The role of religion in British comedy film

Most recently, British comedy film has managed to explore religion in comedy film. Notably, British comedy film seems to focus more on the Islamic faith, with film such as 'The Infidel' (2010) and East is East (1999) focusing on the role of Islam and how modern British muslims are represented in film. In many ways, Islam is conveyed in British comedy film, as a reaction to how muslims are represented in society. By referencing to other religions such as Judaism, the film signifies how these faiths have been oppresses and been criticised in society over decades. Though, the relation of these two faiths is hostile, as both faiths despise each other.

Though, 'The Infidel' (2010) is more controversial, as it revolves around a British Muslim, Mahmud Nasir (Omid Djallili) , a successful business owner, who finds out that he is Jewish and was initially adopted by muslims, after his Jewish parents rejected him.

Scene from The Infidel (2010)



In this scene from The Infidel (2010), the humour derives from the fact that Jews are stereotyped in society as being rich and proud. The fact that Lenny Goldberg (Richard Schiff) does anybody to go with to a bar mitzvah gives Mahmud (Omid Djalilli) the chance to embrace his Jewish side. The use of the two shot connotes the relationship between the two faiths, as Lenny is apprehensive and critical of Mahmud, who is likely to stick out at the bar mitzvah, due to his stereotypical muslim appearance, as he is wearing a prayer cap and traditional muslim clothing.

What's funny in this scene is the fact that Mahmud tries to be a stereotypical Jew, as signified with the shrug, which connotes innocence and pride. The audience could have oppositional readings to the film, as Jews are stereotyped as being greedy, selfish and detached. As Lenny criticised muslims, the binary oppositions of Jews and Muslims is constructed, as Mahmud would not fit into Jewish culture due to his Islamic heritage and appearance.In accordance to this, the use of the contrapuntal sound of the violin represents Jewish culture, as the music would be associated at Jewish functions, as they are more jolly and seemingly happy at functions, as signified with the melodious tune of the violin.

Funnily enough, the way Mahmud is dancing, in a long shot, signifies his willingness to become immersed in Jewish culture, as he wants to embrace his Jewish side, though comically his dancing is quite ridiculous and over the top. Though, the binary opposition is signified through the long shot, as Mahmud enters the mosque which signifies the strict Muslim lifestyle, with the more liberal Jewish lifestyle. However, Mahmud despises the Jewish dumplings which are offered to him by Lenny, which shows his unwillingness to become fully Jewish. Lenny seemingly injects beliefs into Mahmud on Judaism and what it is to be Jewish, though Mahmud's facial expressions connote disgust and uneasiness at being forced to be Jewish.

To some extent, the use of continual cuts signify Mahmud's continuous attempts at acting like a Jew, as the way he shrugs and gestures 'Oy' connotes laziness and lack of initiative. The final cut signifies the end of Mamud's training, as the tired and beleaguered facial expression of Lenny connotes a lack of enthusiasm, as he is quite dejected, as Mahmud can't express himself as a Jew. As Lenny tries to place the skull cap over Mahmud's head, he is unwilling to be seen as a Jew, as signified by the way he ducks, in an over the shoulder shot. As the scene progresses, the deigetic sound of the soft, calm opera music connotes Lenny's laid back approach to teaching. On the contrary, the television conveys a two shot of an Imam with a young muslim, the subtitles signify how muslims should be disassociated with non believers, this connotes how Mahmud is breaking religious morals and is guilty at being associated with a Jew.

Moreover, the medium shot of Rashid with Mahmud signifies how Mahmud is pretending to be immersed in religion, however Mahmud subverts from watching the radical programmes on Islam, as he despises what the Imams say. The cut allows the audience to identify with Mahmud, as he desires to be more liberal and expressive, as signified in a long shot, where he is dancing comically, which shows his more feminine and liberal personality. The humour is generated out of Mahmud's attempt at being Jewish, as he does an elaborate dance which shows his over enthusiasm. Though, he still refuses to wear the skullcap, over fears of being branded a Jew, which shows his denial. As the scene ends, Mahmud finally acts Jewish and celebrates in a pompous fashion in a medium shot, his masculinity is shown as he pumps his fists to show his jubilation.

Critical Reception of The Infidel (2010) in the media

Peter Bradshaw from The Guardian though The Infidel was "a broad comedy that gleefully and repeatedly stamped on the tender toes of liberal correctness" and also referred to comedy in a positive light and how this film takes a lighthearted view on religion, "Comedy can sometimes tackle themes that more serious films would shy away from. This is one. This shows how the film was more permissive in its references to religion, as it was mocked and challenged social expectations

Tom Huddleston from Time Out London refers to stereotypes and shows the films suberversion of the stereotypes and how they are satirised. ‘The Infidel’ starts wonderfully, introducing us to a cast of carefully constructed stereotypes and then just as carefully it undermines them." The film undermines the radical muslim stereotype, as conveyed with the radical cleric, Arshad el Masri, who is criticised for being too dominant and oppressive.


Ron Wilkinson from Monsters and Critics talks about Mahmud's desensitisation at being a modern British muslim, and the fact that he is unable to question his religious superiors. "The quarreling sets up the disjunctures and surprises that are the stuff of humor. If Nasir was a true Islamic radical he would just shoot drunken taxi driver Lenny Goldberg and be done with it."