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The Lead Swedish-Egyptian film-maker Tarik Saleh has long been a brilliant satirist of the corruption and shabby political compromises and conspiracies of post-Mubarak Egypt. Now he brings us the third of his “Cairo trilogy”, after The Nile Hilton Incident in 2017 and Cairo Conspiracy in 2022. This new film is a seductive black-comic political thriller set in Egypt of the present day, showing us that everyone in the glamorous world of the movies, infatuated as they are with made-up stories acted out by narcissists believing in their own publicity, can so easily be pressed into the service of political propaganda. The Event Details The result is a rackety, despairing, funny film with something of Billy Wilder, or István Szabó’s Mephisto, or Bertolucci’s fascism parable The Conformist. For me, it also had echoes of Daniel Kehlmann’s novel The Director, about 1930s Austrian movie director GW Pabst, fatally tempted by the blandishments of Goebbels. Saleh’s lead is his longtime leading man Fares Fares, playing an ageing Egyptian movie star; this is pampered matinee idol George Fahmy, a man comfortable doing cheesy crowd-pleasing potboilers, now bullied into playing the lead in a sinister government-sponsored biopic of the president (with news footage of the current president, Abdel Fatah al-Sisi, cheekily cut in). The Character Analysis Fares’s gaunt, handsome face so eloquently conveys vanity, but also a poignant emotional woundedness, anxiety and self-pity. George is notionally a Coptic Christian, which has made him an object of suspicion for the government, though he is hardly pious, and is separated from his wife (Donia Massoud) and grownup son Ramy (Suhaib Nashwan). The Impact Analysis It is at one of these events that a general smoothly assures the company that western bigots, who wish to efface Arab achievements, are in a conspiracy to conceal the fact that William Shakespeare was from the Arabic world and his name was “Sheikh Zoupir” – which explains, he adds, why he disliked Jews. This is an unimprovable bit of satirical mischief in Saleh’s script. George flies high with his eagles before a horrible and sickening descent. The Prediction Eagles of the Republic is in UK and Irish cinemas from 22 May.

Theatre Review: Sunset Boulevard: The Backstage Cut Over the past decade, Morag Fullarton has been developing a popular line in bijou Hollywood adaptations. With a camp flourish and a multitasking cast, the writer and director has boiled down favourites including Casablanca and It’s a Wonderful Life. She last had a crack at Sunset Boulevard, then billed as a “lunchtime cut”, in 2015 at Glasgow’s A Play, a Pie and a Pint, the company she went on to co-run for four years. The Event Details Now associate director at Perth, she has reunited the fine four-strong company who went down so well the first time around, worked in an extra 20 minutes of material and given it a handsome main-stage production. But for all its strengths of mimicry and its affection for Billy Wilder’s 1950 original, it is a show severely lacking in purpose. The Performance Analysis Caught like a fly in Norma’s web, John Kielty captures the brashness and vulnerability of skint screenwriter Joe Gillis, fated to end up face-down in his employer’s pool. Frances Thorburn, also acting as narrator to help skip through the scenes, is a bright-eyed Betty Schaefer, the script reader, turning Joe’s head and showing a keen ear for snappy Hollywood dialogue. Mark McDonnell is masterfully dry as butler Max and in other roles. The Impact Analysis But seen in this context, the play offers little of its own. It is not pastiche, parody, reimagining or commentary. Instead, it is a faithful and rather pointless rendition of a film that, inevitably, does the same job better. The Prediction The play will run at Perth theatre until 16 May. Whether it will find its purpose then remains to be seen.

The LeadThe West End's production of Double Indemnity, based on James M Cain's 1936 novella and the 1944 film noir classic directed by Billy Wilder, fails to capture the magic of the original. This theatrical adaptation, previously seen in a 2016 Melbourne Theatre Company version, suffers from pacing issues, lackluster dialogue, and performances that lack the electricity of the film noir genre.The Event DetailsTom Holloway's script covers the same ground as the film but with diluted dialogue and fatal problems with pacing. The production stars Mischa Barton in her UK stage debut as Phyllis Nirdlinger, with Ciarán Owens as Walter Huff. Oscar Toeman's production features Ti Green's striking set design, which suggests a towering house of cards atop a bunker-like tunnel, and Josh Gadsby's stylish lighting that casts multiple shadows.The Data AnalysisThe production is currently running at Churchill Theatre in Bromley until April 25, before touring until May 9. The review highlights specific issues with the adaptation: the dialogue lacks the playful panache of the film's screenplay, there is no electricity between the leads, and secondary relationships are underdeveloped. The set pieces involving a car and train are rendered in pedestrian manner, failing to create the necessary tension.The Impact AnalysisThis adaptation represents a missed opportunity to bring the iconic film noir genre to the stage effectively. While the design elements successfully create a visual representation of the precarious, doomed scheme at the heart of the story, the production fails to translate the cynical, gripping essence that made both Cain's novella and Wilder's film classics. The lack of chemistry between the leads and the absence of the film's signature hard-boiled dialogue leave audiences without the emotional investment that made the original so compelling.The PredictionDespite the current production's shortcomings, the enduring appeal of Double Indemnity suggests that future adaptations may find success by focusing on the elements that made the film iconic: sharp dialogue, palpable tension between leads, and a faithful representation of the film noir aesthetic. The genre's popularity in film and television indicates that a well-executed stage adaptation could find an appreciative audience, particularly if it embraces the dark, cynical tone that defines classic film noir rather than attempting to modernize or dilute its essence.