The end scene in the life of “Ismail Yassin” was not pleasant, cheerful, or expected in any way, but after all these years and rereading his history and transformations, we find that what really hurt “the human” Ismail Yassin was his transformation from a “monologue” to an “actor” and then ” Najm “the producers were racing for while his talent was no more than that of a monologue. And the illusion of the July Authority’s interaction with him continued with a series of films that made him a patient with him, and thus he was promoted as the star of the stage. But the popular awareness of the nature of the actor, the openness and awareness of the public in the next stage, and the cessation of support from the “July government” revealed the size of a talent that does not exceed several scenes in any drama.
It is the eternal crisis of those who are sometimes put in the forefront by chance for a temporary period that ends, so they fall sadly into the trap of the victim’s feeling, and they subsist for their day and night on their lost glory when in reality nothing but a coincidence gave them spaces beyond their capabilities. If Ismail Yassin understood the size of his talent and capabilities from the beginning, he would be able to live happy and end his life scene while he is satisfied with himself and others, but the temptation of money and stardom was much stronger than him.
Some believe that the coincidence of meeting adults or those with authority is a kind of good luck that only those who have happiness wrote to him, but the fact confirmed by the history of those who met these “adults” – especially political leaders – is that those who are associated with them get involved in a labyrinth from which it becomes impossible for him to get out. Thus, imprisoned infidels will continue to revolve until the end comes, either in the form that Ismail Yassin ended up in, or to the form that Suad Hosni ended up in, or what is more, where the disappearance is like vanishing without a trace.
The Free Officers … How did the revolution harness its stars?
The officers of July 1952 realized the importance of cinema in the life of society, and it was at the top of their priorities, with the aim of turning it into a propaganda machine for the political system, and its results were a series of films that talked about the forerunners of the revolution, perhaps the most prominent of which was the movie “Red My Heart,” which over the days turned into a document about The July 23 Revolution, one of the best films that dealt with the corruption of the monarchy, which was a strong reason for the revolution led by the Free Officers.
The goals of the revolution and preparing society for the new phase were also promoted with a series of films, including: “Cairo 30”, “Soft Hands”, “Sunrise and Sunset” and “The Land”, and anti-British films such as “In Our Home is a Man” and “No Time for Love”. It is known that Gamal Abdel Nasser, after the tripartite aggression, asked the artist Farid Shawky to make a film about the aggression, so he produced the movie “Port Said”, which monitors the issue of the city against the tripartite aggression against it.
The July Revolution chose its righteous sons who were delegates of power and its policies to the Egyptian people, including Abdel Halim Hafez, who until the death of Abdel Nasser was the poster child of the revolution, and every year there are parties to commemorate its resurrection on the night of July 23, so Halim is the first choice, and then others come after him. .
Abdel Nasser knew how to benefit from Ismail Yassin as a star with great popularity, and his films were the best propaganda for the army and the police at one point.
As for the field of acting, the July officers’ minds came up with the idea of presenting the famous Ismail Yassin series: Ismail Yassin’s films in the army, in the navy, and in aviation … which were mainly aimed at improving the image of the army and creating a popular creed that would make the army an area of pride.
Abdel Nasser knew how to benefit from Ismail Yassin as a popular star, and his films were the best propaganda for the army and the police at one point. On January 10, 1955, a special screening of the film “Ismail Yassin in the Army” was held at the “Diana” cinema in the downtown area, in the presence of the late President Gamal Abdel Nasser, and at the invitation of the owner of the Crescent Film Production Company, who thanked the army for the film’s sequences. The Army Music Band lined up on both sides of the road, and upon the arrival of “Nasser” to the concert some musical pieces were played, and the American Opera Band for the Negroes performed a song greeting the President according to the pages of the book “The King and Writing” by the writer Muhammad Tawfiq. Yassin, and after the film ended, Abdel Nasser congratulated the makers of the film, which he believed honored the Egyptian film industry.
Ismail Yassin loved the songs of musician Mohamed Abdel Wahab and repeated them from his earliest years
The first growing up .. from a well-to-do child to a homeless person
Ismail Yassin was born on September 15, 1912, and he was the only son of a well-off jeweler on Abbas Street in Suez City, and his mother died while he was still a young child, and he enrolled in a school, then continued in elementary school until the fourth grade. When his father’s goldsmiths shop went bankrupt as a result of his bad spending, then his father went to prison due to the accumulation of debts on him; The boy was forced to work calling in front of a textile shop, as he had to take responsibility for himself from a young age, then he had to leave the house for fear of his father’s wife’s abuse to work as a car caller in one of the parking lots in Suez. Ismail Yassin loved the songs of musician Mohamed Abdel Wahab and repeated them from an early age, and he dreamed of being a rival singer.
“Nusa” and “Badia” .. Did they realize his dream?
At the beginning of the thirties, he worked as a boy in a cafe on Muhammad Ali Street and stayed in popular hotels. Then he joined the work with the Usta “Nusa”, who was the most famous wedding dancer at that time. A living first.
Then he thought again about achieving his artistic dream, so he went to “Badia Masabni” after his artistic twin, friend of his life, and partner of his artistic struggle journey discovered him, the great comedian, “Abu Al-Saud Al-Ibyari,” who had formed a famous artistic duo with him and was a partner with him in the club Badia Masabni and then Cinema and theater, who was nominated by Badia Masabni to appoint him to her band, and indeed he joined her band to deliver monologues in her cabaret.
Ismail Yassin succeeded in the art of monologue, and remained brilliant in this field for ten years
AT (1935-1945) until he became a monologue on the radio for four pounds for one monologue, including the fee for composing and composing, which was always composed by his artistic twin, Abu Al-Saud Al-Ibbari.
Ismail Yassin formed a band bearing his name in partnership with his artistic twin and his artistic career partner, the great author Abu Al-Saud Al-Ibbari
Big mouth is the key to success!
In 1944, Ismail Yassin’s talent attracted the attention of “Anwar Wagdy,” so he used him in most of his films. Then, in 1949, he produced the first absolute starring in the movie “Al-Nassah” in front of the new face of Majida.
Yassin was able to be a box office star that fans flocked to, and the years (1952-1954) were his golden age, as he represented 16 films in one year, a number that no other artist could achieve.
Although Ismail Yassin did not enjoy the handsome and beauty, which are the usual qualities of net stars at that time, he was able to attract audiences to him when he was mocking his appearance and his large mouth in most of his works. Thus, he was able to jump to the first ranks and reserve a prominent place, which prompted the producers to contract with him on new films, to become the only hero whose films are associated with his name until he reached the top.
In 1954, Ismail Yassin participated in drafting the history of the Egyptian comic theater, and he formed a group bearing his name in partnership with his artistic twin and partner of his artistic career, the great author Abu Al-Saud Al-Ibyari, and this group worked for 12 years until 1966 during which more than 50 plays were performed almost daily. And they were all written by Abu Al Saud.
Ismail Yassin presented a series of films with director Fateen Abdel Wahab, then followed it with a group of Ismail Yassin films in the police and in the aviation
The revolution is investing in an actor
Beginning in 1955, Ismail Yassin and his twin Abu Al-Saud and director Fateen Abdel-Wahhab created a trio of the most important trios in the history of Egyptian cinema and the history of the three of them as well, and they worked together in many films.
It is noteworthy that 30% of the films presented by the comedy star was behind the director Fateen Abdel Wahab, and most of them bore the name of Ismail Yassin, as films were produced for him in his name after Laila Murad, and among these films Ismail Yassin in the Wax Museum, and Ismail Yassin meets Raya and Sakina, and Ismail Yassin In the army, Ismail Yassin in the police, Ismail Yassin in the aviation, Ismail Yassin in the Navy, Ismail Yassin in the Majaneen Hospital, Ismail Yassin Tarzan and Ismail Yassin for sale, and most of these films were written by Abu Al Saud.
He was accompanied in these films by the actor Riad Al-Qasabji, famous for Chawish Attia, as their scenes were an important stage in the history of comedy that the audience enjoys until now due to the strange paradoxes, natural situations and pranks that they manage for each other, and the representation in some of these films, Abd al-Salam al-Nabulsi.
Shadia met Ismail Yassin in about 23 films between (1949-1954), an average of no less than three films per year. The first meeting between them was in “Kalam Al-Nas” movie, and then they met again in the movie “Her Malayalam”, and their success together had the greatest impact, which made the producers and directors unite them, so Ismail Yassin had a prominent role in Shadia’s films even if he was not the main hero of the film. .
Among the films that they have collected also include “Fel Hawa Sawa”, “My Mother’s Atomic Bomb,” “The Adventures of Ismail Yassin,” “Injustice is forbidden,” and “Join me with the Maazoun.” The film “The Women Don’t Know Yeqebwa” is the last film that brought them together in 1954, with Shukri Sarhan and Zaynat Sidqi.
Ismail Yassin represented with many actors and singers, he spent a long time in the role of the second man or the supporter of the hero until the opportunity came to become a hero. Al Qasri and Abdel Salam Al Nabulsi.