Taste of Cherry

1997

Drama

162
IMDb Rating 7.7 10 21,450

Synopsis


Downloaded times
August 12, 2020

Cast

Homayoun Ershadi as Mr. Badii
720p.BLU 1080p.BLU
914.14 MB
1280*720
Persian 2.0
NR
23.976 fps
95 min
P/S N/A / N/A
1.66 GB
1920×1080
Persian 2.0
NR
23.976 fps
95 min
P/S N/A / N/A

Movie Reviews

Reviewed by two-rivers 10 / 10 / 10

The Wasteland of a Human Soul

The film follows the ways of Mr Badii on what is probably the last day of his life. We can see him drive around in his jeep, in a wasteland near Tehran. He stops from time to time, in order to ask people if they would like to do a little job for him. But even the money he eagerly offers does not help him to inspire their confidence: People are on their guards against this queer middle-aged man, who is obviously just looking for a homosexual pick-up. It takes a whole while until he finally reveals his secret: He is determined to commit suicide and has already dug a hole in the earth where he wants his body to be buried. The only thing that worries him now is that he needs somebody to fill up his grave. Now that we know what he is after our interest must inevitably concentrate on the reasons for his death wish. But, strangely enough, none explanation whatsoever is offered. Such a contravention of audience expectation has led to a massive rejection of the movie. Even renowned critics like Roger Ebert find it "excruciatingly boring" and rather helplessly ask themselves whether it wouldn't help to know more about Badii. But doesn't the mere fact that, for most of the movie's running time, we just see a "car driving in the wasteland" give us a clue about its signification and therefore the answer we are looking for? This wasteland is a barren landscape, its dusty vastness inspires nothing but sadness. Its dryness is the opposite of life; fertility seems impossible in such an arid and joyless desert. It is therefore the ideal background for any suicide attempt. As we do not get any psychological information about Badii and the reasons for his death wish are not revealed, we must look for other means of expression. The significance of a true work of art is not necessarily to be found in explicit words. If the main character does not speak we therefore must have a closer look at the landscape that surrounds him in order to find a hidden meaning. In the first part of the jeep's journey we can only notice its utter desolation. Then, when Badii has finally found a man that seems to be willing to cooperate, a surprising change takes place: Green trees and bushes emerge and, along with the now audible twittering of birds, give sign of life. At the same time the man in the car, who only accepted Badii's offer because of economic reasons, sings life's praises in order to make Badii discover not only "the taste of cherries" but also renounce his suicide plan. The portrayal of landscape seems to reflect the inner state of the characters: the desolate hopelessness of a suicide candidate is followed by an uncompromisingly positive attitude to life. And, significantly, this replacement is actually provoked by the picked-up man, as it was him who told Badii to take the detour. The same contrast is also present in the penultimate scene. We see Badii lying down in his grave, and then the screen is invaded by complete darkness. This must definitely be the end, we feel, Badii's death wish after all has triumphed. But once again Kiarostami wondrously succeeds in surprising us. We hear the noise of rain, it is flooding down upon the dry wasteland. And although the movie in the end does not offer a clear answer, there is at least a ray of hope: This rain may come just in time to instil new life into a dried up human soul.

Reviewed by ak-22 8 / 10 / 10

a pleasant surprise

My first taste of Kiarostami, whom I've read about for years. I was worried that, as a filmmaker, Kiarostami would be as inaccessible as Godard in the 80s. I was pleasantly surprised by A TASTE OF CHERRY. It's a linear narrative, and the film's early ambiguity concerning the driver's quest kept me guessing (I knew nothing about this film going in, which was a real plus). The film's unusual visual style, particularly the long unedited takes, works surprisingly well for this type of story. I can understand why traditional American filmgoers would be bored to tears by A TASTE OF CHERRY, but for fans of independent and foreign film, it's a worthwhile investment of your time. It probably works better with an older audience that can identify with the world-weary characters.

Reviewed by jmverville 8 / 10 / 10

Searching for the Reason to Live

Kiarostami strikes again with another provocative film, very much in the same vein as his others: drawn out films that involve a very introspective soul-searching of all of the character's involved, and in so doing, finding some more meaning to the idea of what life is all about. From the beginning to the end, Kiarostami gives us a complex script of characters that we come into contact with, and as we learn about each one, we learn more about the idea of life. What makes the film very interesting for a Western viewer is that I find closer to Kiarostami's Iran after each of his films that I watch, and become more informed to it. We learn intimate details about the lives of several Iranians. Throughout the film I found that, although like many of his films it was quite slow-paced, it contained the extraordinarily rich dialog that is expected of a Kiarostami film. His films advance through their rich dialog while using the dusty Iranian landscape as their backdrop. I found a lot of the cinematography to be terrific, viewing the city from a distance and looking into the dusty foot-hills on the outskirts of Tehran. It is more than poetic to see a man at the end of his rope searching through the dust and faces of Tehran's poor laborers for answers about life and death. In many ways, the film is a large metaphor for the human state of affairs. The film culminates very well, and we all eventually find our own taste of cherry in the film. I always feel as if Kiarostami's films are a very philosophical experience, and are quite personal. In this sense, Kiarostami's films are amongst the best that I have seen. However, they are undoubtedly slower paced than other films, and they require the viewer to detach himself from any western stereotypes that he has about film. This would not be a good film for somebody expecting action or a typical Western film, but rather, this would be a film that I would recommend only to those who are in the mood for an insightful, philosophical film that shows an alternative view of life. Overall, it was an emotionally powerful film that will stick out in my memory as all Kiarostami films do.

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