kimoz on DeviantArthttps://www.deviantart.com/kimoz/art/el-cinderlla-26760757kimoz

Deviation Actions

kimoz's avatar

el cinderlla

By
Published:
5.6K Views

Description

-[ Soad Hosni ]-

known as: Cinderlla

Soad Hosni, The Glow of the Legend did not fade.

The Story
On 26th January 1942, Soad Hosni was born. Same day, several years later, in 1951 Cairo was set on fire, which was a major reason for the acceleration of the Egyptian revolution. Soad's birth was as equivalent to another revolution, but, in terms of cinematic act, she rebelled on all forms which preceded her, a revolution, but not the sort of revolution which started by fire, but, by a ray of light.
Her first steps were on the doors of "BABA SHAROW" on the radio cable. Soad had her own goal, to be like her sister Nagat, who had started singing very young. In this children's corner, as if reading the future days, 'I am Soad, the sister of the moon amongst the girls', few years later, Soad became the sister of the moon, who embrased the stars and cuddled the sun.
What is the secret of Soad Hosni?
Is it the exceptional beauty, which is preceded by charisma?
Kamel El Shenawi , the famous poet, wrote about Soad's beauty, he wrote that Soad would spend two hours in front of the mirror to beautify, wearing makeup, she was destroying her natural face beauty. Kamel meant that Soad had a gift from God, natural beauty, she did need to beautify, like the fruit, which loses its taste if sugar is added!
This beauty by nature is what made the writer and poet Abd El Rahman Alkhamissi present her to director Henri Barakat to play the role of "Naiima" in film "HASSAN WA NAIIMA"…aka Hassan And Naiima in 1959. When Soad used to watch herself on TV playing "Naiima" she would laugh, as she was only 17 years old, and she had to play scenes of love, and desertion, which she had not experience yet at the time.
Followed by different roles on the big screen, she lead her first steps in the cinema, she thought the star should put on plenty, glaring makeup, and wear exquisite dresses. She went totally mad when she co starred with Sabah in 1960 film "THALATHAT REGAL WA EMRAAH"…aka Three Men and A Woman, the beautician used to spend two hours with Sabah, whilst spending only a couple of minutes with her. Sabah at that time, was armed by amazing beauty and exquisite dresses, whilst Soad at this time, did not realize she had her own arms which the camera explored in future films and years.
In the late sixties, her features started to point to an exceptional super star, a super star turning to be a legend, and an idol to audiences of both sexes, people would copy her, she was the dream of every man.
Only three, in the Egyptian cinematic history were able to achieve this, Laila Moored, Faten Hamama, and Soda Hosni.
Laila Mourad framed these features in the late thirties, and during the forties. She had the aristocratic features; she was like an angel in a dream, which would rise over human weakness. Comes the fifties, with Faten Hamama's small figure, strong will, a baby face, and a femininity which is wrapped in shyness and dignity. Late sixties, Soad Hosni appeared full of nice demeanor, naughtiness, breaking femininity, participating in community,a loud voice and pulse, to harmonize with social and economical change which happened after the revolution. She voiced women's liberation, in the margin which was permissible in the sixties. She imposed it on the Egyptian street, the woman wearing the mini and micro skirts. By the seventies, Soad possessed the cinema houses, up till early eighties. This period witnessed sharp social changes in terms of heroes, and the picture of the Star, and faded Soad Hosni's picture on screens, but, the dream Soad had formed never did fade.
In her year of glory 1966, I have to stop in front of two films "SAGHIR ALA ALHOB"…aka Young For Love, for director Niazi Moustafa, the second "AL QUAHERA 1930"…aka Cairo 1930, for director Salah Abu Seif. Film 'SAGHIR ALA ALHOB", Soad's genius was remarkably illustrated when she played the role of the young girl and the grown up at the same time. The young girl who is 10 years old, not only her hair coiffure, nor her dress, nor the way of pronouncing to do this role, Soad marvelously called for the features and soul of young girl, she lived this character. The very same year Soad met with Salah Abu Seif, doing film "AL QUAHERA 30"…aka Cairo 30, driven from a story written by Naguib Mahfouz "AL QUAHERA AL GADIDA"…aka New Cairo. Strange enough, the script was obstructed by censorship for ten years, as if waiting for Soad Hosni to flourish and become completely mature, to harvest the unattainable fruit of her acting career.
In the seventies, she finds herself in the modern cinema, she presented "AL HOB ALAZI KAN"…aka The Love Which Used to Exist, directed by Ali Badrakhan, "ZAWGATI WA AL KALB", "AL KHAUF"…aka The Fear, directed by Said Marzouk, and "AL EKHTEYAR"…aka The Choice for Youssef Shahine.
The method Soad used when playing a role is that she masters perceiving the camera location, as well as capability to detect the picture and motion with complete consciousness. She dives into the items of the role, which she lives, illustrates and dashes. Soad would not accept from herself or from others any chance of trade if she finds out the general feeling of her is missing, or the illumination inside her has faded, she would ask for adjourning, and closing the lighting of the studio.
These are two schools of performance, one of which is lead by Faten Hamama, the second is Soad Hosni. Consciousness play the biggest role in the first school, the second school allows a margin of sub consciousness.
Nour El Sherif , and Mahmoud Yassin belongs to the first school, whilst the second Ahmed Zaki and Yehya El Fakharani are markedly distinguished in.
Inspite of the fact that Soad Hosni showed remarkable enthusiasm in the leader Gamal Abd El Nasser, and considered him charisma in the Egyptian history, this admiration did not hinder her from playing "EL KARNAK", one of the remarkable films which exposed the corrupted headquarters which existed at the period of Gamal Abd El Nasser leadership.
Soad would worry so much if the cast was not in harmony, director Atef Salem told me that whilst shooting film "AYNA AQLI"…aka Where is My Mind, Roushdi Abaza was in dispute with producer Abbas Helmi because of one thousand pounds. Roushdi Abaza decided to terminate the contract, and withdraw from the film. When Soad knew, she assigned one thousand pounds of her wage for Roushdi Abaza. The film was shot, and no body knew about this incident except Atef Salem and Soad.
Soad has a bias for anything new, she would gamble too if she is convinced and sometimes pays the price, this is why she stood by director Sherif Arafa who directed film "EL DARAGA AL THALTHA"…aka The Third Step 1988, written by Maher Awad. The film did not stay for long on cinema screens. Three years later, she stood by Ali Badrakhan, her ex husband and friend forever in 1991, when she co starred in film "AL RAII WA AL NESSAA"…aka The Shepherd and the Women. She felt Ali would be deprived from his project, a film driven from the play "GAZIRET AL MAEZ"…aka Island of Goats, as the same play is done in another performance directed by Khairi Beshara and the starring role given to Nadia El Gindi.
Soad's physical health prevented her from facing the camera, but she forced herself to do this film, no body can ever forget the scene she said goodbye to Ahmed Zaki in film "EL RAII WA AL NESSAA", this is a memorable scene in the history of the Egyptian Cinema.
Soad got sicker, she left to London for a long treatment journey. More than one Arabian Millionaire offered to pay her treatment expenses, but she would politely refuse, the authorities in Egypt too offered, but she thanked, she spent her money, and the authorities authored to cover her treatment expenses, decision was made by Dr. Kamal El Ganzoury, the former Pri Minister followed by Dr. Atef Ebeid, recently. Inspite of all of this, Soad donated her dress to help those of special characteristics, and she agreed to present some ads in her voice, so as to try and bear some of her treatment expenses.
The above is just a brief fleeting look I had urging since I knew of her death. Her history need more than a study. It may be enough to mention that the award she received by Ahmed Bahaa El Din, when he described her as a mixture of Faten Hamama, Audrey Hipbone and Farah Diba.
From London to Cairo, Soad returns in a coffin. Returned from the frost of London to the warmth of the country, which she ever loved, and to the people, which she ever loved.


***

My Favorite Actress in the whole world for all time, Soad was a real case of art! the most pretty and romantic and loved lady in my eyes forever. May GOD bless your soul my love

I think this will be my last work for a while as am busy as hell with some other stuff, see ya soon all.
Image size
948x1400px 202.64 KB
© 2005 - 2024 kimoz
Comments35
Join the community to add your comment. Already a deviant? Log In
Jim-From-Hell's avatar