THE COLOR OF PARADISE (brief synopsis at bottom)
I believe The Color of Paradise, directed by Majid Majidi, is not a festival winner for its leisurely, but interesting plot, or language, or not impressively deep plumbing of human motive and being, or for its rather tacked-on symbolism. What makes this a truly valuable film is for being a remarkable although perhaps unintentional documentary.
It is set in Iran.
As we emerge from the Reagan and Bush years we must also emerge from the darkly painted demonization of Iran and Iranis. This film brings considerable daylight to the "axis of evil" brainwashing our media has been feeding us.
I fondle a theory that wherever mankind has lived for any length of time, the Earth is well on its way to desert. I thought Iran was another poorly watered landscape like much of Iraq. But Lo! in The Color of Paradise we see Iran lush, green, vegetal. The Iran we see -- captured with a credible veracity because it is somewhat incidental to the film-- has wild, cold rivers, grazing, meadows deep in wild and native grasses, and somewhat labored but vital forest lands.
Although one of the key words for the movie is "poverty", that adjective never touched my mind as I watched the film.
The film, perhaps accidentally honest, discloses that the people of the protagonists village must work fairly steadily making charcoal, growing, spinning and dying wood, maintaining their homes, caring for their livestock, but even the 'Father' of the film, who sees himself as a poor man, has a horse and saddle. Their lives are earth-based and fulfilling. They are free, in this movie, from governmental intrusion. They live independent lives, but must cooperate with their neighbors in a communal manner that benefits all. They have time for play and arts and conversation. They have some left over for a few valuable things such as jewelry and fine fabrics. There are some opportunites for the infirm. The Father of the film had to be multi-talented, to build and maintain a nice, tight house of wattle and daub. The children, too, learn a number of skills as they grow up. Although one of the main family members dies in the movie, the children are still capable of maintaining their home and livelihood.
The word "poverty," in this case, tells us more about those using the word than about the life of those in the movie.
If we wish to see a bit more truth about Iran than is offered by the establishment, we would find this film of great value.
DETAIL
1) Paradise centers around an 8-year-old blind boy, Mohammad, who is very likable and beautiful in his way. He is brought home after a year from Tehran's Institute for the Blind by his father. His father is very reluctant to be saddled with the boy and tries, unsuccessfully, to talk the school into keeping the lad. At home, however, the boy is joyously greeted by his sisters, his grandmother, and many of the village children.
2) The central conflict of the movie exists mostly within the father. He thinks the blind boy is a hindrance to his success and strives to rid himself of the boy. Father wants to wed a good-looking industrious young lady and feels so strongly that the blind boy will ruin his chances that he hides the boy from the young woman's family. This conflict is an excellent set-up for a quietly dramatic story that could go in many directions.
It is set in Iran.
As we emerge from the Reagan and Bush years we must also emerge from the darkly painted demonization of Iran and Iranis. This film brings considerable daylight to the "axis of evil" brainwashing our media has been feeding us.
I fondle a theory that wherever mankind has lived for any length of time, the Earth is well on its way to desert. I thought Iran was another poorly watered landscape like much of Iraq. But Lo! in The Color of Paradise we see Iran lush, green, vegetal. The Iran we see -- captured with a credible veracity because it is somewhat incidental to the film-- has wild, cold rivers, grazing, meadows deep in wild and native grasses, and somewhat labored but vital forest lands.
Although one of the key words for the movie is "poverty", that adjective never touched my mind as I watched the film.
The film, perhaps accidentally honest, discloses that the people of the protagonists village must work fairly steadily making charcoal, growing, spinning and dying wood, maintaining their homes, caring for their livestock, but even the 'Father' of the film, who sees himself as a poor man, has a horse and saddle. Their lives are earth-based and fulfilling. They are free, in this movie, from governmental intrusion. They live independent lives, but must cooperate with their neighbors in a communal manner that benefits all. They have time for play and arts and conversation. They have some left over for a few valuable things such as jewelry and fine fabrics. There are some opportunites for the infirm. The Father of the film had to be multi-talented, to build and maintain a nice, tight house of wattle and daub. The children, too, learn a number of skills as they grow up. Although one of the main family members dies in the movie, the children are still capable of maintaining their home and livelihood.
The word "poverty," in this case, tells us more about those using the word than about the life of those in the movie.
If we wish to see a bit more truth about Iran than is offered by the establishment, we would find this film of great value.
DETAIL
1) Paradise centers around an 8-year-old blind boy, Mohammad, who is very likable and beautiful in his way. He is brought home after a year from Tehran's Institute for the Blind by his father. His father is very reluctant to be saddled with the boy and tries, unsuccessfully, to talk the school into keeping the lad. At home, however, the boy is joyously greeted by his sisters, his grandmother, and many of the village children.
2) The central conflict of the movie exists mostly within the father. He thinks the blind boy is a hindrance to his success and strives to rid himself of the boy. Father wants to wed a good-looking industrious young lady and feels so strongly that the blind boy will ruin his chances that he hides the boy from the young woman's family. This conflict is an excellent set-up for a quietly dramatic story that could go in many directions.
Labels: movie critique
posted by Thunderpen | 10:14 AM
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