By A. A. Seyed-Gohrab, Kamran Talattof
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Additional info for Conflict and Development in Iranian Film
Inside a dark cave used for keeping animals, Behzâd has a conversation with a young girl who is milking the cow to fill his bucket. She has a single lantern. and ends with the verse quoted by Behzâd. Strikingly, the scene is again a filmic representation of the poem (as when the child appears to guide the wandering Landrover). It is not totally clear what Behzâd’s motives are here. After a brief conversation with the girl, in which he extracts very little information from her but ascertains that she has never heard of Forugh Farrokhzâd, he proceeds to recite the poem after which the film is named.
The endings of such films must also provide some sort of moral lesson. This explains the tragic ending of Hemlock in which the mistress dies in a car accident. However, the movie’s success in the box office was, in my opinion, due to all the preceding scenes. In other cases, the protagonist’s emotions are expressed through highly metaphorical or symbolic discourse. For example, actors use a suggestive language to talk about something relating to their beloved, to their faith, or to their situation.
44. , trans. H. Gray, Berkeley: University of California Press, 1967-71. , “Everyday Speech,” Yale French Studies, vol. 76, 1987, 14-15. , Cinema 1: The Movement-Image, trans. H. Tomlinson and B. Habberjam, London: Continuum, 2005 (a). —, Cinema 2: The Time-Image, trans. H. Tomlinson and B. Habberjam, London: Continuum, 2005 (b). , Questions of Cinema, Bloomington: Indiana University Press, 1981. Macbean, J. , “Vent d’Est, or Godard and Rocha at the Crossroads,” in Movies and Methods vol. 1, B.