Los Angeles Los Angeles Film Review
Iranian comedy Los Angeles in Tehran with Parviz Parvestii in the group of its actors, is expected to be a different. The pure comedy is one of the weakest films in the history of Iranian cinema.
It can be argued that the well-known label “vulgar comedy” is no longer functional for describing comedy films of Iran. It has become more of a constant trait for the classification of these kinds of works. Not only it means that the film has immoral content, but the use of the superficial. And the most commonly used tool for laughing the audience is this issue. Meanwhile, along with some modest and serious drumming films, she always sees such comedies.
This type of comedy was a long the subject of their reach for the audience. And even the teaser or posters can easily describe which side of the comedy film is. But whatever the comedies are, at least two hours of watching the audience are able to laugh. For example, in the movie “Thousands”, has a comedy scriptwriter and a few comedy actors. It replied simply because of the recent and well-known jokes of social networks or the crossing of so-called red lines. And it Lay up the audience in a completely superficial way, but at least an hour.
Los Angeles, Tehran is a Different Film
In Los Angeles, Tehran, the situation is very different. In Los Angeles, Tehran, before we were with a weak, superficial. But open-ended film, we are struggling with a lively, unreal and fantastic work. And that one can’t even make the audience laugh. After half of the movie, they left the hall. Not because they watched a bad comedy, but even in its simplest function: “laughing”, it was incapable. A critic of the cinema is in the first place to challenge the film critically. Because the critique of a bad film is initially confronted with a “movie”. But Los Angeles is still lame in the movie itself. However, with some traits that are just enough to refer to them. It easily identifies the content of the audience with the effect.
Reading the continuation of the story does not reveal any story at all
In Los Angeles, Tehran, we are by no means even a multi-line movie script. The movie has nine heads, and not the bottom, any event in any form may occur anywhere in the film
First of all, in Los Angeles, Tehran, we are not at all alike with a few lines of script. The movie has nine heads, and not the bottom, any event in any form may occur anywhere in the film. The movie people do any stupid or irrational work at any time. This problem comes from a misunderstanding but misunderstanding that, unfortunately, most comedy films fall into it. The comedy filmmaker thinks that since it is in a comedy film, anything can happen, any behavior may go through the characters, and there is no need to write a reason for them in the script; in other words, the filmmaker thinks a The film “Comedy” does not require causative joints in script and storytelling. Therefore, Joubin may suddenly decide to dance and sing in the gallery’s sequence, either in a nasty way, or to take a carved gem in front of a car, and chuckle on the glass. They will never be comedy because at all subjects and situations are unknown and indeterminate, and there is no reason for them either.
Comedy is created contradiction
Comedy is created from contradiction between serious situations. Not neutral and neutral situations. What is happening is quite serious. But as the audience looks from the outside to the subject and finds contradictions. The burden and the comedy tone are induced. And He thus laughs at the contradiction of the subject. So the question is, what exactly should you laugh at in Los Angeles in Tehran? Does Mahnaz Afshar have a mockery in the theft sequence – which is a serious situation in al-Qaeda? Or does Parviz Parastooe open the door of the car in a runaway position? There is much difference between a serious, but contradictory position that produces comedy that is neither position nor serious. It is not a subject in the work, not a contradiction, but merely ridicule. This is not a comedy film, “comedy film” at first. It’s a comedy that can be weak here but not a movie.
The genre and kind of directing and editing is copying from Hollywood’s
Secondly, the genre and kind of directing and editing is copying from Hollywood’s many fantasy handsets. The elementary sequence that the camera is moving between people in fluid form and cartoons are all that the audience has previously experienced in non-adult Hollywood films. The problem here is that the audience is faced with a fantasy and childish effect. And that the films have to go beyond what they need to do. But in Los Angeles, Tehran, the filmmaker imagines that by directing the genre of promoting it to the work. Without knowing their position and dramatic performance, they can turn the movie into comedy! What is the function of the movie.
For example, the opening of the film and the movement of the camera between the people and the monologues of the actors. What does the cognition of the world and the tune of the film give us? Showing the exile family and moving the camera between the young and the old. Does the position or subject matter mean to us ? At all. When the film takes place in Iran, taking long-distance views of the beaches and skyscrapers outside Iran is helping to film? It’s possible to show these sequences in the middle of the film instead of the beginning. Or they can’t be shown at all! When Parviz Parastooi and Mahya Petrosian are at home, the image is gathered and dumped out of the house! So what does that mean? Just because of a situation, Katie’s fantasy was brought to the next position, then comedy was created? Does the audience have any unpleasant thoughts about him? It’s so yellow! Very bad!
No Person In the Film Is Personified
The third is that no person in the film is personified. If you have been careful to describe the situation, you would not use script name characters because there is no personality in the movie. It seems to be imposed on actors to make their best efforts to be ridicule. Obviously, when something is not meant for script characters, when the actor struggles to make a laugh, when there is no contradiction and ambition to create comedy between movie roles, it becomes more stupid.
Jubin the Leader, who has previously had a comedy staging performance, carries out one of the most unreliable role possible in the movie. So that when it’s not in the final third of the movie, it does’t feel like an absurdity. Parviz Parastooei, trying to speak French more, is pessimistic over the unconscious of the recipe of the lizard we saw. This means that the audience is constantly comparing the previous roles of the actor rather than taking into account his current role. in the film. The reason for this is evident, when a character is not created in the film. The background of the actor that comes to the mind of the audience unconsciously.
ِِِِِِِDefinitely its Promotional Teaser.
The only positive thing about the movie is definitely its promotional teaser. Must congratulate the producer of the promotional teaser team that they have been able to make such a bad film, to create the proper sequences for making a deception audience teaser. Especially since Parviz Parvestii’s presence in the film’s cast has certainly been the winner’s point for bringing people to the cinema. It is hoped that the audience who reads this critique will reduce the amount of anger caused by insulting his poetry in the cinema. Otherwise, if you are still among those who didn’t see the movie it is highly recommended that you never pay money for one of the weakest films. Don’t waste history of Iranian cinema. The film, in of one of its dialogues, gives the audience a sense of humor.