WWII“IHHIHIHH‘HIHIWWIIIHHIHIUIHIHHI

     

_moco

THESIS

Date

0-7639

IIIIIIIIIII

 

III

 

 

 

IIIIIIIIII IIIIIII

381059 77 73

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This is to certify that the

thesis entitled
‘i: PER—E 311.132:

PILGRIMAGE TO THE GREEN SAINT
A DOCUMENTARY FILM

presented by

Manouchehr Asgari-Nasab

has been accepted towards fulfillment
of the requirements for

M A . degree in rTelecommunlca.’c1on

 

Major ptofessor

Jan.,1’+,1980

LIBRARY

Michigan State

University

 

(fax;
I ,

b

Ila) 1.

'Ea“'l'{\:;!4¢ ;..;"

 

 

OVERDUE FINES:

25¢ per day per item

RETURNIKS LIBRARY MATERIALS:

Place in book return to remove
charge from circulation records

 

PIR-E SABZ:
PILGRIMAGE TO THE GREEN SAINT

A DOCUMENTARY FILM

BY

Manouchehr Asgari-Nasab

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS
Department of Telecommunication

1980

/\
K.
/

a //..> 3,0

ABSTRACT
PIR-E SABZ:

PILGRIMAGE TO THE GREEN SAINT
A DOCUMENTARY FILM

BY

Manouchehr Asgari-Nasab

The main element of this thesis is a 35—minute color film which
documents the yearly pilgrimage made by people of the Zoroastrian faith
to a shrine in the desert mountains of Iran. A videotape cassette of
the film is on file with the Department of Telecommunication, Michigan
State University.

Over the ages many events have come and gone having direct and
indirect influences upon the evolving history and environment of the
land. Many of these events come to pass without the attention of
historians. For those events which are recorded, often times there
are misinterpretations and/or distortions due to any number of
problems and reasons.

The script and film of this Zoroastrian ritual share with us
a people's perspective of the way they view and value their religion,
and the way they view themselves in the world.

As a part of this thesis we also find an historical review
of the events revolving around the Zoroastrian beliefs. This material
includes legends which are difficult to verify due to a loss of documents

such as those lost when the library at Alexandria burned.

Manouchehr Asgari-Nasab

Further, this thesis contains a description of the filming
conditions and problems. These help one gain a more objective per-
spective as to the symbolism and selection of images presented in the
film.

In sum, the videotape/script, the historical background and
the descriptions of the filming conditions each add an important
dimension to the work. These different vantage points contribute
to a fuller interpretation and understanding of this unique documentary

than a single perspective would have offered.

Accepted by the faculty of the Department of Telecommunication,
College of Communication Arts and Sciences, Michigan State University,

in partial fulfillment of the requirements for the Master of Arts

FDZWLI / AZ}:

Director of Thesis

degree.

 

ii

An integral part of this thesis is a video cassette of the
film entitled "Pir-e Sabz," which is on file with the Department

of Telecommunication, Michigan State University.

iii

ACKNOWLEDGMENTS

My sincere appreciation to all those who gave their time
and cooperation during my research and filming of this script.

I am especially grateful to the crew members whose competence,
sincerity and hard work contributed greatly to the quality of this

film.

iv

TABLE OF CONTENTS

Chapter Page
I. ZOROASTRIANISM IN IRAN . . . . . . . . . . . . . . . . . 1
History and Tradition . . . . . . . . . . . . . . . 1
II. SYNOPSIS . . . . . . . . . . . . . . . . . . . . . . . . 11
III. THE SCRIPT OF PIR-E SABZ--PILGRIMAGE TO THE

GREEN SAINT . . . . . . . . . . . . . . . . . . . . . 13
IV. PRODUCTION PROBLEMS . . . . . . . . . . . . . . . . . . 33

V. INTERPRETATION OF PIR-E SABZ--PILGRIMAGE TO THE
GREEN SAINT . . . . . . . . . . . . . . . . . . . . . 37
FOOTNOTES AND REFERENCES . . . . . . . . . . . . . . . . . . . . 42

CHAPTER I

ZOROASTRIANISM IN IRAN

History and Tradition

 

Eminent scholars, over the centuries, have proclaimed differing
ideas and theories as to the origins of the ancient religion of Iran
called Zoroastrianism, the Greek name given to describe the beliefs
of the Iranian prophet or reformer, Zarathushtra.

Early invasions, catastrophes, and calamities of one sort and
another resulted in leaving Iranians without any writings from their
own historians. Instead, what is left as a source of historical
information comes from the ancient national enemies of Iran, the
Greeks. The conflicts between the old Persia (the Greeks used this
word to denote the land of Iran) and old Greeceznxea matter of exten-
sive classical writing. Herodotus and Xenophon, whose works have
survived and become the basis for much of what Westerners know about
Iranian history, wrote their accounts from the point of view of the
Greeks and not the Iranians.

Thus the most important source of information about social
thought in ancient Iran is the tradition recorded in the Avestan
tongue, as well as other Zoroastrian scriptures and literature,
followed by the Pahlavi works which were written during the

Sassanid period, and the commentary of Pazand. These writings

probably furnished the famous Iranian epic poet, Ferdowsi, with much

information and inspiration for his renowned Shah Nameh, The Book of

 

the Kings.

However, even today, few facts are so controversial as the
actual time of Zoroaster. Some historians place it as recently as
about 600 B.C., others between 1800 and 2000 B.C., and still others
date it at 8000 B.C. There are those who believe that some 3,700 years
have elapsed since the birth of Zoroaster, that he was 30 years of age
when he proclaimed his prophethood and that at the age of seventy—
seven he died (or was killed).1

Pliny writes that the great philosopher, Hermippus, who lived
early in the third century B.C., had studied some two million verses
composed by Zoroaster. Two renowned Arab historians, Tabari and Masudi,
state that the Zoroastrian texts were copies on 12,000 cowhides.
According to Zoroastrian tradition, Zoroaster's work was compiled
in twenty-one volumes (Nasks) which dealt with religion, philosophy,
ethics, medicine, astronomy and other sciences.

King Vishtaspa ordered two archetype copies of these sacred

texts and deposited them in the libraries of Dizh-i Nipisht

and Ganj-i Shayigan. One of these copies perished in the

flames when Alexander burned the royal palace at Persepolis.

The other copy, tradition maintains, was taken by the

conquering hordes to their own country, where it was

rendered into Greek.2
It is thought that because the Arab invasion and the downfall of the
Persian Empire (generally thought of as a Zoroastrian empire) in the
seventh century A.D., Zoroastrian scripture suffered heavy losses.

It is thought that only about one—fourth of the original twenty-one

volumes remain. However, since the people of India and Iran share

a common religious heritage, the Rig Veda and other sacred Indian
scriptures furnish information on old Iranian religions as well as
on the history of Zoroastrianism.3

According to Avestan works, Zoroaster brought about the first
organization of society into four professional classes: (1) priests,
(2) warriors, (3) husbandmen, and (4) artisans. This seems to be
the first social stratification to have taken place and been
recorded in the history of the Middle-Eastern world.

Iranian society was based on the patriarchal family which
formed the essential unit of society.“

Religion was the foundation of the social order. Zoroastrian
texts were considered the word of God and the expression of divine
wisdom. According to these tenets, the king is next to God. The
founder of the Sassanid dynasty, who revived the ancient Zoroastrian
faith, is quoted as saying:

Religion and kingship are two brothers, and neither can

dispense with the other. Religion is the foundation of

kingship, and kingship practices religion. For whatever

lacks a foundation must perish, and whatever lacks a

protector disappears.5

The religion and the state were so interconnected and interwoven
that one could not exist without the other. Social structure, order,
and classes are well presented in this analogy:

Ohrmazd created the Religion which is omniscience like a

mighty tree with one trunk, two great boughs, three branches,

four off-branches, and five roots. The one trunk is the

mean, the two great boughs are action and abstention, the

three branches are good thoughts, good words, and good deeds.

The four off-branches are the four religious castes by which

both Religion and secular life are maintained (namely), the
priesthood, the warrior caste, the caste of husbandmen, and

the caste of artisans. The five roots are the five
degrees in the government hierarchy whose names in
religion are manpat (householder), vispat (village
headman), zandpat (tribal chieftan), dehpat (provincial
governor), and Zarathustrotom (the highest religious
authority and representative of Zoroaster on earth).
(Over and above these) is another, the Chief of all
chiefs, that is, the King of kings, the governor of
the whole world.

And in the microcosm which is man (four things) are
seen to correspond to the four earthly castes, the

head to priesthood, the hands to the warrior caste,

the belly to the caste of the husbandman, and the feet
to the caste of the artisan. So too the four virtues
indwelling man, that is, temperance, fortitude, reason
and energy. Priesthood corresponds to temperance for
temperance is the highest duty of the priests, and
through temperance they do not commit sin for very
shame and fear. The warrior caste corresponds to
fortitude, for fortitude is the sovereign adornment

of warriors; it is explained (as meaning) innate man-
liness. Reason corresponds to the caste of the soil
and the promotion of a continuous evolution towards

the final Rehabilitation. Energy corresponds to the
caste of the artisans, for it is the greatest stimulant
of their trade. All these various functions (are)
based on the one trunk of righteousness and the mean
(and are) opposed to the lie and its instruments, which
are their opposites.6

The Avesta, Zoroaster's holy text, contains his commentaries
which are referred to as Zand and Pazand. The text and commentary
together are called Zand-Avesta. Zoroastrianism is the earliest,
or one of the earliest and most important of the archaic religions
which introduced monotheism to the world.

Ahura Mezda (the Wise Lord), is the Creator and Lord of the
whole world, seen and unseen, with no equals in greatness, majesty,
and power. He is a spirit. He is not anthropomorphic. His essence

is light and absolute purity.

The six cardinal virtues of Ahura Mezda which were actually
considered to be His attributes and powers were the Amsha Spentas
or "The Holy Immortals." These divine qualifications were:

1. Vohu Manah (Good Thought), the protector of mankind and
beasts;

2. Asha Vahista (Righteousness), protector of fire;

3. Khshathra Vairya (Divine Kingdom) protector of metals;

4. Armaiti (Devotion), protector of earth;

5. Haurvatat (Perfection), protector of water; and

6. Amertat (Immortality), protector of plants.

As taught by Zoroaster, the Amsha Spentas form Ahura Mezda's
being. They were but moral concepts and symbolic ideals. Later,
however, under the influence of Vedic Adityas, the Amsha Spentas
became personified heavenly beings. It is thought that the per-
sonification of the Amsha Spentas was a compromise on the part of
later Zoroastrianism with the polytheistic cultural milieu wherein
the religion was first founded.

Next to the Amsha Spentas are a host of spiritual beings,
called Yazatas or Izads. To this group belong Mithra, Srausha,
and Anahita.

In Iranian tradition, which according to Dhalla goes beyond
2000 B.C., reference is made to the first human pair. They are
referred to as Mashya and Mashyoi who noticed that they were nude

and covered their bodies with herbage.

The existence of evil as a being is recognized in
Zoroastrianism. There is thought to be an empire of organized
evil spirits. As Ahura Mezda is the Supreme Creator, the Eternal
Lord, and the God of Good, so he has, though inferior to him, a
counterpart, Ahriman, who is the supreme hostile spirit, all evil
and death.

The Zoroastrians believe there is an eternal conflict between
good and evil. The Zoroastrian doctrine maintains a dualism of forces,
one the beneficent spirit, good and constructive, represented by Spenta
Manyu; and the other his opponent, Ahriman, the evil spirit, dark, evil,
and destructive. It is sometimes thought that because of this dualism
Zoroastrianism is a dualistic religion, but inasmuch as Ahura Mezda is
considered to be the one and only creator of the world the term could
not be correct.

Zoroaster proclaims that there is but one path of life for
mankind to follow, the "Path of Righteousness." Man is given freedom,
a free will to choose whatever he pleases. There is no predestination
and men are responsible for their deeds. Their mission is to help the
God of good and to hasten the victory of good over evil.

Zorastrian ethical standards are found in these words:

0 Almsgiving is recommended:

"He who relieves the poor makes Ahura king."

0 Righteousness is to be loved and the liar damned:

"Whether one is lord of little or much, he is to

show love to the righteous, but be ill unto the
liar."

o Asceticism does not exist:
"He who sows most corn, grass, and fruit, sows
righteousness; he makes the religion of Mazda
walk."7
The Kushti is a sacred cord or girdle made of 72 cotton fibers
woven into 12 strands of 6 fibers each, the 12 strands being further
woven into 3 cords of 4 strands each.
These three cords are plaited together to form Kushti and
to represent the three fundamental principles of the Zoroastrian
faith:
Hu-maneshni--Good Thoughts;
Hu-go'eshni--Good words; and
Hu-koneshni--Good deeds.
The Kushti is tied like a belt to the middle of the body. It is
considered to be a symbol of moderation, and moderation is the most
essential value in Zoroastrianism. The girdling of the Kushti around
the waist of the Zoroastrian child at the time of his declaration of
faith is part of the initiation ceremony.
According to Iranian tradition, fire is one of the holiest
and purest elements. The other holy elements are air, water, and
earth. It is believed that the civilization of mankind began with
fire and so this element was considered to be sacred in most of the
ancient cultures including the Indian, Greek, Roman, and German.
With the Avestan people, the significance of fire is different.
They believe that fire is the reflection of their Highest Diety, Ahura
Mezda, and that it is the symbol of moral purity and a strong weapon

of defense against the demons.

Other beliefs of Zoroastrians include that of life after death
and immortality. They consider the next world a reality wherein the
pious receive their rewards and the wicked their punishments. The
soul remains close to the body for three days after death; at dawn
of the fourth day the soul leaves the body and soars to the heavens.
At heaven's gate the soul has to cross the "Bridge of Chinvat” or the
"Retribution Bridge," or the "Bridge of Judgment." This is the bridge
that separates Paradise from this world, which connects the physical
world with the spiritual world. The wicked will fail to cross the
bridge and are thrown into the outer darkness, Hell.

With the Avestan people the family was ranked as one of the
holiest of all institutions. The family system was consanguineous,
patriarchal, and patrilocal. Progeny, parents, grandparents, and
even great-grandparents lived together in the same abode. The
eldest male was the head of the household. He was then the provider
for all the family's receivings and handled all the earnings of the
other male members. At the death of the eldest, the headship of the
family was assumed by the next eldest member. It was important to
have sons. A large family with numerous children was considered a
blessing, but the prayers for sons were most fervent. Parents together
sought protection, strength, and happiness for the family through
offerings and prayers to the divine beings.

The man who has a wife is far above him who lives in
continence; he who keeps a house is far above him who

has none; he who has children is far above him who has
none; he who has riches is far above him who has none.

The wife was referred to as the mistress of the house, while the title
of the husband was the master of the house. There was more or less a
type of equality rather than absolute subordination of the wife to

her husband. She was not his slave but his companion. The wife's
sphere of action, however, was confined to the indoor affairs of

the household.

For a bride, the most strict and important requirements were
for unspotted reputation and unstained virginity. The Avestan people
were to preserve the purity of their blood and to refrain from inter-
mixture with foreign elements. Marriage between relatives was thus
encouraged; polygamy was not forbidden among old Iranians, especially
if the first wife was unable to bear a male offspring. A senior priest
might use the following as he blessed a couple at the marriage ceremony:

May the Creator, the Omniscient Lord, grant you a progeny
of sons and grandsons, plenty of means to provide your-
selves, abiding love, bodily strength, long life for a
hundred and fifty years.8

With the downfall of the Sassanid Empire which had espoused
Zoroastrianism as its state religion, and the advent of the Arab
invasions with the arrival of the Arab prophet, Mohammad, the situation
with Zoroastrians in Iran was forever and irrevocably changed.

However, there is yet today, these thousands of centuries later,
a devoted group of Zoroastrians who still practice the primary prin-
ciples of their prophet for Good Deeds, Good Thoughts, and Good Words.

Many of these faithful make an annual pilgrimage to the ancient mountain

place, Chak Chak.

10

The film that we have produced in connection with this project
gives the viewer a rare opportunity to gain insight and information
concerning some of the ceremonies and rituals of these modern-day
followers of their ancient prophet, Zarathushtra, called Zoroaster

by the Greeks.

CHAPTER II

SYNOPSIS

There are three legends concerning the Temple at Pir-e Sabz
as to how and why it became an important place of worship.

In order to convey these stories, we chose to film pilgrims
on their way to this annual holy celebration which lasts five days.

One of the pilgrims was selected to explain the story of
King Yazdigerd the III, the last Sassanian king, and his daughter,
Bibi Shahrbanou.

Imam Hossein, the son of Ali (who was third Imam, also the
son-in-law of Mohammad) had married Bibi Shahrbanou.

The Zoroastrian legend says that when the Arabs attacked the
country, some of the army soldiers were following Yazdigerd's daughter
(a sister of Bibi) and were suddenly about to capture her. She fer-
vently prayed for deliverance and miraculously the mountain (Chak
Chak) opened and she was able to hide safely from her enemies.

It is thought that this story was used as a cover-up in order
to offer the Zoroastrians a safe place for their worship. After the
Arab attack, there were some Zoroastrians who did not convert to
Islam. These people were scattered throughout Iran with Yazd and
Kerman being two locations settled mostly by these followers.

They gathered at Chak Chak, a very difficult place to reach

(over uncharted desert land to the foot of the steep mountain which

11

12

they climb on foot, hand-carrying all of their supplies for the
five-day stay).

Here they would talk together as to how they could continue
their worship despite the persecution of the Arabs. Arab rulers
would permit the Zoroastrians to continue their worship but they
were forced to pay a sum of money, a fixed amount, to the governor
of their province.

In the film, another interview with a sociologist who is
a Zoroastrian, tells about this legend (that after Arab attack
Zoroastrians wanted a safe meeting place).

A third legend has it that Chak Chak was the site of an
ancient temple of Anahita, goddess of water and of fertility;
Zoroaster also believed in the significance of the element water,
and he retained this symbolism for his religion.

Zoroastrian brides and grooms come to Chak Chak for a special
marriage ceremony, a festival ceremony to secure the blessings of the
Goddess Anahita for health, many children, and long life.

Thus, in the film, we see contemporary men and women
expressing themselves in ways that are without doubt deeply

rooted in traditions that are more than 2,000 years old.

CHAPTER III

THE SCRIPT OF PIR-E SABZ--PILGRIMAGE

TO THE GREEN SAINT

Shot

 

Picture
FIRST SEQUENCE

TIME: Noon

LOCATION: Desert road with mirage

l-L.S. People moving towards camera
on bicycle, donkey, walking,
motorcycle and in car. Super-
imposed title and credits move
up the screen over this shot.

Shot fades out.

SECOND SEQUENCE

TIME: Afternoon
LOCATION: Shrine at PIR—E SABZ
2-L.S. (Fade in) of an old man at the
water storage getting water.
Then he walks up the stairs
toward the camera (close-up
dissolves into next shot).
3-L.S. Old man walks up steps of

building, then walks toward
the camera (shot dissolves
into the next shot).

13

Sound

Music fades in and fades out
at the end of this shot.

Background sounds of'birds and
action sounds, etc., continue
throughout script.

OPENING:

SACRED PLACES ARE SECRET
PLACES, WHERE MAN COMMUNES

WITH THE MYSTERIES OF GOD'S
UNIVERSE. AWAY FROM THE WORLD
OF DAILY CARE, MAN HAS A MOMENT
TO BRING HIMSELF INTO HARMONY
WITH THE RHYTHM OF NATURE.

Shot

 

4-L.S.

5-L.S.

6-M.S.

7-L.S.

8-C.S.

9-C.S.

10-F.S.

14

Picture

Old man climbing steps while

carrying water. He moves
toward camera. Camera pans
as he walks by. (Scene

dissolves into the next.)

Old man walking down an open
corridor towards the camera.
He stops to rest.

Old man looking into the
distance from the corridor,
shading his eyes. Camera
zooms in to a close-up.

A scenic view of the mountains
and valley. Camera zooms
forward to identify an empty
road.

Water being poured into a tea
pot. Camera zooms back to find
the old man seated on a rug.

He puts the tea pot on the
coals, then relaxes and looks
out into the distance.

Bird in the tree top. Camera
zooms back as the bird flies
and follows it. (This picture
dissolves into the following
shot.)

The camera follows the bird
as it flies into the valley.

Sound

 

AS THE ZOROASTRIANS BELIEVE
MAN'S SOUL IS ETERNAL LIGHT

OF THE SAME SUBSTANCE AS THE
DIVINE. MAN WAS BORN OF LIGHT
AND TO LIGHT HE MUST RETURN
PASSING THROUGH THE WORLD OF
MATTER AND EMERGING FROM THE
DARKNESS ONCE AGAIN TO THE
LIGHT OF GOD.

A SACRED PLACE IS A PLACE
WHERE ONE CAN COME AND
CONCENTRATE ON THESE THINGS,
SUCH AS THE SHRINE OF THE
ZOROASTRIANS OF IRAN, KNOWN
AS PIR-E SABZ CHAK-CHAKOU.

Music starts and continues
to the end of’shot 15.

Shot

 

11-M.S.

12—L.S.

13-M.L.S.

14-L.S.

15-L.S.

15

Picture Sound

 

Camera angled up at the
buildings.

The old man is lying down on
a balcony with the shrine in
the background. There are
many buildings, doorways, and
balconies in these shorts,
but only the old man is here.

Buildings from a side angle.

Front view of the buildings.
Camera zooms back and dissolves
into the next shot.

The camera continues to zoom
back from the same front view
of the buildings to reveal its
setting in the mountains in
the desert.

THIRD SEQUENCE

TIME: Morning

LOCATION:

16-L.S.

l7-C.S.
to
M.S.

18-L.S.

19-L.S.

20-L.S.

Highway in desert

Cars full of passengers moving Highway sounds continue to
on road, low camera angle. the end of shot 28.

Traveling shot on road surface.
The camera tilts up to the cars
following.

Helicopter shot moving with the
traffic along the highway.
(This picture dissolves into
the following scene.)

Helicopter shot of dustry road. EACH YEAR ON THE FIRST DAY OF
SUMMER, PILGRIMS FLOCK FROM

Traveling shot of cars ALL OVER IRAN, TO HONOR THE

traveling on a dusty road. GREEN SAINT, THE LADY OF THE
MOUNTAIN, HIAT BANOU.

Shot

 

21-M.S.

22-L.S.

23-F.S.
t0

C.S.

24-M.S.

25—L.S.

26-M.S.
to
L.S.

27-L.S.

28-F.S.

29-F.S.

30-L.S.

31-L.S.

32-F.S.

16

Picture
Traveling shot of cars passing
each other.

More cars on
Mountains in

Traveling shot.
the dirt road.
the background.

Cars moving toward camera over
small hills. Camera pans left
with the cars' movement.

Traveling shot of cars on a
dusty road.

High camera angle of vehicles
moving toward the camera.
Camera gradually zooms in.
Camera pans right with the
vehicles.

Cars pass the camera. Camera
pans with one car to reveal
the building of the shrine

in the background.

High level shot of vehicles
moving up the winding road
to the shrine.

High level shot of vehicles
moving up the winding road.
Camera zooms back and tilts

up.

Shepherd with his camels
walking. Camera pans with
movement and also zooms back.

Traveling shot of shepherds
walking with their camels,
sheep, and goats. Shot
will dissolve into the
next.

High level shot of shepherds
and animals.

Sheep and goats pass camera.

Sound

IN AGES PAST THE WAY WAS HARD,
THE JOURNEY OFTEN ONE OF MANY
MONTHS. THE THOUGHT OF THE
ROAD AND ITS DIFFICULTIES WAS
FAR FROM THE MINDS OF DEVOTEES
WHOSE STRIVING WAS LIGHT, WHO
THOUGHT OF THE END TO BE
OBTAINED.

THE SHRINE OF HIAT BANOU IS
SITUATED 87 KILOMETERS FROM
THE CENTRAL IRANIAN CITY OF
YAZAD. THE ROAD BETWEEN YAZAD
AND ARDEKON IS THE HEART OF
THE REGION WHERE IRAN'S
DWINDLING ZOROASTRIAN
COMMUNITY SURVIVED THROUGH
CENTURIES AFTER THEIR
BRETHREN BECAME CONVERTED
TO ISLAM.

Bells on animals and
shepherd's coaxing yells
which continue to the end
of shot 33.

Shot

 

33-M.L.
t0
L.S.

17

Picture

Camera zooms back as the
animals move toward the
mountains and shrine
(which come into the
picture) and away from
the camera.

FOURTH SEQUENCE

TIME: Afternoon
LOCATION: Shrine
34-M.S. The camera pans left and tilts
to up as a man carrying a woman
L.S. walks by. Other pilgrims are
also walking up to the shrine.
35-L.S. Panning and tilting up, the
to camera follows the pilgrims
M.C. up the steps. It zooms in
on an old woman ahead of the
others.
36-L.S. High angle looking down at
pilgrims moving up the steps.
37-L.S. Low angle looking up at
pilgrims moving up the steps.
38-L.S. Low angle looking up at
pilgrims moving up the steps.
Buildings in the background.
39—L.S. Low angle isolated shot of old
woman near the top of the
steps. The camera pans with
her movement.
40-L.S. Woman walking up dark steps
to towards the camera.
M.S.
41-M.S. Woman walking up steps away
to from camera.

L.S.

Sound

 

Background noises of the
groups of’people as they
gather continue to the end
of shot.

THE PILGRIMS ARRIVE IN THE
FIRST DAYS OF THE PERSIAN
MONTH OF TEIEC WHICH MARKS
THE TURNING POINT FROM SPRING
TO SUMMER, THE SUMMER
SOLSTICE, THE LONGEST DAY
OF THE YEAR. THE MODERN
PERSIAN, TEER, IS DERIVED
FROM THE ANCIENT WORD TIESH
TAR_NAME OF THE ZOROASTRIAN
DIETY OF RAIN.

IN ANCIENT TIMES THIS SITE
WAS THE SCENE OF PETITIONERS
TO THE HEAVENS, TO BRING
BLESSED RELIEF OF WATERS TO
THE SUN STRUCK LANDS OF
SUMMER IN THIS REGION WHERE
BRIGHT SKIES MEAN TORRID HEAT
AND A PARCHED EARTH.

Shot

 

42-M.S.

to

L.S.

43-L.S.

to

M.S.

44-M.S.

4S-L.S.

46-M.S.

47-C.S.

48-C.S.

49-C.S.

SO-C.S.

51-M.S.

52-M.S.

to

L.S.

18

Picture

Camera to the side of steps
panning with the old woman as
she walks up. Camera zooms
back.

The old woman walks up some
steps toward the camera, then
she sits down to rest. Camera
pans and tilts down with her
movements.

High angle shot of pilgrims
walking up steps passing close
to the camera.

Side shot of the pilgrims
moving up the steps.

High angle shot of many
pilgrims walking up the steps.
Camera zooms forward to a
group of women.

The old woman speaking for the
camera in Persian.

High angle shot of pilgrims
walking up the steps. Camera
changes focus point.

High angle Shot of pilgrims
walking up the steps. Camera
isolates on the old woman.

Old woman's veil moving in the
breeze as she walks by. Camera
travels with her movement.

Crowds of pilgrims moving
toward the camera. The old
woman close to camera and out
of focus.

Old woman is walking up steps.
Camera tilted up and pans
with her movement.

Sound

Music starts on shot 48 and
continues to the end of
fithL

THE ORIGINAL MEANING OF THE
SHRINE HAS BEEN FORGOTTEN AND
THE PILGRIMS TELL ANOTHER TALE
TO EXPLAIN THEIR YEARLY VISIT.
. ALTHOUGH THE INNER
MEANING REMAINS THE SAME.

THE LEGEND THAT GREW UP IN

THE ISLAMIC ERA SYMBOLIZED

THE ZOROASTRIANS' OWN SENSE

OF PLIGHT AT THE INCURSION OF
ARABS, WHICH ENDED THEIR REIGN
IN THE SEVENTH CENTURY, FOL-
LOWED BY THE PERSECUTIONS OF
TURKISH RULERS IN THE ELEVENTH
CENTURY WHICH FINALLY DROVE

Shot

 

SS-L.S.

S4-L.S.

t0

M.S.

to

L.S.

55-C.S.

S6-C.S.

S7-C.S.

58-C.S.

59-M.S.

60—C.S.

61-E.C.

62—E.C.

63-E.C.

64-C.S.

65-M.S.

19

Picture

Camera tilts up as old woman
walks away from camera up the
steps.

High angle shot of old woman
coming up steps. Camera pans
as she passes camera and walks
to some water faucets.

Three faucets and old woman
washing her hands.

Woman's face as she washes and
dries it.
This shot dissolves into the
next.

Camera angle up pointed through
some leaves which are gently
swaying as the sun flashes
through them.

A flower on the end of a
swaying branch.

Birds on a thin tree branch.
One bird on a tree branch.

Water dripping over some plants
on a rock wall.

Water dripping over some plants
on a rock wall. Heavy shadows.

Water dripping into a small
pond. Bright sun contrasted
by dark shadows.

Camera tilted down. Water
dripping down foliage.

Birds hopping on branches with
water dripping over foliage in
the background. Camera pans
with the birds' movements.

Camera pans slightly.

Sound

THEM INTO THE ARID CENTER OF
THEIR LAND TO SEEK REFUGE.

THE STORY GOES THAT THE LAST
ZOROASTRIAN SHAH, YAZDEGERD
THE THIRD, OF THE SASSANIAN
DYNASTY HAD THREE DAUGHTERS

OF WHOM ONE, HIAT BANOU, FLED
FROM THE INVADING ARABS UNTIL
SHE REACHED THIS MOUNTAIN
SITE. SHE BEGGED THE MOUNTAIN
TO OPEN UP AND LET HER INTO
ITS BOSOM SO THAT SHE MIGHT

BE SAFE. WHEN THE MOUNTAIN
REMAINED DEAF TO HER PLEAS,
SHE WEPT AND HER TEARS FLOWED
OVER THE EARTH AND BECAME THE
LIFE-GIVING SPRINGS THAT

BRING THE PATCHES OF GREEN

ON THE MOUNTAINSIDE AND IN THE
DESERT. MOVED BY HER SORROW
THE MOUNTAIN HEEDED HER SECOND
PLEA AND OPENED ITS EMBRACE TO
ENFOLD HER IN SAFETY. A
SHEPHERD WANDERING WITH HIS
FLOCK ONCE HEARD HER VOICE
ISSUING FROM THE MOUNTAIN
TELLING HIM TO INFORM THE
PEOPLE THAT THE DAUGHTER OF
YAZDEGERD WAS HERE IN THE
MOUNTAINS HEART AND THEY

MIGHT COME AND FIND REFUGE
THEMSELVES IN GOD.

THE WORD, PIR, IN THE WORD
PIR-E SABZ HAS THE SENSE OF
SPIRITUAL MASTER IN MODERN
PERSIAN, BUT ATTACHED TO THE
SHRINE IT REFLECTS A DERIVA-
TION OF THE WORD, PARI,
MEANING SPIRIT, TO WHICH THE
ENGLISH WORD, FAIRY, IS

Shot

 

66-C.S.

67-C.S.

68-C.S.

69-M.S.

70-E.C.

71—M.S.

72-M.S.

73-M.S.

t0

C.S.

74-M.S.

to

75-C.S.

76-C.S.

20

Picture

Camera tilted down at a
rippling pond with water
dripping in it.

Low camera just above the
surface of the pond catching
the streaks of the drop of
water and the Splashing.

Camera catching refracting
light as it reflects through
the dripping water.

Camera tilted down catching
the refracting light of the
dripping water and the splash-
ing in the pond.

Drips of water Splashing over
the rocks and plants.

Camera pointed through the
foliage at dripping water.

Water dripping down a wall
covered with foliage.

Water dripping over plants
and rocks into a pond.
Camera zooms in to the main
flow of water.

Water trickling down rocks and
foliage. Camera zooms back to
reveal a pool of water. Then
it pans back and over a rock
wall to a double doorway. The
old woman comes through the
door. Camera fixes behind an
altar which has a fire on it
as the old woman places some
things on the altar.

Woman's hand lighting a candle.

Camera pans with her movement.

Woman's face from the side.

Sound

RELATED. TO THE ZOROASTRIANS,
PARIES WERE ANGELIC FIGURES,
IMMORTAL AND NEVER CHANGING.
HIGHER THAN HUMAN BEINGS IN
CREATION THEY WERE UNABLE TO
EVOLVE LIKE HUMANS WHO COULD,
THROUGH STRIVING, RISE STILL
HIGHER IN THE UNIVERSE INTO
DIVINE CREATION.

COUCHED IN PRESENT-DAY LEGEND
OF HIAT BANOU IS THE ANCIENT
SECRET OF LIFE, WHICH IS THE
SPIRIT FLOWING IN THE BODY
LIKE WATER COURSING THROUGH
THE VEINS OF THE EARTH.

Shot

 

77-

78—C.S.

79-L.S.

80—L.S.

81-L.S.

82-L.S.

83-C.S.

84-C.S.

8S-M.S.

86-L.S.

87-M.S.

88-M.S.

t0

C.S.

21

Picture

Camera behind the altar zooms
in as the woman places mate-
rials on the altar.

Side view of woman's face,
zooming back as she prays.

Front view of woman and altar.

High angle of altar and woman
from the rock wall.

Through open door, the altar
and the back of the woman.

Side view of the woman and
altar through some pillars.
Fire and offerings. (Soft
filter.)

Candle flame. (Soft filter.)
Side shot of the woman light-
ing incense. Then she moves

around the altar to some wall
structure.

This shot is over a rock wall
and framed by another rock
wall of the woman pouring oil
into wall lamps.

Fire of altar in the fore-
ground. The woman is lighting
the oil lamps. Her back is to
the camera.

Side angle of woman lighting
the wall oil lamps. Camera
zooms back over the rock wall
and pans right to reveal plants
and dripping water. Camera
zooms forward to locks and
ribbons on the plants.

Sound

WE VENERATE WATER SOURCES

WE VENERATE WATER COURSES

WE VENERATE ROAD DIVERGENCES
WE VENERATE ROAD CONVERGENCES
WE VENERATE WATER SHEDDING
MOUNTAINS; WE VENERATE WATER
SAVING FOUNTAINS. TO AHURA
MAZDA AND ZOROASTER WE SEND
OUR GREETING. THE ANCIENT
PRAYER FROM THE HOLY AVESTA
SACRED BOOK OF THE ZORO-
ASTRIANS, GOES BACK TO THE
TIMES WHEN WORSHIPPERS
PETITIONED THE AMSCHOST PANDA
THE DIVINE BEINGS AROUND
AHURA MAZDA THE SUPREME DEITY,
SYMBOLIZED GOD'S POWER IN
NATURE. ANAHITA WAS GODDESS
OF THE WATERS AND FERTILITY.
AN EXPRESSION OF THE DIVINE
FORCE OF GIVING LIFE SHARED
WITH AHURVA--THOUGHT THE DEITY
OF PLANT LIFE AND THE PANTHEON
OF ANGELIC EXPRESSIONS OF
DIVINE QUALITIES.

THE PIR-E SABZ OR GREEN
SPIRITS OF TODAY ARE REMINDERS
OF AN ANCIENT FAITH THAT
SOUGHT FRUITFULNESS IN THE
EARTH GIVEN ENERGY BY THE SUN,
SYMBOLIZED IN FIRE AND TEM-
PERED BY THE MOON. THE
GODDESS, REPRESENTED BY
BLOWING WATER AND THE CHANGING
TIDES EXPRESSING THE INFINITE

Shot

 

22

Picture

FIFTH SEQUENCE

TIME:

LOCATION:

89-C.S.

90-M.S.

91-L.S.

92-M.S.

93-L.S.

94-C.S.

95-C.S.

96-M.S.

97-C.S.

Outdoors at the Shrine

Camera tilted Slightly up
of a different woman's face.
Camera zooms back to Show a
crowd clapping.

Three men picking up another
for a mock beating. Camera
zooms back then pans right
to a woman bringing two
sugar cones.

Festive crowd facing camera
and wedding party while some
gifts are being carried to
them. (Their backs are
toward the camera.)

Camera pans left with two men
carrying gifts above their
heads.

Front shot of men bringing
gifts to wedding party.

Camera tilted down to gifts
on the ground.

Side provile of a woman's
face from the crowd.

Low angle of wedding couple
receiving a gift as they are
seated on the ground.

Camera tilted down on two
men seated in the crowd.

Sound

 

HARMONIES OF THE CREATION
RIPPLING RHYTHMICALLY BACK
TO THEIR DIVINE SOURCE.

BUT CONTEMPLATION AND WORSHIP
ARE ONLY PART OF THE FULL
LIFE, IT'S TIME FOR THE
PILGRIMS TO KICK UP THEIR
HEELS. A WEDDING PARTY HAS
MADE ITS APPEARANCE AND THE
GROOM GETS A FRIENDLY BEATING
WHICH GOES BACK TO THE DAYS
WHEN YOUNG MEN HAD TO UNDERGO
AN ORDEAL BEFORE BEING
INITIATED INTO THE ORDER

OF MANHOOD.

Crowd, festivities noises
which continue until the
end of shot 185.

NOW IT'S JUST A MATTER OF
FUN AND GAMES.

Shot

 

98-M.

99-C.

lOO-C.

lOl-C.

lOZ-M.

103-C.

104-C.

lOS-C.

IO6—M.

lO7-L.

108-M.

lOQ-C.

llO-C.

lll-L.

llZ-C.

llS-M.

23

Picture

The wedding couple seated on
the ground receiving gifts
and laughing.

Bride's face.

Face of a woman in the crowd.
Two women in the crowd.

Low camera angle of male
dancer kneeling on the ground
with a pan of water and sugar
cones. The camera pans down
to the pans.

Faces in the crowd.

Side view of a girl in the
crowd.

Camera tilted down. Older

woman in the crowd.

Low camera angle panning with
a male and female dancer who

are performing for the crowd.

The dancers in the middle of
the crowd.

Low angle shot of dancers.

Side profile of male dancer's
face.

Bride's face.

Side view of crowd watching
dancers.

Female dancer's head. Camera
pans with her movements.

A woman seated playing the hand
drum. Camera pans the crowd

then moves to the female dancer.

Sound

 

LIKE THE CEREMONIAL OFFERINGS
OF SUGAR CONES ACCOMPANYING
THE ZOROASTRIAN GREETING,
CALMAT CHEREE, WISHING THE
NEWLYWEDS THE SWEETNESS OF
LOVE AND HARMONY WITH EACH
OTHER AND ALL AROUND THEM.

Shot

 

114-L.S.

115—C.

116-F.

117-C.

118-C.

119-C.

120-F.

121-L.

122-C.

123-C.

124-C.

125-C.

126-C.

127-L.

128-M.

24

Picture

Dancers in the middle of the
crowd.

Groom's face.

Low angle of bride and groom
and the people nearby.

Female dancer's hands, the
camera pans to follow.

The face of a woman in the
crowd.

Female dancer's hand gestures,
camera pans with her.

Low camera angle of a group of
people seated on the ground for
a snack and some discussion.

In the center, facing the
camera, is a man talking to
others. Camera zooms in.

Camera pointed almost straight
down from a balcony of people
walking up steps.

Two women walking along a
wall. The camera pans with
them.

Camera tilted down for a side
profile of a seated woman.

Camera tilted down on a
picture of another woman.

Camera tilted down on a
picture of another woman
drinking from a cup.

People descending stairs,
camera pans with them.

People resting in courtyard.

Three boys teasing another
boy.

Sound

THE FADING OF THE OLD CUSTOMS,
THE ULTIMATE MEANING OF THE
RITUALS, IS GRADUALLY LOST TO
MEMORY. THE SOCIOLOGIST HAS
REPLACED THE PRIEST AS THE
EXPLAINER OF MEANING OF
THINGS. AND SO THE MODERN
VIEW OF THE SHRINE'S FUNCTION
IS THAT IT BRINGS PEOPLE
TOGETHER IN A PLEASURABLE
ATMOSPHERE MADE RICHER BECAUSE
OF THE PROFOUND TRADITION
BEHIND IT. HERE TOTAL
STRANGERS FIND A MOMENT OF
INTIMACY TO CONFIDE IN EACH
OTHER, THEN TO PART, POSSIBLY
TO NEVER MEET AGAIN.

Shot

 

129-M.S.

ISO-L.S.

t0

M.S.

131—M.S.

132—M.S.

133-M.S.

134-M.S.

lSS-M.S.

ISO-L.S.

137-L.S.

138-C.S.

139-L.S.

140—C.S.

141-C.S.

25

Picture Sound

High angle over a boy's
shoulder of him play-
gesturing with his hands.

Camera angle low and pans
with a woman who is walking
through a courtyard.

Camera pans with a man as he
walks through a courtyard
carrying food.

A woman through a gate. The
camera pans with her movements.

A man praying as he sits on
some steps.

Camera tilted up to an old
man behind a fence and wall.

A young boy facing directly
into the camera. Camera pans
right to and focuses on an
older man sitting behind the
boy.

High camera angle of two women
talking in a courtyard.

Camera tilted down onto a
woman sitting in a courtyard.

Two old men discussing an
issue. One facing the camera,
the other facing away from
the camera.

Low camera angle of two women
on a balcony watching those
below.

Camera tilted down. A woman's
hands kneading bread in a pan.

Camera tilted down. A woman's
hands are preparing food in a
pan.

Shot

 

142—L.S.

l43-L.

144-L.

145-C.

146-L.

l47-L.

148-M.

149-C.

ISO-C.

151—C.

152-C.

153-L.

154-C.

ISS-C.

156-C.

157—C.

26

Picture Sound

Camera tilted down. Two women
are preparing food in a
courtyard.

High angle. Two young men
preparing food in a courtyard.

A woman eating.
Low angle of a young girl.

A boy unfolding a carpet in
a courtyard.

High angle shot from above
balcony of a group of men
in a circular gathering.

Camera tilted down. Children
and family resting in a part
of a courtyard.

Camera tilted down. A young
child resting on a pillow.

Camera tilted down. A boy
sleeping.

Camera tilted down. The
sleeping boy's hand.

Camera tilted down. A man
Sleeping.

People sleeping in a courtyard.

The face of a priest over the
shoulder of a woman.

The face of a woman over the THE OLDER FOLK COME TO SPEAK
shoulder of the priest. OF THEIR TROUBLES, SEEK THE
Camera zooms in. ADVICE OF THE MOBAO, THE

ZOROASTRIAN PRIEST, WHOSE
Priest's face through a flame WORD IS ALL THE MORE HALLOWED
from a small fire. FOR BEING SPOKEN IN THIS
SACRED SPOT.
A woman's face as she dances.

Shot

 

158—C.S.

159—C.S.

160-C.S.

161-C.S.

162-C.S.

163-L.S.

164-M.S.

165—C.S.

166-L.S.

167-L.S.

to
M.S.

168-M.S.

169-E.C.S.

170-C.S.

171-C.S.

172-C.S.

27

Picture
Another woman's face as She
dances.
A man's face as he dances.
A woman's face as she dances.

The man's face as he dances.

Camera pans to follow a woman's

face as she dances.

The crowd in the courtyard
watching the dancers.

Low camera angle.
women and children in the
crowd.

A planning camera follows a
woman dancer zooming in and
out.

A camera pans with a procession
of people escorting the bride.

High camera angle (over sit-
ting priest's shoulder). The
procession of people walking
up the steps toward the
shrine's entrance. Camera
zooms back.

Women around the altar
lighting candles from
the fire.

Panning shot of candle flames.

Low camera angle. The bride
lights a candle and incense
as the camera zooms in.

Low camera angle on another
woman's face.

Intense expression on another
woman staring through the
crowd.

A group of

Sound

FOR THE YOUNGER PEOPLE, IT'S
AN OCCASION TO RELIVE AN OLD
RITUAL, THE ESCORTING OF THE
BRIDE INTO THE SANCTUARY OF
THE GODDESS ONCE FORBIDDEN TO
MEN ALTOGETHER. IN THIS
WOMEN'S CEREMONY, THE BRIDE
COMMUNES WITH THE FEMININE
PRINCIPLE IN NATURE AND
DIVINITY AND SEEKS INSPI-
RATION THROUGH A FIRE
EMBODYING THE MALE PRINCIPLE
RADIATING THROUGH ALL LIFE.

Shot

 

I73-C.

174-C.

175-C.

176-C.

177-C.

178-C.

179-C.

180-C.

181-L.

182-C.

183-L.

184-M.

185-L.

28

Picture

Bride's face.

Man's profile. As he moves a
woman steps into the shot.

A man seen through the flames
from the fire. Then a woman
walks through the shot.

Bride's face.

A woman holding a child.
The profile of a woman.
The profile of a man.

The bride's face. As she is
greeted by friends and guests
the camera zooms back to a
low angle.

The entire altar room and
guests. The priest is near
the altar and the bride
circles it.

Camera tilted down and trucks
around the altar with the
many candles, shooting only
the candles.

High camera angle. The
people start circling the
altar.

Camera tilted down and trucks
around the altar with many
candles shooting only the
candles. (Soft filter.)

Aerial shot of entire shrine
complex with people visible
on rooftops. Panning down
the road and mountains.

Shot dissolves into next
picture.

Sound

THE GREENS CROWNING THE
BRIDE'S HEAD ARE PART OF HER
OWN FEMALE'S INITIATION RITE
TO A NEW LIFE OF MARITAL
RESPONSIBILITY CONSECRATED
THROUGH THE GODDESS.

THE LIGHTING OF CANDLES,
ZOROASTRISM'S GIFT TO
CHRISTIANITY AND OTHER MORE
RECENT FAITHS, SYMBOLIZES THE
VOTARY INTENTION TO FULFILL
ONE'S COMMITMENT TO GOD AND
ONE'S FELLOW VOUCHERS. THE
CIRCLE AROUND THE FIRE
SYMBOLIZES AND FORMS A SACRED
MANDALLA, REPRESENTING THE
COMPLETENESS OF THE FULL LIFE
AND THE RETURN OF THE INDI-
VIDUAL SOUL, ITS CYCLE TOWARD
PERFECTION. THE ONLY POINT
OF RELEASE IN THE RECURRING
CYCLES OF MATERIAL EXISTENCE,
EXPRESSED BY THE ZOROASTRIANS
AS FOUR AGES, CULMINATING IN
THE DAY OF JUDGMENT.

Shot

 

29

Picture

SIXTH SEQUENCE

TIME:

LOCATION:

l86-L.S.

187-L.S.

188-L.S.

189-C.S.

190-L.S.

191-L.S.

192-L.S.

193—L.S.

194-C.S.
to
L.S.

195-L.S.

Dusk

Land around the Shrine.

People walking over hills away
from the camera.

High camera angle of a small
group of people sitting and

talking on a ledge above the
valley.

Low camera angle of a young man
and woman sitting in the open
land with the mountains in the
background. The camera zooms
into the woman's hands.

Woman's face and hand as she
lets the string be carried
away by the wind.

People silhouetted against the
sunset by a fire, dancing.

Two people silhouetted against
a large fire.

People dancing and silhouetted
against the sunset.

Someone by a fire with the
mountains faintly in the
background.

The hands of the dancers
silhouetted against the sky.
Camera zooms back to see the
dancers.

Aerial camera catches the
sunset on the mountains.
Shot dissolves into the next.

Sound

LIFE IS A PROCESS OF WEAVING
STRANDS OF THREAD, THE MANY
PREOCCUPATIONS OF WORLDLY
EXISTENCE. ONCE WOVEN INTO
A UNITY, LIKE THE MIND CON-
CENTRATING ITS FORCES INTO
A SINGLE POWER, THEY FORM A
SINGLE PIECE, LIKE THE
FOCUSED MIND WHICH SOARS
UPWARD TO HEAVENLY
ASPIRATION.

HERBS CONSECRATED TO THE FLAME
STAND FOR THE HUMAN EXISTENCE
CONSUMED BY THE DIVINE LIGHT,
THE SPARK OF AHURA MAZDA IN
EVERY ONE OF US, ULTIMATELY
BURNS UP OUR MATERIAL LIFE OF
ASPIRATIONS IN THE FLAMES OF
PERFECTION. EACH LIFE FOR

THE ZOROASTRIANS IS A CONSTANT
STRIVING TOWARD PERFECTING.

Festive music starts at shot
190 and continues to the end
of shot 217.

Shot

 

196-L.S.

197—L.

198-L.

199—L.

ZOO-M. \ o

201-F.

ZOZ—F.

ZOE-F.

204-F.

ZOS-F.

206-F.

207-F.

208—F.

209

30

Picture Sound

 

Aerial camera comes upon the

shrine and many fires from the
surrounding encampments. This
shot fades into the next shot.

Aerial camera closer to the
shrine complex than the pre-
vious shot, then fades into
the next shot.

Aerial camera circles over
shrine and zooms in, then
exits over a ridge to the
road.

A distinct fire in the fore-
ground. Camera zooms over this
fire to some fireworks in the
background.

The camera pans down a fountain-
type spray of a firework, then
pans over and zooms in to
another fountain-type firework
up to the top of the spray.
Spinning fireworks on a pole.
Shooting fireworks.

Spinning fireworks.

Rocket fireworks. A quick pan to
follow its movement.

Spinning fireworks.
Fireworks on a stand and
zooming in on a fountain-

type display.

Spinning fireworks. Camera
zooming back.

Spinning fireworks with the
camera zooming back.

Fountain fireworks with the
camera zooming back.

31

Shot Picture

 

210—L.S. Fires of campsites with the
camera zooming in.

211—L.S. Rocket fireworks. Camera tilts
up to catch the explosion and
the descending sparks zooming
in some.

212—L.S. Sky rockets over the campsites.
Camera zooms in.

213-M.S. The rocket exhaust shoots past

to a camera which pans quickly
L.S. over and up to a bursting sky
rocket.

214-L.S. Bursting skyrocket over the
fires of the campsites.

215-L.S. Camera tilted up to catch a
bursting skyrocket.

216-L.S. Skyrockets over the campsites.

217-L.S. Skyrocket over two distinct
fires. Camera zooms forward
to the fire on the right.

SEVENTH SEQUENCE
TIME: Morning

LOCATION: Patio in the Shrine

218-L.S. The old man from the first part
of the script is lying on a rug
relaxing and conversing with a
woman behind the camera.
Camera tilts up when he stands.
Then he walks down a hall away
from the camera. Picture dis—
solves into next shot.

Sound

 

THE PILGRIMS GONE, LIFE GOES
ON AS IT MUST, THROUGH THE
CYCLE OF THE YEAR.

Music starts and continues
until the end of the picture.

Shot

 

219-L.S.

220-L.S.

32

Picture

The old man descends some
steps past a conspicuously
empty courtyard. Camera pans
with him then fades into next
shot.

A front view of the shrine.
Camera zooms back to Show the
shrine located in the mountain
setting.

Sound

A HOT TEA TO WARM THE BELLY,
ONE MUST MAKE THE EFFORT TO
SEEK COOL WATERS. WORK IN
THE WORLD IS LIKE MAINTAINING
A SACRED SHRINE, LIFE'S LIKE
THAT.

CHAPTER IV

PRODUCTION PROBLEMS

This was an involved and complicated documentary to film.
Preproduction planning had to be very carefully done, coordinated,
checked and double-checked.

In the first place, the people in the film were actual pilgrims
on a holy mission. There were no professional actors among them. None
had ever appeared in a film, worked with a film crew, or had any expe-
rience whatsoever. This required amazing cooperation, patience, and
total willingness to assist in an effort to produce a document that
would help outsiders understand something of the beliefs and practices
of Zoroastrians.

The people unselfishly acted and re-enacted sequence after
sequence with innumerable takes and retakes. The shooting ratio was
one to four. How carefully the peOple were coached!

The crew also was a remarkably cooperative group. They had
to provide their own food and lodging; had to carry their own ice to
preserve the food (and provide protection for film footage) from the
intensity of summer heat. The director hired a cook and two assistants
who spent hours in preparing food and meals.

The crew consisted of two camera men, two camera assistants,

two musicians (working with the dancers), two unit managers, three

33

34

gaffers, one sound engineer, four drivers for the four trailers, one
director and one assistant director, and three men to manage and
coordinate the spectacular firecracker segment.

Big problems occurred with making dolly shots and helicopter
shots. All equipment had to be hand carried up the steep mountain
incline and the hundreds of narrow steps finally leading to the cement
platform of the building on top of the mountain.

The helicopter could not remain in the desert over night and
it took six hours for it to make the trip from headquarters in Tehran.
One day communications became so fouled up that the pilgrims, at their
appointed location to begin the filmed sequence of their travel to Chak
Chak, had to wait four hours in the heat of the day! The helicopter
had been unable to land at the designated place and had gone to another
location. The director was finally able to get everything straightened
out and, despite these adverse circumstances, everyone carried on
cooperatively.

The firecracker sequence, filmed at night, didn't come off
satisfactorily the first night, and so the pilgrims being filmed had
to climb the steep mountainsides to their four mountain-top locations,
and the lighting of the firecrackers (an enormously complicated pro—
cedure) had to be done again. This was a three-camera shoot with
walkie-talkie instructions (which because of mountain heights and
echoes and other factors didn't always work) which had to be followed
to the split-second. The director was three miles up in the air,
firecrackers down in the valley placed among stones by the men who

awaited signals.

35

Hundreds of arc lights had to be provided and placed in
strategic locations. Sometimes the generators failed.

In one sequence, the director wanted a rainbow to appear
in the water inside Chak Chak. Between 12:00 noon and 12:30 there
was often a rainbow to be seen inside as the water came tumbling down
the mountain side. This was visible to the naked eye. However, the
cameraman declared that this would not be visible on film; so, by
using two of the arc lights, it was then possible to obtain an image
of the rainbow.

The director wanted, in another sequence, to film a single
bird taking flight from a nearby cypress tree (the cypress is an
important symbol in Iranian culture suggesting the ability of the
Iranian people to endure storm and pressure without abandoning their
roots and determination to persevere and preserve their heritage).

So, on the last day of affairs, when the crew and pilgrims
were packing up to leave, the director with a camera in hand, plus
another cameraman with camera, sat for five hours waiting for a bird
to arrive. Finally, a bird "got the message," arrived, performed,
and flew away in perfect rhythm and beauty exactly as the director
wanted!

Shooting on the film was commenced in 1976, but due to many
complications, certain re-shooting had to be done. And the lady in
the red dress, who is prominently featured in the film, kept her same
red dress, her same hairstyle, her same happy countenance and willing
spirit, even though between 1976 and 1979 (completion date of the film)

many of her scenes had to be re—shot for final editing!

36

The endurance of all the pilgrims attending the conference
was amazing! It is their usual custom to Sleep by day (when heat is
so intense) and to celebrate, sing, dance and pray at night. However,
the film crew needed to work by day and try to rest at night.

Due to the noise of the celebrants at night, the crew was
unable to Sleep and rest. This necessitated their having to set up
their camp (coming down and up from the steep mountain again, and

again) in a location thirty minutes by car distant!

CHAPTER V

INTERPRETATION OF PIR-E SABZ

PILGRIMAGE TO THE GREEN SAINT

This film offers an introductory documentation of some customs
and aspects of the Zoroastrian people of Iran, in the setting of an
annual pilgrimage. It also offers us a classical perspective of our
spiritual attempts to understand ourselves in our universe.

The opening scene is a telephoto shot down a highway. The
heat from the pavement causes a mirage through which people are moving
towards the camera. The first people we see are a man on a donkey,
another on a bicycle, and another walking. Next we see someone on
a motorcycle and someone else in a car. Over all of this the title
and credits are superimposed with some violin music.

This scene has two basic purposes. First, it introduces the
setting and supports the title as we assume these people to be the
pilgrims. Second, it suggests that as we travel towards our spiritual
endeavors, we in fact have a distorted view, caused by the mirage, of
what we are looking at.

In the second sequence, we find an old man, the caretaker
of the shrine, carrying some water, from the water storage, for his
domestic needs. He walks up steps, down hallways, through courtyards

and patios on his way back to his apartment. In following him, we

37

38

realize that the shrine is virtually empty. There are no people or
objects in a rather expansive building complex except perhaps the
caretaker and his wife.

The narration starts here with a relaxed low voice to
introduce the shrine and the mood of the setting.

The old man pauses as he walks down a corridor. He looks out
into the distance as though he is waiting and expecting something.

The camera looks with him into the desert mountain setting, zooming
forward to identify a small empty road in the valley.

This view down the road is symbolic of man's incomplete
knowledge. Though he can see a path before him, he can only see so
far. He in some ways senses beyond the end of the road (beyond death),
yet he finds only unclear clues to what is beyond.

In the next shot the old man is in a patio relaxing and waiting
in an otherwise empty shrine. The camera finds a bird in a nearby tree
and follows it into the valley. We then find ourselves looking at the
shrine from the valley. The camera zooms back and gives us a distinct
view of the isolated setting in the seemingly barren mountains.

In the third sequence we find ourselves following people on
their way to the shrine in their different forms of transportation.

The narration gives us some information of the pilgrims' efforts
today compared to those of ages past. Though some aspects of their
actions have changed (motor power vs. animal power), their motivations

are fundamentally rooted in religious intentions.

39

In the fourth sequence we are now following the pilgrims up
the final path to the shrine. We see people and vehicles moving up
the last stretch of road and walking up the many steps of the shrine
(from many different camera angles). The narration gives us historical
information about the development of this site and ritual.

The camera then isolates on an old woman who follows some
different steps away from the crowd and eventually we find her
completely isolated from the rest of the people. After she speaks
to us about the legend of the Shrine she moves on and washes her face.
The camera dissolves into an idyllic perspective of the ponds and
foliage in the shrine. We see rippling water, rainbows in the
refractions of the water, and leaves dancing in the sunlight as
birds chirp and hop through the trees and shrubs. A crane shot takes
us over a wall back to the old woman who is now in the main altar
room offering her prayers.

This sequence strongly suggests that though people gather
in a religious collective, we as individuals have our own perspective
and path of appreciating and interpreting the divine. Our spiritual
aspiring is symbolized by the old woman's walking up many flights of
steps and then resting. This will lead us towards a harmony with the
universe, symbolized by the scenic shots of the shrine's ponds and
foliage.

In the fifth sequence we come upon the festive mood of a wedding
party. The crowd is cheerful, relaxed, and ready for fUn. There is a

good deal of dancing and chanting. The mood of the scene then shifts to

40

a calmer tone where people are talking in small groups, eating,
or preparing food, praying and playing while others are napping.

The general feelings one gets from these shorts are that these
people are relaxed and fun loving. The pilgrims often refer to this
yearly event as ”Happiness in the Pir-e Sabz." It is evident in their
amiable ways that they have little conflict with the sincerity of their
beliefs and the enjoyment of the same.

Also from this scene we find another message which is suggested
mostly through the narration. The suggestion is that different religions
share many similarities and in fact many of their customs are taken from
one another. "The lighting of candles, Zoroastrians gift to Christian-
ity and other more recent faiths . . ." is a quote from the narration.
Concepts such as mandalas, cycles, and an emphasis on light are some
similarities that the Zoroastrians share with the Islamic and Hindu
religions. The bridal party circling the altar and being showered
with greens bears a great Similarity to fertility/prosperity rites
of other cultures, such as the throwing of rice at weddings. Some
of this Zoroastrian ritual came from a pre-Zoroastrian worship when
prosperity, rain, and fertility were granted from the Goddess Ahahita.

In the sixth sequence, the end of the film and pilgrimage is
foreshadowed by shots of the sunset. The people have moved out onto
the land surrounding the shrine and built fires around which they
dance.

In the past a temple was a place where a fire was always
burning for anyone whose fire needed rekindling. Though this

practicality is no longer required, an appreciation for fire is

41

still an obvious part of the Zoroastrian's life. This is expressed
by the campfires and the fireworks enjoyed by the people.

In the final sequence we again find the old man in an empty
Shrine except for his wife. The pilgrims have gone and this part of
the yearly cycle has passed.

The old man's waiting represents more than a waiting for the
return of the pilgrims. He is waiting for death/God/understanding of
the world he finds himself in. A lack of finality is represented by
the old man in that as we approach old age and near the end of our
physical existence we are stimulated to ask ourselves just how much
we really understand about our existence.

The perspectives from our past, a religion or a philosophy
offers ideas on this matter, but even so there is still obvious
ambiguity to the answers one seeks and what we are trying to look
at is not a clear image, almost as though one is looking through a
mirage. Therefore we wait. Pressed by a desire to understand more,
we strive to improve and purify ourselves, and in doing so, expand

our perspectives.

FOOTNOTES AND REFERENCES

FOOTNOTES AND REFERENCES

1Zabih Behruz, Taqvim-o—Tarikh dar Iran, Iran Kudih, vol. 15
(Tehran, Iran: Anjumani-Iranvich, 1952), p. 139.

2M. N. Dhalla, History of Zoroastrianism (New York: Oxford
University Press, 1938), pp. 3-4.

 

3Jalil Mahmoudi, Research Monograph No. 2, Social Thought of
Ancient Iran (Salt Lake City: Social Research Corp., 1973), pp. 3-4.

“Richard Frye, The Heritage of Persia (New York: The World
Publishing Co., 1963), p. 50.

 

5R. C. Zaehner, The Dawn and Twilight of Zoroastrianism
(New York: G. P. Putnam's Sons, 1961), p. 284.

6Ibid., pp. 284-285.
7Dhalla, Zoroastrian Civilization, pp. 9, l4.

8Mahmoudi, p. 14.

*****

Besant, Annie. Seven Great Religions. Madras, India: The
Theosophical Publishing House, 1966, pp. 1-272.

Duchesne-Guillemin, Jacques. Symbols and Values in Zoroastrianism.
New York: Harper 8 Row, 1966, pp. 1-162.

Duchesne-Guillemin, Jacques. The Western Response to Zoroaster.
London: Oxford Press, 1958, pp. 1-104.

42

HICHIGQ STRTE UN V

HITHITIIWHI m

I . LIBRQRIES
N! WINIIIHIIIMIMHII
31293105987733