Cinema Trust Mehrdad Hojati wrote in the newspaper Etemad: When an anonymous young filmmaker named Sohrab Shahid Saleh, a very simple cocoon film with very limited and poor features called “A Simple Event”, a few years since the beginning of the new wave of cinema Iran and the production of two major films in the history of Iranian cinema – cows and peace in the presence of others – were past. He had made in the Turkmen port in a clear tradition with the minimum possibility of a feature film away from the capital. A film with a “poor production” produced without any prominent actor. The film had a very straightforward storytelling and told the story of a low -income student child. A baby boy with a sick mother and a fisherman who spends the day in a humble home. The mother has fallen into bed. The boy comes home from school, nursing his mother while doing homework.
As the mother worsen, the doctor announces and then goes to the beach to help her father. He pours fish into the sack. The father goes to the fish market and, after selling the fish, makes a small amount of money to the mother and eventually takes the drugs to the mother at home. This boring cycle is repeated every day until “a simple event” occurs. The boy’s mother dies. The next day, the father, the father, will bring him to the market and buy him clothes. He takes him to a homeless house and goes to the café to forget the simple thing of that day by drinking a sip. The film is over, but that repetitive cycle remains in the audience’s mind. The film actually follows its sequel to the audience’s mind. The boy, who has been in the homeless house since then, and the evenings, with the help of the father on the beach, but this time there is no acceleration to return home.
“A simple event” is ultimately so shocking that it is still one of the most influential works in the history of this cinema after half a century. The poor production had imposed that simple style on the filmmaker! The martyr had had to take a perception of each plan. The shortage and lack of scene facilities had closed his hands and wings for many maneuvers. It was also influenced by the emergence of that style. This was the culmination of martyrdom and creativity that it had reached such a solution to the project. The film, however, was welcomed by critics at the Tehran World Film Festival, and Sohrab Shahid Saleh had become a phenomenon in the world of cinema. With the first film, he introduced himself as a genius. So in the second step, he had gone to the story of another line, and this time he had created “lifeless nature” by making the poor life of a needle. The film was made in the same style. Non -glamorous views and devoids of the films of the films of the time. This time there was no prominent actor. The film far from the capital was made at a railway station. This time, with a letter to the old needle, the quiet and uniform life of him and his wife had become turbulent. The old man’s retirement order meant the end of life in that organizational home. “A simple event” this time had shown her ugly in the “lifeless nature” to that old couple.
The film was highly welcomed by experts in the film, and its creator had been authored as a filmmaker and style of his genius. So in the third step, he had gone to West Germany with Parviz Sayyad, where he had made the film “In West”. The story of the third film was the story of a repetitive and boring life of an immigrant Turkish worker who sends his income to Türkiye for the well -being of his family and spends his life in the misery. All his life was going through a workshop and his home, and except once he had taken away from a prostitute and had no existence, no significant change in his life had taken place, and it was that eventually at the end of the line. It had arrived. He had made his decision to return to his territory. An simple thing this time had happened in another way. The immigrant worker, who had repeatedly experienced the “homemaker”, had been stalled in an attempt to change and had to return to the point he had left. To where it came from. He was never “resolved” in that “homeland”.
The trilogy of “Sohrab Shahid Saleh” is built within three consecutive years, and since then he stays in the homeland and does not return to his territory like that worker! With the three films, he has a unique style, after a few years of overwhelming and boiling, he slides from the West to another and eventually dies in the same west. He never repeats that peak again. Although it has been awarded for years in Germany and awards, it never goes back to the brilliance of the early years – those three years – three unique films that remained in the history of Iranian and world cinema and immortalized him. Martyr Saleh, without knowing himself, had had an impact on a generation of filmmakers, his simple filmmaking style later found followers, one of his most important followers, Abbas Kiarostami, who had ended his style years later. A style that was named after Kiarostami’s followers “Kiarostami School”!
Sohrab Shahid Saleh, though not returning to the country, but his produced works came to Iran in the West, and during the video ban, it was seen as smuggled by cinema lovers. Especially its important film, Utopia, which brought him some successes. Perhaps if the revolution had not happened, the martyr would have returned to the country. But the developments after the revolution and the disruption of cinema had made the situation unknown to all the country’s cinema stakeholders. Perhaps the same situation had finally discouraged the martyr from returning to his hometown. In the early days of the revolution – Year 2 – Dariush Mehrjui had left the country after the seizure of his new film – the school we went to – and the fledgling New Wave cinema had lost its two pillars. It had not been, and the situation had not gone ahead as they had to benefit, because the situation had changed completely.
Although Mehrjui returned to the country a few years later and started filming again by making “leases”, his return never prevented other filmmakers from migrating. In the following years, other filmmakers left the country. Following the restrictions on them, they left the homeland for the homeland so that they might find a place outside the borders. Amir Naderi, Bahram Beyzaie, Bahman Ghobadi, Mohsen Makhmalbaf, Abdolreza Kahani, Mohammad Rasul F and several others left the country over the years. They each went out for some reason. But what was similar in all of them was the impossible to continue their work. The films that were made and could not be screened. One of the most annoying behaviors to any work owner is to ignore his or her hand. A kind of humiliation that, if repeated, makes him depressed, angry and distrustful. As he did. The behaviors that also led to Beyzaie’s migration. One of the noble and noble artists and intellectuals of this border and the most important religious work after the revolution – the day of the event – according to a post from him, had finally deprived of the deprivation and isolation. The former university professor and one of the most elite figures had now been bitten in the home of housing.
At the Forty -third Fajr Film Festival, when the wondrous film “Pirport” Octa Barahani was shown in the Milad Tower Conference Hall for several years after a few years of arrest, the question arose again whether the same mechanism Working in the artists this time is also trying to get rid of another elite artist? He said somewhere, “Early in appearance, it was as if the script had problems, but in the process of making the film, I realized that Reza’s son had a great impact. Finally, I introduce myself, my father’s discussion and his positions are raised … I made a resume for myself … I had read cinema in Canada and started my work slowly to get to my first film and I wanted to behave as an ordinary person. It was hard … Maybe if I wasn’t the son of Reza Brahani, I could make it easier to make a movie. “
“Pierre” remained away from the main audience of the festival – people. Failed to reach the main part of the festival and was deprived of the festival’s awards. A pure injustice about a film that acknowledged one of the festival’s referees – Kamal Tabrizi – won all the festival’s awards if they attend the competitive section of the festival. Beyzaie’s “Basho Little Stranger” can be mentioned in the 1980s, which failed to go to the cinema for five years. He did not reach any of his rights in his time, and later the creator of his work saw no reward. Why isn’t the task of many things yet? Is home a good place for elites? What do we do with the elite?