La momie

One of the best movies in Arab history, and I classify it as the best Arab and Egyptian movie in history Shady Abdel Salam is creative, the cinematography is very beautiful, and the genius of the Egyptian cinematographer, which appeared from time immemorial, Egyptian cinema is missing such masterpieces , using the Arabic language, using the eloquent Arabic language, a wonderful choice, and an excellent choice, the movie every scene is creative from the first writing, casting, filming and directing.

There is no Egyptian or Arab movie that can surpass this movie, creativity and cinematic masterpieces.

This film on one level is about the discovery of a cache of royal mummies, rediscovered by a local grave robbing family on the west bank at Luxor in Egypt. On another level it is about the guilt felt by one member of that family for the exploitation of the heritage of the country made by that discovery. This is truly a beautiful film in which full use has been made of the locales and local color, beautifully directed and acted and entirely convincing as an examination of family conflict in a 19th century Egyptian setting. It did not have a large American audience at the time of its release, probably because it is in Arabic with subtitles.

"Al-Mummia" is a tragedy of the collision if two cultures. The effendis of Cairo are loyal to the history of the 21st Dynasty. the tribe of people dwelling among ancient tombs are sustained by and called on to be loyal to the ways of their more immediate ancestors. The one group sees hierogylphs as inscrutable or meaningless, the other can apparently read them right off. The stateliness of the narrative style of the movie some might say is operatic, or rather, it has the solemnity of ancestral ways. In particular, the movie is a rare success in conveying the sacrality of artifacts of the particular religion of the pharaohs. The camera, for example, cautiously follows a "secret trail" into a tomb, watches a dark corner being turned before it turns itself, shows the desecration of prying the lid of a sarcophagus and touching the mummy inside. (I may be particularly vulnerable, taken on trips as a child to a museum where I was dared to see into a mummy by x-ray.)

Not sure how I came across this film, but I'm soooo grateful I did, it's a masterpiece: an art-house film that carries the power and mystery of Ancient Egypt.

The story unfolds in the 1800s. An isolated Egyptian mountain clan sustains itself by exploiting Egypt's ancient heritage. When there is a shift in power, the protagonist is presented with a moral dilemma: continue the old ways, which are immoral, or find some new, as yet unknown path forward? In the end, nothing is clear: there is no uncontestable good or evil in anyone's actions.

The film has a powerful mood of portentous mystery that's sustained from the first frame to the last. The film moves slowly, and in doing so, gains a profound, immersive depth. The characters speak slowly, poetically, with every word of great significance. Some of the acting is unforgettably strong, including the roles of Wanis, the archaeologist, and some of the clan elders. The score, of dark distant droning Egyptian music and surreal wind and atmospheric sounds, adds to the foreboding mood. The cinematography is incredible, especially the bizarre and stunningly beautiful prolonged final sequence.

The film may ultimately be taken to be a philosophical inquiry into how we can or should relate to the traumas of past. If the existing relation is harmful, how to find a new way? And how to be sure the new ways will be an improvement?

I'm saddened to find out the director/writer Chadi Abdel Salam made only one film in his life. But with "The Night of Counting the Years", he created an incredible synthesis of the mysterious power of the heritage of Ancient Egypt with the power of experimental cinema. It's a magnificent accomplishment.

Having been in Egypt for more than 10 months, still I have been oblivious to any Egyptian film, which doesn't seem to be right, on its IMDb page it writes "Universally recognised as one of the greatest Egyptian films ever made", so what would be more promising to start with this one as my introduction piece to Egyptian cinema.

The film is based upon the true story of the discovery of 40 Royal Mummies in 1881 in Thebes, the capital of the Pharaonic Empire, notably produced by Roberto Rossellini. As director Chadi Abdel Salam's only feature length output, evening before seeing it, one finds it is a national treasure inspires reverence.

The plot-line is quite lucid, Wannis (Marei) is the son of the recently deceased chief of the ancient Horbat clan, after his uncles reveal the family secret to him and his brother - the clan is involved into the black market business of a cache of mummies which is discovered nearby to sustain the livelihood of the entire clan. After his brother being murdered for not condoning this act, it is a morally and religiously challenging task for Wannis to do what he thinks is right.

The middle east's exotic allure is predictably presented, but with a primitive and impassive approach, which is characterized with slow-paced camera movement unwaveringly taking up the film from A to Z (except some rapid editing to the violent scenes), so is the performance, as handsome as he is, Marei exclusively maintains the same facial expression of sacred fortitude throughout the entire movie, with a small dose of anger if the script requires, recites his lines without detectable emotional upheaval. The only actor who is worthy his line-of-work is Murad (Nabih), the broker between the clan and the antiquity buyer Ayoub (Noureddin), but in a land where film as an art form, has never fully burgeoned, one should have mercy to the team behind.

This is how unique the films is, a self-aware seriousness to the subject matter overhangs, it is like a laconic essay either tricks audience into its enigmatic maze of a distant realm (with bizarrely-shaped tombs and buried sarcophagi among yellow desert and angular knolls) only lives in one's imagination, or it bores you instantly with its mechanic graveness, it destines to be divisive.

The DVD version of the film is shoddy at the most, which may be a chief reason for my underwhelmed appreciation, but if cultural intrigue is really your cup of tea, it is not a wide eye-opener per se, but for better or worse, it is a different viewing experience, only if there is a better version of it in circulation.