Dangerous Men

This is just one big WTF, every second of which radiates an entirely distinctive creative and, at the same time and in equal measure, complete inability to competently express it in accordance with the principles and rules of the language of film and narrative. However, it is appropriate to note that all of the creative ambitions are limited to the space of a run-of-the-mill trash framework involving the commonplace motifs of punishment for a crime and the clash between good and evil. Nevertheless, the less you know about Dangerous Men, the more you will be astonished by the unexpected narrative alleys, or rather the gutters of incoherence into which the one-man crew Jahangir Salehi, hiding behind his moronic pseudonym John Rad, will lead you. With this feverish work, which he began shooting sometime in the 1980s but which was released only in 2005, Salehi/Rad secured a place of honour in the pantheon of irrational and clumsy purveyors of trash alongside Scot Shaw, Neil Breen, James Nguyen and Tommy Wiseau. After all, he shares with them not only a very “distinctive” way of handling cinematic means of expression, but also the chaotic mystery in which he shrouds himself with his delirious koans. So, there is nothing left to do but to believe him when he says that he is not only a self-proclaimed director, writer, poet and composer, but also an alleged former multimillionaire and architect from Iran, which he fled during the Islamic Revolution in 1979 and started completely from scratch in the United States. (29/10/2022)