Sister Shitou told a story in the climax of "City of Philharmonic". Her aunt "once dared to jump into the river in winter, barefoot, jumped, and plunged into the Seine River. The water was too cold, she beat After sneezing for a month, she said that if she comes back, she will jump again." Cold, barefoot, on the Seine. These idealistic images were so intense, each of them slammed into the blood vessels in the forehead, and the tympanic membrane was buzzing after hearing it, as if the whole body was wet, and the mouth felt a little dry. Some people don't say that. What they saw was just this: the shoes they took off were leaning against the railing, so did the socks. The onlookers whistled, stiffened their scalp and plunged in, cramping their legs with cold, drinking a few mouthfuls of salty water, and crawling on their feet. It hurts, I lost my headscarf, and I had a stomachache for a few days when I went home. And if Ashar Fahati were to tell it, there might not be such a story at all. His protagonist probably wouldn’t jump the Seine River. They would choose a more indirect way, such as Yili ("About "Ili") like that, standing on the shore, helping the water splasher to look after the children. After all, his protagonists are not young anymore, and besides, they worry too much. I often struggle with how to not do a thing, how to avoid telling others what I really think, so as not to hurt others and myself, and how to leave a little bit of leeway and not make things clear. If the teeth get longer this year, I feel more and more that things may start simply, but they cannot end quickly. Therefore, I now prefer the story of Ashar Fahadi. "One time" parting is inseparable, and the cutting is constant, and the reasoning is still chaotic. In "The Past", a few people can't forget the past. The past is like a kite. I want to pull it back when I float away. The more I go, the thread is always holding it. The past days are not left behind, but they are all hung on the body, dragging in the sky, the road under the feet drifts more and more. "Fireworks Wednesday" is about the future. The girl will enter marriage next week. At the end of the movie, she was in the car. Outside were people who set fire to spend the Zoroastrian New Year. There were explosions and flames everywhere. It was difficult to go out. Do not ignite the upper body. "Salesman" talked about now. Fahati’s scripts have always been known for their exquisiteness. Every time he talks about not only moral dilemmas, but also the thin, slow, and lingering dark cloud over the dilemma. This dark cloud occasionally brings the conflict to a halt. , But could not hold back the rumbling restlessness under the horizon. The atmosphere is therefore more subtle. From the very beginning, the film was filled with anxiety. In the first scene of the film, municipal construction shakes the foundation of the main character's building. The whole building is crumbling, and everyone fled. The next paragraph is a play in "Death of a Salesman". Willie's eldest son inadvertently found Willie's mistress, and the image of the tall father collapsed. In Arthur Miller's original script, this passage made Willie's eldest son lose the lighthouse, and his life trajectory took a sharp turn. Seeing this, you might think that the movie will end with the collapse of patriarchy, or the collapse of some kind of authority, but unfortunately, what this movie wants to say is that even if it is already in danger, nothing will happen. People will maintain it, everything will die down, the only difference is that people are getting older, or people are slowly turning into cows. Everyone moved out of the dilapidated house caused by the government's brutal construction, and no one went to defend their rights; Lena was violated and did not choose to call the police; the student was openly browsed privately by the teacher in the classroom, but chose to swallow her voice. How do people become cows? "Bull" is Gholam Hossein Saedi A screenplay of the 1969 film of the same name became a famous start of the Iranian New Wave. The black-and-white movie shown to students by Yin Maid in "The Salesman" is "Bull". It tells a story: Hassan has a cow. This is the only cow in the village. This cow gives him a special position. The cow occupies his entire life. Once he left the village. During his absence, the cow died. The villagers did not dare to tell him, saying that the cow was lost. Hassan became a person without a cow, as if he had lost a pillar. He went to the cowshed to guard it. Slowly, he began to eat grass, barking like a cow, and felt that he had become his own cow. The villagers couldn’t bear it. Eslam and the two villagers decided to send Hassan to the city for treatment. Hassan didn’t cooperate along the way. Finally, the gentle Eslam lost control and raised his whip to beat Hassan and shouted. "Hurry up, beast!" The cow is Hassan's face. Although it is an animal, it delineates his place in society and is the whole meaning of his life. Without this cow, Hassan has become a meaningless projection of existence. He had no choice but to become the cow himself to digest his meaning. In order to help Hassan restore human consciousness, Eslam must first drive and enslave him like a cow. One person drives the other into the absurd and disciplines him. Ideology is constantly reproduced, and the wheels of rolling are endless. Everyone can't do without this system, just like the fable in Buñuel's "Angel of Destruction", the mental obstacles that ideology brings to people make it impossible for almost everyone to take the step of opening the door and going out. It is said that Khamenei, the supreme leader of the Shiites, liked this work very much. Some scruples, maybe just small scruples, such as face, figure, and the relationship of looking down and not looking up, are enough to pull people back into this already abnormal society, and submissiveness and inertia maintain the society, even if it is old. , Weakness, just like Linard’s father in "A Farewell" and the violent old man in "Salesman". There was no resistance or even complaints, everyone tacitly knew each other where to stop. Talking selectively and turning a blind eye selectively. Because from it, everyone has something to ask for more or less. Therefore, here, people with a little power can easily slip into evil because of the low cost. Evil seems to be just some kind of mistake. Babak leased the haunted house to his friends "outrageously". The woman in the taxi is wary of the man sitting next to her. She has probably been assaulted before. Yin Maide suddenly changed his previous amiable image, and he was not forgiving of the students. Everyone is lying. Babak appears to have nothing to do with the former tenants, but he can see that they have an unusual relationship. Neighbor Claiming to hear the movement of going downstairs, he chased the murderer, but failed to catch up, but in fact the murderer was just an old man with a heart attack who had injured the soles of his feet and struggled to climb stairs. The old man lied to his family for 35 years, because of his sudden death, this scam was never revealed. The tragedy of salesman Willie is that he refuses to admit that he is a mediocre person. But then again, is it not a tragedy to admit one's powerlessness? Aristotle said that the real tragedy is that a person does not particularly do good deeds, nor does he do bad deeds particularly. In the movie, "Death of a Salesman" became a channel for people to release their emotions. In the play, their waists are straighter, they can cry, and they can confess loudly, "They treat me as air, and I am useless and useless." You can slap Babak on the table and get angry. You can even mourn, mourning that your husband is dead. The salesman Willie is dead, but the hero and heroine are still alive. At the end of the film, they are removing makeup and erasing old Willie's wrinkles. Perhaps the saddest thing is that the two are still young at this time. There are still days waiting ahead. Shop makeup. Touch up makeup. Remove makeup. Life never stops. To add, "Salesman" broke Iran's box office record for the first week of the weekend. Someone must ask how such a film was censored and released in China. According to Abbas’ standards, this just proves the artistic achievement of "Salesman": "If the censor does not know what should be cut, it means that this movie is a good movie. If a movie is censored The official cut off part of it, then it should have been cut off, because the censor actually understood it!" It seems that when it comes to Iranian films, one must talk about film censorship. Iranian film censorship has always been known for its strictness. Napasi once said: “In Iran, 80% of our energy and time is spent on negotiating with the government and getting approval, and 20% is spent on filming.” So there are always people who think that taking off shackles is better than wearing shackles. Dancing is better. In fact, it may not be true. After the dramatic changes in Eastern Europe, Eastern European films declined rapidly. One reason was the sudden change of economic structure and insufficient funds. Another was that the barrier of film censorship was broken. Without the quota system and unified purchase and marketing, there was foreign competition, and domestic films could not be recovered. cost. Iran’s advantage is that since the latter part of the Iran-Iraq War, the authorities have always supported local film creation, imposed strict restrictions on the introduction of foreign films, and lacked external competition. This provided a safe haven for Iran’s local creation and film authors could avoid Hollywood’s Influence and shoot your own characteristics. Iranian films have repeatedly won internationally. First, they are of high quality and self-contained. Second, the official power cannot be underestimated. There is the "Farabi Foundation" to support young filmmakers and provide funds for directors. The state has special Organizations help select international film festivals and open up the joints of film festivals. There are four steps in film review in Iran. If the script and cast pass the review in the early stage, the review agency will not interfere in the entire filming and production process. After the production is completed, the edited sample will be submitted for review, and the review agency will decide whether to pass or delete. Reduction or ban. The characteristic of Iranian culture is euphemism, and it is rarely straightforward. First it is greetings and compliments, and then slowly cuts to the topic. In dealing with censorship, film directors also have their own skills, such as coping with the yin and yang scripts of the pre-censorship, and for the post-censorship, deliberately cut several prohibited scenes that the censors can easily find in the sample, so that other more obscure passages can be secretly passed through. Of course, Saburo, who deliberately confronted the censorship system like Napasi, has to say something else. There are a few more interesting prohibitions. For example, men with beards cannot play negative roles, no overly cheerful music, no physical contact between men and women. In the movie, men and women meet, in order to avoid shaking hands, there must be a hand between the two. Carrying something on it. Children's films can circumvent many ethical censorships, and can be supported by the "Youth Education Development Association", so many directors choose to shoot children's films. With little involvement of foreign capital, Iranian films have developed their own grammar. Non-professional actors, live shooting, natural light, live recording, long shots, and open endings are the common features of most Iranian films. Iranian movies are mostly produced at a small cost, such as "A Farewell" which only cost 300,000 US dollars. In this system, many directors are at ease, subject to its constraints, and also get the convenience it gives. Abbas believed that without restrictions, there would be no life in the Middle East. In the four years before the Islamic Revolution, Iranian filmmakers did not produce many works. "No one will take advantage of this time, because everyone is waiting, everyone wants to find out what their limits are. I don't want to use this to explain that limits are good, or that limits should exist, but they grow with us. It affects our inner world subtly. It is not only my profession, but also in all fields: restrictions make people more creative." There is an Iranian proverb: A fruitful tree is crooked. Perhaps this proverb has more than one meaning. Published 2017.03.06 "Iris" public number
View more about The Salesman reviews
