تويت
Family Name: Hosni
Given Name: Soad
Dates: 26 Jan 1942 - 21 Jun 2001
Gender: Female
Country: Egypt
Selected Works:
Film and Television
Al-Ra'i wal Nisaa (The Shepherd and the Women) [Film, 1991]
Ghurabaa (Strangers) [Film, 1973]
Khalli Balak min Zouzou (Watch out for Zouzou) [Film, 1972]
Laylat Al-Zifaf (Wedding Night) [Film, 1966]
Gharamiyat Imraa (A Woman's Affairs) [Film, 1960]
Hassan wa Na'ima (Hassan and Na'ima) [Film, 1959]
Film star Soad Hosni died on thursday, june 28th 2001 after falling from the
6th floor of a London building. She was born on January 26 th 1942. Soad
was one of Egypt's best-loved actresses of the 1960s and '70s.
"She was the symbol of the golden age of Egyptian cinema" said Egyptian
actress, Athar Al Hakim, who only knew Hosni from her films, which also
included co-productions with Iraqi, Lebanese and Soviet producers.
Hosni, who starred in 75 Egyptian films through a career spanning from
1959 to 1991, lived in London for the last six years and underwent a
treatment for a back problem.
She was courted by Egypt's leading men, and married four of them. She first
married film cameraman Salah Karim in the 1960s.
The actress began her career with the film "Hassan and Naima," an Egyptian
version based on the Romeo and Juliet story of Shakespeare. Souad
captured the hearts of film lovers with her dark sparkling eyes and her
feminine shape and soon became a star in the Arab world, gaining the
nickname of Egypt’s "Cinderella."
The heart-throb brought to life a wide variety of comic and serious
characters as diverse as the belly-dancer in "Take care of Zouzou" which
ran for more than 50 weeks in the early 1970s. Souad Hosni did a good job
on the belly dancing part though.
She married Zaki Fattin Abdel Wahhab in 1981 but never had any children.
Linked by the press to Egypt's most famous singer of the 1960s, Abdel
Halim Hafez, Hosni never married him but went on to wed film director Ali
Badrakhan at the end of the decade.
She later divorced Badrakhan after suffering from not been able to bear
children and married Egyptian screenwriter Maher Awwad in the early
1990s.
Check also: Khalli Balak min Zouzou (Watch out for Zouzou) of 1972;
screenplay by Salah Jahine; directed by Hassan El-Imam; starring Hussein
Fahmi and Tahiya Caryoca. Souad Hosni played the role of a belly dancer
university student in Khali Balak men Zouzou [Take Care of Zouzou].
July 8, 2003
Soad Hosni, the Glow of the Legend
On 26th January 1942, Soad Hosni was born. Same day, in 1952, 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 that which
started by fire, but, by a ray of light.
She rose to stardom at the beginning of a new decade when Egypt was bidding farewell to the monarchy for good.
Veteran actresses like Faten Hamama and Shadia made for the sidelines when Soad Hosni emerged simultaneously
with the birth of a new Egypt in the 1960s. The air was full of expectations; dreams really could come true, and Soad
Hosni was one of those dreams. With her talent, good-heartedness, and dedication, she captured the hearts of
virtually everyone in Egypt without even trying.
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 while still 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
embraced the stars and cuddled the sun.
Followed by different roles on the big screen, she led 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"( 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.
She flourished at a time of Arab unity and power, a time when films could be made in Lebanon without fear of
anything. Yes, there was war, danger, and death that hovered over everything, but there was also a deep sense of
security in knowing that even in death, there would be pride and honor. Hosni lit up this era of belonging with her
incomparable spirit, and stood as a pillar for the modern cinema scene.
While no one can deny that actresses like Hamama, Shadia and Mariam Fakhr Al- Din were true stars, they
belonged to the past. Hosni was to them what Abdul Halim was to Abdul Wahab, a sign that the age of aristocracy
and royalty had come to a close. Hosni emanated freedom, independence, and equality, a true daughter of the
revolution. She was more than a mere symbol, she attested to the greatness that was unfolding.
That an actress like Hosni existed meant that good existed despite the devastating war that raged on.
At that time, Egyptians worked around the clock, and when the time came for a little entertainment, they had three
choices: an Abdul Halim Hafez concert, a new song by Umm Kolthoum, or a Soad Hosni movie. Down town movie
theatres like Cairo, Radio, Metro were clean and elegant.
"You could actually go to a movie and find Soad sitting next to you, and she would greet you as if you were her best
friend."
Soad represented style and beauty. They all looked up to her. If she cut her hair, they all would do the same. One
time in Al QAHERA TALATEEN (Cairo 1930) that came out in 1966, she plucked her eyebrows very thin.
The next day her friends ran and erased their eyebrows and then drew them with pencil so they could look like her.
She lived a racy life shrouded in rumors, and never found true happiness in any of the four marriages she encountered.
In her year of glory 1966, I have to stop in front of two films "SAGHIRA ALA ALHOB"( Too Young to Love) by
director Niazi Mustafa, the second "AL QAHERA 30"( Cairo 1930), by director Salah Abu Seif. In film 'SAGHIR
ALA ALHOB", Soad's genius was remarkably illustrated when she played the role of the young girl and the grown
up lady 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 a young girl, she actually lived this
character.
Soad met with Salah Abu Seif, in film "AL QUAHERA 30"( Cairo 30), driven from a story written by Naguib
Mahfouz entitled "AL QAHERA AL GADIDA"( New Cairo). Strange enough, the ****** 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.
Soad Hosni excelled in every role she played, and without being typecast. This Soad Hosni legacy makes it difficult
for young actresses today to follow in her footsteps. She remains untouchable.
Her success started to decline from the 1988 film Al Daraga Al Talta (The Third Class) co-starring Ahmed Zaki.
This film was not attacked viciously by critics, but it also did not meet any box office success.
Shortly thereafter, she had health problems and her illness got the better of her when her role model, poet and lyric
writer Salah Jahine died. Later, she headed to London for treatment. There, she lost contact with the artistic world,
reappearing only briefly in 1991 when her ex-husband and director of some of her most significant films, Ali
Badrakhan, brought her back in Al Rayie wa Al- Nissaa (The Shepherd and the Women) starring Youssra and
Ahmed Zaki. The film essentially was the beginning of the end for Hosni.
While it neither lost money nor was attacked, in fact it was critically acclaimed it showed a tired and aging Soad
Hosni, not the actress everyone remembered. Hosni didn’t relish appearing as a washed up Cinderella next to the
relatively young and healthy Youssra.
She fled back to London and hid from everyone until they found her dead on a pavement of a London street.
Whether she jumped or fell no one yet knows. What is sure is that Soad Hosni is gone and with her any hope of
pending redemption for the current bleak artistic scene.
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, who ever loved her.
Welcome to arab-celebs.com
Soad Hosni, The Glow of the Legend did not fade
By: Tarek El Shenawi
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 ****** 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 ��������, 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.
Given Name: Soad
Dates: 26 Jan 1942 - 21 Jun 2001
Gender: Female
Country: Egypt
Selected Works:
Film and Television
Al-Ra'i wal Nisaa (The Shepherd and the Women) [Film, 1991]
Ghurabaa (Strangers) [Film, 1973]
Khalli Balak min Zouzou (Watch out for Zouzou) [Film, 1972]
Laylat Al-Zifaf (Wedding Night) [Film, 1966]
Gharamiyat Imraa (A Woman's Affairs) [Film, 1960]
Hassan wa Na'ima (Hassan and Na'ima) [Film, 1959]
Film star Soad Hosni died on thursday, june 28th 2001 after falling from the
6th floor of a London building. She was born on January 26 th 1942. Soad
was one of Egypt's best-loved actresses of the 1960s and '70s.
"She was the symbol of the golden age of Egyptian cinema" said Egyptian
actress, Athar Al Hakim, who only knew Hosni from her films, which also
included co-productions with Iraqi, Lebanese and Soviet producers.
Hosni, who starred in 75 Egyptian films through a career spanning from
1959 to 1991, lived in London for the last six years and underwent a
treatment for a back problem.
She was courted by Egypt's leading men, and married four of them. She first
married film cameraman Salah Karim in the 1960s.
The actress began her career with the film "Hassan and Naima," an Egyptian
version based on the Romeo and Juliet story of Shakespeare. Souad
captured the hearts of film lovers with her dark sparkling eyes and her
feminine shape and soon became a star in the Arab world, gaining the
nickname of Egypt’s "Cinderella."
The heart-throb brought to life a wide variety of comic and serious
characters as diverse as the belly-dancer in "Take care of Zouzou" which
ran for more than 50 weeks in the early 1970s. Souad Hosni did a good job
on the belly dancing part though.
She married Zaki Fattin Abdel Wahhab in 1981 but never had any children.
Linked by the press to Egypt's most famous singer of the 1960s, Abdel
Halim Hafez, Hosni never married him but went on to wed film director Ali
Badrakhan at the end of the decade.
She later divorced Badrakhan after suffering from not been able to bear
children and married Egyptian screenwriter Maher Awwad in the early
1990s.
Check also: Khalli Balak min Zouzou (Watch out for Zouzou) of 1972;
screenplay by Salah Jahine; directed by Hassan El-Imam; starring Hussein
Fahmi and Tahiya Caryoca. Souad Hosni played the role of a belly dancer
university student in Khali Balak men Zouzou [Take Care of Zouzou].
July 8, 2003
Soad Hosni, the Glow of the Legend
On 26th January 1942, Soad Hosni was born. Same day, in 1952, 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 that which
started by fire, but, by a ray of light.
She rose to stardom at the beginning of a new decade when Egypt was bidding farewell to the monarchy for good.
Veteran actresses like Faten Hamama and Shadia made for the sidelines when Soad Hosni emerged simultaneously
with the birth of a new Egypt in the 1960s. The air was full of expectations; dreams really could come true, and Soad
Hosni was one of those dreams. With her talent, good-heartedness, and dedication, she captured the hearts of
virtually everyone in Egypt without even trying.
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 while still 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
embraced the stars and cuddled the sun.
Followed by different roles on the big screen, she led 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"( 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.
She flourished at a time of Arab unity and power, a time when films could be made in Lebanon without fear of
anything. Yes, there was war, danger, and death that hovered over everything, but there was also a deep sense of
security in knowing that even in death, there would be pride and honor. Hosni lit up this era of belonging with her
incomparable spirit, and stood as a pillar for the modern cinema scene.
While no one can deny that actresses like Hamama, Shadia and Mariam Fakhr Al- Din were true stars, they
belonged to the past. Hosni was to them what Abdul Halim was to Abdul Wahab, a sign that the age of aristocracy
and royalty had come to a close. Hosni emanated freedom, independence, and equality, a true daughter of the
revolution. She was more than a mere symbol, she attested to the greatness that was unfolding.
That an actress like Hosni existed meant that good existed despite the devastating war that raged on.
At that time, Egyptians worked around the clock, and when the time came for a little entertainment, they had three
choices: an Abdul Halim Hafez concert, a new song by Umm Kolthoum, or a Soad Hosni movie. Down town movie
theatres like Cairo, Radio, Metro were clean and elegant.
"You could actually go to a movie and find Soad sitting next to you, and she would greet you as if you were her best
friend."
Soad represented style and beauty. They all looked up to her. If she cut her hair, they all would do the same. One
time in Al QAHERA TALATEEN (Cairo 1930) that came out in 1966, she plucked her eyebrows very thin.
The next day her friends ran and erased their eyebrows and then drew them with pencil so they could look like her.
She lived a racy life shrouded in rumors, and never found true happiness in any of the four marriages she encountered.
In her year of glory 1966, I have to stop in front of two films "SAGHIRA ALA ALHOB"( Too Young to Love) by
director Niazi Mustafa, the second "AL QAHERA 30"( Cairo 1930), by director Salah Abu Seif. In film 'SAGHIR
ALA ALHOB", Soad's genius was remarkably illustrated when she played the role of the young girl and the grown
up lady 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 a young girl, she actually lived this
character.
Soad met with Salah Abu Seif, in film "AL QUAHERA 30"( Cairo 30), driven from a story written by Naguib
Mahfouz entitled "AL QAHERA AL GADIDA"( New Cairo). Strange enough, the ****** 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.
Soad Hosni excelled in every role she played, and without being typecast. This Soad Hosni legacy makes it difficult
for young actresses today to follow in her footsteps. She remains untouchable.
Her success started to decline from the 1988 film Al Daraga Al Talta (The Third Class) co-starring Ahmed Zaki.
This film was not attacked viciously by critics, but it also did not meet any box office success.
Shortly thereafter, she had health problems and her illness got the better of her when her role model, poet and lyric
writer Salah Jahine died. Later, she headed to London for treatment. There, she lost contact with the artistic world,
reappearing only briefly in 1991 when her ex-husband and director of some of her most significant films, Ali
Badrakhan, brought her back in Al Rayie wa Al- Nissaa (The Shepherd and the Women) starring Youssra and
Ahmed Zaki. The film essentially was the beginning of the end for Hosni.
While it neither lost money nor was attacked, in fact it was critically acclaimed it showed a tired and aging Soad
Hosni, not the actress everyone remembered. Hosni didn’t relish appearing as a washed up Cinderella next to the
relatively young and healthy Youssra.
She fled back to London and hid from everyone until they found her dead on a pavement of a London street.
Whether she jumped or fell no one yet knows. What is sure is that Soad Hosni is gone and with her any hope of
pending redemption for the current bleak artistic scene.
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, who ever loved her.
Welcome to arab-celebs.com
Soad Hosni, The Glow of the Legend did not fade
By: Tarek El Shenawi
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 ****** 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 ��������, 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.
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