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Sorkhpoost movie can be seen as a new experience in Iranian cinema that has been able to come close to the rules of international cinema and largely free itself from the problems of domestic filmmaking. It should be noted, however, that in addition to its positive points, film Sorkhpoost also has many weaknesses in the script, which has seriously damaged the film's uniformity and resulted in the work failing to produce a new trend. Founding in Iranian cinema to be a role model for many filmmakers.
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The first admirable feature of sorkhpoost is the director's mastery of decoupages and scales. The design of the sorkhpoust scene can easily be one of the premieres of Iranian cinema in recent years in which the relationship of the environment with the characters is clear and we do not see strange and unrelated sequences. Nima Javidi's mastery of technical points has made the image created in sorkhpost one of the best in recent years in Iranian cinema, where the smallest detail is admired and admired.
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Hooman Bahmanesh's filming of the film has undoubtedly been one of the best experiences of recent years in Iranian cinema. Where all the framing is done correctly and in accordance with the correct imaging principles, where the characters in the story are positioned, the camera also works differently and fortunately is at its best for recording.
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The dark and dead shooting of the prison and the moving camera that we see in the final minutes of the film proves to be a fascinating and spectacular soorkhpoost filming experience that can easily be the model for many domestic filmmakers. A camera that never goes beyond the standard cinematic imaging framework, and of course the best place for him is a wide-angle cinema.
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In the screenplay, too, sorkhpoost was able to apply the suspense element well and keep the audience curious until the very end. It should be noted, however, that the suspense capacity of sorkhpoust is sometimes minimized, and the film is caught in a cycle of repetition, which is tied to a major duplicate commute to find sorkhpoost.
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However, the story does not fall into the abyss of boredom and distraction from the film. Maybe if the middle section of the screenplay could have posed more challenges to the subject, we could have seen some great work in Iranian cinema, but that didn't happen and the details of the story were sometimes slimmer than it should be.
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In the characterization part, the main character of the story, Major Jahed, is the best character in the story and the focus of the film is on him. sorkhpoost well introduces this character and his inner mood to the audience so that the viewer will not be satisfied with his military figure. This character is a strong point of the film and easily accompanies the viewer. Although a man of stubbornness and mastery of the strange prison of the story confirms this situation, the inside is an emotional man who wants to experience love and is impatient to reach this point, though he tries to appear. To hide.
But despite its many positive points, the film also has some strange weaknesses. The first weakness of the film has to do with the presence of the character in the play with the fairy tale Izadyar. The one-time character in the story, and a short distance from the scene, begins an unprecedented romance with the colonel that we don't know about before.
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In fact, this romance starts when we don't see anything about the process of love for each other, and only when the magician confides in the assistant that he says it in a dialogue and then reveals their two interests to each other. they do!
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In another part (this section can tell the story. If you haven't watched the movie, read this section), the film has no reason to give the viewer a sneak peek at the dedication and rescue efforts of the sorkhpoost!
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In fact, the audience never understands why a worker would have to risk his or her life and security and future in order to save an offender from the death sentence issued to him, like so many other prisoners. Moral motives can be a good excuse for coworker action, but they are far too exaggerated to be rational.
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Meanwhile, the main weakness of the film comes to an end. Where ethical messages fall to narrative logic and the filmmaker is put in a position to decide to stick to Iranian cinema and create an ending that comes from the sudden and unreasonable evolution of the main character. The ending, if it were to play such a role, would have been better if the major contradictions in the story reached a point that would have made him a decisive choice, but instead the film would not make the change in a minute. The effect was not weakened.
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Among the cast, surely the best movie game is owned by Navid Mohammadzadeh, who, unlike previous years, has played a character far beyond his own age, and his acting details are in stark contrast to the actor's roles in the film. It's been years.
|Role Film||Actor Movie|
|Sargod Nemat jahed||Navid Mohammadzadeh|
|Susan Karimi||Parinaz Izadyar|
|Modire Forodgah||Atilla Pesyani|
|Zane Ahmad Sorkhpoost||Setareh Pesyani|
|Sarhang Modaber||Mani Haghighi|
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Mohammadzadeh has been able to display a formal, dry manner and avoid exaggeration in his play. He doesn't get angry this time and he doesn't scream, and of course he's not in the middle of a joke! The role of Mohammadzadeh in the role of Major has shown a new part of this actor's abilities.