How did Faten Hamama defend women in her films?

On her birthday …

“The independent character, the woman, the responsible woman, the romantic …” and other characters embodied by the late artist Faten Hamama, whose birthday falls today, May 27, since she was absent from our world on January 17, 2015, and in the following lines, “Al-Dustour” monitors the most prominent Women’s issues addressed by the lady of the Arab screen in her films.

“The open door .. Perseverance towards an independent personality”

“I do not want you to gain your trust in yourself and in the life of me or any person, I want you to have your own independent entity.” Words that “Hussein” sent to “Layla” and asked her not to bury her entity in the entity of a person even though she loves him, for a woman it must be his own entity.

The film tells the story of the period of the forties, specifically the time of the British occupation, by the Cairo fire, the 52nd Revolution and the Triple Aggression “Leila” expresses the condition of many girls during this period and their desire to revolt come, so we get “Leila” who wants to participate in the protests but is shocked by the opinion of her father who refuses to do so She finds that she is shocked by the open opinions of her brother’s friend, and on the old and the latter drives her to try to find an independent self, far from the influence of society and its ideas.

With this film, the talk of women has shifted from oppression and overwhelm to the university revolution which has its own independent ideas, which seeks for itself and is able to reject what it does not want in terms of ideas and controls.

“Empire of M .. The Mother Maestro of Life”

The late artist, Faten Hamama, embodied the character of the working mother in the seventies and the housewife, responsible for raising contentious children of different ages. She knows defeat, and no matter how much it will cost her in terms of mental and physical fatigue. , she will not be defeated in this war that fate has inflicted on her.

The story of Ihsan Abdel Quddous, presented at the film screening by Naguib Mahfouz, and featuring artist Ahmed Mazhar, confused the character of the mother, represented by Faten Hamama, between her emptiness for her children and the completion of the path she started many years ago, or that she thinks a lot about her future with her old lover that has emerged from a new person in her life, and as the children reach their teens, the relationship between them begins to become strained, and the viewer finds himself before an absolute autopsy of many different issues for teens.

The film explains that even a blood relationship does not justify driving others according to your whims, as it carries an embodied image of revolution, rebellion, power and freedom, which was applicable to the family, and the choice of the mother ‘s children in the end were a condition of participation, not control and love and not fear.

“I want a solution … Women and the Khula Law”

The first cry of a woman and the first call for divorce in the theater and the reality was through it, because of the movie the personal status law changed, because of the movie many women found an outlet for them in relationships which they had hoped would end, but she kept wondering about the solution until she found it by watching the movie, It was like a bomb exploding in the seventies, and some considered it against Sharia, and even the pages of the Brotherhood took it from this point of view.

Initially, the film would be called “The Session Secret”, as the man’s lawyer requested that the session be kept secret, but Hamama suggested that the name of the film be “I want a solution”; The title would be a cry demanded by all women wanting a divorce from a corrupt, perverted or unemployed man who could not get it, and everyone welcomed her proposal.

The movie “I want a solution” was directed by Mrs. Jihan Al-Sadat spoke. She always mentioned his name when someone asked her about the best movie. She said, “I want a solution.” In addition, late President Anwar Al-Sadat spoke at a conference about his desire to make a decision to change the personal status law after the movie, so he talked about the silence, about that time already.

“The night of Fatimah’s arrest … a right is not lost and demands are met.”

We do not forget the last scene of a movie presented by the late Faten Hamama while she was in the box office and shouting with the words: “Speak, tell the truth, you do not know … there is no right and there is claims. ”This is the end of one of the most important films of the eighties, so she played the role of a woman who was thrown into the mental hospital by her brother, Hajja Madness who benefits from his political position given us all a lesson we will not forget, which is that as long as you claim your right, be sure it is not lost.

Despite the success of the film, many opponents and critics expressed their negative opinion of the film’s political opinions and ideas about the July Revolution and the centers of power. From the Film Art Organization.

“Dua’a Al-Karwan … the grievances of village girls”

“Where is Hanadi, my mother?” .. With these words that lived with us from the time the film was shown until our time, a word expressed by the late Faten Hamama “Amna” as she wondered about her sister and cried bitterly. The movie “Doaa Al-Karawan” is based on the story of the great writer Taha Hussein, where he put his hand on issues in the fifties and early sixties of the last century.

The film discusses the first clash between the life of Upper Egypt and the urban area, and the grievances of village girls due to ignorance and lack of money, which makes them the prey of the owner of money and mercy on them.She decides for revenge to take on the engineer who caused the death of her sister at the hands of her uncle to avenge their honor, to make him kneel before her to get rid of him.She avenges every girl who made her cry and seduce in the name of love, but she did not know that she was armed with the same weapon, the “weapon of love.”

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