Mehrjui Turned to Wounds Society Kept Hidden

Yari said Mehrjui wanted to influence his society. A film like 'Dayereh Mina' became an earthquake for the government of the time, and the Iranian Blood Transfusion Organization was subsequently established. Officials and those involved themselves acknowledged that the founding of this organization emerged from the staging of this film.

Iran's Sefir Arjan art service (Sefir Arjan) - Mehsa Bahadri; Dariush Mehrjoui's camera never stayed behind closed doors or in the isolation of studio frames; That searching lens went straight to the heart of the inflamed pulse of the society. One day he shook the foundations of a system with "Direh Mina" so that the blood transfusion organization was born, another day he portrayed the confusion of an idealistic generation with "Hamon" and "Peri" and somewhere deep in the foothills of Ilam with "Bamani", he lowered the suicide rate. Mehrjooi was a philosopher behind the visor who scraped Iranian flesh and skin from world literature and breathed new life into the ashes of cinema. In Ambassador Arjan's conversation with Abbas Yari, critic and longtime companion of Mehrjooi, we are re-reading the legacy of a man who, even in his silent days, the roots of Iranian cinema are nourished by his thought and courage. One of the constant challenges in cinema is the issue of "adaptation". A double-edged sword that sometimes leads to the creation of a masterpiece and sometimes fails to turn the text into an image. Zindayad Dariush Mehrjoui is undoubtedly one of the record holders and most successful Iranian filmmakers in this field. What was the component in his works that made his adaptations so brilliant?

To answer this question, we must start from Mehrjowi. Before being a director, he was a writer, poet and master painter. For this reason, he did not accept the word adaptation and believed that his work is to recreate the work based on a new outlook or worldview. Adaptation in itself is a blessed event, provided that the filmmaker can pass the source work through the filter of his mind and make it, so to speak, the work here. We have seen a brilliant example of this approach in our own cinema; Like the movie "To be or not to be" that Nasser Taqvai made with all his intelligence, or "Qasehaye Majid" that Zindayad Kyomarth Pourahmad took it from Kerman to Isfahan and recreated it with all the characteristics, dialect and culture of Isfahan. I remember that Hoshang Moradi Kermani said that Pourahmad has made the story even more attractive and cinematic than my own writing in some parts. Why is a major part of our film-making process far from this literary treasure and rarely goes to original adaptations? If we accept that literature and screenplay play a fundamental role in improving the structure of the film, then we will regret why our moviegoers read less books and stories. If studying and immersing in literature was going on, the filmmaker would be able to link the desired work to an authentic Iranian context. The basic form of our cinema lies in its acceleration; A script is put together in a few days and the key is pressed tomorrow! With such an approach, one cannot expect to create lasting works of adaptation.

We saw a great example of this successful localization in the movie "Sara"; How did the play "A Doll's House" by Henrik Ibsen become a completely Iranian drama in the hands of Mehrjoui? Mehrjooi took "Doll's House" and connected it with Iranian life and culture in such a way that despite the great geographical and cultural distance between Tehran and Norway, it turned out to be a completely believable work. It is interesting to know that even Ibsen himself had seen the movie "Sara" and mentioned it with pleasure; How interesting it is that his writing is so accurately, accurately and artistically portrayed in a space so far from the culture of origin. Mr. Mehrjooi, when turning a story into a screenplay, first digested it in the context of his own society, and that's why his works smelled of life. We must not forget that Mehrjooi was not only a filmmaker, he had written several novels, had numerous translations, and was not illiterate in this field. Of course, it is interesting to know that, for example, even his first works such as "Hayat Pashti Madrasah Adl Afaq" were supposedly based on a script by Mr. Fereydoun Dostdar, but I never heard or remember that the author protested or said that his rights were lost. Of course, there were also works that Mehrjooi himself wrote his script independently; Like the movie "Fairy". Do you remember that at that time there were objections from Mr. Mehrjooi that the film was based on the work of J. D. It was written and produced by Salinger, Frani and Zooey, while you know that the characteristics that Mehrjooi brought out in "Perry" and that mystical look in that family and the character of Perry and his brother were completely Iranized. Now, why such an issue was raised at that time and where did the end of that matter come to rest, but on the other hand, in works like "Mother's Guest", he clearly announced that the film was made based on the writings of Mr. Moradi Kermani and with joint meetings and conversations with him. Or, for example, consider the movie "Almut"; The script he made was apparently lost on TV and was never seen properly, but no one ever came forward to say that this work was contrary to the intended written text.

Another important point about Mehrjooi's works is that despite the heavy reliance on adaptation or free interpretation, women's concerns always flow in them in a bold way; The works that can be clearly seen in the famous trilogy "Sara", "Perry" and "Lila". Where did the roots of this deep look in Mehrjooi cinema come from? This concern is rooted in many of Mr. Mehrjooi's works and it comes from the fact that he thought about something more than showing a movie; He wanted to make an impact on his community. A film like "Direh Mina" became an earthquake in the government system of the time, and after that, the Iranian Blood Transfusion Organization was formed; That is, the officials themselves and those involved also admitted that the establishment of this organization came from the heart of the screening of this movie. Or when he made "Bamani", it was later mentioned that the number of suicides in that region (Ilam and Mehran) decreased significantly. That is, his cinema had a function beyond entertainment and was deeply influential. The issue of women in Mehrjooi's works is a continuation of this worrying view. He wanted to go to topics that were less discussed. You know very well that in pre-revolutionary cinema, neither its men nor its women were similar to the real men of Iranian families. The men were mostly crooks or stereotyped types, and the women were either completely passive housewives or singers and dancers in bars. But Mehrjooi went another way. When you look at movies that are centered around women, you see how carefully he goes through these layers. For example, in the movie "Orange Dressed", Mehrjooi himself appears at the beginning of the movie and complains about the chaotic state of the environment and people's littering. It is interesting to know that during the making of the film, when even I was supposed to have a role in it and act, but it did not happen, he had involved everyone, even Mona, who was no more than three or four years old at that time, and they had sewn a sweeper's dress for her to wear. This means the director's practical commitment to his idea. Mehrjooi's point of view was very progressive even in his late works. For example, consider the movie "Lost Girl". In that film, he predicted and raised the issue of the spread of digital images, the possibility of secretly filming by anyone and the loss of privacy. When we look at that movie today, we say to ourselves, what a strange intelligence! At that time, who would have thought that the world and our society would one day reach a point where there would be no safe space left?

What were the most important criteria of Dariush Mehrjoui's influence in Iranian cinema? We have reviewed a part of this topic just now. Going towards issues that society either hid or no one went to, and presenting issues in their true form. The second essential factor is his bold footprint in directing and discovering actors. When Leila Hatami goes in front of Mehrjooi's camera in the movie "Lila", it is in the days when her father Ali Hatami has just passed away, and this choice was 100% smart by Mehrjooi, and you can see what a first-class performance he gets from him. Or we all know about Khosrow Shakibaei that he owes a lot of his popularity and rise and discovery in the field of cinema to "Hamon". Bita Farhi, Ezzatullah Nzami, who played his best roles in Dariush Mehrjooi's films, or Ali Nasirian, who worked on the film "Mr. Halo" based on his writing, all these cases show that the actors owe their influence and success to Mehrjooi's careful guidance. Therefore, one of the important pillars of his influence is the discovery and wonderful acting of good actors, as well as highlighting the category of literature and adaptation in Iranian cinema. Considering the bitter and shocking events that happened around the terrible death of Dariush Mehrjooi, the most important loss for Iranian cinema was the loss of such a great actor. What happened to Iranian cinema after the absence of Dariush Mehrjooi, or the lack of work and the retirement of figures such as Naser Taqvai, Bahram Bayzaei and Kiyomarth Pourahmad? The footprint and influence of this generation is present in all the pillars of Iranian cinema; Be it behind the camera as a cameraman, be it in acting, or the next generations who came from acting to the field of directing. Today, when Mr. Mehrjooi's films are shown and discussed under various pretexts, we see the young generation, whether we like it or not, the impact they get from these works is far deeper and more lasting than the films that are limited to one show. Movies that, when you come out of the cinema hall, seem like they didn't exist at all and only entertained you for a moment. It seems that even though we have lost many of these valuable greats in the history of cinema, from Kiarostami and Mehrjooi to Pourahmad and others, and their empty place is painful, we cannot say that Iranian cinema is completely stuck. Incidentally, the history of our cinema has shown that cinema has always moved on the edge of crisis; For example, in 1955 and 1956, Iranian cinema suffered such a terrible crisis that it seemed that it would no longer survive. After the revolution, many cinemas were set on fire for the crime of vulgarity and corruption, were destroyed or changed their use and became warehouses and arcades.

But again these roots sprouted and flourished; As after the revolution, we once again got movies for which the audience stays in line from night to morning to buy tickets. Even today, with the presence of young filmmakers such as Saeed Raushi, Shahram Makri and others, we see that cinema continues its path. Even if the status of world festivals and meaningful cinema in the world has undergone a change and the works of greats like Howard Hawks or original streams are less seen, we should still not be disappointed. We should not say that with the departure of Mehrjooi, Kiarostami or Pourahmad, the work is over and Iranian cinema is at a standstill; Cinema has a birth and it should be hoped that it will continue its growing path.

The commemoration ceremony of the 100th birthday of "Reza Seyed Hosseini", the late translator and cultural writer, was held on Tuesday 21 Mehr with the cooperation of Soroush Publications at the center of the Islamic Encyclopaedia. Mahshid Nonhali called him "a world of love for the culture of this land", Seyyed Ali Al Dawood spoke of his collaboration in "Culture of Artifacts", Mehdi Firouzan mentioned his visit at the book fair in 1364, and Ahmad Masjidjamei called him "a child of suffering and humility". At the end, a documentary by Mehrdad Doferi was broadcast.

This time, the new publications in the Arab world have gone to five books in the fields of literature, history, media, sports and sociology; Works that narrate and examine the experience of exile, historical memory and social developments in Iraq, Egypt, Syria and Palestine.

Zanjan - The Vice President of Economy and Culture of Iran's Book and Literature House announced breaking the reception record at the Zanjan Book Fair, resolving the conflict of publishers' interests and holding a comprehensive cultural event.

Yari said: Mehrjooi wanted to influence his community. A film like "Direh Mina" became an earthquake in the government system of the time, and after that, the Iranian Blood Transfusion Organization was formed; That is, the officials themselves and those involved also admitted that the establishment of this organization came from the heart of the screening of this movie.

In this book, Nouryan is not only introduced as a destruction commander. The atmosphere of the front and his activities among the forces of destruction are part of the narrative, but the knowledge of the main character is formed from the path of his relationship with others and his reactions in different situations. From this point of view, "Playing Mines" is not just a narrative about a commander on the battlefield; Rather, he tries to present a more humane image of him.

Virtual exhibition "Qajar period schools; The beginning of modern education in Iran" including 18 document titles in the form of 42 pages, from the collection of documents of the National Archives of Iran, was made available to those interested on the website of the Organization of Records and the National Library of Iran.

Isfahan - The decrease in reading per capita, the weak introduction of works and the spread of illegal consumption of digital books are some of the challenges that the activists of the publishing industry raised at the "Manvin Tax" meeting in Isfahan. Challenges that show that the problem of reading books is not limited to the price of books.

According to the translator: "What was interesting to me in this book was that in dealing with the stressful behavior of the child, it is not looking for "how to stop this behavior?", but it takes a step back and asks: "What is happening behind this behavior?".

Lorestan - Hafez Shirazi Commemoration Day was celebrated in Lorestan with the focus of preserving the Persian language, analyzing Hafez's thought and introducing the young generation to the literary magnificence of Iran. The day was celebrated from literary circles and poetry reading in Khorramabad to cultural programs of different cities and scientific meetings of provincial universities.

The book "From the Beginning to the End of Babylon Civilization" is a narrative of a historical journey; From the birth of Babylon by the Euphrates to the reign of kings such as Hammurabi and Nebuchadnezzar II, from the bloody battles with Elam and Assyria to its sudden conquest by Cyrus the Great.

In the second episode of the "Inja Plus" podcast, we talked about one of the best-selling books these days. A novel by Zoya Pirzad called "People of Magnolia" that this author finally published a new book after 22 years. Mohammadreza Shafiei Kodkani's birthday and Rooz Hafez and other events and books were the subject of discussion in this episode of the podcast.

Amirhassan Mousavi, a researcher of the history of science, analyzed the various aspects of this conflict and criticized the reductionist formulations by examining the historical and philosophical roots of the challenge between modern medicine and traditional medicine at the scientific meeting of the Research Center for the History of Science of Tehran University.

Hadi Khaniki, professor of communication in this meeting, considered media ethics as a part of the network of relations between journalist and citizen, sender and receiver of message and power and society and listed individual responsibility as one of the requirements of social ethics.

Maryam Hosseini, a researcher of literary criticism and textual studies, called the book "Literary Schools" by Reza Seyed Hosseini "the cornerstone of literary schools in Iran" and said: "Any researcher in this field cannot present a valuable work without studying it." Praising Seyyed Hosseini's mastery as a translator and his translations of Malraux, Sartre, Camus and Balzac, he considered the two gaps in the book to be the lack of modernism and postmodernism and the imbalance of the chapters.

The book "Yadegar Nik" reflects part of the Zoroastrian society's efforts in preserving the culture and history of Iran and Yazd and shows the cultural and social alignment of Zoroastrians and Muslims of Yazd. "Good souvenir" reminds us of the memories, smells, tastes, sights, heard and names that were and are gone.

Experts in the printing industry believe that paying attention to standard requirements in the printing industry is particularly important; An industry where the quality of the final product, the health of the workforce, the safety of the equipment and environmental considerations are interdependent.

The review meeting of the novel "Saros" written by Ayesha Arnavout, translated by Amir Farhangdoost with the help of Bukhara magazine and hosted by Deba Book House, was held in the Khayyam Hall of the Islamic Encyclopaedia Center.

The review meeting of the novel "The Secret of Palomino Mulero's Murder" written by Mario Vargas Llosa will be held with the presence of Asadollah Amrai, the translator of the work.

Dehdashti writer Aftab Afridon believes that instead of analyzing the contradictions of the power structure in Ail, the tensions caused by facing the transition period and class divisions, most of the local writers have turned to creating decorative images and postcards from the past.

Mohammad Mirkiani said: Many psychologists and sociologists in different parts of the world have emphasized the importance of the family and believe that harming its position can lead to social disintegration and widespread damage. In both books "Uncle Rostam" and "Uncle Sohrab", the family has a respectable place and its boundaries are clearly drawn. I have tried to make the audience understand these boundaries while reading the story and while enjoying the narrative, get to know the obvious and hidden values ​​of the family and respect them.

Kermanshah - Kermanshah has been the subject of many researches and writings over the years, and part of the history, culture, society and identity of this land has been recorded in books and written sources. However, what has been collected and researched so far is not the end of the way to know Kermanshah. Among the sources collected for researchers, there are still parts of the history and identity of this province that need to be studied, recorded and documented; A problem that highlights the need to pay attention again to the assets and gaps of the sources of Kermanshah history.

Fatemeh Sadat Mirrezi said: When a historian starts the history of Islam from creation, brings it to his own time through the history of prophets and previous nations, and then places it on the horizon of the end of time, he is actually not just reporting the past; Rather, it also interprets its present time in a larger historical whole.

The history of the first car with a license plate in the country goes back to 1305, when the first cars arrived in Iran. At that time, a set of regulations including 32 clauses for the numbering of cars was compiled, although these rules were finalized three years after the entry of cars, i.e. in 1308. According to these regulations, cars had to install five separate license plates.

Khorasan Razavi - The 19th of October 1405 is the 87th anniversary of the birth of the poet, researcher and scholar of Iranian literature and citizen of Neyshabur, "Mohammedreza Shafiei Kodkani". The following picture shows the graduation certificate of this enduring figure of Iranian literature from Ferdowsi University of Mashhad, which was issued in June 1344, with a score of 19 in the field of Persian language and literature. A document from the scholarly days of a man whose name still shines in the sphere of poetry and literary research in Iran and the world.

Amiri Tehrani said: The ancient works and historical documents cited by the speakers are a reflection of the spirit of Iranian culture and thought, which has been manifested in the civilizational background of this land, including the Persian Gulf and the Oman Sea. A culture and thought that has continued since ancient Iran and has guaranteed the continuity of the Iranian world.

What is the story? A false and colorful story that historians have added to history in order to attract a general audience, or the story behind a hidden and unofficial curtain of historical events that has been removed from historical books by censorship or censorship?

Farhad Hemmati wrote: In addition to advancing the Nazi goals in the university, Heidegger also controlled the professors and students and even spied on the professors and gave secret reports. Like the case of Edward Baumgarten, who followed John Dewey's pragmatism in philosophy, which caused him to be expelled from the university.

Hamedan- Hamedan province, with an ancient background in the history and civilization of Iran, these days hosts a comprehensive narrative of its historical and cultural identity in the form of an encyclopedia of the province's culture, civilization and celebrities; A collection that collects hundreds of research works in the fields of history, geography, celebrities, rituals, language and art, tries to record the heritage of this land and pass it on to future generations.

Khuzestan- The book "Mozban Khan Sukund", a historical account of the participation of the Sukund family in some political movements at the end of the Qajar period until the years of the Pahlavi period, has been published by Gholam Ali Izadi, a writer from Khuzestan.

The director of the Farhangistan bookstore says: In recent years, the sale of textbooks in bookstores has been removed, and families no longer come to bookstores, and their presence in bookstores has practically been canceled.

Gilan- The book "Writer's Journey" was introduced in the presence of the book's translator and screenwriting enthusiasts, hosted by Ardibehesht bookstore in Rasht.

Aref Masoudi said: Basically, the key point of Bragg's methodology, which is very attractive to me, is his critical stance against stereotyped, convenient and simplistic narratives. In a way, he is de-ideologising the philosophical field. In his narrative, Bragg is exactly in the middle of these two legends (the legend of the absolute dark age against the legend of the absolute golden age).

Hamedan - Director General of Cultural Heritage, Handicrafts and Tourism of Hamedan said: While the new axis of "Irfan Tourism Strip" has been defined in recent days, we are following the placement of Bou Alisina and Hamedan in this strategic path.

Mohammad Reza Khaki believes that the translator must have a complete knowledge of the author's life and the way of writing his works and translate the book with sufficient information and knowledge.