Mehrjoui taught me to work in front of the camera / collaborations that were not possible – Mehr News Agency | Iran and world’s news
According to Mehr News Agency Quoted Ali Nasirian, Public Relations Officer of the Cinema Museum, stated that he is an actor in the conservatory Lesson Has read, said: in that period with Sadr al-Din Elahi, Fahimeh Rastkar, Bijan Mofid, Ismail داورفر And Jamshid Layegh is studying together.
He continued: I remember in the second year, Fahimeh Rastkar told me that a man named Shahin Sarkisian wants to work in modern theater. Do you have any desire? بروی Work with him کنی And I accepted. He had translated a play called “Sood” with the help of Mohammad Ali Jafari, which was related to the North-South war, but the structure, characters and type of play were very chaotic, that is, it was close to the system that Sarkisian liked to be active actors. We practiced with them for almost a year. the door ان We were excited to go on stage and even to him Regarding That we had been protesting for a year and he was trying to keep us satisfied, and at that time we did not realize that the same rehearsals and conversations were an acting workshop for us.
Nasirian stated that one of his chances and fortunes was that I was able to find the way that I was interested in and loved (acting): From childhood and adolescence by watching ritual and Sunni plays and when radio and television I was very interested in the play, and especially the taziyeh and the event of Karbala, where the reciters in the pulpits explained how the taziyeh came to be, and it was very welcome because the effect of its visualization, image and representation of the event is very different from its narration. As a child, taziyeh affected me a lot.
He said that in addition to taziyeh, happy and popular plays also influenced him a lot, he said: We lived on Shahpour Street and I went to Noor Cinema which was on Amirieh Street and watched American movies. At that time, there were no subtitles or dubbing. In the middle of the film, they would cut and captions and write the dialogues of the film and explain the film. And we read the movie description to them. (with smile)
Nasirian pointed out: “Fortunately, one of my chances was that I was able to find the way I wanted, and I was not a very successful student at school, but I had a great love for acting, so much so that at Pirnia School in 1328 in the late 1920s.” I took the stage of a play and started working, and during these 72 years that I have been working in the field of theater, I have not done anything else.
He pointed out: In the Department of Dramatic Arts, which was close to Baharestan Square, there was a narrow hall, part of which we turned into a theater. Hamid Samandarian, Davood Rashidi, Peri Saberi, Bahman Forsi and I performed on stage in this hall. Davood Rashidi rehearsed a play with me, Jamshid Mashayekhi, Fakhri Khorvash, and… Rabeh Faragaz, which we performed in the Culture Hall due to its size.
In response to Fereydoun Jirani’s question, in which play did Dariush Mehrjoui come backstage and talk to him? Answer: In 1347, one night when we were on the stage of the play “I hat with water without a hat”, I saw a handsome and handsome young man come behind the scenes, who was Dariush Mehrjoui. I had not seen him until that night. Dariush Mehrjoui had a very different perspective on filmmaking, and he was my first teacher to teach me how to work in front of a camera. We were taken to a village called Boyink later on Qazvin Road to film “Cow.”
Referring to the film “Mr. Halo”, he said: “The proposal to make the film” Mr. Halo “was more than Ezatullah Entezami, and Mehrjui and I wrote the script together.
Nasirian continued: I did most of my activities in theater and cinema with honesty and motivation. I believe that working in cinema itself is a risk, because even if the script and directing are good, the result is still unknown.
He explained about his collaboration with Nasser Taghvaei: Nasser Taghvaei told me that he wanted to make a film called “Nakhodakhorshid” in which you could play two characters, Nakhoda and Mr. Farhan. I asked him which role do you think is more suitable for me and he said Master Farhan and I told him I would play the same role you say which was a very good role.
Nasirian added: “Unfortunately, I did not have the opportunity to work with Masoud Kimiaei and Bahram Beizai, but it was not intentional.”
He also said: “I think we found very good talents in both theater and cinema, an example of which is Homayoun Ghanizadeh, who shone in the play” Mr. Mississippi Sits and Dies “. Fortunately, there are first-rate actors, writers and bands in theater and cinema today.
Nasirian added: “Today, Iranian cinema has grown a lot, and now in the theater and cinema, the works that are made are much better than our work, because times have changed and the Internet and mass communication help the actor a lot, while in our time, such a thing.” There was not. At that time, we worked hard and there was no book or information and we worked empty-handed, but today the actors work with full hands in terms of information.
The Iranian Cinema Museum congratulates the eighty-seventh birthday of Professor “Ali Nasirian” to this popular and well-known artist of the country and wishes him good health and long life.
Ali Nasirian Crystal Simorgh Best Actor for Ridiculous Film at Fajr Film Festival, Crystal Simorgh Best Actor for “Gray Years” at Fajr Film Festival, Crystal Simorgh Best Actor for “Stone Lion” at Fajr Film Festival, Statue Hafez has the best male actor for the series “Shahrzad” in his artistic record.
This collection, as a cultural and historical collection that narrates the history and developments of Iranian cinema, considers itself obliged to collect the records and experiences of the veterans of Iranian cinema so that future generations can see the way of life and the way of creating and shaping the works of artists and art experts. Get acquainted with the cinema.