Lebanese plastic surgeon attacks president of plastic surgery society on board flight to Dubai

Nader Saab performing cosmetic surgery in Lebanon. (AFP)
Updated 11 March 2018
0

Lebanese plastic surgeon attacks president of plastic surgery society on board flight to Dubai

DUBAI: A Lebanese plastic surgeon attacked the president of the Lebanese Society of Plastic Reconstructive and Aesthetic Surgery aboard a flight from Beirut to Dubai on Saturday, national news channel LBC reported.
Famous cosmetic surgeon, Nader Saab, physically and verbally attacked Dr. Elie Abdelhak over a report submitted by the society based on the death of one of Saab’s patients.
According to witnesses aboard the flight who spoke to local media, “Saab screamed in the face of Abdulhak, insulted, and beat him, while Abdulhak did not react before Saab returned to his place.”
Abdulhak spoke to Lebanese daily An-Nahar saying: “After the flight attendant handed out breakfast, Saab came and told me: ‘I thank you for the report you made about the death of Al-Qassab,’ to which I replied, ‘I simply did my duty as president of the surgery and beauty association and that’s what I know.’”
“Afterwards, Saab told me ‘I will show you what I will do’ and proceeded to punch me twice in the face. I kept calm in order not to make matters worse and told him to go back to his place,” the doctor added.
Afterwards, Saab issued a statement saying that Abdelhak first came forward and cursed him and his assistant.
Saab was charged with negligence after Farah Al-Qassab died while undergoing liposuction surgery in the cosmetic surgeon’s clinic.
It was not suggested in local reports whether or not the airline or crew got involved in the incident.


Pressures and pains that tear a couple apart

A still from the film.
Updated 19 July 2018
0

Pressures and pains that tear a couple apart

DENVER: Like a gallery wall-sized enlargement of a microscopic image, “Scenes from a Marriage” is all about size, space and perspective.
Directed by Ingmar Bergman — whose birth centenary was marked this week — at 281 minutes long, its unwieldly length presents an intimidating canvas, yet the claustrophobic intimacy of its gaze is unprecedented: The two leads are alone in nearly every scene, many of which play out for more than a half-hour at a time.
Premiered in 1973, the work is technically a TV mini-series, but such is its legend that theaters continue to program its nearly five-hour arc in its entirety. A three-hour cinematic edit was prepared for US theater consumption a year later (it won the Golden Globe Award for Best Foreign Language Film, but was ruled ineligible for the corresponding Oscar).
Not a lot a happens but, then again, everything does. Shot over four months on a shoestring budget, its six chapters punctuate the period of a decade. The audience are voyeurs, dropped amid the precious and pivotal moments which may not make up a life, but come to define it.
We meet the affluent Swedish couple Marianne and Johan — played by regular screen collaborators Liv Ullmann and Erland Josephson, both of whom clocked at least 10 Bergman credits — gloating about ten years’ happy marriage to a visiting reporter. This opening magazine photoshoot is the only time we see their two children on camera, and inevitably the image projected is as glossy, reflective and disposable as the paper it will be printed on.
The pressures, pains and communication breakdowns which tear this unsuited pair apart are sadly familiar. The series was blamed for a spike in European divorce rates. It may be difficult to survive the piece liking either lead, but impossible not to emerge sharing deep pathos with them both. Sadly, much of the script is said to be drawn from Bergman’s real-life off-screen relationship with Ullmann.
It’s a hideously humane, surgical close-up likely to leave even the happiest couple groping into the ether on their way out of the cinema.