December 14, 2023
Alexandra Kinias, Dina Al Mahdy, Radwa Hosny

Lubna Abdel Aziz, born in Cairo in 1935, received her education at St. Mary’s School for Girls before furthering her studies at the American University in Cairo. She was granted the prestigious Fulbright scholarship to pursue a master’s degree in Drama at the University of California, Los Angeles.

Her artistic journey began on the radio when she was barely ten years old, participating in a program called “Children’s Corner” broadcasted on the European program waves in Cairo.

While pursuing her master’s degree in the United States, Lubna became a correspondent for Al Ahram newspaper in Cairo. She wrote numerous articles in English, which were translated into Arabic by her father, who also worked for the newspaper. 

After completing her master’s degree, she returned to Cairo to and assumed the role of a writer andn editor at Al-Ahram.

In 1957, during a visit to Nahass Studio to write a comparative article on American and Egyptian cinema studios, she met the producer Ramses Naguib and director Salah Abu Seif, both of whom offered her roles in their movies. 

Lubna’s passion for culture and the arts had steered her towards acting while in college. Her performances on the AUC stage captivated theater critics, highlighting her natural acting talent. 

Reflecting on that period, Lubna expressed, “I had never anticipated catching the attention of such prominent figures in the movie industry when I joined the university theater team.”

She made her cinematic debut in the movie “The Empty Pillow” alongside the renowned Egyptian singer and actor Abdel Halim Hafez. Following that, she played leading roles in fifteen Egyptian movies. 

Lubna also enriched the Egyptian radio with several programs, including “Aunt Lulu’s Show,” which she hosted throughout her time at the American University, and after retuning back from the United States. Lubna describes herself, saying, “I’m the oldest person in radio still hosting the same show, as it continues to this day.” On her varied programs, she interviewed various prominent figures from diverse fields.

In 2021, she published her biography: Story of A Free Woman, named after one of her famous movies.

We had this conversation with the artist Lubna Abdel Aziz.

WoE: Given that you started working on the European program radio at the age of ten, how were you able to balance work, study, and your different hobbies?
Lubna Abdel Aziz: At first, it was challenging to join the radio because the required age was 16 years old. So, I took several lessons in the field until I became eligible, and indeed it happened. I juggled radio work with my university studies, given the geographical proximity between them, and that there was no conflict between them. I used to commute frequently between them, and at times, I organized discussions and events at the university that were valuable to my work. Remarkably I excelled in my studies.

Notably, I participated in various radio shows like “City Lights” and “Weekly Portrait,” and various other programs

WoE: Who supported and encouraged you to take that step?
LAZ: I’d say my father played a significant role in this story. Not only because he encouraged me, but because he also granted me the complete freedom to plan my future as I wished. 

At that time, most families were strict, but he was understanding. He didn’t fuss if I came late from work or university; instead, he calmly discussed it with me and understood my situation. I was fortunate to have his support and freedom.

WoE: You received an award from the American University during your studies. Could you tell us a bit about it?

LAZ: It wasn’t a typical award, but more like an acknowledgment known as “Miss AUC.” It involved selecting the outstanding female student based on both academic excellence and participation in extracurricular activities. I was chosen through nomination by fellow students that year.

WoE: You also received a two-year scholarship to study in the United States, being one of seven students selected from among 1000 applicants. Could you share some insights into that experience?
LAZ: It was an experience that opened doors to new freedoms and independence for me. I traveled alongside more established students who had received the scholarship, —one was a general, the other held a PhD. 

Meanwhile, I was just 18 years old. Despite scholarships being predominantly offered in fields like engineering and agriculture, both the U.S. Embassy and the university nominated me for a scholarship to study drama. I was accepted, spent two years there, and had a great experience that broadened my mind and intellect.

WoE: From your experience, what would tell the girls who are given the opportunity to travel abroad to study?
LAZ: One word: I encourage them to seize this opportunity, especially during their formative years, because they won’t return back the same person they left. Their perspectives and minds will broaden, their thinking will change, and their outlook on everything won’t remain the same. They’ll witness new worlds and encounter different people. It’s an unparalleled experience that will change them, just as it changed me.

WoE: Mrs. Lubna, you are a person of multi talents, excelling in creative writing. To this day, you continue to write a column in Al-Ahram Weekly alongside your radio work and theatrical performances. Which field do you favor the most?
LAZ: Radio feels like home because it was my first workplace at a young age. However, the field I favor the most is theater. I’ve worked in various theaters, and each director shaped me with a different vision, allowing me to expand my skills significantly without limitations, and that helped me tremendously.

WoE: Tell us a bit about the “Aunty Lulu” program on the European radio broadcast from Cairo?
LAZ: At one point, “Aunty Lula” was a prominent program on European radio. However, its shine waned with the emergence of several new radio stations and the decline in foreign communities in Egypt. It was a youthful conversational program where we shared fresh general and historical information in a conversational format in each episode. 

WoE: Tell us a bit about your relationship with Ehsan Abdel Qodous and the Film “Ana Hurra” (“I Am Free”)?
LAZ: Ehsan was not only a neighbor but also a family friend who encouraged my entry into acting. 

He often accompanied notable individuals to the American University to watch the plays I participated in. Despite the limited acceptance of acting at that time, he stood by me and supported my decision. As for the film, it was an extraordinary experience. 

Ehsan possessed literary courage and consistently went against the tide, much like myself. Our collaboration on this artistic work achieved tremendous success and stirred considerable attention. 

I recall a Jordanian friend sharing that his father prohibited his sisters from watching the film because the concepts of freedom and equality were addressed, which were once taboo topics.

WoE: What does the concept of freedom mean to you, and how has this concept evolved over time?
LAZ: For me, freedom means relying on myself and doing what I want, just as men do. It’s about having mental and intellectual independence. I believe that the constraints and boundaries come from within myself, my mindset, my cultural background, and my environment — not from societal norms. 

I feel my sense of freedom grows as time passes, and as I’ve learned, I’ve passed this idea on to my daughters. I aspire for women in our society, particularly divorcees and widows, to be granted greater freedom. Why do we need a man to guide us when we’re fully capable of making our own decisions?

WoE: You stepped into the world of cinema at a young age. What was it like, and did you receive encouragement or face rejection from others?
LAZ:  From the very first day, especially when I was on my way to the Nahas Studio for the first time to shoot my debut scene in the film “The Empty Pillow,” I felt immense fear and anxiety about entering the cinematic world.

I had never personally known anyone involved in the film industry except for the production company behind the film. All my friends were in journalism or radio, not the arts. However, I had previously met Abdel Halim Hafez while in the company of my radio friend Tamaður Tawfiq and her husband. 

That meeting sparked a friendship between us. Yet, despite this, I was unfamiliar with the extent of his fame in music and movies, mainly because I wasn’t following Arab cinema. 

Due to my feelings of isolation and estrangement in this new world, some interpreted my behavior as aloof or arrogant. But, it was simply due to my unfamiliarity with the film community, as my connections were mostly within different circles—my work, family, colleagues, and friends. Moreover, I experienced a certain reluctance from some actors to engage with me to the point where an actress even mocked while I was shooting my first scene in “The Empty Pillow.”

WoE: Did your marriage to Ramses Naguib provide protection or did it take away your independence?
LAZ: My marriage to Ramses Naguib was built on love, care, dedication, and sacrifice. Love was the primary motivation behind our union. He loved me immensely, and we both benefited from each other. Considering his extensive experience in the film industry, I regard him as my mentor. He took me under his wing and taught me a great deal, especially because I was ignorant about the nature of this industry. I opened up a new world for him, one filled with diverse literary and global ideas that enriched his limited world, which was previously confined to conventional scripts. This was evident in the film “A Message from an Unknown Woman” directed by Salah Abu Seif, and the historical movie “Wa Islamah” which was produced by international standards, and co-wrote by Oscar winning screenplay writer Robert Andrews, and directed by Egyptian Hungarian Andrew Marton. The costumes were designed by Shadi Abdel Salam, specially tailored for us in Italy.

Additionally, I encouraged Ramses Naguib to adapt into a movie and direct the radio series “Bahia,” written by my father. He also excelled in directing the film “Masters and Slaves” written by Youssef El Sebaei.

WoE: You immigrated to America with your husband, Dr. Ismail Barada. Tell us about this period in your life. How would you describe your distance from cinema at that time, and was there a conflict between your family commitment and your love for art?
LAZ: During my extended stay in America with my husband, Dr. Ismail Barda, I made a conscious decision to prioritize my family over my passion for cinema. While I consider acting a hobby rather than a profession, my dedication to it remains profound. I never sought fame as much as the joy I found in performing. Even now, I introduce myself primarily as an actress. 

My decision to distance myself from cinema during that time was a personal commitment I made when I chose to build a new life with my husband. I declined offers to participate in three Egyptian films and relocated with him to America. 

I managed to work on some projects until I completely paused my acting career upon the birth of my daughters. That phase was exceptionally challenging, transitioning me from a carefree individual to someone shouldering immense familial, social, and personal responsibilities. There, I engaged in some work until I completely stopped when I had my daughters. That period was extremely challenging. I transitioned from a carefree person to someone burdened with numerous family, social, and other responsibilities. I’ve always felt that motherhood is my mission in life.While I didn’t actively pursue acting during that period, but that didn’t change the fact that I am an actress.

WoE: What advice do you offer your daughters or any young Egyptian woman when it comes to choosing between marriage and their career?
LAZ: They all have absolute freedom in choosing their path in life. My daughter mastered acting at a young age to a remarkable extent, yet she didn’t wish to pursue it professionally and chose family life instead. Just because someone has talent in a field doesn’t mean they must make it their career.

WoE: What advice would you give a woman when choosing a life partner, especially if she’s reached a high status in knowledge and culture?
LAZ: I’d tell her to prioritize love. In my opinion, love is the strongest emotion in the world and the foundation of successful relationships. Love has been central in my life; despite ongoing conflicts between my heart and my mind, my heart has always prevailed.

WoE: Do you wish to change anything in your acting journey?LAZ: Regret isn’t in my dictionary; it’s merely a waste of time and energy, bringing sadness and misery, weakening a person. Despite my advanced age, every morning feels like a rebirth, as if life is still ahead of me.

WoE: What dream do you still wish to achieve?
LAZ: At times, I feel there are roles I wished I could have taken on but didn’t have the chance. However, today, all my dreams and aspirations are for my daughters, especially after my husband’s passing and living on my own. I always include them in my prayers.

WoE: Are you open to return to acting?
LAZ: Indeed, I’ve been offered numerous roles, but I’d only return to acting under one condition: if I’m offered a role that no one else can perform, a role that makes a difference and concludes my acting journey. I don’t pursue work for financial gain; I always seek to select my projects mindfully.

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