Adel Mohammed Emam (Arabic: عادل إمام; born on 17 May 1940),[1] is an Egyptianfilm, television, and stageactor, known for his extensive career with over 150 artistic works, including films, plays, and television series spanning comedy, social, and political genres.[2] He is regarded as one of the leading figures of the second generation of comedy artists in Egypt and the Arab world.[3] He is primarily a comedian, but he has starred in more serious works and, combined comedy with romance especially in his earlier secondary roles in films such as My Wife, the Director General, My Wife's Dignity, My Wife's Goblin and Virgo, all films starring Salah Zulfikar.
Adel Emam stands as a towering figure in Egyptian and Arab cinema, celebrated for his versatility across genres. Starting in the 1960s, he became one of the most well-known figures in the industry. Adel Emam earned a bachelor's degree in Agriculture from Cairo University. Since then he has appeared in over 103 movies and 10 plays.[4] Emam's personal life is connected to the world of arts. He is married to Hala El-Shalaqani and has three children, including director Ramy Emam and actor Mohamed Emam.
His contributions to the Egyptian film industry and theatre through addressing social and political issues in film and television earned him a cult following and a worldwide reputation that made him one of the most influential Arab public figures in the 1980s and 1990s. Adel Emam is considered by a huge mass of cult followers as a cultural icon in the history of modern Egypt.[5][6]
His career is marked by many awards solidifying his place as an icon of Arab cinema. He has received critical acclaim and international recognition, including Lifetime Achievement Awards and accolades from major festivals. Beyond acting, Emam is known for challenging societal norms and reflecting the culture of his time. His work remains influential, highlighting his lasting impact in a changing world. In January 2000, the United Nations appointed Emam as a Goodwill Ambassador for UNHCR.
Personal life
Early life and education
A photo of Cairo University, showing the university's theater (the Grand Celebration Hall), where Adel Emam trained on stage in his youth.
Adel Emam was born into a poor farmer family on May 17, 1940, in the Sayeda Aisha district of Cairo,[1] but his family's origins trace back to the village of Shaha in the Mansoura district of Dakahlia Governorate. His full name is Adel Mohammed Emam Mohammed Bukhariny (Arabic: عادل محمد إمام محمد بخاريني). Adel Emam mentioned that he loved his mother deeply, and was profoundly affected by her death.[7] His father, Mohamed Emam, was religious and worked as a "Shawish" in the police force.[1] His father passed away in 1997 after suffering from Alzheimer's disease for some time.[8] Adel Emam has one brother and two sisters. His brother is the producer Essam Emam, and his sisters are Eman and Mona.[9]Mustafa Metwalli is his brother-in-law, being married to his sister Eman Emam.[1]
During his childhood, Adel moved with his family from the Sayeda Aisha district to the Helmiya district, then to Omrania district in Giza, then to Mohandiseen, and later to Mansouria.[1] Adel studied at Helmiya School before transferring to Benbaqdgan Secondary School and then to Marqosiya Secondary School in Alexandria. After completing school, he joined the Faculty of Agriculture at Cairo University, where some of his batchmates included actor Salah El-Saadany and former Syrian Prime Minister Mahmoud Al-Zoubi.[10] Adel Emam stated on a talk show hosted by Hala Sarhan that Amin Shalaby and the late Younes Shalaby as well as Saeed Saleh and Salah Al-Saadani were his best friends since university.[11] He began his artistic career at Cairo University's theater, where he worked in theater and cinema. He participated in the play Ana Wa Howa Wa Heya (1963) during his third year at university.[12]
His marriage and family
Adel Emam has been married only once, to Hala El-Shalaqani, a union that began in the mid-1960s and has lasted to the present day. In various interviews, Emam has discussed the story of his marriage. He revealed that he was initially not interested in marriage, but his wife, who came from a wealthy, land-owning family with ties to the Liberal Constitutional Party, was determined to marry him despite the challenges posed by their different social backgrounds. Emam noted that it was difficult for her to marry someone with his status as an actor in minor roles. In another television appearance, Emam shared that their relationship evolved naturally. He and his wife were once at the home of their friend, Samir Khafaga, when the door unexpectedly opened, and Emam saw something that brought him joy. Despite those around them trying to flirt with her, he refrained, explaining that he did not know how to flirt.[13]
His wife, Hala, spoke about their early relationship in an interview with media personality Mufid Fawzy. She mentioned that she had insisted on marrying Emam, as he was initially shy and apprehensive about entering into a new relationship. She recounted, "He once told me that he wasn’t thinking about marriage at all."[14] Emam also reflected on their modest beginnings, stating that they decided not to have a wedding ceremony in order to save money for more important things. They gradually built their life together, starting with a chair, then a refrigerator, and eventually a stove, as they established their home. In another interview, Emam mentioned that the union took place without the approval of his wife’s family, as they had rejected the idea due to his status as a film extra. He also said: "God loves me because I married Hala".[15]
Emam has three children: the director Ramy Emam, Sarah Emam, and Mohamed Emam, who also starred in the movie The Yacoubian Building as Taha ElShazli. He also has eight grandchildren. Three of them, Adel, Ezz El-Din, and Roqaya, are Rami's children; three daughters, Hala, Camellia, and Amina, are Sarah's; and two daughters, Khadija and Qismat, are Mohamed's.[16] Rami's wife is named Yasmine, Sarah's husband is Ahmed Mokbel, and Mohamed's wife is Nouran Talaat.[17][18]
Adel usually spends his summer days with his children and grandchildren in a villa designated for them on the North Coast. He enjoys reading and has a large library in his home, considering reading an essential part of his daily routine. He also has a special hobby of planting and taking care of plants, due to his academic background, as he graduated from the Faculty of Agriculture.[19]
Net worth
There are no official estimates regarding the exact size or amount of Adel Imam's wealth, but some media reports suggest it is valued in the millions of dollars, making him the richest actor in Egypt with a net worth of 100 million dollars.[20][21]
Acting career
1962–1969: Early career breakthrough
Adel Emam began his career in the 1960s, making his debut in 1967 with small roles in films.[3] He launched his career in theater in Ana w Howa w Heya (1962) with Fouad El-Mohandes and Shwikar.[22] In cinema, his early work included roles in films like My Wife, the Director General (1966), My Wife's Dignity (1967), and his first significant role came in My Wife's Goblin (1968) with Salah Zulfikar and Shadia.[22] He was part of the younger generation of actors who emerged during the 1960s, which was a time of social and political change in Egypt. He was known for his charming screen presence and his ability to perform both comedic and dramatic roles.[22] Despite his simple roles, he emerged as a prominent face and a distinctive mark among comedy actors, and this caught the attention of the great writer Mahmud Sadani, who praised him in his book The Comedians in 1969, with sentences saying:[23][24]
If Adel Imam realized how talented and in demand he is, he would have saved himself from the trap set for him. If he didn’t quickly escape from this narrow corner he was placed in, to roles of light-hearted villainy, the charming conman, a mix of Richard Widmark and Clifton Webb, a blend of Tawfik El-Deken and Fouad el-Mohandes, a concoction of Hassan Yousef and Abdel Moneim Ibrahim, even if Adel failed to escape this fate, even if he remained stagnant in supporting roles, it would not diminish his talent, nor undermine his stature as a brilliant, talented, and great artist.
— Mahmud Sadani, The Comedians (1969), p. 167
1970s: Rise to fame
Adel Emam (left) with Abdel Halim Hafez while recording Please, do not get me quickly (Arabic: أرجوك لا تفهمني بسرعة) in 1973.
In the early 1970s, Adel Emam became more prominent and gained a reputation for his comedic and versatile acting style.[25] His career reached a new height with films like Virgo (1970) with Salah Zulfikar in the lead. He shared the lead with Mervat Amin and Samir Sabry in Searching for the Scandal (1973).
The early 1970s saw Emam take on roles in films that explored themes of love, youth, and societal pressures.[26]Bahibek Ya Helwa (1970), in which Emam starred alongside Hassan Youssef and Nahed Sherif, was a romantic comedy that capitalized on the youthful energy and charm of the lead actors. This film reflected the societal changes of the time, focusing on the emerging youth culture and its influence on relationships. By the mid-1970s, Emam had established himself as a household name in Egyptian cinema. His roles in comedies and theatre, such as Madraset El Moshaghbeen (1973), helped cement his place as one of the leading comedic actors of the time.[27] In Madraset El Moshaghbeen, Emam’s portrayal of Bahgat El Abasery, a mischievous and humorous character, resonated with audiences and became one of his most iconic roles.[28] Also, in 1976, Emam performed one of his most powerful plays, Shahed Ma Shafsh Haga "Witness Who Saw Nothing", With Omar Al-Hariri and Nahed Jabr.[29]
1980s: Versatile roles
Emam in the 1980s
The 1980s marked a period of both professional growth for Emam, as he took on various characters across genres between comedy and drama. One of his notable films during the early 1980s was The Suspect (Arabic: المشبوه, 1981). The 1981 film Al-Mashbooh marked a significant turning point in Adel Emam's career, shifting from comedy to action and crime. The film explores themes of societal chaos, economic struggle, and personal redemption in the early 1980s, as the protagonist, Maher Al-Nemr, grapples with his criminal past and attempts to build a better future. The soundtrack by Hani Shnouda played a crucial role in intensifying the film's dramatic tension, blending music with the narrative. The movie not only showcased Emam's acting range beyond comedy but also set the stage for successful collaborations between him, Seif, and Shnouda in future films. It also symbolized a shift in Egyptian cinema towards realism and social commentary.[30]
Adel Emam's diverse roles in 1980s show his versatility as one of the industry's most influential figures.[23] In the 1980s, he was one of the highest-paid actors, and his films garnered the highest box office earnings during that period.[23][31] His on-screen chemistry with actress Soad Hosny, another iconic star, added a unique charm to their collaboration in films like Love in a Jail Cell (1983). In The Street Player (1983), Emam’s portrayal of a character who blends humor with social commentary marked a pivotal moment in his career. The film's success further established him as a central figure in Egypt's evolving cinematic landscape. Additionally, Emam starred in Smart but Foolish (1980), a light-hearted comedy.
Moreover, in The Human Lives Only Once (1981), Emam depicted a man undergoing a transformation after personal trials, combining humor with emotional depth. Similarly, in At the Minister’s Door (1982), he portrayed a character struggling with the absurdities of bureaucracy while seeking a government job. Known for his sharp comedic timing, Emam masterfully infused humor into the frustrations of dealing with corruption and inefficiency.
Hamada and Tutu’s Gang (1982) marked a departure from his typical comedic roles. His performance brought a mix of action and comedy, as he portrayed a character caught in a world of crime and chaos. In The Beggar (1983), Emam played a man who, after a life of wealth, finds himself on the streets as a beggar. The film was an important social commentary on the plight of the poor.
Adel Emam acted in a unique experience in 1984 in his film So That the Smoke Doesn’t Fly. It is based on the novel by Ihsan Abdel Quddous, Emam portrayed a man who navigates the complications of addiction and personal life. His performance was marked by emotional depth as he handled both the personal turmoil and societal judgment.[32] Another unique film was The Humans and the Jinn (1985). It was Emam’s only foray into the horror genre, where he played a man caught between the worlds of humans and supernatural entities. He bring a unique touch to a genre that was not common in Arab cinema at the time. Emam also participated in theatrical production Al-Wad Sayed Al-Shaghal (1993), where he played the character of Sayed, a charming and witty young man navigating the complexities of love and social expectations. The play premiered for the first time on July 20, 1985, and continued its run for 8 years until 1993. According to several critics, it is considered one of the best Arabic plays.[33][34]
1990s: Career peak
The 1990s marked the peak of Adel Emam's career, as he reigned over the Egyptian cinema, being the highest-paid actor and the number one star in Arab cinema.[35] His collaborations with directors like Sherif Arafa produced iconic works such as Terrorism and Kebab (1992), though technically just outside this decade, and Jazeerat al-Shaytan (1987). Emam’s style in the 1990s was often characterized by strong social criticism laced with humor. His performances in these films resonated with wide audiences across the Arab world, earning him massive popularity.
During an interview between Adel Emam and the journalist Mufid Fawzy behind-the-scenes of the movie El-Mansi (1993), Adel Emam said: "Time is my only competitor".[23] He confirmed that he does not focus on anything other than his work and clarified a fundamental truth, which is that time is his only competitor due to his intense desire to give everything he has. Therefore, he is always busy with his projects and often presents more than one film in a year, in addition to performing a play on a daily basis.[23]
In the 1990s, Adel Emam maintained his dominance in the Egyptian film industry. He continued to take on socially relevant roles that reflected the political and social realities of Egypt. One of his most famous films from this era is Al-La'ib Ma'a Al-Kibar (Playing with the Big Boys, 1991) which is a black comedy in which Emam starred as an ordinary man who gets entangled with powerful individuals in a game of high stakes. The film's satirical tone was a commentary on the power dynamics and corruption within society. Another famous film is The Terrorist, which was one of Emam's most critically acclaimed works, combined humor with a profound social and political message. The movie focused on a terrorist who seeks redemption, and Emam's portrayal brought depth to a character who was tragic. In 1998, Emam took on the role of a man who becomes an unlikely hero after being asked to deliver an important letter to a corrupt governor in Risala Ela Al-Wali (1998).
Adel Emam earned the title of Al-Zaeem "The Leader" after mastering his role in the play Al-Zaeem (1993), in which he portrayed a role that resonated with themes of political power and leadership. Adel Emam was the number one actor in the Arab world during the 1980s and 1990s.[4]
2000–2023: Continued prominence
Adel Emam on February 2, 2006
The 2000s saw Adel Emam evolve into an elder statesman of Egyptian cinema. He continued to act in both films and television series, maintaining a strong presence in Egyptian entertainment. One of his key films from the 2000s was The Embassy in the Building (2005), where he took on the role of a man who gets caught up in a political thriller involving international intrigue. Emam played a Cairene everyman inconvenienced when the Embassy of Israel moves into his apartment building. In the following year, Emam was one of the ensemble cast of The Yacoubian Building, a film reputed to be the highest-budgeted in Egyptian cinema and adapted from the novel of the same name. The story is a sharp look at contemporary Egyptian life through the prism of a faded downtown Cairo apartment building. Emam portrays an aging roué whose misadventures form a central strand of the film's complex narrative.[36][37]
Emam was an important national figure in Egypt largely because of the Egyptian political roles he took on in many of his films and plays, he always focused on Egypt's politics and religious problems. These roles, whether he intended it or not, often put him in a critical position vis-à-vis the president or the government, such as The Terrorist (1994) alongside Salah Zulfikar in Zulfikar's final film role. He has been cast several times by the producer Emad Adeeb in movies like Morgan Ahmed Morgan (2007), and Hassan and Marcus (2008) starring Omar Sharif.
Retirement
On January 21, 2024, it was officially confirmed that Emam has retired, as his son, Rami Emam, stated that his father decided to step away from artistic endeavors to dedicate his time to family life. He retired from acting after a 60-year career.[38][39][40]
Adel Emam speaking at the Cairo International Book Fair in 2000.
Adel Emam has significantly influenced societal and humanitarian efforts beyond his career in the arts. Emam has also been an advocate for political and social progress in Egypt. He was an outspoken support for democratic principles and freedom of expression during periods of political upheaval. Furthermore, he has been active in charitable work, notably in healthcare and education. He has contributed to funding hospitals and educational initiatives aimed at improving the quality of life for marginalized communities.[41] Adel Imam makes donations and provides assistance to those in need without publicizing them. He prefers these charitable acts to remain "private," away from the spotlight and media, without any fanfare.[19]
In recognition of his humanitarian contributions, Emam was appointed as a Goodwill Ambassador for the United Nations High Commissioner for Refugees (UNHCR).[42] This role allowed him to support the rights and needs of refugees and displaced individuals. By using his widespread fame, he participated in numerous campaigns and events to raise awareness about the plight of refugees.[43] When Adel Emam became Goodwill Ambassador he said:
In many of my films I fight against discrimination and raise awareness about poverty and social problems – issues that need to be addressed but which are often not discussed easily.[42]
Emam’s political influence extends to his cinematic work. He has explored pressing local and regional issues. His films have addressed topics such as terrorism, sectarian violence, and the Israeli–Palestinian conflict. A prominent example is his 1994 film The Terrorist, which delved into the impact of extremism. The film’s release coincided with a notable incident: the attempted assassination of Adel Emam by Muhammad Kroum, a former member of an extremist group. Kroum revealed that he was tasked with assassinating Adel Imam because of his film The Terrorist, which raised awareness among young people about jihadist movements.[44] This highlighted the controversial and impactful nature of Emam's work. Many of today's stars acknowledge Imam's credit for giving them golden opportunities at the beginning of their artistic careers, and it is said that he does not only offer advice and guidance, but also seeks to provide actual support by providing job opportunities and participating in artistic works.[19] Randa Abu al-Azm, director of Al Arabiya’s office in Egypt, remarked during an interview on Al-Hekaya with Amr Adib on MBC Masr: "We could produce twenty successful documentaries about Adel Emam".[45]
Legal challenges and controversies
In February 2012, Emam was sentenced (in absentia) to three months in jail for offending Islam.[46] Emam said he would appeal the sentence.[47] On September 12, 2012, Emam won his appeal when a Cairo misdemeanours court cleared him of defaming Islam in his films.[48]
^زكريا, عصام (2022-03-01). "عادل إمام... ثورة بهجت الأباصيري!" [Adel Imam... The Revolution of Bahgat Al-Abasiri!]. باب مصر (in Arabic). Retrieved 2024-12-13.
^المُصّوَر (in Arabic). موسوعة دار الهلال. 1989. p. 25.
^"حين ألوذ بموسيقى "المشبوه"" [When I Seek Refuge in the Music of "Al-Mashboh" (The Suspect)]. اليوم السابع (in Arabic). 2021-06-02. Retrieved 2024-12-14.
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