by Internationally-known Koran burner Terry Jones has returned to the internet with a film condemning Islam’s prophet Muhammad after Jones helped promote the internet trailer Innocence of Muslims, a source of global controversy. Posted on Jones’ website Stand Up America, the over one-hour long movie The Innocent Prophet: The Life of Muhammad from a Different Point of View uses mainly cartoon images to present Muhammad and Islam as fraudulent. Legal actions taken against Jones’ co-producer, the Pakistani exile Imran Fisarat now living in Spain, show once again how free speech critical of Islam is under threat. Curiously in several respects, Spanish authorities have acted against Fisarat even though no Muslim rioters around the world have expressed outrage against The Innocent Prophet as was the case previously with Innocence of Muslims.
An international relations scholar resident in Madrid, Soeren Kern, has extensively analyzed Fisarat’s background at the Gatestone website for which Kern works. Firasat obtained political refugee status in Spain in 2010 after receiving death threats in his native Pakistan as well as Indonesia for condemning Islam after leaving the faith and marrying a non-Muslim. Fisarat has continued his condemnation of Islam in Spain with his multilingual website entitled World without Islam/Mundo sin Islam. In March 2012, Fisarat also filed a petition with the Spanish government calling for a ban on the Koran as a violent, hate-filled book and threatened to burn a Koran publicly in central Madrid. Firasat refrained from emulating Jones in America after Spanish police informed Firasat that such a burning could be an infraction of Spanish laws “against offending religious sentiments.”
Fisarat explained to a Belgian newspaper that he drew his inspiration for The Innocent Prophet from Innocence of Muslims. Upon hearing of the killing of Ambassador Christopher Stephens in Benghazi, Firasat thought, “Okay, you Muslims, use violence, but we will continue to make films. One day one of us will lose.” Similar to Innocence of Muslims (discussed in detail here, here, and here), The Innocent Prophet claims to present, in the words of Jones at the film’s beginning, an “accurate historical portrayal” of Muhammad’s life, however critical. The film, however, merely generally references canonical Islamic documents like the Koran and Hadith at the beginning without any specific references included in the narrative.
Although the production values of The Innocent Prophet are slightly better than the abysmal Innocence of Muslims, with its cast and crew drawn partly from the porn industry, the treatment of Muhammad in The Innocent Prophet is no less negative. Jones’ opening monologue questions whether Muhammad was an “inspired prophet of God” or a “perverted madman driven by his demons.” Likewise, Jones asks whether Islam is a “religion of peace” or of “violence and oppression.”
The somewhat monotonous narration by Fisarat in the following film leaves no doubt about its answers to these questions. Muhammad grew up a lonely, poor orphan who sought to compensate his deprivation by gaining fame and fortune through the establishment of Islam as a “false faith.” Islam allowed Muhammad and his followers to pillage under the banner of God in the “greatest mafia movement of that time.” Islamic veneration of Muhammad as the final and greatest of prophets, expressed most succinctly in Islam’s First Pillar, the statement of faith or shahada, meant that Muhammad would be “respected forever.” Islam also allowed Muhammad to fulfill his own carnal desires as a “sexual robot full of lust.” Muhammad’s resulting “Islamic trap” and “lie” led to the “worst human massacres in human history.”
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