The Dream. Mohammad Malas

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      THE DREAM

      THE DREAM

      A DIARY OF THE FILM

      Mohammad Malas

      Introduced and annotated by

      Samirah Alkassim

      The American University in Cairo Press

       Cairo New York

      This electronic edition published in 2016 by

       The American University in Cairo Press

       113 Sharia Kasr el Aini, Cairo, Egypt

       420 Fifth Avenue, New York, NY 10018

       www.aucpress.com

      Copyright © 2016 by Mohammad Malas

       First published in Arabic in 1991 as Al-Hulm by Dar al-Arab The American University in Cairo Press 113 Sharia Kasr el Aini, Cairo, Egypt 420 Fifth Avenue, New York, NY 10018 www.aucpress.com Protected under the Berne Convention

      All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.

      ISBN 978 977 416 799 7

       eISBN 9781 61797 769 5

      Version 1

      Contents

Introduction Samirah Alkassim

Preface

Surveying and Scouting I

       Shooting I

       Surveying and Scouting II

       Shooting II

       Development and Production

       Lights On in the Theater

       Notes

       Glossary

Introduction

       Samirah Alkassim

      Film Curator

      The Jerusalem Fund and Palestine Center

      I first met Mohammad Malas in 2003 when I was teaching film at the American University in Cairo (AUC) and invited him to be a Distinguished Visiting Professor in my department and he accepted. We planned a series of events, including sessions with students, a retrospective of his films, and a roundtable discussion with Egyptian film critics and filmmakers, such as Samir Farid and Raafat al-Mihi among others. This was in the weeks leading up to the U.S. invasion of Iraq, and all of Cairo was on alert, including the universities. In anticipation of massive demonstrations and state reprisals, Malas decided to postpone the visit. When he came a year later, in March 2004, we screened nearly all of his films on three successive days at the Falaki campus of what was then the AUC’s location in the heart of Cairo. The auditorium was packed full—of faculty, filmmakers, film critics, media professionals, academics, artists, and some students. It was particularly moving to watch his films in the city of Cairo, with its history and leadership of anti-imperialist struggles and pan-Arab movements of the twentieth century. I know that, for Malas, this was acutely meaningful, especially as this was an audience that truly appreciated his work. They understood where he was coming from, and to them his work was representative of Syria’s great intellectual heritage. Of all the films, it was the screening of al-Manam (The Dream) that affected me the most—I recall the emotionally charged atmosphere in the room after the screening. I felt as if the film had touched a deep nerve among the people in the audience, across generations, who like me, were still reeling from the turmoil recently unleashed in Iraq. It must be remembered that the invasion of Iraq incited the largest mass gathering of protestors in Cairo since the days of Abdel Nasser—and Malas’s presence in Cairo reminded us of this.¹ Before he left, being the generous person that he is, Malas gave me copies of some of his books, one of which was al-Manam: mufakkirat film, published in 1991 by Dar al-Adab in Beirut. Sonia Farid translated the book into English in 2005, and after editing and annotating the translation, I’m pleased to present The Dream: A Diary of the Film.

      But first, a few words to introduce Mohammad Malas. In truth I have only met him on two occasions over the course of ten years, yet I feel a strong kinship with him, as if I have known him a long time. He is a master of cinema, and it is a pleasure to write about someone whose work I feel I understand, cinematically and personally. Objectively speaking, he is one of the leading film auteurs of the Arab world, whose ‘art’ films have gained global distinction since the 1980s. In both documentary and fiction film, his signature is the poetic and personal treatment of what might be regarded as ‘ordinary’ or marginal characters (particularly women and children) as they struggle with social and institutionalized forms of oppression. Like other Syrian directors, Malas’s output has deepened despite the severe and inconsistent muzzling of artists and intellectuals in his country.² His semi-autobiographical feature films, Ahlam al-madina (Dreams of the City, 1984), and al-Layl (The Night, 1992), placed him squarely on the map of world film directors. The first two installations of a life-long trilogy, “Dreams of the City” and “The Night” are filmic odes to childhood loss (of the father and of the homeland—Malas’s childhood village of Quneitra was seized by Israeli forces in the 1967 war and the Golan was subsequently annexed by Israel). This theme of loss is prevalent in all his films, and provides a structural element in both this book and the documentary al-Manam (The Dream, 1987). Malas’s more recent feature films, Bab al-maqam (Passion, 2005) and Sullam ila Dimashq (Ladder to Damascus, 2013), as well as all of his documentary films, are equally distinctive.

      Malas was born in 1945, and in his lifetime Syria assumed a central role in Arab nationalism and Cold War politics in the Middle East, bound by a sentiment of pan-Arab unity even though the roots of such sentiment stretched far beyond the twentieth century. Like many of his generation, he studied filmmaking at the Moscow Film Institute (VGIK) during 1968–74, where he learned a language of cinema that he developed into a vernacular entirely his own. His work, along with that of other important filmmakers, such as Omar Amiralay (who collaborated on the production of “The Dream”), indirectly critiques the abuse of Syria’s national narrative—its legacy of successfully expelling French colonialism, fighting СКАЧАТЬ