Mehrjui and the world of Iran’s New Wave cinema
Hindustan Times“His soul had grown larger than life and didn’t fit in his body”. It started with Shah’s regime banning his iconic film The Cow that inaugurated the Iranian New Wave and continued with all the regimes that followed. Not surprisingly, many of his protagonists are writers, musicians or spiritual seekers: Santouri is about a santoor player and singer, who struggles with himself, the world and the State; Pari is about spiritual and artistic seeking; The Pear Tree has a writer ruefully musing upon his life and work; Hamoun has a Felliniesque character grappling with reality and philosophical dilemmas. In Pari, unique for its presentation of a woman’s spiritual quest, Mehrjui creates an auratic universe where the mystical play between presence and absence finds a cinematic form. This heartbreaking scene provides a glimpse into the diabolic potential that lies deep in the best of humans – a scary thought only a visionary like Dariush Mehrjui could provide.
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