First of all, it is admirable for the temperament emanating from almost every step of Farhadi's film, a remote and slightly humble breathing temperament far from a highly developed society. The script, photography, and music all have a kind of control and calmness, and no matter what the subject is, he slowly approaches the ideas he wants to expound. There is no blood, no uncontrolled violence, and of course there is no exaggerated sexuality of today's stand-up arches and conspiracy to highlight the forced style. The man who shows reality in its entirety, shows it unadorned. Personally, I think his films are closer to the essential obligations of cinema, closer to the nobility of cinema.
Speaking of this movie, I think the initial plot construction is a little stiff, and there is no natural sense of life happening. Due to the collective relocation of dilapidated buildings caused by engineering construction, the last resident in the new house is a sex worker, and the couple, as university teachers and drama actors, are so poor that they cannot afford even one month’s rent. Is the class here a little confusing? Of course, the film needs to be dramatized, so it is not without reason. Engineering construction may be the first metaphor of the film, showing the social changes in Iran and the people's resignation (this can also be used as a foreshadowing of the key plot points later); and The occupation of the previous tenant also shows the deep contradiction between the local secular and ancient teachings from the side (advancing the plot).
When it comes to the conflict after the key plot point, in order to better explain the dialectical judgment of morality and the neutral position of reason and emotion, the director deliberately sets the earliest perpetrator as the role of an old man, and increases the angle of viewing the incident and the depth; second, avoid the key scenes of obscene incidents, and set up many conjectural clues and conditions; third, try to suppress the emotional display of the hero and heroine as much as possible, we can see that the heroine has not been too intense in words, deeds and emotions from beginning to end. It's just that he gradually chose to "let go" from being in deep pain. In fact, the male protagonist did not show too much male dominance in the early stage. He also cared and loved, but after all, in Islamic society, women suffered such breakthroughs. The violation of boundaries, part of a man's heart is bound to externalize into the role of a new abuser. One detail is that since the heroine experienced this incident, there is almost no physical contact between the hero and the heroine in the camera lens. As a male, the belonging he believed in his genes was persecuted, and the "holy" meaning of motherhood in his heart was instantly broken, so I said bluntly, in fact, the male protagonist thinks that the female protagonist is dirty, this is his The first psychological feeling, and the second is revenge for the perpetrator. There is also a psychological point. In fact, after the heroine suffered such a change, his psychological responsibility to his wife has been shaken. He saw the socks in the bedroom, and saw the money and sex items on the shelf. He looked for the murderer's Actions are actually "comparisons" and "fights" in male genes.
Having said that, only when the establishment of key plot points is deliberately vague, the real discussion of human nature under sociality begins . According to my explanation in the paragraph above, it is actually difficult for the viewer to determine whether the perpetrator's behavior is enough to constitute "rape". In one case , the old man came into the house drunk and heard the sound of a woman taking a bath, thinking it was the sex worker, so he naturally went to the bedroom first, took off his socks at will, and put money and sex supplies on the shelf ready. Then I went to the bathroom and saw that the person taking the bath was another woman, and the woman acted in resistance because of the sudden shock and accidentally broke the mirror. The old man cut his foot and fled in a hurry. Dang dang dang, the scream may be a broken foot, and Dang dangdang may be the sound of going downstairs in a hurry, so that I didn't take the car keys, and the old man behind him said when he confessed his mistake to the male protagonist that I was drunk at the time, I'm sorry, it's probably his apology for the whole thing, it doesn't have to be drunk to have sex; another situationIt was the old man who went to the bathroom, and the heroine was frightened and resisted, which might anger the drunk old man. He forcibly raped him, and then still fled in a hurry. At this time, it can be established because he forgot to take the key because he was lost, and the description of the neighbor, clang clang clang, may also be It's the sound of rape. (I don’t think it makes sense to entangle whether the old man has the ability to rape or not because of his physical condition. After all, he still patronizes sexual services when he is not in good health, so there is no judgment.) Therefore, in such a situation where the plot is ambiguous Next, the heroine chooses not to call the police, bears it herself, persuades the hero to calm down, and finally forces her to marry, all of which show the delicacy of the story, because every link has its purpose. She chose not to call the police because whether it was ordinary obscenity or rape, in the eyes of an Islamic woman, it was unacceptable. She did not want to be forced to repeat this in her mind, and it would also enhance her reputation and self-esteem. She was beaten; and she suffered because she didn't hate others and kept complaining about herself. Indeed, she took the initiative to open the door and didn't look like people's actions seemed too stupid, which was also an implicit expression of guilt towards her husband; The marriage forced the actor to let the old man's family go is also a kind of active tolerance to the victims, among which there is also a "weak image" that weakens the image of the old man himself as a perpetrator, and the hero turns from the second victim to the violence against the old man's family The influence of factors that enhance the image of the protagonist on the heroine. And still in this vague situation, the hero changed from accommodating some of the heroine's minds at the beginning to later, because the objects left by the perpetrator were "invading" the details of life, which caused him to take the initiative to attack, as if his dignity must be affected. At this time, he couldn't take into account the psychological pain of the heroine who was the real victim, and the "concerns and inquiries" of the neighbors and crew actually made him ashamed and angry. This made him act recklessly again and again, first shutting the old man in a small dark room, then calling his family to confront him face to face and finally punching the old man. At this time, the male and female protagonists are the embodiment of the social personality under the restriction of various factors.
I read some comments, some said the female protagonist is a bitch, some said that the male protagonist is male, but in fact, in their respective contexts, their ideas are all valid. The female protagonist is cowardly and helpless in society. There is sadness for himself and tolerance for the perpetrator. In short, the director integrates society, system, family concept, and gender concept to explain; and the male protagonist is the main factor to promote the plot during the whole incident (unfinished)
View more about The Salesman reviews
