Pir Pesar

In a powerful social commentary movie about an abusive father and his two sons and a woman with economic problems, that is sometimes hard to watch, there are some great acting. Hassan Pourshirazi's performance as the abusive and morally repugnant father is nothing short of amazing. I am hoping that as Academy Awards are getting more international his acting gets a notice from Oscars. It is almost unheard of for an Iranian movie that lasts 3 hours but it worths every minute of it. Great direction and acting by the 4 main characters.

Well, where do I even begin? I just left the theater a few hours ago, and I'm still in shock. The movie starts off intriguingly, skillfully introducing each character. You immediately get a strong sense of everyone's personality and background, which makes it easy to connect with them on a deeper level.

The direction was stunning, and the cinematography was breathtaking. But what truly stood out was the acting. The entire cast-Qolam (Hassan Pourshirazi), Ali (Hamed Behdad), Reza (Mohammad Valizadegan), and Raana (Leila Hatami)-delivered performances that were nothing short of exceptional. Hassan Pourshirazi's portrayal of Qolam was particularly profound; it felt like the character and actor were one and the same. His performance ranks among the most realistic and deeply moving in recent Iranian cinema.

I've noticed some negative reviews, which I believe stem from the film challenging deeply rooted taboos in Iranian society. This film bravely confronts a taboo rarely addressed in Iranian cinema: the unquestioned respect for parents, especially fathers, regardless of their behavior. I'm not saying fathers shouldn't be respected, but only if they truly fulfill the role of a father-that is, someone a child can rely on and trust.

In many countries, organizations exist to support children with abusive parents or women facing abuse from older men-another taboo topic this film highlights. But in Iran, a father can legally inflict severe harm on his children, sometimes even lethal, with minimal consequences. This film powerfully depicts how a father's destructive behavior can ruin his children's lives, leaving them powerless to stand up against him.

Some critics argue that if this movie were made in Hollywood, it wouldn't have the same impact. But films must be judged within the cultural and social context in which they were made. It's telling that the film was completed four years ago but only released recently-no doubt due to government censorship cutting many scenes. Iranian filmmakers don't enjoy the creative freedom their Western counterparts do.

Taking all this into account, this film is a masterpiece that held me captive from start to finish. The last 30 minutes had me on the edge of my seat, and when the credits rolled, I was so overwhelmed I couldn't move for several minutes. This is a must-watch film that sheds light on how children can become victims of their parents, how young women can suffer at the hands of older men, and how society itself can fail its youth.

A truly brilliant film with outstanding performances.

When I watched the movie, felt the same as the time when I was reading Brothers Karamazov. They show how family becomes a microcosm of society's larger moral and existential struggles. At heart, both The Old Bachelor and The Brothers Karamazov are about:The inheritance of sin and guilt across generations. Men trapped between obedience, rebellion, and longing for redemption. The dangers of unchecked power, whether paternal, social, or internal.

Oktay Baraheniseems to have intentionally borrowed not just themes but also stylistic techniques from Dostoevsky, particularly The Brothers Karamazov, the house in the movie send you back to the Fyodor's house.

The film was shocking and at the same time fascinating, a 3-hour film that no one left the theater during the screening! The story progressed well for the first hour, and when it reached the second hour, it became a little boring. I think this film could have been much more interesting at 2 and a half hours. The last 30 minutes of the film are when the story reaches its darkest point, and several horrible secrets are revealed and those shocking events occur that are like a bucket of ice water being poured on the viewer. Despite being still in shock, the viewer looks at the last frame, which is full of longing, tragedy, and blood, and that music and the dirty, messy house, which now has negative energy lurking in every corner, and the film ends.

The Old Bachelor," directed by Oktay Barahani, was for me more than just a typical drama. With Hassan Pourshirazi's outstanding performance as Gholam Bastani, the film skillfully portrays the archetype of the "Puer Aeternus" or "Eternal Youth." This character, despite his age, remains emotionally stunted, refusing to embrace the responsibilities of adulthood.

This interpretation is reinforced by Gholam's own pivotal dialogue: "A man whose life has no rules or order, even if he grows old, will remain an old boy and never truly grow up!" Furthermore, one can observe echoes of "Dionysus," the god of ecstasy and liberation, within Gholam Bastani, which perfectly complements the "Eternal Youth" aspect of his character. This is a profound and thought-provoking film that delves into the psychological layers of humanity.