Moroccan cinema's heart attack is script writing.

How can I write a script without traditions?

1 - whatever was said about the picture, the film received by the viewer tale of consumption, hence the importance of writing.

2 - write the screenplay in Morocco without reference novelist, without knowing the rules of Aristotelian narrative. While the European auteur cinema is part of the daughter of the nineteenth century, a novelist and industry. In Egypt, I started writing the script in the tradition of fiction, but a popular novel was published in newspapers and magazines. Asian cinema emerged in the fabric of cultural tradition of storytelling and saturated narrative. These comparisons show Alsinarist Moroccan problem with the story.

3 - script writers unaware of the rules of literary narrative which are necessary for the cohesion of the film. It is strange that some of them reject such rules claiming they heard it limits creativity. Indeed, there was no contradiction between creativity and the laws that were found to worship through creative cinema. As per art techniques. They deny this. Therefore produce a scenario with no narrative structure, screenplay loose and flabby (mal ficelé).

4 - because of his inability to design and organization of talk in accordance with humane respect the hierarchy of time and place Alsinarist claims that the rules of the scenario restrict creativity ... Thus opening the way for his illusions to do what he wants, "to Ikrmz" and this word did not appear in the magazine, but a translation of the comments polite. I think here in the Movies Nabil Lahlou, such as "Island Shaker Bakrben"???

5 - Creativity is good, which is fostered by the rules that experience and a means, not an end, is amazingly deep and beautiful, rich motives, information and feelings about this ... Which is difficult to consume all at once. Real innovation is to stand firm in the face of time.

6 - acting directors who are not readily scenarios as revolutionaries, they can claim to portray, without script, I mean Ertgelon. Some of whom claim that he would be the invention of cinema, his first film. They are so acting amateurs lacking their craft. The reason for this is that the bulk of Moroccan cinema in Europe or you will be affected by the French cinema, new wave, which despises the concrete scenario, ending, and they recall Truffaut and Godard to confirm the power of the new wave scenario, which refuses to ... The revolutionary recklessness Moroccan director explained why he opposed to a linear narrative of imagined rejection of bourgeois Bank. Clear that he had heard a fine narrative stunning and coherent story of Joseph in the Qur'an and Panchatantra and a thousand and one nights. Before the emergence of the bourgeoisie.

7 - make a Hollywood screenwriting career of standards and strict rules, including writing and rewriting, through collective action.

Recommended number of participants in the file the way Alobjlo Saxon in writing the screenplay. But pride Ptotherhm school French.

8 - Scriptwriter Moroccan writes about things he does not know, no lives with, and accelerate to end the scenario without collecting material, without deepening the research and thinking, without documentation and discussion, without listening to the people ... When the camera shows the gap between the reality on the one hand, image and dialogue on the other hand ... Therefore not in conformity of the viewer with the characters, does not find the same.

9 - Moroccan film suffers from long dialogues with the chatter is not a property of the films.

10 - Interviews Moroccan films by participants in the file: Dialogues superficial - stupid - without depth - without echo and realistic - do not touch the spectator - written without effort - without the functioning of language - written in a superficial - simplistic - but focused - trying to explain everything Vthin intelligence watch their own vulnerability.

How are the scenarios of Morocco?

11 - lacks the minimum of professionalism.

12 - dominated by mixing hard cutting technology.

13 - lack of internal consistency and clear, confounding the viewer.

14 - suffering from a bug in the way of introduction, lack the description of the event.

15 - suffer from poor handwriting because the visual Alsinarist focused on the Moroccan write more words than pictures.

16 - leave blank spaces in writing, hoping to fill them inspiration during the filming, and are often compensate for the lack of inspiration for the improvisation.


Shock outcome

17 - Moroccan scenario without an identity lacks meaning without the spirit of creativity and originality, without resulting in Cinema Ortzenal artisanal.

18 - Movies weak, realistically superficial, lacking the language of the picture lacks originality, films and similar stock value unto Temathia not carry the supreme values and encroached upon ignoring the cultural and historical potential of Morocco.

19 - Moroccan films adopted most of the scenarios in a poor, weak construction, directors tend to parodies and unbridled imagination ...

20 - there is separation between the image and drama because of the lack of linear narrative.

21 - the same person writes and produces and out ... Which impedes the emergence of specialized scriptwriter. Production companies have become more of the book.

22 - reflect the titles of films the poorest in the imagination, often does not reflect the atmosphere of the movie title and end the movie without the viewer to find a link between the title and watch.

23 - Moroccan film ends weak, does not show a link between the beginning and end of the film. Because there is a bug in the construction, it follows by the absence of balance.

24 - Moroccan cinema failed to build an identity, which did not go beyond the traditional methods in the output.

Director in the file

25 - Moroccan director believed that the director and scriptwriter is excellent not only trusts what is written. Directory numbers?

66% of Moroccan films by Mkrjoha, and half the remaining one third, in which the director in writing the screenplay, which means that only 17% was not a director writer. And anger when these directors do not receive the support of the Film Centre.

26 - all the way out is that the scenario written for the film perfectly.

27 - How to evolve if the film director and producer Alsinarist one person? This dictatorship of the creative. Outstanding example of such disasters is happy Nazareth, Nabil Lahlou. Why Genoa? Failure, and expulsion from the scene. Those who can not remain a monopoly on creativity in the profession so long, may loot and run, but it is exposed.

28 - Weak output to fall into the typical representative, as one idiot stick or crook or a miser ... Representative of Morocco so surprising after working with foreigners.

29 - promises that are planted and filmmakers young Moroccans living abroad ended in a mirage, p. 71. This happened also to the national team of football, which relies on the players.

30 - Moroccan director is not Alsinarist assistant, but a competitor. According to a report that a technical team of the reasons for the exclusion of the inability of players to cooperate among themselves, it seems to affect the film as well.

31 - in the distribution of communications support by the Moroccan Cinematographic Centre does not mention the name of the screenwriter.

32 - Do not start talking about the film only when it receives the support, when the script is ready and acceptable, but there is no talk about what's above, the writing, this is more like a lack of concern for the child until birth.

33 - sin of writing the script to assign people who are not qualified, culturally and creatively.

34 - not a way out and screenwriter ignorant of the history of art, drawing, photography and sculpture ... Who did not he read the novel and the epic legends of old, from the Foundation had not seen the film of the language of cinema ... However, claims that self-made???

35 - The depth of the teaching film at the University of crisis scenario in Morocco.

36 - therefore, have received a lot of scenarios filmed vulnerable because the vacuum has forced producers to accept them and have had a flat film without characters, without drama and real images are not connected.

37 - of course a bad scenario all too often in the movie is bad.

38 - benefited a lot from the field Translated to film material of this confusion and pettiness. The payment of the Moroccan film too much.

Reasons and tips

39 - resulted in a crisis scenario neglected area for many years and "the crisis scenario is a crisis not imagined crisis" techniques, a crisis of culture, a crisis of the ability to write.

40 - needs screenwriter sensitivity of creative culture and imagined needs. (For information not for comparison, operates 15 hours a day, Spielberg and Scorsese watched three films a day).

41 - represent a major challenge in writing the script for the production of Moroccan films today, the demand for the existing scenarios to outpace supply.

42 - became a writing for film and television, of necessity, because the market where the symbolic promote ideas requires loading the collective imagination of oral threatened with extinction to a new holder: the image.

43 - We have the right to tell what we want as we want, but not for those who want to Hakim, but Hakim of the recipient of his specific conditions should be taken into account.

44 - must respect the jobs (eg the Global Programme spokesman Grimas and he learned from his book Vladimir Probe morphology of the myth).

45 - a mistake to rush to write a single formulation and adoption of the idea because it will not withstand the scrutiny and time.

46 - you need to write for the screen to re-educate the mind and visual script writers to enable them to ABC image.

47 - must know Alsinarist Arts, which built the six said the seventh art. Kamal Kamal.

48 - "Mtejelna will not share with others that remained hazy scenario-writing stage."

49 - to write about the issue must be documented in, to hear the people and discuss.

50 - script writing techniques can be learned, but the same write another matter, can not be learned, it's culture, imagined and self-training.

This displays the status of the file 33-page, in which: Youssef Fadel, a nice sweet, Kamal Kamal, Djilali Ferhati, Mohammed Bakarim, a nice sweet, Rachid Zaki, Hisham Lasri, Fred bubblegum ... And collection of testimonies Noureddine Kcti ...

File is an inventory account Asir / showdown excellent half-century of Moroccan cinema, and it was easy for participants to recognize all the criticism directed to them, in fact I wrote the bulk of certificates in a special way, the participants spoke in the file criticism abstract because no one dared to mention the examples of of films he wants to. For example, said co "Moroccan cinema suffers from a dearth of good scenarios," and I understand that it is intended "There are a lot of bad scenarios."

Seems to be critical of any profession is threatened from within that expelled them, so talking to each participant seems to be walking on eggs, "says general provisions he does not want to anger anyone, some of the greed of his participation in the last try to please everyone .... Although this remains File CINE MAG strong and effective when it emanates from the professionals, no witness of the people of the seventh art, the usefulness of such self-criticism and bitter, he has set for script writers, young people what they should be avoided on the way to build a cinema and a national tastefully sophisticated and noble values and images broke imagined. .. And enable Morocco to film dialogue 21.

Written by Mohammed Ben Aziz
السينما المغربية وتزوير الحقائق
كيف تحولت 8 افلام الى 19 فيلما على يد نور الدين الصايل:
حسن بنشليخة
2011-02-27


عقد نورالدين الصايل، مدير المركز السينمائي المغربي، لقاء خاصا يوم 29 كانون الثاني/يناير بفندق شالة بطنجة، وهو بالمناسبة يوم اختتام مهرجان طنجة للفيلم المغربي، قدم فيه حصيلة 'الانجازات' السينمائية المغربية لسنة 2010.
وركز الصايل، على ما تحقق على مستوى الإنتاج، حيث قدر أن المغرب أنتج 'ما يقارب 20 فيلما طويلا، وهو ما كنا لنتصوره منذ عشر سنوات'. ويتسلى المدير بالأرقام ويعود ليقول إن 'الأمر يتعلق بـ 19 فيلما... وكان العدد سيتجاوز العشرين لو أن بعض المخرجين احترموا الآجال التي حددوها لإنتاج أعمالهم'.
وتفنن المدير في تمثيليته موضحا 'إن المغرب سينتج، مستقبلا، أكثر من 20 فيلما طويلا كل سنة'. وتسلح الصايل بكتيب من الحجم المتوسط يحتوي على 45 صفحة يحمل عنوان 'الحصيلة السينمائية لسنة 2010' بتوقيع المركز السينمائي المغربي بدون تاريخ. واعتقد الصايل مع نفسه أن 'إنجيله الصغير' يحتوي على البراهين والأدلة لإقناع الحاضرين والرأي العام ان المغرب أنتج بالفعل 19 فيلما سينمائيا سنة 2010. وبما أن السيد المدير لم يعد يهتم إلا بالكمية فلن نتكلم هنا إذن عن النوعية، لان الجميع يدرك ما آلت إليه الأفلام المغربية من عرض أجساد بائعات الهوى، ثم راحت 'تتجول' في الطرقات وعلى الأرصفة ولا تعترض على احد لمساومتها من كثرة سوئها، لهذا تعرض في المهرجان الوطني بطنجة لتتنافس على لقب الأقل سوءا.
وضع النقاط على الحروف
بداية، نريد أن نحدد أن الصايل يتكلم عن الحصيلة السينمائية المغربية لسنة 2010 كما يشهد على ذلك 'كتيبه المعجزة'، الذي وضعه رهن إشارة الجمهور الموجود وكأنه يحتوي على معلومات تتعلق بالتحولات النووية. والمعلوم أن السنة، حسب التقويم الميلادي، مؤلفة من اثني عشر شهرا وتبدأ بحلول شهر يناير وتنتهي مع نهاية شهر كانون الاول/ ديسمبر. وحتى إذا حاول احد التلاعب بالتواريخ بنقلها من الميلادي إلى الهجري، مثلا، فان النتيجة لن تتغير إلا بفارق بعض الأيام القليلة. ولن تتأثر الغاية وتصمد في النهاية حتى لو طبقنا عليها التقويم الكونفوسيوشي او البوذي، أليس كذلك؟ وفي ظل هذه المعطيات سنقوم بقراءة ما أنتج من أفلام سينمائية مغربية خلال 12 شهرا من سنة 2010 ونعتبره صحيحا، وكل ما أنتج قبل أو بعد هذه الفترة نعتبره تزويرا وكذبا.
النقطة الثانية التي لا تقل أهمية عن النقطة السابقة، هي أن الصايل يتكلم عن الأفلام 'السينمائية' المطولة. والأفلام السينمائية المطولة تختلف عن الأشرطة الوثائقية والأفلام التلفزيونية. وحتى لا نتيه في الموضوع وجب التوضيح لتعم الفائدة. باستثناء قليل، لا يستغرق الفيلم السينمائي المطول اقل من 80 دقيقة وهذا ما يمثل أعظم اختلاف بينه وبين الأفلام الوثائقية وأفلام التلفزيون. وأكثر من ذلك، تعتمد صناعة الفيلم السينمائي على مخرج ومنتج وسيناريو وممثلين وتقنيين وديكورات ومصممي الأزياء والماكياج ومهندسي الإنارة والموسيقى، وكل ذلك يتطلب تكاليف باهظة ويحتاج إلى أشهر لإنتاجه، وغالبا ما يصور على شريط فيلم سينمائي ليعرض في القاعات السينمائية المتخصصة لاستقطاب أكبر عدد ممكن من المشاهدين محليا وعالميا. أما الفيلم التلفزيوني فيصور على كاسيت الفيديو بغرض واضح وهو عرضه محليا على التلفزيون، لا أكثر، ومع ذلك يخضع هذا المنتوج لنفس الشروط التي يخضع لها الفيلم السينمائي، لكن الفرق الكبير هو في التكاليف والمساحة. فتكاليف الفيلم التلفزيوني اقل بكثير من تكاليف الفيلم السينمائي كما أن مدته الزمنية قد لا تتعدى 80 دقيقة، ولن يشاهد الفيلم التلفزيوني إلا جمهور محدود للغاية، ولن يعرض أبدا في القاعات السينمائية لعوامل تقنية وفنية. ونختم حديثنا بالشريط الوثائقي والفارق الشاسع بينه وبين الأفلام التلفزيونية والأفلام السينمائية. فاهم ميزة من مزايا الفيلم الوثائقي انه لا يعتمد البتة على ممثلين، ومهمته تنحصر في 'البحث والتقصي عن الحقيقة'، كما أن عمره لا يتعدى الـ50 دقيقة إلا في بعض الحالات النادرة. أما تكاليفه فهي اقل بكثير من تكاليف إخراج فيلم تلفزيوني أو فيلم سينمائي.
والآن نعود إلى موضوعنا بعدما حددنا مثلثا تقنيا لنقيس به الأفلام الـ19 التي عرضت في 'المهرجان الوطني للفيلم بطنجة'، والتي يدعي معها مدير المركز السينمائي المغربي أنها كلها أفلام سينمائية وأنها أنتجت سنة 2010.
الأفلام المعروضة بالمهرجان الوطني
أول تناقض نتلمسه في اقوال نورالدين الصايل هو الحديث عن 19 فيلما سينمائيا مطولا أنتجت سنة 2010 وعرضت في مهرجان طنجة الوطني. لكن المتفحص لكتيب 'الحصيلة السينمائية لسنة 2010'، الذي طبعه المركز السينمائي المغربي، ووزعه على الحاضرين يثير بصورة واضحة الضحك والسخرية. فالصفحة 12 من نفس الكتيب تقر بما لا يدع مجالا للشك أن المغرب أنتج سنة 2010، 17 فيلما سينمائيا. وفي نفس اليوم (29 يناير يوم اختتام المهرجان) أدلى الصايل بحوار لجريدة 'الاتحاد الاشتراكي' اعترف فيه بـ'إنتاج 15 فيلما' فقط في سنة 2010. إذن ما هو العدد الحقيقي؟ هل أنتج المغرب في السنة الفارطة 15، أم 17، أم 19 فيلما سينمائيا؟ على السيد المدير أن يحدد الرقم أولا كي نتعاطى معه بجدية. قد يقول قائل إنها زلة لسان أو خطأ في الطباعة، وبما أن المهرجان عرض بالفعل 19 فيلما 'سينمائيا' فأين هي المشكلة؟ حسنا! نقبل هذا التعليل ونقول لهم تعالوا نضع هذا الكلام تحت المجهر لنكتشف هل هو صدق أم كذب. نحن نتفق مسبقا أن المهرجان الوطني عرض بالفعل 19 'شريطا' لكن هل أنتجت بالفعل سنة 2010؟ وهل هذه الأشرطة كلها سينمائية أو أن بعضها أفلام تلفزيونية والبعض الآخر أفلام وثائقية؟ يبدو أن مدير المركز السينمائي المغربي تاه بين حقيقة عمله ومناه، لكننا سنرمي له بالحجة لنبين له أن نص كلامه يحمل تناقضاته ويبقى شكلا واحدا من أعمدة الدعاية بـ'تفريخ' عدد الأفلام المنتجة في السنة الفارطة.
لكي نكون منصفين مع أنفسنا ومع القراء يجب عرض قائمة أسماء 'الأشرطة المطولة' التي تسابقت في المهرجان الوطني حتى لا يبقى هناك لبس. هذه الأفلام السينمائية المطولة حسب ادعاء الصايل هي: 'اكادير بومباي' لمريم بكير (80 د)، 'القدس باب المغاربة' لعبد الله المصباحي (120 د)، 'نساء في المرايا' لسعد الشرايبي (108 د)، 'أشلاء' لحكيم بلعباس (90 د)، 'الوتر الخامس' لسلمى بركاش (98 د)، 'الجامع' لداوود اولاد السيد (86 د)، 'العربي' لادريس المريني (105 د)، 'الخطاف' لسعيد الناصري (100 د)، 'كلاب الدوار' لمصطفى الخياط (90 د)، 'جناح الهوى' لعبد الحق العراقي (126 د)، 'ماجد' لنسيم عباسي (116 د)، 'ميغيس' لجمال بلمجدوب (90 د)، 'ذاكرة الطين' لعبد المجيد ارشيش (100 د)، 'ايام الوهم' لطلال السلهامي (105 د)، 'ارضي' لنبيل عيوش (80 د)، 'واك واك أتايري' لمحمد مرنيش (90 د)، 'خمم' لعبد الله فركوس (105 د)، 'النهاية' لهشام العسري (105 د)، وأخيرا 'فيلم' لمحمد أشاور (75 د). المجموع: 19 'شريطا' لا جدال ولا خلاف في ذلك.
فصل الخيط الأبيض من الخيط الأسود
أول ملاحظة نبديها هنا هي جملة من المغالطات وتزوير الحقائق التي يدلي بها دليل المهرجان الوطني للفيلم، المطبوع من طرف المركز السينمائي المغربي. فالدليل، على غير عادته، حذف السنة الحقيقية من الزاوية التي تعرفنا بالمخرج والفيلم وشركة الإنتاج ووضعها مفصولة عن هذه المعلومات في أفق الصفحة، حتى يدعم الفهم الخاطئ الذي يعتقد معه الإنسان العادي أن الفيلم حقا أنتج في سنة 2010. كما أن الدليل، الذي لا دخل له بتحديد سنة الإخراج، يقر بان كل الأفلام أنتجت سنة 2010 باستثناء 'نساء في المرايا' لسعد الشرايبي، و'واك واك أتايري' لمحمد مرنيش اللذين يقول عنهما الدليل انهما اخرجا سنة 2011. إن الحيلة مكشوفة هنا. فالمركز السينمائي المغربي يقدم هذين الفيلمين الأخيرين على أنهما أنتجا سنة 2010 ويعنونهما بسنة 2011 لغاية في نفس يعقوب، لكن الأهم هل هذه الأفلام كلها سينمائية وهل أنتجت كلها سنة 2010؟ بالطبع لا، فكل من'أشلاء' لحكيم بلعباس و'أرضي'' لنبيل عيوش هما شريطان وثائقيان ولا تصلح تسميتهما بالأفلام السينمائية، ولا يحق لهما حتى المشاركة في المهرجان الوطني للفيلم، ناهيك عن دخولهما في المسابقة الرسمية. واهم من ذلك إن شريط 'أشلاء' الذي حاز الجائزة الكبرى صور عام 2009 وليس عام 2010! والشريط الوثائقي 'ارضي' تم إنتاجه سنة 2007. أما فيلم 'خمم' لعبد الله فركوس فهو فيلم تلفزيوني محض أنجز عام 2009 (نتساءل متى تحول هذا الفكاهي المسرحي إلى مخرج سينمائي في خرق واضح للقانون الداخلي للمركز السينمائي المغربي نفسه). إذن، نسقط من حسابنا هذه الأشرطة الثلاثة، طبقا لمقاييس المركز السينمائي المغربي الذي رفض ولا يزال يرفض أعمال مخرجين آخرين بالضبط على هذا الأساس. أما فيلم 'الخطاف' الذي صور في سنة 2009 والذي شارك في مهرجان القاهرة، فقد اعتبره المصريون 'إهانة' للفن السابع، نظرا لتدنيه على كل المستويات، حتى أن المشرف عن المهرجان تنصل من مسؤولية عرض الفيلم وقدم عذرا شخصيا على ذلك، فهل يقدر الصايل على تقديم عذر من هذا النوع ويتوعد في المستقبل منع الدعم على مثل هذه الأفلام المهينة التي تشعر معها بالغثيان والتي لا تقوم إلا بتقديم أحط التصورات الاجتماعية والحوار البذيء ولا تحتوي على أية قيمة فنية كانت أم جمالية؟ فيلم 'اكادير بومباي' لم يكن أسعد حالاً من فيلم 'الخطاف'، فهو يحمل نفس العيوب ولم يأت ضعيفا فقط على مستوى الإخراج، ولكن على مستوى التمثيل أيضا وصور سنة 2008. أما فيلم 'ميغيس' فمثله مثل فيلم 'الوتر الخامس' تطبعهما حالة الملل الشديدة ويحملان عيوبا بالجملة على صعيد التمثيل والإخراج وصورا سنة 2007. ومع كل تقديرنا واحترامنا لعميد المخرجين المغاربة، عبد الله المصباحي، يصعب تصنيف فيلمه 'القدس باب المغاربة'، فلا هو بالوثائقي ولا هو بالفيلم السينمائي ويرجع تصويره إلى أكثر من عشر سنوات خلت. الدليل على ذلك الممثلون أنفسهم: كالصبح في الفيلم علاهم الشيب يوم الحضور! ويجب مقاطعة فيلم 'فيلم' لمحمد أشاور لان مساحته لا تتعدى الـ(75 د) ولا يمكن أن يعتبر فيلما مطولا! هكذا نثبت بالحجة أن ثمانية أفلام على الأقل لم تنتج سنة 2010. أما إذا أضفنا اليها كلا من فيلم سعد الشرايبي وفيلم محمد مرنيش اللذين أنتجا سنة 2011 بشهادة المركز السينمائي المغربي نفسه، وفيلم 'فيلم' الذي لا تنطبق عليه تسمية الفيلم المطول، فنصل إلى الحصيلة الحقيقية التي تثبت أن المغرب لم ينتج إلا 8 أفلام مطولة سنة 2010!
إن الوقت لا يحتمل ممارسة التزييف، لأن الحقيقة أقوى وأنصع ولن يجدي البعض الاستمرار في الكيد وممارسة الكذب المثير للدهشة، في محاولة لطمس الحقيقة. إن لي عنق الحقيقة على طريقة 'ثقافة البرجوازية' كي تتجاوب مع أهواء الشخص ورغباته أمر منبوذ. فالمطلوب هو معالجة الشأن السينمائي المغربي في واقعه وليس الهروب إلى ممارسة التضليل برؤية ذات بعد واحد، لأن حبل الكذب قصير. ليس بالكذب أو بـ'السلوك الاتصالي' نثري السينما المغربية. ربما حصل ذلك نتيجة انهزام الروح النضالية الذي قاد إلى انهيار المعنويات الفكرية وتأزم الذات التي فضلت الفوائد على الأخلاقيات.
ناقد ومخرج سينمائي مغربي

Ancient Rabat filmed by Rouimi

Bobbos in Morocco

Titre du film: BOBBOS
Interprétation: ADEL IMAM – YOUSSRA – ASHRAF ABDELBAKI – MAY KASSAB – EZZAT ABO AUF – HASSAN HOUSSNI.
Réalisation : WAEL EHSAN
Genre : Comédie
Durée du film : 110 minutes.


Synopsis Film: BOBBOS

Une comédie tendre et humoristique qui se déroule dans l’univers des hommes d’affaires où le rire, l’émotion, la fantaisie, l’humour, la joie de vivre se succèdent.
C’est les rivalités financières et amoureuses de Mouataza, une milliardaire belle, élégante et sensuelle femme qui vient de perdre son mari et Bobbos un investisseur qui a perdu sa fortune suite à la crise économique mondiale.
Bobbos se mêle des affaires de Mouataza et s’abandonne dans ses bras, leur liaison forcée les aidera-t-elle à sortir de cet engrenage ?

DATE DE SORTIE :

Le 14 Avril 2010 au CINEMA MEGARAMA – CASABLANCA
Le 14 Avril 2010 au CINEMA LYNX – CASABLANCA
Le 14 Avril 2010 au CINEMA RITZ – CASABLANCA

Copie de Feuille Du Service

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Updating Moroccan cinema by Mustapha Mesnaoui

There is no doubt that cinema as art and industry ,is an instrument of modernization in contemporary societies, as is the sign of the development on the ladder of development and progress.


There has been a cinema in our country some sort of recovery in recent years, accompanied by Two letters: one overly optimistic marked by many of the complacent, to the point that refuses to disagree with him, even before the consensus that agrees with him about the role of film and about their objectives and the desire to develop them consistent with trends retrofit of Morocco twenty-first century; and the second letter of anti-cinema and art in general, trying to impose the values of non-aesthetic product film and entered forcibly closed within the political orientations for the future.


In general, if this speech was the latest exploits of some "lapses", which is located filmmakers Moroccans in order to gain supporters and to return us to the era of ideology, the discourse optimistic suffer in turn from being confined in the building optimism on the rise quantitative defined by the production of feature films in our country (long, including and short) in recent years, while turning a blind eye to value the quality of this production and the actual circumstances surrounding it, and ignore the rest of the action film that we can actually show the prospects for the current recovery and to know whether the introduction of the prosperity of a future or it's just vital for the instantaneous short-lived.


So it may be necessary to lay a basis for a new discourse about Moroccan cinema, based on the following observations:


1 - The number of feature films produced between 2000-2009 nearly one hundred film, a figure equivalent to what has been produced during the thirty-one years (from 1968 to 1999); but it means at the same time, the annual rate for the production of Feature Films During the past decade - though risen compared with previous decades - no more than a dozen films per year; a figure less than that which is promoted in the current time (15 films per year), which is fraud annually in order to pass from public opinion (in the past year , for example, added to the films of the tenth session of the National Festival of the movie films two Frenchmen and a documentary film and film video Omazegeyan and film production of 2007 in order to raise the number to 14 while that is produced is actually 8 films; also added to the last session of the Movies 2009 four films produced by year 2010, amateur video to increase the number to 15).


2 - Despite the rise in the number length feature films that are produced annually, the number of good movies with good to show in international festivals remain constant, if not moving downwards (of 3 movies in 2003 and 5 films in 2004 to film only one at most from 2005 to now).


3 - This rise in the number of feature films is not linked to the entry of private investment to the area of film production, but linked to the increase in the amounts allocated by the state to support the cinema five times (from 12 million dirhams in 2000 to AED 60 million at present); thing which means that Fund support has not led to the creation of a dynamic attractive for private capital to this area as far as what led to the adoption entirely on public money. The inevitable result for the development of this type are found film industry expected preference for the directors (who have become at the same time producers and scriptwriters ...) the ease and speed of work without the attention of popular audiences or not turning towards their films do not achieve them for profits, as long as the Fund provides them what they need all that while.


4 - revealed the high number of films produced annually (albeit to only 10 films per year) for major disadvantage suffered by Moroccan cinema is the lack of local capacity is specialized in various professions cinema, especially technical (photography, lighting, sound, editing ...), where most of our directors in fulfilling their films in the foreign technicians often go to them expect to receive some awards Moroccan films at festivals, national or international; which presents a real obstruction to the advancement of any film industry is pending.


5 - Perhaps the obstruction of the major barriers in the way the industry is closing the growing rooms, cinema and the decrease of the number of viewers and ticket sales jumped the number of cinema halls in our country of 240 Hall in 1970 to less than 50 room at the moment (39 Hall, is not available on the terms of the offer good of which only one of 19 Hall of forty-screen). In such case, the rise in the number of films made does not become a mark well-being as it refers to a crisis defined by the film industry in Morocco, and raises a fundamental question: Who is the completion of these movies if the public is against him are watched and their level can not attend festivals in the Arab and international?


6 - and would apply also on the short fiction film, identified in turn, a sort of "recovery" in recent years; where we note that the formula adopted by the Department the guardian of the sector to give business cards for each of the completed 3 short films or feature-length film and one had led to full arena, people have nothing to do film at all, especially in light of the spread of video technologies with ease of transfer of the films made of these techniques to the film, he saw tangle, as they say quality and disappeared amid a huge amount of bad.


7 - in parallel with the recovery and quantitative decrease in movie theaters appeared several film festivals covering all cities and the Moroccan almost an annual rate of not less than 52 festival, any festival every week. However, observed at the festivals, except the major ones such as Marrakech, Tetouan, in particular, they operate an unprecedented chaos, including losing effectiveness needed to play its role in the dissemination of film culture and artistic taste in general. Most of these "festivals" employed depending on the CD "DVD," including the "Festivals" organized competitions and show films without the knowledge of their owners, and there is overlap between some of them (such as organizing film festival Mediterranean short Tangier Although the festival Tetouan allocated in this section before Tangier and the imposition of the same number of years, or payment to the festival is very weak film Bmrtil despite the presence of Festival strong to Tetouan or concentration Film Festival Francophone Safi on the primacy of the Egyptian cinema); this without talking about the organizers of most of these "festivals" (which are supported locally and central) are people who have nothing to do with cinema and art or culture at all.


They show that it is time to review the way in raising the field of cinema in Morocco in order to make this beautiful art tool for opening and modernization and development, including the different categories of society and not limited to elite expatriate limited in number and prospects;, from a new business strategy in this area should be established clear and specific may be suggested, including the following:


- Support configuration Film Festival in the middle and upper levels; and through establishment of the Institute for high film careers, as well as specialized branches within the University of Morocco and in the public school in general, with the introduction of cinema as an essential activity within the activities of the training school;


- Work (centrally and locally and regionally) to re-open the closed cinema halls, renovation and repair to make them able to receive the audience back into the real conditions of Gap and respected;


- Develop mechanisms for coordination between the central film festivals, with the imposition of minimum requirements for licensing organized, in order to avoid chaos and a dismissal of the intruders and respect for the rights of filmmakers Moroccans and foreigners;


- Encouraging private investment to enter the sector through the provision of tax exemptions, as well as important by giving priority in the support fund for films completed primarily .-


- Establishing a real Moroccan film work, which would put an end to lawlessness and chaos prevailing in the field and poor that has become fiercely and spread control on the creative energies of the real marginalization, isolation, and immortality to a silent killer.


In all cases, no escape from dealing with the realities as they are and move away from ideological speech excessive optimism can not, under current circumstances, and only leads to more destruction.

Cinema with high resolution on iPad .

iPad is a micro-computer developed by Aplle.The Arab world youth targets it with great enthusiasm and will, but will they benefit from its offerings namely reading data like books and utile information that IPad has in its system ?.Global voices questions its readers quoting



“Which category of iPad users do you fall in? And does the iPad serve all users such as for business, entertainment, music, children, intellectuals and media? “
Will use the iPad for reading books, and watching videos, and playing games. No, I don't think that it serves businessmen who will need complicated applications which need a complete computer.”



Soon everybody tweets iPad now in Morocco, although this is a poor country and iPad is yet expensive; 881 dollars. Still, what fascinates cinema-goers is its offer to watch movies in high definition without using keyboards or mouse clicking.
Allal EL Alaoui

Amreeka by Cherien Dabis.

Now, Islamic cinema tackles subjects of xenophobia and racism practiced in the west towards the Muslim world. Of course, this is happening nowadays, because apparently, there is a vicious fight against Islam , unfortunately coming from America.


Recently,Bollywood has produced a fantastic movie called “My name is Khan” starring Sharukh Khan treating the same curse of the twenty century ; insulting and mal -treating Muslims around the world. Now it comes another movie; treating the same thing which is “Amreeka” directed by Cherien Dabis, an intelligent and moving film shot in Illinois.

This is a smart movie talking about a Palestinian woman who goes with her teenager son to America to see her sister; but unfortunately she is trapped there penniless .So she has to work in order to face the burden life that the states is introducing to her knowing that she comes from a colonized and painful country, Palestine .Her son joins school where he faces himself bitter classmates who disguise him continuously.



“Amreeka recalls Dabis’s family’s memories of their lives in rural America during the first Iraq War. The film stars Haifa-trained actress Nisreen Faour as Muna, and Melkar Muallen plays her 16-year-old son, Fadi. Also in the cast are Hiam Abbass, Alia Shawkat, Yussef Abu-Warda and Joseph Ziegler. Written and directed by Cherien Dabis, Amreeka was produced by Christina Piovesan and Paul Barkin. Alicia Sams, Dabis and Gregory Keever were executive producers; Liz Jarvis and Al-Zain Al-Sabah were co-producers.”

Hakim Baidaoui’s Seagulls.

SNRT "cahiers de charge" is active this year 2010 ,the fact that that now television encourages directors to produce short and long features films.

Hakim Baidaoui has got his gift to direct his short movie called Seagulls written by said Mrini. Seagulls is a story about a poor family whose protagonist isa mother who apparently dreams to immigrate illegally to Europe without thinking of her sons. As matter of fact,the mother has to sell her house and eventually leave her two sons abandoned and homeless to face hard life.




Hakim Baidaoui’s has started his career as a cameraman working with professional technicians as Souhail Ben Marka ,Rashid Baya and Driss Mrini.He has learned a lot from his TV series called Moudawala which he thinks that it has been like a lantern path to light his drama works.

“La Beauté éparpillée “ by Lahsen Zinoune

Scattered Flower literally means in French “La Beauté éparpillée “ shot in 2007 and directed by Lahsen Zinoune;a dancer and choreographer who has practiced his dancing in Ballet royal de Wallonie in France .Lahsen is a passionate artist whose interest goes to rhythm; music and tempo and these elements are reflected in his movie knowing that Lahsen has worked as a choreographer with Martin Scorsese and Bertolluci.
Moroccan cinematography should be proud to have in its library this film of great intimate feelings, emotions and love.


La” Beauté éparpillée” derives from a true story of a salve woman who has worked at the Glaoui Palace in Marrakech, unfortunately bought to notable man called Tazi in Rabat. So, this salve is called Scattered Flower a passionate woman who desires music and is called to play for lords and Moroccan Bourgeois to touch their intimate souls through lute and its sounds of Nobats.


The scene is open by a wide angle revealing a bandit who buys slaves in Sahara played nicely by Mohammed Afifi.The density of scenery is too bright as it continues to show that Scattered Flower and other slaves live in dark places whereas the master is in the bright places .This master,Mohammed Meftah, plays himself the lute backed by our great musician Said Chraibi (see the picture above).The master falls in love with the Scattered Flower, sleeps with her very often, the slave gets pregnant ,but he can’t make her loose, because he is possessive and egoist . This fact makes him feel disabled to live without her especially when the slave is forced to abort her baby. She becomes then an inaccessible soul especially to the master who agrees to send her to a psychological hospital because she is so sick and as a result the master himself falls down and is damaged by his decision. The salve is finally liberated and the Palace of the master is ruined.

Lasen makes an intelligent movie for Moroccan cinephilia and that is for sured.Mohammed Chokri, a critic states that Scattered Flower is a great movie mingled beautifyyly with esthetic and poitic craft .Lahsen’s use of colors ncemara composition ,cinematography and costumes makes us again ready to turn to go to movie- theatres .

Allal El Alaoui

http://www.maghrebspace.net/Music/Said%20chraibi/Ecouter

Ourzaziwood extra hero : Naceur Oujri

in our cinematic visit to Ourzaziwood, we were lucky to meet one of the famous Extra / actor in Morocco ;Naceur Oujri.He is born in Ouarzazate and loves so much movies.His entire family in Ourzazate is cinephile and have joined him in his artistic carreer to work in many national and international films as extra-actors and actresses .We are expecting from him to send us his professional life to be blogged soon.

In particular via possible gifts of the productions audio-visual or cinematographic of the world which will come to turn in our beautiful area, we wish to rebuild our cinema. To constitute a cinematographic inheritance. There exists indeed! We wish to diffuse with the inhabitants of Ouarzazate the whole of the films which were made since 1939. To be done, we will have to restore our old cinema, to constitute a video library, purchase of armchair for the spectators, acquisition of a projector and related material. Furniture of filing. Help us to build this culture cinema. Thank you.Naceur Oujri.




For those who are interested to contact Naceur Oujri here is email :

marocmovies@gmai.com
website : www.marocmovies.org

National media Tv jobs

It is believed that SNRT officials are thinking to buy mini-skater supposed to be a soft moving little machine that would help out SNRT technicians to have better quality in movement and picture positions






FMR

Reda Danane questions the world through his magazine "Amabaad" أما بعد"

Apocalyse


دنان رضا

RAMADANE MABROUK ABOU AL ALAMAIN HAMOUDA

Titre du film: RAMADANE MABROUK ABOU AL ALAMAIN HAMOUDA
Interprétation: MOHAMED HINIDI – SIRINE ABDELNOUR – EZZAT ABOU AUF – LAYLA TAHER.
Réalisation : WAEL EHSAN
Genre : Comédie
Durée du film : 90 minutes.


Synopsis Film: RAMADANE MABROUK ABOU ALAMAIN HAMOUDA

C’est la vie de tous les jours, rempli d’humains et de non humains se combattant pou survivre, au rythme d’une comédie qui aborde les problèmes de l’enseignement en Egypte et de la jeunesse adolescente d’aujourd’hui telle qu’elle est.

Les aventures comiques de RAMADANE un honnête professeur d’arabe et autour de lui les étudiants, les professeurs, les parents, un album de la société d’aujourd’hui et du mystère de l’adolescence.
La liaison de RAMADANE avec une chanteuse l’entraînera à remettre sa réputation, ses principes et même son existence en question.
Des incidents drôles, parfois dramatiques éclatent.

DATE DE SORTIE :

Le 17 Février 2010 au CINEMA LYNX – CASABLANCA
Le 17 Février 2010 au CINEMA RITZ – CASABLANCA
Le 17 Février 2010 au CINEMA ABC – CASABLANCA
Le 17 Février 2010 au CINEMA ROXY – TANGER

France 5 speaks Moroccan this coming June.

The Moroccan dream is not to be achieved in Ouarzaziwood, but to see it within Morocco itself; more glimmering and beautiful. This dream is going to be translated through a 52 film documentary titled “Destination Maroc” directed by Demis Domel and his magical crew belonging to Electron Libre Production whose co-ordinator is Mohamed Alaoui, There are two Moroccan SNRT professional technicians joining the French team,Allal El Alaoui and Tayeb Rguib.


In fact, SNRT and France 5 has agreed to work on this idea in order to diffuse it in France 5 this coming June/ July, 2 million spectators are expecting to watch this film documentary whereas national television in Morocco, 6 or 8 million people are going to dream within beautiful images that Demis Domel has made throughout his mere challenge to achieve high technique and artistry.

The idea of this film documentary is to convey to the world that Morocco is original, developing and beautiful especially knowing that it has taken its challenge from its traditional roots hoping to come to a perfect state ;indeed talking about a state totally merged into tradition and modernity.


Throughout the trip, a mini-bus driven by a moustached guy named Abderrahim, trudges along through difficult mountains of Ouarzazate and continues to lurk within sherifian cities such as Marrakech ,Chefchaouen,Tangiers,Rabat ,Casablanca and Agadir. Although the voyage was a little different for Perrine, an editorial journalist, she states each time the climate changes from cold to warm that It is wonderful and magical and Moroccans must be lucky to live in this beautiful land already admired by Nansel Mandela, Paul Bowls ; Mao Tsi Tong and Churchill.


No doubt, the impact of magical Morocco is great on famous painters such as Delacroix, Matisse and Mohamed Charkaoui who were amazingly inspired by the warmth of color found not only in Kasbahs , ramparts but also within behaviour of local people revealing both heat and beauty .This fact of course interests many film-makers and producers to install in Morocco huge studios to make movies like The Gladiator and Lawrence of Arabia .

Allal EL Alaoui

SNRT and CCM "autorisations" are unsufficient to shoot in Morocco.

Didier Ouannoughi has come to Morocco with a brilliant french team shooting a 52 length film documentary about Morocco called “Destination Maroc”. Didier is working as the first assistant-director with Denis Dommel and Mohamed Alaoui backed by a SNRT professional team such as Rabia tv cameraman ; Taib Rguib and Al Oula AD; Allal El Alaoui.

Didier is willing to come to Morocco again because he likes cinema projects,the warmth of Moroccan people especially local media guys .Shooting in Morocco with SNRT and CCM autorizations Dieir states, is adorable because it makes things easier,but sometimes you are not allowed to shoot even if you have these kind of media permits which is a thing that Didier would like to convey to Moroccan authority and media responsibles .

Allal El Alaoui

Résumé de Didier Ouannoughi

Deceived by Obama politics to blockade True Arab media

Media ministers of the Arab world are gathering today to talk about how to blockade TV channels like Al Jazeera, Manar and AL Qods known to be channels of Al Moqawama ( Resistance Channels ) .The Arab street is totally grieved about this meeting, unfortunately backed by Barack Obama Whose speech of peace between Islam and the west was recently diffused from Cairo and indeed inserted hope into the hearts of million of Islamic people.

Barak Obama has lost his political popularity not only in America, but also in the Arab world. simple people are deceived of mediocre performance that Mr president has been showing especially now local media in the states criticize severely his one year office in Washington without achieving remarquable political success .


Allal El Alaoui

Outrageous SNRT employees cry against cut salaries

There is something fishy in the halls of SNRT,states a CDT militant whose voice becomes horse today as thounsands of Outrageous SNRT employees stand right at the main entrance of Moroccan national television protesting agaisnt fiscal frauds believed to be practised in the heart of SNRT administration.

Just before several hours of the new year 2010;nearly one thounsand of SNRT employees stand hand in hand crying like hell because somebody has cut out , without mercy, half of their salaries.CDT has organised today's meeting as to protest against the slow and unsignificant behaviour of SNRT bureacrats.

Poeple are hurt of this happening especially they say ,thanks to this annual salary ,they take their kids away for fun and some entertainement .During the protest,some women burst into tears while others prefer to whistle using thier mouths just to show the successful solidarity of SNRT employees.SNRT has finally agreed to solve the problem by returning the usual and full salaries to its owners and promised not to repeat this error again.However, too many people prefer to create a commity to investigate on this fraud ,while others angrilly prefer to write a draft report to the king of Morocco begging his majesty to interfere for the sake and the interest of the employees.

Moroccan engineer Marches to Gaza from Rabat.

A Moroccan engineer has bravely boycotted Israeli training courses to be given at Sofrecom Maroc and Sofrecom Services in Rabat,the capital of Morocco. The engineer was immediately fired because he refused to work with zionists who slaughtered million of women and children in Gaza last year.

This case of this engineer is controvercial now in Morocco as the civil society is moving to cry out for the sake of practicing Moroccan law by this french firm named Sofrecom found in Agadal in Rabat.It could be another political crisis like the one of Aminato Hayder,a freelancer states.




The Freedom March has the participation of many noteworthy people, including author Alice Walker, Syrian actor and director Duraid Lahham, Roger Waters of Pink Floyd, and French rap group MAP, amongst others.Amongst the participants is 84-year old Holocaust survivor Hedy Epstien.

Morocco and Egypt will disappear from earth

Instead of activity, there is agony.According to ecological scientists, Morocco and Egypt among Arab countries will be soon disappearing from earth by flood water.The world is not willing to save millions of humanity.Cop 15 is plunged into political struggle between the strong and the weak. Deceptions grow greatly .Please; react to save our world .

Mangala by Mahboob Khan

Mangala Al Badawiya,translated into Moroccan dialect by Ibrahim Sayah, was a popular movie loved by Moroccans right after in the independence .Many film makers were inspired by this woderful epic movie namely Mohammed Osfour,Ibrahim Sayah .


Mother India (Hindi: भारत माता, Urdu: بھارت ماتا) is a 1957 Bollywood film directed by Mehboob Khan and starring Nargis, Sunil Dutt, Rajendra Kumar and Raj Kumar. The film is a remake of Mehboob Khan's earlier film Aurat (1940).[1] The film was fifth Indo-Russian co-production, and was preceded by Pardesi (1957), also starring Nargis Dutt.[2] In 2005, Indiatimes Movies ranked the movie amongst the Top 25 Must See Bollywood Films.[3] The film ranked #3 in the list of all-time box office hits.


The film was India's first submission for the Academy Award for Best Foreign Language Film in 1958, and was chosen as one of the five nominations for the category. The film came close to winning the award, but eventually lost to Frederico Fellini's Nights of Cabiria by a single vote



Mother India – The Cinema of Mehboob Khan
July 30, 2008 — shakila
Would it be true to say that the song sequence as a narrative convention of popular Indian cinema cannot be understood in terms of the conventions of the western, Hollywood dominant realist tradition? In Mehboob Khan’s Mother India released in 1957, I would say that this is a fact. Mehboob Khan’s mother India was one of the first films made in Technicolor in India and was nominated for an Oscar.

This article looks particularly at one of the song sequences “villagers don’t abandon the land of your birth, mother earth calls out to you with imploring hands” showing a complex cyclical experience of a village surviving on the brink of famine and floods and appears half way through the film. .

At its best, the song sequence is an integral part of the narrative and mise-en-scene of popular Indian film not merely a musical interruption of action.

“The songs in the India film are not mere musical interludes in an otherwise pedestrian film – at least not some of the best films. They are integral to telling the story in a fantastical and enchanting way. The songs express the inner world of a character – his or her identity, longings, dreams and dilemmas. Song Pictorisation* is the high point of Indian film and every film enthusiast has a galaxy of memories, an amalgam of image and song indelibly stained in their mind and hearts…” E. Johnson; Musical Movies Artrage No.19

The ‘conventional’ western view of Indian cinema can be seen in John Russell Taylor’s article on Satyajit Ray, “Ray is a great director (it is a prerogative of all great artists, to take us constantly by surprise – Ray is still a solitary figure, a unique talent in Indian Cinema… Background was highly literate and artistically sophisticated”. J R Taylor on Ray – Cinema a critical dictionary.

Although Taylor’s view of Indian cinema is considered to be outdated, critically, not may commercial Hindi films have been appreciated by non-South Asian audiences, despite the huge success of Hindi films at the box office in the UK.

Mehboob’s Mother India was a ground breaking film and can be seen as a departure from subjects being dealt within the Bombay film industry at the time. The film explored the relationship between farmers and their landlords. The storyline is very simple: an ordinary village life exploring the complexity and simplicity of such a life along with the communal pain and joy shared by all. The only outsider is the moneylender.

Mother India was shown in countries such as Spain, Greece, Egypt, and the Soviet Union and was extremely popular. In Spain, the film has been reported to run in the theatre for months: “This international dimension is revealing in terms of shared experiences of many societies in transition from peasant culture with their oral-folk tradition to industrial city based state and the anonymity of urban life. In Spain for example Mother India did good business in Andalusia where the power of the landlords over illiterate day labourers is similar to that portrayed in Mehboob’s masterpiece.” E. Johnson Artrage No.19

The story of Mother India is of Radha, the central character played by Nargis. She marries at a young age and is a peasant from a peasant community which is in constant debt and depends largely on the land. Her husband, played by Raj Kumar loses both arms in a farming accident and leaves the family in shame as he can no longer provide for them. Mehboob cleverly tackles the element of masculinity of man as head and provider for the family by showing the woman, Radha, who has to bear the shame and tries to sustain the dignity of the family as a whole. She is constantly in debt to the moneylender and faces a lifetime of hardship and struggle against poverty.



The film itself is a flashback. In the opening sequence we see Radha as an old woman who is requested to open the irrigation ditch. We see a close-up of her aged and wrinkled face which is followed by a dissolve of her memories of her wedding day. In the sequence at the end of the film, we see Radha, as we go back to the opening shot of the film, Radha as an old woman/the mother of the village, lifting the barrier to the water through. As the water rushes out, it turns into blood that has been shed in her past and flows out to water the fields.

In the song “villagers don’t abandon the land of your birth, mother earth calls out to you with imploring hands”, the sequence expresses the central themes of the film:

1. The earth as the “mother” of its people – Radha’s appeal to the villagers not to abandon the flooded land. The village is seen as the foundation stone of Indian society at the climax of the sequence where the villagers form a map of India with the harvested millet and at its heart is a direct reference to the Congress party’s slogan of the period “the village is India”.

2. Radha in turn becomes the mother of the village and by extension a symbol of rural virtues – not just rural virtues but feminine virtues where women can be relied upon to sustain the family; the community and by extension the whole of society. Radha is the woman who struggles against all odds to keep the family together, enduring hardship and suffering while resisting the importuning of the moneylender. Radha herself pulls the plough when there is no Ox.

3. The internal time-scheme of the song sequence is very complex: dissolves are used to superimpose continuity in a sequence which shifts between the past and an idealised view of the past/present/future. One dissolve contains a transition from Radha pulling the plough guider helped by her infant sons to the roles reveres and we see Radha who guides the plough while her fully grown sons pull it. They are now able to support her and the point is made visually clear as they lift her up and carry her on their shoulders.

4. The recurring shots of a wheel suggests the cycle of the season, from the sowing of the seeds to reaping the harvest and the cycle of human life from childhood to old age. Dissolves are used to depict the progress in time, past and present as opposed to a cut which would signify a break in the progress of the characters and disturb the smooth transition achieved by using dissolves.

In the sequence we see Radha’s past life, her lost husband, the progress and development of her children and finally we come to the present: ““villagers don’t abandon the land of your birth….” Sung by Radha after the village has been destroyed by floods. In the song Radha begs the villagers to stay and work on the land. Radha cannot leave as she is certain her husband will return to her. The character of Radha is ‘Mother India’. She is the land and the harvest – she gives and finally takes life.

In the beginning of the sequence we see Radha feeding the children with some roots she had gathered, this dissolves to a field, flooded, and an early morning sky. She is approached by villagers to leave, but refuses. We see a cut to her face against a clear sky and is singled out. Here Mehboob uses dissolves to create a rhythm of visuals – we see Radha looking at the villagers, a superimposition of her head on the villagers leaving, her head is the sky – she is both the sky and the earth. At this point she is visually separated from the villagers. These shots of her clearly involve the symbolism of Soviet posters. This slowly dissolves to the villagers who turn back and she is surrounded by them, becoming a part of them and they work together to clear the land. Radha is at one and the same time the poorest and least significant member of the community and symbolically its leading figure.

There has been progress, the family has bought an Ox, so Radha does not need to push the plough – nevertheless she is there in the field, feeding her sons as they work and not eating herself, depicting motherly love and self-sacrifice. The villagers in unity plough the land, with fast and hard cutting we quickly move to the harvest time. Mehboob takes us to the wheel and a flashback. Again we see poster like images. Radha and Shamu (her husband) are together again, dissolves are used to set the rhythm, Radha holding the millet, becoming a symbol of fertility. Several shots of men and women in the fields holding axes and sickles, becoming moving posters – Mehboob takes us back to the wheel, back to the future, again we see poster like images, new relationships being formed.

The suggested ‘leadership’ of the village is Radha holding the millet backed by her sons with the villagers in the background and a dissolve to the map of India at Harvest time, with the millet in the middle of the map representing the heart of India. Here Mehboob’s political stand becomes clear that of a Congress Party supporter. Mehboob helped to propagate political ideology and the famous songs of the Congress Party “the village is India and India is the village”, which in the 1970’s was grotesquely echoed when “Indira” became India and India became “Indira”. Ironically Sunil Dutt who played Birju, one of Radha’s son’s also became a successful political with the Congress Party (and was also married to Nargis).

In the final dissolve to the village we see more circular motions. We finally come back to reality at the end of the sequence by the arrival of the moneylender, suggesting inevitable suffering and hardship.

Clearly Mehboob has portrayed and reinforced the status and ideological image of womanhood, fixing it within the tradition of the sub-continent: “a virtuous village woman who faces extreme hardship so that her family can survive in dignity. In the character of Radha we see strength, determination, devotion and virtue. Radha becomes a model of the mother figure for the entire village because of her courage and sense of honour. Mother India is also important for its portrayal of the tribulations of rural life”. Channel Four publicity for their Indian Cinema season in the 1980’s.

We see one of several shots suggesting unity, a unity of men and women, but only on the fields; of men and women walking parallel in the Mela (village fair). At the Mela we see more wheels. The Mela here represents collective and individual happiness and celebrations. In the Mela, Shamu and Radha are walking around with the children. Radha walks directly under a plough and Shamu walks ahead and stops to stroke a bull, signifying the loss and hardship to come.

In an extraordinary dissolve, a generation passes. Mehboob uses dissolves to move time forward. Radha is pulling the plough helped by her infant sons. We see the transition in time when Radha falls down and the children rise from the earth as adults lifting Radha up. The roles are reversed; she is no longer the provider and supporter. Mehboob uses music to suggest triumph – overcoming hardships. Again Mehboob uses dissolves to suggest the shift in seasons and the continuity/solidness in the relationships. Through a series of dissolves, the sequence capitalises on the wheel as a symbol of time.

*The concept of pictorisation – 1) not an interruption of action, it compliments the action 2) can provide an emotional gloss on the narrative, a subjective point of view, which cannot be contained within the narrative

This article first appeared as an essay in 1987 as part of Film and Video degree at LCP – Essay year 1 – Term 2: “analyse the relation between cinematic (mise-en-scene, editing, lighting, framing etc) and meaning in a sequence from a film of your choice”.

Xenophobia in 2012,a movie by Roland Emmerich

Hollywood is not producing intelligent cinema .That is for sure.2012 is an American movie directed by Roland Emmerich that talks about the end of the world through collapsing buildings, jumping flaming cars, planes falling down and huge waves destroying Titanic like ships .Surely, the acting was not at all convincing but to tell you the truth the images made by soft wares are tremendously brilliant.

2012 starts its first scene somewhere in India .Earth is confirmed to be soon destroyed and this news is announced by some Indian and American geologists .Hollywood knows the reason why to involve into India, may be 2012 producer is afraid of Bollywood to remake much better movie than his .Yes, it is true that 2012 is meant only to entertain us, but please start to entertain us intelligently.

Arab Cinemagoers become aware of bad movies such as the one we are talking about and may soon there will a major boycott of Hollywood movies , because simply Hollywood is racist;anti Arab,anti women,anti humanity but pro Jewish who like The independent days movie find the last solution to kill the bad guys and you know who are the bad guys.

Please, look at this poetic image of the Hero standing up in the middle of the poster facing a huge wave to come.Well, Jewish producers remind us of The Ten commandments ‘ the beloved Moses splitting the sea via the Almighty power. But what strikes me most is that “2012 humanity” includes only Americans some Asian People and European Union, however third world people are totally ignored .Is 2012 trying to convey to us that third world people are persona non grata even during the end of the world and the apocalypse time or is it only a deliberately artistic error just to say that we people of the north are the ones who might survive?


Allal El Alaoui

P.S : I am not anti -jews but i am with objective and lucid ideas

Filming anthropoligical Oulad Amrane in Doukkala.

Evey Moroccan is a Doukkali or somehow runs in his or her blood some Doukkali typical characteristics.Doukkala-Abda is in the centre of Morocco and is a land known of its fertility like a beautiful Greek Goddess, otherwise like Shiva the merciful Indian Goddess whose hands are bound to give for the sake of some live species called the human beings.

No doubt Doukkala-Abda has been a sacred place for writers,adventures,peasants and course anthropoligists .Doukkala is named proudly the mouth of Morocco because, being a fertile land ,has managed to feed millions of Morocans.This fact urges Malika Hatim,a SNRT journalist,dig into the deep roots of doukkala in order to introduce through the image, fertility via a typical wedding from a “Douwar”, a small village called Oulad Amrane (in arabic : - اولاد عمران,- situated on your way to Youssoufia,neighborned majestically by some honorable irrigation zone tribes belonging to Al Jadida province namely Sidi Benour ,Laaraya, Laghndra ,Ouled Sbaita ,Sania Berreguig ,Gharbia ,Oualidia, Oulad Frej, Khmis Zemamra ….


Hatim has done her anthropological search about this little town because the irea is not only rich of its rituals and traditions ,but it is also illuminated and benidicted by its Sufi Sheik Mohammed Ben Taib Al Bouazzaoui whose disciple was Moulay Bouchaib Addoukkali, an honourable and spiritual Sufi himself well respected by Moroccans especiallly Doukkalis .


Doukkalis are beautiful people, harsh talking, but hard like their land and soft and fertile just like their women. They are known to have a solid stomach .They can proudly eat couscous after having devoured extra food referring to a Moroccan saying ”Doukka Wakkala fisma Rekkala “ .Globalisation has not affected them too much apart from some catgets referring to PCs,mobiles and sattelile dishes favouring only to listen to some typical Moroccan music naming forexample , belly dancers group called ِاChikhate,Dakka Haouzya,Dakka Kharboucha, Hasbaoui etc .,their style of wearing handsome “Djallabas”,”Ghandouras” or “Selhams” come from their resepcted Sheik ,Moulay Bouaazaoui; an elegant illuminator and smart leader .Unlike other Sheiks and Sufis who wore shabby clothes ,Moulay Bouaazzaoui put on nice clothes which has tremendous impact on simple peasants and fortunate doukkalis.By the way ,horses are lovable animals in this region.



SNRT ,with great devotion and light of intelligence, accepts to produce Malika ‘s project on Oulad Amrane.It is a story of a typical wedding in Doukkala gathering two young Doukkalis ,just met within spontaneity and later get married in a romantic way passing through magnificent rituals using sacred elements like milk ,bread, Hannah, dates and sugar. These items are used in traditional weddings in order to chase evil from fertility.
Artistically speaking, the job how to transfer this story into the image is a job of Mohammed Ben Ramadane and his technical crew .Ben Ramadane is the director of this documentary-fiction project titled Alhawdaj which is a 52 minutes length.


Professionally speaking ,Mohammed Ben Ramadane was a truquiste editor , first recruited in SNRT ex - RTM in 1991 .Although he was primed by some Canada festival "LE PARTAGE DES EAUX" working with MAJID RECHICH ,he was obliged to go to Dubai television holding, because that time in Morocco, national television was governed by police .Freedom of speech was restricted and was not too much respected.Some technicians criticise this choice of Ben Ramdane, although he has the charisma of a smart metteur en scène, besides he has an interesting cultural background, the fact he has realized too many artistic programmes either locally or intenrantionally,others like myself praise this choice because they see in Mohammed the right guy to fulfil the artistic mission because simply it is a matter of trust and intuition . Good Luck.
Allal El Alaoui

Alhawdaj crew

Director : Mohammed Ben ramdane.
Writer : Malika Hatim.
First assistant-director : Allal El Alaoui.
Second assistant –director : Said Laaroussi
First cameraman : Abdessalem El Mansourri
Cameraman: Said Sriti.
Sound technician : Aziz Laamrichi.
Production executive : Rashid Mhani
Salah Eddine
Production designer : Dahman
Dirctor of Photogarphy : Mohammed Belmiloudi
Co-ordination : Tehami Sertali
Production : SNRT



الاسم بالاتينية اسم المدينة أو الجماعة عدد السكان (إحصاء 2004)
El Jadida الجديدة
144.440
Moulay Abdallah مولاي عبد الله
45.780
Sidi Bennour سيدي بنور
39.593
Azemmour ازمور
36.722
Haouzia حوزية
34.607
Laghnadra الغنادرة
32.091
Bouhmame بو حمام
30.540
Saniat Berguig سانية بركيك
30.286
Chtouka شتوكة
28.939
Sidi Ali Ben Hamdouche سيدي علي بنحمدوش
28.685
Oulad Hacine أولاد حسين
27.475
Mettouh متوح
25.587
Oulad Sbaita أولاد سبايتة
24.967
Sidi Ismail سيدي إسماعيل
24.569
Lgharbia الغربية
23.074
Oulad Ghanem ولاد غانم
22.342
Oulad Aïssa ولاد عيسى
21.779
Oulad Rahmoune
La ville constitue un centre urbain pour les communes avoisinantes de LAGHNADRA ,Ouled Sbaita ,Sania Berreguig ,Gharbia ,Oualidia ...

Shabka of Morocco

Un pour tous et tous pour un, telle est la devise des Shabkeur .Rien ne les arrêtent. Ils nous reviennent en force cette fois si en compagnie de l'une des voix élites marocaines (MERYEM BELMIR) dans un morceau intitulé "9essat Denya" .Cette chanson au rythme oriental et nostalgique met en propos un contenue directe et authentique. <9essat Denya> nous parle des différents milieux sociaux, les contraintes que vivent chaque personnes au sein de notre communauté. Ce single nous révèle le paradoxe qui envahi notre monde ou tout est antipathique : prospérité et misère. En écoutant « 9esat Denya » vous remarquerai que nos 5 jeunes hommes aussi minutieux qu’ils sont ne baissent pas les bras devant ces intolérances ne serai-ce que pour l’espoir de changer pour le mieux. Ecoutez et savourer ce single inédit qui s’aura réveillé en vous l’estime envers la vie. La sortie du clip du nouveau tube est prévue en début 2010 Inchallah. SHABKA, ce groupe formé de cinq membres a su séduire un large public et cela depuis leur début en l’an 2000.Avec un travail successive et acharné, ils affirment leur mérites. En exclusivité les SHABKA’S surgissent leur talent afin d’émettre une vibration d’extase. Manager du groupe SHABKA Otmane +212 6 61 30 82 93 www.shabka-fes.com communiqué de press-SHABKA

The last word belongs to Mehdi Ben Barka.

France and Morocco are responsible of kidnapping Mehdi Ben Barka.The fifth republic of France is explicitly responsible of rendering Morocco as it has become today. Too many poors, too many debts, injustice everywhere and infrastructure of Morocco is considerably fragile. Today, Morocco has no political opposition at all apart from independent press which is ferociously attacked by the authority.

Mehdi Ben Barka was kidnapped in France in 29th of October 1965 in Paris. Too many countries are involved of this shameful killing namely Israel, The United States of America, France and obviously Morocco. Mehdi was about to organise the three continents summit called Ospaal which is an organization of Solidarity of the People of Asia, Africa & Latin America .The meeting was about to be scheduled in Cuba .Those countries involved of kidnapping Mehdi were too much worried about the happening of the Ospaal summit because they know that the conception of colonizing poor countries are about to vanish.

The family of Mehdi Ben Barka, Moroccan people and the free world are still waiting to know the truth. CIA, Mossad and DST are still hiding secret documents about this political slaughter of this third world leader knowing that local and international political parties are using Omertà law about this affair. Ben barka was called proudly Mister President and the dynamo of Morcco,because he not only presided the party of independence and later it had become Union of popular and social party ,but he has also political visions to avoid third world countries from injustice ,colonization and dictatorship.

Allal El Alaoui

Moroccan town called Kenitra goes to cutural cinema