film del 1969, che sembra arrivare da un altro mondo.
in un poverissimo villaggio dimenticato da dio e dal mondo, ma non dai banditi, che sono una presenza inquietante, sembra che l'unica ricchezza e gioia sia una vacca, che aspetta un figlio.
Hassan la tratta meglio di qualsiasi essere umano, la cura più della moglie, quella vacca è la ragione della sua vita.
quando la uccidono impazzisce.
sembra un film girato da Ernesto De Martino, o un suo discepolo.
ma chi ha ucciso l'animale?
un bianco e nero bellissimo, una storia che non ti dimentichi, un piccolo grande capolavoro - Ismaele
in un poverissimo villaggio dimenticato da dio e dal mondo, ma non dai banditi, che sono una presenza inquietante, sembra che l'unica ricchezza e gioia sia una vacca, che aspetta un figlio.
Hassan la tratta meglio di qualsiasi essere umano, la cura più della moglie, quella vacca è la ragione della sua vita.
quando la uccidono impazzisce.
sembra un film girato da Ernesto De Martino, o un suo discepolo.
ma chi ha ucciso l'animale?
un bianco e nero bellissimo, una storia che non ti dimentichi, un piccolo grande capolavoro - Ismaele
…Not
only is Dariush Mehrjui’s The
Cow a great film, it is one
of the most important one’s in Iranian history. It was made during the Iranian
Revolution, obviously a time of great political turmoil in Iran. The only
reason why it was even distributed was because Ayatollah Khomeini was reported
to have liked it, thereby allowing it to be shown in theaters. But even then,
it had to be smuggled out of the country in order for it to be shown at the
1971 Venice Film Festival. But from that moment on, the face of Iranian cinema
would be forever changed. Many believe that it sparked the Iranian New Wave.
But what we do know is that it inspired such legendary directors as Abbas
Kiarostami. Mehrjui’s use of realism and symbolism would become defining
characteristics of Iranian cinema. And all of these influences can be seen in The Cow. It’s amazing how such
a simple story can spark such a great cultural uprising. Like the death of
Hassan’s cow, the release of The Cow would create a personal redefinition of
its viewer’s sensibilities. Thankfully, instead of driving them insane, it made
them realize that Iran had the potential to become one of world cinema’s most
powerful voices.
…The distressing factor of the film is not just Hassan’s
descent into madness; it lies in how the village community reacts to it. As
they repeatedly find themselves in a situation unable to address (or find
solution to) Hassan’s mental illness, the community slowly seem to give in to
his illusion. As the man is stripped off his identity, the villagers overstep
their boundaries to reach for some kind of resolution. At the end, the
rebelling man/animal becomes a just a burden to be abolished. This disturbing
notion is sharply expressed in the climax when Islam loses his senses to treat
stubborn Hassan as an animal (‘get going you
beast!’, he shouts). The movie’s success also belongs to the
stupendous performance of Ezzatolah Entezami in the central character.
“The Cow” aka “Gaav” (100 minutes) is a seminal work of Iranian cinema which
served as the precursor to the nation’s post-revolutionary cinema of Mohsen
Makhmalbaf, Abbas Kiarostami, etc. The film could serve both as a touching
cinematic experience and contemplated deeply from a philosophical point of
view.
…The
film does not require subtitles. It's visual. It's simple. The story is set in
a remote Iranian village, where owning a cow for subsistence is a sign of
prosperity. The barren landscape (true of a large part of Iran) reminds you of
Grigory Kozintsev's film landscapes as in Korol
Lir (the Russian King Lear) where the landscape
becomes a character of the story.
The sudden unnatural death of the cow unsettles the village. Hassan, the owner of the cow, who nursed it as his own child, is away and would be shocked on his return. Eslam, the smartest among the villagers, devise a plan to bury the cow and not tell the poor man the truth. Hassan returns home and is soon so shocked that he loses his senses. He first imagines that the cow is still there and ultimately his sickness deteriorates as he imagines himself to be the cow, eats hay, and says "Hassan" his master will protect him from marauding Bolouris (bandits from another village). Eslam realizes that Hassan needs medical attention and decides to take him to the nearest hospital. He is dragged out like a cow. "Hassan" is beaten as an animal as he is not cooperative to the shock of some humanistic villagers. The demented Hassan, with the force of an animal breaks free, to seek his only freedom from reality--death.
The sudden unnatural death of the cow unsettles the village. Hassan, the owner of the cow, who nursed it as his own child, is away and would be shocked on his return. Eslam, the smartest among the villagers, devise a plan to bury the cow and not tell the poor man the truth. Hassan returns home and is soon so shocked that he loses his senses. He first imagines that the cow is still there and ultimately his sickness deteriorates as he imagines himself to be the cow, eats hay, and says "Hassan" his master will protect him from marauding Bolouris (bandits from another village). Eslam realizes that Hassan needs medical attention and decides to take him to the nearest hospital. He is dragged out like a cow. "Hassan" is beaten as an animal as he is not cooperative to the shock of some humanistic villagers. The demented Hassan, with the force of an animal breaks free, to seek his only freedom from reality--death.
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