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Widespread homages have been shared for the legendary Bahram Beyzai, a giant of Iranian cinema and theatre, who passed away at the age of 87 while residing in the United States.

Homeland in Mourning

The front pages of Iranian newspapers lament his loss, with dissenting figures and those who reflect nostalgically on the pre-revolution period also paying homage to Beyzai.

"His passing is a great loss for the cultural heritage of our country," said the exiled prince, the exiled 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 senior figures in the present administration have also paid tribute his legacy to Persian arts.

The Teacher of a Generation

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

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

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

Roots in Tradition

Hailing from a lineage of celebrated poets, Beyzai was imbued in the richest heritage of Iranian artistry from birth.

He first found fame as a playwright, inspired by ancient myths and ceremonies.

A devotee 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.

Navigating Censorship

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

"Beyzai never opted for the easy way. He withstood years of marginalization, enforced quiet, and exile, but he never abandoned his language 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 young child who tries to find shelter from the devastating conflict.

It was banned 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 shown in a restored version at this year's Venice Biennale, receiving an award for best film in the classics section.

A Hopeful Exile

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

Although he left his homeland, his wife, the actress Mozhdeh Shamsai, said just hearing the word "Iran" would still make him emotional—and he continued to hope for a renewed spirit and tomorrow for his homeland.