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Aziza Ameer's name is closely associated with the history of Cinema in Egypt. Most of the leading stars at various stages are indebted somehow to this pioneering woman, who daringly embraced onto this industry, which was, at that time, too tough for women.
Background
Mofeeda Mahmoud Ghoneim, who came to be known as Aziza Amir, was born on 17, 1901, in Damietta.
As an orphan, she moved with her family to Alexandria, then to Cairo. Although she did not receive any regular schooling, she was self-educated in the arts , music and French language.
She was sponsored by a prominent political, literary figure, who took her with his family in a tour to Europe, where she had the chance of acquainting herself with various cultural and artistic events, in addition to theatres and cinema studies.
First stages on the Stage
In 1925, Mrs. Ameer came in contact with the famous actor and director Youssef Wahabi, who offered a role in his play "False Glory". After working for one season with Wahabi's troupe (Ramses), she moved to other troupes such as the Arab Acting Troupe and Naguib Ar Rehani's and back to Ramses Troupe. Her last stage role was Brisca in Tawfik Al Hakim's play Cave Dwellers directed by Zaki Tolaimat for the National Troupe in 1935.
Early Experiments with the Cinema
Mrs. Ameer's involvement in the Cinematographic art started with an interesting story. It so happened that Aziza fell ill and had to stay in bed for some time . To cheer her up, her husband bought her a small film projector, so that she could enjoy watching foreign films at home. Fascinated with the idea, she bought a film camera and started shooting home films for presenting at home
Further Involvement In early 1926, Mrs. Ameer made her first experiment in film production; The Call of God, which was re-produced under the title Laila. The importance of this film lies in its being the longest fiction film.
The earlier version of the film had been directed by the Turkish artist Widad Orfi, who also starred the film together with Mrs. Ameer. The later version Laila, shot at Pyramids Saqqara and Cairo streets, was co-directed by Stefan Rosti and Ahmed Galal.
Film processing and printing were made at the producer's house, which was later turned into a film studio.
The premier presentation was a spectacular event, attended by dignitaries of the time, including prominent economist Tal'at Harb, poet laureate Ahmed Shawqi and musical top star Mohammed Abel Wahab.
Because of heavy loss incurred in producing her film Atone for Your Sin, Mrs. Ameer stopped her production activity. This film was presented silent when other films were talking. Although Aziza stopped her production activity she was watching the cinema industry from afar. In 1936, she made a co-starred with Naguib Ar Rehani.
Comeback as a producer
Aziza Ameer's comeback as a producer was made through The Apple Peddler, a film inspired by the Pygmalion myth, directed by Hussein Fawzi. Throughout her life time, Aziza Ameer produced and starred about 25 films, of which the last was In God I Do Believe, which ranks No. 568 in the life of Egyptian Cinema Production.
Features of her Film Production
Aziza Ameer was an artist of a message rather than a producer, financier star. Her films were based on modern stories of a purely Egyptian flavour , reflecting Egyptian society and environment. Predominately melodramatic , her films evolved round social groups existing at that time, triumphing for the aristocracy.
"Star Valley", a phantasia.
In Workshop, she tackled workers' problems.
In Gift, problems of childhood were treated.
In True Native ( Ibn El- Balad), genuine Egyptian moral values. "In Money", avidity for money-making.
In Wedding Night, marriage traditions.
She also produced a number of musical films.
She also tackled Arab questions in two films; A Girl from Palestine and Nadia.
One of her most popular films was "A Cap that makes You Invisible", directed by Niazi Moustafa.
Aziza Ameer was not only a talented actress, but also a creative producer and supporter of new talents. On her own merit she is considered the mother of the Cinema.
© Copyright 2003 by
ArtArabia.com
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