Blogging krishna,greetings from ESSAFI,RAZAK and ALLAL.

Fanclub wishes all the best for India and Bollywood stars and finds this picture very beautiful to publish .May the world be full of ARTS and Peace .

Johnny Lever speaks Moroccan and African for 30 minutes

Johnny Lever known as Lallu in Bollywood has international fans including Moroccan bollyphiles . Fanclub wishes all its best to Lallu, Johnny and it believes that he can speak Moroccan dialog as well « ASALAM OULAYKOUM, YA HAD AL FANNAN ASSAKHIR FIL HIND «,Get it johnny ??

Merry Chrismas to all stars in India

Iman jemari speaking Hindustani

Iman Jembari speaks Hindustani that means, the Moroccan angel girl is still brighting her star in Marrakech .Here are some Hindu language taken from her Blog : www.devdas.net.Fanclub is pleased to publish it because it believes that Iman 's vision about Bollywood continuing love -story is still everlasting between Moroccan Bollyphiles and India Stars.

With the New Indian cinema,Bollywood can do much better in doing movies like -James Bond- . May be thinking o f it seriously Bollywood producers should have started shooting by now Hindi movies treating James Bond remakes via Hindustani Hero and Heroess. Taran Adarsh, IndiaFM writes in Bollywood.com :

It started with JURASSIC PARK [1993]. Later, TITANIC [1997], ANACONDA [1997], GODZILLA [1998], THE MUMMY [1999], SPIDER-MAN [2002], SPIDER-MAN 2 [2004], HARRY POTTER AND THE GOBLET OF FIRE [2005] and KING KONG [2005] posed a threat to Hindi films during their premiere release. In fact, almost every Hindi film in the orbit got eclipsed by their presence.

This week, something similar occurred when CASINO ROYALE, the new James Bond film, thrashed its oppositions in the Indian market.

Barring VIVAH, practically all Hindi films, including the three new releases [REHGUZAR, JANANI, UNNS], were affected by the stupendous start of the new Bond thriller. I haven't come across a single person who has disliked the new Bond film. The international press as well as the Indian media has showered the film with glowing reviews. And the exuberant praise translated into superb collections all through the weekend.

Sony Pictures, the Hollywood studio that has distributed the Bond film worldwide, has sent a note to this writer about its business in India, which I want to share with the readers…

cinephilia of an engineer called Driss Benhima.

DRISS BENHIMA

Few people know ex-mayor of Casablanca Driss Benhima’s interest in movies .Now spearheading The Moroccan airways company ,Royal Air Maroc (RAM), Benhima was a brilliant cinema critic .He animated a Cineclub during his ingeneering labors in Khouribga” OCP’( Cherifian Office of Phosphate).
Benhima combined with excellency high-tech engeneering and cinephilia,that is to say he published in french a lot of articles about cinema in the famous eighties magazine called –LAMALIF- :
1- –LAMALIF-N.159-octobre 1984: Un siécle de fer et des heros impuissants.
2- –LAMALIF-N.161-Decembre 1984: Films de télévision et culture.
3- –LAMALIF-N.163-Fevrier 1985; Classifier ou Créer.

See also Rasak french writing on Driss Benhima in :
Razakcinema.blogspot.com

Razak,the Shivaman , a reference of a cultural hyperlink in Morocco.

To be a hyperlink or to be a shivaman, that is the question of Razak

Only few regenerated people as Andrej Tarkovsky stated in his movie ‘Sacrifice’ would be lucky to meet Razak.I mean by regenerated people ,those men or women who would be navigating into beautiful heavens.As near as you approach Razak as far as your imagination goes . He is a true artist with a great frigile sensitivity whose love goes to somewhere in Asia where the first step of Adam traced a divine Godlike man called Buddha.
Razak loves India and its diverse cultural colours . He has a good reason of this love -story because his mother India bosoms his prolific creations and makes him inspiring to all kind of Arts. India , the mother of mankind ,a rich country where everybody goes to pure his or her soul and and blessed by divine Gods when washing their souls into Ganja river or listening to Lata Mangeskhar so as to surmount sufferences or forget pain.
Despite of being difficult to handle , Razak remains a man of great tenderness and exquisite intellect.Rabat cybermen know him quite, intelligent although he does not communicate a lot and chooses his friends carefully .You can not miss him either in a library or in a cinema theatre watching movies especially he is continuously following the events of the New Indian cinema .He has painted very excellent portraits ,written too many chornicles and thanks to his artistic intentions,brilliant stars and writers are emerged on Morocccan media and maistream such as Mouna Fetto, Rachid Nini,Fawzi Saiidi and others. He has also written a book published in canada called “ Au-delà de l’Artifex je dis “.Now , he is writing a monography with Allal and Essafi on Indian cinema .One of his recent meetings were with Susan sarandon in Marrakech , Amitabh Bachan and Joan Baez.
I am deeply impressed about the way he edits his writings in french using a hammer style , imposing his views and opinions to the so called cinema critics who come from sociology and philosophy brances . He thinks that they rather return to their students at universities and leave cinema critics to cinemagoers because their criticism is far away from images and sound.
ALLAL EL ALAOUI

Essafi Khammar shooting water through his digital camera for Jean Micheal Jarre in Sahara

Unfortunately , we always refer to western artists to highlight something that humanity needs .We only just look around and turn 180 degrees just to find true Moroccan artists who are in a crasy move to save humanity as far as Art is concerned especially our eagle eyes photographer,Essafi Khammer digs the earth through his beautiful lenzes to find the spiritual and eternel saver,water.

Who is who , Leila Rouass or Perizaad Zorabian?

She is the Maya of the hit show Hum Pardesi Ho Gaye...
She is the Kajal of the current rage Bollywood Calling...
She is the Margaret of the play Unfaithful...
She is the photographer adjusting a model's moustache in a popular toothpaste commercial...
She is Perizaad Zorabian. Period
Fanclub would love to see Leila Rouass and Perizaad Zorabiangather into a Bollywood movie .

writing Yash shopra.

Ever Since I met with yash shopra, I had that mysterious feeling to know about the man; the filmmaker, the director at last the king of romance.Now that we are in contact with The Hindu journal via Gautaman Bhaskaran , we ,fanclub, are delighted to publish this article written by RACHEL DWYER so that to illuminate our Moroccan bollyphiles more about The personality of this great master of cinema ,Yash Shopra.
Writing Yash Chopra

Who is the real Yash Chopra? The professional filmmaker-director, the persona one extrapolates from his films or the quiet, private person? After writing a book on the man, RACHEL DWYER still finds him elusive to the grasp.

"BOLLYWOOD", as Indian cinema is now known in the United Kingdom, for better or for worse, has been a hot topic this year. A series of events associated with Hindi cinema led to this being called an Indian summer. Several books connected with Indian cinema were published in the U.K., ranging from lavishly illustrated coffee table books, to travel accounts loosely about movie stars or the cinema industry to academic studies. The latter included my own book about Yash Chopra, which appeared in the U.K. in the British Film Institute's series "World Directors", alongside directors including Youssef Chahine, Jane Campion, and Shyam Benegal. Some people were surprised that the Hindi film should be taken so seriously but, in fact, this reflects the way that it entered the film studies curriculum in the western academy. It is around 15 years since Arjun Appadurai, currently a Professor at Yale University, began a major study of public culture focusing on the global or transnational flows of media and migration.

"Public" is used in favour of terms such as "popular", "mass" and so on as it avoids notions of hierarchy and creates a zone of cultural debate. When Christopher Pinney and I organised a conference on Indian public culture in 1995, we found a growing interest in popular or commercial film. The study of this cinema in the western academy has a short history, with the occasional book or article (Barnouw and Krishnaswamy, Rosie Thomas) until the 1990s when a new generation of Indian scholars (Ashish Rajadhyaksha, Ravi Vasudevan, Madhava Prasad) produced a new corpus of writing on this topic. Their work, on the most "commercial" cinema was grounded in the discipline of film studies, and was highly theorised in its academic language, making it inaccessible to those unfamiliar with its terms.

Film studies, from its inception in the 1960s, took commercial Hollywood cinema seriously, so it was not surprising that these approaches were brought to the commercial Indian cinema in turn. It was on my first foray into the Bombay film world for my research on romance in my book All You Want is Money, All You Need is Love that I decided to meet Yash Chopra. I first wrote to him in March 1996 requesting a meeting: he did not reply. When in Bombay, I called and, since he kept an open office at that time, he agreed to meet me for an hour.

In the flesh, Yash Chopra did not fit with the image I had of him from his films or from the gossip magazines. Instead, he seemed more of a businessman, a producer, ensconced in a palatial office. He was polite, but seemed a completely different person from the persona ascribed to him in popular imagination. Correct, quiet and thoughtful, it was hard to believe that this was the "king of romance".

We met again that summer in Leicester Square, then I returned to Bombay in February 1997 with a research project in mind, but he remained entirely the businessman, always making and taking telephone calls, giving little attention to what I thought were important conversations. I was very disappointed, and began to abandon my idea of a book about him. It was only when I accompanied him to his film sets that I saw an altogether different person, a high-spirited, hard-working creative filmmaker, interacting with his stars and staff. We continued in this vein for four months, our only non-work conversations being about food and other films. Subsequently we have had many further meetings in the U.K. and in Bombay, while staying in touch via fax and phone.

In his words, we are now like family.

While some may feel this takes me too close to my subject, writing a book about someone one disliked would be a very perverse activity.

Moreover, he has declined to read my work and has made no attempt whatsoever to influence it. Another surprise, to me at least, was the total absence of Bombay "sleaze" on his sets, in his office or at film functions. When I referred to this at my recent book launch, Sharukh Khan said that he would show me Bombay sleaze the next time I hit town.

I'm still waiting. The key question my book asks is: who is Yash Chopra? I see not one, but several Yash Chopras. One is the professional and public person, the filmmaker-director, producer, storywriter, the person who has created the "Yash Chopra" film, image, story, lifestyle etc. In writing about this Yash Chopra, I need to tie together the person with the creative work — or the labour and economic activities. This is a multiple story, about the interaction of Yash Chopra the person with external forces and people. It is largely based on interviews with him and his colleagues, but also on external sources such as trade and gossip magazines. In these contexts, I consider the idea of the "auteur" in the context of Hindi filmmaking.

The second context is of the Yash Chopra in the film texts themselves, where I consider how he depicts "lives" on screen and how he draws on his own experiences to create what he calls "glamorous realism". This does not imply that I find the texts autobiographical; but they are nonetheless important as revealing much about one or more Yash Chopras.

Thirdly, there is Yash Chopra the private person, whom I have got to know in a range of situations. I intended in the book to tie these various Yash Chopras together to give some wider portrait of the person and the films, while structuring my narrative chronologically around his cinematic output. How does one connect the quiet man and the boisterous Punjabi, the devoted family man, the great romantic, the hardheaded businessman? What has driven him to take great risks and to achieve such success? I found this book unusually difficult to write. I continue to find Yash Chopra elusive and changing both in terms of his filmmaking and in the broad range of personas he adopts in his public and private life.

Compounding these problems, there is a scarcity of primary documentation and an absence of a critical discourse around figures in the Hindi film industry. I have tried to deal with these concerns in writing this book, but am aware that some of my findings remain preliminary and somewhat inconclusive.

Nevertheless, I hope that my book will lay a foundation for further discussions around the many topics that it raises, in however unpolished a form.

Rachel Dwyer teaches at the University of London. She has recently co-authored the book Cinema India. She is working on One Hundred Best Hindi Films.

The Swadeshi movement inspired great Indian fimmakers.

The first Indian newsreel.
In 1905,Lord Curzon and the new Governor of Bengal,Andrew Fraser,announced the partition of Bengal,ostensibly for the development of Assam.Partly in reponse,the Indian National Congress launched the Swadeshi movement on 7 August,calling for the boycott of all foreign-manufactured goods;Lord Minto became viceroy.
J.F Madan turned producer with Jyotish Satkar's film of a protest rally against Partition.
From Encyclopaedia of Indian cinema by Ashish Rajadhyaksha and Paul Willemen.
901 : The First Indian Newsreel
Dec.7, Bhatvadekar made a newsreel of the public reception of R.P. Paranjpye who had won a distinction in maths at Cambridge.
1902 : The First Indian Bioscope
J. F. Madan acquires equipment from Pathe Freres. First bioscope show in tent at Calcutta.

1902 : The First Filmed Play in India
Hiralal Sen films scenes from Bengali plays staged at Classic theatre at Cal.

1903 : The First Sponsored Film
Bhatvadekar and some foreign companies shoot the durbar at Delhi to mark the coronation of King Edward VII

1904 : The First Indian Film Co.
Manek Sethna starts Touring Film Co. showing Life of Chirst (2 reels).

1905 : The First Production Venture
Jyoti Sircar covers the demonstration against Lord Curzon's partition of Bengal. Madan produces this coverage.

Leila Veejay Rouass, VJ, Photogenic and eternel Moroccan-Indian Beauty.

Fanclub honors Leila Veejay Rouass for her hard work and continuous artistic achievements in Bollywood especially knowing that Leila shot on location for the tele-film 'City of Dreams', she met CHANNEL [V]'s Head of Promotions in India.
Fanclub members, Allal , Razak and Essafi will soon be e-mailing Leila for the fans of both Moroccan and Bollywood movies.
Leila Veejay secret words to her fans and girls in the world " "For modeling, you have to be photogenic," says Laila, "but being a VJ is much more than being a pretty face; you have to project your whole personality."

What next,Bollywood or Warzazat ?

RAZAK writes in French a beautiful statement on the union of both Moroccan and Bollywood actors and actresses:
Artistes marocains et indiens: unis par les liens sucrés du doublage pour le meilleur et pour le pur.

Mahjoub Raji remembering Brahim Sayah .

Cinema is a marvellous artistic instrument . We need to make too many movies so that we can choose and have the best . Indian filmmakers undesrtand this fact that is what they have an international market now.

Unforgetable Abdellah Chakroun , super heading RTM,

When FIFM called Amitabh Bachan three years ago, that was a brilliant message for cinemagoers ,It means Indian cinema has presented itself as a new style . As an old responsible at RTM, the national television in Morocco, i feel sorry that too many incompetent leaders and responsibles have destroyed old archives.
Indian cinema , with new technology has now every genre of cinema . Indian movies are now every where in the world .One thing is for sure , we used to have good actors and now we have new ones who are really very good too.

Mohammed Marwazi, between Raga and Haraga.

I heard about Studio Swissi and i am very proud that too many actors and actresses passed through doublage.Indian movies are great .You know in India, they have raga and we have haraga ( laughing).

Mustapha Munir the maga -star of the studio swissi.

Yes, indeed Mustapha Munir was a superb actor . He came from acting shool and he was excellent. He loves his work passionately . I Aziz Mawhoob? confirm as an actor who worked with him that Mustapha Munir was giant and very good . Great actors knew this fact like Taeb Saddiki, Mohammed Idrissi,Abdellah Amrani,Hashemi Ben Omar and Mohammed Karrath ( Peace upon hin) . These actors were brilliant stars in 1958.Mustapha Munir was also a good bruiteur,sound-effects man.I don't know how he combined the two jobs but he did . He played roles of Amitah Bachan and he was so great in them.

Aziz Mawhoob, the successful producer and actor who has good souvenir of Brahim Sayah and his studio Swissi.

Studio swissi was a great cinematic reference in Morocco of doublage . Too many egyptian movies were filmed at this studio, I remember the movie – ALI BABA- with the french actor Ferdinand.
Ohter movies werre filmed here with excellent egyptian actresses and actors just like Samia Jamal,Kamal Channaoui and Jail Ratib. Brahim Sayah was the mastermind of this studio.He not only worked with us , we actors but also went up to the auditorium for technical reasons.
I would advice you to go to The chamber of distributers . These people have all the reference about old dailies and rushes that concern Indian movies.
I went to spain to dub stage a movie called – Libra Afrodith- When i came back, I worked with Mesbahi and dubbed stage too many Indian movies like, Mother India, Dosti and Mangala Badawiya . We dubbed stage one movie per week, sometimes, it took us only three days . The technique was easy .We watched the movie first and its sequences and we had to know and feel emotions . We had a line where to stop and began our doublage.The technician would play the sequence three times and you had to be ready to dub stage .We really enjoyed working with those technicians under the super heading of Brahim Sayah. There were brilliant actors just like Taeb Saddiki,who would add some humour to the lines .First, we were only 6 actors of Maamoura , then other group came including women .
Now, with technology, things are different but what i just can’t understand is when we watch a Moroccan movie with Moroccan dialect, they translate the languange to french but when it is in french , they would not translate it as if we are a french colony. It is strange . We still have people who can’t read nor write, so , we need an institution that deals only with doublage .Jobs will be created easily not only for technicians, but also for actors and actresses .

Essafi Khammar in a crazy move to look for water and spirituality in Sahara

Rupestral Morocco continues with Essai Khammar bird's eye view.

Essafi Kahmmar search on water and spirituality continues,,,,,,

Essafi makes road *movies pictures

beauty and magic pictures by Essafi khammar,
Indian producers and filmmakers might shift their shooting to Morocco when seeing Essai pictures .

Rupestral Morocco serving the seven Art.

beauty and magic pictures by Essafi khammar

snapshots of Essafi make Susan Saranson see Morocco too near

Gautaman Bhaskaran meets fanclub in Marrakech

FANCLUB happened to meet one of the most distinguished writer, journalist of the famous newspaper in India, THE HINDU.Bhaskaran genius smile and intellect make Allal and Razak illuminated as if they have swum in Ganja river in India.

Indian producer impressed about Allal team to mention Swadishi movment and Navarasas

Abdellah Amrani, ERRAJI happy to recall the master, Brahim Sayah

Hakim Bel Abbass, a Moroccan cinema paradiso boy meeting with Allal staff to talk about Bollywood

Bollywood, Hollywood or FIFM,that is the question.

Essafi , Allal , razak and Ali essafi debating on Indian cinema

Smart and flexible discussions on Indian cinema with essafi Ali based on true sources

Essafi , Allal and razak advocate dialogue .

Strong in spite of themselves.

SNRT eyes on IMAN JEMBARI, ALLAL and RAZAK.

Nadia Amin made an excellent reportage on Indian cinema.Among the guests , there was Iman Jemari,a brilliant Marrakeshi girl who loves Bollywood movies including Essafi, Allal and Razak.These artists are writing a monography on Indian cinema.

SNRT news pass Allal, and Razal on the air

In an exlusive interview made by Nadia Amin,Allal and Razak including the artist photographer Essafi passed on the air on the 5 th of decembre 2006 to explain their artistic project , which is about writing a monography on the Indian cinema.

Hassan Skalli, the mastermind of acting and dubbing stage in Morocco.

Hassan Skalli with his wife Latifa Kamal at the auditorium of Doublage.

Allal : my name is Allal El Alaoui.You know my friend razak ?
Hassan Skalli : Yes ,of course.
RAZAK : we are writing a monography on indian cinema. Allal is writing in English and i am writing in French.The Navarasas and the Swadishi mouvement in India inspired great filmmakers like Dadasahib , Mahboob and Satayit Ray ,,,,
Telephone rings and Hassan Skalli replies , ( hello, Habiba , it is Habiba madkouri , I am doing fine, yes, everybody says you were great ,,,i am with some people who want to write a book on Indian cinema,ok I see you tomorow you will be here in Marakech tomorrow , i see you ,then bye )
Hassan Skalli : That was habiba Madkouri . She said hello ,
Allal : We have been at Brahim Sayah house . he is a nice guy , we want to ask you few questions about you relationship with him .
Hassan Skalli : Brahim Skalli is a giant man of cinema . He is not only a technical man but also a magician of making and remaking movies, i mean to say dubbing stage Indian movies and the International ones of course. I knew him in 1950 . I remember i played the first movie in Morocco produced by the Moroccan governement called – Brahim – Nour-eddine sail is a genius man . I don’t know how he got this movie from abroad , but he did . i am very happy about the work he did. Brahim Sayah liked his work greatly . He is an honest man.Just look at the man , you will immediately like him .He is so honest and kind to all his technicians and actors . The movie i played with him was called – Fanfan la tulip- . Kateb Yassine the Algerian writer, and my wife Latifa Kamal paticipated in doublage too.
Razak : We want to pay hommage to Brahim sayah . We believe he played a very good role for Moroccan memory . You know that Mustapha Munir wrote a letter to Amitabh Bachan. I and Essafi khammar took it to Bachan when he was in Marrakech two or three years ago .Bachan wanted to meet him because Munir played his roles.
Allal : Have you heard of films like Dosti, Mother India, Sholay ?
Hassan Skalli : Yes, of course . There films remain eternel in my memory too. When I was at the auditorium with Brahim and technicians , we thought how the Indian actor would be speaking out like a Moroccan does. We listened to the indian sequences very carefully.How the actor said his lines, then the tone and of course with the help of the techniques of Brahim Sayah,dubbing stage came out like magic.

Intrigue grows when Allal speaks out

International press mainly TV5 are impressed about Allal speech about how to encourage Moroccan youth to make movies without the help of Europe especially France . Fawzi Saiidi 's movie-www-refers to an Indian movie by making a clever mise -en-scene of a romantic angel like Hindi sequence, but critised severely by both Allal and Razak.

Moroccan nostalgia inspired by Hindi movies

Kamal Kamal and Mohammad Afifi chanting Hindi with ALLAL and RAZAK

In an exlusive interview Kamal Kamal and Famous tragedian actor Mohammad Afifi are invited to Allal team to talk about Indian movies,Afifi sang for us a long monologue of Mahmoud Rafi lyrics,

ESSAFI's eagle eyes get beautiful pictures for the international road movies filmmakers

Today, Jalil Laaghili agreed to see how Allal 's staff planning to write a monography on Indian cinema. Jalil was amazed about ESSAFI KHAMMAR photography and promised Khammar to show his work on the big screen at FIFM in 2007.

Skilled and talented Moroccan actors and actresses crying for the come -back of Brahim Sayah to - DOUBLAGE-(dubbing stage international movies,

Skilled and talented Moroccan actors and actresses crying for the come -back of Brahim Sayah to - DOUBLAGE-(dubbing stage international movies,

Omkara team receiving Kajol trophy at FIFM 2006

Mohammad Jembari as seen by Essafi Mohammed conversing with Razak and Allal

Mohammad Jembari in solidarity wwith his bollyphile daughter Iman

My relationship with Iman is at a distance, but it is my girl and i love her.Her mother Boushra,is a tender and sweet to her .She has a great affinity and intimacy with Iman.She took her to the cinema in order to watch Indian movies .Iman's education at school,is a story that any filmmaker would like to tell.She is very enthusistic and doing well . Her school master gives her responsibilty to write plays and perform them at school.She studies hard and is the first girl nearly in all subjetcs.Sometimes , she really has nasty arguments with her teachers.She likes bollywood blockbusters and keeps in conatct with great actors via the internet .She is a very blogger.I remember that she saw a co-production between Indian and British actors in a movie.She said to me why we just could not do the same with Moroccans ans indian actors.She reads a lot and i have a feeling that she writes a script one day .I observe her from distance and i think she is gradually improving in everything .I am very proud of her and she is really wonderful.In 2002 at Jamae Al Fna , a very famous popular square in Marrakech , she met up with Aami Khan.She spoke to him in Hindustani and he was really impressed about my baby.She has read many books including shakespeare'Othelo'that is why she comes this year 2006 to watch the new version of the Indian filmmaker ' OMKARA'.