Dr. Noureddine Mahmoud Said | 04/15/2022 at 00:57
With all the episodes from the previous Saraya, a separate episode, which was quoted almost exactly as it was mentioned in the Qaramaniliyah history books, I’ll get straight to the drama here, who is it that stitched the story with fine embroideries of visual agate and not the reverse, because we know that history imposes episodes on the drama Its events, when the theme is historical. The question for me is: did the show stick to the story? Should drama adhere to history when the theme is historical?
My answer as a specialist to the second part of the question is (yes). As to whether the series was committed to historical material, unfortunately no, and I received questions from our students in the visual arts department, with thanks, regarding the series. A retelling of the story, and another that supports the drama’s immersion in its story for the truth. He showed me one of the latter’s followers.
Let’s leave that now and know exactly the reasons why I, as a viewer (support) or, let’s say, specialist, wrote these lines against this particular episode, and not against the series as a whole, namely that this episode particular this episode translated the truth written in the historical trace of the family almost as it is, if Hasan Bey had not handed his pistols and sword together to his mother in the drama, at a time when the historical document says that he surrendered his pistols and kept his sword, then the TV scene showed him comforting his brother Youssef, while the document showed that he was more suspicious of his wife Lalla Aïcha. Rizk was fair in showing a certain sincerity of intentions towards God Hallouma and his overwhelming joy in achieving reconciliation between his two sons, according to the historical novel, as well as the art of the literary novel that the cosmic novelist created in Jacob and his sons, why was I talking about the literary novel? And why do I say that it must attribute the historical drama to the historical document? For perhaps the most important reason is that in most of his novels (when exposed to history) al-Koni places the greatest emphasis on the truth of history, primarily because that he fears for his name, and secondly because he delves into novelistic aesthetics over the widest range of sensory saturation, adding to it his ability to teach the psychology of literature.. and within other limits.. The director was apparently not concerned with the problem of literature, or perhaps he did not see all that was written about the rule of Qarmaliah, following the rise of Yusuf Pasha, that this either in the “Libyan Annals” or “A Bab al-Bahr” by Radwan Abu Shuisha, or “Yacoub and his sons” according to Ibrahim al-Koni… In my opinion, such details, when they do not exist not, are overlooked to break a lot of honesty in dealing with them, especially when the drama is purely historical, but maybe the director hasn’t seen all three books. literary res packed with history, and he may have seen and overlooked, thinking the drama is most important! .. I will not be certain because here I will mention the most important episode of the series, so far at least, which contains a prickly dramatic event which was very well conveyed in the picture, represented in the dramatic conflict of all kinds, and the obstacles that created it to be justified, then the dramatic construction of each Individual Personally, which came completely professional, with styles that I lean towards the expressive school From them to the realistic school , it was specifically represented in (plastic solutions) and striking clothing design, and (art design) in general, and precision in the formation of color, its symbols and meanings in a way I can tell is wonderful in terms of observing and conveying the message.
I will not describe, as usual, and as usual my positions on the descriptive approach, but I will add to the reader, that the Libyan drama has passed in a strict, shocking and surprising way, from the simple game and the indifference in front of the camera, to great seriousness and a fear of creative responsibility, as well as professionalism and its presence was reduced, even for some other Arab series, which were spent profusely on it, this episode tightened my ability to write in three axes, perhaps the first and most important of which is the automatic performance of Hallouma, and its prodigality in lavishing our eyes with beauty, with each movement of it, a gesture, a smile, or a true happiness we saw her unhappy end, or And this is the most important thing, the harmony of the clothes she acquired with her form, her dramatic presence and the integration of body language with the dramatic senses with all its tremors between happiness and sadness, which separated them only by a delicate isthmus of time, perhaps last no more than six minutes, to break the joy And gloom settles over the whole story of the deer, in a scene that cuts his liver before his mirror, Joseph’s entrance, his joy at his idea, his laughter, his sitting and his false refraction, and the concealment of his wickedness at point zero (the creator of this actor) in this particular scene, and in the scenes immediately before him, when we saw him as he rode his horse appeared, in all his splendor, and the downward motion of his head, the one he has maintained since his appearance as the character principal, his control of the direction of his horse, and his movement with him in the way he turns, then the pomp he bestowed on the beauty of the horse, and not the other way round, his entry into his mother, and the how he went through his body, the harmony What happened between him and his mother, Lalla Hallouma, who ( I imagine) now, that the international drama will not leave her alone, and I doubt that the Italian directors will leave her, especially since they will design a dramatic structure worthy of her arrogance, and perhaps, and it is the most beautiful, that the Arab drama will awaken her, Lebanon and Syria, Tunisia, etc. An artist who pushes the magic of dramatic movement with the greatest beauty. In this scene, she acquires a silk dress mingled with burgundy red damask, dragging her tail so as to cling to her son’s blood spilled in an endless line in a deep red, deceiving in crimson, when she withdrew completely. His sadness” with his “poverty”, which was dispersed and fragmented with his moaning about his son, Hassan Bey, Abdel Baset Bakanda, who created a great interaction with the role assigned to him, and brought out what he had hidden throughout his artistic career of remarkable creativity, and moved towards Youssef, who mixed evil against him, to relentlessly drink him body with two guns in front of his mother, then asks Serve- him to complete what was left of him a few farewells and the pulse going through his veins, while he is in his mother’s arms torn between two brother friends, (Youssef the wolf) in every sense of the word, Joseph who was falsely eaten by the wolf, eats all the wolves in the Libyan desert, will not stay in his blood plasma a millimeter He who is not a werewolf, walks arrogantly, as if he has done nothing wrong ‘important, kills his brother in front of his mother, with frozen blood exceeding the zero degree of feelings ents.
In this shocking episode, the plastic solutions were played brilliantly in the drama, and I hoped that (the oil painting) would support the story, in a historical plastic painting of the events documented in the documents. if it is not an empirical science, without it the drama, especially in our country, and in our time, without it you will not be able to breathe the truth.
Dr. Noureddine Said