People were not supposed to laugh at “Poirot” / The story of a lasting melody of a series – Mehr News Agency | Iran and world’s news

Mehr News Agency – Art Group – Alireza Saeedi: The titration function is something like a book cover Designer Tries to select elements, forms and چینش‌ها Use graphics and music to inform the audience of a work. Situations that sometimes present the audience with a lot of punctuality, thoughtfulness and calculation, and sometimes so much Headline And it is made by performing a mandatory task that takes the viewer away from the base with a visual effect.

What has become an excuse to return to the keyword “titration” is a review of the most enduring and memorable music related to some programs and works of cinema and television, which contains bittersweet memories for many audiences, and a return to them for us every time. Circumstances can bring a world of memories. The memory game, which was welcomed by the audience after its beginning and publication on Nowruz 1400, made us dedicate our souls and minds to it in the form of a weekly memory game on Fridays every week, and from its passage to the years when we feel better than these painful days. It was, let’s go.

“Memory play with lasting captions” is the title of an archival report series with the same approach, which you can follow on a weekly basis in the art group of Mehr News Agency.

In the thirty-seventh issue of this media narrative, we went to the title track music of the TV series “Hercule Poirot” or “Poirot Agatha Christie” composed by Christopher Gunning (from the first to the ninth season). A British artist who made the same music was enough for him to be able to make such a lasting name and work for the audience a global title and, among other things, to make him one of the most memorable composers of serial music.

According to various articles published on the reference pages, the series “Poirot Agatha Christie”, which is known in Iran as the series “Hercule Poirot”, is a television series produced in the United Kingdom from January 8, 1989 to November 13, 2013. It aired on ITV for twenty-five years. The series in which David Sushi played the role of one of the famous detectives of Agatha Christie’s works called Hercule Poirot, and enjoyed so much charm that for many years on various television channels in the UK and many countries, including Iran, with the presence of Iranian dubbing stars, including Akbar Manani and other leading artists in this field were in front of the audience and were met with an amazing welcome.

The TV series consisted of thirteen seasons and seventy episodes. In each episode, the writing and directing team of the series created fascinating situations in different seasons, based on Agatha Christie’s novels and short stories centered on characters such as Hercule Poirot and other characters, each of which was a piece in its own right. It was to discover the killer. The sub-stories that ended with the exemplary character and very strange behavioral components of Mr. Poirot and the unique play of David Sushi in the last episode of the series with the novel “Curtain” by Agatha Christie. A novel in which all the main characters of Christie’s stories were present and created interesting conditions for this fascinating series.

In the latest case, the elderly Belgian detective, Agatha Christie’s family, who also had a lot of prejudice against David Shussi’s play, will ask his longtime friend Captain Hastings to ask Styles Kurt, the place of investigation in the first case, to prevent another murder. They were working on it, come back. There Poirot finds a man who, by mastering psychology, convinces others to commit a murder, Poirot turns into a murderer in his last episode, and kills that person and reconstructs the scene to make it look like suicide.

Definitely, apart from the very audible stories and margins that have been published about this series and David Sushi with a 25-year history of acting in this series, it has been made available to the fans. The soundtrack of the first to ninth seasons of the series, composed by Christopher Gunning, is one of the best British composers and has won numerous international awards, including the BAFTA Award. Fans of “Hercule Poirot” series in Iran know Mr. Gunning with the music of the opening credits of the series.

Of course, as mentioned, Mr. Christopher was present as a composer in the first season of the series, and after him, artists such as Steven McKian and Christian Hanson took on the task of composing the series’ soundtrack, a situation that provided much popularity for these composers after Gunning. Hercules Poirot fans continued to play with the music of Mr. Christopher Gunning.

The soundtrack of this enduring series can be introduced as one of the most enduring musical memories of Iranian viewers from the foreign series of Sima, which still has a good place in the audience’s auditory memory. The popularity and memory of the game went so far that in parts of a documentary made for the series “Hercule Poirot”, David Shousi, as the main character of this documentary, went to Christopher Gunning and talked to him about how to make the soundtrack. And the serial titration talks. A conversation that also contained some interesting points.

“Based on what I had in mind, I provided Brian Steman with four different models of songs and melodies to compose the music for the series,” Gunning said in parts of the conversation about composing the first seasons of the series. The next day he called me and said, “I listened to all four songs, but I liked song number four more.” Honestly, I was kind of upset by what he said, because I liked the first song more. I asked him, “Why did you think you chose that first song?” “Yes, I thought,” he replied. Of course, it turned out later that Steiman was right and I was wrong.

It was at this point that David Sushi asked Gunning, “How did you get to that original song?” “And basically, what process did you follow to make the music for this series?”

Christopher Gunning He answers: After reading the script, I thought to myself what kind of music can take us back to the 1930s, and after focusing on the director’s model from those four models, I sent him the original model. His answer was no, he said, “You may get negative reactions to this melody, we have to start again,” and I started again, darkening the atmosphere of the song and designing the melody so that the saxophone alto could be played.

He continued the conversation: “In this way, the melody reached the space desired by me and the director, and immediately after it was presented to the audience, the attraction that we intended was formed.” It was as if the melody that was high had reached the same sound as it should have, by reducing the parts.

After answering questions from actor Hercule Poirot, Gunning asks David Sushi, “Did you realize Poirot’s character wasn’t going to be too funny?” And Sushi replies: “To be honest, I thought a lot; That he must be funny at times, but I realized that instead of the viewer laughing at him, he was going to laugh with him. Interestingly, Agatha Christie’s daughter told me exactly the same thing. That they do not want people to laugh at Poirot. “So we have to smile and laugh at him, and you did the right thing.”

Anyway, a lot can be written and made available to the readers about the series that has been exposed to the audience and fans of TV series for more than two decades, but without a doubt, the soundtrack of this lasting series can definitely be one of the most enduring. Introduce the musical memories of Iranian viewers from foreign serials of Sima, which are still in the audience’s auditory memory and there is no intention to release such melodies at the moment.