Abbas Kiarostami, “Taste of Cherry” (1997)
On the surface this looks like a very minimalist, in parts improvised film about a man contemplating suicide who implores three people to help him. Mr Badii (Homayoun Ershadi, in his acting debut) who may or may not be a taxi driver – most interpretations of the film assume he is but I didn’t see anything in the film that suggests what his occupation is – drives around Tehran’s industrial and working class zones in his Range Rover trying to pick up a passenger among the various loitering men he sees. At first the suggestion is he may be trying to pick up a potential boyfriend or male prostitute and some of the men he talks to certainly think that’s what he wants. A shy teenage army recruit decides to get into the car and Badii takes him on a long journey out of town and into a semi-barren area where dirt roads twist and wind around hills in an invisible labyrinth. Naturally the recruit wants to know why they passed his barracks and Badii tells him he’s needed for a job. Badii needles some information out of the youngster and we learn the boy is from a Kurdish farming family and needs money to support his relatives and maybe resume his schooling. Badii offers to pay the youngster huge sums of money if he will do what Badii wants him to do. Deep in the scrubby desert, Badii stops on a particular stretch of road, points out an empty grave next to a tree (both never seen in the film) and tells the boy that he, Badii, plans to swallow all his sleeping pills and lie in that grave overnight. The boy’s job is to return the following morning and call out to him: if Badii responds, the boy is to help him out of the grave; if Badii doesn’t reply, the boy is to bury him. The teenager, spooked, refuses to help Badii in this way and dashes off to rejoin his barracks.
Badii gets back in his car and drives down to what looks like a waste tip supervised by a lone security guard. This guy turns out to be an Afghan and in his conversation with Badii, we learn that there are some 2 – 3 million Afghans working in Iran, probably in jobs and industries where the pay is bad and the work is hard and dangerous; and that while Iran was preoccupied with the decade-long war against Iraq in the 1680’s, few Iranians spared a thought for their Afghan neighbours fighting the Soviets in a tougher war in the same period. Badii offers to drive the security guard around to relieve the tedium of his work but the guard declines: he has a friend, a young seminarian, come to visit and keep him company. Badii sees the seminarian in the near distance so goes out to see him and offers him a ride. The seminarian accepts and so again Badii asks him about his background: the fellow has come from Afghanistan seeking labouring work so he can continue his theological studies. Badii offers him the same job and money he offered to the soldier; the seminarian argues that suicide is forbidden by their common Islamic faith. Badii protests that God surely allows people to kill themselves if not doing so is the greater sin because of the risk of harming other people if one were to continue to live. The seminarian continues to put up a weak and dogmatic religious argument against suicide and soon leaves Badii.
After a period of despair, Badii picks up a third man, this time an Azeri or Turkish man, Mr Bagheri (Abdolhossain Bagheri), apparently a simple, warm-hearted chap who in turn is subjected to Badii’s suicide proposition. Bagheri then talks about his own attempt to commit suicide by hanging from a mulberry tree and about how he eventually was dissuaded from killing himself by a quirk of fate: he eats a mulberry and finds it delicious. This leads to a lengthy amble about appreciating nature and simple things, and not to allow life’s pressures to overcome one’s thinking as eventually they will pass. If one changes one’s outlook, one can change the world. The pop psychology advice makes little impression on Badii. Bagheri agrees to Badii’s proposition as he could use the money for his sick son and Badii drops him off at a natural history museum where he works. Suddenly anxious, Badii visits the museum and meets Bagheri again, this time a technical or scientific worker specialising in taxidermy, who brusquely assures him he’ll be at the graveside at the crack of dawn.
Up to this point the film has been very straightforward if minimal and stingy with details. We know nothing about Badii, why he spends his time driving aimlessly around soliciting help for an elaborate suicide plan, how he has come into so much money if he’s supposedly a taxi driver (an occupation not known for making easy money – and Range Rovers are hardly what I’d call typical taxi cars) and what has happened that he is so despondent that he wants to end his life. The lack of specific background knowledge about Badii makes him a representative of humanity rather than a particular human being. Likewise, the three people he picks up represent particular sections of Iranian society, all tied somehow to the Iranian government: the military, the religious class and the bureaucracy; they also represent three stages in the life of a human being: youth, early adulthood and early old age. In addition Bagheri isn’t what he seems at first: in the car, he babbles on and on about living in the moment, enjoying nature and having a different outlook on life; he quotes poetry and sings a song to cheer up Badii; he understands Badii’s pain and readily talks about his own suicide attempt. Out of the car and in the grounds of the museum, Bagheri appears in a lab coat, his entire being radiating a superior, impatient attitude – this hints at how a person’s circumstances determine his or her personality and undercuts what he told Badii in the car. This is a chilling moment which may say something about modern Iranian society that prompts some people to have split personalities to survive in it.
After the scenes with Bagheri, we see Badii shutting up his apartment, being driven back into the badlands, preparing for his death and lying in his tomb. The weather turns bad and there’s a thunderstorm. The film suddenly blacks out and pops out into an apparently washed-out dream sequence (this part of the film is recorded on a handheld video recorder) with soldiers chanting and marching up a hill to where Badii’s grave lies. Kiarostami and his film crew appear on another part of the hill filming the soldiers and issuing instructions to their leader via cellphone or walkie-talkie while actor Ershadi waits nearby. In the distance, Badii’s car zooms off with an unseen driver. I was disappointed initially at never learning if Badii lives or dies but this is not what the film is about: among other things it’s about one man’s questioning of the world he has to live in through the theme of suicide. He interrogates others through their experience about this world and finds their answers unsatisfactory or contradictory. He questions the army recruit about his experience of the army and the recruit is unable or reluctant to reply, perhaps because his experience is so different from what Badii remembers of his own military experience. He interrogates the seminarian and the seminarian’s answers demonstrate book-learning and deference to authority rather than understanding of what he’s learned. Badii interrogates the taxidermist whose answers seem New-Age banal and whose work and later attitude undermine everything he says. Life around Badii also exhibits contradictions, some a bit cruel: after he finds someone who agrees to help him commit suicide, he suddenly sees flowers and trees in a flourishing landscape, he sees a young woman who asks him to take a photograph of her with her boyfriend and all of a sudden women start appearing, walking with school-children or attending Bagheri’s lecture at the museum.
Significantly the women we see, though dressed according to conservative Islamic doctrine, seem to be educated middle class or independent types while most men in the film are poor, ignorant or in a position of serving others: in a severe theocratic society dominated by men, that’s a very strange contradiction indeed. Badii himself may be a contrast to these men: his demeanour and manner, and some of the things he says, suggest he is highly educated and cultured and perhaps finds himself an outsider which would give his pain an existential edge. He is unaware of his own contradictions: he’s intent on ending it all yet takes care going down an unsteady ladder, refuses a meal because it might set off a bad allergic reaction and manages to avoid two serious car accidents. He remembers his time in the army as the happiest time in his life, meeting people and making friends, yet he must have also been shooting and killing lots of people. Perhaps this knowledge is a burden on his mind and has contributed to his decision to end his life?
The film’s simple style belies its careful construction: much of the time we see Badii framed by the windscreen or the window of his car and we never see him and his passenger together in the one shot. It’s as if we’re not just eavesdropping in the conversations between him and his passengers, we’re actually in their heads going from one to the other. At times the camera draws away from the car to take in the scenery which becomes very significant: from the time Badii meets the soldier and presents his proposition to the time Bagheri accepts it, the film is centred in a barren, scrubby landscape of hills and dirt roads that snake around them and fork off into different directions. This landscape perhaps reflects Badii’s inner world, going around in circles each time someone rebuffs him. When he is at his most desperate, he is in a landscape of rubbish dumps and flying dust clouds, reflecting his fragmenting state of mind. Only after Bagheri agrees to the deal does the landscape spring into life. The changing moods of the landscape are in stark contrast to Ershadi’s acting: Ershadi usually has just one expression and one even tone of voice throughout the film which on paper wouldn’t qualify him as having any acting skill at all, yet by his movements and sometimes doleful look in his eyes, and the slight speed in his voice in scenes with the seminarian and Bagheri, he actually does convey something of Badii’s inner anguish and despair. The totally unexpected thing is that since making “Taste of Cherry”, Ershadi has had a steady if not prolific acting career; I’ve seen him in “The Kite Runner” where he had a significant acting and speaking role and his character had to age 10-15 years, and for someone of limited range and no training, he was impressive in an unassuming and straightforward way.
Most reviewers see “Taste of Cherry” as a gentle and meditative film about enjoying life’s pleasures but I find its real underlying message severe and uncompromising. I think Iranian viewers (the target audience) are asked to question the kind of society they live in that causes people like Badii to conclude that he and others would be better off if he killed himself. The answer doesn’t look good: some recent statistics released by the Aria Strategic Studies Center and quoted by the Iranian Labor News Agency show that 30% of people in Tehran have severe depression and another 28% suffer mild depression with some of causes being violence by security and law enforcement, mass arrest and murder of arrested citizens in torture centres or during protests and the results of the 2009 Presidential election, and other causes relating to the falling economic situation which is partly caused by a corrupt and incompetent government. (Source: Payvand News of Iran, www.payvand.com) I don’t know if Tehran is representative of Iran but it does have about 18% of the country’s population. Telling people living in a brutal and grinding police state that they should live for the moment and take pleasure in the simple things in life becomes an insult when I see figures like these.