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Private Meeting Movie Review | Lack of logic in characterization

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Omid Shams in his first feature film, Private Meeting, although at first he tells his story in an engaging way and his film gets a passing grade in filming and acting, but the lack of logic in characterization and uncertainty of the characters’ intentions in the script can ruin the product. Give.

Omid Shams, including short films Birthday night And Appointment In his career, in the first experience of his feature film, he has gone to a love story based on reality. In describing the original idea, suffice it to say that what if a woman gradually falls in love with a man who is currently in prison? Prinaz Izdiar plays the role of a butterfly on one side of the relationship and Houtan Shakiba plays the role of Farhad on the other side. The film, with all its flaws, which goes back to the script and I will discuss it in more detail later, has standards in its performance that can definitely be suggested to see it once. Especially since he has been more reckless and believable in portraying a romantic relationship than his predecessors.

Read more for those who have watched the movie

Choosing the initial angle of view to enter into this relationship works well. We are first accompanied by a butterfly who is only supposed to recognize a man from the outward signs of his life. From hearing Farhad’s voice to going to his mother’s house and looking at his past books and photos. What is forming in our minds and in the minds of butterflies at the same time is the depiction of a man who had a social status before his imprisonment and has now been imprisoned by a mistake.

Prinaz Izdiar is waiting in the movie Private Meeting

The filmmaker tries to balance these two tones, one that is specific to Farhad and Parvaneh’s romantic mood and promotes their emotional relationship, and the other tone that reveals the hidden side of Farhad’s character and his entanglement in the horrific prison relationship.

This perception is supposed to disappear after the first meeting of the butterfly with Farhad through the glass, which again is a barrier between the butterfly’s imagination and the reality that is going on, and the camera, accompanied by Farhad, enters a harsh atmosphere that He contracts another tone in the film. This contract was made before this scene in front of Attari Parvaneh shop. Where in the foreground of the frame, the presence of a butterfly in the heart of the red lighting of the shop, contrasts with the quarrel of several men in the background of the image. By lowering the shutter, the butterfly, although seemingly separating itself from this turmoil, announces the situation in front of it in the continuation of the story and its involvement in the conflict of a male society.

The filmmaker tries to balance these two tones, one that is specific to Farhad and Parvaneh’s romantic mood and promotes their emotional relationship, and the other tone that reveals the hidden side of Farhad’s character and his entanglement in the horrific prison relationship. From the difference in the shape of the camera movement in each of these two situations to Houtan Shakiba’s dual game material, all of them are effective in maintaining this balance.

But a more effective element in keeping the audience connected to such a situation is to pay close attention to the characters and the logic of their actions. Farhad’s character is more aware of the audience. This means that he has a plan in advance that accompanies us to watch his next actions. Naturally, the degree to which this character masters his purpose and the clarity of his motives until the end of the story, brings us closer to knowing him and believing in him as much as possible. But given the final third of the film and the key scene of the confrontation with the judge, there are several hypotheses about Farhad’s original intentions and the nature of his character, the confusion between these hypotheses does not allow us to fully know and believe him.

Houtan Shakiba cries on the plain in the movie Private Meeting

Lack of logic in characterization and uncertainty of the characters’ intentions in the script can ruin the product.

In the first hypothesis, we must imagine that we are with a man who from the beginning has no intention other than to deceive a girl and use her to transport drugs. He is fully committed to the same intention until the moment he marries the butterfly. The problem begins when, in the dialogues he utters, in the procrastination he pursues in pursuit of his goals in prison, and in the moments when he listens in private to the butterfly’s love vows in the past, he seems to have really fallen in love with the butterfly and does not want her. Enter the story of materials.

To be more precise, the complexity of the drama is that Farhad seems to have regretted right in the middle of his mission. But on the other hand, he has no plans for his new intention. Of course, it is not unexpected for him that if he does not get the license, he will have to pay a heavy price. But he remains desperate to be beaten by high-ranking officials in prison.

On the other hand, there may be other hypotheses. When the wife of a friend of Farhad (played by Rima Raminfar) tells the whole story to Parvaneh, the question arises in our minds whether this conversation is part of Farhad’s plot? If this is true, then what is Farhad’s reaction to the scene in which he realizes that Parvaneh has brought drugs to prison? The fact that Farhad keeps shouting that he does not want the butterfly to enter this path and even tries to throw the packages of materials into the well, is it still part of his role playing or does it really stem from his love for the butterfly?

If all of this is really part of his plan, then why, instead of showing the character the actions of a cunning, prison-wielding monster who has thought of everything, does the filmmaker act in solitude? Instead, is he constantly trying to show a desperate lover? Now, if there is no real monster and Farhad has no plans from now on to bring the license to this story and the license has entered this story out of interest and fear of Farhad’s destruction, the task of that final scene in What is Farhad’s trial and decision?

Siavash Cheraghipour and Houtan Shakiba are involved in a private meeting

It is at the very moment that, contrary to the expectations of the audience, Farhad blames everything on the butter according to the evidence. A complete emotional collapse occurs for all the audience who believed in the middle of the film that Farhad really fell in love with the butterfly. It is at this point that if we review all of Farhad’s actions in the past, we encounter a contradiction each time. Because he is not introduced as a full-fledged monster raised in prison, nor as an active lover who is willing to make new plans for his lover and even stand against a corrupt system. The uncertainty of the character we are talking about is formed at this very moment, and strangely enough, it does not end at this scene. The audience, who have completely lost their trust in Farhad, must finally believe again that he will soon change again and return to prison after watching the farm where Parvaneh lived and also the neighbor boy who attacks his car!

Again, we have to ask whether Farhad had thought about this return from the beginning or whether he had reached this conclusion in a moment by the decision of the creators? Creators who are afraid to chase the audience with a failed love and an all-encompassing lover in the end. I also hope that the final scene is not more imaginary in the mind of this couple! Because if Parvaneh still believes in Farhad’s return after all these manipulations, there will be practically no will and logic left for the characters. They do what the writers say.

Finally, I present a film that accurately depicts a systematic corruption in the prison that has its roots in the political apparatus outside the prison and also depicts a monster raised in this system. A Prophet by Jacques Audiard.

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