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.
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.