History of Egyptian Cinema
Egyptian cinema is the oldest film industry in Africa and the Arab world, often referred to as the “Hollywood of the East.” It is the most widespread cinema industry in the Middle East and North Africa, having had the most significant influence on cinema in Africa and the Arab region as a whole since the early 20th century.
Egypt's relationship with cinema began at the same time as it did globally. The first commercial film screening in the world took place in December 1895 in Paris, specifically at the Salon Indien of the Grand Café on the Boulevard des Capucines. The film was silent and directed by the Lumière brothers. Shortly after, Egypt saw its first film screening at the Zawani Café in Alexandria in January 1896, followed by the first screening in Cairo on January 28, 1896, at the Sanati Cinema. The third screening took place in Port Said in 1898.
The first Lumière cinema in Alexandria opened in mid-January 1897, and Henry Dello Strologio acquired the franchise. He set up a spacious location for his equipment between the Toson Stock Exchange and the Alhambra Theatre. The first Lumière cameraman, Promio, arrived in Alexandria and filmed "Consuls' Square" and Mohamed Ali Square. This was the first cinematic depiction of Egyptian scenes shown at the Lumière Cinema. June 20, 1907, is considered the beginning of Egyptian film production.
Thus, Egyptian cinema began with short newsreels and documentary films. The first feature film did not appear until 1917, produced by the Italian-Egyptian Cinematic Company. The company produced two films: "Al-Sharaf Al-Bedawi" and "Al-Azhar Al-Qatila," allowing the Egyptian director Mohamed Kareem to work on these films. Mohamed Kareem is considered the first Egyptian film director. Over more than a century, Egyptian cinema has produced over four thousand films, representing the enduring legacy of Arab cinema that nearly all Arab TV channels rely on today. Egypt is the leading producer in the Middle East, accounting for more than three-quarters of the region's film production.
Historians differ on pinpointing the exact start of cinema in Egypt. Some argue that it began in 1896 with the first film screening in Egypt, while others believe that Egyptian cinema truly began on June 20, 1907, with the filming of a silent documentary about Khedive Abbas Helmi II’s visit to the Mursi Abu Al-Abbas Mosque in Alexandria.
In 1917, director Mohamed Kareem established a film production company in Alexandria. This company managed to produce two films, "Al-Azhar Al-Mayyita" and "Sharaf Al-Badawi," which were shown in Alexandria in early 1918. In 1922, a film produced and starred by Fawzi Mounib, consisting of two acts, was released under the name "Al-Khala Al-Amerikaniya" .
In 1927, two famous films were produced and released: "Qobla Fi Al-Sahra" and "Layla," starring Aziza Amir, who was the first Egyptian woman to work in cinema.
In 1932, the film "Awlad Al-Zawat" was released as the first Egyptian talkie, starring Youssef Wahbi and Amina Rizk. This year also saw the appearance of the first Egyptian female singer, Nadia, in the film "Anshoudat Al-Fuad," considered the first Egyptian musical talkie. The first male singer to appear on screen was Mohamed Abdel Wahab in the film "Al-Warda Al-Bayda“.
The first Egyptian film to be shown abroad was "Wadad," starring Umm Kulthum, and it was also the first film produced by Studio Misr, a company that would later have a significant impact on Egyptian cinema.
The establishment of Studio Misr in 1935 marked a new phase in the history of Egyptian cinema, alongside other studios like Studio Al-Nahhas. Studio Misr remained central to the film industry until World War II. The casinos and theaters on Emad El-Din Street, also known as "Art Street," such as the Britannia Casino, were popular destinations.
The film "Al-Azima" in 1939 was a significant milestone. During this time, the newspaper "MISR Al-Sinema'iyya," or "The Speaking Newspaper," emerged and continues to be published to this day.
After World War II, the number of Egyptian films increased from 16 in 1944 to 67 in 1946. During this period, several notable directors emerged, such as Ahmed Badrakhan, Henry Barakat, Hassan Al-Imam, Ibrahim Ammara, Ahmed Kamel Morsi, Helmy Rafla, Kamal El-Sheikh, Hassan Al-Saifi, Salah Abu Seif, Kamal El-Telmessani, and Ezzedin Zulfikar. Anwar Wagdi also gained prominence for his successful series of musical films. Prominent actors and actresses of the time included Layla Murad, Shadia, Faten Hamama, Magda El-Sabahi, Mariam Fakhr Eddine, Tahia Carioca, Nadia Lutfi, Hind Rostom, Omar Sharif, Yahya Shaheen, Estefan Rosty, Farid Shawqi, Ahmed Ramzi, Salah Zulfikar, and Anwar Wagdi.
Attempts were made to colorize parts of films, including coloring the song "Yom Al-Ithnayn" from the film "Lest Malakan" by Mohamed Abdel Wahab in 1946.
In 1950, Studio Misr produced the film "Papa Arees," which was the first fully color Egyptian film, starring Naima Akef, Fouad Shafik, Camelia, and Shukri Sarhan.
In 1951, artist Mohamed Fawzi experimented with coloring two of his films, "Love in Danger" and "The End of the Story." Unfortunately, both films were destroyed in a fire while being transported from France to Egypt, leaving only the black-and-white versions with Egyptian television. It is said that Mohamed Fawzi was dissatisfied with the color quality of the first film and had it re-shot, which led to significant financial losses for him.
In 1956, the film "Dalila" was produced in color using the CinemaScope process, starring Abdel Halim Hafez and Shadia.
Subsequently, several Egyptian films were produced in limited color during the 1950s and 1960s. By the 1970s, particularly after the October 1973 War, color became prevalent in most films.
Today, classic Egyptian films, in addition to the latest cinematic productions, are broadcast on private Arab channels. Some are available for free through advertisements or commercials, while others are available for a fee through pay-per-view services on subscription-based networks.
Several artists and officials from the Egyptian Ministry of Culture have expressed concerns about the potential loss of Egyptian cinema archives due to their sale by Egyptian owners to artistic companies or Arab satellite channels for large sums. Additionally, some non-colored classic Egyptian films are being dubbed into French, German, and Italian for broadcast on European television networks. This includes films featuring Faten Hamama, Omar Sharif, and Layla Murad.
In the 1960s, the film industry was nationalized with the establishment of the General Authority for Cinema to produce feature films under the public sector in Egypt. This led to a decrease in the average number of films produced annually, from 60 to 40, and a reduction in the number of cinema theaters from 354 in 1954 to 255 in 1966.
Egyptian films of the 1960s can be categorized into three main types:
- Films Addressing Poverty and the Value of Work: These films praised socialist society and promoted the value of labor, such as Al-Aydi Al-Na'ima (The Soft Hands), directed by Mahmoud Zulfikar.
- Films Criticizing Opportunism and Social Issues: These films condemned social ailments like bribery, corruption, and theft, such as Miramar.
- Films Focusing on Political Participation and Criticizing Passivity: These films addressed issues of democracy, land connection, and resistance, such as Jaft Al-Amatar.
In mid-1971, the Cinema Authority was dissolved and a new General Authority was established, combining cinema, theater, and music. This new body ceased film production, focusing instead on funding the private sector, leading to a significant reduction in the state's role in filmmaking. By the mid-1970s, the state retained only two companies: one for studios and the other for distribution and exhibition. Despite this, the average number of films produced remained around 40 until 1974, then rose to 50 films annually, although the number of cinemas continued to decline, reaching 190 by 1977.
The 1970s witnessed one of the most significant events in Egypt's history: the October 1973 War. This event was featured in several films, including:
- Al-Wafa' Al-Azim
- Al-Rasasa La Tazal Fi Jibi
- Badour
- Hatta Akhir Al-Omr
- Abna' Al-Samt
- Al-Omr Lahza
After the October War, the first film addressing the policy of openness (Infitah) was released just one year later: Ala Man Nalq Al-Rasass (Whom Shall We Shoot?). This film starred the beloved actresses Soad Hosny and Mahmoud Yassin, who also featured in most of the key films of that era, particularly those related to the October War.
During this period, films depicting the state before the defeat were banned, particularly those that addressed administrative or police corruption
In the early 1980s, a new wave of young directors emerged who managed to overcome prevailing production traditions and create serious cinema. This period saw the rise of the "New Realism" movement or the "Generation of the Eighties." Notable figures from this generation included directors such as Atef El-Tayeb, Raafat El-Mihey, Khairy Beshara, and Mohamed Khan, among others. Prominent stars of the era included Adel Imam, Ahmed Zaki, Mahmoud Abdel Aziz, Nour El-Sherif, Nadia El-Gendy, Nabila Ebeid, Yousra, Laila Elwi, Elham Shahin, and Suheir Ramzi.
In the mid-1980s, specifically starting in 1984, there was a surprising surge in the number of films released, reaching 63 films. This marked the beginning of the "Construction Films" wave, characterized by low-budget productions with poor artistic quality, primarily created to fill video tapes for export to Gulf countries. By 1986, the number of films produced had risen to around 95, representing the peak of the construction film trend.
By the end of the 1980s and the beginning of the 1990s, particularly after the Gulf War, there was a noticeable decline in the production of "Construction Films" due to decreased demand from Gulf countries. This led to the emergence of a new generation of directors who aimed to make an impact on Egyptian cinema, including Ridwan El-Kashef, Osama Fawzy, and Said Hamed.
In the late 1990s, a wave of comedy films featuring several young stars emerged. This trend began with the film Ismailia Rayeh Gai, which achieved significant cinematic success and revitalized the Egyptian film market, which had experienced low production levels in the mid-1990s.
Initially, this comedy wave dominated the film industry, followed by a new wave of action and romance films. However, comedy remained the most dominant genre in the Egyptian cinema market, with comedy stars commanding the highest fees and enjoying the most fame.
At the dawn of the 21st century, a new generation of comedians emerged in Egyptian cinema, including notable actors such as Mohamed Saad, Mohamed Henedy, Ahmed Helmy, and Hany Ramzy, who starred in numerous successful comedy films.
During this period, several young actresses also achieved rapid success and fame in Egyptian cinema. Prominent among them were Mona Zaki, Hend Sabry, Menna Shalaby, Yasmine Abdel Aziz, Mai Ezzidine, and Dalia El Behairy.
In 2007, the film production volume reached 40 films, a similar number to that of 2006. However, the quality of films improved, and the Egyptian cinema industry achieved substantial revenue of 250 million EGP that year.
Film production in Egypt during this time was predominantly led by the private sector and some global production companies, such as "Cairo Media Production." Nonetheless, the Ministry of Culture announced in 2007 that it would begin funding select films of "distinguished value"
In 2008, the number of films produced increased to 53, indicating a flourishing phase for the Egyptian film industry.
After 2010, Egyptian cinema continued to produce comedy and political films with the same stars, and films with a focus on popular issues began to emerge. This genre is characterized by its discussion of poverty and the lower classes of society, addressing issues such as drugs and prostitution. This had some negative effects on Egyptian youth due to the inclusion of vulgar language, scenes with dancers, and immoral content. These films were also heavily criticized by various segments of society.
High artistic value films also emerged, such as 678, Asal Aswad, Asmaa, El-Maslaha, Dekor, The Blue Elephant, Hepta, A Bullet is a Friend, Diamond Dust, The Blue Elephant 2, El-Kenz, El-Kenz 2, and Casablanca, among others.
During Eid al-Fitr (the season for new films in Egypt) in 2016, many films were shown in Egyptian theaters, with many of them being comedies like Hell in India and Abu Shanab. Additionally, the action and drama film From 30 Years was released, starring a large cast of Egyptian actors, including Ahmed El Sakka, Mona Zaki, Mervat Amin, Sherif Mounir, and Nour in leading roles.
In 2017, several films were released, including Elkhalya, Hroub Edtrary, Bank Alhazz, and others.
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