SANTOORI (THE MUSIC MAN)

Iran, 2007, 105 minutes, Colour.
Bahram Radan, Golshifteh Farahani.
Directed by Dariush Mehrjui.

Santoori is a later film in the career of Dariush Mehrjui who had begun making films in the 1960s. He was one of the principal pioneers of the Iranian film industry of the 1970s and after fall of the Shah and the Iranian revolution. However, a number of his films were banned for some time in Iran, The Cycle, about corruption in the blood transfusion industry was banned before the revolution. This film was banned in 2007, allegedly for its image of Iran and its drug problems. However, the main actor, Bahram Radan, won the best acting award for his performance at the Fajr International Festival in 2007.

Mehrjui is unpredictable in his choice of subjects for films. He often has social criticism. This is particularly the case in this film with the difficulties experienced by professional musicians, the prohibitions by government for recording permits, for performances. The film indicates the depressing consequences for musicians who have to eke out a living at private functions. However, the film has as its focus drug addiction in Tehran, the availability of drugs, the access to drugs by middle-class people, the depths to which addicts will go, even to living in carton communities on the outskirts of the city.

Bahram Radan gives a very strong performance as the musician who is criticised by his mother for his music, has been abandoned by his wealthy doctor father, has had a happy marriage, but because of government restrictions has become depressed, addicted, his wife leaving him for another musician, losing his house, going into the depths. However, the film also shows the possibility for treatment, shock treatment, cold turkey, rehabilitation.

The film is interesting in terms of the world’s image of Iran and the image that the mullahs of the Islamic republic want the world to have.

1. The impact of the film, Tehran in the 21st century? The drug situation and addiction?

2. The title, the focus on music, the santoori as an instrument, the players, the band accompanying the santoori, the range of songs, the classic music, the sounds in the film?

3. The focus on Ali, the flashbacks, his story, despair? Remembering his success, going into the depths? The voice-over and his self-assessment? His series of losses? The portrait and the delineation of his character?

4. The city of Tehran, the homes of the wealthy, the middle class, concerts and venues, the contrast with the slums, the hills, the carton city? The image of Tehran, the reality? The western-style rock star collapse story in an Iranian context?

5. The director and his career, social interest and concern, critique?

6. Ali in himself, the background of his parents, the spoilt child, the toys, his brother not being able to break out of the family hold, his discovery of the santoori, the realisation that he was born to be a musician? The exhilarationof his playing, of his singing? Ousted from the house by his mother? His father’s disappearance? His desperate wanting some of the money from his inheritance? His playing with zest, the government impositions? His girlfriend, their enjoying life, the comedy of the marriage, their giggling? Home, the big TV, success? Possibilities for him?

7. Depression, drugs, alcohol, addiction? The clashes with his wife? Her infatuation with the violinist, her leaving her husband, going to Canada with the violinist? His jealousy? His telling the story of his collapse, drinking, collapsing on stage during performances, not turning up? The reaction of his fans?

8. The wedding sequence, the possible success, the rival families and the brawl, the thugs, Ali and his arm being injured, the destruction of the instruments, his being rescued?

9. His lying injured, the drugs, the supply? The flashbacks?

10. Going to his family home, intruding on his mother and her guests, the aristocrat, the lessons for the women? Wanting the money? His interactions with his brother, his brother lamenting his dependence, not being able to marry a woman of choice, his admiration for his brother standing up to his mother? The phone call, the melodrama of there not being a pen available, Ali desperate? His mother giving him money quietly? Her strictness?

11. His father, the visit to his home, surveying the situation, participating in the injection, but refusing to give him money?

12. The house being torn down, the boxes for his goods, his being ousted from the garage, going to the hills, with the addicts, his needs, his friend and the money, trying to get a supply, injections? His being robbed? His mental collapse, emotional collapse, in the depths? His wife searching for him to say goodbye, her phone call to Ali’s father, the father coming to search, the men reacting as if they were the police? The rescue?

13. Ali in the institution, the treatment, the shock treatment, his agonies of withdrawal, the pain, ultimately his fear in leaving, offering to give music classes? The scene of him teaching?

14. The realities of life in Tehran, especially for musicians and the government treatment? The warning about drugs, the critique of the drug situation, treatment? Music and signs of hope?