“Sheikh Takfiri” Ahmed Al-Rafii: “Death” Faraj Fouda ?!

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With the continuation of the episodes of the series “The Choice” (written by Baher Dowidar, directed by Peter Mimi, and produced by Synergy – Tamer Morsi), who personifies, through the personality of the martyr Colonel Ahmed Al Mansi (Amir Karara), the sacrifices of the Egyptian army and its continued suffering in its war against terrorists in North Sinai, based on Real events inserted with great professionalism into a coherent storytelling, specialized sites and social media pages in Egypt are racing to introduce the true personality that each episode deals with, in order to provide all available information about the personality that is often related to one of the martyrs’ officers in the Sinai, with more details about the appearance of The camera has not been able to cite that all transmitted, and some real images. The media and activists see this as an expression of the great popular sympathy that the star who personified the martyr’s personality deserves to the one who deserves the most and who is the martyr himself, especially since the work makers paid attention to this aspect, so they chose some of the stars of the first classes to present these characters that appear in one episode often, so that these are guests Exceptional honor in exceptional work, including: Mohamed Adel Imam, Aser Mahmoud Yassin, Karim Mahmoud Abdel Aziz, Ahmed Salah Hosni and Amr Saad.
However, the character that the Egyptians invoked with the presentation of the last episodes of the series was not for a martyr officer in the Sinai, but for the late thinker Farag Fouda (1945 – 1992). What does the latter have to do with “choice”?
The story started with the appearance of actor Ahmed Al-Rafei for the first time in the fifteenth episode in the role of Sheikh Omar Rifai Sorour, the legal mufti of the group to which the terrorist and dismissed officer from the army Hisham Ashmawi (Ahmad Al-Awadi) joined. In the scene, the man persuades the leadership of the group of the need to steal cars and gold stores owned by Christians first in order to obtain the necessary financing in light of the crisis they are suffering from due to the authorities restricting their movement, then moving – if this is not possible – to stealing non-compliant Muslims, then stealing the committed Muslims themselves. In the last stage, whoever is one of the people of piety and righteousness and for whom reason for jihad has fallen for some reason, the commission of jihad with money will not fall from him!
During the dialogue, Al-Rafei appears very versed in the role he plays quietly, with a confident, uneasy and unmistakable smile that he uses to control his rhythm and rhythm, and a white face filled with a trimmed beard and a loose cloak that gives his presence more prestige. Even many of the followers praised the ability, genius, and understanding of the role of “Sheikh Omar” without knowing anything about the name of the actor who embodied the role or his previous roles, considering that the man “does not represent” but rather is “real takfiri”!
The urgent interest in al-Rifai led some of them to dig up in their personal account on Facebook, to come up with extremist positions that turned the exaggerated exaggeration above into reality, including a publication published in 2019 in which he talks about the “death” of Faraj Fouda, the Egyptian thinker who was shot dead on June 8, 1992 after Inciting the Al-Azhar scholars against him and accusing him of apostasy, considering that it is the first time that the Egyptians rejoice in the death of a human being.
The daughter of the late thinker Samar Fouda launched an attack on Al-Rafii, describing it as a “extremist actor” who did not meet the opinion with the opinion or thought of the thought, but resorted to insult and slander, addressing him: In cold blood … and all of his weapons were the only word.
Al-Rafii responded by phone call to the “paper and pen” program presented by Nashat Al-Daihi, in which he saw that Fouda “directed his pen towards the minds of the Egyptians”, saying that he does not differ much from the extremists who attack the Egyptian army and direct their bullets towards the issuance of its elements, refusing to describe the members of the groups The extremist is “takfiri” because he follows the approach of the Al-Azhar Mosque, which does not expiate them, noting that Fouda did not provide the Egyptian people with any addition and left no trace! Before Al-Rafii returned to point in a leaflet on his page – he added to the size of the ambiguity rather than removing it – that he is a Muslim who learned in the schools of monks and grew up in love with all that is Egyptian, denying his affiliation with any of the extremist currents or groups on the right, such as the Takfirites, the Muslim Brotherhood, and the “Almslafi” or left Like the modernists and their likes, and that his only reference is the honorable Al-Azhar, its imam and Sheikhs, and the national army that is honored to participate in a work that commemorates the legend of his legend Ahmed Al-Mansi.
Opinions were divided on the positions of Al-Rafii, and some of them considered that those who demand freedom of opinion and expression must accept them with all their secretions, compared to those who considered that the use of the word “death” in describing the departure of a great thinker has nothing to do with the freedom of opinion.
Our colleague Medhat Safwat was one of the second opinion leaders. In a publication, he considered that Al-Rafii tried to justify his legality by playing opportunism on two different strings: the first is raising the voice against the modernists as a committed Azharite artist exposed to a campaign by secularists, in an attempt to win the support of the religious, and the second is tickling the emotions of the regime’s supporters by speaking positively about the army and its heroic symbols and symbols In the forefront of the martyr Ahmed Al-Mansi, considering the mixture presented by Al-Rafei from “Sufism”, “Salafi”, “Army”, “Azhar” and “Extremism”, a phenomenon worthy of study. Safwat concludes by saying that “the martyr’s army officer is on our head, but the enlightened thinker is equal to a full battalion.”
It remains difficult to predict the position of the work makers regarding the “shattah” of one of its heroes, as this noise will inevitably shed more light on the successful public action, but in return it will raise questions about the ability of the targeted material it provides to influence the recipient if it fails to penetrate the awareness of some of the participants in Made it.





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