{"input": "Which film has the director who was born later, A Cafe In Cairo or War Drums?", "context": "Passage 1:\nMuhammad Habib Shakir\nMuhammad Habib Shakir (1866 in Cairo \u2013 1939 in Cairo) (Arabic: \u0645\u062d\u0645\u062f \u062d\u0628\u064a\u0628 \u0634\u0627\u0643\u0631) was an Egyptian judge, born in Cairo and a graduate from Al-Azhar University.\n\nLife\nSheikh Mohammed Shakir b. Ahmad b. \u2018Abd al-Qadir was born in 1866 CE in Jirja, a city in Upper Egypt. He studied and graduated from Al-Azhar University. He died in 1939 in Cairo.\nHis son, Sheikh Ahmad Muhammad Shakir, wrote his biography in a treatise entitled Mohammed Shakir \u2018Alam min A\u2018lam al-\u2018Asr\n\nPositions\nSudan's Supreme Judge for four years (1890-1893)\nDean of Alexandria's Scholars\nAl-Azhar Secretary General (\"Wakil\") and a member of its board of directors\nMember of Al-Azhar Corps of High Scholars\nMember of Al-Azhar legislative Society (\"al-Jam\u2018iyya al-Tashri\u2018iyya\")\n\nWorks\n\"Al-Durus al-Awwaliyya fi al-\u2018Aqa\u2019id al-Diniyya\"\n\"Al-Qawl al-Fasl fi Tarjamat al-Qur\u2019an al-Karim\"\n\"Al-Sira al-Nabawiyya\"\n\nQur'an controversy\nMohammed Habib Shakir has been stated by many internet sources as \"a well known translator of the Qur'an into English.\" He has been associated with the translator M. H. Shakir of the translation published by Tahrike Tarsile Qur'an. However this idea is contradicted by two pieces of evidence that have now come to light:\n\nThere is strong evidence that Mohammed Habib Shakir was against the translation of the Qur'an and considered the rendering of the Arabic into any other language unlawful.\nThere is strong evidence that M. H. Shakir, the translator, is actually a pen name for Mohammedali Habib Shakir the son of Habib Esmail of The House of Habib.The translator of this edition was in fact a Pakistani Shi'a.\n\nSee also\nList of Islamic scholars\nTranslation of the Qur'an\nPassage 2:\nRumbi Katedza\nRumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.\n\nEarly life and education\nShe did her Primary and Secondary Education in Harare, Zimbabwe. Katedza graduated with a Bachelor of Arts in English from McGill University, Canada in 1995. In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film. She also holds a MA in Filmmaking from Goldsmiths College, London University.\n\nWork and filmography\nKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows. From 1994 to 2000, She produced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe). From 2004 - 2006, she served as the Festival Director of the Zimbabwe International Film Festival. Whilst there, she produced the Postcards from Zimbabwe Series. In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namely\n\nTariro (2008);\nBig House, Small House (2009);\nThe Axe and the Tree (2011);\nThe Team (2011)\nPlaying Warriors (2012)Her early works include:\n\nDanai (2002);\nPostcards from Zimbabwe (2006);\nTrapped (2006 \u2013 Rumbi Katedza, Marcus Korhonen);\nAsylum (2007);\nInsecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts. She is a judge and monitor at the National Arts Merit Awards, responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe. She has also lobbied Zimbabwean government to actively support the film industry.\nPassage 3:\nEdward Yates\nEdward J. Yates (September 16, 1918 \u2013 June 2, 2006) was an American television director who was the director of the ABC television program American Bandstand from 1952 until 1969.\n\nBiography\nYates became a still photographer after graduating from high school in 1936. After serving in World War II, he became employed by Philadelphia's WFIL-TV as a boom microphone operator. He was later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 from the University of Pennsylvania.\nIn October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950 Club\" on WPEN-AM. The show debuted with Bob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956.\nIt was broadcast live in its early years, even after it became part of the ABC network's weekday afternoon lineup in 1957 as American Bandstand. Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium.\nIn 1964, Clark moved the show to Los Angeles, taking Yates with him.\nYates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.\nHe died in 2006 at a nursing home where he had been for the last two months of his life.\n\nExternal links\nEdward Yates at IMDb\nPassage 4:\nReginald Le Borg\nReginald Le Borg (11 December 1902 \u2013 25 March 1989) was an Austrian film director. He was born in Vienna, Austria with the surname Groebel and directed 68 films between 1936 and 1974.\nLe Borg made a series of low-budget horror films at Universal Studios in the 1940s. In 1944, he made his most expensive and also most successful film, San Diego, I Love You, featuring Buster Keaton in a supporting role.\nA banker in Vienna, he came to the United States as a visitor in 1928, 1929 and 1930, according to New York steamship passenger manifests. He was recorded as Harry Reginald Groebel. He emigrated permanently in 1931. In his naturalization petition in 1937, he changed his name legally from Harry Groebel to Reginald Le Borg Le Borg died in Los Angeles, California from a heart attack.\n\nSelected filmography\nFurther reading\nHelmut G. Asper: Etwas besseres als den Tod \u2013 Filmexil in Hollywood. Sch\u00fcren Verlag, Marburg 2002, ISBN 3-89472-362-9, p. 154\u2013168 (German)\nHelmut G. Asper: Filmexilanten im Universal Studio. Bertz und Fischer, 2005, (German)\nWheeler Winston Dixon: The Films of Reginald Le Borg. Scarecrow Press (Filmmakers series Book 31), 1992\nPassage 5:\nWar Jabi\nWar-Dyabe ibn Rabis (Arabic: \u0648\u0627\u0631 \u0630\u064a\u0627\u0628 \u0628\u0646 \u0631\u0628\u064a\u0633) or War Jabi (Arabic: \u0648\u0627\u0631 \u062c\u0627\u0628\u064a), also known as: War Jaabi or War-Dyabe or War-Ndyay, was the king of Tekrur.  He converted to Islam around 1030 and his subjects did the same to imitate him. Following attacks on the Muslims of Tekrour by animists who were afraid of the growing influence of Islam in the kingdom, he called on his Almoravid allies who helped him to take power. This conflict forced the ancestors of today's Serer people to flee south to land near the Saloum Delta.\nUnder his reign, he expanded the kingdom by conquering other territories. The rapprochement with the Almoravids benefited the kingdom economically and created stronger political ties between the Muslim states of North Africa and Tekrour. Later, during a period of domestic instability in the Ghana Empire, Tekrur ended up conquering the emprie with the help of the Almoravids by taking its capital Koumbi Saleh.\nHe died in 433 Hijri (1040 or 1041 Gregorian), succeeded by his son Labi.\n\nSee also\nTakrur\nBambuk\n\nSources\nBarry, Boubacar. Senegambia and the Atlantic slave trade, (Cambridge: University Press, 1998) p. 6\nClark, Andrew F. and Lucie Colvin Phillips. Historical Dictionary of Senegal: Second Edition, (Metuchen, New Jersey: Scrarecrow Press, 1994) pp. 18; 265\nFage, J. D.; Oliver, Roland Anthony, \"The Cambridge History of Africa: From c. 500 B.C. to A.D. 1050\", Cambridge University Press (1975), p. 485, ISBN 9780521209816 - [1] last retrieved 20 June 2022\nCohen, Robert Z., Discovering the Empire of Ghana, The Rosen Publishing Group, Inc. (2013), p. 39, ISBN 9781477718889 - [2] last retrieved 20 June 2022\nLevtzion, Nehemia (1973). Ancient Ghana and Mali. New York: Methuen & Co Ltd. p. 44,183. ISBN 0841904316.\n\nNotes\n\nSerer history\nPassage 6:\nChester Withey\nChester \"Chet\" Withey (8 November 1887, Park City, Utah \u2013 6 October 1939, California) was an American silent film actor, director, and screenwriter. He participated in the production in total of some 100 films. \nBorn in Park City, Utah, the son of Chester Henry Withey and Mary E. Kelso, Withey started his career in silent film as an actor in 1913. He starred in films such as the 1916 film The Wharf Rat.  He married Virginia Philley, a screenwriter, who also did some acting.\nHowever, by 1916, he had already directed several films and decided to concentrate on work behind the camera. Withey was also accredited with writing for 15 films.\nHe retired from film directing in 1928 and died 6 October 1939.\n\nPartial filmography\nExternal links\n\nChester Withey at IMDb\nPassage 7:\nHassan Zee\nHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.\n\nEarly life\nDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children.\nAt age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how his country\u2019s transgender and intersex people, called \u201chijras\u201d, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women\u2019s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his home\n\nEducation\nHe received his early education from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College, Pakistan.\n\nFilm career\nDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came to marrying off their children.\nHis second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil. His fourth film \u201cGood Morning Pakistan\u201d, concerned a young American\u2019s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure.\nPassage 8:\nA Cafe in Cairo\nA Cafe in Cairo is a 1924 American silent drama film directed by Chester Withey and starring Priscilla Dean, Robert Ellis and Carl Stockdale. Hunt Stromberg produced it for release by the recently established Producers Distributing Corporation. It was part of a wave of films with Middle Eastern settings which followed on from the success of Paramount's The Sheik in 1921.\n\nSynopsis\nWhen her British parents are killed when an Arabian desert bandit launches an attack on their encampment, their young daughter is spared and brought up as an Arab known as Nadia. The bandit who killed Nadia's parents wishes to marry her. She is ordered to steal some documents from a British secret service agent but falls in love with him, and refuses to help the bandit. He threatens to throw both her and her lover into the Nile, before he is killed. Nadia and her lover return to England.\n\nCast\nPreservation\nWith no prints of A Cafe in Cairo located in any film archives, it is a lost film.\nPassage 9:\nWar Drums\nWar Drums is a 1957 American Western film directed by Reginald Le Borg, written by Gerald Drayson Adams, and starring Lex Barker, Joan Taylor, Ben Johnson, Larry Chance, Richard H. Cutting and John Pickard.  The film was produced by Aubrey Schenck and Howard W. Koch for United Artists and it was released on March 21, 1957.\n\nPlot\nPrior to the American Civil War, a group of Apache led by their chief Mangas Coloradas track some of their stolen horses to a group of Mexicans. The Apaches kill the lot of them and take their communal woman Riva. The Apaches' initial intention was to sell Riva north of the border to the Americans. On two occasions, Mangas refuses to sell Riva to his good friend Luke Fargo (Ben Johnson), despite being offered excellent deals for her.\nLuke brings a government representative to meet with Mangas, trying to come to terms with the Apaches. The most Mangas will promise is the Apache will not break the peace with the whites first.\nMangas desires Riva for his wife, an honor never before extended to a Mexican woman. He has to fight three braves who disagree with him, killing all three. He then tells the band that Riva will not be a squaw, but will be trained as a warrior, again breaking with custom. Following Mangas's second refusal to sell him Riva, whom Luke also wants for a wife, Luke reluctantly attends their wedding.\nMeanwhile a group of American gold seekers enter the Apache lands. After making a gold strike in a stream, they attack the Indians camped on the bank. When Mangas comes to bring the offending miners to the law, they pinion and whip him. This sets off an Apache war, with Mangas Coloradas becoming known as \"Red Sleeves.\"\nLuke attempts to put a stop to the war by bringing a representative from Washington to meet with Mangas. The attempt fails when the men with him, thinking they are about to be ambushed by the Apaches, fire on them. In the ensuing firefight, Luke is shot by an arrow. Taken to Mangas's camp, Riva removes the arrow and nurses Luke back to health. He is sent back with a message from Mangas to the government.\nWhen the Civil War breaks out, Luke volunteers for the Union and is commissioned a major in the cavalry. He is assigned to the frontier, to deal with the Apache problem. Meanwhile, Mangas is wounded on a raid, taking a bullet that shatters his breastbone. Riva takes him to a town with a doctor. Mangas promises the doctor that if he can patch him up and he lives, the town will be safe from the Apaches. But if he dies, the tribe will kill everyone in the town and burn it to the ground.\nWhile he is being worked on by the doctor, Luke and a troop of cavalry arrive. He goes forward to the defenses set up by the Apache under a flag of truce, and recognized by braves who know him and his friendship with Mangas, is passed inside. The friends meet and talk, and Luke leads Mangas, Riva, and their warriors out of the town. Luke advises Mangas to take his people deep into the mountains where it will be a long time (if ever) before the cavalry can come after them. Wishing each other well, Mangas and Riva take their leave of Luke and lead their people away from the town.\n\nCast\nLex Barker as Mangas Coloradas\nJoan Taylor as Riva\nBen Johnson as Luke Fargo\nLarry Chance as Ponce\nRichard H. Cutting as Judge Benton\nJohn Pickard as Sheriff Bullard\nJames Parnell as Arizona\nJohn Colicos as Chino\nTom Monroe as Dutch Herman\nJil Jarmyn as Nona\nJeanne Carmen as Yellow Moon\nMauritz Hugo as Clay Staub\nWard Ellis as Delgadito\nJack Hupp as Lt. Roberts\n\nProduction\nParts of the film were shot in Kanab Canyon and Johnson Canyon in Utah.According to the July 1956 Hollywood Reporter, there were accidents on the set of War Drums. A lightning strike destroyed a generator, delaying production a few days, and a fire burned up one of the wardrobe trailers.\nPassage 10:\nW. Augustus Barratt\nW. Augustus Barratt (3 June 1873 \u2013 12 April 1947) was a Scottish-born, later American, songwriter and musician.\n\nEarly life and songs\nWalter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 he won a scholarship for composition to the Royal College of Music.\nIn his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements.\nBy the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover.\nHe then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with Howard Talbot the successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902 BBC Promenade Concerts, \"The Proms\", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald.\nHis setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times. It also appeared four times, with different singers, in the 1913 and 1914 Proms.\n\nAmerica\nIn September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:\n\non-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;\nmusical director of The Little Michus (1907), also featuring songs by Barratt;\nco-composer of Miss Pocahontas (1907), a musical comedy;\nmusical director of The Love Cure (1909\u20131910), a musical romance;\ncomposer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst. Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;\nmusical director of The Quaker Girl (1911\u20131912);\nco-composer and musical director of My Best Girl (1912);\nmusical director of The Sunshine Girl (1913);\nmusical director of The Girl who Smiles (1915), a musical comedy;\nmusical director and contributor to music and lyrics of Her Soldier Boy (1916\u20131917);\ncomposer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;\ncontributor of a song to The Passing Show of 1918;\ncomposer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;\ncontributor of lyrics to The Melting of Molly (1918\u20131919), a musical comedy;\nmusical director of What's in a Name? (1920), a musical revue\n\n1921 in London\nThough domiciled in the US, he made several visits back to England. During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B. Cochran, namely\n\nLeague of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;\nFun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyrics\n\nBack to Broadway\nBack in the US he returned to Broadway, working as\ncomposer and lyricist of Jack and Jill (1923), a musical comedy;\nmusical director of The Silver Swan (1929), a musical romance\n\nRadio plays\nIn later years he wrote plays and operettas mostly for radio, such as:\n\nSnapshots: a radioperetta (1929)\nSushannah and the Brush Wielders: a play in 1 act (1929)\nThe Magic Voice: a radio series (1933)\nMen of Action: a series of radio sketches (1933)\nSay, Uncle: a radio series (1933)\nSealed Orders: a radio drama (1934)\nSergeant Gabriel (with Hugh Abercrombie) (1945)\n\nPersonal\nIn 1897 in London he married Lizzie May Stoner. They had one son. In 1904 he emigrated to the US and lived in New York City. His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American. In 1924, he became a naturalized American citizen. He died on 12 April 1947 in New York City.\n\nNote on his first name\nThe book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to \"his son William Augustus Barratt\" with details that make it clear that Walter Augustus Barratt is the same person and that a \"William\" Augustus Barratt is a mistake. For professional purposes up to about 1900 he appears to have written as \"W. Augustus Barratt\", and thereafter mostly as simply \"Augustus Barratt\".", "answers": ["War Drums"], "length": 3543, "dataset": "2wikimqa_e", "language": "en", "all_classes": null, "_id": "16b98a59e06d1c72b4da73f79e5c99f936e8c2fdbee29a0b"}/n
“input”: This is the question to be answered.
“context”: This is the information needed to answer the question.
“answer”: This is the correct answer(ground truth) to the question.

Task Instructions:
(1) Generate a full and concise reasoning path from the "input" question to the ground truth "answer", using sentences from the "context" to support each step.
(2) For each step in the reasoning path, include one unaltered sentence from the “context” to demonstrate how the information leads to the answer.
(3) Structure the response as a JSON object. Each reasoning step should correspond to one original sentence from the “context”.

Use JSON format with 'step' and 'sentence' for your output.
{
  "reasoning": [
    {
      "step": 1,
      "sentence": "<insert first sentence used from context>"
    },
    {
      "step": 2,
      "sentence": "<insert second sentence used from context>"
    },
    ...
  ]
}
Ensure each “sentence” is copied exactly as in the context without any modifications.