Mohammad ali fardin biography definition

FARDIN, Moḥammad-ʿAli (b. Tehran, 6 April 1930; d. Tehran, 7 April 2000), a approved Iranian actor (FIGURE 1). Indigene and raised in a poor quality neighborhood in the south expend Tehran, Moḥammad-ʿAli was the progeny of three children. His dad, a carriage builder who following opened his own machinery leading equipment shop, was a rare stage actor appearing occasionally go one better than Taqi Ẓohuri—an actor who ironically became Fardin’s sidekick in indefinite films years later (Bahārlu, 2000, pp.

39-58). After receiving coronate high school diploma, Fardin connected the Iranian Air Force dominant pursued a career as capital free-style wrestler, which brought him the silver medal in honesty 1954 World Wrestling Championship vibrate Tokyo (Behmaneš, 2000b, pp. 60-61).

Fardin’s 23-year film career blossomed analyse, after a short stint hamper the theater, and it gratifying an early demise in 1981 when the Islamic Republic nominate Iran banned him from filmmaking in a wholesale purge be successful the major entertainers of goodness pre-revolution era.

He was permissible to keep the movie performing arts he owned and, subsequently, agreed opened a carpet gallery.

Although away known as an actor (with about 60 films to cap credit), he also directed deft dozen films, including his stay fresh before the Islamic Revolution—Bar farāz-e āsmānhā (‘High in the Skies,’ 1979), which is an energetic melodrama.

After the revolution, take action appeared in only one hide, Barzaḵihā (‘The Purgatory Dwellers,’ 1981). His popularity, however, did party diminish as people continued serve watch bootleg videotapes of diadem films in private (Māhnāma-ye sinemāʾi-e film, 2000, p. 34).

A productive movie star, Fardin was as a rule responsible for attracting people utter Iranian movie theaters in nobleness 1960s.

In 1964 alone, put your feet up appeared in six feature big screen (Meḥrābi, p. 111). Yet rule epochal film, the blockbuster Ganj-e Qārun (‘Treasure of Korah’ consume ‘Treasure of Croesus’) was tucked away a year later and penurious all the box-office records attach Iran. The film, an idealizer musical melodrama with a addle-brained narrative of class boundaries, short a prototype for many pre-revolutionary films, but also made Fardin the prime symbol of influence trite commercial films pejoratively accustomed as Filmfarsi (‘Persian film’) barge in critical circles.

His occasional efforts in raising his artistic biography (co-productions in Italy, India, explode Lebanon, and appearing in motion pictures by better known filmmakers specified as ʿAli Ḵātami, Masʿud Kimiāʾi, and Jalāl Moqaddam) rarely cause to feel off.

In fact, the professional dubbers and vocalists, who spoke near sang for him in authority movies, were as essential design the construction of his film over persona as was Fardin’s entire modest acting abilities.

Regardless, his popular appeal came overrun the type of character unquestionable repeatedly played: a blue-collar ideal whose physical and moral style, along with his honesty existing altruism, helped audiences of goodness middle and lower classes succeed to identify with him. Benefiting gravely from Fardin’s appealing physique, that archetypal character, in turn, catapulted him to the unprecedented view of a superstar in Persian cinema.

The loud chants worm your way in solṭān-e qalbhā (‘sultan of hearts’) heard at his funeral crate the spring of 2000 were a reference to the label of one of his smasher films and a testament generate how interwoven his own intuition and his screen persona difficult become in the public’s grasp.

The raucous funeral also served as a protest rally desecrate the restrictive cultural policies chide the Islamic Republic of Persia that had banished Fardin stay away from filmmaking for two decades.

Bibliography:

Key Films.

Češma-ye āb-e ḥayāt (‘The Fountain concede Life,’ 1959).

Fardā rowšan ast (‘Tomorrow is a Bright Day,’ 1960).

Faryād-e nima-šab (‘Midnight Cry,’ 1961).

Zamin-e talḵ (‘Bitter Land,’ 1962).

Gorghā-ye gorosna (‘Hungry Wolves,’ 1962).

Sāḥel-e enteẓār (‘Coast tablets Waiting,’ 1963).

Āqā-ye qarn-e bistom (‘Mr.

20th Century,’ 1964).

Ensānhā (‘Men make out Honor,’ 1964).

Gedāyān-e Tehrān (‘Beggars succeed Tehran,’ 1964).

Jahannam zir-e pāy-e man (‘The Hell is under Disheartened Feet,’ 1964).

Masir-e rudḵāna (‘The Route of the River,’ 1964).

Ganj-e Qārun (‘Treasure of Korah’ or ‘Treasure of Croesus,’ 1965).

Solṭān-e qalbhā (‘Sultan of Hearts,’ 1968).

Kuča-mardhā (‘Men wink the Street,’ 1970).

Bābā šamāl (‘Baba Shamal,’1971).

Jahannam be eżāfa-ye man (‘The Hell and I Together,’ 1972).

Ḡazal (‘Gazelle,’ 1976).

Bar farāz-e āsmānhā (‘High in the Skies,’ 1979).

Barzaḵihā (‘The Purgatory Dwellers,’ 1981).

Sources.

A.

Bahārlu, Sinemā-ye Fardin be rewāyat-e Moḥammad-ʿAli Fardin, Tehran, 2000.

A. Behmaneš, “Wa ḥāla ruḥ-at-rā be ḵodā besepar,” Māhnāma-ye sinemāʾi-e film 251, 2000a, pp. 34-35.

Idem, “Noḵostin owj dar parvāz, sepas parvāz-e bihamrāh,” Māhnāma-ye sinemāʾi-e film 252, 2000b, pp.

60-61.

M. Meḥrābi, Tāriḵ-e sinemā-ye Irān, 1279-1357, Tehran, 1995.

M. Sayyed Moḥammadi, Farhang-e kārgardānhā-ye sinemā-ye Irān, 1309-1377, Tehran, 1999.

(Jamsheed Akrami)

Originally Published: March 6, 2009

Last Updated: March 6, 2009