Remembering Mahmoud Shokoko on His Birth Anniversary

Today, May 1, marks the birth anniversary of Mahmoud Shokoko, who had taken the genre of comedy to new highs.

Shokoko was the backbone of the film industry from the 1940s to the 1980s. He appeared in many super-hit films, including (Anter and Lebleb), (Horseshoe), and (Mohamed Ali Street).

The comedy actor was born on 1 May 1913 at El-Darb El-Ahmar, one of Cairo’s low-class districts, and died on 21 February 1985.

During his career, Shokoko left an indelible mark on Egyptian popular culture.

Although Shokoko was illiterate, he was able to have a huge impact on the world of acting, and will always be remembered for his puppet character of “Aragouzsho" who is still kept at the Music Institute and the Institute of Acting today.

Shokoko, personally, was talented in increasing interest in the puppet character “Aragouz,” which was diminishing as a popular art in low-classes quarters and the Egyptian countryside.

This simple artist transformed it into a popular puppet and mascot which children used to play with everywhere.

Further, he was the only actor whose candy statues were sold on streets for empty bottles, his picture printed on matchboxes and a tramway station in Alexandria city named after him.

In fact, his name was Shokoko Ibrahim Ismail Mousa, hence Shokoko was an original part of his real name and not a pseudonym.

Without a doubt, Shokoko was the perfect example of a star made by cinemagoers of the post-World War II period, where low-classes tastes were predominant since purchasing power was concentrated in their hands due to socio-economic changes brought about by the war.

At that time, the ordinary audience was searching for a real representative of their class in films.

Indeed, filmmakers found their hero. Unlike many comedy actors preceding or following him, Shokoko didn’t need a genius like Naguib Al-Rihani or Badie’ Khairy to bring out his character. Cineastes wanted Shokoko to be his real self.

His successful cinematic debut was in two consecutive films: Hassan and Hassan and Mohamed Ali Street directed by Niazi Mostafa in 1944.

He also followed them with another six great movies in the subsequent year, which pointed to the rising demand for Shokoko and the beginning of comedy films’ golden age, especially ones targeting low-class quarters.

Have Patience, and Dark Skinned and Beautiful speak, in their titles, to the simple concerns of this class