MANUSCRIPTS DON'T BURN

Iranian screenwriter and director Mohammad Rasoulof has balls. Really big ones, my friends. While awaiting disposition for his conviction on earlier charges, and apparently while still living in Tehran, he wrote and directed his most recent film, Manuscripts Don't Burn (2013), which is about domestic intelligence agents carrying out a mission against several intellectuals and writers who have either written about, are contemplating writing about, or are protecting an existing manuscript that describe an earlier failed assassination attempt against twenty-one writers (by driving them in a bus off a cliff) by the repressive and murderous regime. One agent, a bumbling everyman with concern for the welfare of his family, especially an ill son who is seeking surgery in a hospital, and whose participation in the events depicted struggles with his role, is also ironically the same individual who muffed the original assassination attempt. One wonders, and it is hinted at, that he was specifically chosen for this current assignment. The unit is headed by a smooth, dapper, creepy, intense case manager/censor, and the hunt is on for the original manuscript and any existing copies. The third agent (discounting that there are other members of the organization participating, but they are mostly in support roles and you see only one of them), is a thuggish, idealistic professional hitman who seems to represent the basij element in Iranian society. The targets are three men: a noted author trying to get his book into print without it being censored; his friend and fellow intellectual, entrusted to hide a copy; and a dying third writer who is desperate to get an exit visa from the country in order to see his daughter one last time. The movie is purposely gray, filmed in shadow or in rain, with muted colors and low horizon, reflecting the blanket of oppression experienced by most Iranians since the ascension of clerical rule. About the only light I remember was a prominent display of the Milad Tower through a window at night. The depiction of domestic repression and surveillance is chilling; though seemingly crude in many ways, it is all encompassing and intrusive, and the reaction of participants, even as they resist, is one of defeat. The simple torture of one individual is intense and disturbing, as he struggles for breath. One can only imagine the bravery, not only of Rasoulof, but of the actors and crew that worked on this film. And I know, as an American, though I have love and empathy for the Iranian people, there are likely many visual and verbal references and allusions that sweep right by my, that probably intensify the story for those lucky enough to see the movie in Iran, or those many exiles around the globe. Clearly most knowledgeable people are aware of Evin, the oppression of women, and the intrusive policing and spying by domestic agencies, but this movie brings that reality into, oddly enough, sharper focus. Although there are many chilling and depressing incidents in the movie, one particular scene (which I will not spoil for you) is especially troubling, the conclusion as cloudy as the cinematography, but darkly implied nonetheless. This is not a feel-good movie. I encourage people to view it, and hope the underground distribution network makes it available to Iranians at home. Of course, it won't be telling them anything they don't already know. And I hope Rasoulof has a long career, though his walking so close to the edge of the abyss is scary.

While I am on the subject of Iran, I must heartily applaud the equally brave stance by many women protesting against mandatory hajib usage by posting pictures online with their hair uncovered. As you would think God intended, because he made women beautiful. I proudly support Masih Alinejad and Stealthy Freedoms of Iranian Women. Repression, oppression, and and other evils have many opponents, none greater and more influential than women! If all women could unite in their countries and break the restrictions imposed by men, I think this world would be a wonderful place. We can only hope.

YELLOW DOGS

Tragically, several members of the Iranian band Yellow Dogs were allegedly murdered by one of their former bandmates last night. The group was one of many groups featured in the Iranian documentary about underground music in their homeland, No One Knows About Persian Cats. This is very sad news.

Update: The killer apparently was from another band, involved in some petty dispute. Two of the killed were from Yellow Dogs, while another musician/friend also perished. Tough to escape the restrictive social atmosphere of Tehran to come to America and suffer such a fate.

CHICKEN WITH PLUMS

Unrequited love is painful and can turn a heart to stone, though life goes on. It can also have inspirational, as well as tragic, aspects. Such is the case in the French-Iranian film collaboration Chicken with Plums (2011), directed by Marjane Satrapi (of Persepolis fame) and Vincent Paronnaud. The movie features an international cast, headed by Mathieu Amalric, who plays Nasser-Ali Khan, a broken-hearted Iranian violin player who parlayed a failed relationship into world-renowned ability on a special instrument given to him by his mentor, but who is also a lousy husband and father. The object of his affection is the stunningly beautiful Irân, played by Iranian actress Golshifteh Farahani (who is every bit as lovely as French actress Virginie Ledoyen, one of my faves). Khan's long-suffering, and somewhat shrewish wife is played by Portuguese actress Maria de Medeiros (who at 48 is still beautiful). Long-time Italian beauty Isabella Rossellini has a small role. Edouard Baer is wonderful and creepy as the dark angel Azrael. All of the actors, from the youngest on up, were wonderful and represented a United Nations of acting, including Armenia, Spain, Chile, Germany, and others. The movie is darkly humorous, following the last days of Khan's life as he gives up, but recalls the path that brings him to his demise. There are some really funny parts, one of my favorite of which is when a sinister shopowner trying to sell a violin to Khan offers a dab of the poppy to settle his overactive child (hinted at), and the next day when Khan delivers the son to his grandmother, the tyke looks up and asks her, "Do you have any opium?" The filmmakers combined effectively some animation and puppetry into the live action, and there is lovely photography and scenes. The movie won praise at last year's Tribeca and is definitely worth checking out. Although the movie is in French, it seems to me it would have been a tad better had it been done in Farsi.

PANAHI

To be an artist in Iran---whether it be music, film, dance, writing, or just about any such endeavor---and to truly express one's views on society or step outside the rigid parameters set by the cleric-run government is to creatively maneuver around the oppressive censorship binding freedom of expression and to be then willing to pay a mighty high price for the attempt and the affront to those in power. Such experienced pain is beautifully presented in Jafar Panahi (the award-winning Iranian filmmaker) and Mojtaba Mirtahmasb's This is Not a Film (2011), a satirical attack against state censorship of movie making and a cry for reform, even as the former awaits news of the final judgement that will certainly send him to jail for some period (six years) and possibly take away his ability to ever produce a film again (twenty-year ban). I have enjoyed several of his films over the years, which often focus on restrictions in Iranian society (specially those placed on women) and continued class divisions. Filmed partly in iPhone in Panahi's posh apartment as he suffered house arrest, the "movie" masterfully pokes fun at the stupidity of censors, but also reveals how painful and scared his is that he will soon be seriously punished and be denied the opportunity to continue creating. His films have largely been banned in his own country, but have been richly and frequently awarded and are hailed internationally. As I write this review he is still in jail, a persecuted artist who dared to chide the authorities, and I hope continued international protest and whatever else can be brought to bear pressure can obtain his swift release and return him to what he does best, making movies, documentaries, and "nonmovies".

CRIMSON GOLD

Criminality in modern Iran is something one doesn't normally think of (except perhaps smuggling and trade in illegal merchandise), but of course it exists. Perhaps for Iranians it is a more pressing concern. Director Jafar Panahi takes viewers into this subculture in Crimson Gold (2003), focusing on events that lead Hussein (played by Hossain Emadeddin) into a life of petty crime, then on to a more-daring act, partly as a result of emotional distress and an assault to his ego by the actions of upper-class Iranians. Hussein is an unkempt, overweight, laconic, slothful droopy-eyed man who may have served as a soldier on the Iran-Iraq front (although it may also have been a con to get more money). He appears to be somewhat "slow," or perhaps not well schooled, though he seems to get along. Hussein and his pal Ali (played by Kamyar Sheisi) are moped pizza-delivery guys who do petty crimes (such as purse snatching) on the side. Engaged to be married to Ali's sister, he realizes that he cannot afford expensive baubles for his future wife and he then feels put down by a rich jeweler because of his social status. He is also cavalierly mistreated by members of the basij (who do not care about is loss of revenue) during an operation to arrest people attending a party. He gets a glimpse of the extravagant, hidden world of the very wealthy while delivering pizza to a posh, upscale apartment where the man of the house also uses wines and has women visit him there. One wonders if Panahi's critique is against continued class division or the folly of policing illicit activities. I was familiar with Panahi's work from Offside (2006), his tale of women being excluded from attending male soccer games and the determination of one girl to break that stricture; he has a reputation for criticizing post-revolutionary life in Iran, and his films are often banned. I look forward to seeing his This Is Not a Film (2011). I was interested in the background shots, and frightened by the traffic scenes. How anyone would dare ride a moped in that traffic craziness is beyond me. Intentionally or not, some of the traffic shots showed cars going just about anywhere the drivers chose to, including directly into oncoming traffic or against the flow, and lane didn't seem to matter much. How cars were not bouncing off each other is unclear, although one moped driver is run over in the movie.

MIDDLE EAST MOVIE TOUR

With the boys off on a one-night camping trip with the Scouts, Dad decided to catch a few movies, as well as sneak off for a nice dinner (and ice cream, don't tell anyone). I don't get these opportunities often, so it was a nice diversion. I decided to spend some of it on the CIA Rehabilitation and Restoration of Respect Tour. Yes, I went to see Argo and Zero Dark Thirty. And I found both films pretty entertaining, with good acting and compelling stories, though not totally accurate. And my first thought, especially in the latter movie, is that there probably was a lot going on that they have not (and likely won't) reveal for many years, if ever, to protect individuals and the agency. But the essential stories seemed true. Furthermore, I hope people realize the very hard work, long hours, terror, stress, and effort a whole range of government officals and employees, from politicians to intelligence officers to foreign service officers to the military give to protect this country. They are only human, often make mistakes, may even fail, but they also carry off spectacular feats (among the thousands of lesser achievements every day) that are usually hidden from attention or praise. In the Iranian situation, embassy guards could have fought back with deadly force, killing hundreds and possibly sparking a war, but they held back and suffered a 444 day captivity. And many people came to the aid of Americans.

Argo, the story of how a CIA operative and specialist in secretly extracting individuals from countries (played by Ben Affleck, who also directed the movie) duped the Iranian authories and gained the freedom of six embassy personnel who escaped the initial takeover by the students. In some ways the early scenes struck a parallel with Bengahzi, where prepared agitators used the cloak of a street protest to gain access to a facility. I think they know the first inclination of American guards is NOT to shoot into crowds. This movie had a personal note, and interest, for me because I worked with about eight Iranians during the revolution and captivity, and I got many insights from them. I even risked my job standing up to a member who was verbally and racially abusing an Iranian employee (who, by the way, lived the rest of his life in the United States and is a contributing member of society). In fact, in an aside, I believe the vast majority of refugees and immigrants from the Middle East to this country have added to the diversity and strength of our nation, many sacrificed and offered their lives to defend us and have contributed mightily, especially Iranians who came here. Ok, let's get back to the movie. I have read about the escape, the creation of a dummy movie-productiuon company, and the film rightly applauds the contribution of the Canadians in hiding and protecting our citizens. The movie avoids a lot of saccharine and sappy aspects some films employ, and tried to be a straightfoward account, with levity being provided at the expense of Hollywood. Since the Academy nominated nine movies for Best Picture, I see how it made the list, but I thought Affleck was rather bland in the lead role (perhaps because he was expected to be, in which case he did a great job). But even in many places where I would have expected a higher measure of anxiety, I didn't feel it, at least to the extent I expected. Perhaps I expect too much. I thought the cast was good, and I loved the John Goodman/Alan Arkin parts (they could make a spinoff and just make a deliciously savage commentary on Hollywood). I loved Adrienne Barbeau's cameo. Although most people probably won't notice, but I thought the smaller roles of Iranians and crowd scenes were very well done, and quite believable, not over the top or exaggerated (such as when the bazari goes crazy when his picture is taken, which reflects the real fears and tumult ordinary Iranians were feeling). I know some Iranians will complain that the movie made some look silly or incompetent, but I thought the filmmakers tried to show just how smart and dedicated (even if fanatical) many revolutionaries were (and also the pain and violence experienced by the population as a whole). And sadly, I think most Iranians continue to suffer from fanatical oppression, and I hope one day they can shed their current clerical leadership. This movie sported a huge cast and must have been a nightmare for costumers and support staff, but I think they pulled it off. I enjoyed the film.

Zero Dark Thirty was a bit more troubling, though it was an exciting film. I thought Jessica Chastain and Jason Clark were very good (even as they glorified torture, which I oppose) as CIA operatives dedicated to destroying Al Qaida and killing its head, and the rest of the cast was good as well. I wondered a bit about the conservative outcry against the movie as a vehicle of adulation for Obama (which, frankly, I did not see). I was a bit surprised that (at least I can't recall hearing it) the SEAL team did not get more mention, because the movie seemed to indicate it was a CIA team. I bet CIA personnel were there, but it doesn't sinc with what I read in No Easy Day. I liked the fact that they showed the contributions of many Pakistanis (as well as Americans of Middle Eastern heritage) in helping kill Bin Laden. I think the film also correctly showed how smart, tenacious, and sneaky our terrorist oppoents can be (and maybe people will realize how difficult is the job to counter fanatics). What a gigantic and coordinated effort is needed to keep these jackals at bay. No doubt Americans will never know the sacrifices and effort made by thousands of public servants who have staved off attacks or killed and captured terrorists. Every terrorist attack is a failure of sorts, but I suspect many more potential disasters were avoided by good intelligence and timely interventions. Depending on the mood of the voters, I wouldn't be surprised if the Academy gives the Best Movie award. Possibly these two movies may cancel each other out and the award will go to a happier movie (though my vote goes to Lincoln). Many scenes are troubling, and I would highly encourage parents to heed the R rating.

As an aside, there will be some Americans who will feel superior and snigger at the Middle Eastern fanatics, but I say we have them too, in elements of the fanatical Christian fundametalists and Tea Party crackpots, and they are just a step away from becoming domestic terrorists, and that what keeps them from destroying this country is that they do not have the advantage of a homogenous (and often oppressed)population, but that we as a nation benefit from broad diversity of cultural heritages and political outlooks and multiplicity of religious and social belief. It's great to be an American, even if we make mistakes and can be wrong (my opinion) on many issues. We must stay vigilant, both at home and abroad, and remain engaged in world events (even when it costs us), and hopefully stay true to our higher ideals and avoid adopting tactics or measures that do not honor us.

MALALA

Pray for Malala Yousafzai, a fourteen-year-old Pakistani girl who since the age of eleven has written a blog advocating for education and freedom for girls and women in that blood-soaked and religiously reactionary corner of the world. Taliban members ambushed a van she and two other girls were riding to school in and sprayed them with machine-gun fire. She was hit in the neck and throat. Luckily she survived and has undergone several surgeries to repair the damage and remove the bullets (one, I think, is still lodged in the neck). No doubt the assholes will try again. Although Pakistan needs more females (and men) to stand up against advocates of darkness, intolerance, and anti-feminism, I hope someone in the United States can help get her out of that country, help her recover, enroll her into a great school, and then let her continue her fight. The world needs more brave people such as her. Especially in Afghanistan, Iran, Iraq, Yemen, Saudi Arabia. . .do I need to mention them all? Of course, we need advocates for progress and education and common sense throughout the world (even in the United States), but some areas need it far more than others. I grow sicker with every report of a girls' school attacked, schoolgirls doused with acid, minors forced into marriages (especially with aged men), women excluded from many courses of education (as is currently happening in Iran), women kept down economically and socially, women snatched and traded as slaves on the sex market, and a whole host of crimes carried out against women while officials and men turn blind eyes. It is time for these travesties to end. Sad to say that the world would be a much better place if the Talabani and their ilk simply disappeared, died off. Efforts must be made to protect the truthsayers (such as Yoani Sanchez in Cuba), the rabble rousers.

UPDATE: Apparently three of the Taliban attempted assassins have been detained and have revealed the individual who set up the hit. Malala seems to be doing better and was moved to a better facility. She still has a ways to go. And opinion in Pakistan has opened even more debate on the role of the Taliban in their country. I would love to see some violent push-back against these religious reactionaries.

UPDATE II: Little Malala has been airlifted to Britain and reports are she is responding well. I hope they keep her out of Taliban clutches and she gets to continue her education and crusade.

UPDATE III: Reports are she is standing and communicating, much very good news.

A SEPARATION

Watched tonight the powerful, troubling, heartbreaking Iranian movie A Separation (2011) directed by Asghar Farhadi. Peyman Moadi plays Nader, a good man and father, loving son and caretaker to his Alzheimer's stricken father, struggling with not only that burden but raising his eleven-year-old daughter as his wife Simin decides to file for a divorce in an attempt to pressure him to leave Iran (I think because she got a teaching opportunity overseas). Leila Hatami plays his wife. Sarina Farhadi does a nice job as the daughter. This is not a movie one can walk away from without jumbled emotions. It will make you angry, frustrated, heart-weary, and sad. Although advertised as a story of a conflict between separating husband and wife, it really is about lies, how they snowball and can cause a swath of pain. I must say that for the most part my sympathies lay with Nader, who is forced to hire a pregnant woman (played by Sareh Bayat) whose actions will cause chaos for two families and thrust them into the Iranian court system. Her husband is ably played by Shahab Hosseini. There are many social, cultural, legal and religious issues that bubble up throughout the story, not all of which I fully understood. What power do the women really have in Iran (although clearly much more than in many Islamic countries)? How do individuals tread the quivering highwire as they deal with honor, truth, family, responsibility, emotional pain, fear? Does the judicial system work fairly (and in this case I thought the portrayal was somewhat favorable to the judge in this instance)? What is the role of blood money, authority within a marriage, the crushing weight of unemployment and failure, the lure of better opportunity against the responsibilities of family and country, and many other issues. This movie has been widely acclaimed and honored, rightly so, but it is not an easy film to watch, but will reward the viewer if they take the chance.

ZAHRA'S PARADISE

Blessed are the truthseekers and truth tellers, especially those who risk not only their own lives and voices, but those of family and friends, in the pursuit of the real story, particularly in the face of vicious, oppressive tyrannies, whether religiously fanatical or simply power hungry. The people of the great country of Iran have suffered enormously under the rule of the mullahs and their basij stormtroopers, and the world was stunned by the execution of Neda on a Tehran street on 20 June 2009. But many more were disappeared that day, both before and after in fact, hidden away in torture chambers of Evin and other terrible dungeons (where assaults included rape and murder), many never to return. In Zahra's Paradise, a graphic novel of power and emotion, the artists expose the ruthless attack against democratic sentiments, as thousands of citizens (many students) have been killed or locked away, and any hints of free thinking squashed. Although the main character, Mehdi, is most likely a composite figure, he stands for all who suffered, and the story of intrepid journalists, citizens, and family members in uncovering the truth and fighting for justice, at great cost to themselves, is a powerful statement. Along with the powerful and better-known graphic work of Marjan Satrapi, two anonymous men have produced a biting, sarcastic, and straightforward critique of the current regime in Iran. No dought a fatwa for their heads would be issued should the Iranian authorities discover their true identities. I wonder if any copies will make it into Iran, but it is a story citizens there are all to aware of any way. No, this is for the rest of the world, so ignorant is it of the true life of average Iranians. The sentiment in the United States is often to demonize Iranians, but I know that in truth a huge segment of the population hates what the mullahs have done. While many ignorantly follow the mullahs's lead, thousand push back against oppression in a myriad of ways, from small gestures to life-risking protest. There will always be brave protestors, who continue to fight for freedom. Allah bless them in their struggle. May freedom one day shine on all Iranians. I strongly recommend the novel to readers everywhere.

Iranian Music

http://www.youtube.com/watch?v=TLotJZoYF74&feature=player_embedded

BARAN

Watched tonight the Majid Majidi's movie about a young Iranian man (apparently Kurdish) who is a bit lazy and angry, who suddenly finds himself replaced from his somewhat cushy job as tea boy/messman by a younger Afghan boy who is more efficient and better liked by the construction crew to which he is attached. But he discovers it is a ruse, and the young boy is actually a girl, who is breaking cultural conventions to hide her identity and work alongside men in order to bring much-needed cash home. The Iranian boy matures as he keeps her identity hidden and falls in love, but this is no typical romance. It is also a commentary on the use of illegal labor (Afghans who had fled the Taliban in their homeland for a better opportunity), which mirrors that of illegal workers here, and provides insights into the boss/worker relationship in Iran. Much of the photography is gritty and gloomy, and one is surprised by the manual labor undertaken on the project, especially in modern times (the film was made in the late 1990s). One of the most poignant scenes is when he comes face-to-face with her, and they look into each other's eyes, and then she drops the chador over her head.The actors are very good. I really enjoyed it.

I wonder what happened to Zahra Bahrami (who plays the young girl). She is not listed as having acted in another movie. A woman with the same name, however, was executed this year in Iran for drug smuggling (although most people believe it was because of her support of reform). I hope they are not the same, though that does not diminish the tragedy of the woman's death.

IF A DOG BARKS IN IRAN, CAN ANYONE HEAR IT?

I saw today that Iran is proposing to outlaw the ownership of dogs. As they mull this measure, I can envision the squads of basij dogcatchers roaming through the suburbs in search of muslim mongrels. Apparently not only are clerical authorities concerned about the threat pets pose to the faith, but the keeping of dogs (and cats, I understand) is apparently deemed too Western for their tastes. No doubt there is a class element at work here as well (as wealthy Iranians supposedly took up the ownership of lap dogs). I can almost see in my mind the cartoons forming in the minds of political pundits and critics of this oppressive regime!! Immediately I envisioned a possible cartoon of an Iranian woman wearing a burkha walking down the street, with a little dog (also wearing a beaded veil) tucked under her arm, and a basij confronts her, and the caption reads: "But Brother, this is not a dog. . . " In America, next to even considering restricting any aspect of gun ownership, people would simply be apoplectic if someone proposed taking away our pups. People would rebel, they would fight. I wonder if this measure is also aimed at those who are not Muslim (will they be allowed to own dogs), or if this is another way to isolate the few that still live there. I don't quibble with someone of faith choosing not to own a dog, but to impose the restriction on everyone is exactly why I quibble with governments control by religious zealots. As long as one is not imposing on one's neighbor (say, their dog barked all night or deposited gifts in their yard), they should be left alone. I don't believe ownership of dogs is that widespread in Iran, but I wouldn't be surprised if there are 500,000 to 1,000,000, so will there be a terrible slaughter of animal innocents. Maybe a grandfather clause can be established that would allow dogs to live out their natural lives (yeah, can't see that happening, cause it would just give malcontents the opportunity to thumb their noses at the clerics). Personally, I think Allah will be bit irritated, as he stretches down and scratches the heads of his greyhounds.

NO ONE KNOWS ABOUT PERSIAN CATS

It is no wonder that Bahman Ghobadi’s award-winning (Cannes) and beautiful homage to the underground music scene in Tehran, No One Knows About Persian Cats, was banned from Iranian movie screens. If I were a fundamentalist cleric there, I too would fear the message this wonderful story about two young Iranians seeking to gather a band (Take It Easy Hospital) and obtain visas to play a concert in Europe (if not completely escape the oppression against the arts, and generally live a freer life). Ghobadi lovingly and humorously pokes fun at the truly terrible (and often frightening) realities of police and basij suppression of expression and freedom in Iran. Two scenes stand out: when Nader, the somewhat shifty, unreliable, yet enthusiatic music-lover and “fixer” who wants to be the manager of the group (played well by Hamed Behdad), is grilled by an official censor after thousands of dvds (and some alcohol) are confiscated from his apartment, and he humorously (and successfully) defends his case; and when the two protagonists, played by real-life artists Negar Shaghaghi and Ashkan Koshanejad, are stopped in their car because local thugs want to check the cleanliness of their pet dog (her yelp as the dog is dragged through the window was unnerving and totally convincing). Using a small crew and modern technology, Ghobadi followed the intrepid pair of aspiring musicians as they seek additions to their band. Their aspiring manager takes them to many secret locations—ranging from soundproofed cellars to ramshackle additions on rooftops, dairy barns to open fields—and in the process the viewer is introduced to a startling diversity of musical genres and sounds in the process (jazz, indie rock, heavy metal, traditional, even rap). I will try to buy the soundtrack cd, that's how impressed I was. I was stunned and pleased with the quality and variety of the music (perhaps I should have been embarrassed as well to not have expected there to be so many divergent voices). Since I am not an authority on Iranian music, I suspect some of these performers had some sanctions against them within Iran (and I wouldn't be surprised if many have alreeady fled); their appearances in the film must have come at a high level of bravery and danger to themselves. Another strong scene is when the pair is frustrated when they seek illegal assistance from a Mafia-looking pair who promise to provide them with fake official papers. What shines through most in this movie is the recognition that the urge to create (and this extends to the whole spectrum of artistic endeavors) cannot be contained by thugs in the end. What was also surprising, though, was the almost good natured way that victims of oppression accepted the challenges of playing their music and laughed in the face or danger. Thank God/Allah for rebellion. Thanks as well to brave movie makers and musicians who provided and entertaining, critical movie. I enthusiastically encourage people to check out this movie.

A TIME FOR DRUNKEN HORSES

Life was tough for Kurds living along the border between Iran and Iraq, especially during the war, as many men turn to smuggling from Iran into Iraq to make money. Humping supplies over snow-covered mountains on their backs or via mule, the smugglers had to avoid robbers, border patrols, and land mines in addition to dangerous terrain and dishonest brokers, as well as the side effects of giving the mules too much alcohol. The Iranian movie A Time for Drunken Horses follows the efforts of a group of orphaned children (the eldest girl about 15, the eldest boy 12) as they struggle to make money and try to save their crippled brother who desperately needs an operation in Iraq. It is a remarkable film, that reveals a different corner of the world and tells a compelling story. What is heartbreaking is the level of work expected of the kids, who often forgo education to pitch in; the jobs are tough and poorly paid, such as carrying loads. Despite the difficulties faced by this family, they sacrifice almost everything to save their brother, against incredible prognoses, and also a deep sense of love and family shines through. I encourage film lovers to give this movie a try.

IRAN

Translate this, with beautiful smile,
emerald scarf tied in Iranian style,
chanting crowds in streets transgress,
yearn as well for freedom to express,
an inner truth, some future visions
no political martyrs in filthy prisons,
someday clerical grip will come loose,
corrupt will hang from tightened noose.

TEHRAN-22

If it were not for the fact that the great Joseph Heller didn’t die until just before the turn of the century, I would swear that he (or some portion of him) was reincarnated into Iranian-born writer Shariar Mandanipour, because his Censoring an Iranian Love Story was as weirdly enjoyable to me as was Catch-22. Mandanipour tells a story of a writer trying to craft a romance while having to deal with the oppressive censorship of a fundamentalist Islamic bureaucrat. The writing is witty, funny, critical, sarcastic, and ironic. The author frequently becomes part of the story itself, revealing a little of the troubles experienced by all writers who become intimately connected to their characters, but he mostly uses the love story as a baseline in which to critique modern Iranian society. I frequently laughed out loud at his jabs, but the book also tells an underlying chilling tale, and reveals for readers the high level of hypocrisy, idiocy, misogyny, and oppression currently rampant in Iran (a country he may not feel comfortable living in, but one that he clearly loves). For anyone interested in Iran, I heartily recommend this book. He criticizes the deporable treatment of women, the atomic program, censorship, social restrictions, brutality, stalinistic watchdogs, and other aspects of life there. “Every day became days groups of people were killed for freedom.” One wonders how many people in Iran have disappeared or been incarcerated. But many of Mandanipour’s comments are universal as well: “my father was absolutely right, and that is why I disagreed with him.”
The author does, however, seem to fall into the trap many foreign-born literature majors who become writers seem to: he wants to show the readers just how widely read he is, by dropping illusions at almost every turn to well-known (and lesser known) works. Some of this is ok, but at times it seemed a bit of a stretch.

STONING IN IRAN

The stoning of a human to death, even if the crime being punished is horrendous, is one of the most inhumane, barbaric, dehumanizing, and cruel tortures that can be inflicted upon a person, especially if the community carrying out the sentence knows the victim. The horror is magnified when the person is innocent of the crime they are accused of. Stoning still exists in Iran, and its use there is but one criticism the world hurtles (justifiably) at the fundamentalist state. While some feel little sympathy for criminals, the punishment can also be carried out against those accused of adultery, a heavy penalty for an all too human sin. But in Iran some victims are most vulnerable to this terrible fate---women. Recently the case of Sakineh Ashtiani (a forty-three year old woman who apparently may have been coerced into admitting wrongdoing and also had language problems) has garnered international attention and condemnation. It is within this atmosphere that the movie The Stoning of Soroya M. vividly demonstrates not only the horrors of stoning, but also the misogynistic state of affairs in Iran. Based on a true story, it recounts the heroic efforts of Zahra (beautifully played by the lovely and husky voiced Shohreh Aghdashloo), wilfull and determined, who tries to protect her niece (the mother of four children) from the machinations of her spouse Ali (effectively and menacingly played by Navid Negahban), who wants to obtain a divorce on the cheap in order to marry a fourteen year old. Ali is a greedy, corrupt, manipulative, and brutal man, who terrorizes his family. Yet he has powerful allies in his little village (a mullah with questionable past and a weak mayor), and after weakening her position financially, and then actively soliciting her help to aid a newly widowed man and his son, they use false claims of adultery (as well as strong-arm tactics against the widower) to railroad Soroya straight into a hole and a rain of stones. Zahra then makes it her mission that she will not allow the story (and her niece’s bravery) to go unreported, and she enlists a French/Iranian journalist’s help. The movie pulls few punches and is vivid and direct, and emotionally draining. It is a heavy indictment against radical fundamentalism, woman-hatred, poor education, and male-dominated dictatorship. Although some scenes are very difficult to stomach, I encourage everyone to see it.

FUNNY IN FARSI

Dumas’s Funny in Farsi is a humorous collection of stories about a young Iranian immigrant to the United States as she deals with her parents and her new life, from elementary school to her marriage. A wonderful addition to the growing body of immigrant literature, there are heartwarming and funny tales of her father’s frugality, people’s kindnesses and ignorance, memories of family and homeland. There are plenty of insights into Iranian culture, both overseas and here, as well as simple family dynamics, told with a humorous view. Her experience visiting Paris is delightful, as is the story of her father’s incompetent repair skills. Anyone interested in a quick laugh should pick up this book.

FISH

My second foray into foreign film this week came with the viewing of the Iranian film, The Fish Fall in Love, a quiet, almost sad, story of a man who was jailed as a political prisoner when he was young, destroyed his relationship with his fiance. While he is in prison, she is married off into a marriage that soon goes bad, but she has a daughter, and her husband disappears. Most likely the daughter is Aziz's, the protagonist, but this is only hinted at in the movie. The film begins with Aziz returning after more than twenty years to his hometown in northern Iran, probably on the Caspain, originally with the intention of selling his family's property, only to find his former fiance and his daughter occupying one house that they have turned into a well-attended restaurant. He moves in upstairs, and the four women running the establishment try to make him stay by feeding him delicious meals (many of them looked scrumptious). But he is so stoic, and does not rise up to accusations nor does he ever step in and explain himself, which is frustrating. And she is strongwilled. I think the end of the movie was on a high note, but I am not sure. I do not know the actresses well, although Golshifteh Farahani is very beautiful. It was a nice movie, and it gives some insight into a part of Iran that few people probably even know about. It is not heavy handed in its criticism of the government, but it is there.

IRANIAN HYPOCRISY

How come no one has countered Ahmadinejad's and the clerics' condemnations of nonexistent British and American meddling in their internal affairs, when they have been major players and funders of Hezbollah activities in the Middle East and in Iraq? Who knows how many terrorists have been funded by them, directly or indirectly.