Talking about “wind chess” is the reopening of an old wound

Theater News Base: Religion The unveiling of the book “Wind Chess” by Amir Hossein Siadat and Sahar Khoshnam, including a collection of reviews and discussions about the film “Wind Chess” directed by Mohammad Reza Aslani, was held in the Shahnaz Master Hall of the Iranian Artists House.

At the beginning of this program امیرعطا July The host and host of the program explained about the movie and the book “Wind Chess”.

More Nasser فکوهی The anthropologist, who was present in the program in the form of video communication, stated: I am a fan of Mohammad Reza Aslani’s cinema. I have also written a lot about “Wind Chess” and I have had many conversations with Mr. Aslani. I also provided a structural analysis of the film’s characters and talked about the contrast between tradition and modernity in the film. It is true that the film refers to a certain period of Iranian history, but it also has a timelessness.

“After restoring ‘Wind Chess’, I was able to see it in the color version, and when I saw the role of color in the film, I can say that I first thought of painting techniques where there was a sharp contrast between color and lack of color,” he said. He presented darkness and light and gave the best examples of it in his works Rembrandt We see in the 17th century.

The anthropologist explained: “Wind Chess” is very valuable and because it is up to date. I have tried to show this up-to-dateness in my analyzes that can be presented through painting.

Saeed Aghighi also stated in the continuation of the ceremony: I saw the movie “Wind Chess” in the color version for the first time in 1969, and the end of the movie Trailer The work also included the voice of Manouchehr Anwar. We live in a country where we have usually seen foreign films in non-cinematic versions. But in the same formats, a good movie can be recognized. So I was surprised by the discussions about the darkness of the film that have already been said. Unfortunately Opinions about the film at the time were mostly negative. But in his version اچ اسی At my disposal, both the people were seen and the story of the film was understandable. Also, the audience understands the camera movements to some extent, and the means of expressing the subject of the film can be fully understood. The film could be completely with Storytelling، فراروی‌اش Of the common type story telling He understood well the plot of the crime, which he was gradually solving. I then Bergman’s works, Pasolini، Antonioni I saw a lot and felt the similarity between the modern pattern of their works and “Wind Chess”.

The writer and cinema teacher continued by pointing to some unjustified criticisms of the film “Wind Chess” during the production of the work: The existing texts about “Wind Chess” have been about the director’s composition in this work! Unfortunately Conditions جوری It is as if everyone in Iran is an intellectual until we ask them to comment on a film! I still see that there are still loved ones who comment on “Wind Chess” like in the 50’s, but the key point is simple; How should we watch the movie?

He continued: If the film “Wind Chess” is difficult for the intellectual community to understand, then it works ویسکونتی How do they see and understand !?

Mohammad Reza Aslani comes from philosophy and his thought is strong and deep

This critic said: Now it is interesting to say that now Mohammad Reza Aslani is known as a philosopher of Iranian cinema and his director did not know cinema exactly from those who said about “Wind Chess”! You have to believe in at least one word.

Aghighi said about “wind chess”: “Analysis of” wind chess “requires a tool, one of the ways of which is through painting and the pattern of modern narrative, which has a stimulating idea and gradually changes its direction from the stage it takes to pattern Thematic goes.

Morteza پورصمدی He also spoke about the quality of Houshang Baharlou’s filming in “Chess of the Wind”: Fifty years ago, the ascent of Jam Jam Street was still dusty, and a screenwriting course was held under the tutelage of Farman Ara. A few years later, he decided to run an organization in front of a Persian film Band Which is different from the usual flow of filmmaking. The first script approved after this decision was “Chess of the Wind” and Bahman Farmanara stood firm in this work. In 1975, my acquaintance with Aslani began, and later I had the chance to work with him in dozens of documentaries, as well as the feature film “Green Fire”.

He added: Mohammad Reza Aslani comes from philosophy and his thoughts are strong and deep. Working with him is not easy. As a result, it’s so much fun to be at work when we face it, it’s so fascinating to learn. He had brought 50 paintings once before starting work, and we had been seeing these paintings together for several months. And in a few Thai One of them was the candle light source. A candle that is sometimes hidden and reflected on objects and faces. Certainly, Aslani has checked the drawings with Mr. Baharlou many times in wind chess, and not a part of him has stopped thinking. Combining the elements of this movie from The most elite People of that time. “Wind Chess” is the product of an astonishing effort by Baharloo and Mohammad Reza Aslani.

He added: “Baharloo also takes us all by the hand in this film and takes us to a semi-dark world with dozens of brilliant paintings.”

Today’s society does not have a beautiful landscape

Mohammad Reza Aslani continued: “At a time when people are suffering from bread and soul together, it may not be very pleasant to talk about chess here, I am more filthy than talking about a lost work.” This film is a symbol of the loss of my homeland, just as it was lost 50 years ago. Maybe right Anonymous If I say I’m not so happy that this movie is being watched today. Not in the sense of my disrespect, but I believe that this work could have played a pivotal role in its time, and if it did not, it still has no role, and this ceremony is just a praise and does not open the way; It is the only warning that the current society understands سره To distinguish correctly from nasturtium. But this is also unlikely. Because the nostrils have filled the space of the society so much that there is no place for the nostrils.

He added: “For me, reopening talking about this film is reopening an old wound that was closed before.” This is a new suffering for me. I raise my finger of blame at the wound that is not only on the cinema but برفرهنگ And art and nationality have entered. The next issue is thanks to Saeed Aghighi who saw the film in the 60’s with so-called bullying! I must also say that I wanted to work on sound on stage, but it was not possible, and the actors themselves spoke for themselves, and that was not something that would make sense on that date.

The prominent filmmaker noted: When a road is closed, it is not the only way for a film to be closed. Rather, it is the way of a society and its attitude that degrades. As a result, superstitions enter society, which are mainly social. A society that does not see beauty is not moral. If this society is now covered in immorality, it is because it does not have a beautiful landscape, and this is what the critics of that time and this era and the managers of different fields are doing together.

Aslani stated: We have eliminated important films in the history of Iran History We have lost our cinema and cinema, which today is the flag of all nations, does not seem to have risen in Iran. My old wound is also an old national wound. Finally, I have to thank my producer and actors, and everyone who enthusiastically accompanied me on “Wind Chess.” Thanks to the authors of the book “Wind Chess”, especially the first article. I saw the process of this book firmly and also the well-known Sahar article ظرافت‌مندی has it.