Behind The Sun(Ahmed El Hadary)
We would welcome the Egyptian cinema, to introduce us a serious subject and execution film from time to another, to break us away from the stilted stories and atmospheres which depend on foreign movies, usually we don't respond to, and we feel it's irrelevant to us. Those serious films, though little, to the extent of rare, move us directly to our reality we already live.
"Behind The Sun" is one of those serious films, it makes us live again the period in which, forces centers had their destructive activity, showing us some of what they committed of torture and roving citizens, citizens which their intention is working for the sake of homeland.. they are after the truth, behind defeat of 1967.
We have to praise the effort of the story writer, scenario and dialogue Hasan Mehaseb, for the strong plot and well representation, he reached for this critical issue.
Many artistic elements were available for this film, besides the plot, scenario and dialogue; made it reach a high rank of excellence through mastering and excellence with convincing and eliminating stilting. We must mention photography and the great effort which the photography manager, Abd el Aziz Fahmy, achieved to impart the different atmospheres.
There is also the music, composed by Sha'ban abo el saad, which was new to us.
Scenes of Salah Mar'ee, the gloomy atmospheres for the prison, which he acquired to the film, and the complete domination atmospheres for The Intelligence.
What is left, the talk about the artist who collected all those efforts together, in a convincing correlated unit, he could dominate a full domination all the time of showing the film, who is the director of the film, Mohamed Rady (and his producer at the time, with Wageeh Eskandar). Mohamed Rady could obtain from all the artists who worked with him, their best. He's behind all the previously mentioned efforts, behind each small and big detail in the film.
He's behind coherence in acting, well usage of music, choosing suitable sites for them behind the way of citing the story with this sequence and this amount of convincing, as it appeared on screen to us. He's behind moving actors and groups within frame of picture, behind the complete sense, through each meeting between a character or more through film footages, with diversity of all those feelings throughout the film.
Bulletin of film association 13/5/1978 no. 269