In the Moroccan colloquial dialect, the singer Asmaa Lamnawar begins her new song with this sad initiation: “When will we pay for it? How are the people? My life is back, hopefully we will do it okay”, and in classical Arabic it means “When will I become like the rest of the people? My life is back, if God willing, in the future I will be fine.”
The song continues its burning and drama with the rest of the words, where the grieving heroine dreams of joy, and a sense of life in her again, after long boredom and the oppression of a time that only led her to an abandoned road.
Asmaa Lamnawar was skilled in performing the song for the introduction to the series “Banat Al-Assas” (30 episodes) directed by Idriss Al-Roukh. The series received a record follow-up during the month of Ramadan, until its viewership sometimes exceeded eight million viewers, or more than 52% of the viewers. Total views of the first Moroccan channel in Ramadan.
It can be said that the lyrics of the song, with their deep feelings and a sad dramatic tinge; The general anecdotal and anecdotal structure of the “Banat Al-Assas” series, whose intertwined plot is based on social issues that go deep into representations of pain, worries, breaks, love and dreams, are summarized.
The series “Banat Al-Assas” is the product of aborted dreams in the infancy of groups of society, and the aspirations of people who live hallucinations of deprivation and psychological and family torment, and they live in the underworld, with its grudges, intrigues and grudges, but they are looking for a hatch of light for life.
The series was produced by “Disconnected”, an idea of Ibrahim Ali Boubakdi, a script by Bushra Malak and Hisham El Ghafouli, and the performance of a number of stars, perhaps the most prominent of them are Mona Fatto, Souad Khoei, Donia Boutazot, Aziz Al-Hattab, Mohsen Malzi, Abdel Rahim Al-Tamimi, Fatima Harkat, Sandia Taj El-Din, Sarah Fares and Mansour Badri. And he emigrated Sadouqi, Amina Chefchaoueni, Abdelkader Aizoun, Camelia Rak and others.
Director Idris Al-Rouk excelled in technical terms and directorial vision, from embodying the various scenes of the tight and interesting scenario on the ground, to choosing the actors, each according to his task in time and place to perform his duty as it should, in search of a dramatic break in which there are many silences, sorrows, dreams and tears.
Idriss al-Roukh did not expect his series to achieve such interaction and response with the audience, given the diversity of television packages and the large number of Moroccan dramatic productions, and their competition to occupy the first ranks in viewing.
The series was able, with a flood of flowing emotions, to garner a lot of attention and celebration, as it was crowned with the grand prize of the Meknes TV Drama Festival in its tenth session, and it was also honored by the Moroccan magazine Sultana recently, as well as being crowned with the title of “Best Series in the Maghreb”, according to the classification of “Site” ETbilarabi “(etbilarabi.com), which is the first Arab reference for artistic news and news of stars in the world of art, entertainment and celebrities in the Arab world and in Hollywood and Bollywood.
What is the secret of the audience’s interest in the series “Banat Al-Assas”, compared to other television works that may be similar to it in posing different social issues, and how was the director able to reconcile between the subject, choosing the actors and respecting the script?
Perhaps the audience’s interest in the series is mainly due to the strong script plot that drew its first plots from the lived Moroccan social reality. The more the works were inspired by real lived stories, and their portrayal was executed in a beautiful artistic way without falling into the stereotypical narrative improvisation; She was closer to the people and they sympathized greatly with her, which is what happened with Banat Al-Assas.
Director Idriss El Rokh accompanied by actress Souad Khoei during the filming of the series
The guard’s daughters from the Bedouins.. Casablanca challenges
In a reading of the title of the series, “Daughters of Al-Assas,” it becomes clear that it is related to girls and men who engage in a craft that can be lowly and despicable, namely guarding with what it has and what it owes, and what the guard has from the affliction of gambling and addiction, and the feelings that his daughters possess towards their father who is out of obedience to God.
The poor and needy family consists of a number of females without males, because of the male role in helping the father, and their importance in a ruthless society, and in return for the weakness of females and harems, and their inability to cope with the passage of time and the difficulties of life.
The poor family – who is living in difficult conditions in the Badia – is able to settle in a giant city, Casablanca, with a desire to improve their social and financial conditions, and to forget the bitterness of deprivation, humiliation and humiliation and the miserable life that the family lived in the Badia.
When the poor family comes to the city, the single father who provides for the girls works as a guard, while the mother works as a maid and a cleaner for one of the wealthy families, and they patiently continue their work despite the difficulties, due to the costs of life in the city and the behavior of its people and the social differences between the poor and the rich.
Idriss El Rokh with actors Mohsen Malzi and Aziz El Hattab
Prison, death, birth and marriage… the intertwining of events
With the series’ events, intertwined events surface on the surface, perhaps the most prominent of which is the death of the mother, the expulsion of the two daughters from the operator’s house, and the imprisonment of their father in an unfair case, as well as the birth of the third girl, the marriage of the older sister, and the upbringing of the younger girl, and the rest of the scenes follow with a lot of suspense, shock and pain. and tears.
In the midst of these intertwined events and poignant facts, director Al-Roukh makes of the television picture a par excellence event that is deeply rooted, to unveil the bitter reality experienced by many Moroccan families, and in their dreams of moving to the city to improve their situation, but they collide with the reality of a matter.
This context is a virtuous system on many social topics and issues, perhaps the most prominent of which are human enslavement, the inferior view of the poor, and the oppression of the rich on the needy.