Nearing the end of ICM's best of 1969 movie poll,I searched for a final title to view. Seeing a post by fellow IMDber OldAle,I was excited to read praise for an Iran New Wave (INW) title, which led to me going down to the farm.
View on the film:
Farming closer to the Neo- Realist movement than the French New Wave, writer/director Dariush Mehrjui & cinematographer Fereydon Ghovanlou give the village a dour appearance,where the subtle use of black and white shadows lining the streets reflecting what lays at the dark heart of the village.
Lovingly following Hassan's feeding of his cow, Mehrju and Ghovanlou take all that Hassan holds dear with flickering camera moves snapping Hassan's breakdown.
Dipping into the dark human horror which would be explored the same year in the Czech New Wave film The Cremator (also reviewed), Mehrjui whips Hassan with inhumane treatment from the the locals, captured in frenzied dissolves, fading to the overlooking figures in a landscape.
Born from Gholam-Hossein Saedi's play,the screenplay by Mehrjui features the most prominent edge from the Iran New Wave (INW) via Mehrjui dissection of the greed and pettiness followed by all of the rural locals, with the thought they show towards giving Hassan the bad news,burning into vile outbursts as Hassan's mental state degrades.
Becoming completely separated from the villagers, Ezzatolah Entezami gives an incredibly expressive performance as Hassan,whose breakdown is treated with a gradual, earthy realism by Entezami,as Hassan looks in hope of seeing the cow on the field.
View on the film:
Farming closer to the Neo- Realist movement than the French New Wave, writer/director Dariush Mehrjui & cinematographer Fereydon Ghovanlou give the village a dour appearance,where the subtle use of black and white shadows lining the streets reflecting what lays at the dark heart of the village.
Lovingly following Hassan's feeding of his cow, Mehrju and Ghovanlou take all that Hassan holds dear with flickering camera moves snapping Hassan's breakdown.
Dipping into the dark human horror which would be explored the same year in the Czech New Wave film The Cremator (also reviewed), Mehrjui whips Hassan with inhumane treatment from the the locals, captured in frenzied dissolves, fading to the overlooking figures in a landscape.
Born from Gholam-Hossein Saedi's play,the screenplay by Mehrjui features the most prominent edge from the Iran New Wave (INW) via Mehrjui dissection of the greed and pettiness followed by all of the rural locals, with the thought they show towards giving Hassan the bad news,burning into vile outbursts as Hassan's mental state degrades.
Becoming completely separated from the villagers, Ezzatolah Entezami gives an incredibly expressive performance as Hassan,whose breakdown is treated with a gradual, earthy realism by Entezami,as Hassan looks in hope of seeing the cow on the field.