As a cinephile who has traversed the cinematic landscapes of various cultures and eras, I must say that “My Driver & I” is a heartwarming tale that resonates with the universal themes of friendship, growth, and the complexities of relationships. However, comparing it to the groundbreaking masterpiece that was “Wadjda” feels like comparing a freshly baked apple pie to a mouthwatering chocolate soufflé – both delicious in their own rights, but catering to different tastes.
Set in Jeddah during the 1980s and ’90s, “My Driver & I” is a heartfelt tale that follows the bond between a headstrong girl and her Sudanese chauffeur, hired by her wealthy family. This story, created by Saudi filmmaker Ahd Kamel who drew inspiration from her own childhood, is reminiscent of “Wadjda” (2012), another renowned Saudi production where Kamel played a significant role. However, unlike the powerful and compelling struggle against limitations portrayed in “Wadjda”, “Driver” might not resonate as deeply with audiences.
In contrast, while “Wadjda” was rather austere, “Driver” leans heavily towards sentimentality. The overly simplistic depiction of the central family’s life and their staff, even amidst some tragic circumstances, strains credibility. However, given its success in festivals, it’s expected that the drama will continue to spread and become widely accessible in Arabic-speaking regions through the Dubai-based pay TV and streaming service OSN+.
As a child, Salma (known as Tarah Alhakeem in her youth and Roula Dakheelallah during her teenage years) is raised in a spacious villa by her busy businessman father Qusai Kheder, who frequently gifts her with cassette tapes from his travels. Her mother, Rana Aleemuddin, is a strict, migraine-prone woman who is always fundraising for Palestinian orphans. The family’s staff members, who reside in onsite quarters for servants, consist of two Sudanese drivers: Bakri (Amjad Abu Alala, director of the hit festival film “You Will Die at 20”) who has been with them for many years, and Gamar (Mustafa Shahata, a star in Abu Ala’s movie and a compassionate figure here), who is the latest addition to the team.
Gamar, having left his wife and young daughter in Sudan, swiftly develops a close bond with his new ward and eventually becomes her confidante, mentor, supporter, and partner-in-crime. When the child admits to an accident at school (wetting her pants), he takes her for an ice cream and promises her that someday he will teach her how to drive. This promise and their shared treat become recurring themes in their relationship throughout the movie.
Approximately 20 minutes into the story, events fast-forward by a decade. Despite the fact that women are prohibited from driving in Saudi Arabia, Salma persistently persuades Gamar to instruct her and let her drive in an empty lot. This clandestine activity, which their parents would strongly disapprove of, strengthens their friendship. However, when things go awry, it is Gamar who faces the consequences; nevertheless, he doesn’t breach Salma’s confidence.
Gamar, who cares deeply for Salma and often acts as a parent figure towards her, has been delaying visits to his own family in Sudan. Despite this, he regularly sends gifts and cassette tapes to them. Though Salma’s father offers him additional vacation time and help with travel arrangements, Gamar chooses to remain available for Salma until she completes high school.
Despite the script’s tendency to heavily rely on dialogue for exposition, especially initially, it does provide some visual understanding of the social and political limitations that hinder teens like Salma from interacting with the opposite sex. In a particularly notable scene, Salma convinces Gamar to halt at a popular ice cream shop on their way home from school. While she modestly waits in line with the women, she flirts subtly with the appealing Waleeb (Mishaal Tamer), who is in line with the men across from her. When they reach the counter, he discreetly gives her his phone number.
As a passionate fan, I find myself bonding with Waleeb over our mutual love for Western music, engaging in lengthy phone conversations that bring us closer. However, Gamar, who feels responsible for preserving my modesty and reputation, attempts to end our connection. Later, after I’ve reassured Gamar that I’ve stopped meeting Waleeb, he unexpectedly catches us in a chaste yet compromising situation. Enraged by his meddling, I unleash some harsh and painful words towards him.
Kamel’s movie serves as both an apology and tribute to the significant figure who exerted a steady, stabilizing impact on her life. The distinguished Shahata delivers a powerful portrayal of the driver who gradually grasps that nurturing a child not your own is akin to cultivating land you don’t possess. Simultaneously, the two young actresses with gaps in their teeth, who play Salma, shine charmingly on screen. Interestingly, the technical aspect is relatively unremarkable, with the visuals by the usually more refined cinematographer Frida Marzouk offering a bright, digital-like appearance.
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2024-12-07 22:17