Let’s talk about ‘Let’s Talk‘, Marianne Khoury’s exploration of mother/daughter relationships across generations. The film is of interest to us because we wondered if it would enhance our understanding of Chahine’s cinema; and it does! Marianne’s mother was Chahine’s sister, and the raw materials of her story finds echoes in Chahine’s in Dawn of a New Day (1964). Khoury also demonstrates how part of the family’s narrative is the origin and source of strands of Alexandria …. Why (1979) and An Egyptian Story (1982), so the accounts on this film give us an interesting spin on how Chahine treats the same material. We discuss the relationship between Iris and Marianne and Marianne and her own daughter Sara: is it self-reflexive enough? Is the film aware of the historical context in which those lives were lived and various decisions were made? We discuss cosmopolitism and language (a gift/ a burden?); the pleasure of the old photographs and how they evoke whole ways of life; we rant about BFI Player; José purrs when he sees footage of the EICTV film school in Cuba and at the footage in Havana. We recommend as a film that enhances our understanding of Chahine’s work and also a film that is a very personal reflection of mother/daughter relationships.
A discussion of Chahine’s autobiographical film, the first of what would be called the Alexandria Trilogy — Alexandria, Why?/ Iskandariyya….leh? (1979), An Egyptian Story/ Haddouta Misriyya, 1982), Alexandria, Again and Forever/ Iskandariyya, kaman wa kaman, 1989 — and would then expand to include a fourth film, Alexandria….New York, 2004.
I made a trailer for the film and the podcast that should give you a flavour of what it’s about if you haven’t already seen it:
Our special guest star is Dr. Andrew Moor from Manchester Metropolitan University who specialises in, amongst other things, LGBTQ cinema and whose enthusiasm for Chahine films at last year’s Ritrovato festival in Bologna is what introduced many of us to these great works.
Richard Dyer would use Alexandria, Why? to illustrate a lecture on ‘A History of Gay Cinema in Ten Films’, and it could just as profitably be deployed in relation to Queer cinema. The podcast discusses the very interesting ways the film depicts all kinds of intersectionality in a bildungsroman about a young man who wants a career in the arts just as British Occupying Forces are forced to contend with the Germans arriving in El Alemein. We discuss the way the film mixes genres (the musical, the melodrama, the social problem film). It’s a rare director that elicits commentary in relation to a mix including Ken Loach, Shakespeare, Vincente Minnelli and Shakespeare. The film is also an important contribution to a discussion of colonialism from the perspective of the colonised.
There´s a very interesting review of the film by Jesse Cataldo here:
Richard Layne was thrilled to discover 70s British heart-throb Gerry Sundquist as one of the stars of the film and quickly dug up one of his works, as you can see above. Richard also provided more information for those who want to follow up on that aspect here below:
Review of “Soldier and Me” (his first lead role) which features the best summary I’ve seen of his career and what went wrong
Here are some clips referenced in the podcast that you might find interesting:
a tiny excerpt that is from a film that Chahine himself made as a student:
The very moving search fro the British Soldier:
….and the witty conclusion with the arrival in New York:
…and here is the glorious opening scene , which introduces all of the film’s main themes: Hitler promising to get to Alexandria cut to Esther Williams in Bathing Beauty, unruly occupying forces and anti-colonial struggles, the reality of occupation next to the fantasy of Georges Guétary singing ‘I’ll Build a Stairway to Paradise’ in Minnelli’s An American in Paris, anachronistically deployed here as the film starts in 1942 and the film would not be released until 1951; a young lad and his mates living their youth in a beautiful port city under difficult circumstances, a city made up of diverse peoples, represented inclusively and dramatised with feeling and depth. It’s a beautiful film.
Here is a more extended version of the film Chahine made at school:
There is a very interesting article here, perhaps romanticising, on how Chahine was able to finish his stint in America as a student due to a government error:
The podcast barely scratches the surface but will, we hope, enhance viewers’ appreciation and interestingly links it with his oeuvre to this point.