Egyptian drama has a well-known cultural history and has become one of the icons of the holy Month of Ramadan. The Arab region all await the annual series and have even come so far as memorizing the slangs, in addition to perfecting Egyptian Arabic, and adoring the biggest actors regionally.
The Egyptian Ramadan drama, its programs, and its quizzes were among the basics of the Holy Month. Arab families from North Africa to the Gulf follow the Egyptian series when the call of Maghrib Prayer is pronounced.
Before the age of satellite channels, the Egyptian drama turned into a commercial market that controls the content and quality of the stars of Egyptian art. The following is a report on the Egyptian Ramadan season of 2019 with the famous film critic Mahmoud Abdel Shakour.
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During the interview[/caption]
Abdel Shakour declared that the work this year is below average, even compared with last year, which included 5 great series. There isn’t a unique work or work taken from novels like Afrah El-Kobba, or controversial work like El-Gamaa and Abou Omar El-Masry.
"But these form a very little percentage in world media production. America annually produces 1,500 film works, of which we only receive as little as 20 works per year."
He added that narration techniques help build conflict, strong characters and gain viewership, but the problem lies within the content. The ideas are very weak and the only explanation is laziness. Directors now ask themselves why should they spend time developing cultural work, or spend on a historic media work. Sometimes drama stars fall under this problem as directors depend on big acting names to carry the product.
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The Dreams of the Flying Boy[/caption]
He elaborated that the focus on ideas that attract the viewer is very clear, crime and suspense, which produces very similar work that does not exceed 15 episodes. This is not limited to work, as many of the great works of the 1980s did not exceed 17 episodes, such as the series "The Witness and the Tears" and "The Dreams of the Flying Boy" by Adel Emam.
The critic stated that the works are poor and producers are to blame as they act now as merchants rather that artists. In addition to advertisers who imposed their conditions. The idea of one product was never a problem, all the masterpieces of the 80's and 90's were mostly produced by the Egyptian television and the production sector.
"The problem lies in having one producer doing all the work on the long run, thus diminishing competition. Thus, I predict the failure of the idea of one producer. Ads are also among the main reasons for the boredom of scenes. Advertisements break around the world do not exceed 5 minutes, how can the advertiser expect viewers to continue watching a drama after a 20 minute break?
The Best Work is Ranked as follows:
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'Baraka' by Amr Saad[/caption]
'Baraka' by Amr Saad had had a good plot about a simple country man that battles corruption without being a superhero or giant. He faces many problems with a dramatic and comedic taste. Each episode has a slogan that represents a regular Egyptian citizen throughout his daily life.
Zay El-Shams, by Dina El-Sherbiny was an attractive crime mystery. But it's characters are very few, one of them got killed and was compensated by many scenes that are irrelevant. It was adapted from an Italian series consisting of 6 episodes.
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"Kabeel" by Mohammed Mamdouh[/caption]
"Kabeel" by Mohammed Mamdouh, is good in the using mystery, crime and ambiguous atmosphere, but its flaws, dark dim lighting, the idea that a police officer is responsible for a cause is not good, the hero Mohammed Mamdouh had a problem with his dialect, which is not a personal attack on his character.
"Welad Elghalaba" starring Ahmed El-Sakka and produced by Mohamed Beshir, would have been a lot better if the plot protected the El-Sakka’s character as the victim in order to earn sympathy towards him that he is a victim of circumstance even after becoming a criminal.
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"Welad Elghalaba"[/caption]
The absence of this sympathy and the transfer of a tragically idealistic person suffering from a crisis and turning to a real criminal does not see a convincing motive for his crime, especially after the death of his mother. This work caused upset among the public not to mention the unjustified quotation. Why does the author choose the village of Mellawi in Menia specifically? Adhere to the right Upper Egypt dialect and appear in this false form?
The most powerful element in the Egyptian drama is the performance, since Egyptian actors are characterized by great performance, even if the scenario is weak or the role is not effective. This depends on the addition of their characters.
The best among the group of the actors this year were: Amr Saad, Hanan Mutawa, Rahim Abdul Ghafoor, Hala Sedqi, Fathi Abdel Wahab.
Other fresh actors in the field include Hanadi Mhanna in 'Baraka' and 'Zelzal', the daughter of The musician Hani Mhanna and Asma Abu al-Yazid in 'Hogan role of Bent El-Balad'.
Among the best opening songs this year were Hekayaty’s opening song by Karmen Suleiman and Mohamed Ragab’s
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