The difficult Kafkaesque conditions for the intellectuals and the financially insecure in Iran discussed in Taxi are indeed very real.
I have visited Iran several times and therefore I have seen it all first-hand. You do not encounter beggars but it is only natural that economically weak families exist in Iran. In the film Taxi, too, you don’t see beggars but there is a conversation about Iranians being publicly hanged for petty crimes and of a husband-wife duo wearing masks taking to mugging of their richer neighbours because of their pecuniary compulsions. The film ends with thieves/plain-clothed policemen on a motorbike ransacking the “taxi’s” cameras.
Anyone who criticizes the Iranian government is perceived to be a foreign spy and brutally interrogated, while blindfolded, in notorious prisons. In his film Taxi, the director Jafar Panahi claims that he himself underwent a similar situation and that he is still hoping to one day identify his interrogator by his voice. In the movie Taxi, the Iranian prisons are referred to tongue-in-cheek as “Paradise” by a famous Iranian human rights lawyer, Ms Nasrin Satoudeh (the flower woman), who travels in the Panahi driven “taxi.” She explains that once you are released from prison, your neighbours and friends treat you so differently that you wish you were back in prison. She would know because she was there herself. Ms Satoudeh has represented prisoners and political activists. Her impressive list of clients includes the Nobel Prize winner Shirin Ebadi.
Director Panahi drives his taxi in Teharan's streets with a camera on the dashboard,
while a pirated CD hawker engages him in a conversation on films
Everything in the movie is real. My heart goes out to the people of Iran where the best works of Iranian cinema are banned and good foreign cinema rarely shown. My favorite Iranian film Bitter Dreams, a 2004 debut feature film by Mohsen Amiryousefi, was banned within months of it being shown at the Cannes film festival and awarded the Camera d’Or (the award for best cinematography) and subsequently most cineastes are not even aware of that path breaking film’s existence or the unique capability of the young director.
Now Panahi is different. He makes very interesting films. He claims he is hounded by the Iranian authorities but yet continues to make films, one after the other, openly on the streets of Teheran. It cannot be that he has accomplished it without people noticing his filming activities in public areas. Iran is a nation, which has lots of cops in civilian clothes and a slice of its population is ever ready to report on activities that would please the government machinery.
Now Taxi is a laudable work--including a discussion of males wearing ties in public (I have not spotted a single Iranian male wearing a necktie in Teheran, but two people in Taxi wear ties, Panahi's friend who has been mugged and a just-married bridegroom), the human rights lawyer Ms Satoudeh (the flower woman) referring to prison tales after she herself was an inmate of the notorious Evin prison, pirated film CDs of American, Japanese and Turkish films being hawked surreptitiously on the streets of Teheran--all laudable realistic cinema. Or is it? In Taxi, the taxi driver Panahi is concerned that his two women passengers with a fishbowl will wet his backseat. When the fishbowl does break by accident, Panahi is not concerned about the water or the broken glass. The camera angles of the sequence with him helping the ladies saving the lives of the fish could not have been taken from the dashboard camera. Evidently there were more cameras (and camera persons) used than we are expected to believe.
Two women with a glass fish-bowl enter the taxi.
Where is the camera? If it is positioned outside the vehicle,
were there regular cinematographers at work?
We are supposed to believe Panahi’s friend who was mugged has captured electronically some evidence of that event on his electronic notebook that he shares with Panahi, the contents of which we don’t get to see. We just see Panahi’s expressions while viewing it. Are we expected to conjecture the mugging was caught on camera? Further, are we expected to believe Ms Satoudeh and Mr Panahi could drive around Teheran without raising suspicions of a film being made, when Pahi was banned from making films in Iran?
I have actually shaken hands with the director in my city when he was chairing a film jury. He appeared sullen and unfriendly. In the movie Taxi, you see a charming, ever-smiling and friendly Panahi. Which is the real Panahi? In my opinion, the Berlin film festival ought to have bestowed the Best Actor award for this film not just the Best Film!
Candid videoography by Panahi's niece taken within the taxi (She was present in Berlin
to pick up the Golden Bear on behalf of her uncle)
As in Panahi's The Circle (2000), the subject of Panahi’s film is totally laudable once again in Taxi. But is there an implicit collusion between Panahi and the Iranian authorities? How much of Taxi is spontaneous? Probably nothing. Panahi, who was not allowed to make a film by the Iranian government, makes a film (or several films critical of the state of affairs in the country) and gets away with them. Panahi’s niece captures on camera a rag picker picking up some cash dropped by a newly-wed groom. Are we to believe that photographic evidence will go unpunished in Iran, however trivial it is? Now that is intriguing.
P.S. The film won the Golden Bear at the 2015 Berlin film festival. Amiryousefi’s Bitter Dreams (2004) and Panahi’s The Circle (2000) are discussed on this blog. Other reviews of several important Iranian films on this blog can be found by clicking here.
