Al-Ahram Weekly On-line 26 April - 2 May 2001 Issue No.531
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Al-Ahram:

A Diwan of contemporary life (387)

In 1926, the great actor Youssef Wahbi came under fire for agreeing to play the part of the Prophet Mohamed in a play to be produced by an international cinema company. Letters from laymen and Al-Azhar scholars flooded into Al-Ahram protesting the portrayal of the Prophet and his Companions in the cinema and on the stage. Wahbi then decided against taking the role and sent in several letters defending himself, as did the film company's representative. Extracts from the letters, as compiled by Dr Yunan Labib Rizk, appears in this instalment of the Diwan

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Religion versus art

On 17 May 1926 Al-Masrah, a magazine on theatrical arts, published the following news item: "Representatives of an international cinema company have arrived in Egypt to discuss with various theatrical companies the production of a number of films. Youssef Wahbi has already agreed with the company that he and some members of his troupe travel to Paris in order to perform the play The Prophet Mohamed. Naguib El-Rihani will be playing Mu'az and Wahbi is preparing himself to play the Prophet Mohamed and has produced a photograph of himself in that role. It does not look much different from the Rasputin that Youssef portrayed."

The article may well have passed without comment, particularly as the magazine in which it appeared had a relatively small circulation. But it drew the attention of a certain Abdel-Baqi Sorour Naim who wrote to Al-Ahram to protest the portrayal of the Prophet and his Companions in the cinema and on the stage. Naim's letter and the subsequent responses of Wahbi and others epitomise the sensitivities involved when art and religion meet. We have, therefore, decided to let these letters, which appeared in Al-Ahram between 21 May and 6 June 1926, stand as documentary evidence of what Wahbi termed the "sensitive chord."

TO THE RELEVANT OFFICIALS: HOW CAN THEY PORTRAY THE PROPHET?: There can be no doubt that the production of such a work in an Islamic country under a government whose constitution states that Islam is the official religion does not conform to the beliefs and principles of the Muslim people. The government should prohibit Youssef Wahbi from travelling in order to perform the play in a country whose inhabitants hold views and beliefs on Islam and the Prophet that conflict with Islamic tenets. To stage the play in Paris, the city of profligacy and profanity, is to stir up new animosity against the Muslim people and to invite slander against the Prophet, especially if he is portrayed like Rasputin, that debauched spy, lecherous womaniser and satanic seducer. Such a characterisation can only be seen as a means to debase the person and status of the Prophet, ridicule his religion, malign those who have embraced his call, abuse the dignity of Muslims everywhere and mar the reputation of Islam.

The choice of Rasputin as the model for the photograph that is to represent the Prophet is irrefutable proof that the company that engaged Wahbi ultimately seeks to disparage the Prophet, Islam and Muslims. The choice of Paris as the venue of the performance suggests there is a conspiracy against Islam. If the Egyptian government has no control over the company or where the play is to be performed, it has the power to prevent Wahbi and his troupe from leaving the country and to bring him to account for having depicted the Prophet in such a horrendously base and utterly disrespectful manner. If the government is lenient with Wahbi on this play, others more scandalous and shameful are certain to follow.

Abdel-Baqi Sorour Naim, 21 May 1926

HOW CAN THEY PORTRAY THE PROPHET?: Yesterday's Al-Ahram carried a letter from a concerned Muslim who has come to understand from an article in Al-Masrah that I intend to portray the lead in The Prophet Mohamed in a manner unbefitting to the sublimity of the prophecy and the magnificence of Islam. He mentioned that I portrayed the Prophet in the likeness of that vile monk, Rasputin, a notion that is entirely false and ungrounded and derived solely from the distortions and slurs of a magazine that has taken upon itself to defile every charitable deed and demean the dignity of all who strive to serve their nation. That I agreed to perform this role for the cinema was for no other purpose than to pay tribute to the Prophet by presenting him to the Western world in a manner worthy of his greatness and nobility in a film that aspires to promote Islam and enlighten audiences on its true nature. I have created a character for this role that I, at least, believe suggests the glory and purity of the Prophet. I hope my devout compatriot will trust that I am ardently devoted to the veneration of our religion and I only ask that he pay no further heed to the fabrications and falsehoods spread by those known for their deceit.

Youssef Wahbi, 22 May

El-Rihani, centre, was to have played a part in the Prophet Mohamed Sheikh Salama Hegazi Youssef Wahbi

OPEN LETTER FROM YOUSSEF WAHBI TO HONOURABLE ULAMA AND ALL MUSLIMS: I present myself before you in my capacity as a Muslim devoted to his religion and his Prophet and as a sincere patriot and ask you to guide me on the proper course I should take with regard to a new project that may stir considerable controversy in the Islamic world. However, before I discuss the project, permit me to briefly explain to you its background: A month ago, Widad Bek Urfi, the well-known Turkish writer and the representative of the Marcos Cinematography Company, wrote to me asking to meet him. As I was familiar with his good standing and kindness, I agreed.

At the meeting, Widad told me that a cinema company wanted to film some scenes in Egypt in the course of its production of a series of Oriental, Egyptian and Arabic films focusing on the splendour and civilisation of the Orient. The films would picture the history and civilisation of the ancient Egyptians and the history of the emergence of the Arabian peninsula. I was attracted by the idea and I told him how enthusiastically such a noble endeavour would be received and how well it would serve our country, because through the presentation of such films in the West foreigners would realise that we are a great and advanced nation.

Widad then asked me to provide him with some photographs of characters I have portrayed. I obliged, and he left for Paris. Fifteen days later, Mr Marcos, the director of the company, arrived in Cairo and asked to meet me as soon as possible. He told me his company had chosen me to play the lead role in a film on the history of the Prophet Mohamed. I was somewhat taken aback and asked him to clarify. He said, "We want to show the world, and the Western world in particular, the truth about Islam, its tenets and its sublime law. We want Americans to understand that Muslims are not, as they imagine, pagan idol worshippers wallowing in ignorance and superstition. We want Christians to realise that Mohamed the Prophet was selected to convey the divine message and promote the worship of God. We want the world to know that Mohamed, the messenger of God, brought light to the world and rescued it from barbarism, destroyed the idols and guided people to the righteous path, rebuked the unbeliever and reformed the wicked, prohibited sin and depravity and punished the thief, the murderer and the tyrant. We want everyone to believe in the greatness of Mohamed, the glory of Islam and its gift to civilisation."

I was greatly moved and inspired by what he said, but I remained hesitant, telling him I could not agree. When he asked why, I said it is forbidden in our religion to portray that great man, however noble our intentions might be. He responded, "But if you refuse to play the part some foreigner will take the role, a foreigner who is not truly familiar with Islam. As he would care little for defending it he would not refuse, if asked, to perform scenes contradictory to the truth about the Prophet. You, on the other hand, would be able to monitor the content of the film, for we would never have the audacity to ask you to participate in a project that degrades your religion and your Prophet."

He continued to press and I continued to object for some time until finally I asked him to wait until I had the opportunity to ask those who had expertise in such matters in our country.

Having now given you this background, what is your opinion? Should I or should I not accept the role, bearing in mind that if I refuse, a foreign actor and foreign company who care nothing about the fate of our religion will produce this film. You may argue that it is possible to ban these films from entering the country; however, I doubt you can prevent their circulation in the West, and that is where the most serious damage will be done. Therefore, the question is, should we allow others to distort the truth about us and our religion or should we take the initiative in portraying the greatness of our religion and proving to Europe that ours is a superior religion and that Mohamed is the first among the Prophets?

Finally, as for the claim that I have modelled the role I am to play in the film on Rasputin, that is an ignominious lie spread by people who detest and envy me for no other reason than that I am a young man who has succeeded in his career. They claim to have seen pictures which they likened to Rasputin, although I am fully prepared to show those pictures to whoever is interested. In addition, I would turn down the part willingly, even if I were offered a fortune to play it, should you, the venerable ulama, determine that is the course I should take. May my fellow Egyptians know that my watchword is my religion above all else.

Youssef Wahbi, 24 May

PORTRAYING THE PROPHET: The Masrah magazine reported that Youssef Wahbi, the proprietor of Ramsis Theatre, agreed with a foreign cinema company to stage a play in Paris, in which he would portray the Prophet Mohamed in the likeness of the Russian monk Rasputin. The rector of Al-Azhar has taken an interest in this matter and requested the Ministry of Interior to intervene and if necessary prevent Wahbi from travelling so as to uphold the dignity of the Prophet. The officials whom we spoke to demonstrated the appropriate level of concern for this issue, and we further asked them to ask the government of France, through our diplomatic representative in Paris, to prohibit the presentation of this play. On 24 May 1926, the Ministry of the Interior responded as follows: "In response to your letter of 18 May, regarding the staging of the play, The Prophet Mohamed, we have summoned Youssef Bek Wahbi and asked him not to take part in the play. He agreed and will announce this decision to the press. In addition, the government will take all the necessary measures to prevent the production of the play itself.

"Simultaneously, we have received from Wahbi a copy of his open letter that appeared in Al-Ahram of 24 May in which he defended himself against the charge that he intended to portray the Prophet in the likeness of Rasputin."

The rector of Al-Azhar conveys his gratitude to the Ministry of the Interior and all officials for the concern they have shown about upholding the eminence of the Prophet and declares that it does not endorse the staging of this play in any form."

The rector of Al-Azhar, 26 May HOW CAN THEY PORTRAY THE PROPHET?: If the project on the surface may deceive ordinary people into believing that it is beneficial to Islam and the Muslim people, closer inspection negates this. We are not such fools as to believe that a foreign company seeks to promote Islam around the globe. Indeed, once we calmly assess its objectives we find that its sole goal is to reap huge profits and that any pretense to piety is a blatant ruse. The company has asked Youssef Wahbi to play the Prophet on the cinema screen. But could the actor possibly portray this figure regardless of the level of skill and intelligence he brings to the role? We have no doubt that he can depict the majesty and grandeur of kings and sultans, to don a crown and sit on a throne, for he is most adept at such things. However, he cannot accurately portray the Prophet because he cannot possibly summon all the traits and virtues which God bestowed on his beloved Prophet Mohamed. How can Wahbi possibly depict the dignity, venerableness and augustness that are among the attributes of the Prophet?

To portray the Prophet in a manner that does not do him justice is a disgrace... If Wahbi truly subscribes to the principle, "my religion above all else," then he should abandon this project and remain content with the knowledge that on the stage he can be a king or an emperor but not the Prophet.

In his letter in which he asks the ulama of Al-Azhar for their advice, Wahbi has demonstrated his desire to support and protect Islam. Our advice to him, therefore, is to leave that company to its own devices and remain in good standing with us.

Ibrahim Gaballah, Al-Azhar scholar, 27 May

HOW CAN THEY PORTRAY THE PROPHET?: Several days ago I read in your newspaper articles and commentaries referring to a play to be shown in the cinema about the life of our great Prophet Mohamed. It is true that such a project is on the cards; however, up to now it is only in its conceptual stage. It should be clear that, as an author and a Muslim, I would seek the advice of Islamic scholars before embarking on such a project. Indeed, I would consider it imperative to seek such advice. I, therefore, hope that you will announce in my name that no definitive decision has been taken on this matter. Please be sure that the Marcos Cinema Company, which has undertaken many dramatic projects in our beloved Egypt, would never undertake any action that could tarnish the religion of the nation.

Widad Urfi, 28 May YOUSSEF WAHBI REFUSES TO PLAY THE PROPHET MOHAMED: Based on the decision and the sound advice of the venerable scholars and the rector of Al-Azhar I hereby declare that I will not undertake the role in question and that I will notify the cinema company to that effect. I am relieved to know from Widad Urfi's letter that his company has also decided not to produce the story of Mohamed out of respect for Islam, and instead will produce films on other Arab themes. However, before I conclude this letter, I would like to alert the scholars and officials of Al-Azhar to an important point: although the Marcos Company has given up this project I am virtually certain that another foreign company will seek to pursue it, perhaps in Tunisia or Algeria, where the natural scenery suits the subject of the film. I, therefore, suggest that if you are truly determined to prevent the production of this film you should inform all concerned governments of this intent, for what good will come of my refusal to play the role if a foreigner does not refuse? Should this indeed transpire, it will come as no surprise that the film will grossly distort the Islamic religion and Arab customs, morals and character. I, therefore, charge you with combating this project abroad as effectively as you have done at home.

Youssef Wahbi, 30 May

FROM BADIE KHAIRI TO YOUSSEF WAHBI: Naturally, as a playwright, I have no objections to Egyptian cinema stars conveying to modern nations our morals in a manner unsullied by fallacies and spurious motives. Nevertheless, I would like to caution Youssef Wahbi and to alert him to the dangers of broaching a subject so profoundly sacred to the Muslim people, few of whom would feel assured of the integrity of purpose of a French and Christian-owned company that, like any other company, is interested above all in material gain. "Youssef Bek has argued that Europeans have never objected to the depiction of Jesus Christ. However, he has overlooked the enormous difference between them and us in this respect. Christian tenets do not prohibit the creation of artistic representations of the Virgin Mary, Jesus Christ and his disciples, whereas this is not the case in Islam with regard to the Prophet, his Companions and his righteous followers.

Badie Khairi, 29 May

THE REPRESENTATION OF THE PROPHET: Artistic representation is degrading to the actor, especially when such representation takes place in theatres and halls of entertainment. Conversely, the glorification of the Prophet is a sacred duty as is evident from numerous passages in the Qur'an which have placed the Prophet above all other beings and which signify that God has protected him from all human frailties that would detract from his dignity and prestige. Therefore, if our government does not condemn those who attempt to denigrate the Prophet they will receive the punishment meted out by God. Acting is a profession the sole purpose of which is to make money. From an ethical standpoint, everyone is entitled to the fruits of their labour as long as these are earned in a manner commensurate with reason, honour and human decency... To allow an actor to portray Mohamed today means that tomorrow he will play Jesus and the day after that Moses. Such a grave prospect must be avoided at all costs and it is for this reason that all religious scholars and men of the cloth must resolve to assist the government in promulgating a royal decree prohibiting such audacity. Simultaneously, the government of Egypt should also notify the government of France that the representation of the Prophet is against our religion so that no one will dare commit this sin in Egypt or abroad. In addition, the government should prohibit the publication of books on religious subjects unless they are first brought before a committee of Al-Azhar religious scholars.

Sheikh Abdel-Rahman Khalaf, Al-Azhar professor, 2 June

ACTING IS BUT FUN AND GAMES: Dear Sheikh Abdel-Rahman Khalaf, professor at Al-Azhar, Having read your letter, which appeared in yesterday's Al-Ahram, and which is indicative of an earnest Islamic fervour, I feel I have been wrongfully censured, insulted and I must object. You wrote, "Artistic representation is degrading to the actor, especially when such representation takes place in theatres and halls of entertainment." This remark deeply hurt me as an actor and was offensive to my art which I cherish second only to my religion. Just as you, as a man of religion, felt duty bound to defend Islam, I, too, as an actor, am compelled to stand up to all who attempt to denigrate the art of acting.

The theatre is a lofty place, a temple for the worship of virtue, a forum for moral guidance. It is a podium for the spread of knowledge, a school for all people, rich and poor, educated and ignorant. Acting is a noble calling and a respectable profession, no less worthy than yours as a teacher, yet with the advantage that we instruct millions while you instruct a few dozen. Moreover, you, sir, teach Islam and religious jurisprudence, whereas we teach life, duty, honour, virtue, honesty, sincerity, probity and, yes, religion.

I imagine, good sir, that you picture the actor as a buffoon who leaps into the air, throws himself on the ground, covers his head in dust and uses trite gestures to provoke imbecilic laughter, much as those performers we see in popular moulids (religious feasts). Your religious stature prevents you from frequenting theatres out of a belief that these establishments were created for foolish or licentious entertainment. But this is not at all the case. Permit me, as an actor, to point out that your belief stems from an outdated idea that you derived from ancient history when indeed the actor was a clown and jester. Today, the situation is reversed. Today, the true actor is a refined and erudite individual. Moreover, had you been aware of the respect with which actors and the dramatic arts are held in all nations of the world you would never have ventured to taint them so. Actors are universally revered and are granted titles and medals of honour in recognition of their services.

Acting, in your opinion, is a dishonourable profession on par with theft and trickery. Thank you, good sir, for your great esteem!

Finally, your warning to the world against the depiction of the Prophets has, regrettably, come very late. Actors have portrayed Jesus, Moses, Joseph and Daniel. Indeed, they have represented our Lord the Creator -- in Egypt itself -- on the stage of Sheikh Salama Hegazi. This is not to say that I advocate the representation of the Prophet Mohamed for I have already proven otherwise by respecting the decision of the ulama of Al-Azhar. I, therefore, turned down the role I was offered because they held that to perform it would denigrate the religion that I feel bound to defend until death. For this, your reward to the theatre and to me was nothing but insults and contempt. May God forgive you.

Youssef Wahbi, 6 June

* The author is a professor of history and head of Al-Ahram History Studies Centre.

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