Ahmed Makki’s mixture… Invent your own box and then think outside of it

As a chef who does not make mistakes, the Egyptian comedian Ahmed Makki entered the Ramadan drama season, with a comic mixture that some bet on its failure, but it did not disappoint in eliciting laughter and daily interactions. The top of the trend.

With a comic mixture, Makki and his companions were among the second-grade stars who himself presented them to the audience over 6 seasons, which began in 2010 and stopped in 2015. Makki sought to overcome the major changes that occurred in the composition of the Egyptian audience, both with the power of platitudes, and by designing innovative sketches. Generations that found a safe haven in modern platforms such as “Tik Tok”, in which Arab youth expressed pent-up acting abilities, made them comedian projects.

Despite the fears of the work team, led by Makki, its director Ahmed Al-Jundi, and the authors’ battalion, of falling into the trap of boredom and reproducing the above, Makki and his companions won the bet as the events of the series continued. Zak was embodied in the popularity of his characters, both new and old, and the circulation of clips on social networks. To get Makki a strong impetus to complete his season with an escalating action and great interaction, which culminated in the mobilization of Egyptian movie stars in his series through the Mazarita Film Festival.

It is not possible to talk about “The Big Oy”, the most successful station in Makki’s artistic journey, without linking it to the biography of its hero and the story of his rise, to try to answer the question of whether Ahmed Makki has a mixture that made him surpass many of the comedy stars in Egypt, including the old and well-established such as Mohamed Henedy and Ahmed Helmy And some of them rose to stardom, such as the trio Ahmed Fahmy, Sheko and Hisham Maged, or members of the Egypt Theater team?

Makki stormed the scene at least ten years after the first duo, and preceded the appearance of the other team with their example, and between the two stages he remained an important figure in Egyptian comedy.

With a comic mixture, the hero of which was Makki and his companions from the stars of the second grade. Makki sought to overcome the great changes that occurred in the composition of the Egyptian audience, by designing innovative sketches that keep pace with generations that found a safe haven in modern platforms such as “Tik Tok”.

Makki’s first artistic glimpses were purely directorial, when he directed a number of short films, including “A Japanese Original” and “The Seventh Sense”, the last production in 2005 starring Ahmed El-Fishawy.

Although the film did not succeed cinematically, it left a big imprint in youth circles for its adoption of a scathing comedy based on the image, away from the wave of insults and comedy of bullying and “ridicule of impairments” that have always dominated Egyptian comedy. Many expected that Makki would continue his adventures in directing, but he made his way to acting through the gateway to small businesses, with stars who led the scene at the beginning of the new millennium, such as Alaa Wali El Din and Ahmed El Sakka.

The Egyptian public began to become attached to Makki after he passed the stage of small roles, specifically since he created the character “Haitham Dabour”, a young man who belongs to a high social class. .

A combination with which Makki succeeded in imposing his name on the scene, or re-introducing himself to the art scene, and regained it three times, which began in the comic series “Tamer and Shawqiah” and the movie Marjan Ahmed Morgan, and finally in his first movie, “H Dabour”.

Makki’s ability to create comic characters, including the fictitious and the real, put him in the position of the creative persona, as he creates a world for the character and is not just a literal imitation of characters he met in his life. A popular neighborhood that did not have the opportunity to advance in education, characterized by the color of his skin and the way he pronounces, a character that Makki did not dispense with on his journey with “Al Kabeer Awe”.

Makki revolves around the Internet, as he is the son of a generation that made his popularity from the “net”, thanks to the availability of the episodes of Al-Kabeer Awe on YouTube, which preserved the memory of his tears all these years.

After the successes of “H Dabour”, “Tair Ant” and “No Retreat, No Surrender”, Makki steps back in “Samir Abu El-Nil”, production, 2013, in which he embodied the character of a miserly man living in a popular neighborhood, causing him to be very stingy in many Among the problems and paradoxes, and overnight, Abu El-Nile obtained the fortune of one of his cousins, with which he fulfilled his dream of being a famous person by owning a satellite channel and establishing a political party, in an approach to the personality of the Egyptian media personality, Tawfiq Okasha, who became famous after the January 25 revolution. The film was criticized at the critical level, due to its reliance on clichés, and the great flaw in the composition of Abu El-Nil, which critics attributed to the lack of harmony between Makki’s characters and those of the film’s author, Ayman Bahgat Qamar.

Makki’s losses in the cinema were compensated by his successes in “The Big Awe”. Until the fifth part, which was shown in 2015, the characters of Al Kabeer remained loved by everyone, and Makki’s companions Donia Samir Ghanem, who accompanied him in most of his artistic projects, and Muhammad Salam and Hisham Ismail, played a major role in those successes, to the extent that the audience criticized their absence from any of his artwork.

Makki revolves around the Internet, as he is the son of a generation who made his popularity from the “internet”, thanks to the availability of the episodes of Al-Kabeer Aoy on YouTube, which preserved the memory of his avatars all these years, but his mixture is always not without ridicule from the Internet, highlighting its problems, and sometimes Her delusions, as happened before, were to cut off the internet cable from the village, because his wife Hadiya spends a lot of time browsing, lest the romantic acts she watched might spoil his family life, using the famous phrase “cutting the internet on the net for the one you insulted.”

In this season, Al-Kabeer highlighted the spread of content makers and influencers, and their pursuit of views, using “unethical” means, through the conflict that broke out between “Hudres” and “Johnny” in order to gain views.

Art critic Khaled Mahmoud considers the sixth part of Al Kabeer Awi to be the most successful part of the series, for reasons he attributed to Makki’s ability to constantly surprise his fans and introduce new characters in the Mazarita community.

Mahmoud explains, in his interview with Raseef22, that Makki, despite having a large audience, needed to surprise the audience in every episode in order to get their admiration and their continuity, which has already been achieved, because he relied on new talented personalities, who touched the hearts of the masses and interacted with them like “Morbouha” “Navigate – the progeny” and give them an opportunity to enter the world of the great, which Mahmoud describes as the challenge that Makki counts as his proof of new faces.

The art critic points out that the comic situations overshadowed the stars themselves, and Makki himself appeared as the maestro of the artwork as a whole, and his performance was characterized by great maturity, as he has a real mixture that appeared at the beginning of his appearance with Adel Imam with the character of a wasp in the movie Marjan Ahmed Morgan, and his ability to color and embody through three Characters, each of whom achieved special success, “until he reached the point where he bears the burden of comedy in the Arab world,” and he is also credited with having a large number of writers who are good at writing for comedy.

What helped Makki also was that the scene was free of prominent comedies, so it became the main comedy work, and the timing of its presentation immediately after Iftar, coinciding with the Ramez Jalal program, gave him the green light for victory.

Writer Adam Mikoy, who participated in the writing workshop of the series “Khasana Bhaikaka”, production 2017, in which Makki co-starred with Chico and Hisham Majed, believes that the young comedian has maintained his success throughout these years, to his work in an institutional manner, as he is not just a hero who plays his roles, Rather, he takes upon himself the success of the work, so he devote spaces to all members of the work, not only the actors, and he is keen to be part of the writing and directing, not just acting.

Makki is similar in his details to Adel Imam, according to Mikoi’s expression, as he is one of the sons of the integrated art school in which the hero is the maestro, he is attributed failure before success.

From here, we understand the praise that the heroes of Makki’s works receive. For example, Muhammad Salam, who plays the character “Hudras”, is a key cog in this system. Ultimately, it is in the best interest of the business leader.

“Makki’s comedy is close to reality, even if the setting is fantasy. He is keen that the audience be close to the events that he sees with his own eyes and interact with them,” Mikoi tells Raseef22, which is what the audience constantly touches in Al-Kabeer Ui. Realism, while he talks that his only experience with Makki in writing the series “Khasana Bshaikaa” did not follow in the footsteps of the great Oy, because there is a team that tends to realism represented by Makki and another inclined to fantasy represented by Chico and Hisham Majed.

Mikoy points out that Makki’s comedy is closer to the political cabaret, which is a theatrical style used in the political criticism of power. We call it “Social Cabaret”, as it provides a critique of the cultures and customs of the Upper Egyptians, and highlights real-time issues, such as what was mentioned in the episodes of the Enlightenment and the Mushtaq.

Art critic Adam Mikoy compares what Makki presents with what Najib al-Rihani presented in the first quarter of the twentieth century.