cinema trust Omid Tabanakhet wrote in Etamed newspaper;? At the beginning of the seventies and when I was a student, I used to go to the Rubik Mansouri (filmmaker) studio on Karimkhan Street from time to time. In those years, this studio was one of the busiest, and most of the films went to this studio for editing, sound, dubbing, mixing, etc. As a result, some people involved in the films (director, composer, stunt doubler, etc.) also came and went there during the work of their film. They had and because of this it was a kind of attractive movie hangout.
I met Jalal Moghadam, Ilosh Khoshabeh, Majid Tzazami, Manouchehr Masiri, Manouchehr Esmaili, Amir Qavidel and many others there, and it was a pleasure to talk with each of them. The studio building had three floors, the basement was the preservation area of Zindyad Rubik, who was usually doing the sound work for the movies, and because of the silence that was required, few people went there except for necessity. But the ground floor had several rooms after the stairs and the lobby. Each room had a movila table (a big device on which the film clips were edited) and a movie was being edited. In the lobby, there were usually people other than those who came for their movie. There were other people who came to visit their friends and usually in this space there was a hot market of movie and non-cinema memories, which was sometimes very attractive and sometimes it looked like a female aunt.
Although the windows of the rooms were overlooking the Holy Church of Sarkis, which had a very beautiful architecture, but generally the Montours only had their eyes on the small monitor that was above the Movilla table and the endless loops of the film that had to be carefully and obsessively moved back and forth until the best and most effective place. to find a link between them. One of those who was almost a constant foot of one of the tables was “Kamran Gadkechian”. He was in those years (the first half of the seventies) He was very active, either editing his own film or other people’s films. Sometimes he was kind to me and let me sit next to him. Editing with those tables really requires strange patience.
Over and over again, he obsessively moved the film loops back and forth, frame by frame, to stitch two consecutive shots together. Directors who are familiar with the secrets of editing and creating rhythm are very useful for them when directing. A prominent example of these directors was Zindayad Khachikian.
Kamran Gadkachian, who is the oldest living son of old actor Ahmed Gadkachian, started his career in cinema with the help of Ali Hatami and made 11 films from the beginning of the fifties until the revolution (about 6 years), which means almost 2 films a year. Films such as “Saher, Punishment, Bandari, Maid, Slander, Hamkhun, Ambush, Guest, Juma, Edge of the Razor and To the Last Breath” which almost all of them were in the category of Persian films, and there are few different works that will be remembered later among them. After the revolution and in the sixties, unlike some of his contemporaries such as “Fakhimzadeh, Elvand and Davdenjad” who were prolific, he made only two films “Khak He made “And Khoon/62 and Gardbad/64” and with his expertise, he could have been an important director in the body cinema of that time, as his Gardbad with a theme of the day and with the presence of actors such as Harukan, Mashayikhi, Iraj Rad and Mohammad Mati was able to Get good sales. The first half of the 1970s is considered to be his best period. In 1970, he made the youthful and good film “Avaz Tehran” with Mozchiyan and Pourarab (who had just become a star), which was very well received, and his next two films were “Diwanevar and Behesht”. “Hidden” were also well-made and audience-friendly movies, which in the first one, he considered a different type and role for Hashempour, which is similar to his other commercial roles. He didn’t have it and the second one was a melodrama with the presence of “Pourarab”, a star on the stock market and a popular person of that era, which was filmed entirely in Paris. These three films, which were assembled by Qadkechian himself, somehow became the high point of his work.
“Zokhmi” at the end of the era of the action boom, uses the same stereotype as Hashempour and did not have any special characteristics. After this movie, he made five or six more movies, except for “Fasilah” which was a well-made melodrama with the presence of the actors, the rest did not have any memorable features. His works could definitely have more memorable films in the heart of the commercial cinema. He was a capable director and editor who was always busy with his work without any borders or drama. I didn’t know about him for a long time and I only saw him sometimes in circles, but I will never forget his accuracy and obsession in editing. A specialty that, with the spread of computer systems, gradually removed its specialists from the cinema circle.
Now sometimes when I pass by Karimkhan street and see Sarkis church with the same beauty and glory, I remember the film studio, the movies, the sound desks and most of the people and films that the storm of time has taken to my memories… Build the studio villa building and The sellers have been destroyed and disappeared, Rubik and Jalal Moghadam, Amir Qavidel, Manouchehr Esmaili, Iloosh, etc., have been sleeping for years and are not there. Kamran Gadkachian and Majid Tazami have also become very underemployed, and with the increasing age and unfavorable conditions, they have no heart or nose left to do any activity. I hope they are healthy.