Glasgow FF15 #4: Rosewater (US 2014)

Gael Garcia Bernal as Maziar Bahari (with the blindfold) and Kim Bodnia as the interrogator.

Gael Garcia Bernal as Maziar Bahari (with the blindfold) and Kim Bodnia as the interrogator.

This was the weakest of the films I saw on my first day, but it was the one that got the most audience applause. I’ve never properly watched The Daily Show which made the name of début writer/director John Stewart, so I was primarily attracted to the appearance of Gael García Marquez and Kim Bodnia (from The Bridge) as the two main characters.

There is nothing wrong with the film as such and it is clearly a project with its heart in the right place. Bernal plays the Iranian-Canadian journalist Maziar Bahari, whose book of his experiences covering the 2009 election in Iran, rigged by the authorities, was the original property adapted by Stewart. He is arrested and imprisoned and Bodnia is the ‘specialist’ assigned to extract a confession that will be broadcast as part of the regime’s propaganda. All of this is well done, shot in Jordan as far as I can make out. Apart from a spoof interview that could be part of a comedy show, Stewart plays it all straight – although I did like the appearance of the journalist’s dead father in his cell offering advice on how to survive based on his own incarceration under previous regimes. Bahari’s dead sister also appears.

The only real problem is that we’ve seen this before and Iranian stories told from the US, even when they use a couple of strong Iranian actors (the mother and sister here), find it difficult to compete with the real thing. Films by Jafar Panahi and Mohsen Makhmalbaf cover similar territory in much more oblique and powerful ways. Stewart’s film is primarily delivered in English so it will reach a wider public and that is good if it heightens awareness. It’s also good that a film about the real bravery of journalists worldwide should find an audience. Perhaps it can act as an introduction to the complexities and, despite the horrors, the ‘pleasures’ of the terrific Iranian cinema of the last twenty years, which is able to use subtle forms of humour to undermine the regime?

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