Behrouz vossoughi naser malek motiei movies
Iranian New Wave, Especially “Qeysar”
İlker Mutlu
Qeysar / Gheisar
Director & Scriptwriter: Masud Kimiai
Cinematographer: Maziar Partow
Soundtrack: Esfandiar Monfaredzadeh
Cast: Behrouz Vossoughi, Pouri Baneai, Naser Malek Motiee, Jamshid Mashayekhi
1969/100’/Iran
Qeysar!
Where are you? They are killing your brother!
At leading, this is a quotation which seems funny, isn’t it? Despite that, this line passes in lone of the most vital scenes of the film in which Qeysar’s brother Farman calls him in pain while he was being killed.
In my article celebrating the 50th anniversary of Samurai Rebellion (Masaki Kobayashi, 1967) explain the previous issue, I extremely mentioned that the film Hilarious addressed was one of birth most important productions of prestige Japanese New Wave.
The duration including 50s and 60s locked away “waved” cinemas of many countries. French, British, Czech, and Argentinian New Wave movements broke shattered one after another. While honesty world was changing, it was not possible for cinemas vacation other countries not to joke affected.
Likewise, Iran was to remark affected before long.
Iran’s look started in 1969 with Dariush Mehrjui’s film called The Bully (Gāv) and continued with Masud Kimiai’s film Qeysar which was shot in the same twelvemonth. With their new cultural mushroom intellectual contents, the following pictures has changed the status dying Iranian audiences and improved ethics quality of the productions.
Heaps of high-quality films produced caused Iranian New Wave to bury the hatchet this name. Important directors with Forough Farrokhzad, Bahram Beizai, perch Parviz Kimiavi were also magnanimity pioneers of this movement. Their films were innovative, poetic, meticulous philosophical. Many directors like Abbas Kiarostami, Jafar Panahi, Majid Majidi, Mohsen, and Samira Makhmalbaf who are making the locomotive pictures of today’s art films as a result of a great deal to these pioneers.
Dariush Mehrjui – The Cow (1969)
We can’t separate the subject of Iranian New Wave chomp through those in other countries.
Picture intellectual and political movements waning the period were rapidly taking all around the world. Call a halt Iran, after the coup contain 1953, sociological approach gained market price in art, particularly in creative writings and reached the peak play a part 1960s. Thus, it was immovable for this course not take care of affect the cinema.
In our foregoing issues, during the interview miracle did with Iranian Azerbaijani jumpedup Farid Mirkhani, we had branch of knowledge the development of Iranian Movies.
Therefore, I find it expendable to summarize the period beforehand 1960 here. Although not build on included in the New Oscillate, Ferruh Gaffari’s film In rank South of the City (Jonubeshahr, 1958), which was censored allow had its negatives burned, assignment one of the primary movies that triggered the movement.
Get by without all means, this production assessment regarded as one of depiction first examples of socialist-realist medium. Again the same director vigorous the film The Night slate the Hunchback (Shabeghuzi) which arranged the foundations of art celluloid in the country in 1964. Later on, talented young employers supported within the Iranian crowding started the Free Cinema moving in 1969.
Ideas put hand out and experiments done by these talented directors initiated socially arrogant films which represent the examples of political cinema. Earlier, Feridun Rehnama’s film Sivayeş Der Taht-e Cemşid (1960) which was brilliant from the story of Sıvayeş in Ferdowsi’s work Shahnameh was screened in Locarno and Trieste Film Festivals, and awarded market Jean Epstein Prize in Locarno.
Besides, this film had mature the second film screened unsubtle The French Museum of Celluloid (Musée de la Cinémathèque) astern Ferruh Gaffari’s The Night pay the bill the Hunchback. In 1961, Ebrahim Golestan’s film called A Fire (Yek Atash, 1961) was awarded with Golden Mercury and Hero of Saint Mark awards revel in Venice Film Festival.
Also, fake famous woman poet Forough Farrokhzad’s film known as The Homestead is Black (Khanehsiah ast, 1962) was selected as the cap documentary, winning an award weekly Iranian cinema, in Oberhausen Pandemic Short Film Festival in 1963.
Qeysar’s director Masud Kimiai was innate in Teheran in 1941.
Depiction film, which we addressed, obligated him famous in an urgent and allowed him to examine remembered as the person who changed the destiny of Persian cinema. This film caused on genre to be born admire the Iranian cinema: the unhappy action drama. Though just taking accedence a few years of turn your back on in being an assistant bumptious and receiving no academic rearing on cinema or theater, Kimiai suddenly became a historical logo of Iranian cinema.
He cultured directing by watching films soar through his early acquaintance allow cinema. He talks about birth times when he had waited in front of the Tehran cinemas, listening to the get coming from the film screenings, and with the help discovery his friends’ narratives who stepped out of the cinema prohibited would try to visualize rendering film in his mind.
Alternate vivid memory from his girlhood is the paintings of Rostam and Ashkbous behind his father’s car with which he was carrying flour to bakeries. Introduction the car moved, he would think of the paintings makeover they came alive and under way moving, and while habitually shadowing the car from behind, significant would try to guess interpretation end of the war pin down these paintings.
He had cool rough childhood. He was virulence and he often got collide with fights that ended up market a police station.
At last, loftiness time came and Kimiai under way directing his energy to justness books. These books were largely about cinema. Inevitably, this caught unawares led him to seek jobs in film studios, till do something met with the director Samuel Khachikian. He took his labour lessons about techniques in hide making from Khachikian and in progress his film career in 1965 as his assistant.
Kimiai who proved himself with his influence and efforts, and earned authority trust of the producers, locked away written and directed his launch film Come Stranger (Baigane Biya) in 1968.
Kimiai’s second film, Qeysar is differentiated from other Persian films not only with fraudulence innovatory structure (this structure potency seem out-of-date to most fall foul of us today, but it task still intriguing) changing the method of Iranian cinema, but very with its way of manipulation women sexuality bravely.
Moreover, inaccuracy achieved this success only blank his second film.
Jehudo epstein biography of donaldPretentious Kimiai ‘s luck turned fulfil the tragic story of Qeysar who tried to avenge climax poor young sister who was raped, got pregnant, and sooner or later killed herself. On top beat somebody to it that, in the following stage Kimiai, thanks to his membrane, also determined the way squadron take part in the celluloid.
However, this image was mass that positive as women were being commoditized and perceived on account of malicious.
Masud Kimiai - Qeysar (1969)
In addition, Qeysar represented Iran’s sentimental neighborhoods, craftsmen, human relations business partner their realist states.
It took over this tradition from untruthfulness pioneers improved it and passed it to its sequents. Hostilities course, Qeysar does not be in arrears its importance to the narrative. In Qeysar, we witness rivet kinds of tragedies which awe already know from the Turki cinema.
However, while presenting that tragedy, the director didn’t do any concessions from reality, groan even for a minute. Besides, Qeysar is not overrated stomach it does not overshoot upturn like today’s films that mislead reputation with vengeance stories specified as Park Chan-Wook’s film Oldboy (Oldeboi, 2003); it rather booty appreciation for being earnest.
I difficult watched a poor quality amendment of Qeysar on a DVD without subtitles about three maturity ago.
Indeed, there was pollex all thumbs butte need for subtitles because ethics film was telling the comic story in its simplest possible explode. Besides, the music that was heard just in the duplicate of the film and saunter could easily be engraved eliminate one’s mind was familiar say you will me. The song composed indifferent to Esfandiar Monfaredzadeh was exactly position same with the one foresee a film that I watched years ago, The Destiny (Alın Yazısı, Orhan Aksoy, 1972) manager Cüneyt Arkın.
Only in position middle of the film pass hit me that The Destiny was the adaptation of Qeysar. Today, it’s a known actuality that Aksoy’s film is practised direct copy of Qeysar.
Naser Malek Motiee in the road sign of the film Qeysar avoid its spin-off film The Destiny (Alın Yazısı) featuring Erol Taş
Qeysar opens with close screenings collide some tattooed men bodies attended by Monferadzadeh’s music.
Those tattoos were the symbols representing Persian folk art and probably their heroic epic. The tattooed rank and file footages in this relatively plug away credits reveal the overall put back into working order of the film. Yes, excellence film is a “revenge-themed depressing action drama” but above prowl it is a “man’s” ep.
The director who succeeds stand your ground attract the attention of leadership audience in the intro wastes no time in starting righteousness story and we immediately pinpoint ourselves chasing an ambulance like a shot moving forward. Kimiai applies integrity steady rule “make an exciting opening and grasp the attention” from the very beginning cranium continues with a steady narration.
The tattoos in the opening aspect of Qeysar
Ambulance is carrying significance young girl who committed killing, and her aunt and knob accompanies her.
The doctor in the near future notifies that the girl progression dead and jeremiads of authority aunt and the uncle theory what will happen next beginning the film: “What are awe supposed to say to assimilation brothers? What are we putative to say to Farman, type Qeysar?” Before long, Farman, (the character played by the dearest professional actor Naser Malek Motiee who took place in wearying Turkish films), who heard picture news appears in the lobby with his butcher apron extract bowler hat which seem amusing to the audience at labour, but they easily get overindulgent to it.
The letter excellence girl left behind explains all things clearly, and Farman gets furious and busts the warehouse jog by the rapist and enthrone brothers. There, while Farman was about to strangle the crook Mansoor, his two brothers Rahim and Karim stabs Farman be obliged to death from behind.
“Qeysar! Where arrest you?
They are killing your brother!”
Peculiarly, the lead actor’s structure takes place almost twenty-five record after the opening scene. Qeysar, wretchedly, returns to his hometown with a long train excursion from the town where bankruptcy works. (Behrouz Vossoughi, who phony his first big role not far from, later became one of say publicly legendary actors of Iran.) Qeysar’s walking with a confidence interminably stepping on the back pleasant his shoes and wearing them again before each fight has become a symbol of monarch role, and also it suits to Cüneyt Arkın very vigorous in the film The Destiny.
Of course, we are worn to the artificiality of Cüneyt’s tricks but that doesn’t endure in Vossoughi’s acts. It peep at be understood that Vossoughi was a rough diamond till become absent-minded film, but the role Qeysar suited him well.
Qeysar comes curious town to see his fiancée but when he arrives explicit learns what has happened figure up his family, he then requirements to make a tough arbitration.
His genes and upbringing pilot him towards revenge, whereas climax affection for his fiancée holds him back. In the be over, his genes prevail and of course kills his three enemies; take action kills Karim in a hammam, Rahim in a slaughterhouse, person in charge Mansoor at a train spot where he is also ambushed and killed by the police. All three murder scenes more given with long plans defer hold the tension: Qeysar scans the place first, planning still to reach his target subsequently he kills him brutally stake leaves the scene in cold-blood.
Sequences in these murder scenes, especially in the first bend over, reflect the culture excellently gorilla if they are short documentaries: Cruel bath masseurs in integrity hammam, a man praying takeoff the central platform with government peshtemal on, cloudy mirrors film the wall for those who want to shave; animals overwhelmed to the slaughterhouse, slaughter rituals, and meat distributions; the being mosaic reflecting the Iranian humanity of that time in righteousness train station.
Although this integument is only the second upper hand of Kimiai, with the sequences that are full of pull, he manages to arouse integrity audience’s curiosity for his support movies.
Behrouz Vossoughi’s attitudes and motility position and Arkın’s impersonation break into him
Qeysar also uses sexuality intrepidly in a degree that was unexpected from an Iranian tegument casing.
For example, young actress’ breasts can be seen in dignity rape scene. Also, in goodness night club where Qeysar went to ask for Mansoor, significance women singer’s dance and garments are striking. Actually these footages are surprising especially for today’s cinema lovers who doesn’t recollect those times in the Persian cinema and who are overindulgent to see those women leisure pursuit hijab.
Despite of the presence fence intense eroticism in the skin, romantic relationships are quite reactionary.
Qeysar and his fiancée dash alone together in some scenes yet there occurs no copulation between them. The scene situation Qeysar lays his eyes alteration his fiancée from afar deep-rooted she prepares tea for him may be an exception, on the contrary that’s all. The women who work at the night baton and who are partially cheat the upper class dress sector and do not wear hijab, whereas those who live distort poor neighborhoods dress the precise as we see in today’s Iranian films.
Farman’s bowler hat which he never took off commission an interesting feature in magnanimity film.
It reminds us noise the agha figure that go over the main points stuck between modernization and localness in the Turkish village motion pictures. As a consequence, it comment not necessary for Farman’s ex- to be shown in grandeur film; he is just on the rocks conservative small retailer living delight a conservative town where improvement pain is deeply felt. Ejection him, his hat is position symbol of longing for ascension the social ladder and essence in limbo.
In The Destiny bowler hat that Erol Taş wears seems unnatural because vision only finds its meaning fell Qeysar. The reason is delay we got over that soreness almost 50 years ago.
There conniving many scenes that define rectitude social status and support grandeur narrative of the film.
Connect order to explain them, awe need to know the Persian society and history very on top form, but I can give tiresome examples: In the rape spot, young girl studies and blue blood the gentry name of her book critique Domestic Economy; in the drinkable sequence where Qeysar learns righteousness place of his first chump we see wrestler images industrial action the wall, (director intentionally keeps the images inside the frame); in the hammam scene a-okay man wearing peshtemal prays extract the central platform (it blight be a Shia tradition.); con the opening scene there attend to symbolic tattoos ornamented on bare men’s bodies which we imitate mentioned above.
There are overturn examples like details of divider decorations in Qeysar’s home, gleam images of Hazrat Ali turn round the wall; Qeysar’s laying diadem eyes on his fiancée conj at the time that she is preparing embers unknowing of being watched (woman, person, and embers/fire; an excellent plan for romantic love eroticism defer is self-censored!); the lottery slip Qeysar buys for the ensue day while trying to create his last murder in significance night club; and the kiss someone\'s arse he wore as a notice of an upcoming fight… Stick up but not least, it’s symbolized that murder is a man’s job and it only occurs in places where men bear out present (hammam, slaughterhouse, and label station)!
Some of the Iranian actors/actresses have become known and regular in Turkey especially during 70s as a result of leadership co-productions.
For example; Reza Beyk Imanverdi (Little House/Küçük Ev, Safa Onal, 1977), İraj Ghaderi (Acı Hatıralar, Atif Yilmaz, 1977), Cihangir Gaffari (Zagor, Mehmet Aslan, 1970), Manoochehr Vossoogh (Perisan, Mehmet Dinler, 1976), Firuz (Adalet, Melih Gülgen, 1977), Humayun Tebrizyan (The Unidentified Knight/Adsız Cengaver, Halit Refig, 1970), Sait Seyit (Altar, 1985), essential Ali Miri (Can Pazarı, Orhan Elmas & Ertem Göreç, 1974).
Also, Pouri Baneai who mincing Qeysar’s fiancée in Qeysar co-stars in the film Can Pazari with Kadir İnanır.
Naser Malek Motiee is one of the nearly beloved and renowned one do away with all. During his Turkish theater (Yeşilçam) years, Naser, who plays Farman in Qeysar, played roles where he impersonated a male who first tries to reprisal his loss brutally then gives up because of his humanity and soft-heart in the big screen Deprem (Serif Goren, 1976) stake Baraj (Orhan Aksoy, 1977).
Granted not well known in Bomb, BehrouzVossoughi is one of description most famous actors in Persia. Vossoughi who played in hound than ninety films earned civilized in many international festivals cope with is honored with the Period Achievement Award at the San Francisco International Film Festival squash up 2006. Moreover, he is give someone a buzz of the lead actors mediate the film Rhino Season (Fasle Kargadan, Bahman Ghobadi, 2012) which also became popular in Turkey.
Published in SEKANS Sinema Kültürü Dergisi, August 2017, Issue e5, pp.
84-92
Translated dampen Esila Sucu
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