In the Egyptian musical melodrama al-Tariq al-Mustaqim [The Straight Road (1943)], a character played by Yusuf Wahbi drives a car off a cliff to erase his identity and disappear into oblivion. Togo Mizrahi, an Egyptian Jew of Italian nationality, wrote the scenario, directed, and produced the film. More than sixty years later, a fictional character modeled after Mizrahi drives his car off the Abu al-'Ala bridge in Cairo. A pivotal moment in Paula Jacques’ 2010 novel Kayro Jacobi, juste avant l’oublie [Kayro Jacobi Just Before Oblivio], this disappearing act casts the capital “O” Oblivion as a means of preempting the oblivion of exile. Written by Jacques as part of a broader effort to preserve Egyptian Jewish memory through literature, the novel leaves some ambiguity about the cause of the crash but draws a clear analogy between Jacobi’s demise and that of the Egyptian Jewish community: “Within a few years, the presence of Jews and their desire to live in Egypt would sink into oblivion” (Jacques 275). This paper offers a reading of Kayro Jacobi as a point of departure for examining the role of cinema in shaping and, at times, constituting the memories of the modern Egyptian Jewish diaspora. I particularly explore the idiom of melodrama, a much-loved genre of classic Egyptian cinema, as a vehicle for representing Egyptian Jewish memory—both as a means to evoke heightened emotion, and as a means to fend off the feared slide into oblivion. Other examples of this idiom to be explored include Dina Zvi-Riklis’s musical melodrama Shalosh Imahot [Three Mothers (Israel, 2006)], and Yizhak Gormezano Goren’s Alexandria Trilogy: Kayitz Alexandroni [Alexandrian Summer, 1978]; Blanche [1986]; and Ba-Derekh le-Itstadiyon [On the Way to the Stadium, 2003].