Khak (1973): A Cinematic Adaptation of Mahmoud Dolatabadi’s Awsaneh Baba Sobhan
Khak is a 1973 Iranian film directed and written by the acclaimed filmmaker Masoud Kimiai. Based on Mahmoud Dolatabadi’s novel Awsaneh Baba Sobhan, the film marked a significant cultural and artistic endeavor in Iranian cinema. Despite its remarkable cinematography and artistic achievements, the film stirred controversy due to its deviations from Dolatabadi’s original narrative. This essay examines the film’s plot, the creative liberties taken by Kimiai, and Dolatabadi’s reaction to the adaptation, alongside an exploration of the film’s setting and production.
The Plot of Khak
The story of Khak revolves around a power struggle over land following the death of a village lord. The foreign wife of the deceased lord, with the help of her sinister steward, Ghulam (portrayed by Jalal Pishvaiyan), seeks to reclaim land that has long been cultivated by two brothers, Saleh (played by Behrouz Vosoughi) and Musayyib (played by Faramarz Qaribian). The brothers, determined to protect their livelihood, refuse to relinquish the land outright but agree to pay rent.
Tensions escalate when Ghulam, who harbors a personal vendetta against Musayyib due to his unfulfilled love for Musayyib’s wife Shokat (played by Farzaneh Tsherikhi), initiates a violent conflict. This feud culminates in tragedy: Musayyib is killed, and Saleh suffers severe injuries. The turning point comes when Saleh, having lost his mental stability after being struck on the head during a confrontation, murders Ghulam in a fit of rage. His act of vengeance leads to his arrest and imprisonment, bringing the narrative to a somber conclusion.