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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.
Based on Edgar Allan Poe’s chillingly and satirical short story, The System of Doctor Tarr and Professor Fether, Brad Anderson’s madhouse thriller serves up a star – studded cast frolicking in plenty of morbid fun in the unnerving but equally flimsy, Stonehearst Asylum.
Written by Joe Gangemi, Stonehearst Asylum is set in late 1899 and is centred on Edward Newgate (Sturgess); a recent medical school graduate of Oxford University who is looking to gain clinical experience at the titular mental institution. Arriving there on Christmas Eve, Edward soon meets the establishment’s mad superintendent, Dr. Silas Lamb (Kingsley), whose unorthodox way of providing care bemuse Edward. Lamb’s methods – which allow for his patients to seek their own healing methods and do whatever they see is a fit – doesn’t sit well with the fresh grad and he finds himself in more than one awkward situation with patients.
All soon becomes clear, however, when Eddie discovers hostages locked in the basement and a grave secret that he must admit no knowledge of in order to help rescue the imprisoned.
Shot in Bulgaria, the film carries an unnerving energy. Sadistic electroshock treatments, violent rapes and random patient sedations are just some of the tools of torture which Stonehearst Asylum is using to induce fear and horror and for the most part, it does accomplish its goals.
However, although its costumes and set-design – not to mention its sprawling landscape – are a nice example of a period-piece done well, there is a problem with the suspense and this nagging little feeling that it could have been all a little bolder and a little scarier.
Luckily though, its A-list cast which includes the scenery-chewing Ben Kingsley and Michael Caine help elevate the film and it’s only the over-the-top antics of Kate Beckinsale and the fragile performance of Jim Sturgess that let the side down.
Adapting Edgar Allan Poe is no easy feat, but Stonehearst Asylum uses a very particular type of British black comedy well, providing a fun, if underwhelming, viewing experience. On the back of cult successes like Session 9, The Machinist and The Call, Anderson carries a reputation for creating eerie and subtly sinister worlds in his films. He achieves this here, to an extent, but beyond the aesthetics exists an occasionally flat film.
Considering its controversial and much talked-about source material, Fifty Shades of Grey – Sam-Taylor Johnson’s adaptation of E.L James’ best-seller – is surprisingly safe, shockingly uninvolved and tediously uninventive for a movie that was supposed to deliver – and show – so, so much more.
The story is centred on a young literature student Anastasia Steele (Johnson) who agrees to step in for her sick roommate, Kate (Mumford), and do the interview with handsome and the mysterious twenty-seven year old billionaire, Christian Grey (Dornan).
The two are quick to connect and it’s pretty clear that both of them are immediately taken by one another; she likes his good-looks and raw aura of masculine intensity and he is intrigued by her innocent beauty and clumsy ways. After being stalked and rescued from a drunken night out Anastasia realises that there is no escape from his peculiar – and intrusive – charms and soon gives into the idea of being seduced by the handsome young tycoon.
Dakota Johnson – the beautiful offspring of actors Melanie Griffith and Don Johnson – is definitely the only success of the entire production. Gutsy, beautiful and surprisingly funny and her innocent-like ways – not to mention her gorgeous baby-blues – and she carries her side of the story relatively well. Unfortunately, the same can’t be said for the handsome Irishman and ex-Calvin Klein underwear model, James Dornan. Physically, he is the perfect casting choice, but his monotonic, almost robotic, delivery is unconvincing and what on paper should be a complex character is never really explored. It’s something that maintains a certain air of mystery, yes, but leaving such little room to explore his motivations isolates the character in a way that doesn’t allow auciences to truly ingest his relationship with Anastasia.
In its adaptation from book to screen, Fifty Shades of Grey never really knows what it wants to be and its lack of drive, focus and identity. Lying somewhere between a romantic comedy and soft porn, the script is as hollow and instead of grabbing the story by its horns and allowing it to dip a little further towards the darkness, it ends up taking a more safer-route, ultimately, boring us all in the process.
In its adaptation from book to screen, Fifty Shades of Grey loses the drive and identity that made the book one of the most divisive best-sellers of the decade. Lying somewhere between a romantic comedy and soft porn, the script fails to embody the book. Granted, said book shocks much more than it incites reflection, but the film even fails on that.
It was just a question of time before E.L James’ fictional smash-hit found its way to the big-screen; few books have stirred as much controversy in recent times. It’s rare that a film adaptation has the potential to better than the book on which it is based – this was the case here and, while it can be argued that it is indeed better, it’s still a less than satisfying viewing experience.