Cinema Trust Tina Jalali wrote in the newspaper Etemad: Recently, a well -known critic and author of Iranian cinema has been published “My Favorite Movies” (Reminda Publishing), which includes his memories of the most important films in cinema history. The masterpieces of the world’s great filmmakers who were displayed in Iranian cinemas for many years. The compositions he saw on the cinema as a teenager and analyzed the details of the cinema. In this book he mentions 40 films in the history of world cinema; From Hitchcock’s “Vertigo” and “Dr. Zhivago” David Lynn to Federico Fellini and “Nimroz Adventure” Fred Zayneh, John Ford’s “Torch and Bow”, Jacques Torner, “Picnic” by Joshua Logan, and so on.
He writes about the criterion of the selection of these 40 films at the beginning of the book: “The choice of these films is more than the relevance to the art of cinema and, in fact, a transcendent and conceptual cinema, is merely an impact left over from the old days and in their first visit.” “If there is no news of the great and classic films of cinema history from the great filmmakers in this list, it is my guilt on my neck,” he said.
But it is important to read and read the book “My Favorite Life” in the way that the younger generation of cinema is familiar with the atmosphere of foreign films in the years 1330 to 1350, and specifically before the revolution. For example, Nouri writes in the introduction of Johnny Guitar, directed by Nicholas Ray (1954): “In early January 1335, this amazing Western was shown in Cinema Mollen Rooz. It was not a few days later, and we had prepared ourselves to watch it as we heard the cinema was burnt and burnt. We regret and grieved. “One for the sake of the cinema itself, which was supposed to show a number of our favorite films and the other the opportunity we had missed to see Johnny Guitar.” In addition, the psyche and the cinema critic, along with the memories he defines in the film, are attractive to the reader and make it easy to read the book.
We had a conversation with Parviz Nouri about the content of this book; Although his physical condition was not in good condition, he welcomed our questions. This conversation is in front of you.
What do you do these days?
Honestly, at this age of the blessings, it is clear; I am often a guest of doctors. However, when I am cool I will write my new book.
God willing, you are healthy and still keep your brush. But what is the subject of the new book?
Let me not explain too much, but to say so much about the cinema. Of course I have written the book for almost half and the rest has a good thing (if it lasts …)
Considering that you have written different books, do you explain a little about the basis of the latest book published by you?
For many years, I wanted to write about my favorite films and the memoirs of that productive era and the pleasant memories of my favorite films, but every time there was another situation and the job was postponed. Eventually, I hit the sea and made a serious decision to sit down and remember my past films, though it was hard and had been years ago, but my mind finally helped and sat down to review each of the films I remembered. The reason was simple, perhaps my love for past cinema, and reminding of the films we had seen with my heart and heart recorded in my memory.
Given the spirit I know of you, it seems that in this book you haven’t talked about all your favorite movies and you have been anchor more.
Let me say that many movies were in my mind, and if you write about them all, it would probably be my seventy Masnavi. So I chose movies that I still had not been able to forget when the book was published that unfortunately didn’t want it (with many misconceptions, including the name of the popular and beautiful movie that was you!) Many other films, but unfortunately it was late, one of those films was “Miss Khazsh”. I still remember the story of those things that had many paintings mounted on the walls in an art gallery, and when the responsible officer turned off the lights, the pictures of the panels were dying and coming out of the frame, including a woman named Mrs. Fasheshpush (Betty Gribel) and adventures.
B.What did you consider the selection of your favorite movies?
From the beginning, I wanted to introduce the movies so that it would be attractive to the reader first. Secondly, I was trying to tell about how and how they see them in the cinemas of that time and its memories, to tell their stories, and so I could better communicate with the reader. One of the critics who had read the book sent me a message I had seen many of the films you mentioned, but I really never remembered so many details and artistic subtleties were used in these works.
By the way, Mr. Nouri, why is there no Iranian films among your favorite films?
To be honest, I have a good memory of Iranian films. One of the first films I had seen was one of “stray” in cinemas that Nasser Malek Motiei was the hero of the story (we didn’t know him) and illuminated his cigarette with banknotes. And the other movie “Mother” with my mother, who loved the sweet lady because she thought her voice was like her) and was crying in scenes, and of course I was a hajj! Of the latest films, perhaps “Enamel Circle and Deer and Basho” all three films have a lot on me. By the way, Nasser Malek Mottie has been a film called “Death Sanators”, which he had directed himself and was a relatively compact film.
What I was reviewing your earlier posts is clear that you do not communicate with today’s cinema. Whether Iranian film or foreign film; Why?
The answer is simple which movie can remain in our minds for a week or two? It has been about half a century or more since I have seen Dr. Givago’s film, but it seems as if it was made yesterday. Or Hitchcock’s dizziness, which, after 70-80 years, has never diminished its value and importance. There are fewer films in the history of cinema to have an eternal impact.
You have a smooth and warm prose so that when the audience starts your story, it cannot simply abandon it. You tell your narrative in such a way that the audience is in that space. A striking example of it can be seen in your last book “My Favorite Movies”. You described and introduced the movies so that even those who are away from the cinema can easily understand what. Complete and good introduction to the most important and classic masterpieces of world cinema…
Honestly, I don’t know, once Iraj Saberi and then Khosrow Dehghan told me that my prose could attract the reader because of its simplicity and said that simplification is not an easy task. I really don’t see any particular reason for this, though I have never been able to write like many people like a gesture! If you have been careful in my writings, you do not see any signs of glamor, zoom, and claim.
Don’t you want to come to Iran?
Healthy and healthy will no longer allow me to endure those long, tragic trips. I want it, but it doesn’t seem like anymore.
Do you have any news about the old comrade, Parviz Davai?
I was more or less likely to email Parviz John Duai, but we have been emailing together for a long time, but it has long been cut off. I know it is good.
I take advantage of the opportunity; Dear Nouri, do you have a memory of many years to tell us?
I have a lot of memories of my longtime star and companions, I have brought some in the book “The Best Years of My Life”. The bitter and sweet memory that I always have in mind is that whenever the moon was on the moon, and the Gallstarians (the director of the magazine) had to give our rights and rights, he said in a righteous look: I have no God! So the rights are in the air. But we were smart and went to the bank to go to the bank, chase it, and say as soon as we would get the banknotes, we would say collectively: Hello Galstian John!
As a last question, considering that you are an aristocracy in the history of world and Iranian cinema, what is the superficial reason for many films? Why aren’t those lasting films anymore?
In my opinion, cinema has been inappropriate since the 1970s and the lack of contemplative subject and content. This downhill has continued to this day. On the one hand, the world’s great filmmakers, including Hitchcock, Ford, Bergman, Fellini and Antonioni, have dropped out of the scene, and on the other hand, we get less newly new filmmakers to preserve some kind of real cinema in their work. This also applies to Iranian cinema. There has been a succession for them, neither the Mehrjui, the Kiarostami, the Beyzaie, and the Taliban. Asghar Farhadi tried to try to create a new cinema (and of course scars), but it was not enough and turned off sooner than he could imagine. It may not be bad to quote from Jean -Luk Godard, saying, “Cinema is no longer a cinema, as if it is dead.”