Saturday, November 25, 2006

Habiba EL Madkouri, a voice of romance and tenderness







Habiba EL Madkouri, a voice of romance and tenderness

As she was preparing to enter to the stage of the Royal theatre in the sixties in the Capital of Morocco , Rabat, she sighed a deep breath heavily making a gentle wave and a courageous moving head shake to her master , AbdelKarim Follouss . She stepped in dressed like a fairy queen ,stared willingly at her audience . Among them, there were resistance nationalists disguised like theatre-goers . In the center of the stage , this woman stood confidently uttering the first theatrical word to the audience that felt menaced by her heavy presence and consenqueltly it rewarded her with a long silence.
She was not disturbed by the front spot lights nor the flashing lights that came out swiftly from journalists and cameramen . With a magical move towards the audience , she impressed theatre-goers with her dramatic secret words of life using her soft and sweet voice.
As soon as she finished her lines , everybody stood up plausing her heartedly especially the way she said her soliloquy . They knew then that a star was born , and she was a promising actress. Some saw in her Greta Garbo, others Vanessa Redgrave ,But that lady was only Habiba El Madkouri . It is a name that is engraved eternelly into Moroccan memory,
ALLAL EL ALAOUI,


Allal : why did Brahim Sayah choose to dub stage Indian classical movies in the sixties ?
Razak : This man, Brahim Sayah was fascinated by the Indian movies , could you name us what kind of movies you played in and what kind of roles you did then ?
Habiba : Dosti was a great movie , i played the mother and also in Mangala . Sayah was extemely intellegent he would choose Hindi movies that had great affinities with Moroccan who were anti-colonizations ; El Haraka al Watania , the resistant People were thankful for that . It helped them to get the message,because through language, i mean Moroccan slang , we filttered a lot of information and we inserted good will for the Moroccan will to go ahead

Habiba : Brahim Sayah was a great men , I mean a technician, journalist and aboce all a filmmaker. He chose me personally becausr he heard my voice and he was impressed by it .
Allal : what kind of techniques you had been taught to use in the auditorium and how were the moods and moral between actors and actresses of playing roles ?
Habiba : The ambiance was great especially in radio times , We sat at the auditorium and created a subject to talk about for example , mariage , love and even war . During the dubbing , Brahim Sayah was so careful to choose his cuts , silences , pitches and accents . He used to watch our lips and Indian acotors lips with great care, which were extremey hard and even for the filmmakers of today . The actors said his line and was interrupted by a black line to stop for the dramatic mood and objectives.He called rytmographic techniques
Razak : tell us please about Swissi Studio ? where is the compagny now and where are the archives ?
Habiba : ( a long silence) when we heard that Studio Swissi was closed , we were very grieved about it especially that auditorium Had played major roles to moroccan memories. We immediately thought of our beloved Brahim Sayah . He was so sad about it too.
I heard also that a Richbond compagny has bought the rights of this firm , but we wonder all about the lost of these archives and where are they now ? . It is true that in that time, Moroccan filmmakers had not too much money to buy cinematic films like Eastman and Kodak ,that is why they would erase too many Celloid films and recorded new data on them . It is sad to tell you such news but it is true .
Allal : Knowing that you had a very good voice , a soft one – un son timbré – and especially as you have told us that you wrote subjects and were spontanously performed . the same techniques of the renaissance Italians called Commedia Del’Arte ‘ would do the same thing .who were the noise men , were there any special effects in that time ?
HaBiba : to tell you the truth , there were no Bruiteur or FX as you mention it .we did all the job . We were actors and actresses who made noises with smoothful synchronizations . We were so happy about our work .You should know people like our beloved Doghmi , Abdel Razzak Hakam ,myself and others would bring personal furniture so that we showed to the world that our country was so great. We had a sense of sacrifice and national pride .
Razak : We know now that you have a sense of truth , do you know that Brahim Sayah proposed to CCM a new projet to dub stage domestic and foreign films , he recently said thtat they can’t promote doublage and take 5 % of the fund aid budget so that new Moroccan and foreign movies could be dubbed stage in Moroccan auditoriums ?
Habiba : That man is always creative and this is the nature of the artist ,.To me , Brahim Sayah is a great master either in writing ; dubbing or in creating . CCM has now constipated menatlities, and it should be open to all new comers . Nour-Eddine Sail is an Intellectual person and must have that light of intellegence to lead and welcome new thoughts.He is very respeonsible to the image of this country . what we did to this country is already engraved into Moroccan memory.We really need people like yourselves to take the lead . We are fed up of golden boys who are really superficial and hollow .
Interviewed by Alla land Razak

Friday, November 24, 2006

Dépot légal of my short film, the children of the sun


I have written ashort film called " the children of the sun " which ive not had the chance to shoot yet . It is a story about two kids who love each other and the best way to keep their love so strong is to go the cinema altogether n but hey have to fight for freedon first and against a father whose mentality is constipated .

Kader Remoun met Allal in Rome





One of the most humain ALgerian rare intellectual that i met in Rome in 1986 was Abdel Kader Remoun . He exiled vonlontarily to Europe and precisely to Italy . He was a mysterious man who loves his native Algerians and north -African people . His wish is TO unite people and live together in peace and Harmony . He still fights for an everlasting cause; freedom of the individual . One of his present gift he gave me was his grand-father piece of music which i have found dirty and thrown away at SNRT , the national television of Morocco . It is dated one hundred years and it is a record song that tells a story of well depicted two lovers who met in a beautiful garden . This song was written in 1886 and it still lasts this year ,2006 . It is a marvelouss song written in a poetic prose into a malhoun style . I think if Morocco and Algeria make piece . This song can be a symbol of the reunion of those two wonderful countries .
ALLAL EL ALAOUI

Tuesday, November 21, 2006

Let's talk , Linatakallam, allal, razak ansd Carriera




photographed by Safi el Khammar

Dialo between civilizations
It is a good idea created by IBIZA peope again . TheY are expecting that SNRT would sponsor this project .I think they would do so although as we see in these photographs that the director of the film documentary has already found Italian and >Spanish sponsors . Good luck CARRIRRA.
ALLAL

Brahim Sayah, reflecting memory and image of a nation






photographed By Safi El Khammar
photographed By Safi El Khammar
Brahim Sayah

Brahim Sayah, reflecting memory and image of a nation

Designed by a beautiful cinematic signs , Brahim Sayah’s visit card was a wonder and magical tool that any cinemagoer would love to have and marvell at.Ever since 1948,this giant man of cinema had worked in movies either in his native land Morocco, or his inspiring second country, France.
In his elegant manner of debating and talking , Brahim Sayah was a didactic and practical man .His soft and spiritual face reminds me of a great Tarkovskian actor , Erland Josephson in ‘Sacrifice’ .He was certainly a man of rythm and had a sense of great vision in montage .This echoed his golden age of dubbing stage great French and Indian movies for the Arab world especially Grand Maghreb audiences .

The dubbing was expicilty done into arabic slang .That time American and Italian movies were prevailing Grand Maghreb theatres . People would find it difficult to go to cinemas because of street repressions by the colonists . Brahim Sayah volontarily exiled to France where he met brilliant technicians of editing and dubbing whose influence played a major role to make him become a master in his work. He was a remarking man who had great impact on Moroccan memory. He knew what he proudly did in his past, either as a dubbing rythmographic man or simply as a dialog writer and looping cutter . He kept siting with intense care and tenderness that he was a man of Doublage , a common french word that even the most prolific sound designer in America , Walter Murch would use .

In his cultural filmic background , he knew classical french cinema ,Nouvelle vague and Sergei Eisenstein movie ‘Bronenosets Potyomkin’*and mainly ‘ the conversation ‘ a unique movie about sound by Francis Ford coppola.
Brahim would see this movie too many times because it gave him power and feeling of the sound « It's a film that has an intensely single point of view. Everything in the film is seen or experienced by Harry Caul [Gene Hackman]. You know he's a soundman, and the film never lets you off the hook, so after a while, you just begin to accept the fact that you, too, are a soundman and you, too, should consider that sound is important. » .

One of his inspiring french movie he firstly worked with was ‘ Le Bossu ‘directed by Jean Delannoy in 1944. It was dubbed stage into classical arabic with excellent arab actors and actresses like Jamil Ratib, Mona wassif , Hassan Baba, Hanae and Mohammed Kabssi. Amazingly the mood of working was artistically fervent between arabs and french .Most of his technicians were french such as Delparthe,Transpurse and Jacques Orth. Because this technical experience was a marvellous success , Brahim with his french team worked in other french movies ‘ l’homme qui rétrécit ‘ directed by Jack Arnold and later on ‘ children of the sun ‘ directed by Jacques Sévérac.

Francorex films , a production compagny admired Sayah’s artistic achievements, proposed to him an Indian movie called ‘ Saki and the lamp of Aladin’ . Although Indian movies were and still so long in metrage about 3000 and 4000 metres, Brahim Sayah was impressed by this genre of cinema, full of beautiful colours ,romantic scenes and godlike lyrics sung by Lata Mangeshkar, Kishore and Mukesh . It especially reminded him of his dear country,Morocco . The Grand Maghreb actors and actresses would compete so hard and so well to have the leading roles . Hamido Ben Masoud and Ahmed Ziani would dub stage great indian actors like Filip Kumar and Shammi Kapoor , others like Haj Omar, Mohiedine Bostarji from Algeria and Ali Ben Ayad , ex- director of Tunis Theatre would dub stage other heroic roles too . Humor and exquisite jokes would be inserted into cinematic dialogs by Taeb Saddiki , a Moroccan dramaturge who proudly honored the era when he worked with Brahim Sayah. Gaumont and Pathé kept having an eye on Brahim Sayah ,and In fact, they proposed him other great projects like ‘ FanFan La Tulipe ‘ starring Gerard Philip, ‘A toi de jouer callagan ‘ Ces Dames préférent le Mambo’ and ‘ Ulysse’ starring Kirk Douglass . These projects were dubbed stage by the master with the help of actors and students namely Nour-eddine Ayouch who superheads now a production house in Morocco. These films were distributed in the middle east and north of Africa .

Indian cinema had a tremendous influence on Brahim Sayah .His double culture and exquiste intellect of his personality illuminated his mind and character to work on Hindi movies such as ‘ Mother India ’ directed by Mahboob and ‘ Dosti ’. In 1950, Telma the compagny that installed the first national television in Morocco signed with him a contract to dubb stage Hindi movies . The master called Rabat and casablanca actors and actresses inluding the ones who were with him in France . Mustapha Mounir, Habiba El Madkouri excellently performed with precise diction and tones roles of Nargis and Amitabh Bachchan. Unforgetable Hindi movies dubbed stage into Moroccan slang are still in the memory of cinemagoers and just recently on ‘ Thursday cinema ‘ televised program in the first channel were diffused . They were still loved and too many Moroccans still learnt by heart these movies songs mentioning ‘ Al Hariboun Min Jahannam ‘ Emir Ahmed ‘ and ‘ Mangala ’.

TIME ERA

Actors and Actresses

France-Morocco.

1952 - 1963
Mohammed Kabssi –Taeb Saddiki
Hamido Ben Masoud Ahmed Ziani
Mohiedine Bostarji Ali Ben Ayad Jamil Ratib Mona wassif Hassan Baba– Students in France –Nour-eddine Ayouch…

1963 - 1974
Studio Swissi-Morocco

Rabat artists : Hamido.Larbi Doughmi, Abdel razzak Hakam, Habiba al Madkouri, Hassan Joundi Adessamad Dinia Aziz Mawhoub
Casablanca Artists :Zaki El Howari Wafaa El Harraoui Mohammaed Said Afifi Hassan Skalli Mhammed El Habachi Omar chanbouth khadija assad , Taeb Saddiki.. ;

1974 - 1975/76

Rabat artists : Hamido.Larbi
Doughmi, Abdel razzak Hakam, Habiba al Madkouri, Hassan Joundi Hamadi Tounessi,Latifa Alaoui, Haj Fannan ;Mohammes Karrat ;
Casablanca Artists :Hassan Skalli and his wife , khadija assad , Taeb Saddiki…

TECHNIQUES OF BRAHIM SAYA

How Brahim Sayah was inspired to dubb movies remained a mystical fact.
Indeed, Brahim as a proud man in his country , he marched the Mohamed the fiveth avenue one evening in the late of the fiveties, and then he decided to watch an American film at a movie theatre called EL Colisé .Unfortunatly this theatre became a coffee-shop now. when the film finished , he just asked himself why he could not translate foreign movies into Arabic so that all kind of people would taste the magic of cinema.And that was it .

His theory to work on dubbing was interestingly professional . In the auditorium of the Swissi studio , he would never start to dubb quickly . Taking time to read and reread the movie , was a technical skill so that to achieve the best . In fact, Brahim watched and listened to movies very carfully . He intended to know first the ryhtm, then the pace and at last the tone of the drama . His ears would have then interesting vibrations and only then the master began to dub stage .Brahim stood vey long times in front of mirrors so as to repeat lines . He observed very carefully his lips and his tonic accent . Nowadays , in big post- productions , they use technical terms like ADR, Pitch, SFX and so on .The task was heavy but Brahim Sayah insisted passionatly to do and redo the translation from the language of text into the new language of image and time.Any dubber in the world would be amazed about Brahim ‘s techniques to finish his montage. Sayah divided his filmic sequences into loops in order to work easily. Another technique of Brahim was to use a rythmographic theory .That means, he projected transparent cinematic loops marked by a black line so that it could be easily read for the actor to say his lines .The image and the written word were a hell of a task for him though he was helped by his friends and artists .

In this context Walter Murch states « There's a different weight that a moment (of picture and sound) carries in film, compared to the same moment conveyed by the written word. Everything in film is specific: this person with this colour hair, saying these lines in this way, dressed in these clothes, lit by this light slanting at this angle, with these sounds in the background, etc. These details are always on screen. Every time you see a certain character, you are reminded of his haircut, his gait, the colour of his eyes. A novelist need mention eye colour only once. The mass of all those details, and therefore the amount of processing that your brain is obliged to do, gives a heft to film that text, which is suggestive and allusive, does not command. So you can often "take corners" in text - make sudden leaps and transitions - at speeds that would wreck the film. On the other hand, sometimes the opposite is true: The old saw that "a picture is worth a thousand words" is quite valid under the right circumstances. »

allal el alaoui
razak
safi el khammar

Monday, November 13, 2006

ALlal's first movie -L'Heritier-



We were the first technicians who undergor the transition from national television into SNRT holding. That means , we suffered to get our money benifits from Tv. However, the mood and ambiance with 'AL WARITH ' movie was excellent . Indeed , we had a mediocre producer but let it go ans say that we have reamized a dream called a cinematic film called -AL warith-

Saturday, November 11, 2006

Censorship in Bollywood , an evil or a bliss ?



Censorship in Bollywood

Censorship is a world wild law instrument that all cinema filmmakers and producers undergo. Every country in the world has its own rules about censorship . What Morocco and India have in common about supervising movies is freedom of speech. Both countries are still having controversial debates about whether thinkers ,journalists and filmmakers can go farther to tackle touchy subjects . ‘ Maroc’ by Leila Marrakchi is severly banned by an Islamic political party,JDP (1) in Morocco.Yet, some cinema theatres have projected it . The same as ‘ Fanaa’ by Mahesh Bhatt, and the "Da Vinci Code," which endured a delayed opening in India, and has now been banned in various states across the country due to the fear of violent protests by the minority Christian community. Recent clip of Paris Hilton (2) was also banned from all TV channels in India. This is despite the fact that it has been cleared by the independent Central Censors Board without any recommended cuts.
Bollywood is the world most prolific industry that goes through censorship. In India ,they call it CBFC,Central Board of Film Certification. Having its head quaters in Mumbay,it has nine regional centers at bangalore,Chennai ,Cuttack,Delhi ,Guwahati,Hyderabad,Kolkata,Mumbay,and thiruvananthapuram.
All kind of film support either it is celluloid or video or CD or DVD version are subjected to censorship. This makes Supreme Court of India publish an official statement through out India that all films meant for public exhibition, irrespective of their length must be screened. In fact, the board screens every movie and can order to cut out offensive scenes. Producers can make an appeal to gain rights at the court , but CBFC ‘ responsabiltity is only to certify films. Members of the censorship board who come from the world of education , politics , arts , social sciences and films are appointed only for three years,. Touchy political subjects like religious or ethnic themes are off limits.
"Film censorship becomes necessary because a film motivates thought and action and assures a high degree of attention and retention as compared to the printed word. The combination of act and speech, sight and sound in semi darkness of the theatre with elimination of all distracting ideas will have a strong impact on the minds of the viewers and can affect emotions. Therefore, it has as much potential for evil as it has for good and has an equal potential to instill or cultivate violent or good behaviour. It cannot be equated with other modes of communication. Censorship by prior restraint is, therefore, not only desirable but also necessary"
one of the objective of the certification is that the medium of film
must consider the values and standards of society; presents clean and healthy entertainment; and the film is of aesthetic value and cinematically of a good standard » (3).

Detailed Guidelines for certification :

(i) anti social activities such as violence are not glorified or justified
(ii) the modus operandi of criminals, other visuals or words likely to incite the commission of any offence are not depicted;
(iii) scenes
A showing involvement of children in violence as victims or perpetrators or as forced witnesses to violence, or showing children as being subjected to any form of child abuse;
B showing abuse or ridicule of physically and mentally handicapped persons; and
C showing cruelty to, or abuse of animals, are not presented needlessly

(iv) pointless or avoidable scenes of violence, cruelty and horror, scenes of violence primarily intended to provide entertainment and such scenes as may have the effect of de-sensitising or de-humanising people are not shown;
(v) scenes which have the effect of justifying or glorifying drinking are not shown;
(vi) scenes tending to encourage, justify or glamorise drug addiction are not shown;
(vi-a) scenes tending to encourage, justify or glamorise consumption of tobacco or smoking are not shown;
(vii) human sensibilities are not offended by vulgarity, obscenity or depravity;
(viii) such dual meaning words as obviously cater to baser instincts are not allowed;
(ix) scenes degrading or denigrating women in any manner are not presented; (x) scenes involving sexual violence against women like attempt to rape, rape or any form of molestation or scenes of a similar nature are avoided, and if any such incidence is germane to the theme, they shall be reduced to the minimum and no details are shown
(xi) scenes showing sexual perversions shall be avoided and if such matters are germane to the theme they shall be reduced to the minimum and no details are shown
(xii) visuals or words contemptuous of racial, religious or other groups are not presented
(xiii) visuals or words which promote communal, obscurantist, anti-scientific and anti-national attitude are not presented
(xiv) the sovereignty and integrity of India is not called in question;
(xv) the security of the State is not jeopardized or endangered
(xvi) friendly relations with foreign States are not strained;
(xvii) public order is not endangered
(xviii) visuals or words involving defamation of an individual or a body of individuals, or contempt of court are not presented
EXPLANATION: Scenes that tend to create scorn, disgrace or disregard of rules or undermine the dignity of court will come under the term 'Contempt of Court' : and
(xix) national symbols and emblems are not shown except in accordance with the provisions of the Emblems and Names (Prevention of Improper Use) Act, 1950 (12 of 1950).

Posters

A particular complaint that has often been made is that the theatres often display obscene film posters. The Cinematograph Act 1952 does not directly cover obscene posters and these come under the common law of the land relating to obscenity, particularly section 292 of the Indian Penal Code. Enforcement under Section 292 of IPC comes within the purview of the State Governments and Union Territory Administrations, particularly their law enforcing agencies including the police.

1- JDP is an Islamic poltical party in Morocco.
2- Paris Hilton is a video clip super star in the US .
3- Famous statement of Supreme Court in India.

Thanks to C CM , the centre of National cinema in Morocco.
CBFC , The central Board of Film Certification .

Thursday, November 09, 2006

HANAN By Carierra




Hanan is film documentary produced by Moroccan v and Galisia TV in Spain. Working with spanish team was excellent and the spanish themeselves were impressed by our work . Nice delicious moments we had altogether arounf Morocco in 2004,.






In 2004;le bureau de la fondation based in Marrakech spearheaded by Faisal Laarach , was highly praised by local and internatioanl press. We were a great team . Every body knows what job he or she would do . We used to receive international press at mini-Channel designed by the team itself . Our work was so precise and quick . The prince of Morocco congratilated Faisal Laarachi for our tremnedous and good work.

Tuesday, November 07, 2006



This Photo was maade by OSCAR

MOROCCO BOUND TO HINDI CINEMA

Finished with those gaudy and strange movies in India named the masala films (1) ,New Indian cinema lightens the world with its beautiful stars and show-business and even locally Moroccan bollyphiles are continuously becoming more Hindi fans than ever.


Arrived at the Golden Tulip hotel which faces a rising millennium town of Morocco called Salé (2) , Bina Paul a south Indian woman of Kerala, which is a magical place in Asia said to me why Salé film festival has not chosen an Indian film for competition this year 2006. Bina Paul is an artistic director and member of Kerala International film festival in the south of india . She came to Salé to become a member of jury of the International Women Ffilm Festival .

Salé was famous of her cinema theatres such as Collisé, El Malaki and Opera . Although some of them were used as cinéclubs in the sixties especially the Opera theatre .That time left-thinkers were very enthusiastic about culture. Thanks to these intellectuals namely Nour Eddine Sail (3) Abdel kader kaderi and Dr Amallah , cinema was highly promoted and the interest of making films was so big . Other cinemas just could not resist to project Indian movies just like « classical ragas » Dosti by Saten Bose and Mother India By Mahoob . Just after independence named proudly, the goden age,Hindi films were dubbed into Moroccan slang(Arabic) by local pioneer artists namely Ibrahim Essaih (4) , Hamidou ; Mostapha Mounir and other actors and actresses.




Ibrahim Essaih was right to dubb indian movies that time, because the

majority of the Moroccans were analphabets . Local Rabat intellectuals keep
making pressure on Moroccan governement to increase the budget for cultural purpuses.Yet,movies were nationally done in a shy manner, 2 films per year until the recent fund policy,which CCM, the National Center of Cinema has made ;14 to 30 fims per year.

‘Hindi cinema has been a major point of reference for Indian culture in this century. It has shaped and expressed the changing scenarios of modern India to an extent that no preceding art form could ever achieve. Hindi cinema has influenced the way in which people perceive various aspects of their own lives. With one mighty leap, Bollywood has gone from melodrama to youthful reality, reports Kevin Maher,The Times journalist In England.’

It is true that filmmakers in India have been plagiaristic to the extent that even Hollywood would remake Munnabhai MBBS and becomes Gangsta MD ;an American movie by Chris Tucker. The ‘seven Samurai’ by Akira kurasawa inspired Ramesh Sippy ,and artistically became ‘ Sholay ‘ in 1975 .

Thanks to Ismail Noor Mohamed Abdul-Rehman , known as Ismail Merchant, Indian cinema becomes worldwild and because of his great talent as a producer and director , every good actor in the west would love to work with him . « This man sells dreams of elegance and beauty, of dignity and propriety, of literate splendour and intellectual stature and above all, of traditional reverence and venerable taste,Lubna aziz writes on Al Ahram weekly. » This seems contrary to the thoughts of Moulay Driss Jaidi and local faked critics who state that Hindi movies have bad taste on Moroccan cinemagoers .

Unlike CIFF , Cairo International film festival and carthage film festival , FIFM,the International film festival in Marrakesh, focuses only on European and American cinema and badly to Asiatic films. It is time that Maghreb mainly Morocco think of new encouraging debates and meetings in the future of Hindi cinema, because of the arising bollyphiles warching 80 new indian films per year out of 350 imported films .This information is confirmed to me by Kamal Mghazli, an employee of CCM, Moroccan National Center of Cinema based in Rabat spearheaded by Nour eddine Sail.

India now is one of the largest film producing nations in the world, an average of 800 films per year.In 2001, the industry had a jump 1,013 films were made and got 4.5 billion rupees in revenues.

Interviewed with a house of film distribution , Amal films based in Casablanca has stated that although the prevailing of CDs and DVDs , Bollywood cinema remains poweful in consuming and still welcomed in Morocco especially now public television of holding SNRT and 2M are interested to diffuse films such as Devdas , Lagaan and Veersaara highly praised by international critics around the world. I don’t know what other anti-bollywood think about recent statistics of Hindi Box office made by CCM that in 2003 Morocco imported 378 Hindi films , the number of fans were 3 783602 and ticket revenues were 36101026. Although CCM confirms that these statistics are not fully complete , but in 2006 up to june the number shifted to 264 Hindi films and ticket revenues were 581800.Other statistic could not be done by CCM because of lack of infrastruture. This means in CCM , they started to archive Hindi movies in 2002.

Sometimes ships don’t head for the direction it wants. ‘ Even in America and very often, Oscar nominees and winners are selected on the basis of considerations other than strictly artistic merit. This means, good cinema suffers, writes Bhaskaran, an intellectual Indian’. Prabably we won’t see any Hindu film being selected on competition this year in Marrakech 2006 just because there are still some constipated mentalities and old fashioned bureaucracy that favor American and Eureopean films than any good Asia films . FIFM, bureau de la fondation (5) should think this matter seriously about Bollywood cinema because apparently the cinemagoers and producers already think of Morocco as a magical place to shoot future films instead of making them in Swisland .This European country makes heavy taxes on commercials films favored by the legendary producer Mukesh Bhatt (6) . Besides, Morocco is still open to all Indian producers to work by showing easy policy to show-business .CCM has now two recorded clips ,one is Naach produced by Varma corporation limited, shot around Tangier, Marrakech,Agadir , Essaouira and the second is Halki Need/Saru produced by Corner pocket films , shot in Marrakesh and Essaouira .

Quentin Taratino and Micheal Moore , famous and respected filmmakers in America ,encourage to free-download their films, unlike Amitabh Bachchan, a mega-star and ambassador of IIFA ; International Indian Film Academy , disagrees about hacking films and resumes that this matter becomes a major problem and it is difficult to solve . Thanks to Free market and Internet, cinephiles now enjoy to have a lot of good films with good quality at home including the Indian ones. However, CCM locally keeps an eye on outlaw CDs and DVDs dealers Derb Rhallef (7) in Casablanca and Swika, Bab El Had called the Quissaria Aît Baha (8) in Rabat . CCM have recently Seized 400,000 CDs and DVDs approximatively 5.000.000 dhs.In 2005,the number of the seized CDs was 888.084. They contain all new hacked genres of International cinema including Bollywood films. CCM intends to fight against films hackers and hopefully cinema theatres will be open again.

Salé city itself suffers a lot of cinema theatres being closed including Dawliz complexes (9) owned by an ex- CCM super head . Now, in Salé there is only one cinema open , found in a popular ghetto called El Wad (10) . This cinema theatre is called Hollywood. It ironically does not accept other types of movies only bollywood films. This city has tremendous tenderness in its past when it memorizes one of the first handy-made cinema called the beloved Abderahim. He worked manually and impressed Slawi kids in the sixties . Artistically , Abelrahim combined voice-over with the rolling images.

the International Women Film Festival in Salé was unlucky this year to have an indian film in competition but it could have thought only one of those three womenish films that deal with ‘ modern feminism’ in India traditions namely « ‘Mohra » 1994, Mother India, made in 1957 by Mehboob and « Mirch Masala », made in 1989 by Ketan Mehta. Among the guests ,Salé could have called Jaya Bachchan who starred in Satyajit Ray's Mahanagar (The Big City 1963). This type of cinema is called art films in India which is more stylish treating human conditions .It is similar to the cinema d’auteur in France. No doubt that Mira Mair a filmmaker installed in America , famous of her « Salaam Bombay » and now with her latest film « Namesake » wakes up America and Europe to recognize the potential of Indian cinema .

Bollywood shifts gracefully from making movies of impossible love to firing subjects . « From Guru Dutt’s Sahib Bibi Aur Ghulam to Hrishkesh Mukharjee’s Abhiman to Aziz Mirza’s Chalte Chalte, the morning after the wedding reception has been looked at from various angles. There is a plethora of complications to choose from. And infidelity tops the list. Stories of infidelity have found many takes. But making a film that deals with infidelity is like playing with fire. Most of the filmmakers make sure they’re suitably insulated. »

Indian Cinema has always been loved by Moroccan cinemagoers and bollyphiles and even since its early start with legendary Dhundiraj Govind Phalke (1870 - 1944) affectionately called Dadasaheb Phalke is considered as the 'father of Indian Cinema'. « Central in Phalke's career as a filmmaker was his fervent belief in the nationalistic philosophy of Sswadeshi movement, which advocated that Indians should take charge of their own economy in the perspective of future Independence. »

This was confirmed to me by the most talented filmmaker Yash Shopra who was in Marrakech in 2005 with his wife, Pamela Chopra . Going around Marrakeshi souks and suburbs especially the Jamaa el Fna (11) square, Yash shopra said how amazed and astonished he was by the Moroccan people and its traditions that really has great affinity with the ones in India.With my gaudy and showy english,i wanted to impress my colleagues.Yash Shopra consciously was aware what i intended to do , he asked me gently to be reasonable. Using his Shokriya hand,the master begged me to ask him in a simple english. I knew then that he was gentlman in his manner and giant to direct his beloved artists. Both India and Pakistan Should be grateful for the symbolic union that gathers these two countries through Veersaara By Yash Shopra.It is an outstanding drama which tries to break the barriers separating two lovers, Veer Patra Sing (Shahrukh kan) and a Pakistani woman , Zarra Hayaat Khan (Preity Zinta). When he projected his film at Berlin film festival, Yash Shopra was scared that the people would not understand the story , However ,at the end of the film, he saw people crying. The presence of Aishwarya Rai in Marrakesh , a former Miss World and Bollywood’s first genuine cross-over icon, , lightened Marrakech with her beauty and let all Marrakeshi young men eyes wild open. These artists are well honored by the Moroccan people and FIFM,the international film festival in Marrakesh. Morrocco now became known in Mumbay and the majority of Bollywood stars would love to come to it .




Not far from Agadir, Las Palmas , a spanish litttle island, is overcrowded with indians and enjoyed the double culture there. « Indians have immigrated to every corner of the globe with contingencies in South Africa, the Gulf countries, Singapore, Australia, New Zealand, US, Canada apart from the UK. Wherever the Indians go, their films and their food go with them. With curry and chutney now international favourite foods, it was inevitable that their exotic films, their melodies, the romantic strains of their sitar, the striking beauty of their leading ladies and the dark and daring magnetism of their dashing heroes would eventually reach the hearts of the West despite all of Rudyard Kipling's poetic protests, reports Lubna Abdel Aziz, from Cairo Al Ahram weekly . Of course, he did not know then the strength and might of the Seventh Art, which proved to be the best meeting ground for East, West, North and South ».

Many critics in Morocco would immeditaly judged Indian cinema as an emotional cinema which only seeks imposssible love, and therefore damages the taste with its chosen six songs and pharonic scenes . Yet,it is praised and admired by others just like Razak, a Hindu fan and film critic who is illuminated by its new wave , indepentent anti-studio cinema , pioneered by Madhur Bhandarkar .Razak continiously makes local cinephiles more aware about Indian cinema using his power as a wonderful plume .He writes how exquisite , beautiful and magnificanctly arising and yet glorifying world wild Hindi cinema is. He also predicted in his RABAT EXPRESS newspaper that « BLACK » of Sanjay Leela Bhansali with Amitabh Bachchan and Rani Mukherjee as best actor and actress ,would win an Oscar in Dubai during IIFA film festival this year 2006.His prophecy became true in the United Arab of Emirates last june during IIFA ceremony in Dubai. By the way, the Arab world is also fascinated by this genre of Cinema .Whenever you go, Bollywood movies prevail in popular theatres, for example ,Cairo,casablanca and Dubai cinemas are full with bollywood fans, and you can hardly find your ticket. Now resoursefully, people in Mumbay listen carefully to European cinephiles who admire latest of Sanjay Leela Bhansali « BLACK » because simply of its new style without using songs and exotic scenes.

Ideas like creating an agency that deals only with Bollywood films and Wizcraft artistic communications becomes a wish not only for Razak , Ahmed
Sijilmassi but also for Abdelillah Al Jawhari and Allal El Alaoui (12) . Those tink-tanks see that it is time to sit down, and dicuss continuous meeetings between film distributers, producers and fimmakers. Even touchy subjects could be tackled let alone the mechanism and future of Indian cinema.

Since the The first film in Southern India was made in 1916 by R. Nataraja Mudaliar- Keechaka Vadham, the hindu wish to impose their style of making films . Now thanks to Wizcraft policy, India’s first and premier event management and entertainment agency, pioneered by Wiz Andre Timmins , Wiz Viraf Sarkari , Wiz Sabbas Joseph . These men are continuously giving power to IIFA to become more world class ceremony.

- 2000 : London,United Kingdom.
- 2001 : Sun City,South Africa.
- 2002 :Genting Highlands, Malaysia.
- 2003 :Johannsbourg,South Africa.
- 2004 :Songapore.
- 2005 :Amsterdam,The Netherlands.
- 2006 :Dubai,UAE.
-
Morocco has,alas, missed this year 2006 appointement, but rumours say that 2008 IIFA awards will be one hundred per cent Moroccan(In ChaAllah) . This pushes Yorkshire to swiftly call for IIFA festival to be held in its land.So, Lata Mangeshkar, a Guiness record holder, Mukesh, Mahmood Rafi and Kishore, will sing Godlike lyrics to beautify British souls . Yorkshire lads and birds including five millions Asians would enjoy beautiful movies when they would put the kettle on.


Yorkshire then hosts IIFA , the international Indian film academy awards , oscar-style and is backed by brillant staff of Yorkshire tourist Board whose chairman is Judith Donovan including members of YTB such as Sir Thomas Ingilby , Colin Brown , Zulfi Karim, Cllr. Carl Les and others .They already mise-en – scene the platform of the seventh edition festival already called – Love at first sight.

Surely the seventh edition of the IIFA festival will shake cinema lovers and bollyphiles around the globe especially Yorkshire plays the leading cultural link between the fiveth continent. Stratford -upon - even where William shakespeare is born ; a few kilometres from quintessential Yorkshire towns where the festival will be held , Richmond Old theatre eighteen century and the glittering town Leeds ,these local cultual treasures of England will be glittering .

Famous personality & Celebrities will invade British Islands mainly Amitah Bachan, Karishma Kapoor, Aamir Khan, Kajol, Madhuri Dixit and Shah Ruhk Khan who reports on himself ‘I have created a myth. Sometimes I think of myself in the third person – I’m ‘the’ Shah Rukh Khan now. He’s a brand of his own. It’s not me any more. Now a myth is created. This is what my films have created. That myth can be called King Khan.’Sonu Nigam called the golden boy of the pop songs in India,gives his voice to Shah Ruhk Khan when dubbing a movie.Anyone who takes Nigam’s voice will be a star .

Yorkshire expects millions and millions of tourists from around the world. The event is expected to boost tourism income across the region by nearly 10 million pounds. The inaugural IIFA awards event was held at London's Millennium Dome in 2000. The summer of 2007 is also expected to attract nearly 30,000 people from Europe, India, southeast Asia and the US, and signifies the exalted status the Indian film industry has attained in Britain.

FIFM bureau de la fondation, CCM (13) and house distibution in Morocco should consider and give importance and value to Hindi cinema and especially the taste of passionate Moroccan people who just love Bollywood. In academic circles here, LA Times (14) reports that Indian films are no longer seen as quaint, gaudy and oriental items, but a resilient cultural powerhouse in the subcontinent that challenges the near-global domination of Hollywood films.

Muqtedar Khan (15) writes that India is already well situated to become a major economic and cultural power worldwide. Indian culture, through the popularity of Indian cinema, is already giving India the kind of "soft power" that only America enjoys worldwide.

Bina paul will never forget Salé and its traditions . With her digital camera , she took pitures of women tatooing their hands with El Hana, a spiritual herb also used in India for the same purpose.She carefully took notes of those women making their spiritual journeys to Marabouts (16) . This reminds Bina of her people doing the same pilgrimage not of course to Marabouts, but to cinema theatres where they expect a good ending of shining heroes , widows and homeless children.

Coming out from El Madrassa al Bouanania (17), bina paul amazed by its marvellous Islamic frisks , remembered her colleague filmmaker Adoor Gopalakrishnan from Kerala saying that India has always been an immence bazar of images .

ALLAL EL ALAOUI
Zhor idrissi : secretariat.
• International women cinema in salé.
• Centre national de la cinematographie.
• www.CCM.ma.
• Noureddine sail ( CCM ).
• Kamal Mghazli ( CCM ).
• Ahmed Araib ( CCM ).
• Razak ,( rabat express).
• Al ahram weekly .
• Lubna aziz from al ahram weekly.
• Le monde diplomatique.
• The times, UK.
• LA TIMES.


1- the masala films : The 1970s saw the advent of the multi-generic entertainment extravaganza replete with dramatic dialogue and spectacular song and dance sequences.
2- SALÉ : A millinuim town in Morocco .
3- Nour Eddine Sail is a Moroccan thinker and cinema critic and head of the main cinema institution of cinema called CCM.
4- Ibrahim Essaih is a Moroccan Indian film dubber . He was the pioneer of dubbing Hindi films after the independence.
5- FIFM bureau de la fondation is an institution in Morocco that organizes International film festival.
6- Mukesh Bhatt is film producer in India.
7- Derb Rallef is a popular market in casablanca where one can find any goods.
8- Swika is a popular market in Rabat .
9- Dawliz complexe is a Place of entertainement, restaurants and luxuary cinemas in Salé .
10- EL Wad : a dangerous Ghetto in the north of Salé .
11- Jamaa el Fna square : one of the most famous entertainemnt souk in Marrakesh ( see UNESCO) .
12- Razak, Ahmed Sijilmassi, Al Jawhari and Allal El Alaoui ; Cinéphiles and intellectuals ,on line free-writers and especially Indian movie fans and critics .
13- CCM is a national institution of cinema that is strictly administratif dealing with distribution , Film visas , festivals and co-ordinations
14- LA Times : Los Angels Journal in America .
15- Dr.Muqtedar Khan is an Assistant Professor in the Department of Political Science and International Relations at the University of Delaware.
16- Marabout is a spiritual leader or saint in Morocco.
17- El Madrassa al Bouanania is an old medieval univeristy in Salé famous of its superb arabisque frisks and mosaique.

Allal in press Conference in Marakech 2005


Yash Shopra was in Marrakech in 2005 with his wife, Pamela Chopra . Going around Marrakeshi souks and suburbs especially the Jamaa el Fna (11) square, Yash shopra said how amazed and astonished he was by the Moroccan people and its traditions that really has great affinity with the ones in India.With my gaudy and showy english,i wanted to impress my colleagues.Yash Shopra consciously was aware what i intended to do ,he directed me to be reasonable. Using his Shokriya hand,the master begged me to ask him in a simple english. I knew then that he was gentlman in his manner and giant to direct his beloved artists. Both India and Pakistan Should be grateful for the symbolic union that gathers these two countries through Veersaara By Yash Shopra.It is an outstanding drama which tries to break the barriers separating two lovers, Veer Patra Sing (Shahrukh kan) and a Pakistani woman , Zarra Hayaat Khan (Preity Zinta). When he projected his film at Berlin film festival, Yash Shopra was scared that the people would not understand the story , However ,at the end of the film, he saw people crying. The presence of Aishwarya Rai in Marrakesh , a former Miss World and Bollywood’s first genuine cross-over icon, , lightened Marrakech with her beauty and let all Marrakeshi young men eyes wild open. These artists are well honored by the Moroccan people and FIFM,the international film festival in Marrakesh. Morrocco now became known in Mumbay and the majority of Bollywood stars would love to come to this country.

ALLAL EL ALAOUI In Marrakech 2005 press conference debating a Morocco-Galisian film documentary « HANAN » by Carriera and produced by SNRT.
urriculum Vitae
PERSONAL DETAILS
•••• •••••••


Interesting film debates In the fifth edition of the international film festival in
Marrakech 2005
E-Mail : Allal40@caramail.com
Aadil101@caramail.com
Objectives • I wish to pursue a career
where I am able to utilize my skills within a diverse
workplace to obtain artistic and personal objectives.
Previous TV and association works have also allowed
me to develop high standards of professionalism. I am a
motivated individual looking forward to the challenges
that the future holds.
Nom : ALLAL
Prénom: El Alaoui


Lieu de Naissance : SALE
Nationalité : MAROC.
MOROCCO.
CULTURAL BACKGROUND
.•••••••• •••••••
Les attestations et certificats :
1983 – 1984 : Baccalauréat.
Une année difficile car le bac est un examen
très
Hautement qualifié au Maroc, voir aussi la
psychologie de l’élève.

Acting inspirations after getting
Baccalaureate allow me to look ahead.
So, destination to Europe for further
studies.
1984 – 1985: Metropolitan Institute of higher education. England.

DONCASTER



1985 – 1986 : CINEMA STUDIES. THAT was the occasion to
discover TARKOVSKI Direction of photography. History of cinema. ROSSILINI-FELLINI-ROSSI-
TARKOSKI.
CINECITTA…COMPARSO.

My first experience at the national TV- RTM- was
as key lighter, then I did some analogue and digital
Editing. That was at JT studio and speakerine.It
was later that I joined editing rooms for an amazing
experience.

Pour maîtriser bien les stations de montages et
post-production type AVID ANDREALINE et
DPS velocity
C’est préférable de commencer par le logiciel
du montage appelé MEDIA 100 I.
- Bureatique.

Sunday, November 05, 2006

Thursday, November 02, 2006

Who is Allal El Alaoui ?.


Curriculum Vitae

http://www.scribd.com/doc/13296291/attes-et-certif
attes et certif
لماذا تعتبر نفسك مجنون دوستيوفسكي ؟

(ابتسامة) قبل أن أغوص معكم أطوار الحديث, لا بد وأن أشكر جريدتكم خاصة طاقمها التحريري والتقني. أعيش يوميا مع الصحافيين والصحافيات وأعرف جيدا معاناتهم المستمرة.
لكن كل ما يجب أن يعرفه القارئ الكريم هو أن الصحافة تشبه الفلسفة تبحث عن الخبر وتسمو به إلى الأعلى كما يعلو الزيت في الماء. أما فيما يخص سؤالكم ’ فاني أولا و ببساطة أعتبر نفسي رجلا عاديا أحب الناس وأنسى نفسي فيهم.
ثانيا أنا من هؤلاء الذين ذاقوا طعم الحق والديمقراطية في الخارج وعند الرجوع أصبنا بالفجيعة والإحباط, لكن تسلحت بطاقة هائلة محركها الأساسي هو الصبر وجهاد النفس.
هكذا إذن واجهت عالم التناقضات والعقليات المتحجرة كل هذا من أجل حرية التعبير وبالتالي حرية الوطن.
أمارس مهنة مخرج مساعد وتقني في التلفزة المغربية والسينما انهما مهن المجانين بامتياز.

تم النداء عليكم هذه السنة لتغطية مهرجان الأربعين للفنون الشعبية في مراكش ’ كيف كانت الأجواء ؟
كلما أذهب إلى هذه المدينة الحمراء, الا وأجدها جميلة وشامخة. تتجدد باستمرار للعشاق وللرومانسيين وخاصة للمراكشيين. جاء طاقم الإخراج التلفزيوني من الرباط أسبوع قبل افتتاح المهرجان قصد التهييأ, استقبلنا رئيس المهرجان السيد الكنيدري حيث اندهش هذا الأخير عندما وجد طاقم الإخراج يلح عن مجموعة من الأسئلة تهم الإكراهات التقنية والفنية التي قد تواجه المهرجان, خاصة أنه يكرم هذه السنة الفنان القدير عبدو الشريف بمشاركة جليلة ميكري و كريمة الصقلي. كان التنسيق و الإخبار في مستوى راق وعال وذلك يرجع الفضل إلى رجال الخفاء الذين يشتغلون باستمرار و بالضبط وراء الستار في المسرح الملكي, المنارة وقاعة المؤتمرات. أتمنى من مدير المهرجان وباقي المسؤولين أن يلتفتوا إلى هؤلاء التقنيين والفنيين لأني أعتقد أن نجاح المهرجان مرهون بمجهود اتهم ومعاناتهم.

ما طموحات علال العلاوي وماهورأيكم في الإعلام المغري ؟

أحب كثيرا التلفزيون والسينما وأعتقد أني محظوظ لأني أولا أعيش في قرن الصورة. ثانيا تمنحني إدارتي نقودا من أجل مهنة أحبها.هذا شيأ جميل ( ضحط ). لا أحب أن أكون شبحا, أشتغل في منزلي كثيرا وأحيانا أساعد زوجتي خاصة في تهييأ المأكولات الإيطالية. أتمنى من التلفزة المغربية أن تفتح أوراشا للفيلم القصير على مستوى الدرامي وأتمنى أن يتحلون المسؤولون بضوأ الذكاء تحت غطاء المهنية والمنافسة الشريفة. من العيب أن نسمع أن الشعب المغربي مازال خارج التغطية ' déconnecté)) هذا يؤسفني كثيرا.
حان الوقت أن يكون لدينا إعلاما قويا وضاغطا ونشرك الكل في لعبة واحدة.