Download serial Del part 1 سریال دل قسمت اول
Download serial del part 1
In Del part 1 serial Again Babak Kaidan, again Manouchehr Hadi and again a division of stereotypes. This is before me, the serial title itself. Don’t say it’s too early to judge. The first part of a series should be the best introduction to the series (just as we wouldn’t in the book with superficial and impeccable introductory books), otherwise, except for my peers who see the series for criticism, the rest of the audience don’t have to.
And there is no other way to download the second part than to “persuade them willingly.” However, let me start with the last word: It is written in despair at the weirdness of “Home Broadcasting”, which this series shares with the author in this sense.
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The series, titled Del part 1 took the place of “Love” (another series by Manouchehr Hadi) and reached the number one spot on “Nomination Titles at the Pinnacle”. I don’t know who to thank for this. let’s move on. There are many stereotypes that form part of the general culture of a society; some are good and valuable, and some are absurd. A significant portion of our writers make no significant effort to change the wrong customs, and they are often promoted, whether they know it or not.
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This does not require intentions. One can easily understand the most superficial stereotypes that most writers use as raw material for their writing: the mother of a complex and angry husband (Nasrin Moghanloo in the role of Turan – Arash’s mother), a poor bride (Resta – Sara Bayat), a lover of breasts. (Arash – Hamed Behdad), Zalil Man (Bijan Omkanian – Atabak – Father of Arash), Triangular Love, etc. This is at the Serial del part 1 of “typing”. Most of our serials that do not reach the character stage are at least not shameless in their typesetting.
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Notice the movie love triangle. The two sides are composed of Arash and Rasta, and the third one is Mehran (Mehdi Koushaki). This character enters at the far end of episode one and begins his conversation with Rasta in the worst possible dialogue.
The rest of the dialogues are also close to disaster. The only fruit of these dialogues is that we find that Mehran has a college education, is suffering from dependency disorder, behaves very much like social parasites, and was unaware of today’s marriage. The skull on his head, the shaved head, the childish begging, the self-sacrificing (don’t get me wrong, I was born wrong) and his stupid threats tell us that this gut-wrenching guy is not at all Arash; a nice-looking boy. Which is a well-trained lifestyle.
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It is true that no one doubts Mehran’s complexity, but writing so many good qualities for Arash (bold, cool, brave, handsome, family-friendly) seems like an exaggeration along with the enormous amount of money he is spending on his beloved. I think this way of writing comes from a self-consciously unconscious literate.
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The writers do not have a critical view of this malicious and hateful subject, as even in the serial form. Arash’s expanses for the village range from red carpets to petals to a lavish, multi-million-dollar celebration of elaborate wedding.
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The camera’s emphasis on showing the groom’s maternity outfit in the first few seconds of its arrival and the step-by-step details of Toran’s father’s food being made, more or less part of the form, have been formulated.
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Manouchehr Hadi, too, came to the aid of the Kaidan’s tastes, depicting these delicacies at the height of the people’s economic woes. If Dell part 1 series hadn’t started with a wedding (just like the Mannequin series), we wouldn’t have been surprised by such “sunshine.”
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After writing the Mannequin series, Babak Kaidan has written yet another piece. While Mannequin has not yet achieved a good and significant performance and has serious flaws in his work, another love is left to his pen. Whatever this overprotection, I don’t think it has anything to do with the author’s ability to write romance.
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I want to say for sure that the writer is constantly using the strategy of pushing back the narrative, so that his work is not superficial. I hope the writers have used this comforting technique only for the convenience of their work in the introduction and expression of prejudices and not the primary source of their narration. If this part of the movie went straight ahead, it had nothing to say.
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With time lags, the general audience may be a little dazzled, but in the end it comes down to how hard it is to put remarkable characters in a deeply cultured social context that these serial models do not even meet such expectations.
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The existence of Hamed Behdad, which tastes of some of Kaidan’s tasteless dialogues and whose presence nevertheless creates a lot of traction and motivation to watch the series, is the main reason for breaking the record in the first episode. This empirical view comes from observing the influence of actors on the preferences and choices of a part of the people, whether choosing to see a movie or TV series for the holidays or electing MPs and presidents.