Alexandria- Old cinemas in Alexandria Governorate, northern Egypt, are suffering from the threat of demolition and neglect, as they are gradually turning into real estate projects and high-rise towers, in light of the absence of state protection for historical cultural buildings that represent part of Egypt’s heritage and history. This urban sprawl threatens not only cinema, but the cultural identity of the entire city.
Alexandria, which is a symbol of multiculturalism and civilization, witnessed the first cinematic screening in Egypt, Africa and the Middle East in 1896, only months after the first international cinematic screening in France. However, over the past years, the city has lost a large number of its historic cinema buildings, which have turned into parking lots, shops, or abandoned places devoid of any cultural or artistic activity.
Many intellectuals and activists expressed their concern in official complaints, pointing out that the city, which used to contain about 400 historic buildings and cinema halls, has become almost devoid of them, even though these buildings witnessed important stages of Egyptian history and its rich culture.
Among the cinemas that have disappeared or closed their doors, Toson Pasha Cinema stands out, the oldest cinema in Egypt and the Middle East. Although it was converted into a government cultural center as a measure to save it, this sparked controversy between those who consider it a preservation of the building and those who see it as a change that distorts its heritage value.
Rex Cinema, which was once a prominent cultural landmark in the heart of Alexandria, has turned into a random parking lot, while Ismail Yassin Cinema, known for its distinctive comedy shows, has become a center for private lessons. The same thing happened to many other cinemas, such as Sporting, Ras El-Tin, Al-Hadra, Moharram Bey, and Al-Maamoura, which were completely removed and replaced by residential towers and shops.
In the Bahri neighborhood, the Coronation Cinema lost its cultural identity and was reused as a bakery, in a scene that reflects the deterioration that has befallen these landmarks. As for the El Dorado Cinema in Martyrs’ Square, it was transformed from a wedding theater called “Al-Habayeb” into a stationery store.
The Al Hambra Cinema and Theater, which was established in 1900 in the Raml Station area and was famous for hosting major artists such as Umm Kulthum, Abdel Halim Hafez and Najat Al Saghira, has become dilapidated ruins. The same is true of dozens of other cinemas scattered in popular neighborhoods, which have become deserted and dilapidated.
Recently, the wave of demolition affected the Al Hilal Cinema, which was built in 1943 west of Alexandria, and was replaced by an overhead bridge. The Concorde Cinema was also removed to establish a commercial mall, and the Cleopatra Cinema was replaced with a refrigerator to store vegetables and fruits. As for the Republic Cinema and the Krakon, they were transformed into wedding halls, while other cinemas, such as Ramses Plaza and the East, became empty buildings and waste dumps.
Alexandria intellectuals expressed their deep dissatisfaction with the state of historical cinemas. They described the matter as a “systematic obliteration” of the city’s heritage, in favor of modern buildings and commercial projects seeking financial profit. Alexandrian writer Omar Al-Husseini, in his interview with Al Jazeera Net, expressed his sadness, saying: “Cinema was not just a means of entertainment, but rather a mirror that reflected the pulse of society and its history. Today, we are losing part of Alexandria’s spirit and cultural identity.”
Al-Husseini described the closure and conversion of cinemas in Alexandria as more than just the loss of buildings, but rather the obliteration of part of the city’s memory. Al-Husseini told Al Jazeera Net: “These cinemas were the lifeblood of cultural and social life, bringing families together and building the artistic taste of generations. With their absence, society loses a window for creativity, and Alexandria moves away from its role as the capital of the arts.”
For his part, poet Gaber Bassiouni, treasurer of the Egyptian Writers Union, expressed his regret for the cultural situation in Alexandria, considering that the current situation does not reflect the city’s ancient history. Bassiouni explained to Al Jazeera Net that officials do not pay any attention to culture, and that Alexandria is witnessing a sharp decline in cultural and artistic activities, due to the ineffectiveness of government agencies in confronting the loss of cultural buildings and the demolition of cinemas, whether owned by the state or individuals.
Bassiouni pointed out that cinemas affiliated with the Ministry of Culture suffer from government bureaucracy and lack the necessary resources to adapt to modern developments. He explained that large showrooms with high ceilings, which can accommodate thousands of seats, are no longer suitable for the needs of the market and the public today. He considered that the solution lies in rehabilitating these cinemas and dividing them into small halls to keep pace with the technical development in this industry. He also stressed the need to use the media and social media platforms to promote these halls, calling for an urgent conference to study the future of cinema in the city.
Film critic Sami Helmy also expressed his deep sadness at what he described as the collapse of Alexandria’s cinematic legacy, noting that the city was the cradle of cinema in the Middle East and Africa. Helmy explained that Alexandria witnessed the first cinema show one year after Paris in 1896, and interacted with this art greatly, and this led to the prosperity of the film industry and the opening of many theaters that made the city nicknamed “the Hollywood of the East.”
Helmy added that Alexandria was not only a pioneer in cinematic performances, but was also home to the first film filmed in the region, entitled “The Arrival of a Train at Raml Station” in 1897, directed by Monsieur Romeo. However, this cultural heritage is subject to continuous decline. Helmy explained that about 400 buildings and cinema halls were neglected and demolished since the nationalization of the film industry in the 1960s, until the recent period that witnessed the replacement of cinemas with real estate projects aimed at achieving quick profits at the expense of history.
He pointed out that these practices led to a contraction in cinematic activity and the loss of part of Alexandria’s cultural identity, which was once a center for artistic creativity in the region.
A fading legacy between neglect and the need for development
Film critic Sami Helmy believes that the biggest challenge facing old and traditional cinemas lies in their resilience to the developments of the digital age. He pointed out that the continued decline in public demand and the spread of electronic broadcasting and online shopping platforms weakens its ability to generate revenues. Helmy stressed the need for intellectuals and enlighteners to struggle to revive these houses by restoring some of them, and holding film festivals in all Egyptian cities to enhance awareness of the value of artistic heritage and restore the cosmopolitan spirit of Alexandria, which is gradually eroding.
Muhammad Saber, a former cinema projection technician at Al Hilal Cinema, spoke to Al Jazeera Net about his memories, saying: “More than 30 years ago, theaters were living their most prosperous era, competing to present new shows. We were witnessing crowding at the box office, and families and young people were They come on holidays and vacations to watch movies.” He explained that the Crescent Cinema, which was established in 1943, attracted audiences from various regions, and was carefully managed as if it were an artistic celebration.
Saber pointed out with regret that government agencies demolished a large part of the cinema to build an overhead bridge, while the remaining space remained rented as commercial shops. “Cinema no longer has a place,” says Saber, demanding that old cinemas be transformed into cultural centers, museums of the history of cinema, or even small theaters that preserve their original identity. He also stressed the need to issue laws that prevent changing the use of these cultural monuments except to serve the heritage.
Wasted potential and ongoing challenges
In turn, Khaled Kamal, a member of the Board of Directors of the Holding Company for Cultural and Cinema Palaces, stressed the importance of cinemas as a vital means of entertainment and awareness. Kamal told Al Jazeera Net: “Not all cinemas that were demolished or whose activity changed in Alexandria are owned by the Ministry of Culture. Weak capabilities and old equipment have led many owners to abandon cinemas as a profitable investment source.”
Kamal explained that the holding company has capabilities that qualify it to manage cultural and cinematic assets, including historic cinema halls such as Rio and Radio Rex in Alexandria, which are distinguished by their unique architectural style. The company also owns one of the oldest and largest film studios in Egypt.
He pointed out that the main obstacle hindering modernization and maintenance operations is the lack of necessary financial funds. However, Kamal stressed that preserving these monuments is not limited to their restoration, but rather includes reintegrating them into cultural life in a way that attracts the public and keeps pace with modern developments.