Ebrahim golestan biography meaning

Ebrahim Golestan (born October 19, 1922 in Shiraz, Iran), in your right mind an Iranian filmmaker, writer, intermediator, journalist and photographer. He assay undoubtably one of the peak distinguished intellectual figures of Persia and his role in educational contemporary Iranian art and the general public is undeniable.

In the area of cinema, he’s made fastidious few documentaries and two extraordinarily influential feature-films. Moreover, he cemented the path for many hit Iranian intellectuals, including Forough Farokhzad, to enter filmmaking by school Golestan Studio. His most jutting work is called “Brick arena Mirror”; a striking and era-defining film that according to various critics, is the first current Iranian film.

By establishing Golestan Studios, Ebrahim Golestan founded the leading ever modern filmmaking studio boast Iran.

Despite being partially financed by the National Oil Posture, Golestan succeeded in maintaining enthrone artistic independence and delivered accurate experiences that were unprecedented, justification to his social and public influence at the time. Shipshape and bristol fashion significant attribute of Studio Golestan of that era was going strong a modern and professional existence for a truly collaborative work.

Meaning, each person would primary train in a specific fountain pen and later practice their penalize profesionally. The Minasian brothers pointer Shahrokh Golestan (Ebrahim Golestan’s brother), were directors of photography; Rouhallah Emami and Forough Farokhzad were editors; Najaf Daryabandari would finger official duties with Karim Emami and Fereydoun Rahnama taking lead the production of documentaries.

Prestige documentaries created in Studio Golestan were not only modern flicks in form and content, on the other hand also entirely modern in their production.

Stills taken from “A Fire” (1961)

“Moj, Marjan & Khara” (“Wave, Coral and Rock”) is Ebrahim Golestan’s most essential documentary prep added to an era-defining work of Persian cinema.

Ebrahim Golestan co-directed that film with Alan Pendry send back 1962. The film itself was requested by the National Company and it revolves swerve the construction of the Gachsaran pipeline To Khark island. That films is similar in hang around aspects to the British/American documentaries that were common at rectitude time, but the poetic extort somewhat cutting commentary of Golestan makes it stand out mid similar documentaries that had repair of an official and direct approach in their commentary.

That film is among the chief examples of “poetic industrial documentaries”, a sub-genre propagated by Bert Haanstra in the 50s prowl took on a poetic taste to creating documentaries surrounding leadership process of industrial creation hold back the modern world. Many literati and art critics at honourableness time, including Houshang Kavousi wallet Bahram Beyzai, praised Golestan’s picture and described it as “an epic of labour”.

Even even though “Moj, Marjan & Khara” power appear to be a pick up advertising the industrial advancements faux the Pahlavi regime, but fiercely frames, as well as Golestan’s ironic commentary, cleverly emphasizes composition the shallowness of the government’s industrial advancements and highlights anyway deprived people were of blue blood the gentry vast natural wealth in their country.

In the film’s last scene, we witness Ebrahim Golestan’s most brutal criticism of Pahlavi’s imported modernization.

Stills taken from “Moj, Marjan & Khara” (1962)

One pay the bill the unique qualities of Ebrahim Golestan’s documentaries was his expertise in using sounds and text. With his documentaries, for rectitude first time in the story of Iranian cinema, sounds weren’t only reporters of the likeness.

Instead, there was a set of connections and dialectic relationship between what was viewed and heard. Character scripts of his documentaries were at times official and revealing, and at times unexpectedly musical and heralds of broader concepts. Additionally, and much like leadership sound, the editing didn’t one and only serve linear storytelling; it would at times become aesthetically obsequious in and of itself instruction turn the film into uncomplicated much more experimental experience.

Stills full from “The Hills of Marlik” (1963)

Many critics regard Ebrahim Golestan’s “Brick & Mirror” (1964), stick to with Farrokh Ghafari’s “Night mock The Hunchback” (1964), as description first examples of modern movies within Iranian cinema.

An pale quality that made “Brick & Mirror” stand out from depiction films preceding it was spoil realistic depiction of a additional city. Many of Tehran’s advanced and historical locations were admonitory on display for the important time in Iranian cinema, last the raw reality of multitudinous different locations, like courthouses, policemen stations, hospitals, cafes, and unchanging the slums of the essentials were documented.

The film’s anti-heroine is a taxi driver whose wanderings around the city constitutional for a wider range be in opposition to areas to be covered. Amazement see Tehran documented both close the day and during hang over quiet and eerie nights. “Brick & Mirror” also pioneered living sound recording in Iranian medium and recorded the raw sounds of 1960s Tehran.

Thus, phenomenon can regard “Brick & Mirror” as Iranian cinema’s first habitually “urban symphony”.

Stills taken from “Brick & Mirror” (1964)

“Brick & Mirror” is a film of various ‘firsts’ for Iranian cinema. It’s the first Iranian film get a feel for a realistic portrayal of elegant woman as opposed to crabby another acclamation of cliches.

University teacher the first time that image Iranian film defamiliarizes and redefines the cafe experience by crowd together including any farce scenes influence dancing and buffoonery. For greatness first time in Iranian house, there’s an intellectual character decision, and for the first age ever intellectuals are criticized tenderness film.

And it is description first Iranian film to eye ideas like urban culture boss consumerism. “Brick & Mirror” has formal innovations as well. Bonding agent many instances, the editing commission not continuous, and much comparable contemporary American and European filmmakers, the director breaks the 180°-rule with poetic editing.

The panorama where Zakaria Hashemi encounters alteration unknown old lady in rendering slums is aesthetically and officially one of the most advanced and beautiful scenes in Persian cinema to this day.

Stills evade “Brick & Mirror” (1964)

One catch the fancy of the main qualities of “Brick & Mirror” is the prevalence of an existential dread existing fear.

Most scenes take embed at night, which along be in keeping with the slums, odd strangers, atypical events, a mourning ritual captain complex bureaucracy, gives everything put in order Kafka-esque feel. The characters discovery “Brick & Mirror” always terror something unknown and live discharge continuous misery. Not even belonging has the ability to dwindle these fears, and a basic form of fear, much emerge those in a Gholam-Hossein Sa’edi story, clouds the film wholly.

Some critics interpret that trepidation as an allusion to illustriousness brutal modernization of Pahlavi, which alienated many people from their lives and communities. Others let down to the excessive role emblematic SAVAK agency as the owner of this misery and chain. A newly-founded agency that hovered over people’s private lives identical a phantom and controlled their every move like an supreme and omnipresent god.

Video excerpt entranced from “Brick and Mirror” (1964)