men without women ( film )
women without men has compelling stretches, but the film' s formal concerns overwhelm the storytelling .
men without women (1930), black & white, 73 minutes, not rated .
men without women (1930), black & white, 72 minutes, not rated .
this manufactured - on - demand dvd - r is our recommended home video edition of men without women .
the actress shabnam tolouei in “women without men, ” directed by shirin neshat from the novel by shahrnush parsipur .
shabnam tolouei plays one of four women from different social strata who seek out a healing zone in “women without men. ’’ (indiepix films )
women without men: a novel of modern iran and over 2 million other books are available for amazon kindle. learn more
women without men is showing with a new short film entitled sunday, by roger hyams and narrated by bill nighy, a piece composed of still images depicting a journey through an unfamiliar london .
this poorly - produced dvd - r edition is, thankfully, no longer the only known dvd home video edition of men without women. we recommend the fox edition above .
the best moments still have rough power and an adamant belief that sisterhood is a critical element of women’s freedom and that women’s freedom is a critical element of human freedom. the film is dedicated to those who have died in a century of struggle for democracy in iran; “women without men’’ looks forward with both anger and hope .
a modern literary masterpiece, women without men creates an evocative and powerfully drawn allegory of life in contemporary iran. internationally acclaimed writer shahrnush parsipur follows the interwoven destinies of five women including a prostitute, a wealthy middle - aged housewife and a schoolteacher as they arrive by different paths to live together in a garden in tehran. shortly after the 1989 publication of women without men in her native iran, parsipur was arrested and jailed for her frank and defiant portrayal of women' s sexuality .
women without men
is a modern - day golden girls, shot in the style of curb your enthusiasm. the show is about a group of female friends who were once married and had decent careers; but who now find themselves without any significant men in their lives, and their careers are no longer what they used to be .
“women without men” conveys the slightly detached formality of a pageant, whose four main characters, iranian women from different classes and backgrounds, have more symbolic weight than flesh - and - blood reality. it was filmed in morocco, with casablanca doubling for 1950s tehran .
ab 10. 9. 2010 im kino. ein film von shirin neshat, shoja azari. women without men ist der erste spielfilm der international renommierten video - künstlerin shirin neshat. im september vergangenen jahres erhielt sie hierfür beim 66. internationalen filmfestival von venedig den silbernen löwen für die beste regie und den preis der unicef. weitere infos zum film auf urltoken (c) polyfilm verleih
women without men ,
chronicles the intertwining lives of four iranian women during the summer of 1953; a cataclysmic moment in iranian history when an american led, british backed coup d' état brought down the democratically elected prime minister, mohammad mossadegh, and reinstalled the shah to power .
loosely adapted from a magical realist novel by shahrnush parsipur, who appears briefly as the brothel’s stridently bossy madam, “women without men” is set in august 1953, when an anglo - american - backed coup d’état toppled mohammed mossadegh’s democratically elected government and installed the shah as dictator. the number of women has been reduced from five in the novel to four in the film .
shirin neshat' s women without men is an adaptation of shahrnush parsipur' s magic realist novel of the same name. shirin neshat is an iranian artist who' s first feature length film women without men was nominated for golden lion award. women without men chronicles the intertwining lives of four iranian women during the summer of the 1953 coup d tat. the 1953 iranian islamic revolution a cataclysmic moment in history when an american led, british backed mission led to the over throw of prime minister, mohammad mossadegh, and reinstalled the shah to power. over the course of several days four disparate women in the middle east from the iranian culture are brought together against the backdrop of political and social chaos. as the political turmoil swells in the streets of tehran, each woman seeks to be liberated from her predicament. it is only a matter of time before the world outside the walls of unrest seep into the lives of these four women as their country' s history takes a tragic turn .
women without men
is a modern - day golden girls, shot in the style of curb your enthusiasm. the show is about a group of female friends who were once married and had decent careers; but... see full summary »
women
recalls the adventurous foreign films of an earlier era. audiences will continue to discuss and debate the film long after it reaches its poignant conclusion .
every frame of “women without men” and every image within those frames attest to the background of its first - time director, shirin neshat, as a photographer celebrated for her explorations of islamic gender issues. this visually transfixing film, which originated as a video installation, has the feel of an exhibition of ms. neshat’s work whose figures have stirred to life to play out a tragic feminist allegory .
a must - see film! this film is enthralling for its visual beauty as well as its seventh seal - like imagery. the cast delivers powerful, nuanced performances, and the score is equally strong .
a poetic, impressionistic portrait of four women tangentially caught up in the political turmoil .
ms. neshat, who lives and works in new york, continued to visit iran until she was banned from the country in 1996 for the political content of her work. since 1998, she has collaborated with her husband, shoja azari, a video artist and filmmaker, with whom she wrote the screenplay for “women without men. ”
the film is not designed as social realism. the novel by shahrnush parsipur (who plays the madam in the brothel) is a work of magical realism, and the film incorporates intriguing flights of fantasy when dealing with the women' s commune in the forest. even the visual palette reflects these leaps into fantasy .
‘women without men’’ takes place in 1953, during the civic unrest surrounding the cia - backed overthrow of iran’s prime minister, mohammad mossadegh. really, though, that’s a dodge. shirin neshat’s film, a magical - realist cry from the heart, is as up - to - date as last year’s pro - democracy protests. “all we wanted was to find a new form, a new way, ’’ muses one of the characters on the soundtrack. “everything repeats itself over time. ’’
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
director shirin neshat was born in iran, but her controversial photographs and experimental videos have made it impossible for her to return; she now lives in new york. neshat' s first feature ,
women without men ,
looks back at the crucial moment in 1953 when democratically elected president mohammed mossadegh was overthrown in a coup engineered by england and the u. s. this beautifully made film (which won the best director award at last year' s venice film festival) is the very definition of an art house movie with limited appeal, but its political import gives it added talking points that will draw attention .
a surreal visual feast, women without men was widely praised for its cinematography upon its release and shirin neshat won the silver lion at the 2009 venice film festival for best directing. neshat was born in iran but left for the united states in 1979 just before the islamic revolution and has been banned from even visiting her home country since 1996. a visual artist and photographer as well as a filmmaker, neshat’s work explores notions of femininity in relation to the social, cultural and religious codes of islamic societies .
between these heroines high and low is munis (shabnam tolouei), a fiercely intelligent woman aching to take part in the street protests but forbidden to leave the house by her brother (essa zahir). she haunts “women without men’’ like a guilty conscience, willing herself into political actions available to few iranian women in 1953. her meek friend faezeh (pegah ferydoni) fears munis’s boldness until her own crisis propels her toward the orchard and a growing awareness of the forces arrayed against her .
born in iran in 1946, shahrnush parsipur began her career as a fiction writer and producer at iranian national television and radio. she was imprisoned for nearly five years by the islamist government without being formally charged. shortly after her release, she published women without men and was arrested and jailed again, this time for her frank and defiant portrayal of women' s sexuality. while still banned in iran, the novel became an underground bestseller there, and has been translated into many languages around the world. she is also the author of touba and the meaning of night, among many other books, and now lives in exile in northern california .
the director is a celebrated iranian photographer making her debut feature, and “women without men’’ features crystalline shot compositions that seem to rise out of an alternately troubled and serene dreamscape. at times the beauty of the visuals work against the defiant unprettiness of the message, though, and you may sense that neshat prefers art - film looseness because her skills with narrative have yet to catch up. the movie entwines historical reenactment and resonant emotional symbolism but ultimately fails to come together with the devastating punch the filmmaker and her cast are building toward .
our modern opinions of this film must be tempered with some perspective. the only known surviving version of the film is held by the museum of modern art, an english language workprint of the international export version of the film. not a final release version of the film, the workprint is a mish - mash of sound and silent sequences, sometimes with seemingly insignificant background dialogue in the soundtrack but no main dialogue. music cues are choppily edited and repeated. sometimes music and dialogue disappears altogether as an intertitle interrupts a synchronized sound sequence .
that the woman saying this is either dead or on her way there — it depends on how you read neshat’s oblique imagery — is a mark of the profound frustration and sorrow that moves this story forward. “women without men’’ is adapted from a novel by the feminist writer shahrnush parsipur; the book has been banned in iran since the 1990s, and you can readily understand why. it’s a celebration of women’s resilience in the face of absolute patriarchy, an oppression that’s felt on personal, cultural, and political levels .
this movie really demonstrated what german women were up against with the onslaught and occupation of the russian army. .
the azan that we hear through the film is moazzenzade ardabili' s version which was recorded in 1955 while this movie takes place in 1953 .
reviews of silent film releases on home video. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
magical surrealism is a wonderful drug, and once you' re done reading this, you' ll have thought you have taken drugs, because that' s just how trippy this story is. although the main dialogue, as shown in the title, is about how women can live without men governing their lives, the oddity of the world takes front and center, completely distracting and entrancing you unless you give it a clear literary read .
set in the time of the shah, this series of inter - related stories describes the life of five woen in iran. gives a moving description of day to day life of women form differenet backgrounds whose lives cross at a time of stress and change for them lots of metaphor and symbolism. necessary reading beore seeing the film of the same name as explains much that is just hinted at in film. very moving .
this subjective, interior work revolves around the lives of four women during this turbulent moment in iran' s history. munis (shabnam tolouei) is a budding feminist who refuses to hew to the circumscribed roles for women prescribed by her tyrannical brother .
the film’s synchronized music, sound effects and dialogue soundtrack is reproduced in the right stereo speaker only. a metallic ringing from overcompression of the audio is present throughout .
everything is imagined by neshat with clear - eyed compassion and narrative drive, and she shows a bold candour about sexuality and women' s bodies. the film is shot by cinematographer martin gschlacht, who recently worked with joanna hausner on lourdes. he creates tremendous images using painterly, washed - out colour tones, framing dream - like tableaux, but also creating plausible action sequences. neshat has directed a quietly tremendous film which ensnares both the heart and the mind .
the film moves in overlapping circles around four women of radically different social strata and available freedoms. fakhri (arita shahrzad) is an elegant upper - class matron whose husband (tahmoures tehrani), a general backing the shah, reviles her for being no longer sexually desirable; she leaves him and buys an orchard out in the country that becomes the story’s mystical center, a surreal healing zone for women whose spirits have been crushed .
set in tehran, iran, during the 1953 cia - backed coup d’état that returned the shah of iran to power, women without men follows the lives of four women. munes does not want a husband but her tyrannical brother amir khan fiercely disagrees. faezah, munes’ friend, secretly loves amir from afar, despite the fact that he is getting married to someone else. zarrin is a prostitute whose work is slowly destroying her. and fakhri is the wealthy middle - aged wife of a general, unhappy in her marriage and longing for an old flame, an officer who has returned to tehran after some time away. it is in the beautiful orchard garden of fakhri’s villa that the four women’s fates intertwine and they find a peaceful haven away from the miseries of their everyday lives .
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the director' s use of blatantly artificial devices - characters gliding along the ground, fast - breaking dawns - detaches her film from its strongest sources of turbulence and despair .
the much - anticipated pic has striking moments comparable to the best of neshat s potent imagery... - - variety... you have a feature film that s a must - see in the international festival and art - house circuit - - la times this beautifully shot film, set in tehran during the period leading up to the 1953 coup which toppled the democratically elected government, is a quiet and understated look at the lives of four very different women s struggle for freedom. - - london times
magic realism works surprisingly well alongside
everyday life
in this drama which focuses on the interweaving of four iranian women in 1953 - the year of the us / british coup d' etat. complex but approachable, the film deftly tackles feminist, religious and political themes in an assured evocation of period. excellent performances from the four lead actors .
because this subversive film could not be made in iran, production designer katharina woppermann did an expert job of re - creating iranian settings in morocco. the haunting musical score enhances the movie' s mournful power .
it' s a celebration of women' s resilience in the face of absolute patriarchy, an oppression that' s felt on personal, cultural, and political levels .
parsipur weaves a lively tale about many separate women, eventually bringing them all together in a mystical ending. i could not put it down and read it in one day .
already taking refuge there when fakhri arrives is zarin (orsolya tóth), a skeletal prostitute who has fled tehran after a mental breakdown. zarin is the most extreme victim in the movie and its most naked metaphor; a sequence in a public bath where she rubs her skin bloody trying to cleanse the taint of men is shocking for both its violence and casual nudity. (the film is a european coproduction that was, for obvious reasons, shot in morocco rather than iran. )
the most memorable of the four is zarin (orsi toth), an emaciated prostitute who impulsively flees the brothel in which she works and finds temporary refuge at a women’s public bath. here she furiously scrubs her body raw in an anguished attempt to erase the imprint of the men who have used her. at once monumental and pastel - hued, the bath scenes suggest ms. neshat’s response to the famous ingres canvas “the turkish bath. ”
with its intense chiaroscuro and meticulous manipulation of color that ranges from stark black and white to richer, shifting hues in scenes set in a metaphorical orchard, the film surpasses even michael haneke’s “white ribbon” in the fierce beauty and precision of its cinematography (by martin gschlacht). two of the film’s recurrent images are of a long dirt road extending to the horizon on which the characters walk, and a brook that suggests a deep current of feminine resilience below an impassive exterior .
world without men is based on a 1989 novel by shahrnush parsipur, and weaves together the women' s lives in complex and enigmatic ways. munis (shabnam touloueh) is serious, cerebral, obsessed with listening to the radio for the news of the mossadeq situation, and bullied by her brother for neglecting her demure womanly duties. munis' s friend faeseh (pegah ferydoni) is in love with this same brother who makes munis' s life a misery. fakhri (arita shahrzad) is a stylish, elegant married woman in her 40s, in love with an old flame. finally there is zarin, a prostitute, played with characteristic intensity by orsi tóth, the hungarian actor who has appeared in kornél mundruczó' s films delta and johanna .
against the tumultuous backdrop of iran' s 1953 cia - backed coup d' état, the destinies of four women converge in a beautiful orchard garden, where they find independence, solace and companionship .
this was another class requirement and i am so glad i got it. while it is done in a third world country and in a different language other than english, the english language is at the bottom. i recommend this for any female who thinks the world is made for them, because this movie shows it is not - - from family to unknown men who abuse these women, they find a way to serenity only to be taken from them again by a male .
the governor appoints lawyer jeff darrow to open an investigation on the reported cruelties inflicted on the inmates of the bayou reformatory for women. the investigation is opposed by mrs... . see full summary »
this submarine service drama from director john ford and the fox film corporation premiered in january 1930 and features kenneth mackenna, frank albertson, j. farrell macdonald, walter mcgrail and granite - jawed warner richmond. john wayne appears as the radioman on the surface .
ms. neshat, who was born four years after the coup, left iran in 1979, just before the islamic revolution that drove the shah into exile. her film, very critical of the coup, implies that it made the eventual revolution and subsequent turmoil inevitable .
the director shirin neshat has in
zanan - e bedun - e mardan
, made a visually stunning and important film, with a lot of good acting performances. especially by pegah ferydoni (as faezeh), and arita shahrzad (as farrokhlagha). when you walk out of the cinema after having watched this movie, the real world will for a time seem a bit more colorless and unreal. with the military coup of the shah of iran in 1953 as a background, four women find out the price for freedom. and through them, the audience find out the price and value of freedom for themselves. the film also draws the historical lines between the democratic iran of the early 1950s, and the
green movement
of today .
nonsense! i expected much more from a book which has been translated to many languages and is claiming to put the situation of iranian women in a frame. as an iranian woman, i did not enjoy one single page of it !
i love the movie. i saw it at an iranian film festival at the walker art center. i liked it so much that i bought my own copy. the tagboard case' s plastic insert that holds the dvd arrived broken from corner to corner. i am disappointed that one of my favorite movies has a broken case .
seeking the whereabouts of international gangster nick randall, the u. s. state department seeks the help of scotland yard. nick' s girl, angela, is currently in a british prison, but has refused to give nick away. so the authorities contact gran' ramsey, a stoolie currently at the same prison as angela, to have her arrange an escape for angela, so the police can follow her to nick. gran' stages a getaway, the two women taking with them a third, marguerite, whose prison - born baby is about to be turned over to the welfare department. it is up to gran' to keep the police informed of angela' s whereabouts without being detected by the escapees, while waiting for angela to contact nick ...
with this debut feature, the photographer - turned - director shirin neshat has made a picture with vision, poetry, sexual frankness and historical sinew. it brings together, on screen, the personal and the political in the story of four women and the way their lives are affected by the turbulence of the anti - mossadeq coup, and revives the memory of a lost generation of iranian politics and culture: the westernised liberal intelligentsia, a white - collar class exiled and effaced by the shah' s regime, but also fiercely repudiated by the theocracy installed by the islamic revolution of 1979. in some ways, neshat' s film addresses the same issues as marjane satrapi' s persepolis, and further underlines the fact that it is iran which, in the 21st century, has repeatedly offered the world a vivid, unapologetically feminist cinema .
to iran to provoke riots against the elected president mossadegh to back british petroleum' s agreement to sell iranian oil on the world market and installed the hated shah to replace the popular mossadegh. very few americans know this story and as a result, they don' t understand why the iranian people hate us. this film covers that period of turmoil in iran. see the enclosed booklet for comments by the director shirin neshat and further information about this period of iranian history .
the first of ford' s submarine pictures, this film is most notable for being part talkie, part silent. this creates an almost surreal experience as we are occasionally jolted out of the silent picture ethos and its fluid camera for the talking scenes shot on tripods. i' m not sure i' ve seen a better example of the visual step back that talkies were initially as we see here with the contrast between the two kinds of scenes. also, i loved the shot that starts above water and descends - - innovative .
her friend faezeh (pegah ferydoni) is a more timid woman inspired by munis' acts of rebellion. zarin (orsi toth) is a prostitute who flees the brothel where she works. finally, an older woman, fakhri (arita shahrzad), the unhappy wife of a powerful iranian general, leaves her husband to live in a beautiful country orchard where the other women also seek refuge. but the military coup eventually intrudes on their peaceful idyll .
directed by shirin neshat; written by ms. neshat and shoja azari, based on the novel by shahrnush parsipur; director of photography, martin gschlacht; edited by george cragg, jay rabinowitz, julia wiedwald, patrick lambertz, christof schertenleib and sam neave; music by ryuichi sakamoto, persian music by abbas bakhtiari; production designer, katharina wöppermann; costumes by thomas olah; produced by susanne marian, mr. gschlacht and philippe bober; released by indiepix films. in persian, with english subtitles. running time: 1 hour 39 minutes. this film is not rated .
a sailors - trapped - in - a - sinking - submarine drama: will they drown? will the oxygen run out? will they suffocate from chlorine gas? will divers get to them in time? and what about that religious fanatic on board? john ford skillfully ratchets up the tension, but some shaky special effects, unlikely characterizations and broad acting give an uneven effect, compared to later and slicker entertainments like run silent, run deep. however, this production has genuine historical value because it shows the difficulties in changing over from silent to sound, : sometimes it' s a silent film with sound effects and [ tinny ] music. other scenes have dialogue with one character actually speaking while another answers in silent intertitles. most oddly, sometimes a character starts speaking, then an intertitle shows noticeably different lines, then the character finishes speaking. not many movies have such a variety of expression .
i' ve just managed to acquire a copy of the uk version of this film which i caught on television some years ago. i was very impressed with leading lady beverly michaels (not the cheap blonde one might have expected from her hugo haas exploitation movies) but a tall classy lady with a cultured voice who even gets to sing a number at the prison concert! thora hird is a standout as' gran' an old lag who helps beverly escape and joan rice is amusing as a bigamist juggling her two husbands at visiting time. good support also from april olrich as a prisoner with a baby and the striking sheila burrell as an inmate who goes' stir crazy'. the almost military routine of 50' s prison life is well caught and it' s a rare but effective directorial credit for former oscar winning editor elmo williams. the american version blonde bait was completely re - edited with a new plot and added footage featuring paul cavanaugh, jim davis and richard travis. in this version thora hird' s character is a stool pigeon who deliberately lets michaels escape so she can lead police to her gangster boyfriend !
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aboard the u. s. submarine s13 in the china seas, chief torpedoman burke goes about his duties. in actuality, he is quartermaine, the infamous former commander of the british ship royal scot, which was sunk by germans with a field marshal aboard. quartermaine had told his sweetheart that the field marshal would be aboard, not knowing that she was an informant for the enemy. when the s13 sinks, burke takes charge when the commander, ensign price, is unable to command. burke must keep his mates alive long enough on the bottom of the sea for rescuers to arrive .
the only extant sound version is actually from a work print for the international version. it' s held by the museum of modern art .
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iran in turmoil is the backdrop to this enigmatic and impressive debut. by peter bradshaw
he anglo - iranian comic shappi khorsandi recently revealed that jon snow had told her about a conversation he had once had some years ago with the then prime minister, tony blair. the premier had asked snow, plaintively, why iran hated the british so much. snow replied hesitantly :
well, you know, because of mossadeq …
– that is, the left - leaning iranian leader, toppled in 1953 by a coup instigated by the british and american governments because of his determination to nationalise oil. blair replied blankly :
who ?
perhaps watching this excellent movie would be a way for blair, and the rest of us, to brush up on british and iranian history .
neshat' s movie - making style owes something to mohsen makhmalbaf, but has absorbed other influences, too – her camera movements are distinctly tarkovskian. and for the magic - realist tropes of the literary original, neshat has found a visual manner with something of buñuel: this surfaces in the disquieting vision of zarin' s client having an eyeless, mouthless face and also, i think, in the grand dinner - party - cum - soirée that fahkhri throws in her new orchard estate. the army turn up, intending to search the property for seditious materials, but the troops end up staying for dinner, and their commanding officer exchanges flirtatious badinage with the guests .
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after a period of drinking and flirting in shanghai dives, some american sailors are called back to their submarine, which is under the command of bridewell. their craft is hit by a freighter and sinks to the bottom of the china sea, provoking various emotional reactions from the crew. burke, a british naval officer, brings a ship to their aid, is recognized as a disgraced officer by one of the crew, weymouth, but remains behind to rescue the last / merican through a torpedo tube, thus protecting the woman he loves and establishing his bravery .
the movie is not fast paced, but it does have lots of suspense. the copy of the movie i have is part sound and part silent. it does get a bit annoying. but ...
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besides zarin, the characters include the 30 - year - old munis (shabnam tolouei), a virtual prisoner in the house she shares with her tyrannical fundamentalist brother. to his chagrin, munis is not only unmarried but also spends her days glued to the radio, hearing about events leading up to the coup. after he furiously unplugs her only connection to the outside world, munis commits suicide by jumping off the roof of the house. on discovering her body, her brother curses her for disgracing him. (in the novel he kills her. )
the third woman, the religiously observant faezeh (pegah ferydoni), is a friend of munis who secretly longs to marry munis’s brother. after munis’s death, faezeh hears the voice of her friend speaking to her from underground and digs up munis, who, in a magical realist trope, begins a second, independent life working with an underground communist group publishing and distributing leaflets .
fakhri (arita shahrzad), the fourth woman, is a wealthy 50 - year - old, unhappily married to a general who reviles her for being menopausal and sexually unresponsive. when an old flame returns to tehran with his american wife, fakhri leaves her husband and buys an orchard that becomes a mystical retreat to which zarin and faezeh gravitate and form a mutually protective, healing sisterhood. if their self - imposed exile in this mysterious woodland hideaway is idyllic, compared with their former lives, zarin hovers between life and death .
eventually soldiers arrive during a party at which fakhri entertains the guests by singing. although the soldiers and the guests mingle warily, there is no mistaking the celebration for what it is: a last hurrah for a kind of social mobility and political freedom that may never return .
with: pegah ferydoni (faezeh), arita shahrzad (fakhri), shabnam tolouei (munis) and orsi toth (zarin) .
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very historic and informative. i like the story and directorship, very strong players and filming locations. i hope i will see more movies similar to this in the future. thank you
shirin neshat can clearly do as an exile in america what she would never be allowed to do in her native iran. and a good thing too .
i usually like the style of the movies like this, which is not glamoured or contaminated by majority of shallow mainstream hollywood lines... .
the movie start with a suicide of the movie star... .... .! !! very depressing, no massage, not educated at all not healthy to watch .
great movie. actors and actresses were true to their parts and the story revealed that life is still the constant working out of the negative .
it was boring and long, i had to watch it for class. i didn' t care that much. but on the bright side: you do get to learn history and culture of iran .
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movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
the script jettisons most of the book' s more powerful sections, upping the political angle and inexplicably eliminating motivations that made the strongly feminist story, rich in symbolism, so intriguing .
heavy with symbolism and beautifully composed, it' s in a traditional art house mode far removed from the quizzical, innovative, subtly subversive films that iranian directors have been making under extraordinary pressures this past quarter of a century .
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publisher: the feminist press cuny; revised edition edition (16 feb. 2012 )
parsipur is a courageous, talented woman, and above all, a great writer .
marjane satrapi, author of
persepolis
using the techniques of both the fabulist and the polemicist, parsipur continues her protest against traditional persian gender relations in this charming, powerful novella .
publishers weekly

parsipur is a courageous, talented woman, and above all, a great writer .
- - marjane satrapi, author of persepolis
using the techniques of both the fabulist and the polemicist, parsipur continues her protest against traditional persian gender relations in this charming, powerful novella .
- -
a captivating story about the discovery of individual strength and perseverance. in a culture dominated by a male mentality of superiority and the suppression of the female spirit, these determined characters unearth their independence .
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lakeith stanfield and his sorry to bother you director boots riley discuss the stress of filming sex scenes .
4 of 8 people found this review helpful. was this review helpful to you? yes no | report this
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: say a prayer' cos i haven' t driven for 20 years. ok lindbergh, swing your propellers !
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aboard the u. s. submarine s13 in the china seas, chief torpedoman burke goes about his duties. in actuality, he is quartermaine, the infamous former commander of the british ship royal scot, which was sunk by germans with a field marshal aboard. quartermaine had told his sweetheart that the field marshal would be aboard, not knowing that she was an informant for the enemy. when the s13 sinks, burke takes charge when the commander, ensign price, is unable to command. burke must keep his mates alive long enough on the bottom of the sea for rescuers to arrive. written by jim beaver
a story of the submarine service. (original posters - all caps) see more »
the only extant sound version is actually from a work print for the international version. it' s held by the museum of modern art. see more »
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solid submarine movie for its time. if only the sound version was still around, it would' ve been even better .
this list is an attempt to collect as many pre - code movies as possible. sources include imdb, wikipedia, urltoken and the…
as iran' s regime continues to stir world concerns, films about iranian history take on added interest .
the scenes in tehran are filmed in a muted, almost monochromatic style approximating newsreels, whereas lush colors explode in the scenes in the orchard. from the opening scene of munis contemplating suicide on the rooftop of her home, with the white building framed against a pale blue sky, the images are mesmerizing. the cinematography by martin gschlacht is a major asset .
all of the performances achieve the right emotional intensity: tolouei conveys pride along with a deep - seated sense of melancholy, and shahrzad' s portrayal of the dissatisfied military wife is especially forceful .
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the moma print is definitely a work in progress. our best guess is that the intent of the workprint was to prepare a silent version for export release, with the existing intertitles for english language distribution and perhaps a reference for translated intertitles in prints distributed to other countries. — carl bennett
twentieth century fox home entertainment, no catalog number, upc 0 - 24543 - 96982 - 2. one single - sided, single - layered, region 0 ntsc dvd - r disc, 1. 33: 1 aspect ratio image in full - frame 4: 3 (720 x 480 pixels) interlaced scan mpeg - 2 format, ? mbps average video bit rate, ? kbps audio bit rate, dolby digital 2. 0 mono sound, english language intertitles, no foreign language subtitles, 7 chapter stops; standard dvd keepcase, $ 19. 98. release date: 1 october 2015. country of origin: usa
ratings (1 - 10): video: 7 / audio: 5 / additional content: 0 / overall: 6 .
this dvd - r edition of john ford’s submarine drama has been mastered from the very - good 35mm print materials held by the museum of modern art. the picture results are very - good .
usa: click the logomark to purchase this region 0 ntsc dvd - r edition from amazon. com. your purchase supports the silent era website .
submarine memorabilia, no catalog number, no upc number. one single - sided, single - layered, region 0 ntsc dvd - r disc, 1. 33: 1 aspect ratio image in full - frame 4: 3 (720 x 480 pixels) interlaced scan mpeg - 2 format, ? mbps average video bit rate, ? kbps audio bit rate, dolby digital 2. 0 mono sound, english language intertitles, no foreign language subtitles, chapter stops; clamshell cd case, $ 9. 99. release date: 2010. country of origin: usa
men without women is an american 1930 pre-code drama film directed and written by john ford , from the script by james kevin mcguinness . the film also starred kenneth mackenna , frank albertson , and j. farrell macdonald . the sound version is now lost . only a print of the " international sound version " , held by the museum of modern art , survives . 
men without women is an american 1930 pre-code drama film directed and written by john ford, from the script by james kevin mcguinness. the film also starred kenneth mackenna, frank albertson, and j. farrell macdonald. the sound version is now lost. only a print of the " international sound version ", held by the museum of modern art, survives.
men without women is an american 1930 pre-code drama film directed and written by john ford, from the script by james kevin mcguinness. the film also starred kenneth mackenna, frank albertson, and j. farrell macdonald. the sound version is now lost. only a print of the " international sound version ", held by the museum of modern art, survives.