THE COW
Iran, 1969, 105 minutes, Black and white.
Ezzatolah Entezami, Ali Nassirian.
Directed by Dariush Mehrjui.
The Cow is the second film made by Dariush Mehrjui, his first being a spoof of James Bond. He studied at UCLA, on his return to Iran he made The Cow which was well received, then banned by the shah’s government because of the image it was said to have portrayed of Iran.
Mehrjui was a pioneer in the development of the Iranian film industry and was still making films at the end of the first decade of the 21st century. His films cover a wide range of themes as well as visual styles, but always a critique of the status quo, even of the Iranian government (both in the time of the shah as well as in the post-revolutionary period – his films being banned in both eras).
This film is set in a small village, the focus on a man who owns his pride and joy, a pregnant cow. When he leaves for a visit to Tehran, the cow dies. The villagers are keen to save him from suffering but build up a story that the cow wandered away and that they have sent someone to find it. In reality, they buried it in a disused well. When the owner returns, everybody keeps away from him. When he discovers the loss of his cow, it has such an effect on him that he begins to lose his mind, identifying with the cow itself, staying in the cowshed, eating the hay, saying that Hassam, himself, was on the roof to look out for thieves who would come to steal the cow.
The people in the village become desperate, their leader tries to work out all kinds of solutions – and they decide to take him to the city to see a doctor. As they travel up the hill in the rain, the leader starts to hit Hassan as if he were the cow, an animal. The others are shocked. Hassan then breaks loose and falls to his death.
While the film focuses on Hassan and his grief and identification with the cow, there is a great deal of observation of life in the village, from the role of the head man, to the religious chief, to the military policeman who enjoys provoking people, to a young man who has lost his wits and is tormented by everybody. There is a great deal of detail in the characterisation.
In some ways, this film and those like it set a tone for Iranian films with their focus on small stories within the community, focusing on the development of character – and with an austerity of film-making, especially initially in black and white.
The Cow won an award from OCIC in 1972 in Berlin.
1. Iran in the 1960s? Its cinema, Mehrjui as a pioneer? The ban on this film? The acclaim at film festivals?
2. The director and his work over forty years, the span of Iranian life, his critique?
3. The influence of Italian neo-realism, expressionism? Black and white photography, the landscapes, the compositions, the musical score?
4. The credits, the silhouette of the man and the cow? The cow itself, its importance to Hassan, in the village? Hassan and his meticulous care for the cow, affection? Its death, the burial? Hassan’s madness and identifying with the cow? Being seen as an animal – and his death?
5. Village life, isolated, small, the homes and streets, the windows and people peering out, the town square, the pool? The realistic presentation of the town?
6. The opening with the taunting of the slow-witted young man, smearing his face, the chase, the children, everybody joining in, the chief trying to stop the hurting of the man? This episode as an introduction to the village and the people?
7. Hassan, his wife, his love for the cow, its being pregnant? Taking it out, walking it, taking it to the water, washing it, the Bolouri and their watching, their reputation as stealing the livestock? Walking the cow home, sitting in the village, talking, the fears of the Bolouri, his decision to tie the cow in the shed, protecting it, the vigil? The images of the cow, content, eating? Hassan’s departure?
8. The transition to his wife, her screams and grief in the street, people gathering, the situation with the death of the cow, the concern about Hassan’s feelings?
9. Eslam and the others, the discussions, the plans, their taking their time to work out a strategy, the decision? The story of the cow running away? Dragging the carcass, digging out the old well, burying the cow and filling in the well? The man staying at home, allegedly searching for the cow? The woman and their relationship? The secrecy on the part of everyone? The slow-witted man, his being tied up, the rats, his breaking free? The military man and his taunts?
10. Everybody waiting for Hassan’s return, avoiding him, his worry, learning the truth, upset, the effect? His losing his mind, eating the hay, his eyes? Identifying with the cow, thinking that Hassan was on the roof on the lookout? His deterioration, the people trying to help, his hitting himself, injuries?
11. Eslam and the others, their characters, watching, worrying, the plan to take Hassan to the city and to the doctor?
12. Dragging Hassan out, tying him up, the rain, goading him up the hill, Eslam treating him as an animal, his rushing away to die? Eslam getting the cart to bring the body back?
13. The role of Eslam in the village, his leadership, the religious chief, the others? The military man? The mad man? The role of religion, prayer, superstitions? The evil eye?
14. The women in the village, out at the tombs, preparing the young woman for her marriage?
15. The Bolouris, the people’s hatred for them, their attack in the night? Their being beaten?
16. The picture of Iran and the countryside, the way of life, by the end of the 60s?
