Loghman Madayen’s Praise for Oktai Barahani at Fajr Film Festival: I Write for His Excellency Oktai Barahani, Creator of the Illustrious Work ‘The Old Boy’
According to CinamaDrame News Agency, Loghman Madayen, a film critic and veteran of past Fajr Film Festivals, wrote a detailed and exclusive critique about Oktai Barahani‘s latest work, “The Old Boy” (Pirpesar), which premiered domestically on Friday night at the Fajr Festival Palace in the presence of Raed Faridzadeh, head of the Cinematic Organization, and a large number of artists. It received a 5-minute standing ovation from critics, media professionals, and the public:
Tonight, I watched a work that, when screened, reveals the reason for its prohibition. A three-hour and ten-minute film that keeps the audience from blinking. An hour before the start, a queue forms with no end in sight; the hall has no room to breathe. Oktai Barahani has made a film unlike anything you have ever seen. If it had come to the festival, how would other works have found a reason to stay? And it’s good that it didn’t, because before gaining prestige at this festival, it would have lent credibility to them. I wish, with a little rationality, it had been Iran’s candidate for the Oscars, although it has shone brightly at Western festivals. Its credibility lies in the hands of the critics, media professionals, and the people who rose in unison for a legendary director.
Its screenplay was the most complete text I have ever seen, without any shortcomings. Not a second is devoid of tension; its suspense remarkably stands out. It creates humor within the drama, has no superfluous words, does not use monologues, its dialogue is meticulously crafted and clean, there is no information leakage, it provides data slowly and deliberately, it is not heavy-handed, its plot points are powerfully and flawlessly structured, the communicative element is excellent, its plot is so rich and complete that, like chess pieces, it employs its sub-plots one by one. It has a stormy hero and anti-hero. The writer has been so successful in character development that he does not untangle knots because the characters have matured and can handle themselves. Each has its own distinct psychology. It starts captivatingly, continues fully, and ends rivetingly.
The second aspect of direction, which is the film’s editing, is highly professional. The shots are meticulously arranged so that the rhythm of the work never falters. It controls the pulse, maintains the focus, and uses precise and relevant cuts that present us with a masterpiece. The cinematography was significant, not a second was devoid of experience. It understood the playing field, those unique camera movements, those rare angles, those timely placements that elevated the work by miles.
The soundtrack created atmosphere, brought the audience’s soul under control, accompanied the action, intensified the tension, aroused emotions, was built on solid shots, and appeared gloriously.
We are faced with successful color and light correction. It understands the psychology of color well; behind every color lies an analysis. The set and costume design are well-calculated, designed according to the characters’ personalities, social class, and status, and its top-notch makeup has stamped the seal of perfection on the film.
How can I critique its actors? One by one? Was there anyone weak in this ensemble for me to complain about? Did anyone fall short? They were excellent, that ease in speech, the freedom and practical independence they had during their performances, that unique and meaningful depth, their voices and body movements were in harmony with the text, they had physical liberation and were not tense, they benefited from the principles of body aesthetics, they gave dimension to the characters, they avoided repetitive patterns and moved towards a first-time experience, they used their energy as required by the scene, their soulful and spiritual expressions, the sincerity of their vocal tones, the complex actions they employed to keep busy on stage, like smoking, drinking, and eating, all of them manifested and raged in them according to their roles and were admirable.
You could see the director’s art in the choice of camera angles, in the type of lighting, in the sound and music, in the credits, in the editing, in the unique performances he extracted, in the meticulous crafting of the screenplay, and in knowing what he wanted to make.
This work should be screened repeatedly for most of this year’s festival directors so they can learn filmmaking. Its content is not patricide; anyone who says this is terrified of the film’s power. It is not political, and anyone who says this is lying. It is not immoral, and anyone who makes this accusation should see the former government’s best-selling works.
“The Old Boy” has no content issues nor is it immoral. If the gentlemen do not believe it, I invite them to a debate in front of the people. See God as a witness to your tyranny, for you act against the Leader’s personal opinion and are, as he says, ill-taste, and also against the will of the people, who are God’s dependents. Know that this is the word of the Quran: whoever kills a talent is as if they have committed murder and will be punished. Do not drive away filmmakers with your ignorance, for the perpetrators of these dogmatic decisions are certainly on Israel’s playing field. One more time, you harassed Oktai Barahani over the “Spider” screenplay, and you saw that someone appeared to steal the screenplay and make “Holy Spider,” and you paid an exorbitant cost, and only then did you admit that Iraj Zad‘s “Spider,” written by Mr. Barahani, had no problems.
I have not yet seen “The Wild Killer”; it is scheduled to be screened on the last day of the festival. “The Old Boy” was the best film, Oktai Barahani the best director. If I hadn’t seen Hassan Pourshirazi, I would have said dear Reza Babak is the best leading actor, but tonight my opinion changed. We were faced with a unique Hassan Pourshirazi, who personalized the role and shone brightly. I was torn between Mahyar Shapouri in “Bloody Game” and Shakib Shajareh in “Single-Handed,” but then I saw Hamed Behdad in “The Old Boy,” and it became clear to me that he has been the best supporting actor so far.
The problem with most of this year’s works was the editing, and when I saw its editing, I can say it had no flaws and was the best editing we have experienced so far.
Although “The Old Boy” is not in the competition section, watching this film makes the festival irrelevant. “The Old Boy” swept the awards in the eyes of the critics.
Bravo to every single member of this enduring and brilliant work.
