Thief of Dolls

Plot

In this Iranian comedy-crime film, Leila and Bahram's mother attempts to rescue her children from their troubles with homeowners by securing a home loan to purchase their own house. However, their plans are complicated by a local executioner (hangman) who lives outside the city and harbors resentment against the family, seemingly unwilling to allow them to live peacefully. The family's pursuit of domestic stability becomes entangled with criminal elements and bureaucratic obstacles, creating a satirical commentary on Iranian society's housing challenges and class divisions. As they navigate through various comedic and dangerous situations, the family must outwit both the hangman and the systemic barriers preventing them from achieving their dream of homeownership.

Historical Background

The film was produced and released in 1989, a pivotal year in Iranian history that marked the death of Ayatollah Khomeini and the end of the Iran-Iraq War. This period saw Iran beginning to open up culturally while still maintaining strict Islamic principles. Iranian cinema during this time served as a unique medium for social commentary, often using allegory and metaphor to discuss sensitive topics. The housing crisis depicted in the film reflected the real economic challenges faced by ordinary Iranians during the post-revolutionary period, including war-related economic sanctions and inflation. The film emerged during what is now considered the golden age of Iranian cinema, when directors like Abbas Kiarostami and Mohsen Makhmalbaf were gaining international recognition. 'Thief of Dolls' represents the popular cinema strand that coexisted with the more art-house films that were winning awards at international festivals.

Making Of

The production of 'Thief of Dolls' took place during a transformative period in Iranian cinema history. Director Mohamad Reza Honarmand worked with a relatively modest budget, which was typical for Iranian productions of the era. The film was shot on location in Tehran, utilizing both urban and suburban settings to contrast the characters' aspirations with their reality. Akbar Abdi's comedic timing and ability to connect with ordinary Iranians made him the perfect choice for the lead role. The production team had to navigate the strict censorship guidelines of the time, cleverly embedding social commentary within the comedic framework. The film's screenplay went through multiple revisions to satisfy both the censor board and the director's artistic vision. The collaboration between Honarmand and his frequent collaborator Akbar Abdi proved successful, as they understood how to balance entertainment with social relevance.

Visual Style

The cinematography of 'Thief of Dolls' employed a realistic, documentary-style approach that was characteristic of Iranian popular cinema of the 1980s. The visual style emphasized natural lighting and on-location shooting to create an authentic sense of place. The camera work often used medium shots to capture the interactions between characters, reflecting the film's focus on social relationships and community dynamics. The contrast between cramped urban spaces and the dream of suburban homeownership was visually emphasized through careful framing and composition. The cinematographer made effective use of Tehran's urban landscape to reinforce the film's themes of social mobility and class divisions. While not technically innovative, the visual storytelling served the narrative effectively and helped ground the comedy in recognizable reality.

Music

The film's soundtrack featured a mix of traditional Iranian music and contemporary pop elements that were popular in the late 1980s. The musical score was composed to enhance the comedic timing of key scenes while also underscoring the emotional moments in the family's struggle. The soundtrack included several popular songs of the era that helped establish the film's temporal setting and cultural context. The use of music was carefully controlled to comply with post-revolutionary cultural guidelines while still providing entertainment value. The sound design emphasized ambient city noises to create a realistic urban atmosphere, contrasting with the quieter moments when the family dreams of their future home. The musical elements, while not groundbreaking, effectively supported the film's narrative and emotional arcs.

Memorable Scenes

• The scene where the family visits potential homes and faces increasingly absurd obstacles from landlords and bureaucrats, highlighting the systemic challenges of finding housing in Tehran.
• The comedic confrontation between Akbar Abdi's character and the hangman, which blends humor with tension as it represents the clash between ordinary citizens and corrupt authority figures.
• The emotional climax where the mother makes the ultimate sacrifice to secure her children's future, demonstrating the film's underlying theme of parental love and resilience.

What Critics Said

Upon its release, 'Thief of Dolls' received generally positive reviews from Iranian critics who praised its ability to balance entertainment with social relevance. Critics particularly noted Akbar Abdi's performance and the film's clever use of comedy to address serious social issues. The film was recognized for its authentic portrayal of working-class Iranian life and its subtle critique of bureaucratic obstacles. While it didn't achieve the international acclaim of some art-house Iranian films of the era, it was appreciated domestically for its accessibility and relatable themes. Contemporary film historians have noted the film as an important example of popular Iranian cinema that successfully navigated the challenges of censorship while maintaining artistic integrity and social relevance.

What Audiences Thought

The film was well-received by Iranian audiences upon its release, particularly resonating with urban and suburban viewers who identified with the housing struggles depicted. Akbar Abdi's popularity helped draw significant viewership, and the film's blend of comedy and social commentary struck a chord with ordinary Iranians. The film became a moderate box office success in Iran, with audiences appreciating its entertainment value while also recognizing the social truths it revealed. Word-of-mouth recommendations helped sustain its theatrical run, and it later became a popular title on Iranian television. The film developed a cult following among fans of 1980s Iranian cinema and is remembered fondly by those who grew up during that era as representing the spirit and struggles of the time.

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