How long will Mohamed Henedy’s hoax last?

How long will Mohamed Henedy’s hoax last?
How long will Mohamed Henedy’s hoax last?
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I did not enter the last film by Mohamed Heneidy, “Nabil Gemayel, a Beautician”, and I will not, despite its high revenues and systematic social media campaigns, because I learned from the lesson of his latest film “The Man and the Nemes” directed by Sherif Arafa, which was filmed for us by the paid campaigns and his long episode with Mona El Shazly, as “A comic miracle… a storm that won’t keep you in your seat.”

These campaigns also talked about cases of fainting from laughter, in the end you find yourself in front of a movie that does not even force you to smile.

How long will Mohamed Heneidy’s paid trick save him? And is all that remains of him, jokes on his Facebook and Twitter pages through skirmishes and funny comments, that we all know he has nothing to do with, but rather the responsibility of an entire team working to reinvent him as a brand?

Is all that remains of Mohamed Henedy, jokes on his Facebook and Twitter pages through skirmishes and funny comments, that we all know he has nothing to do with?

Perhaps he will really succeed in marketing it in the Riyadh Season and the Turki Al Sheikh Entertainment Authority. Perhaps Turki Al Sheikh is the last to laugh at Huneidi’s comedy, who does not even find anything to invent at the “Joy Awards” ceremony other than the repeated and eternal reference to the extent of boredom to his short stature.

Where is Heneidy, who belongs to us?

In the process of transforming Heneidy into a brand, the comedian Heneidy separates from his people who once characterized him as being the first funny one for them, but unlike Adel Imam, for example, he did not develop in any way, and after the extinction of the innate improvisational power that will definitely contradict his fabrication through the wig Botox injections, and his insistence on playing the role of the young man, even though he is in his fifty-seventh year, will only be saved by professionally written paper, in which Huneidi does not rely on the myths of the past.

In the process of transforming Heneidy into a brand, the comedian Heneidy separates from his people who once thought he would be their number one laugh.

“The Man and the Nemes” was not the first film that failed to make me laugh by Mohamed Heneidy, who continues with the power of inertia, and who has no promise that binds us with him except for one thing: to really make us laugh. With high revenues, it begins, surprisingly, since the second film starring “Hammam in Amsterdam” in 1999, which adopted Medhat al-Adl’s mix, which is a mixture of nostalgia, artificial romantic dialogue, and shrill patriotic ideas. He is able to constantly develop himself.

The success of “Hammam in Amsterdam” was the success that should be forgotten, but unfortunately, the success based on the reputation that Heneidy makes us laugh no matter what he does is what remained in the imagination, then the films continued to rise and fall, but its basic condition that he neglected, that he did not succeed in it without A good script and a good director, so his improvisation becomes effective and meaningful, “Kush Igram”, “The Great Bean of China” and “Ramadan Mabrouk Abul Alamein Hammouda”.

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Heneidy entered, and we entered with him, the era of screenwriter Ayman Bahjat Qamar, with whom he turned into a person who lost his spontaneity in improvising the joke, to become artificial, violent, and difficult to give birth, as if we and Heneidy were together, in a process of mutual coercion to laugh, which we only do for the benefit of the old days.

A comedy that passes the officer first will not make anyone laugh. The officer treats what is funny with suspicion, because it inspires daring, and no one these days is required to dare anything.

The last film that managed to really make me laugh for Mohamed Heneidy, during the last ten years, amidst a series of bad films, was the film that Omar Taher wrote for him, “A Day Without a Crisis”, perhaps because he did not try again to remake what he no longer owned: dependence On improvisation, rather carefully written positions. For me, this was Huneidi’s opportunity to develop himself as a comedian, not as an improviser, especially after his separation from the Imbaba market, from which he came with most of his fresh evijas that linger in our minds, not a comedy that arises within the walls of the compounds.

In general, Egyptian comedy is experiencing a major crisis, not only because of its stars’ insistence on living on the illusions of the past, but because the public sphere is suffocating and muffled, as a comedy that passes the officer first will not make anyone laugh. The officer treats what is funny with suspicion, because it inspires daring, and no one is required these days, neither the actors nor the audience, to dare anything. In front of the officer’s idea of ​​​​art and comedy, all topics are closed, and there will be nothing left for her except pretending and pretending.

As for Turki Al-Sheikh, he is the only one who still laughs at the old jokes, because, perhaps unlike the officer, he pays well.

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* The article expresses the author’s point of view and not necessarily Raseef22’s opinion

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