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Widespread homages have been shared for the legendary Bahram Beyzai, a giant of Iranian cinema and theatre, who has died aged 87 while residing in the United States.

A Nation Mourns

The front pages of publications in Iran mourn his loss, with dissenting figures and those who look back fondly on the pre-revolution period also offering their respects to Beyzai.

"His passing is an immense tragedy for the cultural heritage of our country," remarked 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 host of prominent officials in the present administration have also acknowledged his contribution to Persian arts.

A Mentor to Filmmakers

Several of the contemporary generation of Iranian filmmakers have acknowledged their debt to him. Award-winning director Jaafar Panahi noted that Beyzai showed them "how to stand up to 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 work over many decades sets archetypal characters in opposition with authoritarian religious and political systems.

Roots in Tradition

From a family of celebrated poets, Beyzai was steeped in the richest heritage of Persian culture 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 Iranian cinema.

Navigating Censorship

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

"Beyzai never opted for the easy way. He withstood years of marginalization, enforced quiet, and distance, but he did not give up his artistic voice and his beliefs," 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 small boy who tries to find shelter from the devastating conflict.

It was censored 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 newly remastered print at this year's Venice Biennale, receiving an award for outstanding feature in the heritage category.

A Hopeful Exile

Beyzai finally left Iran in 2010 and lived out his final days in the US, where he lectured on Iranian culture.

Although he left his homeland, his wife, the actress Shamsai, said just the sound of the word "Iran" would still bring tears to his eyes—and he remained ever hopeful for a new culture and future for his homeland.