Based on a play by Khachikian and developed with the influential producer Sanasar Khachaturian, this story of a ‘nice young man’ (played by Iranian cinema’s future superstar, Malek Moti’e) who becomes involved with criminals in order to satisfy the girl of his dreams was hardly new. But Khachikian packs the film with details and cinematic innovations, aiming for a totally visual mode of storytelling. While partly handicapped by poor dialogue, melodramatic scenes and outdated technical aspects, the film’s success established Khachikian as a master of thrillers.
Following two unhappy filmmaking experiences, which Khachikian described as “falling into the trap of filmfarsi” (the Iranian commercial cinema of the time), this third feature has a charming, if uneven quality. Khachikian moves between masterful sequences, including a jewellery heist, and somewhat irrelevant scenes – the furniture factory production line shown in the film belonged to one of the film’s sponsors. Even when satisfying such demands, Khachikian makes the plain ordinary cinematic.
Released in March 1955, Chahar Rah reflects many of the major characteristics of the Iranian cinema of the 50s; mostly concerned with class and success combined with elements of chance and fate. Yet it manages to move filmmaking on a few steps, introducing a passionate quest for mise en scène. Clearly fascinated by the potential of rhythmic editing and expressionistic camera angles, Khachikian presents a striking image of a modern Tehran. The city’s inhabitants are still not quite used to this new world, out of which the social critique of the film emerges.
Chahar Rah won the best film prize at Golrizan, the first Iranian film festival. Not everybody was thrilled by it though. Vida Ghahremani, the film’s female co-star, told the BBC that her kissing scene – understood to be the first kiss in Iranian cinema – saw her being alienated by those friends who viewed her courageous act as something immoral.

Ehsan Khoshbakht