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فسيلة - transplant
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هي مكتبة رقمية تحتوي علي آلاف الفيديوهات العربية في جميع المجالات
It is a digital library containing thousands of Arabic videos in all fields.
قوائم تشغيل فسيلة
https://www.dailymotion.com/fasela/playlists
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LearningTranscript
00:00Yes, there is an order in the name of Professor Omar Al-Asili?
00:06tricks!
00:07Excuse me, could you please say it again?
00:10Yes?
00:11Is there an order in the name of Professor Omar Al-Asili?
00:13excellent!
00:14This is a disaster before, ya
00:15I'm joking during the hours of the bey
00:17Ashraf
00:18Masilt, before that, Ashraf
00:19No, Pasha, I don't like acting or beating around the bush.
00:22Whoever is targeting me, come straight to me.
00:23Sweet, sweet, I'm a film director and novelist.
00:26And I'm making a film that I'll enter in the next Venice Film Festival
00:29May God grant you many more happy occasions, Pasha.
00:31You are now auditioning for a role in a new film.
00:35Turn around, sir.
00:37I came on the basis that the order was on the ground floor
00:39I'm looking for a really hardworking human being
00:42Not just an actor
00:43Oh Ashraf
00:44I chose you to be the hero of the movie
00:46I
00:47But what did you see in him that made you act like him?
00:49How close are you, Ashraf?
00:52The Fanjani
00:53But he didn't work three shifts and he lined up with the sisters of the coffee shop.
00:55When was the last time you showered?
00:57Maybe in Ras El Bar
00:59I remember it was in August 1997
01:01wow
01:03I can't believe what I'm hearing.
01:05Sorry, sir, I can't hear you very well.
01:07Because, as you can see, I have hearing aids in my right ear.
01:10Because my mother's husband ground me up when I was little
01:12I'll sign you to the lead role in the film immediately.
01:14You'll be upset with me, sir, if I tell you that I can't read or write.
01:17Ahhhhh, Yashth
01:19I don't love you, Ashraf
01:21I love you, Ashraf
01:23I don't love you, Ashraf
01:25What kind of love are you talking about?
01:27I'm more important than this
01:29From the hours of Ma Bu Ya Ramani in the street
01:30Me and my sisters
01:32The husband who needed the five
01:34We haven't tasted or heard this word at all.
01:36Oh, my love
01:38Give Hashif a little
01:39Ahdhi Arbok
01:40Even love
01:42Even love
01:42I don't know if that's my real name or not
01:44Developer
01:45Developer
01:52Who will take Jordan then, because it's so messed up?
01:55I'm blind, I'm blind, I'm blind
01:59music
02:04Dear viewers, may God bless you and welcome to a new episode.
02:06In the program Al-Dahih
02:071871
02:09We see Ahmed Abdel Rasoul
02:10He tends to the goats in the village of Qurna, west of Luxor.
02:13We see a woman wandering away from the group
02:15And it disappears, and it is the mountain
02:16Leon Ahmed Abdel Rasoul is clearing behind her
02:18Until he reaches a well that looks strange
02:20The woman showed him a place he would return to that night.
02:22He and Muhammad's brother
02:23Ahmed Henor Al-Misbah
02:24And his brother will be lowered by rope
02:26Mohammed will discover that the well under his grandfather's brother reaches ten meters.
02:29the important?
02:30He will reach the bottom
02:31Indeed
02:31The goat is waiting for them
02:33You might think that Muhammad Al-Mafout is far away, that he returned the goat
02:35However, Muhammad didn't have a fight with the goat at all.
02:37It was as if he hadn't even come down to her.
02:38He will be appointed to stand at the entrance of the pharaonic tomb.
02:41The one where the goat was standing
02:43So that he could enter and find coffins, treasures, and millions of feet.
02:46And here we arrive at its unique and most remarkable discovery.
02:49In the nineteenth century
02:50Deir el-Bahari Cache
02:52We reached her, my dear, via a goat
02:54To understand how the Deir el-Bahari cache was hidden
02:56How did she get to this place?
02:57We will return to the rule of the twenty-first dynasty
02:59At that time the priests were afraid
03:01Because the royal tombs were being robbed
03:03He decided that they would move the royal coffins.
03:05The Amlaq project is overseen by a priest of Amun.
03:08A priest named Pi Najm II
03:10A cemetery will be established in the heart of the mountain at Deir el-Bahari.
03:13Dear rubber, it contains fifty-five millimeters
03:16For the greatest kings of Egypt
03:17Ramses II, Thutmose III, and Ahmose I
03:20They were the best, most effective, and most reliable antiquities dealer.
03:22You, the antiquities dealer, would go around visiting the kings, one by one, in their tombs.
03:26The one who wants to have a prayer recited for him
03:27And whoever wants to break the curse
03:28No, Mr. Merchant
03:29They will all be slapped in the face.
03:30The important thing, my dear, is to bring the two brothers back.
03:32Muhammad and love
03:32The two brothers will sell pieces and papyrus fragments of the items they find.
03:35They will sell two worlds
03:36One of them is named Mustafa Agha Aya
03:37He was an agent for consulates like those of Belgium and Russia.
03:40Why am I telling you this information?
03:41Because he works at the consulate
03:42He remains immune
03:43He crossed the line while going and coming back
03:45Diplomatic immunity helps him get through
03:47Therefore, he will turn it into a situation.
03:49He moves from Egypt full
03:50He returns from Europe empty-handed
03:51So that Europeans would be surprised by effects of unknown origin
03:54For the twentieth and twenty-first families
03:56Jasl Masdira, the director of the Egyptian Family Affairs Department at that time
03:59He will tell the authorities what is happening.
04:00Then it begins to consist of investigations one by one.
04:02We reach the words of Abdul Rasoul
04:03Then Ahmed and his brother will be summoned.
04:06They will stand before the canal manager, Daoud Pasha.
04:07He will tell Pasha, "By God, I don't know, I didn't see the peace offering."
04:10And we didn't get a nose or anything like that.
04:11Nor was her brother with her until
04:12They will also go and bring witnesses to testify to their good conduct and behavior.
04:15So next they'll go off the rails like the old men who are always on the move.
04:18What happens next, my dear
04:19Then the devil begins to infiltrate the brothers.
04:22Disagreements begin to arise between them
04:24Brother Ahmed was imprisoned
04:25So he began to ask for a larger share of the sale.
04:27I want a bigger share in the hidden treasure that we have.
04:29That's how sisters are, as long as there are things to divide them.
04:30They are loved ones
04:31The disagreements will escalate until Mohamed Abdel Rasoul makes a decision.
04:34If he is going to reveal the secret
04:35He will go to the authorities and tell them, "I want to be a state witness."
04:37Because in the year 1881
04:39The authorities come and uncover the hidden secrets.
04:41In a procession leaving the corniche
04:43Amidst the suffering of the population and their cries
04:45Therefore, at that time
04:45If a great storm blows, it will never be forgotten.
04:48This, my dear, is the end of a story that will remain unknown for many years.
04:51The story will remain limited like this.
04:52It's only popular among Aslin people.
04:54But after 880 years
04:56The story will be very, very, very popular.
04:57Because in 1969
04:59The Mummy movie will be produced
05:02The mummy on the day the years are counted
05:03The first feature-length stoic film
05:06For one of the most important filmmakers in the history of Egypt
05:08Shadi Abdel Salam
05:10And yes, my dear, this was his first film
05:12However, everyone in the film industry knew very well.
05:14You probably know him and have probably seen a lot of his work.
05:17Because very simply
05:18Shadi Abdel Salam is one, if not the greatest, set designer in the history of Egyptian cinema.
05:23All clothes, decorations, and Islam, and the text of Saladin
05:27The Prince of Cunning, the Bride of the Nile, all of this is his design.
05:29Look at these four films, how many veils and how many sticks did I send you?
05:32How many clothes did he wear, and how many times did Omar resign?
05:33All of these things are entirely his design and work.
05:36It's very easy to notice that Shadi Abdel Salam is obsessed with history.
05:39His excellence in his job stems specifically from this point.
05:41For example, to name the decorations and any Islamic ones
05:43He will go and destroy the Maqamat and manuscripts of Al-Maqrizi
05:45We find Sultan Qaybak's clothes in the film
05:47The piece that Professor Hamdi wore when he went to propose to the tree of the dung
05:49This matches al-Maqrizi's description of al-Zahir Baybas in his manuscripts.
05:53And in the Prince of Cunning, I will take the fashions from the description of the Caliph's clothes.
05:57The description that was mentioned in his book
05:58The wonders of flowers in the realm of appearance
06:00Shadi Abdel Salam was also doing something you've never done before.
06:02Ajshi was looking at the sources for my dear friend
06:04That's why they succeeded, thanks to God's generosity, and he is one of the most important directors of Egyptian cinema.
06:07Can you hear me?
06:08When Shadi was reading a history book, he would go to the references that were listed on the last page.
06:11He reads it all with such dedication that he'll impress the directors he works with.
06:14To the point that Youssef Chahine would say it
06:15Saladin's costumes are more beautiful than the work he did as the film's director.
06:18And this, my dear Youssef Shaheen, means he's wearing glasses and smoking.
06:20The teacher of the boys who made Ashadi Abdel Salam
06:22That would make him a globally sought-after name for glasses, my dear, if he were to work on the film "Cupatra".
06:26Huh?
06:27Mohamed from Netflix who makes the agents
06:28Agnates
06:29No, my dear, that was before Netflix existed.
06:31Oh, you agents and those indirect, unspoken messages, this is Abu Ahmed, I know him.
06:35No, my dear, this is Ciobotra 1963
06:37Shadi Abdel Salam is also the designer of the Moroccan boats.
06:40Which is featured in the 1966 film Vero
06:43In these films, Shady was not just a designer or set architect.
06:46Rather, he was an ambassador for the entirety of Egyptian culture.
06:48Any questions regarding the visual details of Egyptian civilization
06:51They were asking him, "Is he the reference?"
06:53In the same year, Shadi will participate in the film's cast.
06:55By the Italian director Rossellini
06:56At that time, Minister Sabah Aqasha
06:58The one who was the Egyptian Minister of Culture in the 1960s
07:00This Italian director will be asked
07:01He was nominated for scripts that lowered the standard of Egyptian films.
07:05At that time, Rossellini will read the script for The Mummy.
07:07The script that took Shadi Abdel Salam years to write
07:10He will put his love for Egyptian history into it.
07:12Rossellini will be very excited and will become the Minister of Culture.
07:15We are watching a different kind of film.
07:17We are watching an Egyptian movie.
07:18Authentic
07:19It's unlike any other foreign film he's seen before.
07:21Shadi, in order to make the Mummy movie
07:22He would reject the fantastic offers that were presented to him at that time.
07:25He received offers to work on sets for many films.
07:28And here Shadi Abdel Salam enters a financial crisis
07:30It will also turn into a psychological crisis
07:32When his father dies and gets 67
07:34But amidst all these crises
07:36Shady will have finished the movie.
07:37Once the Mummy movie was shown
07:39The status of Egyptian cinema will change forever.
07:41Mummy Half: International Festivals on the Scale of Venice and Berlin
07:45And he will take Jazz Gorse Saddle Al-Manouk
07:47The Italian newspaper Unita described the film "The Mummy" as a turning point in Egyptian cinema.
07:52Let me add another verse to the poem.
07:53British production
07:55The Egyptians will be coming
07:57The Mummy will not only be remembered as one of the 100 most important films in the history of Egyptian cinema
08:01No! The World Cinema Foundation will choose it as one of the most important films in history.
08:05International Points Association in Vienna
08:07Shadi Abdel Salam will be ranked among the top 100 directors in the world.
08:10The question, my dear, is the one you're definitely asking
08:12Especially after you tried to watch the movie "The Mummy", is this Abu Ahmed?
08:16Abu Ahmed Na'alish, I have a boycott.
08:18To be perfectly honest, I tried more than once to watch the movie The Mummy
08:21And you are talking in this episode
08:23I said, "What's the point of going to see the movie? I understand what you're talking about."
08:25Honestly, Abu Ahmed, I can't even finish a quarter of an hour of the movie.
08:28It seems that fifty is not my favorite.
08:31Why did the film reach this global status?
08:34So I understand, my dear, that the film is a joke.
08:36But let me explain to you how this film reached the international status it did.
08:39I believe your view of the film will change after what I say.
08:42God willing, absolutely.
08:43Is that right, Abu Ahmed?
08:44completely
08:45Habdi Al Nour, my dear, get ready in Shark and let's watch the movie together
08:50Our film begins with a pharaoh's mask with his eyes open.
08:52The second one is missing
08:53It's like he's in a state between sleep and a dwarf.
08:55He is neither alive nor dead
08:57The music sounds like the murmur of sad souls.
09:00I wanted to emphasize that the mask is historical and thousands of years old.
09:02A paragraph written in the present and future tenses appears before us.
09:05A paragraph that makes a promise and says
09:07Oh you who leave, you will return
09:08O you who sleep, you will rise
09:10O you who extend, you will be forgiven
09:12Shadi decides to start a film from a very different point of view.
09:14It's neither a forbidden viewpoint nor a viewpoint, and I'm not being negligent.
09:18But from whose point of view?
09:19From the same theft
09:20Shady is doing a B.O.V. for the same mess
09:23Burek's perspective on past kings
09:24Those who died in peace
09:25They died believing that they would be resurrected safely under certain circumstances.
09:29But what happened to their graves was that they were desecrated.
09:31And that leads us to the next scene.
09:33What's left is for us to see the archaeologists.
09:34The impact is not visible, and the impact, Ahmed, is also visible.
09:36The lines written in Peru seem to convey orders from the kings of the past.
09:40It was as if the kings had sent them a message to save them.
09:43So that they can catch up with them
09:43Our mission, folks, has been interrupted.
09:46The order says
09:47Give me my name in the big house
09:48And my name remained in memory on the day the years were counted
09:51This is a papyrus scroll from the Book of the Dead.
09:53Why does the dead person repeat it?
09:54So he remembers his name
09:56Because in the belief of the Pharaohs, if he were resurrected
09:58He forgot his name
09:59They greeted him and him forever in a permanent and continuous embrace.
10:03Because the name's radiance equals the personality's radiance
10:05From the beginning, Shadi Abdel Salam defines the essence of his film.
10:09We are not facing the limits of theft
10:10Nor was there a Prussian chase of thieves who stole antiquities.
10:14No, this is a memory of the past that must be revived.
10:17But the problem is that no Pharaoh will rise from the dead.
10:19This research task is something we must undertake.
10:20Because the kings are part of our collective memory and part of our history
10:24The names and personalities of these kings remained in the past.
10:26This means that part of our memory and personality is in the present.
10:29It will be grilled, and therefore the future is likely to be lost.
10:31Shadi will also make a bold decision in the dialogue.
10:33He will make all the characters speak in classical Arabic.
10:35This is because it is a more comprehensive language.
10:37The chances of her becoming immortal are higher.
10:38Except for the current situation, which may change.
10:40When you watch a movie from the thirties and forties
10:42You feel like people don't talk like I do now.
10:44I never said "thank you" or "believe me".
10:46And I didn't bring my civilized bathroom
10:47I don't know, I'm civilized, the bathroom isn't going anywhere.
10:49Shadi had imagined that the way he spoke could offer
10:51But what's certain is that we will all understand classical Arabic.
10:54It's as if if I say that, he's trying to tell us
10:55The hidden problem or any shortcomings
10:57Hidden from our reality, this is generally a problem for every generation of Egyptians.
11:00Regardless of the time or place
11:01The scene ends with the decision of the effendis.
11:03If they go to Taiba to look for the hidden treasure
11:05So that we can go to the Harbat tribe
11:07The tribe that Shadiq presents in peace as the home of the family of Abdul Rasoul
11:09A tribe that is 500 years old
11:11They never grew old in the mountains, nor did they ever mix with the people of the valley.
11:13Shadiq is trying to clearly show their isolation on screen.
11:17The state of isolation was there from the beginning.
11:19Sky, desert, and gloom
11:20A vast expanse, you can't get its beginning from its end
11:23But the humans there are rotten and they're making stones.
11:24The wind stirs his blood, but they don't stir him.
11:27They're all dressed in black, like they're full of themselves.
11:29It's as if they died before.
11:29Clothes and colors appropriate for a tribe living in isolation
11:32They all guard the secret of a hidden cache in their ovens.
11:35They are no longer able to move away from their deserted qibla.
11:38The one located in the heart of the mountain
11:39They are unable to go to the Delta area in the north.
11:41They couldn't leave; there was no more life.
11:43He doesn't meet other people
11:43Why is that?
11:44Because their existence remained linked to the cache of this cemetery.
11:47In short, they don't know how to live in the present.
11:49Because the past is their understanding
11:50You can't tell the difference between one shape and the other
11:52Because in order to be a member of this tribe
11:54You have to lose your individuality and personality
11:56It's like you're turning into a guard soldier for the Basisawis.
11:58We'll see the system
11:59The movement of the tribesmen out of the mountain
12:01One description is as if they were growing
12:02Today is a very unusual day in the tribe.
12:05Today is the funeral of the tribal chief.
12:06Everyone is doing what they want.
12:08But one guy decided to look at the camera
12:11He looks at us
12:11It's as if he's telling us, "I'm the hero of the story."
12:13Dayeb Awanis, son of the leader
12:14The only one whose name we will know from the men of the Harbat tribe
12:17This means that he will be the only one who is different from him.
12:19The only one with his own personality and individuality
12:21They have his innocence
12:22Peace will break the black colors
12:23The color of the desert
12:24And the gloomy shadows that are present at the funeral
12:26And suddenly, beautiful roses appear
12:28Permih Hoanees on the news of his father
12:30He is crying
12:30Until the entire screen turns pink
12:33John Tello's review in Sight & Sound magazine
12:35He will be amazed at how the scene was able to transform in an instant.
12:37From Mod to Mod
12:38My experience as a spectator from case to case
12:40But he will say that the beauty of the image and this transformation
12:42He might say that Shadi is an excellent landscape architect
12:44But cinema is not a fine art gallery.
12:47There's no one named it, just a good film frame.
12:48In cinema, just like in a picture
12:50It has to look nice
12:51There must be something that serves the story
12:52The image needs to keep talking to us until Dota
12:54Shady Abdel Salam here wants to show
12:55The son's connection to Paul Met
12:57The emotion he couldn't show to his community
12:59He couldn't scream or cry in a male-dominated society.
13:01The society he lives in
13:02He simply expresses his feelings with a rose.
13:04He's the only one who puts these roses in
13:06Now we know who he is.
13:07Without needing a dialogue
13:09Without needing to shout
13:10Dr. Ahmed is the one who didn't let the rumors make him scream about his father.
13:12Short in character
13:13Even the dearest ones are a monster
13:14My dear, this is no ordinary funeral.
13:16This is not just the son of a sad prophet, may God have mercy on him.
13:18To undermine the transfer of leadership
13:20Let us explain to you
13:21In Khubailat al-Harbat, there is a very strange custom.
13:23The death of the leader is like a moment
13:25Those who are involved in it know the tribe's secret.
13:27The Secret of the Cache
13:28The secret is that they know that on this day their lives are not their own.
13:31No! They are making a mockery of their lives from this moment.
13:33So that they could start sending new uncles to this tribe
13:35They loot in return
13:36What?
13:37My dear Alaa, here is your context
13:38Here we see Anis and his brother
13:39Two men stood and captured the uncle, the leader's brother.
13:41They looked like black ghosts
13:43One step away from becoming guardians of the tribe's secret
13:46The transformation requires only one thing
13:48If they surrender their will to the elders
13:50Or, as their teacher will tell them
13:51Follow me and don't ask questions
13:52Here you are nothing but the beloved of Rum in the heart of this mountain
13:55So you're going to forget yourself, oh my!
13:56Choc gets
13:57After we saw a magnificent funeral
13:59All of it is glorification of the dead.
14:00Wanis and his brother find themselves in a cemetery
14:02But the dead man is in the cemetery
14:04He is subjected to the most heinous and egregious violation
14:06When the Omanis violently break up the flax bales
14:08They cut the linen roll from a mummy found in a tomb.
14:11And in order to take the necklace or chain that was on her head
14:14They cut the neck with an axe.
14:15Wanis and his brother were surprised
14:16Their tribe's life is centered on their leader above ground.
14:18Life underground is completely different.
14:20The foundation of life in the tribe
14:22Violating the sanctity of the dead and desecrating their passage
14:24A truly earth-shattering moment; the director will only heighten its horror.
14:26When the necklace is shaped like an eye
14:28An eye that looks at the lantern
14:29The camera is looking
14:30It's as if it were the time of the Pharaoh who was violated
14:31An eye that looks and bears witness against the thieves
14:33Beji Wanis is terrified and goes to his father's house.
14:35The leader's grave, which still has a rose on it from the beginning.
14:37And he goes to tell his father
14:38What is this walk?
14:39Action made me look at you
14:40Perhaps Aziz expects that
14:42The world has turned upside down in the tribes
14:43The one who is blind runs after Wanees
14:45Action and suffocation
14:46Motar, that's where the tricks, scenery, and sound effects are all.
14:48The one who remained at the vegetable house
14:50Step on the jareed
14:51He takes off his motorcycle and runs with it.
14:52This wasn't my decision, this wasn't my choice.
14:54I had no choice but to flee.
14:55But my dear
14:56Isn't that what happened to the mummy?
14:57The senile one at this moment
14:58He'll make the decision to take us on a long shoot.
15:00And a very nice gift for the fans
15:02We see him descending a narrow passage
15:03He felt trapped
15:04In his critique, Mohamed Shafiq tells me
15:06Shady will play with time in reverse in The Mummy
15:08And the exciting events
15:09Like seeing a mummy
15:10Wanis's escape
15:11And the scenes of violence throughout the film
15:12This is supposed to be called a movie.
15:14In strong times
15:15These are events that should get their due on screen.
15:17But Shady will show them all
15:19As quick and ordinary scenes
15:20On the other hand
15:21He'll take some time, and it's all gone.
15:22In those moments, we call it weak time.
15:24This is a time when it doesn't appear on a screen.
15:26Any surprises at all
15:27We find Wanis slowly burning inside the corridor
15:29And he touches the gutter as if he has his arms crossed.
15:31As if he were suffocating
15:31It's as if he's trapped here
15:32Shadi reversed this time equation
15:33To tell you that what is more important than external events
15:35Zay Boot Al-Zaim and Zul Al-Mu'abir, for example
15:37It is the internal event
15:38The shock that occurred inside Wajdan and Anis
15:40This is the kind of event that deserves to be seen on screen more.
15:43In Wanis's mind, the father's voice is echoing in his eyes.
15:45After knowing the secret
15:46Our tribe lives off the desecration of graves.
15:49And the disaster is that Wanis will remain a permanent fixture forever.
15:51As the leader of Life, succeeding Poe
15:53Everything I'm telling you
15:54He will make the great director Scorsese
15:55The Mummy movie is described
15:56It's as if he's trying to hold back time.
15:58And he shapes it with his hands
15:59And he does all this with a captivating and masterful rhythm.
16:01Here, my dear
16:02We need to ask a very important question
16:04Are the tribal leaders and elders
16:06They already felt that they were desecrating the dead.
16:08They saw that as
16:09They loot the shield
16:10In fact, the logic of the tribal leaders
16:11And Abu Anis himself was simpler than that.
16:13Logic, especially uncle
16:14He is looking at the Pharaonic eye.
16:16And he says
16:16The whole tribe is waiting for a dead eye.
16:18It has gold to feed a hundred mouths
16:20The secret is for them
16:21It was just a buried treasure
16:23Nothing more, nothing less
16:24A treasure capable of reviving a poor village in the middle of the mountain
16:27And feed her children
16:28The tribe in the film was based on the Khabee'a tribe.
16:30So that its existence itself may continue
16:31Even the idea of stealing antiquities, which we now consider a crime
16:34At that time it was not this legally clear
16:36We are almost at thirty-forty things
16:38Based on knowledge of the story of these antiquities
16:39My dear, we've only just begun to understand the value of antiquities after about a hundred years.
16:42Previously, they could be sold by the row in bazaars.
16:44We give it as a gift to some
16:45How possible, my dear, is to find traces of the Happy Meal?
16:47A Sniper doll and such a small one
16:48That's why the general public will refuse to let them take the antiquities of the elite.
16:50Those who are in Cairo
16:52He says, "What trade is there with them?"
16:53Look at us, my dear, it's a description of trade.
16:55He said deal
16:55His problem from the beginning was that he was with a treasure
16:57We need to trade with someone who will give us money
16:59The government won't give us money.
17:01My dear, we can understand two codes of logic.
17:03Indeed, Bahabad, that's a logic I can understand and sympathize with.
17:05And honestly, if the opportunity arises
17:06Dear, we'll sell jokes on air.
17:08Wait, wait, someone trustworthy will come and handle these things.
17:10Shadiq Abdul Salam Hebeen emphasized the dominance of this logic over the people of the tribe.
17:14To the point that they are surrounded everywhere by the relics of their ancestors.
17:16And amidst all these ruins, we only feel the importance of the rest.
17:18Even if it comes at the cost of destroying ancestral monuments
17:21If you look at this formation, you will see the house of Armalah Al-Zain
17:23The one who is Umm Wanis
17:24You'll feel like you're looking at a Pharaonic formation on the walls of Naaba
17:27It's as if you see Queen Isis working to salvage a part of the dead.
17:30One of them is surrounded by ministers and sons.
17:33Let me tell you that Shady drew all the scenes of the movie
17:36The style depicted it resembled a Pharaonic mural.
17:38This is the storyboard
17:39But if you focused on the walls behind the characters
17:41Especially in the mother scene.
17:42You will indeed find that it contains Pharaonic inscriptions.
17:45In this scene, her brother Ness will refuse to participate in the cache.
17:47Part of the trading process involves the use of the property of the owner.
17:49At that point, his uncle will tell him, "My son, get up!"
17:51Countries not dead
17:52These are but countries of ashes
17:53People have a way of knowing who has neither fathers nor sons.
17:56Here, Shadi Abdel Salam, in this picture, is showing you that this is the family.
17:59Not just the descendants of the Egyptian servants
18:00no
18:01They live in houses whose walls are decorated with inscriptions from this civilization.
18:04Oh, when I say my grandfather feeds Khamon, it's not a metaphor.
18:06If a role could actually emerge from the atmosphere of the lady
18:08Here, Shadi Abdel Salam tells you that they are at the heart of history.
18:10They live amidst history, yes, but they don't consider it their history.
18:13That's why they give themselves a license to violate.
18:15Shadi will not only easily express the ignorance of the tribe's people
18:18And about them being an extension of the civilization that they themselves are stealing
18:21No, this will also affect the characters' movements.
18:23Professor Halaq Al-Deeb, who co-wrote the screenplay
18:25Shadi Abdel Salam will be described as the great madman
18:28This is because he imposed what he called the Pharaonic rhythm.
18:31If you open the movie The Mummy, you'll find the tribe members moving around with very strong boots.
18:34On the one hand, because of their presence in Upper Egypt and the high temperatures that reduce their activity.
18:38But they were sick, on the other hand, there was an artistic side
18:40Shadi Abdel Salam was the one who chose to manipulate them and their boots.
18:42So that they appear as if they are representations or paintings of Pharaohs drawn on murals
18:45As if the curse of their theft of their ancestors' history
18:48A curse turned them into something resembling their ancestors.
18:49Trapped in the mountain, their hearts burning like a dead man's
18:52Just as the memory of the dead pharaohs is imprisoned on the walls of temples
18:55The older brother will refuse to continue his father's legacy.
18:58But his refusal would be a rejection of his morals.
18:59And that's it, I don't want to be a grave robber.
19:01He says, "Carry these olives yourselves."
19:03He looks at the necklace with a fortified eye and says
19:05You're following me like a blind man.
19:07We prefer our little hero brother, Anis.
19:09We see him trapped inside the corridor
19:11He listens to and hears his works
19:12And the camera is a tool that remains a support.
19:14It's as if his uncle's problem is much bigger than that of greedy uncles.
19:17And a brother decided that they wouldn't work during his time.
19:19Wanis felt that the mummy he saw was like his father's body.
19:22As if she were a part of his ancestors
19:23After the older brother refused, his uncles will tell him
19:25That was the life of your father and his father before you.
19:27If he were alive, he would have wanted to deprive you of your life.
19:30This is a sentence similar to a proverb.
19:32And we see the ruling in the picture.
19:33We see a pharaonic formation
19:35When the older brother stands alone
19:36And the uncles are looking the other way
19:38It was as if his fate had improved and his salvation was sealed.
19:40Especially when the uncles take him out
19:41And we are surprised that this was not a private matter.
19:43This base was secret
19:44The rest of the Renjala tribe
19:45They were normal outside
19:46They were there the whole time
19:47Waiting outside
19:47As if they were in a stateroom
19:49We are waiting for the decision of the brother.
19:51And they left one after the other
19:52The last one of them is working hard
19:54They whisper and order the brother to be killed
19:56Shadi Beourina Aktar
19:57The unconscious life of the tribespeople
19:59With their Pharaonic ancestors
20:00This becomes clear when the mother tells the older son
20:02The one who rejected the supplement is Abu's trade
20:04An opinion that knows what he does and controls him
20:05Worse aftermath than death
20:07Damn you for disturbing someone who is at peace
20:09Here you mean the father
20:10She tells him, "Get out of my sight, you wretch!"
20:12I don't know your name
20:14Notice, my dear, here's the curse
20:15The curse of the mother who built it
20:16I don't know your name
20:18His curse is that he will be nameless.
20:20He wanders the world without an identity
20:21Because he disobeyed his father's will, who then found peace.
20:24If you're focusing on the episode
20:25You'll know that this is the same curse of the kings
20:27Those who were sent at the beginning of the film
20:29Why don't they say the resurrection spell and forget their own name?
20:32Then the mother disappears into the darkness of the wall.
20:34The inscriptions of the pharaohs swallow it up, the inscriptions of the past.
20:36This is because it is part of it and an extension of it.
20:38The eldest son will decide that he will run away
20:39They say Wanis is his brother
20:40Our mother lived in the past
20:41Come escape with me to the future of the lightning tribe
20:44But Wanis won't be able to escape.
20:45Because his problem is more difficult than that of a future star
20:47Wanis needs to know his early past
20:49Not the past of the place where he was born
20:50Not just the tribe's past
20:51But rather the past of all his ancestors
20:52Up to the point where he saw her
20:54And this, my dear, is what Shadi Abdel Salam will express.
20:56With ingenious scenes, without any words.
20:59Scenes where Wanis will sit
21:00In Hadhramaut, statues and temples
21:02His appearance and sadness were the same in the presence of his father.
21:04It's as if he's asking his ancestors to talk about him.
21:06They tell of the sin his father committed against them
21:08And in the frame of Iban
21:09It's as if it's a part of them, an extension of them.
21:11They're just characters from the past.
21:12Embodied in statues that do not move
21:14He is a living person in the present.
21:16He needs to move
21:16Do you see, my dear, the narrowness and the details here?
21:19If you pay close attention, you'll notice that Shady always relied more on images than words.
21:22The film's pacing is slow.
21:23A year like a pharaonic painting
21:24Shadi will describe it as magnetically formed sperm.
21:27Not so you can sleep
21:27But to make the picture stand out more
21:29You'll find everything in the picture.
21:31The only medium that relies on this idea is poetry.
21:33His verses contain very little speech.
21:34But it's full of images you have to imagine.
21:37Shadi wrote The Mummy initially
21:38Poetry poems of 40 verses
21:40But when he turned it into a scenario
21:41Fadl Mukhlis, he writes with pictures.
21:43The image remains the poetry
21:45The image remains the eloquence
21:46A few words
21:47A picture says it all
21:48One of the most beautiful scenes in the film is when we see the older brother.
21:50He is preparing to serve outside the tribe's borders.
21:53A poetic painting depicting a person climbing a hill
21:55All that's visible is the sail.
21:56It's as if a ship is rising into the sky.
21:57He is on the run from searches in underground tombs.
22:00He wants to come to light
22:01Bright colors where water and greenery abound
22:03And the brother bids farewell with his eyes to the Muslim men of the tribe.
22:06Those who always appear as if they are angels die
22:08At the last moment before his departure, the committee of the outside world
22:10We see the older brother get killed
22:12So that the secret doesn't get out.
22:14A visual tableau depicting and highlighting the curse of the tribe
22:17People are living and reading in the embrace of a poor mountain
22:19Tied up in a cemetery
22:20They guard a prison so that no one can escape from it into the world.
22:23In a strange place, they play the role of both jailer and prisoner at the same time.
22:26No matter how much the world seemed wider and more beautiful
22:28His freedom was like an exit to paradise.
22:30Going out is a sin that deserves death.
22:33But at the very moment of the brother's death
22:34We hear the steamship's siren
22:36A moment when Shadi Abdel Salam says
22:37If it were forbidden for anyone to take this secret out to the outside world
22:40The outside world itself is coming
22:42And here the effendis arrive, led by the archaeologist Ahmed Kamal
22:45And these archaeologists receive the tribe's leaders in the same way.
22:48Black ghosts of Ceuta on Earth that don't speak
22:51It is the meeting between Wanis and Ahmed Kamal
22:53We see Wanis, the son of the tribe
22:54He is wearing the garb of the tribe, the color of its curse and secret.
22:57Everyone who comes from outside the village after this will be wearing white.
22:59Scholars, workers
23:01Everyone is dressed in white, the color of light, the color that reveals the secret.
23:04The archaeologist Ahmed Kamal will describe Wanis the first time he sees him
23:06His description perfectly encapsulates his entire complex.
23:08He says his looks are strange.
23:09As if to flow, life returned to him.
23:11Wanis resembled the pharaonic mask with which the film began.
23:14The person present is healthy after a long and strange illness.
23:16Fadil only needs to select the names of his ancestors and bring them out of hiding into the light.
23:20To erase his history and bring it back again
23:23All the tribe's charlatans lived and were born among temples and theatrical performances.
23:26But no one thought for a moment that these were their ancestors; a strange eye must awaken them from their feeling of familiarity.
23:31Someone should tell them that being surrounded by antiquities is not normal.
23:34And here the strange character emerges
23:36A worker from the valley who had never seen temples and representations of this size
23:39We see in her eyes a bewildered sparkle that dazzles the senses
23:42What he's saying is that he lived his whole life in the world of acting.
23:44But he never thought to ask about her origins or his relationship with her.
23:46In the scene, we see Ahmed Kamal begging for help from an officer who is with him.
23:49Temple ruins and the names of kings
23:50Here is the strange archaeological site of Am Tayba
23:52But because of his knowledge, he is able to know everything around him.
23:54Let's compare this to another scene.
23:56We see in Wanees Ibn Tayyiba from a very narrow perspective
23:58We see him in front of giant walls
24:00His smallness represents his ignorance, but it also represents his curiosity.
24:04His boundless curiosity that could no longer be contained
24:06He wants to know who he is and what his history is.
24:08The dear director has brought you three characters
24:10Wanees, son of the tribe and stranger
24:11He who has never seen great majesty and poverty
24:13Ahmed Kamal, a capital city employee and archaeologist
24:16The three Egyptians share a common history.
24:19But everyone has their own stance on this date.
24:22Completely different from the second
24:23Their knowledge, understanding, and present circumstances differ
24:25Shady expresses all of this through makeup.
24:27All the Egyptians in the film have dark skin.
24:30uniform dark color
24:32A rare color called The Egyptian
24:33It was created by a cosmetics company called Max Factor in the 1950s.
24:36Max Factor was made specifically for the American director Cecil B. DeMille.
24:39Director of the film The Ten Commandments
24:41This is because he needed to change the skin tone of the actors to Egyptian skin tones.
24:44By God, Abu Ahmed, he does his life, and they will never let him down, even if it means losing the captain's rank.
24:47If it's ours and you're like that
24:48And I'm a sweet and forgetful girl, Abu Ahmed
24:50Although the actors in the film are Egyptian actors
24:52But Shadi wanted someone who looked the same skin tone.
24:55To assure you that we all cherish this civilization
24:57Our skin tone and features
24:59He was the one who told us that our differences are due to science and knowledge
25:02Listen, Abu Ahmed, I feel that Wanis has rebellious tendencies.
25:04Zarz, brother, means
25:05Why are the pigeons leaving Wanis alone and not playing with him like his brother?
25:08For them, Wanis was still young and his presence was fresh.
25:10Let him cry and groan in the mountains for a while, then he'll come back.
25:13Or perhaps his expression is too eloquent for him; let the crying strip him of his childhood.
25:17It means let the sadness dry him up, harden his heart, and make him bigger.
25:19But Wanis will start resisting the process, as it is in my hands with secrets.
25:22He rejects the attempts at seduction made to him by the sons of the mayor.
25:25We are a new generation, yaaah
25:26If we catch a fool
25:28You remain the leader, and we will rally around you. These uncles will all disappear in two or three years.
25:31I heard it has a new environment, and God willing, you'll find work and make a living.
25:34But Wanis rejects his words.
25:35He also refuses the temptation to sell his property.
25:37Sabi Ayoub
25:38The merchant who used to take antiquities from the uncles
25:40Foreigners were the ones who took it and sold it.
25:41This is equivalent to what is the most important verse in the real incident.
25:44Remember the man with the diplomatic briefcase?
25:46But since we are talking about a poetic director here
25:48For him, the image is more important than the dialogue.
25:50We see Wanis entering manhood
25:52When he sees us
25:53Zeina, the girl that Murad brought
25:55To serve the gentlemen during their stay
25:57Xena will only appear for a few minutes in the film.
25:59What is Santa doing?
26:01Looking at the lantern
26:02It's like an unfinished love story.
26:03There is no evidence that it happened other than these looks.
26:05Shadi is expressing this love
26:07When we see clothes like ours
26:08We find the same color as the roses
26:10The one that Wanis was throwing on his father's grave in the movie
26:13fuchsia
26:14The color that appears whenever Wanis's emotions are stirred
26:17The stronger his emotions
26:18Whether it's sadness or love, this color appears to us
26:20In his study of Egyptian folk costumes
26:22He says, "Help the servant."
26:23The black dress of Bedouin women
26:25Bold from the shoulders and wide from the sleeves
26:27When they raise their hyenas
26:28It remains as if it were a bird
26:29Birds flapping their wings
26:31A tradition dating back to Isis
26:32What we see on the walls of temples
26:34She spreads her hands as if she is gathering them
26:36Zina is a symbol of all feelings and companionship.
26:38A symbol of the freedom he longs for
26:40A symbol of his ancestors, like Isis
26:41And even a symbol of his present heritage
26:43Shadia will also be inspired by our style and clothing.
26:46From a great heritage statue
26:47The Winds of the Fifties by Mahmoud Mokhtar
26:49The appearance of Xena confirms for us
26:51Wanis's conscience has changed
26:52Whether through love or even nostalgia for his ancestors
26:54Or out of hatred for the prison she encountered, which she had worked on
26:56And all these emotions, my dear
26:58She's the one who can save Wanis
26:59From the fact that it is their uniform
27:00And indeed, Wanis stands before the merchant Ayoub.
27:02He refuses to sell short people.
27:04He refuses despite the beatings and the restrictions.
27:07The irony is that, like Zaid
27:08The presence of Ali Al-Aber was a savior for Luanis
27:10Nadia Lott's presence in the transient in the film The Mummy
27:12He will save the whole project
27:13This is because the production entities
27:15It's good that no one will see the slow-motion film.
27:17We await the symbolism
27:19He reads the poem that is in the picture
27:21A dialogue in classical Arabic, and the protagonists are unknown.
27:23The film was difficult to make commercially successful in the market.
27:26Tahd fi al-Eid Taber Hosni Nazel
27:28The casting process creates a variety of shapes.
27:29And then the mummy
27:30It was very difficult for the film to be a commercial success.
27:32At that time, Nadia Lotfi believed in Shadi's friend.
27:34And her conviction in the film's message
27:36And the story he wants to tell
27:37She will accept as a big deal that she will take on a role
27:39It took a few minutes of silence
27:41So that it can be put on the poster and the movie will make you listen to it
27:43And my dear Nadia Lotfi, superstar
27:45Despite the points attack
27:46How could a great star like Nadia Lotfy
27:48Those who committed sins
27:48The one who made the glasses, the headache
27:50Looking forward to a role like this
27:50But let me tell you that Nadia Lotfi
27:52This film will be considered the most important pressure in Messi's career.
27:55That's why I saved him
27:56By the way, dear, I have a picture of Nadia Lotfi in this room.
27:59My first time crash
28:00Finally, my dear Wanis, visit Abu Abu
28:03We could see the roses from afar, but they had already withered.
28:06Wanis's love for Abu
28:07And everything about him has changed.
28:08And so that he may live his life in peace
28:10He has to be someone different from his father.
28:12And about the entire tribe
28:13Running away won't work; he has to face it.
28:14Even if confronting him would destroy his tribe and all its secrets
28:17Wanis will do a strange move
28:19Wanis will go and tell Ahmed Kamal the secret of the hideout
28:23He will go to the family and tell them the secrets
28:24And the effendis will start bringing out the coffins
28:27And every coffin that goes out they will inscribe its name
28:29And by uttering His name, we finally hear the prayer of resurrection.
28:31Here are your bones coming together and your heart returning to you
28:34Here you are in your beautiful form, living and being resurrected
28:37Shady will present us with one of the greatest cinematic endings.
28:40The procession of the exit of the Mamiwaf
28:42The one who wanted to portray it as a resurrection scene
28:44A scene of resurrection of the kings of Egyptian civilization
28:46He will choose to film at a moment similar to those we see just before sunrise or right after sunset.
28:51A poetic moment where light and darkness mingle.
28:53It retains a slight trace of sun damage.
28:55Without the heat of the sun
28:56Without a donkey
28:57Without redness
28:58The problem is that this drumming only shows twenty of them, just like sunset.
29:01That's why, my dear, he'll film this scene.
29:0428 months in 28 days
29:06Every day he stands with the camera, watching the minutes
29:09So we can see, my dear, the end of the movie "The Mummy"
29:11A magical scene where the past blends with the present
29:13It's as if we're witnessing the resurrection of dead kings.
29:15He also sent messages to the people who are still alive.
29:17The coffins are being carried by people wearing white.
29:20Not black ghosts like the ones in the first movie
29:21The tribesmen will stand in their black clothing.
29:23They bitterly watch as their treasure comes to light
29:26They see the secret of their kiss as it is revealed
29:28And the foundation of their lives and their backbone is Bianhar
29:31Wanis Hedi turned his back on his tribe, who would never forgive him, and he left.
29:34Even death itself is no longer of any use now.
29:36They don't tell a lie because the secret is out.
29:38His clothing here is intermittent
29:39Neither of them is dressed in black like the tribe, nor is he dressed like the effendis.
29:41The person who wore the garment with such tenderness ended up with the son.
29:43He paid a heavy price to revive himself and preserve his memory of his religion.
29:47The film began with a written promise.
29:48It will end with the command "Get up"
29:50As if the story isn't about Wanis
29:52But it's the story of every Egyptian who sees the film
29:54Every Egyptian has a mission
29:55It remains the dress of kings.
29:56Zima, the kings, rose from their homes.
29:58The Egyptian's role is to rise up and recognize his past memory.
30:01He protects her so he can understand his future.
30:03The idea I'll summarize is to encourage peace and say
30:05My case is lost history.
30:07These people you see on the street have a history.
30:10They contributed to shaping life and enriched humanity.
30:12How do we get them back into the same role?
30:14And we recall their powerful contribution to life
30:16First, they must know who they are.
30:18What were they and what did they offer?
30:20We must bridge the gap between today's man and yesterday's man.
30:22Let's present the human being of tomorrow
30:24This is her case
30:25Jess asks why the film needs such a different style.
30:28Slow pacing and stingy dialogue
30:29And a picture overflowing, not like the Mu'allaqat.
30:31A difficult film that feels realistic
30:33It's also difficult to consider it imaginary.
30:34Samir Farid's contract describes it as a post-realistic film.
30:37Post Realist
30:38It starts from reality and takes you to a farther realm of imagination.
30:40Shadi wanted an Egyptian film
30:42A film that did not borrow its style from European or American cinema
30:45Rather, his style is derived from his idea.
30:46It's as if we're seeing people imprisoned by a pharaonic painting.
30:49She moves at her own pace and in her own way.
30:50But they don't feel that they are part of it.
30:52The idea is difficult to imagine realistically.
30:54It's also difficult for her to breathe as a complete fantasy.
30:56This is what most impressed the world about the mummy.
30:58One of the French fields will describe it
31:00It's a charming film, and its director's style is not to be condemned.
31:03For any other exit
31:04This guy is coming with something new
31:05French actress Clot Clooney
31:06He will say that the mummy is a global film
31:08But Egypt is very
31:09Because Egypt is present in every detail
31:10According to the words of the Nawaqi' Mudh'ab Al-Shakur
31:12The Egyptian audience's reception of the film
31:14He will be hesitant
31:15Because his style is new to them
31:16Despite that
31:17Fashadi Abdel Salam will see this reception
31:18As an extension of his original film
31:19He'll take a recorder and go down and ask people.
31:21What did they feel when they saw him?
31:22It wasn't easy for any of the viewers to watch the film.
31:24He says the film is the length of the Tatma, Saqit, and Papyrus.
31:26You keep taking pictures of me, I need his statues
31:28Shadi Abdel Salam was in a terrible state, that's it.
31:29He saw that some people were shocked by the film
31:31Shabah, a shock, and a nice
31:32He is trying to reach his terrace
31:33But the biggest criticism will be directed at the mummy.
31:35He glorifies and focuses specifically on Pharaonic civilization.
31:38Shadi describes history as a vast garden
31:40A garden spanning 7000 years
31:42Therefore, we don't need to get bogged down in a simple number in it.
31:44But perhaps he chose this civilization, my dear.
31:46Because it is the most historic moment we have been cut off from.
31:49This is the biggest distance between us and her.
31:51Shadi says that the mummy was oxidized on the day of 1881.
31:55One year before the British occupation of Egypt
31:57Colonialism and foreign influence
31:59The true story of Egyptian antiquities
32:00The fears of the Mummy movie are embodied
32:02A story is being made that creates a barrier between that
32:04Egyptian football and its ancient civilization
32:06Colonialism is destroying and eradicating civilization.
32:07The one who takes it is half the antiquities
32:08And he presents his questions on his behalf.
32:09Ticket 40 euros
32:11According to a study conducted in 2018
32:13Basem Ahmed Abdel Rasoul and the Deir el-Bahari cache
32:15There will be historical animosity and European contempt.
32:18From the beginning of Egyptology to the people of Abd al-Rasul
32:20Well, Abu Ahmed, they're no longer being slaughtered.
32:21We were covered by antiquities dealers
32:23The problem is that the most important antiquities dealers of the 19th century
32:25Not typical of Abdel Rasoul at all
32:27The biggest antiquities dealers are Europeans.
32:28I'll tell you the big one: the Europeans are responsible for the antiquities.
32:31These countries were the biggest antiquities dealers in the 19th century.
32:34At the port, it began with Spiro
32:35He is displaying a papyrus and a picture
32:36Ben deceived his predecessor Auguste Mariati
32:38Director of the Antiquities Department
32:39It is true that Spiro did indeed retrieve the cache.
32:41But in reality, he didn't hear the Egyptians.
32:44Legal investigations are only conducted in very rare cases.
32:46Egypt, is there still a role for antiquities in your country?
32:48No, that won't work.
32:49This was in contrast to the European missions.
32:50He justified this in a very racist way.
32:52The Egyptians are eager for treasures
32:53They lack a scientific spirit.
32:55We are simply desperate for treasure.
32:56But we have a scientific spirit
32:57And how is it considered that the effects of the Baldakriat violin costume
32:59Those who are available for the time outside of Egypt
33:00It will be kept in Lanter
33:01Which is safer than Egypt
33:03Sarkh Maspero in defense of antiquities
33:04And its remaining within the borders of Egypt
33:06This will be the reason behind very famous thefts.
33:08Ali Al-Mashhad, we will learn from you.
33:09In the statue of Nefertiti
33:10Furthermore, Spiro himself will encourage the collectors of antiquities.
33:12If they buy it
33:13The theft of Nefertiti was said to be due to what Spiro
33:16Also, Spiro was encouraging antiquities dealers to buy them.
33:19They buy them from the Antiquities Authority itself.
33:20Come to the government office and we'll give you a receipt.
33:22Meanwhile, the previous director of the department was one of the most notorious antiquities thieves.
33:25This link wasn't just stealing artifacts
33:27No, he employed Egyptians in digging graves.
33:29So what's the problem, Abu Hamad?
33:30I'm working, I haven't heard of her, she's on vacation
33:32No, my dear, he wouldn't let them excavate for antiquities with the rock.
33:34It means you're handing over your heritage and your health in one journey.
33:36In her book, The Future of Egyptology
33:38Monique Hannah says that Egyptology
33:41From the time of its inception, it has been upon us Europeans
33:42After the discovery of the Rosetta Stone
33:43It will target two things
33:44Number one: smuggling the largest quantity of antiquities abroad
33:47Number two: removing and erasing any Egyptian role in this science.
33:50In a cysteine-like manner
33:51You can easily find this at the entrance of the Egyptian Museum.
33:53The facade was designed by Marcel d'Orgron in 1901
33:56And the founding fathers of Egyptology landed there
33:59Without including a single Egyptian in it
34:00James Preston, author of the famous book *The Dawn of Conscience*
34:03He believed that Egyptology would be harmed
34:05If you allow Egyptians to study it
34:07This man will also take hostile stances against Egyptian students.
34:10It appears in a racist phrase she wrote in a letter to his wife
34:13May God protect Egypt from the Egyptians.
34:15And the inkwell went to this idea
34:16As Lord Cromer described the Egyptians
34:18They are not civilized enough to preserve their legacy.
34:21The hero Ahmed Kamal in the movie The Mummy
34:23fictional character
34:24He was the first Egyptian Egyptologist
34:26And he graduated from the Egyptian Language School
34:28The one who ordered Auguste Mariette to take her out from the Egyptians
34:31They don't study in a museum of loyalty
34:32So that they don't learn the language of their ancestors
34:34So they don't know their signature
34:35Ahmed Kamal will send a message in the year 1894
34:38The Prime Minister complains of deliberate
34:40He was excluded from promotion in the Department of Antiquities
34:42I am an Egyptian, but I am being exploited for the benefit of foreigners.
34:44And at the end of his life, he will ask the department
34:45May more Egyptians remain in service
34:47But the head of the department responds to him and says
34:49Egyptians are not interested in their country's antiquities.
34:51So that Ahmed Kamal can respond to him and tell him
34:52During the 65 years of French administration of the department
34:56What opportunities did you provide us?
34:57According to Monica Hanna
34:58Foreign founders of Egyptology
35:00With weak antiquities protection laws in Egypt
35:02Which has been allowed for many years under the naming system
35:04This system was printed on the discovered artifacts.
35:06Between the discoverer and the government
35:07This was one of the reasons why many of our artifacts were taken abroad.
35:10This is also the reason why Egyptology
35:12To this day, he has not freed himself from this view of Egypt.
35:14Considering that Egypt today is an intruder on its history
35:16Not part of it
35:18Perhaps the real mummy figures
35:20Their story is far more serious than the film's plot.
35:22The film that was the most greedy of the tribal elders
35:24But Shadi himself was saying that his goal
35:26It wasn't from the Mutlaq tribe that he became agitated and hated the tribe.
35:29Because it's not a story of theft
35:30It's not a story of soldiers and thieves
35:31Rather, it is the story of a complete history and a memory of the past.
35:33If a person doesn't know how to protect it, they will lose their future.
35:36At the time, anyone who saw the film understood the true story
35:38And that's how she measured the danger that came to her from the foreigner.
35:40And the danger that came to us from the people of the country
35:41It's easy to find that the foreign buyer
35:43Much more dangerous than the Abdul Rasoul family
35:45Shady's problem is that Abdel Rasoul's family are Egyptian.
35:47And these countries bear a greater responsibility because they are the ones who caused this.
35:49The Mummy: A Story of a Mission for History and Knowledge
35:52Only an Egyptian can do it
35:53The Egyptian is solely responsible, and no one else.
35:56Director Yabsi Nasser Allah
35:57Hyospe Shady Abdel Salam
35:58The man who only made one chill movie in his entire career
36:02He'll say it's bigger than life
36:03Shadi didn't just make a film, he created a timeless masterpiece.
36:06Or, as Shadi Abdel Salam put it
36:07I treat cinema only as a historical document for future generations.
36:11In 2009
36:12Cinema Foundation and its founder Scorsese were born
36:14Hermème, the original version of the film The Mummy
36:16Because after four years it will be exposed everywhere in the world
36:19In 2021, AI quality will be improved to 4K.
36:22As if the film was important
36:23Memory and Resurrection
36:25He transformed himself into a document
36:26A document that was remembered and in an attempt to revive it
36:29A document that is not just institutional
36:30Rather, it is a document for the history of cinema worldwide.
36:33A document entitled Alf Miyaa
36:34That's all, my dear.
36:35Good or bad
36:36You won't see the previous cases
36:37See you in the next cases
36:37Tennis, look at the sources we have on YouTube
36:39Subscribe to the channel
36:39And I am from this position, pregnant
36:40Who am I to demand this from the great director Martin Scorsese?
36:43Restoration of the following films
36:44The devils are on vacation
36:45Devils in the sea
36:46The devils are in the intention after
36:47All kinds of demons
36:48I'd love to see all these movies come back again.
36:49I see all kinds of demons being thrown down
36:50If he knew, he'd take her and the spitting with me.
36:52He welcomes