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(1971) Audio/Visual: sound, color Music: Francis Lai 18 Minutes This film is best understood after watching Albert Lamorisse's Baadeh Sabah, an ostentatious propaganda film of the same commission that was originally rejected for it's inadequate portrayal of Iran's nouveau-modernism (urban youth, industrial marvels) and it's overly-lyrical style.In Le Louche's rendition, there are no such inadequacies.Where do you think the communication should happen?Here are some possible solutions: A couple of things; 1) Both individuals should discuss how the situation with the texting and chilling is making them both feel and 2) The girlfriend, who is doing the chilling with the friend, should step out and see how her partner is feeling and if she can at least empathize with where her girlfriend is coming from.The focus is on culture -- heritage, modernity and (what soon would be named) Westernization.Past and present meet -- veils and miniskirts, camels and helicopters, remains of ancient Persia, the highlights of Islamic art, caviar and the oil fields and gas pumps.
Bandits dominated the land; literacy was one percent; and women, under archaic Islamic dictates, had no rights. Primarily by using oil-generated wealth, he modernized the nation.
Eighty-five percent of this dramatically visual film is shot from a helicopter, providing a kaleidoscopic view of the vast expanses, natural beauty, historical monuments, cities and villages of Iran.
The "narrators" of the film are the various winds (the warm, crimson, evil and lovers' winds), which according to folklore, inhabit Iran.
They sweep the viewers from place to place across the Iranian landscape, introducing the incredible variety of life and scenery in Iran.
The camera, defying gravity, with smoothness and agility, provides a bird's eye view, caressing minarets and domes, peek-ing over mountain tops beyond, gliding over remote villages to reveal the life enclosed within the high mud-brick walls, bouncing along with the local wildlife, following the rhyth-mic, sinuous flow of the oil pipelines and train tracks, and hovering over the mirror-like mosaic of the rice paddies that reflect the clouds and sky.