The Prose-Poetry Cinema of Ebrahim Golestan

"And the earth is a woman, with reveries and roots," says the Iranian filmmaker Ebrahim Golestan, narrating over the image of a 3,000-year old skeleton as it is unearthed, in his short documentary The Hills of Marlik (1964). This is where the heart of the filmmaker, who recently turned 100, lies: in the earth, to which he returns repeatedly in his films...

 

Read the full essay -- a tribute to Ebrahim Golestan -- in the March 2022 issue of Sight & Sound magazine.

Company Cinema in Abadan — A History (by Abbas Baharloo)

Taj Cinema in Abadan

Commissioned by me and originally published in the now defunct Underline magazine, this piece by the prolific (and Abadani) historian of Iranian cinema, Abbas Baharloo, sheds light on a lesser-known and nonetheless very significant chapter in the history of film culture in pre-revolutionary Iran. — EK

 

The Anglo-Persian Oil Company ushered in a ‘golden age’ of cinema-going in Abadan before nationalisation in 1951. Overseen by the Company, however, popular entertainment and propaganda were mixed, and screenings did little to bridge social divisions. 

By Abbas Baharloo

 

Many years ago now, Abadan was a city that welcomed immigrants and a place where many settled. Its population was made up of people from many different Iranian and international cities; Isfahanis, Shirazis, Baluch, Kurds, Lors, Arabs, and Azeris lived alongside Britons, Americans, Indians, and people from Rangoon in Burma. At the time Abadan was a bustling city and a vibrant centre of all sorts of cultural and artistic activities. There were leisure clubs; modern cinemas; libraries housing books and other publications in Persian, English, and Arabic; theatre, photography, and gardening associations; concerts of Iranian and foreign music; lectures on literature, music and painting, and sporting competitions. Despite all this, in Abadan doors were not always open to everybody. The prominent Iranian filmmaker Nasser Taghvai, born in Abadan in 1941, remembers it thus:

This Gun For Hire (Frank Tuttle, 1942)

“Murder didn't mean much to Raven. It was just a new job”. These lines open Graham Greene's novel about an assassin with a cleft lip who is hired to kill a government minister, only to find himself double-crossed by his contractor. Enraged, he seeks revenge while the police are on his tail. Proving adept at translating many of the book's details to the screen, Tuttle was also chiefly responsible for inventing cinema's angelic killer, in the way he reshaped the image of the disfigured Raven into a shiningly handsome yet darkly destructive messenger of death. (The action was also transferred from pre-war England to wartime California). Given unprecedented freedom, Tuttle wrote a treatment based on the book, which Paramount obtained upon publication in 1936 but had abandoned as unfilmable. 

Rivalry in the City

Tehran’s newly built modernist buildings shown during the title sequence of Reghabat dar Shahr [Rivalry in the City] (Uncredited, 1963)

This is the censored and re-edited version of Jonob-e Shahr [South of the City] (Farrokh Ghaffari, 1958)

Monogramming#2

Monogram Pictures, 1942 | 1725 Fleming Street in East Hollywood

From an ad campaign, May 1942:

MONOGRAM'S 10th  ANNIVERSARY

Promise  vs.  Performance 

A  promise  is  a  sacred  obligation.  Monogram  Pictures  will  not  tolerate  a  promise  unfulfilled. 

A  promise  is  only  as  good  as  the  one  who  makes  it.  As men  are  judged  by  what  they  have  done  in  the  past,  so  we  of  Monogram  Pictures,  with  a  background  of  promises  fulfilled, sincerely  ask  for  your  support  in  what  we  are  offering  for  the season  1942-43. 

We  are  young  in  years,  but  old  in  showmanship.  We  have  approached  the  coming  year  with  a  determination  to  make  this MONOGRAM'S  GREATEST  YEAR! 

Never on Sunday: Under Your Skin (Mikko Niskanen, 1966)

Under Your Skin

NEVER ON SUNDAY is a series of screenings of rare classics, archive masterpieces, obscure delights and forgotten gems taking place the last Sunday of each month at Close-Up Cinema in east London. The first screening, on January 30, is dedicated to Mikko Niskanen's Under Your Skin. Tickets here.

Käpy selän alla [Under Your Skin]

Dir: Mikko Niskanen, 1966, 99 min, 35mm

Directed by Mikko Niskanen, an indispensable figure of Finnish new cinema of the 1960s, Under Your Skin is one of the most significant films in the history of Finnish cinema which, in the spirit of New Wave, embraces a whole new generation of Finns dreaming of "a universal sense of responsibility." (Peter von Bagh). The tender and real depiction of this new politically-conscious generation, as well as fresh cinematic ideas employed, were warmly welcomed by both the Finnish audiences (making the film the second box office hit of 1966) and the critics, the latter leading to the film winning six Jussi awards, the Finnish equivalent of the Oscar.

Sixtynine (Jörn Donner, 1969)

Sixtynine (1969)

As a part of tribute to Jörn Donner, Sixtynine plays (on 35mm) at London's Closeup Film Centre on January 14, 2021. - EK

When a working woman learns of her part-time hockey referee husband's infidelity, she takes her gynaecologist's advice, to "take a lover", seriously and ends up sleeping with him.  

This sex comedy, Jörn Donner's second Finnish feature after four films made in Sweden, was deemed too scandalous even for Finnish society in the late 1960s. It continues some of the themes the director had previously explored in Black on White (1968) and with its fluent use of fast cutting and motion, fantasy sequences and documentary style camerawork, it could be seen as Finland's response to the Swinging Sixties, as the decade was coming to a close.  

As well the title's allusion to the year, Donner (who himself appears playing the role of the dispassionate gynaecologist) says the film is called Sixtynine because the relationships in the film have turned upside-down – despite some Finns feeling near certain that some "immoral sexual acts" were meant to be promoted by the film. 

Monogramming

 

A survey of the production line (shooting and editing stages) of Monogram studio as in July 1952. The "star directors" in the stable for summer productions are William Beaudine, Lesley Selander, Kurt Neumann, Lew Landers and also less appealing Thomas Carr and Ray Nazzarro.

Click to enlarge.

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.