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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.
With now bona fide action superstar, Liam Neeson, on board, Non-Stop, offers a surprising amount of tension and excitement, turning it’s otherwise cheesy and predictable premise into a genuinely gripping ride.
Before boarding a flight from New York to London, weary-looking federal Air Marshall, Bill Marks (Neeson), can be seen drowning pre-flight anxieties and his troubled past with a generous pour of whiskey into his steaming cup of coffee. After scrutinising the crowd of happy travellers, Marks boards the plane and finds himself seated next to chatty, window-seat-seeking, Jen Summers (Moore); the pairing adds an odd-couple dynamic that you’ll either find utterly delightful, or gratingly superfluous, depending on your disposition.
Soon after take-off, Marks receives an anonymous text message informing him that, unless $150 million are directly deposited into a specific account, one of the flight’s passengers will dies every twenty minutes.
As Marks’ mind scrambles to put together some semblance of a plan, things become worse before they get better – in true Hollywood thriller style.
Jaume Collet-Serra – a director who previously worked with Neeson in the tame 2011 film, Unknown – does a good job of threading in peripheral characters for the whodunit elements, while maintaining a steady sense of doom. The restricted setting of a plane is a both a gift and a curse; the claustrophobia of it all will get you, but it stifles the pacing at times.
Despite Non-Stop’s uncouthly conventional plot, Neeson, continues to convince in his latest in a string of roles as a haggard tough-guy; his innate smouldering charm and commanding on-screen presence carry much of the film. The strong-supporting cast – which includes the always fantastic Moore, Downton Abbey’s Dockery, House of Cards’ Stoll, Argo’s McNairy and recent Oscar-winning actress, Nyongo – all deliver solid performances and can rightly claim to have contributed positively to the film.
And so despite its flaws, Non-Stop is engaging in a quite mindless way; you’ll gain nothing by watching it, but you’ll enjoy the cheap ride – it’s a little bit like fast-food.
Zack Snyder wowed audiences back in 2006 with his super-slick fictionalised retelling of the infamous Battle of Thermopylae in 300. Now, the long-awaited sequel is here; bloodthirsty and unforgiving, it's safe to say that 300: Rise of an Empire will not disappoint fans of the first film.
Serving as both a sequel and a prequel, 300: Rise of an Empire takes its attention away from the Spartans and their army of noble men, this time putting its focus on the origins of their enemies and the wider ramifications of the events from the first film. The story is centred on Athenian General, Themistocles (Stapleton); a fearless warrior who, during the Battle of Marathon, fatally injured King Darius I (Naor), the great leader of Persia and father of God-King-to-be Xerxes (Santoro).
Ignited with anger and an incredible desire to spill Grecian blood, Greek-born Persian warrior, Artemisia (Green) plans to transform Prince Xerxes from a fearful Prince into a Persian God-King, to ultimately guide their people into war with the Greeks.
Ten years later, Xerxes is ready to send his troops into battle, concurrently engaging King Leonidas and his 300 Spartan men in the overwhelming Battle of Thermopylae, as well as General Themistocles, who goes on to battle Artemisia's naval army at sea. The fate of Greece lies entirely with Themistocles, whose army is once again devastatingly outnumbered, but whose determination and courage go a long way in their fight for freedom.
Santoro returns to reprise his role as the towering giant that is Xerxes and although the character’s backstory is one of the most engaging elements of the film, the Brazilian actor fails to offer any depth to the complex kind. As the lawful Queen Gorgo, Headey retains a very royal pride intensity as the wife of the fallen Leonidas, while Stapleton – as the film’s lead – delivers just enough to score a passing grade, but ultimately lacks the charm and presence of Gerard Butler.
On the other hand, adding Green into the picture is arguably one of best decisions that the filmmakers could have made; as the trouble-brewing Artemisia, she steals the show.
Sticking to the same visual aesthetic, 300: Rise of an Empire is just as absorbing as its predecessor, with director Noam Murro given the freedom to paint on a much larger – and bloodier – canvas.
Although the thrust and energy of 300 seems like an awfully difficult feature to replicate, there are still plenty of adrenaline-pumping moments behind the blood-stained battles to make 300: Rise of an Empire an enjoyable follow-up.