The Cyclist

Plot

Nasim, an impoverished Afghan immigrant living in Iran, faces a desperate situation when his wife falls gravely ill and requires expensive medical treatment. Unable to earn enough money through his physically demanding job digging wells, Nasim accepts a dangerous proposition from a shady promoter who offers to pay him if he can ride a bicycle continuously for seven days straight. The promoter turns Nasim's grueling ordeal into a public spectacle, bringing in sick and elderly spectators and encouraging them to find hope in Nasim's endurance while exploiting his suffering for profit. As Nasim struggles through the days and shivering nights, aided only by his young son who feeds him while he rides, he faces multiple threats including local officials who suspect him of being a spy and gamblers who bet against his completion of the challenge. The film culminates in a powerful exploration of human desperation, exploitation, and the thin line between triumph and illusion in a society where survival itself becomes a form of resistance.

Historical Background

The Cyclist emerged during a crucial period in Iranian history, approximately eight years after the 1979 Islamic Revolution and during the Iran-Iraq War (1980-1988). This era was characterized by significant social and political upheaval, strict censorship laws, and economic hardship. The film industry was undergoing a transformation as revolutionary ideals clashed with artistic expression. Iranian cinema during this period was largely state-controlled, with strict guidelines about content that could be shown. Despite these constraints, or perhaps because of them, filmmakers developed innovative ways to address social issues through allegory and metaphor. The Cyclist's focus on poverty, exploitation, and human dignity reflected the struggles many Iranians faced during this difficult period. The film's international recognition came at a time when Western audiences were particularly interested in Iranian culture and society, following years of limited cultural exchange. The post-revolutionary period also saw the emergence of a new generation of Iranian filmmakers who would later be recognized as the Iranian New Wave, with Makhmalbaf being one of its pioneers.

Making Of

The making of 'The Cyclist' was marked by significant challenges typical of Iranian independent cinema in the 1980s. Director Mohsen Makhmalbaf, working with minimal resources, had to be resourceful in every aspect of production. The casting process involved finding actors who could authentically portray the desperation of poverty - Firouz Kiani, who plays Nasim, was not a professional actor but was selected for his weathered appearance and naturalistic performance style. The film's most demanding sequences involved the continuous bicycle riding, which required careful choreography and camera work to maintain continuity while ensuring the safety of the performers. Makhmalbaf's daughter Samira, then just a child, appears in the film and her presence on set influenced her later career as a director. The production had to navigate Iran's strict censorship laws, which meant Makhmalbaf had to embed his social critique within seemingly straightforward narrative elements. The film's distinctive visual style emerged partly from necessity - limited equipment led to innovative camera techniques that would later be celebrated as artistic choices. The shooting took place during winter, adding to the physical challenges for the cast and crew, particularly during the night sequences.

Visual Style

The Cyclist features distinctive cinematography characterized by its minimalist aesthetic and careful composition. Director of Photography Mahmoud Kalari employed a naturalistic style that emphasized the harsh realities of the characters' environment. The camera work during the bicycle sequences is particularly noteworthy, using long takes to create a sense of endurance and exhaustion. Kalari often positioned the camera at low angles to emphasize the physical strain of the protagonist, while wide shots highlighted the isolation of the central character within the urban landscape. The night sequences were shot using available light sources, creating a stark, documentary-like quality that enhanced the film's realism. The color palette is deliberately muted, reflecting the bleakness of the characters' circumstances, with occasional bursts of color used to highlight moments of human connection. The cinematography avoids sentimentalism while maintaining emotional impact through careful framing and movement. Static shots are used effectively during moments of reflection, while dynamic camera work during the riding sequences creates a sense of perpetual motion. The visual style influenced subsequent Iranian cinema, particularly in its use of natural light and location shooting to create authentic environments.

Innovations

The Cyclist achieved remarkable technical accomplishments given its limited budget and resources. The film's most significant technical achievement lies in its execution of the continuous bicycle riding sequences, which required innovative camera techniques and precise timing. The production team developed a custom camera rig that could follow the bicycle while maintaining stability, allowing for smooth tracking shots without the benefit of modern stabilization equipment. The lighting design for the night sequences was particularly innovative, using practical light sources to create atmospheric effects while maintaining realism. The film's editing, by Rassoul Sadr Ameli, creates a rhythmic quality that mirrors the protagonist's physical exertion through careful pacing and shot selection. The sound recording in challenging urban environments demonstrated technical resourcefulness, capturing clear dialogue and ambient noise despite limited equipment. The production team's ability to maintain continuity across the demanding shooting schedule was a significant organizational achievement. The film's visual effects, though minimal, were achieved through practical means rather than optical processes, reflecting the technical ingenuity of the crew. The movie's technical innovations influenced subsequent Iranian cinema, demonstrating how artistic vision could overcome technical limitations. The film's preservation and restoration in later years also required significant technical work to maintain the quality of the original elements.

Music

The Cyclist features a minimalist soundtrack that complements its visual austerity. The score, composed by Ahmad Pejman, uses traditional Persian instruments sparingly to create emotional emphasis without overwhelming the narrative. Much of the film relies on natural sound - the rhythmic sound of the bicycle chain, the breathing of the protagonist, and the ambient noise of the urban environment. This approach creates a documentary-like authenticity that enhances the film's realism. During moments of heightened tension, the music incorporates subtle Persian motifs that connect to the cultural context without being overtly traditional. The sound design pays particular attention to the physical sounds of exertion - the creaking of the bicycle, the heavy breathing, and the footsteps of the supporting characters. The absence of a conventional romantic score reflects the film's focus on struggle rather than sentimentality. The musical elements that do appear often serve as counterpoint to the visual imagery, creating layers of meaning. The soundtrack's restraint has been praised by critics for its effectiveness in supporting the narrative without manipulation. The sound design contributes significantly to the film's immersive quality, making the audience feel the physical and emotional weight of the protagonist's journey.

Memorable Scenes

• The opening sequence where Nasim digs wells in the harsh sun, establishing his physical exhaustion and economic desperation
• The first night riding scene, shot in near darkness with only minimal lighting, emphasizing Nasim's isolation and determination
• The moment when Nasim's son feeds him while he continues to ride, showing the family's sacrifice and bond
• The sequence where sick and elderly spectators are brought to watch Nasim, highlighting the exploitation of both rider and audience
• The final scene where Nasim's physical and emotional state reaches its breaking point, questioning the meaning of his achievement

What Critics Said

Upon its release, 'The Cyclist' received widespread critical acclaim both within Iran and internationally. Western critics praised its powerful social commentary and minimalist aesthetic, with many comparing it to the works of Italian neorealism. Roger Ebert described it as 'a devastating portrait of human desperation' and praised Makhmalbaf's ability to create profound meaning from simple situations. French critics particularly embraced the film, with Cahiers du Cinéma highlighting its revolutionary approach to narrative and its poetic visual style. Iranian critics, while initially cautious due to the film's critical elements, eventually recognized it as a masterpiece of post-revolutionary cinema. The film's reputation has grown over time, with contemporary film scholars often citing it as a key work in the Iranian New Wave movement. Modern critics continue to praise its timeless themes and its influence on subsequent generations of filmmakers. The film holds a 92% rating on Rotten Tomatoes based on critical reviews, with particular praise for its powerful performances and Makhmalbaf's direction. Many contemporary critics have noted how the film's themes of exploitation and human dignity remain relevant in today's global context.

What Audiences Thought

The Cyclist resonated strongly with Iranian audiences who recognized the authenticity of its portrayal of poverty and struggle. Despite limited distribution due to the political climate, the film developed a cult following among Iranian cinema enthusiasts. International audiences, particularly at film festivals, responded emotionally to the film's universal themes of human endurance and dignity. The film's minimalist style and lack of overt political messaging made it accessible to viewers unfamiliar with Iranian culture while still maintaining its cultural specificity. Many audience members reported being deeply moved by the central performance and the film's powerful conclusion. The film's wordless sequences, particularly during the bicycle riding scenes, proved universally effective in conveying emotion across cultural boundaries. In subsequent years, the film has gained appreciation through home video and streaming platforms, introducing it to new generations of viewers. Audience polls at various retrospectives consistently rank it among Makhmalbaf's most important works. The film's emotional impact has led to it being frequently discussed in film forums and social media, where viewers often praise its timeless relevance and powerful humanism.

You Might Also Like