Monthly Archives: September 2012

Dad kills his three daughters with a poisonous snake

The daughters were aged between three and seven (Picture Courtesy: Al Youm Al Sabea’a)

By: Alexandra Kinias

As a screenplay and fiction writer, I often find it challenging, as many writers do, to come up with original ideas to engage the reader. And while we, writers, spice the ideas to become ready to be told, we forget that human life tragedies can bring us all to shame. As I often follow the news for inspiration, not in my wildest creative imagination was I ever prepared to read about the father who let a poisonous snake bite his three daughters while they were asleep.

According to ‘Al Youm Al Sabea’a’ newspaper, the three kids were found dead in their bed in Bani Mazar town of Al Minya governorate of upper Egypt. Forensic reports confirm the kids died due to snake poison. The man allegedly bought two cobras and let them bite the children while they were asleep so as not to be caught. He was divorced from their mother because he doubted her. He alleged that the chidlren’s mother was in a relationship before marrying him and, therefore, denied that he fathered the kids. But she insisted he support the three daughters. However, when his second wife gave birth to a boy, he decided to do away with the children, he confessed to police under arrest.

Incidents as such raise the question about the sanity of people, but the father was not insane, he had been plotting for this crime for sometimes. Contrary to what was reported in the newspaper, testimonials of eyewitnesses and relatives of the victims on the Egyptian television show, Al Haqiqa(“the Truth”), which devoted an episode to this crime, that the father killed his daughters in cold blood because they were girls.

According to the girls’ maternal grandmother, who was interviewed on the show, the father was not pleased that his wife gave birth to their first baby girl, and admitted to her after she returned from the hospital that he hate girls.

The hostility against his wife and daughters escalated over the years, and with her pregnancy with the third daughter  he attempted to kill her. He added poison to her juice, but the amount wasn’t enough to accomplish his satanic mission. She vomited and passed away, but eventually she recovered her consciousness. According to his ex-mother in law’s testimony on TV, he left to work after giving her the drink assuming that she would die while he was gone and when he saw her alive when he came back from work he asked her, “You didn’t die?” returned.

After he remarried and his second wife gave birth to a son, he plotted to kill the girls. He thought that he probably would not get caught if he used a snake.

He attempted few times to kill them, but the snakes he used weren’t poisonous and the girls survived. To end his girl’s lives he bought a cobra snake and tucked it under their bed cover while they were asleep.  What sick mind would use a snake to kill his daughters in such a slow painful agonizing death?

The horrific infanticide of the three girls confirms that misogyny is still deeply embedded and still thrives in the Egyptian society. This pre-Islamic pagan ritual of Arabs burying their newborn infants alive, if they were daughters, was banned by Islam. Fueled by misogyny, it had not just survived, but is also being practiced in the 21st century.

Certainly Islam does not promote the killing of women because they are women, and in theory misogyny contradicts the teachings of Islam, yet this message of hatred is the one that the average Moslem hears when he seeks his sheikh’s guidance.  Religious scholars save no effort to promote violence against women, in mosques, airwaves and televisions. Obsessed with female gentiles, sexual desires and pervert visions of the 72 virgins in heaven, they religious scholars humiliate and dehumanize women. They permit men to beat their wives. They consider women to be deficient in intelligence. She inherits half of what a man inherits, and her testimonial in court is worth half of a man’s.

Who should be blamed for the loss of the three innocent lives? The heartless father who committed the crime or the religious scholars whose venomous and degrading opinion of women had shaped his low opinion of women to the extent that he easily killed his daughters in cold blood.

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How a bared breast triggered a ‘cultural earthquake’

Golshifteh Farhani was Iran’s biggest film star. But when she bared her breast in a French video, she was banished from the country and became a lightning rod for the divisions in Iranian society

Golshifteh Farhani … “It was a catastrophe.” Photo: Getty Images

In January of this year the parents of the exiled Iranian actor Golshifteh Farahani took a call at their apartment in Tehran from a man who said he was an official of the supreme court of the Islamic Republic. He began shouting at her father, telling him that his daughter would be punished, that her breasts would be cut off and presented to him on a plate.

A few days earlier, Farahani had appeared in a short black-and-white video with 30 other “young hopes” of the French cinema to promote the Cesars, the “French Oscars”, where she had been nominated for her role in the winsome immigrant comedy Si Tu Meurs, Je Te Tue (If You Die, I’ll Kill You).

‘It was a big shock for me and my family and for the whole of Iranian society. The good thing is it started a huge debate. I was watching people insult me, others answering them, others defending me, others attacking again.

The promo had each actor take off an item of clothing as they stared into the camera to commit their “body and soul” to their art. Farahani chose to bare her right breast, saying: “I will put flesh to your dreams.”

A still from the video.

What followed in Iran was little short of a cultural earthquake.

“It was a catastrophe,” she remembers, her head dropping into her hands. “I don’t know exactly how many tens of millions of people typed my name into Google the next day, I don’t want to know …” A taboo of unimaginable proportions had been shattered, and not by some publicity-hungry provocateur, but by the most loved and admired actor in the country. Farahani may have only been another 29-year-old hopeful in France, but in Iran she became a star the moment she appeared in Dariush Mehrjui’s The Pear Tree at 14. Eighteen films later there is more than a little of Garbo, Jeanne Moreau and Irene Papas about her: a rare beauty and intelligence married to a burning emotional honesty in a country where truth of any kind is hard to come by.

In M for Mother she seared herself into the national consciousness playing a pregnant woman gassed during the Iran-Iraq war, abandoned by her husband and now carrying “a gift from God” in her womb. Both rural and urban Iran embraced her as their down-to-earth hero: Golshifteh, the star without airs. Marjane Satrapi, author of Persepolis who directed her in Chicken with Plums, says: “She was not just Iran, she was the mother of Iran.”
The day the video was posted, the official Fars news agency in Tehran issued a communique saying that the pictures showed the “hidden, disgusting face of cinema”. This kind of opprobrium had never before been poured on an artist, however much they had upset the regime. Her exile was now a banishment.

Farahani had already been banned from working by the Ministry of Culture and Islamic Guidance for not wearing a headscarf at the New York premiere of Ridley Scott’s CIA thriller Body of Lies, where, playing opposite Leonardo DiCaprio, she became the first Iranian actress to appear in a Hollywood film since the 1979 revolution.

The film’s critical take on the CIA – which overthrew Iran’s last freely elected government in 1953 – cut little ice with the ayatollahs, who took her passport away. Four years ago, with doors closing all around her amid a pre-election crackdown that would eventually spark the green revolution, Farahani fled to France after being in effect fined the impossible-to-pay sum of EUR2m. When she spoke out from Paris in favour of the failed green revolution, she was told not to return.

In a final twist of the knife, the censors banned the last film she made there, Asghar Farhadi’s About Elly, even before it was shown. Like many before her, Farahani had quietly ignored the ban to take the lead role, hoping it would all blow over.

Strangely, it would never have seen the light of day, nor have won the Silver Bear at Berlin, had it not been saved by an unlikely intervention from President Mahmoud Ahmadinejad himself, who said it was “not fair that a film be condemned by the mistake of one actress”.

But that was before she slipped her shoulder out of her shirt and became a lightning conductor for the divisions within Iranian society. Ahmadinejad is never likely to be so forgiving again.

Farahani insists, however, that she did not set out to shock or provoke. “I hate politics. It is not my job. As always, something you do for nothing becomes political. I knew it would be difficult. But I am living in France now, I have to work here, and either I am living here or I am not.

“It was a big shock for me and my family and for the whole of Iranian society. The good thing is it started a huge debate. I was watching people insult me, others answering them, others defending me, others attacking again.”

But Farahani doesn’t want to be a “Joan of Arc, an actress ‘with a story’, an exotic victim of persecution. Exile is like death. The whole world wants to see you as a victim and they push you to be even more a victim because they see you miserable and they feel good. That is why French people are so obsessed with causes like Syria. It is a kind of pornography to make them feel better about being themselves, but they don’t give a shit. They say, ‘Come, we will look after you,’ and then they f— you up and don’t give you papers. I am just an actor, and I want to work.”

That said, she is hugely grateful to France. “For the first time in my life I appreciated being a woman. Paris is a city that liberates you as a woman from all your sins that you think you are guilty of, it washes away all of that and you are free.”

She pulls a white scarf around her shoulders. It’s her old headscarf, “my old friend”. “The biggest problem for Iranian actresses,” she says is not the government but the world outside “who think we come out of our mothers with our heads covered”.

“Look at Leila Hatami. Normally after winning an Oscar [for Farhadi’s A Separation] you get lots of work. But nothing is happening and she speaks four languages.”

But Farahani won’t be held. She has two more films coming out this autumn in France, a new road movie shot in the US with Sienna Miller, and the almost made-to-measure lead in Atiq Rahimi’s The Patience Stone, which he adapted from his own Goncourt prize-winning novel about an Afghan woman standing guard over the body of her husband.

“I have scars from every film I have made,” she says, lifting her sleeve and leg to show me. “There is nothing to protect actors. They treat you worse than a dog. You work like a slave, and you know I like it. That is the way it should be. Every film should be like your last.”

Article copied from the Sydney Morning Herald

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