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XIX:13) Abbas Kiarostami CLOSE-UP/NEMA-YE NAZDIK (1990, 100 Min)

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XIX:13) Abbas Kiarostami CLOSE-UP/NEMA-YE NAZDIK (1990, 100 Min) November 24, 2009 (XIX:13) Abbas Kiarostami CLOSE-UP/NEMA-YE NAZDIK (1990, 100 min) Directed, written & edited by Abbas Kiarostami Cinematography by Ali Reza Zarrindast Mohsen Makhmalbaf...Himself Abolfazl Ahankhah...Himself Mehrdad Ahankhah...Himself Monoochehr Ahankhah...Himself Mahrokh Ahankhah...Herself Nayer Mohseni Zonoozi...Herself Ahmad Reza Moayed Mohseni...Family Friend Hossain Farazmand...Reporter Hooshang Shamaei...Taxi Driver Mohammad Ali Barrati...Soldier Davood Goodarzi...Sergeant Haj Ali Reza Ahmadi...Judge Hassan Komaili...Court Recorder Davood Mohabbat...Court Recorder Abbas Kiarostami...Himself (voice) Hossain Sabzian...Himself / Makhmalbaf Ten (2002), Bad ma ra khahad bord/The Wind Will Carry Us (1999), Ta'm e guilass/A Taste of Cherry (1997), Zendegi va digar hich/And Life Goes on… (1991), Nema-ye Nazdik/Close-Up (1990), Mashgh-e Shab/Homework (1989), Khane-ye doust kodjast?/Where Is the Friend’s Home? (1987), Avaliha/First Graders (1984), Dandan Dard/Toothache (1983), Hamshahri/Fellow Citizen (1983), Hamsarayan/The Chorus (1982), Be Tartib ya Bedoun-e Tartib/Regularly or Irregularly (1981), Behdasht-e Dandan/Dental Hygiene (1980), Ghazieh-e Shekl-e Aval, Ghazieh-e Shekl-e Dou Wom/First Case, Second Case (1979), Rah Hal-e Yek/Solution No. 1 (1978), Bozorgdasht-e mo'Allem/Tribute to the Teachers (1977), Lebassi Baraye Arossi/A Suit for Wedding (1976), Rangha/The Colours (1976), Man ham mitounam/So Can I (1975), Mossafer/The Traveler (1974), Tadjrebeh/The Experience (1973), Zang-e Tafrih/The Breaktime (1972), Nan va Koutcheh/The Bread and Alley (1970) Ali Reza Zarrindast has been cinematographer on 66 filmes, some of which are Superstar (2009), Majnoone leyli (2008), Farzande khak (2008), Raees/The Boss (2007), Atash bas/Cease Fire (2006), Abbas Kiarostami (22 June 1940, Teheran, Iran—) wrote 41 films, Hokm/Verdict (2005), Vakonesh panjom/The Fifth Reaction (2003), directed 38, edited 27, produced 10 and did cinematography for 5. Molaghat ba tooti/Meet the Parrot (2003), Cheshmhayash/Her Eyes Some of the films he directed are: Copie conforme (2009), Shirin (2001), Bolugh/Maturity (2000), Faryad/Cry (1999), Sajdeh bar (2008), Kojast jaye residan (2007), Roads of Kiarostami (2006), ab/Prostration on Water (1998), Safar-e shabane/The Nightly Tickets (2005), 10 on Ten (2004), Five Dedicated to Ozu (2003), Journey (1997), Arabeh Marg/Chariot of Death (1996), Pak Kiarostami—CLOSE-UP—2 bakhteh/Born Loser (1995), Doshman/The Enemy (1995), learned anything at university, Kiarostami did not hesitate: ‘Yes, I Partgah/The Precipice (1994), Ghafele/The Caravan (1992), Nema- learned that I was definitely not made to be a painter.’ ye Nazdik/Close-Up (1990), Arousi-ye Khouban/Marriage of the Kiarostami’s real discovery during his university years Blessed (1989), Telesm/The Spell (1988), Dastforoush/The Peddler was, however, graphic design, which was also to direct his first (1987), Kharej az Mahdudeh/Off-Limits (1986), Noghteh Zaf/Weak professional steps as an artist. At first he worked in designing book Point (1983), Treasure of the Lost Desert/Battlefront Victory covers and advertising posters, and became fascinated by this (1983), Khatte ghermez/The Red Line (1982), The Guns and the ‘minimalist aspect of graphic design […], an art that communicates Fury (1981), Cat in the Cage (1978), Gozaresh (1977), Daii jan its message to the general public with the minimum of means and Napelon/My Uncle Napoleon (1976), Serayadar/The the maximum of constraints’. But then, in 1960 he was employed Custodian/Harmonica (1976), Tadjrebeh/The Experience (1973), by the leading advertising film agency of the time, Tabli Films, and Khastegar/The Suitor (1971), Khodahafez rafigh/Goodbye Friend during that decade he dedicated his efforts increasingly to this area. (1971), Az yad rafteh/Forgotten (1970), Shokooh-e According to Kiarostami himself, he made one hundred to one ghahraman/Hero’s Glory (1969). hundred and fifty film advertisements over a seven- or eight-year period, forging a solid reputation; he finally left the profession, from The Cinema of Abbas however, dissatisfied Kiarostami. Alberto Elena. with its overriding SAQI, London, 2005. commercial pressures. Kiarosami’s tangential “Film begins with D. W. links with the cinema Griffith and ends with Abbas were reinforced by his Kiarostami.” Jean-Luc Godard work designing film credits, which he started “Words cannot describe my in 1967….His affinity feelings about his films….When for this kind of work Satyajit Ray passed on I was does not appear to have very depressed. But after seeing been anything Kiarostami’s films I thanked extraordinary, however, God for giving us just the right and (although this is person to take his place.” often claimed) he did Akira Kurosawa not join the Centre for the Intellectual Development of Children and Young Adults in 1969 on the strength “I don’t like giving interviews […], because I am always left of his cinematographic experience, but on the strength of his feeling that I’ve said nothing interesting. My real aim is to avoid reputation as a graphic designer. In fact, he was actually employed them; then I do feel very relieved.” Much has changed, obviously, to illustrate an edition of a children’s book by the great poet Ahmad since Abbas Kiarostami described himself in these terms so long Reza Ahmadi. ago, in 1978; but certainly this timidity, laconic style or reserve, this Some of Kiarostami’s most confusing and even traditional component of the traditional art of taqiyé (discretion, contradictory statements relate precisely to this area of his film dissimulation) have long characterized his career. Even now, vocation and training. ‘Apart from a short stay in Prague when I Kiarostami is extraordinarily reserved about many areas that might went to see amazing films in a strange language’, he declared in be termed biographical or personal. He confines himself to 1990, ‘I don’t think I’ve seen more than fifty films in my entire repeating a few facts and basic items of information that have long life.’ On various occasions he has recalled how his real interest been in circulation; at times he even offers differing or even began only when he was thirteen or fourteen, with the arrival of contradictory versions of the same events.… neo-realist Italian films in Iran. These came as a breath of fresh air Born in Tehran on 22nd June 1940 into a large family from to the anxious adolescent used to seeing only commercial American the northern region of Gilan, Abbas Kiarostami—of this we can be films; for the first time he could see on the screen people who were certain—did not have a particularly happy childhood. The son of a recognizably like those he saw in everyday life. However, in his painter and interior decorator, he may well have inherited from the longest commentary on this subject (a personal article written at the latter his inclination towards visual art forms, although he has more request of Positif magazine in 1994), Kiersoatmi expanded on a than once admitted that as a child, his paintings mainly served to previous hint: what really interested him in many of these films was combat his loneliness. Abbas was an introverted child with not De Sica but Sophia Loren… Again, in the same article, he communication problems, and throughout his basic education he expressed his admiration for Fellini and La dolce vita, a film that never talked to any of his classmates. We know from later chance made a ‘deep and completely different impression’ from any film references that he even ran away from home at sixteen, although it he had seen before. Two years previously, however, Kiarostami had is difficult to assess the importance of this escapade. In any event, said something quite unlike the above in the same magazine: ‘I two years later he left home for good, working in the traffic police often went to the cinema when I was young, and I remember being until he succeeded in gaining a place—after one failed attempt—in deeply impressed by the Italian neo-realists, especially by the Faculty of Fine Arts of Tehran University. Having to combine Rossellini’. This (apparent) lack of consistency is nothing unusual his studies with work, now in the Traffic Management of Tehran, he in Kiarostami; it also extends to his judgments and opinions about took a long time to graduate. Once, when asked whether he really filmmakers such as Dreyer, Bresson or Godard, whose influence on Kiarostami—CLOSE-UP—3 his films one way or another Kiarostami seems equally ready to before embarking on more ambitious projects or going deeper into accept or deny. the complex area of didactic cinema…. Kiarostami’s praise in recent times for various foreign colleagues has been lavish and his recognition of profound With only two shorts behind him and still working with Kanun, cinematic influences marked, yet for most of his career the tendency Kiarostami embarked in the mid-1970s on two medium-length has been quite the opposite. In an important interview published in features, The Experience (1973) and A Suit for the Wedding (1976), the daily journal of the 8th Tehran Fajr International Film Festival in and his first full-length feature, The Traveller (1974). All of these 1990, Kiarostami not only declared his ignorance of cinéma vérité more clearly define Kiarostami’s universe and his methods at a or Dreyer’s work, for example, but also insisted that he does not period in his career that was crucial yet which for various reasons choose which films to go and see on the strength of the name of the (including, obviously, the restricted circulation of these films) is too director. He also flatly denied the influence of any foreign film or little known and undervalued…. director….There are nevertheless two fundamental points to make The Report, Kiarostami’s second full-length feature and about Kiarostami’s bursting unexpected into the film-making world the most rigidly censored of all his films after the outbreak of the on joining the Centre for the Intellectual Development of Children Islamic Revolution, is for may reasons, a complete rara avis among and Young Adults at the end of the 1960s.
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