his recent productions, Mehrab and Peiman Ghasemkhani. In fact, Mehran Modiri should be considered as a novelist stylist in the realm of comedy and humor in Iran. In this way, in spite of the easily digestable and delicious result, consumed by all, he hasStarting from radio, Mehran Modiri, continued his art carrier in television, by first producing Norouz-Haftad-o-seh as the artistic director. After tolerating the watery and nonsensical comic productions of the priviouse generation (among which Naft-par and Simaie Eghtesad-e-ma were more dominant in creativity) this was almost the thing a young generation sought of television in the context of the 70s. Presenting in different realms of radio, theater, cinema, and recently in music and singing, Modiri has proved his fabulous talent in television, the most popular media in the country, and on comedy, the commonplacest genre, according to Aristotelian classification. Through acute sense of humor, Modiri dragged a gang of comic geniuses and/or treated young talents, and introduced them to the comic cinema and television. Among them Reza Ataran, Mehran Ghafoorian, Nasrollah Radish, Reza Ghafarmanesh, Hamid Lolaii, Siamak Ansari, Reza Shafi' Jam, and so many others are dominant. Others include the asset scenarists of his recent productions, Mehrab and Peiman Ghasemkhani. In fact, Mehran Modiri should be considered as a novelist stylist in the realm of comedy and humor in Iran. In this way, in spite of the easily digestable and delicious result, consumed by all, he has d Simaie Eghtesad-e-ma were more dominant in creativity) this was almost the thing a young generation sought of television in the context of the 70s. Presenting in different realms of radio, theater, cinema, and recently in music and singing, Modiri has proved his fabulous talent in television, the most popular media in the country, and on comedy, the commonplacest genre, according to Aristotelian classification. Through acute sense of humor, Modiri dragged a gang of comic geniuses and/or treated young talents, and introduced them to the comic cinema and television. Among them Reza Ataran, Mehran Ghafoorian, Nasrollah Radish, Reza Ghafarmanesh, Hamid Lolaii, Siamak Ansari, Reza Shafi' Jam, and so many others are dominant. Others include the asset scenarists of his recent productions, Mehrab and Peiman Ghasemkhani. In fact, Mehran Modiri should be considered as a novelist stylist in the realm of comedy and humor in Iran. In this way, in spite of the easily digestable and delicious result, consumed by all, he hasved his fabulous talent in television, the most popular media in the country, and on comedy, the commonplacest genre, according to Aristotelian classification. Through acute sense of humor, Modiri dragged a gang of comic geniuses and/or treated young talents, and introduced them to the comic cinema and television. Among them Reza Ataran, Mehran Ghafoorian, Nasrollah Radish, Reza Ghafarmanesh, Hamid Lolaii, Siamak Ansari, Reza Shafi' Jam, and so many others are dominant. Others include the asset scenarists of his recent productions, Mehrab and Peiman Ghasemkhani. In fact, Mehran Modiri should be considered as a novelist stylist in the realm of comedy and humor in Iran. In this way, in spite of the easily digestable and delicious result, consumed by all, he hasts, and introduced them to the comic cinema and television. Among them Reza Ataran, Mehran Ghafoorian, Nasrollah Radish, Reza Ghafarmanesh, Hamid Lolaii, Siamak Ansari, Reza Shafi' Jam, and so many others are dominant. Others include the asset scenarists of his recent productions, Mehrab and Peiman Ghasemkhani. In fact, Mehran Modiri should be considered as a novelist stylist in the realm of comedy and humor in Iran. In this way, in spite of the easily digestable and delicious result, consumed by all, he has his recent productions, Mehrab and Peiman Ghasemkhani. In fact, Mehran Modiri should be considered as a novelist stylist in the realm of comedy and humor in Iran. In this way, in spite of the easily digestable and delicious result, consumed by all, he has endured a great toil. He began his task, specifically in the new and more familiar mode, by creating and playing in TV short items which the artists used to contempt as commonplace and contributing cheap ideas and nonsensical. Out of the nonsensical by his insistence, arose attractive productions which have caught the eyes of so many critics, among them fans and opponents.

The scenes he chooses, the music, the make-up of the actors, the roles assigned to every body, even the use of non-actors, are all at the utmost harmony with each other and with the minds of the audience. Meanwhile, the combination of the senses is directed in a way that it alienates the same every-day issues in the minds of the majority of ordinary viewers. No one can deny all these when pleaded on the acts that he attracts the attention of so many in every age, gender, class level, context, region and with every occupation, domestic background, religious devotion, personal mood and social, political concerns.

Of his contribution