Post Tag Egyptian Cinema
Togo Mizrahi (1905 – 1986)
Togo Mizrahi, with a Ph.D in economics, and fluent in several languages, was an immensely productive figure in Egypt’s early cinema. In sixteen years he made thirty-two films, as director, author, scriptwriter, set designer, and sometimes actor. Between 1930 and 1946 he worked with every new aspect of film, making …
Omar Sharif (1931 – )
Omar al-Sharif was born Michel Dimitri Shalhoub, to an Alexandrian family of Lebanese descent. He was discovered by director Yusef Chahine, who cast him in three films: Sira’afil-Wadi (Feud in the Valley, 1953), Shaytan al-Sahara (The Desert Devil, 1954), and Sira’a fil-Mina (Feud in the Port, 1955). The friendship with …
Salah Abu Sayf (1915 – 1996)
Cairo is the capital of the cinema industry in the Arab World. It could not have attained this status without pioneers like Salah Abu Sayf. Starting out as an editor, he went on to directing films for over fifty years. His movies have two distinctive characteristics: unity of space and …
Rushdi Abaza (1927 – 1982)
Born of an Italian mother and an Egyptian father, Rushdi Abaza was the scion of a respectable old family whose members held high posts in the state. As a student at St. Mark’s College in Alexandria, Rushdi was fonder of body building and athletics than academic studies. He was well-proportioned …
Suad Husni (1943 – )
After she first appeared in Henri Barakat’s Hassan wa Na’eema (Hassan and Na’eema, 1959), Suad Husni became known as the Cinderella of the Screen and The Mischievous Girl. Born into an artistic family, she started her career at the age of three. She could act, sing, dance, and perform both …
Anwar Wagdi (1904-1955)
Anwar Wagdi was of Syrian origin, the son of a textile trader, and believed from an early age that he resembled the American actor Robert Taylor. His first appearance on stage was in Julius Caesar in 1922. It was not until ten years later that he made it onto the …
Layla Murad (1918-1995)
Layla Murad began her film career in 1932, singing “The Day of Departure” in al-Dahaya (The Victims), directed by Badr Lama. Egyptian cinema was on the threshold of sound. The Victims had originally been made as a silent film, but the public wanted Hollywood-style talkies, so Lama added the song …
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