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Profound 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.

A Nation Mourns

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

"This loss is a great loss for the art and culture of our country," remarked the exiled prince, the exiled son of the last Shah of Iran.

Although Beyzai's later films were prohibited 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

Many of the contemporary generation of Persian directors have expressed their gratitude to him. Award-winning director Jaafar Panahi noted that Beyzai showed 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 overt messages.

But his work over many decades sets archetypal characters in conflict with authoritarian religious and political systems.

Roots in Tradition

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

He first rose to prominence as a theater writer, inspired by ancient myths and ceremonies.

A lifelong fan of cinema, he moved into filmmaking in the 1970s.

He won renown as one of the key figures in the new wave of Persian film.

An Enduring Voice

His most fruitful era 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 did not choose the path of least resistance. He endured years of marginalization, imposed silence, and distance, but he did not give up his artistic voice and his convictions," stated Jaafar Panahi in his tribute.

The Little Stranger

A few years after the Iranian Revolution, he produced what many regard as his masterpiece, Bashu, the Little Stranger, about a young child 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 chosen by film critics as the greatest 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 classics section.

A Hopeful Exile

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

Even after he went into exile, 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 new culture and tomorrow for his homeland.