This has become a bigger favourite of mine than even his best work 'Close-up'.
Kiarostami is one of my favourite filmmakers. He introduced a new form of cinema language and took Godard's 'direct cinema' concept to a new and better level.
The simplicity and purity is what will strike you first. The poise, the naturalistic acting and lighting are the trademarks of Kiarostami's films.
The iron doors metaphorically represent the children, that's why the school's doors are also the 'old' doors. The new doors which are replacing the old doors represent those people who are not concerned about the child's feelings or emotions, like for eg:- the nagging door maker. In the end, its an old door maker who gives Ahmed the flower and the story invariably depicts that adults do need to understand the children, their feelings and emotions and guide them to a better world. The solution is not beating them up every other fortnight, even if there is no reason. Certainly Kiarostami sheds light on the prevailing society pretty subtly.
The ending with the flower is a trademark Kiarostami ending. So subtle his style that minimalism is the triumphant element.
Some sequences are really worth remembering. Throughout the child's journey, there are many beautiful situations. Towards the end, the child's haunted face as darkness descends and wind blows strong is brilliant. The child actor is amazing. God knows why he doesn't act anymore. Stands out with one of the best child performances along with Ana Torrent in ' The Spirit of the Bee-hive'.
My favourite part is where Kiarostami chooses to focus on the old man instead of Ahmed as he runs away towards his home at the very end. Kiarostami follows the old man to his house as he walks up the stairs slowly, removes his dress and finally closes the window which first revealed him. This is terrific film making showing the end of a phase of a narration. Kiarostami could have chosen to follow Ahmed with the camera but he has done it throughout the film and he may prolong it unnecessarily, if he does so again. Then next cut shows Ahmed has reached his place and doing homework. The sense of 'completion' is brought out beautifully and certainly that's the poise that makes a master.
Salute
Kiarostami is one of my favourite filmmakers. He introduced a new form of cinema language and took Godard's 'direct cinema' concept to a new and better level.
The simplicity and purity is what will strike you first. The poise, the naturalistic acting and lighting are the trademarks of Kiarostami's films.
The iron doors metaphorically represent the children, that's why the school's doors are also the 'old' doors. The new doors which are replacing the old doors represent those people who are not concerned about the child's feelings or emotions, like for eg:- the nagging door maker. In the end, its an old door maker who gives Ahmed the flower and the story invariably depicts that adults do need to understand the children, their feelings and emotions and guide them to a better world. The solution is not beating them up every other fortnight, even if there is no reason. Certainly Kiarostami sheds light on the prevailing society pretty subtly.
The ending with the flower is a trademark Kiarostami ending. So subtle his style that minimalism is the triumphant element.
Some sequences are really worth remembering. Throughout the child's journey, there are many beautiful situations. Towards the end, the child's haunted face as darkness descends and wind blows strong is brilliant. The child actor is amazing. God knows why he doesn't act anymore. Stands out with one of the best child performances along with Ana Torrent in ' The Spirit of the Bee-hive'.
My favourite part is where Kiarostami chooses to focus on the old man instead of Ahmed as he runs away towards his home at the very end. Kiarostami follows the old man to his house as he walks up the stairs slowly, removes his dress and finally closes the window which first revealed him. This is terrific film making showing the end of a phase of a narration. Kiarostami could have chosen to follow Ahmed with the camera but he has done it throughout the film and he may prolong it unnecessarily, if he does so again. Then next cut shows Ahmed has reached his place and doing homework. The sense of 'completion' is brought out beautifully and certainly that's the poise that makes a master.
Salute