The movie “Sayyad”, in reality, rather than introducing a special figure such as “Martyr Ali Sayyad Shirazi” to the younger audience of the cinema and turning it into a “special name” in the mentality of these audiences unwittingly expresses the characteristics and characteristics of Bani Sadr, and becomes a portrait, but a portrait.
“Sayyad” is the third feature film “Javad Afshar” after “Fall for Flight” and “Cottage”, which is by no means better if it is not worse than the previous two. In fact, Afshar in his second ambitious project after the costly Kimia series has come up with parts of the life of the Army Land Forces Commander, but the result is that the film has not yet become a “work” and has remained clips and television shows.
The filmmaker’s supposed to us is probably to get a more accurate understanding of this hero while watching the fisherman and arouse our positive feelings about him, so that the production team of this film can be told for their good intention, but when we enter the worldless world of the film!
The fisherman, which continues to make a film and serial project about the sacred defense commanders, is not just like most of them, but basically “recognizing the subject” does not become a “basic issue”, and the film constantly rotates many people and topics, and without bringing it to its audience. We are going to see the conflict between Sayyad Shirazi and Bani Sadr and his companions to get a more accurate understanding of the hero of the story,
But the filmmaker, with a full -fledged Nabeli, pushes his camera angle to Bani Sadr and has more than Sayyad Shirazi and even has a more empathetic look at him! That is why the film provides the materials necessary to express timely interpretations and put the acts and political decisions of the deposed president in today’s balance.
This is not the only major disadvantage of the fisherman, of course, and we, as the cinema audience, have no understanding of why he is involved in various operations and his defense of the military, as well as his idea of the integrity of the army and the army on the battlefield. This was precisely the point where the screenwriter had to think first of all, and revealed the inner and external motives for the all -out presence in the war, so that the viewer was correctly aware of his actions, and the fisherman, along with all the positive features and weaknesses of the film, and the weaknesses of the film, and the personality of the film, Repeats Shirazi in a compact manner; However, the study of what this martyr during his past life makes us completely unnecessary to watch this film.
The multiplicity of themes that make the dummies into the frame logic is another thing that does not allow the cinematic character to be made. In fact, the viewer cannot communicate with the cinematic aspects of the fisherman’s personality, and in order to be on the path of the story, the deep and impeccable holes of the narrative will be forwarded by his assumptions.
This, of course, is not the only negative aspect of this method of narrative, and it should be noted that the filmmaker is in a hurry to bring the audience’s attention from the principle to the sidelines and to make him a mental jump; The margin is nothing more than dealing with the army and army commanders in the command tent and the superficial joke with the names of various operations and referring to the issue of Iranianness and building another against Arabic.
The film goes on to provide the way to providing temporal and anacronist interpretations, and to bring the martyred Sayyad Shirazi to the present, its creators are now making any effort and making it a subject of fashionable interpretations of sacred defense.
The presence of “Maral Bani Adam” as a martyr’s wife, even despite his marriage in external reality with Ali Sarabi, does not understand, and we do not understand what cinematic logic of his wife’s martyr Sayyad Shirazi. Al -Qaeda’s film could have justified the logic of using Maral Bani Adam’s voice as a narrator and portrayed the work by views of the martyr’s wife as a narrator, but it did not even appear in the editing so that the work could not be preserved. In fact, the filmmaker in line with his film’s promotional billboards across the city uses martyr Sayyad Shirazi as “McGafin” by problematic people like Bani Sadr and his associations, which is interesting in its own way.