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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180. The late Hungarian maestro Zoltan Fabri’s “Az ötödik pecsét” (The Fifth Seal) (1976) based on Ferenc Sánta’s novel: The ultimate debate on conscience and self-respect

Very few films deal with philosophy and ethical human choices under extreme testing situations.  The Fifth Seal is one that not only presents a philosophical dilemma on screen but will make any intelligent and sensitive viewer to ponder over his or her own choice under similar circumstances.  The film directed by Zoltan Fabri (1917-94) won the Golden Prize of the Moscow Film Festival in 1977. The film is based on a novel written by Ferenc Santa, arguably the finest Hungarian writer who has won almost all the top honours in that country. Santa himself wrote the screenplay of the film and, therefore, one can guess the film reflects the novel’s content pretty accurately.  This is the second work of Fabri that was based on a Ferenc Santa novel—the first being Twenty Hours (1965). Both films won the top award in the respective years at the Moscow Film Festival. The Fifth Seal is one of the top 100 films of this critic and the film made such a positive impact on him that he travelled to Budapest in 1982 and succeeded in interviewing the director. (The exclusive interview was published in the English daily newspaper, The Telegraph, of Kolkata, India, in 1982.)

The book seller, the watchmaker. the carpenter, and the bar keeper meet as usual
-- the photographer (with his back to the camera) is invited to join them 

The basic debate on conscience is raised during a meeting of four friends in a Budapest bar, set during the Nazi occupation of Hungary during World War II, though the film/novel focuses on the Hungarian Arrow Cross officials who sympathized with the Nazis. But the mention of the Russians replacing the Arrow Cross, give away the obvious intention of the writer/director.  The question thrown up in The Fifth Seal is, if we were to die today, whether one would like to be reborn as a powerful, rich, cruel dictator/slave owner who does not believe he/she is doing anything unethical or as a slave who is poor and is continuously brutalized and humiliated by his/her master and yet is happy that he/she has not done any action that is wrong in spite of his/her powerless condition.

Keszei, the photographer, makes the crucial soliloquy quoting the relevant
 passage of the Bible on the Fifth Seal 

To appreciate The Fifth Seal sufficiently, it would help considerably if the viewer has some knowledge of the Holy Bible and of visual art, specifically the works of the Dutch artist Hieronymus Bosch (1450-1516). The reasons are simple. The title of the film refers to the following excerpt from the Holy Bible:  

“When he opened the fifth seal, I saw under the altar the souls of those who had been slain because of the word of God and the testimony they had maintained.”Revelation 6:9. 

Further, a character in the film/novel, Karoly Keszei, who is an artistic photographer and a wounded ex-soldier, refers to the above passage, specifically mentioning the Fifth Seal, in a crucial monologue in the film.

Similarly the artist Bosch has additional relevance in the film The Fifth Seal. The book seller, László Kiraly (László Márkus), who is referred to mockingly as the “intellectual” in the film/novel, states that he procured two prized portions of meat for consumption, shown in the film, on selling a Bosch painting, or possibly, a book on Bosch’s paintings.  Director Fabri intercuts important pieces of dialogue with visuals of Bosch’s paintings. And interestingly much of Bosch’s famous paintings deal with the Book of Revelation in the Holy Bible, the perverted delights of a sinner, and martyrdom of various early Christians. (Bosch is increasingly being acknowledged today as the first surrealist painter, while surrealism as a movement is often considered to have begun only in the 1920s. Works of Dali and those of Bosch are so strikingly similar, that one wonders how four centuries could separate them.) And the film's director Fabri does not stop with the paintings—he recreates visuals from Bosch’s paintings with live human beings for the bookseller Kiraly to fantasize in a drunken stupor while reflecting on the philosophical issues raised in the film/novel earlier.

The crucial towards the end of the film that redefines all that the viewer has
been shown and believes

The film can be divided into three segments though these are seamless. The first is the situation in the bar where Miklós Auricular (Lajos Öze) a watchmaker, Kiraly the book seller, János Kovacs  (Sándor Horváth) a carpenter, and Béla (Ferenc Bencze) a barkeeper meet and discuss a variety of subjects in the presence of Keszei, the artistic photographer, who joins these gentlemen for a drink by accident. The second segment takes the characters out of the bar, where each come to a decision as to who he would like be reborn as. The third segment puts all the characters in an extreme environment, where interestingly for different reasons, all the characters seemingly reverse their earlier decision made in the film to the question posed by Mr Auricular. One metaphoric aside made by Mr Auricular is whether you would choose to eat veal breast or an artichoke, if given an option, referring directly to the piece of meat the book-seller has procured to eat later. The third segment adds another aspect to the final decisions—the aspect of self respect.

Bosch’s surreal images and the surrealist manifesto of the 1920s would nudge the viewer at the grim end of the film. All through the film, an intelligent viewer will note the characters in the film constantly reassess their philosophical stance or points of view, according to circumstances. Nothing is as per the obvious. Keszei, the photographer, lost his leg on the war front, like the slave in the philosophical conundrum and believes he has a clear conscience. Yet his actions prove to be the opposite. The viewer would also need to reassess his/her judgements of the characters the end of the film, particularly in in view of the past and possible future intentions/actions of Mr Auricular.

Mr Auricular, the watchmaker, asks the carpenter the difficult
philosophical question

The final shots of the film underscore the fact that one is ultimately alone and the final decision of a reflective soul could surprise oneself. This movie is undoubtedly the best work of Zoltan Fabri, a marvellous filmmaker, who most cineastes the world over have yet to discover. And this is possibly the best work of the author/novelist Ferenc Sánta, little known outside his country. This is a film with superb performances (especially Lajos Öze as Mr Auricular), the lovely music of Georgy Vukan that opens (with colourful details) and closes (in deliberate contrast with a dark, blank screen) the film, intelligent editing (Ferencné Szécsényi), and needless to add, a great script. The “intellectual” in the film would like to distract himself with music or play snooker, when someone has been shot dead outside. These are some of the little nuggets of detail that make this work truly outstanding.

What is so remarkable about the film? The viewer will find that as the film progresses, the viewer's own judgement of the principal characters' response to their individual conscience keeps changing right up to the end. That's what will make you think deeply about this work of cinema.

Thank you, Mr Zoltan Fabri and Mr Ferenc Sánta, for the top-notch cinema.

P.S. The full movie is available on You Tube.  The film is one of the author’s best 100 films. The author had interviewed Mr Zoltan Fabri in Budapest in 1982 as a staff film critic of a daily newspaper published from New Delhi, India. The author suspects Larissa Shepitko's Russian film The Ascent (1977) borrowed heavily from The Fifth Seal following its Golden Prize win at Moscow Film Festival early in 1977.  It is very likely that Shepitko had viewed the Hungarian film and structured her own script on the lines of the Hungarian film. Most viewers who laud Shepitko's film are not aware of Fabri's film.

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