| Cinema Of Syria | |
| Screens: | 5 (2011) [1] |
| Screens Per Capita: | 0.1 Per 100,000 [2] |
| Distributors: | Al-Fardos Drama Sama Art |
| Produced Year: | 2006 |
| Produced Fictional: | 4 |
| Produced Animated: | – |
| Produced Documentary: | 1 |
The inaugural moment of Syrian cinema is said to be the release of Al-Mutaham al-Bari (The Innocent Suspect) in 1928. Actors from neighboring countries, as well as France, have influenced the Syrian film industry.
In 1908 Syria experienced its cinematic awakening when the first film was screened at a café in Aleppo. Eight years later, the Ottoman administration established the first film theater in Damascus, which was called Çanakkale in memory of the Ottoman victory over the English and French forces during World War I. inaugurated by Ottoman governor Jamal Pasha. Unfortunately, the theater faced a swift demise as it was burned down a month later. This period coincided with the French Mandate over Syria, leading to the subsequent construction of numerous theaters in Damascus.
The inception of Syrian filmmaking occurred in 1928 with the release of Al-Mutaham al-Bari (The Innocent Suspect), a silent black-and-white feature directed, written, and produced by Rasheed Jalal in collaboration with Ahmed Tello. This groundbreaking venture marked not only the debut of Syrian cinema but also the establishment of the first Syrian production company, Hermon Film. Despite this initial success, Syrian cinema faced challenges. In 1934, the release of the second silent black-and-white film, Tahta Sama' Dimashq (Under the Damascus Sky), coincided with the Egyptian talkie Unshudat al Fuad (Hymn of the Heart). Regrettably, the Syrian film struggled commercially, overshadowed by the success of its Egyptian counterpart.
The cinematic landscape in Syria continued to evolve. 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. This architectural marvel further reflected the growing influence of cinema in Syrian culture. A pivotal moment arrived 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 (Light and Darkness), a significant milestone featuring emerging Syrian stars Rafiq Shukri, Yevett Feghli, and Anwar el Baba.
In 1908 a group of foreigners from Turkey arrived in Aleppo, northern Syria, introducing what would be recognized as the country's inaugural cinematic show. This pioneering display of strange moving pictures left the local audience astounded, as the images seemingly came to life on screens, creating a novel and captivating experience.
Subsequently, in Damascus, café owners sought to inject new vitality into their establishments. This initiative arose in response to the waning popularity of traditional storytellers, whose narratives had grown repetitive. The introduction of viewing boxes displaying a limited number of pictures primarily appealing to children prompted a shift in interest towards a more contemporary form of artistic expression. This marked the emergence of a burgeoning cinematic culture in Syria, as cafés became venues for the presentation of modern art that met the evolving preferences of a diverse audience. This early chapter in Syrian cinema set the stage for its subsequent development and cultural significance.
In 1912, responding to the growing interest in cinema, the owner of a café situated in Damascus's prominent Marjeh Square, named "Habib Al-Shammas," pioneered the exhibition of moving pictures using a manual machine and acetylene gas-generated lamp illumination. This marked the inception of cinematic presentations in Damascus, with Habib Al-Shammas at the forefront of this innovative cultural endeavor.
As cinema evolved globally, nations recognized its potential as a medium for propaganda and the demonstration of military prowess. 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, like many others, succumbed to fire due to limited resources and experience.
Following the destruction of Çanakkale, a Greek man named "Salo," who had worked at the burnt venue, proposed the establishment of a new cinema hall to a café owner in Marjeh Square. Recognizing the burgeoning public demand, the café owner embraced the idea, marking the inception of "The Rose of Damascus" cinema hall. Initially featuring French police and comedy films, the hall's success prompted 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.
Inspired by the cinematic experiences they witnessed in local halls, a group of amateurs, including Ayoub Badri, Ahmed Tello, and Muhammad Al-Muradi, envisioned producing Syrian cinematic films. In 1928, lacking experience and technical knowledge, they collaborated with photographer Rashid Jalal to form the Hermon Film company and embark on the production of Syria's first film, Al-Mutaham al-Bari.
Using a small cinematography device imported from Germany, the filmmakers navigated the challenges of their amateur status, with Jalal handling cinematography and script development while they assumed acting roles. The film, shot on an 800-meter tape over eight months, drew inspiration from real incidents during King Faisal's reign, portraying a gang of thieves causing havoc in Damascus. The storyline underwent modifications to include a female character, played by a Damascene girl.
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.
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 dancers.
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 (1933), 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.
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.
One noteworthy film from this time is Nedaa al-Wajeb (1937), 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, who also directed the first Syrian film in 1928, al-Muttaham al-Baree, was associated with Harmon Film, the pioneering cinema collective in Syria formed by enthusiasts who later became professionals.
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 (1949), 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.
During the 1950s there was a notable improvement in film production, characterized by a growing professionalism and the emergence of talented actors and actresses. The cast of the Syrian-Lebanese film, including notable figures like Anwar el-Baba (uncle of Soad Hosny), Rafiq Shukri, and Yvette Feghali, became prominent names in the film industry, contributing to its rising success. Local film production gained momentum in the mid-1950s, witnessing the development of the cinematic industry in Aleppo. In 1950 Aleppo 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, unaware that their migration would eventually result in a reciprocal exchange. Unforeseen at the time, the trend saw the return of not only Syrian talents but also Egyptian actors and actresses, marking a notable cross-cultural exchange that influenced the entertainment industry in both nations. Hala Shawkat was a rising star in Egypt.
Sirocco was filmed in Syria, starring Humphrey Bogart and Märta Torén.
In the 1960s, the Syrian film industry underwent significant improvements, catalyzed by the success of comedic duo Duraid Lahham and Nuhad al-Qala‘i. Their lucrative film series, commencing with Aqd al-Lulu (Necklace of Pearls) in 1964, propelled the industry forward, allowing for the production of two films annually. This era 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 the establishment of the National Film Organization sought to foster a distinct national identity for Syrian films. This initiative not only brought back Syrian talents from Cairo but also fostered collaboration with other Arabic states, contributing to industry growth. Additionally, Syrian filmmakers began incorporating Egyptian and Lebanese actors, diversifying the talent pool and enriching cinematic narratives.
Zuhair Shawa, an emerging artist in Damascus, 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.
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 (1970), centered on the Palestinian issue and resistance, and The Knife (1971) and The Deceived (1973), 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 (1972), 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 (1973), 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 (1973), 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 (1974) and films like Al-Yazirli (1974) and The Adventure (1974). 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 (1972) and Dancer on the Wounds (1974), starring the acclaimed duo Duraid Lahham and Nuhad al-Qala'i.
Noteworthy collaborations included Egyptian actress Nelly in The Sinners (1975) and Lebanese actors, such as Iman (Liz Sarkissian) who appeared in When the Wives Are Away (1975) 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, and others, contributing to the diversity and success of Syrian cinema during its golden age in the 1970s.
In 1981, the cinematic landscape welcomed the release of Banat Al Karate featuring the talented Syrian actress Ighraa. The subsequent year, 1982, witnessed the debut of Al-Hudood, a film starring Duraid Lahham, Rashid Assaf, and Raghda. The plot unfolds as a traveler loses his passport between two countries, leaving him stranded in a neutral zone, compelling him to devise a strategy for crossing into the next country or finding a way back home.
The year 1984 marked the release of Dreams of the City, a film featuring Ayman Zeidan. Moving forward to 1987, a Soviet-Syrian collaboration resulted in the creation of The Last Night of Scheherazade, a children's fantasy film directed by Takhir Sabirov. Inspired by "One Thousand and One Nights", this film concluded a trilogy that included "New Tales of Scheherazade" and "And Another Night of Scheherazade."
In the same year, the Syrian documentary film The Dream emerged, directed by Mohammad Malas. Comprising a series of interviews with Palestinian refugees in Lebanon during the civil war, the film explores the dreams these refugees experienced while asleep, providing a poignant perspective on their lives and aspirations.
During the 1990s, a pivotal era preceding the golden age of Syrian cinema, Maraya emerged as one of the decade's standout successes, achieving the status of a classic. Notably, The Night, a 1992 film set in Quneitra and centered around the Arab-Israeli conflict, played a significant role in shaping the cinematic landscape. In 1993, it made history as the first Syrian feature to be showcased at the prestigious New York Film Festival, featuring performances by Fares Al-Helou and Sabah Jazairi.
Another notable contribution to Syrian cinema during this period was Al-Kompars, directed by Nabil Maleh and featuring the talents of Bassam Kousa and Samar Sami. This film added to the diverse cinematic offerings of the era.
In the documentary genre, On a Day of Ordinary Violence, My Friend Michel Seurat... directed by Omar Amiralay, served as a poignant elegy to the esteemed sociologist Michel Seurat. Seurat met a tragic end after being abducted by Islamic Jihad, a precursor to Hezbollah, in Lebanon in 1985. This documentary shed light on his life and the circumstances surrounding his untimely death.
Furthermore, There Are So Many Things Still to Say, another documentary by director Omar Amiralay, took inspiration from an interview with the influential Syrian playwright Saadallah Wannous. The film, crafted a few months before Wannous passed away from cancer, provides a compelling exploration of his thoughts and reflections. These cinematic endeavors during the 1990s laid the groundwork for the subsequent flourishing of Syrian cinema in its golden age.
The 2000s, unfolded as the golden age of Syrian cinema, marked by influential releases like Bab al-Hara, Bokaat Daw, and the notable rise of Syrian actors, including Sulaf Fawakherji, Sulafa Memar, Jummana Mourad, Dima Kandalaft, and Amal Arfa.
In 2006, Ala Tool al-Ayam brought together a constellation of eminent Syrian actors, such as Sulaf Fawakherji, Taim Hassan, Ayman Zeidan, and Maxim Khalil. This convergence of talent contributed to Syria's top ranking in the Middle East, largely attributed to the resounding success of Bab al-Hara, a classic series that garnered immense popularity, particularly during the sacred month of Ramadan. The show not only earned praise for its compelling narratives but also for the captivating performances and aesthetic appeal of actresses, notably Sulaf Fawakherji and Sulafa Memar, recognized as among the most beautiful in the industry.
The year 2008 introduced Dayaa Dayaa, featuring Bassem Yakhour and Nidal Sigri, adding to the cinematic richness of the era. The release of Sabaya in 2009 marked another significant milestone, captivating audiences with its compelling storytelling. This period showcased Syria's cinematic prowess, solidifying its position as a powerhouse in the Middle Eastern entertainment landscape.
The early years of the 2010s mirrored the preceding decade, with Syrian television continuing its momentum. However, as the Syrian Civil War commenced, this period witnessed a significant disruption in the production of numerous shows. The conflict, which began in 2011, had a profound impact on the entertainment industry, leading to the cessation of several television programs.
By 2015, the landscape of Syrian television underwent a notable shift, exemplified by shows like Bokaat Daw, which approached the Syrian Civil War with a unique perspective, employing humor to address the challenging circumstances. While such productions did not make light of the gravity of the conflict and its consequences, they often depicted the societal challenges and transformations resulting from the war. Notably, some shows creatively addressed the shortage of male actors due to military conscription, featuring storylines where women assumed traditionally male roles, and highlighting the impact of wartime circumstances on daily life. Senne Oula Zawaj, released in 2017, emerged as a major success, showcasing the notable performances of Dana Jabr and Yazan Al Sayed.
The Syrian Civil War prompted a reduction in the overall production of television shows, with some continuing despite the challenges. Concurrently, the era saw an increase in the release of documentaries that delved into the various aspects and consequences of the conflict. This period became a time of reflection and adaptation for the Syrian entertainment industry, as it navigated the complexities and uncertainties brought about by the ongoing conflict.
The onset of the 2020s marked a positive resurgence for Syrian actors, as they found increased opportunities and recognition in the entertainment industry. Notably, numerous Lebanese television productions prominently featured Syrian actors during this period, contributing to a collaborative and cross-cultural exchange within the region.
Simultaneously, Syrian production companies experienced a revitalization, returning to business and actively engaging in the creation of new content. One notable production that exemplified this trend was Al-Khaen, featuring the talents of Sulafa Memar, Qays Sheikh Najeeb, and Maram Ali it stands as the highest-viewed program in the Middle East during January.
Syrian actors and actresses found substantial roles in Lebanese shows, further enhancing their presence and influence in the broader Arab television landscape. For instance, the Lebanese series Lal Mot included performances by Syrian actors such as Mohammad Al-Ahmad, Khaled Al-Qish, and Sabah Jazairi in its initial seasons. The third season of the show introduced new cast members, including Meyhar Khaddour and Yamen Hajali.
This collaborative and mutually beneficial exchange between Syrian and Lebanese television industries during the early years of the 2020s contributed to a dynamic and diverse television landscape in the region.
The Damascus International Film Festival is a biennial film event held in November and organized by the Syrian government since 1979. The late Syrian film director Muhammad Shahin founded the festival, which occurs in alternating years with the Carthage Film Festival. Originally centered on films from Arab countries, Latin America, and Asia until 1999, the festival shifted its focus to international cinema in 2001.
| Title | Transliteration | Year | Director |
|---|---|---|---|
| Dancer on the Wounds | Raqasa Ealaa Al-Juruh | 1974 | Muhammad Shahin |
| The Adventure | Al-Mughamara | 1974 | Muhammad Shahin |
| Another Face of Love | Wajh Akhar Min Al-Hubi | 1973 | Muhammad Shahin |
| The Cheetah | Al-Fahd | 1972 | Nabil Maleh |
| Al-Kompars | Al-Kambaris | 1993 | Nabil Maleh |
| The Night | Al-Layl | 1992 | Mohammad Malas |
| Al-Hodoud | Al-Hudood | 1982 | Duraid Lahham |
| Akd Al Lulu | Akd Al Lulu | 1964 | Youssef Maalouf |
| Kafroun | Kafroun | 1990 | Duraid Lahham |
| When Wives Are Absent | Eindama Tughib Al-Zawjat | 1975 | Marwan Akawi |
| Jewels of James Bond | Ghawar James Bond | 1974 | Nabil Maleh |
| Everyday Life in a Syrian Village | Al-Hayaat Al-Yawmiat Fi Qaryat Suria | 1974 | Omar Amiralay |
| Dreams of the City | Ahlam Al-Madina | 1984 | Mohammad Malas |
| The Innocent Suspect | Al-Mutaham Al-Bari | 1928 | Rasheed Jalal |
| Under the Damascus Sky | Tahta Sama' Dimashq | 1934 | Ismail Anzour |
| Karate Girls | Banat Al Karate | 1981 | Ighraa |
| Fish Without Bones | Samak Bedoun Hasak | 1978 | Samir El-Ghoseini |
| The Sinners | Al-Khuta | 1975 | Saifuddin Shawkat |
| Oriental girl | Bint Sharqia | 1986 | Mohammad Shaheen |
| Fake Love | Habun Muzayaf | 1980 | Muhammad Shahin |
| The Shame | El Aar | 1974 | Wadie Youssef |
| Showgirls | Eard Al-Banat | 1987 | Ighraa |
| Reluctant Girls | Al-Fatayat Al-Mutaradidat | 1982 | Ghannam Ghannam |
| Girls for Love | Al Banat Lal Al-Hubi | 1974 | Reda Myassar |
| I'll Die Twice and Love You | Fa'amut Maratayn Wa'Uhibuk | 1976 | George Lotfi Al-Khoury |
| Goodbye to Yesterday | Wdaeaan Lil'Ams | 1977 | Mohammad Shahin |
| The Beautiful Journalist | Al-Sahafiat Al-Jamila | 1977 | George Lotfi Al-Khoury |
| Home Sweet Home | Al-Bayt Al-Saeid | 1977 | George Lotfi Al-Khoury |
| Those Who Came from the Seas | Al Ja'uu Min Al-Bahar | 1977 | Saifuddin Shawkat |
| One Man Wanted | Matlub Rajul Wahid | 1973 | Osama Malkany |
| The Flirtation of Girls | Ghazal Al Banat | 1949 | Anwar Wagdi |
| A Woman Who Lives Alone | Imra'a Taskon Wahdaha | 1971 | Nagdy Hafez |
| Naked Without Sin | Eariat Bala Khatiya | 1967 | Costantine Kostanof |
| Blazing Nights | Al-Layali Al-Mushtaeila | 1960 | Mohammad Shahin |
| A Woman of Fire | Imra' Min Nar | 1971 | Reda Mayser |
| Forbidden Love | Al-Hubu Al-Mamnue | 1976 | Khaled Hamada |
| Lovers | Eashaq | 1978 | Marwan Akawi |
| Postman | Saei Al-Barid | 1977 | Mohammad Abu Al Fath |
| El Anater District | Haret El Anater | 1980 | Osama Malkany |
| The Two Drifters | Al-Ianjirafan | 1965 | Reda Mayser |
| Love in Istanbul | Gharam Fi Istanbul | 1966 | Saifuddin Shawkat |
| I'm Inter | Ana Antar | 1966 | Youssef Maalouf |
| The Most Delicious | Allaz Al-Zareef | 1968 | Yousef Eisa |
| Good Morning | Sah Al-Noum | 1975 | Khaldoon AL-Maleh |
| Eastern Girl | Fatat Sharqia | 1986 | Mohammad Shahin |
| The Island's Devil | Jazziraht Al-Shaytan | 1978 | Samir El-Ghoseini |
| Women for the Winter | Nisaa Lal Shita | 1974 | Samir El Ghoseini |
| Lovers on the Road | Eushaaq Ealaa Al-Tariq | 1977 | Bana Al Batea |
| Memory of a Night of Love | Thikra Laylat Houbb | 1973 | Seif El-Dine Chawkat |
Fences
Last of Presents
Remedy
Little Sky
All actresses
George Piştereanu
Gabriela Maria Schmeide