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1、Int.J.MiddleEastStud.39(2007),209–228.PrintedintheUnitedStatesofAmericaDOI:10.1017.S0020743807070079JoelGordonTHESLAPSFELTAROUNDTHEARABWORLD:FAMILYANDNATIONALMELODRAMAINTWONASSER-ERAMUSICALSThisessayisanattempttoreadpopularmelodramaasareflectionofchangingsocietalappreciationsofsentimentali
2、ty,romance,familyrelations,and,ultimately,politicalauthorityoverthecourseofatumultuousdecadeinEgyptianandMiddleEasternhistory,the1960s.Ifocusmygazeupontwoparticularfilmsthatwereintheirdaypopularhits,oneofthemanunprecedentedblockbuster,andthatremaingenreclassics.Bothfeaturepopularscreenicon
3、Abdal-HalimHafiz,thegreatestvocalistofhisgeneration,arecordingandperformingartistwhocameofagewiththeonsetoftheJuly1952FreeOfficers’revolutionandwasintimatelyassociatedwiththeNasseristproject.Bothfilmstreatgenerationgapsrelatingspecificallytoissuesofdatingandcourtship—whatmightbecalled,int
4、hecontextoftheirera,“freelove.”Bothareconcernedwithtroubledrelationshipsbetweenasonandhisdisapproving,authoritarianfather.Halim’sfatherinbothfilmsisplayedbythesameactor,ImadHamdi,andHalim’sloveinterest—albeitinverydifferentcontexts—isplayedbythesameravishingstarlet,NadiaLutfi.Finally,both
5、filmsturnuponasinglepowerfuldramaticactofparentaldiscipline,aslap(orseriesofslaps)deliveredbyanoutragedpatriarchacrossthecheekofarebellious,yetultimatelydutiful,son.BothfilmswereproducedbyprivatesectorimpresariosintheseconddecadeofrulebyGamalAbdelNasser,leaderofthesecretmilitaryorganizatio
6、nthattoppledEgypt’smonarchy,endedBritain’sseventy-yearoccupation,andestablishedtheauthoritarianrepublicthatstillgovernsthecountry.TheNassererawascharacterizedbyheadyoptimism—dreamsofmodernization,socialwelfare,andregionalandglobalprestige.1Whatmakesthetwofilmsofparticularinterestisthatthey
7、bookendtheregime’sseconddecade.Al-Khataya(TheSins,1962)appearedatatimewhenEgypthadbeenshakenbySyria’ssecessionfromtheill-starredUnitedArabRepublicbutwhentheNasseristdreamremainedverymuchalive.Abifawqal-shagara(Father’sUpaTree,or,idiomatically,TheAppleDoesn’tFa
