AS yet another Adel Imam film is released, there is an almost mandatory feeling of a "must-see" not because they are great or even good films; indeed, sometimes they are the bottom of the barrel. Last year's "Boobos" is a great example of this. But, love him or hate him, he's a big movie star in his own right; I must admit that I'm not a huge fan, and with his films' declining quality, I have almost completely written him off as an "actor". This holiday season with his newest film "Alzheimer's", it's almost difficult to make a decision about its quality. It's also hard giving a synopsis without giving away too much of the little twists that the previews tried to conceal, but I'll give it a try. The film starts with Adel Imam as a retired businessman who is awakened by his nurse (Nelly Karim), who says she has been his nurse for two years, and it's time for him to take his Alzheimer's medicine. He does not believe any of this and is enraged, but everyone around him still tries to convince him that he sick, and that the reason he does not believe them is because he has been off his medicine. He calls his two estranged sons, played by Fathi Abdel-Wahab and Ahmed Rezq, who try to convince him of the same thing. The first twenty minutes film is almost played straight, with some surprising cameos from Esaad Younis, and a great scene from Saeed Saleh. It was really great seeing them together, even if in just one scene, and he gives a heart-breaking performance. That's all I can say about the plot, because soon afterwards, it takes a turn, and becomes much less of a film that is about a man living with such a devastating disease. Although I almost wish it hadn't, the film steers clear of the usual uncomfortable raunchiness that most Adel Imam films take ��" and I was somewhat overwhelmed and surprised that Nelly Karim's character didn't end being his love interest ��" but beyond that nothing else was offered, even that little twist was nothing new at all. In fact, the only reason I chose not to reveal it is because that is the way the film was marketed, and I would like to avoid spoiling it. However, the film had the same huge disappointment factor that is becoming part and parcel of every Adel Imam movie, and it kept the film as being just that in almost all respects. None of the actors brought anything remarkable to their characters; Fathi Abdel-Wahab and Ahmed Rezq have played the same roles in many other films, and so has Rania Youssef, who plays Raziq's wife. Nelly Karim is honestly almost useless in the film and totally forgettable. Adel Imam is not a bad actor, but lately he seems to have dropped the ball and has become a largely one-note actor, which is sad for a prominent film star who has a long history in Egyptian cinema. He has helped shape the comedy scene for the previous three decades, but his last few films almost make you forget that. Even though this latest performance doesn't really erase his previous failures "Boobos" especially is very difficult to forget ��" but there are touches in this film that bring him out artistically, and that's difficult for a 70 year-old man to do. At least he played this role for what it is and he is; he didn't try to play something that he is clearly not. Too bad the film doesn't offer anything new as a whole. The script is stale, and it's not clearly a comedy or a drama. A "dramedy" is a perfectly fine genre selection, except this doesn't seem to be what the film was going for, and so it ends up confused. It's not really a drama at all, except for the first twenty minutes. What's interesting about watching an Adel Imam movie is really observing his audience, who laugh at moments that are sometimes meant to be straightforward and sincere. He has unfortunately almost conditioned his audience not to take him seriously, especially for a film that is marketed as a comedy. The direction is out of date as well; but I guess when directing an Adel Imam film, the director knows what they're in for: the film is all about Adel Imam's character, i.e. all about Adel Imam, for whom the character is often merely a projection thereof. Any actor could have taken any of the parts present in the film with only the most minor modifications ��" if any. The film was not great work, but it was a great relief from what Adel Imam usually does. Unfortunately, this is not a good thing though. Adel Imam has been in many, many films over his career, and to say that a performance he gave twenty or more years ago is fresher than any we can expect today is kind of sad; for a star so late in the game to really just get a decent review for his film just because it's not as bad as his other films isn't really a compliment. Because that's pretty much what can be said: this film is better than his others, and hopefully it gets better next time. However, it's almost too late for that, and it's rather doubtful; you really can't teach old actors new tricks. Whatever Adel Imam's next project might be, it will be just that another Adel Imam vehicle that will probably bring nothing new to the scene ��" because the man who was responsible for changing what comedy means in Egyptian cinema seems to be stuck with his own trick.
