“Oh Ghayb” .. Fadel Shaker tells a harsh childhood that formed his complex fate art

29 May 2025 - 6:27 pm

A controversial drama, so the Lebanese star’s journey can be described Fadl Shaker From the luster of the world of art to retirement and then return to singing again, which made his news a rich material for the media show in recent years, we are not used to watching an artist who turns from captivity to the hearts and call to prayer to a man chased by justice.

That journey is what the series “Ya Ghayeb” tried to review it through a mixture of realistic documentation and drama and many of the sincerity of the feeling that Fadl is famous for.

Bold

With courage and clamor, the artist Fadel Shaker returned to the screen with his person, through the documentary series “Ya Ghayb” available through the platform of a witness, to tell the audience his story, not as the famous artist who has always waited for the audience his songs, but rather the ordinary person who has been aware of life and tasted him, but also made him a trap of tests in which he did not improve.

The work belongs to the category of “Dukidama” and walks in two dramatic lines, the first documentary in which a virtue shows to cut his story as he lived and sees it, in addition to the emergence of members of his family, friends, judiciary, and lawyers who follow his story with their own/specialized opinions.

As for the second, it is a technical line on a journalist, Stephanie Atallah is trying to make a report on Fadl.

The game of death and life

The work of love that started on the surfaces of the camp begins between Fadl during adolescence with his current wife, Nadia, and how they struggled together and insisted on marriage despite their young age, but by returning to his childhood things seem more complicated and sensitive.

Fadl grew up in a poor family between a lover of art and singing and a bereaved mother who complains about narrow livelihood and a living, and despite his strong attachment to his father, the mother decided to choose him without the rest of his brothers to attach him to an orphan house to relieve pregnancy from the family.

This tragedy was left in the heart of the virtuous wound and a huge hole in the size of the betrayal, as well as forcing him to test things that he would never have experienced if he lived in the confines of his family.

Despite his claim of forgiveness and tolerance, but through his dialogues within the series and his constant Arabization of his constant feeling of loneliness, and that there is no companion or relative of life, we make sure how the orphan is small despite the presence of his parents alive, and most importantly, how this affected his choices and his method of making crucial decisions alone without returning to anyone.

Fadl remains in the orphanage until the death of his father, before returning to his family and his mother choosing him between working with any handicraft or returning to the house, so he chooses to work, and he actually moves between many works until one of his knowledge discovers the sweetness of his voice, so he advises him to go to sing and here his life changes gradually.

From the tragedy to the tragedy

Despite the difficulties he receives in the first way and some contracting problems and the criminal conditions that prevent him from singing for a while, but he knows how to overcome them to flourish his affairs technically and materially, what appears in his crowded artistic parties from the last of which is an audience that chants his name with enthusiasm and love.

And because life does not go at the same pace, everything is dissipated after some political events and unwanted statements from the virtue of public, then his desire to retire from art.

This is what he leads after a while to fall in the path of militant religious groups, specifically the Lebanese preacher Ahmed Al -Asir, and then he becomes a chasing of justice and demanding judicial rulings in absentia, most notably the absence of 15 years in prison in the case of “Abra’s events”, which prompted him to hide in the Ain El -Hilweh camp to this day.

When humanity intersects with religion and politics

The work can be considered as a contemplation of the role that the artistic media plays in drawing public characters and forming public awareness, and how the missing information can cause its heroes to be excluded. Where the documentary, Fadel Shaker, places in a neutral area that re -introduces the past, with the severity of the positions and decisions, and the stimulating attempts to sympathize the hearts of the audience.

As for the technical level, it is calculated to work away from dry documentation by mixing realistic representation with an imagined dramatic line represented in the personality of the journalist, which gave work some excitement and vitality.

However, this aspect could have been deepened by presenting more critical questions instead of being satisfied with the heroic hero’s attempts to reach the hero without carrying an intellectual stance critical of what she reveals, which reduced her depth as a parallel dramatic pillar.

The combination of the documentary narration and the scenes of the viewer allowed the deeper understanding of the details of Fadel Shaker’s life, with a space for family and friends to express different aspects of his personality, which gave credibility and wealth to the work.

The output succeeded in mixing the smoothness and balance of the realistic side in the artistic part based on the “flashback”, as well as the best lighting and decoration to express the ongoing changes, whether on the same place or people and their internal struggles.

The majority of the actors presented their roles well, especially the child Ryan Hamo, who played a small virtue and succeeded in embodying his feelings between the bitterness of refraction and loneliness, and the actor Azzam Al -Shaban in adolescence, who was performed with vitality.

While the actor Imad Azmi tried to present the bitter internal conflicts that affirmed Fadl during his youth and the height of his brilliance, but his right side a few times and the performance came superficial, as well as work and repetition in some scenes, which caused the audience bored in some episodes.

However, the most important artistic tools in the work were the soundtrack that played a pivotal role in the series as one of the narratives, starting from the titles of the episodes that were quoted from the names of the songs of Fadel Shaker, such as “Ya Ghaib” and “Laughter of the World”.

And through the same songs, which were used in the events with their old distributions to play on the string of memories on the one hand, and on the other hand, the acknowledgment of the hero’s condition as an echo of his condition and ideas at that time.

Then present it with new distributions to reveal the new internal feelings of the hero from a sense of remorse and longing for the art world and the acceptance of the audience, which created a state of balance and enhanced the emotional state of the spectator.

“Ya Ghayb”, a Lebanese documentary work of nine episodes, comes as an artistic structure that combines documentation and drama, where the Lebanese artist Fadel Shaker tells his story for the first time.

Despite the attempts to activate holiness from his hero, “Ya Ghaib” is sometimes located in the trap of emotional justification, but it remains an artistic and human experience that is thinking about the fragility of the star and the fame of fame.

The work was directed by Fatima Rachha Shehadeh, written by Nour Al -Mujbar, starring Fadel Shaker, Stephanie Atallah, Imad Azmi, Talal Al -Jardi, Samira Al -Asir, and Azzam Al -Shaban.