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“zahre mar” Javad Razavian was another of the first thirty-seventh Fajr Film Festival. Given the audience's familiarity with Javad Razavian, who has always seen him in comics and comedy series, he will be surprised to see “zahremar” as he certainly does not expect to see and laugh at a comedy film. But “zahre mar” is not a comedy that is a serious social film, and this is the most important thing about snake Venom.That Javad Razavian does his job, contrary to all expectations, and makes the film not in the public interest but on the basis of his own mental concerns.
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Of course, it takes a clever path to a serious film. He knows well that the audience is expecting to see a comedy film, and it is no easy task to convince the audience to come to the cinema with the intention of watching comedy and laughter (in Iran's vulgar comedy cinema). So “zahre mar” begins with a funny and humorous tone that, rather than being funny, sends a soft smile to the audience until he gets in the way of the story and accompanies the film. With such a start, the viewer goes on with the film without knowing what it is.
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We first known Javad Razavian in the 1970s for the series “Laughing Apples”, but he reached a peak of popularity among various segments of the Mehran Comedy series from PowerChain to “The Two Horses”.
“zahre mar” is Javad Razavian first work of art in Iranian cinema, a work that has become a comedy icon in line with the artistic spirit of its director. But in no way can zahremar be included in comedy films even with the minimum standards of the genre.
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zahre mar major and significant flaw comes from the same thing, in Zohrmar, everything from pre-production to production and before the movie reaches the cinema, with the pretense of humor being introduced to the audience.
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The cast, the poster, the teaser, the location and the make-up of the cast are perfectly evidenced by this claim, but refrain from a simple comic position throughout the film.
So what about the audience who went to the cinema to see a comedy movie!
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Unfortunately, zahre mar doesn't even have a creative idea to choose the subject and create a comedy or social comedy atmosphere (as claimed by its agents).
The contrast between a religious figure and a social figure has repeatedly been the subject of many comedic comedies in cinema.
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As a result, when Peyman Abbasi, as a screenwriter, and Javad Razavian as a director seek a recurring subject, the audience's expectation of the film goes up a bit and they automatically expect to see a new, different and Creatively acquainted with that subject.
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The main drawback of “zahre mar” film According to many works of Iranian cinema these days is its weak script, the half-screen script of “Zohrmar” is so confused that at the end it leaves the audience with a lot of questions and confusion.
Peyman Abbasi begins his screenplay with a character named Rahi played by Siamak Safari, the audience initially envisioned Rahi's problems, misery and helplessness from poverty to the imprisonment of his wife for the murder and inability to pay his wife's blood money.
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But at the same time, disbelief at once frees the character and character, so the viewer's gaze from that moment becomes utterly confused.
A little later we see Heshmat's character playing Siamak Ansari, the first thing that attracts the viewer at the beginning of seeing Heshmat's character is the different face and makeup of Siamak Ansari.
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Slow is distinct from most of the characters we've seen. A popular religious magician who is eager to be elected in the city council elections.
But obviously these parameters alone are not enough and due to the weakness of the script, the character and makeup of Haji Heshmat does not go beyond the typical criteria and does not get the required depth.
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All of the characters in zahre mar film, from the main characters to the sub characters, are all based on a few dialogues, so not only are they not properly portrayed, but the purpose of some of their characters and narrative concerns is The audience remains obscure even to the end of the dumb movie.
It is not clear, for example, why Haj Heshmat wants to run for city council or what his entourage like Mahir played with the honorable Barzu and his father playing the beloved Ahari to bring Hashmat to the seat and what benefits they will gain.
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If we go through all of this, one question remains, and what exactly is the significance of this issue and the political challenge in the screenplay process. Unfortunately, Razavian did even the most caricatured portrayal of Haj Hashmat's campaign headquarters.
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At first we said that the film starts with a sequence of Rae's character and the problems around him and the audience is likely to associate with Raei, so we are expected to see Rahee try to solve the problems, but the script is amazed, as Rahee jokes.
|Role Film||Actor Movie|
|Haj Heshmat Tehrani||Siamak Ansari|
|Dastyar Haj Heshmat Tehrani||Borzou Arjmand|
|Moshaver Haj Heshmat Tehrani||Shaghayegh Farahani|
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He is confronted, as if, by the way, Rahi's problems are forgotten and replaced by the ridiculous hatred and hatred of her thirty years ago, which led to her being expelled from school. Interestingly, even by the end of the film, the fate of Rahe and his wife remains unanswered.
Going a little further, as Lily enters the story with the likes of Shabnam Moghadam, Shabam Moghaddam is as good as ever, but her character is as much about other characters as we have ever had in mind, There is no clear answer, what motivates Lily's father to take his grandchild hostage? Or what is the problem with this father and daughter?