If you are sucker for love stories, you probably know that the best love stories don’t necessarily have fairy tale endings. Boy meets Girl, they fall in love, and circumstances keep them apart. But what about love stories that touch you, but never find the correct moment to begin? With Baran, Iranian director Majid Majidi has firmly established himself as my favorite director, once again. But unlike his previous two films where children were the main protagonists, this film is about love, and all the goodness that emanates from this emotion.
Baran is set in the years following Russian withdrawal from Afghanistan, and the rise of the Taliban. Iran during that period saw a rise of Afghani refugees, who worked harder, but were paid less. The story is about Latif, a playful young man, perhaps even oblivious to the fate of several Afghani men and women, who make desperate attempts at making both ends meet. He works for a construction company, under the kind-hearted yet outwardly authoritative Memar. All is well, but one day, Najaf, one of the illegal Afghan workers, falls from the second floor, breaking his leg. This puts his family in a difficult situation, as he was the only earning member.
Najaf’s friend Soltan then brings along Najaf’s son Rahmat, to take his place, till he returns. Rahmat is quiet and sincere, but so obviously not suited for hard labor. After a mishap that results in a fight between Latif and another worker, Latif’s job of making tea and food is given to Rahmat. Latif is understandably miffed. But Rahmat performs brilliantly as the cook in the construction company. He remodels the kitchen, makes better tea, and churns out the best culinary spreads. Latif isn’t pleased at Rahmat’s success. But one day, Latif discovers Rahmat’s secret. Rahmat is a girl, and she is Baran. Latif doesn’t let the world in on his discovery, but he makes sweet attempts at impressing her. He watches her, secretly wooing her, while she goes about her chores oblivious to his growing interest. Then one day the authorities find out that the Memar has been hiring Afghans. The Afghans are all sent off, and Baran has to leave as well. Latif’s interest in Baran doesn’t end with her departure.
His love grows into this need to help Baran and her family. He travels in search of them. During his travels, we as viewers get a peek into the lives of the Afghani refugees during that period. Poor and helpless, many didn’t even have enough money to return to their land. Also, as they were illegal, getting jobs in Iran was proving to be more and more difficult. So they had to resort to hard labor. Grief struck, Latif then decides to give his year’s savings to Baran and her family. Saying his sister was dying, he convinces Memar into giving him his money. He then coaxes Soltan into giving the money to Baran’s father. Unfortunately, Soltan uses the money to leave Iran, leaving behind scribbled promises of returning the money eventually.
Still determined to help Baran’s family, Latif uses some left-over money to buy Najaf crutches. But then, he realizes he needs to do more, when Najaf approaches Memar, stating his desperate need for money. Latif does the unimaginable then, makes the money, and gives it to Najaf saying the money was from Memar. His final generosity gives Baran and her family the opportunity to return to Afghanistan. And when she leaves, all that remained was a mere foot print. Touching and sincere, the film worked with me, because of its characters, and the emotions by which they were ruled. Latif was no rich boy, and perhaps needed the money for his own family as well.
Yet, he chose to use to help Baran move back into her country. Helping her had meant he’d never see her again. But perhaps before she left, she understood his true emotions, and responded to him with a knowing smile. Majid Majidi is his usual brilliant self with film. As always, he has presented the simple tale of simple people with skill. What perhaps makes him a clever director is that he works within the confines of the creative space that is given to filmmakers in Iran. With all their censorship, he not only entertains and touches; he also makes subtle references to the political situation.
A must-see for anyone who is cynical about love or unaware of its absolute truth, Baran is the movie to go look for.