Pain: it's part of the puzzle. Blood: it's the price of freedom.
Death: it's not that easy
-Tagline of Saw III
Staff at a
As strangely sentimental as it may it may sound, relationships are as integral to the SAW universe as any of the bone-snapping, tendon-stripping, audience-pleasing traps it showcases. From Dr. Gordon and Adam to Detective Matthews and Kerry; Daniel and Amanda to Zep and Jigsaw, the “family” tree on which its key players hang bears all of the drama and twists of an afternoon soap opera. Except this is a soap unlike any you have ever seen, of course—a splashy Grand Guignol concoction of mayhem, sacrifice, deception and revelation. In fact, with the advent of SAW III fans will soon realize just how deep the relationships cut among some of its returning cast (like Tobin Bell and Shawnee Smith as John “Jigsaw” Kramer and Amanda, respectively) and new victims Jeff and Dr. Lynn Denlon.
The latter, a
dejected surgeon played by 31-year-old Bahar Soomekh, is pulled into Jigsaw’s
machinations more out of necessity, in this chapter, than lesson-learning…or so
we think. He needs her expertise to keep him alive for one final game (a moral
passage experienced by Jeff, played by Angus Macfadyen) before he succumbs to
the cancer that has been devouring him over the course of two films. In the
Iranian born MARK AMIN, Vice Chairman,
Lions Gate Entertainment © Lionsgate Films'
self-confessed squeamish viewer of anything remotely scary, had not seen the SAW
films until she was offered the role of
“Now that I know the SAW world, I believe each one takes it to a different level, and this one is much more emotional than the other films,” Soomekh says, choosing her sentences carefully so as not to spill the beans on plot specifics, even as she speaks to Fango less than a week prior to the film’s release. “I knew this was going to be a different kind of place than I had ever gone before; that’s why I wanted to challenge myself.” And in doing so, the actress took measures to prepare herself, such as “going into therapy so, mentally, I was able to switch in and out of this character, because it’s a hard place I go to. When I was in this role, I was there all day, every day, and it came into my dreams and life and was a hard thing to switch off. Maybe I didn’t understand the intensity of it, but I did know it was going to be a rough journey.”
Saw III ©Lionsgate Films' 2006
Assurance that this trip would be a non-damaging one came at a small price, as the raven-haired beauty with the drop-dead smile will tell you. “When I went in to meet Darren, I said to myself, ‘Can I trust this guy to watch over me while I go to this dark place? Can I make sure he’s going to take care of me?’ “ Bousman’s energy and collaborative nature with his cast quickly set her mind at ease, however, even during a small mishap with the collar she wore throughout the shoot.
“That thing was real metal, and it was heavy,” she sighs, hands wrapping over her collarbone. “It was over my shoulders and on my shoulder blades the whole time. There’s this scene where I go over to the jaw-trap [from the first film], which is sitting on a table in Jigsaw’s lair, to see what it is. I get close and the thing explodes to life. No matter how many times you do it, you’re going to get scared, because there’s this big pop when it goes off. During one take I jumped, and in the process the collar, loaded with triggers, just hit me in the chin. I got cut and was bruised there, and that was the straw that broke the camel’s back that day. The floodgates got going, and while I was emotional the whole time, that just got me crying. Like, ‘Get this f**kin’ thing off of me!’ So they gave me a nice foamy one I could use from time to time.”
a threat of another kind looms over
schizo nature of the profession, Soomekh recalls there being a supportive
atmosphere among the SAW III cast between takes. “We were always dissecting the
characters, making them rich and fleshing things out, taking emotional journeys
and really getting to the heart of it so the dynamics would be real,” she says.
“I’ve never, ever dissected something so much, and because of Darren, the
characters were made meatier too. I gave him all I had and all the ranges of
“One thing we wanted to do was, as Amanda
is moving further and further away from Jigsaw,
"There was a
fight sequence between Amanda and Lynn that was very intense," Soomekh
concludes, "but Darren ultimately pulled the scene out.
Lions Gate, it is interesting to
note that another Iranian is indirectly involved in the production of SAW III
which could explain why Bahar Soomekh was chosen to cast in this movie. Mark Amin is currently Vice Chairman,
Member of the Board of Directors, and one of the largest shareholders of Lions
Gate Entertainment, the leading independent producer and distributor of films in
Mark Amin founded and acted as Chairman and Chief Executive Officer of Trimark Holdings, Inc., the parent company to Trimark Pictures, from 1985 to October of 2000, when the company merged with Lions Gate Entertainment. Trimark Pictures was the leading publicly traded, independent video and film production and distribution company in the entertainment industry throughout the 1980's and 1990's, distributing motion pictures domestically and internationally, providing licensing to the broadcast industry through Trimark Television and providing product for the video market through Trimark Home Video.
Amin's film credits as Executive Producer include the critically acclaimed feature Eve's Bayou, starring Samuel L. Jackson and Lynn Whitfield, which received seven Image Award nominations including Best Motion Picture. Other films include Sprung, starring Tisha Campbell, and Diplomatic Siege, starring Tom Berenger.Amin graduated from the John Anderson School of Business at the
SAW III is
yet another cinematographic testimony, if needed, of the rising influence of the
Iranian Diaspora community in
Official Website: http://www.saw3.com
WARNING FOR VIEWERS
: MPAA (The
Motion Picture Association of America ) : Rated R for strong grisly violence and gore,
sequences of terror and torture, nudity and language.
Runtime: 107 min /
About the Author: Darius KADIVAR is a Freelance Journalist, Film Historian, and Columnist of the OCPC Magazine USA. He operated as
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