Orderly or Disorderly

Orderly or Disorderly, a 1981 short film, is an intriguing exploration of the power of societal norms and regulations. Directed by the acclaimed Iranian filmmaker Abbas Kiarostami, the film delves into complex themes surrounding the dichotomous concepts of orderly and disorderly. It poses thought-provoking questions about societal expectations and the extent to which they shape our lives, ensuring that every viewer walks away with a deeper understanding of the subject matter.

This Iranian short movie shines in its uniqueness in conveying critical ideas in an accessible, engaging manner. Rather than opting for a classic storyline with characters and distinct plot developments, Kiarostami took a more experimental route. He chose to showcase a series of vignettes, ordinary scenes from everyday life, but with the twist of portraying them in two variants: orderly and disorderly.

The film opens with a scene in a primary school. The camera angles and the naturalistic dialogues serve as a testament to Kiarostami’s well-known preference for authenticity and real-world settings. The school’s principal orders the students to form an orderly line, first resulting in utter chaos before finally achieving the desired result. As the film progresses, similar sequences unfold, illustrating both the orderly and disorderly versions of three different scenarios.

What makes Orderly or Disorderly particularly intriguing is the absence of a single, definitive narrative perspective. The director avoids instructive commentary, allowing the contrast between the "orderly" and "disorderly" states to speak for themselves. Kiarostami’s skillful use of ambiguity gives the viewer space to form their interpretations, enhancing active engagement with the film's themes.

The next noteworthy element of this film is the usage of diegetic sound, which significantly contributes to developing the ambiance. The cacophony of road traffic, the lively chatter of children in school, or the piercing horns of a bustling city, are not only background sound but an integral part of the film's narrative mise-en-scene. Coupled with the distinctive visuals, this film closely sustains its realistic core throughout its 15 minute run time.

An interesting feature of Orderly or Disorderly is its self-reflexivity – a feature typical of Kiarostami's films. The filmmaker does not shy away from revealing the mechanics of his film production, further blurring the line between fiction and reality. For example, the film includes scenes of Kiarostami and his crew in the process of framing the shots, controlling the crowd, or discussing the narrative direction. These meta-cinematic elements remind viewers of the constructed nature of what they're watching and encourage reflections on the power relations inherent in creating and consuming cinematic narratives.

Visually, Orderly or Disorderly is a simple yet powerful experience. Kiarostami’s cinematographic decision, filled with long shots, often emphasizes the sheer scale of the chaos when it erupts. The imagery is as evocative and poetic as it is convincing. Kiarostami effectively employs static shots to encapsulate the mundane activities in an extraordinarily compelling visual composition.

While the film provides an on-screen exploration of order and chaos and their effects on urban life, the metatextual subtext regarding the very nature of filmmaking cannot be overlooked. Here, film production becomes a microcosm; it can be an apt representation of a society, demanding a certain level of control to function smoothly. Yet, it also accommodates chaos, evidenced in the unpredictable challenges that arise in arranging the scenes.

Orderly or Disorderly is not just a film about controlled chaos; it is a film that lives and breathes within this dichotomy. In its juxtaposition of order and disorder, one indeed finds an uncanny reflection of life’s unpredictability and the attempt to figure out a pattern or establish control amidst this pandemonium.

Overall, Orderly or Disorderly presents viewers with an immersive experience, a mixture of poignant social commentary, artistic filming style, and intriguing thematic exploration. It may be dated by its 1981 release but remains timeless in its appeal. It is an extraordinary piece of cinema that impressively carries its thematic weight while offering a unique viewing experience and abundant food for thought. Notably, it helps establish Abbas Kiarostami as a seminal voice in the landscape of Iranian cinema.