Despite the production of numerous Saudi films in recent times — a period that has witnessed a significant cinematic awakening alongside notable interest in consolidating cinema and the arts in general — (Al-Hamour H.A, 2023) (الهامور ح.ع) stands out among these productions. As the first Saudi film to be screened in Egyptian cinemas and many other Arab cinemas, Al-Hamour H.A is a crowd-pleasing action film with high production values. Unlike many productions, it does not rely on inward-facing stories that narrow its potential audience. It represents a significant step toward large-scale productions that require an entirely different level of professionalism and execution.
Produced by Boulevard Studio and starring new Saudi talents such as Fahad Al-Qahtani, Khalid Yeslam, Ismaeel Al-Hasan, Ali Al-Sharif, Fatima Al-Banawi, and Khairiya Abu Laban, the film represents a pioneering directorial experience for the director Abdulelah Alqurashi.
Produced by Boulevard Studio and starring new Saudi talents including Fahad Al-Qahtani, Khalid Yeslam, Ismaeel Al-Hasan, Ali Al-Sharif, Fatima Al-Banawi, and Khairiya Abu Laban, the film marks a pioneering directorial debut for Abdulelah Alqurashi.
The story of Al-Hamour H.A was written by Omar Bahabri and Hani Kadour, who also co-wrote the Saudi comedy (The Book Of Sun, 2020) (شمس المعارف) with the Godus brothers. Though it belongs to a different genre, it is an excellent character-driven film in its narration, built around strong characters who determine their own fates.
Although it is a feature film, it is based on a true story that took place twenty years ago, specifically in 2003. The story revolves around a security guard named Hamad who, through deception and manipulation, amassed a massive fortune by convincing people to invest their money with him. Rising swiftly to prominence, Hamad became a figure of major influence — until the storyline takes a sudden and dramatic turn, unleashing a cascade of events and excitement.
Several short films bearing the same name were released before this production, likely because the title carries particular appeal in the Gulf region, even though the word is not widely recognized outside it.
What does “Al Hamour” mean metaphorically?
The term “Al-Hamour” (الهامور) refers to a large fish that enjoys great popularity among food enthusiasts for its flavor and texture, appealing even to those who do not typically enjoy fish. The title is therefore used metaphorically to describe individuals of substantial wealth in the Gulf region. The plural form, “Al-Hawameer,” has become a colloquial expression for prominent traders or businessmen who wield near-absolute authority — and in many cases, it carries a subtle connotation of deceit, manipulation, and fraud.
Years ago, Saudi audiences became acquainted with an exceptional real-life character known as Hamour Sawa (هامور سوا), who transformed the landscape of investment within the country, profiting by defrauding thousands of Saudis under the pretext of providing them with “Sawa cards.” These cards became a source of ridicule, much like the Egyptian figure “Ahmed Al-Rayan,” who similarly deceived the Egyptian public.
The film depicts a group of young people driven by reckless adventure — restless youth seeking the thrill and gamble that might break the monotony of their uneventful lives. Preoccupied with accumulating money without effort, their fantasies soon come true when they find themselves entangled in an adventure involving Hamour Sawa, whose character is played by Fahd Al-Qahtani.
The film tells its story through the most direct means available: a voice-over narrating the events. We follow the account of an individual’s rapid and dishonest accumulation of wealth, his relentless pursuit of deception, and his obsessive drive to multiply his gains at any cost. The tale feels neither entirely Saudi in origin nor imported from abroad.
The filmmakers placed their trust in a story that resonates with Saudi audiences — one that has been tested against real events on multiple occasions. It can also be read more broadly as an exciting, action-driven narrative capable of captivating general viewers seeking entertainment.
The film’s strength lies in its execution as an action film, built on high-quality and precise cinematography reinforced by sharp, fast-paced editing — well-suited to a storytelling approach that depends primarily on visual impact. The film demonstrates considerable effort to meet, in some measure, the standards of internationally recognized action cinema.
The film also features multiple female protagonists, which is to its credit. Several of the women are not secondary characters but figures essential to the plot with a distinctive presence. The role of Fatima, played by Khairiya Abu Laban, is particularly noteworthy.
However, the evident preoccupation with cinematic imagery appears to have come at the expense of the story. The screenplay opens multiple dramatic threads for its main characters — Sulaiman, Abu Azza, and even Hamed — without developing them adequately or paving the way for their movements with compelling dramatic justification. This results in a plot that is at times difficult to believe and occasionally loses its grip. Despite this, the film relies on its strong visuals as its primary asset.
Unsuccessful Cinematic Adaptation
Before reaching the midpoint of the film, it becomes apparent that we are dealing with a story closely resembling Martin Scorsese’s (The Wolf of Wall Street, 2013). The film unfolds a similar narrative structure, relying on an external narrator to describe a young man who accumulates great wealth through deceit and fraud under the guise of helping others. The differences lie in the storytelling approach, the expertise in executing action sequences, and production capabilities.
A fundamental difference between the two films is that Al-Hamour H.A does not develop dramatically but proceeds at a largely predictable pace throughout most of its runtime, before making an illogical leap near the end to close the film abruptly.
Everything that condemns cinema in general and filmmakers in particular in many areas can be considered a strength of the emerging Saudi film industry, which has recently set foot in several experiments to identify its areas of strength and take advantage of them later. Al-Hamour H.A (الهامور ح.ع) narrates the story of a big fish, much like the colossal film industry. While not inherently perilous, it signals promising steps.
In the end, the film deserves recognition for its boldness and trialing in an unconventional space within Saudi cinema, not only because it requires great cost but also because it ventured into an unfamiliar space, and endured the hassle of the first experience that could later be used for learning and experience that might produce something better in the future.