Moroccan director Suhail Ben Barka (Timbuktu 1942) refers to the clash of the two sides of the Mediterranean in his new film "Sand and the Dream of the impossible dream" 2019. In this film، a Syrian prince arrives in Tangier at the beginning of the 19th century and connects with the men of the Moroccan Sultan Moulay Sulaiman. His status and offer his services to the Sultan.
The prince is another، persuasive person، a Spanish officer with the dreams of a poet who spies for his country in preparation for the conquest of Morocco by exploiting the tribal conflict to weaken the Sultan، and subjugate it. For the trouble of burning the story of the film is a choice revealed by the director himself since the first minutes. The reason for the disclosure is that the facts quoted are known. The Moroccan court received many Europeans during the 19th century، most notably Eugene Dolacroix، who painted the Moroccan knight.
In the film we see Morocco from two angles:
With the eye of an intelligence officer who celebrates ignorance that facilitates the spread of chaos، and this is an entrance to control Morocco.
With a worried poet watching Morocco's degeneration culturally. The poet meets in the library of the villagers on the mice play over the book of natural history of Blaine 23 M Pline l'Ancien. The poet meets the men of the court illiterates and scholars of low-minded consider that the Koran answered all questions and ended the research. Sad eye of the poet on the people come out at the moment of eclipse، "Gentle" to repel the evil of an astronomical phenomenon.
He was faithful to his approach to portraying historical and political themes. He had already directed the film "The Battle of the Three Kings" 1990 about the clash of the two shores in the 16th century. The Moroccan victory was overwhelming against Portugal، and was immediately occupied by Spain. The Battle of the Valley of the Stores was fought in 1578، and the age of Cervantes was 31 years. It is no coincidence that Sanchez، the good Christian of Moroccans، makes fun of the Don Quixote.
As usual، in the film Pnarkp epic scenes of exhilarating war، where the craftsmanship high. The film was screened outside the Tangier festival competition for the opening of a new cinema called "Goya"، named after the greatest 19th century Spanish painter. For reference، in February 1919، Spain lost to the Moroccan state the theater of Therapantes، built in Tangier in 1913.
In the same month the King of Spain visited Morocco. All this to demonstrate the size of the clash of the two shores in the past and present. Morocco has been a source of conflict and a source of cultural wealth، so its face is more open to Europe than to the East. Tangier was the headquarters of disputes around it to the city of Cosmopolitan. This has been enshrined in an international convention. The city has become an arena for foreign intrigues، so that the contestants established newspapers to defend their interests، and the Sultan was also forced to establish a newspaper.
Because of its geographical location، Morocco was in a pliers. The sultans played on the conflict of colonial interests to preserve Morocco's independence throughout the nineteenth century. The court has trained itself on a diplomatic network to compete with colonial powers - Spain، France، England and the Ottoman Empire.
Whenever attacked by a state close to another. Thus the Sultan revived the occupation of Morocco until 1912، while Algeria colonized eighty years earlier. By putting the film in context، the Spanish spy appears to be a Moroccan version of the Arab Lawrence، and has entered the stage of illusion to change Morocco.
In a lot of film footage of "Sand and Fire the Impossible Dream" detailed messages are read to compensate for the lack of information about the times، and when you do not read the messages you are preparing dialogues to review the information. The dialogue is full of political and religious concepts، making it a direct، rhetorical dialogue worthy of the struggle films of the 1970s، as in the 1983 film Amok 1983 by Hasilah Benbarka.
A direct dialogue followed by a noisy soundtrack dictating the feelings of a sample. strong non-expressive music seems to have been ready and was not written specifically for the film. The same music is used in the military shots and intimate shots، baroque music without a Moroccan touch.
Despite all the elements of the power of the film، it suffers from spatial dispersion and the large number of internal photography. We see politics practiced in the palaces only. No historical film is being done in the salon. There is no place for ordinary people in the film، people often appear as a flock of slogans، and in general public shots lacking details. Who saw the film "Goodbye Bonaparte" 1985 to Youssef Chahine will note the presence of the Egyptian people.
Spatial dispersion appears in the second half of the film، especially as events take place in very different places. The hero in Fez، Tangier، Paris، London، Madrid and Damascus appears in successive scenes.
Indeed، the area allocated to Paris and Madrid is larger than that allocated to Fez and Tangier. As a result of the space and the mobility، Morocco 's presence is weak and weakens the view of the director، who is supposed to come from a Moroccan perspective. Instead of preparing a narrative look that shows the 9th century Morocco with folkloric anomalies. There is even a difference in the quality of footage of Tangier and Paris footage. Is this the impact of foreign funding for the film?
He has produced a powerful film، and his staff has been crafting a high level. Foreign actors are mostly Rodolfo Sancho and Caroline Crescentini. The five main characters in the film are European and foreign. Moroccan actors in secondary roles، Hamid Basqit and Omar Al-Azzoui، who appeared at a good level because the director extracted things from him did not appear in previous films، always seems closer to Darwish beggar even when the role of a businessman.
In terms of performance always find that some shots were filmed quickly، so the actor looks like a review as in the shot of the Spanish king decides the fate of the spy. Exaggerated performance of the English female hero who lives as a teenager at the age of forty، so her tears are shed in every shot. This on the level of performance As for the change of characters، he photographed the first and last snapshot of the meeting of the two lovers and their farewell on the same day because of the necessities of production. But Sardia was fourteen years between the two meetings.
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