Qasimkhani Pact; Trying to get back to the heyday

These days, if you watch TV series on the home network, you must have heard the name "Once upon a time Mars". This series is the second directorial experience of Peyman Ghasemkhani in the last three years and at the peak of the moviegoers' favor towards this medium. Now Qasimkhani is entering the third decade of his professional activity in cinema, television and home shows, where his ups and downs career shows his effort to keep up with the times and his high risk taking. Qasimkhani Pact; Trying to get back to the heyday

These days, if you watch TV series on the home network, you must have heard the name "Once upon a time Mars". This series is the second directorial experience of Peyman Ghasemkhani in the last three years and at the peak of the moviegoers' favor towards this medium. Now Qasimkhani is entering the third decade of his professional activity in cinema, television and home shows, where his ups and downs career shows his effort to keep up with the times and his high risk taking.

Qasimkhani's contract until the age of 25 He only had ideas in mind and after taking a screenwriting class, he realized his talent in this field. Therefore, seriously from the 70s until today, along with all the short experiences he has had, such as acting and directing, he has never distanced himself from screenwriting and is always known by this title. In the eighties, after getting to know and working with Mehran Moderi, he made the writing of Nod Shabi satirical series to emerge from the shadow of directing and acting and become an important factor in serial production. In cinema and television, he has been given many nicknames in the field of satirical screenwriting, but the thing that makes his work stand out from other writers is his adaptations and interpretations of world-famous comedies and their Iranianization in a way that can properly touch the pulse of the audience.

Gasemkhani, like all artists, has weaknesses in his career that cannot be easily overlooked. But on the other hand, his prominent role in changing the taste of the Iranian audience regarding comedy works during the past three decades cannot be ignored either. In the following, we will discuss the path that Peyman Qassemkhani has taken until today and the ups and downs of his career in more detail. We have heard from Peyman Ghasemkhani that one day he saw an advertisement for screenwriting classes on the street and entered the world of writing by participating in them. But maybe that day, he didn't believe that less than 7 years later, he could win the best screenplay award for a story drama. In 1970, Qasimkhani enrolled in a class that was held under the supervision of one of the influential film directors, Saifullah Dad.

Exactly two years after passing these classes, he was introduced to Abolhassan Dawoodi due to his interesting design. to make "I Love the Earth" based on his screenplay. A fictional film that, until the early seventies, was only made for children and teenagers. Before this film, Dawoodi made "Magical Journey" based on a fictional idea and traveling through time using a washing machine. A film that was very successful at the box office and made Mojab read Qasim Khani's plan to make a fantasy fiction film again. The story of "I Love Earth" was simple, an alien comes to earth and confronts earth humans, comedic and dramatic situations happen to him. The choice of Alireza Khamse as an actor for the role of a space creature helped the film a lot and "I love the earth" was well received at the box office. The following year, Dawoodi again went to Qasim Khani to collaborate in writing the screenplay "Smell of Good Life". But this movie is not as successful as the first collaboration of these two. Cinematic comedy, in 1974, a strange experience happened to Peyman Qasimkhani. An experience that could change his career path forever. Alireza Davoudnejad needed a young couple to make the movie "Romance", one of the first completely romantic movies of Iranian cinema in the seventies. Qasimkhani was engaged to his first wife Bahare Rahnama in those days, and they accepted Dawoodnejad's offer to act in the movie "Ashqaneh". Peyman Ghasemkhani's performance, without academic knowledge, previous experience, and in opposition to Khosro Shakibaei and Mohammad Reza Daudnejad, was completely acceptable and many considered him a new acting talent. But Qasimkhani himself was not very satisfied with this experience and he did not start acting again until 15 years later.

Trial and error for Peyman Qasimkhani in the early years of his entry into cinema, led him to the direction that in 1977, one of He wrote the most different screenplays in his career till date. "A Girl with Sneakers" directed by Rasul Sadr Aamili, whose story was about a teenage girl who befriends a boy of her own age and runs away from home. A story that was not so easy to express in the cinema in the mid-seventies, but with the cooperation of Fereydoun Farhoudi, the result of this screenplay made a remarkable cinematic work in that decade. Peyman Ghasemkhani won the best screenplay award from Fajr Film Festival for this script, which is very different from his work world. The first prize of his life, which could have been the beginning of a new path for him, but after that he abandoned the drama and social genres and preferred to progress in the same comedy and melodrama works.

The experience of working in comedy films and his recognition among cinematographers, Pai Peyman In 1975, he opened Ghasemkhani to the group of writers of one of the most famous and popular television series of the 70s, namely "Khane Sabz". Bijan Birang and Masoud Rasam were the joint directors of this series and invited many young writers to participate in this series. But the names of the authors were not seen much and everything was under the shadow of the head writers and directors. After working in several episodes of the "Green House" series, Qasemkhani was invited to another television project, which did not give him much of a different position.

In 1977, despite his remarkable progress in cinema He joined the team of writers for a comedy series on TV. "Hotel" was a series directed by Marzieh Broumand, which was broadcast on Tehran network, and despite its unique humorous situations, it was of lower quality than other Broumand series in that decade. It seems that even though the cinema had given Peyman Ghasemkhani more open space, he was still not given a chance to appear prominently on television. But finally, in the last months of the seventies, Etamed Masoud Karamati and his serial production team, under the agreement of Qasim Khani, introduced his name as a writer to a wider audience. It was social. This series challenges social and family issues by creating simple situations for an average but intellectual family of Iranian society. Peyman Ghasemkhani and Shadmehr Rastin, as the fixed writers of this series, started writing the episodes of this series. "Our House" had a simple expression and color that made it very popular and loved. This collection had another important feature and it was the beginning of a method in the work of Qasim Khani, which he still relies on in his work. He was inspired by foreign family comedy series and by Iranizing his subjects, he implemented them in the series "Khane Ma". Of course, it should also be added that despite the success of the series, Masoud Karamati, as the director and head of the group, was not very happy with Peyman Qasimkhani and has repeatedly talked about his bad manners and failures in various interviews.

High years and rich works

The 1980s were the years of reaching the peak for Peyman Qasimkhani. He had found a certain structure for himself and using his talent in writing and creating comedy situations, he wrote works for several years in a row that are still among the top films and series of the Iranian comedy genre.

"Nan" And Love and Motor 1000" was the first work of Peyman Qasimkhani in the beginning of the eighties. A film with a different structure than any comedy and melodrama that had been made in Iranian cinema until that day. This movie was one of the most popular movies in its time. The story was about the inheritance of a rich girl whose uncle had given her the condition of marrying the right man in order to give her property. But maybe it wasn't the only main story line of the film that made it spectacular, "Bread and Love and Motor 1000" had political and social criticisms in its heart, which in the early eighties and with the presence of the reform government at work, except for the humor of the film. It made it an important work in Iranian society. Of course, despite the great success of this film, unfortunately, a few years after its release, it was found out that its story was adapted from a French book. But because in those days, adaptation was not very fashionable in Iranian cinema and television, Abolhassan Davoudi as the director and Peyman Ghasemkhani as the writer of the film, never made this adaptation in the media. Qasimkhani Pact; Trying to get back to the heyday

In 1982, it was accompanied by the second Crystal Simorgh of Fajr Film Festival for Peyman Qasimkhani. But the happiness of this Simorgh did not last long. Qasimkhani had written a script that was supposed to be a joke with the clergy. With the support of Manouchehr Mohammadi, one of the influential cinema producers, he gave it to Kamal Tabrizi and the movie "Lizard" was made. The film was highly praised in the Fajr festival and the main hope was to release it in Nowruz. But after a few days of its release, it was pulled down from the screen due to widespread protests, and from a few weeks after that until today, the smuggled version of it has been found everywhere for nearly twenty years. This script proved itself once again to Iranian comedy cinema and showed that its ideas are very different from all Iranian comedy screenwriters. This film created a high point in Peyman Ghasemkhani's career, which he has not been able to return to yet. Also, the great chance that Qasimkhani and Kamal Tabrizi brought was to entrust the role of a criminal who turns into a fake cleric to Parviz Parastavi. The incident that made "The Lizard" one of the most lasting comedies in the history of Iranian cinema. Qasimkhani Pact; Trying to get back to the heyday

Marginalization was an issue that plagued Qasim Khani's films again in the eighties. In 1983, he wrote the screenplay of "Max" based on a true story based on a plan by Saman Moghadam. A film that could have been very successful and noisy in its time, but due to Qasim Khani's background and the many audit problems that the film had, it was not allowed to be released until 6 years later.

One year after making this The film, the work A new movie by Qasim Khani called "Poker" directed by Kazem Rastgoftar has been released. A work whose name was changed to "Naqab" before its release. This movie had a new and strange story, about the swindling of rich and old women, by two young fraudsters, which was not liked by some extremists and faced a lot of fringes in the screening. On the other hand, the smuggling of its home versions during the release cost the producers. "Naqab" was much lower than "Lizard", "Max" and "Nan wa Eshgh wa Motor 1000" in terms of the quality of the script, payment and production, and it showed a significant drop in Qasim Khani's career. But the sidelines caused this movie to be seen, and on the other hand, these consecutive events forced Peyman Qasimkhani to stay away from cinema for a few years. He had a poor start in television, but by entering the eighties, television was more fortunate for him than cinema. In the seventies, he had a short collaboration with Mehran Moderi in the series "Plaque 14", but the creation of the "Powerchin" series in 1981 marked a turning point in his and Mehran Moderi's career. "Powerchin" is a high point in the career of Peyman Qasimkhani, just like "Lizard", after which he never returned to that structure and standards. Although this series was aired on Tehran network and had a smaller audience than nationwide networks, it was so influential that it penetrated into the everyday literature of Iranian people and some of its terms even became idioms of the Persian language.

If "Paverchin" is made today with the same structure, it may not be able to attract the audience at all. But there was a kind of crazy play and a delightful realism in it that even its replays broadcasted on different networks are still a sight to behold. Peyman Ghasemkhani himself has stated many times that he wrote this series inspired by the famous comedy series "Dostan" which was at the peak of popularity in the world in the same years. This series, in addition to a different stream of humor that it created on television, was also a place to discover new talents in the field of comedy series scriptwriting. The next works were written by Peyman Ghasemkhani as the supervisor of writers for television in 1982-1984 and he was directed by Mehdi Mazloumi and Mehran to produce them. But if you compare even a few sequences of these series with "Paverchin", you will easily notice the decline in the quality of humor of the series and their overall structure. In these works, it is clear that humor is thought out and social criticism has given way to verbal jokes and low-valued jokes. But television still trusted Peyman Qasimkhani, and in the mid-eighties he was the unrivaled owner of television comedy series writing.

But TV's trust again had a good result, Peyman Qasimkhani, with a new and talented team of comic writers, He went to the ancestors of the characters of "Paverchin" series. In the nowhere where political and social criticisms could be made from his heart, and in this way "Barreh Nights" was born. This series was a product of Channel Three and had a wider audience. Therefore, it was a more suitable platform for the influence of the literature that Qasim Khani himself had created. "Shaba Barreh" with the direction of Mehran Moderi and its unique characters could have been the best collection of all its actors' careers, but it had the bad luck that it reached the television after the reform era and the audits applied to it did not allow it as "Paverchin" was leading. Show yourself off. Even the criticism and some political subjects of the series brought the work to the point where its production was suddenly stopped after a year and it is still not broadcast on the main networks. After stopping its production the following year, the serial production group of "Shabhai Barreh" decided to create a new series with the same definitions of nostalgia and a historical perspective called "Mozaffar Garden". But Mehran Madiri's insistence on speaking monologues, weak subjects and weak social criticism puts this series in the category of mediocre to weak works of Peyman Ghasemkhani's career. Qasimkhani Pact; Trying to get back to the heyday

The last collaboration of Mehran Madiri and Peyman Ghasemkhani on TV happened in Nowruz 2007 with the series "Man of 100 Faces". A collaboration that until a decade later everyone considered it the end of the path of successful television comedy. This series, with a subject copied from the famous movie "Catch Me If You Can" by Steven Spielberg, is the story of a man who, with a series of mistakes and misunderstandings, reaches different jobs and strange and funny positions from the archives of an office in Shiraz. "The Man with a Thousand Faces" compared to "Bagh Muzaffar" was a strong improvement and comeback for Qasimkhani, but the prevailing conditions in the society, the change in television's perspective and most importantly, the differences that were heard between Qasimkhani and Mehran Moderi in his whispers, did not allow this series to achieve the quality The previous cooperation of these two will reach. On the other hand, the difference between the manager and Qasimkhani made the second season of this series to be made without the agreement of Qasimkhani and with the other writers of the group, which resulted in a failed series. Qasimkhani was introduced to cinema and television with a new form of comedy. Comedy that laughs and criticizes. But from the mid-eighties onwards, if it was supposed to be To create and distribute a work, the political and social critical aspect should be removed from it. The audience of his works still liked that criticism, but Qasimkhani, either voluntarily or out of conservatism to survive in cinema and television, took his works to stories that laughed but did not criticize, and this comedy made him narrower and weaker year by year.

In 1988, the political and social atmosphere of the country was accompanied by a lot of tension and inflammation. The change in Qasimkhani's approach can be clearly seen from the works he wrote for cinema and television in the same year. After several years of continuous work on television, he returned to the cinema with a comedy called "St. Petersburg". Also, after 15 years, he finally broke his oath and in addition to writing, he also accepted acting in this film. A fictional story based on which the son of the Russian tsar came to Iran after the October Revolution and has now become a thief. The movie "St. Petersburg" had a crime comedy story and became one of the box office bombs due to the performances of Real Mohsen Tanabande and Peyman Ghasemkhani himself. But that logical and humorous process that existed in the previous works and the peak of Peyman Ghasemkhani's cinematic works was not seen at all in this work. Qasimkhani Pact; Trying to get back to the heyday

In the same year, the first collaboration between Ghasemkhani and Rambad Javan happened on TV. "Passengers" series, with Qasimkhani's favorite genre, i.e. comedy with lines of fictional and fantasy stories. This collection was trying to challenge people's wrong social customs and behaviors through confrontation with extraterrestrial beings. Due to the same new procedure that happened in the work of Peyman Qasimkhani, the stories and subjects were not deep, but both the creators of this series and television took a big chance and it was the group of actors that covered all the gaps in the story and structure of the series. "Mosafran" showed with all its weaknesses, Peyman Qasimkhani TV accepts that there is no manager beside Mehran, and this provided him with the introduction of several more series. And the series "Doctors Building" in Peyman Ghasemkhani's career ended. "The Entry of Gentlemen is Prohibited" was the second collaboration between Qasim Khani and Rambad Jovan. A film where most of the comedy was on the shoulders of Reza Attaran and Vishka Asayesh. A combination that, if any other actors were in their place, would have made the film a poor idea. This was exactly the big pest that plagued Peyman Qasimkhani's works since the 90s, that is, he made his works based on a comedy situation and relied heavily on the actor. In this situation, if the actors of the main roles were changed, the subject would no longer be very attractive. An episodic series whose stories revolved around a psychologist doctor, his family, friends and patients. Ghasemkhani was the head of the writers in this series and entrusted the writing to a group that had creative ideas for the defined situation. On the other hand, Soroush Sahet's insistence on the humor of the situation and portraying a completely real atmosphere had taken Qasimkhani and his team to a direction where they had distanced themselves from their usual fantasies, and this was one of the winning cards of the "Doctors' Building" series. The cast was also very effective in the success of this series, and finally all factors worked together to close the eighties case well for Qasim Khani.

Trying to return to the top

The 90s began with a strange decision in the career path of Peyman Ghasemkhani. After years of continuous comedy work, he suddenly accepted an offer to act in a family drama film. "The Shared Life of Mr. Mahmoudi and the Lady", the third work of Ruhollah Hijazi, was made in a completely different atmosphere than what had been seen from Peyman Qasimkhani until that day. A single location movie, based on the relationships of the characters that only the dialogues give direction to the movie and almost nothing important happens in it. Qasimkhani's short appearance in this film could have repeated the successful experience of the movie "Ashqane" in the seventies, but the complex atmosphere of the film and its slow story made it impossible to expect a special performance from Peyman Qasimkhani, and probably he will not find this form of cinema until decades later. It will not go.

The year 1992 was accompanied by two different works in Peyman Qasimkhani's career. On television, he went to the life story of a forgotten football player at the suggestion of Pejman Jamshidi. He entrusted his script to Soroush Sehat and the result was the "Pejman" collection. The series that was the last appearance of Peyman Ghasemkhani on TV, but became one of his outstanding works in the last decade. Qasimkhani and Sehat accepted the risk of having Pejman Jamshidi as the main actor, a risk that not only failed, but also introduced a new and successful actor to Iranian cinema. Like all the works of Peyman Qasimkhani after the 80s, "Pejman" was free of any political and social criticism and was made based only on humorous situations that a celebrity can experience after being left out. By comparing "Pajman" and other works of Peyman Qasimkhani in the last decade, it can be easily concluded that he did his best to reach another peak in his career. However, working in the framework of television was not an easy task, and Peyman Qasemkhani, like many other media figures, was granted Qasimkhani Pact; Trying to get back to the heyday

After leaving television, Peyman Ghasemkhani returned with a new and creative script to The name "Sensitive Class" returned to the cinema. The fact that he entrusted his script to Kamal Tabrizi is a sign that Qasimkhani was desperately seeking to return to the peak of his career. The story of the movie was about a man who complains about the placement of the body of an unmarried man on the second floor of his wife's grave, and this issue creates funny situations. Choosing the money-making star of the 90s, namely Reza Attaran, for the main role of this film, perhaps made the biggest contribution to "Sensitive Class". Because Attaran got Simorgh for this film and helped the film's box office boom. But the fact is that "Sensitive Class" was only a one-line idea with a Reza Attaran who knows how to get laughs from the audience. This movie is not watchable from the other half and it has become boring with sleep sequences and pointless fights of the main character. Although the ending of the film was considered open, it was not at all suitable for a comedy film. Therefore, Peyman Qasemkhani's screenplay fell heavily under the shadow of Reza Attaran's acting and the conditions were not provided for Qasemkhani to return to his peak days. have been done and if he doesn't think about his work record, he will fall behind them. He has experienced working with most directors and learned this profession experimentally. So it was time for him to direct his own script. The result of this decision was the production of the film "Good, Bad Kitty" in 2014 and its entry into the 34th Fajr Film Festival. The film was made entirely according to his favorite comedy structure, which is a series of police incidents, flashbacks, fantasy events and reminiscences of funny points from his past work. To ensure the success of his work, Qasimkhani again relied on the acting team and even chose a comedy couple who had passed their test before, namely Pejman Jamshidi and Sam Derakhshani, to act in his film. "Good, Bad Kitty" sold well and was praised by critics as a director's debut. But unfortunately, it caused Qasimkhani to insist on continuing this subject, and this issue marked a downward trend for him until he fell at the end of the 90s. kitty made the "Secret Army". This time he sent the film to the Fajr Film Festival. But there were no more compliments. The Pejman and Sam couple, in the space of these two years, had been used so much in other series and movies that they had largely lost their charm and surprise for the audience. On the other hand, the film was left unfinished under the pretext of making the third part, and this issue questions the story and the imaginative and fantasy atmosphere of the film more than anything else. But the worst possible thing happened to this film due to an external factor and it could not even bring a good box office. Exactly a few days after the start of the nationwide release, the corona disease spread all over the world and cinemas were closed for a year. An important thing happened to the Qasim Khani Treaty. Mehran Moderi invited Peyman Ghasemkhani to create a critical comedy series for the Home Show network. The re-collaboration of these two together and the beginning of a new path of home show network productions in those days, after many years, announced the creation of a different work. "Hyola" with a completely different atmosphere in criticizing economic corruption and the phenomenon of new-ages, was written by Peyman Qasim-Khani and Mehran Moderi directed it. A different series that had two positive features for Peyman Ghasemkhani. First, it showed him that if he stays away from the usual fantasy and imagination in his comedy works, he can still write a successful critic comedy, and on the other hand, it paved the way for him to appear in the private media of the home show network.

The downward course of his career

Unfortunately, despite the great success of "Monster", Peyman Qasimkhani went back to his fantasy world and made the most wrong decision he could make in his career. Making a sequel to "Good, Bad Kitty" as a series, for the Home Show Network. And in the situation that he himself is not behind the camera and the producer Mohsen Chegini is in charge of directing the actors. The result of this decision was a disaster called "good, bad, kitty; radioactive". A series that even Peyman Ghasemkhani and Mohsen Chegini admitted in an interview that it was a failed experiment. Qasimkhani Pact; Trying to get back to the heyday

After this series, because the initial idea of "Monster" was related to Qasim Khani's contract, he was invited again to design and supervise the writers for the second season of this series. But "Dracula" was made in a situation where practically all the work of writing it was the responsibility of Amir Baradaran, and it is not possible to correctly express the extent of Qasim Khani's participation in this project. But whatever this partnership was, it was another failure for him and Mehran Moderi. "Dracula" continued criticizing economic corruptions and corruption in an extreme way and in the days when many works were being released on the home theater network, it could not satisfy the audience at all.

Now after a year has passed, these days A new work by Peyman Ghasemkhani, together with a young writing team, is being aired on the home show network, called "Rozi Rozgari Mars". This time, it was jointly directed by Ghasemkhani and Chegini. The story is a combination of "I love the earth", "Travelers" and "Good Bad Kitty". A man goes from Earth to Mars, there are many comedy situations, criticisms and allusions to the current economic situation are also seen in it. Qasimkhani Pact; Trying to get back to the heyday

But the fact is that this is also an attempt to return to the days when Peyman Qasimkhani was the number one man of comedy in Iranian cinema and television. Days that seem to be far away.

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