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Genius delicate work

Women have always been one of the important and influential factors in dramatic storytelling and without their presence, many important literary and theatrical works of the world could not have been created; in fact, it is this woman who has shaped the dominant dramatic challenges in these works. Iranian cinema, from the very beginning, has also used women to create attraction and appeal.

In the first decade of screenwriting and filmmaking in Iran, out of nine films made, seven of them were made in the silent era. These include “Brother’s Revenge” (silent, 1310), “Haji Agha, the Cinema Actor” (silent, 1312), “Lur Girl” (talkie, 1312), “Boo Alhos” (silent, 1312), “Shirin and Farhad” (talkie, 1313), “Black Eyes” (talkie, 1315), and “Layla and Majnun” (talkie, 1315). In these films, the woman is portrayed as a “beloved” character. In “Brother’s Revenge” and “Shirin and Farhad,” the woman is portrayed as a passive beloved, while in “Brother’s Revenge,” which is the first film to address the concept of love in Iranian cinema, the

But in the first decade of Iranian screenwriting and filmmaking, they did not simply reduce women to the role of “mistress” in four other films, and instead created a dynamic, purposeful, attractive, and memorable character for her, a character that is sometimes positive and sometimes gray, fluctuating between good and evil: In “Haji Agha, Cinema Actor”, the woman does not appear only as a mistress, but her presence is a means to reflect the external challenges within the film; challenges that arise due to the clash between tradition and modernity. In this film, a woman is portrayed who is preoccupied with her inner thoughts, beyond the everyday and prevailing feminine concerns within the confines of the home or kitchen; a woman who has a strong desire to play roles other than her real role in life and dreams of being a film actress. Eventually, despite the opposition and obstacles of her traditional-religious father, with determination and insistence on her heart’s desire, and with

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A glimpse of the movie “Enchanter” (1332) with Delkash’s presence.

After an eleven-year hiatus in Iranian cinema activities, which covers from 1316 to 1327 SH (1937-1958 AD) and is known as the “Fetret period”, Iranian cinema resumes its activities in the late 1920s with the production of four films: “The Storm of Life” (1327), “Amir’s Prisoner” (1327), “Spring Variety” (1328), and “Shameful” (1329). Except for “Spring Variety”, which cannot be discussed due to the lack of access to its story, the other three films continue the trend of portraying women in the repetitive role of “mistress”, following the first decade of screenwriting and filmmaking in Iran. However, there is a difference between “The Storm of Life” and “Amir’s Prisoner”, as in the former, the woman has a relatively tangible presence, while in the latter, she is completely marginalized and has no role other than

As recorded in history, with the beginning of Pahlavi rule and the maturation of capitalist relations, the coordinates of society – despite the presence of strong social and religious institutions – undergo change and new socio-cultural structures take shape in Iran. Reza Khan, by emulating Western modernism, implements specific policies in Iranian society, some of which pertain to women’s freedom and their role; programs such as establishing women’s clubs, the right to education, employment in government offices, and attaining social positions. Although these programs are effective in liberating women from the barriers of seclusion and oblivion prevalent during the Qajar period and to some extent, facilitate their growth and progress, at the same time, “extremist modernism” such as the issue of “unveiling” is one of the “forced freedoms” that is not tolerable for traditional Iranian society and women, and Reza Shah – disregarding the traditional fabric of society – enforces it upon them.

Cinema of the 30s, in general, focuses on two types of women: the traditional woman and the modern woman. It adopts a dual policy towards each of them, which is both conservative and progressive, and as a result, conveys dual messages to the audience. This cinema portrays the traditional woman – often in the form of a simple rural woman – as a “pure, modest, and self-sacrificing” mother, sister, wife, or lover, and introduces her as a “good woman” or an angel. On the other hand, by constantly depicting her in situations such as cooking, going and coming, washing, giving birth or having children, listening and obeying without question to the irrational orders and desires of men, or as a helpless, obedient, and unaware creature waiting for her husband, brother, or abusive son, it teaches her to have no role in various cultural, social, and economic scenes of society. The traditional woman’s religion and religious beliefs

As for the perspective of cinema in the 30s towards the “modern woman”, it is a mixture of “love and hate”. On one hand, with her new style, revealing clothes, vanity, singing and dancing, she is portrayed as a woman who is in line with the demands of the time and is known as a “modern woman”. She adds color and glamour to the film and attracts commercial attention. On the other hand, she is depicted as a negative character – a “deceptive and seductive” woman – who is portrayed as a demonic being, devoid of any human or moral values. Her only purpose is to deceive men, destroy the foundation of the family and corrupt social morals. Therefore, she is condemned and criticized, and is often portrayed as a caricature of Western examples and a reflection of cultural and economic policies. It is noteworthy that this woman – unlike the traditional or angelic woman – is often portrayed as an active, decisive and dominant character. In fact,

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A poster of the Mashhadi Abad film (1332).

In the 30s, the policies of commercial cinema producers to attract more viewers have led to the presence of four completely different categories or types of women under the title of “actress” in Iranian cinema. They select the actors of this era based on the fame and popularity of female singers and radio and stage actors on one hand, and the physical and sexual attractiveness of dancers on the other. This has a significant impact on the portrayal and role of women in screenplays and films of this decade, as the presence of “singing women” and subsequently “dancing women” in Iranian commercial cinema, as guarantors of box office success, is considered so important that producers commission special screenplays for them in order to make a film with their presence. This trend, which began in the late 20s with the screenplay of the film “Sharm-e Sar” (Ismael Koushan-1950) based on the presence of a popular and attractive singer, continues until

But in addition to the two general categories of “traditional woman” and “modern woman,” the cinema of the 1930s mostly portrays negative, passive, and sometimes gray characters of women and gives less opportunity for the creation and emergence of positive, active, and dynamic female characters. In this decade, women are mostly shown as “unfaithful and disloyal,” “seductress and lustful,” “deceived,” and “wanderer.” “Infidelity and disloyalty of women,” as a “wife,” is one of the most commonly used themes by screenwriters and filmmakers from the early years of the 1930s to the end of the decade. In most of these films, in order to create a moral ending, the “treacherous woman” – who, through her infidelity, causes the collapse and destruction of the family – receives her deserved punishment. The “seductress woman” is also a commonly used character in screenplays and films

It can be boldly stated that the concept of “violence” is the most widely used subject of attention for filmmakers and screenwriters of the 30s. The cinema of this decade, influenced by the late 20s, usually portrays the “deceived woman” in the form of a “simple and innocent village girl” who is deceived by a “city playboy” and then turns to singing, and in the late first half of this decade, she is defined as a “innocent city girl”. In this decade, “revenge” is one of the important characteristics of such a woman.

In most films of the 30s and subsequent decades, the “deceived woman” is supported by a foreign man and thus regains the lost peace and security. In fact, often against the “aggressive and bad man”, she is placed next to the “noble and good man” so that on one hand, the norms of the patriarchal society are not threatened, and on the other hand, the dignity and happiness of such a woman is somewhat restored. The “wandering and seductive woman” of the 30s also has a similar fate as the “deceived woman”; on one hand, she becomes a victim of the patriarchal society’s injustices and on the other hand, with the support of a man and under his power, she finds the opportunity to once again experience a healthy and peaceful life.

Occupation and social status of women are among the issues that the cinema of the 1970s completely ignores. This neglect can be attributed to the job market conditions and the very low percentage of employed women during this period; for example, according to statistics, the female workforce in Iran in 1956 accounted for only 1.9% of the total employed population.

“متن راست چین”

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“Daughter of the Sun” is the first Iranian talking film that was made in 1312 (1933) with the presence of the inspiring Ruhangiz Saminejad.

We find relatively desirable and positive roles for women in the 1930s in the form of “influential lover”, “committed lover” and “masculine woman”. In some films of this period, women in the role of “dominant or guiding lovers” transform the character of the male hero or lover and create positive changes in their lives. In the role of “committed lover”, she does not only love a man – as a lover or husband – but is also very committed and responsible towards her country, father, and children. She selflessly sacrifices her love for them, which inspires and gives hope to the audience. In a few films of the 1930s, there is a lonely girl who, despite being deprived of a home, family, and financial support, does not give in to any temptation in order to make a living. She hides her feminine beauty and appearance by wearing men’s clothing and lowering her voice, in order to perhaps be safe as a “

Given what has been mentioned, from the beginning of screenwriting and filmmaking in Iranian cinema until the end of the 1930s, before the first sparks of the New Wave cinema in the 1940s (1964-1965), the dominant role and constant character of women can be defined in one framework: “the beloved”; beloveds who, depending on the mood and circumstances of the screenwriters and filmmakers, are often portrayed as either passive and seductive beloveds or in some cases, as gray or positive beloveds who are in the midst of good and evil. In all three decades mentioned, only in a few cases, women are seen as “beloveds” and as the embodiment of love, in its highest sense and not just as “the embodiment of sexual attractiveness” and appear. The “traditional woman” and the “modern-looking woman” are two general types that define women in Iranian cinema and give her the right to express her existence. Among them,

Given the concept of “violence and violation of women’s dignity,” as a desirable and favorite subject for creators and filmmakers in the Iranian film industry, after an eleven-year hiatus or during the end of the twentieth decade, one can somewhat understand their perspective and viewpoint towards women, their personal and existential position and status; because the presentation of such concepts as the main theme of films during that period, not in the direction of identifying and resolving a terrifying social phenomenon, but rather in creating and presenting obscene images and scenes of women and their portrayal as mere objects from their point of view. The concept of “violence” and the character of the “deceived woman” becomes a popular subject for screenwriters and filmmakers in the 1930s, when the first sparks of a different cinema and a new wave emerge, it reaches its minimum in the 1940s, and in the 1950s, when commercial cinema in Iran becomes more and more inclined towards moral corruption and deviance,

The influential and guiding beloved, a committed lover and an independent woman, and of course, a supportive and strong partner are relatively desirable and positive roles for women in the 30s decade, each playing a part in the transformation of the male protagonist in the film and contributing to positive changes in his character and life.

Accompanied by a series of political, social, economic, and cultural changes, including the White Revolution, implementation of land reforms, granting of voting rights to women, and improvements in income and economic status, the presence of women, particularly in terms of behavior and clothing, had an impact on the cinema of the 1940s. During this period, a new type of woman was presented, who was neither “conservative” nor “promiscuous”; she was a combination of a “misguided woman” and an “innocent woman”; in terms of appearance, she had characteristics of both the “working woman” and the “modern-looking woman” of the 30s, but unlike these types, she was not seductive, demonic, or destructive, and did not cause families to struggle. In fact, the “non-traditional and modern woman” of the 1940s, along with social and cultural changes, was at the positive center of events.

Sources:

• Love, Behzad, the emergence and presence of female actors in Iranian cinema, Film Monthly magazine, Book of the Year of Iranian Cinema, Supplement to issue 265, February 2001, p. 160.

• “Dazzle, Mohammad, a study of women’s presence in cinema with a look at their social status, taken from the reflection of the mirror (collection of articles from the Women and Cinema conference), vol. 2, p. 78.”

• Bahrami, Asgar, examples of the mythological approach of Iranian cinema to women, taken from the mirror view (collection of articles of the Women and Cinema Conference), vol. 2, p. 53.

• At that time, Mahshid, a brief account of the presence of women in Iranian films, World of Image magazine, third year, issue 29, February 1996, p. 35.

• Heydari, Gholam, Analytical History of One Hundred Years of Iranian Cinema, Published by the Office of Cultural Research, First Edition, Tehran-1379, p. 69.

• Mansouri, Muslim, cinema and literature, Elm Publications, first edition, Tehran-1377, p. 240.

• Love, Behzad, the emergence and presence of women actors in Iranian cinema, Film Monthly Magazine, Book of the Year of Iranian Cinema, Supplement No. 265, February 2001, p. 162.

• “Sadr, Hamidreza, Political History of Iranian Cinema, Ney Publishing, First Edition, Tehran-1381, p.141.”

• “Homay, Helen, Representation of Women’s Occupations in Post-Revolution Cinema, Taken from the Mirror View (Collection of Articles from the Women and Cinema Conference), Vol. 2, p. 317.”