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âIs This Your God . . . Killer of Children?â
Israelâs âChildishâ Deity and the Other(s) in
Exodus: Gods and Kings
James Magee Jr.
Ramses, carrying the corpse of his infant son in his arms, his grief-stricken face still marred by boils, confronts Moses with a series of questions the morning after all the children in the city have apparently died: âIs this your god? A killer of children? What kind of fanatics worship such a god?â In what initially appears to be a compassionate grasp of the Egyptianâs arm, the deityâs reluctant general offers no words of solidarity or comfort, reporting instead that âno Hebrew child [has] died.â It would seem Mosesâ god exterminates only other peopleâs children. Flustered by the discriminatory violence from on high and tormented by his loss, the pharaoh expels his foreign slaves from the land. The Israelitesâ four hundred long years of servitude in Egypt have finally come to an end.
This pivotal and pathos-filled scene from the 2014 film Exodus: Gods and Kings (hereafter Exodus), based on the biblical story of Israelâs enslavement and deliverance in the book of Exodus, casts the oppressors in a sympathetic light. The pharaoh and his people are ostensibly the victims of a homicidal deity who targets defenseless children. This same god has already battered the Egyptians with a series of natural disasters, initiating the catastrophes with a smirk and showing no concern throughout for the plight of the Egyptian Other. The filmmakersâ innovation in embodying the divine drew mixed reviews from critics. One referred to the choice of actor as âbold and . . . genuinely radical,â another as âa rather clever idea.â Other critics were less enthralled, one claiming the filmâs âimage of The Almighty [to be] so absurd as to render nearly every scene in which he appears almost satirical.â Similar derisory comments were posted to IMDb with many reviewers of faith referring to the filmâs representation of Israelâs deity as blasphemous, humiliating or insulting. At the center of these polarized interpretations was the character of Malak, played by eleven-year-old British actor Isaac Andrews. The boy appears to Moses as the divine âI Amâ (Exod 3:14) and spars ruthlessly from behind the scenes as a âmilitant deityâ with the self-proclaimed god Pharaoh.
Situated within a rapidly expanding corpus of critical studies on depictions of children in film, this essay will focus on the controversial character of Malak in Exodus. I will first ground my exploration in recent theorizing on childhood and film spectatorship, pausing to position my own viewing of the film. I will then look at how Malak is portrayed in his first encounter with Moses and introduce the question of the Other that emerges from their dialogue. The core of the essay will trace the interplay between these two aspects in several key scenes. I will argue that the depiction of Israelâs deity as a boy seems to involve an othering of children that is used to negatively characterize religion. I will conclude by drawing the study into conversation with current dialogues on both religiously-motivated violence and the ethics of seeing the Other in film, highlighting the importance of responsible filmic analysis in contemporary culture.
Deconstructing the Boy Malak and Negotiating EXODUSâ Childhoods
The idea for a boy to represent Israelâs deity was given to Exodusâ screenwriters by director ...