Tickling Giants is a 111-minute, 2017 documentary that tells the story of “Egypt’s Jon Stewart.” Tickling Giants is produced, written and directed by Sara Taksler. She’s a relative unknown who does a technically excellent job, earning her 100% fresh rating at RottenTomatoes.
Bassem Youssef is a cardiothoracic surgeon with movie-star looks and charisma. In 2011, when he was 37, he began broadcasting satirical commentary on the Arab Spring. He produced videos in the laundry room of his apartment and posted them on YouTube. He hoped for a few thousand hits. He reached millions of viewers.
Youssef graduated to TV. An estimated forty million viewers watched his show – the largest ratings in Egyptian TV history. Jon Stewart had around two million viewers per show. Tickling Giants’ account of Youssef’s career is captivating and inspirational, occasionally funny and often quite sad. It was shot mostly in Cairo. Unless I blinked and missed it, you never see a pyramid, but, rather, street scenes, traffic, the Nile, and protests in Tahrir Square. Tickling Giants depicts appreciative Egyptian audiences gathering in outdoor cafes to laugh at Youssef’s show on big-screen TVs.
Youssef satirized Islamists, the Muslim Brotherhood, Hosni Mubarak, Mohamed Morsi, the Egyptian army and Egypt’s current president, Abdel Fattah el-Sisi. Youssef faced tighter and tighter restrictions on what he could say. He and his staff faced greater and greater personal threats. Thugs, possibly paid by the government, chanted “Death to Youssef” outside his studio. An imam discussed whether it would be permissible to kill Youssef. The imam counseled, “Not yet.” Youssef’s collaborator, Tarek, had to abandon Egypt. Tarek’s father and brother were arrested and held for months without any reason. Youssef himself eventually was forced out of Egypt. Tickling Giants ends with Youssef in exile, giving talks in support of free speech at prestigious awards ceremonies in Western nations. He now lives in the US with his wife and children.
Youssef’s show had a large staff of creative, young, dynamos. The scenes of these idealists gazing out the window of their offices at the thugs calling for their deaths, and the arrival of armed troops to form a cordon in front of their studio, reminded me of life in Poland in 1989. The year that Soviet-imposed Polish communism breathed its last, I participated in demonstrations organized by the Orange Alternative, a group that undermined the authorities through humor. We held a rally celebrating the Red Army. Young Polish rebels gave elaborate, satirical speeches expressing “gratitude” for being “liberated” by the Russians.
As fine as Tickling Giants is, and as much as I could identify with its revolutionary spirit, I kept seeing the empty spaces where the censor’s X-Acto knife had sliced out key elements of the Arab Spring story.
In 2011, the year Youssef’s show launched, journalist Lara Logan was beaten and sexually assaulted by hundreds of men in Tahrir Square. They called her a Jew. She is not Jewish. The assailants used their cellphones to record their assault.
That same year, the otherwise anonymous “Girl in the Blue Bra” was dragged across pavement, beaten with batons, and kicked by Egyptian military. After they stripped off her abaya, one soldier stepped directly on her breasts, clothed only in a blue bra. Her abused image traveled round the world. Hillary Clinton decried “the systematic degradation of Egyptian women.”
Tahrir Square is inextricably linked with taharrush. Men encircle women, sexually assault them, and video-record the assaults. Al Akhbar describes taharrush as a “prominent feature” of life in Egypt, and reports that Egyptian women as well as men tend to blame the victim. President Sisi visited a taharrush victim in the hospital. The Guardian, a liberal newspaper, ran an article entitled, “80 Sexual Assaults in One Day – The Other Story Of Tahrir Square.” During New Year’s celebrations in 2015-16, Muslim men committed mass sexual assaults in Europe. Maajid Nawaz and others pointed to Tahrir Square as the possible petri dish of this contagion.
In Tickling Giants, the protestors are all right-thinking idealists, engaged in a communal effort as wholesome as an Amish barn-raising. Women are prominent as onscreen spokespersons.