Man Push Cart was one I had never heard of before it screened at my New York in film-themed class, but I'm glad I saw it despite its uncinematic subject matter. Similarly to Take Out, the last film I watched in this class, it is a mid-2000s neorealist New York picture focusing on a character on the margins, with naturalistic acting and a minimalist style that work so well for the down-to-earth story that Bahrani's telling. It's easy to see why Roger Ebert championed this film so heavily on its release, since it is such an empathetic portrait that never revels in this character's less-than-ideal situation. Ahmad, played in an excellent performance by Ahmad Razvi, has become a lonely and financially desperate push cart owner after a successful music career, only to struggle to adjust to life back in a late-capitalist America. Many scenes are not afraid to linger for a little while, adding to the audience's sense of being there with the characters; Aftersun, a later indie drama, also used this brilliantly. This is also one heart-wrenching picture at times, including one of the most upsetting animal deaths I have seen in a film. The only nitpicks I have here are with some occasionally awkward dialogue and a slightly tacky score.(thankfully it's not in the film that much, but it reminded me of the soundtrack to Tommy Wiseau's The Room?)
Man Push Cart was one I had never heard of before it screened at my New York in film-themed class, but I'm glad I saw it despite its uncinematic subject matter. Similarly to Take Out, the last film I watched in this class, it is a mid-2000s neorealist New York picture focusing on a character on the margins, with naturalistic acting and a minimalist style that work so well for the down-to-earth story that Bahrani's telling. It's easy to see why Roger Ebert championed this film so heavily on its release, since it is such an empathetic portrait that never revels in this character's less-than-ideal situation. Ahmad, played in an excellent performance by Ahmad Razvi, has become a lonely and financially desperate push cart owner after a successful music career, only to struggle to adjust to life back in a late-capitalist America. Many scenes are not afraid to linger for a little while, adding to the audience's sense of being there with the characters; Aftersun, a later indie drama, also used this brilliantly. This is also one heart-wrenching picture at times, including one of the most upsetting animal deaths I have seen in a film. The only nitpicks I have here are with some occasionally awkward dialogue and a slightly tacky score.(thankfully it's not in the film that much, but it reminded me of the soundtrack to Tommy Wiseau's The Room?)
