Mohammad Ali Bashe Ahangar, the director of The Queen (2012), brings his personal war experiences to the screen, defying Iran’s dominant war cinema. His work highlights the psychological toll of warfare, contrasting soldiers' struggles with the political leaders who orchestrate conflicts, making The Queen a unique and thought-provoking entry in Iranian war cinema.
The Iran-Iraq War was a devastating conflict that claimed over a million lives. However, it also had a profound impact on Iranian and Iraqi cinema, with over 260 films made about the war. Iranian filmmakers, many of whom fought in the conflict, learned to make movies amidst the chaos of war. Over the past four decades, Iranian war films have evolved, blending action, mysticism, comedy, and the harsh realities of war. Some of the most popular Iranian war films include Les Aigles (1985), The Glass Agency (1998), Deportees (2007), and Standing in the Dust (2016). These films reflect changes in Iranian society, including shifts in population, economy, and geopolitical situation. They also reflect changing audience tastes and attitudes towards war.
One of the most notable recent Iranian war films is The Queen (2012). This film takes a global perspective on the conflict, exploring the experiences of troops on both sides of the front. It also examines the role of leaders in causing wars and perpetuating cycles of violence and retaliation. Despite its critical acclaim, The Queen faced challenges in Iran due to its portrayal of the conflict and its political implications. Iranian conservatives and fundamentalists opposed the film’s message, which ran counter to their goals of promoting political Islam and theocracy. Nevertheless, The Queen remains a powerful and thought-provoking film that sheds light on the human cost of war and the importance of peace.
Cinema of the war in Iran
The cinema of war, which is known in Iran as the Sacred Defense Cinema, did not exist before 1980. It was born in this year with the production of the film Frontier (1980) by Jamshid Heydari. Until today, more than 260 films have been made about the Iran-Iraq war.[4]
In the 1980 movie “The Border,” an army sergeant lives in a border village and teaches the people there how to defend themselves and fight. The sergeant leads the villagers into a fight with the Iraqi army, which ends with the villagers winning. The main theme of the movie is heroism, which is meant to bring back feelings of patriotism, nationalism, courage, and the importance of protecting one’s home country. This style and approach to the story are found in more than 90% of war movies made before the end of the war. [5] Many Iranian directors learned how to make movies while they were fighting in the war. Both the revolution and the war, which were heavily influenced by the Muslim religion and Iranian mysticism, had a big impact on these filmmakers. As a result, they blend action and mysticism in their films. Notable examples of this style include Nineveh (1983), Marriage of the Blessed (1989), Human and Weapon (1989), and On the Altar of Love (1990). [6]
During the first 10 years of movies about the war, Iran only made one movie that was against it. The 1984 film Bahram Beizai directed, Bashu, the Little Stranger (1989), was prohibited for 5 years. The small child in this movie needs to flee from bombings in his city in southern Iran. He climbs inside a pickup and nods off. The young war refugee has communication difficulties with the locals of the northern city since the language and culture of the north are different from those of the south. [7] Two further cinematic types evolved after the war. These are comedies and movies that depict the effects of war. Yet, the holiness of battle should be upheld even in these two forms. With this wave, the social sides of battle are starting to be shown in war movies. This style is well-known in movies like From Karkheh to the Rhine (1993), Kimia (1995), The Perfume of Joseph’s Shirt (1995), The Glass Agency (1998), and The Night Bus (2007). The list of popular war movies demonstrates how much Iranian audiences’ tastes in this genre have changed over the past four decades. If we concentrate on Iranian war films throughout the course of these four decades, Les Aigles (1985), The Glass Agency (1998), Deportees (2007), and Standing in the Dust (2016) are the four films that have received the most positive critical and commercial reception. [8]
Changes in the country’s population, economy, geopolitical situation, and audience tastes have all affected how Iranian war movies have changed over time. Over the course of several decades, both the themes and the characters in these movies have changed in big ways. In early war movies, like “The Eagles,” a lone hero would fight against enemy soldiers all by himself. But as time went on, audiences wanted to see more complex depictions of post-war problems and how they affected soldiers. In movies like “The Glass Agency,” the struggles of soldiers who were hurt or killed in battle were shown. In the third decade, a new type of hero emerged in war films—one who made light of death and conflict by engaging in exaggerated, caricatured battles with simpleton foes. “Deportees” is an example of this type of film.
In the 2010s, people wanted to see more realistic depictions of war and combat. Films like “Standing in the Dust” were based on real events and utilized genuine sounds and recordings from war archives to create a more realistic portrayal of the experiences of combatants. Overall, the change in Iranian war movies shows how people’s ideas and feelings about war and how it affects people and society are changing. As the country’s social and political situation continues to change, it’s likely that the themes and characters in these movies will also change to reflect these changes. At this point, we’ll concentrate our attention on a certain 2012 movie that stands out for its portrayal of driven combatants and pacifist stance.
The Queen (2012) Synopsis
The Queen (2012) depicts the story of Siavash, an artillery scout who moves to Abadan [11] after the disappearance of his colleague, Jamshid. [9] Siavash [10] struggles with his job as he lacks the precise indications that Jamshid was known for. But as Siavash wanders around the refinery, he finds Jamshid’s secret hiding place on top of one of the chimneys, where he gave the artillery precise directions. Siavash takes over Jamshid’s role and dominates the front, but his doubts begin to arise as he takes the lives of enemy soldiers. Siavash’s ability to kill gets too much for him, and he has to deal with the results of his actions. 
Mohammad Ali Bashe Ahangar
Mohammad Ali Bashe Ahangar, an Iranian director and screenwriter born in 1962, is known for his works that reflect his personal experiences of war. During the war, he lost family members. He now lives in southern Iran and has made six movies, three of which show how war can hurt people. In an interview after the premiere of his most recent film at the Fajr Film Festival, Ahangar said that his work is based on real life. He disagrees with the idea that having been in war automatically makes someone a good film director. He thinks that telling the whole truth about war is too much for some people to handle. In particular, he is talking about the fundamentalists in Iran who believe that war is a holy thing. [12]
My take on the movie
The soldier who controls the fire while perched atop a tower is the subject of this movie. He observes interpersonal interactions, the city, life, and the dead. He has the option of killing some or sparing others. It appears as though he is taking God’s seat in the chair. Decisions affecting other people’s life must now be made by the frivolous child of yesterday who used to care for the bees. We have to murder them all, he says hesitantly. If I don’t murder one, tomorrow my buddies could be killed by the same enemy soldier. If we bomb them, they will become enraged and bomb the city, and I will be held accountable for my countrymen’s deaths. Siavash is aware that his actions can prompt the enemy to launch an attack on the city. This implies that retribution is a vicious circle that never ends and that violence is the reproduction of violence. Both parties are seeking retribution.
Both the enemy’s conduct and his buddies’ behavior, as seen when he uses the other camera, are the same. Muslims are pleading and feeling compassion on both sides. Gray replaces the typical black and white of battlefronts. He distinguishes himself from the other artillery personnel because he can witness the effects of his operations. Not everyone is able to support the weight. During the movie, we shall see how other visitors to this observation point become insane.
The climax of the film comes at the end of the film, where in today’s Abadan footage we hear the voice of Siavash, who died in the footage before:
If a bee bites, it expires.
I’m not sure. Does he know that if he bites, he will perish?
If she bites, only the queen bee survives.
The bee in peril must decide whether to put her life or the security of her home first.
Separating the queen bee, immune to death even if she bites, the director separates the soldiers and the political leaders: the decision makers and the makers of wars, those who risk their lives in front of a difficult choice.
During the course of the movie’s plot, Siavash changes; he moves from scorn to doubt before regaining his composure.
In this movie, the characters’ first names are incredibly significant.
Siavash
Siavash is a beautiful, strong, and mistreated warrior whose death is a huge tragedy in Iranian literature from the past. His mythology, which dates back before Islam, continues to inspire Iranians. His name is associated with locations from Herat in Afghanistan to Shiraz (Greater Persia). The tradition states that Siavash and Rostam engage in combat when Turan [13] attacks Iran’s boundaries. He achieved enormous success. The king of Turan, Afrasiab [15], requests peace. To get the King of Iran’s approval for peace, Siavash sent a messenger to the Palace of Kavos [16], which serves as his residence. Kavos refuses to accept peace and commands Siavash to execute all prisoners! Siavash breaks away from the Iranian soldiers out of rage. He spent several years in exile before being assassinated in a plot.
Jamshid
One of the legendary rulers of Persia is named Jamshid. His name can be found in manuscripts from the Islamic era, the Avesta [17] texts, and the Pehlevi script [18]. It has a significant role in Persian mythology. He was actually an urban engineer and the one who invented the vast Iranian army. He produced a lot of weaponry, and his army was powerful. The son of Tahmures [19] and a magnificent king, Jamshid is described in the Shahnameh (The Book of Kings). After a while, he turns selfish, forfeits the Khvarenah [20], and Zahhak kills him [21]. There is no doubt that the two names chosen for the two key characters in this movie’s plot were not chosen randomly.
Why is this movie important?
This is the first film to examine the conflict from a global perspective and care for the plight of troops on both sides of the front after 40 years of war films in Iran. The genre and focus on the Iranian conflict make this movie special. The Queen (2012) shares some visual similarities with “The Night Bus” (2007), but this movie is far more focused on the value of human life. Kiumars Poorahmad’s 2007 film The Night Bus depicts the tale of two teenage Iranian soldiers who guard a prisoner-of-war bus while on a prison visit. In the movie’s plot, an Iranian soldier discovers that one of the Iraqi troops he was acquainted with in Europe before the war is also an Iranian soldier. But don’t have faith in one another. Although they have doubts when they get near the enemy in this movie as well, the focus of the story is mainly on how the war has affected Iranian culture. The Queen (2012) demonstrates how the choice of leaders causes wars and how this sets off a cycle of retaliation and violence. Onscreen, The Queen (2012) has a number of issues. Even though it took home the Fajr festival’s Best Audience Film award, it had poor sales. The filmmaker believes that “this is because this movie was only exhibited in five theaters. My movie would have unquestionably sold well had it been shown in 90 theaters. The “Art Division of Islamic Propaganda Organization” and the town hall control 90% of the theaters in Iran. Both groups are influenced by Iranian conservatives, and as a result, they have the power to prevent movies from being shown if they want to limit the audience. Also, this movie runs counter to the goals of Iran’s Islamists.
The Fundamentalists
One of Iran’s two main political parties in post-revolutionary Iran is the fundamentalist movement. They barely account for 15% of Iranian society [22], yet they are Iran’s ruling class. They have influence over key political positions. The majority of councils for determining the higher interests of the regime are the Supreme Leader of Iran, the President of the National Assembly, the President of the Jurisdictional Organization, the President and numerous members of the Assembly of Experts, and… Islamists who desire political Islam, Velayat-e Faqih [23], and theocracy According to them, these factors are to blame for the Middle East conflict: [24]
They assert that these factors make the Middle East conflict a defense against Islam. They describe themselves in opposition to Western culture. They claim on the Iran-Iraq war that “we had to continue the fight to destroy the Westerners’ (in their view, the United States and Israel) intrigues.” They view consuming the UN Security Council Resolution 598 as doing so while consuming poison. They have depicted the reformists, the second major political movement, as traitors for supporting the acceptance of the peace accords over the last 30 years since the conclusion of the war in all political disputes. Several war cinema films that have critiqued war up to this point have looked at the impacts of war on society and the effects of injuries and death on survivors’ lives.
Nevertheless, The Queen (2012) emphasizes the value of human life.
1 . Abrahamian, Ervand, A History of Modern Iran, Cambridge University Press; unknown edition, 2008, 171–175, 212 p. ↑
2. Sohrabi Donya , «les films les plus vendus du cinéma de la défense sacrée» , Donya e eqtesad ↑
3. Hamedi khah Fatemeh , «Les dictateurs n’aiment pas l’art» , Mehr News Agency ↑
4. Sohrabi Donya , «les films les plus vendus du cinéma de la défense sacrée» , Donya e eqtesad ↑
5. Le Frontière (accès à ce lien) ↑
6. Le vol dans la nuit (accès à ce lien) ↑
7. Bashu, le petit étranger (accès à ce lien) ↑
8. Sohrabi Donya , «les films les plus vendus du cinéma de la défense sacrée» , Donya e eqtesad ↑
9. Jamshid, le 4e et plus grand des premiers rois de l’humanité dans le Shâh Nâmâ de Ferdowsi. ↑
10. Siavash est une figure majeure dans l’œuvre épique de Ferdowsi, le Shâh Nâmâ. ↑
11. Abadan est une ville de la province du Khuzistan en Iran, dans une île de l’Arvand rud. ↑
12. L’interview de Mohammad Ali Bashe Ahangar (accès à ce lien) ↑
13. C’est le nom d’un royaume légendaire opposé à l’Iran dans le Shâh Nâmeh de Ferdowsî. ↑
14. Rostam est un héros mythique de la Perse antique. ↑
15. Afrasiab est le nom du roi et héros mythique de Turan ↑
16. Kavos est un shah d’Iran mythologique et un personnage du Shâh Nâmeh. ↑
17. L’Avesta est l’ensemble des textes sacrés de la religion mazdéenne et forme le livre sacré, le code sacerdotal des zoroastriens. ↑
18. L’écriture pehlevi est le système d’écriture qui était utilisé dans l’Empire sassanide pour les textes religieux et profanes en moyen-persan. ↑
19. Tahmures était le troisième roi du monde selon le Shahnameh. Il est considéré comme le constructeur de Merv. ↑
20. Khvarenah est un mot Avestan qui désigne un concept zoroastrien dénotant littéralement “gloire” ou “splendeur”, mais qui est compris comme une force ou un pouvoir mystique divin projeté sur et aidant le nommé. Le nom neutre signifie donc aussi “gloire royale (divine)”, reflétant la perception de la puissance divine conférée aux rois. Le terme comporte également une signification secondaire de “(bonne) fortune”; ceux qui le possèdent sont en mesure de mener à bien leur mission ou leur fonction. ↑
21. Zahhak est représenté par un homme avec deux têtes de serpent lui poussant sur les épaules où il a été embrassé par Iblis ; “la tête humaine dénote l’homme physique, et les deux têtes de serpent le principe manichéen dual – le dragon et le serpent étant tous deux des symboles de sagesse et de pouvoirs occultes” ↑
22. «Résultats des sondages sur l’opinion populaire en faveur des Fondamentalistes et des réformistes» , Agence de sondage des étudiants iraniens (ISPA), 2017 ↑
23. Le Velayat-e faqih est un terme de droit musulman signifiant les conservateurs de la jurisprudence ou encore gouvernement du docte, concernant uniquement le chiisme duodécimain. L’expression signifie donc, la tutelle qu’exercerait sur la communauté un personnage issu du clergé. Par tutelle de juristes-théologiens, on pourrait entendre soit que le juriste assume le gouvernement, soit qu’il contrôle sa gestion avec un droit de veto. ↑
24. Hosseini Mohsen , «les Bois qui Amérique coule dans le feu» , Club des jeunes journalistes ↑
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