I have watched Kiarostami, Makhmalbaf, Panahi, Majidi, but Beyzai supersedes them all inthis great film. Call our Box Office on 029 2030 4400 to book. The E-mail message field is required. It is not really understandable to Persian speakers. Moreover, language demonstrates that Persian, while the official language of Iran, does not characterize all Iranians — both in terms of ethnicity and gender. The version of this movie currently on video Year 2004 is very sparsely subtitled.
The drumming was a recurring subject, and is particularly powerful when Bashu is drumming when Naii is sick. No wonder: the boy is from a province in the Southern part of Iran, near the Persian Gulf, and speaks Arabic, while the region where he has arrived is in the North, near the Caspian Sea, where people speak a very remote dialect of Farsi. A woman with two kids of her own, initially reticent, will learn to love the boy like a mother, while the boy, initially just scared, will learn to love his new mother. The film is about differences or I should say humanity and common feelings among all humans, like love and compassion. A blast from a nearby construction site again frightens Bashu, who jumps from the truck and runs into a wood, thinking he is once again in the middle of an air raid.
The story is nothing new and nor is it complex. It certainly is not a Hollywood movie. What's more, he finds that Nai simply wants to care for him. However when hundreds of people show up, he decides to make a movie about the casting and the screen tests of the would-be actors. It should be noted, however, that the early war scenes may be too intense for the very young.
Initially, Na'i tries to shoo Bashu away, but later takes pity on him and leaves food out for him. Fleeing the war, he stows away on a truck and ends up in the verdant, peaceful north, where he struggles to fit in and start a new life. Even during the showing of the film, it lacked Persian subtitles. An examination of mutually constructing identities, or intersectionality, is essential for understanding interlocking issues of blackness, ethnicity, gender, and nation. Na'i's husband tells Bashu that he is his father, and upon this realization, they embrace as though they were always a part of the same family.
In comparing these two parts of Iran, Beizai masterfully brings out the differences between the people, the climate, the costume, the language, and the past influence of Super-powers Russia in the North and Britain in the South meanwhile tying the story together to make a delightful movie. Despite this particular event, his blackness continues to demarcate him as Other, as village boys mock Bashu when he sings in his native tongue and performs a ritualistic dance. He jumps in a truck and finds himself in an unknown place where he understands nobody's language. This movie is bitter sweet. When it comes to Iranian films, there are a few familiar themes that enthusiasts might expect — love, revenge, war, religion, piety, class, gender, sexuality, family, and the nation.
A ten years boy looses all his family when the village is bombed during the Iran-Iraq war. When he wakes up, he is in an unknown place where the landscape is totally different from what the boy knows. Most striking in this Middle-Eastern film are the subtle reflection of the beautiful nature against a background of a senseless war and intolerant human beings. Bashu is an odd and delightful little movie which, outwardly, seems very simple. Curiously left out of these expected themes is the topic of race. It was by chance that I watched Bashu today. While the screen quality is fairly scratchy, it's a wonderful movie and well worth watching.
Bashu comes to her defense, challenging the strange man to identify himself. It seems people are not aware of the war. This article is by guest contributor, Zavier Wingham. It has the universal theme of how we confront those who are different from us, but in a totally unfamiliar setting which is fascinating in itself. Like her neighbors, Nai is fair-complected; southerner Bashu, on the other hand, is dark-skinned, and his skin color and odd-seeming habits such as playing his flute to help the rice grow earn him the taunts of the neighbor's children. Bashu is a moving film about a young Iranian boy who's family is killed during a bombing raid. All her movies worth watching at least for seeing her act.
She is caring for her two children, chickens and other animals and gives Bashu enough tenderness that makes him smile again despite the new environment, the new language, the rejection of other villagers and flash backs of his tragic family loss. By hiding in a truck accidentally goes to north of Iran. It packs a lot into 70 minutes. I loved the scene with the other young boys of the village in the crop to help the plants grow quicker. And above all, the great humanity that paces the movie, almost unbearable! One day her husband catches up with her and their lives take an unexpected turn. Upon discovering Bashu asleep in a lean-to, Nai's first reaction is to throw a rock at him, in an attempt to drive him off her land.
There seems to be a ray of hope. The piece is shot with trust and slowness that you can bathe in the surroundings without having to feel that you are on a mystery hunt. I just would like to comment on the language. Featuring a brilliant performance by actress Susan Taslimi, it tells the tale of a poor farm wife trying to coax a young war refugee out of his fear and trauma. Bashu escapes by stowing away in the back of a truck and ends up in a completely different part of Iran. It shares many aspects of life: war, nature, survival, labor, love and hope. Notes: Videocassette release of the 1990 motion picture.
The film ends with the entire family, including children, running into the farm field, making loud noises together to scare away a troublesome boar. The director certainly knows how to frame a striking visual image. Synopsis During the Iran-Iraq War, Bashu, a young boy loses his house and all his family. Susan Taslimi is as usual a strong and talented actress. Impossible to understand anyone, impossible to be understood. Apparently a simple story, actually told with great cinematic finesse.