If we were to take a bird's-eye view of the film "Khairy Beshara's Last," we would conclude, like many others, that it is a cinematic work revolving around the struggle of a young troubadour named Taroub, who strives to ascend in the world of singing in pursuit of fame and wealth.
However, delving deeper into "Ice Cream in Gleam," we find a clear invitation to reflect on the present for its own sake. The film's protagonist, Seif (Amr Diab), rebels and sings "I am free... and to hell with money" in front of the elites and servants in a rich palace, leading to his arrest and confinement alongside prisoners.
Similarly, the film touches upon themes like "Platform Number Five," a poignant song about the oppressed on Earth by the enemies of poverty, ignorance, and disease. Written by Noor (Ashraf Abdel Baki), a revolutionary Nasserist lyricist who wasted his life in illusions, and composed by Ziryab (Ali Hassanein), the elderly bohemian composer who still adheres to Marxist and Leninist principles.
As the film nears its happy ending, "Ice Cream in December, Ice Cream in Gleam," with the sea of Alexandria behind him and the boys and beauties applauding joyfully, signifies the dawn of a new era opening the doors to bliss.
Here, "bliss" refers to love, fame, and wealth, yet ironically, love ranks lowest among these joys in the filmmaker's hierarchy. Seif, or Amr Diab, does not rebel for love or honor when he discovers his fiancée Simon has become corrupt and remains unmoved. Even when he finally meets the girl of his dreams from years past, she appears as a heart of stone with an iron core.
Even his affection for Aya (Gihan Fadel), whom the film concludes with in his embrace, feels fleeting and superficial, quickly melting away like ice cream, lacking the enduring depth that touches hearts.
"Love Forbidden"
Naturally, love finds no place within the hell of Cairo, the obese city. The relationship between Simon and the wealthy returnee from America, Dr. Ezzat Abu Auf, revolves around jewelry and ornaments, devoid of love.
Similarly, Seif's encounters with the promiscuous woman who ensnared him for her wealthy lover, and with the crumbling elderly musician and the prostitute with whom he feigned passion, all end in public disgrace or death.
"Old and New"
It's not surprising that the film lacks love, but rather surprising that its creator did not learn from his previous films, such as "The Attack" and it themselves th Cup
