The Egyptian public summoned Abla Kamel through social networking sites, and a rare dialogue was re-shared with her and turned into a "trend". The Egyptians felt harsh alienation after the screens surprised them with artistic and media faces that do not express them, nor the system of values engraved in their conscience.
Many felt the depth of the crisis in the last month of Ramadan, as they were accustomed for years to a varied meal representing the different spectrums of society and the different currents of art, but a wave of overwhelming desire to be detached from values pushed plastic faces and crushed minds in front of the West to occupy the screen in series that try to integrate the reality of the Egyptians And what they imagine about civilization and urbanization.
The Egyptians looked around and did not find their children on the screen as they used to. They did not find Abla Kamel, who belonged to every Egyptian family, a sister, an aunt or a daughter. The representative of Egyptian values and features in the Parliament of Art disappeared, so they summoned her through an old television interview.
Abla came at the request of the masses, as it came for the first time when a system of values that missed the taste of the spontaneous, warm, conservative and sometimes laughing to the point of tears at the end of the eighties of the last century.
Great technical credit
What Abla achieved in her artistic career is almost the largest credit obtained by an actor or actress in the history of Arab art, not because of the many awards she received, but because of that love and respect and allowing her to be a member of every Egyptian family and missing her when she is absent or absent what she represents. .
Coincidentally, when she was a student at the Faculty of Arts, she took to the stage to say one sentence as a compliment to a colleague.
Upon her graduation, Abla married her classmate, actor and academic Ahmed Kamal, and gave birth to twins, Zainab and Fatima, and she hired a nanny to help her, especially with her daily work in the theater.
Abla used to perform her role on the stage daily in the play “An imp for every citizen”, and the nanny sits with the two girls in the garden of the “Al-Tali’a” theater.. “Abla” cried according to what was required of her to perform the role, but the two girls heard the crying and cried also, “Come, oh! Abla ".. So Abla left the stage and stage and ran towards her two daughters, shouting, "My sons, people."
Director Youssef Chahine had started a new stage at that time and decided to present the movie "Farewell Bonaparte", and he used to look for new talents in preparation for each upcoming movie. On the stage of the Vanguard Theater, Abla Kamel caught his attention and chose her for the role of "Laila" in the film.
With "rehearsals" starting to work before filming, Shaheen stopped working, saying, "I don't like acting."
Abla, who came from the theater, was performing in a theatrical way, so she stopped and learned her first lessons, then collaborated with her in his next film, "The Sixth Day", which co-starred with Dalida and Mohsen Mohieldin.
Then her chance came with a playwright, Mohamed Sobhi, who presented her in the role of "Sunya" in the play "Point of View" and pushed her into comedy with her wide world, and for 5 years she presented the role that became a launching pad for her and turned her into a real prophecy for everyone interested in cinema in Egypt.
Abla met with the giants of cinema in Egypt and presented a performance that cannot be said that it is only good, as it differs qualitatively from the usual classical performance according to prevailing standards. roles, but each role carries nothing from the previous one except that honesty and closeness to the reality of the character's performance in life itself.
hysteria
The movie "Hysteria" is one of the most prominent and delinquent cinematic stations in Abla's journey, during which she first met the late star Ahmed Zaki, and because Abla knows the value and stature of Ahmed Zaki, she felt anxiety and fear that always accompanies her in all her work, but that anxiety was doubled during filming. .
Abla embodied the role of “Wedad”, who loved “Zain”, the mobile musician and singer, and in clear violation of custom and tradition, she declares this love, and chases her beloved in departments and metro stations, and talks crazy to her imaginary daughter “Sesame” and announces the restoration of the initiative to the lover’s heart and not to the man or the woman, The half-mad loving girl's performance in "Hysteria" was more than spontaneous and more than wonderful.
joy thief
Abla Kamel gave cinematic creators an inspiration that is almost a departure from the law of cinema imported from the West according to its system, and no one tried to “Arabize” or “Egyptianize” her, as she presented in the movie “The Thief of Joy” with director Daoud Abdel Sayed the role of a night girl.
Daoud and Abla held working sessions to discover the space that should be presented to an Arab audience in the context of the film. The girl of the night, who was forced by circumstances, came to this work without a single scene that could be indecent or embarrassing;
Abla presented the Night Girl as a human being first and convinced everyone that there was no sense in presenting the details of "Fatat Al-Layl" as long as the audience knew the profession.
Fatima Koshary
Abla Kamel has participated in many TV series such as "Layali Al Helmeya", "Al-Shahd wa Al-Dawma", "Hawanem Garden City" and "Raya and Sakina".
Although many Egyptian actresses presented the role of "the mother", "Fatima Koshary" in the series "I will not live in my father's gown" turned into a state of art that pushed the spontaneous actress into a space that was alone with her away from the usual standards of performance, and was critically rated outside the standards, and called critics. The old prophecy as being the successor to the lady of the Arab screen, Faten Hamama.
Egyptian society celebrated "Fatima Koshary" as it did not celebrate an actress before, and the character who is supposed to imitate the reality of the situation in society turned into a model that mothers used to raise their daughters and preserve their sons, and the media tried to deal with her personally in interviews, but Abla promised herself from the beginning. Provided that it does not transform or change, and that it is loyal to its nature, which refuses to pay the tax of “stardom” with its fabrication and interference in personal life, and refrained from the media except for a few dialogues that do not exceed the fingers of one hand in a journey approaching 50 years.
Aunt France
Despite her brilliance in television works and her entry into the hearts of the widest of doors, the distinguished performance of Abla Kamel made her presence in every registered brand movie not only for the audience’s demand for it, but for an independent artistic condition within the work itself, so the new generation’s use of Abla Kamel was not in a series of films Which started with "Lambi" is strange.
The “Mother” was presented in Al-Lambi, and the doctor who reinstalls the head of the Lumbi in the body of the officer who died in a car accident in “Al-Li Bali Balak” and then “Call Mama” in the experience of a women’s group championship with Menna Shalaby, Maha Ahmed, Ahmed Zaher and Ghassan Matar, and presented in the context The filmmaker himself played roles characterized by warmth and spontaneity in the films “Sayed Al-Atifi”, “Baltia Al-Aaima” and “My Aunt France”, which bears in its details a prophecy of the January Revolution, which came as a direct result of the siege imposed by political and economic corruption on the simple people in Egypt and made choices limited to starvation Or working in professions that "humiliate" their humanity, and despite Abla's calmness in her ordinary life, her performance of this role in the film was so brilliant that some believed that the actress herself had undergone a transformation.
Abla Kamel separated from her first husband, actor and academic Ahmed Kamal, but the relationship remained classy and in a framework of mutual friendliness, and she married the late actor Mahmoud al-Jundi and separated from him after less than two years of marriage.
Abla wore the veil, and became less involved in her work in light of the violent transformations of the Egyptian drama in recent years, but the audience searched for her and demanded her through social media, yearning for her and for the honesty, spontaneity and rationality she represents.