Sepanta prepared for shooting another script with the working title of The Black Owl. However, the project never materialized, nor did another screenplay he had written on the life of Persian mathematician, astronomer and poet Omar Khayyám. Conservatism and the Calcutta Iranians Sepanta's early films were filmed in Bombay with Parsis as organizers and cast of different backgrounds. For some reason, in 1935, Sepanta packed his things and left Bombay for Calcutta to seek out opportunities in the Bengali cinema. This final film, Laili-o-Majnoon, was based on a full-scale dramatic poem by Nizami similar to that of Romeo and Juliet. The Basravi family made many peripherals that added to the script such as detailed information regarding exterior and interior scenes, dialogues, and actors' movements, settings, costumes, lighting, sound effects and camera movements. They also contributed in making explanatory notes on editing and film processing made that are offered and scene descriptions by carefully worked-out drawings. Though the other 4 scripts are available, none of them show such detailed workmanship. Due to the changing political climate in Iran, Laili-o-Majnoon never saw any comparable market success. Return to Iran In 1935, he left Calcutta (Kolkata) for home, hoping that he could enlist government assistance to establish a film production studio in Iran. However, he failed to gain enough support for his projects from the new government. Dr.Sassan Sepanta quoted his father in an interview: Sepanta who had been disappointed, sold his Laili-o-Majnoon at a very cheap price to cinema owners in Tehran, he was about to return to India for the last time to shoot The Black Owl and Omar Khayyám, when he was retained in Esfahan by his mother's illness. He never returned to India. Sepanta after filmmaking Between 1934 and 1954, not a single film was produced in Iran and when filmmaking activity was resumed, Sepanta was living in seclusion in Esfahan. In 1943 he started publishing his weekly magazine(Sepanta Newspaper). He had difficulty to continuing publishing his magazine because of his ideology and political thought, which holds liberty as the primary political value and seeking a society characterized by freedom of thought on the authority of government. Therefore, he has been forced to close his magazine in 1954. From 1955 he was the Iranian consultant of the United States Aid Program in Esfahan. Finally after 30 years Sepanta took up filmmaking again but not as a professional. He bought