MALLAKI ISKANDARIYA/ PRIVATE ALEXANDRIA

Egypt, 2005, 90 minutes, Colour.

Ahmed Ezz, Ghada Adel, Khaled Saleh, Nour, Muammed Ragab.

Directed by Sandra Nashaat.

This murder mystery was well received on its release in Egypt, seen as breaking some new ground in filmmaking and subjects. However, compared with a range of murder mysteries from all cultures, this film seems rather more ordinary.

For distribution on Netflix, it received the title Private Alexandria, which is not in the film at all. Rather, it is reminiscent of the novels by James Patterson, the Private series. In fact, the film seems the visual equivalent of a Patterson novel, accumulation of various short sequences, quick moving from one to the next, very pacey viewing as the novels are a pacey read.

The central character is an ambitious young lawyer who becomes involved with a woman accused of the murder of her wealthy husband. He decides to investigate the case, like an underground private investigator, ingratiating himself with the dead man’s family, getting information, acting gallantly towards the accused woman, eventually getting her acquittal.

It comes quite as quite a surprise to him as well as to the audience that in the aftermath, some years later, crucial new information is revealed which alters the perspective on the crime and the situation, challenging the lawyer and his sense of law and justice.

1. A 21^st-century murder mystery? Egyptian style? Universal characters and themes?
2. The Egyptian settings, Cairo and Alexandria, the city, homes, business dealings, streets, atmosphere? Musical score?
3. The brief running time, the structure of the film, short sequences, camerawork, tracking, handheld camera…?
4. The setting, the home, the opening murder? The body, the cut in the glass? Identifying the murdered man, accusations against his wife, pursuit, the accusations by his children? Wealth, wills…?
5. The focus on Adham, the company, the chief, the court, defence and prosecution, Adham late with the document, winning the case? Rejoicing, and the reputation of the team?
6. The encounter with Sahar, fearful, protesting innocence, pleading? The company chief rejecting her application? Her fears, discussions with Adham, being pursued, his invitation to stay? The members of the team arriving, reporting to the chief about Sahar being present?
7. Adham, the challenge, deciding to prove her innocence, becoming an underground private investigator, his tactics, charm, taking on the identity of his friend, borrowing his car, infiltrating into the family, the encounters with Leyla, with the brother and sister, conversations, invitations, meals, parties, restaurants?
8. Adham and his building up the background to the family, Sahar and her explanation of her work, Husain and his charm, marrying her? The business complications with the others members of the family, his suspicions of Leyla and their encounters, the attraction to Russia?
9. Sahar being found, imprisoned?
10. The man on the motorbike, Chase sequence, busy alleyways? Getting information, meeting him, his being Sahar’s brother, in prison, his reputation?
11. Adham, the discussions with Sahar, her explanations?
12. Adham and his discovering the truth about the son, his relationships, clashes with his father? The daughter? Leyla, the relationship with Husain? The money deals, signing Sahar’s name? The disappearance of the money…?
13. Going to court, the testimonies? Winning the case?
14. The aftermath, Adham marrying Sahar, the daughter? His friend and from work who had helped in so much, the shop information that he was Sahar’s brother, the unravelling of the case and the duplicitous behaviour of everyone?
15. Adham, confronting Sahar, her plea, is embracing her – and her imprisonment? His righteousness?