A kid is going home quite and happy after buying bread until he stumble to a dog with a stern look on his face that prevents his way home, so he will have to cope with him to pass.
The Bread and The Alley (1970) is the first short film by Iranian filmmaker Abbas Kiarostami (Tehran, June 22, 1940). Neorealist style, shot in black and white, like many of his works, and without dialogue, as his second short film Breaktime (1972), with identical characteristics. With The Bread and The Alley, Kiarostami already approached us directly to his cinematographic world and let us see his search toward a close reality and simplistic cinema, with a great high quality, and childhood as a recurrent subject. Maybe it comes to your mind some similar or exact situation happened during your childhood.
Music emphasises three times the dramatic element of the story: while the boy goes happy and distracted toward home, we can listen to the instrumental cover of The Beatles Ob-La Di Ob-La Da by American jazz saxophonist Paul Desmond; and just when the disruptive element appears, the dog, the music stops and we hear only the actual sound of the street, which enhances the reality of the short film, until another element takes part in the scene and the music start again, in this case by way of intrigue in a jazz tone when the kid tries to get help staying behind the man who seems to be going in the same way, then, street’s silence again. And finally when our little man gets to overcome his obstacle, music again becomes relaxed, creating that relaxation state in line with the images.
The Bread and The Alley (Nan va Koutcheh), 10 minutes. 1970. Iran.