Atef Al-Tayeb .. the innocent who translated the groans of the Egyptians into films and left on the wing of Yamama


On these days, and for the 25th consecutive year, articles abound on the film director Atef Al-Tayyib on the anniversary of his passing, describing him as a resisting artist and director, “The Backbone” and the owner of the new realistic school, and other real descriptions of Al-Tayyib and his art.

Nevertheless, we see a tangible impact of his creative experience in the performance of Egyptian cinema over this long period, as if its makers made tricks between them and that, or perhaps they found it difficult to walk the path of pain in which he went and get tired after him, by launching calls to search for identity and rebellion against the reality threatening the principles and exposing corruption , Until he became the most diving movie director in the Egyptian case, before he left quickly in 1995.

In order to understand the transformations that occurred in Egypt since the beginning of the eighties, we will follow the lines of his basic messages through a group of his greatest films.

The championship and the price

The heroes of Atef El-Tayeb are neither angels nor demons, they are ordinary Egyptians struggling to snatch their rights.

In “Bus Drivers”, which he directed in 1982, al-Tayyib presented a elegy to the spirit of crossing, and a cry of protest against the change of identity of a people crushed by openness, through the hero Hassan (Nour al-Sharif) who fights to end the detention of his father’s workshop, “the most important workshop in the region” (in a symbolic gesture) To Egypt).

And in the “Innocence” he brought out in 1986, our hero was Ahmed Saba` Al-Layl (Ahmad Zaki), the rural recruiter in a political prison, who is struggling with an idea they gave them from the first day, namely that all who enter the detention center are enemies of the homeland, and the more they torture or kill them He will find the rewards awaiting him.

As for the movie “Escape” in 1991, Al-Tayyib called a “middle note” on our hero “Montaser” who faces imprisonment and stalking, for refusing to participate in the injustice of “overpowering” and seizing their money in exchange for traveling abroad with false visas, to turn into a popular hero about legends .

In 1992, he directed “Against the Government” and Mustafa Khalaf, the lawyer (Ahmed Zaki), who was a revolutionary student and became a famous lawyer, embodied in his person the extent of corruption in the country, until he pays the price while he sees his son among the victims of a terrible accident, a road accident that Profits from the blood of its victims.

Before his departure in 1995, he brought out a “hot night” to introduce us to Mr. (Nur al-Sharif), the taxi driver who is struggling to provide for the costs of surgery for his mother-in-law, who takes care of his mentally handicapped son, and the nymph (Lublba), who has retracted her “repentance” to raise the money needed to restore her home, Fate brings them together on a hot, eventful night.

Identity and pride

And because pride and identity are the main battle of Al-Tayyib, we saw in “Bus Drivers” how Hassan responded with pride to his wife (Mervat Amin) when she threatened to ask for a divorce if he sold the taxi, that she divorced whether he sold it or not sold it. And in the national pride of the father (Emad Hamdi) and his pride in resisting the English occupation, and in the meeting of warriors and heroic tales against the background of the pyramid and the national anthem.

It is the pride that simple soldier Ahmed Sabaa Al-Layl showed in Al-Bari ’when he was surprised by the presence of his educated friend and son of his son Hussein, Ibn Al-Sheikh Wahdan (the symbol of identity), who is impossible to be one of the“ enemies of the nation ”, and he did not hesitate to defend him until his body and body were torn apart Girlfriend.

And the victor’s pride in “escaping”, that stubborn southern who hides his groan and hides him in the waging of the music of the Imam, who is very attached to his identity (his country) “who doesn’t have a better one, no matter what they say about it”, and (his mother) who did not hesitate to turn himself in when they arrested On her, to put pressure on him, his values ​​do not allow insulting his mother under any circumstances.

And the pride of Mustafa Khalaf in “Against the Government” as he defends his identity represented in the future of his victim’s son, after he purifies his mistakes and sins in his historical pleading, to open a door for us to return to our identity, and to abandon the negativity that made us “we are all corrupt, even with the helpless silence corresponding to a few trick “.

Finally, in Sayed’s pride, in a “hot night” as he toil for money in his race, searching for his identity in a warm house, a woman who is caring for his mother-in-law and his son, and Horya, who has come to her shameful past and set out in search of her identity in the hero Sayed, her new homeland that will protect her from wolves.

Rebellion and revenge

Atef Al-Tayeb insists that his heroes are rebels and not criminals, as they do not mix values ​​and cannot tolerate pressure. And if they get involved in approaching the authority, they accept to bear the heavy price of retreat, but they take revenge, even symbolically. Then there is no return to the original without the rebellion and heroism.

In the scene of the ending in the “bus driver”, we saw Hassan chasing a thief and beating him, as if he was taking revenge for his country, who is stealing day and night in the person of this thief, and the music of the national anthem in the background of the battle.

In “Al-Baree”, seven nights return to the prison camp after the killing of his friend with a snake bite, and the end of his disturbance due to his defense, and he ascends to the top of the watchtower, clutching his weapon, which directs him towards the camp, including officers and soldiers, and the shooting begins indiscriminately until everyone is killed. He goes down from the top of the tower playing a melodic melody, until the end of the movie, which was deleted in order to allow it to be shown to the public.

And in the “escape”, Victor had no choice but to rebel against everyone and issue his rulings and implement them according to his inherited values, after he became a symbol of the revolution against tyranny, injustice and the collapse of values.

In “Against the Government”, Mustafa Khalaf regains his courage and revolution, and he avenges ministers and officials as the real culprits, and becomes a popular hero who stands against the government.

On a “hot night”, the insurgency and revenge take place, by engaging in corruption and taking money from criminals.


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