Youssef Chahine – Al-mohager AKA The Emigrant (1994)

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The biblical tale of Joseph is told from an Egyptian perspective in this interesting character study. In this film, Joseph is called Ram. Ram, tired of his family’s backward superstitious life, and tired of being picked on by his brothers, wants to go to Egypt to study agriculture. His brothers travel with him across Sinai, but then suddenly sell him to Ozir, an Egyptian who works for a Theban military leader, Amihar. Amihar is impressed by Ram’s drive and personal charm and so grants Ram some desolate land outside the capital. Ram soon finds himself a pawn in the political and sexual games between Amihar and his wife Simihit, a high priestess of the Cult of Amun. Continue reading

Youssef Chahine – Iskanderija, kaman oue kaman AKA Alexandria Again and Forever (1989)

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The last film in Youssef Chahine’s autobiographical Alexandria Trilogy stars Chahine himself as his cinematic alter ego, Yehia Mourad, completing his merging of fiction with real life and drama with psychodrama. Opening with Chahine’s triumph at the Berlin Film Festival, where he took home the Silver Bear for Alexandria…Why? (the first film in the trilogy–this is layered stuff), the film explores Yehia’s obsession with his young star, Amir (Amr Abdel-Guelil), while participating in the general strike of 1987. As Yehia fantasizes about the films they would make together (one of them looks like a loony take on Jesus Christ Superstar), he elevates Amir from a kind of adopted son to cinematic messiah. But while caught up in the strike, Yehia becomes enchanted by a former actress, Nadia (Yousra), turned dedicated revolutionary, and he decides to cast her in his next feature. Continue reading

Youssef Chahine – Hadduta misrija AKA An Egyptian Story (1982)

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Boldly blending personal and political histories, intercutting its fast-moving fictional scenes with documentary footage, this sort of sequel to Alexandria – Why? follows the fortunes of Chahine’s charismatic film-maker hero and alter ego, forced to review his past and learn to love himself by a critical open-heart operation. The occasionally clumsy central conceit – Yehia/Chahine standing trial for his life during surgery – is amply offset by the energy and style of this indulgent, exuberant, and immensely likeable self-portrait. Continue reading

Youssef Chahine – Awdat al ibn al dal AKA The Return of the Prodigal Son (1976)

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In this Andre Gide adaptation, an activist (Ali Mahrez) is released after many years in prison and returns home, shaking up established relationships among his family members at the farm governed by his strict father. Demonstrating Chahine’s eclecticism, this is an elegant melodrama, exuberant musical, layered allegory, and profound portrait of personal and political disillusionment. This is one of Chahine’s best movies and one of the greatest Arabic films. Great performances by Mahmoud El-Meliguy and Hoda Soltan. Continue reading

Kamal Selim – El azima AKA The Will (1939)

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Plot:
A young couple, Muhammad and Fatima, fall in love and get married. However, their bliss is cut short when Muhammad loses his job and is forced to work as fabric salesman, without telling his wife. Some of the neighbors then scheme to get Fatima to see her husband working as a fabric salesman. Things turn around when his reason for dismissal from his old job disappears and he is rehired, and all seems well for the young couple. Continue reading

Youssef Chahine – Al-asfour AKA The Sparrow (1972)

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One of his most controversial films, THE SPARROW was written by Chahine in collaboration with avant-gardist Lofti el-Kholi. Set during the 1967 Six Day War between Israel and the United Arab Republic this story of familial and national divisions has become one of Chahine’s most popular films in festivals and retrospectives. A young policeman’s adoptive father occupies a high post in the force, while his biological father is reputed to have been a left-wing activist. Raouf begins to search for those who might have known his real father, while his half-brother, stationed on the Sinai front, prepares for battle. Continue reading

Henry Barakat – Doa al karawan AKA The Nightingale’s Prayer (1959)

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Which is more powerful, Love or Revenge?
For over an hour and half of enjoyment watching this magnificent story and special movie you will ask your self this question, which is more powerful?

Amna (played by the Legendary Faten Hamama) is a young sister that watches the death of her older sister by her Uncle, the guy that abandoned her family and left them with no support. She hears from her mother that her sister was killed because she dishonors the family and based on their culture, she deserve to die. Amna doesn’t think so; she believes that her uncle was the one to blame for what they are suffering from. She switches her focus and revenge to the engineer who fooled her sister and lied to her (role played by Ahmed Mazhar) and was a direct cause for her death. Amna moves to his house to work as maid and tried to poison him many times, but her plans always fails. She discovers after a while that she can’t kill, she doesn’t have the power to kill. This engineer keep playing with her try to have fun, but she kept resist him. The more she resisted, the more he was attracted to her and finally he loved her. The poor girl thought that by making him falling in love with her would destroy his life. What she didn’t count for was her heart started to click signals for that guy. Her plan was to dig a hole for him and through him in it, but she fell in the hole with him. Continue reading