The creator of memorable movie melodies

Charso Press: Majid Tzamami was the son of Arshad Tzamami Bazar, one of the first film composers who started his career after the revolution, and if we consider “Esfandiar Monfaredzadeh, Morteza Hananeh, Warujan, Mojtabi Mirzadeh and Hossein Vathghi” as the first generation of film composers, he was one of the founders of the second generation. He was able to improve this art with scientific and experimental support. Although he is almost seventy-five years old now, he is not active in cinema, but the valuable and lasting works he created with the help of his efforts and genius have registered his name among the most effective composers after the revolution. As a teenager, he was familiar with the oboe instrument in the music conservatory and gained skill in it as a specialized instrument.

After that, he continued his studies in Germany, and while working and financial conditions were ready, he returned to Iran and worked for a while as a musician of the Tehran Symphony Orchestra and a teacher of the same conservatory where he studied. In the middle of the fifties, at the suggestion and support of “Ahmedreza Ahmadi” in the Children’s Intellectual Development Center, he made his first experience in composing songs on the lyrics of “Forough” and because of this, his work was noticed by Ahmadi’s friend, “Masoud Kimiaei”, a famous director of different cinema. It is those years when he made the music of all his previous works “individual” and Uji was in the music of those years and for some reasons he chose “regular” in “Safarsang/56” (which had a different mood in his works) that this experience It introduced him to the world of film music (especially in a film where the filmmaker attaches great importance to music) and became a suitable ground for his entry into post-revolutionary cinema. The satisfaction of “Kimiyai” with his work made him entrust the music of his next film, “Red Line/60” as well. In many moments, the music succeeds in narrating the mental and personality turmoil of “Amani”, but unfortunately, his different music was not heard much due to the banning of the film.

With the increase of Iranian cinema productions in the sixties and the dispersion of the few prolific and prominent figures of pre-revolution film music (like other fields), the field was opened for younger composers. In this decade, “Tazami” became one of the activists in this field by composing music for about thirty films. Of course, in the same decade, “Farhad Fakhredini” and “Faridon Shahbazian” with a record of lasting works in authentic Iranian music, “Babak Bayat” and “Nasser Cheshmazer” and “Fariborz Lachini” with considerable experience in pop music and “Kambiz Roshan Rovan” and ” Mohammad Reza Aliqli was one of the composers who turned to film music and each of them created outstanding works in this field.

The different and diverse and successful experiences of “management” in this field created a fresh air in film music after the revolution. In the seventies, he is considered one of the most prolific by composing music for more than 30 films, and interestingly, thanks to his innate taste and talent, there is almost no weak, repetitive or disproportionate work in his works. In the 1980s, with the arrival of a new generation of composers (like most of his contemporaries), “Tazami” became less active, and in the 1990s, he almost gave up on film music. His works can be divided into several categories; The first category is the war and incident films where music played a major role in creating and conveying the excitement and movement of the film, and the best of them can be “Aqabaha/Khachikian/64”, “Tran/Quydel/66”, “Kani Manga/Dad/66″, ” Passage / Bahrani / 66″ and “Duel / Darvish / 82”, especially the music of “Tran” which, in addition to receiving the award of the 6th Fajr Festival, was able to cross the boundaries of time and be effective and listenable even apart from the film with repeated broadcasts. The second branch of “regular” works is the melodrama films, the best of which, along with “Bicycle Run/Makhmalbaf/69”, Hatamikia’s trilogy, namely “From Karkhe to Rain/71”, “The Smell of Yusuf’s Shirt/74” and “Glass Agency/76” which A major part of the mood of the work owes to the brilliant “organizational” work, and it has been played many times even apart from the movies and remained in the memories. His re-collaboration with Kimiyai in the film “Atraz/78” eighteen years after “Red Line” led to an impressive result, which plays an important role especially in the memorable credits at the beginning of the film (Golrizan in prison). The diversity of other fields of “Tizami” works can be seen in films such as “29th Night/Rakhshani/69” with a scary atmosphere, “Naseruddin Shah/Makhmalbaf/70” with a fantasy, historical atmosphere, “The Day of the Event/Asadi/72″ and ” Maryam Magdas/Bahrani/79″ with a historical, religious mood, “Survivor/Dad/74” with an Arabic theme and “Borderless Love/Darakhshande/77” in a Western-American mood and the nostalgic piece of the animation “Zal and Simorgh” /56″ (which later turned out to be used on the title of the beautiful cartoon “Children of the Alpine School”) found out that all this diversity in melodies, instruments and sounds and success in inducing the desired atmosphere of each of the films is really enviable and rare. who made each one with all his inner and personal feelings. “Entazami” has also created the music of several series, the most successful of which is the epic music of “Gorgha/Mirbaghri/66” and the nostalgic music of “Pahlavi Hat/Dari/92”.

The quality of his works has caused him to be a candidate for an award in most of the Fajr festival periods, and in seven periods (6th “Train”, 7th “Bicycle Run”, 11th “Raz Khanjar”, 11th “From Karkheh to Rhine”, 13th “Day of Events”, The 16th “Glass Agency”, the 21st “Crazy Jumped from the Cage”) also managed to receive an award. The silent album “Aramer than Darya” and the creation of several great symphonies about war (sacrifice) are among the late works of “Regular”. The name “Majid Tazami” with a numerous, diverse, effective and memorable career in the sixties and seventies is definitely a long and lasting name in the field of Iranian cinema music. I hope that he is healthy and always on the path of creating beauty.

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