Beyond the Adaptation: Why Lebanese Star Rita Harb Defends Arabic Remakes of Turkish Dramas

Fans of Turkish drama series can easily recognise their Arabic remakes, as they share identical settings, storylines, and key scenes, all recreated by a new cast speaking in a Levantine dialect and introducing local humour and social codes. Viewers have readily embraced shows such as 2019’s Arous Beirut, adapted from Bride of Istanbul, and Stiletto, released in 2022 and adapted from Stiletto Vendetta, transforming both into major hits on MBC’s streaming platform Shahid. MBC further reinforced this model in 2022 by signing a five-year agreement with two of Turkey’s largest production houses, Medyapim and Ay Yapim.

Among the subsequent productions was 2023’s Al Khaen, adapted from Sadakatsiz, itself a Turkish version of the BBC drama Doctor Foster. The latest release, Hob Aa Waraq, is a 90-episode remake of the Turkish romantic drama Sen Cal Kapımı that began streaming in June, airing five episodes each week. The widespread popularity of these remakes raises questions regarding where original Arabic drama fits within the industry, why networks commission adaptations rather than original stories given shared family and community values, and at what point a remake crosses the line into a high-end knock-off.

For Lebanese actress Rita Harb, who stars as part of the ensemble in Hob Aa Waraq, that perspective overlooks the fundamental changes that occur during adaptation. “All you are really looking for is a quality story to tell,” she tells The National. “These shows are not carbon copies of the Turkish originals. They are Arabised adaptations. Some people say these stories do not resemble us, but they are good stories. When we make an Arabic version, we place it in settings that are more familiar to us, and it has its own flavour. The proof is that Arab viewers who watched the original in Turkish return for our version.”

Arabic adaptations represent a natural progression of the region’s long-standing fondness for Turkish drama, a history tracing back to 2008 when Noor was dubbed into Syrian Arabic and became a regional phenomenon, followed by the hit spy drama Valley of the Wolves in the Gulf. By 2011, Ezel achieved immense popularity after being dubbed into Arabic on Abu Dhabi TV, prompting stars Kenan Imirzalıoglu and Cansu Dere to travel to the UAE for a red-carpet gala and fan interactions. This paved the way for Arous Beirut in 2019, which broke away from the traditional 30-episode structure of Arabic drama to run for 220 episodes across three seasons.

Harb, whose 25-year career spans both formats, notes that long-form adaptations are not inherently more gruelling than shorter series. “A 30-episode run is not easy because, depending on the role, there is a real intensity in getting all the emotions across directly,” she explains. “But after doing a few longer series, you realise that you become more comfortable with the character as you go through the peaks and troughs with them. The best part is that the audience really gets to dig in to the characters. By the end of the series, the character feels as much a part of their lives as it does of mine.”

Harb is witnessing that exact reaction from viewers regarding her role in Hob Aa Waraq, a family drama exploring an unexpected romance between a hard-hearted billionaire and a rebellious young woman. She portrays Joumana, whose controlling behaviour stems from agoraphobia, a fear of leaving home developed following the death of her son. “And this is really where the longer format helps, because you can play the character and all her rhythms more delicately. People can really understand these important topics of mental health, grief and trauma,” she says. “People tell me they have experienced circumstances like hers and have lost someone in the family, so they say this character represents them.”

To convey Joumana’s resilience, Harb has drawn upon her own personal struggles. After starting her career as a model, she secured her small-screen breakthrough presenting the entertainment programme Oyoun Beirut in 2000. Her defining star turn came in the 2014 Ramadan drama Ashara Abid Zghar, where she portrayed Lamis, a character subjected to severe psychological trauma. That project drove Harb to push her capabilities further. “On set, I listened to every useful note. If a director said something that felt truthful to me, I took it and built on it. Then I told myself that I needed to study, so I brought an acting coach to my home and began taking intensive classes after each shoot,” she recalls.

This dedication led to high-profile parts, including the 2015 drama Hayat School—where she played a divorced woman striving to rebuild her life—the 2020 Saudi social drama Darb Al Raml, and her acclaimed performance in Stiletto. The latter project was nearly cut short after Harb survived a near-fatal car accident while travelling to the set in Turkey. She underwent surgery and relied on a wheelchair, walker, and crutches throughout her recovery. Upon her return to filming, the writers integrated an accident into her character's storyline to account for the walker. Nevertheless, the trauma remains with her. “I will have titanium plates in my face and leg for the rest of my life,” she notes. “My appearance before the accident is different from my appearance after it. I also cannot undergo cosmetic surgery. When people discuss whether they should have something done, it hurts because they have the choice, while I already know that I cannot.”

Rather than slowing down following a near-death experience, Harb intensified her career to make the most of life. “My whole view of life changed after the accident,” she shares. “I became even more hyper because I want to benefit from every minute. I could already take on several things and do them at the same time, but now that has doubled. It is as if I want to make use of every minute of life. My ambition and my sense of challenge increased, and I do not like to postpone things. No one knows what will happen to them. If there is something I want, I want it now. Why should I delay it?”

Harb hopes Arabic drama will similarly maximise its available talent and budgets, disagreeing with the notion that international productions from American, British, or Turkish markets are inherently superior. Instead, she attributes success to the harmonious integration of all creative elements. “Sometimes I see good productions where money has been spent only on spectacle that passes without impressing the viewer,” she adds. “What is a large budget if it is not spent in the right place? These elements are connected, and the casting must also be right. You need the right person in the right place. When all of these elements come together, our industry can challenge anyone.” Hob Aa Waraq streams on MBC Shahid, with new episodes releasing from Sunday to Thursday.