All language subtitles for Close-Up 1990

POLICE STATION

Did you tell your agency
this might take a while?

No, it's all right.

We could call from there.

This could run into the evening,

and things might get tricky.

It's a strange story.
- What happened?

It seems

someone's been passing himself off
as Mohsen Makhmalbaf.

You know the name?

- A businessman?
- Not at all.

- Left here?
- Yes.

He's not a businessman.
He's a filmmaker.

You don't know him?
- No.

His latest film is The Cyclist.

I don't have time for movies.
I'm too busy with life!

The thing is,
his face isn't well-known,

and this guy told a family
he was Makhmalbaf.

Seems he's up to something.

He chose some of the family
to be actors

and told them
their house was ideal

as the location for his next film.

But no one really knows
what he's up to.

It's all very complicated.

So I'm checking out
the story for my column.

We're going to arrest him.

- You're a journalist?
- Yeah, for Sorush magazine.

I took you for a cop.

That's funny.

I heard about this case

and thought it would make
a good story.

I'm going to see it through
to the end.

A story like this
doesn't come along often.

You might get two or three
your whole career.

It's a hot news item.

Sensational news -
the kind that boosts sales.

It's what I call
an "Oriana story."

You've heard of Oriana Fallaci?
- No.

- You haven't?
- No.

Peter Bogdanovich? John Edisson?
Some of the best.

They've never been my passengers.

That's funny.

Anyway,
they're famous journalists.

Their work is known worldwide.

Especially Fallaci.
She's always on the trail of hot stories.

She has a gift for finding stories
no one else does.

That's why she has
an international reputation.

And I'm sure
this is an "Oriana" story.

I'm going to figure out
if he's up to something fishy,

like stealing from the family.

If so, they should arrest him.

That's why I'll need you till tonight.

- No problem.
- You sure?

Call your agency,

so if there's any trouble,
we'll be in this together.

It's okay. I'm not full-time
with them anyway.

I'm a retired fighter pilot.

I'm part of the ground forces now.

That could make a good story too:

air forces on the ground,
ground forces in the air.

Funny.

- Left here?
- Yes.

- To Lavizan?
- Yes, then Hosseinabad Avenue.

Lavizan's a nice area.
Good excuse to come back.

I haven't been here since the revolution,
since that incident

at the Lavizan garrison.

When the soldiers opened fire.

I haven't been back since.
- To the right?

We're looking for Javanshir Avenue.

Keep going.
I'll ask someone about Golzar Street.

Hold on. I'll ask this boy.

Son, come here a moment.

Where's Javanshir Avenue?
You don't know?

He doesn't know. Keep going.
- Ask an adult.

Let me ask this man.

Excuse me, sir.
Where's Golzar Street?

- I don't know.
- Thanks anyway.

- Want a turkey?
- No.

We're off to see
a turkey of our own.

How did you hear about this?

A composer friend called me

and said that strange things
were going on at this house.

I was intrigued.
It's an odd place to choose.

Ma'am, where's Golzar Street?

Go straight,
then left at the market.

Straight and then left?

Thanks a lot. Keep going.

So luck has knocked
at my door -

for the first and maybe last time.

You can't imagine
how anxious I am

to see this story in print.

It'll cause a sensation.

Everyone in TV and film

will be talking about it.

Let's see.

First Avenue off Golzar Street.

First Avenue. Here it is.

That way.

Is this it?
Yes, here's First Avenue.

Down here?

But it's a dead end.

How strange that my best story

should take place on a dead end.

Just my luck.

1 2... 1 4... 1 6... here it is.

What a strange place
on a dead-end street.

Wait for me here.
- Okay.

- Yes?
- It's Mr. Farazmand.

Don't get out.
He might see you from the window.

Stay in the car till I call you.

Listen, tell the plaintiff to bring out
his complaint and lD papers.

- Complaint and lD papers?
- Yes. Thanks.

Don't the police
have their own vehicles?

Yes, they do.

That poor guy's
gonna run up quite a tab.

Smoke?
- No, thanks.

- Where are you from?
- Isfahan.

And you're doing
your service up here?

Funny. I'm from Tehran,
and I did my service in Isfahan,

and you're doing the opposite.

- That's fate.
- Isfahan's a nice place.

You from Isfahan too?
- No. Borujerd.

Borujerd? lnteresting.

I'm actually
from a village near Naeem.

- Near Yazd, right?
- Yes. My village is Jandagh.

- How long you have left?
- I've done one year.

So how long do you have left?

Two years, since I'm single.

If I was married, 1 8 months.

I'm being reassigned
in a few weeks.

- Where?
- Kurdistan.

- Near Baneh?
- Yes.

It'll pass quickly. Then you can
go home and get married.

I hope. As long as God
grants you good health...

- Are you married?
- Yes.

- Any children?
- One boy.

God bless him.

- Mr. Abolfazl Ahankhah?
- Yes.

- Is he armed?
- I don't think so.

Hang on.
I forgot my briefcase.

Young man,
if you tell me the truth,

I can help you.

To you I'm just a thief

and a con man.

What about the tape recorder?

There's no one home.

I really need one.
It's pointless if it's not taped.

I'll see you
at the police station.

- What about the fare?
- How much is it?

350 tomans.

Mr. Ahankhah,
give me 200 tomans.

Sorry about this.

Here.
I'll join you at the station.

I have to find a tape recorder.

We don't even know them.

- Yes?
- Sorry, wrong address.

They're away.

Yes?

Excuse me.
My name's Farazmand.

I'm a journalist and friend
of your neighbor, Mr. Ahankhah.

I need a portable tape recorder.

We don't have one.

Thanks anyway.

Yes?

My name's Farazmand,
with Sorush magazine.

I'm a friend of your neighbor,
Mr. Ahankhah...

and I need a tape recorder.

We don't have one.

- You don't?
- No.

My name's Farazmand,
with Sorush magazine.

- Mr. Farazmand!
- Yes?

You got one?

I'll give it back this afternoon.

CLOSE-UP

Screenplay by ABBAS KlAROSTAMl
Based on a True Story

Appearing as Themselves:

HOSSEIN SABZIAN
HASSAN FARAZMAND

ABOLFAZL AHANKHAH
MEHRDAD AHANKHAH

NIR MOHSENI ZANOOZI
AHMADREZA MOHSENI

MOHSEN MAKHMALBAF

Cinematography by
ALI REZA ZARRINDAST

Produced by
ALI REZA ZARRIN

Edited and Directed by
ABBAS KIAROSTAMI

BOGUS MAKHMALBAF
ARRESTED

- Excuse me, who's in charge here?
- Captain Bashiri.

- May I speak to him?
- I'll call him.

Captain, someone to see you.

Hello, Captain.

I read in Sorush magazine
that your men

arrested a certain Hossein -

Sabzian. Yes, we did.

My men are reading the article now.
Would you like to see it?

Barati, bring me that magazine.

ActuaIIy, I've read the articIe,

but couId you perhaps
give me more details?

I don't exactly remember.
It's been a few weeks now.

As you can see,
we're very busy here.

CouId you give me the address

of the house where it happened?

I'll have to check the records.
Barati, get me that file.

So it's been two weeks?
How come the story just came out?

It was published a week later.

- He was heId here, right?
- Yes, a few days.

What kind of man is he?

He claimed to be quite religious.

You were there at his arrest, right?

- Yes, sir.
- You were there?

Did he resist arrest?
- Not at all.

He saw he was outnumbered
and he surrendered.

- Pardon me?
- He surrendered.

What kind of man is he?

He didn't look like the type
to do such things.

Meaning?

People out to con others
have a certain look.

- He didn't have that Iook?
- Not at all.

If possibIe,
I'd Iike Mr. Ahankhah's address.

You probably know the story.

The Ahankhah residence is -

Let my colleague write it down.

No. 1 6 First Avenue,
off Golzar Street in Lavizan.

Mr. Kiarostami, everyone who's
become involved in our case so far

has tried to use the situation
to his own advantage.

Mr. Farazmand wrote that the truth
would not have come out

if it hadn't been for him,
but that's not true.

I knew from the start
exactly what was going on

and always had the situation
under control.

I led Mr. Sabzian along

as a lesson to my children.

Now you're bringing up
the matter again,

and I don't know your intentions.

The article doesn't give all the facts.

What does it Ieave out?

He portrayed us as simple people,
but we're not.

What do you mean?

Yes, I'm interested in film,

but that doesn't mean
I'd do what the article says.

I was glad my mother met
Mr. Makhmalbaf. That's a fact.

And I thought
perhaps their meeting

might provide an opportunity.

I have a degree
in civil engineering,

but I haven't yet found
a job in my field.

And I thought that my brother,

a mechanical engineer
who's selling bread -

Mehrdad.

I prefer artistic work
to selling bread.

That was my main reason.

Manuchehr doesn't seII bread.

Ηe manages a large bakery.

But Mother, come on -

Would you mind speaking Persian
so we can understand?

Let's not lie to ourselves.

My brother didn't study
all those years to sell bread.

When did you graduate?

Six months ago.

That's not long.
I'm sure you'II find work soon.

Amir, Hossein, and Hushang
graduated over a year ago.

Have they found work?
Amir had work for six months.

Factories lack raw materials.
How can they hire anyone?

Anyway, I'm here
to taIk about Mr. Sabzian.

Can you teII me anything
about him?

Where is he now?
- ln prison.

- Where?
- Ghasr.

- Mr. Sabzian?
- Yes.

- Detained for?
- Attempted fraud.

Attempted fraud.

You have a visitor.

Hello.

- How are you?
- Fine, thanks.

- You know who I am?
- Sure.

I read an article about you
and decided to come see you.

I see.

ln what newspaper?
- It was a magazine.

I read that
you're interested in film,

so since I'm a filmmaker,
I wanted to talk to you.

- And you are...?
- Kiarostami.

Ah, right.

I'm surprised.

I've seen your films.
- You have?

Is there anything
I can do for you?

You could make a film
about my suffering.

I can't promise anything,

but let's talk and see.

What did they write?
That I'm a con man?

I don't know exactly.
Did you confess to attempted fraud?

Yes, I did confess.

But I'm not a con man.
- You're not?

Then why did you confess
to fraud?

Because what I did
looks like fraud from the outside.

And what is it really?

I'm interested in art and film.

All right.

How long have you been in prison?

I'm not sure.

About three weeks.

And when's your trial?

I don't know.

The courts don't like cases like mine.

They don't like them.

All right. ln any case...

I'll try to get
your trial moved forward.

I'd appreciate it.

That's all for now.
I'm all done, Captain.

If you could give a message
to Mr. Makhmalbaf...

What is it?

Tell him The Cyclist is a part of me.

I'll tell him.

You can go now if you like.

Excuse me.

Good-bye.

Good-bye.
Let me know if you need anything.

Thanks.

- What block are you in?
- Block 5.

- There's nothing you need?
- No.

Excuse me, sir.

We were here Tuesday
regarding the Sabzian case.

I don't remember.

The man who pretended
to be Mohsen MakhmaIbaf.

We have stacks of files here.

I can't remember
all the names involved.

Could you be more specific?

Yes, I was here on Tuesday.

You said you'd speak to the judge
and give us his answer.

We'd Iike to fiIm the triaI.

Ah, right.

Now I remember.

I passed that file
on to the judge.

He's studying it now.

HeIIo.

Excuse me, sir.
Were you given the Sabzian fiIe?

- The one you want to film?
- Yes.

Yes.

We'd Iike your authorization
to fiIm the triaI.

And we'd like
the triaI date brought forward.

It's set for January 1 9,
but we'd Iike it to be earIier.

Yes, it's set for January 1 9,

so we'll hear it on the 1 9th.

Why do you insist on moving it?

It's for our shooting scheduIe.

We aIso need a permit

to film in the courtroom,
if possibIe.

I took a look at this case,

and I don't see
anything worth filming.

- You reviewed the fiIe?
- Yes.

We're still
at the preparation stage,

but we're interested
due to its connection with cinema.

You have more interesting cases?

Yes, involving
more serious charges.

This is a case of petty fraud.

It seems he received
1 ,900 tomans from Mr. Ahankhah,

apparently to take a taxi.

He also passed himself off
as Mr. Makhmalbaf.

WiII you aIIow us
to fiIm in the courtroom?

Only if the higher authorities
allow it.

- And that wouId be...?
- The Department of Justice.

If they don't object, I don't.

You don't object?
Thank you very much.

It's all right with me.

Scene 1, Shot 1 ,
Law Courts, Nov. 9.

- Mr. Sabzian, do you remember me?
- Yes.

Where did we meet?

You came to prison.

We'd Iike to fiIm this triaI.
Is that all right with you?

Yes...

because you're my audience.

- Who is?
- You are.

Why's that?

- Because of my interest.
- What interest?

ln art.

Film.

We have two cameras.

This one has a cIose-up Iens.
You know what that is, right?

Actually, I don't know.

It has a very tight focus.

The other has a wide-angle lens.

That one wiII fiIm the courtroom.
This one wiII stay on you.

When I saw you in prison,

you told me
that you would plead guilty.

But some things are
more compIex than they seem

and not easy
for aII to understand.

This camera is here
so you can explain things

that peopIe might find hard
to understand or accept.

The judge will begin
by reading the charges.

If there's anything
needing special attention

or that you find questionabIe,

expIain it to this camera.

Okay.

- Shall we begin?
- Yes.

ln the name of Allah...

The accused is
Mr. Hossein Sabzian.

Who are the plaintiffs?

Mr. Ahankhah, Mrs. Mohseni,
and Mehrdad Ahankhah.

- Three plaintiffs in all?
- Yes.

Before we proceed,
I invite the parties

to settle
their differences amicably.

Should plaintiffs wish
to withdraw their complaint now,

they may do so.

Otherwise we shall begin the trial.

I do not withdraw
my complaint for myself...

nor for my family,

and I'd like my son Mehrdad
to speak on our behalf.

Very well. Let us begin.

The court asks Mr. Ahankhah
to state his complaint.

Mr. Hossein Sabzian
approached our family,

passing himself off
as Mr. Makhmalbaf.

He clearly intended

at best to commit fraud,

and at worst, burglary.

But thanks
to my father's vigilance,

his plans were thwarted,
and he was arrested.

THE CYCLIST

Excuse me,
where did you get that book?

Where did you buy that book?

ln a bookstore.

- Could you give me the address?
- You can have it.

You're very kind, but I'd -

Please take it. I wrote it.

You wrote it?

Really?
- Yes.

- You're Mr. Makhmalbaf?
- Yes.

Pleased to meet you.

That's very kind of you.

If you'd like, I'll autograph it.

- Thank you.
- You're welcome.

Mr. Makhmalbaf,

why do you use public transport?

What do you mean?

Famous directors
usually use their own cars.

They don't take the bus.

I often take the bus

to look for interesting
ideas for films.

Did you see my film?

Yes, with my children.
It was very good.

- Just once?
- Yes.

It's a film you have to see
a few times.

I don't have the time,
but my children go.

My two boys are interested in film.

They're both engineers.
- Which one's more interested?

The younger one
was more enthusiastic.

- He saw it too?
- Yes, we saw it together.

- What did he think of it?
- He liked it.

- Anything that bothered him?
- Not really.

- What does he do?
- The older one's a mechanical engineer.

The younger one's a civil engineer.

The older one
couldn't find work in his field.

He's working
in a bakery in Mazandaran.

The younger one graduated

but hasn't found a job yet.

He helps out at a computing firm,
though he studied civil engineering.

My daughter here just took
her university entrance exams.

That's your daughter?

She just graduated.
She goes to the movies too.

What's your son interested in?

He's very interested
in art and literature.

Has he written any screenplays?

Just for himself.

So he's interested in film?

Yes, very.

And design?

Yes, it's part of his field.
He does a lot on the computer.

So he's interested in art?

Very much so.

My boys will be thrilled

to hear I met you.

They can contact me if they'd like.

What's your address?

My address and phone
are on the back.

Right there.

Thank you. I'll tell them.

If you have a phone,
I could call and answer any questions.

Here's some paper.

I have a pen.

- Here's your pen.
- Thanks.

You didn't write your last name.

Ahankhah.

Driver, I'll get off here.

Getting off?

Yes. Excuse me.

- I hope we meet again.
- Yes, I hope so.

- Thank you.
- Thank you for the book.

What do you mean by fraud?

What exactly did he do?

He passed himself off
as Mr. Makhmalbaf, the filmmaker,

to get close to our family.

He inspected
every room in our house,

as if planning to film there,

so as to gather information
to carry out a burglary.

Mr. Hossein Sabzian,

you stand accused of fraud

and attempted fraud.

You are to defend yourself
on these two counts.

How do you respond
to these charges?

If guilty, explain how
you intended to commit fraud.

As for burglary -

You're not on trial for burglary,

only fraud
and attempted fraud.

As far as the attempted fraud
you mention...

that was not my intention.

Legally it might be
an acceptable charge,

but morally it is not.

I have a great interest in the arts.

I saw lots of movies as a child.

Later on...

I'd play with my friends
and pretend I was a director.

Our games
were mostly about the arts.

But I didn't have the means
to pursue those things,

and I developed
a kind of complex about it.

For there to be fraud

there has to be
some element of deception,

like using a car or carrying
a briefcase to look the part.

I never did that.
That was not my intention.

What was your motive for passing
yourself off as Mr. Makhmalbaf?

- He's someone I -
- What was your motive?

I admire him
for the films he's given society...

and the suffering
he portrays in his films.

He spoke for me
and depicted my suffering,

especially in
Marriage of the BIessed,

just as Mr. Kiarostami does,
especially in The Traveler.

You could say I'm exactly
like that traveler.

I really liked that film.

Due to his passion for soccer,

that boy takes pictures
with a camera that has no film

to raise money
to go to a soccer match.

But he oversleeps and misses
the game, as I feel I have done.

I know I'm guilty
in the eyes of the court,

but my love of art
should be taken into account.

You haven't answered the question.

Why did you pass yourself off
as Mr. Makhmalbaf

to the Ahankhah family?

Isn't that fraud?

I wish I was in his place.
I mean, I wish I was like him.

One of the plaintiffs claims

that the accused received
1 ,900 tomans from him.

What was the money for?

When he left our house
after his first visit,

my motorcycle was parked nearby.

He saw it
and asked if it was mine.

I said it was.

He asked me to give him a lift.

I said okay.

As I was getting the bike,

he turned
and jokingly said to my father

that if we got in an accident,

30 or 40 of his fans
and crew members

would ransack our house,
and we all laughed.

As we rode along,

he spoke about filmmaking
as if he were Makhmalbaf.

He asked if I had any questions,
and I asked a few,

which he answered very cleverly,

meaning that
when he couldn't answer,

he'd say something vague.

I just figured
that as a filmmaker,

there are aspects of his work

that he doesn't like to talk about.

Then he told me

he'd just gotten
an interesting idea for a film

about two people
on a motorcycle.

One loses his wallet

and has no other money on him.

Then he said that
that had happened to him.

When he got off later,
he said he had no money.

I thought in that case he'd need

50 or 1 00 tomans to get home.

But he said he needed something
costing 1 ,500 tomans.

As I counted out
1 ,500 to give him,

he said that actually 2,000
would be perfect.

I counted out 1 ,950,

keeping 50 that I needed myself

and giving him the rest,

which he put in his pocket.

Then he said that the interesting idea
he'd had for a film was like that:

Two men ride along
on a motorcycle for half an hour.

Because one has lost his money,

the other lends him some,

and they become good friends.

I was delighted to have met

a director down-to-earth enough

to borrow money like that.

- So you borrowed 1 ,900 tomans?
- Yes.

Why?
Because you needed it...

or to see
what kind of man he was?

I needed it.

- Does that justify your actions?
- No.

With the court's permission,

expIain why you chose
to pass yourself off

as Makhmalbaf,

because so far
I don't think you reaIIy have.

Being Makhmalbaf
was very hard for me.

How so?
Wasn't it your choice?

It was hard for me...

to take on his identity...

and convince them.

- Of what?
- That I was Makhmalbaf.

It was hard to play
a director for them,

despite the self-confidence
it gave me...

and the respect they showed me.

They gave me
their attention and respect.

- Who did?
- The family.

They did whatever I wanted.

If I'd asked them to move
a heavy dresser, they would have.

If I'd asked them to cut down a tree,
they would have.

Before, no one would ever
have obeyed me like that,

because I am just a poor man.

But because I pretended
to be this famous person,

they would do whatever I said.

But whenever
I'd leave their house,

I'd be back to my old self,

even that night
when I took the money.

I'd realize
I was the same old Sabzian...

desperate for a little pocket money

so he could get home
to that godforsaken place.

And once there, he wouldn't even have
the money to buy his kid a treat.

So I'd realize
I was still the same poor guy,

alone and back
in his social class.

So I'd go to sleep,
and when I'd wake up

and think about going there
to play a role for them,

even if it was really hard for me,
I still wanted to go back.

Because of my passion for cinema,

and above all
because they respected me

and supported me morally,
I really got into the part.

It encouraged me
to play the role better,

to where I even felt I was a director.

I was really him.

I felt like I really was a director.
I really was him.

So I'd play that role,

but when I'd leave
and head back home,

I'd have to shed that character.

If you'd gotten money,

couId you have kept up the roIe
even away from their house?

Yes.
A director can't be poor.

He has to have money.

He can't be so helpless
that he can't afford a treat for his kid.

He can't wake up in the morning

to find there's not a crumb
to feed his family

and have to scramble
to find food.

That made it hard
to go back to playing a director.

But again,
when they respected me

and believed
I really was a director,

their trust gave me confidence.

The fact he Ient you money
gave you confidence?

Yes, when he lent me money,

I realized

he was convinced I was a director.

And you didn't intend to give it back?

I did...

but I didn't see

where I'd get the money from.

And besides,

he was so keen to be in a film

that I wished I had money
to make a film

so as not to disappoint him.

- Excuse me.
- Go ahead.

The following Thursday,
he insisted

that we all go
to the movies together

to see The Cyclist.

Then we'd discuss the film

as a starting point for our film,
"The House of the Spider."

The Cyclist was showing
at a theater near our house,

but he wanted us to see it
at the Republic,

which was quite a ways
from our house.

He claimed they were showing
a less censored version,

so we had to see it there.

That's one of the things
that aroused our suspicions.

Why insist that we all go?
We didn't even have a car.

He said it didn't matter,
that he'd call a cab.

He even asked a friend of ours
to bring his father's car.

He also said he'd go separately,

because if his fans
saw him at the theater,

we might be inconvenienced
by all the commotion.

Mr. Sabzian, did you hear that?

"When spite comes along,
art dons a veil."

I'd like to ask Mr. Ahankhah,

who accuses me
of intending to burgle his house -

You're not accused of that.

He merely mentioned it
in passing.

It's not part of the case,
so stop bringing it up.

Mr. Ahankhah and the others
named in the complaint

thought you might be part of a gang

who were planning
to burgle their house...

I categorically deny that.

...and that you insisted
they go to the movie

to get them out of the house

so your accomplices
could steal their possessions.

That's not true?
- Absolutely not.

But you admit

you intended to misappropriate
Makhmalbaf's name?

Yes.

Your Honor, as he's expIained
and you've confirmed,

he had no intention
of steaIing anything.

But it isn't yet cIear

why he wanted the whoIe famiIy
to go see the movie.

I'd Iike him to expIain

his motive for doing that.

That night...

my biggest motivation
for seeing the film together

at the theater

was so they'd become
more interested in the film

and have more respect
for me as a director -

a director who understands
the suffering of society,

who keenly understands its ills

and deals with another social class

as though it were his own.

I wanted to tell them,
"Change your mentality.

Don't think a director
is different from ordinary people.

He's one of you."

This is the behavior of a director
who's humble and close to the people.

I wanted to prove it to them

by going to the cinema together.

But since they didn't
accept my proposition,

I said, "Okay, I'll go alone.

You go ahead,
and I'll get there before you."

I took the bus to the theater,

hoping to get there
without them seeing me.

But when I got my ticket
and went inside,

they were already standing
by the staircase,

but they didn't see me.

I went up to their friend and said

I'd been waiting a long time.

They asked me how I'd come.

I said, "I told you I'd get here first,

that I didn't want to be recognized,

or else people would crowd
around us for autographs.

I wanted to avoid that
and arrive incognito.

I don't like to be recognized."

How wouId you have reacted

if someone had taken you
for MakhmaIbaf?

If it was outside the theater,

I'd have tried not to attract attention,

but I sensed -

WouId you have tracked them
to their house

and been their MakhmaIbaf
for a few days too?

Yes.

How long

after his first visit
to your house

was he arrested?

When he left us that Tuesday,

he said he liked me

and that he wanted me
to play the lead

in his next film.

He added
that he'd be back to see us.

He said he'd come to lunch
that Thursday,

and that soup
was his favorite meal.

How many days after you met
was he arrested,

and what were the grounds?

He first came on Tuesday,
then Thursday,

and it all ended on Saturday.

What were the reasons
for his arrest?

Had you become suspicious?

Yes. Actually, my father

had suspected him
from the start,

and he discussed our doubts
with Mr. Mohseni.

The description Mr. Mohseni gave

seemed to fit.

Mr. Mohseni, you've followed
this from the outset.

You know that
everything has unfolded

just as I predicted
from the start.

It was Mehrdad who insisted

that maybe the man
really was Makhmalbaf.

Fortunately,
something happened yesterday

that convinced him
that he wasn't Makhmalbaf.

Early yesterday
the so-called Makhmalbaf came here

to rehearse with my children.

Mehrdad came home
with a newspaper

and said in a loud voice,
"Congratulations, Mr. Makhmalbaf."

The man was baffled
and didn't understand.

The newspaper said

that The Cyclist
had won an award

at the Rimini Festival.

He stood there dazed,
unable to respond.

He got out of it
in his own cunning fashion,

saying the award wasn't for the film
but for the musical score.

- He was thinking of the Fajr Festival.
- Probably.

So they continued with rehearsal,

but Mehrdad had realized
that the man wasn't Makhmalbaf.

But sometimes

news like that doesn't reach
a director right away.

But the newspaper said
Mr. Makhmalbaf

had wired his thank-you
to the festival,

so he had to know about it.

They continued rehearsing,
and then they went to the movies.

After the film,

he expressed a desire

to spend
the night at our house,

so he came and slept here.

Around 6:00 the next morning,

I woke up to hear him
talking with Mehrdad.

He said he wanted to go...

out into the mountains.

Mehrdad was sure
he wouldn't return,

but he lent him his coat
for the cold,

and the man left.

We thought

we might never see him again,

but luckily - or unluckily -
he called a half hour ago

and asked Mehrdad
to pick him up in town,

so off he went.

They'll be here any moment now.

As I told you,

my friend Mr. Farazmand
has interviewed most of these artists.

I hope this man
really is Makhmalbaf.

Excuse me.
I hear a motorcycle.

Go on in.
I'll be right there.

Speak of the devil...

- Hello. How are you?
- Fine, thanks.

Come in.

My friend, Mr. Mohseni.

This is Mr. Makhmalbaf.

Please sit down.

- How are you?
- Fine, thank you.

I trust you slept well.

Actually, I didn't.

- You didn't?
- I couldn't sleep.

I'm sorry your night

in our home wasn't restful.

One often sleeps poorly

in someone else's home.

Yet a sage
feels at home anywhere.

But I'm no sage.

You certainly look like one.

Appearances can deceive.

Would you like something to eat?

I had a big breakfast,
so I'm not really hungry,

but I'd love for us all to share

a meal together.

On weekends our children
usually get up late

and just have lunch.

But I can make you some eggs.

No, it would have been nice
to eat together. I'm not hungry.

Whether you're a sage or not,

all we can offer you today
are eggs.

I won't say no.

Fix him some eggs.

Don't go to any trouble.

So it seems you're fond
of the mountains.

Do you go hiking often?

Sometimes.

This morning,
looking out the window,

I felt so close to nature
and the mountains.

It seems to me

that man really needs
to be close to nature.

One must be in touch
with the colors of nature

to remove the rust
covering one's heart.

"I asked, Why is
your face hidden from me?

She replied,
It is you who are hidden."

Human beings hide
their true selves.

"You yourself are the veil,
for my face is revealed."

That's the issue:
to uncover that true face.

That's why I needed

to go up into the mountains
to study myself.

Nature is a mirror
in which we can study ourselves.

If you're so fond of nature,
why not live a more natural life?

Mehrdad, you don't look
ready for rehearsal.

I'm waiting for the others.
Have your lunch.

You're holding me up today.

Have your lunch.

What about me
seems unnatural to you?

That's not what I meant.

I'm just saying
that today's Friday,

a day off for most people.
You should rest a bit too.

When there's work to be done,
the day doesn't matter.

We have so little time
to do our real work.

That's why I always
make work my priority -

because it increases
one's opportunities.

A person
can't decide when to rest.

"Don't put off
what you can do today,

for who knows
what fate will bring tomorrow."

We can't even know
what lies ten minutes ahead,

so we have to make use
of every opportunity.

That's why I make
the most of everything.

If I have the chance now,
why not use it?

You can't always choose

when to work and when to rest.

So I can't decide to stop working
just because it's a weekend.

I love my work,

so I'll pursue it no matter the day.

All the weekdays I don't work
make up for the weekends I do.

We spent many days just waiting.
Then finally work came along.

If your boys maintain the same interest
they showed the first day,

I think I could really work
with them night and day.

But their interest seems to be fading.
I don't know why.

Especially Mehrdad,
who's gradually stopped giving

the beautiful performances
he was giving before, unfortunately.

What can I say?

I don't know why.

In the beginning he was
interested and enthusiastic.

If he showed real interest,
I'd have worked day and night

without a problem.

Anyway...

Yes? Come in.

It's Mr. Farazmand.

Excuse me.

- How are you?
- Fine, thank you.

Sorry to bother you.

I hope I'm not interrupting.
- Not at all.

- I believe you've met.
- How are you?

- Mr. Makhmalbaf.
- Pleased to meet you.

Please sit down.

How are you, Mr. Ahankhah?

I hope I'm not interrupting.

Mr. Ahankhah...

may I have a word
with you in private?

Mehrdad,
we have rehearsal, you know.

Have your lunch.
I'll be right there.

Mr. Ahankhah,
I need a tape recorder.

Mr. Farazmand
needs a tape recorder.

- We just have this one.
- No, a portable.

We don't have one.

- What about your neighbors?
- I'll ask them.

Let him finish his lunch.

Sorry, ma'am.

Don't let them take him.

Don't worry. He'll be back.

Is this your first offense

of this kind?

Yes, it's the first.

- I've heard that others have -
- Taken me for Makhmalbaf?

So it's not the first time.

People have taken me for him,

and sometimes I'd say I was him.

Are you sorry for what you did?

Yes, I am,

and whatever you decide
is acceptable to me.

Whatever verdict you render is fine.

I really regret what I did,
because I toyed with their feelings.

But I never had
the slightest intention

of stealing anything from them.

I'm sorry for what I did,
and I don't regret my time in prison.

Prison is good for the good
and bad for the wicked.

It teaches the good a lesson
but only makes the wicked worse.

I regret what I did, but -

- Have you been in prison before?
- Never.

- Your occupation?
- I worked in a print shop.

Why did you inspect their house

room by room?

I was playing
the part of a director,

describing where shots
should be filmed

and what decor should be used.

Have you ever worked in film?

No, but I've read screenplays
and books on the subject.

So I'd give directions

and say to come this way,
or run over there.

Or when we were outside -

You asked them to cut down
some trees in their yard.

I said that
for the scenes in the yard,

the trees would block

the nice view of the house,

and Mr. Ahankhah said
he'd cut them down.

But I said no,
that we could try other angles.

Was the idea of filming
at their house

yours or theirs?

They welcomed my idea.

Did you intend to ask them
for money for the production?

To produce a film?

I said that if it worked out,

then we'd have to do something.

I mean, it was my intention

that if they put up money -

If he'd said, "I'll put up
money for your film,"

I'd have done it -

but I wouldn't have let things
get that far.

Very well.
He's expressed remorse.

I'd like to ask the plaintiffs

if they would agree to pardon him.

Of course, by law
his offense must be punished,

but if the plaintiffs pardon him,

the court can reduce his sentence.

If he'd shown some honesty,
I'd have no objection.

But listening to him,
I get the impression

he's still playing a role,
even if a slightly different one.

lnstead of playing Makhmalbaf,

now he's playing
the sensitive soul.

I'd like to ask
Mr. Farazmand to tell the court

about the various people
who contacted him regarding this man.

You have relevant information?

Yes, I do.
I've been following this case.

What was the title of your article?

"Bogus Makhmalbaf Arrested."

"Bogus Makhmalbaf"?

When the article came out,

I received lots of phone calls

from readers.

One woman called

and in tears said

that a man claiming
to be Makhmalbaf had deceived her.

He'd even promised to marry her

and give her
a lead role in his film.

She wanted to see him
and turn him over to authorities.

I insisted she come to court
or to my office

and give me
her address and telephone

so I could confirm her story

and let her confront him,
but she refused.

Other anonymous callers
from a print shop said

that the accused
had misappropriated funds,

such as keeping the payment
from a paper delivery.

Mr. Sabzian?

Concerning the lady's phone call -

Since you're single now,
you could have -

I strongly deny that,
and I'm prepared to confront her.

I worked as a salesman
for a trading company.

I'd take some soap

or food products

and put them in my bag
and go looking for clients.

The day I met Mrs. Ahankhah,
I was low on money.

I hadn't even had lunch,
and I was hungry.

I was supposed to go
to my aunt's that night,

which I did.

The next day I was hungry again.

I thought since Mrs. Ahankhah
had believed I was Makhmalbaf,

I'd go there in hopes
of getting some lunch.

I'd like to add...

an important fact.

ln my notebook,

on the last day,

the day I was arrested,

under Mr. Ahankhah's address,

I wrote...

"the tragic finale,"

that this was
the end of a tragedy.

That's what I sensed and wrote.

I'm sure they read it
at the police station.

I was certain I'd be arrested that day

because of the money I'd received

and the fact
I'd spent the night there.

But I couldn't stop myself
from going there.

- Why?
- I enjoyed what I was doing.

I enjoyed playing
the part of Makhmalbaf

and inspiring their respect
and admiration,

and also the fact they might
give me financial support.

Without all that,
my spirits would have fallen.

And when he picked me up
on his motorcycle,

I could sense it completely,
but I went anyway.

We got to their house,
and I knew I'd be arrested.

I figured there was just
a 20% chance I wouldn't be,

because when I spoke
with Mehrdad on the phone,

he asked if I'd wait for him

at Hosseinabad Square.

I said I would,
that he should come get me.

He was surprised to find me there,
and we headed home.

But I knew I'd be arrested,
and I went willingly.

My notebook's
at the police station.

They took my bag,
so I'm sure they read it.

- Where's that paper?
- Unfortunately I tore it up,

and their address as well,
because I thought it was all over.

When did you reaIize they knew
you weren't MakhmaIbaf?

On the last day.

That night I spent with them,

I saw a picture from Makhmalbaf's
Marriage of the BIessed -

the scene where Roya Nonahali
is cleaning the floor,

and Makhmalbaf's in the picture.

I figured that before I got there,

they'd been looking
at film magazines

to find a picture of him
and show it to me

to see how I would react.

They showed me the picture and said,

"Mr. Makhmalbaf,
you were much more handsome

when you were younger."

I said I was just younger then.

I quickly moved on,

but I sensed

they'd started to catch on a bit.

But I convinced myself
that they weren't yet certain

that I wasn't Makhmalbaf.

How far were you going
to take this?

As far as they were prepared...

to go.

When he came
to our house that Thursday,

he had salt-and-pepper hair.

But in the magazine picture,
his hair was black.

He volunteered on his own
that he was younger then,

and his hair had been
thick and black,

and now it was gray
and thinner.

When he came back that Saturday,

he'd dyed his hair.

How does he explain that?

My mother, who is here,

can confirm that I was dyeing my hair

long before
this whole episode began.

I simply wanted
to look a bit younger.

You are young.

I've been dyeing my hair
for a long time,

but not for the reason
suggested here.

- Have you ever married?
- Yes.

- You have a wife and family?
- We're separated.

Why is that?

I was poor and out of work.

- Any children?
- Two.

- Where are they?
- My wife has one. I have the other.

- Who looks after the one with you?
- My mother.

- Where's your mother?
- She lives near Mamazan.

I mean is she here?

Yes, in the back,
in the black veil.

- Are you Mr. Sabzian's mother?
- Yes.

- Do you know why he divorced?
- Yes.

Why?

He works in a print shop,

but the work is on and off.
Our house is small.

After he married,
I gave them a room in our house.

They were fine for seven years,

but then she began complaining

that it was a poor house
that held no future for her.

He told her

that if she wasn't happy,
they should divorce.

They agreed that she'd keep
one child and me the other.

He lives with me.

When he has work,
he gives me 50 tomans a day.

We just live our lives,
and everyone knows us.

He's a good boy.
He's never been in trouble before.

Why didn't you try
to post bail for him?

I went to see
the officer in charge.

I also asked
to see Mr. Ahankhah,

but the authorities
said they'd handle it.

Every time I feel sad in prison...

I think of the Koran verse
that says,

"Speak Allah's name,
and your heart will be consoled,"

but I feel no consolation.

Whenever I feel depressed
or overwhelmed,

I feel the urge
to shout to the world

the anguish of my soul,

the torments I've experienced,
all my sorrows -

but no one wants
to hear about them.

Then a good man comes along

who portrays
all my suffering in his films,

and I can go see them
over and over again.

They show the evil faces

of those who play
with the lives of others,

the rich who pay no attention

to the simple material needs
of the poor.

That's why I felt compelled

to take solace in that screenplay.

I read it,
and it brings calm to my heart.

It says the things
I wish I could express.

Now that you've pIayed this part,

do you think you're
a better actor than director?

I don't want to be presumptuous...

but I'm more interested in acting.

I think I could express

all the bad experiences I've had,

all the deprivation I've felt
with every fiber of my being.

I think I could

get these feelings across

through my acting.

Aren't you acting
for the camera right now?

What are you doing now?

I'm speaking of my suffering.

I'm not acting.

I'm speaking from the heart.

This isn't acting.
For me, art...

is the experience
of what you've felt inside.

If one could cultivate
that experience,

it's like when Tolstoy says

that art is the inner experience
cultivated by the artist

and conveyed to his audience.

Given the positive feelings
I've experienced,

as well as the deprivation
and suffering,

and my interest in acting,

I think I could be an effective actor

and convey that inner reality.

Then why did you pretend
to be a director

instead of an actor?

Playing the part of a director
is a performance in itself.

To me, that is acting.

What part wouId you Iike to pIay?

My own.

Haven't you aIready done that?

Mr. Sabzian,
you've heard the charges

and admitted at least some guilt.

You may now state
any final arguments in your defense.

I ask the honorable
Ahankhah family...

to forgive me
in the eternal sense.

In the legal sense,

they can forgive or punish me.

I ask the court's
forgiveness as well.

Do you vow
never to do this again?

Yes, I give my word.

ln view of -

- Your Honor, please forgive him.
- Please be seated.

As a descendant
of the house of the Prophet,

I ask you to please forgive him.

ln view of his young age,

and the fact
he has children to support,

and the fact he's confessed
and has no prior record

and vows never
to repeat such mistakes,

I ask the plaintiffs

to forgive him if they can.

But as I said before,
their pardon

could only be considered
extenuating circumstances.

Are the plaintiffs willing?

I am willing

to withdraw my complaint
in the hope that Mr. Sabzian

will become
a useful member of society.

Now that he's expressed
remorse for his actions,

if my son Mehrdad
is in agreement,

I will withdraw my complaint.

I consider him to be sick,

for reasons not relevant
to these proceedings.

But everyone knows
that the reasons are social malaise

and unemployment,
which lead to corruption.

And I think that if he's freed

and finds a proper job,

he will lead an honest life.

Therefore I agree
to withdraw my complaint.

We Iost him.

Ηe didn't wait in the right spot.

I can't see him.
Stop roIIing?

We can't redo this shot.

Now I see him - behind the taxi.

- I see him.
- See him?

We just Iost sound.

What do you mean?

It's either the jack
or Mr. MakhmaIbaf's IapeI mike.

It's oId equipment.

It has a Ioose wire.

It's 1 5 years oId.

The sound's back.

WiII it go out again?

It's back for now.

Are you Mr. Sabzian?

How are you?

Don't cry.

There's no need for that.

When did you get out?
- Just now.

Let me look at you.

I have to thank you.

When did you get out?

Look at me.

Let's go.

This way.

You okay?

Where are you going now?
- The Ahankhahs'.

I'll take you.
Have you seen me before?

- ln the movie.
- What movie?

Marriage of the BIessed.

Do you prefer
being Makhmalbaf or Sabzian?

Even I'm tired of being Makh-

I'll get my bike.

Hold this for me.

How long were you in prison?

When you met
that woman on the bus...

You can get some flowers here.

Count your money.

Careful with your money.

Here.
You need money?

Not yellow, my friend.

Pick a different color.

Those red ones are better.

Okay back there?
- Yeah.

Let's go.

- Yes?
- Hello.

It's Hossein Sabzian.

- Who?
- Sabzian.

Makhmalbaf.

- Yes?
- This is Mr. Makhmalbaf.

Hello, Mr. Makhmalbaf.
Come in.

What's the date, Hossein?

The third.

- When did you first come here?
- Forty days ago.

Dry those tears.

That won't do.

Hello.

Welcome to our home.

You know Mr. Sabzian.

Please forgive me.

This isn't the old Mr. Sabzian.

I hope you'll see him
in a new light.

I hope he'll be good now
and make us proud of him.