The commercial success of any artistic perform shouldn’t preclude critical analysis. Often, other factors—primarily social ones—influence reception and ultimately unlock the key to that success. When films like Ismailia Raieh Gay and El Lemby found an audience, I made multiple trips to the cinema and wrote several articles attempting to decipher the reason. I recall when Saidi fi al-Gam’a al-Amrikiya starring Mohamed Heneidy and Edhak el-Soura Titla’ Helwa starring Ahmed Zaki were released in 1998, Wahid Hamed, the writer of Edhak, told me that for every pound earned by Edhak, at least ten pounds were earned by Saidi at the same time.
That’s precisely what’s happening now with the series Al-Set Mona Lisa, which has reached a level of viewership that puts it at the top, surpassing a significant number of series considered more serious. Skepticism from competitors regarding the accuracy of the viewership numbers is understandable, but two factors support those figures. First, this has happened for the third consecutive year, following Nemat El Avokato and then Ash Ash. Second, the fierce criticism the series is receiving on social media confirms that the public is watching it while simultaneously condemning it. A segment of the audience feels it’s not a series they should publicly express enjoyment of, so they immediately launch attacks. The series marks a clear departure for Mai Omar from the direction of Mohamed Samy. This time, Mai Omar worked under the direction of Mohamed Ali.
Has Samy truly disappeared from the scene? Or can you sense his presence, even though he only visited the studio once to congratulate the team? It doesn’t negate the fact that he was involved in many of the details.
Samy successfully positioned Mai Omar as a star who is bet on every year during Ramadan, becoming a commercial project that generates profits for production companies. She has conditions that are implemented immediately, without discussion. Everyone who works with her agrees that her name should be at the forefront of the work and occupy as much screen time as possible, following the rule of the preposition “fi” – the star’s name comes first, then “fi,” and then the title of the work. This is the established practice to reinforce the stardom of those at the top of the credits. A significant number of actors comply with the conditions of the game, knowing that this is a red line and that they have all accepted to play by Mai’s rules. Mai consistently portrays the same character: well-intentioned, generous to everyone, victimized, deceived, but ultimately triumphant over all enemies, with the blessing of an audience that subconsciously relives moments of injustice and oppression from their own lives, and the time for revenge. Mai Omar takes on this role on your behalf, and her revenge becomes your revenge. Everyone exaggerates their performance, even the veteran and brilliant Sawsan Badr. If Sawsan had adhered to her own standards, she would have stood out. Everyone reaches the maximum level of expression, making everything loud, even the silence.
Mai performs her role according to Samy’s approach in her last two works with him, and her melodramatic audience loves this format and the same performance style. Even the heroine’s friend, Shaimaa Saif, continues the same role, and her name now places her as one of the most essential dramatic deals that production companies seek every Ramadan!!
