Apology to Ismail Yassin – Abdullah Al-Senawi

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Posted in: Sunday, May 2, 2021 – 7:35 PM | Last update: Sunday, May 2, 2021 – 7:35 PM

“Ismail Yassin does not do it.”
With a bit of pride, without the slightest pretense, or more, the late director, “Yassin Ismail Yassin,” revealed the faces of his father who are closest to the truth.
He was a man so proud of himself that it was almost unbelievable for others.
At the beginning of (2003) it occurred to me to ask Dr. Khaled Gamal Abdel Nasser, in an exhibition that investigated what was happening in the president’s house behind closed doors, whether the late comedian had ever asked for a statement or a hint, directly or through his only son With whom he had a deep and extended friendship, he made a presidential intervention to solve his intractable financial crises, which turned off the lights of his theater and left him with accumulated debts towards the end of his life.
The relationship between “Khaled” and “Yes” was not normal. They were good friends without barriers that prevent direct speech in the smallest details of life.
The son of the president goes to the house of “Ismail Yassin”, he eats in it from the hand of his mother, who used to say that she is a “skilled cook”, and “Y” in turn goes to the house of “Manshiyat Al-Bakri”. He meets the president sometimes, or has lunch at his table if he Conditions allowed.
“Ismail Yassin” could have asked his son to approach the president directly about what is just, legitimate and humane, or he could ask “Khaled” to approach his father about the matter.
In the words of “Khaled Abdel Nasser”: “Ismail Yassin did not ask Mona, nor by hinting and hinting, that my father intervened to treat him at the expense of the state, nor to solve the intractable problems of his theater.”
He added, “Why don’t you ask Y?”
I was struck by the phrase: “Ismail Yassin does not do it”, as if it was an enlightening point in the life story of the most famous Egyptian and Arab comedians, all of which are rediscovered again.
The wording itself involved a dramatic paradox between his screen image and his reality in life.
The request of the president of the state to intervene to save a theater as long as the happiest people did not belittle it or violate its human dignity. Rather, such interference is one of the duties of the state.
With the legacy of “Ismail Yassin”, he had donated two thousand pounds to the war effort, which is a very large sum by the standards of the mid-1950s, and he received a letter of thanks from the prime minister at that time, Gamal Abdel Nasser, who was not yet elected president.
And with the legacy of “Ismail Yassin”, during the same period he starred in a series of films to encourage young people to join the army, as it is a school that adopts men and rediscovers their potential energies, such as “Ismail Yassin in the Army”, “Ismail in the Flight” and “Ismail Yassin in the Fleet” “Ismail Yassin is in the military police.”
He is almost the only artist in the world whose name is associated with the titles of his films as a brand with a guaranteed success.
This series of films would not have been possible without the armed forces ’support for its mission, and without confidence that the popularity of” Ismail Yassin “would be able to reach the general public in the simplest and best way, far from direct and stereotyped.
Despite all of this, he refrained, by raising the humane, from requesting the president to intervene to save his theater, or to treat it at the expense of the state, and distanced his son’s private relationship with the president’s son from the possibility of using it to solve his problems and crises.
The relationship between “Khaled Abdel Nasser” and “Yass Ismail Yassin” had begun with his last enrollment in (1965) at the “National School” in Heliopolis, while “Khaled” was at the end of high school.
After a short time they became good friends and went out together with the “schoolgirl”.
“Khaled used to go to the apartment of“ Ismail Yassin ”in“ Gleem ”in Alexandria during summer vacations. He sat with him long and often. He listened to the jokes and jokes of a father with his children, who were talking to him.
At those times, “Ismail Yassin” was experiencing lung health problems that necessitated – with medical advice – moving to live in Heliopolis when its air was clean before the hustle and bustle crept into it, and he was suffering from financial difficulties that threatened to close his theater.
According to the account of “Khaled”, which I published while he and “Y” were still alive, “The voices of Ismail and his son were very similar, and the distinction between their voices often closed to me.”
One time I talked to the father, considering that he was the son, in a wave of youthful caresses, so he surprised me: “Oh Khaled. I am Ismail ».
It is ironic that “Khaled” himself, if his voice was raised, would almost confuse you, as if you were listening to a recording of the father’s voice.
“When the departure of“ Ismail Yassin ”in 1972,“ Khaled ”stood next to“ Yassin ”to take condolences for the artist of the people.
With the power of facts, “Ismail Yassin” was not a cheap clown who defrauded people, just as a scene without the slightest justification portrayed him in a television series starring a rogue actor, as if there was a revenge with him.
With the force of anger that engulfed social media platforms, the producing company apologized for the offensive scene, and the Theatrical Professions Syndicate condemned the assault on the Egyptian soft power, of which “Ismail Yassin” is one of its most prominent cinematic symbols.
The most dangerous thing, I think, was that this scene was an aggression against the truth, the reality of “Ismail Yassin”, as it is an aggression against the Egyptian cinematic heritage.
Disavowing an apology from the offensive scene was not enough to do justice to a man who passed away in his sixties and left behind him an artistic legacy impossible to delete from the public memory.
“… when the movie is saved
We remain Ismail Yassin
We walk forward to be good
And our hands spoiled. ”
As simple as these verses by the poet “Amin Haddad”, they touch what has settled in the memory of successive generations of comic scenes that do not leave the memory.
The worst thing in the whole story is the confusion between what is imagined on the screen and what is real in life, and disdain for the art of comedy itself and its big stars, in times of drought that the spirit of humor is absent from all the dramas, as if the whole legacy of comedy, not the legacy of «Ismail Yassin “Alone has passed.
An apology to “Ismail Yassin” in the first place is an apology for the truth and for ourselves at the same time.





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