The recent release of the historical drama Muawiya, produced by MBC, has ignited a fierce debate across the Muslim world. The film, which delves into the life of Muawiya ibn Abi Sufyan, the founder of the Umayyad dynasty, has been met with both praise and severe criticism. Some hail it as an important retelling of early Islamic history, while others view it as a deeply flawed and politically motivated portrayal of a divisive figure. The controversy stems not only from historical sensitivities but also from the sectarian, political, and cultural tensions that continue to shape contemporary discussions about Islamic history.
Opponents of the film, particularly from Shia communities, argue that Muawiya’s legacy is too controversial to be presented as a heroic or neutral figure. Muawiya, they contend, played a key role in conflicts that led to deep divisions in Islam, particularly his opposition to Ali ibn Abi Talib, the cousin and son-in-law of Prophet Muhammad, whom Shia Muslims regard as the rightful successor. His role in the first Muslim civil war, the Battle of Siffin, and his political maneuvering that led to the establishment of the Umayyad dynasty are seen by his critics as examples of his ambition overriding religious and moral principles. Furthermore, the fact that he appointed his son Yazid as his successor—a move that resulted in the tragedy of Karbala and the martyrdom of Imam Hussain—cements his negative reputation in Shia historical narratives. For these critics, the film risks whitewashing a figure who represents the beginning of dynastic rule in Islam, something they believe contradicts the egalitarian spirit of early Islamic governance.
MBC, the producer of Muawiya, has defended the film as a historical drama that seeks to present a nuanced and objective portrayal of an important figure in Islamic history. The network argues that the film does not take a sectarian stance but rather aims to depict events with historical accuracy, allowing viewers to form their own opinions. They assert that Muawiya was a skilled leader who navigated complex political realities and played a crucial role in stabilizing the early Muslim state after a period of internal turmoil. According to MBC, the purpose of the film is to educate audiences about the complexities of history rather than to promote any particular ideological or religious viewpoint.
The film’s producer has echoed these sentiments, emphasizing that Muawiya is not an attempt to glorify or demonize its central character. He insists that the project was meticulously researched, drawing from historical sources from both Sunni and Shia perspectives. The producer also points out that historical dramas inherently involve interpretation, and while no film can fully satisfy all perspectives, Muawiya was made with the intention of fostering discussion rather than division. He also acknowledges that the film touches on sensitive topics but believes that confronting history is necessary for a deeper understanding of the past.
The controversy surrounding Muawiya is not just a matter of religious disagreement but also deeply political and cultural. In Sunni-majority countries, where Muawiya is often seen as a capable ruler who expanded and strengthened the Muslim empire, the film has been received with more acceptance. In contrast, in Shia-majority regions like Iran and parts of Iraq, it has been condemned as an attempt to rewrite history in favor of the Umayyad perspective. The film’s release has also reignited long-standing debates over how Islamic history should be represented in media, with some arguing that such topics should be left to scholars rather than filmmakers. Political tensions between Sunni and Shia groups, which have been exacerbated by modern conflicts in the Middle East, have added another layer of sensitivity to the film’s reception.
To understand the significance of the controversy, it is essential to look at the historical background of Muawiya. He was a companion of Prophet Muhammad and served as the governor of Syria during the caliphate of Uthman ibn Affan. After Uthman’s assassination, Muawiya opposed Ali’s caliphate, leading to a major conflict that ended with the arbitration of Siffin, which further divided the Muslim community. His eventual establishment of the Umayyad dynasty marked a shift from the earlier system of caliphate selection to hereditary rule, a change that was deeply opposed by many in the Muslim world. His son, Yazid, continued his legacy but became infamous for his role in the Battle of Karbala, where Imam Hussain, the grandson of the Prophet, was killed along with his family and followers. This event remains one of the most significant and painful moments in Islamic history, particularly for Shia Muslims.
This is not the first time that MBC has faced backlash for its historical productions. A similar controversy erupted over Omar, a television series that depicted the life of the second caliph, Umar ibn al-Khattab. While the show was praised by many for its high production values and historical depth, it was also criticized by religious scholars who objected to the portrayal of revered figures in Islamic history by actors. Some groups argued that visual depictions of the companions of the Prophet should not be allowed, as they could lead to misinterpretations or diminish their sacred status. Despite these objections, Omar became a widely watched series, reflecting the growing interest in historical dramas that explore the formative years of Islam.
The debate over Muawiya raises broader questions about the role of media in shaping historical narratives. Can a film or series truly present an objective view of history, or will it always be influenced by the perspectives of its creators? Should historical figures who remain deeply divisive be depicted in entertainment, or does doing so risk deepening existing divisions? These questions have no easy answers, but they highlight the powerful intersection of religion, history, and politics in contemporary media. Whether Muawiya is ultimately seen as an important cultural contribution or a controversial misrepresentation will depend on the perspectives of those who watch it, but one thing is certain: the film has already ensured that the debates over early Islamic history are far from over.
The views expressed in this article are the author’s own and do not necessarily reflect Coverpage’s editorial stance.
