30Nama

MOVIE ACTRESS

BIRTHDAY
January 1, 1945
BIRTHPLACE
New York
AGE
70 years old
BIRTH SIGN
Capricorn

ABOUT
American actress who has appeared in films such as New York, New York in 1977 and Love Streams in 1984.
BEFORE FAME
She had one of her first roles as Concession Girl in the 1976 film Taxi Driver.
TRIVIA
She appeared in three episodes of the television series Crime Story in 1988.
FAMILY LIFE
She was married to actor Robert De Niro from 1976 until 1988 and they had two children.
ASSOCIATED WITH

She was married to Robert De Niro from 1976 until 1988 and they had two children.

See also

The Associated Actors & Artistes of America, the 95-year-old labor organization through which all of the entertainment industry’s performers unions once were affiliated to the AFL-CIO, will be turning over all of its administrative functions to the AFL-CIO beginning in June. The move puts the Four A’s a step closer to going out of business, though that day might not be coming anytime soon. “Most of the functions of the Four A’s will be turned over to the AFL-CIO’s Department of Professional Employees, which covers white-collar workers,” longtime Four A’s President Theodore Bikel told Deadline. “That transfer will take place pretty soon, but the Four A’s is not going out of business. If there are any jurisdictional disputes between the actors unions, the Four A’s will still be around to help resolve the problem. But eventually, I hope that that too will be taken over by the AFL-CIO.”
Founded in 1919 during the days of vaudeville and silent movies, the main function of the Four A’s was to resolve jurisdictional disputes between more than a dozen competing actors unions gathered under its umbrella. Most of those unions went extinct years ago, however, and with the merger of SAG and AFTRA – which Bikel helped nurture – there just aren’t that many jurisdictional disputes to resolve anymore. There are still occasional flare-ups between the live performers unions – Actors’ Equity, the American Guild of Musical Artists and the American Guild of Variety Artists – but Bikel hopes that they too will one day merge into one union. “My ambition has been, and continues to be, the merger of all the live performers unions,” said Bikel, who turns 90 on May 2. Asked when such a merger might take place, he said: “As we say in Jewish folklore, ‘When the Messiah comes.’ But I trust that it can happen because it’s been shown, with the merger of SAG and AFTRA, that it can happen.”

Every actors union in America originally received its charter with the AFL-CIO through the Four A’s, but that also has changed in recent years as the role of the Four A’s has become smaller and smaller. AFTRA cut out the Four A’s as a middleman and got its own national charter directly from the AFL-CIO in 2008, and following the merger, SAG-AFTRA did the same thing in 2012. Actors’ Equity followed suit, bypassing the Four A’s altogether and receiving its own national charter from the AFL-CIO last year.
The only performers unions that still get their AFL-CIO charters through the Four A’s are the American Guild of Musical Artists, the American Guild of Variety Artists, and, with only 79 members, the Guild of Italian American Actors. Combined, those three unions represent only about 10,000 members, which is a fraction of the 214,000 actors represented by SAG-AFTRA and Equity.

Like the long-extinct Burlesque Actors’ Association it once represented, the Four A’s has become something of a relic of the distant past. It has no website or offices, and its mailing address is Apt. #3 C in an apartment building in Port Chester, NY. According to its latest financial filing with the U.S. Department of Labor, the Four A’s has no paid staff – Bikel and treasurer Thomas Jamerson work without salary. It spent zero dollars on “representational activities,” paid no taxes, and spent only $7,273 for “union administration” – Bikel’s expense account for travel, meals, lodging and the like while conducting official union business. Up until a few years ago, the Four A’s had an office at Actors’ Equity headquarters in New York City, but when Equity remodeled, there wasn’t room for the Four A’s anymore – a move that was symbolic of the Four A’s diminishing role as a labor organization.

Even its name is antiquated. Who calls themselves “artistes” anymore?

But until the live performers unions merge, Bikel has no intention of retiring. “ ‘Retiring’ – within that word is tiring,” he laughed, “and I’m not tired. I don’t believe in retirement, really.” But he does hope to see the day when the Four A’s can retire. “If I get the live performers union to merge, I can safely say that the Four A’s can go out of business entirely,” he said. “I became president to make sure it goes out of business with dignity.”

That was 25 years ago.

Bikel, who served as president of Actors’ Equity Association from 1973-82, has devoted much of his long life to helping actors and actors unions, and every actor in America owes him a debt of gratitude.

“Theo Bikel is a mensch, a tireless force for good, having served his fellow actors as union leader for more than 20 years and lending his voice to significant issues of the day,” said Nick Wyman, president of Actors’ Equity. “He has had a remarkable, multi-faceted career and there are very few who loved their union more, fought as passionately for what mattered, or honored their craft as much as Theo.”

That career also has included roles in more than 150 films and TV shows, ranging from The African Queen to JAG, and countless stage productions. He earned an Oscar nomination in 1960 for his supporting role in The Defiant Ones; the same year, he was nominated for a Tony for originating the role of Captain von Trapp in The Sound of Music on Broadway. He also has recorded more than two dozen albums of folk music.

A 90th birthday celebration, featuring singers Arlo Guthrie, Peter Yarrow and Tom Paxton, will be held June 16 at the Saban Theatre in Beverly Hills. Leaders from many of the industry’s labor unions are expected to be on hand to express their gratitude to Bikel for all his many years of service to the cause of actors and to unionism.

The American Guild of Variety Artists (AGVA) is an AFL-CIO-affiliated labor union founded in 1939 to represent performing artists and stage managers for live performances in the variety field. The variety area of performance includes singers & dancers in touring shows and in theatrical revues (non-book shows...book revues may be under Actors’ Equity jurisdiction), theme park performers, skaters, circus performers, comedians & stand-up comics, cabaret & club artists,lecturers/poets/monologists/spokespersons, and variety performers working at private parties & special events.

Performers appear under AGVA contracts at Radio City Music Hall and around the world in various Radio City Spectaculars starring the Rockettes, at theme parks such as Disneyland, Universal Studios & Magic Mountain, and in hundreds of revues in New York and across the country (including such regularly-produced favorites as Beehive, Sugar Babies, Swing, Our Sinatra, NEWSical, Ring of Fire, Political Idol, Showtune, Watercoolers, Dame Edna, & others).

Tony Award winning AGVA shows have included: Black & Blue, Lena Horne: The Lady and Her Music, Jackie Mason, Dame Edna, Fool Moon, Def Poetry Jam, and others.

In the past and currently, notable stars of Broadway, film, and television appear under AGVA contracts on Broadway, on tour, and across the nation in their one-person shows frequently with accompanying singers & dancers - some of these include Liza Minnelli, Bea Arthur, Tony Bennett, Harry Belafonte, Patti LuPone, Jackie Mason, Lena Horne, Tommy Tune, etc.

When AGVA artists appear in dramatic shows, in the broadcast media such as film/television/radio, or in Internet performances, the appropriate unions for those type of performances have jurisdiction (Equity, SAG, AFTRA).

AGVA is a branch of The Associated Actors and Artistes of America (commonly referred to as “The 4 A’s”), which is the parent union to AGVA, as well as to other performer unions such as Actors’ Equity Association (AEA), Screen Actors Guild (SAG), American Federation of Television and Radio Artists (AFTRA), American Guild of Musical Artists (AGMA), and Guild of Italian American Actors (GIAA, formerly Italian Actors Union, IAU). These are our sister unions,and we are all branches under the same parent union - “The 4 A’s. Each of these unions gets its operating Charter from the 4 A's (AFTRA also has a separate Charter from the AFL-CIO).

AGVA, in accordance with industry standards and Federal labor regulations, negotiates, sets and enforces salary minimums, as well as conditions of employment such as, rehearsal & performance hours, overtime provisions, safe & sanitary work conditions, travel stipulations, vacation & sick pay, publicity & promotion, audition procedures, and general work rules.

AGVA members accrue medical, dental and optical coverage while employed under our contracts, as well as beyond the term of the contract & after the period of time actually worked, based on the benefits plan of the AGVA Welfare Trust Fund, the union’s self-insured Plan.

Longtime AGVA members (membership of 5 consecutive years or more, in good standing) may receive medical benefits, without working under additional contracts and without charge, under AGVA Plan B coverage. A summary of the various benefit plans for which AGVA members are eligible can be found elsewhere on this website or from AGVA Welfare Trust Fund, 17th Floor, 363 7th Avenue, N.Y., N.Y. 10001 (212-627-4820).

AGVA also offers its current and previous members emergency aid through the AGVA Sick & Relief Fund. Once a need has been verified, the AGVA Sick & Relief Fund will pay a variety of bills such as rent, utilities, telephone, etc. as well as give emergency grants. All grants are confidential and these grants are handled through a separate office to ensure privacy. Information about this is located elsewhere on this website or through the AGVA Sick & Relief Fund office at 212-675-1003 Ext. 105.

The AGVA Sick & Relief Fund also regularly contributes to other industry-related charities which benefit AGVA members such as the Actors’ Fund, Episcopal Actors’ Guild, Catholic Actors Guild, Better Wellness, the New York Health Fair, Phyllis Newman Women’s Health Initiative, Central Labor Rehabilitation Council, St. Malachy’s Actor’s Chapel, various telethons, etc.

The AGVA Sick & Relief Fund also presents regular variety shows using the talents of AGVA member performers (for which they are paid a fee for expenses) at various senior citizen facilities, hospitals, care centers, schools, and public service locations throughout the country. Information about appearing in/or booking these AGVA Sick & Relief Shows may be obtained from the AGVA offices in New York and Los Angeles or on our website.

THE FILM ENCYCLOPEDIA

Contents

Abbreviations

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

W

X

Y

Z

About the Author

This work is a one-man project. It has taken many years to compile, and its scope has gradually expanded far beyond the original plan because of my desire to include much information that can be found elsewhere only in a wide variety of sources or that is treated sketchily in other works. My aim, in fact, was to make it the most comprehensive one-volume encyclopedia of world cinema ever published in the English language.

Every consideration has been given to the range and depth of material, even when this has meant sacrificing features that would have made the book superficially attractive. Although the publishers and I would like to have used photographs to enliven this text on one of the most visual of arts, we hope the reader will agree that omitting them was better than skimping on entries and information, which would have been necessary if photographs had been included. At my suggestion, the publishers have agreed to drop an entire category of subjects—the factual and critical survey of specific motion pictures. Even a modest sampling of the thousands of notable films would have added hundreds of pages to this already hefty volume, and the selection would have been severely limited in both number of titles and information about them. We have, then, elected to disappoint the natural expectations of our audience rather than risk its protest with half-measures.

In the present volume I have concentrated on a broad range of entries about filmmakers and filmmaking with, I trust, a good balance of American, British, and international subjects. Country by country, the history of major film industries is covered from its inception to the present day. Important film-related organizations and events are discussed; inventions, techniques, processes, equipment, and technical terms are explained in language that is at once precise and easy to follow. The numerous biographies of directors, producers, screenwriters, cinematographers, art directors, composers, film editors, stars, and featured players are sufficiently rich in personal and professional details (including, in most cases, day of birth and education) to please both the film scholar and the movie fan. Complete filmographies accompany the entries of most directors and of all major stars. The film credits of other personalities are extensive and carefully selected to represent their most important work.

Looking back on the years I have invested in this volume, perhaps my most sobering discovery was that an open-ended ratio exists between one unit of fact and multiple units of time. For every hour of actual writing time that went into the preparation of the encyclopedia, I must have spent ten hours of research—checking, cross-checking, and rechecking every fact in a great variety of sources in my own vast library and in outside facilities with film collections. I have tried, to the best of my ability, to resolve conflicts between sources of information and to correct factual distortions that have been perpetuated in film literature over the years. But in a work of this size, a degree of oversight is inevitable, and I beg the indulgence of the reader if, after all, some errors have crept in.

As with any work of magnitude, this encyclopedia was seen into print with the aid of many people, and I am indebted to all of them.

Editor’s Note

It is an honor to continue my long association with The Film Encyclopedia. The book remains an invaluable basic resource, featuring many new faces and facts as well as the latest news about the creative forces that make up the rapidly changing world of cinema as it moves further into the digital age.

I continue to keep the promise of not eliminating any of the more than 8,000 entries. As always, it is sometimes necessary to tighten some existing entries in order to adhere to the finite number of pages the publisher is able to bind.

I suppose I am likely to always be a late-nighter, working into the wee hours. And so . . . another edition comes to a close.

For Maryam and Ali and Ghazal . . . you own my heart.

Note to the Reader

The subjects of the encyclopedia are presented in alphabetical order. There is, therefore, no index, but the text is liberally cross-referenced to direct the reader to all entries that contain related or complementary information. The cross-references are indicated with the use of small capitals: BELUSHI; CLAPSTICKS; CINEMASCOPE.

In a biography, the heading “FILMS” indicates that what follows is a complete list of credits, either for the professional capacity given in the biography after the person’s name or for the function specified in the filmography itself. A partial listing is headed “FILMS INCLUDE.” When it is not otherwise apparent, the national origin of a film, or the country in which it was produced, is shown by giving the country’s name after the title, in parentheses and usually abbreviated.

A slash separating titles in the credits means that what follows is an alternate title, in the same language as the original, in a second or third language for an international co-production, or for the release in a country other than that of origin. A slash used with country designations means that the film was a co-production of the two or more nations named.

Dates given with film titles are almost always the years of first release for general screening. For some films, however, the date reflects the year of a premiere (as when an American picture was screened near the end of a year to qualify it for the Academy Awards) or the year that the film was completed (as for some European films for which release dates could not be ascertained).

In some credits, a single film title is in most cases the title given the production in the country of origin. Whenever possible, original titles are given for pictures made in English, French, Spanish, Italian, and German. Titles of those made in less familiar languages (Swedish, Japanese, Russian, etc.) are those under which they have been released in the United States or in the United Kingdom. When no record of release in English-speaking countries is available, what is shown for a title in one of the unfamiliar languages is either a literal translation or the English rendering of an untranslatable title.

Abbreviations

Most of the abbreviations in the film credits, as for countries, are common enough to be self-explanatory. The list below identifies those that might not be readily apparent.

Alg. Algeria

Aus. Austria

Austral. Australia

Brz. Brazil

Can. Canada

Eg. Egypt

Gr. Greece

phot. director of photography, cinematographer

scr. screenplay writer, scenarist

supvr. production supervisor

Sw. Sweden

Switz. Switzerland

A

AAAA (Associated Actors and Artistes of America).

The parent organization incorporating seven major unions and guilds representing actors and entertainers in the US, such as Actors Equity Association (AEA), the American Federation of Television and Radio Artists (AFTRA), the American Guild of Variety Artists (AGVA), and the Screen Actors Guild (SAG).

Based in New York City, the “four A’s” was organized in 1919 and is affiliated with the AFL-CIO. Membership is close to 200,000.

AADA. Commonly used abbreviation for the American Academy of Dramatic Arts, the oldest actors’ training school in the English-speaking world.

The Academy was founded in 1884 in New York City by Franklin Haven Sargent and was first known as the Lyceum Theatre School for Acting, later changing its name to the New York School for Acting, and finally to its present name.

The curriculum emphasizes dramatic stage training but also includes classes in television and film.

A West Coast campus of the AADA was founded in 1974, in Pasadena, Calif. Famous alumni of the school include Armand ASSANTE, Lauren BACALL, Anne BANCROFT, John CASSAVETES, Hume CRONYN, Cecil B. DE MILLE, Danny DE VITO, Colleen DEWHURST, Kirk DOUGLAS, Nina FOCH, Ruth GORDON, Jennifer JONES, Garson KANIN, Grace KELLY, Agnes MOOREHEAD, Pat O’BRIEN, William POWELL, Robert REDFORD, Edward G. ROBINSON, Rosalind RUSSELL, Joseph SCHILDKRAUT, Annabella SCIORRA, Spencer TRACY, Claire TREVOR, Robert WALKER, and Peter WELLER.

A and B Editing. A method of editing that requires the use of two rolls of film in the preparation of a master print. By alternating pictures from one of the rolls with a blank LEADER from the other roll, DISSOLVES and other effects can easily be achieved. Both rolls have a common CUE MARK. Roll A contains all the scenes up to the first dissolve, followed by a strip of blank leader for the scene to be dissolved. Roll B contains a blank leader up to the first dissolve, followed by the scene into which the dissolve is to be made. Until the next dissolve is reached, roll B then contains the picture scenes, while roll A consists of a blank leader. The process of alternating blank leaders and scenes is continued until all dissolves, FADES, and other effects have been introduced. The system is also useful in eliminating visible splices in the editing of 16mm film.

Abbott, Bud. Actor. b. William A. Abbott, Oct. 2, 1895, Asbury Park, N.J. d. 1974 of cancer. Snide straight man of the ABBOTT AND COSTELLO comedy team. The son of a circus couple, he grew up on Coney Island and at age 15 was Mickey-Finned and shanghaied aboard a ship bound for Norway. Unsuccessful at repeated attempts to break into show business, it was while he was working as a cashier at a Brooklyn theater in 1931 that a new career began for him when he was asked to substitute for comedian Lou Costello’s ailing straight man. After the team split up in 1957,

Abbott made a weak attempt at resuming his stage and TV career alone and with another partner. He suffered a series of strokes and spent his last years in retirement. See also ABBOTT AND COSTELLO; COSTELLO, LOU.

Abbott, Diahnne. Actress. b. 1945, New York City. Stately, voluptuous African-American actress best known for supporting and character roles. She is the former wife of actor Robert DE NIRO, with whom she appeared in Taxi Driver, New York New York (where she sang “Honeysuckle Rose”), and The King of Comedy.

FILMS INCLUDE: Taxi Driver 1976; New York New York, Welcome to L.A. 1977; The King of Comedy 1983; Love Streams 1984; Jo Jo Dancer, Your Life Is Calling 1986; Before Night Falls 2000; Soliloquy 2002.

Abbott, George. Playwright, director, producer, screenwriter. b. June 25, 1887, Forestville, N.Y. d. 1995. ed. Rochester U.; Harvard. Legendary Broadway personality. Began his career as an actor in 1913. He later wrote numerous plays, often in collaboration, and directed and produced many others on Broadway. Several of his plays were adapted by others to the screen, including ‘Broadway,’ ‘Coquette,’ ‘Lilly Turner,’ ‘Three Men on a Horse,’ ‘On Your Toes,’ and ‘The Boys from Syracuse.’ He moved to Hollywood during the switch to sound, collaborated on the script of All Quiet on the Western Front (1930), and directed a number of films, usually supplying his own scripts. In 1931 he returned to the stage and subsequently directed only three films, two of them screen adaptations of his stage musicals, ‘The Pajama Game’ and ‘Damn Yankees.’ He also produced several films, including Boy Meets Girl (1938). Among the numerous hits he directed for the stage were ‘Twentieth Century’ (1932), ‘Boy Meets Girl’ (1935), ‘Room Service’ (1937), ‘Pal Joey’ (1940), ‘On the Town’ (1944), ‘Where’s Charley?’ (1948), ‘Call Me Madam’ (1950), ‘A Tree Grows in Brooklyn’ (1951), ‘Wonderful Town’ (1953), ‘The Pajama Game’ (1954), ‘Damn Yankees’ (1955), ‘Fiorello!’ (1959), and ‘A Funny Thing Happened on the Way to the Forum’ (1962). In 1983, at the age of 95 (!) he directed and co-produced a Broadway revival of ‘On Your Toes.’ In 1993, at 105, he joined in festivities celebrating Broadway’s 100th anniversary. Autobiography: Mister Abbott (1963).

FILMS INCLUDE: As director—The Impostor 1918; Why Bring That Up? (also dial., co-scr.), Half-Way to Heaven (also scr.) 1929; Manslaughter (also scr.), The Sea God (also scr.) 1930; Stolen Heaven (also scr.), Secrets of a Secretary (also scr.), My Sin (also scr.), The Cheat (also scr.) 1931; Too Many Girls (also prod.) 1940; The Pajama Game (co-dir., co-prod. with Stanley Donen; also co-scr. with Richard Bissell from their own stage musical) 1957; Damn Yankees (co-dir., co-prod. with Donen; also scr. from the stage musical he co-wrote with Douglass Wallop) 1958.

Abbott, L. B. Special effects technician. b. Lenwood Ballard Abbott, June 13, 1908, Pasadena, Calif., the son of a silent film cinematographer. d. 1985. Among Hollywood’s leading trick photography experts. He won Oscars for Dr. Doolittle (1967), Tora! Tora! Tora! (1970), The Poseidon Adventure (1972), and Logan’s Run (1976), as well as several Emmys for his TV work.

FILMS INCLUDE: The Three Faces of Eve, The Enemy Below, Peyton Place 1957; The Long Hot Summer, The Roots of Heaven, South Pacific, The Fly, The Young Lions 1958; The Diary of Anne Frank, Journey to the Center of the Earth 1959; From the Terrace, The Lost World, North to Alaska 1960; Voyage to the Bottom of the Sea 1961; Cleopatra 1963; The Agony and the Ecstasy, The Sound of Music 1965; Fantastic Voyage, Our Man Flint 1966; Doctor Doolittle, Valley of the Dolls 1967; The Detective, Planet of the Apes 1968; Butch Cassidy and the Sundance Kid, Hello Dolly! 1969; Patton, Tora! Tora! Tora! 1970; The Poseidon Adventure 1972; The Towering Inferno 1974; Logan’s Run 1976; The Swarm 1978; When Time Ran Out 1980.

Abbott and Costello. A highly successful comedy team of the 40s and early 50s. They first joined forces in 1931, with tall, slim Abbott playing straight man to short, chubby Costello, and soon were headliners on the vaudeville and burlesque circuit. They broke into radio in 1938 and the following year starred in the Broadway revue ‘Streets of Paris.’ Their first film, One Night in the Tropics (1940), was hardly noticed, but their next, Buck Privates (1941), grossed $10 million and firmly established the team. For the next decade they were included in every list of top-ten box-office grossers. In 1957, after more than 30 broad slapstick films and some success on television, the two broke up. See also ABBOTT, BUD; COSTELLO, LOU.

FILMS INCLUDE: One Night in the Tropics 1940; Buck Privates, In the Navy, Hold That Ghost, Keep ’Em Flying 1941; Ride ’Em Cowboy, Rio Rita, Pardon My Sarong, Who Done It? 1942; It Ain’t Hay, Hit the Ice 1943; In Society, Lost in a Harem 1944; Here Come the Co-Eds, The Naughty Nineties, Abbott and Costello in Hollywood 1945; Little Giant, The Time of Their Lives 1946; Buck Privates Come Home, The Wistful Widow of Wagon Gap 1947; The Noose Hangs High, Abbott and Costello Meet Frankenstein, Mexican Hayride 1948; Africa Screams, Abbott and Costello Meet the Killer Boris Karloff 1949; Abbott and Costello in the Foreign Legion 1950; Abbott and Costello Meet the Invisible Man, Comin’ Round the Mountain 1951; Jack and the Beanstalk, Lost in Alaska, Abbott and Costello Meet Captain Kidd 1952; Abbott and Costello Go to Mars, Abbott and Costello Meet Dr. Jekyll and Mr. Hyde 1953; Abbott and Costello Meet the Keystone Kops, Abbott and Costello Meet the Mummy 1955; Dance With Me Henry 1956; The World of Abbott and Costello 1965 (compilation); Entertaining the Troops 1989 (archival footage).

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كارگردان: رحمان رضايي

سال توليد: 1378

موضوع: اجتماعي / عاشقانه

بازيگران: پارسا پيروزفر ، نيكي كريمي ، شراره رخام ، اميد متقي ، كامبيز ديرباز ، فخرالدين صديق شريف ، ايمان خردمند ، هوشنگ قوانلو …

خلاصه داستان فيلم دختران انتظار:

زن جواني را به بخش اورژانس مي آورند و سعيد مسرور، دانشجوي شهرستاني سال آخر پزشكي با ديدن او كه حال مساعدي ندارد، غمگين و افسرده، گذشته را به ياد مي آورد. سعيد براي بازپرداخت بدهي هشتصد هزار توماني خود نزد دلالي به نام سام مي رود اما سام كه دو هزار دلار به سعيد داده، حالا با دو برابر شدن قيمت دلار دو برابر اصل پول را طلب مي كند. سعيد به سراغ مسئول وام دانشجويي دانشگاه مي رود و او پيشنهاد مي كند سعيد با دانشجويي به نام روشنك دلجو به طور صوري ازدواج كند تا هر دو از طريق وام ازدواج بدهي خود را بپردازند. روشنك كه دچار بيماري عصبي است مي خواهد با وجه وام حدود سه ميليون تومان بدهي خودش را كه نامزد سابقش بالا آورده، بدهد. او كه به كار خريد و فروش موبايل مشغول بوده، به نام روشنك به مردم چك بي محل داده و او را به دردسر انداخته است. سعيد با روشنك ازدواج مي كند، اما وام دانشجويي به دليل اختلاف نظر با سازمان برنامه و بودجه قطع شده است…

…………………………….

دختران انتظار فيلمي به كارگرداني رحمان رضايي، نويسندگي محمدهادي كريمي و تهيه‌كنندگي داريوش بابائيان و رحمان رضايي ساخته سال۱۳۷۸ است كه در سال ۱۳۷۹ بر روي پرده سينما رفته‌است. فيلم دختران انتظار در پنجمين دوره جشن خانه سينما (۱۳۸۰) و دومين دوره جشنواره اجتماعي فيلم آبادان (۱۳۷۹) شركت كرده‌است.

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• حجم: 802 مگابايت

كارگردان: رسول صدر عاملي

سال توليد: 1386

موضوع: اجتماعي

بازيگران: ليلا حاتمي ، حامد بهداد ، مرجان قره جه ، محسن كريمي ، علي بكانيان …

نوسنده: رسول صدر عاملي ، كامبوزيا پرتوي

خلاصه داستان فيلم هر شب تنهايي:

عطيه نويسنده و مجري يك برنامه خانوادگي راديوست. او هر روز به سؤالات شنوندگان اين برنامه پاسخ مي دهد و به آنها توصيه مي كند با همسرشان چگونه باشند تا زندگي زناشويي بهتري داشته باشند. عطيه به شهر مقدس مشهد آمده است، اما او درگير مناسبات خود و همسرش است و مشكلي دارد كه حل نشدني است و …

………………………….

هر شب تنهايي نام فيلم سينمايي ايراني ساختهٔ رسول صدر عاملي در سال ۱۳۸۶ است. كامبوزيا پرتوي بيان داشت كه فيلم را با الهام از داستاني نوشته اريك امانوئل اشميت درباره كودكان سرطاني نوشته است.

جوايزي كه فيلم كسب كرده از اين قرار است:

بهترين كارگردان جشنواره پرده نقره اي سنگاپور

بهترين كارگردان پنجمين دوره جشنواره منبر طلايي روسيه

جـايزه تماشاگران جشنواره شيكاگو

جايزه تماشاگران نوزدهمين دوره جشنواره فيلم هاي ايراني

جايزه ويژه هيئت داوران حشنواره فيلم “مذهب امروز” ايتاليا

جايزه ويژه دانشجويان دانشگاه علوم ارتباطات اجتماعي شهر رم ايتاليا

ديپلم افتخار براي صدر عاملي به خاطر كارگرداني فيلم در جشنواره بين المللي فيلم فجر، بخش در جستجوي حقيقت و عدالت 1387

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كارگردان: بهروز افخمي

سال توليد: 1373

موضوع: حادثه اي

بازيگران: علي دهكردي ، آتيلا پسياني ، عبدالرضا اكبري ، منوچهر حامدي ، حميد طاعتي ، داريوش اسدزاده ، محمد فيلي ، ايرج رامين فر ، عباس اميري …

موسيقي: بابك بيات

خلاصه داستان فيلم روز شيطان:

يكي از گروهك‌هاي سلطنت طلب در پاريس طرحي براي براندازي در دست اجرا دارد و از حمايت بعضي از صاحبان قدرت در آمريكا برخوردار است. مرحله اول اين طرح وارد كردن تدريجي قطعات يك بمب اتمي كوچك است. مرحله ديگر جاسازي آن در داخل يك چمدان است تا يك هفته قبل از بازديد نمايندگان آژانس بين المللي انرژي هسته‌اي از تأسيسات اتمي ايران، جنب استاديوم يكصدهزار نفري آزادي منفجر كرده و با اين كار حكومت ايران را متهم به زير پا گذاشتن قراردادهاي كنترل سلاح‌هاي هسته‌اي كنند. قطعات بمب به وسيله يازده نفر به صورت جداگانه و تحت پوشش وسايل معمولي مسافرين وارد كشور مي‌شود، اما با تصادفي كه براي يكي از حاملين بمب پيش مي‌آيد، قطعه‌اي از بمب به دست مأمورين وزارت اطلاعات مي‌افتد و…

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روز شيطان فيلمي به كارگرداني و نويسندگي بهروز افخمي ساختهٔ سال ۱۳۷۳ است.

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كارگردان: سيروس الوند

سال توليد: 1384

موضوع: اجتماعي / حادثه اي

بازيگران: محمدرضا گلزار ، امين حيايي ، مهناز افشار ، ماه چهره خليلي ، سحر زكريا ، سيروس ابراهيم زاده ، مهوش وقاري ، مليكا زارعي ، علي اصغر طبسي …

خلاصه داستان فيلم تله:

شب اول ازدواج يك زوج جوان با تلفن يك ناشناس به هم مي ريزد. صدا از گذشته مي گويد؛ گذشته سياهي كه پيش تر اين زوج مي پنداشتند مي توانند فراموش كنند غافل از اين كه سياهي گذشته، هميشه با آن هاست. به شوهر كه پزشك است شب بعد از عروسي با تماس تلفني گفته مي شود يكي از بيماران سابقش خودكشي كرده است…

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تله فيلمي به كارگرداني سيروس الوند، تهيه‌كنندگي حسن توكل‌نيا و نويسندگي ايرج افشار محصول سال ۱۳۸۴ است. اين فيلم در تاريخ ۲۲ آذر ۱۳۸۵ بر روي پرده سينما رفت. اين اثر يكي از چندين فيلم تجاري دهه هشتاد بود كه زوج هنري محمدرضا گلزار و مهناز افشار در آن به ايفاي نقش پرداختند.

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• حجم: 986 مگابايت

كارگردان: اصغر هاشمي

سال توليد: 1373

موضوع: كمدي

بازيگران: عليرضا خمسه ، جهانبخش سلطاني ، پروين دخت يزدانيان ، محمود بصيري ، سعيد اميرسليماني ، كمند اميرسليماني ، اسماعيل داورفر ، نيما بانكي ، عيسي صفايي ، فاطمه طاهري …

خلاصه داستان فيلم مهريه بي بي:

بي‌بي براي نجات كوكب از يك ازدواج اجباري، سند قطعه زميني را كه مهريه‌اش است براي فروش، به بنگاه معاملات ملكي اسدي مي‌برد. دلال ديگري به نام شكوري كه از مدت‌ها پيش در پي خريد اين زمين بوده، پي مي‌برد كه بي‌بي از قيمت واقعي زمينش بي‌اطلاع است. دو بنگاهدار همدست مي‌شوند تا زمين را مفت و ارزان از چنگ بي‌بي درآورند. اما اتفاقي كه پيش مي‌آيد نقشه آن‌ها را عقب مي‌اندازد…

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مهري بي‌بي فيلمي ايراني محصول ۱۳۷۳ به كارگرداني اصغر هاشمي و بازيگري پروين‌دخت يزدانيان است. اين فيلم بارها به مناسب هاي مختلف از شبكه هاي تلويزيوني پخش شده است.

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