The screenplay is grounded in the familiar and overused tropes of Iranian comedis, yet it suffers from a notable internal inconsistency. The writer appears to lack any genuine inclination toward crafting humor-even in the form of witty dialogue-while simultaneously feeling compelled to include comedic elements throughout the narrative. This underlying tension generates a tonal dissonance that ultimately undermines the film's coherence and its comedic impact.
For the most part, the film's comedic scenarios are ineffective and lifeless, leaning more toward ambiguity than actual humor. Ironically, the few scenes that do succeed-thanks to their cleverness and inventive execution-feel strangely out of place, as if they belong to a different, more confident film.
Further contributing to the film's uneven tone is the dynamic between the central duo, whose performances bear a clear resemblance to the personas of Harpo and Chico Marx. This artistic parallel seems intentional, particularly in light of the director's interest into the Marx Bros.
Overall, with more accurate editing, the removal of certain scenes, a change in the ending, and more precise sound design, this film could have been transformed into a standard yet valueless entertaining comedy.
