Youssef Chahine (Arabic: يوسف شاهين January 25, 1926–July 27, 2008) was an Egyptian film director active in the Egyptian film industry since 1950. He was credited with launching the career of actor Omar Sharif . A critically acclaimed director frequently seen in film festivals during decades, Chahine also had his reach to wider international filmgoers' audiences as one of the co-directors of 11'9"01 September 11.
Chahine was born into a Christian Egyptian family, his mother was Greek and father originally Lebanese on January 25, 1926. Chahine began his education at a frères' school and continued his studies at the Victoria College. After one year at Alexandria University, he moved to the United States to study acting at the Pasadena Playhouse.
After returning to Egypt, he turned his attention to directing. Cinematographer Alvise Orfanelli helped Chahine into the film business. His film debut was Baba Amin (1950): one year later, with Nile Boy (1951) he was first invited to the Cannes Film Festival. In 1970 he was awarded a Golden Tanit at the Carthage Film Festival. With The Sparrow (1973), in which he showed his political opinions after the Six Day War with Israel, he directed the first Egypt-Algeria co-production. He won a Silver Bear in Berlin for Alexandria...Why? (1978), the first installment in what would prove to be an autobiographic quartet, completed with An Egyptian Story (1982), Alexandria, Again and Again (1990), and Alexandria...New York (2004). The producer Humbert Balsan went to Cannes in 2004 with Alexandria... New York (2004), his ninth film with the Egyptian director since 1985's Adieu, Bonaparte. In one of his films The Sixth Day اليوم السادس, an adaptation of a novel written in French by Lebanese writer André Chedid, the famous Egyptian singer Dalida was the protagonist in the role of a poor Egyptian woman.
Chahine also acted in a few of his films.
In 1992 Jacques Lassalle approached him to stage a piece of his choice for Comédie-Française: Chahine chose to adapt Albert Camus' Caligula, which proved hugely successful. The same year he started writing The Emigrant (1994), a story inspired by the Biblical character of Joseph, son of Jacob.
This had long been a dream-project and he finally got to shoot it in 1994. This film created a controversy in Egypt between the enlightened wing and the fundamentalists who opposed the depiction of religious characters in films. In 1997, 46 years and 5 invitations later, his work was acknowledged at the Cannes Film Festival with a lifetime achievement award on the occasion of the 50th anniversary of the festival. He is also credited with discovering Omar Sharif, whose first starring role was in Chahine's film The Blazing Sun (1954). He also provided Hind Rostom with a very early role as a murder victim in Bab al-Hadid (Cairo Station).
Chahine was awarded the 50th annual lifetime achievement award at the Cannes Film Festival in 1997.
Chahine frequently included gay or bisexual themes in his work. Alexandria...Why? tells the story of two young men--one Egyptian, the other European--who fall in love during World War II. Alexandria Again and Again revolves around the life of a famous Egyptian director who visits Europe and has a male European lover.
Chahine was hospitalized at El Shorouq hospital in Cairo in a coma following an apparent cerebral haemorrhage, on Sunday, June 15, 2008.
On Monday, June 16, 2008, Chahine was flown to Paris on an emergency flight and admitted to the American Hospital in Neuilly-sur-Seine, west of Paris, where his niece told AFP his condition was "critical but stable."
Youssef Chahine died in his Cairo home on Sunday July 27, 2008.
Chahine’s early films in Egypt included Raging Sky (1953), begun while Farouk was still King and dealing with a peasant farmer’s challenge to a feudal landlord. But the first truly indicative film of his style and preoccupations was Cairo Central Station (Bab al-Hadid), in 1958.
Chahine himself plays the central character, Kenaoui, a simple-minded man, beneficently employed as a newspaper-seller. He cuts pictures of women from magazines for the station hut he lives in, but a living focus of his sexual frustrations is Hanouma (played by the popular actress Hind Rostom), who sells lemonade and is engaged to Abou Serib (Farid Chawqi), porter and trade union organiser. With unthinking but affectionate playfulness Hanouma exacerbates Kenaoui’s frustration and adds to his confusion which leads to tragic death. Egyptian audiences, used to simpler melodramas, were disturbed and rejected the film. It was not seen again for some 20 years.
In 1963 Chahine made Saladin (original title: El Nasser - defender/deliverer - Salah ed-Dine), an epic, three-hour film in CinemaScope named after the 12th Century Sultan who, as the film begins, is preparing to liberate Jerusalem from its Christian Crusader occupiers. It was scripted by Naguib Mahfouz and the poet and progressive writer, Abderrahman Cherkaoui, and a parallel between Saladin and President Nasser is easily drawn. Saladin is shown as an educated and peaceable man - at one point he is asked to give clandestine medical help to Richard (the Lion Heart), shot by an arrow, and later he tells him: "Religion is God’s and the Earth is for all ... I guarantee to all Christians in Jerusalem the same rights as are enjoyed by Muslims."
A novel by Cherkaoui, serialised in 1952, formed the basis of The Earth (1968), noted particularly for its image of the peasant farmer - "eternal ‘damned of the earth’" - which broke with "the ridiculous image the cinema had (hitherto) given him" (Khaled Osman). There followed a further collaboration with Mahfouz on The Choice (1970), ostensibly a murder investigation story involving twin brothers, but with the underlying theme of intellectual schizophrenia. In 1976 he made The Return Of The Prodigal Son, a "musical tragedy", but four years earlier had made one of his greatest films, The Sparrow (1972), both co-productions with Algeria. A journalist and a young police officer meet while investigating incidents of corruption. They and other people of the left pass through Bahiyya’s house, whose name represents the idea of the mother country and is invoked in Cheikh Imam’s song at the end of the film. After Nasser’s announcement of the defeat in the war and his subsequent resignation, Bahiyya runs into the street, followed by a growing crowd, shouting "No! we must fight. We won’t accept defeat!"
In Alexandria, Why? (1978), Yehia, a young Victoria College student, is obsessed with Hollywod and dreams of making cinema. It is 1942, the Germans are about to enter Alexandria, thought preferable to the presence of the British. Yehia’s cousin is gay and ‘buys’ drunken British soldiers. Jewish friends are forced to leave and decide to settle in Palestine. In An Egyptian Story (1982) Yehia is a flim-maker, going to London (as Chahine had earlier) for open-heart surgery. He has a brief affair with a taxi driver. As a result of the operation, he reviews his life: moments of Chahine’s own films are replayed against their autobiographical and social historical context. Memory is very important to Chahine’s most recent work —whether of the "city of my childhood, Alexandria, between the two world wars tolerant, secular, open to Muslims, Christians and Jews" or of a more distant past: such as evoked in Adieu Bonaparte (1985), based on the cultural aspect of Bonaparte’s expedition into Egypt (1798). "Out of this marvellous confrontation there was a rebirth of Egyptian consciousness, of its past ... which belongs to humanity."
