Tamer Hosni’s “Taj” … a mix of action and comedy in a fantasy setting

The idea of ​​a “superhero” embodies a cinematic allure that makes the audience intensely connect with the handsome young man in the film, who has the legendary abilities to fly through the air, breathe underwater, and overturn cars and trains. A palm-sized matchbox.

For years, this kind of suspense has been exclusive to American cinema, with popular models of aliens invading the planet from outer space or internal enemies spreading corruption and greed and bloodshed, who must be decisively confronted to achieve justice.

Therefore, characters such as “Superman”, “Captain America”, “Batman”, “Spider-Man” and “Iron Man” who appeared in a movie of that name in 1978 reached the world.

Due to the excessive influence and spread of these films, feminist voices opposed the idea of ​​limiting power to men, so the film “Catwoman” (2004) starring Halle Berry appeared, and “Black Panther” (2018) starred in a color. Actor, Chadwick Boseman, emphasizes the values ​​of diversity and pluralism.

The Tamer Hosni-starrer “Taj” (currently screening in Egypt) comes in the wake of Egypt’s timid attempts to break the US monopoly of the genre in the past. Specifications that benefit from the latest international technologies.

The main plot is based on a kind and funny person who works as a social worker in a school and falls in love with a beautiful young woman who is looking for a different model in a man, whose character is portrayed by artist Tina L. – Sherpini.

The teacher suddenly acquires amazing abilities, throwing huge objects with minimal effort so that when he “sneezes” the walls of the house fly off!

As in American models, the “superhero” faces a great challenge, represented by the presence of an opponent who is equal in strength to him, but who uses his abilities for evil. The character is the twin brother of “Taj” (also played by Tamer Hosni), so the conflict between them has an emotional dimension.

A suspense line based on fantasy and action is paralleled by another dramatic line based on situational comedy that arises from the series of contradictions in the hero’s life and his transformation from a quiet person to a superhero who wants to dazzle him. Beloved with his newfound abilities and his quest to right the oppressed, and confronts villains in the second half of events. As for comedy, which has been criticized by some, “Al-Efihad” does not arise from the same theatrical situation and has overtones that contradict the idea of ​​a film suitable for family viewing.

Artist Amr Abdel Khalil’s performance gave a happy and light atmosphere, especially in terms of the bravado and skills of the older generation and its new counterpart, while Hala Faqar’s performance was characterized as simplicity and spontaneity.

Older attempts to present the “Superman” model in Egyptian cinema archives include Fuad Al-Mohandes and Schweiker’s “Al-Ataba Jassas,” directed by Niyazi Mustafa (produced in 1969), where a simple man possessed. Special abilities after listening to a popular song. It is noteworthy that Fuad Al-Mohandes appeared, wearing a costume similar to the heroes of the “Batman” series (the first part in 1989).

Before this date, specifically in 1959, appeared the film “The Secret of the Concealment Cap” starring Abdel Monim Ibrahim, in which a “magic cap” hides the wearer from view. Recently, for example, there is the film “Musa” (production 2021) starring Karim Mahmoud Abdel Aziz, in which a young man succeeds in creating a robot in the form of an iron suit, in which he has excellent fighting skills. Bad people.

According to art critic Tariq Al-Shennawi, “Damar Hosni has the charisma of a popular singer with acting skills. He is no stranger to the film industry, and his cinematic experience of around 12 films so far confirms that he is the singer with the most cinematic project since Abdel Halim Hafiz.”

“He still has a lot of time to deliver a film every year because he doesn’t treat cinema with the logic of a fleeting whim, but with the logic of an integrated project,” he points out.

Al-Shennawi explains to Asharq Al-Awsad: “It’s better for him to leave. A chance for another eye in writing and directing, and content to use his experiences and understanding as a screenwriter and director to enhance the performance”, citing the example of the late artist Noor Al-Sharif: “When he loved art. Directed and used it in acting, when he did his directorial experience, the result was not in his favor.

He also deals with accusations that Hosni’s films are commercial in nature, betting on his teenage audience. He says: “Commercial film is not a flaw and Hosni has the right to make a light film suitable for the audience coming around his age. He added: “As long as the film earns more, it will be successful and Tamer Ahmed does not need to be a jockey and give us quality films like (Innocent) or (Land of Fear).