Warung Tarbawi

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Hubungi saya Azmi Bahari (+60194744343)

Untuk makluman, saya tidak ada di Malaysia 29 Mac hingga 12 April 2010. oleh itu tempahan pada atau dalam tempoh itu tidak dapat saya penuhi segera. Walaubagaimanapun saudara ada masa yang cukup untuk membanding harga yang ada dipasaran.

Kenapa murah? Kami tidak ada orang tengah yang berlapis-lapis.

The Miracle
15 in 1
Harga: RM 190
Harga Termasuk pos untuk semenanjung: RM 220
Harga Termasuk pos untuk Sabah & Sarawak : RM 250

Bagi yang tinggal sekitar Perlis & Kedah boleh terus ke Koperasi Ma'had Attarbiyyah Al Islamiyyah (MATRI)Tunjung Berhad, Perkampungan Tunjung, Beseri, Perlis.

Al Quran dengan terjemahan penuh dan prakata (word by word). Membolehkan kita membaca Al Quran sambil menambah kalimat bahasa arab.

Harga RM 120 (Termasuk Penghantaran; Semenanjung Malaysia Sahaja)
Mukasurat: 619 Mukasurat
Ukuran: 30CM(panjang) X 21CM (lebar) X 2.5CM (tebal)

Baran

Tajuk: Baran
Bahasa: Parsi
Sarikata: Bahasa Malaysia
Masa: 1 Jam 35 minit
Bilangan CD: 1
Format: DVD
Harga: RM 15 (termasuk Kos penghantaran bagi semananjung Malaysia Sahaja)

Satu lagi filem arahan Majid Majidi. Bagi yang telah tonton filem The Color Of Paradise tentunya telah mendapat sentuhan istimewa dari pengarah bertaraf dunia. Baran adalah filem 'story based' tidak mengenengahkan pelakon-pelakon yang cantik atau segak tetapi memamaparkan jalan cerita yang begitu menyentuh hati.

Ketika mana pelarian Afghanistan terpaksa bekerja untuk meneruskan kehidupan masing-masing di negara yang mengharamkan wanitanya bekerja, seorang gadis terpaksa menyamar sebagai lelalki untuk melakukan kerja-kerja kasar dan berat bagi menyara keluarganya. Ayahnya yang kemalangan dan patah kaki terpaksa mengharapkan pengorbanan anak gadisnya bagi menyara ahli keluarga yang lain.

Filem dalam bahasa Parsi ini boleh mula dibeli apabila saya selesai memasukkan sarikata Bahasa Malaysia selewat-lewatnya hujung minggu depan.

trailer filem ini boleh di download dari side bar blog ini atau link ini



Sinopsys.

It is winter in Teheran. Lateef is 17. He works in a building construction managed by MEMAR, the site foreman. Lateef's job is to serve tea and prepare food for the workers with whom he is always quarrelling. The workers come from all parts of Iran. Some workers are Afghans refugees from war torn Afghanistan. They have no identity card and are employed illegally as cheap labor. When the labour inspectors show up, the Afghan workers must hide.

As the story starts, an Afghan worker, NAJAF, falls from the building and breaks his leg. He is taken to the hospital. The next day, SOLTAN, another Afghan worker, brings in RAHMAT, Najaf's son, who is around 14 to replace his father. Memar soon realizes that Rahmat is not fit for this hard work and decides to switch the jobs between Rahmat and Lateef. Lateef is furious, threatens Rahmat, tries to sabotage his work and spies on him. One day, by looking through the door where Rahmat works, he is totally shocked to discover that Rahmat is a girl. As he is watching her combing her hair, he finds himself in a strange state and surrounded by unusual sounds.

From there on his attitude changes completely, he becomes protective, helpful and gradually desperately in love with Rahmat. While Rahmat does not express herself verbally at all, with time she seems to respond to this love. During a surprise visit of the labour inspectors, they find themselves face to face with Rahmat. She panics and runs away as they chase her through the city streets. Lateef runs after them, struggles with the inspectors while Rahmat flees. Lateef is beaten up and taken to the police station. Now Memar has to pay a fine, comply with the law and lay off all Afghans.

Lateef can't bear Rahmat's absence and decides to locate Soltan to get some news of her. He goes to the village where the Afghans live, walks around, meets an enigmatic cobbler and ends up in the courtyard of a shrine near a graveyard where Afghan families are gathered for a local milk ceremony. He inquires about Soltan but gets no clues. Among the Afghans in the courtyard, stands Rahmat with girl clothes. She notices Lateef, stares at him for a while before leaving the ceremony. Lateef is not aware of her presence. The next day on the road he finds Soltan and learns that Rahmat works in the village near the river. Lateef rushes there to find Rahmat in a pitiful state, working with other women at carrying heavy stones from the river. He is distressed and wants to find a way to help her out of that ordeal.
He gets all his accumulated wages from Memar and hands them to Soltan asking him to pass them on to Najaf. They agree to meet the next day at the shrine after Najaf has given the money to Najaf. The next day at the shrine, instead of Soltan, it is Najaf who shows up to inform Lateef that Soltan has gone to Afghanistan. He tells Lateef that Soltan came to him and offered him some money he had borrowed from someone. He also tells Lateef that he has refused the money and has advised Soltan to keep it for himself and use it to leave immediately to Afghanistan where he had a life and death issue in the family. Lateef is shocked and worried.

He gets even more worried the next day when he overhears a conversation in Najaf's house that Najaf is himself now faced with family problems in Afghanistan as his brother has just been killed in the war. He also hears that Rahmat's real name is BARAN. Lateef goes back to the river to find Baran, exhausted, now carrying logs of woods out of the river in an atmosphere reminder of a war field. Powerless in front of the hardship she is going through, he returns to the construction site in a state of depression. The next morning, Najaf on his crutches is in the construction site to meet Memar. Lateef overhears Najaf begging Memar without success to lend him some money.

Lateef takes a desperate measure to get money. He goes and sells the only valuable things he still has, his identity card. When he brings the money to Najaf, it is to learn that thanks to this money, Najaf and his family are returning to Afghanistan. Lateef is overwhelmed by this news and finds refuge in the shrine. There, in a state of anguish and despair, he hears coming from all around him the same sounds he heard when he saw Baran the first time. He surrenders to his fate.

The next day in a dreamlike atmosphere, while helping Najaf to load the truck with the house effects, Lateef, now with a serene look, is finally face to face with Baran. Through eyes contacts and physical proximity they exchange their love. As Baran covers herself and walks to the truck, her shoe gets stuck in the mud. Lateef gets on his knees, takes the shoe out of the mud and hands it to Baran so she can wear it and leave. The truck takes Baran away. Left alone, in the empty place, Lateef stares at the footstep in the mud left by Baran's shoe and smiles while the rain covers it.

Ethnicity and Language in the film

This film shows a microcosm of the blue collar working class in today's Tehran. The construction site is managed by Memar, an Azeri. and he employs Iranians from various ethnicity as well as Afghans refugees. Many languages are spoken in this film and this document tries to put some light on the ethnical and language variety present in Iran.
Iranians: Ethnic groups (source)

Persian 51%, Azeri 24%,
Gilaki and Mazandarani 8%, Kurd 7%, Arab 3%, Lur 2%, Baloch 2%, Turkmen 2%, other 1%

Languages:
Persian and Persian dialects 58%, Turkich and Turkich dialects 26%,
Kurdish 9%, Luri 2%, Balochi 1%, Arabic 1%, Turkish 1%, other 2%

All Iranians learn and speak Persian (Farsi) at school as Persian is the official language. People of different ethnical background are recognizable by their accent. People of different ethnicity speak a second or third language that are not taught at school.
Afghan Refugees

Afghan refugees (according to UNCHR around 1.5 Million) from Afghanistan have been present in Iran for the last 20 years, fleeing the Soviet occupation first and then the Taliban regime. They are on a temporary residence and live either in a refugee camp or in the city if they have been able to get an autorization to leave the camp. This authorization is not easy to obtain as the Iranian governement has a priority to insure the security of its own nationals against robbery and drug dealings that some of the Afghans resort to when they are outside the camps. In the refugee camps, usually situated far from the cities, the Afghans have very few opportunities to work, so many refugees prefer to live outside the camp even if they do not have an authorization. While in the refugee camps children are admitted to school, once the family leaves the camp without an autorization they become illegal, they cannot work and children are not admitted to school. While workers who have an authorization are legally allowed to work, the illegal workers are harassed by the work inspectors. Because of the scarcity of the work and the pressure to survive, Afghans either legal or illegal accepts less paid jobs that the Iranians. This is a bonus for the contractors who take advantage of their situation, offer them less wages and do not pay any Social Security for the illegal ones. This situation sometimes creates friction with Iranian workers who perceive the Afghans are stealing their job.

The Afghans speak usually two languages: Pashto which is close to the Urdu spoken in Pakistan and Dari which is close to Persian. Dari and Pashto are both Indo-European languages.
Dari speakers describe their language as richer, with a long history of literature. Most of the nation's scientific books are in Dari, and its speakers see cultural and linguistic links to Farsi or Persian.
Pashto, on the other hand, does not claim as deep a literary tradition because it had fewer outside influences: Most of its speakers lived on remote mountaintops and valleys, and prided themselves on conservatism. While both languages are official languages, Dari, rather than Pashto, serves as the means of communication between speakers of different languages in Afghanistan.
Ethnicity in the construction site.

Baran, Rahmat, Soltan, Najaf and the shoemaker are Afghans refugees, they speak Dari.

Lateef, Memar, Faraj are Iranians Azeris. They often speak Turkish or mix the two languages
The worker with whom Lateef fights about the quality of the tea and later on find him in the caretaker room is an Iranian Kurd.
The worker who receives the plaster on his head and later on fights with Lateef is an Iranian Lur.
Where are they living?

The Iranian workers stay and sleep in the construction site occupying different rooms depending on their ethnical originin. In the film, they are three rooms:
The Lurs room where Lateef comes in first to remit the bill to the Lors chief.
The Kurd room where Latreef come second to remit the bills.
The Turks room is where Lateef sleeps and where the Turks sing and dance.

The Afghans do not stay in the site, they travel back and forth from their village everyday.

International Awards & Nominations

Tajuk: The Color Of Paradise
Harga: RM 15 termasuk penghantaran (Semenanjung Malaysia Sahaja)
Bahasa: Parsi dengan sarikata Bahasa Malaysia
Format: DVD (Untuk format VCD insyaAllah selepas Hari Raya; memerlukan masa untuk cutting dan ubah format)

Sinopsis

"The Color of Paradise" is a fable of a child's innocence and a complex look at faith and humanity. Visually magnificent and wrenchingly moving, the film tells the story of a boy whose inability to see the world only enhances his ability to feel its powerful forces.

At an institute for blind children in Tehran, parents are arriving to pick up their children for summer vacation. But long after the other children have left with their families, 8-year-old Mohammad (Mohsen Ramezani) is still waiting for his father to show. Mohammad contentedly passes the hours exploring the fertile spring earth at the perimeter of the school grounds. Underneath the damp leaves, he discovers a helpless baby bird. He uses his extraordinary sense of hearing to locate the mother bird's nest and returns the bird to the safety of its home.

Just then, his father Hashem (Hossein Mahjub), a widowed coal worker, finally arrives, only to ask one of the teachers if his child could be allowed to stay at the school permanently. Turned down, he begrudgingly agrees to take Mohammad on the journey to their home in the heights of northern Iran.

The landscapes they pass through are harsh, but verdant and spectacular, overwhelming the boy's senses, who is naturally attuned to his surroundings. But this splendor and Mohammad's joy in it, makes no impression on his gloomy father. If anything, it increases his melancholy. The bitter Hashem sees Mohammad as nothing but a burden. For all the adoration Mohammad feels for the world, his father feels equal contempt for the "bad hand" he's been dealt in life.

Arriving at the family farm, Mohammad is lovingly greeted by his two happy-go-lucky sisters and beloved Granny (Salime Feizi). He is delighted to be in the embrace of his family in this beautiful setting. The days are spent almost in slow-motion, at one with nature, where Mohammad and Granny seem most at home. They are happy to simply collect eggs from the chicken coop, pick wildflowers in the lush fields and listen to the songs of the many species of birds that make the farm their home. It seems Mohammad and Granny have a spiritual connection. Mohammad, who believes what he feels rather than what he sees, tells his weathered Granny "Your hands are soft and beautiful."

But little Mohammad's peace is threatened when his spiritually blind father fears that the boy will be an obstacle to his hopes to marry a beautiful young woman from a strict Islamic family. Hashem follows through on his selfish plan to ship the boy off to live in another area of the country where he is to become an apprentice to a blind carpenter.

At first Mohammad is devastated to be away from his family and fearful that no one will ever love him because of his blindness. But gradually Mohammad adapts to his new environment. In addition to learning woodworking, he also learns spiritual lessons from his mentor, professing "God is not visible. He is everywhere, you can feel him. You can see with your hands."

But back at the farm, tensions between Granny and Mohammad's father are rising and eventually Granny falls ill. Mohammad's father's plans for remarriage are disrupted and he is forced to face his responsibility to his son. But is it too late? Will Hashem act in time to see that his son has truly been touched by the hand of God?

Bahasa Malaysia

Sebuah filem yang cukup menyayat hati.Seorang kanak-kanak bernama Mohammad (8 tahun) yang kematian ibunya, berdepan dengan tekanan hidup yang luar biasa apabila ayahnya yang merupakan satu-satu tempat baginya bergantung hidup tidak dapat menerima hakikat bahawa anaknya buta. Ayahnya melihat Mohammad anaknya, sebagai bebanan dalam kehidupannya.

Setelah rayuan untuk anaknya tinggal kekal di sebuah sekolah pendidikan khas (orang buta)gagal, ayahnya, Hashem membawa pulang anaknya dengan penuh keresahan dan kebencian. Hashem tidak langsung menghargai bakat dan harapan anaknya untuk hidup seperti orang biasa. Mohammad akhirnya ditinggalkan bersama seorang tukang buta dengan alasan untuk belajar bertukang.

Filem ini memenangi beberapa international award. Untuk maklumat lanjut sila layari website di
bawah:

1. Color Of Paradise Homepage