Baran (2001)

`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.

Fmovies: I saw this film at a sneak last week. This is a film by Majidi Majidi the amazing Iranian director who's last film was "The Color of Paradise." At its center "Baran" is a love story that is about that most romantic of loves - the unrequited kind. What makes the film so timely is that in involves an Iranian who is in love with an Afghanistan illegal immigrant. The performers are non-pros and the effect this has upon the viewer is close to documentary in nature. We become involved in the Afghan culture in a very real and immediate way.

Majidi's 'Baran' is cinema at its purest. There is no background music. No prominent special effect. The female lead does not speak a word. It's filmed in the simplest way. It's not a colourful film and yet it is so stunning to look at because the raw Iranian landscape is beautifully captured. Majidi's films have always been subtle. He depicts the hardship of Afghan refugees in Iran very well especially the struggle between both the Iranians and the Afghans and the consequences. The story revolves around Lateef and the title character Baran. Initially Lateef loathes her but as his attraction towards Baran grows stronger, he is drawn towards her. Their love story is beautifully displayed as pure and innocent. Not a word is exchanged between Lateef and Baran and this simply shows that love need not be explained with words or even touch but with action and Lateef's sacrifice proves the depth of his love. Majidi also adds a touch of humour that adds to the genuine charm of the film. He makes some astonishingly clever use of symbolism such as the last scene when Lateef looks back at Baran's footprint (after she has departed), it represents the print she left on his heart. Hossein Abedini is fantastic as Lateef. His sublime transformation from the brattish, selfish and vindictive boy to the passionate, kind and selfless lover is phenomenal. Moreover the fact that a newcomer played the part makes it more incredible. The young and stunning Zahra Bahrami is equally amazing. The actress does not get one line to say yet her non-verbal acting is stupendous. The supporting cast, though most of them include non-professionals, look authentic. To me 'Baran' was truly a unique and enlightening experience. Films like this are a rare 'breed'. They are not easy to find.

Baran fmovies. One of the aspects of this film not touched by other reviews here is the quality of the directing. it is incredible how as you watch the film your natural inclination to see the situation solved is completely drowned out by the motion of the film. Its unusual to find such a philosophical film that keeps both your eyes and heart wide awake.

The truly altruistic nature of love, the crazy things it makes you do and not regret are born out in this film in beautiful ways. From an Iranian perspective it is an interesting look at cross-cultural phenomena but I think the average American doesn't know enough about Afghani, Kurdish and Iranian culture to appreciate that.

You see this coming from the start but I'll warn you that the next thing I say might spoil part of the film for you:

My favorite scene is at the end when she drops her burka as she realizes he loves her, realizing how dangerous her beauty is, how it has left this poor boy in emotional and financial chaos and how she cannot do anything to help.

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.

In Iran, when the illegal Afghan worker Najaf (Gholam Ali Bakhshi) breaks his foot in an accident in a construction of a building, his fragile son Rahmat becomes his replacement. The master Memar (Mohammad Amir Naji) makes Rahmat responsible for feeding the worker, and brings the young Lattef (Hossein Abedini), who was responsible for this task, to the heavy work. Latted becomes jealous of Rahmat, and spends a cruel treatment to him. However, when Lateef finds that Rahmar is indeed a girl called Baran (Zahra Bahrami), he falls in love for her and spends all his savings and gives his best efforts to protect her family and her.

"Baran" is a simple, human, beautiful, touching, irresistible wonderful love story. Exposing the situation of the explored Afghans refugees in Iran, after the Soviet invasion, their civil war and the Taliban regime, this movie also gives a lesson of humanity, sympathy and generosity. The actors and actresses have very realistic performances, showing an excellent direction and the character Baran does not speak any word along the story, using only her facial expression to disclose her inner feelings. And the sacrifice of Lateef to please the family of "Baran" shows the essence of a pure and platonic love. The arid and cold landscape completes the scenario of this gem. My vote is eight.

Title (Brazil): "Baran"