I'm curious to see how this thread winds up. This was a strong contender from me to use in the World Cup for the first round, and was still in the running for round 2, although I doubt I'll go with it.
Easily 8 out of 10. Good, even if it may be impossible to find a quality print. My suspicion is most are taken from VHS, so that can make it more difficult to judge. Also there is the issue of hardcoded, white subs from the late 80s or early 90s: at least they are legible all but a couple of moments (but if one sets one's monitor very bright, the subs might bleed into the background). But these aren't really the issues of the film.
I did notice a few technical problems. In one scene the camera pans but doesn't really take into account the change in the light so the scene starts to wash out. Doubt this is related to the print (or rip). But such technical problems, don't detract from the film: it just really looks its age and place.
Don't believe the story is meant to be taken literally, so one wonders what is the artistic meaning. For me, the boy represents the Islamic Republic (this was made a short five years after the revolution and given the credit "Studio of the Voice and Portrait of the Islamic Revolution of Iran" there are two likely interpretations that come from this and they aren't mutually exclusive. First off, one must use what one has, no matter how meager, and work hard, constantly improving, not by leaps and bounds, but in small increments. (The boy starts by collecting and selling garbage that still has value, moves on to bottles, then sells water, builds a shoeshine kit, enrolls in a literacy class.) It's pretty clear, one doesn't get everything one wants right now and this message varies radically from what we so often see in Western productions.
But the second message is a bit less obvious and for me is strongly symbolized by the interaction with the blond sailor who accuses the boy of stealing his lighter. Throughout the film the boy (Iran) stands up to those bigger, faster, and stronger than himself and while others accuse him of theft and steal from him, he only demands what is rightfully his: you drank my cold water, pay me. Seems fair.
Iranian cinema, like that from the Chinese mainland of the 80s and 90s, is much more allegorical. When I can find some meaning, I find it quite interesting, artistic, and enjoyable. Same goes for this film. It may not be technically stunning but it certainly is emotionally and intellectually compelling.
xianjiro wrote: ↑January 12th, 2020, 10:36 am
Easily 8 out of 10. Good, even if it may be impossible to find a quality print.
I found one easily. IIRC not the first time you dropping a ball like that. Thanks for the writeup.
he or A. or Armo or any
currently working towards a vegan/free world + thru such film lists: GODARD, r/antinatalism recommends,..the rest
ANARCHISTS, ANIMAL RIGHTS, Assisted suicide, Existential films, SOCIALIST CINEMA (an amalgamation of lists), Feminist lists, various GSSRM lists (aka LGBTQ+), 2010s bests, Visual Effects nominees, kid-related stuff, great animes (mini-serie or feature), very 80s movies, mah huge sci-fi list, ENVIRO, remarkable Silent Films and Pre-Code (exploring 1925 atm) and every shorts and docu list I'm aware of and
/forum.icmforum.com/viewtopic.php?f=1&t=1434
and "Gordon" Liu Chia-Hui/Liu Chia-Liang and Yuen Woo-ping and "Sammo" Hung Kam-bo
This is another good film from my 500>400 list, though I haven't seen it for ages and probably need to revisit. In fact, it might have been the first Iranian film that I saw. Saw it in a movie theater, too, back when it was possible to see films like this there.
IIRC not the first time you dropping a ball like that. Thanks for the writeup.
