The character Colonel Behrani, in Dubus’s novel House of Sand and Fog, may be compared and contrasted with the film of the same name, on the basis of role, relationships, motives and goals, self-image, and tone. Colonel Behrani may be considered the character demonstrating the most significant and consequential behavior throughout both the film and novel. He earnestly takes on the roles of Colonel, husband, father, and property investor. He immerses himself into these roles so much so that they become the definition of his character; his identity. Colonel Berani’s occupational role drastically changes from an officer of the Iranian Imperial Air Force to a California construction worker. Regardless of his job-title, Colonel Behrani maintains pride in his work and presents himself with the traits of a military man: “I stand there a moment until it becomes clear to me I am standing at attention. I discipline myself to relax my shoulders and speak.”[1] His occupational role, so deeply instilled, becomes a significant aspect of his personality. This facet of him, is not clearly illustrated by the film, however his dedication and work-ethic remains evident. He is seen as a construction worker in the back of a pick-up, as well as recording the finances of a convenience store, demonstrating his unyielding drive for success and his desire to provide for his family. Colonel Behrani strictly adheres to the social conventions of Iran, even while in the United States, upholding his roles without exception.
Despite his absorption with his work and his observance to societal standards, Colonel Behrani at no time permits these roles to interfere with his family relationships. He reveals,
“But today and all week, I do not even attempt to look for a position. My daughter,
Soraya, was married on Saturday and I feel already there is a hole in my chest with her
gone. There is also a hole in our home…” (Dubus 17).
The wedding scene is one of the first in the film, evidence of his devotion to his daughter. There is a change in this relationship, “…it is clear to me my daughter does not respect me as she once did; throughout the evening, in between all of her talking, I would sometimes catch her viewing me with a distant sadness…” (Dubus 135). Colonel Behrani understands the level of difficulty his family suffers and is determined to better their situation. His son, Esmail plays a crucial role in both the film and novel. He looks up to his father and Behrani takes notice of this, instructing his son on how a man is to behave. His relationship with his wife, Nadereh, exhibits some tension, especially when there is a disagreement between the two. In the film, he shows rage when his wife yells at him for “living like an Arab” and also when she becomes hysterical at the thought of deportation. These scenes display a few discrepancies when compared to the novel. When Nadereh accuses Behrani of ruining the Iran and being involved in the SAVAK organization he confesses, “It was then I hit my wife very hard across the face with my open hand” (Dubus 57). These subtle disparities create a consequential difference in the way the audience understands Behrani’s temperament as well as the motivation for his behavior.
Colonel Behrani aims to create a better life for his once wealthy family. The purchase of the house at the auction was in efforts to make enough money to live in a house more representative of their home in Iran. Colonel Behrani states, “Sometimes in this life, only one or two real opportunities are put before us, and we must seize them, no matter the risk” (Dubus 185). His intention is to live in the manner and with the amenities he believes his family deserves. When confronted by Kathy, Behrani is infuriated, “for with each of her false accusations, she was attempting to take from me not simply my future, but my family’s food and water, our shelter, our clothes” (Dubus 153). Throughout the novel, Behrani’s goal of making a profit on the house to create a better living situation is obvious. However, the film does not show much evidence of this common aspiration. Behrani is cast in an unjust light, appearing materialistic, insensitive, and at times heartless. Nevertheless, the novel provides great insight to Colonel Behrani’s motive to “be able to work amongst men of duty and discipline” (Dubus 185) and his overall venerable characteristics.
Behrani lives with a sense of guilt for the situation his family has endured. He takes responsibility for the well-being of his family and their happiness. He concedes, “…it is I who should apologize; it is I who have helped to fly us so far off course” (Dubus 63). As the events dealing with the house progresses, Colonel Behrani begins to perceive himself as a victim, he admits, “feeling accused of a crime I did not commit” (Dubus 135). Additionally, he feels he is owed something, and as though he is superior to others. He tells Kathy, “‘in my country, you would not be worthy to raise your eyes to me. You are nothing’” (Dubus 194) expressing his arrogance. Later, after Deputy Burdon has broke into their house he looks at a photograph of the Colonel with the Shah, and Behrani is unhappy with his facial expression, “It is one of judgment and who is he to judge me?” (Dubus 265). Colonel Behrani puts extensive effort into maintaining his stature and dignity, he perceives himself as an admirable and responsible man, and therefore deserves respect.
Overall, Colonel Behrani’s character is a direct antipode to that of Kathy, providing a sort of equilibrium throughout both the novel and film. He demonstrates very human qualities, making mistakes and struggling to make the correct decisions. His hard-working, hopeful, and unwavering qualities overshadow his faults and resulting in a profound personality, interesting to examine. His applicable insight and wisdom is summarized when he states,
“I know of life’s difficult times: there is always a time for them to begin and a time for them to end, and the man who knows this knows he must thank God for each day he has suffered because that is always one day closer to the sun, the real sun” (Dubus 48).
[1] Dubus III, House of Sand and Fog. New York: Vintage Books, 1999
Ability to Love Assessed through Sexuality
Woody Allen’s masterpiece Annie Hall implements innovative techniques of visual and oral montage to explore and analyze the relationship struggles faced by the main character Alvy Singer. The original title, Anhedonia describes the central theme and conflict of the film as defined by the depression-related psychological disorder coming from the Greek meaning the inability to experience joy from everyday experiences commonly considered to be pleasurable (O’Connor). Alvy Singer’s constant obsession with self-analysis, rooted in his struggle to love, becomes the driving force of the narrative supported by techniques of continuity and associational meaning derived from the use of montage. His constant criticism and evaluation of their sexual relationship serves as a mode to affirm his masculinity and therefore his capacity to love. Specifically in the scene entitled: Out to the Hamptons, Alvy’s strenuous efforts to achieve mutual love and compatibility with Annie are made obvious through manipulative editing styles and well-calculated mise-en-scene.
From the beginning, Alvy’s hypersexual drive and fascination proves to be a source of discord in his relationship with Annie, perhaps stemming from his sense of sexual deficiency and impotence. Annie asks Alvy’s opinion on attending a party in South Hampton and he replies, “don’t be silly, what do we need other people for?” This dialogue, in combination with his reach for her and kiss on her shoulder further demonstrates his overwhelming desire for intercourse. Alvy lies on the bed as Annie sits on the bench indicating their differing levels of sexual eagerness. As Alvy puts his arms around her, he raises his head to her height creating a sense of equality and intimacy. This character placement prompts the feeling of closeness and therefore potential for satisfaction. Disappointingly for Alvy, Annie maintains her posture as she looks down suggesting embarrassment, discomfort, and most importantly disinterest. Shot composition positions Alvy on the right, achieving the platform of legitimacy as he explicitly proposes a game of “hide the salaam.” The predicament emerges as Annie stands up, opening the door to get her marijuana cigarette. Alvy openly expresses his disapproval of her drug use as he sits upright on the edge of the bed. Annie, hidden from sight behind the door, blocks the entire left side of the screen. On the right Alvy’s body, framed by the wooden chest and with a mirror directly behind his head provides a visual structure which consequently emphasizes Alvy as the main point of interest. This resulting one-shot contributes to the idea that Alvy’s presence is the most significant, supporting the theory of his neurotic tendencies and incessant self-inquisition as the primary means by which he evaluates his relationship. Furthermore, the white quilt on the bed implies innocence and even chastity reinforcing Alvy’s dilemma between conflicting ideals of sexual morality and lustfulness.
This parallelism between visual and oral information allows an elaborate exploration into Alvy’s inability to find pleasure in his relationship with Annie. While acknowledging the idealistic association of virtue and sexual intimacy, Alvy tends to neglect these values and behave in more animalistic and erotic ways. Again, the symbolism of white as an indicator of purity and naivety appears in Annie’s plain tank top and underwear. Costume reinforces Alvy’s role as well; he wears a mix-matched, sloppy outfit further emphasizing the chaos of his personality. Later, Annie modestly lies in bed under the covers as Alvy brings out what he calls “a replica, to create a New Orleans essence.” Alvy’s unyielding persistence to sleep with Annie generates frustration as he changes the lamp’s light bulb to a red bulb. The lighting in this scene further develops his motive as he overcompensates for their lack of sexual intimacy and his personal fears of inferiority. Annie immediately objects each gesture creating a tug-of-war between the two characters. The red light shines directly on the two of them as they begin kissing in the bed. Contrastingly, a ghostly image of Annie gets up from the bed and sits on a chair in the dark, out of the glare of the red light. As Alvy relates his ability to love Annie to the frequency of their physical interaction he comes closer to the realization of their incompatibility.
Alvy’s formula of romance plus sex yielding an intimate and satisfactory relationship fosters from his notion that mutual love is derived from reciprocity in action, particularly that of a sexual nature. Alvy’s captivation with psychoanalysis prompts his continual and conscious examination of his subconscious thoughts and feelings. As he studies himself he eventually realizes their contradictory natures. His inability to love Annie, largely based on his sexual principles, is evident but never fully achieved. To alleviate this torment, Alvy and Annie must separate. Alvy discovers that he does not want to be in a relationship with someone who wants to be with him. This conclusion is based on the idea that anyone that would want to be with him would be a fool not to see his inadequacies, which are all too evident to him due to his obsessive self-analyzation. This verdict leaves Alvy a frightened, nervous-wreck as he struggles to survive in a world that defines human nature and function by the capacity to love.
Relationships constitute a significant portion of mankind’s life. The investments of energy, emotions, and time are both exhilarating and exhausting. After initial bliss, attraction and intimacy become complicated and at times make relationships seem worthless or impossible. Often times the pain and depression resulting from a break-up seems unbearable. So, what if those memories were erased, eradicated, and vanished forever? This notion is explored in Michel Gondry’s, Eternal Sunshine of the Spotless Mind as two characters experience their memories and past encounters for a second time. Joel Barish, a simple, plain man meets bold, outgoing Clementine Kruczynski. Unknown to them at the time, they have an intimate history together and have had their memories of each other erased.
The viewer is taken on a journey looping through Joel’s mind that begins and ends with the couple’s second meeting. The sequence of the story, in step with the shot composition, is both unorthodox and jolting. Strong influences and implications are present in the way the shots are assembled in correlation to the notions presented and the revelations of the characters. Throughout the film, memories are relived and shown in juxtaposition with current events. Three levels of consciousness: the present reality, the awareness inside his mind, and the actual memories, are intermingled as Joel’s night progresses. When Joel comes to the realization that his desire is to be with Clementine and to retain his memories of her, camera position and movement further symbolize the characters’ personal experience of the turmoil in forgetting and remembering their past. Specific ideas and images are disclosed through precise timing and order. Positioned together, these shots and concepts are critical factors in understanding the relationship between Joel and Clementine and more specifically the personalities each add to create their relationship.
As the technicians travel through Joel’s brain, eradicating memories, he re-lives each experience as if it were the present. After several rotten and nightmarish ordeals, a cherished reminiscence seems to compensate for all the other heartaches. Joel finds himself under a vibrant patched quilt with Clementine as she reveals her worries and blues. The camera work mirrors the action at that moment as the focus travels from the character’s feet peeking out from under the quilt, up and across the blanket in a pan. The shot reveals bright, colorful patches representative of Clementine’s flashy and bold personality. This revelation, by the camera, is critical to the understanding of the upcoming conversation. The viewer is able to appreciate Clementine’s woeful admissions when compared to her usual merry and carefree attitude. Next seen is a close-up of Joel’s face under the covers as he answers Clementine’s intimate question and listens intently to her tearful story. The shot/countershot of the characters below the quilt allows the viewer to feel a part of the discussion and gain a more personal connection. There is irony in placing the camera as well as the characters under the covers as Clementine is confiding and therefore unveiling her deepest emotions. This irony is consistent with overall irony seen in the distinctly polar personalities of the two characters. Following Clementine’s reference to herself as a child, the camera shows a blurred image indicating a fuzzy memory. Next, a picture of a young Clementine comes into focus as Joel realizes he has an image to relate her to. Next Clementine mentions an ugly girl doll and the camera pans to the right across a row of distorted and obscured images eventually revealing a clear extreme close up image of the ugly doll’s eye. Next the film is cross cut to show a similar frame Clementine’s face with only one eye visible. This technical shot composition further emphasize the identity of Clementine and the reaction shot of Joel provides evidence of his compassion for her. Shortly after, there is a dissolve showing Joel kissing Clementine simultaneous with an image of him alone. As she is asking him to never leave her, a dissolve further accentuates Joel’s realization that he does not want to forget everything.
In the next sequence of shots the camera work and editing continue to promote the ideas presented to the audience through the action and dialogue. A sudden shift occurs as Joel instantly moves from contentment and bliss to panic and desperate pursuit of the memories of Clementine. The camera is angled directly in front of Joel’s centered face as he pulls the blankets and climbs ahead. The camera continues to back-up as he persistently crawls forward, towards the camera. This technique establishes the hopelessness of the situation, demonstrating that his attempt is in vain. Joel’s search to preserve his memories of Clementine is analogous to his desire for fulfillment in his life through Clementine. Throughout the story Joel is portrayed as complete or whole with Clementine as a partner. Their opposite natures create a strong attraction that connects the two of them, but is synchronous as a point of contention, resulting in their separation. Another important note on the use of editing is the sequence of shots at this climax of realization. First Joel and Clementine are viewed kissing, next Joel is crawling; both are typical symbols for the expression of longing and desire. The particular order and placement of these shots precisely demonstrate Joel’s perceived need for Clementine as a part of his life.
An extreme long shot shows the Charles Lake with Joel and Clementine sliding across it. The lake is a prevalent symbol in the film with many meanings and interpretations, in this case, simply the location for their affirmation of love. A common location throughout their journey, the lake represents the place in which Joel and Clementine find logic and precision in their relationship. The extreme long shot sets up the atmosphere and conditions for an anticipated reconciliation. Following, a close up shot of the couple holding hands further emphasizes the euphoria felt between the two of them. As Joel describes his satisfaction, the shot changes to a bird’s eye view of the two of them lying on the ice. This particular shot has become the most iconic image of the film, showing the peace and contentment they found together. The bird’s eye view implies a heavenly or cosmic aspect to their relationship, pointing out the transcendent quality these completely dissimilar characters possess. Their opposite traits and opinions are often times unfavorable, but at times like the date on the Charles Lake, they prove perfectly complementary.
As abrupt change is a motif of this film, Joel and Clementine again switch from ideal harmony to regulated separation. As a consequence of the memory being eradicated by the technicians, the lake suddenly becomes the floor of a train station. The camera angle is again a bird’s eye view, but this time with a different effect. Now the audience gains a sense that Joel and Clementine’s fate is uncontrollable. This point of view implies that there is some sort of governance of their destiny. The two are seen laying on the floor without any authority or power over the subsequent events. This is an indication of the command Joel has given to the memory-erasers and his inability to oppose the procedure already in progress. The next shot is an even higher point of view, a further demonstration of the insignificance of their influence. Additionally, Clementine slides away from Joel and the camera, as if pulled by an outside source. The camera is in Joel’s point of view and Clementine disappears. She moves the opposite direction that Joel was desperately crawling towards only a moment before. The pull of Clementine almost flaunts the pull and grip the technicians have over Joel’s mind. It is a vivid illustration of loss of control that Joel is experiencing. Moreover, this helplessness is model of the same lack of control Joel has over his feelings for Clementine. He did not consciously choose to become drawn to Clementine and additionally can not help but love her.
The camera stays in Joel’s point of view focused on the vacant spot Clementine had occupied just seconds before. This shot shows Joel’s impotence as he is frozen, staring at the empty spaced she had just filled. The use of this shot alludes to the void and unfilled person Joel feels he is without Clementine. This again, a suggestion that she completes him and their relationship is absolute and integral. At this point Joel experiences his most intense feelings and desperately pleas to call off the whole operation. He is once again on the ice of the Charles Lake and the camera is at a bird’s eye view for a third time. Joel appears to be praying towards the camera and it gives the viewer a sense that only a miracle can change the course of events. Next, the camera smoothly turns on an axis and moves upwards like a spiral. This dramatically leaves Joel all alone on the ice begging for something to be done.
This sequence is a turning point in the storyline as Joel changes his mind about the operation. All of the camera work, from degrees of angle to movement, as well as editing and transitional devices supplements the dialogue and action of the film. All together, each subtle change in filming supports the ideas of the characters and the overall themes of the film. Overwhelmed and distressed by their emotions, Joel and Clementine search for the rationalization of their relationship. When they reveal their fears and experience the pain of loneliness, they bond together in a unique relationship. The same is true of the camera shots, each piece is opposite and different on its own, but when combined, they build the narrative more than imaginable. Only when Joel begins to lose the memories of times he was happy, does he come to the realization that he wants to never forget Clementine.
