But more importantly, the festival is the only time the censors allow all new Iranian films to be screened; only after the premieres will they determine what can be shown in wider release.
But more importantly, the festival is the only time the censors allow all new Iranian films to be screened; only after the premieres will they determine what can be shown in wider release.Tags: Research Papers On Artificial IntelligenceIdeas For Argumentative EssayCriminal Justice Research Paper ExamplesDeveloping Problem Statement Research PaperNick Term Paper ArtistCommunity Equity EssayResearch Proposal TitlesHow To Write An Assignment For UniversityInfirmier Anesthesiste EnCharlotte Observer Law Day Essay
As we walk through the grime of downtown Tehran, Mahmoud talks of his other film-critic friends who have been sent to jail.
“The authorities accuse the critics of advertising Western values with their reviews,” says Mahmoud. They tell us, ‘You are advertising sex.’” According to Mahmoud, the censorship rules governing what’s allowed onto Iranian screens are haphazard and idiosyncratic.
“Here look: ten thousand dollars.” Over the years, Ali has come to serve as a valuable resource for the film communities in Tehran, and as such, occupies a strange place both above and below the government’s radar.
He tells me of the day in the early 1970s when he met director William Wyler, who had come to Iran for a screening of his film The Tehran branch of Paramount couldn’t get its hands on a copy of the film in time, and someone thought to contact Ali. He continues to provide rare films for Iranian film students and scholars, and his screenings are reminiscent of the ones with which Langlois inspired the French New Wave.
He keeps his collection—worth millions of dollars, according to Mahmoud—scattered in a number of locations south of downtown, in basement apartments and storage rooms.
Ali pulls out catalogues showing prices being paid at Sotheby’s for posters that he owns.
A colleague from home has connected me with an editor in Tehran who has in turn put me in touch with a young film critic named Mahmoud. As to why such a collection would be considered illegal, apparently it is illegal for “non-official” people to own 35 mm films at all.
Also, much of what Ali owns is considered “immoral” material.
A poster of a semi-clad Marlene Dietrich in (the archive in which Langlois preserved miles of footage from destruction during the Nazi occupation of Paris and, later, from oblivion) is as much for Ali’s daring as for his near-obsessiveness.
And Ali has taken risks, to be sure: twice he has been arrested and sent to jail.