Category Archives: Art & Entertainment

Woody Allen’s 30 Best liners

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Martin Chilton in The Telegraph:

‘There are worse things in life than death. Have you ever spent an evening   with an insurance salesman?’.

From Manhattan – in taxi with Tracy – “You’re so good looking I can barely keep my eyes on the meter”

To Shrink: Doc, uh, my brother is crazy.  He thinks he’s a chicken. Doc says: So why don’t you turn him in?  Allen: I would, but I need the eggs.

‘Not only is there no God, but try getting a plumber on weekends.’

‘When I was kidnapped, my parents snapped into action. They rented out my   room.’

‘I failed to make the chess team because of my height.’

‘I’m very proud of my gold pocket watch. My grandfather, on his deathbed,   sold me this watch.’

For more click below;

http://www.telegraph.co.uk/culture/culturepicturegalleries/10196567/Woody-Allens-30-best-one-liners.html?frame=2624772

Posted by f. sheikh

Faten Hamama, Famous Egyptian Actress and ex-wife of Omar Sharif

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Faten Hamama , famous Egyptian actress who stared with Omar Sharif in many films died on January 17, 2015. Omar Sharif converted to Islam to marry her.Omar Sharif never remarried; he stated that since his divorce, he never fell in love with another woman, although he lived abroad for years.

Career

Youssef Wahbi, an Egyptian actor and director, recognised the young actress’s talent so he offered her a lead role in the 1946 film Malak al-Rahma (ملاك الرحمة, Angel of Mercy). The film attracted widespread media attention, and Hamama, who was only 15 at the time, became famous for her melodramatic role. In 1949, Hamama had roles in three films with Wahbi: Kursi Al-I’etraf (كرسي الاعتراف, Chair of Confession), Al-Yateematain (اليتيمتين, The Two Orphans), and Sït Al-Bayt (ست البيت, Lady of the House). All were successful films.[11]

The 1950s were the beginning of the golden age of the Egyptian cinema industry and Hamama was a big part of it.[11] In 1952 she starred in the film Lak Yawm Ya Zalem (لك يوم يا ظالم, Your Day will Come) which was nominated in the Cannes Film Festival for the Prix International award. She also played lead roles in Yousef Shaheen’s Baba Ameen (بابا أمين, Ameen, my Father, 1950) and Sira’ Fi Al-Wadi (صراع في الوادي, Struggle in the Valley, 1954) which was a strong nominee in the 1954 Cannes Film Festival for the Prix International award. Hamama is also known for playing the lead role in the first Egyptian mystery film Manzel Raqam 13 (منزل رقم 13, House Number 13). In 1963, she received an award for her role in the political film La Waqt Lel Hob (لا وقت للحب, No Time for Love).[12] Hamama was also able to make it to Hollywood; in 1963 she had a role in the crime film, Cairo.[13]

In 1947, Hamama married actor/director Ezzel Dine Zulficar while filming the Abu Zayd al-Hilali (أبو زيد الهلالي) film. They started a production company which produced the film Maw’ed Ma’ Al-Hayat (موعد مع الحياة, Date with Life) in which she starred. This particular film earned her the title of the “lady of the Arabic screen”. She divorced al-Faqqar in 1954. One year later, she married Egyptian film star Omar Sharif. Hamama continued to act in films directed by her first husband.[7]

Hamama and Omar Sharif in a scene from the 1957 film Ard el salam (“Land of Peace”).

In 1954, while filming a Youssef Chahine film, Struggle in the Valley, Hamama refused to have the Egyptian actor Shukry Sarhan as a co-star, and Chahine offered Omar Sharif the role. Omar had just graduated from college then and was working for his father; Hamama accepted him as her co-star. Hamama had never agreed to act any scene involving a kiss in her career, but she shockingly accepted to do so in this film. The two fell in love, and Sharif converted to Islam and married her. This marriage started a new era of Hamama’s career as the couple made many films together.[11] Sharif and Hamama were the romantic leads of Ayyamna Al-Holwa (أيامنا الحلوة, Our Sweet Days), Ardh Al-Salam (أرض السلام, Land of Peace), La Anam (لا أنام, Sleepless), and Sayyidat Al-Qasr (سيدة القصر, The Lady of the Palace). Their last film together, before their divorce, was Nahr Al-Hob (نهر الحب, The River of Love) in 1960.

Sharif’s first English-language film was in the role of Sharif Ali in David Lean‘s Lawrence of Arabia in 1962. This performance earned him a Best Supporting Actor Oscar nomination and a Golden Globe Award for Best Supporting Actor – Motion Picture. Following this breakthrough role, Sharif played a variety of characters, including a Spanish priest in Behold a Pale Horse (1964) and the Mongolian conqueror in Genghis Khan (1965). In the same year, Sharif reunited with Lean to play the title role in Doctor Zhivago, an adaptation of Boris Pasternak‘s novel.

Over the next few years, Sharif starred as a German military officer in The Night of the Generals, as Crown Prince Rudolf of Austria in Mayerling and as Che Guevara in Che!. Sharif was also acclaimed for his portrayal of Nicky Arnstein, husband to Fanny Brice in Funny Girl, though some thought he was miscast as a New York Jewish gambler. His decision to work with costar Barbra Streisand angered Egypt’s government at the time due to Streisand’s support for the state of Israel. Streisand herself responded with “You think Cairo was upset? You should’ve seen the letter I got from my Aunt Rose!” Sharif reprised the role in the film’s sequel, Funny Lady in 1975.

In 2003, he received acclaim for his role in the French-language film adaptation of the novel Monsieur Ibrahim et les fleurs du Coran, as a Muslim Turkish merchant who becomes a father figure for a Jewish boy.

At present, Sharif resides mostly in Cairo with his family.[16] In addition to his son, he has two grandsons, Omar (born 1983 in Montreal) and Karim.[16] Omar Sharif, Jr. is also an actor.[20

( Wikipedia)

American Sniper

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Recently released movie ‘ American Sniper’ is  on the life of an American soldier who  killed the most Iraqis by sniper shots. Many think him as outlaw trigger happy soldier but movie depicts him as a hero and Iraqis as savage and subhuman Arabs. Ironically every prominent Western leader is heading Saudi Arabia, sponsor of radical Islam, to pay their tribute at the death of King Abdullah. Below is a movie review by Brian Turner, a soldier writer.( F. Sheikh)

“The film made me remember something else, too: the oft-repeated phrase We should just drop a nuke and turn this whole goddamn place into a glass fucking parking lot. This was an enlargement of what I’d regularly heard prior to deploying from Ft. Lewis, Washington:I’m going to go over there and shoot somebody in the face. And so, what started as an erasure of the signature of one’s identity, their face, evolved into the complete erasure of a civilization. But the thing is, I don’t think there was any clue about what was actually being erased in the first place. And in that cluelessness lays the problem with American Sniper.

This isn’t the defining film of the Iraq War. After nearly a quarter century of war and occupation in Iraq, we still haven’t seen that film. I’m beginning to think we’re incapable as a nation of producing a film of that magnitude, one that would explore the civilian experience of war, one that might begin to approach so vast and profound a repository of knowledge. I’m more and more certain that, if such a film film ever arrives, it’ll be made by Iraqi filmmakers a decade or more from now, and it’ll be little known or viewed, if at all, on our shores. The children of Iraq have far more to teach me about the war I fought in than any film I’ve yet seen — and I hope some of those children have the courage and opportunity to share their lessons onscreen. If this film I can only vaguely imagine is ever made, it certainly won’t gross $100 million on its opening weekend.

The biggest problem I have with American Sniper is also a problem I have with myself. It’s a problem I sometimes find in my own work, and it’s an American problem: We don’t see, or even try to see, actual Iraqi people. We lack the empathy necessary to see them as fully human. In American Sniper, Iraqi men, women, and children are known and defined only in relation to combat and the potential threat they pose. Their bodies are the site and source of violence. In both the film and our collective imagination, their humanity is reduced in ways that, ultimately, define our own narrow humanity. In American Sniper, Iraqis are called “savages,” and the “streets are crawling” with them. Eastwood and his screenwriter Jason Hall give Iraqis no memorable lines. Their interior lives are a blank canvas, with no access points to let us in. I get why that is: If Iraqis are seen in any other light, if their humanity is recognized, then the construct of our imagination, the ride-off-into-the-sunset-on-a-white-horse story we tell ourselves to push forward, falls apart.”

 

http://www.vulture.com/2015/01/american-sniper-iraq-war-film-controversy.html

Posted by F. Sheikh