2023-04-21 07:23:05
The end of the Jaafar El-Omda series, which occupied the Egyptians with the talk of social networking sites, especially with the side conversations of the series’ heroes and its director, Mohamed Sami, on their own pages, which ignites the stock exchange of expectations and predictions, episode following episode.
Journalist Heba Mohamed has never been a fan of the Egyptian actor Mohamed Ramadan, and believes that most of his works are “distinguished by masculinity and contribute directly to spreading the culture of violence in the Egyptian street.”
Saad Ramadan in the series Jaafar El-Omda
Despite this, when she accidentally watched one of the episodes of his series “Jaafar Al-Omda”, which was shown during the month of Ramadan, the dramatic plot aroused her curiosity.
And she says, “With my very strong reservations, because from the beginning of the series I felt a clear distress from their direct demeaning of women… With the passage of time, what linked us was the part of his son.”
The events of the series, whose excerpts have achieved millions of views on Facebook and are directed and written by Egyptian director Mohamed Sami, revolve around a social framework around the character “Jaafar”, who lives in the popular Sayeda Zeinab district in Cairo with his four wives. The hero is subjected to the kidnapping of his infant child 19 years ago, and the viewers follow his journey in search of his son and his dealings with the machinations that some of his close ones plot for him.
A group of actresses, such as Zina, May Kassab, Menna Fadali, and Iman Al-Assi, who play the roles of Jaafar’s wives, and Hala Sedky, who plays his mother, participate in the series.
Social media witnessed a great uproar regarding the series, and Mustafa Hassan, a professor at the Faculty of Applied Arts, Department of Cinematography, Helwan University, interprets it as a kind of identification between the hero and the frustrated viewers.
He adds, “Any work of art, drama or cinema, requires the viewer to interact with the hero and feel that he is uniting with him and feels that he and the hero are one and the same thing… This type of melodrama is popular with the audience. People have been suppressed at length, so you want to see the hero’s reaction if he takes revenge on the needs.” What I used in it, so we want to see what it will do.”
This was confirmed by Heba, who said that people seek to achieve their happiness or dream through the victorious hero.
The uproar was not limited to social networks only, and the public began to express their support for Jaafar and interact with him in the Egyptian streets. Some residents of the city of Ashmoun, in the Menoufia Governorate, north of Cairo, hung a banner congratulating “Teacher Jaafar Al-Omda” following the hero obtained his innocence and his release from prison as part of the events of the series.
A security source told Archyde.com that during a security campaign to remove the violating advertisements, that billboard was removed.
Art critic Osama Abdel-Fattah says that the secret of actor Mohamed Ramadan’s success is the “melodrama zone” and the handling of stories close to the average viewer.
And he added, “In the past year, (Muhammad Ramadan) moved away from the line that the audience wanted him to walk in… the area of melodrama, the area of popular neighborhoods, the area of trying to get close to popular people with stories that they see as close to them.” However, the series drew criticism from both the audience and the critics.
Dr. Muhammad Taha, a consultant psychiatrist, wrote on his Facebook page, wondering how the image of the popular hero, as presented in the series, might affect what is known and stored regarding the “magnanimous, adventurous hero who maintains values and does not compromise on principles.”
He says, “The image of the hero in (Jaafar al-Omda)… a thug… marries four and treats them like slave women… stays up late and manipulates money… and they don’t have any real values.”
And he continues, “We need, in addition to the strong admiration for the series… the popular acclaim, the follow-up, and the very large reactions. We ask ourselves: How will this image affect awareness… the individual mind… and the collective mind?”
Mohamed Kenawy, editor-in-chief of Akhbar Al-Youm newspaper, believes that there are two types of drama, “a type that the audience interacts with and praises for its events because of the quality of the work, and the second type is in which it unites with the heroes.” Qinawy confirms that what we see of the detour around the character of Jaafar is a kind of uniting the audience with the hero.
And he says, “Muhammad Ramadan belongs to the artist who achieved a wide audience, and this mass audience was reflected in the people who follow him on the communication networks, on action and reaction, on her expectations of events. This is the only series this year that people expect its events to be.”
Although she is watching the series, Dalia Nasser, a 50-year-old housewife, says, “I followed the series with the encouragement of my friends and sisters who follow it… It is a strange thing, frankly, all of Egypt follows it, and this is not true at all… It is not Egypt and does not reflect the lives of its people.”
However, the young Muhammad (22 years old), who is studying at the Faculty of Pharmacy, has another opinion. “I think that the series is entertaining and funny, and not every series must have artistic value, I mean.. I am prepared for the task of art in the first place is fun and entertainment.”
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