Salem was born on 23 July, 1927 in Sudan, where his father was serving as an officer in the Egyptian Army. He graduated from the faculty of applied arts of Cairo University.
The young Atef Salem was introduced to the professional world of cinema literally through a back door, at Studio Nassibian on Faggala Street. He befriended the studios guard, one Amm Gharib, who would allow him to slip in and watch the shooting of films. Thus, he was hiding in the shadows, watching the filming of the classic Intisar Al-Shabab (Youth’s Victory) in 1940, which starred singer and musician Farid Al-Atrash, his sister Asmahan, comedian Hassan Fayeq and the grande dame of Egyptian theatre Fatma Rushdi.
And it was Amm Gharib who gave Salem his first piece of professional advice: “If you really want to enter the world of cinema you should meet Ahmed Galal.” Galal had founded his own studio, Studio Galal, establishing himself as one of the major players in the industry.
The young Atef… read more
Salem was born on 23 July, 1927 in Sudan, where his father was serving as an officer in the Egyptian Army. He graduated from the faculty of applied arts of Cairo University.
The young Atef Salem was introduced to the professional world of cinema literally through a back door, at Studio Nassibian on Faggala Street. He befriended the studios guard, one Amm Gharib, who would allow him to slip in and watch the shooting of films. Thus, he was hiding in the shadows, watching the filming of the classic Intisar Al-Shabab (Youth’s Victory) in 1940, which starred singer and musician Farid Al-Atrash, his sister Asmahan, comedian Hassan Fayeq and the grande dame of Egyptian theatre Fatma Rushdi.
And it was Amm Gharib who gave Salem his first piece of professional advice: “If you really want to enter the world of cinema you should meet Ahmed Galal.” Galal had founded his own studio, Studio Galal, establishing himself as one of the major players in the industry.
The young Atef Salem buttonholed Ahmed Galal in the elevator to his office and introduced himself. Galal, impressed by the young man’s eagerness and sincerity, appointed Salem as second assistant director on Magda starring the much lauded actress (and Galal’s wife) Marie Queenie.
That was in 1944. Magda launched Salem’s cinematic career and he went on to assist Ahmed Badrakhan, Henri Barakat and Helmi Rafla. It is to Galal and Badrakhan, however, he later recalled, that he was most indebted.
In 1953 Salem directed his first film, Al- Hirman (Deprivation), starring the child prodigy Fayruz. The film was innovative, with 70 per cent of the scenes shot in the open air, a departure from Egyptian films which at the time were studio bound. Salem went on to direct some 54 films.
Although his filmography is wideranging, his favourite genre remained the socio-drama. Indeed, many of the storylines of his films originated in the crime columns of Egypt’s daily newspapers. Starring Farid Shawqi and Huda Sultan, Ga’aluni Mugriman (They Made A Criminal of Me, 1954) caused much controversy when it was released and led to the promulgation of a law removing first offences from the criminal record. It also won Salem the state award for directing and LE500.
Three of his films were written by Naguib Mahfouz: Ga’aluni Mugriman , Al-Namrud, and Ihna Al-Talamdha (We Are The Students).
Many of Salem’s films have become classics of Egyptian cinema, including Sira’ Fil-Nil (Struggle on the Nile), Ayyamna Al- Hilwa (Our Happy Days), Ayna Aqli (Where is My Mind?), Yawm Min Umri (A Day of My Life), Wa Mada Qitar Al-Umr (And Life Went By), Wa Da’ Al-Umr Ya Waladi (And Life Was Lost My Son), Al- Hafid (The Grandson), and Al-Nimr Al- Aswad (Black Tiger). He also directed historical dramas — Al-Mamalik (The Mamlukes) and Khan Al-Khalili.
In Qahir Al-Dhalam (Victor Over Darkness), based Taha Hussein’s autobiography, Salem introduced actor Mahmoud Yassin in the challenging role of the blind author. In Umm Al-Arousa (Mother of the Bride) (1963), arguably his most popular film after Ga’aluni Mugriman, Salem dared to introduce a by then aging Emad Hamdi in the role of the father of the bride. Hamdi had long been Egyptian cinema’s favourite hero. His success in such a new role was repeated years later when, in the mid- seventies, Salem cast a similarly aging Farid Shawqi in Wa Mada Qitar Al-Umr.
The director promoted many young talents and gave them starring roles — Zubaida Tharwat, Nabila Ebeid (to whom he was married at one point), Mahmoud Abdel-Aziz (whom he introduced to the cinema in Al-Hafid), Laila Elwi, Fardos Abdel-Hamid, Ihab Nafie, Hala Fouad, Mustafa Fahmi and Wafaa Salem among them.
Salem suffered a stroke three years ago while shooting his last film Fares Dahr Al-Khayl (Bare-Back Knight). He returned to the studio months later — in a wheel chair — determined to finish the film. And he did.
Fares Dahr Al-Khayl recounts the story of a British war widow travelling to Al-Alamein in search of her husband’s grave. Unable to locate it she begins a long journey to discover his fate, her only clue being his nick-name, the bare-back knight. The film has been aired on several Arab channels and will soon be released on Egyptian film and television screens.
Salem received many prizes throughout his career including a golden medal for his film on the Yemen Revolution and another for his film on the High Dam. Fares Dahr Al-Khayl won an award at this year’s Cairo Radio and Television Festival and he has been an honouree of the Cairo International Film Festival.
Despite the awards and prizes Salem spent the last years of his life in growing obscurity. Following press reports publicising the problems he faced paying hospital bills the prime minister’s office offered that the state foot a large percentage of the bill. During the final months of his life he had few visitors apart from his granddaughter and her husband. His masterpieces, however, will always be remembered by devotees of Egyptian cinema. —Al Ahraam
