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Wahed Saheeh: Drama About the Perfect Wife and Unrequited Love
Ridiculously translated into ‘A Whole One’, Wahed Saheeh isn’t a romance as much as it is a film about unrequited love.Abdullah (Salama) is the ultimate playboy. He’s also an arrogant douchebag but he’s charming, rich and successful, so girls fling themselves at him anyway. Wahed Saheeh recounts his relationship with four women; Nadine (Basma), Amira (Alloush), Mariam (Raees) and Farida (Yousef). Each one represents a certain aspect of Abdullah’s version of the ideal woman. Nadine is his best friend and knows him better than anyone, Amira’s the only woman he’s been able to emotionally connect with, Mariam is a stereotypical good girl, and he and Farida have great sex. Things get even more complicated as he comes under pressure from his mother to pick a wife and settle down.
Salama is pretty convincing as a charming womaniser with a huge ego; yet his breakdown near the end of the film just isn’t as believable. One scene in particular comes to mind where Abdullah is overcome due to Amira’s disappearance and is ranting and raving to a very sympathetic Nadine. We’re told that Abdullah’s absolutely distraught yet it’s Nadine that looks like she’s just lost the love of her life.
Basma as Nadine is the film’s undisputed highlight. She’s Abdullah’s best friend who happens to be going through a divorce for reasons she hasn’t made him privy to. She does her best to set Abdullah up with her cousin Mariam, whom he takes a fancy to due to her pure, sweet, feminine demeanour. Through Mariam and Amira’s arcs, the film succeeds in critiquing Egyptian society on two fronts.
Firstly, Abdullah and Mariam signify the double standard in our society, where the woman has to be as pure as the driven snow while the man can sleep around. It’s quite clear that Abdullah never loved Mariam or viewed her as his equal; he’s just been conditioned into believing that he’s entitled to a wife like her.
Secondly, Amira’s arc deals with the problems facing interfaith relationships. As a devout Christian, she deals with this problem on two fronts, once in the capacity of Abdullah’s girlfriend and another as the daughter of a man who converted to Islam to marry a Muslim woman. She wants to be with Abdullah but he doesn’t want to go against her religion or subject her kids to the kind of pain and confusion that her dad put her through.
The weakest link character-wise is Youssef’s Farida. She’s a married society wife/doctor who has commissioned Abdullah to work on a project with her. They begin an affair and suddenly this very assertive woman turns into a grovelling idiot when Abdullah throws one of his tantrums. In an unhappy marriage with a gay man that nonetheless afforded her riches, her arc tries, rather shallowly, to explore the concept of marriage as a business contract and not as a romantic union.
The film’s soft focus quality adds to the film’s overdramatic nature, yet the liberal use of US Top 40 songs is really jarring. The way the many storylines are juggled is pretty impressive. The characters are all connected by Abdullah but we also get to know about their lives away from him. And while the extensive use of voiceover manages to cram in a lot more about the characters than would normally be feasible, they still come across as rather shallow and their storylines occasionally become stereotypically melodramatic.
First, it’s important to establish that we cannot place the blame in its entirety on Ramez Galal for his sadistic show. A big part of the blame should fall on us, the viewers, who eagerly wait for pranks and spike the show’s ratings, even reaching the point where café owners will blast these shows on large TVs to attract customers. It’s time to admit that there’s a sadist in all of us.
The premise of the show is a guest will come in to film an episode about the World Cup on a zodiac boat out at sea. The boat malfunctions, one of the presenters dives in to see what’s wrong, and the events quickly escalate to the boat sinking with the guest and a fake shark attack.
In the episode with Rania Mahmoud Yassin and Mohamed Riad, it’s interesting to point out that the boat didn’t sink entirely, and Rania kept a firm clutch on her sunglasses in a situation where any normal person would’ve let go of his/her belongings in exchange for safety. We ignored these points at first, but after several mentions on TV and by other viewers, we couldn’t help but wonder.
The show comes with a lot of legal issues this year, of which, a case that Athar El Hakim filed against Galal, banning her episode from airing, under the pretence that the prank extremely frightened her. The truth behind that is in question, after a video of her discussing her pay for the episode was leaked. Other legal issues concerning the show include damage to marine life from planting metal poles to support the hidden cameras.
Because nothing is black and white, it’s important to admit Galal’s sense of humour and experience, especially when it’s imitated by an artist like Mohamed Fouad in his show “Fo’sh Fil Mo’askar”, a stale and completely void of humour prank show.
We have to admit, we were impressed by the shark boat Galal uses to rescue the guests. He is a smart actor who was able to establish himself within Ramadan TV and create shows that people wait for year to year.
Adapted from John Green’s 2012 bestselling novel of the same name, The Fault in our Stars - a formulaic but engagingly honest story of star-crossed lovers brought together by a mutual pain - will sadden, enrich and perhaps even comfort, many of those who come across its path.
The story is centred on the sixteen year-old Hazel Grace Lancaster (Woodley); a girl who has been battling with terminal thyroid cancer since the age of thirteen. After being one of the few to respond to an experimental drug treatment, her condition is now stable, though the side effects have weakened her lungs and she is now constantly attached to a portable oxygen tank.
Hazel has pretty much accepted the fact that her days are numbered but her parents, Frannie (Dern) and Michael (Trammell), are increasingly concerned for her emotional well-being and urge her to join a cancer support group for young cancer patients like herself; not wanting to stress her parents any further, Hazel soon agrees to go.
It’s there that she first meets Augustus Waters (Elgort); an optimistic osteosarcoma survivor who lost part of his leg due to the illness. He is now living cancer-free and only comes to the meetings to support his best-bud, Isaac (Wolff). Instantly intrigued by each other, Hazel and Augustus strike up a flirty friendship but Hazel - someone who views herself as a grenade and is set on protecting those around her from the blast when that day eventually comes - is reluctant to let Augustus in. But as their relationship slowly begins to inch towards romance, she soon sees that she really doesn’t have much say in the matter.
Woodley is absolutely enigmatic as the story’s cancer-stricken heroine and ends up infusing a great amount of likeability and authenticity into the role of a young girl asked to face her destiny much too soon, while Elgort shines as the witty and the incredibly charming young man who refuses to let the cruelty of life dampen his spirits.
The Fault in Our Stars is only the second feature-film for director Josh Boone – see 2012’s Stuck in Love - however, he executes the tricky adaptation like a veteran. Scripted by Scott Neustadter and Michael H. Webert, the gravity of the material is handled wonderfully and there is a heavy dose of sincerity, humour and most important of all, heart, injected into the story’s sombre themes.
On the downside, its teenage-romance premise does get a little too cutesy in parts and the subplot, which involves a trip to Amsterdam, feels a little underdeveloped. Nevertheless, it’s the easy chemistry between its protagonists and its earnest approach makes The Fault in Our Stars a success and an ultimate real tear-jerker that won’t leave a dry eye in the house.