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Widespread homages are pouring in for Bahram Beyzai, a giant of Iranian cinema and theatre, who has died aged 87 in the US.

Homeland in Mourning

The headlines of publications in Iran mourn his loss, with opposition voices and those who reflect nostalgically on the pre-revolution period also paying homage to Beyzai.

"His passing is a great loss for the art and culture of our country," remarked Prince Reza Pahlavi, the exiled son of the last Shah of Iran.

Although Beyzai's later films were banned in the 1980s by the Islamic regime, a host of senior figures in the current government have also acknowledged his legacy to Iranian culture.

A Mentor to Filmmakers

Several of the current crop of Iranian filmmakers have expressed their gratitude to him. Award-winning director Jaafar Panahi said that Beyzai showed them "how to stand up to oblivion."

Beyzai steered clear of direct political references in his work, both as a playwright and a cinematic auteur, and always maintained he tried not to deal in overt messages.

But his work over many decades sets archetypal characters in conflict with oppressive religious and political systems.

A Cultural Foundation

From a family of renowned poets, Beyzai was imbued in the richest heritage of Iranian artistry from birth.

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

A devotee of cinema, he moved into filmmaking in the 1970s.

He gained acclaim as one of the key figures in the groundbreaking movement of Iranian cinema.

An Enduring Voice

His most productive period spanned the time of the Shah and then the revolutionary government that overthrew him—with both systems constantly poised to detect subtext that could be seen as dissent.

"Beyzai did not choose the easy way. He withstood years of marginalization, enforced quiet, and distance, but he did not give up his language and his convictions," stated the filmmaker in his tribute.

A Masterpiece Amidst Conflict

A few years after the 1979 Revolution, he produced what many regard as his magnum opus, 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 time—but later voted by 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 classics section.

A Hopeful Exile

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

Although he left his homeland, his wife, the actress Mozhdeh 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.