Avaze gonjeshk-ha

A film full of Iranian culture, not only the story of a struggling man, the story of hope as Majidi wanted it to, but it is also the story of a people, the story of a country, a culture story.

Another movie that played at the Berlin Film Festival, this low-key drama has a very human side to it. The actors (some of which were also in Germany for the premiere and seem as down to earth, as the roles they played in this movie) are really good and have a simplicity to them that is very gorgeous.

The characters are very down to earth and the story itself or let's say it's pace, might remind people of classic movies such as "Bicycle Thieves" (kind of neo-realism, if you want to call it that). If you don't have a problem with that, then you will enjoy this movie as much as the audience in Berlin did (including myself) :o)

I don't know if this movie is considered a comedy, but soooo many funny things happen it's hilarious from start to finish. The main thing that comes to mind is murphy's law (if it weren't for bad luck, I'd have no luck at all; or, if anything can go wrong, it will.) I also really enjoyed seeing the Iranian landscape and their way of life. Everything that can be used or fixed is utilized. This movie is serious, funny, heartwarming, and good clean family type of entertainment. I thought the acting was great, and the characters endearing. This has got to be one of the best foreign films I've seen. Best thing since Slumdog Millionaire. Too bad it wasn't in English, but than maybe that added to the overall sense of the movie.

Majid Majidi helms "Avaze Gonjeshk-ha", a film that laments on the influence of materialistic societies and elevates pastoral romanticism. Beautifully filmed and empathetically characterized, audiences will be enchanted by little pleasures delivered, eventually snowballing to something poetically charged. Run time might be excessive, but this might just prove as nitpicking. Script lacks any sort of cynicism, a positive, as the film is nostalgic to moments of innocence. Question is, did it even exist? Picture shows it did in Majidi's universe.

First act parallels the vibe of the Argentinean produced "Bombon: El Perro". Main protagonist Karim (Mohammad Amir Naji), fired from his job as an ostrich farmer, ventures off to Tehran to earn some money and find means to upgrade a broken hearing aid desperately needed by one of his daughters. Characterization is the main motivation here, as the director lovingly sculpts Karim as a paternal character untarnished by any sort of negative, earthly influences. Not that he is uninspired by desire, but his desire is more directed to more altruistic means towards his family. Thesping by Naji is pitch perfect.

And here's where the film becomes more than it actually claims to be. Venturing off to exciting Tehran, Karim turns wide eyed, as he accidentally becomes a taxi driver. Comedy is potent here, definitely not used to degrade main protagonist though. Eventually, picture develops him into an influenced mortal showing greed and materialism. From an innocent television antenna, his backyard expands and practically becomes a junkyard. His character development transcends the screen, as every piece of junk he hogs, loss of his old self is palpable.

Directing clearly emphasizes Karim as an Adam out of Eden, banished by circumstances to a city wrapped in earthly pleasures. Cinematography plays a massive role in this recurring theme. Lensed by Turaj Mansuri, film paints Iranian countryside as fertile and effervescent whilst modern Tehran isn't exactly depicted as ruthless and evil, but more constrictive and crowded. Cityscape is painted as monotone brown, allowing the characters to paint themselves, easily using citizens to express a point. Film isn't judgmental of city living, only reminds them of what they're missing.

And that's just the first act. Next chapters' focuses on Karim's redemption from a fall from grace, events transpired that might come off normal to modern people but nonetheless, out of character to himself. His family life is placed in focus, as with Karim, audiences are allowed to comprehend (and remind main protagonist) what his old desires were. Undoubtedly contemplative and metaphorical, film guarantees a high replay value. Film strikes a cord with a visual cue on fish out of water.

Picture definitely doesn't ask much from the audience, however it's upon the audience to accept it. This will reward them though as Majidi proves himself as a rich painter of not characters, but spotless souls. As with his previous films, Majidi transfers his optimism on celluloid without much trouble. Detail here is exemplary as every facet of the production is riddled with ideas waiting to be uncovered by repeat viewings.

Majid Majidi has gone and done it again. He has crafted a simple story of a loving family man (although not without some minor flaws)who has several humbling experiences in life. Karim (played very well by Majidi regular,Mohammad Amir Naji,here known as Reza Naji)has a cushy job working at an ostrich farm,keeping watch over the king sized birds. Trouble erupts when one of the birds escapes from the pen,resulting in Karim losing his job. Good fortune happens to drop in Karim's lap when he ends up becoming a taxi driver in downtown Tehran. Other plot elements are dropped into the mix in the form of his eldest daughter,Haniyeh (Shabnam Aklaghi)who is partially deaf,loses her hearing aid,because of her younger brother,Hussein (Hamed Aghazi),who wants to start a goldfish hatchery in an unused well,who loses the hearing aid in the well/muck hole that it is. Toss in an understanding & loving wife,caring neighbors,and others,and you have yourself a loving film that is a treat for the eye & other senses. Majid Majidi directs from a screenplay written by Majidi & Mehran Kashani. The cinematography by Tooraj Mansouri successfully manages to capture the rugged Iranian landscape,with momentary bursts of colour (check out the scene of Naji carrying a blue door across the bleak desert-like landscape of the Iranian countryside,as well as some other breath taking scenes that are a treat for the eye). Rated PG by the MPAA for some brief,rude language,but contains nothing else to offend.