Historical! … “with his consent” to the Egyptian earning

At first glance! Dear reader, you may think that I will cut you down from the Egyptian history of Talid, or I will simplify the talk about the Egyptian novels of Al -Azza, from which a time period was not without, although the action of what is presented is my beloved to me, but sometimes I feel that it is absurd in a place that we clarify the clearness, and God has a dirham from the pleasure of the rioters. And summarized the saying with them when he said:

It is not valid in the understandings if the day needs evidence

All of the matter is that there is a historical series that this days agreed to display on the screens an attack and a diminishing of the Egyptian artist’s ability to play and embody historical roles with craftsmanship and smoothness without cost and fork, and they started comparisons that were separated and fair in their path, so fairness took a path other than what their comparisons took …

I find it injustice to compare the Egyptian artist with others, not an injustice to him as much as it is an injustice to that poor person who put himself or has been placed in this comparison that will end with his loss inevitably, and it remains for those who wanted to diminish and undermine the Egyptian actor’s ability to say Al -Hussein bin Hamid:

Oh high mountain skirts to speak to him, pity on the head, do not pity the mountain

In any case .. Let’s go down with them and see !!

In the pilgrims series, the main and pivotal role was returning to the Syrian artist Abed Fahd, and accordingly, the rest of the roles are “served”, and by the way it is a work that was produced in the year 2003, and Adnan Al -Awamali was produced, and in it we find, for example, but not limited And the role of pilgrims in the Omar bin Abdul Aziz series, which was played by the Almighty Abdul Rahman Abu Zahra, taking into account that the latter is a limited government production produced by the Egyptian production sector and not a private company, and taking into account that it was produced in the year 1995, meaning that there are 9 years of photography, directing, makeup, lighting and sound, all of which are calculated by Abed Fahd, and taking into account that Abu Zahra was playing a secondary role and not the primary role in the work, though From all of this, we find that the mastery of the role, the coexistence of the personality, the ability to perform the linguistic performance of the text tends to the palm of Abu Zahra, but that there are accurate details that were not absent from the Egyptian treatment of the personality, such as entering the pilgrims, and ascending the pulpit and throwing it the famous house in which he started the sermon:

I am Ibn Jala and inform the folds, when do I put the turban, know me

He threw it and then revealed to his disintegration, which is the logical behavior of the concept from the context of the hadith, in contrast to what Abed Fahd did when he took off the turban and then sang the house, and it is natural that everyone knew it when he took off for its purpose.

Then, we shake together another work, which is the common Qatari production with MBC forOmar series What was done in 2012, and we take a scene written by Walid Saif and directed Hatem Ali Specifically in the personality of Hamza, which was performed by Moroccan actor Mohamed Moftah to compare him with another work for the same scene, the scene of Islam Hamza bin Abdel Muttalib, but this time, from the misfortune of the artist Mohamed Moftah, the comparison with the giant Abdullah Ghaith, who led the same scene in the film Al -Risala in the year 1976, and the viewer in front of you, dear reader, and there is no need for the many words that will not fulfill the right of the legend Abdullah Ghaith And his personality is dressed in his movements, his stillness, his words, his silence, and his looks that were filled with fatwa, men and prestige, in addition to the beauty of the text and the performance of the scene from his strength pushed “Anthony Quinn” to stand and learn from the expressions of Abdullah Ghaith’s face and his looks before his movements in embodying the character in order to apply what he learned from him in the English version of the work, and I do not know what happened God, and changing the character of the character’s voice in a pseudonym, the scene would have been classified in the enumeration of the speaking comic scenes !! Although 36 years of school of Ghaith had passed in the performance of Hamza’s personality, from which Anthony Quinn graduated, the scene of Abdel -Fattah did not rise to His Highness what Ghaith presented, not even a little, as well as to be a tide.

And the door of the comparisons is great, we will not be able to provide him with his right in one article, it is sufficient that the viewer on the map of historical drama finds the Egyptian historical drama specifically a pioneer in its presentation and its treatment of stories, personalities and events, and we find a character like the personality of Salah al -Din al -Ayoubi treated by the Egyptian drama makers in two parts, which is the East Eagle, produced in 1999/2000 directed by Hossam Al -Din Mustafa. And the writing of Muhammad Abu Al -Ela Al -Salamouni, to come after the duo Walid Saif and Hatem Ali in the series Salahuddin Al -Ayyubi, produced by the year 2001, then passing through the Andalusian era in Arab -Islamic history, which they think is the mare of the bet with them, we find that the Egyptian craftsmen and the skilled industry such as Mustafa Muharram, Hossam al -Din Mustafa, Khaled Bahjat, Mahmoud Yassin and Nabila Yassin and Ahmed He dived in the seas of history, nicknamed and extracted pearls, and annexed them to make an exquisite jewelry that was worn by works that were written with beautiful and solid texts and were presented in a work that we mention:

• Zahra Al -Andalus is produced in 1983
• Love before the sword was produced in 1998
• East winds production in 1998

To join the duo (Walid Saif and Hatem Ali (the train after years after the launch of its departure, with the Syrian International Production Company, to give us their beautiful trio:

• Saqr Quraish production in 2002
• Cordoba Spring in 2003
• The kings of sects produced in 2005

As a matter of blink and humor only, I remember that bad manners knocked on the door of the artist Mohamed Moftah for the second time when the role of the poet Ibn Ammar in the kings of the sects 2005, to put him in a second comparison with the legendary Abdullah Ghaith, the hero of the Egyptian series Ibn Ammar, who was produced in the year 1985 and which was planned by the wonderful fingers of Tharwat Abaza, and he joined Ghaith with an amazing performance that was not previously leveled and no one after him.

I would have wanted to add a paragraph to the article in which I recount some of those whose names were brought by the Egyptian artists who mastered the acting in classical Arabic, and I found a list that has exceeded fifty names, which is not a few, including those who are still alive and practiced his artistic work, which is the longest mentioned, so I referred to that and wanted to replace it with a list of the Egyptian historical works that also influenced the artistic library and found the works of the art. Many (with the center of the word), not as he said in the words of the Syrians, Tim Al -Hassan and Jamal Suleiman, a hero of the Hatem Ali trilogy in a violation of what was stated in the tongue of the Arabs:

And many, by annexation, money: a lot; It is said: He has no less or more; Abu Amr sang a man from Rabia:

More is old in the past and I have not been able to do so that I am a boy

It is said: Praise be to God for the few, less, less and many. And in the hadith: (We are forty of money, forty and more than sixty); Many, by annexation: a lot, such as less in a little, and the many are most and most.

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It is actions that extend its simplicity and statement, and it is not hidden from an amateur follower of the Arab and Egyptian drama … So where is the problem?

The acceptance received by the spiritual text written by Abd al -Salam Amin and directed by Ahmed Tawfiq in his masterpiece is the fifth adult caliph that was produced with the money of the Halal Egyptians is the most beautiful thousand times from works on which millions of malicious money came to be loaded with the weights of many lives that were addicted to “Cagon” as the money of Mohamed Hamsho, the owner of Syria, the owner of Syria for artistic production. He scattered between those who made the treatment of history stories to memorize the entity of a family and raises the matter of a nation, and between those who took it as an excuse to wash the money of his crimes, and wrapped it with the garment of art and history, so the freak of purity smells from the first and the rewards of shame and the cunning are still dragged by the latter …

Accordingly, if you want to courtesy, you will say that the Arab historical drama is an extension and development of the Egyptian historical drama, and a swimming in its king on an astronomy that you made and called, sons, rush with us, and if you like fairness, it is a reproduction and restoration of the capabilities and technology of the girl of its time that was not available at that time, but that the lack of it was not available – The man’s man ”- to provide the cultural and educational duty of Arabic-speaking generations as well.

Here, I took the words I wrote ascended to him and called for the Egyptians of the Egyptians, the makers of the drama and cinema, and those responsible for it, represented by the saying of the poet Ibn Al -Thaghr Al -Alexandria, Sayed Darwish:

Why, Egyptian, all your conditions are wonder
You complain about your poverty and you are walking over Dahab.

It is time to revive the production sector and adopt works worthy of Egypt and its pioneering artistic history, which will be absent from it and reassures the tongue of every condemnation on it or doubtful decreased by its artistic ability and efficiency.

And from the person of the news of trade and the sounding of its depths: O people of artistic production, there is a large market that is thirsty for a professional work in which you will return the glories of the great profession fathers, so do not be afraid of entering it, so the people of Egypt are still fine, and Egypt is blessed blessed, blessed by their exertion and for it, and culture in Egypt may get sick at a time … but it never does not die.

And in the “historical” of his Egyptian consent, he earns.