Solemplex To me, this movie is perfection.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Orla Zuniga It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

jrmontalvo3 Repressive countries are by their nature, well, repressive. Freedom of speech is restrained and, thereby, styles of expression as well. This clearly creates a situation where the arts are stunted in their growth. A country with a particular policy would only want their artists to create art which makes sense to both the general population and the ideal the government wants to propagate to that population. To make a film about a contrary topic, or even in an unusual style, could confuse, offend, or subvert people, which the government would not want. Gabbeh, a film from Iran, is a good example of this, as it's very much a film of its place. It is mild, inoffensive, and contains numerous images of a tradition Iranian culture, depicted in a warm and perhaps domineering way. I would almost see it as a promotion of the country. Now the story of the movie follows young woman hoping to marry someone from another tribe, yet many different obstacles stand in her way, obstacles which may sound pretty strange to us, but apparently have some sort of meaning in the culture. For one thing, her uncle has yet to be married. But, at 57, he sure is taking his time! And, then, even after he finally gets hitched, she is told she cannot be married until they complete a long trek and a lot of work. Eventually, however, she defies these constant hindrances, and by doing so, may pay a price. One of the biggest parts of this movie that were great in my opinion, was that of the colors used in this movie, the use of colors to signify many things was brilliant and it brought the movie a better lighting that we haven't seen in movies to much before.

Pierre Radulescu Gabbeh, a movie from 1996, written, directed and edited by Mohsen Makhmalbah, capturing its story from a tiny scene depicted on a Persian rug: a pair of lovers riding the horse.Gabbehs are one of the many varieties of Persian rugs. They are hand-knotted by women belonging to Lori, Bakhtiari or Qashqai clans: shepherds wandering with their flocks over the Iranian mountains and beyond.A gabbeh is small sized while much thicker than other rugs; its surface is a symphony of colors: the yellow of the sun, the red of flowers, the blue of sky, the green of grass, all of them meeting there. Life is color, love is color, beauty is color: colors of surrounding nature extended on the clothes they wear and on the gabbehs they craft, these women living under the sun and the clouds, on the grass and among flowers.As rich in colors as it is, a gabbeh has usually a very basic pattern, sometimes just a small scene some place on the rug.I am thinking at those Chinese drawings in ink on rice paper, at one corner with a tiny fisherman in a small boat: it's telling a story, the size of a spot, and all the space that remains is just what? emptiness? Or maybe the whole is telling a much larger story? about the artist, about the making of the artwork? The gabbeh from this movie resembles those Chinese drawings in this detail: there is a small scene on the surface, the size of a spot. A pair of lovers on horseback; and the whole surface of the rug, exploding in colors, subtly supporting the tiny story.An old couple is carrying their gabbeh to wash it in the river, as they've done everyday, for forty years. It's become a ritual.A gabbeh and a ritual: we enter the realm of magic. And magic is what we see in this movie: the gabbeh is getting alive, becoming a young woman who's telling the story of the pair of lovers. A story that has lasted for forty years.We associate rituals with religious practices, while they mean more. Rituals keep alive the collective memory of civilizations. The more primitive a civilization the more obvious.A ritual, with its precise details, with its precise repetitions, is to keep the remembrance alive: to participate again at an event of significance; to cancel time and to live when the event actually took place. Participation, not reenactment. Father Alexandre Schmemann wrote an admirable book about the Eucharist as Mystery of the Kingdom: you'll find there some great pages about remembrance as participation, as canceling time and be there to witness the Passion, the Death, and the Resurrection.The ritual of washing the gabbeh here in the movie is personal: the story of the pair of lovers is remembered by the old couple everyday: remembrance as participation, canceling of time.But, as I said, this scene of two lovers riding the horse is just a tiny part of the whole surface of the rug: the story of love is remembered within the remembrance of that pastoral civilization: the clan of shepherds migrating over the Zagros mountains in search of grass for their flocks. A clan carrying, together with its animals, its primitive culture with severe rules and taboos, necessary for survival. A community kept alive through the force of its culture, a culture kept alive through carefully observed rituals.And here Parajanov comes in mind, of course, and not only him: also the Chinese Tian Zhuang-Zhuang. They also depicted in their movies ancient communities kept alive by the force of rituals, of traditions, rules that are difficult to be understood as they defy logic: these rules express a cultural matrix, a system of values that defines the group as a whole.What Makhmalbaf brings in this depiction of a patriarchal culture is the use of colors and sounds: these people have a special sensibility for colors, they spend their lives surrounded by the colors of nature, by the vivid colors of their female clothes, by the colors they put in their gabbehs. And as they spend all their life outside, these people have a special understanding of the language of sounds, be them sounds of the birds or animals, be them sounds of the grass in the wind, of the rocks on the footpaths in the mountains, or of the river. And Makhmalbah succeeded to give an active role in his movie to each sound, to each color: by the way they are placed, by the way they are repeated, by the way they come along with the feelings of people. This movie is a feast to watch.

Bassam Kassab The most enchanting movie I have seen in a long time. Visually stunning and breathtaking, like a trip to a museum that is rich with colorful paintings. Many beautifully chanted songs and little dialog. The best Iranian movie I have seen. And on an international level, it's the most artistic, yet not boring. The story comes out in colors, songs, and little dialog (suitable for those who don't like reading sub-titles).This movie marries a fiction story with a documentary about a tribe and their tradition to make Gabbeh, a hand-woven carpet. The screenplay is very original and unusual -- in a good way. It definitely does not follow the clear-cut Hollywood recipe. This might confuse some viewers but this movie would be seen as a gem by other viewers who enjoy creativity.

donnatav I saw this film several years ago when it was first released in the United States and have waited anxiously ever since for it to be released on DVD. The beauty of costume and scenery is enthralling but no less captivating is the love story surrounded by the cultural strictures which have a mythic overlay. Although half my family is Iranian, like most Iranian films, I think it requires more than one viewing to follow and absorb the story line but is well worth the effort. It is a romantic film in the true sense of the word, leaving one with a sense of completion and fulfillment. It is a film for those who have patience and love art and enjoy being swept into another world.