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Mayor Salah Mansour .. “Abu Martyr” who holds the heart of an innocent child

Cairo – “Do not cry and do not suffer, I lived my life, I hate seeing tears in your eyes, and I do not like to leave you while you are sad,” said the late artist Salah Mansour to his son and his wife, who conveyed this phrase about him, while he was on his deathbed with cancer. The artist was admonishing his family members who kept fighting Their tears mourned him, before he bid farewell to life on this day in 1979.

The late artistic journey began with his artistic birth on the school stage in 1938 when he was 15 years old, then he graduated from the Institute of Acting in 1947, which included the most prominent stars of the fifties and sixties, such as Farid Shawqi and Shukri Sarhan.

A number of his classmates became famous, but Salah Mansour, a colleague of these stars, remained unknown, offering secondary roles that did not highlight his true talent, although he preceded them while he was still a student to play a small role in the movie “Gram and Revenge” in 1944.

It took a long time for the talent to appear in an appropriate role, so that before playing the role of extras behind big stars for a period of time, and even these roles drew attention to him, especially as he played a crazy role behind the late comedy star Ismail Yassin in the scene of his famous song in the crazy hospital, then he performed with secondary roles before the first opportunity arises that puts him on the first rung of the big launch.

A colleague pushed by Farid Shawqi participates in a small, but important role, in the movie “The Beginning and the End”, the role of a grocer who deceives the heroine of the film, the late star Sana Jamil. The most important milestone in his artistic career, which made him a different artist from his generation.

Another classmate of his class, who became a star in the 1960s, Shukri Sarhan, stars in one of his most important films, The Second Wife.

Despite what the name of the film appears to be from a social tendency, it was political par excellence, and critics went as a reference to the crisis of the regime of the late President Gamal Abdel Nasser, where the sterile tyrannical mayor regime, which must suffer a shameful defeat in the end, as happened to the regime of Abdel Nasser. Nasser was defeated in June 1967.

And as happened to the tyrannical mayor, when an ordinary woman from the people triumphed over him, and she kept preserving the legitimacy of the relationship with the man with the real legitimacy, the original husband, there is no value for official papers here, no matter how much the policeman, the clergyman, the policemen, and the false witnesses colluded with it, in order to make it a basis for usurping power – the authority of the husband On the wife – for the benefit of the one who has influence and money, which is the mayor Atman or “Salah Mansour”.

A role that Mansour played at a level that some critics considered tiring for his successors, with this astonishing mixture of evil that is funny to the point of comic, but remains a harmful and destructive evil based on compelling authority.

Critics and followers believed that the explosion of Salah Mansour’s enormous capabilities was needed only by a director from the pioneer model of cinematic realism, Salah Abu Seif, who used the late artist in two of the 100 most important films in the history of Egyptian cinema in the 20th century: “The Beginning and the End” and “The Second Wife”. .

And just as Abu Seif blew up the reservoirs of glow in “Mansour”, he succeeded in highlighting other abilities for him in the movie Case 68, in the role of a good man seeking reform and goodness; Another area in his distinguished performance that Mansour did not use to embody it later, and the directors remained convinced of him as an exploited villain, as he convinced everyone to do so in his previous films.

Salah Mansour returns to play new roles, in which his explosive talent does not stand out, even in important films such as Qandil Umm Hashem, Nof and Three Eyes, and he also presents a number of series and plays. The directors keep limiting him to the roles of the villain, which made his study companion and his most important film, Shukri Sarhan surprised, as he talks about the lightness of Mansour’s shadow and the wit in his ordinary life in a way that makes him laugh, wondering with disapproval in one of the television interviews why he was not used in comedic roles.

The late artist Shukri Sarhan recounted a funny story in the meeting, as they were at a funeral they attended to listen to the voice of the reciter Mustafa Ismail, when Mansour reached the point of reciting the extent of the sheikh’s cheers at the funeral, so the people of the two deceased sang him, reminding him that it was the condolences of two young brothers who died in an accident, so Salah Mansour’s money On the permission of Shukri Sarhan, he mentioned a sarcastic phrase he used to perform in a play, and had it not been for the Sheikh’s intervention, he would have been expelled.

Apart from the novelty of the story, it refers to a prominent spiritual aspect in the character of Salah Mansour. If he was famous for him, the directors would have chosen him for him, as those close to the late artist knew Sheikh Mustafa Ismail in particular, so he used to go to him daily to Abdeen Palace, where he read the Qur’an throughout the month of Ramadan. He used to call the sheikh at his house to find out the place and time of his next reading, whether on a funeral or any occasion, to follow him around the country.

The artist gets excited by recitation to the point of uttering something that is not appropriate for the sad occasion sometimes, and among these phrases are “Say, honey, say.. say violin and the prophet,” and also “Oh, how did you come to this.. you did that, how did you do this,” according to what the late writer Mahmoud Al-Saadani saw in His book “The Road to Zamsh”.

And as stated in the book “Najib Mahfouz’s Nights in Shepherd” by Ibrahim Abdel Aziz, who quoted Mahfouz as saying that he once attended a recitation by Sheikh Mustafa Ismail and Salah Mansour got along until he got up on the phone, “Oh, my brother, this sweetness.” Despite this spiritual aspect, his religious works were rare, such as his role in the series “On the Margin of the Seerah”.

Journalist who loves art

There are other aspects of his personality that lurk behind the personality of the mayor of evil in Egyptian cinema. The late fluctuated between a group of works. At first he worked as a journalist for a short period in Rose El-Youssef magazine. He also formed the “Free Theater” troupe, which presented several plays that did not gain the appropriate fame, as well as A group of works directed by television and radio.

In parallel with all this, he retained his government position, implementing the will of popular proverbs that stresses joining the government’s “miri” work soil to ensure material security. Until his death, he remained in the Ministry of Education, an advisor in the Ministry’s Department of Theatrical Education.

The late won several awards that confirmed his distinguished position in acting, and concluded by receiving the State Appreciation Award from the Academy of Arts in October 1978, in celebration of Art Day.

This award comes after the departure of his second son, and after many years in which the artist struggled to save the son from illness, he spent all his savings on treatment, and the treatment allocations ran out at state expense, and he had arrived on a long treatment trip to London, and agreed with the presence of the late President Anwar Sadat There at that time, Salah Mansour met him and pleaded with him to continue treating his son at the expense of the state. Sadat accepted and signed the request in front of him, in his honor, as he is the father of the October 1973 war martyr, who donated his son’s pension to the armed forces.

The death of the second son was a new tragedy in the family, which delivered the artist to a journey of physical troubles; The impact of the son’s separation was different this time, unlike what happened at the martyrdom of his first son, who was so happy when he said goodbye that he distributed sweets to neighbors and passersby, repeating, “My son is a hero, my son is a hero.”

The artist buries his two sons, who were saving them to bid him farewell at the end, then begins the final journey, and falls ill.

Tragedies devoured the outcome of his government work and artwork. He did not leave a fortune for his family, so his widow was forced to request an exceptional pension from the state, which was approved, in appreciation of the late.



Reference-www.aljazeera.net

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