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Ahmed Helmy represents an exceptional case in Egyptian cinema during the last two decades. Since the late 1990s, a number of comedies have alternated their incomes. None of them took more than five years to fall, the most famous examples being Mohamed Henedy and Saad, then Ahmed Mekki. Helmy was the only exception: his fame grew slowly and he has since 2007 become the most important star of Egyptian cinema, his presence as a sign of quality and success.
Disastrous result
In recent years, however, lower-quality films such as "Made in Egypt" (2014) and "Love and Duran" (2016) have helped to remove this reality. Their high incomes did not prevent him from agreeing on his poor form, to the point that Helmi himself is unhappy. The anticipation and enthusiasm generated by the movie "Fantasy of Matte" was excellent because it is the first film of the beloved star for 3 years and it collaborates with a writer of the level of Abdul Rahim Kamal and a good director like than Khaled Marei. In "Fantasy of Matte", my dream will surely try to solve all the problems of his recent films, to return to the top of the recipes, in a context of fierce competition like never before. None of this has happened and the result has been catastrophic both technically and commercially.
Irrational assumptions
At first glance, the movie looked different. It begins in the 1960s and tells the story of Yakin, who decided to steal Ms. Umm Kulthum's brooch to offer her a gift to her beloved. After the success of the robbery, he decides instead to join a criminal enterprise called the entity, whose passage is to give them the precious "brooch". This happens in the first few minutes of the film, and although this simplified introduction is filled with whites, question marks or irrational assumptions, and although the scene of the flight itself is fast and completely naive, the imaginary introduction predicts a different plant. Especially when we turn 50 years in the present and see the members of this criminal institution, a group of elderly people interpreted by Abdul Rahman Abu Zahra and Rashwan Tawfiq, Inam Salousa and Lutfi Labib, discuss with their fifth "Yakan" (who plays my role in perfect makeup) about the "Brooch" sale For millions of dollars, the atmosphere is promising for new comedies.
Twist the neck of logic
But the film also did not exploit the new idea of Egyptian cinema, which is a criminal institution for a group of women over seventy years old. He continued in comic form and irrational assumptions in everything that followed! We do not understand why Yakan would refuse to sell the brooch, if the whole institution was based on the sale of rare stolen objects, we do not understand the shape of his life and that everyone is reconciled with the 39; idea that he is a thief, and why Secretary Asia (in his role as Mina Shalabi) serves him one of the weaker roles of his career. And dedication! Before the story complicates the logic, when he decided to use an old friend to falsify the brooch, his friend stopped thinking about the old day of the robbery of the 1960s. The twists become more more real, while we realize that the main plot of the film is the recourse of "Yakn" to his nephew, "Zizo" (my very young dream), to represent his role and the reincarnation of the flight with his friend, as if we were in the sixties. Why did not Yakan use other counterfeiters? Why did the memory of the friend stop on the day of the flight? Why are events so slow and boring? Why no other character has been exploited if it is my young dream, sitting with my old dream, exchanging fun jokes and very old ideas? Questions that do not make sense in the movie.
A lost film
In a larger image, what is the main purpose of the film? The film is completely lost in the definition of its priorities. This is not suitable for a detective film because all the details are artificial and contradict all logic, nor to a dramatic film because the characters are very caricatural, and we do not understand the actions or the objectives of these, even "Yakan" and "Zizo" themselves, nor as a romantic film, because the relationship between Zizo and "Asia" is very repetitive, and all my previous films are similar, with the difference of lack of attitude and chemistry between him and Menna Shalabi at that time. The fact remains that the film, as in its basic category, is a comedy, so that all this humor can be tolerated in the story. And here we come to the point of greatest failure, namely that the film is too heavy and not funny at all, and almost a consensus of the public. It also has an artistic reason: all ideas, attitudes and comedy characters are old and taken from other films of Helmi himself; the character of "Kaiser" seems to be an extension of the character of Khaled El-Sawy in the movie "Tarek & # 39; s Envelope" (2006), and the romantic comedies are repetitive His films, the closest to what is happening here , are Zaki Chan (2005). Far from being a duplicate in the history of cinema, the stingy character is a copy of Hassan Hosni in "Make Me A Criminal" (2006), and of course "Zizou" as a faded version, without taste or without color of many characters played by Helmi. Industrial (2007). With all this, the movie was not as funny as it could be, so nothing can alleviate its terrible problems.
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