The Egyptian movie “Kira Waljen”: very patriotic fanfare and little value

Nasreen Sayed Ahmed

Cairo – “Al-Quds Al-Arabi”: The connection between their two names has become so close that we can call them cinematic twins and not just binary. They are Egyptian director Marwan Hamed and screenwriter and novelist Ahmed Mourad, who recently presented their fifth collaboration in theaters, which is the movie “Kira Waljen”.
What is certain is that the director is the owner of the work, and he is responsible for it as a vision, proposal and implementation, but what we do not know and what is surprising is that Marwan Hamed did not insist on Ahmed Murad not cooperating. Despite the often faint and incoherent screenplay Murad writes, this is usually the main flaw in Hamed’s films.
We can say that popularity often does not mean quality. Ahmed Murad is the author of many popular novels, including “The Blue Elephant”, “Diamond Dust” and “1919”, from which Hamid quoted his latest film “Kira Waljen”, but his popularity and recurring editions did not make them literary masterpieces. not, but may be nothing more than publications to spend hours of time. This may not be a disadvantage, as the small publications one spends time with have heard them.
But the incoherent screenplay, like the screenplay that Ahmed Murad wrote for “Kira Waljin”, usually results in a faint movie that does not stay in the memory, which should be very clear to Marwan Hamid, especially since his father the late Waheed Hamid is one of the most prominent screenwriters in Egypt.
Murad’s novel “1919”, from which “Kira Waljen” was adapted, deals with the popular resistance in Egypt against the British occupation. While the novel, which was widely distributed, circulated and gained wide sales, despite its modest literary value, presented the popular struggle in a more general and broader way, the movie “Kira Waljen” focused on a part of the general story, which describes the relationship between two members of the popular resistance against the British occupation, namely Ahmed Kira (Karim Abdel Aziz). ) and Abdul Qadir Al-Jin (Ahmed Ezz).
The voice of a narrator, whose identity becomes clear to us at the end of the film, is what the film begins with, and the voice of the narrator brings us back several years before the moment the events of the film begin. the Denshway Incident in 1906, after which the British occupation killed and executed many Egyptian farmers. This editorial shows us the reasons for the anger that rages within Ahmed Kira towards the British occupier, and it also shows us that at first glance he did not seem to be calming the English.
Kira lives a double life. In his ordinary daily life he is a doctor, husband and father of one child. He works in a hospital and speaks English fluently. In his life situations the English seem satisfied with their presence. His co-workers even mock his loyalty to the English. In his other world, which he hides from his family, Kira, one of the main leaders against the popular resistance against the occupation, conspiracies, conspiracies, shooting, and is determined to avenge his father, who was among the Egyptians led by the occupier was executed. in Denshway.

As for Abdul Qadir Al-Jin, who seemed to us at a younger age than Ahmed Ezz, and perhaps it would have been better to be played by a young actor who keeps pace with the youth of the character he plays , as he is a young man with very youthful recklessness, as he is a fool who relies on his physical strength to end his differences, He does not renew his resentment in dealing with the British, but it changes everything to the murder of his father by the bullets of British soldiers in popular protests against the exile of Saad Zaghloul in 1919.
The film takes us to the atmosphere of popular resistance. It offers many characters representing the different groups and sects of Egypt. We find the Christian, the Jew, the worker, the employee and the doctor. Among these characters is Dawlat Fahmy (Hind Sabri), a Christian teacher who came from Upper Egypt to work in education during the day, while at night she plays the role of Prominent in the popular resistance. Among the other figures in the resistance is Ibrahim Al-Helbawi (Sayed Rajab), who spent years in the occupier’s prison and despite his advanced age did not give up the fight.

While watching the movie, we eventually lose interest in the fates of the many characters who play it. The execution of the members of the resistance cell, followed by Kira and the Jinn, goes unnoticed, and the film does not stop for a single moment, with a desire to catch up on more moments of action, movement and fighting.

It seemed to us that the superficial approach is the master of the situation in the film. Hamed offers us a long film, about three hours long, dominated by the fast pace of action movies, so we can not reach a psychological connection with any of the characters, and we find no depth in the approach. Marwan Hamed wanted it to be a mass-produced movie, by Egyptian standards, to present an epic movie about the popular resistance and its heroes, but what we got was a handful of comic book characters, which we did not like enough know to allow us. sympathy with them or their fates Visual blinding, very rapid pace and successive events, which distract our attention from the flatness of the intake. Perhaps the real hero in the film is the soundtrack, composed by Hisham Nazih, who carried the film as a burden, but perhaps it was the actual dialogue of the film instead of Ahmed Murad’s weak dialogue.
One of the main points that counts for the film is the photography, which was performed by the director of photography Ahmed Al-Mursi, who collaborated with Marwan Hamed in many of his films, including the two parts “The Blue Elephant” and “The Original.” Al-Mursi offers us a depiction worthy of a historical epic about a nation’s struggle against the occupation, but much of its effort is wasted in vain due to the weakness and disintegration of the scenario. marvel at Marwan Hamed’s directorial vision, which provides the best elements for his film, from music to photography to clothing design, and spoils them all by insisting on Ahmed Murad’s shallow screenplay. stars of the nets in Egypt, namely Ahmed Ezz and Karim Abdel Aziz, in addition to Hend Sabry, and they are all stars whose presence tempts the masses to go to theaters, and their presence may lead some to overcome the serious shortcomings in the script.
The screenplay misses many opportunities to create a real psychological link between us and the characters of the film. He loses his wife’s goodness after falling ill with the Spanish flu, which spread at the time, leaving a young child behind, but the writer and director prefers not to dwell on such a major event in life. of the central character in the film, so we do not see his influence, nor do we see sadness or pain from him. Kira herself later meets an English girl who seems to us to love Egypt and be sympathetic to their struggle, even though her father is one of the greatest leaders of the British occupation in Egypt. The writer and director could also have taken a moment and delved deeper into this love story, allowing us to understand a lot of a great character. But the film misses opportunity after opportunity to reflect on characters and present with a soul and entity, instead of the one-dimensional characters it presents.
Three hours of scattered emptiness, very breathless running behind scenes of action and fighting, without any reflection on the moments of loss, sadness or pain. Abd al-Qadir al-Jin loses his father, so we do not see him sad or think, so that this urgent desire to offer the greatest amount of fighting and blindness, the director forgets to give us a convincing justification for betrayal of the Khan, so the betrayal of the resistance, and Kaira and the jinn, of anyone come to us. The resistance members are unjustified and incomprehensible, and there is no explanation for it, except the Egyptian colloquial expression “The director wants it”!
While watching the movie, we eventually lose interest in the fates of the many characters who play it. The execution of the members of the resistance cell, followed by Kira and the Jinn, goes unnoticed, and the film does not stop for a single moment, with a desire to catch up on more moments of action, movement and fighting.

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