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Iranian Cinema De-Classified (2) Arts Iranian Cinema De-classified (2) By Erfan Hashempour . This is part two of the re- Wave had already been in existence by art tors joined port on Iranian cinema and how it found its films of directors such as Farokh Ghafari and the wave. way to prominent international festivals and Fereydoun Rahnama, and movies produced Notably, introduced people like Kiarostami, Makhmal- by “Studio Golestan”. Iranian writer and pro- directors baf and Ghobadi to the world. In the first part, ducer, Ebrahim Golestan established his like Bahram we covered the early days of cinema in Iran own production company (Studio Golestan) Beyzaei, Ab- and emergence of Film Farsi. In this report we in late 1950s and produced short films and bas Kiarostami, will focus on Iranian new wave and post-revo- documentary movies for Iranian Oil Com- Parviz Kimi- lutionary cinema. pany. Soon after, he produced The House avi, Sohrab Sha- Is Black (Forough Farrokhzad – 1962) which hid-Sales and Iranian New Wave many believe to be one of the best Iranian Masoud Kimiai Much like many film makers around the world movies of all times. He also directed Brick played significant who were influenced by Italian neorealism and Mirror (1965) and The Ghost Valley›s roles in continua- (notably French film makers who established Treasure Mysteries (1974) which are critical- tion of Iranian New French New Wave), a number of Iranian di- ly acclaimed movies. Indisputably, Golestan Wave. rectors in search of a more meaningful and is one of most influential figures in creation dynamic cinema – in contrast with Film Farsi - of Iranian New Wave. Islamic Revolution began to produce culturally and intellectually American writer and critic Jonathan and Cinema enriched movies that later on set to be known Rosenbaum believes that studying Iranian After the victory of as Iranian New Wave cinema. Many believe New Wave without considering movies by Islamic revolution in on top of the influence from French and Ital- Studio Golestan and art films of 1960s is a 1979, the Islamist vic- ian cinema, socio-political changes of 1950s mistake that many western cinema histo- tors, who believed that and 60s in Iranian society was one of the main rians do, which leads to highly incomplete Iranian culture has to motivating points in establishment of this new view of the Iranian cinema and its history. become purely Islamic wave. He also believes that there are two new and clean from all western Many sources believe that it all started with waves in Iranian cinema. One started in late and non-Islamic elements, Dariush Mehrjui’s The Cow in 1969. The Cow 50s and continued to early 70s, and is very shutdown many theatres, was well received by intellectuals and film crit- much influenced by French New Wave; the as they believed cinema to ics of the time, due to its societal and philo- other one which started with The Cow and be an influence of western sophical view which challenged the social has continued till the day is relatively inde- culture and against the Sharia relationships in Iranian society. Film critic and pendent of cinema experience in west. To (Islamic Law). There were ru- writer Ahmad Talebinejad, believes that The avoid this division, it can be said that sty- mours that cinema industry Cow (1969), Qeysar (Masoud Kimiai – 1969) listically, early movies of Iranian New Wave will be banned entirely; how- and Tranquility in the Presence of Others (Nas- were more comparable with French and ever, the leader of revolution er Taghvai – 1973) are the three most impor- Italian movies than the ones produced later. – Ayatollah Khomeini – decided tant movies that initiated Iranian New Wave. Throughout 1970s a handful of mov- otherwise and let cinema stay However, Parviz Jahed – who has closely stud- ies with cultural and philosophical themes alive. Although before the revo- ied Iranian Cinema – believes that the New were produced and a number of new direc- lution he had constantly attacked 2 Persepolis September/ October 2009 cinema as “the direct cause of prostitution, cor- revolution succeeded or were banned from don, Berlinale and Venice. In recent years, a ruption and political dependence”, he decided working. However, a generation of young and new generation of filmmakers have come on to use this phenomena as a propaganda sys- determined filmmakers joined the New Wave the spotlight and are determined to carry on tem. Also, there is a rumour that he had seen and seized the attention of film critics. Well the new wave to further. Asghar Farhadi, Sami- and enjoyed The Cow, which made him known filmmakers such as Mohsen Makhmal- ra Makhmalbaf, Saman Saloor and Abdolreza believe that cinema could also bWhat- baf, Jafar Panahi, Abolfazl Jalili, Bahman Gho- Kahani are among these young directors who ever the cause was, cinema stayed badi and many others are among this genera- have been accomplished internationally. alive after the revolution. However, tion of Iranian filmmakers. From the previous the themes and contents – especially generation Abbas Kiarostami, Dariush Meh- Recommended Iranian Movies in popular movies–changed entirely rjui, Khosrow Sinai and Masoud Kimiai con- to suit the new Islamic codes im- tinued to work after the revolution and have Pre-revolutionary: posed by the government. In 1980s been successful in national and international - Brick and Mirror (Ebrahim Golestan – 1965) and during the Iran-Iraq war, many stage. - The Cow (Dariush Mehrjui – 1969) films with nationalist and war- The breakthrough for post-revolution Ira- - Qeysar (Masoud Kimiai – 1969) related themes were produced nian filmmakers began when numerous films - Still Life (Sohrab Shahid-Sales – 1974) by sponsorship of government- found their way to international festivals. - The Raven (Bahram Beyzaei – 1976) based film organizations. Pro- With Abbas Kiarostami winning Palme d›Or in duction of war films continued Cannes Festival for Taste of Cherry (1997) inter- Post-revolutionary: after the end of the war as the national recognition came along. Ever since, - The Bicyclist (Mohsen Makhmalbaf – 1987) society was still deeply influ- he has become the symbol of Iranian cinema. - Travellers (Bahram Beyzaei – 1992) enced by it. In recent years numerous Iranian movies have - Taste of Cherry (Abbas Kiarostami – 1997) After the war, cinema been presented on the international stage. - Turtles Can Fly (Bahman Ghobadi – 2004) grew stronger as the public Movies by Bahman Ghobadi, Jafar Panahi, and - About Elly (Asghar Farhadi – 2009) demand for it enormously Mohsen Makhmalbaf have been present in arose. However, govern- distinguished festivals such as Cannes, Lon- [email protected] ment-imposed censor- ship and lack of financial resources caused for low quality productions. In recent years, the demand for popular movies has extremely declined, which has brought film industry into recession. Post Revolution- ary New Wave Despite the socio- The 34th Toronto International Film Fes- Makhmalbaf, and “Bassidji” by Mehran political changes tival runs from September 10th to 19th, Tamadon. after the 1979 2009 in 23 screens in downtown area. Check out TIFF.NET for full screening revolution, Ira- More than 300 films from Canada and schedules and make sure you are not nian new wave all around the world are to be screened missing movies from your favourite dir- cinema contin- under 19 screening programs. ectors. ued its path The screenings include movies from There will also be free outdoor pro- yet stronger notable directors such as Guiseppe grams right beside Ryerson University than before. Tornatore, Werner Herzog, Atom Egoyan, in Dundas square including silent films, Many pre- Jane Campion, Pedro Almodovar and presentations, concerts, and public ap- revolution- many others. pearances by singers Niel Young, Joan ary film- TIFF will also screen movies by Iranian Baez, and DJ Champion, and American makers filmmakers: “Women Without Men” by directors George Romero and Jonathan fled the Shirin Neshat, “My Tehran for Sale” by Demme. coun- Granaz Moussavi, “Green Days” by Hana try as September/ October 2009 Persepolis 3 .
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