A very hot and dry summer afternoon in Damascus. The kind of weather which pushes you to be indolent. But in this tiny Maliki apartment there is even more activity that usual. Two workstations in parallel are editing ” ما ملكت أيمانكم” (“Whatever you possess”) and “ذاكرة الجسد” (“Memory in the flesh”), the latest TV drama works by Syrian director Najdat Anzour.
I`ve been knowning Najdat for some years now and I`ve always admired his dedication and passion, whatever kind of work he does. This can`t be more true this time when he is working on such different contexts and stories. “Memory in the flesh” is inspired by the novel of Algerian writer Ahlam Musteghranemi, one of the more appreciated Arab writer of the last century, and a very unconventional female personality. This 30 episodes TV drama is been produced by Abu Dhabi TV channel with 25% participation of Egyptian Media City, a miracle that only somebody like Najdat could orchestrate. It is very rare indeed to see Egyptian capital producing something that is shot by a Syrian -this has happened previously, as in the case of the Syrian Hatem Ali`s “King Farouk”, but the final result was rather a “made in Egypt”-.
Anzour is working with Syrian (like Syrian star Jamal Suleiman), Lebanese, Tunisian, Algerian actors to create what could be described as a “Panarab” TV fiction production, something that tackles regional interests and issues, as the Algerian liberation war, the Lebanese civil war, etc. And, of course, there is a lot of beautiful literature taken from Musteghranemi`s work. Dialogues are in classical Arabic, as Algerian dialect is still not widely understood at a regional level as much as Egyptian or Syrian.
While he is still shooting “Memory in the flesh” between France, Lebanon, UK and Algeria, Anzour is at the final editing stage of “Whatever you posses” (the meaning of ا ملكت أيمانكم” being wider than this, as it is a Quranic expression coming from the “Sura of the Women” that has got a lot of religious nuances). This musalsal, which is also due to be launched during next Ramadan, is in a way at the opposite end of “Memory in the flesh”. Whereas the latter comes from a piece of literature, is set in the past, speaks Classical and addresses Panarab issues, “Whatever you possess” is a social drama very much set in a contemporary Damascus and spoken in Syrian dialect. It deals with issues like relation between men and women, sex, religion, corruption, poverty and extreme richness, all elements that are embedded together in contemporary Syrian daily life. Najdat and his “monteur” show me two finished episodes and I can`t prevent myself from thinking that this is going to set next Ramadan on fire.
Contemporary Damascus is shown with all its contradictions without any filter: one of the most ancient urban settlement in the history of humanity,and at the same time a tiny village where rural values of tradition and its preservation still seem to prevail over modern urban values.
This contrast is visible in everything from the locations to the characters, with a particular emphasis on females. Rich “enfants gates” that spend their time on the border of a swimming pool in their rich father`s villa, talking about make up and coiffeur, whispering on their fancy mobiles and elaborating on the latest fashion magazine coming from the West – and young educated girls that are pushed to sell their bodies to pay for their parents` health treatments-. The middle class is astonishingly absent from this picture -as it is, in reality, fading away from Syrian society class composition-. Middle class is shrinking everywhere in the entire world, as a result of the globalisation process that makes the rich richer and the poor poorer: but in Syria this process dramatically involves all the values that middle class traditionally brings to society, its dedication to education and hard work, its belief in self-initiative and self-making, its urban background. The females protagonists of “Whatever you possess” -Leila, Alia and Nadine- represent three prototypes well alive in contemporary Syrian society. Their complicated relations with men are mostly based on exploitation, submission, dependence, inequality, frustration and on a unbalanced exercise of power. To this respect, every social class seems to be the same -no differences between the rich and poor, the shrinking middle class being even more desperate as more conscious of the process that is leading to its own disappearance-.
“Whatever you possess” is made up of luxury villas and poor suburbs, smoky bars full of belly dancers and Qoranic schools, women dressed in “total black” and kinky “femme fatales” going from one party to another. It shows a society which is totally permeated with liberalization and globalization but hasn’t developed its “anti corps” , being only able to read this process in financial terms (i.e. being empowered to buy the latest luxury car or mobile) but not in cultural ones.
I remember Najdat showing the promo of “Whatever you possess” to a Danish non Arabic speaking audience in Copenhagen. The results was amazing, as people could understand -through the powerful visual language – the story he wants to tell, maybe much more universal than as it looks at a first glance.
During the past few years, Najdat Anzour has smartly dedicated his career at “universal” issues that are of Westerners` and Arabs` common concerns, I.e. terrorism, relations between religions, issues like the Danish cartoon controversy. I`ve always found this very interesting but I have to say that I`m happy to see “Whatever you possess” focusing on Syrian society, debating about it, pointing out at its problems. Being more local he has probably become more universal, and even more understandable by us Westerners, even the non Arabic speakers, as those folks in Copenhagen. There is a lot of criticism in Syria in respect to this kind of “Syrian neorealism” featuring all the problems and the contradictions of the Syrian society on Regional TV screens, moreover during the holy month of Ramadan. People say those fictions don`t offer any solution for social change, just portray the bad side of a society. However, I think that through TV works as the latest Anzour`s, people could at least become conscious of some issues and realize they do exist, instead of using TV just as a way to escape in an imagery past that existed once or probably never existed.
“Whatever you possess” by N. Anzour, 2010
pictures from http://www.libyanyouths.com/vb/t27507.html