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Critique of Asghar Farhadi's film "Hero"; When technique overtakes instinct

BingMag.com Critique of Asghar Farhadi's film 'Hero'; When technique overtakes instinct

The artist creates the work of art with both instinct and technique. The best works of art are formed when instinct and technique are in balance with each other (and not necessarily at the peak). These works become films and paintings and masterpieces of music. A film that is made only by instinct is appealing, but technical inaccuracies prevent it from being called a masterpiece, and a film in which technique is ahead of instinct eventually becomes a mediocre professional work that leaves the viewer after leaving the hall. he does. It can be Asghar Farhadi's film "Hero".

We know that Asghar Farhadi has found his signature in filmmaking and now has his own concepts and world. The "hero" has weaknesses both in the context of the world and in the confrontation as a film completely independent of that world, and eventually becomes Alken's work in telling his story. Incidentally, Farhadi's intelligence and interest is in controlling the story. He does not allow the natural course of the film's story to take place. To create the suspense that naturally arises in his best films from the situation in which the main character was caught, he is forced to manipulate the story himself.

Before we talk more about this engineered process of storytelling. Speaking of "hero", we must say that Farhadi is a director of ability. When it comes to a director who has a prolific record like Asghar Farhadi and has won prestigious awards including two Oscars, there is no need to talk about decoupage and mezzanine and even acting, moving the camera and other technical points. Farhadi's directing in "Hero" is definitely noteworthy.

The film's actors are generally good, except for Sarina Farhadi. For those who are surprised by the play of Amir Jadidi, of course, it should be said that Jadidi is a capable actor in general, and by the way, if you look at all his roles, he has always been a good actor and above the standard level. If this is the case here, it is probably because of the accent issue, which, in fairness, has worked well. In the field of acting, "Hero" has a major difference with Farhadi's other works, which happens to be one of the advantages of the film. There will be no actors in the main role except in the new one, while the actors in the sub-roles of the film, especially Rahim's sister and her sister-in-law, are brilliant, but since these people are supposed to look like street people in this realistic film. None of them appear bolder than the storyline. This was one of the good and clever points of the film. Games as big as the roles and story of the film.

But how believable the characters can be, apart from the acting, is another matter. The characters are not wrong, but in the course of the story, the look that is given to them is superficial and lacks depth. Rahim is a simple-hearted character who, like all of us, has weaknesses in life and, like everyone else, tries to do the right thing in great moral moments. His character is so simple that he sometimes reminds me of "Mr. Halo" enough that he does not know the relationship these days. In contrast, we have a system in which the head of the prison and the cultural director are. Incidentally, they have the right characters and only the look of the film puts them in opposition to the hero who wants to take advantage of him and his situation to their advantage.

BingMag.com Critique of Asghar Farhadi's film 'Hero'; When technique overtakes instinct

This is one of the main problems of the movie. There is no confrontation between the hero and the system. The confrontation that Farhadi wants to force in that sequence of filming Rahim's child is very simplistic and superficial. The system does its job well. The whole point is that if Farhadi did not arrange the sequence as if he were going to be abused as a child, was the system's behavior towards Rahim wrong? No. The system tried to use Khair Rahim's work to its advantage through public relations. What is happening in the world today is not only completely customary, it does not even seem immoral anymore. It is as if we are accusing the public relations of the same film "Hero" of reflecting only positive reviews about the film on virtual networks.

Rahim himself admits that he thanked the prison authorities in his first televised interview We hear the most logical point of the film from the other prisoner when he protested to Rahim that in return for what he promised to thank for the good condition of the prison.


What about the moralist's confrontation with the community around him? The fact is that none of those people, from charities to governors, are any less moral than Rahim. They all make sense. In the case of Bahram, even that sequence of his anger in the charity, which tells Rahim of his love, is Farhadi's trick to make all the characters appear gray. Does not create, so why not work here? This goes back to the same engineered script that, ironically, also has holes in its engineering. If in "About Ellie" we could not blame Sepideh or Ellie or any of the characters, or in "Separation" or even "Seller" it was because the drama subtly told all its details and left us in the corner of the ring that we could not Let's draw a confrontation from the heart of this delicate narrative. "The Hero", however, becomes a meaningless film without considering the contrast, because he is too big in showing situations and characters, and he cannot do his job well considering the contrast.

There is no suspension in the "hero" but we see the attempt to create it. If the protesters complained to Farhadi about the "separation" that he was able to create a suspension by hiding part of the truth from his audience, portraying the whole story clearly and without twisting makes us feel no sense of suspension. If we wait for something to happen because we know we are watching a film by Farhadi, otherwise the film itself, with its dramatic logic, misses the opportunity to create a suspension.

The main suspension is the loss of Rahim's reputation. The reputation that can be shed by playing a movie on virtual networks. Of course, what the camera recorded is not a lie. The narration that he says is not a lie, but because we know that Rahim is telling the truth (something that was judged by Farhadi himself in his previous films) seems like a cruel act to us. An instinct in storytelling with arithmetic and books thinks that if Nazanin, Bahram's daughter, wants to take revenge on her father for breaking his father during these three years and release his film, he can create a suspension. Here, of course, the gap is that it is not natural for a girl to record this film without knowing about Rahim's intrusion into the shop. A film that shows Farkhunda from the beginning of the fight until his arrival. The image that reaches the rest of the mobile phone is not the CCTV image of the shop. It is in color and is clearly similar to movies that are recorded on a mobile phone and posted on virtual networks. Now think how much more natural things would have happened if one of those shopkeepers or passers-by had filmed the film, and the narrative logic would have gone right, but the director's problem was that he was no longer in control of the knot.

He always follows Farhadi, but this McGuffin is another gap in the script. In such circumstances, before the fate and celebration of Golrizan, they look for that great woman. It is customary for a woman to be present at the ceremony to talk about Rahim's chivalry, but no one even thinks of going to the woman before the rumors, neither the TV reporter nor the charity officials. Farhadi has once again made up a story in his favor in realism, which causes the whole story to lose its impact.

Signs that the goldsmith does not write and his calculator does not work. Dramatic logic does not work here either. The bumps created for the suspension do not work, and in the end Farhadi's technique, despite all its strengths, does not succeed in giving a sense of mood to this engineered script.

He does not allow his child to be used to even protect his own reputation. This is the only sequence in which one can find an atmosphere that, of course, is more like Majidi's works than Farhadivar. However, Rahim has become a character for the first and last time in this sequence that can be identified and sympathized with.

The end of the film is two or three stretching scenes that have no effect. The fact that Rahim takes his son to see Farkhunda, and that long view of the prisoner being released, and Rahim going to prison, can of course have many interpretations of salvation while going to prison, or a sign of Rahimi, whose hair turned white years later and Farkhondeh behind the door. Prison is waiting for him, but it does not leave the slightest emotional impact on the spectator who has tried to accompany Farhadi in this game from the beginning.

We must return to the same first point. The film "Hero" is devoid of human emotions. It is a mathematical formula that, if we are very careful in it, we can find its errors, and even if we pass over those errors, the work of art that is devoid of emotion loses its effectiveness. The "hero" is trapped in the self-confidence of Farhadi, who thinks that he can fit any story into his own formulas, and as a result, this time the irrationality of the plot and manipulation in it has caused neither news from a neutral realistic point of view nor drama that excites the audience.

Identity card of Ghahraman

Writer and director: Asghar Farhadi Thanks to Saeed Farhadi
Actors : Amir Jadidi , Mohsen Tanabandeh, Fereshteh Sadr Arfaei, Sahar Goldoust
Synopsis: Rahim has been imprisoned due to financial debt to his former wife He is on leave for a few days and receives a quality of gold coins that can clear part of his debt. This is the beginning of many adventures for him.
imdb rating for the film: 6.5 out of 10
Metacritic rating for the film: 78 out of 100;
Author's rating to the film: 2 out of 5

Farhadi's film critique is the author's personal point of view and is not necessarily the position of BingMag.
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