They had distinct rites, attitudes, clothing, and traits, most notably practicing Pahlevani and zoorkhaneh rituals.
In late 19th century, a unifying national Persian masculine gender identity was gradually formed during the political and social developments and modernization/Westernization in late Qajar (1785-1925), particularly during the Persian Constitutional Revolution (1905-1911), and first Pahlavi periods (1925-1941), which came into conflict with the ideals, norms, traits, and appearance of the lutis; the latter gradually became menacing, counter-normative, deviant, anxiety-provoking, chaotic, and violent.
[2] Dash Mashti was an influential subgenre of the Iranian cinema that embodied javanmardi ideals and ideas.
Nacim Pak-Shiraz's analysis explores how filmfarsi redefined masculinity, empowered marginalized men, and reflected women's roles in both mainstream and alternative narratives.
The merchant Tayyeb Hajj Reza'i (1912-1963) is nowadays remembered as the "javanmard-e bozorg", i. e. the "great ideal man".