A little serious, lots of clowns!

Cairo | After almost half of Ramadan has passed, and a third of the dramas that have been shown on satellite channels despite Corona and the poor conditions surrounding the overall Arab drama, and even taking these conditions into account, we can To say that attrition is the general feature of Egyptian drama this year. … with few exceptions, good scripts and generous production, and the artists still take their work and audience seriously and with respect.

Wear and tear appears first in comedies, which people seem eager to do, especially during Ramadan, and in these gloomy settings, can cause a situation of “indecency” and “traffic” in front of and behind the camera. Drama creators have turned to “faded” ideas that are filled with ridiculous repetitive stances, dialogues, and jokes, without singing or gaining from hunger to laughter. In addition to these ideas, they have killed writing and acting in recent years: Two idiots seek to fulfill their dreams of wealth and marriage. We see this in the series “La casa de los hombres”, “Omar y Diab” and “Dos en la caja”. The strange thing is that all three series are very heavy! A second idea: a group of strangers are forced to live together in a house when exposed to a monument.

An idea that we have already seen in many foreign and Egyptian works, repeated this year in the series “Sukkar Ziyada”, which brought together, for the first time, Nabila Obaid, Nadia Al Jundi, Samiha Ayoub and Hala Fakher, and a large number of stars as guests of honor. However, all these names did not intercede to save him from the weight of blood, the negative chemistry that unites the actresses and their disappearance almost under plastic surgery, ornamental powders and “filters”. A gang of cute scam artists is trying to bring out the greatest monument of their lives, in the manner of the American series “Ocean”, the movie “A Quarter of a Dozen Crime” and the series “Azmi and Ashjan” that showed the last Ramadan. This year, the idea is echoed in “100 Wush,” but with non-comedians Nelly Karim, Aser Yassin, Sherif Desouki, Donia Maher, Mohamed Abdel Azim … almost all of her plays were limited to serious dramas. However, they managed to present a very good comedy, devoid of “antics” and “verbal jokes” and the robustness of other plays. Also, “100 Wsh” is the only comic work in which the director’s fingerprint is visible, and it is the full director Abu Zekri, who also specialized in “tragic” dramas, even though she had featured light comedy. in his only film work, “King and Writing”. .
It remains of the comedies “Valentino” by Adel Imam. It is perhaps the most groundbreaking comedy in writing, but it is hesitant and half-hearted in comic terms, with the exception of a few scenes, which once again raises the issue of the time when Ramadan works. 30 episodes in at least half an hour, while most works take no more than one movie in two hours, or a five-hour series, or are looking for other writers who can write serials.
This problem permeates many jobs, not just comedies. It can be easily seen in the “emotional” series: “A Second Chance”, “We Love Tani Les” and “The Game of Forgetting”. The plot revolves around a love story in the first and second, and a mysterious amnesia in the third. The amount of “stretching” and “lengthening” seems to fill the void of the long month, not to mention the idea of ​​the only hero he does and for his work, which is also manifested in all three works. The same applies to a science fiction series like “The End”, which neither writing nor production possibilities allowed to carry out many events, with a hero not only playing one character but two. Consequently, the drama revolves around him, suffocating unsuitable for television series, and suffering from the humility of dramatic fiction, which has sometimes become an “unintentional” comedy.
On an artistic level, this trend has increased for years since it was born under the influence of a passion for modern digital camera technologies, which replaced the old miserable image-level video, and I think it is also the result of the diffusion of space of “virtual reality” in which the younger generations live. Visually, this trend appears through artistic elements such as landscape design, decoration, photography and montage, which create a situation of alienation from reality that increases year after year. He also seems to be interested in the “elegance” and “softness” of homes, even if what happens inside them is ugly and harsh, as in the “betrayal of an age”, or in the artistic training and distribution of adjusted lighting and color correction, and clothes in the latest style to the liking of the actress and the actor, even if it contradicts the character, even if we were in a popular drama, as in “Sultana Al Moez”. It also appears in the use of “filters” and a large amount of makeup on the faces of actresses and actors, in a way that draws attention and paralyzes the drama, even in simple comedies like “Valentino” and “Increased Sugar”.

Alienation of the place and affected by the “compound” culture and the absence of political events and social antecedents.

These problems exist in most, if not all, companies to varying degrees, even if they manifest themselves clearly in certain works. For example, in the “fatwa” that takes place at the end of the 19th century, the image, with all its previous elements, together with dialogue and body language, contradicts a feeling of alienation, while constantly eliminating any sense of the period. historical.
It seems that many photographers and interior designers are affected by some techniques adapted from international cinema without taking into account the nature of Egyptian life, geographically and socially, and in general life and homes that are not similar to the homes of the Egyptians, perhaps inspired by the “aesthetics” of the publicity that many of these artists have brought up, or from The Culture of the “Composite,” those new ghettos that the “elite” class is escaping these days, and many of the works are portrayed in their homes outside the “catalogs” of fashion magazines. However, they use it to express life in slums and slums, which is worse than in previous historical periods.
At the level of the problems, there is a similar alienation, with the exception of the “choice” that documents real events and “our nights” that aspire to express the reality of Egypt during the eighties, most of the works rotate in worlds they have no time or place, they are not linked by a political event or social background, nor does my patriotism permeate the folds of work!