Dariush Mehrjui – Postchi AKA The Postman (1972)

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This film firnly establishes as a major talent the Iranian
Mehrjui, whose successful fusing of pathos, humor, and pre-
occupation with the poor resembles nothing less than Chaplin
or early De Sica in its ferocity. In his earlier The Cow, the
only owner of such a precious animal in a poverty-stricken
village goes insane over its loss and assumes its place;
berserk, he is put into a harness, is dragged off to a
nearby hospital, beaten like an animal, and finally
dies the death of a beast in a mudhole. The Mailman
is an unforgettable Wozzeck-like figure, the eternal
simple-minded victim who finally rises to mistaken
grandeur in a murderous gesture that leaves him
braying with despair over the body of his victim.
Since such films can never be popular, they are living
proof of the fact that box-office returns must not
be allowed to determine the life of a work of art. Continue reading