When the “white status” became an important status/ the brilliant presence of two popular geniuses – Mehr News Agency | Iran and world’s news
Mehr News Agency – Art Group – Alireza Saeedi: The function of the title is something similar to a book cover, whose designer tries to inform the audience of a work by selecting elements, forms and arrangements with the help of graphics and music. The conditions that he presents to the audience are sometimes very careful, thoughtful and calculated, and sometimes they are made so coldly and based on the fulfillment of a mandatory task that they take the viewer away from the basis of a visual work.
What became an excuse to return to the keyword “credits” once again is a review of the most lasting and memorable music related to some programs and movies and television works, which for many audiences include bitter and sweet memories, and refer to them again for us every Circumstances can bring a world of memories. The memory game that started and published in Nowruz 1400 The reception of the audience prompted us to leave our souls and minds to it in the form of a weekly memory game on Fridays every week and go through it to the years when we were better than these troubled days.
“Memories with lasting titles” is the title of a series of archival reports with the same approach, which you can follow on a weekly basis in the art group of Mehr News Agency.
In the sixty-ninth issue of this media narrative, we went to the title music of the series “White Status” written by Hadi Moghadamdoost, directed by Hamid Nematullah, produced by Mohammad Reza Shafiei, music by Sohrab Pournazri and sung by Alireza Ghorbani. A collection of stories that was broadcasted in 1390 on the Ek Sima channel, and it received a lot of attention from the audience and critics of the television series.
A series that, when it is still presented to the audience after more than a decade of its creation and airing on different TV channels under different pretexts, surprises its audience by watching a series that is full of memories from top to bottom in the true sense of the word. and memory; The memories that, with the correct understanding of all those involved in the series, from the writer and director, to the actors and other executive agents, presented to the audience a series that its producers, taking into account all the ups and downs they had in the production of this series, They will be considered as a bright leaf in the record and background of their activities.
The series “White Condition” was a series of 42 episodes, the main plot of which revolves around the life of several Iranian families during the days of Tehran’s Baran missile, especially the winter of 1366. When the members of a large family who are almost all angry with each other and have differences, to avoid enemy attacks, they live in their mother’s garden in a village located in the suburbs of Tehran.
A village whose main school has become a place of residence for a part of the war-affected people. The settlement of this family in the garden and their neighborhood with the people of the village who are at the peak of empathy, creates various events for the family that make them understand each other’s problems and the trivial roots of their differences. During these adventures, they find out that they have the talent to help each other. But the central core and main character of the story is a teenager named Amir Mohammad (Younes Ghazali) who has interesting events and the various stories that the rest of the family members have with each other move the story forward.
Irfan Ebrahimi (Reza), Mona Ahmadi (Shirin), Afshana Baygan (Mushtamir), Abulfazl Pourarab (Bijan), Naz Shadman (Puri Arous), Afshana Shireh Azad (Sima), Sima Khazarabadi (Shahnaz), Amirhossein Rostami (Faraz), Shirin Zanganeh (Shahab’s mother), Humira Riazi (Mahnaz), Ismail Soltanian (Bahram), Ali Soleimani (Behzad), Farhad Sharifi (Homayoun), Shaheen Taslimi (Tehameh), Shirin Shahbazada (Hamdam), Nasser Shahriari (Nasser), Abbas Ghazali (Behrouz), Yunus Ghazali (Amir), Amir Kazemi (Shahrouz), Linda Kiyani (Monireh), Soheila Golestani (Manijeh), Purandakht Mohiman (Aftekhar), Rabia Madani (Grandmother), Ezzatullah Mehravaran (Hoshang), Asghar Naghizadeh ( Abbas), Sara Hemti (Mina), Roya Javednia (Sahila), Seyed Amir Kazemi (Shahrouz), Younes Kafashian (Amir), Shahnoosh Shahbazzadeh (Hamdam), Sepehr Heidarinejad (Shahab), Shokrullah Hosni (Farash School), Seyed Javad Hashemi (Ahmed), Asghar Nik Varez (Old Village Man), Amin Hayai (Neighbor’s Boy), Daniyal Abid (Shahram), Queen Shariat Panahi (Heshmat Sadat), Rahman Taqipour (Restaurant Owner), Parviz Seng Sohail (Criminal). , Mithaq Jamshidi (criminal), Parisa Mohammadi (goddess), Mohammad Ali Mozhdeh (broker), Esmat Qara J Lud (old woman) was among the artists who appeared in this series as an actor; Actors, some of whom are no longer alive, but without a doubt, one of their best performances was in a series that is a source and mine for playing and reminiscing from an era that the generation of the 60s and 70s understand very well what the mood was like. had
In these years that have passed since the broadcast of the White State series, the story has progressed in such a way that after the broadcast of this valuable series of national media, which in these years, no trace of them can be found among the series of these years, many points of view have been raised about the work. Most of them are based on the valuation and positive view that have been written and recorded on this permanent collection.
An atmosphere that definitely contains many positive and negative points, but due to the appropriate and artistic attention to the memorable elements of the holy defense period and the naturalistic view of the lives of the people during the war, which is a very difficult task in making such series, conditions were created for the series. which in all its dimensions can be referred to reliable points, each of which has a lot of technical and artistic values and can be referred to as a reference and a model in the way of creating audience-friendly and culture-oriented works.
Definitely, in this direction, the soundtrack and the title of the series is one of the things that can be considered in the first row of these evaluations. A process that was able to add a different color and flavor to the melody of this work thanks to skilled and audience-oriented artists such as Sohrab Pournazari, Tehmors Pournazari and Alireza Ghorbani.
Inspiring melodies from pure Iranian music, which are combined with the present and the knowledge of the composer Sohrab Pour Nazeri: If you have heard our recent works, this work is different from them, but here we were serving a work, and of course, sometimes images serve music. Air of other musical genres presented a space in front of the audience, which can be named as one of the most lasting melodies in the field of title music. Unfortunately, in recent years, due to the economic struggles of some of the producers and producers of such collections, it has entered advertising campaigns that do not mention the ability and talent of the artist, nor do they include the frameworks and values of a work of art. It is as if such a process once upon a time was the focus of the construction process of series that paid more attention to its content and durability.
Of course, during this process, the successful outcome of which requires the observance of several components, it is the technical and artistic relations between the director and the composition group that Hamid Nematullah as the director and the Pournazari brothers as the main composition team of the work have proven that friendship And how much being together can play the role of a real guarantor in the success of a work. Moreover, in this framework, Hamid Nematullah and the Pournazaris have gained very successful experiences, one of the effects of which can be seen in works such as “Sleep Vein”.
A component that existed on the other side of the square between Pournazaris and Alireza Ghorbani. After the numerous collaborations that the “Shams” group consisting of Kikhosro Pournazari, Sohrab Pournazari and Tehmors Pournazari had with this Iranian music singer, works were produced that each of them can be included among their prominent works. The process that in these years, due to thousands of ups and downs, has been in a flow where we rarely see leading artists coming together to produce musical works.
Meanwhile, the keyword “Alireza Ghorbani” does not need to be described and praised. In these years, with all the inevitable criticisms that have been directed at him and all artists in their different approaches to the field of music, he has literally understood the taste of the audience of his works at different times, and with the knowledge of this audience-oriented perception, he has tried to collaborate with composers and Musicians with good taste and talent have experiences that have become valuable and memorable works.
Not long ago, Pournazari said in a media interview about the music of the “White State” series, which was made with the cooperation of 80 Ukrainian musicians and included 50 minutes of symphony and 150 minutes of Iranian orchestral music. Was. Because the work environment is also artistic and the director is obsessed with taking all his pictures. As someone who has touched the 60s, I can say that I have never seen such vivid images of that decade. During these years, good and long-lasting series have been made, but we have rarely seen a series that can portray our contemporary history so well. The music of this series also has its own story.
This talented composer and musician of Iranian music, whose music has been met with different reactions over the years, also said in this conversation about the opening credits: The opening credits are 9 bars and rhythmically inexperienced and complex, and I also use the space of the fiddle in the work. I realized that it fits the mood of the work and the passion of this piece is very helpful and brings us closer to the director and the work.
In response to the reporter’s question, who asked him to explain what these demands are, he said: I don’t involve myself in words. By the way, I had a conversation with Mr. Nematullah some time ago and we were talking about the same issue that a job brings its own atmosphere. The music of this work showed itself as if following its own work space. I didn’t try to bring my own music either. Anyway, if you have heard our recent works, this work is different from them, but here we served a work, and of course, sometimes images serve music. Film and series music is really an interesting topic. The connection between music and image is very effective. Personally, I am very interested in the music that accompanies the image, and the music of the movie “Dilshdegan” or the music of other movies like “Mother” is still very influential in my mind. In the end, I must say that it is more important than I or anyone else’s desire to accompany music with images. Now, if it has a nostalgic feeling, music goes along with that feeling or creating an intimate atmosphere. But it’s not like we think exactly about the words and then say, well, this is how it can be turned into music.
Pournazari, who had published a visual work with the late Mohammad Reza Shajarian and his brother Tehmors Pournazari after experiencing the opening music of the title of this series, in response to another question about how to use Iranian music in the creation of the melody of the “White State” series, said: When We do Iranian work, we cannot factor the element of being Iranian in music. This work was completely part of Iranian life. On the other hand, we also play traditional music. We had a lot of understanding with Mr. Nematullah on this matter. On the other hand, let’s not forget that the 60s are the decade of traditional music. Regarding the opening credits, I have to say that the images that Sasan Tavakli put on the music are completely satisfactory, but maybe it could have been better.
This Iranian music composer and musician, who in recent years has had various experiences in his field of activity in the form of collaboration with different singers, said about the role of the centaur in the main theme of the melodies of the “White State” series, as well as other singers: Of course, there is also the oud, but The centaur is the main character. Because it makes the image beautiful. This is how we felt at that moment anyway. Meanwhile, in addition to using Alireza Ghorbani, Seyed Jalaluddin Mohammadian, Bijan Kamkar and Vahid Taj are also present in the music of the work as singers of different parts.
In the final part of this conversation, when they ask him about Iranian musical instruments and their relationship with the characters of the White Status series, Pournazari describes the character of Abbas as a tambak instrument, the character of Amir as a fiddle instrument, the character of the grandmother as a three-stringed instrument, and the character of Bijan as a musical instrument. The oud instrument resembles the character of respect to the violin and Hamid Nematullah to the string instrument, in the same garden that simulates the centaur, they narrate parts of the story.
In any case, the soundtrack and credits are definitely one of the important media elements in advancing the intellectual goals of the author and director of a visual work to instill the sense of the work to the audience. A highly regulated and structured space that can be examined in various academic and specialized fields.
A trend that has attracted the attention of many producers and creators of various film and television works in recent decades, and although it is mainly produced around pop music. But the presence of people like Sohrab Pournazari, Alireza Ghorbani, Homayoun Shajarian and many other veteran and young artists in this field, which results in the creation of works like “White Status”, can be a ray of hope in the process of making music for titles whose pathology is a serious matter. And it is necessary
To listen to the opening music of the “White State” series Here Click the