Egyptian Film, Past and Present's topics - tribe.net

Nour El Ayoun

2009-07-21T17:23:38Z

I am looking for a copy of the film Nour Al Ayoun. I don't know much about it, and I had a lead to get a copy a few years ago (to no avail). There is a scene with Fifi Abdo that is easy to find, but I would really like to see the whole film.

Any ideas, leads, or copies for sale much appreciated. Thanks!

(Link to the fantastic Fifi clip: http://www.youtube.com/watch?v=OKPglqpxxXU)

posted in Egyptian Film, Past and Present - 2 replies

Looking for two films...

2009-07-06T20:09:39Z

Hi all,

I'm new to this tribe, and am very happy to discover it! I'm working on some papers dealing with the portrayal of dancers in film and the Egyptian feminist movement in the 40's and 50's. I am also looking into the political activism of bellydancers during WWII which leads me to my question - does anyone know where I can get a hold of the biographical films on Badia Masabni and Hikmat Fahmi? I find the odd reference to them, but can't seem to find them for sale anywhere. I know the Badia Masabni film is from the 1940's, but The Spy Hikmat Fahmi is from 1994, so I would have expected it to be more accesible. Any suggestions?

Thanks!

posted in Egyptian Film, Past and Present - 8 replies

Arabic Titles for Several Films?

2009-04-15T18:38:31Z

Recently, Maria in Boulder, Colorado gave me permission to post on Shira.net a list she had compiled of over 200 movies that have belly dancing scenes. Although most of the movies on her list were of movies made by North American and European production companies, a small number were made by Middle Eastern production companies.

Maria had this list on her web site for many years, and no longer has a way to contact the people who gave her the information about these movies. I'm trying to polish up the list a bit, adding details such as year the movies were originally released. For the movies from Egypt, Syria, and Lebanon, the titles she gave me were in English. I tried looking them up in imdb, but couldn't find them. It's not surprising - imdb's coverage of movies from the Middle East is somewhat spotty, and they sometimes don't have English titles in there for the Arabic movies.

So, I'm turning to the members of this tribe for help!

Can anybody tell me the following information for the movies below?
1. Arabic-language titles
2. Year they were released
3. Name of the dancer(s)

Here are the movies:

* Melody in my Life. Lebanese.
* Orchard of Love. Lebanese.
* Paris and Love. Egyptian.
* Poor But Happy. Egyptian
* Regards to my Dear Professor. Lebanese.
* Storm Over Petra. Jordanian.
* Suffering on Smiling Lips. Egyptian
* Thieves. Egyptian.
* Third Class. Egyptian.
* Thousand and One Kisses. Egyptian
* Vote for Dr. Suleiman. Egyptian.
* Wake Up Happy. Syrian.
* Who Will Put Out the Fire? Egyptian.
* Words of Love. Lebanese.

posted in Egyptian Film, Past and Present - 4 replies

Seeking info on Arabic-language movies

2009-04-14T03:36:56Z

Can anyone tell me which year these films were released?

* Noor Ey Eini. Egyptian. Had Fifi Abdo in it, I think.
* Sah al Nom. Syrian.

Can anyone tell me who the dancers were in these films?

* Ah Ya Leil Ya Zaman. Egyptian.
* Al-Millianara. Lebanese.
* Sah al Nom. Syrian.
* Shafiqa wa Metwal. Egyptian. Stars Soad Hosni and Ahmed Zaki.
* Samt el Qusur (Silences of the Palace). Tunisian.

posted in Egyptian Film, Past and Present - 1 reply

My Fair Teacher - what is the Arabic title?

2009-04-03T05:42:22Z

What is the Arabic title (ie, transliterated into Roman character set) for the title of the 1971 movie My Fair Teacher which stars Hind Rostom?

If it would help to see the title in Arabic alphabet (which I can't read) here's a link to a web site that sells it: http://fineartfilm.com/index.php?main_page=product_info&products_id=558

posted in Egyptian Film, Past and Present - 5 replies

I'm back...

2009-01-28T15:54:16Z

Dear members:

The last two years have been the worst I have ever experienced. My partner in the restaurant passed away in August 2007.

Prior to that I was betrayed by one of my most trusted students who not only sabotaged the operations of my restaurant but walked away with all of its workings, leaving me in a supreme financial chaos of which only now I am able to see through.

I want to thank everyone here for continuing to post while I was away trying to sort out who was who and what was what. If anyone is interested in the whole complete story, please email me privately at sausanacademy@gmail.com.

I hope to be on Tribe a little more often.

-Sausan

posted in Egyptian Film, Past and Present - 1 reply

Who is this dancer in Afrita Hanem?

2009-01-25T06:26:13Z

In the movie Afrita Hanem (released in 1949), there is a dance scene at a wedding. In this dance scene, the dancer I'm hoping to identify does her best to perform while Samia Gamal's genie character wreaks havoc all around her. Does anybody know who this dancer is? Here's the photo: http://tribes.tribe.net/egyptianfilm/photos/10011697-c97a-4266-9865-f819ce45db17

posted in Egyptian Film, Past and Present - 3 replies

this movie

2009-01-24T09:57:09Z

http://uk.youtube.com/watch?v=skskXIL4XSw anyone can tell me the title of this movie??

thanks

posted in Egyptian Film, Past and Present - 3 replies

Mohamed Abdel Wahab Movies

2008-10-28T12:06:00Z

Hi! I'm looking for plots of the M. Abdel Wahab movies El Warda el Baida (The White Rose), Doumou' el Hob (Tears of Love), and Lustu Malakan (I'm no Angel).

I've spent days and days researching Abdel Wahab's movies and can't find these descriptions anywhere. Have any of you seen them? Can you tell me what they're about? Or can someone point me to a good resource?

Just for fun, I'll post some descriptions of his other movies in this thread....

posted in Egyptian Film, Past and Present - 4 replies

Youssef Chahine passes away....

2008-08-10T13:07:04Z

On Sunday , July 27th 2008, Youssef Chahine's life ends at age 82. He passed away at 3 a.m. cairo time.
We will all miss him.

posted in Egyptian Film, Past and Present - 3 replies

Going to movies in Egypt

2008-08-10T02:37:52Z

Outi, a dancer from Finland who has been living and working in Cairo for a few years, has written an article about the experience of going to movie theaters in Cairo. Here is the link:

http://www.outiofcairo.com/articles/part7.html

posted in Egyptian Film, Past and Present - 1 reply

WORKSHOP: Egyptian Dance Code (EDC) with Sausan in San Francisco, CA

2008-06-21T22:56:27Z

Egyptian Dance Code Workshops

EDC Overview:
Two opportunities!
Sunday, June 29 and July 6, 2008
1:00 PM - 4:30 PM

Workshop includes:

* Physical definition of the Egyptian Dance Code
* Upper and lower torso dance movement within the Egyptian Dance Code
* Arm movements within the Egyptian Dance Code
* Handouts
* Video study and identification of the Egyptian Dance Code in past and present Egyptian Dancers

All registrants will have actual physical body-on experience performing the Egyptian Dance Code in this workshop. Workshops taught by Sausan.

Location: Al-Masri Restaurant, 4031 Balboa Street, San Francisco, CA
Time: 12:30 PM to 4:30 PM
Price: $50 prepaid; $55 at the door.
Contact or More Info: Sausan - 415-867-6754 or sausanacademy@gmail.com

Price may be applied to a future 2008 registration of Primary Class at the Sausan Academy of Egyptian Dance.

Make checks payable to Al-Masri and mail to Al-Masri, 4031 Balboa Street, San Francisco, CA 94121-2516.

----------------------------------------------------

Other workshops in the offing:

EDC and Specialized Movement
EDC and Finger Cymbals

posted in Egyptian Film, Past and Present - 1 reply

Gilded Serpent has published my article

2008-06-21T16:11:57Z

Hello, All....

Just wanted to drop you a line to let you know that Gilded Serpent (www.gildedserpent.com) has published one of my articles.

Please go to:

http://www.gildedserpent.com/art44/sausanedc.htm

Looking forward to hearing from you.

--
Sausan
Master Teacher
Sausan Academy of Egyptian Dance
"The Pain, the Passion, the Joy...
Dancing with Nephis"

posted in Egyptian Film, Past and Present - 5 replies

Saudi influence on Egyptian film industry

2008-06-07T03:27:43Z

This article has some significant insights into things affecting not only the making of future Egyptian films, but also the possible fate of ones made in the past: http://www.newsweek.com/id/139434?GT1=43002

posted in Egyptian Film, Past and Present - 4 replies

Did Nibtidi Mneen al-Hikaya appear in a movie?

2008-04-21T04:49:16Z

Did Abdel Halim Hafez ever sing Nibtidi Mneen al-Hikaya onscreen as part of a movie, or was this song one he recorded independent of his movie career? If he did sing it on-screen in a movie, which movie?

posted in Egyptian Film, Past and Present - 5 replies

Who is this actor in Shatie el Hob?

2008-04-09T06:11:27Z

Who is the actor in this photo? http://tribes.tribe.net/egyptianfilm/photos/2d5e7d31-06cc-4f33-bd09-3ee41384b76a

The image comes from the movie Shatie el Hob (sold on DVD as Love Beach), which was released in 1961. The role he plays is that of the father/doctor. Does anyone know who this actor is?

posted in Egyptian Film, Past and Present - 0 replies

Does anybody know who this dancer is? (Shatie el Hob)

2008-04-09T05:58:40Z

Does anybody know who the dancer is in this photo? http://tribes.tribe.net/egyptianfilm/photos/94a4992a-452b-4b4c-84e5-5a69a49a5a7a

It's a scene from the movie Shatie el Hob (sold on DVD under the title Love Beach), which was released in 1961. This scene is that of an engagement party. Farid al-Atrache's character breaks into song, and this dancer performs during the instrumental interludes.

Does anybody know who she is?

posted in Egyptian Film, Past and Present - 0 replies

Amir Al Dahaa - a film with Na'eema Akef

2008-02-27T21:20:18Z

It's playing now on ARTMU and I'm recording it....with English subtitles! :-)

posted in Egyptian Film, Past and Present - 1 reply

Comedian Younis Shalabi Dies

2008-02-27T02:13:35Z

From: http://translate.google.com/translate?hl=en&sl=es&u=http://mensual.prensa.com/mensual/contenido/2007/11/12/uhora/faran_2007111209475925.shtml&sa=X&oi=translate&resnum=9&ct=result&prev=/search%3Fq%3DYunis%2BShalabi%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-US:official%26hs%3DdN5%26sa%3DX%26pwst%3D1

He died on comedian Younis Shalabi

9:47 am - CAIRO, Egypt (AP) .- The actor Younis Shalabi, one of the great comic film and theatre Egyptians, died today at the age of 66 at a hospital in Cairo after a long illness.

According to the official news agency MENA, Shalabi died in the hospital where he was admitted on October 26 for treatment of respiratory and heart problems, as well as diabetes.

At his funeral this morning attended by many actors, intellectuals, film directors and writers Egyptians.

Born on May 13, 1941, Shalabi acted in 70 films, about 25 soap operas and several plays that made him famous throughout the Arab world.

The actor achieved notoriety with the theatrical comedy "School of troublemakers" who also served in the Egyptian star Adel Emam.

posted in Egyptian Film, Past and Present - 4 replies

Take Me Back to Cairo Music Compilation on Youtube.com

2008-02-26T01:18:27Z

http://www.youtube.com/watch?v=u6DIbQhFrGM

Great viewing!

posted in Egyptian Film, Past and Present - 0 replies

THE BALADI PERSONAE IN EGYPTIAN DANCE AND MUSIC

2008-02-24T21:36:06Z

Taken from:

http://72.14.253.104/search?q=cache:4KuT-ttQ6HkJ:www.hilaldance.co.uk/hilaldance/baladipersonae.doc+Mohamed+Ali+Taha+singer&hl=en&ct=clnk&cd=2&gl=us&client=firefox-a

THE BALADI PERSONAE IN EGYPTIAN DANCE AND MUSIC

By Suraya Hilal

The term “Baladi” is an important word for every Egyptian whose life and traditions identify him or her with the soil of Egypt, the original country. These men and women are generally known as “children of the country”, “Awlad el Balad”. The term describes the particular identity of the working class people, the people who have migrated from rural villages and farming communities and settled in the cities, creating their own type of community. Awlad el Balad is also a term which refers to the “real Egyptian”, or “Masri Asil”, as opposed to the western occupiers and westernised Egyptians, known as “Afrang”. This is an important distinction for Egyptians, who have been ruled by foreigners for long periods of their history. In the period preceding Nasser’s revolution of 1952, which brought Egypt back into the hands of its own people for the first time in centuries, a strong consciousness of national identity had been building up. Awlad el Balad, the “children of the country”, were considered noble and honourable, an idealised image which became increasingly stronger among the population. (The ruling classes, whose lives are for the most part divorced from those of the lower or Baladi classes, may not hold this view.) Although not formally educated and sometimes illiterate, Awlad el Balad are street-wise and shrewd and possess a tremendous knowledge of the world. They are usually of lower middle class origin and hold non-government jobs working in a particular trade or craft. This also includes the trade and craft of the artist, singer, dancer and entertainer in general.

“Ibn el Balad”, the “son of the country”, is the true Egyptian who is also known as a “gada’a”, meaning good, honourable, courageous, and responsible. He has the same attributes as Awlad el Balad and he may perhaps be the local butcher, baker, or the “Ma’alim”, the boss man, the local merchant, running an honest trade and known as a good and fair leader in his community, or “harah”.

Awlad el Balad live in the Sha’abi communities (here, the word Sha’abi refers to the popular communities, which may also include the Baladi communities) of the major cities and adhere to a strong code of ethics and identity. For decades, even before the turn of the 20th Century, Mohammad Ali Street was the main Sha’abi quarter and the centre of the Baladi “asil” artist, the “real” Baladi artist, and remained so until the 1970s, when its artists saw its rapid decline. (Sadat’s open door policy, under which foreign money and big business flooded the country, and there was rapid social and economic change, resulted in the breakdown of the codes of conduct in the entertainer market which had protected the Baladi artist and his trade for decades.) However, the identity and consciousness of Awlad el Balad has essentially been established since the 1940s and still remains today. From that time onwards, male and female entertainers from Mohammad Ali Street were considered to be typical Awlad el Balad.

“Bint el Balad”, “ daughter of the country”, is the ultimate term for the honourable woman who is a working woman, generous, helpful to others, chaste and humorous, who takes care of family and husband, is a woman of the world, understands life, is highly intelligent, open but at the same time reserved, beautiful but at the same time modest in her behaviour and dress. It can also refer to dancers and singers who still hold to the original Baladi code of conduct. One well-known dancer of recent times called Suhair Zaki is also known as a “gada’ah”, honourable and good, a term which may also be applied to Bint el Balad. Ruh El Fuad, a well-known Baladi singer, is also referred to as a Bint el Balad and a “gada’ah” for living by the ethics of the Baladi tradition. Sometimes Bint el Balad can extend to the persona of the “Ma’alimah”, the woman boss, who possesses all the above attributes but can also sing and dance and is generally considered to be well-to-do, usually running her own business, such as a coffee house or bakery, with her husband, the Ma’alim, or man boss.

The Ma’alimah persona is very different from the “’Almah” or “’Awalim” (pl). “’Awalim” is a much older term and refers to the original court entertainers, the learned female singers and dancers who entertained in the royal courts and sang and danced with their all-female bands in the homes of the Pashas and the elite during the khedival rule of Egypt and the Ottoman period in general. It is believed that the golden age of the ’Awalim was the late 1800s to the early 1900s. The original ’Awalim sang, danced and played musical instruments within the “tarab”, or classical, tradition. Their particular type of songs, called “Taqtuqa” or Taqatiq (pl), became highly popular between the 1920s and 1930s in Cairo’s coffee houses and later on in the European-style closed theatres. During the 1930s men also started to sing the Taqatiq, and it could be said that this type of song led to the first popular musical structure for today’s Egyptian mainstream or commercial song. In the 1920s a different kind of ’Awalim profession emerged, which extended its activities to the well-to-do working class family weddings and whose musical idiom also encompassed the Baladi musical structures. Many of the ’Awalim operated from the working class quarter of Mohammad Ali Street, where they resided in the area called “Haret el ’Awalim”. The wedding ’Awalim remained in great demand among prosperous working class families until the early 1940s. By the late 1940s, however, the ’Awalim tradition had vanished. The wedding had changed, and segregated entertainment at weddings was no longer necessary. Female-only entertainment at weddings had become obsolete. From the late 1940s onwards feminism (which first took root in the 1880s) made a comeback in Egypt. The recording and film industries were booming, with female directors, and pre-revolutionary nationalism was strong. After the revolution of 1952, the Moulid began to thrive again, not only as a devotional festival commemorating saints and prophets but also as a platform for theatrical and artistic talent. The activities of religious fundamentalists were restricted. Open coffee houses were thriving, with performances of music and dance, and Baladi music and Baladi singers were highly popular. With the disappearance of the “Usta”, the female leader of a group of ’Awalim, the female artists of Mohammad Ali Street were forced to take charge of their own careers and began running their businesses with men. By the late 1940s the Ma’alimah, boss-woman, dancer-artist, was born.

The Baladi-Afrangi Dichotomy

In the city, the term Sha’abi is loosely used to mean “popular”, of the masses or populace. Baladi people, with their distinct and rich traditional-modern culture, have their origins in the “Balad”, the village or countryside. They live in Sha’abi quarters such as Bulaq or Mohammad Ali Street. The Baladi culture exists in opposition to the Afrangi culture, the culture of westernised Egyptians and colonialism. The Baladi people adhere to an honourable, ethical culture and spiritual beliefs which are opposed to the corrupting elements of modernity and westernisation. With the Baladi people, every aspect of their lives reflects wholesome and aesthetic values - their dress, which is beautiful but modest, their food, which is home grown without the poison of mass production, and their spirituality, which is a Baladi Islam akin to Sufism in which devotional songs and dance are part of the ritual of life, either expressed in the Moulid or in other rituals at births and funerals. Baladi people live and move between the Afrangi and Baladi worlds, the haves and have-nots, the westernised and the traditional. Often, they have a love-hate relationship with the rich, prosperous, and consumerist society. From this urban struggle of opposites emerges the essential expression of the Baladi character, in the music, the dance and the personae which were so well portrayed in the films of the 1940s and 1950s. Their yearning for truth and goodness and the simple life gives meaning to their struggles in the urban chaos. The depth of the suffering of the soul and the bitter-sweet nature of life are reflected in Baladi culture, especially in music and song.

The Baladi Mawaal and Song

During the urbanisation of Sha’abi traditions, the “Mawaal”, a soulful improvisation of the voice, developed into an intricate art form within the Baladi song. The function of the Mawaal is to return people to their essential feelings and emotions and the truth of their beliefs. Although the Sha’abi Mawaal of the Sa’id, or Upper Egypt, has similar qualities of lament, the Baladi Mawaal has evolved a much deeper expression of feeling, and the lengthening and intricate weaving of the uttered words give it more soulful qualities. One only needs to listen to the king of the Baladi Mawaal, Ahmad ’Adawia, to understand the depth of the Baladi soul. Here is one of Ahmad ’Adawia’s well-known Mawaweel:
Rahou’l Habayeb

Rahou’l Habayeb, Ba, alhum ‘aam wi tani. Gone are the loved ones, now for almost a year or two.

Rabtin al Bu’ad walla walla rag’in tani. Do they insist on such distance or are they coming back?

Rahou’l Habayeb, Raahou, Raahou. Gone are the loved ones, gone, gone.

Leyh ya Habayeb, H’illi zadi w’marartouh. Why, friends, have you soured my good fortune?

Ghash el Dawa Sa’ab al Illah ,w’marartouh. Cheating on the medicine makes the healing difficult. And you have embittered it.

Youmi yigi ‘Agli fi raasi w’youm bey touh. Some days my mind is calm and some days I am lost.

Youoom youoom youom youom! Some days, some days some days!

Wi’l qalb khadouh, W’yumha ma gash tani, Rahou, Rahou’l Habayb. And Heart is gone and from that day on has not returned. Gone, gone are the loved ones.

Here, ’Adawia is speaking of the absence of what was good: friendship, generosity, good will towards each other and, most of all, living with Heart. To Awlad el Balad, these are essentials which can be lost forever in urban life if people do not take care of each other.

In the 1970s Ahmad ’Adawia was the first Ibn el Balad to become an Egyptian pop star. More importantly, he was also a true Baladi artist, well educated in the musical idiom of the Mohammad Ali Street tradition and the Baladi musical repertoire. His songs reflected the sentiments of the Baladi people in their ridicule of the establishment, rebelliousness, and political and social commentary, all disguised in the symbolism of the Baladi vernacular language. The lyrics would speak of the simple life of Baladi women and the ordinary person’s trials and tribulations. Yet in between the lines would be a strong social commentary against corruption and the establishment. Ahmad ’Adawia used the main structure and idiom of the Baladi music of the time. He worked with the best accordionists and musicians, such as Hassan Abul Seoud, Farouq Salamah, Mohammad Asfur, Sami il Babili (a trumpeter) and Samir Surour (saxophonist).

Earlier on in the 1960s the famous Mohammad Taha was one of the first singers to bridge the gap between the Baladi and Sha’abi song and to urbanise and popularise his songs. He was also the first to use the quartertone accordion when it was still unknown in Sha’abi song. ’Adawia’s first major influence was a mawaal artist who followed Taha called Anwar El ‘Askari, who had a simple format and message in his songs. However, it was ’Adawia’s lyricists, Hassan Abu ‘Itman and El Rais Birra, and composers such as Hassan Abul Seoud who propelled him to stardom. El Rais Birra, for example, wrote the lyrics of the famous song “El Sah Endah Embo”, a humorous social commentary on babyhood. For ten full years ’Adawia dominated popular music, and his tapes outsold all his contemporaries. ’Adawia revolutionised the art of the Baladi song and took it to new heights of expression both musically and artistically. He sometimes used tarab instruments, such as the qanun and oud, but always used them within the Baladi structure and original “lawn”, or colour, of the music. In other words, he never tried to create classical music with his songs as a way of climbing the ladder to acceptance in higher society, as some musicians do today. ’Adawia’s songs always spoke to the common man and woman, but despite this his tape sales cut across all class barriers.

Other singers who also made their name in the city but who remained within the Sha’abi musical structure and tradition without moving to the Baladi form were the famous Sha’abi singer Metqal Qenawi Metqual, of the Musicians of the Nile, and a number of female singers from the Fallahin Delta region, or “Fallahin Bahri”, such as Fatmah Sarhan, Gamalat Shiha, Khadra Mohammad Khidr, Fatma Eid and many others also work within the true Sha’abi, Sa’idi idiom using the traditional musical ensemble of rababah, arghul, tablah baladi (a large drum played with a stick), salameyah and mizmar.

Today, many popular singers attempt to follow in the footsteps of ’Adawia. They are generally referred to as Sha’abi singers, meaning popular singers of rural origin. Their music is very simplistic, the rhythms are very basic, and the lyrics do not express any great depth of meaning. The musical instruments they use may be anything from the accordion to the classical violin to the mizmar, in a mixture of styles. This recent use of the word Sha’abi for pop singers confuses them with the real Sha’abi singer who works within the Upper Egyptian (Sa’idi) and Fallahi (farming community) musical traditions. In one of his Mawaweel, ’Adawia speaks of the fast age of the trendy popular singer:

Ya di Zamman ili kitrit feeh il Mughanawatiah. Oh what an age, when singers are so abundant they come a dime a dozen.

Fi nas bit ‘ul Ah, bas il Ah mish hiya. Some sing their “Aah”, but it’s not the same, the Ah is no longer an Aah!”
Ruh El Fuad

Ruh El Fuad is an important and unique Bint el Balad singer. She is a fine artist from true Baladi roots who made her name performing at urban weddings and in the Moulid, first in Alexandria then in Cairo. (See Hilal Dance News No.10 for Ruh el Fuad’s story.) Ruh’s great command of her song and the versatility of her voice show that her artistic life has given her enormous depth of experience and the opportunity to expand her country-based song into the musically sophisticated urban song and develop her own unique qualities in her art. Ruh’s speciality is the Mawaal, and its essential rendition “Ya leili ya Eini”, “Oh my night, oh my eye”, a Blues-like phrase which the vocalist uses to flow through the highs and lows of vocal expression. Ruh is an expert in this type of Mawaal, revealing great skill in the intricate way in which she uses her vocal modulations, giving a depth of emotion which goes beyond the simple meaning of the words. Her Mawaal is usually followed by a song which epitomises the life of Bint el Balad. Here is one of Ruh’s Mawaweel, which was featured in the programme Spirit of the Heart, in which she toured with the Hilal Dance Company in 1997-2001.

Ya Eini, Ya leili Ya leili, Yaaa Leil. Oh my night, oh my eye.

Yaaaa Leil! Oooh my night!

Tool ma lisan il hilw Yerfa’ min Imit Ahlu. As long as the tongue is sweet, it raises the astuteness of its owner.

Asl il lisan il Radi bi il min Ahl. Likewise, a bad tongue diminishes the respect of its owner.

Arib ma ‘andush adab gharib ma bin ahlu. One who is ill-mannered becomes a stranger in his own family.

Tool mal kamal sikitak, timlik ulum il naas As long as completeness and truth is your way, you will win the hearts of people.

Ya ma gharib, bil adab sabahu el gami’ ahlu. Oh, how often a well-mannered stranger is later accepted by all as part of the family.

Here Ruh is expressing the true sentiments of the Baladi code of conduct: “what you say and how you use words reflects your true character.” Also, the song raises the question of what kind of person may be truly accepted in the family (in the Baladi community).
The Rural ’Ashrah Baladi
At the heart of the complex and diverse Baladi musical domain of the cities lies the Taqasim Baladi repertoire, or the “’Ashrah Baladi”, meaning a “musical round of Baladi”. This is an improvisational repertoire based on clearly defined sections governed by the mood changes and particular expressions of both musicians and dancer. This musical idiom was developed around the expertise and demands of the dancer. It first began in the countryside, when musicians would be playing, for example, at a wedding, or “farah”, using the Sha’abi range of instruments: mizmar, tablah baladi, rababah and flute, or salameyah. The “fitwah”, or strong man and protector of the village, would be moved by the sad and soulful melodies such as “Ya rab Tobah” in the Taqasim Hor, a solo improvisation led by rababah or mizmar. He would then start stepping with defined legwork while holding the “assayah”, a long staff. The musicians would follow him with the slow rhythmic beat of the Wahdah el Kibirah interlaced with melodies from songs such as “Amint Bilah”, “Hassan ya khol el ginainah” and others. Here the dancer would express his skill, presence, beauty of line and, most of all, his “shahama”, meaning nobility and audacity, showing himself to be a true Ibn el Balad. While the Taqasim Hor would generate “aah, aah” utterances of appreciation from the audience, the Wahdah el Kibirah would be responded to with “aywah aywah ya fitwah ya gada’a!”, “Yes, yes, oh fitwah, oh gada’a!” At a signal from the dancer, who at this point would lay down his staff and tie his shoulder scarf around his hips, the Tet would begin, a fast rhythmic section using baladi or maqsum rhythms in which musicians and dancer together would display their virtuosity. The mizmar or flute would lead this section while the dancer worked with faster steps using legs, hips and shoulders, interspersed with jumps and hops. The musicians would join in by weaving melodies around the Tet in the “Ingerarah” section, which means “pulling” or “stretching” the Tet. The Tet and Ingerarah would show the height of the performers’ skill, while by now the audience would be clapping and shouting joyfully. The family of the bride and groom or other members of the audience would possibly join in the dancing at this point. When the dancer felt it was time to finish, he would signal an “Afflah”, or finish, which would slowly wind the music down to a stop, or he would give a signal with his movements for a quick and decisive rhythmic one, two, three, stop. Songs by the “mughanni”, or Sha’abi singer, would follow to continue the festivities. Today, this tradition only survives in a few isolated rural communities in the El Minya and Luxor regions.
The Urban ’Ashrah Baladi

From the beginning of the twentieth century to around the 1920s and 1930s Egyptian music and art underwent a great transformation which reflected the drive for modernisation and westernisation which began with Egypt’s khedives from Mohammad Ali (1804-1848) to Isam’il (1863-1879) and continued during the British occupation up to the 1920s. These westernised influences have persisted until today. During the period from the late 1800s to the beginning of the1900s, Egypt witnessed a prolific introduction of western musical forms and instruments, including Italian opera, jazz, military brass bands, Latin forms such as the rumba and samba, and western classical musical theory, which was now taught in Cairo’s music conservatoires. During all this change, no formal school was given to Baladi music, nor was it ever recognised by the establishment. Baladi musical traditions continued to rely on the oral tradition of the entertainer families of Mohammad Ali Street, and its platforms for training were the coffee houses, weddings and the Moulid. Because of this separation, Baladi music progressed at its own pace, keeping close to its traditional roots, and innovation grew within the form without compromising its true Baladi character. For example, the instruments of jazz, such as the saxophone, the clarinet and the trumpet, were integrated by the musicians to give a new sound in Baladi, never to create or borrow a new structure or idiom.
When the tradition of the rural ’Ashrah Baladi moved to the city through the Baladi wedding, it naturally began to transform. What was once a simple dance for the hero of the village became a complex musical idiom in the coffee houses of Cairo and Alexandria. Around Mohammad Ali Street, the repertoire began to expand in expression as a result of the introduction of urban instruments such as the doff, the darbukah, or tablah, and, of course, the accordion, which was converted by the musicians to quartertone to enable them to express the eastern qualities of the music. Furthermore, the Taqasim Baladi began to evolve to accommodate the female dancer, first the ’Almah and then the urban Ghaziah (the single form of Ghawazi) from the 1930s to the 1950s. Around this time, the female dancer began to express her power and femininity in a new section of the ’Ashrah Baladi called the “’Awadi”, a slow, soulful and sweet melody punctuated with rhythmic stops called “Sakaat”. With the original masters of the quartertone accordion throughout the 1940s and 1950s, who included Sayyed Qur Qur and Abdo Asfur, and later exponents from the same school including El Sheikh Taha, Farouq Salamah, Ahmad Hamoudah and Mustafa Hamidou, the Baladi Taqasim became a much more expanded repertoire with great complexity, sophistication and depth of expression. It can be argued that by the 1960s and 1970s the Baladi Taqasim repertoire had exceeded itself and gone beyond the abilities of the dancers of those decades. With the arrival of the great master of the accordion Hassan Abul Seoud in the 1970s, and others such as Faruq Mohammad Hassan and el Gamal el Shaghir, the Baladi dance repertoire was never the same again. Singers such as ’Adawia excelled with the support of Abul Seoud’s innovative playing. Abul Seoud was ahead of his time with his virtuoso playing, and his progressive style gave the Taqasim Baladi a masculine, raw feel which was both sensitive and heartfelt. Throughout all this innovation, Hassan Abul Seoud remained true to the Taqasim Baladi repertoire and never compromised its structure - a true Ibn el Balad! Hassan Abul Seoud is still alive and well today, but only composes music for film and television. Sadly, the art of Baladi is no longer in demand in today’s music market. Fortunately, during the 1970s and part of the 1980s, Abul Seoud recorded some of his great pieces on record and tape. For Hilal Dance, this has been a great asset.

This article was written from my own knowledge and my research over the years, and it was also supported by material from:

“A Trade Like Any Other” by Karin van Niewkerk, University of Texas Press, 1995

“Baladi Women of Cairo” by Evelyn A Early,

“Egypt 1798 to 1952” by J C B Richmond, Methuen & Co Ltd, 1977

Most of all, many thanks to Ibrahim el Minyawi for providing valuable information on Baladi music and its artists, information which has never been published in books.

Also, my thanks to El Sheikh Taha, a master of the original school of Baladi, for his valuable input on the “’Ashrah Baladi”.

Copyright, Suraya Hilal/ Hilal Art Foundation.

posted in Egyptian Film, Past and Present - 2 replies

'Heya Fawda' or 'Chaos,' directed by Khaled Youssef and Youssef Chahine

2008-02-24T07:01:28Z

From: http://www.calendarlive.com/printedition/calendar/cl-et-chaos30jan30,0,6799897.story

'Heya Fawda' or 'Chaos,' directed by Khaled Youssef and Youssef Chahine
Egyptian filmmakers take on Hosni Mubarak's administration and a police force that runs afoul of the law.

By Noha El-Hennawy, Los Angeles Times Staff Writer

CAIRO -- "Here there is only one law; it is Hatem's law," the voice of a police patrolman echoed across prison cells packed with political activists who dare to protest their illegal detention.

This is one of the most telling scenes of the newly released feature film "Heya Fawda" or "Chaos," which has elicited a storm of controversy over its ruthless critique of the police establishment in a state where the guardian of the ruling regime is believed to be the iron fist of the security apparatus rather than genuinely politically legitimate. While exploring the most notorious extrajudicial practices of the police, the movie explicitly condemns the regime of President Hosni Mubarak.

"I believe that we live our worst days," says Khaled Youssef, the movie's co-director. "We have been awaiting, hands tied for more than 30 years, the hero who would save us from the conditions under which we have been living. Things move from worse to worst on all social, economic and political levels."

The Egyptian-French production features Hatem, a corrupt policeman in one of Cairo's most populated neighborhoods. Despite his relatively low rank, Hatem has garnered an unprecedented leverage that enables him to detain political prisoners without charges, torture detainees, release criminals, all with the blessings of his superiors. Raising the slogan "Whoever is not loyal to Hatem is not loyal to Egypt," the policeman establishes himself as the center of power and earns the envy of the neighborhood.

Nour, a beautiful young woman who lives on Hatem's floor, emerges as his Achilles' heel. He's mad about her, but she prefers the neighborhood prosecutor, Sherif. When Nour and Sherif become engaged, Hatem exacts his revenge. The movie reaches its climax when he abducts and rapes the young woman.

Yet the most incendiary tip of the movie lies in the denouement, during which the neighbors break their silence by attacking the police station.

Youssef, who is not shy about his revolutionary leanings, admits his aim is to incite revolt. "We want the people to act and work on getting their rights back. This is what we dream of, and we hope not to be deluded in that," Youssef says. "I believe in the masses, and the minute I lose faith in them, I will commit suicide. Betting on the masses is the only option left, and I don't think there is any other option."

"Chaos," a popular, much-written-about movie here, stars a bunch of young talents, including featured stars and a few new faces. The movie has made its way outside Egypt, screening at the Venice and London film festivals last fall.

Youssef, an engineer by training, has only a handful of films to his credit but has established himself as an auteur of politically controversial films. Shortly after the release of "Chaos," which he co-directed with his mentor, veteran director Youssef Chahine, Youssef surprised his audience with "Heen Maysara" (an Arabic expression meaning "When things improve").

"When Things Improve" was no less explosive. The film focuses on the dehumanizing conditions in the slums on the fringes of Cairo. It has shocked Egyptian society by shedding light on different deviant practices that prevail in poor areas, including sexual perversion and religious extremism.

Youssef contends the movie is a warning that the disenfranchised pose an imminent threat to an entire nation. "Those people have no shelter, no food, no source of living, no potable water and live in the middle of Cairo, where the very few have billions and billions" of Egyptian pounds, the 46-year-old director says. "If those people remain under pressure, they will explode and put the whole country under threat."

Who's to blame? "Chaos" provides an equivocal answer. In fact, the movie is upfront in condemning Mubarak's National Democratic Party for Egypt's social and political malaise. "You have been imposing yourselves on us for 24 years. What else do you want?" one of the leading characters yells at an NDP parliamentary hopeful while tearing the candidate's campaign posters off the walls.

The movie indirectly mocks the president's son, Gamal, who many believe is being groomed to succeed his 79-year-old father. "Chaos" features the spoiled daughter of a senior politician who belongs to Gamal Mubarak's camp in the ruling party. Sylvia is a brat who has deviated drastically from the conservative norms of her society, indulging in drug use and extramarital sex, with no protest from her father.

Given its ruthless political content, the movie was not easily approved by the government censor. Prompted by scenes of torture, prison cells and of people attacking the police, censors wanted to cut 30 minutes from the 125-minute movie, Youssef recounts. "They wanted almost to cut the whole movie out," he says. "I refused to take out any shot that I felt would affect the movie and asked them to ban the whole movie instead."

By taking this position, Youssef believes he backed the government into a corner and ultimately won.

"They could not afford the ban for international considerations," he says. "I think it would have been very difficult for them to stand the scandal of banning a movie at a moment where they pretend to be a democratic government."

Yet he was forced to remove two scenes: one in which the prosecutor reprimands a police officer and another in which the prosecutor beats the officer for his extrajudicial practices. However, the compromise did not only stipulate cuts but a major addition as well.

"We appreciate the national role played by the police establishment to maintain stability and security. These are just isolated acts," reads the movie's prelude.

"We were forced to insert this notification at the beginning of the movie by the censor's office," Youssef explains. "Of course, these are not isolated acts; they reflect the nature of a whole oppressive system under which Egyptians live."

However, the movie makers succeeded in alleviating the effect of those lines. Violent scenes featuring hundreds of riot police beating demonstrators with wooden and rubber sticks, dragging them on the ground and using water cannons against them in downtown Cairo lead the spectator into the movie.

"Finally, we reached that compromise as I felt that those matters would not affect the movie," Youssef says. However, Youssef's latest confrontation with the censors seems to have influenced his outlook.

"I learned an important lesson from all this: In this country, if you hold on to to your rights, you can have them. This means that those whose rights have been usurped are partially responsible for their condi- tions."

posted in Egyptian Film, Past and Present - 2 replies

Tribute to Salah Jaheen

2008-02-12T21:35:16Z

From: http://www.sis.gov.eg/En/Arts&Culture/Literature/Poetry/ProminentPoets/070902020000000007.htm

Salah Jaheen

Jaheen's Marvels of Colloquial Tongue

Salah Jaheen was not only a poet, playwright, lyricist, cartoonist and painter but also a man of intellect who used artistic expression to serve his thought. His art and thought always had patriotic motives.

Salah Jaheen (1930 - 1986) has had a singular effect on development of colloquial Arabic poetry in Egypt.

Salah Jaheen mastered colloquial writing with ease, producing poetry of a simple and concise nature with a profound effect.

His genius lay in his sensitivity, his ability to tune in to the faintest vibrations of feeling in the world around him, his technical resources developed, his work became more spontaneous in its effects. His themes return constantly to the idea of a society struggling to free itself from the bonds of the past, thus freeing its literary artists to use new forms of expression.

Salah Jaheen's poetry is both simple and complex. Sound was important to him, and he often resorted to forms that appear old fashioned, making plentiful use of rhythm and rhyme. This quality may have contributed to a very important achievement, his creation of an intimate relationship with a large public, a bond that remained strong even when he seemed to innovate.

He remained faithful to the cause of the poor working man. In his first poem, published in 1951, he wrote:

Corn is not like gold
Corn is like the fallaheen.
Thin stems, their roots feeding from mud.
Like Ismaeen... and Mohamadeen
And Hussein Abou Oweida, who suffered and was beaten when he requested a handful of corn he had watered with sweat.

His words shout out for freedom and call for human justice. Jahin was convinced early of the importance of collective action and the futility of individual acts of desperation or attempts to find isolated solutions. In 'Tears Behind my Veil," he wrote: Alone I am nothing.

Merely a name scubbled on a paper in the hand of a director who once worked on commission. He presents it to a Turk or to a foreigner.
Who, with a Parker pen, signs in a foreign language: And I am fired.

Salah Jaheen developed his poetry as one would exercise one's skill on a musical instrument, enriching its ability to perform all melodies from the simplest to the most complex. Ordinary everyday words became charged with tremendous energy and significance: One day I'll write a poem
About the sky: about a breast-rose.
About my cat; about a gypsy' s fiddle.
About two palm trees in the happy altitudes
About bread, crumbling in some faraway room.
About a paper fan.
About a voluptuous negress.
About sponge.
About grapes; about new clothes.
About the kites of Cairo; about chess.
About a bridge to the gallows.
About a jar of sleeping pills.
About a foal leaping over an iron fence.
A pointed iron bar stuck in his belly.
About a child in bed clothes.
About the rainbow, after dawn prayers on feast days.
About sea spray, I'll write one day.
I'll write a poem.
I'll write it; and if l don't, it s up to me.
Birds are not obliged to twitter.

The Ruba'iyat: The Element of Contrast

Salah Jaheen's Ruba'iyat (1962) are of special interest. They comprise a broad, overall statement, expressing the superb eloquence of the poet's moral and intellectual convictions, as well as his emotional frame of mind. Possibly Jaheen was driven to disclose the intense spiritual crisis he was experiencing at the time.

Based upon the conflict between dream and reality, the Ruba'iyat are confessions, in which the poet attempts to face, even condemn himself. A spirit of suffering pervades the verses. The prevailing tone is ironic and painful questioning seems to give way to a growing sense of doubt and disbelief:

I hung the mask of comedy on a nail
And with it the mask of tragedy afflicted by sadness. I found they looked alike
And that my children, is wonder itself

How strange!

The single word "strange" Agabi is used as a refrain throughout the Ruba'iyat, a final note suggesting ironic bemusement - not denial, but a questioning stance.

Salah Jaheen sometimes drew in his poetry upon his talent as a cartoonist, thus giving his Ruba'iyat a much of satirical fancy:

Up, down - back, front - right, left. In the air - underwater - or in the sands: Seeking perfection is forbidden for what may be. And all that may be is deprived of perfection.

How strange the poet attempts to comprehend the contradictions that trouble him so and searches for resolutions, but finds none. Thus the cry at the end of every quatrain: "Strange!"

Amid Death ... Amid Fire. The Brave and the Coward walk the Rope, How Strange this life is … and oh/ how strange That I, fat as I am, became … an Acrobat.
How Strange!

The Song: A model of life

The popular song has traditionally been a prisoner of prescribed locutions, infinitely repeated and interchanged in a structured sequence. Only rarely did it become something else - in the hands of Fouad Haddad, Morsi Gamil Aziz, Fathi Qnura until Salah Jaheen came forth with a daring collection of lyrics addressing reality in a new and unpretentious manner. Adopting a vocabulary from street language he managed with superb skill to use it for simple, pure and perfect compositions. Imbued with collective spirit, they are rich and diverse.

His nationalist songs are a record of the start of a period of renewed patriotism. They became identified with the revolutionary epoch and asserted the poet's intimate emotional involvement with political change. Songs such as his ever popular "It's Been Ages, My Weapons," "Welcoming the Battle," "The Beauty of Singing," "Responsibility" ,,"We are the People." "Embracing," and "Rebels," reversed concepts of popular song-writing. They brought to such lyrics the spirit of poetry in the stream of life.

But, in spite of the nation-wide diffusion popularity of these patriotic songs, Salah Jahee revealed a unique ability to write songs: love songs; son family, children's songs, They are characterized by simplicity and sensitivity, preaching or didacticism: I opened the window of hope Beneath it the world is a garden You are rested now, my Eyes Now that he appeared And the eyes of the pretty one, oh my! Are a sea of tenderness.In Egypt's Name" - The Epic Poem .

Salah Jaheen chose the Mawwal - a typically Egyptian form - for his superb epic poem "In Egypt's Name" (1971), but introduced a number of changes and indicated musical intervals. The epic flows as a magnificent whole, recounting the nation's history in a narrative charged with melancholy, love and the spirit of endurance. Jaheen speaks in this work as someone overwhelmed by love for his country, living only to be united with her:
History may say what it wishes in Egypt name
Egypt, for me, is the most beloved and most beautiful of things.
I love her when she owns the earth, east and west.
And I love her when she is down, wounded in battle.
I love her fiercely, gently and with modesty.
I hate her and curse her with the passion of the lovesick.
I leave her and flee down one path, and she remains in another
She turns to find me beside her in misfortune
My veins pulsating with a thousand tunes and rhythms
In Egypt's name.

Founder of the Modern Egyptian School of Cartoon

The all-round Salah Jaheen set standards that are unlikely to be surpassed in the literary and artistic circles. Jaheen shone at all the posts to which he was appointed. He was the first cartoonist offered the editorship of a weekly magazine in Egypt. The national awakening that accompanied the 1952 Revolution was best illustrated throughout his poetry, musicals and cartoons.

The creative colloquial poetry he composed is considered as the 1952 Revolution's historical record - hence the title "Poet of the Revolution".

Mohammed Salah el-Din Helmi Bahgat, known as Salah Jaheen, was born on 25 December 1930 in Cairo. His father was a judge and the family had to move from one governorate to another. This, however, helped shape his patriotic fervour which was manifested in his attitude towards the Revolution. He graduated from Cairo University with a degree in law.

Jaheen & Cartoon

Jaheen's career in journalism started in the early 50's. In 1955, he worked as an amateur cartoonist in Rose El-Youssef. One year later, when the first issue of Sabah el-Khair saw the light of day, he turned professional. There, he had the opportunity to shine to such an extent that he was appointed Editor-in-Chief. In 1957, Jaheen visited the former Soviet Union, then, wrote a book entitled "A Flower in Moscow" about his impression of the journey. In 1964, Jaheen moved to "Al-Ahram".At the age of 13, Jaheen's immense talent for drawing first appeared. When he was a student in Assuit preparatory school, the art teacher asked his student to draw a picture of a storm in a forest. Jaheen's picture gained the teacher's admiration and drew his attention to the remarkable talent the little boy possessed. The teacher's words were a great encouragement to him. His father who was an art-lover always encouraged him to develop his talent. Jaheen's cartoons did serve to highlight vital issues in Egypt and the Arab World as well. He is the founder of the modern Egyptian cartoon school. The brilliant success of Jaheen's cartoons arose out of the fact that he did them in the best interest of the people. Among Jaheen's remarkably innumerable cartoon series were Hashish Addicts, Vigor Coffee-house and the Government Departments.

Jaheen & Colloquial Poetry

Jaheen's colloquial poetry bore many interesting features of the cartoons he did. It is mainly characterized by the creative use of lexical items, startlingly intense images and well-planned compact structures. It becomes very dear to every heart once read or listened to. Jaheen, thus, set the trend for others to follow.

His quatrains written in 1963 mark the emergence of situation poetry as a genre of modern folk literature. They successfully manifest Jaheen's philosophical viewpoint of life, death, existence, man and the eternal struggle between good and evil. Each of Jaheen's quatrains ends ironically with "Wonders will Never Cease!".

Jaheen & Songwriting

Jaheen introduced a wide range of vocabulary that was only used in political articles to songwriting. Among the songs that helped create the revolutionary awareness and stir the patriotic fervour were: "We're the People", Jaheen's first song written in 1956, "Oh Weapon, Be Ready", "Rebels", "Oh Freedom, Here's Nasser", "Welcome Battles" and "Paradise is my Country" .The simplicity and spontaneity of Jaheen's songs which evoke echoes of that cherished epoch in Egypt's modern history make them remembered for ever. The last song he wrote was" Those are the Egyptians".

posted in Egyptian Film, Past and Present - 1 reply

Dancing in the Golden Era of Egyptian Film - Lecture/Video Series

2008-02-09T07:36:08Z

Hello, All...

I am formulating a lecture and video series on the Dancing in the Golden Era of Egyptian Film. It will span over several weeks and be in several parts, and it will include watching and talking about the dancing of each dancer.

With each dancer, we will discuss technique, performance, era costuming, essence of their dance, their biographies, and more, as well as introduce the singers who sometimes appear in the scene with them.

Dancing in the Golden Era of Egyptian Film

Part 1. - Sunday, March 30, 2008: The dances of Taheyia Karioka, Samia Gamal, and Na'eema Akef

Part 2. - Sunday, April 6, 2008: The dances of Katie, Na'met Mokhtar, and Zinaat Aloui

Part 3. - Sunday, April 13, 2008: The dances of Samiha Tawfique, Nebawiyia Moustafa, Hoda Shams El Din

Part 4. - Sunday, April 20, 2008: The dances of Hend Rostom, So'ad Hosny

Part 5. - Sunday, April 27, 2008: The dances of Nadia El Guindy, Nabila Ebeid, Lebleba

Part 6. - Sunday, May 4, 2008: The dances of Nagwa Fouad, Zizi Moustafa, Suhair Zaki

Price: Each Part is $35 in advance or $40 at the door. The purchase of all six parts is $200 in advance.
Location: Al-Masri Restaurant, 4031 Balboa Street, San Francisco, CA 94121
Contact: Sausan at sausanacademy@gmail.com or 415-262-0175
Time: 1:00 PM to 3:00 PM
Refreshments Served (yummy!)
Videos will be available for purchase after viewing.

Invite your friends!!!

If you think you are going to miss one of these sessions, don't worry. I will repeat the series.

posted in Egyptian Film, Past and Present - 0 replies

Just for fun - Egyptian movies wish list?

2008-01-29T08:02:20Z

So, just for fun, which Egyptian movies do you wish that one of the production companies would digitally remaster and release on DVD with English subtitles? And why?

Here's my list:

* Doctor Farhat. Because I'd like to see Tahia Carioca dancing in her very first movie, the first movie to ever feature a belly dancer.
* Malikat al-Masarih (Queen of the Theaters). Because I'd like to see the whole movie (not just the dance clip) in which Badia Masabny had a role.
* Khally Balak Men Zouzou. Because I really like the movie, but the version currently available on DVD has horrid subtitles that are nearly impossible to read, and it's just a dump to DVD of a faded VHS original.
* Tamra Henna. Because I love this movie, but the version currently available on DVD has blurry image quality and I'd like to have a nice, clear image of Naima Akef to enjoy.
* Mohammed Ali Street. I read a plot synopsis in a book that made me want to see the movie.
* Shafiqa el Koptiyya. I'm curious to see how this legendary dancer's life was depicted in the biopic about her.
* al-Raqissa al-Tabal (Dancer and the Drummer). Someone else who saw this movie told me about it, and it made me want to see it.

What is everyone else's wish list?

posted in Egyptian Film, Past and Present - 1 reply

GREAT Singers of Egyptian Film and the Golden Era of Egypt

2008-01-29T01:29:09Z

http://www.egyptiancastle.com/main/culture/celebrations/ramadan/ramadan2004/songs01.htm

Take a look at this web page. It features some music from some GREAT song masters of their time.

posted in Egyptian Film, Past and Present - 0 replies

Aida Nour Sighting

2008-01-29T01:17:27Z

I was watching ARTMV today and who should appear but Aida Noor in a dance scene.
The name of the movie? "El Maraa Wa El Qanoon".

She was simply lovely!

posted in Egyptian Film, Past and Present - 2 replies

Tribute to Mohamed Fawzy

2008-01-26T10:36:58Z

from: http://freemusicandvideo.blogspot.com/2007/09/oriental-mode-art-of-mohamed-fawzy.html

"Mohamed Abdel Aal" known as "Mohamed Fawzy", was an Egyptian singer,composer and actor. Mohammed Fawzy Abd El Aal was born in 1918 in Tanta. His father was a well-to-do farmer in a village called "Kafr Abu Genedy" and Mohammed had two sisters: Bahiga, who became famous with the name of Hoda Sultan, and Zouzou who was known as Hend Allam. What the three had in common were the beautiful voices they inherited from their father who used to recite the koran in public occasions in the village. From his early childhood years, Mohammed Fawzi was known to love singing, and at twelve, there was no denying his talent: He used to Frequent "El Montazah" Park in Tanta every Friday where he would sing the songs of Abd El Wahab and Om Kalthum. He later studied at the Music High Institute. He didn't graduate, but instead became a student of an English music-teacher. He was the first to present songs for children and also "messaharraty" on radio. He composed over 300 songs in his lifetime and became the most popular actor on The Egyptian cinema screen.

posted in Egyptian Film, Past and Present - 3 replies

Tribute to Hussein Riad

2008-01-26T10:30:00Z

From: http://www.sis.gov.eg/VR/figures/english/html/Riad.htm

Date of birth:
March 13, 1897, Cairo, Egypt

Date of death
9 July 1965, Cairo, Egypt

Mini-biography

At 19, Riad left school to pursue an acting career. He joined the George Abiad Troupe, and worked with Youssef Wahbi, Abdel-Rahman Rushi, Munira al-Mahdeya, Naguib al-Rihan, Ali Al-kassar and Fatma Rushdi. He acted in both silent and talking movies and left his imprint on the parts he played.

Riad was known best for playing the role of the good father.

Filmography

Kenouz (1966)

Lailat el zafaf (1966) aka The Wedding Night (International: English title)

Ibn el mafkud, El (1965) .... Shiekh Abdel Fattah aka The Lost Son (International: English title)

Rahiba, Al (1965)
aka The Nun (International: English title)

Daani wal demouh (1964)
aka Alone with My Tears (International: English title)

Naser Salah el Dine, El (1963)
aka Salladin the Victorious
Rabea el adawaya (1963)

Zouqâq al-Midaqq (1963)
aka Al Madak Alley (USA: DVD box title)
aka Alley of the Pestle (International: English title)
Ah min hawaa (1962) .... Amin
... autre titre : Oh! God of Women (International: English title)
Hayati hial taman (1961)
aka Life Is Like That (International: English title)

Hob wa horman (1961)
aka Love and Sacrifice (International: English title)

Nesf azraa (1961) .... Haj Mohamed
aka Part Virgin (International: English title)

Ahlam al banat (1960)
aka Girls' Dreams (International: English title)

Mafish tafahum (1960)
aka No Understanding (International: English title: informal title)

Nagham el hazine, El (1960)
aka Sad Melody (International: English title)

Sharia el hub (1959) .... Gadallah
aka The Street of Love (International: English title)

Ana hurra (1958)
aka I Am Free (International: English title)

Djamilah (1958) .... Habib, kadi
aka Jamila, the Algerian (International: English title)

Rudda kalbi (1958)
aka Back Again (International: English title)

Shaitana el saghira, El (1958)
The Small Female Devil (International: English title)

Port Said (1957)

Siraa Fil-Mina (1956) .... Mamdouh's father
aka Struggle on the Pier (International: English title)

Aghla min aynaya (1955)
aka Dearer Than My Eyes (International: English title)

Banat el lail (1955)
aka Women of the Night (International: English title)

Fajr (1955)
aka Dawn (International: English title)

Gassad, El (1955)
aka Flesh (International: English title)

Lahn el wafaa (1955) .... Allam
aka Song of Truth (International: English title)

Mawad ma al saada (1955)
aka Appointment with Happiness (International: English title)

Ibn el harra (1954)
aka The Local Boy (International: English title)

Kuloub el naas (1954)
aka People's Hearts (International: English title)

Lahn hubi (1954)
aka The Song of My Heart (International: English title)

Moawad ma al hayat (1954) .... Amal's Father
aka Appointment with Life (International: English title)

Marr'a kulshi, El (1954)
aka A Woman Is Everything (International: English title)

Raqsat al-wadah (1954)
aka The Farewell Dance (International: English title)

Tager al fadayeh (1954)
aka The Scandalmonger (International: English title)

Ana bint min? (1953)
aka Whose Daughter Am I? (International: English title)

Hub fil zalam (1953)
aka Love in the Shadows (International: English title)

Maktub alal guebin (1953)
aka Written on the Forehead (International: English title)

Zalamuni el habaieb (1953)
aka My Loved Ones Wronged Me (International: English title)

Asrar el naas (1952)
aka People's Secret (International: English title)

Isalu kalbi (1952)
aka Ask My Heart (International: English title)

Omm el katila, El (1952)
aka The Criminal Mother (International: English title)

Osta Hassan, El (1952)
aka Foreman Hassan (International: English title)

Amir el antikam (1951)
aka The Count of Monte Cristo (International: English title)

Lailat gharam (1951)
aka A Night of Love (International: English title)

Taish chebab (1951)
aka Madness of Youth (International: English title)

Avocato Madiha, El (1950) .... The Pasha
aka The Lawyer Madiha (International: English title)

Baba Amin (1950) .... Amin
aka Daddy Honest
aka Father Amine (International: English title) aka Papa Amin (France) [fr]

Adli el samaa (1948)
aka Justice from Heaven (International: English title)

Hareb min el sijn (1948)
aka The Escaped Prisoner (International: English title)

Khatiya, El (1947)
aka Sin (International: English title)

Malak el abiad, El (1947)
aka The White Angel (International: English title)

Taisha, El (1947)
aka The Scatterbrain (International: English title)

Naeb el am, El (1946)
aka The Public Prosecutor (International: English title)

Umm, Al (1946)
aka The Mother (International: English title)

Zalla el kabira, El (1946)
aka The Greatest Fault (International: English title)

Leila el badawie (1944) .... Kisra
aka Leila the Bedu Girl (International: English title)

Ala masra el hayat (1942)
aka On the Stage of Life (International: English title)

El-Sharid (1942)
aka The Wanderer (International: English title)

Lachine (1939)
aka, the People's Hope (International: English title)

Salama fi khair (1938) .... Kindahar
aka Salama Is Safe (International: English title)

Layla bint el sahara (1937)
aka Leila, Daughter of the Desert (International: English title)

Sahib al saada (1931)
aka Lord of the Revels (International: English title)

-----------------------------------------------

posted in Egyptian Film, Past and Present - 1 reply

Wedad Hamdi - is this her?

2008-01-21T07:39:34Z

I've posted another screen shot from Inspector General to the photos section of this tribe. It shows 2 actresses. I know that the one on the right is Tahia Carioca. Is the one on the left is Wedad Hamdi? I'm guessing she is, but I'm interested in whether someone familiar with her can confirm it. Thanks in advance!

Here's the link: http://tribes.tribe.net/egyptianfilm/photos/d3a8c18c-0a10-4317-ad2b-08c4fa0b7f75

posted in Egyptian Film, Past and Present - 1 reply

King Farouq Series on DVD with English Subtitles

2008-01-20T23:12:09Z

Get yours. It's a definite for any serious Egyptian Style Belly Dance library.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&rd=1&item=330179010090&ssPageName=STRK:MEWN:IT&ih=014

posted in Egyptian Film, Past and Present - 0 replies

Tribute to Shadia

2008-01-20T22:35:58Z

From: http://www.egyptiancastle.com/music/shadia/shadia01.htm

Shadia was born February 28, 1929 and was very active in her acting and singing career until she retired in 1985. Shadia acted in 105 movies and one play. She has many beautiful songs and she remains todate one of Egypt's favourite singers. Shadia loved children and dedicated few tapes to them only.

Birth name:
Fatma Ahmad Shaker

Date of Birth:
February 2, 1931, Sharqiyah, Egypt

Biography
Shadia has a strong presence as an actress on the screen; her voice as a singer is one of the most beautiful in the Arab world.

In her childhood, she was influenced by her father who sang and played 'ud (the lute). Her first appearance on the silver screen was opposite singer/actor/composer Mohammad Fawzi in the film al'aql fi agaza (The Mind on Vacation). Barely 16 at the time, her acting and singing talents were noticeable.

In 40 years, she made more than 200 films. Early in her career, she formed a successful duo with actor Kamal al-Shennawi. She sang alongside other singers such as Abdel-Halim Hafez, Mohammad Fawzi, Fareed al-Attrach, Kamal Hosni and Munir Murad.

Her first performances made her the dream girl of all young men of her time. She was always cast funny, kindly roles. Her songs were unique and unlike any others.

Until her retirement, she sang more than 700 songs of all genres.
------

http://www.sis.gov.eg/VR/figures/english/html/Shadia.htm

Shadia's only stage play was Raya wa Shekina (Raya and Shekina). Meanwhile, she sang and acted in a number of radio series

Al-less wal kellab (The Thief and the Dogs)
La tasa'lni man nana (Don't Ask me Who I am)
Ma'boudat al-gamaheer (Adored by the People)
Lahn al-wfa' (Theme of Gratitude)
Dalilah
Merati Mudeer 'am (My Wife, the Director-General)
Aqwa' al-madina (Lights of the City)
Shay'u menn al Khawf (Some Kind of Fear)

posted in Egyptian Film, Past and Present - 0 replies

"Mawwal" - a movie that includes Nadia Gamal?

2008-01-20T21:39:54Z

Hi! It appears that there is a movie titled "Mawwal" that includes Nadia Gamal in the cast. Here is a link to the page on Rashid's web site that sells it:

http://www.rashid.com/search_result.asp?DESCRIPTION=&MANUFACTURER=&PRODUCT_ID=&CATEGORY=DVD&SQLStmt=SELECT+*+FROM+PRODUCT+WHERE+%28%28DESCRIPTION+LIKE+%27%25%25%27+OR+LONG_DESCRIPTION+LIKE+%27%25%25%27%29+AND+%28PRODUCT_ID+LIKE+%27%25%25%27%29+AND+%28%28product.CATEGORY+%3D+%27DVD%27%29+AND+%28%28product.MFG+LIKE+%27%25%25%27%29+OR+%28product.MFG+%3D+%27%27%29%29%29%29+ORDER+BY+PRODUCT_DATE+DESC&ScrollAction=Page+8

Was this movie made by an Egyptian movie maker or by a Lebanese movie maker? Does anyone know? I know that Nadia was born in Egypt of Italian and Greek parents, her family moved to Lebanon, and that's where she achieved stardom as a dancer. But I've also heard that she returned to Egypt to star in a movie or two. But I don't know whether ALL her movies were Egyptian-made, or whether she worked with Lebanese filmmakers on some. Does anyone know?

posted in Egyptian Film, Past and Present - 10 replies

What are These Movies?

2008-01-18T19:53:53Z

When I was a little girl in New York, my mother's Egyptian friend Djamal Aslan sponsored an Egyptian double feature night at the old "Bombay Cinema" on Fifty Seventh St. just a couple of blocks from our apartment. The first movie was an old comedy, I guess early 60's, black and white, with a trio of funny singing guys (sort of like an Egyptian "Monkees" vibe goin' on).

The second movie was a 1970's film that Djamal said starred their biggest belly dancer over there at that time. The dancer was fat and blonde and couldn't dance a lick. We were shocked. She couldn't even move her hips. The plot was interesting though. A woman's boyfriend/fiance' spends the whole film trying to defend "her honor" against insult when in fact she is guilty of everything all along. There was a bloody murder scene at the end that made my mother and I cringe. The woman lay dead on a bed where he finally turned on her and killed her as I remember. The dancer just didn't seem like a belly dancer. More like someone who was an actress trying to play a belly dancer. Wonder if anyone knows what this movie is and who she was?

posted in Egyptian Film, Past and Present - 8 replies

7-Day Intensive EDC® Seminars for 2008 Scheduled.....Levels One and Two

2008-01-15T06:52:07Z

See photo of seminar flier in the PHOTO SECTION at http://tribes.tribe.net/sausanacademy

2008 Schedule

Complete Study in Egyptian Style Dance and the Egyptian Dance Code® (EDC)®
and Fundamental Classic Egyptian Dance Technique using the Sausan Method

Level One* - Technical Instruction & Interpretation
March 17-23 • June 23-29 • September 22-28

Level Two** - Choreographic and Improvisational Application
September 29 - October 5

• Learn to dance the way the Egyptian Greats danced in Egyptian film.

• Uncover the secret of what makes Egyptian dancers “look” Egyptian.

• Find out why it is so easy to “get” this concept yet so difficult for most dancers to execute.

• Study the lives of Badiya Al Masabni, Taheya Karioka, Samia Gamal,
Na’eema Akef, Nagua Fouad, Fifi Abdo, Katie, Suhair Zakhi,
Nabaweya Moustafa, and many more!

• Learn about the great musicians and singers like Mohammad Abd el
Wahab, Abdel Halim Hafez, Om Kolsum, Ahmad Adaweya, and others who
composed the music, and/or sang these classic pieces for these
Egyptian Greats.

In a word, discover the “expression” of Egyptian dance.
________________________________

$799 per seminar

$699 paid one month in advance.
$749 paid two weeks in advance.
$1349 for Level One and Level Two combined.

*Intermediate to Advanced students preferred.
**Completion of Level One or equivalent required.

All seminars offered to females only. Registration is non-refundable.
Seminars held at 4031 Balboa Street, San Francisco.

Includes: Instruction, notes, lectures, performances, meals, and more!

Previously sponsored non-related 2007/2008 seminars/workshops paid registration fees considered.
(If you attended a workshop with Sausan as the workshop instructor during 2007 or 2008, you may apply the registration fee to the 7-DIS seminar fee. One on previously attended workshop fee per seminar.)

contact: Sausan at sausanacademy@gmail.com; 415-262-0175
Additional information mailed upon request.
www.sausanacademy.com

posted in Egyptian Film, Past and Present - 0 replies

The Lovely Bus Conductors

2008-01-15T05:45:50Z

I have a question about the movie that is sold on DVD under the title The Lovely Bus Conductors. Is this the same movie as Kommissariate el Fatenate?

Here is a link to the page on fineartfilm that shows the cover of The Lovely Bus Conductors: http://fineartfilm.com/index.php?main_page=product_info&products_id=320 . As you can see, the cover shows the title in Arabic script, but since I can't read Arabic script (yet), I don't know whether it says "Kommissariate el Fatenate" or something else.

Here is another page with a picture of the DVD cover, just in case you find this one easier to read than the above one: http://www.aramovies.com/addprod_eng.asp?productid=4036

And a third web site that sells the DVD with a picture of its cover: http://www.arabicdvds.com/scripts/prodView.asp?idproduct=471

And finally, one more: http://www.buyarabic.com/storeitem.asp?ic=VIAR000212

The reason for this question is that the Internet Movie Database (imdb.com) entry for Kommissariate al-Fatenate has been contaminated due to someone mistaking it for Mufattish al-Amm, and I am trying to clean it up by replacing the erroneous info there with accurate info. If someone can confirm for me whether these are the same movie, I can then go to the Kommissariate al-Fatenate entry and add the info that is given in the above web sites that sell the DVD.

Has anyone seen The Lovely Bus Conductors? Does it have any dance scenes? Since so many Ismail Yassin movies do, it seemed worth asking!

posted in Egyptian Film, Past and Present - 2 replies

Looking for help on 5 images from Inspector General

2008-01-11T05:26:47Z

I have uploaded 5 images to the "Photos" section of this tribe all from the movie Inspector General (Mufatsh al-3amm). In 4 of them, I'm looking for help in identifying who the cast members are. In the fifth one, it's a list of the opening credits for the movie, and I'd like to know what the credits say. Ie, who cast and crew are.

posted in Egyptian Film, Past and Present - 8 replies

Kommissariate el Fatenate (Inspector General)

2008-01-10T03:09:26Z

I had a chance to watch Kommissariate el Fatenate tonight. It was a fun comedy, and certainly an interesting Egyptian twist on a story that has been made into movies in several countries. I was wishing it had more than the two dance scenes, because I like Tahia Carioca so much.

Does anyone happen to know who all was in the cast? Of course, I recognize Tahia Carioca and Ismail Yassin. But what about the other characters? I'm especially interested in knowing who the singer was. (I could post screen shots of the opening credits to the Photos section of this tribe if anyone would be willing to translate them for me.)

posted in Egyptian Film, Past and Present - 13 replies

So'ad Hosny...NEW DVD!!

2008-01-04T09:41:24Z

HOT OFF THE PRESS

So'ad Hosny now on DVD.
Be the first to own it!!

So'ad Hosny was an actress who appeared in over 80 Egyptian films and was known as the Cinderella of Egyptian film.
Tragically, she died from a fall off a balcony six stories high. She had been suffering from depression as well as seeking treatment in the UK for a spinal injury. She was much loved by the Egyptians.

Find it on:

www.sausanacademy.com/suq.htm

-Sausan

posted in Egyptian Film, Past and Present - 0 replies

Egyptian Dance Code (EDC) Workshop with Sausan in Newark, CA

2007-12-10T07:24:33Z

Shayna will be sponsoring yours truly (Sausan) in a 2 hour workshop on February 3, 2008 in Newark, CA.

Come learn "The Secret to the Egyptian Dance Code!". If you are the least bit intrigued, now is your chance to find out what it all means.

I will also be teaching a short choreography. I will also be bringing my Dancing in Egyptian Film Series for sale.

Workshop is from 12:00 - 200 PM at Steps Styles and Spotlights, 40983 Encyclopedia Circle, Newark, CA.

To sign up on line... go to shaynaz.com/sausan.html

posted in Egyptian Film, Past and Present - 0 replies

Searching for Zizinia

2007-12-02T01:21:59Z

Hey Everyone,

Not exactly a movie but thought this might be a good place to post my question... I'm wondering if anyone knows of a link, website, way of finding a copy of this television show entitled "Zizinia." This series highlighted Nagwa Fouad as Badia Masabni (Lebanese pioneer dancer and club owner in the early twentieth century) that came on the television in 1998. I'm assuming this aired in Egypt however I don't have any more details other than that. Thanks!

posted in Egyptian Film, Past and Present - 4 replies

Samia Gamal and Tahia Carioca Mugs, Journals, Tile Coasters, etc.

2007-12-01T21:41:24Z

Hi all! Just wanted to announce a new Cafepress store with a scene of Tahia Carioca dancing from her movie, Shatie el-Gharam, the Shore of Love. Items available there with her image include mugs, a journal, tile coasters, a wall clock for your dance studio, notecards, and more. You can find it at:

http://www.cafepress.com/shoreoflove

Also, here's a reminder of an existing store with a scene of Samia Gamal and Farid al-Atrache from the movie Afrita Hanem, the Genie Lady. You can find this one at:

http://www.cafepress.com/afritahanem

If you're curious to see what other Cafepress shops I have, a full list is at www.shira.net/shopping.htm

These Cafepress shops, as well as the Amazon-based bookstore, video store, and music store at the above link are the sole source of funding that pays for the Shira.net web site to exist. I incur several hundred dollars every year in expenses for hosting fees, software upgrades, etc., and these shops generate the income needed to pay for all that. My web site couldn't exist without the support of everyone who buys my merchandise. So, a big THANK YOU to everyone who has purchased something from my shops in the past!

posted in Egyptian Film, Past and Present - 0 replies

Hoda Shams El Din...NEW DVD!!

2007-12-01T19:25:23Z

HOT OFF THE PRESS

Hoda Shams El Din now on DVD.
Be the first to own it!!

Hoda Shams El Din was a dancer who appeared in Egyptian film during the 50s and 60s.
She performed mostly in the Mena House Hotel located across form the Pyramids.

-Sausan

posted in Egyptian Film, Past and Present - 0 replies

Another Great Egyptian Film....

2007-11-28T07:43:44Z

Now playing on ART is

"Mohamed Ali Street"

A great movie to add to your collections.

-S

posted in Egyptian Film, Past and Present - 1 reply

Series on King Farouq

2007-11-28T07:42:07Z

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&rd=1&item=330179010090&ssPageName=STRK:MEWN:IT&ih=014

Series on King Farouq with English subtitles.
I bought two of them.

-Sausan

posted in Egyptian Film, Past and Present - 1 reply

Great Link and Resource

2007-11-25T22:00:38Z

http://www.bibalex.org/alexcinema/index.html

Check this link out. It is REALLY GREAT for Egyptian movie information.

-Sausan

posted in Egyptian Film, Past and Present - 0 replies

Remembering Togo Mizrahi...

2007-11-21T22:16:56Z

Togo Mizrahi is not only one of the founding fathers of Alexandrian cinema in the thirties, but he also contributed greatly to Egyptian cinema as a whole. Equally important is that the forceful presence and the total integration of Togo Mizrahi, an Italian Jew, into the Alexandrian scene attest to the tolerance and co-existence of the cosmopolitan Alexandria of his time, where diverse ethnic and religious groups lived in harmony. This cosmopolitan spirit seems to have infiltrated into Mizrahi’s consciousness for it was to figure in a number of his films, such as Seven o’clock and The Two Delegates.

From: http://www.bibalex.org/alexcinema/cinematographers/Togo_Mizrahi.html

Mizrahi was born on 2 June 1901 to an Italian family that lived in Alexandria. After receiving his education in Alexandrian schools and earning a diploma in commerce, he left for Italy in 1921 to continue his studies. He then went to France but eventually came back to Alexandria in 1928 with a Ph D in economics.

On his return, he started his career in cinema by issuing a newsreel in Alexandria. He then founded The Egyptian Films Company and turned to feature films.

In his first film The Abyss (el Hâwiyah) in 1930, Mizrahi proved to be a man of many talents for he produced, directed, edited, acted, designed the set and wrote the script. This film was made in Bacos Studio, a cinema theatre which Mizrahi had bought and converted into a studio with a plateau, the necessary equipments and actors’ rooms. It was in this studio that he made all his Alexandrian films until he moved the premises of his company to Cairo in 1939. The film premiered in Alexandria and was next shown in Cairo on 2 February 1931, but under a new name, Cocaine (el kokaïn).

Togo chose to act under the pseudonym of Ahmed el Meshriqi, and his brother, who acted in this film, used the pseudonym Abdel Aziz el Meshriqi.

Mizrahi, who was in the habit of discovering new actors, presented in this film Shalom, a Jewish actor, who became a famous comedian in Egyptian cinema. Shalom was to work with him in a number of films such as 5001(khamsat âlaf wa wâhid)in 1932,Shalom the Dragoman (Shalom el tourgmân) in 1935, Much Wealth is a Nuisance (el ‘Izz bahdalah) in 1937, and Shalom the Athlete (Shalom el riyâdî) in 1937.

In the following year, Mizrahi directed his second feature film 5001(khamsat âlaf wa wâhid)and in 1935, he directed his first sound film Children of Egypt (Awlâd Misr).

After his first three films Cocaine (el kokaïn), 5001 (khamsat âlaf wa wâhid), and Sons of Egypt (Awlâd Misr), which basically tackled social issues, he was to shift to comedy. He started with The Two Delegates (el Mandoubân) in 1934, a comic film starring the most famous duet of the Egyptian theatre at the time, Fawzi and Ehsane el Gazayerly . Mizrahi was to capitalize on the success of that film by teaming up with that successful duet in other films which he also acted in, Dr. Farahat (el Doktor Farhât) in 1935 and The Sailor (el bahhâr)in 1935.

After his successful experience with the Gazaerlis, he worked with Ali el Kassar, another famous comedian of the time. Together, they made nine successful films: One Hundred Thousand Pounds (Mit alf guinih) in 1936, The Guard of the Barracks (Khafir el darak) in 1936, Seven o'clock (el Sâ‘ah Sab‘ah) in 1937, The Telegram (el Telegraf) in 1938, Osman and Ali (‘Othman wa ‘Ali) in 1939, The Thousand and One Nights (Alf Lailah wa Lailah) in 1941, Ali Baba and the Forty Thieves (‘Ali Bâbâ wa-l-arba'in harâmi) in 1942,and Nour Eddine and the Three Sailors (Nour Eddine wa-l-bahhârah el thalâthah)in 1944. Interestingly enough, the last three movies were inspired by folktales and Arabic heritage. The spectators greatly enjoyed the hilarious stories of the unlucky Nubian, played by Ali el Kassar, not only because of his naiveté and the absurd situations he got into, but also because of his ethnic clothes and strong Nubian accent.

One of Mizrahi’s most notable contributions to Egyptian cinema was that he turned Laila Mourad, the famous Egyptian singer and actress, into a legendary figure by presenting her in a new light. Together they made five films which he produced and directed: A Rainy Night (Laylah moumtirah) in 1939, Laila from the Countryside (Layla bint el rif) in 1941, Laila the School Girl (Layla bint el madâris) in 1941, Laila (1942), and Laila in the Dark (Layla fi-l-zalâm) in 1944.

Mizrahi had another successful experience with Greek cinema for he produced and directed four Greek-speaking films which were a success in Greek cinema theatres. It was customary for Greek theatrical troupes to finish off their season with a grand tour to different countries where they would perform their plays before the Greek communities. The largest and most important Greek community was the one in Egypt. That is why most of the Greek theatrical troupes presented their plays in Alexandria, Cairo, Port Said and Ismailia from the turn of the twentieth century till the fifties.

When Mizrahi met the Kaltos Sisters Troupe in 1937, while they were performing in Egypt, he approached them with a translated script of a film he had already directed, Dr. Farahat, which he proposed to produce and direct for the troupe. The troupe immediately agreed to his proposal and the film was made and shown in Greece under the title of Doctor Epaminondas. The success of the film seems to have triggered competition for in 1938, the owner of the largest Greek troupe, Sofia Fembo, approached Mizrahi with a script, which he was to direct and produce for her, and in the same year he was to direct and produce another Greek film for the Kaltos Sisters Troupe. Finally, in 1943, he directed and produced The Sailor for the Kaltos Sisters, a film which he had already directed in 1935.

Another important film in Togo's career is Sallama (Sallâmah) in 1945, a historical film set in the Umayyad times, starring the most famous Egyptian singer Oum Kalthoum.

Towards the end of his career, he produced films that were directed by young promising Egyptian directors: The Son of the Blacksmith (Ibn el haddâd)in 1944, Divine Providence (Yadu Allah) in 1946 and The Great Artist (el Fannân el 'azîm) in 1945 by Youssef Wahbi, Mohamed Ali Street (Shâri’ Mouhammad ‘Ali) in 1944 and Beauty Queen (Malikat el gamâl) in 1946 by Niazi Mustafa, and Appearances el Mazâhir in 1945 and Love Train (Express el houbb) in 1946 by Hussein Fawzi.

In 1939, with the outbreak of World War II, Mizrahi moved to a studio in Cairo, on 4, Hosni Street, Guiza, while retaining his old one in Bacos. Until the studios were sequestrated then liquidated in the 1960s, the letterhead of the The Egyptian Films Company continued to carry the two addresses: Studios Bacos and Studios Guiza. Mizrahi himself left Egypt for good in 1948, settling in Rome until his death in 1986.

The studios went on functioning under the direction of his nephew Alfredo, who operated from Cairo, until the The Egyptian Films Company was liquidated in 1966. Thus ended the Mizrahi saga in Egypt.

While he worked at a reduced rate in the cinema in Rome, due to health problems, Mizrahi continued to show a keen interest in what was happening in Egypt. He arranged for a subscription to the Egyptian cinema magazines El Messawar and El Kawakeb, although money and transfer arrangements had become complicated during the 1960s. Wanting a little bit of Egypt in Rome, he asked Georges Behna for some of his old posters and photographs with which to decorate his office, and though all material had had to be handed over to the liquidator of the Egyptian Films Company, Georges did manage to find some in his stores to send to his friend. Mizrahi also followed Omar Sharif’s rise to international stardom, and noted that he was now acting with Sophia Loren. His personal letterhead carried, in addition to his Rome address, his Egyptian one at Guiza, complete with telephone number.
Filmography:

1930: Cocaine or The Abyss (el kokaïn) (el Hâwya)
1932: 5001 (khamsat âlaf wa wâhid)
1933: Sons of Egypt (Awlâd Misr)
1934: The Two Delegates (el Mandoubân)
1935: Doctor Farahat (el Doktor Farhât)
1935: Shalom the Interpreter (Shalom el tourgmân)
1935: The Sailor (el bahhâr)
1936: A Hundred Thousand Pounds (Mit alf guinih)
1936: The Guard of the Barracks (Khafir el darak)
1937: Too Much Money is a Nuisance (el ‘Izz bahdalah)
1937: Too Much Money is a Nuisance (el ‘Izz bahdalah)

1937: Shalom the Athlete (Shalom el riyâdî)
1937: Seven o'clock (el Sâ‘ah Sab‘ah)
1938: The Telegram (el Telegraf)
1938: This is my nature! (Anâ tab ī Kidah)
1939: Osman and Ali (‘Othman wa ‘Ali)
1939: Lend me Three Pounds (Sallifnî talâtah guinîh)
1939: A Rainy Night (Laylah moumtirah)
1939: A Rainy Night (Laylah moumtirah)

1940: The Chief Contractor (el Bâchmouqâwil)
1940: The Heart of a Woman (Qalb imira’ah)
1941: The Three Musketeers (el Foursân el thalâthah)
1941: Laila from the Countryside (Layla bint el rif)
1941: One Thousand and One Nights (Alf Lailah wa Lailah)
1941: Laila the School Girl (Layla bint el madâris)
1942: Laila (Layla)
1942: Ali Baba and the Forty Thieves (‘Ali Bâbâ wa-l-arba'in harâmi)
1943: The Right Path (el Tariq el moustaqîm)
1943: Long live Women! (Tahyâ el sittât)
1944: Laila in the Dark (Layla fi-l-zalâm)
1944: Lies, Lies! (Kidb fi kidb)
1944: Nour Eddine and the Three Sailors (Nour Eddine wa-l-bahhârah el thalâthah)
1945: Sallama (Sallâmah)
1945: Long live Men! (Tahyâal-riggâlah)

Greek-Speaking Films:
1937: Δκρ· Επαμινόνδας
Doctor Epaminondas (Doktor Epaminondes)
1938: Προσφυγοπούλα The Girl Refugee (Prosfigopoula)
1938: Όταν ο σήζυγος ταξιδυει When the Husband is Absent (Otan o syzygos taxidevi)
1943: Καπετάνιος Σκορπιός Captain Scorpion (Kapetan Skorpios)

Films produced by Togo Mizrahi and directed by others:
1944: The Son of the Blacksmith (Ibn el haddâd)
1944: Mohamed Ali Street (Shâri’ Mouhammad ‘Ali)
1945: Appearances (el Mazâhir)
1945: The Great Artist (el Fannân el 'azîm)
1945: Love Story (Qissat gharâm)
1946: Divine Providence (Yadu Allah)
1946: Love Train (Express el houbb)
1946: Beauty Queen (Malikat el gamâl)

References:

* Daoud, Abdel Ghani. El Rahloun fe Ma̓at ‘Âm. Cairo: Wezârat el Thaqafah, 1997.
* El Hadari, Ahmed, Tarikh el Cinema fi Misr. 1896-1930. Cairo: Publications of the Cinema Club, 1989.
* Hassan, Elhami. Tarikh el Cinema el Misreyah. Cairo: Sondouk el Tanmeyah el Thaqafiyah, 1995.
* Melakhrinoudis, Yannis. El Yonaniyoun fi el Cinema el Misreyah. Alexandria: Bibliotheca Alexandrina, 2003.

Alexmed homepagevisit the biliotheca AlexandrinaEU

© All rights reserved - Bibliotheca Alexandrina - Alex Med - 2006

posted in Egyptian Film, Past and Present - 0 replies

Looking for the movie Azize?

2007-11-20T20:15:15Z

1955 Egyptian film featuring Naima Akef. Anyone know where to buy this film in DVD?
Thanks!
Tammy

posted in Egyptian Film, Past and Present - 3 replies

Another Great Egyptian Film....

2007-11-20T20:13:50Z

Azeeza....

Another great Egyptian film starring Na'eema Akef.

-S

posted in Egyptian Film, Past and Present - 0 replies

song from El Eyel Herbet

2007-11-18T08:07:39Z

Does anyone have any suggestions for where to find the song Mastoul by Hamada Helal? It's from the movie El Eyel Herbet. I can't find a soundtrack , it's not on any of his own CDs and I haven't found it on any compilations.
http://www.youtube.com/watch?v=rTfw5F-ukTI&feature=related
thanks!

posted in Egyptian Film, Past and Present - 0 replies

Great Link and Resource

2007-11-13T18:38:03Z

http://ark.cdlib.org/ark:/13030/ft8k4008kx/

Above is a great link and resource to Egyptian dance

-Sausan

posted in Egyptian Film, Past and Present - 2 replies

Looking for the movie Zena?

2007-11-06T13:50:59Z

Egyptian film Zena (Inta Habibi, 1957) with Samia Gamal, Shadia and Farid Alatrash. Anyone know where you can find and buy this in DVD.
Thanks!
Tammy

posted in Egyptian Film, Past and Present - 2 replies

Youtube compilation of Golden Era dancers

2007-11-03T18:48:32Z

See this youtube link for a beautifully done compilation of Egyptian dancers:

http://www.youtube.com/watch?v=8qwiorV-a6I

posted in Egyptian Film, Past and Present - 3 replies

New book - "Popular Egyptian Cinema"

2007-09-24T19:23:32Z

Just thought I'd let everyone know about a great new book I've just started reading. The title is "Popular Egyptian Cinema," and the author is Viola Shafik. She's a professor at the American University in Cairo, and has published another book in the past called Arab Cinema.

She also wrote the chapter on Egyptian cinema for the Companion Encyclopedia of Middle Eastern and North African Film. (If you don't want to spend the $240 to buy that book, her chapter can be found on the web at http://arabworld.nitle.org/texts.php?module_id=5&reading_id=1051 .)

Anyway, back to talking about her new book, which was hot off the presses when I visited the AUC bookstore in Cairo in July.... You can buy the book on Amazon. It examines how the content of Egyptian movies has been shaped by changing develops in Egyptian society, economy, and politics, as well as by the export market. Although there is not a chapter on dance per se, she mentions dance quite frequently in the context of other topics such as feminism, "the male gaze", moral conservatism, etc. I find that I'm really enjoying her interpretation and analysis.

Eventually, I'll put a review of it on my web site. I haven't finished reading it yet, but I've read enough to know that I feel confident recommending it to folks who have an interest in Middle Eastern dance ethnology, dance as portrayed in Egyptian movies, and Golden Age dance stars.

posted in Egyptian Film, Past and Present - 0 replies

Upcoming video/lectures on Egyptian dance history & culture

2007-09-19T02:51:56Z

I'm going to be presenting two video/lectures next month on different aspects of Egyptian dance history and culture next month (October 2007). The two presentations are different topics, with different focus.

One is Dance In Egyptian Cinema. In Minneapolis, Minnesota.

Details in the events section here in this tribe: http://minnesota.tribe.net/event/Dance-In-Egyptian-Cinema-VideoLecture-Presentation/minneapolis/5d4f829f-4f4c-4a7b-bedc-038607964687

The other is How Egyptian Dance Evolved in the 20th Century. In Cable, Wisconsin.

Details in the events section here in this tribe: http://wisconsin.tribe.net/event/VideoLecture-How-Egyptian-Dance-Evolved-in-the-20th-Century/cable-wi-54821/08decb45-e9bf-44d2-96c2-6ef3eb434e19

posted in Egyptian Film, Past and Present - 0 replies

Golden Era of Egyptian Dance tribe:

2007-08-29T11:35:37Z

New Tribe
http://tribes.tribe.net/goldeneradance

posted in Egyptian Film, Past and Present - 0 replies

"Best 100 Egyptian Films"

2007-07-25T05:19:44Z

Egyptian film critic Saad el Din has created a list of what he feels to be the top 100 Egyptian films. His list appears at http://www.arab-celebs.com/article.asp?id=33

It's interesting to look over the list. I've only seen one of them (so far) - Abi Foq al-Shagara (My Father Is Up a Tree). There are several on the list, though, that are on my wish list of ones I'd like to watch. For example, Dananir and Fatma, both of which star Oum Kalthoum.

It's also noteworthy that the list ends with 1969. This makes me wonder whether perhaps that's when this critic created his list. The web site on which it's posted doesn't say.

posted in Egyptian Film, Past and Present - 0 replies

Lists of Egyptian movies

2007-07-23T21:14:22Z

I have found a couple of places that list Egyptian movies. Unfortunately, both are incomplete, but just in case you would find it helpful, here are the links:

Wikipedia has a list of Egyptian movies, arranged chronologically by year of movie release:
http://en.wikipedia.org/wiki/List_of_Egyptian_films

And here is Wikipedia's list in alphabetical order:
http://en.wikipedia.org/wiki/Category:Egyptian_films

Here's how to explore the Internet Movie Database's list of Egyptian movies by year of release:
http://us.imdb.com/Sections/Countries/Egypt/by-release-date

And to browse by first letter in the movie's title:
http://us.imdb.com/Sections/Countries/Egypt/

posted in Egyptian Film, Past and Present - 2 replies

LETTER 2 FROM NAKISH

2007-06-29T21:19:07Z

Hello
Hello;
To all my Tribe members and others.;
I want to reach out to everyone who received my first e-mail letter and express my deep apology for the typographical errors.

Available time for me has been limited. It has interfered with my quiet
sit down moments to send off another letter.

I work for a National & International Theatrical local that covers the entire musical spectrum such as Broadway shows, Opera, Ballet, Symphony, Movies, and Industrial Shows, dance companies & all other music events. At times, it keeps me on the move.

I also build for a Designer who designs for smaller theater companies in the San Francisco Bay Area.

An email address has been set up under ladywiththeeyes@yahoo.com
For those who want to contact me. But be aware; don’t expect me to correspond immediately.

I want every dancer to keep a journal each time a club owner discriminates against you for the following reasons:
1) Race
2) Size

Here is a list of things I want everyone to write down:
1) Club name
2) Club address
3) Owner name
4) Date
5) Time
6) The full conversation and any witnesses name, phone number you can get.

News
2008 Intensive workshop in the making;
July 2008

If I get the total response needed, I will give a four day intensive
Work shop and dinner show. There will be surprise teachers plus myself with certificates.
The work shop will be limited. No walk ins. This is the only fair way a certificate can be issued.

I clearly want to express again, that the four days can only happen with total response. If not, a smaller workshop will take place.

Your email response will help a great deal. I’ll need your contact information
So I can update you , or put you on first mail priority, because it will be limited.
Ravenmoon is my right hand, and is working with me. You may also contact her at sacredraven@msn.com.

Nakish
Ravenmoon

posted in Egyptian Film, Past and Present - 0 replies

remember Ibrahim Akef

2007-06-10T12:17:01Z

please help me to do ti

http://www.youtube.com/results?search_query=ibrahim+akef&search=Search

paola ziliotto boudress

www.duniaoriental.org

posted in Egyptian Film, Past and Present - 0 replies

Dancing in Egyptian Film DVD Series Price Increase

2007-04-22T18:58:08Z

Hi, Everyone....

We are all feeling the crunch of gasoline prices soar in our daily lives -- at least, those of use who drive. From produce to recording disks, the price of doing business has skyrocketed. Because of this, I have had to make some necessary decisions to follow suit. DVDs, CDs, DVD cases, paper, ink, electricity, and everything that goes along with the making of these educational disks, have risen in price, and I find that I will need to pass along those increases.

Starting May 1, 2007, the "Dancing in Egyptian Film DVD Series" and the upcoming "Singing in Egyptian Film DVD Series" will be raised to from $20 to $25 per DVD. Unfortunately, as with the cost of doing business in California, the cost of materials is taking a big chunk out of my operating costs. I hope you all will continue to seek out the Sausan Academy of Egyptian Dance for your dancing educational needs; and I know you will agree that even at $25, the price for a quality educational DVD, such as the ones that are produced by the Sausan Academy of Egyptian Dance, is still the best value for your dollar. f

Always,
Sausan

posted in Egyptian Film, Past and Present - 0 replies

Naglaa Fathi...An Elegant Actress....

2007-04-20T06:38:17Z

From: http://weekly.ahram.org.eg/2000/508/profile.htm

Soft as steel
The icon of on-screen romance admits the awful truth: she is a realist, among other things

Profile by Nadia Abou El-Magd

I was five minutes late for the appointment, but she wasn't upset. She greeted me with hugs and kisses. She is stunning -- yes, much more than I expected. Should I call her Mrs Fathi, or just Naglaa? "Call me Zahra," she answered swiftly. "It's my favourite name." Naglaa Fathi's real name is Fatma Al-Zahraa Hussein Fathi. That is the first surprise.

She starts by rewinding her career. "Both my first and my most recent films were shot in Lebanon." Between the first, Afrah (Joys) and her latest, Aziz Aini, (Apple of My Eye), 33 years and more than 80 films have passed.

She was very young when she started out: 15, to be exact. It was producer Adli El-Muwalid who saw her playing with her friends on the beach in Alexandria. He asked her if she would be interested in acting. She doesn't remember if acting was one of her dreams, but she does remember that her heart almost stopped beating from happiness while she was running home to tell her mother.

Fathi's rise to fame was almost immediate. She was soon making around 15 films a year, playing the love interest in almost every one. Many cinema buffs estimate that Fathi comes second only to Faten Hamama, the greatest Egyptian movie star, in the number of romantic movies each has made. The '70s was the decade for romantic Cinderella-like tales, but since the '80s, Fathi has been more interested in movies dealing with social issues, and played more sophisticated, complex roles.

Aziz Aini is about a Coptic woman who is vacationing with her husband and their two-year-old son in Lebanon. The year is 1975, the civil war breaks out, and she loses her son. Her husband loses hope, but she does not. After 15 years, she finds her son, who has joined the Lebanese resistance movement meanwhile. "There are a lot of surprises, and I won't ruin it for you," she says with her beautiful smile and sparkling eyes. "This movie has everything I love: romance, emotions... At the same time, it shows the development in my character and career."

After a short pause, she adds seriously, as if she is about to reveal a secret: "The movie says that there is an evil power, namely Israel, which is behind much of what is going wrong in the Arab region." In that case, Aziz Aini could be counted as Fathi's first explicitly political movie.

She feels very passionate about the Palestinian cause. The first time I met her she was wearing a traditional black and red Palestinian dress. "I'm wearing it as a political statement, to express my support for the Palestinians," she explained.

Naglaa Fathi Naglaa Fathi Naglaa Fathi Naglaa Fathi Naglaa Fathi Naglaa Fathi ROMANCE RETURNS: from top, with Youssef Chahine and Ahmed Zaki on the set of Alexandria Why?; Remember Me; The Garage; My Blood, Tears and Smile; with Culture Minister Farouk Hosni, Hussein Fahmi and Mahmoud Yassin, receiving a special tribute at this year's film festival; The Stray
The filming of Aziz Aini was completed before the Al-Aqsa uprising, but because it is so topical she was hoping to show it at the film festival. "It is very timely, terribly timely, but we couldn't make it. Hopefully we'll show it in January, during the Eid."

Since romance is the theme of this year's festival, the decision to pay tribute to Fathi -- described as "the lady of romance" and "the address of love" to mention just few of the epithets flung at her -- was only natural. She has been honoured more than once at local and international film festivals and received over 20 awards, but this year's tribute is special, "because it's for my whole career, not just a role in one movie. I have made at least 50 romantic movies," she says with a chuckle.

Her happiness, however, is not complete. "My happiness has been shattered by the events [in the Palestinian territories]. I don't know how to be happy 100 per cent, really. Something inside me has grown dark. Something inside me was broken when I saw Mohamed Al-Dorra being killed. I know he is not the first and he won't be the last, but he has become a symbol." Her husky voice is now laden with sadness.

Fathi participated in the demonstration that protested Gamal Abdel-Nasser's decision to resign after the 1967 defeat. The same year, she quit school to become a professional actress. She attributes her success to "luck, and the late producer Ramses Naguib, who saw my potential as a romantic icon," despite opposition from director Ali Badrakhan, who protested: "She is very naughty and playful, look at her eyes." She repeats this last with a loud, and very mischievous, laugh. She recounts happily that the late director Henry Barakat used to chide her: "You are a real joker; the audience thinks you are an angel but you are a first-rate devil."

So who is the real Naglaa?

"I'm not as romantic as you might think, watching me on-screen. I'm kind, but not as dreamy as my roles. I've mastered that character because I like it." Such was one of her first confessions to me. "I don't know how to spend the night on the phone with the one I love. I tried that, but I soon gave up. If we have time, we should see each other. If it's late, we should get some sleep." To her, there's nothing shocking about such a pragmatic admission -- this, she states, is simply realism. Still, Fathi believes that romance will never go out of style. "I cried when I watched Titanic," is the proof she supplies.

Of her own films, she likes and remembers "the landmarks" in her career: Okhti (My Sister), Hubb wa Kibriyaa (Love and Pride), Dami wa Dumou'i wa Ibtisamti (My Blood, Tears and Smile) Al-Maraya (The Mirrors), Sonia wal-Magnoun ( Sonia and the Madman), Iskindiriya Leih (Alexandria, Why?), or Rihlat Al-Nisyan (The Journey of Forgetting).

What about Al-Sharida (The Stray)? "That is terrific," she says at once. But The Stray is not a romantic movie. Based on a novel by Naguib Mahfouz and directed by Ashraf Fahmi, it follows a poor but ambitious woman who marries, against her will, a rich and ignorant man. He helps her finish her education and become a famous lawyer, but a very arrogant and vindictive wife. Fathi portrayed the role of the victim/aggressive wife marvellously. Al-Sharida marked a turning point in her career, and the beginning of the realist movies she preferred in the 1980s.

Fathi is given to apparent non sequiturs, and she blurts suddenly: "I don't regret anything I have done, not even the things that have failed. I like them, because the failure was beautiful." Like what? The question seems inevitable after such a statement. "Like my marriage to and divorce from my first husband, Ahmed," she answers swiftly. She was 18 when they married, and he was still a student, so they didn't tell their families. "My mother cried when she found out." This seems to signal that it is time to talk about her life away from the camera's all-seeing eye. "I married my second husband, Seif, to create balance in my life. I was 21, good-looking [she chuckles], young and reckless, I had my own home, fame, money, everything. I was like an untamed horse. I needed somebody to protect me from myself. I was scared of the unlimited freedom."

She continues: "When Seif proposed, I didn't tell him I loved him. I told him I wanted to have a family. I come from a large family: we were six children, and I wanted to have 10." However, the marriage broke down when their daughter was one. "I dedicated my life to Yasmine. I spent a lot of time with her, told her and taught her a lot of things." After Yasmine was born, Fathi became more selective when it came to accepting roles.

She is now married to veteran TV broadcaster Hamdi Qandil "He is the first man who has fascinated me. It is not easy to bewitch me, but he did. I feel like a student when I'm with him: I discover new qualities in him every day." Fathi seems both very happy and proud. "One day I told him: 'I've decided to marry you.' He accepted." She admits: "He says he needed my sense of humour to distract him a bit from his serious life."

While her husband likes all her movies, her daughter is more critical, and prefers the ones dealing with social issues. The Garage, for instance, is about a poor woman who works and lives in a garage after her husband deserted her and her five children. Unable to support them, she starts distributing her children among other families. "It was based on a true story and it is the most difficult and painful movie I've ever made."

Another film that received both critical and popular acclaim was Ahlam Hind wa Kamilia (Dreams of Hind and Kamilia). Fathi played Kamilia, an independent-minded maid who helps her friend raise her daughter. Then there was The Supermarket, which Fathi also produced, about a divorced mother dedicating her life to her daughter, who leaves her to go and live with her wealthy father. The late Al-Ahram columnist, Ahmed Bahaaeddin, commented at the time: "I know that the heroine looks like a French woman or a doll, but was surprised by an actress of international calibre who can make you forget about her good looks."

Speaking of looks, the first time I met her she was in full make-up. The following morning, I met her at her place: she was in her dressing-gown and her face was bare. She was still very pretty. I once read that she said she did not fear ageing. Could that be true? "The worst thing is to be afraid to admit to yourself that you are getting old," she interrupts. "I'm 48, what's wrong with that? It is good to be my age and still good-looking, instead of pretending you are younger." She will undergo plastic surgery when she feels she needs it, but insists: "The most important thing is to love and accept yourself, then people around you will do the same."

She was six when she overheard a friend of her mother saying: "That girl is very beautiful, but her voice is very ugly." She grins. "I didn't change anything about myself, not even my voice."

Fathi is very spontaneous. She moves around a lot, and makes faces. She must not have changed much since her childhood; it is as if she has never been through problems or experienced difficult times. "I managed to keep my feelings fresh, by being always myself. I express my feelings, I enjoy beauty and life." After she started acting, snobbery crept in, but "a slap" from her strong mother brought her back to her senses. Fathi admits that she doesn't like weak women, and that her social movies are basically an appeal to women, especially poor women, against ignorance and weakness. "I played Al-Mar'a Al-Hadidiya (The Iron Woman) to warn women about rape after reading about a few incidents." She considers it "a romantic movie" nevertheless.

When she receives a script for consideration, she does two things. First, she asks Yasmine what she thinks; if both of them like it, she goes away for three or four days, until she has assimilated the part completely.

Fathi admits that she still gets worried on the first day of shooting, until she sees "the satisfaction in the director's eyes." One of the movies she will never forget is Rawaat Al-Hubb (The Marvel of Love), because the hero was the late Rushdi Abaza, "my ideal in acting and the man of my dreams. He was a great man and a great actor."

On second thought, Fathi regrets two things: that she started smoking when she was 13 and was never able to quit, and that she never finished school. "I would have loved to have a PhD in something related to the performing arts -- directing for instance." Spoken like a true iron woman...

***********************************************

From: http://www.arab-celebs.com/profile.asp?id=137

Naglaa Fathi, or Fatma Al Zahraa Hussein Ahmed, screen debut was in the late sixties, she immediately earned a place between the biggest Egyptian Super Stars making the romance symbol of the seventies and eighties with no competition. During a span of over thirty-five years Nagla made more than 82 films of significance to the Egyptian film industry.

Nagla started her acting career in film AFRAH she was just fifteen at the time. It was when producer Adly El Mouwalid laid an eye on her while she was in the company of her parents in Alexandria; he gave her her first leading role in film AFRAH, it is worth mentioning that Abd El Halim Hafez, being a friend of the family, gave Zahra the name Naglaa Fathy.. -They later on starred together the famous radio series ARGOUK LA TAFHAMNI BESORAA…aka Please Take time to understand me- soon, Ramsis Naguib the great producer realized he could make out of Naglaa a romance symbol, he adopted her talent and signed a monopolization with the rising star for ten years, she became a romance icon, the dream of all youths, girls imitated her and men regarded her as their dream girl. she made over fifty romantic movies with the most talented Egyptian directors, RAW ET AL HOB (1968)…aka Magnificence of Love for director Mahmoud Zulfikar, OKHTI (1971)…aka My Sister, and OZKORINI (1978)…aka Remember Me for director Henry Barakat, REHLET AL NESYAN (1978), HOB LA YARA AL SHAMS (1980), WE DA AN LEL AZAB (1981), GHADAN SA ANTAQIM (1983)…aka Tomorrow I take revenge, for director Ahmed Yehya, AL SHARIDA (1980) AL AQWEYAA (1982) AL MAGHOUL (1984)…aka Strong, for director Ashraf Fahmy and others.

As her character and career developed she then played realistic movies, she made roles of social significance exploring deep into the Egyptian Society like AHLAM HIND WA KAMILIA …aka Dreams of Hind and Kamilia, AL SHARIDA, AL GARAGE. Naglaa then established her own production company, she produced film Super market she also wrote the story of the film GHADAN SA ANTAQIM (1983) …aka Tomorrow I take my revenge.

An important stage in Naglaa’s career was when she diverted to political movies, this was not new to her character, she had always shown concern to the political situations surrounding since she was young, she had had participated in the demonstration that protested Gamal Abdel-Nasser's decision to resign after the 1967, in addition to the demonstrations held against the Israeli occupation. As she married the famous political broadcaster and analyzer Hamdy Qandil, her political interests developed and a new important stage in her acting career began, She played AZIZ EINI or “Batal Min Al Ganoub” about the Lebanese civil war and the Palestinian crisis.

Naglaa was honored locally and internationally for her works, she has more than twenty awards, the last tribute was by the Cairo International film festival, whose theme was Romance, Naglaa was tributed as The Lady of romance.

Although Naglaa has been away from the silver screen for quite a time now, as she is always in the company of her husband Hamdy Qandil, the famous broadcaster, she still remains the icon of romance in our hearts and minds, her films remain to remind us of a beautiful romantic times we do all miss now. Naglaa has got one girl Yasmine from ex husband Seif Abu El Naga.

posted in Egyptian Film, Past and Present - 0 replies

Lovely Magda......

2007-04-16T20:36:57Z

From: Yallacinema.com

Her birth name is Afaf Mohamed Kamel Al Sabahy. She started her acting life working in small roles and was named "The Screen Vergin". She debuted on screen in film "Al Naseh" (1949). She established Film Production Company caries her name. She won a lot of prizes for her different roles in different films. She was married to the actor Ehab Nafea and has her daughter actress Ghada Nafea.

Magda became very well respected as a film director. Mahmoud Reda and his troupe appeared in one of her movies. (I believe it was Summer Holiday.)

More to come.....

posted in Egyptian Film, Past and Present - 0 replies

Magda Al Khatib

2007-04-16T20:22:14Z

Date of Birth: 1943, Egypt more
Date of Death: 17 November 2006, Cairo, Egypt. (kidney failure and acute lung infection) more
Alternate Names: Magda El Khatib / Magda El Khattib / Majida Al Khatib Actress Magda el-Khatib dies at 72

Veteran Egyptian actress Magda el-Khatib died on Saturday evening at the age of 72.

The late actress was admitted to As-Salam International Hospital suffering from pneumonitis and renal failure.

She breathed her last earlier in the day in the hospital after failing to undergo kidney dialysis beacuse of a severe drop in blood pressure.

The late actress had performed in several top-rating movies and TV series including Kasr el-Shaouk, one of the trilogies by late Nobel laureate Naguib Mahfouz.

posted in Egyptian Film, Past and Present - 0 replies

Endearing Abd El Fatah El Qusary

2007-04-16T19:58:52Z

From: Yallacinema.com

He died many years ago but his works still alive. Abd El Fatah El Qusary, the son of a jeweler, studied in Alfrere School and started his life working as a journalist but he turned to be a monologist watching the plays which were performed by Fouad El Gazaerly group on 'El Colob El Masry' Theater. El Ousary joined Abd El Rahman Roshdy Theater and George Abyad Theater. When El Rehany heard that El Qusary was fired from George Abyad Group because he made the people laughed instead of crying, while performing a tragedy play, he cast him in his play "El Geneh El Masry". El Qusary achieved great success and worked in many films and plays after it. In 1945, El Qusary joined Ismail Yassin Theater, after El Rehany' death, and became one of its stars. He married four times.In his last days, he was plagued with blindness. Both actresses Nadia Salem and Hend Rostom stayed beside him till he died in 8 March 1964.

The Kidnapping of Abd El Fatah El Qusary.
After he left Nagib El Rehany, all talked about the reasons. El Qusary achieved success with El Rehany on stage in “30 Youm Fe El Segn”, “El Donia Lama Tedhak” and “Mahadesh Wakhed Haga”. El Rehany believed that no one could perform the character of the folk man as El Qusary did. They worked together on screen in “Sei Omar”, the film that achieved great success for both actors. So, the cinema was the actual reason behind what happened. El Qusary left El Rehany because of working on screen. We could say that the cinema kidnapped him

posted in Egyptian Film, Past and Present - 0 replies

Lebleba...Still going strong!!

2007-04-16T05:46:27Z

From: Yallacinema.com

Her birth name is Nonia. She started her acting when she was a child with Anwar Wagdy in film "Arbaa Banat Wa Zabett" (1954). She was married to the actor Hassan Youssef and was divorced.

From: http://www.womensenews.org/article.cfm/dyn/aid/1632

Censors Are Major Obstacle

Iran is not the only country in the region that imposes heavy censorship. Egyptian film star Lebleba, the head of the jury of the festival, said censorship is an obstacle in her country too.

She gave the example of one of her movies, "The Ostrich and the Peacock," which explores sexual difficulties among young couples and how such problems are behind many divorces in Egypt. In the movie, Lebleba plays the role of a psychologist who counsels a couple who are in love but who are dissatisfied sexually.

"The film is shedding the light on a very important problem in our society, that we refuse to talk about, mostly because of censorship," she said.

Lebleba recalled that the famous Egyptian director Salah Abou Seif wrote the screenplay, which he called "Sex School" and presented it for approval to the censorship committee in Egypt 31 years ago. It was rejected.

Every time there was a change on the committee, Abou Seif would reapply for approval but it was turned down another five times. After Abou Seif's death, his son Mohamed presented it to the committee and this time they accepted it, on condition that the name be changed. It was he that ended up directing the film.

"The movie caused a huge debate in Egypt, because it was dealing with a real problem, and there are so many problems that we need to deal with," Lebleba said.

posted in Egyptian Film, Past and Present - 0 replies

Mary Mounib...A Celebrated Egyptian Actress....

2007-04-13T20:56:36Z

From: http://www.azzamounib.com/marymounib.html

Mary Mounib, as a celebrity and a comedienne of the early twentieth century, challenges
conventional categories of high and low culture. Her story, and her stardom, may well reveal a
different perspective on an individual's impact in affecting and being affected by her society. She
was, and perhaps continues to be, a figure well situated in the Egyptian imaginary through her long
and continuous presence both on stage and screen. Her persona as a cultural figure can shed light
on popular culture in theater and cinema in Egypt.

Mary Mounib's stage career started with Ali Al Kasar when she was 15 years old. A few years later
she joined Najib Al-Rehani Theater Troupe, where she remained, and was the lead star in over 80 plays
----------------------------------------------------------

http://www.yallacinema.com/

Her birth name is Mary Habeb Selem Ibrahim. She was born in Beirut in 1905. She traveled with her family to live in Cairo. She started her artistic life working as a dancer in Rod Al Farag nightclubs. Then, she worked on stage. She debuted on screen in "Enshodat Al Radio" (1936). She was married Fawzy Moneeb and carried his name. Then, she married the Lawyer Fahmy Abd Al Salam. She worked with Al Rehany Theater group. She died in 1969.
until she past away in 1969. She stared in over 75 movies, "Mounib was and perhaps continues to be a
cultural figure whose roles as the ever-foreboding mother-in law or the spinster in search of a
husband won her the title of the "Empress of Egyptian Comedy." What role did this Empress play in
expressive culture? How was she portrayed? In what ways did her persona fit into the larger
narrative of the Egyptian nation-state?"

He play "Ela Khamesa" has won her many awards, and to this day is still viewed on television
throughout the Arab world as well as her other plays and movies.

In 2002 Egypt added to it's stamp rare collection, one to honor Mary Mounib, Farid Shawki, Aziza Amir
and Hassan Faye'.

posted in Egyptian Film, Past and Present - 3 replies

Remembering Omar Khorsid

2007-04-12T19:10:13Z

From: http://www.last.fm/music/Omar+Khorshid/+wiki

Star of the cinema and leading guitarist of the Orient, Omar Khorshid has also composed the music for thirteen ﬁlms andin 1971 won the Premier Prix at the Film Festival of Tachkand for his music for the ﬁlm "Tbnati El Aziza" .

He is renowned as one of the greatest guitarist of the Arab world and has accompanied all it's leading singers... Umm Kulthum, Abdel Wahab, & Abdul Halim Hafez.

********************

From: http://www.mediumandthemessage.com/2006/12/17/first-podcast-oumar-khorshid/

Listen.

When I write “listen”, I mean sit yourself down, click on the Podcast and just listen (that means no MSN, no e-mail).

I was recently enlightened to this beautiful music by a friend of mine at work. He is Lebanese and grew up with Omar Kourshid’s sounds. My friend also gave me quite an interesting background on this fellow. Although when I Googled him, very little historical information popped up.

Apparently, he was the Elvis Presley of those times. An actor as well as a musician (he studied from the age of four), he was the IT guy. At the time, he was also very political. Perhaps a little too political. He was killed in a car crash. At the time of his death he was dating the President’s daughter (reminds me of Princess Diana).

Anyway, my point in putting this music up - other than learning about Podcasts - is to share the wonderful sounds. It’s not everyday that we get to treat our ears and our minds with melodies such as this.

I hope you enjoy it as much as I do.

posted in Egyptian Film, Past and Present - 3 replies

Remembering Estefan Rosti

2007-04-05T06:21:52Z

GO TO: http://www.youtube.com/watch?v=wm8BQTCLLl8

You will see Estefan Rosti in a movie called "Ismail Yassin Meets Frankenstein". VERY VERY FUNNY!!!!

***************************************

from: http://www.yallacinema.com/

An actor and director of Austrian origin (1891-1964). He settled in Cairo with his mother after his father left them. Rosti was one of the pioneer cinema actors, his short lived career as director rests only on his direction of "Leila" in 1927. After the ouster of its director "Wedad Oraby" and he played a significant role in this movie, Rosty managed with the emergence of the comic and adapt his performance in way that maid him enlisted among the comedians who undertake to effect this renaissance in comedy, his last movie was "Naughty to the care" Akher Shaqawa. In 1964.

posted in Egyptian Film, Past and Present - 1 reply

Samir Sabry....

2007-04-04T07:38:04Z

From: http://translate.google.com/translate?hl=en&sl=ar&u=http://www.arabo.com/links/,227,213,209/,221,228,230,228/33733.html&sa=X&oi=translate&resnum=3&ct=result&prev=/search%3Fq%3Dsamir%2BSabry%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-US:official%26hs%3Dskz%26pwst%3D1
(Translated from Arabic on Google)

Samir Sabry was born in Alexandria, where he studied in Victoria Collage together with a lot of the famous Arab names nowadays in different fields. In 1969 he graduated from the Faculty of Arts, English Department, Alexandria University. And because of his great love for acting, Samir decided to study Drama in Oxford University in England and he specialized in Shakespeare Theater.

His Acting Path:

* Sabry adored the cinema and musical films since his childhood, especially Mohamed Fawzy and Farid El Atrash films, until his neighbor, the famous singer Abdel Haleem Hafez, discovered and introduced him to the star Lubna Abdel Aziz to work with her in “The Children’s Corner” in the European program while he was studying at Victoria Collage. Later, he was adopted by Amal Fahmy in the “Middle East Radio” where he presented his famous program “El Nady El Dawly” which he presented on Television in the 70’s for TEN consecutive years with great success. Samir Sabry created through that program a new trend for the look and style of the TV presenter, that the great writer Anis Mansour described him as "the most innovative T.V character in the twentieth century".
* Abdel Haleem Hafez presented him in a small role in his last film “Abi Fawk Al Shagara). Later on , the genius director Hassan El Emam presented him in leading roles in “Bamba Kashar, Hekayty Maa' El Zaman, El Bahss An Fedeha, Wa Bel Waledain Ehsanan”. Afterwards, he starred in more than 85 feature films.
* He produced 16 big movies such as “Ahlan Ya Captain, Gaheem Tahat Al Maa', Al Salakhana, Noshaterokom Al Afrah, Demooa' Sahebat Al Galala, Elakat Mashbouha, Gahiem Tahat Al Ard}
* After his success in performing in musical films and songs, it was a must for Samir to produce these category of films and so, he produced the musical comedy movie "Ahlan Ya Captain" staring Samir Sabry and Nelly in which he performed successfully and was admired by audience and critics.
* Samir Sabry also performed in other movies in the cinema produced by others. He acted with many great movie stars in his films, such as “Hekayty ma' El Zaman” where he starred with the famous Warda, Rushdy Abaza and Yossef Wahby , “Al Karawan Laho Shafayef” with Suhaer Ramzy, Nabila Ebaid and directed by Hassan El Emam, “Nesf Saa' Gawaaz” where he sang with Shadya "Sucar Helwa El Donia Sucar" and he joined Suaad Hossny in the musical movie of “Shabab Magnoon Gedan”.
* Samir Sabry continued his remarkable creativity in the show business and musical films, even in films that only included a partial segment of performance like “Gahim That Al Maa'” with Laila Elwey and Adel Adham in which he shared a little kid in singing a song called "Edhak ya Abo Ali ya Khafef el Dam" , he performed also in “Al Yateem Wa Al Hob” movie with Sahar Ramy , Nagwa Fouad , Mohamed Reda and directed by Mahmuod Farid , “Noshaterokom Al Afrah” with Yossra ,Taheya Karioka and directed by Mohamed Abdel Aziz, “ hob wa kebriaa'” with Naglaa' Fathy in which he sang "Mehtar ana Waya El Banat "a song hit in 1996.
* Apart from the cinema, Samir's talent in shows expanded on T.V, he shared Samah Anwar , Sherine Saif El Nasr , Hassan Kamy in "Ehna fain" Riddles directed by Mohamed Nabeeh . Also he presented "Mashaheer El Delta" Riddles on channel 6 from few years. Nevertheless he still continued escalating in the T.V entertainment programs such as his extraordinary programs "Kan Zaman" and "Haza Al Massaa' "
* He earned many awards on his movies “Rehlat Al Ayam, Gaheem Tahat Al Maa', Al Salakhana, Noshaterokom Al Afrah, Demooa' Sahebat Al Galala , Wa bel Waledayn Ehssana, Al Katll Al Lazeez”.
* He got the First Prize from Cairo International TV Festival on his program "Haza Al Massaa' " for FOUR consecutive years. Also his program "Kan Zaman" won the Golden Award in many festivals. Samir Sabry also acquired the title of “ The Best and Most Loved Actor” by an audience opinion poll done by “Middle East Radio Station”
* The great writer Mostafa Amin named him by " Ambassador of Arab Art "
* Samir formed a music show band consist with 45 musicians and dancers.
* He presented Egypt allover the world in many musical festivals under the auspices of the ministry of Tourism and Culture in which he presented Egyptian folklore and modern dances.
* In “ The Gold Mine” or “ El Mangam El Dahab” Samir Sabry renewed the old melodies of the distinguished singers "Mohamed Abd El Wahab, Mohamed Fawzy , Farid El Atrash, Abdel Aziz Mahmoud, Laila Mourad , and Said Darweesh" to a modern vision of his own, that surpassed by its’ beauty the era of video clips either by TV or Theatre performance.
* And the snowball still rolls with Samir Sabry’s nonstop and resourceful giving in the field of musical and show performances, which were the main roots for the appearance of video clip art.
* He recently produced and presented 6 episodes on the mystery of the death of "Soad Hosny" in London which was a smashing success all over the Arab World to the extent that a copy of the series was presented to Scotland Yard to be used as a documented witness in the court appeal to re-open the case.
* Samir Sabry formed the Alexandria Art Association with 60 members who were either born or graduated in Alexandria. The A.A.A organized successfully. The Alexandria Mediterranean song festival which took place at al MONTAZAH PALACE (25th -30th June 2003) with a galaxy of stars from all over the Mediterranean – Sabah – Elias Rahbany – Lofti Bu Shnaq –Safwan – Demis roussos –Nansy Agram – Hayfaa Wahby – Sherine – Tamer Hosny – Shab Jylani- Amal Maher .The festival was organized under the AUSPICES of his excellency the governor of Alexandria .
* Samir Sabry was elected president of Cairo LIONS diplomatic Nile club with a host of 60 members meeting every two weeks at Cairo's diplomat club to sponsor charity work.
* Samir Sabry performed "live" at Waldorf Astoria – New York - Queen Elizabeth hotel– Montreal - Canada – Sun-City – Johannesburg Atlantic city – the UNESCO Theater in Paris - The Alexandria's of the world festival.
* Being in love with his native Alexandria, media named him Alexandria's Good Will Ambassador to the world.
* Twice married . His first wife mother to his only son who lives in London, died in a plane crash 1985. His home and private life is kept carefully away from media.

posted in Egyptian Film, Past and Present - 0 replies

Comedian Samir Ghanem....

2007-04-04T07:32:24Z

From: http://www.yallacinema.com/

(For a wonderful actor, there is not much on the Internet about Samir....in English, at least. I'm going to continue to research him; he's a wonderful actor.)

His birth name is Samir Youssif Ghanem. He was graduated from the Faculty of Agriculture. He established El Tholathy group with his friends George Sedhom and Al Dief Ahmed. They enrolled together in different films and plays.

posted in Egyptian Film, Past and Present - 0 replies

Showeekar...A GREAT Egyptian Actress....

2007-04-04T07:20:26Z

From: http://mashy.com/index.pl/showekar (translated from Arabic)

Her real name "Hoekar Ibrahim Brick Enamelers", was born in November 24, 1938 of Turkish origin was discovered in Sortng Club in Alexandria, worked in the roles Trajideh then discovered Ftin Abdul Wahab worked in comedy roles between theater and cinema, television and radio performances have, "and I was while it is "," Madam Fine "and Hawa at 12 I Fein and Ante Fein and the visit ended and Albjama red and spiritual Atkhtaft .. تزوجت من الفنان فؤاد المهندس و كونت معه ثنائيا في السينما و المسرح و الإذاعة و التليفزيون و كانت قد تزوجت من قبله شابا مات في سن صغيرة هو المحاسب حسن نافع .Married to artist Fuad El Mohandes, an engineer and formed with him bilaterally in the cinema, theater, radio and television, had been married before the age of a young man died in small is good accountant Nafie. و من أهم أعمالها " غرام الاسياد " عام 1961 و فيلم المجانين في نعيم " عام 1963 و فيلم " ادهم الشرقاوي " و فيلم " اخطر رجل في العالم " عام 1967 فيلم النداهة عام 1975 و فيلم سعد اليتيم " عام 1985 و زمن الممنوععام 1988 و بنت الباشا الوزير عام 1991 و امريكا شيكا بيكا عام 1993And most of their work, "Gram masters" in 1961 and in a psychiatric Naim film "1963, the film" Adham Sharkawi, "and the film" the most dangerous man in the world "in 1967 film Alendahh 1975 and the film Saad orphan" in 1985 and 1988 and the time Almmenouaame Bent Basha minister in 1991 and Latin check Pekka 1993

posted in Egyptian Film, Past and Present - 0 replies

Yousra....Beautiful, Talented, Sexy.......

2007-04-03T22:58:54Z

From: http://www.yallabina.com/Movies/Local_Stars_Profiles/Yousra.aspx

Yousra is an Egyptian actress. Her birth name is Sevine Mohamed Nasim. She was born on March 10, 1955 in Cairo, Egypt. She is the sister in law of actor Hesham Selim. She first appeared in 1980 in Athkiya laken aghbiya film. Increasingly popular with audiences in Egypt and across the Arab world, she went on to co-star with leading actor Adel Emam in several films.

In 1982, she participated in Hadduta Misrija, which was directed by Youssef Chahine, then in Ala Bab El Wazir with star Adel Emam. She achieved great success in the cinema, so she got so many offers afterwards. In 1984, she participated in Avocato, starring with star Adel Emam, Hussein El Sherbiny, and Salah Nazmi. In 2000, she performed a very remarkable in El Assafa, with Hanan Turk, Hany Salama and Mohamed Nagaty.

In 2003, she participated in Malak Rohy T.V series, that was shown on T.V screen on Ramadan, then in 2004, Leqaa Ala Al Hawaa in the next Ramadan.
Then her latest T.V series was also during Ramadan, it was Ahlam 'Adiya.

Also she made a number of films in 2005, like: Dam El Ghazal, Kalam Fel Hob with young actress Hanan Turk and actor Hesham Selim. In 2006, she participated in Yaccoubian Building, a star-laden adaptation of the novel of the same name. The film is reported to have had the highest budget of any Egyptian production to date. Playing an entertainer working in a restaurant.

Her latest film is Mategy Norkos, which is an Egyptian remake of shall We Dance, told in reverse. A middle-aged lawyer (yousra) is bored from her routine, and is attracted to join a dancing school tutored by a handsome young man (Tamer Hagras), which becomes later a big shock to her husband (Ezat Abu Ouf). co-starring with Hala Sadky, Emmy, Talaat Zeen, Tamer Hagras, directed by Enas El Daghidy, the film is now released in all cinemas.

posted in Egyptian Film, Past and Present - 0 replies

Movies to See... Add yours here...

2007-04-02T18:56:35Z

Struggle on the Nile is a WONDERFUL movie...
It stars Rushdi Abaza, Hend Rostom, and Omar Sherif. Hend does some GREAT dancing in this movie and the plot it really great.

See: http://www.cduniverse.com/productinfo.asp?pid=7229392

posted in Egyptian Film, Past and Present - 10 replies

Guidance in exploring Egyptian film

2007-03-24T12:52:24Z

I became very interested in Arab cinema after attending the 2003 Annual Arab Film Festival in San Francisco. It doesn't seem they have presented many Egyptian films, and I would like to explore this on my own.

To a newcomer to Egyptian film, what are the primary movements, film-makers and films — the context — to hasten my study?

Also, I imagine these films are not necessarily easy to obtain access to by traditional distributors. Thus I would also appreciate advice on how to rent/buy the films recommended.

Thank you.

posted in Egyptian Film, Past and Present - 7 replies

Mariam Fakhr El Din, a Beautiful Egyptian Acress

2007-03-21T06:47:00Z

She was born in Al Fayoum in1933 for Egyptian father, Mohamed Fakhr El Din, and Hungarian mother. She is the sister of actor Yousif Fakhr El Din. After finishing the Germany School, she won Miss Beauty a magazine that gained her first starring in "Lailat Gharam" (1951). She married actor and director Mahmoud Zo Al Faqar and had her daughter Eman. During the 50s, Mariam played the sentimental romantic girl on films. During 70s, she played different characters as in film "El Adwaa" (1972). In the middle of 60s, Mariam traveled to Lebanon where she married the Syrian singer Fahd Balan but separated later and returned to Egypt. She also produced 3 films as "Ranet Kholkhal" (1955), "Rehla Gharamyia" (1957) and "Ana Wa Qalby" (1957).

Also see:

http://arab-celebs.com/profile.asp?id=108

posted in Egyptian Film, Past and Present - 0 replies

Ahmed Mazhar

2007-03-21T04:43:10Z

From: http://en.wikipedia.org

Ahmed Hafez Mazhar (1917-2002) was an Egyptian actor. He graduated from the military academy in 1938 and his colleagues included Gamal Abdel Nasser and Anwar Sadat. Mazhar won many medals in international competitions in equestrianism, fencing, boxing and shooting.

His acting career started in 1951 when he was picked for a role in Zehour Al-Islam because of his riding skills and his proper pronunciation of classical Arabic. In 1957 he retired as commander of the special cavalry units and decided to explore his acting talents.

Mazhar's real breakthrough in the world of acting came after he succeeded in playing the role of an evil prince in the famous movie Roda Qalbi (return my heart) which was his third movie. Other roles soon followed, among which were:

* Al-Tarik Al-Masdood (the blocked road) in 1958
* Al-Ataba Al-Khadraa in 1959

and his famous role in Doaa El-Karawan alongside Faten Hamama in 1959.

In 1961, Mazhar was blessed with yet another chance to play a historical role that would outlive him; a role in Wa Islamah. In the same year Mazhar played a role in:

* Al-Dowa Al-Khafet
* Ghadan Youm Akhar

These were later followed by roles in:

* Ghosn El-Zaytoun in 1962
* Sera Al-Gababerah in 1962
* Al-Aidi El-Naemah in 1962
* Al Nasser Salah Ad-Din in 1963.
* Al-Motamaredah in 1963
* Al-Leila Al-Akherah in 1963
* Al-Nadarah Al-Sawdaa in 1963
* Al-enab Al-Mor
* Man Oheb
* Al-Kahira 30
* Al-Morahqa Al-Saghera
* Moaaskar El-Banat
* Nefous Ha'era
* Nadia
* Akazeeb Hawaa
* Lessous Wa Laken Zorafaa
* Embratoreyat Mem
* Al-Shaimaa
* Al-Shahat
* Al-Ekhwa Al-Aadaa in 1974

It was after 4 more years that Mazhar appeared in Shafika & Metwalli alongside Suad Husni. Other films like Al-Nemr Al-Aswad, Demoue Sahebat El-Galalah and Al-Gasousa Hekmat Fahmy soon followed.

Ahmed Mazhar died at the age of 85 in his country house in Giza, after making around 150 films.

posted in Egyptian Film, Past and Present - 1 reply

Remembering Hassan Yousef

2007-03-21T04:38:41Z

From: http://www.yallacinema.com

Actor and director Hassan Youssef was graduated from the High Institute of Sports. He started his acting career working in film "Ana Hora" (1959). Then, he turned to work as a director. He retired his career at the beginning of the 90s and back again in 1996 working in the TV series "Laialy Al Helmia". He was married to actress Lebleba. Now, he is married to the retired actress Shams Al Baroudy.

posted in Egyptian Film, Past and Present - 0 replies

Remembering Ahmed Ramzy

2007-03-21T04:23:15Z

From: www.yallacinema.com/

His birth name is Ramzy Mahmoud Baiomy. Ramzy was born for an Egyptian father worked as a doctor and Scottish mother. After finishing High School, he enrolled in the Faculty of Commerce but he dropped out and pursued acting career. Ramzy used to perform the young handsome guy in many films. He and Abd El Halim Hafez formed a duet and appeared together in many films. He tried to be an international star and traveled abroad but he failed. He returned back and resumed his work with actress Faten Hamama in "Wagh Al Qamar" series and in "El Warda El Hamra" film with actress Youssra. Ramzy married three times, the first was in 1958 to "Attiat Allah El Daramlly, the second to actress Nagwa Fouad and the third to Nicole. He has two daughters and a son of his first wife.

posted in Egyptian Film, Past and Present - 1 reply

Nabila Obaid, an Egyptian Actress

2007-03-19T05:33:34Z

Nabila Obaid نبيله عبيد

From: http://www.winarab.net/arabic/nabila/movies.html

Nabila Obaid or Nabila Ebeed ( نبيله عبيد ) is very nice women and artist on the middle east , she is from egypt she have a very nice movies , there is hundreds of movies for Nabila Ebeedy.

Nabila Obaid was born 21 January 1945 in full name Nabila Ahmed Mohamed Ebeid. Began life when he discovered artistic director Atef Salem and presented in the movie (man of understanding) in 1962, is a film which emerged Kkumbars silent. , but as soon as the number of the movie, which was written by a birth certificate in the history of Egyptian cinema, a film (the fourth Adouih) director Niazi Mustafa 1963, and then married Nabila Ebeid then Mcchfha Atef Salem for several years and during this period provided some work in movies Lebanese and theater. 1965 stands Nabila Ebeid before the artist Omar Sharif in the film's historical (Quran) Lttwali several films that led Ngmatna to championships absolute and thus escalated Nabila Ebeid acknowledged starred from the beginning step-by-step even become today one of the most Alngmat in the Arab world as a whole. Varied roles Nabila Ebeid diverse films CNN Children did not identify themselves in a certain pattern has also produced some films that have Bbattoltha like the movie (and fell in the Sea of honey) 1977. And in 1979 received a noble Obeid Award best represented their role in the movie (and the investigation is still going on) as the beginning of many awards to come alone to Egypt, the star of the first movies were made of Egyptian films important recall : (Virgo and poetry Abiad) 1983, (the dancer and drummer) 1984, (suicide owner of the apartment) 1986, (assassination School) in 1988 and (dancer and political) 1990, (Tut Tut) 1993, (threshold Alstat) 1995, (women and art) 1997.

You can search our search engine for Nadia pictures or Nabila Ebeed movies. or for best result try to search google search engine.

posted in Egyptian Film, Past and Present - 0 replies

Question about the Souad Hosni movie called Princess Aziza.

2007-03-19T05:23:49Z

Hi! I have a question about the movie Princess Aziza which stars Souad Hosni. It was made in 1960. (I found the DVD at www.fineartfilm.com )

Here's my question - what is the Arabic-language title that it was originally released under? I would guess that it's Amira Aziza or maybe Aziza al Amira (my Arabic skills are pretty primitive, as you can tell), but can anyone tell me for sure?

posted in Egyptian Film, Past and Present - 1 reply

Magda Al Khatib

2007-03-16T23:05:23Z

From: http://www.waleg.com/archives/

Magda Al Khatib Dies at 63
17 November 2006, Cairo, Egypt. (kidney failure and acute lung infection)

Famous Egyptian actress Magda Al Khatib died on Saturday after a long struggle with illnesses. She went into a coma before taking her final breath. She is considered to be one of the most famous Egyptian actresses of all time.
Born in 1943, she got her fist break during the 60 in the movie "Al Jabal" which was chosen as one of the best 100 movies in the history of the Egyptian Cinema.

Most of her famous works were during the 70's as she made over 70 movies such as, Qandil Um Hashim and Tharthara Fawq Al Nile.

She died in the Al Salam International Hospital in Cairo suffering from kidney failure and acute lung infection.
May God rest her soul.

posted in Egyptian Film, Past and Present - 0 replies

Remembering Hoda Sultan

2007-03-16T22:43:29Z

From: www.arabia.msn.com/entertai...tlight93/

DOB: 8/15/25; DOD: 6/5/06

Hoda Sultan, 81, passed away yesterday after a severe drop in her blood circulation. The funeral is supposed to take place midday today in Al Sabah mosque, El Haram Street.

Sultan passed away a few weeks after the death of her daughter Maha Farid Shawky. Her physical and psychological condition deteriorated rapidly within the past few weeks, upon which she was moved to Dar El Fouad Hospital in 6th of October City in Cairo.

Hoda Sultan is considered a landmark in the history of Egyptian cinema. Her career continued for 55 years. Her singing career started in the radio, where she ran for an audition and was approved, to become one of the stars in Galal Mo’awad’s program “Adwa’ El Madina” (“City Lights”).

Later on, director Niazy Mostafa rediscovered her and initiated her in to the movie industry. Later she became a famous movie star in the fifties. Her first movie was “Set El Hosn” (1950).

Hoda Sultan's real name is Gamalat Abdel Aal El Hew. She was born in 1925, in a village near Tanta, in the Delta, 100-km north of Cairo. She is the sister of the late singer Mohamed Fawzy (1918 – 1966).

She got married five times, the most famous of her husbands was Farid Shawky, to whom she was married for 15 years and who is the father of her two daughters Nahed and Maha.

Sultan is most famous for her roles in great movies like “Emraa fel Tareeq”, “Shay’ fi Sadri”, “Al Ekhteyar”, “Wada’an Bonaparte”, “Awdet El Ebn El Dall”, the last three were directed by Youssef Chahin. Her last movie was “Men Nazret Ain” (2003).

In the past couple of years she played the role of the mother in many TV series such as “Wada’an Ya Rabie Al Omr”, “La Ya Ebnati Al Aziza”, “Arabesque”, “Zizinia”, “Al Watad”, and the trilogy of “Bain El Qasrain”, the TV adaptation of the novelist Naguib Mahfouz’s trilogy.

posted in Egyptian Film, Past and Present - 1 reply

Fareed Al Atrasch and his Love Affair with Samia Gamal

2007-03-06T20:33:08Z

So, the story goes that Samia was heartbroken because Fareed couldn't -- or wouldn't -- marry Samia because she was not only a dancer, but she was also not of his religion, which was Druze; a double whammy. In fact, I've read that Fareed was very concerned for his very life had he gone that step.

There are several things I've pondered about this issue.

1) If Fareed was so concerned with losing his life in marrying beautiful Samia, a woman with whom he was deeply in love and had an intimate love affair for about seven or eight years (common law marriage in some US states), wouldn't that have made him somewhat of a wuss and not much of a man for not standing by his true love?

2) If Fareed was the genius he was or is said to have been with his music, shouldn't Samia have been more patient with having him come around to getting married to her because of his genius given that he was the genius and Samia was not -- measured in terms of IQ?

3) Did Samia really leave Fareed heartbroken and in tears, or did she leave angry (P-O'ed) because Fareed would not make an honest woman out of her after so long, and did she she do so thinking that he wasn't "man" enough to marry her at the time the break-up occurred?

There always seems to be the thought that Fareed left because he didn't want his family to kill him or he didn't want to bring shame to his family, and that Samia was the one who was heartbroken more than Fareed in most if not all of the stories I've read. But I think there was more to the story than what many have written about.

Samia and Fareed where two very different people with two very different ways of thinking. Samia....a creative beautiful dancer and a woman that many would have loved to wed; Fareed....a musical genius and a man worth waiting for by many women.

What are your comments?

Who was it that was most heartbroken in your opinion and why?

-Sausan

posted in Egyptian Film, Past and Present - 1 reply

Shukry Sarhan....a Favorite of Mine.....

2007-03-04T22:27:07Z

From Wikipedia, the free encyclopedia: en.wikipedia.org/wiki/Shoukry_Sarhan
Jump to: navigation, search

Mohammad Shoukry Al Husseini Sarhan (1925 – 1997, Arabic: محمد شُكري الحسيني سرحان‎), better known as Shoukry Sarhan (شُكري سرحان) was an Egyptian actor.

Sarhan was born in Al Sharqiya, Egypt in 12 March 1925. He graduated from the High Institute of Acting in Egypt in 1947. In 1949, Sarhan acted in his first movie, Lahalibo (لهاليبو). His rise to stardom was in 1951 when Youssef Chahine, a famous Egyptian film director, chose him for the lead role in the movie Ibn al-Nile (ابن النيل, "Son of the Nile").

Sarhan had earned the title "The young man of the screen". He received several awards throughout his career. President Gamal Abdel Nasser honored Sarhan with "Egypt's decoration". In 1984, he received a Best Actor's award for his lead role, with Faten Hamama, in the movie Laylat al-Qabdh 'Ala Fatima (ليلة القبض على فاطمة, "The Night of Fatima's Arrest") which was directed by Henry Barakat.

During the celebrations of the centennial of cinema he was nominated by Egyptian critics as the best actor of the century in Egypt, having participated more than any other actor in some of the best 100 Egyptian films.

Sahran's last movie was Al-Gablawi (الجبلاوي) in 1991. He died in 1997.

posted in Egyptian Film, Past and Present - 0 replies

Remembering Abd El Wareth Assar

2007-03-04T21:29:35Z

From: http://www.yallacinema.com

He was born in El Gamalyia, Cairo, Egypt in 1884. His father was a lawyer who wanted his son to follow his steps. So, he enrolled him in Law School. Abd El Wareth dropped out from school and preffered to care with their cultured lands but he turned to Acting. In 1912, he joined George Abyad and Abd El Rahman Roshdy Theater where the group manger cast him as an old man. From there on, Abd El Wareth played the character of old man on most of his works. He wrote and re-wrote international works. He wrote 4 plays and number of Radio series. He also worked as a teacher in Cinema Institute. In 1935, he debuted on screen in film "Demoua El Hob". He worked on TV series, "Ahlam El Fata El Taier". He won many praises for his performance roles. He died in 1982.

posted in Egyptian Film, Past and Present - 0 replies

Samira Ahmed:I n the time of love

2007-03-04T21:11:18Z

From: http://weekly.ahram.org.eg/1999/417/people.htm

For years, her fundamental decency, sweet temperament and intimate, effortless appeal won the hearts of millions. Although she has been out of the limelight for almost a decade, nothing could prevent her from returning to our houses to entertain, edify -- and be loved...

Profile by Youssef Rakha

"My father was in civil service in Assiut and, when he fell ill after we were transferred to Cairo, my sister Khayriya [the celebrated comedian] and I thought of going out and working to help a little with the family expenses." Samira Ahmed speaks energetically, with an exceptional willingness to make herself known to her interlocutors -- whoever they happen to be. Her eyes sparkle, and, despite the upbeat tone in which she recounts her early beginnings, a sense of sadness betrays her voice while she remembers her father's illness. Her enchanting smile punctuates her sentences.

"We were both interested in performance arts. Khayriya used to get totally absorbed singing Umm Kulthoum's songs, and I staged little playlets with my friends and neighbours on the landing. But when my father fell ill, it was Khayriya who went out first, and she started on the lowest step of the ladder, as an extra." Ahmed gets up to attend to her two little dogs and, though she keeps them at bay throughout the conversation, it is obvious that they are very important to her. An avowed animal lover, she doesn't mingle too much with fellow human beings and although she has excellent relationships with many of her colleagues, whom she sees only occasionally, she makes a point of protecting her privacy.

"I was saying that Khayriya took me with her," Ahmed continues as she comes back, "and that was the way I started. But I had absolutely no idea that I would one day become a film star, I couldn't imagine it, even after I passed that stage and began to play minor roles, which gradually got bigger and bigger. It was a slow but very rewarding learning process, and an uphill struggle at first." Ahmed received no academic training in acting but, as she announces proudly, she studied articulation with the great actor Abdel-Wareth Assar. "He was a wonderful man, like a father to me, and he would tell me how to pronounce this word, how not to pronounce that. I had learned more and more as my roles expanded. Then one day Anwar Wagdi [the famous actor, director and producer, one of the earliest pioneers of Egyptian cinema] came up to me and said, 'You will play the lead opposite me in my next film [Al-Ustaz Sharaf, 1954].' And from that day on, things started happening."
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Things started happening, in fact, not only in Ahmed's life, but also in the whole milieu. Some of the greatest directors in the history of Egyptian cinema, Hassan El-Imam and Salah Abu Seif among them, had emerged only a short while earlier, the most successful production companies were at the height of their power, and Ahmed's career took off just as the golden age of the cinema was beginning to dawn. The 1950s and 1960s, moreover, during which Ahmed's effortless style first endeared her to cinema-goers, were the age of romance and romanticism, idealism and idyll, tenderness and tenacity -- in short, a time of love. In such light-hearted romances as Al-Banat Wal-Seif (Girls in the Summer, 1960) and Shati' Al-Hubb (Love Beach, 1961), in which she collaborated with two of the most popular singers of the time (respectively, Abdel-Halim Hafez and Farid Al-Atrash), Ahmed would soon develop the image of virginal beauty and intimate familiarity which was to mark her off as a very special kind of film star. The image that would continue to mature with her.

Thanks to the abiding sincerity of her performances and her unique charisma, Ahmed would invariably manage to hold her own despite searing competition with many a forbidding talent. "My role model was, and still is, Faten Hamama [probably the most well-established Arab actress, the 'Queen of the Arab Screen' as she is known throughout the Arab world]. But there were others too: Fardous Mohamed, Amina Rizq, to mention but two of them. I've always loved their performances and felt their sincerity." She never tried to copy them, however, and it was invariably "a question of concentrating, trying to get the feeling across in the most immediate way, so that you could tell what I felt without me saying anything, and without me appearing to make an effort. Because I am a film actress, it is always the image that is paramount." She pauses to smile once more, adjusting her hair in an involuntary display of charm. "And to be myself," she adds.

Paradoxically, though, nothing could be farther from herself than the roles in which Ahmed was said to specialise during the early part of her career. In Aghla Min Inaya (Dearer than my Eyes, 1955), she played a blind girl. No sooner had she made an impression than she extended the range of the disabilities she could portray in Al-Kharsaa' (The Mute Girl, 1961) and Hal Ana Magnouna (Am I Insane, 1962). For a long time "I was stuck with disabilities, my name became associated with disabled roles. It got to the point where I started worrying. I thought, would I go on playing disabilities for the rest of my life? Until they began to give me normal roles." Innocence and moral rectitude were the only qualities she had in common with the protagonists of these early melodramas, and they were to remain associated with her for the rest of her life. But in later hits like Qandil Umm Hashem (Umm Hashem's Lantern, 1968) and Al-Shaymaa' (1973), she sought out roles that were more directly related to her own perception of who she was. "In my opinion," she remarks, "these are much more difficult. Because it becomes a question of getting the feelings across in a much more subtle and truthful way. It is not merely a matter of giving people the impression that you are blind or insane -- however difficult that may be. It is more to do with getting yourself across. Who you are." And perhaps it was the lack of an opportunity to convey her emotions in this way that prompted Ahmed to disappear from the silver screen in the late 1980s, with an eventful career behind her and 85 films to her credit. It would be another decade before she returned.

"When I'm offered a role," she explains, "I ask myself whether it's appropriate, whether it fits me, whether I can say something through it. And I like it when I feel that the character has the same traits as I have. I can't play just any role now; it has to be right for me. So I spent this period searching for the right roles. There were many attempts, people wrote things for me, but at the last minute I would decide that it wasn't right, that it wasn't me. I am primarily a film actress, and you know how the cinema has declined, how difficult it has been for everyone." Her production company, which was founded during that period and is now run by her daughter Galila, a script-writer and part-time actress who only works in AUC productions, may have been an attempt to provide a remedy. "I feel that it's changing again, that the cinema might start taking off once more and that I might go back to it in the near future. This year I'm not going to do television but cinema. My daughter is writing the script. Of course," Ahmed says coyly, "it all depends on the times." And Ahmed's long-awaited return, surprisingly, has not been due to the cinema, but to television. After a successful series in Ramadan 1996, Didd Al-Tayyar (Against the Current), in which she played a middle-aged wife who grows more and more estranged from her husband as she discovers his immorality and corruption, in Ramadan 1998-'99 she astonished everyone as Wafiya, the originally Upper Egyptian "woman from the time of love" who enters the disorderly and aimless lives of her nephews and nieces, a group of adolescents who have had no one to look after them and have lost control of their lives.

"The idea itself made me think, children will dislike me, because I'll be giving advice, people will think I'm moralising." The phone interrupts our conversation: an official is asking Ahmed to participate in one of the numerous seminars that have been held since A Woman from the Time of Love. She cannot give him an answer just yet, and when he asks whether he can phone that evening, she says no. Ahmed does not enjoy receiving phone calls in general, but when they occur at night, she is particularly disturbed. "It was through the phone that I found out about my sister's death," she explains, "and it was late at night. But to get back to what I was saying. The point is that advice, unless it is provided in a smooth way, in a simple way, is bound to upset people, both young and old. Age makes no difference. So I was a little afraid. But when I started working, thinking about the character and which angle to approach it from, I said to myself, 'You should say everything with a smile, you shouldn't say anything in the manner of a schoolteacher,' because the people I was coming to, especially the children and the youngsters, were people I didn't know very well. I even had a line where I said that the last time I saw this boy, the eldest, [the young actor] Mohamed Riyad, was 12 years ago, so he would have been what -- very young." But the fact that Wafiya was, in effect, an incarnation of Ahmed herself, and consequently a superb vehicle through which the actress could exercise her power over the hearts and minds of a much wider range of people, made the challenge worthwhile. "Wafiya too is Upper Egyptian, and she has many of my moral and psychological traits. As I read [the script-writer] Osama Anwar Okasha's words, I had the feeling that I might have said them before. On some occasions I actually asked him, 'How do you know me so well?', especially as we hadn't cooperated before. But it was true, almost unbelievable, the extent to which the character resembled me."

Poised on the threshold of a further breakthrough in her career, Ahmed is more than content. Her daughter is her best friend and most intimate confidante, and her quiet, comfortable life in Zamalek is conditioned by a strict routine. An early riser, she is never late for an appointment, and enjoys the respect and admiration of everyone she knows.

But how has her recent success affected her? And what about the time of love during which she made her name? Is she often nostalgic? "Of course I am nostalgic for that time. But the recent experience has made me very content. The astonishing thing was that, after the series was broadcast (and we were shooting the whole time, till the last day, in Ramadan, so I hadn't actually seen the episodes), every time I walked in the streets, young people would follow me with their cars. They would stop me and shout, 'You're great, you're awesome...' And then I found little children talking to me. Wherever I went, little people would come running, calling me 'Tante Wafiya' and expecting me to kiss them. This was a surprise, that young people and children had been watching the series. And it really made me happy: the fact that, although I was giving them lessons in morals and principles and all the rest of it, they had accepted me. It was a very comforting experience. People are expecting a sequel," she says, "but I don't think so. I feel that if something is right, it should remain complete in itself. And, however nostalgic I may be, the time of love isn't over. Even though Osama's choice of title is beautiful," Ahmed smiles again, "I feel that every time I live is a time of love."

photo: Mohamed Mossad

posted in Egyptian Film, Past and Present - 0 replies

"Dream Makers on the Nile" book

2007-03-04T21:04:29Z

I just got the book "Dream Makers on the Nile - A Portrait of Egyptian Cinema", by Mustafa Darwish. At first glance it appears to be a nice easy-to-read introduction to the history of the Egyptian film industry, with lots of great vintage photos. It doesn't have much depth, but for someone who doesn't know anything at all about the subject it provides a not-too-daunting place to start learning.

However....

Am I missing something, or did it omit Samia Gamal completely? On the page devoted to Farid al-Atrache and his sister Asmahan, it seems to dwell almost entirely on Asmahan, with only a paragraph devoted to Farid. And I can't find Samia Gamal mentioned at all. But I confess, I've taken only a cursory look so far, thumbing through it and looking at the table of contents. But I would have expected that she would have deserved a page of her own.

posted in Egyptian Film, Past and Present - 1 reply

Video opinion polls for Egyptian films

2007-02-24T23:44:02Z

On my web site, I have video opinion polls for 19 Arab-language movies. I invite the members of this tribe to vote in the polls for those movies which you have seen. The polls are at www.shira.net/videocenter.htm

As for what criteria to use in voting, that's up to you. Could be well-developed plot and characters. Could be having a bunch of entertaining dance scenes. Whatever suits your biases. Although i don't vote in the polls myself, if I were to, I'd probably give Habib el Omr (Love of My Life, or Love of a Lifetime) "good but not special" because I felt the plot was kind of tedious and the character development one-dimensional, and I was frustrated with the dance scenes because the camera angles kept cutting away to show audience members, which made the experience of watching the dancing rather choppy. I would give "fantastic" to Afrita Hanem because I really enjoyed the plot and the light humorous touches, and the editing of camera angles is much friendlier to those of us who want to focus on the dancing.

These are the movies for which polls are available:

Ahebbak Inte (I Love You)
Afrita Hanem (Genie Lady, She-Devil, Demon Woman)
Akher Kedba (The Last Lie, The Final Lie)
Bayaet el Garayed (The Newspaper Seller)
Dananeer
Fatma
Gharam fi al-Karnak (Love in Karnak)
Habib el Omr (Love of My Life, Love of a Lifetime)
Hassan wa Naima (Hassan and Naima)
Imm al Aroussa (Mother of the Bride)
Khally Balak Men Zouzou (Pay Heed to Zouzou, Watch Out for Zouzou, Beware of Zouzou)
Kommisseriate el Fatenate (Inspector General)
Lahalibo (The Circus)
Ma Takulshi La Hada (Don't Tell Anyone)
Mawal
Shatie el Hob (Shore of Love)
Sigarah wa Kass (Glass and a Cigarette)
Tamra Henna (Henna Flower)
Zouqaq al-Midaaq (Al Madak Alley, Alley of the Pestle)

posted in Egyptian Film, Past and Present - 4 replies

Remembering Fayza Ahmed

2007-02-23T16:31:04Z

http://www.festival.com.eg/PRound_03/9th_FA.htm

Great Artist
Fayza Ahmed's life time

* Fayza Ahmed was born in 1934 in Sayda, Lebanon from a Syrian father and a Lebanese mother. She brought up in Damascus Syria.

* She started to sing when she was six years old, as she was not interested in studing and she was perfect in imitating both Laila Mourad and Asmahan.

* Her mother was the first to discover her talent, she supported her to learn music and to play Lute which she learnt from the famous composer Mohamed El Naami, whom she married later.

* As a start, Fayza Ahmed was singing for friends and neighbours in different occasions.

* When she was 13 years old, she sang her first song " Leh Tekhony ba'd ma salemt kalby we Rohy" composed by Youssef Fadel who was a famous composer at that time, and written by Mohamed Ali Fattouh.

* In 1946 the Lebanese radio approved Fayza Ahmed as a singer.

* Her fame, success and popularity started in Lebanon, Syria, Iraq and then Cairo which was her hope.That was in 1957 where she was stelled and started life as a singer.

* She had more than 340 songs, included lyric poem, romantic, national and religious songs. Her songs were composed by great and famous composers: Riyad El Sonbaty, Mohamed Abdel Wahab, Kamal El Tawyl, Mohamed El Mogey, Mohamed Sultn, Helmi Bakr and Mohamed El Sherif. She also sang for most of the poets and writers.

* She sang famous songs composed by the great composer Mohamed Abd El Wahab like: Set El Habayb, Habibi Ya khoya, We Kedert Tohgor, We Tohgorny Be Hekaya….. etc and for Mohamed El Mogey: Ana Kalby Elek Mayal.

* Fayza Ahmed paticipated in all national and Patriotic occasions and the most famous songs in these occasions as Misr Baladna opretta El Geel El sa'ed An them. .

* Her love for Egypt was the main reason for her stay and success in Egypt till she became one of the greatest artists in the Arab Countries and the first meeting with composer Mohamed Sultan was Rosho El Ward, which she sang, in a big festival for the soldiers and officers after the war, and it was very succesful.

* As she was so sick, she played only 6 movies: Ana We Banati, Tamr Henna, El Millionaire El Faker, Laila Bent El Shate', Amsk Haramy. And only one play in the theatre.

* Fayza Ahmed continued to sing and lived for 25 years in all Egyptian and Arabs' hearts until she passed away in 21st September 1983.

posted in Egyptian Film, Past and Present - 1 reply

Mohamed Abd El Mottaleb

2007-02-23T08:26:00Z

From: http://163.121.12.9/scripts/egymusic/subsubcat.asp?id=35&subid=7&catid=3

His full name is "Mohammed Abdel Mottaleb El Ahmar". He was born in "Beheira".
He first joined "Dawoud Hosni's" group and then "El Mazhabia" group.The great composer, "Abdel Wahab" gave a good push to Abdel Mottaleb's career by writing the music for some of his songs.
Abdel Mottaleb is renowned for his folk songs .He was granted the national order of merit in art in 1964 and an honor of appreciation in 1979.

posted in Egyptian Film, Past and Present - 1 reply

The Musical Legacies Of Sayyid Makkawi, Munir Bashir and Walid Akel

2007-02-23T08:04:08Z

From: http://leb.net/~aljadid/music/0423makkawi.html

By Sami Asmar

The past few months witnessed the loss of three Arab musicians who were pioneering giants and history-makers - Sayyid Makkawi, Munir Bashir and Walid Akel - three different men on different paths: Makkawi, an Egyptian composer and singer who had reached a career peak and was nearing retirement; Bashir, an Iraqi oud player and composer with international acclaim; and Akel, a Lebanese pianist prodigy who performed Western classical music with a vision to invigorate his art in Lebanon.

Sayyid Makkawi's Five Thousand Tunes

After 52 years of singing and composing, Sheikh Sayyid Makkawi died at age 70 in Cairo after a Ramadan trip to Beirut, where he fell sick. With thousands of compositions to his credit, Makkawi is, literally, the last of a group of Egyptian religiously-trained sheikhs who turned to music and became giants, including Sheikh Salamah Hijazi, Sheikh Imam, Zakariya Ahmad and the ever popular Sheikh Sayyid Darwish.

Makkawi's primary contribution to Arabic music was in popularizing tarab songs. Tarab, the feeling of ecstasy associated with music appreciation, was in the domain of long art songs. Like Sayyid Darwish before him, Makkawi was more in touch with people at all levels, and performed for the people, often about themes of relevance to their daily lives. Popularizing the music, however, did not come at the expense of the quality of his work, and that brought him head and shoulders above a crowd of song-writers.

As proof of his high quality, Makkawi was sought after by the best, including Umm Kulthum, for whom he wrote the hit song "Ya Msaharni," Layla Murad, Warda, Mayyada, Sabah, and Faiza Ahamad. He wrote the ever-so-cute song, "Is'al Marra -Allaya" [Ask for Me Once in a While] sung by Mohammad Abdul Muttaleb. He even surprised his colleagues by working with Shukuku, the folk comedian and singer. Few are aware that Sayyid Darwish composed popular songs, such as those for the hit comedy play "Madrast al-Mushaghibeen" [School of Trouble-Makers], starring the noted actor-comedian, Adel Imam.

As demonstrated in his flagship song "Ya Msaharni," he maintained the rules of manipulating the Arabic modal structure (maqam) and percussion without compromise. He simply wrote good music the old-fashioned way and did not need to bend the rules to create something new-a controversial theme even today among contemporary composers. His work combined simplicity and depth in an unrivaled way, typically utilizing the "call and response" mechanism of composing.

Blind from childhood due to medical mishandling in his poor community (the same conditions that led to the blindness of author Taha Hussain), Makkawi did not let that depress him. He often joked about the subject, telling reporters that his hobbies included bicycle racing. His best blindness story was once reported in "As Safir" magazine: He was once invited to perform the call to prayer at the prestigious Sit Zainab mosque in Cairo, and was led to a chair and handed a microphone. His host, however, asked to him to rest for a few minutes since it was still early for the call to prayer. The tired Makkawi fell asleep and did not wake up until it was past the prayer time. That was not the bad part; when he woke up, unable to see his surroundings and forgetting where he was, he felt a microphone in his hand. He cleared his throat and enthusiastically sang the latest song by Mohammad Abdulwahab, "al-Gundul." For miles around the mosque, the shocked neighborhood could not believe what they heard emanating from the mosque's loudspeakers. Surprisingly, people did not interrupt him until he finished the song, at which point the officials were reportedly ready to "kill him." He got away unharmed.

Being a blind child quickened his family's decision to enroll him in an "al-kuttab" Quranic school, where he with his beautiful voice excelled as a child reader of the Quran. In secret, however, he listened to records on his father's gramophone and sang popular songs. Not wanting to offend his family or teachers, he kept his ambition to sing and compose to himself. He was 20, when after meeting two producers who encouraged him, he took his chances in the business. He quickly lost whatever income he was making from Quranic chanting and began the life style of a poor artist. He could not afford a tutor to learn the musical scales (the Arabic word for scale is the same as for ladder) and joked that his poverty made him "fall off the ladder."

Makkawi's big break came when a known poet collaborated with him on a musical called "The Big Night," in which he composed all the tunes and sang most of the songs. The surprising success of the unknown musician placed him in high demand ever since. He ended up composing a dozen musicals as part of his works, which ultimately included a catalogue of 5,000 tunes.

Makkawi succeeded because he had a natural tendency to produce music that everybody could relate to. Whereas some songs can only be enjoyed in a certain mood, Makkawi's work was, like his personality, never imposing, and could be accepted at any time. During a recent trip to the University of California at Los Angeles (UCLA), where he was honored by ethnomusicology Professor Jihad Racy, one could see first-hand that the man was humble and maintained a sense of humor, yet could move the spirit of all around him, as did his music.

Munir Bashir The Improviser

"Ironically, the West accepted him for his Eastern music while the Arab world favored musicians who adopted elements of Western music"

Munir Bashir was universally considered the best soloist oud player alive and one of the greatest of all times, in the company of Mohamad Qasabgi, Farid al-Atrash and Sharif Haydar. Born in the Iraqi city of Mosul to an Assyrian father and Kurdish mother, Munir was only five when his father started teaching him and older brother Jamil the basics of oud playing. His father, who was also a poet, stressed the purist musical traditions in the spirit of living in Baghdad, the old capital of the Abbassid caliphs. During the Abbassid period, Mosul produced Ishaq and Ibrahim al-Mouseli, who, along with former student Ziryab, who had escaped Iraq and settled in Andalusia, are considered the fathers of Arabic music as we know it today.

The Bashir children were compelled to live up to that honor and responsibility, and both became apprentices of master instructor Sharif Mohiedin Haydar. Jamil excelled beyond his father's expectations, later developing his own style on the oud, and also played the violin.

It did not take long for Munir, however, to master the subtleties of playing the instrument. He became an unrivaled virtuoso, thus giving the oud the respect it once had in ancient Baghdad. He later followed in Haydar's footsteps as a professor at the Iraqi Academy of Art and also held the job of music director in the country's broadcasting company, where he cynically likened government officials in charge of making decisions on music to "barbers supervising a surgery."

Dissatisfied with his musical progress, Bashir traveled to pursue higher education in Budapest. He married a Hungarian woman and, in 1965, obtained a doctorate and a quick appointment at the Hungarian Academy of Science as a lecturer in folk art. At various times in his life, he had maintained residences in Iraq, Lebanon and Jordan (where he was awarded a medal by the king), but spent most of his later years at his home in Budapest, where he died of a heart attack at the age of 68.

Bashir's approach to performing was centered on respecting the oud. As a result, he "exploded" the instrument and played it in ways not fully appreciated before. Bashir even discovered a connection between his music and Sufi spiritual traditions. That was accidental and happened only, when, to his surprise, he was invited to a Sufi conference in the United States, since the organizers appreciated the spirituality of his work. He later reportedly came to believe in the music's power to heal sicknesses and physical handicaps.

Despite the fact the he had hundreds of compositions recorded, he is known for his improvisations. He was indeed the king of improvisation (taqsim). And although with a higher education background, he learned the theory of Arabic modal structures (maqamat) in a non-academic way, in the traditional style of apprenticeship. Later in his career, some critics wrote that Bashir excelled in two particular maqams more than others: Shad Arban, because it was easier on the Western ear, and Rast, the fundamental Arabic maqam, implying that he solicited Western acceptance.

Regardless of these insinuations, he had an intuitive feel for the art and the instrument of Ziryab. The latter had added the fifth string to the oud and was the first to use a feather for a pick; to this day even a plastic oud pick is called a feather (risha). Incidentally, a young contemporary Lebanese oud player called Charbel Rouhana added a sixth string to his instrument. While Ziryab's fifth string was a low one, for base resonance, Rouhana's is a high string for added range. Haydar also reportedly experimented with a sixth low string, but the standard instrument remains as left by Ziryab with only minor changes in the tuning. In mutual admiration, Bashir proclaimed young Rouhana to be his "son."

Rouhana is the cousin of the Lebanese musician Marcel Khalife; Bashir's Lebanese connection also included important work with the Rahbani Brothers, and oud recordings of some famous Fairouz songs. In fact, Bashir was "discovered" in Beirut by Swiss ethnomusicologist Simon Jargy, who invited him to perform in Geneva, thus moving him to the international arena, in which he found recognition and comfort. Interestingly, later in his career, Bashir criticized the Rahbanis for their excessive Westernization. Bashir also criticized Mohammad Abdulwahab for adopting elements of Western music, and in doing so, he joins a list of purists who also criticized Abdulwahab in articles and interviews. This list includes Sayyed Makkawi, who called Abdulwahab a traitor, and Sabah Fakhri, who sings in purely traditional Arabic style to this day.

The fantastic improvisational style of Bashir, which had earned him awards from heads of states on every continent, was clearly art music, not popular music. In fact, he is not particularly well known at a grass-root level, and some of the musically uneducated mistake his work for Turkish music. "Alwasat" magazine reported that Bashir once commented that the Egyptian populace did not know of him because he did not sing while playing (probably making reference to Farid al-Atrash) and because he did not sit behind a singer, either (probably referring to Mohamad Qasabgi, Umm Kulthum's oudist). He was a little bitter that the West accepted him more than the Arab world and wondered why Arabs could not embrace an "independent musician!" Ironically, the West accepted him for his Eastern music while the Arab world seemed to favor musicians who adopted elements of fashionable Western music.

The influence of Turkish style, which comes from Haydar, and Indian style (where he borrowed the idea of a brief silence from Indian improvisers, which was unsuccessful with Arabic audiences) as well as his physical playing technique and fingering, gave Bashir a unique and recognizable sound. He often spoke of the art of listening and listening to art, and stressed the purity of the music of the Arabs. Towards that end, he helped found several music schools to pass the legacy on to future generations.

Walid Akel - Without Music, Life Would be an Error

Unlike Sayyid Makkawi, the sheikh who turned into a prolific composer of Arabic music for Arabs, or Munir Bashir, the instrumental specialist who improvised Eastern music for the whole world to enjoy, Walid Akel was an Arab who played classical Western music on a Western instrument.

Jihad Racy, professor of ethnomusicology at UCLA, saw parallels between Bashir and Akel: Bashir proved that an Arab musician could reach Western audiences through Arab art, and Akel proved that an Arab musician could reach Western audiences through Western art. They both gained international acclaim for these accomplishments. Noted similarities between the two instrumental specialists include the fact that they both lived and died in Europe, developed an interest in Sufism, and cared about educating the next generation in music.

At age 14, while his friends played soccer on open fields, Walid Akel took up the piano, quickly realizing it was his calling. His family and community, recognizing the prodigy among them, encouraged him. At a concert in Baalbek, he once met a famous Russian composer named Richter who was amazed that the young man knew small details about his life and work. He spent time with his fan, encouraging him to pursue music without even hearing him play thus giving him the boost he needed. The Russian connection remained with Akel the rest of his career, as he later recorded the works of Russian greats such as Prokofiev, Rachmaninov and Scriabine.

Akel moved to Paris to pursue a higher education, establishing a residence there. He lived with a cat and four pianos until his death at age 52 during heart surgery. With all his tours and busy recording schedule, however, he made time for frequent trips to Lebanon, where he performed at well-attended concerts, maintaining a connection to his heritage, and making a contribution to Lebanese music education. Akel, like Bashir, was aware that his culture favored singers and ensemble musicians over solo instrumentalists, but he succeeded in showing Arabs tarab of a different flavor. In the process, he inspired many Lebanese pianists who are gaining international acceptance in his footsteps; in fact, he was a trendsetter.

The eccentric and intelligent pianist was known to have a hot temper as well as demanding strict accuracy and exactness in his music, typical characteristics of very highly sensitive musicians. His feelings showed in his music, and his interpretations often rivaled the intent of the original composers in their beauty. No wonder An-Nahar newspaper called him a Sufi; his music reflected his spiritual richness and emotional depth. Although he was highly selective in what he played, he did try many periods of Western music, and particularly the Baroque, producing recordings of Johann Sebastian Bach. It appeared that his favorite composer was Franz Joseph Haydn, whom he considered a genius.

He played his works at every opportunity and is reported to be the only pianist to record his complete work, including previously unpublished compositions discovered by a Vienna museum-an effort that took seven years. Akel was very well coordinated, and sought out difficult pieces which emphasized the left hand to stress his skills, although he was by no means showing off; he had a philosophical interest in complex work.

This philosophical angle on life led him to do something which surprised the music community: He found the musical compositions of European poet and philosopher Friedrich Nietzsche and recorded them. Only a few specialists knew that Nietzsche, one of the most provocative and influential thinkers of the 19th century, also composed music, and once Nietzsche wrote that without music, life would be an error. This little secret was of great interest to Akel, the thinker, the man who sought challenges and overcame them.

This article appeared in Al Jadid, Vol. 4, No. 23 ( Winter 1998)
Copyright © 1998 by Al Jadid

posted in Egyptian Film, Past and Present - 0 replies

Just joined today!

2007-02-21T18:55:27Z

Hi Sausan! I discovered your tribe today when searching for something else, so of course I had an uncontrollable urge to join! I've read a few of the messages you have already posted, and found them very informative! Thanks so much for sharing the knowledge!

posted in Egyptian Film, Past and Present - 2 replies

Trivia....

2007-02-21T15:19:29Z

Did you know that Rushdi Abaza -- also known as the Clark Gable of Egyptian cinema -- was maried to both Taheyia Karioka and Samia Gamal? Of course, it was at different times.

Taheyia basically discovered this handsome fellow and helped to grow his film career. They weren't married for long and soon divorced. Later, after Samia's long love affair with Fareed Al Atrash and subsequent marriage to and divorce from Texan Oil Tycoon, Shepard King, Rushdi met Samia on the movie set in a movie in which Sabah starred. Samia and Rushdi married and were together for 19 years. Samia helped to raise Rushdi's dauther, Kismet, from a previous marriage to an American flight attendant.

Soon after their divorce, Rushdi passed away at age 55.
BTW, Rushdi also married Sabah, but it was only for one day.

-Sausan

posted in Egyptian Film, Past and Present - 2 replies

Farewell to Naguib Mahfouz

2007-02-21T15:04:53Z

I thought we'd take some time out and say a prayer for Naguib Mahfouz. He was one beautiful literary genius. I took this from the Iternet at http://www.kirjasto.sci.fi/mahfouz.htm

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Naguib Mahfouz (1911-2006)

Egyptian writer who was awarded the Nobel Prize for Literature in 1988, and was the first Arabic writer to be so honored. Many in the Arab world saw the prize as somewhat ironic, not least because the work for which Mahfouz received the prize had been published at least three decades earlier. In spite of millions readers in the Arab world, the author's books are still unavailable in many Middle Eastern countries on account of his support for President Sadat's Camp David peace treaty with Israel in 1978. Mahfouz wrote some 33 novels and short story collections, 30 screenplays, and many plays.

"Zaabalawi!" he said, frowning in concentration, "You need him? God be with you, for who knows, I Zaabalawi, where you are?"
"Doesn't he visit you?" I asked eagerly.
"He visited me some time ago. He might well come now; on the other hand I mightn't see him till death!"
I gave an audible sigh and asked:
"What made him like that?"
He took up his lute. "Such are saints or they would not be saints," he said laughing.
"Do those who need him suffer as I do?"
"Such suffering is part of the cure!"
(from 'Zaabalawi,' 1965)

Naguib Mahfouz was born in Gamaliya, Cairo. The family lived in two popular districts of the town, in al-Jamaliyyah, from where they moved in 1924 to al-Abbasiya, then a new Cairo suburb; both have provided the backdrop for many of the author's writings. His father, whom Mahfouz described as having been "old-fashioned", was a civil servant, and Mahfouz eventually followed in his footsteps. In his childhood Mahfouz read extensively. His mother often took him to museums and Egyptian history later became a major theme in many of his books.

The 1919 revolution in Egypt had a strong affect on Mahfouz, although he was at the time only seven years old. From the window he often saw English soldiers firing at the demostrators, men and women. "You could say," he later noted, "that the one thing which most shook the security of my childhood was the 1919 revolution." After competing his secondary education, Mahfouz entered the University of Cairo, where he studied philosophy, graduating in 1834. By 1936, having spent a year working on an M.A., he decided to become a professional writer. Mahfouz then worked as a journalist at Ar-Risala, and contributed to Al-Hilal and Al-Ahram. The major Egyptian influence on Mahfouz's thoughts of science and socialism in the 1930s was Salama Musa, the Fabian intellectual.

Before turning to the novel, Mahfouz wrote articles and short stories, 80 of which were published in magazines. His first published book was a translation of James Baikie's work on ancient Egypt. Mahfouz's first collection of stories appeared in 1938. In 1939 he entered government bureaucracy, where he was employed for the next 35 years. From 1939 until 1954, he was a civil servant at the Ministry of Islamic Affairs, and then was appointed director of the Foundation for Support of the Cinema, the State Cinema Organization. In 1969-71 he was a consultant for cinema affairs to the Ministry of Culture.

Most of Mahfouz's early works were set in al-Jamaliyyah. ABATH AL-AQDAR (1939), RADUBIS (1943), and KIFAH TIBAH (1944), were historical novels, written as part of a larger unfulfilled project of 30 novels. Inspired by Sir Walter Scott (1771-1832) Mahfouz planned to cover the whole history of Egypt in a series of books. However, following the third volume, Mahfouz shifted his interest to the present, the psychological impact of the social change on ordinary people.

Mahfouz's central work in the 1950s was The Cairo Trilogy, a monumental work of 1,500 pages, which the author completed before the July Revolution. The novels were titled with the street names Palace Walk, Palace of Desire, and Sugar Street. Mahfouz set the story in the parts of Cairo where he grew up. They depict the life of the patriarch al-Sayyid Ahmad Abd al-Jawad and his family over three generations in Cairo from WW I to the 1950s, when King Farouk I was overthrown. With its rich variety of characters and psychological understanding, the work connected Mahfouz to such authors as Balzac, Dickens, Tolstoy, and Galsworthy. Mahfouz ceased to write for some years after finishing the trilogy. Disappointed in the Nasser régime, which had overthrown the monarchy in 1952, he started publishing again in 1959, now prolifically pouring out novels, short stories, journalism, memoirs, essays, and screenplays.

The Children of Gebelaawi (1959) portrayed the patriarch Gebelaawi and his children, average Egyptians living the lives of Cain and Abel, Moses, Jesus, and Mohammed. Gebelaawi has built a mansion in an oasis in the middle of a barren desert; his estate becomes the scene of a family feud which continues for generations. "Whenever someone is depressed, suffering or humiliated, he points to the mansion at the top of the alley at the end opening out to the desert, and says sadly, 'That is our ancestor's house, we are all his children, and we have a right to his property. Why are we starving? What have we done?' " The book was banned throughout the Arab world, except in the Lebanon. In the 1960s, Mahfouz further developed its theme that humanity is moving further away from God in his existentialist novels. In The Thief and the Dogs (1961) he depicted the fate a Marxist thief, who has been released from prison and plans revenge. Ultimately he is murdered in a cemetery.

Mahfouz left his post as the Director of Censorship and was appointed Director of the Foundation for the Support of the Cinema. He was a contributing editor for the leading newspaper Al-Ahram and in 1969 he became a consultant to the Ministry of Culture, retiring in 1972. He has been a board member of Dar al Ma'aref publishing house. Many of his novels were serialized in Al-Ahram, and his writings also appeared in his weekly column, 'Point of View'. Before the Nobel Prize only a few of his novels had appeared in the West.

In the 1960s and 1970s Mahfouz started to construct his novels more freely and use interior monologue. In Miramar (1967) he developed a form of multiple first-person narration. Four narrators, among them a Socialist and a Nasserite opportunist, represent different political views. In the center of the story is an attractive servant girl. In Arabian Nights and Days (1981) and in The Journey of Ibn Fatouma (1983) Mahfouz drew on traditional Arabic narratives as subtexts. Akhenaten, Dweller in Truth (1985) is about conflict between old and new religious truths, a theme with which Mika Waltari dealt in Finland in his historical novel Sinuhe (1945, trans. The Egyptian).

"As a geographical place and as history, Egypt for Mahfouz has no counterpart in any other part of the world. Old beyond history, geographically distinct because of the Nile and its fertile valley, Mahfouz's Egypt is an immense accumulation of history, stretching back in time for thousands of years, and despite the astounding variety of its rulers, regimes, religions, and races, nevertheless retaining its own coherent identity." (Edward W. Said in New York Review of Books, November 30, 2000)

Mahfouz, called the "Balzac of Egypt", described the development of his country in the 20th-century. He combined intellectual and cultural influences from East and West - his own exposure to the literarature of non-Arabic culture began in his youth with the enthusiastic consumption of Western detective stories, Russian classics, and such modernist writers as Proust, Kafka and Joyce. Mahfouz's stories, written in the florid classical Arabic, are almost always set in the heavily populated urban quarters of Cairo, where his characters, mostly ordinary people, try cope with the modernization of society and the temptations of Western values.

Among those people, who brought early translations of his work to the English-speaking readers was Jacqueline Onassis. In Egypt he was widely considered a spokesperson not only for Egypt but also for a number of non-Western cultures. However, Mahfouz himself almost never traveled outside of Egypt, and sent his daughters to accept the Nobel Prize on his behalf.

Like many Egyptian writers and intellectuals, Mahfouz was on a "death list" by Islamic fundamentalists. He defended Salman Rushdie after the Iranian spiritual leader Ayatollah Ruhollah Khomeini condemned him to death, but later he criticized Rushdie's Satanic Verses as "insulting" to Islam. In 1994, near his home, Mahfouz was stabbed in the neck with a kitchen knife, and two Egyptian Islamic militants were sentenced to death for attempting to kill him. Texts written after the assassination attempt for a weekly women's magazine were collected in Dreams (2000-2003). In his old age Mahfouz became nearly blind, and he though he continued to write, had difficulties in holding a pen or a pencil. He also had to abandon his daily habit of meeting his friends at coffeehouses. Mahfouz died in Cairo on August 30, 2006.

For further reading: The Changing Rhythm: A Study of Najib Mahfu's Novels by Sasson Somekh (1973); The Modern Egyptian Novel by Hilary Kilpatrick (1974); The Arabic Novel by Roger Allen (1982); Naguig Mahfouz, Nobel 1988: Egyptian Perspectives (1989) Nobel Laureates in Literature, ed. by Rado Pribic (1990); Naguib Mahfouz's Egypt by Hayim Gordon (1990); Critical Perspectives on Naguib Mahfouz, ed. by Trevor Le Gassick (1991); Naguib Mahfouz, ed. by Michael Beard and Adnan Haydar (1993); Naguib Mahfouz: The Pursuit of Meaning by Rasheed el-Enany (1993)

Selected works:

* ABATH AL-AGDAR, 1939 - Mockery of the Fates
* RADUBIS, 1943
* KIFAH TIBAH, 1944
* KHAN AL-KHALILI, 1944
* AL-QAHIRAH AL-JADIDAH, 1946 - New Cairo
* ZUQAQ AL-MIDAQQ, 1947 - Midaq Alley (trans. by Trevor le Gassick) - Midaqq-kuja (suom. Pekka Suni, Mustafa Shikeben) - film El Callejón de los milagros / Midaq Alley, dir. by Jorge Fons and starring Ernesto Gómez Cruz, Salma Hayek, and Maria Rojo, was based on Mahfouz's novel but set in Mexico City.
* IGNIS FATUUS, 1948
* AL-SARAB, 1949
* BIDAYAH WA-NIHAYAH, 1949 - The Beginning and the End (trans. by Ramses Hanna Awad)
* AL-THULATIYA, 1956-57 - The Cairo Trilogy; BAYN AL-QUASRAYN (1956) - Palace Walk (trans. by W. Hutchins and Olive Kenny) - QUAST AL-SHAWQ (1957) - Palace of Desire (trans. by W. Hutchins, Lorne Kenny and Olive Kenny) - AL-SUKKARIYAH (1957) - Sugar Street (trans. by W. Hutchins and Angele Botros Semaan) - Palatsikatu, Intohimon palatsi, Sokerikuja (suom. Pekka Suni)
* Children of Gebelaawi, 1959 - Children of the Alley (trans. by Peter Theroux)
* AL-LISS WA-AL-KILAB, 1961 - The Thief and the Dogs (trans. by Trevor Le Gassic and Mustafa Badawi)
* AL-SUMMAN WA-AL-KHARIF, 1962 - Autumn Quail (trans. by Roger Allen)
* AL-TARIQ, 1964 - The Search (trans. by Muhammed Islam)
* AL-SHAHHADH, 1965 - The Beggar (trans. by Kristin Walker Henry and Nariman Khales Naili al Warrah)
* THARTHARAH FAWQ AL NIL, 1966 - Adrift on the Nile (trans. by Frances Liardet)
* AWLAD HARITNA, 1967 - Children of Gebelawi (trans. by Philip Stewart) / Children of the Alley (trans. by Peter Theroux)
* MIRAMAR, 1967 - Miramar (trans. by Maged el-Komos and John Rodenbeck) - Miramar (suom. Pekka Suni, Mustafa Shikeben)
* AL MARAYA, 1971 - Mirrors (trans. by Roger Allen)
* AL-HUBB TAHT AL MATAR, 1973
* AL-KARNAK, 1974 - Three Contemporary Egyptian Novels
* QUAB AL-LAYL, 1975
* HIKAYAT HARITNA, 1975 - Fountain and Tomb (trans. by Soad Sobhy, Essam Fattouh, and James Kenneson)
* HADRAT AL-MUHTARAM, 1975 - Respected Sir (trans. by Rasheed el-Enany)
* MALHAMAT AL-HARAFISH, 1977 - The Harafish
* ARS AL-HUBB, 1980
* AFRAH AL-QUBBAH, 1981 - Wedding Song (trans. by Olive Kenny)
* LAYALI ALF LAYLAH, 1981 - Arabian Nights and Days (trans. by Denys Johnson-Davies)
* AL-BAQI MIN AL-ZAMAN SA'AH, 1982
* RIHLAT IBN FATTUMAH, 1983 - The Journey of Ibn Fatouma (trans. by Denys Johnson-Davies)
* AMAM AL-'ARSH, 1983
* AL-A'ISH FI AL-HAQIQAH, 1985 - Akhenaten, Dweller in Truth (translated from the Arabic by Tagreid Abu-Hassabo)
* YAWM MAQTAL AL ZA'IM, 1985 - The Day Leader Was Killed
* HADITH AL-SABAH WA-AL-MASA, 1987
* THARTHARAH ALA AL-BAHR, 1993
* ASDAA AL-SIRA AL-DHATIYYA, 1994 - Echoes from an Autobiography (trans. by Denys Johnson-Davies)
* AHLAM FATRAT AL-NAQAHA, 2000-2003 - The Dreams

posted in Egyptian Film, Past and Present - 2 replies

So'ad Hosny....The Cinderella of Egyptian Film

2007-02-20T23:09:19Z

From: http://www.arab-celebs.com/profile.asp?id=80

Cairo, July. 25th, 2002 -- Soad Hosny, born on 26 January 1942, the tenth sister from between 17 brothers and sisters, most half brothers and sisters, the most well known is the famous singer Nagat Al Saghira.

Soad started her acting career since young, she used to take part in the famous radio children program Baba Sharo, were she got known for singing the song ‘Okht El Quamar’… aka Sister of the Moon.

The writer, director, and actor Abd El Rahman El Khamissy, who was a friend of her family, discovered the acting talent in her, he wanted to glaze this natural talent, and so he handed the mission of oral performance to Ibrahim Saafan, the Arabic language teacher at this time. He had had in mind screening the famous popular radio episode/series ‘Hassan We Na’ima’, and he wanted to present his discovery Soad Hosny as Na’ima. The film was produced and directed by Henry Barakat in 1959.

Soad’s name started to glory amongst famous names at that time, belonging to the generation of Faten Hamama, and Magda El Sabahi. Her spontaneous performance in addition to her funny sense of humor and liveliness gave her the lead opportunity. She presented a variety of dramatic roles. She played the role of the girl looking for her right to choose her partner, as in films “AL SET AL NAZRA”, and “BABA AYEZ KEDA”, the liberal girl as in “AL THALATHA YOHEBOUNAHA”, and “AL ASHQIAA AL THALATHA”, and comes the stage of the historical and political films “AL QUAHERA 30…aka Cairo 1930” for great director Salah Abu Seif, “GHEROUB WA SHEROUK ”, “AL KARNAK (1975)”, “ALA MAN NOTLIQ AL ROSSASS ”, the social roles as in “AL ZAWGA AL THANIA …aka The Second Wife”, roles of great dramatic dose like “BE AR AL HERMAN)”, folkloric roles “SHAFIKA WE METWALLI”, commercial light movies “KHALLI BALAK MIN ZUZU”, and “AMIRA HOBI ANA”. She obtained the domain of the Cinderella of the golden screen with no competitors.

Soad’s psychological, and human nature was different from the stars at that time, this might be due to her suffering as a child from the divorce of her parents, and having to live in two atmospheres and houses at a certain age. I think her marriages were all out of love and not out of benefit or material interests. She was always been looking for containment which she missed. Since the loved one never discussed her private relations I think it is out of respect that we should not get into investigating through the drifting tunnel which we will never get to know the truth of it, and will remain buried with her, so, I will not refer to the stories which had been said by some, as the only person who has the right and knows the truth is absent.

And comes her sarcastic journey with sickness in mid eighties, when she traveled to London for treatment that lasted more than 13 years, without any convincing diagnosis to the illness she had. We were all surprised to hear about her tragic death, and finding her body in a basement.. There were lots rumors and comments questioning if this tragic death was a suicide or deliberate accident.. Up till the writing of those lines her death remains a mystery.

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From: http://www.answers.com/topic/suad-husni

Suad Mohammad Husni El-Baba, Souad Hosni, or Soad Hosny (Arabic: سعاد محمد حسني البابا) (January 26, 1942, Ataba, Cairo, Egypt - June 22 2001, London) was an Egyptian actress. She was the 10th sibling from 17 brothers and sisters.

Husni was known as the "Cinderella" of Arab cinema and one of the most influential actresses in the Arabic art world. She ascended to stardom in the end of the 1950s, performing in more than 83 films between 1959 and 1991. A majority of her films were also shot in the 1960s and 1970s.

In 2001, she either committed suicide or got murdered at the age of 59 by falling from the window of her closest friend's flat in London, England. She was under therapy for depression at the time, her death is under investigation and is generally considered a suicide. Husni sought out treatment in the UK after sustaining a spinal fracture that forced her to leave Egypt. Interestingly, she died on Abdel Halim Hafez's birthday - one of the many people that influenced her on screen and in her real life. Rumours persist that the two famous celebrities were secretly married for years.

Her final screen appearance dates back in 1991 in a film directed by her ex-husband Ali Badrakhan.

Career

Filmography
Soad Hosni in her Glamour
Enlarge
Soad Hosni in her Glamour

Husni started her career at a very young age, through singing Okht El Qamar (Sister of the Moon) in the famous radio children program Baba Sharo.

A family friend, Abd ElRahman ElKhamissy (a writer / director) whom discovered her acting talent and asked an Arabic language teacher at the time to give her singing lessons.

Abd ElRahman was screening for the film ‘Hassan We Na’ima’, and wanted to present Hosny as his new discovery in the role of Na’ima. The film was produced and directed by Henry Barakat.

Family

Her final screen appearance was in a 1991 film directed by her ex-husband, Ali Badrakhan.

Notable family members

* Father: Muhammad Husni - renowned Arabic calligrapher
* Half sister: Najat Al Saghira - renowned Egyptian singer
* Brother: Ezz Eldin Hosny - music composer
* Uncle: Anwar El-Baba - comedian actor

Marriages

Husni was married for twelve years marriage to the film director Ali Badrakhan. She later married Zaki Fateen Abdel Wahab, the son of Fateen Abdel Wahab (film director) and Leila Mourad. It was rumored that Husni's first marriage was to the famous singer Abdel Halim Hafez.

Death

Husni died in London, England in 2001. This occurred after she had suffered severely from an unknown illness for five years. Husni had sought treatment in the UK after sustaining a spinal fracture which had forced her to leave Egypt. Unfortunately, in 2001, she was found on the sidewalk below the building in which she was living; she had fallen from the balcony of her apartment. Courts in England could not decide whether Husni has committed suicide or had been killed by her care-taker. In 2002, however, British courts decided that the cause of Husni's death had been suicide although substantial evidence suggested she had been murdered when she was found.

Selected filmography

* Hassan wa Na'ima (Hassan and Na’ima) (1959)
* Esha'a hob (Rumor of Love) (1960)
* Banat waal saif, El (The Girls and the Summer) (1960)
* Ishayat hub (A Rumor of Love) (1961)
* He talata (H-3) (1961)
* Aaz el habaieb (I Want Love) (1961)
* Ghosn el zeitoun (The Olive Branch) (1962)
* Dow el khafet, El (The Dim Light) (1962)
* Mawed fil borj (Meeting at the Tower) (1963)
* Al-sahera al-saghira (The Little Sorceress) (1963)
* Morahekan, El (The Two Young Men) (1964)
* Garima el dahika, El (The Funny Crime) (1964)
* Awwal hob (First Love) (1964)
* Ariss yassel ghadan, El (The Bridegroom Arrives Tomorrow) (1964)
* Tareek, al- (The Road) (1964)
* Gharamiyat Imraa (A Woman's Affairs) (1966)
* Shakket el talaba (Students' Apartment) (1966)
* Chakawet rejala (The Awful Men) (1966)
* Lailat el zafaf (The Wedding Night) (1966)
* Al-Kahira thalatheen (Cairo 1930) (1966)
* Saghira ala elhob (Too Young to Love) (1966)
* Shabab magnoun geddan (Very Crazy Youth) (1967)
* Lekaa el tani, El (The Second Meeting) (1967)
* Zawja al-thaniya, al- (The Second Wife) (1967)
* Zawag alla tarika el-hadissa (Marriage a la moderne) (1968)
* Sit el-nazra, El- (The Headmistress) (1968)
* Amira hobi ana (My Love Amira) (1968)
* Nil wal-Hayat, al- (The People of the Nile) (1968)
* Baba ayez keda (Daddy Wants it That Way) (1968)
* Ikhtiyar, al- (The Choice) (1970)
* Al-hob al-dayi (Lost Love) (1970)
* Zawgati wal-kalb (My Wife and the Dog) (1971)
* Khalli Balak min Zouzou (Watch out for Zouzou) (1972)
* Ghurabaa (Strangers) (1973)
* Ala min notliq al-rasas (Whom Should We Shoot?) (1975)
* Al-Karnak (The Karnak Cafe) (1975)
* Chafika wa Metwalli (Chafika and Metwalli) (1979)
* Maowid ala ashaa (A Dinner Date) (1981)
* Howa wa Heya (Him and Her) (TV series with Ahmed Zaki)
* Al-Ra'i wal Nisaa (The Shepherd and the Women) (1991)

posted in Egyptian Film, Past and Present - 4 replies

Read about Egyptian Film and Egytian Cinema...

2007-02-20T21:55:46Z

http://arabworld.nitle.org/texts.php?module_id=5&reading_id=1051&print=1

posted in Egyptian Film, Past and Present - 1 reply

Watch FIFI ABDO in a movie!

2007-02-20T19:24:55Z

If you can get it, here is a great movie starring Fifi Abdo. She does ALLOT of dancing in this movie!!! I think it can be had with English Subtitles. -Sausan

"Zanqit AL-Sittat"

CAST
Fifi Abdo
Maged El Massry
Ezzat Abu Auf
Samy El Adl
Rate the Movie

Summary
Fawakih, a dancer, lives with her younger sister Ni'na'a in one of the popular quarters in Alexandria. Ni'na'a works for Ma'alim Ga'ffar, a merchant in Alexandria port. Ni'na'a is arrested for drug trafficking but Ma'alim Ga'ffar denies any relationship with her. Rumour has it that Ni'na'a has committed suicide but the truth is that Ma'alim Ga'ffar has killed her. Fawakih is bent on avenging her sister. She refuses to marry Rabah and marries Ga'ffar instead to attain her goal. Hamada is a young man who dreams about being a great merchant in Zan'it As-Sittat (a popular market). Ma'alim Ga'ffar urges him to work in drug trafficking. Fawakih pursues her vengeance plan with the aid of Hamu, Ga'ffar's assistant. In the end, the police chases Ga'ffar and shoots him but before dying he points at Hamada to kill him but Fawakih forces herself before him and sacrifices her life for his sake.

Production Year :2000
Genre:Drama /Action /Family
Written by:Sherif El Minbawy
Music :Hassan Ish Ish
Cinematography by :Samir Farag
Editing by :Tal'at Fazy
Directed by :Ala' Kareem
Produced By :Nour Films and Muhammad Nasr

posted in Egyptian Film, Past and Present - 3 replies

Great Ebay Site for Egyptian Movies w/ English Subtitles

2007-02-20T19:11:08Z

http://stores.ebay.com/Music-life1

I don't think you'll be disatisfied!

-Sausan

posted in Egyptian Film, Past and Present - 1 reply

Ismail Yasin....A GREAT actor and producer of Egyptian Film

2007-02-20T19:04:32Z

Ismail Yasin (Arabic:إسماعيل ياسين) (September 15, 1915-May 24, 1972) was an Egyptian actor specializing in comedy. He is famous for a series of films with his name. He is also credited as "Ismail Yasseen".

Ismail Yassin had a difficult childhood in Suez where he was born. His mother died at an early age and his father was jailed thus forcing him to leave school before completing his primary education. He worked as a parking valet to support himself.

He started his career as a monologue singer and headed for Cairo to join Badi'a Masabny's troupe. His break into the movie industry came when Fouad El-Gazaery gave him his first role in the movie "Khalf El-Habayeb" in 1939. He later joined Ali El-Kassar's troupe and started to gain widespread recognition eventually becoming one of most popular stars in the Arab world. A record 15 movies used his name in their titles to capitalize on his fame.

He was not particularly attractive but he had great control of his facial expressions and often made fun of his 'large mouth' in his films. His trademark gimmick was to act terrified bringing his wobbling knees together, stretching his shaking arms infront of him, stammering silently, and suddenly snapping out of his panic with a loud inhalation of air.

In the 1960s his health began to deteriorate and he moved to Lebanon where he participated in a number of films. He later returned to Egypt where he became heavily indebted. He died of a heart attack in 1972.

posted in Egyptian Film, Past and Present - 2 replies