Karim, il padre (orso d'argento a Berlino nel 2008), è una specie di Marcovaldo iraniano e il film sembra sceneggiato da Zavattini .
in un villaggio di campagna vive una famiglia povera, e dignitosa, il padre si inventa mille cose, e il figlio è affascinato dalle continue scoperte della vita, e oltre alla mamma, c'è una ragazzina sorda.
e quando l'apparecchio acustico deve essere ricomprato Karim cerca soldi in città, lavorando come portapacchi con la sua moto.
chi ama i film del neorealismo, spero tanti, non si pentirà se guarda questo film.
buona visione - Ismaele
QUI il film completo, con sottotitoli in inglese
Nos cuenta sobre un padre bastante humilde, híper carismático
–de aspecto del que cuántos ya quisieran ser tan naturales- y todoterreno
(Mohammad Amir Naji, que ganó el oso de plata por su performance, en el
festival de cine de Berlín del 2008) que expulsado del trabajo, de vigilar el
cuidado de avestruces, tras la pérdida de uno (en que hay un momento audaz en
el disfraz de una de éstas aves en plena imponente cima), no sabe qué hacer
para mantener a su amada familia, en especial tras malograrse el costoso
audífono de su hija mayor que es sorda, habiendo además una pequeña trama de
uno de sus hijos pequeños que quiere llenar de peces un estanque abandonado, de
agua sucia empozada, como un sueño infantil personal, que además es colectivo
con sus amigos, y que repite gags e intenta otros instantes de emotividad (en
un filme que bascula entre aciertos y cierta fallas, pero gana en virtudes,
como le pasa a El sauce llorón). Karim, el padre, solo tiene una moto básica
como mayor pertenencia material, y pronto de la casualidad esta le servirá para
sobrevivir, para llevar dinero a su hogar, con lo que pasara por mil y un
peripecias en un Irán urbano, poco visto como muy contemporáneo, en un
protagonista que implica comedia, tanto como meditación melancólica, en esos
silencios expresivos que tan bien maneja Majidi en su obra, en un periplo por
el trabajo casual e independiente que desnuda la imperiosa necesidad y la
firmeza de lograr subsanarla.
Majid Majidi’s universe
is full of do-gooders. It’s where you can trust people with your money. No
matter how economically challenged you are, you’re always kind to share your
meal with a guest. Customers at a shop don’t whisk away extra-change you may
have handed over by mistake. People are extremely hospitable, welcoming and
innocent. Crime, murders are unheard of. People tell lies, but for a larger
good. There are no human villians in his films. If any, the enemy is a product
of circumstances - often intangible, something the protagonist must overcome.
That’s exactly the context of The Song of
Sparrows. Karim (Reza Naji) who works at an ostrich
farm on the outskirts of Tehran, wants to loan some money from his boss, so
that he can buy a hearing aid for his daughter since the one she used to wear
has stopped working after it fell in a dirty cesspool. Poor Karim faces an
uphill task to generate that money, after he gets fired from his job thanks to
a moment of carelessness that leads an ostrich to escape from the farm.
The Song of Sparrows captures Karim’s loss of innocence as he frequents the city every
day posing as a motorbike pilot who ferries people and heavy goods. Although he
earns well by doing this, every piece of city scrap he begins to accumulate in
his backyard becomes a symbol of the degradation of the generous and
good-hearted Karim he was once known for.
…In most of Majidi’s films, the protagonist, always a male,
struggles through a life-changing experience that ostensibly ends in a crushing
defeat. But at the conclusions of these films, the effect of the struggle has
(usually) elevated the protagonist to a higher level of understanding about the
world and about human relations. This is not a theoretical understanding, but
something else – an intuitive sensitivity to interactive experience that goes
beyond the verbal. And this is what connects Majidi’s films to Sufism and other
extramundane spiritual practices.
This is not to suggest that Majidi’s characters are particularly philosophical.
They are typically drawn from the working classes and have, for the most part,
not had a higher education. In this connection, though, one must make note of
the fact that the popular culture of Iran permeating all social levels is
generally more reflective about destiny and spiritual matters than those of
Western societies.
The story concerns the experiences of Karim, a middle-aged family man who lives
in a village outside of Tehran, where he is initially seen working at his job
on an ostrich farm. After a momentary oversight causes him to lose his job at
the farm, Karim’s struggles to earn a living by other means take him to another
world altogether – the hectic and confusing opportunities of the Tehran
metropolis. There he finds himself faced with the conflicting moral dilemmas of
modern life. Although this basic story theme has been presented countless
times, the organic development of the story, with its compelling visual
metaphors, has a slow, understated build-up that make it effective…
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