The likes of “Khosro Sinai” should not be abandoned

Charso Press: Khosrow Sinaii is one of the artists who died in 2019 due to corona virus. This filmmaker was born in 1319, who started his career in 1346, and in 1962, he made the documentary “Lost Lament” with the narration of the migration of thousands of Poles to Iran, for which he received an award from the President of Poland.

Of course, Khosrow Sinaii’s name is more than anything connected with “cinema” and most of them know him as the filmmaker of outstanding documentaries or lasting films like “Arus Atash”, but this artist was at one time a prominent figure of music in Austria, which is less talked about. has been

On the evening of August 31, the artist’s memorial service was held by the Cinema Museum in cooperation with the Alumni Association of the Ferdous Garden Islamic Filmmaking Education Center in the Ferdous Hall of the Cinema Museum with the presence of artists and directors such as Mohammad Reza Aslani, Mohammad Reza Delpak, Nizamuddin Kiaei, Mehdi Massoud Shahi, Homayoun Emami, Shahabuddin Adel. Habib Ahmadzadeh, Ard Attarpour, Rasul Babareza, Rahber Ghanbari and Ali Luqmani were held.

“Lost Lament” is a true cultural work

Ali Luqmani, who was also in charge of the program, said: I believe filmmakers can work in two ways; First, to produce it and finish it, and secondly, to create the film so that it lasts. We may not like some of the films of Mohammadreza Aslani, Manouchehr Tayab, etc., but they are by no means unworthy films because these films always bring challenges. According to Mohammad Ebrahim Bastani Parisi in the book “Shahnameh Akhresh Khush Ist” the only authentic film that is masterfully made in the documentary atmosphere of the Second World War is Khosrow Sinai’s “Lost Lament” in fact “Lost Lament” is a real cultural work.

He added: One of the painful things that was said to Khosrow Sinaii during the production of “Winter Train” was that “please consider the general audience”. The result of considering the general audience is the movies that have high sales but are not remembered by anyone the next year. Films like “The Lost Lament” refer to it no matter how much time passes and create a new challenge.

Sinaii was the founder of documentary portraits

In another part of this ceremony Mohammadreza Aslani, a veteran documentary maker of cinema He also said: “Khosro Sinaii’s departure was a pity. We lost one of the most beloved faces of cinema due to the corona disease.” He was not one of those who had reached the end of his work but had taken up his main projects and there was a good future for him and this good future in such a person was not personal but for all of us and his death was a national loss. Something that could lead to a cultural result for a nation and history was lost, and this is what affects me.

He added: People like Khosrow Sinaii, after a series of works, are not “individuals” anymore, they are an “institute” and this institute should be supported and should not be abandoned because the abandonment of these people is actually a damage to our cultural foundations. Our management and cultural society must become aware of this and prevent these neglects and losses. The loss of a part of our historical and collective unconscious memory; The “lost lament” of Sinai and the lament of many of us. We are all mourners of the lost.

This documentary maker said about the “Lost Lament” film: This film was not a student film in any way, and it was a well-made and cultural work that satirized Eastern European short films. I remember one of my friends asked him, “Lost Lament” was a genre and why didn’t you continue? Sinai replied that no one took this seriously and I was not asked. Aslani noted: Sinai was the founder of Iranian documentary portraits. He made more than 100 documentaries, all of which had deep concepts, and we must note that this persistence and resistance to making films is a war in itself; In fact, he started a war with his war.

Khosro Sanai’s classroom with Jahangir Kothari and Rukhshan Bin-Etmadam

In the following Shahabuddin Adel – university professor – Stating that his first encounter with Sinaii was in 1954, he said: He was among the professors who came to Iran as a documentary maker in the 40s after studying in Austria and started teaching at the University of Dramatic Arts. In the first meeting of the class, Sinai asked us who has ever made a movie? No one answered and he said that now that no one has made a film, you all have to make a film in the next session and come to class. In that class, apart from me, there were Jahangir Kothari, Houshang Golmakani, Rakhshan Bani-e-Etemad and… I went to Dezful to make my film and filmed the caves, and I remember vividly Yad Khosrow Sinaii told me about that film, you can become a good cameraman.

He added: Khosrow Sinaii had a disciplined and responsible spirit in his classes and he wanted his classes to always be successful. In fact, he was a real academic professor and when he spoke, he did not say a sentence outside of the scientific framework, and his students always praised his tone and knowledge. In my opinion, experience is more important than teaching, and he conveyed his experiences well and had a deep impact on students. This is how the closeness of us students continued with him in the following years in various matters.

Sinai lived a human view

In the following Homayoun Emami, a documentary film pioneer and author of the book “One Life, One Way, One Love; Khosrow Sinaii” He also said: Khosrow Sinaii picked up his camera and started the documentary in the 40’s and 50’s and political suffocation had created a special atmosphere. Many times I heard that it was said that “Sinai does not have a political position” and they left him aside; While this was his very important feature.

He stated that we should not forget that many documentary films have been made that may have contributed to political and social progress, adding: Khosrow Sinai made cultural documentaries and worked mostly on cultural infrastructures. We thought that with the change of power, the infrastructure would also change, and it was Sinai’s consciousness that thought about the cultural infrastructure of the society, and for this reason, he prioritized the category of culture in all his films. He believes that the infrastructure should be changed so that the society can make more informed decisions about the transfer of power and proceed with full vigilance.

Emami added: One of the characteristics criticized by Sinaii was his human perspective in his works. Sinai always had a humane look and sympathized. “Lost Lament” takes a global view of the war and Polish refugees, connects the national view with a global view, and extends the human scope beyond the national scope, and this is an important feature of Sinai’s films. Sinai actually combined the documentary look with a story and breaks the border between the two; No other person has had such a look in these years. One of Sinai’s important arts was mixing his life with his films, in fact, he lived the human perspective.

Sinai’s strange view of war

Habib Ahmadzadeh, writer, director and documentary maker He also said in this ceremony: The first time I saw Khosrow Sinai’s “Lost Elegy”, his view on the category of war was strange to me because I had experienced life in war. In 1981, I was doing research on Sadegh Hedayat, and I showed 700 pages of my research results to Zind Yad Sinaii, and in this way I got in touch with him more, which led to the documentary “Conversation with the Shadow”. Sinai had grown up during the book period, he was kind to me and even though we were from two different generations, we never faced challenges and we tried to make the society better, and our biggest difference was that he was his own character on the screen.

He said: The greatest achievement of a human being is to be able to convey his humanity to others like a rescue runner, and Khosrow Sinai was like this, and today I consider myself indebted to a great man who dared to speak about Sadiq despite all the insults he received. Hedayat make a movie.

Siavash Dolatsarai (teacher and director) Also, as a representative of Khosrow Sinai’s first teaching course in Ferdows Bagh, he said: Knowing how to work is one issue and being able to teach in another position as a teacher is another issue. Ostad Sinaii was both a good filmmaker and an eloquent and knowledgeable teacher. When he starts talking, he finishes very eloquently and very well. Khosrosinaei always emphasized that we should respect the intelligence of our audience and if we make a film, we should be committed and honest and not mislead and deceive the audience with false gestures.

In this ceremony, parts of the live oral history of the memory of “Khosro Sinai” were broadcasted to the attendees.

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