السرد بحاجة إلى معرفة..

Those who wish to argue rather than be convinced will find that the debate can go on indefinitely. The essence of debate is to reach a satisfactory conviction among the disputants, on the condition that they are aiming for the truth.

Evidence comes from extensive reading and exposure, and those who do not read lose the advantage of deep knowledge. The humanities are broad and profound, and what emerges from those sciences shares the same characteristic.

All arts have the capacity to absorb opinions, whether in acceptance or objection, and among those arts is the art of cinema, which has its diverse purposes and varied objectives.

As the world is awash with this art, all those engaged in it are seekers of the different and non-dominant; thus, ideas are the target. The rarer the idea, the more it achieves precedence, advancement, and popularity. Any adaptation of an idea results in a film that is often deemed inferior, because the original idea has a cultural depth specific to the place from which it originated. The writer of the story or screenplay carries cultural connotations unique to their environment and its people. Any adaptation of a film idea creates a stark contrast between the environment of the idea and that of the adapted film due to the cultural, historical, social differences, and the psychological characteristics of the people from both environments.

The flaws of adaptation become evident, especially to those who have seen the original. Comparisons arise, and the adaptation is often dismissed as a poor copy, leading to a loss of trust and respect for those involved in the adapted film, particularly if the director intervenes with additions or omissions.

So, what is the reason for adapting a film that succeeded in its original version? Is the motivation to gain the popularity of the original? Perhaps, but behind the adapted film lies accusations of deception and misrepresentation for those who have not seen the original and later discover the deception they were subjected to.

The real question is: Why do producers resort to financing an adapted film?

There are several answers here, and regardless of those starting points, any answer will reveal a main problem: that the producer, director, or screenwriter may be lacking in reading skills, or they may be dismissive of what is produced in terms of storytelling within their own countries, or they may be hasty in completing their films regardless of the means. What matters to them is production, sales, and making money from films that achieve profitability, regardless of their quality.

In reality, every country in the world has its own narrative producer. If attention were paid to that producer, local cinema could achieve success through the writers of the country. If I were to talk about Saudi cinema, I would almost assert that there are creative ideas present in the narratives of our local writers, and they only need to be excavated from our narrative reservoir. Even if there is laziness in the reading aspect on the part of the producer or director, it is not a flaw to create a position affiliated with the film authority or the producing film companies, where this employee serves as a cultural reference specialized in narrative aspects, providing both parties with ideas extracted from the creative concepts found in local stories and novels.