Over
the years, I've read enough articles which waded into the
debate on the quality of films from Iran. Some say they are
masterpieces, completely alien from Western films, and innovative
in structure and story. Others, however, say they are often
the most excruciatingly boring examples of art-house twaddle.
Roger Ebert and others seemed rather angered that Taste of
Cherry won the Palme D'or at Cannes, because it was such a
boring experience.
Where
is the Friend's Home, directed by Cherry's Abbas Kiarostami,
also suffers - or, at least, it made my eyes suffer, until
they nearly closed completely from the exhaustion. The movie
looks as though it will be good, in its own quiet way, but.......
everything drags on and on and on.... toward a payoff as simple
as it is undeveloped. Then again, boring films can be created,
not by the filmmakers, but by subjective conditions. Picture
this -- here I was, running on five hours sleep, with a brutal
case of a plugged right ear, which needed a doctor's attention
the next day, and my viewing choice was a film from Iran.
A recipe for disaster!
The
story - a kid always seems to forget his notebook before going
to school. Already, he has suffered the verbal punishment
from his teacher twice, and is threatened with expulsion if
he forgets his homework one more time. Later, his classmate
helps him up from a fall, and, apparently, in the process,
the fallen student loses his notebook once again, because
later on, it is in the other kid's possession, and he has
to return the book back or else the kid will be expelled.
The rest of the movie is his attempt to find the kid's house
and return the book.
Sounds
like a cute little movie, right? Like Truffaut, maybe? Wrong.
Where is the Friend's Home is such a boring, tedious drone.
Sure, okay, I was half asleep anyway, as I usually am in the
middle of the afternoon if I had a lack of sleep the night
before, but isn't it possible that Abbas Kiarostami assisted
in giving me tired eyes? (Hey, doctor, forget my plugged ear,
I think I have Kiarostami-itis, or maybe Abbas-atosis) The
movie just goes on and on for 90 minutes, without much excitement,
or even compelling storytelling. I really don't think that
Kiarostami can even direct to save his life. He just sits
the camera down, and records every little minutia without
really figuring out its usefulness to the story.
Possibly
the most glaring example of this sort of direction is the
scene in which the kid tries to tell his mother that he has
to bring back the book. This isn't just one little moment
in which the kid says that he has to bring back the book,
while the mother says that you have to do your homework before
you go out and play. This lasts for about six to seven minutes,
and there is not a shred of buildup or variation to this scene;
just the visual equivalent of a broken record. The rest of
the movie is little different, as the kid sneaks out of the
house to find the kid, first by travelling over his neighbourhood,
and then to the next village. Each place he goes he asks where
the kid lives, without any useful answers. Couldn't he have
least had some interesting adventures? Maybe discovered some
interesting things?
The
only really interesting scenes in the whole movie involve
what happens in the classroom. At least we have the appearance
of conflict; when the teacher walks in to the room, he uses
his authority much like that of a dictator, if a deceptively
soft-spoken one. These are the only compelling scenes in the
movie, although there does seem to be a general theme concerning
authority figures and their tyranny upon children, and how
different commands seem to contradict each other. For example,
you have the parents of children making them do chores around
the home, while the teacher says forcefully that homework
comes first, even before chores. There is a key exchange between
the boy's uncle and another villager about the need to encourage
discipline - and corporal punishment - against children, even
at the expense of boosting the child's self-esteem. Directly,
he says that it is more crucial to give the child a regular
beating than it is to give the child frequent praise; at least
with the punishment, he will understand right and wrong (well,
that's the old idiot's excuse).
Even
with this content, the movie fails. There is very little style.
There is no sense of character or motivation - the events
are so arbitrary, so as to stretch the running time, and the
characters are poorly developed. There is no reason to be
attached to them. And the ending is possibly the biggest cop-out
ever, because it solves absolutely nothing. In a better movie,
it would be cute, but here, it's just a huge letdown.
Iran
is apparently a bastion of cinematic talent. Okay, Gabbeh
had its charms; and Children of Heaven is a genuinely fine
movie, also about children, and far, far more accessible and
entertaining than this movie. But I don't know how to account
for Where is the Friend's Home, a movie difficult by any standards,
and pointless and dull by most of them. That does not mean
I won't try any more Iranian films. My local store, oddly,
has a fair number of films from Abbas Kiarostami and Mohsen
Makhmalbaf (Gabbeh), and I will try to get through one or
two more before I can make any broad generalization of an
entire film culture.
David
Macdonald
David
Macdonald's Film Reviews
|