Makhmalbaf got me by the sensorial aspect of his film: it's all colors, sounds, textures and soul. I'm very happy to see this kind of cinema being made - it's a cultural statement within a poetic vision, combining on screen and off screen efforts. Each scene shows a sense of aesthetic mind-through that made my eyes devour this trip to Iran's beautiful people.
If cinema is the artform most conducive to the metaphor of an artisanal assembly of building blocks, Makhmalbaf's THE SILENCE, a film about a young blind boy negotiating a world of both strife and of transitory beauty, profoundly exhibits how the world of discovery and of embodied experience involves the incorporation of fragments. Its acoustical world becomes a fertile labyrinth vouchsafing an ecstatic transport.
A very effusive portrayal of the surroundings of the lead blind protagonist,and it's people; d poetic visuals almost nudges us to think that we are seeing dis world thru d xtraordinary auditory reception of d kid thru which he perceives d world. D final few minutes accompanied by Beethoven's 5th symphony makes a finale which is a treat to d senses. At times tho the kid's permanent angelic expression did irritate me!
makhmalbaf movies have spell on me some part of me find his movies amazing but with weak stories other part of me thinks that he doesn't want to tell a perfectly detailed story he doesn't want that script,script is like a ghost just flies around in the movie meantime he dedicate himself to embroider it
Like a poem, this film awakens the senses. It slowly casts a spell and sets the stage for a wonderful final scene, where the boy conducts Beethoven. I will never forget the musician who plays the sounds of sheep, dogs, and horses.
Muazzam! Yaşamı oluşturan her şey, -renkler, sesler, sessizlik, müzik, doğa, şiir, edebiyat, gerçekler ve hayaller-, muhteşem bir ahenk, sarsılmaz bir ölçü içinde eritilmiş ve adı Sükut olan harika bir film olmuş sanki.
Ludwig van Beethoven tarafından, 1804-1808 yıllarında bestelenen 5. Senfoni, Op. 67, asdeta filmin can damarı... Kapının her çalınışında, rüzgârda, bir halde dolaşırken, bir otobüste duymadığımız sesleri, doğanın şiirini duyan bir çocuğun gözleri olan seyirci... Film de, eser gibi dört bölümden oluşmakta: Bir açılış sonatası, bir andante ve finali yapacak attacca'ya götüren hızlı bir scherzo.