‘Unidentified’ mixes murder with empowerment
Consistently ranking among the bottom dwellers on the human rights index, it’s little surprise that Saudi Arabia isn’t what you’d call female friendly. But it’s getting better, as Haifaa Al-Mansour’s twisty whodunit, “Unidentified,” fitfully attempts to illustrate through the machinations of an amateur sleuth cleverly pushing the envelope by exploiting her nation’s slow-dying sexist roadblocks to her advantage.
One could accuse Al-Mansour of being “man sour,” given how every male Riyadh Police Department archivist Nawal Al Safan (Mila Al Zahrani) encounters is either dismissive, condescending, or a whimpering simp. But none of them are as nasty and abrasive as the half-dozen females stubbornly suppressing the clues she seeks in pursuit of identifying the corpse of a teenage Jane Doe.
Given there’s been no missing-person report or phone calls from fretting parents, Nawal’s comes have cavalierly passed the death off as an “honor killing.” Meaning the girl was likely engaging in forbidden hanky-panky when she met her brutal end. A circumstance that would sully her family’s reputation if word ever leaked. So, lips are sealed and Nawal’s superiors, all men, have little to no inclination to venture beyond filing their report and moving on. But not Nawal.
A huge fan of a popular podcast hosted by a perky influencer (Adwa Al Asiri) nonchalantly dropping in makeup tips while recounting grisly murder cases, Nawal is inspired to give detective work a whirl, using her access as an adjacent cop to start snooping on her own. What she uncovers will surely shock Western viewers unfamiliar with the Saudis’ neanderthal ethos. For Nawal, it’s merely a system she’s learned to expertly game in her favor.
It’s intriguing the contrasts Al-Mansour creates, along with her co-scripter and husband, Brad Niemann, between the liberated Nawal and the girls and women still mired in subservience. But too often, they are undercut by her film’s pedestrian presentation, which very much resembles a pilot for a TV detective series. Something akin to “Only Murders in the Building,” where a gorgeous, spunky singleton from the records department outwits her lazy, bumbling bosses week after week. Or should I say “weak”? Because “Unidentified” is its own brand of weak tea. And Al-Mansour and Niemann know it, which might explain why they opt to throw in a ridiculous 11th-hour surprise to send you home gasping.
Alas, on a repeat viewing, their “shocker” doesn’t hold up under scrutiny. There are more holes than it takes to fill the Albert Hall, not to mention the requirement for numerous pieces to lock perfectly in place for it to succeed. Still, as a “message movie,” “Unidentified” makes its points subtly and impactfully. For example, giving Nawal a backstory that includes being a rare divorced Saudi woman living on her own and dreaming of entering the police academy. Thanks to recent reforms, she’s also able to own and drive a car, go out alone at night, and sport those snazzy white Adidas sneakers peeking out from under her abayas.
She’s also, apparently, able to repeatedly ignore the orders of her fatherly commander, Chief Majid (Shafi Al-Harthi), to stop passing herself off as a legit inspector, a practice that’s already drawn the ire of school administrators, families and the dead girl’s classmates. Nor is there ever a protest when Nawal slips away for hours from her trusty copier, where she’s supposed to be digitizing case files. Doesn’t anyone get curious about her whereabouts?
Despite the flaws, “Unidentified” has its pleasures, as long as you don’t think too much. And it more often than not succeeds in its depictions of how little value is afforded to Saudi women, who are expected to keep quiet, bear children and obey their husband’s wishes, even if he’s taking a second bride, often a teenage virgin. Grief is also very much a part of the equation, not just for the dead girl’s mother, but also Nawal, who’s processing her own haunting experiences of loss.
As for Al-Mansour, she considers “Unidentified” the final piece in her Saudi trilogy, which also includes “Wadjda,” the nation’s first-ever film directed by a woman, and “The Perfect Candidate,” also starring Al Zahrani. The theme that unites all three flicks is the fighting spirit of their feminist protagonists, who all share the surname Al Safan. What distinguishes “Unidentified” from her other films, which also include “Mary Shelley,” is a hint of distaff villainy.
Nawal is not above such behavior. And witnessing her fearless, radical attitude is inspiring. But it’s not nearly cheeky enough. Despite Zahrani’s best efforts, the woman we’re most attracted to is Nawal’s favorite podcaster. That’s who you want to spend time with, not Nawal, who, despite Zahrani’s best efforts, isn’t all that compelling. The influencer emits the charm and spunk Al-Mansour’s film otherwise lacks.
Yes, it’s a respectful extension of the old motto of “you’ve come a long way, baby.” But in Saudi Arabia, there’s still an equally long way to go, especially for Al-Mansour. She’s her nation’s Neil Armstrong, a pioneer clumsily establishing her footing on unexplored terrain. That alone renders her worthy of your attention. And while “Unidentified” isn’t perfect, it’s certainly a mildly entertaining curiosity that delivers enough subversive thrills to match its burning sands.
Movie review
Unidentified
Rated: Not rated
Cast: Mila Al Zahrani, Shafi al-Harthi, Abdullah Al Qahtani and Aziz Gharbawi
Director: Haifaa al-Mansour
Writers: Haifaa al-Mansour and Brad Niemann
Runtime: 99 minutes
Where: In theaters June 19 (limited)
Grade: B-
