GHEISAR (1969)
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Créditos:
TÍTULO: Gheisar / Qeysar / قیصر
AÑO: 1969
PAÍS: Irán
IDIOMA: Persa
DIRECTOR: Masud Kimiai
INTÉRPRETES: Behrouz Vossoughi (Gheisar), Pouri Baneai (Azam), Nasser Malekmotei (Farman), Jamshid Mashayekhi (Gheisar's uncle), Mir Mohammad Tajaddod (Azam's brother), Iran Daftari (Gheisar's mother), Jalal Pishvaian (Mansoor Ab-mangol), Shahrzad (Soheila Ferdos)
ARGUMENTO: Cuando Gheisar regresa a la ciudad, se encuentra con que su hermana se ha suicidado después de haber sido violada y su hermano ha sido asesinado. Aunque su madre y su tío intentan disuadirle, y a pesar del profundo amor que siente por su prometida, Azam, para Gheisar sólo hay una salida... La venganza.
Un regalo de Reyes para hammett y la gente de noirestyle.
Se trata de un film clave del cine iraní anterior a la revolución y los ayatolás, que inaugura el género llamado drama trágico de acción. Mainstream iraní, amigos. 
Es una brutal película de venganza, con la particularidad de un contexto social muy diferente al que estamos acostumbrados. Vigorosa y trágica, tensa de principio a fin, algunos dirán que enfática, es una de las mejores películas jamás rodadas en Persia*. Mención aparte para la banda sonora, inolvidable.*Estamos a la espera de subtítulos para “Gavaznha” (The Deer), al parecer la obra maestra de este Masud Kimiai. Y para algunos, de todo el cine iraní.
Iranian Cinema: Before the Revolution
In 1947 Esmail Kooshan, an economist with a secondary degree in communications from the Univerum Film Aktiengesellschaft (UFA), returned to Iran. On his way from Berlin he bought two European films which he dubbed in Persian in a studio in Istanbul. The commercial success of these two films increased his concern of the local film industry. Soon Kooshan established Mitra Film with the association of a few relatives and friends. The first feature production of the Studio was Toofan-e-Zendegi (1948) (Storm of Life), a critical social drama directed by Ali Daryabegi, a theatre director/actor who had no experience in filming. The film was a total failure at the box office and received no praise from critics.
Despite withdrawal of a few partners from the company, Kooshan did not give up and made his second film in the same year. This time Kooshan photographed and directed the film himself. Zendani-e-Amir (Amir's Prisoner) had a relatively better rate of success, which encouraged Kooshan to proceed in his career as filmmaker. Finally, after another disappointing post-production response from Varieteh Bahar (The Spring Festival, 1949), Kooshan made his ground breaking film, Sharmsar (Ashamed, released in 1950). Sharmsar was produced under the name of Kooshan's new company, Pars Film. This romantic musical with a woman as the main character depicts the story of a village girl who ends up in the city after being seduced by an urban man. But soon she recovers from her shock and employs her talents to achieve fame and fortune, then returns to her village. The lead character of the film was Dilkesh, a popular singer of the time. Indeed it was her presence which guaranteed the financial success of the film.
Meanwhile, other Iranians in the private sector, tempted to test their luck in the film business, stepped into the picture. Mohsen Badie produced the next blockbuster in the history of Iranian cinema: Velgard (Vagabond) by Mehdi Rais Firuz. This film, released in 1952, is a melodrama with moralistic overtones, accompanied by songs and suspenseful action. Issari suggests: "It was the combined box office success of Sharmsar and Velgard, [...], that gave the Persian [Iranian] film industry a shot in arm and saved it from extinction."
The movie that really boosted the economy of Iranian cinema and initiated a new genre was Ganj-e-Qarun (Croesus Treasure), made in 1965 by Siamak Yasami. Yasami had worked with Kooshan prior to establishing his own company; Porya Film, in 1960. A huge financial success, Ganj-e-Qarun grossed over seventy million Rials (one million dollars). The theme of the film concerns the worthless and desperate life of the upper middle class in contrast with the poor and happy working class, which is 'rich' in morals.
Four years later Masud Kimiai made Qeysar, an award winning film at the 1969 Tehran Film Festival. With Qeysar, Kimiai depicted the ethics and morals of the romanticised poor working class of the Ganj-e-Qarun genre through his main protagonist, the titular Qeysar. But Kimiai's film generated another genre in Iranian popular cinema: the tragic action drama.
From 1950 to the mid-1960's the Iranian film industry grew rapidly. Many studios were established as well as others that entered the cycle of the film industry independently. There were 324 films produced during this period (1950-1965). By 1965 there were 72 movie theatres in Tehran and 192 in other provinces.
The foundation of that new-born cinema was commercialism. It was saturated with dominant themes of dance, music, simplistic dramas and Persianized versions of Western popular movies. But it also brought about the possibility of an independent national cinema. One of the first efforts for such cinema was Farokh Ghafari's Shab-e-Ghouzi (The Night of Hunchback, 1964). Filmed in a magic-realist form and based on a story from One Thousand and One Nights, Shab-e-Ghouzi was the first feature film selected for international festivals. The other notable film in this category is Khesht va Aiene (Mudbrick and Mirror, 1965), produced and directed by Ebrahim Goulestan, the owner of Goulestan studio. Goulestan created an alternative environment out of which sprung several outstanding documentaries throughout its operation until 1978. One of the best known production of Goulestan Studio is Khaneh Siah Ast (The House Is Black, 1963), a documentary written and directed by Forugh Farrokhzad, a leading poetess in contemporary Persian literature. This film was selected as the best documentary in the 1963 Oberhausen Film Festival.
By 1970 Iranian cinema entered into its mature stage. The College of Dramatic Arts, instituted in 1963, produced its first graduates at the decade's beginning. Many progressive film co-ops and associations came into existence; and there were a few regular film festivals taking place in the country.
Young Iranians showed a great interest in avant-garde forms of cinema, which reflected their activities. One of the best known of such efforts was Cinemay-e-Azad (Free Cinema). The collective was formed by a group of cinema students and interested individuals in the mid-1970s. They started to screen experimental and short 8mm films by their members and soon supported and participated in each other's projects. This movement spread around the country and in a short time they had their own national festival. The Ministry of Culture and Art also organised similar associations under the name of Anjoman-e-Cinemay-e-Javan (The Young Cinema Association) with collaborations by National TV.
One of the most important organisation which was (and still is) a great help to development of national cinema is The Institution for Intellectual Development of Children and Young Adults. The institution was founded by Lili Jahan Ara, a close friend of Farah Diba (The Queen). With the support of Farah Diba, a library became the first project of the Institution. And in 1969 it started its cinema department. Soon many young talented filmmakers and animators joined the organization. The main attraction of the institution was its title, which could provide the artists relatively greater freedom of expression than elsewhere. Many prominent directors of Iranian national cinema started their careers there or made films for the institution. Among them are: Bahram Baizai, Amir Naderi, Abbas Kiarostami, Reza Alamzadeh and Sohrab Shahid-Sales.
The 1970s was a special decade for Iranian cinema. As Goulmakani states: "the seventies saw the height of the Shah's confidence in his social and political successes. Deluding itself into believing that it had grown unassailably stable, the regime now allowed the making of a few films with critical social themes."
Many important filmmakers emerged from the pre-revolution era. Including Parvis Kimiavi, who made the reflexive masterpiece Mogholha (Mongols, 1973), a film which allegorizes the cultural imperialism of TV by comparing that situation to the invasion of Mongols. Bahram Baizai is the director of one of the ground-breaking films of the Iranian New wave, 1972's Ragbar (Downpour). Sohrab Shahid-Sales is an auteur director who embodied his original style in his 1975 film Tabiat-e-Bijan (Spiritless Nature). Abbas Kiarostami is now a well known director of the 1990's who directed one of the last films that screened before the revolution in 1978, Gozaresh (The Report). Dariush Mehrjui, a UCLA Cinema and Philosophy graduate, directed Gav (Cow) in 1969 and the controversial Dayerehy-e-Mina (Mina Cycle, 1975), which was banned for three years. The latter's subject matter dealt with people involved in the blood business. Interestingly, the film was only banned until the government opened its first blood bank.
The new cultural, political and economic environment from mid-sixties to late seventies created a unique national cinema that had roots in Iranian perspectives of art, literature and culture. The mainstream commercial cinema in the 1970s encountered an innovative form of cinema. The counter cinema was a political cinema that developed its symbolic language due to a long history of censorship. This "Third" cinema was very different from that existing in Latin America, Africa or any developing countries, because of different social-historical contexts. Some of the filmmakers of that period were forced to leave the country for political and cultural circumstances. Those who stayed challenged the new fashion of religious and moral censorship of art and culture. It should also be noted that the attractive Iranian cinema of today is the outcome of a tradition developed in the pre-revolution era.
Iran Chamber Society
Algunas capturas:Massoud Kimiai
Massoud Kimiai was born in Tehran in 1941. He became well known when in 1969 directed his second film, Qeysar, which was considered a turning point in the Iranian cinema, he depicted the ethics and morals of the romanticised poor working class of the Ganj-e-Qarun genre through his main protagonist, the titular Qeysar. But Kimiai's film generated another genre in Iranian popular cinema: the tragic action drama.
Without any academic training in cinema or theater, and with only a few years of experience as assistant director, Kimiai became a historical figure in the Iranian cinema. He learned film making from the movies, and of his early days of contact with the cinema. He recalls how he used to spend hours outside the movie theaters of Tehran, listening to the sound track of the films blaring from the defective loudspeakers fixed outside the cinema, and trying to visualize the action with the help of oral synopsis furnished by friends who had seen the movie.
His other lively memory from his childhood is the scene of battle between Rostam and Ashkbous (heroes of Ferdowsi's Book of Kings) painted on the back of the cart in which his father carried flour for bakeries. When the cart was in motion, the combatants seemed animated to the young Massoud who habitually walked behind the cart and tried to guess the end of the battle.
Kimiai had difficult childhood. He was restless and often got into fights which at times ended in the police station.
Then came the period when Kimiai directed his energies to the books. He read voraciously, specially books on cinema. That was followed by frequent visits to film studios in search of a job, until he met film director Samuel Khachikian, from whom he learned the first lessons in the techniques of film making, and began his film career in 1965 as Khachikian's assistant. But he was too young to be allowed independent work, and for some time he had to be content with preparing publicity materials for American films.
When he first proposed a screenplay on which to make a film, the head of studio wouldn't believe Kimiai could make a film until the ambitious young man made a one minute scene form his screenplay and that convinced the studio bosses that he could make professionally acceptable films.
Iran Chamber Society
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