A Review of ''Three Thousand Years of Longing''

I went to see this film at a repertory theatre on Friday night expecting to be transported through some sort of carnivalesque ride on magic carpets, through ancient palaces, and over images of wealth and power that I had seen too many times before to be really impressed.

Well, I did get some of that...and so much more. One thing about ''Three Thousand Years of Longing'' that should be clear to you is that it is not a Disneyfied version of the great tales of genies, lamps, princes and princesses. Instead, we have one of the most gratifying and entertaining films of the year with two of the best performances I have seen so far.

Tilda Swinton, plays Alithea, a very uptight and anxious narratologist - a person who studies narratives and how they allow us to understand cultures and history - on a trip to give a talk in Turkey about the myths of the djinn (you may better know them as genies). At the airport, she encounters a vision that tries to take her luggage; at her talk, she encounters another vision that causes her to faint and question her own beliefs. And then, we some free time, she goes shopping, finding a glass bottle that is slightly bent and damaged, and the film brings us to the great myths we all know and love (I still appreciate and love how she opens it up with an electric toothbrush as she is cleaning it in her hotel sink).

And then we get to meet Idris Elba as her djinn (genie) whose name is...Djinn. At first, he seems stuck in doorway, unable to control his body's shape (that poor housecoat) or his emotions as he has to deal with Alithea's wise and clever understanding of the situation. And this is why I think the film threw me as I sat there hoping they would ignore the Disneyfied nonsense from a few years ago. Most of the film is simply talking...and talking...and a little more talking, in Turkey, London, and many other locations in the past. Alithea knows that the stories about mortals making wishes with djinn never end well. Despite all the promises made, we do get three stories which prove her point.

This is where the film takes off. First story includes the Queen of Sheba and her seduction at the hands of King Solomon; then we get the story of a servant who is granted the favours of a violent prince during the Crusades (please check me on this one); finally, a young lady, married to an incredible bore, is revealed to be a genius on par with Leonardo da Vinci. Needless to say, things go badly for all of them, including Djinn. His entrapment within different vessels feels personal for the audience, dovetailing quite nicely with Alithea's life of study, loss and privacy (as much as she can get with her nasty neighbours in England).

This does make the film sound like a drag, something that you will need a strong drink and maybe some dark chocolate to get through. Not at all. Swinton and Alba have such wonderful chemistry in the film that you do want them to have a smooth ride to the finish. Alas, this is not to be. A djinn has a role to play, and Alithea knows it. This is where their conflicts, desires and disagreements give the film its momentum. As well, you will experience some of the most interesting sound design and match-cutting that I have seen since ''Everything, Everywhere All At Once''. The costuming, music and set design also work (sable-lined rooms need to make a comeback). And you may also leave wondering if you need to read the story this film is based on (thank you, A.S. Byatt), and watch more George Miller films (his work on ''Mad Max: Fury Road'' pays off here).

Any criticisms? Well, I have heard it already and I will face it here. It could be accused of engaging in Orientalism: playing with all of the Western stereotypes of the Middle East for our entertainment. You could say that the film plays very close to the edge on this - remember that sable-lined room and those very...robust women there in - but I forgave this. As I said, this is not the Disneyfied, Will-Smith-in-blue-makeup, version of the legend of the genie. There are fingers pointed at racism (a very interesting scene with two old ladies in Alithea's neighbourhood is both charming and disturbing), sexism, colonialism and even our own biases about what a story of a djinn and a modern lady should be.

Does Alithea finally make her wish, or wishes? Does Djinn have what it takes to make them so? By the end of this narrative, these questions are quite irrelevant and you will simply be rooting for these two to stay together. And if a film makes you want to see the leads work together again - hopefully with the same crew and director - you know that you have experienced something unique. And with films like 'Nope' and 'Everything Everywhere All at Once', this is one of the most interesting and entertaining film experiences of the year.

Put it on your list...and don't wait for the years to pass...

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You can find more poems, stories, and articles by Kendall Defoe on my Vocal profile. I complain, argue, provoke and create...just like everybody else.

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