Hollywood has historically been abysmal in depicting ancient Egyptian civilization on the silver screen. Think of all the insipid movies featuring walking mummies of the horror genre. And the casting decisions made in connection with the upcoming film, Gods of Egypt, do little to change those appalling habits. Only one of the stars of this big-budget fantasy flick is of African ancestry, i.e., Chadwick Boseman. This begs the question of why box office magnets such as Idris Elba, Zoe Saldana or Lupita Nyong’o (just to cite a few) are not part of the cast of a movie whose plot is set in ancient Africa. (Let’s be real clear, Hollywood: ancient Egypt was an African civilization.) Either Zoe or Lupita would make for an eye-riveting Hathor, the Egyptian goddess of love and a character in the movie. And, with due respect to Gerard Butler, who is the male lead in the film, both Mr. Elba and Chiwetel Ejiofor have the gravitas to portray a villain of divine proportions. Or, to expand the ethnic horizon here, why aren’t Arab actors with distinguished theatrical pedigrees part of the cast? (Ghassan Massoud comes to mind as someone who delivered a compelling portrayal of the Muslim ruler Saladin in the 2005 historical epic, Kingdom of Heaven.)
This cinematic disregard of diversity, authenticity, and inclusion by director Alex Proyas has aroused swarms of controversy on social media—and deservedly so. And the studio’s apology for this act of cultural piracy is insufficient to assuage the brewing furor. One could not imagine Hollywood attempting to make a movie about ancient India or imperial China with a nearly all-Caucasian cast. Consider this: what if the Academy-award winning Crouching Tiger, Hidden Dragon was produced with a cast predominantly of European ancestry? One could anticipate the outcries that would be forthcoming for such a Eurocentric repainting of historical fact. That is probably why one commentator on social media suggested that Gods of Egypt should be renamed “Gods of Scotland.” Nevertheless, this upcoming movie release may have some intrinsic merit, after all.
The production, which was filmed in Australia and has been released by the motion picture company Lionsgate, tells the mythic tale of the conflict between Set, the god of chaos, and his nephew Horus, the son of Isis and Osiris. This is probably the first time that Egyptian myth has been explored in a major film. Contrast that with the numerous occasions that tales of the Greek Olympians and the exploits of Heracles (aka, Hercules) have been depicted in cinema and on television. Think of Clash of the Titans and its sequel, Wrath of the Titans. When we consider the influence that ancient Egypt had on Greek civilization, it is refreshing to finally see Egypt have its day in the sun in a plot that doesn’t involve mummy curses or Cleopatra. By the way, that legendary female monarch was Greek and ruled Egypt millennia after its greatest days had passed. (As a side note, African-Americans who want to believe that Cleopatra was black should disabuse themselves of that notion. Focus your energies on reclaiming the earlier periods of Egyptian history before Egypt was conquered and ruled by Alexander the Great and his heirs.)
It is because of the seminal influence of Egyptian culture on ancient Greece (and Western civilization) that I welcome an effort to recreate its myths on the silver screen. I will defer judgment on the authenticity of its adaptation of Egypt’s mythology—and Nile River culture—until I see the film. So, I suggest that others should hold their noses, buy a ticket, and join me in watching the movie—and then voice your criticisms on social media. Otherwise, if the movie does bomb at the box office, it will be too easy for the high priests of Hollywood to hide behind the excuse that the modern public has no interest in Egyptian culture. The success of the Tutankhamun exhibit that traveled to the U.S. in 2005 proved that American audiences retain a fascination for the land of the pharaohs. They could have the same fascination with Egypt’s legends—if they are done right.
However, while we should allow a smidgen of literary license for the craft of movie-making, the history of an African people should never be whitewashed. Alexander Proyas reportedly was born in Alexandria, Egypt to Greek Egyptian parents. He is unquestionably a talented director with fantasy films such as The Crow and I, Robot on his resume. However, he would have done film-making a better service if his casting decisions were shaped more by homage to his Egyptian heritage than his Greek ethnicity. Alexander the Great co-opted Egyptian civilization millennia ago; Egypt does not need a later Alexander to repeat the disservice. – Geronimo Redstone, author of The Bachelor Scrolls – Isis Unleashed (2nd edition).
This cinematic disregard of diversity, authenticity, and inclusion by director Alex Proyas has aroused swarms of controversy on social media—and deservedly so. And the studio’s apology for this act of cultural piracy is insufficient to assuage the brewing furor. One could not imagine Hollywood attempting to make a movie about ancient India or imperial China with a nearly all-Caucasian cast. Consider this: what if the Academy-award winning Crouching Tiger, Hidden Dragon was produced with a cast predominantly of European ancestry? One could anticipate the outcries that would be forthcoming for such a Eurocentric repainting of historical fact. That is probably why one commentator on social media suggested that Gods of Egypt should be renamed “Gods of Scotland.” Nevertheless, this upcoming movie release may have some intrinsic merit, after all.
The production, which was filmed in Australia and has been released by the motion picture company Lionsgate, tells the mythic tale of the conflict between Set, the god of chaos, and his nephew Horus, the son of Isis and Osiris. This is probably the first time that Egyptian myth has been explored in a major film. Contrast that with the numerous occasions that tales of the Greek Olympians and the exploits of Heracles (aka, Hercules) have been depicted in cinema and on television. Think of Clash of the Titans and its sequel, Wrath of the Titans. When we consider the influence that ancient Egypt had on Greek civilization, it is refreshing to finally see Egypt have its day in the sun in a plot that doesn’t involve mummy curses or Cleopatra. By the way, that legendary female monarch was Greek and ruled Egypt millennia after its greatest days had passed. (As a side note, African-Americans who want to believe that Cleopatra was black should disabuse themselves of that notion. Focus your energies on reclaiming the earlier periods of Egyptian history before Egypt was conquered and ruled by Alexander the Great and his heirs.)
It is because of the seminal influence of Egyptian culture on ancient Greece (and Western civilization) that I welcome an effort to recreate its myths on the silver screen. I will defer judgment on the authenticity of its adaptation of Egypt’s mythology—and Nile River culture—until I see the film. So, I suggest that others should hold their noses, buy a ticket, and join me in watching the movie—and then voice your criticisms on social media. Otherwise, if the movie does bomb at the box office, it will be too easy for the high priests of Hollywood to hide behind the excuse that the modern public has no interest in Egyptian culture. The success of the Tutankhamun exhibit that traveled to the U.S. in 2005 proved that American audiences retain a fascination for the land of the pharaohs. They could have the same fascination with Egypt’s legends—if they are done right.
However, while we should allow a smidgen of literary license for the craft of movie-making, the history of an African people should never be whitewashed. Alexander Proyas reportedly was born in Alexandria, Egypt to Greek Egyptian parents. He is unquestionably a talented director with fantasy films such as The Crow and I, Robot on his resume. However, he would have done film-making a better service if his casting decisions were shaped more by homage to his Egyptian heritage than his Greek ethnicity. Alexander the Great co-opted Egyptian civilization millennia ago; Egypt does not need a later Alexander to repeat the disservice. – Geronimo Redstone, author of The Bachelor Scrolls – Isis Unleashed (2nd edition).
Actor Gerard Butler as the god Set
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