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Widespread homages are pouring in for Bahram Beyzai, a giant of Persian film and stage, who passed away at the age of 87 in the US.

Homeland in Mourning

The front pages of publications in Iran mourn his loss, with dissenting figures and those who reflect nostalgically on the pre-revolution period also paying homage to Beyzai.

"This loss is an immense tragedy for the art and culture of our country," said the exiled prince, the exiled son of the last Shah of Iran.

Although Beyzai's subsequent works were prohibited in the 1980s by the theocratic government, a number of prominent officials in the current government have also acknowledged his legacy to Persian arts.

A Mentor to Filmmakers

Several of the current crop of Iranian filmmakers have acknowledged their debt to him. Award-winning director Jaafar Panahi noted that Beyzai showed them "the way to resist oblivion."

Beyzai avoided direct political references in his work, both as a playwright and a cinematic auteur, and always said he tried not to trade in explicit commentary.

But his oeuvre over countless years places archetypal characters in conflict with oppressive structures of power.

Roots in Tradition

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

He first rose to prominence as a theater writer, inspired by Persian legend and ritual.

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

He won renown as one of the pivotal artists in the groundbreaking movement of Iranian cinema.

Navigating Censorship

His most fruitful era spanned the time of the Shah and then the Islamic theocratic forces that deposed him—with both systems constantly poised to detect subtext that could be interpreted as criticism.

"Beyzai did not choose the easy way. He endured years of marginalization, enforced quiet, and exile, but he did not give up his language and his beliefs," said the filmmaker 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 take refuge from the devastating conflict.

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

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

A Hopeful Exile

Beyzai finally left Iran in 2010 and spent his later years in the US, where he lectured on Iranian culture.

Even after he went into exile, his wife, the actress Shamsai, said just the sound of the word "Iran" would still make him emotional—and he continued to hope for a new culture and future for his homeland.