A Review from Somayeh Ghazizadeh Film Critic on Dingomaro, Directed by Kamran Haydari
Simple but Structured
Art and Experience: Music is in the blood of southern people. Everyone who travels even once to southern or talk with a southern knows it but it was very rare that someone be found to be as close to them to reflect their high intimacy with music in his images. Kamran Haydari is that one. You can hear and watch every each music that you can never imagine in his documentary “Dingomaro” and the link between all of them is Hamid Saeed; an Iranian-African music lover. It is not necessary to be music expert to find common roots of African music and Iranian southern music, or Pakistani music with Sistan and Balouchestanian music, also Afghani music with Khorasanian one, but the point is that southern music of Iran is not just similar to African one but it is part of it that remained alive enthusiastically hundred years after the first immigration of Africans to Iran. Now Hamid Saeed who is famous as Dingomaro and he is Afro-Iranian decides to hold an African concert in the nature of his region Hormozgan with his other Afro friends. For achieving his goal, he travels to most of Hormozgan’s towns and villages to find these musicians. However, this is just the first layer and the storyline that its duty is narrating the film, while Dingomaro is full of music but it portraits life of a lover, an exhausted lover who wants to meet his wish in every way and shape, and finally he reaches to it but in the worst teary shape. The point is that the director has been closed to Hamid, or Gholam in such a way that hard to believe that was a camera there. One of these moments is when we see wives of these musicians in traditional cloth and hearing their dialogues in important moments, in decision-making ones and in their daily conversations; women who completely cover themselves even their eyes and noses but they are in the film with presence of their husbands. It is so weird and beautiful at the same time. How the director did such work? I found the answer from some of Haydari’s interviews about the way of his filmmaking about Dingomaro or another film “My Name Is Negahdar Jamali, I Make Westerns”. He said that he becomes friend with his characters for at least two-three years and then he starts shooting. When he starts shooting, actually there is no limitation because he has become as close during past years that nothing won’t be hidden in front of his camera. Moreover, editing in Dingomaro is done by Haydari and Martin Homel helps the speedy fresh rhythm in the film. It seems that Arte channel accepted to be producer of the film because of all these reasons.