WHITE NIGHTS
Iran, 2002, 105 minutes, Colour.
Directed by Farzad Motamen.
White Nights takes its title from the film by Antonioni, whose poster is on the wall of the university professor's room. It also is based on Dostoevsky's novel of the same name which is seen at the end of the film.
The film is in the vein of the Italian films associated with that of the film in the poster. This is particularly the case of Michelangelo Antonioni where characters meet, interact, have intellectual and emotional discussions, have a tendency to philosophy and existential angst. (The main protagonist of this film is the actor who was the central character in the film Parole, made along the same lines.)
The film focuses on a professor of literature who listlessly reads poetry. He is challenged by one of his students to read his material with feeling. He himself takes refuge in books and has a rare book collection. By chance, walking home, he meets a woman waiting for a friend. They talk, she trusts him, she stays with him for four days while waiting for the friend to come to get her. During these days they talk (almost incessantly) and discuss all kinds of issues of life and fantasy, commitment to reality, escape into literature. As they talk, the young woman who has a low opinion of herself, becomes more self-confident. The professor, whose mother won't even speak to him, realises that he has cut himself off from human contact and gradually discovers a friendship and love for the young woman. The major interruption to these dialogues are meals at a restaurant and visits to the bookshop. Eventually, on the fourth night, the man comes for the woman and she decides that she loves him and goes off with him. However, she returns to explain this to the lecturer. He, in the meanwhile, has sold his collection of books, keeping only one as a memory of his transition from the world of fantasy into a commitment to reality, even speaking with his mother.
The film is well made and acted - but, with films of constant conversation, requires patience and stamina in responding to it.
1. A film of conversation, psychological exchange, emotions?
2. The title, the allusions to Italian film-making and the film modelling itself on those of Antonioni? The allusion to Dostoevsky?
3. The structure of the film, the focus on the lecturer, the encounter with the woman, the interludes at the bookshop, their continued discussions, at home, walking the city, meals? The musical score?
4. The character of the professor, his explanations of himself, his not speaking with his mother, his reliance on books, his collection of rare books? The listlessness in the class, the students not listening, making noise? The young women talking with him and challenging him? The discussions with the bookshop owner? The chance meeting of the girl, his presumptions about her, the conversation, her trusting him? Her staying with him, his reactions, listening, talking, reflecting? His discoveries about himself, about her, his ability to encourage her to self-confidence? The decision to sell all the books? The bookkeeper and his arrival? The cheque? The final book that he kept as a memento of his change? The girl, the fourth night, the man coming to get her? His rendezvous, her not coming? Her final explanations, his love for her, total commitment, ability to let her go? His transformation?
5. The young woman, waiting, the encounter with the man, able to trust him? The discussions, her place in the house, feeling at home, the meals? The books? Discussing, exchanging ideas? Her gradual self-confidence, attachment to the professor? His declaration of love? The man coming for her, her going, return, explaining her love, leaving the lecturer?
6. The bookkeeper, the discussions with the professor - and his finally coming with the bandage and his ironic explanation that nobody will believe the truth?
7. The lecturer's mother, her ignoring her son, the ending?
8. The effect of this kind of intellectual and emotional conversation film on an audience for its own emotions and understanding of human nature?
