Written By: Naseem Tarawnah
A confession: it is incredibly difficult to objectively review a film that you feel personally close to; that you, some how, feel a part of. And this is exactly what When Monaliza Smiled manages to successfully do for an Ammani moviegoer like me. It immerses you with the aesthetics of a familiar city, and soaks you in a myriad of cultural tidbits that only a Jordanian (or someone familiar with Jordan) would be able to truly appreciate. Whether it’s a young woman fending off the bombardment of demands for her to get married, or a shot of a typical government office building where mountains of folders camouflage a desk, while workers are busy gossiping and playing solitaire – all of this is just too familiar. And it is that very sense of familiarity that draws you in; makes you feel like someone has simply made recognizable art out of everyday life, in the same way an average Jordanian sees an Abu Mahjoob caricature and instinctively chuckles and says: “true…that’s so, so true.”
Without giving too much away, the film tells the tale of a young Jordanian woman named Monaliza who falls in love with an Egyptian office boy, Hamdi. But to cast this as just another love story would be a mistake, for beyond the layers is a woman struggling to free herself from societal pressures, gain independence, escape an impoverished status quo, and find the kind of happiness that could finally draw a smile from her ordinarily resolute face. When a marriage proposal comes her way from an oafish neighbor, Monaliza finds herself teetering between wanting to avoid the union, while longing to be free from her older sister’s controlling decision making. She takes up a government job, and soon enough begins to have feelings for the office boy, Hamdi. As their seemingly improbable relationship takes shape, the story goes from dealing with stereotypes to the dynamics of an evolving romance, while a jigsaw puzzle of cultural influences permeate from the screen. Even the impact of Egypt’s golden era of cinema on Jordanians manages to find a place in the film, as Monaliza’s sense of romanticism comes straight out of the black and white love stories that reign supreme on her 21 inch TV screen.
And with Amman as its backdrop, the film does well to allow the city to blend organically in to the story rather than run the risk of being over-emphasized as past Jordanian productions have sought to do. We get to see characters climbing the spiraling steps that line the hills of the Capital, women dodging glances of neighbors, the tiny eateries tucked away mid-stairway, and the abandoned old cinemas of Amman. At one point, Monaliza and Hamdi take a bus ride through west Amman, starring wide-eyed at the neon lights of cafes filled with the affluent; a stark contrast to their more immediate surroundings.
Writer/Director Fadi Haddad and Producer Nadia Eliwat
Writer and director Fadi Haddad writes female characters with a rare kind of precision, while his comedic instincts manage to weave a genuinely funny thread that runs throughout the story. This is more than evident in the performances of the female cast, such as the exceptional performance of Haifa Al-Agha as Monaliza’s older sister, Afaf, who manages to be both serious and equally funny. However, there are times when the humor seems forced, with characters delivering predictable lines that come off as unmissable. Moreover, at times, the film’s production value begins to wane. Black and white clips that either detail a flashback, a dream or a fantasy, look and sound like they were shot on a green screen without the usual subtlety, and such scenes find their way eagerly in to the film one too many times. While the story does manage to hold together, it is littered with conflicts that left me half expecting the film’s central climax, but never finding it in the “right” place.
Nevertheless, for a film that was shot in four weeks and cost 120,000JDs, When Monaliza Smiled is an impressive first feature film for Haddad, and left me wondering what he’ll have in store for us next. The fact that a romantic comedy like this would emerge in the midst of a politically-charged region is a welcomed break. And while the story of two contrasting characters falling in love is universal enough, it is really the environment in which they live, and the societal and cultural forces that they deal with that make it worthwhile for a global audience, and a special delight for local viewers.
In a country whose people are often famous for their furrowed brows, the film manages to do the improbable, and make us smile.
Official Trailer:
From its story, this film belongs to a genre of RFC films that are totally detached from Jordan’s primary concerns. I have no issue with films that are purely made to entertain, but I have issues with films that purport to deal with serious issues only to discover the film is nothing but a wasteful byproduct of the shallow intellect of Amman’s psudo-westernized intelligentsia. But I blame the RFC for creating incentives for Jordanian filmmakers to make superficial films.
Hello Tammam, I bet you haven’t seen the movie because it is not superficial, it is a love story but that doesn’t make it superficial, not to mention that the film did address a number of societal problems in a subtle way, they don’t have to be the main plot but they are there, which is a smart way to get the message across to the largest audience possible, people seeking a light-heated movie yet they are faced with situations that will make them think beyond what they immediately see on the screen
Why are we always expecting art to carry so much on its shoulders in Jordan? Why cant we make the leap and see art for art’s sake? I think people are well aware of their daily and focal issues that they do not need everything in their lives to revolve around them. We do not always see life’s fundemental issues in world cinema, from the extremely mainstream to the extremely independent. Many movies are made just to deliver their own message and not the message of society and the “serious issues”.
Thank you for demonstrating Tammam’s point. Your cliche-filled reply is typical of the “shallow intellect of Amman’s psudo-westernized intelligentsia.” No offense of course. When I read it, It’s the cry of a detached, self-absorbed Jordanian who does not wish to be bothered with the concerns of common Jordanians. But what makes your reply a classic is your attempt to portray your detachment and self-absorption as a noble cause in defense of those tortured Jordanians who “do not need everything in their lives to revolve around them.” Huh?!?
So now you are a self-appointed spokesperson of Jordan’s downtrodden? Have you been elected by the poor of the refugee camps who according to you are sick of watching films about their misery and misfortune and prefer to watch films about non-existent social problems? Have you conducted a survey in Um El Rasaas and found out the majority of its poor want to suffer in silence? Of course not. So please allow me to edit your statement to be more honest and truthful:
BEFORE: I think people are well aware of their daily and focal issues that they do not need everything in their lives to revolve around them.
AFTER: I think pseudo-westernized pro-regime Jordanians do not need to be bothered with the pain of others because it reminds them of what they have illegitimately taken from others and the human cost of that robbery
I think what you are trying to say is that you don’t want to be bothered with the problems of common Jordanians. And that’s your right. Selfishness is a form of protected expressions. In Jordan, the closer you are to power and money, it’s safer to be selfish and detached. But I give Fadi credit for not jumping on the RFC approved list of topics such as honor killing, terrorism, pro normalization, and interfaith romance which somehow conveniently manages to sidetrack the Sunni-Shiaa white elephant. The problem with your art for the sake of art defense (another worn out cliche) is that Fadi, as evident from the review, picked a social issue as the subject of his movie. So it was his decision to play the Jordanian Goddard. Let’s ignore for a while how of all the pressing social issues in Jordan he goes out of his way to invent a fictional one, which is a smart move if you want the Royal Film Commission of Jordan to welcome and promote you. Fadi Haddad could have made an art film with no central issue, he could have directed a comedy or made an action flick but instead he decided to make a film about an invented cause. That’s my issue with this film.
Superficial films are a good start. They draw in audiences to cinemas, they generate revenues, they encourage more people to make superficial films. In the middle of that jumble, someone will make the movie you want to see. But you have to start somewhere. For me, for someone who has not taste for Arabic speaking movies, and had to read Mahfouz and Munif in English first, then re-taste them in Arabic, the trailer and the enthusiasm around this movie compels me to put this movie on my “to do” list.
From its story, this film belongs to a genre of RFC films that are totally detached from Jordan’s primary concerns. I have no issue with films that are purely made to entertain, but I have issues with films that purport to deal with serious issues only to discover the film is nothing but a wasteful byproduct of the shallow intellect of Amman’s psudo-westernized intelligentsia. But I blame the RFC for creating incentives for Jordanian filmmakers to make superficial films.
Hello Tammam, I bet you haven’t seen the movie because it is not superficial, it is a love story but that doesn’t make it superficial, not to mention that the film did address a number of societal problems in a subtle way, they don’t have to be the main plot but they are there, which is a smart way to get the message across to the largest audience possible, people seeking a light-heated movie yet they are faced with situations that will make them think beyond what they immediately see on the screen
Why are we always expecting art to carry so much on its shoulders in Jordan? Why cant we make the leap and see art for art’s sake? I think people are well aware of their daily and focal issues that they do not need everything in their lives to revolve around them. We do not always see life’s fundemental issues in world cinema, from the extremely mainstream to the extremely independent. Many movies are made just to deliver their own message and not the message of society and the “serious issues”.
Thank you for demonstrating Tammam’s point. Your cliche-filled reply is typical of the “shallow intellect of Amman’s psudo-westernized intelligentsia.” No offense of course. When I read it, It’s the cry of a detached, self-absorbed Jordanian who does not wish to be bothered with the concerns of common Jordanians. But what makes your reply a classic is your attempt to portray your detachment and self-absorption as a noble cause in defense of those tortured Jordanians who “do not need everything in their lives to revolve around them.” Huh?!?
So now you are a self-appointed spokesperson of Jordan’s downtrodden? Have you been elected by the poor of the refugee camps who according to you are sick of watching films about their misery and misfortune and prefer to watch films about non-existent social problems? Have you conducted a survey in Um El Rasaas and found out the majority of its poor want to suffer in silence? Of course not. So please allow me to edit your statement to be more honest and truthful:
BEFORE: I think people are well aware of their daily and focal issues that they do not need everything in their lives to revolve around them.
AFTER: I think pseudo-westernized pro-regime Jordanians do not need to be bothered with the pain of others because it reminds them of what they have illegitimately taken from others and the human cost of that robbery
I think what you are trying to say is that you don’t want to be bothered with the problems of common Jordanians. And that’s your right. Selfishness is a form of protected expressions. In Jordan, the closer you are to power and money, it’s safer to be selfish and detached. But I give Fadi credit for not jumping on the RFC approved list of topics such as honor killing, terrorism, pro normalization, and interfaith romance which somehow conveniently manages to sidetrack the Sunni-Shiaa white elephant. The problem with your art for the sake of art defense (another worn out cliche) is that Fadi, as evident from the review, picked a social issue as the subject of his movie. So it was his decision to play the Jordanian Goddard. Let’s ignore for a while how of all the pressing social issues in Jordan he goes out of his way to invent a fictional one, which is a smart move if you want the Royal Film Commission of Jordan to welcome and promote you. Fadi Haddad could have made an art film with no central issue, he could have directed a comedy or made an action flick but instead he decided to make a film about an invented cause. That’s my issue with this film.
Superficial films are a good start. They draw in audiences to cinemas, they generate revenues, they encourage more people to make superficial films. In the middle of that jumble, someone will make the movie you want to see. But you have to start somewhere. For me, for someone who has not taste for Arabic speaking movies, and had to read Mahfouz and Munif in English first, then re-taste them in Arabic, the trailer and the enthusiasm around this movie compels me to put this movie on my “to do” list.
I have few comments on this “film”
1- It’s nothing new.. sorry about that…
2- pay attention for sound guys.. I mean try to deal with de-noisers and noise reduction and some dynamics EQ’s after boom recordings..
3- music is really out of the subject like captain abu raed and typical old american school.. I didn’t hear the original sound for this kind of stories
4- Suport real artists and real audio and video technicians
5- I agree with Tammam
Thanks
I have few comments on this “film”
1- It’s nothing new.. sorry about that…
2- pay attention for sound guys.. I mean try to deal with de-noisers and noise reduction and some dynamics EQ’s after boom recordings..
3- music is really out of the subject like captain abu raed and typical old american school.. I didn’t hear the original sound for this kind of stories
4- Suport real artists and real audio and video technicians
5- I agree with Tammam
Thanks
I have watched the film and loved the simplicity of the main story as the rest of the details and the charcters roles add up to the bigger picture. Personally I believe it’s a well written and socially smart story. Everyone relates to a charecter in a way or another; people trying to release themselves from the challanges laid by traditions and customs and judgmental people to finally reach their peace of mind. To me thats the story of every Ammani, and I’m proud that atleast that point came across the film that gracefully.
So if we like your film we are open minded but if we don’t like it we are judgmental?
I have watched the film and loved the simplicity of the main story as the rest of the details and the charcters roles add up to the bigger picture. Personally I believe it’s a well written and socially smart story. Everyone relates to a charecter in a way or another; people trying to release themselves from the challanges laid by traditions and customs and judgmental people to finally reach their peace of mind. To me thats the story of every Ammani, and I’m proud that atleast that point came across the film that gracefully.
So if we like your film we are open minded but if we don’t like it we are judgmental?
This is my wish list for Jordanian film topics:
– The baltaji, what makes him tick
– The revolutionary, the making off
– The human cost of corruption and the story of families/people who watch helplessly as they slip below the poverty line or from poverty to object poverty
– The corrupt leader, and those who protect and shield him
– The devastating impact of denial of citizenship on the lives of one family. there are tens of of thousands of Jordanian BEDON today and not one film about them?
– The psychology of Mutabbi3een
– The cancer epidemic and its human cost on Jordanian families
– Sexual/physical abuse of female domestic workers
– Racism against dark-skinned Jordanians
– The local mercenaries who go fight in sectarian conflicts in places like Bahrain
– The human coast of criminal driving habits
– The human cost of mines and depleted uranium dumped in Mafraq by US forces.
– The silent suffering and persecution of Shiia Jordanians.
– The corruption of journalism and the so called hired pens list of Mukhabarat paid reporters.
It seems most Jordanian films are stuck in same topics either out of lack of imagination, fear, or just old fashioned appeasement for cash.
I can go on forever about real Jordanian issues we shove under the carpet of indifference, appeasement, or cowardice.
I am amazed at how successful the RFC had been in steering Jordanian filmmakers away from real Jordanian issues.
Tamara: I agree with you that new Jordanian films should look to dig deeper in to Jordanian issues. However, the issues you listed sound more like the subject of a documentary than an independent art film. Recycle, which did manage to expose to tackle a hard hitting issue, was closer to a documentary than a work of fiction.
And that said, I don’t think it’s right to dismiss any movie that doesn’t decide to go that route (non-fiction). The film industry needs every turn of the wheel it can get to start rolling. And moreover, I also think works of fiction is what we need these days as they have the power to spark creativity and imagination, which is in short supply in a country where the environment dictates that we must always be serious, always have stern faces, and always deal with serious (mature) issues. In a country where we’re bogged down with rigged newspaper headlines – I would personally prefer to simply enjoy a movie for what it is, a work of fiction that seeks to primarily entertain, and to a lesser degree, inform/expose.
Your comment reminded me of Jordanian parents who demand their kids study the scientific stream in tawjihi so they can become doctors, or at worst, engineers – because those are “real” jobs.
Tarawneh, What Tammam and others have been saying is that it’s okay to make art cinema. But it’s not nice to pretend you are making an issue-oriented film based on fake issues and market it as such. Under normal circumstances and in another country like France or Sweden maybe that would be okay considering the presence of well-rounded cinema. But in Jordan and at this critical juncture and given the track record of the Royal Film Commission in promoting a culture of shallow cinema and encouraging opportunistic behavior by Jordanian filmmakers it’s not acceptable. It’s all about the context. You can’t separate the film from the culture of the mentoring institution, in this case the RFC.
Thanks for the response Tamara. I understand your point of view – and I have no vested interest in “defending” the film or the RFC – but I will say this: I do not think this film is specifically an issue-oriented film nor is it marketing itself as such (as far as I know). As I sought to highlight in the review, the story deals with various issues as these are characters that live in a certain environment that comes with its own baggage. But the core of this film is not about dealing with issues. It is, at the end of the day, simply a romance story between two improbable characters.
Like all good stories, there is a history, a build up, a conflict, and a resolution. I don’t think it goes out of its way to deal with a specific societal issue and tackle it head on, other than having these characters deal with a taboo.
I cant speak for all RFC films, but I’m not too crazy about dictating what subject matter I personally think jordanian movies should be dealing with. Everyone has their different tastes when it comes to film and art, and I’m not so sure any of us are in the right place to dismiss a film because it doesn’t match up with our tastes or viewpoints.
Trawneh,
So you like the film. Guess what. Others may not like it. Are you surprised by this?
You have to explain to us how when readers express their dislike of a film on a blog it is a form of dictation? You can defend the film all you want but keep the not so subtle attacks out of it.
The readers are free to say what film topics they like and don’t like. Just because you like Fadi Hadda’s film it should not be immune from feedback. Liking and disliking films is part and parcel of the film industry. If a filmmaker does not enjoy this part of the process, then he is in the wrong industry. Sorry you found out your favorite film is not everybody’s favorite.
Just because you have invested in the film either emotionally with your review or money or time such as the cast and crew, it does not make it okay to intimidate opposing views with false accusations and labels.
Feel free to stop by IMDB for a taste of what nasty reader reviews look like. So far, Haddad’s film has been handled with kid gloves here.
Anan: I don’t think I’m attacking anyone here, I’m just trying to have a conversation, so please don’t misunderstand me 🙂
I agree, that no film should be immune from feedback or critique, and people should be absolutely free to express that. My only concern was with regards to dismissing a film and/or all jordanian films because it/they doesn’t/don’t tackle a topic you personally think is important or a priority.
So again, critiquing a film is one thing, but dismissing it entirely because it doesn’t fit in to one’s personal framework of perception isn’t right. In other words, I’m not defending films from the right to be critiqued, I’m saying they shouldn’t be dismissed right out of the gate.
thanks
“critiquing a film is one thing, but dismissing it entirely because it
doesn’t fit in to one’s personal framework of perception isn’t right.”
I dunno where you come up with these interesting one liners . Of course we can dismiss films entirely because we don’t like them. People do this all the time and it’s absolute appropriate. Obviously you are new to film reviews. Take your time but in the process hold off on these exquisite one liners 😉
When Monaliza Smiled was never written nor produced as an issue based film at all. It’s a story the filmmakers feel is authentic to their world and was produced for entertainment. No one on this project hauls the burden of representation, and the RFC had absolutely nothing to do with the story, content or creative vision of the film. They have a film fund, we applied and got some money from them. This film would’ve been made in the same way had we not obtained RFC funding. Fadi made the film he dreamed of, and he made it his way.
Tamara, if you have a script that is worth making, please get it made. There are many ways to do so and if you are determined and serious to see it produced, you can do so without anyone interfering in your story or creative vision.
When the royal film commission of Jordan or any film fund approves or denies funding to a film script they are making a statement about which film content they approve of. Considering the RFC uses Jordanian taxes to fund frivolous Jordanian cinema, and since the budget of the RFC is not subject to auditing or transparent accounting practices, it’s a form of corruption. As a Jordanian who cares for what Jordan is going through, I want my money to fund films that truly reflect my concerns and fears and aspirations at this most sensitive period not some contrived cause to entertain a class of Jordanians who could care less about our pain. You want to make silly cinema at this critical time in Jordan’s history, use your own private money and don’t use my money. I can barely pay the rent let alone pay for the hobbies and festival trips of those who don’t care for my concerns. This discussion will be moot when winds of change reach Jordan soon.
My sentiments exactly.
Watch the film first. You may be surprised at how timely it actually is. A product of entertainment is not necessarily unserious.
As for public orgs and funding, that’s a very relevant conversation to have on a wider scale.
This is my wish list for Jordanian film topics:
– The baltaji, what makes him tick
– The revolutionary, the making off
– The human cost of corruption and the story of families/people who watch helplessly as they slip below the poverty line or from poverty to object poverty
– The corrupt leader, and those who protect and shield him
– The devastating impact of denial of citizenship on the lives of one family. there are tens of of thousands of Jordanian BEDON today and not one film about them?
– The psychology of Mutabbi3een
– The cancer epidemic and its human cost on Jordanian families
– Sexual/physical abuse of female domestic workers
– Racism against dark-skinned Jordanians
– The local mercenaries who go fight in sectarian conflicts in places like Bahrain
– The human coast of criminal driving habits
– The human cost of mines and depleted uranium dumped in Mafraq by US forces.
– The silent suffering and persecution of Shiia Jordanians.
– The corruption of journalism and the so called hired pens list of Mukhabarat paid reporters.
It seems most Jordanian films are stuck in same topics either out of lack of imagination, fear, or just old fashioned appeasement for cash.
I can go on forever about real Jordanian issues we shove under the carpet of indifference, appeasement, or cowardice.
I am amazed at how successful the RFC had been in steering Jordanian filmmakers away from real Jordanian issues.
Tamara: I agree with you that new Jordanian films should look to dig deeper in to Jordanian issues. However, the issues you listed sound more like the subject of a documentary than an independent art film. Recycle, which did manage to expose to tackle a hard hitting issue, was closer to a documentary than a work of fiction.
And that said, I don’t think it’s right to dismiss any movie that doesn’t decide to go that route (non-fiction). The film industry needs every turn of the wheel it can get to start rolling. And moreover, I also think works of fiction is what we need these days as they have the power to spark creativity and imagination, which is in short supply in a country where the environment dictates that we must always be serious, always have stern faces, and always deal with serious (mature) issues. In a country where we’re bogged down with rigged newspaper headlines – I would personally prefer to simply enjoy a movie for what it is, a work of fiction that seeks to primarily entertain, and to a lesser degree, inform/expose.
Your comment reminded me of Jordanian parents who demand their kids study the scientific stream in tawjihi so they can become doctors, or at worst, engineers – because those are “real” jobs.
Tarawneh, What Tammam and others have been saying is that it’s okay to make art cinema. But it’s not nice to pretend you are making an issue-oriented film based on fake issues and market it as such. Under normal circumstances and in another country like France or Sweden maybe that would be okay considering the presence of well-rounded cinema. But in Jordan and at this critical juncture and given the track record of the Royal Film Commission in promoting a culture of shallow cinema and encouraging opportunistic behavior by Jordanian filmmakers it’s not acceptable. It’s all about the context. You can’t separate the film from the culture of the mentoring institution, in this case the RFC.
Thanks for the response Tamara. I understand your point of view – and I have no vested interest in “defending” the film or the RFC – but I will say this: I do not think this film is specifically an issue-oriented film nor is it marketing itself as such (as far as I know). As I sought to highlight in the review, the story deals with various issues as these are characters that live in a certain environment that comes with its own baggage. But the core of this film is not about dealing with issues. It is, at the end of the day, simply a romance story between two improbable characters.
Like all good stories, there is a history, a build up, a conflict, and a resolution. I don’t think it goes out of its way to deal with a specific societal issue and tackle it head on, other than having these characters deal with a taboo.
I cant speak for all RFC films, but I’m not too crazy about dictating what subject matter I personally think jordanian movies should be dealing with. Everyone has their different tastes when it comes to film and art, and I’m not so sure any of us are in the right place to dismiss a film because it doesn’t match up with our tastes or viewpoints.
Trawneh,
So you like the film. Guess what. Others may not like it. Are you surprised by this?
You have to explain to us how when readers express their dislike of a film on a blog it is a form of dictation? You can defend the film all you want but keep the not so subtle attacks out of it.
The readers are free to say what film topics they like and don’t like. Just because you like Fadi Hadda’s film it should not be immune from feedback. Liking and disliking films is part and parcel of the film industry. If a filmmaker does not enjoy this part of the process, then he is in the wrong industry. Sorry you found out your favorite film is not everybody’s favorite.
Just because you have invested in the film either emotionally with your review or money or time such as the cast and crew, it does not make it okay to intimidate opposing views with false accusations and labels.
Feel free to stop by IMDB for a taste of what nasty reader reviews look like. So far, Haddad’s film has been handled with kid gloves here.
Anan: I don’t think I’m attacking anyone here, I’m just trying to have a conversation, so please don’t misunderstand me 🙂
I agree, that no film should be immune from feedback or critique, and people should be absolutely free to express that. My only concern was with regards to dismissing a film and/or all jordanian films because it/they doesn’t/don’t tackle a topic you personally think is important or a priority.
So again, critiquing a film is one thing, but dismissing it entirely because it doesn’t fit in to one’s personal framework of perception isn’t right. In other words, I’m not defending films from the right to be critiqued, I’m saying they shouldn’t be dismissed right out of the gate.
thanks
“critiquing a film is one thing, but dismissing it entirely because it
doesn’t fit in to one’s personal framework of perception isn’t right.”
I dunno where you come up with these interesting one liners . Of course we can dismiss films entirely because we don’t like them. People do this all the time and it’s absolute appropriate. Obviously you are new to film reviews. Take your time but in the process hold off on these exquisite one liners 😉
When Monaliza Smiled was never written nor produced as an issue based film at all. It’s a story the filmmakers feel is authentic to their world and was produced for entertainment. No one on this project hauls the burden of representation, and the RFC had absolutely nothing to do with the story, content or creative vision of the film. They have a film fund, we applied and got some money from them. This film would’ve been made in the same way had we not obtained RFC funding. Fadi made the film he dreamed of, and he made it his way.
Tamara, if you have a script that is worth making, please get it made. There are many ways to do so and if you are determined and serious to see it produced, you can do so without anyone interfering in your story or creative vision.
When the royal film commission of Jordan or any film fund approves or denies funding to a film script they are making a statement about which film content they approve of. Considering the RFC uses Jordanian taxes to fund frivolous Jordanian cinema, and since the budget of the RFC is not subject to auditing or transparent accounting practices, it’s a form of corruption. As a Jordanian who cares for what Jordan is going through, I want my money to fund films that truly reflect my concerns and fears and aspirations at this most sensitive period not some contrived cause to entertain a class of Jordanians who could care less about our pain. You want to make silly cinema at this critical time in Jordan’s history, use your own private money and don’t use my money. I can barely pay the rent let alone pay for the hobbies and festival trips of those who don’t care for my concerns. This discussion will be moot when winds of change reach Jordan soon.
My sentiments exactly.
Watch the film first. You may be surprised at how timely it actually is. A product of entertainment is not necessarily unserious.
As for public orgs and funding, that’s a very relevant conversation to have on a wider scale.
So how am I to watch the movie? Will there be a second screening for those not fortunate enough to be classified as within the bourgeois class of Jordanian internet personas? Or can I buy it somewhere for a couple of JD? I’d really rather not wait for a pirated version to appear on the net somewhere, which will coincide with the film’s premier at some shitty international movie festival in a city nobody has ever fucking heard of.
Thanks for asking. We’ll be releasing When Monaliza Smiled in Amman cinemas soon, as well as taking it to screen in other cities around Jordan. Part of our vision and plan for this film has always been a commitment to domestic audiences and giving the film back to Jordan before it goes to festivals in other countries.
That’s cool. As a sign of support I’ll be watching the thing when it gets released, even though I’m almost certain I won’t enjoy it. I don’t know what kind of capacity you have, but can the next Jordanian movie try to cut off from all kinds of comedy? It’s obvious that laughter is used as a tool to hide any shortcoming the story has, so maybe without it the director/screenwriter can focus more on the story and characterization parts of the movie as the comedy parts (included are what directors erroneously regard as dark humor) definitely didn’t work out before.
Husam, thank you in advance for wanting and planning to watch When Monaliza Smiled 🙂 We’d love to hear back from you after you do.
Filmmaking in Jordan is still at its infancy. Jordan must make more films to figure out different styles, voices and what works. The more films we make, the better we may get. The more films that are out there for audiences, the more choice you will have, and it won’t matter that there’s a comedy you don’t like, because chances are there will be other films that resonate with you.
You may be glad to know the next Jordanian film I’m producing is far from comedy. And it’s not because I was looking for another genre, it’s because it’s a very good script with interesting, hard working talent attached to it. I won’t say more here at this point in time.
What do you mean Jordan’s cinema is still in its infancy? I can buy this argument 10 years ago. How could Jordanian cinema still be in its infancy almost 10 years after the founding of the RFC? 10 years make for one big fat stupid infant.
How many Jordanian productions are out there? Very few. As long as outputs are few, the industry is young.
There sure are a lot of haters posting here. My guess based on their good grasp of English, their attacks on RFC and the fact that they (probably) have watched the movie is that they’re RFC rejects who want to vent out their frustrations.
Either way, this is very fun, I’m really enjoying the show.
Nadine, can you give some indication on when the movie would be available for viewing? I’ve somehow grown excited at the prospect of viewing it now. Thanks.
شو هاتعليق العبقري يا حسام وكأنك مراهق بالتوجيهي والناس غيرانه من كندرتك الجديدة
Soon Husam. I promise you we’re not keeping dates to ourselves. They’re just not locked in yet. We will announce them as soon as they are.
What’s your favorite Amman cinema?
I dislike all Amman movie theatres equally but my wife has a slight preference for the one in Zara so I guess that’s going to be my pick.
Update: Movie will premier in Amman on the 20th of September 2012 at Rainbow Cinema and some other place (Google it).
Correction Nadine: How many films are there out there that are worth watching. Jordan needs more Captain Abu Raed’s and When Monaliza Smiled’s. The more of these that are made, the more of a chance the industry will have.
Personally, I think the people behind this movie are brave. They must have gone through hell getting the permits, and organizing all the logistics.
Also, it is a breath of fresh air against all the back drop of Arab film making tripe spewing out that paints a more pastoral and romanticized Arabia, as opposed to the gritty messy heart churning one we live in.
As someone who produced on both films and has a history with both filmmakers from the beginnings of their journeys, I agree with you Ahmed. Of course I may be a little bit biased 🙂 But that does not take away from recognizing true, hard working, unrelenting talent able to lead, get their films made and share them with audiences.
Thank you for your note.
So how am to watch the movie? Will there be a second screening for those not fortunate enough to be classified as within the bourgeois class of Jordanian internet personas? Or can I buy it somewhere for a JD or two? I’d really rather not wait for a pirated version to appear on the net somewhere, which will coincide with the film’s premier at some shitty international movie festival in a city nobody has ever fucking heard of.
Thanks for asking. We’ll be releasing When Monaliza Smiled in Amman cinemas soon, as well as taking it to screen in other cities around Jordan. Part of our vision and plan for this film has always been a commitment to domestic audiences and giving the film back to Jordan before it goes to festivals in other countries.
That’s cool. As a sign of support I’ll be watching the thing when it gets released, even though I’m almost certain I won’t enjoy it. I don’t know what kind of capacity you have, but can the next Jordanian movie try to cut off from all kinds of comedy? It’s obvious that laughter is used as a tool to hide any shortcoming the story has, so maybe without it the director/screenwriter can focus more on the story and characterization parts of the movie as the comedy parts (included are what directors erroneously regard as dark humor) definitely didn’t work out before.
Husam, thank you in advance for wanting and planning to watch When Monaliza Smiled 🙂 We’d love to hear back from you after you do.
Filmmaking in Jordan is still at its infancy. Jordan must make more films to figure out different styles, voices and what works. The more films we make, the better we may get. The more films that are out there for audiences, the more choice you will have, and it won’t matter that there’s a comedy you don’t like, because chances are there will be other films that resonate with you.
You may be glad to know the next Jordanian film I’m producing is far from comedy. And it’s not because I was looking for another genre, it’s because it’s a very good script with interesting, hard working talent attached to it. I won’t say more here at this point in time.
What do you mean Jordan’s cinema is still in its infancy? I can buy this argument 10 years ago. How could Jordanian cinema still be in its infancy almost 10 years after the founding of the RFC? 10 years make for one big fat stupid infant.
How many Jordanian productions are out there? Very few. As long as outputs are few, the industry is young.
There sure are a lot of haters posting here. My guess based on their good grasp of English, their attacks on RFC and the fact that they (probably) have watched the movie is that they’re RFC rejects who want to vent out their frustrations.
Either way, this is very fun, I’m really enjoying the show.
Nadine, can you give some indication on when the movie would be available for viewing? I’ve somehow grown excited at the prospect of viewing it now. Thanks.
شو هاتعليق العبقري يا حسام وكأنك مراهق بالتوجيهي والناس غيرانه من كندرتك الجديدة
Soon Husam. I promise you we’re not keeping dates to ourselves. They’re just not locked in yet. We will announce them as soon as they are.
What’s your favorite Amman cinema?
I dislike all Amman movie theatres equally but my wife has a slight preference for the one in Zara so I guess that’s going to be my pick.
Update: Movie will premier in Amman on the 20th of September 2012 at Rainbow Cinema and some other place (Google it).
Correction Nadine: How many films are there out there that are worth watching. Jordan needs more Captain Abu Raed’s and When Monaliza Smiled’s. The more of these that are made, the more of a chance the industry will have.
Personally, I think the people behind this movie are brave. They must have gone through hell getting the permits, and organizing all the logistics.
Also, it is a breath of fresh air against all the back drop of Arab film making tripe spewing out that paints a more pastoral and romanticized Arabia, as opposed to the gritty messy heart churning one we live in.
As someone who produced on both films and has a history with both filmmakers from the beginnings of their journeys, I agree with you Ahmed. Of course I may be a little bit biased 🙂 But that does not take away from recognizing true, hard working, unrelenting talent able to lead, get their films made and share them with audiences.
Thank you for your note.
“wasteful byproduct of the shallow intellect of Amman’s psudo-westernized intelligentsia”
In Egypt we call them fulool XD
“wasteful byproduct of the shallow intellect of Amman’s psudo-westernized intelligentsia”
In Egypt we call them fulool XD
How short will this reply space eventually reach?
How short will this reply space eventually reach?
Hello Tarawnah, Not bad for your first film review. Allow be to disagree with your comment when you suggested to Tamara that her list of topics are not for (1) indie films but for (2) documentaries. Both statements are incorrect.
First, the term indie film cannot be applied to films funded or mentored by dictatorial regimes and their institutions especially ones such as Jordan’s government (and consequentially the royal film commission of Jordan). O be indie you have to fund your film on your own, via the private sector, or from democratic government funds. Don’t ask me why but this has been conventional wisdom and if the definition expands it won’t be for the sake of film funded by dictators or their kin. It’s obvious from the readers’ feedback that there’s no so subtle attempts by your government film commission to move away from supporting films that deal with vital Jordanian issues while supporting films that stay clear from those issue such as the issues Tamara mentioned.
Second, there’s absolutely positively no such things as real world or social issues that shold be handled with documentary films only and other topics that should be shot as fiction films. I would like to see your references on this. The cinema industry in Europe and US for example has produced fiction films as well as documentaries about the Great Depression, WWI, WWII, the Vietnam War, the reign of monarchies, the Iraq War, crimes, love, KKK, MLK, you name it. Every real world topic without exception can be handled both as a documentary film and as a fiction film. The difference is in the structure and the treatment of the script.
But I see promise in your film criticism and I wish you luck in your film reviews and also wish Fadi Hadad luck with his film. Sounds like an interesting story.
Hello Tarawnah, Not bad for your first film review. Allow be to disagree with your comment when you suggested to Tamara that her list of topics are not for (1) indie films but for (2) documentaries. Both statements are incorrect.
First, the term indie film cannot be applied to films funded or mentored by dictatorial regimes and their institutions especially ones such as Jordan’s government (and consequentially the royal film commission of Jordan). O be indie you have to fund your film on your own, via the private sector, or from democratic government funds. Don’t ask me why but this has been conventional wisdom and if the definition expands it won’t be for the sake of film funded by dictators or their kin. It’s obvious from the readers’ feedback that there’s no so subtle attempts by your government film commission to move away from supporting films that deal with vital Jordanian issues while supporting films that stay clear from those issue such as the issues Tamara mentioned.
Second, there’s absolutely positively no such things as real world or social issues that shold be handled with documentary films only and other topics that should be shot as fiction films. I would like to see your references on this. The cinema industry in Europe and US for example has produced fiction films as well as documentaries about the Great Depression, WWI, WWII, the Vietnam War, the reign of monarchies, the Iraq War, crimes, love, KKK, MLK, you name it. Every real world topic without exception can be handled both as a documentary film and as a fiction film. The difference is in the structure and the treatment of the script.
But I see promise in your film criticism and I wish you luck in your film reviews and also wish Fadi Hadad luck with his film. Sounds like an interesting story.
When can we see the film?
In Amman cinemas, August 25th onwards.
When can we see the film?
In Amman cinemas, August 25th onwards.
So you think the presence of millions of ethnically cleansed non-jew such as the 400,000 in Baq’ah camp in Jordan is not proof enough of Herzel and Jabotinsky’s doctrine of murder and hate? Or do you think that Herzl and Jabotinsky would have disavowed Zionism had they lived to see the fruits of their teachings? But knowing your litany of pathologies you probably consider the presence of these camps an act of naked antisemitism meant to defame the angelical Zionists
So you think the presence of millions of ethnically cleansed non-jew such as the 400,000 in Baq’ah camp in Jordan is not proof enough of Herzel and Jabotinsky’s doctrine of murder and hate? Or do you think that Herzl and Jabotinsky would have disavowed Zionism had they lived to see the fruits of their teachings? But knowing your litany of pathologies you probably consider the presence of these camps an act of naked antisemitism meant to defame the angelical Zionists
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