The name Mohammed Dokhei is synonymous with Saudi comedy. For years, he’s had audiences in stitches with his quick wit and portrayal of relatable characters. Having decoded the formula needed for comedic success, the creativity inside Dokhei needed new avenues to explore, so he took on a new challenge: dramatic acting. And as it turns out, he’s just as good at making you cry as he is at making you laugh.
Born and raised in Riyadh, Dokhei got his start in comedy in the early 2000s, regularly collaborating with his friend, the director Ali Al-Kalthami, on a series of YouTube sketches. His simple, relatable on-screen style resonated with audiences, and he quickly became one of the most recognizable faces in Saudi comedy. Over the years, Dokhei starred in a number of popular sitcoms, including Khamblah and AlKhallat – the latter even expanded into a feature film called AlKhallat+, which further solidified Dokhei’s status as a household name. His comedic timing and infectious energy made him a fan favourite, and he helped to shape the modern Saudi entertainment scene.
Dokhei’s bold pivot into a dramatic lead role, came about again thanks to his relationship with Al-Kalthami, and the production company Telfaz11. Al-Kalthami was all set to direct his first feature-length film, Mandoob (The Night Courier), but needed a recognizable leading man who could carry the weight of the film’s dark plot, but also one who audiences would be intrigued to see in a new role. Dokhei was a bold and intriguing choice to play the lead role of the nervous loner, Fahad Al-Quda’ani, but the gamble paid off. The film was a critical and commercial success, grossing over 10 million Riyals in its first two weeks of release – beating the global goliath, Wonka, in the Saudi box office.
Not only was Dokhei’s performance a triumph for Al-Kalthami as a director, but proved that he was vindicated in his decision to back funnyman, Dokhei, to be more than a comedian. His depth and range that surprised audiences and critics alike, paving an entire new future for him to take on more dramatic roles in the future.
Following the success of the film’s opening weekend. Esquire Saudi spent a day with Saudi’s latest – and perhaps, most unexpected – leading man…
ESQUIRE: How did you prepare for the role of Fahad Al-Quda’ani in the film Mandoob?
Mohammed Dokhei: I enjoyed playing Fahad Al-Quda’ani. The experience both difficult and easy. The character took quite a long time to develop. The writers (Ali Al-Kalthami and Mohammed Al-Garawi) went through 13 drafts of the script to flesh it out. During that time, I spent about a year preparing the psychological ground for the character. I would watch classic films with similar characters like Robert De Niro in Taxi Driver and King of Comedy. I have a long-standing friendship with Ali [Al-Kalthami] so we would use a lot of our real life friendship to help develop the character.
Once he showed me a picture of a mutual friend of ours, he had nothing to do with acting, but his appearance was an ideal reference for the character of Fahad Al-Quda’ani. At the time, I’d never really considered using small, real-life details to enhance what you see on screen, but after Ali explained the reference, I started approaching it in a different way. I went deep. I started reading psychiatrist reports and losing weight on purpose all to help replicate the mental and physical state that someone like Fahad would have. Fatigue due to lack of sleep, tension due to his psychological condition – I would film all day without rest, and go home and sleep in the character’s clothes – all which resulted in a realism of his external appearance without the need for makeup or effects.
ESQ: That was pretty intense. What other obstacles did you face during filming?
MD: Filming lasted 55 days, and I worked pretty solidly through it all. We faced many obstacles during filming, but I was happy – perhaps even lucky – with them because their impact was positive on the character and the narrative of the film. I used the tiredness to help sustain the character who is the kind of guy who is always tired, sleeping in his car in a city that never sleeps.
ESQ: There is an undeniable sense of realism to the film. What do you attribute that to?
MD: It was very intentional, starting from the filming locations and artistic choices, such as Fahd’s house, his personality and the condition of his family. The city of Riyadh played an important role in it showcasing its spirit, and the feel of real characters and realistic dialogues.
ESQ: You mentioned your long-standing friendship with Mandoob director Ali Al-Kalthami. He has directed most (if not all) of your most successes. Would you ever work with another director?
MD: Of course! An actor must work with different directors who have different visions and ideas. There are many talented directors in the Saudi, but honestly, I am lucky with my friendship and closeness to Ali, and it is a privilege to witness to his creativity and his ability to translate it on screen. However, if another director approached me with a killer script and a great vision, then I would work with them.
ESQ: Based on your personal experience, how do you compare comedic roles with dramatic ones?
MD: Comedy and drama are different. It’s like travelling along the Hejaz line versus the Eastern line. Both require different preparation and requirements. Comedy is not easy, it needs a great deal of instinct, but also plenty of study. That is similar to drama, but drama requires more subtly. For both roles, it takes me quite some time to develop my characters – even in something like AlKhallat+. I worked hard with my colleagues to make sure it is consistent with the with the wider goal.
ESQ: You have been around for a long time, but you are quite careful with the projects you choice. Why is that?
MD: Each project I do will be part my history, so I make sure to choose the projects carefully – ones that are well-crafted and deserve to be seen by the public. I believe in the longevity of what I present, whether it is on YouTube, cinema, or streaming platforms.
I have been offered plenty of projects that are not produced by Telfaz11, but quite often, even if I like the scripts, there is a requirement to make them very quickly – and I don’t feel that I can reach my best level if I am rushing things. It is important for me to be able to create work I am proud of. My work is my legacy.
ESQ: Where does your love of comedy come from?
MD: Theroots of comedy came from my home and my family. My home was full of wit. Every morning I used to test out jokes on my mother and grandmother – who I could barely see from behind the mountain of dates surrounding the tea and coffee pots. Essentially, I would perform and try different things to try make them laugh. If I could make them laugh, then I remember that feeling of accomplishment I had.
My mother has a great sense of humour. I think it was formed by her nature and environment. She’s always been able to make me laugh – alongside her wisdom and advice during my upbringing – so now, if I am able to return some of those laughs it fills me with great joy. Much of what I did in the show Khambala, was inspired by her.
ESQ: You have a distinctive classic style, especially in your choices of thobe and ghutra, where do you draw inspiration from?
MD: My style with regards to the Saudi dress is very important to me. I have been obsessed with it since I was six years old. I am meticulous in following the correct way of wearing the ghutra and agal, and choosing the right type and colour – all that inspires the style of Saudi fashion that I wear today. I have lots of pictures from the eighties of me wearing the Saudi dress during my childhood in Souq Al-Thumairi, showing that it was something that I cared about from a young age.
ESQ: Has that passion to preserve the heritage inspired you to want to be more involved in the fashion world?
MD: Currently, I am doing my best to preserve this beautiful Saudi style. Its heritage is a sensitive matter in my view, I do not accept to dilute it or modify it in a way that detracts from its identity, and I also do not reject developing it in a way that is consistent with its authenticity.
ESQ: Do you think the film Mandoob highlights a class difference in society?
MD: Not really, no. For me it is more a film about a man who is struggling with his mental health and the challenges that brings with it. His financial situation is just one of the many challenges he faces.
I agree that there is a class divide in Saudi society, but I don’t think it is as pronounced as it is in some other countries. In Riyadh, people from different classes often interact with and help each other. For example, a wealthy person might help a poor person find a job, or a poor person might help a wealthy person with a favour. I think the film shows this aspect of Saudi society. For example, the protagonist, Fahd, is not a poor person. He owns a house, but he is struggling financially. He is helped by people from different classes, including his boss, his friends, and his family. In the end, I think the film is about the human condition, not about class.
ESQ: What does the city of Riyadh represent to you?
Riyadh is my home. I have lived here all my life, and I can’t imagine living anywhere else. I love the city for its diversity, its culture, and its people.
Riyadh is a city of contrasts – and I love that. It is a modern city with skyscrapers and shopping malls, but it is also a city with a rich history and culture. I love the old neighborhoods of Riyadh, with their narrow streets and traditional architecture. I also love the people of Riyadh. They are friendly and welcoming. I feel at home here. Riyadh has had a profound impact on me. It has shaped my identity and my values. I am proud to be from Riyadh.
ESQ: Do you believe the stereotype that portrays Riyadhis as being harsh in their dealings?
MD: We are kind in our hearts and actions, but it may be accurate to say that we are a bit harsh in our communication and interactions! Especially for those who are new to the city. However, anyone who lives in Riyadh for a long time and understands the nature of its people and the social structure at play. They will also discover the characteristics of humour and kindness in the characters of its children that are shown to those close to them, especially if you approach them and become one of them.
ESQ: Do you try to make people laugh in your personal life?
MD: I am not the type of person who needs to be the centre of attention by constantly making jokes. My understanding of comedy gives me the foresight of choosing the right times to bring it out. I do get a bit annoyed by people trying to be funny at the wrong times or in the wrong environment. However, if it is good even if it is in the wrong environment, such as a funeral, I may accept it.
ESQ: Do you feel that sometimes silence can be golden in comedy?
MD: Absolutely. Personally, I love silence. If I meet someone who is comfortable with silence, I find myself gravitating towards them. A few days ago I went with a friend of mine to the desert. During the six-hour journey, we only spoke for about 45 minutes, but there was no awkwardness.
In comedy silence is essential because it creates anticipation and suspense. When the audience is silent, they are more likely to be paying attention and waiting for something to happen. This can make the punchline even more effective. It can also be used to create a sense of intimacy or closeness between characters.
ESQ: Do you prefer watching Arab or international actors?
MD: I love watching all kinds of actors from different genres. Drama. Comedy. Horror. Even if there are actors that I don’t particularly like, sometimes they will change my mind when I watch them in different roles. However, the opposite can also be true, especially in comedy. Sometimes I see an actor that I like going too far, and it puts me off them.
ESQ: Which if the current crop of Saudi filmmakers are you excited about?
MD: There is so many talented filmmakers working at the moment, that I feel that the future is very bright indeed. I respect directors like Ali Al-Kalthami, the Godus brothers, and Meshal Al-Jaser. Someone like Meshal Al-Jaser stands apart as he has a great way of combining older generations with newer ones. He is still very young, but has been able to create his own individual style in both long and short form films. There is no one who can make Meshal film except Meshal!
ESQ: What movies do you like to watch and draw inspiration from?
MD: Some people may be surprised to hear that I love horror movies. If I found the right script, I would love to make a horror movie. I also watch old Italian films. I don’t even need to know what they are saying, I just like watching them for beauty, the performance, and the expressions of the actors. I actually watched a lot of Italian and German short films while preparing for the filming of Mandoob. The beauty of film is always in its variety. It is a medium that can inspire and challenge you to think differently.
Photography by Muhanad Al-Othman / Fashion assistance by Charlotte Marsh-Williams