My film found its audience in the shadow of “Fossil” and “Hotel”/ I am always pleased!

Charso Press: Adel Tabrizi, the director of the movie “Gijgah” in an interview with Mehr reporter Regarding the release status of this film and his level of satisfaction, he said: The important thing for me is that despite the conditions it had for release, this film was able to find its audience well and had a good process in the general release. “Gijgah” was able to find its own path along with first-rate comedies like “Fossil” and “Hotel” and the power these works had in attracting the audience, and overall, I have good memories of this screening.

He also explained about the different genre of the comedy “Gijgah” compared to other comedies currently being released: In my opinion, “Gijgah” is not a comedy according to the conventional definition of a comedy in Iranian cinema today. Rather, I can say that this movie is a sweet movie in which you can see different genres in its different layers. From this point of view, it can be said that the main genre of the film is a melodrama, and next to it we see sweet situations that sometimes make the audience laugh.

This director emphasized: The situations designed in the script make the audience smile, but comparing “Gijgah” with the comedies that are being screened these days is a wrong comparison. There have been other films in the history of Iranian cinema that made us smile, but they were not comedies.

Tabrizi continued: The fact is that “Gijgah” was a happy movie for me; Both in the field of critics’ reactions, in attracting audiences, and in the process of attending foreign festivals and communicating with audiences in other countries. I myself traveled to Italy and Russia for the screening of this film and witnessed the reactions of the audience in these two countries. In Iran, the movie “Gijgah” found its audience well.

A view of the presence of Jamshid Hashempour and Adel Tabrizi behind the scenes of “Gijgah”

He added: Even the best films in the history of world cinema have had opponents and critics in their time, and naturally there were people who did not like my film. Every filmmaker knows better where his film stands when he makes a film, for me “Gijgah” was a film that I love more because of what happened to it during the screening process.

This director continued: I am a happy person in general, and if this film was not a successful movie, I would still be happy! The important thing for me is that I have made a film and gained experience. If the result of this experience was not successful, I would definitely have loved it. “Gijgah” has emotional and emotional layers, and in general, it talks about hope and morality, the color of which has faded in today’s taropod society. Maybe that’s why he communicates with people.

Pointing out that he feels that women who are divorced and have children are very connected to the film, he explained: After all, the story of this film is about a woman who is in charge of a family, and for this reason, this type of people is emotionally sensitive. They communicate with this character. I have seen many people who got emotional and cried during my film, and this feature shows that the comedy genre of my film is different from other comedies.

The director of the movie “Gijgah” explained about Arslan Amiri’s cooperation in writing the script of this movie: We wrote the script of this movie together. Arslan Amiri is one of my lovely friends, and in terms of his cinematic taste, the movie “Gijgah” has nothing to do with his work. When the story of this film was formed in my mind, I decided to write the screenplay with someone with whom I have a good relationship, and this good relationship was important to me. From this point of view, working with Arslan Amiri was a brilliant experience for me.

He added: In the process of writing this script, Arslan Amiri gave me the favor of allowing me to be more free and the overall direction of the script to be towards my interests, look and feeling. Overall, we felt good about this experience and we both had a lot of fun.

Regarding Hamed Behdad’s comment about the movie “Gijgah” and using the description of “legitimate laughter” for this movie, Tabrizi said: In my opinion, Hamed Behdad is a smart and well-educated actor and he can be considered an all-round actor. He knows both literature, cinema and psychology. From the first day that Hamed entered the production of “Gijgah”, he said that this film, the smiles it creates, are full of respect. He believed that while this script is talking about 20 years ago, it is not a backward movie and it speaks for today’s society.

A view of Hamed Behdad’s appearance in the movie “Gijgah”

He added: From this point of view, he believes that this movie is a healthy comedy and he used that phrase because of his view of the script. Hamed Behdad likes the movie “Gijgah” very much and recently he emphasized in an interview that this movie has a special place in his career. Fortunately, he is very good with this movie and has watched it many times. Interestingly, he shows different reactions every time he watches the movie. This makes me proud.

This movie director also said about Jamshid Hashempour’s presence in the movie “Gijgah”: If someone says that Adel Tabrizi put a sequence of Jamshid Hashempour in his film to pay homage to him, I don’t think he understood the film. Mr. Hashempour was the most important star of Iranian cinema in the years after the revolution, and in my opinion, he has a strange and historical place in Iranian cinema, which does not require me to pay my respects. His presence in the film had an analytical aspect for the story.

In the end, he explained: The story of the film is about the effect The hero is in the society and he says of Hassan Khoshnoudi that he changes from the shape and image of a hero to another shape and image. The presence of Reza Safaipour and Hassan Rezaei and Zindayad Hossein Maleki, Akbar Esfahani, Hossein Kastor and other loved ones who became the jewels of the movie “Gijgah” was in the same direction. In my opinion, the main cinema in those years were these heroes. The real cinema of Iran was these faces, and how oppressed, noble and courageous they are. Their short appearance in my film made me proud.

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