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Widespread tributes are pouring in for the legendary Bahram Beyzai, a giant of Iranian cinema and theatre, who has died at the age of 87 while residing in the United States.

A Nation Mourns

The headlines of Iranian newspapers mourn his loss, with dissenting figures and those who look back fondly on the Shah era also paying homage to Beyzai.

"His passing is a great loss for the cultural heritage of our country," said the exiled prince, son of the last Shah of Iran.

Even though Beyzai's subsequent works were prohibited in the 1980s by the Islamic regime, a host of prominent officials in the current government have also acknowledged his contribution to Persian arts.

The Teacher of a Generation

Many of the contemporary generation of Persian directors have expressed their gratitude to him. Jaafar Panahi noted that Beyzai taught them "the way to resist oblivion."

Beyzai steered clear of overtly political content in his work, both as a dramatist and a film director, and always said he tried not to deal in overt messages.

But his work over countless years places archetypal characters in conflict with oppressive religious and political systems.

Roots in Tradition

Hailing from a lineage of celebrated poets, Beyzai was steeped in the richest heritage of Persian culture from birth.

He first found fame as a theater writer, drawing on Persian legend and ritual.

A lifelong fan of cinema, he transitioned to filmmaking in the 1970s.

He gained acclaim as one of the key figures in the groundbreaking movement of Iranian cinema.

Navigating Censorship

His most productive period straddled the time of the Shah and then the Islamic theocratic forces that deposed him—with both systems ever ready to detect hidden messages that could be interpreted as criticism.

"Beyzai never opted for the path of least resistance. He endured years of marginalization, enforced quiet, and distance, but he never abandoned his language and his beliefs," stated the filmmaker in his tribute.

The Little Stranger

A few years after the Iranian Revolution, he produced what many consider his magnum opus, Bashu, the Little Stranger, about a small boy who tries to find shelter from the devastating conflict.

It was censored in Iran—as were subsequent works he made in that time—but later voted by film critics as the best Iranian film of all time.

The film was screened in a restored version at this year's Venice Biennale, winning an award for best film in the heritage category.

A Hopeful Exile

Beyzai ultimately departed Iran in 2010 and spent his later years in the US, where he lectured on Persian studies.

Even after he left his homeland, his wife, the actress Shamsai, said just the sound of the word "Iran" would still bring tears to his eyes—and he continued to hope for a renewed spirit and tomorrow for his native land.