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reAs for the nuts, they told them that it may not be such a good idea. The nut that was sitting, you must say, stuck in Robert's neck. In Tehran, do you think. There are about as many pictures of bearded men hanging on the walls, who are revolutionary leaders and call Khomeini or Khamenei, as crucifixes in public institutions of Bavaria. And Florian Baxmeyer would have found it very amusing, when Robert's Iranian half-brother, who had remained unknown for decades, hit him so hard on the back that the nuts, so to speak, were shot by catapults. has pioneered a path to the face of spiritual leaders.
If you prefer to leave, they told Baxmeyer, who should shoot for the ARD, the first film produced in Iran, romantic comedy. They do not understand the fun. Maybe that would not have been a problem for the Germans. The Iranian team, the lighting technician, the cable companies, may never have had another job in the Iranian film landscape, wonderfully diverse, despite censorship and surveillance. So there remained – to return briefly to the essentials – a rescue operation resembling a struggle reminiscent of a homosexual sexual act at a distance. What the guards of custom and morality in Iran apparently did not seem to bother. While the scene, when Shirin lies down on Robert's bed …
Perhaps we should briefly mention what it is. Robert's father is the first to go bankrupt and then disappear. Bankruptcy could help recover debts, which has an Iranian woman for decades with Robert's father, who even sold in the time of Shah to Persia, for example, weaving machines. That's why Robert goes to Teheran to bring back his producer, with whom he knows so little. Robert, it must be said, is a thirsty man, often overwhelmed by the specialist of recycling in situations of set (Felix Klare, so far not enough noticed as a comedian, gives reason).
Taken at the airport, it is mastered by Shirin (Mona Pirzad, a wind that oscillates between cultures and languages), is a German teacher, a strange mix of ancient, classical, German fictional and sprinkling the current culture of young people and it is natural – we are in a comedy – as stubborn as courageous as beautiful and forgiving of course long since forgiven to another. What in Iran – unlike all, for example, play in the British RomKoms – is an almost huge obstacle.
But even if Shirin had not been forgiven, the scene with the bed would not have been allowed to turn. At least not in Iran. Said Baxmeyer. In the scenario subject to censorship, it is not included either. In the Iranian version – "Love in Persian" in another film version is actually on Iranian television – it is as little visible as the party scene, in the living and exuberant (clothed) is jumped into a pool. It has been reproduced in Germany.
Of course, for Baxmeyer, who has already made films in Lithuania and South Africa, the particular charm of "Love in Persian", which could have been created in Morocco with a bit of fraud, was to shoot a comedy of conflict in Iran. And a more specialized experience. Something completely different from a simple German production, like Bremer's latest "crime scene" with Sabine Postel and Oliver Mommsen, that he just finished.
According to Baxmeyer, the curiosity was that it was not even the sentences more or less critical of the regime that Sebastian Orlac, in his book, had not put so little in the mouth of Shirin, which had become the problem from production. But for a RomKom, the emotional aspects and the basic sartorial problems. Especially clothing issues. How and where in particular the headscarf can slip, for example.
But there was no state guard dog on the shelf, at least Baxmeyer did not notice it. I did not need it either, because the Iranian crew members are very conscious of what they know very well, says Baxmeyer, of the invisible barriers on which they are placed and the limits of borders. And they were trained in the project well in advance, so as not to endanger it.
Without Majid Barzegar, everything would not have worked. Majid Barzegar was the Iranian service producer, the facilitator of "Love in Persian". Same filmmaker, well connected on the Iranian cinema scene. He has a townhouse in Tehran, where the company is settled, his brother is busy with music and visual effects, Majid around the big rest, and Baxmeyer and the German team have already met filmmakers Iranians and their team. And the culture of dictatorial-habitual discourse. In conversations, people open up, in larger groups, explains Baxmeyer, when bearded men are mentioned on the walls, for example, they like to look down and change the subject.
They had to improvise despite the meticulously agreed rotation plan. Once, they wanted to go from a skyscraper to a roundabout and be photographed a second time. They were banned overnight, Baxmeyer suspects that something military could be seen from there. It was not explained to them.
How is it with Robert and Shirin, you would always want to know now. Maybe it will come too. In "Love in Persian II – Robert and Shirin in the village" or something. By the way, Florian Baxmeyer does not know how Sabine Postel and Oliver Mommsen divorced from the "crime scene". Since the ARD is a bit like Tehran.
"Love in Persian", ARD, today, 8:15 pm
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