244. Iranian director Reza Mirkarimi’s film “Ghasr-e Shirin” (Castle of Dreams) (2019) in Persian (Farsi) language: An amazing screenplay with a sophisticated ending embellishes a film with remarkable direction and performances

It is rare when a feature film competes in an international film festival and wins not just the top honour for the best film but two other major awards (one for best director and one for the best actor) as well. That’s the accomplishment of Reza Mirkarimi’s Iranian film Castle of Dreams at the2019 Shanghai International Film Festival.

While Mirkarimi’s previous feature film Daughter (2016) dealt with a father-daughter protective relationship, Castle of Dreams also looks at another relationship within a family. The family relationship explored in Castle of Dreams is a more complex one, as it involves a broken family where the mostly absent father is forced by circumstances to realize that he has to take care of his two biological children whom he has neglected for long, when his wife passes away in a hospital after a sudden critical illness.

Jalal (Hamed Behdad) with his sister-in-law

A simple subject, one could surmise.  But the amazing screenplay plays out from start to finish as a thriller forcing the viewer to stay riveted to the plot to see how the unusual social predicament would resolve itself.  There is no hero in this film, only an anti-hero Jalal (Hamed Behdad), who has separated from his wife, Shirin,  (never seen on screen) and has had minimal interaction with his two kids for a minimum of 3 years.

The early introduction of Jalal in Castle of Dreams presents many of his negative aspects of his character upfront making the viewer to abhor this lout. The events that follow let the viewer to perceive a gradual change in this individual as he is forced, much against his original plan, to take on himself the responsibilities of a father.  As the film progresses, the audience witnesses a gradual change in Jalal’s behaviour and attitudes, prompted by a series of events  involving peripheral characters and a series of short conversations with his own kids.  The viewer is able to glimpse what the late Shirin, evidently a smart lady, saw in this man Jalal to marry him after he had repaired her broken down car and continued to acknowledge his positive traits, long after  he had separated from her and continued to neglect their children. Shirin consciously painted fictional tales for her offspring to admire their absent father instead of exhibiting bitterness. Shirin tells her son that his father lives in a castle (hence. the title of the film) and that the bicycle that she has bought for him with her own savings had been gifted by his absent father Jalal.

Jalal with his cute little daughter

Jalal with his son and daughter on the road trip

The fascinating original script written by two little known scriptwriters (Mohammad Davoud and Mohsen Gharaie)  keeps the audience guessing how the tale would end, somewhat like a thriller, while characters seen (Jalal) and unseen (Shirin) are slowly revealed in depth as the film progresses.  It is not surprising the film won the best screenplay (Crystal Simorgh) award at the Fajr Film Festival in Iran. These character developments are facilitated by actions and spoken words of the two kids of the two principal characters.  The first child is a cute, innocent girl called Sara and the second is her elder brother, who is savvy enough to operate an electronic notebook, ride a cycle, and use a debit/credit card with ease.  The interactions of these young kids with their father, who they have not seen for years, are crucial vignettes in the film.

Facts tumble out as the film progresses. Jalal had come to Shirin’s house merely to pick up his car—not to interact with his kids or even visit his wife Shirin lying in a critical condition in a hospital. Shirin, we learn as the film progresses, is a smart woman who teamed up with an elderly rich man to grow flowers in a greenhouse and the resulting business model is thriving. The proceeds of her business are sufficient to support her financially as a single mother of two kids. We also learn from conversations that she is very much still in love with her estranged husband Jalal.  She possibly knew she was terminally ill and therefore left a loaded debit/credit card with her son, planning in advance for the eventual bleak scenario.

Jalal re-evaluates his relationship with his Azei lady fiend

Jalal, we learn is an Azeri (from the original Azerbaijan) not Persian and is planning to live with an Azeri lady. (Azeris are a significant minority in Iran who speak the Azeri language and even Ayatollah Khomeini who led the Iranian revolution was an Azeri Iranian).  When Jalal does not want his kids to hear conversations with his lady friend they speak in Azeri language as the kids can only comprehend Farsi.

Both the kids have been encouraged to love animals by their mother Shirin.  The small girl has a turtle as a pet and the elder boy is an animal lover.  These factors play a strategic part in the interesting script at crucial points to transform their father during a short road trip after their mother’s demise (evidently not revealed to the kids).

Director Mirkarimi (with cap) directs his lead
actor Hamed Behdad during the filming

The film is in some ways reminiscent of the Russian director Andrei Zvyagintsev’s 2007 film The Banishment, where too the father of the nuclear family transforms after the death of his innocent wife and has to take care of his two kids, a boy and a girl. That film, of course, was an acknowledged adaptation of William Saroyan’s novel The Laughing Matter.   Both films Castle of Dreams and The Banishment have one common facet: the viewer is forced to re-evaluate the major male character as he transforms in attitudes and character.

Castle of Dreams presents one of the most sophisticated screenplays with an ending comparable to that of Arthur Penn’s existential thriller Night Moves (1975). Castle of Dreams is definitely one of the remarkable films of 2019 and possibly the best work of the Iranian director Reza Mirkarimi.

(The film is showcased at the on-going Denver Film Festival, USA.)

P.S.  Reza Mirkarimi’s film Daughter (2016), a film focussing on a father-daughter protective relationship within a patriarchal conservative Asian framework has been reviewed earlier on this blog. Andrei Zvyagintsev’s 2007 film The Banishment has been reviewed earlier on this blog.  (Click on the film’s titles within this postscript to access the review.) The author’s best Iranian films is listed here with rankings.

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227. Italian director Valerio Zurlini’s last film “Il deserto dei tartari” (The Desert of the Tartars) (1976) (Italy), based on the Italian novel "The Tartar Steppe" by Dino Buzzati: An unforgettable film where cinema proves to be almost as effective as the novel

“In life, everyone has to accept the role that was destined for him” 

–words spoken in the film The Desert of the Tartars, words that best describe the essence of the film

The film Desert of the Tartars, when released in 1976 did not win accolades at film festivals outside Italy, not even being nominated at the prestigious Italian Venice Film festival. Over the decades, it has gradually been recognized as a classic and, 37 years after it was made, it was restored and screened at the 2018 Cannes film festival as one.

One could argue that the importance of the film is primarily due to its adaptation of a major literary work The Tartar Steppe by Dino Buzzati published in 1940 in Italian and subsequently translated into English.  Like the movie, the novel bloomed with time. In 1999, the prestigious French daily Le Monde, in its poll, ranked Buzzati’s book as the 29th best book of the century.  The book had become an iconic example of “magic realism” in literature. The book went on to influence the writings of major writers including the Nobel Prize winner J E M Coetzee, the Lebanese-American statistician and financial analyst turned author Nassim Nicolas Taleb (author of The Black Swan, described by The Sunday Times of UK as one of the 12 most-influential books since World War II) and the Booker Prize winner Yann Martel (author of Life of Pi).

The idealistic Lt Drago (Jacques Perrin) arrives on the outskirts of the
Fort Batiani where he will serve for years seeking glory that will elude him

Italian director Valerio Zurlini saw of the opportunity of adapting the novel on screen when its value was lesser known than it is now, realizing the potential of subtle visuals and music on screen to bring the magic realism of the words in the book. Actor Jacques Perrin had procured the film rights of the book from Buzzati. Zurlini corralled the talents of music composer Ennio Morricone, the elegant cinematographer Luciano Tavoli, and a stunning array of top-notch international actors (Max von Sydow, Jean- Louis Trintignant, Vittorio Gassman, Fernando Rey, Jacques Perrin, Helmut Griem, the spaghetti western hero Giuliano Gemma, Philippe Noiret, Francisco Rabal, etc). So were some important Iranian actors of the day included in the film such as Mohamad Ali Keshavarz, who is not listed in the IMdB credits for the film but this fact appears on the Wikipedia page of the Iranian actor.

Lt Drago introduces himself to the officers at Fort Bastiani. The empty chair
is for him.

The Desert of the Tartars, the film, is an almost all male film, save for the initial sequences of the film showing Lt. Drago at home with his mother as he wakes up from sleep to dress up into military uniform. He enthusiastically rides out of town on a Tartar horse, to report at a far away post of the Italian army in the year 1902. It is his first posting in the army.  The brief initial sequences reveal that the young man belongs to a rich and influential family and is respected by another horse-rider on the streets, who accompanies him up to the edge of the town, apparently knowing Lt. Drago’s intent. Not a single other human being or animal is shown in the town. Zurlini intentionally does away with unnecessary social farewells and family. The horse and its rider are the only objects that matter until the rider meets other military men on his journey. 

Lt Drago (right)  interacts with Lt Simeon (Helmut Griem) atop the fort 

Zurlini’s film shows Lt. Drago leaving his town early in the morning without food/provisions on horseback and arriving at the fortress with just a gulp of water/wine provided by Captain Ortiz (von Sydow) whom he meets en route possibly within a day. Drago’s horse drinks water from a stream once. Yet we realize the Bastiani Fort is very far from Lt Drago’s town or any town for that matter. Time is compressed—magic realism is at work.

Zurlini’s major winning decision was the choice of the location to film the story—a fort on the edges of a desert. It was not in Africa on the edges of the Sahara, or even in Ethiopia. The filming was done in Iran while the Shah of Iran was in power, in and around a real fort made of clay—the Bam citadel (Arg-e Bam)—built in the third century AD. The impressive structure—a UNESCO World Heritage site-- was almost totally destroyed by an earthquake in 2003, but the Islamic government of Iran rebuilt it to match its original grandeur. 

(See https://en.wikipedia.org/wiki/Arg_e_Bam for the images of the fort as the Zurlini film captured it and how it appears now after restoration post the 2003 earthquake). 

Apparently, Zurlini chose this location after seeing the painting La Torre Rossa by an Italian painter Giorgio de Chirico. All those decisions taken by Zurlini contributed to make The Desert of the Tartars the film classic it is today.

One of the officers at the fort is Maj. Dr. Rovine (Jean- Louis Trintignant),
an enigma treating the maladies of the militia posted at the fort

Not unlike Franz Kafka’s books The Castle, the Buzzati tale is a quixotic look at human desire to achieve glory in life. Lt. Drago, born into a distinguished family, hopes to attain glory in military life, as he is chosen by fate to serve the Italian army at an obscure border station, a castle on the edge of the desert expecting invasion night and day by the Tartars.  Zurlini, who was a Communist, underscores the social divide by looking critically at the at the lives of officers living in luxury and riding horses, while foot soldiers drag heavy  material on command and are punished severely when they step out of line. Time is a critical element that does not seem to exist throughout the film. Only graves and death of soldiers bring time into focus. Officers and soldiers continue to be billeted at the fort for months and years for the sake of being promoted and hopefully gain honour in battle when it happens. There is almost no contact with their families. Any attempt to get a transfer is subtly thwarted, not unlike Terrence Malick’s The Thin Red Line that followed several decades later, The Desert of the Tartars is less a film about battles but more about battles of the mind and conscience. At the fort, the viewer learns that there was no battle fought so far. Yet as Lt. Drago arrives he sees graves of soldiers with reversed guns or sabres on top of them, according to their ranks. How then did so many die?

Lt Drago is introduced to the General (Philippe Noiret)
by Col. Fillimore (Vittorio Gassman) (center)

The depth of both the book and the film The Desert of the Tartars emerges from the lack of action in a military setting .The questions the film throws up are existential in nature. The idealistic Lt Drago is an anti-hero joining a group of military men, all trying to prepare for battle against a perceived foe, an army that cannot be seen or even confirmed to exist. Buzzati was possibly making a veiled reference to Mussolini’s military campaign in Ethiopia in 1935.  A close examination of Buzzati’s book and Zurlini’s film reveal that the tale is not based on real events but is merely an allegorical and psychological tale.

Officers and soldiers on the look-out duty sometimes spot rider-less horses and riders on horseback. Are they real or imagined? Why are known soldiers killed if they do not know a critical password? Why is the camaraderie of foot soldiers not appreciated by the officers? The film is equally critical of the lives of army officials and their egos of differing nature.

Here are important excerpts of an Italian journalist’s interview with author Buzzati on the Zurlini film

Author Dino Buzzati: "If I were the director - for the soldiers of the Fortezza Bastiani I would not choose a single uniform, but all the most beautiful uniforms in history, as long as they were slightly worn, rather like old flags. I am thinking of the uniforms of the dragoons, the hussars, he musketeers encountered in the pages of Dumas, the Bengal Lancers, like the ones used in a film with Gary Cooper...Of course, together with the uniforms, also different helmets, caps and badges. In other words, a regiment that has never existed but which is universal."

Italian journalist Giulio Nascimbeni: "Which uniform would you have Lieutenant Drogo wear?"

Author Dino Buzzati: "I should dress him up like a Hapsburg officer because Drogo's life is pointless, but full of pride."

(courtesy : trad.Interpres-Giussano) (Ref: http://www.payvand.com/news/03/jun/1165.html)

What were the major departures that Zurlini made in the film from the book? The book discusses the ravages of time in the world outside the fort, the fate of Lt. Drago’s family and friends. While Lt Drago became Capt. Drago at the fort, some of his friends and family have died, some have married in his town. When an officer dies in the fort, his body is transported on a gun carriage and taken home to his family for burial. Time stands still within the fort and the film, while in the book the time takes its toll on the denizens of the Italian towns. 

It is well known that David Lean wanted to make the film but one doubts if he could have created the bleak, existential and lonely world of Lt Drago and chosen Bam for the main location. Zurlini made his perfect swan song.

P.S. This critic watched The Desert of the Tartars for the second time after a gap of more than 35 years and was convinced that it belonged to his top 100 films list. It is now listed there--a film that never won a major award outside the country of the director. It is a film that belongs to the world—to Italy, Iran, France and Germany in particular.

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220. Iranian director Mohammad Rasoulof’s “Lerd” (A Man of Integrity) (2017), based on his original story/script: A very critical and philosophical look at corruption and religious intolerance in Iran today

 "Early on, this film introduces us to many different facets of its main character's life that barely seem to relate. Gradually and powerfully, the script teases out the connections, all of which culminate in a haunting finale. This structure requires patience and discipline from its writer-director Mohammad Rasoulof. In a festival full of modern spins on film noir, he gives us one of the best, set in an unlikely place."
---Citation for the film’s Silver Hugo award for its screenplay at the Chicago Film Festival 2017

Director Mohammad Rasoulof’s A Man of Integrity is a laudable film from Iran, describing corruption and religious intolerance in the Islamic Republic. It deservedly won the 2017 Cannes Film Festival’s  Un certain regard award. While both Rasoulof and his contemporary Jafar Panahi have been found guilty of anti-regime propaganda and jailed for 5 years in 2011, they continue to make films within Iran that end up as international award winning films.  How do they make films when they are supposed to be jailed or having a jail sentence looming over them? How is this famous duo able to film in the open streets of Iranian towns and cities so frequently, unless the Republic implicitly approves the fame the duo gets for their country?  Whatever be the reason, films such as A Man of Integrityare truly courageous. Several prominent and award-winning films made in 2017 deal with corruption in various parts of the world; this is one of the very best in that category.

The idyllic world of an educated hardworking Iranian family:
Hadis (Soudabeh Beizaee), Reza (Reza Akhlaghirad), and their son at home

A Man of Integrity is a fictional film about an educated couple from Tehran who decide to live away from the city, buy land and a house on mortgage in a small town and make a clean living by hard work. Reza, the husband, envisages a career of growing and harvesting goldfish on a fish farm while his wife Hadis works as a principal of a girls’ secondary school. They have a school-going son. Hadis has close relatives who live nearby.  Their idyllic dream is slowly wrecked by a “company” run by well-placed goons who wants them evicted to acquire their land at very low price by creating escalating problems for Reza.  The viewer learns that Reza is not the only one bullied by the “company” who have the law and local administration supporting their misdeeds. They even have motorcycle riders wearing black jackets who ride ominously after conducting acts of arson. Those affected by the company’s strong arm tactics are scared, remain mute, and suffer. The details of the “company” and its activities are never revealed; it does not matter. The only problem for the “company’s” long-term plan is that Reza is educated, smart, and resolute in his will to survive and live as he had originally dreamt of living with his family.  The events that transpire in the film are similar to the events of Andrey Zvyagintsev’s film Leviathan—only the outcome is remarkably different. In both films, evictions of a family to acquire land by the corrupt form the basic tale.  The connection between the corrupt administration and religious forces also figure in both films.

Reza mulls over future steps to take as he waits for his wife Hadis

The original script of Rasoulof is not just about corruption in Iran but equally about principled folks using corruption to fight the bigger evil forces in a battle for survival. It provides interesting twists where the man who stands for principles cleverly uses bribes and tricks to get back at the corrupt forces. Similarly, his wife Hadis uses her wiles and power within her school to hit back at the corrupt forces encircling her husband’s life.  There are sequences in the film where the man who is principled surreptitiously creates hooch by fermenting watermelon juice in a country where liquor is forbidden to be produced by or imbibed by orthodox Muslims.

A Man of Integrity is a film that presents the world of corruption in Iran. Foisting of false cases on innocent individuals for economic gain by the corrupt is not new.  House searches by hoodlums stating they have complaints by the local religious bodies are a new twist, though such psychological pressure tactics occur beyond Iran. That dead members of non-Islamic families are not allowed to be buried in designated cemeteries is another form of persecution. School kids of families of non-Islamic faiths are not allowed to continue their studies, forcing families to relocate. Bribing the corrupt somehow works in Iran at all levels.

Dead goldfish--more than a fish, a metaphor of the socio-political scenario 

Many casual viewers will miss out on the importance of goldfish in Iranian films. Panahi’s debut film The White Balloon and his later work Taxi deal with characters engrossed with this species of fish. In Iran, on their New Year's Day (Navruz/Novroze) a live goldfish is an important facet to the celebrations, just as a turkey is for Thanksgiving Day in USA. It is not a mere home aquarium attraction. Even Majid Majidi’s Song of Sparrows have goldfish as an important part of the film. Goldfish for Iranians is a symbol of good luck and/or an indicator of better times.

But the film A Man of Integrity, like the Russian film Leviathan, is not about corruption but how corruption affects men of integrity, whether they win or lose their fight.  The Iranian film presents an ending that will make any sensible viewer about whether men of integrity, boldness and cleverness actually win.  The interesting end of A Man of Integrity will provide the viewer a philosophical question on integrity for the astute viewer. That is where Rasoulof scores over compatriot Panahi—his films ask you the viewer to step back from the obvious story and look at the larger universal question—can you ultimately win?

P.S. The film A Man of Integrity  won the best film award within the Un Certain Regard section of the Cannes Film Festival; and the Silver Hugo for the best screenplay at the Chicago Film festival. Rasoulof’s earlier feature film Good Bye (2011) has been reviewed earlier on this blog. (Click on the name of the film in this post script to access that review.) A Man of Integrity is one of the top 10 films of 2017 for the author. Andrey Zvyagintsev’s film Leviathan (2014), referred to in this review, has been reviewed earlier on this blog. (Click on the name of the film in this post-script to access its review on this blog.)

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201. Iranian director Reza Mirkarimi’s Farsi language film “Dokhtar” (Daughter) (2016) (Iran): Fallouts of a father-daughter protective relationship within a patriarchal, conservative Asian perspective

The year 2016 saw the release of two very interesting award-winning films from two countries from two continents.  Both films deal with the father-daughter protective relationship under different patriarchal scenarios.  Daughteris an Iranian film and presents an interesting tale set in a society where the male members of the family protect their wives and their daughters until they are married with a ferocity that might surprise many in Western developed countries. Graduation is a Romanian film with another interesting tale where the father travels the proverbial extra mile to ensure his daughter benefits from a prized graduate education outside his country that will help her in future life. 

The only basic difference between the two films is that the women in Romania enjoy a greater freedom of action compared to the male dominated Iran.  In both films, the women have the last word. How interesting it is to find parallel tales emerging from two different communities that grapple with the same concerns almost simultaneously!

The brave educated daughter (Merila Zare'i) who makes a trip to the country's
capital Teheran against her father's wishes

All over Asia male members of a family fiercely protect their wives, sisters and daughters to the extent that some women are killed to protect the family honour if they choose to have a relationship with a man who is not acceptable to the family.  In the film Daughter, the Iranian familyis an educated upper middle-class one. The father is a respected technocrat in a large factory in Esfahan (Isfahan) with lots of workers under his supervision. His daughter goes to college and is popular with her female classmates. One of her classmates who is leaving Iran invites her and other classmates to Teheran for a final get together. The daughter wants to attend, confides her wish with her mother, who in turn informs the father. The father turns down the request having concerns for her safety in a strange city. Without the permission of the father, she buys a return air ticket with the intention of returning the same day before her father notices her absence. The young lady attends the get together but despite her best intentions her flight that she boards in cancelled before take-off. The scared young lady has an asthmatic event and has to be treated at the airport.  This is mainly the prelude to the film.

The daughter on her own

Though the film is titled Daughter, the film is essentially about the father. The busy well-meaning technocrat is worried and offended—and has a temper to boot. His only daughter is in medical trouble in a strange city. Beyond the storyline, the director is presenting the world of women in Iran. Women in Iran are increasingly educated and wish to move freely within the country and interact with friends of their own sex. The patriarchal system restricts such activity to “protect” the women. The viewer learns, as the film progresses, that the father has a sister in Teheran, whose marriage he did not approve and had consequently cut off communication with her in anger.

The daughter (center) with her college friends
contemplating choices to make in life

Director Mirkarimi’s scriptwriter is another male Iranian Mehran Kashani , who wrote the script of Majid Majidi’s The Song of Sparrows (2008) and Hamid Rahmanian’s Daybreak (2005). Mirkarimi and Kashani take pains to show the world of the daughter’s aunt with care. The aunt loves her brother and niece. When in trouble the daughter takes refuge with her aunt. Emancipation of the Iranian ladies permeates through the film, while men are shown as the emotionally weaker sex despite their outward bravado. Director Mirkarimi is credited with an earlier feature film Under the Moonlight (2000) which created a lot of interest at Cannes for its social and religious content. Three of Mirkarimi’s feature films were official Oscar submissions from Iran. In 2017, instead of Daughter, Asghar Farhadi’s The Salesman was the official submission.  (And the Farhadi film has made the final nomination for the Best Foreign film Oscar, as I write this review.)

The father (Farhad Aslani) looking at his sister's life empathetically
for a change

The father begins to empathize with the
women family members he controlled

Mirkarimi seems to be a director good at asking interesting questions through his films. Mirkarimi’s Daughter not so innocently makes a case for the women of Iran as its closed society evolves in a male dominated nation.  Its case for the ability of educated women to make informed choices in a patriarchal world is placed before the viewer. It is not a religious cleric who realizes his past mistakes but an educated technocrat who can run a factory efficiently, who stumbles when it comes managing his family. Daughter makes an environmental comment on pollution in Isfahan as a flight landing is stated as the reason for the cancellation of domestic flight. Mirkarimi and Kashani do not rock the boat and leave the film's closing open ended. That’s clever Iranian cinema. The direct and indirect messages come through, both for the Iranian and foreign audiences. The control the father has over the family has parallels with the control the country has or tries to have over its citizens.

Daughter is not just important for carrying a social message, it shows the maturity of Iranian cinema's screenplay writing and direction capabilities under strict censorship laws. 

P.S. Daughter and Asghar Farhadi’s The Salesman are two outstanding Iranian works included in the author’s top 10 films of 2016—the only two films from Asia. Graduation, a Romanian film, mentioned in the above review is also on this list.  Daughter deservedly won the Golden Peacock for the best film at the International Film Festival of India-Goa, as other films competing were not of consequence. Daughter also wonthe best actor award for Farhad Aslani who played the role of the father at the Moscow International Film Festival.

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194. Iranian director Jafar Panahi’s Farsi/Persian language film “Taxi” (2015), based on his own original screenplay: Very interesting subject but intriguing cinematic docu-fiction.

The difficult Kafkaesque conditions for the intellectuals and the financially insecure in Iran discussed in Taxi are indeed very real.

I have visited Iran several times and therefore I have seen it all first-hand. You do not encounter beggars but it is only natural that economically weak families exist in Iran.  In the film Taxi, too, you don’t see beggars but there is a conversation about Iranians being publicly hanged for petty crimes and of a husband-wife duo wearing masks taking to mugging of their richer neighbours because of their pecuniary compulsions. The film ends with thieves/plain-clothed policemen on a motorbike ransacking the “taxi’s” cameras.

Anyone who criticizes the Iranian government is perceived to be a foreign spy and brutally interrogated, while blindfolded, in notorious prisons.  In his film Taxi, the director Jafar Panahi claims that he himself underwent a similar situation and that he is still hoping to one day identify his interrogator by his voice. In the movie Taxi, the Iranian prisons are referred to tongue-in-cheek as “Paradise” by a famous Iranian human rights lawyer, Ms Nasrin Satoudeh (the flower woman), who travels in the Panahi driven “taxi.” She explains that once you are released from prison, your neighbours and friends treat you so differently that you wish you were back in prison. She would know because she was there herself. Ms Satoudeh has represented prisoners and political activists. Her impressive list of clients includes the Nobel Prize winner Shirin Ebadi. 

Director Panahi drives his taxi in Teharan's streets with a camera on the dashboard,
while a pirated CD hawker engages him in a conversation on films

Everything discussed in the movie is real. My heart goes out to the people of Iran where the best works of Iranian cinema are banned and good foreign cinema rarely shown. My favourite Iranian film Bitter Dreams, a 2004 debut feature film by Mohsen Amiryousefi, was banned within months of it being shown at the Cannes film festival and awarded the Camera d’Or (the award for best cinematography) and subsequently most cineastes are not even aware of that path-breaking film’s existence or the unique capability of the young director.

Now Panahi is different. He makes very interesting films. He claims he is hounded by the Iranian authorities but yet continues to make films, one after the other, openly on the streets of Teheran. It cannot be that he has accomplished it without people noticing his filming activities in public areas. Iran is a nation, which has lots of cops in civilian clothes and a slice of its population is ever ready to report on activities that would please the government machinery.

Now Taxi is a laudable work--including a discussion of males wearing ties in public (I have not spotted a single Iranian male wearing a necktie in Teheran, but two people in Taxi wear ties, Panahi's friend who has been mugged and a just-married bridegroom), the human rights lawyer  Ms Satoudeh (the flower woman) referring to prison tales after she herself was an inmate of the notorious Evin prison,  pirated film CDs of American, Japanese  and Turkish films being hawked surreptitiously  on the streets of Teheran--all laudable, realistic cinema.

Or is it? In Taxi, the taxi driver Panahi is concerned that his two women passengers with a fishbowl will wet his backseat. When the fishbowl does break by accident, Panahi is not concerned about the water or the broken glass. The camera angles of the sequence with him helping the ladies saving the lives of the fish could not have been taken from the dashboard camera. Evidently there were more cameras (and camera persons) used than we are expected to believe.

Two women with a glass fish-bowl enter the taxi.
Where is the camera? If it is positioned outside the vehicle,
were there regular cinematographers at work?

We are supposed to believe Panahi’s friend who was mugged has captured electronically some evidence of that event on his electronic notebook that he shares with Panahi, the contents of which we don’t get to see. We just see Panahi’s expressions while viewing it.  Are we expected to conjecture the mugging was caught on camera? Further, are we expected to believe Ms Satoudeh and Mr Panahi could drive around Teheran without raising suspicions of a film being made, when Panahi was banned from making films in Iran?

I have actually shaken hands with the director in my city when he was chairing a film jury. He appeared sullen and unfriendly. In the movie Taxi, you see a charming, ever-smiling and friendly Panahi. Which is the real Panahi? In my opinion, the Berlin film festival ought to have bestowed the Best Actor award for this film not just the Best Film!

Candid videoography by Panahi's niece taken within the taxi (She was present in Berlin
 to pick up the Golden Bear on behalf of her uncle)

As in Panahi's The Circle (2000), the subject of Panahi’s film is totally laudable once again in Taxi. But is there an implicit collusion between Panahi and the Iranian authorities? How much of Taxi is spontaneous? Probably nothing.  Panahi, who was not allowed to make a film by the Iranian government, makes a film (or several films critical of the state of affairs in the country) and gets away with them.  Panahi’s niece captures on camera a rag picker picking up some cash dropped by a newly-wed groom.  Are we to believe that photographic evidence will go unpunished in Iran, however trivial it is?  Now that is intriguing.

P.S. The film won the Golden Bear at the 2015 Berlin film festival and the audience award at the Mumbai international film festival.  Amiryousefi’s Bitter Dreams (2004) and Panahi’s The Circle (2000) are discussed on this blog. Other reviews of several important  Iranian films (and those co-financed by Iran) on this blog can be found by clicking here. However, the film Taxi is built on the ideas first introduced by Abbas Kiarostami in his earlier film Ten (2002).

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