|Iranian Academy of Arts to honor Dariush Mehrjuii||
“Master Mehrjuii is a permanent member of the academy who is also the author of many books and articles,” IAA Deputy Director Alireza Esmaeili said in press release on Tuesday.
“Therefore, the academy will hold a meeting to honor him for his fifty years of filmmaking and research,” he added.
A number of scholars and artists from his generation will deliver speeches during the three-day event, which will begin on October 20.
Mehrjuii‘s books will be put on display in an exhibition at the academy and three of his films will be screened and reviewed during the meeting.
A graduate of UCLA in philosophy, Mehrjuii is known outside of the country as one of Iran’s new wave of directors.
He made his debut film in 1966 with “Diamond 33” shortly after he returned home from the United States of America.
His second film “The Cow” (1969) won the International Critics Prize of the Venice Film Festival in 1971. It was the first award the Iranian motion picture industry ever received in an international event.
Mehrjuii’s “The Cycle”, which was about illegal blood deals, was Iran’s first submission to the Academy Awards in 1978.
After several films on various subjects, Mehrjuii’s films began to spotlight women’s issues. The first was “Hamun” (1990), which was about Hamid Hamun and his wife Mahshid who is leaving him. The film was highly acclaimed by critics during the 1990s.
His next films “Sara”, “Pari”, “Leila”, “Banu”, “Bemani” and “Mom’s Guest” all revolved around women’s issues.
Film critics believed that Mehrjuii’s sense of filmmaking had begun to wane with the making of “The Orange Suit”, on the environment, in 2012.
The critics and his fans always compare Mehrjuii’s films with “Hamun”.
During a ceremony held by Tehran-based publisher Hermes in August 2012 to unveil his new book “Dariush Mehrjuii”, Mehrjuii said that “Hamun” has turned into a problem for him.
“This ‘Hamun’ has made me unlucky!” Mehrjuii lamented.
He said that “Hamun” has been talked about in every session held to review his films produced over the past decade.
“Get off ‘Hamum’s back! I made it and everything about it is finished,” Mehrjuii exclaimed.
He has also tried his hand at translating. He has rendered into Persian “Buried Child” and “True West”, two plays by the U.S. writer Sam Shepard.
Mehrjuii has also translated Antonio Moreno’s book “Jung, Gods and Modern Man”, Eugène Ionesco’s plays “The Lesson” and “The Bald Soprano”, and Herbert Marcuse’s “The Aesthetic Dimension”.
He is also the author of “For Sake of a Feature-Length”, a novel about a young director who is planning for his debut film after making several short films.
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