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A Turtle's Account of War (An Iranian's Dreams amid the Din of the War Drums). by Farhad Shah Hossein Nia | Sold by: Amazon Digital.
Table of contents
- LOUDER THAN BOMBS
- LOUDER THAN BOMBS
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- Hamas’ gambit in the face of an unwinnable war | The World Weekly
Some may think of themselves as traditionalists but they drink alcohol and pay money for cabaret girls. This contradiction invites them to compromise, to accept the new values of the city. As a successful wrestler by profession, in a country that loves its wrestlers, when he swapped a career in the ring for one on the screen his superstar status was preordained. But to view his phenomenal rise as a mere sop to the poor would be to ignore wider social issues. It is a legend that nourished the deep-seated yearning for self-improvement and success amongst the urban young. This myth, however, must be put into proper perspective.
As a star, Fardin was both the result and essence of the cinematic apparatus. On the other, he constituted the realisation of the dreams and unattainable fantasies of a people who lived vicariously through his screen personas. Parviz Jalilvand expertly dubbed his dialogue, and his perfectly pitched melodies came courtesy of the popular singer Iraj. The market dared not meddle with this piggy bank.
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It instinctively understood that Fardin belonged not to a few investors but to the cinema-going masses. Yet his favourite admixture of macho heroics, revenge and love interest failed to persuade the public to part with their cash. When his star eventually began to rise, it eclipsed that of all previous celebrities. The aspect of social criticism certainly needs to be taken into consideration in an analysis of the Fardin phenomenon.
All his characters were prisoners of their class and social circumstances, although this was masked to some extent by his happy face, which appeared to mitigate suffering.
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He plays a hero whose charity towards the needy is boundless. The notion of bridging class differences was a major draw for Iranian audiences, a hopeful reminder that if chance smiled on them, they too could leave their disadvantages behind. Perhaps the most telling manifestation of this inequity was the unsanitary and crowded shantytowns that mushroomed around urban centres.
Films that hinted at such injustices, such as those starring Fardin, were bound to be popular with audiences. In this sense, he was more than a palliative, since he came to articulate real political, economic and social grievances that could not be aired directly. People of all walks of life. Their homes are humble.
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Their one desire: to help others reach their dreams. This can be attributed to the fact that they alluded to class antagonism, pitting capitalists and the rich on one side of the social divide, against workers, peasants and lumpenproletarians on the other. In Champion of Champions, the pretty rich girl, played by Azar Shiva, succumbs to his charms, implicitly acknowledging the superiority of the underprivileged.
Your be-all-and-end-all is money, wealth and prestige. Mehrdad Pahlbod served as the Minister of Culture over the same period. Cinema was enjoying a boom, and long queues in front of the ticket stall became a common sight. Carefree Ali was the perfect antithesis of the arrogance and egocentricity of the new age. Audiences were now ready to embrace wholeheartedly the striking ex-wrestler who was also the champion of traditional values against the tempestuous rages of modernity.
However, an explicit rejection of Western values is also articulated. In turn, he introduces Ali and his friend to wealth and luxury. Ali and his friend, for instance, live in the most traditional neighbourhood of Isfahan, eking out a living guiding tourists through the ruins; the old city is their territory. When Gharun attempts suicide, he chooses an ancient bridge from which to jump. The Treasures of Gharun peddles the myth that class antagonisms are not as great as they may seem and that it is possible for social classes to overcome their differences and live harmoniously.
Later, however, they are worldly, modern women who nevertheless learn to accept the traditional path. Violence is not central to the Fardin hero, although he is capable of it on occasion. Instead, the emphasis is on his moral and emotional message. His solitary individualism allows him to choose integrity freely, which for Fardin was the true mark of a man. According to his ethic, a man is a man only when he is true to himself.
Sadly, however, negative viewer response quickly put paid to this experimental phase.
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He was forced to accept that the expectations of his fans were more powerful than he had imagined. As the luti characters had no desire for gaining knowledge or improving themselves, they lacked both the conscience and consciousness to provide an all-embracing critique of the system. Though they cared about society at large, their concern was limited to their immediate surroundings.
They ended up preaching conformity and submission by reducing the political to a mere personal problem and then even further to a simple moral dilemma. Fearing that they could never be heroic themselves, they applauded heroes like Fardin, whom they knew they could never emulate, thus conspiring in their own impotence. The original script was based on a legend from The Thousand and One Nights and set at the time of the caliphates the reign of the Abbasid Caliph Harun al-Rashid in Baghdad during the eightth century , but when it met with censorship restrictions, it was rewritten for contemporary times.
The hunchback of the title is a member of a theatre troupe who accidentally chokes on his food and dies.
The black comedy develops with the increasingly desperate attempts of his fellow actors to hide his corpse. The Night of the Hunchback is an intellectual analysis of the social make-up of Iranian society. The hunchback represents the luti outsider, whilst his fellow actors represent the lower classes. The upper class was integrated into the plot through the inclusion of a rich woman, sensitively played by Pari Saberi, who having stumbled upon a group of smugglers entrusts the hunchback with a message containing their names and addresses.
The smugglers represent the new bourgeois Iranians. The depiction of the secretive lives of smugglers was unprecedented in Iranian cinema. Traditionalism is also critiqued when the daughter of a traditional man commits suicide in order to avoid an arranged marriage. What connects all these disparate elements is fear: fear of being questioned, fear of a transformation in social relationships, fear of being unmasked. The two main characters are drawn with as much passion as they would be in a romantic melodrama.
His visit to the police station, the courts and the nursery become subversive attacks on a weak and crisis-ridden government. Golestan provides rough sketches of contemporary life via the different characters and the various settings, such as the police station, the orphanage, the courts, and through the references to radio and television programmes. It was rare for politics to be shown as the substance of real life; The Brick and the Mirror achieved it. The plot tells the story of a widow, forced through solitude to accept marriage to an older man who already has a wife and children.
It constitutes an insightful peek at a traditional world in which men rule and women cook.
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Common beliefs and religious convictions were juxtaposed in order to provide a more three-dimensional representation of Iranian women and the problems they faced. He left Iran, never to return. Both were politically oriented and both presented an alternative view of Iranian society, its people and their sensibilities. Yet the fabric of society was falling apart. They presented a strikingly different, dystopian picture of Iranian life. The Cow and Gheisar derided the alleged oil boom, the absolute power of the state, and its ritualistic bouts of self-congratulation, by portraying lower-class poverty and by rebelling against the status quo.
The performers came from a theatrical background and had no connection with the Iranian commercial cinema of the day. In fact, they had enacted the work as a TV play before bringing it to the big screen. Neither did Saidi, a leftish author, have roots in popular culture.
Hamas’ gambit in the face of an unwinnable war | The World Weekly
He took a cynical and sociopolitical approach far removed from the protective romanticism of Iranian cinema. The director of The Cow, Dariush Mehrjui, found the romantic treatment of colossal poverty in Iran, and any suggestion of its inevitability, utterly unacceptable.
It was shown as ugly, bitter and desperate.
He is constantly worried that the inhabitants of a rival village might steal or harm his precious animal. When he makes a short visit to the city, the cow dies of natural causes. The villagers bury the beast but cannot bring themselves to break the tragic news to its owner. On his return, he is initially told that his cow has run away. Unable to tolerate the gravity of this betrayal, the man has a nervous breakdown, gradually transforming in both body and spirit into his beloved cow. Exasperated by their inability to help him, the villagers decide to take the psychologically disturbed peasant to the city for therapy.
Under severe physical and mental torment, the man perishes before reaching the city. The Cow emphasises loss, insecurity and lack of true friendship. It is a post-apocalyptic vision of life in which hope is as scarce a commodity as joy. At no time do we see peasants engaged in agricultural work, the bleakness of the environment militating against the very notion of growth. The conservative village in the story is a microcosm of Iranian society.
The analogy with an economy that was over-dependent on only one saleable commodity could not be clearer. The early banning of The Cow was sadly predictable. A government that intended to bask in the glory of its economic policies was not going to tolerate such a dystopian vision. In reality, the cruel environment of the peasantry was an all-too-contemporary problem, in the face of which the central government seemed impotent.
This unprecedented international acclaim had two consequences. The protagonist, who does not even have a name but gradually acquires the nickname Mr Simpleton, begins to question the value of tradition, so that even after discovering the hidden past of his intended, he still wants to marry her; somehow it no longer matters.