Trust cinema Explanation: On Saturday, November 5th, Ebrahim Imran wrote a review on the movie “My Beloved Cake” directed by Behtash Sana’i and Maryam Moghadam with the title “Qaseida Mahin wa Farmarz” on page 6 of Etemad newspaper, Abolfazl Najib wrote a response to this review, which you can read below .
Ebrahim Imran’s review of the movie “My Beloved Cake” is the motivation for writing this note, in fact, answers taken from the text to often metatextual questions and from somewhere outside of the view that is necessary to see the movie. In a sense, the author relies on memories to criticize the film, who probably did not see the film as much as it should have, or their assumption is that because the film did not have a public release, it did not have a large audience, and it is necessary to criticize the film by distorting the text in a sense. Unfortunately, in society, judging such movies is like watching a football match in a stadium, with the sweat of being a supporter of one team and fanatical antipathy to the rival team. Watching football like this and judging it depends on where you see the match from. Choosing a position is like the glasses with which you see the match, and of course, based on sympathetic and parasympathetic feelings, you judge a real event based on a fanatical mentality and view. From this point of view, the author’s objections to the film can be compared to Hoshang Kavossi’s mockery of the film Qaiser. Kavoussi’s serious objection to Kimiaei was that Caesar, who knew who the killers of Farman were, the best thing to do was to refer to the law. It doesn’t matter that Kavoussi actually raised such a problem seriously or as a joke at that time, the importance of the issue was somewhere beyond the world and the content of the film, which was basically in opposition to the order that the filmmaker did not consider legitimate or objective.
On the opposite point of Kavousi’s opinion, he had sympathy with the order and system that existed at that time. In the world of the movie, the character of Caesar was in awe of a rebel and the hero of the alchemical solution to answer and get out of such a situation, at the opposite point of the Kavousi solution. From this point of view, what makes My Beloved Cake thematic, regardless of whether we agree or disagree with the filmmaker’s view of disabled people, this view, according to the author’s interpretation, is against the existing conditions. Just as what gave Caesar objectivity, apart from the alchemical right and wrong view, was the confrontational view with political order and system. Obviously, from this angle, it is a reference to the conditions of the umbilical cord and the driving force of the events and the background and world of the film. Including the loneliness of the film’s characters, who are somehow frozen in time and in their cocoon of loneliness.
What has been deliberately ignored or neglected in Mr. Ebrahim Imran’s criticism is the cornerstone that he claims without considering it, the film would have nothing to say and there was no basis for crossing the red line. In a part of his review, we read, “Let’s suppose that all the elements in the movie “My Favorite Cake” caused it to be banned; There was no place for Arabs in our cinema.” And with this assumption, they conclude that the movie had nothing to say due to its supposed neglect. This argument more or less evokes the same view of Mr. Kavousi on the driving engine of the movie Kaiser. In another place, Mr. Imran asks, “How is the background of this character (Mahin) introduced to the audience to accept his next acts?”
The answer to this question can be referred to Mahin’s conversation in Durhami with women and later in the night chat with Farmarz. In a part of Mahin’s conversation with Farmarz, Mahin’s answer to why she has not met another man yet is that she has not found the man she likes, Mahin refers to the old photos installed on the wall, although with a brief reference and to the extent necessary. And even reminds the reasons of staying alone during the past years. Another objection of the author is the type of dialogues of the two main characters and the remark that “the filmmaker is rude and like the conversations of the street and the market; put the dialogue in the mouth of the female character; It’s definitely not called raising a story.”
It is a claim that the dialogues of the two characters in the film could have been anything other than what they say according to the data of the filmmaker and Beckrand and their social base. This claim may be worthy of attention due to the simplicity, openness and intimacy of this relationship, but let’s not forget that the nature of these dialogues is in the context of the simplicity and purity of the film and in relation to the characters that are processed in alignment with the hypothetical world of the film. In my opinion, Mr. Imran’s reference to the movie Life and No More is not correct and with an emphasis on the dialogues of the character who had an earthquake on his wedding night and after a few days he is looking to revive his life, as well as other characters who rely on their understanding and perception of the meaning of life. The simplicity of expressing their individual worldview is enough.
It seems that the problem of Mr. Imran, and if he has focused more on this section, is to consider Mahin’s relationship with Farmarz to be the same as what they interpret as having a partner. Unaware of the fact that Mahin had the possibility of having a partner and marriage during all these years, according to his friends and his own confession, what he was looking for was the insistence of a man of his own sex, a man who would be willing to put his head on his chest even after his death. And squeeze his arms, feel calm. The simple and romantic washing of the border cannot be interpreted except as a romantic attachment. References that easily border emotional attachment with spending the night with a random partner.
Loneliness in individuality is not defined by living in a group or living in physical solitude. The gender of solitude in its real sense has a philosophical or pseudo-philosophical meaning. This interpretation has nothing to do with the fact that such people are either philosophers or have a philosophical understanding of the universe. Such people are philosophers in a way of intuitive discovery and their loneliness is of this kind. Such characters can be mentioned and referenced in history and field experiences. About Mahin’s personality, such a claim cannot be made with certainty, just as no one can completely deny such a claim. But the reasons and signs in the film show flashes of such tendencies. The fact that the author reduces all of Mahin’s concerns to having a partner is as misunderstanding as the rest of the problems he has made in the film.