Music, Style & Culture

Black Gold

Tahar Rahim commands the screen in Jean-Jacques Annaud's attempt at a Lawrence of Arabia-esque epic.

Released in cinemas 24th February 2012.

An impressively ambitious drama about the beginnings of the Middle Eastern oil boom, Black Gold has to be commended for aping its influence Lawrence of Arabia.

Director Jean-Jacques Annaud (The Name of the Rose, Seven Years in Tibet, Enemy at the Gates) is no David Lean, or Paul Thomas Anderson (There Will Be Blood), for that matter. However, there's much to admire in this adaptation of Hans Ruesch's novel South of the Heart, a long-standing labour of love for producer Tarak Ben Ammar. Once the horror of Antonio Banderas' miscasting as an Emir settles, along with the overpowering, hammy ADR over the sweeping desert winds, Black Gold becomes a interesting drama that can't quite stretch to epic.

Set in some deliberately vague area of 1930s Arabia, it follows the fates of two warring sheikhdoms. Emir Nesib (Banderas) holds the two sons of Prince Amar (Mark Strong) effectively hostage as part of a peace treaty. Emir cares for his foster sons, who grow up alongside his own son and daughter; the boys grow up to be the shy and clumsy Auda (Tahar Rahim), who we know is thoughtful and clever from his glasses and books, and the fiery, warmongering Saleh (Akin Gazi). When an American oil prospector (Corey Johnson) comes to purchase the disputed land, it sets off a chain reaction of betrayal and tested loyalties involving the already complex situation with Amar's sons.

With such a grand background, Annaud's film focuses on Auda's character arc, and it's lucky the casting was spot-on. French-Algerian actor Rahim came to the world's attention after in starring 2010's acclaimed A Prophet, and he is equally compelling in a role that requires vulnerability, decency and a determined streak. Rahim commands the screen even while playing a quiet, understated role surrounded by goofy lines and exploding camels.

Freida Pinto is limited by her role as the princess truly in love with Auda, there mainly to add some sultry sex appeal. However, it's refreshing that the story doesn't call for hackneyed romantic drama, with their relationship an affectionate, genuine grounding force in Auda's life. The international cast stretch the Arab connections; Banderas is awfully hammy and distracting as the forward-thinking Nesib, eager to build schools and hospitals for his kingdom, but is balanced by a steely Strong as his polar opposite in attitude, a traditionalist who wants nothing to do with infidels. British actor Riz Ahmed (Four Lions) has a small but memorable role as Amar's other son, with his cynicism and modern ways opening the eyes of his half-brother Auda.

A suitably powerful and stirring score from James Horner is the soundtrack to some gorgeous cinematography, but with the stunning desert locations (Tunisia and Qatar) it's not hard. Annaud sets up some quite brilliant skirmishes in the sand, including a fantastic camels vs. tanks sequence. In fact, it would be fair to say camels are the stars of this film, whether they're smirking in the corner of the screen when Banderas milks it for all it's worth, suffering as much as their owners when Auda leads his own fraction to war, or providing a tragic body count as a consequence.

The script, co-written by Annaud, is full of noble wisdom, but is just tongue-in-cheek enough at times to raise a laugh at its own expense. The political viewpoints are light on the ground, and as a history lesson it falls short. It works best when revolving around Rahim's Auda and his journey into an adult and politician. An attractive, interesting drama with plenty of visual appeal and a chance to see Rahim shine once more.

Rating: 7/10