Googoosh: In Iran, Anyone Who Stands Out Gets Their Head Cut Off

In the first part of this interview, you heard about Googoosh's connection with old artists and her excessive love for cinema. Continuing the conversation, she discusses her comfort level with various actors, mentioning that aside from one or two, she felt at ease and learned from them. She highlights prominent figures like Mr. Etemadi and Mr. Mashayekhi, and recalls her work with Behrouz Vossoughi in four films, noting their comfort in front of the camera. The discussion shifts to the film "Nazanin," where she appeared with a very different look, as Ali Abbasi jokingly suggested that actresses were brought in to resemble Googoosh, while she aimed to change her appearance to avoid being recognized as herself. Googoosh expresses her desire for the audience to see the character rather than her. She reflects on her experiences with the film and her collaboration with Davood Nejad, mentioning that some scenes she did not like, particularly those with Changiz Vossoughi. When asked about projects she wanted to pursue, she explains that due to budget constraints and a focus on her concert work, many film projects did not materialize. She notes that many artists, including Maziar, Fereydoun Foroughi, and Farhad, faced similar challenges in continuing their careers. Googoosh emphasizes that she returned to Iran during the revolution because she was in a dire situation and that decisions made during that time were often spontaneous. She comments on the difficulties faced by artists, such as Habib, who returned to Iran but struggled to obtain concert permits. Googoosh criticizes the current Iranian system, stating that it does not allow individuals to rise above a certain level of success, effectively 'pruning' those who gain popularity. She contrasts this with the past, where successful individuals were celebrated. The conversation also touches on her previous program "Academy" and her current interest in the new program "Stage." Googoosh expresses her admiration for the Tajik people and her desire to perform in Tajikistan, although logistical and security issues have prevented this. She reflects on her past works and the importance of connecting with younger generations through music, mentioning her cover of the song "Morgh-e Sahar." Googoosh concludes by sharing her longing for the love and affection she experienced in Iran and her ongoing writing of her life story.