thematic elements including some violence and sensual images.
The Prophet is a beautiful piece of art from Hayek and Allers and it is showing at select theaters nationwide.