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Iranian Writers, The Iranian Cinema, and The Case of Dash Akol

Published online by Cambridge University Press:  01 January 2022

Hamid Nafici
Hamid Nafici*
Affiliation:
University of Southern California
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Extract

From December 1930, when the first Iranian feature film was made to the 1980s, the connections between Persian literature and the Iranian cinema have been intimate, varied, and significant. In fact, an examination of the Iranian cinema in terms of the roles literature plays in it demonstrates that the cinema constitutes an important aspect of the sociology of the Iranian writer, especially from the mid-1960s to the late 1970s.

This essay surveys the role of literature and Iranian writers in the Iranian cinema and then focuses on a prominent example of the relationship between literature and movies, the popular 1971 film called Dash Akol, for the purpose of indicating differences in the aims and effects of the two art forms.

Type
Articles
Information
Iranian Studies , Volume 18 , Issue 2-4: Sociology of the Iranian Writer , Spring Autumn 1985 , pp. 231 - 251
Copyright
Copyright © Association For Iranian Studies, Inc 1985

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References

Notes

1. The first Iranian feature (silent), called Abi va Rabi [Abi and Rabi], was directed by Ovans Oganians and was first shown in Tehran on Day 12, 1309/1930. For details, see: Jamal Omid, Tarikh-e Sinema-ye Iran--2: Zendegi va Sinema [The History of Iranian Cinema--2: Ovans Oganians: Life and Cinema] (Tehran: Faryab, 1984), p. 28.

2. Kayhan, 13 Farvardin 1948, quoted in "43 Sal Naqd-e Film dar Iran" [43 Years of Film Criticism in Iran] by Mohammad Tahani Nezhad, Vizheh-ye Sinema va Te'atr [Film and Theater Special], No. 6 (February 1973): 12.

3. In fact, the relationship of Iranian writers with cinema precedes the production of films in Iran. For example, the prominent historian and writer Sa'id Nafisi was the Chairman of the Academic Council and professor of history and costumes at the first school of dramatic arts in Iran. He also made public speeches in support of the school, which had been established by Ogans Oganians in 1929 to train needed personnel for making films. Omid, History, p. 65.

4. This situation partly stems from a lack of attention paid to the art of screenplay writing, whose roots may be traced to the precedent set by the first school of dramatic arts in Iran. A look at the curriculum of Oganians' school reveals no classes in writing or Persian literature; instead, one encounters classes in calesthenics, gymnastics, swimming, boxing, ballet, acting, and of course photography and cinematography.

5. Kimiya'i in his interview with Saberi acknowledges this by saying: "I learned cinema from cinema, not from books." Iraj Saberi, "Safar-e Harf ba Mas'ud Kiniya'i" [A Voyage of Words with Mas'ud Kiaiya'i], Sinema 6 (December 1976): 8.

6. Millmann, Michael C., "The Modernist Trend in Persian Literature and Its Social Impact," Iranian Studies 15 (1982): 23-24Google Scholar.

7. Films whose screenplays were written by Ahmad Shamlu are: Mardha va Jaddehha [Men and Roads] (1963), Tar-e Ankabut [Cobweb] (1963), Dokhtar-e Kuhestan [The Daughter of the Mountain] (1963), Niranq-e Dokhtaran [The Girls' Tricks] (1964), Bonbast [Blind Alley] (1964), Hameh Sar Harif [Opponent] (1965), Daqh-e Nanq [Branded with Shame] (1965), Bi Eshaq Harqaz [Never Without Love] (1966), and Farar az Haqiqat [Escape from Truth] (1966). " As far as is known Branded with Shame is the only film that Shamlu is credited with directing.

8. Author's interview with Bahman Farmanara, the director of both films, Toronto, Canada, July 1985.

9. Hushang Golshiri, [Autobiographical Sketch] Prince Ehteijab, recorded and translated by Minoo R. Buffington; Maior Voices in Contemporary Persian Literature--Literature East and West, No. 20 (1976): 250.

10. Interview with Farmanara.

11. The seating capacity of movie houses increased dramatically in the 1970s. In 1971, the nationwide seating capacity was 98,087; in 1972, 100,283; and in 1976, 277,521. In 1976 there were a total of 419 theaters in Iran, 112 of them in Tehran. Gozaresh-e Farhangi-ye Iran 2534 [Cultural Activity in Iran 2534] (Tehran: Ministry of Culture and Art, 1975/76), pp. 412-414; 'Ali Asadi, "Dar Amadi Bar Jame'eh'shenasi-ye Sinema dar Iran" [Introduction to the Sociology of Cinema in Iran], Film va Zendegi, Nos. 13-14 (Spring 1973): 14-15.

12. According to Gozaresh-e Farhangi-ye Iran. 2534, p. 135, the circulation of more than half of all 1,015 books published in 1976 was between 1,000 and 2,000.

13. Hillmann, Michael, A Lonely Woman: Forough Farrokhzad and Her Poetry (Washington, D.C.: Three Continents Press, 1986)Google Scholar.

14. Omid, Jamal, Tarikh-e Sinemye Iran--I: Paydayesh va Bahreh Bardari [The History of Iranian Cinema--1: Appearance and Utilization] (Tehran: Faryab, 1984): 50-52Google Scholar.

15. Mohammad Tahami Nezhad, "Risheh'yabi-ye Ya's" [Finding the Roots of Despair], Vizheh-ye Sinema va Te'atr, Nos. 5 and 6 (Day 1973): 14.

16. For statistics on the popularity of movies, see: Naficy, Hamid, "Cinema as a Political Instrument," Modern Iran: The Dialectics of Continuity and Change, eds. Bonine, Michael and Keddie, Nikki (New York: SUNY, 1981), p. 359Google Scholar.

17. For more information on the dynamism of the motion picture and television industries in the 1960-70s, see: Hamid Naficy, "Iranian Feature Films: A Brief Critical History," Quarterly Review of Film Studies, No. 4 (Fall 1979): 443-464.

18. For details on award-winning Iranian films, see: Asam, Mehdi, ed., Rahnema-ye Filmha-ye Barqozideh-ye Irani dar Jashnvareh'ha-ye Dakheli va Khareji [A Guide to Selected Iranian Films in Foreign and Domestic Festivals] (Tehran: Ministry of Culture and Art, 1976)Google Scholar.

19. Technical information on Dash Akol: Film, 35mm, sound (Persian), black and white, 1350 [1971]. Producer: Sherkat-e Sinema Te'atr-e Rex and Hushang Kaveh. Director/Screenplay writer: Mas'ud Kimiya'i. Director of Cinematography: Ne'mat Haqiqi. Music: Esfandiar Monfaredzadeh. Editors: Mas'ud Kimiya'i and Hosayn Hami. Cast: Behruz Vosuqi (Dash Akol), Bahman Mofid (Kaka Rostam), Mary Apik (Marjan), Jalal, Kan'an Kan'ani, Shahrzad, Zhaleh. Lab: Estudio Filmsaz. Dash Akol has frequently been screened publicly in American movie theaters and copies of it on videocassette are available for rental or purchase.

20. William Hanaway, "Persian Popular Romances before the Safavid Period" (Ph.D. dissertation, Columbia University, 1970), p. 142.

21. Floor, Willem M., "The Political Role of the Lutis," Modern Iran: The Dialectics of Change and Continuity, eds. Bonine, Michael and Keddie, Nikki (New York: SUNY, 1981), p. 86Google Scholar.

22. The luti/lat types are not unique to Iranian literature and cinema. Many other countries have somewhat similar characters in their literature and mythology. As far as cinema is cqncerned, there are many similarities among the three national genres of American Western, Japanese Samurai, and Iranian luti films, but we will not deal with such cross-cultural comparisons here. For a detailed study of the luti film genre, see Hamid Naficy's forthcoming "Luti Films and Persian Popular Literature."

23. The quotations in the synopsis of the film are translated from the sound track of the film.

24. For samples of reviews, see the following: Feraydun Mo'ezi Moqaddam, "Dash Akol-e Hedayat va Dash Akol-e Kimiya'i" [Hedayat's Dash Akol and Kimiya'i's Dash Akol], Neqin, No. 76 (Shahrivar, 1971): 14. Pirasteh Kowrang, "Past va Farazha-ye Yek Asar-e Sinema'i" [The Ups and Downs of One Cinematic Work], Neqin, No. 76 (Shahrivar, 1971): 18. Jahangir Hedayat, "Dastani keh Edameh Darad..." [The Story which Continues...], Neqin, No. 76 (Shahrivar, 1971): 20. Bahman Maqsudlu, "Negahi Beh Filmha-ye Mas'ud Kimiya'i: 1, Dash Akol" [A Look at Mas'ud Kimiya'i's Films: 1, Dash Akol], Vizheh-ye Sinema va Te'atr, No. 1 (n.d.): 141.

25. Saberi, "A Voyage."

26. Sadeq Hedayat, "Dash Akol," Seh Oatreh Khun [Three Drops of Blood], 8th printing (Tehran: Parastu, 1965), pp. 61-87. For the English version, see Arndt, Richard and Ekhtiar, Mansur, trans. "Dash Akol," Sadeq Hedayat: An Anthology, ed. Yarshater, Ehsan (Boulder, Colorado: Westview Press, 1979, Modern Persian Literature Series, No. 2), pp. 41-52Google Scholar.

27. The account of the real-life story of these two luti characters and the censorship of the film is based on an interview conducted by the author in September 1984 with Bahman Mofid, who in real life has lived very close to lutis and is very familiar with their life style, manners, and belief system. He has also acted in numerous luti films. He accompanied the film director to Shiraz and participated in the research phase of the film.

28. For details, see: Sprachman, Paul, "Ebrahim Golestan's The Treasure: A Parable of Cliche and Consumption," Iranian Studies 15 (1982): 155-180CrossRefGoogle Scholar.

29. Abolhasan 'Alavi Tabataba'i, "Risheh yabi-ye Este'mar-e Farhangi-ye Gharb dar Sinema-ye Iran" [Finding the Roots of the West's Cultural Imperialism in Iranian Cinema] Kayhan-e Farhanqi 2 (1985): 27.

30. Saberi, "A Voyage."

31. This information is based on the author's conversations with Golshiri and Mehrju'i in 1977.

32. Jamshid Akrami, "Ba Mehrju'i dar Donya-ye Mehrju'i" [With Mehrju'i in the World of Mehrju'i], Film, No. 1 (December 1976): 8.