When Youssef Chahine authored “Bab el Hadid”, known in English as “Cairo Station” in 1958, it was promptly banned for 20 years. People and censor alike were shocked by its realistic portrayal of a troubled society. Chahine introduces us to Qinawi (played by himself) a poor, perverted newspaper vendor, and Hanuma (played by Hind Rostom, Egypt’s erstwhile Marilyn Monroe), as the beautiful woman constantly chased by police for peddling soft drinks illegally. Abu Serib is Hanuma’s soon to be husband who desperately tries to form a union opposing an old crony who calls the shots in and around the station. Trains arrive and leave every minute, spewing out and absorbing people from all walks of life. Like the place, the movie is a microcosm of the country and times. Not just then, but acutely, today still.
Chahine weaves in a women’s protest march, and a band of young musicians reveling in a fusion of rock n roll and, well, Egypt. Delectable Hanuma sells them Pepsi and a smile. Passersby disparage this infliction to native culture. “It’s all those new-fangled ideas. They lead us straight to hell,” says a man, funnily enough with a Sabena poster behind him. Headscarves are few and far in between. It seems like a different epoch altogether. And yet, men’s attitudes to women, not just the perverted Qinawi, are a grim reminder of how little has changed. The economics of frustration -no job means no house means no wife means no sex means exploding thirty year-olds- remains as it was in 1958.
The film itself also remains as it was back then; a masterpiece of human cultural achievement.