“Goodbye Friend” – A Tale of Failure
Goodbye Friend marks Iranian veteran filmmaker Amir Naderi’s debut feature film and stands as one of the earliest works of Iran’s New Wave cinema.
Naderi’s journey into filmmaking began in his childhood, working in theaters and cinemas. By watching films and plays, reading reviews, and engaging with critics, he entered the world of cinema as a self-taught artist. Initially, he worked as a photographer on several notable Iranian films before directing his first feature, Goodbye Friend, in 1971. Later, international audiences took notice of Naderi through his acclaimed films The Runner and Water, Wind, Dust.
The music for Goodbye Friend was composed by Esfandiar Monfaredzadeh and featured the iconic first performance of the song “Jomeh” (lyrics by Shahyar Ghanbari) sung by Farhad. The film’s cinematography and editing were handled by Alireza Zarrindast.
While the film has some shortcomings, such as an overemphasis on camera work, extended sequences of characters wandering the city, and relatively weak character development, it remains most notable for the boldness of its direction.
Based on a true story first reported in newspapers, the film revolves around a jewelry store robbery. It also introduced Saeed Rad, a prominent athlete and bowler, to Iranian cinema. Goodbye Friend, deeply influenced by the noir genre, is a bitter, biting tale of failure. Naderi himself admitted that during this period, he was enamored with film noir, and this work reflects that passion. Although the film did not achieve significant box office success, it showcased Naderi’s creativity and promise as a filmmaker.
The story follows Nasser, a cunning and battle-worn man nearing the end of his criminal career. Determined to retire, he plans one final heist with dreams of settling down with Shirin. Together with Jalal and Khosrow, he robs a jewelry store. However, Khosrow betrays the group, attempting to keep the loot for himself. Jalal and Nasser track him down to retrieve the jewels. Eventually, Nasser kills Jalal, who tries to steal the loot, and as Nasser attempts to escape by train, Khosrow confronts him. The two die in a final confrontation.
Despite its flaws, including some repetitive visual effects and stretched-out sequences, Goodbye Friend remains a significant and impactful film. It exceeded expectations for a directorial debut, leaving an indelible mark on Iranian cinema.
The film broke new ground by presenting violence in a realistic and nuanced manner for the first time in Iranian cinema. The fight scenes were a departure from the exaggerated, stylized brawls typical of mainstream Iranian films. Its music, composed by Esfandiar Monfaredzadeh, and Farhad’s performance of “Jomeh” became iconic cultural elements.
Goodbye Friend also launched the acting career of Saeed Rad. After years as an athlete, Rad transitioned to cinema, first appearing as an extra in Conquerors of the Desert. Naderi cast him as Khosrow, an ambitious man desperate for success, willing to risk everything for overnight results. Rad’s commanding physicality and expressive performance earned him critical acclaim and led to a wave of acting opportunities.
In an interview with Fereydoun Jeyrani on Aparat Episode 11, Saeed Rad revealed that the production of Goodbye Friend faced several delays. The project overlapped with the making of Homa-ye Sa’adat (directed by Tapi Chanakya, 1971). Deeply invested in the film, Rad sold his share in an advertising agency to fund the project. However, further setbacks arose until Barbad Taheri (Abbas Shabaviz’s son-in-law) joined as co-producer and settled Rad’s share.
Amir Naderi reflected on his filmmaking journey:
“I got into cinema at a very young age and worked in every phase of filmmaking from the age of 12. I started by serving tea on set, moved to editing rooms, photography, and other roles. At 21, I went to England, and when I returned, I knew I wanted to pioneer a modern, street-style New Wave cinema, which began with Tangna. I’ve always sought to create something rooted in personal experience. I choose collaborators who have worked on documentaries, short films, or anything with substance. I prefer cinematographers who aren’t overly polished because I like to control every detail myself. I work with young, passionate individuals who share my hunger for creativity.”
“I never truly became a Tehrani and soon returned to Khuzestan. The difference between making films in Iran and abroad lies in ambition. Here, I am more ambitious. I don’t make romantic films. In my stories, if someone needs water, they must dive into the sea. Outside Iran, I have more freedom to create the kind of films I envision, in atmospheres that align with my perspective.”
