Close-Up
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Movie Reviews of Close-Up
Movie Review: "There's nothing about this case that's worth filming."
Summary: 5 Stars
Nothing less than a narrative nesting-doll of reality informing illusion that's based on reality that might be illusion, etc. etc. This legendary film from Abbas Kiarostami concerns itself with a true-life case in Iran involving an imposter who -- for no real motive other than a "love for cinema" -- presents himself to a well-to-do Tehran family as the famous Iranian director and Kiarostami colleague Mohsen Makhmalbaf. The movie begins with the apprehension of the imposter from the family's gated residence. It then becomes quite documentary-like: Kiarostami, with back turned toward the camera, interviews the suspect in jail, asks permission of the local bureaucrat assigned to adjudicate the case if the trial may be filmed (to which the bureaucrat replies bemusedly, "There's nothing about this case that's worth filming"), and then finally sits in on the actual trial itself, which is shot in an inferior film stock that would seem to indicate that we're watching the proceedings as they're happening rather than watching an actual movie. This whole "is-it-live-or-is-it-Memorex" feel continues on to the meeting between the actual Makhmalbaf and his imposter. During this scene, you can hear Kiarostami griping to his sound man in the background as the pair exchange hugs. Then the sound starts cutting out as the camera crew follows the pair through Tehran on a motorbike. (Don't get mad at your DVD -- it's on purpose.) All this would seem to tip the scales towards actual documentary, but perhaps Kiarostami is simply having a bit of postmodernist fun with us. The film has a happy resolution, but questions remain: WHY did the imposter pretend he was a famous director? "Love of cinema" doesn't seem to quite cut the mustard as a motive. WHY, once he ingratiated himself into this wealthy family's daily life (he claims to be making a new film and wants the young adult son, who's a Makhmalbaf fan, to be the star of the picture), didn't he burglarize their home? Clearly, money wasn't the motive. Perhaps he did it for fame . . . which brings up the final haunting question: is the imposter being genuine in this movie, or is he once again playing a role, this time as the guy who was playing Makhmalbaf to a credulous family? In either case, the imposter got the fame he perhaps wanted. It goes without saying that this endlessly subtle film, rippling with layers of widening significance like a lake on a windy day, has only added to Kiarostami's fame.Movie Review: Close-Up
Summary: 5 Stars
This brilliant dramatic re-creation of an unusual case of criminal impersonation examines the conceits of cinema on one hand, but also the state of post-revolutionary Iranian society, where dire poverty and lack of opportunities can crush aspirations, artistic or otherwise. The writer-director, Abbas Kiarostami ("A Taste of Cherry"), read about Sabzian's predicament in a magazine article, decided to film the trial, and then asked everyone involved to play themselves. A fascinating mash-up of reality and artifice, "Close-Up" is a minor miracle of engaged storytelling whose compassionate final minutes will leave an indelible impression.Movie Review: MASTERPIECE
Summary: 5 Stars
Quintessential cinema from the master Iranian filmmaker Abbas Kiarostami, it weaves dramatic reconstruction and documentary reportage in the actual story of a man - Hossain Sabzian - who is charged with fraud and impersonation, when he ingratiates himself into the midst of a well off Tehran family, who take him for the famed Iranian director Mohsen Makhmalbaf. Against the background of the real court case, Kiarostami examines the relativities of truth and untruth, playing with the fabricated artiface of film, and evolving ultimately a celebration of the human spirit and imagination, and of cinema itself.Movie Review: Humane
Summary: 4 Stars
Like other movies by this director, Close-Up moves slowly but somehow develops a quiet momentum that continues after the screen goes dark. I think this is partly due to Kiarostami's sincerity. He feels a genuine interest and affection for his characters, and his movies can give you a powerful sense that yes, their lives are really like that, revealed in repetitions and small struggles.
The New Yorker excerpt quoted above suggests that Close-Up contains a protest against religious authority in Iran. I don't see this as a main theme. There may be some subtle reading on which post revolutionary Iranian society is criticized, but the Islamic judge in the trial appears as a fair minded man and not in the least a zealot. He helps bring about a satisfying resolution. Of all the characters it's the journalist who comes off looking most like a shabby opportunist.
Movie Review: A Simple Film...
Summary: 4 Stars
Elegant, mystifying, sad, beautful, these are just some of the words and feelings which come to mind having watched Close Up. The mixing of genres; is it fact, is it fiction etc. all leave you wondering afterwards, asking yourself what is reality, what is fiction?That a movie as deceptively simple as this one has the power to stimulate one's mind in such a profound way is a great tribute to the filmaker. It also goes to show that there is a part of our brains, by-passed by almost all contemporary, Western cinema, which is open to simple stories about humble humanity and it's wayard dreams.
If all this sounds a little bit o.t.t., then watch the movie for yourself, allow it wash over you and I guarantee you will get an itch somewhere deep in your head, the part which actually makes you human.
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