The fact that there are a lot of people emphasizes the location being the “heart of the city”. His early films in Egypt included Raging Sky (1953), which begun while Farouk was still King and dealing with a peasant farmer's challenge to a feudal landlord. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. ( Log Out /  Qinawi’s obsession is marked early on in the film by the collection of pin-up girls that he has clipped from magazines and tacked to the walls of his lean-to in a corner of the station. He is the kind of character who can successfully scandalize you, but who can make you pity him after sometime. The accelerating pace of mid-twentieth-century culture is evident everywhere in Cairo Station, and its impact on women is dramatic. glowing in lucid black and white compositions of shadow and pale half-light..no sun here in this egypt! Reviewed in the United States on October 16, 2013. This film, therefore, can be considered to be rapidly paced. He remained active in his later years, directing 'Destiny' in 1997 and 'This Is Chaos' in 2007. In this transforming backdrop, directors like Youssef Chahine were set to transcend the rigid boundaries of national cinema. Born in Alexandria, Egypt on January 25, 1926, Chahine studied at Alexandria University for a year before moving to the USA to study acting at the Pasadena Playhouse. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Many African societies persistently neglect mental health in their social discourse, even more so for men who must adhere to rather dated standards for masculinity. After this there is a jump-shot to a close-up of a clock as its hands tick quickly and the caption reads- “Every minute one train departs”. The discomfort of the public while watching the movie shows how we refuse to cognize a dark plague which infests our personalities; ironically, their chagrin and the denigration of the cineaste can be considered to be his success. Chahine spellbindingly unites Qinawi’s dark thoughts with the noisy, dilapidated environment, closely studying the man’s obsession, fear, and excitement with respect to his surroundings. This shopping feature will continue to load items when the Enter key is pressed. Both of these explore the theme of toxic masculinity in different ways, and the setting of each plot is different, but the question which came to my mind was: what makes them so different from Kabir Singh (yes, I had to bring this up, because this is one of the most recent and best examples I can use to draw a parallel to Chahine’s work)? Change ). Towards the end, the profligate holds Hanouma hostage on the tracks, a knife at her throat, but is coaxed to release her by the kind, elderly vendor who looked after him. Disturbing as the existence of these vile, self-loathing, misogynistic characters may be in the virtual world, they also hide in plain sight in the real world. Screenwriter: Mohamed Abou Youssef, Abdel Hay Adib. In the abandoned workshop where he lives, he pins up centre-folds from the bundle of papers and magazines that he is supposed to be selling, and on the arm of a smiling blonde, he pathetically sketches a bucket containing a bottle4. Did he seek to demystify gender-based crimes by highlighting the connection between violent acts against women and the subtle nuances of the male psyche3? It conveys the broadened perspective of a society, striving to move forward while at the same time being deep-rooted in poverty and social ills. If you didn't see this when it came out - and you like b/W classic films, this is one. ( Log Out /  One can blame the orthodox, conservative times he was born in, which were characterized by women being considered as goddesses, and yet who were objectified at the same time. The ignominy which the director faced in his own homeland is a perfect indication of the effect the film had on the audiences; Chahine did not shy away from creating his own anti-hero, a reprobate, who stands on Cairo Station as a symbol of change from the conventional melodramas and comedies- which comprised the staple of Egyptian audiences back then –while the movie solely focuses on the events unfolding on the station (an allegory of the static and insular mindset of the people of those times). Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. Top subscription boxes – right to your door, © 1996-2020, Amazon.com, Inc. or its affiliates. Cairo Station is a masterpiece, an iconic production in which the director himself starred. Source: Niwamanya, Timothy (18 April 2020).

It is partly social commentary in the vein of Italian neorealism, party lighthearted comedy, and partly psychosexual horror. These bruises, coupled with his repressed sexual frustration distort his grasp on reality, and gradually a ‘perfect’ plan forms in his beleaguered mind1. The quick sounds of trains as they come and go, give the initial impression that events are happening quickly. In my opinion, what makes Cairo Station a must-watch is not only the beauty of its style of direction but also the intention behind the film, because what good is a film with a good script, if it does not have a good intention to breathe life into it? A brave picture considering the many frames with women with uncovered hair.

Unable to add item to List. This relates to Michel Chion’s theory of value added sound in order to enrich an image and create an impression in the viewers mind. Our third podcast on Youssef Chahine films, this one on Cairo Station, a combination of Dickensian melodrama, Marxist analysis, neorealist aspirations, film noir techniques, and with a contemporary relevance in its Incel-on-a-rampage theme. What must this man have gone through, to start behaving like this?

Hanouma captivates an entire carriage in a self-reflexive parody of the ‘song-and-dance’ routines for which conventional Egyptian films were enjoyed, but the routine is presented critically, in several ways; she rewards her audience by selling more iced lemonade. Youssef Chahine's Cairo: Central Station is a refreshing blend of hidden sexual tension, film-noir and neo-realism from the 1950's. The focal character is Qinawi (a wonderful role which Chahine himself played)- a physically crippled, sexually frustrated newspaper hawker -who, obsessed by love for the vivacious, flirtatious gypsy soda vendor Hanouma (Hind Rostom, often considered as the Egyptian Marilyn Monroe), becomes mentally unhinged. Reviewed in the United States on February 3, 2014, Reviewed in the United Kingdom on May 11, 2010.

I saw this film on Egyptian Television many years ago - when I lived in Egypt. He corners her and offers his own marriage proposal. Gordon, Joel (2013). Reviewed in the United States on October 9, 2013. And one can at least hope to explore the root cause of Qinawi’s salacious behaviour; meanwhile, it is impossible to even discern what is happening in Kabir’s mind. It is a brief scene, sure, but it holds a lot of implications pertaining to the intention of the film. There was an error retrieving your Wish Lists. The voice-over that serves as a prologue perfectly sets up the central character Qinawi, his defeats, and his irrepressible sexual frustration1. Despite having intense performances, and polarizing audiences with its content just like Cairo Station, Kabir Singh fared well commercially (and in some cases, critically, for most appraisers actually lauded it for being an unconventional “love story”) as compared to Chahine’s film.

Chahine spent the following decades creating internationally-acclaimed classics like 'The Land' (1969), 'The Sparrow' (1972) and the semi-autobiographical 'Alexandria, Why?' His sly leering at unsuspecting individuals highlights a dysfunctional view of social interaction and etiquette, especially with women. The movie is basically a hagiography of its warped and absurdly flawed protagonist who basically loses nothing and gains everything towards the climax (unlike the lead characters in the aforementioned oeuvres); Kabir is a product of age-old beliefs which endorse macho rodomontade, unnecessary violence and lalochezia as signs of the “perfect man”. He snaps, finally, when he overhears her cavorting in a warehouse with her fiancé, who is the gruff, yet honest leader of the porters union. While Qinawi’s transgressions in the film are his own, and cannot entirely be attributed to his mental health, it is startling to see how much of an effort Chahine put into giving context to the main character’s socially unacceptable behaviour, as well as his emotional deprivation. Somehow, these entirely different styles co-exist to create an experience that’s incredibly captivating. But he is not a barbaric behemoth; he is human. Sexual motifs pop up regularly, including the playful jest of soda bottles and steaming train whistles. Director Youssef Chahine studied film in Pasadena, and in "Cairo Station" (1958), it is obvious that he brought a chunk of Hollywood back to Egypt with him. The little relaxation of the censorial parameters during the revolutionary regime was said to have facilitated film-makers to take to the streets and explore societal ills through camera (although Cairo Station was banned after public demand). He received his first invitation to the prestigious Cannes Film Festival with his second feature, 'Nile Boy' in 1951. The film opens with an excellent montage and voice-over proclaiming “Cairo Station as the heart of the capital”. This time the emphasis on time is even more significant because the clock is the only thing in the shot. One of the most interesting aspects of Cairo Station is its unflinching examination of how perpetual sexual repression has an adverse effect on the anti-hero Qinawi’s mental health. Reviewed in the United Kingdom on January 22, 2013. a mixture of film noir and socialist preaching. Chahine did not just suddenly evoke some “atavistic” trait- common to most men -in his movie; he was merely reminding the Egyptian audiences (and the whole world) of an immanent feature of life which has become so quotidian, that we have only started to acknowledge it in very recent times.

Qinawi’s pathetic insignificance is emphasized in a tilt-up shot of his head and shoulders, dominated by a monumental statue of the ‘great pharaoh’, Ramesses II, the only image of ‘Heritage Egypt’ in the entire film. Film. Please try again. The 1950s were one of the most turbulent decades in Egyptian history. ( Log Out / 

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