Baran

Something must be there in the air of Iran! How can they repeatedly make such good films? What is it about this country's landscape/culture/socio-economic circumstances that is so unique, that seems like it cannot be replicated anywhere else... I've watched many Iranian films over the years and each one of them has been a cinematic treat. Iranian filmmakers have truly raised the bar of cinema. If films are about capturing a slice of human life, presenting it as justly as possible and thereby helping us understand ourselves better, than I think Iranian filmmakers have done just that...over and over again!

'Baran' is again a gem of a film - basically a love story which beautifully talks about the prevailing socio-cultural dynamics in Iran at the time. Hossein Abedini as Lateef is excellent - your typical lovable rogue who has an insatiable propensity for mischief but is basically good at heart! Mohammad Amir Naji as Memar is absolutely endearing! You cannot help but be touched by this man's kindness and his subtle paternal attitude towards Lateef. Mohammad Amir Naji was also there in 'Children of Heaven' and even in that he was so amazing! He must be major actor in Iran or at least I hope he is! And Zahra Bahrami as Baran - a very controlled beautiful performance.

The "still sad music of humanity" reverberates in Iranian cinema all the time except that it is also complimented with refreshing doses of humour and joy revolving everyday situations and actions. Watch 'Baran' for another example of good cinema from Iran! Thankfully there's plenty of it there and plenty for us to see, enjoy and may be even learn...

It is not bulky classic novels but little short stories of literature which remains in your memory long-lasting once you finished it. Majidi's films are like simple beautiful piece of art, it's same as reading Oscar Wilde or O Henry's classic short stories. He knows very well where to mark underline & where to put ellipsis in a film. Set in Iran, it tells the story of an afghani refugee working father whose leg injury threatens his family's future. A child of his starts working on behalf of his father at construction site. A young co-worker named Lateef's burning hate towards child transformed by a surprising discovery that a child is a young woman in disguise. For the first time in his life, he's in love. He keeps the secret to his heart & helps her with utter unconditional devotion that will change the whole dynamics of his life.

Well it's more difficult to make a simple artistic film than making a complex piece of art & its Simplicity & portrayal of natural emotions in his films which is striking the right chords. Silence of the girl is the most felt part of the film. And what a poetic end- the last foot print impression of the girl in his life, that even rain can't wash it away.

A beautiful piece of art.

Do I have to say Must Watch? Ratings-9.5/10

`Don't you go letting life harden your heart . . . we can let the circumstances of our lives harden us so that we become increasingly resentful and afraid, or we can let them soften us and make us kinder. We always have the choice.' ...The Dalai Lama

Baran is the latest film from the director of Children of Heaven and Color of Paradise. It has strong appeal because of the natural performances of its non-professional actors, its well-drawn characters, and its message of the transforming power of generosity. Like Kandahar, our attention is drawn to the desperate plight of the Afghan people.

Baran begins with a note about the reality of the 1.4 million refugees from Afghanistan living in Iran, a number that has probably increased substantially since September 11th. Some are of the current generation that was born in Iran and have never set foot in Afghanistan; others have recently fled from Taliban oppression and long to return home. Afghans are forbidden to hold jobs by Iranian law and must work illegally, usually in unskilled heavy labor jobs.

Shot in the style of the Italian Neo-Realists (realistic stories told against real backgrounds with sometimes non-professional casts), Baran has a tone of drabness, only occasionally interrupted with bursts of color. At a construction site in Northern Tehran, Memar (Mohammad Amir Naji) employs a large number of Afghans to work along side of Turks and Iranians. This film shows a microcosm of the blue-collar working class in today's Tehran. Many languages are spoken and the film sheds some light on the variety of ethnic groups present in Iran. In spite of some harsh treatment of workers Memar has moments of generosity and humor, and his outwardly harsh exterior seems to mask a genuine sympathy for the workers.

A 17 year old Iranian tea boy, Latif (Hossein Abedini), an Iranian Azeri, feels his job is threatened by a new worker Rahmat (Zahra Bahrami) who comes to work when his father is injured on the job. Rahmat has difficulty performing construction tasks and is moved to the kitchen to prepare and serve the tea, essentially switching jobs with Latif. Latif, short tempered to begin with, now takes out after Rahmat, intent on getting revenge, leading to a series of slapstick encounters that are almost Chaplinesque in tone.

After Latif discovers Rahmat's secret (he is a she named "Baran"), the film is devoted to his transformation from a selfish wise guy to a caring and surprisingly generous young man. The film becomes a series of encounters in which Latif, infatuated with Rahmat, secretly tries to help her in any way possible, donating his entire savings to her family and involving himself in protecting her from the hands of inspectors looking for illegal immigrants.

Though I found Baran to be, at times, somewhat repetitious and dramatically weak (it doesn't help that Latif and Rahmat never interact), it is a humanistic film, full of warmth and humor. Though a film about dehumanizing working conditions, its true focus is the emotional awakening of a young man who has discovered his own self worth through the act of kindness to another, perhaps symbolizing the discovery of the plight of Afghans by the Western world. Baran (also translated as "Rain", the symbol for springtime) builds to a poignant climax, leaving Latif with the wistful image of a footstep in rain-splattered mud, an image that may remain with him as a constant inspiration for future self-sacrifice.

This film is incredible, a visual masterpiece. Majid Majidi has the ability to make every frame and every shot beautiful and enigmatic. The story is in some scenes humorous, in others moving.

This film has lessons to teach in humanity and generosity.

It is also a window for viewers in Western countries (such as myself) whose lives are so far removed from those of the characters and real people like them. Very few films have to ability to transport you to another place so completely, as this film does.

Baran is the story of an Iranian construction worker, Latif, who is not really doing his job - he serves tea and food to the rest of the workers, managing to avoid the really hard work. He is at first a hot-tempered, selfish youth - but then, 'Rahman', an illegal Afghanistan imigrant, comes to work. He is a young, weak worker, and is at once put in Latif's job - and Rahman does a better job, too. Jealous and angry, Latif tries to make life miserable for his new adversary... until he accidentally discovers that 'Rahman' is not a boy - 'Rahman' is 'Baran', a woman.

Latif, who even though used to be a careless youth, always had a soft, romantic spot in his heart - and when he realizes Baran is a woman, he falls in love with her. He seeks to protect and help her, and his entire life is slowly and surely changed for the better because of her.

Many people have critisized this film, saying it's poorly acted, the script is badly written, etc. Please remember: this is not a Hollywood movie! This movie is not in the least bit American, therefore the viewer needs to be open minded to the different culture of Iranian cinema. Baran never says a single word in the entire film. 'BARAN' is a beautiful romantic drama filled with angst and stunning visual scapes. I give it 8 out of 10 stars.