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Der Geschmack der Kirsche

Originaltitel: Ta'm e guilass
  • 1997
  • 6
  • 1 Std. 35 Min.
IMDb-BEWERTUNG
7,7/10
40.805
IHRE BEWERTUNG
BELIEBTHEIT
3.377
752
Homayoun Ershadi in Der Geschmack der Kirsche (1997)
Home Video Trailer from Zeitgeist Films
trailer wiedergeben1:16
1 Video
37 Fotos
ErwachsenwerdenPsychologisches DramaDrama

Ein iranischer Mann fährt seinen Lastwagen auf der Suche nach jemandem, der ihn nach seinem Selbstmord still unter einem Kirschbaum begraben will.Ein iranischer Mann fährt seinen Lastwagen auf der Suche nach jemandem, der ihn nach seinem Selbstmord still unter einem Kirschbaum begraben will.Ein iranischer Mann fährt seinen Lastwagen auf der Suche nach jemandem, der ihn nach seinem Selbstmord still unter einem Kirschbaum begraben will.

  • Regie
    • Abbas Kiarostami
  • Drehbuch
    • Abbas Kiarostami
  • Hauptbesetzung
    • Homayoun Ershadi
    • Abdolhosein Bagheri
    • Afshin Khorshid Bakhtiari
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,7/10
    40.805
    IHRE BEWERTUNG
    BELIEBTHEIT
    3.377
    752
    • Regie
      • Abbas Kiarostami
    • Drehbuch
      • Abbas Kiarostami
    • Hauptbesetzung
      • Homayoun Ershadi
      • Abdolhosein Bagheri
      • Afshin Khorshid Bakhtiari
    • 143Benutzerrezensionen
    • 101Kritische Rezensionen
    • 80Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 3 Gewinne & 5 Nominierungen insgesamt

    Videos1

    Taste of Cherry
    Trailer 1:16
    Taste of Cherry

    Fotos36

    Poster ansehen
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    + 31
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    Topbesetzung8

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    Homayoun Ershadi
    Homayoun Ershadi
    • Agha-ye. Badiei
    Abdolhosein Bagheri
    • Kargar-e Mozeh
    Afshin Khorshid Bakhtiari
    • Pelastik jam kon
    Safar Ali Moradi
    • The Soldier (Sarbaz)
    Mir Hossein Noori
    Mir Hossein Noori
    • The Seminarian (Talabeh)
    Ahmad Ansari
    • Negahban-e Karkhaneh
    Hamid Masoumi
    • Mard-e Bajeh Telefon
    Elham Imani
    • The Photographer (Dokhtar-e moghabel-e mozeh)
    • Regie
      • Abbas Kiarostami
    • Drehbuch
      • Abbas Kiarostami
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen143

    7,740.8K
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    mgmax

    Failed arthouse experiment

    This is a little more interesting when you know that most of it was improvised with Kiarostami sitting in the driver's seat talking to the other actors. But like most purely improvised films, there's a rather low ratio of insights to the amount of screen time spent struggling to come up with something interesting. (Actually, only one of the characters really manages to be interesting at all.) Likewise, some of the shots of Mr. Badii driving around aimlessly have a certain Antonioniesque hypnotic effect, but most of them look no more interesting than random video you might have shot yourself in the industrial part of town.

    There are critics who call this kind of untouched-by-art realism genius, who say that Kiarostami is making us think, reconsider the very nature of cinema, and so on. To my mind, the message of the film-- the taste of cherry makes life worth living-- is no more or less profound than, say, Woody Allen rattling off a few of the things that make life worth living in Manhattan, or the epiphany the kid in American Beauty gets from a plastic bag. (Likewise the message that it's all only a movie. Never woulda guessed.) And critics who find such a message shallow in a piece of slick entertainment, but deep when it's in a deliberately unentertaining art film, need to reexamine their critical principles, or lighten up a little-- or at least go see again the work of real art Kiarostami alludes to in his title, Wild Strawberries, which has more depth of characterization and emotional richness in any five minutes than this manages to scrounge up in an hour and a half.
    8highrsx

    View of director

    "I understand how difficulty you have comprehending the last scene of this movie. I sympathize with you. But this has been deliberate on my part. In "Taste of Cherry" I have tried to keep a distance between my spectator and the protagonist. I didn't want spectators emotionally involved in this film. In this film, I tell you very little about Mr. Badie, I tell you very little about what his life is about, why he wanted to commit suicide, what his story is I didn't want the spectators get engaged in those aspects of his life. For that purpose I had to keep Mr. Badie away from the audience. So he is a distant actor in a way. First I thought to end the movie at the point when he laid down on his grave but later I changed my mind. I was uncomfortable to end it at that point because I was very concerned, and am always concerned, about my spectators. I do not want to take them hostage. I do not want to take their emotions hostage. It is very easy for a film-maker to control the emotions of spectators but I do not like that. I do not want to see my audience as innocent children whose emotions are easily manipulable.

    I was afraid that if I ended the movie where Mr. Badie laid down on his grave the spectator would be left with a great deal of sadness. Even though I didn't think the scene was really that sad, I was afraid that it would come out as such. For that reason I decided to have the next episode where we have the camera running as Mr. Badie was walking around. I wanted to remind spectators that this was really a film and that they shouldn't think about this as a reality. They should not become involved emotionally. This is much like some of our grandmothers who told us stories, some with happy and some with sad endings. But they always at the end would have a Persian saying which went like this "but after all it is just a story! . . . The very last episode reminds me of the continuation of life, that life goes on, and here the audience is confronted with the reality they had hoped that Mr. Badie would be alive and there he is a part of nature and nature still continues and life goes on even without Mr. Badie. And if one could really think about being or not being present in life, or if one thinks about it in terms of the real implication of such presence, one might not in fact engage in committing suicide at all. The person committing suicide might think that s/he is taking revenge from the society, nature, life, powers to be, and so on. But s/he don't realize that after a suicide life still goes on and things stay the way they are. I could interpret this in a different way. If my audience is as creative as I imagine them to be, they can take this in a variety of interpretations and I can sit here and every time make a different interpretation of it, as every time one can creatively reinterpret the reality. "
    8jmverville

    Searching for the Reason to Live

    Kiarostami strikes again with another provocative film, very much in the same vein as his others: drawn out films that involve a very introspective soul-searching of all of the character's involved, and in so doing, finding some more meaning to the idea of what life is all about.

    From the beginning to the end, Kiarostami gives us a complex script of characters that we come into contact with, and as we learn about each one, we learn more about the idea of life. What makes the film very interesting for a Western viewer is that I find closer to Kiarostami's Iran after each of his films that I watch, and become more informed to it. We learn intimate details about the lives of several Iranians.

    Throughout the film I found that, although like many of his films it was quite slow-paced, it contained the extraordinarily rich dialog that is expected of a Kiarostami film. His films advance through their rich dialog while using the dusty Iranian landscape as their backdrop. I found a lot of the cinematography to be terrific, viewing the city from a distance and looking into the dusty foot-hills on the outskirts of Tehran. It is more than poetic to see a man at the end of his rope searching through the dust and faces of Tehran's poor laborers for answers about life and death. In many ways, the film is a large metaphor for the human state of affairs.

    The film culminates very well, and we all eventually find our own taste of cherry in the film. I always feel as if Kiarostami's films are a very philosophical experience, and are quite personal. In this sense, Kiarostami's films are amongst the best that I have seen.

    However, they are undoubtedly slower paced than other films, and they require the viewer to detach himself from any western stereotypes that he has about film. This would not be a good film for somebody expecting action or a typical Western film, but rather, this would be a film that I would recommend only to those who are in the mood for an insightful, philosophical film that shows an alternative view of life. Overall, it was an emotionally powerful film that will stick out in my memory as all Kiarostami films do.
    10tdarugar

    Dark, mysterious movie that shouldn't be missed

    This movie sparked more debate amongst our group than any other. If you're not put off by the pace, you definitely owe it to yourself to see this. By far the most interesting film I've seen in the past few years.

    The pace is quite slow, and the director takes no pains to explain or clarify anything. We follow a man as he tries to enlist the help of ordinary people in carrying out a dark plan. The movie is about the interactions between humans, about the joy of life - the taste of a cherry - seen through the eyes of a desperate man. Not all the questions are answered, and not all the pieces of the puzzle are filled. I guarantee you'll discuss this movie for at least several hours after you see it.
    9headtrauma420

    Such a touching film

    I watched the Criterion DVD a few days ago and I thought this film was incredible. It's amazing to me that such an incredible film could be made without the use of tracking shots, multiple camera angles, tilts, pans, and all the other camera techniques that most countries use in their films.

    Iran has a very young film industry that doesn't have the money or resources that many other film industries have. For what the Iranian film industry has at its disposal, this film is an exceptional achievement!

    This film is a great example of how the expression of human beings' feelings and ideas cannot be held back by censorship. Kudos to Kiarostami for creating a very heartfelt commentary on the effects of oppression on the human soul.

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    Handlung

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    • Wissenswertes
      The film was shot without a proper script, relying on improvisations.
    • Patzer
      In the opening scene, as Mr. Badhi is driving past laborers looking for work, the same middle-aged white haired man, wearing a checkered sweater vest, is seen twice.
    • Zitate

      Mr. Bagheri: If you look at the four seasons, each season brings fruit. In summer, there's fruit, in autumn, too. Winter brings different fruit and spring, too. No mother can fill her fridge with such a variety of fruit for her children. No mother can do as much for her children as God does for His creatures. You want to refuse all that? You want to give it all up? You want to give up the taste of cherries?

    • Verbindungen
      Featured in Especial Cannes: 50 Anos de Festival (1997)
    • Soundtracks
      St. James Infirmary
      (uncredited)

      Often attributed to Irving Mills

      Performed by Louis Armstrong

    Top-Auswahl

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    FAQ15

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    Details

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    • Erscheinungsdatum
      • 16. Juli 1998 (Deutschland)
    • Herkunftsländer
      • Iran
      • Frankreich
    • Offizielle Standorte
      • sourehcinema
      • Zeitgeist Film (United States)
    • Sprachen
      • Persisch
      • Kurdisch
    • Auch bekannt als
      • El sabor de las cerezas
    • Drehorte
      • Teheran, Iran
    • Produktionsfirmen
      • Abbas Kiarostami Productions
      • CiBy 2000
      • Kanun parvaresh fekri
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Weltweiter Bruttoertrag
      • 12.187 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 1 Std. 35 Min.(95 min)
    • Farbe
      • Color
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.66 : 1

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