When their success poised Slade to make their screen debut in 1974, the choice they faced was that seemingly faced by every pop act determined to make a cinematic cash grab since the days of the Beatles. Of course, being merely silly in times that cry out for revolution is, for some, as great a crime as any. Without that, what we’re left with is a storybook fantasy that is no less casually diverting for being silly and manifestly low rent. Pictures like Amir Arsalan-e Namdar were valued by the Shah’s regime more for their manifest lack of political content than for any propagandistic value, which may explain why Kushan seems to glance over the one aspect of the story - it’s exceptionalism in depicting a character whose inborn superiority destines him to rule others - that the Shah might have found most flattering.
That is, of course, provided you’re even aware of that context.
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Mind you, if it’s cheapjack Asiatic visual wonders you want, much of what you see in Amir Arsalan-e Namdar can also be seen in the countless Arabian Nights-style stunt films produced during the same period by India’s B movie industry - which, though perhaps not any more accomplished in their presentation, are at least without the unsavory political context that Kushan’s films carry. I should also mention that these songs might prove somewhat difficult musical terrain for those whose Western ears are unaccustomed to the glottal ululations of Farsi singing. I should mention, however, that it is a very stripped down musical, with nothing that a film fan raised on Bollywood could advisably call an actual musical number just one star or other (almost always Mohamad Ali Fardin) walking around singing with, at the most, a couple of extras shifting listlessly from foot to foot in the background. This infatuation provides the impetus for the movie’s first song, a serenade that Mohamad Ali Fardin sings to the portrait - because Amir Arsalan-e Namdar, like many Iranian pop films of its day, is also a musical. This leaves us to pick up at a later point in the original narrative, with the triumphant Arsalan falling in love - as per Laura's Dana Andrews - with a young woman depicted in a portrait he’s found lying around the castle.
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Now, all of the above could make for a pretty thrilling screen adventure, but Kushan chooses instead to skim over this part of Arsalan’s tale via some hasty opening narration prattled over a series of illustrated title cards.
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