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El-Adl debuts big with Big Men
Published in The Egyptian Gazette on 21 - 07 - 2010

CAIRO- Egyptian film director Mohamed el-Adl must be delighted with the
success of hisaction movie Al-Kobar (Big Men).
The new director is from el-Adl family, who own a big film production
company. Al- Kobar is a thrilling analysis of the dramatic changes, which have swept across the Egyptian society over recent years, allegedly eliminating people's ethics, virtues and morals.
In collaboration with veteran scriptwriter Bashir el-Dik, the youthful
director, making his debut, voices his deep concern about the marriage between corrupt people and powerful officials.
In this movie, el-Dik has shown yet again that he has a knack for
criticising in a stinging manner the negative side of people's social ��" and even religious ��" values and ethics.
El-Dik first turned his heavy artillery on corrupt officials and their
assistants in the 1980s, when he did the script for Sawaq el- Otobis (The Bus Driver) starring Nour el-Sherif, and the film Al-Horoub (Escape) starring the late movie star Ahmed Zaki.
Touching the same jarring nerve, Al-Kobar screams the message
that corruption is no longer the exception in society, as, allegedly, many
powerful officials are involved in illegal deals.
Worse, the film warns that religious titles, such as Hajj (a Muslim who has
performed the Major Pilgrimage), are being used as a smokescreen, to try
and disguise what corrupt people are really up to.
It is the death sentence given to an innocent suspect, which conveys the
message in the film that the innocent always pay the price for crimes
they did not commit.
Meanwhile, criminals exploit their strong connections with powerful
officials to pervert the course of justice and wash their hands of the
blood of their victims.
The gang leader in the movie, played by Khaled el-Sawi, is called the Hajj.
He uses fake money to import contaminated medical equipment, while
getting paid to help foreign companies dump their nuclear waste somewhere in Egypt.
Mohamed el-Adl should be given credit for the casting and skilful
directing. This promising film director has successfully coached actors
like Amr Saad, who is very impressive in Al-Kobar. El-Dik should also be
thanked for this, because the script is very impressive.
Nonetheless, it cannot be denied that el-Adl is unable to resist the allures
of commercialised filmmaking, which has been all the rage for about two
decades now. Some of the predictable cops-and-robbers chase scenes
could easily have been removed, without the movie being adversely
affected.
The lighting engineers have also done a very good job of highlighting the
agony, fear, frustration and other emotions on the faces of the actors and
actresses.


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