Rasool Malaqlipour was a pioneer in the anthropological cinema of holy defense/ All the works of Malaqlipour and Hatamikia are anti-war

According to Fars news agency, the first program of “Cinema Portrait” last evening, Tuesday, August 4th, with the presence of critic Akbar Nabavi, writer and researcher of cinema and Amirreza Nouriparto as the secretary of the session, with the analysis of “The Process of Cinematic Thought of Rasul Malaqlipour” and the screening of the movie ” “Flying in the Night” was held in building number 3 of the Farabi Cinema Foundation.

Cinema critic, writer and researcher Akbar Naboi said: Rasul Malaqlipour was a pioneer in the anthropological cinema of holy defense and his first anthropological film was the film “Flight in the Night”. All works of war with any ideology have an epic color, because wars know the essence of human existence, which is not possible to know this essence in the normal state.

At the beginning of the meeting, Amirreza Nouriparto explained the process of holding these meetings and said: In the first meeting, we went to the memorial of Rasool Malaqlipour. Some of his films were social dramas, but he also dealt with war and post-war. In this series of meetings, we will examine the course of thought and transformation of filmmakers.
He continued: Malaqlipour’s film career spans a long time, which is more than 25 years. In this session, we will focus more on his filmmaking in the sixties.
Nouriperto stated: He was a filmmaker in the genre of holy defense, who started his career with the movie “Nineva”, then made “Blame to the Shore” and “Night Flight”. The movie “Afq” was a little different and it was a kind of war incident cinema.
In the continuation of this meeting, Akbar Nabavi, critic, writer and researcher of cinema and one of the people close to the late Malaqlipour, explained the thought of this cinematographer in cinema and said: Rasul Malaqlipour was an artist in the true sense of the word. He had an artistic impulse and this impulse guided him. The artist must have excitement and behavior; Rasool Malaqlipour was like this and I am saying this based on his works and the friendship I had with him. He lived with his subjects.
He continued: Art is the translation of human situations and the artist must experience it. Rasool Malaqlipour was very honest with himself, maybe he was harsh when facing bad social situations, but he was at peace with himself. Rasool was a pioneer in the anthropological cinema of Holy Defence, and his first anthropological film was “Flight in the Night”. All works of war with any ideology have an epic color, because wars know the essence of human existence, which is not possible to know this essence in the normal state.
Nabavi added: He also had words and expressed them in the social cinema of Holy Defence. Man was the subject of Rasool Malaqlipour and he has always dealt with man in his films. His view of man was monotheistic.
This author and cinema researcher said: In American cinema, we see that the filmmakers and the thinking ruling Hollywood separated the SS and the Gestapo from the German people, and the films made after the World War somehow only referred to the SS and the Gestapo. We also had the same position and point of view in filmmaking in the genre of sacred defense about the country of Iraq, and the account of the Iraqi people is separate from Saddam’s Baath regime in our films.
He continued: Rasool Malaqlipour had reached this point in 65 and did not consider all the Iraqi army as Baathists. Some believed that why should we depict fear in the genre of holy defense, but Rasul Malaqlipour has depicted this fear very intelligently, he considers the human being to be layered and has depicted various human aspects in his films.
The Prophet clarified: The journey that the Prophet had is a path of thought and knowledge that revolved and polished around a belief, and his center of knowledge expanded. Rasool in the movies after “Nineva” is the same Rasool who made “Nineva”, but his knowledge has become fat. Both the individuality of man and man in the community are important for Molakalipour. He repeats Kamil’s channel as an authorial element in “Journey to Chazaba”, but this time he has returned in an epistemological way.
He clarified: Rasool Malaqlipour and Ibrahim Hatamikia are not mystics, but they are artists and they see a world beyond the material world, and this is the difference between an artist and others.
Next, Nouriparto pointed out that Malaqalipour gave a human aspect to the characters of the holy defense, and said: In Malaqalipour’s films, we see an anti-war perspective, when we look at his films over the past 25 years, there is a reference to the destructive violence of war, and on the other hand, a human perspective in his films. . He looked at the war from the point of view of a humanitarian. Do we really see traces of the anti-war point of view in Malaqlipour’s works?
In response, Nabavi stated: All the works of Rasool Malaqlipour and Ibrahim Hatamikia are anti-war. Without exception, all our good Holy Defense movies are anti-war, all our Holy Defense poems are anti-war, all our art and books dealing with Holy Defense are anti-war. Every nation that defends has done anti-war work. War has come to disrupt people’s lives, the honor of existence is based on peace, and war is against the honor of existence, for this reason, no monotheistic person sanctifies war. Some people present works as anti-war films, which are not anti-war, but anti-defense, and this is bad. In the eyes of Rasool Malaqlipour and other artists active in this field, sacred defense has two aspects: the monotheistic aspect and the patriotic aspect. Whoever defends his homeland in any part of Dina has done a sacred defense.
Regarding the difference between Malaqlipour and other famous Iranian directors, he said: Masoud Kimiaei and Rasul Malaqlipour are two activist directors of Iranian cinema, not that the rest are not like that, but these two act very naked in the cinema.
This film critic further said: “Poisonous Mushroom” is along the lines of the “Horizon” film, “The Burnt Generation” is a very good social film along with his other films. According to Rasool Malaqlipour, the cannons and tanks of the Baathists have caused disruption in society at one time, and poverty has caused this disruption at one time. He mentions and narrates this social disorder in his post-war films.
At the end, Nabawi pointed out that if Rasool Malaqlipour was alive today and could make a movie, he said: “Maybe this type of cinema is not a good cinema for some people and people who are interested in cinema, but there are people in this generation who like these movies.” they love. I am sure that if Rasool was around today, he would have made a superior movie out of “The Rescuers” or “Poisonous Mushrooms”.
According to this report, the meetings of “Cinema Portrait” are among Farabi’s cultural programs with a focus on increasing the knowledge of cinematographers and cinema enthusiasts, in cooperation with Sourah University, in the form of a series of “Cinema Portrait” meetings, it will be dedicated to examining and analyzing the thought process of the great directors of Iranian and world cinema. It was held on Tuesdays in building number three.

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