Frost Criticism of “Working Wounds” / Long Live Wealth or Death on Wealth?

According to the cinema reporter of Fars News Agency, the series of the home show network “Zakhm Kari” was criticized this morning on the TV program “Haft”.

Massoud Frost also criticized the series “Zakhm Kari” and said: “At the beginning of the credits, it was written as an adaptation of the play” Shakespeare’s Macbeth “, but I don’t know if Mahdavian had read Macbeth!” What is the theme of the script? Surviving wealth or dying for wealth? Is the mirror a phrase or a display of wealth deception? The story seems to be a critique of wealth, but in fact it is the promotion of wealth.

He added: “In my opinion, the script is not able to pay the characters properly in terms of structure, and we do not see any characters at all in the work wound, and everyone remains in the form of a brigade.”

Frost added: “I like Ezzati in comedies, but I can not be a fan of Maliki who plays Ezzati. In the scene of Malik’s wife slapping him, Ezzati’s reaction is still like a comedy. Because there is no character in the series that Ezzati wants to play. The filmmaker knows that Ezzati is popular and tries to use it in his work. Ezzati can not be “badman”. But in comedies it can be sympathetic and engaging.

* “Twenty Wounds of Work” did not have the potential to become a serial

Mohammad Taghi Fami also said: “The most important thing about the script of” Zakhm Kari “, which is an adaptation of Mahmoud Hosseini Zad’s novel” Bist Zakhm Kari “, is that either the adaptation must be faithful or it must be put aside. In the novel, which is an adaptation of Macbeth, we can say that there is loyalty to Macbeth. A true adaptation with a logical narrative. But in the script, these areas are vague. It is not clear why Malik is more interested in him than the sons of “Uncle Khan”. Because Uncle Khan has two literate children. Another point is that the book has the potential to become a movie, not a thousand-minute series. For this reason, Mahdavian reduces the story and only tries to show stylish views to the audience.

Mohammad Reza Moghaddasian, another critic of this program, also said: I like Mahdavians; His films too. But the main problem is the “wound” of the script. We do not see character in the work wound. The owner becomes a brigade in the film. The owner, who is perpendicular to the script, is not at all understandable to the audience. The audience must understand him. Then understand his biology. The whole story moves on the surface and has no depth. When the story is empty, the director is forced to smoke and vomit constantly. In such a way that games and editing become uncharacteristic.

“We always have a script problem,” he said. A dilemma that some considered a solution, but the problem is that when one does not understand the knowledge of screenwriting, one also has difficulty in adaptation. The adaptation is not going to cover the script’s technical weaknesses. When the author fails to understand the story, he also has problems with adaptation.

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