cinema cinema: Negin Kianfar Dublor, a painter and documentary maker, believes that Nasser Mamdouh tried to maintain the trust in his voice during his years of activity.
Three commemorations will be held in the 18th edition of Iran’s International Documentary Film Festival “Cinema-Ghekrit”, one of which is related to Nasser Mamdouh, dubbing director, dubbing director and actor.
Negin Kianfar, a voiceover and dubbing artist, although she is not from the first generation of dubbing, but her name and professional record show her status. He is selective and precise and has lasting roles in his career. Voiceover for Uma Thurman in “Pulp Fiction” and “Kill Bill”, Charlize Theron in “The Devil’s Advocate”, Sharon Stone in “The Expert”, Cate Blanchett in “The Lord of the Rings”, Kristen Dunst in “Spider-Man”, Meryl Streep in “The Deer Hunter” and Angelina Jolie in “The Bone Hunter” and the dubbing director of “The Merchant of Venice” are part of his impressive career.
Negin Kianfar Dublor, an experienced painter and documentary maker, said about Nasser Mamdouh and his character: Mr. Nasser Mamdouh is a very respectable person in the cooperation we have had, this feature is very valuable in the cinema and television work environment, especially for women. This privilege is only one of the distinctive features of Mr. Mamdouh, when we meet him, we see that in addition to the knowledge of manners, there is work etiquette, precision, respect, attention to details, aesthetics, etc., which is valuable and beautiful.
He continued: dubbing is highly dependent on its customs and one of the most important indicators of this profession is patience. Patience for continuous exercises. Remarkable attention to details, valuing the music of speech, faithfulness to translation, dialogue and interaction with the speaker are other prominent features of Mr. Mamdouh.
Kianfar added: The most important point for me is that after 35 years of meeting Mr. Mamdouh, these characteristics have not changed and have remained intact.
This doubler stated: The thing that stands out about Mr. Nasser Mamdouh is that even though they were professionally active in cinema before the revolution, their voice does not bring to mind the Persian film culture.
In another part of his speech, Negin Kianfar explained: One of Mr. Mamdouh’s bold activities is speaking in documentaries, it is necessary to mention a very important point. Speaking in documentary work and truth-oriented work imposes an additional burden from society on the speaker, and this person becomes a reliable source for the audience, willingly or unwillingly. The official authority is not necessarily a reliable source and sometimes an empathetic voice can reach this point and that person must protect his voice from there on. If, for example, he works in advertising, he works with moral responsibility or is in line with the identity he has presented, otherwise this credibility and respect will be distorted. Mr. Mamdouh has well preserved and protected this identity and credibility.
He continued: A reliable source for the audience is the one who trusts him and can be the voice that creates some kind of empathy. In this regard, the speaker of the narrator should not necessarily have a good voice, and if there is beauty, it should not be artificial and believability should be the goal.
Referring to Nasser Mamdouh’s responsible use of creating a sense of empathy, Kianfar said: Mr. Mamdouh has made responsible use of this believable and empathetic feeling he has created for his audience. I present this as a colleague and audience.
In another part of his speech, Kianfar discussed the current situation of dubbing in Iran: these days, there is no such thing as the old concept of dubbing, and it is a kind of dubbing. Those collective dubbings that are the result of a group performance are no longer done, and people go individually and do their work, and these voices are put together through a technical process. This is where we see that believability, empathy, and precision in execution are reduced, and on the other hand, the choices are not suitable.
Negin Kianfar said in the end: They put a sound on a movie and that’s it. Since we have reached massification, voices do not become individual identities. The main problem here is that such a thing is not connected to the imagination of the cinema and such performances have the same function as subtitles. The reconstruction of the cinematic world does not happen in such works.
Interview: Mohammad Zakizadeh