Take a look at the “losing man” / breaking the line on the razor’s edge

Theater News Base: Addressing the core of power and its metatextual dependencies is a kind of walk on the razor’s edge. A tempting subject that has taken many victims in recent years and has undergone many modifications and confiscations of products.

Mohammad Hossein Mahdavian is more like a technician and a theorist than a director we have known all these years. He has now shown that he knows the equations of power and the rules behind the game well, and with this knowledge, he narrates the puzzle of the game in such a way that not only does he not fall backwards, but he throws the ball to the ground of the pros and cons and just watches.

The loser is a political director. It clearly reinforces all the ambiguities that were evident in the explanation of the political and social notions of “wounding” and leads to a correct political understanding of the knowledge of a “stream.” And this is where the debate between the pros and cons of the film escalates. The Loser Man in a Narrative Structure is a collage of the usual rules of a detective and detective film that works in accordance with the plot twists and deciphers the dramatic twists layer by layer. This is the simple form of cream and cream on the cake. Behind the scenes, the film clearly has political and social references. A little above a critic, he looks at the currents and is not just a spectator or narrator.

In the first figure, the film outlines specific frameworks for creating success. From the ingenuity of an Iranianized detective to the irregular and domino arrangement of puzzle pieces without wanting to involve too many people in the story.

In this formal policy, the audience is easily attracted to the story. Mahdavian took this trial and error from a “work wound” and was comfortable thinking about communicating with the audience. For this reason, he went to the references and hypertextual and content relations of his film with ease.

The loser in this regard does not swallow the speaker of a political work. He does not make any claims in this regard. The same slow and cautious steps taken by the Mahdists in drawing the class layers of Iranian politics and society that were palpable in “Shishlik” now find more plot and depth here in the losing man. The director’s cautiousness has diminished, and his audacity manifests itself in the cleverness with which he raises issues in the face of dramatic-political ambiguities. He used a special ingenuity to cultivate an outright political or social genre in Iran without creating sensitivity and showing the cases of Goldarsht.

The loser, despite his title, is the story of a hero’s loneliness and mild rebellion. A hero whose cleverness has never been so much paid for in Iranian cinema and has had dramatic references, nor is his character-plot so antithetically designed to restore justice. This characteristic does not go beyond the circuit of monotony and extremism (which has been discussed many times in Iranian cinema) nor does it come close to his inner self.

Ahmad Khosravi (Javad Ezzati) is to some extent a symbol of rationality. Someone whose past record is not without flaws and who is now trying to strike a balance between his work environment and his personal life. His high accuracy in designing this route makes him a hero. The process of protest and rebellion in the character of “Ahmad” is institutionalized. This institutionalization is not very dramatic. As we can see, he behaves internally and non-stereotypically as he changes the foundations of his family life.

This feature is also evident in his work environment. When he is indirectly excluded from the case, the audience does not see much isolation or exaggeration in his reactions. This path of rationality, in contrast to the security atmosphere of the film, depicts the director’s fair and unprejudiced view, which puts the solution in an anti-discourse and personal consciousness-based atmosphere, independent of partisanship and current political politics.

In this way, the final sequence of the film, which in the opinion of many opponents of the film was a useless and unreasonable sequence, is considered important. Where the audience realizes that the policy of discourse and strategy can not be the cure for the big and small problems of the country. But because the film’s policy is to refrain from making statements, the sequence remains the same size as the small hint to put together the film’s hypertext reference puzzle to realize the importance of the ending and its function throughout the story.

In fact, the narrative is more intended to show that the protagonist of the film’s health is a loser because, contrary to his experience today, in the past he was subject to a dictated macro-policy and now that he has adopted a safe and far-fetched procedure written by others, He becomes the beloved face of the story’s justice-seeking current (who is portrayed in the film as the new agent in the case) and even his angry son.

Now the similarity of this issue is also tangible for the audience; Even for those who do not pay attention to hypertext references and realize this process during the killer escape. “Ahmad Khosravi” is a great hero who, in the wake of past failures and losses, still stands and portrays the true image of a hero in today’s Iranian cinema.

In this illustration, the role of Javad Ezzati can not be easily overlooked. Ezzati experienced a different role-playing in this film. Achieving a fit body chemistry and working on the art of expression is one of the most important features of his acting in this film. The play in his silence is very readable with his external acts and sits in the heart of the story and becomes a part of his characterization. Ezzati had never been so idealistic as a loser and had never tested himself.

In the performance form, Mahdavian has also made good preparations for the film. The multiplicity of closed spaces and the use of less mysterious shots, due to the film’s chase spirit and the possibility of misconceptions in the audience, are among these achievements, which caused the loser to have a different look compared to his other films. A film that, regardless of all the technical and content achievements for him, can open a new wave of the justice movement and the reformed political and social genre in Iranian cinema in the size of a breaker.