Movie Review: A Fresh Take on Rockin’ The Kasbah

By Ea Nicole Madrigal

Bill Murray’s appearances in film now are few and far between. Someone who was so celebrated in the 1970s and ‘80s faded, by choice, into making rare appearances on film and television in the last decade. However, no matter the decade, Murray’s comedic genius and talent has always been undeniable. Therefore, this week’s opening of Rock The Kasbah makes going to the movies worthwhile (especially for those of us who grew up with Murray in our comedic memories).

Rock The Kasbah is one of the most unique films that I’ve seen in quite some time. It has indie appeal in its storyline and characters, but it is full of highly notable Hollywood A-listers such as Murray, Bruce Willis, Zoey Deschanel and Kate Hudson. Yet, the storyline is anything but typical Hollywood.

Set in Afghanistan in wartime, Murray plays Richie Lanz, a man who claims to have worked with all of the superstar singers and musicians of the last 30 years. Yet, as writer Mitch Glazer reveals from his opening scene, Lanz is clearly just another wannabe agent looking for his big break with the “next big” talent. Little does Lanz realize that fate will take him across the world to find her.

Lanz is introduced to the television program, “Afghan Star,” the equivalent of “American Idol” but in Afghanistan. Then, through a chance midnight encounter in a cave in the middle of the desert, Lanz meets Salima (played by a talented young and relatively unknown actress, Leem Lubany). What would seem an easy opportunity for Lanz to make Salima the next Afghan Star turns into turmoil – and even violence – when he discovers that women from her community are not allowed to sing in public (let alone sing, unveiled on national television).

Glazer’s story is based on true events. And on a human level, Rock The Kasbah is a reminder of war-torn portions of the world and how lives can be affected in different ways in these areas. The story relies on the audience’s understanding of mediating but also highlighting cultural differences. And Murray’s unique addition of comedic performance, perhaps the kind that only he could deliver in such a manner, provides sensitivity to these cultural differences.

However, Rock The Kasbah is not “laugh out loud” funny the entire time. This is not a slapstick or raunchy comedy. It could wear the label “dramedy.” Although, I am sure if it were up to Murray, he wouldn’t want it to wear any labels. Instead, the audience determines its message, whether highly comedic or culturally relevant.

So, instead of questioning what “kind of film” it is, I most enjoyed seeing Murray’s playfulness on screen. And I was also reminded again of Kate Hudson’s sultry, endearing bravado that she delivers flawlessly (playing an American prostitute in Afghanistan). The two actors matched together may seem like an unlikely one-two punch, but it provided a perfect collection for such a unique story from start to finish.

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