cinema trust Mohsen Azmoudeh wrote in Etemad newspaper: Let me start with a psychological concept, which of course has its roots in the Bible (Chapter 16 of the Book of Leviticus) and of course we have all heard it and used it a thousand times. A scapegoat in psychology is someone or something that is supposed to bear the burden of the sins and mistakes of others, regardless of whether it is his fault or not. As psychologists say, in principle, destabilization or destabilization is a process, sometimes a group destabilizes another group, sometimes an individual, another individual, sometimes an individual group, and sometimes a group individual is the main culprit of errors or mistakes or words and He knows his actions. The high-profile and noisy anti-hero documentary by Aref Afshar, which was screened at this year’s Cinema Hekat Documentary Festival, is a perfect example of this psychological process.
It is clear that in this short note there is not enough time to deal with all the aspects of this documentary and it is not possible to mention all its aspects, while a detailed discussion of a work Cinematography on the page of thought and history is not very correct. I have to limit myself to this, that it is the responsibility of the documentary team and its organization to blame the main cause of all the events that happened in the first years after the revolution. Hojjat-ul-Islam Mohammad Sadegh Sadeghi Givi known as Khalkhali (1305-1382), the first Sharia Ruler of the Revolutionary Court, and blame him for everything that happened (and sometimes what happened after took place).
Of course, it should not be overlooked that the filmmaker and his team have left no stone unturned in this work, and the audience who does not know much about the history of the revolution and characters and people, will definitely be impressed. The film begins with the story of Qala, or New Shahr, the famous brothel in Tehran before the revolution and its attack and destruction, and the sad fate of the unfortunate people who lived there, in the first days of the revolution, and promises the audience that it is going to be in This film provides us with new and fresh information, other than what it provides in several documentaries, books, photo collections, and articles that we have read and heard about this region over the years, a false imagination.
In the following, the filmmaker goes to his ancestral village Givi in Ardabil province to narrate the life of Sadegh Khalkhali. Again, the hope is formed that the documentary maker intends to provide new things about Sadegh Khalkhali’s family, place of residence, and fellow residents, but this is also a crude idea. From Givi, we see only a few views of the village and a short conversation with a person whose face is not visible and who introduces himself as Mr. Khalkhali’s cousin and does not want his picture to be seen.
In the following, we see a series of archival images and videos, most of which can be found on the Internet, along with a series of interviews with people who are not among the main and influential figures of the early years of the revolution, with sometimes unbelievable claims. For example, Mr. Rafiqdoost claims that Amir Abbas Hoyda called him from prison and made a bequest to him for his wealth and possessions, at a time when people like Ayatollah Taleghani, Engineer Bazargan, Martyr Motahari, Martyr Beheshti, Dr. Sahabi, etc. were still alive. And there were characters far more famous than him. Mostafa Pourmohammadi, Mohammad Atrianfar, Ali Akbar Natiq Nouri, one of Ayatollah Taleghani’s children, Ali Razini and Rasul Mutjabnia are among the other figures who say whatever they want about Sadiq Khalkhali and his cousin in this documentary, to the point where Mr. Pourmohammadi openly says to Sadegh Khalkhali said that one rotten hair of Shahid Beheshti will not be replaced by a hundred like him, and Natiq Nouri claims It is possible to directly call Mr. Khalkhali “ignorant”.
The film has a lot of holes and gaps in the depiction of Sadegh Khalkhali’s face and the narrative of his performance, apart from the loss of time. The attempt of the documentary maker is to attribute his election as the ruler of Sharia to Ayatollah Montazeri, while Mr. Khalkhali himself in the first pages of his book brought the image of the handwritten decree of Imam Khomeini dated March 5, 1357, and in order to show this historical connection It has a long history, some of his correspondence with Imam Khomeini before the revolution and the order of the Imam on June 15, 1340 to himself to take charge of Hasbiyyah and Shariah affairs from Earlier, he himself (Imam) stated that in this letter, the Imam authorized Mr. Khalkhali’s writing to receive the Imam’s share.
The documentary also makes no reference to Mr. Khalkhali’s thoughts and ideas, including his book entitled “Course, a liar and a criminal” (written in 1350, printed in 1360) and actions such as the destruction of Reza Shah Pahlavi’s grave or his actions in Kurdistan and Gonbad, and instead avoids them with boring arguments. And Malalavar talks about Amir Abbas Hoyda, Dr. Sheikh al-Islam, Martyr Beheshti, and Martyr Qudousi, while Sadeq Khalkhali’s life story after the death of Imam Khomeini is also very fast.
In short, the most accurate and honest words in this documentary are said by the same cousin who does not want his picture to be seen. While referring to the rumors and words that are prevalent these days about Mr. Khalkhali’s fate, he confirms the documentary maker’s statement that there is no shorter wall than Mr. Khalkhali today, especially since none of his family members have come forward to talk about him. talk and has no trustee or lawyer. As a result, everyone (including the filmmaker and interviewees of the film) treats him like an idiot.