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Profound tributes are pouring in for the legendary Bahram Beyzai, a giant of Iranian cinema and theatre, who passed away at the age of 87 in the US.

A Nation Mourns

The front pages of Iranian newspapers lament his loss, with dissenting figures and those who look back fondly on the pre-revolution period also offering their respects to Beyzai.

"This loss is an immense tragedy for the cultural heritage of our country," remarked Prince Reza Pahlavi, son of the last Shah of Iran.

Even though Beyzai's subsequent works were banned in the 1980s by the Islamic regime, a number of prominent officials in the current government have also acknowledged his contribution to Iranian culture.

A Mentor to Filmmakers

Several of the contemporary generation of Iranian filmmakers have acknowledged their debt to him. Jaafar Panahi noted that Beyzai taught them "how to stand up to oblivion."

Beyzai steered clear of direct political references in his work, both as a playwright and a cinematic auteur, and always maintained he tried not to deal in explicit commentary.

But his oeuvre over countless years places historical, even mythic figures in conflict with oppressive religious and political systems.

Roots in Tradition

From a family of celebrated poets, Beyzai was imbued in the deepest traditions of Iranian artistry from birth.

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

A devotee of cinema, he moved into making films in the 1970s.

He won renown as one of the pivotal artists in the groundbreaking movement of Persian film.

An Enduring Voice

His most productive period spanned the time of the Shah and then the Islamic theocratic forces that overthrew him—with each regime ever ready to sniff out subtext that could be interpreted as criticism.

"Beyzai never opted for the easy way. He endured years of exclusion, enforced quiet, and exile, but he never abandoned his artistic voice and his beliefs," said Jaafar Panahi in his tribute.

A Masterpiece Amidst Conflict

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

It was censored in Iran—as were other films he made in that period—but later chosen by film critics as the greatest 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 classics section.

A Hopeful Exile

Beyzai ultimately departed Iran in 2010 and lived out his final days in the US, where he taught Iranian culture.

Although he left his homeland, his wife, the actress Mozhdeh Shamsai, said just hearing the word "Iran" would still bring tears to his eyes—and he continued to hope for a renewed spirit and future for his native land.