Featured Irfan Khan, Golshif Farhani, Waheeda Rehman, Shashank Arora, Lucky for us and the posters, Irrfan Khan’s latest film is a great part of cinema. Lovely to look at, grand in feel, The song of the scorpions is an esoteric parable to the tune of a cinematic rhythm by a master craftsman.
There is a hint of attraction between Irrfan and his friend Shashank Arora. Even when they go to the brothel together (where Aurora goes to Borsk while Khan remains absolutely distant), they care more about each other than the bounty of the beauties beyond.
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Irrfan owns his role in one of the best of his career. His stormy passion for Nooran is almost religious in its commitment. In one sequence after Nooran gets up from the bed, Irrfan sniffs her pillow so that she can say no, until she does. He’s an intricate screwdriver character whose complexities are shattered and demolished by an actor who has never played “characters.” He was their owner.
The song of the scorpions is in a fantastic mood. The director of photography (Pietro Zurcher, Carlotta Holly-Steinmann) occupies the desert in all its splendor. But somewhere there is a tragedy of the human heart secreted in these expanses that beats only for a love. it is not a love story. It’s a love story that falls into a ditch.
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I’ve been a fan of Anoop Singh’s cinema from Quesa, where Irrfan was a Sikh father who was in hell to prove his daughter was a son. In many ways, Irrfan plays a distant cousin in The song of the scorpions. Her camel paving hero Adam is a stubborn, stubborn man who goes from his obsessive, self-defeating obsessive length to a steadfast, fiery desert woman (Iranian beauty Golshifteh Farhani), who sings for scorpions. And there are lies.
This is a film that addresses the position of power of an independent woman in an independent patriarchal rural setting, and a woman “too tall for her shoes” to be cut at the waist by male autocracy is. .
Nuron travels the desert overnight with the staunch movement of a faith healer until his faith is shaken. She arrives at the home of a broken woman and proposes marriage to Adam who loves her in a terrible way that ends up shedding tears in the womb of Nuron, a vengeful feminist making a feminist statement that leaves the audience Shake and Heal strangely in one and also opens up narrative wounds as a whole that have no cure.
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It’s an Allegiac film haunted by the long suppressed demons of discrimination and male privilege. Golisifte Ferhani stands gracefully in front of an intimidating masculinity. But I felt he was out of place in the Jaisalmer Desert. Descend like a swan in a cavalry of crows. Waheeda Rehman, on the other hand, simply meddles in rape in the desert. This is not the first time that the actress has visited the sand dunes. Who forgot them in Reshma and Shera? However, the role of Als Mrs. Rahman comes to an abrupt end, as it is her spirit, although her soul haunts the movie to the end, and beyond.
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