Le cycliste

A middle-aged Afghani man is alarmed when his wife falls very ill in Teheran. He has no money to pay the bill. He must look after his young son. To raise money to pay for his wife's care he undertakes an endurance contest. He attempts to ride a bicycle for 5 days without stopping.

He circles the same city square, surrounded by onlookers. This is a spectacle. He is a showman in a circus environment. The cyclist becomes the talk of the town. Will he make it? Bets are placed. Various gamblers try to sabotage his attempts, so they will win their bets. Various persons in the crowd cheer the cyclist on, making him their temporary hero.

Director Makhmalbaf has made a splendid film about an ordinary man, driven to desperate acts. Various scenes in the movie are elegantly shot. Performances are credible. This is one film where I really cared about what happened to the characters.

veloc

Even though you could narrate it as some strange curiosity like story the film is very strong and realistic drama and you are actually forced to feel all the heavy consequences which Nasim and his son are in the middle of. To rescue his wife´s life Nasim jeopardizes his own. And what other chance has he got? Absolutely alone, penniless fugitive... Makhmalbaf doesn´t make anything easier to his characters, he tells the story with all the roughness, which it really has, but at the same time he catches your heart.

I watched this becouse Sabzian mentioned this film in Close up 1990.

In the aftermath of the Soviet invasion and civil war, hundreds of thousands of Afghans fled across the border with Iran. There they struggled to survive, offering themselves as day labourers at exploitive wages, harassed by officials and just ignored by the bulk of Iranian society. Mohsen Makhmalbaf's 1987 film BICYCLERAN ("The Cyclist") is an allegory for the Afghan refugee experience,

Nasim (Moharram Zaynalzadeh) must pay the hospital stay of his ailing wife and bring up his son Jomeh (Mohammad Reza Maleki), but even backbreaking labour as a well-digger doesn't pay the bills. When a local business learns that Nasim once rode a bicycle for three nonstop, he offers the desperate man the chance to save his family: ride a bicycle for a week in a makeshift circus ring.

Makhmalbaf communicates Nasim's lack of humanity by giving him very few lines. Most of the film consists of arguments among the gamblers and local politicians who stand to profit or lose from Nasim's act, as in the background he circles around and around and around. This film would already be heartrending if it were a straight-up tale, but Makhmalbaf makes it even more poignant with a light dusting of magic realism.

Though less elegant than some of his later films like NUN VA GULDOON (released internationally as "A Moment of Innocence"), this is a memorable film and it's easy to see how it established Makhmalbaf's reputation internationally. Iranian cinema holds many delights, and this is one of its triumphs.

Cyclist is a strong movie, and similar to other early works of Makhmalbaf, intertwines several social messages: justice, exploitation of the poor, con men who try to turn every opportunity into gold, and complete disconnection of the rich and the powerful from the world of lower classes. Other reviewers have commented at length about the social justice aspects of this movie. But it seems what most people miss about this movie is that it is, above all, a love story.

Nasim, a former cyclist champion in Afghanistan is now working as a laborer in Iran. His wife is in hospital, and Nasim desperately needs money for her treatment. For that, he agrees to participate in a betting show in which Nasim would have to ride his bicycle for seven days and nights without sleeping.

It is interesting that Nasim as the protagonist, does not have any dialog in the movie. He only speaks with his face, and nothing in the movie is stronger than the pain and love on his face when he is looking at or thinking of his bed-stricken wife. This is the ultimate love story in which the knight goes to absolute extremes to save the woman he loves from death. How many of us can claim to have gone to such lengths for our loved ones?

At the same time, Makhmalbaf also develops a side story of an innocent love starting to take root: the young boy who accompanies Nasim falls in love with the young daughter of a gypsy. Ultimately they are forced to part ways without sharing anything more than an apple, but the strength of those scenes are significant. In this movie Makhmalbaf showed that his true talent was in depiction of love, not social justice announcements.

Nonetheless, given that this was Revolutionary Iran in 80s the social justice aspects of the movie remains strong, and eventually repetitive. In his early movies Makhmalbaf often fell into the habit of repeating his message too many times and too obviously, perhaps to win favors from revolutionary officials. However if we can put aside the social lens and watch the Cyclist as a love story, we may find it a truly emotional and influential movie.