#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In the Ottoman province of Hijaz during World War I, a young Bedouin boy experiences a greatly hastened coming-of-age as he embarks on a perilous desert journey to guide a British officer to his secret destination.
Plot: In the Ottoman province of Hijaz during World War I, a young Bedouin boy experiences a greatly hastened coming of age as he embarks on a perilous desert journey to guide a British officer to his secret destination.
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|7.2/10 Votes: 10,243|
|6.7 Votes: 122 Popularity: 4.53|
A Huge step for the Jordanian film making, And i really see it by this movie flourish in a new era of directing and production.
I just can’t believe i waited until now to watch it !!
The story is sensational and captivating .. I could only imagine that replicating such a powerful story from that period of time is so hard .. My only note is it just felt a bit short or just fast, yet the plot itself was clear and easily engaged with and the script appeared strong and connected even though again it would look short and simple but i think maybe for the Arabic viewer that would be more digestible than having a long conversation in bedouin accent.
As for the cinematography I would be 100% confident by saying this is a huge step for the Jordanian Film movement , as The movie looked so professional and i’d say in an eye bat it deserves a spot in the Oscars short list.
The Cast was Amazing, The young boy was just so into the role .. it’s just like he is and always has been Theeb for so long.
And to the most Important and (In my opinion) most noticeable part in the movie and made it pop; The Soundtracks .. I mean My goodness !! the songs the humming, the low level clap on the background .. my heart just synchronized it’s beating with the music in the movie … first time i’v heard of Jerry Lane but i’m hoping, Oh hell i’m sure it won’t be the last.
So overall, The movie was really good, again wished the the story would’v gone a bit longer with a little more pages on the screenplay .. but that does not make the movie any less charming and delightful … And i really hope you guys do it in February 28 next year 😉 fingers crossed.
In WW I Bedouin boy grows into tribal maturity.
Theeb is a coming of age film with two key differences from our familiar genre.
The Bedouin boy’s maturing into an adult involves different criteria than those in the West. Essentially, the adulthood this boy assumes is tribal loyalty not our overriding value — personal fulfilment. As well, our culture’s “manhood” often centres upon learning to relate to women. There are no women in this film. Manhood is strictly between, among and for men.
Theeb has no mother, but also no father, just two authoritative older brothers. When he mischievously follows his brother Hussein into a desert mission he for the first time abandons his childhood security. His adventure is premature because he has not yet learned to shoot, just to try to aim. In the crunch, then, he cannot help Hussein, just hinder his self-defence against the thieves.
Theeb shows his growing ingenuity when he escapes the bandits, hides in and escapes from the well, and manages to deal with the wounded thief. First Theeb serves his dead brother, protecting him from the vultures by burying him in sand and marking him with stones. This tribal gesture proves his sense of duty and service.
Then he and the outlaw negotiate a relationship, gradually outgrowing distrust. The boy learns stoicism by helping the bandit remove his bullet and cauterize the wound. They share bread. Theeb accepts the outlaw’s story when they pass pilgrims. He may even admire the man, as when he learns from him how to navigate by the stars. He may be slipping into a filial relationship. That stops when the bandit tells the Turkish officer Theeb is his son. The pretended connection reminds Theeb of their difference.
The Bedouin boy has no experience with money. He discards the bag of coins he finds on a corpse. Most dramatically, he rejects the Turk’s offer of a coin, even after his “father” has ordered him to accept it. Instead Theeb goes back out to the camel, finds the bandit’s pistol and when he emerges from the army outpost kills him. “He killed my brother,” Theeb explains, at which the Turkish officer lets him go free.
In the last shot Theeb rides off on the bandit’s camel with the authority and posture of an adult. When he earlier rode behind his brother Theeb looked like a bundle, a babe, just hanging on. When he first tries to ride off the camel refused his control. At the end the camel obeys him, as if sensitive to Theeb’s adult authority — or aware he killed and replaced the camel’s master.
In the West a boy becomes a man by learning self-control, responsibility, forgiveness and an honour based on established moral principles. The honour Theeb recovers in the Turkish office is the overriding value of family honour, which here means tribal vengeance. Tempted to survive as the bandit’s protégé he instead acts upon his tribe’s implicit command to avenge his brother. Theeb assumes the risks of returning home across a vast, impersonal and dangerous desert.
As ‘Theeb’ means ‘wolf,’ our hero is caught in the tension between the lone wolf, which is our modern hero, and the pack, which here would be the tribe. Lines like “the strong eat the weak” emphasize the tribe’s pack and primitive mentality.
The second difference is that this coming of age applies not just to the hero Theeb but to the Bedouins as a people. Their society is presented on the turning point between their traditional life and the modern. As the film is set during WW I, the nomadic Bedouins are themselves a rootless, borderless society ill-adjusted to the modern (aka Adult) world. Their simple lives and ancient ways connote a childlike, undeveloped society. They don’t use money. Their last jobs are guiding pilgrims but the new phenomenon of the railroad is ending that.
Trapped between two more developed cultures, the British and the Turkish imperialists, the Bedouin seem even more childlike in their unfamiliarity with those societies’ ambitions and conflicts and with their equipment (like cigarettes, a lighter, a sentimental locket — and the detonator the Brit drives Theeb away from).
The imperialists shrink the Bedouins. Theeb’s bandit friend seems heroic in his survival, self-healing and swagger. But he shrinks to a junk-dealing beggar when he enters the Turk’s office. The Brit was planning to blow up the Turkish railroad, the Turk pays a few coins for the stolen detonator, and the adept Bedouin is a helpless unaware innocent caught between them.
When Theeb rides homeward to emblematically crosses the intersection of the camel prints and the railroad tracks, the old natural and the looming technological.
How would the Bedouins come of age, as Theeb does? How is maturing into a higher level of maturity and knowledge different for a class than for a boy?
The society has no models, no trustworthy family seniors, from whom to learn how to negotiate among the alien and destructive cultures. Unless the unworldly tribes find a way to mature into the modern world they doom their children to the archaic values they’ve inherited — and wasted lives. In this light, the film about the Bedouins hovering on the edge of modernity the way a boy hovers on manhood is as pertinent to the contemporary Middle East as to the early 20th Century. Their world, after all, has since then not changed as much as ours has. And yet, as our wars continue to rage there, we haven’t matured much either.
Original Language ar
Runtime 1 hr 40 min (100 min)
Rated Not Rated
Genre Adventure, Drama, Thriller
Director Naji Abu Nowar
Writer Naji Abu Nowar, Bassel Ghandour
Actors Jacir Eid Al-Hwietat, Hassan Mutlag Al-Maraiyeh, Hussein Salameh Al-Sweilhiyeen, Jack Fox
Country United Arab Emirates, Qatar, Jordan, UK
Awards Nominated for 1 Oscar. Another 10 wins & 16 nominations.
Production Company N/A
Sound Mix Stereo
Aspect Ratio 2.35 : 1
Camera Arriflex 416, Hawk V-Lite 16 Lenses
Laboratory LISTO Videofilm, Vienna, Austria (digital intermediate) (as LISTO)
Film Length N/A
Negative Format 16 mm (Kodak Vision3 50D 7203, Vision3 250D 7207, Vision3 500T 7219)
Cinematographic Process Digital Intermediate (2K) (master format), Hawk Scope (anamorphic) (source format)
Printed Film Format D-Cinema