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Naguib Mahfouz:

46 Years of Egyptian Cinemagraphics

A Collector’s Field Notes

Compiled by John Green

Mahfouz Posters

©2010 John Green

Cover photo ©1991 John Green

No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the author. The only exception is by a reviewer, who may quote short excerpts in a review.

Published by Musicman Inc. 2010

http://www.musicman.com/mp/egyptf/egye.html

Introduction

This book is the result of over ten years of data collection, research, traveling and poster collecting. It is a collector’s field guide, a catalog and a work in progress that focuses on some of the most important memorabilia in the modern history of Egyptian film, the cinematic legacy of Naguib Mafhouz. Because of its meticulous listing and index of film studio personnel, this work can also serve as a graphic film studies outline for an essential phase of Egyptian cinematic realism.

Novelist Naguib Mahfouz won the Nobel Prize for literature in 1988 for literary fiction. By the time he got his prize all but six of the Egyptian films based on his work had already been produced and marketed, for Mahfouz had long been a recognized talent in his own land. His fiction is famously cinematic. He was one of the insiders in the Egyptian film industry and also a prolific writer of screenplays. Over 70 Egyptian films based on his novels, short stories and screenplays were produced in the period 1947 - 1992. Presented here are graphic images from promotional material for most of those films, their plot summaries and an indexed listing of studio personnel and promotional entities. In short, what we offer here is an executive summary of the long cinematic career of Naguib Mahfouz, with many of the classic commercial images that were used to promote the films.

These posters and graphic designs all come from an important but little documented period of art history in Egypt. It was a time when domestic and foreign films were being produced and exhibited in Egypt frequently and in large numbers, and posters and other promotional materials were made with primitive tools by a busy but highly talented pool of artists and technicians. The art on the posters is beautiful, but the visual beauty gives only a faint taste of the bustling environment from which they emerged.

Small print and design workshops in Cairo and Alexandria were kept busy day and night for many years meeting the promotional demands of the burgeoning Egyptian film industry. Zinc printing plates were etched by hand. These plates were expensive and had to be washed and reused, sometimes in their hundreds in the case of the production of color billboard posters, which required the preparation of 24 multi-colored images, each of which required at least three different plates for the color separations. The printed posters that survive were sometimes displayed in front of theaters alongside original paintings done for the same purpose that were never printed. The original unprinted paintings are almost all lost to posterity, as are unfortunately all known copies of many of the printed posters from Egypt’s golden era of cinema.

Many of the printed posters were done as labor intensive stone lithographs where the images were transferred to the paper directly from an etched stone on a small hand press. The paper sheets were fed into the these devices one at a time. In today’s world this kind of production would be prohibitively expensive, but in Cairo in the forties and fifties it was often the only method available to determined cadres of skilled but poorly paid workers. Yet the Egyptian film posters made so beautifully in this painstaking way, like most of the world’s other film posters, were made for one-time use and often discarded afterwards. The graphic images here are scarce remnants from a lost period of 20th century industrial art.

This chronological arrangement of Egyptian poster images gives visual milestones for several parallel lines of development, Mahfouz’s develpment as as a writer and professional film worker, the evolution of the modern Egyptian film along with the emergence of the Golden Era of Egyptian film and the evolution of the technology and art of the film poster in Egypt.

When Mahfouz wrote his first story for film in 1945 with Abdel Aziz
Salam (the Adventures of Antar and Ablah), the most common Egyptian
poster size was about 24 x 35 inches, and the most common printing
technique was stone lithography. Mahfouz’s fiction was still
historical, nationalistic and patriotic, a thematic focus he would
abandon later for contemporary social realism, thanks in part to the
influence of that film’s director Salah Abouseif.

This was just before the beginning of what can be called the Gasour era in Egyptian film poster design, a period of over 40 years beginning in 1946 dominated by the great Egyptian cinema poster artist and printer Hassan Mazhar Gasour (1925-1992). When Gasour came onto the scene in Egypt posters were being produced by a handful of small art studios, but as the Egyptian film industry developed Gasour, with his own printing business and his prodigious skills as a painter, soon became the nation’s undisputed master in the field of poster production. In those years his studio also served as a working school for other developing poster artists and technicians.

Mr. Gasour’s daughter Hala maintains his printing business today, as she has been dong for the last 24 years; she continues to print Egyptian film posters, but she does not design them.

The early period of Mahfouz’s cinema career lasted until 1960 when his
first novel to become a film production was released, Dead among the
Living [bedaya wa nehaya]. In this first period, in his film work
Mahfouz wrote mostly screenplays and collaborated frequently with
director Salah Abouseif, who also directed Dead among the Living

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Hala Gasour with her father’s self-portrait, Giza March 2010.

By the time Dead among the Living was released Egyptian film posters
had become larger and were made with zinc plate lithograph or offset
presses instead of stone lithography. Most posters at this point were
now 27 x 39 inches and the smaller 24 x 35-inch size had fallen into
disuse. The old artists and printers active in the 40s had largely
faded from the scene and most posters were now printed either by one
of the two Gasour shops or by Sayed Ali Ibrahim Al-Nasr, although
there were many other active printers.

The next period in the Mahfouz filmography includes his famous
1,500-page work known as the Cairo Trilogy. The film titles based on
it are Between Two Palaces (1964), Palace Walk (1967) (sometimes
called Palace of Desire) and The Sugar Bowl (1973) (sometimes called
Sugar Street). The trilogy is an extended narrative covering the
affairs of three generations of a single Cairo family descended from
the patriarch al-Sayed Ahmed Abdel Gawad. The family is depicted as
being challenged constantly by its difficulty adapting to the rapid
pace of social change. In this period films based on Mahfouz works
were more often taken from his novels than his screenplays and were
built around the dense detailing of the urban street for which Mahfouz
is best known.

The final period of our Mahfouz cinemagraphic survey points to a
miscellany of remakes and initial film treatments of earlier Mahfouz
works, but it is also includes films based on works such as Adrift on
the Nile in which Mahfouz’s political disenchantment echoes more
loudly in his crowded social matrix than it had done in earlier films.
Mahfouz was always acutely sensitive to politics but in some of his
later work and the films based on it we can see his disappointment with
certain political developments in Egypt such as the revolution and
the 1967 war.

John Green, Ann Arbor Michigan May 2010

The Avenger [al-montaqem] (1946)

No graphic or poster available. Directed by Salah Abouseif story Ibrahim Aboud; screenplay by Naguib Mahfouz and Salah Abouseif, dialogue El Seyed Bedeir; cinematography Ahmed Khorshed; starring Ahmed Salem, Nour Al-Hoda, Mahmoud El-Meliguy, Dowlat Abiad, Lola Sedki, Beshara Wakim, Mohammad Kamel, Mahmoud El-Sebai, Soraya Fakhry and Hassan Kamel. Two young men worked in a chemist shop. One of them won the heart of the owner’s daughter. The other despised him and put some explosives in the shop warehouse. The explosives blew up in his face and cost him his eyesight. He also lost his love, whom the rival married. He discovered the rival’s plot and decided to take revenge. His assistant, who had fallen in love with him, encouraged his desire for revenge. He had a successful medical operation and recovered his sight. Meanwhile his colleague was stricken by a similar accident.

Adventures of Antar and Ablah [moghamerat antar wa ablah] (1948)

The story line for this film was written in 1945 and was Mahfouz’s first work for rilm. Its release was delayed until 1948. Directed and with screenplay by Salah Abouseif; story by Naguib Mahfouz and Abdel Aziz Salam, cinematography Mustafa Hassan; starring Seraj Munir and Kouka, with Zaki Toleimat, Negma Ibrahim, Khairia Kheiry, Abdel Hamid Zaki, Fakher Fakher, Stephan Rosti, Said Soliman and Farid Shawqi.

A magnificent celebration was held for the wedding of Antar and Ablah. The group was surprised on the wedding night when the governess of Antar and Ablah declared that they were siblings and that marriage was forbidden to them. Antar was overcome with sadness. He went into the desert where he encountered a band of Arabs suffering from an attack by the Romans. Antar observed in their ranks a brave warrior captured by the Romans after a fierce battle. The news reached his family and clan and they rushed to help him and fight the Romans. They were joined by other Arab tribes. After a violent fight between these united Arab tribes and the Romans the matter ended with an Arab victory. The governess admitted she had fabricated the story that Antar and Ablah were siblings because of the demand by the prince who had hired her to separate the lovers because he wanted to marry Ablah. In the end the lovers returned to each other and married.

Adventures of Antar and Ablah [moghamerat antar wa ablah] (1948)

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Film poster (24x35’’); art by Wasit, dstrribuuted by Gabriel Telhami.

Your Day is Coming [lak yom ya zalem] (1952)

Program cover (5.25 x 8.25 inches) art by Talaba, printed and distgributed by Dar al-Hilal. The film was directed by Salah Abouseif adapted from Emile Zola’s 1867 novel Thérèse Raquin, screenplay by Naguib Mahfouz and Salah Abouseif, cinematography Wahid Farid. Starring Faten Hamama with Mohsen Sarhan, Mohammad Tawfik, Mahmoud El-Meliguy, Abdel Waress Assar, Said Abu Bakr, Adly Kasseb, Wedad Hamdy and Ahmed Al-Gezeiry.

A man falls in love with the wealthy wife of a friend. He kills his friend, marries the widow, steals her money and jewelry and mistreats her. He is then arrested and punished.

Your Day is Coming [lak yom ya zalem] (1952)

Film poster (23.5 x 35.5 inches) art by Gasour, printed by Raghaeb Printers.

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Your Day Is Coming [lak yom ya zalem] (1952)

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Two-piece film poster (35x46’’) art by Gasour, distributed by Hilal Films

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Program cover (5.25 x 8.25 inches) art by Talaba, printed by Dar al-Hilal.

Your Day Is Coming [lak yom ya zalem] (1952)

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Raya and Sekina [ria wa sekina] (1953)

Black and White (96 minutes) Directed by Salah Abouseif story by Naguib Mahfouz, screenplay Salah Abouseif and Naguib Mahfouz, cinematography Wahid Farid. Starring Anwar Wagdi with Negma Ibrahim, Zouzou Hamdy El-Hakim, Farid Shawqi, Shukry Sarhan, Samira Ahmed, Berlanty Abdel Hamid, Reyad El Kasabgy, Shafik Galal, Said Khalil and Seraj Munir.

This film is Mahfouz’s film adaptation of the true story of two sisters and their husbands who were all convicted of murder and sentenced to death in 1921 for a series of kidnappings, murders and robberies of women.

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Oversize film poster (35.5x47’’) art by Gasour printed by al-Raghaeb Printers distributed by Al-Hilal Films

Raya and Sekina [ria wa sekina] (1953)

Film poster, art by Soly, printed and distributed by Al-Hilal Films.

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Poster Press, Giza

The Monster [al-wahsh] (1954)

Directed by Salah Abouseif (black and white 118 min.) story by Naguib Mahfouz, screenplay Salah Abouseif and Naguib Mahfouz, Abdelhalim Nasr, cinematography. Starring Mahmoud El-Meliguy as the monster, Anwar Wagdi, Said Khalil, Samia Gamal, Abbas Fares, Samiha Ayyoub, Mohammad Tawfik, Abdel Ghani Kamar, Nazim Shaarawy and Mahmoud Hamdy.

In a village in upper Egypt the people were afraid of the famous murderer known as The Monster who was protected by Redwan Pasha (Abbas Fares). Redwan Pasha defended him and used him to dispose of his rivals. A young officer named Raouf Saleh (Anwar Wagdi) came to the village with his wife (Samiha Ayyoub) and son with the mission of catching the monster. There were bloody confrontations with the officer from the first moment as the monster tried to dispose of him in various ways. Al-Ghazia (Samia Gamal), the monster’s girlfriend, tried to help him but the officer was able to chase away the monster, who had abducted the officer’s son and Riad Pasha. Riad Pasha died at the hands of the monster. There was a chase on the mountain and the officer caught the monster and his gang and rescued his son.

The Monster [al-wahsh]

Film Poster (23.5x35 inches) art by Solly, printer R. Matossian & Co

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The Monster [al-wahsh] (1954)

Program cover (8x11 inches) printed by Dar al-Hilal.

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The Monster [al-wahsh] (1954)

Oversize Film Poster (35.5x47.25 inches) art by Solly, distributed by Dar al-Hilal.

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They Made Me a Murderer [gaaluni mogreman] (1955)

(black and white 110 min.) Directed by Atef Salem story by Farid Shawqi and Ramses Naguib, screenplay Naguib Mahfouz, cinematography Wahid Farid. Starring Farid Shawqi, Hoda Soltan, Yehia Chahine, Seraj Munir, Rushdy Abaza, Negma Ibrahim and Abdel Moneim Ismail.

When Soltan was a small boy his mother died before his eyes and in front of his friend Sheikh Hassan. His father married his mother by common law and did not acknowledge it. His uncle put him in a reform school. He left as a young man and had to sell milk on the streets. However the uncle tried to drive him from that work and Soltan had to practice theft. He joined a gang that sent children out to steal and beg. He sympathized with a sick child. He knew his sister was working in a nightclub as a musician. He tried to bring the child back to his sister and to cultivate feelings of love between the two of them. However he discovered his uncle loved the singer and was wooing her. Soltan went with the singer to the home of Sheikh Hassan after the uncle drove her out of the house. The people in the neighborhood revolted against Sheikh Hassan and drove away the woman. Soltan had to kill his uncle in self defense. He took refuge with Sheikh Hassan when the police chased him. Then he surrendered in the mosque, following the advice of his friend Sheikh Hassan.

They Made Me a Murderer [gaaluni mogreman] (1955)

Program cover (8.25 x10.5 inches) art by Asanti.

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They Made Me a Murderer [gaaluni mogreman] (1955)

Undated Rerelease Film Poster (27 x 39 inches) printed by Al-Nasr Printers distributed by the General Cinema Council.

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They Made Me a Murderer [gaaluni mogreman] (1955)

Film Program 8.25x10.5 in, distributed by Dollar Film, art by Asanti, printed by Dar al-Hilal.

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The Gangs of al-Husseinia [futuwat al-husseinia] (1954)

Black and White (105 min.) directed by Niazi Mostafa story and screenplay by Naguib Mahfouz, cinematography Klelio. Starring Farid Shawqi, Hoda Soltan, Mahmoud El-Meliguy, Wedad Hamdy, Abdel Aziz Khalil, Hussein Esa, Mohammad Shawky, Soliman El-Guindy, Soad Ahmed, Kamel Anwar, Hassan Attila, Mohammed Abbas, Nabawiyya Mostafa, Hassan Hamed, Hussein Ismail and Zaki al-Harami.

In a neighborhood in old Cairo a son received a thug’s cane from his father and learned how to kill with sticks. He became qualified as a thug in Husseinia. There was a struggle between the youth and a cruel thug over the love of a girl. The thug plotted against the youth and got him sent to prison for a number of years. The thug tried to marry the girl but she waited for the return of her beloved whom she had married before he went to prison. The years passed, the husband emerged from the prison and the whole neighborhood was electrified. There was a new fight over the temptress, but this time the boy prevailed over the cruel thug and got him sent to prison. He returned to his wife and became a just ruffian in the neighborhood.

The Gangs of al-Husseinia [futuwat al-husseinia] (1954)

Al-Kawakeb advertisement

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The Gangs of al-Husseinia [futuwat al-husseinia] (1954)

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Undated Rerelease Film Poster (27 x 39 inches); printed by Anwar Printers.

Salah Abouseif

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Fool’s Gate [darb al-mahabil] (1954)

Black and White (88 minutes) directed by Tewfik Saleh story Naguib Mahfouz, screenplay by Tewfik Saleh and Naguib Mahfouz, dialogue Abdel Hamid El-Sahar, cinematography Abdel Aziz Fahmi. Starring Berlanty Abdel Hamid (Khadiga), Shukry Sarhan (Taha), Hassan el Baroudi, Abdel Ghani Kamar, Nadia al-Sobhi, Tewfik El Dekn, Abdel Aziz Ahmed, Saad Adash, Ahmed Abaza, Elham Zaki, Rafia al-Shal and Shafik Noureddin.

In this story Mahfouz illustrates how simple and otherwise decent people will make fools of themselves when a sum of money of dubious ownership is known to be nearby. Life was quiet at Fool’s Gate until it was announced that the winning lottery ticket had won 1,000 pounds. Taha Sabi Al-Aghalin claimed the money because he had bought the ticket but the father of his fiance Khadiga, to whom Taha had given the ticket to keep for him, made her throw it in the street, for he was certain it was a corrupting influence that would destroy their home. There were disputes and altercations among the people about how to get hold of the money, but the money had landed by the goat pen and the goats ate it, for it had fallen from its envelope. Khadiga’s father agreed to marry his daughter to Taha.

Fool’s Gate [darb al-mahabil] (1954)

Film Poster 23.75 x 35.5 inches; printed by Dar al-Tabaa, distributed by Oriental Film Distribution Company.

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A Woman’s Youth [shabab emraa] (1955)

Black and white (126 min); directed by Salah Abouseif story Amin Youssef Ghurab, screenplay by Amin Yousseff Ghurab, Salah Abouseif and Naguib Mahfouz, dialogue by El Sayed Bedeir; cinematography Wahid Farid. Starring Shadia, Taheya Cariocca, Shukry Sarhan, Abdel Waress Assar, Seraj Munir and Ferdoos Mohammed.

A mother sold her only cow so her son could go to college in Cairo. He rented a room there near the citadel where he became romantically involved with the owner of the house. There was a small family living in the neighborhood who knew his father. He visited until he became bedridden with an illness. The family transferred him to their home so they could care for him. The owner of the house followed him there to ask him to return to her, but he refused and after recovering eventually moved into a room above the family’s home. The owner of the other house tricked him into marrying her, but was killed in an accident that had been arranged for her by one of the boy’s sympathizers.

A Woman’s Youth [shabab emraa] (1955)

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Undated rerelease film poster 27x39 inches

The Thug [al-namrud] (1956)

Black and White (120 min.) directed by Atef Salem story by Farid Shawqi screenplay by Naguib Mahfouz, Atef Salem, Farid Shawqi and Mahmoud Sobhi; cinematography Mahmoud Nasr. Starring Farid Shawqi, Hoda Soltan, Mahmoud El-Meliguy, Said Abu Bakr, Abdel Waress Assar, Mahmoud Ismail and El-Sayed Bedeir.

A destitute youth who could not find a way to support himself was treated harshly by circumstances. He lived in a humble room in an old quarter. He was pursued by creditors and had no consolation other than his love for the owner of the house, who gave him food. This overpowered him with despair. He tried to hang himself but the ceiling fell in with his weight and a flood of currency came crashing down with him that was hidden in the floor of the room above his. He found himself awash in cash and free to begin living a life of luxury. He adopted the outlook of an arrogant wealthy person; this led him into a boistrous life where he was fascinated by money. He hid his past and chased beautiful women, neglecting his fiance and provoking the feelings of the people in the quarter. Blinded by money, he had become a thug. However the blessing did not continue for the money had been stolen from a bank by a criminal who had hidden it in the floor above the room he had been renting. The criminal came back to the room one day and did not find the money. He realized the thug had stumbled across his treasure. He went looking for him, discovered his identity and told him he could not spend those currency notes because the police knew the serial numbers. However the police came and arrested the criminal as they were planning what to do with the money. The thug stopped his fiance’s marriage to someone else and married her after deciding to return the money to the authorities, even as he was surrounded by police who had come to arrest him.

The Thug [al-namrud] (1956)

Undated rerelease film poster (27x39 inches) printed by al-Nasr printers, distributed by the General Cinema Council

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The Thug [al-namrud] (1956)

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Original Lobby Card (13x19 inches) art by M. Hefzi, distributed by the Oriental Film Distribution Company.

Tough Guy [al-futuwwa] (1957)

Black and White (130 min.) directed by Salah Abouseif story by Farid Shawqi and Mahmoud Sobhi screenplay by Naguib Mahfouz, Mahmoud Sobhi, Salah Abouseif, El Sayed Bedeir; cinematography Hesham Wadid Serri. Starring Farid Shawqi, Taheyya Cariocca, Hoda Soltan, Mahmoud El-Meliguy, Zaki Rostom, Mimi Shakeeb, Tewfik El Dekn, Mahmoud El-Sabba, Mohamed Reda, Abdel Alim Khattab, Naima Wasfy, Loutfy El Hakim, Salwa Mohamed and El-Sayed Bedeir.

A man from upper Egypt named Haridi was looking for a way to feed himself working in the vegetable market. The market welcomed him with a slap in the face, employing him as a substitute for a sick donkey. However he succeeded in the work with the teacher Abu Zayd, the big market merchant and with the help of the woman teacher Husseinia. Haridi became close to Abu Zayd and learned all his secrets, ways of taking bribes, holding public auctions and using influence. Haridi then separated from Abu Zayd, married Husseinia and became one of the big merchants. Abu Zayd went to prison and Haridi became the big man of the market achieving the rank of Bey using Abu Zayd’s methods. He became an oppressor like him. Abu Zayd got out of prison and there was a dispute between him and Haridi over one of the big auctions. The dispute became a hot confrontation in which Abu Zayd died, Haridi was arrested and the market welcomed another newcomer.

Tough Guy [al-futuwwa] (1957)

Film Poster (24x35 inches) art by Gasour, printed by H.H. Gasour Arabic Film Printers Company, distributed by Farid Shawqi Films.

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The Charmer [saher al-nesa’] (1957)

Black and White (105 min.) directed by Fatin Abdel Wahab story by Naguib Mahfouz, screenplay by Mahmoud Sobhi, Abbas Kamel and Kamal El-Telmessani; cinematography Mohamed Abdel Azim. Starring Farid Shawqi, Hind Rostom, Hoda Soltan, Mohamed Alwan, Wedad Hamdy, Reyad El Kasabgy, Tewfik El Dekn, Soheir El-Bably, Kheiria Ahmed and Abbas Kamel.

After serving time the swindler got out of prison and tried to acquire a sum of money hidden in a place he had learned about from his cellmate. He found the hidden cash by posing as a conjurer and tricking the ones who had it so he could steal it from them. He used the funds thus acquired to become a swindler of a higher class, posing as a spiritual researcher who cured people by invoking intervention by spirits with curative powers. His cellmate was released from prison, found him and accused him of not keeping his end of a bargain they had made concerning the information the cellmate had given him. The swindler was arrested and at the end of the film he was back in prison again.

The Charmer [saher al-nesa’] (1957)

Undated rerelease film poster (27x39 inches) printed by Al-Nasr Printers, poster art by Abdel Aziz, art direction by Adel Fathy; distributed by Al-Salam Films (Hassan Amin Imam & Co)

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The Runaway [al-hareba] (1958)

Black and White (95 min.) directed by Hassan Ramzi, based on the 1931 Jean Giono novel Un de Baumugnes, and the 1934 film Angele based on the same novel directed by Marcel Pagnol and starring Orane Demazis as Angele Barbaroux, screenplay by Naguib Mahfouz and Hassan Ramzi; cinematography Victor Antoun. Starring Shadia, Shukry Sarhan, Zaki Rostom, Ferdoos Mohammad, Kariman, Abdel Moneim Ibrahim, Abdel Alim Khattab and Mohamed Sabih.

Zeinab believed it was her right to choose her husband but her father the mayor arranged a marriage to her cousin against her wishes. Zeinab ran away and her cousin decided he would kill her if he found her. Zeinab went to Cairo where she met a young physician who gave her shelter. They fell in love and agreed to marry in three years after he returnd from an assignment in Europe. However he came home drunk one night and raped her. In the morning he was unable to explain to her his decision to marry her. He left and she thought he had fled after deceiving her. She left the house and went to live with one of the doctor’s friends, who treated her as a sister. They joined a singing group that toured the Arab nations. When the physician returned he tried to find Zeinab so he could marry her but no one could say where she was. She was living with the physician’s friend outside Cairo where she had her baby and was raising the child. She decided to return to Cairo to the father to acknowledge his son. When she met him he was confused to learn he had a son. He emphasized he would acknowledge him but he asked her to give him time. She believed he was fleeing from her. Suddenly her family summoned him to help her dying father. She went with him and asked his forgiveness. The father died and the cousin decided to kill her, but he changed his mind in the end because of her sister’s pleading, and she finally returned to her town. The physician’s friend mediated between Zeinab and the physician and harmony was restored between them.

The Runaway [al-hareba] (1958)

Original stone lithograph film poster (27x39 inches) printed by Arabic Cinema Printers; distributed by the Cinema Union (Sobhi Farahat);

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Criminal on Vacation [mogrem fi egaza] (1958)

Black and White (120 min.) directed by Salah Abouseif; screenplay by Naguib Mahfouz and Kamal El-Telmessany based on the Joseph Losey film The Sleeping Tiger; cinematography Wahid Farid. Starring Farid Shawqi, Sabah, Wedad Hamdy, Samiha Ayyoub, Hassan Hamed, Nimat Mukhtar, Imad Hamdi, Samiha Ayyoub, Badr Nofal, Kamel Anwar, Zaki Ibrahim, Mahmoud El-Sabba, Ahmed Farahat, Hassan el Baroudi, Abdel Badi Oraby, Ali Rushdy, Loutfi El Hakim, Abbas Rahmy, Nahed Samir, Mohamed Badreddine and Khayria Sadeq.

Is crime hereditary or is it the product of a corrupt environment in which some people can live? That is the question and it is also what confused the attorney Batala. In a discussion about crime he would say it is the product of environment and not heredity. He ran a practical experiment and put a fugitive criminal addicted to crime in an environment without any criminal influences. He invited him to his home where he lived with him as a friend. Then the attorney’s wife betrayed him. She offered her love to the criminal. He rejected it at first then responded. His gang organized the theft of the assets of a tram company. He went out and stole the money then hid it in the attorney’s house without telling him about it or returning it to the cashier. The attorney took the criminal to the cashier’s home to see for himself what he would have done to the poor cashier if he had stolen the cash. Two things finally caught up with the criminal’s conscience. They were his true love for the attorney’s maid and his love for the small child the gang ran over with its car when it was committing the crime of theft. He turned away from crime and the consequences of his last crime. Then he married the maid and the unfaithful wife died. The attorney’s research conclusion was that if the criminal found himself surrounded by good and lived a good life and if his heart beat with sensitivity and high emotion, his outlook would change from that of a criminal.

Criminal on Vacation [mogrem fi egaza] (1958)

Film poster (27x39 inches); art by S. Vassiliou, printed by Dar al-Tabaa, distributed by Dollar Films.

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Jamila the Algerian [jamila al-jazaeria] (1958)

Black and white (125 min.); directed by Youssef Chanine; screenplay by Naguib Mahfouz and A.B. Rahman El-Sharkawi, story Youssef El Sebai; cinematography Abdel Aziz Fahmi. Starring Magda, Ahmed Mazhar, Salah Zulfikar, Rushdy Abaza, Mahmoud El-Meliguy, Hussein Riad, Farida Fahmy, Adly Kasseb, Zahrat El-Ola, Tahani Rached, Kariman, Nadia El Guindy, Salah Nazmi, Fakher Fakher, Ahmed Louxor, Shafik Noureddin, Soleyman Al-Guindy, Said Khalil, Sherine and Mohamed Hamdi.

The youth of Algeria could find no means of liberation other than battle. Jamila Buohired decided she had to be a part of the liberation front, and she joined Yousef Saadi’s secret team. The team was smuggling weapons from the Arab nations and killing French officers. The team had to change its hiding place and Jamila volunteered to help. Soldiers arrested her, but the rest of her team escaped. She was savagely tortured and told to reveal Yousef's location, but she endured the utmost torture without betraying her country. In a rigged trial she was sentenced to death but there was an international movement to rescue Jamila.

Jamila the Algerian [jamila al-jazaeria] (1958)

Film Poster (27x39 inches); printed by H.H. Gasour Arabic Cinema Printers , distributed by Magda Films

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The Blocked Road [al-tariq al-masdud] (1958)

Black and White (115 min.) directed by Salah Abouseif; screenplay by Naguib Mahfouz, dialogue El Sayed Bedeir, story Ihsan Abd al-Qudus; cinematography Mahmoud Nasr. Starring Faten Hamama, Shukry Sarhan, Wedad Hamdy, Hafez Mazhar, Zouzou Mady, Qadria Kamel, Khayria Ahmed, Ferdoos Mohammed, Aida Kamel, Malak El Gamal, Ehsan Sherif, Naima Wasfy, Reyad El Kasabgy, Tewfik El Dekn, Adly Kasseb, Mounir Al-Fangari, Leila al-Damati, Alia Fawzi, Ali Rushdy and Kheyria Kheyri.

Faiza grew up in a family whose breadwinner had died and left her with nothing. The mother chose a life of play, frivolity and indecency. The third of the three daughters rejected that life. She wanted love and honorable employment in her life. She became a teacher, fled her mother’s home, and took a job as a teacher in a remote village, only to discover that the village had all the same problems she had fled in the city.

The Blocked Road [al-tariq al-masdud] (1958)

Film Poster 27x39 inches; art by Studio Adly, printed by Dar al-Tabaa, distributed by Arabic Cinema Company

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We the Students [ehna al-talamiza] (1959)

Black and White (100 min.) directed by Atef Salem; screenplay by Naguib Mahfouz, story Tewfik Saleh and Kamel Youssef; cinematography Bruno Salvi. Starring Shukry Sarhan, Omar Sharif, Taheya Cariocca, Youssef Fakhreddine, Zizi El-Badrawy, Abdelaziz Ahmed, Tahani Rached, Kamal Hussein, Abdel Ghani Kamar, Ferdoos Mohammed, Fouad Shafik and Mimi Shakeeb.

The three students Adel, Hassanein and Samir all had problems. Adel loved his neighbor Saham, but her father refused to allow them to marry and banned him from the house. Hassanein’s uncle came to him from upper Egypt to emphasize the importance of rising up against the ones who had killed his father. Samir was suffering from his father’s neglect. Samir and the maid Fatma had a sinful relationship and she became pregnant. Adel learned from the dancer Gamalat about Fatma’s miscarriage. The three robbed the bar where they drank to get money to for medical treatment during the miscarriage but the money they stole was not enough and Fatma died during the miscarriage. Gamalat screamed and the neighbors and the police came. They were all tried and sentenced to 15 years in prison.

We the Students [ehna al-talamiza] (1959)

Undated rerelease film poster (27x39 inches); printed by Al-Nasr Printers, distributed by the Egyptian Company for Cinema Marketing and Distribution.

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I Am Free [ana horra] (1959)

Black and white, 110 minutes; directed by Salah Abouseif; screenplay by Naguib Mahfouz story Ihsan Abd al-Qudus; cinematography Mahmoud Nasr. Starring Lobna Abdel Aziz (Amina) with Zouzou Nabil, Hussein Riad, Shukry Sarhan, Hassan Youssef, Kamal Yassine and Mohammad Abd al-Qudus.

This film is set in the 1940s and early 1950s; it tells the story of an allegorical search for the meaning of freedom in the life of a woman (played by Lobna Abdel Aziz) who is determined to achieve her own liberation. A middle class family embraced the girl Amina, daughter of the husband’s twin. They lived their lives in the old reactionary ways and were opposed to her brother’s (Hassan Youssef) love for the classical violin and her love for the piano. Amina was constrained by these ways of living and rebelled against them as she sought freedom in her own life. An engineer courted her, and the family saw this as an opportunity to get rid of her, but Amina clashed with his old ideas and rejected his proposal. She left her uncle’s home to live with her parents and weent to work for a company after the end of her university studies. There she became devoted to her responsibilities. Everything depended on her and all her time belonged to the company. It seems in this way she lost some of her freedom. By chance she had a business meetingwith her former neighbor Abbas (Shukry Sarhan) who had become chief editor of a journal. He had a political roal both in the journal and in the publications it printed; Amina shared his belief in the principle of absolute dedication to one’s work, and they fell in love. In the end she was arrested for seditious activity against the Farouk regime and imprisoned, along with Abbas. They married after they were released.

I Am Free [ana horra] (1959)

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Program cover (8x11 inches), printed by Dar al-Hilal; distributed by Oriental Film Distributors.

I Am Free [ana horra] (1959)

I am Free film poster

Film poster (27 x 39 inches), printed by Anwar Printers; distributed by Oriental Film Distributors.

Between Heaven and Earth [bayn al-samaa wal-ard] (1959)

Black and White (85 min.) directed by Salah Abouseif; screenplay by El Sayed Bedeir and Salah Abouseif; story Naguib Mahfouz; cinematography Wahid Farid.

This film is on film critic Sa’ad al-Din Tawfiq’s list of the top 100 Egyptian films. It was not a commercial success, but it was Egypt’s entry in the Yugoslav Film Festival in 1960. Starring Hind Rostom with Abdel Salam Al Nabulsy, Abdel Moneim Ibrahim, Mahmoud El-Meliguy, Said Abu Bakr, Naima Wasfy, Abdel Moneim Madbouly, Shafik Noureddin, Mahmoud Azmy, Zizi Mustafa, Ahmed Louxor, Souraya Fakhry and Nazim Shaarawy.

A group of city people got into an elevator going to various floors in a big building. There was an actress who had a role to play in a film depicting the highest building. She was being pursued by a man who was in the habit of following women. There was a woman going to her lover, and there was someone from a gang that steals valuables. There was an escapee from a mental hospital and an old man who had left his family to marry a younger woman. The elevator stopped working, but the doorman had gone to see a soccer game, so the rescue was delayed. The police were called, who finally located the elevator and broke through the wall. The rescue was made and they all went back to their original plans. The actress completed her job, the thief was arrested and the man who loved women went looking for a new woman.

Between Heaven and Earth [bayn al-samaa wal-ard] (1959)

Original Lobby card (13x19 inches, top), art by Studio Marcel; (bottom) undated rerelease film poster (27x39 inches), printed by the H.H. Gasour Arabic Cinema Printers.

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God is Great [allahu akbar] (1959)

Black and White (75 min.) directed by Ibrahim El-Sayed; screenplay by Naguib Mahfouz; story Ibrahim El-Sayed; cinematography Hassan Dahesh. Starring Zahrat El-Ola, Hassan Hamed, Abdel Waress Assar, Abdel Aziz Khalil, Nimat Mukhtar and Shafik Galal.

Hind (Zahrat El-Ola) was the daughter of a wealthy merchant in a tribe. One of the Sheikhs of the Bani Amr tribe loved her, but he was a polytheist. Hind and her father had believed in Islam since the beginning of Mohammad’s call. The polytheist boy asked to marry Hind but her father refused to marry her to him because of his polytheism. Hind’s tribe was subjected to violent mistreatment by another tribe because of their acceptance of Islam. The other tribe continued this mistreatment to make them abandon their faith. The Prophet went on his pilgrimage and Hind’s father and his daughter went with him. The polytheist boy from the Bani Amr who had asked to marry Hind declared his belief in Islam and decided to go on the pilgrimage with Hind and her father. He joined Hind’s tribe in the war against the oppression and mistreatment.

God is Great [allahu akbar] (1959)

Film poster (27x39 inches), art by Gasour, printed by Arabic Cinema Printers distributed by Nasr Arabic films.

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Dead among the Living [bedaya wa nehaya] (1960)

Black and white (130 min.) directed by Salah Abouseif; screenplay by Salah Ezzedine; dialogue Ahmed Shawqi, Kamel Abdel Salam, story Naguib Mahfouz; cinematography Kamal Korayem. Starring Farid Shawqi, Omar Sharif, Amina Rizk, Amal Zayed, Sanaa Gamil, Salah Mansour, Abdel Khalek Saleh, Amal Farid, Hamed Morsi, Ahmed Shoukry, Souraya Fakhry, Mokhtar Hussein, Mohamed Hamdi and Abdel Moniem Ismail.

This was the first Mahfouz novel to be made into a film: The head of the household died leaving the family suffering from hardship and deprivation. The oldest son Hassan (Farid Shawqi) ended up living in a depraved neighborhood dealing in drugs and women. Hussein the middle son took work with his middle school diploma to provide an opportunity for his brother Hassanein (Omar Sharif) to complete his studies and go to the War College. The daughter Nafisa (Sanaa Gamil) lacked beauty and was driven out of the life of Soliman the grocer after she sinned with him. She continued her sinful ways without knowing anyone. She helped her brother Hassanein and her mother with the small amounts of money she had acquired. Hassanein graduated as an officer. He turned his back on his family, his fiancee and his social milieu, then rose to associate with the wealthy class through marriage to one of them. Hassan returned to his family wounded and driven out of the police force. At the same time Hassanein was summoned to the police department to find his sister there, accused of debauchery. Hassanein goaded his sister into drowning herself to eliminate the scandal (the poster depicts her after Hassanein has knocked her to the ground in anger); he watched as she jumped into the Nile. He thought about his own life, saw his life in ruins and jumped in behind her!

Dead among the Living [bedaya wa nehaya] (1960)

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Film poster (27x39 inches), distributed by Dollar Film; printed by Printing Arts Union.

Dead among the Living [bedaya wa nehaya] (1960)

Film program (8x11.5 inches), distributed by Dollar Film; printed by Galal Studio.

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Dead among the Living [bedaya wa nehaya] (1960)

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Omar Sharif as Hassanein

Saladin [al-nasir salah al-din] (1963)

Color (175 min.) directed by Youssef Chahine; story Naguib Mahfouz, screenplay Mohamed Abdel Gawad, Youssef Chahine, Aderrahman Charkawi, Yossef El Sebai, Ezzeldine Zulficar; cinematography Hesham Wadid Serri and Klelio. Starring Ahmed Mazhar, Nadia Lutfi, Laila Taher, Leila Fawzi, Salah Zulfikar, Hamdy Gheith, Omar El-Hariri, Hussein Riad, Mahmoud El-Meliguy, Zaki Toleimat, Tewfik El Dekn, Mohamed Hamdi, Nahed Sabri, Sami Loutfi, Ahmed Louxor and Mohamed Sultan.

This epic film depicts the Kurdish leader Saladin (Ahmed Mazhar) of the Arab side of the crusades as he successfully prevents the Third Crusade, led by Richard the Lionhearted (Hamdy Geith), from taking Jerusalem.

Saladin [al-nasir salah al-din] (1963)

Two-sheet stone lithograph film poster (35x46 inches), art by Ragheb, printed by Yamset Lithograph, distributed by Lotus Films;

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Midaq Alley [zoqaq al-midaq] (1963)

Black and white (123 minutes); directed by Hassan Al Imam; story Naguib Mahfouz; cinematography Aly Hassan. Starring Shadia, Samia Gamal, Youssef Chaban, Salah Kabil, Hassan Youssef, Abdel Waress Assar, Adly Kasseb, Abdel Moneim Ibrahim, Hassan el Baroudi, Aqila Ratib, Tewfik El Dekn, Souraya Helmy, Mohamed Reda, Mahmoud Shekuku and Hussein Riad.

People of various nationalities and trades lived in Midaq Alley. This story is about Hamida (Shadia) and Hassan when he was treating her like a sister, but had no influence with her. Hamida was trying to leave poor Midaq and rise to a better life . Hassan was able to leave Midaq and work at the English prison in Abbasia where she met some of the English soldiers and supplied them with narcotics obtained in Midaq. Her mother could not control her. Abbas (Salah Kabil) the barber was able to attract Hamida’s attention for he loved her and wanted to marry her. She neither accepted nor refused but she was hoping for better. Abbas decided to go to the prison to get money. He went with Uncle Kamel the pastry seller to ask for Hamida’s hand. She agreed and the marriage was set for after he returned. However Sayed Atwan the big mirchant in Midaq wanted to marry Hamida too, even though he was already married. Hamida’s mother refused to allow this even though Hamida was agreeable. However Sayed Atwan took a fall on the street and died of a heart attack a few days later. Ibrahim Farahat, who was running for Parliament, appeared in the neighborhood with Farag. Farag had succeeded in getting Hamida to go with him to the cinema. He then took her to his sumptious apartment where he tried to kiss her, but she ran away. The next day Hamida went to Farag without returning to Midaq, Farag turned his apartment into a dance school (with Samia Gamal on hand as the main dancer) and nicknamed Hamida Titi. Abbas returned from vacation and did not find Hamida. Hussein quarreled with his father the old teacher who owned a coffee shop in Midaq and was planning to leave the neighborhood. The end of the war was announced, which embittered Farag. A drunken English soldier shot Hamida with a pistol. She grabbed the pistol and killed Farag with it. Abbas happened to be at the bar and he carried Hamida when she died at Midaq.

Midaq Alley [zoqaq al-midaq] (1963)

Film poster (27x39 inches), art by Fathy al-Khadri, printed by Al-Nasr Printers, distributed by Union for Cinema (Sobhi Farahat).

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The Thief and the Dogs [al-loss wal-kelab] (1963)

Black and White (125 min.) directed by Kamal El Sheikh; story Naguib Mahfouz; cinematography Kamal Korayem. Starring Shadia, Shukry Sarhan, Kamal Al-Shennawi, Fakhr Fakher, Samir Sabri, Salah Mansour, Salwa Mahmoud, Salah Chahine, Adly Kasseb, Zein El-Ashmawy and Nazim Shaarawy.

Said Mehran (Shukry Sarhan) worked as a house servant in a student’s home. Because of financial need due to his mother’s illness he had to steal a watch from a student. Raouf Alwan (Kamal Al-Shennawi) got involved to save him. Said Marwan took him as his adviser and read his books after he became a famous journalist. Said became a big thief. His assistant Alish plotted against him and informed on him so he would be free to marry his wife Nabawiya. Said Mehran got out of prison with the goal of getting revenge for the betrayal by Alish and Nabawiya, but he killed some innocent people instead, because they had fled their house. Said fled and lived as a fugitive. Said tried to kill Raouf after he got rid of him and attacked him in newspaper articles, turning public opinion against him. Said confessed to his former lover Nour and lived in her house. Marwan went to one of the Sufi Sheikhs but did not find the security and peace he was seeking. Said lived with the singer Nour (Shadia) who tried to help him and save him but the police who were chasing him found his hiding place and killed him on the mountain.

The Thief and the Dogs [al-loss wal-kelab] (1963)

Three-piece film poster (35 x 41 inches), art by Abdel Ghani, printed by Al-Nasr Printers, distributed by Dollar Films.

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Between Two Palaces [bayn al-qasrayn] (1964)

Black and White (135 min.) directed by Hassan Al Imam; story Naguib Mahfouz; cinematography Mostafa Hassan. Starring Yehia Chahine, Maha Sabry, Salah Kabil, Zizi El-Badrawy, Nimat Mukhtar, Hala Fakher, Soheir El-Barouni, Mohamed Reda, Mimi Shakeeb, Abdel Moneim Ibrahim, Zouzou Nabil and Amal Zayed.

In 1914 Fahmy joined the secret national society where Ibrahim welcomed him. His brother Yassine was in love with one of the dancers and the entire family trembled at meeting his father Sayed Abdel Gawad, especially his wife whom he had married 20 years earlier divorcing the mother of his oldest son Yassine. Outside the home Yassine was corrupt and weak. He owned a grocery store and had begun looking for a new lover to replace the dancer Jalia who had gotten old. He liked Zubaida and gave her everything she wanted. He would go to her secretly and there Yassine discovered the truth about his father. Sayed Abdel Gawad was a respected man in his own home. He would eat alone while his wife and children would wait until he finished before eating. His wife Amina, his daughters Aisha and Khadija and his sons Kamel, Yassine and Fahmy stood in awe of their father. Yassine was a secretary at the Benin school and Famy was a student at the Law College. He wrote political publications, distributed them among colleagues and hid them in the poultry coops on the roof of his home. At the same time this was an opportunity to see his neighbor Mariam. He loved her but preferred to postpone the relationship with her until after he completed his studies and the British had left Egypt. Kamal was a student in secondary school and participated in many demonstrations. When Sayed Abdel Gawad learned his former wife and Yassine’s mother wanted to marry again he sent her son to her to try to persuade her not to do so but he discovered she had already married, quarreled with her and left. Yassine wanted a few days with Zubaida the dancer. He told his family he was going to Port Said and asked them not to leave the house. However Kamal persuaded his mother to visit the shrine of Sayedna al-Hussein, but she was injured on the way and despite the advice of her children not to tell their father she told him the truth. He banished her and then made peace with her again. Latifa engaged her two daughters to her sons. Yassine married Zeinab and Fahmy died when the British soldiers shot at the demonstrators.

Between Two Palaces [bayn al-qasrayn] (1964)

Film poster (27x39 inches), art by Ragheb, printed by Al-Nasr Printers of Alexandria, distributed by the General Film Marketing and Distribution Company.

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Between Two Palaces [bayn al-qasrayn] (1964)

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Original lobby card (13x19 inches), distributed by the General Film Marketing and Distribution Company.

Between Two Palaces [bayn al-qasrayn] (1964)

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Abdel Moneim Ibrahim as Sayed Abdel Gawad’s son Yassine in Between Two Palaces.

The Search [al-tariq] (1965)

Black and white (113 minutes) directed by Houssam El-Din Mustafa; story Naguib Mahfouz (1962); cinematography Hesham Wadid Serri. Starring Rushdy Abaza, Shadia, Soad Hosny, Taheya Cariocca, Hassan el Baroudi, Mohammad Tawfik and Abdel Khalek Saleh.

Saber al-Rahimi (Rushdy Abaza) resisted when his mother was bringing him while she was in prison for her scandalous past in the name of his wealthy respectable father. It became his goal to find that father to save him from ruin and give him support and security. He left Alexandria to live in Cairo and on his long journey looking for his unknown, father Saber found himself in his overall life experience. He met Karima (Shadia) the wife of the owner of the hotel where he stayed. She was a woman softened by lust. Saber wooed her and at the same time he met Elham (Soad Hosny) at the newspaper Al-Akhbar al-Yom where he placed an advertisement looking for his father. A tender love story developed between the two of them but the sensous side developed between him and Karima, who came to his room at night and asked him to kill her husband to leave them free. He agreed to kill the husband but the police suspected him and chased him. Karima helped him flee and Elham tried to save him but the police lost no time arresting him and he was sentenced to death.

The Search [al-tariq] (1965)

Film poster (27x39 inches), art by Abdel Rahman, printed by Al-Nasr Printers, distributed by the Egypt Cinema Marketing and Distribution Company.

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The Price of Freedom [thaman al-horria] (1965)

Black and white (110 min.) directed by Nour El-Demerdash; screenplay Naguib Mahfouz, adapted from a screenplay by Raymond Robles; cinematography Masud Isa. Starring Mahmoud Moursy, Abdallah Gheith, Karima Mokhtar, Salah Mansour, Ahmed Al-Gezeiry, Nahed Samir, Ahmed Abaza, Faiza Fouad, and Hamed Morsi.

During the British occupation of Egypt there was a secret organization led by a young fighter named Ahmed Abdel Hafez. The organization was in collusion with the occupying forces and arrested the fighter Mohamed al-Masry. To make him confess the British governor ordered the British officer to find the chief of the organization quickly. If this could not be done it would be necessary to arrest six people on the street in front of the office and kill them by firing squad. The officer was not able to find the fighter so six people were arrested, including a cart driver, a merchant who had left a dinner party for his wedding, a student whose brother had died as a martyr duing his resistance to the occuptation, a mother who was returning to her small children who had no one but her and were waiting for her return at the time, and a pretty girl who was singing a Sayed Darwish patriotic tune. The occupation men began torturing the six people, and then the British officer prepared to shoot the innocents, but before doing that he shot and killed the Egyptian officer.

The Price of Freedom [thaman al-horria] (1965)

Film Poster (27x39 inches); art by Abdel Rahman and Studio Adly; distributed by the Movies and Film Distribution Company.

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Khan al-Khalili (1966)

Black and White (110 min.) directed by Atef Salem; story Naguib Mahfouz; cinematography Abdel Aziz Fahmy. Starring Samira Ahmed, Imad Hamdi, Hassan Youssef, Taheya Cariocca, Abdel Waress Assar, Mohamed Reda, George Sidhum, Tewfik El Dekn, Amal Zayed, Abdel Khalek Saleh and Mustafa Samy.

The Akef family moved to Khan al-Khalili. They were the parents, the big brother Ahmed Akef who was over 40 and the little brother Rushdy was was completing his studies. A number of human types lived in Khan al-Khalili such as the teacher Nunu who lived his life with no tomorrow and ran sentences together frivolously. In the midst of the air raids during World War II the people in the neighborhood took refuge in the air raid shelter. Ahmed loved his good-looking neighbor Nawal and tried to get close to her. His mother talked about his feelings for her. He felt he had hopes. When Nawal fell in love with Rushdy, met him and welt for a walk with him Rushdy felt a crisis within and came down with tuberculosis. He thought of Ahmad and the sacrifice of his love for Nawal. Ahmad began being incorporated into Khan al-Khalil society and had an encounter with the teacher Nunu’s nihilism. Rushdy’s illness worsened and he died. Nawal was stricken by Rushdy’s death and the family decided to move from Khan al-Khalili to another area.

Khan al-Khalili (1966)

Film poster (27x39 inches) art by Gasour, printed by the H. Gasour Arabic Film Printers; distributed by the General Film Marketing and Distribution Company.

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Khan al-Khalili (1966)

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Original Lobby Card (13x19 inches) distributed by the General Film Marketing and Distribution Company.

Cairo 30 [al-qahera thalathin] (1966)

Black and white (120 min.) directed by Salah Abouseif; story Naguib Mahfouz (from his 1945 novel Modern Cairo [al-qahera al-gadida]), screenplay Wafia Khayry, Ali El Zorkani, Salah Abouseif; cinematography Wahid Farid. Starring Soad Hosny, Ahmed Mazhar, Hamdy Ahmed, Bahidja Hafez, Tewfik El Dekn, Ahmed Taufiq, Soheir El-Morshidy, Abdel Moneim Ibrahim, Abdel Aziz Mekwi, Shafik Noureddin, Aqila Ratib, Youssef Wahby and Ali El Zorkani.

Three friends who were university students lived together in the same house. Ali Taha was a cultured boy who dreamed of an orderly life and a revolution that would put an end to corruption and oppression. Ahmed Bedeir was a boy who did not care about anything and worked at a newspaper. Mahgoub Abdel Daem was the poorest among them, living at the subsistence level. He sought aid from a boy in his village, Salem al-Akhshidi, director of the office of Qasem Beg, a ministry attorney. Salam al-Akhshidi suggested to him that he marry his lover, a ministry attorney, in exchange for a job and an apartment, on the condition that he visit Qasem Beg once a week. Mahgoub Abdel Daem accepted what was offered to him and agreed to marry Ehsan Shahata, the former lover of his fiend Ali Taha and Qasem Beg’s current lover. Mahgoub rose in his job along with Qasem Beg from ministry attorney to minister. The minister’s wife caught her husband in the arms of his lover at Mahgoub’s house at the same time his father came to the minister to ask him why he was no longer receiving financial assistance. Ali Taha continued his revolutionary fight through the people directly into the new dawn.

Cairo 30 [al-qahera thalathin] (1966)

Three-piece film Poster (65x39.5 inches); art direction Gasour, art by Abdel Ghani, printed by the H. Gasour Arabic Cinema Film Printers, distributed by the General Film Marketing and Distribution Company

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Palace Walk [asr al-shawq] (1967)

Black and white (130 min.) directed by Hassan Al Imam, screenplay and dialogue Mohamed Mustafa Samy; story Naguib Mahfouz; cinematography Mostafa Hassan. Starring Nadia Lutfi, Yehia Chahine, Abdel Moneim Ibrahim, Magda El-Khatib, Amal Zayed, Samir Sabri, Nour El-Sherif, Soheir El-Barouni, Hala Fakher, Ahmed Ghanem, Mohammad Shawky, Hussein Ismail, Naima Al Soghayar, Sa’eed Saleh, Zizi Mustafa, Sherifa Maher, Mimi Shakeeb and Zuzu Shakeeb.

After the death of Fahmy, the son of Al-Sayed Ahmed Abdel Gawad and the death of the father five years later, his daughters moved after they were married to the neighborhood of the Palace of Longing in the 1920s. When Zanuba was born in Zubaida’s home, Al-Sayed Abdel Gawad quit the night life. When he decided to return to Zubaida’s home he disovered that yesterday’s child Zanuba had grown up to become a girl who could make him fall in love with her and buy his people for her. At the same time however Zanuba loved Yassine the son of Ahmed Abdel Gawad, without knowing the truth of this. She married Yassine and came into the family of Sayed Abdel Gawad as the respected wife of his son. As for Kamal, he loved Aida but she did not marry him and left him. He then rejected everything he had believed in. After assessing his poverty she married a rich boy.

Palace Walk [asr al-shawq] (1967)

Film Poster (27x39 inches); art by Studio Marcel; printed by Al-Nasr Printers, distributed by the Cairo Film Distribution Company

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Palace Walk [asr al-shawq] (1967)

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Film program (8.25x12.5 inches); distributed by the General Cinema Council

Palace Walk [asr al-shawq] (1967)

Undated rerelease film poster 27x39” printed by Sayed Ali Ibrahim Al-Nasr Printers, distributed by the General Film Council.

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The Quail and the Autumn [al-saman wal-kharif] (1967)

Black and White (129 minutes) directed by Houssam El-Din Mustafa; story Naguib Mahfouz; cinematography Klelio. Starring Nadia Lutfi, Mahmoud Moursy, Adel Adham, Abdallah Gheith, Ihsan El-Kalawy, Leila Sheir, Naima Wasfy, Mimi Shakeeb, Ahmed Abbas Salah and Ehsan Sherif.

With the revolution hopes ended for Esa the tanner, a political prty youth who had promised himself to be a man of the future, especially since he had failed to adapt to it on a personal or a general level and his marriage had failed. Esa fled to Alexandria and met Riri, a girl of the night who truly loved him. However he abandoned her when he discovered she was pregnant. Riri married an older man to give her daughter a name and protect herself from ruin. Esa returned after six years to confirm that the girl was his daughter and to try to persuade Riri to marry him, but she refused. In the end there was a reconciliation between them, just as there had been a reconciliation with the political system of the revolution, through one of his best friends who had stood on the side of the July revolution.

The Quail and the Autumn [al-saman wal-kharif] (1967)

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Film Poster (27x39 inches); distributed by the General Cinema Council

Miramar (1969)

Black and white (105 min.) directed by Kamal El Sheikh; story Naguib Mahfouz; cinematography Abdelhalim Nasr. Starring Shadia, Youssef Wahby, Youssef Chaban, Imad Hamdi, Nadia El Guindy, Abdel Moneim Ibrahim, Abu Bakr Ezzat, Ahmed Taufiq and Ismat Rafat.

Zahra fled from her village to the Miramar boarding house in Alexandria, where she worked as a maid. There were various classes of people in the boarding house including feudal lords who were resentful of the revolution’s nationalization of their land, a former ministry attorney who had lost his influence, the old journalist Amer Wagdi and Mansour Bahi, the perplexed man of culture. Sarhan al-Beheiri was a member of the Socialist Union and his opportunistic side appeared in his effort to steal the company in which he worked and in his deceiving Zahra that he loved her, although he abandoned her and married someone else. Talaba Redwan stood by Zahra and the boarding house seemed to be divided into two parts, the first part being the class that had been harmed by the revolution and did nothing but make jokes and womanize as Hosni Alam did, and the second part being the young people like Mansour Bahi, the fugitive from the revolution who was arrested. As for Talaba Redwan, he was an old journalist who had chosen to live in the shadows. After Zahra had been harmed by these circumstances she was planing to leave the boarding house but the newspaper seller announced he wanted to marry her because he loved her.

Miramar (1969)

Film Poster (27x39 inches); distributed by the General Cinema, Theater and Music Council.

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Miramar (1969)

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Original Lobby Card (13x19 inches); distributed by the Egyptian Cinema Institute.

Some Suffering [shay min al-azab] (1969)

Color (125 min.) directed by Salah Abouseif; story by Ahmed Ragab, screenplay by Naguib Mahfouz; cinematography Ibrahim Shamat. Starring Soad Hosny, Hassan Youssef, Yehia Chahine, Abdel Moneim Madbouly and Farouk Ibrahim.

Amal (Soad Hosny) fled from her mother’s husband after he tried to rape her, she had to beat him with an umbrella and he died. She took refuge in a villa in Sayedna Abdel Rahman and found herself in the studio of the artist Ahmed Khaled (Yehia Chahine). She introduced herself to him as Salwa and claimed she had been on a school trip and lost the way. He tried to drive her out but she pleaded that she would stay with him one night only and he accepted. In the morning Sherif (Hassan Youssef) the artist appeared, who was surprised to see this girl. She claimed falsely that she was Ahmed Khaled’s niece and that she had been living in Khartoum. She asked him to help her stay and not travel. Salwa used the trick of having Sherif make a statue of her so she would have to sty in the home until it was finished. While Sherif was making the statue he began to love her but Salwa deeply loved Ahmed. Sherif went to his boss to ask for Salwa’s hand. Ahmed was astonished, began to be concerned about Salwa and asked her to leave the house. Salwa felt she had failed in her love with Ahmed and tried to commit suicide. Ahmed asked Sherif to save her and admitted the truth to him. Sherif insisted on his love for Salwa. Ahmed felt the difference in age between himself and Salwa and could not continue with this love. He left her a letter of apology, left the house and took refuge with his friend the musician Hussein Shukry, who believed the age difference makes no difference to an artist and that an artist’s love cannot be measured. Sherif saw Salwa’s picture in magazines. She had confessed, surrendered, gone to trial adn been found innocent on grounds of self-defense. The artist Ahmed Khaled left her life and returned with Sherif to make a new life.

Some Suffering [shay min al-azab] (1969)

Film Poster (27x39 inches); distributed by the General Egyptian Cinema Institute, printed by H.H. Gasour Arabic Cinema Printers.

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Insatiable [bi’r al-herman] (1969)

Color (120 min.) directed by Kamal El Sheikh; story by Ihsan Abd al-Qudus, screenplay by Youssef Francis; adaptation for film Naguib Mahfouz; cinematography Wahid Farid. Starring Soad Hosny, Mariam Fakhr Eddine, Mahmoud El-Meliguy, Nour El-Sherif, Essam Farid, Salah Nazmi, Abdel Rahman Abou Zahra, Hamdy Youssef, Hamza al-Shimi, Soraya Ezeddine and Mohi Ismail.

Mervat and Nahed were the same girl (Soad Hosny). Mervat was an irresponsible person who tempted the boy Taha at a nightclub, encouraged him, spent the evening drinking with him, then went home with him before anyone knew they had left. As for Nahed, she kept the habits of the family. She was engaged to Raoul (Nour El-Sherif) who had won a fencing trophy and given it to her. Nahed lived with her mother (Mariam Fakhr Eddine) who lived with her husband in the same house but in reality they were separated. Nahed tried to restore the bond between them without success. Nahed suffered constant headaches and went to Dr. Talaat (Mahmoud El-Meliguy) for treatment. In numerous appointments Nahed was transported to Mervat’s personality, which led Dr. Talaat there. The doctor took advantage of this opportunity and tried to eliminate Nahed’s Mervat complex. The doctor saw her childhood, her mother’s relationship with her father, how she felt her father had killed her mother and how the mother had fallen into a well after the father caught her one night in a red dress. This complex had settled into the child’s psyche and when Nahed became an adult the complex emerged unrestricted as Mervat, a substitute for her mother’s personality. Dr. Talaat overcame Mervat’s personality to restore Nahed’s personality, but she discovered her fiancee had left her.

Insatiable [bi’r al-herman] (1969)

Film Poster (27x39 inches); art by Wahib Fahmy, printed by Sayed Ali Ibrahim al-Nasr Printers, distributed by the Arab Cinema Company

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The Mirage [al-sarab] (1970)

Black and white (120 min.) directed by Anwar El-Shenawy; story by Naguib Mahfouz, screenplay by Ali El Zorkani; cinematography Mahmoud Nasr. Starring Magda, Nour El-Sherif, Aqila Ratib, Taheya Cariocca, Abbas Fares, Rushdy Abaza, Aziza Helmy, Zeinat Sedki, Mimi Gamal, Mohammed Abaza and Zeinat Alawi.

Kamel was a wealthy boy who married a teacher named Rebab. On the wedding night she discovered he was impotent. Kamel went to Dr. Amin the psychiatrist who assured him his problems were due to things that happened during his childhood. Dr. Amin knew Kamel’s wife Rebab. He asked her to help Kamel overcome his problem to get through the marriage crisis and restore him to full health. The malfunctions continued and Kamel was unable to perform his natural functions with his wife, especially since his mother dominated his thinking, but he was able to do those things in a house of debauchery. He loved Rebab very much. During this period a relationship was begun between Dr. Amin and Rebab after a furious fight between her and Kamel. This relationship resulted in pregnancy and when Rebab was on her way home Kamel told her he had been cured, but she was not able to respond favorably to him, and he discovered the truth. She died of a hemhorrage during a miscarriage.

The Mirage [al-sarab] (1970)

Film Poster (27x39 inches); distributed by the General Egyptian Cinema Institute, art by Wahib Fahmy, printed by Al-Nasr Printers.

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The Egyptian Dalal [al-dalal al-masria] (1970)

Color (120 min.) directed by Hassan Al Imam; story by Leo Tolstoy, screenplay by Naguib Mahfouz; cinematography Abdelhalim Nasr.

Starring Magda El-Khatib, Hussein Fahmy, Salah Kabil, Madiha Kamel, Soheir El-Barouni, Souraya Helmy, Leila Fawzi and Hoda Soltan.

This film is an adaptation of Tolstoy’s Resurrection [voskrecenyel]. The orphan girl Atiyat grew up in an old castle with the sons of the current owner (Fouad Beg’s aunt) until the owner of the castle threw her out after discovering she had lost her virginity, without knowing who was responsible. The person responsible was her nephew Fouad Beg. Atiyat tried to do the honorable thing. She went to a factory where she met Mohammad, who loved her and wanted to marry her. Things did not go well for her however and she quit working at the factory to work with the teacher Fatma Al-Falali. The years went by and while she was working she was accused of murder. Fouad Ahmad was a judge on the court that sentenced her to 15 years in prison, but something moved inside Fouad Beg for his conscience rebuked him and he submitted his resignation to mount a defense for her. After much effort collecting the judicial papers he was able to get her exonerated. He thought he could now make amends for the past and he offered to marry her, but she refused and went back to her colleague Mohammad at the dye factory to marry him.

The Egyptian Dalal [al-dalal al-masria] (1970)

Film Poster (27x39 inches); distributed by the General Egyptian Cinema Institute, art by Walid Wahig, printed by al-Nasr Printers.

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Adrift on the Nile [Tharthara faw’ al-nil] (1971)

Black and White/color (120 minutes) directed by Hussein Kamal; story by Naguib Mahfouz, screenplay and dialogue by Mamdouh El Leithy; cinematography Mustafa Imam. Starring Adel Adham, Magda El-Khatib, Mervat Amin, Imad Hamdi, Salah Nazmi, Ahmed Ramzy, Soheir Ramzy, Ahmed Tewfik, Ahmed Al-Gezeiry and Nimat Mukhtar.

This is the story of a simple Egyptian worker, Anis (Imad Hamdi) in the time of the 1967 war. He dislikes the hypocrisy of the Egyptian government and the illiteracy of the Egyptian public. He tries to escape the problems in Egypt by smoking hashish. Anis meets with Ragab (Ahmed Ramzi), a former student, who invites him to spend an evening on his Nile houseboat. There Anis finds other lower- and middle-class Egyptians who are also smoking hashish for the same reasons he does. At the end Anis decides to stop smoking hashish but is soon left alone and deranged in the streets--almost everyone else in Egypt is stoned! In her role as visiting journalist Magda El-Khatib’s character Samara does a thoughtful thumnail portrait of each of the stoned characters; she declares Anis ``half-crazy, half-dead.’’

Adrift on the Nile [Tharthara faw’ al-nil] (1971)

Film Poster (27x39 inches); distributed by Gamal Elleissi Films; printed by Sayed Ali Ibrahim Al-Nasr Printers.

The Choice [al-ekhtiar] (1971)

Color (119 min.) directed by Youssef Chahine; story by Naguib Mahfouz and Youssef Chahine, screenplay by Youssef Chahine; cinematography Ahmed Khorshed. Starring Soad Hosny, Hoda Soltan, Mahmoud El-Meliguy, Ezzat El Alaili, Seif El Dine, Mimi Shakeeb, Abdel Rahman Abou Zahra, Madiha Kamel, Youssef Wahby and Aly El Cherif.

This film is a cinematic shell game in which the audience is challenged to decide who did what in a murder mystery involving a novelist/murder suspect and his slain twin brother.

The Choice [al-ekhtiar] (1971)

Film Poster (29x54 inches); art by Gasour, printed by the H. Gasour Arabic Cinema Printers.

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The Picture [soura] (1972)

The Picture is the final segment of the three-part film Forbidden Pictures [suwwar mamnoua]; directed by Madkour Sabet; story by Naguib Mahfouz, screenplay and dialogue by by Refat Al-Mihi; cinematography Hassan Abdel Fattah. Starring Mahmoud Yassine, Shahira, Mahmoud El-Meliguy, Anaam Al-Gariteli, Fatheya Chahine and Wahid Ezzat.

The police looked for the body of a woman under the pyramids. This was published in a newspaper. A number of people thought the woman in the picture looked familiar, like the mother who left her children in a village to work in Cairo; one man who thought she was his maid. For someone else she was a director’s mistress who had attacked him and fled. She was a different woman with a different name in each home and for each man. The investigator tried in vain to find the truth.

The Picture [soura] (1972)

Film Poster (27x39”) art by Moaty and Nabil, printed by Sayed Ali Ibrahim Al-Nasr Printers, distributed by the General Egyptian Cinema Institute.

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Empire M [empraturiyet mim] (1972)

Color (113 min.) directed by Hussein Kamal; story by Ihsan Abd al-Qudus, screenplay by Mohamed Mustafa Samy and Kawsar Heikal, adaptation for film Naguib Mahfouz; cinematography Wahid Farid. This film featured Khaled Abol Naga’s premiere performance. Starring Faten Hamama, Khaled Abol Naga, Ahmed Mazhar, Dawlad Abiad, Hayat Kandeel, Leila Hamada, Hesham Selim, Ali Gohar, Fatheya Chahine, Hanem Khalil, Ahmed Naguib, Ossama Abol-Fotouh and Eskandar Monsi.

Mona was a distinguished lady. Her husband died and she raised the six children well, teaching them to respect others and themselves. She found the time had come to live her own life after devoting this long time to her children, and she established a relationship with her friend Ahmad. Her children were angry about this and the home was stricken by hidden rebellion whose signs gradually became clear to her. The children decided they would have to manage their own affairs. She invited Ahmad to visit her at home to tell the children about her marriage to him before she told them herself. The general atmosphere in the home became tense. The mother listened to what they had to say about the need to manage the home in an appropriate way for them. Then the mother agreed to their suggestions and told them to vote on the best person to manage the home, despite her feeling that the children had grown up differently than she had imagined. The vote was held in Ahmed’s presence. Although he knew the outcome of the vote he decided to withdraw from Mona’s life. The children decided to elect the mother to manage the home out of great love and unending trust.

Empire M [empraturiyet mim] (1972)

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Film Program (8.5x11 inches), distributed by Morad Film

The Sugar Bowl [al-soukkaria] (1973)

Color (120 min.) directed by Hassan Al Imam; story by Naguib Mahfouz, screenplay and dialogue by Mamdouh El Leithy; cinematography Abdel Moneim Bahnassy. Starring Mervat Amin, Nour El-Sherif, Yehia Chahine, Hoda Soltan, Taheya Cariocca, Maha Sabry, Abdel Moneim Ibrahim, Zahrat El-Ola, Mahmoud El-Meliguy, Nagwa Fouad, Madiha Kamel, Nabila El Sayed, Hassan Mustafa, Lebleba, Hayat Kandeel, Ahmed Ghanem, Naima Al Soghayar, Mohammad Shawky, Mohammed Abaza, Wahid Seif, Hamed Morsi and Zizi Mustafa.

This is part three of the Cairo Trilogy (Between Two Palaces, Palace Walk, the Sugar Bowl) in which we follow events in the family of Sayed Ahmed Abdel Gawad. This film is about the third generation, where we find Yassine, Kamal the youngest son and the daughters Aisha and Khadija in the years of their youth experiencing political changes and their effects on the formation of their ideas. Abdel Moneim adopted a religious orientation while Ahmed adopted a leftist orientation in his quest for justice--and both were arrested by the police. Meanwhile Redwan was attracted most of all to authority and centers of power, where for access you needed to have a friend among the pashas. For Kamal, the most important thing was his own life, which seemed in every way like a romance. It was in that context that he sought to discover the whole truth. Events passed and collided without meeting anywhere and always with an open ending. Just when we think the end will be the death of the family’s founder Sayed Ahmed Abdel Gawad, we see instead a new birth in the family.

The Sugar Bowl [al-soukkaria] (1973)

Film Poster (27x39 inches); artist Moaty printed by Sayed Ali Ibrahim Al-Nasr Printers; distributed by the Sobhi Farahat Cinema Union.

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The Sugar Bowl [al-soukkaria] (1973)

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Film program (9.5x12.75 inches)

Schizophrenic [zat al-weghein] (1973)

(no graphic available) Color (90 min.) directed by Houssam El-Din Mustafa; story by Naguib Mahfouz, screenplay and dialogue by Faisal Neda; cinematography Wadid Serri. Starring Shadia, Imad Hamdi, Ezzat El Alaili, Leila Hamada, Tewfik El Dekn, Ashraf Abdel Ghafour, Salah Nazmi, Abd Al-Malhilmi and Nagwa Fouad.

Karima had a daughter Elham and was married to Wael, a respected attorney. She lived a happy life, and her happiness depended on her family being healthy with an abundance of love. At the same time she lived in a different state of mind, the life of the bedouin in the desert. She was dedicated to her husband but on the wedding night she fled from him. He chased her because he knew the truth about her illness. Karima was a schizophrenic. She acknowledged being under the influence of her mother’s illness. She went to her on a whim and was met by Morsy, who tried to guide her to her mother but also tried to attack her. Karima hit him on the head but he quickly struck back with a knife when she tried to run away and she died.

The Beggar [al-shahat] (1973)

Color (138 min.) directed by Houssam El-Din Mustafa; story by Naguib Mahfouz, screenplay by Ahmed Abbas Salah; cinematography Mahmoud Nasr. Starring Mahmoud Moursy, Ahmed Mazhar, Shouweikar, Nelly, Mariam Fakhr Eddine and Badreddin Gamgoum.

Omar the big attorney lived with his wife Zeinab and their two daughters Gamila and Botheina. Like her father who searched for meaning in life and inquired about the existence of God and certainties, Botheina wrote poetry as an avocation. Omar became ill and went to a physician, who advised complete rest. He went to Alexandria and returned but his psychological state worsened. He decided to change the direction of his life. He started frequenting cabarets with his colleague Mostafa. Omar met the English singer Marguerite. Zeinab sensed the change in her husband. He told her he had betrayed her. Omar met the dancer Warda, went to live in her house and completely abandoned his own house. When Botheina pleaded with him to come back to them he told her he was sick and looking for a cure. Women kept coming into Omar’s life but he disliked his life. He began reading books about Sufism. Mostafa contacted Omar after he had gone to a hospital and reunited with his family. Osman, a friend of Omar and Mostafa, got out of prison after spending 20 years there for political reasons. Omar decided to leave home again, live in a distant place and devote himself to reading the Koran. Osman married Botheina and remained a revolutionary. Osman fled the police, who followed him to the house where Omar was living. Osman told him about his marriage to Botheina and that the police were chasing him. Omar was hit by a stray police bullet and they arrested Osman.

The Beggar [al-shahat] (1973)

Film program (8.5x12 inches)

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Amira My Love [amira ... hobi ana] (1974)

Color (120 min.) directed by Hassan Al Imam; story by Naguib Mahfouz, screenplay by Mamdouh El Leithy and Salah Jahine; cinematography Abdelhalim Nasr. Starring Soad Hosny, Hussein Fahmy, Soheir El-Bably, Imad Hamdi, Karima Mokhtar, Sameer Ghanem, Hassan Mostafa, Mahmoud Shekuku and Nabil Badr.

Amira (Soad Hosny) was devoted to a job in a company while supporting her family. She decided to be active in social work and organized a company Easter trip. She met the big employee Megdi (Hussein Fahmy). He was also the husband of the daughter of the chairman of the Board of Directors, who was named Nabila. Love developed between Megdi and Amira and he married Amira secretly. He told his wife about the relationship and she demanded a divorce from him. Then Amira was fired and he felt complete remorse. He resigned from the company, announced his marriage to Amira and the two began married life together.

Amira My Love [amira ... hobi ana] (1974)

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Film Poster (27x39 inches), art by Abdel Aziz, printed by Sayed Ali Ibrahim al-Nasr Printers; distributed by Hayman Films.

Amira My Love [amira ... hobi ana] (1974)

Two original Lobby Cards (13x19 inches), distributed by Hayman Films

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Amira My Love [amira ... hobi ana] (1974)

Film Program (9.5x11 inches), distributed by Hayman Films

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Karnak Coffee Shop [al-karnak] (1975)

Color (140 min.) directed by Aly Badrakhan; story by Naguib Mahfouz, screenplay by Mamdouh El Leithy; cinematography Mohsen Nasr.

Starring Soad Hosny, Kamal Al-Shennawi, Nour El-Sherif, Farid Shawqi, Younes Shalaby, Shouweikar, Mohamed Sobhi, Taheya Cariocca, Imad Hamdi, Salah Zulfikar, Fayez Halawa, Mohammad Tawfik, Naima Al Soghayar, Aly El Cherif, Wahid Seif, Osama Abbas and Adly Kasseb.

The film begins with a radio announcement of the 6 October 1973 crossing of the Suez Canal by the Egyptian army, as Ismail al-Sheikh sits despondent in the Karnak Coffee Shop. He went to the hospital where Zeinab Diab was trying to get admitted for surgery. There is a flashback to Ismail’s days as a student in medical college with his classmates Hamada Helmy and Zeinab. They took part in student activities and debates about politics and ideology. At the same time he had a romantic relationship with Fereqali, the owner of the coffee shop. However one night they were arrested and jailed. They lost their freedom and were imprisoned for a time, but after their release he courted Zeinab and her parents agreed to their marriage. However conditions changed. There were demonstrations and the authorities began arresting youth. The intelligence service under the direction of Khaled Safwan began using savage torture methods and Zeinab was even raped. Zeinab and Ismail were conscripted for intelligence work and they wrote reports against their comrades. Zeinab started the May movement for the release of Ismail and all those in detention. Ismail returned to his commitment after vanquishing the past with its tyranny and oppression, and returned to Zeinab.

Karnak Coffee Shop [al-karnak] (1975)

Film poster (27x39”) art by Abdel Aziz and

Gasour; printed by H.H. Gasour Arabic Cinema Printers, distributed by Heliopolis Films.

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Love in the Rain [al-hob taht al-matar] (1975)

Color (125 min.) directed by Hussein Kamal; story by Naguib Mahfouz, screenplay by Mamdouh El Leithy; cinematography Kamal Korayem.

Starring Mervat Amin, Magda El-Khatib, Hayat Kandeel, Hamdy Ahmed, Samira Mohsen, Ahmed Al-Gezeiry, Adel Adham, Ahmed Ramzy, Imad Hamdi, Mahmoud Kabil, Mohamed Wafik and Salah Nazmi.

Hassan the cinematographer opened his home to many different segments of society. It served both as a nightclub and a place of debauchery, and he kept both functions going in earnest. He therefore needed to find a home for this purpose, and this is what Aliat and Senia did for him because they needed money. There was a close relationship between Aliat and Senia. Senia’s brother Marzouq courted Aliat and the officer Ibrahim courted Senia. The film director Mohamed Reshwan met Marzouq and offered him work opposite the film star Fetna, who found Marzouq to be the right man for her and began flirting with him. Meanwhile the director Adel thought he deserved the artist Fetna, but she quickly married Marzouq after his courtship of Aliat fell apart, who had gone back to Hassan’s house to engage in lewd behavior. Adel decided to take revenge against Marzouq and Fetna and he disfigured Marzouq’s face. Life became impossible between Marzouq and Fetna. He divorced her and went back to Aliat, whom he married after forgiving her for her past.

Love in the Rain [al-hob taht al-matar] (1975)

Film poster (27x39 inches); art by Abdel Aziz and Wahib Fahmy, printed by Seyyed Ali Ibrahim al-Nasr Printers, distributed by Afrikor Trade.

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Love in the Rain [al-hob taht al-matar] (1975)

Film program (12.5x9 inches) distributed by Afrikor Trade.

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Tawhida (1976)

Color (100 min.) directed by Houssam El-Din Mustafa; screenplay adapted by Naguib Mahfouz from Marcel Bunuel’s Fanny; cinematography Ibrahim Saleh. Starring Magda El-Khatib, Rushdy Abaza, Sanaa Gamil, Farid Shawqi, Amira and Nour El-Sherif.

Tawhida and Hussein were passionately in love in Alexandria and she became pregnant. Hussein left her with the unborn child because he did not have enough income to provide for them. Tawhida could not find anyone to save her and her child from this predicament other than Said Beg who married her; she had the child after marrying him. Hussein returned to learn about the drama of his love who had married. He tried to recover his days and memories with her. She turned away from him, but he discovered she had had a son by him and they quarreled over this. Then he withdrew from their lives. Then Said also withdrew from their lives and Tawhida and her son finally went back to her love and the father of her son.

Tawhida (1976)

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Film poster (27x39 inches); art by Mostafa El-Seyyed and Gasour, printed by H.H. Gasour Arabic Cinema Printers, distributed by Olivia Films and Flash Films.

The Culprits [al-mozneboon] (1976)

Color (120 min.) directed by Said Marzouk, story by Naguib Mahfouz, screenplay and dialogue by Said Marzouk, cinematography Mustafa Imam. Starring Hussein Fahmy, Soheir Ramzy, Salah Zulfikar, Adel Adham, Youssef Chaban, Imad Hamdi, Tewfik El Dekn, Samir Sabri, Abdel Moneim Ibrahim, Kamal Al-Shennawi, Zubaida Tharwat, Abdel Waress Assar, Hayat Kandeel, Sameer Ghanem, Wahid Seif, Osama Abbas, Leila Fahmi, Naima Al Soghayar and Said Abdel Ghani.

The actress Sanaa Kamal was murdered in her bed. The investigation summoned all those who were in her home on the night of her death including her fiancee, the director of the company that published the papers the actress used to help build the building, his friend who betrayed his wife and the strong young man who sold his body to the actress while at the same time making plans to steal the treasury at an institution. Then everyone who was at the party at her home that night was arrested after the investigator discovered the crime took place during the party. Her fiance the film director admitted he had killed her out of jealousy.

The Culprits [al-mozneboon] (1976)

Film poster (27x39 inches); art by Wahid Fahmy, printed by Al-Nasr Printers, distributed by Ihab Elleisi.

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The Criminal [al-mogrem] (1978)

Color (100 min.) directed by Salah Abouseif; story is Emile Zola’s Thérèse Raquin adapted for this film in a screenplay by Salah Abouseif and Naguib Mahfouz; cinematography Mahmoud Nasr. Starring Shams El-Barudy, Hassan Youssef, Mohamed Awad, Gamal Ismail, Nabil Badr, Hamdy Ahmed, Amina Rizk, Soheir El-Barouni and Anwar Mohamed.

Zaghloul married his cousin Ensaf even though he was a fool. The two of them lived under the support of her mother. Monir met the family through Zaghloul, who was a colleague at work. He began working a fiendish plan to take over the family, which he saw as a source of income for his constant gambling. He finally succeeded in eliminating Zaghloul by drowning him in the Nile during a boating trip. The people in the neighborhood claimed he was not able to save him because he did not know how to swim. Monir asked the aunt for Ensaf’s hand and she agreed. After he married her he began plotting against her. He obtained the right to take over the aunt’s property. In the neighborhood there was doubt about the activities of this person. It was discovered he had a relationship witn a dancer and knew how to swim. Ensaf was told about this but she did not believe it. They took her to see him swimming with her own eyes, and the aunt was paralyzed with shock when she heard the story. The people in the neighborhood knew what had happened. They rushed in upon them and threw the aunt upon the ground. Meanwhile Monir tried to steal the jewelry and the people in the neighborhood chased him. The chase ended with him falling into the public bath.

The Criminal [al-mogrem] (1978)

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Film poster (27x39 inches); art by Walid Wahig distributed by Dollar Films.

The Criminal [al-mogrem] (1978)

Film program (8.25x12.25 inches); distributed by Dollar Films.

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The Homeless [al-sharida] (1980)

Color (110 min.) directed by Ashraf Fahmy; story by Naguib Mahfouz; cinematography Essam Farid. Starring Naglaa Fathy, Mahmoud Yassine, Nabila Ebeid, Salah Nazmi, Imane, Aly El Cherif, Nawal Fahmy, Hassan Hosny, Ahmad Khamees, Aleya Abdel Monem, Badr Nofal, Qadreya Qadry, Enaam Salousa and Ahmed Saleh.

Laila was a successful attorney married to the wealthy contractor Fathy. They were entirely different culturally. He was ignorant whereas she was a hard worker and in a higher social position. She felt restricted in her life with him and withdrew from him after failing to improve his social worth. Fathy met a woman with a bad reputation named Sausan. Laila learned about his relationshp with Sausan and asked him for a divorce, which she got. Laila defended a woman in a case similar to the one in her own life. The person she was defending killed her husband after discovering he had been unfaithful to her, even though he had lifted her out of poverty and married her, and this is what had happened to Laila. During a visit to Sausan, Fathy suddenly had a severe heart attack. Sausan contacted Laila to tell her about his illness. Laila felt regret about the way she had treated him and asked him to forgive her, but he died in Sausan’s home as a result of the heart attack.

The Homeless [al-sharida] (1980)

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Undated rerelease film poster (27x39 inches); art by Gasour and Anise, printed by Al-Nasr Printers, distributed by Badi Sobhi Films.

The Gangs of Bulaq [futuwat bulaq] (1980)

Color (120 min.) directed by Yehia El Alami; story by Naguib Mahfouz, screenplay by Wahid Hamid; cinematography Gamal El-Tabei.

Starring Farid Shawqi, Nour El-Sherif, Bussy, Sa’eed Saleh, Hassan Hamed, Nabila El Sayed and Gamal Ismail.

Mahrus agreed to help Abbas, the Bulaq neighborhood tough guy, who had contracted with his former boss Maymoun to take revenge for him from the teacher Atwa, who had struck him in a fight leaving his hand paralyzed. Abbas asked Mahrous to kill his fiance Hamida to kill his own feelings of love. Mahrus refused and fled the neighborhood. No one knew where he was other than Bayoumi, but Hamida married Bayoumi instead. Abbas set a time to meet Atwa in a fight. Mahrus discovered the betrayal against him by Hamida and Bayoumi. He attacked Hamida alone at home and killed her. The mother of Bayoumi was accused of committing the crime for she had left him alone with Hamida. Then the police found cash she had hidden in her home. Bayoumi was sentenced to death and Mahrus went mad.

The Gangs of Bulaq [futuwat bulaq] (1980)

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Film poster (27x39 inches); art by Wahib Fahmy, printed by H.H. Gasour Arabic Cinema Printers, distributed by Gamal Al-Leisi Films.

The Gangs of Bulaq [futuwat bulaq] (1980)

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Lobby Card (13.5x18.5 inches); distributed by Gamal El-Tabei Films.

The Gangs of Bulaq [futuwat bulaq] (1980)

Film poster (19.5x13.5 inches); art by Sami, distributed by Gamal El-Tabei Films.

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People at the Top [ahl al-qimma] (1980)

Color (120 min.) directed by Aly Badrakhan; story by Naguib Mahfouz, screenplay by Aly Badrakhan and Mostafa Moharram; cinematography Mohsen Nasr. Starring Soad Hosny, Nour El-Sherif, Ezzat El Alaili, Omar El-Hariri, Aida Riad, Nadia Ezzat, Hassan Hussein, Sabri Abdel Monem, Mahmoud Al Qalaawi, Nadia Rafiq, Nabil Noureddine, Salah Reshwan, Ibrahim Qadri and Helmy Abdel Wahab.

Mohammad was an officer investigating the hiring of the thief Zaatar al-Nouri by Zaghloul, the owner of an import export company. Zaghloul used Zaatar’s resources and gave him suspicious assignments that involved the smuggling of Customs goods. Zaatar fell in love with the employee Saham, the daugher of Mohammad’s sister. When Mohammad discovered the relationship between his niece and Zaatar he told her the truth about him hoping she would drop him. When Zaatar’s power increased he tried to compete with and challenge Zaghloul. He also tried to learn the truth about Zaghloul’s relationship with Mohammad but Mohammad refused to tell him. Zaatar set out to deceive Zaghloul and to confiscate for himself a big shipment of smuggled import goods. Saham agreed to marry Zaatar and run away with him. Zaghloul’s attorney was caught smuggling and he told Mohammad the truth about Zaghloul, but the results of the investigation were not revealed in a television interview and Mohammad was transferred to Assyout.

People at the Top [ahl al-qimma] (1980)

Film poster (27x39 inches); art by Gasour, distributed by the Shafei Film Distribution Company.

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People at the Top [ahl al-qimma] (1980)

Film program (8.5x11.5 inches); distributed by the Shafei Film Distribution Company.

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The Devil Preaches [al-shaytan yaez] (1981)

Color (120 min.) directed by Ashraf Fahmy; story by Naguib Mahfouz, screenplay and dialogue Ahmed Saleh; cinematography Said Sheimy. Starring Farid Shawqi, Nour El-Sherif, Nabila Ebeid, Adel Adham, Karima Mokhtar, Hafez Amin, Tewfik El Dekn and Farouk Fathalla.

The neighborhood’s dominant ruffian Al-Dinawi enlisted the aid of Shata al-Hagari and asked him to conduct surveillance on his fiancee Wedad. Shata did not like this job but he liked Wedad and they agreed to marry. After they were married Shata and Wedad lived under the protection Al-Shalabi, the dominant ruffian in the Al-Atouf neighborhood who was hostile to Al-Dinari. Al-Shalabi wanted Wedad and he raped her in front of Shata. He said his primary motivation for doing this was to get revenge against Al-Dinari. Shata returned with his woman to his family, who knew what had happened to him. He asked Al-Dinari to set a time for him to meet Al-Shalabi in a fight. Shata had advised staying away from his wife because she was about to have a baby and Al-Shalabi had refused. Shata resolved to get revenge, and when the fight took place Shata killed Al-Shalabi. Then Al-Shalabi was killed by one of his antagonist’s helpers. Wedad had her baby and decided to move to another place with her son. Al-Dinari felt sadness about what had happened despite the neighborhood celebration of his victory over his enemy.

The Devil Preaches [al-shaytan yaez] (1981)

Film poster (27x39 inches); art by Ahmed Fouad, printed by Al-Tawfiq Printers, distributed by the Al-Nasr Film Company.

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The Date Agency (1982)

Color (125 min.) directed by Houssam El-Din Mustafa; story by Naguib Mahfouz, screenplay Mostafa Moharram; cinematography Hesham Wadid Serri. Starring Nadia El Guindy, Mahmoud Abdel Aziz, Mahmoud Yassine, Wahid Seif, Sayed Zayan, Hesham Wadid Serri, Wadid Serri, Ahmed Zaki, Samia Al-Alfy, Farouk Feloux, Imad Moharram, Ahmed Louxor, Mohamed Al-Shawihi and Hafez Amin.

Nematollah lived at the Date Agency. She had married most of the merchants and used her relationship with the big employee Amgad, who helped her learn the secrets of bargaining. She did not hesitate to kill her competitors. Abdollah came to the agency looking for work and went to work for Nematollah. She liked him, married him and made him the boss of the agency in charge of her affairs. This angered her former husband Abdoun who had gone to work for her after his bankruptcy. Abdollah discovered the truth about Nematollah and her crimes. He left her, met Amgad’s daughter Mervat, married her and established a special agency with Amgad’s help. Nematollah tried to bring Abdollah back but he refused. She took revenge against him by arranging to kill Amgad so no one would help him when she got her assistants to steal Amgad’s goods. Abdollah thought of returning to her and asked her to admit her crimes. The police came and arrested Namatollah. Abdoun picked up an axe to kill Abdollah with it out of revenge but Nematollah sacrificed herself for him and met her end.

The Date Agency (1982)

Film poster (27x39 inches); art by Gasour and Anise, printed by H.H. Gasour Arabic Cinema Printers, distributed by the Egypt Cinema Marketing and Distribution Company.

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Ayyoub (1983)

Color (110 min.) directed by Hany Lasheen, story Naguib Mahfouz, screenplay and dialogue Mohsen Zayed; cinematography Abdel Moneim Bahnassy. Starring Omar Sharif, Athar El-Hakim, Fouad El-Mohandes, Madiha Yousri, Mahmoud El-Meliguy, Mustafa Fahmy, Sameh El-Sereety, Osama Abbas, Leila Fahmi, Hafez Amin, Mohsen Zayed, Mohamed Abu Daoud, Maraya Khouri, Marwan Labib, Soheir Sabri, Karwal Abriku, Samia Sassi, Reshwan Mostafa, Sadeq Amin, Abu Fatouh Emara and Hassan Al-Anwar.

Abdelhamid Al-Sokkari was a successful businessman. He returned from abroad after signing contracts for a huge project, but because of his many responsibilities and his increased anxiety he was stricken with paralysis. He returned in a wheelchair after his treatement failed. His son took over the company operations and his wife used his ideas with her friends and gatherings. His daughter Nabila was a medical student in love with Engineer Hamed. Her father had agreed to her engagement to him despite the differences between them socially. Abdelhamid met Dr. Galal, a friend from his youth when they were heroes of the national movement. This filled his life, made it meaningful and got him out of his state of depression. He welcomed life with a new personality. He decided to write his memoirs including the truth and the names of those who participated with him in suspicous operations until he acquired what wealth he had. The memoirs would open the sun and moon for him and deliver the news to his partners. He asked his friends to help him publish the book. His partners tried without success to prevent him publishing the book and they shot him while he was on his way to the publisher.

Ayyoub (1983)

Film poster (27x39 inches); art by Mahmoud Amin and Sami, printed by Arabic Cinema Printers, distributed by the Egypt Cinema Marketing and Distribution Company.

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The Maid [al-khadema] (1982)

Directed by Houssam El-Din Mustafa; story by Naguib Mahfouz, screenplay Mostafa Moharram; cinematography Hesham Wadid Serri.

Starring Nadia El Guindy, Mamdouh Abd El Aleem, Sa’eed Saleh, Mustafa Fahmy, Madiha Yousri, Ahmed Ghanem, Naima Al Soghayar, Hassan Hussein, Hafez Amin, Ahmed Ghanem, Hussein Ibrahim, Mohsen Sabry and Sherif Hamdy.

Ferdoos killed her husband with her lover’s help, without any reservations because of his illness and old age. She went to work with the widow Hekmat who owned the company where her husband Ibrahim used to work. Ferdoos went to Hekmat’s home and lived with her son the university student Alaa, who depended on his mother and deferred to her. Ferdoos made Alaa fall in love with her. He married her and she became the dominant woman in the affairs of the family, especially after his mother was stricken with paralysis in an accident. She dispensed with the father quickly as well without notifying him when he stole Hekmat Hamen’s jewelry. Then she brought Fathy the company director into her group. Alaa discovered her betrayal, divorced her and banished her from the house. He regretted what he had done with his mother. He comforted the father, who killed Ferdoos.

The Maid [al-khadema] (1982)

Film poster (27x39 inches); art by Gasour and Anise, printed by H.H. Gasour Arabic Cinema Printers, distributed by the Egypt Cinema Marketing and Distribution Company.

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God’s World [donya allah] (1984)

Color (120 min.) directed by Hassan Al Imam; story by Naguib Mahfouz (1962), screenplay and dialogue by Essam al-Gomblati; cinematography Ibrahim Saleh. Starring Nour El-Sherif, Sa’eed Saleh, Maali Zayed, Essad Youniss, Sanaa Younes, Leila Gamal, Shafik Galal, Al-Montaser Billah, Abdel Wahab Galil, Magda Hamada, Mahmoud Al Zohairy, Mohamed Abdel Magid, Mohamed Al-Oraby, Mostafa Karim, Qadria Kamel, Samir Rostam, Said Tarabeek and Souraya Ezzedine.

Ibrahim worked at a company. He met the itinerant vendor Yasmine and liked her. He told her he knew a delivery boy who looked just like him whose job it was to deliver employee salaries. Yasmine’s friend Hamuda induced her to go with Ibrahim, whom he knew to be the delivery boy who was planning embezzle salaries and flee to Alexandria. Ibrahim stole the salaries and went to the port with Yasmine. In Alexandria Yasmine quarreled with him, hit him on the head and ran away with the cash. She went to her friend Hamuda to find he had married his old friend Aziza. Hamada emphasized to her that that police were looking for her because she had killed Ibrahim. He pretended he would try to hide her and that she had to leave the cash with him. Yasmine recognized the deception and told the police about her crime, but she discovered that Ibrahim had not died and they had all been arrested after a chase.

God’s World [donya allah] (1984)

Film poster (27x39 inches); art by Morteda, printed by Dar Khubar.

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Three Stories (1968)

The first of the three parts in this film is an earlier version with a different cast of Naguib Mahfouz’s story God’s World

[donya allah], summarized on the previous page; art by Abdu, printed by H. Gasour Arabic Cinema Printers. Directed by Ibrahim El-Sahn; story by Naguib Mahfouz, screenplay and dialogue by Abdel Rahman Fahmy; cinematography Victor Antoun. Starring Salah Mansour, Nahed Sherif, Ahmed Al-Gezeiry, Mokhtar Amin and Zein El-Ashmawy.

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Shahad al-Maleka (1985)

Color (120 min.) directed by Houssam El-Din Mustafa; story by Naguib Mahfouz, screenplay Mostafa Moharram, dialogue Behgat Kamar; cinematography Samir Farag. Starring Nadia El Guindy, Farid Shawqi, Hussein Fahmy, Sa’eed Saleh, Salah Kabil, Mohi Ismail, Ahmed Louxor, Aida Abdel Aziz, Naima Al Soghayar, Nagwa El-Mogui and Ehsan Sherif.

Zahira was a poor girl who lived with her friend Aziz Al-Nagy. His wife got rid of her and married her to Abdou, the stupid baker, who disgusted her greatly. She revolted against her life out of her desire for wealth. She worked as a maid in the home of Mohammad Al-Fesenjani and married him after divorcing Abdou with the help of the neighborhood tough guy Nouh. Mohammad signed off his home and property to her and she became one of the wealthy people of the neighborhood. Then he ran away after a confrontation with Zahira where he thought she had died. Nouh and the precinct agent competed to marry her in absentia after her divorce. She was married to Nouh after his divorce from his four wives and he was killed by an unknown bullet. The people in the neighborhood thought the agent was behind the crime. She asked Aziz to divorce his woman and marry her, and here her former husband Mohammad reappeared to take revenge against her. He killed her while she was pleading with him.

Shahad al-Maleka (1985)

Film poster (27x39 inches); art by Al-Khad, distributed by Al-Talia Films, Wagih Eskandar and Company

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The Pursued [al-motarad] (1985)

Color (120 min.) Directed by Samir Seif; story by Naguib Mahfouz, screenplay and dialogue Ahmed Saleh, Samir Seif; cinematography Mohsen Ahmed. Starring Nour El-Sherif, Soheir Ramzy, Magdy Wahba, Abu Bakr Ezzat, Taheya Cariocca, Salah Nazmi and Rowa Al-Kateb.

Samiha al-Nagy set a time for his marriage to Mahlabia but discoverd the neighborhood tough guy al-Qalali had decided to marry her. Samiha and Mahlabia tried to run away but the tough guy’s helpers killed Mahlabia and got Samiha accused of it. Samiha hid in upper Egypt without returning to Cairo but he found that al-Qalali’s men had come to his town. He disguised himself as a Sheikh, opened a drug store, married Mahasen and told her the truth about himself. He had a quarrel with the neighborhood tough guy Dehrug, won the fight with him and became the neighborhood tough guy himself. He sensed he was being followed by the police and went into hiding. Through Mahasen he asked his uncle Khedr and his brother Redwan to contact his helpers the racketeers to form a force to challenge al-Qalali. Redwan was killed and Khedr was stricken with paralysis. Mahasen married Helmy after he told her Samiha had died. Samiha came back, killed Helmy and fled.

The Pursued [al-motarad] (1985)

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Film poster (27x39 inches); distriuted by Gerges Fawzi Films

The Berry and the Cane [al-tut wal-nabut] (1985)

Color (120 min.) directed by Niazi Mostafa; story by Naguib Mahfouz, screenplay and dialogue Essam al-Gomblati; cinematography Ibrahim Saleh and Mahmoud Nasr. Starring Ezzat El Alaili, Mahmoud El Guindi, Amal Ramzy, Salah Nazmi, Mona Al-Said, Samir Sabry, Amina Rizk, Hamdy Gheith, Mona Said, Taysar Fahmy, Amal Ramzy, Adel Badreddine, Fakry Sadeq, Ali Al Ghandour, Samira Sedki, Amal Diab, Hafez Amin, Mohieddine Abdel Mohsen, Ahmed Aql, Mohamed Moursy, Nariman, Mohga Abdel Rahman, Kamal Al-Desouky, Hosny Al-Dib, Magdi Said, Ahmed Abu Abih, Mohamed Khalil, Mostafa Akasha, Fawzy Al Sharkawi, Atef Barakat, Mahmoud Abu Zeid, Sayed Hatam, Motawe Oweysi, Abdel Moniem Al-Nemr and Sami Ali.

After the death of Al-Nagy the old neighborhood tough guy the oppression and humiliation of his family by Hasouma the new neighborhood tough guy increased. The mother Halima and her sons Ashour, Fayez and Zia were subjected to this oppression. Fayez ran away after stealing a vehicle and selling it. Fayez met Laila the owner of a night club and took charge of the management of her work. After a time, he returned to the neighborhood wealthy and restored dignity to the family. He bought them a home and they moved into it. He opened an office in the Al-Nagy name and increased his wealth. Then the dancer took revenge against him. He lost all his wealth and committed suicide before they could arrest him. Ashour the oldest son married a woman he loved. Hasouma capitalized on the collapse of Fayez’s financial power to torment the family again. He forced Ashour to divorce his wife so he could marry her. On the wedding night Ashour crept in with a gang of thugs behind him to seize Hasouma and drive him away. He became the new neighborhood tough guy and got his woman back.

The Berry and the Cane [al-tut wal-nabut] (1985)

Film poster (27x39 inches); art by Azem, distributed by Gerges Fawzi Films.

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The Berry and the Cane [al-tut wal-nabut] (1985)

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8 lobby cards

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Love on the Pyramids Plateau [al-hob fawq hadabet al-ahram] (1984)

Color (110 min.) directed by Atef E-Taieb; story by Naguib Mahfouz, screenplay and dialogue Mostafa Moharram; cinematography Said Sheimy. Starring Ahmed Zaki, Athar El-Hakim, Ahmed Rateb, Nagah El-Mogui, Aly El Cherif, Soad Hussein, Fifi Youssef, Nahed Samir, Ahmad Khamees, Salah Nazmi, Zakaria Mouafi, Hanan Soleyman, Nahed Rushdy, Badr Nofal, Adous Gheith, Nahed Ismail, Neda, Aisha Elkelany, Fouad Khalil, Helmy Abdel Wahab and Mostafa al-Oraby.

Just after graduating Ali worked in a government office. He met a new employee and they fell in love, but were hurt by the new economic crisis. Ali and his love resolved to take on all the difficulties and they married without the knowledge of either of their two families, for her father the ministry attorney had already opposed the marriage. They could not find privacy in a hotel or in a furnished apartment so they went to the pyramids plateau, where the ethics police arrested them on charges of public indecency. They were sent before a judge.

Love on the Pyramids Plateau [al-hob fawq hadabet al-ahram] (1984)

Film poster (27x39 inches); art by Al-Khad, distributed by the Egypt Cinema Marketing and Distribution Company

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Racketeers [al-harafish] (1986)

Color (112 min.) distributed by Dollar Film; story Naguib Mahfouz, directed by Houssam El-Din Mustafa, screenplay and dialogue Ahmed Saleh; cinematography Mamoun Ata. Starring Mahmoud Yassine, Laila Eloui, Salah Kabil, Sawsan Badr, Safia El Emari, Mamdouh Abd El Aleem, Ibrahim Al Sharkawi, Leila El Emari, Ezzat Abdul Jawad, Abdel Gawad Metwally, Nadia Shamseddine, Ahmed Abou Abih, Shirin Omar, Fifi Mady and Mohamed Abou Hashish.

Soleiman al-Nagy overcame Etris, became the neighborhood tough guy and distributed justly to the neighborhood racketeers the assets he had collected from the rich. The wealthy tried to get rid of him. Sania married him after he divorced his first wife. She was able to separate him from the racketeers, draw him into the world of the wealthy and he opened a big agency. Khedr worked with his father Soleiman in the agency. He married Bakr Redwana, who loved him. He ran away from home because Bakr accused him of disloyalty. Soleiman’s father became ill and moved to the home of his old wife after she returned to his protection. It became known that he was bankrupt and Etris became the neighborhood tough guy again. Khedr returned and bought the agency at auction to bring dignity back to the family after overcoming Etris. He discredited Bakr Redwana, who acknowledged his brother’s innocence before she died.

Racketeers [al-harafish] (1986)

Film poster (27x39 inches); art by Al-Khad

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The Hunger [al-gu’] (1986)

Color (125 min.) directed by Aly Badrakhan; story Naguib Mahfouz, screenplay and dialogue Aly Badrakhan and Mostafa Moharram; cinematography Mahmoud Abdelsamie. Starring Soad Hosny, Youssra, Mahmoud Abdel Aziz, Abdel Aziz Makhyoun, Esam Ali, Sanaa Younes, Souraya Helmy, Samiha Tawfiq, Sayed Sadek, Hafez Amin, Ahmed Abu Abih, Said Tarabeek, Hanan Soleyman, Adel Awad, Randa, Naim Esa, Othman Abdul Menem, Youssef Abid, Ibrahim Hussein, Mohamed Tarabeek, Abdelhay Ezzat, Abdel Ghany Naser, Fathy Ibrahim, Sayed Salem, Adel Abulgheit and Madiha Youssef.

In the year 1886 Farag Al-Gebali worked as a wagon driver to support his mother. He was married to Zeinab. His brother Jaber worked as a blacksmith and married the poor girl Zubeida after the death of the ruffian who had raped her during a brawl among the neighborhood gangs. The people of the neighborhood appointed Farag as their chief ruffian but he snubbed them after his marriage to a wealthy woman, moving into her palace and running her agency. The Nile subsided, the rains did not come, famine began, the people became poor and the merchants played their games because they feared their stocks would be raided when the people became hungrier and prices went up. Farag exploited the famine in Cairo by hoarding grain. He broke all his old promises and made a pact with the rich that the tough guy had to side with the nobility. Zubaida led the racketeers against Farag who was killed, and appointed her husband Jaber as the new tough guy, but Jaber refused and advised them to rely on themselves. The revolution became a collective effort with the help of Zubaida.

The Hunger [al-gu’] (1986)

Film poster (27x39 inches); art by Abdel Ghani, printed at Dar al-Esdeqa lil-Tabaa, distributed by the International Television and Film Distribution Company; This poster was designed and printed in Bulaq at a printing shop owned by the artist Abdel Ghani.

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The Hunger [al-gu’] (1986)

Film poster (27x39 inches); art by Abdel Ghani, printed at Dar al-Esdeqa lil-Tabaa, distributed by the International Television and Film Distribution Company.

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Naked Shame [wasmet aar] (1986)

directed by Ashraf Fahmy; story Naguib Mahfouz, screenplay Mostafa Moharram; cinematography Ramses Marzouk. Starring Nour El-Sherif, Youssra, Youssef Chaban, Shahira, Mohammed Tawfik, Hoda Soltan, Ahmed Ghanem, Naima Al Soghayar, Mariam Fakhr Eddine and Hassan Hussein.

After being sentenced to a prison term in an indecency case Aziza admitted to her son Mokhtar that his father was the wealthy Sayed Al-Gamei and gave him his picture and her marriage contract with him. Mokhtar went to Cairo to look for his father and stayed in a cheap hotel. He published a photo of his father in the newspapers a number of times without result. He got into trouble with Karima the wife of the old man Khalil Mokhtar. A relationship began between them which led to him killing his wife to get his wealth and the hotel. He discovered that Karima was deceiving him and that she was in a relationship with the broker Farag. Mokhtar went to her after the investigation into the murder of her husband had been suspended to get his share, to make it possible to communicate with his father. He found her murdered. He was arrested and sentenced to death, but the real murderer Farag got away with the money.

Naked Shame [wasmet aar] (1986)

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Film poster (27x39 inches); art by Morteda, distributed by Talia Films Wagih Eskandar and Company.

Time of Love [asr al-hob] (1986)

Directed by Hassan Al Imam; story Naguib Mahfouz, screenplay and dialogue Essam Gomblati; cinematography Ramses Marzouk. Starring Mahmoud Yassine, Soheir Ramzy, Magdy Wahba, Taheya Cariocca, Abdel Moneim Ibrahim, Mohamed Khairi, Salah Nazmi, Ahmed Diab, Shahira, Aziza Rashed, Samiha Tawfiq, Mostafa Karim, Ahmed Diab and Hayam Halal.

Two friends competed to win the heart of their neighbor Badria, the theater actor Hamdy and the merchant Ezzat. She married Hamdy and they worked together in political theater. The police were chasing Hamdy and he sought refuge with his friend Hussein. He came upon his wife Badria at Hussein’s apartment as he was trying to rape her. Hamdy thought she was being disloyal to him. He killed Hussein and was sentenced to life in prison. He learned from fellow detainee Ahmad that Ezzat had informed on him. He broke with him and told Badria he regretted the way he had treated her. Ezzat arrived and they fought. When Ezzat got the upper hand with Hamdy, Badria rushed in and killed him; then she was imprisoned. The years passed. They met and neither recognized the other. Hamdy had lost his sight.

Time of Love [asr al-hob] (1986)

Film poster (27x39 inches); art by Ali Al-Sayed and Moaty,

distributed by Gerges Fawzi Films, printed by Al-Nasr Printers.

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Time of Love [asr al-hob] (1986)

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6 Lobby Cards

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Friends of the Devil [esdeqa al-shaytan] (1988)

Color (100 min.) directed by Ahmed Yassine; story Naguib Mahfouz, screenplay and dialogue Ibrahim al-Mowgi; cinematography Samir Farag.

Farid Shawqi, Nour El-Sherif, Madiha Kamel, Sayed Zayan, Maha Sabry, Mustafa Metwalli, Sabrine, Abu Bakr Ezzat, Fouad Ahmed, Farida Seif El Nasr, Abdel Salam Mohamed, Mohamed Al-Guindy, Ahmed Abou Abih, Elfat Sakar, Naima Al Soghayar, Naim Esa, Sayed Mostafa, Abdel Ghany Naser, Wahid Ezat, Nagwa Soltan, Said Tarabeek, Motawe Oweysi and Ezzat Abdel Jawad.

The neighborhood was protected by the tough guy Samaka who was considered the powerful supervisor of the endowment that owned the entire neighborhood. Some of the youths in the neighborhood tried to resist this oppression with the help of Galal, the strong young man who worked in his father’s dye factory, but their efforts were plagued with failure because Galal was always defeated and he overlooked Adl, who killed his bride on his weddining night. Galal took revenge against the tough guy in the adjoining neighborhood who caused the death of his bride, and he suddenly found he had become the big tough guy in the entire neighborhood. This gave him an opportunity to make a big attack against Adl. The friends of the devil surrounded him trying to bind him to pleasure and enjoyment so he would forget his dreams about Adl and be swamped in corruption and they would get back their privileges. They were aided in this by the beautiful Zeinat who was mistress to the entire gang, but when she met Galal she felt he was a different kind of person. She loved him but when she failed to win his heart she decided to get revenge and Galal became one of the many faces of the friends of the devil. Zeinat invited Galal to a party, fed him poison and he died.

Friends of the Devil [esdeqa al-shaytan] (1988)

Film poster (27x39 inches); art by Azem, distributed by Egypt Arabic Films.

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Friends of the Devil [esdeqa al-shaytan] (1988)

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4 Lobby Cards

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Heart of the Night [‘alb al-layl] (1989)

Color (120 min.) directed by Atef E-Taieb; story Naguib Mahfouz, screenplay and dialogue Mohsen Zayed; cinematography Abdel Moneim Bahnassy. Starring Farid Shawqi, Nour El-Sherif, Mahmoud El Guindi, Sayed Sadek, Mohsena Tewfik, Hala Sedki, Salah Reshwan, Karima Al-Sharif, Othman Abdul Menem, Atiya Oweysi, Nohair Amin, Nabil al-Desouki and Mohga Abdel Rahman.

As a child Gaafar wanted to be free of his grandfather’s domination. He abandoned his studies at Al-Azhar for the love of the gypsy shepherdess Marwana. His grandfather disapproved of a marriage to Marwana and banished his grandson from his palace. Marwana told Gaafar to have self-confidence seeking sustenance. Gaafar worked with his friend the musician Shaykhan. This led to a separation from Marwana and he married a wealthy aristocratic lady named Sayed Hoda. He became dependent on her. Hoda urged him to find suitable respectable work. He decided to study law and the legal proession but he also failed in this work. He tried to imitate some of the great men of ideas but could not keep up with them because of psychological and mental hunger. He decided to write a book about his special theories on politics, ideas but the contents of the book were purely deranged ideas and notions. One of his friends became furious with him because of the ideas and theories in his book, and he killed him. He went to prison for the rest of his life on the charge of murder. He came out of prison in a state of absolute madness and walked deliriously through the streets of modern Cairo muttering unintelligibly.

Heart of the Night [‘alb al-layl] (1989)

Film poster (27x39 inches); art by Al-Khad, distributed by the Egypt Cinema Distribution and Marketing Company

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Night and its Treachery [layl wa khawnih] (1989)

Color (110 min.) directed by Ashraf Fahmy; story Naguib Mahfouz, screenplay and dialogue Ahmed Saleh; cinematography Abdel Moneim Bahnassy. Starring Safia El Emari, Nour El-Sherif, Mahmoud Yassine, Shahira, Ahmed Rateb, Salah El-Saadany, Naima Al Soghayara, Shawqy Shamekh and Ahmed Ghanem.

The attorney Mohseb who had sold his conscience hired a small thief named Salah to steal critical documents from the storage of one of the owners of a company to get information about some of the important persons who were working with the company. The attorney sensed Salah’s power and got rid of him through another thief named Shaqroun, who carried out the attorney’s plan to drop Salah and get him imprisoned, then to get the better of Shaqroun’s wife Senia to divide the spoils from the betrayal. When Salah got out of prison he decided to take revenge against the attorney Mohsen, his friend Shaqaroun and his wife Senia, but he died before he could carry out the plan.

Night and its Treachery [layl wa khawnih] (1989)

Film poster (27x39 inches); distributed by Sawt al-Fann Films.

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The Man in the Picture [saheb al-soura] (1989)

Film poster (27x39 inches); art by Gasour, distributed by the Sabah International Video Company (Hussein al-Sabah and Company, Beirut). TV production directed by Ibrahim El-Sahn; story Naguib Mahfouz. Starring Ahmed Mazhar, Hoda Soltan, Salah Kabil, Mohsen Mohieddin, Mona Abdel Ghani, Osama Abbas, Ragaa Hussein and Hassan Hosny.

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Light of Her Eyes [nour al-oyun] (1990)

Color (120 min.) directed by Hussein Kamal; story Naguib Mahfouz, screenplay and dialogue Wahid Hamid; cinematography Ibrahim Saleh. Starring Fifi Abdou, Adel Adham, Mahmoud El Guindi, Abdel Salam Mohamed, Hisham Abdullah, Sayed Sadek, Mohammad Tawfik, Aziza Rashed, Nour Abdel Aziz, Mohamed Abu Hashish, Samira Bayoumi, Motawe Oweysi and Ibrahim al-Hamasani.

Deibis killed his rival Hosouma. His widow gave birth to a daughter named Nour. She hid her daughter and educated her. After the death of the mother the daughter found herself alone but still remembering her past and her desire for revenge against Deibis. Nour married her cousin Mohsen, who tried to drive her into bad behavior. This caused her to be put in prison on an indecency case. After she completed her sentence she got a divorce. She decided to work in Deibis’s factory to get revenge against him. Deibis tried to show friendship for Nour but she rebuffed him and he fired her. Nour became a professional dancer and met Deibis again in a nightclub. He offered to marry her and admitted his crime to her. She told him the truth about herself so after long years Deibis would be arrested by the police and have to pay the price after many years for his previous crime.

Light of Her Eyes [nour al-oyun] (1990)

Film poster (25x37.5 inches); art by Al-Khad, printed by H.H. Gasour Arabic Cinema Printers, distributed by Egypt Arabic Films.

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Samara the Prince [samara al-amir] (1992)

Color (120 min.) directed by Ahmed Yehia; story Naguib Mahfouz, screenplay and dialogue Mostafa Moharram; cinematography Ramses Marzouk. Starring Nabila Ebeid, Wahid Seif, Youseff Daoud, Abdel Salam Mohamed, Mariam Fakhr Eddine, Hamdy Gheith, Mahmoud Hemida, Mohammad Tawfik, Sanaa Shafei, Ahmad Mostafa, Umran Bahar, Howeida Omran, Ahmed Abu Abih and Osman Al-Hamamsi.

Nabila, a country girl with charming beauty, moved from her village to work as a maid in a pasha’s palace in Alexandria. However she fell in love with the pasha’s opportunist driver and made the other maids jealous. One of them told the pasha about this relationship so he would fire them both. He took advantage of the opportunity to exploit his lover Shalabia in the acquisition of much wealth for his illegitimate purposes. He swept her out with the trash after using her as a dancer at the Al-Farmawy Nightclub and promising to marry her while he was improving his financial situation. Shalabia learned the art of dancing and changed her name to Samara the Prince to increase her fame among the wealthy people who frequented the nighclub. Her fans who showered her with wealth. They included Marwan Amin the nationalist journalist, Mr. Faw the English stockbroker and Mehdi Pasha, the prominent politician. When Samara the Prince met the tax agent Omar Abdel Awi she found in him a life partner and married him hoping to achieve an honorable without depravity. She tried to resign from the night life but her first lover Ali refused to allow it and insisted on continuing to rob her. Ali decided she must return to her work as a dancer. Her husband Omar negotiated for a divorce in return for a sum of money and when Ali failed to win the fight with Omar he killed him to punish Samara.

Samara the Prince [samara al-amir] (1992)

Film poster (27x39 inches); art by Anise, printed by

Al-Nasr Printers, distributed by Egypt Arabic Films.

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