Ingenue in Exile: Iranian Actress a Star Everywhere But at Home
Actress Golshifteh Farahani is well on her way to global fame as a Hollywood star. But her work has forced her into exile from her home country of Iran, where she believes she will never live again.
Anything actress Golshifteh Farahani does can become a political issue -- what she says, where she shoots her films, with whom she works, with whom she doesn't work, whether she wears a headscarf or not. Hardliners in Tehran could conceivably even take it as a provocation that Farahani chooses to meet SPIEGEL for an interview at the cafe in Paris' Hotel Amour -- a hotel that was once a brothel.
"I don't want to be a political figure," Farahani says. "I hope I'm not one." Then she relates stories of secret police interrogations in Tehran, of being offered a role that caused a brouhaha at the US State Department and of a career that in recent years has taken her around the globe -- to New York, Los Angeles, Berlin, Cannes, Venice and Morocco, but no longer to Tehran, where her parents live. Going there would be too risky.
Golshifteh Farahani looks like a model and speaks like a civil rights activist with nothing to lose -- eloquent and passionate in her nearly perfect English. She only wears a headscarf now when a role calls for it, for example in the film adaptation of "The Patience Stone," which came out this month in German cinemas after making the international festival circuit.
A One-Woman Show
Set in Afghanistan, the film is essentially a one-woman show, a manifesto told in gorgeous images. Farahani portrays a mother of two caring for her injured husband. The man, much older than her, lies on a mat in their home with a feeding tube running from a plastic bag to his mouth. He is unconscious, left in a coma by a bullet to the neck, but his eyes are oddly wide open. Gunfire can often be heard outside the house.
"Can you hear me?" the woman asks her husband. There's no answer, but she continues to talk. "I've had enough of praying," she says. She talks about herself, about him, about their marriage when she was 17, about her secret wishes and desires, about sex, about all the things that remain unsaid in many relationships, in the West too.
A silent man and a talkative woman -- some Europeans with a bit of life experience might see this as the basis for a happy marriage, or at least the stuff of a successful comedy. But in Afghanistan, a woman can end up in mortal danger for opening her mouth.
Atiq Rahimi, director of "The Patience Stone," was born in Kabul and now lives in Paris. He also wrote the novel on which the movie is based, for which he was awarded the Prix Goncourt, France's most important literature prize, in 2008. Rahimi had doubts at first about casting Farahani. "Her beauty initially gave me cause for concern," he says, concern that the story "would become secondary."
"That's meant as a joke," Farahani asserts. "He couldn't imagine me as a woman suffering."
An Artistic Family
Farahani has always fought for what she believed in. As a student, she spearheaded a protest because her school was unheated. At 16, she cut off her hair and dressed in boys' clothes so she could ride her bicycle through Tehran. Farahani comes from an artistic family, with a father who is a theater director and a mother, sister and brother who all act or direct. "There was just one profession I wasn't supposed to pursue -- acting," Farahani says, laughing.
Her family wanted her to be a musician, a pianist. She attended the conservatory in in Tehran, practicing Mozart, Schubert and Bach -- "Preludes and fugues, pretty difficult stuff," as she says. She also spent a year learning German, in preparation for studying in Vienna. But shortly before she was due to depart, at age 17, Farahani told her parents she had different plans.
She had already defied her father's ban on acting by taking a role in a film when she was 14. By her early 20s, she was married and acting in one Iranian film after another. Some of these films were banned in the country, but that only made them more popular on Tehran's DVD black markets and at international film festivals.
The film that would change Farahani's life was "Body of Lies," a Hollywood thriller with British director Ridley Scott ("Gladiator") at the helm and Russell Crowe and Leonardo DiCaprio in the leading roles. Scott was looking for a young actress from the Middle East to play a large supporting role, as a nurse with whom DiCaprio's CIA agent falls in love.
A Groundbreaking Role
A couple weeks later, Iran's authorities having been surprisingly cooperative, Farahani sat waiting in Los Angeles. She didn't have the role just yet, but if she got it, she would be the first Iranian actress to work for a Hollywood studio since Iran's Islamic Revolution in 1979 and the subsequent US Embassy hostage crisis. Her case put the managers of Warner Bros. on the spot, since the American embargo against Iran technically prohibited such a collaboration.
But Scott stuck by Farahani. The studio consulted with the State Department, and eventually a compromise was found, with Warner Bros.' London branch signing Farahani's contract. Shooting took place in Morocco, including a scene in which Farahani, without a headscarf, sat next to DiCaprio by the shore of a lake and stroked his hand, thereby taking leave of her good Muslim upbringing.
Farahani was headed to London, this time for a Disney production with the fitting title "Prince of Persia." But at the airport in Tehran, authorities confiscated her passport, citing a court file they said existed on her.
- Part 1: Iranian Actress a Star Everywhere But at Home
- Part 2: Repeated Secret Police Interrogations
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