Cinema of Syria
Cinema of Syria refers to film production in Syria since its independence from France in 1946.
Syrian cinema was inaugurated in 1928 with the screening of Al-Muttaham al-Bari, the country’s first feature film. Nearly a century later, filmmaker Feras Fayyad became the first Syrian to be nominated for an Academy Award, with Last Men in Aleppo earning a nomination for Best Documentary Feature at the 2018 Oscars.
History
Beginnings- 1900s
The country's first film was screened at a café in Aleppo in 1908. Eight years later, the Ottoman administration under Jamal Pasha opened the first movie theater in Damascus but it was burned down a month later.1910s
In 1912, the owner of a café in Damascus's Marjeh Square, Habib Al-Shammas, showed a film using a manual machine with acetylene gas-generated lamp illumination.In 1916 Jamal Pasha, the Ottoman ruler of Syria known as Al-Saffah, established the first cinema hall in Damascus on Salihiya Street. Named Çanakkale in commemoration of the Ottoman victory in World War I, this venue showcased diverse films, including the German army's parade in Berlin. Despite its popularity, Çanakkale was also burned down.
A Greek man who had worked there approached a cafe owner in Marjeh Square about opening another venue. Recognizing the public demand, the proprietor embraced the idea, marking the inception of "The Rose of Damascus" cinema hall. Initially featuring French police and comedy films, the hall's success led to further investment in the sector.
This collaboration led to the proliferation of cinema halls in Damascus, with subsequent establishments capitalizing on the lucrative industry. The film repertoire expanded to include American cowboy films and narratives about Mexican gangs. With the French occupation of Damascus, the cinematic landscape underwent a transformation, gradually replacing cowboy films with French productions. The trend extended to Aleppo and other Syrian provinces, aligning with the cinematic developments in the capital city.
1920s
In 1928 was releasedAl-Mutaham al-Bari, a silent black-and-white feature directed, written, and produced by Rasheed Jalal in collaboration with Ahmed Tello, first Syrian feature film, produced the first Syrian production company, Hermon Film.Inspired by the cinematic experiences they had witnessed in local halls, a group of amateurs, including Ayoub Badri, Ahmed Tello, and Muhammad Al-Muradi, envisioned producing Syrian films. In 1928, lacking experience and technical knowledge, they collaborated with photographer Rashid Jalal to produce Al-Mutaham al-Bari. Using a small cinematography device imported from Germany, the filmmakers produced a film, shot on an 800-meter tape over eight months, which drew inspiration from real incidents during King Faisal's reign, portraying a gang of thieves causing havoc in Damascus. Upon completion, efforts to showcase the film faced a setback when French authorities refused a license due to the inclusion of a Muslim actress, citing concerns from clerics about potential public unrest. In response, the filmmakers replaced the actress with a German dancer, re-filming her scenes.
1930s
Mustafa Hilal was Syria's first professional actor. Internal conflicts led to the dissolution of groundbreaking film company Hermon Film, despite the success of their debut film, Al-Mutaham al-Bari. Responding to the burgeoning film industry, Rashid Jalal and Ismail Anzour parted ways to establish the Helios Film company in 1931. Collaborating with other investors, their effort aimed to produce Under the Damascus Sky in 1933, involving an Italian photographer and foreign actors and dancer: Tahta Sama' Dimashq was released in 1934. Originally planned as a silent film, the creators transitioned to sound cinema influenced by the success of the first Arabic-speaking film, Song of the Heart. Technical constraints led to a silent exhibition, marking the end of silent cinema in Syria.Complications persisted as French authorities banned Under the Damascus Sky, directed by Ismail Anzour,who studied filmmaking in Vienna and returned to Syria to work on Syria's second film. The film faced challenges for its boldness and copyright infringement of its musical score. Despite interventions, the film encountered significant financial setbacks.Their subsequent film, Under the Damascus Sky, struggled commercially, overshadowed by the success of the Egyptian Musical Hymn of the Heart. Faced with additional adversity from French authorities, Syrian filmmakers, including Ismail Anzour, explored opportunities in Cairo.
One noteworthy film from this time is Nedaa al-Wajeb, directed by Ayoub al-Badri. This film is the first in Syrian cinema to explicitly mention the Palestinian Cause, addressing the Arab Revolt in Palestine against British occupation. Al-Badri had also directed A''l-Muttaham al-Baree.''
1940s
In 1943, the grand Cinema Dimashq, boasting 1,500 seats and ranking among the largest movie theaters in the Eastern Mediterranean, opened its doors in Damascus. In 1947 when Nazih Shabandar established a production studio equipped with his own inventions. The subsequent year witnessed the production of the first Syrian talkie, Nur wa Thalam, featuring emerging Syrian stars Rafiq Shukri, Yevett Feghli, and Anwar el Baba.In the 1940s many Syrian films addressed the Palestinian Cause, though unfortunately, a comprehensive archive of early Syrian cinema from this period is lacking. Surviving films from the 1930s, 1940s, and 1950s represent only a small fraction of the production. The primary means of uncovering films from this era is through printed archives, particularly books dedicated to archiving and reviewing cinema.
While references to Syrian and Arab cinema in the 1940s often overlook films related to the Palestinian cause, there are notable exceptions. One such film is al-Jaysh al-Souri fel Maydan, produced by Ahmed Irfan. This work focuses on the Syrian army's role in the 1948 war, exemplifying a thematic emphasis on the Palestinian Cause during that decade.
Asmahan and Farid Al-Atrash were renowned singers who also ventured into the realm of cinema, showcasing their talents in movies across Egypt and Syria. Later on, Farid Al-Atrash extended his cinematic contributions to include Lebanese films.
1950s
During the 1950s Syria witnessed a growing professionalisation of filmmakers and actors. Actors in Syrian-Lebanese productions, like Anwar el-Baba, Rafiq Shukri, and Yvette Feghali, became prominent names in the film industry. In 1950 Aleppo was established the company Irfan and Jaliq, which produced the film Passer.During this period numerous Syrian actors and actresses relocated to Egypt in pursuit of career advancement. Hala Shawkat became a rising star in Egypt.
The 1951 American film Sirocco, set in Syria and starring Humphrey Bogart and Märta Torén, was filmed on location in Damascus.
1960s
In the 1960s, the Syrian film industry underwent significant improvements, catalyzed by the success of the comedic duo formed by Duraid Lahham and Nuhad al-Qala‘i. Their lucrative film series, commencing with Aqd al-Lulu in 1964 marked a pivotal shift, coinciding with the establishment of the General Organization for Cinema in 1963, operating under the Ministry of Culture. In the aftermath of the Six-Day War and Syria's loss of the Golan Heights, the organization acquired a strict monopoly over film production and distribution, reshaping the industry landscape.Despite facing challenges in distribution and fluctuating profits, the industry gained recognition through the comedic contributions of Lahham and al-Qala‘i.
In 1963, in conjunction with the Ba'athist takeover of Syria, the establishment of the National Film Organization sought to foster a distinct national identity for Syrian films. This initiative brought back Syrian talents from Cairo. Additionally, Syrian filmmakers began incorporating Egyptian and Lebanese actors, diversifying the talent pool and enriching cinematic narratives.
Zuhair Shawa played a pivotal role by completing the first Syrian film, The Green Valley, entirely within the country in 1963. He attempted a film on Palestine called Behind the Borders in 1963, and later directed The Devil’s Game in 1966.
The unity established between Syria and Egypt in 1960 led to the creation of the Department of Cinema and Photography, headed by Salah Dahni. Known for his film criticism, Dahni organized the first Arab film festival in 1956 during his tenure at the Damascus International Fair.
Moreover, the Syrian film industry began to incorporate foreign influences, with filmmakers integrating French icons and engaging in productions with Yugoslavian and Italian collaborations. This strategic approach contributed to the industry's global appeal and furthered its artistic diversity during this transformative period in the 1960s.
Medea was also filmed in Syria, in the Aleppo Citadel the oldest castle in the world, starring Maria Callas.
1970s
The 1970s marked a golden age for Syrian cinema, the 1970s represented a flourishing period for Syrian cinema, characterized by the ascent of Syrian actors and actresses. Amidst heightened guerrilla actions, cinematic narratives evolved to address pressing societal and political issues. Notable films such as Men Under the Sun, centered on the Palestinian issue and resistance, and The Knife and The Deceived -or The Dupes-, both inspired by Ghassan Kanafani's stories, contributed to the cultural landscape.However, this era also witnessed a turning point with the production of The Leopard, based on Haider Haider's story. Despite its exploration of the farmer-feudal lord relationship, the film faced severe criticism for some seductive scenes, marking a notable shift in Syrian cinema.
Filmmaker Mohamed Shaheen explored societal issues and romantic relationships in Another Face of Love, aiming to depict daily life artistically. Notable films of this era which includes collaborations of Salah Zulfikar in Syrian film industry includes Memory of a Night of Love, with Nelly, Mariam Fakhr Eddine, Muna Wassef, Rafik Subaie, Hala Shawkat and others, the film was a box-office hit. The era saw an increase in literary adaptations, including the Shame Trilogy and films like Al-Yazirli and The Adventure. Dancer on the Wounds released in 1974 featuring Ighraa and Youssef Hanna.
The Syrian-Egyptian film Al-Rajul al-Munaseb came out in 1970. In 1971, the first Syrian-Turkish movie was released, Ghawwar La'eb al-Koura, starring Duraid Lahham and Nihad Qali. Syrian-Egyptian film Nisaa Lil Shitaa starring Syrian actor Rafiq Sibayi came out in 1974. The Message filmed some parts in Syria, also starring Syrian actress Muna Wassef, with Syrian director Moustapha Akkad.
The 1970s also witnessed the rise of Syrian actresses, including Ighraa who notably became the first actress to appear nude in the Middle East. Syrian cinema achieved continued success with films like The Leopard and Dancer on the Wounds, starring the acclaimed duo Duraid Lahham and Nuhad al-Qala'i.
Noteworthy collaborations included Egyptian actress Nelly in The Sinners and Lebanese actors, such as Iman who appeared in When the Wives Are Away who also starred French icon Muriel Montousse. Walid Tawfiq, a Lebanese actor who appeared in Fish Without Hasak, produced by Samir Anini in 1978, starring Sabah Al-Jazairi, Duraid Lahham and Karim Abu Shakra. The Sinners produced by the Damascus Cinema Company in 1975. The same story of the movie was re-presented by Adel Imam in Egyptian cinema in 1980 in a movie titled Hell.
The decade also featured various films and actors, including Ziad Mawlawi, Samira Tawfiq, Mahmoud Saeed, Duraid Lahham, Nihad Qalai.