By chance, Mohamed Heneidy and Mohamed Ramadan meet in one movie season, each showing his movie with his hand on his heart, waiting for the number he achieves at the box office; Not only to outperform the other, but – first – to assure himself, his audience, and the artistic community that he is still the owner of the number (one), and that what happened to him in terms of decline in recent years is a transient crisis that cannot be measured.
There is a 20-year age difference between Heneidy and Ramadan, and each of them is seen as a marketing advantage. Heneidy has stumbled a lot in recent years, and has moved away from the forefront of the scene, while Ramadan, despite his overwhelming success on the small screen, and that his concerts have become a number on the music map, on the other hand, he is still staggering cinematically. His latest films could not put him in the position he aspires to, so they quickly leave the screens.
Eleven years ago, Ramadan ascended the throne of revenue and also criticism with his movie (Abdo Mota). Some considered it a title for spreading bullying and teaching teenagers to break the law. He achieved a number in the net that Ramadan could not repeat, and thus his cinematic stardom became questionable. A few weeks ago, he met a terrible defeat with his movie (Harley), which was full of battles and chases, and his new movie (Al-Zero) did not intercede for him. Throughout the events, he was looking for a dramatic justification that would allow him to get involved in a quarrel from which he would emerge victorious, just as he did not stop without reason presenting songs, flirting with his audience with the vocabulary he was waiting for. It is clear that confidence is still missing, and the cinema audience no longer expects much from him.
On the other hand, Mohamed Heneidy’s attempts did not stop to confirm that he would return again to the throne of comedy, and he was keen to present a video to his audience hours before the show (Marai Al-Primo), in which he confirms that some of his recent films were not at the level, except that he promises his audience that (what has passed) Hamada and who is coming to Hamada again at all).
Huneidi appears on the screen as if time has stopped with him at (Saidi at the American University), going back about a quarter of a century, when he achieved a number that reached four times what he was reaching at the same time, the exceptional first star, Adel Imam.
Heneidy has been invested by production companies. He didn’t realize that a star shouldn’t turn into a money machine. (The card) With repeated use, its balance runs out.
What is required is that Heneidy jump from a state of steadfastness within an age stage that he did not realistically leave in the last years of his sixth decade, as he stopped on the screen at the role of a newly married young man.
The frequent mistake is that he does not want to present a character that matches or even approaches his age. This choice is the only lifeline. Because it allows him to find different dramatic circles.
What Heneidy did this time was that he took off the wig in two or three shots. We discovered for the first time that his head was smooth, and he put on the Egyptian cap, so that the audience would not see his head any more.
I am not accustomed to confiscating the right of every artist to try, but neither Heneidy nor Ramadan grasped the real reason behind the retreat.
Henedy excelled slightly in net revenues for Ramadan. It is only a digital equivalent of the victory of the weak over the weaker, except that each of them did not present anything different on the screen, so it is still (Hamada is Hamada)!
