This is by far one of the best Iran-Iraq War films, distinguished by director Beizai’s treatment of taboo subjects. A cry against a war that eventually killed more than a million Iranians, it was banned by the authorities. The film was also controversial for taking on ethnic disparities and racism in Iranian society by depicting a dark-skinned child from southern Iran trying to fit in among the “white” northerners. Equally daring at the time, it highlights a “strong” female character, typical of Beizai’s films but rare for 1980s Iranian cinema. The drama centers on a child named Bashu who, after his family and village are destroyed by the Iraqi Army, escapes to a farm run by a woman and her two children. The woman (who becomes Bashu’s adoptive mother) is left to fend for herself and her children in a difficult environment. —http://www.foreignpolicy.com/story/cms.php?story_id=5005&page=0
Bahrām Bayzāi (also spelt Bahrām Beizai, Bahrām Beyzaie, Persian: بهرام بیضائی, born 26 December 1938 in Tehran) is an Iranian film director, theatre director, screenwriter, playwright, film editor, producer, and researcher.
Bahram Bayzai is the son of the poet Ostād Ne’mat’ollāh Bayzāi 1 (best known by his literary pseudonym Zokā’i Bayzāi – ذکائی بیضائی). The celebrated poet Adib Ali Bayzāi, considered as one of the most profound poets of the twentieth-century Iran, is Bahram Bayzai’s paternal uncle.2 Bahram Bayzai’s paternal grandfather, Mirzā Mohammad-Rezā Ārāni (Ebn Ruh – ابن روح), and paternal great-grandfather, Mollah Mohammad-Faqih Ārāni (Ruh ol-Amin – روح الامین), were also renown poets.3
Bayzai is part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes other pioneering directors such as Abbas Kiarostami, Forough Farrokhzad, Sohrab Shahid Saless, and Parviz Kimiavi. The filmmakers share many… read more