In my formative years I read several courses on screenwriting. A number of tips caught my eye, the most important of which is that a serious actor does not accept to implement the writer's directions: when to laugh, when to get up, when to express his anger, and other gestures. A serious actor does not allow the author to take his place. Reading and understanding the text will reveal dimensions to it that even the writer himself did not know. Most importantly, he knows how to reject the text. And from what I also knew that the real script writer of what you see on the screen is the director.
Sometimes it turns out that the local actor hardly rises above any script presented to him by the producer and does not even seek to improve it. I thought it was just a matter of being present and wanting to survive in this scarce dramatic world, but in the end it became clear to me that the matter was more than that. Many actors do not know the concept of drama per se. They do not distinguish between a light comic text and a dramatic text.
I watched the Tash comeback episodes. I liked the first episode. It was a good start. The return of the two most important characters in Tash in a fantasy way. I thought other episodes would follow. Going in the same direction, Tash will turn on himself. We'll discover that the bad past wasn't bad at all. The ashes opened and a flash of fire. Death culture was not alone. There are great steps under the ashes: scholarships, courageous journalism, quietly growing universities, and the enlightenment tide himself born in the miserable nineties.
I thought that the main characters in Tash would return after they were old and destroyed. Fouad, for example, we will see in today's version, after he became a major merchant, or a pensioner helping his children, or deposited in an orphanage. What did the years do with that foolish person. We could have seen him in an emotionally dramatic character. Actually I thought Tash would go back to today's world and not take us back to the old days.
Not that Tash didn't make some effort to get out of the way. Some episodes aimed at living in this era and belonging to it. Some of the episodes appeared contemporary, but they were outdated.
When watching the Alzheimer’s episode starring Abdullah Al-Sadhan, we will know that the written text did not pass through the hands of professionals (neither a director nor an actor nor a producer) from cow to table. If everyone sticks to the letter, the author is clearly inexperienced, but that doesn't matter. If the producer likes aspects of the script or his idea, he will adopt it and rebuild it into a dramatic text. When you follow an Alzheimer's episode, you feel like you are reading a text in its original form. The joints of the text are written in a simple way that an adult mind cannot accept, reminding you of the works that Saad Khader used to produce in the seventies.
Every twist and turn in the story is done with ingenuity. There is no appreciation for the viewer's mind, as if the work was prepared to be presented as a charade that will be shown in a school whose students' minds lack the ability to follow the intertwining of events so that each event paves the way for the next in an acceptable way, as it happens in normal lives. The essence of the work is the marriage between a man with an absent-minded memory and an opportunistic woman. Consummation of marriage is characterized by indifference. Neither the author nor the director develops a cogent conspiratorial means by which to consummate the marriage to legitimize the blackmail. The text jumped us without introduction to the consent of the elderly sons to negotiate with the girl to reduce her share only. They negotiate with her as if the marriage took place with their express consent in a Sharia court. Neither the producer nor the director nor the actor asked how a marriage takes place between an elderly person with amnesia and an unknown woman. None of them sought with a bit of imagination to fill this dangerous gap.
If we look at the beginning of the story, we will also see naivety. When the old man knocked on the door, a curious and tense man came out to him, and he was rude to him for no reason. Although the old man's question calls for pity and sympathy.
Even the woman's discovery that the man is rich was done by a naive coincidence, by searching her on his mobile phone when he asked her to charge it, so she began to correspond with his son. It was not enough that the man had Alzheimer's, as the son also seemed to have lost his memory. He did not remember that his father was old, sick, and missing. He kept transferring money to an unknown account. I am surprised that something like this happens when I remember the long life in craftsmanship, and sometimes I am not surprised.
It is a mistake to interject complex dramatic material that requires a lot of experience into a light series that seeks quick entertainment.
Abdullah bin Bakhit