the Anti-hero characters in Iranian cinema after Islamic revolution

Character is one of the most important elements in creating the story, so that Aristotle in his poetic work, BUTIQA, after base of the book, has assumed the character as the most important element. However with the appearance of modernity, the character in the story reached to the higher position. Because in this era, human and human `s right became very important and man was considered as a central element in most of the arts.
Character in the film has major differences with character in the literature and maybe we can say, creating the character in cinema is harder than story literature. Because in the novel the outer and inner character can be explained fully, but in cinema, the element set of speech, movement and appearance are to be arranged, so after that the desired character will be created. In cinema, is not going to be created by one person, in fact, the screenwriter, director and actor are cooperating with each other to create a character.
Every character, in addition to its typical dimension which may represent group or stratum of the society, with more specific characteristics which can be found in lower layers of personality. Therefore, to create a lasting character, in addition to characteristics and outer mood, we have to pay attention to internal traits and psychological character. In general, to produce a character, we have to pay attention to physical and outer traits, internal characteristics, family relations, social class, social status, weakness and….. Usually, the movies has a single main character and the story revolves around it. This main character can be represented as a hero, who is placed opposite the villain of the film and or as an anti-hero who has no power and dominance and traditionally the heroes are possessing.
In fact, anti-hero, despite the weaknesses, many audiences are feeling sympathy towards them, they are isolated and separated from the society. And possess moral principles and unique features that causes their conflict with surrounding environment. Anti-heroes are rebels and have deconstructive characters and usually are doing illegal and criminal acts with good or selfish intentions and stand before the law. In general, we can say, anti-heroes are ordinary and sometimes mysterious, deep and unpredictable persons and mostly obey their own principles and rules and walk in the way which themselves believe.
In opposite, heroes are the heroes, who are satisfying the imaginations and aspirations of the audience. They have moral, peaceful and decisive characters, who stand against devil people to support the weak fellows. They have extraordinary abilities and special talents and often are pro-law. Characters of the heroes might be quirky, but they are not mysterious and capricious. Male heroes are generally attractive and beauty is characteristics of the female heroines. Traditional heroines were innocent and somewhat vulnerable with moral characteristics, but later found little male features and showed more independence.
Today`s cinema has found more tendency toward anti-heroes, because they have more varieties for the character, as well as the support and sympathy of the audiences with them are greater.
Jessica Page Morrell in the book of Bullies, Bastards & Bitches, How to write the Bad Guys of Fiction (2008) writes:
In fact, and this is important, an anti-hero, often reflects society`s confusion and ambivalence about morality, and thus he can be used for social or political comment.
Thus, social and cultural conditions of a nation at different time intervals can affect on creation of anti-heroes. For example, during Prohibition (1919 to 1934), in America, where the production, sale and transportation of alcoholic beverage was prohibited and also during the economic crisis (1929 to 1934), the gangster genre was formed and out of these two crisis, two films were made, “ the Public enemy (1931)”which was directed by William A. Wellman and Scarface (1932), directed by Howard Hawks, and in these two films, two anti-heroes were born, who perhaps were the first anti-heroes of the cinema. Tom Powers by acting of James Cagney in The Public Enemy and Tony by acting of Paul Muni in Scarface. During prohibition of alcoholic beverage, which in illegal way had great sale some groups and dangerous gangs rose who made profitable business for themselves. And gradually out of these law breakers, some were headlines of the newspapers and become famous.
We can say, the most memorable cinema anti-hero of before revolution that remained in the mind of many Iranians was QEYSAR (Kaiser) directed by MASOUD KIMIYAEE (1969). This film, somehow addressed the poor community of that time and their concerns.
But Iranian Islamic revolution, and subsequently the eight years of war between Iran and Iraq had effected the Iranian cinema. The Iranian cinema, from the 1980s to present time, under social, political, cultural effects has experienced many different conditions. And also in every period, with attention to time conditions, various anti-heroes were born. Of course, creation of a character, in addition to social conditions, which film is created, is depended on the style of the director. Iranian cinema, after the Islamic revolution of Iran, started in 1980s. in this decade, some characters just like NAKHODA KHORSHID (captain sun), directed by NASSER TAGHAVI (1987), HAMID in the film of The bird (1990), directed by BEHROUZ AFKHAMI and HAMID HAMOUN in the film of HAMOUN (1990), directed by DARIUSH MEHRJUI were born in Iranian cinema, which can be named as most important anti-heroes of this decade.
NAKHODA KHORSHID, to get his capital, which he lost and getting revenge from his own enemy is proceeding for a journey…….
HAMID in the film of BRIDE, to marry his favorite girl, and to satisfy the father of the said girl, enters the drug smuggling, which was one of the social problems of that time. In addition, this film was the start for return of stars to Iranian cinema. ABOLFAZL POURARAB in 1990s was converted to first young man of Iranian films.
We can say: KHOSROU SHAKIBAYI, by acting in the role of HAMID HAMOUN, created one of the most memorable and supported character of Iranian cinema. HAMID HAMOUN, in addition for being the representative of intellectuals in his own time, was also representative of third world and under developing country. He, as representative of his own society, was living, under pressure of prohibition and censorship and also was confused between modernity and modernity. HAMOUN, was conformation on existence of intellectual community in Iran, a community which was affected by the crisis. But in addition to addition to social and cultural problems which HAMID HAMOUN was involved in them, his own inner and personality problems have engaged him too. HAMID HAMOUN was true character of anti-hero. He was resenting the society and surrounding people and in addition to it, he was suffering from his own psychological problems and internal weaknesses…….
The 8 year war of Iran-Iraq was one of the most important events which happened after the Islamic revolution and opened a new genre. And this genre was called as sacred defense cinema.in fact, the sacred defense cinema was formed in 1980s and at the time of war. In this decade, we witnessed some films such as Eagles (1984), directed by SAMUEL KHACHIKIAN, Horizon (1989), directed by RASOUL MOLLAGHOLIPOUR, and BASHU, the little stranger (1985), directed by BAHRAM BEIZAYI, in department of sacred defense. In this genre, maybe we can say, BASHU the little stranger, is the most important work in this decade. BAHRAM BEIZAYI, presented a new presentation about woman in Iranian cinema, as a heroine.
But anti- heroes were appeared in sacred defense cinema in 1990s. one of the anti-heroes of this decade is the character of HAJ KAZEM, by the acting of PARVIZ PARASTOUI in the film of The glass Agency (1998), which was directed by EBRAHIM HATAMIKIYA. This film was highly critical, about the environment, after the war. The place, which have forgotten many facts.
HAJ KAZEM, who was a warrior, during the Iran-Iraq war, now is a taxi driver. One day, he saw his war companion friend, who came to Tehran for treatment of his neck. Because a mortar quiver has remained in his neck, from front time. Doctor detected a critical condition and advised ABAAS to move to London to remove the quiver. KAZEM has decided to sell his car to finance the journey. But the buyer of car, did not bring the money, on time. So KAZEM, advises the head of the agency to keep the car keys and documents as the security, but agency head rejects the proposal, so KAZEM gets angry and breaks the glass of the agency and after a clash with a police officer and capturing his weapon, keeps the agency clients as hostages to force the authorities for immediate arrangement of him and his friend to London.
KAZEM, in this film is the representative of the society who are suffering from the wounds of the war. A community, who tolerated the problems of the war and also the difficulties of post war time. HAJ KAZEM with his objected dialogues, hard, caustic and slightly political, has added the political layers to the film content and is reminding us , this film was made at the time of reforms. An era that witnessed open and criticism situation, politically. HAJ KAZEM`s character has a lot of tensions and contractions. The man who fought against the enemy in the front, now takes up the arm on his countrymen. He also represents the safety and insecurity of the society. The said fellow, became one of popular figures in Iranian cinema, because of his litigation.
Representation of woman in Iran cinema, after the revolution and war, had many developments. In the early years of revolution and war, cinema of Iran witnessed the absence of the women. Because, before the revolution, the women were appearing in fims as sexual element such as dancer, singer and itinerant. Therefore, women were excluded from the films. As we have mentioned, BAHRAM BEIZAYI, represented a new look about the women in his film, named as: BASHU, the little stranger. And this process was continued by DARIUSH MEHRJUI, at the end years of 1980 and early years of 1990, which was continued by other directors. Other factor which helped to develop the situation of the women in the cinema, was the 1997 political election. The reform government has removed many audits. From this period onward, issues such as temporary marriage, runaway girls, feminism and in general, social relationships of women, became main theme of Iranian cinema. And out of them, anti-heroin women were born.
Hemlock (2000), directed by BEHROUZ AFKHAMI, was one of the best- selling and most controversial films in its own time in Iran. The film is the story of a married man named, MAHMOUD, by acting of FARIBOURZ ARABNIA. After accident of his boss, MAHMOUD, meets a nurse named as SIMA, by acting of HEDIYEH TEHRANI. They start to have a relationship………
Hemlock is a deep social film and shows deep research about the women and the pressures and threats of men on them. Insecurity is felt, throughout the film. Insecurity has pointed to the women and the families. And the innocence of a woman, who is representative of many Iranian women. SIMA (hospital nurse), is an anti-heroine character of the film. In the beginning, she is cool, decisive and open minded lady. But later, we find out that, she is a lonely and sensitive woman who is searching for the social protection. Director shows, she was an innocent girl, who was deceived by a man. SIMA, is not passive to communicate with MAHMOUD, but after sometime tries to have relationship with him. She becomes a victim to save a family, which is very important issue in Iranian culture and the society……
RASUL SADRAMELI, with two films of The Girl in the Sneakers (1990) and I`m TARRANEH, 15 (2002), deals with problems of the adolescent girls and introduces two teenage female characters to Iranian cinema. Character of TARRANEH with acting of TARRANEH ALIDOUSTI in film of I`m TARRANEH 15, hardly can be place in the position of the anti-heroines. Even though, she has a relationship, which is irrational in the Iranian society, but at the end of the story, she proves her legitimacy by the help of the law. So TARRANEH is not having the necessary traits of an anti-heroine.
But TADAEE by acting of PEGAH AHANGERANI in the film of The Girl in the Sneakers, can be assumed as an anti-heroine. TADAEE is a teenager girl who goes with her boy-friend to a park. She was stopped by the police officer. Then after being questioned by the parents regarding the said matter, she decides to escape, but after wondering in the city and seeing the problems, which she has to face them, returns home.
As mentioned earlier, from reform era onward, some issues which earlier were called as taboo, entered the cinema of Iran, and also some characters, each representing a particular segment of the society. Another female character, who appeared in the role of anti-heroine is MITRA, which was acted by ROYA NONAHALI in the film of women`s prison, directed by MANIJEH HEKMAT. In this story, MITRA is in jail for murder of her step-father. And because of noncompliance with prison rules, in case of shortening her hair is kept in solitary cell as her punishment. The film of water and the fire (2001), directed by FEREIDUN JEIRANI and acting of LEILA HATAMI as MARYAM SHOKUHI is about a prostitute. And also we can talk about the role of SARA, played by BARAN KOSARI, in the film of Mainline which is directed by RAKHSHAN BANI-ETEMAAD. SARA is a drug addict and her fiancé, who is studying in Canada is un aware of her addiction……and many more cases which should be reviewed and analyzed on the social and cultural basis. Talking about each of the characters needed to explore the psychology and the exterior of the characters and awareness of the social and cultural conditions of the time.
In addition to verifying the anti-heroes in social context and the cultural conditions in which they are existed, they can be categorized, according to style of directors such as MASOUD KIMIYAEE, EBRAHIM HATAMI KIYA, TAHMINEH MILLANI, RAKHSHAN BANI-ETEMAAD, ASGHAR FARHADI and ……..
As previously mentioned, MASOUD KIMIYAEE has created, one of the most memorable anti-hero-characters, before the Islamic revolution in the film of Caesar, and after that general theme of Caesar character was repeated in all his later works. Anti-heroes of KIMIYAEE films, on the basis of some concepts such as knowledge, friendship and pragmatism, stand in front of life odds. His important works are: The lead (1988), Snake Fang (1990), SOLTAN (1996), The Friday`s soldiers (2004). Command (2005), The Boss (2007), Trial on the street (2009) and the Crime (2011).
EBRAHIM HATAMIKIYA, always represented the socio-political conditions of the community in his films. Protest is one of the concepts and fixed elements of HATAMIKIYA`s films. The object of the individual against the society. A community that, he was supporting its values, before. The three films of The Glass Agency, Low Heights (2002) and Purple Color (2004), are having frame of anti-heroes. Audiences love these kind of anti-heroes and believe that, they are right. The glass Agency, as we have discussed about it, narrates the story of a war fighter, who is angry about the behaviors of the society. The Low Heights, narrates the story of a war-torn man named GHASEM (acted by HAMID FAROKHNEJAD). Due to financial problems, he decides to hijack the BANDARABBAS plane and take it to DUBAI. But in the film of Purple Color, we are facing an intelligent officer, who is trapped between his duty and his individual ability and finally, he chooses the second one. In this film the contrast between two generations, love, wisdom and power were represented. Anti-hero of this film is acting against the rules of his own system.
Addressing the women`s issues and problems and their conflict with men was always the permanent obsession of TAHMINEH MILLANI, in her films. We can observer her feminist vision about society in films such as: Two Women (1999), The Hidden half (2001), THE Fifth Reaction (2003). The unwanted Woman (2005) and………
Her look toward the women issues is unrealistic. She tries to show that, men are evil creatures who made the life too hard for the ladies, and creatures who are not having affection and understanding. The women of TAHMINEH MILLANI films can be compared anti-heroes of MASOUD KIMIYAEE films. The women, who are fighting with the problems, alone. And men and society are against them. We can say majority of characters of this female director are anti-heroes. They are acting upon their feelings and usually are against the law.
The Two Women film can be named as the first serious and feminist film of Iran, which was made after the Islamic revolution. The said film was highly regarded. Many magazines and newspapers made various statements regarding the film. FERESHTEH (acted by NIKI KARIMI), is the main character of the film. At the time of releasing this film, the HAMSHAHRI newspaper in its 1886 issue wrote: she is talented, ambitious and responsible young girl, who does her level best to reach a better life. But pressures from surrounding persons, finally makes her a defeated person, and gradually she loses all her talents.
In recent years, we did not see much anti-heroes in Iranian cinema. We can examine this concept from various directions. The society`s mind is going toward the democracy and equality of humans and this issue had influence on works of Iranian directors. Three decades have passed from the revolution and now the present public have different feelings. They like conservatism, prudence, caution and self-interest.
This change of process can be followed in works of ASGHAR FARHADI. This film director, introduces two teenagers from lower class of the society as anti-heroes in films of Dancing in the Dust (2003), and The Beautiful city (2004). In addition to the time, the low class of the society which was selected by the director, had effect on presence of anti-hero in the first two films. They think, the person should stand in front of all difficulties and have no believe in social justice and democracy. But the next films of the director which narrates about the middle class, a single person as hero or anti-hero can`t be considered. All characters are in the same level and no one is higher than the other. In next films of ASGHAR FARHADI, such as Wednesday Fireworks (2007), About ELLY (2009), A Separation (2011) and The Past (2013), there are some characters who are exactly like us in the society.
As the title of this article states, the aim of this research is about the representation of anti-heroes in Iranian cinema and also the factors which were effective in their creation. This survey is examining the post revolution of Iranian cinema. The questions that arise and determines the path of this research are:
- What factors are effective in representation of anti-heroes character?
- Whether the anti-heroes of Iran are following a typical pattern? Where this model came from and how it was formed?
- How much Iranian myths and old models, influenced the anti-heroes?
- How was the evolution path of anti-heroes, after the revolution?
- How much and how the taste of the audience affected in changing process of the anti-heroes?
- We hope, with such researches, the Iranian cinema and its condition will be more introduced to the world. Because, Iran has much ability and capacity in cinema art and good present of Iranian films and directors are the proofs for this claim.