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ภาพยนตร์เด็ก 3เรื่อง ของเคียรอสตามี
ที่มีมุมมองอย่างลึกซึ่งบนความจริงที่ดูเรียบง่าย
และยอดเยี่ยมไม่แพ้หนังเรื่องอื่นๆของผู้กำกับบรมครูท่านนี้ มันช่างน่ารัก โรแมนติก
และเต็มไปด้วยมิตรภาพ
The Wedding Suit (1976)
A woman orders a suit from a tailor for her young son to wear to her sister's
wedding. The tailor's apprentice, together with two other teenage boys who work
in the same building, devise a plan to try on the suit at night to see what it
feels like. Things get a little complicated but in the morning, at the last
possible minute, they manage to return the suit to its proper place.
User Reviews
Perfect
21 October 2000 | by (edwartell@hotmail.com) (Austin, Texas)
Think of it as Iranian neo-realism, except without squalid poverty or the second
act dramatic turnaround of Jafar Panahi's The Mirror. This follows three Iranian
teens, one of whom works in a tailor's shop. A new suit is being made for a
fourth, upper-class teen and his two friends both want to borrow it. Inevitable
complications arise. For 52 minutes, Kiarostami follows his subjects through
work and play, constantly shooting their mouths off and trying to avoid getting
in trouble with their guardians. This is a fascinating look at life before the
revolution with a generous dose of humor. Kiarostami has said that if his film
cans could talk, this one would say, "Why did you make me this length?" The
barely hour long running time ensures that this perfect little gem will never
get the exposure it deserves.
The Experience (1973)
The daily hard life of a kid working in a photo shop, and tries to get closer to
the girl he like.
An adolescent boy, old for his years like so many of Kiarostami's (or Iran's)
working children, juggles a job as a photographer's assistant, a first crush,
and the urge to sample adulthood's temptations (cigarettes and movies). This
beautiful exercise in storytelling virtually without words is shot with the
crispness and stark contrasts of Kiarostami's still photography. But this vista
teems with humanity—not only that of the boy, who is essentially without family
(he sleeps at the photography lab), but of the adults he encounters (and who
invariably let him down) on the urban pathways he courses. In his young actor,
Kiarostami found a face and soul made for the screen.
The third short film by writer/director Abbas Kiarostami, The Experience is his
first meaty production. It builds off his first two shorts The Bread and The
Alley and The Breaktime, both films about the problems of children. It’s a film
that typifies a lot of his work with The Center for Intellectual Development of
Children and Young Adults, where he would go onto make a number of shorts and
features about similar problems.
In The Experience, the trouble which faces its young protagonist is the budding
ambition and sexuality that begins to pervade his young life. He works in a
photography shop and in an early scene modifies the pinup girl display in the
shop to closer reflect the looks of a girl he’s become infatuated with. Scorned
by the adults for his brash waste of photographic materials, he comes into
tension with the adult world.
However, he also finds that he needs to assimilate himself into this world in
order to better realize his goal of getting and education while simultaneously
getting closer to the girl of his affections. He begins to have his clothes
professionally cleaned and even gets a nice suit, one he completes by stuffing
the shoes of his employer with a couple of plastic sacks so his feet will fit.
With the garb of a man, he is suddenly no longer the scourge of adults, able to
present himself as a viable prospect for education as well as enter places and
receive recognition that he wasn’t able to before. He also uses it to strut in
front of his girl, although it’s more likely she finds the display hilarious
than impressive. Through the protagonist’s eyes, the girl’s giggles are of glee,
not ridicule.
The cinematography of Ali Reza Zarrindast (who would go on to shoot The Cyclist
and Close-Up) is magnificent. One of the recurring images is one of reflection,
often in mirrors positioned in such a way that foreground and background are
essential parts of the shot. However, there’s also a fantastic shot of the
protagonist looking across a large pool of water, his reflection peering back at
him. It’s a moment that one could argue is the internal call to action for the
character.
The film is also notable for, contrary to Jean-Luc Nancy’s writing on
Kiarostami, having a movie theater scene. The protagonist sneaks into a movie,
one the audience never sees, but one they can hear. He lights a cigarette and
puffs smoke into the room. It’s an ethereal, translucent moment, a dreamlike
state. If one was to guess, the film would probably be a romance, a romance the
protagonist dreams of make a reality.
While a far cry from the self-reflexive, and densely conversational films
Kiarostami became an art-house figure for, The Experience does give insights
into the work of his early career and displays the seeds of a director
interested in film as more than just a medium of expression, but a deep
fascination with the machinations of the medium itself.
Two Solutions for One Problem
(1975)
When one boy tears
another boy''s book, it is up to the two of them to decide how to handle it.
User Reviews
I think this is a comedy
17 June 2002 | by Simon Huxtable (London, England)
Perhaps I am the only person to have seen this film, but seek it out you must.
It''s a Kiarostami slapstick (I think), which involves two schoolkids breaking
each other''s stuff and getting in a fight because they didn''t cooperate (the
second solution is much less entertaining because they both learn to get along).
I''m not sure if it''s meant to be funny, though Kiarostami is, I guess, pretty
amusing as arthouse directors go, but it''s the ritualised aspect of Iranian
society that comes out, unconsciously perhaps, in this film and it''s what gives
it a comic turn as one kid tears up the other''s exercise book and the other
stares on impassively and breaks the other''s ruler in half. But it''s all in the
expressions, man! The deadpan voiceover is pretty cool, too. Overall, as
Jonathan Rosenbaum might say, ''dude, this rocks!''.
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