Zohar mar movie was another of the first thirty-seventh Fajr Film Festival.
With an audience of Javad Razavian who has always seen him in comics and movies,You’ll be surprised to see Snake Venom’s Venom, because it’s certainly not expected to see a comedy movie and laugh at it.
But Zahre mar is not a comedy that is a serious social film, and this is the most important thing about Zohremar.Javad Razavian is doing his job, contrary to all expectations, and making the film not based on popularity but on the basis of his own concerns.
Of course, that goes a smart way to getting a serious movie.
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 falls into the path of the story and accompanies the film.With such a start, the viewer goes on with the film without knowing what it is.
Watching Siamak Ansari in a haunting grimace similar to Mahmoud Karimi, of course, is comical and funny in itself, but as we move forward, we realize the seriousness of the character itself, which, in turn, makes the film serious.
After the initial one-third of the film, the viewer suddenly comes to himself and sees that he has not laughed for a while, and as the story goes, he is no longer going to laugh.
Now she’s engaged in a social and adventure story that has an interesting starting point:
A religious magistrate, who, contrary to popular belief in the community, is a human being, is joined by an evil and passionate woman to find one and earn the money that the criminals’ mafia has to deliver by the end of the night.
Along the way, the contradictions between the two and their contradictory behaviors and beliefs create interesting situations that showcase social differences without wanting to be bigoted or filthy.
Something along the way helps to keep the story moving, and keeps the viewer frustrated at seeing a comedy that is partially enthralled by a serious movie by Javad Razavian, the female protagonist and then the protagonist. And of course, the good actors in these roles.
The characters are realistic, and their problems are problems that the general public may have to deal with, so they are easy to understand and believable.
The comforts of a woman’s character and her probing and linguistic encounters with different people and the basics of her religious and tone-filled dialogue that is both feminine and litany,
It appeals to the viewer, and the oppression and helplessness of the film’s protagonist, Heshmat, draws the viewer in another way.
Shabnam Moghaddam’s play in a role that has not been exemplified in his acting career is very good and meaningful and more or less surprises the audience.
Another interesting thing about Zohrmara’s film is that it is based on a true story that makes understanding the film a hotter experience, and makes it more socially critical.
Although it is based on a true story and this should reinforce the film’s realistic logic, it is full of strokes and holes, and often loses its consistency.
You can get caught up in some of the movie’s extravagant situations and extras or get a handful of them, but what’s the point of comparing a first movie to the scales of a good movie?
When the film holds the respect of the audience and does its job with humility and without any pretense, why take it hard?
Just as Jawad Razavian, one of the most well-known and most popular comedy figures in cinema and television, can make a watery movie and make billions by using his name and designing some funny comedies and conventional comedy cinema.
But going for a social critique and making a social, unassuming film that doesn’t sell people and their insights into the box office is very respectable and promising, even if the film is a star and poor.