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• W160296844 abstract "Most of the best films about children-Shoeshine (1946), Germany, Year Zero (1947), Bicycle Thieves (1948)-were made by Italian neorealists, or by directors following their example, such as Bunuel with Los Olvidados (1951) and Clement with Forbidden Games (1952). The essential theme of the neorealist film was the conflict in the wake of World War II between the common man and the immense societal forces that were completely external to him, yet completely determined his existence. The most pitiful victims of such forces, because the most innocent, are children, and therefore it is no accident that important neorealist films featured them. Iranian films made in the wake of the 1979 Islamic Revolution often feature them, too: in addition to Jafar Panahi's The White Balloon (1995) and The Mirror (1997), as well as Samira Makhmalbaf's The Apple (1998), Amir Naderi's The Runner from 1984, Abbas Kiarostami's Where Is the Friend's House from 1987, and Ebrahim Foruzesh's The Jar from 1992 deserve mention. But Iranian movies have child protagonists for a different reason: to avoid the mine field of Islamic restrictions on the portrayal of adult male-female relationships by cloaking grown-- up themes in the metaphorical raiment of children's stories. Actors portraying a married couple, for instance, cannot touch each other on screen in theocratic Iran unless they are also married in real life because it is a violation of Islam for unrelated men and women to touch. And actresses, like all Iranian females over the age of nine, must cover all the hair and curves of the body, even in scenes depicting private moments at home where, in real life, every woman sheds her Islamic coverings. In addition, there cannot be any extended close-up of an attractive actress, because such a shot might be construed as an exploitation of female beauty; indeed, Iranian actresses deemed too seductively beautiful are forbidden to appear on screen at all. With female children, of course, none of these restrictions are an issue. What is an issue in the censorship-bound Iranian cinema, however, even in films featuring children-whom Iranian auteurs, like the Italian neorealists before them, use partly as emblems of innocence in a world under internal as well as external siege-is sociopolitical criticism. Each film must be approved both in screenplay-form and in the final cut by the autocratic Islamic government, which generously funds domestic cinema but severely restricts foreign imports, especially those that contain sex and gratuitous violence; and which government did not, until 1988 with the end of the Iran-Iraq war, allow Iranian films to appear at international festivals. Furthermore, casts and crews themselves are vetted for political and religious correctness. Still, just as Italian neorealist cinema treated pressing postwar problems such as unemployment, poverty, and social injustice by focusing on stories of recognizable characters taken from daily life. Iranian films for their part manage to be cautiously or obliquely critical of government failure, social malaise, and clerical excess in a nation whose ordinary (not necessarily extremist) people, above all its average boys and girls, have been ravaged by politico-religious revolution, economic recession, and international isolation precipitated by their nation's hostile dealings with the United States. I am thinking here of Kianoush Ayari's black-and-white taxi-thief film of 1993, Abadani-Ha, which took De Sica's Bicycle Thieves as its model; and of Nargess (1992), made by the woman director Rakhshan Bani-Etemad in a country not known for championing the freedom of women, artistic or otherwise. Now we belatedly get The Children of Heaven (1997), whose title itself is an oblique criticism, and which scores its delicately political points by making them in a movie about yet another pre-political child. The Children of Heaven was written and directed by Majid Majidi (whose only previous film, The Father [1996], was also about a child, in this case a fourteen-year-old boy and his troubled relationship with his stepfather), and its plot bears some similarities to that of Panahi's White Balloon, which dealt with a seven-year-old girl's attempts to retrieve money she lost so that she can purchase a prized goldfish. …" @default.
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• W160296844 date "2002-01-01" @default.
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• W160296844 title "The Children of Heaven, on Earth: Neorealism, Iranian Style" @default.
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