However, this does not mean, of course, that she was the only one, or that there was no discrepancy in the extent of the success of her films, and it does not mean, of course, that the others were not ahead of her sometimes.
In one of the television programs, as part of her response to a question, her answer was like throwing a stone into the stagnant waters of the image of the “golden age” of art and great artists.
For example, regarding Maryam Fakhr El-Din’s war against Faten Hamama, which was not limited to a passing sentence in a passing program, the Alexandrian researcher Makram Salama reveals, in an investigation of “Al Jarida” newspaper on July 16, 2012, the roots of the dispute between Faten and Maryam, which dates back Until the days of the 1956 movie “La Sleep”, in which Faten got five thousand pounds for her role, while Maryam Fakhreddin and Hind Rostom’s wages did not exceed 700 pounds each.
These contracts, which the researcher obtained, stipulated the arrangement of the names of the actors, as stated in the titles of the film, which Faten Hamama topped, of course.
This caused a conflict between Maryam Fakhr El-Din and the producing company, as she sent a letter to Abdo Nasr, the owner of the “Union of Technicians” company that produced the film, complaining about the movie’s announcement in “Al-Fan” magazine, saying: “I was very upset by the announcement published in the last issue of the magazine” Al-Fan” about the movie “I Do Not Sleep”, your production, in which I noticed that you violated the text of the contract regarding placing my name in the place and size agreed upon in the contract.
About a year later, in October 1957, Maryam Fakhr El-Din, through her lawyer, Adly El-Mould, sends another warning to the film-producing company, demanding that “the copy of the film shown in Miami cinemas, and the advertisements as well, be amended within three days, otherwise he will resort to the urgent judiciary to stop showing the film….”
Classy, she fell from Faten
Among the funny tales about the influence of Faten Hamama’s stardom on her female colleagues in the field are those narrated by journalist Abdullah Ahmed Abdullah in his book “Memoirs of Mickey Mouse.. 25 Years in the Artistic Center”, Part One, Egyptian House of Printing and Publishing, 1961.
Under the title “Raqiya Tafesh from Faten!”, he writes: “.. Raqiya Ibrahim remained the first screen girl with light competition from Amina Rizk, Fatima Rushdi and some screen singers – Faten Hamama did not return to the screen after her appearance in the movie “Happy Day”, and she did not Magda, Samira Ahmed, Mariam Fakhreddine, and all our sisters in art have not yet appeared. Suddenly, according to the year of development, Faten Hamama appears, and she returns for the first time in the movie “Angel of Mercy” starring Raqi Ibrahim.
Faten returns in a small role that suits her age at the time. Faten shines again, and attention is drawn to her as a first girl for a series of films, while high-end stocks shrink and dwindle.
Faten advances, classy shrinks, classy shimmers, classy drops her films – by chance – until Faten Hamama reaches the wages of 5000 pounds, a number that she did not reach classy, perhaps not even half of it. And on the “children” who remained stars and planets. And to the United Nations, to New York, Rakia goes to work as an employee in the United Nations…».
Much has been said about Raqiah Ibrahim’s emigration, about her being Jewish, and her relationship with Israel, but Mickey Mouse reveals here a new reason for her emigration, which is the rise of Faten Hamama’s star, which is an unusual rise that naturally provokes envy, jealousy and gossip of many.
Some of the other criticisms of Faten relate to her practical sense. It is said that she was very interested in money, and has always been involved in legal disputes over the contracts of her films. In another investigation, the researcher revealed some of the lawsuits that Faten Hamama filed against the director, Hassan al-Imam, asking him to pay the sums of money that were stipulated in the contract of one of the films. In fact, one of the newspapers accused Faten Hamama of lending her first husband, Ezzedine Zulficar, in exchange for trust receipts. And that he had to sell the estate he owned to pay Faten her money.
In his book “I and the Stars”, the Golden Book, 1965, journalist Jalil Al-Bandari writes under the title “Faten” about the early days when she did not own a car or a house, around 1947, and how she returned from filming late after midnight, but she refused offers The producer, director, and hero to deliver her with their cars, and insisting on riding the workers bus. Al-Bandari quotes one of the workers as saying to him: “This girl will become a first-class star, not because she is the strongest emerging actress, but because she is the strongest girl in terms of morals and behavior!”
Perhaps Faten Hamama was strong and did not compromise her material rights, and she might have insisted on getting the highest wages of her time, but the reason for this is often due to the fact that she never depended on a source of income other than her talent and work. Faten Hamamas opponents took advantage of the stories of her divorce and her marriage to stab her, as they took advantage of her travel period abroad to chase Omar Sharif and the dream of the world and escape from Salah Nasr’s intelligence, to attack her with stabs, imagining and claiming that she will not return again, and that she will not retain her stardom even if she returns.
Magdas last kiss
Do you remember the incident of officer Abu Al-Roos, who attacked Yusra’s house and claimed that he had an affair with her? At that time, Yusra had a quarrel with actress Gala Fahmy, and Gala did not find a way to challenge Yusra except by making a film that narrates the incident and its scenes from Abu Al-Roos’ point of view. The film was titled “The First Time You Love, My Heart”, written by Magda Khairallah and directed by Alaa Karim, 200 .
The story took place in full in 1966, when Magda starred in the movie “The Last Kiss” directed by Mahmoud Zulficar, brother of Ezzedine, and written by Ibrahim Al-Wardani, editor-in-chief of “Ahl Al-Fan” magazine, which launched a fierce campaign against Faten Hamama because of her divorce from Zulficar and her marriage to Omar Sharif, as we indicated in previous episodes
On February 1, 1966, Al Kawakeb published an investigation by Abdel Nour Khalil under the title: “The strangest movie on the Egyptian screen.. Magda represents the love story of Faten Hamama.” The phrase “Love Story” came in large font, stating: “Within days, Magda stands in front of the camera to start acting.” The movie “The Last Kiss” .. and in the story of the film there is a great similarity between it and the love story of Faten Hamama and Omar Sharif, when they fell in love and were married 12 years ago, and there are even modifications made to the script in order to increase and confirm this similarity.
The writer compares the film, in which Rushdi Abaza plays the role of a famous senior director, who marries a small artist, played by Magda, and makes her the “star of the masses.” A love story begins between the wife and the young man, and in the end, the director sacrifices his love, and leaves his wife to marry
The film does not address Ezz El-Din’s betrayals, but only indicates that the reason for the dispute between the spouses is the great director’s preoccupation with his work
The title of the film refers to the kiss with which the film ends, which becomes a documentation and declaration of the relationship of the wife and the emerging actor, and it bears a veiled reference to the kiss that gathered Faten Omar in the movie “Struggle in the Valley”.
In the investigation of “Al Kawakeb,” Abdel Nour Khalil asks the screenwriter of the film, Ibrahim Al-Wardani, who did not deny the similarity, but said that many realistic stories were in his mind, and that he was not limited to the story of Faten and Omar only. Khalil indicates that there are other modifications made in the script to bring it closer to the true love story of Faten and Omar
The return that threatened Souad Hosni If the return of Faten the girl eliminated Ibrahim’s high stardom, as Mickey Mouse sees, her return to Egypt in 1970, after her self-imposed exile in Europe and Lebanon, and her absence from the screen for years, with the exception of some films that she represented in Beirut, which was met with With a wink and a lot when it was shown in Cairo, it also disturbed the stars who were alone in the arena in her absence, led by Souad Hassan.
The Lebanese magazine “Al-Mawd” publishes an investigation entitled “Souad Hosni quarrels with Faten Hamama away from the camera,” and the Lebanese “Al-Shabaka” magazine publishes an investigation entitled “Souad Hosni wages war against Faten Hamama.” The two magazines accuse Souad of being worried about Faten’s return to Cairo after an absence It lasted about five years, during which Faten only presented two films in Lebanon, and she, that is, Souad, is trying to spoil the new film, Fat
Al-Shabaka says: “This is where Soad Hosni started to move. When you borrow someone else’s seat, you feel embarrassed when you see the original owner approaching a place.
Ramses Naguib announced that he will present Faten Hamama in the story of Ihsan Abdel Quddous, “The Thin Thread,” with Barakat directing the film.
Meanwhile, Sobhi Farhat stated that he is producing the film in Lebanon in color, and that it will be starring Soad Hassan
And the statements moved from the newspapers to the court. The two producers exchanged issues, and the author entered one party, Sobhi won a round, and Ramses won another.. All this while the film is being filmed until it is actually completed.. Here the first white flag was raised on the battlefield, so Souad announced that she would not play the role, as it was unreasonable to compete with the artist. The mighty Faten Hamama. And what are the most peaceful hadiths on the tongue of every defeated person?
At that time, Souad was linked to a monopoly contract with Ramses Naguib, and the magazine indicates that she asked her lawyer to terminate the contract, and the reason is “Ramses focused his attention on Faten’s films, and announced two new films starring the returning star.”
These models from the life of Faten Hamama, who worked a lot for herself and her family, although she was, and will remain for a long time, as an actress and a great star who appeared in Egyptian cinema, but she was also a person similar to all of us, as she was also a sign and proof of an entire era.. Faten pigeon era.