Shadruvan’s second film, made by Hossein Namazi, is a work that tries, with an incoherent screenplay, to attract the audience with its sometimes comedic and sometimes absurd tone.
The late Hossein Namazi’s second feature film after Appendix is a social play based on humorous situations and does not have a bony story that can place the audience in an attractive and challenging atmosphere. The late seeks after the theme and the concept of family, honesty and unity is of special importance to him. Due to its comic moments, Shadrovan’s games may be attractive and visible to the viewer for a while, but little by little, it loses its effect and the viewer finds himself in the middle of a turbulent period.
Shadruvan is a product and a summary of Iranian films and serials. Works that deal with poverty and misery in Iranian families and try to attract its audience with a series of superficial dialogues and sexual jokes. While watching Shadruvan, a train of Iranian plays parades before your eyes, and you will remember one of these works by watching every sequence of the film, which has only a small Iftar table. This work is one of those films that lowers the level of taste and thinking of the Iranian audience and is a repetition of the repetition of works without the script of this festival. The late is a step backwards in the social genre. A film that quickly passes through the disturbing layers of the life of the marginalized and tries to make the audience laugh and entertain them with its own pain with superficial jokes. In fact, the effect is to accustom the viewer to suffering and to find a positive point in the heart of these problems.
In the following, parts of the story of the late Shadruvan film will be revealed
In a poor and marginalized family, the father of the family goes into a coma for 63 days after eating creamy sweets and then dies. His children need money to be able to get their father’s body out of the morgue; Now both their dead father’s bank account has been blocked by the bank and all their tribes have flocked to their house from Firuzkuh to bury the dead. The kitchen is empty of food, and worst of all, they find out that another child’s name is on their father’s ID card.
The script is not really self-explanatory, and has taken on so many extra leaves and unsupported sub-stories that the viewer has to constantly review the original purpose of the film with him.
If we want to look at the deceased in terms of ideas, the film is summarized in the burial of a pledged body, an initial thought that may be very appealing to the audience and a comedy show, but gradually the idea fades and after the sequence of stealing the father’s body, we see We will be off the rails of the script. The late could have had a good effect on the water, if he had calculated his story millimeter by millimeter and moved forward logically. The screenplay is not really self-explanatory, and has taken on so many extra twigs and unsupported sub-stories that the viewer must constantly review the film’s original purpose and look for clues; Because with each new branch, the work opens up new ideas and raises new questions.
Once the father’s funeral disappears altogether, a rare love story between a deer and a deer comes into play, after which the issue of identity card is raised and the film moves forward in the same way. Giving leaflets and short stories are the main requirements for writing a screenplay, but if they help to advance the main goal of the story and seek to make it more dramatic, this does not happen in the late and the viewer feels that he is watching a puzzle film in each piece. Must collect from a corner and see. This, of course, disrupts the structure of the work and loses the impact it should have on the viewer.
In other words, Shadruvan’s film is divided into different situations and stories that are connected to the original idea of the film with a very thin thread. Each of these situational sequences is a separate story that can entice the viewer with erotic jokes and force him to continue to follow the effect and seek the funeral of the father of the family. The film’s confusion is the great weakness of the work, that the late is not fully committed to his idea and jumps from branch to branch as much as he can and breaks the rules of his plot. The film emphasizes the sub-stories so much and insists on paying them that if we do not pay attention and the watery jokes of the film do not work in the middle of the film, we will forget everything.
The confusion of the film is the great weakness of the effect. The late is not fully committed to his idea and jumps from branch to branch as much as he can and breaks the rules of his plot.
Another problem with the film is that everything comes together at once, and that theme of empathy and oneness of the director suddenly presents itself as a statement. Uncle pays, honey-eating and carefree families grieve for their relatives, and neighbors come to the rescue. Events that were not addressed at all in the context of the film and have no place in the struggles of the late. These events and developments in the characters, which take place in the context of unraveling, make the audience think that the director wanted to reach the end of the film and relieve himself; Because there was no more room for storytelling.
How can an uncle’s character sell his motorbike and pay for Hassan’s burial? Even after all these struggles that the family saw and the character of the uncle who stood away from these conflicts. It is true that Behrang Alavi, who is in charge of this role, is performing a dramatic act, but in the context of the film, he has neither an identity card nor the depth and coherence that can be put into the plot and brought to an effective structure. In fact, this character has nothing to offer and only walks between the scenes of the film and tells funny dialogues to himself.
Another drawback of the late screenplay that I mentioned earlier is the story between the deer and Nader. A sub-story that does not contribute at all to the initial idea process of the film and has no effect on the burial, and presents itself as the main story, rather than as a parallel or mosaic; Rather, the father of the family’s shroud shows up and gets paid. The necessity of this story in the film is for the leaves to be bold, and its only connection with the main story is the identity card. In fact, Hassan’s death had the greatest impact on the deer’s life, rather than the rare relationship between the deer and the burial of this irresponsible father.
Shadruvan is a mid-range film that lowers itself to the level of night battles. A work with a weak script and without structural and narrative entanglements
It is true that this film does not blackmail, but it goes so far towards this thinking, that it becomes a temporary work with similarities to the appropriate serials of Ramadan Reza Attaran. The director could have dealt much better with the concept of family and oneness and made sure that the theme did not become a statement at the end of the film and impress the audience even more. Shadruvan is a mediocre-down film that lowers itself to the level of night battles, a work with poor scripts and no structural or narrative entanglements.