THROUGH THE OLIVE TREES
(a.k.a. UNDER THE OLIVE TREES)
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 8.0
U.S. Availability: limited release Spring 1995 Running Length: 1:43 MPAA Classification: No MPAA Rating (Nothing offensive)
Starring: Mohamad Ali Keshavarz, Hossein Rezai, Tahereh Ladanian, Zarifeh Shiva Written, Produced, and Directed by Abbas Kiarostami Cinematography: Hossein Djafarian Released by Miramax Films Subtitled
THROUGH THE OLIVE TREES, the latest movie from Iranian director Abbas Kiarostami (and the third in an unofficial trilogy of which the first two chapters were WHERE IS THE FRIEND'S HOME? and AND LIFE GOES ON...), is an art-film lover's art film. Slow almost to the point of stagnation, the movie serves the dual function of a character/relationship study and a firsthand look at the difficulties of making a motion picture in the rural regions of Iran. If you've never had the unique experience of simultaneously being bored and fascinated by a movie, THROUGH THE OLIVE TREES is a likely candidate for the first opportunity.
I didn't fall asleep during the film, but many patrons in the theater understandably did. Nothing much happens during the one-hundred minute running time. There are long periods of inactivity, including a climactic ten-minute shot of one person chasing after another. There's no dialogue during this scene, and the only sound (other than the music) is the wind rustling through the olive trees. Those without a tolerance for slow, deliberate movies will find this a trial beyond belief. It's not much of stretch to call this the cinematic equivalent of a Sominex.
The seemingly-turgid pace is necessary, however. Had things moved faster, numerous subtle and intricate touches would have been lost. The characters are all marvelously realized, and their interaction is so unforced that it draws the viewer in. Kiarostami has used carefully- framed point-of-view camera shots to emphasize the intimacy of his picture. This movie puts the audience right next to the actors.
The story is simple. A film director is making a movie in the Iranian countryside. He recruits local actors, but when shooting begins, a problem comes to light. His male lead, a young man named Hossein (playing himself), is madly in love with his fifteen-year old female co-star, Tahereh (playing herself). Because of Hossein's illiteracy and homelessness, a marriage is impossible, at least from the perspective of Tahereh's grandmother (who is also her guardian). Undaunted, the young man continues to pledge his undying love. For her part, Tahereh is busy studying for her exams and the last thing she wants is to engage in a conversation -- any conversation -- with the ardent suitor she wishes would go away. A finer cinematic portrait of unrequited love has not been seen since MANON OF THE SPRING.
Not only is the courtship (such as it is) of Tahereh and Hossein presented with a rare and unflinching honesty, but we are *not* given an opportunity to find out how things are resolved. The film's ending is open to interpretation and reminds us that movies are only windows into another reality, and it's possible for them to close at the most inopportune times.
Moments of comedy are sprinkled throughout, often relating to the difficulties experienced by the director of the film-within-the-film as he attempts to get uncooperative performers to complete a take. This device of having actors playing the actors who filmed one of Kiarostami's previous films (the on-screen director is actually actor Mohamad Ali Keshavarz playing Kiarostami) creates opportunities for confusion, but mostly it lends an air of verisimilitude to the proceedings that results in a documentary-like style. Kiarostami, a master of camera angles, uses a preponderance of deceptively simple shots to give his production a perspective that's very different from that of most current feature releases.
THROUGH THE OLIVE TREES is an exceptionally well-crafted and thoughtful motion picture. There is no melodrama here -- this is straightforward drama without frills or flourishes. Nevertheless, there are many -- even among the art-film crowd -- who will find this to be a colossal waste of time. American/Iranian cultural differences are an issue, but the real obstacle is the pacing. Those who fall under Kiarostami's spell will find themselves mesmerized. Everyone else will get a nice nap.
- James Berardinelli (jberardinell@delphi.com)
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