● Birthplace: Tehran
● Died: 5 December 1996 in Tehran
Biography
He was a director, screenwriter and movie producer. Hatami started his artistic work with authorship in the theater. Plays for the theater: Satin, Harir tales, fisherman, Hasan Bald, Chehelwig and the city (Aftab and Moonlight) wrote. Ali Hatami participated in the plays of the Office of Dramatic Arts in the water of Sardar Tehran. Later, the office renamed the Faculty of Dramatic Arts, he continued his education in dramatic literature. In 1965, he was the Dib show (Dave), who was the first of his writings at the Faculty Hall and with the Children of the Teaching Institute coveted by the culture. Late Ali Hatami has at least 15 feature films and television collections. The first cinematic experience of Hatami, Hassan Bald film, was built in 1970. Hatami made the film in the wake of the view of Hassan Bald’s letter and a very good welcome to the people of it. In fact, this success caused a few of the cinema practitioners to persuade him to bring the letter to the film and test his chances of cinema. Ali Abbasi, a cinema producer, who saw the show Hasan Bald, was prepared to make the film, but due to the inexperience of Hatami in the cinema, he wanted to give the film to another person, but the contrary was denied, and eventually convinced the Abbasi that he would be making it. Hassan Bald was the first rhythmic and musical film of Persian and ancient Iranian tales. The film was well welcomed by the audience and provided his entry to the Iranian cinema. After Hassan Bald’s success, Hatami took a distance from the theater and focused his abilities on the cinema. Immediately after Hassan Bald, he made a film in the year 1970. The pigeon is a kind of dove with a black bezel on the neck, which pigeons have a lot of interest. In the film, Hatami took a feature and some of the men’s hobbies for the time that sometimes went out of a hobby and became a radical interest. In this film, it is also a passion to become a disaster and to try to get it.
The next film of Hatami: Baba Shaml, built in 1971, was returned to a rhythmic cinema and a musical favorite for Hatami and about Reveler and reveler. In the year 1972, Live was a prolific film maker and recorded three films in his book, Qalandar, Sattarkhan, and The Suitor. These three films still have the characteristics of the other effects of Hatami. In this meantime, the Sattarkhan film was a new approach to a historical incident and expressed the story of the Bagherkhan and the Sattarkhan and the uprising from another angle. Critics of the film knew the original adventure. Hatami then went to the TV and made two serials with titles: Rumi’s Tales in the year 1973 and Sultan Sahebagaran in 1975 year. In the year 1977, with five years of distance, Hatami made a Sooteh-Delan film. Many critics of the Dlan are the most important and most complete film of Hatami before the revolution. In this film there is a complete harmony between form and content. Hatami in the film, the story of the film, which is a story of love, has become a new image in the film. After the completion of Sooteh-Delan, Hatami was writing the Hezardastan serial script, which was called the Silk Road first. Hatami to write the text of this series to France, and the hair will go back to the street and just write the script. He had repeatedly overwritten this text. And it’s even said that the number of rewriting this text has reached more than 10 times.
The production of the Hezardastan series, in 1979, lasted eight years to finally hezardastan the television antenna. Ali Hatami ran into the production of this series to create old Tehran. And his work remained as a cinematic town for the Iranian television and cinema. This is the narrative of Reza Tofangchi’s life, which, in the late Ahmad Shah of Qajar period, started to arms and begins a series of terror, in the final years of life, he will follow the work of calligraphy and become Reza Khoshnevis from Reza Tofangchi.
Zari Khoshkam, the faithful wife of Ali Hatami, after playing the role of Eve in the film: In the world, is there a few hours?, writing and directing by Safi Yazdanian and the view in May 2015, in an interview on July 2015, he said: To build a cinematic town, we have passed a very hard time on our family. Ali Hatami the hassle of building a town and this series. He always said that I was working so much that I did not see my daughter growing up and grown for 10 years, my 12 years old kid. He was working for construction of a town head and was headed by a shovel and a pavement to general management. Zari Khoshkam, about how to become a actor Leila Hatami: “To quote one of the critics, our house was the art University, No need to read Leila Cinema. Leila’s field of study was mechanical. But in our house was a permanent, or a film being produced, or Ali Hatami was designing a costume or Editor. In our home there was a permanent exchange of cinema among the residents. Every thing that Ali is making during the film, we lived a gravity in our home. Leila grew up in such an environment. Of course, he was also interested. I remember it was two, three years old when Jila Sohrabi (the niece of Ali Hatami) played the divorce series. One night we were sitting at the terrace in the house, and we would have dinner and Layla was sitting beside us and playing. Jila rang that we want in a kid’s film, please send Leila. First I and his father said no, then I saw the elf of two, three-year-old saying, I want to go and play. Ali also always used Layla in movies.
Haji Washington, built in 1982, was the first of the film of Hatami after the Islamic revolution. Zazi Washington has a story of the first Iranian ambassador to America. In 1306 Ah (1888), Haj Hossein Gholi Khan Noori is sent to America as the Ambassador of Iran to the United States. Iran’s ambassador to America has no recourse. On the other hand, the budget of the Iranian Embassy in America is severely reduced, and the ambassador will be forced to dismiss the crew and his comic position at the beginning of the film will become a tragedy. In 1982, the film was only intended to be displayed at the Fajr Festival and was banned after the life of Ali Hatami did not allow the show. Finally, on June 11, 1998, it was published in public and several times the TV broadcast. In 1983, Hatami, Kamal-ol-Molk, made a film based on the life of the great Iranian painter and its relationship with the Shah and the Qajar court. In this film, Hatami tried to preserve the film, both historic and later, and relying on the government’s relationship with an artist, to the weaknesses and cultural and artistic challenges at the time. This movie is the benefit of a good game of gravity that each has laid a good game and a persistence of themselves instead.
After making: Jafar Khan Az Farang Bargashte, based on a plays in the same name from Hassan Moghaddam, Hatami in the year 1989, directed the mother’s film. The mother is the story of the old mother’s end days in the nursing home. After years of trying and enduring the problems of his children, he has now been at the verge of death, he wants his children to take him to their old house and gather themselves in these final days. His children have taken a path in their lives and have gone to their own way. The mother and then his death will close each other after the cache and the arches. The next film was Hatami, the victims who were built in the year 1991. In this film, when the reign of Ahmed Shah is going on, traveller, in the pretext of the prosperity of the culture and art, is going to keep the original rows of Iranian music, which is forgetting, from the persecutory time. For this purpose, select a collective of the best musicians. The group’s plan to travel to Farang faces problems, but it is finally practical and…
From the early 1990s, Hatami began studying and researching the Gholamreza Takhti, after leaving the difficulties in the year 1996, the film began making Takhti Gholamreza. Unfortunately, after only filmed the parts of the film, cancer disease came to the middle and hospitalized in the hospital and was forced to abandon her project. Which was finally completed by the death of him, Behrooz Afkhami. Ali Hatami, as directed by the owner of style and writer, tried using tales, like, fulclurs or Iranian folk beliefs, the ancient culture of the alley and the Iranian-Islamic-Muslim architecture, a new plan in Iran’s cinema. He was able to paint the people’s culture, etiquette, and intellectual values of the land on the curtain. Hence, it is called to use the image language and create poetic characters, Saadi’s cinema.
Cinema
1969 – Hassan Bald
1970 – Toghi
1971 – Babshamell
1972 – Qalandar
1972 – The Suitor
1972 – Sattarkhan
1977 – Soote Dlan
1982 – Hajji Washington
1983 – Kamal-ol-Molk
1987 – Jafar Khan Az Farang Bargashte–based on Jafar Khan Az Farang Bargashte written by Hassan Moghaddam
1989 – Mother
1991 – Del Shodegan
1994 – Gholamreza Takhti-After his death, he was completed by director Behrooz Afkhami.
1998 – The Punishment Committee
1999 – Tehran New Day-compilation by Varuzh Karim Masihi
TV
1967 – Jungle and cooking-16 mm, black and white, special children and teenagers
1973 – Rumi Tales
1975 – Sultan Sahebagaran
1979 – 1987 – The original design of the collection was formed in the year 1975, in the mind of Ali Hatami, and was called the Silk Road.
Documentary of Ali Hatami
The triple documentary of the work of Elham Gharekhani and Amir Mehrtash Mahdavi started its production since 1999 and was completed in 2004.
Biography of Ali Hatami
I was born on Shapur Street, in Ordibehesht Alley in year 1944. In Hezardastan, I have a little mention of our neighborhood, where in the series of thousands of hands, Reza Khoshnevis torture that they remember his address. In the series, he gives the same address, the same alley, the same plaque I was born to. My mother was a housewife and my father worked in the print at the time when the schools were shut down, the kids went to work at their father. I met with letters and I was very important to my words. Along with that, the church was also… In the print, I was impressed with my letters. In the church of paintings. I worked blurry and this was a field for my acquaintance with music. In my grandmother’s house, I saw a projector, a 8-millimeter projector officially saw the first time there. More cartoons and things were in the sports field. I would go to the cinema. Like all other kids. four, five times I saw some films, so I discovered the magic of the cinema with the cinema itself, unlike all my generations.
I entered the Faculty of Dramatic Arts. I wrote the first rhythmic drama. I worked a puppet theater. Made advertising films. I wrote a legendary personae, in 7 blinds called: Khatoon Sun-Baf and musical film (Hasan Bald – 1969) directed. The next time (Toqi – 1970), (Baba Shaml – 1971), (Qalandar-1971), (The Suitor – 1972), (Sattarkhan -1973), (Soote Dlan -1977), (Haji Washington – 1981), (Kamal-ol-Molk – 1985), (Mother – 1989), (Dalis – 1991) and television series (Rumi – 1975 stories), (Sultan Sahebgharani – TV Series – 1976), (Hezardastan – TV Series – 1988 – 1979 ).
In 1962, I saw a statement that was held in the Shah Abad of Tehran. The name of the office of Dramatic Art, where Dr. Mehdi Forough would bother him. I entered this center sometime later. There were many, including the deceased Parviz Fannizadeh, Mohammad Ali Nasirian, and… There were very good masters who had chosen Dr. Forough. Like Amirhossein Arianpour, Hamid Samandarian, and… When I was enrolled, I was asked to learn what field I was doing, I told the plays and dramatic arts. I was a tough disease a year. I took me to one of my mother’s relatives, who were from the same family and with the culture of Quhari. They had a large house, perhaps the size of the Golestan Palace. My residence in that house had results, including familiarity with life and cultural Qajar and Aristocratic
For the Hezardastan series, I put my youth on this. I mean, I had a construction and a building for the city of cinema. The film must be said: Music should be shown again and backed by the people and re-discovered. Especially the younger and newly-launched generation, we have to take the values of this art and the interesting story, Del Shodegan to demand this need and cultural necessity.
