Saeed Saleh.. the naughty one who can make the bricks of the earth laugh

He started on the university stage, and “Hello Shalaby” represents the turning point in his career

He had an overwhelming presence even in the presence of the most prominent comedians

He didn’t rely on the “Efeh” .. and had a real wit without begging for laughs

He was a skilled striker who was good at strong comic goals, undeniable audience network

He was not satisfied with comedy.. He played immortal roles like “Bold Ya Donya”, “The Bullet Is Still in My Pocket” and “The Fall in Beersheba”.

More than 200 works with Saeed Saleh in films, radio and television, presented by a recalcitrant lightness, and the presence of a tyrant that qualified him to be one of the most important Arab comedians.

The beginning was the university theater in the Faculty of Arts, from which big stars such as Salah Al-Saadani and Adel Imam graduated, then he began his professional career with small roles in a number of plays and radio series, such as: “Hendawy , Memoirs of the Teacher Shaaban, Sharm Baram, Guests Extraordinary, Qamar Ali Al-Mutawali Gate.

He also participated in: “Blood on the Desert, Reda Bond, Wait Don’t Kill Me, Private Papers for a University Student, Al-Shater Awkal, Kafr Abu Mujahid, Fugitive from Days, Very Secret, Death Fantasy, Al- Shurafa neighborhood, Return of the Soul, Genius, pedants, with red pajamas. ».

In 1969, Saeed Saleh presented the play “Hello Shalaby”, which is considered the first turning point in his professional history, to surprise the audience with the birth of a promising comedian, singing behind him the famous “Afeh”: ” I will keep you from him”, which until now still makes viewers laugh when it is replayed. theater play.

But “Al Affat” was not the only reason for the audience’s fascination with Saeed Saleh. Rather, the late artist had an overwhelming presence that did not hide in the presence of Abdel Moneim Madbouly, one of the comedians of the time, to owe his presence to a real wit and speed of intuition without contrivance or begging for laughs.

Two years later, Saeed Saleh was on a date with a new turning point, the play “The School of the Rioters”, in which he was a backbone that made it an immortal play that transcends the ages.

With a new view, we will find that we are facing a brilliant scorer who is good at achieving strong comic goals that the audience network does not miss, and is even good at famous actors, such as Adel Imam and Suhair Al- maneuver. Babli, to such an extent that it is impossible to imagine another actor in the famous “Morsi Al-Zanati” role.

Saeed Saleh didn’t stick to the size of the role so much as his interest in unleashing his comedic and acting abilities. In the seventies he played several roles in a group of films, such as: “The Lover of the Soul, Talk in Love, Game Every Day, Visitor of Dawn, The Voice of Love, In the Summer We Must Love, Ladies and Ladies .” In addition to a number of important films, such as: “You were born, Donia, the bullet is still in my pocket is the torment above her smiling lips, this is what I love and this is what I want, Sonya and the Majnun, love over the volcano.”

In the late seventies, Saeed Saleh presented a new comic masterpiece on stage: “The Children Are Growing Up,” whose wonderful text, Bahjat Qamar, gave him a spacious stadium, within which unusual abilities to laugh, despite the fact that it was a group championship with the participation of Younes Shalaby, Ahmed Zaki and Hassan Mustafa, fortunately Saleh is the winning horse who so far dazzles us every time the play is shown, with an impressive spontaneity and simplicity that only a real possess talent.

This is what the great writer Mahmoud Al-Saadani mentioned in his book “The Laughers”, in which he said: “Saeed comes at the head of the family of children, and he is the lightest of them in blood. Al-Saghir , ” adding: “He is the son of nature, and he is an actor because he was created to master this profession. A group of good friends.

In the eighties and nineties, Saeed Saleh was qualified to play the leading roles in films, presenting more than 100 films, such as: “Fatwat Bulaq, The Suspect, The Might of a Woman, Izbat Shanty, The Thief and the Fox, Darb Al-Bahlawan, Under the Quarter, The Good, the Bad and the Beast” and many others.

What is remarkable here is his lack of adherence to lead roles or comedic roles, as he is the opportunist, rapist “guardian” in “Tot Toot”, and “Atiya” the deceitful husband who confiscates his wife’s money and her to addiction pressure in “The Lost”, and “Atris” the repentant thief in “Patience in The saltwaters”.

So we are facing a liberal actor who is loyal to his profession and seeks diversity and mastery, regardless of the quality and size of the role, so he also presented group tournaments in the same period, such as: “Poor but Happy” with Samir Ghanem, “We regret this error” with Farouk El-Fishawy, and “The Cat is His Origin.” Asad” with Mahmoud Yassin, “The Bitter Honey of Love” with Nour Al-Sharif, and “The Rioters in the Army” with Younis Shalaby.

What is great about Saeed Saleh is that he has the capabilities of a great actor and not just a comedian. Perhaps the clearest evidence is the series “The Fall in Beersheba,” in which he played the role of “Shafiq,” the corrupt employee. recruited by Israeli intelligence as a spy against his homeland, a role that initially requires great courage. To accept this, given that the audience will meet with great hatred, which explains why the director of the work, Nour El-Demerdash, chose two comedians, Saeed Saleh and Esaad Younes, as an attempt to help the audience to to watch the series, but Saeed Saleh’s performance was a good testimony that confirms that we are in front of a brilliant actor, we are in front of a spy who sells his homeland, he lives all the time in a state of ambivalence because there is something about him are expected to show feelings that are different from the truth and express them in a real and non-artificial way.

Saeed Saleh presented a successful duet with Adel Imam, starting with “The Hooligans School”, which was performed by “The Suspicious, Salam, my friend, Half-foot, Al-Wad Mahrous, the Minister, Bakhit and Adila, Prince of Darkness” went through. in addition to his wonderful scene in the movie “Zheimer”, which some described as Saeed Saleh’s most important scenes in the cinema, in which he played the role of “Omar”, an elderly home patient with “Alzheimer’s” in his last stage, who his friend “Mahmoud-Adel Imam” begged for sympathy, begged him to repeat his visit after his children left him.

The importance of the scene here is the extent to which it affects the hero and the viewer at the same time, to the extent that it is not possible to delete this scene because it represents a turning point in Mahmoud’s career and his treatment. What is amazing is the performance of Saeed Saleh, who did not carry the scene with a melodramatic burden, but instead performed it smoothly and honestly, doubling its impact on the viewer.

Saeed Saleh was remarkably fond of the theater, which he said a lot, while confirming his sadness that the satellite channels only show him “The Children have grown up” and “The School of Rioters”, despite his presentation of more than 30 plays , such as “Kablon, a game called money, libero.” , kidnapped and run” and others.

Humanly, Saeed Saleh was an honest and smooth person, which can be easily noticed by those plays, during which he left wide spaces for his co-artists to make the audience laugh, without claiming this right for himself. He breaks into his room and asks Saeed Saleh simply asks him to perform an improvisational scene, to after his admiration for what he performed, decides to give him a small role in the same play, before deciding on the size of to increase the role. encourage him, before he knows that this young man will be the star Mohammed Ramadan.

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