Mohamed Salah

That a comic star to take his audience in a sudden turn of six tragedy films and horror film, this is not surprising from the actor weight and history of Adel Imam, however did not interfere with his outstanding performance in tragedy to escape the families of comedy set by the audience, to remain the last password between the big star "From the moment I became the master of my business, the first thing I was interested in was box office. The first thing I would like to reassure is the turnout," he said.

For 46 years in which Adel Imam has made nearly 125 films, his comedy skin has changed only eight films that began in 1979 at the height of the fierce competition between the stars of that period, with the film "We are the buses", where "some went to search for new ideas to change the quality of their roles even They stand up to the directors of the 1980s cinema who had a new style and different ideas than before. Adel Imam tried to make his own equation by offering value without losing the box office, so he resorted to diversifying his roles very smartly. His first dramatic experiences were in the following films:

"We are the buses"
A unique tragic experience of Adel Imam with Abdel Moneim Madbouly in 1979. It was not expected that the rising comedy star would participate in a film discussing the Nasser era, for two men who were unjustly accused in a political case and then tortured in detention. The film is based on a true story from the book "Dialogue Behind the Fences" by the writer Jamal al-Din al-Hamamsi, and caused an uproar in the political and artistic circles by containing 20 scenes of torture in the detention centers.

Mothers in exile
This film was written by Youssef Jawhar to the director of the new realism Mohamed Radhi in 1981, and adopted the symbolic language in the face of the intensification of the wave of materialism and the brutality of corruption, "and served as a test balloon for the masses who waited for fun and laughter with passion", to find itself in front of the customs officer (Hassouna) who resists the temptations of bribery And fails to escape the pressure of "Shaheen" and seductive "Maysa" and slipping in the mud until he wakes up his conscience after the suicide of his innocent colleague, "Kamal", destroying the temple on the heads of everyone.

So Adel Imam seemed to want to prevent laughter for a while, to say his words in issues that haunt him and no longer satirical comedy alone is enough to clarify his position on them.

suspect
In the same year, Adel imam made the film "Suspicious", in a move that many saw very successful and revealed his acting talents, which disappeared in the comedy.

Written and directed by Samir Seif, the film was screened by Adel and the character of the repentant thief Maher, whose fate is confronted with his wife (duck) between the mabahith officer (Tariq) and the friends of the pickpocket years, a theme not far from the theme of "Mothers in Exile" with a difference of form : Awakening conscience faces a trap erected in every corner of society. The "suspect" of the audience received a greater understanding of his simple vocabulary and action scenes.

In 1983, Adel Imam took us on a tour of humanity, anger, romance and violence. He introduced the "cayenne", the "ghoul" and the "love in the cell".

Cayenne
Written and directed by Mohammad Khan within the wave of new realism, and enough scene combines Adel Imam (Faris) and his neighbor Najah Almuji (Abdullah), to put you in the heart of the story, where Abdullah continues in his place and expressions in which he collected the sadness of the world until the return of Faris and patting On his shoulder with sorrow. All that Abdullah dreamed of was a push from anyone, like the one he and his friend drove the car back into the soul, but remember that no one would do so. Faris is like millions of people roaming the streets without getting anywhere.

The film did not achieve success during the screening, and was the cause of a dispute between the Imam and Khan, for the passage of days and comes a new generation with a new taste and awareness of different puts "Alhurayf" in the rank of cinema icons.

beast
Adel Imam in 1983 is surprised by his performance in the film "Ghoul" from the screenplay of Waheed Hamed and directed by Samir Saif, through the character of journalist Adel Issa, who is engaged in a desperate attempt to get rid of the ghoul greed, corruption and disregard for the lives of people, embodied by Farid Shawqi (detector), and after all the avenues blocked Decides to put an end to the issue that plagues his conscience with a cleaver strike at the head of corruption.

And then we take another shift in the same year, without moving away from the conflict between the crushed class and the ghoul of corruption and obscenity, but a romantic touch this time through a love story between the prisoner (Salah) and the prisoner (Faiza) in the film "Love in the Cell", starring Souad Hosni and Adel Imam and Yahya Fakharani It was written and directed by Mohamed Fadel.

In the film "So as not to fly the smoke," highlights the diseases that are rampant in society and the struggle of the classes crush the dreams of the poor class, through the character of "Fahmi", which finds in hatred and revenge a haven to vent his anger, even by the behavior of criminal avenues that eventually lead him. The film is starring Suhair Ramzi, Ahmed Rateb and Sanaa Shafea, and directed by Ahmed Yehia about the story of Ihsan Abdul Quddus in 1984.

Adel Imam concluded this dramatic experience with one of the most famous horror films in Egyptian cinema, "The Humans and the Jinn," which deals with the conflict between science and superstition, starring Yousra and Ezzat Al-Alayli, and the script of Mohamed Othman, and directed by Mohamed Radi in 1985.

However, these dramas witnessed a decline and did not receive the usual popular obsession, because the audience of Adel Imam did not want answers to philosophical or existential questions, or looking for a clear concept of the contradiction of man about his self and freedom, but was seeking to laugh, pleasure and entertainment to get out of the crises of life, even temporarily, It was necessary to return to art as a tool to simplify life without entering into complex terms and interpretations.