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Dariush Mehrjui (b. December 8, 1939, Tehran, Iran – d. October 14, 2023, Karaj, Iran) was an Iranian filmmaker.
Mehrjui was a member of the Iranian Academy of the Arts.
Mehrjui was a founding member of the Iranian New Wave movement of the early 1970s, which also included directors Masoud Kimiai and Nasser Taqvai. His second film, The Cow, is considered to be the first film of this movement. Most of his films are inspired by literature and adapted from Iranian and foreign novels and plays.
On October 14, 2023, Mehrjui and his wife were found stabbed to death in their home in the city of Karaj, near Tehran.
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Dariush Mehrjui (b. December 8, 1939, Tehran, Iran – d. October 14, 2023, Karaj, Iran) was an Iranian filmmaker.
Mehrjui was a member of the Iranian Academy of the Arts.
Mehrjui was a founding member of the Iranian New Wave movement of the early 1970s, which also included directors Masoud Kimiai and Nasser Taqvai. His second film, The Cow, is considered to be the first film of this movement. Most of his films are inspired by literature and adapted from Iranian and foreign novels and plays.
On October 14, 2023, Mehrjui and his wife were found stabbed to death in their home in the city of Karaj, near Tehran.
Dariush Mehrjui was born to a middle-class family in Tehran. He showed interest in painting miniatures, music, and playing santoor --a hammered dulcimer -- and piano. He spent a lot of time going to the movies, particularly American films which were un-dubbed and inter-spliced with explanatory title cards that explained the plot throughout the films. At this time, Mehrjui started to learn English so as to better enjoy the films. The film that had the strongest impact on him as a child was Vittorio De Sica's Bicycle Thieves. At the age of 12, Mehrjui built a 35 mm projector, rented two-reel films and began selling tickets to his neighborhood friends. Although raised in a religious household, Mehrjui said that, at the age of 15, "The face of God gradually became a little hazy for me, and I lost my faith."
In 1959, Mehrjui moved to the United States to study at the University of California, Los Angeles' (UCLA's) Department of Cinema. One of his teachers there was Jean Renoir, whom Mehrjui credited with teaching him how to work with actors. Mehrjui was dissatisfied with the film program due to its emphasis on the technical aspects of film and the quality of most of the teachers. He switched his major to philosophy and graduated from UCLA in 1964.
Mehrjui started his own literary magazine in 1964, Pars Review. The magazine's intention was to bring contemporary Persian literature to western readers. During this time, he wrote his first script with the intention of filming it in Iran. He moved back to Tehran in 1965 and found employment as a journalist and screenwriter. From 1966 to 1968 he was a teacher at Tehran's Center for Foreign Language Studies, where he taught classes in literature and English language. He also gave lectures on films and literature at the Center for Audiovisual Studies through the University of Tehran.
Dariush Mehrjui made his debut in 1966 with Diamond 33, a big budget parody of the James Bond film series. The film was not financially successful. However, his second feature film, Gaav (The Cow), brought Mehrjui national and international recognition. The film Gaav, a symbolic drama, is about a simple villager and his nearly mythical attachment to his cow.
The film, Gaav, is adapted from a short story by the renowned Iranian literary figure Gholamhossein Sa'edi. Sa'edi was a friend of Mehrjui and suggested the idea to him when Mehrjui was looking for a suitable second film, and they collaborated on the script. Through Sa'edi, Mehrjui met the actors Ezzatolah Entezami and Ali Nassirian, who were performing in one of Sa'edi's plays. Mehrjui would work with Entezami and Nassirian throughout his career. The film's score was composed by musician Hormoz Farhat. The film was completed in 1969.
In the film, Entezami stars as Masht Hassan, a peasant in an isolated village in southern Iran. Hassan has a close relationship with his cow, which is his only possession. When other people from Hassan's village discover that the cow has been mysteriously killed, they decide to bury the cow and tell Hassan that it has run away. While in mourning for the cow, Hassan goes to the barn where it was kept and begins to assume the cow's identity. When his friends attempt to take him to a hospital, Hassan commits suicide.
Gaav was banned for over a year by the Ministry of Culture and Arts, despite being one of the first two films in Iran to receive government funding. This was most likely due to Sa'edi being a controversial figure in Iran. His work was highly critical of the Pahlavi government, and he had been arrested sixteen times. When it was finally released in 1970, it was highly praised and won an award at the Ministry of Culture's film festival, but it was still denied an export permit. In 1971, the film was smuggled out of Iran and submitted to the Venice Film Festival where, without programming or subtitles, it became the most notable event of that year's festival. Gaav won the International Critics Award at Venice, and later that year, Entezami won the Best Actor Award at the Chicago International Film Festival.
Along with Masoud Kimiai's Qeysar and Nasser Taqvai's Tranquility in the Presence of Others, the film Gaav initiated the Iranian New Wave movement and is considered a turning point in the history of Iranian cinema. The public received it with great enthusiasm, despite the fact that it had ignored all the traditional elements of box office attraction. It was screened internationally and received high praise from many film critics. Several of Iran's most prominent actors (Entezami, Nassirian, Jamshid Mashayekhi, and Jafar Vali) played roles in the film.
While waiting for Gaav to be released and gaining international recognition, Mehrjui was busy directing two more films. In 1970, Mehrjui shot Agha-ye Hallou (Mr. Naive), a comedy which starred and was written by Ali Nassirian. The film also starred Fakhri Khorvash and Entezami.
In the film, Nassirian plays a simple, naive villager who goes to Tehran to find a wife. While in the big city he is treated roughly and constantly fooled by local hustlers and con artists. When he goes into a dress shop to purchase a wedding gown, he meets a beautiful young woman (Fakhri Khorvash) and proposes to her. The young woman turns out to be a prostitute who rejects him and takes his money, sending him back to his village empty handed but more world-wise.
Agha-ye Hallou was screened at the Sepas Film Festival in Tehran in 1971 where it won awards for Best Film and Best Director. Later that year it was screened at the 7th Moscow International Film Festival. It was a commercial success in Iran.
After finishing Agha-ye Hallou in 1970, Mehrjui traveled to Berkeley, California, and began writing an adaptation of Georg Buchner's Woyzeck for a modern-day Iranian setting. He went back to Iran later in 1970 to shoot Postchi (The Postman), which starred Nassirian, Entezami and Jaleh Sam.
In the film, Nassirian plays Taghi, a miserable civil servant whose life spirals into chaos. He spends his days as an unhappy mail carrier and has two night jobs in order to pay his debts. His misery has caused impotence and he is experimented upon by an amateur herbalist who is one of his employers. His only naive hope is that he will win the national lottery. When he discovers that his wife is the mistress of his town's wealthiest landowner, Taghi escapes to the local forest where he experiences a brief moment of peace and harmony. His wife comes looking for him, and in a fit of rage Taghi murders her and is eventually caught for his crime.
Postchi (The Postman) faced the same censorship issues as Gaav, but was eventually released in 1972. It was screened in Iran at the 1st Tehran International Film Festival and at the Sepas Film festival. Internationally, it was screened at the Venice Film Festival, where it received a special mention, the 22nd Berlin International Film Festival, where it received the Interfilm Award, and the 1972 Cannes Film Festival, where it was screened as part of the Directors' Fortnight.
In 1973, Mehrjui began directing what was to be his most acclaimed film, Dayereh Mina (The Cycle), Mehrjui got the idea for the film when a friend suggested that he investigate the black market and illicit blood traffic in Iran. Horrified with what he found, Mehrjui took the idea to Gholamhossein Sa'edi, who had written a play on the subject, "Aashghaal-duni". The play became the basis for the script, which then had to be approved by the Ministry of Culture before production could begin. With pressure from the Iranian medical community, approval was delayed for a year until Mehrjui began shooting the film in 1974. The film stars Saeed Kangarani, Esmail Mohammadi, Ezzatollah Entezami, Ali Nassirian and Fourouzan.
In the film, The Cycle, Kangarani plays Ali, a teenager who has brought his dying father (Mohammadi) to Tehran in order to find medical treatment. They are too poor to afford any help from the local hospital, but Dr. Sameri (Entezami) offers them money in exchange for giving illegal and unsafe blood donations at a local blood bank. Ali begins giving blood and eventually works for Dr. Sameri in luring blood donors, despite spreading diseases in the process. Ali meets another doctor (Nassirian) who is attempting to establish a legitimate blood bank and helps Dr. Sameri in sabotaging his plans. Ali also meets and becomes the lover of a young nurse, played by Fourouzan. As Ali becomes more and more involved in the illegal blood trafficking, his father's health worsens until he finally dies, and Ali must decide what path his life will take. The film's title, Dayereh Mina, refers to a line from a poem by Hafiz Shirazi: "Because of the cycle of the universe, my heart is bleeding."
The film was co-sponsored by the Ministry of Culture but encountered opposition from the Iranian medical establishment and was banned for three years. It was finally released in 1977, with help from pressure from the Carter administration to increase human rights and intellectual freedoms in Iran. Because of a crowded film marketplace, the film premiered in Paris, and then was released internationally where it received rave reviews and was compared to Luis Bunuel's Los Olvidados and Pier Paolo Pasolini's Accattone. The film won the Federation Internationale de la Presse Cinematographique Prize at the Berlin Film Festival in 1978.
During this time, Iran was going through great political changes. The events leading up to the Iranian Revolution of 1979 were causing a gradual loosening of strict censorship laws, which Mehrjui and other artists had great hopes for.
While waiting for The Cycle to be released, Mehrjui worked on several documentaries. Alamut, a documentary on the Ismailis, was commissioned by Iranian National Television in 1974. He was also commissioned by the Iranian Blood Transfusion Center to create three short documentaries about safe and healthy blood donations. The films were used by the World Health Organization in several countries for years. In 1978, the Iranian Ministry of Health commissioned Mehrjui to make the documentary Peyvast kolieh, about kidney transplants.
The Iranian Revolution had been ongoing since 1978 through strikes and demonstrations. The Iranian monarchy collapsed on February 11, 1979, when guerrillas and rebel troops overwhelmed troops loyal to the Shah in armed street fighting. Iran voted by national referendum to become an Islamic Republic on April 1, 1979, and to approve a new theocratic constitution whereby Khomeini became Supreme Leader of the country, in December 1979.
Mehrjui took part in the revolution, shooting miles of reels of its daily events. After the revolution, the censorship of the Pahlavi regime was lifted, and for a time, artistic freedom seemed to flourish in the country. It was reported that the Ayatollah Ruhollah Khomeini saw Gaav (The Cow) on Iranian television and liked it, calling it "very instructive" and commissioning new prints to be made for distribution. However, the Khomeini government would go on to impose its own rules for censorship in Iran, specifically laws that were in accordance with sharia -- Islamic law. It was also required that a government official be present during the shooting of all films.
Mehrjui then directed Hayat-e Poshti Madrese-ye Adl-e Afagh (The School We Went to) in 1980. The film stars Ezzatollah Entezami and Ali Nassirian and is from a story by Fereydoon Doostdar. The film was sponsored by the Iranian Institute for the Intellectual Development of Children and Young Adults, whose filmmaking department was co-founded by Abbas Kiarostami. The film, seen as an allegory for the recent revolution, is about a group of high school students who join forces and rebel against their authoritative and abusive school principal. This film is deemed to be propaganda and a work of the new regime more than Mehrjui himself.
In 1981, Mehrjui and his family traveled to Paris and remained there for several years, along with several other Iranian refugees. During this time, he made a feature-length semi-documentary about the poet Arthur Rimbaud for French TV, Voyage au Pays de Rimbaud in 1983. It was shown at the 1983 Venice Film Festival and at the 1983 London Film Festival.
In 1985, Mehrjui and his family returned to Iran and Mehrjui resumed his film career under the new regime.
In Hamoun (1989), a portrait of an intellectual whose life is falling apart, Mehrjui sought to depict his generation's post-revolutionary turn from politics to mysticism. Hamoun was voted the best Iranian film ever by readers and contributors to the Iranian journal Film Monthly.
In 1995, Mehrjui made Pari, an unauthorized loose film adaptation of J. D. Salinger's book Franny and Zooey. Though the film could be distributed legally in Iran since the country had no official copyright relations with the United States, Salinger had his lawyers block a planned screening of the film at the Lincoln Center in 1998. Mehrjui called Salinger's action "bewildering," explaining that he saw his film as "a kind of cultural exchange."
Mehrjui's follow-up film, 1997's Leila, is a melodrama about an urban, upper-middle-class couple who learn that the wife is unable to bear children.
Mehrjui's last film, titled Laminor, was released in 2019.
Modern Iranian cinema begins with Dariush Mehrjui. Mehrjui introduced realism, symbolism, and the sensibilities of art cinema. His films have some resemblance with those of Rosselini, De Sica, and Satyajit Ray, but he also added something distinctively Iranian, in the process starting one of the greatest modern film waves.
The one constant in Mehrjui's work was his attention to the discontents of contemporary, primarily urban, Iran. His 1999 film Derakht-e-Golabi (The Pear Tree) has been hailed as the apotheosis of the director's examination of the Iranian bourgeoisie.
Since his film Gaav (The Cow) in 1969, Mehrjui, along with Nasser Taqvai and Masoud Kimiai, was instrumental in paving the way for the Iranian cinematic renaissance, the so-called "Iranian New Wave."
In March 2022, Mehrjui publicly denounced the Shiite censorship. In front of a filled cinema crowd, Mehrjui announced,
Dariush Mehrjui and his wife, Vahideh Mohammadifar, were found stabbed to death on October 14, 2023, in their villa in Meshkin Dasht, Karaj. Neither the identity of the perpetrators nor their motives have been disclosed. Prior to this incident, Vahideh had posted on her social media page about anonymous personal threats.
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Famed Iranian Filmmaker Is Killed in His Home
Dariush Mehrjui, 83, one of the pioneers of Iranian cinema’s new wave movement, was found dead, along with his wife, at their home outside Tehran.
Dariush Mehrjui, a prominent Iranian filmmaker, was killed in his home near Tehran on Saturday along with his wife, according to the police.
Mr. Mehrjui, 83, who is considered one of the pioneers of Iranian cinema’s new wave movement, and his wife, Vahideh Mohammadifar, 54, a screenwriter and costume designer, were found dead by their daughter when she came to the family house in Karaj, in Alborz Province, on Saturday night, according to Hanif Soroori, Mr. Mehrjui’s assistant. Their throats had been slit, he said.
Hamid Hadavand, the Alborz police chief, said in an interview with the Iranian student news agency ISNA that a motive for the killings remained unknown. According to a post on the Tasnim News Agency, some gold items appeared to have been stolen.
Mr. Mehrjui’s close studies of contemporary life in Iran have inspired a generation of filmmakers. One of his best-known films, “The Cow” (1969), depicting a poor farmer’s love for his cow and his anguish after its death, was produced with funding from the shah of Iran but promptly banned for its stark portrayal of rural life. In the months leading up to the 1979 revolution, Mr. Mehrjui filmed the revolutionary leader Ayatollah Ruhollah Khomeini, then in exile in France, who proved to be a valuable ally once he came into power.
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After the revolution, Mr. Mehrjui’s films centered around chic middle- and upper-class characters in Tehran as they discussed religion, art and money. In one of his most consequential films, “Hamoun,” a middle-aged intellectual experiences a mental breakdown as his marriage unravels.
Mr. Soroori, reached at the crime scene, said that the door had been forced in. The house is in a gated community but is somewhat isolated, he said, and no witnesses had so far come forward.
Mr. Mehrjui was not considered politically controversial. It was not clear if he had any personal enemies. The authorities said an investigation was underway.
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