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Those who enjoy good cinema might want to check out two wonderful Iranian films. "Son of Maryam," directed by Hamid Jebelli, and Kamal Tabrizi's "The Wind Carpet" are very different, at first glance. The first is a serious, almost mystical drama, and the other is a mostly lighthearted comedy. However, there are interesting similarities that would resonate with anyone who appreciates ardent narratives conveying hope.
Both stories include a blind child who reaches out to touch the face of someone who exemplifies an alien group. In storytelling, blindness often signifies spiritual insight or wisdom. The blind child would seem to be a surrogate for the community itself. This rapprochement occurs between Christians and Muslims in "Son of Maryam." "The Wind Carpet" connects members of an intimate Iranian community with representatives from a foreign society, Japan.
In "Son of Maryam," the tension between Muslims and their Christian neighbors is expressed in the juxtaposition of the rooftop "adhan," or Muslim "call to prayer," and the presence of the village's lone Catholic priest on a nearby roof, climbing a ladder to affix a cross to the church spire. The potential discord is also expressed in a dream in which the young protagonist, Rahman, fulfills his religious duty by loudly vocalizing his Islamic faith in opposition to the prayers of Christian mourners. This tension is reconciled by the coincidence of Muharram, the annual Muslim mourning period, and Rahman's personal mourning for the deceased priest. The cultural tension in "The Wind Carpet" manifests itself in language barriers, which are overcome with much difficulty. Also, the obvious cultural differences are reconciled in the development of personal relationships.
Another similarity between the two films is the generosity shown to strangers. The local Persian community pulls together in "The Wind Carpet" to fulfill the dream of a Japanese visitor's late wife, whose carpet design was selected for an upcoming festival. Everyone races against the clock, working in triple shifts, using skills passed down over generations to complete the carpet in time. In addition to the great sacrifices made by everyone involved in the making of the carpet, many small kindnesses are extended to the foreigner and his little girl. In "Son of Maryam," the village imam visits the injured priest and charges young Rahman to take good care of "this man of God." Moreover, on his journey to the city to find another priest to come to the sickbed, Rahman is aided by a Christian boy, with whom he forms a very cordial bond.
The reconciliation between divided communities that is envisioned in these films might inspire some constructive peacemaking in our time. One publication is attempting to help readers to "see alternatives to conflict" as part of its "peace journalism" initiative. One can only hope that The International is successful in this endeavor. For more information on Iranian cinema, click here.
