Rasoul Malakalipour came out of the war and lived in the war

According to Fars News Agency, citing the public relations of the Iranian Artists ‘House, the 105th Cinematheque program of the Iranian Artists’ House with the screened version of “Belmi Towards the Beach” coincides with the 15th anniversary of Rasoul Malakalipour’s death in the presence of the filmmaker’s family. The Naseri Hall of the House of Iranian Artists was held.

Hossein Sultan Mohammadi, as a guest critic, performed and studied Saman Bayat and analyzed this film and Malakalipour cinema. The program also included excerpts from Akbar Nabavi’s documentary “Rakatan Fi Al-Ashq,” in which Malakalipour spoke about the importance of giving young filmmakers a chance: “We should seek to identify and identify young people and provide them with opportunities. “Little by little, the old men of war cinema will be replaced by them.” This section also included the statements of Rasool Ahadi, Ibrahim Hatamikia and Hesamuddin Siraj about Malakalipour.

My father was the narrator of the moments he saw and heard

Kobra Malakalipour, the living daughter of Rasool Malakalipour, said in her presence on the stage: My father has been missing for fifteen years. We have had difficult years and days. Because he was very close and dear to us and to the people of Iran. My father had a sincere relationship with people.

He added: “My father was not dependent on anywhere and was the only narrator of the moments he had seen and heard.” He belonged to those with whom he accompanied in the war as a cinematographer and photographer, and in fact he paid homage to them. It is dear and gratifying for me that today, after 15 years, I see loved ones who have come to this hall to see his film. He conveyed his experiences through his films.

Hossein Sultan Mohammadi, a film critic and expert, said in the presence of Sen. He took a picture of the Imam, who had done something against his administration at the time, and was expelled from his seminary, and later became involved in war zones as a photographer and videographer through the IRGC. He himself was a veteran and was wounded during the events of the first 45 days of the conflict in Khorramshahr. Malakalipour is a filmmaker who tasted the war and shared his experience with his films and texts. Beyond that, he always kept in touch with the families of veterans and veterans until the last years of his life, and he is known to have followed the treatment of the veteran father of a girl named “Hiva”.

He added: “I also had a 5-hour interview with him in which he was disappointed with the situation at the time.” He made films in the midst of war and was the first to make a clip of the war. “Belmi to the Shore” was made in the middle of the war in 1364, and the filmmaker was strongly committed to the spiritual nature of the war. His film may seem simple, but it is a documentary about the problems of the warring forces with Bani Sadr, who was entrusted with the command of all forces at that time.

This critic pointed out: Malakalipour has brought allegories of the Karbala incident in his works and has expressed his beliefs and convictions later, even in his social films. His film about the martyr Hamid Bakeri also reveals the facts of his militant relationship with the front. With the support of his family, Malakalipour insisted on his behavioral and professional health. Although he had complaints and once said he was tired, everyone and he always insisted on continuing his path. Malakalipour experienced filmmaking and in the documentary Akbar Nabavi mentions that he had tested all his experiences in the field of filmmaking. Malakalipour’s works had both the characteristics of the work of filmmakers who try to represent the violence of war in war works and the works of filmmakers such as Ebrahim Hatami Kia who portray the spiritual atmosphere of war. His films, while focusing on spirituality, emphasize the behaviors of his current society.

Sultan Mohammadi continued: “In the course of his filmmaking, when he wrote all his screenplays except for his first film, which was an adaptation of a story, we see these characteristics.” He believed he had to stay steadfast and do his job; Even if he is in financial trouble. For example, in the movie “Horizon”, which owed him financially. Perhaps the same economic pressure led him to make the film “Help Me” and then to make “Hiva” and then “Burnt Generation”, which we see in the films of later filmmakers. In “Toxic Mushroom”, there is a strong protest against the situation of the warriors of that time, and later it comes to the films “Meem Like a Mother” and “Father’s Farm”. He also has good documentary images of Karbala, and he wished to have a cinematic memento of Karbala in his repertoire.

He said: we should talk about Rasoul Malakalipour’s view of cinema. The nature and essence of the war must also be expressed in the language of the new generation. Also, the faces must be of real war. While the depiction of war in cinema and television has sometimes been inconsistent with reality, and some people think that they should have unusual and mythical images of the war generation, we should not let generational rupture occur. According to Malakalipour, the Holy Defense Cinema Association has a duty to support the new generation of filmmakers and to gradually replace them with the previous generation. He made more than ten other films after “Horizon” until 1985.

Saman Bayat further stated: showing the origin and nature of the ugly face and condemning the war is one of the interesting points in the film “Belmi to the shore” and despite these plays, can this film be considered an anti-war cinema?

Sultan Mohammadi replied: It is obvious that war is negative and harmful. In Rasoul Mollaqlipour’s films and his unreleased television series, most of which are portrayed from the perspective of the Iraqi forces to Iranians, show that the opposite point must not necessarily be seen in a stereotype. We have seen in documentaries that Iraqi prisoners have sometimes spoken of their compulsion to fight, and Malakalipour portrays two types of good and bad treatment of Iraqi forces in “Belmi to the Coast.” He was a veteran himself, and in all his cases and works he emphasized his views and experiences of the war and the idea that kept us against Iraq. According to this, references to war and anti-war can be taken in his works.

Bayat added: It seems that Rasoul Mollaqlipour has thought more about “what to say” than “how to say”. Was this a characteristic of filmmaking in the 60’s?

Sultan Mohammadi said in this regard: “Belmi to the beach” is a film made in 1364. Although Malakalipour had extensive experience in screenwriting and design, we must admit that in 1964, his filmmaking experience was different from works such as “Hiva”, “Journey to Chezabeh” and so on. He took on several responsibilities in his films. About someone who has this level of skill and expertise, one can ignore the technique of some of his early films. Because he insisted that what he saw should be narrated, recorded and documented in the very heart of the war. He worked hard and hard, he saw a lot of unkindness and he was a very mature person in the cinema. He always objected to the conditions he saw, and he has raised this objection in many of his films. Rasoul Malakalipour came out of the war, understood the nature of the holy defense in the war, and I hope that there will be an opportunity for the text of his series to be made by Azizi.

End of message /