Moroccan heritage drama has recently been able to attract a large number of viewers inside Morocco, especially after this drama has resorted to the Moroccan heritage, with its rich folk stories and stories that have an impact on the consciousness of Moroccan society, in the past and in the present.
The viewer finds in these series some of the missing nostalgia in his relationship to his historical and civilized past represented by the immaterial heritage and its arts such as folk theater, proverbs, jokes, stories and other artistic components that are present within these Moroccan works. Read also Political projections and human stories … the most important historical works in Syrian drama Thus, terror, violence and death swept the Iraqi drama during Ramadan Tunisian drama.. from popular storytelling comedy to Hollywood violence”Libyan Drama” … an artistic revolution that breaks the shackles of tyranny, war and terrorism
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The series “Hadidan” remains at the forefront of the most famous works within the consciousness of the Moroccan viewer. This series was able to enter the hearts of Moroccans, due to the dazzling performance of the Moroccan actor Kamal Kazemi, who for years embodied the role of “Hadidan” with a lot of ingenuity in terms of performance.
Kamal Kazemi was able, with his artistic talents, to penetrate into this historical figure and push her to prominence as an influential figure in the viewer within Moroccan drama by playing with the sound and the strength of the body in identification with the dramatic events. https://www.youtube.com/embed/SiGzws3ABxM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=ar&autohide=2&wmode=transparent
Knowing that there is nothing new about Hadidan’s character at the level of imagination. The character does not change in the quality of her clothing, performance, and inability to develop and color, not only from one episode to the next, but from one season to another.
Many critics and journalists who follow the dramatic affair admit that there are small problems in writing, represented in the author’s focus on the character from the external, ironic and comedic side, after having won the viewer’s recognition for years, at the expense of the aesthetics of the story and not relying on its crude and direct sin in the hierarchy of events and excess. In the element of narrative suspense and its ease.
Fifth season
According to the numbers announced in the past few days, the series “Banat Al-Assas”, directed by Idris Al-Rukh, is at the forefront of Moroccan drama, to the point that “Hadidan” has not come close to the level of views of “Banat Al-Assas” and the reason is not due to the period in which it is shown Hadidan with Midnight, as some writers have said.
But the reason, mainly, is that people can no longer tolerate a series for 5 consecutive years, despite the emergence of popular characters and new faces within the series, which this year fell into a lot of visual profiling and repetition based on the level of scriptwriting, in front of the effort of author Ibrahim Ali Boubakdi, Who was keen in many times to travel in the history of Moroccan society, search for words, phrases and sentences circulating in the collective imagination, and try to synthesize them with contemporary discourse, so as not to make the viewer feel a kind of boredom at the level of receiving a dialect that he does not understand.
Apart from the topic of the trend within Moroccan drama, Hadidan has become an important and symbolic figure within the Moroccan collective imagination, when the heritage character succeeded in surprising the audience with her mocking misfortunes and comedic plots, which Hadidan weaves for people within his tribe.
The author and director decided to return the character in its fifth season, towards his hometown, in order to liberate “Bint Al-Haraz” from some of the rebels, at the request of the Emir. From this standpoint, Hadidan dives into a series of dramatic events and comedic situations with a constellation of the tribe’s inhabitants, practicing his cunning tricks, in order to achieve victory over everyone who obstructs his path.
The symbolism of two iron
Hadidan’s biography and personality include many ready-made stereotypes, which present the character as being adept at lying, deceit, and deceiving people. These qualities are as much comic as they are, and remain reprehensible at the level of Moroccan public interaction, until the name of the character and its “satanic” actions have become known to every liar and hypocrite who uses people as a ride to reach his personal interests.
The admiration and interaction of the viewer remains confused at the level of understanding, especially since the series and its various episodes since the first season, resort to the language of imagination, but the Moroccan heritage forms the strong crowns on which the act of imagination is based, which justifies some of the character and its actions within different periods of history, but He gave it a lot of legitimate artistic exaggeration, which makes the work indulge in the aesthetics of fiction, instead of historical and realistic rotation.
Has the character of “Hadidan” succeeded over the past years, because of the aesthetics of the series, artistically and aesthetically, or because the Moroccan viewer finds in this heritage drama nostalgia for his past and artistic heritage?
There is no doubt that the answer to such questions remains difficult and differs from one viewer to another, by virtue of the psychological, political, social and cultural dimensions he controls. However, what can be agreed upon is the inability of director Mohamed Nusrat, in his fifth season, to influence the Moroccan viewer. Despite the various efforts made at the level of photography and accessories.
Soon, it falls into a series of iterations at the level of framing scenes and excessive portrayals, and sometimes they are used more than once and within one scene. In order to achieve its desired success.