At a time when typical filmfarsi (the movie made before iran revolution) were in the same time and time as their counterparts, the construction and revival of a new thinking in this field seemed risky and even deadly.
Especially when demanded, it would have been more productive from the angle of the suppliers, and more investment than before.
This routine and this demand seems obviously logical, but there were directors who wanted to be frantic and depending on the type of ambition, power and faith in the work, in this way, they presented works that some of them had to do with the finer works in this Backgrounds turned out.
Risk-taking power and the ability to master individual abilities in this way were, in their time, a big risk, which is such a worthwhile gift.
At that time, 1972 films were made that did not look like other films from a style.
In all the films of that era, the audience's desire was a happy ending, but it was not the case in this film, and it was argued that one could, without regard to the instinctive appearances of the audience, follow the fact that it was not necessary to make what was meant by others Is.
It is possible to have an opinion in this field and make the story with a firm determination and what was just what the director and storyteller was about to construct and exploit.
The Downpour of the first feature film by Bahram Beyzaie is a striking example of the new wave of Iranian cinema, which independently, regardless of its prevailing rule of time, is the end of a happy journey, and it seems successful in this regard and in this respect.
Now that the film is an age 45 years old , its continues to be in the field of the New Wave in this time, and has signed the big Bahram Beyzaei signature and is one of his honors.
Of course, this movie was subject to destruction, which was restored and remained by the Scorsese Foundation.
