Bahram Beyzaie’s debut feature about a well-meaning schoolteacher in Tehran who's embattled by changes of fortune, was enormously successful in its time, but had fallen out of view in post-revolutionary Iran. This version presents the film as restored in 2011 by the World Cinema Foundation at Fondazione Cineteca di Bologna/L’immagine Ritrovata laboratory, with the involvement of Bahram Beyzaie himself.
|Directed by||Bahram Beyzaie|
|Film Editing||Mehdi Rajaian|
Restored in 2011 by Cineteca di Bologna/L’Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project and Bahram Beyzaie. Restoration funded by Doha Film Institute.
«During Downpour, the equations of commercial and intellectual films were the same. The common morality of the action/drama films of the commercial cinema had a tone of political ideology and social activism. The intellectual films were praised for communicating with the mass culture. In that sense, I don’t want to be popular. Many of these (popular) moralities, in my opinion, are wrong and we are all victims of them. So, I have betrayed my people if I endorse them. I have deviated from the morals of the political parties, hence they have labeled me (inaccessible), not the people. At the heart of my harsh expression, there is a love and respect, for the people, that does not exist in superficial appraisals of the masses. … my audiences are those who strive to go one step further, not those who are the guardians of the old equations nor those who dread self examination and self reflexivity.» Bahram Beyzaie
«I’m very proud that the World Cinema Foundation has restored this wise and beautiful film, the first feature from its director Bahram Bayzaie. The tone puts me in mind of what I love best in the Italian neorealist pictures, and the story has the beauty of an ancient fable – you can feel Bayzaie’s background in Persian literature, theater and poetry. Bayzaie never received the support he deserved from the government of his home country – he now lives in California – and it’s painful to think that this extraordinary film, once so popular in Iran, was on the verge of disappearing forever. The original negative has been either impounded or destroyed by the Iranian government, and all that remained was one 35mm print with English subtitles burned in. Now, audiences all over the world will be able to see this remarkable picture.» Martin Scorsese
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