This article profiles Ovanes Ohanian, who directed Iran’s first feature film and established its first acting school for cinema in the early 20th century. It analyzes Ohanian’s opaque history, disputed accomplishments, and an eclectic career that oscillated between highs like corresponding with Hollywood figures, to questionable ventures like attempting film projects in India before facing detainment over alleged Nazi ties. Tracing Ohanian’s filmmaking origins to his studies in 1920s Moscow and innovations in early Turkmen cinema, examination sheds light on his artistic ambitions within Iran’s movie industry. Discussion assesses pioneering works like 1930’s “Abi o Rabi” and 1931’s “Haji Agha Actor-e Cinema” in context of their financial failures, situating Ohanian as an eager cinematic risk-taker whose trailblazing collided with commercial limitations. Ultimately, the article aims to unravel the enigmatic story of this founding father of Iranian film.
This article illuminates the obscured story of Rouhangiz Saminejad, who starred as the lead actress in Iran’s first sound film “Dokhtar-e-Lor” (1933), despite strog societal opposition to Muslim women in cinema at the time. Analysis spotlights how Saminejad navigated barriers as the nation’s first on-screen talent, facing backlash like protests and family ostracization for breaching established mores. Underscoring her migrant upbringing in 1920s Mumbai amidst Iran’s burgeoning film scene, discussion weighs external pressures and personal tribulations that likely prompted her post-acting life in obscurity as she retreated from the spotlight. This article works to unveil the forgotten narrative of this groundbreaker, piecing together a fragmented history of her fleeting movie career, subsequent marginalization, and quiet later years, ultimately arguing for properly recognizing Saminejad’s importance in Iranian cinema history.