Monday, April 30, 2012
Khalid karaoui works with France 24 in Paris. He is Moroccan living both in Rabat and Paris. The great thing about Khalid is that he takes things softly with precision and intelligence, although subjects of streaming news go live. Last week; he worked with SNRT in Meknes and he has showed great talent and presence either on Moroccan air and also with his TV colleagues. Bravo Khalid
Saturday, April 28, 2012
Friday, April 27, 2012
‘Wa mal Al Ghaba Mkalka’ This Moroccan pop song literally means why is our forest angry? Yes, indeed our forest is angry, because we do not have yet have that culture of looking after it, although forests go through mythological fairytales in which the forest can be both a magical realm as well as a place of danger.In Moroccan pop culture, the secret place where our famous mother-Aisha known of its popular name as “Aisha kandisha’ , is the forest.
Horror movies in the west use forests to frighten children and insert fear in their hearts. Unfortunately, these western cartoons or movies penetrate in the imagination of our children and become a dangerous threat and who knows what has recently happened in sportive stadiums in Morocco, could have been direct ‘cause and effects’ or results of this savage violence that we have seen at Al Oula TV set.
All Moroccan media is in Meknes mainly SNRT that makes special scoops on cedar forest found in Ifran.Some colleagues focus on roots of forests, others on its deriving from African sites or Asian ones, but I am emphasizing on its beauty as I am a great fan of image making of the longest forests.
I will talk neither about its security nor its damage because that is the job of home office or the minister of agriculture which means if we divide the name itself becomes agric and culture. And bloody hell, where is the culture of it? Does the minister of Agriculture mediatize suffering from overexploitation and automatically forests are obviously reduced to great amount of loss? As a blogger states “, there are effects on the key role they play in regulating the water regime and the extremely rich biodiversity heritage is under threat.
Great film makers like Andrej Tarkovski utilizes trees as cultural tools to prologue and epilogue his movies (See his film The Sacrifice where an infant sleeps right under a tree where he utters the first name of life, because in the first time of our universe, life begins with the verb as Allah orders it to Adam and some say that God himself has created a tree as his first step to begin his universe. What is more, God is seated to a throne-tree like held by eight angels. For humans and for artists like Tarkovski, trees are sacred and spiritual. Besides, all religions of the world have great respect of trees beginning from Buddha to Mohamed peace upon him.
Horror films, in particular, have exploited forests for dramatic impact. The filmmakers exploit its increasing disorientation where modern gadgets such as mobile phones fail to work. “Boluhush” of Ifran known as The Monster knew very well the impact of the forest because he forced you to experience scary moments of fear and loss. And then he started to project his psychological and physical aggression. We still wait Moroccan film makers to write a movie about this guy and his passion for Ifran forest. According to him, The forest projects full darkness and therefore our monster is full secure there and that’s why police could not, at the first time, capture him. Some film makers refer forest as evil, “a demon spirit possesses the trees in a forest and uses a branch to rape one of the female characters holidaying in a (now a horror cliché) isolated log cabin – a scene that led the film to be classified as one of the first-ever "video nasties" in the UK”.
How can Morocco look green? It is a criterion that the minister of agriculture should have asked itself and bear in mind. This minister should exploit its capacities to call for Morocco film makers to tackle subjects of trees.Otherwise,trees would sleep for ever as they do in south of America ( see the famous demolishing Amazon forests ) and as our saints heroes do like Moulay abdessalam who sleeps under a gigantic tree because apparently he knows its spiritual remedy.
Written by Allal El Alaoui
Thursday, April 26, 2012
Monday, April 23, 2012
Sunday, April 22, 2012
a hidden hand is trying to help Mr Khalfi team to push media reforms ahead
Suppose that PJD retires from the Moroccan state .The result will be chaos , disaster or even revolution.Rabbah,the minister of transport, has surprised Moroccans with revealing some ‘Ikramiates’ known in French “les agréments’ given by the state itself .This of course has caused a stirred debate in civil society in Morocco.
Now, another putsch is fabricated by the minister of communication which is about a new strategy of Moroccan media. This thinking shakes some “alienated francophones” people of Pascal who disregard our minister’s point of view. They insist to see corrupted media in stead of new things where only those who can not create arts, prevail our television and screens. No way to reform media, states some political Nerorists –refers to Nero, an ambitious Roman politico - .Do they fear Arabic language or its religion or fear simply the rise of Moroccan people?
Yes, definitively we are with Mr Khalfi’s media reforms, although this task seems to be hard because mafia-like people are opposing it. Yes, definitively we are with the freedom of speech and the state should stay aside and let the voice of the simple people be heard . Yes, definitively we are with new artistic programs where true Moroccan culture booms out and be spread in Moroccan’s imagination.Yes, definitively, we are with encouraging of Moroccan Drama where we can see ourselves and obviously mirror Moroccan spirit through our marvellous actors and actresses in condition to help them morally and financially.
Friday, April 20, 2012
The weblog ‘cinema and movies’ spearhead by Allal El Alaoui celebrates the dispatching of 1000 massages throughout the world and therefore it announces via national press and online sites a competition concerning the best ever scripts or scenarios written in Arabic or in foreign languages . A professional commission has been constituted carefully and will be happy to declare the winner in the coming few months.
Please contact us in the following email:
بمناسبة نشر الف رسالة الكترونية على المدونة السينمائية المختصة بتشهيراسماء مغربية واعدة في السينما وتشجيعا للطاقات المبدعة في مجال السيناريو,ينظم مدير تحرير السينما والأفلام مسابقة في الكتابة الفيلمية التى لا تتعدى اكثر من 13 دقيقة. وستصهر لجنة مختصة في كتابة السيناريو على اختيار أحسن سيناريو .
المرجو الإتصال على العنوان البريدي المكتوب أسفله :
علال العلاوي صاحب هده المابدرة اخرج فيلمين وهما
A l’occasion du millième ‘posts’ « message » mis on-line , le weblog allal-cinemagoer et pour encourager la création cinéphilique notamment auprès des jeunes talents œuvrant dans le domaine scénaristique,le site web se propose de recueillir les propositions de toute œuvre susceptible d’être cinématographiée. La durée ne doit pas dépasser 13 minutes .Un comité statuera pour désigner le meilleur projet d’écriture.
Pour l’envoi des scénarios, prière envoyer le courrier via l’adresse électronique suivante :
P .S : Allal El Alaoui qui supervise cette initiative a réalisé deux films :
- Les Enfants Du Soleil
- Le Testament
The Sacrifice (1986 Sweden 145mins) 35mm
Source: Sharmill Films Prod Co: Svensk Filmindustri, Argos Prod: Katinka Farago Dir Scr: Andrei Tarkovsky Phot: Sven Nykvist Ed: Tarkovsky, Michal Leszczylowski Art Dir: Anna Asp Mus: Watazumido Shuso
Cast: Erland Josephson, Susan Fleetwood, Allan Edwall, Sven Wolter
The last of what would turn out to be a mere handful of films by this major director, a relatively meagre opus which nevertheless houses some of the most remarkable and lyrical images to have ever been created on film, The Sacrifice (Offret sacrificatio) is undoubtedly Tarkovsky’s cinematic last will and testament. Completed when the director had already been diagnosed with terminal cancer, the film bears all the signs of being a sort of summa of all the familiar Tarkovskian themes and motifs and is, moreover, explicitly dedicated -”with hope and confidence”- to Tarkovsky’s young son, Andrejusja.
In his own comments about the film, in Sculpting in Time and elsewhere, Tarkovsky consistently characterized the film as a spiritual parable exemplifying the particularly Christian conception of self-sacrifice in the interests of community and in the name of a higher ideal And, in fact, it’s not difficult to read Alexander, the protagonist of The Sacrifice, as a further development of Domenico, the “holy fool”, who in Tarkovsky’s previous film,Nostalghia (1983) -and, significantly, played by the same actor, Erland Josephson- immolates himself by fire while intoning the Christian injunction to repentance and self-abnegation from the top of Rome’s Capitol Hill. Read this way, Alexander’s setting fire to his house at the end of The Sacrifice is merely another, and more symbolic, version of Domenico’s act of self-martyrdom in the service of a Christian ideal.
And yet perhaps the sacrifice of The Sacrifice is decidedly more complex and more pagan. As Tarkovsky himself recounted more than once, the original idea for what eventually became the major part of the screenplay ofThe Sacrifice had come to him long before the making of Nostalghia and was a story which he had always called “The Witch”. The nuclear apocalyptic scenario in which Alexander comes to make a pact with God was only added much later and it’s noteworthy that Tarkovsky’s attempt to bring these two stories together in the final version of the film, as we have it, has seemed to even usually favourable critics to have not quite succeeded. However one might ultimately judge the success or failure of this attempted narrative integration, if one looks for it one can certainly glimpse, amidst all the frenetic comings and goings of Alexander in front of the burning house, the image of a man kneeling in gratitude before a witch called Maria, the spectral and pagan counterpart, no doubt, of that Adoration of the Magi by Leonardo that opens the film and then reappears significantly at crucial points.
Moreover, if Alexander’s pact with the Christian God obviously figures largely in the film, motivating the final great conflagration of the house, the film would also seem to explicitly invoke, through the mouth of Otto, the enigmatic postman, the thought of Nietzsche, the anti-Christ, and in particular the central Nietzschean “doctrine” of the Eternal Return, that “hardest of all thoughts to bear” which Nietzsche’s Zarathustra’s nevertheless calls his “greatest gift” to humankind. As the supreme and willing affirmation of each Moment in its eternal nowness, the Eternal Return is Nietzsche’s attempt to redeem the transitoriness of Time and to supply the only possible antidote to that life-denying and world-weary nihilism that clearly is Alexander’s major affliction as he reaches his fiftieth birthday. So perhaps it’s not simply a burning house then, but a Zoroastrian fire, that is throwing its light on Alexander’s genuflection before the “good witch”, Maria, and what is being enacted in this clearly-pagan ritual is less a Christian sacrifice of the self and more the supremely affirmative gesture of a Nietzschean self-transfiguration.
The burning house of The Sacrifice would thus represent not only the culmination of Tarkovsky’s final film but of his life and work as a whole. For within its spectacular – and possibly Zoroastrian – flames the beautiful but gloomy and ultimately paralizing nostalgia, congealed in all those houses that have appeared so insistently in Tarkovsky’s other films, is finally not only dispelled but transfigured, into light, into madness and into laughter through the joyful affirmation of the Moment and of Life. Every gift is also a sacrifice, says Otto to Alexander; otherwise what sort of a gift would it be? By the same token The Sacrifice is also a gift, the gift of Zarathustra, the poetic testament left by a father to his son, a testament which shines with the brightness of a final willed self-transfiguration.
Nostalghia (1983 Italy 130mins)
Source: Artificial Eye (UK) Prod Co: Opera Films, Sovin Film, RAI Prod: Francesco Casati Dir: Andrei Tarkovsky Scr: Tarkovsky, Tonino Guerra Phot: Guiseppe Lanci Ed: Amadeo Salfa, Erminia Marani Mus: Gino Peguri
Cast: Oleg Jankovsky, Erland Josephson, Domiziana Giordano, Patrizia Terreno.
How could I have imagined as I was making Nostalghia that the stifling sense of longing that fills the screen space of that film was to become my lot for the rest of my life; that from now until the end of my days I would bear the painful malady within myself? (1)
From the opening images of Nostalghia (1983), Andrei Tarkovsky presents the two disparate worlds-the spare, monochromatic landscape of the Russian countryside and the lush, idyllic meadows of rural Italy-that collided within the soul of Russian author, Andrei Gortchakov (Oleg Yankovsky). Gortchakov has travelled to Italy on an extended research expedition to retrace the emigrant journey of an acclaimed eighteenth century Russian composer named Pavel Sosnovsky who, despite achieving international recognition away from his homeland, eschewed fame and returned to the humble life of a feudal serf, only to sink further into despair and commit suicide. Gortchakov, accompanied by his translator, Eugenia (Domiziana Giordano), has travelled to the hills of Tuscany to see Piero della Francesca’s Madonna of Childbirth, but upon arriving, becomes disinterested in the attraction, and forgoes the church visit. Left alone at the foothills as Eugenia ventures alone, Gortchakov quotes a resigned passage that reflects his own feelings of inertia: “I’m tired of these sickeningly beautiful sights. I want nothing more just for myself. That’s enough.”
Instilled with a pervasive sense of melancholy, Gortchakov becomes profoundly alienated from his beautiful companion, his family, his country, and even himself. Eugenia attempts to engage him in a conversation over Arseni Tarkovsky’s (Tarkovsky’s father) poetry, but Gortchakov dismisses the book, reasoning that the simple act of translation loses the nuances of the native language. Eugenia then argues, “How can we get to know each other?” He replies, “By abolishing frontiers between states.” Yet Gortchakov’s words prove hollow as he remains distant and introspective, despite his surfacing attraction to sensual Eugenia.
Gortchakov’s comment for the abolition of frontiers is a theme similarly explored in Tarkovsky’s earlier films,Solaris (1972) and Stalker (1979). However, while Kris Kelvin (Solaris) and the Stalker coexist in a metaphysical realm between reality and the subconscious, Gortchakov is profoundly aware of his physical separation from the beloved, distant homeland that consumes his thoughts, and it is his innate longing to find unity within himself that subconsciously guides him. Ironically, by wallowing in his own self-consumed longing and sense of incompletion, his actions become antithetical to his own thoughts on the abolition of frontiers, as he creates artificial barriers to isolate himself from his physical reality.
While visiting the hot springs pool of St. Catherine in Bagno Vignoni, Gortchakov becomes intrigued by the presence of an eccentric old man named Domenico (Erland Josephson) who once imprisoned his family for seven years in an apocalyptic delusion. After asking Eugenia to translate some of the descriptive words used by the villagers to characterize the inscrutable Domenico, Gortchakov rationalizes, “He’s not mad. He has faith.” and asks Eugenia to act as an intermediary. Unable to convince Domenico to grant an interview to Gortchakov, Eugenia leaves in frustration.
It is interesting to note that the visit to the pool of St. Catherine proves to be the catalyst that spurs Gortchakov to action. Historically, the therapeutic hot springs pools of Bagno Vignoni were constructed to alleviate the suffering of the ill. Furthermore, St. Catherine of Siena, after whom the pool was named, was an advocate for the reunification of the Eastern (Orthodox) Church and the Western (Roman Papal) Church during the Great Schism of the Ecumenical Church. Figuratively, Gortchakov, too, is a supplicant to the pool of St. Catherine seeking to heal the sickness within his divided soul. In essence, Gortchakov’s uneventful biographic research trip has evolved into a personal pilgrimage to find unity within himself.
Domenico ultimately accepts the company of the attentive Gortchakov, and invites him to the abandoned house where he had kept his family in captivity. Domenico reflects on the folly of his actions as a desperate and selfish attempt to spare his family from a self-destructive and dying world. He implores Gortchakov to perform a seemingly innocuous task that he, considered mentally unstable by the villagers, is unable to execute: to cross the pool of St. Catherine with a lighted candle, as part of a greater redemptive design. Gortchakov is reluctant to undertake Domenico’s illogical request, but is intrigued by the fragmented messenger, and does not refuse him. He spurns the sensual Eugenia who inevitably leaves him, preferring to immerse himself in the solitude of his surreal memories and vague conversations with Domenico. Separated from his family, far from his homeland, and now alone, Gortchakov slips further into a state of profound isolation and unrequited longing, his own spiritual nostalghia.
Tarkovsky’s personal struggle between love of country and creative freedom culminated during the filming ofNostalghia, and inevitably led to his defection to the West in 1983 with his wife, Larissa, leaving behind their son, Andriuschka, in the Soviet Union. Through the melancholic Gortchakov, Tarkovsky attempts to reconcile his own feelings of emotional abandonment, loss of cultural identity, alienation, and artistic need. The astonishing final shot shows Gortchakov in the foreground of an ethereal coexistence between the two worlds, as the Russian farmhouse becomes encapsulated within the arching walls of a Roman cathedral. It is both an idealized and an ominous closure, as the muted colors of the Russian landscape now suffuse the Italian streets, tainting them with the pallid hues of unrequited longing-a tenuous reunification of the spiritual schism within Gortchakov’s soul.