Finding an Ending for the Movies First Act / Saeed Aghighi’s Review of “Forty Seven”
23 April 2018 - 15:36
Film talks about some character and doesn’t talk about some others. Shows some events and doesn’t show some others. It precedes some actions and ignores some of them without any reason. The narration is not complete right o the moment that it is need to move from one character to the other one. Perhaps more than anything else the problem is the timing main idea of the filmmaker and script writer. For this reason when the man keeps that car of the man persistently, instead of creating the next action by woman, it is her mean husband who is also doctor that goes off the car and smoke. When someone is going to take revenge, it’s not clear why she goes to his empty office at midnight with a gallon of gasoline. And the caretaker who is going to see everything from the CCTV how he does not consider her entry. This timing is affected on the whole parts of the film unwittingly. Actually, overnight, with all the possibilities for creating a personality and dramatic situation changes the destiny to accident without provides the necessities. And surprisingly exit from the nightly searching of the people to contact with each other in order to be able to find the ending for the begging of the film or vice versa. A series of endless imposed events that connect the different social classes without exact logic causes to use the word “incidentally” in explaining the motives of film repeatedly without being able to change the accident to destiny. The fact many characters of the film do not have a proper motive for what they do brings us back to the initial syllabus on the relationship between motivation and logic. Perhaps if the film is made one more time, and pay attention to the characters and relationships that are left over and forget many existing actions it would have been better. Hope that day.