Showing a loving couple in Iranian cinema is not an easy task. There are restrictions on the way that are not hidden from anyone. It is these limitations that have led our cinema to show more of the story of the season instead of the connected story. Put couples not together but in front and in war or show their love one-sidedly. This is why in reviewing our Iranian films, we are confronted with countless love stories that eventually turn into hatred or are not formed at all due to being one-sided. It is clear that the separation of loving couples is part of reality, but neither cinema is always a reflection of reality nor all love stories - if we want to put aside the theory that true love finds meaning in not reaching - in real life is a bitter end. They lead to separation. Nor is it to be expected that, in the context of easy romantic comedies, he would see a loving couple on a movie screen as if they came from other planets or, at best, a handful of Hollywood movies.
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Although various artistic and literary mediums have dealt with the subject of love in detail, many theories have been made. This is the most important and, more precisely, the most pervasive subject in cinema, literature, and popular culture, and it remains a mystery to us. But it is the mystery of love that allows it to be looked at, explored, and discovered from different angles and points of view. Something that can be the source of life is not supposed to fit into mathematical equations at all and have a formula or be easily accessible. Like other human subjects, if there is no correct and deep insight and understanding behind it, the result will not be believable and satisfactory in any context and definitely on the screen. However, some of our great directors, who have not gone beyond simple love and who have seen and understood love correctly, pure and sublime, have succeeded in their lifetime in creating real and genuine loving couples who, although limited, have in our minds. Consolidate, perpetuate, and sometimes even become a template and streamer. They have been able to incorporate the image of their view of love in the form of an image in such a way that they accompany and empathize with the audience, even with a bitter ending. This article deals with a number of acclaimed and memorable couples in love with the cinema of some of the most important Iranian filmmakers. Truly loving couples who have believed in love and fought for it.
Leila and Reza in "Leila"
- Director: Dariush Mehrjoui
- Actors: Leila Hatami, Ali Mosaffa
- Produced in 1375
If love is self-sacrifice, Leila is the absolute embodiment of love; A woman who is in a fight with herself because of infertility, despite all the opposition from her husband's family members and out of sight of her family just because her mother-in-law wants to have the only son in the family, in fact a son of her own, Give her husband a remarriage.
Mr. Mehrjoui is a pioneer and unique in Iranian cinema in creating female characters who pursue female love and self-sacrifice to the point of insanity and self-destruction. "Leila" after the trilogy "Lady", "Sarah" and "Fairy" (of course, since "Lady" was made in the early seventies but was released due to a ban seven years later, in fact for the audience of "Leila" which was produced in 1375 This is the final part of this trilogy. They are just beginning.
Many have considered "Leila" anti-woman now that her time, standards and moral standards have changed, but Leila's character is femininity. But not that femininity, the stereotype of the victim's self-sacrificing self-sacrifice or the unattainable arrogant individualism, is self-destructive, but it is an uprising against all tendencies that lead man to blackness. Accepting Reza's remarriage, given that he does not agree to separate from Leila, is not accepting the sharing of love in a culture that he never accepts for a woman, that if it were Reza's wedding night and the new bride, he would leave the house in the middle of the night. Fear did not leave her crying. This inner struggle of Leila is with the destiny for which fate has determined her, the divine test that has been placed in her way, and Leila ruthlessly, faithfully, alone, inevitably tests herself in order to face her true self. This level of self-awareness in love is unique and laudable in a cinema that is more masculine and even sees love that is fundamentally feminine. Leila's counterparts in our cinema are few. Here is Lilac defining love. Lilast praises Reza for this painful joke.
He can be blamed in his heart for voluntarily accepting this game, he can be hated by Reza for his passivity, but this game is for Lilast and Reza Leila. Believes in love. It is not for nothing that His name is Reza. When playing, the couple even have the ability to joke with potential marriage candidates and still love each other. There is no news of a traditional secret man who considers it his right to have children and a jealous woman who fears betrayal in secret because of her infertility. We are on the side of enlightened and mature human beings who realize in their divine test that true love is indivisible. May they come back one day.
2. Sultan and Mary in "Sultan"
- Director: Masoud Kimiaei
- Actors: Fariborz Arabnia, Hedyeh Tehrani
- Produced in 1375
I do something good for the girl, like a document, money, gold, give it to her, take the girl away from her with tears and thank her, then ride with the family, the motorbike or the car separates from the girl, on the way back, nostalgia He sings or sings for everything his house, his grandmother, his school or himself. We saw a lot of these things. We went, madam.
Mr. Kimiaei summarizes the whole love story of Sultan and Maryam in this brilliant monologue. The story of a poor man who falls in love with someone richer and, as he puts it, more familiar with himself, and knows that in the end this love will not inevitably come together. Again, we encounter a kind of love that ends in self-sacrifice. Of course, the sultan's complex character only loves Maryam, who is beautiful and steadfast, is the target of oppression, and he is not alone in the face of a pack of wolves. Take it.
Here, too, like Leila, the scales of love are heavier on one side, towards the sultan, who is as big as his name. Incidentally in the story of Maryam, he confronts the land grabbers who want to knock down the tower of the old aristocratic house, which they call "Kalangi" - of which Maryam and her caretaker father, by the will of the owner, have gone. Make it, his problem becomes more serious for him than just love for Mary. Maryam is alone and she is right and Sultan is on the right side. But this land grabbing, this development and the expansion of the city towards modernity have already taken away from him the Sultan's father's house. He sympathizes with Mary. The matter becomes even more serious for him when he sees that the same comrade Narfiqi who once sold the old friend of the Sultan in the tumult of the revolution betrays another moment, once for his comrade and now for his love.
If once Ahmad Najafi set fire to "Snake's Tooth" in support of justice and the phoenix came out of it, Mr. Kimiaei in "Sultan" is so unjustly angry that he sets his hero on fire. Yes, yet another bitter love story, and yet the lack of connection, what makes Mary's and Sultan's relationship special and memorable is Mary's belief and trust in the pocket warrior who, according to the calculations of the time, should normally be feared. This may be possible only in the field of storytelling and cinema, but it has left us the result of one of the most believable loving couples, including the best romantic scenes and looks in post-revolutionary cinema.
Fariborz Arabonia in his second experience of cooperation With Masoud Kimiaei, after "Banquet", who presented an acceptable play, in "Sultan", he became accustomed to the atmosphere of chemical cinema and reached maturity, and is one of the cinematic characters whose fame is higher than the film. Hedyeh Tehrani also had her first experience in cinema with "Sultan" and may not have been very strong and correct in understanding and showing the role of Maryam, but her face is nail-biting on the screen.
3. Qasim and Narges in "Low Altitude"
- Director: Ebrahim Hatamikia
- Actors: Hamid Farkhonejad, Leila Hatami
- Produced in 2002
couples in love with Ebrahim Hatamikia's films usually have no internal barriers to their relationship does not have; Everything is out of the world. These couples have so much commitment and trust in each other that they even lag behind in actions that are considered abnormal by the public. If Fatemeh sends her a plaque to the "Glass Agency" in support of her husband's move to the airline to save Abbas Abbas and take him to a flight to England, Narges "Post Altitude" enters the plane with Qasim, who is to be taken hostage, and He is the only one who is aware of his decision and having his firearm with him; He protests, he is afraid, but he stands by his wife. And when he sees the whole family, even his mother and brothers, in front of Qasim, in a very effective monologue with Leila Hatami's strong play, he defends him in a way that glorifies Qasim in front of us and everyone; Qasim, who falsely told his family and friends about bread, water, medicine and treatment for his disabled son, that there is a place for all of them and that is why he bought them a plane ticket so that he could force the pilot to take them to the Promised Land.>
An ordinary woman may oppose such a thing or at least refuse to accompany it, but the woman from The female characters in Hatamiya Kia's films have such confidence in their men that they even share a crime with her. Narges "Low Altitude" even puts the gun on her forehead to stop her mother who wants to stop Qasim. The sequence in which Qassem returns and sees Narges with a gun and takes it from her hand and makes her look worried and in love, the intersection of the two looks one of the best and most beautiful romantic moments of Iranian cinema.
4. Pigeon and Asghar in "Blue Scarf"
- Director: Rakhshan Bonyeh Etemad
- Actors: Gulab Adineh, Jamshid Ismailkhani
- Produced in 1373
Perhaps the choice of pigeon and Asghar as a couple in love with "blue scarf" and not Rasoul Rahmani and Nobar Kordani (Played by Ezatullah Entezami and Fatemeh Motamedaria) In this list, there is a strange and unusual choice. The old man's love for the young "Blue Scarf" was portrayed in his time so norm-breakingly and boldly that it became an event in Iranian cinema. But this love is compassionate; It is not a matter of being abnormal or unusual, the motive and factor of the two characters getting closer to each other based on Nobar's need for greater security and the security he has never had, and the compassion and sympathy of Rasool Darreh is facing a situation that He has not seen or experienced it closely.
But pigeons and minors are of the same genus and class; Nothing but pure love is the reason for their attraction to each other. The pigeon is the worker of Rasoul Rahmani's factory and Asghar is his foreman and manager. The unspoken love of the two is revealed at the same time that Rasool, after seeing the sad situation of Nobar and his family, thinks of telling Asghar to marry Nobar so that he can settle down. But Asghar does not accept, despite the respect he has for the gentleman and his words, because he is interested in pigeons. Unaware that the pigeon is secretly interested in him. The sequence in which this secret is revealed has formed one of the most beautiful romantic sequences in Iranian cinema. What could be more beautiful than two people unknowingly loving each other and then getting together?
5. Hamed and Priya in "Yalda Night"
- Director: Kiomars Pourahmad
- Actors: Mohammad Reza Forootan, Hilda Hashempour
- Produced in 2001
"Yalda Night" is the culmination of the career of Kiomars Poorahmad and also Mohammad Reza Forootan, one of the most beautiful romance films in Iranian cinema Which tells the life story of a man who loves family, life, art, music and homeland, which seems to be a symbol of Iran, when his wife and child leave to emigrate from Iran, and he realizes the separation and distance from them. He has betrayed her and wants to separate from her. Poorahmad was able to depict the concept of loneliness beautifully and correctly with this powerful choice. In Hamed's house, after the migration of his wife and daughter, we do not see anyone except his mother, who comes to him in a few days and a cat; We know the rest of the characters only by phone, each with a different accent. Among these phone calls, a person who is going to send Hamed's packages to Germany, Priya is the name that gradually forms a beautiful romantic relationship between him and Hamed. Both alone, both broken in love, begin together to the pain of the heart and talk about their lives. Hamed comes forward with a sad voice. Although God has opened another mercy for Hamed and the two accidentally fall out of the water, the wounded fairy does not trust Hamed at first to reveal their neighbor. But this connection becomes so intimate with the patience of both of them and the encouragement of the fairies to Hamed's austerity that he finally finds himself on the threshold of his house on a snowy day with a beautiful bouquet, when Hamed must finally be forced to leave his house for his mother's death. And Hamed hands him the key to his house and leaves. In the last scene, we now see the fairy only in Hamed's house, who brings light to the house and finds the traces of Hamed's love for himself in the house.
6. Daniel and Mahtab in "Born in October"
- Director: Ahmad Reza Darvish
- Cast: Mohammad Reza Forootan, Mitra Hajar
- Produced in 1999
Expressing love by woman to man in Iranian culture Not very accepted. In poetry, literature, and cinema, you will find most of the men in need and the cute women. This is how a poet like Forough Farrokhzad is notorious at first for his tradition-breaking and open expression of love for his beloved, and of course, after his death by those who once attacked him, he becomes a sacred figure in contemporary Iranian poetry. Today, Forough is the manifestation of female love in Persian poetry. This is the characteristic of the romantic index between Mahtab and Daniel "Born in the month of October"; That this woman is a story that boldly pursues her lover.
The story is that in the midst of The June 2nd riots and protests at the University of Humanities (Allameh Tabatabai) order the separation of male and female students in the classrooms. Students protesting; Mahtab, whose father is a member of the university's board of directors, is at the forefront of the protests. The university mobilization, of which Daniel is a member - everyone except Daniel agrees with the university's move - issues harsh statements in support of the agreement, but no one accepts responsibility when it comes to them. Daniel is the only one who raises his hand to protect his reputation in front of everyone when he sees that his friends are silent. It turns out to be a fake love letter written by a number of students opposed to the separation and aware of Daniel and Mahtab's emotional connection in Daniel's language, and a case is filed against Daniel and he is expelled from the university.
This is the story that Narrated in flashback. At the beginning of the film, some time after that incident, Daniel goes south and Mahtab follows him to "beg for love" from him. Daniel, knowing that their love could not be fulfilled because of his father's bread at the moonlight's subsistence rate, and that he did not consider the two alone in his humble caper, decides to bring him back. This is the beginning of a romantic journey that ultimately leads to a bitter but poetic end. "Born in October", like many films made in the second half of the seventies, is largely overshadowed by the events of June 2, but it has left us with one of the most beautiful, bold and real romantic relationships.
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7. Ali and Nikki in the "acting class"
- Director: Alireza Davoudnejad
- Cast: Pardis Ahmadieh, Ali Davoudnejad
- Produced in 2011
"Acting Class" is all about love. This is the message of the film; love for family, love for all kinds in a tumultuous context where money and selfishness prevent love and affection. This documentary is about a mother who has children from two different marriages. She, who lives with her eldest son and granddaughter, is persuaded by her other son, who is from her second marriage, to sell her house and turn it into a coin as the coin rises. His eldest son opposes this and stands against his half-brother. Each of these brothers also has a sister, one of whom wants to sell the house due to financial problems, and the other has no position because she has bigger problems. His wife has cheated on his brother, and his teenage son Ali is in love with his brother's daughter, Nikki, whose cousins live together and have grown up together since childhood.
Amid all the family quarrels over money and "talk" This is my word ", these are the only young Ali and Nikki who have no worries other than love for each other, and as Nikki says to the camera with tears in her eyes," they do not like this world of adults "and are not willing to pass each other. When, between the main narrative of Nikki and Ali, it is reported that Nikki's father, due to financial difficulties, agrees to marry his daughter to a new man to pay his debts, Ali first resists and becomes a stranger, then decides to sacrifice himself and Forgive love for the sake of love. But Nikki refuses and runs away from the courtship ceremony and takes refuge in Ali's grandmother's house. Then, thanks to the dream world, Mr. Davoodnejad turns the page and the so-called suitor steps forward and agrees to pay the debts of Nikki's father unconditionally so that Ali and Nikki can meet. And in this way, one of the most beautiful and non-stereotyped fairy tales of Iranian cinema is formed.