cinema trust Mehrzad Danesh in The newspaper of trust He wrote: A year has passed since the terrible slaughter of Dariush Mehrjooi and Vahida Mohammadifar, and the judicial and legal process of their heinous murder case has not yet reached a clear result, and according to the latest news that was announced a while ago, the defendants refused to accept the charge of murder in court.
The strange ambiguities of this case are another reason to continue to follow it with concern. Apart from the bitter end of the life of Mehrjooi and his wife/colleague, can we hope for a clear and clear outcome of this case?
The unfortunate death of this artist, willy-nilly, leads the mind to the miseries that he creates at the end of the story of his films. Most of Mehrjoui’s important films had a bitter end: Masakh Mashhasan, The Madness of Taghi Postchi, Hamon’s Suicide, Taking the Lady’s House, Leila’s Separation from Her Wife, Sara’s Fear from the House, Ali Santouri’s Loneliness, The Destruction of the Renters’ House, Halo’s Fraud, Ali’s Blood Hire for Samari and … although sometimes in some of these endings, preparations were used to soften the atmosphere (such as Sarah looking behind her head at the last moment or saving Hamon from the sea), which sometimes seemed to be an imposition from above to make the adventures come to a successful conclusion, but in these endings , the depth of bitterness sat on the palate of the audience so much that these preparations were not very effective.
Unfortunately, the terrible end of Mehrjooi and Mohammadifar’s life was not accompanied by any ameliorating measures; There was a naked and shocking violence as if it was hidden in its heart and text. Perhaps the only point in this is the hope for a correct and truth-oriented outcome in the legal and criminal proceedings, which will heal a little of the feeling still involved with this bitter tragedy. I hope that this point will come true.