Abdullah Al-Haqim 
The danger of the drama lies in its ability to give the championship to any personality even if it is a thief or a killer, and perhaps the pyramid coup in the world and in the West in particular belongs to a large part of it to the wave of Hollywood films that sided with gang leaders, the most famous of which is the “Godfather” by director Francis Ford Coppola, and “good comrades” 1990 for Martin Scorsese.
In the history of Egyptian art, the epic “Adham Al -Sharqawi Radio” 1962 is one of the most misunderstanding caused by the drama when the mysterious “Adham Al -Sharqawi” world stormed it and showed it a pure national hero and nationalist, while a number of his contemporaries confirmed that he was only a deviant person who asked blood in his village and killed many innocent people.
The time and social difference between the two cases of the murderer, Adham Al -Sharqawi and Al -Nashal Abdel Aziz, plays the hero of the series “The Text” in favor of the first technically, but it records a new truth in favor of the repentant and in the interest of the audience as well, which is the maturity that the audience received the work, and considering that it was only a good artistic work.
Nashal for the sake of the homeland
The series “The Text” – which is shown since the beginning of Ramadan – relies on a dramatic air conditioning for a journalist/ literary work inspired by “Nashal’s notes” written by the Egyptian journalist Ayman Othman, based on texts belonging to the teacher Abdel Aziz Al -Nasi, a previous Nashal who lived in Egypt during the 1920s.
These notes were published for the first time in 1927 in the newspaper “Lisan Al -Shaab”, and then sparked widespread controversy due to its unique nature, as the details of real personal experiences of Nishal describing his adventures in the crime world in an unfamiliar way.
And participated in the writing of the scenario of the series, Abdul Rahman Gawish, Sarah Hajras and Wajih Sabri, while Ahmed Amin presented the role of the hero Abdel Aziz Al -Nasi, to give the work a special character.
The series was distinguished by its own different style, as Amin employed the idea of providing written information that explains the social and historical vocabulary used in the dialogue of each episode, which made the viewing more like a test of reading a book, so the viewer moves between the body of the story and its margins to understand its historical and social dimensions in a greater depth.
Although the original work – which was presented by the author Ayman Othman in his book – was not the owner of a national role in resisting the British during their occupation of Egypt, the series transformed it from a mere spit to “Nashal for the sake of the home And the needy for his work for the sake of the homeland.
Ahmed Amin proves in the “text” his position as a comprehensive creator, and not just a representative, and despite the limitation of his work on TV drama without the cinema, he confirms that he stands at the forefront of the makers of bright drama that offer suspense and excitement in a mature manner that is not adolescent in it, as it provides entertainment and knowledge without exaggeration or complexity.
The series “The Text” is taking place in the first half of the 20th century when the Egyptian society was an economic division between two clear classes: the first includes the king, his entourage and the British who enjoy the wealth and power, while the second layer of the poor majority of the Egyptian people that struggle for a living.
Abdel Aziz Al -Nasi – who is a penis – works as a “masquerade” (tickets) in the Cairo tram, and takes care of his younger brother who studies the Faculty of Law, but soon his life holds when he is arrested by his brother because of his affiliation with a secret redemption organization that resists the British occupation.
Abdel Aziz is trying in every way to secure the release of his brother, but he finds that his salary from his honorable work is not enough to cover the lawyer’s fees, and he finds himself forced to return to the world of chaos to raise the necessary money.
As he returns to his previous profession, Abdel Aziz revives his old relations in the world of crime, but he is committed to his primary principle: not to steal the poor, and during one of his operations he steals a rich English man, to find himself later in an unexpected confrontation, as a national police officer uses him in a plan aimed at thwarting the smuggling of Egyptian antiquities by the occupation forces.
Thus, Abdel Aziz turns from an ordinary spit to a patriotic spit using his skills to serve the resistance, and others who wish to participate in the struggle in their own style join him..
Ahmed, Asma and Hamza
The series “The Text” witnessed a match in the acting performance, whose two parties were Ahmed Amin, the hero of the work and actor, the face of Hamza Al -Aili, who embodied the role of “Darwish”, the owner of artistic aspirations without abilities, and who works on the sidelines of art in the warehouse of one of the theaters, but he sees that his place is the stage of the stage, while he cannot speak properly.
“Darwish” or Hamza Al -Aili constitutes that eternal paradox between dreams and the capabilities that lead to its owner until he turns into a mutation in the eyes of others, and Hamza has succeeded without fabrication in mastering the presentation of the character in its various cases in a captivating manner.
On the contrary, the names of Abu Al -Yazid presented the role of the beautiful, beautiful official, to appear between the atmosphere of work as if it was coming from the future.
The actor Abdel Rahman Mohamed presented the role of “Zaqzouq”, the son of the wife of the “text” and his companion in the journey of looting and patriotism in a distinctive way, and he is considered a good comedian in the future.
Withdrawal to the past
The Egyptian drama has always followed the “waves” approach, as the success of a specific work leads to the emergence of a set of similar works in the following seasons.
Among the most prominent of these phenomena is the “wave of drama of Trabish” that swept the Egyptian drama in the first decade of the 20th century, just as it happens in the cinema, as productive interests between various topics turns from drug trading films to adventure films according to the success achieved by each type.
In this context, the series “Omar Effendi”, written by Mustafa Hamdi, starring Ahmed Hatem, Rania Youssef, Aya Samaha and Mustafa Abu Sari, and directed by Abdel -Rahman Abu Ghazaleh, came to revive the spirit of “Drama Al -Trabish”, but in a different way.
While this drama was previously about the palaces of the pashas and their luxurious clubs, Omar Effendi chose to transfer the events to the simple world, providing a more adhesion to the daily life of the public of the Egyptians, which helped him achieve great success when he was presented last September.
As for the series “The Text”, it took a deeper path in filming the Egyptian society, as it was not satisfied with providing places and houses that reflect the life of that period, but rather revived the linguistic dictionary of the thirties, which gave the work a special comic character, as the terms that the heroes used appeared to be a linguistic artifact extracted from the Museum of History.
This interest in the details made the work visually and linguistically rich, and the viewers allowed the opportunity to dive into the atmosphere of a past time, perhaps motivated by nostalgia for him or to escape the cruelty of the present, especially in light of the sharp transformations that Egyptian society has witnessed since the thirties until now.
In this way, the series “The Text” – a general expression that refers to the “half” – succeeded in reserving its place on the top of the Ramadan drama, not only because of the high rates of watching it, but because it presented a work that respects the viewer’s mind and gives it a dramatic experience that exceeds the limits of the immediate moment, at a time that has become more ugly and complicated, to become a window in a warmer and original past.
