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Widespread homages are pouring in for the legendary Bahram Beyzai, a colossus of Iranian cinema and theatre, who has died at the age of 87 while residing in the United States.

A Nation Mourns

The headlines of publications in Iran mourn his loss, with opposition voices and those who look back fondly on the Shah era also offering their respects to Beyzai.

"This loss is an immense tragedy for the art and culture of our country," said the exiled prince, son of the last Shah of Iran.

Although Beyzai's subsequent works were banned in the 1980s by the theocratic government, a number of prominent officials in the current government have also acknowledged his legacy to Persian arts.

A Mentor to Filmmakers

Several of the current crop of Iranian filmmakers have expressed their gratitude to him. Award-winning director Jaafar Panahi noted that Beyzai showed them "the way to resist oblivion."

Beyzai steered clear of overtly political content in his work, both as a dramatist and a cinematic auteur, and always maintained he tried not to trade in overt messages.

But his work over many decades sets historical, even mythic figures in conflict with oppressive religious and political systems.

Roots in Tradition

From a family of celebrated 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 lifelong fan of cinema, he moved into filmmaking in the 1970s.

He gained acclaim as one of the pivotal artists in the new wave of Iranian cinema.

An Enduring Voice

His most fruitful era straddled the time of the Shah and then the Islamic theocratic forces that deposed him—with each regime ever ready to detect subtext that could be seen as criticism.

"Beyzai never opted for the easy way. He withstood years of marginalization, enforced quiet, and exile, but he did not give up his artistic voice and his convictions," stated Jaafar Panahi in his tribute.

The Little Stranger

A few years after the Iranian Revolution, he produced what many regard as his magnum opus, Bashu, the Little Stranger, about a young child who tries to take refuge from the devastating conflict.

It was banned in Iran—as were other films he made in that time—but later voted by film critics as the greatest Iranian film of all time.

The film was shown in a restored version at this year's Venice Film Festival, receiving an award for outstanding feature in the heritage category.

A Hopeful Exile

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

Even after he went into exile, his wife, the actress Shamsai, said just the sound of the word "Iran" would still bring tears to his eyes—and he continued to hope for a new culture and future for his homeland.