The Cow, Gaav (1969) is the second feature film by director Dariush Mehrjui. It was the second film to be financed by the Shah of Iran but promptly banned after completion when the Shah felt its portrayal of simple village life in Iran gave the wrong impression to outsiders. The film was smuggled out of Iran in 1970, and subsequently won "critics choice" at the Venice Film Festival.
The Cow (originating from a novel by Iranian author Gholam-Hossein Saedi) portrays the obsession, loss of faith and demise of a poor rural village that loose their single salable commodity - a cow. Hassan, played by Ezatollah Entezami (who received best actor at the Chicago Film Festival), has a face that vividly captures his physical and emotional change after a breakdown when he becomes the cow. Mehrjui uses theater actors with "compelling faces" as key elements in the cinematography (Feridun Ghovanlu), as did the Italian Neo-realist.
The film explores the looming fear of a foreign invader as the villagers come to believe Hassan, in his cow-like state, will be captured in cross-border raids from rival tribes. Politically this is reminiscent of the Shah's constant allusions to the neighboring "Arab threat" over oil.
While set in traditional, rural Iran, Mehrjui shows an alternative view of Iran where collective fear and poverty can cycle in hopeless desperation. Viewers of The Cow are left to question the very root of human dignity.
The Cow (originating from a novel by Iranian author Gholam-Hossein Saedi) portrays the obsession, loss of faith and demise of a poor rural village that loose their single salable commodity - a cow. Hassan, played by Ezatollah Entezami (who received best actor at the Chicago Film Festival), has a face that vividly captures his physical and emotional change after a breakdown when he becomes the cow. Mehrjui uses theater actors with "compelling faces" as key elements in the cinematography (Feridun Ghovanlu), as did the Italian Neo-realist.
The film explores the looming fear of a foreign invader as the villagers come to believe Hassan, in his cow-like state, will be captured in cross-border raids from rival tribes. Politically this is reminiscent of the Shah's constant allusions to the neighboring "Arab threat" over oil.
While set in traditional, rural Iran, Mehrjui shows an alternative view of Iran where collective fear and poverty can cycle in hopeless desperation. Viewers of The Cow are left to question the very root of human dignity.