"Laminor" which started on the Persian carpet, I thanked God and said to myself, so we are going to see the old seal; The place between "Sara" and "Leila" and "Tehran, Tehran" and "How good you are", in terms of love for Iranian art. And based on the information I already had about the film, focusing on the young girl who plays the instrument; A girl of my generation in a time and a family that considers women's music as something sinful and forbidden. Well, this is a short line of Mr. Mehrjoui's plot and name and dealing with the phenomenon of music in general, with Mehrjoui's specific hilarious/destructive look at music, both women's music and the female protagonist, while at least for some of us it is a bitter but influential "Santouri" memory. With all the flaws it can bring and the distance it's from popular cinema in the memory of Mehrjui lovers, for me as a woman and a section of society concerned with culture and music, it is enough to expect a good and even important film./p>
"Laminor" But exactly from the same sequence of the carpet, in fact, from the end of the initial sequence of the carpet, and with the arrival and introduction of the characters, it enters the same space that for many critics, even Mr. Mehrjoui's friend with "Santouri" It started and for me, acknowledging the huge distance between the powerful cinema of the seventies and the eighties and nineties of Mr. Mehrjoui, it appeared in "Popular Sky" and "Ghost". The same alien atmosphere of the actor with Mr. Mehrjoui's camera, and our alien dimension with the image we see of Mehrjoui's cinema on the screen. A kind of alienation with the role and distance of the actor from the character and space and story, like Amir Ali Danaei in "Ghost" or even Bahram Radan himself in "Santouri", which of course is one of Radan's good and almost believable plays. What happens in Mr. Kimiaee's cinema, as if these dialogues and these characters do not belong to these people. As, for example, Abbas Agha Supergosht belonged to Ezzatullah Entezami, the "tenants", or Hamoon for Khosrow Shakibaei.
Since the Laminor family from Siamak Ansari to Ahmadiyya Campus appears on the screen, the familiar and warm presence of the carpets in the opening sequence has given way to a cold, a bit ridiculous, no. Jaffangi gives Siamak Ansari's riots and hustle and bustle, and the familiar and probable question is whether Siamak Ansari took the role as a comedian or seriously. Because if we remember, in recent years, this deliberately violent humor has dominated the characters of Mr. Mehrjoui's films, even in the most sensitive and dramatic moments. Like Hamed Behdad "Orange". There is no spacing that, like the unfortunate irony in the sequence of Bahram Radan's request for a pencil from his mother's table guests, comes true in a tragedy called "Santouri". Thus, it gives an unbelievable mood to the character and space, which destroys the element of empathy in the audience. You say to yourself that right now, Siamak Ansari is joking and shouting at his daughter, who is against his music, and shouting goodbye.
Obviously, Ali Nasirian is a kind and kind grandfather. The only supporter of a girl who loves music, who understands love, and with her beard that has turned white and the friends she has lost, and the great sorrow that she has in her heart that she cries out at every moment, seems to represent her love in the film, this sense of alienation Does not induce. But naturally they alone can not familiarize us with space. But they can make us happy to see their presence in the film a trophy. Everything else that happens in the film and in the characters raises a lot of questions in our minds because of the alien feelings we were talking about and the few moments we can find traces of our beloved love in the film.
Why Is the market father of the family so culturally different from his father? Why is he against music and with all his thin feelings, he is at enmity with his daughter? Is it because of his lost brother to music, who could be Ali Santouri, and the belief that his music and his horny circumstances are destructive? Is this blind opposition and that fanatical house and father and cousin of regression a small example of a society that, from its rulers to its people, is fundamentally concerned with love, joy and music, or has it created the conditions for such a strange, bitter and frightening dual atmosphere?/p>
A very important question that was formed in the minds of many at the same time as the teaser aired and aroused many surprises, "Santouri" was also criticized) that how can a music lover reach the poor from Pashaei? (However, this can also be hardly accepted from the voice of the narrator, who is the protagonist of the story.) ? Who is that young guitar teacher who serves so faithfully? Will the student be placed? Is there an emotional connection that we do not notice or is not included in the film? Or is this character, whose actor is actually a singer, included in the story to broaden the target audience? Or just sing instead of the girl who is naturally not allowed to sing, who has a group of singers anyway?
The memory of Mehrjoui reminds us of our acquaintance, or where he plays the rug, which is also a kind of satire of Mr. Mehrjoui's joke, do we not believe that this girl, like Ali Santouri, has a musical madness and genius? Is the audit that binds the filmmaker to address this forbidden issue and even forces him to entrust the task of singing to that character of the music teacher and not to the girl herself? Does not being able to fully deal with a young girl who longs for music and live music play create this rift in the story? Or have the screenwriters not been able to approach the young girl character in her dream of performing music and present a clear, tangible and empathetic image of her? Which is strange; Because with the background that we know of Mr. Mehrjoui, he is skilled in approaching the inner workings of women, even teenage girls, from heroes to short roles such as the character that Mehraveh Sharifinia plays in "Mom's Guest". And the young girl of the hero of "Laminor" demands everything that she can internally communicate with the audience and bring her closer to herself. What we see on the screen is a stranger who, according to the script, has to make a fuss and cry somewhere. (Of course, the knife-dancing scene in the kitchen can be factored in, along with a few intimate and believable moments of the film.)
There is no doubt that the film suffers from audition. Making a musical film or a film with a focus on making music in Iran is hard work, even for Mehrjoui who has a successful experience of "Santouri" in his record, making a film with a focus on women's music that is almost impossible. If we could see a complete collection of musicians like "Santouri", here is a woman, whose love for music has penetrated into her place of existence and life, and Ahmadiyya Campus was indeed a musician, and the answers to the above questions are the same as from cinematic logic and itself. Mehrjoui we know was given correctly and credibly, "Laminor" was What it should have been. A film criticizing the ban on women's music. In sympathy and empathy with a part of society that we do not know exactly how many of them, but we know that a large part of them can not, by permission of the bitter rule of time, that is, not allowed, to present their art and love and fear or despair or simply many They end up on their way, eventually being trapped behind a window sill like the hero of "Laminor" and secretly crying or eventually taking refuge.
These details are given in the "Laminor" scenario, but in Performing the result is unbelievable for the audience who is supposed to identify with the hero. It may be said that there is an idea of What should have happened in the film, but there is no news of the familiar provocative sadness that falls on the self-destructive female heroes of Mehrjoui cinema and even on "Santouri", which grips the depths of our emotions. Even the music of Christoph Rezaei and the song of Kaveh Afagh and Vahideh Mohammadifar do not touch my heart. It does not remember. The performance has nothing special to offer. Nowhere does any number tickle you. You have to close your eyes and imagine for yourself What kind of music this girl and her band should play according to your musical taste, which you regret not reaching the public arena and not being heard. In any case, we are on the side of cinema. What this hero should have been is a genius, a genius who regrets that the stone of society does not flourish in his path. But What we see is an ordinary musician with the ability to compose and compose an ordinary song, whose singer is also an ordinary singer. And his father does not allow this common phenomenon to occur. And so it is that "Laminor" transforms from an important and influential film into an ordinary film, even in weak moments, which breaks the heart of the fan of Mehrjui and the female audience/singer of the film.
For the ordinary audience as well. It does not do anything special. Because she does not care about women's music, nor does she carry the signs of Mehrjoui cinema like a treasure in the archive of her mental images and heart, that she wants to smile and remember the days with their faint appearances here and there, and the pleasant nostalgic feeling of her existence arises. To take. He does not even have the commitment to turn a blind eye to the scenes from the moments he expected to take on the color of Mehrjui in a film; Like the romances between Siamak Ansari and Behnaz Jafari, this time a very luxurious dinner party that, despite its narrative and executive form, does not sit well with parties such as "Mom's Guest", "Tehran, Tehran" or even "How Good You Are Back", and Reza Davoodnejad. There is no chance that the chef similar to Hassan Pourshirazi's character in "Chekhobeh Bargashti" will be alive again Slowly; Thus, the joyous dances for not being empty of his petition with Mehrdad Sedighiyan, instead of appearing to the situation through an open mouth, seem strange and ineffective even to the lover of Mehrjoui cinema, and meaningless to the ordinary audience, which of course should not be meaningless. Imagined in the mind of this kind of audience.
Also, the presence of the police who come to gather the party and take it with them, but ironically, the police are kind to Ali Musafa with that innocent face who agrees with his world, who is the work of such characters. It is Mehrjoui cinema, it plays its role and now that the party has not been formed at all, except for the family of the house's guardian sister and the family of the lost grandfather (with the sad presence of Farimah Farjami) and the party organizing staff, no one is willing to attend for fear (). We do not know how everyone knows that this party has been exposed, but we accept that the absence of guests is a sign of loneliness of the hero), at the invitation of the grandfather, very humane, not out of greed, sit at this dinner table with his police colleagues. p>
Important details in all of these n It is understandable that by placing "Laminor" in the category of teenagers, the form of their inclusion in the script and their performance in the film can be accepted. In the simplest possible way, Mr. Mehrjoui tells a simple and a little slutty story for families who may, for whatever reason, stop a girl who is interested in music from achieving her small and big dreams. Do not break the hearts of these children. And of course, to start music, be sure to prepare a series of important prerequisites for them so that they do not enter this path unknowingly (which is one of the good educational points of the film). However, the teachers who (a genius boy and a seemingly introverted young man with a rebellious look say to the girl at the end of the teaching sessions, "I have nothing more to teach you and now you are ready to compose") choose the story for the young girl are a bit questionable. On the other hand, one can clearly grieve the grief and anger of Mr. Mehrjoui, who is complaining and angry about the current situation and mourning for his lost friends like Mr. Shaygan, who again introduces a book about him in the film. , Felt throughout the film. He organizes the dinner party more casually than any dinner party he has ever made in his films, then disrupts the party, the masochist attacks his own obsessions, drowns the dinner table in rain and hail, and then pictures of the night and the food. And he shows us sloppiness to eat with him, regretting the prohibition of blessings. But in the end, because of his loving kindness, which we also see in "Orange Dress", he invites the police to send a peaceful message to those who should come and see for themselves that there is no news of fun and games at our parties. My birthday is immortal, and in the words of Hamed "Yalda night" Kiomars Poorahmad, we do not have a "woman without a hijab" and we do not have "ugly faces", "I am ashamed, we have nothing forbidden at all."
To get closer to the younger generation , A scene of a fight between two young boys of the same generation but with a different point of view, which has been put into a reasonable and logical execution, that if an emotional relationship was formed between Pardis Ahmadieh and Kaveh Afagh, it would be more heartfelt and happy for the general audience. In the midst of all this confusion, he could at least follow the romantic line of the story. No, the focus here is entirely on music, and it is strange that this focus has not been able to fully express love and respect for music as a subtle and glorious phenomenon regardless of gender and close to the poetic/philosophical/mystical cinema that we know and love from Mehrjui. As a lover of Mehrjui music and cinema, I like to think that this failure is the result and reflection of the inexhaustible things that happen in the reality of a musician's life, so fragmented and disjointed and far from reality that she inevitably has no choice but to take refuge. . And this was the most optimistic and kind end that Mr. Mehrjoui, as he illuminated the hero in "Santouri", decided to consider for "Laminor" with all the sadness and boredom he has of the situation; Which, of course, is bitter, but at least on the screen, it turns an impossible dream into reality. This is the view of Mr. Mehrjoui at the age of eighty-two with a romantic regret, which, of course, we imagined and expected from a film of him, which, although it was finally released with many margins, was miles away, but he had the courage to address the important issue. And sensitive to women's music.
Identity card of "Laminor" movie
Director: Dariush Mehrjoui Actors: Ali
Nasirian, Siamak Ansari, Behnaz Jafari, Pardis Ahmadieh, Mehrdad
Sedighiyan, Ali Mosafa, Reza Davoudnejad, Amrollah Saberi, Kaveh
Afagh and Farimah Farjami
Synopsis: Girl The young man from a seemingly traditional family is interested in music and wants to take over, but he faces opposition from his father and his efforts do not go anywhere.