:: IFFK 2008 ::

After the Islamic Revolution, cinema in Iran has developed a subtle language of dissent. In the understated work of Abbas Kiarostami, Jafar Panahi and Majid Majidi, delicate narrative devices have been used to circumnavigate the dreaded censors of the Ministry of Islamic Guidance and Culture.

Hafez is a film in that tradition, but Abolfazl Jalili is unable to match the perceptive vision of his country's contemporary masters. Hafez follows the story of handsome Koran scholar Shams-al-Din (Mehdi Moradi), who is elevated to the rank of hafez – given to the person who has memorized the Koran by heart. He is asked to teach the holy book's philosophy to Nabat (Kumiko Aso), the daughter of the Great Mufti. Caught taking an illicit peep at his beautiful pupil and accused of teaching her poetry, Shams al-Din is stripped of his title and condemned to 50 whips.

Hafez explores the inherent contradictions that constitute Iranian society – the perennial conflict between a liberal, glorious Persian heritage and the repressive mores of an Islamic theocracy. The clerical rank of hafez is named after the great 14th century metaphysical poet, who wrote ghazals and sonnets about melancholic love and amorous intrigues. Hafez absorbs these contradictions and reveals them in the clear light of day, and this predicament is amply illustrated when Shams al-Din is punished for teaching poetry.

However, the problem with Hafez, for a viewer not acquainted with Islamic theology and customs, is likely to be one of comprehension. Jalili does not supply us with any external tool of narration that might prove helpful, and this makes Hafez a less accessible film. Another major flaw is the inconsistent pace of the film, alternating between the slow, firm rhythm of an epic and the frenetic activity of a breakneck thriller. It becomes clear that Jalili, who also edited the film, could not achieve the level of detachment that is vital to the process of editing.

These are flaws that obstruct the possibilities of Hafez, despite a stellar performance by the lead actor Mehdi Moradi, who has an uncanny resemblance to Orlando Bloom. Hafez introduces too many characters in the latter part of the film, combined with a loss of focus which diverts the narration from the central tale of star-crossed lovers. Hafez begins with great promise, but in its ambition to tell too many tales at once, it stutters and staggers by the time the finish line comes.