Criticism of the fourth and fifth episodes of “Bamadad Khamar”; The same soup and the same bowl

After watching the fourth episode of Bammad Khamar series, I couldn’t find anything else to say about the first three episodes that I want 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 interest in reading “Motazadi’s” comment 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 continuation 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 sentences and aphorisms in front of the audience, in the heaviest possible tone, while the character in front of them, here Nazanin, Mehbobeh’s mother (played by Laleh Eskandari), has a completely simple tone in his sentences. We don’t see stability even in the simple movement 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 spent watching Rahim from Mehbooba’s side. In the meantime, none of these scenes have come out visually well. A look from Mehbooba’s side, a little conflict with the characters in the environment, 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 entire 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 context 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 pointless parts of the episode. The closing sequence of the city gate is clearly used to introduce a new character, but it is extremely long and pointless, 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 want to watch the series week by week and want 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 interesting enough to enjoy them. As always, we endure only a few zooms on the faces of the characters and irrelevant elements in the decor until the scene is over and we finally return to the main story line.

We must mention that this sequence is full of political dialogues (of course without content) that have no roots in the novel. These political works added in this section are in complete contrast to the novel, which tried hard not to have any specific political fronts.

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 irrelevant 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 introduced 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 continues until the middle of the episode. The fact that we have devoted half of an entire 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 want 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 point here.

Now that the topic of games has come up, it’s not bad to talk a little about how actors deliver sentences. 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 sentence correctly, where in the sentence 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 sentence, from the middle of the sentence 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 uneventful 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 continue?

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 want 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 point that we raise this time is the bad editing of the series. Even if you want 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 entire episode on a certain sequence and character.

The positive point of the excellent 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 currently introducing the characters and the main cases of Bammad Khamar have not started yet.

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