Ten Little Indians, aka, And Then There Were None was filmed in pre-Revolution Iran by Peter Collinson. The setting of the film is quite tricky. The first shot of the film shows two important monuments in Iran, Persepolis and Shah Mosque in the middle of desert.
Then the film cuts to the deserted ruins of Persepolis while we hear a gust of wind sound. Persepolis was the ceremonial capital of Achaemenid Empire in 5th century BC.
Shah Mosque, Isfahan
After that, the film jumps to the Shah Mosque. As the camera moves down, we see Elsa Marino (played by Maria Rohm), the female servant of the hotel in a white blouse with sunglasses on, waiting for arrival of the doomed guests.
As she is looking at the open desert before her, the tile of the films appears. So did the credit.
The pre-credit sequence and the post-credit of Ten Little Indians is the fruit of editors’ sleight of hand. I mean that, the editors put Persepolis and Shah Mosque, two UNESCO World Heritage Sites of Iran, next to each other which geographically speaking is not right. Shah Mosque is in Isfahan while Persepolis is in Shiraz. The editors reduce the nearly 500 kilometers to almost 30 meters.
Shah Abbasi Hotel, Isfahan
That is not the end. There is more to it. Since Ten Little Indians is an adaptation from Agatha Christie whodunit novel, the director decides to set his film in an isolated place to emphasize its enigmatic atmosphere. So, we see the mysterious hotel in a middle of a nowhere next to the Persepolis ruins. It is not the end of the story. As the ill-fated guests enter the mysterious hotel, the viewers witness shots of Hotel Abbasi Isfahan that is one kilometer away from the entrance of Shah Mosque or New Abbasi Mosque before.
So, the opening of the Ten Little Indians is as weird as the story itself. Click here for Ten Little Indians film review.
Living without cinema and film is futile! I have been pondering on the topic of tourism and its link to cinema for a quite a long time, but I couldn’t find any. At first, I though to make a film on tourism, which after some calculation, I found it costly. Then the idea of arranging a meeting between the film locations and film crew came to my mind. I asked some of my friends, however, since they have to idea about cinema, they were unable to help me out! Shoot!
Film Tourism in the world
That’s when the google stepped in! I surfed the net and came across hundred pages of movie-themed tour, film-themed tour, and film tour in different parts of mother earth. I got excited, but it didn’t last long. No block-buster movies were made in Iran, nor great filmmaker or cinema auteur chose part of Iran as her film locations after Iranian Revolution. Asghar Farhadi, who won the Best Foreign Language Film Award twice, has no specific or detectable film location. I mean you can’t put your finger on a certain spot and claims that the shooting was here. The viewers might be able to feel the spirit of Tehran in Farhadi’s movies; yet one cannot locate it. Farhadi thought and style have been dominating and imitating the Iranian cinema over the last decade. So, I had to go back in time to spot what I had on my mine. And that’s where Abbas Kiarostami popped in. yeah! It is him I have been seeking for.
Film Tourism in Iran
Abbas Kiarostami, the poetic image maker, was fond of road film. Bang! I have the road. It is the first connection to Travel. His characters are discoverers! Bang! Travelers love to discover new things. And above all, the films have specific film locations, for instance, Koker Trilogy. So, I got the main thread and I could develop it into a bigger idea.