TOO FAR AWAY, TOO CLOSE
Iran, 2005, 130 minutes, Colour.
Directed by Reza Mir- Kirimi.
Reza Mir- Kirimi has a talent for well-crafted narrative films as well as a deep religious sense. This has been evident in his previous films, Under the Moonlight (about a trainee mullah who has to reaffirm his vocation after being exposed to the poverty and seamier side of Tehran) and Here, a Shining Light (about a simple guardian of a shrine who gives its possessions to the poor). Both are SIGNIS award-winning films.
This is a much more ambitious film which he carries off with smooth aplomb. The focus is on a wealthy Tehran specialist who has neglected his son, preferring celebrity, dubious connections in the criminal world and a penchant for betting. He goes on a journey (this is a special road film) which becomes a spiritual quest, even a pilgrimage to find his son on an astronomy trip in the desert. His being along, his concern about his son's health and his own carelessness in his son's regard, the people he meets along the road, all make emotional demands on his that he is at first reluctant to acknowledge and follow. When he meets a young, dedicated doctor who has put him on a pedestal and whom he helps when she is called to an accident emergency, makes him reflect more deeply on the values in his life. Ultimately, he is lost in the desert and only a miracle can save him. He has to face his life and his death. It is a test of his faith, which he has neglected even more than his son.
Mir- Kirimi does not emphasise the spiritual and religious dimensions of the doctor's journey. Rather, they are referred to and the audience is expected to have their own views on faith and providence and how they interpret the doctor's actions.
The film sketches in considerable detail of contemporary life in Iran and also offers a wealth of vistas and landscapes with changing weather, grandeur, beauty as well as terror. Very much an Iranian film but one which communicates on a universal level.
1. An engaging human story, themes of the transcendent, faith and God?
2. The Teheran opening, the affluent world, their transition to the desert and the countryside, the landscapes of Iran, the poor village? The emotional musical score?
3. The film as a road film, a life pilgrimage, a spiritual journey?
4. The opening and its tone, the TV studio, the cooking programs, the glitzy world of television, personalities, interviews? The doctor and his presence, uncomfortable, the omen of his hands crossed, the old man talking with him? The sequences being intercut with the delivery of the x-rays? His secretary in the office? His absence? The tone given by the opening?
5. First impressions of the doctor, his dignity, waiting at the television station, the atmosphere of superstition, the gift of the telescope and his not taking it home, his setting it up and looking at the stars, missing his son’s birthday? His interest in racing, the horses, the Internet information, the phone calls and the bets? The gangster types, the meal, the interview, wanting him to supervise an operation, the deal, the money exchanged? His return home, his missing his family, the servant and her rebuke?
6. Looking at the x-rays, the discovery that they were those of his son, the phone call to the doctor, the advice given and the doctor not knowing that he was the parent, urging the parent to cope?
7. The decision about his son, trying to find him, the doctor giving the information about his daughter, watching the video of the party, talking to the daughter on the phone, his son’s health, leaving the card for greeting for New Year, his age, astronomy, going with the group, the competition, needing the telescope?
8. The doctor’s journey, the wide range of landscapes he passed through, the people greeting him on the way, the man on the bike, the religious conversation, the old man with the petrol (and later discovering that he had sold him water)? Paying him the money? Asking people directions? The mobile phone and the range of phone calls, the young girl, looking at the video? His son talking to him?
9. His arrival in the village, the young group having moved on? The doctor, her story, her simplicity, dedication to her work, looking at the x-rays in the car, her sympathy for the doctor, respect for him, the memory of his lectures? Her having treated the son? The meal? Talking with him? The news of the accident, the doctor driving her, the discussion with the mother, her only son, the injured young man in the mine, the instruments and the need for an instrument for examining eyes? The phone call, the group coming but not being able to take the doctor to the astronomy site? His son and losing consciousness, the young woman and the phone calls? His anxiety, leaving early in the morning, leaving the ophthalmic instrument?
10. His continued driving, lack of petrol, discovery of the water, letting it flow out in his anger? Going to the top of the hill, the mobile phone not working? Walking, returning to the car, his being tired? The winds, the gradual covering of the car in sand?
11. His waking, discovering that he was buried, choking, the meagre water, the battery and the light fading, his reading the book on astronomy, watching the scenes on the camcorder, the reverse and, in a sense, his going back through his life, especially his relationship to his son going back to his childhood? His desperation, resignation, his reflecting on God and his lack of faith?
12. His lack of faith, his arrogance, selfishness, preparing to die?
13. The memories of his son, his age, illness, the symptoms, the competition, his mother’s letter and reading it to his son?
14. The role of the mobile phone, its ringing at the end? A miracle? The possibilities of this kind of miracle? The mystical overtones? The Michelangelo image of the son reaching his hand in to take his father and create a new life for him?
