After watching the fourth episode of Bammad Khamar series, I couldn’t find anything else to say about the first three episodes that I wa to go to in the form of an article, but I searched for my name on Twitter and in the depths of it I saw several posts that, while annoying me, expressed ierest in reading “Motazadi’s” comme on the next episodes of Bammad Khamar; As a result, I put the fourth and fifth parts together and made something out of them. However, to summarize, there is not much new happening in the fourth and fifth episodes of Badam Khamar.
The progress of the story in the fourth and fifth episodes seems even slower than the first three episodes. The sequences are longer than before, but in general we see the coinuation of the past; The slow flow, whose ability to finish the story of the novel is still in doubt.
The fourth part
From the very beginning of the fourth episode, we face the unstable tone of dialogues and writing. Some characters, especially Basir al-Molk, Mahbubeh’s father (played by Ali Musafa), leave seences and aphorisms in fro of the audience, in the heaviest possible tone, while the character in fro of them, here Nazanin, Mehbobeh’s mother (played by Laleh Eskandari), has a completely simple tone in his seences. We don’t see stability even in the simple moveme between two characters facing each other, let alone from sequence to sequence.
The flow is very slow. The first third of the fourth episode is completely spe watching Rahim from Mehbooba’s side. In the meaime, none of these scenes have come out visually well. A look from Mehbooba’s side, a little conflict with the characters in the environme, a look from Rahim’s side, a few lines of his dialogue with the characters around him, and this cycle repeats. These scenes do not convey a feeling to the audience, nor do they play a role in the progress of the story; They serve no purpose at all, and at the same time, they have a large part of an eire episode dedicated to them. Of course, this can be said for most of the sequences of the series.
The rest of the fourth episode is dedicated to Basir al-Molk and Ali Musafa and their very bad acting. Needless to say, the scenes that are supposed to add something to this character are stretched a lot.
The final sequence of the episode, which should be the coext for the next episode or in other words create a “cliffhanger” and keep the viewer waiting for the next episode, is one of the most absurd and poiless parts of the episode. The closing sequence of the city gate is clearly used to iroduce a new character, but it is extremely long and poiless, and the overall flow does not serve the new character. I don’t know why the editor thought this scene was so powerful that they had to end the episode on it.
The fourth episode ends so suddenly that it makes you not wa to watch the series week by week and wa to sit and wait for all the episodes to come and then start watching them; Because there is really no thought behind the end and beginning of the episodes.
The fifth part
The next episode begins more or less with Mehbooba’s uncle, played by Reza Kianyan; A scene where a single word of the dialogues in it has nothing to do with any of the other parts of the story, does not add anything to it, nor are the dialogues ieresting enough to enjoy them. As always, we endure only a few zooms on the faces of the characters and irreleva elemes in the decor uil the scene is over and we finally return to the main story line.
We must meion that this sequence is full of political dialogues (of course without coe) that have no roots in the novel. These political works added in this section are in complete corast to the novel, which tried hard not to have any specific political fros.
On the surface, the purpose of the sequence is to establish Amukhan’s character and his power, but it goes too far and forgets this purpose.
With the end of Ammokhan’s irreleva and overly long dialogues with his people around him, we return to the main story line with the arrival of his son Mansoor. Mansour is the same character who tried to become a game hero at the end of the previous episode. Mansour is officially iroduced and proposed as another suitor for Basir al-Molk’s daughters.
The presence of Kayanian and the character of Ammokhan does not end here and coinues uil the middle of the episode. The fact that we have devoted half of an eire episode to one character really bores the audience. In this sense, the editing of the series is not really good.
Finally, we return to the Basir al-Molk family. Uncle Khan and Amejan have decided to throw a party on the occasion of Mansour’s return and show Mansour who has returned because of Mehbooba, before Mahbobo’s marriage with her new suitor is finalized. The news of Mansoor’s party and return from Farang Sar Sham is given to Basir al-Molk and his family and he spoils the dinner.
Mehbobeh, who now has two suitors, but she doesn’t wa any of them because her mind is busy with Rahim, cries and we witness the worst performance of the first five episodes of the series in this crying of “Terlan Parvaneh”. The performance of Parvaneh, which was at a much lower level than the others and was liked by others, reaches its lowest poi here.
Now that the topic of games has come up, it’s not bad to talk a little about how actors deliver seences. Most of the actors in the series don’t pronounce the words perfectly and even worse, they don’t understand how to pronounce and read a seence correctly, where in the seence they should put more impact, what word to focus on and have the correct tone and rhythm. Mosfa obviously forgets to pronounce the words correctly every time he starts a seence, from the middle of the seence onwards, and the last words are basically eaten. Among the actors, Eskandari does much better than the rest in delivering the words correctly and perfectly.
At the end of the fifth episode, “Aslan” (played by Hamid Sefat) turns away, Mahbubeh also sees him, and as it seems, Aslan is a good choice in all respects, but Mehbebeh is busy comparing him with Rahim in her mind all the time.
Like the fourth part, the end of the fifth part ends in the most uneveful way possible.
We really have to ask ourselves this question that we are in the fifth part of the season and the cases of Mehbooba and Rahim have not even started yet. At this rate, we are not really sure about the end of the story.
Can we hope to coinue?
There is no need to talk about the technical problems of the series, which we said enough in the previous article and even included sample videos. Technically, nothing strange happens in the fourth and fifth episodes that we wa to talk about. The zooms are standing, zooming out, zooming in, the camera on the hand is out of place and that’s it.
Another poi that we raise this time is the bad editing of the series. Even if you wa to keep all these extraneous scenes (which would leave nothing to the series), at least move between them a little better and don’t suddenly spend half of an eire episode on a certain sequence and character.
The positive poi of the excelle scene design remains in place, which is by far the best part of the series.
Finally, we have to wait and see if the story is going to pick up speed in the next episodes or not, because five episodes have already passed and we are currely iroducing the characters and the main cases of Bammad Khamar have not started yet.
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