The article analyzes the film Pari (1995) by the Iranian DirectorDariush Mehrjui based on J.D.Salinger's book Franny and Zooey. The screenadaptation was made without Salinger’s authorization, so the film went on quietly,without much visibility at international events, including film festivals. Unlikemany other Iranian films of that time, where a woman's freedom is assumedas an achievement, the film Pari shows a female character who perceives herfreedom as a given. But freedom turns out to be a burden for her, resulting in adeep existential soul-searching crisis. The problem of the interaction of a highlygifted personality with the world of the ordinary people found in Salinger’sprose, proved to be relevant for Iran of the 1990s.In the film Pari, Mehrjui introduced fundamentally new characters forIranian cinema of the 1990s. On the one hand, there was an emancipatedand independent intellectual woman, on the other, a full-hearted and secureintellectual man who had been through the war.Iranian films of the Shah period typically portrayed intellectuals asunpractical and hysterical members of society. In his film Pari, Mehrjui createsan image of intellectuals the audience can connect with. Compared to Salinger,he is far less judgmental and critical towards the ordinary people who hesees as complex individuals not perfectly consistent in everything they do inlive. Despite the obvious differences in the characters’ world outlooks and inthe social conditions around them, Salinger and Mehrjui come to the sameconclusion: one should always follow their heart and try to find fulfillment intheir lives.It proves to be a pattern that screen adaptations set in Iran but based on theworks of Western authors acquire political implications and reflect the currentsand attitudes of society, as well as its ideological and political trends.