United Bank contributes EGP 600m to syndicated loan worth EGP 6.2bn for Mountain View project    MIDBANK extends EGP 1bn credit facilities to Raya Information Technology    Suez Canal Bank net profits surge 71% to EGP 3.1bn in H1 2025    Egypt's FRA Chief Mohamed Farid reappointed with ministerial rank    Egypt's gold prices grow on Aug. 7th    Madbouly says Egypt, Sudan 'one body,' vows continued support    Egypt's govt. issues licensing controls for used cooking oil activities    Gaza under fire, famine: Death toll climbs amid warnings of 'never-ending war'    Al-Sisi: Arab region faces unprecedented challenges, Egypt firm in support for Gaza    Egypt signs vaccine production agreement with UAE's Al Qalaa, China's Red Flag    Egypt to inaugurate Grand Egyptian Museum on 1 November    Egypt's Planning and International Cooperation Minister meets Vietnamese deputy PM to implement economic pacts    Egypt to open Grand Egyptian Museum on Nov. 1: PM    Oil rises on Wednesday    Egypt, Uganda strengthen water cooperation, address Nile governance    Egypt, Philippines explore deeper pharmaceutical cooperation    Egypt's Sisi: Egypt is gateway for aid to Gaza, not displacement    Egypt, Malawi explore pharmaceutical cooperation, export opportunities    Egypt's Foreign Minister discusses Nile water security with Ugandan president    Egypt, Cuba explore expanded cooperation in pharmaceuticals, vaccine technology    Egyptians vote in two-day Senate election with key list unopposed    Korean Cultural Centre in Cairo launches folk painting workshop    Egyptian Journalist Mohamed Abdel Galil Joins Golden Globe Voting Committee    Egypt's FM, US envoy discuss Gaza ceasefire, Iran nuclear talks    Egypt keeps Gaza aid flowing, total tops 533,000 tons: minister    Egypt's EHA, Huawei discuss enhanced digital health    Foreign, housing ministers discuss Egypt's role in African development push    Egypt reveals heritage e-training portal    Three ancient rock-cut tombs discovered in Aswan    Sisi launches new support initiative for families of war, terrorism victims    Palm Hills Squash Open debuts with 48 international stars, $250,000 prize pool    On Sport to broadcast Pan Arab Golf Championship for Juniors and Ladies in Egypt    Golf Festival in Cairo to mark Arab Golf Federation's 50th anniversary    Germany among EU's priciest labour markets – official data    Paris Olympic gold '24 medals hit record value    A minute of silence for Egyptian sports    Russia says it's in sync with US, China, Pakistan on Taliban    It's a bit frustrating to draw at home: Real Madrid keeper after Villarreal game    Shoukry reviews with Guterres Egypt's efforts to achieve SDGs, promote human rights    Sudan says countries must cooperate on vaccines    Johnson & Johnson: Second shot boosts antibodies and protection against COVID-19    Egypt to tax bloggers, YouTubers    Egypt's FM asserts importance of stability in Libya, holding elections as scheduled    We mustn't lose touch: Muller after Bayern win in Bundesliga    Egypt records 36 new deaths from Covid-19, highest since mid June    Egypt sells $3 bln US-dollar dominated eurobonds    Gamal Hanafy's ceramic exhibition at Gezira Arts Centre is a must go    Italian Institute Director Davide Scalmani presents activities of the Cairo Institute for ITALIANA.IT platform    







Thank you for reporting!
This image will be automatically disabled when it gets reported by several people.



Ana Badea' ya Wadea': A mockery and celebration of second-rate Arabic films
The Melody Aflam team manage to ridicule bad Arabic cinema without falling into the same bad habits themselves
Published in Ahram Online on 02 - 09 - 2011

The minute Melody Aflam's advertisements for Ana Badea' ya Wadea' (I'm Falling Apart Wadea') were released they became instant cult classics. The advertisements were sleazy, jocular, stylised and openly embraced the crassness that is common in Egyptian cinema productions. It was only a matter of time before the characters became famous and hit the big screen.
One thing that can be said about Melody Aflam's productionis that it stays true to the advertisements.
The film centres on a sleazy film producer, Tohamy (Ayman Kandiel) and his right hand man Wadea' Sharaf (Amgad Abed). Tohamy is intent on producing second-rate Arabic movies, taking the liberty of interfering with the scripts, while Wadea' facilitates his wishes. Business is interrupted when the tax authorities chase up Tohamy's production company. Unwilling to pay, Tohamy begs Wadee' to find him a way out of the mess. The film follows them on their journey of trying to find solutions to the problem.
The film starts off with a truly abysmal scene of a man and woman flirting in a swimming pool. The scene is, in general, rather dull, reflecting a low quality Arabic production. It begins to go downhill when the woman is discovered by her husband and two bodyguards. Here we encounter some of the most poorly delivered lines in the history of cinema. That's it; I thought to myself, this film is doomed.
Luckily, someone in the film shouts, “Stop!” saving the viewers from what could have been a horrendous experience.
The Melody Aflam team is painfully aware of what constitutes a bad Arabic film. The film appears to have the workings of a bad movie: unbelievable sleaze, the objectification of women and a plot devoid of any meaning. However, the film and the advertisements represent a mixture of mockery and celebration of Arabic movies with all their flaws.
For films like these, the question we should ask is: is it entertaining and original? It is. It is a well-executed comedy that provides amusement throughout.
The film avoids falling into the traps it aimed to mock. One of the commendable elements of the movie is the acting. Kandiel and Abed are equally as competent as the veteran actors involved in this production such as Entesar and Nelly Karim. Kandiel's portrayal of a woman in the movie is a testimony of his capabilities. In fact, all the acting is good; the bad acting only occurs when it is intentional.
The sound design was executed with great attention to detail. The scenes were not rushed, with even the most straightforward giving the impressions of being composed of planned shots carried out with care.
Two particularly amusing parodies were included in the film as sketches. One was of Omaret Yacoubian (The Yacoubian Building) and the other was of Turkish dramas dubbed in Arabic.
The film may stir debate about the concept of ‘clean Egyptian cinema'. This is by no means a family-friendly movie. At times the comedy aims to break numerous taboos and stretches the limits of censorship to try to resemble street humour. The humour is highly sexual and advocates of ‘clean' cinema will not be at all pleased.
The movie reflects the hypocrisy of the Egyptian film industry (and indeed that of Egyptian society in general) where some producers are indeed that crass and seedy, pretending they have something of value to add. At least with Tohamy, there's no pretence.
Fortunately the film did not tackle anything related to the revolution. There were only two unforced references to the January 25 Revolution.
One of the film's best features is its unabashed defence of nihilistic values, which at the very least makes the movie funny and entertaining. Ana Badea' ya Wadea' defends this philosophy until the very end, escaping one of the biggest clichés in Arabic films.
Starring: Ayman Kandiel, Amgad Abed, Entesar, Dia El Merghany, Mohsen Mansour, Lamita Franjieh, Nelly Karim
Written by: Mohamed Fadl; Directed by: Sherif Abdeen


Clic here to read the story from its source.