2024-03-18 15:17:22
The author of the series “Mem Empire” said that he has a project that celebrates “adults.”
Before it starts showing on the first of Ramadan, the audience is anticipating the series “Mem Empire,” which re-presents the short story written by the late writer Ihsan Abdel Quddous, and presented by Egyptian cinema more than half a century ago through a film considered one of the classics of Egyptian cinema, in which Faten Hamama starred opposite Ahmed. Mazhar, directed by Hussein Kamal in 1972.
The new work has opened the door to comparison, not only between the film and the series, as is usual, but also between the performance of the late star Faten Hamama, the heroine of the film, and the artist Khaled El Nabawy, the hero of the series.
While author Muhammad Suleiman Abdel Malik is betting on a new vision of the story and a modern treatment through a different medium, he does not deny falling into the trap of comparison, as he says: “I know that we will inevitably fall into the trap of comparison with the film, as makers of work that was previously presented in a successful film. But it will decline with each new episode, and I have received many reactions from the owners confirming that the series is different from the movie.”
The series recalls the original text of the story of Ihsan Abdel Quddus (the producing company)
This comparison is confirmed by critic Magda Morris, saying: “It is clear that Al-Nabawi loved the character and worked to make it completely different from the character of the artist Faten Hamama in the film, and it seems that the issue occupied him for a long time, both in form and content.”
The series adopted the original story written by the author and its hero, “Mukhtar Abu Al-Majd,” played by Khaled Al-Nabawi, and his wife, played by the Syrian artist Sulaf Fawakherji. The largest number of children whose names begin with the letter M, but the wife leaves early after giving birth to “six boys and girls,” so Mukhtar plays the role of father and mother together with the help of his unmarried sister, whose role is played by the artist Nashwa Mustafa. The father faces the problems and crises of his children with love that is not devoid of compassion. Decisiveness, and his heart seems closed to his love for his late wife and loyal to her.
Khaled Al-Nabawi appears wearing glasses to appear older than his years, with a character with a different structure that carries comedy and wit in the “light comedy” style. Director Mohamed Salama chose the six children of different ages from the children in the film, and each of them has his own presence.
Series poster (producing company)
The series adopts a fast and changing rhythm from one episode to the next, and a renewed depiction between the main decor in the family home and the external places, adding new characters and different dramatic lines through events experienced by the heroes of the work, while new characters join them, such as Hala Shiha in the character of the neighbor, who seems to have a relationship on the horizon that will bring them together. With the father, her ex-husband and the father of her child, Muhammad Mahmoud Abdel Aziz, and the aunt, Nashwa Mustafa, in an important return for her, to take the work out of the scope of the film and present a family drama in a modern spirit, and through a different medium, as a series whose events take place in 30 episodes.
The author confirms that the series does not re-present the film, but rather takes inspiration from the original story with a completely new treatment, saying: “I did not consider the film because I love it very much, as it is an iconic film in the history of Egyptian cinema, and any attempt to draw inspiration from it would be against the new work and not in its favor, and I was I am careful not to be influenced by it, but rather I bet on a new vision based on the time difference, the form of the drama, and the style of storytelling itself is different.”
The author rejects the idea of “bankruptcy” that some people repeat with every work previously presented, stressing that “inspiration from (One Thousand and One Nights) occurs a thousand years ago, as do the classics of international literary works as well.” Pointing out that he presents works by major writers from the standpoint of maintaining communication with new generations who have not seen their previous works, as he presented before, “We Are Returning, O Hawa” by Osama Anwar Okasha, and “Memoirs of a Husband” by Ahmed Bahjat, stressing: “This is a project I started and will continue.” Salute to great creators.”
Critic Magda Morris believes that there is a clear difference between the film and the series, starting with the character of the hero, who was more interactive with his children, as well as in the children’s characters and dramatic lines, which he added, as she told Asharq Al-Awsat: “There are new characters and different events, and many variables imposed by the approach.” “The hero’s children express their time, conspire against it, and form an alliance against it.”
Hala Shiha in a shot with Al-Nabawi (the production company)
Regarding Khaled Al-Nabawi’s performance of the character, the author says: “He has reached a stage of artistic maturity and brilliance. Every character has its details meticulously sculpted, and he is diligent, diligent and educated, and I have enjoyed working with him since we presented the series (Kingdoms of Fire) together.”
While Morris believes that director Mohamed Salama gave great attention to all the characters, even the children.
In turn, Abdel Malek confirms that Salama has a brilliant talent in family drama and “light comedy,” and gives a different spirit to the work that makes him more beautiful on screen. Stressing that with time and the successive episodes, the audience will see that there are new and completely different areas in the series, and Morris adds that the work has come out of comparison with the movie and will emerge more in the coming episodes in light of the many crises that have erupted, and the financial conflict over the family’s home, so she asks the audience not to rush. In judging him.
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