José Arroyo in Conversation with…. Ehsan Khoshbakht on Filmfarsi (2019)

One of the great surprises and pleasures of the Wales One World Film Festival was the opportunity to see Filmfarsi, a great documentary film on the significance of popular Iranian cinema from 1953-1979. Richard Layne and I were so fascinated by the film that we podcast on it . The viewing also encouraged us to see and podcast on other Iranian films in the festival, which, it turned out, were programmed by Ehsan Khoshbakht , the director of Filmfarsi. We managed to see Downpour (Bahram Beyzaie, Iran, 1979) and The Deer/ Gavaznha (Masoud Kimiai, 1974). These films were related to but significantly different from the more art-house Iranian cinema we had experienced before in places like Bologna’s Cinema Ritrovato, e.g. Abbas Kiarostami’s First Case, Second Case/ Ghazieh Shekle Aval Shekle Dovom (1979) and Mohammed Rezia Asiani’s Chess of the Wind/ Shatranj-e-Baad (1976).

Aram Reza and Beik Imanverdi

 

This all resulted in many interesting conversations and led me to seek out Ehsan Khoshbakht, the director of Filmfarsi, to find out more about the film and the cinema that is its subject. We discuss the  process that led to the film; the Iranian film industry in this period, the extent to which it is transnational, co-productions, the importance of film festivals such as the Moscow Film Festival to Iranian Cinema; the relationship of Filmfarsi  to the Iranian New Wave; the melodramatic mode of much of this cinema that crosses across various genres (crime films, musicals, domestic melodrama); we discuss how much of this cinema was lost in the aftermath of the revolution and why this was so. We also discuss  the process of recovering the films, which are collectively also a history of Iran and Iranian people in this period. The podcast can be listened to below:

 

The Cinema had its own star system:

Nasser Malek-Motii + Fardin + Behrouz Voussoughi

 

Behrooz Voussoughi & Googoosh

 

that crossed over into other areas of popular culture:

Googoosh was also a pop music superstar

had its own magazines and cinematic cultures:

 

 

Fardin and Pouri Banai in a scene from Hell + Me (on the cover of Film & Art magazine)

…was often highly sexualised in ways that would not be acceptable post-Revoultion:

Aram Reza and Beik Imanverdi

..usually urban:

Dancer of the City (d: Shapour Gharib, 1970)

 

José Arroyo

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