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    Faten Hamama   The Legend.
    The Lady of the Arabic Screen
    The Star of the Millennium
    Degree of Doctor of Humane Letters

     The Lady of the Arabic Screen, The Star of the Century: Faten Hamama, the three sides of the Pyramids or the big Pyramid of the Egyptian Cinema. We cannot mention another star who stood in her place and kept her place for more than fifty years, not in the standard of Arab Nations only, but world wide.

    The question is why? Is it for her artistic talent, or is it for the variety of directors she worked with, or is it because she selected the topics and roles she played… Was she lucky to be able to span 48 films of the hundred selected films, which are regarded as all-time classics in the History of the Egyptian Cinema? I would say there is only one Faten Hamama.

                                                                        Director:  Omar Abd El Aziz 

    FATEN HAMAMA
    Doctor of Humane Letters

     

    Mrs. Faten Hamama, performing artist and intellectual.

    In a cinematic career that has spanned ore than half a century you starred in numerous films which have endured the passage of tie and which continue to be regarded as all-tie classics. Your distinctive style of acting and the roles you have chosen have earned you a place of honor as an artist of talent and a lady of distinction in the hearts of millions I Egypt, in the Arab World and internationally.

    Your films are regarded as excellent examples of the problems facing contemporary women in modern Egypt. Nearly all your roles explore these issues with delicacy and tact. It is a credit to your unique style of acting that such serious topics have been brought to the screen and to the attention of millions of spectators with the success that has consistently accompanied your career.

    You started your career in film at the age of six with a role in the movie entitled "A Happy Day" and continued to act while still a student I the Institute of Theater Acting. Your first lead role was opposite Youssef Wahby in the film "Angel of Mercy". This followed by leading roles in a number of films such as "The Song of the Nightingale", "Among the Ruins", "Our Happy Days", "The Lady of the Castle", "The Sin", "The Night of Fatma's Arrest", "The Mouths and Rabbits", and "Ladies Should Not Offer Condolences". You also starred in a number of serials of which the most famous were " A Story Behind Every Door" and "Miss Hekmat's Conscience".

    You represented Egypt in several International Film Festivals and you served on the panel of judges in any of the. You were awarded the first prize for acting in 1951, 1954, and 1960 in Egypt. You were also the reciplent of numerous awards, including First Prize at the Jakarta Film Festival of 1964 for your role in "The Open Door", the Diploma of Honor and the Diploma of Recognition in the Third International Teheran Festival in 1974 for your role and the idea of " I Want a Solution", the Organization of Film Critics and Writers' Prize of Recognition in 1975, the Prize of Excellence in the Festival of Egyptian Films in Dairout in 1976 for your role in "I Want a Solution", the prize for best actress for your role I "Rabbits and mouths" in the Second Cairo International Film Festival, the USSR Cinema Prize in Moscow in 1983, and the Lebanese Golden Order of Merit Prize for your role in "The Night of Fatma's Arrest", in 1984.

    By the authority of the Board of Trustees, the American University in Cairo confers upon you the degree of Doctor of Humane Letters honoris causa, with all the rights and privileges appertaining thereunto.

     

     

    FATEN HAMAMA
    The Star of the Melinium

     by film critic:  Tarek El Shenawy

     

    Why did the Egyptian Association for Film Writers and Critics come to choose "Faten Hamama" as the Star of the Millennium for her cinematic acting performance?

    Why did the Board of Directors decide to honor her in the third Millennium Festival held in Alexandria?

    When Faten Hamama's name was announced, critics, artists and even the audiences were gratified and satisfied for this selection.

    Selecting Faten Hamama as the Star of the millennium does not mean ignoring other talents that glowed, and still have their effective glories, (even the dead absent ones).

    William Shakespeare; selected as the best writer, not only for the 20th century, but also, for the entire second millennium! This is not inequity to the talents of Moulier, Thshicoff, Eisen, Bernardshow, Sawmill Picket, and Destofiski. The list is long, and extends from the east and west since the eleventh century up to the twentieth century. But, Shakespeare fulfilled the writer's symbol. Having his name mentioned is enough to drive the memory to his writing talents. The same when Beethoven is mentioned, memory is driven to the fabulous foreign music, Mohamed Abd El Wahab, eastern music, Om Kalthoum, singing, Mahmoud Said, art of drawing, Beerm El Tonsi lyric poetry or verse, Naguib El Rihani, comedy, Youssef Wahby, tragedy.

    The same applies to Faten Hamama establishments during the years of her acting career in the Egyptian Cinema.  She managed to become the symbol of this art.

    Faten had opportunities, which were not available to others, and this is what made her charisma exist and last through the generations.

    She is the young girl in film debut "Youm Sa id" 1940, she was not even eight years old yet, until TV series "Wagh El Quamar" which was broadcasted last Ramadan.

    Faten grew up with people, the generation that witnessed her work when she was young grew up with her, whilst the generations that did not witness her, had complete archives of all her work during her acting career. It is the cinema which engraves lineaments and sensation in the memories of people, which grows up with them as they get older, this is exactly what happened with Faten Hamama, certainly nobody asked her to plan this, nor had it occured in her mind, but with time, these shots would sustain her journey with people.

    But, this child is not anymore a child, people wanted her to grow cinematically amongst them, there were others who had talents, which gloried since their childhood, then soon their glow would fade away. We've got lots of examples, Cherley Temple, the international symbol of the wonder child, Fairuz, the Lebanese legend. It is as if people want to fix their image of childhood at this certain age, like a doll which never grows up, while people would get older. they did not want the doll to grow up with them, but they wanted it to remind them of a certain stage of their childhood.

    Although Faten Hamama the child grew up with people, yet, they allowed her to continue her journey with them, with the same glamour. They lived and grew up with her since her childhood, they followed her, Their admiration to her was not transitional.  As she was considered a member of each Arab family, by the time she crossed the stage of childhood, Hassan El Emam introduced her in his film debut "Malaeka Fi Gohanam" 1946 - she was just fifteen- and then "Al Yatimatan" 1948.   She continued her journey with people, never stopping except for compulsory reasons which did not exceed four years from 1966 up till 1970.

    Faten Hamama, the dream of the director's generation of the late forties and fifties up till the nineties, like, Hassan El Emam, Salah Abu Seif, Henry Barakat, Kamal El Sheikh, Youssef Chahine, the directors of the Golden Age of the Cinema, until the generation of the directors of the 80's and 90's like, Dawood Abd El Sayed and Khairy Bishara.

    Mohamed Karim was the one who first discovered Faten Hamama when she was young , he gave her the screen debut in film "Yawm Said".  The film garnered the attention of director Hassan El Emam who invited her to make other successful films in the stage of her adolescence, whilst, other directors dream was to collaborate with Faten Hamama. It was not a coincidence that Youssef Chahine's film debut "Baba Amin" 1950 was starred by Faten.  She was his first choice.

    The first film for Kamal El Sheikh, mounted up immediately the name "Faten Hamama" in film "Al Manzel Raquam 13" (1952), and, when Salah Abu Seif changed his artistic path and adopting realistic cinema, he found his dream cinema visualized in Faten's outstanding performance  in film "Lak Youm Ya Zalem" 1951.

    Faten's union with Ez El Din Zulfikar:   Ez El Din Zulfikar the renowned director managed to make brilliant use of Faten's signature combination of elegant charm and smoldering sensuality in films of varying artistic merit, films that made the golden history of the Egyptian Cinema.  He managed to establish a history with her. The start of Ez El Din, after only one year as a director, was in film "Khouloud" in the year 1948.

    The meeting of Ez and Faten was so special, it was a meeting which acknowledged only the success, as in films "Mawed Maa El Haya" 1953, "Mawed Maa Al Saada" 1954, "Bein Al Atlal" 1959, "Nahr Al Hob" 1960. This was an artistically meeting, or an artistic conjunction.  Their work together was not affected by their divorce or personal separation in the mid fifties. films "Bein Al Atlal" and "Nahr Al Hob", the triumphant success of their collaboration came after their divorce. This big artistic conjunction, despite the fact of absence of personal harmony, made Ez El Din  say "I was never the husband suitable for Faten Hamama, we had no harmony in our nature nor moods", whilst, on cinematic grounds,  Ez found that Faten the highest ranked actress in the fifties genation that he said 'The difference between Faten and whoever comes after her rank of actresses is like the difference between one to ten!'

    But, time, did not give Ez much, he died in the beginning of the sixties before continuing his journey with Faten Hamama, he had plans for her, he wanted them to make film " El Kheit El Rafeigh", which was later directed by Henry Barakat in the seventies!

    Faten Hamama, is the highest waged actress amongst her generation, and the most granting to the requirements of the box office, despite the  fact, she was never captivated by revenues of the box office, she had been always looking for something beyond the revenues of the box office.

    She was adventurous in choosing the dramatic roles she played.   She made a duet song with Chadia in film "Mawed Maa Al Haya", the song "Alo, Alo Ehna Hena".   She played the unfaithful wife in film "Nahr Al Hob" despite the fact that there is a mental picture which controls the actors and does not allow him to make any deviation.   This mental picture imposes special features on the dramatic character, the audiences sometimes do not want to separates dramatic character from the real character.  They  would not simply accept to see Faten who illustrated the values of sacrifice and sincerity in the films  playing the role of an unfaithful wife. The script of film "Nahr Al Hob" was keen not to include direct love scenes between the two lovers. Although Faten Hamama and Omar El Sherif traveled together to Beirut, each stayed in a separate room. In the dramatic structure the script carefully  build up gradual hatred to Zaki Rostom –who played the role of the betrayed husband-.   The people want their superstar to be ideal forever, no matter if they deprive her from her right to make mistakes.  But, Faten's credibility, and Ez's sensitivity as a director, made them pass this impasse.

    Conclusion:  this trio relation is worth careful and close examination, Omar El Sherif, the husband, Faten Hamama the wife, Ez El Din Zulfikar, the ex husband and director, and all these emotional scenes in the film, unbelievable!

    Faten Hamama did not restrict herself to one generation of directors but she worked with all generations. Her first film debut was with the pioneer of the Egyptian Cinema Mohamed Karim, she then continued her journey with Ahmed Kamel Moursi, Henry Barakat, and Hassan El Emam, they all made an  important stage in her career.  She then collaborated with  Hussein Kamal in film "Embratoreyet Mim" in 1972, followed by  Said Marzouk in film "Oreed Halan" in the year 1977, then "Youm Mor Youm Helw" in 1988 directed by Khairy Bishara.  The last film she made was "Ard El Ahlam" in 1993 directed by Dawood Abd El Sayed.

    Faten Hamama knew that the star has to be remodeled/refreshed through the vision of different directors who may discover something new in her, something different. Barakat is the director she worked with for long during the entire stages of her acting career, but, this was not enough to guarantee the flow of the artistic river which has to get its source of water from all sources, and not one. Om Kalthoum, for example, she kept sincere to Ryad El Sonbati's music and his classical tunes, despite of that during the fifties she worked with other following generation of composers, like, Mohamed El Mougi, Baligh Hamdi, Kamal El Tawil, Sayed Mekawi, this is what gave Om Kalthoum the renewing. I think Faten's steadfastness/perseverance all this years as the superstar on top of internal and worldwide distribution is the biggest proof of her artistic value. Faten Hamama has had her materialistic returns through Producing and distributing companies, as with each cinematic undulation would extirpate all what is prevailing, and establishes new values and laws, but Faten is the exception, she kept her values, Faten in film "Ard El Ahlam" 1993, is the same Faten the audiences first saw in Film "Al Yatimatan" in 1948.

    She never gave up for the sake of stability, and never gave up starring; she always kept the glamour of her name.

    When the society of the cinema chose Faten Hamama for the title of "The Lady of the Arab Screen", when the society of music chose Om Kalthoum to carry the title of "The Lady of the Arab Singing, the society of theatre chose Youssef Wahbi to carry the title of "the Master of the Arab Theatre", society of arts chose Taha Hussein to carry the title of "The Master of the Arabic Literature".. Does this carry any meaning? Those talented in their positions have exceeded the geographical and national boundaries that they were able to influence all the Arab nations, does this mean that history gave those titles their significance?

    From here comes the honoring of Alexandria Festival to Faten Hamama as an icon who influenced, brought fourth, and became truly and actually the Star of this century.

     

     

    FATEN HAMAMA
    The Lady of the Arabic Screen

    source:  15th Cairo International Film Festival Publications

    "A Happy Day" Faten Hamama was only nine years old when she made her first screen debut in film "A Happy Day" 1940, directed by Mohamed Karim. Ever since Faten Hamama has continued to project the image of the Egyptian female, whether young or grown up in a very original way. In more than 100 films she presented a unique model, deeply rooted ever since in the hearts and minds of Egyptians and Arab audiences. A model so different from what Egyptian cinema had traditionally presented.

    At the time Faten Hamama made her appearance, female characters were presented as mere stereotypes, helpless weaklings, or bourgeois spending most of their times at sports clubs and dancehalls chasing or chased by men. The image of woman in Egyptian cinema had been more or less sex object whose very presence can only provoke evil and crimes.

    Faten Hamama presented in her films different flesh and blood characters. In "To Whom Should I Complain" directed by Ibrahim Emara, she played the innocent girl who has to wade through circumstances stronger than her self, but finally managing to overcome the evil power threatening her. In "Aisha" (1953), directed by Gamal Madkour she played the title role of an ambitious girl who could transcend the stigma of her class and set herself free from the control of her selfish father. In Youssef Chahine's film " A Conflict in the Balley"1954, Faten Hamama presented a different image of the pasha's daughter, she is not the frivolous girl who runs after the latest exported fashions. Instead, conscious of the injustices suffered by the peasants whom she backs their cause to the point of revealing to them the wicked plots of her cousin.

    Even in her only comic film "Fatma, the Lawyer" 1952, directed by Fateen Abd El Wahab, she portrayed a middle class girl who receives her education at the Faculty of law (the most important college at that time) and who thinks that woman has the same importance in society as men.

    In "The Empire M" 1972, directed by Hussein Kamal, she plays the woman who can solve her children's problems and provide them with a good standard of living while the Father is absent.

    Also in film " I Need a Solution" 1975, directed by Said Marzouk, Faten Hamama presented a good image of the contemporary wronged woman who strives to be treated on a par with man in the eyes of the law.

    Her latest role on the silver screen in Khairy Bishara's films " Bitter Day. Sweet Day", (1988) was one of her greatest in which she ebodied a other in the society of the 80's, the society of an open door policy and wish washy principles. She played the widow other who bears the world's burdens on her shoulder without making any complaints, the mother who tries to make ends eet, and who dreams of reaching the sweet day which ight erase the memories of long bitter days.

    Nevertheless, Faten Hamama's chief merit as an actress is probably her inborn talent, it is a talent that allowed her to be equal, if not excel her famous male colleagues in captivating the audiences. In the beginnings of Egyptian cinema, the casting of female characters was limited to famous singers, dancers or stage actresses. But Faten Hamama was neither a singer nor a dancer, and with not much an experience on stage. She is simply a genius who is able to magnetize fellow actors as well as her audiences. This is why most of her films have been the brightest offerings in the history of the Egyptian cinema and it was not by coincidence that the most prominent and brilliant Egyptian filmmakers produced their greatest films with Faten Hamama. The list starts with Mohamed Karim, Hassan El Emam, Youssef Chahine, Barakat, Kamal El Sheikh, Salah Abu Seif, and ends with Hussein Kamal, Saiid Marzouk and Khairy Bishara.

    Faten Hamama's life can be divided into the following stages:

    1. The Stage of Formation and development 1945 - 1951

    Film director Mohamed Karim was the first to discover the talent of Faten Hamama when he met her by accident at El Mansoura, a town in northern Egypt. Having moved with her family to Cairo, Faten Hamama joined "El Amira Fawkeya school", and at the stage of time she got enrolled in "The Higher Institute of Acting", however, she was able to pursue her studies at neither, due to the pressures of work, and her marriage to filmmaker Ez El Din Zulfikar in 1947.

    Working with Mohamed Karim in "A Bullet in the Heart" in 1944 marked the true beginning of Faten Hamama's career. Followed film "The Begining of the Month" in 1945, directed by Abd El Fatah Hassan . She was only 15 at that tie.

    The most famous composer in the Egyptian and Arab world Mohamed Abd El Wahab, who Faten Hamama appeared with in her first tow films, said, he was amazed that the little girl never feared the camera although it was her first time, nor, did she stand in awe of him although the most prominent star of that time.

    From 1945 - 1951, Faten Hamama appeared in about 30 films. She played the roles of the nice daughter or the young, cheerful and innocent girl. The speed at which she was working was a result of her desire to achieve fame as wide as possible. Among the important films of this period are: "Angels in Hell" (1946) directed by Henry Barakat, "A Preplexed Life" (1948) directed by Ahmed Salem "The two Orphans" (1948) directed by Hassan El Emam.

    The last picture marked a turning point in Faten Hamama's artistic life, in this moving melodrama, Egyptian filmgoers could finally see the acting potential of Faten Hamama who successfully exploited the model she presented in this film in a series of films that tackled similar subjects.

    In the "Two Orphans" Faten Hamama played the role of Neimat, a young girl who loses her sight due to a wrong usage of sodium as eye drops, and who is exploited later by a gangster who forces her to be a beggar I the streets.

    Until 1951, Faten Hamama worked in 11 films most of which were about the poor innocent girl who fights circumstances stronger than she in order to keeping her integrity was. For example in 1950, she played similar roles in three films for the same director Hassan El Emam: " I am Misjudged by people" (1950), "Secrets of the People", and "I am decent girl" 1951).

    Her first encounter with Youssef Chahine was in (1950) in his first picture " Baba Amin"; Harry Sigal, a fantasy about a dead man who keeps an eye on his daughter after his death, derives the film from a play.

    The second and more important encounter was in " The son of the Nile" (1951). In this picture Faten Hamama is a young peasant from Upper Egypt who is seduced by the man she loves, Hemeida. He is forced to marry her by while Faten is giving birth to his son, he clears off to Cairo, the city he always wanted to go to, unable to stand life in the fenzied metropolis, he returns to his village three years later (at the tie of the Nile flood). Only few minute before he meets his wife, Hemeida in this picture proves her ability to portray all kinds of character I any context. The standard of her acting in the final scene is one of true perfection.

    II. The Search for Identity 1952 - 1958

    It can be said that during that during this period she presented more than 30 films. Faten Hamama was in search of her real identity and was trying to establish herself as a distinct figure. During this period, her choice of material and roles was somehow limited. Film producers saw in Faten Hamama a true gold mine, and they went on responding to the demands of audiences in local and Arab markets. Those audiences who wanted to see their idol in her cut ad dry roles. No wonder then, that t Faten Hamama worked in 2 years 1954 and 1955 12 films with six prominent directors of the time, i.e. Ez El Din Zulfikar, Henry Barakat, Ahmed Badrakhan, Helmy Halim, Youssef Chahine and Hassan El Emam. But even in this purely commercial phase one can find a number of important achievements in which her acting retained its unique excellence.

    In film "Our Sweet Days" (1955) directed by Helmy Halim, Faten played the poor lonely girl who strives to patch up a living in dreary circumstances. She hires a room in a house, her neighbors three young men, one of which famous singer Abd El Halim Hafez, Ahmed Ramzy and Omar El Sherif. The three fell in love with her for her innocent and noble qualities, and because she represents to the symbol of life and hope. But while happiness is just one step away from her with one of the three heroes, Omar El Sherif, she becomes a victim to TB. Her death not only leaves the three heroes in a state of grief, but sadness to the audiences as well.

    It is worth noting that the films, in which Faten Hamama worked with Chahine, were quite remarkable for revealing the hidden potentials of our actress, setting her free from traditional roles. This is why these aster pieces have kept their values and originality up to this day. In "A conflict I the port", she plays an untraditional role in very traditional film. A film that adopts the ideology of the commercial Egyptian cinema in seeking to reconcile classes, but this is achieved through realistic events and facts.

    In "The Dead End", based on a novel by Ehsan Abd El Koudous, Faten Hamama plays a new role which perfectly suits her standing as a figure cherished in the hearts of her audiences. In this picture, she is a girl who denounces the corruption of her bourgeois class. She leaves Cairo for the country side hoping to find a healthier and better life, but little by little she discovers that corruption is the order of the day in the pre revolution society and not only peculiar to her class.

    III. The Stage of Maturity 1959 - 1965

    The second turning point in Faten Hamama's artistic life was in 1959 with Henry Barakat in film " The Curlew's Supplications" (1959) based on a novel by Taha Hussein. This film was the turning point; Faten Hamama began to select her roles very carefully. Established writers based most of her following films on literary texts.

    During this period she acted in ten films of high artistic values. Her cooperation with directors was more or less limited to three: Henry Barakat, Salah Abu Seif, and Kamal El Sheikh.

    Here we will take a look at her films with those directors.

    In "The Curlew's Supplicaisons" Faten Hamama played a complex character. Amina, a girl who hails from the heart of Upper Egypt, acquires a certain level of education as a maid at the mayor's house. However she is met by great calamity when the village's agricultural officer, whom, she served later as a maid in order to get revenge for her sister who got killed by her maternal uncle after discovering the relation, seduces her sister. But as time passes she finally falls in love with the man.

    In "The River of Love" 1960 directed by Ez El Din Zulfikar, based on Tolstoy's Anna Karenina, she plays the role of a woman who rebels against the corruption of the class she is forced to belong to as the wife of a cruel fuddle pasha. At the same time she is attracted towards a handsome and charming officer.

    In film "Don't blow off the Sun", directed by Salah Abu Seif, and based on a novel by Ehsan Abd El Koudouss, Faten Hamama presents a completely different character, a character that resembles none of her previous ones. A bourgeois woman condemns the failure and inertia of her class, ad who has a relationship almost declared with middle aged married man in defiance of all social codes.

    Again she worked with Salah Abu Seif in "No Time For Love" 1963, a film based on a novel by the late writer Youssef Idriss. Here she plays the mature girl whose political awareness and emotional maturity has her engaged to leftist activities. She starts to support her country's cause through this love she has for him.

    In the same year, she played her first psychological role in " The Last Night" 1963, directed by Kamal El Sheikh. Here, her acting is reminiscent of Hitchcock's films. In this suspense, drama, Faten Hamama plays a double character. A woman who lives in the form of another woman for 20 years. Her husband intentionally leaves her in the dark, doubting every thing around her, even her true identity.

    Undoubtedly, the best film of Barakat is "The Taboo" 1956, which is based on a novel by Youssef Idriss. In this film our ginious actress portrays a new and strange character, Aziza, one of itinerant farm laborers, the lowest rank in the social ladder of pre revolution Egyptian countryside. In this film Aziza falls, but her fall is not really an oral fall. But, as the late critic Samy El Salamony put it:"Her fall was a result of prevailing relations and circumstances in the Egyptian country sides at that tie. These are circumstances, which could make another Aziza easily fall everyday. Her fall was priarily material.

    From 1965 - 1971, Faten Hamama did not participate in any pictures, but she was back in 1971 with a new vision and a different film genre. These we can call the social theses films, or films that deeply approach one of the urgent issues of the contemporary Egyptian woman. In this period Faten Hamama presented six of her greatest films: "The Thin Thread" 1972, directed by Henry Barakat, "The Empire M" 1972, directed by Hussein Kamal, "My Love" 1974, directed by Barakat, " I Need A Solution" 1975, directed by Said Marzouk, "Mouths and Rabbits" 1977 and No Condolences for Ladies" 1977 directed by Henry Barakat.

    Faten Hamama stopped working again for another five years, only to come back in 1984 with one of her most significant films: "Night of Arresting Fatma" directed by Henry Barakat. As mentioned earlier, most of her pictures at this stage were based o literary texts. "The Thin Thread" and "The Empire " were adapted from two novels by written by Ehsan Abd El Kodouss. The images of woman in each film are completely different from one another. "The Thin Thread" highlights the relation between love and desire through the story of a bourgeois woman who loves a young engineer and hopes to marry hi in order to provide herself with the stability when yearned for. She gives him every thing, hoping that her favors will be returned. To her own surprise and dismay, he drifts away to start his own individual career.

    The two most important films Faten Hamama presented I this period were " I Need a Solution" and "No Condolences For Ladies", which were influential to the point of changing some courses of events in Egypt. Both films are by women. The first written by the journalist Hosn Shah, whilst the second writen by Katia Thabet. The two films dealt with feminine issues and presented a very dark picture of the contemporary Egyptian woman. Still considered inferior to man, her human right is ignored because of man's aggressive adherence to the rights given to hi by the law, but which had to change to keep up with changes in modern life. " I Need a Solution" denounced some articles in the personal law. It is worth noting that this film together with other several efforts resulted in changing the law in favor of women. " No Condolences for Ladies" is almost the sequel to the first film. This film portrays the nature of the relationship between society and the divorced woman, and tells how the society in most cases is unfair to her.

    In film "Night of Arresting Fatma", the film before her latest one, Faten Hamama presented an image of woman as a symbol of the consciousness of the people who re obliged to suppress their opinions due to the alliance between authority and money in Egypt over the past three decades.

    Faten Hamama had another hiaus from 1984 - 1988. In 1988 she appeared in film "Bitter day, Sweet Day" which dealt with up to date social issues; to be evident in the disintegration of relationships in present society. Faten Hamam's choice of this film indicated high artistic ad social sensitivity.

    In interviews with Faten Hamama she stresses on the point that she wants to return to her audiences, but with a new vision. For their part, her audiences are eagerly awaiting their Idol's new offerings.

     

     
     
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