So many people whose opinion I trust have heaped praise on Four Lions that I really expected to love it. The combination of our most brilliant satirist and a subject matter which needs to be approached with the same caution as an IED on a dusty Afghanistan road was an irresistible prospect... what could go wrong?A lot, as it turns out. Chris Morris's normally impeccable radar has badly let him down and instead of producing a nuanced satire illustrating the poignant futility of suicide attacks, he's constructed an ill-judged farce.
Edgy humour can serve a film brilliantly when it's clear that a film-maker has been willing to include a scene despite knowing that many will judge it to be in poor taste. But poor taste should never be an aim in itself and that very often seems to the case with Four Lions.
The trailer provides proof that Morris's touch for absurd comedy has by no means deserted him. On the contrary, when seen in isolation the dark-humoured slapstick used to attract people to Four Lions is a hoot. But, in context, the film's attempts to find humour in the tragic consequences of the protagonists' incompetence is neither funny nor thought-provoking.
Chris Morris co-wrote this film with Sam Bain and Jesse Armstrong who collaborated with Armando Iannucci on In The Loop and have written something like six series of Peep Show. While it's not necessarily fair to second guess the impact the duo may have had on this project, it's hard to ignore the similarity between In The Loop's imaginative use of profanity and Four Lion's use of unlikely Urdu cussing (helpfully subtitled for non-Urdu speakers) which peppers this film. At times, it feels that the purpose of this is to disguise a general comic paucity.
In Peep Show, Bain and Armstrong brilliantly portray the imagined and real dilemmas of a pair of unremarkable young men bound together by long-term friendship and little else. Much of the excellence derives from their ability to mine the comedy of mundaneness. In Four Lions, the plot could hardly be less mundane but the three writers appear keen to persuade us that the same trivial stresses which govern the lives of Mark and Jeremy in Peep Show would apply with equal vigour to young men intent on self-destruction and mass murder.
At one level, this enables the audience to consider the jihadists as ordinary human beings who are prey to the same petty motivations as the rest of us but it makes their choices all the more inexplicable. You can argue that it isn't the role of a comedy film to offer an explanation of the motives that lie the savagery of murderous terrorism but any writer stepping into this territory has a huge responsibility to offer some kind of insight. Otherwise there's a danger that they are merely laughing nihilistically at the most barbaric acts imaginable just to get a rise from those who recognise that terrorism isn't funny.
The film's most baffling and dangerous decision is its depiction of the relationship between Omar (Riz Ahmed) and his young family. Even though the film suggests Omar and his wife are free of the oppression that devout fundamentalism can bring to bear on a marriage, she is portrayed as being cheerfully supportive of his martyrdom plans. Not only does this not ring true, it panders to the most jaundiced view of Britain's Muslims peddled by the far right. It appears to confirm the paranoid view of the BNP that as much danger is posed by well-integrated, liberally-minded adherents of Islam as it is by nutty extremists.
In the past, Chris Morris has proven quite brilliant at convincing people to believe the most absurd propaganda... persuading a series of celebrities to warn about the perils of 'cake' superbly demonstrated his willingness to exploit people's credulity for comic effect. Has he finally taken that process to its logical conclusion by persuading audiences to laugh at something he knows not to be funny? Is he urging us to laugh at his film just so he can laugh at us for being stupid enough to respond to his urgings?







