La revolució oblidada. Cinema iranià anterior a 1979

Programme curated for Filmoteca de Catalunya (December 2021). — EK 

[Short introduction in Catalan]

La revolució del 1979 va canviar el destí i el rostre de l’Iran. Com la majoria de les revolucions, també va suprimir el passat i les seves imatges, i amb això un dels cinemes més innovadors d’aquella època. Aquest programa mostra algunes de les pel·lícules clau de la revolució cinematogràfica més progressista, interrompuda per una altra de social per la qual el país va acabar sent conegut.

Aquesta retrospectiva de cinema iranià anterior al 1979 fa reviure pel·lícules prohibides, perdudes o simplement oblidades. Obres mestres de la Nova Onada Iraniana que s’estrenen ara, acabades de restaurar, al nostre país.

I Wake Up Screaming (Bruce Humberstone, 1941)

I WAKE UP SCREAMING (1941)

Dir: Bruce Humberstone

Originally titled Hot Spot and even released in some territories as such, this is an indispensable work in the development of film noir. Focusing on the psychological complexions and sexual obsessions of its characters, the film's expansion of noir themes as well as its use of chiaroscuro lighting are pioneering, even if the "wrong man" story doesn't always abide by the rules it has defined and ventures into other, lighter territory.

The murder of rising star Vicky Lynn (Carole Landis) is announced at the beginning of the film and through a series of flashbacks, narrated by her sister Jill (Betty Grable) and the suspects, we learn about how the capricious Frankie Christopher (Victor Mature) has turned Vicky from a waitress into a celebrity. During the investigation we are also introduced to a psychotic detective, Ed Cornell (Laird Cregar), who is already convinced of Frankie's guilt and determined to send him to the "hot chair". The framed Frankie and Jill, now in love, embark on their own investigation while Cornell is on their tail.

Conversation with Paul Haggis

Paul Haggis (left) in Bologna

My conversation with writer and director Paul Haggis, recorded in Bologna on July 27,  2021.

The Cinema of George Stevens: A Dialogue Between Imogen Sara Smith & Ehsan Khoshbakht

George Stevens (standing, right) on the set of Giant

Video of a dialogue between Imogen Sara Smith and I about the cinema of George Stevens, recorded in Bologna, July 2021. — Ehsan Khoshbakht

Esmail Koushan: The Storm of Life (by Abbas Baharloo)

Esmail Koushan

When serving as the editor-in-chief of the now defunct Underline arts quarterly, I celebrated the centenary of Iranian film director-producer by commissioning two pieces on him. This is the second essay (the first one, by Nima Hassani-Nasab, is already available here), written by the untiring historian of Iranian cinema Abbas Baharloo. I'm publishing it here for the first time. — EK

Esmail Koushan: The Storm of Life

By Abbas Baharloo

A portrait of Esamil Koushan, one of the fathering figures of Iranian cinema

Esmail Koushan, producer, director, screenwriter, cinema owner and founder of the largest film studio in Iran, has been described as both ‘the father of Iranian cinema’ and ‘the bad guy of Iranian cinema’.

From the very beginning, Koushan was determined to be a pioneer. He was responsible for the first foreign film to be dubbed into Persian; he founded the first film studio in Iran, Mitra Film, after cinema had experienced a fallow period (1937-47) following the art form’s initial development there; and was the producer of the first Iranian talkie to be made in Iran, The Storm of Life (1948). He made possible the production of the first episodic film in Iran (The Spring Variety, 1949); he initiated the making of the first black and white CinemaScope film (Accusation, directed by Shapur Yasami, 1956), colour CinemaScope film (The Runaway Bride, which he directed himself, 1958), and the first films co-produced with France (Ebram in Paris, directed by himself, 1964), Turkey (Divine Justice, 1969), and West Germany (The Sleeping Lion, directed by Esmail’s brother, Mahmoud Koushan, 1976). He also initiated the publication of one of the first Iranian film magazines (Alam-e Honar or ‘The World of Art’, 1951).

Divine Justice (1969)

Esmail Harir-Forush (his surname meant ‘the silk merchant’), who following the example of his uncle changed his surname to Koushan, was born in Tehran in 1917. He passed away in the same city on 5th July 1983. He began his studies at the Dar ol-Fonun School, and at the end of autumn 1937, at a time when the reign of Reza Shah had led to a contraction of commercial relations with Britain and an increase in contacts with Germany, he moved to the latter country to continue his education, studying economics in Berlin. At a time when he benefited from no financial assistance, he made the acquaintance of Bahram Keykhosro Shahrokh, son of a prominent Iranian politician and a newsreader for Radio Berlin.

Filmfarsi on DVD!

Filmfarsi

 
Filmfarsi will be released on DVD in North America (via Grasshopper Film) on November 9, 2021. Pre-order here.

The design is by F Ron Miller.

The Curious and the Downcast: An Interview with Kamran Shirdel

Kamran Shirdel at the exhibition. Photo (c) Houshang Golmakani

The Curious and the Downcast: An Interview with Kamran Shirdel

By Houshang Golmakani

An interview with the distinguished Iranian filmmaker, photographer, and writer about his latest exhibition of films and photographs taken during the days of the Iranian Revolution. I commissioned this for a winter 2019 issue of Underline magazine but by the time this was translated and edited, the Underline project was abruptly folded. I publish it here for the first time. — EK

As we approach the 40th anniversary of the revolution that saw the monarch of Iran overthrown and replaced with an Islamic republic, renowned documentary filmmaker and photographer Kamran Shirdel is now exhibiting his photographs and raw, unedited footage of the historical event for the first time at a gallery in Tehran. Born in 1939, Shirdel originally studied architecture at the University of Rome before going on to study film at the Centro Sperimentale di Cinematografia. Upon his return to Iran in 1964, he produced a number of documentaries on Iranian social issues in the space of just a few years, the most famous of which include Women's Prison, Women's Quarter, Tehran Is the Capital of Iran, and his satirical masterpiece The Night It Rained. Due to their controversial subjects, all of these early documentaries were banned at the time of their release and Shirdel had several encounters with the Shah's secret police force SAVAK as a result. With the exception of his first and only feature-length film, The Morning of the Fourth Day (1972), Shirdel was forced to pursue industrial documentary filmmaking in the years that followed. 1978 saw a rise in strikes and social unrest that fuelled the fires of an impending revolution: the event that Shirdel had been waiting for ever since his return to Iran. Armed with a video camera and a camera, Shirdel took to the streets of Tehran, tirelessly documenting every development throughout the course of the revolution.

40 years later, and for the first time since they were taken, Shirdel's photographs and footage from those days are now being exhibited at the Nabshi Centre in Tehran from 30 November 2018 to 25 January 2019.  Shirdel, who was 39 years old at the time of the revolution, will turn 80 later this year. Despite his age and a spinal condition that requires him to use a walking stick, Shirdel still attends the exhibition almost every day in order to see the effects of his work first-hand. The exhibition itself is relatively large, covering two floors, with mostly large-scale photographs displayed on the walls and 40-year-old, antique television sets showing 8mm footage on repeat. Unfortunately, Shirdel's 16mm footage was confiscated in the days following the revolution and no trace of them has been seen since then. 

The Spat-on Messenger: Youssef Chahine in Conversation with Tom Luddy

Youssef Chahine

Bologna, June 2019. I spotted an Arab name on the badge of the hotel's night porter. When I asked, he turned out to be one—an Egyptian. I mentioned to him that Youssef Chahine's films would be playing in Bologna for the next few days. His face lit up. A floodgate of emotions, about Egypt, his past, and cinema opened, temporarily drowned him in nostalgia, passion and regret. He shared stories of Chahine, of his beloved Alexandria. He even cursed the extra who had forgotten to remove his wristwatch during the battle scene of Salah Eddin (a film about the Crusade, from the Arabs' point of view). According to him, by doing so he had prevented the film from entering the Oscar competition.

Very few directors can make that impact on their people, endowing them with a sense of pride and identity. Chahine's generosity with emotions is contagious. In reaction to a Chahine film, it is as legit to dance or holler as it is to write an essay. In Bologna the scholar and musician Amal Guermazi decided to sing, as her introduction to Al Ard.

Sometimes effortlessly Ophulsian (especially in the '70s, in the fluidity of his carousel-like narratives) and sometimes dialectically Chaplinesque, Chahine brought together the seemingly irreconcilable worlds existing in 20th-century Egypt and gave them a sense of harmony. There was a wise calmness about him. He had every reason to be angry, but instead he gave a sad smile which became the Chahine cinema.

Aligned with Pan-Arabic sentiments, he looked beyond Egypt, too. However, his Algeria-set Djamilah (1958) is nearly impossible to see in a cinema. Telling the story of the Algerian Independence War fighter Djamila Bouhired, it has been absent from recent Chahine retrospectives. It's an anti-French film, in exactly the same manner that hundreds of western films, including some French ones, have been anti-Arab. But it's more than just tit-for-tat—it is a celebration of change in the Arab world, done in the best of Hollywood traditions which Chahine adored. Find the film and show it!  (For the Chahine tribute at Il Cinema Ritrovato, we tracked down a print in Albania but the subtitles were so big, covering almost half the screen, in the process turning them into Godardian onscreen statements.)

Sight & Sound's 100 'Hidden Heroes' of Cinema: Lily Amir-Arjomand

Lily Amir-Arjomand

From Sight & Sound magazine, Summer 2021, Vol. 31, Issue 6, dedicated to unsung heroes of cinema. This was my contribution, trying to go beyond the familiar names and professions one hears on a film set. — EK

Lily Amir-Arjomand (b. 1938)

One of the key architects of the new Iranian cinema, Lily Amir-Arjomand was most likely unfamiliar with even the most basic film terminology. But no matter when she had one thing that no one else in Iran has possessed before or since: trust in the filmmaker.

Emerging from a privileged background, this former classmate of the Queen of Iran was a technocrat with imagination. In 1964 she founded a library for children. Four years later Kanoon had become an impeccably streamlined production house for first-rate cultural goods (including films) aimed at children, with centres spread all over the country. And everything was free.

Alias Nick Beal (John Farrow, 1949)

Alias Nick Beal, publicity still

Written for the catalogue of Il Cinema Ritrovato 2021. -- EK

In 1948 director John Farrow began a close, decade-long collaboration with writer Jonathan Latimer that resulted in ten films, including one marvel (The Big Clock), quite a few greats (Night Has a Thousand Eyes among them), and some obscurities. The intensely engaging Alias Nick Beal, their fourth collaboration, is a dark, claustrophobic variation on the story of Faust (Mindret Lord's original story was titled Dr. Joe Faust) in keeping with the increasingly relevant "political corruption" cycle of the late 1940s (the Oscar for Best Film in 1949 went to All the King's Men). Thomas Mitchell plays Joseph Foster, an ambitious district attorney who meets a shady character who offers to help him in his rise up the political ladder. But there's a price to be paid, especially when one is dealing with the Devil, alias Nick Beal.