The realism of Muhammad Khan .. a love of betrayal and unknown dreams – ryan
The Egyptian director dedicates Muhammad KhanThe Pakistani British origin, his movie “A Date of dinner”, which he directed in 1981 to “Nawal”, a heroine of his movie, which was played by Souad Hosni.
This is one of the rare and perhaps the only one in the history of Egyptian cinema in which a “imagined” narrative character is given an artistic work, which reveals a special mood and a vision of the director in which the presence of the novelist personality with the real, realistic, realistic personality, before turning it into a symbol that works to develop it or deepen its meanings in his subsequent cinematic works.
Souad Hosni and Hussein Fahmy in the movie Die on dinner for Mohamed Khan-Facebook
The presence of Souad Hosni (1943-2001) in that film was the only one in Khan’s works that exceeded twenty, and he is one of his early films, and we did not cooperate after any other movie, but it seems that Hosni, which is considered one of the greatest talents in the history of Arab cinema, remained sent in the awareness of Khan, who gave the movie “The Factory Girl” that he directed in 2014 to it, after three decades for their only cinematic cooperation.
Khan opens his movie “A date on dinner” with a wedding ceremony in which the husband, the businessman Izzat (Hussein Fahmy), appears, attacking himself next to his bride Nawal (Souad Hosni), which the camera shows sad, with almost submissive eyes, as if they were looking at it or a distant past.
And when the photographer is concerned with taking the wedding photo, he is forced to manage her face to face the camera lens, and despite this, Nawal’s looks do not turn to the elegant groom, who is confident in himself the extent of vanity, which stands next to her.
The authoritarian and beautiful in “A date on dinner”
There is no love here but coercion. A harsh feeling that she was sold, and she is looking after six years of her marriage from her balcony of her apartment to the street, so she sees sadness and a little girl playing.
Souad Hosni and Ahmed Zaki at a date for dinner-Facebook
After that she goes with her friends to a public auction, and a panel offered her for sale. In the painting, a little girl with two rituals walks with her father on a road fraught with trees.
Nawal’s eyes appear sad as she looks at the painting as if she reminds her of a absent father, which drives her to try to buy the painting, and when she fails to cry in front of her friends who are surprised by her sudden interest in the painting.
We know from the scene that she is an orphan of the father without saying, and that her mother married her as a rich man to reassure her, but there is no love here.
All the women of Muhammad Khan are looking for love, they stand in their dreams, and despite their beauty and fragility, they are crucifixions and stubbornness regarding their dreams of love and emancipation.
Nawal asks for divorce, and the rich husband, who is busy, agrees with the management of his business for his hatred, but she nevertheless refuses to condemn the luxury apartment for her, as she refuses a rewarding expense that he decided to allocate to her, because she was searching for herself, and she finds her at work a secretary in a lawyer office, and later in love with her age, which she coincides with my thanks (Ahmed ZakiA graduate of the arts working in a beauty salon for women.
However, the dominant husband refuses to rob his ownership (Nawal) despite their separation, so he kills Shukri, that is, Nawal’s dream and her choice, so she managed her for a date for dinner, and she prepares a poisoned food for him and for her, so that the film ends with their death, as if Nawal’s freedom can only be fulfilled by death.
Lulgonoma and hardness inside
Khan’s movie did not have great revenues in the box office in time, such as many of his films that his fans and critics discovered later, perhaps because he is based on feelings, on repressed cyclotes that do not express themselves in familiar ways, which was repeated in “Al -Harif” in 1984, which caused a break between Khan and the film’s hero, Adel Imam, throughout the first life of the first.
The film was taken, as Bashir Al -Deek, a scriptwriter “A date on dinner”, told a true story, and he narrates that Khan suggested that he develop the story he read in the Lebanese newspapers about a wife who kills her husband by poison to be released from a relationship that she hated, becoming what the two produced cinematic.
The women of Muhammad Khan are the victims of their anonymous dreams – Facebook
However, the dreamy woman looking for love only, about what is freed from her, not what or whoever enslaves her, returns with Muhammad Khan in one of the most prominent and most important films ever: “The wife of an important man.”
She is here “Mona”, which Khan opens the movie, and she is a young student, who escaped in the winter of 1962 from the school to watch with one of her friends a movie by Abdel Halim Hafez (today’s girls- production of 1957), to reside since that age in her dreams of love, at the time of Abdel Halim Hafez, which we watch in the spring of 1975 sings on the TV screen in black and white while Mona (Mervat Amin) And the steak of the same song that he was singing in the movie, which is “Ahwak”.
On love in the time of power and domination in “the wife of an important man” – Facebook
Mona is married to the officer in the State Security Investigations, Hisham Abu Al -Wafa, the arrogant, who possesses exceptional powers by virtue of his position, and who resembles the attribution of Nawal’s husband in “an appointment on dinner”, both of whom love to control, and the woman considers a special property, and both of them believe in violence also when he encounters his way in ownership or control, i.e. obstacles, and both of them are Nawal and Mona Taqam in the illusion of love.
Openness and bread uprising
The events of “the wife of an important man” are moving in the post -1973 war and the start of openness to the West with the consequences of this to the values of Egyptian society that began to collapse, and this coincided with the tightening of the regime of the late President Anwar Sadat his security grip on the country.
In that period, the singer Abdel Halim Hafez (1929-1977) dies, and the so-called bread uprising (Live) erupts on January 18 and 19, 1977.
Ahmed Zaki in the role of the authoritarian officer in the movie “The Wife of an Important Man” – Facebook
With their occurrence, the break occurs with a beautiful past, and the move to a rough reality in which dreams collapse, including the dreams of Mina in love and normal life, when she discovers that her husband, Hisham Abu Al -Wafa, used her to spy on her colleagues at the university without knowing, and later when he refuses to adapt to his new situation after referring him to retirement for his violent role in the suppression of university students and participants in the bread uprising.
He ends up shooting her father when she decided to separate from him, as he did a hero, “an appointment at dinner, killing the man who loved her for his ex -wife, and then shooting himself.
New realism
Khan presented a number of the most important Egyptian films in the 1980s and 1990s, and he was at the forefront of the new wave of realism in Egyptian cinema, which became more concerned with the reality of its citizens, which witnessed stormy transformations in the era of openness to the West and peace with Israel, and is not satisfied with the stories of the aristocratic class but rather the middle or labor as in a number of films.
Mohamed Khan and the new realistic wave in Egyptian cinema – Facebook
In addition to Atef al -Tayyib, David Abdel -Sayed, Khairi Bishara and others, Khan was the one who moved the cinema to the street, not in the metaphorical, but realistic sense.
They produced what could be described as the new sensitivity in the cinema, and they sought to produce a different cinematic situation that was freed from the dominance of production companies, so they established (Khan, Bashir Al -Deek, Atef Al -Tayeb, Khairi Bishara, David Abdel -Sayed and others) a production company called “The Companions Films Group” in the early eighties of the last century.
However, this experience did not encounter the desired success, and if it resulted in a single movie, “The Harif”, directed by Muhammad Khan, which is among the most importantly the most important in the career of his hero, Adel Imam.
It revolves around his “Fares” champion, the popular football player known as “Drink Ball”, and his relationship with his and his Lord’s work in the shoe factory, and the young betting brokers who run a complex network of relationships that feed the results of the matches of this popular football in lanes and small stadiums.
“The bus” between Khan and Atef al -Tayyib
In addition to the directing, Khan wrote stories about twelve films that he directed, and he was recorded to present the story of “The bus driver” to his colleague Atef Al -Tayeb, who is considered one of his best films, and ranked eighth in the list of the best 100 Egyptian films.
Muhammad Khan has four films listed on the list: “The wife of an important man”, “Dreams of Hind and Camelia”, “He went out and did not return”, “Supermarket”, and the first two films starring Ahmed Zaki, who formed with Khan as a duo in four other films, namely: “A bird on the road”, “A date on dinner”, “Mister Karate” and “Days of Sadat”.
Khan was born in the popular Al -Sakakini neighborhood in Cairo in 1942 to a Pakistani father of British nationality and an Egyptian mother, who is alone.
His obsession was known as cinema since his childhood, where his parents were living near an open cinema, and from them he met the latest films that were shown in Egypt, including foreign films.
Mohamed Khan between his Pakistani father and his Egyptian mother – Facebook
When he traveled to London in 1956 to study architecture, he found himself attracted to the cinema, loved his life, leaving engineering and joining the London Film Institute.
His residence in the seven -year British capital was allowed to get to know the world’s cinema currents that were witnessing major experimental movements, especially in Europe, and there he discovered Federico Filini films, Michael Anthony and Japanese Akira Kirosawa.
Egyptian nationality before his death
He returned to Cairo in 1963, and worked for about a year in the script division of a film production company that was run by the director Salah Abu SaifBefore he traveled to Lebanon, where an assistant director worked in a number of commercial films.
From Lebanon, he returned again to London. The defeat of 1967 caused his frustration, and his departure from the cinema, as he opened a place to sell clothes, and he could have remained in this state had it not been for him to identify him to the Monteness Nadia Shukry, who was on a visit to Britain.
When I visited him at his home, I found films and cinema books filling his walls, so I asked him when he was doing in Britain as long as he obsessed with cinema to this extent, and asked to prevent return to Egypt to achieve his life’s dreams.
During this period, she wrote the story of “sunstroke”, so he sold his place in London and returned to Cairo, presented the story to the actor Nour Al -Sharif, who was enthusiastic about her and produced it in 1978, and then he took out a “bird on the road” in 1981.
The films received a well -public reception and critics, and they launched the Khan Road to the seventh art world and one of its most important artists in the twentieth century.
Despite his distinguished cinematic contributions and his representation of Egypt in many international festivals, and even his expression of his films about the Egyptian character in its major transformations and fluctuations, he did not obtain Egyptian citizenship until 2014, two years before his death.
He often narrated with great sorrow, his feeling of bitterness when he was returning to Egypt and he was asked about his nationality at the airport, so he presented his British passport to enter his country in which he was born, and he was among the few who expressed her soul and personality.
