Another one .. Ahmed Helmy and the art of deceiving the public | Opinion

Ahmed Helmy continues the cinematic deception of the audience that was a clear feature in most of his films.

I watched his experiences, which is the movie “One Tani”, which was released in theaters during the blessed Eid Al-Fitr, written – as written on the titers – by Haitham Dabour, and alongside Helmy, Ruby, Ahmed Malik, Amr Abdel Jalil, Sayed Ragab, Nasreen Amin and Nour Ehab participated in the championship. It is directed by Mohamed Shaker Khudair, and this film represents his return to the silver screen after an absence of nine years since his last film, “Hatoli Ragel” in 2013.

Allow me to use the word “deception” as a kind of softening the description and polite it a little and to stay away from any form of accusations because what my dream presented is not a quotation or a misrepresentation because the first rule in the matter of quoting is to mention the original work taken from it and this apart from material rights it is a matter related to Right or moral respect.

Quoting or underlining does not discredit the artist or detract from him. We can put him in the category of limited talent or a kind of ease or exploitation of the success of another work. And how many Egyptian works, whether in cinema and television, were quoted and achieved great successes, but what harms the artist is to quote or transfer a foreign work Without reference to the original work.

It is true that the issue of deceiving the audience is borne by the author in the first place, but the association of the matter with my dream did not come out of nowhere and this is for three reasons. Most importantly, Ahmed Helmy has a long history of deceiving the public in most of his films, starting with “Keda Reda” through “Sorry for the inconvenience”, “X-Large”, “On My Body”, “Bulbul Hiran” and “Made in Egypt”, “Turn and Turn” and only two films survived from that list: “100 Congratulations” on the grounds that it was taken from the Greek myth of Sisyphus, and “Black Honey”. Even his previous movie, “The Fantasy of Might”, was accused of plagiarizing an idea from the young writer Nihal Samaha!

As for the third reason, it is related to the comparison when returning to the previous experiences of both the hero of the film, Ahmed Helmy and the author Haitham Dabour. “A Men’s Stand” may have approached many experiences, whether on the level of Egyptian or foreign cinema, but in the end it was not taken from a particular movie. Dabour’s previous experiences bear some criticism, but they are far from the issue of quoting without disclosing the original source.

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original movie


The movie “One More” is adapted or copied from the American movie Jonathan, which was produced in 2018 and co-starred with the American Ansel Elgort and the English Suki Waterhouse and directed by Bill Oliver in his first experience with feature films, and the American movie was built on a scientific case called (Single-Body Multi- Consciousness) meaning one body with multiple perceptions, through two twin brothers, “Jonathan” and “John” who share one body and exchange appearances every day without the other knowing the details of the events of the day his brother went through, so the duo agree to follow strict rules to preserve their lives and their common body (emotional relationships included).

The two meet daily via video, and each of them tells before bedtime the events of his day to the other, and this is for two things, the first as a kind of meeting and communication between them and the second so that nothing unexpected happens that reveals their matter. In the same body, starting from seven in the evening.

In the American movie, we find that the twins have different qualities, so we find that Jonathan is a talented, successful architect, organizer, serious, strict, and introverted, unlike John, who is limited in abilities, absurd, who does not care about anything, and Jonathan works part-time despite the desire of his boss to work full-time, but Jonathan makes excuses to escape from it.


In the Egyptian movie, the two main characters also carried the same difference, with a mixture of some of Jonathan’s qualities and those of John, so we find Mustafa, who works as a social worker in prisons to assess the condition of prisoners, who lost his passion in life and diminished his creativity and was dominated by monotony and boredom, while the other person is “X”. Which is considered the previous version of Mustafa’s life in his youth, where he was daring, adventurous, outgoing and absurd.

This was the first point of difference from the American movie. The duo is twins. In the Egyptian movie, Mostafa and X are the same person, or as it appeared in the movie that X is Mustafa’s past, but the great difference between the nature, form and lifestyle of the duo Mustafa and X created a big gap in the conviction that the duo is one person. Even if it was in the past, it is possible and natural for a person to change over time, but what happens are minor, not radical, changes in style, movement, way of speaking, and even in form.

Weak construction that was not saved by “Albusa”

The second reason that makes the issue of the conviction that Mustafa and X are the same person, the weak construction of the film and the bad drawing of Mustafa’s character at the beginning of the events through the scene of meeting old colleagues at the university, and regardless of the great disparity in the real ages of the actors who participated in the implementation of this scene, but the shot did not add Anything for the dramatic construction or to weave the personality of Mustafa or to find out his real crisis of the issue of losing passion or talent, especially since the nature of his work may seem routine through visits to multiple prisons, but at the same time he worked with new details daily by telling the stories of prisoners to him and also has the ability to Innovating in the matter of dealing with prisoners to find out the truth from them or even to help them talk to him, such as the “cat” character presented by Amr Abdel-Galil.

The American film was based on its construction on a scientific case called a single body with multiple perceptions, but in the Egyptian version it was replaced by “The Dress” which Mustafa obtained on the advice of the brother of his girlfriend “Ahmed Malik” with the aim of changing the pace of his life and creating a creative ability and a new horizon, but it seems that the Egyptian invention He did not succeed and made Mustafa two people in one body, each character living for a full day, and as stated in the American movie, the two brothers communicate through a video camera or “mobile” to tell the details of the day to the other to avoid problems.

In the American movie, the two brothers, Jonathan and John, set strict rules, foremost of which was staying away from falling in love and entering into an emotional relationship so as not to reveal their secret until the unexpected happens, where Jonathan suspects that his twin is hiding something from him, and she is “Elena” his girlfriend, whose presence is exposed as a lie. The routine lives of the twins, and from here they try to control the other.

In the Egyptian movie, because they are the same person, there is no room for secrets, on the contrary, there is almost surrender from Mustafa and she agrees that the character X is the best in terms of creativity, human faculties and personal qualities, which is the point at which the Egyptian scenario is distinguished.

Positive points, but…

The Egyptian film is also credited with creating a dramatic balance between the characters of Mustafa and X, unlike the American movie, which triumphed dramatically for Jonathan and made him the main driver of events, but this state of balance in the Egyptian anger was interspersed with intrusive comic scenes that did not add anything new to the film and did not add anything to Helmy’s balance as a comedian. To reach the second stage of events, which is the conflict as it appeared in the American version, during which director Bill Oliver did not care to discuss or address this scientific pathology as much as he was interested in presenting the fluctuations and developments of the relationship between twins and the transformation from a purely routine relationship to an unconventional attempt to control the other before Transformation into a cracked struggle for survival.

In the Egyptian movie, the duo, Mostafa and X, headed towards a struggle for survival, but during this path several characters appeared, either weak in influence, such as Fairuz “Ruby” and the nurse “Nisreen Amin” or others intervening, such as the two brothers, the cat and the cat, presented by Amr Abdel Galil, or the thief, whose role was presented by Mahmoud Hafez, the character The only one that was consistent with the events was “Sherawat”, who played her role ably, Noor Ehab, and was the best at the level of acting during the film. Sherwat is the only one among the characters in the film that had an impact on the course of events by dealing with the two characters in a dramatic dimension, which was the only line The light in the film is far from the rest of the lines that appeared disjointed and flimsy with no dramatic links, which descended further until it came to the point that the most prominent difference between Mustafa and X is limited to the exchange of “hair story!”.

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