Mohammed Isa Al Abbasi 
It belongs to the livestock, writing and writing stations of the prominent Moroccan writer Edmun Imran Al -Maleh, attending in the latest documentary films of the Moroccan director, the country, the capital, Rabat, Simon Beton, who previously released documents on the history of Palestine, Arab music, the poet Mahmoud Darwish, and the life of the Mahdi exhibitions in Nabraka and Muslims, the protector of the Jewish cemeteries in Morocco.
Hajj .. Morocco and Palestine
“A thousand days and day: Hajj Edmund”, a film that discloses its title on the nature of the documentary. Whether in the present or in the future, they threaten their entity.
As for the second part of the title, “Hajj Edmund” is a title that I love, and he saw in addressing some of his neighbors and those who befriend him and appreciate him, a reflection of an atmosphere of “recognition and love” known to Morocco, and in which people are old and given “and give it a place”, according to what he said in the “Masharaf” program presented by the journalist Yassin Adnan on Moroccan television.
Imran, who was born in 1917 in Safi, in the name of “Edmon Amram Al -Malih” or “Edmun Imran Al -Maleh”, for a civilian family of a bourgeoisie that was not reserved by the “Mallah” of Moroccan belonging to the Jewish religion.
In the documentary, Palestinian diplomacy, Leila Shahid, the wife of Moroccan writer and critic Mohamed Barrada, considered that this data is very important to understand the depth of Imran’s solidarity with Palestine: the Palestinian tragedy, of course, but also the personal dimension; It caused Zionism to eradicate Moroccan Judaism from Morocco as history and life, and prompted Moroccans to commit tragedies against another people.
Imran Al -Maleh, then, lived the responsibility of solidarity with the Palestinian issue as a Moroccan issue, its direct victim of the Palestinian people and the homeland, and its victims as well as Moroccan society, which has lost an integral part of its cultural and historical composition, and its inhabitants were inserted into European accounts that were not related to it.
This relationship with the Palestinian issue is also carried by the Moroccan documentary director, who always emphasizes the composition of its Arab Jewish personality, without salary. And her photo was previously films; Among them is the “Wall” documentary about the Israeli racist separation that embodies a wall, so the Moroccan spectator watches a movie about the tragedy of Palestine and the aparthest chapter, to be shocked that the girl speaking at the beginning of the film in Hebrew, who is known as Arabic as the enemy’s enemy, is the daughter of or knows Arabic: Moroccan. But it is a language that her mother does not speak, so she does not shine, so it is broken, except to pick up a tone, which means the other enemy.
This schizophrenia, which Israel created from among those like him, also the poet Muhammad Belmo in the memoirs of “5 days in occupied Palestine”: “As soon as we stood off the three soldiers, one of them initiated us with a pure Moroccan tone, saying: May God bless you! It was surprising to us, but we quickly understood that he was a Moroccan Jew, so we answered him at the same time: God bless you, then Tafnot asked him: Brother Moroccan? From which area? He looked at us and then looked at the blond soldier who was following the situation, without knowing the content of the hadith that was launched without introductions … a little silence like someone who felt that he was rushing in his conversation with us, then he said in a tone that reflects his desire to get rid of this dilemma and raised the embarrassment of him in front of his colleague who was following the scene with suspicion: I am Moroccan … from Al -Shalouh. From the medium atlas? I asked him, but he did not respond. As if he did not hear the question. The truth is that his first spontaneity was suppressed as someone who realized that his new position as an Israeli and a soldier in the enemy’s army does not allow him to go into talking to his Moroccan brothers, or with ghosts of his past more correctly, as childhood retreats to the deepest point in memory, and it groans under the heavy layers of the new identity.
Imran … the kiss
Simon Biton, in the movie “Hajj Edmon”, not only relied on certificates; Rather, the writings of the Communist pilgrim, the son of the bourgeois family, pronounced the place, as she uttered the place.
But the film does not reduce Edmon Imran in one dimension, so the viewer finds a vital human being, between literature, politics, optional exile, the Palestinian issue, cooking, friendship, dialogue, analysis of the Moroccan Jewish personality and the shock of European colonialism, artistic criticism that was unable to do his plan only after living art and attracting the parties of the conversation and life with its creator.
Among the actions of the documentary is Morocco, a guardian, where two professors of philosophy met, a Moroccan -and -Catholic Moroccan, Catholic, and accompanied each other until the end of life, even if they had to leave after Imran was arrested from his home and a connotation in the year of his livelihood 48, and other protesters after the events of March 23, 1965, despite his departure from the party, politics and communist, who was a leader Communism in colonial days, calling for independence from France. Without this preventing their visit to the country with a permanent return to the optional exile, before the departure of a two -year -old companion before the twentieth century that was forgotten in France (maybe his lanes), and the entrepreneurship of a new king of the throne of Morocco (1999), which facilitates the permanent return.
The French living was not forgotten in the documentary, even if the last ten years of the life of the “pilgrim” took a greater area than these thirty years; The documentary tells the story of the apartment the shrine of the Moroccans, visitors to Paris, the Moroccan dialect in some dialogues, and the writing that has been used in its owner six full decades before she informed the reader, and also tells the slices of the village of his wife, his wife, Mary Cecil, who was in a picture, in a stage of his life documented by one of the pictures, similar to her favorite philosopher Valter Benjamin.
And “What is the love of home is passionate about my heart .. but the love of Diyarra Housing!”; Amran, in fact, was in itself a kiss for many writers and artists, whether in France or Morocco, at the time of optional exile and after returning to the birthplace and heart, as Simon Biton tells her voice, about her acquaintance with Edmon in Paris, and visits between France and Morocco.
In this film there is no stereotype of the “Hajj” path; Rather, the director who lived, as well as the documentary witnessed, is part of the age of Edmon. It reveals, for example, that he considered it a “spy” about what is in Israel and the life of the Moroccan community. Note that, as she mentioned in previous conversations, a child left her with her family, for reunification with her sisters, who grew up and obtained a grant to study her, so what was from “detection”, and if the small family continued at the price of the birth, the father lost his generous work for gold, to work in a factory in the occupied Palestinian territories.
In this film, Simon bemoaned about the departure of Sanad in defending the question of Palestine, and she wonders about the path that she should continue without this companion, clear and tone.
Although the documents of “A Thousand Days and Day” are not limited to the side of defending the Palestinian issue in the life of Edmun Al -Adeeb, and the journalist Al -Mutawari behind the name “Issa Al -Abdi” in the communist press before independence, the technical critic, and the cook; Beton, in an interview with the official channel of Morocco in Morocco (2024), talked about the packaging of this work and the Israeli war on Palestinian Gaza and Lebanon existing, which affected it, and held it responsible: “I felt that it is very important, especially now, this voice, a Moroccan Jewish voice that does not see itself in Israel, like me. To say that Judea, like us, confirm strongly that what Israel is now conducting on the Palestinians and the Lebanese is not in our name, despite their claim, in an attempt to seize our identity and inheritance. Edmon did not depend on saying this; This is an important voice for the film that would have been important in any case, but now it has more importance, and I am happy that he has ended and will see it, especially Moroccan youth, during this period.
In a dialogue before the first presentation in Marrakech, when the Israeli bombing of Gaza and Lebanon was continuing, Simon Beton was documentary that he centered on “a Moroccan Jewish writer, called Adamon Imran Al -Maleh, who knew him, and was a friend, and he was among these Arab Jews, progressive; He is a former leader of the Moroccan Communist Party, who was always opposed to Zionism, and he did not put his foot in Israel, and he was very involved for the Palestinian issue, and this film is dedicated to him.
Edmon multiple
It is included in the documentary witnesses in multiple stages of the life of Imran Al -Maleh, and his interests; Some of them talked about the resistance against colonialism alongside the rest of the peasant Moroccans, and some of them talked about the former Communist and Communist, and some of them evoked the detainees, or the refugee abroad, absolute politics, and testimonies of Adamoun loved the arts of art, and the cooking love.
Imran also attended the “Muslim Jew”! By his assistance at his home in Rabat, who moved to him after the death of his wife, Mary Cecil, he said; She said, “Lakbar” when you did not find what his Moroccan explained and his communist values that made him treat everyone with equality, and his life “The Great Eid” from his meeting with her until the departure of love in her family’s house, except describing: “He is a Muslim Jew. Jewish Muslim. And better than Muslims! ”
Among the issues raised by the documentary is the absence of the books of Edmon Al -Maleh from libraries, except for a few pocket novels, as the Mazar model “created” and became a mausoleum, without a grave, visited annually by Adamon, even if this matter has aroused the ire of one of his friends, the novelist Abdul Karim Al -Jawiti, who was mentioned in his latest books, “Edmon Imran Al -Maleh, the words of the words” (2024) That you turned into a shrine somewhere, ignite around your image candles, and come from their fought throughout your life to see you without sound or nails. ”
Edmon, who is clinging to life, saying, writing, and the world of creativity and the continuous discussion that surrounded himself until the end of his life, was a lover who gave his opinion with “voice and nails”, and clinging to the hope that he did not bid about despite the fluctuations of life, and the documentary followed not only through testimonies, texts and places only, but also through the images also, which show the moments of joy, and the moments of the group, Losing, and august fluctuations.
“Hajj Edmun Imran Al -Malih”, which was the fruit of a society and a moment that they lost, perhaps forever, except from the memory and something of the collective personality, as this documentary is shown in this documentary “a thousand days and a day” (2024) and its predecessor “visit” (2020), a visual document for understanding and consideration; But it is also a position against forgetfulness and despair, by writing, smile, charity with opinion, and free existence as well; Because continuing to live and talk is a position in itself, or as Simon Beton had already said in a recorded discussion with a wonderful director “as if it were the Palestinian sky”, Elijah Suleiman, bringing one of her documents about the wall of the Israeli racist separation in occupied Palestine: “Despite his analysis of terrible matters, when I asked him: So, you are desperate!? He replied: No at all, I am not desperate; I am talking! He taught me a lesson; In many times, I feel desperate, but I am still talking, and I make films, so I am not desperate. ”
