Hellen I like the storyline of this show,it attract me so much

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Justina The film never slows down or bores, plunging from one harrowing sequence to the next.

tirtak this film from 1960s and we should attend this masterpiece about a man and his life his problems his troubles we can discuses about influence of this film on thinking of people about human and all around things we can discuss about importance this movie to in Iranian cinema in 40 years ago and it director and actors are some of best of cinema history this film from 1960s and we should attend this masterpiece about a man and his life his problems his troubles we can discuses about influence of this film on thinking of people about human and all around things we can discuss about importance this movie to in Iranian cinema in 40 years ago and it director and actors are some of best of cinema history

Capo-idFilm What was already, from the outset, a village life tale carrying some atmosphere and menace in the form of the three silhouetted figures of thieves from a neighbouring village, becomes a genuinely unsettling film when we begin to view events not through the protagonist but through those around him. This shift in point-of-view is done so matter-of-factly so as to invoke a vague anticipation of something more supernatural that is constantly at odds with the film's overall realism: suddenly denied internal access, we're never quite sure whether or not Hassan genuinely believes he is a cow, for instance, or whether the cow is even dead, even though we've seen the narrative events leading to this... At one point, there's a genuinely disturbing visual suggestion that Hassan has indeed begun to transmogrify into cattle, when the three neighbouring thieves come to steal the cow in the night, only to find it is its owner, lying in weird lighting. Events unfold against a vivid sense of community and what this livestock means.Join idFilm: idfilm.proboards.com

Rob Brown (cinephiliac) This simple tale is open to interpretation, which can be considered positively or otherwise – it perhaps hearkens back to folk tales which are passed down orally, and contain simple plots which are then the basis of discussion. In this way it is easily remembered and its meanings can be deciphered afterwards by those who watch it. However it also means that the film seems overlong for the most part, pre-occupied with repeating sequences and behaviour again and again, and even drawing out the fairly dramatic ending which arguably diminishes its strength. Perhaps it would have been better presented in a shorter runtime, or a more heavily stylised manner such as that of the title sequence. Nevertheless, regardless of enjoyment there are many threads of discussion that can be considered.One of the key questions raised by the film is that of the mental stability of the protagonist, Hassan, whose loss of his animal will bring about his somewhat metamorphosis into the same creature. At the start of the film he is seen behaving extremely strangely as he leads his cow back to town, exultantly dancing around it as he washes and caresses it. This man is not behaving as the other people (such as the children) do. Hassan is mirrored somewhat by the town idiot, who is berated by the other people, and even locked up so as to keep Hassan himself from learning the secret of his cow's death. This mirroring, and Hassan's transformation, make it possible to consider the village's relationship to both Hassan and his cow – certainly throughout neither are treated with respect, and the film's end highlights this.Perhaps Mehrjui, the film's creator, comments on the actual importance of the cow and this man's relationship, an idea that is supported by the title of the piece.

davegrenfell This neglected new wave classic is a fast paced, perfectly edited masterpiece. It rockets along at a thousand miles an hour, and it's impossible to take your eyes off the screen. The shocking opening, of a tormented man having his face smeared with blood by a seemingly military man, sets the stage for an increasingly violent and disturbing movie about one man and his cow, and the hell he descends into.Set in Iran, the basic premise is of two villages, who are constantly stealing each other's cattle, sheep etc. The rival village kills the beloved cow while his owner is away. His friends decide the shock would kill him, and decide to tell him it ran away. However, when he gets back, the shock of its disappearance drives him insane, and he comes to believe that he is in fact the missing cow, even when the villagers tell him the truth. Eventually he is taken into the desert and killed by his former friends, like a cow to the slaughter.You can see why modern Iranian cinema is so slow. It's obviously a reaction against this hyperdelic editing.