Navid Negahban Thinks Hamzad Was ‘Too Advanced’ for The Old Man’s Afghanistan

As a child growing up under the shadow of the 1979 Iranian Revolution, I can deeply empathize with the characters in this show who grapple with the complexities of their father-daughter relationships. The emotional rollercoaster Hamzad and his daughter experience is a stark reminder of how our past actions and experiences shape us, sometimes for better and sometimes for worse.

Spoilers follow for The Old Man through episode “XI,” which premiered on FX on September 26.

In the second season of “The Old Man,” I find that it’s less about aging spies engaging in spycraft and more about these spies grappling with the personal consequences of their imperialistic actions. This shift in focus is particularly evident in episode “X,” where Dan Chase (Jeff Bridges) and Harold Harper (Jeff Lithgow), American intelligence agents, reconnect with Emily/Angela (Alia Shawkat), who they consider as a daughter figure, in Afghanistan. They discover that she has formed a bond with her biological father, Faraz Hamzad (Navid Negahban), the man they had led her to believe was an evil warlord. This revelation adds depth to the heart-wrenching farewell between Hamzad and Emily/Angela, who is now known as Parwana, in episode “XI.

Previously, they had attempted to end each other’s lives. However, on his dying breath, Hamzad expressed to Parwana that she belonged within her Afghan family and was welcomed by them. This heartfelt instance left Negahban and Shawkat, who previously portrayed father and daughter in the 2013 film “The Moment “, moved on set. “Those who have departed from home and return, no matter their location, there’s a sense of belonging,” Negahban explained of Parwana’s acceptance by Hamzad. “We all yearn to be part of something. And that awareness is the instant that lifts you up, providing what you have been seeking throughout your existence.

Negahban skillfully portrayed Hamzad, a character who was both misunderstood and principled. His performance, whether he was softly singing a lullaby or coldly smirking at threats, was filled with dignity and weight. He could switch between being foreboding and vulnerable depending on the scene’s demands. Over the past few decades, you might have seen him in various projects set in or about the Middle East. Now, this versatile Iranian-American actor is venturing into writing and directing with his short film, “The Apple Tree,” inspired by a tale told to him by his great-grandmother, and a completed script for a feature called “Tosca Tehran,” which revolves around an Iranian theater group performing the opera as a form of resistance against their government. These creative pursuits are deeply influenced by Negahban’s past as a refugee who fled Iran during the Iran-Iraq War in the 1980s. “My journey, filled with highs and lows, has allowed me to explore characters more deeply and see things from different perspectives,” he says.

In the first season, Hamzad is portrayed as a warlord by Chase and Harper, but upon encountering your characterization of the role, it becomes evident how his daughter being taken from him by Chase and his wife deeply impacted who he is. During season two, we witness Hamzad confronting the Taliban to safeguard women and young boys. When I signed on for this series, I had a general understanding about the character. John Steinberg, the series creator, explained that the character feels betrayed by his best friend, someone he regarded as a brother. Having fled Iran during the war and being a refugee in Germany, I could relate to the sense of isolation and disconnection that comes with leaving one’s family and forging new relationships. Sometimes, these connections can lead to feelings of betrayal due to unmet expectations. Jeff’s character believes he is doing what is right by protecting women and children, but in his pursuit of justice, he ends up betraying his friend. The complex relationships and dynamics between the characters were particularly captivating.

When my father departed from Iran, he spent half a year in Austria. He often shared that there are certain individuals you encounter while waiting, with whom you forge an incredibly strong bond, only to potentially lose contact afterwards. Similarly, I resided in a refugee camp in Germany for roughly five to six months. After being transferred to Kaiserslautern, I remain connected with just three of the people from that group. We formed a close-knit friendship during our shared struggles and uncertain times, when we lacked resources and were unsure about our future. We were all in limbo, uncertain about our acceptance status or where we might be sent next. It was a frightening experience not knowing if we would be accepted, returned, or relocated elsewhere. This struggle, I believe, significantly influenced my personal development and continues to shape who I am today.

In a different way: Hamzad’s motivations differ from Alia Shawkat’s character’s assumptions. Compared to other characters I’ve portrayed, how did he feel? Each character I play has unique characteristics. Have I played characters who are striving for a better life or a brighter future for their families or the environment? Yes. However, I haven’t played a character with such a complex relationship with his daughter before. To me, Faraz is someone seeking a better life not just for himself but also for his people and his family. He might have been too progressive, too ahead of his time. His dreams were grander, aspiring to something greater for his community. This can be unsettling for many, as history shows us, such as the events in Iran with the Shah. There are many parallels to draw.

In a different context, let’s discuss how you and Alia developed your relationship. Initially, it seemed confrontational, but it eventually evolved into a space characterized by greater understanding. Since Alia was my on-screen daughter in the project ‘The Moment’, we had a pre-existing bond. On this set, we made an effort to maintain a distance from each other, adhering to the storyline. What was intriguing for me was rekindling our relationship. Interestingly, I knew Alia before, but due to certain circumstances, we drifted apart, and now I’m rebuilding that connection with her. This dynamic turned out to be quite beneficial.

The intense fight between the two characters clearly shows the underlying grudges and past issues each of them harbors towards their relationship. Can you describe how you tackled this scene from both perspectives? For me, it was challenging to identify the driving force behind Hamzad’s actions, as he grapples with his fatherly emotions on one hand and feelings of betrayal by his daughter, who is an FBI agent trying to apprehend him. Filming that scene, I found myself wrestling with the conflicting emotions portrayed in the moment – frustration, rage, anger, yet tinged with love. The scene revolves around these two individuals uncovering each other, engaging in a fierce confrontation that pushes them to the brink of violence. At the last second, however, there is a glimmer of love amidst the fury, as Hamzad questions himself: “How can I do this? How can I hurt you, when I love you?” The scene embodies an intricate blend of emotions such as frustration, anger, rage, disappointment, and love.

In just a couple of scenes, Hamzad’s actions take us on an intense emotional journey – from singing a lullaby reminiscent of their shared past, to pointing a gun at her, and then breaking down after attempting to harm her. It’s a real emotional roller coaster that John masterfully orchestrated. [Laughs.] His twisted mind made us experience hell emotionally, but it was worth it because the dialogue we exchanged was deeply meaningful for him, and he strived to make those moments profound and layered. He provided us with an engaging playground where we could explore the depths of the characters’ emotions.

Hamzad comes back to his family compound to make a last stand against the Taliban. Before he goes, he says to Chase, “Who are you to have an opinion about what is best for me, and the people I lead?” How did you react to that turn for Hamzad?
I always saw Hamzad as willing to sacrifice himself for his people. That’s all he lives for. There are people who live for themselves and there are people who live for others’ happiness; others’ joys, it becomes your joy. It was a moment that he’s finally able to really show who he is. I think even Dan realizes what he has done to Hamzad in that moment. Him coming down is his legacy. And Parwana following him and having that moment where she says, “I am Parwana Hamzad,” that’s his gift, that’s his reward. This is all he wanted his entire life, to have his daughter, and now he has it.

This moment was truly a symbolic handover. What made it so valuable to me was the last interaction between them, as she held his hand while he lay on the bed. That moment was deeply moving for me, witnessing their connection. She seems to be taking over from him, receiving all that he is giving her. We could sense it in the room and shared the feeling when we clutched each other’s hands.

In one particular phase of her life, two men identified as Chase and Harper, who are American and functioned as her fathers, held significant roles. More recently, Hamzad, an Afghan father, has entered the picture, providing what she needed.

The 1979 revolution in Iran against Shah Mohammad Reza Pahlavi, which occurred 26 years after a British- and American-instigated coup against a democratically elected prime minister, led to the creation of the country’s Islamic regime.

2024-09-28 03:56

Navid Negahban Thinks Hamzad Was ‘Too Advanced’ for The Old Man’s Afghanistan

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