First of all there is the quest in Quantum of Solace: the quest for the truth about the stunning Vesper Lynd who was killed (or allowed herself to be killed, perhaps to hide her past) in Casino Royale, in which Mr. Craig made his debut performance as Mr. Bond. Mr. Craig knows few limits in this quest, although he does observe some; he is not an out-of-control killing machine getting to the truth at any cost, despite the antagonists who are able to make his activities look that way back at MI6 headquarters. Mr. Bond is still British Secret Service, and cannot be off on a personal quest on company time...and expense, but he is!

Moreover, Mr. Bond is pursuing his quest in a manner that can only make ordinary men jealous - single-mindedly, without constraints imposed by “headquarters”, without paperwork and incident reports, but as an “army of one.” The singular hero is searching for the truth, and for those to punish for stealing Mr. Bond's Vesper Lynd. How many men have not felt the urge to throw off the constraining fetters of custom, rules, regulations, orders, box-checking, mind-numbing “compliance”, and engage in physical tests of wills with evil men? Well, the closest one may come besides joining the Army Rangers is Quantum of Solace. Quantum of Solace is in this way about a rugged individual making the rules as he goes along. That spirit of freedom pervades the movie, and Mr. Craig plays perfectly the wounded hero, the modern day frontiersman in nicely tailored clothes, looking to get even.

The quest has its romance, and this is an autumn-spring, or maybe more precisely, late-summer-spring romance. Mr. Craig, the older but powerful man, captivates the young beautiful women with his driven single-mindedness; they want to help him or at least they won't stand in his way for long. Mr. Bond captivates the women with his command presence, his powerful control in any situation, and his man-in-his-prime dominance. He conveys an overpowering animalism that attracts the early twenties beauties and promotes the ideal that a driven man with physical presence and zeal notwithstanding a decade or more difference in age can still be a romantic figure among young, beautiful, women. Bond awes them with not just his adroitness, but his drive, his passion. He is not a spent, pale office worker, but the rugged man who has not given up the fight of his life, and the young women want to be part of this man's quest. Action hero fantasies for men? Absolutely, but carried off with Mr. Craig wearing his role like a second skin. Good acting, great masculine themes - a top-notch James Bond movie.

While watching How to Lose a Guy in 10 Days, one notes three specific role types which the female cast stick to rather closely.  The first and most powerful role, the seducer role, is portrayed in the lead character Andie Anderson; the fun-loving, young, single, thin, blonde, white, sexy, privileged, educated woman.  Andie is defined at the beginning of the movie as being a “shameless” flirt and able to “get any guy” she wants.   As a seducer, Andie has some power but as a seducer with a man, Andie becomes the hero of the movie.  Those characters that are not involved with men that have power are primarily man-hater roles within the movie.  Examples of these characters include Andie’s boss Lana Jong and the two female advertisement executives Judy Spears and Judy Green.  All three characters have power but at the cost of being unusually cruel. Spears and Green even use their bodies in a blatantly sexual manner to sell ideas to their boss.  This, it seems, is the source of their power.  The ‘necessity’ of a man for these women is replaced with unethical behaviour, cruelty, and shallowness.  The third character role is the least powerful: the woman without a man and who is unable to keep one when she has him.  The primary example of this hopeless character role is Andie’s best friend Michelle, who, after a break-up, is wailing “I have no reason to live” but is later cheered with cosmetics and cashmere.  Michelle becomes the inspiration of Andie’s interpretation of how a woman should not act.   She does, however, get a ‘happy ending’; a man returns to her.  As Susan M. Shaw and Janet Lee point out, “women are shown to be powerful, although... the heroines are beautiful, fit, and often scantily clad” (509).  The power structure in this film clearly favours patriarchy as the norm in contemporary society.  

The manner in which the various types of female roles interact in this movie is just as absurd as the roles themselves.  If female characters are talking in this movie, it is, almost without exception, about men, beauty, or love.  This inane and one-dimensional dialogue is repeatedly used the entire length of the film, portraying women vainly and as chronic gossips.  Also, concepts of friendship, self-growth, and emotion are easily disregarded among the women if it is for the benefit of a man.  Andie takes back her friend’s ticket to go to a basketball game with Ben.  Michelle abandons a heartbroken Andie to return to the man whom she had broken up with only ten days earlier.  Andie does not even go to Washington for a better job due to Ben’s disapproval.  The message which gets repeated through these events seems to read: ‘If a man should demand your presence, drop everything to be with him’.  In this way, the film overtly presents the viewer with an extremely sexist representation of power and authority. 

In addition, the behaviour that Andie exhibits while trying to drive Ben away is a representation of female qualities which seem to have a negative implication in society, especially from the male viewpoint.  Some of this behaviour includes over-motherly behaviour, lack of emotional control, and a pollution of men’s space.  The motherly behaviour which makes Ben uncomfortable, especially pre-coitus, is an interesting negative aspect to examine.  Interestingly, though motherly behaviour is often regarded (however sexist) as a good quality in women, Hollywood depicts it as the opposite of sexy.  Andie’s baby-talk and motherly demeanour even act in an anti-phallic way when Ben loses his erection.  Andie also bursts into tears repeatedly, insinuating a lack of emotional control among women, and causing all men in proximity to look noticeably uncomfortable.  Even Andie’s possessions and toiletries are regarded as evil and foreign when they begin to clutter Ben’s ‘masculine’ apartment; he cries out “NO! NO! NO! NO!” whilst grabbing at his hair upon his discovery of them.  It becomes clear to the viewer that the theme of Andie’s behaviour seems to be that women are the enemy and are equipped with various weapons to drive men insane. 

In conclusion, the film How to Lose a Guy in 10 Days depicts an unrealistic, black and white separation between men and women, specifically that men are good and women are evil.  Through character role placement, a completely uninspired and insulting dialogue, and blatant representation of the ‘wrong’ kind of woman,  How to Lose a Guy in 10 Days sells the idea that, for power, women must not only change for men, but please them at all costs. 

As Disney began to identify with the children's market, his style began to change. By studying Mickey Mouse's change of appearance over time, paleontologist Stephen Jay Gould demonstrated that Disney unconsciously discovered the evolutionary principle of “neoteny” (Gould 1980, p. 104). Because we mammals require parental care for an extended period of time, we developed a natural affection for the baby face (big head, large eyes, bulging craniums, weak chins-in short, the “cute” look) so that we remain attracted to our young.

As Gould pointed out, in over 50 years of gradual transformation, Mickey's appearance has grown backward, from adult to baby (pp. 95-107). Walt Disney might not have known the scientific principle, but his identification with the family market was conscious. Not only does Mickey Mouse gradually grow “younger,” but he also becomes increasingly better behaved. The use of juvenility in Disney's house style is developed out of a prolonged process of experimentation; it is connected to Disney's role as a perpetuator of the American dream in the family setting.

The mature Walt Disney played the role of educator and cultural guardian. This role was not very different from that of the Grimm brothers and Hans Christian Andersen. Disney's storytelling-original as well as adaptive-had the same motivation as that of the collectors and writers of nineteenth-century fairy tales, who believed these stories should be a tool of domestic education. Their view led to the “refinement” of the old wives' tales: removing coarse language, minimizing sexual and excremental references, and so on (Carter 1990, p. xvii); similarly, Disney's classic tales carry this sense of “refinement.”

Disney's classic stories are references for life's many challenges, yet also cast a sweetened reality for the wives and children of the traditional household. At the same time, Disney's masterpieces can indeed underscore a reality that tastes more like dark chocolate than candy. When Disney's classics have happy endings, they do so only in the context of greed (Snow White), social discrimination (Dumbo), the destructive nature of humanity (Bambi), sacrifice (Old Yeller), the cycle of life and death (Perri), and cruelty (Cinderella). As the narrator of Perri explains, “Death is a necessary evil; some die that others may survive.” Or as Bambi's theme song reveals, “[L]ife may be swift and fleeting; hope may die.” Bambi can be regarded as Disney's response to a time of darkness, even though it was conceptualized, based on Felix Salten's book, before World War II. The film preserves Salten's themes of life and nature while spinning a poetic realism to portray human destruction.

In Bambi, nature, represented by a harmonious animal world, is set against a common enemy - namely humanity. As film critic Leonard Maltin described it, “The drama in Bambi is one of understatement, and its effectiveness is great. Dialogue, which is kept to a minimum, is used in a quiet way to contrast the vociferous nature of the film's climaxes. Man is never shown in the film, yet the simple statement by Bambi's mother, after a frenzied chase with dozens of deer running for shelter, that "man [pause] was in the forest" creates an impact no literal device could accomplish” (Maltin 1973, p. 56). Although Bambi survives the forest fire caused by the faceless humans-a happy ending, one may suggest-the film is overshadowed by environmental destruction and anguish. Its ending is cathartic, bringing about a release of negative emotions rather than providing a lighthearted, “happy” resolution.

In this context, the adorable portrait of the animals in Disney's house style is an effective tool for teaching children about the love of nature as well as the nature of love. Love can be defined as a necessary good that motivates one to confront death for the sake of others' lives. It is an engine of survival.

In general, Disney classics demonstrate a balance between entertainment value and artistic quality, revealing life's various challenges and expressing the diverse emotions that a child might feel. They seem to follow certain thematic patterns, some appealing to children generally and others relating specifically to girls. These themes are addressed individually in the discussion that follows.

Alice's Wonderland

The Alice theme involves the exploration of an imaginary world that is full of illogical wonders. From a child's point of view, the world is magical and strange, often overwhelmingly incomprehensible, so this theme is an attempt to identify with children's confusion and to encourage them to go on with life's journey. Obviously, the entire Alice in Wonderland is about meeting strange people in strange places. But the Alice theme also recurs in many Disney classics: the visit to the whale's stomach in Pinocchio, the dream of the pink elephants in Dumbo, the Never-Never Land in Peter Pan, the “Jolly Holiday” episode in Mary Poppins, and so on.

The journey to the strange world always provides a new perspective on life. Most of the time, Disney's adventurer does not return to reality, concluding, as Dorothy does in The Wizard of Oz, that “there is no place like home.” The protagonist in Disney's classics gains new insights about life through the magic of Fantasia. Figuratively, Walt Disney's version of Alice's wonderland is Disneyland itself.

The Pinocchio Symptom

The Pinocchio symptom is also a key element in Alice in Wonderland. Instead of the strangeness of the world, this theme refers to the strangeness of the fast-growing, constantly transforming body of a child. The Pinocchio theme is about coping with growth and socialization. It identifies with children's feelings of being out of control in both body and mind, best represented comically when Pinocchio is partially turned into a jackass.

Usually accompanying the Pinocchio symptom is the realization that things will turn out all right in time-that is, when the potential of the character's humanity is fully realized. Beneath the Pinocchio symptom is the promise of the ugly duckling's transformation into a swan (the motif of the ugly duckling being best known through Hans Christian Andersen's fairy tale of that name).

Bambi's Lament

Perhaps because he identified closely with the tradition of fairy tales in great literature, Walt Disney was not afraid of discussing the loss of loved ones with children through stories. The death of Bambi's mother is certainly the most memorable moment in all of Disney's tales. But the theme also has many variations-for example, the imprisonment of Dumbo's mother, Old Yeller's rabies infection, and the entire cursed kingdom in Sleeping Beauty. Most of the time in children's films, the loss of a loved one is implied rather than portrayed.

The loss of the natural mother in Snow White and also in Cinderella is a good example. This theme is a main ingredient in the fairy tale tradition. Years ago, as Angela Carter explains, “The maternal mortality rates were high and a child might live with two, three or even more stepmothers before she herself embarked on the perilous career of motherhood” (1990, p. xix). Even with the present-day low rates of maternal mortality, the danger of the world and the unpredictability of life remain. Storytelling is a human way of coping with the hardship and complexity of life; the theme of loss and the cycle of life are crucial to children's mental health.

Dumbo's Flight

Dumbo's flight is particularly fascinating. In contrast to European literary themes that Disney inherited through the tradition of children's literature, it is the most “American” in terms of its social and political assumptions. It dramatizes the idea that, if one finds one's own individuality and strength, one can rise above hostile circumstances and become successful. It encourages children to pursue their dreams and live up to their potential. Structurally, Dumbo's flight requires a character who is socially unpopular and/or emotionally confused.

Like Dumbo, not knowing what to do with his life, the character will go through a painful process of self-realization. When the dream is realized, the character will surprise the crowd in triumph. Dumbo's flight does not recur very often in Walt Disney's films because Disney's mantra is more about “never giving up your dream” than about actually “realizing your dream.” Nevertheless, this theme will eventually become central to contemporary Disney girl culture.

The Cinderella Fantasy

Similar to Dumbo's flight, the Cinderella fantasy is about coping with hostile circumstances; however, unlike Dumbo, Cinderella finds love rather than a career. Like Snow White and Sleeping Beauty, Cinderella is passive. She has a good heart but no ambition. Escape, not success, is the incentive.

Unlike the case with Alice, the ordinary little girl who finds selfcontrol in dreamland, Cinderella's journey is incomplete without her Prince Charming. Although this theme has been heavily criticized for presenting a passive model of femininity to girl viewers, in Walt Disney's defense, he did not produce many princess stories in his lifetime, even though the box office receipts suggested that they had universal appeal. Loved by the public, the Cinderella fantasy is a dream of glamour, a fantasy about transcending the meritocracy of modern life through wish fulfillment in the imaginary space.

Moreover, some men continue to try and bring down female action heroes. One of these men is Don Feder, who wrote in his article “Wimps Whiners Weenies: Men in Movies Today,” that in female action heroes' movies women are “fearless and indomitable” which means men show no contrast to them. As a result, male characters end up playing the fool and being helpless. Feder believes that this is not what the public wants, even when these movies feature famous directors or actors, and therefore they do not do well in the box office. Notwithstanding, if we take a look at the box office earnings of “Tomb Raider, “Crouching Tiger, Hidden Dragon” and “Charlie's Angels,” for example, we can see that they passed the mark of 100 million dollars. These numbers prove patently that Feder was wrong in his assertion.

Then we have the statement from Elliot Lederman, Universal's Senior Director of Licensing, in 1999; he affirmed that despite the popularity that the television show “Xena the Warrior Princess” was obtaining back then, we should not expect “a rash of female Rambos anytime soon”. What is more, he added that “there hasn't been a successful female action hero since Wonder Woman. Other studios have tried to create them, but Xena is the first successful one and it's going to be tough to follow the trend.” As we have been able to experience or witness, this statement is highly inaccurate, because we could very well say that after Xena there has been a rash of female Rambos indeed, and it was not so tough to follow the trend. Nowadays there are numerous, and many successful, female action heroes and they just keep coming. However, not all of them are accepted by the public, but it is only the minority that goes through that process or problem.

Christina Larson has a theory as to why some female action heroes underwent this lack of acceptance. She states in her article “Seven Mistakes Superheroines Make: Why The Latest Action-Babe Flicks Flopped” that she believes that Hollywood overreached when dealing with this type of women since studios did not stop to think or analyze why exactly audiences loved female action heroes. What they did instead was to come up with a formula that they thought was the one that had brought about success to previous female action hero's movies: they placed beautiful women with well-shaped bodies wearing tight costumes and then they made them fight in them. Apparently, they thought that that was all it took to make a female action hero movie successful. They based movies on the protagonist's good looks and sex appeal, but, actually, that formula was virtually wrong, which was a fact proven by the low box office income that movies like these obtained. What Hollywood should have realized, adds Larson, is that the movies that feature female action heroes that did well in the box office, did not only show a pretty woman with a nice body and revealing clothes, but they also showed them as strong, witty and successful. She makes an excellent comparison between a female action hero who was accepted by the public and one who was not:

Lara Croft may have originated as pure male fantasy - but on the big screen, she became erudite, well-traveled, a working photojournalist, and went home at night to a house worthy of Architectural Digest. On the other hand, Elektra [...] might turn heads in her tight-laced scarlet bustier. But her personal magnetism doesn't measure up: she's a gloomy assassin who suffers from nightmares, insomnia, and OCD. Plus she hates her job but can't - or won't - figure out what to do with her life.

As we can see from this quote, Lara (“Tomb Raider”) is a successful, happy woman who has got her life under control, while Elektra is a woman who is not happy and has definitely no control over her life, she does not even knows what she wants. Lara emanates a positive feeling whereas Elektra does the opposite, and no one likes negative feelings especially coming from an action hero, so it is no wonder the audience rejected the latter.

We can find a correlation to the latter fact to what we see in the opening images of the Charlie's Angels DVD version. The first thing we see is the dark figure of a man walking towards the screen and from that man three women are formed: the Angels. Moreover, the fact that Minerva was both a fighter and a searcher of peace also reminds us of female action heroes. These women do not use violence unless absolutely necessary, which shows a contrast to what male action heroes do in practically every movie, and is also in connection to what the god Neptune did when he chose to create the horse. Moreover, she was also smart and handled different skills; we can also see these same attributes in female action heroes. Besides being extremely skilled in combat and martial arts, the three “Charlie's Angels” speak Japanese, German, know how to dismantle a bomb, can drive a race car, know how to scuba dive, and Natalie even knows how to recognize a bird from its singing, what helped them find the location where Bosley was being kept hostage. In “Alias,” Sidney Bristow has multiple skills; she also is remarkably skilled in hand to hand combat, she speaks several languages, knows how to operate multiple state-of-the-art technological gadgets, etc. Lara Croft from “Tomb Raider” can also fight anyone skillfully regardless the weapon of choice or chance, or even with her bare hands; she also speaks different languages, escapes from her enemies time and time again, even by falling down a waterfall and emerging unharmed, and much more.

Another goddess, Venus, was the goddess of beauty and love and was born full of charms, so much so that all the gods were fascinated with her and they all wanted her as their wife; another goddess yet, Diana, was the queen of hunting and therefore she was of a savage nature. The best example of this nature was how she caused the "death" of Actaeon: one day when Diana was bathing in a creek Actaeon was unfortunate enough to accidentally come close that place, what angered Diana so much so that she turned him into a deer.

We can see then two more attributes that these goddesses had and were passed on to female action heroes and, why not, to many women in general nowadays. In the case of Venus, she was so beautiful that men were captivated by her, which is reminiscent of how the public today accepts pretty action heroes (which constitutes the majority of them) much more than they do the ones that are not so. However, beauty is not the only thing that the public wants to see, although it certainly does not hurt. In movies like “Elektra” and “Catwoman” that star Jennifer Garner and Halle Berry respectively, both very beautiful women, the earnings and reviews for them were not good at all and so those movies were big flunks. However, if more attributes are added to beauty then the formula for success could be reached. What we find in the goddess Diana is one of the attributes: she is aggressive, and if a man crosses the line with her then she will make sure it will cost him dearly, which is a feature that we also find in female action heroes.

We could dare say that the female action hero icon did not enter the protagonist world of Hollywood and did not become so widely accepted simply over night, but it actually did so in steps. What seems to have been one of the steps was the introduction of women with secondary roles bearing female action hero characteristics in male action heroes' movies. This is the case, for example, of one of James Bond's movie, “Tomorrow Never Dies.” In this movie, the traditionally strong, solitary and famous for his many sexual conquests hero James Bond, in this instance played by Pierce Brosnan, ends up accomplishing his mission with the help of no one else but a woman named Wai Lin, played by Michelle Yeoh. Ironically enough, he could not have done it all by himself, like he had always done so in the past, and he needed the help of a woman. Another man in the same situation was Jackie Chan who is recognized for always portraying characters that are extremely skilled in martial arts, always works alone and always succeeds. However, in one of his latest movies he teamed up with a strong woman played by Claire Forlani, as was the case of “The Medallion.” Now women have moved on from the shadow of the male action hero and are doing the work all by themselves, having become the protagonists of their own adventures.

Humbert, Juan. 1984: 41, 42, 44.

Ibid. 45.

Ibid. 62, 63.

Elektra is a woman who was revived from a fatal wound by a master called Stick. He then becomes her trainer until it is time for her to leave; when she does she becomes an assassin. A criminal organization called The Order of The Hand hires her to seize a father and his daughter, Mark and Abby Miller. However, she becomes attached to them and decides to team up with them against the ones who hired her.

The legendry Egyptian actor Omar Sharif is widely known for tons of great movies that affected millions of all nations worldwide.

Every Egyptian no matter what their status and backgrounds are, is proud of having such a wonderful person and actor that belongs to the same country of them.

Many of you who know Omar Sharif haven't seen his film history before he became an international actor.

Although he performed in many outstanding international movies, our favorite movies for us the Egyptians and Arab generally will be the Egyptian ones he performed in.

These movies are classic. They formed the shape of the history of film making in Egypt.

What adds up to the value of his Egyptian movies is the fact that he acted side by side with our major phenomenal actress Faten Hamama.

Faten Hamama was the most famous actress at that time and she performed with Omar Sharif for the first time in his life from the direction of Yousif Chahin the well-known international director in “Seraa fe El-wady” or “a struggle in the valley”.

The two icons fell in love later and crowned that love with marriage.

So with no further delay let's take a look at the 5 must see movies by Omar Sharif:

1. Ayamna El-Helwa (1955): aka “Our Happy Days”

Starring with Faten Hamama, Ahmed Ramzy and Abdel- Halim Hafez the legendry singer.

2. Sayedat El-Kasr (1959): aka “The Palace Lady”

Also starring with Faten Hamama who was his wife at that time.

3. Fe Baytena Ragol (1961): aka “A Man in Our House”

A patriotic movie describes the history of Egypt long with a beautiful love story between the patriot and the simple girl who helped him in his struggle.

Starring with Zebeda Tharwat, Hassan Youssef and Hussin Reyad.

4. Lawaet Elhob (1960): aka “The Agony of Love”

An agonized love story between a tortured wife and a young man who loves her.

Starring Shadia who is one of our amazing female singers and Ahmed Mazhar.

5. Nahr Elhob (1961): aka “The Love River”

This movie is the Arabic adaptation of “Anna Karenina” of Leo Tolstoy and by far the most beautiful sensational love story the Egyptian cinema has encountered.

It is definitely a must see!!!!

Drama with Faten Hamama and Zaky Rostom.

Enjoy : )

He/she is instantly attracted (repulsed). 
But
He/she has some baggage; or they are entirely opposites who get off on the wrong foot.

He/she realizes that they are meant to be;
But
One of them (or both in extremes) has a debilitating disease,

Failed relationship (perhaps both) to overcome before both can ride off into the sunset together happily ever after.

Good chick flicks evolve around emotions. Mostly love/hate at first. It is imperative the ending should be happy. But as in the case of Philadelphia the main participant may not make it to the end.

Any movie that can stir the romantic side of a females psyche will qualify as a good chick flick.
Oh and don't forget the heroine is always the winner.

Note: boy must be gorgeous yet manly at the same time perhaps with a slight fault in his make up, a slight facial tic or stammer to start, the girl must always appear to be either completely in control or totally useless, mediocre is not an option; oh yes and she must always be “normal”.

(Are there such people?) But I would like to stress the fact that there are a few racy (try pornographic) scenes in this movie. First we have Samantha in a couple of voyeurism scenes where she spies on the very hot, very naked next door neighbor. Most of those involve only the neighbor and his one on one fling of choice for the day (prepare to see boobs a bouncin'). Then there's the scene where Mr. Very Hot Neighbor has a two on one session (aka even more boobs bouncin'). Finally, and probably most disturbing there are the two scenes with Miranda and her hubby. The first one- not so bad. The second one nearly burned a hole through my retinas. I mean come on, Miranda and her geeky husband Steve? Neither of them is particularly easy on the eyes to begin with. Add to that the fact that in real life Cynthia Nixon, the actress that plays Miranda, is a lesbian and it becomes way too bizarre.

Aside from the over the top sex scenes, this movie is very good. There are scenes that will make you holler with laughter (think Poo-keepsie), scenes that will make you feel all warm and fuzzy, and scenes that will remind you of what you'd do for your closest girl friends (and what they'd do for you). Think Charlotte as she screams “NO!” at Big over Carrie's shoulder in the first wedding day scene. I'm not the only one who got a little misty! Sex and the City is definitely a feel good movie that reminds women of the wonderful sisterhood that we share. For that reason I would say go ahead and see it with your mom, aunt, and yes even grandma. Just wait until it comes out on TBS.

Tony Curtis in Some Like It Hot. He played Josephine to Jack Lemon's Geraldine, which later turns to Daphne. Confused? Everybody in this fill seems to be. Everybody seems to be playing someone else. A great old fashioned comedy.

In 1949 Alec Guinness got to die eight times in this film when he played generations of the same family.

Dustin Hoffman played Tootsie in the film of the same name. A very convincing performance and sometimes very funny too.

Eddie Murphy as Ms. Klump, in The Nutty Professor. Convincing but also funny.

In To Wong Fu, Thanks For Everything! Julie Newmar, Patrick Swayze really looks the part as Vida Boheme the dancing queen.

Robin Williams plays Nanny McFee in Mrs Doubtfire. He seems to really enough the comedy of the role and plays a very convincing part.