Iraj Karimi; An Influential Critic of a Generation

Iraj Karimi, a renowned critic of Iranian cinema, passed away at an age that is typically not associated with death. However, it was advanced bone marrow cancer that incapacitated him on the afternoon of Wednesday, September 1st, at Golestan Hospital in Tehran. Iraj Karimi gained a reputable name through his film critiques, but he was also a distinctive filmmaker. This mechanical engineer from Tehran Polytechnic was so enamored with cinema that he never pursued his academic field except for a brief period. Instead, he first went to the Institute for the Intellectual Development of Children and Young Adults, where he made several short films, and later published all his writings in the film monthly, 'Film,' one of the most reputable cinema magazines in Iran from the 1980s until the last days of his life. With his unique language and style in film criticism, Iraj Karimi became a distinguished figure who attracted many followers among the younger generation. His style opened a new path in predominantly descriptive and narrative criticism and linked cinematic theories to texts with literary values. Mehdhi Abdollahzadeh, a film critic, states that 'Iraj Karimi was important and rare in the field of film criticism in Iran for several reasons. First, he was more in love with cinema than with himself. This love can be seen in his writings and inspired thousands of others in Iran. This influence is not insignificant. Who else in this field has had even a tenth of this impact with their writings? Second, being a lover alone did not make Iraj Karimi a rare critic. He had much more knowledge than other critics, not only in cinema but also in general knowledge, mastery of literature, understanding of arts, cultural insight, and a multifaceted understanding of the world outside Iran. This last point is much more important. If he wrote about European art cinema, he knew what he was talking about. He did not look at the outside world with an exotic and blindly romantic gaze. This was also clearly visible in his writings. Third, he had a signature style. It was not necessary to print his name at the top of his articles; one could tell whose pen it was. He had a distinct identity in criticism. He had individuality, which is what Robin Wood, a critic and film theorist, refers to regarding personal perspective.' Mohammad Abdi, a writer and film critic, also comments on Iraj Karimi's characteristics, stating, 'Iraj Karimi was among the first generation of the 'Film' magazine. Everyone knows that 'Film' was the only cinema magazine in the 1980s and was very influential and widely circulated. Iraj Karimi was from a generation that formed there, grew, gained fame, and continuously worked. Over several decades, he published several books, translated works, and wrote regularly. Among the theoretical discussions, which were a constant column, Karimi gathered various examples from film history and wrote about them. Usually, these were original pieces, and regardless of how good or bad they were, they can be viewed as original contributions. I think this was Karimi's characteristic. He was not fundamentally interested in translating in that way and using foreign sources in a manner that some do, thinking it is a virtue of their work, which in reality is not and is merely repeating others' words; he had his own original perspective.' From the late 1990s, Iraj Karimi seriously turned to filmmaking. In 2000, as an auteur director, he made 'We Pass By Each Other.' Three years later, he directed 'A Few Strands of Hair,' and the following year in 2004, he made 'The Gardens of Kandolus,' followed by 'The Magical Generation,' 'The Elderly,' and 'Profiles.' Mehdhi Abdollahzadeh states, 'I think it was very appealing for him to be able to localize and personalize all the attractions of cinema, that specific intellectual cinema. I think it was very appealing for him to be able to take all the attractions of cinema, that specific intellectual cinema, and make it his own. He brought the story closer to himself and created something he loved. I believe this is why there was nothing superfluous in his films, making them more endearing. Even now, when we look at the productions of at least the last twenty years in Iran, we see that his films hold a special and unique place and stand a head taller than many films that claim to be intellectual.' Mohammad Abdi also comments on Karimi's films, stating, 'Iraj Karimi was one of those who seriously experimented in cinema. His films may not have been particularly brilliant, but they were watchable and different, with their own unique style and approach. As far as I remember, Karimi had this concern for a long time. He started making short films and screenplays for a couple of people, and as a result, this concern was always with him. Personally, I am glad he was able to realize this concern, albeit in a short time. However, it is a regret that Karimi passed away so young. I believe he still had much to offer and could have expanded and matured his style and approach.' Iraj Karimi was fortunate to be among the few Iranian film critics whose works left a lasting impact on the perspective and vision of a generation of his contemporaries.