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Is there a contradiction between the absolute defense of freedom and criticism of Yusuf al-Sharif’s views regarding his refusal to contact the camera? It should be noted that he applies these standards to everyone and not only his viewers, it is not permitted for any artist in the studio to dress indecently, indecency is a mercury standard, it does not apply to drama, which imposes its law on personality features in the manner of vocal and dynamic performance, makeup and choice of colors, etc., Youssef Lisse Alone, most of them and all generations have something from Joseph, applying their standards to everyone, directors are usually subject to the will of the stars, after the infallibility is in their hands.
Should we narrow the circle only to Youssef El-Sharif, or will we open (the man) as wide? Those who dealt with this issue tend to narrow (the man) to see only Youssef El Sharif on the basis that he is the most radical and extremist in his strict standard, do you remember for example the recent emotional scenes of Ahmed El Sakka, Mohamed Ramadan, Amir Karara and others, you will find that they are also conservative, do not announce it directly, the scenes of violence and abuse Reassured by the star, reassuring the man at the end of it, but he rises in panic in front of emotional scenes, do the stars of this generation have no reservations? Most of them, like Youssef, also announce a set of noes before signing the contract. Society has its tools in expressing contentment and anger. There are no doubt signs of acceptance that it receives from time to time, the stars and stars that lead them to continue the path of reservation.
What about freedom? I did not disagree with Yusuf over his right to choose, but his authority to choose is that he relies on an ethical standard, while art, although it does not contradict morality, but he does not reside with it, what is our reference in estimating the severity of the earthquake, is not the Richter scale? We resort, for example, to estimate the temperature of the earthquake on the scale of (Fahrenheit), but the rate of vibration in the scale of (Richter), for example when a poet says in the song (O girl, liar, or mean, or eh) is all vocabulary (Abiha) except that in its poetic context it is evaluated by a moral rather than moral standard.
Yusuf in choosing his roles is absolutely free, for example, an artist who does not offer the role of a drunkard or a bacchanal, he does not see himself as capable of expressing, but he does not reject it from an ethical or religious perspective (a great difference).
The use of the weapon of morality in defense or attacking artistic works strikes creativity in killing, what we deal with flexibly in a moment we will inevitably clash with it at another time, there came a time on the Egyptian media and the censor began deleting the dance from our old films on the pretext that it is a symbol of pornography, and scissors entered more than Once to confiscate passages of songs such as (Bambi) by Souad Hosni (Bossa, Taghaml, and God, we will even throw the dummy in Bambi), or (first time) by Abdel Halim Hafez, (Lesa Shafifi Shayla Salamalek, Shayla Amara, Your Love for Why), It is true that the voice of the mind woke up, and the trashes were restored, But what I realize to you is that this sound will not pounce at any moment again and shatter our artistic heritage, especially as the soil is favorable.
The dispute with Youssef was never within the framework of freedom, but the reference, (many dispersed) !!.
- The situation in Egypt