Noon o goldoon

It is true that from a purely technical perspective, the freeze frame at the end of this film is quite revolutionary. A lot of viewers have expressed some positive comments about it. Hence, it would not be an understatement to call it one of the best moments in the history of cinema. However, Iranian director Mohsen Makhmalbaf goes much more beyond this accomplishment as 'A moment of innocence' attempts to recreate an important event of the past in present times for future generations using existential themes and film making process. As a young man, while protesting against Shah's regime, director Mohsen Makhmalbaf had stabbed a police man. Although he chose an autobiographical episode which occurred many years ago, there has been no attempt made by Makhmalbaf to glorify neither violence nor revolutionary ideology. It appears as if everybody has become more compassionate including the young actor chosen to represent Makhmalbaf. This pacifist strategy brings everybody connected to the film to the conclusion that violence is no solution if the world needs to be changed. It is only through love can somebody aspire to change the world.

Though Mohsen Makhmalbaf eventually established a reputation as one of Iran's foremost filmmakers from the late 1980s, his early life was tumultuous: when he was 17, he stabbed a police officer at a protest against the Shah's regime and spent the next four years in prison, only being released after the Shah's overthrow. His 1996 film NUN VA GULDOON ("Bread and Flowerpot", released in the English-speaking world as "A Moment of Innocence") looks back at this episode from his youth, attempting to jointly evoke both the red-hot passion against political injustice of a young man and his older, wiser understanding that such clumsy violence was hardly a productive way to solve the world's problems.

The result is intricately constructed as a film-within-a-film. As it opens, we see the now 40-year-old policeman (Mirhadi Tayebi) visiting Tehran to ask Makhmalbaf for a part in one of his films to make up for the stabbing two decades before. Makhmalbaf, playing himself, decides to make a film loosely based on the stabbing. He chooses a young man (Ali Bakhsi) to play his younger self, and he then asks the policeman to choose an actor as the young version of himself. The policeman, who has a thuggish look and is bitter about never being offered parts in films besides villain ones, chooses a handsome guy to represent himself, but he is then overruled by the filmmaker who chooses a much more boyish-looking and vulnerable young man (Ammar Tafti), emphasizing just how young both Makhmalbaf and the policemen were at the time. This layer of NUN VA GULDOON broadly pokes fun at what Makhmalbaf's life had become after his rise to fame in Iran, having to endlessly deal with ordinary people who fancied themselves actors and were desperate to appear on screen. Much of this part of the film was shot concurrently with his effort SALAAM CINEMA, which is entirely about the film casting process.

Makhmalbaf and the policemen begin coaching the actors playing their younger selves and we see those young people beginning to act their roles, as well as a young lady (Maryam Mohamadamini) playing a girl that the policeman was in love with at the time. In a magical realist fashion, the layers of the film shift in the middle of scenes: one moment we are watching actors play roles, the next moment it is as if the viewer is really seeing what happened in the mid-1970s. It is this magical intertwining of past and present that made NUN VA GULDOON such a powerful experience for me. The ending, which has been fairly praised as "the greatest freeze-frame since Truffaut's LES 400 COUPS", is just as much a work of art in itself as any still from a Tarkovsky film.

Except for Makhmalbaf himself and Moharram Zaynalzadeh in a supporting role as his cameraman, none of the people in the film were trained actors. With Mirhadi Tayebi as the policeman, this is a weak part of the film: he delivers his lines in a stilted way and it is hard to suspend disbelief. With the others, however, Makhmalbaf made a smart choice, as Ammar Tafti and Ali Bakhsi are convincing in their roles, but there is still a youthful awkwardness and authenticity about them that would might have been lost if they were professionals. Most dazzling of all, however, is Maryam Mohamadamini as the love interest. She's a magnetic screen presence, and as the film leads to its incredible ending, she deftly conveys so much of the suspense and drama through gestures alone. It's a huge loss to cinema that she apparently never acted again.

In spite of the film's limitations in terms of some of the acting and the limited resources Makhmalbaf had to work with when making the film, I found NUN VA GULDOON a moving film and that last freeze-frame literally breathtaking. I'd recommend this to any lover of cinema.

The Iranian movie Nun va Goldoon (1996) was shown in the U.S. with the title A Moment of Innocence. The film was written and directed by Mohsen Makhmalbaf.

Fact: director Makhmalbaf, as a young revolutionary, stabbed one of the Shah's police officers. Makhmalbaf was trying to take the policeman's gun. He got caught, and served five years in jail.

The rest of this movie is based on the theoretical concept that Makhmalbaf is making a film based on this event. Because the incident took place 20 years earlier, Makhmalbaf and the policeman must find younger actors to play themselves as a young revolutionary and a young policeman. Also, they need to cast the young woman who accompanied Makhmalbaf when he made his attempt.

Mirhadi Tayebi portrayed the policeman. I believe he was, indeed, the real-life policeman. Makhmalbaf plays himself.

However, we never actually see this movie. What we see is a movie about making a movie. It's fascinating. Nothing goes as planned, and we worry about it as much as the actors worry.

I've never seen a film quite like this. It was both entertaining and informative. See the trailer before you watch the film. That explains the moment of innocence.

We saw this movie on the small screen, where it worked very well. The film has a very high IMDb rating of 7.9. Worth that and more.

P.S. A little girl has a wonderful scene when the former policeman comes to her door. We've seen this type of verbal female schoolchild in other Iranian films. I assume they exist in real life, and I hope they're able to do well.

Despite its technical flaws here and there, due to the (in)capabilities under which Iran filmmakers have to work -as I'm told-, it would not be an exaggeration to name this film one of the best of all times.

While reflecting or hinting at several 'layers' of personal and social conflicts and dilemmas roaming the daily lives of the youth and eld, native and universal, of the present and the past as well with a striking and effective language; at the same time it makes the viewer laugh one's guts out with the natural and fluent comedy. I daresay Chaplin style.

(Spoiler ahead) Aside from the magnificent bread and flower moment at the end, one of the best scenes is when the girl rushes into a watch repairer's shop filled up with hundreds of watches and clocks, asks the time and is answered "I don't know, these are all broken, we repair them here!" (Paraphrased.)

Don't miss it.

Makhmalbaf has arguably created one of the MOST interesting films I have seen in my entire life.

Casting young men unexperienced in acting to portray himself and the policemen he stabbed when he was 17, the director separates himself and his young self from the policemen and his; they separately train the actors portraying themselves 20 years earlier during an anti-Shah demonstration.

Culminating in the showdown between the young actors, the truths behind the situation unbeknownst to both director and policemen become evident. An extremely powerful film, and I advise you to stop at nothing to view it.