Stream Baran Online
Vendredi, janvier 1st, 2010 |
Stream Baran Online.
Movie Title: Baran Baran is available for streaming or downloading. |
Majid Majidi, director of “The Children of Heaven” (first Oscar-nominated film from Iran), gives us another heart-warming (and slightly poignant) film about “Baran” (meaning “Rain”) . The film has a romantic taste in a subdued record, and perhaps a very immediate and political message. But like a lovable brother and sister in “Heaven,” “Baran” is about the two people in Iran tenderly depicted by Majidi.
The memoir starts with a young man Lateef working at a construction plot somewhere in Iran. The work is hard, and many workers are actually not Iranian, but illegal immigirants from Afghanistan. The boss Memar (respectable Mohammad Amir Naji, father of the children in “Heaven”) is in fact a estimable fellow, but doesn’t (or cannot) give grand wage to them. There, Lateef has been assigned a rather easy job, serving tea and bread because of his father.
But one day Lateef must commence to work, this time a trusty one. For one of the workers of the region broke his leg, and a son of the injured, very cramped boy named Rahmat, replaces this guy who could be sluggish until then. Testy, discontent, Rahmat acts very nastily before this tiny boy … until he finds a surprising secret about “Rahmat” who in fact is named “Baran.”
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The rest of the chronicle should remain untold. The man begins to change his attitudes to this newcomer, silently protecting Baran and keeping the secret from the people around them. But what can he do? And how far can he go when he knows someday Baran and the family must go benefit to the country where the society is level-headed very unstable? All those emotional changes happening in this man’s heart are tactly dealt with Majidi’s lyrical memoir, without being too sugary and sentimental.
I understand some people’s complaint that this film (and Iranian films in general) is too slow-moving. And I judge the latter half, which should have shown more of Baran, seems a bit overlong. The 90 minutes surely feel long even for me (though I have watched many films from that country) . Collected, the charms of the simple sage with rich details of the everyday life in Iran which the Western media rarely mask are irresitible.
Certainly it moves lifeless, but “Baran” presents us what a edifying cinema can do with its superior visuals and true attitudes towards filmmaking and the people it pictures.
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Those who are involved in Iran-Afghanistan relations should stare “Kandahar” and “The Cyclist.” The extinct in a sense follows the possible life of Baran, and the latter is a gargantuan hit in Iran about a most desperate bet done by an former illegal immigrant from Afghanistan, who has to hurry a bicycle through one whole week.
Filmed before the tragic events of September 11, and yet as timely as today’s headlines, this Iranian film captures the spot of Afghan refuges in Teheran. There are more than 1.4 million of them who fled the Russian invasion in 1979. Many have grown up never seeing their homeland and, like illegal aliens everywhere, work the hardest for the lowest pay. And yet, this is a adore memoir.
The scene is a skeletal construction space where workers are putting bricks in the frame of a enormous building. Shot from a distance, the people notice like worker bees. But they soon become individuals as the director moves the camera towards them. Work is hard, dusty, backbreaking and perilous. And there are both Iranians and illegal Afghans working there. The owner, played by Mohammad Amir Naji, is always screaming “glean wait on to work” but we soon win out that his bark is worse than his bite. He’s under pressure to acquire the job done good or he won’t be paid, and he also has a warm station in his heart for the hard-working Afghans who must urge and camouflage whenever the inspectors near around.
Lateef, played by Hossein Abedini, is a 17-year extinct Turkish Iranian and so therefore has a precious identity card. His job is the cook and “tea boy” on the set. He’s paunchy of ego and loves to joke around, often getting into arguments and scuffles. One day, one of the Iranian workers gets injured and, in order to feed his family, sends Rahmat, in his set. Rahmat is slight and glowing and cannot carry the heavy bags of cement and so therefore is assigned Lateef’s job. Lateef is at first enraged and is especially exasperated when Rahmat’s cooking is praised by all the workers. Later events do him change his attitude though.
It is provocative that throughout the entire film, Rahmat doesn’t relate one single word. However, the audience doesn’t miss anything as every possible emotion comes through with objective expressions and gestures. The chronicle is a rich emotional experience against a background of harsh reality. The cinematography and direction are satisfactory. I could feel the strain of muscles doing heavy work. I saw the beauty of the natural countryside, and felt the awe of never having an identity card. I shuddered at the image of a cool stream, which would be handsome except that women laborers, frosty and overworked, were eking out a living by bewitching boulders. This is the account of obscene struggle. And yet, it is the appreciate fable that shines through.
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