to report cinema trust Omid Tabanakhet wrote in Etamed newspaper:
Hoshang Moradi Kermani, a well-known contemporary writer, is the same simple and good-natured city teenager who, with a playful and imaginative mind, is now wearing the robe of 80 years old due to the fate of time. He has traveled a tortuous path in these eight decades, from being homeless and homeless in a small village in Kerman, which forced him to work and fight with the oppressors of life, to reaching the capital and climbing the steps of progress, of course, still with the same effort and hard work. which had become an integral part of his life. The difficult conditions of his childhood and adolescence, with the lack of support from his parents in a small environment that showed off its cruelty with all its simplicity and natural beauty, gradually forced him to stand on his own feet and achieve his dreams and aspirations with effort. “Imagination” will follow. Perhaps he owes this strong mind and storyteller’s imagination to the same era, which is well described in his memoirs, “You Are No Stranger”, written in a sweet and pleasant prose.
When he came to Tehran after finishing high school, he faced a different atmosphere, and his interest in cinema (which was the center of his dreams in the mid-forties) led him to study at the Faculty of Dramatic Arts. One of his first friends in those years was Ali Hatami, who was his classmate, and their friendship continued until Hatami’s death. Nusrat Karimi, who was their teacher in the college, had discovered the special talent of both of them in the same years and encouraged them to write. Moradi Kermani, who had an introverted spirit, learned about his relationship with cinema from afar, and after meeting Ahmed Shamlou and with his support and encouragement, he was able to publish his first story in “Khushe” magazine, which was an important literary publication under the management of Shamlou. He was able to publish his first collection of stories in the late forties. In the 1950s, he started writing texts to be read on the radio, and Majid’s first stories were the product of those years.
The simple tone of his stories, which was mainly derived from his experiences in his tumultuous life, made his works gradually open their place in the hearts of the audience. After the revolution, when many artists or their works were removed from the circle due to different political tendencies, his irrepressible writings (which he jokingly calls them similar to khakshirihmak) because he did not show any bias towards any trend and with a simple tone and artistic creativity, his human words in the lower layers, they were able to spread and spread and even received attention and encouragement (just as Moshiri’s poems, Kiarostami’s films, and Shajarian’s works were also seen in a better space).
Gradually, in the sixties, by translating his works into other languages such as French, German, English, Spanish, etc., he succeeded in receiving important international awards such as “Hans Christian Andersen” in Berlin and “Jose Martini” in Costa Rica for the story “Children of the Carpet Weaving House”. And in this sense, he is considered one of the most fortunate Iranian writers who has been able to find a wider audience in other countries by translating his works. Although his works have an Iranian tone, the simple prose and humane themes of his writings (unlike most other good writers) have not lost their influence with translation and have the ability to communicate with the audience of other cultures. His flexible spirit due to his insensitivity to changes in the story and his interest and understanding of the medium of cinema since the olden days has made him the record holder of cooperation with cinematographers.
His writings have many capabilities to be portrayed by cinema. The first screenplay that was turned into a movie from him was “Taghiangar” directed by Mahmoud Kushan and starring Iraj Qadri in 1956. Perhaps many people do not know that in the late sixties, Kiarostami and Mehrjooi planned to make a film based on one of Majid’s stories, which unfortunately did not come to fruition. Although later, Mehrjoui was able to create one of his warmest and most talked-about works by combining his cinematic creativity and Moradi Kermani’s popular and meaningful story in Maman’s Guest. Another cinematographer who had the most cooperation with Moradi Kermani in order to adapt the atmosphere of his films to the mental world of Moradi Kermani was Mohammad Ali Talebi, who produced four films “Boots, Tick Tock, Rice Bag and Fourteen Nights” and most of the important and admired works They were in the field of children’s and youth cinema.
But the most important adaptation that made the name of Moradi Kermani and its director famous was “Qasehaye Majid” which, due to reasons such as not having a contemporary message and low financial estimate, its plan was shelved on TV for a long time, and Kyomarth Pourahmad, who took a closer look at Moradi Kermani and in his other works he was also concerned with teenagers and their issues, he succeeded in creating one of his most important and most seen works by turning the Kermani teenager of the story into Isfahani and choosing the right and effective factors in the atmosphere of his hometown (although the heavy shadow of Majid’s stories on Propimaman’s career They and the fact that most of the people remember Moradi Kermani and Zindayad Pourahmad with it were not very pleasant to them later). After the success of the series, Pourahmad also made the films “Shame and Bread and Poetry” based on the same stories. Among other movie adaptations based on Moradi’s works are Kakli (Faryal Behzad, 68), Khamre (Ibrahim Frouzsh, 70), Sweet Jam (Marzieh Broumand, 80), Gushwarah (Vahid Mosaiyan, 85) and First Stone (Frouzsh, 88). pointed out
Moradi Kermani, who has successful works such as “Nakhel, Mesht Ber Pashte, Tanor, Pomegranate Smile, Neither Wet nor Dry, Ploukhorsht, Nazbalesh, Ab Anbar, and Te Khayar” in his career, and most of them reached the 10th and 15th printings and Other languages have been translated as well, after the story collection book “Teaspoon” in 1997, he did not write any new work and in these years, apart from reprints, all his short and long works have been published in two volumes under the name “Baqcheh”. He humorously compares himself to a pen that has run out of ink, but in fact, he has great respect for his works and the high reputation he has gained through them, and he is afraid that with a work that is probably weaker than the previous ones, he will only sell his name. slow down
And he believes that in any of his works, he has not had a repeated experience based on previous books, and he has said everything that needs to be said, although it seems that from the sharp and sarcastic eyes of a writer like him, even the everyday things and ugliness find a different color and shine, but this characteristic I also praise the timely laying down of the pen, which does not come from everyone and requires a big heart, which most famous artists refuse to do for various reasons, the most important of which is the economic aspect of the story, and with the idea of the greatness of their name, they generally create works that are not equal to their brilliant works and with Its continuation gradually distorts the special and hard-earned image of their heyday in the minds of the audience. However, in a situation where the workers are left with their livelihood and doing black jobs has tempting incomes, doing artistic work to have a famous artist in your pocket is the noblest thing possible, and also the breath of “working” can keep the artist mentally upright. keep it, but according to a famous dialogue: “You have to stay somewhere and you have to leave somewhere, and be safe when you don’t recognize the place of these correctly…”
Moradi Kermani, who has been a permanent figure in the Jirga for nearly two decades and is a permanent member of the Persian Language and Literature Academy, in recent years, some of his works (such as Majid’s Tales, Teh Khiyar and Shamma Ke Gharibeh) have also been presented in audio form (reading). It is a valuable work for readers who are less familiar with the book, especially since in some cases the readings are accompanied by Kermani accent. This year, in addition to honoring him at the Center for Intellectual Development of Children and Adolescents, an award with his name was given to the winners of the short story writing competition held with the support of UNESCO, which is hoped to continue.
“Moradi Kermani” is a self-made, modest and honorable person in the midst of self-conceit, fraud and money worship, who still maintains his relationship with the ordinary people around him and appreciates his current position well. His works are uncomplicated in language and meaning, and have a strange catchiness, taken from simple and apparently unimportant events around us, and flavored with a mild humor that embellishes and embellishes the harshness of reality, and like a capsule, its meaning and important words are easily It also conveys to the normal and bored audience. A type of simplicity that is the pinnacle of perfection in the arts and comes from his healthy and lovable personality. For a cultured person like him who has touched a good end, I wish for health and a less worrying situation.
Sirach: a village in Shahdad, Kerman