cinema trust Mohammad Reza Delir in the newspaper Etemad Pusht; Nostalgia or love for the past is not only for ordinary people, and in recent years, Iranian cinema has also shown a great desire for the past and has used it many times as a basis for making films. It is narrated as sacred.
It is the story of two people named Siros (Mohsen Tanabandeh) and Shaheen (Navid Mohammadzadeh) who plan to replace the body of their condescending, arrogant and infamous father-in-law Qadrat (Mahmoud Jafari) in the place of a Shahri martyr who died in the wake of Saddam’s rocket attacks! At the very beginning, all the energy of the film is spent on the main event and the main action of the film, which is the explosion of the pressure cooker and the death of power as a result.
After this incident, Sirus and Shahin wander around the city in a failed attempt to hide their father-in-law in a post office, so that maybe luck will favor them and the situation will end well with the martyr being declared in power, but the film has no clear evidence. He does not present to his audience why these two, despite their fear of the front and war, insistently want to enter the danger and make martyrs out of (power)?
The filmmaker’s use of the past in Zodpez has nothing to do with dreamy and nostalgic films, and he is closer to the edges of an anti-nostalgia work, and by focusing on a clichéd approach (making fun of everything), he only spends the work on the idea he believes in. !
(Sodpaz) is in the category of pseudo-genre, which is basically one of the main reasons for its creation, the existence of censorship in Iranian cinema!
With the gradual loosening of censorship in the 1990s, producers, especially in movies and home shows, began to use words that were not even close to being used before. The audience suddenly saw things on the cinema screen that until then He was facing them in the group of his same-sex and same-age friends. In this situation, the comedy filmmakers saw a smoother path in front of them and started using sexual and sometimes political jokes in order to make the audience sit on their feet with this tactic!
They attracted the audience by lowering the level of comedy by simply crossing the red lines. But now, after more than a decade, it is time for this process to end, how long are the filmmakers going to resort to circumcision! (which is said many times in the movie Zodpaz) to laugh at the begging audience?
In his latest work, Young Rambad is unable to make the audience laugh and his film cannot fulfill its mission and main goal as a comedy work. The script is lifeless and cannot make the viewer sit on the seat. None of the characters find depth and the film is unable to even create a type in many cases. In the field of acting, we are facing chaos and sloppiness.
Navid Mohammadzadeh had one of the worst games of his life in Zodpaz. Mohsen Tanabande also displays another of his clichéd and repetitive games, and Shirin Esmaili is unable to even come close to the type of a Basiji woman! The movie (Zodpaz) is a weak comedy in general and even has anti-value and anti-patriotic messages! The main idea of the film is repetitive and boring in the destruction of the body in the middle of the film, and it has serious flaws in the dramatic structure! In the end, it must be said that we are once again witnessing a superficial and insignificant work in the blunderbuss of Iranian comedy cinema!
Cinema critic and researcher