Roohangiz Saminejad

{{Short description|Iranian actress}}

{{Infobox person

| name = Roohangiz Saminejad

| image = Roohangiz Sami-Nejad01.jpg

| alt =

| caption = Roohangiz Saminejad in Lor Girl

| native_name = روح‌انگیز سامی‌نژاد

| birth_name =

| birth_date = {{Birth date|1916|06|24|df=yes}}

| birth_place = Bam, Iran

| death_date = {{Death date and age|1997|04|30|1916|06|24|df=yes}}

| death_place = Tehran, Iran

| nationality = Iranian

| spouse = Reza Damavandi {{small|(1932–1940, divorced)}}
Nosratollah Mohtasham {{small|(1943–1947, divorced)}}
Ali Omrani {{small|(1948–1990, his death)}}

| native_name_lang = Fa

| other_names =

| known_for = Lor Girl

| occupation = Actress

}}

Roohangiz Saminejad (24 June 1916 – 3 April 1997){{cite web | url=http://www.iranianuk.com/article.php?id=37339 | script-title=fa:پايان غم انگيز اولين هنرپيشه ي زن ايراني (فيلم دختر لُر) | accessdate=21 July 2011 | language=Persian}} was an Iranian actress. She is famous in Iran for playing the heroine Golnar in Lor Girl (1934), which was the first film made in the Persian language, making her the first Iranian film star in a talkie film.{{cite book|url=https://books.google.com/books?id=p0ODBAAAQBAJ&q=Roohangiz+Saminejad&pg=PA255|title= Iranian Cinema in a Global Context: Policy, Politics, and Form|author= Peter Decherney, Blake Atwood|date= 15 September 2014|publisher= Routledge|isbn= 9781317675204|accessdate= November 25, 2017}}

Roohangiz Saminejad was not a professional actress. She was the wife of an employee of the film company. She was discovered by Abdolhossein Sepenta, who had almost despaired of finding an actress with the right look for the film. Her strong Kermani accent required some changes to the script to account for it.

She only made one more film, Shirin and Farhad, also produced by Sepenta. According to Hamid Reza Sadr, she suffered social ostracism in the conservative culture of the time for becoming an actress. She also experienced sexual harassment from men when she went out in public. She had to change her name and lived in anonymity and seclusion.Hamid Reza Sadr, Iranian Cinema: A Political History, IB Tauris, 2006, p.28.