The six most influential films from the Golden Age of Arab cinema

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“Doa al-Karawan” is an adaptation of acclaimed writer Taha Hussein’s 1934 novel.
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A still from "Al-Ard."
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A still from the movie "Al-Mummia."
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A scene from the comedy "Imm El-Arousa."
Updated 08 April 2018
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The six most influential films from the Golden Age of Arab cinema

  • Celebrate the heyday of Arab cinema with these timeless classics
  • From tragedies to comedies, these films are iconic and loved across the Arab world
DUBAI: Our pick of the most influential films from the Golden Age of Arab cinema will help you decide what classic movie you are going to watch this week. So grab your popcorn, turn off your phone and take your pick.
“Doa Al-Karawan”
(The Nightingale’s Prayer)
The prolific Henry Barakat directs this adaptation of acclaimed writer Taha Hussein’s 1934 novel. The compelling, claustrophobic tale follows illiterate housekeeper Amna (Faten Hamama) as she tries to get revenge on ‘The Engineer’ (Ahmad Mazhar) who has seduced her sister and ruined her reputation.
“Al-Ard”
(The Land)
This 1969 adaptation of Abdel Rahman Al-Sharqawi’s novel, directed by Youseff Chahin, follows the struggle of a rural village in the 1930s against local authorities who are set to reduce its already meager water supply. A hard-hitting early examination of people-power that still resonates today.
“Nahr El-Hub”
(The River of Love)
Ezzel Dine Zulficar’s 1961 adaptation of “Anna Karenina” features the ‘First Couple’ of Egyptian cinema — Omar Sharif and Faten Hamama — in their last film together before their divorce. Hamama plays country girl Nawal, who is married off to a wealthy aristocrat but falls for army officer Khaled (Sharif). The couple’s real-life chemistry gives the movie an extra charge.
“Imm El-Arousa”
(Mother of the Bride)
Atef Salem’s 1964 comedy classic stars legendary Egyptian actors Tahiya Karioka and Emad Hamdi as Zeinab and Hussein — hardworking parents struggling to raise seven kids while arranging their eldest daughter’s upcoming wedding. And finding inventive ways to raise the necessary funds.
“Al-Mummia”
(The Mummy)
Ranked among Egyptian cinema’s greatest films, Shadi Abdel Salam’s 1969 movie is loosely based on the true story of the Abd El-Rasuls, a clan of grave robbers and black-market traders. It’s a thoughtful reflection on Egyptian identity which — like many on this list — hints at the tensions between rural and urban life.
“Khally Ballak Min ZouZou”
(Watch Out For ZouZou)
Starring Egyptian cinema icons Soad Hosny, Hussein Fahmy and Taheya Cariocca, Hassan Al Imam’s 1972 film — a perennial favorite in Egyptian households — tells the story of a college professor who falls in lust with a student. His fiancée decides to expose said student’s “shameful secret” — she was a dancer! — in an attempt to ruin her. Al Imam explored the friction between Egypt’s modernist urges and its conservative traditions.


‘It might be our destiny to have Syria only in our imagination’

Syrian band Tanjaret Daghet (which means ‘pressure cooker’ in Arabic).
Updated 19 April 2018
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‘It might be our destiny to have Syria only in our imagination’

  • Syrian artists-in-exile discuss their absence from their homeland and its impact on their work
  • For many exiled Syrian artists, their work is an expression of grief

DUBAI: “Being away from Syria is difficult,” young poet Maysan Nasser said. “Seven years later, it still feels like a phantom limb. It feels like the echo of white noise that is reverberating louder by the day.”

Nasser, a Beirut Poetry Slam champion, was talking separation: The idea that the loss of Syria is like an amputation. After seven years, she is still looking for answers to questions of home and belonging.

The first time I saw Nasser perform was last year during Zena El Khalil’s ‘Sacred Catastrophe: Healing Lebanon,’ a “40-day intervention” designed to permanently kick open the doors of Beit Beirut, a museum to the memory of the city in Sodeco. Her performance was raw and emotive.

The second time was in the basement of Riwaq Beirut, a coffee shop, cultural center and bar all rolled into one. She was addressing a small but appreciative young crowd and looked nervous. It was just a few weeks after she had launched the open-mic night ‘Sidewalk Beirut’ and the anxiety and jitters remained. In reality they shouldn’t. The crowd loves her.

“In this enforced distance from Syria, such communities have become my anchors,” she admitted. Yet her work, although deeply personal — sometimes painfully so — never directly discusses Syria or her home city of Damascus.

“I believe the distance of separation was the birth of my work,” she said. “It was in this distance that I was able to reconsider who I am, what my relationship to my family is like, what my relationship to my body is. I believe my poems to be attempts at understanding myself and my surroundings, but also my past.

“So when I speak about my mother and my relationship to her, I am also considering my mother’s past and the traditions she has internalized and passed on to me, which inevitably cast light on a time and place in Syria, and which inevitably expose my own connections and roots — or lack of, at times. This separation, in a sense, has coincided with a coming of age.”

At the same time as Nasser was hosting her early edition of Sidewalk Beirut, a mile or so away at The Colony in Karantina Zeid Hamdan, a pioneer of Lebanon’s underground music scene, was preparing to perform at Sofar Sounds. The venue —hidden up three flights of stairs in the Dagher Building — was little more than two empty rooms and an adjacent terrace. With him were the Syrian band Tanjaret Daghet (which means ‘pressure cooker’ in Arabic).

Hamdan has been performing with the trio since they left Damascus in 2011. Theirs is an energetic, sometimes harsh, alternative-rock sound, although that is changing. Their soon-to-be-released new album, “Human Reverie,” is as much about electronica as it is guitars and vocals.

“This pressure we’re living is kind of unique,” said Tarek Khuluki, the band’s guitarist and sometime vocalist. “You see people who are nagging about it or who are trying to use this pressure as a tool to escape the reality we’re living in, which can lead to unbalanced results. At the same time, you see people who are making the best they can with the little amount of nothing that they have. All they want is to see their ideas manifest themselves in art or in any other shape. 

“Psychologically, we’ve learned not to think too much and not to play the role of victims, but to focus on our own language, which is music.”

It’s hard to discern whether the war in Syria has had a direct impact on Tanjaret Daghet’s work, or whether the wider woes of the Arab world are partially responsible for their sound and lyrics. They sing of political oppression and societal pressure, the absence of feeling and the loss of voice.

“We do not live the state of war in the real sense of the word,” says Khaled Omran, the band’s lead singer and bassist. “What we’re living is a kind of internal war, which has arisen from our instincts as humans. It’s our right to express ourselves through art and music because it’s more humanistic, and this has allowed us to meet several artists and to exchange expertise. Who knows, maybe if we had stayed in Syria, none of that would have happened.” 

Outside of Beirut, up in the mountains of Aley, a series of old Ottoman stables have been converted into a residence for Syrian artists. Since it was first opened by Raghad Mardini in May 2012, Art Residence Aley has hosted numerous artists, including Iman Hasbani and Anas Homsi. Both now live in Berlin. Beirut, for some, is only transitory. 

“It has given me a wider vision of the world,” says the artist and film director Hazem Alhamwi of his own exile in Berlin. “Maybe it’s more painful, but it’s more real. It is training for how to change pain into creative energy. Since 2014 I have been painting a collection I call ‘Homeland in the Imagination’. It might be our destiny to have Syria only in our imagination.”

Alhamwi is best known for “From My Syrian Room,” a documentary in which, through art and conversation, he attempts to understand how Syrians have learned to live with the distress and anxiety caused by war. It was while editing the film in France in 2013 that he realized he could not return to Syria, he said.

“I feel tired,” he told Arab News. “I feel as if I have one leg here — where I have to integrate, and want to — and the other leg in Syria, where I cannot stop being interested in what is happening. My family, my friends and my memories are still there. On the other hand, I feel like I am discovering another kind of violence, moving from living under a military dictatorship to the dictatorship of money. It’s a smooth violence written on smooth paper and put into a clean envelope. I feel myself in the stomach of the capitalist machine.”

For many exiled Syrian artists, their work is an expression of grief; a way to portray an overwhelming sense of loss. For others, those expressions are more subtle.

“We watch so many lies on TV, that it looks like art could be the only honest witness to modern times,” said Alhamwi, whose next film, produced by Zeina Zahreddine and Florian Schewe, will examine issues of identity. “Even many people’s facial expressions are not real. But good art is not only a mirror of the artist, but also of the spirit of the time they live in; or it’s at least the result of this reaction (of) the artist (to) the era.

“Art always tries to get people to pay more attention and not to repeat the same mistakes, but to learn from them instead. In wars, where the feelings of people are ignored and all the focus is on weapons, killing, fire and iron, art protects people’s real memory, away from any agenda or propaganda. It is this complicated memory that reflects the events, the emotions and the point of view of the artist. That is why art is needed in war as a special documentation. To tell the stories of people who didn’t get involved, because of position or fate,” he continued. “Art is a way for artists to survive in a world controlled by violence.”