martedì 27 dicembre 2022

Hamoun - Dariush Mehrjui

un Iran e una storia che sembrano simili all'Italia degli anni sessanta.

Hamid, sposato con un'artista, ha problemi nella conclusione della sua tesi e in più la moglie vuole divorziare, scoprirete perché.

lui lavora in un ministero e tira avanti così, senza grande interesse.

il film è denso e ricco di situazioni e citazioni, sogno e realtà, appare anche Lo zen e l'arte della manutenzione della motocicletta.

Dariush Mehrjui è davvero bravo a tenere la tensione e l'attenzione per tutto il film.

un piccolo gioiellino da non perdere, promesso.

buona (meglio due volte) visione - Ismaele

 

 

 

The film is shot with many short-duration shots, which gives it a nervous, energetic dynamic. Many of the shots, as with Ali Santouri, are hand-held, and there are numerous zoom shots. In addition, there are a number of jarring jump-cuts, which detract somewhat from one's engagement with the film. Overall, the brisk pace of the action affords a large number of episodes, which must have entailed an astonishing number of camera setups. As with some of Fellini’s films, many of these episodes add to the general effect, but are not uniquely essential to the story – they could have been omitted, and others added, without the viewer noticing much difference. The soundtrack background is often quite dead and lacks the ambient noise that gives one a sense of presence. In addition, the soundtrack is overlayed with modern organ music (said to be inspired by Bach). The combination of the soundtrack music and the lack of ambient sounds tends to alienate the viewer from the reality of the situation, which though it may have been the intention of Mehjui, is, I think, detrimental to the viewing experience.

At the end of the film, astonishingly, just as Hamid is finally about to succeed in killing himself by drowning, Ali, his elusive spiritual master, appears out of nowhere, has him pulled out of the water, and saves him. It is an epiphany! Hamid, as he was drowning, had been dreaming of an imaginary fantasy world in which all his dreams come true. Instead, he has been brought back to the real world (with all its problems) and rescued from a "sea of confusion". Maybe this time he can engage it authentically. Despite all the despair in the film, there is this final hopeful image of Hamid coming back to life. Or is that last scene just another dream?

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“Hamoun” (1989) is undoubtably Dariush Mehrjui’s most famous and popular film, which also has the biggest cult following in Iranian cinema. The admirers of the film have seen “Hamoun” repeatedly over the years and know its dialogue and scenes by heart. All of Mehrjui’s cinematic themes are gathered in one place in “Hamoun”. The old Mehrjui and the new Mehrjui are confronted with each other in the film: Hamid Hamoun against Ali Abedini; body against soul; insanity against serenity; realities against divinities; cinema against philosophy. The opening scene is one of the most beautiful moments in Mehrjui’s cinema: the director, heavily influenced by Fellini’s cinema, gathers all the people from his life in an imaginary location to once again show us his infatuation with having a mass of characters in a limited space.

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