And this time, questions of place and the issue of orientation are founded in memories of real-life challenges and dilemmas. With many roads out or blocked, the director is constantly asking for information on a way forward. The sights the director and his son first encounter are of pandemic ruin and destruction.
Houses are flattened, roads and bridges are sundered, traffic jams abound, and huge buildings have been wrenched apart like so many flimsy toys. Yet, the dead having already been buried, what we see all around is exactly the opposite of morbid: signs of survival, growth, new life. In one, the director encounters a young couple who, instead of postponing their wedding after the deaths of a number of their kinfolk, moved it up, marrying the day after the quake. Whether or not this is religiously proper, it suggests how the urge to unite and procreate is a potent reaction to loss and tragedy.
This couple will become the center of Through the Olive Trees. Elsewhere, people are eager to see the World Cup. While Kiarostami noted that references to football appear in many of his films, its appearance here records something that he said actually struck him during his time in the earthquake area.
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The World Cup comes around only every four years. Life goes on. Even the most reality-based stories, though, lend themselves to symbolic interpretations, and Kiarostami candidly admitted that the natural disaster recorded here could be seen as a metaphor for the Iranian Revolution: both were sudden and traumatic, leaving people jolted and disoriented. In the celebrated final scene of And Life Goes On, a single four-minute extreme long shot, Kiarostami pointedly refuses to meet conventional expectations; we never learn the fates of the boys from the previous film.
But how does society survive? As the car climbs, it passes a man carrying a large gas canister without stopping to offer a ride. It stalls out a bit farther on, then rolls backward. When the man with the canister reaches it, he gives it a push, then climbs aboard, and the car continues upward. So: we survive by helping each other. After earthquakes as after revolutions.
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What in the earlier film was expressed as friendship here appears as solidarity. Yet his situation in Iran grew more difficult, despite, and in some cases because of, his foreign success. When conservatives shook up the culture ministry, Kiarostami was forced out of his position at Kanoon; And Life Goes On was his last film produced by the organization. Rather nervily, Kiarostami begins Through the Olive Trees, which dramatizes the making of And Life Goes On, in ways that seem to mock some of these charges. In fact, in choosing a well-known, imposing actor, Mohammad Ali Keshavarz, to play the director of And Life Goes On, he arguably mocks both himself and the idea that he was becoming a foreign-proclaimed grand auteur.
Through the Olive Trees differs from its two predecessors in showing the filmmaking process itself. Rather than considering cinema as a mirror held up to life, it contemplates both life and the mirror, as well as the relationship between them. Shiva Zarifeh Shiva , he then begins interviewing the schoolgirls. The third and prettiest they come upon says her name is Tahereh Ladanian. The next scene begins with a long, unbroken shot from Mrs.
Shiva finds that the girl is not there and ready to leave for the filming. In a composition that will be seen repeatedly, the girl sits on the upper balcony of a two-story Koker home; Kheradmand stands below.
When the director calls action, a young man carrying a bag of plaster comes in, speaks to Kheradmand, and climbs to the second story, but fails to deliver his line to Tahereh. The exasperated director tells Mrs. Hossein Rezai was a tea boy on And Life Goes On who acted in the film after an actor flubbed his lines.
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Tahereh Ladanian did not appear in the previous film; the girl who played the part actually did dislike Hossein, and refused to act in Through the Olive Trees. Sensing something amiss between the two actors, the director takes Hossein on a drive in the pickup and asks about it. But she was unresponsive, and her family opposed his interest. He saw the girl in the cemetery on the second day of mourning, and again on the seventieth.
In the latter encounter visualized in flashback, an unusual device for Kiarostami , she gives him a fleeting look that he interprets as meaning his attentions are not unwanted. Compared with the documentary-like style of And Life Goes On, Through the Olive Trees is stately and elegantly composed, with muted naturalistic views of landscapes and the repeated use of symmetrical compositions in the filmmaking scenes. Hossein runs after her. She climbs the zigzag hill, and he follows.
When both enter the olive grove on the other side, he begins again to tell her how good their marriage could be, urging her to forget the prejudiced advice of elders.
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She keeps walking. What he sees: the ever-smaller figures of Hossein and Tahereh continuing to move through the olive grove, then emerging from it and continuing along a path on its far side. The path veers right and is almost out of sight when Tahereh apparently stops suddenly and turns to Hossein. After a few moments, he turns and begins to run in the direction whence he came, and his movement seems jubilant. So her heart turned and she gave him the answer he sought?
Or is this his fantasy? In response to a question that was asked on a blog article , some Naughty Dog members explained their thoughts about this level being cut. Andy Gavin said, "Stormy Ascent was just cut because it was too long and too hard and we ran out of time. I wish we had put it in as some kind of easter egg, as it was an awesome level, one of my favorite in the game. Long, a bit brutal, but it looked great, and had a real rhythm to it.
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The work that went into making a level like that is incredible. To see it on the cutting room floor was always a tragedy. Stormy Ascent was eventually added to N.
Sane Trilogy as DLC for the remade version of Crash Bandicoot in July , available for free during 1 month and afterwards having a cost of 3. The original game designer of the level and former Naughty Dog employee Taylor Kurosaki commented how at the time he was still learning about difficulty curves and hence why the level ultimately had to be cut. When Vicarious Visions was tasked to remaster the trilogy, they challenged one of their best Crash players in the development team to play the original Stormy Ascent as part of their work to remaster the level.
The level contains a new bonus round that can be accessed by collecting 3 Brio Tokens instead of Cortex tokens like in the original. Sign In Don't have an account? Start a Wiki. Contents [ show ]. The first Cortex Token is inside the? First checkpoint. Second checkpoint. The second Cortex Token is inside the bottom? Third checkpoint.
The last Cortex Token is inside the? Small Look of Stormy Ascent in the N. Sane Trilogy. Icon from N.