Trust cinema Amir Hossein Rohaniyan; In 1336, on a hot summer day, young Manouchehr, who had just turned 19 years old, saw an invitation text on the advertisement page of the newspaper. Dariush Film Studio had invited interested people to recruit a number of men and women to send to Italy and work in Persian dubbing.
The location of the garden studio was located on Naderi Street. Manouchehr and his friend go there for fun and perhaps curiosity.
A large crowd had come. Alex Aghababian – the founder of Farsi dubbing in Italy – announces through the loudspeaker that we want one man and three women from the crowd, and after testing and checking the audio tapes, we will send for the winner.
But the test took seven days due to the large number of applicants. Manouchehr goes every week until the evening of the seventh day, Mr. Aghababian and Mr. Naiman (the sound engineer of the studio) come out tired and upset and tell the six or seven people who were left, how many women have been selected, but unfortunately, no men have been selected by this time. It is not selected and nothing will come from you either.
Among the rest of the crowd, a young man who was a tailor’s apprentice says that out of a thousand people, you have tested these seven people. try it
Aghababian reluctantly accepts. The last applicant was Manouchehr. They ask him to say his name and address and read the text in front of him. Again from him. They want him to repeat, as if they did not record his voice in the first stage. he He reads the text again, cries and laughs..
Aghababian, the women’s smile says Mr. Esmaili, you have been selected. At that moment, they give him the amount of thousand tomans, which was a lot of money at that time, as an advance payment, so that the day of dispatch is determined.
But the promised day never comes. Due to reasons that have never been determined, Aghababian refuses to send him.
Although this incident is expensive for young Manouchehr, he decides to move forward with all his might. A few days later, he goes to the same Mr. Nyman, this time at the DCI studio located in Lalezar, and he plays the first role of his life as an announcer instead of a traveling photographer. A two-sentence and short role that he performs without clapping. Little by little, the reputation of a new but talented young man is spreading in the dubbing studios and the dubbing managers recommend him to each other. By the end of the thirties, he had reached the dubbing of the leading roles, instead of the world famous actors such as Gregory Peck, James Cagney, Anthony Quinn, Alec Guinness, Yul Brynner, Charlton Heston, Sidney Poitier and…
At the same time, other young people such as Cengiz Jalilund, Abolhassan Tahami, Iraj Nazerian, Jalal Maggi, Manouchehr Walizadeh, Saeed Mozaffari came with colorful and magical voices to shape the golden era of dubbing.
Persian film managers, when they saw the miracle of dubbing and the sound quality of the films in the studios, they decided to use the art of dubbing in Iranian films.
Dr. Ismail Kushan, who founded dubbing in Iran in 1325 with Dokhtar Farari, was one of the first to use dubbing for his films. Now, Mrs. Dalik sings in the movies and Mrs. Mahin Kasmai speaks for her, and the audience accepts it, and the producer of the Persian film lowers his expenses with dubbing. Actors of secondary roles were no longer supposed to be literate or know how to express themselves. People like Manouchehr Esmaili in the studios compensated for these negligence inherent in Persian films with their art.
At the end of the thirties, Ali Kasmai, the father of dubbing in Iran, called for the dubbing of the movie “Gate of Paris” and put the main actors of the film, two old men, in front of him. I can’t speak about Ismaili and you can about Kasmai.
In the mid-forties, he acted as a voiceover instead of Peter Falk in the movie Miracle of Apples (Frank Capra). He revealed another aspect of his ability to tell the type of comedy and the great sales of the film showed that the audience likes this type.
The directors of Iranian cinema immediately chose Rezabek Imanvardi from negative and serious roles They were drawn to comedic roles known as “Peterfalki”. Manouchehr Esmaili’s voice established Beik Imanvardi’s position as one of the money makers of Iranian cinema for many years.
Ismaili can be considered an author speaker. He watched the movies carefully and when he got a complete understanding of the character and atmosphere of the movie, then he would sit behind the microphone and walk along with the actor and reflect what he understood about the role in his voice like an actor sitting. gave
In the dubbing of several movies, he used the beats and vibrations of Anthony Quinn’s mime in his voice with elegance, as if he were a Persian-speaking actor.
The dubbing of Sindbad Bahri and Muhammad Rasulullah confirms this point.
After the revolution, with the ban on showing foreign films, the announcers started dubbing Iranian films, and due to the limitation of Persian productions, many of them worked on television.
With the migration of Genghis Jalilund in 1357, only two of the three main dubbing sides of Iranian films remained.
Manouchehr Esmaili and Iraj Nazerian (who had an early death).
The dubbing of many prominent works of cinema and television in the 1960s and 1970s was done by Esmaili.
Works such as Kamal al-Mulk, Hazardastan, Imam Ali (a.s.), Nakhda Khurshid, Madar, Grand Cinema, Shilat, Boycott, Shamar, Tran, etc., in which instead of actors such as Faramarz Khorokan, Ezzatullah Tzami, Jamshid Mashayikhi, Ali Nasiriyan, Jamshid Laigh, Jamshid Hashimpour, Mohammad Ali Keshavarz, Davdarshidi and… spoke.
With the arrival of the main stage sound, the dubbed productions decreased, and from the mid-seventies, its breath decreased. Esmaili used to go on TV from time to time and talk in series like Pahlavanan do not die.
Sometimes roles such as John Kafi in the green path and Morgan Freeman in Haft O. would delight and become the same amazing Ismaili..
In the 80s, he participated in some video network films, but this tired rider had created his masterpieces and made his presence in dubbing less.
2009 at the invitation of Masoud Kimiaei and his long-time friend and colleague Khosrow Khosrowshahi In the dubbing of the movie “Jerem” instead of Poulad, Kimiaei spoke, which was a reminder of the past.
In the 1990s, he used to speak in movies just for fun.
He was affected by Parkinson’s late in his life and his voice is a faint shadow of that glorious past. One of his last successful memories was in the movie Joker and his acting instead of Heath Ledger.
That 18-year-old young man, who once reached the end of dubbing in Italy with his great talent, also reached the end of his life and came to rest in a corner of the paradise of Sakine Karaj.