一部很大气很优秀但又被众人忽略的佳作，接近五星！查尔登·海斯顿始终都是正义英雄的角色，高大挺拔的外型配合沧桑的气质，将高登的内在与外在演绎得恰到好处。令人惊喜的是劳伦斯·奥利弗改头换面，抹面化妆后的穆罕默德·阿里，似乎总令人联想到阿里王朝的开国君主第一代的南征北讨的军事枭雄。
按时间推算，大概1880年崛起的赫迪夫应是陶菲克一世，似乎故事的原型只能取其象征性，不作过多渲染。奥利弗爵士的演技太炉火纯青了，招牌的正邪莫辨复杂人物演绎起来举重若轻，丝毫不逊于海斯顿，绝对压得住阵脚！ 作为一个异国人身处在一个原本不属于自身文化的国度里，高登的角色显得是那么尴尬。一面是英国帝国主义下的官员，令一面又要获得伊斯兰人物的拥戴，人性在两面压逼下到底是向善，抑或向恶呢？
人道主义在硝烟弥漫的国土中，人心惶惶的情况下，又处于一个怎样的位置？自身的信仰起到一个十分重要的关键作用，那不是基督徒或穆斯林的宗教信仰，而是人对真善美的追求，于是成就了伟大的人格，而崇高往往又通向一条悲剧之路。
In 1885, while his regiment is sent to the Sudan to battle the rebellious Dervish tribes, British Lieutenant Harry Faversham resigns his officer's commission in order to remain with his fiancée Mary Burroughs in England. His friends and fellow officers John Durrance, Peter Burroughs and Tom Willoughby brand him a coward and present him with the white feathers of cowardice. His fiancée, Mary, adds a fourth feather and breaks off their engagement. However, former Lieutenant Faversham decides to regain his honor by fighting in the Sudan incognito.
A British soldier escapes from 1880s Khartoum and goes down the Nile river with a fellow soldier, a governess and the daughter of an emir.
A group of exceptional young ladies in Khartoum are determined to play football professionally. They are prepared to defy the ban imposed by Sudan's Islamic Military government and they will not take no for an answer. Their battle to get officially recognized as Sudan's National Woman's team is fearless, courageous and often laughable. But their struggle is unwavering. Through the intimate portrait of these women over a number of years we follow their moments of hope and deception. Despite the National Football Federation getting FIFA funds earmarked for the women's teams, this team continues to be marginalized. However, there is a new spark of hope when the elections within the federation could mean real change of the entire system.
苏利曼和“苏丹电影俱乐部”的另外三名成员决定重振一家旧电影院。他们不仅因为对电影的热爱和对恢复旧电影存量、再次关注苏丹电影历史的强烈渴望而团结在一起，而且因为他们都曾在流放中接受过电影教育。不知疲倦地，他们试图让影院老板站在他们一边，让这个地方重新运作起来，但他们一再发现自己遭到了相当大的阻力。同时，他们坐在一起谈论过去——包括他们作为对立艺术家遭受迫害甚至折磨的经历。他们还朗读流亡和梦想苏丹时写的旧信，在那里艺术和智力思想可以自由。“我们比他们聪明，但不如他们强大，”他们一致总结了他们的处境。正是在这些简洁的时刻，观众才能够感知到友谊，以及在为共同理想而斗争中存在的纽带和意识形态的团结。
As if they were showing their film to a few friends in their home, the Johnsons describe their trip across the world, which begins in the South Pacific islands of Hawaii, Samoa, Australia, the Solomons (where they seek and find cannibals), and New Hebrides. Thence on to Africa via the Indian Ocean, Suez Canal, North Africa, and the Nile River to lion country in Tanganyika. (They are briefly joined in Khartum by George Eastman and Dr. Al Kayser.) Taking a safari in the Congo, the Johnsons see animals and pygmies, and travel back to Uganda, British East Africa, and Kenya.
Gubara was proud of the first color film in African cinema, which attempts to give an African response to the city symphony genre by capturing disparate images of daily life in Khartoum and setting it to music, particularly romantic Arabic songs.
A major shift of political power in Sudan started with street protests throughout Sudan on 16 December 2018 That resulted in the overthrow of the dictator Omar Al-Basheer. The Sudanese Revolution took over 38 weeks to achieve its demands with over 300 casualties and +1200 arrests. Fire in the Nile is a documentary about how the people dealt with the government and how to protest until their demands have been granted.
Although perhaps without foresight, Gubara seemingly set out to capture a historic picture of a city that today has completely vanished. He reveals to us the livelier place that Khartoum was before fateful circumstances turned it into a tough, surviving shell of its former self.