Viola Shafik’s latest book analyzes the reasons behind the success of ‘popular’ Egyptian films. Her intellectual and overtly scholarly approach, however, only emphasizes the growing discrepancy in the region and particularly in Egypt between popular culture enjoyed by the masses and rejected by marginalized elites.
The author recognizes that despite Syria’s high quality television serials, Lebanese enticing music clips and the ‘unbureaucratic’ and efficiently run Media City in Dubai, Egypt remains the capital of the entertainment industry in the Middle East. Made for large audiences, Egyptian films, have always been better distributed than the ‘art house movies’ produced in the Maghreb or the Fertile Crescent.
“In fact Egypt’s predominance in the audiovisual field is based on a long tradition. It is rooted in a vivid theater life that flourished since the late nineteenth century as well as a music industry that was facilitated by the spread of the first musical recordings in the first half of the twentieth century. Confined by a poor domestic distribution network, which excluded the countryside almost entirely, the Egyptian film industry was forced since 1933 to market its products in neighboring countries, thus hampering other regional non-Egyptian efforts to start alternative large scale productions” explains Shafik.
The first Egyptian movie, “In Tut Ankh Amon’s Country”, was made in 1923 a time when nationalistic policies were gaining momentum. However, for several obvious reasons: A non Egyptian director and a pharaonic theme, its existence remained hidden and local critics regard Layla as the first full-length Egyptian feature film.
Throughout its history, Egyptian Cinema has been closely influenced by political circumstances. Interestingly enough, Nasser enjoyed movies and Sadat almost missed the coup d’etat in July 1953 because he was watching a film.
Egypt’s best films were produced during its golden era in the 30’s, 40’s and 50’s. Until now, these movies are shown on television throughout the Arab world to an audience that never tires of watching the same old films. The actors and actresses not only acted but were also known for their beautiful singing. Such was the case of Abd al-Wahab, Umm Kulthum, Farid al-Atrash, Asmahan, Layla Murad and Huda Sultan whose star status has not faded over the years.
The decision of many well known actresses, the latest being the attractive Hanan Turk to put on a head cover, has not diminished the importance of the star system in Egypt which remains a source of national pride: “As elsewhere, stars have tended to become part of daily life’s private and public gossip, by representing ordinary people whose joys and sorrows become extraordinary in the intensity stardom imparts to them” says Shafik.
The tragic death of Suad Hosni, one of the most famous actresses in the 70’s, a few years ago, was largely reported and analyzed in the media, highlighting the long standing interest of the Egyptian public in their movie stars. Incidentally, Suad Hosni’s most famous film, “Take Care of Zuzu” features the most applauded slaps in Egyptian cinema as the heroin, is rescued by her lover after having become a belly dancer, and brought back to the right path. When Hussein Fahmi slaps Zuzu alias Suad Hosni, spectators at the time used to cheer and clap their hands with joy!
Many critics, including the author, deride the popular success of many recent films such as “Al-Limbi”. The film features the main protagonist, Al-Limbi, a young, naïve, lower-class illiterate, whose chances to marry his beloved, are hampered by his being jobless. Al-Limbi writes a love poem of seven verses, each verse consisting of two repeated words:
Kiss, kiss
Hug, hug
Miss you, miss you
Longing, longing
Friendship, oh friendship
Woe, oh woe
Hello, oh hello
From your brother Al-Limbi
Viola Shafik attempts to explain that this particular film “rejects the production of rational meaning and focuses on the nonrational, preintellectual, prelinguistic state, inviting the viewer to participate in a temporary regression”.
In the same vein as Al-Limbi, Shaban Abd Al-Rahim, a “sha’bi” folk singer and occasional actor whom critics love to hate, has achieved considerable success amongst the lower-middle classes in Egypt. During the shooting of “A Citizen,” a Detective and a Thief, Abd Al-Rahim was always seen sporting two gold wristwatches. When he was asked why he wore two watches, he answered that he wore one for himself and the other for anyone who wanted to ask him the time!
Viola Shafik exerts great efforts in scrutinizing Egyptian popular movies but tends to forget that cinema’s main aim is to entertain. The recent success of films rejected by the critics, only prove that people mainly go the movies to have a good time.
While Popular Egyptian Cinema will prove useful as a research tool for students, its scholarly approach and heavy content make it a difficult read. After examining the complex concluding remarks, one longs for an entertaining book about Egyptian Cinema: A book which will first and fore mostly do it justice.
