“I was in my official clothes on the way to work, the taxi stopped me at a traffic light in front of the Ramses Cinema, and suddenly one of the signs passed and cursed me, I accepted that. It was an expression of anger at the defeat, it was a great defeat and officials were prosecuted. The mission required of us towards our country, we must bear the responsibility for that.The important thing is that the remnants of the Egyptian army from the armed forces remained on the western bank of the Suez Canal, preventing the enemy and repelling its attempts.In July, in the Ras al-Esh area, east of the canal, a group of 30 thunderbolts Only without fire support, and it was completely alone and isolated, but when a column of Israeli tanks tried to storm this area and take it, it failed, as well as the remnants of the air force in early July, strikes against ammunition depots in Romana and Balooza, and there were pictures of Israeli soldiers escaping, despite That the number of planes was limited, and then the task of our sons to sink the destroyer Eilat…”
Contemplating Hatata’s testimony clarifies two things: the first is the recognition of the existence of a great defeat that formed a deep and deep wound in the hearts of the Egyptians, and the second is not to surrender to that defeat, and then rebuild the army. Whoever reviews the statements of Israel’s leaders will find them admitting that the greatest losses they suffered from Egypt were during the war of attrition.
As for the film director Sherif Arafa, with his latest movie “Al Mamar” (two and a half hours of cinematic time, production 2019), who wrote the script himself for the first time in his previous works, while Amir Taima participated in the drafting of the dialogue; He wrote on the lips of the hero Nour, commander of the Saiqa forces, “There was no setback, no defeat, or war with its laws… It is true that the strike was surprising, it is true that the Egyptian military was not given the opportunity to fight at that time, the suddenness and sudden attack was the basis. It is true that the Israelis dealt poorly with the prisoners, They did not respect international laws, and they tortured, killed, and buried some prisoners alive.
However, Arafa’s previous sentence in all its poetic form is not in favor of the film – in addition to many other details – because it is marked by lack of objectivity. As if it were a covert attempt to justify the ordeal that afflicted the Egyptians in 1967, especially since the film does not address any reasons for the military and security situation that led to the setback. Historians and political analysts wrote it about Field Marshal Amer, and he did not go into any of those reasons, as if he did not want to open the door to condemnation, contenting himself with the famous sentence of the late leader Gamal Abdel Nasser’s speech about his full responsibility. This is something that some attribute to the intervention of sovereign authorities, as Tariq Al-Shennawi says: “The obstacles here are more difficult because this time it collides with sovereign agencies, as depicting the defeat of 67 is usually met with rejection, but this time the state possessed a degree of flexibility, it no longer pays attention to these taboos. We witnessed the humiliating withdrawal of our armed forces, because this is the inevitable prelude to our victory after that in one of the battles of the war of attrition, and although Field Marshal Abdel Hakim Amer took the largest part of the popular anger, the cinematic continued to address this with a degree of stagnation, deletion and prohibition on the air.
The ridicule of the street from its leaders
The “corridor” begins from a strong, dramatic moment, from the few minutes before the sudden Israeli strike on the Egyptian soldiers and the aircraft is still crouching on the ground. The starting point is one of the film’s climax points, where a group of soldiers and commanders practice some details of their lives in the camps, then a sudden fire strike falls on them like rain, leaving dead, martyrs who see the desert with their blood, and prisoners who are abused and their rights are violated.
Despite all of the above, the story and the protagonists of “Al Mamar” are a mixture of reality and fiction, and it is not a movie about the setback of 67, although it is based on it. The script takes the defeat as a dramatic prelude, as a prelude to the upcoming tournaments. It cannot be considered an absolute justification for defeat because he did not discuss it, nor can it be considered an attempt to present a picture of a balance between defeat and heroism, but rather an embodiment of the ability of the Egyptian soldier and fighter to regain his land, although the film has some exaggerations in that as well.
The film initially attempts to focus on the psychological aspect of Commander Nour (played by Ahmed Ezz) in the wake of the defeat and confinement to himself in his home for some time, before being assigned a new mission and destroying the enemy ammunition center. The director gradually contemplates the psychological impact of defeat on him, and its reflection on his family, and then society’s dealings with him. The son does not understand the situation of his withdrawn father who is unable to communicate with him. He is still a child in two weak and fabricated scenes, and the reaction of his wife, who plays the star Hind. Sabri is a guest of honor, as she tries to explain to the child that just as some nightmares visit him at night, his father lived a terrible nightmare, but his father saw the nightmare in the daytime with his eyes open.
Despite the skill and strength of Hind’s performance, some of her clips here are characterized by confusion and fabrication, and some of them contain a lot of spirit and performance of the character “Hatshepsut”, which she embodied in the movie “The Treasure”, which is also directed by Sherif Arafa.
Hind’s performance can be justified by “the treasure” because it presents an unusual pharaonic queen who sat on the throne, so she had to show the strength of her personality and her formal, internal and spiritual prestige, but repeating that performance – even if the actress’s clothes differed – in the “corridor” lose the character Her spontaneity and sincerity, and making her words encouraging her husband in a moment of weakness seem charged with rhetoric and fabrication, as if someone.
The words of her dialogue were written by a man who puts his own perception of women’s feelings, so his imagination did not succeed in expressing the reality of the hidden feelings and feelings of a woman’s personality, who is supposed to combine the role of wife and mother, and above all that, she is an Egyptian woman who was double-defeated.
While the performance and role of Hind Sabri is outperformed by the mother’s scene, which was played by the artist, Inaam Salousa, in the role of the grieving mother who wants to reassure her son, whose fate she does not know, so she sends him a letter. The movie “Get up, Egyptian” about that difficult period, and it was supposed to be one of the projects that the late artist Nour El Sherif will direct and produce, but unfortunately the film remained locked in drawers, perhaps because it was talking about the ugliness of the scene and the bitterness of withdrawal in the wake of the defeat, and the position of the Egyptian soldier under the sway the enemy.
Despite the above, the scene of expressing the reaction of the street and the citizens and their mockery of the leaders in the Central remains one of the most beautiful scenes of the movie “The Corridor”. Here, Commander Nour tries to contact the members of his battalion, but the central employee treats him coldly and with some hidden contempt, and then leaves him waiting for several hours. When Nour protests and asks, the employee sarcastically responds to him, “You have no news…not all the lines have withdrawn.” Everyone in the central laughs in exaggerated hysteria, as well as the hero’s reaction to the irony, smashing and breaking cafes in the central.
What is taken from the scenario is that it did not explain why this feeling of anger was generated among the people. The matter was not just a defeat, but a sense of deception due to the contradiction between what was being promoted before the defeat and the nightmare that people woke up to, to the extent that some were denying the occurrence of defeat. . In fact, the film “The Bird” by Youssef Chahine presented, in ten minutes, one of the most beautiful and important scenes in the history of Egyptian cinema, about that contradictory feeling and feeling, which was followed by the shock of receiving the news of Nasser stepping down.