Review: Steven Spielberg’s joyful, emotional ‘The Fablemans’ heads to the Oscars
Updated 21 February 2023
Gautaman Bhaskaran
CHENNAI: Steven Spielberg makes marvelous movies that are fantastically imaginative but his latest, “The Fablemans,” running for the Best Picture and Best Director awards at the upcoming Academy Awards on March 12, is his first autobiographical work.
Her depicts his childhood and his joyful introduction to cinema with a compelling sense of optimism and also offers a critical look at his own beginnings.
Spielberg is Sammy Fableman, a child growing in 1950s New Jersey, and his first dramatic encounter with cinema is no less than Cecil B DeMille’s “The Greatest Show on Earth.” Therein begins his love affair with the magic of movies and some fascinating on-screen moments include the boy using his toy trains and an 8mm camera to recreate footage from DeMille’s 1952 film.
Sammy grows up — his teen self is played by actor Gabriel LaBelle — and he and his sisters travel around with their parents as their father’s work takes the family to Arizona and California, where he was bullied by antisemites, only to find love with a Christian girl later in the story.
“The Fablemans” is brilliantly evocative and captures Sammy’s journey into cinema, a career that may not have begun at all. It is wonderfully edited and photographed and, above all, captures suburban American life in all its serene splendor. “The Fablemans” has liberal traces of Spielberg’s magic realism and is suitably intense in its emotional review of the lauded director’s life — in fact, he is widely reported to have cried on set while directing the production.
And there are some painful moments to cry about — his mother (Michelle Williams) is having an affair with his father’s friend and employee, Bennie Loewy (Seth Rogen), who is a perpetual fixture at their home, joining them ever so often for supper and going on picnics. At one of them, Sammy shoots a home film in which his mother dances in her nightie and Sammy edits out a frame in which she can be seen holding Bennie’s hand before he presents the final film to his family. It is a fascinating comment on the power of editing in creating a story for the screen, something the legendary director is well-versed in.
Tom Cruise to attend Middle East premiere of ‘Mission Impossible’ in Abu Dhabi
Updated 06 June 2023
Arab News
DUBAI: The UAE is set to host the Middle East premiere of the eagerly awaited “Mission: Impossible – Dead Reckoning Part One” at a red-carpet event at Abu Dhabi’s Emirates Palace on June 26.
The film’s screening will be attended by Hollywood superstar Tom Cruise and director Christopher McQuarrie.
Some of the movie’s scenes were shot in the Liwa desert and the Midfield Terminal in the UAE capital’s airport.
McQuarrie, Cruise, and the cast and crew shot in the emirate for almost two weeks in 2021 with the support of the Abu Dhabi Film Commission and other local production partners, including twofour54 Abu Dhabi.
It marks the second time the Paramount Pictures’ franchise has filmed in Abu Dhabi following the HALO jump sequence for “Mission: Impossible – Fallout” in 2018.
Khalfan Al-Mazrouei, acting director general of Creative Media Authority, said: “Hosting the premiere of ‘Mission: Impossible – Dead Reckoning Part One’ is an honor for Abu Dhabi and is also a reflection of the position the emirate holds as one of the Middle East and North Africa region’s top film and TV locations.
“We are proud to have worked with such a genre-defining franchise once again and it demonstrates how Abu Dhabi has everything filmmakers need to successfully complete such large, complex productions.”
An interesting fact that Al-Theeb revealed was that people from all walks of life living in the Arabian Peninsula had the freedom to engrave their thoughts, feelings, poetry, or curses on rocks
Updated 04 June 2023
Tareq Al-Thaqafi
MAKKAH: Many monuments in the Arabian Peninsula have been found bearing inscriptions in the Thamudic, Nabataean and Safaitic languages invoking evil upon those who try to tamper with or obliterate them.
One such Thamudic inscription, dating between the end of the first century AD to the fourth century AD, was found by a Saudi citizen named Khalid Al-Fraih in the Tabhar area northwest of Tabuk, which is dotted with many ancient inscriptions and monuments.
FASTFACT
People from all walks of life living in the Arabian Peninsula had the freedom to engrave their thoughts, feelings, poetry, or curses, on rocks contrary to those who lived in Mesopotamia, Syria and Egypt, where inscriptions were exclusively written by the leaders or those who with a high status.
Professor of ancient Arabic writings, Dr. Suleiman Al-Theeb, told Arab News that this Thamudic inscription is written on the facade of one of the mountains of Wadi Tabhar. “What is interesting is that they used curses so that evil befalls … those who distort and sabotage … it. This type of curse is well known in the Thamudic, Nabataean, Palmyrian and Safaitic inscriptions.”
People who inhabited the area centuries ago were pagans who indulged in idol worship.
“This curse was written, most likely, to intimidate and scare away those who want to destroy their god … and the purpose of intimidation by cursing is to maintain and keep what has been written,” he said.
In order to prevent others from attacking their rocks, they used to write on them words of threat, curse and intimidation of the wrath of the gods. The fear was real and people would then refrain from destroying the rocks.
Dr. Suleiman Al-Theeb, Professor of ancient Arabic writings
Al-Theeb also revealed that the writings and inscriptions on rocks were similar to published material that we see today. “If two people disagree or a problem occurred between them, they would usually attack the rock of others. In order to prevent others from attacking their rocks, they used to write on them words of threat, curse and intimidation of the wrath of the gods. The fear was real and people would then refrain from destroying the rocks.”
An interesting fact that Al-Theeb revealed was that people from all walks of life living in the Arabian Peninsula had the freedom to engrave their thoughts, feelings, poetry, or curses on rocks, contrary to those who lived in Mesopotamia, Syria and Egypt, where inscriptions were exclusively written by leaders or those who with high status.
The professor stressed that these inscriptions are very important as they depict the history of previous civilizations, and should be monitored and documented by specialists to preserve them.
Abu Dhabi pavilion wins big at London Design Biennale
Updated 03 June 2023
Arab News
DUBAI: The Abu Dhabi pavilion has been named one of three winners at the London Design Biennale, and were awarded a medal for the most inspiring interpretation of the theme of global collaboration.
Salama Al-Shamsi, director of cultural sites at Abu Dhabi’s Department of Culture and Tourism, and House of Artisans curator Azza Al-Sharif accepted the award.
House of Artisan’s immersive installation, “Formation of Soof,” highlights the relationship between Emirati crafts and architecture.
Under the theme “The Global Game: Remapping Collaborations,” the art center showcased Emirati crafts, including the traditional Bedouin weaving technique known as Sadu.
In 2011, UNESCO added Sadu to its list of Intangible Cultural Heritage in Need of Urgent Safeguarding.
Using raw wool to create intricate designs and distinctive patterns, Sadu often reflects issues regarding social identity and the surrounding environment.
In a statement published on social media, House of Artisans explained that highlighting the craft “is a key part of creating awareness on its importance” in order to preserve it for the future.
The House of Artisans pavilion also displayed weaving items, such as wool and the spindle, and explained the technique practiced by Emirati women.
International artists explore Saudi landscape in new exhibition
Misk Art Institute’s latest Masaha Residency art showcase features 11 global and local artists and two writers whose
Updated 03 June 2023
Nada Alturki
RIYADH: The Misk Art Institute’s latest Masaha Residency art showcase features 11 global and local artists and two writers whose projects explore tradition in the context of social development.
The fifth cycle of the three-month cross-cultural program brought together an international cohort of artists to develop fresh, research-driven art projects. Through architecture, music, and culture, several artists discovered traces of their own homes in the Saudi landscape.
Fahdah Althonayan, director of the education department at Misk, told Arab News: “Each cycle has its own uniqueness. Within this one, we had the opportunity to experiment with dual artists … it is a new thing that we tried with (them) to work together on their artwork, which surprised us as well.
Palestinian artist Areej Khaoud, who currently lives and works in London, took to the marketplaces of Riyadh to find remanences of belonging in her piece ‘Still Hungry.’ (AN photo)
“The variety of Saudi, khaleeji, and foreigners from different continents was amazing. It is an enriching experience.”
Ilyas Hajji, a photographer, and Nastya Indrikova, a researcher, are a Russian duo who worked on reconstructing the Hajj pilgrimage route, which was often dangerous.
Although it was modernized, many still struggled to make the trip from Russia, including the Muslim population in Dagestan during and after the fall of the Soviet Union.
Aleena Khan's artwork, “A Calling from the Moon,” toys with a popular Myth in Pakistan that the call to prayer, Adhan, was heard upon Neil Armstrong’s arrival to the moon. (AN photo)
The pair used items brought back from Hajj to highlight the effect on millions who were free to travel after the union’s dissolution.
Palestinian artist Areej Kaoud, who lives and works in London, took to the marketplaces of Riyadh to find a sense of belonging in her piece “Still Hungry.”
“In all these spaces, they pick things. You think that the owner is just trying to sell you things but he’s also trying to heal his own uprootedness,” Kaoud told Arab News.
Drawing comparison between the moon landing and the Arabian desert landscape, Khan's parafiction multimedia work diffuses the idea of universality and explores a more subjective path to truth. (AN photo)
Kaoud’s studio is the backdrop for a video documenting the offerings of a market staffed by diaspora from other countries, who preserve and share the traditions of back home.
The studio wall is covered with phrases including “Can one heal uprootedness with food?,” “Is being home a state of ‘non-hunger’?” and “Insatiable in diaspora.”
Liao Lihong, a Chinese artist living in Paris, merged an abacus with the shapes of a qanun and an oud to create a unique musical instrument.
Centering the fall of the Soviet Union, the Russian artist duo Ilyas Hajji and researcher Nastya Indrikova, highlighted the presence of millions who were once again free to travel, made concrete through the items they brought back from their Hajj journey. (AN photo)
“When I studied in China in elementary school, we had a class using the abacus, but now we do not use it anymore because we have calculators,” she said. “But the sound (they make) was always in my mind. The idea is when people use the abacus to calculate numbers, it also plays music."
Aleena Khan bolsters Saudi Arabia’s historical first — a female astronaut and her colleague reaching the International Space Station last month.
Her artwork “A Calling from the Moon” toys with a popular myth in Pakistan that the Adhan, the call to prayer, was heard by Neil Armstrong on the moon.
Taking collected receipts from her stay and graffiti-d numbers across the city as inspiration for “sheet music,” Lihong fabricated a way for the numbers to create sounds on the abacus using a computing method. (AN photo)
Her work draws comparisons between the moon’s landscape and an Arabian desert.
She said: “I started to draw what the material on the moon looks like and then I sourced anything that looks similar to it and took it to the desert and shot it.
“What if these landscapes were one?”
In the fragments of Riyadh’s demolished architecture, artist Dia Mrad found hope for their new beginning in his studio. The Lebanese photographer spent months researching and photographing changes in the city’s neighborhoods to create the work “Traditions of Change.”
In line with his practice, which looks to extract narratives from a built environment, he screen-printed fallen pieces of debris with photos of homes that are scheduled for demolition in Riyadh.
“The Kingdom goes through cycles of change — every 30 or 40 years, a big change happens. The latest change that’s happening is Vision 2030, and it’s such a massive change that it’s affecting everything and it’s manifesting largely within the built environment. The history of a city is embedded within its materiality,” Mrad explained.
The exhibition, which spans various mediums including installation, textile, silkscreen and Arabic writing among others, can be viewed at the Prince Faisal bin Fahd Arts Hall in Riyadh until June 10.
From Red Motorcade to grand reception: How royal wedding paid homage to Jordanian, Saudi culture
Updated 02 June 2023
Arab News
DUBAI: The Middle East’s newest power couple, Jordan’s Crown Prince Hussein bin Abdullah II and Saudi Arabia’s Rajwa Al-Saif, tied the knot on June 1 in a ceremony and following reception that was filled with nods to both Jordanian and Saudi history, heritage, and customs.
Getting married days before the 30th wedding anniversary of the groom’s parents, King Abdullah II and Queen Rania, one of the biggest royal events in Jordan since 1993 began with an elegant wedding ceremony in the manicured gardens of Zahran Palace.
The Saudi bride arrived at the palace in a 1968 Rolls-Royce Phantom V, custom-made for the late Queen Zein Al-Sharaf, the crown prince’s great grandmother.
After the religious ceremony, the couple took part in a royal motorcade procession through the streets of Amman, waving to cheering crowds as they headed to Al-Husseiniya Palace for the grand reception.
The Red Motorcade, as it is officially known, has its roots in the era of King Abdullah I, the founder of Jordan, who would arrive at significant national events atop one of a procession of white horses, accompanied by riders dressed in dark blue trousers and red blazers.
The motorcade consisted of eight bright red armed Land Rover vehicles and 11 motorcycles, but on special occasions, horse and camel riders join the line-up and the Jordanian Armed Forces Band plays military music on bagpipes.
The Land Rovers and motorcycles cordoned the main motorcade vehicle, a 1984 Range Rover, which carried the newlyweds.
The Range Rover was especially customized for the visit of the late Queen Elizabeth II to Jordan by UK company Wood and Pickett.
During the British queen’s state visit, which took place in March 1984, the vehicle was used by the late King Hussein to drive the monarch and her husband the late Prince Philip, Duke of Edinburgh, to Petra and other locations in the south of Jordan.
The custom Range Rover, which has been dubbed the Sheer Rover, has been elongated and features a cut-off roof. New white leather upholstery has also been installed, including four individual Recaro electric seats.
Apart from the religious ceremony, the wedding reception also incorporated Jordanian and Saudi design elements.
The crown prince and his bride were greeted by the customary zaffeh, a lively musical procession featuring drums, bagpipes, singing, and clapping.
The smiling couple were then led to the outdoor reception courtyard by a rousing military zaffeh performed by the Jordanian Armed Forces Band, sporting the traditional red and white headdress and dress uniforms.
Guests entered the reception on a path that evoked the Jordanian desert, featuring a 20-meter-long handwoven traditional Bedouin rug, created by the Bani Hamida Women’s Weaving Project in the village of Mukawir in Madaba.
Inside, guests were greeted by the sight of native olive trees surrounded by a dune-like display of dates, which represented both Jordanian and Saudi cultures, an ode to the newlyweds’ home countries.
The venue featured an installation of five large-scale mesh arches, inspired by the architecture of the palace and the desert landscape of Jordan’s Wadi Rum.
Meanwhile, guest seats were adorned with traditional embroidery patterns, handstitched by female artisans from Al-Karma Embroidery Center and the Jerash Women Charitable Society – established to empower local women and promote traditional handiworks.
Tables were made from natural Madaba stone and decorated with hand-blown glass vases and traditional clay pottery made by local artisans.
The decor also incorporated hand-hammered basalt stone from the north of Jordan and local seasonal flowers such as jasmine. Other design elements paid homage to Jordan’s wheat-harvesting season, which is in full swing, with elements reimagining the traditional threshing board used to shred wheat and release its grain.
