Pir Pesar

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.

As an Iranian viewer, I often feel disheartened by the shortcomings of our national cinema. So when a film leaves a deep mark on me - as it did - I feel compelled to speak about it.

What struck me most was the way it portrays the father-son archetype: at times heightened for dramatic effect, yet emotionally recognizable. I found myself strongly identifying with Ali (portrayed powerfully by Hamed Behdad) - especially in the quiet, avoidant way he tries to protect himself within a destructive dynamic. His silence, intended to minimize harm, ends up shaping him into a person weighed down by anxiety and sadness.

The film also confronts a painful truth: when you step away from systems of power out of moral conviction, you may gain the respect of a few passing strangers, but you ultimately pay the price yourself. It's a sobering reflection on principle, vulnerability, and the costs of choosing conscience over control.

Loneliness and the struggle to maintain a relationship are concepts that are intensely highlighted in Pirpesar (The Old Bachelor). Oktay Baraheni's film, with a deep and dramatic gaze into a patriarchal Iranian family, attempts to depict the psychological and social complexities of its members. In this family, where the father's authoritarian dominance overshadows all relationships, the characters grapple not only with external pressures but also with their own internal conflicts. Baraheni skillfully portrays the clash between two generations and two opposing mindsets-one firmly rooted in old traditions and the other striving for change and an independent identity in the modern world. Beneath these generational conflicts, the despair and struggle to preserve family bonds under harsh circumstances are vividly portrayed, where every movement and word of the characters seem to echo an internal battle for peace and balance in a male-dominated world.

The father, played masterfully by Hassan Pourshirazi, is the embodiment of a patriarchal system whose dominance extends beyond the social sphere into the psychological and emotional realms of his family. While maintaining an outward display of authority, this tyrannical father wrestles with internal crises and contradictions, which the film gradually unveils. His character reveals that those who appear powerful on the surface may be plagued by deep psychological wounds and struggles. Though he controls his family with absolute authority, he represents an older generation whose dominance seems unshakable. However, the screenplay skillfully dismantles this authority, gradually passing the power down to the next generation-his children.

And then there is Hamed Behdad-an actor who, with his exceptional command of body language and dialogue, precisely conveys the shadow of patriarchal oppression hanging over the next generation. His character struggles to overcome his father's authoritarian rule, and through his outstanding performance, free of any unnecessary dialogue or exaggeration, he captures the profound emotional turmoil of his character with just his gaze. His eyes become the unspoken language of his character, conveying love, respect, defeat, and authority with silent intensity. Through his mastery of acting in silence, Behdad crafts moments where words become irrelevant, and only the raw emotions and internal struggles of his character remain visible. He compellingly portrays the psychological conflicts of a man caught in the crises of life-conflicts that every Pirpesar (The Old Bachelor). (elder son) must face: societal pressures, submission, and the fight to preserve his identity and place in the world. His performance not only reveals the essence of his character but also humanizes the struggle against oppression and inner doubts in a deeply tangible way.

Mohammad ValiZadegan, playing the younger brother, serves as Behdad's counterpart. He represents a generation torn between tradition and familial pressures, searching for freedom and personal identity. In his portrayal, the conflict between youthful rebellion and submission to his father's dominance is evident. He continuously seeks his own path in a world ruled by his father, and this internal struggle is reflected in his every move and word.

Among these powerful performances, Leila Hatami delivers a striking presence. Her character appears elegant and composed on the surface but harbors profound disappointment and disillusionment within. She is a woman caught between submission and resistance against male dominance and societal pressures. Hatami's character serves as a mirror to the condition of women in a patriarchal society-women who cannot effectively make their voices heard against oppression. She embodies the deep despair and frustration of women in such environments, bringing a poignant portrayal of gender inequality and societal limitations to the silver screen.

The old house, used as the film's primary setting, symbolically reflects the decaying layers of a patriarchal society. A crumbling home that mirrors the state of the family within it-filled with remnants of the mother who is no longer present, scattered bottles, and cigarette butts, all signaling collapse. The dim lighting and framing help the audience grasp the suffocating reality of the household. Though the balance of this deteriorating home is repeatedly disrupted throughout the film, the writer does not allow it to completely fall apart. Instead, the filmmaker leaves the audience to ponder: should this house be completely destroyed, or should it remain partially standing?

While Pirpesar (The Old Bachelor) tells a local and family-oriented story, it also addresses deeper, universal themes such as dominance, gender inequality, and generational conflict. With its powerful performances and psychological depth, the film has gained international recognition at film festivals. Despite its culturally specific narrative, it successfully conveys universally human themes in a manner accessible to diverse audiences worldwide. This quality sets it apart from many similar works and secures its success on a global scale.

Baraheni takes the audience to the edge of an abyss but ensures they do not fall. He awakens buried pain and resentment before their eyes, skillfully avoiding excessive dialogue while bringing unspoken truths to light.

Pirpesar(The Old Bachelor) is a three-hour invitation to reflect on both internal and external struggles in a patriarchal and oppressive world-a world teetering on the brink of collapse with every passing moment.

"Old Bachelor" is a precise, orderly, thoughtful, and tasteful film that lingers in the mind due to its production quality and subject matter.

This film is over three hours long, but it neither tires nor loses the audience.

It has a very solid rhythm and full of details.

The performances are all excellent and spot-on.

I was able to understand and get to know all the characters. Especially the character of the eldest son (Ali) felt very tangible and relatable to me.

The set design, lighting, and color palette are phenomenal.

It has one of the best cinematographies in Iranian cinema.

The music is also excellent and conveys that tension and excitement in the best possible way.

Alongside all its strengths, I think the film's duration could have been more cohesive and shorter!

Like numerous scenes depicting the 'Father' character's drug use.

This might be justified for character explanation in the early scenes, but it feels excessive in the second half!

Another issue is the symbolism; while it mostly flows with the film, in some places it seems illogical!

Overall, "Old Bachelor" is a well-crafted, polished film with strong performances and respectable quality!

It has so many commendable strengths that make one overlook its flaws.

The movie "The Old Bachelor" can be an interesting experience for any viewer in Iranian cinema. From the very first scenes of the film, the viewer realizes the difference between this film and other Iranian films. The special framing and color attract more attention. The introduction and foundation of Gholam's character is done well and we as viewers get to know him well. The character of Rana, who plays a central role in the second half of the film, also has a good foundation, but this introduction and completion of the character introduction could have helped the film to be better if it had been formed earlier. But the worst characterization and perhaps acting of this film was Ali, the son of Gholam, played by Hamed Behdad. Ali's character is a ready-made character type. You can see characters like this outside the film in many series and films, but in this film you should not see exactly or even worse than other cases. Ali, regardless of his personality, is the son of Gholam. Being the son of Gholam should make Ali different. Hamed Behdad's acting was also insensitive. But this does not mean that this character does not do his job well in the film. The film uses the character it created and does not falter. The cinematography is one of the strengths of the work, which imprints lasting scenes in the viewer's mind. Although the script is very well-written and logical, there are several minor flaws that prevent it from being completed. For example, where does the father get so much money? Ali and Reza's exit at the end of the film and creating a situation for Gholam was completely to advance the story and there was no strong logic behind it. And the most important point is that more work should have been done on completing the characters (especially Ali's character).

The ending is also shocking and perhaps impressive at first, but in the end it was rushed and ineffective. After an hour, the ending is not at all the part of the film that you want to talk about. It even lacked logic in some ways! The final conflict, which could have been the peak of the story and narrative, became the only point to end the film and only ended the story. Although despite all this, the mise-en-scène of the last minutes of the film was unique in Iranian cinema.

In the end, we saw a film that was several levels better than other Iranian films in recent years, and all the negative points I mentioned above do not prevent you from enjoying this film and making it one of the best Iranian films you have ever seen. In my opinion, if the above points were corrected, they would have made this film more memorable.