Jafar Panahi's The White Balloon and His Ongoing Battle with the Regime.
After the presidential election of Mahmoud Ahmadinejad in 2009, the first major turmoil in the country since 1979, took place on the 15th of June. It caused for the nation to unite in protests which became known as the “Green Movement”, as the colour green is a symbol of opposition in the country. The movement also sparked further restrictions within the film industry, including the banning of screening or pitching of films in Iran. Jafar Panahi was one of the prominent figures involved. His protest against the election led to his imprisonment in March 2010, including “a 20 year ban from artistic work” (Rahbaran, 2016, p163) as well as leaving Iran. After his release he was put under house arrest up to this day. The protests also caused the imprisonment of more than 80 people, and the execution of two, including a university student (Black, 2010). In spite of his ban and house arrest, Panahi continues to make films, such as his 2011 documentary This is Not a Film, a response to the government’s treatment against him. Shot entirely on his phone in the secrecy in his home in Iran, the video diary was listed on various film polls, and grabbed the attention of critics. Roger Ebert suggests that though having no political agenda, Panahi’s films, and contemporary Iranian films in general, “can be read as parables” (Ebert, 2012).This is highly unsurprising considering the jurisdictions in the country.
His latest feature Taxi (2015) won the Golden Bear at Berlinile. Courageously shot in the streets of Tehran, it stars the director impersonating a taxi driver in order to listen to his passengers’ life struggles. These films and their reception show his true need for filmmaking in his homeland which only grows with his limitations, as stated by the filmmaker (Vivarelli, 2015). His good friend and current Iranian filmmaker, Rafi Pitts notes “what he has to say is over there, and he’ll pay any price to say it” (Klinger, 2012), which speaks volumes for his determination and bravery, which will pin him down in Iranian cinema.
Coming from a working-class background, Panahi was born in 1960 in Mianeh, and as already touched upon, prides himself on being a “realist-social” filmmaker, independent filmmaker, noting that his films are free from explicit opinions or “moral lectures” (Rahbaran, 2016, p165-166). He began his experience in film during his service in the Iran-Iraq war from 1980-90, where he made a documentary about it later shown on television. Following the war, Panahi went on to work for Kiarostami, as his assistant director on Through the Olive Trees (1994). Kiarostami sufficed as his protege and collaborated with him for the script of his first feature, The White Balloon (1995), made shortly after. Unlike his mentor, Panahi has always focused on conveying a message to his audience, especially encouraging Iranian society to "rise up against its current laws" (Bickerton, 2006, p4). Kiarostami's films on the other hand, "are not intended to deliver messages but to raise questions in the minds of his audience" (Nayeri, p90), as stated by the director himself. Nevertheless, the two pioneers share the same desire to show Iran through the eyes of children, and the adult characters are often unthreatening but also unsympathetic and unconcerned. His films are bold and tacit, intertwining multiple stories which bring together characters from different backgrounds, drawing on their similarities as well as social and cultural differences. This is combined with familiar and impartial settings, which in turn unite the spectator with the characters, enhancing our understanding of life in Iran.
The White Balloon tells the story of a determined seven year old girl, Razieh (Aida Mohammadkahm) who desperately desires a “chubby” goldfish for the Persian New Year - Nowruz’s - traditional decorations. Set in real time, in the space of just a few hours, right before Nowruz, the film possesses a documentary feel, characteristic of Panahi’s style. The little girl hopelessly tries to persuade her busy mother to give her 100 toman but continuously fails. With the help of her elder brother Ali (Mohsen Kalifi), she eventually succeeds. He is given the mother’s only money left - a 500 toman banknote which was to be used for the New Year gifts. Overjoyed Razieh runs out of the courtyard with the money in a fishbowl. On her way to the shop she is faced with multiple obstacles including losing the banknote, and finding it right before it falls down into the basement cellar of a closed shop. It is crucial for the siblings to find a way to retrieve the banknote as there is only an hour left before the celebrations. During that time Razieh is briefly approached by an ambiguous young soldier who just wants someone to talk to. Finally, an Afghan balloon seller helps them retrieve the banknote, before they run home to celebrate with their family. The film concludes with a freeze frame the lonesome Afgan balloon seller, holding a white balloon.
The film shares various similarities to Where is My Friend's House? including a child's search within an adult world. Opening with muffled voices coming from the busy bazaar, and festive music, the radio informs the audience how long is left until the New Year, which will take place in that afternoon. This immediately establishes that the proceeding events will occur in real time. There is no score, just diegetic sound which has not been muted or dialled down, affirming reality, and unveils Panahi's documentary stylistic traits. This is further recognised through the camera’s straying pan, which moves across the busy market until it focuses on a worried mother looking for her child in the crowds of people. Despite the sheer amount transpiring on screen, the spectator is easily drawn to the mother because of her concerned facial expression and steady camera work which follows her gently. It is worth noting that all of the major characters in the film are seen momentarily in this sequence using a long shot, including the soldier and the Afghan boy, crossing the paths of characters without cuts. This is because Panahi believes "everyone in the world lives within a circle, either due to economic, political, cultural, or family problems or traditions" (Welsh, 2000). Meaning that people are all connected in one way or another, and our paths can cross unexpectedly, often to teach us lessons. Additionally, likewise to Kiarostami's films, there is no set or extras. They are all local people, and unprofessional actors, showing society in Iran as it is, and recalling a documentary style. Razieh finally appears in the frame, holding a blue balloon - a key motif which has a strong significance throughout the film. Her innocence and purity are immediately established through her white hijab, which is contrasted to the mother's all black attire. Her red pleated skirt represents her naivety and foreshadows a sense of danger and fear of the unfamiliar, seen in snake charmers scene.
We cut to a long courtyard sequence, sharing significant similarities with the courtyard sequence in the beginning of Where is My Friend's House?. This is where we get a glimpse of Iranian household dynamics. Both children beg their mothers for something, and both mothers are too busy with household chores to fully pay attention. The little girl is so desperate to get what she wants that she even offers to give away all of her New Year gifts. When her attempts prove unsuccessful she starts crying faintly. Though her big brown tearful eyes are endearing, it is hard to be sympathetic towards her as her demand seems unnecessary. The family already have a pond full of goldfish, which a neighbouring boy comes to acquire, yet Razieh “makes a fuss” as her mother puts it, that they are too skinny. The boy is later seen selling the fish he has caught to the pet shop owner showing struggle for money. Goldfish are symbolic of good luck and long life, and children often believe stronger in traditions and superstitions as they are mythical and interesting. This is why Razieh is eager to purchase a better goldfish for the festivities which will bring good fortune to the family. Eventually she convinces her older brother Ali to help her get money for a goldfish in return for her blue balloon.
A seven minute unnerving scene with the snake charmers comes next. On her way to the pet shop, Razieh gives into the forbidden temptation to watch the snake charmers, in turn becoming their entertainment act. They take her money and put it in the snake box. The little girl is terrified but does not run away. Instead, with tears in her eyes, she bravely stands by until she receives her 500 toman note back. This is perhaps the most ominous scene in the film as it presents men in Iran in a particularly unpleasant light. We later find out that "this is no place for girls" or women, which her dad warned her about. None of the adult men around comfort her or help salvage her money. Some even try to take it for themselves. By the end of the scene however, the Dervish gives her money back politely and tells her to wipe her tears, as this was all an act for him to earn a living. By showing two different sides of men, Panahi is presenting social issues, and the hard times they face trying to earn a living for their families. The filmmaker remarks that in comparison to the West, "Iranian society…is a man's world" (Welsh, 2000). Meaning that women in the Middle East are still expected to be a domestic wife, rather than be the bread winner, and men are in charge, as they work hard to provide for their family. This is also seen in the tailor shop scene where a customer is arguing with the tailor about his dissatisfaction with the collar on his shirt. The tailor is too busy defending his small business, to pay much attention to Razieh's story.
Contrastingly, females in the film are presented as sympathetic, kind, and concerned. For instance, after Razieh realises she has lost her money on the way to the pet shop and is perplexed about how she will be able to find it, a mother walking into the shop with her child, kindly offers to buy her a goldfish but she refuses. Her moral consciousness is presented here, as well as later on in the film when she refuses to take the fish from the pet shop keeper and pay after she has retrieved her money. An elderly lady then tries to help her find the banknote, conversing with the child on their way back. Razieh becomes more relaxed and talkative, because of the woman's calming tone and optimism that they will find the money. "I stopped and looked at the cream puffs and at my bowl before going away" utters Razieh with sheer enthusiasm, when trying to recall her steps. This somewhat comic line shows her child rational but also maturity, i.e. any child her age would have contemplated purchasing a cream puff, yet she walked away. What follows is the discovery of the money which is loosely hanging above a basement cellar of a shop. The moment it falls down the shaft is heartbreaking to watch, showing the girl's ongoing disappointment, and struggle to get her money. The goal now is to retrieve the note, again with the help of Ali who appears to be looking for his little sister. Razieh notices there are bruises on his face which he refuses to talk about. The spectator assumes he has been beaten by his angry father whom we never see, just hear yelling. This is a surprisingly plain way of showing domestic violence, though our attention is not fully drawn to it, because his presence is never seen. This links to Panahi's comment during an interview on his 2000 drama, The Circle, where he states that his films never portray evil characters, male or female because he believes "everyone is a good person" (Walsh, 2000). This is cleverly portrayed in the film through the use of child characters. Razieh, though at first uncertain about some of the people she encounters, she is not judgemental nor afraid of talking to them until she gets to know a bit about them, by which point they don’t seem as frightening anymore. What is more, Razieh's experiences and encounters seem considerably more dramatic than the way the adults in the film view them. This is because "children have an existence in the world independent of their film appearances; we can believe that they are more real than other characters" (Tapper, 2002, p236). This links to the repetition of dialogue in the film, to again emphasise adults' lack of attention and time for mundane things.
One of her last encounters is a young soldier, who is nostalgic about his family and finds comfort in talking to Razieh. She is apprehensive at first, but he provokes her by mentioning his little sister whom she reminds him of. Her replies become naively defensive, as she begins to boast about her excellent grades at school. Ali is disturbed by her talking to a stranger and tells her off, showing his love and concern. Following is their last encounter, with the Afghan boy who appears impotent at first but is actually trying to help them. By the near end of the film, retrieving the money out of the shaft becomes a fun game for the three youngsters, and the banknote is finally pulled out of the shaft. The film ends with the Afghan balloon seller left on his own, with a clock ticking in the background suggesting the final countdown to the New Year. The clock also has connotations with the passing of time, and it can be argued that the film has been leading up to this moment where in the last few minutes of the film the boy becomes the main protagonist, also suggested by the title of the film. The white balloon he is holding is a double-archetype symbolising his childhood innocence, as well as freedom. The freedom also gives a sense of the harsh reality that he has no home to go to for the celebrations. His character represents the disadvantaged part of Iran. The freeze-frame at the end invites the spectator to imagine the boy's life after the film, and the film as a whole leaves us with a slightly bigger understanding of reality in Iran, but also with many unanswered questions.
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