July 1, 2022

Dubai Week

Complete Dubai News World

"Plain Coffee" with "Fazza" ... Hisham Ismail: "Paintings taken after January 25 spoil the comedy"

“Plain Coffee” with “Fazza” … Hisham Ismail: “Paintings taken after January 25 spoil the comedy”

As the number of Ramadan series declines, so does the likelihood of an artist participating in more than one series at a time, with the exception of a few artists who enjoy broad public recognition or significant talent, including Hisham Ismail.

During the month of Ramadan, Ismail returned to play the comedic role of “Fossa” in the “Al Kabeer Kawi” series, and revealed another kind of performance through his role as “Onci” in the series “Happy Dreams”. Choice 3A monetary honor.

Many critics have suggested that Ismail has a rare clay that allows directors to create different and distinct characters in their artwork.

After the January 25 revolution, Ismail was one of the few artists who rejected abrupt change and did not back down from public opinion for fear of the future, and Ismail believes that the post-January period was “controlled by vengeful people”. Spirit ”in art, politics and even comedy

Ismail is 45. He came to the arts from the world of investment and business management, where he studied and specialized. Until drama director Khalid Galal announced, he was a hobbyist who practiced university plays and various amateur groups. The first workshop for theatrical creativity, through which he presented his talents, which now dominates the Egyptian art scene, including Mohamed Farraj, Mohamed Mamtooh, Mohamed Salam and Hisham Ismail.

The workshop lasted two years, during which students presented a large number of plays, the most successful of which was “Plain Coffee”, which was shown in 2009 and was viewed by the wife of former President Susan Mubarak.

The length of the play, Hisham Ismail was ready to be one of these strong theatrical rehearsals and the ability to do a variety of characters and move between them at intervals of no more than an hour and a half. The most visible actors in the Ramadan drama. Ismail told Raseef22: “The Egyptian theatrical environment is strong, and from this environment I was willing to act in more than one role at a time. However, the idea of ​​combining three works with different characters is between two series that require big epic, serious and humane acting that requires comic acting.” Ahlam “Saida” and “The Choice 3″ are hard work that requires different acting. But that experience was well received. It helps the audience, then, to accept different roles. ”

Hisham Ismail: Al-Kabeer Strong is more than just a seasonal series, it has become a symbol for its viewers as it has become a Ramadan ritual for previous generations such as Fawazir Nelli and the Sherihan and Bridal series. Boji and Dhamma.

Ismail considers his breakthrough in cinema to come with the adventure of the 2009 film “Dir Enta” with artist Ahmed Makki, who says: “Fortunately, the star Ahmed Makki’s breakthrough was when we were together, which made the audience see. We are a team, which is not entirely accurate. An impression, but there is a really good rapport between us under the patronage of director Ahmed El-Genti.

See also  Hussein Fami announces entry into the world of social networking sites after impersonating himself - Video | News

Ismail reappeared with Makki in his later films, but the metaphor of the character “Fossa” in the six seasons of the series “The Big Strong” is a sign that Ismail has become popular with a wider audience.

The sixth part of the series, which came after a gap of seven years from the fifth part (2015), was highly acclaimed this year. The new part was well received by the audience, especially with the lack of good quality jokes.

Ismail believes that “Al Kabeer Kawi” has gone beyond being a seasonal series and has become a symbol for its viewers, just as the series has become a Ramadan ritual for previous generations such as Fawazir Nelly and Sherihan. Brides, Boji and Dhamtam et al.

He continues: “The Egyptian people love Sidi dialect, and” The Big Strong “is a pioneer in presenting a series of Sidi dialects that are involved in the course of modern life and are characterized by contradiction and lightness. And revolves around dark topics such as the fight against illegal trade. Legal and other social issues, but “The Great Is Strong” differs by surprising the public.

Hisham Ismail presents comedy in a decent and integrated theatrical form, which is based on a good story and harmony between director, producer and writer.

Ismail points out that the character “Fazza” represents his true personality and that people believe he is a Syed, but it is completely different from his reality because he wanted to reincarnate the characters from his childhood. Events and characters, he said he particularly enjoyed the production of “Character Fossa” and was delighted with the success.

See also  Designing a wax statue of Bilkis in Dubai

After the January 25 revolution, Ismail did not present his opposing views in the direction of public opinion, and he was one of the few who did not back down from declaring support for former President Hosni Mubarak. Ismail believes that the future is in light of the change in the country, and that the period following that revolution reflected negatively on the arts, especially on Egyptian humor. “Egyptian comedy saw a decline after the January 25 revolution,” he says.

According to Ismail, the result has been a very successful presentation of sketches based on a number of works of art, with the exception of integrated plays, in which the comedy is presented in the style of passages provided by the artists. The SNL program in its various versions, and the same “plain coffee” play that Ismail was one of its heroes.

Hisham, however, presents humor in the form of a good story and a decent and cohesive play based on the harmony between director, producer and writer. He believes that the presence and continuity of “Al-Kabeer the Strong” promotes the emergence of competing comedies, and that it emphasizes the concept of comedy, which relies on writing strong text with a talented director, because it creates characters. Who “lives with the recipient and must be in his conscience.”

He added, “Humor is one of the most difficult works of art. In the old days time was different, education was different, the imagination expanded by reading novels, the reader’s character and its rich imagination. Today the media has changed. Like a factory, the Egyptian product depends on the trends and market needs of the audience.”

See also  The 2021 Carthage Film Festival kicked off with the motto "We dream ... we must live"

Ismail’s character “Onci” in “Sweet Dreams” attracted attention in a different way. Only the material needs of his family provided by the Egyptian businesses gave him a role different from that of the dominant man and head of the family.

In the film “Sweet Dreams”, Ismail asserts the role of educator and responsible caregiver of the family and children, without being responsible for household expenses. Hisham Ismail says he enjoyed his role in the series, which was written by Egyptian director Hala Khalil.

He comments: “Onci’s character pushes the viewer to reconsider the father’s responsibility for the family. When many people leave their jobs, it’s a gateway to a type of role – giving community. “

Like many Egyptians, Hisham Ismail’s losses are not enough to change his perspective because he insists on his love and encouragement for Jamalek, and despite being bullied by fanatics at times, he is active in supporting his favorite team on social media and in the stadiums. He categorically dismissed the football hysteria as “the Egyptian media playing a significant role in its responsibility”. He believes that “the reason is to change the thinking of the citizen in a frenzy, to cause trouble among the people, and for one club to support another club.”

He added, “Usually when people defeat their team, especially if it is Al-Ahly or Jamalek, they act like military defeats and the frenzy increases. The Al-Ahly Club is glorified more than Jamalek. This is how the ads came out. This was the beginning of the millennium and was implemented by the media with the rise of satellite channels.

But Ismail al-Qarawi’s connection appears to be in his opinion: “The media aims to make him think of a wider and larger audience, at the expense of al-Ahly audience, fans of other clubs, to win advertisements and sponsorships and so on.” And ordinary gamegoers who do not promote this or that are oppressed and do not find its voice.