#gamil ratib

[myfavoritepeterotoole]

Peter O'Toole on the set of Lawrence of Arabia

Lawrence of Arabia (1962) directed by David Lean

Peter O'Toole as T. E. Lawrence

Omar Sharif as Sherif Ali

Anthony Quinn as Auda Abu Tayi

Gamil Ratib as Majid

[hotvintagepoll]

I know it’s over but.

Gamil Ratib and Omar Sharif playing ping-pong during the filming of Lawrence of Arabia

[byneddiedingo]

Peter O'Toole in Lawrence of Arabia (David Lean, 1962)

Cast: Peter O'Toole, Alec Guinness, Anthony Quinn, Jack Hawkins, Omar Sharif, José Ferrer, Anthony Quayle, Claude Rains, Arthur Kennedy, Donald Wolfit, I.S. Johar, Gamil Ratib, Michel Ray, John Dimech, Zia Mohyeddin. Screenplay: Robert Bolt, Michael Wilson, based on the writings of T.E. Lawrence. Cinematography: Freddie Young. Production design: John Box. Film editing: Anne V. Coates. Music: Maurice Jarre.

It's often said that David Lean's Lawrence of Arabia is one of those films that must be seen in a theater. That statement gets my back up: If a movie's story and performances are secondary to its spectacle, is it really a good movie? As it happens, I first saw Lawrence in a theater in the year of its release (or at least its European release, which was 1963), but it was a theater in Germany and the film was dubbed in German. Only moderately fluent in spoken German, I don't think I followed the dialogue very well, though I certainly appreciated the spectacle, especially Freddie Young's Oscar-winning cinematography. It took some later viewings on TV in the States for me to grasp the movie's story, though the film was trimmed for time, interrupted by commercials, and subjected to atrocious panning-and-scanning because viewers objected to letterboxing of wide-screen movies. So this viewing was probably my first complete exposure to Lean's celebrated film. And though I watched it at home -- in HD on a 32-inch flat screen TV -- I think I fully appreciated both the spectacle and the story. Which is not to say that I think the movie is all it's celebrated for being. The first half of the film is far more compelling than the latter half, and some of the casting is unforgivable, particularly Alec Guinness as Prince Faisal and Anthony Quinn as Auda. Guinness was usually a subtle actor, but his Faisal is mannered and unconvincing. Quinn simply overacts, as he was prone to do with directors who let him, and his prosthetic beak is atrocious. Omar Sharif, on the other hand, is very good as Ali. The producers are said to have wanted Horst Buchholz or Alain Delon, but they settled on Sharif, already a star in Egypt, and made him an international star. His success points up how unfortunate it is that they couldn't have found Middle Eastern actors to play Faisal and Auda. In his film debut, Peter O'Toole gives a tremendous performance, even though he's nothing like the shorter and more nondescript figure that was the real T.E. Lawrence, and it's sad that screenwriters Robert Bolt and Michael Wilson couldn't have found room in the script to trace the origins of Lawrence's obsession with Arabia. For that omission, a good read is Scott Anderson's  Lawrence in Arabia: Deceit, Imperial Folly and the Making of the Modern Middle East, which not only depicts Lawrence's complexity but also the madness of the spy-haunted, oil-hungry wartime world in which he played his part. It's beyond the scope of even a three-and-a-half-hour movie to tell, though it could make a tremendous TV miniseries some day.

[not-today-sir-death]

A summer in La Goulette / Studying the Gaze of Gamil Ratib.

Charcoal on paper.

[mrfahrenheit92]

[storja-historja]

I love one (1) glorious tulip man

[elle-mood]

Via : @ghozydes

Lien du post

[m1ezo]

[nerdypipsqueak]

When your eyeliner game is on point

[cinemaocd]

Another thing about 70mm Lawrence that has me shook: THE GUYLINER. On one hand you can really see Auda’s prosthetic nose and it’s a bit...green, but it’s worth that suffering to see all the glorious eyeliner. Gamil Ratib’s eyeliner makes me want to weep it’s so perfect and even and saturated. I mean THE SKILLS. Are there. And Omar has the that beautifully smokey look, probably because his eyes are so liquid, they cause everything to get nice and soft and smeary and make you want to ask him softly, “are you alright?” 

Also, let’s just POUR ONE OUT for Daud’s hair which is the most glorious hair in all of Arabia.

[myfavoritepeterotoole]

Lawrence of Arabia (1962) directed by David Lean

Peter O'Toole as T. E. Lawrence

Omar Sharif as Sherif Ali

Michel Ray as Farraj

John Dimech as Daud

Gamil Ratib as Majid

[ir-egipto-travel]

لقطة ل عمر الشريف وجميل راتب من فيلم لورانس العرب عام 1962. Omar sherif and Gamil ratib in a shot of Lawrence of Arab in 1962. #egypt #Egyptian #omarsharif #gamelratib #egyptpassion #retreat #yoga #inspiration #alchemistofunconditionallove #iregipto https://www.instagram.com/p/BvuZXHShGQX/?utm_source=ig_tumblr_share&igshid=1a58kax8f3yt9

[mffawzy]

Omar Sharif and  Gamil Ratib

Lawrence of Arabia, 1962

Director: David Lean

[byneddiedingo]

Patrice Chéreau in Adieu Bonaparte (Youssef Chahine, 1985)

Cast: Michel Piccoli, Mohsen Mohieddin, Salah Zulfikar, Patrice Chéreau, Mohamad Atef, Ahmed Abdelaziz, Abla Kamel, Hassan Husseiny, Huda Sultan, Dahlia Younès, Christian Patey, Gamil Ratib. Screenplay: Youssef Chahine, Yousry Nasrallah. Cinematography: Mohsen Nasr. Production design: Onsi Abou Seif. Film editing: Luc Barnier. Music: Gabriel Yared. 

Youssef Chahine's Adieu Bonaparte is about a clash of empires: the nascent one that will be led by Napoleon Bonaparte and the crumbling one that saw Islamic culture spread across much of what was then Eurocentrically called "the known world." But its point of view is primarily that of the people caught between these two powerful forces, the people of Egypt, when French forces under the command of Bonaparte, not yet emperor, clash with the Ottoman Turks who then ruled Egypt. Mostly it's about the relationship between a fictional character, the young poet and interpreter, Aly (Mohsen Mohieddin), and the French general Maximilian Caffarelli (Michel Piccoli), an intellectual who had lost a leg in an earlier conflict when the French annexed a territory belonging to Belgium. (The movie repeats a witticism that Caffarelli doesn't care what happens because he'll always have one foot in France.) Caffarelli befriends Aly and his brother Yehia (Mohamad Atef) partly because he's sexually attracted to the young men, but also because he has a curiosity about Egyptians and their culture. Meanwhile, Bonaparte (Patrice Chéreau) suffers a defeat when Admiral Nelson destroys his fleet and forces him to stay in Egypt. Chéreau gives a wonderful performance as the preening but determined man who would be emperor, and Piccoli is equally fine as Caffarelli. Mohieddin holds his own with the French stars, as Aly struggles with his admiration for Caffarelli and his loyalty to his brother Bakr (Ahmed Abdelaziz), a leader in the struggle for Egyptian self-determination. It's a handsomely filmed production, with fine work by cinematographer Mohsen Nasr and an epic score by Gabriel Yared. But it's also often hard to follow, with its swarm of characters, many of them members of Aly's family, and its historical backstory. Chahine has a tendency to overload his narratives with incidents that distract from or seem only tangential to the main story.    

[beforeyougotoae]

Egyptian actor Gamil Ratib dies, aged 91

Egyptian actor Gamil Ratib dies, aged 91

‘Lawrence of Arabia’ actor was honoured with the Lifetime Achivement Award by the Dubai International Film Festival in 2011Original Article

[zenworldnews]

Franco-Egyptian actor Gamil Ratib dies at 92 Franco-Egyptian actor Gamil Ratib, whose roles as villain or aristocrat made him a household name in Arab world, dies at 92