Cinema Trust Abolfazl Najib wrote in the Etemad newspaper: The movie theater movie after more than two decades of Channel Four and in the fish leading to a massive closure in half of the country’s provinces because of what is said in energy and cold air, my generation made some kind At the time of the screening of the film and the mood and the big events caused by the production and screening of the film not only in Tehran but in Tehran. Although this is the third turn of the film after Nowruz 1401, the same as 1401 show can be important.
I think Lizard was the first spiritual -centric social film in Iranian cinema, in the sense of the era of Islamic Republic cinema. Although before the lizards, the role of the clergy had more or less in the pre -revolutionary production, especially after the revolution, the lizards were and still in the history of Iranian cinema until then and even to the present day. Although after the events of the year 82 the public screening of the film was completely dismissed and presented to the banned films, with the advent of satellites and the growth of Persian -language film broadcasts, and especially its full version, it was preferable to Iranian films.
But the surprise broadcast of the film after twenty -year -old Channel Four is a thing in itself, a fellow film and the fabrication of the film. However, with the censorship of some of the film’s verbal jokes that, of course, did not hurt the whole narrative. As far as I can remember, at the time of the release of the film, Rouhani gave up and dare to support the film.
The media movement, and especially the street and media workers in the field of culture and cinema, had so narrowed and poisoned the field that the possibility of serious discourse and discussion of content, message and influence on the audience had been restricted and sometimes deprived.
In fact, at the time, what was in understanding of superficial and simplistic looks was generally limited to going to a clergyman’s clothing and paying the film to the verbal and sometimes ironic jokes of the film, and worse, the look at Reza and this is the same as the character of the film robber with the film’s character. A clergyman led to the greatest suspicion and misunderstanding, and what was ignored was the sanctity that the filmmaker had in the form of a surprise social comedy and attempted to convey to the audience.
The same look and analysis that most critics and even some clergymen wrote about it at the time of the release of half and half, but did not go to the street and the media until today, and Amsabi, which the film is broadcast on Channel Four, and certainly in response to protest. Today’s concern will have the same answer that critics have defended the media twenty -one years ago.
What can still be written about the film today, in fact, will not go beyond what was said and written at the time of release. But what can be said about the film’s screening in the Islamic Republic now, that the broadcast of valuable films of pre -and post -revolutionary cinema still revolves around the same closed and superficial mentality.
With this explanation of the reasons for the lizards of Channel Four, which is essentially involved in changing the general attitudes of national media managers, and in reality, what can be mentioned for the reasons and motivation of the film’s broadcasting is more focused on concern about the national media boycott by the people and in the most optimistic. The change in the attitude of current managers towards the message of the film and, in a sense, is an attempt to rebuild public credibility and trust from the clergy who, in the minds of the people, are rightly or wrongly attributed to the problems and problems and crises of social and political.
Let’s not forget that from another angle to speculation about the re -release of lizards from the national media !! He noted that the use of tools with known and unknown goals.
A claim for a history of those who, in their own right, can be used to attract the audience, even at the expense of the principles that have been deprived of people in the past.
Lizards are not the only sample and sometimes the politicians governing factional cinema. Hamid Nematollah’s “Killer and Wild”, who, if not displayed at the Fajr Festival, is considered the first victim of the upcoming festival, and al -Qaeda raises the question of how serious and social films of Iranian cinema are to be victims of one roof and one -roof policymaking. Cinema politicians are two air. In addition to imposing financial costs on the cinema figure, such films will have irreparable consequences, including passive filmmakers, as well as pushing them into underground cinema. Experience has shown that many of these species have been confiscated or censored, after broadcasting through Persian -language networks and other mass media, eventually forced the gentlemen to be allowed to show public and perhaps in the national media !!! Do. This way of dealing with such products, more than anything else, at the same time, evokes the onion and flogging and paying a fine.