Ablagh Movie | A Detailed Review of The Movie Directed by Narges Abyar
Ablagh Movie | A Detailed Review of The Movie Directed by Narges Abyar
About The Ablagh; A Film Directed By Narges Abyar
Abiyar's "Ablagh movie" is a seemingly powerful film that both wants to talk big and is different from Narges Abiyar's other previous works in terms of direction. In the movie Ablaq, apart from Bahram Radan's weak acting, there are several impressive sequences. The most important thing is the two encounters between "Jalal" (Radan) and "Rahleh" (Elnaz Shakerdoost), whose narrative suspense is both breathtaking and nail-biting. Elnaz Shakerdoost's performance in the film is also remarkable: her most crucial performance after "Suffocation," which, because this time her role was opposite to Fereydoun Jirani's film with dialogue, may indicate a turning point in her career.
But if we take into account these few little details, we can see that the Ablagh movie does not live up to any of those promises. The film does not deliver its speech in a manner that is memorable and impactful, and the visual concepts it employs while shooting does not bear any fruit other than to irritate the audience. Ablagh is, without a doubt, the least impressive of the four movies that Abyar has directed (Since "Shiyar 143" in 2014). The movie covers the narrative of a lady who lives on the outskirts of the city with her husband and kid. But the film also shows how the story of their life evolves during the course of the movie.
Ablagh Movie
In the first hour of the movie, the audience is presented with an important question: what will become of Jalal and Raheleh? In addition to this many enigma, there are one or two more minor issues, the solutions to which will be discussed in the remaining time of the Ablagh movie. However, the cumulative effect of these riddles and the manner in which one pays attention to the nuances of the film are not sufficient to alleviate the dullness that characterizes the first hour of the film.
The screenwriter has likely spent several sequences and even sections defining the characters in the Ablagh movie and establishing the atmosphere, possibly with the hope that the audience will acquire a deeper understanding of the factors that led to the development of such criminal behavior in that setting. We might highlight the scene of Ali's escape (played by Hootan Shakiba) from the hands of creditors, the set of a family celebration, pigeon keeping sequence, and the delight of the townsfolk when Jalal and Shahla (played by Gelareh Abbasi) got a boy as some of the intriguing parts of the film.
The sequence of the municipal officers going to the place to follow up on the situation of the rats and that sequence of fighting with its old symbolism, which must have wanted to make a metaphor of glory and honor, are going to be amazed the audience. A girl who is unable to speak and gain her rights in this harsh and terrifying atmosphere, or a young guy who is silent after seeing all of the wrongs that Jalal has done, are just two examples of the many symbols that can be found in this movie.
Why We Call Ablagh Movie A Boredom
In reality, the film doesn't reveal its story for an hour. And during this time, the script for Ablagh movie was unable to properly connect the deep movement of the narrative to properly create the atmosphere of the neighborhood and the people who lived there with the main story that was being told in the movie. Because of this, the Ablagh movie of Narges Abyar appears to go at a sluggish and monotonous pace.
It is fascinating to consider the plot of this picture in light of "About Eli," which was directed by Asghar Farhadi. In "About Eli," the most important event takes place sometime around the 60th minute (that is, in the middle). Up until that point, everything runs smoothly, and there is little suspense, allowing the audience to acquire a better feel for the characters and a better understanding of the issue. However, it begins with a little cliffhanger, which is "the direction that Eli and Ahmed's relationship will take." However, this warm, welcoming, and friendly environment, via the use of a soft dissolve, gradually crosses a bridge and enters the anxious second half of the film.
The picture itself does not split into two sections at this point. Remember the pantomime sequence in the middle of the movie and how it creates a feeling of nervousness and anticipation for a significant event by using a simple game between friends that has no apparent link to the screenplay.
Narges Abyar and The Way She Directed Ablagh
The Ablagh movie does not have consistent cohesion in terms of casting and direction. The camera on the quivering hands with unusual whipping pans in the packed mezzanines alongside the various discussions of the characters has merely become a cause of difficulty for the spectator as opposed to boosting the tension and psychological stress of the scenario. The long and emotional (and possibly satirical) slow motions of the local party scene (for example, the moment of blowing bubbles) or the peculiar and pointless camera movement in the scene where Jalal and Shahla watch Raheleh on the roof as if each of them were from a different movie with their own distinct visual identity. They have arrived on their own accord.
These pictures seem to have been sewn together for no apparent purpose and defy logic in the same way that a forty-piece quilt does. The Ablagh movie demonstrates that even with a skilled professional cinematographer like Saman Lotfian - whose body of work includes critically acclaimed films such as "The Last Snow" - the weight of the director's will and guidance in the final output of the camera is so daring and significant that it cannot be overstated. It does not matter how beautiful each plan is as long as the pictures do not come together to make a single texture that can be easily identified.
The cast of Ablagh Movie
The film is also affected by the composition of its actors. Bahram Radan, in the role of Jalal - a different character in his collection of works - has nothing more to offer than his other roles in these years, except for his flawless makeup. It is strange that an actor, after two decades of playing various roles, still has such problems. He still sticks his words together while speaking; It's as if you hear them halfway.
Shadi Karamroudi's role as a girl from the lower city - with her own brags and fears - is unbelievable. And Hootan Shakiba has clearly worked hard to bring this character to life. Although his efforts in the two-person solitudes with Raheleh are memorable, he has not succeeded in making Ali's complex character real. Ali is a mischievous and ignorant young man who seems to have no sense and cannot handle life, but at the crucial moment of the story, he stands by his wife with courage and honor.
After the assault sequence, the film finally comes to life. But unlike the uneventful first half, everything moves at lightning speed to reach the final conclusion. First. At the same time, we have all seen Rahele's innocence; in a sequence copied from the movie about Eli, the cards are stacked against her, and even her close friend leaves her alone in this sensitive moment.
Rahim, Jalal, and Finally Raheleh
Then, the neighborhood's women are violent, making a demon out of Jalal, as if he rapes all the women in the community. In the following, Rahim, with a passionate speech, makes the ambiguous and intertwined dimensions of the issue complete for Raheleh and leaves the final decision to herself. And now she is the one who has to decide the end of this story. In a melodious mise-en-scène, she passes through the fire, and although she seems to burn, she actually comes out of this predicament pure and reasonable because the door and the wall testify to her purity and innocence.
Verdict On Ablagh Movie
In the Ablagh movie, which she directed two years ago, Narges Abyar has gone for an inflammatory and up-to-date theme; "Me Too." She reveals what the process of sexual harassment of women is and how, when everyone knows that the male abuser is guilty, they expect patience and silence from the abused woman. In the end, the film's hero is redeemed due to the understanding, courage, and trust of her dim-witted, reckless and troublesome husband, and she leaves the neighborhood with pride.
While the infected, cruel, and uncontrollable rats of the neighbor are still hanging on each other and looking for an opportunity to bring down the oppressed character. For a director who, at least in "Nafas," made a commendable attempt to delve into the complex layers of Iranian family life half a century ago, such a look and treatment seems strangely trivial, simplistic, and even backward.