Any socio-political event, whether it remain as a street protests or leads to a historical event such as the revolution, will undoubtedly affect their artists and their works, according to the News Agency. These artists, depending on their alignment or angle, are conscious and unconsciously recreated in their works. In the meantime, there are artists who directly deal with the event and its leaders and leaders. With this account, the construction of works on the revolution and its founder; Imam Khomeini(RAH) should also be common. However, the works made over the past four decades have not yet reached the qualitative and quantitative degree. The works in which Imam Khomeini’s life and the time have been attempted were diminished except for documentaries. From the documentary “Messiah,” Michel Sotbun, the French photographer to the documentary “Ruhollah”, from the series “Sun and Earth” to the series “The Years of Event” and from the movie “The Hard Year in Khomeini” to the film to never be released and controversial. There is a consensus that Ruhollah Khomeini’s right to Iranian fiction and television series is not as possible as it should be and perhaps not. To the extent that the country’s highest cultural authority has acknowledged it, with a fair look at the work done in the field of image over the past four decades around the founder of the Revolution.
The right signs that have not been rendered
According to Sayyid Abbas Salehi, the Minister of Islamic Culture, what has so far prevented the production of Imam Khomeini’s work, one being the position, the abstinence and awe of this character and the other his contemporary with our lives. Salehi made the remarks on the sidelines of the celebration of the anniversary of the Imam (RA) in the presence of deputies, managers and heads of organizations and a group of poets, including Yousef Ali Mirkakak, at the Ministry of Culture’s prayer room. He also said that he believes that time, he would provide more opportunities to build works as much as the founder of the Revolution. Over the past four decades, a limited cinematic directors have gone to the life and time of Imam Khomeini, and after the experience of making one or two films that were not very successful, no one came to this topic. Although many documentaries have been the subject of their work on the subject of the Revolution, the fictional cinema and television series have achieved less success in the field. This is certainly remembered by those who decided many years ago to invite Mustafa Aqad to Iran to make a film about Imam Khomeini, but the proposed figure was rejected by the country’s cinema executives and this was not done. Given the overcoming number of documentaries over the cinematic films and serials made about the founder of the Revolution, we have taken a look at three documentaries that have given more attention than any other works. Three documentaries “Sunshine and Love”, “The Secrets of Jamaran” and “Lady Quds Iran”.
The first narrative; 1
Javad Shamghadri in the “Sunshine Documentary” is trying to answer the question of how can the lasting moments of history be recorded? This long documentary is an attempt to re -read the days when their image is still in collective memory. A film made in the days following Imam Khomeini’s release trying to show something different. Unlike many of its fellow documentary works, “Sunshine” has neither textual speech nor an outside voice that wants to direct the narrative. The sounds are the ones that are recorded on the scene: the voice of the crowd, the whispering of prayers, the sound of crying, and sometimes silence. The same choice has made the film a closer and more personal experience. The camera, which is in the eyes of the audience, is with the crowd. In crowded alleys, in crowded squares, in the queues that move quietly. Sometimes it is on the heights to show the large scale of mourning, sometimes down and approaching the faces: tired and sad faces. Part of these images is the result of Majid Majidi’s work, who took the camera immediately after the news of the death of Imam Khomeini (RA) and stayed on the scene at night. Later, the final editing of the film was done by Shamqadri. In “Sonadhaq”, instead of narrating or presenting analysis, it is merely recording events, and this feature has made it something more than a mere historical documentary.
The second narrative; June 1
For many people, Imam Khomeini’s image is always tied to the balcony of Jamaran Hosseinieh and his historical lectures, but “Jamaran Secrets” is a documentary that pulls this image out of the public frame and takes it to a house in which the Imam lived. A house that was not only the center of political decision -making, but also the daily lives of a man whose order and simplicity were two bold features in his behavior. At the heart of the history of the revolution, there have been figures that have not always been seen in the main frame, but their narratives may be more expressive than many official documents. The documentary “The Secrets of Jamaran” enters exactly from this angle; Behind the scenes of a house that was the place of decision -making in the most sensitive days of contemporary Iranian history. Mohsen Soleimani, one of the two directors of this documentary collection, says of the reasons for making such a work: “Most people just have seen what the media has shown by the Imam. But I wanted to see what happened behind that famous balcony, in the heart of the house? How did he live? What did he do with his family? ” To reach this narrative, he went to the Imam’s personal bodyguards; People who were with him without any intermediaries. “It was difficult to access the family, but the guards were the people who saw the Imam as it was; Without distance, immediate. They had no political consideration in their narrative. “
This documentary collection is narrated by the voices of guards who have lived with Imam Khomeini for many years. They do not say politics, speak of a daily presence in which the founder of the revolution is the one who pours tea, becomes containers, and behaves like any other human being. The Jamaran Secrets Documentary, relying on more than a hundred published photos and images, hundreds of hours of unprecedented dialogue and two -year research, is an attempt to rebuild scenes that are different from the public image. This documentary is an attempt to re -read a real and immediate relationship between Imam Khomeini and the closest people around him; Not for the purpose of judgment, nor in the pursuit of myths, but to re -understand the character who made his fateful decisions in a small home.
The third narrative; February 1
The woman we have heard less, but its shadow over the revolution. Mustafa Razaghimi Karimi’s “Lady Quds” documentary is an attempt to identify this woman; Khadijeh Saghafi, wife of Imam Khomeini. This documentary is not the only narrative of the life of the founder of the revolution, not an attempt to saint or artificial imagery. Instead, the quiet viewer faces the layers of a romantic, patient and sometimes complex life. The relationship between a literate woman, with an independent mind of a prosperous Qajar family and a man, a young and idealistic man, lasted for five years. Rasagh Karimi, with the obsession of an architect, has made the Imam’s house the main scene of the narrative. Interviews are in the same rooms where Khadijeh Saghafi once lived. This simple but clever decision makes the narratives out of the space, not outside. Even this decision affects the people who are interviewed and unconsciously create a different narrative. During the film, we do not only see the life of Imam’s wife; Rather, we also get acquainted with his complex relationship with his son, Sayed Mustafa Khomeini; The figure that has been less discussed in the official narrative, and this documentary for the first time portrays him in his human, emotional, and family status. Lady Quds Iran is not only a historical documentary, but a human portrait that, because of this feature, has been accompanied by sensitivity and responsibility beyond technical aspects.
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