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A film comprised of three interconnected vignettes that depict women at three stages of life in Iran. The first part centers on a young girl on her ninth birthday who is told that she can ... See full summary »
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Nada Abou Farhat,
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Norman Thaddeus Vane
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This film was a total surprise for me. Though the commercial poster of film included one extremely beautiful (mirror) still image, I never would have believed that these days some artists are capable to create such a beauty as this cinematic title is. Visually this film resembles me of 1920s productions, and artistically the watching experience might be comparable to an enjoyment of listening Renaissance vocal polyphony.
If something should be said against this film: violence is partly understandable subject of this title, but no harm would happen to the story if the director followed the wise steps of Fritz Lang - aggressive acts can be shown also in invisible way. Compared to "action" films Paths in the night is a true pearl. Part of the magnetic power derives from the "lack" of colours. (By the way: why don't directors make decisions between black-and-white and colour more often? It seems that almost all titles are colour films without need for colours.) Imaginative world is colourless, just like history.
Sound scape of this film fits well. Limited amount of actors are introduced also through music; four persons, four worlds linked together. Main character's world is naturally the one dominating. He is actually a bit like inspector Dreyfus (Herbert Lom) from Clouseau films - partly also so because of the comedial moments of this film. But first of all, I would say that a tragical theme is the leading one. Like life itself.
I would like to recommend this film for all those who are interested in fantastic pictures and who so enjoy visiting museums dedicated to photography.
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