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?
“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.
Nessun commento:
Posta un commento