Considering all the critical attention Howard Hawks has received over the years it's rather surprising that this film, the sixth he directed, is so little known. Admittedly, FAZIL is not at all typical of Hawks' work and lacks most of his recognizable directorial motifs, and on top of that features stars whose names only buffs will recognize, but it's a beautifully filmed, sump...
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Considering all the critical attention Howard Hawks has received over the years it's rather surprising that this film, the sixth he directed, is so little known. Admittedly, FAZIL is not at all typical of Hawks' work and lacks most of his recognizable directorial motifs, and on top of that features stars whose names only buffs will recognize, but it's a beautifully filmed, sumptuously mounted late silent drama that's worth seeing for its production values alone. For viewers of our era the most striking aspect of the film is that its story is based on a culture clash of West vs. East, specifically, the difficulties that arise when a European (presumably secular) woman who prides herself on being "free" and modern marries an Arab man who follows the old ways and is a devout Muslim. This material lies in a danger zone that Hollywood has rarely ventured into, even in recent years, and while to our eyes FAZIL is quite dated and very much a product of its time in its depiction of Arabic culture, it's nonetheless surprisingly even-handed in presenting both sides of the case in a painful divide that, needless to say, is still with us.
Two things make FAZIL distinctly un-Hawksian in comparison with most of the director's later work: the emphasis is on the central romance throughout, with only very brief action sequences, and the ending is tragic. Once our lovers meet in Venice we are given many long, languid close-ups of Fazil (Charles Farrell) exchanging looks of adoration with Fabienne (Greta Nissen). They fall in love at a dance --a hint of tragic foreshadowing for Shakespeare devotees-- and then share a gondola ride while the gondolier sings the film's theme, "Nights of Splendor," courtesy of the film's pre-recorded Fox Movietone score. But almost as soon as they are married the culture clash begins, and we never get a sense that the two will manage to overcome their differences: they have entirely opposite notions of what marriage is supposed to be. Fazil believes that love is possession, that a husband commands his wife, and he has no intention of adapting to Western customs, while Fabienne, who is French, considers herself a liberated woman and chafes under Fazil's possessiveness. Neither will compromise. Soon it's clear that tragedy lies ahead, and it's just a question of what exactly is going to happen and when.
However daring it may have been for Hollywood to tackle this subject matter in 1928 the prospect of an actual Arab actor taking the title role was apparently out of the question, so handsome young Charles Farrell was cast in the lead. They gave him a pencil-line mustache and darkened his skin slightly, and that was considered sufficient. Farrell gives the role his best shot although he's obviously no more Arab than Barry Fitzgerald. His performance is generally restrained and seems to improve as the film goes on, that is, after an early scene in which he indulges in unfortunate eye-popping histrionics when he first sees his leading lady. The beautiful Greta Nissen, who was Norwegian, might not have gotten this role in a talkie but she's perfectly well cast here, and gives a sensitive, nuanced performance. Both Fabienne and Fazil have their faults but neither is presented as the villain of the piece, which is refreshing but also deepens our sadness and frustration as their relationship falls apart.
This film isn't for all tastes, and Howard Hawks fans familiar with his later work may wonder if it was truly directed by the same guy who made THE BIG SLEEP and RIO BRAVO, but for viewers willing to adjust to a more romantic (even "soapy") sensibility this is a movie well worth seeing, especially for those interested in the culture clash issues at the heart of the story, and in the way Hollywood has portrayed the Arab world. Film buffs interested in the late silent era will most definitely want to give this one a look.
FAZIL is a slow paced film about an Arab prince falling in love with a French blonde bombshell. The culture difference between modern Paris and the old culture of the primitive hot desert makes marriage life difficult for the characters played by Charles Farrell and Norwegian blonde Greta Nissen. FAZIL was distributed as the sound era was breaking its silence and the film seems a bit old fashion for its time. But Fazil has some beautiful close ups of its stars and the music throughout is moody. Worth seeing for Howard Hawks direction and a glimpse of Nissens beauty. Apparently Hawks had problems convincing Farrell and Nissen to make their love scenes more steamy. So he toke them both aside and told them separately to get busy. The advice paid off. Next project for Greta Nissen was as leading lady in Howard Hughs HELLS ANGELS which first was filmed as a silent. He decided to re-shoot the dialog with sound but Nissens heavy Norwegian accent did not fit the role as an English Lady. She was replaced by newcomer Jean Harlow. FAZIL was thought lost, but has surfaced and become in demand at various film festivals.
法吉尔的短评 · · · · · · ( 全部 9 条 )
0 有用 黑特-007 看过 2023-06-26 21:46:16 北京
放下助人心理，尊重他人命运-_-||
0 有用 Lochips 看过 2022-09-05 17:32:03 浙江
勉强算作霍克斯的《漩涡之外》吧，或许是最凄最美的默片了，他真的就没有不会拍的题材。“爱就是占有”、就是与“自由”相对立的悲观爱情观，与其日后作品里那些浪迹天涯出生入死的独行侠男/侠女所体现的相比，有很大不同吗？
0 有用 stknight 看过 2020-04-15 00:04:17
跨越种族的爱情杯具，可以看看那个时代西方人眼中的阿拉伯人。这个阿拉伯王子明显还不够清真，没要他老婆戴头巾穿黑袍
0 有用 巽凌 看过 2015-06-27 11:41:28
不管是East Meets West，还是West Meets East，在默片里都不会Quote『从此他们就幸福的生活在了一起』P.S. 第一次见到Greta Nissen；Mae Busch剪了波波头
0 有用 吞云吐雾狮子兔 看过 2021-12-23 12:52:25
3.5。早期的好莱坞种族偏见很严重，所以这里面的阿拉伯人男主由米国人扮演。