Trust cinema Farzaneh Mateen wrote in Etamed newspaper:
The movie “Muft Bar” which was released in the country’s cinemas in the middle of September, is the second directorial experience of Adel Tabrizi after the movie Gijgah. The producer of this movie is Abdullah Alihani and Hossein Farah Bakhsh.
Unfortunately, the body of Iranian cinema has become so weak that it only spins on the heels of comedy movies, ridiculous and lowly movies.
Not long ago, Kamal Tabrizi said in an interview with Fereydoun Jirani on the 35mm talk show: “Our cinema has touched vulgarity.” I myself am one of the makers of comedy films, and nowadays I am ashamed of comedy films like this. I say to myself, I wish I had not entered this field and genre. What have you really done to the cinema that the director of the lizard should say this sentence? It is a shame that the Iranian cinema these days owes its business to comedy films to the extent that they make and show a watery film like Moftbar Parvaneh, and how come famous actors like Hamed Behdad and Sahar Dolatshahi are playing in this movie?
When our cinema becomes vulnerable, some people find an opportunity to get to work and show their films without content and use the credibility of actors to attract the audience. It is clear that a cinema that only revolves around capital and money does not care about the only thing. Consciousness is the audience.
At first, Moft Bar attracted the audience by introducing Hamed Behdad and Sahar Dolatshahi and extensive advertisements, but the audience realizes that it was deceived after watching.
Is it possible for the heavy weight of social cinema, Hamed Behdad, to act so artificially in this movie? Has he forgotten how he traveled from Saadat Abad to Qasr Shirin and how could he play such a weak role in front of Sahar Dolatshahi, who is the main pillar of home theater series, with his impressive performances from Chaharbansuri to Dariush? Did they not read the script when they fell into such a trap?
Both of them play on the level and their roles have no depth, they just exchange a series of dialogues from Farsi films and soup.
Muftbar doesn’t even have a story that wants to be told, a mixture of several Persian films without a narrative line.
This movie does not have a single positive point to maneuver on. On the one hand, making fun of the people of the south of the country and showing a bunch of satires about the traditions of the Qeshm people, and on the other hand, playing music from Los Angeles along with dancing and singing.
If the genre of free movies is comedy, then what is the genre of movies like Fossil, Bloody Crocodile, Year of the Cat, Texas 3, Meeting the Witch, etc.?
Muft Bar cannot be included in any category, neither comedy, nor drama, nor social, nor entertainment. Maybe it’s better to say it’s a poor copy of the 40s and 50s brothy romances, which has performed poorly even in nostalgia.
A love story that takes place in the context of a tea export company, whose name, ironically, is similar to the economic case of Debash Tea, which is the biggest embezzlement ever seen in Iran.
This weak movie causes boredom and leaves the cinema hall rather than trying to bring laughter to the audience. This thing that we see in the cinema called Muftbar is not a movie at all; Rather, it is a series of plans with silly and childish dialogues that are compiled in the worst way and given to the audience.
In the end, it must be said that it is not clear how the officials who used the slogan of revolutionary cinema gave permission to this film?