The film Aughos Baaz is, in the full sense of the word, a clichéd, sloppy, insipid, inconclusive, weak, drawn-out, anonymous, unattractive, and inconsiderable work.
The question that came to the writer while watching the film was why and how a director like Behrouz Shoaibi would make such a thing and be pushed towards it.
The film itself, whether it is for the story, the narrative, the games, the theme, the scene, the implementation of weak and clumsy ideas, in every way on the script, from the concert story to Hamed Kamili’s bad acting to the types The cliché thread of thousands of other dummies, to the ending of an unbelievable print, to the picture postcards, to the deformed and artificial moral ideas, and to everything else, a detailed collection of failure and artificiality and ineffectiveness and Harassment is the audience.
It’s as if a carnaval of the lowest order of cinema, suddenly thrown from the 70s to the present, and like a watery nightmare and the color of a tasteless coarse flower, produces sounds and screams, the only achievement of which is audio and visual pollution, and that’s it!
It seems that our dear and respected director, for whatever reason, has given up on an already lost gamble on a saddleless, tired and listless horse whose loss is his inevitable fate!
Regardless of the film, the principle of such a course and trend for someone like Behrouz Shoaibi, who has Halliz and Cyanour in his career, is very important and worthy of reflection and analysis, and of course very instructive and instructive!
It should be investigated how the well-informed and creative filmmaker of cinematography named “Behrouz Shoaibi”, who succeeds in portraying one of the most dangerous and spectacular experiences of Iranian cinema in the powerful and brilliant melodrama in “Dahliz”, also in his first filmmaking experience, in Iranian cinema. The path to “open arms” has reached!
The role of the market, the role of the producer, the role of the author’s personal circumstances, the role of the social and economic and even political situation of the society, the role of managers, the role of the audience, the role of other media and…and a thousand and one other things that may be involved in such a process and situation Throw the “Atrium” into the “open arms” with something like a “cyanide”!
The open embrace of daily life and the death of art and craftsmanship and effort and bitterness and artistic practice; Embrace vulgarity and slyness, the crafty bazaars of this cinema, who drag even the proven talents of this valley to such dangers!
Of course, this article does not intend to ignore the inclusion of other visible and hidden factors, especially the filmmaker’s choice and personal circumstances, or anything else that can play a more or less main or secondary role in this process, but there is no doubt that many points and factors That said, they have the potential to cause such situations; Both potential and actual.
The danger that comes with the emergence of films like Open Arms, with the coordinates that we know from the beloved director with a good record and a good career, is unfortunately a serious, imminent and sad danger.
After seeing the open arms, and out of sadness, fatigue and suffering, once again and after many years, I sat down to watch Halliz and Cyanour again, and this time I went further and further, in addition to the pleasure of so much cinematography, scrutiny, precision, harmony and first-class mise-en-scène that Really and without exaggeration, it was evident in each and every sequence and even the plans of those two dear films, especially Dahleez, a taste of sadness and despair was also felt in my heart. Hope it doesn’t happen!