Conducted by Tehran International Film Festival and published in their daily journal, November 28, 1974. Originally in Persian. Abdel Salam’s words are glamorous, barren, and true—like his film Al-Mummia. The translation is mine. — EK
Al-Mummia, your first feature film, made in 1969 and received great critical attention, has not yet been screened in Egypt. Can you explain this?
Shadi Abdel Salam: I don't really know why the film wasn't shown. Maybe the authorities are afraid that people won't understand it. Anyway, my job is to make a film, not to navigate the labyrinths of bureaucracy. Currently, there isn't even a copy of this film in Egypt to participate in festivals.
Wasn't there any difficulty in making the film?
Shadi Abdel Salam: I adapted the script for this film based on a poem I had written myself, but it was not possible to produce it due to the lack of a famous artist. Nadia Lotfi, who is a wonderful actress, read the script and agreed to play in this film despite the opposition. She did not even receive a salary for her role. Without her help and Roberto Rossellini, who solved the administrative problems, this film would never have been made. However, today in Egypt, apart from a few film lovers, no one has seen it. They have been promising for a long time that they will distribute the film soon, but so far this promise has not been fulfilled.
How did critics react to The Mummy?
Shadi Abdel Salam: Few people liked this film. Opponents believe that it is incredibly slow, complicated, and lacking continuity. They are usually fans of melodramatic films and commercial comedies. Having been accustomed to this type of cinema for years, it is natural that a film like Al-Mummia does not appeal to them.
What do you think is the problem with Egyptian cinema?
Shadi Abdel Salam: Egyptian cinema faces economic challenges. The biggest problem is that Egypt is one of the major exporters of films to the Middle East. Most of the audience in this region is rural, so the scope of Egyptian filmmakers is very limited. They have to produce films suitable for this market. Film production companies in Egypt operate on limited budgets, often provided by distributors. The equipment we use for filmmaking was mostly made before World War II. This equipment is particularly inadequate for sound recording and is almost unusable.
Can Egyptian cinema be considered a reflection of the characteristics of today's society?
Shadi Abdel Salam: Only a few films reflect the characteristics of contemporary Egyptian society. Most films reflect the desires of the middle class. They do not depict the real problems of people's lives. Egyptian films, with their luxurious sets and fantasy stories, are actually a means of numbing the minds of middle-class audiences. The responsibility for this intellectual deviation lies with Egyptian filmmakers. Among them, only a few—like Salah Abu Seif, Tawfiq Saleh, and Youssef Chahine—create works that show the true face of people's lives.
How close to reality are the characters in Egyptian films?
Shadi Abdel Salam: In a city like Cairo, you see different types of people: some are no different from Europeans, and another group, whom we call "peasants," are villagers living in the city, forming the main audience for Egyptian films. In Cairo, you can observe four or five types of clothing. Each costume represents a specific class of Egyptians. To foreigners, the most recognizable type of Egyptian is an "effendi" who wears a long, loose robe. But this type is actually a caricature. The Egyptian population is made up of different classes and groups: from nomadic tribes to government employees, from fishermen and sailors to farmers in small villages, all with distinct customs and costumes.
Why haven't major social events in Egypt, such as those of 1882, 1919, 1951, 1956, and 1967, been recounted in the country's cinema?
Shadi Abdel Salam: For economic reasons. Making films about domestic and national events requires a dedicated audience. Egyptians go to the cinema mostly to pass the time, and there is limited interest in watching films about social and political issues.
What kind of film will your next work be?
Shadi Abdel Salam: The story takes place after the events of 1952, when a leadership center consisting of military and civilian personnel was established. People were imprisoned without reason or trial. The Ministry of Interior justified these arrests by stating that it had "sent the law on leave." The hero of my film is a neutral character with no political beliefs or inclinations. He is wrongly arrested and imprisoned for publishing news about political figures. He escapes from prison and concludes that there is no place for him in this country. Therefore, he leaves Egypt.
Do you think this story is true?
Shadi Abdel Salam: Certainly. When someone is constantly persecuted, leaving the country is often the only choice.
No comments:
Post a Comment