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Title: Smell of Camphor, Fragrance of Jasmine (2000)
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Ebrahim Abadi | ||
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Dariush Asadzade | ... | (as Daryush Assadzadeh) |
| Firouz Behjat-Mohamadi | ... | Memorial Sign Rental (as Firouz Behjat Mohammadi) | |
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Valiyollah Shirandami | ... | Homayouni - The Actor (as Vali Shirandami) |
| Hossein Kasbian | ... | Abdollah (The Servant) | |
| Reza Kianian | ... | Dr. Arasteh (The Attorney) | |
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Mahtaj Nojoomi | ... | Bahman's Sister |
| Parivash Nazarieh | ... | Farzaneh | |
| Roya Nonahali | ... | Woman Hitch-Hiker | |
| Bahman Farmanara | ... | Bahman Farjami | |
Death surrounds Bahman, a director who hasn't made a film in 24 years (he can't get past the censors). He's working on a documentary, for Japanese TV, on Iranian burial practices. On the anniversary of his wife's death, a hitchhiker tells him a story of spousal abuse and infant mortality, he discovers that someone has been buried in his plot next to his wife, and he needs the help of his attorney, a well-connected fixer. He dreams of death, even as he investigates it for his film. His niece's husband, a well-known writer, fails to return home; he searches hospitals for an unclaimed body. His heart disease is flaring up. Is he prepared for death? Is that all that's left? Written by <jhailey@hotmail.com>
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This film was one of the first by the director in over twenty years. It seemed that he had run afoul of Iran's Revolutionary Guard and he was banned from making films--his permits being rejected again and again. I have no idea why he was suddenly allowed to make films, but I'd sure like to know why he was denied the right to make films as well as why he didn't leave the country in order to make movies.
Oddly, this film seems to be autobiographical--with the director also playing the leading character--a man exactly like the director himself. He is getting older and begins to contemplate his own death. Because he is so obsessed with his demise, this film is NOT recommended for seriously depressed people, as it might push them over the edge! Plus, many non-depressed people will no doubt dislike the somber and sad mood throughout most of the film. Frankly, it made me feel pretty awful watching it.
However, near the end, this very conventional film becomes very unconventional--with some surreal sequences about death that are somewhat reminiscent of a Berman film. Here is where the film excels, though waiting for these segments is a bit of a chore. As a result of this and the tone of the film, this is an interesting film that is probably not to everyone's taste.