He began his career in 1979 when he wrote the story of the film Maa Sabq Al-Israr (Premeditated), while Mustafa Moharem wrote the script. The film was directed by Ashraf Fahmi and starred Mahmoud Yassin, Mervat Amin and Nour Al-Sherif. Al-Deek went on to write scripts for filmmakers such as Ahmed Yassin and Taysir Abboud before he joined what is known to film critics as the Neorealist movement, collaborating with filmmakers like Mohamed Khan and Atef Al-Tayyeb.

Al-Deek became a member of the neorealist clique, which has been forming during the 1980s, distinct from Egyptian realism of the 1940s-1960s that was led by filmmakers like Kamal Selim, Salah Abu-Seif, Tawfik Saleh, Youssef Chahine and Hussein Kamal. This new wave shared the same interest in stories of the middle and lower classes, but developed a different approach, eschewing direct social critique for a subtler message.

This wave was formulated as part of the struggle of a younger generation who had graduated from film schools in the 1970s. During this period Egypt suffered from economic pressures, especially after the 1967 defeat, which led to tighter production budgets. Members of the neorealist movement decided to shoot their stories in real houses and on real streets rather than in studios. This helped to shape their style.

In 1980, Khan made his second feature narrative film Al-Raghba (Desire), with a script by Al-Deek, who also wrote Khan’s outstanding film Maowid Ala Al-Asha (A Dinner Date, 1981), starring Soad Hosny, Hussein Fahmi and Ahmed Zaki.

These films proffered a strong emotional current and unique dramatic development to reveal the conflicts hidden among the middle class, especially its lower end. Al-Deek depicted this demographic as well as the marginalised in Cairo in many other films such as Atef Al-Tayyeb’s second feature narrative, Sawaq Al-Autobees (Bus Driver, 1982), widely considered an iconic example of this new wave, with a story written by Khan and Al-Deek. This film demonstrates these artists’ admirable ethics and cooperative virtue, which enabled them to work together for many years. The script delves into the collapsing world of the protagonist, Hassan, who works as a bus driver in the morning and a cab driver in the evening while trying to prevent his father’s carpentry workshop from closure due to tax accumulation in the wake of the 1973.

Al-Deek then wrote Khan’s Al-Harrif (Street Player, 1984), starring Adel Imam. The film focuses on another protagonist who faces unbearable conditions when his wife leaves him after he loses his job. The only thing that makes him successful and satisfied is playing street football. It is a panoramic unusual drama set in the underground world of Downtown Cairo.

The collaboration between Al-Tayyeb and Al-Deek continued for years, and produced the occasional box-office hit, such as Dedd Al-Hokumah (Against the Government, 1992), which starred Ahmed Zaki and Lebleba: the story of a corrupt lawyer who turns into a hero. Al-Tayyeb’s last film, Gabr Elkhawater (Appeasement) was also written by Al-Deek, though Al-Tayyeb passed away in 1995 before the film was fully edited.

Al-Deek wrote several films in suspense genre about the Arab-Israeli conflict: Mohemmah Fi Tal Abib (A Mission in Tel Aviv, 1992), directed by Nader Galal and Al-Gasousah Hekmat Fahmi (Hekmat Fahmi the Spy, 1994), directed by Hossameddin Mustafa both star Nadia Al-Guindi.

But the most significant film he wrote in this vein was Al-Tayyeb’s 1991 biopic Naji Al-Ali. Al- Deek illustrates the struggle and suffering of the late Palestinian political cartoonist who was known for his harsh sarcastic criticism, especially during the Israeli invasion of Beirut in 1982. Al-Ali was assassinated in London in 1987 and Israeli intelligence was not the only suspect. Nour Al-Sherif, who was a co-producer, played the role of Al-Ali. He faced a press campaign of censure, initially led by the Akhbar Al-Youm editor in chief Ibrahim Seada, which led to him not being offered parts for many years.

Al-Deek’s career didn’t stop at screenwriting; he made a few attempts at filmmaking too. In 1985, he directed Al-Toufan (The Flood), written by Ayman Ahmed. The film starred Mahmoud Abdel-Aziz, Farouk Al-Fishawi and Somaya Al-Alfi. In 1987 he directed Sekket Safar (Itinerary), which he also wrote, starring Nour Al-Sherif and Noura. And in 2019 he made his only animation film Al-Fares Wal Amira (The Knight and The Princess).

* A version of this article appears in print in the 9 January, 2025 edition of Al-Ahram Weekly