Odds hardly deter her

Young Iranian director Samira Makhmalbaf draws images of men, women and children tortured by the brutality of bullets, in her film ``Blackboards''. GAUTAMAN BHASKARAN finds out a little more about what exists behind her film.

SAMIRA MAKHMALBAF caused a sensation at Cannes with her film,``Blackboards''. She was probably the youngest director to have featured in the Festival's top slot. Twenty years of age and just two movies old, she was competing with veterans like Ken Loach, Amos Gitai and James Ivory.

And her picture had to be smuggled out of Iran. Shot in the mountains of Kurdistan without the autocratic regime's permission, ``Blackboards'' may not be high on craft, but has a certain freshness and innocence that even caught the eye of the jury. Samira shared the Special Prize with a Swedish director.

To me what was even more remarkable was Samira's ability to provoke audiences with a bold theme. A group of men, perhaps Kurdish refugees, wanders on hostile terrain using blackboards not just to teach unwilling children and older people, but also as a shield against bullets and bombs. The ceaseless - and senseless - violence has been effectively captured to weave moving stories: of little boys who smuggle goods across the border, often hiding themselves among flocks of sheep, and; of one woman (said to be the only professional actor in the entire team) who is forced into a bizarre marriage with a blackboard as dowry.

Undoubtedly, there is more to be read in this tale of haunted fugitives, but at a very real level, Samira packs into her work enough drama and suspense that lead to a great climax. However, not before she has carved out memorable characters and poignant situations: the two indefatigable teachers, for example, one of whom in a touching scene reads out to an old man what his jailed son may have written in a letter. The contents are in Arabic, which the man with the blackboard cannot understand, and so he makes up something that lights up the father's lonely heart.

``Blackboards'' has such moments of joy in a canvas of darkness and depression, reflecting Samira's attitude to life, which has a good measure of celebration.

A beautifully made-up face peeps out of a dreary black scarf when I meet Samira. Her dress itself is all black, but the young woman's confidence and optimism light up our conversation that summer's day at Cannes.

Are you nervous? I shoot my first question. ``No, I am happy. My film is being seen by different people of different cultures. I am also pleased that I have broken some barriers - as a woman and as someone as young as me. I hope I would be an inspiration to others''.

How easy or how difficult is it to be a woman and to be young in Iran? ``Women have a tough time all over the world, but in my country it is particularly terrible. We face many hurdles, because of the written law and also because of the unwritten code. People are generally prejudiced, and they have their own narrow views on what a woman should or should not do. It is all very frustrating for us.

``Yet, there is a way out of all this. I think I have proved that. I am woman who has been able to make two movies, and in one of them, ``The Apple'', I show the bleak world of Iranian children shut away from the sunshine of newer ideas and images. This probably presents the dichotomy of a nation torn between these two extremes''.Nonetheless, Samira does not despair beyond a point. For, she feels that Iran's present administration is keen on bringing about changes. ``I think we are moving away from a revolution to a state of healthy evolution, and things can only get better, especially for women. I am sure they will get more opportunities in the days to come.''

But, do Iranian women have the inclination to grab these chances as they come? ``Of course, they have the desire to rise. There are many who have the potential energy to sparkle which is only waiting for that tiny spark''. The volcano will then spew all that remained latent for a long time.

For Samira, that push came from her well-known father, Mohsen Makhmalbaf. When she was eight, she played out a small part in his gripping piece of celluloid, ``The Cyclist''. Even though she never went to a film school, she has had just about the best coaching - at home. She was a regular on her father's sets, and he would always allow little Samira to look through the camera, and she eventually fell in love with cinema. In fact, he even helped her write the script for ``Blackboards'', find locations and finally edit it.

Samira put her spirit and soul into the picture and gave it a new meaning. ``Blackboards'' ultimately stands for life and love. Not just for knowledge. The film is also metaphoric: it implies brotherhood with its power to melt hearts and resolve conflicts. ``Borders are unimportant. They are meaningless in the face of human love'', says Samira.

Most of the Iranians - nearly 70 per cent - are under 20, and war is the last thing they want. They have other ambitions, wonderful dreams of furthering their careers and bringing about comfort, happiness and peace in their lives. If these are to happen, the youngsters know that democracy and freedom are essential. Teheran is aware of this mood, at least it has its finger on the people's pulse.

Samira hopes that her latest work would enlighten the powers that be about a path that holds out the promise of a better morrow. The letters on her blackboard emphasise this as they appear and disappear in a dust of dangerous chemicals unleashed by one man on another.

Send this article to Friends by E-Mail

Section  : Entertainment
Next     : Film Reviews: Tarkieb / Sleepy Hollow