The realism of Muhammad Khan .. a love of betrayal and unknown dreams

The Egyptian director dedicates Muhammad KhanThe Pakistani British starting up place, his movie “A Date of dinner”, which he directed in 1981 to “Nawal”, a heroine of his movie, which was once played by Souad Hosni.

Right here is considered one of many rare and presumably the ideal one within the historical previous of Egyptian cinema in which a “imagined” yarn personality is given an artistic work, which unearths a special mood and a vision of the director in which the presence of the novelist persona with the right, realistic, realistic persona, sooner than turning it into a symbol that works to create it or deepen its meanings in his subsequent cinematic works.

The presence of Souad Hosni (1943-2001) in that movie was once the ideal one in Khan’s works that exceeded twenty, and he’s considered one of his early motion photography, and we did no longer cooperate after any other movie, on the other hand it looks that Hosni, which is believed of considered one of many ideal abilities within the historical previous of Arab cinema, remained sent within the consciousness of Khan, who gave the movie “The Manufacturing unit Lady” that he directed in 2014 to it, after three a long time for his or her easiest cinematic cooperation.

Khan opens his movie “A date on dinner” with a bridal ceremony in which the husband, the businessman Izzat (Hussein Fahmy), looks, attacking himself subsequent to his bride Nawal (Souad Hosni), which the digicam reveals sad, with almost submissive eyes, as within the occasion that they had been taking a beget a look at it or a much away previous.

And when the photographer is anxious with taking the marriage ceremony allege, he’s forced to care for watch over her head to transfer the digicam lens, and despite this, Nawal’s looks make no longer turn to the orderly groom, who is confident in himself the extent of conceitedness, which stands subsequent to her.

The authoritarian and horny in “A date on dinner”

There might maybe be no such thing as a love right here but coercion. A harsh feeling that she was once sold, and he or she is calling after six years of her marriage from her balcony of her residence to the road, so she sees disappointment and a little bit girl taking part in.

After that she goes with her chums to a public auction, and a panel supplied her on the market. Within the portray, a little bit girl with two rituals walks with her father on a road fraught with timber.

Nawal’s eyes seem sad as she looks on the portray as if she reminds her of a absent father, which drives her to attempt to fetch the portray, and when she fails to wail in front of her chums who’re a glorious deal surprised by her unexpected interest within the portray.

Everyone knows from the scene that she is an orphan of the daddy without announcing, and that her mom married her as a prosperous man to reassure her, but there is no such thing as a love right here.

The total ladies folk of Muhammad Khan attempt to receive love, they stand of their dreams, and despite their magnificence and fragility, they are crucifixions and stubbornness regarding their dreams of affection and emancipation.

Nawal asks for divorce, and the prosperous husband, who is busy, concurs with the administration of his enterprise for his hatred, but she on the other hand refuses to sentence the luxurious residence for her, as she refuses a rewarding expense that he made up our minds to allocate to her, because she was once attempting to receive herself, and he or she finds her at work a secretary in a attorney situation of job, and later in love with her age, which she coincides with my thanks (Ahmed ZakiA graduate of the arts working in a magnificence salon for ladies folk.

However, the dominant husband refuses to rob his possession (Nawal) despite their separation, so he kills Shukri, that is, Nawal’s dream and her selection, so she managed her for a date for dinner, and he or she prepares a poisoned meals for him and for her, in grunt that the movie ends with their death, as if Nawal’s freedom can easiest be fulfilled by death.

Lulgonoma and hardness internal

Khan’s movie did no longer beget immense revenues within the field situation of job in time, comparable to a mode of his motion photography that his fans and critics stumbled on later, presumably because he’s in step with emotions, on repressed cyclotes that make no longer explicit themselves in familiar ways, which was once repeated in “Al -Harif” in 1984, which triggered a break between Khan and the movie’s hero, Adel Imam, for the duration of the significant lifestyles of the significant.

The movie was once taken, as Bashir Al -Deek, a scriptwriter “A date on dinner”, educated a true yarn, and he narrates that Khan instructed that he create the yarn he be taught within the Lebanese newspapers a number of wife who kills her husband by poison to be launched from a relationship that she hated, turning into what the 2 produced cinematic.

However, the dreamy girl attempting to receive love easiest, about what’s freed from her, no longer what or whoever enslaves her, returns with Muhammad Khan in considered one of essentially the most prominent and most considerable motion photography ever: “The wife of a in point of fact worthy man.”

She is right here “Mona”, which Khan opens the movie, and he or she is a young student, who escaped within the iciness of 1962 from the college to behold with considered one of her chums a movie by Abdel Halim Hafez (as of late’s girls- manufacturing of 1957), to stay since that age in her dreams of affection, on the time of Abdel Halim Hafez, which we behold within the spring of 1975 sings on the TV disguise in gloomy and white while Mona (Mervat Amin) And the steak of the same track that he was once singing within the movie, which is “Ahwak”.

Mona is married to the officer within the Pronounce Security Investigations, Hisham Abu Al -Wafa, the arrogant, who possesses distinctive powers by virtue of his location, and who resembles the attribution of Nawal’s husband in “an appointment on dinner”, both of whom love to manipulate, and the girl considers a special property, and both of them assume in violence additionally when he encounters his means in possession or care for watch over, i.e. limitations, and both of them are Nawal and Mona Taqam within the appearance of affection.

Openness and bread insurrection

The occasions of “the wife of a in point of fact worthy man” are transferring within the post -1973 war and the commence of openness to the West with the outcomes of this to the values ​​of Egyptian society that began to give way, and this coincided with the tightening of the regime of the unhurried President Anwar Sadat his security grip on the nation.

In that length, the singer Abdel Halim Hafez (1929-1977) dies, and the so-known as bread insurrection (Live) erupts on January 18 and 19, 1977.

With their prevalence, the break occurs with a sexy previous, and the transfer to a rough truth in which dreams give way, including the dreams of Mina in love and fashioned lifestyles, when she discovers that her husband, Hisham Abu Al -Wafa, feeble her to ogle on her colleagues on the university without shining, and later when he refuses to adapt to his contemporary command after referring him to retirement for his violent role within the suppression of university college students and individuals within the bread insurrection.

He ends up capturing her father when she made up our minds to alter into self sustaining from him, as he did a hero, “an appointment at dinner, killing the person that cherished her for his ex -wife, and then capturing himself.

Fresh realism

Khan supplied a spread of the largest Egyptian motion photography within the 1980s and Nineties, and he was once on the forefront of the contemporary wave of realism in Egyptian cinema, which grew to alter into more all in favour of the truth of its citizens, which witnessed stormy transformations within the technology of openness to the West and peace with Israel, and is no longer pleased with the tales of the aristocratic class but rather the center or labor as in a spread of motion photography.

As smartly as to Atef al -Tayyib, David Abdel -Sayed, Khairi Bishara and others, Khan was once the one who moved the cinema to the road, no longer within the metaphorical, but realistic sense.

They produced what’s going to be described as the contemporary sensitivity within the cinema, and they sought to blueprint a assorted cinematic command that was once freed from the dominance of manufacturing corporations, so they established (Khan, Bashir Al -Deek, Atef Al -Tayeb, Khairi Bishara, David Abdel -Sayed and others) a manufacturing company known as “The Companions Motion photography Neighborhood” within the early eighties of the final century.

However, this ride did no longer encounter the specified success, and if it resulted in a single movie, “The Harif”, directed by Muhammad Khan, which is amongst essentially the most importantly the largest within the occupation of his hero, Adel Imam.

It revolves around his “Fares” champion, the usual football player frequently known as “Drink Ball”, and his relationship along with his and his Lord’s work within the shoe manufacturing facility, and the young betting brokers who elope a complex community of relationships that feed the outcomes of the matches of this standard football in lanes and miniature stadiums.

“The bus” between Khan and Atef al -Tayyib

As smartly as to the directing, Khan wrote tales about twelve motion photography that he directed, and he was once recorded to present the yarn of “The bus driver” to his colleague Atef Al -Tayeb, who is believed of considered one of his easiest motion photography, and ranked eighth within the listing of the ideal 100 Egyptian motion photography.

Muhammad Khan has four motion photography listed on the listing: “The wife of a in point of fact worthy man”, “Desires of Hind and Camelia”, “He went out and did no longer return”, “Grocery store”, and the significant two motion photography starring Ahmed Zaki, who formed with Khan as a duo in four other motion photography, particularly: “A rooster on the road”, “A date on dinner”, “Mister Karate” and “Days of Sadat”.

Khan was once born within the usual Al -Sakakini neighborhood in Cairo in 1942 to a Pakistani father of British nationality and an Egyptian mom, who is by myself.

His obsession was once frequently known as cinema since his childhood, the place his fogeys had been living near an birth cinema, and from them he met essentially the most smartly-liked motion photography that had been shown in Egypt, including foreign motion photography.

When he traveled to London in 1956 to look at structure, he found himself attracted to the cinema, cherished his lifestyles, leaving engineering and becoming a member of the London Film Institute.

His plot within the seven -yr British capital was once allowed to get to perceive the realm’s cinema currents that had been witnessing significant experimental actions, especially in Europe, and there he stumbled on Federico Filini motion photography, Michael Anthony and Eastern Akira Kirosawa.

Egyptian nationality sooner than his death

He returned to Cairo in 1963, and labored for roughly a yr within the script division of a movie manufacturing company that was once elope by the director Salah Abu SaifBefore he traveled to Lebanon, the place an assistant director labored in a spread of economic motion photography.

From Lebanon, he returned all over again to London. The defeat of 1967 triggered his frustration, and his departure from the cinema, as he opened a situation to promote apparel, and he can beget remained in this grunt had it no longer been for him to title him to the Monteness Nadia Shukry, who was once on a consult with to Britain.

When I visited him at his dwelling, I discovered motion photography and cinema books filling his walls, so I asked him when he was once doing in Britain so long as he all in favour of cinema to this extent, and asked to discontinue return to Egypt to enact his lifestyles’s dreams.

Accurate by this length, she wrote the yarn of “sunstroke”, so he sold his situation in London and returned to Cairo, supplied the yarn to the actor Nour Al -Sharif, who was once eager on her and produced it in 1978, and then he took out a “rooster on the road” in 1981.

The motion photography got a smartly -public reception and critics, and they launched the Khan Avenue to the seventh art world and considered one of its most considerable artists within the twentieth century.

Despite his renowned cinematic contributions and his illustration of Egypt in quite a bit of global fairs, and even his expression of his motion photography about the Egyptian personality in its significant transformations and fluctuations, he did no longer produce Egyptian citizenship till 2014, two years sooner than his death.

He most frequently narrated with immense sorrow, his feeling of bitterness when he was once returning to Egypt and he was once asked about his nationality on the airport, so he supplied his British passport to enter his nation in which he was once born, and he was once amongst the few who expressed her soul and persona.