Israel EGYPT Hebrew FILM MOVIE POSTER Arabic FARID AL-ATRASH - NAGM FI HAYATI

Description

DESCRIPTION
:
Here for sale is an EXCEPTIONALY RARE and ORIGINAL 45 years old Hebrew-Israeli SMALL POSTER for the
PREMIERE release of the legendary ARABIC EGYPTIAN film of FARID AL-ATRASH ( Also Farid El-Atrache ) - "NAGM FI HAYATI"
which was named in Hebrew " The MELODY of my LIFE " in the small town of
RAMAT GAN
in ISRAEL
. It was the last film of
FARID AL-ATRASH which was released in 1975.
The
Hebrew
poster was created ESPECIALLY for the Israeli release of the film . Please note : This is Made in Israel authentic THEATRE POSTER , Which was published by the Israeli distributors of "CINEMA
RAMA" in RAMAT GAN ISRAEL
for the Israeli
premiere
of the film
in ca 1975
. you can be certain that this surviving copy is ONE OF ITS KIND. Size around 7" x 12" . The poster is in very good condition. Clean and fresh.
( Pls look at scan for accurate AS IS images ). Poster will be sent in a special protective rigid sealed
package
.
AUTHENTICITY
:
The POSTER is fully guaranteed ORIGINAL from 1975 , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
PAYMENTS
: Payment method accepted : Paypal
& All credit cards
.
SHIPPMENT
: SHIPP worldwide via registered airmail is   . Poster will be sent rolled in a special protective rigid sealed tube.
Handling around 5-10 days after payment.
Farid al-Atrash (Arabic: فريد الأطرش‎; April 21, 1910 – December 26, 1974), also written Farid El-Atrache, was a Syrian-Egyptian composer, singer, virtuoso oud player, and actor.[1][2] Having immigrated to Egypt at the age of only nine years old with his mother and siblings, he studied there under numerous respected musicians. Al-Atrash embarked on a highly successful career spanning more than four decades—recording 500 songs and starring in 31 movies. Sometimes referred to as "King of the Oud", he is one of the most important figures of 20th century Arab music.[3] Contents 1 Early life 2 Family 3 Musical career 4 Film career 5 Personal life 6 Death 7 Legacy 8 Filmography 9 References 10 Further reading 11 External links Early life[edit] Al-Atrash was born in Al-Qurayya,[4] in southern Syria to the Druze princely al-Atrash family who fought the French colonial army.[5] His father was Syrian and his mother was Lebanese.[6] As a young child, al-Atrash emigrated with his mother and siblings to Egypt, escaping the French occupation. Later, they were naturalized by the Egyptian government as citizens. Farid's mother sang and played the Oud, which spurred his musical interest at an early age. As a child and young adult, al-Atrash sang within school events. He studied at Egypt's music conservatory and became an apprentice of the renowned Egyptian composer Riad Al Sunbati. In the 1930s, al-Atrash began his professional singing career by working for privately owned Egyptian radio stations. Eventually, he was hired as an oud player for the national radio station and later as a singer. His sister, Asmahan, was also a talented singer, and for a while they worked together. In 1941, they starred in their first successful movie Intisar a l-Shabab (انتصار الشباب – The Triumph of Youth, 1941), in which Farid himself composed all the music.[7] Family[edit] Farid and his sister Asmahan Camilla Al Atrash, the only daughter of Asmahan with her uncle Farid Farid and his sister Amal, along with their brother Fou'ad, belonged to the religious minority Druze clan of their parents, Princess Alia and Prince Fahd al-Atrash. (Asmar 1998) His younger sister, Asmahan, evidenced similar musical talent in her teens, becoming one of the most popular female vocalists and cinema stars in the late 1930s and early 1940s. Farid is better known than Asmahan because her career was interrupted by her death in an accident in 1944. Yet he was initially overshadowed by his sister's talent and popularity. With maturity and the forging of a successful performance formula, Farid became famous in his own right. Even today, reference to the given name "Farid" in the context of Arabic music or popular culture is immediately understood to denote al-Atrash himself. (Zuhur, 2003) Musical career[edit] Al-Atrash had a long and colorful music career lasting four decades. He composed musically diverse songs, and was a highly regarded composer, singer and instrumentalist.[8] Al-Atrash maintained that although some of his music had western musical influence, he always stayed true to Arab music principles. Although the majority of his compositions were romantic love songs, he also composed several patriotic and religious songs.[9] One of al-Atrash's most unusual and distinguishable traits was his voice. High and mellow at the start of his career, it evolved into a wider, deeper sound. A person not familiar with his work would find it hard to believe the singer in "Ya Reitni Tir" (1930s) and "Adnaytani Bil Hajr" (1960s) were the same singer. His singing style was deeply passionate. In many of his songs, and nearly all of his concerts, al-Atrash would sing a mawal, which is a local folk Egyptian slow voice improvisation of a few poetic lines. These improvisations sometimes lasted up to 15 minutes. The mawal was a favorite of his fans. Some of the most famous songs include "Rabeeh" (Spring), "Awal Hamsa" (first whisper), "Hekayat Gharami" (story of my love), "Albi Wa Moftaho" (my heart and its key), "Gamil Gamal", "Wayak", "Ya Zahratan Fi Khayali" (يا زهرة في خيالي – "Flower of my imagination), "Bisat Ir Rih" (flying carpet), "Ya Gamil Ya Gamil", "Ya Habaybi Ya Ghaybeen", "Eish Anta", and "sa3a bi 2orb el habib" (an hour in company of the beloved). Film career[edit] Al-Atrash starred in 31 Egyptian musical films from 1941 to 1974. His last movie, Nagham Fi Hayati (نغم في حياتي, Songs in my life) was released after his death. All his films except the last two were black and white. They ranged from comedies to dramas, or a combination. He composed all the songs in his movies including the songs sung by other singers, and instrumentals (usually belly dance routines). His earlier films would include approximately ten songs, but overall the films would average about five songs each. Some of al-Atrash's well-known movies include Intisar al-Shabab (انتصار الشباب – The Triumph of Youth, 1941), Yom Bila Ghad, Ahd el-Hawa, and Lahn al-Kholoud (لحن الخلود – "Eternal Tune", 1952). Personal life[edit] Al-Atrash shaking hands with Egyptian president Gamal Abdel Nasser, February 1955 Quick success brought the young man a lifestyle of nightclubs, love affairs, and gambling.[citation needed] Soon Farid was in debt and found himself abandoned by his disapproving mother. During this difficult period of his life, he also endured the death of his sister and fellow performer Asmahan. Farid found comfort in a relationship with the belly-dancer Samia Gamal, for whom he was motivated to risk all he owned. In 1947 he produced and co-starred in a movie with Samia directed by Henri Barakat; Habib al-'Oumr ("The love of my life," 1947), which became a huge success. After this came Afrita Hanem ("Madame la diablesse," 1949). Five films later, the unmarried couple broke up. Farid continued to work with other film stars in numerous successful movies in which he always had the romantic lead role of a sad singer. He even repeatedly chose his character's name to be "Wahid," meaning lonely.[citation needed] Al-Atrash refused to get married, claiming that marriage kills art. In his films, the audience remembered his leading ladies and his beautiful songs more than the story lines.[10] Prior to the 1952 military coup d'état against King Farouk I, al-Atrash became friends with Farouk's consort, Queen Nariman, a relationship that continued after the Queen's divorce and the coup that cost Farouk his throne.[11] The former queen's family did not accept al-Atrash, and the separation from Nariman sent the singer into a long depression, the start of health problems that worsened from that point on until his death. As al-Atrash became older, he reconsidered his opinion of marriage and proposed to Egyptian singer named Shadia, but at the last minute he backed out. By now his health was poor, and he feared that he would leave her a young widow. He often played out that scenario and sang about it in his romance movies.[12] He was also engaged to marry Salwa al-Qudsi at the end of his life.[13] Others stated: "He remained a bachelor throughout his life"[14] but he possibly had a brief 'urfi marriage.[15] and another Moroccan-born singer Maya Casabianca called him the "love of her life" (though they didn't marry).[16] He characterized himself in a fairly idealized version of a modern artist. "Tales of his love affairs were wildly popular during his lifetime and were seemingly merged with the lyrics of his love songs." (Zuhur in Ouzgane 2003) Death[edit] Al-Atrash suffered from heart problems throughout his last 30 years.[citation needed] In the last few years of his life, he became physically thinner, and his singing voice became raspy as his sickness intensified. Although he was struggling with his health, he continued to produce movies and perform in concerts until he died.[citation needed] On Monday December 24, 1974 the doctors told al-Atrash that after two days he could go home.[citation needed] This was because they noticed that Farid did not like the hospital, or the drugs and the food that the hospital provided for him. On December 26, 1974, al-Atrash died in Beirut, Lebanon at Al Hayek hospital, shortly after arriving from London. Al-Atrash is buried in Cairo, Egypt alongside his sister and brother.[17] Legacy[edit] Over his lifetime, al-Atrash starred in 31 movies and recorded approximately 350 songs. He composed songs for top Arab singers, foremost his own sister, Asmahan, as well as Wadih El-Safi, Shadia, Warda, and Sabah. He is widely considered to be one of the four 'greats' of Egyptian and Arabic music, along with Abdel Halim Hafez, Mohammed Abdel Wahab and Oum Kalthoum.[18] Notable Egyptian instrumental guitarist Omar Khorshid covered Farid al-Atrash's songs in a tribute album. Filmography[edit] Nagham Fi Hayati (1975) Zaman Ya Hob (1973) Hob al kabir, -Al (1969) Khouroug min el guana, El (1967) Hikayet el omr kulluh (1965) Ressalah min emraa maghoula (1963) Yomun bala ghaden (1962) Shatie el hub (196ww1) Min agl Hobbi (1960) Maleesh Gheirak (1958) Inta habibi (1957) Wadda'tu hubbak (1957) Izhay ansak (1956) Oussit Hobi (1955) Ahdil Hawa (1955) Risalat Gharam (1954) Lahn hubi (1954) Ayza atgawwez (1952) Lahn al khouloud (1952) Ma takulshi la hada (1952) Taa la salim (1951) Akher kedba (1950) Afrita hanem (1949) Ahebbak inta (1949) Habib al omr (1947) Bolbol effendi (1946) Gamal wa Dalal (1946) Ma akdarshi (1946) Shahr el asal (1946) Ahlam el chabab (1943) Intisar al-chabab (1941) *****  Remembering Farid al-Atrash: A Contender in the Age of Giants By  Sami Asmar The same family that spearheaded the rebellion against the French in Syria's Druze Mountain after World War I also produced two of the most renowned Arab musical artists of this century. Farid al-Atrash and his sister Amal, along with their brother Fouad, grew up in the religious minority clan of their parents, Princess Alia and Prince Fahd al-Atrash. The al-Atrash parents, who moved frequently between the major cities of the Levant in their political struggle against the French, kept watchful eyes on their three surviving children. Princess Alia had lost two of her five children to disease at a young age and became highly concerned about the safety of the others. Her fears were compounded when Farid almost died in a drowning accident in Beirut while playing with another child on a small boat; after that his mother locked him indoors when he was not in school. Due to the potential for French reprisal against his family, the Druze leader sent his family to Egypt for refuge. Leaving her husband and wealth behind, the princess disguised herself and her children, taking the fake family name Kusa, Arabic for zucchini. This odd choice of names brought Farid ridicule in his new school in Egypt C a French school, ironically, which waived the tuition of the "poor child." "The instructor, despite Farid's nice voice, was not impressed with his inability to express feelings and advised him to cry so that the listeners would feel the pain expressed in the chants. As his fans know, this advice worked, and remained a theme that lasted through his career, as he earned the label the 'sad singer.'" In the midst of this economically difficult life, Farid's musical interest grew as he listened to his mother sing and play theoud (lute) at home. He trained with the school's Christian choir. The instructor, despite Farid's nice voice, was not impressed with his inability to express feelings and advised him to cry so that the listeners would feel the pain expressed in the chants. As his fans know, this advice worked, and remained a theme that lasted through his career, as he earned the label the "sad singer." Al Wasat magazine describes a story about Farid's love of music as a child. He admired a certain singer in a coffee shop, but could never afford to buy a cup of tea there to listen to him. He frequently stood outside the shop to enjoy the music, until an observant shop employee noticed with displeasure that the teenager was not paying for the show, and surprised him by pouring a bucket of cold water on him. Farid walked the streets of Cairo hoping his clothes would dry, but eventually returned home and slept in his wet clothes hoping to avoid his mother's anger. He woke up with a fever that would have been much worse had he not wrapped himself in newspapers to stay warm. He later commented in a radio interview that the protection he received from those newspapers was his first positive experience with the print media. The former princess eventually sang in clubs to support her children, and allowed Farid to sing in school events. As he developed his talent, he performed in a university concert honoring the Syrian rebellion, a performance that attracted the art community's attention but revealed his true identity as a member of the al-Atrash clan, the French school dismissed him. He graduated from a different school and was admitted, with another tuition waiver, to a music conservatory; from there he became an apprentice to the renowned composer Riyad al-Sunbaty. Sunbaty recommended the hard-working young man highly, and al-Atrash sang in privately owned Egyptian radio stations in the 1930's. When a national radio station was established and the private stations ordered closed, the national station hired Farid as anoud player in its orchestra and later made him a singer. His sister's singing talent was also discovered, and she took a catchy yet classy art name, Asmahan. Several film makers hoped to showcase the curious brother-sister phenomenon in a film. After several offers, the two singers starred in a successful movie in 1941, but only after a risk-taking producer reluctantly agreed to Farid's demands to compose all the music himself. The quick success of the handsome young star changed his lifestyle; he enjoyed the city nightlife, love affairs, and gambling on horse races. Farid soon found himself in debt and abandoned by his disapproving mother. This difficult phase of his life was made even worse by the drowning death of Asmahan, an accident that has yet to be fully explained and remains the subject of interest for conspiracy theorists. Farid, however, found comfort in a relationship with the dancer Samia Gamal. He was motivated to risk all he owned for her, and managed to borrow enough money to produce a movie co-starring the two of them in 1947. The unexpected large financial rewards of this enterprise placed Farid in the wealthy class practically overnight. Five films later, the unmarried couple broke up in a bitter fight. Farid proceeded to work with other film stars in numerous successful movies. He almost always played the romantic lead role of a sad singer C even reusing the name Wahid, which means lonely, for his character. Apparently unable to function well without a girlfriend and refusing to get married (claiming that marriage kills art), he broke the hearts of many of his co-stars. Farid loved being in love, a pre-requisite for a romantic singer. Though the movies' plots were not particularly memorable, Farid's leading ladies were another story, and audiences clearly remembered his beautiful songs for a long time. His classic songs include "Al-Rabi'" (Spring) and "Awall Hamsah" (First Whisper), and the timeless tunes "Lahni al-Khulud," "Tutah," and "Raqsitil Gamal," the latter two being dance pieces. His "lighter" songs like "Nura Nura," "Hallet Layali," and "Gamil Gamal" remain incredibly popular to this day. Farid exhibited his nationalistic side in the song "Busat al-Reeh" (Flying Carpet), a conceptual tour of the musical styles of the Arab world. Though it has not been located in his archives, it is also rumored that he compo sed a national anthem in anticipation of an independent Palestine. One of his more interesting real-life love stories involved a member of the royalty. Shortly before the Egyptian revolution, Farid befriended the king's wife. The playboy king was understandably uncomfortable sharing the spotlight with another celebrity. Soon thereafter, he and his wife found themselves forced into exile, but after she and the king divorced, Farid's "friend" returned to Egypt where her stormy love affair with al-Atrash was the buzz of the tabloids. Her family, however, rejected Farid as a husband for their daughter, partly for political reasons in the revolutionary environment of the nation. The end of this affair sent Farid into one of the long periods of depression not unfamiliar to the sad singer, and marked the beginning of health problems that continued until his death. Later in his life, however, bon vivant Farid, who made homes in both Cairo and Beirut, reconsidered his position on marriage and proposed to the Egyptian singer Shadia, then to a Lebanese artist, but changed his mind at the last minute each time. He said he feared that his health would fail and he would leave a young widow behind. That scenario was probably familiar to him from his romance movies and songs. In 1974, Farid died in Beirut at an estimated age of 60, with one film unfinished. Despite his many achievements, he had not fulfilled his dream of composing a song for Umm Kulthum. Rumors reported that his clan refused to bury him on the Druze Mountain, but his brother Fouad's public statement stressed Farid's wish to be buried in Cairo, where his sister died. Farid al-Atrash is recognized among Arab musicians as the best oud player of his time C the king of oud. Singers often unashamedly imitate him, paying homage to his great talent; moreover, his voice and sad style were so unique that they could be clearly imitated. Composers found in Farid (a name that means unique in Arabic) a competent competitor and a contender for leadership in that domain. These accomplishments were particularly impressive since he broke into the art world during the age of established giants like Mohammad Abdul Wahab and Umm Kulthum, and in an era when new technology like recording and film were reshaping the field. In an effort to create his niche, Farid borrowed from flamenco and tango in his compositions. The former has a common maqam with Arabic music, while the latter was fashionable in Europe at the time. He attempted what he called "operatic" works with elegance and sophistication, catering to an elitist attitude dominant in his circles. Arab musicologists, however, were not always in agreement on Farid's place in Arabic music. For example, in his book "The Seven Greats of Modern Arabic Music," Victor Sahab lists Sayyid Darwish, Mohamed al-Qasabgi, Zakariyya Ahmad, Mohammed Abdul-Wahab, Umm Kulthum, Riyad al-Sunbati, and Asmahan as his carefully thought-out seven. Anticipating objections that Farid al-Atrash was excluded, the author claimed that these seven had changed the "state" of modern Arabic music. Several others made important contributions but did not fit the criterion of having developed a musical concept. Sahab, however, gives tremendous credit to Farid in the chapter on Asmahan, the only non-native Egyptian on his list, for his role as a composer, and records that Asmahan sang more songs composed by her brother than any other composer. Farid's compositions for his sister included her trademark waltz song "Layalil Unss" about nightlife in Vienna from the film "Gharam Wa intiqam" (Love and Revenge). Farid and his sister were reportedly not on speaking terms when he taught her that song; they never outgrew their teenage habit of constant arguments. Though he gives deserved admiration to Farid, Sahab points out little-known technical weaknesses. He uses Asmahan's song "Rigit ilak" (I've come back to you) to illustrate Farid's brilliant use of the oud and maqamat (theory of scale and modal structure) but points out that Asmahan's voice is almost off key in the low octave of maqam Kurd. The composer overlooked her individual vocal range when he composed the song, though a composer is supposed to accommodate the singer's capabilities at the extreme ends of the scale. Abdul Wahab admired Asmahan's voice and gladly composed for her; he also admired Farid's oudplaying and gave both of them advice as they frequented his house. However, he reportedly commented that neither one met his standards of enunciation (particularly the Arabic ha andr sounds) because they had not received training in the Quranic chanting (tajweed) that he and Umm Kulthum had. Farid al-Atrash has clearly left his touch on Arabic music in a profound way. Oud students swear by him and imitate his improvisational style C the ultimate flattery. Vocal teachers point out his ability to sing away from the beat while starting and ending a phrase on the beat, as an incredible skill that adds to the tarab (ecstasy) of the audience. As we reevaluate our culture at the end of the century, Farid stands out as a giant who is yet to be replaced. Farid sensed his own greatness in a historical context but consciously refused to comment on it, believing that his work would speak for itself. These days, with the explosion of short songs that lack musical depth, people often reminisce about the old days when Arabic music was so rich, and artists moved their audiences with emotions. Farid al-Atrash, the sad lover who captured the Arabs' imagination, is inevitably the first such artist to be mentioned. .   ebay4623