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The Iranian New Wave (1960-1979) refers to the pre-revolutionary period in the country. It was a time of radical Westernization in Iran, and it's not surprising that Iranian cinema flourished during this period. More money was invested in filmmaking, resulting in approximately 60 films being produced each year. Additionally, new film schools were established, fostering the emergence of new talents.
The key figures of the Iranian New Wave are considered to be Masoud Kimiai with his film "Gheysar" and Dariush Mehrjui with his film "The Cow" (or "Gaav"). It's worth noting that Mehrjui's film had an incredible impact not only on future filmmakers but also on the history of Iranian cinema as a whole. His work impressed the leader of the Islamic Revolution and influenced his decision not to ban the production and screening of films in the country.
However, Ebrahim Golestan is also a significant figure in the artistic life of Iran during that time. Before becoming a filmmaker, he translated classical English literature and wrote his own books. In the 1960s, he met the Iranian poet Forough Farrokhzad, and they mutually influenced each other's work. Their partnership resulted in Farrokhzad's first documentary film about a leper colony in Iran, which was produced with Golestan's production company. Meanwhile, Golestan himself directed several short films and in 1963 decided to embark on his first feature-length work.
The title of Ebrahim Golestan's first film is borrowed from the Persian poet Saadi (13th century), who wrote, "What an old man sees in a clay brick, youth will see in a mirror." Armed with this title, a team of 5 people, and an unfinished script, the director began filming, much of which was improvised. Golestan not only directed but also served as the screenwriter, producer, and editor of the film, which premiered in 1966.
Audiences and critics poorly received the film, citing its pretentiousness. However, after restoration, this once-forgotten film gained a second life and proper recognition among cinephiles.
The plot revolves around a taxi driver who discovers an abandoned baby on the back seat of his car. The driver has one night to decide the fate of the found child together with his girlfriend.
The film incorporates the best elements of cinema from that era while remaining a completely unique work. Golestan's film strikes a perfect balance between realism and expressionism, operating on multiple levels. One can observe influences from Italian neorealism, the French New Wave, and classic Hollywood (primarily Orson Welles).
It all begins with the girl (Forough Farrokhzad) getting into the taxi in the darkness of the night. We view the city from the passenger's seat and hear ambiguous statements on the radio (read by the director himself). The opening scene is eerily reminiscent of Martin Scorsese's "Taxi Driver" and sets a sufficiently dark and documentary tone, but the next episode turns out to be quite surrealistic and perhaps the most memorable in the film. The protagonist named Hashem, carrying a child, wanders through an abandoned house in search of the mother and encounters local inhabitants who appear out of nowhere, like ghosts. At this moment, the film begins to captivate the viewer. It was here that I found myself surprised, not expecting to see widescreen cinematography with modernistic camera movements in an Iranian film from 1966.
In the next scene, the director introduces us to the lives of intellectuals in Iran during that time. We enter a bourgeois bar with a singer in a tight dress on stage and local intelligentsia smoking cigarettes and discussing various theories about what happened with the taxi driver. They fantasize, gathering all social passions and referencing Dostoevsky. Visually, this episode resembles the opening scene of "Reservoir Dogs," though the frequent camera zooms on the characters speaking rather distract from the plot than engage with it. However, this can be attributed to the improvisational approach to filming the movie.
Soon after, we transition to a 40-minute segment filmed in the driver's apartment. During a bedside conversation between the couple, a poem written by Farrokhzad titled "Sin" comes to mind. This raises the question of whether the main female character, Taji, might be inspired by her. I noticed that Taji's character exhibits similar traits to the poetry of Forough Farrokhzad: a desire to live fully, be independent, and disregard societal pressures.
Towards the end of this episode, the influence of early Godard becomes noticeable, particularly in the mise-en-scène and rhythm. It is also in this episode that we realize Golestan is more of a verbal storyteller than a visual one.
Towards the end, the film takes on a more realistic appearance with almost documentary-like shots from an orphanage. Together with the taxi driver's girlfriend, we enter a room filled with abandoned infants. Some of them are joyful and full of life, while others appear to be on the brink of death. The girlfriend tries to find the child whom she believes is her last hope for a happy future with Hashem.
The scene concludes with an incredibly emotional tracking shot. The camera slowly glides through an empty corridor, leaving Taji alone with her sorrow. This poignant scene underscores the themes of despair and longing present throughout the film.
"Brick and Mirror" is not a perfect film, but that's precisely what makes it alive. The director had complete control over the film, and this freedom allowed him to create a unique work filled with personal experiences. It's not a film of precise scripts and storyboards; it's a living organism that cannot be summed up in a single line. It's not a bold statement with an exclamation mark at the end; rather, it's a multitude of question marks and endless searches for answers. The film invites reflection and contemplation, leaving viewers with lingering thoughts and interpretations.
Rated 5/5 Stars •
Rated 5 out of 5 stars
10/24/24
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