The Youssef Chahine Podcast No. 17: Cairo as Seen by Chahine/ Le Caire…raconté par Youssef Chahine

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An appreciation of Chahine’s short but great Cairo as Seen By Chahine. We discuss the film’s self-reflexiveness. How it’s aware of framing, composition, foreign expectations, relations and obligations concerning style and subject matter. How to film and evoke a city? How to do it with respect and love for its inhabitants? How to politely warn about dangers around, problems ahead and how to understand what drives desperate people there. We could have had a much longer discussion. But then, it would have been longer than the film.

The film was shot in Cairo between the 15th of January and the 23rd of February 1991.

Some of the clips discussed include the following:

A)Self-reflexiveness on framing and composition:

B) What foreigners expect to see in a film about Cairo:

c) Ruminations on a style that will please the critics:

D) Prayers and Show business:

E: Cinema and Film-going:

F: Trailer for Podcast:

and this one:

Richard has noticed a similarity/connection between the opening scene of Alfred Hitchcock’s Psycho:

and the scene where Chahine connects the whole city to people living together, to knowing and to love:

This ends too quickly but will give you an idea:

The film per se is available to see with e-s-t on Vimeo:

Samee3Lamee3, one of the very knowledgeable listeners of the podcast has illuminated the following points for us,  so very many thanks:

The film (within the film) is called “The Belly Dancer and the Politician” also the dialogue in the screened film is a very smart way for  Chahine to put the political element that portrays Egypt’s corrupt leaders

A few of them (the people in the film) are actual actors, like “Basem Samra” who did the sex scene. It was his first film and now he is a well established actor in Egypt. Only the shots of the streets and cafes were regular people.

His name is Khaled Youssef, he met “Joe” when he wanted to screen “The Sparrow” in his University. But the screening got them in trouble, they became friends and Joe convinced him that he would make a great director. So he mentored him and made him.

wrote “The other” and later films because he had political knowledge and many consider Khaled as the real director for “Chaos”. And Khaled has made many commercially successful films since then

José Arroyo

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