Wayne Michael L.

Novera FEATURE A51

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Color of Paradise

Most of the people who are part of the vast majority would probably deduce this films as

boring, or simply okay. But with film enthusiasts, its most likely the counterpart of what

they deduced beautiful, a masterpiece.

The film starts with a black screen, simultaneously showing names and title of the film,

and hearing sounds of tapes. With this opening scene, the director gives us the feeling of how it

is to be blind it is somewhat an indication, but as the viewers watch, we listen to the film

intently and understand the environment as though we are blind.

The film opens with its the first picture, Mohammad and the rest of his blind classmates.

As the teacher finishes, the parents now fetch their children because the term is over.

Mohammad waits tolerantly. He hears the chirping of a baby bird that has fallen near to him,

Mohammad wholeheartedly saves the baby bird, climbs a tree, and returns it to its nest. With

keen observation, this scene is, in some ways, indicative to his pureness, innocence, and need for

a family. His father comes and reluctantly brings the boy home with him, where Mohammads

grandmother and sisters welcome him.

By this moment, the cinematography becomes vibrant: it shows colors, fields, and

flowers. It is a moment where Mohammad is vibrant and happy as well. As the story propels, the

cinematography changes in accordance with the mood of the scenes. For instance, when the

grandmother leaves the house, the camera is shot in a birds eye-view as if someone is watching

and the environment gets lonely. Also, when the grandmother dies, she looks straight up to the

sky and the lights suddenly become misty and bright, an indication that God has come for her

(and still, it has a birds eye-view angle).

 On the other hand, the characters have its nuances and are well-defined. You know who

the protagonist is and you know who has a conflict with the protagonist and both of them have

developed and matured at the end of the film.

The ending part is touching. If Hollywood were to tell this, the father would probably

have a change of heart. In Iran, it is more of a direct intervention from God/heaven and make it

like the two main characters are in trial, and they have yet to realize the need for a change of

heart.

Furthermore, the film, simple as it is, captures the message it wants to convey: Family is

family. Whether one has imperfections, it doesnt mean that you should be ashamed of him/her.

Also, besides the message of family, it indirectly delineates the rewards of blessings and the

repercussions of a life not filled with gratitude to God.

Surprisingly, this film was shot in 2000 in Syria. And most of the people connote Syria as

aggressive people because of the recent wars that have been happening. With this film, it gives

us the opportunity to see that Syrians also have families; that they also are capable of love and

understanding; and they also have a simple life like any other human beings. Lastly, the fact that

this film was made in 2000, it still stands out with its simplicity even in the contemporary era.

But what I appreciate the most is that every element (cinematography, lights, angles, clothes,

locations) of this film has a meaning and it is not just there or shown in the camera for no

reason.