Talaye sorkh

Written by the most prominent figure in Iranian social realist cinema, Talaye Sorkh is very much suggestive of some social realities in contemporary Iran. Following an underclass pizza-delivery man for a day or two of his life, Panahi's camera pictures a story that speaks only not for Hussein, but also for many of his real-life fellow citizens in Tehran. Although the film appears to be highly critical of the current social gap between the rich and the poor, Talaye Sorkh is more about alienation and marginalization. Hussein is a war veteran who is devastated by the contradictions of the values he fought for in the Iran-Iraq war and what he witnesses in the affluent neighborhoods of northern Tehran, where he delivers pizzas. He is shocked to see a former lieutenant in one of those chic houses. Thanks to Hussein Emaduddin's great performance, the film by no means begs for sympathy. It seems that the tensions of the society in which Hussein lives, has made him an emotionless man. Hussein's toneless attitude and his unusual calmness speaks of a man whose tolerance comes to a rapid explosion at the end. He is a sort of man who is unable to even feel for his fiancé. Robbing young women's purse doesn't seem to interest him either. Throughout the entire film he is in a state of shock. Although the film's plot is based on a true story, its dialog seem a bit incompetent and weak at times. The dolly shots and the overall camera-work however perfectly contributes in suggesting a schizophrenic atmosphere which has indeed been the intention of Panahi as well. Panahi's latest film is very much similar in theme with his previous award winning Dayareh. That film is also recommended for those who enjoyed this one. 故事发生在伊朗的一个城市，主人公侯塞因在两伊战争退伍之后，做了比萨速递员，靠送比萨给到富人区来维持生活。他爱上朋友阿里的姐姐，并希望娶她为妻。阿里是个小偷，一次，他偷到手的手袋里竟有一块黄金。侯塞因想给自己的爱人买一件首饰，在旁人的怂恿下，他与阿里去珠宝店购物，却遭到奚落，在贫富世界的巨大差异下，侯塞因感到深深的失落，愤怒之下他打劫了那家珠宝店，并为之付出沉重的代价。
在《深红的金子》之前，贾法·潘纳西还奉献过《白气球》、《谁能带我回家》、《生命的圆圈》三部杰出作品。摄影机勇敢地对准了生活的现实，展示了贫富不均的社会以及压迫争斗。从影响上来讲，《深红的金子》远远比不上导演的前几部作品，但嘎纳电影节还是慷慨地把评审团大奖颁给了它。贾法·潘纳西以一个斗士的姿态出现在世人面前，成为最受瞩目的伊朗电影后起之秀。从这部片子看，复杂、象征、形式感等理性特征更加明显，离阿巴斯的随意创作越来越远了，当一部影片被赋予太多的表意功能，那就表示它受到了很多的束缚。饶有趣味的是，学院派出身的潘纳西不受其他人的影响，五年不看电影，这种刻板有余的世界观也是其目前作品风格的根源。

4444(创建者)