Reviews

A Prophet (Un prophète)

Jesse Hicks

A Prophet follows Malik’s struggle not just for mere existence, but also for individual identity in a world where a man alone is nothing.


A Prophet

Director: Jacques Audiard
Cast: Tahar Rahim, Niels Arestrup, Adel Bencherif, Hichem Yacoubi, Reda Kateb, Jean-Philippe Ricci
Rated: R
Studio: Sony Classics
Year: 2009
US date: 2010-02-26 (Limited release)
UK date: 2010-01-22 (General release)
Website
Trailer
Straddling everyone. It's not too great on your balls.

-- Brahim Lattrache (Slimane Dazi)

A Prophet (Un prophète) begins in darkness. A small portal of light appears, gradually revealing the handcuffed, bruised, and disheveled Malik El Djebena (Tahar Rahim). A prison admissions officer tells him, “You’re an adult now. You go to the joint. You’re in with the big guys.” In the eyes of the state, the 19-year-old is an adult, fit for adult punishment. He has no home, no friends, relatives or enemies (inside the prison or out), and he can barely sign his own name. He’s stripped naked and sent inside.

Malik's is a body without human rights, exiled from the state’s protection into the realm of the “big guys.” His survival depends on his ability to find a place among them. A Prophet follows Malik’s struggle not just for mere existence, but also for individual identity in a world where a man alone is nothing. Here, uneven fluorescent lighting bleaches the color from everything, especially human faces. The walls are institutional blue and sea-foam green, mostly grey with grime. Nothing, especially prisoner’s uniforms, looks clean. Every shot shows evidence of long-term neglect. The handheld camerawork conveys the men's jittery paranoia -- or the perpetual vigilance they've learned in order to live.

The lord of this kingdom is Cesar Luciani (Niels Arestrup), a Corsican crime boss running his syndicate from inside the prison. A small band of fellow Corsicans still supports him, and he has bought off guards and lawyers. But his power has waned as he's aged. Arestrup subtly plays a once-potent man whose rage now barely conceals his bewilderment and fear; when he warns Malik that he needs "friends," he's also talking about himself. In an especially poignant scene, Luciani consults a lawyer who says he’ll never leave prison. As the words sink in, the old Corsican looks out the window, his eye lingering on the dead leaves pressed against the sill.

Even in his decline, Luciani makes decisions as to who lives and dies. He makes Malik an offer he can’t refuse: kill another inmate, Reyeb (Hichem Yacoubi), in exchange for protection. "Just remember: now that you're in on it, if you don't kill him,” Luciani declares, “I kill you." Pale and shaking, Malik carries out the bloody murder, earning Luciani’s protection, but not his respect. The Corsicans see him as an outsider: he doesn’t speak their language or share their blood. As ambitious and wily as Malik may be, he remains liminal, never quite an Arab (speaking Arabic but not associating with other Arabs), never quite Corsican (protected by them, but treated as a servant).

As he is rejected, Malik also rejects group affiliations, assuming a sort of fictional independence. But, Luciani reminds him, he doesn't get to decide who he is: “You have Luciani written all over your face. People look at you and they see me." It's clear too that Malik reacts out of his own distrust and anger. When a Muslim asks for help from the Corsicans, Malik asks why he should bother. What can the Muslim offer him? "Brotherhood," the Muslim replies. Malik shoots back, “So I should make up for being their slave by being yours?"

In his isolation, the film suggests Malik has an inexplicable "holiness." He consorts with the spirit of Reyeb, whose death initiated Malik's transformation from homo sacer to big guy. His experience is framed by spiritual allusions that remain vague: he spends 40 days and 40 nights in solitary confinement, he has a murky dream-premonition that later saves his life, and he survives a close encounter with several bullets. As much as these events justify the film’s title, they are also underdeveloped, if not irrelevant. This added (and occasionally distracting) dimension is unnecessary. Malik remains a profoundly compelling enigma, an effect created in large part by Rahim's multi-layered performance. At the film’s conclusion, Malik remains alone and unknown, his face filling the screen one more time, large and unreadable.

7

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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