These are the things that happen on Usmar: people swoon. People fall into dead faints. Usmar stares bleakly ahead of him, the pain of the world written across his face. Usmar does not smile. Nadine smiles, but only sadly. She also stares soulfully into the distance, or toward the man she loves. Except when she laughs with Ali, who is also in love with her, and who was also raised at the orphanage but doesn't know that Usmar and Nadine are the old friends with whom he used to play marbles. Ali stares too. (He is a pro at producing a tortured expression, to go with his slickly gelled hair.) Husbands are unfaithful. Wedding parties are shot up by mafiosos. Nobody can get through a family dinner without crying or shouting or storming away. Babies never get to the point of being born because, usually, their mothers are shot. Every character takes at least one turn lying in a hospital bed while the multiple people who are in love with them swoon over them and stare angrily at one another. There are threats and recriminations. Adopted children are stolen away by angry ex-husbands. People take a really long time to walk down hallways, while sombre, soulful music plays. Nadine faints, and Usmar catches her just in time. Nadine is shot, and Usmar arrives just in time to take her to the hospital. Nadine is kidnapped, and Usmar follows along behind in his black car. Will he be in time? Yes, because the show has already ended in Turkey, though it is still playing here, and we've all seen the picture of Nadine in a white wedding dress, holding Usmar's hand. Usmar, of course, is not smiling. But we are sure that he is happy, deep inside.
The writing on Usmar, I have realized, is reminiscent of the submissions I used to receive when I helped to edit our literary magazine in high school. Common themes: planes falling from the sky while being consumed by fireballs. Suicide. Unrequited love (specifically, of the sort that makes you want to pull down your curtains and sit in your room in the dark, moaning softly to yourself). Angst! Usmar is teenage angst writ large, just heavier on the staring.
I try to watch Usmar pretty regularly because it helps my Arabic, as well as providing me with lots of handy topics for Arabic conversation, such as: the lack of expression on Usmar's face. Recently, Usmar and Nadine were buried alive. I know this because, though I missed this particular episode, I got a very detailed play-by-play from my neighbor the next day. What makes this cause for rejoicing is that her play-by-play was the first conversation I have had here in which I have understood every last word. (Victory!!! ...of a sort) Apparently my vocabulary is finely attuned to accommodate discussions of burial of the living. Dirt, under, he climbed out, she couldn't, tractor, guys, dug. Mish mushkile! (No problem!) However, slightly disconcerting.