The Song of Sparrows

This is the story of Karim, the rural Iranian father of a deaf teen-aged daughter and two younger children. When, at the same time, he loses his job on an Ostrich ranch and his daughter loses her hearing aid right before important school exams, he heads to Tehran on his motorbike to look for work. By accident, he becomes a motorbike taxi driver and begins to make more money than he ever dreamed of. But he also begins to change as his desire for things and his ethics collide. Having promised his wife that the first priority would be to replace their daughter's hearing aid, he finds himself tempted by the material life he now has access to. Several heart breaking incidents cause him to examine what he has become. While the story/parable may be familiar, what is special is the way Majidi presents it. The dialogue is minimal letting the non-verbal actions of the characters speak for themselves as well as the great cinematography. Unlike many (not all)American films, it does not insult your intelligence with shallow dialogue and unnecessary action. Majidi really develops the characters into believable human beings. Reza Naji is great as Karim and the children in the film are so delightful and photogenic. And if you enjoy learning about and experiencing other cultures, it is a great window into Iranian culture, in this case, both rural and urban. With most of us only getting the sound bites about Iran we hear on radio or TV, this will give an insight into the real people and culture.

Majid Majidi has gone and done it again. He has crafted a simple story of a loving family man (although not without some minor flaws)who has several humbling experiences in life. Karim (played very well by Majidi regular,Mohammad Amir Naji,here known as Reza Naji)has a cushy job working at an ostrich farm,keeping watch over the king sized birds. Trouble erupts when one of the birds escapes from the pen,resulting in Karim losing his job. Good fortune happens to drop in Karim's lap when he ends up becoming a taxi driver in downtown Tehran. Other plot elements are dropped into the mix in the form of his eldest daughter,Haniyeh (Shabnam Aklaghi)who is partially deaf,loses her hearing aid,because of her younger brother,Hussein (Hamed Aghazi),who wants to start a goldfish hatchery in an unused well,who loses the hearing aid in the well/muck hole that it is. Toss in an understanding & loving wife,caring neighbors,and others,and you have yourself a loving film that is a treat for the eye & other senses. Majid Majidi directs from a screenplay written by Majidi & Mehran Kashani. The cinematography by Tooraj Mansouri successfully manages to capture the rugged Iranian landscape,with momentary bursts of colour (check out the scene of Naji carrying a blue door across the bleak desert-like landscape of the Iranian countryside,as well as some other breath taking scenes that are a treat for the eye). Rated PG by the MPAA for some brief,rude language,but contains nothing else to offend.

A film full of Iranian culture, not only the story of a struggling man, the story of hope as Majidi wanted it to, but it is also the story of a people, the story of a country, a culture story.

I have seen quite a many pieces from this Iranian Film Maker, and this one remains the top of my list. A simple story of a struggling man from rural areas, finds himself making tough choices after losing job. The point of view of this man has captured many layers of dense emotions, at some point he is a hoarder of old garage material, and also scavenges through city garbage for essentials, meanwhile evolves his life according to challenges thrown at him in midlife. A simple drama containing; family, contentment, desires, dreams and the miraculous hand of Nature behind everything. Lovely !

Majid Majidi helms "Avaze Gonjeshk-ha", a film that laments on the influence of materialistic societies and elevates pastoral romanticism. Beautifully filmed and empathetically characterized, audiences will be enchanted by little pleasures delivered, eventually snowballing to something poetically charged. Run time might be excessive, but this might just prove as nitpicking. Script lacks any sort of cynicism, a positive, as the film is nostalgic to moments of innocence. Question is, did it even exist? Picture shows it did in Majidi's universe.

First act parallels the vibe of the Argentinean produced "Bombon: El Perro". Main protagonist Karim (Mohammad Amir Naji), fired from his job as an ostrich farmer, ventures off to Tehran to earn some money and find means to upgrade a broken hearing aid desperately needed by one of his daughters. Characterization is the main motivation here, as the director lovingly sculpts Karim as a paternal character untarnished by any sort of negative, earthly influences. Not that he is uninspired by desire, but his desire is more directed to more altruistic means towards his family. Thesping by Naji is pitch perfect.

And here's where the film becomes more than it actually claims to be. Venturing off to exciting Tehran, Karim turns wide eyed, as he accidentally becomes a taxi driver. Comedy is potent here, definitely not used to degrade main protagonist though. Eventually, picture develops him into an influenced mortal showing greed and materialism. From an innocent television antenna, his backyard expands and practically becomes a junkyard. His character development transcends the screen, as every piece of junk he hogs, loss of his old self is palpable.

Directing clearly emphasizes Karim as an Adam out of Eden, banished by circumstances to a city wrapped in earthly pleasures. Cinematography plays a massive role in this recurring theme. Lensed by Turaj Mansuri, film paints Iranian countryside as fertile and effervescent whilst modern Tehran isn't exactly depicted as ruthless and evil, but more constrictive and crowded. Cityscape is painted as monotone brown, allowing the characters to paint themselves, easily using citizens to express a point. Film isn't judgmental of city living, only reminds them of what they're missing.

And that's just the first act. Next chapters' focuses on Karim's redemption from a fall from grace, events transpired that might come off normal to modern people but nonetheless, out of character to himself. His family life is placed in focus, as with Karim, audiences are allowed to comprehend (and remind main protagonist) what his old desires were. Undoubtedly contemplative and metaphorical, film guarantees a high replay value. Film strikes a cord with a visual cue on fish out of water.

Picture definitely doesn't ask much from the audience, however it's upon the audience to accept it. This will reward them though as Majidi proves himself as a rich painter of not characters, but spotless souls. As with his previous films, Majidi transfers his optimism on celluloid without much trouble. Detail here is exemplary as every facet of the production is riddled with ideas waiting to be uncovered by repeat viewings.