Through the Olive Trees Page #3

Synopsis: The movie focuses on one of the events in Zendegi Edame Darad (1992), and explores the relationship between the movie director, and the actors. The local actors play a couple who got married right after the earthquake. In reality, the actor is trying to persuade the actress that they should get married.
Genre: Drama
Director(s): Abbas Kiarostami
Production: Artificial Eye
  5 wins & 5 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
83%
G
Year:
1994
103 min
750 Views


Tahereh, were killed

- Tahereh's parents?

- Yes.

- And then?

- They all perished.

On the third day of mourning,

I went to the cemetery.

There were so many people there

that I wasn't able to see her.

On the 7th day of mourning,

I saw her at her parents' grave.

I wanted to speak to her,

but her grandmother

asked me to pray for the dead.

Before I was able

to finish my prayer.

They had disappeared.

You haven't seen her since?

- Never?

- No.

Only once,

on the 40th day of mourning.

And what did you do?

On the 40th day, I went back

to the cemetery.

Her grandmother was there.

I said to myself

that these poor people

knew now that the world is cruel,

and that life is short,

that they wouldn't disappoint me.

If these people

had treated me better earlier

perhaps all this

wouldn't have happened to them.

The earthquake may not have happened.

I thought

that the sighing in my heart

had destroyed all these houses.

Could I buy myself a house

just like that?

Besides, as my heart was heavy.

I wanted to relieve my sorrow

and pour it out on them.

I said to them:

"Now that nobody

has a house any more,

here we are all

on an equal footing.

I haven't got a house,

but neither have you!"

I see.

Since I was 11 years old

I had worked in other people's houses.

It was your trade?

My trade?

I worked with a mason.

What exactly did you do?

I laid bricks,

earth bricks or cement bricks.

I did that sort of work.

People have always said to me:

"No house, no woman."

Since I didn't have a house,

no one would give me a woman

to marry.

It takes time to build a house.

And you haven't seen her since?

I have.

Not this Thursday,

but the one before,

the day I saw you on the set.

And?

I asked

for her hand in marriage again.

I didn't want to see them again,

but I decided to go anyway.

Where?

To the cemetery. I saw them there.

Is he here again?

He never leaves us alone!

He won't leave us in peace!

- The key?

- Go on, I'm coming.

- Hello

- Are you well?

- Yes, thank God!

- Can I have your answer?

- The answer's no.

Apparently your granddaughter

is willing. So why not?

You want my answer?

Well, it's no!

What does that mean?

Try to think of me too!

Everyone says

she wants to get married

and you stubbornly keep on saying:

"The answer's no."

The answer's no!

Give me at least two reasons.

Explain it to me.

You're illiterate,

you've got no home!

The important thing is manners,

intelligence and understanding.

You may be kind and understanding,

but you need a house!

She chose me.

You're stopping us living together.

The answer's no.

You've got no house, you're illiterate,

you're empty-headed.

Mind your own business!

You won't have her!

Stop thinking about her!

Otherwise,

I'll make your life hell!

If her parents were still alive,

I'd at least have a little hope...

But with you, nothing!

If they were alive,

they wouldn't give her to you.

Even them!

Are you sure that's also the way

your granddaughter feels?

My answer's no!

Cut!

Wait a minute!

What are you doing there?

Run fast, come over here...

A little faster!

Come quickly over here.

Back here...

We're filming

Sound.

Camera.

Scene 7, shot 2, take 2

Action!

After I take Tahereh back,

can I go and fetch the one...

That...

Who?

After I take Tahereh back

can I go and fetch Poursadeghi?

- Who's Poursadeghi?

- The girl with green eyes.

Ask Tahereh, not me.

She's better for the part.

But I can't do anything

if she won't talk.

She doesn't listen,

she doesn't act...

It's obvious. He's the problem!

With Azim,

there wasn't any problem.

Let's avoid the problems.

- How?

- Do what you can.

- I'm not sure I'll be able to.

- Try anyway.

- All right.

Hossein, fetch my cigarettes

from the car.

- What?

- Fetch my cigarettes.

All right.

- Hello Bagheri.

- Hello.

- How are you?

- Very well, thanks.

I'm delighted.

That smells good.

What are you cooking up for us?

Mirza ghassemi.

The crew asked for it for dinner.

Bagheri?

Yes?

What was the dish

with the sharp taste?

That was torshi tareh.

How do you make that?

- Torshi Tareh?

- No. In fact...

- I'd rather you told me...

- What?

Isn't your wife jealous

of your cooking skills?

She used to be once, yes.

Now she isn't here any more.

- Really?

- Yes. She's dead.

She was killed in the earthquake.

God bless her.

- You're alone now?

- Alone, yes.

- Cigarette?

- No, I just had one.

Bagheri?

Yes...?

I mean, now...

you're not thinking

of finding a companion?

I don't want to remarry.

Why? You're all alone.

I lived with her for fifty years.

She gave me six children.

It wouldn't be right.

But your children

have left home now.

It would be nice for you

to have a companion.

My life's coming to an end...

You're joking,

you're in your prime!

A lot of women here have

lost their husbands,

and a lot of husbands,

their wives.

Maybe,

but I don't want to get married.

After fifty years with someone,

it's not right to remarry

for me at 60 or 65.

- Hossein!

- Yes?

- Bring me a clean dish!

- Right away.

Are you coming, Hossein?

We didn't look after our parents,

why should our children

look after us?

With their problems in Teheran.

Who do they do?

- They live in Teheran.

One works in an oil company,

Falate Gharreh.

Yes, I see...

He goes to the island of Lavan...

to the port of Guenaveh.

- That's a hot area.

- Hot?

Your other son who works

at the automobile association.

Does he have children?

Yes, three.

And your two sons who are here,

what do they do?

They're drivers.

One drives a truck and

the other works at the town hall.

How did it go?

She refuses to listen.

She said

we hired her for one day.

And that she has to review

for exams.

I said:
"No problem, bring

your book and study on the set."

Apparently, she doesn't want

to be with that boy.

She doesn't want to.

You have to change one or the other.

Either the girl or Hossein.

Hossein,

go and water those flowers!

- They've been parched for 2 days!

- You never said

- Who was it I told then?

- Mohammadi.

Mohammadi says that I asked you

and you tell me

I asked it Mohammadi.

What do I have to do?

I'd have done it

if you'd asked.

- You forgot.

- I didn't!

I was a bit crafty.

I told her to hurry up

and decide.

Or I'd go and fetch Poursadeghi.

She reacted immediately

and said:

"I'll see, come back tomorrow."

In any case, I think we have to

change either one or the other.

The girl could cause problems later.

We'll find a solution.

What you were saying, Bagheri?

Hossein, get up.

Hossein, that's enough.

Wake up!

It's late,

you've got to wake up.

Hello, ma'am.

- Hello.

- Hello to you.

Hossein, it is very late.

Wake up!

You got up late too.

We want some tea.

- Hossein didn't let me sleep.

- Why not?

He was raving:
"My white socks,

where are my white socks?"

With the wind, I couldn't sleep.

I had to put the bed outside.

Go and make some tea.

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Abbas Kiarostami

Abbas Kiarostami (Persian: عباس کیارستمی‎ [ʔæbˌbɒːs kijɒːɾostæˈmi] ( listen); 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer and film producer. An active film-maker from 1970, Kiarostami had been involved in over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–94), Close-Up (1990), Taste of Cherry (1997) – which was awarded the Palme d'Or at the Cannes Film Festival that year – and The Wind Will Carry Us (1999). In his later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. He was also a poet, photographer, painter, illustrator, and graphic designer. He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid Saless and Parviz Kimiavi. These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues.Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. He is also known for his use of Persian poetry in the dialogue, titles, and themes of his films. Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. more…

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Submitted on August 05, 2018

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