Citizens may be deprived of their rights but people supersede any form of injustice when they come together. Amir Naderi’s film “Tangsir” paints a picture of camaraderie among townsmen, made prior to the revolution in Iran. “Tangsir” is really about men standing for what they believe in. Making this a revolutionary film. The script is based on Sadegh Chubak’s first novel, published almost a decade before the release of this film. He is a well-acclaimed short story writer in Iran.
The story is about Zaer Mohamed (Behrouz Vassoughi), a rural-worker, working at times as a well -digger to provide for his family. He earns a meagre income, allowing them to take shelter under a tent along the shore. He has entrusted four men with his savings in return for a small interest.They hold prominent positions as mayor, judge, police chief and merchant. This is a practice common in small towns of Iran. When the time comes to withdraw money, these men forget their promises and refuse to give him back his money. In expressing his troubles, Zaer asks the other men in the village what to do. They reaffirm the idea that he should turn to God. To trust that He will punish them for their bad deeds. This question of when becomes pivotal to the structure of the story. What happens when a country’s lawlessness drives a man to take responsibility? The story is set in Daavas near to the Iranian coastal province of Bushehr. Zaer seeks to become a real Tangsir. This will have a great impact on his town and fellowmen hence the title of the film.
Naderi is at his best when showing the flip-coin side of Zaer’s character from a rural worker to a gunman. And the capacity in which one turns into the other depending on circumstances. Fighting injustice and taking revenge is a way of survival. This is one of the eminent themes in the film. Zaer takes it upon himself to do something about these four swindlers in the story. Reminiscent of what drives Raskolnikov in Fyodor Dosteovsky’s “Crime and Punishment” in getting rid of the greedy pawnbroker. There is ample space in the film to think whether one is capable of doing the same.
Nemat Haghighi’s visuals support the narration. His collaboration on Naderi’s third film and first cinemascope brings out many contrasts. The openness of the landscape contrasts with the claustrophobic alleys. His camera captures a man’s transformation and the effect he has on his people. Stunning shots display the chaos in the town. Well-thought out compositions of men running around, the police on horses dispersing crowds, the riots and fatalities on both sides including women and men.
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Vassoughi's miminalist performance displays Zaer’s internal dilemma. He will make the decision whether he will wait or not. Not being able to get back his money weighs on his shoulder because he has to protect the welfare of his family. But he’s also about to put himself in danger and put his family at greater risk if he sought after revenge. Vassoughi expresses this dichotomy very well. He is an Iranian star who appeared in several Iranian pre-revolutionary films. Most recently, he has played the role of Sahel in Bahman Ghobadi’s “Rhino Season” (2012).
“Tangsir" is an elegy to the state of human condition. Zaer believes in getting rid of the swindlers and saving other men from their vermin. Comparisons can be drawn between Zaer and Mohamed Bouazizi, a vendor who became a catalyst in the Tunisian revolution in 2011, after setting himself on fire. The action of both these men are so severe and drastic but they are both supported by their people in defending their cause. They become heroes. Making the subject matter of this film very relevant to this day.
Naderi is also known for “The Runner” made in 1985, before traveling to the United States of America. He is one of the leading figures in the new wave of Iranian cinema of the 70’s. Other directors of this movement include Mohsen Makhmalbaf and Abbas Kiarostami.
Here is a sneak peak from the film.
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