ماهنامه مثلث شماره 25

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ﺩﺭ ﺍﻳﻦ ﻧﺸﺴﺖ ﺑﺮ ﻃﺒﻞ ﺗﺤﺮﻳﻢ‬ ‫ﻛﻮﺑﻴﺪﻧﺪ ﻭ ﺭﻭﺳــﻴﻪ ﻭ ﭼﻴﻦ ﻧﻮﺍﻯ ﺩﻳﭙﻠﻤﺎﺳﻰ ﺭﺍ ﺑﻪ ﺻﺪﺍ ﺩﺭ ﺁﻭﺭﺩﻧﺪ‪ .‬ﻇﺎﻫﺮﺍ ﻫﺮ ﺩﻭ ﻃﺮﻑ‬ ‫ﺑﺮﺍﻯ ﺭﺳــﻴﺪﻥ ﺑﻪ ﺍﺟﻤﺎﻉ ﻧﻈﺮ ﻛﺎﻣﻞ ﺩﺭﺑﺎﺭﻩ ﭘﺮﻭﻧﺪﻩ ﻫﺴــﺘﻪ ﺍﻯ ﺍﻳﺮﺍﻥ ﺭﺍﻫﻲ ﻃﻮﻻﻧﻰ ﺩﺭ‬ ‫ﭘﻴﺶ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺩﻳﭙﻠﻤﺎﺳﻲ ﺍﻳﺮﺍﻥ‪18....................................................................................‬‬ ‫ﺗﺤﺮﻳﻢ ﺑﺪﻭﻥ ﺣﻀﻮﺭ ﭼﻴﻦ ﻭ ﺭﻭﺳﻴﻪ‪19.......................................................‬‬ ‫ﻣﺬﺍﻛﺮﺍﺕ ﺳﻮﺩﻣﻨﺪ ﻳﺎ ﺑﻲ ﻧﺘﻴﺠﻪ‪20.............................................................‬‬ ‫ﺗﺮﺩﻳﺪ ﺩﺭ ﺗﺼﻤﻴﻢﮔﻴﺮﻱ‪21..........................................................................‬‬ ‫ﺁﻣﺮﻳﻜﺎﻱ ﺍﻭﺑﺎﻣﺎ‪22.....................................................................................‬‬ ‫ﻳﺴﺖ ﻭ ﻫﺸــﺘﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻓﻴﻠﻢﻓﺠﺮ ﻧﺨﺴــﺘﻴﻦ ﻣﻘﻄﻊ ﺍﺭﺯﻳﺎﺑﻰ ﻣﻬﻢ‬ ‫ﻋﻤﻠﻜﺮﺩ ﻭ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺗﻴﻢ ﺟﺪﻳﺪ ﻣﺪﻳﺮﻳﺘﻰ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺟﻮﺍﺩ ﺷﻤﻘﺪﺭﻯ‬ ‫ﻭ ﻫﻤﺮﺍﻫﺎﻧﺶ ﺣﺎﻻ ﺑﺎﻳﺪ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﻩ ﺭﻭﻳﺪﺍﺩﻯ ﺑﺎﺷــﻨﺪ ﻛﻪ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ‪ ،‬ﻫﻤﻮﺍﺭﻩ‬ ‫ﻧﮕﺎﻩ ﺍﻧﺘﻘﺎﺩﻯ ﺑﻪ ﺷــﻴﻮﻩ ﺑﺮﮔﺰﺍﺭﻯﺍﺵ ﺩﺭ ﺳــﺎﻝﻫﺎﻯ ﮔﺬﺷﺘﻪ ﺩﺍﺷﺘﻨﺪ؛ ﺷﻤﻘﺪﺭﻯ ﻛﻪ‬ ‫ﺍﺑﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﻧﺪﺍﺷﺖ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺩﺭ ﺳﺎﻋﺎﺕ ﭘﺮﺑﻴﻨﻨﺪﻩ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﻋﻼﻡ ﻛﻨﺪ‬ ‫ﺗﻤﺎﺷﺎﻯ ﺟﺸﻨﻮﺍﺭﻩ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ‪23..........................................................‬‬ ‫ﺩﻣﻮﻛﺮﺍﺳﻲ ﺗﻮ ﺭﻭﺯ ﺭﻭﺷﻦ‪24.....................................................................‬‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺷﺪﻥ ﻳﻚ ﺟﺸﻦ ﻣﻠﻰ‪26.........................................................‬‬ ‫ﺭﻓﺖ ﻭﺁﻣﺪ ﺗﺎ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ‪28..................................................................‬‬ ‫ﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ ﻧﻤﻲﺩﺍﻧﻴﺪ‪34........................................................................‬‬ ‫ﺑﺮﺍﻱ ﺩﻳﺪﻩ ﺷﺪﻥ ﻭ ﺗﺜﺒﻴﺖ‪36....................................................................‬‬ ‫ﺑﺮﺍﻱ ﺧﺎﻟﻲ ﻧﺒﻮﺩﻥ ﻋﺮﻳﻀﻪ‪38....................................................................‬‬ ‫ﻣﺪﻋﻴﺎﻥ ﺳﻴﻤﺮﻍ ﺑﺎﺯﻳﮕﺮﻱ‪39....................................................................‬‬ ‫ﻓﻴﻠﻤﻲ ﺩﺳﺖﻧﺨﻮﺭﺩﻩ ﻭ ﺑﻜﺮ ‪40..................................................................‬‬ ‫ﺭﻭﻳﺎﻫﺎﻱ ﻗﺎﺑﻞ ﺑﺎﻭﺭ‪42.................................................................................‬‬ ‫ﭘﺎﻳﻴﺰ ﺍﺭﻏﻮﺍﻧﻲ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‪43................................................................‬‬ ‫ﻛﻢﺑﺎﺭ ﻭ ﺑﻲﺭﻣﻖ‪44.....................................................................................‬‬ ‫ﻧﺎﺷﻨﺎﺱﻫﺎ ﺑﺮﺍﻱ ﺍﻋﺘﺒﺎﺭ ﺑﺨﺸﻲ‪45.............................................................‬‬ ‫ﻧﺎﺷﻨﺎﺧﺘﻪﻫﺎﻱ ﻣﻌﻨﺎﮔﺮﺍ‪46..........................................................................‬‬ ‫ﭼﻨﺪ ﻧﺎﻡ ﻣﻬﻢ‪47........................................................................................‬‬ ‫ﭼﺸﻢﺍﻧﺪﺍﺯ ﺍﻣﺴﺎﻝ ﻗﺎﺭﻩ ﻛﻬﻦ‪49.................................................................‬‬ ‫‪30‬ﺳﺎﻝ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺳــﻴﻨﻤﺎ ﺍﺯ ﺩﻳﺮﺑﺎﺯ ﺗﺎﻛﻨــﻮﻥ ﻫﻤﻮﺍﺭﻩ ﻳﻜﻰ ﺍﺯ ﻣﻌﺪﻭﺩ ﺍﺳــﻨﺎﺩ ﺗﺼﻮﻳﺮﻯ ﺑﺮﺍﻯ ﻣﺮﺍﺟﻌﻪ‬ ‫ﺑــﻪ ﺩﻭﺭﺍﻥ ﻭ ﻣﻘﺎﻃﻊ ﻣﺨﺘﻠﻒ ﺑﻮﺩﻩ ﺍﺳــﺖ‪ .‬ﺍﺯ ﻭﺭﺍﻯ ﻓﻴﻠﻢﻫﺎ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﻭﺍﻗﻌﻴﺖﻫﺎﻯ‬ ‫ﻣﺨﺘﻠــﻒ ﺍﺟﺘﻤﺎﻋﻰ ﻫﺮ ﺩﻭﺭﻩ ﭘﻰﺑﺮﺩ ﻭ ﻫﺮ ﻓﻴﻠﻢ ﺩﺭ ﺑﻄﻨﺶ ﺑﺎﺯﮔﻮ ﻛﻨﻨﺪﻩ ﺑﺨﺸــﻰ ﺍﺯ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﻭ ﺷﺮﺍﻳﻂ ﺩﻭﺭﻩﺍﺵ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺯﺧﻲﻫﺎ ﺩﺭ ﺑﺮﺯﺥ‪52................................................................................‬‬ ‫ﺳﻴﻨﻤﺎﻱ ﻣﻠﻮﺩﺭﺍﻡ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺭﻭﺯﮔﺎﺭ ﻏﻤﺰﺩﻩ‪54.......................................‬‬ ‫ﺍﻭﻟﻴﻦ ﺗﺼﻮﻳﺮ ﺍﺯ ﭘﻴﺮﻭﺯﻱ ﻫﻮﺍﻳﻲ‪56..........................................................‬‬ ‫ﺩﺭ ﻣﺤﻜﻮﻣﻴﺖ ﻣﺎﺭﻛﺴﻴﺴﻢ‪58...................................................................‬‬ ‫ﻣﺎ ﻓﺮﺯﻧﺪﺍﻥ ﺍﻳﺮﺍﻧﻴﻢ‪59...............................................................................‬‬ ‫ﺷﻮﺭ ﻧﻬﺎﻥ‪60..............................................................................................‬‬ ‫ﺭﻭﺍﻳﺖ ﻣﻨﺎﺳﺒﺎﺕ ﻛﺎﺳﺒﻜﺎﺭﺍﻧﻪ ﺟﺪﻳﺪ ﺍﺟﺘﻤﺎﻉ ﺑﺎ ﺯﺑﺎﻥ ﻃﻨﺰ‪62......................‬‬ ‫ﻓﺮﻳﺎﺩ ﻛﻮﺑﻨﺪﻩ ﻋﺪﺍﻟﺖ ﺍﺟﺘﻤﺎﻋﻲ‪63............................................................‬‬ ‫ﺗﺼﻮﻳﺮ ﺗﻠﺦ ﺟﻨﮓﺯﺩﮔﺎﻥ ﻭ ﺣﺎﺷﻴﻪ ﻧﺸﻴﻦﻫﺎﻱ ﺍﺟﺘﻤﺎﻉ‪65.........................‬‬ ‫ﺳﺮﮔﺸﺘﮕﻲ ﺭﻭﺷﻨﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﻣﻴﺎﻥ ﺍﻳﻤﺎﻥ ﻭ ﻋﺸﻖ‪66...............................‬‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﻫﻮﻳﺖ ﺟﺪﻳﺪ‪67..........................................................................‬‬ ‫ﺁﻏﺎﺯ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪ؛ ﺑﺎﺯﮔﺸﺖ ﺳﺘﺎﺭﻩﻫﺎ‪69..................................................‬‬ ‫ﺭﺍﺑﻄﻪ ﻫﻨﺮﻭ ﻗﺪﺭﺕ ﺑﻪ ﺭﻭﺍﻳﺖ ﺗﺎﺭﻳﺦ‪70.......................................................‬‬ ‫مثلث‬ ‫هفته نامه سیاسی‪ ،‬فرهنگی با رویکرد خبری‪ ،‬تحلیلی‬ ‫صاحب امتیاز و مدیر مسئول‪ :‬مصطفی اجورلو‬ ‫شورای سیاست گذاری‪ :‬موسسه فرهنگی‪ ،‬هنری سیمای مهر‬ ‫زیر نظر شورای سردبیری‬ ‫تحریریه‪:‬‬ ‫دبیران اجرایی‪ :‬مصطفی شوقی‪ -‬محمد هیراد حاتمی ‬ ‫دبیر بین الملل‪ :‬هادی خسروشاهین‬ ‫ی‬ ‫دبیر سیاست‪ :‬محمد حاتم ‬ ‫دبیر اجتماعی‪ :‬علی رنجی پور‬ ‫دبیر فرهنگ‪ :‬بابک غفوری اذر ‬ ‫دبیر ورزش‪ :‬مصطفی شوقی‬ ‫دبیر اندیشه‪ :‬سجاد نوروزی ‬ ‫دبیردین وتاریخ‪ :‬علیرضا شاکر‬ ‫ ‬ ‫دبیر عکس‪ :‬عباس کوثری‬ ‫اعضای تحریریه و همکاران‪ :‬سمیه فتحی‪ -‬سیده امنه موسوی ‪ -‬حامد زارع‪ -‬احسان ابطحی ‪ -‬مهدی‬ ‫ افضلی ‪ -‬مریم اسماعیل پور ‪ -‬مریم میرزایی‪ -‬مهدی طاهباز ‪ -‬سما بابایی‪ -‬سمیه علیپور ‪ -‬مونا قاسمیان‬ ‫الناز محمدی‪ -‬هومن مرادی ‪ -‬اتوسا بزرگیان‪ -‬سید جواد میرخلیلی ‪ -‬نیما عبدالهی‪ -‬یوسف ناصری‬ ‫محمدرضا موحدی‪ -‬ارمن ساروخانیان ‪ -‬علیرضا خلیفه‪ -‬محمد جواد پاینده ‪ -‬مهدی حسنی ‬ ‫فنی‪:‬‬ ‫گرافیک و صفحه ارایی‪ :‬نیما ملک نیازی‪ -‬معصومه فراهانی‬ ‫پردازش تصاویر‪ :‬هومن سلیمیان‬ ‫تصحیح‪ :‬ژیال شاکری‬ ‫حروفچینی‪ :‬داود حشمتی‬ ‫امور اداری ‪ :‬سمانه مومنی‪ -‬سمیه قلی زاده‬ ‫امور مالی‪ :‬بیتا برازنده نیا‬ ‫باتشکر از‪ :‬محمد جماعت‪ -‬ساتیار امامی‪ -‬احسان رفاتی‪ -‬امیرجدیدی‬ ‫چاپ‪ :‬رواق‬ ‫توزیع‪ :‬نامه امروز‬ ‫نشانی ‪ :‬تهران‪ ،‬میدان هفت تیر‪ ،‬خیابان مفتح جنوبی‪ ،‬نبش کوچه مبینی ‪ ،‬پالک ‪ ،121‬واحد ‪11‬‬ ‫تلفن‪88140544 :‬‬ ‫نظرات نویسندگان بخش دیدگاه لزوما مواضع مجله مثلث نمی باشد‬ ‫و بازتاب افکار و اندیشه های مورد نظر است‬ ‫‪30‬سال‪ 30 ،‬فیلم‬ ‫حاشیه علیه متن‪72.................................................................................‬‬ ‫شیطنت های شیرین فرزند روزگار جدید‪74...........................................‬‬ ‫تابو شکنی در روز گار محافظه کاری‪76...................................................‬‬ ‫ورود طنزامیزبه منطقه ممنوعه‪88..........................................................‬‬ ‫از ستایش فقر تا اسکار‪79......................................................................‬‬ ‫حرکت فیلمساز جهانی از زندگی به مرگ‪80...........................................‬‬ ‫واکنش به دوم خرداد‪82..........................................................................‬‬ ‫شروع دوره جوانانه سینمای ایران‪84....................................................‬‬ ‫سینمای ژورنالیستی در دوران سیاست زدگی‪85...................................‬‬ ‫روایت مناسبات پنهان یک دوره جدید‪87.............................................‬‬ ‫اقتصاد مهم تر است یا ازادی؟‪88............................................................‬‬ ‫خشمگینانه ترین فریاد علیه روزگار‪90....................................................‬‬ ‫تشکیک در رستگاری گناهکاران‪91.......................................................‬‬ ‫خود ویرانگری در شروع دوران ناامیدی‪93...........................................‬‬ ‫عبور از خط قرمز‪94.................................................................................‬‬ ‫چالش های طبق ه متوسط‪96......................................................................‬‬ ‫تصویر جدید از ادم های جنگ‪97............................................................‬‬ ‫‪ 30‬سال‬ ‫‪ 30‬فــیلم ‬ ‫ب ‬ ‫نقال‬ ‫د از ا‬ ‫ر بع‬ ‫گذا‬ ‫اثر ‬ ‫ی ‬ ‫ مها‬ ‫یل‬ ‫ره ف‬ ‫دربا‬ ‫چیز ‬ ‫مه ‬ ‫ه‬ ‫جوابیه مرتضوی‬ ‫به گزارش کمیته تحقیق مجلس‬ ‫هفتهنامهخبری‪،‬تحلیلی‪ /‬سال اول‪ /‬شماره بیست وپنجم ‪ 4/‬بهمن ‪ 100 /1388‬صفحه‪1000 /‬تومان‬ ‫ویژه نامه بیست و هشتمین جشنواره فیلم فجر ‬ ‫تصویر سازی‪ :‬نیما ملک نیازی‬ ‫پرکارترینبازیگرسال‬ ‫اکران بعد از‪ 5‬سال‬ ‫بازگشت سوپر استار ‬ ‫سکوتکارگردانفیلمجنجالی‬ ‫هدیه تهرانی با «هفت دقیقه تا پاییز»به جشنواره می اید‬ ‫شانس سیمرغ دوباره‬ ‫برای اشتراک‬ ‫مجله کلمه‬ ‫«مثلث» را به شماره‬ ‫‪30008312‬‬ ‫‪ SMS‬کنید‬ ‫تا در اسرع وقت‬ ‫جزومشترکان مجله‬ ‫شوید‬ ‫گفت و گو با سید جمال ساداتیان‪ ،‬تهیه کننده به رنگ ارغوان ‬ ‫انتظار ‪ 7‬ساله به پایان رسید‬ ‫»^‪½Z¼·Za{ÁZ‬‬ 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ﺑﺮﻭﻧﺪ‪،‬‬ ‫ﺩﺭ ﺩﺍﻧﺸــﮕﺎﻩ ﺑﺮﻭﻧﺪ‪ .‬ﻫﺮﺟــﺎ ﺑﺮﻭﻧﺪ ﻭ ﻣﺎ ﺭﺍ ﺑﻪ ﻫــﻢ ﺑﺮﻳﺰﻧﺪ‪ ،‬ﺩﺍﺋﻤﺎ‬ ‫ﺍﻋﺘﺼﺎﺏ ﻭ ﺩﺍﺋﻤــﺎ ﺭﺍﻫﭙﻴﻤﺎﻳﻲ ﻭ ﺩﺍﺋﻤﺎ ﻛﺎﺭﺷــﻜﻨﻲ ﺗﺎ ﻣﻨﻌﻜﺲ‬ ‫ﺑﻜﻨﻨﺪ ﺩﺭ ﺧﺎﺭﺝ ﻛﻪ ﺍﻳﻨﻬﺎ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺍﺩﺍﺭﻩ ﺑﻜﻨﻨﺪ‪،‬‬ ‫ﺑﺎﻳﺪ ﻳﻚ ﻛﺴﻲ ﺑﺮﻭﺩ ﺍﺩﺍﺭﻩ ﻛﻨﺪ ﺍﻳﻨﻬﺎ ﺭﺍ‪ ،‬ﻣﻠﺖ ﺑﺎﻳﺪ ﺗﻮﺟﻪ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ ﺑﻪ ﺍﻳﻦ ﺗﻮﻃﺌﻪ ﻭ ﺍﺯ ﺍﺧﺘﻼﻑ ﺩﺳﺖ ﺑﺮﺩﺍﺭﺩ‪ ،‬ﺁﺧﺮ ﺑﺮﺍﻱ ﭼﻲ‬ ‫ﻣﺎ ﺑﺎ ﻫﻢ ﺍﺧﺘﻼﻑ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ ،‬ﺳﺮﭼﻲ ﺍﺧﺘﻼﻑ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪.‬‬ ‫ﺑﺮﺍﻱ ﭼﻲ ﺑﻪ ﺟﺎﻥ ﻫــﻢ ﺑﺮﻳﺰﻳﻢ‪ ،‬ﭼﺮﺍ ﻣﺎ ﺧﻮﺩﻣﺎﻥ‪ ،‬ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺍﺯ‬ ‫ﺑﻴﻦ ﺑﺒﺮﻳﻢ‪ .‬ﺑﺎﻳﺪ ﻣﻠﺖ ﻣﺘﻮﺟﻪ ﺑﺎﺷــﺪ ﻛﻪ ﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ ﺍﺳــﺒﺎﺏ‬ ‫ﺍﺧﺘﻼﻑ ﻫﺴﺖ‪ ،‬ﺍﺻﻼ ﺍﻳﺠﺎﺩ ﻧﻜﻨﻴﻢ‪ ،‬ﺍﺷﺨﺎﺻﻲ ﻛﻪ ﻣﻲﺧﻮﺍﻫﻨﺪ‬ ‫ﺍﻳﺠﺎﺩ ﺍﺧﺘﻼﻑ ﺑﻜﻨﻨﺪ‪ ،‬ﻣﻮﻋﻈﻪﺷﺎﻥ ﻛﻨﻨﺪ‪ ،‬ﻧﺼﻴﺤﺖﺷﺎﻥ ﻛﻨﻨﺪ‪،‬‬ ‫ﺍﮔﺮ ﮔﻮﺵ ﻧﻜﺮﺩﻧﺪ ﺁﻧﻬﺎ ﺭﺍ ﻃﺮﺩﺷــﺎﻥ ﺑﻜﻨﻨﺪ‪ ،‬ﻧﮕﺬﺍﺭﻧﺪ ﺍﺧﺘﻼﻑ‬ ‫ﺣﺎﺻﻞ ﺑﺸﻮﺩ‪ ،‬ﻧﮕﺬﺍﺭﻧﺪ ﺟﻮﺭﻱ ﻭﺍﻧﻤﻮﺩ ﺑﺸﻮﺩ ﻛﻪ ﺍﻳﻦ ﻣﻠﺖ‪ ،‬ﻣﻠﺘﻲ‬ ‫ﻧﻴﺴــﺖ ﻛﻪ ﻗﺎﺑﻞ ﺍﻳﻦ ﺑﺎﺷﺪ ﻛﻪ ﺁﺯﺍﺩ ﺑﺎﺷــﺪ‪ ،‬ﺣﺎﻻ ﻛﻪ ﺁﺯﺍﺩ ﺷﺪﻩ‬ ‫ﺑﺒﻴﻨﻴﺪ ﺑﻪ ﺟﺎﻥ ﻫﻢ ﺭﻳﺨﺘﻨﺪ ﻭ ﻗﺎﺑﻞ ﺁﺯﺍﺩﻱ ﻧﻴﺴــﺖ ـ ﭼﻴﺰﻱ ﻛﻪ‬ ‫ـ ﻣﻠﺘﻲ ﻛﻪ ﻗﺎﺑﻞ ﺁﺯﺍﺩﻱ ﻧﻴﺴﺖ‪ ،‬ﺑﺎﻳﺪ ﻳﻜﻲ ﺑﻴﺎﻳﺪ ﻳﻚ ﺭﺿﺎﺧﺎﻥ ﺭﺍ‬ ‫ﭘﻴﺪﺍ ﻛﻨﻨﺪ )ﻭ ﺍﻳﻨﻬﺎ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﺯ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﺩﺍﺭﻧﺪ( ﻳﻚ ﺭﺿﺎﺧﺎﻧﻲ ﺭﺍ‬ ‫ﭘﻴﺪﺍ ﻛﻨﻨﺪ ﺍﻣﺮﻭﺯ ﺑﻪ ﺍﺳﻢ ﺍﻳﻨﻜﻪ ﺁﺩﻡ ﻣﻠﻲ ﻫﺴﺖ‪ ،‬ﺑﻪ ﺍﺳﻢ ﺍﻳﻨﻜﻪ ﻳﻚ‬ ‫ﺁﺩﻡ ﺍﺯ ﺍﻳﻦ ﭼﻴﺰﻫﺎ‪ ،‬ﺍﺯ ﺍﻳﻦ ﻋﻨﺼﺮﻫﺎ ﺍﻳﻨﻬﺎ ﺩﺍﺭﻧﺪ‪ ،‬ﻛﻪ ﺑﻴﺴﺖﺳــﺎﻝ‪،‬‬ ‫ﺳﻲﺳــﺎﻝ ﺍﻳﻦ ﺭﺍ ﺑﺎ ﻳﻚ ﺻﻮﺭﺕ ﻣﻠﻴﺖ ﻭ ﺑﻪ ﻳﻚ ﺻﻮﺭﺕ ﺩﻟﺴﻮﺯﻱ‬ ‫ﻧﮕﻬﺪﺍﺭﻧــﺪ‪ ،‬ﺁﻥ ﺭﻭﺯﻱ ﻛﻪ ﻣﻲﺧﻮﺍﻫﻨــﺪ ﻛﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ ﺑﺪﻫﻨﺪ‪ ،‬ﺑﻪ‬ ‫ﺻﻮﺭﺕ ﻣﻠﻴﺖ‪ ،‬ﺑﻪﺻﻮﺭﺕ ﭼﻪ ﺍﻧﺠﺎﻡ ﺑﺪﻫﻨﺪ ﻭ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﺎ ﺭﺍ‬ ‫ﺑﺎﻳﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻣﻠﺖ ﻣﺎ‪) .‬ﺻﺤﻴﻔﻪ ﻧﻮﺭ‪ ،‬ﺝ ‪ ،11‬ﺹ ‪(219‬‬ ‫ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺷﺎﻳﻌﻪﺳﺎﺯﺍﻥ‬ ‫ﺍﻣﺮﻭﺯ ﻳﻜﻲ ﺍﺯ ﻧﻘﺸــﻪﻫﺎﻱ ﺑﺰﺭگ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﻣﻲﺧﻮﺍﻫﻨﺪ ﺍﻳﻦ‬ ‫ﻛﺸــﻮﺭ ﺭﺍ‪ ،‬ﻫﻤﻪ ﺍﺷــﻴﺎﻳﺶ ﺭﺍ ﺑﺒﺮﻧﺪ ﻭ ﻫﻤﻪ ﺧﺰﺍﻳﻦ ﻣﺎ ﺭﺍ ﺑﺒﺮﻧﺪ ﻭ ﺍﺯ‬ ‫ﺭﺍﻩﻫﺎﻱ ﺩﻳﮕﺮ ﻣﺎﻳﻮﺱ ﺷــﺪﻩﺍﻧﺪ‪ ،‬ﺷﺎﻳﻌﻪ ﺍﺳﺖ‪ .‬ﺷﻤﺎ ﺩﺭ ﻫﺮﺟﺎ ﻛﻪ‬ ‫ﺑﺮﻭﻳــﺪ ﻣﻲﺑﻴﻨﻴﺪ ﻛﻪ ﻳﻚ ﺷــﺎﻳﻌﻪﺍﻱ ﺩﺭﺳــﺖ ﻛﺮﺩﻩﺍﻧﺪ ﻳﺎ ﺑﺮﺍﻱ‬ ‫ﻳﻚ ﮔﺮﻭﻫﻲ ﻳﺎ ﺑﺮﺍﻱ ﻳﻚ ﺍﺷــﺨﺎﺻﻲ ﺍﺯ ﻫﺮﻃــﺮﻑ ﻛﻪ ﻣﻲﺑﻴﻨﻨﺪ‬ ‫ﺷﺎﻳﻌﻪﺳــﺎﺯﻱ ﻓﺮﺍﻭﺍﻥ ﺍﺳــﺖ‪ .‬ﺑﻪ ﺣــﺮﻑ ﺷﺎﻳﻌﻪﺳــﺎﺯﺍﻥ ﮔﻮﺵ‬ ‫ﻓﺮﺍ ﻧﺪﻫﻴﺪ‪( 59/11/9) .‬‬ ‫ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻣﻨﺘﻘﺪﺍﻥ ﻣﻌﺎﻧﺪ‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ ﻣﺤﺘﻤﻞ ﺍﺳــﺖ ﺗﻮﻃﺌﻪ ﺑﺎﺷــﺪ ﺑﺮﺍﻱ‬ ‫ﺗﻀﻌﻴﻒ ﺩﻭﻟﺖ ﺍﺳــﻼﻣﻲ‪ ،‬ﻣﻄﺎﻟﺒﻲ ﺍﺳــﺖ ﻛﻪ ﺑﻴﻦ ﻣﻠﺖ ﭘﺨﺶ‬ ‫ﻣﻲﺷــﻮﺩ ﻭ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎ ﺗﻌﻘﻴﺐ ﻣﻲﺷــﻮﺩ ﻭ ﺍﺯ ﺩﻭﻟﺖ ﺍﻧﺘﻘﺎﺩﻫﺎﻱ‬ ‫ﻏﻴﺮﺻﺤﻴﺢ ﻣﻲﺷﻮﺩ ﻭ ﻛﻮﺷﺶ ﻣﻲﺷﻮﺩ ﺩﻭﻟﺖ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﻣﺮﺩﻡ ﺑﺪ‬ ‫ﺟﻠﻮﻩ ﺩﻫﻨﺪ‪ .‬ﺩﻭﺳــﺘﺎﻥ ﺍﺯ ﺍﻳﻦ ﺗﻮﻃﺌﻪ ﻏﺎﻓﻞ ﻭ ﺩﺷﻤﻨﺎﻥ ﺩﺭ ﻛﻤﻴﻦ‬ ‫ﻫﺴــﺘﻨﺪ‪ ،‬ﻣﻦ ﻧﻤﻲﮔﻮﻳﻢ ﺩﻭﻟﺖ ﺻﺪﺩﺭﺻﺪ ﻣﻮﻓﻖ ﺍﺳــﺖ‪ ،‬ﻟﻜﻦ‬ ‫ﻣﻲﮔﻮﻳﻢ ﺧﺪﻣﺘﮕﺰﺍﺭ ﺍﺳﺖ ﻭ ﻛﻮﺷﺶ ﺩﺍﺭﺩ ﺍﻧﺠﺎﻡ ﺧﺪﻣﺖ ﻧﻤﺎﻳﺪ‪.‬‬ ‫)ﺻﺤﻴﻔﻪ ﻧﻮﺭ‪،‬ﺟﻠﺪ ‪ ،19‬ﺹ‪(204‬‬ ‫‪6‬‬ ‫ﺷﻜﺴﺖ ﺍﻭﺑﺎﻣﺎ‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰﻫــﺎ ﺑﺎﺯ ﺑــﻪ ﺟﻤﻬﻮﺭﻳﺨﻮﺍﻫﺎﻥ ﺭﻭ ﺁﻭﺭﺩﻧﺪ؛ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻳﻚ ﺳــﺎﻝ ﺑﻌــﺪ ﺍﺯ ﺁﻥ ﺭﺥ ﺩﺍﺩ ﻛﻪ ﺍﻭﺑﺎﻣﺎ ﺑﺎ ﭘﻴــﺮﻭﺯﻯ ﺩﺭ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺍﻣﻴﺪ ﺭﺍ ﺑﻪ‬ ‫ﺍﺭﺩﻭﻯ ﺩﻣﻮﻛﺮﺍﺕﻫﺎ ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺭﻗﺎﺑﺖ ﺑﺮﺍﻯ ﻛﺴــﺐ ﻛﺮﺳﻰ ﺧﺎﻟﻰ ﺟﺎﻥ ﺍﺩﻭﺍﺭﺩ ﻛﻨﺪﻯ ﻛﻪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺩﺭﮔﺬﺷﺖ‪ ،‬ﺳﺮﺍﻧﺠﺎﻡ ﺑﺎ ﭘﻴﺮﻭﺯﻯ‬ ‫ﺍﺳــﻜﺎﺕ ﺑﺮﺍﻭﻥ‪ ،‬ﻧﻤﺎﻳﻨﺪﻩ ﺟﻤﻬﻮﺭﻳﺨﻮﺍﻩ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺖ‪ .‬ﺍﺳﻜﺎﺕ ﺑﺮﺍﻭﻥ‪ ،‬ﻛﺎﻧﺪﻳﺪﺍﻯ ﺣﺰﺏ ﺟﻤﻬﻮﺭﻯﺧﻮﺍﻩ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺭﻗﺎﺑﺖ ﺑﺮﺍﻯ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩﻥ‬ ‫ﻛﺮﺳــﻰ ﺍﻳﺎﻟﺖ ﻣﺎﺳﺎﭼﻮﺳﺖ ﺩﺭ ﺳــﻨﺎﻯ ﺁﻣﺮﻳﻜﺎ ﻛﻪ ﺩﺭ ﭘﻰ ﻣﺮگ ﺍﺩﻭﺍﺭﺩ ﻛﻨﺪﻯ ﺧﺎﻟﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﭘﻴﺮﻭﺯ ﺷــﺪﻩ ﺍﺳﺖ‪ .‬ﭘﻴﺮﻭﺯﻯ ﺑﺮﺍﻭﻥ‪ ،‬ﻧﻤﺎﻳﻨﺪﻩ‬ ‫ﺟﻤﻬﻮﺭﻳﺨﻮﺍﻩ ﺍﻳﻦ ﺷــﺎﺋﺒﻪ ﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ﺗﺤﻠﻴﻠﮕﺮﺍﻥ ﺍﻳﺠﺎﺩ ﻛﺮﺩ ﻛﻪ ﺍﻧﺘﺨﺎﺏ ﻳﻚ ﺟﻤﻬﻮﺭﻳﺨﻮﺍﻩ ﺑﺮﺍﻯ ﻛﺮﺳــﻰ ﻛﻨﺪﻯ ﺩﻣﻮﻛﺮﺍﺕ‪ ،‬ﭘﺎﺳﺦ ﺍﻋﺘﺮﺍﺽ‬ ‫ﻣﺮﺩﻡ ﺑﻪ ﺳﻴﺎﺳــﺖﻫﺎﻯ ﻧﺎﻣﻮﻓﻖ ﺍﻭﺑﺎﻣﺎ ﺩﺭ ﻃﻮﻝ ﻳﻚ ﺳﺎﻝ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺗﺤﻠﻴﻠﮕﺮﺍﻥ ﺳﻴﺎﺳﻰ ﻣﻌﺘﻘﺪﻧﺪ ﺍﺯ ﺁﻧﺠﺎﻳﻰ ﻛﻪ ﺗﻘﺮﻳﺒﺎ ﻧﻴﻤﻰ ﺍﺯ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ‬ ‫ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﺍﻭﺑﺎﻣﺎ ﺑﻪ ﻭﻋﺪﻩﻫﺎﻯ ﺧﻮﺩ ﺩﺭ ﻣﺒﺎﺭﺯﺍﺕ ﺍﻧﺘﺨﺎﺑﺎﺗﻰ ﻋﻤﻞ ﻧﻜﺮﺩﻩ‪ ،‬ﺭﻗﺎﺑﺖ ﺳﻪﺷــﻨﺒﻪ ﺩﺭ ﻣﺎﺳﺎﭼﻮﺳــﺖ ﻫﻤﻪﭘﺮﺳﻰ ﺩﺭﺑﺎﺭﻩ ﻋﻤﻠﻜﺮﺩ‬ ‫ﻳﻚ ﺳــﺎﻝ ﺍﻭﻝ ﺭﻳﺎﺳــﺖﺟﻤﻬﻮﺭﻯ ﻭﻯ ﺗﻠﻘﻰ ﻣﻰﺷــﺪ‪ .‬ﻣﻨﺎﺑﻊ ﺁﻣﺮﻳﻜﺎﻳﻰ ﺍﻋﻼﻡ ﻛﺮﺩﻧﺪ ﻛﻪ ﺑﺎ ﺷﻤﺎﺭﺵ ﺑﺨﺸــﻰ ﺍﺯ ﺁﺭﺍ ﻭ ﭘﺲ ﺍﺯ ﺁﻧﻜﻪ ﻣﺸﺨﺺ‬ ‫ﺷــﺪ‪ ،‬ﺑﺮﺍﻭﻥ ﺑﺎ ﻓﺎﺻﻠﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﭘﻴﺶ ﺍﺳــﺖ‪ ،‬ﻣﺎﺭﺗﺎ ﻛﻮﻛﻠﻰ ﺍﺯ ﺣﺰﺏ ﺩﻣﻮﻛﺮﺍﺕ ﺍﺫﻋﺎﻥ ﺑﻪﺷﻜﺴﺖ ﻛﺮﺩ‪ .‬ﺷﻜﺴﺖ ﻛﻮﻛﻠﻰ ﺿﺮﺑﻪﺍﻯ ﻣﻬﻢ ﺑﻪ‬ ‫ﺑﺎﺭﺍﻙ ﺍﻭﺑﺎﻣﺎ‪ ،‬ﺭﺋﻴﺲﺟﻤﻬﻮﺭﻯ ﺁﻣﺮﻳﻜﺎ ﺑﻪﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ ﭼﺮﺍ ﻛﻪ ﺑﺮﻧﺎﻣﻪ ﺍﻭ ﺑﺮﺍﻯ ﺍﺻﻼﺡ ﻧﻈﺎﻡ ﺑﻬﺪﺍﺷﺘﻰ ﺭﺍ ﺑﺎ ﻣﺎﻧﻌﻰ ﻣﻬﻢ ﻣﻮﺍﺟﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ‬ ‫ﻃﺮﺡﻫﺎﻭ ﻟﻮﺍﻳﺢ ﺍﻭﺑﺎﻣﺎ ﺩﺭ ﺑﺨﺶ ﺩﻭﻟﺘﻰﻭ ﻋﺪﻡ ﻣﻮﻓﻘﻴﺖ ﻭﻯ ﺩﺭ ﺟﻠﺐ ﺭﺿﺎﻳﺖ ﺷﻬﺮﻭﻧﺪﺍﻥ ﺭﺍ ﺩﻟﻴﻞ ﺍﺻﻠﻰ ﺷﻜﺴﺖ ﺩﻣﻮﻛﺮﺍﺕﻫﺎ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ‬ ‫ﻧﻴﺰﻧﺒﺎﻳﺪﻓﺮﺍﻣﻮﺵﻛﻨﻴﻢﻛﻪﻭﺿﻌﻴﺖﺍﻗﺘﺼﺎﺩﻯﺁﻣﺮﻳﻜﺎﺗﺎﭘﻴﺶﺍﺯﺭﻭﻯﻛﺎﺭﺁﻣﺪﻥﺍﻭﺑﺎﻣﺎﺑﻪﺩﻟﻴﻞﺳﻴﺎﺳﺖﻫﺎﻯﻳﻜﺠﺎﻧﺒﻪﮔﺮﺍﻳﺎﻧﻪﺑﻮﺵﻧﻴﺰﺩﺳﺘﺨﻮﺵ‬ ‫ﺩﻣﻮﻛﺮﺍﺕ ﺭﺍ ﺍﺯ ﺍﻛﺜﺮﻳﺖ ﺑﺎ‬ ‫ﺗﻨﺶﻫﺎﻯ ﻣﺎﻟﻰ ﻭ ﺍﻗﺘﺼﺎﺩﻯ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬ﺟﻤﻬﻮﺭﻳﺨﻮﺍﻫﺎﻥ ﺑﺎ ﺍﻳﻦ ﭘﻴﺮﻭﺯﻯ ﺧﻮﺩ‪ ،‬ﺣﺰﺏ ﻛﺮﺍﺕ‬ ‫ﻻﻳﺤﻪ ﺍﺻﻼﺡ ﻧﻈﺎﻡ‬ ‫‪ 60‬ﻛﺮﺳــﻰ ﺳــﺎﻗﻂ ﻛﺮﺩﻧﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺑﻪﻧﻈﺮ ﻣﻰﺭﺳﺪ ﭼﺸــﻢﺍﻧﺪﺍﺯ ﺗﺼﻮﻳﺐ ﻳﺤﻪ‬ ‫ﺑﺎﻳﺪ ﺗﻼﺵ ﻓﺮﺍﻭﺍﻧﻰ‬ ‫ﺑﻬﺪﺍﺷﺘﻰ ﺑﺴــﻴﺎﺭ ﺩﺷــﻮﺍﺭﺗﺮ ﻭ ﺍﻭﺑﺎﻣﺎ ﺑﺮﺍﻯ ﺟﻠﺐ ﺭﺿﺎﻳﺖ ﺟﻤﻬﻮﺭﻳﺨﻮﺍﻫﺎﻥ ﻧﻴﺰ ﺪ‬ ‫ﺯﻣﻴﻨﻪ ﺳﻴﺎﺳــﺖ‬ ‫ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺑﻪ ﻧﻤﺎﻳﺶ ﺑﮕﺬﺍﺭﺩ‪ .‬ﺍﺻﻼﺡ ﺳــﺎﺧﺘﺎﺭﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﻣﻬﻤﺘﺮﻳﻦ ﻫﺪﻑ ﺩﺭ ﻣﻴﻨﻪ‬ ‫ﮔﻔﺘﻪ ﺷﺪﻩ ﻛﻪ ﺭﻗﺎﺑﺖ‬ ‫ﺩﺍﺧﻠﻰ ﺍﻭﺑﺎﻣﺎ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻧﺨﺴــﺘﻴﻦ ﺳﺎﻝ ﺭﻳﺎﺳــﺖﺟﻤﻬﻮﺭﻯ ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩ‪ .‬ﻪ‬ ‫ﺑﺮ ﺳــﺮ ﺍﻳﻦ ﻛﺮﺳﻰ ﺑﺮﺍﻯ ﺩﻣﻮﻛﺮﺍﺕﻫﺎ ﺍﻣﺮﻯ ﺗﺸﺮﻳﻔﺎﺗﻰ ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﺷﻤﺎﺭ ﺍﻋﻀﺎﻯ ﺍﻳﻦ ﺣﺰﺏ ﺩﺭ‬ ‫ﻣﺎﺳﺎﭼﻮﺳــﺖ ﺳﻪﺑﺮﺍﺑﺮ ﺟﻤﻬﻮﺭﻳﺨﻮﺍﻫﺎﻥ ﺍﺳﺖ ﻭ ﻛﺮﺳــﻰ ﻣﺰﺑﻮﺭ ﺑﺮﺍﻯ ﺑﻴﺶ ﺍﺯ ﻧﻴﻢ ﻗﺮﻥ ﺩﺭ‬ ‫ﺑﻮﺳﺘﻮﻥ‬ ‫ﺍﺧﺘﻴﺎﺭ ﺧﺎﻧﻮﺍﺩﻩ ﻛﻨﺪﻯ ﺑﻮﺩﻩ ﺍﺳــﺖ‪ .‬ﺑﺎﺭﺍﻙ ﺍﻭﺑﺎﻣﺎ ﭘﻴﺶ ﺍﺯ ﺑﺮﮔﺰﺍﺭﻯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺑﻪ ﺳﺘﻮﻥ‬ ‫ﺳــﻔﻴﺪ‬ ‫ﺭﻓﺖ ﺗﺎ ﺑﻪ ﻣﺒﺎﺭﺯﺍﺕ ﻛﻮﻛﻠﻰ ﺟﺎﻥ ﺑﺨﺸــﺪ ﻛﻪ ﺧﻮﺩ ﻧﺸــﺎﻧﻪ ﻧﮕﺮﺍﻧﻰ ﻓﺰﺍﻳﻨﺪﻩ ﻛﺎﺥ ــﻔﻴﺪ‬ ‫ﺩﻫﺪ‪،‬‬ ‫ﺑﻮﺩ‪ .‬ﺗﺤﻠﻴﻠﮕﺮﺍﻥ ﺳﻴﺎﺳــﻰ ﻣﻌﺘﻘﺪﻧﺪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﻧﻈﺮﺳــﻨﺠﻰﻫﺎ ﻧﺸــﺎﻥ ﻣﻰ ﻫﺪ‪،‬‬ ‫ﻣﺒﺎﺭﺯﺍﺕ‬ ‫ﺗﻘﺮﻳﺒﺎ ﻧﻴﻤﻰ ﺍﺯ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﺍﻭﺑﺎﻣــﺎ ﺑﻪ ﻭﻋﺪﻩﻫﺎﻯ ﺍﺻﻠﻰ ﺧﻮﺩ ﺩﺭ‬ ‫ﺕ‬ ‫ﺍﻧﺘﺨﺎﺑﺎﺗﻰ ﻋﻤﻞ ﻧﻜﺮﺩﻩ‪ ،‬ﺭﻗﺎﺑﺖ ﺳﻪﺷــﻨﺒﻪ ﺩﺭ ﻣﺎﺳﺎﭼﻮﺳــﺖ ﺑﻪﻋﻨــﻮﺍﻥ ﺭﻓﺮﺍﻧﺪﻭﻣﻰ‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﻋﻤﻠﻜﺮﺩ ﻳﻚ ﺳــﺎﻝ ﺍﻭﻝ ﺍﻭ ﺗﻠﻘﻰ ﻣﻰﺷــﺪ‪ .‬ﺍﺩﻭﺍﺭﺩ ﻛﻨﺪﻯ‪ ،‬ﺳــﻨﺎﺗﻮﺭ ﺍﺭﺷــﺪ‬ ‫ﺍﻳﺎﻟﺖ ﻣﺎﺳﺎﭼﻮﺳﺖ ﻭ ﺍﺯ ﺍﻋﻀﺎﻯ ﺍﺭﺷﺪ ﺣﺰﺏ ﺩﻣﻮﻛﺮﺍﺕ ﺁﻣﺮﻳﻜﺎ ﻛﻪ ﺑﻪﺑﻴﻤﺎﺭﻯ ﺳﺮﻃﺎﻥ‬ ‫ﻣﻐﺰﻯ ﻣﺒﺘﻼ ﺑﻮﺩ ﺩﺭ ‪ 26‬ﺍﻭﺕ ‪ 4) 2009‬ﺷﻬﺮﻳﻮﺭ( ﺩﺭﮔﺬﺷﺖ‪.‬‬ ‫ﻓﺮﺍﺧﻮﺍﻥ ﻧﺼﺮﺍﷲ‬ ‫ﺩﺑﻴــﺮﻛﻞ ﺣﺰﺏﺍﷲ ﻟﺒﻨــﺎﻥ ﺣﻔﻆ ﻭﺣﺪﺕ ﻣﻠﻰ ﻭ ﺍﺳــﻼﻣﻰ ﻭ‬ ‫ﺭﺍﻫﻜﺎﺭﻫﺎﻯ ﻣﺴــﺎﻟﻤﺖ ﺁﻣﻴﺰ ﺑﺮﺍﻯ ﺣﻞ ﻭ ﻓﺼﻞ ﺍﺧﺘﻼﻓﺎﺕ ﺩﺍﺧﻠﻰ‬ ‫ﺩﺭ ﻣﻨﻄﻘﻪ ﺭﺍ ﺧﻮﺍﺳــﺘﺎﺭ ﺷــﺪ‪ .‬ﺳــﻴﺪ ﺣﺴــﻦ ﻧﺼﺮﺍﷲ‪ ،‬ﺩﺑﻴﺮﻛﻞ‬ ‫ﺣﺰﺏ ﺍﷲ ﻟﺒﻨﺎﻥ ﺑﺎ ﺷﻴﺦ ﻋﻠﻰ ﺍﻟﺴﻠﻤﺎﻥ‪ ،‬ﺩﺑﻴﺮ ﻛﻞ ﺟﻤﻌﻴﺖﺍﻟﻮﻓﺎﻕ‬ ‫ﺑﺤﺮﻳﻦ ﻛﻪ ﺩﺭ ﺭﺍﺱ ﻫﻴﺎﺗﻰ ﺑﺮﺍﻯ ﻣﺸــﺎﺭﻛﺖ ﺩﺭ ﻫﻤﺎﻳﺶ ﻋﺮﺑﻰ ‪-‬‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺣﻤﺎﻳﺖ ﺍﺯ ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﺑﻴﺮﻭﺕ ﺑﻪ ﻟﺒﻨﺎﻥ ﺳــﻔﺮ ﻛﺮﺩﻩ‪،‬‬ ‫ﺩﻳﺪﺍﺭ ﻛﺮﺩ‪.‬ﻭﻯﺩﺭﺍﻳﻦ ﺩﻳﺪﺍﺭﺍﺯﺍﻳﻦﻫﻴﺎﺕﺑﻪﺩﻟﻴﻞ ﺍﻋﻼﻡ ﻫﻤﺒﺴﺘﮕﻰ‬ ‫ﺑﺎﻣﻘﺎﻭﻣﺖﺗﻘﺪﻳﺮﻛﺮﺩ ﻭﺍﻳﻦﻫﻤﺒﺴﺘﮕﻰﺭﺍﺩﺭﺗﺤﻘﻖﻋﺰﺕﻭﭘﻴﺮﻭﺯﻯ‬ ‫ﭼﻪ ﺩﺭ ﻋﺮﺻﻪ ﺩﺍﺧﻠﻰ ﻭ ﭼﻪ ﺩﺭﻋﺮﺻﻪ ﻋﺮﺑﻰ ﻭ ﺍﺳــﻼﻣﻰ ﺍﺭﺯﺷﻤﻨﺪ‬ ‫ﺩﺍﻧﺴﺖ‪ .‬ﺩﺑﻴﺮ ﻛﻞ ﺣﺰﺏﺍﷲ ﻟﺒﻨﺎﻥ ﺑﺮﺿﺮﻭﺭﺕ ﺣﻔﻆ ﻭﺣﺪﺕ ﻣﻠﻰ ﻭ‬ ‫ﺍﺳﻼﻣﻰ ﻳﻜﭙﺎﺭﭼﮕﻰ ﺩﺍﺧﻠﻰ ﻭ ﭘﻴﺮﻭﻯ ﺍﺯ ﺭﺍﻫﻜﺎﺭﻫﺎﻯ ﻣﺴﺎﻟﻤﺖﺁﻣﻴﺰ‬ ‫ﻭ ﺑﺮﺍﺩﺭﺍﻧﻪ ﺑﺮﺍﻯ ﺣﻞ ﻭ ﻓﺼﻞ ﺍﺧﺘﻼﻓﺎﺕ ﺩﺍﺧﻠﻰ ﻛﺸﻮﺭﻫﺎﻯ ﻣﻨﻄﻘﻪ‬ ‫ﺗﺎﻛﻴﺪ ﻛﺮﺩ‪ .‬ﺭﺋﻴﺲ ﻫﻴﺎﺕ ﺟﻤﻌﻴﺖ ﻭﻓﺎﻕ ﺑﺤﺮﻳﻦ ﻧﻴﺰ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ‬ ‫ﺑﺮﮔﺰﺍﺭﻯ ﻫﻤﺎﻳﺶ ﻋﺮﺑﻰ ‪ -‬ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺣﻤﺎﻳﺖ ﺍﺯ ﻣﻘﺎﻭﻣﺖ‪ ،‬ﺁﻥ ﺭﺍ‬ ‫ﺩﺭ ﺟﻠﺐ ﺣﻤﺎﻳﺖﻫﺎﻯ ﻛﺸــﻮﺭﻫﺎﻯ ﻋﺮﺑﻰ ﻭ ﺍﺳﻼﻣﻰ ﺍﺯ ﻣﻘﺎﻭﻣﺖ ﺑﺎ‬ ‫ﺗﻮﺟﻪ ﺑﻪﻭﺣﺪﺕ ﺩﺍﺧﻠﻰ ﺩﺭ ﻟﺒﻨــﺎﻥ ﺩﺭ ﺧﺼﻮﺹ ﺭﺍﻫﻜﺎﺭ ﻣﻘﺎﻭﻣﺖ‬ ‫ﻣﻮﻓﻖ ﺩﺍﻧﺴــﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﮔﺰﺍﺭﺵ ﺳــﺎﻳﺖ ﺍﻻﻧﺘﻘﺎﺩ ﻧﺖ‪ ،‬ﺩﺑﻴﺮﻛﻞ‬ ‫ﺣﺰﺏﺍﷲ ﻟﺒﻨﺎﻥ ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺩﻳﺪﺍﺭ ﺑﺎ ﻳﺤﻴﻰ ﺍﻟﻘﻮﺍﺳــﻤﻰ‪ ،‬ﺭﺋﻴﺲ‬ ‫ﺣﺰﺏ ﺿﺪﺻﻬﻴﻮﻧﻴﺴﻢ ﻓﺮﺍﻧﺴﻪ ﺑﻪ ﺑﺮﺭﺳﻰ ﻭﺿﻌﻴﺖ ﻣﺴﻠﻤﺎﻧﺎﻥ ﺩﺭ‬ ‫ﻓﺮﺍﻧﺴﻪ ﻭ ﺍﻭﺿﺎﻉ ﺍﻗﻠﻴﺖﻫﺎﻯ ﺍﺳﻼﻣﻰ ﺩﺭ ﺍﻳﻦ ﻛﺸﻮﺭ ﻭ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ‬ ‫ﺣﺰﺏ ﺿﺪ ﺻﻬﻴﻮﻧﻴﺴﻢ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫ﺍﺗﻬﺎﻣﺎﺕ ﻓﺮﺯﻧﺪﺍﻥ ﻫﺎﺷﻤﻰ‬ ‫ﺩﺍﺳــﺘﺎﻥ ﻓﺮﺯﻧﺪﺍﻥ ﻫﺎﺷﻤﻰﺭﻓﺴــﻨﺠﺎﻧﻰ ﺗﻤﺎﻣــﻰ ﻧﺪﺍﺭﺩ‪ ،‬ﭼﻪ‬ ‫ﺁﻧﻜﻪ ﺯﻣﺎﻧﻰ ﻛﻪ ﺣﺎﻣﻴﺎﻥ ﺩﻭﻟﺖ ﻫﻢ ﺑﻪ ﺳﺮﺍﻍ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﻧﻤﻰﺭﻭﻧﺪ‪،‬‬ ‫ﺩﺑﻴﺮﻛﻞ ﺣﺰﺏ ﻣﻮﺗﻠﻔﻪ ﺍﺳــﻼﻣﻰ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﻣﻮﺭﺩ ﺁﻥ ﺳــﺨﻦ‬ ‫ﻣﻰ ﮔﻮﻳﺪ‪ .‬ﻣﺤﻤﺪﻧﺒﻰ ﺣﺒﻴﺒﻰ‪ ،‬ﺩﺑﻴﺮﻛﻞ ﺣﺰﺏ ﻣﻮﺗﻠﻔﻪ ﺍﺳــﻼﻣﻰ‬ ‫ﻛﻪ ﺩﺭ ﺟﻤﻊ ﺍﺻﻮﻟﮕﺮﺍﻳﺎﻥ ﺍﺳــﺘﺎﻥ ﭼﻬﺎﺭ ﻣﺤﺎﻝ ﻭ ﺑﺨﺘﻴﺎﺭﻯ ﺳﺨﻦ‬ ‫ﻣﻰﮔﻔﺖ‪ ،‬ﺑﺎ ﺍﺷــﺎﺭﻩ ﺑﻪ ﺍﻗﺪﺍﻣــﺎﺕ ﻭ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺣــﺰﺏ ﻣﻮﺗﻠﻔﻪ‬ ‫ﺍﺳــﻼﻣﻰ ﺩﺭ ﻗﺒﻞ ﻭ ﺑﻌــﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ‪ ،‬ﺍﻇﻬﺎﺭ ﺩﺍﺷــﺖ‪» :‬ﻋﻤﻠﻜﺮﺩ‬ ‫ﺩﻭﻟــﺖ ﺍﺻﻼﺣﺎﺕ‪ ،‬ﻃﻰ ﺩﻭﺭﻩ ﻫﺸﺖﺳــﺎﻟﻪ ﻣﺪﻳﺮﻳﺖ ﺩﺭ ﻛﺸــﻮﺭ‬ ‫ﻟﻄﻤﺎﺕ ﻭ ﺧﺴــﺎﺭﺕﻫﺎﻯ ﺑﺴــﻴﺎﺭﻯ ﺑﻪ ﻧﻈﺎﻡ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ‬ ‫ﻭﺍﺭﺩ ﻛﺮﺩﻩ ﺍﺳــﺖ‪«.‬ﺍﻭ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺳــﻮﺍﻟﻰ ﺩﺭ ﺧﺼﻮﺹ ﻋﻤﻠﻜﺮﺩ‬ ‫ﻫﺎﺷــﻤﻰ ﺭﻓﺴــﻨﺠﺎﻧﻰ ﮔﻔﺖ‪» :‬ﺗﻮﺻﻴﻔﺎﺕ ﺍﻣــﺎﻡ ﺧﻤﻴﻨﻰ)ﺭﻩ( ﻭ‬ ‫ﻣﻘﺎﻡﻣﻌﻈﻢﺭﻫﺒﺮﻯ ﺩﺭ ﺧﺼﻮﺹ ﻫﺎﺷﻤﻰﺭﻓﺴــﻨﺠﺎﻧﻰ ﺗﺎ ﺯﻣﺎﻧﻰ ﭘﺎ‬ ‫ﺑﺮ ﺟﺎﺳﺖ ﻛﻪ ﻭﻯ ﭘﺸﺖﺳــﺮ ﺭﻫﺒﺮ ﻣﻌﻈﻢ ﺍﻧﻘﻼﺏ ﺑﺎﺷﺪ ﻭ ﺩﺭ ﺍﻳﻦ‬ ‫ﺻﻮﺭﺕ ﺍﺳﺖ ﻛﻪ ﻣﻮﺭﺩ ﺣﻤﺎﻳﺖ ﻫﻤﮕﺎﻥ ﺍﺳﺖ‪ «.‬ﻭﻯ ﺗﺼﺮﻳﺢ ﻛﺮﺩ‪:‬‬ ‫»ﻣﺴــﺎﺋﻞ ﺍﻗﺘﺼﺎﺩﻯ ﻛﻪ ﺩﺭ ﺧﺼﻮﺹ ﻓﺮﺯﻧﺪﺍﻥ ﻭﻯ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ‬ ‫ﺑﺎﻳﺪ ﺗﻮﺳــﻂ ﺩﺳﺘﮕﺎﻩ ﻗﻀﺎﻳﻰ ﺭﺳﻴﺪﮔﻰ ﺷــﻮﺩ‪ «.‬ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻧﻴﺰ‬ ‫ﺩﺍﺩﺳــﺘﺎﻥ ﺗﻬﺮﺍﻥ ﺑﺎ ﺩﺍﺩﻥ ﻫﺸﺪﺍﺭ ﺑﻪ ﻣﻬﺪﻯ ﻫﺎﺷﻤﻰﺭﻓﺴﻨﺠﺎﻧﻰ‪،‬‬ ‫ﻓﺮﺯﻧﺪ ﺭﺋﻴﺲ ﻣﺠﻤﻊ ﺗﺸﺨﻴﺺ ﻣﺼﻠﺤﺖ ﻧﻈﺎﻡ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﭼﻬﺎﺭﻣﺎﻩ‬ ‫ﺍﺳﺖ ﻛﺸﻮﺭ ﺭﺍ ﺑﻪ ﻣﻘﺼﺪ ﺍﻧﮕﻠﻴﺲ ﺗﺮﻙ ﻛﺮﺩﻩ‪ ،‬ﺧﻮﺍﺳﺘﺎﺭ ﺑﺎﺯﮔﺸﺖ ﺍﻭ‬ ‫ﺑﻪ ﺍﻳﺮﺍﻥ ﻭ ﭘﺎﺳﺨﮕﻮﻳﻰ ﺑﻪ ﺍﺗﻬﺎﻣﺎﺗﺶ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﺩﻋﺎﻫﺎﻯ ﺧﻮﺍﻫﺮ ﺳﻬﺮﺍﺏ‬ ‫ﺑﺮﭘﺎﻳﻲ ﻧﻤﺎﻳﺸــﮕﺎﻩ ﺁﺛﺎﺭ ﻧﻘﺎﺷــﻲ ﺳﻬﺮﺍﺏ ﺳــﭙﻬﺮﻱ ﺩﺭ ﻣﻮﺯﻩ‬ ‫ﻫﻨﺮﻫﺎﻱ ﻣﻌﺎﺻﺮ ﺗﻬﺮﺍﻥ ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﭘﺎﻳﺎﻧﻲ ﺧﻮﺩ ﺑﺎ ﺍﺩﻋﺎﻱ ﺟﺪﻳﺪﻱ‬ ‫ﺍﺯ ﺳﻮﻱ ﻳﻜﻲ ﺍﺯ ﺧﻮﺍﻫﺮﺍﻥ ﺳﻬﺮﺍﺏ ﺳــﭙﻬﺮﻱ ﺭﻭﺑﻪﺭﻭ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﭘﺮﻭﺍﻧﻪ ﺳــﭙﻬﺮﻱ ﺑﻪﺗﺎﺯﮔﻲ ﻣﺪﻋﻲ ﺷــﺪﻩ ﺍﺳــﺖ ﻛﻪ ﺗﻌــﺪﺍﺩﻱ ﺍﺯ‬ ‫ﻃﺮﺡﻫﺎﻱ ﺳﻬﺮﺍﺏ ﺳــﭙﻬﺮﻱ ﺷــﺎﻋﺮ ﻭ ﻧﻘﺎﺵ ﭼﻴﺮﻩﺩﺳﺖ ﺑﺪﻭﻥ‬ ‫ﺭﺿﺎﻳﺖ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺑﺎ ﺍﻣﻀﺎﻱ ﺟﻌﻠﻲ ﻓﺮﻭﺧﺘﻪ ﻭ ﺩﺭ ﻛﺘﺎﺑﻲ ﻣﻨﺘﺸﺮ‬ ‫ﺷﺪﻩﺍﺳــﺖ‪ .‬ﻭﻱ ﮔﻔﺘﻪ ﺍﺳﺖ ﺩﺭ ﻧﻤﺎﻳﺸــﮕﺎﻩ ﻗﺒﻠﻲ ﻛﻪ ﺩﺭ ﺗﻬﺮﺍﻥ ﺑﺎ‬ ‫ﻣﻮﺿﻮﻉ ﻧﻤﺎﻳﺶ ﺁﺛﺎﺭ ﺳــﻬﺮﺍﺏ ﺳــﭙﻬﺮﻱ ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪ ،‬ﺗﻌﺪﺍﺩﻱ ﺍﺯ‬ ‫ﻃﺮﺡﻫﺎﻱ ﺍﻳﻦ ﺷــﺎﻋﺮ ﺑﻨــﺎﻡ ﻣﻌﺎﺻﺮ ﺑﺎ ﺍﻣﻀــﺎﻱ ﺟﻌﻠﻲ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﮔﺬﺍﺷــﺘﻪ ﺷــﺪﻩ ﺑﻮﺩ‪.‬ﺑﺎ ﺍﻳﻨﻜﻪ ﭘﺮﻭﺍﻧﻪ ﺳــﭙﻬﺮﻱ ﺑﻪ ﺁﺛﺎﺭ ﺍﺭﺍﺋﻪ ﺷﺪﻩ‬ ‫ﺳﻬﺮﺍﺏ ﺳﭙﻬﺮﻱ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺭﻭﺯﻧﻪﺍﻱ ﺑﻪ ﺭﻧﮓ ﻛﻪ ﺍﺯ ﻣﺎﻩ ﮔﺬﺷﺘﻪ‬ ‫ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﻱ ﻣﻌﺎﺻﺮ ﺗﻬﺮﺍﻥ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪﻩ ﺍﺷﺎﺭﻩﺍﻱ ﻧﻜﺮﺩﻩ‬ ‫ﺍﺳــﺖ‪ ،‬ﻭﻟﻲ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﺍﺩﻋﺎ ﻭ ﻃﺮﺡﻫﺎ ﻭ ﻧﻘﺎﺷﻲﻫﺎﻱ ﺳﻬﺮﺍﺏ ﺑﺎ‬ ‫ﺍﻣﻀﺎﻱ ﺟﻌﻠﻲ ﻳﻌﻘﻮﺏ ﺍﻣﺪﺍﺩﻳﺎﻥ‪ ،‬ﺩﺑﻴﺮ ﻧﻤﺎﻳﺸــﮕﺎﻩ ﻣﺮﻭﺭﻱ ﺑﺮ ﺁﺛﺎﺭ‬ ‫ﻧﻘﺎﺷﻲ ﺳﻬﺮﺍﺏ ﺳﭙﻬﺮﻱ ﺩﺭ ﻣﻮﺭﺩ ﺟﻌﻞ ﺍﻣﻀﺎﻱ ﺳﻬﺮﺍﺏ ﺩﺭ ﭘﺎﻳﻴﻦ‬ ‫ﻃﺮﺡﻫﺎﻱ ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪ ﮔﻔﺖ‪» :‬ﻃﺮﺡﻫﺎﻱ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪﻩ ﺩﺭ‬ ‫ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺑﺮﺧﻲ ﺩﺍﺭﺍﻱ ﺍﻣﻀﺎﺳﺖ ﻭ ﺑﻌﻀﻲ ﺍﺯ ﺁﻧﻬﺎ ﺍﻣﻀﺎ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺷﺎﻣﻞ ﺑﻴﺶ ﺍﺯ ‪ 113‬ﺍﺛﺮ ﺍﺯ ﺳﻬﺮﺍﺏ ﺳﭙﻬﺮﻱ ﺷﺎﻣﻞ‬ ‫ﻃﺮﺡﻫﺎ ﻭ ﻧﻘﺎﺷﻲﻫﺎﻱ ﻭﻱ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺳﻮﻱ ﺍﻓﺮﺍﺩ ﻭ ﻣﺮﺍﻛﺰ ﺑﻪ ﺍﻣﺎﻧﺖ‬ ‫ﺑﻪ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﻱ ﻣﻌﺎﺻﺮ ﺗﻬﺮﺍﻥ ﺁﻭﺭﺩﻩ ﺷﺪﻩ ﺍﺳﺖ ‪«.‬‬ ‫ﺩﻩﻧﻤﻜﻰﻣﻤﻨﻮﻉﺍﻟﻮﺭﻭﺩ‬ ‫ﻣﺴﻌﻮﺩ ﺩﻩﻧﻤﻜﻰ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢ ﭘﺮﻓﺮﻭﺵ »ﺍﺧﺮﺍﺟﻰﻫﺎ« ﺍﻳﻦ‬ ‫ﺭﻭﺯﻫﺎ ﺳﺨﺖ ﻣﺸــﻐﻮﻝ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺍﻭﻟﻴﻦ ﻣﺠﻤﻮﻋﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‬ ‫ﺧﻮﺩ »ﺩﺍﺭﺍ ﻭ ﻧﺪﺍﺭ« ﺍﺳﺖ‪ .‬ﺑﺮﺍﺳــﺎﺱ ﺧﺒﺮﻫﺎﻯ ﻣﻨﺘﺸﺮﻩ‪ ،‬ﻗﺮﺍﺭ ﺍﺳﺖ‬ ‫ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻣﻮﺭﺩ ﻧﻈﺮ ﺩﺭ ﺩﺑﻰ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺷــﻮﺩ ﺍﻣﺎ‬ ‫ﻇﺎﻫﺮﺍ ﺩﻩﻧﻤﻜﻰ ﺑﺮﺍﻯ ﺳــﻔﺮ ﺑﻪ ﺩﺑﻰ ﻣﺸــﻜﻼﺗﻰ ﺩﺍﺭﺩ ﻛــﻪ ﺗﺎ ﺍﻣﺮﻭﺯ‬ ‫ﻛﺴــﻰ ﺍﺯ ﺁﻥ ﺧﺒﺮ ﻧﺪﺍﺷــﺘﻪ ﺍﺳــﺖ‪.‬ﻛﺎﺭﮔﺮﺩﺍﻥ »ﺩﺍﺭﺍ ﻭ ﻧﺪﺍﺭ« ﮔﻔﺖ‪:‬‬ ‫»ﺯﻣﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺩﺭ ﺩﺑﻰ ﻫﻨﻮﺯ ﻣﺸﺨﺺ ﻧﺸﺪﻩ ﺍﺳﺖ ﺍﻣﺎ ﻣﻦ ﺑﻪ‬ ‫ﺧﺎﻃﺮﺳﺎﺧﺖﻓﻴﻠﻢ»ﻓﻘﺮﻭﻓﺤﺸﺎ«ﻣﻤﻨﻮﻉﺍﻟﻮﺭﻭﺩﺑﻪﺩﺑﻰﻫﺴﺘﻢﻭﻛﺎﺭ‬ ‫ﺭﺍﺩﺭﺩﺑﻰﺷﺨﺺﺩﻳﮕﺮﻯﭘﻴﮕﻴﺮﻯﺧﻮﺍﻫﺪﻛﺮﺩﺍﻣﺎﺍﻛﺜﺮﺻﺤﻨﻪﻫﺎﻯ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺁﻧﺠﺎ ﺭﺍ ﺑﺎ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﺯ ﻛﺮﻭﻣﺎﻛﻰ ﺩﺭ ﺗﻬﺮﺍﻥ ﺗﺼﻮﻳﺮﺑﺮﺩﺍﺭﻯ‬ ‫ﺧﻮﺍﻫﻴﻢﻛﺮﺩ‪«.‬ﺩﺭﺍﻳﻦﻣﻴﺎﻥﺍﻣﺎﭘﺮﻭﺍﻧﻪﺳﺎﺧﺖ»ﺍﺧﺮﺍﺟﻰﻫﺎ‪«3‬ﻛﻪﺑﻪ‬ ‫ﻋﻠﺖﺑﺮﻭﺯﭘﺎﺭﻩﺍﻯﺍﺯﻣﺸﻜﻼﺕﺑﻴﻦﻛﺎﺳﻪﺳﺎﺯ ﻭﺩﻩﻧﻤﻜﻰ‪،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‬ ‫ﻭﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﻳﻦﭘﺮﻭژﻩﺑﻪﺗﺎﺧﻴﺮﺍﻓﺘﺎﺩﻩﺑﻮﺩ‪،‬ﺑﺎﺭﻓﻊﻣﺸﻜﻞﭘﻴﺶﺁﻣﺪﻩ‬ ‫ﺻﺎﺩﺭ ﺷﺪ‪ .‬ﺭﻭﺍﺑﻂﻋﻤﻮﻣﻰ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻰ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﮔﺰﺍﺭﺵ‬ ‫ﺩﺍﺩﻩ‪ »:‬ﺍﺯ ﺁﻧﺠﺎﻳﻲﻛﻪ ﻣﺸﻰ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻰ ﺑﺮ ﺍﻳﺠﺎﺩ ﻓﻀﺎﻯ ﺍﻣﻦ‬ ‫ﻭ ﭘﺎﻙ ﻭ ﺳــﺎﻟﻢ ﺩﺭ ﺣﻮﺯﻩ ﺭﻓﺘﺎﺭﻫﺎ ﻭ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺣﺮﻓﻪﺍﻯ ﺍﺳــﺖ ﺍﺯ‬ ‫ﺩﻩﻧﻤﻜﻰ ﻭ ﻛﺎﺳﻪﺳﺎﺯ ﺧﻮﺍﺳﺘﻪ ﺷﺪ ﻣﺸﻜﻼﺕ ﺑﻴﻦ ﺧﻮﺩ ﺭﺍ ﻣﺴﺘﻘﻼ‬ ‫ﺣﻞ ﻛﻨﻨﺪ ﻭ ﻣﻘﺮﺭ ﺷﺪ ﺗﺎ ﺣﻞ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺧﺒﺮ ﺻﺪﻭﺭ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ‬ ‫»ﺍﺧﺮﺍﺟﻰﻫﺎ‪ «3‬ﺭﺳﺎﻧﻪﺍﻯ ﻧﺸﻮﺩ‪ «.‬ﺑﻌﺪ ﺍﺯ ﺭﻓﻊ ﺍﻳﻦ ﻣﺸﻜﻼﺕ‪ ،‬ﭘﺮﻭﺍﻧﻪ‬ ‫ﺳﺎﺧﺖﻓﻴﻠﻢ»ﺍﺧﺮﺍﺟﻰﻫﺎ‪«3‬ﺑﻪﺗﻬﻴﻪﻛﻨﻨﺪﮔﻰﻭﻛﺎﺭﮔﺮﺩﺍﻧﻰﻣﺴﻌﻮﺩ‬ ‫ﺩﻩﻧﻤﻜﻰﺭﺳﻤﺎﺻﺎﺩﺭﺷﺪ‪.‬‬ ‫ﺑﻪ ﻧﺎﻡ ﺧﻠﻴﺞ ﻓﺎﺭﺱ‬ ‫ﺧﺒﺮ ﺑﺴﻴﺎﺭ ﺩﻳﺮﺗﺮ ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻧﺘﻈﺎﺭ ﻣﻰ ﺭﻓﺖ ﻣﻨﺘﺸﺮ ﺷﺪ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺩﺭ ﻧﺸﺴﺖ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺍﻋﻀﺎﻯ ﻫﻴﺎﺕ ﺍﺟﺮﺍﻳﻰ ﻓﺪﺭﺍﺳﻴﻮﻥ ﻫﻤﺒﺴﺘﮕﻰ‬ ‫ﻛﺸﻮﺭﻫﺎﻯ ﺍﺳﻼﻣﻰ )‪ (ISSF‬ﺑﺎ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺍﻋﺰﺍﻣﻰ ﺍﻳﺮﺍﻥ‪ ،‬ﺍﻣﺘﻴﺎﺯ ﻣﻴﺰﺑﺎﻧﻰ ﺩﻭﻣﻴﻦ ﺩﻭﺭﻩ ﺑﺎﺯﻯﻫﺎﻯ ﻫﻤﺒﺴﺘﮕﻰ ﻛﺸﻮﺭﻫﺎﻯ ﺍﺳﻼﻣﻰ ﺍﺯ ﻛﺸﻮﺭﻣﺎﻥ‬ ‫ﮔﺮﻓﺘﻪ ﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﺸﺴﺖ ﻛﻪ ﺑﺎ ﺣﻀﻮﺭ ﻣﺤﻤﺪ ﻋﻠﻰﺁﺑﺎﺩﻯ ﻭ ﺑﻬﺮﺍﻡ ﺍﻓﺸﺎﺭﺯﺍﺩﻩ )ﺭﺋﻴﺲ ﻭ ﺩﺑﻴﺮ ﻛﻤﻴﺘﻪ ﻣﻠﻰ ﺍﻟﻤﭙﻴﻚ( ﻫﻤﺮﺍﻩ ﺑﺎ ﺷﺎﻫﺮﺥ ﺷﻬﻨﺎﺯﻯ‬ ‫)ﺩﺑﻴﺮ ﻛﻤﻴﺘﻪ ﺍﺟﺮﺍﻳﻰ ﺩﻭﻣﻴﻦ ﺩﻭﺭﻩ ﺑﺎﺯﻯﻫﺎﻯ ﻫﻤﺒﺴــﺘﮕﻰ ﻛﺸــﻮﺭﻫﺎﻯ ﺍﺳــﻼﻣﻰ( ﺑﺮﮔﺰﺍﺭ ﺷــﺪ‪ ،‬ﮔﺰﺍﺭﺵ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ‪ ISSF‬ﺍﺯ ﺑﺎﺯﺩﻳﺪﻫﺎﻯ‬ ‫ﺑﻪ ﻋﻤﻞ ﺁﻣﺪﻩ ﺍﺯ ﺗﻤﺎﻡ ﺯﻳﺮﺳــﺎﺧﺖﻫﺎ‪ ،‬ﺍﻣﻜﺎﻧﺎﺕ ﻭﺭﺯﺷــﻰ ﻭ ﺗﺠﻬﻴﺰﺍﺕ ﻭ ﻧﻴﺮﻭﻯﺍﻧﺴــﺎﻧﻰ ﺍﻋــﻼﻡ ﻭ ﺁﻣﺎﺩﮔﻰ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﺑﺮﮔــﺰﺍﺭﻯ ﺍﻳﻦ ﺑﺎﺯﻯﻫﺎ‬ ‫ﺑﻪ ﻟﺤﺎﻅ ﺍﻣﻜﺎﻧﺎﺕ ﺯﻳﺮﺳــﺎﺧﺘﻰ ﻭ ﻧﻴﺮﻭﻯ ﺍﻧﺴﺎﻧﻰ ﺗﺎﻳﻴﺪ ﺷــﺪ‪.‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﺍﺧﺘﻼﻓﺎﺕ ﻣﻮﺟﻮﺩ ﻣﻴﺎﻥ ﺍﻳﺮﺍﻥ ﺑﺎ ﻛﺸــﻮﺭﻫﺎﻯ ﻋﺮﺑﻰ ﻭ ﺣﺘﻰ ‪ISSF‬‬ ‫ﻣﺒﻨﻰ ﺑــﺮ ﺣﺬﻑ ﻧﺎﻡ ﺧﻠﻴﺞ ﻓﺎﺭﺱ ﻭ ﺩﺭ ﻣﻘﺎﺑﻞ ﭘﺎﻓﺸــﺎﺭﻯ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺍﻋﺰﺍﻣﻰ ﻛﺸــﻮﺭﻣﺎﻥ ﺑــﺮ ﺩﺭﺝ ﺍﻳﻦ ﻧﺎﻡ ﺩﺭ ﻣﺪﺍﻝ ﺑﺎﺯﻯﻫــﺎ‪ ،‬ﻣﻨﺠﺮ ﺑﻪ ﻟﻐﻮ‬ ‫ﺑﺮﺍﻯ ﺑﺮﮔﺰﺍﺭﻯ ﺩﻭﻣﻴﻦ ﺩﻭﺭﻩ ﺑﺎﺯﻯﻫﺎﻯ ﻫﻤﺒﺴــﺘﮕﻰ ﻛﺸﻮﺭﻫﺎﻯ ﺍﺳﻼﻣﻰ ﺷﺪ‪ .‬ﻣﻨﺎﻗﺸﻪ ﺯﻣﺎﻧﻰ ﺁﻏﺎﺯ ﺷﺪ‬ ‫ﺍﻣﺘﻴــﺎﺯ ﻣﻴﺰﺑﺎﻧﻰ ﺍﻳﺮﺍﻥ‬ ‫ﺍﺯ ﺍﻋﻀﺎﻯ ﺣﺎﺿﺮ ﺩﺭ ﻧﺸﺴــﺖ‬ ‫ﻧﺸﺴــﺖ‪ ،‬ﻣﺨﺎﻟﻒ ﺩﺭﺝ ﻧــﺎﻡ ﺧﻠﻴﺞﻓﺎﺭﺱ ﺩﺭ ﻣــﺪﺍﺭﻙ ﻭ ﻧﻘﺶ ﻣﺪﺍﻝﻫﺎﻯ‬ ‫ﻛﻪ ﺗﻌــﺪﺍﺩﻯ‬ ‫ﻫﺎﻯ ﻛﻛﺸــﻮﺭﻫﺎﻯ ﺍﺳﻼﻣﻰ ﺑﻮﺩﻩ ﻭ ﺧﻮﺍﺳﺘﺎﺭ ﺣﺬﻑ ﺁﻥ ﺍﺯ ﺗﻤﺎﻣﻲ ﻣﺪﺍﺭﻙ‬ ‫ﺑﺎﺯﻯﻫﺎﻯ‬ ‫ﺩﻭﻣﻴﻦ ﺩﻭﺭﻩ ﺑﺎﺯﻯ‬ ‫ﻫﺎ )ﻣﺪ‬ ‫ﺑﺎﺯﻯﻫﺎ‬ ‫)ﻣﺪﺍﻝﻫﺎ‪ ،‬ﻟﻮﮔﻮﻫﺎ ﻭ ﻛﺘﺎﺑﭽﻪﻫﺎﻯ ﻓﻨﻰ ﻭ ﺳــﺎﻳﺮ ﺍﺳﻨﺎﺩ ﺑﺎﺯﻯﻫﺎ( ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺑﺎﺯﻯ‬ ‫ﺩﻟﻴﻞ ﺁﻧﻬﺎ ﺩﺭ ﺍﻳﻦ ﺯﻣ‬ ‫ﺯﻣﻴﻨﻪ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺩﻭﺭﻩ ﺍﻭﻝ ﺑﺎﺯﻯﻫﺎﻯ ﻛﺸــﻮﺭﻫﺎﻯ ﺍﺳــﻼﻣﻰ‪،‬‬ ‫ﻣــﺪﺍﺭﻙ ﺧﻮﺩ ﺍﺯ ﻋﻨﻮﺍﻥ ﻣﺠﻌــﻮﻝ »ﺧﻠﻴﺞ ﻋﺮﺑﻰ« ﺍﺳــﺘﻔﺎﺩﻩ ﻧﻜﺮﺩﻩ‬ ‫ﻋﺮﺑﺴــﺘﺎﻥ ﺩﺭ ﻣــ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﻭﻗﺘــﻰ ﺁﻥ ﺯﻣﺎﻥ ﻣﻮﺿﻮﻉ ﺩﺭﺝ ﻧﺎﻡ ﺧﻠﻴﺞ ﻋﺮﺑﻰ ﺑــﺎ ﺍﻋﺘﺮﺍﺽ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ‬ ‫ﺷــﺪ‪ ،‬ﻣﺴــﺌﻮﻻﻥ ‪ ISSF‬ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﺮﺭﺳــﻰ ﻭ ﺩﺭﺧﻮﺍﺳﺖ ﺣﺬﻑ ﻧﺎﻡ‬ ‫ﺍﻳﺮﺍﻥ ﻣﻮﺍﺟﻪ ﺷــ‬ ‫ﺧﻠﻴﺞ ﻋﺮﺑﻰ ﺭﺍ ﺍﺯ ﻋﺮﺑﺴﺘﺎﻥ ﻛﺮﺩﻧﺪ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﻧﺎﻡ »ﺧﻠﻴﺞ ﻋﺮﺑﻰ« ﺍﺯ ﻣﺪﺍﺭﻙ ﺑﺎﺯﻯﻫﺎ‬ ‫ﺣﺬﻑ ﺷــﺪ‪ .‬ﺑﻨﺎ‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﻛﻪ ﺩﺭﺝ ﻧﺎﻡ ﺧﻠﻴﺞ ﻓﺎﺭﺱ ﻣﻮﺭﺩ ﺍﻋﺘﺮﺍﺽ ﺑﺮﺧﻰ‬ ‫ﺍﺯ ﻛﺸﻮﺭﻫﺎﺳــﺖ‬ ‫ﻛﺸﻮﺭﻫﺎﺳــﺖ‪ ،‬ﺳــﺘﺎﺩ ﺑﺮﮔﺰﺍﺭﻯ ﺩﻭﻣﻴﻦ ﺩﻭﺭﻩ ﺑﺎﺯﻯﻫﺎﻯ ﻛﺸﻮﺭﻫﺎﻯ ﺍﺳﻼﻣﻰ‬ ‫ﺑﺎﻳﺪ ﻧﺴــﺒﺖ ﺑﻪ ﺣﺬﻑ ﻧﺎﻡ ﺁﻥ ﺍﺯ ﺗﻤﺎﻣﻲ ﻣﺪﺍﺭﻙ ﺍﻗﺪﺍﻡ ﻧﻤﺎﻳﺪ‪ .‬ﺍﻣﺎ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺍﻳﺮﺍﻥ‬ ‫ﻣﺨﺎﻟﻔﺖ ﻛﺮﺩﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‪ ،‬ﺍﻗﺪﺍﻡ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻛﺸﻮﺭﻣﺎﻥ ﺩﺭ ﺩﻓﺎﻉ‬ ‫ﺑﺎ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﻣﺨﺎ‬ ‫ﺍﺯ ﻧﺎﻡ ﺧﻠﻴﺞﻓﺎﺭﺱ ﺩﺭ ﺣﺎﻟﻰ ﺍﺳــﺖ ﻛﻪ ﺍﻧﺘﻘﺎﺩ ﻣﺼﻄﻔﻰ ﻫﺎﺷﻤﻰﻃﺒﺎ ﺍﺯ ﻟﻐﻮ ﺑﺎﺯﻯﻫﺎﻯ‬ ‫ﻛﺸﻮﺭﻫﺎﻯ ﺍﺳﻼﻣﻰ ﻭ ﺩﻻﻳﻠﻰ ﻛﻪ ﻣﻰﺁﻭﺭﺩ ﺍﻫﻤﻴﺖ ﺑﺎﻻﻯ ﺍﻳﻦ ﺑﺎﺯﻯﻫﺎ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ‬ ‫ﻧﻤﺎﻳﺎﻥ ﻣﻲﻛﻨﺪ‪» :‬ﻣﻦ ﻫﻤﻴﺸﻪ ﻭ ﺩﺭ ﻫﻤﻪ ﺟﺎ ﭼﻪ ﺩﺭ ﻛﺸﻮﺭﻫﺎﻯ ﻋﺮﺑﻰ ﻭ ﭼﻪ ﺩﺭ ﺩﻳﺪﺍﺭﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺑﺎ ﻣﻘﺎﻣﺎﺕ ﺳﻌﻮ‬ ‫ﺳﻌﻮﺩﻯ ﺩﺍﺷﺘﻢ ﺗﺎﻛﻴﺪ ﺑﺮ ﻧﺎﻡ ﺧﻠﻴﺞ ﻓﺎﺭﺱ ﺩﺍﺷﺘﻪﺍﻡ‪ .‬ﻣﺎ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﻴﻢ‬ ‫ﺑﻪ ﺁﻧﻬﺎ ﺑﮕﻮ‬ ‫ﺑﮕﻮﻳﻴﻢ ﺷــﻤﺎ ﭼﻴﺰﻯ ﻧﮕﻮﻳﻴﺪ‪ .‬ﺍﻣﺎ ﺑﻪ ﺧﻮﺩﻣﺎﻥ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﻳﻴﻢ ﻛﻪ‬ ‫ﺑﺎﻳﺪ ﺍﺯ ﺍﻳﻦ ﺟﻤﻠﻪ ﻣﻠﻰ ﺧﻮﺩ ﺩﻓﺎﻉﻛﻨﻴﻢ‪«.‬‬ ‫ﻣﻘﺎﻡ ﻣﻌﻈﻢ ﺭﻫﺒﺮﻱ‪:‬‬ ‫ﺧﻮﺍﺹ‪ ،‬ﺷﻔﺎﻑ ﻣﻮﺿﻊﮔﻴﺮﻱ ﻛﻨﻨﺪ‬ ‫ﺣﻀﺮﺕ ﺁﻳﺖﺍﷲ ﺧﺎﻣﻨﻪﺍﻯ ﺭﻫﺒﺮ ﻣﻌﻈﻢ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻰ ﺍﻣﺮﻭﺯ‬ ‫ﺩﺭ ﺩﻳﺪﺍﺭ ﻣﺴﺌﻮﻻﻥ ﺷﻮﺭﺍﻯ ﻫﻤﺎﻫﻨﮕﻰ ﺗﺒﻠﻴﻐﺎﺕ ﺍﺳﻼﻣﻰ ﻭ ﺭﻭﺳﺎﻯ‬ ‫ﺳﺘﺎﺩﻫﺎﻯﺩﻫﻪﻓﺠﺮﺳﺮﺍﺳﺮﻛﺸﻮﺭ‪،‬ﻣﻬﻤﺘﺮﻳﻦﻭﻳﮋﮔﻰﺍﻧﻘﻼﺏﺍﺳﻼﻣﻰ‬ ‫ﺍﻳﺮﺍﻥ ﻭ ﻣﺮﺍﺳﻢ ﺳﺎﻟﮕﺮﺩ ﺍﻧﻘﻼﺏ ﺩﺭ ﺳﻰﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺭﺍ ﺣﻀﻮﺭ ﺍﻧﺒﻮﻩ‬ ‫ﻭﻣﺘﺤﺪﻣﺮﺩﻡﺑﻪﻋﻨﻮﺍﻥﻋﻨﺎﺻﺮﺍﺻﻠﻰﺷﻜﻞﮔﻴﺮﻯﺍﻧﻘﻼﺏﺍﺳﻼﻣﻰﻭ‬ ‫ﺩﻟﺒﺴﺘﮕﻰﺁﻧﺎﻥﺑﻪﺷﻌﺎﺭﻫﺎﻯﺍﺳﺎﺳﻰﺍﻧﻘﻼﺏﺩﺍﻧﺴﺘﻨﺪﻭﺗﺎﻛﻴﺪﻛﺮﺩﻧﺪ‪:‬‬ ‫» ﺩﺭ ﺩﻭﺭﺍﻥ ﻓﺘﻨﻪﻭ ﻏﺒﺎﺭﺁﻟﻮﺩ ﺑﻮﺩﻥ ﻓﻀﺎ‪ ،‬ﻭﻇﻴﻔﻪ ﻫﻤﻪ ﺑﻪﻭﻳﮋﻩ ﺧﻮﺍﺹ‪،‬‬ ‫ﻣﻮﺿﻊﮔﻴﺮﻯ ﺷﻔﺎﻑ ﻭ ﭘﺮﻫﻴﺰ ﺍﺯ ﺳﺨﻨﺎﻥ ﻭ ﻣﻮﺍﺿﻊ ﺩﻭ ﭘﻬﻠﻮ ﺍﺳﺖ‪« .‬‬ ‫ﺭﻫﺒﺮ ﻣﻌﻈﻢﺍﻧﻘﻼﺏﺍﺳﻼﻣﻰﺩﻫﻪﻓﺠﺮﺭﺍﻳﻚﭘﺪﻳﺪﻩﻣﻨﺤﺼﺮﺑﻪﻓﺮﺩ‬ ‫ﺑﺮﺷﻤﺮﺩﻧﺪ ﻭ ﺩﺭ ﺗﺒﻴﻴﻦ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺍﻓﺰﻭﺩﻧﺪ‪» :‬ﻋﻠﺖ ﻣﻨﺤﺼﺮ ﺑﻪﻓﺮﺩ‬ ‫ﺑﻮﺩﻥ ﺩﻫﻪ ﻓﺠﺮ ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﺳﻰ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﺳﺎﻟﮕﺮﺩ‬ ‫ﺍﻧﻘﻼﺏ ﺍﺳــﻼﻣﻰ ﻫﻤﻮﺍﺭﻩ ﺑﺎ ﺣﻀﻮﺭ ﺍﻧﺒﻮﻩ ﻣﺮﺩﻣــﻰ ﺑﻮﺩﻩ ﻛﻪ ﻋﻨﺎﺻﺮ‬ ‫ﺍﺻﻠﻰ ﭘﺪﻳﺪ ﺁﻭﺭﻧﺪﻩ ﺍﻧﻘﻼﺏ ﻫﺴــﺘﻨﺪ‪ «.‬ﺣﻀﺮﺕ ﺁﻳﺖﺍﷲ ﺧﺎﻣﻨﻪﺍﻯ‬ ‫ﺣﻀﻮﺭ ﻣﻴﻠﻴﻮﻥﻫﺎ ﻧﻔﺮ ﺩﺭ‪ 22‬ﺑﻬﻤﻦ ﻫﺮﺳــﺎﻝ ﺭﺍ ﻧﺸﺎﻧﻪ ﻣﺘﻜﻰ ﺑﻮﺩﻥ‬ ‫ﺍﻧﻘﻼﺏﺑﻪﺍﻳﻤﺎﻥﻫﺎﻯﻣﺮﺩﻡﺩﺍﻧﺴﺘﻨﺪﻭﺧﺎﻃﺮﻧﺸﺎﻥﻛﺮﺩﻧﺪ‪»:‬ﻣﻌﻨﺎﻯ‬ ‫ﺍﻳﻦ ﺣﻀﻮﺭ ﺍﻧﺒﻮﻩ ﻭ ﻣﻨﺴﺠﻢ ﻫﺮﺳﺎﻟﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻰ‬ ‫ﻭ ﻧﻈﺎﻡ ﺑﺮﺧﺎﺳــﺘﻪ ﺍﺯ ﺁﻥ‪ ،‬ﻣﺘﻜﻰ ﺑﺮ ﻣﺮﺩﻡ ﻭ ﺍﻳﻤﺎﻥ ﺁﻧﺎﻥ ﺍﺳﺖ ﻭ ﻋﻠﺖ‬ ‫ﺍﺻﻠﻰ ﻧﺎﺗﻮﺍﻧﻰ ﺩﺷﻤﻨﺎﻥ ﺩﺭ ﻣﺘﺰﻟﺰﻝ ﻛﺮﺩﻥ ﻧﻈﺎﻡ ﺍﺳﻼﻣﻰ ﻧﻴﺰ ﻫﻤﻴﻦ‬ ‫ﻣﻮﺿﻮﻉ ﺍﺳﺖ‪ «.‬ﺍﻳﺸﺎﻥ ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﻭﺣﺸﺖ ﻣﺨﺎﻟﻔﺎﻥ ﻧﻈﺎﻡ ﺍﺳﻼﻣﻰ‪،‬‬ ‫ﺍﺯ ﺍﻳﻦ ﺣﻀﻮﺭ ﺧﺎﻟﺺ ﻭ ﮔﺴــﺘﺮﺩﻩ ﻣﺮﺩﻣﻰ ﺑﺎ ﮔﺮﺍﻳﺶﻫﺎ ﻭ ﺳــﻼﻳﻖ‬ ‫ﻣﺨﺘﻠﻒ‪ ،‬ﺩﺭ ﻣﻨﺎﺳــﺒﺖﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﺍﻧﻘﻼﺏ ﺑﻪ ﻭﻳﮋﻩ ﺩﻫﻪ ﻓﺠﺮ ﻭ‬ ‫‪22‬ﺑﻬﻤﻦﺍﻓﺰﻭﺩﻧﺪ‪»:‬ﺩﺷﻤﻨﺎﻥﺑﺮﺍﻯﺳﺮﭘﻮﺵﮔﺬﺍﺷﺘﻦﺑﺮﺍﻳﻦﺍﻧﺴﺠﺎﻡ‬ ‫ﻭ ﻭﺣﺪﺕ ﺗﻼﺵ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﺎ ﻛﻤﻚ ﻋﻮﺍﻣﻞ ﺧﻮﺩ ﻭ ﺩﺭ ﺗﺒﻠﻴﻐﺎﺕ ﺍﻳﻨﮕﻮﻧﻪ‬ ‫ﻭﺍﻧﻤﻮﺩ ﻛﻨﻨﺪ ﻛﻪ ﺍﻧﺴﺠﺎﻡ ﻭ ﺟﻬﺖﮔﻴﺮﻯ ﻭﺍﺣﺪ ﻣﺮﺩﻡ ﺩﭼﺎﺭ ﺍﻧﺸﻘﺎﻕ ﻭ‬ ‫ﭼﻨﺪﺩﺳﺘﮕﻰﺷﺪﻩﺍﺳﺖ‪«.‬‬ ‫ﺣﻀﺮﺕ ﺁﻳﺖ ﺍﷲ ﺧﺎﻣﻨﻪﺍﻯ‪ 22 ،‬ﺑﻬﻤﻦ ﺭﺍ ﻣﺘﻌﻠﻖ ﺑﻪ ﻣﻠﺖ ﺍﻳﺮﺍﻥ‪،‬‬ ‫ﺍﻣﺎﻡ ﺑﺰﺭﮔﻮﺍﺭ)ﺭﻩ( ﻭ ﺷﻬﺪﺍ ﺩﺍﻧﺴﺘﻨﺪ ﻭ ﺗﺎﻛﻴﺪ ﻛﺮﺩﻧﺪ‪» :‬ﺩﺷﻤﻦ ﺗﻼﺵ‬ ‫ﺩﺍﺭﺩ ﺍﻳﻦ ﺛﺮﻭﺕ ﻋﻈﻴﻢ ﻣﻠﻰ ﺭﺍ ﻣﺘﺰﻟﺰﻝ ﻛﻨﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎﻳﺪ ﺑﺎ ﺗﻤﺎﻡ ﻗﻮﺍ‬ ‫ﺩﺭ ﺻﺤﻨﻪ ﺑــﻮﺩ ﻭ ﻋﺎﻗﻼﻧﻪ ﻭ ﻣﺪﺑﺮﺍﻧﻪ ﺣﺮﻛﺖ ﻛــﺮﺩ‪ «.‬ﺭﻫﺒﺮ ﺍﻧﻘﻼﺏ‬ ‫ﺍﺳﻼﻣﻰﺷﻨﺎﺧﺖ»ﻟﺤﻈﻪﻭﻧﻴﺎﺯ«ﻭﺍﻗﺪﺍﻡﻣﺘﻨﺎﺳﺐﺑﺎﺁﻥﺭﺍﺧﺼﻮﺻﻴﺖ‬ ‫ﻭﻭﻳﮋﮔﻰﺑﺴﻴﺎﺭﻣﻬﻢﺑﺮﺷﻤﺮﺩﻧﺪﻭﺧﺎﻃﺮﻧﺸﺎﻥﻛﺮﺩﻧﺪ‪»:‬ﺑﺮﺧﻰﺍﺯﺍﻫﺎﻟﻰ‬ ‫ﻛﻮﻓﻪﻛﻪﺑﺎﻋﻨﻮﺍﻥ»ﺗﻮﺍﺑﻴﻦ«ﭼﻨﺪﻣﺎﻩﺑﻌﺪﺍﺯﺣﺎﺩﺛﻪﻋﺎﺷﻮﺭﺍﻗﻴﺎﻡﻛﺮﺩﻧﺪ‬ ‫ﻭ ﺑﻪ ﺷﻬﺎﺩﺕ ﺭﺳﻴﺪﻧﺪ‪ ،‬ﺑﻪ ﺍﻣﺎﻡ ﺣﺴﻴﻦ )ﻉ( ﺍﻳﻤﺎﻥ ﺩﺍﺷﺘﻨﺪ ﻭ ﺍﻧﺸﺎءﺍﷲ‬ ‫ﺩﺭ ﻧﺰﺩ ﺧﺪﺍﻭﻧﺪ ﻫﻢ ﻣﺎﺟﻮﺭ ﻫﺴﺘﻨﺪ ﺍﻣﺎ ﺁﻥ ﻭﻇﻴﻔﻪﺍﻯ ﺭﺍ ﻛﻪ ﺑﺎﻳﺪ ﻋﻤﻞ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩﻧﺪ ﺯﻳﺮﺍ »ﻟﺤﻈﻪ« ﻭ ﻋﺎﺷــﻮﺭﺍ ﺭﺍ ﻧﺸﻨﺎﺧﺘﻨﺪ‪«.‬‬ ‫ﺍﻳﺸــﺎﻥ‪ ،‬ﻧﻬﻢ ﺩﻯ ﺍﻣﺴــﺎﻝ ﺭﺍ ﻳﻜﻰ ﺍﺯ »ﻟﺤﻈﻪﻫﺎ« ﺩﺍﻧﺴﺘﻨﺪ ﻭ ﺗﺎﻛﻴﺪ‬ ‫ﻛﺮﺩﻧﺪ‪»:‬ﺭﺍﻫﭙﻴﻤﺎﻳﻰﻧﻬﻢﺩﻯ‪،‬ﻧﻴﺎﺯﻟﺤﻈﻪﻫﺎﺑﻮﺩﻛﻪﺷﻮﺭﺍﻯﻫﻤﺎﻫﻨﮕﻰ‬ ‫ﺗﺒﻠﻴﻐﺎﺕﺍﺳﻼﻣﻰﺑﻪﺩﺭﺳﺘﻰﺍﻗﺪﺍﻡﻛﺮﺩﻭﻣﺮﺩﻡﻧﻴﺰﺑﻪﺧﻮﺑﻰﺍﻳﻦﻧﻴﺎﺯ‬ ‫ﺭﺍ ﺗﺸﺨﻴﺺ ﺩﺍﺩﻧﺪﻭ‪ 9‬ﺩﻯﺑﻪﻳﻜﻰ ﺍﺯ ﻗﻠﻪﻫﺎﻯ ﺗﺎﺭﻳﺦ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻰ‬ ‫ﺗﺒﺪﻳﻞﺷﺪ‪«.‬ﺣﻀﺮﺕﺁﻳﺖﺍﷲﺧﺎﻣﻨﻪﺍﻯ‪ 23‬ﺗﻴﺮﺳﺎﻝ‪ 78‬ﺭﺍﻧﻴﺰﻳﻜﻰ‬ ‫ﺩﻳﮕﺮ ﺍﺯ »ﻟﺤﻈﻪﻫﺎ« ﺑﺮﺷﻤﺮﺩﻧﺪ ﻭ ﺧﺎﻃﺮﻧﺸﺎﻥ ﻛﺮﺩﻧﺪ‪» :‬ﺭﺍﻫﭙﻴﻤﺎﻳﻰ‬ ‫ﻣــﺮﺩﻡ ﺩﺭ‪ 22‬ﺑﻬﻤﻦ ﺑﺎ ﻫﻤﻪ ﻋﻈﻤﺘﻰ ﻛــﻪ ﺩﺍﺭﺩ‪ ،‬ﻳﻚ ﻛﺎﺭ ﻣﺘﻌﺎﺭﻑ ﻭ‬ ‫ﺩﺍﺭﺍﻯﺭﻭﺍﻝﻣﺸﺨﺺﺍﺳﺖﺍﻣﺎﺭﺍﻫﭙﻴﻤﺎﻳﻰ‪ 23‬ﺗﻴﺮﺳﺎﻝ‪ 78‬ﻭﻧﻬﻢﺩﻯ‬ ‫ﺍﻣﺴﺎﻝ‪،‬ﻳﻚﻛﺎﺭﻣﺘﻌﺎﺭﻑﻧﺒﻮﺩ‪«.‬ﺭﻫﺒﺮﺍﻧﻘﻼﺏﺍﺳﻼﻣﻰﺗﺎﻛﻴﺪﻛﺮﺩﻧﺪ‪:‬‬ ‫»ﺷﻨﺎﺧﺖ ﻣﻮﻗﻌﻴﺖ ﻭ ﺣﻀﻮﺭ ﺩﺭ ﻟﺤﻈﻪ ﻣﻨﺎﺳﺐ ﻭ ﻣﻮﺭﺩ ﻧﻴﺎﺯ‪ ،‬ﺍﺳﺎﺱ‬ ‫ﻫﻤﻪ ﻛﺎﺭﻫﺎﺳﺖ‪ «.‬ﺍﻳﺸﺎﻥ‪ ،‬ﻣﻮﺿﻊﮔﻴﺮﻯ ﺷﻔﺎﻑ ﻭ ﭘﺮﻫﻴﺰ ﺍﺯ ﻣﻮﺍﺿﻊ‬ ‫ﻣﺒﻬﻢ ﻭ ﺩﻭ ﭘﻬﻠﻮ ﺭﺍ ﻳﻜﻰ ﺍﺯ ﻧﻴﺎﺯﻫﺎﻯ ﻣﻬﻢ ﺩﻭﺭﺍﻥ ﻓﺘﻨﻪ ﻭ ﻏﺒﺎﺭﺁﻟﻮﺩﮔﻰ‬ ‫ﻓﻀﺎ ﺩﺍﻧﺴــﺘﻨﺪ ﻭ ﺍﻓﺰﻭﺩﻧﺪ‪» :‬ﺩﺷﻤﻨﺎﻥ ﻫﻤﻮﺍﺭﻩ ﻣﺨﺎﻟﻒ ﺷﻔﺎﻑ ﺑﻮﺩﻥ‬ ‫ﻓﻀﺎﻫﺴﺘﻨﺪﺯﻳﺮﺍﺁﻧﻬﺎﺩﺭﻓﻀﺎﻯﻏﺒﺎﺭﺁﻟﻮﺩﻭﻓﺘﻨﻪﻣﻰﺗﻮﺍﻧﻨﺪﺑﻪﺍﻫﺪﺍﻑ‬ ‫ﺧﻮﺩ ﺑﺮﺳﻨﺪ‪«.‬‬ ‫‪7‬‬ ‫ﺑﺎﺯﺗﺎﺏ‬ ‫ﺟﻮﺍﺑﻴﻪ ﺳﻌﻴﺪ ﻣﺮﺗﻀﻮﻱ ﺑﻪ ﮔﺰﺍﺭﺵ ﻛﻤﻴﺘﻪ ﺗﺤﻘﻴﻖ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ‬ ‫ﺑﺮﺍﻱ ﺩﻓﺎﻉ ﺍﺯ ﺭﺳﺎﻟﻪ ﺩﻛﺘﺮﻱ ﺩﺭ ﻣﺮﺧﺼﻲ ﺑﻮﺩﻡ‬ ‫ﺩﺭ ﭘﻲ ﺍﻧﺘﺸﺎﺭ ﮔﺰﺍﺭﺵ ﻛﻤﻴﺴﻴﻮﻥ ﻭﻳﮋﻩ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﻭﻗﺎﻳﻊ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻭ ﺫﻛﺮ ﻧﺎﻡ ﻗﺎﺿﻲ ﺳﻌﻴﺪ ﻣﺮﺗﻀﻮﻱ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﻳﻜﻲ ﺍﺯ ﻣﺘﻬﻤﺎﻥ ﻭﺍﻗﻌﻪ ﻛﻬﺮﻳﺰﻙ‪،‬ﺩﺍﺩﺳﺘﺎﻥ ﺳﺎﺑﻖ ﺗﻬﺮﺍﻥ ﺩﺭ ﺟﻮﺍﺑﻴﻪ ﺍﻱ‬ ‫ﺑﻪ ﺭﻳﻴﺲ ﻣﺠﻠﺲ ﻛﻪ ﺭﻭﻧﻮﺷــﺘﻲ ﺑﻪ ﻫﻔﺘﻪ ﻧﺎﻣﻪ ﻣﺜﻠﺚ ﻧﻴﺰ ﺍﺭﺳــﺎﻝ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﻧﺴﺒﺖ ﺑﻪ ﻣﻮﺍﺭﺩ ﻣﻨﺪﺭﺝ ﺩﺭ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﭘﺎﺳﺦ ﮔﻔﺖ‪.‬‬ ‫ﻣﺪﻳﺮﻣﺴﺌﻮﻝ ﻣﺤﺘﺮﻡ ﻫﻔﺘﻪﻧﺎﻣﻪ ﻣﺜﻠﺚ‬ ‫ﺍﺣﺘﺮﺍﻣﺎ ﺩﺭ ﭘﺎﺳــﺦ ﺑﻪ ﻣﻄﺎﻟﺐ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺩﺭ ﺁﻥ ﻫﻔﺘﻪﻧﺎﻣﻪ ﻣﺤﺘﺮﻡ‬ ‫ﭘﻴﺮﺍﻣﻮﻥ ﻣﺴــﺎﺋﻞ ﻣﺮﺑﻮﻁ ﺑﻪ ﺣﺎﺩﺛﻪ ﻧﺎﮔﻮﺍﺭ ﻛﻬﺮﻳﺰﻙ ﻭ ﺍﻧﺘﺴﺎﺏ ﻣﻄﺎﻟﺒﻲ‬ ‫ﺑﻪ ﻗﻀﺎﺕ ﺭﺳــﻴﺪﮔﻲﻛﻨﻨﺪﻩ ﺍﻏﺘﺸﺎﺷﺎﺕ ‪ 18‬ﺗﻴﺮ ‪ 88‬ﺑﻪ ﺍﺳﺘﻨﺎﺩ ﻣﺎﺩﻩ ‪23‬‬ ‫ﻗﺎﻧﻮﻥ ﻣﻄﺒﻮﻋﺎﺕ ﻫﻔﺖ ﺑﺮگ ﺟﻮﺍﺑﻴﻪ ﻣﻄﺎﻟﺐ ﻣﺬﻛﻮﺭ ﺧﻄﺎﺏ ﺑﻪ ﺭﻳﺎﺳﺖ‬ ‫ﻣﺤﺘﺮﻡ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﻛﻪ ﺭﻭﻧﻮﺷﺖ ﺁﻥ ﺑﺮﺍﻱ ﺁﻥ ﺭﺳﺎﻧﻪ ﻣﺤﺘﺮﻡ‬ ‫ﺗﻨﻈﻴﻢ ﺷﺪﻩ ﺍﺳﺖ ﺍﺭﺳﺎﻝ ﻣﻲﮔﺮﺩﺩ‪.‬‬ ‫ﺧﻮﺍﻫﺸﻤﻨﺪ ﺍﺳﺖ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﻣﺘﻌﺎﻗﺐ ﭼﺎپ ﻭ ﺍﻧﺘﺸﺎﺭ ﮔﺰﺍﺭﺵ‬ ‫ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﻨﺘﺨﺐ ﺭﻳﺎﺳﺖ ﻣﺤﺘﺮﻡ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ‬ ‫ﻛﻪ ﻭﺍﺟﺪ ﺍﺷــﺘﺒﺎﻫﺎﺕ ﻭ ﺍﺑﻬﺎﻣﺎﺗﻲ ﺑﻮﺩ ﺗﻌﺎﺑﻴﺮ ﺳــﻮء ﻭ ﻏﻴﺮﻭﺍﻗﻌﻲ ﻭ ﺑﻌﻀﺎ‬ ‫ﺍﻟﺤﺎﻕ ﻭ ﺗﺤﺮﻳﻒ ﺁﻥ ﺭﺍ ﺷــﺎﻫﺪ ﺑﻮﺩﻳﻢ‪ ،‬ﺷﺎﻳﺴــﺘﻪ ﺍﺳﺖ ﻣﻄﺎﺑﻖ ﻣﻘﺮﺭﺍﺕ‬ ‫ﻣﺎﺩﻩ ‪ 23‬ﻗﺎﻧﻮﻥ ﻣﻄﺒﻮﻋﺎﺕ ﺟﻮﺍﺑﻴﻪ ﻣﺬﻛﻮﺭ ﺑﻪﻣﻨﻈﻮﺭ ﺗﻨﻮﻳﺮ ﺍﻓﻜﺎﺭ ﻋﻤﻮﻣﻲ‬ ‫ﻭ ﺟﻠﻮﮔﻴﺮﻱ ﺍﺯ ﺍﺑﻬﺎﻡﺁﻓﺮﻳﻨﻲ ﻛﺎﺫﺏ ﺩﺭ ﻫﻤﺎﻥ ﺻﻔﺤﻪ ﻭ ﺑﺎ ﻫﻤﺎﻥ ﺷﺮﺍﻳﻂ‪،‬‬ ‫ﭼﺎپ ﻭ ﻣﻨﺘﺸﺮ ﮔﺮﺩﺩ‪.‬‬ ‫ﺳﻌﻴﺪ ﻣﺮﺗﻀﻮﻱ‬ ‫ﺩﺍﺩﺳﺘﺎﻥ ﺳﺎﺑﻖ ﻋﻤﻮﻣﻲ ﻭ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻲ‬ ‫ﺭﻳﺎﺳﺖ ﻣﺤﺘﺮﻡ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ‬ ‫ﺟﻨﺎﺏ ﺁﻗﺎﻱ ﻋﻠﻲ ﻻﺭﻳﺠﺎﻧﻲ‬ ‫ﺳﻼﻡ ﻋﻠﻴﻜﻢ‬ ‫ﻧﻈــﺮ ﺑــﻪ ﺍﻳﻨﻜــﻪ ﮔــﺰﺍﺭﺵ ﺗﻨــﻲ ﭼﻨــﺪ ﺍﺯ ﻧﻤﺎﻳﻨــﺪﮔﺎﻥ ﻣﺠﻠﺲ‬ ‫ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﻛﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ‪ 88/10/20‬ﺩﺭ ﺻﺤﻦ ﻋﻠﻨﻲ ﻗﺮﺍﺋﺖ ﮔﺮﺩﻳﺪ‬ ‫ﺩﺍﺭﺍﻱ ﺍﺷــﺘﺒﺎﻫﺎﺕ ﻭ ﻧﻘﺎﻳﺼﻲ ﺑﻮﺩ ﻛﻪ ﻣﺘﺎﺳــﻔﺎﻧﻪ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﻧﺸﺮﻳﺎﺕ ﻭ‬ ‫ﺭﺳــﺎﻧﻪﻫﺎ ﺑﺎ ﺍﻟﺤﺎﻕ ﻭ ﺟﻌﻞ ﺑﺮﺧﻲ ﻣﻄﺎﻟﺐ ﻣﻮﺭﺩ ﻧﻈﺮ ﺑﻪ ﮔﺰﺍﺭﺵ ﻣﺬﻛﻮﺭ‬ ‫ﺳــﻌﻲ ﺩﺭ ﻗﻠﺐ ﺣﻘﻴﻘﺖ ﻭ ﺁﻟﻮﺩﻩ ﻧﻤﻮﺩﻥ ﻓﻀﺎﻱ ﺭﺳــﺎﻧﻪﺍﻱ ﻧﻤﻮﺩﻧﺪ ﻭ ﺑﺎ‬ ‫ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﭘﺲ ﺍﺯ ﻗﺮﺍﺋﺖ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﻛﻪ ﺑﺮ ﺍﺳﺎﺱ ﻣﻄﺎﻟﺐ ﺁﻥ ﻫﻴﭻ‬ ‫ﺍﺗﻬﺎﻣﻲ ﻣﺘﻮﺟﻪ ﺍﻳﻨﺠﺎﻧﺐ ﻧﮕﺮﺩﻳﺪﻩ ﻣﺼﺎﺩﺭﻩ ﺑﻪ ﻣﻄﻠﻮﺏ ﻛﺮﺩﻥ ﻭ ﺗﻌﺒﻴﺮﺍﺕ‬ ‫ﻫﺪﺍﻳﺖ ﺷــﺪﻩ ﻭ ﺟﻌﻞ ﻭ ﺍﻟﺤﺎﻕ ﺩﺭ ﺑﺮﺧﻲ ﻣﻄﺒﻮﻋﺎﺕ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﺑﻪ ﺍﻧﺤﺎء‬ ‫ﻣﺨﺘﻠﻒ ﺍﺳﺘﻤﺮﺍﺭ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﺗﻮﺿﻴﺤﺎﺕ ﺫﻳﻞ ﺑﻪ ﻣﻨﻈﻮﺭ ﺟﻠﻮﮔﻴﺮﻱ ﺍﺯ‬ ‫ﻫﺮﮔﻮﻧﻪ ﺳﻮءﺍﺳﺘﻔﺎﺩﻩ ﺑﻌﺪﻱ ﻭ ﺩﺭ ﺟﻬﺖ ﺗﻨﻮﻳﺮ ﺍﻓﻜﺎﺭ ﻋﻤﻮﻣﻲ ﻭ ﺍﺳﺘﺤﻀﺎﺭ‬ ‫ﺣﻀﺮﺗﻌﺎﻟﻲ ﻭ ﺳﺎﻳﺮ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺤﺘﺮﻡ ﺍﺭﺍﺋﻪ ﻣﻲﮔﺮﺩﺩ‪.‬‬ ‫‪ -1‬ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺤﺘﺮﻡ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﺑﺮ ﺍﺳﺎﺱ ﻣﺪﺍﺭﻙ‬ ‫ﻣﺴﺘﺪﻝ ﻭ ﻣﻮﺭﺩ ﺍﺷﺎﺭﻩ ﺑﺮ ﻗﺎﻧﻮﻧﻲ ﻭ ﺭﺳﻤﻲ ﺑﻮﺩﻥ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﺩﺭ‬ ‫ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﺍﺫﻋﺎﻥ ﻧﻤﻮﺩﻧﺪ ﻭ ﺍﻇﻬﺎﺭﺍﺕ ﻣﻐﺎﻳﺮ ﺑﺎ ﺍﻳﻦ ﺍﻣﺮ ﺭﺍ ﻣﺮﺩﻭﺩ ﺩﺍﻧﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺧﺼﻮﺹ ﻻﺯﻡ ﺍﺳﺖ ﺍﺯ ﺗﻮﺟﻪ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺤﺘﺮﻡ ﺗﻘﺪﻳﺮ ﻭ ﺗﺸﻜﺮ‬ ‫ﻧﻤﻮﺩ ﻭ ﻟﻜﻦ ﺩﺭ ﻣﻮﺭﺩ ﺗﺎﺭﻳﺨﭽﻪ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﻧﻜﺎﺗﻲ ﺍﺯ ﻗﻠﻢ ﺍﻓﺘﺎﺩﻩ‬ ‫ﻛﻪ ﺑﺮﺍﻱ ﺷﻔﺎﻑﺳــﺎﺯﻱ ﺑﻴﺸﺘﺮ ﻭ ﺑﺮﻃﺮﻑ ﻧﻤﻮﺩﻥ ﺑﺮﺧﻲ ﺍﺑﻬﺎﻡﺁﻓﺮﻳﻨﻲﻫﺎ‬ ‫ﻳﺎﺩﺁﻭﺭﻱ ﺁﻥ ﻻﺯﻡ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎﺯﺩﺍﺷــﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﺍﺯ ﺯﻣﺎﻥ ﻓﺮﻣﺎﻧﺪﻫﻲ ﺳﺎﺑﻖ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ‬ ‫ﻭ ﺑﻪﻣﻨﻈﻮﺭ ﺟﻤﻊﺁﻭﺭﻱ ﻣﻨﻄﻘﻪ ﺁﻟﻮﺩﻩ ﺧﺎﻙ ﺳــﻔﻴﺪ ﺗﻬﺮﺍﻥ ﺗﺎﺳــﻴﺲ ﻭ‬ ‫ﺑــﺎ ﻣﺠﻮﺯ ﻗﺎﻧﻮﻧﻲ ﻭ ﺑﺎ ﺣﻜــﻢ ﻗﻀﺎﻳﻲ‪ ،‬ﺗﻤﺎﻣﻲ ﺩﺳﺘﮕﻴﺮﺷــﺪﮔﺎﻥ ﻣﻨﻄﻘﻪ‬ ‫ﻣﺬﻛﻮﺭ ﺩﺭ ﺁﻥ ﻣﺤﻞ ﺑﺎﺯﺩﺍﺷــﺖ ﮔﺮﺩﻳﺪﻧﺪ ﻛــﻪ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺑﻪ ﺣﺪﻭﺩ ‪10‬‬ ‫ﺳــﺎﻝ ﮔﺬﺷﺘﻪ ﻣﺮﺑﻮﻁ ﻣﻲﺷــﻮﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﭼﻨﺪ ﺳــﺎﻝ ﻗﺒﻞ ﺍﺯ ﺍﺣﻴﺎﻱ‬ ‫ﺩﺍﺩﺳــﺮﺍﻱ ﺗﻬﺮﺍﻥ ﻧﻴﺰ ﺩﺭ ﺍﻳﻦ ﻣﺤﻞ ﺑﻨﺪ ﻧﺴﻮﺍﻥ ﺗﺎﺳﻴﺲ ﻭ ﺯﻧﺎﻥ ﻓﺎﺳﺪﻱ‬ ‫ﻛﻪ ﺑﻪ ﺍﺷــﺎﻋﻪ ﻓﺤﺸــﺎ ﺩﺭ ﺗﻬﺮﺍﻥ ﻣﻲﭘﺮﺩﺍﺧﺘﻨﺪ ﭘﺲ ﺍﺯ ﺷﻨﺎﺳﺎﻳﻲ ﺗﻮﺳﻂ‬ ‫ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺑــﺎ ﺣﻜﻢ ﻗﻀﺎﻳﻲ ﺩﺭ ﺍﻳﻦ ﻣﺤﻞ ﺑﺎﺯﺩﺍﺷــﺖ ﻭ ﻧﮕﻬﺪﺍﺭﻱ‬ ‫ﻣﻲﺷﺪﻧﺪ ﻭ ﺩﺭ ﺩﻭﺭﻩﻫﺎﻱ ﺍﺧﻴﺮ ﻧﻴﺰ ﺍﻳﻦ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﺟﻬﺖ ﺍﺟﺮﺍﻱ ﻃﺮﺡ‬ ‫ﺍﻣﻨﻴــﺖ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺟﻤــﻊﺁﻭﺭﻱ ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ ﺩﺭ ﺳــﺎﻝ ‪ 86‬ﭘﺲ ﺍﺯ‬ ‫ﺑﺎﺯﺳﺎﺯﻱ ﻭ ﺳﺎﺧﺖ ﺳﺎﻟﻦﻫﺎﻱ ﺟﺪﻳﺪ ﻭ ﺗﻌﻤﻴﺮﺍﺕ ﺍﺳﺎﺳﻲ ﺟﻬﺖ ﺍﺳﺘﻘﺮﺍﺭ‬ ‫ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ ﻭ ﻓﺮﻭﺷﻨﺪﮔﺎﻥ ﻣﻮﺍﺩﻣﺨﺪﺭ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ ،‬ﺿﻤﻦ‬ ‫ﺍﻳﻨﻜﻪ ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﭘﺲ ﺍﺯ ﺑﺎﺯﺩﻳﺪ ﻣﻔﺼﻞ ﻫﻴﺎﺗﻲ ﻣﺘﺸﻜﻞ ﺍﺯ ﻣﺴﺌﻮﻻﻥ‬ ‫ﻋﺎﻟﻲ ﺭﺗﺒﻪ ﺍﻧﺘﻈﺎﻣﻲ ﻭ ﻗﻀﺎﻳﻲ ﻭ ﻧﻈﺎﺭﺗﻲ ﺍﺯ ﻣﺤﻞ ﻣﺬﻛﻮﺭ ﺑﺮ ﺍﺳﺘﻤﺮﺍﺭ ﻓﻌﺎﻟﻴﺖ‬ ‫‪8‬‬ ‫ﺍﻳﻦ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﺗﺎﻛﻴﺪ ﮔﺮﺩﻳﺪ ﻟﻜﻦ ﺍﻇﻬﺎﺭﺍﺕ ﻣﻐﺎﻳﺮ ﺑﺎ ﺍﻳﻦ ﺍﺩﻋﺎ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ‬ ‫ﻛﻠﻲ ﺩﺭ ﮔﺰﺍﺭﺵ ﻣﺬﻛﻮﺭ ﺑﻴﺎﻥ ﺷــﺪﻩ ﻭ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺤﺘﺮﻡ ﺁﻥ ﺭﺍ ﺍﺷﺘﺒﺎﻩ‬ ‫ﺩﺍﻧﺴﺘﻪﺍﻧﺪ ﺑﻪ ﻟﺤﺎﻅ ﺍﺑﻬﺎﻡ ﺩﺭ ﺑﻴﺎﻥ ﻣﻄﻠﺐ ﺷﺎﺋﺒﻪ ﺍﻧﺘﺴﺎﺏ ﺁﻥ ﺑﻪ ﻣﻘﺎﻣﺎﺕ‬ ‫ﺩﺍﺩﺳــﺘﺎﻧﻲ ﻣﺘﺒﺎﺩﺭ ﻣﻲﮔﺮﺩﺩ ﺩﺭ ﺻﻮﺭﺗﻴﻜﻪ ﺍﻳــﻦ ﺍﻇﻬﺎﺭﺍﺕ ﺑﻪ ﻣﺼﺎﺣﺒﻪ‬ ‫ﻗﺎﺋﻢ ﻣﻘﺎﻡ ﻣﺤﺘﺮﻡ ﺭﺋﻴﺲﻛﻞ ﺩﺍﺩﮔﺴﺘﺮﻱ ﺍﺳﺘﺎﻥ ﺗﻬﺮﺍﻥ ﻣﺮﺑﻮﻁ ﻣﻲﺷﻮﺩ‬ ‫ﻛﻪ ﺩﺭ ﻣﺼﺎﺣﺒﻪ ﺑﺎ ﺧﺒﺮﮔﺰﺍﺭﻱ ﺍﻳﺴﻨﺎ ﻣﻨﺘﺸﺮ ﮔﺮﺩﻳﺪ ﻭ ﺍﻳﻦ ﺍﺩﻋﺎ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎ‬ ‫ﺩﺍﺩﺳﺘﺎﻧﻲ ﺗﻬﺮﺍﻥ ﻧﺪﺍﺭﺩ‪ .‬ﻣﻀﺎﻓﺎ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻣﺼﺎﺣﺒﻪ ﻭ ﺍﻧﺘﺸﺎﺭ ﺁﻥ ﺗﻮﺳﻂ‬ ‫ﺧﺒﺮﮔﺰﺍﺭﻱ ﻣﺬﻛﻮﺭ ﻛﻪ ﻃﻲ ﺁﻥ ﺟﻨﺎﺏ ﺁﻗﺎﻱ ﺩﺭﺧﺸــﺎﻥﻧﻴﺎ ﺍﺩﻋﺎ ﻧﻤﻮﺩﻧﺪ‬ ‫ﻛﻪ ﺍﻳﻦ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻏﻴﺮﺭﺳﻤﻲ ﻭ ﻏﻴﺮﻗﺎﻧﻮﻧﻲ ﺑﻮﺩﻩ ﺍﺳﺖ ﺑﻪ ﺟﻬﺖ ﺍﺷﺘﺒﺎﻩ‬ ‫ﺑﻮﺩﻥ ﺁﻥ ﻣﻄﺎﻟﺐ ﻭ ﺳﻮءﺍﺳــﺘﻔﺎﺩﻩ ﺑﺮﺧﻲ ﺍﺯ ﺭﺳﺎﻧﻪﻫﺎﻱ ﺑﻴﮕﺎﻧﻪ ﺩﺭ ﻫﻤﺎﻥ‬ ‫ﺯﻣﺎﻥ ﻃﻲ ﺍﻃﻼﻋﻴﻪﺍﻱ ﺍﺯ ﺳﻮﻱ ﺭﻭﺍﺑﻂ ﻋﻤﻮﻣﻲ ﺩﺍﺩﺳﺘﺎﻧﻲ ﺗﻬﺮﺍﻥ ﺍﺩﻋﺎﻱ‬ ‫ﻓﻮﻕ ﺗﻜﺬﻳﺐ ﮔﺮﺩﻳﺪ ﻭ ﻣﺪﺍﺭﻙ ﺁﻥ ﻧﻴﺰ ﺍﺭﺍﺋﻪ ﺷﺪ ﻛﻪ ﺩﺭ ﺳﻮﺍﺑﻖ ﺧﺒﺮﮔﺰﺍﺭﻱ‬ ‫ﺍﻳﺴﻨﺎ ﻭ ﻣﻄﺒﻮﻋﺎﺕ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪.‬‬ ‫‪ -2‬ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺍﻳﻦ ﺍﺩﻋﺎ ﻛﻪ ﺑﺎﺯﺩﺍﺷــﺘﮕﺎﻩ ﻛﻬﺮﻳــﺰﻙ ﻇﺮﻓﻴﺖ ﻭ ﺟﺎ‬ ‫ﻧﺪﺍﺷﺘﻪ ﻭ ﻗﺎﺿﻲ ﺩﺳــﺘﻮﺭﺩﻫﻨﺪﻩ ﺍﺻﺮﺍﺭ ﺑﻪ ﭘﺬﻳﺮﺵ ﺩﺍﺷﺘﻪ ﺑﻪ ﺍﺳﺘﺤﻀﺎﺭ‬ ‫ﻣﻲﺭﺳﺎﻧﺪ‪:‬‬ ‫ﺍﻭﻻ‪ :‬ﻣﻌﺎﻭﻥ ﺩﺍﺩﺳــﺘﺎﻧﻲ ﺗﻬﺮﺍﻥ ﺩﺭ ﺍﻣﺮ ﻧﻈﺎﺭﺕ ﺑــﺮ ﺿﺎﺑﻄﻴﻦ ﻭ ﺍﻣﻮﺭ‬ ‫ﺯﻧﺪﺍﻥﻫﺎ ﻗﺒﻞ ﺍﺯ ﺍﻋﺰﺍﻡ ﻣﺘﻬﻤﻴﻦ ﺑﺎﺯﺩﺍﺷﺘﻲ ﺑﻪ ﻛﻬﺮﻳﺰﻙ ﺍﺯ ﺯﻧﺪﺍﻥ ﻣﺬﻛﻮﺭ‬ ‫ﻭ ﻣﺴﺌﻮﻟﻴﻦ ﻣﺮﺑﻮﻃﻪ ﺩﺭ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺗﻬﺮﺍﻥ ﺑﺰﺭگ ﭘﻴﺮﺍﻣﻮﻥ ﻇﺮﻓﻴﺖ‬ ‫ﺯﻣﺎﻧﻲ ﺁﻥ ﺑﺎﺯﺩﺍﺷــﺘﮕﺎﻩ ﺍﺳﺘﻌﻼﻡ ﻧﻤﻮﺩﻩ ﻛﻪ ﻣﺴــﺌﻮﻻﻥ ﻣﺮﺑﻮﻃﻪ ﺍﻋﻼﻡ‬ ‫ﻧﻤﻮﺩﻧﺪ ﺑﺎﺯﺩﺍﺷــﺘﮕﺎﻩ ﻛﻬﺮﻳــﺰﻙ ﻇﺮﻓﻴﺖ ﭘﺬﻳﺮﺵ ﻭ ﺍﺳــﻜﺎﻥ ﻭ ﺗﺪﺍﺭﻙ‬ ‫‪ 400‬ﻧﻔﺮ ﺯﻧﺪﺍﻧﻲ ﺟﺪﻳﺪ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎ ﺍﻧﺘﻘﺎﻝ ﺍﻳﻦ ﻣﻄﻠﺐ ﺑﻪ ﺩﺍﺩﺳﺮﺍﻱ‬ ‫ﺗﻬﺮﺍﻥ ﻛﻪ ﻣﺴــﺌﻮﻟﻴﻦ ﺍﻧﺘﻈﺎﻣﻲ ﻭ ﻗﻀﺎﻳﻲ ﻣﺮﺑﻮﻃﻪ ﺩﺭ ﺟﺮﻳﺎﻥ ﻛﺎﻣﻞ ﺁﻥ‬ ‫ﻫﺴــﺘﻨﺪ ﺑﺤﺚ ﻣﻄﺮﺡ ﺷﺪﻩ ﺩﺭ ﮔﺰﺍﺭﺵ ﺍﺳﺎﺳﺎ ﻛﺬﺏ ﻭ ﻋﺎﺭﻱ ﺍﺯ ﺣﻘﻴﻘﺖ‬ ‫ﺍﺳﺖ ﻭ ﺣﺴﺐ ﺍﻃﻼﻉ ﻣﺴﺌﻮﻟﻴﻦ ﺍﻧﺘﻈﺎﻣﻲ ﻭ ﻗﻀﺎﻳﻲ ﻣﺮﺑﻮﻃﻪ ﺍﻳﻦ ﺍﻣﺮ ﺭﺍ ﺑﻪ‬ ‫ﺍﺳﺘﺤﻀﺎﺭ ﺍﻋﻀﺎﻱ ﻣﺤﺘﺮﻡ ﻛﻤﻴﺘﻪ ﻭﻳﮋﻩ ﻧﻴﺰ ﺭﺳﺎﻧﻴﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺛﺎﻧﻴﺎ‪ :‬ﺭﻭﺯﻧﺎﻣﻪ ﻣﺤﺘﺮﻡ ﺟﻤﻬﻮﺭﻱ ﺍﺳﻼﻣﻲ ﻭ ﻫﻤﺸﻬﺮﻱ ﻭ ﺑﺮﺧﻲ ﺩﻳﮕﺮ‬ ‫ﺍﺯ ﺭﺳﺎﻧﻪﻫﺎ ﺩﺭ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﮔﺰﺍﺭﺵ ﻗﺮﺍﺋﺖ ﺷﺪﻩ ﺩﺭ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ‬ ‫ﺭﺍ ﺗﺤﺮﻳﻒ ﻧﻤﻮﺩﻩ ﻭ ﺑﺎ ﺍﻟﺤﺎﻕ ﻭ ﺟﻌﻞ ﻳﻚ ﭘﺮﺍﻧﺘﺰ ﺑﻪ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﺍﺯ ﺍﻳﻨﺠﺎﻧﺐ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻘﺎﻡ ﺭﺳﻴﺪﮔﻲﻛﻨﻨﺪﻩ ﻧﺎﻡ ﺑﺮﺩﻩ ﻛﻪ ﺍﻳﻦ ﺍﻣﺮ ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﮔﺰﺍﺭﺵ‬ ‫ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺍﺳﺎﺳﺎ ﻣﻘﺎﻣﻲ ﻛﻪ ﺭﺳﻴﺪﮔﻲ ﻧﻤﻮﺩﻩ‬ ‫ﻭ ﺩﺳﺘﻮﺭ ﺍﻋﺰﺍﻡ ﻭ ﻧﺎﻣﻪ ﺯﻧﺪﺍﻥ ﺑﻪ ﺍﻣﻀﺎﻱ ﺍﻭ ﺍﺳﺖ ﺩﺍﺩﻳﺎﺭ ﻣﺤﺘﺮﻡ ﺳﺎﺑﻖ ﺷﻌﺒﻪ‬ ‫ﺍﻭﻝ ﻣﻌﺎﻭﻧﺖ ﺍﻣﻨﻴﺖ ﺩﺍﺩﺳــﺮﺍﻱ ﺗﻬﺮﺍﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺻﺮﻑ ﻧﻈﺮ ﺍﺯ ﺍﻳﻨﻜﻪ‬ ‫ﺍﻗﺪﺍﻡ ﻣﺬﻛﻮﺭ ﺑﺮﺧﻼﻑ ﺍﺧﻼﻕ ﻣﻄﺒﻮﻋﺎﺗﻲ ﻭ ﺍﻣﺎﻧﺘﺪﺍﺭﻱ ﺭﺳﺎﻧﻪﺍﻱ ﺻﻮﺭﺕ‬ ‫ﮔﺮﻓﺘﻪ ﺍﺳﺎﺳــﺎ ﺑﺎ ﻫﻤﺎﻫﻨﮕﻲ ﻗﺒﻠﻲ ﻭ ﺍﻗﺪﺍﻣﺎﺕ ﺑــﻪ ﻋﻤﻞ ﺁﻣﺪﻩ ﻫﻴﭻﮔﻮﻧﻪ‬ ‫ﻣﻤﺎﻧﻌﺖ ﻳﺎ ﺍﺩﻋﺎﻳﻲ ﺩﺭ ﺧﺼﻮﺹ ﭘﺬﻳﺮﺵ ﺯﻧﺪﺍﻧﻴﺎﻥ ﻧﺒﻮﺩﻩ ﻭ ﺩﺍﺩﻳﺎﺭ ﻣﺤﺘﺮﻡ‬ ‫ﻧﻴــﺰ ﺑﻪ ﻏﻴﺮ ﺍﺯ ﻧﺎﻣﻪ ﻛﺘﺒﻲ ﻣﻌﺮﻓﻲ ﻣﺘﻬﻤﻴﻦ ﺑــﻪ ﺯﻧﺪﺍﻥ ﺗﻤﺎﺱ ﻭ ﺍﺻﺮﺍﺭﻱ‬ ‫ﻧﺪﺍﺷﺘﻪ ﻭ ﺯﻧﺪﺍﻥ ﻧﻴﺰ ﺑﺎ ﻭﺟﻮﺩ ﻧﺎﻣﻪ ﺭﺳﻤﻲ ﻭ ﻣﻌﺮﻓﻲ ﻣﺘﻬﻤﻴﻦ ﻧﻤﻲﺗﻮﺍﻧﺴﺘﻪ‬ ‫ﺍﺯ ﭘﺬﻳﺮﺵ ﺁﻧﺎﻥ ﺧﻮﺩﺩﺍﺭﻱ ﻧﻤﺎﻳﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺫﻛﺮ ﭼﻨﻴﻦ ﻣﻄﻠﺒﻲ ﺩﺭ ﮔﺰﺍﺭﺵ‬ ‫ﺑﺪﻭﻥ ﺗﺤﻘﻴﻖ ﻭ ﻣﺒﺘﻨﻲ ﺑﺮ ﺍﺷﺘﺒﺎﻩ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻣﻲﺑﺎﺷﺪ‪.‬‬ ‫‪ -3‬ﺩﺭ ﮔﺰﺍﺭﺵ ﻗﺮﺍﺋﺖ ﺷــﺪﻩ ﺍﺷــﺎﺭﻩ ﮔﺮﺩﻳﺪﻩ ﻛﻪ ﻳﻜــﻲ ﺍﺯ ﻣﺘﻬﻤﻴﻦ‬ ‫ﻓﻮﺕ ﺷــﺪﻩ ﺑﺪﻭﻥ ﺑﺎﺯﺟﻮﻳﻲ ﺑﻪ ﺯﻧﺪﺍﻥ ﻣﻌﺮﻓﻲ ﮔﺮﺩﻳﺪﻩ ﺍﺳــﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ‬ ‫ﭘﺮﻭﻧﺪﻩ ﻗﻀﺎﻳﻲ ﻭ ﺍﻧﺘﻈﺎﻣﻲ ﻧﺎﻣﺒﺮﺩﻩ ﺍﻳﻦ ﺍﺩﻋﺎ ﻛﺎﻣﻼ ﺍﺷــﺘﺒﺎﻩ ﻭ ﻏﻴﺮﻭﺍﻗﻌﻲ‬ ‫ﺍﺳــﺖ‪ .‬ﻓﺮﺩ ﻣﺬﻛﻮﺭ ﭘــﺲ ﺍﺯ ﺑﺎﺯﺟﻮﻳﻲ ﺍﻧﺘﻈﺎﻣﻲ ﻭ ﮔــﺰﺍﺭﺵ ﺣﻀﻮﺭ ﻭﻱ‬ ‫ﺩﺭ ﺻﺤﻨﻪ ﺍﻏﺘﺸﺎﺷــﺎﺕ ﻭ ﻧﺤﻮﻩ ﺩﺳــﺘﮕﻴﺮﻱ ﺗﻮﺳــﻂ ﺩﺍﺩﻳــﺎﺭ ﻣﺤﺘﺮﻡ‬ ‫ﺷﻌﺒﻪ ﺍﻭﻝ ﺩﺍﺩﺳﺮﺍﻱ ﺍﻣﻨﻴﺖ ﺑﺎﺯﺟﻮﻳﻲ ﻭ ﺗﻔﻬﻴﻢ ﺍﺗﻬﺎﻡ ﮔﺮﺩﻳﺪﻩ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ‬ ‫ﻗﺮﺍﺭ ﺑﺎﺯﺩﺍﺷﺖ ﻣﻮﻗﺖ ﻭﻱ ﺻﺎﺩﺭ ﻭ ﭘﺮﻭﻧﺪﻩ ﺑﻪ ﺍﺳﺘﺤﻀﺎﺭ ﻣﻌﺎﻭﻧﺖ ﻣﺤﺘﺮﻡ‬ ‫ﺍﻣﻨﻴﺖ ﺩﺍﺩﺳﺮﺍ ﻣﻲﺭﺳﺪ‪ .‬ﭘﺲ ﺍﺯ ﻣﻮﺍﻓﻘﺖ ﺑﺎ ﻗﺮﺍﺭ ﺑﺎﺯﺩﺍﺷﺖ ﻣﻮﻗﺖ ﻣﺮﺍﺗﺐ‬ ‫ﺑﻪ ﻣﺘﻬﻢ ﺍﺑﻼﻍ ﺳﭙﺲ ﻧﺎﻣﻪ ﺍﻋﺰﺍﻡ ﻭﻱ ﺑﻪ ﺯﻧﺪﺍﻥ ﺗﻨﻈﻴﻢ ﻣﻲﮔﺮﺩﺩ ﺑﻨﺎﺑﺮﺍﻳﻦ‬ ‫ﺑﺎ ﻣﻼﺣﻈﻪ ﭘﺮﻭﻧﺪﻩ ﺍﻧﺘﻈﺎﻣﻲ ﻭ ﻗﻀﺎﻳﻲ ﻣﺸــﺎﺭﺍﻟﻴﻪ ﺍﺷﺘﺒﺎﻩ ﺑﻮﺩﻥ ﮔﺰﺍﺭﺵ‬ ‫ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺠﻠﺲ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﻤﻴﺘﻪ ﻭﻳﮋﻩ ﻗﺮﺍﺋﺖ ﮔﺮﺩﻳﺪ‬ ‫ﺩﺭ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﻣﺤﺮﺯ ﻣﻲﺑﺎﺷﺪ‪.‬‬ ‫‪ -4‬ﺩﺭﺧﺼﻮﺹ ﺍﻇﻬﺎﺭﻧﻈﺮ ﺑﻌﺪﻱ ﺩﺭ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﻣﺒﻨﻲ ﺑﺮ ﺍﻳﻨﻜﻪ ﺍﻋﺰﺍﻡ‬ ‫ﺗﻌﺪﺍﺩ ‪ 147‬ﻧﻔﺮ ﺍﺯ ﺩﺳﺘﮕﻴﺮﺷــﺪﮔﺎﻥ ‪ 18‬ﺗﻴﺮ ﺭﺍ ﺑﻪ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ‬ ‫ﺍﺷﺘﺒﺎﻩ ﺩﺍﻧﺴــﺘﻪﺍﻧﺪ ﻧﻜﺎﺕ ﺫﻳﻞ ﺭﺍ ﺑﻪ ﻣﻨﻈﻮﺭ ﺗﻨﻮﻳﺮ ﺷﺮﺍﻳﻂ ﺯﻣﺎﻧﻲ ﻣﺬﻛﻮﺭ‬ ‫ﺑﻪ ﺍﺳﺘﺤﻀﺎﺭ ﻣﻲﺭﺳﺎﻧﺪ‪:‬‬ ‫ﺍﻭﻻ‪ :‬ﺗﻌﺪﺍﺩ ﺑﺎﺯﺩﺍﺷﺖﺷﺪﮔﺎﻥ ﺍﻏﺘﺸﺎﺷﺎﺕ ﻭ ﺁﺷﻮﺏﻫﺎﻱ‪ 18‬ﺗﻴﺮ ﻣﻘﺎﺑﻞ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺗﻬﺮﺍﻥ ﺣﺪﻭﺩ ‪ 380‬ﻧﻔﺮ ﺑﻮﺩﻩ ﻛﻪ ﻗﻀﺎﺕ ﺩﺍﺩﺳﺮﺍ ﭘﺲ ﺍﺯ ﺑﺎﺯﺟﻮﻳﻲ‬ ‫ﻭ ﺑﺮﺭﺳﻲ ﭘﺮﻭﻧﺪﻩﻫﺎﻱ ﺑﺎﺯﺩﺍﺷﺖﺷﺪﮔﺎﻥ ﺗﻌﺪﺍﺩ ‪ 80‬ﻧﻔﺮ ﺍﺯ ﺁﻧﺎﻥ ﻛﻪ ﺍﻇﻬﺎﺭ‬ ‫ﻧﺪﺍﻣﺖ ﺩﺍﺷــﺘﻨﺪ ﻭ ﺩﺧﺎﻟﺖ ﺁﻧﻬﺎ ﺩﺭ ﺗﺤﺮﻳﻖ ﺍﻣﻮﺍﻝ ﻭ ﺗﺨﺮﻳﺐ ﻭ ﺍﻳﺠﺎﺩ ﺑﻠﻮﺍ‬ ‫ﻛﻤﺘﺮ ﺑﻮﺩ ﺁﺯﺍﺩ ﻧﻤﻮﺩﻧﺪ‪.‬‬ ‫ﻟﺬﺍ ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﺗﺎﻛﻴﺪ ﺍﻳﻨﺠﺎﻧﺐ ﻣﺒﻨﻲ ﺑــﺮ ﺍﻳﻨﻜﻪ ﻓﻘﻂ ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ‬ ‫ﻣﻮﺛﺮ ﺩﺭ ﺁﺷﻮﺏ ﻭ ﺑﻠﻮﺍ ﻭ ﺗﺨﺮﻳﺐ ﺍﻣﻮﺍﻝ ﻋﻤﻮﻣﻲ ﺑﻪ ﻛﻬﺮﻳﺰﻙ ﺍﻋﺰﺍﻡ ﺷﻮﻧﺪ‬ ‫ﺍﺯ ﺣــﺪﻭﺩ ‪ 300‬ﻧﻔﺮ ﺑﺎﻗﻴﻤﺎﻧــﺪﻩ ‪ 153‬ﻧﻔﺮ ﺁﻧﺎﻥ ﺑﻪ ﺍﻭﻳﻦ ﺍﻋﺰﺍﻡ ﺷــﺪﻧﺪ ﻭ‬ ‫‪ 147‬ﻧﻔﺮ ﺑﺎﺯﺩﺍﺷﺖﺷــﺪﮔﺎﻥ ﺑﺮﺍﺳــﺎﺱ ﮔﺰﺍﺭﺵ ﻧﻴﺮﻭﻫﺎﻱ ﺩﺭ ﺻﺤﻨﻪ ﻭ‬ ‫ﺍﻇﻬﺎﺭﺍﺕ ﺁﻧﺎﻥ ﺩﺭ ﭘﺎﺳــﺦ ﺑﻪ ﺗﻔﻬﻴﻢ ﺍﺗﻬﺎﻣﺎﺕ ﻭﺍﺭﺩﻩ ﻭ ﺑﻪ ﺩﻟﻴﻞ ﻧﺒﻮﺩ ﻣﻜﺎﻥ‬ ‫ﺧﺎﻟﻲ ﺩﺭ ﺍﻭﻳﻦ ﻭ ﺍﺿﻄﺮﺍﺭ ﺯﻣﺎﻧﻲ ﻣﺬﻛﻮﺭ ﺑﻪ ﻛﻬﺮﻳﺰﻙ ﺍﻋﺰﺍﻡ ﺷﺪﻧﺪ‪.‬‬ ‫ﺛﺎﻧﻴﺎ‪ :‬ﺍﻓــﺮﺍﺩﻱ ﺩﺭ ﺭﻭﺯ ‪ 18‬ﺗﻴﺮ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎﻱ ﺍﻃﺮﺍﻑ ﺩﺍﻧﺸــﮕﺎﻩ ﺑﺎ‬ ‫ﻓﺮﺍﺧﻮﺍﻥ ﺭﺳﺎﻧﻪﻫﺎﻱ ﺑﻴﮕﺎﻧﻪ ﻭ ﺿﺪ ﺍﻧﻘﻼﺏ ﺑﻪ ﺁﺷﻮﺏ ﻭ ﺍﻏﺘﺸﺎﺵ ﭘﺮﺩﺍﺧﺘﻪ‬ ‫ﻭ ﺑﺎ ﭼﺎﻗﻮ ﻭ ﻗﻤﻪ ﺗﻌﺪﺍﺩ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﺍﺯ ﭘﺮﺳﻨﻞ ﭘﻠﻴﺲ ﺭﺍ ﻣﻀﺮﻭﺏ ﻛﺮﺩﻧﺪ‬ ‫ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﺭﺳﻴﺪﮔﻲ ﺑﻪ ﺍﺗﻬﺎﻡ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﭘﺮﺳﻨﻞ ﭘﻠﻴﺲ ﺍﻣﻨﻴﺖ‬ ‫ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻭ ﺩﺭ ﻭﺿﻌﻴﺖ ﻛﻤﺎ ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﺩﻧﺪ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ‪ 147‬ﻧﻔﺮ ﺍﺯ ﺍﻓﺮﺍﺩ ﻣﻮﺭﺩ ﺍﺷﺎﺭﻩ ﮔﺰﺍﺭﺵ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ‬ ‫ﺍﻛﺜﺮﺍ ﺩﺭ ﺯﻣﺮﻩ ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ ﻭﺍﻗﻌﻲ ﻛﻪ ﺑﻪ ﻭﺳﻴﻠﻪ ﺳﻼﺡ ﺳﺮﺩ ﻭ ﻣﻮﺍﺩ ﺁﺗﺶﺯﺍ‬ ‫ﺑﻪ ﺻﻮﺭﺕ ﻋﻠﻨﻲ ﻧﻈﻢ ﻭ ﺍﻣﻨﻴﺖ ﺷــﻬﺮﻭﻧﺪﺍﻥ ﺭﺍ ﻣﺨﺘﻞ ﻭ ﻭﺳﺎﻳﻞ ﻧﻘﻠﻴﻪ ﺁﻧﺎﻥ‬ ‫ﺭﺍ ﺗﺨﺮﻳﺐ ﻭ ﭘﻠﻴﺲ ﺭﺍ ﺑﺎ ﭼﺎﻗــﻮ ﻭ ﻗﻤﻪ ﻣﻀﺮﻭﺏ ﻭ ﺍﻣﻮﺍﻝ ﻋﻤﻮﻣﻲ ﺭﺍ ﺑﻪ ﺁﺗﺶ‬ ‫ﻛﺸﻴﺪﻩﺍﻧﺪ ﻗﺮﺍﺭ ﺩﺍﺷــﺘﻪ ﻛﻪ ﺍﻋﺰﺍﻡ ﺁﻧﺎﻥ ﺑﻪ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﺑﺮ ﺍﺳﺎﺱ‬ ‫ﻃﺒﻘﻪﺑﻨﺪﻱ ﺍﻳﻦ ﻣﺤﻞ ﺻﺤﻴﺢ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﻫﻴﭻﮔﻮﻧﻪ ﺍﺷــﺘﺒﺎﻫﻲ‬ ‫ﺭﺥ ﻧﺪﺍﺩﻩ ﺍﺳــﺖ‪ .‬ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﺗﺼﺎﻭﻳﺮ ﭘﻠﻴﺲ ﺍﻣﻨﻴﺖ ﺍﺯ ﺍﻏﺘﺸﺎﺷــﺎﺕ ‪18‬‬ ‫ﺗﻴﺮ ﺧﻴﺎﺑﺎﻥﻫﺎﻱ ﺍﻃﺮﺍﻑ ﺩﺍﻧﺸــﮕﺎﻩ ﺗﻬﺮﺍﻥ ﻭ ﺷﺮﺡ ﺍﻗﺪﺍﻣﺎﺕ ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ‬ ‫ﺩﺳﺘﮕﻴﺮ ﺷﺪﻩ ﺑﺮ ﺍﺳﺎﺱ ﮔﺰﺍﺭﺵ ﭘﻠﻴﺲ ﻣﻮﻳﺪ ﺍﻳﻦ ﻣﻄﻠﺐ ﺍﺳﺖ‪.‬‬ ‫ﺛﺎﻟﺜﺎ‪ :‬ﺑﺎﺯﺩﺍﺷــﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﻳﻚ ﻣﻜﺎﻥ ﺭﺳــﻤﻲ ﻭ ﻗﺎﻧﻮﻧﻲ ﺑﻮﺩﻩ ﻛﻪ‬ ‫ﺩﺭ ﮔﺰﺍﺭﺵ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺠﻠﺲ ﺷــﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﻧﻴﺰ ﺑﺮ ﺁﻥ ﺗﺎﻛﻴﺪ ﺷﺪﻩ‬ ‫ﺍﺳﺖ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﺍﺳﺎﺳــﺎ ﺩﺭ ﻗﺎﻧﻮﻥ ﻣﺠﺎﺯﺍﺕ ﺍﺳﻼﻣﻲ ﺗﻌﺮﻳﻔﻲ ﺍﺯ‬ ‫ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ ﻧﺸــﺪﻩ ﺗﺎ ﺑﺘﻮﺍﻥ ﺍﻓﺮﺍﺩﻱ ﺭﺍ ﺑﻨﺎ ﺑﻪ ﺗﻌﺮﻳﻒ ﻗﺎﻧﻮﻧﻲ ﺍﺯ ﺷﻤﻮﻝ‬ ‫ﺁﻥ ﺧﺎﺭﺝ ﻛﺮﺩ ﺗﺎﻛﻴﺪ ﺍﻳﻨﺠﺎﻧﺐ ﺑﻪ ﻗﻀﺎﺕ ﺭﺳﻴﺪﮔﻲ ﻛﻨﻨﺪﻩ ﻣﺒﻨﻲﺑﺮ ﺍﻳﻨﻜﻪ‬ ‫ﻓﻘﻂ ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ ﺩﺳﺘﮕﻴﺮ ﺷﺪﻩ ﺑﻪ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﺍﻋﺰﺍﻡ ﺷﻮﻧﺪ ﻭ‬ ‫ﺍﺯ ﺍﻋﺰﺍﻡ ﺍﻓﺮﺍﺩ ﺗﺤﺼﻴﻠﻜﺮﺩﻩ ﻳﺎ ﺩﺍﻧﺸﺠﻮ ﺑﻪ ﺍﻳﻦ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﭘﺮﻫﻴﺰ ﮔﺮﺩﺩ ﻳﻚ‬ ‫ﺩﺳﺘﻮﺭ ﺩﺍﺧﻠﻲ ﺑﻮﺩﻩ ﻭ ﭼﻨﺎﻧﭽﻪ ﺳﺎﻳﺮ ﻣﺘﻬﻤﻴﻦ ﻧﻴﺰ ﺑﺮ ﺍﺳﺎﺱ ﺗﺼﻤﻴﻢ ﻗﺎﺿﻲ‬ ‫ﺭﺳﻴﺪﮔﻲﻛﻨﻨﺪﻩ ﺑﻪ ﺍﻳﻦ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﺍﻋﺰﺍﻡ ﺷﻮﻧﺪ ﺍﺯ ﻣﻨﻈﺮ ﻗﺎﻧﻮﻧﻲ ﺑﻪ ﻟﺤﺎﻅ‬ ‫ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻳﻚ ﻣﻜﺎﻥ ﺭﺳﻤﻲ ﻭ ﻗﺎﻧﻮﻧﻲ ﺍﺳﺖ ﺗﺨﻠﻒ ﺍﻧﺘﻈﺎﻣﻲ‬ ‫ﻣﺤﺴــﻮﺏ ﻧﻤﻲﺷــﻮﺩ‪ .‬ﻫﻤﺎﻧﮕﻮﻧﻪ ﻛﻪ ﻗﻀﺎﺕ ﻣﺤﺘﺮﻡ ﺭﺳﻴﺪﮔﻲﻛﻨﻨﺪﻩ‬ ‫ﺑــﻪ ﺍﺗﻔﺎﻕ‪ ،‬ﺑﻪﺻﻮﺭﺕ ﻛﺘﺒﻲ ﻭ ﺷــﻔﺎﻫﻲ ﺩﺭ ﺩﻓﺎﻋﻴﺎﺕ ﺧــﻮﺩ ﺑﻪ ﺩﺍﺩﮔﺎﻩ ﻭ‬ ‫ﺩﺍﺩﺳﺮﺍﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻗﻀﺎﺕ ﺍﻋﻼﻡ ﻧﻤﻮﺩﻩﺍﻧﺪ ﺍﻳﻨﺠﺎﻧﺐ ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﺍﺩﺳﺘﺎﻥ‬ ‫ﺳﺎﺑﻖ ﺗﻬﺮﺍﻥ ﭼﻪ ﺩﺭ ﺟﻠﺴﺎﺕ ﻋﻤﻮﻣﻲ ﻗﻀﺎﺕ ﻭﻳﮋﻩ ﺍﻣﻨﻴﺖ ﻭ ﭼﻪ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ‬ ‫ﺩﺳﺘﮕﻴﺮﺷﺪﮔﺎﻥ ‪ 18‬ﺗﻴﺮ ﺗﺎﻛﻴﺪ ﺑﺮ ﻃﺒﻘﻪﺑﻨﺪﻱ ﻣﺘﻬﻤﻴﻦ ﺩﺍﺷﺘﻪ ﻭ ﺻﺮﻳﺤﺎ‬ ‫ﺑــﻪ ﺁﻧﺎﻥ ﺍﺑﻼﻍ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻛﻪ ﺗﻨﻬﺎ ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ ﻛﻪ ﺑﺮﺍﺳــﺎﺱ ﮔﺰﺍﺭﺵ‬ ‫ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺍﻗﺪﺍﻣﺎﺕ ﺧﻄﺮﻧﺎﻛﻲ ﺭﺍ ﻣﺮﺗﻜﺐ ﺷﺪﻩﺍﻧﺪ ﺑﻪ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ‬ ‫ﻛﻬﺮﻳﺰﻙ ﺍﻋﺰﺍﻡ ﻭ ﺍﺯ ﻣﻌﺮﻓﻲ ﺳــﺎﻳﺮ ﺍﻓﺮﺍﺩ ﺩﺭ ﺩﺭﺟﺎﺕ ﭘﺎﻳﻴﻦﺗﺮ ﺧﻮﺩﺩﺍﺭﻱ‬ ‫ﻧﻤﺎﻳﻨﺪ ﻛﻪ ﺍﺯ ﺑﻴﻦ ‪ 300‬ﻧﻔﺮ ﻣﺘﻬﻢ ﺑﺎﺯﺩﺍﺷﺘﻲ ﻛﻪ ﺩﻻﻳﻞ ﺍﻧﺘﺴﺎﺏ ﺍﺗﻬﺎﻡ ﺑﻪ‬ ‫ﺁﻧﺎﻥ ﻣﻮﺟﻮﺩ ﺑﻮﺩﻩ ﺑﻴﺶ ﺍﺯ ‪ 150‬ﻧﻔﺮ ﺟﺪﺍﺳﺎﺯﻱ ﻭ ﺑﻪ ﺍﻭﻳﻦ ﺍﻋﺰﺍﻡ ﻭ ﺍﺯ ﺗﻌﺪﺍﺩ‬ ‫‪ 147‬ﻧﻔﺮ ﺍﻋﺰﺍﻣﻲ ﺑﻪ ﻛﻬﺮﻳﺰﻙ ﺩﺍﺩﻳﺎﺭ ﻣﺤﺘﺮﻡ ﺭﺳﻴﺪﮔﻲﻛﻨﻨﺪﻩ ﺩﺭ ﺭﺍﺑﻄﻪ‬ ‫ﺑﺎ ﺣﺪﻭﺩ ﻫﻔﺖ ﻧﻔﺮ ﺍﺷــﺘﺒﺎﻩ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺁﻥ ﻫــﻢ ﺩﺭ ﺩﻓﺎﻋﻴﻪ ﺧﻮﺩ ﻋﺪﻡ‬ ‫ﻣﻌﺮﻓﻲ ﺻﺤﻴﺢ ﻭ ﻛﺘﻤﺎﻥ ﻫﻮﻳﺖ ﻭﺍﻗﻌﻲ ﺗﻮﺳﻂ ﻣﺘﻬﻤﻴﻦ ﺭﺍ ﺩﻟﻴﻞ ﺍﻳﻦ ﺍﻣﺮ‬ ‫ﺩﺍﻧﺴــﺘﻪ ﺍﺳــﺖ ﻛﻪ ﺍﻳﻦ ﭼﻨﺪ ﻧﻔﺮ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻣﺪﺭﻙ ﺩﻳﭙﻠﻢ ﻭ ﺷﻐﻞ ﺁﺯﺍﺩ ﻳﺎ‬ ‫ﺑﻴﻜﺎﺭ ﻣﻌﺮﻓﻲ ﻧﻤﻮﺩﻩﺍﻧﺪ ﻛﻪ ﺑﺮﺭﺳﻲ ﺑﻌﺪﻱ ﭘﺮﻭﻧﺪﻩﻫﺎﻱ ﺍﺗﻬﺎﻣﻲ ﻧﺎﻣﺒﺮﺩﮔﺎﻥ‬ ‫ﻧﻴﺰ ﮔﻮﻳﺎﻱ ﻫﻤﻴﻦ ﻣﻄﻠﺐ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﭽﻨﻴــﻦ ﻻﺯﻡ ﺑﻪ ﺫﻛﺮ ﺍﺳــﺖ‪ :‬ﺩﺭ ﺑﺮﺭﺳــﻲﻫﺎﻱ ﻛﻤﻴﺘﻪ ﻣﻨﺘﺨﺐ‬ ‫ﺣﻀﺮﺗﻌﺎﻟﻲ ﻫﺮﭼﻨﺪ ﺑﺮ ﺩﻟﺠﻮﻳﻲ ﺍﺯ ﺣﺪﻭﺩ ‪ 140‬ﻧﻔﺮ ﺍﺯ ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ ﻛﻪ ﺩﺭ‬ ‫‪ 18‬ﺗﻴﺮ ﺑﺎ ﭼﺎﻗﻮ ﻭ ﻗﻤﻪ ﻧﻈﻢ ﻭ ﺍﻣﻨﻴﺖ ﻣﺮﺩﻡ ﺭﺍ ﺑﻪ ﻣﺨﺎﻃﺮﻩ ﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺍﻣﻮﺍﻝ‬ ‫ﻋﻤﻮﻣﻲ ﻭ ﺧﺼﻮﺻﻲ ﺭﺍ ﺑﻪ ﺁﺗﺶ ﻛﺸﻴﺪﻧﺪ ﺗﺎﻛﻴﺪ ﮔﺮﺩﻳﺪﻩ ﻭﻟﻲ ﺍﺯ ﻣﺎﻣﻮﺭﻳﻦ‬ ‫ﺟﺎﻥ ﺑﺮ ﻛﻒ ﭘﻠﻴﺲ ﻛﻪ ﺗﻮﺳﻂ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﻣﻀﺮﻭﺏ ﻭ ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺑﺴﺘﺮﻱ‬ ‫ﺑﻮﺩﻩﺍﻧﺪ ﻣﻼﻗﺎﺕ ﻭ ﺣﺘﻲ ﻳﺎﺩﻱ ﻫﻢ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺟﺎﻱ ﺍﻳﻦ ﺗﺬﻛﺮ‬ ‫ﺧﺎﻟﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻫﺮ ﺯﻣﺎﻧﻲ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺬﻛﻮﺭ ﺑﻪ ﺯﻧﺪﺍﻥ ﺍﻭﻳﻦ ﻣﺮﺍﺟﻌﻪ‬ ‫ﻧﻤﻮﺩﻧﺪ ﺷــﺎﻫﺪ ﺑﻮﺩﻧﺪ ﻗﻀﺎﺗﻲ ﻛﻪ ﺑﺎ ﺗﻌﺎﺑﻴﺮ ﻏﻴﺮﻭﺍﻗﻌﻲ ﻭ ﺑﺮﺩﺍﺷــﺖﻫﺎﻱ‬ ‫ﺷﺨﺼﻲ ﺍﺯ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﻣﻮﺭﺩ ﻫﺠﻤﻪ ﺗﺒﻠﻴﻐﻲ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ ﺗﺎ ﻧﻴﻤﻪ ﺷﺐ‬ ‫ﻭ ﺣﺘﻲ ﺳﺎﻋﺎﺕ ﺍﻭﻟﻴﻪ ﺑﺎﻣﺪﺍﺩ ﺩﺭ ﺯﻧﺪﺍﻥ ﻣﺸــﻐﻮﻝ ﺭﺳﻴﺪﮔﻲ ﺑﻪ ﺍﺗﻬﺎﻣﺎﺕ‬ ‫ﺍﻏﺘﺸﺎﺷﮕﺮﺍﻥ ﻭ ﺗﻜﻤﻴﻞ ﭘﺮﻭﻧﺪﻩ ﻭ ﻣﻘﺪﻣﺎﺕ ﻣﺤﺎﻛﻤﻪ ﻭ ﺗﻌﻘﻴﺐ ﻋﻮﺍﻣﻞ ﻓﺘﻨﻪ‬ ‫ﺑﻮﺩﻩﺍﻧﺪ ﻛﻪ ﺑﻌﻀﺎ ﻣﻼﻗﺎﺕ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺤﺘﺮﻡ ﻧﻴﺰ ﺗﺎ ﻫﻤﺎﻥ ﺳﺎﻋﺎﺕ ﺷﺐ‬ ‫ﺑﻪﻃﻮﻝ ﻣﻲﺍﻧﺠﺎﻣﻴﺪ‪ .‬ﺷﺎﻳﺴﺘﻪ ﻧﻴﺴﺖ ﺍﻣﻨﻴﺖ ﺭﻭﺍﻧﻲ ﻭ ﺣﻴﺜﻴﺖ ﻗﻀﺎﺗﻲ ﻛﻪ‬ ‫ﺩﺭ ﺯﻣﺎﻥ ﻓﺘﻨﻪ ﻭ ﺁﺷﻮﺏ ﺑﺎ ﺗﻤﺎﻡ ﺗﻮﺍﻥ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﺷﺒﺎﻧﻪﺭﻭﺯﻱ ﻫﻤﻪ ﻫﺴﺘﻲ‬ ‫ﺧــﻮﺩ ﺭﺍ ﺩﺭ ﺟﻬﺖ ﺍﻧﺠﺎﻡ ﻭﻇﺎﻳﻒ ﻗﺎﻧﻮﻧﻲ ﻭ ﺷــﺮﻋﻲ ﻭ ﻣﻠﻲ ﻭﻗﻒ ﻧﻤﻮﺩﻧﺪ‬ ‫ﺍﻻﻥ ﺑﺪﻭﻥ ﺩﻟﻴﻞ ﻗﺎﻧﻮﻧﻲ ﺁﻣﺎﺝ ﺗﺒﻠﻴﻐﺎﺕ ﻣﺴﻤﻮﻡ ﻭ ﺍﺗﻬﺎﻡﺍﻓﻜﻨﻲ ﻭ ﺗﺨﺮﻳﺐ‬ ‫ﺑﺮﺧﻲ ﻣﻄﺒﻮﻋﺎﺕ ﻭ ﺭﺳــﺎﻧﻪﻫﺎﻳﻲ ﻗﺮﺍﺭ ﺑﮕﻴﺮﻧﺪ ﻛﻪ ﺳﺎﻝﻫﺎﺳﺖ ﺑﺮﺍﻱ ﺍﻳﻦ‬ ‫ﺍﻧﺘﻘﺎﻡﺟﻮﻳﻲ ﻟﺤﻈﻪﺷﻤﺎﺭﻱ ﻛﺮﺩﻩ ﻭ ﻣﺘﺮﺻﺪ ﻓﺮﺻﺖ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺷﺎﻫﺪ ﺍﻳﻦ ﻣﺪﻋﺎ ﺣﺠﻢ ﺳــﻨﮕﻴﻦ ﮔﺰﺍﺭﺷــﺎﺕ ﺧﺒﺮﻱ ﻭ ﺑﺮﻧﺎﻣﻪﻫﺎﻱ‬ ‫ﺗﺤﻠﻴﻠﻲ ﺗﻬﻴﻪ ﻭ ﭘﺨﺶ ﺷﺪﻩ ﻋﻠﻴﻪ ﺍﻳﻨﺠﺎﻧﺐ ﺗﻮﺳﻂ ﺷﺒﻜﻪ ﺻﺪﺍﻱ ﺁﻣﺮﻳﻜﺎ‬ ‫‪) VOA‬ﺍﺭﮔﺎﻥ ﺳــﺎﺯﻣﺎﻥ ﺳــﻴﺎ(‪ BBC ،‬ﻭ ﺑﻴﺎﻧﻴﻪ ﺳــﺎﺯﻣﺎﻥ ﺻﻬﻴﻮﻧﻴﺴﺘﻲ‬ ‫ﺩﻳﺪﻩﺑﺎﻥ ﺣﻘﻮﻕ ﺑﺸﺮ ﻭ ﻣﺘﻬﻤﻴﻦ ﻓﺮﺍﺭﻱ ﻭ ﻣﻌﺎﻧﺪ ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﺍﺧﻴﺮ ﺍﺳﺖ‬ ‫ﻛﻪ ﮔﻮﻳﺎﻱ ﻧﺒﺮﺩ ﺗﻤﺎﻡ ﻋﻴﺎﺭ ﺗﺒﻠﻴﻐﻲ ﻭ ﺭﻭﺍﻧﻲ ﺩﺷﻤﻨﺎﻥ ﻗﺴﻢ ﺧﻮﺭﺩﻩ ﺍﻧﻘﻼﺏ‬ ‫ﺟﻬﺖ ﺍﻧﺘﻘﺎﻡ ﺍﺯ ﺩﻭﺭﺍﻥ ﺗﻌﻘﻴﺐ ﻭ ﻣﺤﺎﻛﻤــﻪ ﻋﻮﺍﻣﻞ ﺑﻴﮕﺎﻧﻪ ﻭ ﺿﺪﺍﻧﻘﻼﺏ‬ ‫ﻓﺮﺍﺭﻱ ﻣﻲﺑﺎﺷﺪ‪.‬‬ ‫ﮔﺰﺍﺭﺵ ﻛﻤﻴﺘﻪ ﻣﻨﺘﺨﺐ ﺣﻀﺮﺗﻌﺎﻟﻲ ﻣﺒﻬﻢ ﻭ ﺩﺍﺭﺍﻱ ﻣﻮﺍﺭﺩ ﺍﺷﺘﺒﺎﻫﻲ‬ ‫ﺑﻮﺩ ﻛﻪ ﺯﻣﻴﻨﻪ ﺍﻳﻦ ﺳﻮءﺍﺳﺘﻔﺎﺩﻩ ﺗﺒﻠﻴﻐﻲ ﺭﺍ ﻓﺮﺍﻫﻢ ﻛﺮﺩ ﻭ ﻧﻜﺎﺕ ﺍﺳﺎﺳﻲ ﻭ‬ ‫ﻭﺍﻗﻌﻴﺖﻫﺎﻱ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭ ﻧﻴﺰ ﻣﻮﺭﺩ ﺍﺷﺎﺭﻩ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺖ‪.‬‬ ‫ﻟﺬﺍ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﻻﺯﻡ ﺍﺳــﺖ ﻗﻀﺎﺕ ﻭﻳﮋﻩﺍﻱ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﻓﺘﻨﻪ ﻭ‬ ‫ﺗﻮﻃﺌﻪ ﻣﺤﺎﺭﺑﻴﻦ ﻭ ﺩﺷﻤﻨﺎﻥ ﻧﻈﺎﻡ ﻣﻘﺪﺱ ﺟﻤﻬﻮﺭﻱ ﺍﺳﻼﻣﻲ ﺍﺯ ﻫﺮ ﻧﻮﻉ‬ ‫ﺗﻼﺷﻲ ﺩﺭ ﺟﻬﺖ ﺧﻨﺜﻲ ﻛﺮﺩﻥ ﺍﻳﻦ ﺁﺷﻮﺏﻫﺎ ﺩﺭﻳﻎ ﻧﻜﺮﺩﻧﺪ ﻣﻮﺭﺩ ﺣﻤﺎﻳﺖ‬ ‫ﻭﻛﻼﻱ ﻣﻠﺖ ﺑﺎﺷﻨﺪ ﻭ ﺍﻣﻨﻴﺖ ﺷﻐﻠﻲ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺑﺪﻭﻥ ﺍﺛﺒﺎﺕ ﻛﻮﭼﻚﺗﺮﻳﻦ‬ ‫ﺗﺨﻠﻔﻲ ﺻﺮﻓﺎ ﺑﺮ ﺍﺳﺎﺱ ﺟﻮﺳﺎﺯﻱ ﺑﺮﺧﻲ ﺍﺯ ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﮔﻤﺎﻧﻪﺯﻧﻲ ﺍﻓﺮﺍﺩﻱ‬ ‫ﻛﻪ ﺑﺎ ﺁﻧﻬﺎ ﺧﺼﻮﻣﺖ ﺩﺍﺭﻧﺪ ﻣﻮﺭﺩ ﺗﻬﺪﻳﺪ ﻗﺮﺍﺭ ﻧﮕﻴﺮﺩ‪ .‬ﺍﻣﻴﺪ ﺍﺳــﺖ ﺑﺎ ﺗﺪﺍﺑﻴﺮ‬ ‫ﺣﻀﺮﺗﻌﺎﻟﻲ ﺍﺯ ﺍﺩﺍﻣﻪ ﺍﻳﻨﮕﻮﻧﻪ ﺍﻗﺪﺍﻣﺎﺕ ﺗﺨﺮﻳﺒﻲ ﺟﻠﻮﮔﻴﺮﻱ ﺑﻪ ﻋﻤﻞ ﺁﻣﺪﻩ ﻭ‬ ‫ﻣﻄﺎﻟﺐ ﻣﺬﻛﻮﺭ ﻣﻄﺎﺑﻖ ﺁﻳﻴﻦﻧﺎﻣﻪ ﺩﺍﺧﻠﻲ ﻣﺠﻠﺲ ﻣﺤﺘﺮﻡ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ‬ ‫ﺑﻪ ﺍﺳﺘﺤﻀﺎﺭ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺤﺘﺮﻡ ﺑﺮﺳﺪ‪.‬‬ ‫ﺩﺭ ﭘﺎﻳــﺎﻥ ﺑﺎﺗﻮﺟــﻪ ﺑﻪ ﺍﻳﻨﻜــﻪ ﺍﻧﮕﻴﺰﻩ ﺍﺻﻠــﻲ ﺭﺳــﺎﻧﻪﻫﺎﻱ ﻣﻌﺎﻧﺪ ﻭ‬ ‫ﺿﺪ ﺍﻧﻘﻼﺏ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸــﻮﺭ ﻭ ﺑﺮﺧﻲ ﻣﺠﺮﻣﻴﻦ ﻓﺮﺍﺭﻱ ﻛﻪ ﺳﺎﻋﺖﻫﺎ ﺩﺭ‬ ‫ﺟﻬﺖ ﺗﺨﺮﻳﺐ ﻭ ﺟﻮﺳــﺎﺯﻱ ﻋﻠﻴﻪ ﺍﻳﻨﺠﺎﻧﺐ ﭘــﺲ ﺍﺯ ﻗﺮﺍﺋﺖ ﺍﻳﻦ ﮔﺰﺍﺭﺵ‬ ‫ﺑﺮﻧﺎﻣﻪﺳﺎﺯﻱ ﻛﺮﺩﻧﺪ ﺍﻧﺘﻘﺎﻡﺟﻮﻳﻲ ﺍﺯ ﺩﻭﺭﺍﻥ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﻓﺘﻨﻪﮔﺮﻱ ﺁﻧﺎﻥ ﺩﺭ‬ ‫ﺯﻣﺎﻥ ﺗﺼﺪﻱ ﺷــﻌﺒﻪ ‪ 1410‬ﻭ ﺍﻳﺎﻡ ﺩﺍﺩﺳﺘﺎﻧﻲ ﺗﻬﺮﺍﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﻓﺎﺭﻍ ﺍﺯ‬ ‫ﻣﺤﺘﻮﺍﻱ ﮔﺰﺍﺭﺵ ﻣﺬﻛــﻮﺭ ﻭ ﻣﻄﺎﻟﺐ ﻓﻮﻕﺍﻟﺬﻛﺮ ﺗﻮﺿﻴﺤﺎﺗﻲ ﺭﺍ ﺩﺭ ﺭﺍﺑﻄﻪ‬ ‫ﺑﺎ ﻣﺒﺎﺣﺜﻲ ﻛﻪ ﺍﻳﻨﮕﻮﻧﻪ ﺭﺳﺎﻧﻪﻫﺎ ﺑﺎ ﻗﻠﺐ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﺳﻌﻲ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺩﻥ‬ ‫ﻣﻮﺿﻮﻉ ﻛﻬﺮﻳﺰﻙ ﺑﻪ ﺍﻳﻨﺠﺎﻧﺐ ﺩﺍﺭﻧﺪ ﺑﻪ ﺍﺳﺘﺤﻀﺎﺭ ﻣﻲﺭﺳﺎﻧﺪ‪:‬‬ ‫‪ -1‬ﺍﺳﺎﺳﺎ ﻋﻤﺪﻩ ﻣﺪﺗﻲ ﻛﻪ ‪ 147‬ﻧﻔﺮ ﺍﺯ ﻣﺘﻬﻤﻴﻦ ﺁﺷﻮﺏﻫﺎﻱ ‪ 18‬ﺗﻴﺮ‬ ‫ﺩﺭ ﻛﻬﺮﻳﺰﻙ ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﺩﻧﺪ ﺍﻳﻨﺠﺎﻧﺐ ﺩﺭ ﻣﺮﺧﺼﻲ ﺑﻮﺩﻡ ﻭ ﺍﻳﻦ ﻣﺮﺧﺼﻲ‬ ‫ﺑﻪ ﻟﺤﺎﻅ ﺍﻳﻨﻜﻪ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﻳﺎﻡ ﺩﻓﺎﻉ ﺍﺯ ﺭﺳﺎﻟﻪ ﺩﻛﺘﺮﻱ ﺍﺳﺖ ﺍﺯ ‪ 5‬ﻣﺎﻩ ﻗﺒﻞ‬ ‫ﺗﻨﻈﻴﻢ ﻭ ﺗﺎﺭﻳﺦ ﺩﻓﺎﻉ ﺍﺯ ﺳــﻮﻱ ﺩﺍﻧﺸﮕﺎﻩ ﺍﻋﻼﻡ ﺷــﺪﻩ ﺑﻮﺩ ﻟﺬﺍ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ‬ ‫ﺍﻳﻨﻜﻪ ﺍﻳﻨﺠﺎﻧﺐ ﺩﺭ ﺷــﺶ ﻣﺎﻩ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﺗﺎﺭﻳﺦ ﺑﻪ ﻟﺤﺎﻅ ﺿﺮﻭﺭﺕ ﻛﺎﺭﻱ‬ ‫ﻭ ﺯﻣﺎﻧﻲ ﺍﺯ ﻣﺮﺧﺼﻲ ﺑﺮﺍﻱ ﻫﻴﭻ ﻣﻮﺿﻮﻋﻲ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻡ ﺍﻳﻦ ﭼﻨﺪ‬ ‫ﺭﻭﺯ ﺩﺭ ﻣﺤﻞ ﻛﺎﺭ ﻧﺒﻮﺩﻩ ﻭ ﺩﺭ ﻣﺮﺧﺼﻲ ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﺩﻡ ﻟﺬﺍ ﺍﻧﺘﺴﺎﺏ ﻣﻄﺎﻟﺐ‬ ‫ﻣﻮﺭﺩ ﺍﺷﺎﺭﻩ ﺑﺮﺧﻲ ﺭﺳﺎﻧﻪﻫﺎ ﺑﻪ ﻓﺮﺩﻱ ﻛﻪ ﺩﺭ ﺍﻳﺎﻡ ﻣﺬﻛﻮﺭ ﺩﺭ ﻣﺮﺧﺼﻲ ﺑﻮﺩﻩ‬ ‫ﺍﺷﺘﺒﺎﻫﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺭﻭﻱ ﻏﺮﺽﻭﺭﺯﻱ ﻃﺮﺍﺣﻲ ﻣﻲﮔﺮﺩﺩ‪.‬‬ ‫‪ -2‬ﻗﺒــﻞ ﺍﺯ ﺍﻋــﺰﺍﻡ ‪ 147‬ﻧﻔــﺮ ﻣﺘﻬﻢ ﻣﻮﺭﺩ ﺍﺷــﺎﺭﻩ ﺑﻪ ﺑﺎﺯﺩﺍﺷــﺘﮕﺎﻩ‬ ‫ﻛﻬﺮﻳﺰﻙ ﺍﻳﻨﺠﺎﻧﺐ ﭘﺲ ﺍﺯ ﺷــﺮﻛﺖ ﺩﺭ ﺟﻠﺴــﻪ ﺻﺒﺢ ﺭﻭﺯ ﺟﻤﻌﻪ ﻣﻮﺭﺥ‬ ‫‪ 88/4/19‬ﻛﻤﻴﺘﻪ ﺳﻴﺎﺳــﻲ ﻭ ﺍﻣﻨﻴﺘﻲ ﺷﻮﺭﺍﻱ ﻋﺎﻟﻲ ﺍﻣﻨﻴﺖ ﻣﻠﻲ ﻭ ﻃﺮﺡ‬ ‫ﻣﻮﺿﻮﻉ ﺩﺭ ﺟﻠﺴــﻪ ﻣﺬﻛﻮﺭ ﺑﺎ ﻣﻌﺎﻭﻧﺖ ﺍﻣﻨﻴﺖ ﺩﺍﺩﺳﺮﺍﻱ ﺗﻬﺮﺍﻥ ﻭ ﻗﺎﺿﻲ‬ ‫ﺭﺳﻴﺪﮔﻲ ﻛﻨﻨﺪﻩ ﺗﻤﺎﺱ ﮔﺮﻓﺘﻪ ﻭ ﺗﺎﻛﻴﺪ ﻧﻤﻮﺩﻡ ﺑﺎ ﺑﺮﺭﺳﻲ ﺩﻗﻴﻖ ﭘﺮﻭﻧﺪﻩﻫﺎ‬ ‫ﺗﻨﻬﺎ ﺍﻓﺮﺍﺩﻱ ﻛﻪ ﺑﺎ ﭼﺎﻗﻮ ﻭ ﻗﻤﻪ ﺩﺭ ﺍﻏﺘﺸﺎﺷــﺎﺕ ﺷــﺮﻛﺖ ﺩﺍﺷﺘﻪ ﻭ ﺍﻣﻮﺍﻝ‬ ‫ﺧﺼﻮﺻﻲ ﻭ ﻋﻤﻮﻣﻲ ﻣﺮﺩﻡ ﺭﺍ ﺑﻪ ﺁﺗﺶ ﻛﺸﻴﺪﻧﺪ ﻭ ﺩﺭ ﺯﻣﺮﻩ ﺍﺭﺍﺫﻝ ﻭ ﺍﻭﺑﺎﺵ‬ ‫ﻫﺴــﺘﻨﺪ ﺗﺎ ﺯﻣﺎﻥ ﺗﺪﺍﺭﻙ ﺟــﺎ ﺩﺭ ﺍﻭﻳﻦ ﺑﻪ ﺻﻮﺭﺕ ﻣﻮﻗــﺖ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﻪ‬ ‫ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﺍﻋﺰﺍﻡ ﻧﻤﺎﻳﻨﺪ ﻭ ﺗﺎﻛﻴﺪ ﻣﻀﺎﻋﻒ ﻧﻤﻮﺩﻡ ﭼﻨﺎﻧﭽﻪ ﺍﻓﺮﺍﺩ‬ ‫ﺗﺤﺼﻴﻠﻜﺮﺩﻩ ﻳﺎ ﺩﺍﻧﺸــﺠﻮ ﺩﺭ ﺑﻴﻦ ﺑﺎﺯﺩﺍﺷﺖﺷﺪﮔﺎﻥ ﺑﺎﺷﻨﺪ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ‬ ‫ﺑﻪ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﺍﻋﺰﺍﻡ ﻧﺸﻮﻧﺪ ﺍﻳﻦ ﺍﻣﺮ ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﻻﻳﺤﻪ ﻣﻌﺎﻭﻧﺖ‬ ‫ﺍﻣﻨﻴﺖ ﺩﺍﺩﺳﺮﺍﻱ ﺗﻬﺮﺍﻥ ﻭ ﺩﺍﺩﻳﺎﺭ ﻭ ﻗﺎﺿﻲ ﻭﻳﮋﻩ ﺭﺳﻴﺪﮔﻲﻛﻨﻨﺪﻩ ﺧﻄﺎﺏ‬ ‫ﺑﻪ ﺩﺍﺩﮔﺎﻩ ﻭ ﺩﺍﺩﺳــﺮﺍﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻗﻀﺎﺕ ﺁﻣﺪﻩ ﻭ ﻗﻀــﺎﺕ ﻣﺬﻛﻮﺭ ﺑﺮ ﺍﻳﻦ‬ ‫ﺍﺑﻼﻍ ﻭ ﺗﺎﻛﻴﺪ ﺍﻳﻨﺠﺎﻧﺐ ﺑﻪﺻﻮﺭﺕ ﺷﻔﺎﻫﻲ ﻭ ﻛﺘﺒﻲ ﺑﺎﺭﻫﺎ ﺍﺫﻋﺎﻥ ﻧﻤﻮﺩﻩﺍﻧﺪ‬ ‫ﺑﻠﻜﻪ ﺍﻳﻨﺠﺎﻧﺐ ﺩﺭ ﺟﻠﺴــﺎﺕ ﻣﺨﺘﻠﻒ ﻗﺒﻞ ﺍﺯ ﺣﺎﺩﺛﻪ ‪ 18‬ﺗﻴﺮ ‪ 1388‬ﻭ ﺩﺭ‬ ‫ﺍﻳﺎﻡ ﺍﻏﺘﺸﺎﺷــﺎﺕ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺩﺭ ﺟﻤﻊ ﺳﺎﻳﺮ ﻗﻀﺎﺕ ﻭﻳﮋﻩ ﻭ ﻣﺪﻳﺮﺍﻥ‬ ‫ﻧﻮﺍﺣﻲ ﻣﺨﺘﻠﻒ ﺩﺍﺩﺳﺮﺍ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺯﻧﺪﺍﻥ ﺍﻭﻳﻦ ﻓﺎﻗﺪ ﻇﺮﻓﻴﺖ ﭘﺬﻳﺮﺵ‬ ‫ﺑﺎﺯﺩﺍﺷــﺖ ﺷــﺪﮔﺎﻥ ﺍﻳﺎﻡ ﻣﺨﺘﻠﻒ ﺑﻮﺩ ﻫﻤﻴﻦ ﺗﺎﻛﻴﺪ ﺭﺍ ﺩﺍﺷﺘﻢ ﻛﻪ ﺛﺒﺖ‬ ‫ﻭ ﺿﺒﻂ ﮔﺮﺩﻳﺪﻩ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭ ﺍﺳــﺖ‪ .‬ﺑﺪﻳﻬﻲ ﺍﺳــﺖ ﭼﻨﺎﻧﭽﻪ ﻗﺎﺿﻲ‬ ‫ﻭﻳﮋﻩ ﺭﺳــﻴﺪﮔﻲﻛﻨﻨﺪﻩ ﺩﺭ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﻗﺼﻮﺭ ﻳﺎ ﺍﺷﺘﺒﺎﻫﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺗﻮﺟﻪ‬ ‫ﺑﻪ ﺗﺸﻜﻴﻞ ﭘﺮﻭﻧﺪﻩ ﺩﺭ ﺩﺍﺩﺳﺮﺍﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻗﻀﺎﺕ ﻣﻲﺑﺎﻳﺴﺖ ﭘﺎﺳﺨﮕﻮﻱ‬ ‫ﺗﺼﻤﻴﻢ ﻗﻀﺎﻳﻲ ﺧﻮﺩ ﺑﺎﺷــﺪ‪ .‬ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﺍﺑــﻼﻍ ﻭ ﺗﺎﻛﻴﺪ ﺍﻳﻨﺠﺎﻧﺐ ﺩﺭ‬ ‫ﻃﺒﻘﻪﺑﻨﺪﻱ ﻣﺘﻬﻤﻴﻦ ﺑﻪ ﺷﺮﺡ ﻓﻮﻕ ﻳﻚ ﺩﺳﺘﻮﺭ ﺩﺍﺧﻠﻲ ﺑﻮﺩﻩ ﻛﻪ ﺑﻪﻣﻮﺟﺐ‬ ‫ﻗﺎﻧﻮﻥ ﺣﺘﻲ ﺗﺨﻄﻲ ﺍﺯ ﺁﻥ ﺑﻪ ﻟﺤﺎﻅ ﺍﻳﻨﻜﻪ ﺑﺎﺯﺩﺍﺷــﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﻣﻜﺎﻧﻲ‬ ‫ﻗﺎﻧﻮﻧﻲ ﻭ ﺭﺳﻤﻲ ﺑﻮﺩﻩ ﺗﺨﻠﻒ ﺍﻧﺘﻈﺎﻣﻲ ﺍﺯ ﺳﻮﻱ ﺩﺍﺩﻳﺎﺭ ﺭﺳﻴﺪﮔﻲﻛﻨﻨﺪﻩ‬ ‫ﻣﺤﺴﻮﺏ ﻧﻤﻲﮔﺮﺩﺩ‪.‬‬ ‫‪ -3‬ﺣﺎﺩﺛﻪ ﺩﻟﺨﺮﺍﺷــﻲ ﻛﻪ ﺩﺭ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﺭﺥ ﺩﺍﺩ ﻳﻚ ﺭﻭﻳﺪﺍﺩ‬ ‫ﺍﺳﺘﺜﻨﺎﻳﻲﺑﻮﺩﻛﻪﻫﻴﭻﺳﺎﺑﻘﻪﺍﻱﺩﺭﻃﻮﻝ‪10‬ﺳﺎﻝﮔﺬﺷﺘﻪﻧﺪﺍﺷﺘﻪﺍﺳﺖ‪.‬ﺩﺭ‬ ‫ﺷﺶﻣﺎﻩﻗﺒﻞﺍﺯﺍﻳﻦﺣﺎﺩﺛﻪﻣﻴﺎﻧﮕﻴﻦﺣﺪﻭﺩ‪ 300‬ﻧﻔﺮﻣﺘﻬﻢﺩﺭﺍﻳﻦﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ‬ ‫ﻧﮕﻬﺪﺍﺭﻱﺷﺪﻩﻛﻪﺣﺘﻲﺑﺪﻭﻥﻫﻤﺎﻫﻨﮕﻲﺍﻳﻨﺠﺎﻧﺐﻳﻜﻲﺍﺯﺷﻌﺒﺎﺕﺑﺎﺯﭘﺮﺳﻲ‬ ‫ﺩﺍﺩﺳــﺮﺍﻱ ﺍﻧﻘﻼﺏ ﺗﻬﺮﺍﻥ ﺣﺪﻭﺩ‪ 25‬ﻧﻔﺮ ﻣﺘﻬﻢ ﺩﺭ ﻣﺪﺕ ﭼﻨﺪ ﻫﻔﺘﻪ ﺑﻪ ﺍﻳﻦ‬ ‫ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩﺍﻋﺰﺍﻡﻭﻣﺠﺪﺩﺍﭘﺲﺍﺯﺗﺪﺍﺭﻙﺟﺎﺩﺭﺯﻧﺪﺍﻥﺍﻭﻳﻦﺑﻪﺗﻬﺮﺍﻥﻣﻨﺘﻘﻞ‬ ‫ﻣﻲﻧﻤﺎﻳﺪﻛﻪﻫﻴﭻﮔﻮﻧﻪﺷﻜﺎﻳﺖﻳﺎﺣﺎﺩﺛﻪﺍﻱﺩﺭﺑﺮﻧﺪﺍﺷﺘﻪﺍﺳﺖ‪.‬ﺍﺯﻣﻴﺎﻧﮕﻴﻦ‬ ‫‪ 300‬ﻧﻔﺮ ﻣﺘﻬﻤﻲ ﻛﻪ ﺩﺭ ﺷــﺶ ﻣﺎﻩ ﻗﺒﻞ ﺍﺯ ﺣﺎﺩﺛﻪ ﺩﺭ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ‬ ‫ﻧﮕﻬﺪﺍﺭﻱﻣﻲﺷﺪﻧﺪﺑﺮﺍﺳﺎﺱﻧﺎﻣﻪﺭﺳﻤﻲﻧﻴﺮﻭﻱﺍﻧﺘﻈﺎﻣﻲﺑﻴﺶﺍﺯﻧﻮﺩﻭﭘﻨﺞ‬ ‫ﺩﺭﺻﺪﺁﻧﻬﺎﺍﺯﺳﻮﻱﺷﻬﺮﺳﺘﺎﻥﻫﺎﻱﺍﺳﺘﺎﻥﺗﻬﺮﺍﻥﻛﻪﺯﻳﺮﻧﻈﺮﺍﻳﻨﺠﺎﻧﺐﻧﺒﻮﺩﻩﺍﻧﺪ‬ ‫ﺑﺪﻭﻥﻫﻤﺎﻫﻨﮕﻲﺑﺎﺩﺍﺩﺳﺘﺎﻧﻲﺗﻬﺮﺍﻥﺑﻪﺍﻳﻦﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩﺍﻋﺰﺍﻡﺷﺪﻧﺪﻛﻪﻫﻴﭻ‬ ‫ﺭﺑﻄﻲﺑﻪﺩﺍﺩﺳﺮﺍﻱﺗﻬﺮﺍﻥﻧﺪﺍﺭﺩﻭﻋﻠﺖﺍﺯﺩﺣﺎﻡﻣﺘﻬﻤﻴﻦﻛﻪﺩﺭﮔﺰﺍﺭﺵﻣﺠﻠﺲ‬ ‫ﻣﺤﺘﺮﻡ ﺁﻣﺪﻩ ﺍﺳﺖ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﺍﺩﺳﺮﺍﻱ ﺗﻬﺮﺍﻥ ﻧﺒﻮﺩﻩ ﺩﺭ ﻧﻬﺎﻳﺖ ﭼﻮﻥ ﺑﺮﺧﻲ‬ ‫ﻧﻤﺎﻳﻨﺪﮔﺎﻧﻲﻛﻪﺍﻳﻦﮔﺰﺍﺭﺵﺭﺍﻫﺪﺍﻳﺖﻣﻲﻛﺮﺩﻧﺪﺣﺴﺎﺳﻴﺘﻲﻧﺴﺒﺖﺑﻪﺳﺎﻳﺮ‬ ‫ﻣﻘﺎﻣﺎﺕ ﻗﻀﺎﻳﻲ ﺍﺳﺘﺎﻥ ﺗﻬﺮﺍﻥ ﻧﺪﺍﺭﻧﺪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻛﻠﻲ ﻣﺴﻜﻮﺕ‬ ‫ﮔﺬﺍﺷﺘﻪﻭﺑﻪﻧﺤﻮﻱﮔﺰﺍﺭﺵﺗﻨﻈﻴﻢﮔﺮﺩﻳﺪﻩﻛﻪﺍﻳﻦﺍﻣﺮﻧﻴﺰﺑﻪﺩﺍﺩﺳﺮﺍﻱﺗﻬﺮﺍﻥ‬ ‫ﻣﺮﺗﺒﻂ ﮔﺮﺩﺩﺩﺭﺻﻮﺭﺗﻲﻛﻪ ﺍﻳﻨﺠﺎﻧﺐﺩﺭ ﺍﻋﺰﺍﻡﺑﻴﺶﺍﺯ‪ 290‬ﻧﻔﺮﺍﺯ ﺑﺎﺯﺩﺍﺷﺖ‬ ‫ﺷﺪﮔﺎﻥﺩﺭﻛﻬﺮﻳﺰﻙﺩﺭﺷﺶﻣﺎﻩﮔﺬﺷﺘﻪﻧﻪﺗﻨﻬﺎﻫﻴﭻﮔﻮﻧﻪﺩﺳﺘﻮﺭﻱﻧﺪﺍﺩﻩ‬ ‫ﺑﻮﺩﻡﺑﻠﻜﻪﺑﺪﻭﻥﻫﻤﺎﻫﻨﮕﻲﻭﺍﻃﻼﻉﺍﻳﻨﺠﺎﻧﺐﺍﺯﺳﻮﻱﺳﺎﻳﺮﺷﻬﺮﺳﺘﺎﻥﻫﺎﻱ‬ ‫ﺍﺳﺘﺎﻥﺗﻬﺮﺍﻥﻛﻪﺯﻳﺮﻧﻈﺮﺩﺍﺩﮔﺴﺘﺮﻱﻛﻞﺍﺳﺘﺎﻥﺗﻬﺮﺍﻥﻫﺴﺘﻨﺪﺻﻮﺭﺕﮔﺮﻓﺘﻪ‬ ‫ﺍﺳﺖ ﻭ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺷﻬﺮﺳﺘﺎﻥﻫﺎﻱ ﻣﺬﻛﻮﺭ ﺩﺭ ﮔﺰﺍﺭﺵ ﻭ ﻧﺎﻣﻪ ﺭﺳﻤﻲ ﻧﻴﺮﻭﻱ‬ ‫ﺍﻧﺘﻈﺎﻣﻲﺣﺘﻲﺍﺩﻋﺎﻱﻫﻤﺎﻫﻨﮕﻲﻭﺍﺧﺬﺍﺟﺎﺯﻩﺍﺯﺍﻳﻨﺠﺎﻧﺐﺭﺍﻧﻴﺰﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫ﻟﺬﺍ ﻣﺴﺎﺋﻞ ﻣﻄﺮﻭﺣﻪ ﺩﺭ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﺩﺭ ﺍﻳﺎﻡ ﻣﺬﻛﻮﺭ ﻧﻪ ﺗﻨﻬﺎ‬ ‫ﻫﻴﭻﮔﻮﻧﻪ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎ ﺍﻳﻨﺠﺎﻧﺐ ﻧﺪﺍﺷﺘﻪ ﺑﻠﻜﻪ ﺑﺨﺸﻨﺎﻣﻪ ﺭﻳﺎﺳﺖ ﻣﺤﺘﺮﻡ‬ ‫ﻗﻮﻩ ﻗﻀﺎﺋﻴﻪ ﻧﻴﺰ ﺩﺭ ﻟﺰﻭﻡ ﻫﻤﺎﻫﻨﮕﻲ ﺩﺭ ﺍﻋﺰﺍﻡ ﻣﺘﻬﻤﻴﻦ ﺑﻪ ﺍﻳﻦ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ‬ ‫ﺍﺯ ﺳﻮﻱ ﺷﻬﺮﺳﺘﺎﻥﻫﺎﻱ ﻣﻮﺭﺩ ﺍﺷــﺎﺭﻩ ﺩﺭ ﻧﺎﻣﻪ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺭﻋﺎﻳﺖ‬ ‫ﻧﮕﺮﺩﻳﺪﻩ ﺍﺳﺖ ﻭﻟﻲ ﭼﻮﻥ ﺣﺴﺎﺳﻴﺖ ﻭ ﺍﻧﮕﻴﺰﻩﻫﺎﻱ ﺳﻴﺎﺳﻲ ﻣﻌﻄﻮﻑ ﺑﻪ‬ ‫ﺩﺍﺩﺳﺘﺎﻧﻲ ﺗﻬﺮﺍﻥ ﺍﺳــﺖ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﻣﺮﺍﺗﺐ ﻓﻮﻕ ﺩﺭ ﺩﺳﺘﻮﺭ ﺭﺳﻴﺪﮔﻲ‬ ‫ﻛﻤﻴﺘﻪ ﻣﺬﻛﻮﺭ ﻧﺒﻮﺩﻩ ﻭ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥ ﺍﻇﻬﺎﺭﻧﻈﺮﻱ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ -4‬ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﭘﻴﮕﻴﺮﻱ ﺑﺮﺧﻲ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺤﺘﺮﻡ ﻛﻪ ﭘﺲ ﺍﺯ ﺣﺪﻭﺩ‬ ‫‪ 6‬ﻣــﺎﻩ ﺍﺯ ﺣﺎﺩﺛﻪ ﻣﺬﻛﻮﺭ ﺑﺎ ﻗﺮﺍﺋﺖ ﮔﺰﺍﺭﺵ ﻣﺬﻛــﻮﺭ ﻋﻠﻴﺮﻏﻢ ﺍﻳﻨﻜﻪ ﺩﺭ ﺁﻥ‬ ‫ﺑﻪ ﺻﺮﺍﺣﺖ ﻫﻴﭻﮔﻮﻧــﻪ ﺍﺗﻬﺎﻣﻲ ﻣﺘﻮﺟﻪ ﺍﻳﻨﺠﺎﻧﺐ ﻧﺸــﺪﻩ ﺑﺎ ﻧﺎﻣﻪﻧﮕﺎﺭﻱ‬ ‫ﻣﻄﺒﻮﻋﺎﺗــﻲ ﻭ ﺗﺒﻠﻴﻐﺎﺗﻲ ﺩﺭﺧﻮﺍﺳــﺖ ﺭﺳــﻴﺪﮔﻲ ﻧﺴــﺒﺖ ﺑــﻪ ﻗﻀﺎﺕ‬ ‫ﺭﺳــﻴﺪﮔﻲﻛﻨﻨﺪﻩ ﺑﻪ ﭘﺮﻭﻧﺪﻩ ﺍﻏﺘﺸﺎﺷــﮕﺮﺍﻥ ﺭﺍ ﺩﺍﺭﻧــﺪ ﻭ ﺍﻇﻬﺎﺭﺍﺕ ﺁﻧﺎﻥ‬ ‫ﺑﻪﮔﻮﻧﻪﺍﻱ ﺍﺳــﺖ ﻛﻪ ﮔﻮﻳﻲ ﺭﺳــﻴﺪﮔﻲ ﺑﻪ ﺍﺗﻬﺎﻡ ﻗﻀﺎﺕ ﺍﻣﺮﻱ ﻏﺎﻣﺾ ﻭ‬ ‫ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺍﺳﺘﺤﻀﺎﺭ ﻣﻲﺭﺳﺎﻧﺪ‪:‬‬ ‫ﺍﻭﻻ‪ :‬ﺩﺍﺩﺳﺮﺍﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻗﻀﺎﺕ ﺑﺎ ﮔﺰﺍﺭﺵ ﻫﻴﺎﺕ ﺣﻘﻮﻕ ﺷﻬﺮﻭﻧﺪﻱ‬ ‫ﺑﻼﻓﺎﺻﻠﻪ ﭘﺲ ﺍﺯ ﺣﺎﺩﺛﻪ ﺩﻟﺨﺮﺍﺵ ﻛﻬﺮﻳﺰﻙ ﻭﺍﺭﺩ ﻋﻤﻞ ﺷﺪﻩ ﻭ ﺑﺎ ﺗﺸﻜﻴﻞ‬ ‫ﭘﺮﻭﻧﺪﻩ ﻗﻀﺎﻳﻲ ﻭ ﺍﻧﺘﻈﺎﻣﻲ ﻭ ﻣﻄﺎﻟﺒﻪ ﭘﺮﻭﻧﺪﻩﻫﺎﻱ ﺳــﻪ ﻧﻔﺮ ﻣﺘﻮﻓﻲ ﻣﻮﺭﺩ‬ ‫ﺍﺷﺎﺭﻩ ﻗﺒﻞ ﺍﺯ ﺭﺳﻴﺪﮔﻲ ﺑﻪ ﺗﺨﻠﻔﺎﺕ ﻣﺎﻣﻮﺭﻳﻦ ﺍﻧﺘﻈﺎﻣﻲ ﺩﺭ ﺳﺎﺯﻣﺎﻥ ﻗﻀﺎﻳﻲ‬ ‫ﻧﻴﺮﻭﻫﺎﻱ ﻣﺴــﻠﺢ ﺗﻤﺎﻡ ﻗﻀﺎﺗﻲ ﻛﻪ ﺑﻪ ﻧﻮﻋﻲ ﻭﻇﻴﻔﻪ ﺭﺳﻴﺪﮔﻲ ﺑﻪ ﻣﻮﺍﺭﺩ‬ ‫ﺍﺗﻬﺎﻣﻲ ‪ 147‬ﻧﻔﺮ ﺩﺳﺘﮕﻴﺮ ﺷﺪﻩ ﺣﻮﺍﺩﺙ ‪ 18‬ﺗﻴﺮ ‪ 1388‬ﺭﺍ ﺩﺍﺷﺘﻨﺪ ﺍﺣﻀﺎﺭ‬ ‫ﻭ ﺗﻮﺿﻴﺤﺎﺕ ﻻﺯﻡ ﺍﺯ ﺁﻧﺎﻥ ﺍﺧﺬ ﻭ ﺑﻪ ﻟﺤﺎﻅ ﺍﻳﻨﻜﻪ ﺑﺎﺯﺩﺍﺷﺘﮕﺎﻩ ﻛﻬﺮﻳﺰﻙ ﻳﻚ‬ ‫ﻣﻜﺎﻥ ﺭﺳــﻤﻲ ﻭ ﻗﺎﻧﻮﻧﻲ ﺑﺮﺍﻱ ﻧﮕﻬﺪﺍﺭﻱ ﻣﺘﻬﻤﻴﻦ ﺑﻮﺩﻩ ﻭ ﺣﻮﺍﺩﺙ ﻧﺎﮔﻮﺍﺭ‬ ‫ﻣﻮﺭﺩ ﺍﺷﺎﺭﻩ ﻫﻴﭻﮔﻮﻧﻪ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎ ﻗﻀﺎﺕ ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ ﻫﻴﭻﻳﻚ ﺍﺯ ﻗﻀﺎﺕ‬ ‫ﻣﺬﻛﻮﺭ ﺗﻌﻠﻴﻖ ﻧﺸﺪﻩ ﻭ ﺍﺗﻬﺎﻣﻲ ﻣﺘﻮﺟﻪ ﺁﻧﺎﻥ ﻧﮕﺮﺩﻳﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺮﺧﻼﻑ ﺗﺼﻮﺭ ﺑﺮﺧﻲ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺭﺳﻴﺪﮔﻲ ﺑﻪ ﺷﻜﺎﻳﺖ ﻋﻠﻴﻪ‬ ‫ﻗﻀﺎﺕ ﺑﺪﻭﻥ ﺍﻏﻤﺎﺽ ﻭ ﺑﺎ ﺳــﺮﻋﺖ ﺩﺭ ﺩﺍﺩﺳﺮﺍﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻗﻀﺎﺕ ﺍﻧﺠﺎﻡ‬ ‫ﺷﺪﻩ ﻭ ﻣﺘﺎﺳــﻔﺎﻧﻪ ﮔﺰﺍﺭﺵ ﻣﺬﻛﻮﺭ ﭘﺲ ﺍﺯ ﺭﺳﻴﺪﮔﻲ ﺩﺍﺩﺳﺮﺍﻱ ﺍﻧﺘﻈﺎﻣﻲ‬ ‫ﻗﻀﺎﺕ ﻭ ﺣﺘﻲ ﭘﺎﻳﺎﻥ ﺭﺳــﻴﺪﮔﻲ ﺩﺍﺩﺳــﺮﺍﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺗﻬﺮﺍﻥ ﻭ ﺗﻜﻤﻴﻞ‬ ‫ﺗﺤﻘﻴﻘﺎﺕ ﻭ ﺻﺪﻭﺭ ﺍﻃﻼﻋﻴﻪ ﺳﺎﺯﻣﺎﻥ ﻗﻀﺎﻳﻲ ﻧﻴﺮﻭﻫﺎﻱ ﻣﺴﻠﺢ ﻗﺮﺍﺋﺖ ﺷﺪ‬ ‫ﻛﻪ ﻣﺂﻻ ﺍﺭﺯﺵ ﺗﺒﻠﻴﻐﺎﺗﻲ ﻭ ﺭﺳﺎﻧﻪﺍﻱ ﺁﻥ ﻏﺎﻟﺐ ﺑﻮﺩ‪.‬‬ ‫ﺛﺎﻧﻴـﺎ‪ :‬ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻗﻀﺎﺕ ﻣﻮﺭﺩ ﺍﺷــﺎﺭﻩ ﺩﺭ ﮔــﺰﺍﺭﺵ ﻭ ﻧﺎﻣﻪ ﺑﺮﺧﻲ‬ ‫ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻋﻼﻭﻩ ﺑﺮ ﺭﺳﻴﺪﮔﻲ ﺩﺭ ﺩﺍﺩﺳﺮﺍﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻗﻀﺎﺕ ﻭ ﻋﺪﻡ ﺍﺣﺮﺍﺯ‬ ‫ﻫﻴﭻﮔﻮﻧﻪ ﺗﺨﻠﻔﻲ ﺍﺯ ﺳﻮﻱ ﺁﻧﺎﻥ ﻣﻮﺿﻮﻉ ﭘﺲ ﺍﺯ ﮔﺰﺍﺭﺵ ﻫﻴﺎﺕ ﺣﻘﻮﻗﻲ‬ ‫ﺷﻬﺮﻭﻧﺪﻱ ﻭ ﻣﺪﺍﻓﻌﺎﺕ ﻗﺎﺿﻲ ﺭﺳﻴﺪﮔﻲﻛﻨﻨﺪﻩ ﺑﻪ ﺍﺳﺘﺤﻀﺎﺭ ﻋﺎﻟﻲﺗﺮﻳﻦ‬ ‫ﻣﻘﺎﻡ ﻗﻀﺎﻳﻲ ﻛﺸﻮﺭ ﺭﺳﻴﺪ ﻭ ﻣﻌﻈﻢﻟﻪ ﻧﻴﺰ ﺑﺎ ﺑﺮﺭﺳﻲ ﻫﻤﻪﺟﺎﻧﺒﻪ ﻣﻄﺎﻟﺐ‪،‬‬ ‫ﺻﺮﺍﺣﺘﺎ ﺍﻋﻼﻡ ﻧﻤﻮﺩﻧﺪ ﺩﺭ ﻣﻮﺿﻮﻉ ﺣﺎﺩﺛﻪ ﻛﻬﺮﻳﺰﻙ ﻫﻴﭻﮔﻮﻧﻪ ﺗﺨﻠﻔﻲ ﺍﺯ‬ ‫ﺳﻮﻱ ﻗﻀﺎﺕ ﻣﻮﺭﺩ ﺍﺷﺎﺭﻩ ﻭ ﺩﺍﺩﺳﺘﺎﻧﻲ ﺗﻬﺮﺍﻥ ﺍﻧﺠﺎﻡ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ‬ ‫ﺷﺎﻳﺎﻥ ﺫﻛﺮ ﺍﺳﺖ ﺗﺨﻠﻔﺎﺗﻲ ﻛﻪ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺩﺍﺩﻳﺎﺭ ﻣﺤﺘﺮﻡ ﺭﺳﻴﺪﮔﻲﻛﻨﻨﺪﻩ‬ ‫ﻭ ﻣﻌﺎﻭﻧﺖ ﺍﻣﻨﻴﺖ ﺩﺍﺩﺳﺮﺍ ﺩﺭ ﺟﺮﻳﺎﻥ ﺭﺳﻴﺪﮔﻲ ﺍﺳﺖ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﺻﻞ ﺍﻋﺰﺍﻡ‬ ‫ﻣﺘﻬﻤﻴﻦ ﺑﻪ ﻛﻬﺮﻳﺰﻙ ﻧﺒﻮﺩﻩ ﻭ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎ ﺣﻮﺍﺩﺙ ﺩﻟﺨﺮﺍﺵ ﺁﻥ ﻧﻴﺰ ﻧﺪﺍﺭﺩ‬ ‫ﺑﻠﻜﻪ ﻣﺴﺎﺋﻞ ﺷﻜﻠﻲ ﻧﻈﻴﺮ ﻧﺤﻮﻩ ﺍﺑﻼﻍ ﻗﺮﺍﺭ ﺑﺎﺯﺩﺍﺷﺖ ﻣﻮﻗﺖ ﻭ ﺗﻔﻬﻴﻢ ﺣﻖ‬ ‫ﺍﻋﺘﺮﺍﺽ ﻭ ﺍﻣﻮﺭﻱ ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ ﻣﻲﺑﺎﺷــﺪ ﻛﻪ ﺑــﻪ ﺍﺻﻞ ﺣﺎﺩﺛﻪ ﻭ ﻣﺒﺎﺣﺚ‬ ‫ﻣﻄﺮﻭﺣﻪ ﺩﺭ ﮔﺰﺍﺭﺵ ﺍﺭﺗﺒﺎﻃﻲ ﻧﺪﺍﺭﺩ ﻣﻀﺎﻓﺎ ﺗﺨﻠﻔﻲ ﺩﺭ ﻣﺴــﺎﺋﻞ ﺷﻜﻠﻲ‬ ‫ﻣﺬﻛﻮﺭ ﻧﻴﺰ ﺗﺎﻛﻨﻮﻥ ﺑﻪ ﺍﺛﺒﺎﺕ ﻧﺮﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺛﺎﻟﺜﺎ‪ :‬ﺍﻳﻨﺠﺎﻧﺐ ﺑﻪﻋﻨﻮﺍﻥ ﺩﺍﺩﺳﺘﺎﻥ ﺗﻬﺮﺍﻥ ﻧﻪ ﺗﻨﻬﺎ ﭘﺎﺳﺨﮕﻮﻱ ﺷﻜﺎﻳﺎﺕ‬ ‫ﺭﺳﻤﻲﻣﺘﻬﻤﻴﻦﻭﻭﻛﻼﻱﺁﻧﺎﻥ‪،‬ﻃﻲﺳﺎﻝﻫﺎﻱﮔﺬﺷﺘﻪﺩﺭﺩﺍﺩﺳﺮﺍﻱﺍﻧﺘﻈﺎﻣﻲ‬ ‫ﻗﻀﺎﺕ ﺑﻮﺩﻩﺍﻡ ﺑﻠﻜﻪ ﺣﺘﻲ ﺷﺐﻧﺎﻣﻪﻫﺎﻱ ﺑﺪﻭﻥ ﺍﻣﻀﺎء ﻛﻪ ﺩﺭ ﺧﺼﻮﺹ ﺍﻓﺮﺍﺩ‬ ‫ﻋﺎﺩﻱ ﺭﺳﻴﺪﮔﻲ ﺑﻪ ﺁﻥ ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳــﺖ ﭘﻴﺮﺍﻣﻮﻥ ﺁﻥ ﭘﺎﺳﺨﮕﻮ ﺑﻮﺩﻩ ﻭ ﻫﺮ‬ ‫ﻣﻮﺭﺩﻱ ﻋﻠﻴﻪ ﺍﻳﻨﺠﺎﻧﺐ ﮔﺰﺍﺭﺵ ﻳﺎ ﺷﻜﺎﻳﺘﻲ ﺑﻪﻋﻤﻞ ﺁﻣﺪﻩ ﺭﺳﻴﺪﮔﻲ ﻭ ﺍﻋﻼﻡ‬ ‫ﻧﺘﻴﺠﻪ ﺷــﺪﻩ ﺍﺳــﺖ ﺍﺯ ﺟﻤﻠﻪ ﺁﺧﺮﻳﻦ ﭘﺮﻭﻧﺪﻩﻫﺎﻱ ﺍﻳﻨﺠﺎﻧﺐ ﺩﺭ ﺩﺍﺩﺳﺮﺍﻱ‬ ‫ﺍﻧﺘﻈﺎﻣﻲﻣﺮﺑﻮﻁﺑﻪﺷﻜﺎﻳﺖﺁﻗﺎﻱ ﺍﻛﺒﺮﮔﻨﺠﻲﻭﻭﻛﻴﻞﻣﺪﺍﻓﻊﺍﻳﺸﺎﻥﺑﻮﺩﻛﻪ‬ ‫ﭼﻨﺪ ﻣﺎﻩ ﭘﻴﺶ ﭘﺲ ﺍﺯ ﭘﺎﺳــﺨﮕﻮﻳﻲ ﻛﺎﻣﻞ ﻣﺮﺩﻭﺩ ﺍﻋﻼﻡ ﻭ ﻣﺨﺘﻮﻣﻪ ﮔﺮﺩﻳﺪ‪.‬‬ ‫ﺷﻜﺎﻳﺖﻣﺪﻳﺮﺍﻥﺭﻭﺯﻧﺎﻣﻪﻫﺎﻱﺯﻧﺠﻴﺮﻩﺍﻱ‪،‬ﺧﺎﻧﻢﺷﻴﺮﻳﻦﻋﺒﺎﺩﻱﻭﻣﺘﻬﻤﻴﻦﻭ‬ ‫ﻣﺠﺮﻣﻴﻨﻲﻛﻪﺩﺭﺣﺎﻝﺣﺎﺿﺮﻓﺮﺍﺭﻱﺑﻮﺩﻩﻭﺩﺭﺧﺎﺭﺝﺍﺯﻛﺸﻮﺭﺑﻪﺳﺮﻣﻲﺑﺮﻧﺪ‬ ‫ﺍﻧﺒﻮﻫﻲﺍﺯﭘﺮﻭﻧﺪﻩﻫﺎﻱﺍﻳﻨﺠﺎﻧﺐﺩﺭﺩﺍﺩﺳﺮﺍﻱﺍﻧﺘﻈﺎﻣﻲﻗﻀﺎﺕﺑﻮﺩﻩﻛﻪﺑﺪﻭﻥ‬ ‫ﺍﻏﻤﺎﺽﻭﺑﺎﺭﻋﺎﻳﺖﺩﻗﻴﻖﻣﻮﺍﺯﻳﻦﻗﻀﺎﻳﻲﺭﺳﻴﺪﮔﻲﻭﻣﺨﺘﻮﻣﻪﮔﺮﺩﻳﺪﻩﺍﺳﺖ‪.‬‬ ‫ﺑﺪﻳﻬﻲﺍﺳﺖﭼﻨﺎﻧﭽﻪﻓﺮﺩﻳﺎ ﺍﻓﺮﺍﺩﻱﺍﺯﻗﻀﺎﺕﺷﻜﺎﻳﺘﻲﺩﺍﺷﺘﻪﺑﺎﺷﻨﺪﻧﻴﺎﺯﻱ‬ ‫ﺑﻪﻧﺎﻣﻪﻧﮕﺎﺭﻱﻫﺎﻱﺗﺒﻠﻴﻐﺎﺗﻲﻧﺪﺍﺭﺩﺯﻳﺮﺍﺍﻳﻦﺍﻗﺪﺍﻣﺎﺕﻧﺘﻴﺠﻪﺍﻱﺟﺰﺗﺸﻮﻳﺶ‬ ‫ﺍﺫﻫﺎﻥﻋﻤﻮﻣﻲﻭﺁﻟﻮﺩﻩﻧﻤﻮﺩﻥﻓﻀﺎﻱﺭﺳﺎﻧﻪﺍﻱﻧﺪﺍﺷﺘﻪﻭﺩﺍﺩﺳﺮﺍﻱﺍﻧﺘﻈﺎﻣﻲ‬ ‫ﻗﻀﺎﺕ ﻓﺎﺭﻍ ﺍﺯ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﺍﻗﺪﺍﻣﺎﺕ ﺳﻴﺎﺳﻲ ﺑﺮ ﺍﺳﺎﺱ ﻭﻇﻴﻔﻪ ﻗﺎﻧﻮﻧﻲ ﺳﺎﺑﻘﺎ‬ ‫ﺑﻪﻣﻮﺿﻮﻉ ﻣﻮﺭﺩ ﺍﺷﺎﺭﻩ ﺭﺳﻴﺪﮔﻲ ﻧﻤﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭﺍﻟﺴﻼﻡ ﺳﻌﻴﺪ ﻣﺮﺗﻀﻮﻱ‬ ‫»ﺩﺍﺩﺳﺘﺎﻥ ﺳﺎﺑﻖ ﻋﻤﻮﻣﻲ ﻭ ﺍﻧﻘﻼﺏ ﺗﻬﺮﺍﻥ ‪«88/10/26‬‬ ‫‪9‬‬ ‫ﮔﺰﺍﺭﺵ‬ ‫ﻧﻘﺶ ﺳﺎﺯﻣﺎﻥ ﺍﻃﻼﻋﺎﺕ ﻋﺮﺑﺴﺘﺎﻥ‬ ‫ﺩﺭ ﺗﻮﻫﻴﻦ ﺑﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ‬ ‫ﺗﻮﻫﻴﻦ ﻳﻜﻰ ﺍﺯ ﻋﻠﻤﺎﻯ ﻭﻫﺎﺑﻰ ﻋﺮﺑﺴﺘﺎﻥ ﺑﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ ﻣﺮﺟﻊ‬ ‫ﺗﻘﻠﻴﺪ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺟﻬﺎﻥ ﺗﺸﻴﻊ ﻧﻪﺗﻨﻬﺎ ﺩﺭ ﺭﻭﺍﺑﻂ ﻋﺮﺑﺴﺘﺎﻥ ﻭ ﻋﺮﺍﻕ‬ ‫ﺗﺎﺛﻴﺮ ﮔﺬﺍﺷــﺖ‪ ،‬ﺑﻠﻜﻪ ﻭﺍﻛﻨــﺶ ﮔﺮﻭﻩﻫﺎ ﻭ ﺟﺮﻳﺎﻧﺎﺕ ﺑﺴــﻴﺎﺭﻯ ﺭﺍ ﺩﺭ‬ ‫ﺟﻬﺎﻥ ﺗﺸﻴﻊ ﻧﻴﺰ ﺑﺮ ﺍﻧﮕﻴﺨﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺩﺭ ﮔﻴﺮﻭﺩﺍﺭ ﺍﺧﺒﺎﺭ‬ ‫ﺳﻴﺎﺳﻰ ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻣﺤﺎﻓﻞ ﺳﻴﺎﺳﻰ ﻭ ﻣﺬﻫﺒﻰ ﺍﻳﺮﺍﻥ‬ ‫ﻗﺮﺍﺭ ﻧﮕﺮﻓﺖ ﻭﻟﻰ ﻭﺍﻛﻨﺶ ﺑﺮﺧــﻰ ﻣﺮﺍﺟﻊ ﺗﻘﻠﻴﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﺟﺎﻣﻌﻪ‬ ‫ﻣﺪﺭﺳﻴﻦ ﺣﻮﺯﻩ ﻋﻠﻤﻴﻪ ﻗﻢ ﺭﺍ ﻧﻴﺰ ﺑﺮﺍﻧﮕﻴﺨﺖ‪ .‬ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺍﺯ ﺁﻧﺠﺎ ﺁﻏﺎﺯ‬ ‫ﺷــﺪ ﻛﻪ ﻣﺤﻤﺪ ﺍﻟﻌﺮﻳﻔﻰ ﻳﻜﻰ ﺍﺯ ﻣﻔﺘﻴﺎﻥ ﻋﺮﺑﺴــﺘﺎﻧﻰ ﺩﺭ ﺳﺨﻨﺮﺍﻧﻰ‬ ‫ﻧﻤﺎﺯ ﺟﻤﻌﻪ ﺧﻮﺩ ﺩﺭ ﺭﻳﺎﺽ‪ ،‬ﭘﺎﻳﺘﺨﺖ ﻋﺮﺑﺴــﺘﺎﻥ ﺗﻮﻫﻴﻦ ﻭ ﺍﻓﺘﺮﺍﻳﻰ‬ ‫ﺑﻰﺳﺎﺑﻘﻪ ﻋﻠﻴﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴــﺘﺎﻧﻰ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﻭ ﺩﺭ ﭘﻰ ﺁﻥ ﺑﻪ ﺷﺪﺕ‬ ‫ﺍﺯ ﺍﻳﺸﺎﻥ ﻭ ﺷﻴﻌﻴﺎﻥ ﺍﻧﺘﻘﺎﺩ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﻣﻔﺘﻰ ﻋﺮﺑﺴﺘﺎﻧﻰ ﻭﺍﻛﻨﺶ‬ ‫ﺗﻨﺪﻯ ﺩﺭ ﻣﺤﺎﻓﻞ ﺳﻴﺎﺳــﻰ ﻋﺮﺍﻕ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺍﺷــﺖ‪ .‬ﻧﻮﺭﻯ ﻣﺎﻟﻜﻰ‪،‬‬ ‫ﻧﺨﺴــﺖﻭﺯﻳﺮ ﻋﺮﺍﻕ ﺑﻪﺷــﺪﺕ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ ﺧﻄﻴﺐ ﻋﺮﺑﺴﺘﺎﻧﻰ ﺍﻧﺘﻘﺎﺩ‬ ‫ﻛﺮﺩ ﻭ ﺍﺯ ﺩﻭﻟﺖ ﻋﺮﺑﺴﺘﺎﻥ ﺧﻮﺍﺳﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻳﻦ ﺑﻰﺍﺣﺘﺮﺍﻣﻰ ﻭﺍﻛﻨﺶ‬ ‫ﻧﺸﺎﻥ ﺩﻫﺪ‪ .‬ﺩﻭﻟﺖ ﻋﺮﺑﺴﺘﺎﻥ ﺑﺮ ﺗﻤﺎﻡ ﺗﺮﻳﺒﻮﻥﻫﺎﻯ ﻧﻤﺎﺯ ﺟﻤﻌﻪ ﻛﺸﻮﺭ‬ ‫ﺑﻪﺧﺼﻮﺹ ﺭﻳﺎﺽ ﻧﻈﺎﺭﺕ ﺩﺍﺭﺩ‪ .‬ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﭘﺎﺭﻟﻤﺎﻥ ﻋﺮﺑﺴﺘﺎﻥ ﻧﻴﺰ ﺑﺎ‬ ‫ﺻﺪﻭﺭ ﺑﻴﺎﻧﻴﻪﻫﺎﻯ ﻣﺘﻌﺪﺩ ﺍﺯ ﺍﺗﻔﺎﻕ ﭘﻴﺶﺁﻣﺪﻩ ﺑﻪ ﺷﺪﺕ ﺍﻧﺘﻘﺎﺩ ﻛﺮﺩﻩ ﻭ‬ ‫ﺁﻥ ﺭﺍ ﺑﻪﻣﺜﺎﺑﻪ ﺗﻮﻫﻴﻦ ﺑﻪ ﻛﻞ ﻣﻠﺖ ﻋﺮﺍﻕ ﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﺟﺎﻣﻌﻪ ﺳﻨﻰ ﻋﺮﺍﻕ‬ ‫ﻧﻴﺰ ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﺭﺍ ﺑﻪﺷﺪﺕ ﻧﻜﻮﻫﺶ ﻛﺮﺩ ﻭ ﺍﺯ ﺩﻭﻟﺖ ﻋﺮﺑﺴﺘﺎﻥ ﺧﻮﺍﺳﺖ‬ ‫ﺑﺎ ﭼﻨﻴﻦ ﺭﻓﺘﺎﺭﻫﺎﻳﻰ ﺑﺮﺧﻮﺭﺩ ﻛﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺭﻳﺎﺽ ﻧﻪﺗﻨﻬﺎ ﻭﺍﻛﻨﺸﻰ‬ ‫ﺍﺯ ﺧﻮﺩ ﻧﺸــﺎﻥ ﻧﺪﺍﺩ ﺑﻠﻜﻪ ﺭﺳﺎﻧﻪﻫﺎﻯ ﺭﺳــﻤﻰ ﻋﺮﺑﺴﺘﺎﻥ ﺩﺭ ﺍﻗﺪﺍﻣﻰ‬ ‫ﻋﻤﺪﻯ ﺟﻨﮓ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻋﻠﻴﻪ ﺷﻴﻌﻴﺎﻥ ﻭ ﻣﺮﺍﺟﻊ ﺩﻳﻨﻰ ﺷﻴﻌﻪ ﺑﻪﻭﻳﮋﻩ‬ ‫ﺷﺨﺺ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ ﺁﻏﺎﺯ ﻛﺮﺩﻧﺪ ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺭﻭﺯﻧﺎﻣﻪ ﺍﻟﻮﻃﻦ‬ ‫ﻛﻪ ﻳﻚ ﺭﻭﺯﻧﺎﻣﻪ ﺩﻭﻟﺘﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻯ ﺍﻫﺎﻧﺖﺁﻣﻴﺰ‬ ‫ﻋﻠﻴﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ ﻣﻨﺘﺸﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﻳﻦ ﺭﻭﺯﻧﺎﻣﻪ‬ ‫ﺍﻳﻨﮕﻮﻧﻪ ﺑﻮﺩ ﻛﻪ ﺁﻳﺖﺍﷲﺍﻟﻌﻈﻤﻰ ﻧﻘﺸﻪﺍﻯ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺩﺍﺭﺩ ﻛﻪ ﻧﺸﺎﻥ‬ ‫ﺍﺯ ﺛﺮﻭﺕ ﻋﺮﺍﻕ ﺍﺳــﺖ ﻭ ﺭﻭﻯ ﺷــﺎﻧﻪﺍﺵ ﻳﻚ ﻣﻘﺎﻡ ﺳﻴﺎﺳــﻰ ﻋﺮﺍﻗﻰ‬ ‫ﻧﺸﺴﺘﻪ ﻛﻪ ﻳﻚ ﺑﻠﻨﺪﮔﻮ ﺩﺭ ﺩﺳﺖ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﻋﺮﺑﺴﺘﺎﻥ ﺍﻧﺘﻘﺎﺩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﺍﻳﺎﻡ ﭘﺎﻳﮕﺎﻩ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﺁﻳﺖﺍﷲﺳﻴﺴﺘﺎﻧﻰ ﺩﺭ ﻋﺮﺑﺴﺘﺎﻥ‬ ‫ﺳﻌﻮﺩﻯ ﻧﻴﺰ ﻓﻴﻠﺘﺮ ﺷﺪ‪.‬‬ ‫ﻣﻨﺎﺑﻊ ﺷــﻴﻌﻰ ﻋﺮﺍﻕ ﻛﻪ ﻧﺨﻮﺍﺳــﺘﻨﺪ ﻧﺎﻣﺸﺎﻥ ﻓﺎﺵ ﺷــﻮﺩ ﺑﻪ ﭘﺎﻳﮕﺎﻩ‬ ‫ﺍﻃﻼﻉﺭﺳــﺎﻧﻰ ﻧﻬﺮﻳــﻦ ﮔﻔﺘﻨﺪ‪ ،‬ﺍﻫﺎﻧﺖ ﺷــﻴﺦ ﻣﺤﻤــﺪ ﺍﻟﻌﺮﻳﻔﻰ ﺑﻪ‬ ‫ﺁﻳﺖﺍﷲﺍﻟﻌﻈﻤــﻰ ﺳــﻴﺪﻋﻠﻰ ﺳﻴﺴــﺘﺎﻧﻰ ﻣﺴــﺘﻘﻴﻤﺎ ﺑﻪ ﺩﺳــﺘﻮﺭ‬ ‫ﻣﻘﺮﻥ ﺑﻦﻋﺒﺪﺍﻟﻌﺰﻳﺰ‪ ،‬ﺭﺋﻴﺲ ﺳــﺎﺯﻣﺎﻥ ﺍﻃﻼﻋﺎﺕ ﻋﺮﺑﺴﺘﺎﻥ ﺻﻮﺭﺕ‬ ‫ﮔﺮﻓــﺖ‪ .‬ﺍﻳﻦ ﺍﻃﻼﻉ ﺑﻌﺪﻫﺎ ﺍﺯ ﺳــﻮﻯ ﻣﻨﺎﺑﻊ ﺩﻳﮕﺮﻯ ﻧﻴﺰ ﺗﺎﻳﻴﺪ ﺷــﺪ‪.‬‬ ‫ﺑﻪ ﮔﻔﺘﻪ ﺍﻳﻦ ﻣﻨﺎﺑﻊ‪ ،‬ﻫﻨﻮﺯ ﻣﺸــﺨﺺ ﻧﻴﺴﺖ ﭼﺮﺍ ﺳﺎﺯﻣﺎﻥ ﺍﻃﻼﻋﺎﺕ‬ ‫ﻋﺮﺑﺴﺘﺎﻥ ﺩﺭ ﺗﺤﺮﻳﻚ ﺍﻳﻦ ﺭﻭﺣﺎﻧﻰ ﻋﺮﺑﺴﺘﺎﻧﻰ ﺑﺮﺍﻯ ﺍﻫﺎﻧﺖ ﺑﻪ ﺷﻴﻌﻴﺎﻥ‬ ‫ﺗﻼﺵ ﻛﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﺑﺮﺧﻰ ﺍﻳــﻦ ﺍﻗﺪﺍﻣﺎﺕ ﻋﺠﻴــﺐ ﻭ ﻏﺮﻳﺐ ﺩﻭﻟﺖ‬ ‫ﻋﺮﺑﺴﺘﺎﻥ ﺭﺍ ﺩﺭ ﺭﺍﺳــﺘﺎﻯ ﺗﻘﻮﻳﺖ ﻧﻴﺮﻭﻫﺎﻯ ﺳﻨﻰ ﻧﺰﺩﻳﻚ ﺑﻪ ﺧﻮﺩ ﻭ‬ ‫ﺳﻜﻮﻻﺭ ﺁﻥ ﻫﻢ ﺩﺭ ﺁﺳﺘﺎﻧﻪ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺳﺮﺍﺳﺮﻯ ﻋﺮﺍﻕ ﻣﻰﺩﺍﻧﻨﺪ‪ .‬ﺑﺮﺧﻰ‬ ‫ﻣﻨﺎﺑﻊ ﺧﺒﺮﻯ ﻣﻰﮔﻮﻳﻨﺪ ﺣﺎﺭﺙ ﺍﻟﻀﺎﺭﻯ‪ ،‬ﺭﻫﺒﺮ ﻋﻠﻤﺎﻯ ﻣﺴﻠﻤﻴﻦ ﻋﺮﺍﻕ‬ ‫ﻛﻪ ﺍﺯ ﻣﺨﺎﻟﻔﺎﻥ ﻣﺘﻌﺼﺐ ﻧﻈﺎﻡ ﻛﻨﻮﻧﻰ ﻋﺮﺍﻕ ﺍﺳﺖ ﻫﺮ ﺭﻭﺯ ﺍﻃﻼﻋﺎﺗﻰ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻋﺮﺍﻕ ﺑﻪ ﻋﺮﺑﺴﺘﺎﻧﻰﻫﺎ ﻣﻰﺩﻫﺪ ﻭ ﺣﺘﻰ ﺩﺭ ﺗﻤﺎﺱ ﺩﺍﺋﻢ ﺑﺎ ﻣﺤﻤﺪ‬ ‫ﺍﻟﻌﺮﻳﻔﻰ ﺍﺳﺖ‪ .‬ﻣﻨﺎﺑﻊ ﻣﺨﺎﻟﻒ ﻋﺮﺑﺴﺘﺎﻧﻲ ﺑﻪ ﺧﺸﻮﻧﺖ ﺩﻭﻟﺖ ﻋﺮﺑﺴﺘﺎﻥ‬ ‫ﻋﻠﻴﻪ ﺷﻴﻌﻴﺎﻥ ﻋﺮﺍﻕ‪ ،‬ﺷﻴﻌﻴﺎﻥ ﻳﻤﻦ ﻭ ﺣﻮﺛﻲﻫﺎ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﻨﺎﺑــﻊ ﮔﻔﺘﻪﺍﻧﺪ‪» :‬ﻋﻠﺖ ﺍﻳﻦ ﻣﻮﺿﻊ ﺗﻨﺪ ﺍﺧﻴﺮ ﻋﺮﺑﺴــﺘﺎﻥ ﻋﻠﻴﻪ‬ ‫ﺷﻴﻌﻴﺎﻥ ﻫﻤﺎﻫﻨﮕﻲ ﻋﺮﺑﺴــﺘﺎﻥ ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻱ ﺩﻳﻨﻲ ﺍﻫﻞ ﺗﺴﻨﻦ‬ ‫ﻋﺮﺍﻕ ﻭ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ ﺑﻌﺜﻲ ﻗﺒﻞ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﭘﺎﺭﻟﻤﺎﻧﻲ ﺑﺮﺍﻱ ﺣﻤﺎﻳﺖ‬ ‫ﺍﺯ ﺍﻳﻦ ﮔﺮﻭﻩﻫﺎ ﺑﺎ ﺍﺭﺯﺵ ﺻﺪﻫﺎ ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ ﺩﺭ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺍﺳﺖ‪«.‬‬ ‫ﺍﻣﺎ ﺑﻪﻧﻈﺮ ﻣﻰﺭﺳــﺪ ﺑﺮﺁﻭﺭﺩ ﻣﻘﺎﻣﺎﺕ ﺳــﻌﻮﺩﻯ ﺩﺭﺑــﺎﺭﻩ ﺗﻮﻫﻴﻦ ﺑﻪ‬ ‫ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ ﺍﺷﺘﺒﺎﻩ ﺑﻮﺩﻩ‪ ،‬ﭼﺮﺍﻛﻪ ﺍﻭﺝ ﮔﺮﻓﺘﻦ ﺍﻋﺘﺮﺍﺽﻫﺎ ﺑﺎﻋﺚ‬ ‫ﺷﺪ ﺣﺘﻰ ﺑﺮﺧﻰ ﻣﻘﺎﻣﺎﺕ ﺳﻌﻮﺩﻯ ﺳﻌﻰ ﻛﻨﻨﺪ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺍﻳﻦ ﻣﺎﺟﺮﺍ‬ ‫ﻣﺒﺮﺍ ﻛﻨﻨﺪ‪ .‬ﺍﺯ ﺁﻥ ﺟﻤﻠﻪ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﻭﺯﻳﺮ ﺍﻃﻼﻉﺭﺳــﺎﻧﻰ ﻋﺮﺑﺴــﺘﺎﻥ‬ ‫ﺳﻌﻮﺩﻯ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﺍﺭﺗﺒﺎﻁ ﻧﺰﺩﻳﻜﻰ ﺑﺎ ﻣﻘﺎﻣﺎﺕ ﻟﺒﻨﺎﻧﻰ ﺩﺍﺭﺩ ﻭ ﺩﺭ‬ ‫ﺳﻔﺮﻯ ﺑﻪ ﺍﻳﻦ ﻛﺸﻮﺭ ﺍﺯ ﺷﻴﻌﻴﺎﻥ ﻟﺒﻨﺎﻥ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪10‬‬ ‫ﻟﺰﻭﻡ ﻫﻤﺒﺴﺘﮕﻰ ﺷﻴﻌﻴﺎﻥ‬ ‫ﺩﺭﻣﻘﺎﺑﻞ ﺗﻮﻫﻴﻦ ﺑﻪ ﻣﺮﺍﺟﻊ‬ ‫ﺳﻴﺪﻣﺤﺴﻦ ﺣﻜﻴﻢ‬ ‫ﺭﺋﻴﺲ ﺩﻓﺘﺮ ﺳﻴﺎﺳﻲ ﻣﺠﻠﺲ ﺍﻋﻼﻱ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻲ ﻋﺮﺍﻕ‬ ‫ﻣﺮﺟﻌﻴﺖ ﻣﻌﻈﻢ ﺷــﻴﻌﻪ ﺑﻪﺧﺼﻮﺹ‬ ‫ﺣﻀﺮﺕ ﺁﻳﺖﺍﷲﺍﻟﻌﻈﻤﻰ ﺳﻴﺴﺘﺎﻧﻰ ﺩﺭ‬ ‫ﺭﻭﻧﺪ ﺍﺳــﺘﻘﺮﺍﺭ ﺛﺒﺎﺕ ﻭ ﺁﺭﺍﻣﺶ ﺩﺭ ﻋﺮﺍﻕ‬ ‫ﻭ ﻫﻤﭽﻨﻴﻦ ﻭﺍﮔﺬﺍﺭﻯ ﺍﻣﻮﺭ ﺍﻳﻦ ﻛﺸﻮﺭ ﺑﻪ‬ ‫ﻣﺮﺩﻡ ﺁﻥ ﻧﻘﺶ ﺑﺴﺰﺍﻳﻰ ﺍﻳﻔﺎ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺑﻪ‬ ‫ﻫﻤﺎﻥ ﺍﻧــﺪﺍﺯﻩ ﻛﻪ ﻣﺮﺩﻡ ﻋﺮﺍﻕ ﺍﺯ ﮔﺮﻭﻩﻫﺎ‪،‬‬ ‫ﻃﻮﺍﻳﻒ ﻭ ﻣﺬﺍﻫﺐ ﻣﺨﺘﻠﻒ ﺑﺮ ﺍﻫﻤﻴﺖ ﺍﻳﻦ‬ ‫ﻧﻘﺶﺁﻓﺮﻳﻨﻰ ﺗﺎﺭﻳﺨﻰ ﻭ ﺳــﺎﺯﻧﺪﻩ ﻭﺍﻗﻒ ﺑﻮﺩﻩ ﻭ ﺑﺨﺶ ﻣﻬﻤﻰ ﺍﺯ ﺭﻭﻧﺪ‬ ‫ﺣﺮﻛﺖ ﻛﺸــﻮﺭ ﺑﻪﺳﻮﻯ ﺍﺳــﺘﻘﻼﻝ ﺭﺍ ﻣﺪﻳﻮﻥ ﻣﺮﺟﻌﻴﺖ ﺷﻴﻌﻪ ﻭ ﺩﺭ‬ ‫ﺭﺍﺱ ﺁﻧﻬﺎ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ ﻣﻰﺩﺍﻧﻨﺪ‪ ،‬ﺩﺷﻤﻨﺎﻥ ﻭ ﺑﺪﺧﻮﺍﻫﺎﻥ ﻋﺮﺍﻕ‬ ‫ﺑﻪ ﺑﻬﺎﻧﻪﻫﺎ ﻭ ﺩﺭ ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻣﻘﺎﻡ ﻋﺎﻟﻰ ﻣﺮﺟﻌﻴﺖ ﺭﺍ ﻣﻮﺭﺩ‬ ‫ﺣﻤﻠﻪ ﻗﺮﺍﺭ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﻣﺘﺎﺳﻔﺎﻧﻪ ﮔﻬﮕﺎﻫﻰ ﺍﻗﺪﺍﻣﺎﺕ ﺗﺨﺮﻳﺒﻰ ﻭ ﺗﻮﻫﻴﻦﻫﺎ ﻭ ﮔﺴﺘﺎﺧﻰﻫﺎ‬ ‫ﺍﺯ ﺳﻮﻯ ﺑﺮﺧﻰ ﻛﺸﻮﺭﻫﺎﻯ ﺍﺳــﻼﻣﻰ ﺻﻮﺭﺕ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﻣﺎﻧﻨﺪ ﺁﻧﭽﻪ‬ ‫ﺍﺧﻴﺮﺍ ﺩﺭ ﻋﺮﺑﺴــﺘﺎﻥ ﺭﺥ ﺩﺍﺩ‪ .‬ﻫﺮﭼﻨﺪ ﺩﺭ ﺍﻳﻦ ﻭﺍﻗﻌﻪ ﺩﻭﻟﺖ ﻋﺮﺑﺴﺘﺎﻥ‬ ‫ﺑﻪﻃﻮﺭ ﻣﺴﺘﻘﻴﻢ ﻧﻘﺸﻰ ﻧﺪﺍﺷﺖ ﻭ ﻭﺯﻳﺮ ﺍﻃﻼﻉ ﺭﺳﺎﻧﻰ ﺍﻳﻦ ﻛﺸﻮﺭ ﻧﻴﺰ‬ ‫ﺑﺎ ﻋﺬﺭﺧﻮﺍﻫﻰ ﺍﺯ ﺷــﻴﻌﻴﺎﻥ ﺳــﻌﻰ ﻛﺮﺩ ﺍﺯ ﺍﻓﺰﺍﻳﺶ ﺩﺍﻣﻨﻪ ﺍﺧﺘﻼﻓﺎﺕ‬ ‫ﺑﻜﺎﻫــﺪ ﻭﻟﻰ ﻫﻤﭽﻨﺎﻥ ﻣﺴــﺌﻮﻟﻴﺖ ﺗﻮﻫﻴﻦ ﺑﻪ ﻣﺮﺍﺟﻊ ﻭ ﻣﻘﺪﺳــﺎﺕ‬ ‫ﺷﻴﻌﻪ ﺍﺯ ﺳﻮﻯ ﻭﻫﺎﺑﻴﻮﻥ ﻣﺘﻮﺟﻪ ﺩﻭﻟﺖ ﻋﺮﺑﺴﺘﺎﻥ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ‬ ‫ﻣﻰﺩﺍﻧﻴﻢ ﻫﻤﻪ ﺍﺋﻤﻪ ﺟﻤﻌﻪ ﺩﺭ ﻋﺮﺑﺴﺘﺎﻥ ﺍﺯ ﺳﻮﻯ ﻫﻴﺎﺗﻰ ﻛﻪ ﺯﻳﺮ ﻧﻈﺮ‬ ‫ﺩﻭﻟﺖ ﺍﺳﺖ ﺍﻧﺘﺨﺎﺏ ﻣﻰﺷﻮﻧﺪ ﻭ ﺩﺭ ﻃﻮﻝ ﻫﻔﺘﻪ ﻧﻴﺰ ﺧﻂ ﻣﺸﻰ ﻛﻠﻰ‬ ‫ﺍﺯ ﺳــﻮﻯ ﺩﻭﻟﺖ ﺑﻪ ﺁﻧﻬﺎ ﺍﺑﻼﻍ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ ﺩﻭﻟﺖ ﺩﺭ ﻗﺒﺎﻝ‬ ‫ﺳﺨﻨﺎﻥ ﺍﺋﻤﻪ ﺟﻤﻌﻪ ﻣﺴﺌﻮﻝ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻣﺎﺟﺮﺍﻯ ﺍﺧﻴﺮ‪ ،‬ﻣﺤﻤﺪ ﺍﻟﻌﺮﻳﻔــﻰ‪ ،‬ﻳﻜﻰ ﺍﺯ ﻣﻔﺘﻰﻫﺎﻯ ﻭﻫﺎﺑﻰ‪،‬‬ ‫ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺧﻄﺒﻪﻫﺎﻯ ﻧﻤﺎﺯ ﺟﻤﻌﻪ ﺧﻮﺩ ﺩﺭ ﻣﺴﺠﺪ ﺍﻟﺒﻮﺍﺭﺩﻯ ﺭﻳﺎﺽ‪،‬‬ ‫ﭘﺎﻳﺘﺨﺖ ﻋﺮﺑﺴﺘﺎﻥ ﺳﻌﻮﺩﻯ ﺑﺎ ﮔﺴﺘﺎﺧﻰ ﻭ ﺑﺎ ﻟﺤﻨﻰ ﻛﺎﻣﻼ ﺧﺼﻤﺎﻧﻪ‬ ‫ﺳﺨﻨﺎﻥ ﻭ ﻋﺒﺎﺭﺕﻫﺎﻯ ﺗﻨﺪﻯ ﻋﻠﻴﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ ﺑﺮ ﺯﺑﺎﻥ ﺭﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﻔﺘﻰ ﻭﻫﺎﺑﻰ ﺳﭙﺲ ﺍﻳﻦ ﻣﺮﺟﻊ ﺑﺰﺭگ ﺷﻴﻌﻴﺎﻥ ﻭ ﭘﻴﺮﻭﺍﻥ ﻣﺬﻫﺐ‬ ‫ﺷﻴﻌﻪ ﺍﺛﻨﻰﻋﺸﺮﻯ ﺭﺍ ﺗﻜﻔﻴﺮ ﻛﺮﺩ‪ .‬ﺗﻮﻫﻴﻦ ﻭﻯ ﺑﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ ﺍﺯ‬ ‫ﺁﻧﺠﺎ ﺁﻏﺎﺯ ﺷﺪ ﻛﻪ ﺍﻭ ﺩﺭﺧﻮﺍﺳﺖ ﺑﺮﺧﻰ ﻃﺮﻑﻫﺎ ﺍﺯ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ‬ ‫ﺭﺍ ﺑﺮﺍﻯ ﻣﻴﺎﻧﺠﻴﮕﺮﻯ ﺑﻪ ﻣﻨﻈﻮﺭ ﺣﻞ ﺑﺤﺮﺍﻥ ﺩﺍﺧﻠﻰ ﻳﻤﻦ ﺑﻪ ﺗﻤﺴﺨﺮ‬ ‫ﮔﺮﻓﺖ‪.‬‬ ‫ﺩﺭ ﺣﻘﻴﻘﺖ ﻳﻜﻰ ﺍﺯ ﻣﺸــﻜﻼﺕ ﺑﺰﺭگ ﺟﻬﺎﻥ ﺍﺳــﻼﻡ ﺩﺭ ﻋﺼﺮ‬ ‫ﺣﺎﺿﺮ ﺑﻪﺧﺼﻮﺹ ﺩﺭ ﺩﻭ ﺩﻫﻪ ﺍﺧﻴﺮ ﻭﺟﻮﺩ ﺧﻂ ﺗﻜﻔﻴﺮﻯ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﻣﺴــﻠﻤﺎﻧﺎﻥ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺭﻭﺡ ﺍﺳــﻼﻡ ﻧﺎﺏ ﻭ ﺩﺳﺘﻮﺭﺍﺕ‬ ‫ﺩﻳﻦ ﺷــﺮﻳﻒ ﺩﺭ ﺗﻀﺎﺩ ﺑــﻮﺩﻩ‪ ،‬ﺧﻂ ﺍﻧﺤﺮﺍﻓﻰ ﺭﺍ ﺷــﻜﻞ ﺩﺍﺩﻩ ﻭ ﺩﺭ‬ ‫ﻧﺘﻴﺠــﻪ ﺿﺮﺑــﺎﺕ ﺟﺒﺮﺍﻥﻧﺎﭘﺬﻳﺮﻯ ﻧﻴﺰ ﺑﻪ ﺍﺳــﻼﻡ ﻭ ﻣﺴــﻠﻤﺎﻧﺎﻥ‬ ‫ﻭﺍﺭﺩ ﻛــﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﺟﻤﺎﻋﺖ ﺑﺎ ﺧﺸــﻦ ﻧﺸــﺎﻥ ﺩﺍﺩﻥ ﭼﻬﺮﻩ‬ ‫ﺍﺳــﻼﻡ‪ ،‬ﻗﺘﻞﻋﺎﻡ ﻣﺮﺩﻡ ﺑﻴﮕﻨﺎﻩ‪ ،‬ﺗﺮﻭﺭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺗﺮﺍﺯ ﺍﻭﻝ‪ ،‬ﺍﺯ‬ ‫ﺑﻴﻦ ﺑﺮﺩﻥ ﺗﺎﺳﻴﺴــﺎﺕ ﺯﻳﺮﺑﻨﺎﻳﻰ ﻛﺸــﻮﺭﻫﺎﻯ ﺍﺳــﻼﻣﻰ ﻭ ﺗﻜﻔﻴﺮ‬ ‫ﺳﺎﻳﺮ ﻓﺮﻕ ﺍﺳﻼﻣﻰ‪ ،‬ﻭﺟﻪ ﺍﺳﻼﻡ ﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ﺟﻬﺎﻧﻴﺎﻥ ﻭ ﻣﺴﻠﻤﺎﻧﺎﻥ‬ ‫ﻣﺨﺪﻭﺵ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺭﺍﺳﺘﺎﺳــﺖ ﻛﻪ ﻣﺸﺎﻫﺪﻩ ﻣﻰﻛﻨﻴﻢ‬ ‫ﻳﻜﻰ ﺍﺯ ﺭﻫﺒﺮﺍﻥ ﻣﺬﻫﺒﻰ ﻭﻫﺎﺑﻴﻮﻥ ﺑﻰﭘﺮﻭﺍ ﺑﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴــﺘﺎﻧﻰ‬ ‫ﻣﺮﺟﻊ ﻋﻈﻴﻢﺍﻟﺸﺄﻥ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﺗﻮﻫﻴﻦ ﻛﺮﺩﻩ ﻭ ﺣﺘﻰ ﺍﻳﺸﺎﻥ ﺭﺍ‬ ‫ﺗﻜﻔﻴﺮ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪﻃﻮﺭ ﻗﻄﻊ ﺍﻳﻨﮕﻮﻧﻪ ﺍﻗﺪﺍﻣﺎﺕ ﺑﻰﭘﺎﺳــﺦ ﻧﺨﻮﺍﻫﺪ‬ ‫ﻣﺎﻧﺪ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺗﺎﻛﻨﻮﻥ ﻧﻴﺰ ﻣﺮﺩﻡ ﻋﺮﺍﻕ ﻭ ﺭﻫﺒﺮﺍﻥ ﺳﻴﺎﺳــﻰ ﻭ‬ ‫ﻣﺬﻫﺒﻰ ﺍﻳﻦ ﻛﺸــﻮﺭ ﺑﻪﻃﻮﺭ ﻳﻜﭙﺎﺭﭼﻪ ﻣﻘﺎﺑﻞ ﺣﺮﻛﺖ ﺗﻮﻫﻴﻦﺁﻣﻴﺰ‬ ‫ﺷﺨﺼﻴﺖ ﻣﺬﻫﺒﻰ ﺳﻌﻮﺩﻯ ﻣﻮﺿﻊ ﮔﺮﻓﺘﻪ ﻭ ﺿﻤﻦ ﻣﺤﻜﻮﻡ ﻛﺮﺩﻥ‬ ‫ﺁﻥ ﺧﻮﺍﺳﺘﺎﺭ ﭘﺎﺳــﺨﮕﻮﻳﻰ ﻣﻘﺎﻣﺎﺕ ﻋﺮﺑﺴــﺘﺎﻥ ﺳﻌﻮﺩﻯ ﺷﺪﻧﺪ‪.‬‬ ‫ﻋﻼﻭﻩ ﺑﺮ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﻭ ﻧﺨﺴﺖﻭﺯﻳﺮ ﻋﺮﺍﻕ ﺩﻳﮕﺮ ﻣﻘﺎﻣﺎﺕ ﻣﺎﻧﻨﺪ‬ ‫ﺷﻴﺦ ﻫﻤﺎﻡ ﺣﻤﻮﺩﻯ‪ ،‬ﺭﺋﻴﺲ ﻛﻤﻴﺴﻴﻮﻥ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻰ ﻣﺠﻠﺲ‬ ‫ﻣﻮﺿﻊ ﮔﺮﻓﺘﻪ ﻭ ﺣﺘﻰ ﻃﻰ ﻧﺎﻣﻪﺍﻯ ﺑﻪ ﺭﺋﻴﺲ ﺳــﺎﺯﻣﺎﻥ ﻛﻨﻔﺮﺍﻧﺲ‬ ‫ﺍﺳﻼﻣﻰ ﻭ ﻣﻠﻚ ﻋﺒﺪﺍﷲ‪ ،‬ﭘﺎﺩﺷﺎﻩ ﻋﺮﺑﺴــﺘﺎﻥ ﺧﻮﺍﺳﺘﺎﺭ ﺭﺳﻴﺪﮔﻰ‬ ‫ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺷــﺪﻧﺪ‪ .‬ﺳﻴﺪﻋﻤﺎﺭ ﺣﻜﻴﻢ‪ ،‬ﺭﺋﻴﺲ ﻣﺠﻠﺲ ﺍﻋﻼ ﻧﻴﺰ‬ ‫ﻃﻰ ﻳﻚ ﺳــﺨﻨﺮﺍﻧﻰ ﻣﻮﺿﻊ ﺗﻨﺪﻯ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺩﺍﺷــﺖ‪.‬‬ ‫ﺩﺭ ﻋﺮﺍﻕ ﺍﺗﻔﺎﻕ ﺟﺎﻟﺒﻰ ﻛﻪ ﺭﺥ ﺩﺍﺩ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﺷﻴﻌﻴﺎﻥ‪،‬‬ ‫ﻣــﺮﺩﻡ ﻭ ﻋﻠﻤﺎﻯ ﺍﻫﻞ ﺗﺴــﻨﻦ ﻧﻴﺰ ﺗﻮﻫﻴﻦ ﺑﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴــﺘﺎﻧﻰ ﺭﺍ‬ ‫ﻣﺤﻜﻮﻡ ﻛﺮﺩﻧﺪ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﻫﻤﺒﺴــﺘﮕﻰ ﻣﻴﺎﻥ ﻧﺨﺒﮕﺎﻥ ﻭ ﺁﺣﺎﺩ ﻣﺮﺩﻡ ﺍﺯ‬ ‫ﺷﻴﻌﻴﺎﻥ ﻭ ﻣﺬﺍﻫﺐ ﻣﺨﺘﻠﻒ ﺩﺭ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﺷﻜﻞ ﺑﮕﻴﺮﺩ ﺍﻣﻜﺎﻥ ﺗﻜﺮﺍﺭ‬ ‫ﭼﻨﻴﻦ ﻭﻗﺎﻳﻌﻰ ﻛﺎﻫﺶ ﻣﻰ ﻳﺎﺑﺪ‪.‬‬ ‫ﺩﺭ ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﺻﺎﺩﻕ ﺍﻟﺤﺴﻴﻨﻰ ﺑﺮﺭﺳﻲ ﺷﺪ‬ ‫ﭘـﺸﺖﭘـﺮﺩﻩ ﻫـﺘﺎﻛﻰﻫﺎ‬ ‫ﺑﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ‬ ‫ﻣﺤﻤﻮﺩ ﻋﺒﺪﺍﻟﻠﻬﻲ‬ ‫ﺗﻮﻫﻴﻦ ﺑﻪ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ‬ ‫ﺍﺯ ﺳـﻮﻯ ﻳﻜﻰ ﺍﺯ ﻋﻠﻤـﺎﻯ ﻭﻫﺎﺑﻰ‬ ‫ﻋﺮﺑﺴـﺘﺎﻥ ﻭ ﻫﻤﭽﻨﻴﻦ ﻧﺸﺮﻳﺎﺕ‬ ‫ﺁﻥ ﻛﺸـﻮﺭ‪ ،‬ﺍﻳﻦ ﺳـﻮﺍﻝ ﺟﺪﻯ ﺭﺍ‬ ‫ﺷﻜﻞ ﺩﺍﺩﻩ ﺍﺳـﺖ ﻛﻪ ﺁﻳﺎ ﺗﻮﻫﻴﻦ‬ ‫ﺑﻪ ﻣﺮﺟﻌﻴﺖ ﺷـﻴﻌﻪ ﺑﺎ ﻫﻤﺎﻫﻨﮕﻰ‬ ‫ﺩﻭﻟﺖ ﻋﺮﺑﺴـﺘﺎﻥ ﺳﻌﻮﺩﻯ ﺍﻧﺠﺎﻡ‬ ‫ﻣﻰﮔﻴـﺮﺩ ﻳـﺎ ﺍﻳﻨﻜـﻪ ﻫﺘـﺎﻛﺎﻥ‪،‬‬ ‫ﮔﺮﻭﻫـﻰ ﺗﻨـﺪﺭﻭ ﻭ ﺍﻓﺮﺍﻃـﻰ‬ ‫ﻫﺴـﺘﻨﺪ؟ ﻣﺜﻠـﺚ ﺩﺭ ﮔﻔﺖﻭﮔـﻮ‬ ‫ﺑﺎ ﺻـﺎﺩﻕ ﺍﻟﺤﺴـﻴﻨﻰ‪ ،‬ﺗﺤﻠﻴﻠﮕﺮ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻣﺴﺎﺋﻞ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ‬ ‫ﻧﮕﺎﻩ ﺣﺎﻛﻤﻴﺖ ﻋﺮﺑﺴﺘﺎﻥ ﺳﻌﻮﺩﻯ‬ ‫ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻣﻮﺭﺩ ﻭﺍﻛﺎﻭﻯ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﻠﻚ ﻋﺒﺪﺍﷲ‪ ،‬ﭘﺎﺩﺷﺎﻩ ﻋﺮﺑﺴﺘﺎﻥ ﺳﻌﻮﺩﻯ ﺑﻪ ﺍﺗﺨﺎﺫ ﻣﻮﺍﺿﻊ‬ ‫ﻣﻴﺎﻧﻪ ﺷﻬﺮﻩ ﺩﺍﺭﺩ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺍﺧﻴﺮﺍ ﺷﺎﻫﺪ ﺗﻜﺮﺍﺭ ﺗﻮﻫﻴﻦﻫﺎ‬ ‫ﺑﻪ ﻣﺮﺟﻌﻴﺖ ﺷـﻴﻌﻪ ﺍﺯ ﺳـﻮﻯ ﻭﻫﺎﺑﻴﻮﻥ ﻋﺮﺑﺴﺘﺎﻥ ﺑﻮﺩﻩﺍﻳﻢ‪.‬‬ ‫ﺍﻳﻦ ﻫﺘـﺎﻛﺎﻥ ﺩﺭ ﻛﺪﺍﻡ ﺑﺨﺶ ﺍﺯ ﻧﻈﺎﻡ ﺳﻴﺎﺳـﻰ ﻋﺮﺑﺴـﺘﺎﻥ‬ ‫ﺗﻌﺮﻳﻒ ﻣﻰﺷﻮﻧﺪ؟‬ ‫ﻛﺸــﻮﺭ ﻛﻨﻮﻧﻰ ﻋﺮﺑﺴــﺘﺎﻥ ﺳــﻌﻮﺩﻯ ﻣﺤﺼﻮﻝ ﺍﺗﺤﺎﺩﻯ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﺯ ﺍﻭﺍﺧــﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻣﻴــﻼﺩﻯ ﺑﻴﻦ ﺧﺎﻧﺪﺍﻥ ﺁﻝﺳــﻌﻮﺩ ﻭ ﻣﺤﻤﺪ‬ ‫ﻋﺒﺪﺍﻟﻮﻫــﺎﺏ‪ ،‬ﺭﻫﺒﺮ ﻭﻫﺎﺑﻴﺖ ﺍﻧﺠــﺎﻡ ﮔﺮﻓﺖ‪ .‬ﺍﻳﻦ ﺍﺗﺤــﺎﺩ ﻛﻪ ﺗﺤﺖ‬ ‫ﺣﻤﺎﻳﺖ ﺍﻧﮕﻠﺴﺘﺎﻥ ﺑﻮﺩ‪ ،‬ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﺍﻭﺍﻳﻞ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺑﻪ ﺷﻜﻞﮔﻴﺮﻯ‬ ‫ﻋﺮﺑﺴــﺘﺎﻥ ﺳــﻌﻮﺩﻯ ﻣﻨﺘﻬﻰ ﺷــﺪ‪ .‬ﺍﻳﻦ ﻛﺸــﻮﺭ ﺣﻴﻦ ﺗﺎﺳﻴﺲ ﺑﺎ‬ ‫ﺣﻤﺎﻳﺖ ﺗﻤﺎﻡﻋﻴﺎﺭ ﺍﻧﮕﻠﻴﺴــﻰﻫﺎ ﻭﺍﺭﺩ ﺟﻨﮓ ﺑﺎ ﻋﺜﻤﺎﻧﻰ ﺷﺪ ﻭ ﺑﻌﺪ ﺍﺯ‬ ‫ﺗﺎﺳﻴﺲ ﻧﻴﺰ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﺟﻨﮓ ﺩﺍﺋﻤﻰ ﺑﺎ ﺩﻳﮕﺮ ﻓﺮﻗﻪﻫﺎﻯ ﻣﺬﻫﺒﻰ ﺩﺭ‬ ‫ﺟﺰﻳﺮﻩ ﺍﻟﻌﺮﺏ ﻭ ﭘﻴﺮﺍﻣﻮﻥ ﺁﻥ ﺑﻮﺩﻩ ﺍﺳــﺖ‪ .‬ﺍﻭﻟﻴــﻦ ﻣﺮﺣﻠﻪ ﺍﺯ ﻫﺘﺎﻛﻰ‬ ‫ﻭﻫﺎﺑﻴﻮﻥ ﺑﻪ ﻣﻘﺪﺳﺎﺕ ﺷــﻴﻌﻴﺎﻥ ﺑﻪ ﺳﺎﻝ ‪ 1801‬ﺑﺮﻣﻰﮔﺮﺩﺩ‪ .‬ﺩﺭ ﺁﻥ‬ ‫ﻣﻘﻄﻊ ﮔﺮﻭﻫﻰ ﺗﺤﺖ ﺭﻫﺒــﺮﻯ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﺑﻪ ﻗﺒﻮﺭ ﻣﺒﺎﺭﻛﻪ ﺍﺋﻤﻪ ﺩﺭ‬ ‫ﻛﺮﺑﻼ ﺣﻤﻠﻪ ﺑﺮﺩﻩ ﻭ ﺣﺘﻰ ﺿﺮﻳﺢ ﻭ ﺩﺭﻫﺎﻯ ﻗﺒﻮﺭ ﺭﺍ ﻧﻴﺰ ﻏﺎﺭﺕ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﮔﺮﻭﻩ ﺩﺭ ﻣﺮﺣﻠﻪ ﺩﻭﻡ ﻗﺼﺪ ﺣﻤﻠﻪ ﺑﻪ ﻧﺠﻒ ﺍﺷﺮﻑ ﺭﺍ ﺩﺍﺷﺖ ﻛﻪ ﺑﺎ‬ ‫ﻣﻘﺎﻭﻣﺖ ﻣﺮﺩﻣﻰ ﺑﻪ ﺭﻫﺒﺮﻯ ﻋﻼﻣﻪﻛﺎﺷﻒ ﺍﻟﻐﻄﺎ ﻣﻮﺍﺟﻪ ﺷﺪﻩ ﻭ ﻣﺠﺒﻮﺭ‬ ‫ﺑﻪ ﻋﻘﺐﻧﺸﻴﻨﻰ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﺁﻥ ﻣﻘﻄﻊ ﻋﻼﻣﻪ ﻛﺎﺷﻒﺍﻟﻐﻄﺎ ﺧﻄﺎﺏ ﺑﻪ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﻛﺘﺎﺑﻰ ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﻣﻨﻬﺞ ﺍﻟﺮﺷﺎﺩ ﻟﻤﻦ ﺍﻻﺭﺍﺩﻩ‬ ‫ﺍﺳﺪﺍﺩ« ﺑﻪﺭﺷــﺘﻪ ﺗﺤﺮﻳﺮ ﺩﺭ ﺁﻭﺭﺩﻩ ﻭ ﺳﻌﻰ ﻛﺮﺩ ﻭﻯ ﺭﺍ ﺑﻪ ﺭﺍﻩ ﭘﻮﻳﺎﻳﻰ‬ ‫ﺍﺭﺷــﺎﺩ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻣﺘﺎﺳــﻔﺎﻧﻪ ﻭﻫﺎﺑﻰﻫﺎ ﺍﺯ ﺧﺼﻮﻣﺖ ﺧﻮﺩ ﺩﺳﺖﺑﺮﺩﺍﺭ‬ ‫ﻧﺒﻮﺩﻧﺪ ﻭ ﻣﻜﺮﺭﺍ ﺩﺭ ﻣﻘﺎﻃﻊ ﻣﺨﺘﻠﻒ ﺷﺎﻫﺪ ﺗﻮﻫﻴﻦﻫﺎﻯ ﺁﻧﺎﻥ ﺑﻪ ﻋﻠﻤﺎ‬ ‫ﻭ ﻣﻘﺪﺳﺎﺕ ﺷــﻴﻌﻪ ﺑﻮﺩﻩﺍﻳﻢ‪ .‬ﺍﻳﻦ ﺭﻭﻧﺪ ﻫﺘﺎﻛﻰ ﻃﻰ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ‬ ‫ﻧﻴﺰ ﺍﺩﺍﻣﻪ ﺩﺍﺷــﺘﻪ ﺍﺳﺖ ﺑﻪﻃﻮﺭﻳﻜﻪ ﺩﺭ ﺩﻭﺭﻩ ﺭﻳﺎﺳﺖﺟﻤﻬﻮﺭﻯ ﺁﻗﺎﻯ‬ ‫ﺧﺎﺗﻤﻰ ﻭﻗﺘﻰ ﺁﻗﺎﻯ ﻫﺎﺷﻤﻰﺭﻓﺴــﻨﺠﺎﻧﻰ ﺑﻪﺩﻋــﻮﺕ ﻭﻟﻴﻌﻬﺪ ﻭﻗﺖ‬ ‫)ﭘﺎﺩﺷــﺎﻩ ﻓﻌﻠﻰ( ﺑﻪﻋﺮﺑﺴﺘﺎﻥ ﺩﻋﻮﺕ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎﻡ ﺟﻤﺎﻋﺖ ﻣﺪﻳﻨﻪ‬ ‫ﺩﺭ ﺣﻀﻮﺭ ﺍﻳﺸﺎﻥ ﺑﻪ ﺍﺋﻤﻪ ﺷﻴﻌﻴﺎﻥ ﺗﻮﻫﻴﻦ ﻛﺮﺩ ﻛﻪ ﻣﻮﺟﺐ ﺷﺪ ﺁﻗﺎﻯ‬ ‫ﻫﺎﺷــﻤﻰ ﻧﻤﺎﺯ ﺭﺍ ﺗﺮﻙ ﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺭ ﺁﻥ ﻣﺎﺟﺮﺍ ﻣﻠﻚﻋﺒﺪﺍﷲ ﺳﺮﻳﻌﺎ‬ ‫ﻭﺍﺭﺩ ﻋﻤﻞ ﺷﺪ ﻭ ﺑﺎ ﺑﺮﻛﻨﺎﺭﻯ ﺁﻥ ﻋﺎﻟﻢ ﻭﻫﺎﺑﻰ ﺣﺴﻦ ﻧﻴﺖ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ‬ ‫ﺩﺍﺩ ﻭﻟﻰ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻣﺎﺟﺮﺍ ﺁﻗــﺎﻯ ﻛﻠﻴﺒﺎﻧﻰ‪ ،‬ﺍﻣﺎﻡ ﺟﻤﺎﻋﺖ ﻣﻜﻪ ﻧﻴﺰ ﺑﺎﺭ‬ ‫ﺩﻳﮕﺮ ﻣﻘﺪﺳﺎﺕ ﺷــﻴﻌﻴﺎﻥ ﺭﺍ ﻣﻮﺭﺩ ﺣﻤﻠﻪ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﻛﻠﻴﺒﺎﻧﻰ ﺑﻪﺩﻟﻴﻞ‬ ‫ﺍﻓﺮﺍﻃﻰﮔﺮﻯﻫﺎ ﻣﺠﺒﻮﺭ ﺑﻪ ﺗﺮﻙ ﻋﺮﺑﺴــﺘﺎﻥ ﻭ ﺍﻗﺎﻣﺖ ﺩﺭ ﺁﻟﻤﺎﻥ ﺷــﺪ‬ ‫ﻭﻟﻰ ﺧﺼﻮﻣﺖ ﻭﻯ ﺑﺎ ﺷــﻴﻌﻴﺎﻥ ﻭ ﺑﺮﺧﻰ ﺩﻳﮕــﺮ ﺍﺯ ﻣﺬﺍﻫﺐ ﺑﻪ ﺣﺪﻯ‬ ‫ﺍﺳــﺖ ﻛﻪ ﻃﻰ ﭼﻨﺪ ﻫﻔﺘﻪ ﺍﺧﻴﺮ ﻋﺮﺍﻗﻰﻫﺎﻯ ﻣﻘﻴﻢ ﺁﻟﻤﺎﻥ ﺑﺎ ﺍﺳﺘﻨﺎﺩ‬ ‫ﺑﻪ ﻣﻘﺮﺭﺍﺕ ﺁﻥ ﻛﺸﻮﺭ ﺩﺭﺻﺪﺩ ﻫﺴﺘﻨﺪ ﺍﻭ ﺭﺍ ﺑﻪ ﺟﺮﻡ ﺍﻳﺠﺎﺩ ﺧﺼﻮﻣﺖ‬ ‫ﻣﺬﻫﺒﻰ ﺑﻪ ﺩﺍﺩﮔﺎﻩ ﺑﻜﺸــﺎﻧﻨﺪ‪ .‬ﺍﻳﻦ ﺁﻗــﺎﻯ ﺍﻟﻌﺮﻳﻔﻲ ﻛﻪ ﻋﻠﻴﻪ ﺁﻳﺖﺍﷲ‬ ‫ﺳﻴﺴﺘﺎﻧﻰ ﺳــﺨﻦ ﮔﻔﺘﻪ ﺍﺳﺖ ﻧﻴﺰ ﺷــﺒﻴﻪ ﺩﻳﮕﺮ ﻫﻢﻣﺴﻠﻜﺎﻥ ﺧﻮﺩ‬ ‫ﺍﺳــﺖ‪ .‬ﻣﻮﺍﺿﻊ ﺍﻓﺮﺍﻃﻰ ﺍﻳﻦ ﺷــﺨﺺ‬ ‫ﺩﺭ ﺗﺮﻭﻳﺞ ﻛﻴﻨﻪﻫﺎﻯ ﻣﺬﻫﺒﻰ ﺑﻪ ﺣﺪﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﺣﺘﻰ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻛﺸﻮﺭﻫﺎﻯ‬ ‫ﻋﺮﺑﻰ ﻭﺭﻭﺩ ﻭﻯ ﺭﺍ ﺑﻪ ﺧﺎﻙ ﺧﻮﺩ ﻣﻤﻨﻮﻉ‬ ‫ﻛﺮﺩﻩﺍﻧــﺪ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴــﺐ ﺗﻮﻫﻴﻦﻫﺎ ﻭ‬ ‫ﺗﻜﻔﻴﺮﻫﺎ ﺣﺮﻛﺖ ﻓﺮﺩﻯ ﻧﻴﺴــﺖ ﺑﻠﻜﻪ‬ ‫ﻳﻚ ﺧﻂ ﺍﻧﺤﺮﺍﻓﻰ ﺍﺳــﺖ ﻛــﻪ ﻧﻪ ﺗﻨﻬﺎ‬ ‫ﺷﻴﻌﻴﺎﻥ‪ ،‬ﺑﻠﻜﻪ ﺩﻳﮕﺮ ﻓﺮﻕ ﺍﺳﻼﻣﻰ ﻣﺎﻧﻨﺪ‬ ‫ﺷــﺎﻓﻌﻰ‪ ،‬ﻣﺎﻟﻜﻰ ﻭ‪ ...‬ﺭﺍ ﻧﻴﺰ ﻧﺸﺎﻧﻪ ﺭﻓﺘﻪ‬ ‫ﺍﺳــﺖ‪ .‬ﺍﻳﻨﻬﺎ ﺗﺎ ﺣــﺪﻭﺩﻯ ﺣﻨﺒﻠﻰﻫﺎ ﺭﺍ‬ ‫ﻗﺒﻮﻝ ﺩﺍﺭﻧﺪ ﭼﺮﺍﻛﻪ ﻭﻫﺎﺑﻴﺖ ﺷﺎﺧﻪﺍﻯ‬ ‫ﺍﺯ ﺣﻨﺒﻠﻰﮔﺮﻯ ﺑﻪﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺳـﻮﺍﻝ ﺍﻳﻨﺠﺎﺳـﺖ ﻛـﻪ ﺗﻜﻔﻴـﺮ‬ ‫ﺷـﻴﻌﻴﺎﻥ ﻭ ﺗﻮﻫﻴﻦ ﺑﻪ ﻣﻘﺪﺳـﺎﺕ‬ ‫ﺁﻧـﺎﻥ ﺭﺍ ﺍﮔﺮ ﺧـﻂ ﻭﻫﺎﺑﻴﻮﻥ ﺑﺪﺍﻧﻴـﻢ‪ ،‬ﺁﻳﺎ ﺍﻳﻦ ﺧﻂ ﺍﺯ ﺳـﻮﻯ‬ ‫ﺁﻝﺳﻌﻮﺩ ﻫﻢ ﺣﻤﺎﻳﺖ ﻣﻰﺷﻮﺩ؟‬ ‫ﺑﺪﻭﻥﺷﻚﻭﻫﺎﺑﻴﻮﻥﺍﺯﺣﻤﺎﻳﺖﺁﻝﺳﻌﻮﺩﺑﺮﺧﻮﺭﺩﺍﺭﻧﺪ‪.‬ﺍﮔﺮﺣﻤﺎﻳﺖﻫﺎﻯ‬ ‫ﺩﻭﻟﺘﻰ ﻧﺒﻮﺩ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺍﻳﻨﻘﺪﺭ ﮔﺴﺘﺎﺧﺎﻧﻪ ﺍﺯ ﻣﻨﺎﺑﺮ ﺭﺳﻤﻰ ﻣﺎﻧﻨﺪ‬ ‫ﻣﺴﺎﺟﺪﻣﻜﻪ‪،‬ﻣﺪﻳﻨﻪﻭﺭﻳﺎﺽﺑﻪﺗﻜﻔﻴﺮﻭﺗﻮﻫﻴﻦ ﺑﭙﺮﺩﺍﺯﻧﺪ‪.‬ﺍﻣﺎﺑﺎﻳﺪﮔﻔﺖ‬ ‫ﻛﻪ ﺷﺨﺺ ﻣﻠﻚ ﻋﺒﺪﺍﷲ ﺑﺎ ﺍﻳﻦ ﺣﺮﻛﺖﻫﺎ ﻣﻮﺍﻓﻖ ﻧﻴﺴﺖ‪ .‬ﻭﻫﺎﺑﻰﻫﺎ ﺑﺎ‬ ‫ﺑﺮﺍﺩﺭﺍﻥ ﻓﻬﺪ ﺑﺴﻴﺎﺭ ﻧﺰﺩﻳﻚ ﻫﺴــﺘﻨﺪ ﺍﻣﺎ ﻣﻠﻚ ﻋﺒﺪﺍﷲ ﭼﻨﺪﺍﻥ ﺭﻭﻯ‬ ‫ﺧﻮﺵﺑﻪﺁﻧﻬﺎﻧﺸﺎﻥﻧﻤﻰﺩﻫﺪﻭﻟﻰﺳﺎﺧﺘﺎﺭﭘﻴﭽﻴﺪﻩﻗﺪﺭﺕﺩﺭﻋﺮﺑﺴﺘﺎﻥ‬ ‫ﻭ ﻧﻔﻮﺫ ﻭﻫﺎﺑﻰﻫﺎ ﺍﺯ ﺳــﻮﻯ ﺩﻳﮕﺮ ﺑﻪﮔﻮﻧﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻣﺨﺎﻟﻔﺖ ﭘﺎﺩﺷﺎﻩ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺪ ﻣﺎﻧﻊ ﺍﻳﻦ ﻫﺘﺎﻛﻰﻫﺎ ﺷﻮﺩ‪.‬‬ ‫ﺗﻮﻫﻴﻦﻫﺎﻯ ﺍﻧﺠﺎﻡ ﮔﺮﻓﺘﻪ ﺩﺭ ﺍﻳﻦ ﻣﻘﻄﻊ ﻣﻌﻨﺎ ﻭ ﻣﻔﻬﻮﻡ ﺧﺎﺻﻰ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ؟‬ ‫ﺍﻟﺒﺘﻪ ﺗﻮﺟــﻪ ﻛﻨﻴﺪ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﺁﻳﺖﺍﷲ ﺳﻴﺴــﺘﺎﻧﻰ‪ ،‬ﺳﻴﺪﺣﺴــﻦ‬ ‫ﻧﺼــﺮﺍﷲ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﻳــﺮﺍﻥ ﻧﻴﺰ ﻣﻮﺭﺩ ﻫﺘﺎﻛﻰ ﻋﻠﻤــﺎﻯ ﻭﻫﺎﺑﻰ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﻪﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺁﻧﻬﺎ ﺍﺯ ﻗﺪﺭﺕ ﮔﺮﻓﺘﻦ ﺍﻳﺮﺍﻥ ﺩﺭ ﻣﻨﻄﻘﻪ‬ ‫ﺩﺭ ﻫﺮﺍﺱ ﻫﺴــﺘﻨﺪ ﻭ ﺑﺎ ﺳــﺨﻦ ﮔﻔﺘﻦ ﻋﻠﻴﻪ ﺍﻳﺮﺍﻥ ﺑﻪﺩﻧﺒﺎﻝ ﺗﺸﺪﻳﺪ‬ ‫ﺧﻂ ﺍﻳﺮﺍﻥﻫﺮﺍﺳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎﻯ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺳﻌﻮﺩﻯﻫﺎ‬ ‫ﻧﻴﺰ ﭘﻴﮕﻴﺮﻯ ﻣﻰﺷــﻮﺩ‪ .‬ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﺳــﻴﺪ ﺣﺴﻦ ﻧﺼﺮﺍﷲ‪ ،‬ﻧﻔﻮﺫ ﻭ‬ ‫ﻣﺤﺒﻮﺑﻴﺖ ﺯﻳــﺎﺩﻯ ﺩﺭ ﺟﺰﻳﺮﻩﺍﻟﻌﺮﺏ ﺑﻪﺧﺼﻮﺹ ﻳﻤــﻦ ﺩﺍﺭﺩ ﻭ ﺁﻧﻬﺎ‬ ‫ﺑﻪ ﮔﻤﺎﻥ ﺧﻮﺩ ﻭﺟﻬﻪ ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﺷﻴﻌﻪ ﺭﺍ ﺗﺨﺮﻳﺐ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﺁﻳﺖﺍﷲ ﺳﻴﺴﺘﺎﻧﻰ ﻋﻼﻭﻩ ﺑﺮ ﺁﻧﻜﻪ ﺍﺯ ﺳﺨﻨﺎﻥ ﺍﺧﻴﺮ ﻣﻰﺗﻮﺍﻥ ﺗﻠﻘﻰ‬ ‫ﻋﻘﺪﻩﮔﺸﺎﻳﻰ ﻛﺮﺩ ﻳﻚ ﺍﺣﺘﻤﺎﻝ ﻫﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﺳﺘﺎﻧﻪ ﺍﻧﺘﺨﺎﺑﺎﺕ‬ ‫ﭘﺎﺭﻟﻤﺎﻧﻰ ﻋﺮﺍﻕ ﻭﻫﺎﺑﻴﺖ ﺑﻪﺩﻧﺒﺎﻝ ﻣﺨﺪﻭﺵ ﻛﺮﺩﻥ ﭼﻬﺮﻩ ﺍﻳﺸﺎﻥ ﺑﺎﺷﺪ‬ ‫ﻛﻪ ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﻧﻴﺰ ﺑﺪﻭﻥ ﺷﻚ ﺑﺎ ﺷﻜﺴﺖ ﻣﻮﺍﺟﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﭼﻨﺪﺳﺎﻝ ﭘﻴﺶ ﻳﻜﻰ ﺍﺯ ﻋﻠﻤﺎﻯ ﻗﻢ ﺑﻪﻧﺎﻡ ﺁﻳﺖﺍﷲ ﺭﺳﺘﮕﺎﺭﻯ‬ ‫ﺟﻮﻳﺒـﺎﺭﻯ ﻛﺘﺎﺑﻰ ﻧﻮﺷـﺘﻪ ﺑﻮﺩ ﻛﻪ ﮔﻔﺘﻨﺪ ﺣـﺎﻭﻯ ﺗﻮﻫﻴﻦ ﺑﻪ‬ ‫ﺧﻠﻔﺎﻯ ﺭﺍﺷـﺪﻳﻦ ﺍﺳـﺖ‪ .‬ﺍﻳﻦ ﺷـﺨﺺ ﺳﺮﻳﻌﺎ ﺩﺳـﺘﮕﻴﺮ ﻭ‬ ‫ﻣﺤﺎﻛﻤﻪ ﺷـﺪ‪ .‬ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﻭﺍﻛﻨﺸـﻰ ﻛﻪ ﺩﻭﻟﺖ ﺍﻳﺮﺍﻥ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻋﺎﺕ ﺑﻪﻛﺎﺭ ﻣﻰﺑﺮﺩ ﺑﻪﻧﻈﺮ ﺷـﻤﺎ ﺩﺭ ﭼﻨﻴﻦ ﻣﻮﺍﺭﺩﻯ ﻛﻪ‬ ‫ﺑﻪ ﻣﻘﺪﺳﺎﺕ ﺷﻴﻌﻴﺎﻥ ﺗﻮﻫﻴﻦ ﻣﻰﺷﻮﺩ ﭼﻪ ﺑﺎﻳﺪ ﻛﻨﺪ؟‬ ‫ﺍﻳﻦ ﻭﺍﻗﻌﻪ ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻨﻜﻪ ﻭﺍﻛﻨﺶ ﺗﻨﺪ ﺩﻭﻟﺖ ﻭ ﻣﺮﺩﻡ ﻋﺮﺍﻕ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺩﺍﺷﺖ ﺑﺎ ﺑﺮﺧﻮﺭﺩ ﻣﺤﻜﻢ ﺩﻳﮕﺮ ﺷﻴﻌﻴﺎﻥ ﺑﻪﺧﺼﻮﺹ ﺣﺰﺏﺍﷲ ﻟﺒﻨﺎﻥ‬ ‫ﻣﻮﺍﺟﻪ ﺷﺪ ﻛﻪ ﺩﺭ ﺑﻴﺎﻧﻴﻪ ﺧﻮﺩ ﺣﺘﻰ ﺩﻭﻟﺖ ﻋﺮﺑﺴﺘﺎﻥ ﺭﺍ ﺗﻬﺪﻳﺪ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺍﻧﺘﻈﺎﺭ ﻣﻰﺭﻓﺖ ﺍﻳﺮﺍﻥ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﻣﻮﺿﻊ ﻣﺤﻜﻤﺘﺮﻯ‬ ‫ﺑﮕﻴﺮﺩ ﺍﻣﺎ ﻣﺘﺎﺳﻔﺎﻧﻪ ﭼﻨﻴﻦ ﻧﺸﺪ‪ .‬ﺑﻪﻧﻈﺮﻡ ﻣﺎ ﻣﻼﺣﻈﻪﻛﺎﺭﻯ ﻣﻲﻛﻨﻴﻢ‪،‬‬ ‫ﺷــﺎﻳﺪ ﺑﻪﺧﺎﻃﺮ ﻣﻮﺍﺿﻊ ﻣﻠﻚ ﻋﺒﺪﺍﷲ‪ ،‬ﺍﻳﺮﺍﻥ ﺍﺯ ﺭﺍﻩ ﺗﺴﺎﻫﻞ ﻭ ﺗﺴﺎﻣﺢ‬ ‫ﻭﺍﺭﺩ ﺷــﺪﻩ ﺍﺳــﺖ‪ .‬ﻣﻦ ﻧﺘﻮﺍﻧﺴــﺘﻢ ﻣﻨﻄﻖ ﺭﻓﺘﺎﺭ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﻪﺩﺳﺘﻰ‬ ‫ﺩﺭﻳﺎﺑﻢ ﻭﻟﻰ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻳﺮﺍﻥ ﺣﺪﺍﻗﻞ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺳﻔﻴﺮ ﻋﺮﺑﺴﺘﺎﻥ‬ ‫ﺩﺭ ﺗﻬﺮﺍﻥ ﺭﺍ ﻓﺮﺍﺧﻮﺍﻧﺪﻩ ﻭ ﻧﺴــﺒﺖ ﺑﻪ ﺍﻳﻦ ﺭﻓﺘﺎﺭ ﺍﻋﺘﺮﺍﺽ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﻳﺪﮔﺎﻩ‬ ‫ﺗﺼﻔﻴﻪ ﻧﮋﺍﺩﻱ‬ ‫ﻃﻼﻝ ﻋﻮﻛﻞ‬ ‫ﺭﻭﺯﻧﺎﻣﻪ ﻧﮕﺎﺭ ﻓﻠﺴﻄﻴﻨﻲ‬ ‫ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﺍﻣﻨﻴﺘﻲ ﺭژﻳﻢ ﺻﻬﻴﻮﻧﻴﺴﺘﻲ ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﺤﻘﻖ ﻃﺮﺡ‬ ‫ﺍﻳﺠﺎﺩ ﺩﻳﻮﺍﺭ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﺩﺭ ﻣﺮﺯ ﻏﺮﺑﻲ ﺑﺎ ﻣﺼﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﺩﻳﻮﺍﺭﻱ ﻛﻪ‬ ‫ﻃﻮﻝﺁﻥﺑﻪﺑﻴﺶﺍﺯ‪ 250‬ﻛﻴﻠﻮﻣﺘﺮﻣﻲﺭﺳﺪﻭﻫﺰﻳﻨﻪﺳﺎﺧﺖﺁﻥﺑﻴﺶ‬ ‫ﺍﺯ ‪ 300‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ ﺗﺨﻤﻴﻦ ﺯﺩﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺩﻳﻮﺍﺭ ﺍﻣﻨﻴﺘﻲ ﻛﻪ‬ ‫ﺣﺎﻻﺩﺭﺍﻭﻟﻮﻳﺖﺑﺮﻧﺎﻣﻪﻫﺎﻱﺩﻭﻟﺖ ﺍﺳﺮﺍﺋﻴﻞ ﻗﺮﺍﺭﮔﺮﻓﺘﻪﺑﺎ ﺗﻮﺟﻴﻬﺎﺗﻲ‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﺟﻠﻮﮔﻴﺮﻱ ﺍﺭﺗﺒﺎﻁ ﮔﺮﻭﻩﻫﺎﻱ ﻣﻘﺎﻭﻡ ﻓﻠﺴﻄﻴﻨﻲ ﺑﺎ ﻣﺼﺮ ﻭ‬ ‫ﺍﺣﺘﻤﺎﻝ ﻭﻗﻮﻉ ﺣﻤﻼﺕ ﻧﻈﺎﻣﻲ ﺳــﺎﺧﺘﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ‬ ‫ﻛﺎﻣﻼ ﻭﺍﺿﺢ ﺍﺳــﺖ ﻫﻤﻮﺍﺭﻩ ﺍﺳﺮﺍﺋﻴﻞ ﺁﺗﺶ ﻫﺮ ﺟﻨﮕﻲ ﺭﺍ ﺩﺭ ﻣﻨﻄﻘﻪ‬ ‫ﺭﻭﺷﻦ ﻣﻲﻛﻨﺪ‪ .‬ﻭﺍﺿﺢ ﺍﺳﺖ ﻛﻪ ﺩﻭﻟﺖ ﻣﺼﺮ ﭘﺲ ﺍﺯ ﻗﺮﺍﺭﺩﺍﺩ ﻛﻤﭗ‬ ‫ﺩﻳﻮﻳﺪ ﻃﺒﻖ ﻣﻔﺎﺩ ﺍﻳﻦ ﺗﻮﺍﻓﻘﻨﺎﻣﻪ ﻫﺮﮔﺰ ﻧﻴﺮﻭﻱ ﻧﻈﺎﻣﻲ ﻭﺍﺭﺩ ﻣﻨﻄﻘﻪ‬ ‫ﺳﻴﻨﺎ ﻧﻜﺮﺩﻩ ﻭ ﺧﻄﺮﻱ ﺑﺮﺍﻱ ﻣﺮﺯﻫﺎﻱ ﺍﺳﺮﺍﺋﻴﻞ ﺑﻪ ﺷﻤﺎﺭ ﻧﻤﻲﺭﻭﺩ ﻭ‬ ‫ﺑﻪﻧﻈﺮﻣﻲﺭﺳﺪ ﺩﻻﻳﻞ ﺍﻣﻨﻴﺘﻲ ﺗﻨﻬﺎ ﺑﻬﺎﻧﻪﺍﻱ ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﺍﻳﻦ ﺩﻳﻮﺍﺭ‬ ‫ﺍﺳﺖ ﻭ ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﺳﺮﺍﺋﻴﻞ ﻣﻲ ﺧﻮﺍﻫﺪ ﻣﺎﻧﻊ ﻣﻬﺎﺟﺮﺕ ﻣﺮﺩﻡ ﻓﻘﻴﺮ‬ ‫ﺳﻮﺩﺍﻥ ﺍﺯ ﻣﺮﺯﻫﺎﻱ ﺷﺮﻗﻲ ﻣﺼﺮ ﻭ ﻭﺭﻭﺩ ﺁﻧﻬﺎ ﺑﻪ ﺁﺳﻴﺎ ﺷﻮﺩ‪ .‬ﺍﺳﺮﺍﺋﻴﻞ‬ ‫ﻛﻪ ﻣﺪﻋﻲ ﺁﺯﺍﺩﻱ‪ ،‬ﺣﻤﺎﻳﺖ ﺍﺯ ﺩﻣﻮﻛﺮﺍﺳــﻲ ﻭ ﺣﻘﻮﻕ ﺑﺸــﺮ ﺍﺳﺖ ﺑﺎ‬ ‫ﺍﻳﻦ ﺩﻳﻮﺍﺭ ﻣﺎﻧــﻊ ﺍﺯ ﭘﻨﺎﻫﻨﺪﮔﻲ ﻣﺮﺩﻡ ﻓﻘﻴــﺮ ﻭ ﻣﺤﺮﻭﻡ ﺍﻳﻦ ﻣﻨﻄﻘﻪ‬ ‫ﺑﻪ ﻛﺸﻮﺭﻫﺎﻱ ﺩﻳﮕﺮ ﻣﻲﺷــﻮﺩ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﺳﺮﺍﺋﻴﻞ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ‬ ‫ﺣﻜﻮﻣﺖ ﻧﮋﺍﺩﭘﺮﺳــﺖ ﻗﺼﺪ ﺩﺍﺭﺩ ﺩﺭ ﺳــﺮﺯﻣﻴﻦﻫﺎﻱ ﺗﺤﺖﺳﻠﻄﻪ‬ ‫ﺧﻮﺩﺵ ﺍﺯ ﻭﺭﻭﺩ ﺍﻗﻮﺍﻡ ﻭ ﻧﮋﺍﺩﻫــﺎﻱ ﺩﻳﮕﺮ ﺟﻠﻮﮔﻴﺮﻱ ﻛﻨﺪ‪ .‬ﻣﻮﺿﻮﻉ‬ ‫ﺍﺻﻠﻲ ﺗﻔﻜﺮ ﻧﮋﺍﺩﭘﺮﺳﺘﺎﻧﻪ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﺍﺳﺮﺍﺋﻴﻠﻲ ﺍﺳﺖ ﻛﻪ ﻗﺼﺪ ﺩﺍﺭﺩ‬ ‫ﺍﻳﻦ ﺳــﺮﺯﻣﻴﻦ ﺭﺍ ﺍﺯ ﺩﻳﮕﺮ ﻛﺸــﻮﺭﻫﺎ ﺩﻭﺭ ﻧﮕﺎﻩ ﺩﺍﺭﺩ ﻭ ﺗﻨﻬﺎ ﺍﺯ ﺍﺻﺎﻟﺖ‬ ‫ﻧﮋﺍﺩ ﺻﻬﻴﻮﻧﻴﺴــﺖﻫﺎﻱ ﻳﻬﻮﺩﻱ ﺣﻤﺎﻳﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺷــﺎﺭﻭﻥ‪ ،‬ﺑﺎﻧﻲ‬ ‫ﻭ ﺣﺎﻣﻲ ﺍﺻﻠﻲ ﺳــﺎﺧﺖ ﺩﻳﻮﺍﺭ ﻧﮋﺍﺩﭘﺮﺳــﺘﺎﻧﻪ ﺻﻬﻴﻮﻧﻴﺴﺖﻫﺎ ﺑﻮﺩ‪.‬‬ ‫ﻧﻜﺘﻪ ﺟﺎﻟﺐﺗﻮﺟﻪ ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﺩﻳﻮﺍﺭ ﺩﺭ ﺧﺎﻙ ﺩﻭﻟﺖ ﻣﺴــﺘﻘﻞ‬ ‫ﻓﻠﺴﻄﻴﻨﻲ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ ‪،‬ﺟﺎﻳﻲ ﻛﻪ ﺣﺘﻲ ﺩﻭﻟﺖ ﺍﻳﺎﻻﺕﻣﺘﺤﺪﻩ‬ ‫ﻧﻴﺰ ﺣﺎﻛﻤﻴﺖ ﻓﻠﺴﻄﻴﻦ ﺭﺍﺑﺮ ﺁﻥ ﺗﺎﻳﻴﺪﻣﻲﻛﻨﺪ‪ .‬ﺍﺳﺮﺍﺋﻴﻞﻣﻲﺧﻮﺍﻫﺪ‬ ‫ﺑﺎ ﺳــﺎﺧﺖ ﺩﻳﻮﺍﺭﻱ ﺩﺭ ﻣﺮﺯ ﺑﺎ ﻣﺼﺮ ﺧﻮﺩ ﺭﺍ ﺑﻪﻃﻮﺭ ﻛﺎﻣﻞ ﺍﺯ ﻣﺮﺯﻫﺎﻱ‬ ‫ﺳﺮﺯﻣﻴﻦﻫﺎ ﻭ ﻛﺸــﻮﺭﻫﺎﻱ ﻋﺮﺑﻲ ﺩﻭﺭ ﻛﻨﺪ‪ .‬ﺩﻳﻮﺍﺭ ﻏﺮﺑﻲ ﺩﻳﮕﺮﻱ ﺩﺭ‬ ‫ﻗﺪﺱ ﺳﺎﺧﺘﻪ ﻣﻲ ﺷــﻮﺩ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻴﺖﺍﻟﻤﻘﺪﺱ ﺭﺍ ﺍﺯ ﻣﻌﺎﺩﻟﻪ‬ ‫ﻣﺬﺍﻛﺮﺍﺕﺻﻠﺢ ﺧﺎﺭﺝﻛﻨﺪﻭ ﺯﻣﻴﻨﻪ ﺗﺼﺮﻑ ﻭ ﺍﺷﻐﺎﻝ ﻣﻨﺎﻃﻖ ﺩﻳﮕﺮﻱ‬ ‫ﺭﺍ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻗﺪﺱ ﻛﺎﻣﻼ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﻭﻟﺖ ﺍﺷﻐﺎﻟﮕﺮ‬ ‫ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﻭ ﺍﻣﻜﺎﻥ ﺑﺎﺯﭘﺲﮔﻴﺮﻱ ﺁﻥ ﻫﻢ ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﺳﺎﺧﺖ ﻭ ﮔﺴﺘﺮﺵ ﺩﻳﻮﺍﺭﻫﺎﻱ ﺳﻴﻤﺎﻧﻲ ﻭ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﻛﻪ ﺑﺎ ﻣﻘﺎﺻﺪ‬ ‫ﻧﮋﺍﺩﭘﺮﺳﺘﺎﻧﻪ ﺳﺎﺧﺘﻪ ﻣﻲ ﺷﻮﺩ ﻣﺨﺎﻟﻔﺖ ﺳﺎﺯﻣﺎﻥﻫﺎﻱ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺷــﺘﻪ ﺍﻣﺎ ﺩﻭﻟﺖ ﺻﻬﻴﻮﻧﻴﺴﺘﻲ ﺑﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﺶ ﺩﺭ‬ ‫ﺍﻳــﻦ ﺯﻣﻴﻨﻪ ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫــﺪ ﻭ ﺗﻐﻴﻴﺮﻱ ﺩﺭ ﺑﺮﻧﺎﻣﻪﻫــﺎﻱ ﺍﻳﻦ ﺭژﻳﻢ‬ ‫ﺍﻳﺠﺎﺩ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﺮﺯﻫﺎﻱ ﺷﻤﺎﻟﻲ ﻭ ﺷﺮﻗﻲ ﻏﺰﻩ ﺩﻳﻮﺍﺭﻫﺎﻳﻲ ﺑﺎ‬ ‫ﻓﺎﺻﻠﻪ ‪ 300‬ﻣﺘﺮ ﺍﺯ ﻣﺮﺯ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺗﺎ ﻣﺎﻧﻊ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺳﺎﻛﻨﺎﻥ‬ ‫ﻭ ﺣﺘﻲ ﻛﺸﺎﻭﺭﺯﺍﻥ ﻣﻨﻄﻘﻪ ﺑﻪ ﻣﺮﺯﻫﺎ ﺑﺎﺷﺪ‪ .‬ﺻﻬﻴﻮﻧﻴﺴﺖﻫﺎ ﻣﻨﻄﻘﻪ‬ ‫ﺭﺍ ﺑﺎ ﺩﻭﺭﺑﻴﻦ‪ ،‬ﮔﺸــﺖﻫﺎﻱ ﻫﻮﺍﻳﻲ‪ ،‬ﺩﺭﻳﺎﻳﻲ ﻭ ﺯﻣﻴﻨﻲ ﺯﻳﺮ ﻧﻈﺮ ﺩﺍﺭﻧﺪ‬ ‫ﺍﻣﺎ ﺑﺎ ﺳــﺎﺧﺖ ﺍﻳﻦ ﺩﻳﻮﺍﺭﻫﺎ ﻣﺤﺎﺻﺮﻩ ﺭﺍ ﺑﺮ ﻣﺮﺩﻡ ﺳﺨﺖﺗﺮ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﮔﺮ ﻫﻤﻪ ﺍﻳﻦ ﺗﻼﺵﻫﺎ ﻭ ﺍﻗﺪﺍﻣﺎﺕ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﻗﺮﺍﺭ ﺩﻫﻴﻢ ﻭ ﺑﺎ ﺩﻗﺖ‬ ‫ﺑﺮﺭﺳﻲ ﻛﻨﻴﻢ ﺍﺳــﺮﺍﺋﻴﻠﻲﻫﺎ ﻣﻲﺧﻮﺍﻫﻨﺪ ﺳﻴﺎﺳﺖ ﻳﻬﻮﺩﻱﺳﺎﺯﻱ‬ ‫ﺳﺮﺯﻣﻴﻦﻫﺎﻱ ﻓﻠﺴﻄﻴﻨﻲ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻣﻴﺎﻥ ﻣﻨﻄﻘﻪ ﻭ ﺩﻳﮕﺮ‬ ‫ﻛﺸﻮﺭﻫﺎ ﻭ ﺳﺮﺯﻣﻴﻦﻫﺎ ﺳﺪ ﻏﻴﺮﻗﺎﺑﻞ ﻧﻔﻮﺫﻱ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﻨﺪ ﺗﺎ ﻣﻠﺖ‬ ‫ﻓﻠﺴــﻄﻴﻦ ﺭﺍ ﺍﺯ ﺩﻳﮕﺮ ﺑﺨﺶﻫﺎﻱ ﺟﻬﺎﻥ ﻋﺮﺏ ﻭ ﺩﻧﻴﺎﻱ ﺍﺳﻼﻡ ﺟﺪﺍ‬ ‫ﻛﻨﻨﺪﻭﺁﻧﻬﺎﺭﺍﻣﺠﺒﻮﺭﺑﻪﭘﺬﻳﺮﻓﺘﻦﺩﻭﻟﺖﻧﮋﺍﺩﭘﺮﺳﺖﻳﻬﻮﺩﻱﻧﻤﺎﻳﻨﺪ‪.‬‬ ‫ﺍﺳﺮﺍﺋﻴﻞﻣﻨﻄﻘﻪﺭﺍﺑﻪﻳﻚﺯﻧﺪﺍﻥﻧﻔﺮﺕﺍﻧﮕﻴﺰﻣﺒﺪﻝﻣﻲﻛﻨﺪ‪،‬ﺳﺮﺷﺎﺭ‬ ‫ﺍﺯﺗﺒﻌﻴﺾﻫﺎﻱﻧﮋﺍﺩﻱﻭﺩﺭﻧﻬﺎﻳﺖﺳﻌﻲﻣﻲﻛﻨﺪﺳﺎﻛﻨﺎﻥﻓﻠﺴﻄﻴﻨﻲ‬ ‫ﻣﻨﺎﻃﻖ ﺍﺷﻐﺎﻝ ﺷﺪﻩ ﺭﺍ ﻧﻴﺰ ﻣﺠﺒﻮﺭ ﺑﻪ ﺧﺮﻭﺝ ﺍﺯ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﺳﺎﺯﺩ ﺗﺎ‬ ‫ﻛﺸﻮﺭ ﺍﺷﻐﺎﻟﮕﺮ ﻳﻬﻮﺩﻱ ﺑﺎ ﺗﺼﻔﻴﻪﻧﮋﺍﺩﻱ ﺑﻪﺭﻭﻳﺎﻫﺎﻱ ﺳﺮﺩﻣﺪﺍﺭﺍﻧﺶ‬ ‫ﻧﺰﺩﻳﻚﺗﺮ ﺷﻮﺩ‪ .‬ﺳﻴﺎﺳــﺖ ﺩﺍﺧﻠﻲ ﺍﺳﺮﺍﺋﻴﻞ ﺑﺮ ﻣﺒﻨﺎﻱ ﺗﺤﺖ ﻓﺸﺎﺭ‬ ‫ﻗــﺮﺍﺭﺩﺍﺩﻥ ﻣﺮﺩﻡ ﺑﻮﻣﻲ ﻭ ﺻﺎﺣﺒﺎﻥ ﺍﺻﻠﻲ ﺍﻳﻦ ﺳــﺮﺯﻣﻴﻦﻫﺎ ﺩﻧﺒﺎﻝ‬ ‫ﻣﻲﺷــﻮﺩ‪ .‬ﺁﻧﻬﺎ ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﺭﻭﻳﺎﻱ ﮔﺴــﺘﺮﺵ ﺣﻜﻮﻣﺖ ﻳﻬﻮﺩﻱ‬ ‫ﺻﻬﻴﻮﻧﻴﺴﺘﻲﻣﻲﺍﻧﺪﻳﺸﻨﺪﻭﺩﺭﺍﻳﻦﺭﺍﺳﺘﺎﻣﺮﺩﻡﻓﻠﺴﻄﻴﻦﺭﺍﻗﺮﺑﺎﻧﻲ‬ ‫ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ ﺗﺎ ﺗﺤﺖ ﻓﺸﺎﺭﻫﺎﻱ ﺩﻭﻟﺖ ﻧﮋﺍﺩﭘﺮﺳﺖ ﻣﺠﺒﻮﺭ ﺑﻪ ﺗﺮﻙ‬ ‫ﺧﺎﻧﻪ ﻭ ﺳﺮﺯﻣﻴﻨﺸﺎﻥ ﺷﻮﻧﺪ‪.‬‬ ‫‪11‬‬ ‫ﺩﻳﺪﮔﺎﻩ‬ ‫ﻧﮕﺎﻩ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭ‬ ‫ﺭﺍﻭﻳﺎﻥ ﺧﺒﺮ ﻳﺎ ﻗﻠﺘﺸﻦﻫﺎﻱ ﺷﺎﻳﻌﻪﭘﺮﺩﺍﺯ‬ ‫ﻣﺤﻤﺪﻫﻴﺮﺍﺩ ﺣﺎﺗﻤﻲ‬ ‫ﺩﺑﻴﺮ ﮔﺮﻭﻩ ﺍﻗﺘﺼﺎﺩ‬ ‫ﺳﻪﺷﻨﺒﻪ ﻫﻔﺘﻪ ﮔﺬﺷﺘﻪ ﻭ ﺩﺭ ﻓﺎﺻﻠﻪ‬ ‫ﺁﻣﺎﺩﻩ ﺷﺪﻥ ﺑﺮﺍﻱ ﻋﺰﻳﻤﺖ ﺑﻪ ﻣﺤﻞ ﻛﺎﺭ‪،‬‬ ‫ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻋﺎﺩﺗــﻲ ﺩﻳﺮﻳﻨﻪ ﺗﺼﻤﻴﻢ ﺑﻪ‬ ‫ﻣﺮﻭﺭ ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﺻﺒﺢﮔﺎﻫﻲ ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﮔﺮﻓﺘﻢ‪ .‬ﺑــﺎﺯﻱ ﺑﺎ ﻣﺘﻐﻴﺮﻫــﺎﻱ ﺭﻳﻤﻮﺕ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﭼﻨــﺪﺍﻥ ﺑﺎﺯﻱ ﺯﻣﺎﻧﺒﺮﻱ ﻧﺒﻮﺩ‬ ‫ﭼﻪ ﺩﺭ ﻣﺠﻤﻮﻋــﻪ ﭼﻨﺪ ﻛﺎﻧــﺎﻝ ﺟﻌﺒﻪ‬ ‫ﺟﺎﺩﻭﻳﻲ ﻭ ﻓﻘﻂ ﺩﺭ ﺯﻣﺎﻧﻲ ﻛﻮﺗﺎﻩ ﺑﻪ ﻧﺘﻴﺠﻪ‬ ‫ﻗﻄﻌﻲ ﺭﺳــﻴﺪﻡ ﻛﻪ ﻫﻤﺎﻧﻨﺪ ﺑﺴــﻴﺎﺭﻱ ﺭﻭﺯﻫﺎﻱ ﺩﻳﮕﺮ ﺩﺭ ﺍﻳﻦ ﺳﺎﻋﺖ‬ ‫ﺑﺮﻧﺎﻣﻪ »ﺭﻭﺯ ﺍﺯ ﻧﻮ« ﮔﺰﻳﻨﻪ ﺑﺮﺗﺮ ﺍﺳــﺖ‪ .‬ﺣﻤﻴﺪﺭﺿﺎ ﺣﺎﺟﻲﺑﺎﺑﺎﻳﻲ ﻛﻪ ﺗﺎ‬ ‫ﭘﻴﺶ ﺍﺯ ﺗﻮﻟﺪ ﺩﻭﻟﺖ ﺩﻫﻢ ﺑﻪ ﺩﻓﻌﺎﺕ ﺭﻭﻱ ﺻﻔﺤﻪ ﺭﺳﺎﻧﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ‬ ‫ﻧﻘﺶﺁﻓﺮﻳﻨﻲ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺭﺍﻭﻱ ﺑﺮﺧﻲ ﺧﺒﺮﻫﺎﻱ ﺁﻧﺎﻥ ﺑﻪ ﺷﻤﺎﺭ ﻣﻲﺁﻣﺪ‬ ‫ﺍﻳﻦ ﺑﺎﺭ ﺩﺭ ﻗﺎﻣﺖ ﻭﺯﻳﺮﻱ ﭘﺎ ﺑﻪ ﺳــﺎﺧﺘﻤﺎﻥ ﺟﺎﻡﺟﻢ ﮔﺬﺍﺷــﺘﻪ ﺑﻮﺩ ﻛﻪ‬ ‫ﺑﻪ ﮔﻔﺘﻪ ﺧــﻮﺩﺵ ﻣﻬﻢﺗﺮﻳﻦ ﻭ ﭘﻴﭽﻴﺪﻩﺗﺮﻳــﻦ ﻭﺯﺍﺭﺗﺨﺎﻧﻪ ﺍﻳﺮﺍﻥ ﻧﺎﻡ‬ ‫ﺩﺍﺭﺩ؛ »ﻭﺯﺍﺭﺕ ﺁﻣﻮﺯﺵ ﻭ ﭘﺮﻭﺭﺵ«‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺁﻣﺎﺩﻩ ﺑﻮﺩ ﺗﺎ ﻳﻚ ﺑﺮﻧﺎﻣﻪ‬ ‫ﭘﺮﺗﻴﺘﺮ ﻭ ﭘﺮﺧﺒﺮ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻢ؛ ﻣﻮﺿﻮﻋﻲ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﻛﻠﻤﺎﺕ ﻧﺨﺴﺖ‬ ‫ﺁﻗﺎﻱ ﻭﺯﻳﺮ ﻛﻠﻴﺪ ﺧﻮﺭﺩ‪ .‬ﺍﻭ ﺑﻲﺁﻧﻜﻪ ﺑﻪ ﺧﺮﻳﺪ ﺯﻣﺎﻥ ﺩﺭ ﻟﺤﻈﺎﺕ ﻭﺍﭘﺴﻴﻦ‬ ‫ﺑﺮﻧﺎﻣﻪﺑﻴﻨﺪﻳﺸﺪﺑﻲﻣﺤﺎﺑﺎﻣﺸﻜﻼﺕﻣﻮﺟﻮﺩﺩﺭﺳﭙﻬﺮﺁﻣﻮﺯﺵﻭﭘﺮﻭﺭﺵ‬ ‫ﺭﺍ ﺍﺯ ﻗﻠﺐ ﺗﺎﺭﻳﺦ ﺑﻴﺮﻭﻥ ﻛﺸــﻴﺪ ﻭ ﻭﺿﻌﻴﺖ ﻣﻌﻠﻤﺎﻥ ﺣﻖﺍﻟﺘﺪﺭﻳﺴﻲ ﺭﺍ‬ ‫ﺩﺭ ﺑﺎﺯﻩﺍﻱ ﺗﻌﺮﻳﻒ ﺷﺪﻩ ﺑﻪ ﺷﺎﻳﻌﺎﺕ ﻣﻮﺟﻮﺩ ﭘﻴﺮﺍﻣﻮﻥ ﺗﻌﻄﻴﻠﻲ ﻣﺪﺍﺭﺱ‬ ‫ﺩﺭ ﺭﻭﺯ ﭘﻨﺠﺸﻨﺒﻪ ﮔﺮﻩ ﺯﺩ ﺗﺎ ﺑﺮﺍﻱ ﺍﺩﺍﻣﻪ ﺗﻴﺘﺮﻫﺎﻱ ﺳﻮﺍﻝ ﺁﻗﺎﻱ ﻣﺠﺮﻱ‬ ‫ﺯﻣﺎﻥ ﻛﻢ ﻧﻴﺎﻭﺭﺩ‪ .‬ﻫﻤﻴﻦ ﻗﺴﻢ ﻛﻼﻡ ﺣﺎﺟﻲ ﺑﺎﺑﺎﻳﻲ ﺑﺮﺍﻱ ﺑﺮﺍﻧﮕﻴﺨﺘﮕﻲ‬ ‫ﺟﻬﺖ ﺩﻧﺒﺎﻝ ﻧﻜﺮﺩﻥ ﺑﺮﻧﺎﻣﻪ ﻛﺎﻓﻲ ﺑﻮﺩ‪ .‬ﺍﻭ ﺷﺎﻳﻌﺎﺕ ﻭ ﺣﻮﺍﺷﻲ ﻣﻮﺟﻮﺩ‬ ‫ﭘﻴﺮﺍﻣﻮﻥ ﺗﻌﻄﻴﻠﻲ ﻣــﺪﺍﺭﺱ ﻭ ﻭﺿﻌﻴﺖ ﻣﻌﻠﻤﺎﻥ ﺣﻖﺍﻟﺘﺪﺭﻳﺴــﻲ ﺭﺍ‬ ‫ﺑﻪ ﺷــﻜﻠﻲ ﻫﻮﺷــﻤﻨﺪﺍﻧﻪ ﺩﺭ ﺻﻔﺤﻪ ﻣﺨﺘﺼﺎﺕ ﺫﻫﻨﻲ ﺧﻮﺩ ﻃﻮﺭﻱ‬ ‫ﺗﺮﺳﻴﻢ ﻛﺮﺩ ﻛﻪ ﮔﻮﻳﻲ ﺩﻳﻮﺍﺭﻱ ﻛﻮﺗﺎﻩﺗﺮ ﺍﺯ ﺩﻳﻮﺍﺭ ﺧﺒﺮﻧﮕﺎﺭﺍﻥ ﺑﺮﺍﻱ ﺍﻳﻦ‬ ‫ﺩﻭﮔﺎﻧﻪ ﻭﺟﻮﺩ ﻧﺪﺍﺷــﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻨﻜﻪ ﺻﺎﺣﺐ ﻗﻠﻢ ﺍﺩﻋﺎ ﺩﺍﺭﺩ ﺑﻪ ﺷﻜﻠﻲ‬ ‫ﻫﻮﺷــﻤﻨﺪﺍﻧﻪ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﻭﺯﻳﺮ ﻛﻨﻮﻧﻲ ﺁﻣﻮﺯﺵ ﻭ ﭘﺮﻭﺭﺵ‬ ‫ﻻﺑــﻪﻻﻱ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﻋﻤﻠﻜﺮﺩ ﺧﺒﺮﻧﮕﺎﺭﺍﻥ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﭘﻮﺷــﺶ ﺧﺒﺮﻱ‬ ‫ﭘﻴﺮﺍﻣﻮﻥ ﺩﻭ ﻣﻮﺿﻮﻉ ﺍﺷﺎﺭﻩ ﺷﺪﻩ‪ ،‬ﻓﺮﺻﺖ ﺭﺍ ﻏﻨﻴﻤﺖ ﺷﻤﺮﺩﻩ ﻭ ﺑﺎ ﺗﻤﺠﻴﺪ‬ ‫ﺍﺯ ﺁﻧﺎﻥ ﻛﻮﺷﻴﺪﻩ ﺗﺎ ﺳﻴﺎﺳــﺘﻲ ﻓﻮﺍﺭﻩﺍﻱ ﺷﻜﻞ ﺭﺍ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺍﻳﻦ ﻗﺸﺮ‬ ‫ﺑﻪ ﻛﺎﺭ ﮔﻴــﺮﺩ‪ .‬ﻟﺤﻈﻪﺍﻱ ﭼﻨﺎﻥ ﺧﺒﺮﻧــﮕﺎﺭﺍﻥ ﺭﺍ ﺩﺭ ﭘﺲ ﺗﻤﺠﻴﺪﻫﺎﻱ‬ ‫ﭘﻴﺎﭘﻲ ﺗﺎ ﺍﻭﺝ ﺑﺮﺩ ﻛﻪ ﺷﺎﻳﺪ ﺑﺴﻴﺎﺭﻱ ﮔﻤﺎﻥ ﻧﻤﻲﺑﺮﺩﻧﺪ ﭼﻨﺪ ﺛﺎﻧﻴﻪ ﺩﻳﮕﺮ‬ ‫ﻧﻮﻙ ﭘﻴﻜﺎﻥ ﺍﻧﺘﻘﺎﺩﻫﺎﻱ ﺁﻗﺎﻱ ﻭﺯﻳﺮ ﺑﻪ ﺳــﻮﻱ ﺁﻧﺎﻥ ﻧﺸــﺎﻧﻪ ﺭﻭﺩ‪ .‬ﺁﻧﭽﻪ‬ ‫ﺩﻟﻴﻞ ﺍﺻﻠﻲ ﭘﺎﻓﺸﺎﺭﻱ ﺑﺮ ﻧﻮﺷﺘﻦ ﭼﻨﻴﻦ ﻳﺎﺩﺩﺍﺷﺘﻲ ﺷﺪﻩ ﺑﻪ ﺍﻳﻦ ﮔﻔﺘﺎﺭ‬ ‫ﺁﻗﺎﻱ ﻭﺯﻳﺮ ﺑﺎﺯﻧﻤﻲﮔﺮﺩﺩ ﺑﻠﻜﻪ ﺟﺮﻗﻪ ﺁﻥ ﺍﺯ ﺷﺐ ﻗﺒﻞ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺳﺮﻳﺎﻝ‬ ‫ﭘﺮﻃﺮﻓﺪﺍﺭ ﺍﻳﻦ ﺭﻭﺯﻫﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻛﻪ ﻧﺎﻡ ﺁﺷﭙﺰﺑﺎﺷﻲ ﺭﺍ ﻳﺪﻙ ﻣﻲﻛﺸﺪ‬ ‫ﭼﻨﺪ ﺳــﻜﺎﻧﺲ ﺩﺭ ﻻﺑﻪﻻﻱ ﻣﺠﻤﻮﻋﻪ ﺧﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﺧﺒﺮﻧﮕﺎﺭ‪ ،‬ﻳﻚ‬ ‫ﻗﻠﺘﺸﻦ ﻭﺍﻗﻌﻲ ﻧﻤﺎﻳﺎﻥ ﻣﻲﻛﻨﺪ‪ ،‬ﺟﺎﻳﻲ ﻛﻪ ﻓﺮﺩ ﺧﺒﺮﻧﮕﺎﺭ ﺑﺎ ﻳﻚ ﺩﻧﺪﮔﻲ‬ ‫ﺗﻤﺎﻡ ﺑﻨﺎ ﺩﺍﺭﺩ ﺗﺎ ﭘﺮﻭﻳﺰ ﭘﺮﺳﺘﻮﻳﻲ )ﺑﺎﺯﻳﮕﺮ ﻧﻘﺶ ﺍﻛﺒﺮ( ﺭﺍ ﺑﻪ ﺧﺎﻙ ﺳﻴﺎﻩ‬ ‫ﺑﻨﺸﺎﻧﺪ‪ .‬ﺳــﻮﺍﻝ ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ ﺁﻳﺎ ﺑﺎ ﭼﻨﻴﻦ ﺗﺼﻮﻳﺮﺳﺎﺯﻱﻫﺎﻳﻲ ﺍﺯ ﻳﻚ‬ ‫ﻗﺸﺮ ﺍﻃﻼﻉﺭﺳﺎﻥ ﺟﺎﻣﻌﻪ ﺑﺮﺍﻱ ﻣﺨﺎﻃﺒﺎﻥ ﺍﻳﻦ ﺷﺒﻬﻪ ﺑﻪﻭﺟﻮﺩ ﻧﻤﻲﺁﻳﺪ‬ ‫ﻛﻪ ﺍﻳﻦ ﭼﻪ ﻓﻌﺎﻟﻴﺘﻲ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺍﻳﻦ ﺍﻧﺪﺍﺯﻩ ﻛﺎﺭﻳﺰﻣﺎﻱ ﻗﺪﺭﺕ ﺭﺍ ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫ﺩﺍﺭﺩ؟ ﺩﺭ ﺭﻭﺯﮔﺎﺭﻱ ﻛﻪ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﺍﻥ ﻣﺘﻌﺪﺩﻱ ﮔﺬﺭﺍﻥ ﺍﻣﻮﺭ ﺧﻮﺩ ﺭﺍ ﺩﺭ‬ ‫ﺍﻭﻟﻮﻳﺖ ﻗﺮﺍﺭ ﻣﻲﺩﻫﻨﺪ ﭼﻪ ﺍﻧﮕﻴﺰﻩﺍﻱ ﺑﺮﺍﻱ ﭼﻨﻴﻦ ﭘﺮﺧﺎﺷﺠﻮﻳﻲﻫﺎﻳﻲ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟ ﻣﮕﺮ ﻳﻚ ﺧﺒﺮﻧﮕﺎﺭ ﻋﺎﺩﻱ ﺳــﺮﻭﻳﺲ ﻳﻚ ﺭﻭﺯﻧﺎﻣﻪ ﺣﺘﻲ‬ ‫ﭘﺮﺗﻴﺮﺍژ ﺗﺎ ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﺫﻱﻧﻔﻮﺫ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﭼﻨﻴﻦ ﻗﺎﻣﺘﻲ ﻇﺎﻫﺮ ﺷﻮﺩ؟‬ ‫ﺍﻳﻨﻜﻪ ﺩﺭ ﻫﺮ ﭘﻴﺸــﻪﺍﻱ ﺍﺷــﺘﺒﺎﻫﺎﺕ ﺳــﻬﻮﻱ ﻭ ﻋﻤﺪﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ‬ ‫ﺑﺮﺧﻲ ﻣﻲﻛﻮﺷﻨﺪ ﺗﺎ ﺍﺯ ﻫﻤﻪ ﺍﺧﺘﻴﺎﺭﺍﺕ ﻣﻮﺟﻮﺩ ﺧﻮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪،‬‬ ‫ﺟﺎﻱ ﺗﺮﺩﻳﺪ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺍﺭﺍﺋﻪ ﭼﻨﻴﻦ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﻳﻚ ﻗﺸﺮ ﻓﻌﺎﻝ ﻭ ﺳﺎﻋﻲ‬ ‫ﺗﺤﺖ ﻫﻴﭻ ﺷــﺮﺍﻳﻄﻲ ﺗﺼﻮﻳﺮﻱ ﺩﻟﻨﺸﻴﻦ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺗﻔﺎﻭﺕ ﺁﻧﻬﺎ ﺑﺎ‬ ‫ﺑﺮﺧﻲ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﺩﻳﮕﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﺎﻧﻮﻥ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﮔﻨﺎﻩ‬ ‫ﺁﻧﺎﻥ ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﺩﻳﺪﻩ ﻣﻲﺷﻮﻧﺪ ﭼﻮﻥ ﺩﺭ ﺩﻝ ﺟﺎﻣﻌﻪ ﻫﺴﺘﻨﺪ‪ .‬ﻫﻢ‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﻭﺯﺭﺍ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﻭﺧﺒﺮﻫﺎﻱ ﺭﻳﺰ ﻭ ﺩﺭﺷﺖ ﺁﻧﺎﻥ ﺭﺍ ﺍﺯ ﺣﻠﻘﻮﻡ‬ ‫ﺭﺳﺎﻧﻪﻫﺎﻱ ﺧﻮﺩ ﺑﻪ ﺑﻴﺮﻭﻥ ﺭﺍﻧﺪﻩﺍﻧﺪ ﻭ ﻫﻢ ﺍﺯ ﻟﺤﻈﻪ ﭘﻴﺶﺗﻮﻟﻴﺪ ﺗﺎ ﭘﺎﻳﺎﻥ‬ ‫ﭘﺨﺶ ﻓﻴﻠﻢﻫﺎ ﻭ ﺳﺮﻳﺎﻝﻫﺎﻱ ﺯﻳﺎﺩﻱ ﺍﻃﻼﻉﺭﺳﺎﻧﻲ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻓﻌﺎﻟﻴﺖ‬ ‫ﺁﻧﺎﻥ ﺩﻳﺪﻩ ﺷﺪﻩ ﻭ ﮔﺎﻫﻲ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﭘﺎﺳﺦ‬ ‫ﺑﻪ ﺍﻳﻦ ﭘﺮﺳﺶ ﻛﻪ ﻧﺴــﺒﺖ ﻣﻴﺎﻥ ﺩﺭ ﻣﻌﺮﺽ ﺩﻳﺪ ﺑﻮﺩﻥ ﻭ ﺍﺭﺍﺋﻪ ﭼﻨﻴﻦ‬ ‫ﺗﺼﺎﻭﻳﺮﻱ ﺑﻪ ﭼﻪ ﻣﻴﺰﺍﻥ ﺍﺳﺖ ﺁﻧﻘﺪﺭ ﻭﺍﮔﻮﻳﻪ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻛﺸﺪﺍﺭ ﻛﺮﺩﻥ‬ ‫ﻣﺘﻦ ﺑﺘﻮﺍﻥ ﭘﺮﻫﻴﺰ ﻛﺮﺩ‪.‬‬ ‫‪12‬‬ ‫ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺑﻪ ﭼﻪﻛﺎﺭ ﻣﻰﺁﻳﻨﺪ؟‬ ‫ﺳﻴﺪﻋﻠﻰﻣﻴﺮﻓﺘﺎﺡ‬ ‫ﺩﺭ ﻣﻌﺎﺩﻻﺕ ﺳﻴﺎﺳــﻰ ﺍﻣــﺮﻭﺯ ﺍﻳﺮﺍﻥ‪،‬‬ ‫ﺣﺘﻰ ﺩﺭ ﻣﻨﺎﻗﺸﺎﺕ ﺳﻴﺎﺳــﻰ‪ ،‬ﻣﻄﺒﻮﻋﺎﺕ‬ ‫ﺳــﺮ ﭘﻴﺎﺯﻧﺪ ﻳﺎ ﺗﻪ ﭘﻴﺎﺯ؟ ﺗــﻮﻯ ﺍﻳﻦ ﺩﻋﻮﺍﻫﺎ‪،‬‬ ‫ﻣﻄﺒﻮﻋــﺎﺕ ﻛﺠــﺎﻯ ﻛﺎﺭﻧﺪ ﻛــﻪ ﺍﻳﻦ ﻫﻤﻪ‬ ‫ﺩﺭ ﻣﻈــﺎﻥ ﺍﺗﻬﺎﻡﺍﻧــﺪ؟ ﺭﻭﺯﮔﺎﺭﻯ ﺑــﻮﺩ ﻛﻪ‬ ‫ﺗــﻮﻯ ﻫﻤﻴــﻦ ﻣﻤﻠﻜــﺖ‪ ،‬ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﻭﺯﻳﺮ‬ ‫ﺟﺎﺑﻪﺟﺎ ﻣﻰﻛﺮﺩﻧــﺪ ﻭ ﻧﻤﺎﻳﻨﺪﻩ ﺑﻪ ﭘﺎﺭﻟﻤﺎﻥ‬ ‫ﻣﻰﻓﺮﺳــﺘﺎﺩﻧﺪ‪ ،‬ﻳﺎ ﺑﺮﺍﻯ ﺑﺎﻻ ﺑﺮﺩﻥ ﻭ ﭘﺎﻳﻴﻦ‬ ‫ﻛﺸﻴﺪﻥ ﺁﺩﻡﻫﺎﻯ ﺳﻴﺎﺳــﻰ‪ ،‬ﻧﻘﺸﻪ ﻣﻰﻛﺸﻴﺪﻧﺪ ﻭ ﻃﺮﺍﺣﻰ ﻣﻰﻛﺮﺩﻧﺪ ﻭ‬ ‫ﻧﻘﺶ ﻣﻬﻢ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻧﻤﻰﺷــﺪ‪ ،‬ﺍﺯ ﺧﻴﻠﻰ ﻗﺪﻳﻢ‪ ،‬ﻧﻤﻰﺷﺪ ﻛﻪ ﺁﺩﻡ‬ ‫ﻭﺍﺭﺩ ﺩﻧﻴﺎﻯ ﺳﻴﺎﺳﺖ ﺑﺸﻮﺩ‪ ،‬ﺍﻣﺎ ﺭﻭﺯﻧﺎﻣﻪ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺣﺘــﻰ ﺗﺎ ﻫﻤﻴﻦ ﺩﻭﻡ ﺧﺮﺩﺍﺩ – ﻭ ﻛﻤﻰ ﻫــﻢ ﺑﻌﺪﺗﺮﺵ ‪ -‬ﺭﻭﺯﻧﺎﻣﻪﻫﺎ‬ ‫ﺑﻮﺩﻧﺪ ﻛﻪ ﺟﺮﻳﺎﻥ ﺳﻴﺎﺳﻰ ﺑﻮﺟﻮﺩ ﻣﻰﺁﻭﺭﺩﻧﺪ ﻳﺎ ﻳﻚ ﺟﺮﻳﺎﻥ ﺭﺍ ﺑﻪ ﺧﺎﻙ‬ ‫ﺳﻴﺎﻩ ﻣﻰﻧﺸــﺎﻧﺪﻧﺪ‪ .‬ﺍﺻﻼ ﺍﮔﺮ ﻛﺴــﻰ ﺑﮕﻮﻳﺪ ﻛﻪ ﺟﺮﻳﺎﻥﻫﺎﻯ ﺳﻴﺎﺳﻰ‬ ‫ﺩﻭﺭﺍﻥ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺍﺯ ﺩﻝ ﻣﻄﺒﻮﻋﺎﺕ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻧﺪ ﻭ ﺑﻪ ﺑﺎﻻﺗﺮﻳﻦ ﺳﻄﻮﺡ‬ ‫ﺣﺎﻛﻤﻴﺖ ﺭﺍﻩ ﻳﺎﻓﺘﻨﺪ‪ ،‬ﺑﻰﻭﺟﻪ ﻧﮕﻔﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ ﻣﻦ ﺑﭙﺮﺳﻴﺪ ﺑﻪ ﺻﺮﺍﺣﺖ‬ ‫ﻣﻰﮔﻮﻳﻢ ﻛــﻪ ﺑﺨﺶ ﺯﻳﺎﺩﻯ ﺍﺯ ﺿﺪﻳﺖ ﺑﺮﺧﻲ ﺑــﺎ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ‪ ،‬ﺑﻪﺧﺎﻃﺮ‬ ‫ﻫﻤﺎﻥ ﻣﻌﺮﻛﻪﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺍﻳﺎﻡ ﺍﺻﻼﺣﺎﺕ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﮔﺮﻓﺘﻨﺪ ﻭ ﺣﺮﻳﻒ‬ ‫ﺭﺍ ﺍﺯ ﻣﻴﺪﺍﻥ ﺑﻪ ﺩﺭ ﻛﺮﺩﻧﺪ‪ .‬ﺩﺭﺑﺎﺭﻩ ﺩﻭﺭﺍﻥ ﻣﺸــﺮﻭﻃﻪ ﺣﺮﻑ ﻧﻤﻰﺯﻧﻢ ﻛﻪ‬ ‫ﺑﮕﻮﻳﻢ ﺻﻮﺭﺍﺳــﺮﺍﻓﻴﻞ ﭼﻪ ﻛﺮﺩ ﻭ ﺩﻫﺨﺪﺍ ﭼﻪ ﻧﻮﺷﺖ ﻭ ﺷﻔﻖ ﺳﺮﺥ ﭼﻪ‬ ‫ﮔﻔﺖ‪ ،‬ﺩﺭﺑﺎﺭﻩ ﻫﻤﻴﻦ ‪ 12 ،10‬ﺳﺎﻝ ﭘﻴﺶ ﺣﺮﻑ ﻣﻰﺯﻧﻢ ﻛﻪ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ‬ ‫ﺟﺎﻥ ﮔﺮﻓﺘﻨﺪ ﻭ ﻣﻴﺎﻧﺪﺍﺭ ﺑﺎﺯﻯﻫﺎﻯ ﺳﻴﺎﺳــﻰ ﺷﺪﻧﺪ ﻭ ﺍﺯ ﺑﺎﻻ ﺗﺎ ﭘﺎﻳﻴﻦ ﺭﺍ‬ ‫ﺑﻪ ﺳﺎﺯ ﺧﻮﺩ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭﺁﻭﺭﺩﻧﺪ‪ .‬ﺁﻥ ﻣﻮﻗﻊ ﺭﻭﺯﻧﺎﻣﻪ‪ ،‬ﻓﻰﻧﻔﺴﻪ‪ ،‬ﭼﻨﺎﻥ‬ ‫ﺍﻫﻤﻴﺘﻰ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﭼﻨﺎﻥ ﻣﻮﺿﻮﻋﻴﺘﻰ ﻳﺎﻓــﺖ ﻛﻪ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺁﻥ‪،‬‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺎ ﺗﻴﺮﺍژ ﺷــﺼﺖ‪ ،‬ﻫﻔﺘﺎﺩ ﻣﻴﻠﻴﻮﻥ ﻛﺎﻓﻰ ﻧﺒﻮﺩ‪ .‬ﺟﻨﺎﺡ ﺭﺍﺳﺖ‬ ‫ﻫﻢ ﺁﻥ ﻣﻮﻗﻊ ﻣﺠﺒﻮﺭ ﺷــﺪ ﻛﻪ ﺗﻦ ﺑﻪ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻯ ﺑﺪﻫﺪ ﻭ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ‪،‬‬ ‫ﺭﻭﺯﻧﺎﻣﻪ ﺭﺍﻩ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺭﻭﺯﻧﺎﻣﻪ ﻛﻪ ﺩﺍﺷﺖ‪ ،‬ﺳﻌﻰ ﻛﺮﺩ ﺑﺮﺍﻯ ﻋﻘﺐ ﻧﻤﺎﻧﺪﻥ‬ ‫ﺍﺯ ﺑﺎﺯﺍﺭ ﺩﺍﻍ ﻣﻄﺒﻮﻋﺎﺕ‪ ،‬ﻣﺘﺎﻉ ﻣــﺪ ﺭﻭﺯ ﺭﺍ ﻋﺮﺿﻪ ﻛﻨﺪ‪ .‬ﻣﺘﺎﻉ ﻛﻔﺮ ﻭ ﺩﻳﻦ‬ ‫ﺑﻰﻣﺸﺘﺮﻯ ﻧﻴﺴﺖ‪ /‬ﮔﺮﻭﻫﻰ ﺍﻳﻦ ﮔﺮﻭﻫﻰ ﺁﻥ ﭘﺴﻨﺪﻧﺪ‪ .‬ﺟﺎﻟﺐ ﺍﺳﺖ ﺑﻪ‬ ‫ﻳﺎﺩﺗﺎﻥ ﺑﻴﺎﻭﺭﻡ ﻛﻪ ﻫﻤﺎﻥ ﺍﻳﺎﻡ‪ ،‬ﺗﻠﻮﻳﺰﻳﻮﻥ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﺍﺯ ﻗﺎﻓﻠﻪ ﻋﻘﺐ‬ ‫ﻧﻤﺎﻧﺪ‪ ،‬ﻋﻼﻭﻩ ﺑﺮ ﮔﺴــﺘﺮﺵ ﺷﺒﻜﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‪ ،‬ﺭﻭﺯﻧﺎﻣﻪ ﺟﺎﻡﺟﻢ ﺭﺍ‬ ‫ﻫﻢ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺖ‪ ،‬ﺭﻭﺯﻧﺎﻣﻪﺍﻯ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴــﺖ ﻭﺍﺭﺩ ﺑﺎﺯﻯ ﺷﻮﺩ ﻭ ﻛﻤﻰ‬ ‫ﺍﺯ ﺑﺎﺯﻯ ﺭﺍ ﺑﻪ ﺩﺳــﺖ ﺑﮕﻴــﺮﺩ ﻭ ﻗﺪﺭﻯ ﺍﺯ ﺗﺮﻙﺗــﺎﺯﻯ ﺩﻭﻡﺧﺮﺩﺍﺩﻯﻫﺎ‬ ‫ﺭﺍ ﻛﻢ ﻛﻨﺪ‪ .‬ﻗﺼﺪﻡ ﺍﻳﻦ ﻧﻴﺴــﺖ ﻛــﻪ ﺗﺎﺭﻳــﺦ ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﺭﺍ ﻣﺮﻭﺭ ﻛﻨﻢ‪.‬‬ ‫ﺩﺍﺭﻡ ﺑــﻪ ﻳﺎﺩﺗﺎﻥ ﻣﻰﺁﻭﺭﻡ ﻛﻪ ﺗﺎ ﻫﻤﻴﻦ ﭼﻨﺪﺳــﺎﻝ ﭘﻴــﺶ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ‬ ‫ﻣﻬﻢ ﺑﻮﺩﻧﺪ ﻭ ﺑﻪﺭﻏﻢ ﺷــﻤﺎﺭﮔﺎﻥ ﻧﻪﭼﻨﺪﺍﻥ ﺯﻳﺎﺩﺷــﺎﻥ‪ ،‬ﺻﺤﻨﻪﮔﺮﺩﺍﻥ‬ ‫ﺑﺎﺯﻯﻫﺎﻯ ﺳﻴﺎﺳــﻰ ﺑﻮﺩﻧﺪ‪ .‬ﻫﺮ ﻋﻴﺒﻰ ﻛﻪ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻳﻚ ﺣﺴﻨﺸﺎﻥ ﺍﻳﻦ‬ ‫ﺑﻮﺩ ﻛﻪ ﻃﺮﻓﻴﻦ‪ ،‬ﻻﺍﻗﻞ ﺣﺮﻓﻪﺍﻯﻫــﺎﻯ ﻃﺮﻓﻴﻦ‪ ،‬ﻗﺎﻋﺪﻩ ﺑﺎﺯﻯ ﺭﺍ ﺭﻋﺎﻳﺖ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺍﺯ ﺣﺪ ﺧﻮﺩ ﭘﺎ ﻓﺮﺍﺗﺮ ﻧﻤﻰﮔﺬﺍﺷــﺘﻨﺪ ﻭ ﺑﻌﺾ ﻋﻘﻼﻳﺸﺎﻥ )ﺍﺯ‬ ‫ﻫﺮ ﺩﻭ ﻃﺮﻑ( ﺑﺮ ﺭﻭﻧﺪ ﺑﺎﺯﻯ ﻧﻈــﺎﺭﺕ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﻛﻪ‬ ‫ﻣﻬﺎﺭ ﻛﺎﺭ ﺩﺭ ﺭﻓﺖ ﻭ ﻛﺎﺭ ﺑﻪ ﺑﭽﻪﺑﺎﺯﻯ ﻭ ﮔﺮﻭﻛﺸــﻰ ﻭ ﺗﺴﻮﻳﻪﺣﺴــﺎﺏ ﻭ‬ ‫ﺑﺎﺯﻳﮕﻮﺷﻰ ﻭ ﺯﻳﺎﺩﻩﺧﻮﺍﻫﻰ ﻭ ﺗﻨﺪﺭﻭﻯ ﻭ ﺑﻰﻣﺒﺎﻻﺗﻰ ﻛﺸﻴﺪ‪ ،‬ﻧﻪ ﻓﻘﻂ ﻛﺎﺭ‬ ‫ﺍﺻﻼﺣﺎﺕ ﻛﻪ ﻛﺎﺭ ﻣﻄﺒﻮﻋﺎﺕ ﻫﻢ ﺑﻪ ﺧﻨﺲ ﺧﻮﺭﺩ‪ .‬ﺭﻭﻧﺪ ﺍﺳﻒﺑﺎﺭ ﻓﻌﻠﻰ‬ ‫ﻣﻄﺒﻮﻋﺎﺕ‪ ،‬ﺭﻳﺸﻪ ﺩﺭ ﻫﻤﺎﻥ ﺑﻰﻣﺒﺎﻻﺗﻰﻫﺎ ﺩﺍﺭﺩ‪ .‬ﻛﺪﺍﻡ ﺁﺩﻡ ﺳﻴﺎﺳﺘﻤﺪﺍﺭ‬ ‫ﻋﺎﻗﻠﻰ ﺍﺳــﺖ ﻛﻪ ﻧﺪﺍﻧﺪ ﻣﺜﻼ ﺁﻗﺎﻯ ﻫﺎﺷﻤﻰ ﭼﻪ ﺷﺂﻥ ﻭ ﺟﺎﻳﮕﺎﻫﻰ ﺩﺍﺭﺩ‬ ‫ﻭ ﺣﻀﻮﺭﺵ ﭼﻪ ﻭﺯﻧﻪﺍﻯ ﺑﻪ ﺟﺮﻳﺎﻥﻫﺎﻯ ﺳﻴﺎﺳﻰ ﻣﻰﺩﻫﺪ؟ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ‬ ‫ﺧﻮﺏ ﻳﺎﺩﻡ ﻫﺴﺖ ﻛﻪ ﺑﺮ ﺳــﺮ ﻧﻤﺎﻳﻨﺪﮔﻰ ﺍﻳﺸﺎﻥ ﺑﺮﺍﻯ ﻣﺠﻠﺲ ﺷﺸﻢ‪،‬‬ ‫ﻭ ﺭﺗﺒﻪ ﺳــﻰﺍﻣﻰ ﻛﻪ ﺍﻳﺸﺎﻥ ﺁﻭﺭﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻛﺎﺭ ﻣﻄﺒﻮﻋﺎﺕ ﺑﻪ ﭼﻨﺎﻥ ﺑﭽﻪ‬ ‫ﺑﺎﺯﻯ ﻭ ﻟﻄﻴﻔﻪﮔﻮﻳﻰ ﺭﺳــﻴﺪ ﻛﻪ ﻫﻢ ﻋﺮﺻﻪ ﺭﺍ ﺑﺮ ﺧﻮﺩ ﺗﻨﮓ ﻛﺮﺩﻧﺪ‪ ،‬ﻫﻢ‬ ‫ﺭﻭﻧﺪ ﻛﺎﺭ ﺭﺍ ﭼﻨﺎﻥ ﺑﻪ ﻣﺨﺎﻃﺮﻩ ﺍﻧﺪﺍﺧﺘﻨﺪ ﻛﻪ ﺑﻌﺪ ﺍﺯ ‪ 10‬ﺳــﺎﻝ‪ ،‬ﻫﻴﭻ ﻧﻮﻉ‬ ‫ﺑﺎﺯﻯﮔﺮﺩﺍﻧﻰ ﻭ ﻣﻴﺎﻧﺪﺍﺭﻯ ﺳﻴﺎﺳﻰ‪ ،‬ﺑﻪ ﻋﻬﺪﻩ ﻣﻄﺒﻮﻋﺎﺕ ﻧﻴﺴﺖ‪ .‬ﺁﻧﻘﺪﺭ‬ ‫ﻣﻄﺒﻮﻋــﺎﺕ ﺑﻪ ﻣﻀﻴﻘﻪ ﺍﻓﺘﺎﺩﻩ ﻭ ﺑﻪ ﻛﻨﺎﺭ ﺭﺍﻧﺪﻩ ﺷــﺪﻩﺍﻧﺪ ﻛﻪ ﺍﮔﺮ ﺧﺪﺍﻳﻰ‬ ‫ﻧﻜﺮﺩﻩ‪ ،‬ﻛﻠﻬﻢ ﺍﺟﻤﻌﻴﻦ ﺩﺭ ﻣﺤﺎﻕ ﺗﻮﻗﻴﻒ ﻓﺮﻭ ﺭﻭﻧﺪ‪ ،‬ﺑﺮ ﺩﺍﻣﻦ ﻣﻨﺎﻗﺸﺎﺕ‪،‬‬ ‫ﺑﻠﻜﻪ ﻣﺒﺎﺭﺯﺍﺕ ﺳﻴﺎﺳــﻰ ﮔﺮﺩﻯ ﻧﻤﻰﻧﺸــﻴﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺩﺭ ﻋﺠﺒﻢ ﺍﺯ‬ ‫ﺩﻭﺳــﺘﺎﻧﻲ ﻛﻪ ﻧﮕﺮﺍﻥ ﻣﻄﺒﻮﻋﺎﺕ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻛﻪ ﻣﻦ ﻣﺨﺎﻟﻒ ﻫﺮ ﻧﻮﻉ‬ ‫ﻣﻀﻴﻘﻪﺍﻯ ﺑﺮ ﻣﻄﺒﻮﻋﺎﺕ ﻫﺴــﺘﻢ ﻭ ﺍﺯ ﺑﻴﻜﺎﺭ ﺷــﺪﻥ ﺧﻮﺩﻡ ﻭ ﻫﻤﻜﺎﺭﺍﻥ‬ ‫ﻋﺰﻳﺰﻡ ﻫﻤﻮﺍﺭﻩ ﺩﻟﻨﮕﺮﺍﻧﻢ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺟﻨﺎﺡ ﺣﺎﻛﻢ ﻣﻰﮔﻮﻳﻢ ﺑﺪﺍﻧﻴﺪ ﻛﻪ ﺑﺎﺯﻯ‬ ‫ﺍﺯ ﺩﺳــﺖ ﻣﻄﺒﻮﻋﺎﺕ ﺩﺭﺁﻣﺪﻩ ﻭ ﺁﻧﻬﺎ ﻓﻌﻼ ﻛﺎﺭﻯ ﺍﺯ ﭘﻴﺶ ﻧﺨﻮﺍﻫﻨﺪ ﺑﺮﺩ‪.‬‬ ‫ﺍﻻﻥ ﻛﺎﻧﻮﻥ ﺩﻋﻮﺍ ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﺍﺳــﺖ‪ .‬ﻛﺠﺎ؟ ﻋﺮﺽ ﻣﻰﻛﻨﻢ‪.‬ﻣﻦ ﻣﻨﻜﺮ‬ ‫ﺷــﺄﻥ ﻣﻄﺒﻮﻋﺎﺕ ﻧﻴﺴﺘﻢ‪ .‬ﺍﻣﺎ ﻭﺍﻗﻊﺑﻴﻦ ﺍﮔﺮ ﺑﺎﺷــﻴﻢ ﺗﺼﺪﻳﻖ ﻣﻰﻛﻨﻴﻢ‬ ‫ﻛــﻪ ﺑﻪ ﻫﺰﺍﺭ ﻭ ﻳﻚ ﺩﻟﻴــﻞ ﺩﺭ ﺑﺮﺍﺑﺮ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺗــﻮﻯ ﻣﺎﻫﻮﺍﺭﻩ ﻣﺮﺩﻡ‬ ‫ﻣﻰﺑﻴﻨﻨﺪ ﻭ ﻣﻰﺷــﻨﻮﻧﺪ ﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﻓﻀﺎﻯ ﺑﻰﻛﺮﺍﻥ ﻣﺠﺎﺯﻯ ﻭ ﺣﺘﻰ ﺩﺭ‬ ‫ﺑﺮﺍﺑﺮ ﺁﻥ ﺷﺎﻳﻌﺎﺗﻰ ﻛﻪ ﺩﺭ ﻣﺤﺎﻭﺭﻩ ﻣﺮﺩﻡ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ ،‬ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺟﺎﻳﻲ‬ ‫ﺑﺮﺍﻯ ﻋﺮﺽ ﺍﻧﺪﺍﻡ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﻳﻨﻬﺎ ﻛﻪ ﮔﻔﺘﻢ ﺳﻬﻞ ﺍﺳﺖ‪ ،‬ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺣﺘﻰ‬ ‫ﺩﺭ ﺑﺮﺍﺑــﺮ ﻣﺜﻼ ﻳﻚ ﺑﺤﺚ ﺩﺍﻏﻰ ﻛﻪ ﺑﻴﻦ ﺯﺍﻛﺎﻧﻰ ﻭ ﺍﻃﺎﻋﺖ‪ ،‬ﺩﺭ ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﺧﻮﺩﻣﺎﻥ ﺩﺭﻣﻰﮔﻴﺮﺩ‪ ،‬ﺣﺮﻓــﻰ ﺍﻓﺰﻭﻥ ﺑﺮ ﺁﻥ ﻧﺪﺍﺭﻧــﺪ ﻭ ﺗﻮﺍﻥ ﺭﻗﺎﺑﺖ ﺑﺎ‬ ‫ﺁﻥ ﺭﺍ ﻫﻢ ﺍﻟﺒﺘﻪ ﻛﻪ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻓﻮﻕ ﻓﻮﻗﺶ ﺗﻮﻯ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺑﺸــﻮﺩﺑﻪ ﻫﺰﺍﺭ‬ ‫ﺣﻴﻠــﻪ ﺣﺮﻓﻰ ﺭﺍ ﺯﺩ ﻭ ﺩﺭ ﻫﺰﺍﺭ ﻻﻳﻪ ﺑﻪ ﻧﻜﺘﻪﺍﻯ ﺍﺷــﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﭘﻴﺶ ﺍﺯ‬ ‫ﺁﻥ ﻣﺮﺩﻡ ﺑﻰﭘﺮﺩﻩ ﻭ ﺻﺮﻳﺢ ﻭ ﺣﺪﺍﻛﺜﺮﻯ ﺁﻥ ﺭﺍ ﺍﺯ ﻣﺎﻫﻮﺍﺭﻩ ﺷــﻨﻴﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺍﺯ ﺁﻥ ﻃﺮﻑﻫﻢ ﺍﻟﺒﺘﻪ ﻫﺴــﺖ‪ .‬ﻛﻴﻬﺎﻥ ﻫﻢ ﻛــﻪ ﺭﻭﺯﻯ ﺩﺍﺋﺮ ﻣﺪﺍﺭ ﺟﺮﻳﺎﻥ‬ ‫ﺍﺻﻮﻟﮕﺮﺍ ﺑﻮﺩ‪ ،‬ﺣﺎﻻ ﻣﺜﻞ ﺳﺎﺑﻖ ﻧﻴﺴﺖ ﻭ ﭼﻨﺎﻧﻜﻪ ﺑﺎﻳﺪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﺎﺯﻯ ﺭﺍ‬ ‫ﺍﺩﺍﺭﻩ ﻛﻨﺪ‪ .‬ﺑﺮﺍﻯ ﺍﻭ ﻧﻴﺰ ﺭﻗﺒﺎﻳﻰ ﺑﻪ ﻣﻴﺪﺍﻥ ﺁﻣﺪﻩﺍﻧﺪ ﻛﻪ ﻛﺎﺭﺵ ﺭﺍ ﺳــﺨﺖ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻭ ﻧﻴﺰ ﭼﻪ ﭼﻴﺰﻯ ﺩﺭ ﺗﻴﺮﺍژ ﺷــﺼﺖ‪ ،‬ﻫﻔﺘﺎﺩ ﻫﺰﺍﺭ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ﺑﮕﻮﻳﺪ ﻛﻪ ﻣﺜﻼ ﺑﻴﺴــﺖ ﻭ ﺳﻰ ﻧﮕﻔﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻻﻥ ﺑﻴﺴﺖ ﻭ ﺳﻰ ﺧﻮﺩﺵ‬ ‫ﺻﺪ ﭘﻠﻪ ﺑﺎﻻﺗﺮ ﺍﺯ ﻛﻴﻬﺎﻥ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ‪ ...‬ﺩﻋﻮﺍ ﺍﺯ ﺩﺳﺖ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺩﺭﺁﻣﺪﻩ ﻭ‬ ‫ﺑﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻭ ﻣﺎﻫﻮﺍﺭﻩ ﻛﺸﻴﺪﻩ‪ .‬ﺗﻠﻮﻳﺰﻳﻮﻥ‪ ،‬ﺍﻣﺮﻭﺯ ﺩﺍﺭﺩ ﺟﻮﺍﺏ ﺑﻰﺑﻰﺳﻰ‬ ‫ﻳﺎ ﺻﺪﺍﻯ ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﻣﻰﺩﻫﺪ‪ .‬ﻫﻤﻴﻦ ﭼﻨﺪ ﺷــﺐ ﭘﻴﺶ ﺩﻳﺪﻡ ﻛﻪ ﻓﻼﻥ‬ ‫ﺣﺮﻑ ﮔﻨﺠﻰ ﺭﺍ ﺩﺍﺭﻧــﺪ ﻋﻠﻴﻪ ﺧﻮﺩﺵ ﺑــﻪ ﻛﺎﺭ ﻣﻰﺑﺮﻧﺪ‪ .‬ﺍﻭ ﻳﻚ ﭼﻴﺰﻯ‬ ‫ﺩﺭ ﻣﺎﻫــﻮﺍﺭﻩ ﮔﻔﺘﻪ‪ ،‬ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﺎ ﺩﺍﺭﺩ ﺟﻮﺍﺑﺶ ﺭﺍ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻳﻦ ﻭﺳــﻂ‬ ‫ﻣﻄﺒﻮﻋﺎﺕ ﺩﺳﺖ ﺑﺴﺘﻪ ﻛﺠﺎﻯ ﻣﺎﺟﺮﺍ ﻫﺴﺘﻨﺪ؟ ﻫﻤﻴﻦ ﻫﻔﺘﻪﻧﺎﻣﻪ ﺭﺍ ﻛﻪ‬ ‫ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺘﻪﺍﻳﺪ‪ ،‬ﻳﻚ ﺑﺎﺭ ﺍﺯ ﺳﺮ ﺑﻪ ﺗﻪ ﻣﺮﻭﺭ ﻛﻨﻴﺪ‪ .‬ﻛﺪﺍﻡ ﺧﺒﺮﺵ ﻫﺴﺖ‬ ‫ﻛﻪ ﻗﺒﻼ ﻧﺸــﻨﻴﺪﻩﺍﻳﺪ؟ ﻛﺪﺍﻡ ﺗﺤﻠﻴﻞ ﻫﺴﺖ ﻛﻪ ﻣﺸﺎﺑﻪﺍﺵ ﺑﻪ ﮔﻮﺷﺘﺎﻥ‬ ‫ﻧﺨﻮﺭﺩﻩ؟ ﺗﺎﺯﻩ ﻛﻠﻰ ﺍﺯ ﺍﻳﻦ ﺧﺒﺮﻫﺎ ﻭ ﺗﺤﻠﻴﻞﻫﺎ ﻧﻘﻞ ﻗﻮﻝ ﺍﺯ ﺳــﺎﻳﺖﻫﺎ ﻭ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﻭ ﻣﺎﻫﻮﺍﺭﻩ ﺍﺳﺖ‪ .‬ﻧﻴﺴﺖ؟ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﭘﺲ ﻧﮕﺮﺍﻧﻰ ﺍﺯ ﭼﻴﺴﺖ؟‬ ‫ﻭ ﺍﻳﻦ ﻫﻤﻪ ﺍﻧﺮژﻯ ﻛﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﺑﺨﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ ﺁﻳﺎ ﻭﺍﻗﻌﺎ ﺗﻮﺟﻴﻬﻰ‬ ‫ﺩﺍﺭﺩ؟ ﺍﺯ ﻣﻦ ﺑﭙﺮﺳــﻴﺪ ﻣﻰﮔﻮﻳﻢ ﻛﻪ ﻣﻄﺒﻮﻋﺎﺕ ﺍﻻﻥ ﻫﻨﻮﺯ ﺩﺍﺭﻧﺪ ﭼﻮﺏ‬ ‫‪ 12 ،10‬ﺳﺎﻝ ﭘﻴﺶ ﺭﺍ ﻣﻰﺧﻮﺭﻧﺪ‪ .‬ﻫﻨﻮﺯ ﻧﺎﺭﺍﺣﺘﻲ ﺁﻥ ﺭﻭﺯﮔﺎﺭ‪ ،‬ﺧﺎﺻﻪ ﺁﻥ‬ ‫ﺑﭽﻪ ﺑﺎﺯﻯﻫﺎ ﻭ ﺗﻨﺪﺭﻭﻯﻫﺎ ﻭ ﺑﻰﻣﺒﺎﻻﺗﻰﻫﺎﺳــﺖ ﻛﻪ ﻣﻮﺟﺒﺎﺕ ﺩﺷﻤﻨﻰ‬ ‫ﺍﻣﺮﻭﺯ ﺭﺍ ﻓﺮﺍﻫﻢ ﻛﺮﺩﻩ‪ .‬ﺑﺎﺯﻳﮕﻮﺷﻰﻫﺎﻯ ﺁﻥ ﺍﻳﺎﻡ ﺍﺳﺖ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﺑﺮﺍﻯ‬ ‫ﺩﻭﺳــﺘﺎﻥ ﺧﺎﻃﺮﺍﺕ ﺗﻠﺦ ﺭﺍ ﺗﺪﺍﻋﻰ ﻛﺮﺩﻩ ﻭ ﻛﺎﺭ ﺍﻣﺮﻭﺯ ﺭﺍ ﺩﭼﺎﺭ ﻣﺸــﻜﻞ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺁﻳﺎ ﻣﻰﺷﻮﺩ ﺁﻥ ﺧﺎﻃﺮﺍﺕ ﺗﻠﺦ ﺭﺍ ﺍﺯ ﺫﻫﻦ ﺣﺎﻛﻤﻴﺖ ﺯﺩﻭﺩ؟ ﺁﻳﺎ‬ ‫ﺭﺍﻫﻰ ﻫﺴــﺖ ﻛﻪ ﺣﺴــﺎﺏ ﻣﻄﺒﻮﻋﺎﺕ ﺍﻣﺮﻭﺯ ﺭﺍ ﺍﺯ ﺁﻥ ﺭﻭﺯ ﺟﺪﺍ ﻛﺮﺩ؟‬ ‫ﻳﻚ ﭼﻴﺰ ﺩﻳﮕﺮ ﻫﻢ ﻫﺴــﺖ ﻛﻪ ﻣﻮﺟﺐ ﻣﻰﺷــﻮﺩ ﮔﻨﺎﻩ ﺁﻫﻨﮕﺮ ﺑﻠﺨﻰ‬ ‫ﺭﺍ ﺑﻪ ﺣﺴــﺎﺏ ﻣﺴﮕﺮ ﺷﻮﺷﺘﺮﻯ ﺑﻨﻮﻳﺴــﻨﺪ‪ .‬ﺧﻴﻠﻰ ﺍﺯ ﺍﻳﻨﻬﺎ ﻛﻪ ﺍﻣﺮﻭﺯ ﺩﺭ‬ ‫ﻣﺎﻫﻮﺍﺭﻩ ﻋﺮﺽ ﺍﻧــﺪﺍﻡ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻪ ﺻﺮﺍﺣﺖ ﻣﻜﻨﻮﻧﺎﺕ ﻗﻠﺒﻰﺷــﺎﻥ ﺭﺍ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﺭﻳﺰﻧﺪ‪ ،‬ﻫﻤﺎﻥﻫﺎ ﻫﺴــﺘﻨﺪ ﻛﻪ ﭼﻨﺪﺳﺎﻝ ﭘﻴﺶ ﻛﺎﺭ ﻣﻄﺒﻮﻋﺎﺕ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﮔﺰﺍﺭﺷــﮕﺮ ﻭ ﻣﻨﺘﻘﺪ ﻭ ﻛﺎﻟﻤﻨﻴﺴﺖ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﻛﺎﺭ‬ ‫ﺍﻣﺮﻭﺯ ﺁﻧﻬﺎ ﻃﻮﺭﻯ ﺍﺳﺖ ﻛﻪ ﻫﻤﻜﺎﺭﺍﻥ ﻣﻄﺒﻮﻋﺎﺗﻰ ﺩﺭ ﻭﻃﻦﻣﺎﻧﺪﻩﺷﺎﻥ ﺭﺍ‬ ‫ﺑﻪ ﻣﻀﻴﻘﻪ ﻣﻰﺍﻧﺪﺍﺯﻧﺪ‪ ،‬ﺯﻳﺮﺍ ﭼﻨﻴﻦ ﺍﺳــﺘﻨﺒﺎﻁ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻳﻨﻬﺎ ﻫﻢ ﻛﻪ‬ ‫ﻫﻨﻮﺯ ﻧﺮﻓﺘﻪﺍﻧﺪ ﻭ ﺑﻪ ﻫﺮ ﺩﻟﻴﻠﻰ ﻣﺎﻧﺪﻩﺍﻧﺪ‪ ،‬ﺷــﻨﺎﮔﺮﺍﻥ ﻗﺎﺑﻠﻰ ﻫﺴﺘﻨﺪ‪ ،‬ﻓﻘﻂ‬ ‫ﺁﺏ ﻛﺎﻓﻰ ﺑﺮﺍﻯ ﻋﺮﺽ ﺍﻧﺪﺍﻡ ﭘﻴﺪﺍ ﻧﻤﻰﻛﻨﻨﺪ‪ .‬ﺍﺣﺴﺎﺱ ﻣﻦ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺨﺶ ﺯﻳﺎﺩﻯ ﺍﺯ ﻋﺼﺒﺎﻧﻴﺖ ﺍﺯ ﺩﺳــﺖ ﻣﻄﺒﻮﻋﺎﺕ ﻧﺎﺷﻰ ﺍﺯ ﻫﻤﻴﻦ ﺗﺼﻮﺭ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻳﻨﻬﺎ ﻫﻢ‪ ،‬ﻫﺮﻛﺪﺍﻡ ﺑﻰﺑﻰﺳﻰ ﺑﺎﻟﻘﻮﻩﺍﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﺑﺎﻟﻔﻌﻞ ﺷﻮﻧﺪ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ‪ ،‬ﺍﻣﺎ ﻣﻰﺩﺍﻧﻢ ﻛﻪ ﺁﺩﻣﻰ ﺑﺎﻟﻘﻮﻩ‪ ،‬ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎﻯ‬ ‫ﺩﻳﮕﺮ ﻫﻢ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺎﺷﺪ‪ :‬ﻗﺎﺗﻞ‪ ،‬ﺟﺎﻧﻰ‪ ،‬ﺩﺯﺩ‪ ،‬ﻓﺎﺳﻖ‪ ،‬ﻓﺎﺟﺮ‪ ،‬ﺿﺪ ﺍﻧﻘﻼﺏ‬ ‫ﻭ‪ ...‬ﻭ ﺣﺘﻰ ﭼﻴﺰﻫﺎﻯ ﺧﻮﺏ‪ .‬ﻣﻨﺘﻬﺎ ﻣﺪﺍﺭ ﻋﺎﻟﻢ ﻃﻮﺭﻯ ﺍﺳــﺖ ﻛﻪ ﻛﺴــﻰ‬ ‫ﺭﺍ ﺑﻪ ﺧﺎﻃــﺮ ﺑﺎﻟﻘﻮﻩ ﺑﻮﺩﻥ ﻧﻪ ﺗﻨﺒﻴﻪ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻧﻪ ﺗﺸــﻮﻳﻖ ‪ ،‬ﺑﻠﻜﻪ ﻣﻨﺘﻈﺮ‬ ‫ﻣﻰﻧﺸــﻴﻨﻨﺪ ﺗﺎ ﻗﻮﻩﺍﺵ ﺑﻪ ﻓﻌﻞ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ ...‬ﺍﻣﺎ ﺍﮔﺮ ﺩﻭﺭ ﺑﻮﺩﻭﺩﺳﺘﻤﺎﻥ‬ ‫ﺑﻪ ﺍﻭ ﻧﺮﺳﻴﺪ ﭼﻪ؟‬ ‫ﺩﺭﻧﺴﺒﺖﺟﺸﻨﻮﺍﺭﻩﺷﻌﺮﻓﺠﺮﺑﺎﻛﺘﺎﺏﻫﺎﻯﺷﻌﺮ‬ ‫ﺯﻫﻴﺮ ﺗﻮﻛﻠﻰ‬ ‫ﺩﺑﻴﺮﮔﺮﻭﻩ ﺍﺩﺑﻲ ﭘﻨﺠﺮﻩ‬ ‫ﻫﻔﺘﻪ ﭘﻴــﺶ ﺯﻣﻴﻨﻪ ﺑﺤــﺚ ﺭﺍ ﭼﻬﺎﺭﻣﻴﻦ ﺩﻭﺭﻩ ﺷــﻌﺮ ﻓﺠﺮ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺩﻡ ﻭ ﻣﻌﺮﻭﺽ ﺩﺍﺷــﺘﻢ ﻛﻪ ﺭﺍﻩﻫﺎﻱ ﺑﻬﺘﺮﻱ ﺑﺮﺍﻱ ﺣﻤﺎﻳﺖ ﺍﺯ ﺷــﻌﺮ‬ ‫ﻭ ﺷــﺎﻋﺮﺍﻥ ﻫﺴــﺖ ﻭ ﺍﺯ ﺁﻥ ﺑﻪ ﺣﻤﺎﻳﺖﻫﺎﻱ ﻓﺮﺍﮔﻴﺮ ﻭ ﺩﺍﻳﻤﻲ ﺗﻌﺒﻴﺮ‬ ‫ﻛﺮﺩﻡ‪ .‬ﭘﻴﺸــﻨﻬﺎﺩﻱ ﻫﻢ ﻃﺮﺡ ﺷــﺪ ﻛﻪ ﻫﻤﺎﻧﺎ ﺣﻤﺎﻳﺖ ﺍﺯ ﺭﺍﻩﺍﻧﺪﺍﺯﻱ‬ ‫»ﻛﺘﺎﺏﺳﺮﺍﻫﺎﻱ ﺷﻌﺮ« ﻳﺎ »ﻛﺎﻓﻪ – ﻛﺘﺎﺏ«ﻫﺎﻱ ﺷﻌﺮ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪ‬ ‫ﻣﻲﺧﻮﺍﻫﻢ ﺩﻭﺑﺎﺭﻩ ﺯﻣﻴﻨﻪ ﺑﺤﺚ ﺭﺍ ﺑﻪ ﭼﻬﺎﺭﻣﻴﻦ ﺩﻭﺭﻩ ﺟﺸﻨﻮﺍﺭﻩ ﺷﻌﺮ‬ ‫ﻓﺠﺮ ﺑﺎﺯﮔﺮﺩﺍﻧﻢ‪ .‬ﻛﻤﻲ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﺳﺨﻦ ﺧﻮﺍﻫﻢ ﮔﻔﺖ ﻭ‬ ‫ﻫﻤﭽﻨﺎﻥ ﮔﻮﺷﻪﭼﺸﻤﻲ ﺑﻪ ﺣﻤﺎﻳﺖ ﺍﺯ ﺷﻌﺮ ﻭ ﺭﺍﻩﻫﺎﻱ ﺩﻳﮕﺮ ﺁﻥ ﺧﻮﺍﻫﻢ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﭘﻴﺸﻨﻬﺎﺩﻱ ﺍﺭﺍﺋﻪ ﺧﻮﺍﻫﺪ ﺷﺪ ﻛﻪ ﺷﺎﻳﺪ ﺧﻮﺩ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺷﻌﺮ ﻓﺠﺮ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﺍﻗﺪﺍﻡ ﺣﻤﺎﻳﺘﻲ‪ ،‬ﻏﻨﻲﺗﺮ ﻛﻨﺪ‪.‬‬ ‫ﺗﺎﺑﺴﺘﺎﻥ ﺳﻪﺳــﺎﻝ ﭘﻴﺶ‪ ،‬ﻳﻌﻨﻲ ﺗﺎﺑﺴﺘﺎﻥ ‪ 85‬ﺩﺭ ﺳﺪﻩ )ﺧﻤﻴﻨﻲ‬ ‫ﺷــﻬﺮ( ﺍﺻﻔﻬﺎﻥ ﺑﻪﻋﻨﻮﺍﻥ ﺧﺒﺮﻧﮕﺎﺭ ﺭﻭﺯﻧﺎﻣﻪ ﻫﻤﺸــﻬﺮﻱ‪ ،‬ﻣﻴﻬﻤﺎﻥ‬ ‫ﻛﻨﮕﺮﻩ ﺷــﻌﺮ ﻣﻴﻼﺩ ﺁﻓﺘﺎﺏ ﺑﻮﺩﻡ‪ .‬ﺁﻗﺎﻱ ﻋﻠﻴﺮﺿﺎ ﻗﺰﻭﻩ ﻫﻢ ﺍﺯ ﻣﺪﻋﻮﻳﻦ‬ ‫ﻛﻨﮕﺮﻩ ﺑﻮﺩ‪ .‬ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﺣﺪﻭﺩ ﺳــﻪ ﺳﺎﻝ ﻣﻲﺷــﺪ ﻛﻪ ﮔﺎﻩﻭﺑﻴﮕﺎﻩ ﺩﺭ‬ ‫ﺻﻔﺤﻪ ﺷﻌﺮ ﺭﻭﺯﻧﺎﻣﻪ ﻫﻤﺸﻬﺮﻱ‪ ،‬ﺑﻪ ﻛﻨﮕﺮﻩﻫﺎ ﻭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﺷﻌﺮ‬ ‫ﺣﻤﻠــﻪ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻭ ﺍﻳــﻦ ﺍﻭﺍﺧﺮ ﻳﻌﻨﻲ ﭼﻨﺪ ﻣــﺎﻩ ﻣﻨﺘﻬﻲ ﺑﻪ ﻛﻨﮕﺮﻩ‬ ‫ﻣﻴــﻼﺩ ﺁﻓﺘﺎﺏ‪ ،‬ﺣﺠــﻢ ﺣﻤﻼﺕ ﺻﻔﺤﻪ ﺷــﻌﺮ ﻫﻤﺸــﻬﺮﻱ ﺑﻪ ﺍﻳﻦ‬ ‫ﮔﺮﺩﻫﻤﺎﻳﻲﻫﺎﻱ »ﺑﻪ ﺑﻬﺎﻧﻪ ﺷــﻌﺮ« ﺷﺪﻳﺪﺗﺮ ﺷــﺪﻩ ﺑﻮﺩ ﺗﺎ ﺟﺎﻳﻲ ﻛﻪ‬ ‫ﺑﺮﺧﻲ ﺍﺯ ﺷــﺎﻋﺮﺍﻥ ﻛﻪ ﻃﺒﻖ ﻣﻌﻤﻮﻝ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﭼﺮﺧﺸــﻲ ﺩﺭ ﺍﻳﻦ‬ ‫ﮔﺮﺩﻫﻤﺎﻳﻲﻫﺎﻱ »ﺍﺯ ﺟﻴﺐ ﻣﻠﺖ« ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﻧﺪ‪ ،‬ﺭﻧﺠﻴﺪﻩ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﺍﻳﻦ ﺭﻧﺠﺶ ﺭﺍ ﺍﺑﺮﺍﺯ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﻣﺪﻋﺎﻱ ﺑﻨﺪﻩ ﻭ ﺩﻭﺳــﺘﺎﻧﻢ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‬ ‫ﺑﺎﺯﺩﻩ ﺍﻳﻦ ﻛﻨﮕﺮﻩﻫﺎ ﻭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﺑﻪ ﻧﺴﺒﺖ ﻣﻀﺮﺍﺗﺸﺎﻥ ﭘﺎﻳﻴﻦ ﺍﺳﺖ‪.‬‬ ‫ﺍﺻﺎﻟﺘﺎ ﻓﻀﺎ‪ ،‬ﻓﻀﺎﻱ ﺟﺪﻱ ﻧﻴﺴــﺖ‪ ،‬ﺍﮔﺮﭼــﻪ ﻇﺎﻫﺮ‪ ،‬ﻇﺎﻫﺮﻱ ﺭﻗﺎﺑﺘﻲ‬ ‫ﺍﺳﺖ‪ .‬ﺳــﻔﺎﺭﺵ ﺑﺮ ﺍﻳﻦ ﮔﺮﺩﻫﻤﺎﻳﻲﻫﺎﻱ ﺍﺩﺑﻲ ﺳﺎﻳﻪ ﺍﻧﺪﺍﺧﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻧﻘﺪ‪ ،‬ﭼﻪ ﺑﻪ ﺻﻮﺭﺕ ﻛﺎﺭﮔﺎﻫﻲ‪ ،‬ﭼﻪ ﺩﺭ ﻗﺎﻟﺐ ﻣﺤﺎﻓﻠﻲ ﻛﻪ ﺧﻮﺩ ﺷﺎﻋﺮﺍﻥ‬ ‫ﺩﺭ ﺣﺎﺷﻴﻪ ﺍﻳﻦ ﮔﺮﺩﻫﻤﺎﻳﻲﻫﺎ ﺩﺭ ﺁﻥ ﺑﺎ ﻫﻢ ﮔﭗ ﻣﻲﺯﻧﻨﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﻻﻏﺮ‬ ‫ﻭ ﺑﻲﺭﻣﻖ ﺍﺳﺖ ﻭ ﺣﺘﻲ ﻛﻤﺘﺮﻳﻦ ﻛﺎﺭﻭﻳﮋﻩ ﻳﻚ ﮔﺮﺩﻫﻤﺎﻳﻲ ﺍﺩﺑﻲ ﻛﻪ‬ ‫ﻫﻤﺎﻧﺎ »ﺷﻌﺮﺧﻮﺍﻧﻲ« ﺑﺎﺷــﺪ ﻭ ﻓﺎﻳﺪﻩ ﻣﺘﺮﺗﺐ ﺑﺮ ﺷﻌﺮﺧﻮﺍﻧﻲ ﻛﻪ ﺍﺭﺍﺋﻪ‬ ‫ﺗﺎﺯﻩﺗﺮﻳﻦ ﺁﺛﺎﺭ ﻫﺮ ﺷــﺎﻋﺮ ﻭ ﻛﺸﻒ ﺷﺎﻋﺮﺍﻥ ﺟﺪﻳﺪ ﺍﺳﺖ‪ ،‬ﺑﻪﺩﺭﺳﺘﻲ ﻭ‬ ‫ﺩﻗﺖ ﻣﺤﻘﻖ ﻧﻤﻲﺷــﻮﺩ‪ ،‬ﺯﻳﺮﺍ ﺍﺳﺎﺳﺎ ﺑﻪﺧﺎﻃﺮ ﺷﻜﻞﮔﻴﺮﻱ ﺑﺎﻧﺪﻫﺎﻱ‬ ‫ﺍﺩﺑﻲ ﻛﻪ ﭘﻴﻤﺎﻧﻜﺎﺭﻱ ﺍﻳــﻦ ﻛﻨﮕﺮﻩﻫﺎ ﻭ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎ ﺭﺍ ﺍﺯ ﻧﻬﺎﺩﻫﺎﻱ‬ ‫ﺩﻭﻟﺘﻲ ﻭ ﺍﺭﮔﺎﻥﻫﺎﻱ ﺍﻧﻘﻼﺑﻲ ﻣﻲﭘﺬﻳﺮﻧﺪ‪ ،‬ﺑﻴﺸــﺘﺮ ﻧﻤﺎﻳﺸــﻲ ﺍﺯ ﻳﻚ‬ ‫ﻓﻌﺎﻟﻴﺖ ﻭﺍﻗﻌﻲ ﺍﺩﺑﻲ ﻫﺴــﺘﻨﺪ‪ .‬ﺧﻼﺻﻪ ﻛﻼﻡ‪ ،‬ﺁﻥ ﺩﻭ‪ ،‬ﺳﻪ ﺳﺎﻝ ﺍﻭﻟﻲ‬ ‫ﻛﻪ ﺣﻘﻴﺮ ﺻﺎﺣﺐ ﻗﻠﻢ‪ ،‬ﺻﻔﺤﻪ ﺷﻌﺮ ﻫﻤﺸﻬﺮﻱ ﺭﺍ ﻣﻲﮔﺮﺩﺍﻧﺪﻡ‪ ،‬ﻳﻜﻲ‬ ‫ﺍﺯ ﺩﻏﺪﻏﻪﻫﺎﻳﻢ ﺍﻳﻦ ﺑﻮﺩ ﻭ ﺁﻥ ﺭﻭﺯﻫﺎ ﻛﻪ ﺑﻪ ﺳﺪﻩ )ﺧﻤﻴﻨﻲﺷﻬﺮ( ﺳﻔﺮ‬ ‫ﻛــﺮﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺗﺼﺎﺩﻓﺎ ﮔﺰﺍﺭﺵ ﺍﻧﺘﻘﺎﺩﻱ – ﺗﺤﻠﻴﻠﻲ ﺩﻭ‪ ،‬ﺳــﻪ ﺗﺎ ﺍﺯ ﺍﻳﻦ‬ ‫ﻛﻨﮕﺮﻩﻫﺎ ﺩﺭ ﺍﻳﺎﻣﻲ ﻧﺰﺩﻳﻚ ﺑﻪ ﺁﻥ‪ ،‬ﺩﺭ ﻫﻤﺸــﻬﺮﻱ ﺩﺭﺝ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺁﻥ‬ ‫ﺷــﺐ ﻣﺒﺎﺣﺜﻪﺍﻱ ﺑﻴﻦ ﺑﻨﺪﻩ ﻭ ﺁﻗﺎﻱ ﻗﺰﻭﻩ ﺩﺭ ﮔﺮﻓﺖ‪ .‬ﺑﻨﺪﻩ ﺑﻪ ﺍﻳﺸــﺎﻥ‬ ‫ﻛﻪ ﺭﺋﻴﺲ ﻭﻗﺖ ﺷــﻮﺭﺍﻱ ﺷﻌﺮ ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﺑﻮﺩﻧﺪ‪ ،‬ﻋﺮﺽ ﻛﺮﺩﻡ ﻛﻪ‬ ‫»ﻫﺰﻳﻨﻪ ﺍﻳﻦ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎ ﻭ ﻛﻨﮕﺮﻩﻫﺎ‪ ،‬ﻣﻴﻠﻴﺎﺭﺩﻱ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺑﺸﻮﺩ‬ ‫ﻗﺎﻧﻮﻧــﻲ ﺭﺍ ﺍﺯ ﺗﺼﻮﻳﺐ ﻣﺠﻠﺲ ﮔﺬﺭﺍﻧﺪ ﻭ ﺑﺮ ﺍﺳــﺎﺱ ﺁﻥ‪ ،‬ﺑﺮﭘﺎﻳﻲ ﺍﻳﻦ‬ ‫ﻗﺒﻴﻞ ﻫﻤﺎﻳﺶﻫﺎ ﺍﺯ ﺟﻴﺐ ﺑﻴﺖﺍﻟﻤﺎﻝ‪ ،‬ﺗﺤﺖ ﻧﻈﺎﺭﺕ ﺩﺭﺑﻴﺎﻳﺪ ﺷــﺎﻳﺪ‬ ‫ﻛﻤﻲ ﻭﺿﻊ ﺑﻬﺘﺮ ﺷــﻮﺩ«‪ .‬ﭘﻴﺸــﻨﻬﺎﺩ ﺑﻨﺪﻩ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺟﺰ ﺩﻭ‪ ،‬ﺳﻪ ﺗﺎ‬ ‫ﺍﺯ ﺍﻳﻦ ﻫﻤﺎﻳﺶﻫﺎ ﺍﺯ ﻗﺒﻴﻞ ﺷــﺐﻫﺎﻱ ﺷﻬﺮﻳﻮﺭ ﻳﺎ ﻛﻨﮕﺮﻩ ﺷﻌﺮ ﺟﻮﺍﻥ‬ ‫ﺑﻨﺪﺭﻋﺒﺎﺱ‪ ،‬ﺑﺴــﺎﻁ ﻫﻤﻪ ﺑﺮﭼﻴﺪﻩ ﺷﻮﺩ ﻭ ﺑﻪﺟﺎﻱ ﺁﻥ ﻳﻚ ﻓﺴﺘﻴﻮﺍﻝ‬ ‫ﻣﻠﻲ ﺷﻌﺮ ﺑﺮﮔﺰﺍﺭ ﺷﻮﺩ‪ .‬ﻓﺴﺘﻴﻮﺍﻟﻲ ﻛﻪ ﺭﻗﺎﺑﺘﻲ ﺩﺭ ﺁﻥ ﺩﺭ ﻛﺎﺭ ﻧﺒﺎﺷﺪ ﻭ‬ ‫ﻭﻗﺖ ﺷــﻌﺮﺧﻮﺍﻧﻲ ﭘﺮﻭﭘﻴﻤﺎﻧﻲ ﺑﻪ ﻫﺮﻳﻚ ﺍﺯ ﺷﺎﻋﺮﺍﻥ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ‬ ‫ﺷﻮﺩ ﻭ ﻫﻤﻪ ﺷــﺎﻋﺮﺍﻥ ﺍﺯ ﻫﻤﻪ ﻃﻴﻒﻫﺎﻱ ﺍﺩﺑﻲ ﺑﻪ ﺁﻥ ﺩﻋﻮﺕ ﺷﻮﻧﺪ ﻭ‬ ‫ﺣﺘﻲ ﮔﻔﺘﻢ ﻣﻲﺷﻮﺩ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ ﻣﻠﻲ ﺭﺍ ﺳﺎﻟﻲ ﺩﻭﺑﺎﺭ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩ؛‬ ‫ﻳﻚ ﺑﺎﺭ ﻣﻬﺮﻣﺎﻩ‪ ،‬ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﺭﺩﻳﺒﻬﺸﺖ ﻣﺎﻩ‪.‬‬ ‫ﺷﺎﻋﺮﺍﻥ ﺣﺮﻓﻪﺍﻱ ﻛﻪ ﺑﺮﺍﻱ ﺧﻮﺩ‬ ‫ﺍﺳﻠﻮﺑﻲ ﺩﺭ ﺷﺎﻋﺮﻱ ﻗﺎﺋﻠﻨﺪ‪ ،‬ﻣﻌﻤﻮﻻ‬ ‫ﺩﺭ »ﺭﻗﺎﺑﺖ« ﺷﺮﻛﺖ ﻧﻤﻲﻛﻨﻨﺪ ﻭ‬ ‫ﺩﺭ ﻧﺘﻴﺠﻪ ﺭﻗﺎﺑﺖ ﺑﻴﻦ ﺷﺎﻋﺮﺍﻥ‬ ‫ﺟﻮﺍﻥ ﺩﺭ ﻣﻲﮔﻴﺮﺩ؛ ﻳﻌﻨﻲ‬ ‫ﻋﻠﻲﺍﻟﻘﺎﻋﺪﻩ ﺍﺯ ﻣﻴﺎﻥ ‪ 600‬ﺷﺎﻋﺮﻱ ﻛﻪ‬ ‫ﺍﻣﺴﺎﻝ ﺷﻌﺮ ﺍﺭﺳﺎﻝ ﻛﺮﺩﻩﺍﻧﺪ ﺑﻴﺶ ﺍﺯ‬ ‫‪ 60‬ﺩﺭﺻﺪ ﺁﻧﻬﺎ ﺑﺎﻳﺪ ﺍﺯ ﻣﻴﺎﻥ ﺷﺎﻋﺮﺍﻥ‬ ‫ﮔﺮﻭﻩ ﺳﻨﻲ‪ 18-35‬ﺳﺎﻝ ﺑﺎﺷﻨﺪ‬ ‫ﺁﻥ ﺷﺐ ﮔﺬﺷﺖ ﻭ ﺗﻘﺮﻳﺒﺎ ﺳﻪ ﻣﺎﻩ ﺑﻌﺪ‪ ،‬ﺧﺒﺮ ﺟﺸﻨﻮﺍﺭﻩ ﺷﻌﺮ ﻓﺠﺮ‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﻣﻄﻠﻘﺎ ﻧﻤﻲﺧﻮﺍﻫﻢ ﺍﺩﻋﺎ ﻛﻨﻢ ﻛﻪ ﺍﻧﻌﻘﺎﺩ ﻓﻜﺮ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺣﺎﺻﻞ ﺁﻥ ﮔﻔﺖﻭﮔﻮﻱ ﺑﻨﺪﻩ ﺑﺎ ﻗﺰﻭﻩ ﺑﻮﺩﻩ ﺍﺳﺖ ﺑﻠﻜﻪ ﺻﺮﻓﺎ ﻣﺜﺎﻟﻲ ﺯﺩﻡ‬ ‫ﻛﻪ ﺑﮕﻮﻳﻢ ﺩﺭ ﺳﺎﻝﻫﺎﻱ ﺍﺧﻴﺮ ﻫﻤﺰﻣﺎﻥ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺩﻟﺴﻮﺯﺍﻥ‪ ،‬ﺟﺪﺍﺟﺪﺍ‬ ‫ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﻣﺸﺘﺮﻙ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺷﻌﺮ‪ ،‬ﺷﺒﻴﻪ ﺑﻘﻴﻪ ﻫﻨﺮﻫﺎ ﻣﺜﻼ‬ ‫ﺳﻴﻨﻤﺎ ﻧﻴﺎﺯ ﺑﻪ ﻳﻚ ﮔﺮﺩﻫﻤﺎﻳﻲ ﻓﺮﺍﮔﻴﺮ ﺷﺎﻋﺮﺍﻥ ﺩﺍﺭﺩ‪ .‬ﺣﺎﻝ ﻣﻲﺭﺳﻴﻢ‬ ‫ﺑﻪ ﺍﻳﻦ ﺳــﻮﺍﻝ‪» :‬ﺟﺸﻨﻮﺍﺭﻩ ﺷﻌﺮ ﻓﺠﺮ ﺩﺭ ﺳــﻪ ﺩﻭﺭﻩ ﮔﺬﺷﺘﻪ ﺗﺎ ﺑﺮﺳﺪ‬ ‫ﺑﻪ ﺩﻭﺭﻩ ﺍﺧﻴﺮ ﻛﻪ ‪ 600‬ﻧﻔﺮ ﺷــﺎﻋﺮ ﺑﺮﺍﻱ ﺭﻗﺎﺑﺖ‪ ،‬ﺷﻌﺮ ﻓﺮﺳﺘﺎﺩﻩﺍﻧﺪ ﻭ‬ ‫ﻗﺮﺍﺭ ﺍﺳــﺖ ﻫﻴﭻ ﺑﺨﺶ ﻏﻴﺮﺭﻗﺎﺑﺘﻲ ﺩﺭ ﻛﺎﺭ ﻧﺒﺎﺷــﺪ‪ ،‬ﺍﺯ ﻧﻈﺮ ﻣﺎﻫﻴﺖ‪،‬‬ ‫ﭼﻪ ﺗﻔﺎﻭﺗﻲ ﺑﺎ ﺁﻥ ﻫﻤﻪ ﻛﻨﮕﺮﻩ ﺟﺸــﻨﻮﺍﺭﻩ ﺩﻭﻟﺘــﻲ ﺩﺍﺭﺩ ﻭ ﺁﻳﺎ ﺗﻌﺮﻳﻒ‬ ‫ﻣﺘﻤﺎﻳﺰﻱ ﺍﺯ ﺧﻮﺩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻓﺴﺘﻴﻮﺍﻝ ﻣﻠﻲ ﺷﻌﺮ ﺩﺭ ﺫﻫﻦﻫﺎ ﺧﻠﻖ‬ ‫ﻛﺮﺩﻩ ﺍﺳﺖ؟« ﭘﺎﺳﺦ ﻣﻨﻔﻲ ﺍﺳﺖ‪.‬‬ ‫ﺣﺎﻝ ﺑﻪ ﺩﻭ ﭘﻴﺸــﻨﻬﺎﺩ ﺍﻛﺘﻔﺎ ﻣﻲﻛﻨﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻫﺮ ﺩﻭ ﭘﻴﺸﻨﻬﺎﺩ‬ ‫ﺍﺣﺘﻤﺎﻻ ﺑﻪ ﺫﻫﻦ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﻣﺤﺘﺮﻡ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺩﺭ ﺳﻪ ﺳﺎﻝ‬ ‫ﺍﺧﻴﺮ ﻫﻢ ﺭﺳﻴﺪﻩ ﺍﺳﺖ ﺍﻣﺎ ﻋﻤﻼ ﻳﺎ ﭘﻴﮕﻴﺮﻱ ﺑﺮﺍﻱ ﺗﺤﻘﻖ ﺁﻥ ﻧﺪﻳﺪﻩﺍﻳﻢ‬ ‫ﻳﺎ ﺗﻮﻓﻴﻘﻲ ﺣﺎﺻﻞ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬ﺍﻭﻟﻴﻦ ﭘﻴﺸﻨﻬﺎﺩ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺷﻌﺮ ﻓﺠﺮ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﻳﻚ ﺷــﻌﺮﺧﻮﺍﻧﻲ ﺑﺰﺭگ ﺳﻮﻕ ﺩﻫﻨﺪ‪ ،‬ﺯﻳﺮﺍ ﺩﺭ‬ ‫ﺣﺎﻟﺖ ﺭﻗﺎﺑﺘﻲ‪ ،‬ﺷﺎﻋﺮﺍﻥ ﺑﺎ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﺗﻔﺎﻭﺗﻲ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺷﺎﻋﺮﺍﻥ ﺑﺰﺭگ ﻭ ﺣﺘﻲ ﺷﺎﻋﺮﺍﻥ ﺣﺮﻓﻪﺍﻱ ﻛﻪ ﺑﺮﺍﻱ ﺧﻮﺩ ﺍﺳﻠﻮﺑﻲ ﺩﺭ‬ ‫ﺷﺎﻋﺮﻱ ﻗﺎﺋﻠﻨﺪ‪ ،‬ﻣﻌﻤﻮﻻ ﺩﺭ »ﺭﻗﺎﺑﺖ« ﺷﺮﻛﺖ ﻧﻤﻲﻛﻨﻨﺪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ‬ ‫ﺭﻗﺎﺑﺖ ﺑﻴﻦ ﺷﺎﻋﺮﺍﻥ ﺟﻮﺍﻥ ﺩﺭ ﻣﻲﮔﻴﺮﺩ؛ ﻳﻌﻨﻲ ﻋﻠﻲﺍﻟﻘﺎﻋﺪﻩ ﺍﺯ ﻣﻴﺎﻥ‬ ‫‪ 600‬ﺷﺎﻋﺮﻱ ﻛﻪ ﺍﻣﺴﺎﻝ ﺷﻌﺮ ﺍﺭﺳﺎﻝ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺑﻴﺶ ﺍﺯ ‪ 60‬ﺩﺭﺻﺪ ﺁﻧﻬﺎ‬ ‫ﺑﺎﻳﺪ ﺍﺯ ﻣﻴﺎﻥ ﺷﺎﻋﺮﺍﻥ ﮔﺮﻭﻩ ﺳﻨﻲ‪ 18-35‬ﺳﺎﻝ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺩﻭﻡ ﺍﻳﻨﻜﻪ ﭘﺎﻳﻪ ﻛﺎﺭ ﺭﺍ ﺍﮔﺮ ﻫﻢ ﺭﻗﺎﺑﺘﻲ ﺩﺭ ﻛﺎﺭ ﺑﺎﺷــﺪ‪ ،‬ﻛﺘﺎﺏ ﺷﻌﺮ‬ ‫ﻗﺮﺍﺭ ﺩﻫﻨﺪ ﻧﻪ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻝ ﺷﺪﻩ‪ ،‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺟﺎﻳﺰﻩ‬ ‫ﺍﺩﺑﻲ ﺟــﻼﻝ ﺁﻝﺍﺣﻤﺪ‪ ،‬ﺟﺎﻱ ﺑﺨﺶ ﺍﺩﺑﻴﺎﺕ ﺩﺍﺳــﺘﺎﻧﻲ ﺭﺍ ﺩﺭ ﺟﺎﻳﺰﻩ‬ ‫ﻛﺘﺎﺏ ﺳﺎﻝ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﺑﺎ ‪ 110‬ﺳﻜﻪ‪ ،‬ﻛﺘﺎﺏ ﺳﺎﻝ ﺷﻌﺮ ﻫﻢ ﺩﺭ ﻗﺎﻟﺐ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺷﻌﺮ ﻓﺠﺮ ﺑﺮﮔﺰﻳﺪﻩ ﺷﻮﺩ ﺑﺎ ﻫﻤﺎﻥ ‪ 110‬ﺳﻜﻪ ﺍﻟﺒﺘﻪ ﺗﺤﻘﻖ‬ ‫ﺍﻳﻦ ﺩﻭ ﭘﻴﺸﻨﻬﺎﺩ ﺑﻪ ﺧﺼﻮﺹ ﭘﻴﺸﻨﻬﺎﺩ ﺍﻭﻝ‪ ،‬ﻧﻴﺎﺯ ﺑﻪ ﺩﻭﺭﺍﻧﺪﻳﺸﻲﻫﺎ ﻭ‬ ‫ﺟﺎﻣﻊﻧﮕﺮﻱﻫﺎ ﻭ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻱ ﻇﺮﻳﻒ ﻭ ﻣﺘﻨﺎﺳﺐ ﺑﺎ ﺣﺴﺎﺳﻴﺖﻫﺎﻱ‬ ‫ﺧﺎﺹ ﺍﻳﻦ ﺻﻨﻒ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻝ ﻣﺎ ﺑﺮﺍﻱ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻮﭘﺎ‪ ،‬ﺁﺭﺯﻭﻱ‬ ‫ﺗﻜﺎﻣﻞ ﺩﺍﺭﻳﻢ‪.‬‬ ‫‪13‬‬ ‫ﺍﺳﺪﺍﷲ ﺑﺎﺩﺍﻣﭽﻴﺎﻥ‪:‬‬ ‫ﺧﻂ ﺧﺎﺭﺟﻲ ﺟﻨﺒﺶ ﺳﺒﺰ ﺑﻪ ﺑﻦﺑﺴﺖ ﺧﻮﺭﺩﻩ‬ ‫ﺑﺎ ﺍﻟﺘﻴﺎﻡ ﻳﺎﻓﺘﻦ ﻓﻀﺎﻱ ﺳﻴﺎﺳﻲ ﻛﺸﻮﺭ ﺑﻪ ﻭﻳﮋﻩ ﭘﺲ ﺍﺯ ﺳﺨﻨﺎﻥ ﻣﻘﺎﻡ‬ ‫ﻣﻌﻈﻢ ﺭﻫﺒﺮﻱ ﺩﺭ ﺩﻳﺪﺍﺭ ﺑﺎ ﺑﺮﺧﻲ ﻣﺴﺌﻮﻻﻥ ﻭ ﺟﻮﺍﻧﺎﻥ ﻭ ﺗﺎﻛﻴﺪ ﺍﻳﺸﺎﻥ‬ ‫ﺑﻪ ﻗﺎﻧﻮﻥﮔﺮﺍﻳﻲ ﻭ ﭘﺮﻫﻴﺰ ﺍﺯ ﻏﺒﺎﺭﺁﻟﻮﺩ ﻛﺮﺩﻥ ﻓﻀﺎﻱ ﺳﻴﺎﺳــﻲ ﻛﺸﻮﺭ‬ ‫ﺷﺎﻫﺪ ﺗﻠﻄﻴﻒ ﻓﻀﺎ ﺍﺯ ﺳﻮﻱ ﺗﻨﺪﺭﻭﻫﺎﻱ ﺟﺮﻳﺎﻥ ﺍﺻﻮﻟﮕﺮﺍ ﻫﺴﺘﻴﻢ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﺍﻳﻦ ﻓﻀﺎ ﺑﺎ ﺣﻀﻮﺭ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺟﺮﻳﺎﻥﻫﺎﻱ ﺳﻴﺎﺳــﻲ ﺩﺭ ﺩﻭﺭ ﺟﺪﻳﺪ‬ ‫ﻣﻨﺎﻇﺮﻩﻫﺎﻱ ﺻﺪﺍﻭﺳــﻴﻤﺎ ﻣﻲﺭﻭﺩ ﻛﻪ ﻧﻬﺎﺩﻳﻨﻪ ﺷﻮﺩ‪ .‬ﻗﺎﺋﻢﻣﻘﺎﻡ ﺩﺑﻴﺮ‬ ‫ﻛﻞ ﺣﺰﺏ ﻣﻮﺗﻠﻔﻪ ﺍﺳﻼﻣﻲ ﺑﺎ ﮔﺬﺷﺖ ﺑﻴﺶ ﺍﺯ ﻫﻔﺖ ﻣﺎﻩ ﻭ ﺩﻭ ﻫﻔﺘﻪ ﺍﺯ‬ ‫ﺍﻧﺘﺨﺎﺑﺎﺕ ﺩﻫﻤﻴﻦ ﺩﻭﺭﻩ ﺭﻳﺎﺳﺖ ﺟﻤﻬﻮﺭﻱ ﺩﺭ ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﺧﺒﺮﻧﮕﺎﺭ‬ ‫ﺳﻴﺎﺳﻲ ﻣﺜﻠﺚ ﻣﻌﺘﻘﺪ ﺍﺳﺖ‪» :‬ﻣﻘﺎﻡﻣﻌﻈﻢﺭﻫﺒﺮﻱ ﻣﺎﻳﻞ ﻫﺴﺘﻨﺪ ﻛﻪ‬ ‫ﺟﺎﻣﻌﻪ ﺍﺯ ﺍﻳﻦ ﺗﻨﺶﻫﺎ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﺪ ﻭ ﺣﺘﻲ ﻛﻮﭼﻜﺘﺮﻳﻦ ﺗﻨﺸــﻲ ﺩﺭ‬ ‫ﺟﺎﻣﻌﻪ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺑﺮ ﻫﻤﻴﻦ ﺍﺳﺎﺱ ﺍﺯ ﻫﺮ ﻧﻮﻉ ﺣﺮﻛﺘﻲ ﻛﻪ‬ ‫ﻣﻮﺟﺐ ﺗﻨﺶ ﺩﺭ ﺟﺎﻣﻌﻪ ﻣﻲﺷــﻮﺩ ﺑﺎﻳﺪ ﭘﺮﻫﻴﺰ ﻛﺮﺩ‪ .‬ﻣﺼﻠﺤﺖ ﻧﻈﺎﻡ‬ ‫ﺁﻥ ﺍﺳــﺖ ﻛﻪ ﺍﮔﺮ ﻛﺴﻲ ﺍﺧﺘﻼﻑﻧﻈﺮ‪ ،‬ﺳــﻠﻴﻘﻪ ﻭ ﻣﻮﺍﺿﻊ ﺩﺍﺭﺩ ﺁﻥ ﺭﺍ‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﺤﺒــﺖ‪ ،‬ﺻﻤﻴﻤﺖ ﻭ ﻣﺪﺍﺭﺍ ﻣﻄﺮﺡ ﻛﻨﺪ ﻭ ﺍﻓﺮﺍﺩ ﺑﻪ ﻳﻜﺪﻳﮕﺮ‬ ‫ﭼﻨﮓ ﻧﺰﻧﻨﺪ‪«.‬‬ ‫ﺍﻳﻦ ﻋﻀﻮ ﺍﺻﻮﻟﮕﺮﺍﻱ ﺣﺎﻣﻲ ﺩﻭﻟﺖ ﺩﺭ ﺗﺒﻴﻴﻦ ﻓﻀﺎﻱ ﻓﻌﻠﻲ ﺳﻴﺎﺳﻲ‬ ‫ﻛﺸــﻮﺭ ﻣﻲﮔﻮﻳﺪ‪» :‬ﻓﻀﺎﻱ ﺳﻴﺎﺳﻲ ﻛﺸــﻮﺭ ﻓﻀﺎﻱ ﺑﺴﻴﺎﺭ ﻣﻨﺎﺳﺒﻲ‬ ‫ﺍﺳﺖ‪ .‬ﻋﻠﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺁﻣﺮﻳﻜﺎﻳﻲﻫﺎ ﻭ ﺍﻧﮕﻠﻴﺴﻲﻫﺎ ﺩﺭ ﺧﻂ ﺟﻨﺒﺶ‬ ‫ﻣﺨﻤﻠﻲ ﺳﺒﺰ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻧﺪ ﻭ ﺁﺧﺮﻳﻦ ﺿﺮﺑﻪﺍﻱ ﻛﻪ ﺁﻧﻬﺎ ﺑﻪ ﺟﻨﺒﺶ‬ ‫ﺳﺒﺰ ﺯﺩﻧﺪ ﺭﻭﺯ ﻋﺎﺷــﻮﺭﺍ ﺑﻮﺩ‪ .‬ﺍﻭﺑﺎﻣﺎ ﻧﻴﺰ ﺑﺎ ﻧﺎﺷﻲﮔﺮﻱ ﺍﺯ ﺗﺤﺮﻛﺎﺕ ﺭﻭﺯ‬ ‫ﻋﺎﺷﻮﺭﺍ ﺣﻤﺎﻳﺖ ﻛﺮﺩ‪«.‬‬ ‫ﺍﺳــﺪﺍﷲ ﺑﺎﺩﺍﻣﭽﻴﺎﻥ ﺑﺎ ﻳﺎﺩﺁﻭﺭﻱ ﺣﺎﺩﺛﻪ ﺭﻭﺯ ﻋﺎﺷــﻮﺭﺍ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫»ﺍﻳﻨﻜــﻪ ﻳﻚ ﻋﺪﻩ ﻣﻌﺪﻭﺩ ﺩﺭ ﻛﺸــﻮﺭ ﺑﺎ ﺍﻣﺎﻡ ﺣﺴــﻴﻦ)ﻉ( ﻣﺨﺎﻟﻔﺖ‬ ‫ﻛﻨﻨﺪ‪ ،‬ﺧﻮﺩ ﺍﻣﺮ ﺗﻠﺨﻲ ﺍﺳــﺖ‪ ،‬ﺍﻣﺎ ﺗﻠﺦﺗﺮ ﺍﺯ ﺁﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻳﻚ ﻋﺪﻩ‬ ‫ﺑﻪ ﺗﺤﺮﻳﻚ ﺑﻴﮕﺎﻧﻪ ﻭ ﺑﺎ ﭘﻴﺮﻭﻱ ﺍﺯ ﺻﺪﺍﻱ ﺑﻴﮕﺎﻧﮕﺎﻧﻲ ﭼﻮﻥ ﺳــﻲﺍﻥﺍﻥ‬ ‫ﻭ ﺑﻲﺑﻲﺳــﻲ ﺩﺳــﺖ ﺑﻪ ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﺑﺰﻧﻨﺪ‪ .‬ﺣﺎﺩﺛﻪ ﺭﻭﺯ ﻋﺎﺷﻮﺭﺍ ﺣﺎﺩﺛﻪ‬ ‫ﺳﺎﺩﻩﺍﻱ ﻧﺒﻮﺩ‪ .‬ﺍﻧﻘﻼﺏ ﻣﺎ ﺑﻪ ﺑﺮﻛﺖ ﺍﻣﺎﻡ ﺣﺴﻴﻦ)ﻉ( ﻭ ﺷﻌﺎﺭ ﺁﻥ ﺣﻀﺮﺕ‬ ‫ﺷﻜﻞ ﮔﺮﻓﺘﻪ ﻭ ﺍﻭﻟﻴﻦ ﺭﺍﻫﭙﻴﻤﺎﻳﻲ ﻋﻈﻴﻢ ﻣﺮﺩﻡ ﻣﺎ ﺩﺭ ﺳﺎﻝ ‪ 1342‬ﺩﺭ‬ ‫ﺭﻭﺯ ﻋﺎﺷﻮﺭﺍ ﺑﻮﺩ ﻛﻪ ﺗﻮﺍﻧﺴﺖ ﻃﺮﺡ ﺭﻓﺮﺍﻧﺪﻭﻡ ﺷﺎﻩ ﺭﺍ ﺑﻪ ﻫﻢ ﺑﺮﻳﺰﺩ ﻭ ﺍﻳﻦ‬ ‫ﺷﻌﺎﺭ ﺗﺎ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﺩﺭ ﺳﺎﻝ ‪ 1357‬ﻫﻤﺮﺍﻩ ﺍﻧﻘﻼﺏ ﻣﺎ ﺑﻮﺩ ﻭ ﻣﺎ ﺩﺭ‬ ‫ﺟﻨﮓ ﻧﻴﺰ ﺑﺎ ﺗﻤﺴﻚ ﺑﻪ ﺍﻣﺎﻡ ﺣﺴﻴﻦ)ﻉ( ﻭ ﺁﺭﻣﺎﻥﻫﺎﻱ ﻭﻱ ﺗﻮﺍﻧﺴﺘﻴﻢ‬ ‫ﺑﻪ ﭘﻴﺮﻭﺯﻱ ﺑﺮﺳﻴﻢ‪«.‬‬ ‫ﻧﺎﻳﺐ ﺭﺋﻴــﺲ ﺣﺰﺏ ﻣﻮﺗﻠﻔﻪ ﺍﺳــﻼﻣﻲ ﺗﺎﻛﻴــﺪ ﺩﺍﺭﺩ‪» :‬ﺣﻤﺎﻳﺖ‬ ‫ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﺁﻣﺮﻳﻜﺎ ﺍﺯ ﺍﺗﻔﺎﻗﺎﺕ ﺭﻭﺯ ﻋﺎﺷﻮﺭﺍ ﺑﻪ ﺟﻨﺒﺶ ﺳﺒﺰ ﺿﺮﺑﻪ‬ ‫‪14‬‬ ‫ﺯﺩ ﻭﻟﻲ ﺭﺍﻫﭙﻴﻤﺎﻳﻲ ‪ 9‬ﺩﻱ ﻣﻬﺮ »ﺑﺎﻃﻞ ﺷﺪ« ﺑﺮ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺯﺩ‪ .‬ﺧﻂ‬ ‫ﺍﺳــﺘﻜﺒﺎﺭ ﺟﻬﺎﻧﻲ ﺩﺭ ﺧﻂ ﻣﺨﻤﻠﻲ ﺁﻣﺮﻳﻜﺎﻳﻲ ‪ -‬ﺍﻧﮕﻠﻴﺴﻲ ﺩﺍﺧﻠﻲ ﺑﻪ‬ ‫ﺑﻦﺑﺴﺖ ﺭﺳــﻴﺪ‪ .‬ﻭﻗﺘﻲ ﺑﻪ ﺑﻦﺑﺴﺖ ﺭﺳــﻴﺪﻧﺪ ﻃﺒﻴﻌﺘﺎ ﺑﺮﺍﻱ ﻳﺎﻓﺘﻦ‬ ‫ﺭﺍﻩﻫﺎﻱ ﺩﻳﮕــﺮ‪ ،‬ﻃﺮﺍﺣﻲ ﺧﻮﺍﻫﻨــﺪ ﻛﺮﺩ ﻛﻪ ﻣﺪﺗﻲ ﺯﻣــﺎﻥ ﻣﻲﺑﺮﺩ‪.‬‬ ‫ﻃﺒﻴﻌﺘﺎ ﺑﺎ ﻓﺮﻭﻛﺶ ﻛﺮﺩﻥ ﭘﺸﺘﻴﺒﺎﻧﻲﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺍﺯ ﻋﻮﺍﻣﻞ ﺩﺍﺧﻠﻲ‪،‬‬ ‫ﻓﻀﺎ ﻗﺪﺭﻱ ﺁﺭﺍﻡ ﻣﻲﺷﻮﺩ‪ .‬ﺣﺮﻛﺖ ﻋﻈﻴﻢ ﻣﺮﺩﻡ ﺩﺭ ﺭﺍﻫﭙﻴﻤﺎﻳﻲ ‪ 9‬ﺩﻱ‬ ‫ﻣﺎﻩ ﻧﺸــﺎﻥ ﺩﺍﺩ ﻛﻪ ﻣﺮﺩﻡ ﻣﺎ ﺩﺭ ﺣﻤﺎﻳﺖ ﺧــﻮﺩ ﺑﺮ ﺍﺻﻞ ﻭﻻﻳﺖﻓﻘﻴﻪ ﻭ‬ ‫ﺟﻤﻬﻮﺭﻱ ﺍﺳــﻼﻣﻲ ﺗﺎﻛﻴﺪ ﺩﺍﺭﻧﺪ ﻭ ﺍﺯ ﻛﺴــﺎﻧﻲ ﻛﻪ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﺭﺍ ﺯﻳﺮ‬ ‫ﭘﺎ ﻣﻲﮔﺬﺍﺭﻧﺪ ﻭ ﺣﺮﻣﺖ ﻋﺎﺷــﻮﺭﺍ ﺭﺍ ﻧﮕﻪ ﻧﻤﻲﺩﺍﺭﻧﺪ ﺍﻧﺰﺟﺎﺭ ﺩﺍﺷــﺘﻪ ﻭ‬ ‫ﺑﺎ ﺣﻀﻮﺭ ﺧﻮﺩ ﺩﺭ ﺻﺤﻨﻪ ﻧﺸــﺎﻥ ﺩﺍﺩﻧﺪ ﻛﻪ ﺩﺭ ﻣﻘﺎﻃﻊ ﺣﺴــﺎﺱ ﺩﺭ‬ ‫ﺻﺤﻨﻪ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ ﻭ ﻣﺎ ﺍﺯ ﺣﻀﻮﺭ ﻣﺮﺩﻡ ﺩﺭ ﺻﺤﻨﻪ ﻗﺪﺭﺩﺍﻧﻲ ﻭ ﺗﺸﻜﺮ‬ ‫ﻣﻲﻛﻨﻴﻢ‪ «.‬ﺑﺎﺩﺍﻣﭽﻴﺎﻥ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺗﺎﻛﻴﺪ ﺩﺍﺭﺩ‪» :‬ﻣﻌﺘﻘﺪ ﻧﻴﺴــﺘﻢ‬ ‫ﻛﻪ ﺟﻨﺒﺶ ﺳﺒﺰ ﺩﺭﺑﺴﺖ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﻏﺮﺏ ﺍﺳﺖ ﻭﻟﻲ ﺍﻳﻨﻜﻪ ﻏﺮﺑﻲﻫﺎ‬ ‫ﺑﺎ ﺍﻳﻦ ﺟﻨﺒﺶ ﻛﺎﺭﻱ ﻧﺪﺍﺭﻧــﺪ ﺭﺍ ﻧﻴﺰ ﻧﻤﻲﭘﺬﻳﺮﻡ ﺑﻪ ﻋﺒﺎﺭﺕ ﺑﻬﺘﺮ ﺧﻂ‬ ‫ﺧﺎﺭﺟﻲ ﺟﻨﺒﺶ ﺳﺒﺰ ﺑﻪ ﺑﻦﺑﺴــﺖ ﺧﻮﺭﺩﻩ ﺍﺳﺖ ﻭ ﺧﻂ ﺩﺍﺧﻠﻲ ﺍﻳﻦ‬ ‫ﺟﻨﺒﺶ ﻧﻴﺰ ﺑﻪ ﺍﻧﺘﻬﺎﻱ ﻛﺎﺭ ﺭﺳــﻴﺪﻩ ﺍﺳﺖ‪ .‬ﻧﺸﺎﻧﻪ ﺍﻳﻦ ﺍﺩﻋﺎ ﺍﺧﺘﻼﻓﺎﺕ‬ ‫ﺩﺍﺧﻠﻲ ﺍﻳﻦ ﺟﻨﺒﺶ ﺍﺳــﺖ‪ .‬ﺍﺻﻼ ﺑﻴﻦ ﺑﻌﻀﻲ ﺍﺯ ﺍﻳﻨﻬــﺎ ﺩﺭ ﺗﺪﺍﻭﻡ ﺭﺍﻩ‬ ‫ﺍﺧﺘﻼﻑ ﻧﻈﺮ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪«.‬‬ ‫ﻗﺎﺋﻢﻣﻘﺎﻡ ﺩﺑﻴــﺮ ﻛﻞ ﺣﺰﺏ ﻣﻮﺗﻠﻔﻪ ﺍﺳــﻼﻣﻲ ﺍﻓــﺰﻭﺩ‪» :‬ﻣﺮﺩﻡ ﻭ‬ ‫ﻣﺴﺌﻮﻻﻥ ﺩﻧﺒﺎﻝ ﻛﺎﺭ ﺧﻮﺩﺷﺎﻥ ﻫﺴﺘﻨﺪ ﻭ ﻓﻘﻂ ﻋﺪﻩﺍﻱ ﻣﺤﺪﻭﺩ ﺷﻠﻮﻍ‬ ‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﻣﺴــﺎﻟﻪﺍﻱ ﻛﻪ ﺍﻳﻦ ﻭﺳﻂ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺍﻓﺮﺍﻃﻲﮔﺮﻱ ﺍﺳﺖ‪،‬‬ ‫ﺍﻓﺮﺍﻃﻲﮔﺮﻱ ﺩﺭ ﺣﺪ ﺗﺮﻭﺭ ﻛﻪ ﺑﺎ ﺗﺮﻭﺭ ﺷﻬﻴﺪ ﻋﻠﻲﻣﺤﻤﺪﻱ ﻛﻠﻴﺪ ﺧﻮﺭﺩ‬ ‫ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺍﺩﺍﻣﻪ ﻧﻴﺎﺑﺪ‪ .‬ﺑﻪ ﻋﻘﻴﺪﻩ ﺑﻨﺪﻩ ﺁﻏﺎﺯ ﺧﻂ ﺗﺮﻭﺭ ﭘﺎﻳﺎﻥ ﺭﺍﻩ‬ ‫ﺩﻳﺪﮔﺎﻫﻲ ﺍﺳﺖ ﻛﻪ ﺩﺳﺖ ﺑﻪ ﺍﻳﻦ ﺍﻗﺪﺍﻣﺎﺕ ﻣﻲﺯﻧﻨﺪ‪«.‬‬ ‫ﺑﺎﺩﺍﻣﭽﻴﺎﻥ ﺑﺎ ﻳــﺎﺩﺁﻭﺭﻱ ﺧﺎﻃﺮﺍﺗﺶ ﺍﺯ ﻣــﻮﺝ ﺗﺮﻭﺭﻫﺎﻱ ﺻﺪﺭ‬ ‫ﺍﻧﻘﻼﺏ ﻣﻲﮔﻮﻳﺪ‪» :‬ﺩﺭ ﺳــﺎﻝ ‪ 1357‬ﺳــﺎﺯﻣﺎﻥ ﻣﻨﺎﻓﻘﻴﻦ ﺑﺎ ﺷﻌﺎﺭ‬ ‫»ﺳــﻼﻡ ﺑﺮ ﺧﻤﻴﻨﻲ ﻭ ﺩﺭﻭﺩ ﺑﺮ ﻣﺠﺎﻫــﺪ« ﻓﻌﺎﻟﻴﺘﺶ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ ﻭ‬ ‫ﺑﻪ ﺗﺪﺭﻳﺞ ﮔﻔﺖ ﺍﺻﻞ ﺧﻂ ﺍﻧﻘﻼﺏ »ﻣﻦ ﻫﺴــﺘﻢ« ﻭ ﺑﺮﺍﻱ ﺳﺎﺯﻣﺎﻥ‬ ‫ﻣﻴﻠﻴﺸــﻴﺎ ﺟﻤــﻊ ﻣﻲﻛﺮﺩ ﻭ ﺑﻪ ﻣــﺮﺩﻡ ﻣﻲﮔﻔﺖ ﺑــﺮﺍﻱ ﻣﺒﺎﺭﺯﻩ ﺑﺎ‬ ‫ﺍﻣﭙﺮﻳﺎﻟﻴﺴــﻢ ﺁﻣﺮﻳــﻜﺎ ﻧﻴﺮﻭ ﺟﻤــﻊ ﻣﻲﻛﻨﻴﻢ ﻭ ﺑــﻪ ﺁﻧﺎﻥ ﺁﻣﻮﺯﺵ‬ ‫ﻣﻲﺩﻫﻴﻢ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺮﺍﻱ ﻛﻮﺩﺗﺎﻱ ﺷﻬﺮﻱ ﻧﻴﺮﻭ ﻭ ﺍﺳﻠﺤﻪ ﺟﻤﻊ‬ ‫ﻣﻲﻛﺮﺩ ﺗﺎ ﺩﺭ ﺷﻮﺭﺵ ﺷﻬﺮﻱ ﺷﺒﻴﻪ ﺑﻪ ﻛﻮﺩﺗﺎﻱ ‪ 30‬ﺧﺮﺩﺍﺩ ‪1360‬‬ ‫ﺗﻬﺮﺍﻥ ﺭﺍ ﺍﺷــﻐﺎﻝ ﻛﻨﺪ‪ ،‬ﻭﻟﻲ ﺩﺭ ﺍﻳﻦ ﻣﺴــﻴﺮ ﺑﻪ ﺗﺪﺭﻳﺞ ﺩﺳﺘﺶ ﺭﻭ‬ ‫ﺷﺪ ﻭ ﻭﻗﺘﻲ ﺩﺳﺘﺶﺭﻭ ﺷﺪ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻱ ﺣﻖﻃﻠﺐ ﺍﻳﻦ‬ ‫ﺳﺎﺯﻣﺎﻥ ﺑﻼﻓﺎﺻﻠﻪ ﺍﺯ ﺍﻳﻦ ﮔﺮﻭﻩ ﺟﺪﺍ ﺷﺪﻧﺪ‪ ،‬ﺑﺮﺧﻲ ﺍﺯ ﺁﻧﺎﻥ ﻧﻴﺰ ﺍﺯ ﺍﻳﻦ‬ ‫ﮔﺮﻭﻩ ﺑﺮﻳﺪﻧﺪ‪ ،‬ﺑﺨﺸﻲ ﻧﻴﺰ ﺩﺳﺖ ﺑﻪ ﻋﻤﻠﻴﺎﺕ ﺣﺎﺩ ﺯﺩﻧﺪ ﻭ ﺗﻌﺪﺍﺩﻱ‬ ‫ﺩﻳﮕﺮ ﺗﺮﻭﺭ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻧﻈﺎﻡ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻧﺪ‪«.‬ﺍﻳﻦ ﺍﺻﻮﻟﮕﺮﺍﻱ‬ ‫ﺣﺎﻣﻲ ﺩﻭﻟﺖ ﻗﻮﻳﺎ ﺗﺎﻛﻴﺪ ﻣﻲﻛﻨﺪ‪» :‬ﻫﺮ ﻣﺠﻤﻮﻋﻪ ﻭ ﺟﺮﻳﺎﻥ ﺳﻴﺎﺳﻲ‬ ‫ﻛﻪ ﺩﺳﺖ ﺑﻪ ﺗﺮﻭﺭ ﺑﺰﻧﺪ ﻗﻄﻌﺎ ﺣﻜﻢ ﺍﻋﺪﺍﻡ ﺧﻮﺩ ﺭﺍ ﺍﻣﻀﺎ ﻛﺮﺩﻩ ﺣﺎﻝ‬ ‫ﺍﻳﻦ ﺟﺮﻳﺎﻥ‪ ،‬ﺟﺮﻳﺎﻥ ﺩﺍﺧﻠﻲ ﺑﺎﺷﺪ ﻳﺎ ﺟﺮﻳﺎﻥ ﺧﺎﺭﺟﻲ‪ .‬ﭼﺮﺍ ﻃﺎﻟﺒﺎﻥ‬ ‫ﻭ ﺍﻟﻘﺎﻋﺪﻩ ﺩﺭ ﺟﻬﺎﻥ ﺍﺳــﻼﻡ ﻣﻨﻔﻮﺭﻧﺪ؟ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﻛﻪ ﺩﺳﺖ ﺑﻪ‬ ‫ﺗﺮﻭﺭ ﻣﻲﺯﻧﻨﺪ‪ .‬ﺳــﺮﺍﻧﺠﺎﻡ ﻛﺎﺭ ﻫﺮ ﮔﺮﻭﻩ ﻣﻨﺤﺮﻑ »ﺗﺮﻭﺭ« ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ ﺩﺭ ﻭﺍﻗﻊ ﺑﻪ ﭘﺎﻳﺎﻥ ﻛﺎﺭ ﺧﻮﺩ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪«.‬‬ ‫ﻧﺎﻳﺐ ﺭﺋﻴﺲ ﺣﺰﺏ ﻣﻮﺗﻠﻔﻪﺍﺳــﻼﻣﻲ ﺑﺎ ﺗﺎﻛﻴــﺪ ﺑﺮﺍﻳﻨﻜﻪ »ﻓﻀﺎﻱ‬ ‫ﺳﻴﺎﺳــﻲ ﺣﺎﻝ ﺣﺎﺿﺮ ﻛﺸﻮﺭ ﻓﻀﺎﻱ ﭘﺮﺗﻨﺸﻲ ﻧﻴﺴﺖ«‪ ،‬ﺍﻓﺰﻭﺩ‪» :‬ﻳﻚ‬ ‫ﮔﺮﻭﻩ ﻣﺸﻐﻮﻝ ﺗﺮﻭﺭ ﻛﺮﺩﻥ ﻫﺴﺘﻨﺪ ﻛﻪ ﺣﺴﺎﺏﺷﺎﻥ ﺍﺯ ﺟﺮﻳﺎﻥ ﻣﻌﺘﺮﺽ‬ ‫ﺑﻪ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺟﺪﺍﺳﺖ ﻭﻟﻲ ﺑﻪ ﺁﻗﺎﻳﺎﻥ ﻣﻌﺘﺮﺽ ﺗﻮﺻﻴﻪ ﻣﻲﻛﻨﻢ ﻣﺮﺍﻗﺐ‬ ‫ﺑﺎﺷﻨﺪ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﻣﺴﻴﺮ ﻧﺮﻭﻧﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﻣﻨﻈﻮﺭ ﺑﺎﻳﺪ ﺩﺳﺖ ﺍﺯ ﺍﻳﻦ ﮔﺬﺷﺘﻪ‬ ‫ﺑﺮﺩﺍﺭﻧﺪ ﻭ ﺑﻪ ﺁﻏﻮﺵ ﻣﻠﺖ ﺑﺮﮔﺮﺩﻧﺪ‪ ،‬ﺁﻧﺎﻧﻲ ﻛﻪ ﻣﻘﺼﺮ ﻫﺴﺘﻨﺪ ﺍﺯ ﻣﻠﺖ‬ ‫ﻋﺬﺭﺧﻮﺍﻫﻲ ﻛﻨﻨﺪ ﺑﻌﺪ ﻫﻢ ﺯﻣﻴﻨﻪ ﺭﺍ ﺧﻮﺩﺷﺎﻥ ﻣﻬﻴﺎ ﻛﻨﻨﺪ ﻛﻪ ﺩﺭ ﺟﻤﻊ‬ ‫ﻋﻈﻴﻢ ﻣﻠﺖ ﻛﻪ ﺩﺭ ‪ 9‬ﺩﻱ ﺧﻮﺩﺵ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩ‪ ،‬ﺣﺎﺿﺮ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﺻﻮﺭﺕ ﻗﻀﻴﻪ ﻛﺎﻣﻼ ﺣﻞ ﺍﺳﺖ‪«.‬‬ ‫ﻭﻱ ﺩﺭﻋﻴﻦﺣﺎﻝ ﺧﻄﺎﺏ ﺑﻪ ﺩﻭﺳــﺘﺎﻥ ﺍﺻﻮﻟﮕﺮﺍﻳﺶ ﻧﻴﺰ ﺗﻮﺻﻴﻪ‬ ‫ﻛﺮﺩ ﻛﻪ ﺁﻧﺎﻥ ﻧﻴﺰ »ﺩﺳــﺖ ﺍﺯ ﺍﻓﺮﺍﻁ ﻭ ﺗﻔﺮﻳﻂ ﺑﺮﺩﺍﺷﺘﻪ ﻭ ﺣﺮﻣﺖ ﺍﻓﺮﺍﺩ‬ ‫ﺭﺍ ﻧﮕﻬﺪﺍﺭﻧﺪ ﻭ ﻫﻴﭻ ﻛﺲ ﺭﺍ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺭﻫﺒﺮﻱ ﮔﻔﺘﻨﺪ ﺑﻪﺑﻬﺎﻧﻪﺍﻱ‬ ‫ﻛﻨﺎﺭ ﻧﮕﺬﺍﺭﻧﺪ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﺟــﺬﺏ ﺣﺪﺍﻛﺜﺮﻱ ﻭ ﺩﻓﻊ ﺣﺪﺍﻗﻠﻲ ﺭﺍ ﺩﻧﺒﺎﻝ‬ ‫ﻛﻨﻨﺪ«‪ .‬ﺍﻳﻦ ﻧﻤﺎﻳﻨﺪﻩ ﻣﺮﺩﻡ ﺗﻬﺮﺍﻥ ﺗﺎﻛﻴﺪ ﻣﻲﻛﻨﺪ‪» :‬ﻣﺎ ﺑﺎﻳﺪ ﻣﻌﻴﺎﺭﻫﺎﻳﻲ‬ ‫ﺭﺍ ﺟﺪﺍ ﺍﺯ ﺑﻴﺎﻥ ﺍﻓﺮﺍﺩ ﻭ ﺍﺷــﺨﺎﺹ ﻣﻄﺮﺡ ﻛﻨﻴﻢ ﻭ ﻫﺮﻛﺲ ﺳــﻌﻲ ﻛﻨﺪ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺑﺮﺍﺳــﺎﺱ ﺁﻥ ﺗﻨﻈﻴﻢ ﻛﻨﺪ ﺍﻣﺎ ﺍﮔﺮ ﺍﺳﻢ ﺷﺨﺼﻴﺖﻫﺎ ﺭﺍ ﺑﻪ‬ ‫ﺩﻧﺒﺎﻝ ﻣﻌﻴﺎﺭﻫﺎ ﻛﺸﺎﻧﺪﻳﻢ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﻫﺮ ﺷﺨﺼﻴﺘﻲ ﻃﺮﻓﺪﺍﺭﺍﻥ‬ ‫ﻭ ﻣﺨﺎﻟﻔﺎﻧﻲ ﺩﺍﺭﺩ ﻣﻮﺟﺐ ﺧﻮﺍﻫﺪ ﺷﺪ ﻛﻪ ﻣﺨﺎﻟﻔﺎﻥ ﺳﻮءﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ‬ ‫ﻭ ﻣﻮﺍﻓﻘﺎﻥ ﻧﻴﺰ ﺷﺮﻭﻉ ﺑﻪ ﺩﻓﺎﻉ ﻭ ﺟﻨﮓ ﻛﻨﻨﺪ‪«.‬‬ ‫ﺍﻳــﻦ ﺍﺻﻮﻟﮕﺮﺍﻱ ﺣﺎﻣﻲ ﺩﻭﻟــﺖ ﺩﺭ ﭘﺎﻳﺎﻥ ﺍﻳــﻦ ﮔﻔﺖﻭﮔﻮ ﺗﺎﻛﻴﺪ‬ ‫ﻛﺮﺩ‪» :‬ﻣﺴــﺌﻮﻻﻥ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﻧﻴﺰ ﺍﺯ ﻫﺮ ﺟﻨﺎﺡ ﻭ ﮔﺮﻭﻫﻲ ﻛﻪ ﺑﺎﺷــﻨﺪ‬ ‫ﺑﺎﻳﺪ ﺍﻳﻦ ﻣﺴــﺎﻟﻪ ﺭﺍ ﻣﺪﻧﻈﺮ ﻗﺮﺍﺭ ﺩﻫﻨﺪ‪ .‬ﻣﺘﺎﺳﻔﺎﻧﻪ ﺑﺮﺧﻲ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ‬ ‫ﺗﻴﺘﺮﻫﺎﻳﻲ ﻣﻲﺯﻧﻨﺪ ﻛﻪ ﺗﻨﺶﺯﺍﺳﺖ ﻭ ﺑﺎﻳﺪ ﺍﺯ ﺁﻥ ﺩﻭﺭﻱ ﻛﻨﻨﺪ‪ ،‬ﺯﻳﺮﺍ ﻧﻈﺮ‬ ‫ﻣﻘﺎﻡ ﻣﻌﻈﻢ ﺭﻫﺒﺮﻱ ﺁﻥ ﺍﺳــﺖ ﻛﻪ ﺭﻓﺘﺎﺭ ﻣﺎ ﺩﻭﺳﺘﺎﻧﻪ‪ ،‬ﺻﻤﻴﻤﺎﻧﻪ ﻭ ﺑﺮ‬ ‫ﻣﺒﻨﺎﻱ ﺍﺭﺯﺵﻫﺎ ﺑﺎﺷﺪ‪«.‬‬ ‫ﺩﻳﺪﮔﺎﻩ‬ ‫ﻣﻨﺎﻇﺮﻩﻫﺎ ﺑﺮ‬ ‫ﺍﺑﻬﺎﻣﺎﺕ ﺍﻓﺰﻭﺩﻩ ﺍﺳﺖ‬ ‫ﺣﺴﻴﻦ ﺍﺑﺮﺍﻫﻴﻤﻲ‬ ‫ﻋﻀﻮ ﺷﻮﺭﺍﻱ ﻣﺮﻛﺰﻱ ﺟﺎﻣﻌﻪ ﺭﻭﺣﺎﻧﻴﺖ ﻣﺒﺎﺭﺯ‬ ‫ﻛﻤﻲ ﺩﻳﺮ ﺍﺳﺖ‬ ‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻓﺮﻫﻨﮕﻲ‬ ‫ﻋﻀﻮ ﺷﻮﺭﺍﻱ ﻣﺮﻛﺰﻱ ﻓﺮﺍﻛﺴﻴﻮﻥ ﺍﺻﻮﻟﮕﺮﺍﻳﺎﻥ‬ ‫ﺑﺮﮔﺰﺍﺭﻱ ﻣﻨﺎﻇﺮﻩﻫﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻓﻲﻧﻔﺴﻪ ﺍﻣﺮﻱ ﺧﻮﺏ ﺍﺳﺖ ﻭ‬ ‫ﺑﺎﻋﺚ ﻣﻲﺷﻮﺩ ﻫﺮ ﻓﺮﺩﻱ ﻫﺮ ﻋﻘﻴﺪﻩﺍﻱ ﻛﻪ ﺩﺍﺭﺩ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﻗﻮﺍﻧﻴﻦ‬ ‫ﻭ ﻣﻘﺮﺭﺍﺕ ﺟﻤﻬﻮﺭﻱ ﺍﺳﻼﻣﻲ ﺍﺯ ﻃﺮﻳﻖ ﺻﺪﺍﻭﺳﻴﻤﺎ ﺑﻪ ﺍﻓﻜﺎﺭ ﻋﻤﻮﻣﻲ‬ ‫ﻋﺮﺿﻪ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺑﺮﮔﺰﺍﺭﻱ ﺳــﺮﻱ ﺟﺪﻳﺪ ﻣﻨﺎﻇﺮﻩﻫﺎ ﻛﻤﻲ ﺩﻳﺮﻫﻨﮕﺎﻡ‬ ‫ﺍﺳﺖ‪ .‬ﻣﺴﺌﻮﻻﻥ ﺻﺪﺍﻭﺳﻴﻤﺎ ﻭ ﻣﺴﺌﻮﻻﻥ ﺳﻴﺎﺳﻲ ﻛﺸﻮﺭ ﺑﺎﻳﺪ ﺯﻭﺩﺗﺮ‬ ‫ﺍﺯ ﺍﻳﻦ ﺯﻣﺎﻥ ﺍﻗﺪﺍﻡ ﺑﻪ ﺑﺮﭘﺎﻳﻲ ﺍﻳﻦ ﻣﻨﺎﻇﺮﻩﻫﺎ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﻭﻗﺘﻲ ﻧﺘﺎﻳﺞ‬ ‫ﺍﻧﺘﺨﺎﺑﺎﺕ ﻣﺸــﺨﺺ ﺷــﺪ ﺩﺭ ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﻱ ‪ 24‬ﻭ ‪ 25‬ﺧﺮﺩﺍﺩ ﺑﺎﻳﺪ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﺍﻧﺠﺎﻡ ﻣﻲﺷــﺪ ﺗــﺎ ﻫﺮﻳﻚ ﺍﺯ ﮔﺮﻭﻩﻫﺎﻱ ﺳﻴﺎﺳــﻲ ﻣﻌﺘﺮﺽ‬ ‫ﻳــﺎ ﻏﻴﺮﻣﻌﺘﺮﺽ ﻧﻈﺮﺍﺕ ﻭ ﻋﻘﺎﻳﺪ ﺧﻮﺩ ﺭﺍ ﺑﻴــﺎﻥ ﻣﻲﻛﺮﺩﻧﺪ ﺗﺎ ﻓﻀﺎﻱ‬ ‫ﺟﺎﻣﻌﻪ ﺷــﻔﺎﻑ ﺷــﻮﺩ‪ .‬ﺍﮔﺮ ﻫﻢ ﺍﻋﺘﺮﺍﺿﻲ ﺑﻮﺩ ﻭ ﻧﻴﺎﺯ ﺑﻪ ﭘﺎﺳﺦ ﺩﺍﺷﺖ‬ ‫ﺑﺎﻳﺪ ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﻣﺴــﺌﻮﻻﻥ ﺩﺭﺻﺪﺩ ﺭﻓﻊ ﺍﺑﻬﺎﻣــﺎﺕ ﺑﺮﻣﻲﺁﻣﺪﻧﺪ‪.‬‬ ‫ﺍﮔﺮ ﺍﻳﻦ ﻛﺎﺭ ﺩﺭ ﺁﻥ ﻣﻘﻄﻊ ﺍﻧﺠﺎﻡ ﻣﻲﮔﺮﻓﺖ ﺑﻪﻃﻮﺭ ﻃﺒﻴﻌﻲ ﺑﺨﺸــﻲ‬ ‫ﺍﺯ ﺍﻟﺘﻬﺎﺑﺎﺕ ﻭ ﺳــﻮء ﺍﺳــﺘﻔﺎﺩﻩﻫﺎ ﺭﺍ ﻛﺎﻫﺶ ﻣــﻲﺩﺍﺩ ﻭ ﻣﺎﻧﻊ ﺍﻳﻦ ﺍﻣﺮ‬ ‫ﻣﻲﺷــﺪ ﺗﺎ ﺑﺮﺧﻲ ﺍﺯ ﻓﺮﺻﺖﻃﻠﺒﺎﻥ ﺩﺭ ﺩﺍﺧﻞ ﻛﺸــﻮﺭ ﻭ ﺑﻴﮕﺎﻧﮕﺎﻥ ﺑﻪ‬ ‫ﻭﻳﮋﻩ ﺭﺳــﺎﻧﻪﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺍﺯ ﺍﻳﻦ ﺍﻣﺮ ﺳﻮء ﺍﺳﺘﻔﺎﺩﻩ ﻭ ﻓﻀﺎﻱ ﺟﺎﻣﻌﻪ‬ ‫ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﺎ ﭼﺎﻟﺶ ﻣﻮﺍﺟﻪ ﻛﻨﻨﺪ ﻭ ﺷــﺎﻫﺪ ﻧﺎﺑﻪﺳــﺎﻣﺎﻧﻲﻫﺎ ﻭ ﺗﺸــﻨﺞ‬ ‫ﺩﺭ ﺟﺎﻣﻌﻪ ﻧﺒﻮﺩﻳﻢ‪ .‬ﺑﻪﻫﺮﺣﺎﻝ ﻫﺮﭼﻨﺪ ﺩﻳﺮ ﺷــﺪﻩ ﺍﺳــﺖ ﺍﻣﺎ ﺑﺎﺯ ﻫﻢ‬ ‫ﺑﺮﮔﺰﺍﺭﻱ ﺍﻳﻦ ﻣﻨﺎﻇﺮﺍﺕ ﺩﺭ ﺍﻳﻦ ﻣﻘﻄﻊ ﻛﻤﻚ ﺑﻪ ﺷــﻔﺎﻑ ﺷﺪﻥ ﻓﻀﺎ‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﺍﻓﻜﺎﺭ ﻋﻤﻮﻣﻲﻣﺘﻮﺟﻪ ﻣﻲﺷــﻮﺩ ﻛــﻪ ﻣﻌﺘﺮﺿﺎﻥ ﻭ ﺣﺎﻣﻴﺎﻥ‬ ‫ﺩﻭﻟﺖ ﭼﻪ ﻧﻈﺮﺍﺕ ﻭ ﻋﻘﺎﻳﺪﻱ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﺎﻳﺪ ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﭘﺲ‬ ‫ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺩﺭ ﺟﺎﻣﻌﻪ ﺭﺥ ﺩﺍﺩ ﺷــﻜﺎﻓﺘﻪ ﻭ ﺑﻪ ﺁﻧﻬﺎ ﭘﺎﺳــﺦ ﺩﺍﺩﻩ ﺷﻮﺩ‪.‬‬ ‫ﺍﻓﻜﺎﺭ ﻋﻤﻮﻣﻲﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﺩ ﭘﺎﺳﺦ ﺳــﻮﺍﻝﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﻨﺪ‪.‬‬ ‫ﺻﺪﺍﻭﺳﻴﻤﺎ ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﺍﺑﺰﺍﺭﻫﺎﺳﺖ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺍﻳﻦ ﻣﺴﺎﻟﻪ‬ ‫ﻛﻤﻚ ﻛﻨﺪ‪ .‬ﺑﺮﺧﻲ ﺍﺯ ﺯﻭﺍﻳﺎﻱ ﺍﺗﻔﺎﻗﺎﺕ ﭘﺲ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻫﻨﻮﺯ ﺭﻭﺷﻦ‬ ‫ﻧﺸﺪﻩ ﺍﻣﺎ ﺍﻣﻴﺪ ﺍﺳﺖ ﻻﺑﻪﻻﻱ ﺍﻳﻦ ﻣﻨﺎﻇﺮﻩﻫﺎ ﺑﻪ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﭘﺮﺩﺍﺧﺘﻪ‬ ‫ﺷــﻮﺩ‪ .‬ﻭﻗﺘﻲ ﺍﻓﺮﺍﺩ ﺍﺯ ﺟﻨﺎﺡﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺭﻭﺑــﻪﺭﻭﻱ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ‬ ‫ﻣﻲﮔﻴﺮﻧﺪ ﺑﺤﺚﻫﺎ ﻭ ﺳــﺨﻨﺎﻧﻲ ﻛﻪ ﻣﻄﺮﺡ ﻣﻲﺷﻮﺩ ﻛﻤﻚ ﻣﻲﻛﻨﺪ‬ ‫ﺗﺎ ﺍﻳﻦ ﻓﻀﺎ ﺷﻔﺎﻑﺗﺮ ﺷﻮﺩ‪ .‬ﺷــﻔﺎﻓﻴﺖ ﻫﻴﭻﮔﺎﻩ ﺑﻪ ﻛﺸﻮﺭ ﻟﻄﻤﻪ ﻧﺰﺩﻩ‬ ‫ﺑﻠﻜﻪ ﺑﻪ ﻧﻔﻊ ﻧﻈﺎﻡ ﻭ ﺩﻭﻟﺖ ﺍﺳــﺖ ﻛﻪ ﺷﻔﺎﻑﺳــﺎﺯﻱ ﺷــﻮﺩ ﻭ ﺍﻓﻜﺎﺭ‬ ‫ﻋﻤﻮﻣﻲ ﻧﻴﺰ ﺟﻮﺍﺏ ﺳــﻮﺍﻻﺕ ﺧﻮﺩ ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﻣﻌﺘﻘﺪﻡ ﺍﺻﻞ ﻣﻨﺎﻇﺮﻩ‬ ‫ﺍﻣﺮ ﭘﺴــﻨﺪﻳﺪﻩﺍﻱ ﺍﺳﺖ ﻭ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺧﺎﺹ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺍﻓﺮﺍﺩﻱ‬ ‫ﻛﻪ ﺍﺯ ﻫﺮ ﺩﻭ ﺟﻨﺎﺡ ﺭﻭﺑﻪﺭﻭﻱ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻧﺪ ﺑﻪ ﺩﻟﻴﻞ ﺍﻳﻨﻜﻪ‬ ‫ﻫﻨﻮﺯ ﺑﺮﺧﻲ ﺍﺯ ﻣﺴﺎﺋﻞ ﺩﺭ ﻣﻮﺭﺩ ﺍﺗﻔﺎﻗﺎﺕ ﺍﺧﻴﺮ ﺑﻲﭘﺎﺳﺦ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‬ ‫ﺟﺬﺍﺏ ﺍﺳــﺖ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻣﻨﺎﻇﺮﺍﺕ ﻧﺒﺎﻳﺪ ﺑﻪ ﺷﻜﻠﻲ ﺑﺎﺷﺪ ﻛﻪ ﺑﺎﺯﻫﻢ ﺑﺮ‬ ‫ﺍﺑﻬﺎﻣــﺎﺕ ﻭ ﭼﺎﻟﺶﻫﺎﻱ ﺍﺧﻴﺮ ﺑﻴﻔﺰﺍﻳﺪ‪ .‬ﺍﻓﺮﺍﺩﻱ ﻛــﻪ ﻣﻘﺎﺑﻞ ﻫﻢ ﻗﺮﺍﺭ‬ ‫ﻣﻲﮔﻴﺮﻧﺪ ﺑﺎﻳﺪ ﺳﻌﻲ ﻛﻨﻨﺪ ﺩﺭ ﺯﻣﺎﻧﻲ ﻛﻪ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﻧﺪ ﻭ ﻓﻀﺎ ﻧﻴﺰ‬ ‫ﻣﺎﻧﻨﺪ ﺷﺮﺍﻳﻂ ﻗﺒﻞ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻧﻴﺴﺖ‪ ،‬ﻣﺴﺎﺋﻞ ﺭﺍ ﺑﻪ ﺭﻭﺷﻨﻲ ﻣﻄﺮﺡ‬ ‫ﻛﻨﻨﺪ ﻭ ﻣﻮﺟﺐ ﺷﻔﺎﻑ ﺷﺪﻥ ﻓﻀﺎ ﺷﻮﻧﺪ‪ .‬ﺍﮔﺮ ﺍﻳﻨﮕﻮﻧﻪ ﺑﺎﺷﺪ ﺑﺮﮔﺰﺍﺭﻱ‬ ‫ﻣﻨﺎﻇﺮﻩﻫﺎ ﺑﺴﻴﺎﺭ ﭘﺴﻨﺪﻳﺪﻩ ﺍﺳﺖ ﻭ ﻛﻤﻚ ﺑﻪ ﻛﺎﻫﺶ ﺍﻟﺘﻬﺎﺑﺎﺕ ﺟﺎﻣﻌﻪ‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﻣﻨﺎﻇﺮﻩﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﭘﺨﺶ ﻣﻲﺷــﻮﺩ ﻧﻴﺰ ﺑﺎﻳﺪ‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﺳﻤﺖﻭﺳــﻮ ﺑﺎﺷﺪ ﺗﺎ ﺑﺎﻋﺚ ﺁﺭﺍﻣﺘﺮ ﺷﺪﻥ ﻭﺿﻌﻴﺖ ﻣﻮﺟﻮﺩ‬ ‫ﺷــﻮﺩ ﻧﻪ ﺍﻳﻨﻜﻪ ﺧــﻮﺩﺵ ﻋﺎﻣﻠﻲ ﺩﺭ ﺟﻬﺖ ﺍﻓﺰﺍﻳﺶ ﺗﺸــﻨﺞ ﻭ ﺗﻨﺶ‬ ‫ﺷﻮﺩ‪ .‬ﺍﻣﻴﺪ ﺍﺳﺖ ﺩﺭ ﺍﺩﺍﻣﻪ ﻣﻨﺎﻇﺮﻩﻫﺎ ﻧﻴﺰ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺑﻴﻔﺘﺪ ﻭ ﻣﺎ ﺷﺎﻫﺪ‬ ‫ﺷﻔﺎﻑﺳﺎﺯﻱﺑﺎﺷﻴﻢ‪.‬‬ ‫ﺍﺻﻞ ﻭﻻﻳﺖ ﻓﻘﻴﻪ ﻣﺤﻮﺭ ﻭﺣﺪﺕ ﺍﺳﺖ‬ ‫ﺳﻴﺪﺭﺿﺎ ﺗﻘﻮﻯ‬ ‫ﺭﺋﻴﺲ ﺷﻮﺭﺍﻱ ﺳﻴﺎﺳﺘﮕﺬﺍﺭﻱ ﺍﺋﻤﻪ ﺟﻤﻌﻪ‬ ‫ﻭﺣــﺪﺕ ﺩﺭ ﻫﺮ ﺟﺎﻣﻌﻪﺍﻱ ﻛﻠﻴــﺪ ﻣﻮﻓﻘﻴﺖ ﻭ ﺭﻣﺰ ﭘﻴﺮﻭﺯﻱ ﺍﺳــﺖ‪ .‬ﻫﺮ‬ ‫ﻣﺸــﻜﻠﻲ ﺭﺍ ﺩﺭ ﺳــﻄﺢ ﻣﻠﻲ ﺑﺎﻳﺪ ﺑﺎ ﻭﺣﺪﺕ ﻣﻠﻲ ﺣﻞ ﻛﻨﻴــﻢ‪ .‬ﺣﺘﻲ ﺍﻗﺘﺪﺍﺭ‬ ‫ﻣﻠﻲ ﺩﺭ ﭘﺮﺗﻮ ﻭﺣﺪﺕ ﻣﻠــﻲ ﺑﻪﻭﺟﻮﺩ ﻣﻲﺁﻳﺪ‪ ،‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺎﻓﻊ ﻣﻠﻲ ﺭﺍ ﺑﺎﻳﺪ‬ ‫ﺍﺯ ﻃﺮﻳﻖ ﻭﺣﺪﺕ ﻣﻠﻲ ﭘﺎﺳــﺪﺍﺭﻱ ﻛﻨﻴﻢ ﻭ ﺍﮔﺮ ﺍﺩﻋﺎ ﺷــﻮﺩ ﻛﻪ ﺣﻴﺎﺕ ﻭ ﺑﻘﺎ‪،‬‬ ‫ﺑﺎﻟﻨﺪﮔﻲ ﻭ ﻭﺍﻻﻳﻲ ﻳﻚ ﻣﻠﺖ ﺑﻪ ﻭﺣﺪﺕ ﻣﻠﻲ ﺑﺴــﺘﮕﻲ ﺩﺍﺭﺩ ﺳﺨﻦ ﮔﺰﺍﻓﻲ‬ ‫ﺑﺮ ﺯﺑﺎﻥ ﻧﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺩﺳــﺘﮕﺎﻩﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻭ ﻣﺪﻳﺮﺍﻥ ﻣﺘﻔﻜﺮ ﻭ ﺑﻪ ﻭﻳﮋﻩ ﺭﺳﺎﻧﻪﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﺗﺤﻘﻖ ﻣﻔﻬﻮﻣﻲ ﺍﻳﻦ ﺷﻌﺎﺭ‪،‬‬ ‫ﻣﺴــﺌﻮﻟﻴﺖ ﺳــﻨﮕﻴﻦﺗﺮﻱ ﺑﺮﻋﻬﺪﻩ ﺩﺍﺭﻧﺪ‪ ،‬ﻭﻟﻲ ﻣﺘﺎﺳــﻔﺎﻧﻪ ﺗﺎ ﺍﻳﻦ ﻟﺤﻈﻪ ﻛﺎﺭ ﺍﺳﺎﺳﻲ ﻭ ﻗﺎﺑﻞﺗﻮﺟﻬﻲ‬ ‫ﺍﻧﺠﺎﻡ ﻧﮕﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺗﺠﺮﺑﻪ ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﻣﻠﺖ ﻣﺴﻠﻤﺎﻥ ﻣﺎ‪ ،‬ﺍﻧﻘﻼﺏ ﺭﺍ ﺑﺎ ﻭﺣﺪﺕ ﺑﻪ ﭘﻴﺮﻭﺯﻱ ﺭﺳﺎﻧﻴﺪ ﻭ‬ ‫ﻫﻤﻴﻦﮔﻮﻧﻪ ﻛﺸــﻮﺭ ﺭﺍ ﺑﺎﻳﺪ ﺑﺎ ﻭﺣﺪﺕ ﺑﺴﺎﺯﻳﻢ ﻭ ﻣﺸﻜﻼﺕ ﺭﺍ ﺑﺎ ﻭﺣﺪﺕ ﻣﺸﻜﻞﮔﺸﺎ ﺑﺎﺷﻴﻢ‪ .‬ﻣﺎ ﺍﺯ ﻃﺮﻳﻖ‬ ‫ﻭﺣﺪﺕ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﺗﻮﻟﻴﺪ ﺍﻗﺘﺪﺍﺭ ﻣﻲﻛﻨﻴﻢ ﺑﻠﻜﻪ ﺗﻮﻟﻴﺪ ﺩﻳﮕﺮﻱ ﺍﺯ ﻧﻮﻉ ﻋﺎﻃﻔﻪ ﻭ ﺻﻤﻴﻤﻴﺖ ﻧﻴﺰ ﺑﻪﺩﺳــﺖ‬ ‫ﺍﺻﻞ ﻣﻨﺎﻇﺮﻩ ﺍﻣﺮ ﭘﺴــﻨﺪﻳﺪﻩﺍﻱ ﺍﺳــﺖ ﻭ ﻗﻮﺍﻋﺪ ﺧﺎﺻﻲ ﻧﻴﺰ‬ ‫ﺑــﺮﺍﻱ ﺍﻧﺠﺎﻡ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﻛﺘﺐ ﺟﺎﻣﻊ ﻋﻠﻤﻲ ﻧﻴﺰ ﺑﻪ ﺁﻥ‬ ‫ﺍﺷﺎﺭﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﻨﺎﻇﺮﻩ ﺑﺮﺍﻱ ﺭﻭﺷــﻦ ﻛﺮﺩﻥ ﺍﻓﻜﺎﺭ ﻋﻤﻮﻣﻲ‬ ‫ﺟﺎﻣﻌﻪ ﻧﺴﺒﺖ ﺑﻪ ﺍﺑﻬﺎﻣﺎﺕ ﻣﻮﺟﻮﺩ ﻭ ﺗﻨﻮﻳﺮ ﺩﻳﺪﮔﺎﻩﻫﺎﻱ ﻣﺮﺩﻣﻲ‬ ‫ﺻــﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ ﺍﻣــﺎ ﻣﺘﺎﺳــﻔﺎﻧﻪ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑــﺎ ﻣﻨﺎﻇﺮﻩﻫﺎﻱ‬ ‫ﺍﺧﻴــﺮ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﺤﻘﻖ ﻧﺸــﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺮﻧﺎﻣــﻪ ﻫﺮ ﻣﻴﻬﻤﺎﻥ‬ ‫ﻭ ﻣﻨﺎﻇﺮﻩﻛﻨﻨــﺪﻩﺍﻱ ﺗﻨﻬــﺎ ﺑﻪ ﺗﻴﺮﮔﻲ ﻭ ﺍﺑﻬﺎﻣــﺎﺕ ﻓﻀﺎﻱ ﻓﻌﻠﻲ‬ ‫ﺟﺎﻣﻌــﻪ ﺍﻓــﺰﻭﺩ‪ .‬ﺍﻓــﺮﺍﺩﻱ ﺩﺭ ﻣﻨﺎﻇﺮﻩﻫﺎ ﺷــﺮﻛﺖ ﻛﺮﺩﻧﺪ ﻛﻪ‬ ‫ﺍﻇﻬﺎﺭﺍﺗﺸــﺎﻥ ﻫﻴﭻ ﺳــﻨﺨﻴﺘﻲ ﺑﺎ ﻓﻀﺎﻱ ﺣﺎﻛﻢ ﺑــﺮ ﻣﻨﺎﻇﺮﻩﻫﺎ‬ ‫ﻧﺪﺍﺷــﺖ ﻭ ﺩﻳﺪﮔﺎﻩﻫﺎﻳﺸــﺎﻥ ﺍﻟﻘﺎﻛﻨﻨﺪﻩ ﻣﺒﺎﺣﺜﻲ ﻣﺒﻬﻢ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﺮﺩﻡ ﺭﺍ ﺑﻴﺸﺘﺮ ﮔﻴﺞ ﻭ ﮔﻤﺮﺍﻩ ﻛﺮﺩ‪ .‬ﭘﻴﺸﻨﻬﺎﺩ ﻣﺸﺨﺺ ﺑﻨﺪﻩ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺟﻤﻌﻲ ﺍﻧﺪﻳﺸــﻤﻨﺪ ﻭ ﺻﺎﺣﺐ ﻓﻜﺮ ﻣﺒﺎﺣﺚ ﻣﻮﺭﺩﻧﻈﺮ‬ ‫ﺑﺮﺍﻱ ﻃﺮﺡ ﺩﺭ ﻣﻨﺎﻇﺮﻩﻫﺎ ﺭﺍ ﺩﺳــﺘﻪﺑﻨﺪﻱ ﻛﻨﻨﺪ ﻭ ﻣﺠﺮﻱ ﻗﻮﻱ‬ ‫ﻭ ﻗﺪﺭﻱ ﻧﻴﺰ ﺑﺮﺍﻱ ﻫﺪﺍﻳﺖ ﺑﺮﻧﺎﻣﻪ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷــﻮﺩ ﺗﺎ ﺍﺟﺎﺯﻩ‬ ‫ﻧﺪﻫﺪ ﻫﻴﭻﻳﻚ ﺍﺯ ﻣﻴﻬﻤﺎﻧﺎﻥ ﺍﺯ ﭼﺎﺭﭼﻮﺏ ﻣﻮﺭﺩﻧﻈﺮ ﻋﺪﻭﻝ ﻛﻨﺪ‪.‬‬ ‫ﻓﻀﺎﻱ ﻣﻨﺎﻇﺮﻩﻫﺎ ﺑﺎﻳﺪ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺑﺎﺷــﺪ ﻛﻪ ﺟﻬﻞ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ‬ ‫ﻋﻠﻢ ﻭ ﺍﻧﺸــﻘﺎﻕ ﺭﺍ ﻣﺒﺪﻝ ﺑــﻪ ﺍﺗﺤﺎﺩ ﻛﻨﺪ‪ .‬ﺍﻣــﺎ ﻣﻨﺎﻇﺮﻩﻫﺎﻳﻲ ﻛﻪ‬ ‫ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺍﺯ ﺻﺪﺍﻭﺳــﻴﻤﺎ ﭘﺨﺶ ﻣﻲﺷــﻮﺩ ﻓﻀﺎﻱ ﺟﺎﻣﻌﻪ‬ ‫ﺭﺍ ﺩﻭﻗﻄﺒﻲ ﻛﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﻫﻴﭻﻳﻚ ﺍﺯ ﺟﺮﻳﺎﻧــﺎﺕ ﺍﺻﻼﺡﻃﻠﺐ‬ ‫ﻭ ﺍﺻﻮﻟﮕﺮﺍ ﻧﻤﺎﻳﻨﺪﻩ ﺻﺮﻑ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﻨﺎﻇﺮﻩﻫﺎ ﻧﻔﺮﺳــﺘﺎﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻧﻪ ﺍﺻﻮﻟﮕﺮﺍﻫﺎ ﺗﻔﻜﺮﺷــﺎﻥ ﺩﺭ ﻳﻚ ﻧﻔﺮ ﺗﺒﻠــﻮﺭ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ ﻭ ﻧﻪ‬ ‫ﺍﻳﻨﻜﻪ ﺍﺻﻼﺡﻃﻠﺒﺎﻥ ﺁﺭﻣﺎﻥﻫﺎ ﻭ ﻣﻄﺎﻟﺒﺎﺗﺸﺎﻥ ﺩﺭ ﻳﻚ ﻓﺮﺩ ﺟﻤﻊ‬ ‫ﻣﻲﺷــﻮﺩ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﻣﻨﺎﻇﺮﻩﻫﺎ ﺑﻔﺮﺳــﺘﻨﺪ‪ .‬ﺍﻳــﻦ ﻣﻮﺿﻮﻉ ﻧﻴﺰ‬ ‫ﺍﻧﺘﻘﺎﺩ ﺩﻳﮕﺮﻱ ﺍﺳــﺖ ﻛﻪ ﺑﺎﻳﺪ ﺑﻪ ﺩﺳــﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺑﺮﮔﺰﺍﺭﻱ‬ ‫ﻣﻨﺎﻇﺮﻩﻫﺎ ﻭﺍﺭﺩ ﺩﺍﻧﺴــﺖ‪ .‬ﻣﻨﺎﻇﺮﻩﻫﺎﻱ ﻣﺎ ﻫﻢﺍﻛﻨﻮﻥ ﺗﺒﺪﻳﻞ ﺑﻪ‬ ‫ﺟﻠﺴﺎﺕ ﻋﻘﺪﻩﮔﺸــﺎﻳﻲ ﺍﻓﺮﺍﺩﻱ ﺷﺪﻩ ﻛﻪ ﻧﻤﺎﻳﻨﺪﻩ ﺗﻔﻜﺮ ﺧﺎﺻﻲ‬ ‫ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺩﺭ ﻣﻨﺎﻇﺮﻩﻫﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ‬ ‫ﻓﺮﺻﺖ ﺍﻇﻬﺎﺭﻧﻈﺮ ﺑﺮﺍﻱ ﻫﻤﻪ ﺻﺎﺣﺐﻧﻈﺮﺍﻥ ﻓﺮﺍﻫﻢ ﺷــﻮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﻣﻨﺎﻇﺮﻩﻫﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺭﺍﻩﺣﻞ ﺧﻮﺑﻲ ﺑﺮﺍﻱ ﺣﻞ ﻣﺴﺎﺋﻞ ﺳﻴﺎﺳﻲ‪،‬‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻓﺮﻫﻨﮕﻲ ﺑﺎﺷﻨﺪ ﻭ ﺑﺎﻳﺪ ﻣﺠﺎﻝ ﺍﻇﻬﺎﺭﻧﻈﺮ ﺑﺮﺍﻱ ﻫﻤﻪ‬ ‫ﺻﺎﺣﺐﻧﻈﺮﺍﻥ ﻓﺮﺍﻫﻢ ﺷــﻮﺩ‪ .‬ﺑﻨﺪﻩ ﺑﺎ ﺍﺻــﻞ ﺑﺮﮔﺰﺍﺭﻱ ﻣﻨﺎﻇﺮﻩ ﻭ‬ ‫ﺗﻀﺎﺭﺏ ﻓﻜﺮﻱ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎ ﺑﻪﺧﺼﻮﺹ ﺭﺳﺎﻧﻪ ﻣﻠﻲ ﻣﻮﺍﻓﻘﻢ ﻭ ﺑﻪ‬ ‫ﻋﻠﺖ ﻏﻨﺎﻱ ﺍﻳﺪﺋﻮﻟﻮژﻳﻚ ﺟﻤﻬﻮﺭﻱﺍﺳﻼﻣﻲ ﻭ ﺩﺭﺟﻪ ﻋﺎﻟﻲ ﺩﺭﻙ‬ ‫ﺳﻴﺎﺳﻲ ﻣﻠﺖ ﺷﺮﻳﻒ ﺍﻳﺮﺍﻥ ﻧﮕﺮﺍﻥ ﺍﻳﻦ ﻣﻨﺎﻇﺮﻩﻫﺎ ﻧﻴﺴﺘﻴﻢ‪ ،‬ﻭﻟﻲ‬ ‫ﺿﺮﻭﺭﺕ ﺗﻌﻴﻴﻦ ﻣﻮﺿﻮﻉ ﻣﺸﺨﺺ ﺑﺮﺍﻱ ﻣﻨﺎﻇﺮﻩ‪ ،‬ﺭﻋﺎﻳﺖ ﻣﻮﺍﺯﻳﻦ‬ ‫ﺍﺧﻼﻗﻲ‪ ،‬ﭘﺮﻫﻴﺰ ﺍﺯ ﺩﺭﻭﻍ‪ ،‬ﺗﻬﻤﺖ ﻭ ﺳﻴﺎﻩﻧﻤﺎﻳﻲ ﺩﺭ ﺍﻳﻦ ﻣﻨﺎﻇﺮﻩﻫﺎ‬ ‫ﺷﺮﻁ ﻓﺎﻳﺪﻩ ﻭ ﺩﻭﺍﻡ ﺍﻳﻦ ﻣﻨﺎﻇﺮﻩﻫﺎﺳﺖ‪.‬‬ ‫ﻣﻲﺁﻳﺪ ﭼﻮﻥ ﺩﺭ ﻫﺮ ﻛﺠﺎ ﻛﻪ ﻭﺣﺪﺕ ﺑﺎﺷــﺪ ﻣﻬﺮ ﻭ ﻋﺎﻃﻔﻪ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎ ﺗﻘﻮﻳﺖ ﻭ ﺗﺤﻜﻴﻢ‬ ‫ﻭﺣﺪﺕ ﺑﺎﺭ ﻋﺎﻃﻔﻲ ﺟﺎﻣﻌﻪ ﺭﺍ ﺍﻓﺰﺍﻳﺶ ﺑﺪﻫﻴﻢ ﻭ ﺑﻪ ﻓﻀﺎﻱ ﺳــﺮﺩ ﻭ ﻳﺦ ﺯﺩﻩ ﮔﺮﻣﺎ ﻭ ﻧﺸــﺎﻁ ﺑﺒﺨﺸﻴﻢ‪ .‬ﻣﺎ‬ ‫ﺍﻣﺮﻭﺯ ﺩﺭ ﺟﺎﻣﻌﻪ‪ ،‬ﻣﻘﻮﻻﺕ ﻭﺣﺪﺕﺑﺨﺶ ﻓﺮﺍﻭﺍﻥ ﺩﺍﺭﻳﻢ‪ ،‬ﻣﻘﻮﻻﺗﻲ ﻛﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻧﻘﺎﻁ ﻣﺸــﺘﺮﻙ ﻣﻮﺭﺩ‬ ‫ﻗﺒﻮﻝ ﺍﻛﺜﺮﻳﺖ ﻗﺮﻳﺐ ﺑﻪ ﺍﺗﻔﺎﻕ ﺟﺎﻣﻌﻪ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻧﻤﻮﻧﻪ‪ ،‬ﺍﺳﻼﻡ ﻋﺰﻳﺰ‪ ،‬ﺍﻳﺮﺍﻥ ﮔﺮﺍﻣﻲ‪ ،‬ﻗﺎﻧﻮﻥ ﺍﺳﺎﺳﻲ‪،‬‬ ‫ﺯﺑﺎﻥ ﺷــﻴﺮﻳﻦ ﻓﺎﺭﺳﻲ ﻭ ﺍﻧﻘﻼﺏ ﺷــﻜﻮﻫﻤﻨﺪ ﺍﺳــﻼﻣﻲ ﻭ‪ ...‬ﺍﺯ ﻣﻘﻮﻻﺕ ﻭﺣﺪﺕﺑﺨﺶ ﺩﺭ ﺳﻄﺢ ﻣﻠﻲ‬ ‫ﻫﺴــﺘﻨﺪ‪ .‬ﺍﻣﺮﻭﺯ ﺍﺻﻞ ﻭﻻﻳﺖ ﻓﻘﻴﻪ ﻭ ﺷــﺨﺺ ﻭﻟﻲ ﻓﻘﻴﻪ ﺩﺭ ﺭﺃﺱ ﻧﻈﺎﻡ ﺍﺳﻼﻣﻲ‪ ،‬ﻣﺤﻮﺭ ﻭﺣﺪﺕ ﺍﺳﺖ‬ ‫ﻭ ﻣﻠــﺖ ﺑﺰﺭگ ﻭ ﺑﺎ ﺍﻳﻤﺎﻥ ﻣﺎ ﺣﻮﻝ ﻣﺤﻮﺭ ﺍﻳﻦ ﺍﺻﻞ ﻣﺘﺮﻗﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻭﺣﺪﺕ ﻭ ﺍﻗﺘﺪﺍﺭ ﻣﻠﻲ ﺷــﻜﻮﻩ ﻭ‬ ‫ﻋﻈﻤﺖ ﺑﻴﺸﺘﺮﻱ ﺑﺒﺨﺸﺪ‪.‬‬ ‫ﻧﻤﺎﺯﺟﻤﻌﻪ ﻛﻪ ﺗﺸﺮﻳﻊ ﻭ ﺗﺎﺳﻴﺲ ﺁﻥ )ﺍﺯ ﺍﻳﻦ ﻣﻨﻈﺮ( ﺑﺮﺍﻱ ﺗﻘﻮﻳﺖ ﻭ ﺗﻤﺮﻳﻦ ﻭﺣﺪﺕ ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﺳﻼﻣﻲ‬ ‫ﺍﺳﺖ ﻭ ﺗﺮﻛﻴﺒﺶ ﭘﻴﺎﻡ ﻭﺣﺪﺕ ﺭﺍ ﺑﻪ ﺟﺎﻣﻌﻪ ﺍﻟﻘﺎ ﻣﻲﻛﻨﺪ ﻧﻘﺶ ﺑﺴﻴﺎﺭ ﺳﺎﺯﻧﺪﻩﺍﻱ ﺩﺭ ﻭﺣﺪﺕ ﻣﻠﻲ ﻣﺎ ﺩﺍﺭﺩ‪.‬‬ ‫ﺧﻄﺒﻪﻫﺎ ﻭ ﺧﻄﺎﺑﻪﻫﺎ ﺩﺭ ﺗﺮﻭﻳﺞ ﻓﺮﻫﻨﮓ ﻭﺣﺪﺕ ﻭ ﺗﺨﺮﻳﺐ ﻋﻮﺍﻣﻞ ﺗﻔﺮﻗﻪ ﻧﻘﺶ ﺳــﺎﺯﻧﺪﻩ ﻭ ﺗﺎﺛﻴﺮ ﺑﺎﻟﻨﺪﻩ‬ ‫ﺍﻳﻔﺎ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎﻡﺟﻤﻌﻪ ﺍﺯ ﻣﺴــﻨﺪ ﺑﻠﻨﺪ ﺍﻣﺎﻣﺖ‪ ،‬ﺑﺎ ﺁﻫﻨﮓ ﻭﺣﺪﺕ‪ ،‬ﻛﺎﺭﻭﺍﻥ ﺍﻣﺖ ﺭﺍ ﻣﺪﻳﺮﻳﺖ ﻭ ﻫﺪﺍﻳﺖ‬ ‫ﻣﻲﻧﻤﺎﻳﺪ‪ ،‬ﺍﻭ ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺗﺎ ﻫﻤﻪ ﮔﺮﻭﻩﻫﺎ ﻭ ﺍﺣﺰﺍﺑﻲ ﻛﻪ ﺩﺭ ﺍﺻﻮﻝ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺍﺷــﺘﺮﺍﻙ ﻋﻘﻴﺪﻩ ﺩﺍﺭﻧﺪ‬ ‫ﻭﻟﻲ ﺩﺭ ﺳﻠﻴﻘﻪﻫﺎ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻫﻢﺁﻭﺍ ﻧﻴﺴﺘﻨﺪ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﻗﺮﺍﺭ ﺑﺪﻫﺪ ﻭ ﭼﻴﻨﺶ ﺳﻠﻴﻘﻪﻫﺎ ﺭﺍ ﺩﺭ ﺻﻔﻮﻑ‬ ‫ﻓﺸﺮﺩﻩ ﻧﻤﺎﺯ‪ ،‬ﺑﺎ ﺟﻬﺖﮔﻴﺮﻱ ﺑﻪ ﺳﻤﺖ ﻭ ﺳﻮﻱ ﻛﻌﺒﻪ ﺑﻪ ﻧﻤﺎﻳﺶ ﺑﮕﺬﺍﺭﺩ‪.‬‬ ‫‪15‬‬ ‫ﻭﺣﺪﺕ ﺑﺎ ﺣﺬﻑ ﺭﻗﻴﺐ ﻫﻤﺨﻮﺍﻧﻲ ﻧﺪﺍﺭﺩ‬ ‫ﺍﻣﻴﺮﻋﻠﻲ ﺍﻣﻴﺮﻱ‬ ‫ﺭﺋﻴﺲ ﺷﻮﺭﺍﻱ ﺳﻴﺎﺳﺘﮕﺬﺍﺭﻱ ﺣﺰﺏ ﻋﺪﺍﻟﺖ ﻭ ﺗﻮﺳﻌﻪ‬ ‫ﺣﻀﺮﺕ ﺍﻣﺎﻡ )ﺭﻩ( ﺩﺭﺑــﺎﺭﻩ ﻭﺣﺪﺕ ﻭ ﺍﺗﺤــﺎﺩ ﻭ ﺿﺮﻭﺭﺕ ﺗﻘﻮﻳﺖ‬ ‫ﺁﻥ ﮔﻔﺘﻪﻫﺎﻯ ﺑﺴــﻴﺎﺭﻯ ﺩﺍﺭﻧــﺪ ﺍﺯ ﺟﻤﻠﻪ‪» :‬ﻣﺎ ﺍﮔﺮ ﺍﺧﺘﻼﻑﺳــﻠﻴﻘﻪ‬ ‫ﺩﺍﺭﻳﻢ‪ ،‬ﺍﺧﺘﻼﻑ ﺑﻴﻨﺶ ﺩﺍﺭﻳﻢ ﺑﺎﻳﺪ ﺑﻨﺸــﻴﻨﻴﻢ ﻭ ﺩﺭ ﻳﻚ ﻣﺤﻴﻂ ﺁﺭﺍﻡ‬ ‫ﺻﺤﺒﺖ ﻛﻨﻴﻢ ﻭ ﻣﺴــﺎﺋﻞ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺣﻞ ﻛﻨﻴﻢ‪ .‬ﺑﺎ ﺗﻔﺎﻫﻢ ﻣﺴﺎﺋﻞ ﺭﺍ‬ ‫ﺣﻞ ﻛﻨﻴﻢ ﻧﻪ ﺍﻳﻨﻜﻪ ﺟﺒﻬﻪﮔﻴﺮﻱ ﻛﻨﻴﻢ‪ .‬ﻳﻜﻲ ﻳﻚ ﻃﺮﻑ ﺑﻨﺸــﻴﻨﺪ ﺑﺎ‬ ‫ﺩﺍﺭ ﻭ ﺩﺳــﺘﻪ ﺧﻮﺩﺵ ﻭ ﻛﻮﺷﺶ ﻛﻨﺪ ﺩﺭ ﺗﻀﻌﻴﻒ ﻳﻜﺪﻳﮕﺮ ﻭ ﻛﻮﺷﺶ‬ ‫ﻛﻨﻨﺪ ﺩﺭ ﺗﻀﻌﻴﻒ ﻛﺸﻮﺭ ﺍﺳﻼﻣﻲ‪ «...‬ﻳﺎ ﺩﺭ ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﻣﻰﻓﺮﻣﺎﻳﻨﺪ‪:‬‬ ‫»ﻣﻦ ﺑﺎﺯ ﺗﺎﻛﻴﺪ ﻣﻲﻛﻨﻢ ﺍﮔﺮ ﺳــﺮﺍﻥ ﺑﺎ ﻫﻢ ﺧﻮﺏ ﺑﺎﺷــﻨﺪ ﺍﻳﻦ ﻛﺸﻮﺭ‬ ‫ﺻﺪﻣﻪ ﻧﻤﻲﺑﻴﻨﺪ ﺍﮔﺮ ﺻﺪﻣﻪ ﺍﻳﻦ ﻛﺸــﻮﺭ ﺑﺒﻴﻨﺪ ﺍﺯ ﺍﺧﺘﻼﻑ ﺳــﺮﺍﻥ‬ ‫ﺍﺳﺖ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺷــﺎﺭﻉ ﻣﻘﺪﺱ ﻓﺮﻣﻮﺩﻩ ﺑﺎﻳﺪ ﺩﻭﻟﺖ‪ ،‬ﻣﺠﻠﺲ ﻭ‬ ‫ﻗﻮﻩﻗﻀﺎﺋﻴﻪ ﺍﺣﺴﺎﺱ ﻛﻨﻨﺪ ﻛﻪ ﻳﻚ ﺗﻜﻠﻴﻒ ﺩﺍﺭﻧﺪ ﻭ ﺁﻥ ﺍﻳﻨﻜﻪ ﺍﺧﺘﻼﻑ‬ ‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪«.‬‬ ‫ﻧﺨﺴــﺘﻴﻦ ﻣﻄﻠﺐ ﺩﺭ ﺿــﺮﻭﺭﺕ ﺗﻘﻮﻳﺖ ﻭﺣﺪﺕ ﻣﻠــﻰ‪ ،‬ﺗﻮﺍﻓﻖ‬ ‫ﺑﺮ ﺳــﺮ ﺿﺮﻭﺭﺕ ﺩﺍﺷــﺘﻦ ﺗﻘﻮﻳــﺖ ﻭ ﺗﺤﻜﻴﻢ ﻭﺣﺪﺕ ﻣﻠﻰ ﺍﺳــﺖ‪.‬‬ ‫ﺑﻪ ﺍﻳــﻦ ﺑﻴﺎﻥ ﻛﻪ ﺑﺎﻳــﺪ ﺑﭙﺬﻳﺮﻳﻢ ﺑﻌــﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑــﺎﺕ ‪ 22‬ﺧﺮﺩﺍﺩ ﻛﻪ‬ ‫ﭘﺮﺷﻜﻮﻩﺗﺮﻳﻦ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻮﺩ ﺑﺮﺧﻰ ﺍﺗﻔﺎﻗﺎﺕ ﺳﺒﺐ ﺷﺪ‬ ‫ﺗﺎ ﻟﻄﻤﺎﺗــﻰ ﺑﻪ ﻭﺣﺪﺕ ﻭ ﻫﻤﺪﻟﻰ ﻋﻤﻮﻣﻰ ﻭﺍﺭﺩ ﺷــﻮﺩ ﻭ ﺍﺯ ﻫﻤﻴﻦ ﺭﻭ‬ ‫ﻣﻘﺎﻡ ﻣﻌﻈﻢ ﺭﻫﺒﺮﻯ ﻣﻜﺮﺭﺍ ﺩﺭ ﺳﺨﻨﺮﺍﻧﻰﻫﺎﻯ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺧﻮﺩ ﺑﺮ‬ ‫ﺑﺤﺚ ﻭﺣﺪﺕ ﺗﺎﻛﻴﺪ ﻛﺮﺩﻧﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﻣﻘﻮﻟﻪ ﻭﺣﺪﺕ ﻫﻤﻮﺍﺭﻩ ﺳﺮﻟﻮﺣﻪ‬ ‫ﺍﻣﺎﻡ ﻭ ﺭﻫﺒﺮﻯ ﻭ ﺍﺯ ﻣﺴــﺎﺋﻞ ﻣﻮﺭﺩ ﺗﺎﻛﻴﺪ ﻭ ﺗﻮﺟﻪ ﻧﻈﺎﻡ ﺍﺳﻼﻣﻰ ﺑﻮﺩﻩ‬ ‫ﺍﺳــﺖ ﺍﻣﺎ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺑﺮﺧﻰ ﻣﺴــﺎﺋﻞ ﭘﺪﻳﺪ ﺁﻣــﺪﻩ ﺩﺭ ﻓﺮﺁﻳﻨﺪ ﭘﺲ ﺍﺯ‬ ‫ﺍﻧﺘﺨﺎﺑــﺎﺕ‪ ،‬ﺗﻘﻮﻳﺖ ﻭﺣﺪﺕ ﻣﻠــﻰ ﻻﺯﻣﻪ ﻋﺒﻮﺭ ﺍﺯ ﺷــﺮﺍﻳﻂ ﻓﻌﻠﻰ ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳــﺪ‪ .‬ﭘﺲ ﺑﺎﻳﺪ ﺑــﺮﺍﻯ ﺁﻥ ﺭﺍﻫﻜﺎﺭﻯ ﺟﺎﻣــﻊ ﻭ ﺑﺎ ﺧﺎﺻﻴﺖ‬ ‫ﺭﻓﻊﻛﻨﻨﺪﮔﻰ ﻣﻮﺍﻧﻊ ﻣﻮﺟﻮﺩ ﺩﺍﺷﺘﻪ ﻭ ﺗﻌﺮﻳﻒ ﻛﻨﻴﻢ‪.‬‬ ‫ﻫﺮ ﺭﺍﻫﻜﺎﺭ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﻭ ﺗﻼﺷﻰ ﺑﺮﺍﻯ ﺗﻘﻮﻳﺖ ﻭﺣﺪﺕ ﻣﻠﻰ ﺑﻪ ﻧﺤﻮﻯ‬ ‫ﻛﻪ ﺍﺻﻮﻝ ﻭ ﺍﺭﺯﺵﻫﺎﻯ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻰ ﺩﺭ ﺁﻥ ﻣﺴﺘﺘﺮ ﺑﺎﺷﺪ ﻗﺎﺑﻞ ﻃﺮﺡ‬ ‫ﻭ ﺑﺮﺭﺳﻰ ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺪﻳﻬﻰ ﺍﺳﺖ ﻫﻤﻪ ﭘﻴﺸﻨﻬﺎﺩﺍﺗﻰ ﻛﻪ‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺩﺍﺩﻩ ﺷــﺪﻩ ﻭ ﻣﻄﺮﺡ ﻣﻰﺷــﻮﺩ ﻋﻤﻠﻰ ﻧﺒﻮﺩﻩ ﻭ ﻧﻤﻰﺗﻮﺍﻧﺪ‬ ‫ﺑﺪﻭﻥ ﻋﻴﺐ ﻭ ﻧﻘﺺ ﺑﺎﺷﺪ ﺍﻣﺎ ﺑﺮﺭﺳﻰ ﺍﻳﻦ ﻧﻈﺮﺍﺕ ﻭ ﺷﻴﻮﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ‬ ‫ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺭﺍ ﺑﻪ ﻳﻚ ﺭﺍﻫﻜﺎﺭ ﻋﻤﻠﻰ ﻭ ﺑﻰﻋﻴﺐ ﻭ ﻧﻘﺺ ﻣﻰﺭﺳﺎﻧﺪ‪ .‬ﻟﺬﺍ‬ ‫ﻣﻮﺍﺿﻌﻰ ﻛﻪ ﭘﻴﺸﻨﻬﺎﺩﺍﺕ ﻣﺮﺑﻮﻁ ﺑﻪ ﺗﻘﻮﻳﺖ ﻭﺣﺪﺕ ﻣﻠﻰ ﺭﺍ ﺧﺪﺷﻪﺩﺍﺭ‬ ‫ﻛﺮﺩﻩ ﻭ ﺁﻥ ﺭﺍ ﺑﻌﻀﺎ ﺧﻴﺎﻧﺖﺁﻣﻴﺰ ﻭ ﻏﻴﺮﺿﺮﻭﺭﻯ ﺗﻠﻘﻰ ﻣﻰﻛﻨﺪ ﻧﺎﺷــﻰ‬ ‫ﺍﺯ ﻋﺪﻡ ﻭﻗﻮﻑ ﺑﻪ ﺍﻫﻤﻴﺖ ﻭ ﺿﺮﻭﺭﺕ ﻣﺴــﺎﻟﻪ ﺩﺭ ﺷﺮﺍﻳﻂ ﻓﻌﻠﻰ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻰ ﺍﺳــﺖ ﻛﻪ ﺟﻨﺎﺡﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺑﺎ ﮔﺮﺍﻳﺶﻫﺎﻯ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺍﻣﺎ ﺑﺎ ﻣﺤﻮﺭ ﺩﻟﺴــﻮﺯﻯ ﻭ ﺧﻴﺮﺧﻮﺍﻫﻰ ﺑﺮﺍﻯ ﺍﻧﻘﻼﺏ‪ ،‬ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﺍﺛﺒﺎﺕ‬ ‫ﺩﻟﺴــﻮﺯﻯ ﺧﻮﺩ ﺍﺯ ﻃﺮﺡﻫﺎﻯ ﺣﺎﻣﻞ ﭘﻴﺎﻡ ﻭﺣﺪﺕ ﺍﺳــﺘﻘﺒﺎﻝ ﻛﻨﻨﺪ‪.‬‬ ‫ﻫﺮﭼﻨﺪ ﺍﻳﻦ ﺭﺍ ﻧﻴﺰ ﺑﺎﻳﺪ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺖ ﻛﻪ ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﻛﺎﻣﻞ ﻧﺒﻮﺩﻥ ﺍﻳﻦ‬ ‫ﻃﺮﺡﻫﺎ ﻭ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻣﻄﺮﺡ ﺷﺪﻩ ﻧﻘﺪ ﺁﻧﻬﺎ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻯ ﻛﺎﻣﻞ ﺷﺪﻥ‬ ‫ﻭ ﺑﻪ ﺭﺍﻫﻜﺎﺭﻯ ﺑﻰﻋﻴﺐ ﻭ ﻧﻘﺺ ﺭﺳﻴﺪﻥ‪ ،‬ﻣﻔﻴﺪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻫﻴﭻ ﺷــﺨﺺ ﻭ ﮔﺮﻭﻫﻰ ﺩﺍﻋﻴﻪ ﺍﻳﺠﺎﺩ ﻭ ﮔﺴﺘﺮﺍﻧﺪﻥ ﭼﺘﺮ ﻭﺣﺪﺕ‬ ‫ﺩﺭ ﻛﺸــﻮﺭ ﺭﺍ ﻧﺪﺍﺭﺩ ﺑﻠﻜﻪ ﺁﻧﭽﻪ ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﻣﻄﺮﺡ ﻣﻰﺷــﻮﺩ ﻧﻪ ﻃﺮﺡ‬ ‫ﻭﺣﺪﺕ ﻣﻠﻰ ﺑﻠﻜﻪ ﻃﺮﺡ ﺗﻘﻮﻳﺖ ﻭﺣﺪﺕ ﻣﻠﻰ ﺍﺳــﺖ‪ .‬ﻳﻌﻨﻰ ﺑﺎ ﺗﻮﺟﻪ‬ ‫ﺑﻪ ﺑﺮﺧﻰ ﭘﻴﺸــﺎﻣﺪﻫﺎﻯ ﻧﺎﻣﻄﻠﻮﺏ ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﭘــﺲ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻭ‬ ‫ﻏﺒﺎﺭﺁﻟﻮﺩﺷــﺪﻥ ﻓﻀﺎﻯ ﺳﻴﺎﺳﻰ ﻛﺸﻮﺭ ﺑﺎﻳﺴــﺘﻰ ﮔﺎﻡﻫﺎﻯ ﺣﺴﺎﺏ‬ ‫ﺷــﺪﻩﺍﻯ ﺭﺍ ﺑــﺮﺍﻯ ﺯﺩﻭﺩﻥ ﺍﻳﻦ ﺯﻧﮕﺎﺭﻫــﺎ ﻭ ﺗﻘﻮﻳﺖ ﻫﺮﭼﻪ ﺑﻴﺸــﺘﺮ‬ ‫ﻫﻤﺪﻟﻰ ﻭ ﻫﻢﻓﻜﺮﻯ ﻣﻴــﺎﻥ ﮔﺮﻭﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﻧﻘﻼﺏ ﺑﺮﺩﺍﺷــﺖ‪.‬‬ ‫ﭘﺲ ﺑﺎ ﺍﻳﻦ ﺍﻭﺻﺎﻑ‪ ،‬ﺍﺳﺎﺱ ﺍﻳﻦ ﻃﺮﺡ ﺑﺮ ﺍﻳﻦ ﭘﺎﻳﻪ ﺍﺳﺘﻮﺍﺭ ﺷﺪﻩ ﻛﻪ ﻣﺎ ﺑﺎ‬ ‫ﺳــﺎﺯ ﻭ ﻛﺎﺭﻫﺎﻳﻰ ﺑﺘﻮﺍﻧﻴﻢ ﺍﺧﺘﻼﻓﺎﺗﻰ ﺭﺍ ﻛﻪ ﻣﻮﺟﺐ ﻛﻤﺮﻧﮓ ﺷــﺪﻥ‬ ‫ﻭﺣﺪﺕ ﺷﺪﻩ ﺍﺳﺖ ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﻳﻢ‪.‬‬ ‫ﻭﻗﺘﻰ ﺭﻫﺒﺮﻯ ﺍﺯ ﻭﺣﺪﺕ ﺻﺤﺒــﺖ ﻣﻰﻛﻨﻨﺪ ﻳﻌﻨﻰ ﺍﺧﺘﻼﻓﺎﺕ ﻭ‬ ‫ﺗﺸﺘﺖﻫﺎ ﺑﺎﻳﺴــﺘﻰ ﺣﺬﻑ ﺷــﻮﺩ ﺍﻣﺎ ﺍﻳﻦ ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﻰ ﻧﻴﺴﺖ ﻛﻪ ﺍﺯ‬ ‫ﻭﺣﺪﺕ ﻣﻔﻬﻮﻡ ﺣﺬﻑ ﻃﺮﻑ ﺍﺧﺘﻼﻑ ﻭ ﭘﺎﻙﻛﺮﺩﻥ ﺻﻮﺭﺕ ﻣﺴﺎﻟﻪ ﺭﺍ‬ ‫ﺍﺳﺘﻨﺒﺎﻁ ﻛﻨﻴﻢ‪ .‬ﻳﻌﻨﻰ ﻣﺎ ﻧﻤﻰﺗﻮﺍﻧﻴﻢ ﺩﻡ ﺍﺯ ﻭﺣﺪﺕ ﺑﺰﻧﻴﻢ ﻭ ﻣﻌﻨﻰ ﺁﻥ‬ ‫ﺍﻳﻦ ﺑﺎﺷﺪ ﻛﻪ ﺭﺍﻯ ﺑﻪ ﺣﺬﻑ ﻳﻜﻰ ﺍﺯ ﻃﺮﻑﻫﺎﻯ ﺍﺧﺘﻼﻑ ﺑﺪﻫﻴﻢ‪.‬‬ ‫ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﻃﺮﺡ ﺗﻘﻮﻳﺖ ﻭﺣﺪﺕ ﻣﻠﻰ ﺍﺻﻮﻝ ﻣﺸﺘﺮﻙ‬ ‫ﻭ ﻣﻘﺒــﻮﻝ ﻫﻤﻪ ﮔﺮﻭﻩﻫﺎ ﺑﻪﻋﻨﻮﺍﻥ ﺍﺳــﺎﺱ ﻭ ﺑﻨﻴﺎﻥ ﻭﺣﺪﺕ ﻗﺮﺍﺭ ﺩﺍﺩﻩ‬ ‫ﺳﺎﺑﻘﻪ ﺳﻲﺳﺎﻟﻪ‬ ‫ﺳﻴﺪ ﺷﻬﺎﺏ ﺍﻟﺪﻳﻦ ﺻﺪﺭ‬ ‫ﻋﻀﻮ ﺷﻮﺭﺍﻱ ﻋﺎﻟﻲ ﺍﻧﻘﻼﺏ ﻓﺮﻫﻨﮕﻲ‬ ‫ﻭﺿﻌﻲ ﻛﻪ ﺍﻣﺮﻭﺯ ﺩﺭ ﻛﺸــﻮﺭ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺳــﺎﺑﻘﻪ ‪ 30‬ﺳــﺎﻟﻪ ﺩﺍﺭﺩ‬ ‫ﻛﻪ ﻋﺎﻣــﻼﻥ ﺁﻥ ﺗﺎﻛﻨﻮﻥ ﻫﺮﻛﺎﺭﻱ ﺍﺯ ﺩﺳﺘﺸــﺎﻥ ﺑﺮﺁﻣﺪﻩ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩﺍﻧﺪ‬ ‫ﻭ ﻧﻘﻄــﻪ ﺍﻭﺝ ﺁﻥ ﺟﻨــﮓ ﺗﺤﻤﻴﻠﻲ ﻫﺸﺖﺳــﺎﻟﻪ ﺑﻮﺩ‪ .‬ﺑﻌــﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ‬ ‫ﺭﻳﺎﺳــﺖﺟﻤﻬﻮﺭﻱ ﺩﺷــﻤﻨﺎﻥ ﺑﻬﺎﻧﻪ ﺟﺪﻳﺪﻱ ﭘﻴﺪﺍ ﻛﺮﺩﻧــﺪ ﻛﻪ ﺑﺤﺚ‬ ‫ﺳــﻼﻣﺖ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﮔﺴــﺘﺮﺩﻩﺍﻱ ﻣﻄﺮﺡ ﻛﻨﻨﺪ ﺩﺭ ﺣﺎﻟﻲﻛﻪ‬ ‫ﻛﻤﻴﺘﻪﻫﺎﻱ ﻣﺮﺑﻮﻃﻪ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺭﺍ ﺑﺮﺭﺳﻲ ﻛﺮﺩﻧﺪ ﻭ ﻣﺸﺨﺺ ﺷﺪ ﺁﻫﻨﮓ‬ ‫‪16‬‬ ‫ﺷــﻮﺩ ﻭ ﺑﺮ ﻫﻤﻴﻦ ﺍﺳﺎﺱ‪ ،‬ﺍﻭﻟﻴﻦ ﮔﺎﻡ ﺑﺮﺍﻯ ﺗﻘﻮﻳﺖ ﺍﺗﺤﺎﺩ ﻣﻠﻰ ﺗﻌﻴﻴﻦ‬ ‫ﻣﺸــﺘﺮﻛﺎﺕ ﻭ ﻧﻘﺎﻁ ﻭﺣﺪﺕ ﻣﻴﺎﻥ ﮔﺮﻭﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﺳﺖ‪ .‬ﺑﻌﻀﻰ‬ ‫ﺍﺯ ﺍﻳﻦ ﻣﺸــﺘﺮﻛﺎﺕ ﺁﻧﻘﺪﺭ ﻭﺳﻴﻊ‪ ،‬ﮔﺴــﺘﺮﺩﻩ ﻭ ﺑﺪﻳﻬﻰ ﺍﺳﺖ ﻛﻪ ﻫﻴﭻ‬ ‫ﺑﺤﺜﻰ ﺩﺭ ﺑﻪ ﻣﻴﺎﻥ ﻛﺸــﻴﺪﻥ ﻭ ﺍﺛﺒﺎﺕ ﺁﻥ ﺑــﺮﺍﻯ ﻃﺮﻑﻫﺎﻯ ﺍﺧﺘﻼﻑ‬ ‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺍﺳــﻼﻡ‪ ،‬ﺍﻧﻘﻼﺏ ﺍﺳــﻼﻣﻰ‪ ،‬ﺭﺍﻩ ﺍﻣﺎﻡ‪ ،‬ﺍﺻﻞ ﻛﻠﻴﺪﻯ ﻭﻻﻳﺖ ﻓﻘﻴﻪ‬ ‫ﻭ ﺭﻫﺒﺮﻯ‪ ،‬ﻗﺎﻧﻮﻥ ﺍﺳﺎﺳــﻰ ﻭ ﺟﻤﻬﻮﺭﻳﺖ ﻭ ﺍﺳــﻼﻣﻴﺖ ﻧﻈﺎﻡ ﺗﻮﺍﻣﺎﻥ‪،‬‬ ‫ﺍﺻﻮﻟﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻃﺮﻓﻴﻦ ﺍﺧﺘﻼﻑ ﺧﻮﺩ ﺭﺍ ﻣﻠﺰﻡ ﺑﻪ ﺗﺒﻌﻴﺖ ﻭ ﭘﻴﺮﻭﻯ‬ ‫ﺍﺯ ﺁﻧﻬﺎ ﻣﻰﺩﺍﻧﻨﺪ‪.‬‬ ‫ﺍﻣــﺎ ﺑﻌﻀﻰ ﺍﺯ ﻣﻮﺿﻮﻋﺎﺕ ﻭ ﺍﺻﻮﻝ ﻭﺟــﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﺩﺭﺟﻪ ﺩﻭﻡ‬ ‫ﺍﻫﻤﻴﺖ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ ﻭ ﺑﻪ ﻧﻮﻋﻰ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺍﺯ ﻭﺿﻮﺡ ﻭ ﺑﺪﺍﻫﺖ‬ ‫ﺍﺻﻮﻝ ﻛﻠﻰ ﻭ ﺍﺳﺎﺳﻰ ﺍﻧﻘﻼﺏ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻧﻴﺴﺖ‪ .‬ﺍﺧﺘﻼﻑ ﻫﻤﻮﺍﺭﻩ ﺩﺭ‬ ‫ﺍﻳﻦ ﺍﺻﻮﻝ ﺩﺭﺟﻪ ﺩﻭﻡ ﻭ ﻓﺮﻭﻉ ﺑﻦ ﻣﺎﻳﻪﻫﺎﻯ ﺍﺳﺎﺳﻰ ﻧﻈﺎﻡ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺷــﺮﺡ‪ ،‬ﻃﺮﻓﻴﻨﻰ ﻛﻪ ﺑــﺮ ﺍﺻﻮﻝ ﻛﻠﻰ ﻭﻓــﺎﻕ ﺩﺍﺭﻧﺪ ﺑﺎﻳﺪ‬ ‫ﺩﺭ ﻣــﻮﺭﺩ ﺍﺻﻮﻝ ﺩﺭﺟــﻪ ﺩﻭﻡ ﻧﻴﺰ ﺑﺎ ﻫﻢ ﺗﻌﺎﻣﻞ ﻛــﺮﺩﻩ ﻭ ﺍﺯ ﻃﺮﻳﻖ‬ ‫ﻫﻤﻴﻦ ﺗﻌﺎﻣــﻞ ﻭ ﻣﺬﺍﻛﺮﺍﺕ ﺩﺭ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﻫﻢ ﺑﻪ ﻓﺼﻞ ﻣﺸــﺘﺮﻙ‬ ‫ﺑﺮﺳﻨﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺍﻳﻦ ﻣﺴــﺎﺋﻞ ﻣﻮﺭﺩ ﺍﺧﺘﻼﻑ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﻛﻴﻔﻴﺖ‬ ‫ﺍﻧﺘﺨﺎﺑﺎﺕ ﺩﺭ ﻧﻈﺎﻡ ﺍﺳــﻼﻣﻰ ﺍﺷــﺎﺭﻩ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺑﺤﺚ ﻫﻴﭻ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺧﺎﺻﻰ ﺑﻪ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺭﻳﺎﺳــﺖ ﺟﻤﻬﻮﺭﻯ ﻧﺪﺍﺷﺘﻪ ﻭ ﻫﺪﻑ ﺁﻥ ﺭﻓﻊ‬ ‫ﺍﺑﻬــﺎﻡ ﻭ ﺗﻘﻮﻳﺖ ﻛﻴﻔﻴــﺖ ﺑﺮﮔﺰﺍﺭﻯ ﺍﻧﺘﺨﺎﺑــﺎﺕ ﻣﺨﺘﻠﻒ ﻣﺠﻠﺲ‪،‬‬ ‫ﺧﺒﺮﮔﺎﻥ ﻭ ﺣﺘﻰ ﺷﻮﺭﺍﻫﺎﺳــﺖ‪ .‬ﺑﺤﺚ ﺍﺻﻠﻰ ﺑﺮ ﺳﺮ ﻣﻜﺎﻧﻴﺰﻡﻫﺎﻯ‬ ‫ﺑﺮﮔﺰﺍﺭﻯ ﻭ ﻛﻴﻔﻴﺖ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺩﺭ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ‬ ‫ﺁﺳﻴﺐﺷﻨﺎﺳــﻰ ﺷــﺪﻩ ﻭ ﻧﻘﺎﻁ ﺿﻌﻒ ﺁﻥ ﺑﻪ ﻛﻤﺘﺮﻳﻦ ﺣﺪ ﻣﻤﻜﻦ‬ ‫ﺑﺮﺳــﺪ‪ .‬ﺍﻣﺎ ﻫﻤﭽﻨﺎﻥ ﺑﺎﻳﺪ ﺗﺎﻛﻴﺪ ﻛﺮﺩ ﻛﻪ ﻫﺮﮔﻮﻧﻪ ﺑﺮﺭﺳﻰ ﻭ ﺍﺭﺍﺋﻪ‬ ‫ﻃﺮﺣــﻰ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺑﺎﻳﺪ ﺑﺎ ﻋﻨﺎﻳﺖ ﺑﻪ ﻗﺎﻧﻮﻥ ﻭ ﺍﺳــﺘﻠﺰﺍﻡ ﻋﻤﻠﻰ ﺑﻪ‬ ‫ﺁﻥ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﻭ ﺑﺎ ﻫﻤﺮﺍﻫﻰ ﻗﺎﻧﻮﻥ ﻟﺤﺎﻅ ﺷــﻮﺩ‪ .‬ﭘﺲ ﺑﺎﻳﺴﺘﻰ‬ ‫ﻫﻤﻴﻦ ﻣﺴﺎﻟﻪ ﺑﺎ ﺗﺎﻛﻴﺪ ﻭ ﺗﻜﻴﻪ ﺑﺮ ﻗﺎﻧﻮﻧﻤﻨﺪ ﺑﻮﺩﻥ ﺍﺩﻋﺎﻫﺎ ﻭ ﻣﺴﺎﺋﻞ‬ ‫ﻣﻄﺮﺡ ﺷــﺪﻩ ﻣﻴﺎﻥ ﻃﺮﻑﻫــﺎﻯ ﻣﺎﺟﺮﺍ‪ ،‬ﺑﺎ ﻣﺬﺍﻛــﺮﺍﺕ ﻭ ﺗﻌﺎﻣﻞ ﺑﻪ‬ ‫ﻧﺘﻴﺠﻪ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﻭ ﺭﻭﺷﻨﻰ ﺑﺮﺳﺪ‪.‬‬ ‫ﺁﺭﺍﻱ ﻣﺮﺩﻡ ﻫﻤﻴﻦ ﻧﺘﻴﺠﻪ ﺍﻋﻼﻡ ﺷــﺪﻩ ﺑﻮﺩ ﻭ ﺑﻌﻀﻲ ﺍﻓﺮﺍﺩ ﺩﺭ ﺟﻤﻊ ﻣﺤﺪﻭﺩ ﺧﻮﺩ ﻓﻜﺮ ﻣﻲﻛﻨﻨﺪ ﻛﻪ‬ ‫ﻫﻤﻪ ﻣﺎﻧﻨﺪ ﺁﻧﺎﻥ ﻣﻲﺍﻧﺪﻳﺸــﻨﺪ ﻛﻪ ﺍﻳﻦ ﺑﻬﺎﻧﻪﺟﻮﻳﻲﻫﺎ ﺗﺎﻛﻨﻮﻥ ﺍﺩﺍﻣــﻪ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺮﻭﺯ ﺑﻬﺎﻧﻪﺟﻮﻳﻲﻫﺎ‬ ‫ﺩﻳﮕﺮ ﻛﻨﺎﺭ ﺭﻓﺘﻪ ﻭ ﻣﺴــﺎﻟﻪ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺍﺻﻞ ﻧﻈﺎﻡ‪ ،‬ﺍﺳﻼﻡ ﻭ ﺁﺭﻣﺎﻥﻫﺎﻱ ﺍﻣﺎﻡ ﻣﻄﺮﺡ ﺍﺳﺖ ﻛﻪ ﺑﺎﻋﺚ‬ ‫ﺷﺪﻩ ﻫﺮ ﺭﻭﺯ ﺩﺷﻤﻨﺎﻥ ﻗﺼﺪ ﻫﺘﺎﻛﻲ ﻛﺮﺩﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻣﺮﻭﺯ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﺯﻣﺎﻥ ﻧﻴﺮﻭﻫﺎﻱ ﻣﺘﺪﻳﻦ‬ ‫ﺍﻧﻘﻼﺏ ﻧﻴﺎﺯﻣﻨﺪ ﻭﺣﺪﺕ ﻫﺴــﺘﻨﺪ ﺗﺎ ﭘﻴﺮﻭﺯﻱﻫﺎﻱ ﮔﺬﺷﺘﻪ ﺗﻜﺮﺍﺭ ﺷﻮﺩ ﻭ ﺑﻪﺷﺮﻃﻲ ﻛﻪ ﻫﻤﻪ ﻣﺎ ﻛﺎﺭ‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺧﻮﺑﻲ ﺍﻧﺠﺎﻡ ﺩﻫﻴﻢ ﻫﻴﭻ ﺍﺗﻔﺎﻗﻲ ﻧﺨﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ‪ .‬ﺧﻮﺍﺳــﺖ ﻫﻤﻪ ﻣﺎﺳﺖ ﻛﻪ ﺩﺳﺘﮕﺎﻩﻫﺎﻱ‬ ‫ﻣﺴــﺌﻮﻝ ﺑﻪ ﻭﻇﻴﻔﻪ ﺧﻮﺩ ﺑﻪ ﺧﻮﺑﻲ ﻋﻤﻞ ﻛﻨﻨﺪ ﻭ ﭼﻪ ﺑﺎ ﺳﺮﺍﻥ ﻓﺘﻨﻪ ﻭ ﭼﻪ ﺑﺎ ﭘﻴﺎﺩﻩ ﻧﻈﺎﻡ ﺁﻧﻬﺎ ﮔﺮﭼﻪ‬ ‫ﻛﻢ ﻫﺴــﺘﻨﺪ ﺍﻣﺎ ﻣﺸــﻜﻼﺗﻲ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺑﺮﺧﻮﺭﺩ ﻛﻨﻨﺪ ﻭ ﺩﺭ ﺍﻳــﻦ ﻣﻴﺎﻥ ﺍﺣﺰﺍﺏ ﻫﻢ ﻧﻘﺶ‬ ‫ﻣﻬﻤﻲ ﺩﺍﺭﻧﺪ ﻭ ﻫﻤﻪ ﺁﻧﻬﺎ ﺑﺎﻳﺪ ﻣﻮﺿﻊﮔﻴﺮﻱ ﻛﻨﻨﺪ ﺗﺎ ﺁﺳﻴﺐﭘﺬﻳﺮﻱ ﻛﻤﺘﺮ ﺷﻮﺩ‪.‬‬ ‫‪www.mosalas.ir‬‬ ‫‪®±µ²H¸ÃM‬‬ ‫ﺍﻓﺘﺮﺍﻕ ﺍﺳﺘﺮﺍﺗﮋﻳﻚ ﻳﺎ ﺗﺎﻛﺘﻴﻜﻰ‬ ‫ﺩﻭﺑﺎﺭﻩ ﻏﺮﺏ ﻭ ﺷﺮﻕ ﻋﺎﻟﻢ ﺑﻪ ﺗﻔﺎﻫﻢ ﻧﺮﺳﻴﺪﻧﺪ‪.‬ﺍﻳﻦ ﺑﺎﺭ ﻣﻮﺿﻮﻉ ﺍﻳﺮﺍﻥ ﺑﻮﺩ ﻭ ﺟﺎﻳﮕﺎﻩ ﻣﺬﺍﻛﺮﺍﺕ ﻧﻴﺰ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻭ ﻧﺸﺴﺖ ‪ .5 + 1‬ﻏﺮﺑﻰ ﻫﺎ ﺩﺭ‬ ‫ﺍﻳﻦ ﻧﺸﺴــﺖ ﺑﺮ ﻃﺒﻞ ﺗﺤﺮﻳﻢ ﻛﻮﺑﻴﺪﻧﺪ ﻭ ﺭﻭﺳــﻴﻪ ﻭ ﭼﻴﻦ ﻧﻮﺍﻯ ﺩﻳﭙﻠﻤﺎﺳﻰ ﺭﺍ ﺑﻪ ﺻﺪﺍ ﺩﺭ ﺁﻭﺭﺩﻧﺪ‪ .‬ﻇﺎﻫﺮﺍ ﻫﺮ ﺩﻭ ﻃﺮﻑ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﺟﻤﺎﻉ‬ ‫ﻧﻈﺮ ﻛﺎﻣﻞ ﺩﺭﺑﺎﺭﻩ ﭘﺮﻭﻧﺪﻩ ﻫﺴﺘﻪ ﺍﻯ ﺍﻳﺮﺍﻥ ﺭﺍﻫﻲ ﻃﻮﻻﻧﻰ ﺩﺭ ﭘﻴﺶ ﺩﺍﺭﻧﺪ‪.‬‬ ‫‪17‬‬ ‫ﺗﺤﻠﻴﻠﻰ ﺑﺮﻧﺸﺴﺖ ﺍﺧﻴﺮ‪ 5+1‬ﺩﺭ ﻣﻮﺿﻮﻉ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ‬ ‫ﺩﻳﭙﻠﻤﺎﺳﻲ ﺍﻳﺮﺍﻥ‬ ‫ﺩﻛﺘﺮﺷﻬﺮﻭﺯ ﺍﺑﺮﺍﻫﻴﻤﻰ‬ ‫ﺗﺎﺭﻳﺦ ﻃﺮﺡ ﻣﻮﺿﻮﻉ ﻫﺴــﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﺟﺎﻣﻌــﻪ ﺑﻴﻦﺍﻟﻤﻠﻞ ﺑﻪ‬ ‫ﺳﺎﻝ ‪ 2003‬ﺑﺮﻣﻰﮔﺮﺩﺩ‪ .‬ﺩﺭ ﺁﻥ ﺗﺎﺭﻳﺦ ﺍﻓﺸﺎﻯ ﺗﺎﺳﻴﺴﺎﺕ ﻫﺴﺘﻪﺍﻯ‬ ‫ﻧﻈﻨــﺰ ﻭ ﭘﻴﺮﻭ ﺁﻥ ﺍﺑﺮﺍﺯ ﺷــﮕﻔﺘﻰ ﻣﺤﻤﺪ ﺍﻟﺒﺮﺍﺩﻋــﻰ‪ ،‬ﺩﺑﻴﺮ ﻛﻞ ﻭﻗﺖ‬ ‫ﺁژﺍﻧﺲ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺍﻧﺮژﻯ ﺍﺗﻤﻰ ﺍﺯ ﭘﻴﺸــﺮﻓﺖﻫﺎﻯ ﻫﺴــﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ‬ ‫ﺑﻪﻃﻮﺭ ﻛﻨﺎﻳﻪﺁﻣﻴﺰ ﻣﻮﺿﻮﻉ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺩﺭ ﺳﻄﺢ ﺑﻴﻦﺍﻟﻤﻠﻞ ﻭ‬ ‫ﻣﺠﺎﻣﻊ ﺟﻬﺎﻧﻰ ﻣﻄﺮﺡ ﻛﺮﺩ‪ .‬ﺍﺯ ﺁﻥ ﺗﺎﺭﻳﺦ ﺩﺳﺘﮕﺎﻩ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﻏﺮﺏ‬ ‫ﻛﻪ ﻣﻮﺿﻮﻉ ﻫﺴــﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺩﺍﺭﺍﻯ ﺟﻬﺖﮔﻴﺮﻯ ﻧﻈﺎﻣﻰ ﺩﺍﻧﺴﺘﻪ‬ ‫ﻭ ﺳــﻌﻰ ﺩﺭ ﺍﻟﻘﺎﻯ ﺗﻬﺪﻳﺪﺁﻣﻴﺰ ﺑﻮﺩﻥ ﺁﻥ ﺑﻪ ﺟﺎﻣﻌﻪ ﺑﻴﻦﺍﻟﻤﻠﻰ ﺩﺍﺷﺖ‬ ‫ﺑﻪ ﺣﺮﻛﺖ ﺩﺭﺁﻣﺪﻩ ﺗﺎ ﺑﺎ ﺍﻗﺪﺍﻣﺎﺕ ﻣﺨﺘﻠﻒ ﺭﺍﻩ ﺣﻠﻰ ﺑﺮﺍﻯ ﺁﻥ ﺑﻴﺎﺑﺪ ﻛﻪ‬ ‫ﺗﻘﺮﻳﺒﺎ ﻣﺸﺨﺺ ﺷــﺪ ﺍﻳﻦ ﺭﺍﻩ ﺣﻞ ﺩﺭﻭﺍﻗﻊ ﻫﻤﺎﻥ ﺗﻮﻗﻒ ﻏﻨﻰﺳﺎﺯﻯ‬ ‫ﺍﻭﺭﺍﻧﻴﻮﻡ ﺍﺳــﺖ‪ .‬ﺩﺭ ﭘﻰ ﺁﻥ ﺍﻗﺪﺍﻣﺎﺕ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ‪ ،‬ﺍﻳﺮﺍﻥ ﻧﻴﺰ ﺑﻪﺩﻧﺒﺎﻝ‬ ‫ﺍﻳــﻦ ﺑﻮﺩﻩ ﻛﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﻫﺴــﺘﻪﺍﻯﺍﺵ ﺭﺍ ﺑــﻪ ﺟﺎﻣﻌﻪ ﺑﻴﻦﺍﻟﻤﻠﻞ‬ ‫ﺻﻠﺢﺁﻣﻴﺰ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻗﺪﺍﻣﺎﺕ ﻏﺮﺏ ﺩﺭ ﺭﺍﺳﺘﺎﻯ ﺗﻮﻗﻒ‬ ‫ﻏﻨﻰﺳﺎﺯﻯ ﺍﻭﺭﺍﻧﻴﻮﻡ ﺑﺎﻳﺴﺘﺪ‪ .‬ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺑﺎ ﻫﺪﻑ‬ ‫ﻧﻬﺎﻳﻰ ﻏﺮﺏ ﺩﺭ ﺗﻤﺎﻡ ﺍﻗﺪﺍﻣﺎﺕ ﺩﻳﭙﻠﻤﺎﺗﻴﻜﻰ ﺧﻮﺩ ﺩﺭ ﺭﺍﺳﺘﺎﻯ ﺗﻮﻗﻒ‬ ‫ﻏﻨﻰ ﺳــﺎﺯﻯ ﺍﻭﺭﺍﻧﻴﻮﻡ ﻭ ﻫﺪﻑ ﺍﻳﺮﺍﻥ ﺩﺭ ﺭﺍﺳــﺘﺎﻯ ﺣﻔﻆ ﺍﻳﻦ ﺣﻘﻮﻕ‬ ‫ﺑﻪ ﻫﺮﻗﻴﻤﺘﻰ ﻛﻪ ﺷﺪﻩ ﻳﻚ ﺑﺎﺯﻯ ﺑﺎ ﺣﺎﺻﻞ ﺟﻤﻊ ﺻﻔﺮ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﻪ ﻧﺘﻴﺠﻪ ﻣﺸﺨﺺ ﻧﺮﺳــﻴﺪﻥ ﺗﺪﺍﺑﻴﺮ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﺩﻭ ﻃﺮﻑ ﭘﺲ‬ ‫ﺍﺯ ﮔﺬﺷــﺖ ﻧﺰﺩﻳﻚ ﺑﻪ ﻫﻔﺖ ﺳﺎﻝ ﺍﺯ ﻣﺬﺍﻛﺮﺍﺕ ﺁﻥ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺁﺧﺮﻳﻦ ﺗﺪﺑﻴﺮ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﺩﺭ ‪ 16‬ژﺍﻧﻮﻳﻪ ‪ 2010‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻧﺸﺴﺖ‬ ‫ﺍﻋﻀﺎﻱ ﺩﺍﺋﻢ ﺷــﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ ﺑﻪ ﺍﺿﺎﻓﻪ ﺁﻟﻤــﺎﻥ ﺑﻮﺩ ﻛﻪ ﻇﺎﻫﺮﺍ ﺑﺪﻭﻥ‬ ‫ﻧﺘﻴﺠﻪ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺖ‪ .‬ﺩﺭ ﺫﻳﻞ ﺑﺮﺍﻯ ﺑﺮﺭﺳﻰ ﻭ ﺗﺤﻠﻴﻞ ﭘﻴﺮﺍﻣﻮﻥ ﻧﺸﺴﺖ‬ ‫ﺍﺧﻴﺮ ﻭ ﭼﺸــﻢﺍﻧﺪﺍﺯ ﺁﻥ ﺍﺑﺘﺪﺍ ﺑﻪ ﻃﻮﺭ ﺧﻼﺻــﻪ ﺑﻪ ﺗﺎﺭﻳﺨﭽﻪ ﺍﻗﺪﺍﻣﺎﺕ‬ ‫ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﺩﺭ ﻣﻮﺿﻮﻉ ﻫﺴﺘﻪﺍﻱ ﺍﻳﺮﺍﻥ ﭘﺮﺩﺍﺧﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺗﺎﺭﻳﺨﭽﻪ ﺗﺪﺍﺑﻴﺮ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﺩﺭ ﻣﻮﺿﻮﻉﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ‬ ‫ﺍﺯ ﺳﺎﻝ‪ 2003‬ﺗﺎ ‪ 2005‬ﺳﻪ ﻛﺸــﻮﺭ ﺑﺮﻳﺘﺎﻧﻴﺎ‪ ،‬ﻓﺮﺍﻧﺴﻪ ﻭ ﺁﻟﻤﺎﻥ ﺑﺎ‬ ‫ﺍﺑﺘﻜﺎﺭﺍﺕ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﺧﻮﺩ ﺳﻜﺎﻧﺪﺍﺭ ﭘﻴﺸﺒﺮﺩ ﺳﻴﺎﺳﺖ ﻏﺮﺏ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﺍﻳﺮﺍﻥ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺍﺯ ﺳﺎﻝ ‪ 2006‬ﺳﻪ ﻛﺸﻮﺭ ﺭﻭﺳﻴﻪ‪ ،‬ﭼﻴﻦ ﻭ ﺁﻣﺮﻳﻜﺎ ﺑﻪ ﺍﻳﻦ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎ ﭘﻴﻮﺳﺘﻨﺪ ﻭ ﺁﻥ ﻣﻠﻘﺐ ﺑﻪ ‪ 5+1‬ﺩﺭ ﻣﻮﺿﻮﻉ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ‬ ‫‪18‬‬ ‫ﺷﺪ‪ .‬ﺑﻪ ﻣﻮﺍﺯﺍﺕ ﺍﻳﻦ ﻣﺴﻴﺮ‪ ،‬ﻣﺴﻴﺮ ﺩﻭﻣﻰ ﻧﻴﺰ ﺍﺯ ﻃﺮﻳﻖ ﻗﻄﻌﻨﺎﻣﻪﻫﺎﻯ‬ ‫ﺷﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﺗﺤﺖﻋﻨﻮﺍﻥ »ﺭﺍﻫﺒﺮﺩ ﻣﺴﻴﺮ‬ ‫ﺩﻭﮔﺎﻧﻪ« ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻳﺮﺍﻥ ﺩﻧﺒﺎﻝ ﺷــﺪﻩ ﺍﺳــﺖ‪ .‬ﺑﺎ ﻭﺭﻭﺩ ﺷﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ‬ ‫ﺳــﺎﺯﻣﺎﻥ ﻣﻠﻞﻣﺘﺤﺪ ﻭ ﺑﺎ ﺭﻭﻯ ﻛﺎﺭﺁﻣﺪﻥ ﺩﻭﻟﺖ ﺟﺪﻳﺪ ﺍﻳﺮﺍﻥ‪ ،‬ﭘﺮﻭﻧﺪﻩ‬ ‫ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﻭﺍﺭﺩ ﻣﺮﺣﻠﻪ ﺟﺪﻳﺪﻯ ﺷﺪ ﻭ ﺑﺎ ﻣﻘﺎﻭﻣﺖ ﺩﻭﻟﺖ ﺟﺪﻳﺪ‬ ‫ﺑﺮﺳﺮ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻭﺑﺎ ﺗﺎﻛﻴﺪ ﺁﻥ ﺑﺮﺣﻘﻮﻕ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﻭ ﺗﻘﺎﺿﺎﻯ‬ ‫ﻧﺎﻣﺸــﺮﻭﻉ ﺟﺎﻣﻌﻪ ﺑﻴﻦﺍﻟﻤﻠﻞ ﺭﻭﻧﺪ ﻣﺬﺍﻛﺮﺍﺕ ﺑﻪ ﻛﻨﺪﻯ ﭘﻴﺶ ﺭﻓﺖ‬ ‫ﻭ ﻣﺴــﻴﺮ ﺩﻭﻡ ﺭﺍﻫﺒﺮﺩ ﺩﻭﮔﺎﻧﻪ ﻳﻌﻨﻰ ﻣﺴــﻴﺮ ﭘﻴﮕﻴﺮﻯ ﺷﺪﻩ ﺍﺯ ﺳﻮﻯ‬ ‫ﺷﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ ﺳــﺎﺯﻣﺎﻥ ﻣﻠﻞ ﭘﺮﺭﻧﮓﺗﺮ ﺷﺪ ﻭ ﺁﻥ ﺩﺭ ﭘﻨﺞ ﻗﻄﻌﻨﺎﻣﻪ‬ ‫ﺗﺼﻮﻳﺐ ﺷﺪﻩ ﺷﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ ﺳــﺎﺯﻣﺎﻥ ﻣﻠﻞ ﺗﺎ ﺍﻳﻦ ﺗﺎﺭﻳﺦ ﻣﻨﻌﻜﺲ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻗﻄﻌﻨﺎﻣﻪﻫﺎ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬ ‫ ﻗﻄﻌﻨﺎﻣﻪ ‪)2006‬ﺟﻮﻻﻯ‪(2006‬‬‫ ﻗﻄﻌﻨﺎﻣﻪ ‪)1737‬ﺩﺳﺎﻣﺒﺮ‪(2006‬‬‫ ﻗﻄﻌﻨﺎﻣﻪ ‪)1747‬ﻣﺎﺭﺱ‪(2007‬‬‫ ﻗﻄﻌﻨﺎﻣﻪ‪)1803‬ﻣﺎﺭﺱ‪(2008‬‬‫ ﻗﻄﻌﻨﺎﻣﻪ‪)1835‬ﺳﭙﺘﺎﻣﺒﺮ‪(2008‬‬‫ﻧﺸﺴﺖ ﻧﻴﻮﻳﻮﺭﻙ ﺩﺭ‪ 16‬ژﺍﻧﻮﻳﻪ ‪2010‬‬ ‫ﺻــﺪﻭﺭ ﮔﺰﺍﺭﺵ ﺍﺧﻴــﺮ ﺁژﺍﻧــﺲ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺍﻧــﺮژﻯ ﺍﺗﻤﻰ ﭘﺲ‬ ‫ﺍﺯ ﺗﻮﺍﻓــﻖ ﻣﻌﺎﻣﻠــﻪ ﻣﺮﺑــﻮﻁ ﺑﻪ ﺍﻧﺘﻘــﺎﻝ ﺑﺨﺶ ﻋﻤــﺪﻩﺍﻯ ﺍﺯ ﺫﺧﺎﻳﺮ‬ ‫ﻏﻨﻰﺷــﺪﻩ ﺍﻭﺭﺍﻧﻴﻮﻡ ﺍﻳﺮﺍﻥ ﺑﺎ ﻏﻠﻈﺖ ﭘﺎﻳﻴﻦ ﻭ ﺗﺒﺪﻳﻞ ﺁﻥ ﺑﻪ ﺳﻮﺧﺖ ﻭ‬ ‫ﺑﺮﮔﺮﺩﺍﻧﺪﻥ ﺁﻥ ﺑﻪ ﺍﻳﺮﺍﻥ ﻛﻪ ﺍﺯ ﺳﻮﻯ ﻣﺤﺎﻓﻞ ﺩﺍﺧﻠﻰ ﺗﻨﺪ ﺍﺭﺯﻳﺎﺑﻰ ﺷﺪ‬ ‫ﻭ ﻣﺘﻌﺎﻗﺐ ﺁﻥ ﻭﺍﻛﻨﺶ ﺗﻨﺪ ﺟﻤﻬﻮﺭﻯﺍﺳﻼﻣﻰ ﺍﻳﺮﺍﻥ ﻭ ﺍﻋﻼﻡ ﺭﻳﺎﺳﺖ‬ ‫ﺟﻤﻬﻮﺭﻯ ﺍﻳﺮﺍﻥ ﻣﺒﻨﻰ ﺑﺮﺍﺣﺪﺍﺙ ‪ 10‬ﺗﺎﺳﻴﺴﺎﺕ ﺍﺗﻤﻰ ﺩﻳﮕﺮ ﻭ ﻛﻤﺘﺮ‬ ‫ﻛﺮﺩﻥ ﻫﻤﻜﺎﺭﻯ ﺍﻳﺮﺍﻥ ﺑــﺎ ﺁژﺍﻧﺲ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺍﻧﺮژﻯ ﺍﺗﻤﻰ ﻭ ﻣﺤﺪﻭﺩ‬ ‫ﺳﺎﺧﺘﻦ ﺍﻳﻦ ﻫﻤﻜﺎﺭﻯ ﺗﻨﻬﺎ ﺑﻪ ﺗﻌﻬﺪﺍﺕ ﺍﻳﺮﺍﻥ ﺩﺭ ﺍﻥ‪.‬ﭘﻰ‪.‬ﺗﻰ‪ ،‬ﻣﻮﺿﻮﻉ‬ ‫ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﻭﺍﺭﺩ ﻣﺮﺣﻠﻪ ﺟﺪﻳﺪﻯ ﻛﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﻗﺪﺭﺕﻫﺎﻯ‬ ‫ﻣﺬﺍﻛﺮﻩﻛﻨﻨﺪﻩ ﺑﻪ ﺭﻫﺒﺮﻯ ﺁﻣﺮﻳﻜﺎ ﻣﺠﺪﺩﺍ ﺩﺭ ﭘﻰ ﺁﻥ ﺑﻮﺩﻧﺪ ﻛﻪ ﻣﻮﺿﻮﻉ‬ ‫ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺷﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻭ ﺑﺤﺚ‬ ‫ﻗﺮﺍﺭ ﺩﻫﻨﺪ‪ .‬ﻧﺘﻴﺠﻪ ﺁﻥ‪ ،‬ﻧﺸﺴﺖ ﺍﺧﻴﺮ ‪ 5+1‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﺑﻪ ﻣﻴﺰﺑﺎﻧﻰ‬ ‫ﻛﻮﭘﺮ‪ ،‬ﻧﻤﺎﻳﻨﺪﻩ ﺍﺗﺤﺎﺩﻳﻪ ﺍﺭﻭﭘﺎ ﺑﻮﺩ‪ .‬ﻫﺪﻑ ﺍﻳﻦ ﻧﺸﺴــﺖ‪ ،‬ﺍﻋﻤﺎﻝ ﻓﺸﺎﺭ‬ ‫ﺑﻪ ﺍﻳﺮﺍﻥ ﺑــﺮﺍﻯ ﭘﺬﻳﺮﺵ ﻣﻌﺎﻣﻠﻪ ﻓﻮﻕﺍﻟﺬﻛﺮ ﻭ ﺑــﻪ ﻣﻮﺍﺯﺍﺕ ﺁﻥ ﺗﻼﺵ‬ ‫ﺑﺮﺍﻯ ﺗﺤﺮﻳﻢﻫﺎﻯ ﺳﻔﺖ ﻭ ﺳﺨﺖﺗﺮ ﺷﺎﻣﻞ ﺑﺨﺶﻫﺎﻯ ﺑﻴﻤﻪ‪ ،‬ﻣﺎﻟﻰ ﻭ‬ ‫ﺗﺴﻠﻴﺤﺎﺗﻰ ﻭ ﻧﻴﺰ ﺗﺤﺮﻳﻢﻫﺎﻯ ﻫﻮﺷﻤﻨﺪ ﺑﺮﺿﺪ ﺍﻳﺮﺍﻥ ﺑﻮﺩ‪.‬‬ ‫ﻧﺸﺴــﺖ ﻧﻴﻮﻳﻮﺭﻙ ﺑــﺎ ﺣﻀﻮﺭﺟﻔــﺮﻯ ﺁﺩﺍﻣــﺰ ﺍﺯ ﺑﺮﻳﺘﺎﻧﻴﺎ‪ ،‬ژﺍﻙ‬ ‫ﺍﻭﺩﻳﺒﺮﺕ ﺍﺯ ﻓﺮﺍﻧﺴــﻪ‪ ،‬ﺍﻣﻴﻠﻰ ﻫﺎﺑﺮ ﺍﺯ ﺁﻟﻤﺎﻥ‪ ،‬ﻭﻳﻠﻴــﺎﻡ ﺑﺮﻧﺰ ﺍﺯ ﺁﻣﺮﻳﻜﺎ‪،‬‬ ‫ﺳﺮﮔﺌﻰ ﺭﻳﺎﺑﻜﻒ ﺍﺯ ﺭﻭﺳﻴﻪ ﻭ ﻛﺎﻧﮓ ﻳﻮﻧﮓ ﺍﺯ ﭼﻴﻦ ﺑﻪ ﻣﻴﺰﺑﺎﻧﻰ ﻧﻤﺎﻳﻨﺪﻩ‬ ‫ﺍﺗﺤﺎﺩﻳﻪ ﺍﺭﻭﭘﺎ ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪ .‬ﻛﻮﭘﺮﺩﺭ ‪ 16‬ژﺍﻧﻮﻳﻪ‪ 2010‬ﺑﻪ ﻣﺪﺕ ﺗﻘﺮﻳﺒﺎ‬ ‫ﭼﻬﺎﺭ ﺳﺎﻋﺖ ﺍﺯ ﺳــﺎﻋﺖ‪ 12‬ﻇﻬﺮ ﺑﻪ ﻭﻗﺖ ﻣﺤﻠﻰ ﺗﺎ ﺳﺎﻋﺖ ‪16‬ﭘﺸﺖ‬ ‫ﺩﺭﻫﺎﻯ ﺑﺴﺘﻪ ﺑﺮﮔﺰﺍﺭ ﺷــﺪ‪ .‬ﺑﻪ ﻏﻴﺮ ﺍﺯ ﻧﻤﺎﻳﻨﺪﻩ ﺁﻣﺮﻳﻜﺎ ﻛﻪ ﻧﺸﺴﺖ ﺭﺍ‬ ‫ﺳﺎﺯﻧﺪﻩ ﻭ ﻣﻮﻓﻘﻴﺖﺁﻣﻴﺰ ﺧﻮﺍﻧﺪ ﻭ ﺗﻮﺿﻴﺤﻰ ﻧﺪﺍﺩ ﻛﻪ ﭼﺮﺍ ﻣﻮﻓﻘﻴﺖﺁﻣﻴﺰ‬ ‫ﺑﻮﺩﻩ ﺍﺳــﺖ‪ ،‬ﺍﻇﻬﺎﺭﺍﺕ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺩﻳﮕﺮ ﺣﺎﻛــﻰ ﺍﺯ ﻋﺪﻡ ﻣﻮﻓﻘﻴﺖ ﻭ‬ ‫ﺍﺭﺟﺎﻉ ﺁﻥ ﺑﻪ ﻧﺸﺴــﺖ ﺑﻌﺪﻯ ﺑﺪﻭﻥ ﺫﻛﺮ ﻫﻴﭻ ﺗﺎﺭﻳﺦ ﻣﺸﺨﺼﻰ ﺑﻮﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺷــﻮﺍﻫﺪ ﻭ ﮔﻔﺘﻪﻫﺎ ﺣﺎﻛﻰ ﺍﺯ ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﻣﻘﺎﻭﻣﺖ ﭼﻴﻦ ﻭ‬ ‫ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻯ ﺭﻭﺳﻴﻪ ﺣﺎﻛﻰ ﺍﺯ ﺷﻜﺴﺖ ﻣﺬﺍﻛﺮﺍﺕ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﭼﻨﺪ ﻧﻜﺘﻪ ﭘﻴﺮﺍﻣﻮﻥ ﻧﺸﺴﺖ ﻭ ﭼﺸﻢﺍﻧﺪﺍﺯ ﺁﻥ‬ ‫ﺩﺭ ﺗﺤﻠﻴﻞ ﻧﺸﺴــﺖ ﺍﺧﻴﺮ ﻻﺯﻡ ﺍﺳــﺖ ﭼﻨﺪ ﻣﻮﺭﺩ ﭘﻴﺮﺍﻣﻮﻥ ﺁﻥ ﻭ‬ ‫ﭼﺸﻢﺍﻧﺪﺍﺯ ﻣﻮﺿﻮﻉ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﮔﻔﺘﻪ ﺷﻮﺩ‪.‬‬ ‫‪ -1‬ﺍﮔﺮﭼﻪ ﻣﻘﺎﻭﻣﺖ ﺩﻳﭙﻠﻤﺎﺳــﻰ ﺍﻳﺮﺍﻧــﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﻏﺮﺏ ﺩﺭ ﺍﻳﻦ‬ ‫ﺧﺼﻮﺹ ﺑﻰﺗﺎﺛﻴﺮ ﻧﺒﻮﺩﻩ ﻭﻟﻰ ﻫﻤﻴﻦ ﺍﻣﺮ ﺧﻮﺩ ﺩﺭ ﻃﺮﺡ ﻣﺠﺪﺩ ﭘﺮﻭﻧﺪﻩ‬ ‫ﺍﻳﺮﺍﻥ ﺩﺭ ﺷــﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ ﺳــﺎﺯﻣﺎﻥ ﻣﻠﻞ ﻣﺘﺤﺪ ﻫﻢ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ‬ ‫ﺑﻰﺗﺎﺛﻴﺮ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻘﺎﻭﻣﺖ ﺭﻭﺳﻴﻪ ﻭ ﺑﻪﻭﻳﮋﻩ ﭼﻴﻦ ﺩﺭ ﻧﺸﺴﺖ ﺍﺧﻴﺮ‬ ‫ﻛﻪ ﺁﻥ ﺭﺍ ﺑﻪ ﺷﻜﺴﺖ ﻛﺸﺎﻧﺪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﻳﻨﻜﻪ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺍﻳﻦ ﺑﺎﺷﺪ‬ ‫ﻛﻪ ﺁﻧﻬﺎ ﻣﻨﺎﻓﻊ ﺍﻳﺮﺍﻥ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺑﺎﺷــﻨﺪ ﻧﺸﺎﻧﺪﻫﻨﺪﻩ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﺭﻭﺍﺑﻂ ﻭ ﻣﻨﺎﻓﻊ ﺧﻮﺩ ﺑﺎ ﻏﺮﺏ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪﺍﻧﺪ‪.‬‬ ‫ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﭼﻪ ﻫﺮ ﺩﻭ ﻛﺸﻮﺭ ﺭﻭﺳﻴﻪ ﻭ ﺍﻳﺮﺍﻥ ﺳﺎﻝﻫﺎ‬ ‫ﺍﺯ ﻟﺰﻭﻡ ﺩﺍﺷــﺘﻦ ﺭﻭﺍﺑﻂ ﺍﺳﺘﺮﺍﺗﮋﻳﻚ ﺳــﺨﻦ ﺑﻪ ﻣﻴﺎﻥ ﺁﻭﺭﺩﻩﺍﻧﺪ ﻭﻟﻰ‬ ‫ﺗﺎ ﺑﻪﺣﺎﻝ ﻫﻴﭻ ﺭﻭﺍﺑﻂ ﺍﺳــﺘﺮﺍﺗﮋﻳﻜﻰ ﺑﻴﻦ ﺩﻭ ﻛﺸــﻮﺭ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ‬ ‫ﻭ ﻟﻔﺎﻇﻰﻫﺎﻯ ﺭﻭﺳــﻴﻪ ﺩﺭ ﺍﻳﻦ ﺧﺼﻮﺹ ﺑﺮﺍﻯ ﺣﻔﻆ ﻣﻨﺎﻓﻊ ﺳﺮﺷﺎﺭ‬ ‫ﺍﻗﺘﺼــﺎﺩﻯ ﻭ ﺗﺴــﻠﻴﺤﺎﺗﻰ ﺧﻮﺩ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺩﻭ ﻛﺸــﻮﺭ‬ ‫ﺭﻭﺳــﻴﻪ ﻭ ﭼﻴﻦ ﻧﻪ ﺑﻪﺩﻧﺒﺎﻝ ﺭﻭﺍﺑﻂ ﺍﺳــﺘﺮﺍﺗﮋﻳﻚ ﺑﺎ ﺍﻳــﺮﺍﻥ ﺑﻠﻜﻪ ﺑﻪ‬ ‫ﺩﻧﺒﺎﻝ ﺣﻔﻆ ﻣﻨﺎﻓﻊ ﻭ ﺑﻬﺮﻩﮔﻴﺮﻯ ﺍﺯ ﻣﺰﻳﺖ ﻧﺴــﺒﻰ ﺭﻭﺍﺑﻂ ﺍﻗﺘﺼﺎﺩﻯ‬ ‫ﻭ ﻧﻈﺎﻣــﻰ ﺧﻮﺩ ﺑﺎ ﺍﻳﺮﺍﻥ ﻫﺴــﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻫﻤﭽﻨﻴــﻦ ﺍﺯ ﻧﻔﻮﺫ ﻏﺮﺏ ﺩﺭ‬ ‫ﻣﻌﺎﺩﻻﺕ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ ﻧﮕﺮﺍﻥ ﻫﺴــﺘﻨﺪ ﻭﻟﻰ ﺑﻪﺭﻏﻢ ﺁﻥ ﺩﺭ ﺣﻮﺯﻩﻫﺎﻯ‬ ‫ﻣﺨﺘﻠﻒ)ﻣﻨﻊ ﺗﻜﺜﻴﺮ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺗﺮﻭﺭﻳﺴــﻢ ﻭ ﺭﺍﺩﻳﻜﺎﻟﻴﺴــﻢ( ﭘﺲ ﺍﺯ‬ ‫ﻳﺎﺯﺩﻩ ﺳﭙﺘﺎﻣﺒﺮ ﭘﻴﻮﻧﺪﻫﺎﻯ ﻣﺸﺘﺮﻛﻰ ﺑﺎ ﺁﻣﺮﻳﻜﺎ ﻭ ﻏﺮﺏ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻻﺯﻡ ﺑﻪ ﻳﺎﺩﺁﻭﺭﻯ ﺍﺳــﺖ ﻛﻪ ﻳﻜــﻰ ﺍﺯ ﺑﻬﺎﻧﻪﻫﺎﻯ ﺭﻭﺳــﻴﻪ ﺩﺭ ﺗﻘﻠﻴﻞ‬ ‫ﻫﻤﻜﺎﺭﻯ ﺧﻮﺩ ﺑﺎ ﺍﻳﺮﺍﻥ ﭘﺲ ﺍﺯ ‪ 2003‬ﺣﺘﻰ ﺩﺭ ﺯﻣﻴﻨﻪ ﻧﻴﺮﻭﮔﺎﻩ ﺍﺗﻤﻰ‬ ‫ﺑﻮﺷﻬﺮ ﻛﻪ ﺻﺮﻓﺎ ﺑﺮﺍﻯ ﺗﻮﻟﻴﺪ ﺑﺮﻕ ﺍﺳﺖ ﻫﻤﻴﻦ ﻣﻨﺎﻓﻊ ﻣﺸﺘﺮﻙ ﺭﻭﺳﻴﻪ‬ ‫ﺑﺎ ﻏﺮﺏ ﺩﺭ ﺣﻮﺯﻩﻫﺎﻯ ﻓﻮﻕﺍﻟﺬﻛﺮ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪ -2‬ﭼﻴﻦ ﻭ ﺭﻭﺳﻴﻪ ﺍﮔﺮﭼﻪ ﺩﺭ ﺑﻪ ﺗﺎﺧﻴﺮ ﺍﻧﺪﺍﺧﺘﻦ ﻣﻮﺿﻮﻉ ﻫﺴﺘﻪﺍﻯ‬ ‫ﺍﻳﺮﺍﻥ ﻭ ﺩﺭﻧﺎﻛﺎﻡ ﮔﺬﺍﺷﺘﻦ ﺍﻫﺪﺍﻑ ﻏﺮﺏ ﻧﻘﺶ ﺍﻳﻔﺎ ﻧﻤﻮﺩﻩﺍﻧﺪ ﻭﻟﻰ ﺑﺎﻳﺪ‬ ‫ﺩﺍﻧﺴــﺖ ﻛﻪ ﺁﻧﻬﺎ ﺻﺮﻓﺎ ﺑﺎ ﻛﺎﺭﺕ ﺍﻳﺮﺍﻥ ﺩﺭ ﺭﺍﻩ ﺍﻣﺘﻴﺎﺯﮔﻴﺮﻯ ﺍﺯ ﺍﻳﺮﺍﻥ ﻭ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺑﻬﺮﻩ ﺑﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻳﺎﻡ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ ﺩﺭ ﻣﻮﺿﻮﻉ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ‬ ‫ﺣﺎﻛــﻰ ﺍﺯ ﻫﻤﺮﺍﻫﻰ ﺁﻧﻬﺎ ﺑــﺎ ﻏﺮﺏ ﺑﻮﺩﻩ ﻛﻪ ﺷــﺎﻫﺪ ﺁﻥ ﺭﺍﻯ ﻣﺜﺒﺖ ﻭ‬ ‫ﺿﺪ ﺍﻳﺮﺍﻧﻰ ﺁﻧﻬﺎ ﺩﺭ ﺳــﻪ ﻗﻄﻌﻨﺎﻣﻪ ﺷــﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﺗﺎ‬ ‫ﺣﺎﻻﺳﺖ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺁﻧﻬﺎ ﻧﻪ ﺧﻮﺍﺳﺘﺎﺭ ﺭﺍﻩ ﺣﻞ ﻗﻄﻌﻰ‬ ‫ﺑﻪ ﻧﻔﻊ ﺍﻳﺮﺍﻥ ﺑﻠﻜﻪ ﺧﻮﺍﺳــﺘﺎﺭ ﻋﺪﻡ ﺣﻞ ﺁﻥ ﺑﻪ ﻧﻔﻊ ﺧﻮﺩ ﺑﻮﺩﻩ ﻭ ﺻﺮﻓﺎ‬ ‫ﺑﻪﺩﻧﺒﺎﻝ ﻛﺶ ﻭ ﻗﻮﺱ ﺩﺍﺩﻥ ﭘﺮﻭﻧﺪﻩ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺟﺎﻟﺐ‬ ‫ﺍﻳﻨﻜﻪ ﭼﻴﻦ ﺑﻪﻭﻳﮋﻩ ﺭﻭﺳﻴﻪ ﻧﮕﺮﺍﻥ ﺁﺷﺘﻰ ﻣﻴﺎﻥ ﺍﻳﺮﺍﻥ ﻭ ﻏﺮﺏ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺑﻪﻭﻳﮋﻩ ﺍﻳﻦ ﻧﮕﺮﺍﻧﻰ ﭘﺲ ﺍﺯ ﺭﻭﻯ ﻛﺎﺭ ﺁﻣﺪﻥ ﺍﻭﺑﺎﻣﺎ ﻭ ﻗﻮﻝ ﺁﻥ ﺑﻪ ﻣﺬﺍﻛﺮﻩ‬ ‫ﻣﺴﺘﻘﻴﻢ ﺑﺎ ﺍﻳﺮﺍﻥ ﺗﺸﺪﻳﺪ ﺷﺪ‪ .‬ﺁﻧﻬﺎ ﺑﻪﻭﻳﮋﻩ ﺭﻭﺳﻴﻪ ﻧﮕﺮﺍﻥ ﺍﻳﻦ ﺍﻣﺮ ﺍﺳﺖ‬ ‫ﻛﻪ ﺩﺭ ﺻﻮﺭﺕ ﺁﺷــﺘﻰ ﺍﻳﺮﺍﻥ ﺑﺎ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﺭﻭﺳﻴﻪ ﻣﻨﺎﻓﻊ ﺳﺮﺷﺎﺭ ﺧﻮﺩ ﺭﺍ‬ ‫ﺩﺭ ﺍﻳﺮﺍﻥ ﺩﺭ ﺣﻮﺯﻩ ﺍﻗﺘﺼﺎﺩﻯ ﻭ ﻧﻈﺎﻣﻰ ﺍﺯ ﺩﺳﺖ ﺩﻫﺪ ﻭ ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﻛﻪ‬ ‫ﺑﺘﻮﺍﻧﻨﺪ ﺍﻣﺘﻴﺎﺯ ﺑﺰﺭﮔﻰ ﺭﺍ ﺍﺯ ﻏﺮﺏ ﺑﮕﻴﺮﻧﺪ ﺑﺪﻭﻥ ﺗﺮﺩﻳﺪ ﻫﻤﺮﺍﻫﻰ ﺧﻮﺩ‬ ‫ﺑﺎ ﻏﺮﺏ ﺭﺍ ﺑﻴﺸﺘﺮ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﺷﻮﺍﻫﺪ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺭﻭﺱﻫﺎ ﺩﺭ‬ ‫ﺍﻳﻦ ﻧﺸﺴﺖ‪ ،‬ﺧﻮﺩ ﺑﺮﺍﻯ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﺗﺤﺮﻳﻢﻫﺎﻯ ﻏﺮﺏ ﭘﻴﺸﻘﺪﻡ ﻧﺸﺪﻩ‬ ‫ﻭ ﻧﻘﺶ ﻣﺨﺎﻟﻒ ﺭﺍ ﺍﻳﻦ ﺑﺎﺭ ﺑﻪ ﭼﻴﻨﻰﻫﺎ ﻭﺍﮔﺬﺍﺭ ﻧﻤﻮﺩﻧﺪ‪.‬‬ ‫‪ -3‬ﺗﺠﺮﺑﻪ ﭘﻴﺸــﻴﻦ ﻫﻤﻜﺎﺭﻯ ﺑﺎ ﺭﻭﺳﻴﻪ ﻧﺸــﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺁﻧﻬﺎ‬ ‫ﻋﻤﺪﺗﺎ ﺍﻳﺮﺍﻥ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﻏﺮﺏ ﺩﺭ ﻣﻮﺍﻗﻊ ﺣﺴــﺎﺱ ﺗﻨﻬﺎ ﮔﺬﺍﺷــﺘﻪﺍﻧﺪ‪.‬‬ ‫ﻋــﺪﻡ ﺗﻜﻤﻴﻞ ﻧﻴﺮﻭﮔﺎﻩ ﺍﺗﻤﻰ ﺑﻮﺷــﻬﺮ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﻃﺒــﻖ ﻗﺮﺍﺭﺩﺍﺩ ﺑﺎ‬ ‫ﺍﻳــﺮﺍﻥ ﺩﺭ ﺳــﺎﻝ ‪ 2003‬ﺗﻜﻤﻴﻞ ﺷــﻮﺩ ﺍﻛﻨﻮﻥ ﻛﻪ ‪ 2010‬ﺍﺳــﺖ ﻭ‬ ‫ﻫﻨﻮﺯ ﺗﻜﻤﻴﻞ ﻧﺸــﺪﻩ‪ ،‬ﻧﺸــﺎﻧﺪﻫﻨﺪﻩ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﺍﻓﺸﺎﻯ‬ ‫ﺗﺎﺳﻴﺴﺎﺕ ﻫﺴــﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﺳــﺎﻝ ‪ 2003‬ﺭﺍ ﺑﻬﺎﻧﻪ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻭ ﺍﺯ‬ ‫ﺗﻜﻤﻴﻞ ﺁﻥ ﺳﺮﺑﺎﺯ ﺯﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﺍﺳﺖ ﻛﻪ ﺍﻳﺮﺍﻥ ﺑﻨﺎ ﺑﻪﮔﻔﺘﻪ‬ ‫ﻋﻠﻰ ﺍﻛﺒﺮ ﺻﺎﻟﺤﻰ‪ ،‬ﺭﺋﻴﺲ ﺳﺎﺯﻣﺎﻥ ﺍﻧﺮژﻯ ﺍﺗﻤﻰ ﺍﻳﺮﺍﻥ ﺗﺎ ﺣﺎﻝ ﻣﺒﻠﻎ‬ ‫ﻳﻚ ﻣﻴﻠﻴﺎﺭﺩﻭ ﺳﻴﺼﺪ ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ ﭘﺎﻯ ﺭﻭﺱﻫﺎ ﺭﻳﺨﺘﻪ ﺍﺳﺖ ﻭ ﻫﻴﭻ‬ ‫ﺿﻤﺎﻧﺘﻰ ﺑﺮﺍﻯ ﺗﻜﻤﻴﻞ ﻧﻴﺮﻭﮔﺎﻩ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬ ‫‪ -4‬ﻫﻤﺎﻧﻄﻮﺭﻯ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ ﻧﻘﺶ ﭼﻴﻦ ﺩﺭ ﺑﻪ ﺷﻜﺴﺖ ﻛﺸﺎﻧﺪﻥ‬ ‫ﻧﺸﺴﺖ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﭘﺮﺭﻧﮓﺗﺮ ﺍﺯ ﻧﻘﺶ ﺭﻭﺳﻴﻪ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﭼﻴﻨﻰﻫﺎ‬ ‫ﺩﺭ ﺍﻳﻦ ﻧﺸﺴﺖ ﺑﺎ ﻳﻚ ﻣﻘﺎﻡ ﭘﺎﻳﻴﻦ ﺭﺗﺒﻪ ﺩﺭ ﺣﺪ ﻣﺸﺎﻭﺭ ﺳﻔﻴﺮ ﭼﻴﻦ ﺩﺭ‬ ‫ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﺷﺮﻛﺖ ﻛﺮﺩﻧﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺍﺧﺘﻼﻓﺎﺕ ﺍﺧﻴﺮ ﭼﻴﻦ‬ ‫ﺑﺎ ﺁﻣﺮﻳﻜﺎ ﺑﺮﺳﺮ ﺍﺭﺳﺎﻝ ﺗﺴﻠﻴﺤﺎﺕ ﺑﻪ ﺗﺎﻳﻮﺍﻥ ﻧﻘﺶ ﻋﻤﺪﻩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺧﻰ ﺑﺮﺍﻳﻦ ﺍﻋﺘﻘﺎﺩﻧﺪ ﻛﻪ ﭼﻴﻨﻰﻫﺎ ﻧﻴﺰ ﭼﺸــﻢ ﺑﻪ ﺍﻣﺘﻴﺎﺯ ﻣﺸــﺎﺑﻬﻰ‬ ‫ﺩﻭﺧﺘﻪﺍﻧﺪ ﻛﻪ ﺭﻭﺱﻫﺎ ﺍﺯ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﻣﻨﺴﻮﺥ ﻧﻤﻮﺩﻥ ﻃﺮﺡ ﺳﭙﺮ ﺩﻓﺎﻉ‬ ‫ﻣﻮﺷﻜﻰ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﻟﻬﺴﺘﺎﻥ ﻭ ﭼﻚ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻧﺪ‪ .‬ﭘﺲ ﺍﺯ ﺍﻳﻦ ﺍﻣﺘﻴﺎﺯ‬ ‫ﻟﺤﻦ ﺭﻭﺳــﻴﻪ ﺩﺭ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﻣﻮﺿﻊ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﭘﺮﻭﻧﺪﻩ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ‬ ‫ﺑﻪ ﺷﺪﺕ ﻧﺮﻡﺗﺮ ﺷــﺪ ﻭ ﭼﺸﻢﺍﻧﺪﺍﺯ ﻣﻄﻠﻮﺑﻰ ﺍﺯ ﻣﻮﺿﻊﮔﻴﺮﻯ ﺭﻭﺱﻫﺎ‬ ‫ﺑﻪ ﻧﻔﻊ ﺍﻳﺮﺍﻥ ﺩﺭ ﻧﺸﺴﺖﻫﺎﻯ ﺑﻌﺪﻯ ﺷﻮﺭﺍﻯ ﺍﻣﻨﻴﺖ ﺍﺭﺍﺋﻪ ﻧﻤﻰﺩﻫﺪ‪.‬‬ ‫ﺩﺭ ﺻﻮﺭﺗﻰﻛﻪ ﭼﻴﻦ ﻧﻴﺰ ﺩﺭ ﻣﻮﺿﻮﻉ ﺗﺎﻳﻮﺍﻥ ﭼﻨﻴﻦ ﺍﻣﺘﻴﺎﺯﻯ ﺍﺯ ﺁﻣﺮﻳﻜﺎ‬ ‫ﺩﺭﻳﺎﻓﺖ ﺩﺍﺭﺩ ﺩﺭ ﻧﺸﺴﺖﻫﺎﻯ ﺑﻌﺪﻯ ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺯﻳﺎﺩ ﻫﻤﭙﺎﻯ ﺭﻭﺳﻴﻪ‬ ‫ﺩﺭ ﻫﻤﺮﺍﻫﻰ ﺑﻴﺸــﺘﺮ ﺑﺎ ﺁﻣﺮﻳﻜﺎ ﻗﺪﻡ ﺑﺮﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﺑﺮﺿﺪ ﺍﻳﺮﺍﻥ ﺭﺍﻯ ﺩﻫﺪ‪.‬‬ ‫‪ -5‬ﻧﺘﻴﺠــﻪ ﺍﻳﻨﻜﻪ ﺍﮔﺮ ﭼﻪ ﺍﻳﻦ ﻧﺸﺴــﺖ ﺷﻜﺴــﺖ ﺧﻮﺭﺩ ﻭﻟﻰ‬ ‫ﺑﺎ ﺭﻭﻧﺪ ﻛﻨﻮﻧــﻰ ﺍﻣﻴﺪ ﺯﻳﺎﺩﻯ ﺑﻪ ﻫﻤﺮﺍﻫﻰ ﺭﻭﺱﻫــﺎ ﻭ ﭼﻴﻨﻰﻫﺎ ﺑﺎ‬ ‫ﺍﻳﺮﺍﻥ ﻧﻴﺴــﺖ‪ .‬ﺳﻮﺍﻝ ﺑﺰﺭگ ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﭼﺮﺍ ﻣﺎ ﺑﺮﺍﻯ ﺍﻳﻨﻜﻪ ﺑﻪ‬ ‫ﻳﻚ ﻗﺪﺭﺕ ﺑﺰﺭگ)ﺁﻣﺮﻳﻜﺎ( ﺑﺎﺝ ﻧﺪﻫﻴﻢ ﺣﺎﺿﺮﻳﻢ ﺑﺎﺝﻫﺎﻯ ﺯﻳﺎﺩﻯ‬ ‫ﺑﻪ ﻗﺪﺭﺕﻫــﺎﻯ ﻛﻮﭼﻜﺘﺮ ﺍﺯ ﺁﻥ)ﺭﻭﺳــﻴﻪ ﻭ ﭼﻴــﻦ( ﺩﻫﻴﻢ ﺑﺪﻭﻥ‬ ‫ﺍﻳﻨﻜﻪ ﺩﺳــﺘﺎﻭﺭﺩ ﺭﻭﺷﻨﻰ ﺑﺮﺍﻯ ﻣﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷــﺪ؟ ﻭﺍﻗﻌﻴﺖ ﺩﻳﮕﺮ‬ ‫ﺍﻳﻨﻜﻪ ﺭﻭﺱﻫﺎ ﻭ ﭼﻴﻨﻰﻫﺎ ﺑﻪﺭﻏﻢ ﺑﺎﺯﻯ ﺑﺎ ﻛﺎﺭﺕ ﺍﻳﺮﺍﻥ ﺗﺎ ﺣﺪﺍﻛﺜﺮ‬ ‫ﻗﺪﺭﺗﺸــﺎﻥ ﺑﺮﺍﻯ ﺑﻪ ﺗﺎﺧﻴــﺮ ﺍﻧﺪﺍﺧﺘﻦ ﭘﺮﻭﻧﺪﻩ ﻫﺴــﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﻭ‬ ‫ﻛﺎﺭﺷــﻜﻨﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﻏﺮﺏ ﻧﻘﺶ ﺍﻳﻔﺎ ﻣﻰﻛﻨﻨــﺪ ﻭﻟﻰ ﻗﺪﺭﺕ ﺁﻧﻬﺎ‬ ‫ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﻧﻴﺴــﺖ‪ .‬ﺭﻭﺳــﻴﻪ ﻭ ﭼﻴﻦ ﻧﻪ ﻳﻚ ﻗﺪﺭﺕ ﺑﺰﺭگ ﺑﻠﻜﻪ‬ ‫ﺻﺮﻓﺎ ﻳﻚ ﻗﺪﺭﺕ ﺩﺭ ﺣﺎﻝ ﻇﻬﻮﺭ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺷﻜﺴﺖ ﻧﺸﺴﺖ‪ 5 + 1‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﺍﻳﻦ ﮔﻤﺎﻧﻪﺯﻧﻲ ﺭﺍ ﺍﻓﺰﺍﻳﺶ ﺩﺍﺩ‬ ‫ﺗﺤﺮﻳﻢ ﺑﺪﻭﻥ ﺣﻀﻮﺭ ﭼﻴﻦ ﻭ ﺭﻭﺳﻴﻪ‬ ‫ﻭﺍﺷـﻨﮕﺘﻦ ﺑﻪ ﻫﻤـﺮﺍﻩ ﺍﻧﮕﻠﻴـﺲ‪،‬‬ ‫ﻓﺮﺍﻧﺴـﻪ ﻭ ﺁﻟﻤﺎﻥ ﭼﻨﺪﻳﻦ ﻣﺎﻩ ﺍﺳﺖ‬ ‫ﺑﻪﺩﻧﺒﺎﻝ ﻗﺎﻧﻊ ﻛﺮﺩﻥ ﺭﻭﺳﻴﻪ ﻭ ﭼﻴﻦ‬ ‫ﻫﺴـﺘﻨﺪ ﻛﻪ ﺯﻣﺎﻥ ﻓﺸـﺎﺭ ﺑﻴﺸﺘﺮ ﺑﺮ‬ ‫ﺍﻳﺮﺍﻥ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺩﻳﭙﻠﻤﺎﺕﻫﺎﻱ‬ ‫ﻏﺮﺑﻲ ﺑﻪ ﻣﺴـﻜﻮ ﻧﺎﻣﻪ ﻧﻮﺷﺘﻪﺍﻧﺪ ﻛﻪ‬ ‫ﺗﻼﺵﻫﺎﻱ ﻣﻴﺎﻧﺠﻲﮔﺮﺍﻧﻪ ﺑﻪ ﻧﺘﻴﺠﻪ‬ ‫ﻧﺮﺳﻴﺪﻩ ﺍﺳﺖ ﻭ ﻧﺸـﺎﻧﻪﻫﺎ ﺣﻜﺎﻳﺖ ﺍﺯ ﺁﻥ ﺩﺍﺭﻧﺪ ﻛﻪ ﺑﺎﻳﺪ ﻓﻀﺎ‬ ‫ﺭﺍ ﺑﺮﺍﻱ ﺍﻳـﺮﺍﻥ ﺩﺍﻍ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﭼﻴﻦ ﻛﻪ ﺭﻭﺍﺑﻂ ﮔﺴـﺘﺮﺩﻩﺍﻱ ﺑﺎ‬ ‫ﺍﻳﺮﺍﻥ ﺩﺍﺭﺩ‪ ،‬ﻣﻲﮔﻮﻳﺪ ﺗﺤﺮﻳﻢﻫﺎ ﺯﻭﺩﺭﺱ ﺍﺳـﺖ ﻭ ﺯﻣﺎﻥ ﺑﺎﻳﺪ‬ ‫ﺑﻪ ﺩﻳﭙﻠﻤﺎﺳـﻲ ﺍﺧﺘﺼﺎﺹ ﻳﺎﺑﺪ‪ .‬ﭼﻴﻦ ﺑﺎ ﻓﺮﺳﺘﺎﺩﻥ ﺩﻳﭙﻠﻤﺎﺕ‬ ‫ﺩﻭﻥﭘﺎﻳﻪ ﺧﻮﺩ ﺑﻪ ﺍﺟﻼﺱ ‪ 5+1‬ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﺑﺎ ﻓﺸﺎﺭ ﺑﻴﺸﺘﺮ‬ ‫ﻭ ﺗﺤﺮﻳﻢﻫﺎﻱ ﺟﺪﻳـﺪ ﻋﻠﻴﻪ ﺍﻳﺮﺍﻥ ﻣﻮﺍﻓﻖ ﻧﻴﺴـﺖ‪ .‬ﺗﺼﻤﻴﻢ‬ ‫ﭼﻴﻦ ﺩﺭ ﻣﻴﺎﻥ ﺁﻣﺮﻳﻜﺎ ﻭ ﻫﻢﭘﻴﻤﺎﻧﺎﻧﺶ ﻛﻪ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻨﺪ ﺍﻳﻦ‬ ‫ﺩﻭﻟﺖ ﺁﺳـﻴﺎﻳﻲ ﻳﻚ ﻧﻤﺎﻳﻨﺪﻩ ﻋﺎﻟﻲﺭﺗﺒـﻪ ﺑﺮﺍﻱ ﮔﻔﺖﻭﮔﻮﻫﺎ‬ ‫ﺍﻋﺰﺍﻡ ﻛﻨـﺪ‪ ،‬ﺑﻲﻣﻴﻠﻲ ﻭ ﺗـﺮﺱ ﺍﻳﺠﺎﺩ ﻛـﺮﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻳﻦ‬ ‫ﻧﺸﺴـﺖ ﺑﺪﻭﻥ ﻧﺘﻴﺠﻪ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ .‬ﺩﻛﺘﺮ ﻋﻠﻰ ﺑﻴﮕﺪﻟﻰ‪،‬‬ ‫ﺍﺳﺘﺎﺩ ﺩﺍﻧﺸﮕﺎﻩ ﻭ ﻛﺎﺭﺷﻨﺎﺱ ﻣﺴﺎﺋﻞ ﺑﻴﻦﺍﻟﻤﻠﻞ ﺩﺭ ﮔﻔﺖﻭﮔﻮ‬ ‫ﺑﺎ ﻣﺜﻠﺚ ﺑﺮ ﺍﻳﻦ ﻧﻜﺘﻪ ﺗﺎﻛﻴﺪ ﻣﻰﻛﻨـﺪ ﻛﻪ ﺍﺣﺘﻤﺎﻝ ﺍﻳﻦ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ ﻛﻪ ﺁﻣﺮﻳﻜﺎ ﻭ ﺳـﻪ ﻛﺸـﻮﺭ ﺍﺭﻭﭘﺎﻳـﻰ ‪ 5+1‬ﺑﺪﻭﻥ ﺣﻀﻮﺭ‬ ‫ﺭﻭﺳـﻴﻪ ﻭ ﭼﻴﻦ ﺩﺳﺖ ﺑﻪ ﺗﺤﺮﻳﻢﻫﺎﻯ ﭼﻨﺪﺟﺎﻧﺒﻪ ﺑﺰﻧﻨﺪ‪ .‬ﻭﻯ‬ ‫ﻣﻌﺘﻘﺪ ﺍﺳـﺖ ﺍﻳﻦ ﺗﺤﺮﻳﻢﻫﺎ ﻫﺮ ﭼﻨﺪ ﻓﻠﺞﻛﻨﻨﺪﻩ ﻧﻴﺴﺖ ﺍﻣﺎ‬ ‫ﺑﺪﻭﻥ ﺗﺎﺛﻴﺮ ﻧﻴﺰ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻧﺸﺴﺖ ‪ 5+1‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﺍﻭﺍﻳﻞ ﻫﻔﺘﻪ ﮔﺬﺷﺘﻪ ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪،‬‬ ‫ﺍﻣﺎ ﻫﺮ ﺷـﺶ ﻛﺸﻮﺭ ﺷﺮﻛﺖ ﻛﻨﻨﺪﻩ ﺑﻪ ﻧﻮﻋﻰ ﺍﺫﻋﺎﻥ ﺩﺍﺷﺘﻨﺪ‬ ‫ﻛﻪ ﺍﻳﻦ ﻧﺸﺴﺖ ﻧﺘﻴﺠﻪﺍﻯ ﺩﺭ ﺑﺮ ﻧﺪﺍﺷـﺖ ﻭ ﺑﻪ ﺑﻴﺎﻧﻰ ﺩﻳﮕﺮ ﺑﺎ‬ ‫ﺷﻜﺴﺖ ﻣﻮﺍﺟﻪ ﺷﺪ‪ .‬ﻋﻠﺖ ﺷﻜﺴﺖ ﺍﻳﻦ ﻧﺸﺴﺖ ﭼﻴﺴﺖ؟‬ ‫ﻓﻀﺎﻯ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺑﺮﺍﻯ ﻧﺸﺴﺖ ﭼﻨﺪﺍﻥ ﻣﺴﺎﻋﺪ ﻧﺒﻮﺩ‪ .‬ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ‬ ‫ﺑﺮﺍﻯ ﺑﺮﮔﺰﺍﺭﻯ ﺍﻳﻦ ﻧﺸﺴــﺖ ﻋﺠﻠﻪ ﻛﺮﺩﻧــﺪ‪ ،‬ﭼﺮﺍﻛﻪ ﻃﻰ ﭼﻨﺪ ﻭﻗﺖ‬ ‫ﮔﺬﺷــﺘﻪ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﭼﻴﻨﻰﻫﺎ ﺭﺍ ﺷــﺪﻳﺪﺍ ﺗﺤﺖ ﻓﺸــﺎﺭ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻫﻢ ﻛﻤﻚ ﻧﻈﺎﻣﻰ ﺁﻣﺮﻳﻜﺎ ﺑﻪ ﺗﺎﻳﻮﺍﻥ ﻭ ﻫﻢ ﺳــﻔﺮ ﻫﻴﻼﺭﻯ ﻛﻠﻴﻨﺘﻮﻥ‪،‬‬ ‫ﻭﺯﻳﺮ ﺍﻣﻮﺭﺧﺎﺭﺟﻪ ﺁﻣﺮﻳﻜﺎ ﺑﻪ ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﻭ ﺍﻧﮕﺸــﺖ ﮔﺬﺍﺷﺘﻦ ﺭﻭﻯ‬ ‫ﺑﺤﺚ ﺣﻘﻮﻕﺑﺸﺮ ﻛﻪ ﭼﻴﻨﻰﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥ ﺣﺴﺎﺳﻴﺖ ﺩﺍﺭﻧﺪ ﺳﺒﺐ‬ ‫ﺷــﺪ ﺗﺎ ﻓﻀﺎﻳﻰ ﻣﺴــﺎﻋﺪ ﺑﺮﺍﻯ ﺍﺟﻼﺱ ‪ 5+1‬ﺑﻪ ﻭﺟﻮﺩ ﻧﻴﺎﻳﺪ‪ .‬ﺑﺎﺗﻮﺟﻪ‬ ‫ﺑﻪ ﻣﻨﺎﺳﺒﺎﺗﻰ ﻛﻪ ﺑﻴﻦ ﭼﻴﻦ ﻭ ﺭﻭﺳﻴﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺭﻭﺳﻴﻪ ﻫﻢ ﺳﻄﺢ‬ ‫ﻫﻴــﺎﺕ ﺍﻋﺰﺍﻣﻰ ﺧﻮﺩ ﺭﺍ ﻛﺎﻫﺶ ﺩﺍﺩ‪ .‬ﺍﻳﻦ ﻣﺴــﺎﻟﻪ ﺗــﺎ ﺣﺪﻭﺩﻯ ﻗﺎﺑﻞ‬ ‫ﭘﻴﺶﺑﻴﻨﻰ ﺑﻮﺩ ﻭ ﻧﺒﺎﻳﺪ ﺍﻳﻦ ﻧﺸﺴﺖ ﺻﻮﺭﺕ ﻣﻰﮔﺮﻓﺖ‪.‬‬ ‫ﺗﺤﻮﻻﺗـﻰ ﻫﻢ ﺩﺭ ﻧﻈـﺎﻡ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺑﻪ ﻭﺟـﻮﺩ ﺁﻣﺪﻩ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺭﻭﻯ ﺍﻳﻦ ﻧﺸﺴﺖ ﺍﺛﺮﮔﺬﺍﺭ ﺑﺎﺷﺪ‪ .‬ﺑﻪﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ‬ ‫ﺯﻟﺰﻟﻪﺍﻯ ﻛﻪ ﺩﺭﻫﺎﺋﻴﺘﻰ ﺁﻣﺪ ﻫﻢ ﺭﻭﻯ ﻓﻀﺎﻯ ﺍﻳﻦ ﺍﺟﻼﺱ ﺍﺛﺮ‬ ‫ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﻪﻧﻈﺮ ﻣﻰﺭﺳــﺪ ﺑﻌــﺪ ﺍﺯ ﺍﻳﻦ ﺍﺟــﻼﺱ ﺑﺮﺧﻰ ﺍﺯ ﻛﺸــﻮﺭﻫﺎﻯ ‪5+1‬‬ ‫ﺩﻭ ﺭﺍﻩ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻨﺪ‪ .‬ﻳﺎ ﺑﺘﻮﺍﻧﻨﺪ ﺑﺎ ﺭﻭﺳــﻴﻪ ﻭ ﭼﻴﻦ ﺑﻪ ﻳﻚﺳــﺮﻯ‬ ‫ﻧﻘﻄﻪﻧﻈــﺮﺍﺕ ﻣﻮﺍﻓﻖ ﺑﺮﺳــﻨﺪ ﻳﺎ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﺩﻭ ﻛﺸــﻮﺭ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭﻯ‬ ‫ﺑﮕﺬﺍﺭﻧﺪ ﻭ ﺳﻴﺎﺳﺖﻫﺎﻳﺸــﺎﻥ ﺭﺍ ﺍﺯ ﺁﻧﻬﺎ ﺟﺪﺍ ﻛﻨﻨﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﺗﺤﺮﻳﻢ‬ ‫ﺍﻳﺮﺍﻥ ﻭ ﺷﺮﻛﺖﻫﺎﻳﻰ ﺑﺮﻭﻧﺪ ﻛﻪ ﺑﺎ ﺍﻳﺮﺍﻥ ﻫﺮﮔﻮﻧﻪ ﺍﺭﺗﺒﺎﻁ ﺗﺠﺎﺭﻯ ﺩﺍﺭﻧﺪ‪،‬‬ ‫ﺑﻪﺧﺼﻮﺹ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻣﻮﺍﺩ ﺳﻮﺧﺘﻰ‪.‬‬ ‫ﻳﻌﻨﻰ ﺍﻳﻦ ﻛﺸﻮﺭﻫﺎ ﺗﺤﺮﻳﻢﻫﺎﻯ ﭼﻨﺪﺟﺎﻧﺒﻪ ﺧﺎﺭﺝ ﺍﺯ ‪ 5+1‬ﺭﺍ‬ ‫ﻋﻠﻴﻪ ﺍﻳﺮﺍﻥ ﺭﻗﻢ ﺑﺰﻧﻨﺪ؟‬ ‫ﺑﻠﻪ‪ ،‬ﻳﻌﻨﻰ ﺧﻮﺩ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ ﻭ ﺳــﻪ ﻛﺸــﻮﺭ ﺍﺗﺤﺎﺩﻳﻪ ﺍﺭﻭﭘﺎ‪ ،‬ﺁﻟﻤﺎﻥ ﻭ‬ ‫ﻓﺮﺍﻧﺴﻪ ﻭ ﺍﻧﮕﻠﻴﺲ ﺑﻴﺎﻳﻨﺪ ﻭ ﺍﻳﻦ ﺗﺤﺮﻳﻢﻫﺎ ﺭﺍ ﺍﻋﻤﺎﻝ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﻛﺸﻮﺭﻫﺎ‬ ‫ﻫﻢ ﺩﺭ ﺩﻧﻴــﺎ ﺍﻗﻤﺎﺭﻯ ﻣﺎﻧﻨﺪ ﻛﺎﻧﺎﺩﺍ ﻭ ژﺍﭘﻦ ﺩﺍﺭﻧــﺪ ﻛﻪ ﺗﺤﺖ ﻧﻔﻮﺫ ﺍﻳﻦ‬ ‫ﻛﺸﻮﺭﻫﺎ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﺣﻀﻮﺭ ﺁﻧﻬﺎ ﻫﻢ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﭼﻴﻦ ﻫــﻢ ﺍﺯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺧﺎﺭﺝ ﻣﻰﺷــﻮﺩ‪ .‬ﺭﻭﺳــﻴﻪ ﻫﻢ ﺗﺎ ﺣﺪﻭﺩ‬ ‫ﺯﻳﺎﺩﻯ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﭼﻴﻦ ﺍﺯ ﺍﻳﻦ ﺩﻭﺭ ﺧﺎﺭﺝ ﺧﻮﺍﻫﺪ ﺷــﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ‬ ‫ﺍﻳﻦ ﺷــﻴﻮﻩ‪ ،‬ﺷﻴﻮﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺑﻴﺸــﺘﺮ ﺑﻪ ﻧﻔﻊ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ ﺧﻮﺍﻫﺪ‬ ‫ﺑﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺍﺩﺍﻣﻪ ﻫﻤﻜﺎﺭﻯ ﺑﺎ ﭼﻴﻦ ﻭ ﺭﻭﺳﻴﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﺑﻪ‬ ‫ﻧﻘﻄﻪ ﻣﻮﻓﻘﻴﺖﺁﻣﻴﺰﻯ ﺑﺮﺳﺎﻧﺪ‪ ،‬ﭼﺮﺍﻛﻪ ﺍﻭﺑﺎﻣﺎ‪ ،‬ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﺁﻣﺮﻳﻜﺎ‬ ‫ﻧﻤﻰﺧﻮﺍﻫﺪ ﻣﺎﻧﻨﺪ ﮔﺬﺷﺘﻪ ﻛﻪ ﺑﻪ ﻋﺮﺍﻕ ﺣﻤﻠﻪ ﻛﺮﺩﻧﺪ‪ ،‬ﺧﺎﺭﺝ ﺍﺯ ﺷﻜﻞ‬ ‫ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﺑﺮﺍﻯ ﺍﻳﺮﺍﻥ ﻫﻢ ﭼﻨﻴﻦ ﻭﺿﻌﻴﺘﻰ ﺭﺍ ﺑﻪﻭﺟﻮﺩ ﺁﻭﺭﺩ‪.‬‬ ‫ﺍﺣﺘﻤﺎﻝ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﻛﺸﻮﺭﻫﺎ ﺑﺘﻮﺍﻧﻨﺪ ﭼﻴﻦ ﻭ ﺭﻭﺳﻴﻪ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺗﺤﺮﻳﻢﻫﺎﻯ ﺑﻴﺸﺘﺮ ﻗﺎﻧﻊ ﻛﻨﻨﺪ ﺗﺎ ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫ﺗﺎﻛﻨﻮﻥ ﺷﺮﺍﻳﻂ ﻧﺸــﺎﻥ ﺩﺍﺩﻩ ﻛﻪ ﺍﻳﻦ ﺍﺣﺘﻤﺎﻝ ﺑﺴﻴﺎﺭ ﻛﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪،‬‬ ‫ﺑﻪﺧﺼﻮﺹ ﺍﻳﻨﻜﻪ ﭼﻴﻦ ﺑﻪ ﺩﻟﻴﻞ ﺣﺠﻢ ﻣﻨﺎﺳﺒﺎﺕ ﺗﺠﺎﺭﻯ ﻛﻪ ﺑﺎ ﺍﻳﺮﺍﻥ‬ ‫ﺩﺍﺭﺩ ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﺍﻳﻦ ﻣﻨﺎﺳﺒﺎﺕ ﺭﺍ ﺣﻔﻆ ﻛﻨﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﻢ ﺑﻪ ﺍﻧﺮژﻯ‬ ‫ﻣﺎ ﺑﺴﻴﺎﺭ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﺩ ﻭ ﻫﻢ ﺍﻳﻨﻜﻪ ﺳﻄﺢ ﻣﻨﺎﺳﺒﺎﺕ ﺗﺠﺎﺭﻯﺍﺵ ﺑﺎ ﻣﺎ‬ ‫ﺁﻧﻘﺪﺭ ﺑﺎﻻﺳﺖ ﻛﻪ ﺣﺎﺿﺮ ﻧﻴﺴﺖ ﺍﻳﺮﺍﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﺪ‪ .‬ﭼﻴﻦ ﺩﺭ ﺣﺎﻝ‬ ‫ﺣﺎﺿﺮ ﻳﻚ ﺑﺎﺯﻯ ﺩﻭ ﻃﺮﻓﻪ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ ﺍﻣﺎ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺍﻳﻦ ﺑﺎﺯﻯ‬ ‫ﺩﻭ ﻃﺮﻓﻪ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳــﻴﺪﻩ ﻭ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ‪ ،‬ﺑﻪﺧﺼﻮﺹ ﺟﻨﺎﺡ ﺭﺍﺳﺖ‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰ ﻣﺎﻧﻨﺪ ﺧﺎﻧﻢ ﻛﻠﻴﻨﺘﻮﻥ‪ ،‬ﭼﻨﺪﺍﻥ ﺑﺎ ﺍﺩﺍﻣﻪ ﭼﻨﻴﻦ ﺳﻴﺎﺳﺘﻰ ﺍﺯ‬ ‫ﻃﺮﻑ ﭼﻴﻦ ﻣﻮﺍﻓﻖ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﻰﺗــﻮﺍﻥ ﭘﻴﺶﺑﻴﻨﻰ ﻛﺮﺩ ﻛﻪ ﺩﺭ ﺁﻳﻨــﺪﻩ ﻧﺰﺩﻳﻚ ﺁﻣﺮﻳﻜﺎ‪،‬‬ ‫ﺍﻧﮕﻠﻴﺲ‪ ،‬ﻓﺮﺍﻧﺴﻪ ﻭ ﺁﻟﻤﺎﻥ ﺳﻴﺎﺳــﺖﻫﺎﻯ ﻣﺴﺘﻘﻠﻰ ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﺮﺍﻥ‬ ‫ﺍﻋﻤﺎﻝ ﻛﻨﻨﺪ ﻛﻪ ﻧﺘﻴﺠﻪﺍﺵ ﺍﻳﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﺎﻻﻫﺎﻯ‬ ‫ﭼﻴﻨﻰ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺗﺤﺮﻳﻢ ﺷــﻮﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﺟﻬﺖ ﻫﻢ ﭼﻴﻨﻰﻫﺎ ﺑﺎﻳﺪ ﺑﻪ‬ ‫ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺗﻮﺟﻪ ﻛﻨﻨﺪ‪.‬‬ ‫ﺑﻪﻧﻈﺮ ﺷﻤﺎ ﺗﺤﺮﻳﻢﻫﺎﻯ ﺟﺪﻳﺪﻯ ﻛﻪ ﻗﺮﺍﺭﺍﺳﺖ ﺍﻋﻤﺎﻝ ﺷﻮﺩ ﺩﺭ‬ ‫ﺣﺪﻯﻛﻪﻫﺪﻑﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎﺳﺖﻧﺘﻴﺠﻪﺑﺨﺶﺧﻮﺍﻫﺪﺑﻮﺩ؟‬ ‫ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺑﻪ ﻣﻌﻨﺎﻯ ﻓﻠﺞ ﻛﻨﻨﺪﮔﻰ ﺑﺎﺷﺪ ﭼﺮﺍﻛﻪ ﺍﻳﺮﺍﻥ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺍﻳﻦ ﺑﻨﺰﻳــﻦ ﺭﺍ ﺍﺯ ﺑﺎﺯﺍﺭ ﺁﺯﺍﺩ ﻓﺮﺍﻫﻢ ﻛﻨﺪ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﺴــﺎﻟﻪ‬ ‫ﺩﻻﻝﻫــﺎﻯ ﻓﺮﺍﻭﺍﻧﻰ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻭ ﺗﺎﺣــﺪﻭﺩﻱ ﻫﻢ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺑﺎ‬ ‫ﻛﻨﺘﺮﻝ ﺳــﻬﻤﻴﻪﻫﺎ ﻣﺼﺮﻑ ﺩﺍﺧﻠﻰ ﺭﺍ ﻛﺎﻫﺶ ﺩﻫﻴﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺛﺮﮔﺬﺍﺭ‬ ‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﺍﻣﺎ ﻗﻄﻌﺎ ﻓﻠﺞﻛﻨﻨﺪﻩ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺁﺧﺮﻳﻦ ﻓﺮﺻﺖ‬ ‫ﺍﻭﺍﺧﺮ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﻣﻴﻼﺩﻯ ﺍﻋﻼﻡ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺗﺤﺮﻳﻢﻫﺎ ﺭﺍ ﺩﺭ ﻣﺎﻩ ژﺍﻧﻮﻳﻪ ﺍﻋﻤﺎﻝ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ ﺍﻣﺎ ﺩﺭ ﺣﺎﻝﺣﺎﺿﺮ ﺑﺎ ﻋﺪﻡ‬ ‫ﺍﺟﻤﺎﻋﻰ ﻛﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﺑﻪ ﺗﺎﺧﻴﺮ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﻛﺸﻮﺭﻫﺎﻯ ﻏﺮﺑﻰ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺍﻋﻤﺎﻝ ﺗﺤﺮﻳﻢﻫﺎﻯ ﺑﻴﺸﺘﺮ‬ ‫ﻋﻠﻴﻪ ﺍﻳﺮﺍﻥ ﺑﻪﺯﻭﺩﻯ ﺑﻪ ﻧﺘﻴﺠﻪ ﺧﻮﺍﻫﻨﺪ ﺭﺳﻴﺪ؟‬ ‫ﺁﻗﺎﻯ ﺍﻭﺑﺎﻣﺎ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺍﻋﻼﻡ ﻛﺮﺩ ﺍﻳﺮﺍﻥ ﺗﺎ ﺁﺧﺮ ﺳﺎﻝ ﻣﻴﻼﺩﻯ ﻓﺮﺻﺖ ﺩﺍﺭﺩ‪ .‬ﺩﺭﻭﺍﻗﻊ ﺍﻳﻦ ﻧﺸﺴﺖ ﻫﻢ ﺑﻪﺩﻧﺒﺎﻝ ﻫﻤﻴﻦ ﺻﺤﺒﺖﻫﺎ ﺑﺮﮔﺰﺍﺭ‬ ‫ﺷــﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺣﻮﺍﺩﺛﻰ ﻛﻪ ﺩﺭ ﺩﻧﻴﺎ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺷﺮﺍﻳﻂ ﺭﺍ ﺑﺮﺍﻯ ﺍﻳﻦ ﻧﺸﺴــﺖ ﻣﻨﺎﺳﺐ ﻧﻜﺮﺩ ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺍﺟﻼﺱ ﺑﺎ‬ ‫ﻳﻚ ﻣﺎﻩ ﺗﺎﺧﻴﺮ ﺩﺭ ﻣﺎﻩ ﻓﻮﺭﻳﻪ ﺩﻭﺑﺎﺭﻩ ﺷﻜﻞ ﺑﮕﻴﺮﺩ ﻭ ﺍﻳﻦ ﻛﺸﻮﺭﻫﺎ ﻫﻢ ﻃﻰ ﺍﻳﻦ ﺍﺟﻼﺱ ﻣﺬﺍﻛﺮﺍﺕ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺭﻭﺳﻴﻪ ﻭ ﭼﻴﻦ ﺍﺩﺍﻣﻪ ﺩﻫﻨﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﻣﻦ ﺗﺼﻮﺭ ﻧﻤﻰﻛﻨﻢ ﭼﻴﻨﻰﻫﺎ ﻣﻮﺍﻓﻖ ﺑﺎﺷﻨﺪ ﻛﻪ ﺍﻳﻦ ﺗﺤﺮﻳﻢﻫﺎ ﻋﻠﻴﻪ ﺍﻳﺮﺍﻥ ﺍﻋﻤﺎﻝ ﺷﻮﺩ‪ .‬ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﺳﻴﺎﺳﺖﻫﺎﻯ ﺍﻳﺮﺍﻥ ﻫﻢ ﻛﺎﻣﻼ ﻣﺸﺨﺺ‬ ‫ﺍﺳــﺖ ﻭ ﻧﺸــﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﺗﺤﺮﻳﻢﻫﺎ ﺁﻣﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﺗﺎﺯﮔﻰ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺧﻮﺍﻧﺪﻡ ﻛﻪ ﺑﻨﺰﻳﻦ ‪ 400‬ﺗﻮﻣﺎﻥ ﺧﻮﺍﻫﺪ ﺷﺪ ﻭ‬ ‫ﺳﻬﻤﻴﻪ ﺑﻨﺰﻳﻦ ﻧﻴﺰ ﺍﺯ ﺑﻴﻦ ﺧﻮﺍﻫﺪ ﺭﻓﺖ‪ .‬ﺍﻳﻦ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﺍﻳﺮﺍﻥ ﺧﻮﺩﺵ ﺭﺍ ﺑﺮﺍﻯ ﺗﺤﺮﻳﻢﻫﺎ ﺁﻣﺎﺩﻩ ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﻳﻦ ﺗﺤﺮﻳﻢﻫﺎ ﻫﻢ ﺑﺎ ﺍﺗﻔﺎﻕ‬ ‫ﻧﻈﺮ ‪ 5+1‬ﺑﻌﻴﺪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻳﻦ ﺗﺤﺮﻳﻢﻫﺎ ﺑﺎ ﺣﻀﻮﺭ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻭ ﺗﻤﺎﻡ ﺷﺮﻛﺖﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﺁﻣﺮﻳﻜﺎ ﻛﺎﺭ ﻣﻰﻛﻨﻨﺪ‬ ‫ﺍﺯ ﻧﻈﺮ ﻓﺮﺳﺘﺎﺩﻥ ﺑﻨﺰﻳﻦ ﺑﻪ ﺍﻳﺮﺍﻥ ﺗﺤﺖ ﻓﺸﺎﺭ ﻗﺮﺍﺭ ﺧﻮﺍﻫﻨﺪ ﮔﺮﻓﺖ‪ .‬ﭼﻴﻦ ﻭ ﺭﻭﺳﻴﻪ ﺩﺭ ﻓﺮﻭﺵ ﺑﻨﺰﻳﻦ ﺑﻪ ﺍﻳﺮﺍﻥ ﻧﻘﺶ ﭼﻨﺪﺍﻧﻰ ﻧﺪﺍﺭﻧﺪ‪.‬‬ ‫‪19‬‬ ‫ﻏﺮﺏ ﺑﺎ ﺭﻭﺳﻴﻪ ﻭ ﭼﻴﻦ ﺩﺭ ﻣﻮﺭﺩ ﺩﺳﺘﻮﺭ ‪ 5+1‬ﺑﻪ ﺗﻮﺍﻓﻖ ﻧﻤﻲﺭﺳﺪ‬ ‫ﻣﺬﺍﻛﺮﺍﺕ ﺳﻮﺩﻣﻨﺪ ﻳﺎ ﺑﻲﻧﺘﻴﺠﻪ‬ ‫ﺳﻴﺪ ﻋﻠﻰ ﻣﻮﺟﺎﻧﻰ‬ ‫ﭘﻨﺞ ﻛﺸــﻮﺭ ﻫﺴــﺘﻪﺍﻯ ﺑــﻪ ﺍﺿﺎﻓﻪ ﺟﻤﻬــﻮﺭﻯ ﺁﻟﻤــﺎﻥ‪ ،‬ﺑﺮﺍﻯ‬ ‫ﻧﺨﺴــﺘﻴﻦ ﺑﺎﺭ ﺩﺭ ﺳــﺎﻝ ‪ 2010‬ﻣﻴــﻼﺩﻯ ﻭ ﺁﺧﺮﻳﻦ ﺑــﺎﺭ ﺩﺭ ﺭﻭﻧﺪ‬ ‫ﺭﺍﻳﺰﻧﻰﻫﺎﻯ ﺧﻮﺩ ﭘﻴﺮﺍﻣــﻮﻥ ﺁﻧﭽﻪ ﺁﻥ ﺭﺍ » ﮔﻔﺖﻭﮔﻮﻫﺎﻯ ‪ 5+1‬ﺑﺮﺍﻯ‬ ‫ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺑﺮﻧﺎﻣﻪ ﻫﺴــﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ« ﻣﻰﻧﺎﻣﻨﺪ‪ ،‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﮔﺮﺩ ﻫﻢ‬ ‫ﺁﻣﺪﻧﺪ ﺗﺎ ﻣﺴﻴﺮ ﻓﺮﺍﺭﻭﻯ ﺧﻮﺩ ﺭﺍ ﻣﺠﺪﺩﺍ ﻣﺮﻭﺭ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺟﻠﺴﻪ ﻛﻪ ﺑﺎ‬ ‫ﺁﺭﺍﻳﺶ ﻣﺸﺎﺭﻛﺖ ﺩﻭ ﻣﻌﺎﻭﻥ ﻭﺯﻳﺮ ﺍﺯ ﺍﻳﺎﻻﺕﻣﺘﺤﺪﻩ ﺁﻣﺮﻳﻜﺎ ﻭ ﺭﻭﺳﻴﻪ‪،‬‬ ‫ﺳــﻪ ﻣﺪﻳﺮﻛﻞ ﺑﻪ ﻧﻤﺎﻳﻨﺪﮔﻰ ﺳﻪ ﻛﺸــﻮﺭ ﺍﺭﻭﭘﺎﻳﻰ ﺁﻟﻤﺎﻥ‪ ،‬ﺑﺮﻳﺘﺎﻧﻴﺎ ﻭ‬ ‫ﻓﺮﺍﻧﺴــﻪ ﻭ ﻳﻚ ﻣﺸــﺎﻭﺭ ﺩﻓﺘﺮ ﻧﻤﺎﻳﻨﺪﮔﻰ ﺟﻤﻬﻮﺭﻯ ﺧﻠﻖ ﭼﻴﻦ ﺩﺭ‬ ‫ﺳﺎﺯﻣﺎﻥﻣﻠﻞ ﺷﻜﻞ ﮔﺮﻓﺖ‪ ،‬ﺑﺮﺧﻼﻑ ﺳــﻨﺖ ﻣﺎﻟﻮﻑ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﺑﺎ‬ ‫ﺑﻴﺎﻥ ﺩﻭ ﺍﻇﻬﺎﺭﻧﻈﺮ ﻣﺘﻔﺎﻭﺕ ﻣﻮﺭﺩ ﺟﻤﻊﺑﻨﺪﻯ ﺣﺎﺿﺮﻳﻦ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪.‬‬ ‫ﻧﻴﻜﻼﺱ ﺑﺮﻧﺰ‪ ،‬ﻣﺮﺩ ﺷﻤﺎﺭﻩ ﺳﻪ ﻭﺯﺍﺭﺕ ﺍﻣﻮﺭ ﺧﺎﺭﺟﻪ ﺁﻣﺮﻳﻜﺎ ﻣﺬﺍﻛﺮﺍﺕ‬ ‫ﺭﺍ »ﺳﻮﺩﻣﻨﺪ« ﺗﻮﺻﻴﻒ ﻛﺮﺩ ﻭ ﻫﻤﺘﺎﻯ ﺭﻭﺱ ﻭﻯ ﺍﻳﻦ ﺩﻭﺭ ﺍﺯ ﮔﻔﺖﻭﮔﻮ‬ ‫»ﺑﺮﺍﻯ ﺗﺸﺪﻳﺪ ﺗﺤﺮﻳﻢﻫﺎ« ﺭﺍ »ﺑﺪﻭﻥ ﻧﺘﻴﺠﻪ« ﺑﺮﺷﻤﺮﺩ‪.‬‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﺍﻳﻦ ﺩﻭ ﻣﺘﻐﻴﺮ ﻣﺘﻨﺎﻗﺾ‪ ،‬ﭼﻬﺎﺭ ﻣﺠﻬﻮﻝ ﺩﻳﮕﺮ ﻧﻴﺰ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ ﻛﻪ ﺑﺎ ﺗﻮﺻﻴﻒ ﺁﻧﻬﺎ ﻳﻚ ﻣﻌﻤﺎﻯ ﭼﻴﻨﻰ ﻛﺎﻣﻞ ﺩﺭ ﺷﺮﺍﻳﻂ ﻛﻨﻮﻧﻰ‬ ‫ﺷﻜﻞ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ‪.‬‬ ‫ﭼﺮﺍ ﭼﻴﻦ ﻧﻤﺎﻳﻨﺪﻩﺍﻱ ﺩﺭ ﻧﺎﺯﻝﺗﺮﻳﻦ ﺳﻄﺢ ﻣﻤﻜﻦ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻧﺸﺴﺖ‬ ‫ﺍﻋﺰﺍﻡ ﺩﺍﺷﺘﻪ ﺑﻮﺩ؟ ﭼﻪ ﻋﺎﻣﻠﻰ ﺳﺒﺐ ﺷﺪ ﺑﺮﺧﻼﻑ ﻫﻢﺍﻧﺪﻳﺸﻰ ﺳﺎﺑﻖ‬ ‫ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﻧﺸﺴــﺖ ﺍﺧﻴﺮ ﺑﺎ ﻛﻤﺘﺮﻳﻦ ﺩﺍﻣﻨﻪ ﺭﺳﺎﻧﻪﺍﻯ ﺍﻧﻌﻜﺎﺱ‬ ‫ﭘﻴﺪﺍ ﻛﻨﺪ؟‬ ‫ﭼــﺮﺍ ﺑﺮ ﺧﻼﻑ ﺍﻳﻦ ﺩﻭ ﺍﻇﻬﺎﺭﻧﻈﺮ‪ ،‬ﻧﻤﺎﻳﻨﺪﻩ ﺍﺗﺤﺎﺩﻳﻪ ﺩﺭ ﻧﺸﺴــﺖ‬ ‫ﻛﻮﺷــﻴﺪ ﺗﺎﻛﻴﺪ ﻛﻨﺪ »ﻛﺸــﻮﺭﻫﺎﻯ ﻋﻀﻮ ﮔﺮﻭﻩ ‪ ،5+1‬ﺩﺭﺑﺎﺭﻩ ﺩﻭ ﺭﺍﻩ‬ ‫ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﺍﻳﺮﺍﻥ ﻳﺎ ﺗﺤﺮﻳﻢ ﺍﻳﻦ ﻛﺸــﻮﺭ ﻫﻤﭽﻨﺎﻥ ﺍﺗﻔﺎﻕ ﻧﻈﺮ ﺩﺍﺭﻧﺪ ﻭ‬ ‫ﺍﻳﻦ ﺍﻣﺮ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﺍﻳﻦ ﻛﺸﻮﺭﻫﺎ ﺑﻪﺩﻧﺒﺎﻝ ﻳﺎﻓﺘﻦ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺣﻞ‬ ‫ﭘﺮﻭﻧﺪﻩ ﺍﺗﻤﻰ ﺍﻳﺮﺍﻥ« ﻫﺴﺘﻨﺪ؟‬ ‫ﭼﮕﻮﻧﻪ ﺑﻮﺩ ﻛﻪ ﺳﻪ ﻋﻀﻮ ﻣﻮﺳﺲ ﺍﻳﻦ ﻛﻠﻮپ ﺗﺎﺯﻩ ﺗﺎﺳﻴﺲ‪ ،‬ﻳﻌﻨﻰ‬ ‫ﺳــﻪ ﺗﻔﻨﮕﺪﺍﺭ ﺍﺭﻭﭘﺎﻳﻰ ﻳــﺎ ‪ E3‬ﺑﺮﺧﻼﻑ ﻧﺸﺴــﺖﻫﺎﻯ ﻗﺒﻠﻰ ﻧﻮﻋﻰ‬ ‫ﺳﻜﻮﺕ ﻭ ﻋﺪﻡﻗﻀﺎﻭﺕ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﻮﺍﺿﻊ ﻣﺘﻨﺎﻗﺾ ﺭﻭﺳﻴﻪ ﻭ ﺁﻣﺮﻳﻜﺎ‬ ‫ﺑﺮﮔﺰﻳﺪﻧﺪ؟ ﻭ ﺗﻨﻬﺎ ﻭﻗﺘﻰ ﺑﺎ ﻓﺸﺎﺭ ﺍﺳﺮﺍﺋﻴﻠﻰﻫﺎ ﺩﺭ ﻣﻼﻗﺎﺕ ‪ 28‬ﺩﻯﻣﺎﻩ‬ ‫ﺭﻭﺑﻪﺭﻭ ﺷﺪﻧﺪ ﺩﺭ ﺳــﻄﺢ ﺻﺪﺭﺍﻋﻈﻤﻰ ﺁﻟﻤﺎﻥ ﺍﺗﺨﺎﺫ ﻣﻮﺿﻊ ﻛﺮﺩﻧﺪ‬ ‫ﻛﻪ »ﺍﮔــﺮ ﺭﻓﺘﺎﺭﻫﺎﻯ ﺍﻳﺮﺍﻥ ﺗﻐﻴﻴﺮ ﻧﻜﻨﺪ ﻣﺎ ﺑــﻪ ﺗﻼﺵﻫﺎ ﺑﺮﺍﻯ ﺍﻋﻤﺎﻝ‬ ‫ﺗﺤﺮﻳﻢﻫﺎﻯ ﻓﺮﺍﮔﻴﺮ ﻛﻤﻚ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ«؟‬ ‫ﺍﻛﻨﻮﻥ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﺩﺭ ﭘﻰ ﺗﻮﺻﻴﻒ ﻳﺎ ﺗﺪﻭﻳﻦ ﺻﻮﺭﺕ ﻣﻌﺎﺩﻟﻪﺍﻯ‬ ‫‪20‬‬ ‫ﺑﺎ ﺩﻭ ﻣﺘﻐﻴــﺮ ﺍﻭﻟﻴﻪ ﺍﻇﻬﺎﺭﺍﺕ ﺑﺮﻧﺰ ‪ -‬ﺭﻳﺒﺎﻛــﻒ ﻭ ﭼﻬﺎﺭ ﻣﺠﻬﻮﻝ ﻣﻮﺭﺩ‬ ‫ﺍﺷﺎﺭﻩ‪ -‬ﺑﺮﺁﻳﻴﻢ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﺣﻞ ﺁﻥ ﺩﺭ ﺗﺨﻴﻞ ﺧﻮﺩ ﺩﻭ‬ ‫ﺑﺮﻫﺎﻥ ﻣﺘﻔﺎﻭﺕ ﺑﻪ ﺗﺮﺗﻴﺐ ﺯﻳﺮ ﺭﺍ ﻣﺮﻭﺭ ﻛﻨﻴﻢ‪:‬‬ ‫ﺍﻟﻒ – ﺧﺮﺳــﻨﺪﻯ ﻧﻤﺎﻳﻨﺪﻩ ﺁﻣﺮﻳﻜﺎ ﻭ ﺗﻮﺻﻴﻒ »ﺳــﻮﺩﻣﻨﺪﻯ«‬ ‫ﻣﺬﺍﻛﺮﺍﺕ‪ ،‬ﺑﻴﺸــﺘﺮ ﻧﻮﻋﻰ ﺣﻔﻆ ﺁﺑﺮﻭ ﺍﺯ ﻧﺎﺣﻴﻪ ﻃﺮﻑ ﻏﺮﺑﻰ ﺩﺭ ﻣﻘﺎﺑﻠﻪ‬ ‫ﺑﺎ ﺭﻭﻳــﻪ ﻣﻘﺎﻭﻣﺖﺁﻣﻴﺰ ﺩﻭ ﻋﻨﺼﺮ ﺭﻭﺳــﻰ – ﭼﻴﻨﻰ ﻣﺨﺎﻟﻒ ﺍﻓﺰﺍﻳﺶ‬ ‫ﺗﺤﺮﻳﻢﻫﺎ ﺑﻮﺩﻩ ﺍﺳــﺖ‪ .‬ﺑﺮ ﺍﻳﻦ ﻣﺒﻨــﺎ‪ ،‬ﺩﺭﺣﻘﻴﻘﺖ ﺑﺮﻧﺰ ﻛﻮﺷــﻴﺪﻩ ﺑﺎ‬ ‫ﺧﻮﺷﺒﻴﻨﺎﻧﻪﺗﺮﻳﻦ ﻭﺍژﻩ ﻣﻤﻜﻦ ﺷﻜﺎﻑ ﻣﻮﺟﻮﺩ ﺩﺭ ﻣﻴﺎﻥ ﻣﻮﺍﺿﻊ ﺍﻋﻀﺎ‬ ‫ﺭﺍ ﺗﺮﻣﻴﻢ ﻧﻤﻮﺩﻩ‪ ،‬ﻣﺎﻧﻊ ﺍﺯ ﺗﺨﺮﻳﺐ ﻭﺟﻬﻪ ﻗﺪﺭﺕﻫﺎﻯ ﺑﺰﺭگ ﻧﺰﺩ ﺍﻓﻜﺎﺭ‬ ‫ﻋﻤﻮﻣﻰ ﺟﻬﺎﻧﻴﺎﻥ ﺷﻮﺩ‪ .‬ﺑﺮﺍﺳﺎﺱ ﺍﻳﻦ ﺑﺮﻫﺎﻥ ﺑﺎﻳﺪ ﻣﻮﺍﺿﻊ ﺗﻨﺪ ﻃﺮﻑ‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰ ﻭ ﺣﺘﻰ ﺍﺭﻭﭘﺎﻳﻰ ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﻗﺒﻞ ﺍﺯ ﻧﺸﺴــﺖ ﺭﺍ ﻛﻪ ﺳﺨﻦ‬ ‫ﺍﺯ ﺗﻨﻈﻴﻢ ﻣﺘﻨﻰ ﺑﺎ ﻫﺪﻑ ﺍﻓﺰﺍﻳﺶ ﺩﺍﻣﻨﻪ ﺗﺤﺮﻳﻢﻫﺎ ﻭ ﺗﻬﻴﻪ ﻓﻬﺮﺳــﺘﻰ‬ ‫ﺍﺯ ﻣﻘﺎﻣﺎﺕ ﻋﺎﻟﻰ ﺟﻤﻬﻮﺭﻱ ﺍﺳــﻼﻣﻲ ﺑﺮﺍﻯ ﺍﻋﻤﺎﻝ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻯ‬ ‫ﻣﺨﺘﻠــﻒ ﻧﺴــﺒﺖ ﺑــﻪ ﺁﻧﻬــﺎ ﺭﺍ ﭘﻴﺸــﻨﻬﺎﺩ ﻣﻰﻧﻤﻮﺩﻧﺪ‪ ،‬ﻧﺎﺷــﻰ ﺍﺯ‬ ‫»ﻓﺸــﺎﺭ ﺣﺪﺍﻛﺜﺮﻯ« ﺩﺭ ﻧﻴﻞ ﺑﻪ »ﺗﻮﺍﻓﻖ ﺣﺪﺍﻗﻠﻰ« ﺑﺮﺷــﻤﺎﺭﻳﻢ ﻛﻪ‬ ‫ﺁﻧﻬﺎ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺳﻌﻰ ﻣﻰﻛﺮﺩﻧﺪ ﺑﺎ ﺍﻳﻦ ﺣﺮﺑﻪ ﻓﻀﺎﻯ ﻣﺬﺍﻛﺮﺍﺗﻰ ﺭﺍ‬ ‫ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷــﻨﺪ‪ .‬ﺩﺭ ﻗﻀﺎﻭﺕ ﻣﺤﺘﻤﻞ ﺩﻳﮕﺮﻯ ﻫﻢ ﻣﻰﺗﻮﺍﻥ‬ ‫ﭘﻨﺪﺍﺷﺖ ﻛﻪ ﻣﻘﺎﻣﺎﺕ ﺁﻣﺮﻳﻜﺎﻳﻰ ﺩﭼﺎﺭ ﻳﻚ ﺿﻌﻒ ﻋﻤﻴﻖ ﺩﺭ ﺍﺭﺯﻳﺎﺑﻰ‬ ‫ﻭ ﺗﺤﻠﻴﻞ ﻭﺍﻗﻌﻴﺎﺕ ﻣﺤﻴﻄﻰ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺿﻤﻦ ﺗﺎﻛﻴﺪ ﺑﺮ ﺍﻋﺘﺮﺍﻑ‬ ‫ﺍﺧﻴﺮ ﺍﻭﺑﺎﻣﺎ ﺩﺭ ﻣﻮﺿﻮﻉ ﻋﻤﻠﻴﺎﺕ »ﻓﺎﺭﻭﻕ ﻋﺒﺪﺍﻟﻤﻄﻠﺐ« ﻧﻴﺠﺮﻳﻪﺍﻯ ﻛﻪ‬ ‫ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﺁﻣﺮﻳﻜﺎ ﻣﻌﺘﻘﺪ ﺑﻮﺩ »ﺳﻴﺴﺘﻢ ﺁﻣﺮﻳﻜﺎﻳﻰ ﺩﺭ ﺟﻤﻊ ﺁﻭﺭﻯ‬ ‫ﺍﻃﻼﻋﺎﺕ ﻣﻮﻓﻖ ﻋﻤﻞ ﻛﺮﺩﻩ ﺍﻣﺎ ﺩﺭ ﺗﺤﻠﻴﻞ ﺩﺍﻧﺴــﺘﻪﻫﺎﻯ ﺧﻮﺩ ﺩﭼﺎﺭ‬ ‫ﻓﻘﺪﺍﻥ ﻣﺒﻨﺎ ﻭ ﺷﻨﺎﺧﺖ ﺍﺳﺖ«‪ ،‬ﺑﺎﻳﺪ ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ ﻫﻢ ﺩﺭ ﻧﻈﺮ ﺁﻭﺭﺩ ﻛﻪ‬ ‫ﻓﺘﺮﺕ ﺳﻰﺳﺎﻟﻪ ﺭﻭﺍﺑﻂ ﺩﻭﺟﺎﻧﺒﻪ ﺍﻳﺮﺍﻥ ﻭ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﻧﻮﻋﻰ ﺿﻌﻒ ﺷﻨﺎﺧﺖ‬ ‫ﺍﺯ ﺭﻭﻳﻪ ﺩﻳﭙﻠﻤﺎﺳﻰ ﺍﻳﺮﺍﻥ ﺩﺭ ﺍﻗﻨﺎﻉ ﺷﺮﻛﺎ ﻳﺎ ﻗﺪﺭﺕﻫﺎﻯ ﺟﻬﺎﻧﻰ ﺭﺍ ﻧﻴﺰ‬ ‫ﺑﺮﺍﻯ ﺁﻣﺮﻳﻜﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ‪ ،‬ﺑﺎﻳﺪ ﮔﻔﺖ ﺑﺨﺶ‬ ‫ﺍﻭﻝ ﺍﻳﻦ ﭘﻴﺶﻓﺮﺽ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺑﺮﺧﻰ ﺍﺯ ﻣﺘﻐﻴﺮﻫﺎﻯ ﻣﻮﺭﺩ ﺗﺎﻛﻴﺪ ﺩﺭ‬ ‫ﻓﻮﻕ ﺩﺭ ﺍﺷﺎﺭﻩ ﺑﻪ ﺳﻜﻮﺕ ﻭ ﺑﻬﺖ ﺍﻭﻟﻴﻪ ﺷﺮﻛﺎﻯ ﺍﺭﻭﭘﺎﻳﻰ ﻧﺴﺒﺖ ﺑﻪ ﺍﻋﻼﻡ‬ ‫ﻣﻮﺿــﻊ ﺩﺭﺑﺎﺭﻩ ﻣﺬﺍﻛﺮﺍﺕ‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﻧﻮﻋﻰ ﺑﺪﺑﻴﻨﻰ ﺭﻭﺑﻪﺭﻭ ﺑﺎﺷــﺪ‪.‬‬ ‫ﻓﺮﺽ ﺛﺎﻧﻮﻯ ﻣﻨﻄﻖ ﭘﺎﺳــﺨﮕﻮﻳﻰ ﻣﺎ ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ‪ ،‬ﻳﻌﻨﻰ ﺍﺷﺎﺭﻩ ﺑﻪ‬ ‫ﻋﺪﻡ ﺩﺭﻙ ﺷﺮﺍﻳﻂ ﻭ ﻧﺎﺩﺭﺳﺘﻰ ﺗﺤﻠﻴﻞﻫﺎ ﻫﻢ ﺍﮔﺮﭼﻪ ﺑﻪ ﻟﺤﺎﻅ ﻣﺒﻨﺎﻳﻰ‬ ‫ﺑﺎ ﻗﻴﺎﺱ ﺩﺭ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺩﻳﮕﺮ ﻣﻰﺗﻮﺍﻧﺪ ﺩﻗﻴﻖ ﻭ ﺭﺳﺎ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺗﻮﺟﻪ‬ ‫ﺑﻪ ﻫﻤﻜﺎﺭﻯ ﻭ ﺭﺍﻳﺰﻧﻰﻫﺎﻯ ﺁﻣﺮﻳــﻜﺎ ﺑﻪﺧﺼﻮﺹ ﺑﺎ ﭼﻴﻦ ﺩﺭ ﺍﺟﻼﺱ‬ ‫ﺍﺧﻴﺮ ﺗﻐﻴﻴﺮﺍﺕ ﺁﺏ ﻭ ﻫﻮﺍﻳﻰ ﻭ ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﻫﻤﻜﺎﺭﻯ ﺳﻄﺢ ﺑﺎﻻﻯ ﺁﻏﺎﺯ‬ ‫ﺷﺪﻩ ﻣﻴﺎﻥ ﻧﺎﺗﻮ ﺑﺎ ﺭﻭﺳﻴﻪ ﻃﻰ ﻫﻔﺘﻪﻫﺎﻯ ﺍﺧﻴﺮ ﺩﺭ ﻣﻮﺿﻮﻉ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ‬ ‫ﻭ ﺗﻤﺎﺱﻫﺎﻯ ﺳــﻄﺢ ﺑﺎﻻﻯ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﻣﻴﺎﻥ ﻃﺮﻓﻴﻦ ﺍﺯ ﻳﻜﺴــﻮ ﻭ‬ ‫ﻋﺪﻡ ﺑﺮﻭﺯ ﻧﺸﺎﻧﻪﺍﻯ ﺍﺯ ﺗﺨﺎﺻﻢ ﺁﺷﻜﺎﺭ ﺟﺪﻳﺪﻯ ﺍﺯ ﻧﺎﺣﻴﻪ ﺍﻳﻦ ﺩﻭ ﻗﺪﺭﺕ‬ ‫ﺑﺎ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﻫﻤﻪ ﻭﺟﻮﻩ ﺍﻳﺠﺎﺑﻰ ﺭﺍ ﺩﺭ ﺑﺮ ﻧﻤﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺏ‪ -‬ﺑﺮﻫﺎﻥ ﺩﻭﻣﻰ ﺍﺳﺎﺱ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺍﻳﻦ ﺍﺳﺘﺪﻻﻝ ﻧﻬﺎﺩﻩ ﻛﻪ ﺁﻣﺮﻳﻜﺎ‬ ‫ﺩﺭ ﺫﺍﺕ ﺳﻴﺎﺳﺖ ﺧﻮﺩ ﺍﺯ ﺍﻓﻮﻝ ﻋﻠﻨﻰ ﺳﻄﺢ ﻣﺬﺍﻛﺮﺍﺕ ﻭ ﺍﻳﺠﺎﺩ ﻓﺎﺻﻠﻪ‬ ‫ﻣﻴﺎﻥ ﺍﻋﻀﺎﻯ ﻛﻠﻮپ ﻣﻮﺭﺩ ﺍﺷــﺎﺭﻩ »ﺧﺮﺳﻨﺪ« ﺷﺪﻩ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﻓﺎﺭﻍ ﺍﺯ‬ ‫ﺗﻘﻴﺪﺍﺕ ﻣﻤﻜﻦ »ﻣﺴﻴﺮﻫﺎﻯ ﻳﻜﺠﺎﻧﺒﻪ« ﺭﺍ ﺑﺮﮔﺰﻳﻨﺪ‪ .‬ﻣﺴﻴﺮﻫﺎﻳﻰ ﻛﻪ‬ ‫ﺻﺪﺭﺍﻋﻈﻢ ﺁﻟﻤﺎﻥ ﻧﻴﺰ ﺑﻪ ﺁﻥ ﺑﺎ ﻳﻚ ﻫﻔﺘﻪ ﺗﺎﺧﻴﺮ ﺩﺭ ﻗﺎﻟﺐ ﺟﻤﻠﻪ »ﺍﮔﺮ‬ ‫ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺭﺥ ﻧﺪﻫﺪ ﻣﺎ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﺗﺤﺮﻳﻢﻫﺎ ﻫﻤﺮﺍﻩ ﺑﺎ ﻛﺸﻮﺭﻫﺎﻳﻰ ﻛﻪ‬ ‫ﭼﻨﻴﻦ ﻫﺪﻓﻰ ﺩﺍﺭﻧﺪ ﻛﺎﺭ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ« ﺍﺷــﺎﺭﻩ ﻣﻰﻧﻤﺎﻳﺪ‪ .‬ﺩﺭ ﭼﻨﻴﻦ‬ ‫ﺑﺮﻫﺎﻧﻰ ﺳﻜﻮﺕ ﻭ ﺑﻬﺖﺯﺩﮔﻰ ﺳــﻪ ﻛﺸﻮﺭ ﺍﺭﻭﭘﺎﻳﻰ ﻣﻌﻨﺎﻯ ﺑﻴﺸﺘﺮﻯ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﻓﺮﺍﻣﻮﺵ ﻧﺒﺎﻳﺪ ﻛﺮﺩ ﺑﺨﺸﻰ ﺍﺯ ﺍﺭﻭﭘﺎﻳﻰﻫﺎ ﻣﻌﺘﻘﺪ ﺑﻮﺩﻧﺪ‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻋﻮﺍﺭﺽ ﻭﺭﻭﺩ ﺧﻮﺩﺳﺮﺍﻧﻪ ﺍﻳﺎﻻﺕﻣﺘﺤﺪﻩ ﺑﻪ ﺍﻧﺠﺎﻡ ﻋﻤﻠﻴﺎﺕ‬ ‫ﻋﻠﻴﻪ ﻋﺮﺍﻕ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﻣﺸﻜﻼﺕ ﮔﺬﺷﺘﻪ ﺗﺨﻔﻴﻔﻰ ﻧﻴﺎﻓﺖ ﺑﻠﻜﻪ ﺍﺳﺒﺎﺏ‬ ‫ﺗﻌﺎﺭﺿﺎﺕ ﺟﺪﻳﺪﻯ ﺩﺭ ﺳﻴﺴﺘﻢ ﺑﻴﻦﺍﻟﻤﻠﻞ ﻫﻢ ﻧﻤﻮﺩﺍﺭ ﺷﺪ‪ .‬ﭘﺲ ﺷﺎﻳﺪ‬ ‫ﺑﻬﺘﺮﻳﻦ ﺭﺍﻩ ﺑــﺮﺍﻯ ﻛﻨﺘﺮﻝ ﺁﻣﺮﻳﻜﺎ ﻭ ﺍﻋﺮﺍﺽ ﺍﺯ ﻳﻜﺠﺎﻧﺒﻪﮔﺮﺍﻳﻰ‪ ،‬ﻭﺭﻭﺩ‬ ‫ﺍﻳﻦ ﻛﺸﻮﺭ ﺑﻪ ﻓﻀﺎﻯ ﻣﺬﺍﻛﺮﺍﺗﻰ ﺑﺎ ﺍﻳﺮﺍﻥ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﺭﻭﭘﺎﻳﻰﻫﺎ‬ ‫ﻛﻪ ﺗﺪﺍﻭﻡ ﺣﻴﺎﺕ ﺧﻮﺩ ﺭﺍ ﺳــﺎﺧﺘﺎﺭﻯ ﭼﻨﺪ ﺟﺎﻧﺒﻪﮔﺮﺍﻳﺎﻧﻪ ﻣﻰﺑﻴﻨﻨﺪ‪،‬‬ ‫ﺣﺎﻝ ﻛﻪ ﻣﺸﺎﻫﺪﻩ ﻧﻤﻮﺩﻧﺪ ﺭﻭﻳﺎﻯ ﻣﺸﺎﺭﻛﺖ ﺟﻤﻌﻰ ﺁﻧﻬﺎ ﺩﺭ ﻣﻮﺿﻮﻉ‬ ‫ﺑﺮﻧﺎﻣﻪ ﻫﺴﺘﻪﺍﻯ ﺻﻠﺢﺁﻣﻴﺰ ﺍﻳﺮﺍﻥ ﺩﭼﺎﺭ ﺗﻀﺎﺩ ﻣﻨﺎﻓﻊ ﺁﻣﺮﻳﻜﺎ ﻭ ﺭﻭﺳﻴﻪ‬ ‫ﺷﺪﻩ‪ ،‬ﻧﻮﻋﻰ ﺍﺣﺴﺎﺱ ﺍﻧﻔﻌﺎﻝ ﻭ ﺑﻬﺖ ﺍﺯ ﺧﻮﺩ ﺑﺮﻭﺯ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺩﺭ ﺗﺪﺍﻭﻡ‬ ‫ﺍﻳﻦ ﻣﻨﻄﻖ ﻣﻮﺿﻊ ﭼﻴﻦ ﻧﻴﺰ ﺍﺯ ﺭﻭﻳﻜﺮﺩ ﺩﻳﮕﺮﻯ ﻗﺎﺑﻞ ﺗﺤﻠﻴﻞ ﺍﺳــﺖ‪.‬‬ ‫ﺗﺎﺭﻳﺦ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﻛﻪ ﭼﻴﻦ ﺍﺻﻮﻻ ﺩﺭ ﺍﺗﺨﺎﺫ ﺭﻭﻧﺪﻫﺎﻯ‬ ‫ﺟﻤﻌﻰ ﻭ ﻣﺸﺎﺭﻛﺖﻫﺎﻯ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻣﻮﺿﻌﻰ ﻣﺤﺘﺎﻁ ﻭ ﺣﺘﻰ ﺗﻮﺍﻡ ﺑﺎ‬ ‫ﺍﻧﺰﻭﺍ ﺭﺍ ﺑﻴﺸﺘﺮ ﭘﺴﻨﺪﻳﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﺎ ﻛﻪ ﭘﻜﻦ ﻳﺎ ﺍﺻﻮﻻ ﺧﻮﺩ ﺭﺍ‬ ‫ﻫﻤﺮﺍﻩ ﺑﺎ ﻛﺸﻮﺭﻫﺎﻯ ﺑﺰﺭگ ﻛﺮﺩﻩ )ﻣﺼﺪﺍﻕ ﻣﻮﺿﻊ ﻋﻠﻴﻪ ﻛﺮﻩ ﺷﻤﺎﻟﻰ‬ ‫ﺩﺭ ﭘــﻰ ﺁﺯﻣﺎﻳﺶ ﺍﺗﻤﻰ ﺁﻥ ﻛﺸــﻮﺭ( ﻳﺎ ﺑﺎ ﺩﻭﺭ ﻧﮕﺎﻩ ﺩﺍﺷــﺘﻦ ﺧﻮﺩ ﺍﺯ‬ ‫ﻓﺮﺁﻳﻨﺪﻫﺎﻯ ﭘﺮ ﺭﻳﺴﻚ )ﭼﻮﻥ ﻋﻤﻠﻴﺎﺕ ﻋﻠﻴﻪ ﺍﻟﻘﺎﻋﺪﻩ ﻭ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ(‪،‬‬ ‫ﻋﺎﻣﺪﺍﻧﻪ ﻭ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﻧﻘﺶ ﻧﻮﻋﻰ »ﻣﺤﺬﻭﻑ« ﺭﺍ ﺑﺎﺯﻯ ﻛﺮﺩﻩ ﺍﺳــﺖ‪.‬‬ ‫ﺷــﺎﻳﺪ ﺍﺯ ﻫﻤﻴﻦ ﺭﻭ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﭼﻨﺪ ﻣﺎﻩ ﺍﺧﻴﺮ ﭼﻴﻦ ﺑﻴﺶ ﺍﺯ ﮔﺬﺷﺘﻪ‬ ‫ﻛﻮﺷﻴﺪﻩ ﺍﺯ ﻣﺴــﻴﺮ ﻣﺠﻤﻮﻋﻪ ‪ 5+1‬ﻓﺎﺻﻠﻪ ﺑﮕﻴﺮﻳﺪ ﺗﺎ ﺩﺭ ﺻﻮﺭﺕ ﺑﺎﻻ‬ ‫ﮔﺮﻓﺘﻦ ﺑﺤﺮﺍﻥ ﺍﺯ ﺑﺮ ﺩﻭﺵ ﻛﺸــﻴﺪﻥ ﻧﻘﺶ ﻟﻪ ﻳﺎ ﻋﻠﻴﻪ ﻃﺮﻓﻴﻦ‪ ،‬ﺧﻮﺩ‬ ‫ﺭﺍ ﺳــﺒﻚ ﺑﺎﺭ ﻧﻤﺎﻳﺪ‪ .‬ﺑﻪ ﺑﺎﻭﺭ ﻧﮕﺎﺭﻧﺪﻩ‪ ،‬ﺍﻳﻦ ﮔﻤﺎﻧﻪﺯﻧﻰﻫﺎﻯ ﺗﺌﻮﺭﻳﻚ‪،‬‬ ‫ﻫﻨﮕﺎﻣﻰ ﺍﺯ ﻣﺮﺣﻠﻪ ﺗﺨﻴﻞ ﻋﺒﻮﺭ ﻣﻰﻛﻨﺪ ﻛﻪ ﺷﻮﺍﻫﺪﻯ ﺍﺯ ﻋﺒﻮﺭ ﺁﻣﺮﻳﻜﺎ‬ ‫ﺍﺯ ﻣﺮﺯ ﻣﻮﺍﺿﻊ ﻗﺒﻠﻰ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺍﺷــﺘﻪ ﺑﺎﺷــﺪ‪ ،‬ﺷﻮﺍﻫﺪﻯ ﻛﻪ‬ ‫ﺳــﺨﻨﮕﻮﻯ ﻭﺯﺍﺭﺕ ﺍﻣﻮﺭﺧﺎﺭﺟﻪ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﺍﻳﺮﺍﻥ ﮔﺮﺍﻳﺶ‬ ‫ﺑﻪ ﺍﻳﻦ ﺍﻇﻬﺎﺭﺕ ﺭﺍ »ﻧﺴــﻨﺠﻴﺪﻩ« ﺧﻮﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺍﻇﻬﺎﺭﺍﺕ ﻧﺴﻨﺠﻴﺪﻩ ﻭ‬ ‫ﺑﻪﺯﻋﻢ ﺁﻗﺎﻯ ﻣﻬﻤﺎﻧﭙﺮﺳﺖ‪ ،‬ﻏﻴﺮﺳﺎﺯﻧﺪﻩ ﺑﻪﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﻋﺒﺎﺭﺕ ژﻧﺮﺍﻝ‬ ‫ﭘﺘﺮﺍﺋﻮﺱ ﺩﺭ ﻣﺼﺎﺣﺒﻪ ﺍﺧﻴﺮ ﺧﻮﺩ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻟﺤﻦ ﺗﻬﺪﻳﺪ ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﭼﻨﻴﻦ ﺍﻟﻘﺎ ﻧﻤﺎﻳﺪ ﻛﻪ »ﺑﺎ ﻭﺟﻮﺩ ﺗﺪﺍﺑﻴﺮ ﺍﺗﺨﺎﺫ ﺷــﺪﻩ ﺍﺯ ﺳﻮﻯ ﺗﻬﺮﺍﻥ‪،‬‬ ‫ﻣﻰﺗﻮﺍﻥ ﺗﺎﺳﻴﺴــﺎﺕ ﻫﺴــﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﻤﺒﺎﺭﺍﻥ ﻛﺮﺩ«‪ .‬ﺍﻭ ﺣﺘﻰ ﺍﺯ‬ ‫ﻛﺎﺭﺑﺮﺩ ﺍﻋﻼﻡ ﻣﻮﺿﻊ ﺟﻠﻮﺗــﺮ ﺭﻓﺖ ﻭ »ﻗﻄﻌﺎ ﻣﻰﺗﻮﺍﻥ ﺁﻧﻬﺎ ﺭﺍ ﺑﻤﺒﺎﺭﺍﻥ‬ ‫ﻛﺮﺩ‪ .‬ﻣﻴﺰﺍﻥ ﺍﺛﺮ )ﺑﻤﺒﺎﺭﺍﻥ( ﺑﺴﺘﮕﻰ ﺑﻪ ﺍﻳﻦ ﺩﺍﺭﺩ ﺑﺎ ﭼﻪ ﭼﻴﺰﻯ ﺍﻳﻦ ﻛﺎﺭ‬ ‫ﺍﻧﺠﺎﻡ ﭘﺬﻳﺮﺩ ﻭ ﺍﺯ ﭼﻪ ﻣﻬﻤﺎﺗﻰ ﺍﺳﺘﻔﺎﺩﻩ ﺷﻮﺩ«‪ .‬ﺍﻳﻦ ﺳﺨﻨﺎﻥ ﺭﺍ ﺩﻳﮕﺮ‬ ‫ﺑﺎﻳﺪ ﺩﺭ ﻗﺎﻟﺐ ﻃﺮﺡ ﻧﻮﻋﻰ ﺑﺮﺁﻭﺭﺩ ﻧﻈﺎﻣﻰ ﻳﺎ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺍﺳــﺘﺮﺍﺗﮋﻯ‬ ‫ﺍﻗﺪﺍﻡ ﺩﺳﺘﻪﺑﻨﺪﻯ ﻧﻤﻮﺩ ﻳﺎ ﻧﺎﺷﻰ ﺍﺯ ﻳﻚ ﺑﻠﻮﻑ ﺳﻴﺎﺳﻰ ﺗﺤﻠﻴﻞ ﻛﺮﺩ‪.‬‬ ‫ﺷﻚ ﻧﻴﺴــﺖ ﻛﻪ ﻣﻮﺍﺿﻊ ﺟﻤﻬﻮﺭﻯﺧﻮﺍﻫﺎﻥ ﻧﺌﻮﻛﺎﻥ ﺍﺷﺎﺭﻩ ﻣﻜﺮﺭ ﺑﻪ‬ ‫ﺣﻔﻆ »ﮔﺰﻳﻨﻪ ﻧﻈﺎﻣﻰ ﺭﻭﻯ ﻣﻴﺰ ﻭ ﺩﺭ ﻛﻨﺎﺭ ﺳــﺎﻳﺮ ﮔﺰﻳﻨﻪﻫﺎ« ﺑﻮﺩ‪ ،‬ﺍﻣﺎ‬ ‫ﺑﻪﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺍﺷﺎﺭﻩ ﻣﺴﺘﻘﻴﻢ ﻳﻚ ﻣﻘﺎﻡ ﺍﺭﺷﺪ ﻧﻈﺎﻣﻰ ﻭ ﻋﺪﻡ ﺗﺼﺤﻴﺢ‬ ‫ﻋﺒﺎﺭﺍﺕ ﺍﻭ ﺍﺯ ﻧﺎﺣﻴﻪ ﺳﻴﺎﺳــﺘﻤﺪﺍﺭﺍﻥ ﻧﻮﻋﻰ ﮔﺬﺭ ﻳﺎ »ﺗﻐﻴﻴﺮ« ﺍﺯ ﺍﺻﻮﻝ‬ ‫ﻛﻠﻰ ﺩﻭﻟﺖ ﻗﺒﻞ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﺑﻴﺎﻥ ﺩﺭ ﻧﻈﺮﺍﺕ ژﻧﺮﺍﻝ ﭼﺎﺭﻟﺰ ﺍﻑ ﻭﺍﻟﺪ ﺍﺯ‬ ‫ﻣﺸﺎﻭﺭﺍﻥ ﻋﺎﻟﻰﺭﺗﺒﻪ ﻭﺯﺍﺭﺕ ﺩﻓﺎﻉ ﺍﻳﺎﻻﺕﻣﺘﺤﺪﻩ ﺁﻣﺮﻳﻜﺎ ﻭ ﻛﺎﺭﺷﻨﺎﺱ‬ ‫ﺻﻨﺎﻳﻊ ﺩﻓﺎﻋﻰ ﻭ ﻫﻮﺍ ﻓﻀﺎ ﻭ ﺟﺎﻧﺸــﻴﻦ ﭘﻴﺸﻴﻦ ﻓﺮﻣﺎﻧﺪﻫﻰ ﻧﻴﺮﻭﻫﺎﻯ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺍﺭﻭﭘﺎ ﻛﻪ ﺩﺭ ﺍﻛﻮﻧﻮﻣﻴﺴﺖ ﺍﻳﻦ ﻫﻔﺘﻪ ﻧﻴﺰ ﺗﺮﻭﻳﺞ ﺷﺪﻩ‪ ،‬ﺧﻮﺩ‬ ‫ﺭﺍ ﺑﺎ ﺍﻳﻦ ﻋﺒﺎﺭﺍﺕﻫﺎﻟﻴﻮﻭﺩﻯ ﻧﺸــﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ ﻛﻪ »ﭼﻨﻴﻦ ﺣﻤﻠﻪﺍﻯ‬ ‫ﭼﻨﺪﻳــﻦ ﻫﻔﺘﻪ ﺑــﻪ ﻃــﻮﻝ ﻣﻰﺍﻧﺠﺎﻣــﺪ ﻭ ﺩﺭ ﺟﺮﻳﺎﻥ ﺁﻥ ﻧﺨﺴــﺖ‬ ‫ﺯﻳﺮﺳﺎﺧﺖﻫﺎﻯﻧﻈﺎﻣﻰﺍﻳﺮﺍﻥﻫﺪﻑﻗﺮﺍﺭﻣﻰﮔﻴﺮﺩ‪،‬ﺑﻪﻃﻮﺭﻯﻛﻪﺗﻮﺍﻧﺎﻳﻰ‬ ‫ﺍﻗﺪﺍﻣﺎﺕ ﻣﺘﻘﺎﺑﻞ ﺍﺯ ﺍﻳﻦ ﻛﺸﻮﺭ ﺳﻠﺐ ﺷﻮﺩ‪ .‬ﺳﭙﺲ ﺗﺎﺳﻴﺴﺎﺕ ﻫﺴﺘﻪﺍﻯ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﻳﺮﺍﻥ ﻣﻮﺭﺩ ﺣﻤﻠﻪ ﻗﺮﺍﺭ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ«‪ .‬ﭘﺲ ﺩﺭ ﻳﻚ‬ ‫ﺟﻤﻊﺑﻨﺪﻯ ﺍﺯ ﺗﺤﻠﻴﻞ »ﺧﺮﺳﻨﺪﻯ« ﻧﻴﻜﻼﺱ ﺑﺮﻧﺰ ﺍﺯ ﮔﻔﺖﻭﮔﻮﻫﺎﻯ‬ ‫ﺍﺧﻴﺮ ﻣﻰﺗﻮﺍﻥ ﻣﻌﺎﻧﻰ ﺩﻳﮕﺮﻯ ﺍﻓﺰﻭﻥ ﺑﺮ ﻣﻔﺮﻭﺿﺎﺕ ﻣﻨﺒﻌﺚ ﺍﺯ ﺑﺮﻫﺎﻥ‬ ‫ﻗﺒﻞ ﺭﺍ ﻫﻢ ﺩﺭ ﺑﻄﻦ ﺍﻳﻦ ﻋﺒﺎﺭﺍﺕ ﺟﺎﻯ ﺩﺍﺩ‪.‬‬ ‫ﺩﺭ ﻣﺴﻴﺮ ﻃﻰ ﺍﻳﻦ ﺩﻭ ﺑﺮﻫﺎﻥ ﻭ ﺑﺮﺍﻯ ﺣﻞ ﻣﻌﺎﺩﻟﻪ‪ ،‬ﺗﻮﺟﻪ ﺑﻪ ﻣﺘﻐﻴﺮ‬ ‫ﺛﺎﻧﻮﻯ‪ ،‬ﻳﻌﻨﻰ ﺭﻭﺳــﻴﻪ ﻭ ﻣﻮﺿﻊ ﺁﻥ ﻛﺸــﻮﺭ ﺩﺭ »ﻓﺎﻗــﺪ ﻧﺘﻴﺠﻪ ﺑﻮﺩﻥ‬ ‫ﻣﺬﺍﻛﺮﺍﺕ« ﻧﻴﺰ ﺣﺎﺋﺰ ﺍﻋﺘﻨﺎﺳﺖ‪ .‬ﺍﮔﺮ ﻣﻨﻄﻖ ﻧﺨﺴﺖ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻴﻢ ﻛﻪ ﺭﻭﺳﻴﻪ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﻓﺸﺎﺭ ﺳﻨﮕﻴﻦ ﻏﺮﺏ‬ ‫ﻭ ﺍﺭﻭﭘﺎ ﺑﺮﺍﻯ ﺗﻨﻈﻴﻢ ﻣﺘﻦ ﻗﻄﻌﻨﺎﻣﻪ ﺟﺪﻳﺪﻯ ﺑﺮﺍﻯ ﺗﺤﺮﻳﻢ‪ ،‬ﺟﺒﻬﻪﺍﻯ‬ ‫ﺍﺳــﺘﻮﺍﺭ ﺑﮕﺸــﺎﻳﺪ‪ ،‬ﺑﺎﻳﺪ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷــﻴﻢ ﺩﺭ ﺑﺮﺧﻰ ﻣﺒﺎﺣﺚ ﻳﺎ‬ ‫ﭼﺎﻟﺶﻫﺎﻯ ﻣﻬﻢ ﺩﻳﮕﺮ ﺟﻬﺎﻧﻰ ﻧﻴﺰ ﺷــﻮﺍﻫﺪﻯ ﺑﻪﺩﺳــﺖ ﺁﻭﺭﻳﻢ ﻛﻪ‬ ‫ﻧﺸــﺎﻥ ﺩﻫﺪ ﺭﻭﺳــﻴﻪ ﺗﺼﻤﻴﻢ ﺩﺍﺭﺩ ﺭﻭﻳﻪﺍﻯ ﻣﺴــﺘﻘﻞﺗﺮ ﺍﺯ ﮔﺬﺷﺘﻪ‬ ‫ﺩﻧﺒﺎﻝ ﻛﻨﺪ‪ .‬ﺑﻪﺗﺼﻮﺭ ﺭﺍﻗﻢ ﺍﻳﻦ ﺳﻄﻮﺭ‪ ،‬ﺍﮔﺮ ﺩﺭ ﺍﺟﻼﺱ ﻓﺮﺍ ﺭﻭﻯ ﻟﻨﺪﻥ‬ ‫ﺩﺭ ﻣﻮﺿﻮﻉ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ ﺍﻳﻦ ﺭﻭﻳﻜﺮﺩ ﺩﺭ ﺳﻄﺤﻰ ﻗﺎﺑﻞ ﺍﻧﺪﺍﺯﻩﮔﻴﺮﻯ ﺍﺯ‬ ‫ﺳﻮﻯ ﺭﻭﺱﻫﺎ ﺍﺩﺍﻣﻪ ﻳﺎﺑﺪ‪ ،‬ﭘﺲ ﺑﻼﺷﻚ ﺑﺎﻳﺪ ﻳﻚ ﺗﻐﻴﻴﺮ ﻣﺎﻫﻮﻯ ﺭﺍ ﺩﺭ‬ ‫ﻣﺴــﻴﺮ ﭘﺮﻭﻧﺪﻩ ﻫﺴﺘﻪﺍﻯ ﺍﻳﺮﺍﻥ ﻭ ﺩﻭ ﻗﻄﺒﻰ ﺷﺪﻥ ‪ 5+1‬ﻛﻪ ﻧﺘﻴﺠﻪ ﺁﻥ‬ ‫ﺍﻧﺰﻭﺍﻯ ﺑﻴﺸــﺘﺮ ﻗﻄﺐ ﺗﻨﺪﺭﻭﻫﺎ ﺩﺭ ﻛﻠﻮپ ‪ 5+1‬ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷــﻴﻢ؛ ﺭﻭﻳﻜﺮﺩﻯ ﻛﻪ ﺑﺮ ﺍﺳﺎﺱ ﺑﺮﻫﺎﻥ ﻧﺨﺴﺖ ﻗﺎﺑﻞ ﺗﻮﺻﻴﻒ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﺍﮔﺮ ﺍﺯ ﺯﺍﻭﻳﻪ ﻣﺨﺎﻟﻒ ﺑﻪ ﺁﻧﭽﻪ ﺭﻭﻯ ﺩﺍﺩ ﻭ ﺑﻨﺎ ﺑﺮ ﺍﺳــﺘﺪﻻﻝ ﻭ ﺍﺳﺘﻘﺮﺍ‬ ‫ﺑﺮﻫﺎﻥ ﺩﻭﻡ ﻣﻮﺿﻮﻉ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻴﻢ ﺍﻇﻬﺎﺭﺍﺕ ﻫﻤﺘﺎﻯ ﺭﻭﺱ ﺁﻗﺎﻯ ﺑﺮﻧﺰ‬ ‫ﺩﺭ ﺍﻳﻦ ﺧﺼﻮﺹ ﻛﻪ »ﻃﻰ ﺍﻳﻦ ﮔﻔﺖﻭﮔﻮﻫﺎ ﺩﺭ ﺯﻣﻴﻨﻪ ﺍﻋﻤﺎﻝ ﺗﺸﺪﻳﺪ‬ ‫ﺗﺤﺮﻳﻢﻫﺎ ﺑﻪ ﻧﺘﻴﺠﻪﺍﻯ ﻧﺮﺳﻴﺪﻳﻢ«‪ ،‬ﺗﺮﺟﻤﻪﺍﻯ ﺭﻭﺍﻥ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﺍﺣﺘﻤﺎﻝ ﺍﻗﺪﺍﻣــﺎﺕ ﻳﻜﺠﺎﻧﺒﻪ ﺁﻣﺮﻳﻜﺎ ﻭ ﭘﺬﻳﺮﺵ ﺍﺗﺨﺎﺫ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ ﺑﻪ‬ ‫ﺭﻓﺘﺎﺭﻫﺎﻟﻴﻮﻭﺩﻯ ﺑﺎ ﺭﻳﺴــﻚﻫﺎﻯ ﭘﺮﻫﺰﻳﻨﻪ‪ ،‬ﻣﻮﺿﻊ ﺭﻭﺳﻴﻪ ﭼﻨﻴﻦ »‬ ‫ﻛﺪﻳﻨﮓ ﻳﺎ ﺭﻣﺰﮔﺸــﺎﻳﻰ« ﺷﺪ ﻛﻪ ﻫﻨﻮﺯ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﺗﺤﺮﻳﻢﻫﺎ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺷﺘﻪ ﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺗﻰ ﺍﺯ ﺩﺳﺘﻮﺭ ﺧﺎﺭﺝ ﻧﺸﺪﻩ ﻛﻪ ﺑﺘﻮﺍﻥ ﺷﻜﺴﺖ ﻣﺬﺍﻛﺮﺍﺕ‬ ‫ﺭﺍ ﺍﻋــﻼﻡ ﻛﺮﺩ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﻭﺿﻌﻴﺘﻰ ﻣﺘﺎﺳــﻔﺎﻧﻪ ﺑﺎﻳــﺪ ﮔﻔﺖ ﺑﺮﺧﻼﻑ‬ ‫ﺷــﻌﺎﺭﻫﺎﻯ ﺍﻭﺑﺎﻣﺎ ﺩﺭ ﺯﻣﻴﻨﻪ »ﺗﻐﻴﻴﺮ«‪ ،‬ﻫﻨﻮﺯ ﻫﻴﭻ ﺷــﺎﻫﺪ ﺟﺪﻯ ﺩﺭ‬ ‫ﮔﺰﻳﻨﺶ ﻣﺴــﻴﺮ ﺗﻌﺎﻣﻠﻰ ﺭﻭﻳﺖ ﻧﺸــﺪﻩ ﺍﺳــﺖ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺗﻰ ﺭﻭﺷﻦﺗﺮ‬ ‫ﺍﻳﻨﻚ ﺑﺎ ﺣﻔﻆ ﻛﺎﺭﮔﺰﺍﺭﺍﻥ ﺳﻴﺴــﺘﻢ ﻧﺌﻮﻛﺎﻥﻫــﺎﻯ ﺟﻤﻬﻮﺭﻯﺧﻮﺍﻩ‬ ‫ﺩﺭ ﺍﻟﮕﻮﻯ ﺩﻭﻟــﺖ ﺩﻣﻮﻛﺮﺍﺕ ﺧﻮﺍﻫﺎﻥ ﺗﻐﻴﻴﺮ‪ ،‬ﭼــﻮﻥ ﺭﺍﺑﺮﺕ ﮔﻴﺘﺲ‬ ‫ﺩﺭ ﻭﺯﺍﺭﺕ ﺩﻓــﺎﻉ‪ ،‬ﻧﻴﻜﻼﺱ ﺑﺮﻧــﺰ ﺩﺭ ﻭﺯﺍﺭﺕ ﺧﺎﺭﺟﻪ ﻭ ﻟﻮﻯ ﺩﺭ ﻭﺯﺍﺭﺕ‬ ‫ﺧﺰﺍﻧﻪﺩﺍﺭﻯ ﻧﻮﻉ ﻋﻤﻠﻰ »ﺗﻐﻴﻴﺮ« ﺟﺎﻳﮕﺎﻩ ﺩﺭ ﺧﺎﺳــﺘﮕﺎﻩ ﻧﺌﻮﻛﺎﻧﻴﺴﻢ‬ ‫ﺍﺯ ﺍﺭﺩﻭﻯ ﺭﺍﺳــﺘﮕﺮﺍﻳﺎﻥ ﺑﻪ ﺟﺮﻳﺎﻥ ﺩﻣﻮﻛــﺮﺍﺕ ﻃﻠﺒﺎﻥ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﺣﺘﻰ‬ ‫ﺑﺎ ﮔﺎﻡﻫﺎﻯ ﺑﻠﻨﺪﺗﺮ ﺑﺮﺩﺍﺷــﺘﻪ ﺷﺪﻩ ﺍﺳــﺖ‪ .‬ﺑﻪﻃﻮﺭﻳﻜﻪ ﺩﻭﺭ ﺍﺯ ﺍﻧﺘﻈﺎﺭ‬ ‫ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ ﻧﺎﭼﺎﺭ ﺑﺎﺷﻴﻢ ﺍﺯ ﺳﺮﻧﻮﺷﺘﻰ ﻣﺸﺎﺑﻪ ﺑﺮﺍﻯ ﺩﻭﻟﺖ ﺍﻭﺑﺎﻣﺎ ﭼﻮﻥ‬ ‫ﺍﺳﻼﻑ ﺧﻮﺩ ﺩﺭ ﻣﻮﺍﺟﻪ ﻏﻠﻂ ﻭ ﺗﻮﺍﻡ ﺑﺎ ﺗﺪﺍﻭﻡ ﺧﺼﻮﻣﺖ ﺑﺎ ﺍﻳﺮﺍﻥ ﺳﺨﻦ‬ ‫ﺑﮕﻮﻳﻴﻢ‪.‬‬ ‫ﺍﺧﺘﻼﻑﻧﻈﺮ ﺩﺭ ‪ 5 + 1‬ﻫﻤﭽﻨﺎﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‬ ‫ﺗﺮﺩﻳﺪ ﺩﺭ ﺗﺼﻤﻴﻢﮔﻴﺮﻱ‬ ‫ﻋﻠﻴﺮﺿﺎ ﻛﻴﻮﺍﻧﻲﻧﮋﺍﺩ‬ ‫»ﮔﺮﻭﻩ ‪ 5+1‬ﺩﺭﺑﺎﺭﻩ ﺍﻳﺮﺍﻥ ﺑﻪ ﻧﺘﻴﺠﻪ ﻧﺮﺳﻴﺪ‪ «.‬ﺍﻳﻦ ﺟﻤﻠﻪ ﺭﺍ ﺑﺎﺭﻫﺎ ﺍﺯ‬ ‫ﺯﺑﺎﻥ ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﻣﺬﻛﻮﺭ ﺷﻨﻴﺪﻩﺍﻳﻢ ﻭ ﻫﺮﺑﺎﺭ ﺩﺍﺳﺘﺎﻥ ﺗﺼﻤﻴﻢ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺍﻳﺮﺍﻥ ﺑﻪ ﺭﻭﺯﻫﺎﻯ ﺁﻳﻨﺪﻩ ﻣﻮﻛﻮﻝ ﻣﻰﺷــﻮﺩ‪ .‬ﺭﻭﺑﺎﻓﺖ ﻗﻀﻴﻪ‬ ‫ﺁﺳﺎﻥ ﺍﺳﺖ‪ .‬ﻛﺸﻮﺭﻫﺎﻯ ﺍﻳﻦ ﮔﺮﻭﻩ ﺩﺭ ﺍﺗﺨﺎﺫ ﻳﻚ ﺗﺼﻤﻴﻢ ﻭﺍﺣﺪ ﻋﻠﻴﻪ‬ ‫ﺍﻳﺮﺍﻥ ﻣﺮﺩﺩ ﻫﺴﺘﻨﺪ ﻭ ﮔﺎﻩ ﺑﺎﻳﺪ ﭼﻴﻦ ﻭ ﺭﻭﺳﻴﻪ ﺭﺍ ﻫﻢ ﻣﺘﻘﺎﻋﺪ ﻛﻨﻨﺪ ﻛﻪ‬ ‫ﺍﻳﻦ ﺳﺨﺖﺗﺮ ﺍﺯ ﻫﺮ ﻛﺎﺭ ﺩﻳﮕﺮﻯ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﭼﻴﻦ ﻣﻰﺗﻮﺍﻥ ﻳﻚ ﺍﺳــﺘﺪﻻﻝ ﺭﺍﺣﺖ ﻭ ﺳــﺎﺩﻩ ﺩﺍﺷــﺖ‪،‬‬ ‫ﺍﺳــﺘﺪﻻﻟﻰ ﻛﻪ ﺭﻭﺯﻧﺎﻣﻪ ﻧﻴﻮﻳﻮﺭﻙﺗﺎﻳﻤــﺰ ﺁﻥ ﺭﺍ ﭼﻨﻴﻦ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ‬ ‫ﺍﺳﺖ‪ »:‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻛﺸﻮﺭﻫﺎﻱ ﻏﺮﺑﻲ ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﺸﺪﻳﺪ ﺍﻳﻦ ﺗﺤﺮﻳﻢﻫﺎ‬ ‫ﻫﺴﺘﻨﺪ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳــﺪ ﻛﻪ ﭼﻴﻦ ﻓﻌﻼ ﺩﺭ ﺣﺎﻝ ﻭﻗﺖﻛﺸﻲ ﺍﺳﺖ‪.‬‬ ‫ﭼﻴﻦ ﻗﺒﻞ ﺍﺯ ﺗﺸــﻜﻴﻞ ﺟﻠﺴﻪ ﺍﺧﻴﺮ ﺑﻪ ﺷﺮﻛﺖﻛﻨﻨﺪﮔﺎﻥ ﺩﻳﮕﺮ ﺍﻋﻼﻡ‬ ‫ﻛﺮﺩﻩ ﺍﺳــﺖ‪ ،‬ﻫﻲ ﻳﺎﻓﻲ‪ ،‬ﻣﻌﺎﻭﻥ ﻭﺯﻳﺮ ﺍﻣﻮﺭﺧﺎﺭﺟﻪ ﻳﻌﻨﻲ ﻣﻘﺎﻣﻲ ﻛﻪ‬ ‫ﺁﻧﻘﺪﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ ﺗﺎ ﭘﺎﺳﺦ ﭼﻴﻦ ﺭﺍ ﺩﺭﺑﺎﺭﻩ ﺗﺤﺮﻳﻢ ﻫﺎﻱ ﭘﻴﺸﻨﻬﺎﺩﻱ‬ ‫ﺑﺪﻫﺪ ﺍﺣﺘﻤﺎﻻ ﺩﺭ ﺍﻳﻦ ﻧﺸﺴﺖ ﺷﺮﻛﺖ ﻧﻤﻲﻛﻨﺪ‪ .‬ﺑﻪ ﺟﺎﻱ ﻭﻱ‪ ،‬ژﺍﻧﮓ‬ ‫ﻳﺴﻮﻳﻲ‪ ،‬ﻧﻤﺎﻳﻨﺪﻩ ﺩﺍﺋﻢ ﭼﻴﻦ ﺩﺭ ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﺑﻪ ﻧﻤﺎﻳﻨﺪﮔﻲ ﺍﺯ ﭼﻴﻦ‬ ‫ﺣﻀﻮﺭ ﻳﺎﻓــﺖ‪ .‬ژﺍﻧﮓ ﺍﻳﻦ ﻣﺎﻩ ﺩﺭ ﻳــﻚ ﻛﻨﻔﺮﺍﻧﺲ ﺧﺒﺮﻱ ﮔﻔﺖ ﺣﻞ‬ ‫ﻣﺴﺎﻟﻪ ﻫﺴــﺘﻪﺍﻱ ﺍﻳﺮﺍﻥ ﺑﻪ ﻭﻗﺖ ﻭ ﺣﻮﺻﻠﻪ ﺑﻴﺸﺘﺮﻱ ﻧﻴﺎﺯ ﺩﺍﺭﺩ‪ .‬ﭼﻴﻦ‬ ‫ﻛــﻪ ﻋﻤﻮﻣﺎ ﺗﻤﺎﻳﻠﻲ ﺑــﻪ ﺍﻋﻤﺎﻝ ﺗﺤﺮﻳﻢ ﺑﺮ ﺿﺪ ﻫﻴﭻ ﻛﺸــﻮﺭﻱ ﻧﺪﺍﺭﺩ‬ ‫ﺑﻪﻭﻳﮋﻩ ﺑﻪ ﺍﻋﻤﺎﻝ ﺗﺤﺮﻳﻢﻫﺎﻱ ﺍﻗﺘﺼﺎﺩﻱ ﺩﺭ ﮔﺬﺷﺘﻪ ﻧﻴﺰ ﺑﺎﺭﻫﺎ ﺑﺎ ﮔﻔﺘﻦ‬ ‫ﺍﻳﻨﻜﻪ ﻧﻤﺎﻳﻨﺪﻩﺍﺵ ﺩﺭ ﻧﺸﺴــﺖﻫﺎ ﺑﺎﻳﺪ ﺑﺎ ﭘﻜﻦ ﺑﻴﺸﺘﺮ ﻣﺸﻮﺭﺕ ﻛﻨﺪ‬ ‫ﻣﺬﺍﻛﺮﺍﺕ ﺷﻮﺭﺍﻱ ﺍﻣﻨﻴﺖ ﺭﺍ ﻣﻌﻄﻞ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪«.‬ﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ‬ ‫ﺩﺭ ﺍﺩﺍﻣﻪ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪»:‬ﺍﻳﻦ ﺍﻟﺒﺘﻪ ﺗﻤﺎﻡ ﺣﺮﻑ ﻣﺴﺌﻮﻻﻥ ﻧﻴﺴﺖ ﭼﻮﻥ‬ ‫ﻧﺒﻮﺩ ﺟﻤﻌﻴﺖ ﻓﻜﺮ ﻧﺰﺩ ﺩﻳﮕﺮ ﺍﻋﻀﺎ ﻫﻢ ﻣﺰﻳﺪ ﺑﺮ ﻋﻠﺖ ﺷﺪﻩ ﺗﺎ ﻧﺘﻮﺍﻧﻨﺪ‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﺁﻧﭽﻪ ﺑﻪﺯﻋﻢ ﺧﻮﺩ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺍﺗﻤﻰ ﺍﻳﺮﺍﻥ ﻣﻲﻧﺎﻣﻨﺪ ﺗﺼﻤﻴﻢ‬ ‫ﻗﺎﻃﻌﻰ ﺑﮕﻴﺮﻧﺪ‪ .‬ﻳﻜﻲ ﺩﻳﮕﺮ ﺍﺯ ﻣﺴﺎﺋﻞ ﺩﻳﭙﻠﻤﺎﺕﻫﺎﻱ ﻛﺸﻮﺭﻫﺎﻱ ﺩﻳﮕﺮ‬ ‫ﮔﺮﻭﻩ ﭘﻨﺞ ﺑﻪ ﺍﺿﺎﻓﻪ ﻳﻚ ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﺁﻳﺎ ﺑﺎﻳﺪ ﺑﺮ ﺍﻋﻤﺎﻝ ﺗﺤﺮﻳﻢﻫﺎﻱ‬ ‫ﺳﺨﺘﮕﻴﺮﺍﻧﻪ ﺗﺮ ﺍﺻﺮﺍﺭ ﻛﻨﻨﺪ ﻭ ﺭﻳﺴﻚ ﺍﻣﺘﻨﺎﻉ ﭼﻴﻦ ﺭﺍ ﺑﭙﺬﻳﺮﻧﺪ ﻳﺎ ﺧﻴﺮ‪.‬‬ ‫ﭼﻨﻴﻦ ﻧﺘﻴﺠﻪﺍﻱ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﻳﮕﺮ ﺍﻋﻀﺎﻱ ﺷﻮﺭﺍﻱ ﺍﻣﻨﻴﺖ ﺭﺍ ﺑﻪ ﺍﻳﻦ‬ ‫ﻓﻜﺮ ﺑﻴﻨﺪﺍﺯﺩ ﻛﻪ ﺩﺳﺖ ﺭﻭﻱ ﺩﺳﺖ ﺑﮕﺬﺍﺭﻧﺪ ﻭ ﺍﻳﻦ ﺗﺮﺩﻳﺪ ﺑﻪ ﻭﺟﻮﺩ ﺁﻳﺪ‬ ‫ﻛﻪ ﺁﻳﺎ ﻃﺮﻓــﺪﺍﺭﺍﻥ ﺗﺤﺮﻳﻢ ﻣﻲﺗﻮﺍﻧﻨﺪ ‪ 9‬ﺭﺍﻱ ﻻﺯﻡ ﺭﺍ ﺑﺮﺍﻱ ﺑﻪ ﺗﺼﻮﻳﺐ‬ ‫ﺭﺳﺎﻧﺪﻥ ﺗﺪﺍﺑﻴﺮ ﺗﺤﺮﻳﻤﻲ ﺧﻮﺩ ﻛﺴﺐ ﻛﻨﻨﺪ ﻳﺎ ﺧﻴﺮ‪«.‬‬ ‫ﺗﺮﻛﻴﻪ ﻋﺎﻗﻼﻧﻪ ﺑــﻮﺩﻥ ﺍﻋﻤﺎﻝ ﺗﺤﺮﻳﻢﻫﺎﻱ ﺟﺪﻳﺪ ﺭﺍ ﺯﻳﺮ ﺳــﻮﺍﻝ‬ ‫ﺑﺮﺩﻩ ﻭ ﻫﻤﺎﻥ ﻣﻮﺿﻊ ﭼﻴﻦ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﻣﻲﮔﻮﻳﺪ ﺑﺎ ﻣﺬﺍﻛﺮﺍﺕ ﺑﻴﺸــﺘﺮ‬ ‫ﺷــﺎﻳﺪ ﺑﺘﻮﺍﻥ ﺍﻳﺮﺍﻧﻲﻫﺎ ﺭﺍ ﺑﻪ ﺍﻧﺘﻘﺎﻝ ﻣﻘﺪﺍﺭﻱ ﺍﺯ ﺫﺧﺎﻳﺮ ﺍﻭﺭﺍﻧﻴﻮﻡ ﺧﻮﺩ‬ ‫ﺑﻪ ﺧﺎﺭﺝ ﺑﺮﺍﻱ ﻏﻨﻲﺳﺎﺯﻱ ﺑﻴﺸــﺘﺮ ﻣﺘﻘﺎﻋﺪ ﻛﺮﺩ‪ .‬ﻟﺒﻨﺎﻥ ﻭ ﺑﺮﺯﻳﻞ ﻛﻪ‬ ‫ﻫﺮ ﺩﻭ ﺍﻣﺴﺎﻝ ﺍﺯ ﺍﻋﻀﺎﻱ ﺟﺪﻳﺪ ﺷﻮﺭﺍﻱ ﺍﻣﻨﻴﺖ ﻫﺴﺘﻨﺪ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﺑﻪ ﺳﺒﺐ ﻣﻨﺎﺳﺒﺎﺗﺸــﺎﻥ ﺑﺎ ﺍﻳﺮﺍﻥ ﺑﻪ ﺗﺤﺮﻳﻢﻫﺎﻱ ﺷﺪﻳﺪ ﺭﺍﻱ ﻧﺪﻫﻨﺪ‪.‬‬ ‫ﺩﻳﭙﻠﻤﺎﺕﻫﺎ ﺩﺭﺁﻣﺮﻳﻜﺎ ﮔﻔﺘﻨﺪ ﺩﺭ ﻭﺍﺷﻨﮕﺘﻦ ﺍﻳﻦ ﺑﺤﺚ ﻧﻴﺰ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‬ ‫ﻛﻪ ﺁﻳﺎ ﺗﺤﺮﻳﻢ ﻫﺎﻱ ﺳﺨﺘﮕﻴﺮﺍﻧﻪ ﻭ ﻓﻮﺭﻱ ﺑﻬﺘﺮﻳﻦ ﺭﺍﻩ ﺍﺳﺖ ﻳﺎ ﺭﺍﻩﻫﺎﻱ‬ ‫ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻳﺎ ﺧﻴﺮ‪.‬‬ ‫ﺍﻣﺎ »ﺩﻳﻮﻳﺪ ﻣﻰ«‪ -‬ﺗﺤﻠﻴﻠﮕﺮ ﻧﻴﻮﻳــﻮﺭﻙ ﺗﺎﻳﻤﺰ ‪ -‬ﺩﺭ ﺑﺨﺶ ﺩﻳﮕﺮﻯ‬ ‫ﺍﺯ ﻣﻄﻠﺐ ﺧﻮﺩ ﻧﻴﺰ ﭼﻨﻴﻦ ﻣﺪﻋﻰ ﺷﺪﻩ ﺍﺳــﺖ‪» :‬ﺑﺮﺧﻲ ﺍﺯ ﺩﻳﭙﻠﻤﺎﺕﻫﺎ‬ ‫ﻣﻲﮔﻮﻳﻨﺪﺍﻋﻤﺎﻝﺗﺤﺮﻳﻢﻫﺎﻱﺳﺨﺘﮕﻴﺮﺍﻧﻪﺩﺭﺍﻳﻦﺯﻣﺎﻥﺑﻪﻣﻨﺰﻟﻪﺍﻋﺘﺮﺍﻑ‬ ‫ﺩﻭﻟﺖﺁﻣﺮﻳﻜﺎﺑﻪﺍﻳﻦﺧﻮﺍﻫﺪﺑﻮﺩﻛﻪﺳﻴﺎﺳﺖﺗﻌﺎﻣﻞﺩﻭﻟﺖﺑﺎﺭﺍﻙﺍﻭﺑﺎﻣﺎﺑﺎ‬ ‫ﺩﺷﻤﻨﺎﻥ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩ ﺍﺳﺖ‪ .‬ﻫﻢ ﺭﻭﺳﻴﻪ ﻭ ﻫﻢ ﭼﻴﻦ ﺍﺯ ﺳﻪ ﻗﻄﻌﻨﺎﻣﻪ‬ ‫ﻗﺒﻠﻲﺗﺤﺮﻳﻢﻫﺎﻱﺍﻳﺮﺍﻥﺩﺭﺷﻮﺭﺍﻱﺍﻣﻨﻴﺖﺣﻤﺎﻳﺖﻛﺮﺩﻧﺪ‪.‬ﺍﻳﻦﺗﺤﺮﻳﻢﻫﺎ‬ ‫ﺍﺳﺎﺳﺎﺁﻥﮔﺮﻭﻩﺍﺯﺍﻓﺮﺍﺩﻭﺳﺎﺯﻣﺎﻥﻫﺎﻱﺍﻳﺮﺍﻥﺭﺍﻫﺪﻑﻗﺮﺍﺭﺩﺍﺩﻛﻪﺩﺭﺑﺮﻧﺎﻣﻪ‬ ‫ﻫﺴﺘﻪﺍﻱﺍﻳﻦﻛﺸﻮﺭﻣﺸﺎﺭﻛﺖﺩﺍﺭﻧﺪ‪.‬ﻫﺪﻑﺍﻳﻦﺗﺤﺮﻳﻢﻫﺎﻣﺠﺒﻮﺭﻛﺮﺩﻥ‬ ‫ﺍﻳﺮﺍﻥﺑﻪﺑﺎﺯﮔﺸﺖﺳﺮﻣﻴﺰﻣﺬﺍﻛﺮﻩﻭﺟﻠﻮﮔﻴﺮﻱﺍﺯﺩﺳﺘﻴﺎﺑﻲﺍﻳﻦﻛﺸﻮﺭﺑﻪ‬ ‫ﻓﻨﺎﻭﺭﻱﺗﻮﻟﻴﺪﺳﻼﺡﻫﺴﺘﻪﺍﻱﺍﺳﺖﻛﻪﺍﻳﺮﺍﻥﺁﻥﺭﺍﺍﻧﻜﺎﺭﻣﻲﻛﻨﺪ‪.‬ﺭﻭﺳﻴﻪ‬ ‫ﺗﻠﻮﻳﺤﺎﺍﻋﻼﻡﻛﺮﺩﻩﻛﻪﺩﺳﺖﻛﻢﺍﺯﺗﺤﺮﻳﻢﻫﺎﻱﺿﻌﻴﻒﺣﻤﺎﻳﺖﺧﻮﺍﻫﺪ‬ ‫ﻛﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺁﻧﻜﻪ ﺍﻳﺮﺍﻥ ﻧﺨﺴــﺖ ﺗﻮﺍﻓﻖ ﻣﺎﻩ ﺍﻛﺘﺒﺮ ﮔﺬﺷﺘﻪ ﺭﺍ ﭘﺬﻳﺮﻓﺖ‬ ‫ﻭ ﺑﻌﺪ ﺁﻥ ﺭﺍ ﺭﺩ ﻛﺮﺩ‪ ،‬ﻣﺴــﻜﻮ ﺍﺣﺴــﺎﺱ ﻣﻲ ﻛﻨﺪ ﻛﻪ ﻣﻮﺭﺩ ﺑﻲﺍﻋﺘﻨﺎﻳﻲ‬ ‫ﺗﻬﺮﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺁﻥ ﺗﻮﺍﻓﻖ ﻗﺮﺍﺭ ﺑﻮﺩ ﺍﻳﺮﺍﻥ ﺑﺨﺶ ﺍﻋﻈﻢ‬ ‫ﺍﻭﺭﺍﻧﻴﻮﻡ ﻏﻨﻲ ﺷﺪﻩ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻱ ﻏﻨﻲ ﺳﺎﺯﻱ ﺑﻴﺸﺘﺮ ﺑﻪ ﺭﻭﺳﻴﻪ ﺑﻔﺮﺳﺘﺪ‪.‬‬ ‫ﺳﻪ ﻋﻀﻮ ﻏﺮﺑﻲ ﻭ ﺩﺍﺋﻢ ﺷﻮﺭﺍﻱ ﺍﻣﻨﻴﺖ ﻳﻌﻨﻰ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﺍﻧﮕﻠﻴﺲ ﻭ ﻓﺮﺍﻧﺴﻪ‬ ‫ﻫﻤﺮﺍﻩ ﺁﻟﻤﺎﻥ ﺩﺳــﺖﻛﻢ ﺩﺭ ﺳﻪ ﺣﻮﺯﻩ ﺧﻮﺍﺳــﺘﺎﺭ ﺍﻋﻤﺎﻝ ﺗﺤﺮﻳﻢﻫﺎﻳﻲ‬ ‫ﺿﺪ ﺍﻳﺮﺍﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺗﻼﺵ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ ﺗﻮﺍﻧﺎﻳﻲ ﺑﺎﻧﻚﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﺭﺍ‬ ‫ﺑﺮﺍﻱ ﻛﺎﺭ ﻛﺮﺩﻥ ﺩﺭ ﺧﺎﺭﺝ ﻣﺤﺪﻭﺩ ﺳــﺎﺯﻧﺪ ﻭ ﺍﻋﻀﺎﻱ ﺍﺭﺷﺪ ﺍﺩﺍﺭﻩ ﻛﻨﻨﺪﻩ‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺴﺘﻪﺍﻱﺍﻳﺮﺍﻥﺭﺍﺍﺯﺑﻘﻴﻪﺟﺪﺍﻛﻨﻨﺪﻭﺑﺮﺍﻱﺷﺮﻛﺖﻫﺎﻱﻛﺸﺘﻴﺮﺍﻧﻲ‬ ‫ﺍﻳﺮﺍﻥ ﻣﻮﺍﻧﻌﻲ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﻧﺪ‪«.‬‬ ‫ﺭﻭﻯ ﺩﻳﮕﺮ ﺳﻜﻪ‬ ‫ﺭﻭﻯ ﺩﻳﮕــﺮ ﺍﻳﻦ ﻣﺎﺟــﺮﺍ ﭼﻴﺰﻯ ﺍﺳــﺖ ﻛــﻪ ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ‬ ‫ﻣﺴــﻜﻮ ﻧﻴﻮﺯ ﻣﻄﺮﺡ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺑﻪﻧﻮﻋﻰ ﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ ﺍﻳﻦ ﻛﺸﻮﺭ‬ ‫ﻣﺤﺴﻮﺏ ﻣﻰﺷــﻮﺩ‪ .‬ﺍﻳﻦ ﺭﻭﺯﻧﺎﻣﻪ ﺑﻪ ﻧﻘﻞ ﺍﺯ ﺧﺒﺮﮔﺰﺍﺭﻯ ﺭﺳﻤﻰ ﺭﻭﺳﻴﻪ‬ ‫ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ 16»:‬ژﺍﻧﻮﻳﻪ )‪ 26‬ﺩﻱ ﻣﺎﻩ(‪ ،‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻣﻼﻗﺎﺕ ﺩﻳﮕﺮﻱ‬ ‫ﺑﻴﻦ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻛﺸﻮﺭﻫﺎﻱ ﻋﻀﻮ ﮔﺮﻭﻩ »‪ «5+1‬ﺩﺭ ﺣﻞ ﻭ ﻓﺼﻞ ﻣﺴﺎﺋﻞ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺑﺮﻧﺎﻣﻪ ﻫﺴﺘﻪ ﺍﻱ ﺍﻳﺮﺍﻥ ﺍﻧﺠﺎﻡ ﮔﺮﻓﺖ‪ .‬ﺩﻭﻟﺖ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺟﺮﻳﺎﻥ‬ ‫ﺍﻳــﻦ ﺭﺍﻳﺰﻧﻲﻫﺎ ﺗﻼﺵ ﻛﺮﺩ ﺗﺎ ﻣﻮﺍﻓﻘﺖ ﺷــﺮﻛﺎﻱ ﺧــﻮﺩ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﮔﺮﻭﻩ‬ ‫ﺩﺭﺧﺼﻮﺹ ﻟﺰﻭﻡ ﺍﻋﻤــﺎﻝ ﺗﺤﺮﻳﻢﻫﺎﻱ ﺟﺪﻳﺪ ﺿﺪ ﺍﻳﺮﺍﻥ ﺟﻠﺐ ﻛﻨﺪ ﻛﻪ‬ ‫ﺍﻟﺒﺘﻪﻧﺘﻴﺠﻪﺍﻳﻦﺩﻳﺪﺍﺭﻧﺸﺎﻥﺩﺍﺩﻛﻪﺍﺧﺘﻼﻑﻧﻈﺮﻛﺸﻮﺭﻫﺎﻱﻋﻀﻮﮔﺮﻭﻩ‬ ‫»‪«5+1‬ﺩﺭﺍﻳﻦﺭﺍﺑﻄﻪﻫﻤﭽﻨﺎﻥﺑﺎﻗﻲ ﺍﺳﺖ‪«.‬ﭼﻴﻦﻭﺭﻭﺳﻴﻪﺩﺭﺧﺼﻮﺹ‬ ‫ﺗﺎﺛﻴﺮﺗﺤﺮﻳﻢﻫﺎﻱﺟﺪﻳﺪﺩﺭﻗﺒﺎﻝﺍﻳﺮﺍﻥﺗﺮﺩﻳﺪﺩﺍﺭﻧﺪ‪.‬ﻃﻲﺳﺎﻝﻫﺎﻱ‪206‬‬ ‫ﺗﺎ‪ 2008‬ﺷﻮﺭﺍﻱﺍﻣﻨﻴﺖﺳﻪﻗﻄﻌﻨﺎﻣﻪﺩﺭﺍﻳﻦﺧﺼﻮﺹﺑﻪﺗﺼﻮﻳﺐﺭﺳﺎﻧﺪ‬ ‫ﻛﻪﻫﻴﭻﻳﻚﺍﺯﺁﻧﻬﺎ ﻧﺘﻮﺍﻧﺴﺘﻨﺪ ﺗﻬﺮﺍﻥﺭﺍﻣﺠﺒﻮﺭﺑﻪﻛﻮﺗﺎﻩﺁﻣﺪﻥﺍﺯﻣﻮﺍﺿﻊ‬ ‫ﺧﻮﻳﺶ ﻛﻨﺪ‪ .‬ﺑﻪ ﮔﻔﺘﻪ »ﺳــﺮﮔﺌﻲ ﺭﻳﺎﺑﻜﻮﻑ« ﻣﻌﺎﻭﻥ ﻭﺯﻳﺮ ﺍﻣﻮﺭ ﺧﺎﺭﺟﻪ‬ ‫ﺭﻭﺳﻴﻪ‪ ،‬ﻛﺸﻮﺭﻫﺎﻱ ﻋﻀﻮ ﮔﺮﻭﻩ »‪ «5+1‬ﺩﺭ ﺁﻳﻨﺪﻩ ﺑﻪ ﺑﺮﺭﺳﻲ ﺍﻳﻦ ﻣﺴﺎﻟﻪ‬ ‫ﺧﻮﺍﻫﻨﺪ ﭘﺮﺩﺍﺧﺖﻛﻪﭼﻪ ﺍﻗﺪﺍﻣﺎﺕ ﻣﻀﺎﻋﻔﻲﻣﻲﺗﻮﺍﻥﺩﺭﻧﻈﺮﮔﺮﻓﺖﻛﻪ‬ ‫ﺑﺘﻮﺍﻧﺪﺭﺍﻩﺣﻞﺳﻴﺎﺳﻲ‪-‬ﺩﻳﭙﻠﻤﺎﺗﻴﻜﻲﺑﺮﺍﻱﻣﺸﻜﻼﺕﻣﻮﺟﻮﺩﻛﻨﻮﻧﻲﺩﺭ‬ ‫ﺍﻳﻦﺭﺍﺑﻄﻪﺷﻮﺩ‪،‬ﺍﻟﺒﺘﻪﻭﻱﺗﺎﻛﻴﺪﻛﺮﺩﻛﻪﺍﻳﻦﺍﻣﺮﺑﻪﻣﻨﺰﻟﻪﺗﺼﻤﻴﻢﮔﻴﺮﻱ‬ ‫ﺑﺮﺍﻱ ﺍﻋﻤﺎﻝ ﺗﺤﺮﻳﻢﻫﺎﻱ ﺟﺪﻳﺪ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﭼﻴﻦ ﺟﻠﻮﺗﺮ ﺍﺯ ﺭﻭﺳﻴﻪ‬ ‫ﭼﻴﻦﺗﻨﻬﺎﻛﺸﻮﺭﮔﺮﻭﻩ»‪«5+1‬ﺑﻮﺩﻛﻪﺩﺭﺍﻳﻦﺩﻳﺪﺍﺭﺩﺭﺳﻄﺤﻲﭘﺎﻳﻴﻦﺗﺮﺍﺯﻣﻌﺎﻭﻥﻭﺯﻳﺮﺧﺎﺭﺟﻪﺍﻳﻦﻛﺸﻮﺭﺣﻀﻮﺭﺩﺍﺷﺖ‪.‬ﻧﺎﻇﺮﺍﻥﺳﻴﺎﺳﻲ‬ ‫ﻣﻌﺘﻘﺪﻧﺪ‪،‬ﺍﻳﻦﺍﻗﺪﺍﻡﭘﻜﻦﻧﺸﺎﻧﻪﻋﺪﻡﺗﻤﺎﻳﻞﺑﺮﺍﻱﺣﻞﻭﻓﺼﻞﻣﺴﺎﺋﻞﻣﺮﺑﻮﻁﺑﻪﺑﺮﻧﺎﻣﻪﻫﺴﺘﻪﺍﻱﺍﻳﺮﺍﻥﺑﺎﺍﺳﺘﻔﺎﺩﻩﺍﺯﺍﻋﻤﺎﻝﺗﺤﺮﻳﻢﻫﺎﻱﻣﻀﺎﻋﻒ‬ ‫ﺍﺳﺖ‪.‬ﻣﻌﺎﻭﻥﻭﺯﻳﺮﺍﻣﻮﺭﺧﺎﺭﺟﻪﺭﻭﺳﻴﻪﻧﻴﺰﺩﺭﭘﺎﻳﺎﻥﻧﺸﺴﺖﻧﻴﻮﻳﻮﺭﻙﺗﺎﻛﻴﺪﻛﺮﺩﻛﻪﺑﻪﻋﻘﻴﺪﻩﻣﻘﺎﻣﺎﺕﻛﺸﻮﺭﺵ‪،‬ﺍﮔﺮﻫﻢﺯﻣﺎﻧﻲﺗﺤﺮﻳﻢﻫﺎﻱ‬ ‫ﻣﻀﺎﻋﻒﺩﺭﻗﺒﺎﻝﺍﻳﺮﺍﻥﻣﻮﺭﺩﺍﺟﺮﺍﮔﺬﺍﺷﺘﻪﺷﻮﺩ‪،‬ﺁﻧﻬﺎﺑﺎﻳﺪﺻﺮﻓﺎﺩﺭﺟﻬﺖﺗﻘﻮﻳﺖﺭژﻳﻢﻋﺪﻡﮔﺴﺘﺮﺵﺳﻼﺡﻫﺎﻱﻫﺴﺘﻪﺍﻱﺑﺎﺷﻨﺪ‪.‬ﺍﻳﻦﺩﻳﭙﻠﻤﺎﺕ‬ ‫ﺑﻠﻨﺪ ﭘﺎﻳــﻪ ﺭﻭﺱ ﻫﻤﭽﻨﻴﻦ ﺍﻋﻼﻡ ﻛﺮﺩ ﻛﻪ ﺩﺭ ﺟﺮﻳﺎﻥ ﻧﺸﺴــﺖ ﮔــﺮﻭﻩ »‪ «5+1‬ﺩﺭ ﻧﻴﻮﻳــﻮﺭﻙ ﺑﻪ ﻫﻤﺘﺎﻳﺎﻥ ﺧﻮﻳﺶ ﻧﻴــﺰ ﺗﺎﻛﻴﺪ ﻛﺮﺩﻩ‬ ‫ﺍﺳــﺖ ﻛــﻪ ﺗﺤﺮﻳﻢﻫﺎ ﻫﺮﮔــﺰ ﺭﺍﻩ ﻋﻼﺝ ﻧﺒــﻮﺩﻩ ﻭ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺩﺭ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﻣﻮﺍﺭﺩ ﺭﺍﻩ ﺣﻞ ﻣﺸــﻜﻼﺕ ﺑﺎﺷــﻨﺪ‪» .‬ﻭﺭﻣﻴﺎﻧﻮﻭﺳــﺘﻲ«‬ ‫ﻣــﻲ ﺍﻓﺰﺍﻳــﺪ‪ ،‬ﺍﻳــﻦ ﺣﻘﻴﻘــﺖ ﻛــﻪ ﻧﺸﺴــﺖ ﻧﻤﺎﻳﻨــﺪﮔﺎﻥ ﮔــﺮﻭﻩ »‪ «5+1‬ﺩﺭ ﻧﻴﻮﻳــﻮﺭﻙ ﺩﻭ ﺭﻭﺯ ﻗﺒــﻞ ﺍﺯ ﺍﻧﺠــﺎﻡ ﺩﺭ ﺷــﺮﻑ ﻟﻐــﻮ‬ ‫ﺷــﺪﻥ ﺑﻮﺩ‪ ،‬ﺧــﻮﺩ ﮔﻮﻳــﺎﻱ ﺑﺎﻗﻲ ﻣﺎﻧــﺪﻥ ﺍﺧﺘﻼﻑ ﻧﻈــﺮﺍﺕ ﺑﻴــﻦ ﺍﻋﻀﺎﻱ ﺍﻳﻦ ﮔــﺮﻭﻩ ﺍﺳــﺖ‪ .‬ﺗﺎﺭﻳﺦ ﻣﻼﻗــﺎﺕ ﺑﻌــﺪﻱ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ‬ ‫ﺷﺶ ﻛﺸﻮﺭ ﺩﺭﮔﻴﺮ ﺩﺭ ﺣﻞ ﻣﺴﺎﺋﻞ ﻣﺮﺑﻮﻁ ﺑﻪ ﺑﺮﻧﺎﻣﻪ ﻫﺴــﺘﻪﺍﻱ ﺍﻳﺮﺍﻥ ﻫﻨﻮﺯ ﻣﺸﺨﺺ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﻬﺮﺍﻥ ﻫﻨﻮﺯ ﺑﺮﺍﻱ ﺗﺠﺪﻳﺪ‬ ‫ﻧﻈﺮ ﺩﺭ ﻣﻮﺍﺿﻌﺶ ﻓﺮﺻﺖ ﺩﺍﺭﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻭﺿﺎﻉ ﻣﻤﻜﻦ ﺍﺳــﺖ ﺩﺭ ﻣﺎﻩ ﻓﻮﺭﻳﻪ ﻭ ﺑﺎ ﺁﻏﺎﺯ ﺩﻭﺭﻩ ﺭﻳﺎﺳﺖ ﻓﺮﺍﻧﺴﻪ ﺩﺭ ﺷﻮﺭﺍﻱ ﺍﻣﻨﻴﺖ ﺳﺎﺯﻣﺎﻥﻣﻠﻞ‬ ‫ﺩﭼﺎﺭ ﺗﻐﻴﻴﺮﺍﺗﻲ ﺑﻪ ﻧﻔﻊ ﺁﻣﺮﻳﻜﺎ ﻭ ﻣﺘﺤﺪﺍﻥ ﺍﺭﻭﭘﺎﻳﻲﺍﺵ ﺷﻮﺩ‪.‬‬ ‫‪21‬‬ ‫ﺁﻣﺮﻳﻜﺎ ﺩﺭﺁﻳﻨﻪﺗﺤﻠﻴﻞ‬ ‫ﻛﺎﺭﻧﺎﻣﻪ ﻳﻚﺳﺎﻟﻪ ﺭﺋﻴﺲ ﺟﻤﻬﻮﺭ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺣﻮﺯﻩ ﺭﻭﺍﺑﻂ ﺑﻴﻦﺍﻟﻤﻠﻞ‬ ‫ﺁﻣﺮﻳﻜﺎﻱ ﺍﻭﺑﺎﻣﺎ‬ ‫ﺩﻛﺘﺮﺳﻴﺪﻣﺤﻤﺪﻛﺎﻇﻢ ﺳﺠﺎﺩﭘﻮﺭ‬ ‫ﻋﻀﻮ ﻫﻴﺎﺕﻋﻠﻤﻲ ﺩﺍﻧﺸﻜﺪﻩ ﺭﻭﺍﺑﻂ ﺑﻴﻦﺍﻟﻤﻠﻞ‬ ‫ﺣﺪﻭﺩ ﻳﻚ ﺳــﺎﻝ ﺍﺳﺖ ﻛﻪ ﺁﻣﺮﻳﻜﺎﻱ‬ ‫ﺍﻭﺑﺎﻣــﺎ ﺗﺤﻠﻴﻠﮕﺮﺍﻥ ﻭ ﺩﺳــﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ‬ ‫ﺍﻣﻮﺭ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺟﻬﺎﻥ‬ ‫ﺭﺍ ﺑﻪﺧﻮﺩ ﻣﺸــﻐﻮﻝ ﻛﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﻛﻤﺘﺮ‬ ‫ﺭﺋﻴﺲﺟﻤﻬــﻮﺭﻱ ﺍﺯ ﺭﻭﺳــﺎﻱ ﺟﻤﻬﻮﺭ‬ ‫ﺁﻣﺮﻳــﻜﺎ ﺩﺭ ﺩﻫﻪﻫــﺎﻱ ﻣﻌﺎﺻــﺮ ﺍﻳﻨﻘﺪﺭ‬ ‫ﺩﺭ ﺳــﺎﻝ ﺍﻭﻝ ﺯﻋﺎﻣــﺖ ﺧــﻮﺩ ﺩﺭ ﻛﺎﻧﻮﻥ‬ ‫ﺗﻮﺟــﻪ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺷــﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔــﺖ ﺍﻭﺑﺎﻣﺎ‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻲﺗﺮﻳﻦ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺗﺎﺭﻳﺦ ﻣﻌﺎﺻﺮ ﺍﻳﻦ ﻛﺸﻮﺭ‬ ‫ﺍﺳــﺖ‪ .‬ﻛﺎﺭﻧﺎﻣﻪ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺍﻭﺑﺎﻣﺎ ﺭﺍ ﭼﮕﻮﻧﻪ ﻣﻲﺗﻮﺍﻥ ﺍﺭﺯﻳﺎﺑﻲ ﻛﺮﺩ؟‬ ‫ﺭﻓﺘــﺎﺭ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺁﻣﺮﻳــﻜﺎ ﺩﺭ ﺩﻭﺭﻩ ﺍﻭﺑﺎﻣﺎ ﺭﺍ ﻧﻤﻲﺗــﻮﺍﻥ ﺑﻪﺻﻮﺭﺕ‬ ‫ﻛﻤﻲ ﻣﻮﺭﺩ ﺳﻨﺠﺶ ﻗﺮﺍﺭ ﺩﺍﺩ ﻭﻟﻲ ﺍﺯ ﻧﻈﺮ ﻛﻴﻔﻲ‪ ،‬ﺍﻭ ﺭﺋﻴﺲﺟﻤﻬﻮﺭﻱ‬ ‫ﺗﺼﻮﻳﺮﻣﺤﻮﺭ ﻭ ﺗﺮﻣﻴﻢﮔﺮﺍ‪ ،‬ﻣﺘﻤﺮﻛﺰ ﺑﺮ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻭ ﻣﺘﻤﺎﻳﻞ‬ ‫ﺑﻪ ﭘﻮﺷﺎﻧﺪﻥ ﻇﺎﻫﺮ ﺍﺧﻼﻗﻲ ﺑﺮ ﻣﺪﺍﺧﻠﻪ ﻧﻈﺎﻣﻲ ﺍﺳﺖ‪ .‬ﺍﺑﻌﺎﺩ ﻣﺰﺑﻮﺭ ﺫﻳﻼ‬ ‫ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻧﺪ‪.‬‬ ‫ﺍﻟﻒ ‪ -‬ﺗﺼﻮﻳﺮﻣﺤﻮﺭ ﻭ ﺗﺮﻣﻴﻢﮔﺮﺍ ﺩﺭ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ‬ ‫ﺍﻭﺑﺎﻣﺎ ﺩﺭ ﻳﻚ ﺳﺎﻝ ﮔﺬﺷــﺘﻪ ﺳﻌﻲ ﺩﺭ ﺗﺮﻣﻴﻢ ﭼﻬﺮﻩ ﺁﺳﻴﺐﺩﻳﺪﻩ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺟﻬﺎﻥ ﺍﺯ ﻃﺮﻳﻖ ﺗﻐﻴﻴﺮ ﭼﻬﺮﻩ ﺍﻳﻦ ﻛﺸﻮﺭ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺗﻘﺮﻳﺒﺎ‬ ‫ﺩﺭ ﺗﻤﺎﻣﻲ ﻧﻬﺎﺩﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑﻪ ﺳﻴﺎﺳــﺖ ﺧﺎﺭﺟﻲ ﺍﻋﻢ ﺍﺯ ﺳﻔﺮﻫﺎﻱ‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‪ ،‬ﺳﺨﻨﺮﺍﻧﻲﻫﺎﻱ ﻣﺘﻌﺪﺩ‪ ،‬ﺷﺮﻛﺖ ﺩﺭ ﺍﺟﻼﺱ ﭼﻨﺪﺟﺎﻧﺒﻪ ﻭ‬ ‫ﺩﻳﺪﺍﺭ ﻭ ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﺍﻗﺸﺎﺭ ﻣﺨﺘﻠﻒ ﺧﺎﺭﺟﻲ‪ ،‬ﺍﻭﺑﺎﻣﺎ ﺧﻂ ﺗﺮﻣﻴﻢ ﻭﺟﻬﻪ‬ ‫ﺟﻬﺎﻧﻲ ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺗﺮﻣﻴﻢﮔﺮﺍﻳﻲ ﺗﺼﻮﻳﺮﻣﺤﻮﺭ‬ ‫ﺗﺎ ﺣــﺪﻭﺩﻱ ﻭﺍﻛﻨﺶ ﺑﻪ ﺩﻭﺭﺍﻥ ﻫﺸــﺖ ﺳــﺎﻟﻪ ﺑــﻮﺵ ﻭ ﻣﺨﺼﻮﺻﺎ‬ ‫ﻣﺪﺍﺧﻼﺕ ﻧﻈﺎﻣﻲ ﺁﻣﺮﻳﻜﺎﺳﺖ‪ .‬ﺍﻣﺎ ﻫﻤﻪ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻧﻤﻲﺗﻮﺍﻥ ﻭﺍﻛﻨﺶ‬ ‫ﻭ ﻋﻜﺲﺍﻟﻌﻤﻞ ﻧﺴﺒﺖ ﺑﻪ ﮔﺬﺷﺘﻪ ﻧﺰﺩﻳﻚ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ ﺁﻣﺮﻳﻜﺎ‬ ‫ﻗﻠﻤﺪﺍﺩ ﻛﺮﺩ‪ .‬ﺑﺨﺸﻲ ﺍﺯ ﺍﻳﻦ ﻧﮕﺮﺵ ﺩﺭ ﻧﻈﺎﻡﺷﻨﺎﺧﺘﻲ‪ ،‬ﻣﻌﺮﻓﺖﺷﻨﺎﺳﻲ‬ ‫ﻭ ﭼﺎﺭﭼﻮﺏﻫﺎﻱ ﺫﻫﻨﻲ ﺍﻭﺑﺎﻣﺎ ﻗﺎﺑﻞ ﺟﺴﺖﻭﺟﻮ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭﺑﺎﻣﺎ ﺑﻴﺶ ﺍﺯ ﺩﻳﮕﺮ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ ﻣﻌﺎﺻﺮ ﺁﻣﺮﻳﻜﺎ ﺑﻪ ﺍﻳﺪﻩ ﻭ ﻧﻘﺶ‬ ‫ﻣﺤﻮﺭﻱ ﺁﻥ ﺩﺭ ﻣﻨﺎﺳﺒﺎﺕ ﺳﻴﺎﺳــﻲ ﻭ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺍﻫﻤﻴﺖ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﺍﻳﻦ ﻓﻘﻂ ﻗﺪﺭﺕ ﻧﻈﺎﻣﻲ ﻭ ﺟﻨﺒﻪﻫﺎﻱ ﺳــﺨﺖﺍﻓﺰﺍﺭﻱ ﻧﻴﺴﺖ ﻛﻪ ﺑﻪ‬ ‫ﺍﻋﺘﻘﺎﺩ ﺍﻭﺑﺎﻣﺎ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﺟﺎﻳﮕﺎﻩ ﻣﻲﺑﺨﺸــﺪ‪ ،‬ﺑﻠﻜﻪ ﺍﺭﺯﺵﻫﺎ ﻭ ﺍﻳﺪﻩﻫﺎ‬ ‫ﻫﺴــﺘﻨﺪ ﻛﻪ ﺑﺴــﻴﺎﺭ ﻛﻠﻴﺪﻱﺍﻧﺪ‪ .‬ﻣﺠﻤﻮﻋﻪ ﺳــﺨﻨﺎﻥ ﺍﻭ ﺍﻳﻦ ﻣﻄﻠﺐ‬ ‫‪22‬‬ ‫ﺭﺍ ﺗﺎﻳﻴﺪ ﻣﻲﻛﻨﺪ ﻛــﻪ ﺍﺯ ﻧﻈﺮ ﺍﻭ‪ ،‬ﺁﻣﺮﻳﻜﺎ ﺻﺮﻓﺎ ﻳﻚ ﻛﺸــﻮﺭ ﭘﻬﻨﺎﻭﺭ ﺑﺎ‬ ‫ﺯﻳﺮﺳــﺎﺧﺖﻫﺎﻱ ﻗﻮﻱ ﺍﻗﺘﺼﺎﺩﻱ ﻭ ﻧﻈﺎﻣﻲ ﻧﻴﺴــﺖ‪ ،‬ﺑﻠﻜﻪ ﺁﻣﺮﻳﻜﺎ ﺭﺍ‬ ‫ﺩﺭ ﺗﻤﺎﻣﻴﺖ ﺧﻮﺩ ﻳﻚ ﺍﻳﺪﻩ ﻣﻲﺩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﮔﺮﺍﻳﺶ ﺑﻪ ﺑﺮﺟﺴﺘﮕﻲ ﺍﻳﺪﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺭﺍ ﺩﺭ ﺳﻴﺎﺳــﺖﺧﺎﺭﺟﻲ ﺑﻪ ﺳﻤﺖ ﺗﺎﻛﻴﺪ ﺑﺮ ﺗﺼﻮﻳﺮ ﺳﻮﻕ‬ ‫ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺭﺍﻩ ﻧﺎﻫﻤﻮﺍﺭ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺫﻫﻨﻴﺖ ﻣﺮﺩﻡ ﺟﻬﺎﻥ ﺭﺍ ﻫﻤﻮﺍﺭ ﺳــﺎﺯﺩ‪ .‬ﺍﻳﻦ ﺧﻮﺩ ﭘﺮﺳﺸﻲ‬ ‫ﻣﻘﺒﻮﻝ ﻭ ﺟﺪﻱ ﺍﺳﺖ ﻛﻪ ﻧﻴﺎﺯ ﺑﻪ ﭘﺎﺳﺨﻲ ﺟﺪﺍﮔﺎﻧﻪ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﻣﻲﺗﻮﺍﻥ‬ ‫ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺭﻓﺘﺎﺭ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ ﺍﻭﺑﺎﻣﺎ ﺩﺭ ﻳﻚ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﺗﻜﻴﻪ‬ ‫ﺍﻭ ﺑﺮ ﺍﻳﺪﻩ ﻭ ﺗﺼﻮﻳﺮ ﺭﺍ ﺟﺪﻱ ﺩﻳﺪ ﻭ ﻣﻲﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺗﺎﺣﺪﻭﺩﻱ ﺩﺭ ﺍﻳﻦ‬ ‫ﻋﺮﺻﻪ ﻣﻮﻓﻖ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ‪.‬‬ ‫ﺏ – ﺗﻤﺮﻛﺰ ﺑﺮ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﻧﻈﺎﻡﺷﻨﺎﺧﺘﻲ ﺍﻭﺑﺎﻣﺎ ﻭ ﻧﺨﺒﮕﺎﻧﻲ ﻛﻪ ﺩﺭ ﻃﺮﺍﺣﻲ ﻭ ﺍﺟﺮﺍﻱ ﺳﻴﺎﺳﺖ‬ ‫ﺧﺎﺭﺟﻲ ﺩﺭ ﻳﻚ ﺳــﺎﻝ ﮔﺬﺷــﺘﻪ ﺍﻭ ﺭﺍ ﻫﻤﺮﺍﻫــﻲ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺍﻣﻨﻴﺖ‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺟﺎﻳﮕﺎﻫﻲ ﺍﺳﺎﺳﻲ ﺩﺍﺷﺘﻪ ﻭ ﺁﻣﺮﻳﻜﺎ ﺑﻪﻋﻨﻮﺍﻥ ﺗﺎﻣﻴﻦﻛﻨﻨﺪﻩ‬ ‫ﺍﺻﻠﻲ ﺛﺒﺎﺕ ﻭ ﺍﻣﻨﻴﺖ ﺩﺭ ﺳــﻄﺢ ﺟﻬﺎﻥ ﺑﺎﻳﺪ ﻧﻘﺶ ﺟﺪﻱﺗﺮ ﺩﺭ ﺍﺑﻌﺎﺩ‬ ‫ﻓﻜﺮﻱ ﻭ ﻋﻤﻠﻴﺎﺗﻲ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﭘﻴﺪﺍ ﻛﻨﺪ‪ .‬ﻟﺬﺍ ﺩﺭ ﻳﻚ‬ ‫ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﺍﺯ ﻣﻨﺸﻮﺭ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺑﻪ ﻣﻨﺎﺳﺒﺎﺕ ﺩﻭﺟﺎﻧﺒﻪ ﻭ‬ ‫ﭼﻨﺪﺟﺎﻧﺒﻪ ﺁﻣﺮﻳﻜﺎ ﻧﮕﺮﻳﺴﺘﻪ ﺷﺪﻩ ﻭ ﺗﺤﻮﻻﺗﻲ ﻛﻪ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺑﻪ ﺧﻮﺩ ﺩﻳﺪﻩ ﺗﻘﺮﻳﺒﺎ ﺩﺭ ﻫﻤﻪ ﺍﺑﻌﺎﺩ ﺩﺍﺭﺍﻱ ﺑﺎﺭ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﺍﺳــﺖ‪ .‬ﺗﺤﻮﻻﺗﻲ ﻛﻪ ﺍﻭﺑﺎﻣﺎ ﺩﺭ ﺭﻭﺍﺑﻂ ﺑﺎ ﺭﻭﺳــﻴﻪ ﺍﺗﺨﺎﺫ ﻛﺮﺩﻩ ﺍﺳﺖ‪،‬‬ ‫ﻣﻨﺎﺳــﺒﺎﺕ ﻧﻮﻳﻨﻲ ﻛﻪ ﺑﺎ ﭼﻴﻦ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻩ‪ ،‬ﻧﻘﺸــﻲ ﻛﻪ ﺑﻪ ﺷﻮﺭﺍﻱ‬ ‫ﺍﻣﻨﻴﺖ ﻭ ﻣﺨﺼﻮﺻﺎ ﺩﺭ ﻗﻀﻴﻪ ﺍﻣﻨﻴﺖ ﻫﺴــﺘﻪﺍﻱ ﺟﻬﺎﻥ ﺩﺭ ﻗﻄﻊﻧﺎﻣﻪ‬ ‫‪ 1887‬ﻣﻮﺭﺥ ‪ 24‬ﺳﭙﺘﺎﻣﺒﺮ ‪ 2009‬ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﻃﺮﺍﺣﻲﻫﺎﻳﻲ ﻛﻪ ﺑﺮﺍﻱ‬ ‫ﺍﺟﻼﺱ ﺳﺮﺍﻥ ﺟﻬﺎﻥ ﺩﺭ ﺁﻭﺭﻳﻞ ‪ 2010‬ﺑﺮﺍﻱ ﻛﻨﺘﺮﻝ ﻣﻮﺍﺩ ﻫﺴﺘﻪﺍﻱ‬ ‫ﺻﻮﺭﺕ ﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﻭﺯﻧﻲ ﻛﻪ ﺑﺮ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﻧﻬﺎﺩﻫﺎﻱ ﻛﻬﻦ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﻧﻈﻴﺮ ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﻣﺘﺤﺪ ﻭ ﻧﻬﺎﺩﻫﺎﻱ ﺟﺪﻳﺪ ﻣﺎﻧﻨﺪ ﮔﺮﻭﻩ ‪ 20‬ﺑﺨﺸﻴﺪﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﻧﺸﺎﻧﮕﺮ ﺗﻤﺮﻛﺰ ﺍﻭﺑﺎﻣﺎ ﺑﺮ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺍﺳﺖ‪ .‬ﭘﻴﺶﻓﺮﺽ‬ ‫ﺍﻳﻦ ﺗﻤﺮﻛﺰ ﺩﺭ ﻳﻚ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺁﻥ ﺑﻮﺩﻩ ﻛﻪ ﺍﻣﻨﻴﺖ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﮔﺮﻭ‬ ‫ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺍﺳﺖ ﻭ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺗﺎﻣﻴﻦ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﻣﮕﺮ‬ ‫ﺁﻧﻜﻪ ﺁﻣﺮﻳﻜﺎ ﺑﺘﻮﺍﻧﺪ ﻫﻤﻜﺎﺭﻱ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺩﺭ ﺍﻣﻮﺭ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﺭﺍ ﺑﺎ ﻣﺤﻮﺭﻳﺖ ﺧﻮﺩ ﺷﻜﻞ ﺩﻫﺪ ﻭ ﺭﻫﺒﺮﻱ ﺗﻮﺍﻡ ﺑﺎ ﻫﻤﻜﺎﺭﻱ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﺭﺍ ﺳﺎﻣﺎﻥ ﺩﻫﺪ‪.‬‬ ‫ﺝ ‪ -‬ﻣﺪﺍﺧﻠﻪ ﻧﻈﺎﻣﻲ ﺩﺭ ﭘﻮﺷﺶ ﺍﺧﻼﻗﻲ‬ ‫ﺷﺎﻳﺪ ﻋﻤﺪﻩﺗﺮﻳﻦ ﺍﻗﺪﺍﻡ ﺳﻴﺎﺳــﺖ ﺧﺎﺭﺟﻲ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﻳﻚ ﺳﺎﻝ‬ ‫ﮔﺬﺷﺘﻪ‪ ،‬ﺗﺼﻤﻴﻢ ﺑﻪ ﺍﻓﺰﺍﻳﺶ ﻧﻴﺮﻭﻱ ﻧﻈﺎﻣﻲ ﺩﺭ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ ﻭ ﺗﺸﺪﻳﺪ‬ ‫ﺩﺭﮔﻴﺮﻱﻫﺎﻱ ﻧﻈﺎﻣﻲ ﺩﺭ ﺁﻥ ﻛﺸﻮﺭ ﺑﺎﺷﺪ‪ .‬ﻫﺮﭼﻨﺪ ﺩﺭ ﭘﺮﺗﻮ ﺗﺤﻮﻻﺕ‬ ‫ﺩﺍﺧﻠﻲ ﺍﻓﻐﺎﻧﺴــﺘﺎﻥ ﺍﺯ ﺟﻤﻠﻪ ﺣﻤﻠﻪ ﺍﻧﺘﺤﺎﺭﻱ ﺑﻪ ﺩﺳــﺘﮕﺎﻩ ﺳﺎﺯﻣﺎﻥ‬ ‫ﺍﻃﻼﻋﺎﺕ ﻣﺮﻛﺰﻱ ﺁﻣﺮﻳﻜﺎ ﻭ ﻛﺸــﺘﻪ ﺷــﺪﻥ ﻫﺸــﺖ ﻧﻔــﺮ ﺍﺯ ﻋﻨﺎﺻﺮ‬ ‫ﺍﻃﻼﻋﺎﺗﻲ ﺍﻳﻦ ﻛﺸــﻮﺭ ﺩﺭ ﺁﻥ ﺣﺎﺩﺛﻪ ﻭ ﻋﻤﻠﻴــﺎﺕ ﮔﺮﻭﻩﻫﺎﻱ ﻣﺨﺎﻟﻒ‬ ‫ﺩﻭﻟﺖ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ ﺩﺭ ﻗﻠﺐ ﻛﺎﺑﻞ ﺩﺭ ‪ 88/10/28‬ﺑﻪ ﻓﺎﺻﻠﻪ ﻛﻮﺗﺎﻫﻲ ﺍﺯ‬ ‫ﺭﺧﺪﺍﺩ ﭘﻴﺸﻴﻦ ﻧﺸﺎﻧﮕﺮ ﭼﺎﻟﺶﻫﺎﻱ ﺟﺪﻱ ﺍﻭﺑﺎﻣﺎ ﺩﺭ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ ﺍﺳﺖ‪،‬‬ ‫ﺍﻣﺎ ﺗﻮﺟﻴﻬﺎﺕ ﺍﻭﺑﺎﻣﺎ ﺑﺮﺍﻱ ﺗﺸﺪﻳﺪ ﺩﺭﮔﻴﺮﻱ ﻧﻈﺎﻣﻲ ﺩﺭ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ‪ ،‬ﺍﺯ‬ ‫ﻧﻈﺮ ﻓﻜﺮ ﻭ ﺩﻛﺘﺮﻳﻦ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ ﺑﺴﻴﺎﺭ ﺣﺎﺋﺰ ﺍﻫﻤﻴﺖ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﻣﺨﺼﻮﺻﺎ ﺩﺭ ﺳــﺨﻨﺮﺍﻧﻲ ﺧﻮﺩ ﺩﺭ ﺍﺳﻠﻮﻱ ﻧﺮﻭژ ﺩﺭ ‪ 10‬ﺩﺳﺎﻣﺒﺮ‬ ‫‪ ،(88/9/19) 2009‬ﺍﺯ ﻣﻔﻬﻮﻡ ﻋﺎﺩﻻﻧﻪ ﺳــﺨﻦ ﮔﻔﺖ ﻭ ﺳﻌﻲ ﻛﺮﺩ ﺍﺯ‬ ‫ﺍﻳﻦ ﻣﻔﻬﻮﻡ ﻧﺴــﺒﺘﺎ ﺟﺎﺍﻓﺘﺎﺩﻩ ﻭ ﻛﻬﻦ ﺑﻴﻦﺍﻟﻤﻠﻞ‪ ،‬ﺗﻌﺮﻳﻒ ﻧﻮﻳﻨﻲ ﺑﺮﺍﻱ‬ ‫ﻣﺪﺍﺧﻠﻪ ﻧﻈﺎﻣﻲ ﺑﻪ ﺩﺳــﺖ ﺩﻫﺪ‪ .‬ﺷﺎﻳﺎﻥ ﺫﻛﺮ ﺍﺳــﺖ ﻛﻪ ﻫﺮﻛﺪﺍﻡ ﺍﺯ‬ ‫ﺭﻭﺳــﺎﻱﺟﻤﻬﻮﺭ ﺁﻣﺮﻳﻜﺎ ﺳــﻌﻲ ﺩﺭ ﭘﺮﺩﺍﺯﺵ ﻣﻔﻬﻮﻣﻲ ﺟﺪﻳﺪ ﺩﺍﺭﻧﺪ‬ ‫ﺗﺎ ﺍﺯ ﺭﻫﮕــﺬﺭ ﺁﻥ ﺭﻓﺘﺎﺭﻫﺎﻱ ﺳﻴﺎﺳــﺖ ﺧﺎﺭﺟــﻲ ﻭ ﺍﻣﻨﻴﺘﻲ ﺧﻮﺩ ﺭﺍ‬ ‫ﺳﺎﻣﺎﻥ ﺩﺍﺩﻩ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺗﻮﺟﻴﻪﻫﺎﻱ ﻻﺯﻡ ﺑﺮﺍﻱ ﺍﻗﺪﺍﻣﺎﺕ ﺧﻮﺩ ﺭﺍ‬ ‫ﻓﺮﺍﻫﻢ ﺁﻭﺭﻧﺪ‪ .‬ﺟﻮﺭﺝ ﺑﻮﺵ‪ ،‬ﻣﻔﻬــﻮﻡ ﺟﻨﮓ ﭘﻴﺶﮔﻴﺮﺍﻧﻪ ﺭﺍ ﻣﻄﺮﺡ ﻭ‬ ‫ﺁﻥ ﺭﺍ ﺩﺭ ﺳﻨﺪ ﺍﻣﻨﻴﺖ ﻣﻠﻲ ﺳــﺎﻝ ‪ 2002‬ﺁﻣﺮﻳﻜﺎ ﺟﺎﻱ ﺩﺍﺩ ﻭ ﺣﺎﻟﺘﻲ‬ ‫ﺳﻴﺎﺳﻲ ‪ -‬ﺣﻘﻮﻗﻲ ﺑﺨﺸﻴﺪ ﻭ ﺩﺭ ﺟﻨﮓ ‪ 2003‬ﺩﺭﺧﺼﻮﺹ ﻋﺮﺍﻕ‪ ،‬ﺁﻥ‬ ‫ﺭﺍ ﻋﻤﻠﻴﺎﺗﻲ ﻛﺮﺩ‪ .‬ﺁﻳﺎ ﺟﻨﮓ ﻋﺎﺩﻻﻧﻪ ﺍﻭﺑﺎﻣﺎ ﻫﻤﺎﻥ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺟﻨﮓ‬ ‫ﭘﻴﺶﮔﻴﺮﺍﻧﻪ ﺟﻮﺭﺝ ﺑﻮﺵ ﺭﺍ ﺩﺍﺭﺩ؟ ﻫﺮﭼﻨﺪ ﺍﺯ ﻧﻈﺮ ﻣﺤﺘﻮﺍﻳﻲ ﺯﻭﺩ ﺍﺳﺖ‬ ‫ﺑﺘﻮﺍﻧﻴﻢ ﺟﻨﮓ ﻋﺎﺩﻻﻧﻪ ﺍﻭﺑﺎﻣﺎ ﻭ ﺟﻨﮓ ﭘﻴﺶﮔﻴﺮﺍﻧﻪ ﺟﻮﺭﺝ ﺑﻮﺵ ﺭﺍ ﺩﺭ‬ ‫ﻧﮕﺎﻫﻲ ﺗﻄﺒﻴﻘﻲ ﻣﻮﺭﺩ ﺍﺭﺯﻳﺎﺑﻲ ﻗﺮﺍﺭ ﺩﻫﻴﻢ‪ ،‬ﺍﻣﺎ ﺣﺪﺍﻗﻞ ﺍﺯ ﻧﻈﺮ ﺷﻜﻠﻲ‬ ‫ﻣﺨﺼﻮﺻــﺎ ﺩﺭ ﺗﻮﺟﻴﻪ ﺍﺧﻼﻗﻲ ﻭ ﺣﻘﻮﻗــﻲ ﻣﺪﺍﺧﻠﻪ ﻧﻈﺎﻣﻲ ﺑﺮﺧﻲ ﺍﺯ‬ ‫ﺷﺒﺎﻫﺖﻫﺎ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭ ﺍﺳﺖ‪.‬‬ ‫ﺁﻧﭽﻪ ﺩﺭ ﺍﺭﺯﻳﺎﺑﻲ ﻛﺎﺭﻧﺎﻣﻪ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ ﺍﻭﺑﺎﻣﺎ ﺫﻛﺮ ﺷﺪ ﻧﺸﺎﻧﮕﺮ‬ ‫ﻋﺰﻣﻲ ﺭﻭﺷﻦ ﺑﺮﺍﻱ ﺗﺼﻮﻳﺮﻣﺤﻮﺭﻱ ﺗﺮﻣﻴﻢﮔﺮﺍﻳﺎﻧﻪ ﻭ ﺗﻤﺮﻛﺰ ﺑﺮ ﺍﻣﻨﻴﺖ‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻭﺍﻗﻌﻴﺖﻫﺎﻱ ﺳﺨﺖ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ‪ ،‬ﺗﺼﻮﻳﺮﻣﺤﻮﺭﻱ‬ ‫ﻭ ﺍﻣﻨﻴﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻣﺮﻛﺰﻱ ﺳﻴﺎﺳــﺖ ﺧﺎﺭﺟﻲ ﺍﻭﺑﺎﻣﺎ ﺭﺍ ﺑﻪ ﭼﺎﻟﺶ‬ ‫ﻛﺸﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﺎﻳﺪ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺖ ﻛﻪ ﺳﻴﺎﺳﺖ ﺧﺎﺭﺟﻲ‬ ‫ﻧﻬﺎﻳﺘﺎ ﺩﺭ ﻛﺸﻮﺭﻫﺎ ﻭ ﻣﺨﺼﻮﺻﺎ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺍﺯ ﻣﺎﺭﭘﻴﭻ ﺳﻴﺎﺳﺖ ﺩﺍﺧﻠﻲ‬ ‫ﻋﺒﻮﺭ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻨﻜﻪ ﺳﻴﺎﺳﺖ ﺩﺍﺧﻠﻲ ﺁﻣﺮﻳﻜﺎ ﭼﻪ ﺗﺎﺛﻴﺮﻱ ﺑﺮ ﺳﻴﺎﺳﺖ‬ ‫ﺧﺎﺭﺟﻲ ﺍﻭﺑﺎﻣﺎ ﺩﺍﺷﺘﻪ ﻭ ﺧﻮﺍﻫﺪ ﺩﺍﺷــﺖ‪ ،‬ﺧﻮﺩ ﺳﺨﻨﺎﻥ ﻣﺴﺘﻘﻠﻲ ﺭﺍ‬ ‫ﻣﻲﻃﻠﺒﺪ‪.‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺭﻓﻊ ﺗﻮﻗﻴﻔﻲﻫﺎ‬ ‫ﺑﺎﺑﻚ ﻏﻔﻮﺭﻱﺁﺫﺭ‬ ‫ﺑﻴﺴﺖ ﻭ ﻫﺸﺘﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻓﻴﻠﻢﻓﺠﺮ ﻧﺨﺴﺘﻴﻦ ﻣﻘﻄﻊ ﺍﺭﺯﻳﺎﺑﻰ ﻣﻬﻢ ﻋﻤﻠﻜﺮﺩ ﻭ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ‬ ‫ﺗﻴﻢ ﺟﺪﻳﺪ ﻣﺪﻳﺮﻳﺘﻰ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺟﻮﺍﺩ ﺷﻤﻘﺪﺭﻯ ﻭ ﻫﻤﺮﺍﻫﺎﻧﺶ ﺣﺎﻻ ﺑﺎﻳﺪ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﻩ ﺭﻭﻳﺪﺍﺩﻯ‬ ‫ﺑﺎﺷﻨﺪ ﻛﻪ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﻧﮕﺎﻩ ﺍﻧﺘﻘﺎﺩﻯ ﺑﻪ ﺷﻴﻮﻩ ﺑﺮﮔﺰﺍﺭﻯﺍﺵ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﮔﺬﺷﺘﻪ ﺩﺍﺷﺘﻨﺪ؛ ﺷﻤﻘﺪﺭﻯ‬ ‫ﻛﻪ ﺍﺑﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﻧﺪﺍﺷﺖ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺩﺭ ﺳﺎﻋﺎﺕ ﭘﺮﺑﻴﻨﻨﺪﻩ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﻋﻼﻡ ﻛﻨﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﻣﺪﻳﺮﻳﺖ ‪ 12‬ﺳﺎﻝ‬ ‫ﮔﺬﺷﺘﻪ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺯﻳﺮ ﺳﻮﺍﻝ ﺑﺒﺮﺩ‪ .‬ﺍﻭ ﺗﻼﺵ ﺯﻳﺎﺩﻯ ﻛﺮﺩ ﺗﺎ ﺟﺸــﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺭﺍ ﺑﻪ ﻳﻚ ﺍﺗﻔﺎﻕ ﺗﺒﺪﻳﻞ‬ ‫ﻛﻨﺪ‪ .‬ﺍﻗﺪﺍﻣﺎﺕ ﺑﻰﺳــﺎﺑﻘﻪ ﺩﺭ ﺭﻓﻊ ﺗﻮﻗﻴﻒ ﺍﺯ ﭼﻨﺪﻳﻦ ﻓﻴﻠﻢ ﻣﻬﻢ ﭘﺸــﺖ ﺧﻂ ﻣﺎﻧﺪﻩ ﺍﻳﻦ ﭼﻨﺪ ﺳﺎﻝ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻣﻬﻢﺗﺮﻳﻦ ﺑﺮگ ﺑﺮﻧﺪﻩ ﺍﻳﻦ ﺗﻴﻢ ﺑﺎﺷــﺪ‪ ،‬ﺩﺭ ﻣﺎﻩﻫﺎﻯ ﺍﺧﻴﺮ ﺗﺒﺪﻳﻞ ﺑﻪ ﻧﻘﻄﻪ ﺣﺴﺎﺳﻴﺖﺑﺮﺍﻧﮕﻴﺰ‬ ‫ﺷــﺪ‪ .‬ﺍﻧﺘﻘﺎﺩﺍﺕ ﺍﺯ ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﺩﺭ ﭘﻮﺷﺶ ﻳﻚ ﺍﻗﺪﺍﻡ ﺳﻴﺎﺳﻰ ﺗﺎ ﺟﻠﺴﻪ ﻣﻄﺒﻮﻋﺎﺗﻰ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ ﭘﻴﺶ ﺭﻓﺖ ﻭ ﺍﻭ ﺭﺍ ﺩﺭ ﻣﻘﺎﻡ ﺩﻓﺎﻉ ﻣﺠﺒﻮﺭ ﺑﻪ ﺑﻴﺎﻥ‬ ‫ﺟﻤﻠﻪﺍﻯ ﻛﺮﺩ ﻛﻪ ﻧﻤﺎﻳﺸﮕﺮ ﺭﻭﻯ ﺩﻳﮕﺮﻯ ﺍﺯ ﺳﻜﻪ ﺳﻴﺎﺳﺖﻫﺎﻯ ﺁﺯﺍﺩﺳﺎﺯﻯ ﺟﺪﻳﺪ ﺑﻮﺩ‪ .‬ﻭﺯﻳﺮ ﺻﺮﻳﺤﺎ ﺍﺯ ﺗﻮﻗﻴﻒ ﻳﻚ ﻓﻴﻠﻢ ﺻﺤﺒﺖ ﻛﺮﺩ ﺗﺎ ﻳﻚ‬ ‫ﺑﺎﺭ ﺩﻳﮕﺮ ﻣﺸﺨﺺ ﺷﻮﺩ ﺭﻗﻴﺒﺎﻥ ﺩﻳﺮﻭﺯ ﺩﺭ ﻣﻴﺪﺍﻥ ﻋﻤﻞ ﻣﺠﺒﻮﺭ ﺑﻪ ﺍﺩﺍﻣﻪ ﻣﺴﻴﺮ ﻗﺒﻠﻰﻫﺎ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖ ﻭ ﻫﺸﺘﻢ ﻓﻴﻠﻢ ﻓﺠﺮ ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻰ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﻛﻠﻴﺖ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺎ ﻣﺤﺼﻮﻻﺕ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭﻧﻴﺎﻣﺪﻩ ﭼﻨﺪ ﺳﺎﻝ ﺍﺧﻴﺮﺵ ﺣﺎﺿﺮ ﺍﺳﺖ ﻭ ﺍﺯ ﺍﻳﻦ ﻣﻨﻈﺮ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﻨﺖ ﺩﻭﺭﻩﻫﺎﻯ ﺍﻭﻟﻴﻪﺍﺵ ﺑﺎﺯﮔﺸﺘﻪ ﻛﻪ ﺁﻳﻨﻪﺍﻯ ﻛﺎﻣﻞ‬ ‫ﺍﺯ ﻋﻤﻠﻜﺮﺩ ﻳﻚ ﺳﺎﻝ ﻗﺒﻠﺶ ﺑﻮﺩ‪ .‬ﻣﺪﻳﺮﺍﻥ ﺟﺪﻳﺪ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻩﺍﻧﺪ ﺗﺎ ﺑﺎ ﺍﻓﺰﺍﻳﺶ ﻛﻤﻰ ﻓﻴﻠﻢﻫﺎﻯ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺯ ﺳﻨﺖ »ﺁﻳﻴﻦ«ﻯ‬ ‫ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺑﻜﺎﻫﻨﺪ ﻭ ﺑﻴﺸــﺘﺮ ﺑﺮ »ﺁﻳﻨﻪ«ﻭﺍﺭ ﺑﻮﺩﻧﺶ ﺗﺎﻛﻴﺪ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺍﻟﺒﺘﻪ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﺍﻳﺮﺍﻧﻰ ﺑﻴﺸﺘﺮ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻩﺍﻧﺪ ﺗﻤﺎﺷﺎﮔﺮ‬ ‫ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺑﺎﺷــﻨﺪ ﺗﺎ ﻓﻌﺎﻝ ﺍﺟﺮﺍﻳﻰ‪ ،‬ﺁﻥ ﭼﻨﺎﻥ ﻛﻪ ﻣﻮﺿﻮﻉ ﺍﻧﺘﺨﺎﺏ ﺩﺍﻭﺭﺍﻥ ﺑﺨﺶﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻮﺿﻮﻉ ﻣﺸــﻜﻞﺁﻓﺮﻳﻨﻰ ﺷﺪﻩ ﻭ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺗﺎ ﭼﻨﺪ ﺭﻭﺯ ﻣﺎﻧﺪﻩ ﺑﻪ ﺷﺮﻭﻋﺶ ﻧﺎﻡ ﺩﺍﻭﺭﺍﻧﺶ ﺭﺍ ﻧﻤﻰﺩﺍﻧﺪ‪.‬‬ ‫ﻣﺠﻤﻮﻉ ﺍﻳﻦ ﺷــﺮﺍﻳﻂ ﺩﻭﺭﻩ ﺑﻴﺴﺖﻭﻫﺸﺘﻢ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺭﺍ ﺑﻪ ﻣﻘﻄﻊ ﺳﺮﻧﻮﺷﺖﺳﺎﺯﻯ ﺩﺭ ﺗﺎﺭﻳﺦ ﻓﺮﻫﻨﮕﻰ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻗﺪﺍﻣﺎﺕ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﻭ ﻣﺪﻳﺮﺍﻥ ﻓﺮﻫﻨﮕﻰ ﻛﺸﻮﺭ‪ ،‬ﺑﺎﻋﺚ ﺗﻮﺟﻪ ﺑﻴﺸﺘﺮ ﺟﺎﻣﻌﻪ ﺑﻪ ﺣﻮﺯﻩ ﻓﺮﻫﻨﮓ ﻭ ﺩﺭ ﺭﺍﺳﺶ ﺳﻴﻨﻤﺎ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﺷﺪﻩ‬ ‫ﻭ ﻣﺪﻳﺮﺍﻥ ﺟﺪﻳﺪ ﺑﺎﻳﺪ ﺑﻜﻮﺷــﻨﺪ ﺍﺯ ﺁﺯﻣﻮﻥ ﭘﻴﺶﺭﻭ ﺳﺮﺑﻠﻨﺪ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﻨﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻧﻜﺎﺕ ﻭ ﻧﻴﺰ ﺁﻧﭽﻪ ﺍﺯ ﺳﻨﺖ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻯ ﮔﺬﺷﺘﻪ‬ ‫ﺑﺮﻣﻰﺁﻳﺪ ﺟﺸــﻨﻮﺍﺭﻩ ﭘﺮ ﻓﺮﺍﺯﻭﻧﺸﻴﺒﻰ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺗﺤﻮﻳﻞ ﺳﺎﻝ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻰ ﺑﻴﺶ ﺍﺯ ﻫﻤﻴﺸﻪ‬ ‫ﺳﺮﻧﻮﺷﺖﺳﺎﺯ ﺍﺳﺖ‪ .‬ﺑﻪ ﺗﻤﺎﺷﺎﻳﺶ ﻣﻰﻧﺸﻴﻨﻴﻢ‪.‬‬ ‫‪23‬‬ ‫‪1‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﻣﻼﺣﻈﺎﺗﻲ ﺩﺭﺑﺎﺭﻩ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﺩﻣﻮﻛﺮﺍﺳﻲ ﺗﻮ ﺭﻭﺯ ﺭﻭﺷﻦ‬ ‫ﺳﻌﻴﺪ ﻣﺮﻭﺗﻲ‬ ‫ﻫﻨﻮﺯ ﻭ ﻫﻤﭽﻨﺎﻥ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠــﺮ ﻣﻬﻢﺗﺮﻳﻦ ﺭﻭﻳﺪﺍﺩ‬ ‫ﺳﺎﻻﻧﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﻛﻪ ﺑﺮﮔﺰﺍﺭﻱﺍﺵ‬ ‫ﺩﺭ ﺍﻳﺎﻡ ﺟﺸــﻦﻫﺎﻱ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﻭﺍﺟﺪ ﻣﻔﻬﻮﻣــﻲ ﻓﺮﺍﺗﺮ ﺍﺯ ﻳﻚ‬ ‫ﻓﺴــﺘﻴﻮﺍﻝ ﺳﻴﻨﻤﺎﻳﻲ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﺍﺳــﺖ ﺑﺮﺍﻱ ﻋﺮﺿﻪ‬ ‫ﺗﻮﻟﻴﺪﺍﺕ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‪ .‬ﺳــﻴﻨﻤﺎﻱ ﭘﺲ ﺍﺯ ﺍﻧﻘــﻼﺏ ﺍﻳﺮﺍﻥ ﻛﻪ ﺍﺯ‬ ‫ﺩﻝ ﻭﻳﺮﺍﻧﻪﻫﺎﻱ ﻓﻴﻠﻤﻔﺎﺭﺳــﻲ ﻣﺘﻮﻟﺪ ﺷﺪ‪ ،‬ﺭﺷــﺪ ﻛﺮﺩ ﻭ ﺣﺘﻲ ﭼﺸﻢ‬ ‫ﺟﻬﺎﻧﻴﺎﻥ ﺭﺍ ﻧﻴﺰ ﺧﻴﺮﻩ ﻛﺮﺩ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺁﻳﻨﻪﺍﻱ ﺑﺮﺍﻱ ﻣﺸﺎﻫﺪﻩ‬ ‫ﻓﺮﺍﺯ ﻭ ﻧﺸﻴﺐﻫﺎ‪ ،‬ﭘﻴﺸﺮﻓﺖﻫﺎﻭ ﭘﺴﺮﻓﺖﻫﺎﻭ ﻣﻮﻓﻘﻴﺖﻫﺎﻭ ﺷﻜﺴﺖﻫﺎﻱ‬ ‫ﻛﻮﺩﻙ ﺧﺮﺩﺳﺎﻟﻲ ﺑﻮﺩ ﻛﻪ ﺣﺎﻻ ﺟﻮﺍﻥ ﺑﺮﻭﻣﻨﺪ ‪ 27‬ﺳﺎﻟﻪﺍﻱ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﻛﻪ ﺟﺎﻳﮕﺰﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺟﻬﺎﻧﻲ ﺗﻬﺮﺍﻥ ﺷﺪ ﻛﻪ ﺩﺭ ﺩﻫﻪ‬ ‫ﭘﻨﺠﺎﻩ ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷﺪ ﻭ ﺍﺯ ﻫﻤﺎﻥ ﺩﻭﺭﻩﻫﺎﻱ ﺍﻭﻝ‪ ،‬ﻣﻴﺦ ﺧﻮﺩ ﺭﺍ ﻣﺤﻜﻢ‬ ‫ﻛﻮﺑﻴﺪ‪ ،‬ﺁﻧﻘﺪﺭ ﻛﻪ ﺳﺎﻝﻫﺎﺳــﺖ ﻣﻮﺍﻓﻖ ﻭ ﻣﺨﺎﻟــﻒ ﻫﻤﻪ ﻗﺒﻮﻝ ﺩﺍﺭﻧﺪ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‪ ،‬ﻣﻬﻢﺗﺮﻳﻦ ﺍﺗﻔﺎﻕ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ ﻃﻮﻝ ﺳﺎﻝ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻛﺸﻮﺭﻱ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﺗﻌﺪﺩ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﺳﻴﻨﻤﺎﻳﻲ ﻛﻪ ﺩﻭﻟﺖ‬ ‫ﻣﺘﻮﻟﻲ ﺁﻧﻬﺎﺳﺖ‪ ،‬ﺭﺗﺒﻪ ﺍﻭﻝ ﺭﺍ ﺩﺭ ﺩﻧﻴﺎ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﻣﻮﺭﺩ ﻟﺰﻭﻡ ﺑﺮﭘﺎﻳﻲ ﺍﻳﻦ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻛﺴﻲ ﺗﺮﺩﻳﺪﻱ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﻛﻪ ﺣﺎﻻ ﺑﻴﺴﺖﻭﻫﺸﺘﻤﻴﻦ ﺩﻭﺭﻩﺍﺵ ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷﻮﺩ‪،‬‬ ‫ﺧﻮﺏ ﻳﺎ ﺑﺪ‪ ،‬ﻣﻬﻢ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﻧﻤﻲﺷــﻮﺩ ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ ﻫﻢ ﺍﻧﻜﺎﺭ ﻛﺮﺩ ﻛﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ‬ ‫ﻓﺠﺮ ﺩﺭ ﻃﻮﻝ ﺳــﺎﻝﻫﺎﻱ ﺣﺎﻻ ﻣﻲﺷــﻮﺩ ﮔﻔــﺖ ﻃﻮﻻﻧﻲ‬ ‫ﺑﺮﮔــﺰﺍﺭﻱﺍﺵ‪ ،‬ﺩﺭ ﻣــﻮﺍﺭﺩﻱ ﺗﻐﻴﻴــﺮ ﻣﺎﻫﻴــﺖ ﺩﺍﺩﻩ ﻭ ﺍﺯ ﺧﻮﺍﺳــﺖ‬ ‫ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﮔﺎﻥ ﺍﻭﻟﻴﻪﺍﺵ ﺩﻭﺭ ﺷــﺪﻩ‪ .‬ﺍﻭﻟﻴﻦ ﺗﻐﻴﻴــﺮ ﻣﻬﻢ ﺍﺯ ﺯﻣﺎﻥ‬ ‫ﺳﻴﻒﺍﷲ ﺩﺍﺩ ﺷﺮﻭﻉ ﺷــﺪ‪ .‬ﺍﻭ ﺑﻪ ﺩﺭﺳــﺘﻲ ﻗﺎﻧﻮﻥ ﺍﻟﺰﺍﻡ ﺷﺮﻛﺖ ﻫﻤﻪ‬ ‫ﻓﻴﻠﻢﻫﺎ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ ﻣﻠﻐﻲ ﻛﺮﺩ‪ ،‬ﭼﻮﻥ ﺷﺄﻥ ﻳﻚ ﻓﺴﺘﻴﻮﺍﻝ ﻫﻨﺮﻱ‬ ‫ﺍﻗﺘﻀﺎ ﻧﻤﻲﻛﻨﺪ ﻛﻪ ﻫﻤﻪ ﻓﻴﻠﻢﻫﺎ ﺑﻪ ﺩﺳﺘﻮﺭ ﻭ ﻧﻪ ﺍﺯ ﺭﻭﻱ ﺗﻤﺎﻳﻞ‪ ،‬ﻭﺍﺭﺩ‬ ‫ﻳﻚ ﺟﺸﻨﻮﺍﺭﻩ ﺷﻮﻧﺪ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ ﺍﻣﺎ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺍﻳﻦ ﻭﻳﮋﮔﻲ ﺭﺍ ﻛﻪ ﺁﻳﻨﻪ ﺗﻤﺎﻡ ﻧﻤﺎﻱ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﺎﺷﺪ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩ‪ .‬ﺩﻳﮕﺮ ﺑﺎ ﺩﻳﺪﻥ ﻓﻴﻠﻢﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻧﻤﻲﺷﺪ ﭼﺸﻢﺍﻧﺪﺍﺯ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ ﺳﺎﻝ ﺁﻳﻨﺪﻩ ﺭﺍ ﺗﺮﺳﻴﻢ ﻛﺮﺩ‪.‬‬ ‫ﺑﺨﺶ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﺍﺯ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺗﻮﻟﻴﺪﺍﺕ ﻣﻮﺳﻮﻡ ﺑﻪ ﺑﺪﻧﻪ‪ ،‬ﺭﻏﺒﺘﻲ‬ ‫ﺑﻪ ﺣﻀﻮﺭ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻧﺸــﺎﻥ ﻧﺪﺍﺩﻧﺪ ﻛﻪ ﺍﻳﻦ ﻫﻤﻪ ﺍﻟﺒﺘﻪ ﻃﺒﻴﻌﻲ‬ ‫ﺑﻮﺩ‪ ،‬ﻃﺒﻴﻌﻲ ﺑﻮﺩ ﻛﻪ ﻓﻴﻠﻤﻲ ﻛﻪ ﺻﺮﻓﺎ ﺑﺮﺍﻱ ﮔﻴﺸــﻪ ﺳــﺎﺧﺘﻪ ﺷــﺪﻩ‬ ‫ﺑﻪ ﺟﺸــﻨﻮﺍﺭﻩ ﻧﻴﺎﻳﺪ‪ .‬ﺟﺎﻳﻲ ﻛﻪ ﺩﺳــﺘﺎﻭﺭﺩﺵ ﺍﺯ ﺁﻥ‪ ،‬ﺍﺣﺘﻤﺎﻻ ﭼﻴﺰﻱ‬ ‫ﺟﺰ ﺍﻧﺒﻮﻩ ﻧﻘﺪﻫﺎﻱ ﻣﻨﻔﻲ ﻧﻤﻲﺷــﺪ ﻛﻪ ﺧﻮﺩ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺫﻫﻨﻴﺖ ﻭ‬ ‫ﭘﻴﺶﺯﻣﻴﻨﻪ ﻣﻨﻔﻲ ﺑﺮﺍﻳﺶ ﺍﻳﺠﺎﺩ ﻭ ﺣﺘﻲ ﺩﺭ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ ﺑﺮﺍﻱ ﻓﻴﻠﻢ‬ ‫ﻣﺸــﻜﻞ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺑﺨﺶ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﺍﺯ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺗﺠﺎﺭﻱ‪ ،‬ﺑﺎ ﺟﺸــﻨﻮﺍﺭﻩ ﺧﺪﺍﺣﺎﻓﻈﻲ ﻛﺮﺩ‪ .‬ﻃﻴــﻒ ﺩﻳﮕﺮﻱ ﻫﻢ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺷﺖ ﻛﻪ ﺍﻓﻖﻫﺎ ﺭﺍ ﺩﺭ ﺁﻥ ﺳﻮﻱ ﻣﺮﺯﻫﺎ ﺟﺴﺖﻭﺟﻮ ﻣﻲﻛﺮﺩ ﻭ ﺑﻪ ﻓﺠﺮ‬ ‫ﺑﻪ ﭼﺸﻢ ﻳﻚ ﺭﺧﺪﺍﺩ ﺻﺮﻓﺎ ﺩﺍﺧﻠﻲ ﻣﻲﻧﮕﺮﻳﺴﺖ‪ .‬ﺑﺨﺸﻲ ﺍﺯ ﺳﻴﻨﻤﺎﻱ‬ ‫ﻣﻮﺳﻮﻡ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﻫﻢ ﺍﺯ ﺩﻭﺭ ﺧﺎﺭﺝ ﺷﺪ‪.‬‬ ‫ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺗﻐﻴﻴﺮ ﺷــﻜﻞ ﻣﺴﻴﺮ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ‬ ‫ﻛﻪ ﺑﺎ ﺗﻐﻴﻴﺮ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻱﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻧﻴﺰ ﻫﻤﺮﺍﻩ ﺑﻮﺩ‪ ،‬ﺑﺎﻋﺚ ﺷﺪ‬ ‫ﺗﺎ ﺑﺎﺏ ﻭﺭﻭﺩ ﻓﻴﻠﻢ ﺧﺎﺭﺝ ﺍﺯ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻲ ﻭ ﻣﺴﺘﻘﻞ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺑﻴﺸﺘﺮ ﺑﺴﺘﻪ ﺷــﻮﺩ‪ .‬ﻫﺮﭼﻨﺪ ﺑﺮﺧﻲ ﺍﺯ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﺁﺛﺎﺭ ﻣﺴﺘﻘﻞ ﻛﻪ‬ ‫‪1‬‬ ‫‪2‬‬ ‫‪24‬‬ ‫ﻋﻼﻗﻪﻣﻨﺪ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺍﺧﻠﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺧﻮﺩ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺑﻪ ﭼﺸــﻢ ﻳﻚ ﻓﺮﺻﺖ ﻣﻲﻧﮕﺮﻳﺴﺘﻨﺪ‪ .‬ﻓﺮﺻﺘﻲ ﺑﺮﺍﻱ ﺍﻣﻜﺎﻥ ﻧﻤﺎﻳﺶ‬ ‫ﻋﻤﻮﻣﻲ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻨﻜﻪ ﺳﺎﻝﻫﺎﺳــﺖ ﺛﺎﺑﺖ ﺷﺪﻩ‪ ،‬ﻓﻴﻠﻤﻲ ﻛﻪ‬ ‫ﺩﺭ ﻓﺠﺮ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﻣﻲﺁﻳﺪ‪ ،‬ﺍﻟﺰﺍﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ ﺷﻮﺩ‪.‬‬ ‫)ﺩﺭ ﮔﺬﺷــﺘﻪ ﺍﻳﻦ ﺧﻮﺩ ﻳﻜﻲ ﺍﺯ ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﺮﺍﻱ‬ ‫ﺗﻤﺎﺷﮕﺮﺍﻥ ﺑﻮﺩ‪(.‬‬ ‫ﺑﻪﻫﺮ ﺗﻘﺪﻳﺮ‪ ،‬ﺩﻭ ﻧﻮﻉ ﻓﻴﻠﻤﺴﺎﺯﻱ ﻣﻬﻢ ﻭ ﺷﺎﺧﺺ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‪،‬‬ ‫ﺳﺎﻝﻫﺎﺳﺖ ﻛﻪ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺯﻳﺎﺩﻱ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻧﺪﺍﺭﻧﺪ‪.‬‬ ‫ﺍﺯ ﻫﻤﻴﻦﺟﺎ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﺟﺸــﻨﻮﺍﺭﻩ ﺍﻣﺴــﺎﻝ ﻧﻴﺰ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫»ﺁﺗﺸــﻜﺎﺭ« ﻣﺤﺴــﻦ ﺍﻣﻴﺮﻳﻮﺳــﻔﻲ‪ ،‬ﻳﻜــﻲ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻣﺴﺘﻘﻠﻲ ﺍﺳﺖ ﻛﻪ ﺣﻀﻮﺭﺵ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﺑﺨﺶﻫﺎﻱ ﺭﺳﻤﻲ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫)ﺑﻪﺧﺼﻮﺹ ﭘﺬﻳﺮﻓﺘﻪ ﺷــﺪﻧﺶ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ(‬ ‫ﺷﺎﻳﺪ ﻣﻲﺗﻮﺍﻧﺴﺖ ﻣﺸﺮﻭﻋﻴﺘﻲ ﺑﺮﺍﻱ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲﺍﺵ ﻛﺴﺐ ﻛﻨﺪ‪.‬‬ ‫»ﻫﻴﭻ« ﻛﺎﻫﺎﻧﻲ ﻫﻢ ﻣﻮﻗﻌﻴﺖ ﻣﺸــﺎﺑﻬﻲ ﺩﺍﺭﺩ ﻭ ﺣﺬﻑ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻗﻴﻤﺖ ﻣﺸﻜﻼﺗﻲ ﺑﺮﺍﻱ ﺍﻛﺮﺍﻧﺶ ﺗﻤﺎﻡ ﺷﻮﺩ‪.‬‬ ‫ﺑﻲﺁﻧﻜﻪ ﻗﺼﺪ ﺍﺭﺯﺵﮔﺬﺍﺭﻱ ﻛﻴﻔﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ ،‬ﺣﻀﻮﺭ ﻓﻴﻠﻢﻫﺎﻳﻲ‬ ‫ﺍﺯ ﺟﻨﺲ »ﺁﺗﺸﻜﺎﺭ« ﻭ ﻛﻼ ﺁﺛﺎﺭ ﻣﺴﺘﻘﻞ‪ ،‬ﺩﺭ ﻳﻚ ﺟﺸﻨﻮﺍﺭﻩ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻣﻌﻘﻮﻝﺗﺮ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﺭﺍﻩﻫــﺎﻱ ﻫﺰﺍﺭﺑﺎﺭ ﭘﻴﻤﻮﺩﻩ‬ ‫ﺷــﺪﻩ‪ ،‬ﺑﺮﺍﻱ ﻫﺰﺍﺭ ﻭ ﻳﻜﻤﻴﻦ ﺑﺎﺭ ﻭ ﺑﻲﻛﻤﺘﺮﻳﻦ ﺗﻐﻴﻴﺮ ﻭ ﺗﻔﺎﻭﺕ ﻭ ﺑﺪﻭﻥ‬ ‫ﺍﻧﺪﻛﻲ ﻃﺮﺍﻭﺕ ﻭ ﭘﻮﻳﺎﻳﻲ ﻃﻲ ﺷﺪﻩ ﺍﺳــﺖ‪ .‬ﺍﺭﺯﺵ‪ ،‬ﺍﻋﺘﺒﺎﺭ ﻭ ﺍﻫﻤﻴﺖ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﺭﺍ ﻛﻤﺪﻱﻫﺎﻱ ﺗﺠﺎﺭﻱ ﻭ ﻓﻴﻠﻢﻫﺎﻱ ﺳﻔﺎﺭﺷﻲ ﺩﻭﻟﺘﻲ ﺑﺎﻻ‬ ‫ﻧﻤﻲﺑﺮﻧﺪ‪ .‬ﺍﻳﻦ ﺳــﻴﻨﻤﺎﻱ ﺧﻼﻕ ﺍﺳــﺖ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻋﻴﺎﺭ ﺳﻜﻪ ﻳﻚ‬ ‫ﻓﺴﺘﻴﻮﺍﻝ ﺭﺍ ﺑﺎﻻ ﺑﺒﺮﺩ‪.‬‬ ‫ﺍﻣﺴــﺎﻝ »ﺳــﻼﻡ ﺑﺮ ﻋﺸــﻖ« ﺗﺎﺯﻩﺗﺮﻳﻦ ﻣﺤﺼﻮﻝ ﭘﻮﻳﺎﻓﻴﻠﻢ ﻫﻢ‬ ‫ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻏﺎﻳﺐ ﺍﺳــﺖ ﻭ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﺍﺵ ﺣﺘﻲ ﻓﺮﻡ ﺷﺮﻛﺖ ﺩﺭ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ ﻫﻢ ﭘﺮﻧﻜﺮﺩ )ﻛﻪ ﺍﻣﺴــﺎﻝ ﺑﺮﺧﻲ ﺍﺯ ﺭﺳﺎﻧﻪﻫﺎ ﺁﻥ ﺭﺍ ﺍﺗﻔﺎﻕ‬ ‫ﻣﻬﻤﻲ ﺩﺍﻧﺴﺘﻪ ﻭ ﺑﺎ ﺁﺏ ﻭ ﺗﺎﺏ ﺑﻪ ﭘﻮﺷﺶ ﺍﺧﺒﺎﺭﺵ ﻣﻲﭘﺮﺩﺍﺧﺘﻨﺪ( ﺍﻣﺎ‬ ‫ﻫﻴﭻﻛﺲ ﻧﭙﺮﺳﻴﺪ ﭼﺮﺍ »ﺳــﻼﻡ ﺑﺮ ﻋﺸﻖ« ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻴﺴﺖ‪ ،‬ﺩﺭ‬ ‫ﻋﻮﺽ ﺑﺮﺍﻱ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺳﻴﻨﻤﺎ ﻭ ﺟﺸﻨﻮﺍﺭﻩ ﻣﻬﻢ ﺑﻮﺩ ﻛﻪ »ﺁﺗﺸﻜﺎﺭ«‬ ‫ﻳﺎ »ﻫﻴﭻ«ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺑﺎﻭﺭ ﺍﻳﻨﻜﻪ ﺍﻧﺒﻮﻩ ﻓﻴﻠﻢﻫﺎﻱ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ ﺩﺭ ﺑﺨﺶﻫﺎﻱ ﻣﺨﺘﻠﻒ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﺍﻣﺴــﺎﻝ‪ ،‬ﻛﻴﻔﻴﺖ ﻫﻨﺮﻱﺷــﺎﻥ ﺑﺎﻻﺗﺮ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻣﻐﻀﻮﺏ ﺑﻮﺩﻩ‪ ،‬ﻧﻪ ﺩﺷــﻮﺍﺭ ﻛﻪ ﺍﺳﺎﺳــﺎ ﺑﻌﻴﺪ ﺍﺳﺖ‪ .‬ﺣﺘﻲ ﺍﮔﺮ ﻋﻠﻴﺮﺿﺎ‬ ‫ﺳــﺠﺎﺩﭘﻮﺭ ﺩﺭ ﻣﺼﺎﺣﺒﻪﻫﺎﻳﺶ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﺧﻂ ﺩﺭ ﻣﻴﺎﻥ ﻣﺸﻜﻞ‬ ‫ﻓﻴﻠﻢﻫﺎ ﺭﺍ ﻧﻈﺎﺭﺗﻲ ﺑﺪﺍﻧﺪ ﻭ ﻧﺪﺍﻧﺪ!‬ ‫ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﻫﻢ ﻭﻗﺘﻲ ﻧﺎﻡ »ﺩﺭﺑﺎﺭﻩ ﺍﻟﻲ« ﺩﺭ ﻓﻬﺮﺳﺖ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻧﺒﻮﺩ‪ ،‬ﻫﻤﻪ ﻣﻲﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﻣﺸﻜﻞ ﺍﺯ ﻛﺠﺎ ﺁﺏ ﻣﻲﺧﻮﺭﺩ‪.‬‬ ‫ﻓﻴﻠﻤﻲ ﻛﻪ ﺍﺗﻔﺎﻗﺎ ﻣﻌﺎﻭﻥ ﻓﻌﻠﻲ ﺍﻣﻮﺭ ﺳﻴﻨﻤﺎﻳﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻘﻄﻊ ﻣﺸﺎﻭﺭ‬ ‫ﻫﻨﺮﻱ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﺑﻮﺩ‪ ،‬ﻣﺸﻜﻠﺶ ﺭﺍ ﺣﻞ ﻛﺮﺩ‪ .‬ﻓﻜﺮﺵ ﺭﺍ ﺑﻜﻨﻴﺪ ﺍﮔﺮ‬ ‫»ﺩﺭﺑﺎﺭﻩ ﺍﻟﻲ« ﺭﺍ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﭘﺎﺭﺳﺎﻝ ﻣﻲﮔﺮﻓﺘﻴﻢ‪ ،‬ﭼﻪ ﭼﻴﺰﻱ ﺍﺯ ﺁﻥ‬ ‫ﺟﺰ ﭼﻨﺪ ﻓﻴﻠﻢ ﻣﺘﻮﺳﻂ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ؟‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻣﻌﺘﺒﺮ‪ ،‬ﺑﺎﻳﺪ ﻣﺤﻞ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎﻱ ﻣﻌﺘﺒﺮ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﻳﻦ ﺟﻤﻠــﻪ ﺭﺍ ﺩﺍﺭﻡ ﺑﺮﺍﻱ ﺩﻭﻣﻴﻦ ﺑــﺎﺭ ﻭ ﺍﻟﺒﺘﻪ ﺑﺎ ﻛﻤﻲ ﺗﻐﻴﻴﺮ‬ ‫ﺗﻜــﺮﺍﺭ ﻣﻲﻛﻨﻢ ﻭ ﻓﻜﺮ ﻣﻲﻛﻨﻢ ﺍﺭﺯﺵ ﺍﻳﻦ ﺗﻜﺮﺍﺭ ﺭﺍ ﺩﺍﺭﺩ! ﻫﻴﭻ ﻛﺠﺎﻱ‬ ‫ﺩﻧﻴﺎ ﻛﻴﻔﻴﺖ ﻳﻚ ﺟﺸــﻨﻮﺍﺭﻩ ﺭﺍ ﺑﺎ ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢﻫﺎﻱ ﺷﺮﻛﺖﻛﻨﻨﺪﻩ ﺩﺭ‬ ‫‪3‬‬ ‫‪4‬‬ ‫ﺁﻥ ﻧﻤﻲﺳــﻨﺠﻨﺪ‪ .‬ﻧﻤﺎﻳﺶ ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 60‬ﻓﻴﻠﻢ ﺍﻳﺮﺍﻧﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻫﻨﮕﺎﻣﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺷــﻌﻒﺁﻣﻴﺰ ﺑﺎﺷﺪ ﻛﻪ ﺩﺭﺻﺪ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﺍﺯ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢﻫﺎ‪ ،‬ﺁﺛﺎﺭ ﺍﺭﺯﺷــﻤﻨﺪﻱ ﺑﺎﺷــﻨﺪ‪ .‬ﭘﻴﺶ ﺍﺯ ﺁﻏﺎﺯ ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﺳﻌﻲ‬ ‫ﻣﻲﻛﻨﻴﻢ ﺧﻮﺵﺑﻴﻦ ﺑﺎﺷﻴﻢ ﻭ ﺍﻣﻴﺪﻭﺍﺭ‪.‬‬ ‫ﻭﻟﻲ ﺗﺠﺮﺑﻪ ﺳﺎﻝﻫﺎﻱ ﮔﺬﺷﺘﻪ ﺭﺍ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻴﻢ‪.‬‬ ‫ﺍﻻﻥ ﻛﻪ ﺍﻳﻦ ﻣﻄﻠﺐ ﺭﺍ ﻣﻲﻧﻮﻳﺴــﻢ ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢﻫﺎﻱ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻪ ‪ 27‬ﺭﺳﻴﺪﻩ ﺍﺳﺖ؛ ﻳﻚ ﺭﻛﻮﺭﺩ ﺗﺎﺭﻳﺨﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ‪ .‬ﺑﺎﻳﺪ ﺑﺎﻭﺭ ﻛﻨﻴﻢ ﺳــﻄﺢ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﻳﻦﻗﺪﺭ ﺑﺎﻻ ﺭﻓﺘﻪ‬ ‫ﻛﻪ ﺍﻳﻦ ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺣﺎﺿﺮ ﺑﺎﺷﻨﺪ؟ ﺗﺎﺯﻩ »ﺻﺪﺳﺎﻝ‬ ‫ﺑﻪ ﺍﻳﻦ ﺳﺎﻝﻫﺎ« ﺧﺎﺭﺝ ﺍﺯ ﻣﺴــﺎﺑﻘﻪ ﺍﺳﺖ ﻭ »ﻫﻴﭻ« ﻭ »ﺁﺗﺸﻜﺎﺭ« ﻫﻢ‬ ‫ﻧﻴﺴــﺘﻨﺪ‪» .‬ﻣﺴــﺎﻟﻪ ﻛﻴﻔﻴﺖ« ﻭﺍﻗﻌﺎ ﻣﺴﺎﻟﻪ ﺩﻭﺳــﺘﺎﻥ ﻭ ﺳﺮﻭﺭﺍﻥ ﻣﺎ‬ ‫ﻫﺴﺖ؟‬ ‫ﺑﺮﺍﻱ ﻣﻦ ﻛﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ ﺍﺯ ﺩﻭﺭﻩ ﻫﺸﺘﻢ ﺑﻪ ﺻﻮﺭﺕ ﭘﻴﮕﻴﺮ ﻭ‬ ‫ﺟﺪﻱ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻩﺍﻡ‪ ،‬ﻫﺮ ﺩﻭﺭﻩ ﻳﺎﺩﺁﻭﺭ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺷﺎﺧﺺ‬ ‫ﺍﺳﺖ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ ﻫﺸــﺘﻢ »ﻫﺎﻣﻮﻥ« ﻭ »ﺩﻧﺪﺍﻥﻣﺎﺭ«‪ ،‬ﺟﺸﻨﻮﺍﺭﻩ ﻧﻬﻢ‬ ‫»ﻧﻮﺑﺖ ﻋﺎﺷــﻘﻲ« ﻭ »ﺷــﺐﻫﺎﻱ ﺯﺍﻳﻨــﺪﻩ ﺭﻭﺩ« ﻭ »ﻋﺮﻭﺱ«‪ ،‬ﺩﻫﻢ‬ ‫»ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷــﺎﻩ‪ «....‬ﻭ »ﻧﺮﮔــﺲ«‪ ،‬ﻳﺎﺯﺩﻫــﻢ »ﺭﺩ ﭘﺎﻱ ﮔﺮگ«‪،‬‬ ‫»ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ«‪» ،‬ﺳﺎﺭﺍ«‪» ،‬ﻫﻨﺮﭘﻴﺸﻪ«‪ ،‬ﺩﻭﺍﺯﺩﻫﻢ »ﺯﻳﺮﺩﺭﺧﺘﺎﻥ‬ ‫ﺯﻳﺘﻮﻥ« ﻭ »ﺧﺎﻛﺴــﺘﺮ ﺳــﺒﺰ«‪ ،‬ﺳــﻴﺰﺩﻫﻢ »ﻛﻴﻤﻴﺎ«‪» ،‬ﺭﻭﺳــﺮﻱ‬ ‫ﺁﺑــﻲ«‪» ،‬ﭘــﺮﻱ«‪ ،‬ﭼﻬﺎﺭﺩﻫــﻢ »ﺿﻴﺎﻓﺖ«‪» ،‬ﺳــﻔﺮ ﺑــﻪ ﭼﺬﺍﺑﻪ« ﻭ‬ ‫»ﺑﻮﻱ ﭘﻴﺮﺍﻫﻦ ﻳﻮﺳــﻒ«‪ ،‬ﭘﺎﻧﺰﺩﻫﻢ »ﺳﻠﻄﺎﻥ« ﻭ »ﻟﻴﻼ«‪ ،‬ﺷﺎﻧﺰﺩﻫﻢ‬ ‫»ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ« ﻭ »ﺩﺭﺧﺖ ﮔﻼﺑﻲ« ﻭ ﻫﻔﺪﻫﻢ »ﻗﺮﻣﺰ« ‪» ،‬ﺩﻭﺯﻥ«‬ ‫ﻭ »ﺭﻧﮓ ﺧﺪﺍ«‪ ،‬ﻫﺠﺪﻫﻢ »ﺍﻋﺘﺮﺍﺽ«‪» ،‬ﻋﺮﻭﺱ ﺁﺗﺶ«‪» ،‬ﻣﺘﻮﻟﺪ ﻣﺎﻩ‬ ‫ﻣﻬﺮ« ﻭ »ﺑﻮﻱ ﻛﺎﻓﻮﺭ‪ ،‬ﻋﻄﺮ ﻳﺎﺱ«‪ ،‬ﻧﻮﺯﺩﻫﻢ »ﺳﮓﻛﺸــﻲ«‪ ،‬ﺑﻴﺴﺘﻢ‬ ‫»ﻣﻦ ﺗﺮﺍﻧﻪ ﭘﺎﻧﺰﺩﻩ ﺳﺎﻝ ﺩﺍﺭﻡ« ﻭ »ﺧﺎﻧﻪﺍﻱ ﺭﻭﻱ ﺁﺏ«‪ ،‬ﺑﻴﺴﺖ ﻭ ﻳﻜﻢ‬ ‫»ﻧﻔﺲ ﻋﻤﻴﻖ«‪» ،‬ﺷــﺐﻫﺎﻱ ﺭﻭﺷــﻦ« ﻭ »ﺭﺍﻱ ﺑﺎﺯ«‪ .‬ﺑﻴﺴﺖ ﻭ ﺩﻭﻡ‬ ‫»ﺑﻮﺗﻴﻚ« ﻭ »ﻣﺎﺭﻣﻮﻟﻚ«‪ ،‬ﺑﻴﺴﺖ ﻭ ﺳﻮﻡ »ﺩﻭﺋﻞ« ﻭ »ﻣﺰﺭﻋﻪ ﭘﺪﺭﻱ«‪،‬‬ ‫ﺑﻴﺴــﺖ ﻭ ﭼﻬﺎﺭﻡ »ﭼﻬﺎﺭﺷﻨﺒﻪﺳﻮﺭﻱ‪ ،‬ﺑﻴﺴﺖﻭﭘﻨﺠﻢ »ﺳﻨﺘﻮﺭﻱ«‪،‬‬ ‫ﺑﻴﺴــﺖ ﻭ ﺷﺸــﻢ »ﺗﻨﻬﺎ ﺩﻭﺑﺎﺭ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ« ﻭ ﺑﻴﺴﺖﻭﻫﻔﺘﻢ‬ ‫»ﺩﺭﺑﺎﺭﻩ ﺍﻟﻲ«‪ ،‬ﻓﺠﺮ ﺑﻴﺴــﺖ ﻭ ﻫﺸﺘﻢ ﻫﻢ ﺳــﺎﻝ »ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ«‬ ‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ؛ ﭼــﻪ ﻭﺍﻗﻌﺎ ﺍﻳﻦ ﻗﺪﺭ ﻛﻪ ﻣﻲﮔﻮﻳﻨﺪ ﻓﻴﻠﻢ ﺧﻮﺑﻲ ﺑﺎﺷــﺪ ﻭ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﻛﺎﺭﻧﺎﻣﻪ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻭ ﭼﻪ ﭘﺲ ﺍﺯ ﺗﻤﺎﺷﺎﻳﺶ ﺍﻧﺘﻈﺎﺭﻣﺎﻥ‬ ‫ﺑﺮﺁﻭﺭﺩﻩ ﻧﺸــﻮﺩ‪ .‬ﻫﻤﻪ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﺍﺳﻤﺸﺎﻥ ﺭﺍ ﺁﻭﺭﺩﻡ‪ ،‬ﺁﺛﺎﺭ ﺩﺭﺟﻪ‬ ‫ﻳﻜﻲ ﻧﻴﺴﺘﻨﺪ ﻭﻟﻲ ﻭﻗﺘﻲ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻼﻥ ﺩﻭﺭﻩ ﺣﺮﻑ ﻣﻲﺯﻧﻴﻢ ﺍﻭﻟﻴﻦ‬ ‫ﻓﻴﻠﻢﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺫﻫﻦ ﻣﻲﺁﻳﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺑﻌﻀﻲ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻲ‬ ‫ﻛﻪ ﺟﺎ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ‪ ،‬ﺁﺛﺎﺭ ﺑﻬﺘﺮﻱ ﺑﺎﺷﻨﺪ ﻭﻟﻲ ﺍﻳﻦﻫﺎ ﮔﺮﻣﺎ‪ ،‬ﺷﻮﺭ ﻭ ﺍﻟﺘﻬﺎﺏ ﻭ‬ ‫‪5‬‬ ‫ﻫﻤﻪ ﺁﻥ ﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ ﻳﻚ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪ ﺁﻧﻬﺎ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﻧﺪ ﺭﺍ ﺑﻴﺸﺘﺮ‬ ‫ﺍﺯ ﺁﻧﻬﺎ ﺁﻓﺮﻳﺪﻧــﺪ‪» ....‬ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ«ﺑﻪ ﻫــﺰﺍﺭ ﻭ ﻳﻚ ﺩﻟﻴﻞ ﭼﻨﻴﻦ‬ ‫ﻛﺎﺭﻛﺮﺩﻱ ﺭﺍ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺟﻮﺍﺩ ﺷﻤﻘﺪﺭﻱ‬ ‫ﺑﺮﺍﻱ ﺩﻭﻣﻴﻦ ﺳﺎﻝ ﭘﻴﺎﭘﻲ ﺗﻨﻮﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ ﺩﺍﻍ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺩﻟﻤــﺎﻥ ﻟﻚﺯﺩﻩ ﺑــﺮﺍﻱ ﺁﻥ ﺻﻒﻫــﺎﻱ ﻃﻮﻻﻧﻲ ﻭ ﺳــﺎﻧﺲﻫﺎﻱ‬ ‫ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺑﺮﺍﻱ ﻓﻴﻠﻤﻲ ﻛﻪ ﺍﺳﻤﺶ »ﺍﺧﺮﺍﺟﻲﻫﺎ« ﻧﺒﺎﺷﺪ!‬ ‫ﻭ ﭼﻪ ﺧﻮﺏ ﻛﻪ ﺍﻳــﻦ ﺍﺗﻔﺎﻕ ﺑﺎ ﻓﻴﻠﻤــﻲ ﺍﺯ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻣﻲﺍﻓﺘﺪ‪ .‬ﺑﺎ‬ ‫ﺣﻠﻘﻪ ﻣﻔﻘﻮﺩﻩ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻐﺒﻮﻥ ﺷﺪﻥ‬ ‫ﺍﺯ ﺗﻤﺎﺷﺎﻱ »ﺑﻪ ﻧﺎﻡ ﭘﺪﺭ«ﻭ »ﺩﻋﻮﺕ« ﻭ »ﺣﻠﻘﻪ ﺳﺒﺰ« ﺭﺍ ﺑﻪ ﻓﺮﺍﻣﻮﺷﻲ‬ ‫ﺑﺴــﭙﺮﺩ‪» .‬ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﭘﺲ ﺍﺯ ‪ 5‬ﺳﺎﻝ ﺗﺎﺧﻴﺮ‪ ،‬ﺍﻧﮕﺎﺭ ﺩﺭ ﺑﻬﺘﺮﻳﻦ‬ ‫ﺯﻣﺎﻥ ﻣﻤﻜﻦ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﺑﻬﺘﺮﻳﻦ ﺗﺼﻤﻴﻢ ﻣﺪﻳﺮﻳﺘﻲ ﺷﻤﻘﺪﺭﻱ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﺑﻮﺩ ﻛﻪ‬ ‫ﺍﻭ ﻧﻘﺸﻲ ﺩﺭ ﺗﻮﻟﻴﺪﺍﺗﺶ ﻧﺪﺍﺭﺩ ﻭ ﺻﺮﻓﺎ ﺑﺮﮔﺰﺍﺭ ﻛﻨﻨﺪﻩﺍﺵ ﺍﺳﺖ‪.‬‬ ‫ﻣﻲﺗﻮﺍﻧﺴــﺖ ﻫﻤﻪ ﭼﻴﺰ ﺑﻬﺘﺮ ﺍﺯ ﺍﻳﻦ ﻫﻢ ﺑﺎﺷــﺪ‪ .‬ﺍﮔﺮ ﻫﻴﺎﺕ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺭﺍ ﭼﻬﺮﻩﻫﺎﻱ ﺷﺎﺧﺺﺗﺮﻱ ﺗﺸﻜﻴﻞ ﻣﻲﺩﺍﺩﻧﺪ ﻭ ﺩﺭ‬ ‫ﻛﻨﺎﺭ ﻣﺴﺌﻮﻻﻥ‪ ،‬ﻧﺎﻡ ﭼﻨﺪ ﺳﻴﻨﻤﺎﮔﺮ ﻣﻄﺮﺡ ﻭ ﺳﺮﺷﻨﺎﺱ ﻫﻢ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺑﻪ ﭼﺸــﻢ ﻣﻲﺧﻮﺭﺩ‪ ،‬ﻧﻪ ﻛﺴﺎﻧﻲ ﻛﻪ ﻫﻴﭻﮔﺎﻩ ﻧﺎﻡﻫﺎﻱ‬ ‫ﻣﻌﺘﺒﺮﻱ ﺩﺭ ﺍﻳﻦ ﺳﻴﻨﻤﺎ ﻧﺒﻮﺩﻩﺍﻧﺪ‪ .‬ﺷﺎﻳﺪ ﺁﻥ ﻭﻗﺖ ﺷﺎﻫﺪ ﺍﻳﻦ ﺣﺠﻢ ﺍﺯ‬ ‫ﺍﻋﺘﺮﺍﺽ ﻓﻴﻠﻤﺴﺎﺯﺍﻧﻲ ﻛﻪ ﻓﻴﻠﻤﺸﺎﻥ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻴﺎﻣﺪﻩ ﻳﺎ ﺑﻪ ﺑﺨﺶ‬ ‫ﻣﺴﺎﺑﻘﻪ ﺭﺍﻩ ﻧﻴﺎﻓﺘﻪ‪ ،‬ﻧﺒﻮﺩﻳﻢ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻭﻗﺘﻲ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﮔﺎﻥ ﺟﺸــﻨﻮﺍﺭﻩ ﺑــﺮﺍﻱ ﭼﻴﺪﻥ ﺗﺮﻛﻴﺐ‬ ‫ﺁﺑﺮﻭﻣﻨﺪﻱ ﺍﺯ ﻫﻴﺎﺕ ﺩﺍﻭﺭﺍﻥ ﺑﻪ ﻣﺸﻜﻞ ﺑﺮﺧﻮﺭﺩﻩﺍﻧﺪ )ﻭ ﺩﺭ ﺁﺳﺘﺎﻧﻪ ﺁﻏﺎﺯ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻫﻨﻮﺯ ﺩﺍﻭﺭﺍﻥ ﻣﻌﺮﻓﻲ ﻧﺸــﺪﻩﺍﻧﺪ( ﻣﻲﺷﻮﺩ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻱ ﺑﻪ‬ ‫ﺁﻧﻬﺎ ﺣﻖ ﺩﺍﺩ‪ .‬ﻧﺎﻡ ﻛﺴﺎﻧﻲ ﻛﻪ ﺩﺍﻭﺭﻱ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺭﺍ ﺭﺩ ﻛﺮﺩﻩﺍﻧﺪ‪،‬‬ ‫ﺑﺰﺭگﺗﺮ ﺍﺯ ﺍﺷﺨﺎﺻﻲ ﺑﻮﺩ ﻛﻪ ﺭﺳــﺎﻧﻪﻫﺎ ﺍﺯ ﺁﻧﻬﺎ ﺑﻪﻋﻨﻮﺍﻥ ﮔﺰﻳﻨﻪﻫﺎﻱ‬ ‫ﺩﺍﻭﺭﻱ ﻳﺎﺩ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﻫﻢ ﺍﺯ ﻣﻌﻀﻼﺕ‪ ،‬ﺩﺷﻮﺍﺭﻱﻫﺎ ﻭ ﻭﻳﮋﮔﻲﻫﺎﻱ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺍﺳﺖ‪ .‬ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﻛﻪ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦﺑﺎﺭ ﺩﺑﻴﺮ ﻣﺴﺘﻘﻞ‬ ‫ﺩﺍﺭﺩ؛ ﻣﻬﺪﻱ ﻣﺴﻌﻮﺩﺷــﺎﻫﻲ ﻛﻪ ﺗﻘﺮﻳﺒﺎ ﺍﻏﻠﺐ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﺍﺯ ﺍﻭ ﺑﻪ‬ ‫ﻧﻴﻜﻲ ﻳﺎﺩ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦﺑﺎﺭ ﻛﺎﺥ ﺟﺸــﻨﻮﺍﺭﻩ ﺩﺍﺭﺩ )ﻛﻪ ﺍﻟﺒﺘﻪ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻛﻴﻔﻴﺘﺶ ﻫﻨﻮﺯ ﺯﻭﺩ ﺍﺳﺖ ﻗﻀﺎﻭﺕ ﻛﻨﻴﻢ(‪ .‬ﺗﻌﺪﺍﺩ ﺳﺎﻟﻦﻫﺎﻳﺶ‬ ‫ﺍﻓﺰﺍﻳﺶ ﻳﺎﻓﺘﻪ ﻭ ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢﻫﺎﻳﺶ‪ .‬ﺍﻳﻨﻬﺎ ﻓﻌﻼ ﻭﻳﮋﮔﻲ ﺍﺳﺖ ﻭ ﺻﻔﺘﺶ‬ ‫ﺭﺍ ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﺁﺗﻲ ﻣﻲﺗﻮﺍﻥ ﺗﻌﻴﻴﻦ ﻛﺮﺩ‪ .‬ﻳﻚ ﻭﻳﮋﮔﻲ ﻣﻬﻢ ﺩﻳﮕﺮ‪ ،‬ﺣﺠﻢ‬ ‫ﺑﺎﻻﻱ ﺗﻮﻟﻴﺪﺍﺕ ﺩﻭﻟﺘﻲ ﻭ ﻏﻴﺒﺖ ﺑﺨﺶ ﺧﺼﻮﺻﻲ ﺍﺳﺖ‪ .‬ﻓﺎﺭﺍﺑﻲ‪ ،‬ﻣﺮﻛﺰ‬ ‫ﮔﺴﺘﺮﺵ‪ ،‬ﺳــﺎﺯﻣﺎﻥ ﻓﺮﻫﻨﮕﻲ ﻫﻨﺮﻱ ﺷﻬﺮﺩﺍﺭﻱ‪ ،‬ﺳﻴﻤﺎ ﻓﻴﻠﻢ‪ ،‬ﺣﻮﺯﻩ‬ ‫ﻫﻨﺮﻱ ﻭ ‪ ...‬ﺑﺨﺶ ﺧﺼﻮﺻﻲ ﻫﻢ ﻓﺎﺭﻍ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﺑﻴﺸﺘﺮ ﺗﻤﺮﻛﺰﺵ‬ ‫ﺭﺍ ﻫﻤﭽﻨﺎﻥ ﺭﻭﻱ ﻛﻤﺪﻱﻫﺎﻱ ﺳﺨﻴﻒ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫‪6‬‬ ‫ﻛﻢﺭﻧﮓ ﺷــﺪﻥ ﺣﻀﻮﺭ ﺑﺨــﺶ ﺧﺼﻮﺻﻲ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﻧﮕﺮﺍﻥﻛﻨﻨﺪﻩ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﺍﺳــﺖ ﻛﻪ ﺩﻭﻟﺖ ﺑﺮﮔﺰﺍﺭﺵ‬ ‫ﻣﻲﻛﻨــﺪ ﻭ ﻭﻗﺘــﻲ ﺍﻏﻠﺐ ﻓﻴﻠﻢﻫﺎﻳــﺶ ﺭﺍ ﻫﻢ ﺁﺛﺎﺭ ﺩﻭﻟﺘﻲ ﺗﺸــﻜﻴﻞ‬ ‫ﻣﻲﺩﻫﻨﺪ‪ ،‬ﺧﻴﻠﻲ ﻧﻤﻲﺷﻮﺩ ﺑﻪ ﻣﺎﺟﺮﺍ ﺧﻮﺵﺑﻴﻦ ﺑﻮﺩ‪.‬‬ ‫ﻣﻌﻤﻮﻻ ﺟﺸــﻨﻮﺍﺭﻩ ﺭﺍ ﻧﻤﻲﺷــﻮﺩ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ »ﺑﻪ ﻓﺮﻣﻮﺩﻩ«‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ ﺭﻭﻧﻖ ﺩﺍﺩ‪.‬‬ ‫ﺧﻴﺎﻝ ﺟﻮﺍﺩ ﺷــﻤﻘﺪﺭﻱ ﻭ ﺭﻓﻘﺎﻳﺶ ﺧﺎﻃﺮ ﺟﻤﻊ ﺍﺳﺖ ﻛﻪ‬ ‫ﻛﺴــﻲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻓﻴﻠﻢﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴــﺎﻝ ﺭﺍ ﺑﻪ ﭘﺎﻱ‬ ‫ﺍﻭ ﻭ ﻣﺪﻳﺮﻳﺘﺶ ﺑﻨﻮﻳﺴــﺪ‪ .‬ﺍﻭ ﻣﺠﺮﻱ ﺟﺸــﻨﻮﺍﺭﻩﺍﻱ ﺍﺳــﺖ ﻛﻪ ﺍﻏﻠﺐ‬ ‫ﻓﻴﻠﻢﻫﺎﻳﺶ ﺯﻣﺎﻥ ﺣﻀﻮﺭ ﻣﺤﻤﺪﺭﺿﺎ ﺟﻌﻔﺮﻱﺟﻠﻮﻩ ﺗﻮﻟﻴﺪ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺩﺭ ﺭﺍﻩ ﺑﺮﮔﺰﺍﺭﻱ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻢ ﻣﻲﺷﺪ ﻧﻜﺎﺗﻲ ﺭﺍ ﺭﻋﺎﻳﺖ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭﺳﺖ ﻧﺒﻮﺩ ﻓﻴﻠﻤﻲ ﻛﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﺍﺵ ﻣﺪﻳﺮﻛﻞ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ ﻭ‬ ‫ﺍﺭﺯﺷﻴﺎﺑﻲ ﻭ ﻋﻀﻮ ﻣﻮﺛﺮ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺍﺳﺖ ﺑﻪ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺭﺍﻩ ﻳﺎﺑﺪ‬ ‫ﻭ ﺑﻌﺪ ﺑﺎ ﻣﺸﺎﻫﺪﻩ ﻣﺨﺎﻟﻔﺖﻫﺎ ﻭ ﺍﻧﺘﻘﺎﺩﻫﺎﻳﻲ ﻛﻪ ﻛﺎﻣﻼ ﻫﻢ ﻃﺒﻴﻌﻲ ﺑﻮﺩ‬ ‫ﺑﻪ ﻧﺎﭼﺎﺭ ﻛﻨﺎﺭﻩﮔﻴﺮﻱ ﻛﻨﺪ‪ .‬ﭼﻮﻥ ﻛﻤﺘﺮ ﻛﺴﻲ ﻣﻲﺗﻮﺍﻧﺴﺖ ﻣﺎﺟﺮﺍﻱ‬ ‫ﺗﻐﻴﻴــﺮ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺩﺭ ﻓﺎﺻﻠﻪ ‪ 48‬ﺳــﺎﻋﺖ ﻣﺎﻧﺪﻩ ﺑﻪ ﺍﻋﻼﻡ ﺍﺳــﺎﻣﻲ‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺭﺍ ﺑﻪ ﺣﺴﺎﺏ ﺍﺳﺘﻘﻼﻝ ﻓﻴﻠﻢ »ﺷﻜﻼﺕ ﺩﺍﻍ«‬ ‫ﺍﺯ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﮔﺎﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺑﮕﺬﺍﺭﺩ‪ .‬ﻣﻮﺍﺭﺩ ﻣﺸﺎﺑﻪ ﺩﻳﮕﺮﻱ ﻫﻢ ﺑﻮﺩ‬ ‫ﻣﺜﻞ »ﺷﺐ ﻭﺍﻗﻌﻪ« ﻛﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﺍﺵ‪ ،‬ﺍﺣﻤﺪ ﻣﻴﺮﻋﻼﻳﻲ‪ ،‬ﻣﺪﻳﺮﻋﺎﻣﻞ‬ ‫ﻓﺎﺭﺍﺑﻲ ﺍﺳﺖ‪ .‬ﮔﺎﻫﻲ ﺍﻭﻗﺎﺕ ﮔﺮﻳﺰﻱ ﺍﺯ ﺣﺎﺷﻴﻪ ﻭ ﺟﻨﺠﺎﻝﻫﺎ ﻧﻴﺴﺖ‪ .‬ﻣﺜﻞ‬ ‫ﻣﺎﺟﺮﺍﻱ ﻗﺒﻮﻝ ﻧﻜﺮﺩﻥ ﺩﺍﻭﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺯ ﺳﻮﻱ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﺑﺮﺟﺴﺘﻪ‪.‬‬ ‫ﻭﻟﻲ ﺧﻴﻠﻲ ﻭﻗﺖﻫــﺎ ﺑﺎ ﺭﻋﺎﻳﺖ ﺑﺪﻳﻬﻴﺎﺕ ﺳــﺎﺩﻩ ﻛﻪ ﻫﺮﻓﺴــﺘﻴﻮﺍﻝ‬ ‫ﺩﺭﺟﻪ ﭼﻬــﺎﺭﻱ ﻫﻢ ﺁﻥ ﺭﺍ ﻟﺤــﺎﻅ ﻣﻲﻛﻨﺪ‪ ،‬ﻣﻲﺷــﻮﺩ ﺟﻠﻮﻱ ﺁﻧﭽﻪ‬ ‫ﺩﻭﺳﺘﺎﻥ »ﺷﺎﺋﺒﻪ« ﺧﻮﺍﻧﺪﻧﺪ ﺭﺍ ﮔﺮﻓﺖ‪.‬‬ ‫ﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﮔﺮﻭﻩ ﻓﻌﻠﻲ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦﺑﺎﺭ ﺩﺍﺭﺩ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺭﺍ ﺑﺮﮔﺰﺍﺭ ﻣﻲﻛﻨﺪ ﻭﻟﻲ ﻧﺒﺎﻳﺪ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩ ﻛﻪ ﺍﻳﻦ ﺑﻴﺴﺖﻭﻫﺸﺘﻤﻴﻦ‬ ‫ﺩﻭﺭ ﺑﺮﮔﺰﺍﺭﻱ ﺟﺸــﻨﻮﺍﺭﻩ ﺍﺳــﺖ‪ .‬ﭼﺮﺥ ﺭﺍ ﻧﺒﺎﻳﺪ ﻫﺮ ﺑﺎﺭ ﺍﺯ ﻧﻮ ﺍﺧﺘﺮﺍﻉ‬ ‫ﻛﻨﻴﻢ ﻭ ﻛﻤﻲ ﻧﮕﺎﻩ ﺑﻪ ﮔﺬﺷﺘﻪ ﻭ ﭘﻴﺸﻴﻨﻪ ﻣﺎﺟﺮﺍ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻔﻴﺪ ﻓﺎﻳﺪﻩ‬ ‫ﺑﺎﺷــﺪ‪ .‬ﺑﻪﺧﺼﻮﺹ ﺍﻳﻨﻜﻪ ﮔﺎﻫــﻲ ﺍﻭﻗﺎﺕ ﺩﺭ ﺭﻓﺘﺎﺭﻫــﺎﻱ ﻣﺪﻳﺮﻳﺘﻲ‬ ‫ﺫﻭﻕﺯﺩﮔﻲﻫﺎﻳﻲ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ ﻛﻪ ﭼﻨﺪﺍﻥ ﺟﺎﻟﺐ ﻧﻴﺴﺖ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠــﻢ ﻓﺠﺮ ﺑﺎ ﻫﻤﻪ ﺍﻧﺘﻘﺎﺩﻫﺎﻳﻲ ﻛﻪ ﺑﻪ ﺁﻥ ﻭﺍﺭﺩ ﺍﺳــﺖ ﻭ ﺳــﻴﺮ ﻧﺰﻭﻟﻲ‬ ‫ﺷﺪﻳﺪ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭﺵ ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ‪ ،‬ﻫﻨﻮﺯ ﺟﺎﻳﮕﺎﻩ ﻭ ﺍﻫﻤﻴﺘﺶ‬ ‫ﺭﺍ ﺣﻔﻆ ﻛﺮﺩﻩ ﻭ ﭘﻴﺶ ﺁﻣﺪﻥ ﺷــﺎﺋﺒﻪ ﺍﺟﺒﺎﺭ ﺩﺭ ﺣﻀﻮﺭ ﺑﺮﺧﻲ ﻓﻴﻠﻢﻫﺎ‬ ‫ﺣﺘﻲ ﺍﮔﺮ ﻛﺎﻣﻼ ﻣﺤﺼﻮﻝ ﺷﺎﻳﻌﺎﺕ ﻣﻐﺮﺿﺎﻧﻪ ﺑﺎﺷﺪ ﺑﻪ ﺷﺄﻥ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺁﺳﻴﺐ ﻣﻲﺭﺳــﺎﻧﺪ‪ .‬ﺍﺻﺮﺍﺭ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﮔﻔﺘﻪ ﺷﻮﺩ ﺑﻴﺶ ﺍﺯ ‪ 80‬ﻓﻴﻠﻢ‬ ‫ﻓﺮﻡ ﺷــﺮﻛﺖ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺭﺳﺎﻧﻪﺍﻱ ﻛﺮﺩﻥ ﺁﻥ ﻧﻪ ﺩﺭ‬ ‫‪7‬‬ ‫ﻫﻨﮕﺎﻡ ﭘﺎﻳﺎﻥ ﻣﻬﻠﺖ ﺭﺳــﻤﻲ ﺛﺒﺖﻧﺎﻡ ﻛﻪ ﺑــﻪ ﻓﺎﺻﻠﻪ ﻳﻚ ﺭﻭﺯ ﻗﺒﻞ ﺍﺯ‬ ‫ﺍﻋﻼﻡ ﻓﻬﺮﺳﺖ ﻓﻴﻠﻢﻫﺎﻱ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ‪ ،‬ﺍﺣﺘﻤﺎﻻ ﺑﺎ ﺍﻳﻦ ﻫﺪﻑ ﺻﻮﺭﺕ‬ ‫ﮔﺮﻓﺘﻪ ﻛﻪ ﺑﮕﻮﻳﻨﺪ ﻛﺴﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ ﺗﺤﺮﻳﻢ ﻧﻜﺮﺩﻩ ﻭ ﻫﺮﻛﺲ ﻓﻴﻠﻢ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﻫﺴــﺖ‪ .‬ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻣﺪﻳﺮﺍﻧﻲ ﺑﻪ ﺧﻮﺩ ﺩﻳﺪﻩ ﻛﻪ ﺑﺮﺍﻳﺸﺎﻥ‬ ‫ﺍﻫﻤﻴﺘﻲ ﻧﺪﺍﺷــﺖ ﻛﻪ ﻣﺜﻼ ﻣﻬﺮﺟﻮﻳﻲ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﺎﺷﺪ ﻳﺎ ﺧﻴﺮ‪.‬‬ ‫ﻛﻴﻤﻴﺎﻳﻲ ﻓﻴﻠﻢ ﺑﺴــﺎﺯﺩ ﻳﺎ ﻧﻪ‪ .‬ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﻪ ﺟﺎﻱ ﻓﻴﻠﻢ ﺳــﺎﺧﺘﻦ ﺑﻪ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﺮﻭﺩ ﻭ ﺳﺮﻳﺎﻝ ﺑﺴﺎﺯﺩ‪ .‬ﺍﻳﻨﻜﻪ ﺣﺎﻻ ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎ ﺷﺨﺼﺎ‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﻓﻴﻠﻤﺴــﺎﺯﺍﻥ ﺑﺮﻭﻧﺪ ﻣﻲﺗﻮﺍﻧﺪ ﻧﺸﺎﻥ ﺍﺯ ﺣﺴﻦ ﻧﻴﺖ ﻭ ﺗﻼﺵ‬ ‫ﺑﺮﺍﻱ ﺑﺮﮔﺰﺍﺭﻱ ﺑﻬﺘﺮ ﻭ ﭘﺮﺭﻭﻧﻖﺗﺮ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﺑﺎﺷﺪ ﻛﻪ ﻣﺘﻌﻠﻖ ﺑﻪ ﻫﻤﻪ‬ ‫ﻣﺎﺳﺖ‪ .‬ﻫﻤﻪ ﺍﺯ ﺳﻴﻨﻤﺎﮔﺮ‪ ،‬ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭ ﻭ ﺗﻤﺎﺷﺎﮔﺮ ﻭ ﻣﺪﻳﺮ ﻛﻪ ﺑﻪ ﺑﻬﺎﻧﻪ‬ ‫ﺍﻳﻦ ‪ 10‬ﺭﻭﺯ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﻣﻲﺷــﻮﻳﻢ‪ .‬ﺩﻳﺪﺍﺭﻫﺎ ﺭﺍ ﺗﺎﺯﻩ ﻣﻲﻛﻨﻴﻢ‪ .‬ﻣﺎ‬ ‫ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﻫﺎ ﺍﺣﺘﻤﺎﻻ ﻫﻤﺎﻥ ﮔﻼﻳﻪﻫﺎﻱ ﻫﻤﻴﺸﮕﻲ ﺭﺍ ﻣﻲﮔﻮﻳﻴﻢ )ﻭ‬ ‫ﺍﻟﺒﺘﻪ ﺩﻟﻴﻞ ﻣﻮﺟﻬﻲ ﻫﻢ ﺩﺍﻳﻢ ﭼﻮﻥ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻤﻲﺧﻮﺍﻫﺪ ﺑﺮﺧﻲ ﺍﺯ‬ ‫ﺍﻳﺮﺍﺩﻫﺎﻳﺶ ﺭﺍ ﺑﺮﻃﺮﻑ ﻛﻨﺪ(‪ ،‬ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﻭ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﻫﻢ ﺍﻧﺘﻘﺎﺩﻫﺎﻱ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺍﻳﻨﻬﺎ ﻫﻤﻪ ﺳــﺮﺟﺎﻳﺶ‪ ،‬ﻭﻟﻲ ﺍﻳﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﺳــﺖ ﻭ‬ ‫ﺁﻥ ﻗﺪﺭ ﺍﺯ ﻧﻈــﺮ ﺩﺍﺧﻠﻲ ﻣﻌﺘﺒﺮ ﻛﻪ ﻧﻴﺎﺯﻱ ﺑﻪ ﺑﺮﺧــﻲ ﺭﻓﺘﺎﺭﻫﺎ )ﻭﻟﻮ ﺍﺯ‬ ‫ﺭﻭﻱ ﺣﺴــﻦﻧﻴﺖ( ﻧﺪﺍﺭﺩ‪ .‬ﻛﺴﻲ ﻛﻪ ﺑﻪ ﻫﺮ ﺩﻟﻴﻞ ﻓﻴﻠﻤﺶ ﺭﺍ )ﻓﻴﻠﻤﻲ‬ ‫ﻛﻪ ﻣﻨﺎﺳﺐ ﺣﻀﻮﺭ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺳــﺖ ﻭ ﻧﻪ ﻓﻴﻠﻢ ﺗﺠﺎﺭﻱ ﻛﻪ ﺁﻣﺪﻥ‬ ‫ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻘﻂ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺯ ﺗﻤﺎﺷﺎﮔﺮﺍﻧﺶ ﺩﺭ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ‬ ‫ﺑﻜﺎﻫﺪ( ﺩﻭﺳﺖ ﻧﺪﺍﺭﺩ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺪﻫﺪ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺍﻣﻜﺎﻥ ﻣﻨﺎﺳﺒﻲ‬ ‫ﺑﺮﺍﻱ ﺩﻳﺪﻩ ﺷــﺪﻥ ﺍﺛﺮﺵ ﺳــﻠﺐ ﻣﻲﻛﻨﺪ‪ .‬ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﺩﺍﺭﺩ ﺍﺯ ﺣﻖ‬ ‫ﺷﺮﻛﺖ ﻧﻜﺮﺩﻥ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺣﺎﻻ ﻣﺎﻳﻴﻢ ﻭ ﻓﺠﺮ ‪ .28‬ﺍﺯ ﺣﺎﺷﻴﻪ ﻛﻪ ﺑﻪ ﻣﺘﻦ ﺑﻴﺎﻳﻴﻢ ﻣﻲﺑﻴﻨﻴﻢ‬ ‫ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢﻫﺎﻱ ﻛﻨﺠﻜﺎﻭﻱ ﺑﺮﺍﻧﮕﻴﺰ ﻫﻢ ﻛﻢ ﻧﻴﺴﺖ‪ .‬ﺗﻤﺎﺷﺎﻱ‬ ‫ﻓﻴﻠﻤﻲ ﺍﺯ ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ ﭘﺲ ﺍﺯ ‪ 3‬ﺳﺎﻝ‪ .‬ﻛﻨﺠﻜﺎﻭﻱ ﺑﺮﺍﻱ ﺩﻳﺪﻥ‬ ‫ﺁﺧﺮﻳﻦ ﺳﺎﺧﺘﻪﻫﺎﻱ ﻣﺠﺘﺒﻲ ﺭﺍﻋﻲ‪ ،‬ﻋﻠﻴﺮﺿﺎ ﺭﺋﻴﺴﺎﻥ‪ ،‬ﻋﻠﻴﺮﺿﺎ ﺍﻣﻴﻨﻲ‪،‬‬ ‫ﺣﻤﻴﺪﻧﮋﺍﺩ ﻭ‪...‬‬ ‫ﺍﻳــﻦ ﻣﻴــﺰﺍﻥ ﻛﻨﺠــﻜﺎﻭﻱ ﻋﻤﻮﻣــﻲ ﻛــﻪ ﺑــﺮﺍﻱ ﺗﻤﺎﺷــﺎﻱ‬ ‫»ﺑﻪﺭﻧــﮓ ﺍﺭﻏــﻮﺍﻥ« ﻭﺟــﻮﺩ ﺩﺍﺭﺩ ﻭ ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﻫﻤــﻪ ﻣﻲﺧﻮﺍﻫﻨﺪ‬ ‫»ﻣﻠــﻚ ﺳــﻠﻴﻤﺎﻥ« ﺭﺍ ﺑﺒﻴﻨﻨــﺪ ﻛــﻪ ﺁﻳــﺎ ﺍﺭﺯﺵ ﻣﻴﻠﻴﺎﺭﺩﻫــﺎ ﺗﻮﻣﺎﻥ‬ ‫ﺳــﺮﻣﺎﻳﻪﺍﻱ ﻛﻪ ﺻﺮﻓﺶ ﺷﺪﻩ ﺭﺍ ﺩﺍﺷــﺘﻪ ﻳﺎ ﻧﻪ‪ .‬ﺍﻳﻨﻜﻪ ﻣﺜﻞ »ﺗﻨﻬﺎ ﺩﻭ ﺑﺎﺭ‬ ‫ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ« ﺳــﻪ ﺳــﺎﻝ ﭘﻴﺶ‪» ،‬ﺑﻮﺗﻴﻚ« ﺷــﺶ ﺳﺎﻝ ﭘﻴﺶ‪،‬‬ ‫»ﺭﺍﻱ ﺑﺎﺯ« ﻫﻔﺖ ﺳﺎﻝ ﭘﻴﺶ ﻭ‪ ....‬ﻳﻚ ﻓﻴﻠﻢ ﺍﻭﻟﻲ ﻫﻤﻪ ﺭﺍ ﻏﺎﻓﻠﮕﻴﺮ ﻭ ﭼﺮﺍﻍ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ ﺭﻭﺷﻦ ﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ‪ 10‬ﺭﻭﺯ ﻧﺒﺾ ﺳﻴﻨﻤﺎ ﺗﻨﺪﺗﺮ ﺍﺯ ﻫﻤﻴﺸﻪ‬ ‫ﻣﻲﺗﭙﺪ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺭﺍﻫﻢ ﺑﺎ ﺍﻣﻴﺪ ﺁﻏﺎﺯﻣﻲﻛﻨﻴﻢﻭ ﺁﺭﺯﻭ‪....‬‬ ‫‪8‬‬ ‫‪25‬‬ ‫‪2‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﺁﺳﻴﺐﺷﻨﺎﺳﻲ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺷﺪﻥ ﻳﻚ ﺟﺸﻦ ﻣﻠﻰ‬ ‫ﻋﻠﻰ ﻣﻌﻠﻢ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻭ ﻣﺸــﻜﻼﺕ‬ ‫ﻭ ﻣﺴــﺎﺋﻠﻰ ﻛﻪ ﺑﺎ ﺁﻥ ﺩﺳــﺖ ﻭ ﭘﻨﺠﻪ ﻧﺮﻡ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﻫﻴﭻ ﻳﻚ ﻧﻜﺎﺗﻰ ﻧﻴﺴﺘﻨﺪ ﻛﻪ ﺑﻪ‬ ‫ﺗﺎﺯﮔﻰ ﺑﺎ ﺁﻥ ﻣﻮﺍﺟﻪ ﺷﺪﻩ ﺑﺎﺷﻴﻢ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺍﺷﻜﺎﻻﺕ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺎ ﻭﺟﻮﺩ ﺁﻧﻜﻪ‬ ‫ﺍﺯ ﺁﻏﺎﺯ »ﺑﻴﻦﺍﻟﻤﻠﻠﻰ« ﻧﺎﻣﮕﺬﺍﺭﻯ ﺷــﺪﻩ‪،‬‬ ‫ﺍﻣﺎ ﻫﻴﭻﮔﺎﻩ ﺟﺎﻳﮕﺎﻩ ﻳﻚ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺭﺍ ﺩﺭ ﺳــﻄﺢ ﺟﻬﺎﻥ‬ ‫ﺑﻪ ﺩﺳــﺖ ﻧﻴﺎﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﺳﺎﺳﺎ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻣﻠﻰ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺳﺎﻝ ﺍﻭﻝ ﺑﺮﮔﺰﺍﺭﻯ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢﻫﺎﻯ ﺧﺎﺭﺟﻰ ﺧﻮﺑﻰ ﺷﺮﻛﺖ ﻛﺮﺩﻧﺪ ﺍﻣﺎ ﻣﺴﺌﻮﻻﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪ‬ ‫ﻫﻴﭻ ﻓﻴﻠﻤﻰ ﺟﺎﻳﺰﻩ ﻧﺪﺍﺩﻧﺪ‪.‬‬ ‫ﺟﻮﺍﻳﺰ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻧﻴﺰ ﭼﻨﺪﺍﻥ ﺑﺰﺭگ ﻭ ﭼﺸﻤﮕﻴﺮ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﺯ ﻟﺤﺎﻅ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻭ ﺭﺳــﺎﻧﻪﺍﻯ ﺍﻳﻦ ﻓﻴﻠﻢﻫــﺎ ﺁﻧﮕﻮﻧﻪ ﻛﻪ ﺑﺎﻳﺪ ﻣﻄﺮﺡ‬ ‫ﻧﻤﻰﺷﻮﻧﺪ‪ .‬ﺭﻭﺍﻝ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎﻯ ﺧﺎﺭﺟﻰ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻯ ﻣﻌﺘﺒﺮ‬ ‫ﻧﻴﺰ ﺍﻳﻦﮔﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﭘﺲ ﺍﺯ ﺣﻀﻮﺭ ﺟﺸﻨﻮﺍﺭﻩﺍﻯ ﺍﻣﻜﺎﻥ‬ ‫ﻧﻤﺎﻳﺶ ﻭ ﺣﻀﻮﺭ ﺩﺭ ﺳﻴﻨﻤﺎﻫﺎﻯ ﻫﻤﺎﻥ ﻛﺸﻮﺭ ﻭ ﺑﺎﺯﺍﺭ ﻣﻨﻄﻘﻪﺍﻯ ﺭﺍ ﭘﻴﺪﺍ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺍﻳﻦ ﺍﻣﺮ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﻣﻜﺎﻥﭘﺬﻳﺮ ﻧﻴﺴﺖ‪.‬‬ ‫ﺩﺭﺟﺸﻨﻮﺍﺭﻩﻫﺎﻳﻰﻣﺎﻧﻨﺪﻛﻦﺑﻴﺶﺍﺯ‪ 2700‬ﺧﺒﺮﻧﮕﺎﺭﻭﺩﺭﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺑﺮﻟﻴﻦ ‪ 3600‬ﺧﺒﺮﻧﮕﺎﺭ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ ﺍﻣﺎ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺪﻭﻥ ﺣﻀﻮﺭ ﻫﻴﭻ ﺧﺒﺮﻧﮕﺎﺭ ﺧﺎﺭﺟﻰ ﻭ ﺑﺪﻭﻥ ﻫﻴﭻ ﺑﺎﺯﺗﺎﺏ‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺭﺳــﺎﻧﻪﻫﺎ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺩﺭﺣﺎﻟﻰ ﺍﺳﺖ ﻛﻪ ﺣﺘﻰ‬ ‫ﺻﺪﺍ ﻭ ﺳــﻴﻤﺎ ﺑﻪ ﺻﻮﺭﺕ ﭼﻨﺪﺍﻥ ﮔﺴﺘﺮﺩﻩﺍﻯ ﺍﺑﻌﺎﺩ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ‬ ‫ﻣﻨﻌﻜــﺲ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺟﻬﺎﻧﻰ ﻭ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻋﻤﻞ ﻛﺮﺩﻥ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﻧﻴــﺎﺯ ﺑﻪ ﺍﺭﺗﺒﺎﻃــﺎﺕ ﻗﻮﻯ ﺩﺭ ﺳــﻄﺢ ﺟﻬــﺎﻥ ﺩﺍﺭﺩ ﻭ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻳﻦ‬ ‫ﺍﺭﺗﺒﺎﻃﺎﺕ ﻭﺟﻮﺩ ﻧــﺪﺍﺭﺩ ﺑﺎﻳﺪ ﺑﻪ ﺻﻮﺭﺕ ﻣﻨﻄﻘــﻪﺍﻯ ﻋﻤﻞ ﻛﻨﻴﻢ ﻭ‬ ‫ﺑﺨﺶ ﺑﻴﻦﺍﻟﻤﻠﻞ ﺭﺍ ﻓﻘﻂ ﻣﺤﺪﻭﺩ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻛﻨﻴﻢ ﻛﻪ ﺩﺭ ﻣﻨﻄﻘﻪ‬ ‫ﻭ ﺁﺳــﻴﺎ ﺗﻮﻟﻴﺪ ﻣﻰﺷﻮﺩ‪ .‬ﻋﺪﻡ ﺣﻀﻮﺭ ﻓﻴﻠﻢﻫﺎﻯ ﻣﻌﺘﺒﺮ ﺧﺎﺭﺟﻰ ﺗﻨﻬﺎ‬ ‫ﻣﺸﻜﻞ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻧﻴﺴــﺖ ﺑﻠﻜﻪ ﻋﺪﻡ ﺷﺮﻛﺖ ﻣﻴﻬﻤﺎﻧﺎﻥ‬ ‫ﺧﺎﺭﺟﻰ ﺩﺭ ﺍﻳﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﻧﻴﺰ ﻳﻜﻰ ﺍﺯ ﺍﺷﻜﺎﻻﺕ ﺑﺰﺭگ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺩﺭ ﻓﺼﻞ ﺧﻮﺑﻰ ﺑﺮﮔﺰﺍﺭ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺗﻤﺎﻣﻰ‬ ‫ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﺩﺭ ﺷــﻬﺮﻫﺎﻳﻰ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ ﻛﻪ ﺟﺬﺍﺑﻴﺖ ﻭ ﺯﻳﺒﺎﻳﻰ‬ ‫ﺧﺎﺻﻰ ﺩﺍﺭﻧﺪ ﻣﺎﻧﻨﺪ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻛﻦ ﻛﻪ ﺩﺭ ﺑﻬﺘﺮﻳﻦ ﻓﺼﻞ ﻭ ﺩﺭ‬ ‫ﻳﻚ ﺷﻬﺮ ﺯﻳﺒﺎ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺣﻀﻮﺭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺳﺘﺎﺭﮔﺎﻥ ﺳﻴﻨﻤﺎ‬ ‫ﻧﻴﺎﺯ ﺑﻪ ﺻﺮﻑ ﻫﺰﻳﻨﻪﻫﺎﻯ ﺍﺭﺯﻯ ﺩﺍﺭﺩ ﻛﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﺯ ﺻﺮﻑ‬ ‫ﭼﻨﻴﻦ ﻫﺰﻳﻨﻪﻫﺎﻳﻰ ﻧﺎﺗﻮﺍﻥ ﺍﺳﺖ‪ .‬ﻳﻚ ﺟﺸﻨﻮﺍﺭﻩ ﺗﻮﺳﻂ ﭼﻬﺮﻩﻫﺎﻯ‬ ‫ﻣﻌﺮﻭﻓﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺗﺒﻠﻴﻎ ﻣﻰﺷــﻮﺩ ﺍﺯ ﺍﻳﻦ ﺭﻭ‬ ‫ﺑﺎﻳﺪ ﻣﺴﺌﻮﻻﻥ ﺩﺭ ﺍﻳﻦ ﺣﻮﺯﻩ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻯ ﺑﻴﺸﺘﺮﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‬ ‫ﻭ ﻧﺒﺎﻳﺪ ﺗﻮﻗﻊ ﺩﺍﺷﺖ ﻛﻪ ﺑﺎ ﺣﻀﻮﺭ ﭼﻨﺪ ﻣﻴﻬﻤﺎﻥ ﻧﺎﺷﻨﺎﺱ ﻭ ﺑﺎ ﺗﻌﺪﺍﺩ‬ ‫ﺍﻧﺪﻙ ﺭﺳــﺎﻧﻪﻫﺎ ﺑﺘﻮﺍﻥ ﺩﺭ ﺟﻬﺎﻥ ﻣﻮﺝ ﺍﻳﺠﺎﺩ ﻛﺮﺩ‪ .‬ﺍﺯ ﺳــﻮﻯ ﺩﻳﮕﺮ‬ ‫‪26‬‬ ‫ﺑﺎﻳﺪ ﺷﺮﺍﻳﻂ ﺑﻪ ﺳــﻤﺘﻰ ﺑﺮﻭﺩ ﻛﻪ ﺍﮔﺮ ﻣﻴﻬﻤﺎﻥ ﻣﻌﺮﻭﻑ ﺧﺎﺭﺟﻰ ﺩﺭ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻛﺮﺩ‪ ،‬ﺑﺘﻮﺍﻧﺪ ﺑﺎ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﺪ ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺳﺎﻝﻫﺎﻯ ﺩﻫﻪ ‪70‬‬ ‫ﻛﻪ ﺣﻀﻮﺭ ﻣﻴﻬﻤﺎﻧﺎﻥ ﺧﺎﺭﺟﻰ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺭﺳﺎﻧﻪﻫﺎ ﻭ‬ ‫ﺻﺪﺍ ﻭ ﺳﻴﻤﺎ ﻣﻮﺍﺟﻪ ﻣﻰﺷﺪ‪ .‬ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻯ ﭘﻴﺸﻴﻦ ﺻﺤﺒﺖﻫﺎﻯ‬ ‫ﺍﻭﻟﻴﻪ ﺭﺍ ﺑﺮﺍﻯ ﺣﻀﻮﺭ ﺭﺍﺑﺮﺕ ﺩﻧﻴــﺮﻭ ﻭ ﺭﺍﺑﻴﻦ ﻭﻳﻠﻴﺎﻣﺰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﻧﺠﺎﻡ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩﻡ ﺍﻣﺎ ﻣﺘﺎﺳــﻔﺎﻧﻪ ﻫﻴﭻ ﮔﺎﻩ ﻣﻮﺭﺩ ﺍﺳــﺘﻘﺒﺎﻝ ﻣﺴﺌﻮﻻﻥ ﻗﺮﺍﺭ‬ ‫ﻧﮕﺮﻓﺖ‪ .‬ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻯ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺩﺍﺭﺍﻯ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﭘﺲ ﺍﺯ ‪ 28‬ﺳﺎﻝ ﻫﻨﻮﺯ ﺑﻪ ﺁﻥ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎ‬ ‫ﻧﺮﺳــﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺷــﺎﻳﺪ ﺗﻌﺮﻳﻒ ﺩﺭﺳــﺖﺗﺮ ﺍﻳﻦ ﺑﺎﺷــﺪ ﻛﻪ ﺑﮕﻮﻳﻴﻢ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺟﺸﻨﻮﺍﺭﻩﺍﻯ ﻣﻠﻰ ﻭ ﺩﺍﺭﺍﻯ ﺑﺨﺶﻫﺎﻯ ﺍﻃﻼﻋﺎﺗﻰ‬ ‫ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺍﺳﺖ‪ .‬ﺩﺭﺳﺖ ﺍﺳــﺖ ﻛﻪ ﺑﺨﺶ ﺑﻴﻦﺍﻟﻤﻠﻞ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪ‬ ‫ﺷﻜﻞ ﻣﺴــﺎﺑﻘﻪ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷــﻮﺩ ﺍﻣﺎ ﺍﻳﻦ ﻣﺴــﺎﺑﻘﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﻮﻉ‬ ‫ﺑﺮﮔﺰﺍﺭﻯ ﺟﺸﻨﻮﺍﺭﻩ ﻭ ﻣﻴﻬﻤﺎﻧﺎﻧﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ ﺑﻪ‬ ‫ﻫﻴﭻﺭﻭﻯ ﺑﺎ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻯ ﻳﻚ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺑﺮﻋﻜﺲ ﺗﻤﺎﻣﻰ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻯ ﻣﻌﺘﺒﺮ‪ ،‬ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﻭ‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻧﻰ ﻛﻪ ﻓﻴﻠﻢﺷــﺎﻥ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦﺍﻟﻤﻠﻞ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠﺮ ﺣﻀــﻮﺭ ﺩﺍﺭﺩ‪ ،‬ﺍﺛﺮ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻫﻤﺮﺍﻫﻰ ﻧﻤﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻧﺘﻴﺠﻪ ﺍﻳﻨﻜﻪ ﺟﻮﺍﻳﺰ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ ﺷــﺪﻩ‪ ،‬ﻳﺎ ﺑﻪ ﻧﻤﺎﻳﻨﺪﻩ ﺳــﻔﺎﺭﺕ‬ ‫ﺗﺤﻮﻳﻞ ﺩﺍﺩﻩ ﺷــﺪﻩ ﻳﺎ ﺍﻳﻨﻜﻪ ﻓﺎﺭﺍﺑﻰ ﺑﻪ ﻧﻤﺎﻳﻨﺪﮔﻰ ﺍﺯ ﻫﻨﺮﻣﻨﺪ ﻣﻮﺭﺩ‬ ‫ﻧﻈﺮ ﺟﺎﻳﺰﻩ ﺭﺍ ﮔﺮﻓﺘﻪ ﺗﺎ ﺑﻌﺪﺍ ﺑﺮﺍﻯ ﺍﻭ ﺑﻔﺮﺳﺘﺪ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﻪ‬ ‫ﻟﺤﺎﻅ ﺷﻜﻠﻰ ﻗﻮﺍﻋﺪ ﻳﻚ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺭﺍ ﺭﻋﺎﻳﺖ ﻣﻰﻛﻨﺪ‪:‬‬ ‫ﺩﺍﺷﺘﻦ ﻧﺸﺮﻳﻪ ﺭﻭﺯﺍﻧﻪ‪ ،‬ﭼﺎپ ﻛﺎﺗﺎﻟﻮگ‪ ،‬ﺍﻫﺪﺍﻯ ﺟﻮﺍﻳﺰ ﻣﺨﺘﻠﻒ ﻭ ‪ ...‬ﺍﻣﺎ‬ ‫ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﺗﺎﻛﻨﻮﻥ ﻧﺘﻮﺍﻧﺴﺘﻪﺍﻧﺪ ﺟﺎﻳﮕﺎﻩ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ‬ ‫ﺩﺭ ﺩﻳﺪ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﺩﻳﮕﺮ ﻛﺸﻮﺭﻫﺎ ﺍﺭﺗﻘﺎ ﺩﻫﻨﺪ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺷﻤﺎ ﻓﻴﻠﻢ‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺟﺸــﻨﻮﺍﺭﻩﺍﻯ ﻣﺜﻞ ﮔﻮﺗﻪﺑﻮﺭگ ﻳﺎ ﺍﺳﺘﻜﻬﻠﻢ ﻣﻰﻓﺮﺳﺘﻴﺪ‪،‬‬ ‫ﺑﻪﻃﻮﺭ ﺧﻮﺩﻛﺎﺭ ﺯﻣﻴﻨﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻛﺸــﻮﺭﻫﺎﻯ ﺻﺎﺣﺐ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺗﺎ ﺣﺪﻭﺩﻯ ﺁﻣﺎﺩﻩ ﻛﺮﺩﻩﺍﻳﺪ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻣﺘﺎﺳﻔﺎﻧﻪ‬ ‫ﺍﺯ ﺍﻳﻦ ﻟﺤــﺎﻅ ﻫﻢ ﻗﺎﺩﺭ ﺑﻪ ﺭﻗﺎﺑــﺖ ﺑﺎ ﺩﻳﮕﺮ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎﻯ ﺟﻬﺎﻧﻰ‬ ‫ﻧﻴﺴﺖ ﻭ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺗﻀﻤﻴﻨﻰ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ ﻭ ﺍﻛﺮﺍﻥ‬ ‫ﻋﻤﻮﻣــﻰ ﺁﻥ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﻳﺠﺎﺩ ﻧﻤﻰﻛﻨﺪ‪ .‬ﻭﺟﻮﺩ ﺩﺑﻴﺮﺧﺎﻧﻪ ﻭ ﺳــﺎﺯﻣﺎﻥ‬ ‫ﻣﺠﺰﺍ‪ ،‬ﺩﺍﺷﺘﻦ ﺭﺋﻴﺲ ﻏﻴﺮﺩﻭﻟﺘﻰ ﻭ ﺩﺳﺘﻴﺎﺑﻰ ﺑﻪ ﻳﻚ ﺛﺒﺎﺕ ﺳﺎﺯﻣﺎﻧﻰ‬ ‫ﺍﻭﻟﻴﻦ ﻗﺪﻡ ﺩﺭ ﺭﺍﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻛﺮﺩﻥ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺑﺎﺷــﺪ‪ .‬ﺩﺭ ﺁﻥ ﺻﻮﺭﺕ ﻣﻰﺗﻮﺍﻥ ﺿﻤﻦ ﺗﻌﺮﻳﻒ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪ ﺗﺒﻠﻴﻎ ﺁﻥ‬ ‫ﻧﻴﺰ ﭘﺮﺩﺍﺧﺖ‪ .‬ﺩﺍﺷﺘﻦ ﻳﻚ ﻫﻮﻳﺖ ﻣﺴﺘﻘﻞ ﺍﻭﻟﻴﻦ ﻧﻴﺎﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ‬ ‫ﻓﺠﺮ ﺑﺮﺍﻯ ﺩﺳــﺘﻴﺎﺑﻰ ﺑﻪ ﻳﻚ ﻫﻮﻳﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺍﺳﺖ‪ .‬ﭘﻴﺸﻨﻬﺎﺩ ﻣﻦ‬ ‫ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﺍﻭﻟﻴﻦ ﮔﺎﻡ ﻭﺟﻬﻪ ﻣﻠﻰ ﻭ ﻣﺤﻠﻰ ﺟﺸﻨﻮﺍﺭﻩ ﺗﻘﻮﻳﺖ‬ ‫ﺷﺪﻩ ﻭ ﺩﺭ ﮔﺎﻡ ﺑﻌﺪﻯ ﺭﻭﻯ ﻭﺟﻬﻪ ﻣﻨﻄﻘﻪﺍﻯ ﺁﻥ ﻛﺎﺭ ﺷﻮﺩ‪ .‬ﺷﺎﻳﺪ ﺑﻬﺘﺮ‬ ‫ﺑﺎﺷﺪ ﻓﻌﻼ ﺑﻪ ﻓﻜﺮ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻛﺮﺩﻥ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻧﺒﺎﺷﻴﻢ ﻭ ﺑﻪ ﻫﻤﺎﻥ‬ ‫ﻧﻤﺎﻳﺶ ﺷﻜﺴﺘﻪ ﻭ ﺑﺴﺘﻪ ﺑﺮﺧﻰ ﺁﺛﺎﺭ ﺧﺎﺭﺟﻰ ﺑﺴﻨﺪﻩ ﻛﻨﻴﻢ‪ .‬ﻣﺸﻜﻞ‬ ‫ﺑﻨﻴﺎﺩﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺩﺭ ﻃﻮﻝ ﺩﻭﺭﻩﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺑﺮﮔﺰﺍﺭﻯ ﺁﻥ‬ ‫ﻣﻰﮔﺬﺭﺩ‪ ،‬ﻧﺪﺍﺷﺘﻦ ﺳﺎﺧﺘﺎﺭ ﻣﺴﺘﻘﻞ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﺒﻮﺩ ﺍﺳﺘﻘﻼﻝ ﺑﺎﻋﺚ‬ ‫ﺷﺪﻩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﮔﺬﺷﺖ ﭼﻨﺪﻳﻦ ﺩﻭﺭﻩ‪ ،‬ﺩﺳﺘﺎﻭﺭﺩﻫﺎﻯ ﻓﻴﻠﻢ ﻓﺠﺮ ﻗﺎﺑﻞ‬ ‫ﺷﻨﺎﺳﺎﻳﻰ ﻧﺒﺎﺷﺪ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻳﻜﻰ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻳﻰ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﺮﮔﺰﺍﺭﻯ ﺁﻥ ﭘﺲ ﺍﺯ ﻣﺪﺕﻫﺎ ﺩﻭﺍﻡ ﺩﺍﺷــﺘﻪ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﺗﺪﺍﻭﻡ ﺑﺎ ﻗﻮﺍﻡ‬ ‫ﻫﻤﺮﺍﻩ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﻐﻴﻴﺮﺍﺗﻰ ﻛﻪ ﻫﺮﺳــﺎﻝ ﺑــﺎ ﺭﻭﻯ ﻛﺎﺭ ﺁﻣﺪﻥ ﻣﺪﻳﺮﻳــﺖ ﺟﺪﻳﺪ ﺑﺮ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻭﺍﺭﺩ ﻣﻰﺷــﻮﺩ‪ ،‬ﺗﺎﺛﻴﺮ ﺯﻳﺎﺩﻯ ﺑﺮ ﺭﻭﻧﺪ ﺑﺮﮔﺰﺍﺭﻯ ﺁﻥ ﺩﺍﺷﺘﻪ‬ ‫ﻭ ﻣﺎ ﻫﺮ ﺳــﺎﻝ ﺑﺎ ﺳــﻠﻴﻘﻪ ﻭ ﻧﻈﺮ ﻣﺘﻔﺎﻭﺗﻰ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻳﻢ‪ .‬ﺩﺭ ﻃﻮﻝ‬ ‫ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﺟﺸــﻨﻮﺍﺭﻩ ﺗﺤﻮﻝﭘﺬﻳﺮﻯ ﻧﺪﺍﺷــﺘﻪﺍﻳﻢ‪ .‬ﺳﻴﺎﺳﺖﻫﺎﻯ‬ ‫ﺍﻳﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﺩﺭ ﻧﺤﻮﻩ ﺑﺮﮔﺰﺍﺭﻯ ﻣﺮﺍﺳﻢ ﻭ ﺍﻫﺪﺍﻯ ﺟﻮﺍﻳﺰ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺑﻴﻦ ﻳﻚ ﺟﺸﻨﻮﺍﺭﻩ ﺩﺍﺧﻠﻰ ﻭ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺳﺮﮔﺮﺩﺍﻥ ﺍﺳﺖ‪ .‬ﺳﻴﺎﺳﺖ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺩﺭ ﺍﻫﺪﺍﻯ ﺟﻮﺍﻳﺰ ﺳﻴﻨﻤﺎﻳﻰ‪ ،‬ﺑﻴﻦ ﻣﺮﺍﺳﻢ ﺍﺳﻜﺎﺭ‪ ،‬ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢ ﻛﻦ‪ ،‬ﺑﺮﻟﻴﻦ ﻭ ﻭﻧﻴﺰ ﺩﺭ ﻧﻮﺳﺎﻥ ﺍﺳــﺖ‪ .‬ﺩﺭ ﻫﻴﭻ ﺟﺸﻨﻮﺍﺭﻩﺍﻯ ﺩﺭ‬ ‫ﺟﻬﺎﻥ ﻓﻴﻠﻤﻰ ﺑﻴﺶ ﺍﺯ ﺳﻪ ﻳﺎ ﭼﻬﺎﺭ ﺑﺎﺭ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﻧﻤﻰﺷﻮﺩ‪،‬‬ ‫ﻭﻟﻰ ﺩﺭ ﻛﺸﻮﺭ ﻣﺎ ﻳﻚ ﻓﻴﻠﻢ ﺑﻴﺶ ﺍﺯ ‪ 30‬ﺑﺎﺭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺍﻛﺮﺍﻥ ﺷﻮﺩ ﻭ ﺍﻳﻦ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪ .‬ﺍﺗﻔﺎﻕ ﻣﻬﻤﻰ ﻛﻪ ﺑﺎﻳﺪ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ‬ ‫ﺑﻴﻔﺘﺪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﺪﻳﺮﻳﺖ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺎﻳﺪ ﺍﺯ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﺳﺎﺯﻣﺎﻧﻰ‬ ‫ﻛﻪ ﺑﺎ ﺩﻭﻟﺖ ﺩﺍﺭﺩ‪ ،‬ﻣﻨﻔﻚ ﺷــﺪﻩ ﻭ ﺑﻪ ﺳﺎﺯﻣﺎﻧﻰ ﻣﺴﺘﻘﻞ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﻧﺒﺎﻳﺪ ﻛﺎﻣﻼ ﺍﺯ ﺑﻴﻦ ﺑﺮﻭﺩ‪ ،‬ﻭﻟﻰ ﺑﺎﻳﺪ ﻫﻮﻳﺖ ﻣﺴﺘﻘﻞ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺣﻔﻆ ﺷﻮﺩ‪ .‬ﺍﻣﺴﺎﻝ ﺑﺎﻋﺚ ﺧﻮﺷﺤﺎﻟﻰ ﺍﺳﺖ ﻛﻪ ﺩﺑﻴﺮ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ‬ ‫ﻓﺠﺮ ﺑﺎ ﻣﺪﻳﺮﻋﺎﻣﻞ ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻯ ﻓﺎﺭﺍﺑﻰ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﮔﺰﺍﺭﻯ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻳﻚ ﺁﺋﻴﻦ ﻣﻠﻰ ﺍﺳﺖ ﻭ ﻫﻨﺮﻣﻨﺪﺍﻥ‬ ‫ﺑﺎﻳﺪ ﺩﺭ ﺁﻥ ﻣﺸــﺎﺭﻛﺖ ﺣﺪﺍﻛﺜﺮﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷــﻨﺪ‪ ،‬ﺍﻣﺎ ﺷﺮﺍﻳﻂ ﺑﺎﻳﺪ‬ ‫ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﺸــﺎﺭﻛﺖ ﺍﺯ ﺳﻮﻯ ﻣﺴــﺌﻮﻻﻥ ﻓﺮﺍﻫﻢ ﺷﻮﺩ‪ .‬ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ‬ ‫ﺳﺎﻝﻫﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺸــﺎﺭﻛﺖ ﻣﺘﻮﺳﻄﻰ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺩﺍﺷﺘﻨﺪ‪،‬‬ ‫ﺯﻳﺮﺍ ﺟﺸــﻨﻮﺍﺭﻩ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺗﻌﺮﻳﻒﻫﺎﻯ ﻗﺎﻧﻊﻛﻨﻨﺪﻩﺍﻯ ﺍﺯ ﺧﻮﺩ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ‪.‬ﺑﺎﻳﺪ ﺑﻪﻣﺸــﺎﺭﻛﺖ ﺟﻤﻌﻰ ﻭ ﺣﻀﻮﺭ ﭘﺮﺭﻭﻧﻖ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻜﺮ‬ ‫ﻛﺮﺩ ﻭ ﺑﻌــﺪ ﺍﺯ ﺑﺮﮔﺰﺍﺭﻯ ﺁﻥ ﺗﻌﺎﺭﻳﻒ ﻣﺸــﺨﺼﻰ ﺑﺮﺍﻯ ﺳــﺎﻝ ﺁﻳﻨﺪﻩ‬ ‫ﺍﺭﺍﺋﻪ ﺩﺍﺩ‪ .‬ﻧﺒﺎﻳﺪ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺭﺍ ﺧﻮﺩﻣﺎﻥ ﺑﺴــﺎﺯﻳﻢ ﻭ ﺑﻌﺪ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺧﻮﺩﻣﺎﻥ ﺑﻪ ﺁﻧﻬﺎ ﺟﺎﻳﺰﻩ ﺩﻫﻴﻢ‪ .‬ﺟﺸﻨﻮﺍﺭﻩ ﻋﺮﺻﻪ ﺭﻗﺎﺑﺖ ﻫﻤﻪ ﻧﺴﻞﻫﺎ‬ ‫ﻭ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺍﺳﺖ‪.‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﺎﻳﺪ ﺑﻪ ﻣﺤﻠﻰ ﺑﺮﺍﻯ ﺭﻗﺎﺑﺖ ﻓﻴﻠﻢﻫﺎ ﺍﺯ ﮔﻮﻧﻪﻫﺎ‬ ‫ﻭ ﻓﻀﺎﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺑﺪﻝ ﺷﻮﺩ‪ .‬ﺗﻮﺟﻪ ﺑﻪﮔﻮﻧﻪﺍﻯ ﺧﺎﺹ ﻭ ﻏﺎﻓﻞ ﺷﺪﻥ‬ ‫ﺍﺯ ﺳﺎﻳﺮ ﺳــﺒﻚﻫﺎ ﻭ ﻓﺸﺎﺭﻫﺎ ﻣﻮﺟﺐ ﻣﻰﺷﻮﺩ ﺗﺎ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺯ‬ ‫ﺣﺮﻛﺖ ﺩﺭ ﻣﺴﻴﺮﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺑﺎﺯ ﺑﺎﻳﺴﺘﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻳﻜﻰ ﺍﺯ ﻧﮕﺎﻩﻫﺎﻯ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻣﻰﺗﻮﺍﻧﺪ ﺗﻘﻮﻳﺖ ﻭ ﺗﻮﺟﻪ ﺧﺎﺹ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻳﻰ‬ ‫ﺑﺎﺷﺪ ﻛﻪ ﺷﺎﻳﺪ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺭﻭﺍﻝ ﻣﻌﻤﻮﻝ ﺑﻪ ﻣﻮﺿﻮﻋﺎﺕ ﭘﺮﺩﺍﺧﺘﻪﺍﻧﺪ‪.‬‬ ‫»ﺁﻝ«‪ ،‬ﻓﻴﻠﻤﻰ ﻛﻪ ﺍﻣﺴﺎﻝ ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻰ ﻣﻦ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺑﻬﺮﺍﻡ‬ ‫ﺑﻬﺮﺍﻣﻴﺎﻥ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺣﻀﻮﺭ ﺩﺍﺭﺩ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻬﻨﺪﺳﻲ‬ ‫ﺳﺎﺧﺘﺎﺭ ﻭ ﻣﺤﺘﻮﺍ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻓﻨﺎﻭﺭﻱﻫﺎﻱ ﻧﻮﻳﻦ ﺳﻴﻨﻤﺎﻳﻲ‪ ،‬ﺗﺠﺮﺑﻪﺍﻱ‬ ‫ﻧﻮ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻳﻚ ﺗﺮﻳﻠﺮ ﺗﺮﺳﻨﺎﻙ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﮔﻮﻧﻪ ﻭﺣﺸﺖ ﺟﺎﻯ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫»ﺁﻝ« ﺗﺠﺮﺑــﻪﺍﻱ ﻧﻮ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﺳــﺖ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﻭﻣﺎﻩ ﺩﺭ ﺍﺭﻣﻨﺴــﺘﺎﻥ ﺍﻧﺠﺎﻡ ﺷــﺪ ﻭ ﺩﺭ ﺍﻳــﻦ ﻣﺪﺕ ‪ 47‬ﻧﻔﺮ‬ ‫ﺍﺯ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺳــﻴﻨﻤﺎ ﺑﺎ ﻣﺎ ﻫﻤﻜﺎﺭﻱ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﺨﺶ ﺑﺴﻴﺎﺭﻱ‬ ‫ﺍﺯ ﺁﻧﭽﻪ ﻣﺪﻧﻈــﺮ ﻣﺎ ﺑﻮﺩ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﺗﻔﺎﻕ ﺍﻓﺘــﺎﺩ ﻭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﻧﮕﺎﻩ‬ ‫ﻣﻬﻨﺪﺳــﻲ ﺳــﺎﺧﺖ‪ ،‬ﺗﺼﻮﻳﺮﺑﺮﺩﺍﺭﻱ‪ ،‬ﺻﺪﺍ ﻭ ﻣﺤﺘــﻮﺍ ﺍﺯ ﺟﻤﻠﻪ ﺁﺛﺎﺭ‬ ‫ﺧﻮﺏ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻣﺤﺴﻮﺏ ﻣﻲﺷــﻮﺩ‪ .‬ﺑﺎﺯﻱﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﺍﺛﺮ ﺳــﻴﻨﻤﺎﻳﻲ ﻣﻲﺑﻴﻨﻴﻢ ﻣﺘﻔﺎﻭﺕ ﺑﺎ ﺁﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﺛﺎﺭﻯ ﺍﺯ‬ ‫ﺍﻳﻦ ﺩﺳﺖ ﺗﺎﻛﻨﻮﻥ ﺩﻳﺪﻩ ﺷــﺪﻩ ﻭ ﺗﺮﻛﻴﺐ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺍﻳﺮﺍﻧﻲ ‪ -‬ﺍﺭﻣﻨﻲ‬ ‫ﺳﺒﺐ ﺷﺪﻩ ﺗﺎ »ﺁﻝ« ﻓﻴﻠﻤﻲ ﻣﺘﻔﺎﻭﺕ ﺑﺎﺷﺪ‪ .‬ﻣﺼﻄﻔﻰ ﺯﻣﺎﻧﻰ ﺩﺭ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺑﺎﺯﻯ ﺑﺴــﻴﺎﺭ ﺧﻮﺑﻰ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩ ﻭ ﭼﻬﺮﻩ ﺳــﺎﻝ ﺁﻳﻨﺪﻩ ﺳﻴﻨﻤﺎﻯ‬ ‫ﺍﻳﺮﺍﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻧﮕﺎﻩ ﻣﻦ ﺑﻪ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻰ »ﺁﻝ« ﺻﺮﻓﺎ ﻧﮕﺎﻩ ﻳﻚ‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻧﻴﺴــﺖ‪ ،‬ﻣﻦ ﺑﻪﻋﻨﻮﺍﻥ ﻣﻨﺘﻘﺪ ﻓﻠﻴﻢ ﺭﺍ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ‬ ‫ﻣﻰﺩﻫﻢ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﻢ ﺭﻭﺗﻮﺵﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﻣﻨﻈﺮ ﺭﻭﻯ ﺁﻥ ﺍﻧﺠﺎﻡ‬ ‫ﺷﻮﺩ‪ ،‬ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﻣﻨﺘﻘﺪ ﻣﻲﮔﻮﻳﻢ »ﺁﻝ« ﻓﻴﻠﻢ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻱ ﺍﺳﺖ‬ ‫ﻭ ﺗﺠﺮﺑﻴﺎﺕ ﻧﻮﻳﻨﻲ ﺭﺍ ﺑﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﺿﺎﻓﻪ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﻧﻴﺎﺯﻣﻨﺪ ﺗﺠﺮﺑﻪﻫﺎﻳــﻰ ﺩﺭ ﺣﻮﺯﻩﻫﺎﻯ ﺩﻳﮕﺮ‬ ‫ﻫﺴﺘﻴﻢ ﻛﻪ ﺍﻳﻦ ﻧﻴﺎﺯﻣﻨﺪ ﺳــﺮﻣﺎﻳﻪﮔﺬﺍﺭﻯ ﺍﺳﺖ ﻭ ﺑﺨﺶ ﺧﺼﻮﺻﻰ‬ ‫ﺩﺭ ﺍﻳﻦ ﺣﻮﺯﻩﻫﺎ ﺗﻮﺍﻥ ﺯﻳﺎﺩﻯ ﻧﺪﺍﺭﺩ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺑﺎ ﺑﺎﺯﺷــﺪﻥ ﺑﺎﺯﺍﺭﻫﺎﻯ‬ ‫ﺩﻳﮕﺮ ﺑﻪ ﺭﻭﻯ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﻭ ﺍﺳﺘﻘﺒﺎﻝ ﺑﻴﺸﺘﺮ ﻣﺨﺎﻃﺒﺎﻥ ﺩﺍﺧﻠﻰ‬ ‫ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺑﺘﻮﺍﻧﺪ ﺗﺠﺮﺑﻪﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ ﺗﺎ ﺳﻴﻨﻤﺎﻳﻰ‬ ‫ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﺩﺭ ﺣﺪ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪.‬‬ ‫‪3‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖ ﻭ ﻫﺸﺘﻢ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﻛﺎﺑﻮﺱ ﻳﻚ ﭘﺎﺭﺍﺩﻭﻛﺲ‬ ‫ﻣﻬﺮﺯﺍﺩ ﺩﺍﻧﺶ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠــﺮ ﺑﻪﺭﻏﻢ ﻫﻤﻪ‬ ‫ﺍﻳﺮﺍﺩﻫﺎﻯ ﺳــﺎﺧﺘﺎﺭﻯ ﻳﺎ ﻣﺼﺪﺍﻗﻰﺍﻯ ﻛﻪ‬ ‫ﻫﺮﺳــﺎﻟﻪ ﺑﺪﺍﻥ ﻣﻰﮔﻴﺮﻳﻢ‪ ،‬ﺑــﺮﺍﻯ ﺍﻏﻠﺐ‬ ‫ﺳﻴﻨﻤﺎﺩﻭﺳــﺘﺎﻥ ﺩﻳﮕﺮ ﺗﺒﺪﻳﻞ ﺑﻪ ﺳﻨﺘﻰ‬ ‫ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻧﺠﺎﻡ ﺁﻥ ﮔﺮﻳﺰﻯ ﻧﻴﺴﺖ‪.‬‬ ‫ﭼﻨﺪ ﺳــﺎﻝ ﭘﻴﺶ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺷﻤﺎﺭﻩﻫﺎﻯ‬ ‫ﻭﻳــﮋﻩ ﺟﺸــﻨﻮﺍﺭﻩ ﻣﺎﻫﻨﺎﻣــﻪ ﻓﻴﻠــﻢ‪ ،‬ﺍﺯ‬ ‫ﺩﻩ ﻳــﺎﺯﺩﻩ ﻛﺎﺭﻛﺮﺩ ﻳﺎ ﻋﺎﻣﻞ ﺩﺭ ﺭﺍﺳــﺘﺎﻯ ﺍﻳﻨﻜﻪ ﭼﺮﺍ ﺟﺸــﻨﻮﺍﺭﻩ ﺭﺍ ﺑﺎ‬ ‫ﺗﻤﺎﻡ ﻧﻘﺺﻫﺎﻳﺶ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﻴﻢ ﻳﺎﺩ ﻛﺮﺩﻡ ﻛﻪ ﺍﺯ ﺁﻥ ﺑﻴﻦ ﻣﻰﺗﻮﺍﻥ‬ ‫ﺑﻪﻃﻮﺭﻣﺨﺘﺼﺮ ﺑﻪ ﻧﻜﺎﺗﻰ ﻣﺎﻧﻨﺪ ﺣﻀــﻮﺭ ﺩﺭ ﻳﻚ ﮔﺮﺩﻫﻤﺎﻳﻰ ﺑﺰﺭگ‬ ‫ﺳﺎﻻﻧﻪ ﺳــﻴﻨﻤﺎﻳﻰ‪ ،‬ﻣﺮﻭﺭ ﭘﻴﺸﺎﭘﻴﺶ ﺣﺎﺻﻞ ﻳﻚ ﺳﺎﻝ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ‬ ‫ﺳﻴﻨﻤﺎﻳﻰ‪ ،‬ﻟﺬﺕ ﻛﺸﻒ ﺍﺳــﺘﻌﺪﺍﺩﻫﺎﻯ ﻧﺎﺷﻨﺎﺧﺘﻪ ﺍﺯ ﺑﻴﻦ ﻓﻴﻠﻢﻫﺎﻯ‬ ‫ﻓﻴﻠﻤﺴــﺎﺯﺍﻥ ﺗﺎﺯﻩﻭﺍﺭﺩ‪ ،‬ﺍﻣﻜﺎﻥ ﺗﻤﺎﺷﺎﻯ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻣﻬﻢ ﺍﺯ ﺩﻧﻴﺎ ﺭﻭﻯ‬ ‫ﭘﺮﺩﻩ ﺑــﺰﺭگ ﻧﻤﺎﻳﺶ‪ ،‬ﺍﻫﻤﻴﺖ ﻳﺎﻓﺘﻦ ﺳــﻴﻨﻤﺎ ﺩﺭ ﻓﺮﺻﺘﻰ ‪10‬ﺭﻭﺯﻩ‬ ‫ﺩﺭ ﻣﻨﺎﺳــﺒﺎﺕ ﻓﺮﻫﻨﮕﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﻛﺸﻮﺭ ﻭ ﺟﺎﻣﻌﻪ ﻭ‪ ...‬ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪.‬‬ ‫ﻣﺎ ﻫﺮﺑﺎﺭ ﺍﻳﺮﺍﺩﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﻣﻰﮔﻴﺮﻳﻢ ﻭ ﺍﺯ ﻧﻜﺎﺕ ﻣﺘﻌﺪﺩ ﻫﻢ ﺧﺴــﺘﻪ‬ ‫ﻣﻰﺷﻮﻳﻢ ﻭﻟﻰ ﺑﺎﺯ ﺳﻄﺤﻰ ﺍﺯ ﺷــﻮﺭ ﻭ ﺍﻧﺮژﻯ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺳﺎﻝ ﺑﻌﺪ ﺫﺧﻴﺮﻩ ﻧﮕﻪ ﻣﻰﺩﺍﺭﻳﻢ ﻭ ﺍﻳﻦ ﺭﻭﻧﺪ ﻫﺮ ﺑﺎﺭ ﺗﺪﺍﻭﻡ ﺩﺍﺭﺩ ﻭ ﺩﺍﺭﺩ‬ ‫ﻭ ﺩﺍﺭﺩ‪...‬‬ ‫ﻃﺒﻌﺎ ﺍﻣﺴﺎﻝ ﻫﻢ ﺍﻭﺿﺎﻉ ﻭ ﺍﺣﻮﺍﻝ ﺩﺭ ﻗﺎﻟﺐ ﻛﻠﻰﺍﺵ ﻣﺜﻞ ﺩﻭﺭﻩﻫﺎﻯ‬ ‫ﭘﻴﺶ ﺍﺳﺖ ﻭ ﻛﻢﻭﺑﻴﺶ ﻫﻤﺎﻥ ﻓﻀﺎ ﺭﺍ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﻴﻢ ﺩﺍﺩ‪ .‬ﺍﻣﺎ ﺭﺍﺳﺘﺶ‬ ‫ﺩﺭ ﻋﻤــﻖ ﻣﺎﺟﺮﺍ ﺍﻧﺪﻛﻰ ﺗﻐﻴﻴﺮ ﺣﺎﻝ ﺑﻪ ﭼﺸــﻢ ﻣﻰﺁﻳﺪ‪ .‬ﺑﺮﺍﻯ ﺗﺒﻴﻴﻦ‬ ‫ﺑﻴﺸــﺘﺮ ﺍﻳﻦ ﺣﺲ ﺍﺯ ﻣﺠﻤﻮﻋــﻪ ﻣﻄﺎﻟﺒﻰ ﻣﺜﺎﻝ ﻣﻰﺯﻧﻢ ﻛﻪ ﺍﻣﺴــﺎﻝ‬ ‫ﺑﺮﺍﻯ ﻛﺘﺎﺏ ﺳــﺎﻝ ﻣﺎﻫﻨﺎﻣﻪ ﻓﻴﻠﻢ ﻧﻮﺷــﺘﻢ‪ .‬ﻣﻄﺎﻟﺐ‪ ،‬ﻧﻮﺷــﺘﻪﻫﺎﻳﻰ‬ ‫ﻣﻌﻤﻮﻟﻰ ﺩﺭﺑﺎﺭﻩ ﺭﻭﻳﺪﺍﺩﻫﺎﻯ ﻣﻬﻢ ﺳــﻴﻨﻤﺎﻳﻰ ﺳــﺎﻝ ‪ 1388‬ﺑﻮﺩ ﻛﻪ‬ ‫ﺟﺰﻭ ﺳــﻨﺖﻫﺎﻯ ﻣﺘﺪﺍﻭﻝ ﺳﺎﻟﻨﺎﻣﻪﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ ﺍﺳﺖ ﻭ ﻫﺮ ﻧﻤﻮﻧﻪ‬ ‫ﻣﺸﺎﺑﻬﻰ ﺩﺭ ﺣﻮﺯﻩﻫﺎﻯ ﺩﻳﮕﺮ ﻓﺮﻫﻨﮕﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﻭ‪ ...‬ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ‬ ‫ﺳﻨﺖﻫﺎﻯ ژﻭﺭﻧﺎﻟﻴﺴﺘﻰ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺣﻴﻦ ﻧﮕﺎﺭﺵ ﻣﻄﺎﻟﺐ‬ ‫ﺑﺮﺍﻯ ﺧﻮﺩﻡ ﻫﻢ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﺭﻭﻯ ﻫﺮ ﺭﻭﻳﺪﺍﺩ ﻣﻬﻤﻰ ﺍﻧﮕﺸﺖ‬ ‫ﻣﻰﮔﺬﺍﺷــﺘﻢ‪ ،‬ﺧﻮﺍﻩﻧﺎﺧﻮﺍﻩ ﭘﺎﻯ ﺗﺎﺛﻴﺮ ﻧﺎﺁﺭﺍﻣﻰﻫﺎﻯ ﭼﻨﺪ ﻣﺎﻫﻪ ﺍﺧﻴﺮ‬ ‫ﺳﻴﺎﺳﻰ ﺑﻪ ﺁﻧﻬﺎ ﻛﺸﻴﺪﻩ ﻣﻰﺷﺪ‪ .‬ﺍﺯ ﻓﺮﻭﺵ ﺑﺎﻻﻯ ﺍﺧﺮﺍﺟﻰﻫﺎ ﮔﺮﻓﺘﻪ‬ ‫ﺗﺎ ﻧﺤﻮﻩ ﺍﻛﺮﺍﻥ ﺩﺭﺑﺎﺭﻩ ﺍﻟﻰ‪ ،‬ﺍﺯ ﻣﺘﻮﻟﻴﺎﻥ ﺟﺪﻳﺪ ﺳــﻴﻨﻤﺎ ﺩﺭ ﺩﻭﻟﺖ ﺩﻫﻢ‬ ‫ﮔﺮﻓﺘﻪ ﺗﺎ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻋﻜﺲ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻰ‪ ،‬ﺍﺯ ﺍﻛﺮﺍﻥ ﺷﺒﺎﻧﻪ ﻣﺎﻩ ﺭﻣﻀﺎﻥ‬ ‫ﮔﺮﻓﺘﻪ ﺗﺎ ﻣﺎﺟﺮﺍﻯ ﻋﺰﻳﻤﺖ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﺍﻳﺮﺍﻧﻰ ﻧﺰﺩ ﻫﻴﺎﺕ ﺁﻛﺎﺩﻣﻰ‬ ‫ﻓﻴﻠﻢ ﺁﻣﺮﻳﻜﺎ ﻭ‪ ...‬ﻫﺮ ﻳﻚ ﺑﻪ ﻧﻮﻋﻰ ﺩﺳــﺖ ﻛﻢ ﻳﻚ ﺳﺮ ﻗﻀﻴﻪﺷﺎﻥ ﺑﻪ‬ ‫ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﺑﺮﻣﻰﮔﺸــﺖ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻫﻢ‬ ‫ﺧﺎﻟﻰ ﺍﺯ ﺗﺮﻛﺶﻫﺎﻯ ﺍﺣﺴﺎﺳــﻰ ﻭ ﺍﺩﺭﺍﻛﻰ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﻴﺴﺖ ﻭ‬ ‫ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺑﻪ ﻗﻮﻝ ﻛﻴﻮﻣﺮﺙ ﭘﻮﺭﺍﺣﻤﺪ ﻛﻪ ﺳﺎﻝﻫﺎ ﭘﻴﺶ ﺩﺭ ﻣﻘﺎﻟﻪﺍﻯ‬ ‫ﺟﺬﺍﺏ ﻭ ﺧﻮﺍﻧﺪﻧﻰ ﻧﻮﺷﺘﻪ ﺑﻮﺩ ﻫﻤﻪ ﻣﺎ ﻋﺎﺩﺕ ﺩﺍﺭﻳﻢ ﻫﺮ ﺳﺎﻝ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠﺮ ﺭﺍ »ﻳﻚ ﺟﻮﺭﻯ« ﺑﻨﺎﻣﻴﻢ‪ ،‬ﺣﺎﻻ ﻓﺎﺭﻍ ﺍﺯ ﺍﻳﻦ ﻋﺎﺩﺕ ﺳــﺎﻻﻧﻪ ﻭﺍﻗﻌﺎ‬ ‫»ﻳﻚ ﺟﻮﺭﻯ« ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻳﻚ ﺟﻮﺭﻯ ﺑﻮﺩﻥ ﺣﺘﻰ ﻣﻤﻜﻦ ﺍﺳﺖ ﺭﺑﻂ‬ ‫ﭼﻨﺪﺍﻧﻰ ﺑﻪ ﺧﻮﺍﺳﺘﻪﻫﺎﻯ ﻋﺎﻣﺪﺍﻧﻪ ﻣﺘﻮﻟﻴﺎﻥ ﺍﻣﺮ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺗﻨﻬﺎ‬ ‫ﻳﻚ ﺟﻮﺭ ﺣﺲ ﺍﻣﺘﺪﺍﺩﻳﺎﻓﺘﻪ ﺍﺯ ﻫﻔﺖ‪ ،‬ﻫﺸﺖ ﻣﺎﻩ ﭘﻴﺶ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﺑﻪ‬ ‫ﻫﺮ ﺣﺎﻝ ﺣﺴﻰ ﺍﺳﺖ ﻛﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﻧﻤﻰﺗﻮﺍﻥ ﺑﻪ ﺍﻧﻜﺎﺭﺵ ﻧﺸﺴﺖ‪.‬‬ ‫ﻭﺍﻗﻌﻴﺖ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﻏﻠﺐ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﻭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ‬ ‫ﺑﻪ ﺍﻳــﻦ ﺣﻮﺯﻩﻫﺎ‪ ،‬ﺩﺭ ﺍﻳﺎﻡ ﻣﺒــﺎﺭﺯﺍﺕ ﺍﻧﺘﺨﺎﺑﺎﺗﻰ ﭼﻨــﺪﺍﻥ ﻃﺮﻑ ﺗﻴﻢ‬ ‫ﺭﺋﻴﺲﺟﻤﻬــﻮﺭ ﻧﺒﻮﺩﻧــﺪ ﻭ ﺍﺯ ﻗﻀﺎ ﺍﺯ ﺭﻗﻴﺐ ﺍﺻﻠــﻰ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﻣﻴﺪﺍﻥ‬ ‫ﺣﻤﺎﻳﺖ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻨﻜﻪ ﭼﺮﺍ ﭼﻨﻴﻦ ﺑﻮﺩ ﺭﺑﻂ ﭼﻨﺪﺍﻧﻰ ﺑﻪ ﺍﻳﻦ ﻧﻮﺷﺘﺎﺭ‬ ‫ﻧــﺪﺍﺭﺩ ﻭﻟﻰ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺘﻰ ﺑﻮﺩ ﻛﻪ ﺧﻮﺩ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﻭ ﻣﺸــﺎﻭﺭﺍﻥ ﻭ‬ ‫ﺣﺎﻣﻴﺎﻧــﺶ ﻫﻢ ﺑﺪﺍﻥ ﻭﺍﻗﻒ ﺑﻮﺩﻧﺪ ﻭ ﺣﺘــﻰ ﺩﺭ ﺑﺮﺧﻰ ﺍﻇﻬﺎﺭﺍﺕ ﺧﻮﺩ‬ ‫ﺑﻪ ﻛﻢﺩﺍﺷــﺖﻫﺎﻯ ﺧﻮﺩ ﺩﺭ ﺑﺎﺏ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨــﺮ ﺍﺫﻋﺎﻥ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻭﺭﻕ ﭼﻨﻴﻦ ﺭﻗﻢ ﺧﻮﺭﺩ ﻛﻪ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ‪ ،‬ﻋﻬﺪﻩﺩﺍﺭ ﺩﻭﻟﺖ ﺩﻫﻢ ﻫﻢ‬ ‫ﺑﺸﻮﺩ‪ .‬ﺻﻼﺣﻴﺖ ﺍﻳﻦ ﻧﻮﺷــﺘﺎﺭ ﺩﺭ ﺣﺪ ﺍﺭﺯﻳﺎﺑﻰﻫﺎﻯ ﺳﻴﺎﺳﻰ ﺩﺭ ﺍﻳﻦ‬ ‫ﺑﺎﺏ ﻧﻴﺴــﺖ‪ ،‬ﺍﻣﺎ ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﺍﻣﺮ ﺭﺍ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﻣﻰﺷﺪ ﺩﺭ ﻳﻚ ﻓﺮﺁﻳﻨﺪ‬ ‫ﻓﺎﺻﻠﻪﺳــﺎﺯ ﺗﺤﻠﻴﻞ ﻛﺮﺩ‪ .‬ﻫﻤﻴﻦﺟﺎ ﺑﻮﺩ ﻛﻪ ﭘﻴﭽﻴﺪﮔﻰﻫﺎ ﺭﻓﺘﻪﺭﻓﺘﻪ‬ ‫ﺭﺥ ﻧﻤﻮﺩ‪ .‬ﺳﻴﻨﻤﺎﮔﺮ ﺟﻤﺎﻋﺖ ﺍﺯ ﺍﻭﺿﺎﻉ ﻭ ﺍﺣﻮﺍﻝ ﭘﻴﺮﺍﻣﻮﻧﻰ ﺩﻝ ﺧﻮﺷﻰ‬ ‫ﻧﺪﺍﺷﺖ ﻭﻟﻰ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻨﺎﺳﺒﺎﺕ ﺳﻴﻨﻤﺎﻳﻰ ﻣﻮﺟﻮﺩ‪ ،‬ﻧﺎﮔﺰﻳﺮ ﺑﻮﺩ ﻛﻪ‬ ‫ﺍﺩﺍﻣﻪ ﻓﻌﺎﻟﻴﺖ ﺣﺮﻓﻪﺍﻯﺍﺵ ﺭﺍ ﺩﺭ ﻫﻤﻴﻦ ﺳﭙﻬﺮ ﺗﺤﻘﻖ ﺑﺨﺸﺪ‪ .‬ﻧﺘﻴﺠﻪ‬ ‫ﺁﻥ ﺷﺪ ﻛﻪ ﻗﺎﻟﺐﻫﺎﻯ ﺷﺘﺮﮔﺎﻭﭘﻠﻨﮕﻰ ﺑﺮ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻋﺮﺻﻪﻫﺎ ﻣﺴﺘﻮﻟﻰ‬ ‫ﺷﺪ‪ .‬ﺩﻏﺪﻏﻪﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ ﺍﻳﻨﻜﻪ ﺣﻀﻮﺭ ﻓﻌﺎﻝ ﻳﺎ ﺑﺮﻋﻜﺲ ﻛﻢﻛﺎﺭﻯ ﺩﺭ‬ ‫ﺍﻳﻦ ﻓﻀﺎ ﺗﺎ ﭼﻪ ﺣﺪ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺗﻌﺎﺑﻴﺮ ﻣﺨﺘﻠﻒ ﻗﺮﺍﺭ ﮔﻴﺮﺩ ﻭ ﺍﺻﻼ ﭼﻪ‬ ‫ﻛﺎﺭﻛﺮﺩﻫﺎﻳﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺩﺭ ﺑﺴــﻴﺎﺭﻯ ﺍﺯ ﻣﺼﺪﺍﻕﻫﺎ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ‬ ‫ﺩﺍﺩ ﻛﻪ ﻣﺜﻼ ﺗﺤﺮﻳﻢ ﺟﺸﻨﻮﺍﺭﻩ ﺳــﻴﻨﻤﺎ ﺣﻘﻴﻘﺖ ﺍﺯ ﺟﺎﻧﺐ ﻋﺪﻩﺍﻯ ﺍﺯ‬ ‫ﻣﺴﺘﻨﺪﺳﺎﺯﺍﻥ ﻧﻤﻮﻧﻪﺍﻯ ﺍﺯ ﺍﻳﻦ ﺭﻭﻧﺪ ﺑﻮﺩ‪.‬‬ ‫ﺍﺯ ﺳــﻮﻯ ﺩﻳﮕﺮ‪ ،‬ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﻫﻢ ﺑﻪ ﺩﺭﺳــﺘﻰ ﺩﺭﻳﺎﻓﺘﻨﺪ ﻛﻪ ﻳﻜﻰ‬ ‫ﺍﺯ ﭘﺎﻳﻪﻫﺎﻯ ﻣﻘﺒﻮﻟﻴﺖﺷــﺎﻥ ﻣﻰ ﺗﻮﺍﻧﺪ ﻧﺰﺩﻳﻜﻰ ﺑﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺑﺎﺷﺪ‪.‬‬ ‫ﺳﻴﺎﺳــﺘﻰ ﻛﻪ ﻣﻌﺎﻭﻥ ﺳــﻴﻨﻤﺎﻳﻰ ﺩﻭﻟﺖ ﺟﺪﻳﺪ ﺍﺯ ﻫﻤــﺎﻥ ﺭﻭﺯ ﺍﻭﻝ‬ ‫ﺗﺼﺪﻯﮔﺮﻯﺍﺵ ﺩﺭ ﭘﻴﺶ ﮔﺮﻓﺖ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﺩﺑﻴﺎﺗﻰ ﻛﻪ ﻭﺯﻳﺮ ﺟﺪﻳﺪ‬ ‫ﺍﺭﺷــﺎﺩ ﺩﺭ ﻣﺘﻦ ﺣﻜﻢ ﺍﻧﺘﺼﺎﺏ ﺍﻭ ﻣﺒﻨﻰ ﺑﺮ ﻟــﺰﻭﻡ ﻫﻤﺪﻟﻰ ﻭ ﻣﺮﺍﻓﻘﺖ‬ ‫ﺑﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﺗﺨﺎﺫ ﻛﺮﺩﻩ ﺑﻮﺩ ﺩﻗﻴﻘﺎ ﻣﺘﻨﺎﺳــﺐ ﺑﺎ ﺍﻳﻦ ﺍﻗﺘﻀﺎ ﺑﻮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﺍﻋﺘﻤﺎﺩﺳﺎﺯﻯ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﻳﻚ ﺷــﺒﻪ ﻭ ﻳﻚ ﻣﺎﻫﻪ ﻭ ﻳﻚ ﺳﺎﻟﻪ ﺍﻳﺠﺎﺩ‬ ‫ﻛﺮﺩ ﺑﻪ ﻭﻳﮋﻩ ﺁﻧﻜــﻪ ﺭﻭﻧﺪ ﺍﻋﺘﻤﺎﺩﺯﺩﺍﻳﻰ ﻗﺒﻼ ﺩﺭ ﭘﺮﻭﺳــﻪﺍﻯ ﺯﻣﺎﻥﺑﺮ‬ ‫ﺷــﻜﻞ ﮔﺮﻓﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻫﻤﻴﻦ ﺍﺳــﺖ ﻛﻪ ﺣﺎﻻ ﺩﺭ ﺁﺳــﺘﺎﻧﻪ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺑﻴﺴﺖﻭﻫﺸــﺘﻢ ﻓﻴﻠﻢ ﻓﺠﺮ‪ ،‬ﺟﺪﺍ ﺍﺯ ﻫﻤﺎﻥ ﺣﺲ ﻭ ﺣﺎﻝ ﻫﻤﻴﺸــﮕﻰ‪،‬‬ ‫ﻳﻚ ﺟﻮﺭ ﺣﺎﻟﺖ ﻛﻢ ﺍﻃﻤﻴﻨﺎﻧﻰ ﻫﻢ ﺑﺪﺍﻥ ﺍﻓﺰﻭﺩﻩ ﺷــﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻨﻜﻪ‬ ‫ﻣﺜﻼ ﺑﻪ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﭘﻴﺸﻨﻬﺎﺩ ﺩﺍﻭﺭﻯ ﺟﺸﻨﻮﺍﺭﻩ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﺁﻧﻬﺎ ﺭﺩ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺣﺘﻰ ﺍﮔﺮ ﻫﻢ ﺩﻟﻴﻞ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺑﺮﺍﻯ ﺍﻣﺘﻨﺎﻉ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻉ ﻛﺎﻣﻼ ﻣﻮﺟﻪ ﻭ ﺷﺨﺼﻰ ﺑﺎﺷﺪ ﺑﺎﺯ ﻫﻢ ﺩﺭ ﺳﭙﻬﺮ ﻋﻤﻮﻣﻰ ﺣﻤﻞ‬ ‫ﺑﺮ ﺑﺮﺩﺍﺷﺖﻫﺎﻯ ﻣﻘﺘﻀﻰ ﺭﻭﺯ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ‪ ،‬ﺭﻭﻳﻪ ﻧﻪ ﭼﻨﺪﺍﻥ‬ ‫ﻣﻨﺴﺠﻤﻰ ﻛﻪ ﺍﺯ ﺟﺎﻧﺐ ﻣﺘﻮﻟﻴﺎﻥ ﺍﻣﺮ ﺩﺭ ﭘﻴﺶ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﺑﺮ ﺍﻳﻦ‬ ‫ﺍﺑﻬﺎﻣﺎﺕ ﻣﻰﺍﻓﺰﺍﻳﺪ‪ .‬ﺍﻳﻨﻜﻪ ﺑﻪ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺁﺛﺎﺭ ﻣﻤﻨﻮﻋﻪ ﮔﺬﺷﺘﻪ ﺟﻮﺍﺯ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﻭ ﻫﻤﺰﻣﺎﻥ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﻓﻌﻠﻰ ﻏﻴﺮﻣﺠﺎﺯ‬ ‫ﻧﺎﻣﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ ﺗﺒﻠﻮﺭﻯ ﺑﺎﺭﺯ ﺍﺯ ﺍﻳﻦ ﺩﻭﮔﺎﻧﮕﻰ ﺍﺳﺖ‪ .‬ﻧﺘﻴﺠﻪ ﺁﻧﻜﻪ ﺭﺍﻩ‬ ‫ﺑﺮﺍﻯ ﺍﻧﻮﺍﻉ ﻭ ﺍﻗﺴﺎﻡ ﺗﻌﺎﺑﻴﺮ ﻫﻤﻮﺍﺭ ﻣﻰﺷﻮﺩ ﻭ ﻫﺮ ﻣﺴﺎﻟﻪﺍﻯ ﻛﻪ ﻣﻤﻜﻦ‬ ‫ﺍﺳــﺖ ﺩﺭ ﺫﺍﺕ ﺧﻮﺩ ﻏﻴﺮﺳﻴﺎﺳﻰ ﺑﺎﺷــﺪ‪ ،‬ﻣﻮﺭﺩ ﺑﺮﺩﺍﺷﺖﻫﺎﻯ ﺩﻳﮕﺮ‬ ‫ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﺍﺯ ﺗﺼﻤﻴﻢ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎﻯ ﺷﺎﺧﺺ ﺗﻮﻗﻴﻔﻰ‬ ‫ﺳﺎﻝﻫﺎﻯ ﮔﺬﺷﺘﻪ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﮔﺮﻓﺘﻪ ﺗﺎ ﺍﻧﺘﺨﺎﺏ ﺑﺮﺝﻣﻴﻼﺩ ﺟﻬﺖ‬ ‫ﺍﺻﺤﺎﺏ ﺭﺳﺎﻧﻪ ﻭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺧﺎﺭﺟﻰﻫﺎ )ﻛﻪ ﺩﻗﻴﻘﺎ ﺳﻪ ﮔﺮﻭﻫﻰﺍﻧﺪ‬ ‫ﻛﻪ ﻧﮕﺎﻩﺷــﺎﻥ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺍﺭﺯﻳﺎﺑﻰﻫﺎﻯ ﺑﻴﺮﻭﻧﻰ ﺗﺎﺛﻴﺮ ﻓﺮﺍﻭﺍﻥ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷــﺪ( ﻭ ﺣﺎﻻ ﺍﻳﻦ ﺍﻗﺪﺍﻣــﺎﺕ ﺑﺎ ﺍﻳﻦ ﺗﻌﺎﺑﻴﺮ ﻛﻨﻮﻧــﻰ‪ ،‬ﻗﺎﺑﻞ ﺗﻌﻤﻴﻢ ﺑﻪ‬ ‫ﺍﺭﺍﺩﻩﻫﺎﻯ ﻏﻴﺮﺳﻴﻨﻤﺎﻳﻰ )ﻣﺜﻼ ﺗﺤﺖﺍﻟﺸﻌﺎﻉ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺧﻠﻮﺗﻰ ﻭ ﻛﻢ‬ ‫ﺑﻀﺎﻋﺘﻰ ﺟﺸﻨﻮﺍﺭﻩ( ﻫﻢ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺷﺨﺼﺎ ﺍﻭﺿﺎﻉ ﻭ ﺍﺣﻮﺍﻝ ﺭﺍ ﺧﻮﺏ ﺍﺭﺯﻳﺎﺑﻰ ﻧﻤﻰﻛﻨﻢ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺍﺻﻼ‬ ‫ﺭﺑﻄﻰ ﺑﻪ ﺟﻬﺖﮔﻴﺮﻯﻫﺎﻯ ﺳﻴﺎﺳﻰ ﻣﺘﺪﺍﻭﻝ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺍﺭﻡ ﻛﺎﺭﻛﺮﺩﻫﺎ‬ ‫ﻭ ﺑﺎﺯﺧﻮﺭﺩﻫﺎ ﺭﺍ ﻣﻰﮔﻮﻳﻢ‪ .‬ﺗﺼﻮﺭ ﻣﻰﻛﻨﻢ ﻳﻚ ﺟﻮﺭ ﮔﺴﺴﺖ ﭘﻨﻬﺎﻥ ﺩﺭ‬ ‫ﺣﺎﻝ ﺷﻜﻞﮔﻴﺮﻯ ﺩﺭ ﻣﻨﺎﺳﺒﺎﺕ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﻳﻜﻰ ﺍﺯ ﺷﺎﺧﺼﻪﻫﺎﻯ‬ ‫ﺍﺳﺎﺳﻰ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺁﻥ ﺍﺳــﺖ ﻛﻪ ﻣﺤﻞ ﺗﻼﻗﻰ ﺳﻪ ﻗﺸﺮ‬ ‫ﻫﻨﺮﻣﻨﺪ ‪ -‬ﻣﺮﺩﻡ ‪ -‬ﻣﺪﻳﺮ ﺍﺳــﺖ‪ .‬ﻫﺮ ﻳﻚ ﺍﺯ ﺍﻳﻦ ﺳــﻪ ﮔــﺮﻭﻩ ﺩﺭ ﺍﻳﻦ‬ ‫ﺩﻩ‪ ،‬ﻳﺎﺯﺩﻩ ﺭﻭﺯ ﻣﺸﻐﻮﻝ ﺍﺭﺯﻳﺎﺑﻰ ﺧﻮﺩ ﻭ ﺩﻳﮕﺮﻯ ﺩﺭ ﻣﺤﻮﺭ ﺳﻴﻨﻤﺎﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻭﻳﮋﮔﻰ ﺍﺯ ﻗﺎﺑﻠﻴﺖﻫﺎﻯ ﺑﺰﺭگ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠــﺮ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﺑﻪ‬ ‫ﻧﻈﺮﻡ ﺩﺭ ﺍﻳﻦ ﻭﻳﮋﮔﻰ ﺳــﺎﺧﺘﺎﺭﻯ ﺩﺍﺭﺩ ﮔﺴﺴﺖﻫﺎﻳﻰ ﺑﻴﻦ ﺳﻪ ﺟﺰء‬ ‫ﺑﻨﻴﺎﺩﻳﻨﺶ ﺣﺎﺻﻞ ﻣﻰﺷــﻮﺩ‪ .‬ﻣﺎ ﺍﻣﺴﺎﻝ ﻫﻢ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻣﻰﺭﻭﻳﻢ ﻭ‬ ‫ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﺳﻌﻰ ﻣﻰﻛﻨﻴﻢ ﺩﺭ ﻛﻨﺎﺭ ﺍﻧﺘﻘﺎﺩﻫﺎﻯ ﻫﻤﻴﺸﮕﻰﻣﺎﻥ ﺍﺯ‬ ‫ﻓﻀﺎﻯ ﻣﻮﺟﻮﺩ ﺗﺎ ﺁﻧﺠﺎ ﻛﻪ ﻣﻰﺷﻮﺩ ﻟﺬﺕ ﻭ ﺑﻬﺮﻩ ﺑﺒﺮﻳﻢ‪ .‬ﻭﻟﻰ ﺗﻪ ﺩﻟﻤﺎﻥ‬ ‫ﻫﻨﻮﺯ ﺁﻏﺸــﺘﻪ ﺑﻪ ﺍﺑﻬﺎﻡ ﻭ ﭘﻨﺪﺍﺷــﺖ ﻭ ﺩﻟﺨﻮﺭﻯ ﺍﺳــﺖ‪ .‬ﻛﺎﺑﻮﺱ ﺍﻳﻦ‬ ‫ﭘﺎﺭﺍﺩﻭﻛﺲ ﻛﻰ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻰﺭﺳﺪ؟ ﺷﺎﻳﺪ ﺩﺭ ﺁﺳﺘﺎﻧﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻌﺪﻯ‬ ‫ﺑﺘﻮﺍﻥ ﭘﺎﺳﺨﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﺳﻮﺍﻝ ﭘﻴﺪﺍ ﻛﺮﺩ‪.‬‬ ‫‪27‬‬ ‫‪4‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﭘﺴﺮﺁﺩﻡ ‪ ،‬ﺩﺧﺘﺮ ﺣﻮﺍ‬ ‫ﺭﺍﻫﻨﻤﺎﻱ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﺑﺨﺶﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺭﻓﺖ ﻭﺁﻣﺪ ﺗﺎ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ‬ ‫ﻣﻬﺪﻱ ﻃﺎﻫﺒﺎﺯ‬ ‫ﻧﻤﺎﻳﺶ ﻓﻠﻪﺍﻱ ﻓﻴﻠﻤﻬﺎﻱ ﺍﻳﺮﺍﻧﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖ ﻭ ﻫﺸﺘﻢ ﻳﺎﺩﺁﻭﺭ ﺳﺎﻟﻬﺎﻱ ﭘﻴﺶ ﺍﺯ ﻧﻴﻤﻪ ﺩﻫﻪ ﻫﻔﺘﺎﺩ ﺍﺳﺖ‪ .‬ﺁﻥ ﺯﻣﺎﻥ ﻫﻨﻮﺯ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﻭ ﻣﻬﻤﺎﻥ)ﺑﺨﻮﺍﻧﻴﺪ ﺧﺎﺭﺝ ﺍﺯ‬ ‫ﻣﺴﺎﺑﻘﻪ( ﺗﺸﻜﻴﻞ ﻧﺸﺪﻩ ﺑﻮﺩ ﻭ ﺗﻤﺎﻡ ﻓﻴﻠﻢﻫﺎﻱ ﻣﺘﻘﺎﺿﻲ ﺍﮔﺮ ﻣﺸﻜﻞ ﻣﻤﻴﺰﻱ ﻧﺪﺍﺷﺘﻨﺪ‪ ،‬ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﻣﻲ ﺷﺪﻧﺪ‪ .‬ﻣﺮﺣﻮﻡ ﺳﻴﻒ ﺍﷲ ﺩﺍﺩ ﻛﻪ ﺭﻭﻱ ﻛﺎﺭ ﺁﻣﺪ‪ ،‬ﺑﺮﺍﻱ‬ ‫ﺑﺎﻻ ﺑﺮﺩﻥ ﻛﻴﻔﻴﺖ ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺭﺍ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺖ ﻭ ﻳﻚ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺭﺍ ﻣﺴﺌﻮﻝ ﺑﺮﺭﺳﻲ ﻓﻴﻠﻢﻫﺎ ﻗﺒﻞ ﺍﺯ ﺁﻏﺎﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﺑﻪ ﺗﻨﺎﻭﺏ ﺣﺪﻭﺩ‬ ‫‪ 40‬ﺗﺎ ‪ 45‬ﻓﻴﻠﻢ ﺩﺭ ﺟﺸـﻨﻮﺍﺭﻩ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﺷـﺪﻩﺍﻧﺪ ﻛﻪ ﺗﻌﺪﺍﺩﻱ ﻣﻌﻤﻮﻝ ﻭ ﻣﻌﻘﻮﻝ ﺩﺭ ﻣﻘﺎﻳﺴـﻪ ﺑﺎ ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢﻫﺎﻱ ﻣﺘﻘﺎﺿﻲ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ‪ .‬ﺍﻣﺎ ﺍﻣﺴﺎﻝ ﺍﻭﺿﺎﻉ ﺑﻪ ﮔﻮﻧﻪﺍﻱ‬ ‫ﺩﻳﮕﺮ ﺑﻮﺩﻩ ﺍﺳـﺖ؛ ﺑﻨﺎ ﺑﻪ ﮔﻔﺘﻪ ﺩﻓﺘﺮ ﺟﺸـﻨﻮﺍﺭﻩ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ‪ 81‬ﻓﻴﻠﻢ ﺗﻘﺎﺿﺎﻱ ﺷﺮﻛﺖ ﻛﺮﺩﻩ ﺍﻧﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢ ‪ 69‬ﺍﺛﺮ ﺑﺎﺯﺑﻴﻨﻲ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﻫﻢ ‪ 58‬ﻓﻴﻠﻢ ﺑﺮﺍﻱ‬ ‫ﺷﺮﻛﺖ ﺩﺭ ﺳﻪ ﺑﺨﺶ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩ ﺍﺳﺖ! ﻳﻌﻨﻲ ﻓﻘﻂ ‪ 11‬ﻓﻴﻠﻢ ﺑﻴﺮﻭﻥ ﻣﺎﻧﺪﻩ ﻭ ﻓﺎﻗﺪ ﻛﻴﻔﻴﺖ ﺣﻀﻮﺭ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻮﺩﻩﺍﻧﺪ! ﺍﺯ ﺍﻳﻨﻬﺎ ﮔﺬﺷﺘﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺩﺭ ﻫﻴﭻ ﺩﻭﺭﻩ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺍﻳﻨﻘﺪﺭ ﺑﺮ ﻭ ﺑﻴﺎ ﻭ ﻭﺭﻭﺩ ﻭ ﺧﺮﻭﺝ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﻳﻚ ﻧﻮﺑﺖ ‪ 5‬ﻓﻴﻠﻢ ﺑﻴﺮﻭﻥ ﻣﺎﻧﺪﻩ ﺑﻪ ﺑﺨﺶ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺍﺿﺎﻓﻪ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺩﺭﻧﻮﺑﺘﻲ ﺩﻳﮕﺮ ﺩﻭ ﻓﻴﻠﻢ)ﻳﻜﻲ ﺍﺯ ﺧﺎﺭﺝ‬ ‫ﺍﺯ ﻣﺴﺎﺑﻘﻪ ﻭ ﻳﻜﻲ ﺍﺯ ﺍﻭﻝ ﻭ ﺩﻭﻡ( ﺑﻪ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺭﺍﻩ ﻳﺎﻓﺘﻪ ﺍﻧﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﮔﻴﺮ ﻭ ﺩﺍﺭ ﻧﺎﻡ ﺩﻭ ﻓﻴﻠﻢ)ﺍﻟﺒﺘﻪ ﺗﻠﻪ ﻓﻴﻠﻢ( ﺍﺯ ﺑﺨﺶ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺣﺬﻑ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﭼﻨﺪ ﻓﻴﻠﻢ ﺩﻳﮕﺮ ﻫﻢ‬ ‫ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻌﺪ ﺍﺯ ﺭﻓﻊ ﻣﺸﻜﻼﺕ ﻣﻤﻴﺰﻱ ﻭﺍﺭﺩ ﺟﺸﻨﻮﺍﺭﻩ ﺷﻮﻧﺪ ﻭ ﺍﺣﺘﻤﺎﻻ ﺍﻳﻦ ﺁﻣﺪ ﻭ ﺭﻓﺖﻫﺎ ﺗﺎ ﭘﺎﻳﺎﻥ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻢ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪...‬‬ ‫ﻃﻬﺮﺍﻥ‪ ،‬ﺗﻬﺮﺍﻥ‪ /‬ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ‪ ،‬ﻣﻬﺪﻱ ﻛﺮﻡﭘﻮﺭ‬ ‫ﻓﻴﻠﻢ »ﻃﻬﺮﺍﻥ‪ ،‬ﺗﻬﺮﺍﻥ« ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍ »ﺗﻬﺮﺍﻥ ﺩﺭ ﺟﺴﺘﺠﻮﻱ ﺯﻳﺒﺎﻳﻲ«‬ ‫ﻧﺎﻡ ﺩﺍﺷﺖ‪،‬ﺍﺑﺘﺪﺍ ﻗﺮﺍﺭ ﺑﻮﺩ ﻳﻚ ﻓﻴﻠﻢ ﺳﻪ ﺍﭘﻴﺰﻭﺩﻱ ﺩﺭﺑﺎﺭﻩ ﺷﻬﺮ ﺗﻬﺮﺍﻥ ﺍﺯ‬ ‫ﺩﻳﺪﮔﺎﻩ ﺳﻪ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﺯ ﺳﻪﻧﺴﻞ ﻣﺨﺘﻠﻒ ﺑﺎﺷﺪ‪ .‬ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﺎﻳﻨﺪﻩ ﻧﺴﻞ ﺍﻭﻝ‪ ،‬ﻣﻬﺪﻱ ﻛﺮﻡﭘﻮﺭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻤﺎﻳﻨﺪﻩ ﻧﺴﻞ‬ ‫ﺳﻮﻡ ﻭ ﻣﺮﺣﻮﻡ ﺳﻴﻒﺍﷲ ﺩﺍﺩ ﻫﻢ ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﺎﻳﻨﺪﻩ ﻧﺴﻞ ﺩﻭﻡ ﺍﻧﺘﺨﺎﺏ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻛﺮﻡﭘﻮﺭ ﺯﻭﺩﺗﺮ ﺍﺯ ﻫﻤﻪ ﻓﻴﻠﻤﺶ ﺭﺍ ﻛﻪ ﻣﻮﺿﻮﻋﻲ ﻣﺮﺗﺒﻂ ﺑﺎ‬ ‫ﻣﻮﺳﻴﻘﻲ ﻭ ﻳﻚ ﮔﺮﻭﻩ ﻧﻮﺍﺯﻧﺪﻩ ﺩﺍﺷﺖ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺮﺩ‪ .‬ﻣﻬﺮﺟﻮﻳﻲ‬ ‫ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﺷﺪ ﻭ ﻗﺮﺍﺭ ﺑﻮﺩ ﺩﺍﺩ ﻫﻢ ﺑﺎ ﻓﺎﺻﻠﻪ ﻛﻤﻲ ﺑﻌﺪ ﺍﺯ ﺁﻧﻬﺎ‬ ‫ﺍﭘﻴﺰﻭﺩﺵ ﺭﺍ ﺷــﺮﻭﻉ ﻛﻨﺪ ﺗﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ‬ ‫ﺷﻬﺮ ﺁﻣﺎﺩﻩ ﺷﻮﺩ‪ .‬ﻓﻴﻠﻢ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺷﻬﺮ ﻧﺮﺳﻴﺪ ﻭ ﺑﻴﻤﺎﺭﻱ ﺳﻴﻒﺍﷲﺩﺍﺩ‬ ‫ﻫﻢ ﺑﻪ ﺍﻭ ﻓﺮﺻﺖ ﻧﺪﺍﺩ ﺗﺎ ﺍﭘﻴﺰﻭﺩﺵ ﺭﺍ ﺑﻪ ﺗﻮﻟﻴﺪ ﺑﺮﺳــﺎﻧﺪ‪ .‬ﺑﻌﺪ ﻫﻢ ﻛﻪ ﺍﻭ‬ ‫ﺩﺭﮔﺬﺷــﺖ ﻭ ﻗﺼﻪﺍﺵ ﻛﻪ ﺩﺭﺑﺎﺭﻩ ﻗﺒﺮﻫﺎﻱ ﺷﻬﺪﺍ ﺩﺭ ﺍﺭﺗﻔﺎﻋﺎﺕ ﺗﻬﺮﺍﻥ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﻪ ﺗﻮﻟﻴﺪ ﻧﺮﺳﻴﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻲﺷﺪ ﻳﻚ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﻪﻋﻨﻮﺍﻥ ﺟﺎﻳﮕﺰﻳﻦ‬ ‫ﺩﺍﺩ ﺍﭘﻴﺰﻭﺩ ﺳﻮﻡ ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺧﻮﺍﻫﺪ ﻛﺮﺩ ﺍﻣﺎ ﭼﻮﻥ ﺩﻭ ﻗﺴﻤﺖ ﻗﺒﻠﻲ‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﻗﺎﺑﻠﻴﺖ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﺑﻪ ﻳﻚ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺭﺍ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺗﺼﻤﻴﻢ‬ ‫ﺑﺮ ﺁﻥ ﺷﺪ ﺗﺎ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻱ ﻣﻬﺮﺟﻮﻳﻲ ﻭ ﻛﺮﻡﭘﻮﺭ ﻓﻴﻠﻢ »ﻃﻬﺮﺍﻥ‪ ،‬ﺗﻬﺮﺍﻥ«‬ ‫ﺭﺍﻫﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺷﻮﺩ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻰ ‪ ،‬ﻣﻬــﺪﻯ ﻛﺮﻡﭘﻮﺭ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪:‬‬ ‫ﻣﺤﻤﺪﻋﻠــﻰ ﺣﺴــﻴﻦﻧﮋﺍﺩ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻭﺣﻴــﺪﻩ ﻣﺤﻤﺪﻯ ﻓﺮ‪،‬‬ ‫ﻣﻬﺪﻯ ﻛﺮﻡﭘﻮﺭ‪ ،‬ﺧﺴــﺮﻭ ﻧﻘﻴﺒﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻣﺤﻤﺪ ﻣﺨﺘﺎﺭﻯ ‪ ،‬ﺑﺎﺑﻚ‬ ‫ﺍﺧﻮﺍﻥ‪ ،‬ﻃــﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻋﻠــﻰ ﻋﺎﺑﺪﻳﻨﻰ ‪ ،‬ﻧﻴﻠﻮﻓﺮ ﺳــﺠﺎﺩﻯ‪،‬‬ ‫‪28‬‬ ‫ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻋﻠﻰ ﻟﻘﻤﺎﻧﻰ‪ ،‬ﻣﺤﻤﺪ ﺁﻻﺩﭘﻮﺵ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺣﺴﻦ‬ ‫ﺣﺴﻨﺪﻭﺳﺖ ‪ ،‬ﻧﺎﺯﻧﻴﻦ ﻣﻔﺨﻢ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﻛﺎﺭﻥ ﻫﻤﺎﻳﻮﻧﻔﺮ‪ ،‬ﻣﺪﻳﺮﺗﻮﻟﻴﺪ‪:‬‬ ‫ﺭﺿــﺎ ﻧﺠﻔﻰ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ ﺍﭘﻴــﺰﻭﺩ ﺍﻭﻝ )ﻃﻬﺮﺍﻥ ﺗﻬــﺮﺍﻥ(‪ :‬ﻛﺘﺎﻳﻮﻥ ﺍﻣﻴﺮ‬ ‫ﺍﺑﺮﺍﻫﻴﻤﻰ‪ ،‬ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ‪ ،‬ﺭﺣﻤﺎﻥ ﺣﺴﻴﻨﻰ‪ ،‬ﻓﺮﻳﺪﻩ ﺳﭙﺎﻩﻣﻨﺼﻮﺭ‪ ،‬ﻣﻴﻨﻮ‬ ‫ﺻﺎﺑﺮﻯ‪ ،‬ﺍﺭﺩﺷــﻴﺮ ﻛﺎﻇﻤﻰ‪ .‬ﺑﺎﺯﻳﮕﺮﺍﻥ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ )ﺳــﻴﻢ ﺁﺧﺮ(‪ :‬ﺭﺿﺎ‬ ‫ﻳﺰﺩﺍﻧﻰ‪ ،‬ﺭﻋﻨــﺎ ﺁﺯﺍﺩﻯﻭﺭ‪ ،‬ﺑﺮﺯﻭ ﺍﺭﺟﻤﻨﺪ‪ ،‬ﻃﻨﺎﺯ ﻃﺒﺎﻃﺒﺎﻳﻰ‪ ،‬ﺳــﺮﻭﺵ‬ ‫ﺻﺤﺖ‪ ،‬ﻓﺮﻫﺎﺩ ﻗﺎﺋﻤﻴﺎﻥ‪ .‬ﻣﺪﺕ‪100 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ‪ :‬ﮔﺮﻭﻫﻰ ﮔﺮﺩﺷﮕﺮ ﻫﻤﺮﺍﻩ ﺑﺎ ﻳﻚ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﻣﻌﻤﻮﻟﻰ ﺗﻬﺮﺍﻧــﻰ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﻧﺪ ﺩﺭ ﺍﻳﺎﻡ ﻋﻴﺪﻧﻮﺭﻭﺯ ﺑﺮﺍﻯ‬ ‫ﺗﺠﺪﻳﺪ ﺧﺎﻃﺮﺍﺕ ﺧﻮﺩ ﺑﻪ ﺩﻳﺪﻥ ﺁﺛﺎﺭ ﺗﺎﺭﻳﺨﻰ ﻭ ﺟﺎﺫﺑﻪﻫﺎﻯ ﮔﺮﺩﺷﮕﺮﻯ‬ ‫ﺗﻬﺮﺍﻥ ﺑﺮﻭﻧﺪ‪.‬‬ ‫ﺧﻼﺻﻪﺩﺍﺳﺘﺎﻥﺍﭘﻴﺰﻭﺩﺩﻭﻡ‪:‬ﻳﻚﮔﺮﻭﻩﻣﻮﺳﻴﻘﻰ‪،‬ﭘﺲﺍﺯﻣﺪﺕﻫﺎ‬ ‫ﻣﻮﻓﻖﻣﻰﺷﻮﻧﺪﺑﺮﺍﻯﻛﻨﺴﺮﺕﺷﺎﻥﻣﺠﻮﺯﺍﺟﺮﺍﺩﺭﻳﺎﻓﺖﻛﻨﻨﺪ‪.‬‬ ‫ﺷﺐ ﻭﺍﻗﻌﻪ‪ /‬ﺷﻬﺮﺍﻡ ﺍﺳﺪﻱ‬ ‫ﮔﻔﺘﻪ ﻣﻲﺷــﻮﺩ »ﺷــﺐ ﻭﺍﻗﻌــﻪ« ﺍﺛــﺮﻱ ﻣﺘﻔﺎﻭﺕ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ‬ ‫ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﺍﺳــﺖ ﻭ ﺩﺭ ﺁﻥ ﺍﺯ ﺗﻜﺮﺍﺭ ﻣﻀﻤﻮﻧﻲ ﻭ ﺭﻭﺍﻳﻲ ﺁﻥ ﭼﻴﺰﻫﺎﻳﻲ‬ ‫ﻛﻪ ﺗﺎﻛﻨﻮﻥ ﺩﻳﺪﻩﺍﻳﻢ ﻭ ﺷــﻨﻴﺪﻩﺍﻳﻢ ﭘﺮﻫﻴﺰ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺷﻬﺮﺍﻡ ﺍﺳﺪﻱ‬ ‫ﻛﻪ ﺗﻘﺮﻳﺒﺎ ﻫﻤﻪ ﺍﻭ ﺭﺍ ﺑﺎ ﻓﻴﻠﻢ»ﺭﻭﺯ ﻭﺍﻗﻌﻪ« ﺑﻪ ﻳﺎﺩ ﻣﻲﺁﻭﺭﻧﺪ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﻗﺼﺪ‬ ‫ﺩﺍﺭﺩ ﺗﺎ ﺑﺎ »ﺷــﺐ ﻭﺍﻗﻌﻪ« ﻧﻈﺮﻫﺎ ﺭﺍ ﺑﻪ ﺳــﻤﺖ ﺧــﻮﺩ ﺟﻠﺐ ﻛﻨﺪ‪ .‬ﻓﻴﻠﻢ‬ ‫ﺟﺪﻳﺪ ﺍﻭ ﻳﻚ ﺍﺛﺮ ﻋﻈﻴﻢ ﺟﻨﮕﻲ ﺍﺳــﺖ ﻛــﻪ ﺩﺭ ﺁﻥ ﺍﺯ ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳﮋﻩ‬ ‫ﺭﺍﻳﺎﻧﻪﺍﻱ ﺯﻳﺎﺩﻱ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺑﺎ ﻧﻤﻮﻧﻪﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺑﺮﺍﺑﺮﻱ‬ ‫ﻛﻨﺪ‪ .‬ﻧﻜﺘﻪ ﻣﻬﻢ »ﺷﺐ ﻭﺍﻗﻌﻪ« ﺣﻀﻮﺭ ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ ﺩﺭ ﻧﻘﺶ ﺍﺻﻠﻲ‬ ‫ﻓﻴﻠﻢ ﻳﻌﻨﻲ ﺩﺭﻳﺎﻗﻠﻲ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻓﺮﺥﻧﮋﺍﺩ ﺑﻪﺧﺎﻃﺮ ﺍﻳﻦ ﻓﻴﻠﻢ ﻳﺎ ﺑﻪ ﺧﺎﻃﺮ‬ ‫»ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺳــﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﻧﻘﺶ ﺍﻭﻝ ﻣﺮﺩ ﺭﺍ‬ ‫ﺑﺮﺩ‪ ،‬ﺗﻌﺠﺐ ﻧﻜﻨﻴﺪ‪ .‬ﺍﻣﺴﺎﻝ ﻗﺮﺍﺭ ﺍﺳﺖ ﺳﺎﻝ ﺍﻭ ﺑﺎﺷﺪ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺷﻬﺮﺍﻡ ﺍﺳــﺪﻯ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﺳﻴﺪ ﺍﺣﻤﺪ ﻣﻴﺮﻋﻼﻳﻰ ‪،‬‬ ‫ﻣﺆﺳﺴﻪ ﻓﺮﻫﻨﮕﻰ ﻫﻨﺮﻯ ﺷﺎﻫﺪ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻫﻤﺎﻳﻮﻥ ﺷﻬﻨﻮﺍﺯ‪،‬‬ ‫‪،‬ﺷــﻬﺮﺍﻡ ﺍﺳــﺪﻯ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻳﺪﺍﷲ ﻧﺠﻔﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﺍﻣﻴﺮﺣﺴﻴﻦ‬ ‫ﻗﺎﺳــﻤﻰ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒــﺎﺱ‪ :‬ﻋﺒــﺎﺱ ﺑﻠﻮﻧــﺪﻯ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪:‬‬ ‫ﺟﻼﻝﺍﻟﺪﻳﻦ ﻣﻌﻴﺮﻳﺎﻥ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒــﺮﺩﺍﺭﻱ‪ :‬ﺍﻣﻴﺮﻛﺮﻳﻤﻰ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪:‬‬ ‫ﺣﺴــﻴﻦ ﻏﻀﻨﻔﺮﻯ‪ ،‬ﻣﻮﺳــﻴﻘﻰ‪ :‬ﻛﺎﺭﻥ ﻫﻤﺎﻳﻮﻧﻔﺮ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺣﻤﻴﺪ‬ ‫ﻓﺮﺥﻧﮋﺍﺩ ‪ ،‬ﻻﺩﻥ ﻣﺴﺘﻮﻓﻰ ‪ ،‬ﺣﺒﻴﺐ ﺩﻫﻘﺎﻥﻧﺴﺐ ‪ ،‬ﻋﻠﻴﺮﺿﺎ ﻛﻤﺎﻟﻰﻧﮋﺍﺩ‪،‬‬ ‫ﺑﺎﺑﻚ ﺍﻧﺼﺎﺭﻯ‪ ،‬ﻣﺪﺕ‪107 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﭼﻬــﻞ ﺭﻭﺯ ﺑﻌــﺪ ﺍﺯ ﺁﻏﺎﺯ ﺟﻨــﮓ ﺗﺤﻤﻴﻠﻰ‪،‬‬ ‫ﺩﺭﻳﺎﻗﻠﻰ ﭘﺲ ﺍﺯ ﺁﻧﻜﻪ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺭﺍ ﺍﺯ ﺁﺑﺎﺩﺍﻥ ﺧﺎﺭﺝ ﻣﻰﻛﻨﺪ ﺑﻪ ﻣﻐﺎﺯﻩ‬ ‫ﺍﻭﺭﺍﻕﻓﺮﻭﺷﻰ ﺧﻮﺩ ﺩﺭ ﺣﺎﺷﻴﻪ ﺑﻬﻤﻦ ﺷﻴﺮ ﺑﺮﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺁﻝ‪ /‬ﺑﻬﺮﺍﻡ ﺑﻬﺮﺍﻣﻴﺎﻥ‬ ‫ﺑﻌﺪ ﺍﺯ ﻣﺪﺕﻫﺎ ﻗﺮﺍﺭ ﺍﺳــﺖ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺷــﺎﻫﺪ ﻳﻚ ﻓﻴﻠﻢ‬ ‫ﺗﺮﺳﻨﺎﻙ ﻭﺍﻗﻌﻲ ﺑﺎ ﻣﻌﻴﺎﺭﻫﺎﻱ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﺑﺎﺷﻴﻢ‪» .‬ﺁﻝ« ﺭﺍ ﭘﻴﺶﺗﺮ ﻗﺮﺍﺭ‬ ‫ﺑﻮﺩ ﻣﺮﺣﻮﻡ ﺍﻣﻴﺮ ﻗﻮﻳﺪﻝ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﻨﺪ ﺍﻣﺎ ﮔﻮﻳﺎ ﺍﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻗﺴﻤﺖ‬ ‫ﺑﻬﺮﺍﻡ ﺑﻬﺮﺍﻣﻴﺎﻥ ﺑﻮﺩ ﺗــﺎ ﺑﻪﻋﻨﻮﺍﻥ ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪ ﺳــﻴﻨﻤﺎﻳﻲﺍﺵ ﺁﻥ ﺭﺍ‬ ‫ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺒﺮﺩ‪ .‬ﻧﻜﺘﻪ ﺟﺎﻟﺐ ﺍﻳﻨﻜﻪ »ﺁﻝ« ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻣﺼﻄﻔﻲ ﺯﻣﺎﻧﻲ ﺑﻌﺪ ﺍﺯ ﺑﺎﺯﻱ ﺩﺭ ﻣﺠﻤﻮﻋﻪ »ﻳﻮﺳﻒ ﭘﻴﺎﻣﺒﺮ« ﻫﻢ ﻫﺴﺖ‬ ‫ﻭ ﺍﻭ ﻣﻲﺧﻮﺍﻫﺪ ﺗﺎ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺣﺮﻓﻪﺍﻱ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﻳﻚ ﺑﺎﺯﻳﮕﺮ ﻧﻘﺶ ﺍﻭﻝ ﺗﺜﺒﻴﺖ ﻛﻨﺪ‪ .‬ﺑﻴﺸــﺘﺮ ﺻﺤﻨﻪﻫﺎﻱ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ‬ ‫ﺍﺭﻣﻨﺴﺘﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺷــﺪﻩ ﻭ ﻓﻴﻠﻢ ﺑﻬﺮﺍﻣﻴﺎﻥ ﺑﻪ ﻟﺤﺎﻅ ﻟﻮﻛﻴﺸﻦ‪،‬‬ ‫ﺑﺪﻳﻊ ﻭ ﭼﺸﻢﻧﻮﺍﺯ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ »ﺁﻝ« ﺑﻪ ﻟﺤﺎﻅ ﺳﺎﺧﺘﺎﺭ‬ ‫ﺑﻲﺷﺒﺎﻫﺖ ﺑﻪ ﺷﺎﻫﻜﺎﺭ ﻛﻮﺑﺮﻳﻚ ﻳﻌﻨﻲ »ﺩﺭﺧﺸﺶ« ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺑﻬﺮﺍﻡ ﺑﻬﺮﺍﻣﻴــﺎﻥ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﻋﻠﻰﻣﻌﻠﻢ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪ‪:‬‬ ‫ﺑﻬﺮﺍﻡ ﻋﻈﻴﻤﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻓﺮﺥ ﻓﺪﺍﻳﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﺣﺴﻴﻦ ﺍﺑﻮﺍﻟﺼﺪﻕ‪،‬‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺭﺿﺎ ﺣﺎﺟﻰ ﺩﺭﻭﻳﺶ ‪ ،‬ﻣﻬﺮﻧﻮﺵ ﺷﺎﻩﺣﺴﻴﻨﻰ‪،‬‬ ‫ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﺳﻮﺩﺍﺑﻪ ﺧﺴﺮﻭﻯ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻓﺮﺷﺎﺩ ﻣﺤﻤﺪﻯ‪،‬‬ ‫ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺑﻬﺮﺍﻡ ﺩﻫﻘﺎﻧﻰ ‪ ،‬ﺭﺿﺎ ﺷــﻴﺮﻭﺍﻧﻰ‪ ،‬ﻣﻮﺳــﻴﻘﻰ‪ :‬ﺑﻬﺰﺍﺩ ﻋﺒﺪﻯ‪،‬‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﺼﻄﻔﻰ ﺯﻣﺎﻧﻲ‪ ،‬ﺁﻧﺎ ﻧﻌﻤﺘﻰ‪ ،‬ﻫﻤﺎﻳﻮﻥ ﺍﺭﺷــﺎﺩﻯ‪ ،‬ﻫﻨﮕﺎﻣﻪ‬ ‫ﺣﻤﻴﺪﺯﺍﺩﻩ‪ ،‬ﻛﻴﺘﻮﺵ ﺁﺭﺯﻭﻳﺎﻥ‪ ،‬ﺳﻮﻧﻴﺎ ﻛﺎﺗﻮﺯﻳﺎﻥ‪ ،‬ﻣﺪﺕ‪97 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﻣﻬﻨﺪﺱ ﺟﻮﺍﻧﻰ ﻫﻤﺮﺍﻩ ﻫﻤﺴــﺮ ﺑﺎﺭﺩﺍﺭ ﺧﻮﺩ‬ ‫ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﻣﺎﻣﻮﺭﻳﺘﻰ ﻋﺎﺯﻡ ﺍﺭﻣﻨﺴــﺘﺎﻥ ﻣﻰﺷــﻮﺩ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﺑﺮﺍﻳﺶ‬ ‫ﺍﺗﻔﺎﻗﺎﺗﻲ ﻣﻲﺍﻓﺘﺪ‪.‬‬ ‫ﭘﺴﺮ ﺁﺩﻡ‪ ،‬ﺩﺧﺘﺮ ﺣﻮﺍ‪ /‬ﺭﺍﻣﺒﺪ ﺟﻮﺍﻥ‬ ‫ﺩﻭﻣﻴﻦ ﺳﺎﺧﺘﻪ ﺳﻴﻨﻤﺎﻳﻲ ﺭﺍﻣﺒﺪ ﺟﻮﺍﻥ ﺷﺒﺎﻫﺘﻲ ﺑﻪ ﻓﻴﻠﻢ ﺍﻭﻝ ﺍﻭ ﻳﺎ‬ ‫ﺣﺘﻲ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻧﻲﺍﺵ ﻧﺪﺍﺭﺩ‪» .‬ﭘﺴﺮ ﺁﺩﻡ ‪ ،‬ﺩﺧﺘﺮﺣﻮﺍ« ﻳﻚ‬ ‫ﻛﻤﺪﻱ ﺳﺮﺣﺎﻝ ﺩﺭﺑﺎﺭﻩ ﺩﻭ ﻭﻛﻴﻞ ﺟﻮﺍﻥ ﺍﺳﺖ ﻛﻪ ﺍﺑﺘﺪﺍ ﺑﺮﺍﻱ ﺑﻪﺩﺳﺖ‬ ‫ﺁﻭﺭﺩﻥ ﻳﻚ ﺩﻓﺘﺮ ﻭﻛﺎﻟﺖ ﻭ ﺳــﭙﺲ ﺑﺮﺍﻱ ﭘﻴﺮﻭﺯ ﺷﺪﻥ ﺩﺭ ﻳﻚ ﭘﺮﻭﻧﺪﻩ‬ ‫ﻣﺸﺘﺮﻙ ﺑﺎ ﻫﻢ ﺭﻗﺎﺑﺖ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺩﺭ ﻭﻫﻠﻪ ﺍﻭﻝ ﺍﻳﻦ ﻓﻴﻠﻢ ﻳﻚ ﻛﭙﻲ‬ ‫ﺍﺯ ﺭﻭﻱ »ﺁﺗﺶﺑﺲ« ﺑﻪﻧﻈﺮ ﺑﺮﺳﺪ ﺍﻣﺎ ﭘﺲ ﺍﺯ ﺩﻳﺪﻥ ﻓﻴﻠﻢ ﺟﻮﺍﻥ‪ ،‬ﻣﺘﻮﺟﻪ‬ ‫ﺗﻔﺎﻭﺕﻫﺎﻱ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﺧﻮﺍﻫﻴﺪ ﺷــﺪ‪ .‬ﻳﻚ ﻧﻜﺘﻪ ﻣﻬﻢ »ﭘﺴﺮ ﺁﺩﻡ‪«...‬‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﺑﺨﺶ ﺍﻋﻈﻤﻲ ﺍﺯ ﻓﻴﻠﻢ ﺩﺭ ﭘﻼﺗﻮ ﻭ ﺑﻪ ﺷﻴﻮﻩ ﺍﺳﺘﻮﺩﻳﻮﻳﻲ‬ ‫ﺍﺳــﺖ‪ .‬ﺑﻴﺶ ﺍﺯ ‪ 4‬ﻟﻮﻛﻴﺸــﻦ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﻳﻚ ﭘﻼﺗﻮ ﺑﺎﺯﺳﺎﺯﻱ ﺷﺪﻩ ﻭ‬ ‫ﻓﻴﻠﻤﺒــﺮﺩﺍﺭﻱ ﺩﺭ ﺁﻧﻬﺎ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺣﺎﻣﺪ ﻛﻤﻴﻠﻲ ﺩﺭ ﺍﻭﻟﻴﻦ‬ ‫ﻧﻘﺶ ﻛﻤﺪﻱﺍﺵ ﺑــﺎﺯﻱ ﻗﺎﺑﻞ ﻗﺒﻮﻟﻲ ﺍﺭﺍﺋﻪ ﻛﺮﺩﻩ ﻭ ﻛﺎﺭﺍﻛﺘﺮﻱ ﺷــﺒﻴﻪ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻱ ﺭﺍﻣﺒﺪ ﺟﻮﺍﻥ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻠﻲ ﺍﻭ ﺩﺭﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ‬ ‫ﻋﻮﺽ ﺧﻮﺩ ﺭﺍﻣﺒﺪ ﺟﻮﺍﻥ ﺩﺭ ﻧﻘﺸــﻲ ﻛﻪ ﺍﻳﻔﺎ ﻛــﺮﺩﻩ‪ ،‬ﻛﺎﻣﻼ ﻣﺘﻔﺎﻭﺕ ﺑﺎ‬ ‫ﺳﺎﻳﺮ ﻧﻘﺶﻫﺎﻳﺶ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢ »ﭘﺴﺮ ﺁﺩﻡ‪ «...‬ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﺑﺎ‬ ‫ﺻﺮﻑ ﻭﻗﺖ‪ ،‬ﺍﻧﺮژﻱ ﻭ ﻫﺰﻳﻨﻪ ﻣﻲﺗﻮﺍﻥ ﺩﺳﺖ ﺑﻪ ﺳﺎﺧﺖ ﺗﻮﻟﻴﺪﺍﺕ ﻛﻤﺪﻱ‬ ‫ﻭ ﻣﺮﺩﻡﭘﺴﻨﺪ ﺍﺯ ﻧﻮﻉ ﺁﺑﺮﻭﻣﻨﺪ ﻭ ﺟﺬﺍﺏ ﻫﻢ ﺯﺩ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺭﺍﻣﺒﺪ ﺟﻮﺍﻥ ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ ﻓﻴﻠﻤﻨﺎﻣﻪ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺍﺣﻤﺪﻯ‬ ‫ﭘﻴﺸﻜﻮﻫﻰ ‪ ،‬ﻣﺸﺎﻭﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﺑﺎﺯ ﻧﻮﻳﺴﻰ ﻧﻬﺎﻳﻰ‪ :‬ﺳﻌﻴﺪ ﺣﺎﺟﻰ ﻣﻴﺮﻯ‪،‬‬ ‫ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ‪ :‬ﻓــﺮﺝ ﺣﻴﺪﺭﻯ‪ ،‬ﻣﺠﺮﻯ ﻃﺮﺡ ﻭ ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﺁﺯﻳﺘﺎ‬ ‫ﻣﻮﮔﻮﻳــﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭﻯ ﻫﻤﺰﻣﺎﻥ‪ :‬ﺑﻬــﺮﻭﺯ ﻣﻌﺎﻭﻧﻴﺎﻥ ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ‬ ‫ﻟﺒﺎﺱ‪ :‬ﺁﺗﻮﺳﺎ ﻗﻠﻤﻔﺮﺳﺎﻳﻰ ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻯ‪ :‬ﻣﻬﺮﺩﺍﺩ ﻣﻴﺮﻛﻴﺎﻧﻰ‪،‬‬ ‫ﺗﺪﻭﻳﻦ ﺗﺼﻮﻳﺮ ﻭ ﺻﺪﺍ ‪ :‬ﺳــﻌﻴﺪ ﺣﺎﺟﻰ ﻣﻴﺮﻯ ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﺳﻴﺪ ﺑﻬﻨﺎﻡ‬ ‫ﺍﺑﻄﺤﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭﻯ ﻭ ﻣﻴﻜﺲ‪ :‬ﺑﻬﺮﻭﺯ ﻣﻌﺎﻭﻧﻴﺎﻥ‪ ،‬ﺍﻣﻴﺮ ﻧﻮﺭﻯ‪،‬ﺣﺴﻴﻦ‬ ‫ﻭﻓﺎﻳﻰ‪ ،‬ﻫﺪﻯ ﺭﺣﻤﺘﻰ ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﺳﻌﻴﺪ ﺣﺎﺟﻰﻣﻴﺮﻯ ‪ ،‬ﻣﺤﺼﻮﻝ‪:‬‬ ‫ﺳــﺎﺯﻣﺎﻥ ﺳــﻴﻨﻤﺎﻳﻰ ﺳــﺒﺤﺎﻥ‪ .‬ﺑﺎﺯﻳﮕــﺮﺍﻥ‪ :‬ﻣﻬﻨﺎﺯ ﺍﻓﺸــﺎﺭ‪ ،‬ﺣﺎﻣﺪ‬ ‫ﻛﻤﻴﻠﻰ‪ ،‬ﺭﺍﻣﺒﺪ ﺟﻮﺍﻥ‪ ،‬ﻟﻴﻼ ﺍﻭﺗﺎﺩﻯ‪ ،‬ﻓﺮﺍﻣﺮﺯ ﺻﺪﻳﻘﻰ ﻭ ﺷــﻴﻼ ﺧﺪﺍﺩﺍﺩ‪،‬‬ ‫ﻣﺤﺴﻦ ﻗﺎﺿﻰ ﻣﺮﺍﺩﻯ‪ ،‬ﺳــﻌﻴﺪ ﭘﻴﺮﺩﻭﺳﺖ‪ ،‬ﻋﻠﻴﺮﺿﺎ ﺭﻳﺎﺣﻰ‪ ،‬ﺣﺴﻴﻦ‬ ‫ﻣﺤﺐﺍﻫﺮﻯ‪ ،‬ﻛﻴﻮﻣــﺮﺙ ﻣﻠﻚﻣﻄﻴﻌــﻰ‪ ،‬ﻣﻬﻮﺵ ﻭﻗــﺎﺭﻯ‪ ،‬ﻣﺤﻤﻮﺩ‬ ‫ﺑﻨﻔﺸﻪﺧﻮﺍﻩ‪ ،‬ﻛﻴﺎﻧﻮﺵ ﮔﺮﺍﻣﻰ‪ ،‬ﺍﺭﺩﺷــﻴﺮ ﻛﺎﻇﻤﻰ‪ ،‬ﻓﺮﺍﻣﺮﺯ ﺭﻭﺷﻨﺎﻳﻰ‪،‬‬ ‫ﻣﻠﻚ ﺷﺮﻳﻌﺖﭘﻨﺎﻫﻰ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳــﺘﺎﻥ‪ :‬ﻓﻴﻠﻢ ﺑﻪ ﻟﺠﺒﺎﺯﻯﻫﺎﻯ ﺣﺮﻓﻪﺍﻯ ﺩﻭ ﻭﻛﻴﻞ ﺗﺎﺯﻩ‬ ‫ﻛﺎﺭ ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﻧﻔﻮﺫﻯ ‪ /‬ﺍﺣﻤﺪ ﻛﺎﻭﺭﻱ ﻭ ﻣﻬﺪﻱ ﻓﻴﻮﺿﻲ‬ ‫»ﻧﻔﻮﺫﻱ« ﺭﺍ ﺍﺑﺘﺪﺍ ﻗﺮﺍﺭ ﺑﻮﺩ ﺟﻤﺎﻝ ﺷﻮﺭﺟﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﻨﺪ ﻭ ﺣﺘﻲ‬ ‫ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﺍﺑﺘﺪﺍﻳﻲ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻢ ﺗﺼﻮﺭ ﻣﻲﺷﺪ ﺧﻮﺩ ﺍﻭ‬ ‫ﭘﺸﺖ ﺩﻭﺭﺑﻴﻦ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺍﻣﺎ ﮔﻮﻳﺎ ﻗﺮﻋﻪ ﺑﻪ ﻧﺎﻡ ﺩﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﺟﻮﺍﻥ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﺗﺎ ﺑﺎ ﺣﻤﺎﻳﺖ ﺷــﻮﺭﺟﻪ‪ ،‬ﻓﻴﻠﻢ ﺍﻭﻟﺸــﺎﻥ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ‬ ‫ﻣﺸــﺘﺮﻙ ﺗﻮﻟﻴﺪ ﻛﻨﻨﺪ‪» .‬ﻧﻔﻮﺫﻱ« ﻛﻪ ﻫﻢﺍﻛﻨﻮﻥ ﻧﺎﻡ ﺟﻤﺎﻝ ﺷﻮﺭﺟﻪ‬ ‫ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻭ ﻣﺸــﺎﻭﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺭﺩ‪ ،‬ﻓﻴﻠﻤﻲ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﻭ ﺍﺳــﺮﺍﻱ ﺟﻨﮓ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺮﺍﺳﺎﺱ ﻳﻜﻲ‬ ‫ﺍﺯ ﺭﻣﺎﻥﻫﺎﻱ ﺩﻓﺎﻉﻣﻘﺪﺱ ﺳﺎﺧﺘﻪ ﺷــﺪﻩ ﻭ ﺁﻧﮕﻮﻧﻪ ﻛﻪ ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺟﺬﺍﺑﻲ ﺩﺍﺭﺩ‪ .‬ﺣﻀﻮﺭ ﻳﻚ ﮔﺮﻭﻩ ﺣﺮﻓﻪﺍﻱ ﺩﺭ ﺗﻮﻟﻴﺪ ﺍﻳﻦ ﻓﻴﻠﻢ‪،‬‬ ‫ﻣﻲﺗﻮﺍﻧﺪ »ﻧﻔﻮﺫﻱ« ﺭﺍ ﺍﺯ ﺣﺪﺍﻗﻞﻫﺎﻱ ﺳﺎﺧﺘﺎﺭﻱ ﺑﻬﺮﻩﻣﻨﺪ ﻛﻨﺪ‪.‬‬ ‫ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﺍﺣﻤــﺪ ﻛﺎﻭﺭﻯ ‪ ،‬ﻣﻬــﺪﻯ ﻓﻴﻮﺿــﻰ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨــﺪﻩ‪:‬‬ ‫ﺟﻤﺎﻝ ﺷــﻮﺭﺟﻪ ‪ ،‬ﺣﺴــﻦ ﻋﻠﻴﻤﺮﺩﺍﻧــﻰ ‪ ،‬ﺑﻨﻴﺎﺩﺳــﻴﻨﻤﺎﻳﻰ ﻓﺎﺭﺍﺑﻰ‪،‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺍﺣﻤــﺪ ﻛﺎﻭﺭﻯ ‪ ،‬ﺩﺍﻭﺩ ﺍﻣﻴﺮﻳﺎﻥ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺟﻬﺎﻧﮕﻴﺮ‬ ‫ﻣﻴﺮﺷــﻜﺎﺭﻯ‪ ،‬ﻃﺮﺍﺡﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻓﺮﺍﻣﺮﺯ ﺑﺎﺩﺭﺍﻣﭙﻮﺭ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪:‬‬ ‫ﺑﺎﺑﻚ ﺷــﻌﺎﻋﻰ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴــﻦ ﭘﻮﻳﺎ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺣﺴــﻦ‬ ‫ﺍﻳﻮﺑﻰ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﺁﺭﻳﺎ ﻋﻈﻴﻤﻰﻧﮋﺍﺩ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺍﻣﻴﺮ ﺟﻌﻔﺮﻯ‪ ،‬ﺟﻤﺸﻴﺪ‬ ‫ﻫﺎﺷﻢﭘﻮﺭ‪ ،‬ﻧﺴــﺮﻳﻦ ﻣﻘﺎﻧﻠﻮ‪ ،‬ﻗﺎﺳــﻢ ﺯﺍﺭﻉ‪ ،‬ﻣﺤﻤﺪ ﻛﺎﺳﺒﻰ‪ ،‬ﻫﻮﺷﻨﮓ‬ ‫ﺗﻮﻛﻠﻰ‪ ،‬ﻣﺪﺕ‪ 85 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﻓﺮﻳﺪﻭﻥ ﭘﺲ ﺍﺯ ﺑﻴﺴﺖﺳﺎﻝ ﺍﺳﺎﺭﺕ ﺑﻪ ﻭﻃﻦ‬ ‫ﺑﺎﺯﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺧﻮﺍﺏﻫﺎﻯ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ‪ /‬ﭘﻮﺭﺍﻥ ﺩﺭﺧﺸﻨﺪﻩ‬ ‫ﺩﺭﺧﺸﻨﺪﻩ ﺍﺯ ﻣﻴﺎﻥ ﭼﻨﺪﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﻃﺮﺣﻲ ﻛﻪ ﻗﺼﺪ ﺳﺎﺧﺖ‬ ‫ﺁﻧﻬﺎ ﺭﺍ ﺑﺮﺍﻱ ﺍﻣﺴــﺎﻝ ﺩﺍﺷــﺖ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪ »ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ« ﺭﺍ‬ ‫ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ ﺗــﺎ ﺑﺎ ﺣﻤﺎﻳﺖ ﺑﻨﻴﺎﺩ ﻓﺎﺭﺍﺑﻲ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﻫﻤﺪﺍﻥ ﺁﻣﺎﺩﻩ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻤﺎﻧﻨﺪ ﻓﻴﻠﻢ ﻗﺒﻠﻲ ﺍﻭ ﻳﻌﻨﻲ »ﺑﭽﻪﻫﺎﻱ‬ ‫ﺍﺑﺪﻱ« ﻣﻀﻤﻮﻧﻲ ﻣﺮﺗﺒﻂ ﺑﺎ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧــﺎﻥ ﺩﺍﺭﺩ ﻭ ﻗﺮﺍﺭ ﺑﻮﺩ ﺩﺭ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻛﻮﺩﻙ ﻫﻤﺪﺍﻥ ﺣﺎﺿﺮ ﺑﺎﺷﺪ‪ .‬ﺑﻪ ﻋﻠﺖ ﻓﺮﺻﺖ ﻛﻢ ﻭ ﺗﻌﺠﻴﻞ‬ ‫ﺩﺭ ﺭﺳﺎﻧﺪﻥ ﻓﻴﻠﻢ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﻧﺴﺨﻪ ﻛﺎﻣﻞ »ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ«‬ ‫ﺑﻪ ﻫﻤﺪﺍﻥ ﻧﺮﺳﻴﺪ ﻭ ﻗﺮﺍﺭ ﺑﺮ ﺍﻳﻦ ﺷﺪ ﺗﺎ ﻧﺴﺨﻪ ﻧﻬﺎﻳﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺷﻮﺩ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﭘﻮﺭﺍﻥ ﺩﺭﺧﺸــﻨﺪﻩ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﭘﻮﺭﺍﻥ ﺩﺭﺧﺸــﻨﺪﻩ‪،‬‬ ‫‪ ،‬ﺑﻨﻴﺎﺩ ﺳــﻴﻨﻤﺎﻳﻰ ﻓﺎﺭﺍﺑﻰ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻣﺤﻤــﻮﺩ ﺁﻳﺪﻥ‪ ،‬ﭘﻮﺭﺍﻥ‬ ‫ﺩﺭﺧﺸﻨﺪﻩ‪ ،‬ﻣﻬﺮﺍﻥ ﺍﺣﻤﺪﻯ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻋﺒﺎﺱ ﺭﺳﺘﮕﺎﺭﭘﻮﺭ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪:‬‬ ‫ﺁﺭﺵ ﻗﺎﺳــﻤﻰ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻓﺮﻳﺪ ﻓﺮﺡ ﻣﺮﺯﻯ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪:‬‬ ‫ﻓﺮﻳﺪ ﻓﺮﺡﻣﺮﺯﻯ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻣﺴﻌﻮﺩ ﺳﻼﻣﻰ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺑﻬﺮﺍﻡ‬ ‫ﺩﻫﻘﺎﻧﻰ‪ ،‬ﺭﺿﺎ ﺷﻴﺮﻭﺍﻧﻰ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﻣﻴﻼﺩ ﻣﻮﺣﺪﻯ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻓﺮﺷﺘﻪ‬ ‫ﺻﺪﺭﻋﺮﻓﺎﻳﻰ‪ ،‬ﻋﻠﻴﺮﺿﺎ ﺧﻤﺴﻪ‪ ،‬ﻣﻬﺮﺍﻥ ﺍﺣﻤﺪﻯ‪ ،‬ﻋﺰﺕﺍﷲ ﺭﻣﻀﺎﻧﻰﻓﺮ‪،‬‬ ‫ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ‪ ،‬ﺁﺭﻣﻴﺘﺎ ﻣﺮﺍﺩﻯ‪ ،‬ﻣﺪﺕ‪88 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﻛﺎﺑﻮﺱ ﺭﻳﺤﺎﻧﻪ‪ ،‬ﺭﻭﺯ ﺑﻌﺪ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﻣﻰﭘﻴﻮﻧﺪﺩ‬ ‫ﻭ ﻣﻌﻠﻤﺶ ﮔﻢ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﺐ ﻭﺍﻗﻌﻪ‬ ‫ﭘﺮﻭﺍﺯ ﻣﺮﻏﺎﺑﻰﻫﺎ ‪ /‬ﻋﻠﻲ ﺷﺎﻩ ﺣﺎﺗﻤﻲ‬ ‫ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﻓﻴﻠﻢ ﺷــﺎﻩﺣﺎﺗﻤﻲ ﺭﺍ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻫﻤﺪﺍﻥ ﺗﻤﺎﺷــﺎ‬ ‫ﻛﺮﺩﻩﺍﻧــﺪ‪ ،‬ﺍﺯ ﺍﻧﺘﺨﺎﺏ ﺍﻳــﻦ ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﺟﺸــﻨﻮﺍﺭﻩ ﺁﻧﻬــﻢ ﺩﺭ ﺑﺨﺶ‬ ‫ﻣﺴــﺎﺑﻘﻪ ﺍﺻﻠﻲ ﺗﻌﺠﺐ ﻣﻲﻛﻨﻨﺪ‪» .‬ﭘﺮﻭﺍﺯ ﻣﺮﻏﺎﺑﻲﻫﺎ« ﻳﻚ ﻓﻴﻠﻢ ﺳﺎﺩﻩ‬ ‫ﻭ ﻛﻮﺩﻛﺎﻧﻪ ﺍﺳــﺖ ﻛﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺩﺭﺩ ﻫﻤﺎﻥ ﺟﺸــﻨﻮﺍﺭﻩﺍﻱ ﻛﻪ ﺑﺮﺍﻳﺶ‬ ‫ﺗﻮﻟﻴﺪ ﺷــﺪﻩ ﻣﻲﺧﻮﺭﺩ ﻭ ﺣﻀﻮﺭﺵ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺗﻮﺟﻴﻪ ﻣﻨﻄﻘﻲ ﭼﻨﺪﺍﻧﻲ ﻧﺪﺍﺭﺩ‪،‬ﻣﮕﺮ ﺍﻳﻨﻜﻪ ﻣﺴﺌﻮﻻﻥ ﻓﺎﺭﺍﺑﻲ ﺑﺨﻮﺍﻫﻨﺪ‬ ‫ﻧﺘﻴﺠﻪ ﺳــﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻫﺮﺻﻮﺭﺕ ﻣﻤﻜﻦ ﺩﺭ ﻣﻌﺮﺽ‬ ‫ﺩﻳﺪ ﻋﻤﻮﻡ ﻗﺮﺍﺭ ﺩﻫﻨﺪ‪ .‬ﺷــﺎﻩﺣﺎﺗﻤﻲ ﻛﻪ ﭘﻴــﺶ ﺍﺯ ﺍﻳﻦ ﻫﻢ ﭼﻨﺪ ﻓﻴﻠﻢ‬ ‫ﻣﺎﻧﻨﺪ »ﻛﻮﻟﻲ« ﻭ »ﺗﺮﻛﺶﻫﺎﻱ ﺻﻠﺢ« ﺭﺍ ﺩﺭ ﺣﻴﻄﻪ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﺮﺩﻩ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﻗﺼﻪﺍﻱ ﺗﻤﺎﺷﺎﮔﺮﭘﺴﻨﺪﺗﺮ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﺁﻭﺭﺩﻥ ﺑﺎﺯﻳﮕﺮﺍﻧﻲ ﺷــﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺮﺍﻱ ﻣﺨﺎﻃﺐ ﻋﺎﻡ‪ ،‬ﺑﻪ ﻓﻜﺮ ﺍﻛﺮﺍﻥ ﻭ‬ ‫ﮔﻴﺸﻪ ﻓﻴﻠﻤﺶ ﻫﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﻋﻠﻰ ﺷــﺎﻩﺣﺎﺗﻤﻰ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﻋﻠﻰ ﺷــﺎﻩﺣﺎﺗﻤﻰ‬ ‫‪ ،‬ﺑﻨﻴــﺎﺩ ﺳــﻴﻨﻤﺎﻳﻰ ﻓﺎﺭﺍﺑــﻰ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺯﻫﺮﺍ ﺷــﺎﻩﺣﺎﺗﻤﻰ ‪،‬‬ ‫ﻋﻠﻰ ﺷــﺎﻩ ﺣﺎﺗﻤﻰ‪ ،‬ﺻﺪﺍﺑــﺮﺩﺍﺭ‪ :‬ﺍﺣﻤﺪ ﺍﻣﻴﺮﻯ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﻣﺤﺴــﻦ‬ ‫ﺭﻭﺷﻦ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ ‪ :‬ﺭﺿﺎ ﻗﻮﻣﻰ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻧﺎﺻﺮ ﻛﺎﻭﻭﺳﻰ‪،‬‬ ‫ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﻣﻬﺪﻯ ﺣﺴﻴﻨﻰﻭﻧﺪ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﻓﺮﺩﻳﻦ ﺧﻠﻌﺘﺒﺮﻯ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪:‬‬ ‫ﺭﺿﺎ ﻧﺎﺟﻰ‪ ،‬ﻣﻬﺮﺍﻥ ﻏﻔﻮﺭﻳﺎﻥ‪ ،‬ﻛﻴﻬﺎﻥ ﻣﻠﻜــﻰ‪ ،‬ﻣﻬﺮﺍﻥ ﺭﺟﺒﻰ‪ ،‬ﻧﻴﻠﻮﻓﺮ‬ ‫ﻣﺤﻤﻮﺩﻯ‪.‬ﻣﺪﺕ‪ 85 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﻳﻚ ﻣﺮﻏﺎﺑﻰ ﻭﺣﺸﻰ ﺯﺧﻤﻰ ﺑﻪ ﻋﻠﻰ ﺳﭙﺮﺩﻩ‬ ‫ﻣﻰﺷــﻮﺩ ﻛﻪ ﭘﺲ ﺍﺯ ﻣﺪﺗــﻰ ﺑﻴــﻦ ﺁﻥ ﺩﻭ ﺭﺍﺑﻄﻪﺍﻯ ﻋﺎﻃﻔﻰ ﺷــﻜﻞ‬ ‫ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺗﺴﻮﻳﻪ ﺣﺴﺎﺏ‪ /‬ﺗﻬﻤﻴﻨﻪ ﻣﻴﻼﻧﻲ‬ ‫»ﺗﺴــﻮﻳﻪ ﺣﺴــﺎﺏ« ﺩﺭﺣﺎﻟﻲ ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﻭ ﺩﺭ‬ ‫ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺯﻣﺎﻥ ﻭﺯﺍﺭﺕ ﺻﻔﺎﺭﻫﺮﻧﺪﻱ‬ ‫ﻛﺎﻣﻼ ﻏﻴﺮﻗﺎﺑﻞ ﻧﻤﺎﻳﺶ ﺗﺸﺨﻴﺺ ﺩﺍﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻮﺩ‬ ‫ﻛﻪ ﻣﻴﻼﻧﻲ ﺑﻪ ﺳﻤﺖ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺟﻨﺠﺎﻟﻲ »ﺳﻮﭘﺮﺍﺳﺘﺎﺭ« ﺭﻓﺖ‪ .‬ﺑﻌﺪ‬ ‫ﺍﺯ ﻧﻤﺎﻳﺶ ﺍﻳﻦ ﻓﻴﻠﻢ ﻭ ﻗﺮﺍﺭ ﮔﺮﻓﺘــﻦ ﺁﻥ ﺩﺭ ﻛﻨﺎﺭ ﻓﻴﻠﻢﻫﺎﻱ ﻣﻌﻨﺎﮔﺮﺍﻱ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﺳﺎﻝ ﮔﺬﺷــﺘﻪ ﮔﺮﻭﻫﻲ ﺍﻳﻦ ﺷــﺎﻳﻌﻪ ﺭﺍ ﻣﻄﺮﺡ ﻛﺮﺩﻧﺪ ﻛﻪ‬ ‫ﻣﻴﻼﻧﻲ ﺑﺎ ﺳﺎﺧﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﺍﺭﺷﺎﺩ ﺑﺎﺝ ﺩﺍﺩﻩ ﺗﺎ ﻣﺸﻜﻞ ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ‬ ‫ﻓﻴﻠﻢ »ﺗﺴﻮﻳﻪ ﺣﺴــﺎﺏ« ﺭﺍ ﺣﻞ ﻛﻨﺪ ﺍﻣﺎ ﺩﺭ ﺯﻣﺎﻥ ﮔﺮﻭﻩ ﻗﺒﻠﻲ ﻣﻌﺎﻭﻧﺖ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﻭ ﺍﺭﺷﺎﺩ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﻴﻔﺘﺎﺩ‪.‬‬ ‫ﺗﻬﻤﻴﻨﻪ ﻣﻴﻼﻧﻲ ﺩﺭ ﺍﻳﺎﻡ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺳــﺎﻝ ﮔﺬﺷﺘﻪ ﻛﻪ ﻓﻴﻠﻢ‬ ‫»ﺳﻮﭘﺮﺍﺳــﺘﺎﺭ« ﺑﻬﺎﻧﻪ ﮔﻔﺖﻭﮔﻮﻫﺎﻱ ﻣﺘﻌﺪﺩ ﺍﻭ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺷﺪﺕ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺍﻳــﻦ ﺩﻭ ﻓﻴﻠﻢ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺗﻜﺬﻳﺐ ﻛــﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻣﺼﺎﺣﺒﻪﻫﺎﻳﺶ‬ ‫ﮔﻔﺘــﻪ ﺑﻮﺩ ‪»:‬ﻣﻦ ﺑﻴــﺶ ﺍﺯ ﻳﻚ ﺳــﺎﻝ ﭘﻴﺶ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺳﻮﭘﺮﺍﺳــﺘﺎﺭ‬ ‫ﺭﺍ ﻧﻮﺷــﺘﻢ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺷــﻮﺭﺍﻱ ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﺍﺭﺍﺋﻪ ﻛــﺮﺩﻡ ﻭ ﺣﺪﻭﺩ‬ ‫‪ 8 ،9‬ﻣــﺎﻩ ﻃﻮﻝ ﻛﺸــﻴﺪ ﺗﺎ ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﺑﻪ ﻣﻦ ﺩﺍﺩﻧــﺪ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫» ﺗﺴﻮﻳﻪ ﺣﺴــﺎﺏ« ﺧﻴﻠﻲ ﺭﺍﺣﺖ ﺗﺼﻮﻳﺐ ﺷــﺪ ﻭ ﻭﻗﺘﻲ ﺳﺎﺧﺘﻪ ﺷﺪ‬ ‫ﮔﻔﺘﻨﺪ ﺗﺼﻮﺭ ﻣﺎ ﺍﺯ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﺒﻮﺩﻩ‪ .‬ﻣﻦ ﻧﻤﻴﺪﺍﻧﻢ ﭼﻪ ﭼﻴﺰﻱ‬ ‫ﺩﺭ ﺫﻫﻨﺸﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ«‪».‬ﺗﺴﻮﻳﻪ ﺣﺴــﺎﺏ« ﺑﺮﺧﻼﻑ ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﻣﻴﻼﻧﻲ ﻳﻌﻨﻲ »ﺳﻮﭘﺮﺍﺳﺘﺎﺭ«‪ ،‬ﻣﺮﺯﺑﻨﺪﻱﻫﺎﻱ ﺧﻴﺮ ﻭ ﺷﺮ ﻣﺮﺩﺍﻧﻪ‪ -‬ﺯﻧﺎﻧﻪ‬ ‫ﺭﺍ ﺁﺷــﻜﺎﺭﺗﺮ ﻭ ﻫﻤﺎﻧﻨﺪ ﺁﺛﺎﺭ ﻗﺒﻠﻲ ﺍﻭ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻓﻴﻠﻢ ﺣﺎﻝ ﻭ ﻫﻮﺍﻳﻲ‬ ‫ﻃﻨﺰﮔﻮﻧﻪ ﺩﺍﺭﺩ ﻭ ﺳﺎﺧﺘﻪ ﺷــﺪﻧﺶ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻌﺪ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﺗﺠﺎﺭﻱ‬ ‫ﭘﺮﺳﻪ ﺩﺭ ﻣﻪ‬ ‫‪29‬‬ ‫ﭼﺸــﻤﮕﻴﺮ »ﺁﺗﺶﺑﺲ« ﺑــﻪ ﺍﻳﻦ ﺍﻣﻴﺪ ﺑــﻮﺩ ﻛﻪ ﺭﻛــﻮﺭﺩ ﺁﻥ ﻓﻴﻠﻢ ﺭﺍ‬ ‫ﺑﺸﻜﻨﺪ‪.‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﺗﻬﻤﻴﻨﻪ ﻣﻴﻼﻧﻲ ‪ ،‬ﻣﺪﻳــﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﻋﻠﻴﺮﺿﺎ ﺯﺭﻳﻦ ﺩﺳﺖ ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﻣﺴﺘﺎﻧﻪ ﻣﻬﺎﺟﺮ ‪ ،‬ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻛﻴﻮﺍﻥ‬ ‫ﻣﻘﺪﻡ‪ ،‬ﻣﻮﺳــﻴﻘﻲ‪ :‬ﻧﺎﺻﺮ ﭼﺸﻢ ﺁﺫﺭ ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺍﺳــﺤﺎﻕ ﺧﺎﻧﺰﺍﺩﻱ‪،‬‬ ‫ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﺟﻼﻝ ﺍﻟﺪﻳﻦ ﻣﻌﻴﺮﻳﺎﻥ ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﻣﺤﻤﺪ ﻧﻴﻚﺑﻴﻦ‪،‬‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﻬﻨﺎﺯ ﺍﻓﺸــﺎﺭ‪ ،‬ﻻﺩﻥ ﻣﺴــﺘﻮﻓﻲ‪ ،‬ﺷــﻬﺮﻩ ﻟﺮﺳــﺘﺎﻧﻲ‪ ،‬ﺍﻟﺴﺎ‬ ‫ﻓﻴﺮﻭﺯﺁﺫﺭ‪ ،‬ﺑﻬﺎﺭﻩ ﺍﻓﺸــﺎﺭﻱ‪ ،‬ﺍﻛﺒﺮ ﻋﺒﺪﻱ‪ ،‬ﺳــﻴﺎﻭﺵ ﻃﻬﻤﻮﺭﺙ‪ ،‬ﺭﺿﺎ‬ ‫ﻋﻄﺎﺭﺍﻥ‪ ،‬ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻳﻔﻲ ﻧﻴﺎ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ ﭼﻬﺎﺭ ﺩﺧﺘﺮ ﺑﺰﻫﻜﺎﺭ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭﮔﻴﺮ ﺍﺗﻔﺎﻗﺎﺕ ﻣﺨﺘﻠﻔﻲ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ ‪ /‬ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ‬ ‫ﺷــﺎﻳﺪ ﺍﮔﺮ »ﺑﻪﺭﻧﮓ ﺍﺭﻏــﻮﺍﻥ« ﺗﻮﻗﻴﻒ ﻧﻤﻲﺷــﺪ ﻭ ﺑــﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭﻣﻲﺁﻣﺪ‪ ،‬ﺑﻌﺪ ﺍﺯ »ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ« ﺗﺒﺪﻳﻞ ﺑــﻪ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﻭ‬ ‫ﺣﺘﻲ ﺟﺮﻳﺎﻥ ﺳــﺎﺯﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻣﻲﺷﺪ‪ .‬ﺧﻴﻠﻲﻫﺎ‬ ‫ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ ﺟﻠﻮﮔﻴﺮﻱ ﺍﺯ ﻧﻤﺎﻳﺶ »ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺑﺎﻋﺚ ﻳﻚ ﺍﻓﺖ‬ ‫ﻭ ﺣﺮﻛﺖ ﺩﺭ ﺳﺮﺍﺷﻴﺒﻲ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺷﺪ ﻭ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻣﺎﻧﻨﺪ‬ ‫»ﺑﻪ ﻧﺎﻡ ﭘــﺪﺭ«‪» ،‬ﺩﻋﻮﺕ« ﻭ ﻫﻤﭽﻨﻴﻦ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺑﺎ ﺳــﻄﺢ ﻛﻴﻔﻲ‬ ‫»ﺣﻠﻘﻪ ﺳــﺒﺰ« ﻣﺤﺼﻮﻝ ﻃﺒﻴﻌﻲ ﺣﻮﺍﺷــﻲ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﭘﻴﺮﺍﻣﻮﻥ‬ ‫»ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺍﺳﺖ‪.‬‬ ‫»ﺑﻪﺭﻧــﮓ ﺍﺭﻏﻮﺍﻥ« ﻳﻜﻲ ﺍﺯ ﭘﺨﺘﻪﺗﺮﻳــﻦ ﺍﺟﺮﺍﻫﺎﻱ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ‬ ‫ﺳﺎﺧﺘﺎﺭ ﻓﻴﻠﻢ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﻣﻮﺿﻮﻉ ﻭ ﻣﻀﻤﻮﻥ‪ ،‬ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﻪ ﺳﺮﺍﻍ‬ ‫ﺗﺎﺑﻮﻫﺎﻱ ﻓﺮﺍﻭﺍﻧﻲ ﺭﻓﺘﻪ ﻛﻪ ﻫﻤﻴﻦﻫﺎ ﺑﺎﻋﺚ ﺗﻮﻗﻴﻒ ﻓﻴﻠﻢ ﺷــﺪ؛ ﺍﺯ ﻋﺸﻖ‬ ‫ﻳﻚ ﻣﺎﻣﻮﺭ ﺍﻃﻼﻋﺎﺕ ﺑﻪ ﺩﺧﺘــﺮ ﻳﻚ ﻋﻀﻮ ﮔﺮﻭﻫﻚ ﻣﺠﺎﻫﺪﻳﻦ ﮔﺮﻓﺘﻪ‬ ‫ﺗــﺎ ﻟﻐﺰﺵ ﺍﻳﻦ ﻣﺎﻣــﻮﺭ ﺍﺯ ﺍﺟﺮﺍﻱ ﻓﺮﻣــﺎﻥ ﻭ ﺗﺮﺩﻳــﺪ ﺩﺭ ﺑﺮﺧﻲ ﻣﻮﺍﺿﻊ‬ ‫ﺳﺎﺯﻣﺎﻧﻲﺍﺵ؛ ﺍﺯ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﺑﺮﺧﻲ ﺷــﻴﻮﻩﻫﺎﻱ ﻋﻤﻠﻴﺎﺕ ﺍﻃﻼﻋﺎﺗﻲ‬ ‫ﮔﺮﻓﺘﻪ ﺗﺎ ﺍﻳﺴﺘﺎﺩﮔﻲ ﻭ ﻃﻐﻴﺎﻥ ﻣﺎﻣﻮﺭ ﺍﻣﻨﻴﺘﻲ ﺩﺭ ﺑﺮﺍﺑﺮ ﻫﻤﻜﺎﺭﺍﻧﺶ‪.‬‬ ‫ﻧﻴﻤــﻪ ﭘﺎﻳﺎﻧــﻰ ﺍﺳــﻔﻨﺪﻣﺎﻩ ﺳــﺎﻝ ‪ 82‬ﺑﻮﺩ ﻛــﻪ ﻓﻴﻠﻤﺒــﺮﺩﺍﺭﻯ‬ ‫»ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳــﻴﺪ‪ .‬ﻫﻤﻪ ﻣﻨﺘﻈﺮ ﺑﻮﺩﻧﺪ ﺗﺎ ﻓﻴﻠﻢ ﺟﺪﻳﺪ‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﺭﺍ ﺩﺭ ﺑﻴﺴﺖ ﻭ ﺳﻮﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺩﺭ ﺑﻬﻤﻦ ‪ 83‬ﺗﻤﺎﺷﺎ‬ ‫ﻛﻨﻨﺪ‪ .‬ﺍﺳــﺎﻣﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﺴﺖ ﻭ ﺳﻮﻡ‬ ‫ﺍﻋﻼﻡ ﺷــﺪ ﻭ ﻓﻴﻠﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻫﻢ ﻳﻜﻲ ﺍﺯ ﺁﻧﻬﺎ ﺑﻮﺩ‪ .‬ﺣﺘﻲ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﺭﻭﺯﺍﻧﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻢ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ ،‬ﺍﻣﺎ ﺳﻪ ﺭﻭﺯ ﻣﺎﻧﺪﻩ ﺑﻪ ﺁﻏﺎﺯ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﺷﺎﻳﻌﺎﺗﻲ ﻣﺒﻨﻲﺑﺮ ﺟﻠﻮﮔﻴﺮﻱ ﺍﺯ ﻧﻤﺎﻳﺶ »ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ«‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻲﺷﺪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺎ ﺩﺭﺧﻮﺍﺳﺖ ﻣﺴﺘﻘﻴﻢ‬ ‫ﻭﺯﻳﺮ ﺍﻃﻼﻋﺎﺕ ﻭﻗﺖ)ﻋﻠﻲ ﻳﻮﻧﺴــﻲ(‪ ،‬ﺍﺟﺎﺯﻩ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺭﺍ‬ ‫ﻧﺪﺍﺭﺩ ﻭ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ ﻧﻴﺰ ﺩﺭ ﮔﻔﺖ ﻭ ﮔﻮﻳﻰ ﺧﺒﺮ ﺍﺯ ﺗﻮﻗﻴﻒ ﺁﻥ ﺩﺍﺩ‪.‬‬ ‫ﻓﺮﺩﺍﻱ ﺁﻥ ﺭﻭﺯ ﻭ ﺩﺭ ﻓﺎﺻﻠﻪ ﺩﻭ ﺭﻭﺯ ﺗﺎ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻢ ﻧﺎﻣﻪ ﺣﺎﺗﻤﻰﻛﻴﺎ ﺑﻪ‬ ‫ﻭﺯﻳﺮ ﺍﻃﻼﻋﺎﺕ ﺍﻧﺘﺸــﺎﺭ ﻳﺎﻓﺖ ﻭ»ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺭﺳﻤﺎ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺧﺎﺭﺝ ﻭ ﺑﺮﺍﻱ ﭘﻨﺞ ﺳﺎﻝ ﺗﻮﻗﻴﻒ ﺷﺪ‪.‬‬ ‫ﺩﺭ ﻃﻮﻝ ﭼﻨﺪﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺳﻴﺪﺟﻤﺎﻝ ﺳﺎﺩﺍﺗﻴﺎﻥ ﻧﺎﻣﻪﻧﮕﺎﺭﻱﻫﺎﻱ‬ ‫ﺯﻳﺎﺩﻱ ﺭﺍ ﺑﺮﺍﻱ ﺣﻞ ﻣﺸــﻜﻞ ﻧﻤﺎﻳﺶ »ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺍﻧﺠﺎﻡ ﺩﺍﺩ؛ ﺍﺯ‬ ‫ﻧﺎﻣﻪ ﺑﻪ ﻣﻌﺎﻭﻧﺖﻫﺎﻱ ﺳــﻴﻨﻤﺎﻳﻲ ﮔﺮﻓﺘﻪ ﺗﺎ ﻭﺯﺭﺍﻱ ﺍﺭﺷــﺎﺩ ﻭﻗﺖ‪ .‬ﺳﺎﻝ‬ ‫ﮔﺬﺷﺘﻪ ﺣﺘﻲ ﻛﺎﺭ ﺑﻪ ﻧﺎﻣﻪﻧﮕﺎﺭﻱ ﺑﺎ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﻫﻢ ﻛﺸﻴﺪﻩ ﺷﺪ ﺍﻣﺎ‬ ‫ﻣﺸﻜﻞ ﻓﻴﻠﻢ ﺭﺍ ﺣﻞ ﻧﻜﺮﺩ‪.‬‬ ‫ﺑــﺎ ﺭﻭﻱ ﻛﺎﺭ ﺁﻣﺪﻥ ﺗﻴﻢ ﺟﺪﻳﺪ ﺳــﻴﻨﻤﺎﻳﻲ ﺩﺭ ﺩﻭﻟﺖ ﺩﻫﻢ‪ ،‬ﻳﻜﻲ ﺍﺯ‬ ‫ﺁﻧﺎﻫﻴﺘﺎ‬ ‫ﺍﻭﻟﻴﻦ ﺍﻗﺪﺍﻣﺎﺕ ﺟﻮﺍﺩ ﺷﻤﻘﺪﺭﻱ ﺭﻓﻊ ﺗﻮﻗﻴﻒ ﺍﺯ ﻓﻴﻠﻢ »ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ«‬ ‫ﺑﻮﺩ ﺗﺎ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷــﻮﺩ ﻓﻀﺎ ﺑﺮﺍﻱ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﺑﺎﺯ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﺍﻳﻦ‬ ‫ﺭﻭﻳﻜﺮﺩ ﺑﺎﺯ ﺩﺭ ﺁﻳﻨﺪﻩ ﻫﻢ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ؟‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﺍﺑﺮﺍﻫﻴــﻢ ﺣﺎﺗﻤﻲﻛﻴــﺎ ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪:‬‬ ‫ﺳﻴﺪﺟﻤﺎﻝ ﺳــﺎﺩﺍﺗﻴﺎﻥ ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴﻦ ﻛﺮﻳﻤﻲ‪ ،‬ﺗﺪﻭﻳﻦ‪:‬‬ ‫ﻣﻬﺮﺩﺍﺩ ﺧﺴﺮﻭﻱ ‪ ،‬ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲ ﻛﻴﺎ ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻣﺤﺴﻦ‬ ‫ﺷــﺎﻩﺍﺑﺮﺍﻫﻴﻤﻲ ‪ ،‬ﻣﻮﺳــﻴﻘﻲ‪ :‬ﻓﺮﺩﻳﻦ ﺧﻠﻌﺘﺒﺮﻱ ‪ ،‬ﺻﺪﺍﺑــﺮﺩﺍﺭ‪ :‬ﻣﻬﺮﺍﻥ‬ ‫ﻣﻠﻜﻮﺗﻲ ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﻣﺤﺴﻦ ﺭﻭﺷــﻦ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻯ‪ :‬ﻋﺒﺪﺍﷲ‬ ‫ﺍﺳــﻜﻨﺪﺭﻱ ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ‪ ،‬ﺧــﺰﺭ ﻣﻌﺼﻮﻣﻲ‪ ،‬ﻛﻮﺭﻭﺵ‬ ‫ﺗﻬﺎﻣــﻲ‪ ،‬ﺑﻬﻨﺎﺯ ﺗﻮﻛﻠﻲ‪ ،‬ﺭﺿــﺎ ﺑﺎﺑﻚ‪ ،‬ﻓﺮﻫﺎﺩ ﻗﺎﺋﻤﻴﺎﻥ‪ ،‬ﻧﻮﺍﻝ ﺷــﺮﻳﻔﻲ‪،‬‬ ‫ﻣﺰﺩﻙ ﺭﺳﺘﻤﻲ ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪» :‬ﺷﻔﻖ« ﻳﻜﻲ ﺍﺯ ﻋﻮﺍﻣﻞ ﮔﺮﻭﻫﻚﻫﺎﻱ ﺳﻴﺎﺳﻲ‬ ‫ﻛــﻪ ﺍﻭﺍﻳﻞ ﺍﻧﻘﻼﺏ ﺑﺎ ﺑﻪ ﭘﺎ ﻛﺮﺩﻥ ﺁﺷــﻮﺏ ﺍﺯ ﻛﺸــﻮﺭ ﮔﺮﻳﺨﺘﻪﺍﻧﺪ‪ ،‬ﭘﺲ‬ ‫ﺍﺯ ﺳــﺎﻝﻫﺎ ﺗﺼﻤﻴﻢ ﻣﻲﮔﻴــﺮﺩ ﺑﺮﺍﻱ ﺩﻳﺪﻥ ﺩﺧﺘــﺮﺵ »ﺍﺭﻏﻮﺍﻥ« ﻛﻪ‬ ‫ﺩﺍﻧﺸﺠﻮﻱ ﺩﺍﻧﺸﻜﺪﻩ ﺟﻨﮕﻠﺪﺍﺭﻱ ﺍﺳﺖ ﻣﺨﻔﻴﺎﻧﻪ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﺎﺯﮔﺮﺩﺩ‪ .‬ﻳﻜﻲ‬ ‫ﺍﺯ ﻣﺎﻣﻮﺭﺍﻥ ﺍﻣﻨﻴﺘﻲ ﺑﻪ ﻧﺎﻡ »ﺑﻬﺰﺍﺩ« ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﺍﻧﺸــﺠﻮ ﻭﺍﺭﺩ ﺩﺍﻧﺸﻜﺪﻩ‬ ‫ﺷﺪﻩ ﻭ ﺍﺯ ﺗﻤﺎﻣﻲ ﺍﻣﻜﺎﻧﺎﺕ ﻣﺪﺭﻥ ﺍﻣﻨﻴﺘﻲ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﻛﻨﺪ ﺗﺎ ﺑﺎ ﻛﻨﺘﺮﻝ‬ ‫ﺍﺭﻏﻮﺍﻥ‪ ،‬ﺷﻔﻖ ﺭﺍ ﺑﻪ ﺩﺍﻡ ﺍﻧﺪﺍﺯﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺑﻴﻦ ﺍﻭ ﻭ ﺍﺭﻏﻮﺍﻥ ﺭﺍﺑﻄﻪﺍﻱ‬ ‫ﻋﺎﻃﻔﻲ ﺑﻪ ﻭﺟﻮﺩ ﻣﻲﺁﻳﺪ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﻫﻤﻜﺎﺭﺍﻥ ﺳﻴﺎﺳﻲ ﺷﻔﻖ ﻧﻴﺰ‬ ‫ﺗﺼﻤﻴﻢ ﺩﺍﺭﻧﺪ ﺍﻭ ﺭﺍ ﺗﺮﻭﺭ ﻛﻨﻨﺪ ﺗﺎ ﺑﻪ ﺩﺳﺖ ﻣﺎﻣﻮﺭﺍﻥ ﺍﻣﻨﻴﺘﻲ ﻧﻴﻔﺘﺪ‪.‬‬ ‫ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ ‪ /‬ﺷﻬﺮﻳﺎﺭ ﺑﺤﺮﺍﻧﻲ‬ ‫ﻓﻴﻠﻢ ﭘﺮﺧﺮﺝ ﻭ ﺑﻪ ﻗﻮﻟﻲ ﻓﺎﺧﺮ ﺷﻬﺮﻳﺎﺭ ﺑﺤﺮﺍﻧﻲ ﻗﺮﺍﺭ ﺑﻮﺩ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺍﻣﺎ ﺑﻪ ﻋﻠﺖ ﺁﻣﺎﺩﻩ ﻧﺸﺪﻥ ﺑﺨﺶﻫﺎﻱ‬ ‫ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳﮋﻩ‪ ،‬ﻓﻴﻠﻢ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻧﺮﺳــﻴﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻗﺮﺍﺭ ﺷﺪ ﻓﻴﻠﻢ‬ ‫ﺭﺍ ﻗﺒﻞ ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ ﻛﻨﻨﺪ ﺍﻣﺎ ﮔﻮﻳﺎ ﻣﺴــﺌﻮﻻﻥ ﻓﺎﺭﺍﺑﻲ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﺍﻥ ﺍﺻﻠﻲ‪ ،‬ﺗﺮﺟﻴﺢ ﺩﺍﺩﻧﺪ ﺗﺎ ﻓﻴﻠﻢ ﻓﺮﺻﺖ ﺍﺭﺯﻳﺎﺑﻲ‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻭ ﺍﻟﺒﺘﻪ ﻧﺎﻣﺰﺩﻱ ﺩﺭ ﺭﺷﺘﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻭ ﻛﺴﺐ ﭼﻨﺪﻳﻦ‬ ‫ﺳﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ ﺍﺣﺘﻤﺎﻟﻲ ﺭﺍ ﺍﺯ ﺩﺳــﺖ ﻧﺪﻫﺪ‪ .‬ﻧﺴﺨﻪ ‪ 115‬ﺩﻗﻴﻘﻪﺍﻯ‬ ‫»ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ« ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﻣﺴﺎﻝ ﺁﻣﺎﺩﻩ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻗﺴﻤﺖﻫﺎﻱ ﺍﺳﭙﺸﻴﺎﻝ ﺍﻓﻜﺖ ﻓﻴﻠﻢ ﺩﺭ ﭼﻴﻦ ﻭ ﻫﻨﮓﻛﻨﮓ‬ ‫ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ‬ ‫ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ‬ ‫ﻭ ﺗﻮﺳﻂ ﻣﺘﺨﺼﺼﺎﻥ ﺣﺮﻓﻪﺍﻱ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﻭ ﺧﻴﻠﻲﻫﺎ ﻣﻨﺘﻈﺮ ﺗﻤﺎﺷﺎﻱ‬ ‫ﺍﻳﻦ ﺗﺠﺮﺑﻪ ﭘﺮﻫﺰﻳﻨﻪ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻫﺴــﺘﻨﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻲﺷــﻮﺩ ﺍﮔﺮ‬ ‫ﻭﺍﻛﻨﺶﻫﺎ ﺑﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﺜﺒﺖ ﺑﺎﺷــﺪ‪ ،‬ﺍﺣﺘﻤﺎﻝ ﺗﻮﻟﻴﺪ ﻗﺴﻤﺖ ﺩﻭﻡ ﺁﻥ‬ ‫ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺷــﻬﺮﻳﺎﺭ ﺑﺤﺮﺍﻧﻰ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﻣﺠﺘﺒﻰ‬ ‫ﻓﺮﺁﻭﺭﺩﻩ ‪ ،‬ﺑﻨﻴﺎﺩ ﺳــﻴﻨﻤﺎﻳﻰ ﻓﺎﺭﺍﺑــﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺑﻬــﺮﻭﺯ ﻣﻌﺎﻭﻧﻴﺎﻥ‪،‬‬ ‫ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﻛﻴﺴــﻮﻥ ﭼﺎﻧﮓ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺣﻤﻴﺪ ﻗﺪﻳﺮﻳﺎﻥ‪،‬‬ ‫ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﺳﻌﻴﺪ ﻣﻠﻜﺎﻥ‪ ،‬ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩ‪ :‬ﻟﺌﻮ ﻟﻮ‪ ،‬ﻣﺪﻳﺮﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﺣﻤﻴﺪ ﺧﻀﻮﻋﻰ ﺍﺑﻴﺎﻧﻪ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﻣﻮﺋﻴﻨﻰ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﭼﺎﻥ‬ ‫ﻛﻮﻧﮓ ﻭﻳﻨﮓ‪ ،‬ﻣﺪﻳﺮﺗﻮﻟﻴﺪ‪ :‬ﻓﺮﻫﺎﺩ ﻛﻰﻧﮋﺍﺩ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺍﻣﻴﻦ ﺯﻧﺪﮔﺎﻧﻰ‪،‬‬ ‫ﻣﺤﻤﻮﺩ ﭘﺎﻙﻧﻴﺖ‪ ،‬ﺣﺴﻴﻦ ﻣﺤﺠﻮﺏ‪ ،‬ﻣﻬﺪﻯ ﻓﻘﻴﻪ‪ ،‬ﺍﺭژﻧﮓ ﺍﻣﻴﺮﻓﻀﻠﻰ‬ ‫ﻭ ﺍﻟﻬﺎﻡ ﺣﻤﻴﺪﻯ‪ .‬ﻣﺪﺕ‪ 110 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪» :‬ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ« ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻰ ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎﻯ‬ ‫ﺯﻧﺪﮔﻰ ﺣﻀﺮﺕ ﺳﻠﻴﻤﺎﻥ )ﻉ( ﺭﺍ ﺑﺮ ﺍﺳﺎﺱ ﻗﺮﺁﻥ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻛﻴﻤﻴﺎ ﻭ ﺧﺎﻙ‪/‬ﻋﺒﺎﺱ ﺭﺍﻓﻌﻲ‬ ‫»ﻛﻴﻤﻴﺎ ﻭ ﺧﺎﻙ« ﻳﻜﻲ ﺍﺯ ﺳــﻪ ﻓﻴﻠﻢ ﻣﺮﺗﺒﻂ ﺑﺎ ﺳﻲﺍﻣﻴﻦ ﺳﺎﻟﮕﺮﺩ‬ ‫ﺍﻧﻘﻼﺏ ﺍﺳﺖ ﻛﻪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺗﻮﻟﻴﺪ ﺷﺪﻧﺪ ﻭ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖﻭﻫﻔﺘﻢ‬ ‫ﻧﺮﺳــﻴﺪﻧﺪ‪») .‬ﻳﻚ ﮔﺰﺍﺭﺵ ﻭﺍﻗﻌﻲ« ﺳــﺎﺧﺘﻪ ﺩﺍﺭﻳــﻮﺵ ﻓﺮﻫﻨﮓ ﻭ‬ ‫»ﺑﻴﺪﺍﺭﻱ« ﺳــﺎﺧﺘﻪ ﻓﺮﺯﺍﺩ ﻣﻮﺗﻤﻦ ﺩﻳﮕﺮ ﻓﻴﻠﻢﻫــﺎﻱ ﺍﻧﻘﻼﺑﻲ ﻓﺎﺭﺍﺑﻲ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﻓﻴﻠﻢ ﻣﻮﺗﻤﻦ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﻧﺮﺳﻴﺪ(‪ .‬ﻋﺒﺎﺱ ﺭﺍﻓﻌﻲ‬ ‫ﻛﻪ ﺩﺭ ﺑﺨﺶ ﺧﺎﺭﺝ ﺍﺯ ﻣﺴــﺎﺑﻘﻪ ﻫﻢ ﻓﻴﻠــﻢ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ »ﻛﻴﻤﻴﺎ ﻭ ﺧﺎﻙ«‬ ‫ﺑﻪ ﻣﺎﺟﺮﺍﻫﺎﻱ ﭘﺎﻳﻴﺰ ﺳﺎﻝ ‪ 57‬ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻗﺒﻞ ﺍﺯ ﭘﻴﺮﻭﺯﻱ‬ ‫ﺍﻧﻘﻼﺏ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﻓﺎﺭﺍﺑﻲ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ ﺍﺳﺖ ﻭ ﺣﻀﻮﺭ ﺁﻥ ﺩﺭ‬ ‫ﺑﺨﺶ ﺁﺳﻴﺎ ﻣﻲ ﺗﻮﺍﻧﺪ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﺑﺮﺧﻮﺭﺩﺍﺭﻱ ﺍﺯ ﺣﺪﺍﻗﻞﻫﺎﻱ ﻛﻴﻔﻲ‬ ‫ﻭ ﺳﺎﺧﺘﺎﺭﻱ ﻓﻴﻠﻢ ﻋﺒﺎﺱﺭﺍﻓﻌﻲ ﺑﺎﺷﺪ‪.‬‬ ‫ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﻋﺒﺎﺱ ﺭﺍﻓﻌــﻰ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﻋﺒــﺎﺱ ﺭﺍﻓﻌﻰ ‪ ،‬ﺑﻨﻴﺎﺩ‬ ‫ﺳﻴﻨﻤﺎﻳﻰ ﻓﺎﺭﺍﺑﻰ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻋﺒﺎﺱ ﺭﺍﻓﻌﻰ ‪ ،‬ﺑﻬﺮﺍﻡ ﺻﺤﻴﺤﻰ‪،‬‬ ‫ﺻﺪﺍﺑــﺮﺩﺍﺭ‪ :‬ﻋﺒﺎﺱ ﺭﺳــﺘﮕﺎﺭﭘﻮﺭ‪ ،‬ﺻﺪﺍﮔــﺬﺍﺭ‪ :‬ﻋﺒﺎﺱ ﺭﺳــﺘﮕﺎﺭﭘﻮﺭ‪،‬‬ ‫ﻓﻬﻴﻤــﻪ ﺷــﺠﺎﻋﻰ‪ ،‬ﻃــﺮﺍﺡ ﺻﺤﻨــﻪ ﻭ ﻟﺒــﺎﺱ‪ :‬ﺍﺻﻐــﺮ ﻧﮋﺍﺩﺍﻳﻤﺎﻧﻰ‪،‬‬ ‫ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﻗﻮﻣﻰ‪ ،‬ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩ ‪ :‬ﺍﺻﻐﺮ ﭘﻮﺭﻫﺎﺟﺮﻳﺎﻥ‪،‬‬ ‫ﻣﺪﻳــﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻣﺤﻤــﺪ ﺁﻻﺩﭘﻮﺵ‪ ،‬ﺗﺪﻭﻳﻨﮕــﺮ‪ :‬ﻧﺎﺯﻧﻴﻦ ﻣﻔﺨﻢ‪،‬‬ ‫ﻣﻮﺳﻴﻘﻰ‪ :‬ﭘﻴﻤﺎﻥ ﻳﺰﺩﺍﻧﻴﺎﻥ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺣﺴﻴﻦ ﻳﺎﺭﻯ ‪ ،‬ﭘﺮﻳﻮﺵ ﻧﻈﺮﻳﻪ‪،‬‬ ‫ﺍﻣﻴﺮ ﺁﻗﺎﻳﻰ ‪ ،‬ﺁﺯﻳﺘﺎ ﺣﺎﺟﻴﺎﻥ ‪ ،‬ﺳﻴﺎﻭﺵ ﻃﻬﻤﻮﺭﺙ ‪ ،‬ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ‪.‬ﻣﺪﺕ‪:‬‬ ‫‪87‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﻓﻀﺎﻯ ﻣﻠﺘﻬﺐ ﺁﺑﺎﻥ ﻣﺎﻩ ﺳﺎﻝ ‪ 1357‬ﺳﺮﻧﻮﺷﺖ‬ ‫‪ 5‬ﮔﺮﻭﻩ ﺭﺍ ﻛــﻪ ﻣﻰﺧﻮﺍﻫﻨﺪ ﺑﺎ ﺁﺧﺮﻳﻦ ﭘﺮﻭﺍﺯ ﺍﺯ ﺍﻳﺮﺍﻥ ﺧﺎﺭﺝ ﺷــﻮﻧﺪ ﺑﻪ‬ ‫ﻫﻢ ﮔﺮﻩ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﭼﻬﻞ ﺳﺎﻟﮕﻰ‪ /‬ﻋﻠﻴﺮﺿﺎ ﺭﺋﻴﺴﻴﺎﻥ‬ ‫ﻋﻠﻴﺮﺿﺎ ﺭﺋﻴﺴــﻴﺎﻥ ﭘﻨﺠﻤﻴﻦ ﻓﻴﻠــﻢ ﺑﻠﻨﺪﺵ ﺭﺍﺑﺮ ﺍﺳــﺎﺱ ﺭﻣﺎﻥ‬ ‫»ﭼﻬﻞ ﺳﺎﻟﮕﻲ« ﻧﻮﺷــﺘﻪ ﻧﺎﻫﻴﺪ ﻃﺒﺎﻃﺒﺎﻳﻲ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻗﺘﺒﺎﺱ ﺍﺯ‬ ‫ﻳﻚ ﺭﻣﺎﻥ ﻣﻌﺎﺻﺮ ﺑﺮﺍﻱ ﻋﻼﻗﻤﻨﺪﺍﻥ ﺳــﻴﻨﻤﺎ ﻭ ﺍﻟﺒﺘﻪ ﺍﺩﺑﻴﺎﺕ ﻣﻲﺗﻮﺍﻧﺪ‬ ‫ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﺑﺴــﻴﺎﺭﻱ ﺩﺍﺷــﺘﻪ ﺑﺎﺷــﺪ ﺑﻪ ﺧﺼﻮﺹ ﺍﻳﻨﻜﻪ ﺗﺮﻛﻴﺐ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﻫﻢﺑﺮ ﺟﺬﺍﺑﻴﺖﻫﺎ ﻣﻲﺍﻓﺰﺍﻳﺪ‪ .‬ﺑﻪ ﺟﺰ ﻓﻴﻠﻢ ﺍﻭﻝ ﺭﺋﻴﺴﻴﺎﻥ‬ ‫ﻳﻌﻨﻲ »ﺭﻳﺤﺎﻧﻪ« ﻛﻪ ﺳﺎﺧﺘﺎﺭ ﻭ ﺩﺍﺳﺘﺎﻧﻲ ﻣﻠﻤﻮﺱ ﺑﺮﺍﻱ ﻣﺨﺎﻃﺐ ﻋﺎﻡ‬ ‫‪30‬‬ ‫ﺑﻪﺻﻮﺭﺕ ﻣﺤﺪﻭﺩ ﺍﻛﺮﺍﻥ ﻣﻲﺷﻮﻧﺪ‪» .‬ﺷﻜﺎﺭﭼﻲ ﺷﻨﺒﻪ« ﻫﻢ ﺑﻪ ﺳﻴﺎﻕ‬ ‫ﺑﺮﺧﻲ ﺍﺯ ﻓﻴﻠﻢﻫﺎ ﻭ ﺗﻠﻪﻓﻴﻠﻢﻫﺎﻱ ﺩﻭﻟﺘﻲ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﺩﺭ ﻟﺒﻨﺎﻥ ﺳﺎﺧﺘﻪ‬ ‫ﺷــﺪ‪ .‬ﻓﻴﻠﻢ ﻣﻀﻤﻮﻧﻲ ﺍﺧﻼﻗﻲ – ﺳﻴﺎﺳﻲ ﺩﺍﺭﺩ ﻭ ﻧﻜﺘﻪ ﺟﺎﻟﺐ ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﺁﻥ ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮ ﻋــﺮﺏ ﺯﺑﺎﻥ ﺯﻥ ﻓﻴﻠﻢ »ﻛﺘﺎﺏ ﻗﺎﻧــﻮﻥ« ﺩﺭ ﻳﻜﻲ ﺍﺯ‬ ‫ﻧﻘﺶﻫﺎﻱ ﺍﺻﻠﻲ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ‬ ‫ﺩﺍﺷﺖ‪ ،‬ﺩﻭ ﻓﻴﻠﻢ ﺑﻌﺪﻱ ﺍﻭ »ﺳﻔﺮ« ﻭ »ﺍﻳﺴﺘﮕﺎﻩ ﻣﺘﺮﻭﻙ« ﺑﻴﺸﺘﺮ ﺑﺮﺍﻱ‬ ‫ﻣﺨﺎﻃﺐ ﺧﺎﺹ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺁﺧﺮﻳﻦ ﺳــﺎﺧﺘﻪ ﺍﻭ ﻗﺒﻞ ﺍﺯ ﻓﻴﻠﻢ »ﭼﻬﻞ‬ ‫ﺳﺎﻟﮕﻲ« ﻳﻌﻨﻲ »ﭘﺮﻭﻧﺪﻩ ﻫﺎﻭﺍﻧﺎ« ﻛﻪ ﺑﺎ ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ‬ ‫ﻭ ﻣﺤﺒﻮﺏ ﺳﺎﺧﺘﻪ ﺷــﺪ‪ ،‬ﻗﺮﺍﺭ ﺑﻮﺩ ﻳﻚ ﺗﺮﻳﻠﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭﺑﺎﺭﻩ ﻣﺴﺎﺋﻞ‬ ‫ﺩﺍﺭﻭﻳﻲ ﻭ ﭘﺰﺷﻜﻲ ﺑﺎﺷــﺪ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳﺮﻧﻮﺷﺖ ﻣﺤﺘﻮﻣﻲ ﭘﻴﺪﺍ ﻛﺮﺩ‬ ‫ﻭ ﺑﺎﻳﮕﺎﻧﻲ ﺷــﺪ‪ .‬ﺣﺎﻻ ﺭﺋﻴﺴــﻴﺎﻥ ﺑﺎ ﻓﻴﻠﻢ ﺟﺪﻳﺪﺵ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺁﻣﺪﻩ‬ ‫ﺗﺎ ﻣﺨﺎﻃﺐ ﻋﺎﻡ ﻭ ﺧﺎﺹ ﺟﺸــﻨﻮﺍﺭﻩ ﺭﺍ ﺭﺍﺿﻲ ﻛﻨــﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻭ ﺑﻪ ﻏﻴﺮ ﺍﺯ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ‪ ،‬ﺍﻳﻦﺑﺎﺭ ﺑﺎ ﻣﻨﺘﻘﺪﺍﻥ ﺍﺩﺑﻲ ﻫﻢ ﺭﻭﺑﻪﺭﻭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‬ ‫ﭼﺮﺍ ﻛﻪ ﺳــﻴﻨﻤﺎ ﻭ ﺍﺩﺑﻴﺎﺕ ﺍﻳﺮﺍﻥ ﺗﺎﻛﻨﻮﻥ ﺧﺎﻃﺮﺍﺕ ﻣﺸــﺘﺮﻙ ﭼﻨﺪﺍﻥ‬ ‫ﺧﻮﺷﻲ ﺩﺭ ﺍﻗﺘﺒﺎﺱﻫﺎﻱ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺗﻬﻴﻪﻛﻨﻨــﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻋﻠﻴﺮﺿﺎ ﺭﺋﻴﺴــﻴﺎﻥ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪:‬‬ ‫ﻣﺼﻄﻔﻰ ﺭﺳــﺘﮕﺎﺭﻯ‪ ،‬ﺻﺪﺍﺑــﺮﺩﺍﺭ‪ :‬ﻧﻈﺎﻡﺍﻟﺪﻳﻦ ﻛﻴﺎﻳــﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪:‬‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﺩﻟﭙﺎﻙ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺍﻳﺮﺝ ﺭﺍﻣﻴﻦﻓﺮ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪:‬‬ ‫ﻋﺒﺪﺍﷲ ﺍﺳــﻜﻨﺪﺭﻯ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻣﺤﻤﻮﺩ ﻛﻼﺭﻯ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪:‬‬ ‫ﻫﺎﻳﺪﻩ ﺻﻔﻰﻳﺎﺭﻯ‪ ،‬ﻣﻮﺳــﻴﻘﻰ‪ :‬ﻛﺮﻳﺴــﺘﻒ ﺭﺿﺎﻋــﻰ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻟﻴﻼ‬ ‫ﺣﺎﺗﻤﻰ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﻓﺮﻭﺗﻦ‪ ،‬ﻋﺰﺕﺍﷲ ﺍﻧﺘﻈﺎﻣﻰ‪ ،‬ﺳــﻬﻴﻼ ﮔﻠﺴــﺘﺎﻧﻰ‪،‬‬ ‫ﻓﺮﺯﺍﻥ ﺍﻃﻬﺮﻯ‪ ،‬ﭘﺮﻳﺎ ﻣﺮﺩﺍﻧﻰﻫﺎ‪ ،‬ﻣﺪﺕ‪ 91 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳــﺘﺎﻥ‪ :‬ﭼﻬﻞ ﺳــﺎﻟﮕﻰ ﺁﻏﺎﺯ ﺩﻭﺭﻩ ﻣﻴﺎﻧﺴــﺎﻟﻰ ﺍﺳــﺖ‬ ‫ﻛﻪ ﺧﻴﻠﻰﻫــﺎ ﻗﺼﻪﻫﺎﻯ ﻗﺪﻳﻤﻰﺷــﺎﻥ ﺭﺍ ﻣﺮﻭﺭ ﻛﺮﺩﻩ ﻳــﺎ ﺣﺘﻰ ﺑﺮﺍﻯ‬ ‫ﻓﺮﺯﻧﺪﺍﻧﺸﺎﻥ ﺑﺎﺯﮔﻮ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻃﻼ ﻭ ﻣﺲ‪ /‬ﻫﻤﺎﻳﻮﻥ ﺍﺳﻌﺪﻳﺎﻥ‬ ‫ﻫﻤﺎﻳﻮﻥ ﺍﺳــﻌﺪﻳﺎﻥ ﺍﺯ ﻣﻌﺪﻭﺩ ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‬ ‫ﻛﻪ ﻫﻤﻪ ﺟﻮﺭ ﻓﻴﻠﻢ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ؛ ﺍﺯ ﺍﻛﺸﻦ ﻣﻮﺍﺩ‬ ‫ﻣﺨﺪﺭﻱ)ﻧﻴﺶ( ﮔﺮﻓﺘﻪ ﺗﺎ ﻓﻴﻠﻢ ﺍﺟﺘﻤﺎﻋــﻲ ﻭ ﺟﻮﺍﻧﺎﻧﻪ )ﺁﺧﺮ ﺑﺎﺯﻱ(‪ .‬ﺍﻭ‬ ‫ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﻓﻴﻠﻢ»ﺩﻩ ﺭﻗﻤﻲ« ﺭﺍ ﺍﺯ ﺟﻨﺲ ﻛﻤﺪﻱﻫﺎﻱ ﺑﺎﺯﺍﺭﻱﭘﺴﻨﺪ‬ ‫ﺭﻭﺯ ﺭﻭﻱ ﭘﺮﺩﻩ ﺩﺍﺷــﺖ ﻛﻪ ﺑﺎ ﻓﺮﻭﺵ ﺑﺴــﻴﺎﺭ ﺧﻮﺑﻲ ﻫﻢ ﺭﻭﺑﻪﺭﻭ ﺷــﺪ‪.‬‬ ‫»ﻃﻼ ﻭﻣﺲ« ﻳﻜﻲ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺍﺳــﺖ ﻛﻪ ﺳــﺎﻝ ﮔﺬﺷﺘﻪ ﺑﺎ ﺳﻜﻮﺕ‬ ‫ﺧﺒﺮﻱ ﻭ ﺑﺎ ﻛﻤﺘﺮﻳﻦ ﺳــﺮﻭﺻﺪﺍ ﺗﻮﻟﻴﺪ ﺷــﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﺑﺎ ﺣﻤﺎﻳﺖ‬ ‫ﺳﺎﺯﻣﺎﻥ‬ ‫ﻓﺮﻫﻨﮕﻲ‪ -‬ﻫﻨﺮﻱ ﺷﻬﺮﺩﺍﺭﻱ ﺳﺎﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﺍﺯ ﺁﻥ ﺩﺳﺘﻪ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﺳﻔﺎﺭﺷﻲ ﺑﺨﺶ ﺩﻭﻟﺘﻲ ﺍﺳﺖ ﻛﻪ ﺍﻟﺒﺘﻪ ﺣﻀﻮﺭ ﻳﻚ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺧﻮﺷﻔﻜﺮ‬ ‫ﻭ ﻛﺎﺭﺑﻠﺪ ﻣﻲﺗﻮﺍﻧﺪ ﺁﻥﺭﺍ ﺑﻪ ﻳﻚ ﺍﺛﺮ ﺣﺪﺍﻗﻞ ﺧﻮﺵﺳﺎﺧﺖ ﻭ ﻗﺎﺑﻞ ﺗﻤﺎﺷﺎ‬ ‫ﺗﺒﺪﻳﻞ ﻛﻨﺪ‪ .‬ﺗﺠﺮﺑﻪﺍﺳﻌﺪﻳﺎﻥ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻠﻲﺍﺵ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﻭ ﺩﺭ‬ ‫ﻫﺮ ژﺍﻧﺮﻱ ﻛﻪ ﻭﺍﺭﺩ ﺷــﺪﻩ‪ ،‬ﻓﻴﻠﻤﻲ ﺗﻤﺎﺷﺎﮔﺮﭘﺴﻨﺪ ﺗﺤﻮﻳﻞ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺁﻳــﺎ ﺍﻳﻦ ﺑﺎﺭ ﻫﻢ ﺍﻭ ﻣﻲﺗﻮﺍﻧﺪ ﺍﺯ ﺍﻳﻦ ﻗﺼﻪ ﺍﺧﻼﻗﻲ‪ ،‬ﻓﻴﻠﻤﻲ ﻣﻮﺭﺩﭘﺴــﻨﺪ‬ ‫ﺗﻤﺎﺷﺎﮔﺮ ﻋﺎﻡ ﺩﺭﺑﻴﺎﻭﺭﺩ؟ ﻳﺎ ﺍﻳﻦﺑﺎﺭ ﺍﺳﻌﺪﻳﺎﻥ ﻣﺨﺎﻃﺐ ﺧﺎﺹ ﺭﺍ ﻧﺸﺎﻧﻪ‬ ‫ﺭﻓﺘﻪ ﺍﺳﺖ؟‬ ‫ﺁْﻝ‬ ‫ﻭﺻﻒ ﺍﻭ ﺭﺍ ﺑﺴﻴﺎﺭ ﺷﻨﻴﺪﻩ ﺍﺳﺖ ﺑﻪ ﺗﻬﺮﺍﻥ ﻣﻰﺁﻳﺪ ﺍﻣﺎ ﺣﻮﺍﺩﺙ ﺑﻪﮔﻮﻧﻪﺍﻯ‬ ‫ﺭﻗﻢ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺍﻭ ﻫﻴﭻﮔﺎﻩ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺳﺘﺎﺩ ﺭﺍ ﻣﻼﻗﺎﺕ ﻛﻨﺪ‪.‬‬ ‫ﺳﻨﮓ ﺍﻭﻝ‪/‬ﺍﺑﺮﺍﻫﻴﻢ ﻓﺮﻭﺯﺵ‬ ‫ﺑﺎﺯﻫﻢ ﺩﺍﺳﺘﺎﻧﻲ ﺍﺯ ﻫﻮﺷﻨﮓ ﻣﺮﺍﺩﻱﻛﺮﻣﺎﻧﻲ ﺩﺳﺘﻤﺎﻳﻪ ﺳﺎﺧﺖ ﻳﻚ‬ ‫ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺑﺮﺍﻫﻴﻢ ﻓﺮﻭﺯﺵ ﻛﻪ ﺩﺭ ﺩﻫﻪﻫﺎﻱ ‪ 60‬ﻭ ‪70‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﻛﻢﻛﺎﺭ ﻭ ﮔﺰﻳﺪﻩﻛﺎﺭﻱ ﺑﻮﺩ‪ ،‬ﺩﺭ ﭼﻨﺪ ﺳﺎﻝ ﺍﺧﻴﺮ ﺑﺴﻴﺎﺭ ﭘﺮﻛﺎﺭ‬ ‫ﺷﺪﻩ ﻭ ﻫﺮ ﺳﺎﻝ ﻳﻚ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺮﺳﺘﺎﺩﻩ ﺍﺳﺖ‪» .‬ﺳﻨﮓ ﺍﻭﻝ«‬ ‫ﻫﻢ ﻫﻤﺎﻥ ﺣﺎﻝ ﻭ ﻫﻮﺍﻱ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻠﻲ ﻓﺮﻭﺯﺵ ﺭﺍ ﺑﺎ ﻫﻤﺎﻥ ﻭﻳﮋﮔﻲﻫﺎ‬ ‫ﻭ ﻣﺸــﺨﺼﺎﺕ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﻫﻤﺎﻧﻨﺪ ﻓﻴﻠﻢ ﻗﺒﻠﻲﺍﺵ »ﺩﻭﺳــﺖ ﺩﺍﺷــﺘﻦ«‬ ‫ﺑﻪﺳﺮﺍﻍ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺣﺮﻓﻪﺍﻱ ﺭﻓﺘﻪ ﻭ ﺑﺮﺍﻱ ﺩﻭﻣﻴﻦ ﺑﺎﺭ ﺍﺯ ﻣﺤﺴﻦ ﺗﻨﺎﺑﻨﺪﻩ‬ ‫ﺩﺭ ﻧﻘﺶ ﺍﺻﻠﻲ ﺍﺳــﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺍﺳﺖ‪» .‬ﺳــﻨﮓ ﺍﻭﻝ« ﺩﺍﺳﺘﺎﻥ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺎﻣﺰﻩ ﻭ ﺟﺬﺍﺑﻲ ﺩﺍﺭﺩ ﻭ ﺑﺎﻳﺪ ﺩﻳﺪ ﺁﻳﺎ ﻓﺮﻭﺯﺵ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎ ﻧﻮﻉ ﻧﮕﺎﻫﺶ ﺑﺮ‬ ‫ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﺁﻥ ﺑﻴﻔﺰﺍﻳﺪ ﻳﺎ ﺍﻳﻨﻜﻪ ﻫﻤﭽﻨﺎﻥ ﻗﺼﻪﻫﺎﻱ ﻣﺠﻴﺪ ﺑﻬﺘﺮﻳﻦ‬ ‫ﺍﻗﺘﺒﺎﺱ ﺳﻴﻨﻤﺎﻳﻲ ﺩﺍﺳﺘﺎﻧﻬﺎﻱ ﻣﺮﺍﺩﻱ ﻛﺮﻣﺎﻧﻲ ﺧﻮﺍﻫﺪ ﺑﻮﺩ؟‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺍﺑﺮﺍﻫﻴﻢ ﻓﺮﻭﺯﺵ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﺳﻴﻤﺎ ﻓﻴﻠﻢ‪،‬‬ ‫ﻣﺠﺮﻯ ﻃﺮﺡ‪ :‬ﺳــﻴﺪﻋﻠﻴﺮﺿﺎ ﺳــﺒﻂﺍﺣﻤﺪﻯ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪:‬‬ ‫ﻣﺤﻤﺪﻫﺎﺩﻯ ﻓﺪﻭﻯ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﺑﻴﮋﻥ ﻣﺤﺘﺸﻢ‪ ،‬ﻣﺪﻳﺮﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﻓﺮﻳــﺪﻭﻥ ﺷــﻴﺮﺩﻝ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺑﻬــﺮﺍﻡ ﺩﻫﻘﺎﻧﻰ‪ ،‬ﻣﻮﺳــﻴﻘﻰ‪ :‬ﻣﺤﻤﺪ‬ ‫ﻣﺤﻤﺪﻋﻠﻰ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﺤﺴــﻦ ﺗﻨﺎﺑﻨﺪﻩ‪ ،‬ﺍﻧﺪﻳﺸــﻪ ﻓﻮﻻﺩﻭﻧﺪ‪ ،‬ﻣﺪﺕ‪:‬‬ ‫‪ 90‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺣﺴــﻦ ﻋﻠﻲ‪ ،‬ﻣﺮﺩﻱ ﺭﻭﺳﺘﺎﻳﻲ ﻭ ﺑﺎﻏﺪﺍﺭ ﺍﺳﺖ‬ ‫ﻛــﻪ ﺭﻭﺯﻱ ﺑﻪ ﻓﻜﺮ ﻣﻲﺍﻓﺘــﺪ ﺑﺮﺍﻱ ﺯﻣﺎﻥ ﻣﺮﮔﺶ ﺳــﻨﮓ ﻗﺒﺮﻱ ﺗﻬﻴﻪ‬ ‫ﻛﻨﺪ ﺗﺎ ﻗﺒﺮﺵ ﺑﺪﻭﻥ ﺳــﻨﮓ ﻧﺒﺎﺷــﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺁﻭﺭﺩﻥ ﺳﻨﮓ ﻗﺒﺮ‬ ‫ﺣﺴﻦ ﻋﻠﻲ ﺑﻪ ﺭﻭﺳﺘﺎ ﺍﺗﻔﺎﻗﺎﺗﻲ ﺭﺍ ﺩﺭ ﭘﻲ ﺩﺍﺭﺩ‪.‬‬ ‫ﺷﻜﺎﺭﭼﻰ ﺷﻨﺒﻪ ‪ /‬ﭘﺮﻭﻳﺰ ﺷﻴﺦﻃﺎﺩﻱ‬ ‫ﭘﺮﻭﻳﺰ ﺷــﻴﺦﻃﺎﺩﻱ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺟﺮﻳﺎﻥ ﺩﻭﻟﺘﻲ ﺳﻴﻨﻤﺎ‬ ‫ﺍﺯ ﻧﻮﻉ ﻓﺮﻫﻨﮕﻲ – ﺍﺧﻼﻗﻲ ﺍﺳــﺖ‪ .‬ﺍﻭ ﺗﻤــﺎﻡ ﻓﻴﻠﻢﻫﺎ ﻭ ﺗﻠﻪﻓﻴﻠﻢﻫﺎﻳﺶ‬ ‫ﺭﺍ ﺑﺎ ﺣﻤﺎﻳﺖ ﻣﺮﺍﻛﺰ ﺩﻭﻟﺘﻲ ﻣﻲﺳــﺎﺯﺩ ﻛﻪ ﺑﺮﺧﻲ ﻣﺎﻧﻨﺪ »ﺩﺍﻳﻨﺎﺳــﻮﺭ«‬ ‫ﺗﻮﻗﻴﻒ ﻣﻲﺷــﻮﻧﺪ ﻭ ﺑﺮﺧﻲ ﻣﺎﻧﻨﺪ »ﺳﻴﻨﻪ ﺳــﺮﺥ« ﺑﻌﺪ ﺍﺯ ‪ 4 – 5‬ﺳﺎﻝ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﭘﺮﻭﻳﺰ ﺷﻴﺦﻃﺎﺩﻯ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪:‬‬ ‫ﻣﺠﻴــﺪ ﺍﺳــﻤﺎﻋﻴﻠﻰ‪ ،‬ﺻﺪﺍﺑــﺮﺩﺍﺭ‪ :‬ﺧﺴــﺮﻭ ﻛﻴﻮﺍﻥﻣﻬــﺮ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪:‬‬ ‫ﺁﺭﺵ ﺍﺳــﺤﺎﻗﻰ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺑﺎﺑــﻚ ﭘﻨﺎﻫﻰ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪:‬‬ ‫ﺳﻮﺩﺍﺑﻪ ﺧﺴﺮﻭﻯ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴﻴﻦ ﻣﻠﻜﻰ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪:‬ﻫﺎﺩﻯ‬ ‫ﺁﺯﺭﻡ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻋﻠﻰ ﻧﺼﻴﺮﻳﺎﻥ ‪ ،‬ﺍﻣﻴﺮﻳﻞ ﺍﺭﺟﻤﻨﺪ ‪ ،‬ﺩﺍﺭﻳﻦ ﺣﻤﺴــﻪ ‪،‬‬ ‫ﺁﺭﺳــﻴﻨﻪ ﺳﻮﻛﻴﺎﺳــﻴﺎﻥ ‪ ،‬ﻣﻬﺪﻯ ﻓﻘﻴﻪ ‪ ،‬ﺳــﻴﻠﻮﺍ ﺁﻧﺪﺭﺍﻧﺴﻴﺎﻥ‪ ،‬ﻣﺪﺕ‪:‬‬ ‫‪90‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﭘﺴــﺮﻯ ﭘﺲ ﺍﺯ ﺩﻳﺪﺍﺭ ﺑــﺎ ﭘﺪﺭﺑﺰﺭگ ﺧﻮﺩ ﺑﻪ‬ ‫ﺷﻨﺎﺧﺖ ﺟﺪﻳﺪﻯ ﺍﺯ ﻫﺴﺘﻰ ﺩﺳﺖ ﻣﻰﻳﺎﺑﺪ‪.‬‬ ‫ﺗﺮﺍﻧﻪ ﻛﻮﭼﻚ ﻣﻦ‪ /‬ﻣﺴﻌﻮﺩ ﻛﺮﺍﻣﺘﻲ‬ ‫ﺣﻮﺯﻩ ﻋﻼﻗﻤﻨﺪﻱ ﻣﺴــﻌﻮﺩ ﻛﺮﺍﻣﺘــﻲ ﺩﺭ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻓﻘﻂ ﻭ ﻓﻘﻂ‬ ‫ﺑﻪ ﺳــﻴﻨﻤﺎﻱ ﻛﻮﺩﻙ ﻣﺤﺪﻭﺩ ﻣﻲﺷــﻮﺩ ﻭ ﻓﻴﻠﻢ ﺟﺪﻳــﺪ ﺍﻭ ﻫﻢ ﺍﺯ ﺍﻳﻦ‬ ‫ﻗﺎﻋﺪﻩ ﻣﺴــﺘﺜﻨﻲ ﻧﻴﺴﺖ‪» .‬ﺗﺮﺍﻧﻪ ﻛﻮﭼﻚ ﻣﻦ« ﻛﻪ ﺑﺎ ﺣﻤﺎﻳﺖ ﻓﺎﺭﺍﺑﻲ ﻭ‬ ‫ﺍﺳﺘﺎﻧﺪﺍﺭﻱ ﻫﻤﺪﺍﻥ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻮﺩﻙ ﻫﻤﺪﺍﻥ ﺳﺎﺧﺘﻪ‬ ‫ﺷﺪﻩ‪ ،‬ﺩﺍﺭﺍﻯ ﻣﻀﻤﻮﻧﻲ ﺍﺟﺘﻤﺎﻋﻰ ﺑﺎ ﻟﺤﻨﻰ ﻃﻨﺰ ﺁﻣﻴﺰ ﻭ ﺭﻭﺍﻳﺘﮕﺮ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺯﻧﺪﮔﻰ ﺩﻭ ﻛﻮﺩﻙ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺷﻬﺮ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻗﺒﻠﻲ ﻛﺮﺍﻣﺘﻲ ﻣﺎﻧﻨــﺪ »ﺭﻭﺯ ﻛﺎﺭﻧﺎﻣﻪ« ﻭ »ﻛﻮﺩﻛﺎﻧﻪ« ﺁﺛﺎﺭﻱ ﺳــﺎﺩﻩ ﻭ‬ ‫ﺍﺧﻼﻗﻲ ﺑــﺮﺍﻱ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻛﻮﺩﻙ‬ ‫ﺑﻴﺸﺘﺮ ﺑﻪ ﺁﻧﻬﺎ ﺗﻮﺟﻪ ﺷﺪﻩ ﺍﺳﺖ ﺗﺎ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‪ .‬ﻛﺮﺍﻣﺘﻲ ﺍﻳﻦ ﺑﺎﺭ‬ ‫ﺩﺭ ﺟﺪﻳﺪﺗﺮﻳﻦ ﺳﺎﺧﺘﻪﺍﺵ ﻋﻬﺪﻩﺩﺍﺭ ﻧﻘﺶ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﻧﻴﺰ ﻫﺴﺖ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺴــﻌﻮﺩ ﻛﺮﺍﻣﺘﻰ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﺳــﻌﻴﺪ ﺷﺎﻫﺴﻮﺍﺭﻯ‬ ‫‪ ،‬ﺑﻨﻴﺎﺩ ﺳــﻴﻨﻤﺎﻳﻰ ﻓﺎﺭﺍﺑﻰ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺳــﻌﻴﺪ ﺷﺎﻫﺴــﻮﺍﺭﻯ‪،‬‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨــﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻓﺎﺿﻞ ژﻳــﺎﻥ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﺍﻟﻬــﺎﻡ ﺻﺎﻟﺤﻰ‪،‬‬ ‫ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻣﺮﺗﻀﻰ ﭘﻮﺭﺻﻤﺪﻯ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺳﻌﻴﺪ ﺷﺎﻫﺴﻮﺍﺭﻯ‪،‬‬ ‫ﻣﻮﺳﻴﻘﻰ‪ :‬ﻓﺮﺩﻳﻦ ﺧﻠﻌﺘﺒﺮﻯ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﺴــﻌﻮﺩ ﻛﺮﺍﻣﺘﻰ‪ ،‬ﻣﺤﻤﻮﺩ‬ ‫ﺟﻌﻔــﺮﻯ ‪ ،‬ﺑﻬﻨــﺎﺯ ﺟﻌﻔــﺮﻯ ‪ ،‬ﺗﺒﺴﻢﻫﺎﺷــﻤﻰ ‪ ،‬ﺣﺎﻣــﺪ ﺯﻳــﺎﺭﺍﻥ‪.‬‬ ‫ﻣﺪﺕ‪ 90 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﺳــﻴﺎﻭﺵ ﻧﻮﺟﻮﺍﻥ ﺳﻴﺰﺩﻩ ﺳــﺎﻟﻪﺍﻯ ﻛﻪ ﺑﻪ‬ ‫ﺭﻭﺳﺘﺎﻯ ﭘﺪﺭﻯﺍﺵ ﺭﻓﺘﻪ ﺑﺎ ﺍﺗﻔﺎﻗﺎﺕ ﻏﻴﺮﻣﻨﺘﻈﺮﻩﺍﻯ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻳﻚ ﮔﺰﺍﺭﺵ ﻭﺍﻗﻌﻰ ‪ /‬ﺩﺍﺭﻳﻮﺵ ﻓﺮﻫﻨﮓ‬ ‫ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﺳــﻴﻨﻤﺎﻳﻲ ﺩﺍﺭﻳﻮﺵ ﻓﺮﻫﻨــﮓ »ﺗﻜﻴﻪ ﺑﺮ ﺑﺎﺩ«‬ ‫ﻭ »ﺭﺯ ﺯﺭﺩ« ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ ﺣﺴــﻴﻦ ﻓﺮﺡﺑﺨﺶ ﺑﻪ ﻗﺼﺪ‬ ‫ﮔﻴﺸﻪ ﺳﺎﺧﺘﻪ ﺷــﺪﻧﺪ‪ .‬ﻓﺮﻫﻨﮓ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﻛﻪ ﺩﺭ ﺳﺎﻝﻫﺎﻱ‬ ‫ﭘﺎﻳﺎﻧﻲ ﺩﻫﻪ ‪ 70‬ﻭ ﺁﻏﺎﺯﻳﻦ ‪ 80‬ﺭﻭﻱ ﭘﺮﺩﻩ ﺭﻓﺘﻨﺪ‪ ،‬ﺑﻪ ﺳﺮﻳﺎﻝﺳــﺎﺯﻱ ﺩﺭ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﻳﺎ ﺑﺎﺯﻱ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺭﻭﻱ ﺁﻭﺭﺩ ﻭ ﺍﺯ ﺳﻴﻨﻤﺎ‬ ‫ﺩﻭﺭ ﻣﺎﻧﺪ‪» .‬ﻳﻚ ﮔﺰﺍﺭﺵ ﻭﺍﻗﻌﻲ« ﺟﺪﻳﺪﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺳﺎﺯﻧﺪﻩ ﺁﺛﺎﺭﻱ ﻣﺎﻧﻨﺪ‬ ‫»ﻃﻠﺴــﻢ« ﻭ »ﺩﻭ ﻓﻴﻠﻢ ﺑﺎ ﻳﻚ ﺑﻠﻴﺖ« ﺍﺳــﺖ ﻛﻪ ﺑﻪ ﺳﻔﺎﺭﺵ ﻓﺎﺭﺍﺑﻲ ﻭ‬ ‫ﻣﺮﺗﺒﻂ ﺑﺎ ﺳﻲﺍﻣﻴﻦ ﺳﺎﻝ ﺍﻧﻘﻼﺏ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﻫﻢ ﻫﻤﺎﻧﻨﺪ‬ ‫»ﺭﺯ ﺯﺭﺩ« ﻓﺮﻫﻨﮓ ﺧﻮﺩﺵ ﻫﻢ ﺍﻳﻔﺎﮔﺮ ﻧﻘﺸﻲ ﺍﺳﺖ ﺗﺎ ﭘﺲ ﺍﺯ ﻣﺪﺕﻫﺎ‬ ‫ﻫﻔﺖﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻫﻤﺎﻳﻮﻥ ﺍﺳــﻌﺪﻳﺎﻥ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﻣﻨﻮﭼﻬﺮ ﻣﺤﻤﺪﻯ‪،‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺣﺎﻣﺪ ﻣﺤﻤﺪﻯ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺳﺎﺳﺎﻥ ﻧﺨﻌﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪:‬‬ ‫ﺳﺎﺳــﺎﻥ ﻧﺨﻌﻰ‪ ،‬ﻣﺴﻌﻮﺩ ﺑﻬﻨﺎﻡ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻣﺮﺟﺎﻥ ﮔﻠﺰﺍﺭ‪،‬‬ ‫ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﻣﻬﺮﺩﺍﺩ ﻣﻴﺮﻛﻴﺎﻧﻰ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴﻴﻦ ﺟﻌﻔﺮﻳﺎﻥ‪،‬‬ ‫ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺑﻬﺮﺍﻡ ﺩﻫﻘﺎﻧﻰ‪ ،‬ﻣﻮﺳــﻴﻘﻰ‪ :‬ﺁﺭﻳﺎ ﻋﻈﻴﻤﻰﻧﮋﺍﺩ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪:‬‬ ‫ﻣﺠﻴﺪ ﻛﺮﻳﻤﻰ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺷﻌﻴﺒﻰ‪ ،‬ﻧﮕﺎﺭ ﺟﻮﺍﻫﺮﻳﺎﻥ‪ ،‬ﺳﺤﺮ ﺩﻭﻟﺘﺸﺎﻫﻰ ‪،‬‬ ‫ﺟﻮﺍﺩ ﻋﺰﺗﻰ ‪ ،‬ﺭﺿﺎ ﺭﺍﺩﻣﻨﺶ ‪ ،‬ﻣﻬﺮﺍﻥ ﺭﺟﺒﻰ‪ ،‬ﻣﺪﺕ‪ 97 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺳﻴﺪﺭﺿﺎ ﺑﻪ ﺷــﻮﻕ ﻳﺎﻓﺘﻦ ﺍﺳﺘﺎﺩ ﺍﺧﻼﻗﻰ ﻛﻪ‬ ‫‪31‬‬ ‫ﺭﻭﻱ ﭘﺮﺩﻩ ﺳﻴﻨﻤﺎ ﻫﻢ ﺩﻳﺪﻩ ﺷﻮﺩ‪» .‬ﻳﻚ ﮔﺰﺍﺭﺵ ﻭﺍﻗﻌﻲ« ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ‬ ‫ﺩﻭ ﻓﻴﻠﻢ ﺩﻳﮕﺮ ﺍﻧﻘﻼﺑﻲ ﺗﻮﻟﻴﺪﻩ ﺷﺪﻩ ﺗﻮﺳﻂ ﻓﺎﺭﺍﺑﻲ‪ ،‬ﺍﺛﺮﻱ ﺣﺎﺩﺛﻪﺍﻱﺗﺮ ﻭ‬ ‫ﺗﻤﺎﺷﺎﮔﺮﭘﺴﻨﺪﺗﺮ ﺍﺳﺖ ﻭ ﺑﻪ ﻭﻗﺎﻳﻊﻧﮕﺎﺭﻯ ﺳﻪ ﺳﺎﻝ ﺍﺯ ﺯﻧﺪﮔﻰ ﺩﻭﺭﻓﻴﻖ‬ ‫ﻗﺪﻳﻤﻰ ﻣﻲﭘﺮﺩﺍﺯﺩ ﻛﻪ ﺩﻭﺭ ﺍﺯ ﺍﻧﺘﻈﺎﺭ ﻣﻘﺎﺑﻞ ﻫﻢ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺩﺍﺭﻳﻮﺵ ﻓﺮﻫﻨﮓ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﻣﻨﻮﭼﻬﺮ ﺷﺎﻫﺴﻮﺍﺭﻯ‪،‬‬ ‫ﺑﻨﻴــﺎﺩ ﺳــﻴﻨﻤﺎﻳﻰ ﻓﺎﺭﺍﺑﻰ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺳــﻌﻴﺪ ﺷﺎﻫﺴــﻮﺍﺭﻯ‪،‬‬ ‫ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻧﺎﺻﺮ ﺷــﻜﻮﻫﻰﻧﻴﺎ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﭘﺮﻭﻳﺰ ﺁﺑﻨﺎﺭ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ‬ ‫ﻟﺒﺎﺱ‪ :‬ﻓﺎﺿﻞ ژﻳﺎﻥ‪ ،‬ﭼﻬﺮﻩﭘــﺮﺩﺍﺯ‪ :‬ﺍﻟﻬﺎﻡ ﺻﺎﻟﺤﻰ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﻣﺮﺗﻀﻰ ﭘﻮﺭﺻﻤﺪﻯ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺳــﻌﻴﺪ ﺷﺎﻫﺴــﻮﺍﺭﻯ‪ ،‬ﻣﻮﺳــﻴﻘﻰ‪:‬‬ ‫ﻓﺮﺩﻳﻦ ﺧﻠﻌﺘﺒﺮﻯ‪ ،‬ﺑﺎﺯﻳﮕــﺮﺍﻥ‪ :‬ﺩﺍﺭﻳﻮﺵ ﻓﺮﻫﻨــﮓ ‪ ،‬ﻛﺎﻣﺒﻴﺰ ﺩﻳﺮﺑﺎﺯ ‪،‬‬ ‫ﺭﺣﻴﻢ ﻧﻮﺭﻭﺯﻯ ‪ ،‬ﮔﻼﺭﻩ ﻋﺒﺎﺳﻰ ‪ ،‬ﻛﻮﺭﺵ ﺳﻠﻴﻤﺎﻧﻰ‪ ،‬ﻣﺪﺕ‪90 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﺭﻓﺎﻗﺘﻰ ﻃﻮﻻﻧﻰ ﺑﻴﻦ ﺩﻭ ﺩﻭﺳــﺖ ﺍﺯ ﭘﻴﺶ ﺗﺎ‬ ‫ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ‪.‬‬ ‫ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ ‪ /‬ﻋﻠﻴﺮﺿﺎ ﺍﻣﻴﻨﻲ‬ ‫ﻋﻠﻴﺮﺿﺎ ﺍﻣﻴﻨﻲ ﺩﻭ ﺳﺎﻝ ﭘﻴﺶ ﻗﺼﺪ ﺩﺍﺷﺖ ﺗﺎ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ«‬ ‫ﺭﺍ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺒﺮﺩ‪ .‬ﺍﻭ ﺣﺘﻲ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﺁﻥ ﺭﺍ ﻫﻢ ﮔﺮﻓﺖ ﺍﻣﺎ ﺩﺭ‬ ‫ﺑﺎﺯﻧﻮﻳﺴﻲﻫﺎﻱ ﻣﻜﺮﺭ ﻛﻪ ﺗﻮﺳﻂ ﻋﻠﻴﺮﺿﺎ ﻧﺎﺩﺭﻱ ﻭ ﻣﺤﺴﻦ ﺗﻨﺎﺑﻨﺪﻩ ﺍﻧﺠﺎﻡ‬ ‫ﻣﻲﺷــﺪ‪ ،‬ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﺗﺎ ﺍﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺟﻤﻊ ﻭ ﺟﻮﺭ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﻭ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﺩﻳﮕﺮ ﺍﺯ ﻧﺎﺩﺭﻱ ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﻨﺪ‪ .‬ﭘﻴﺶ ﺗﻮﻟﻴﺪ ﺑﺎ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺟﺪﻳﺪ ﻧﺎﺩﺭﻱ ﺁﻏﺎﺯ ﺷﺪ ﻭ ﺗﺮﻛﻴﺐ ﺟﺬﺍﺑﻲ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﮔﺮﺩ ﻫﻢ ﺁﻣﺪﻧﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﺩﺭﺳﺖ ﭼﻨﺪ ﺭﻭﺯ ﻣﺎﻧﺪﻩ ﺑﻪ ﺁﻏﺎﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ ﻛﻨﺎﺭ ﻛﺸﻴﺪ‬ ‫ﻭ ﭘﺮﻭژﻩ ﻣﺘﻮﻗﻒ ﺷﺪ‪ .‬ﺩﻭ ﺳﺎﻟﻲ ﺑﻪ ﻃﻮﻝ ﺍﻧﺠﺎﻣﻴﺪ ﺗﺎ ﺍﻣﻴﻨﻲ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻓﻜﺮ‬ ‫ﺗﻮﻟﻴﺪ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺑﻪ ﭘﺎﻳﻴﺰ« ﺑﻴﻔﺘﺪ‪ .‬ﺍﻭ ﺍﻳﻦ ﺑﺎﺭ ﺑﻪ ﺳﺮﺍﻍ ﺳﺎﺩﺍﺗﻴﺎﻥ ﺭﻓﺖ‬ ‫ﻭ ﺑﺎ ﺍﻭ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﮔﺮﻓﺖ‪ .‬ﺍﻣﻴﻨﻲ ﺩﻭﺑﺎﺭﻩ ﻫﻤﺎﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﻭﻟﻴﻪ ﺭﺍ ﺑﺮﺍﻱ‬ ‫ﻛﺎﺭ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ‪ ،‬ﻣﻨﺘﻬﺎ ﺍﻳﻨﺪﻓﻌﻪ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺯﻳﺮ ﻭ ﺭﻭ ﺷﺪﻩ ﻭ ﺗﻐﻴﻴﺮﺍﺗﻲ‬ ‫ﺍﺳﺎﺳﻲ ﺩﺭ ﺳﺎﺧﺘﺎﺭ ﻭ ﻧﻮﻉ ﺭﻭﺍﻳﺖ ﻗﺼﻪ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺑﻤﺐ ﺧﺒﺮﻱ‬ ‫ﻓﻴﻠﻢ ﺍﻣﻴﻨﻲ‪ ،‬ﺑﺎﺯﻱ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ ﭘﺲ ﺍﺯ ‪ 4‬ﺳــﺎﻝ ﺩﻭﺭﻱ ﺍﺯ ﺳﻴﻨﻤﺎ ﺑﻮﺩ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺗــﺎ ﺯﻣﺎﻧﻲ ﻛﻪ ﺗﻬﺮﺍﻧﻲ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﻧﺮﻓﺘــﻪ ﺑﻮﺩ‪ ،‬ﺧﻴﻠﻲﻫﺎ ﺑﺎﻭﺭ‬ ‫ﻧﺪﺍﺷﺘﻨﺪ ﻛﻪ ﺁﻳﺎ ﺍﻳﻦ ﺑﺎﺭ ﻫﻢ ﺍﻭ ﺩﺭ ﻟﺤﻈﺎﺕ ﺁﺧﺮ)ﻣﺎﻧﻨﺪ ﻓﻴﻠﻢﻫﺎﻱ ﺩﺍﻳﺮﻩ‬ ‫ﺯﻧﮕﻲ ﻭ ﺩﻋﻮﺕ( ﭘﺸﻴﻤﺎﻥ ﺧﻮﺍﻫﺪ ﺷــﺪ ﻳﺎ ﺩﺭ ﻓﻴﻠﻢ ﺑﺎﺯﻱ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬ ‫ﮔﻔﺘﻪ ﻣﻲﺷــﻮﺩ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﺑﻪ ﻟﺤﺎﻅ ﻓﺮﻡ ﺑﻲﺷﺒﺎﻫﺖ ﺑﻪ‬ ‫ﺷﺎﻫﻜﺎﺭ ﺗﺎﻡ ﺗﻴﻜﻮﺭ »ﺑﺪﻭ ﻟﻮﻻ ﺑﺪﻭ« ﻧﻴﺴﺖ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻋﻠﻴﺮﺿﺎ ﺍﻣﻴﻨﻰ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﺳــﻴﺪﺟﻤﺎﻝ ﺳﺎﺩﺍﺗﻴﺎﻥ‪،‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳــﺲ‪ :‬ﻣﺤﺴــﻦ ﺗﻨﺎﺑﻨﺪﻩ‪ ،‬ﺑﺎﺯﻧﻮﻳﺴــﻰ‪ :‬ﻋﻠﻴﺮﺿــﺎ ﻧﺎﺩﺭﻯ‪،‬‬ ‫ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺍﻣﻴﺮ ﭘﺮﺗﻮﺯﺍﺩﻩ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﻣﺤﺴــﻦ ﺭﻭﺷﻦ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ‬ ‫ﻭ ﻟﺒﺎﺱ‪ :‬ﻣﺤﻤﺪ ﺻﺎﻟﺢ ﺍﻓــﺰﻭﻥ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﻣﻴﺘــﺮﺍ ﺁﻗﺎﻣﻴﺮﻯ‪ ،‬ﻣﺪﻳﺮ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻋﻠﻰ ﺑﺮﺍﺯﻧﺪﻩ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﻫﺎﻳﺪﻩ ﺻﻔﻰﻳﺎﺭﻯ‪ ،‬ﻣﻮﺳــﻴﻘﻰ‪:‬‬ ‫ﻋﻠﻰ ﻛﻬﻦﺩﻳﺮﻯ‪ ،‬ﺑﺎﺯﻳﮕــﺮﺍﻥ‪ :‬ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻰ‪ ،‬ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ‪ ،‬ﻣﺤﺴــﻦ‬ ‫ﺗﻨﺎﺑﻨﺪﻩ‪ ،‬ﺧﺎﻃﺮﻩ ﺍﺳﺪﻯ‪ ،‬ﻣﺪﺕ‪ 100 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻـﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﺗﻼﺵﻫﺎﻯ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺑﺮﺍﻯ ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ‬ ‫ﺁﺭﺍﻣﺶ ﺑﻪ ﺯﻧﺪﮔﻰ ﻳﻚ ﺯﻭﺝ ﺟﻮﺍﻥ‪ ،‬ﺣﻮﺍﺩﺛﻰ ﺭﺍ ﺑﻪﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﻛﻴﻔﺮ ‪ /‬ﺣﺴﻦ ﻓﺘﺤﻲ‬ ‫»ﻛﻴﻔﺮ« ﻫﻤﺎﻥ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﺍﺳــﺖ ﻛﻪ ﻋﻠﻴﺮﺿﺎ ﻧﺎﺩﺭﻱ ﺑﻪ ﻋﻠﻴﺮﺿﺎ‬ ‫ﺍﻣﻴﻨﻲ ﺩﺍﺩ ﺗﺎ ﺁﻥ ﺭﺍ ﺑﻪ ﺟــﺎﻱ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺧﻮﺩﺵ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺒﺮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺑﺎ ﺗﻮﻗﻒ ﺁﻥ ﭘﺮﻭژﻩ ﻭ ﺑﻪﺧﺎﻃﺮ ﺭﺍﺑﻄﻪ ﻧﺰﺩﻳﻚ ﻧﺎﺩﺭﻱ ﻭ ﺣﺴﻦ ﻓﺘﺤﻲ‪،‬‬ ‫»ﻛﻴﻔﺮ« ﺑﻪ ﻓﺘﺤﻲ ﺭﺳﻴﺪ‪ .‬ﺩﺭ ﻓﻴﻠﻤﻲ ﻛﻪ ﺍﻣﻴﻨﻲ ﻗﺼﺪ ﺩﺍﺷﺖ ﺁﻥ ﺭﺍ ﺑﺴﺎﺯﺩ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻧﻲ ﭼﻮﻥ ﻧﻴﻤﺎ ﺷﺎﻫﺮﺥﺷــﺎﻫﻲ‪ ،‬ﻣﺤﺴﻦ ﺗﻨﺎﺑﻨﺪﻩ‪ ،‬ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ‪،‬‬ ‫ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ‪ ،‬ﺑﻬﺎﺭﻩ ﺍﻓﺸﺎﺭﻱ ﻭ ﺟﻤﺸﻴﺪ ﻫﺎﺷﻢﭘﻮﺭ ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﻗﺮﺍﺭﺩﺍﺩ‬ ‫ﺑﺴــﺘﻪ ﺑﻮﺩﻧﺪ ﺍﻣﺎ ﮔﻮﻳﺎ ﻓﻘﻂ ﻗﺴﻤﺖ ﻫﺎﺷــﻢﭘﻮﺭ ﺑﻮﺩ ﻛﻪ ﻫﻤﺎﻥ ﻧﻘﺶ ﺭﺍ‬ ‫ﺩﺭ ﻓﻴﻠﻢ ﻓﺘﺤﻲ ﻫﻢ ﻋﻬﺪﻩﺩﺍﺭ ﺷــﻮﺩ‪» .‬ﻛﻴﻔﺮ« ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ »ﭘﺴﺘﭽﻲ‬ ‫ﺳﻪ ﺑﺎﺭ ﺩﺭ ﻧﻤﻲﺯﻧﺪ« ﻓﻴﻠﻤﻲ ﺳﻬﻞﺗﺮ ﺑﺮﺍﻱ ﺗﻤﺎﺷﺎﮔﺮ ﻋﺎﻡ ﺍﺳﺖ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﺩﻟﻤﺸﻐﻮﻟﻲﻫﺎﻱ ﺣﺴــﻦ ﻓﺘﺤﻲ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻓﺮﻫﻨﮓ ﻋﺎﻣﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢ ﻫﻢ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪.‬‬ ‫ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﺣﺴــﻦ ﻓﺘﺤــﻰ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﺳــﻌﻴﺪ ﺳــﻌﺪﻯ‪،‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻋﻠﻴﺮﺿــﺎ ﻧﺎﺩﺭﻯ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻋﺒﺎﺱ ﺭﺳــﺘﮕﺎﺭﭘﻮﺭ‪،‬‬ ‫ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﻓﺮﺍﻣﺮﺯ ﺍﺑﻮﺍﻟﺼﺪﻕ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺁﺗﻮﺳﺎ ﻗﻠﻤﻔﺮﺳﺎﻳﻰ‪،‬‬ ‫ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﺳﻌﻴﺪ ﻣﻠﻜﺎﻥ‪ ،‬ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩ‪ :‬ﻣﺤﺴﻦ ﺭﻭﺯﺑﻬﺎﻧﻰ‪ ،‬ﻣﺪﻳﺮ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴــﻴﻦ ﺟﻌﻔﺮﻳﺎﻥ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺣﺴــﻦ ﺣﺴﻨﺪﻭﺳﺖ‪،‬‬ ‫ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﻣﺠﻴﺪ ﻣﻌﺪﻧﻰ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﺮﻳﻼ ﺯﺍﺭﻋﻰ‪ ،‬ﻣﺼﻄﻔﻰ ﺯﻣﺎﻧﻰ‪،‬‬ ‫‪32‬‬ ‫ﺍﻣﻴﺮ ﺟﻌﻔﺮﻯ‪ ،‬ﻫﺎﻧﻴﻪ ﺗﻮﺳــﻠﻰ‪ ،‬ﻫﻮﻣﻦ ﺑﺮﻕﻧﻮﺭﺩ ‪ ،‬ﺍﻣﻴﺮﺣﺴﻴﻦ ﻓﺘﺤﻰ‪،‬‬ ‫ﺟﻤﺸﻴﺪﻫﺎﺷﻢﭘﻮﺭ‪ ،‬ﻣﺪﺕ‪ 100 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﻓﻴﻠﻢ ﺩﺍﺳﺘﺎﻥ ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻟﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ‬ ‫ﻗﺘﻞ ﻳﻚ ﺟﻮﺍﻥ ﺩﺭ ﺁﺳــﺘﺎﻧﻪ ﻗﺼﺎﺹ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺧﺎﻧﻮﺍﺩﻩ ﻭﻯ ﺩﺭ ﺗﻼﺵ‬ ‫ﺑﺮﺍﻯ ﺟﻠﺐ ﺭﺿﺎﻳﺖ ﺍﻭﻟﻴﺎﻱ ﺩﻡ ﻫﺴــﺘﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﻣﺒﻠﻐﻰ ﺭﺍ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﭘﻮﻝ ﺩﻳﻪ ﺟﻮﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﭘﻮﻝ ﻫﻨﮕﺎﻡ ﺍﻧﺘﻘﺎﻝ ﺁﻥ ﺍﺯ ﺑﺎﻧﻚ ﺗﻮﺳﻂ‬ ‫ﭼﻨﺪ ﺳﺎﺭﻕ ﺩﺯﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻋﺼﺮ ﺭﻭﺯ ﺩﻫﻢ ‪ /‬ﻣﺠﺘﺒﻲ ﺭﺍﻋﻲ‬ ‫»ﻋﺼﺮ ﺭﻭﺯ ﺩﻫــﻢ« ﭘﺮﻭژﻩﺍﻱ ﺑﻮﺩ ﻛﻪ ﻣﺮﺣﻮﻡ ﺭﺳــﻮﻝ ﻣﻼﻗﻠﻲﭘﻮﺭ‬ ‫ﻣﺪﺕﻫﺎ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺳﺎﺧﺖ ﺁﻥ ﺑﻮﺩ ﺍﻣﺎ ﺍﺟﻞ ﺑﻪ ﺍﻭ ﻣﻬﻠﺖ ﭼﻨﻴﻦ ﻛﺎﺭﻱ ﺭﺍ‬ ‫ﻧﺪﺍﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻭ ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﻭﻗﻔﻪ ﻧﻮﺑﺖ ﺑﻪ ﻣﺠﺘﺒﻲ ﺭﺍﻋﻲ ﺭﺳــﻴﺪ ﺗﺎ‬ ‫ﻓﻴﻠﻢ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﻣﻼﻗﻠﻲﭘﻮﺭ ﺭﺍ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺒﺮﺩ‪ .‬ﺩﺍﺳﺘﺎﻥ »ﻋﺼﺮ‬ ‫ﺭﻭﺯ ﺩﻫﻢ« ﺍﺯ ﺧﺮﻣﺸــﻬﺮ ﻭ ﺩﻭﺭﺍﻥ ﺟﻨﮓ ﺍﻳﺮﺍﻥ ﻭ ﻋﺮﺍﻕ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ ﻭ‬ ‫ﺯﻧﺪﮔﻰ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﺪ ﻛﻪ ﺟﻨﮓ ﺑﺎﻋﺚ ﺟﺪﺍﻳﻰ ﺁﻧﻬﺎ‬ ‫ﻣﻰﺷــﻮﺩ ﻭ ﺑﻌﺪ ﺍﺯ ﻭﻗﺎﻳﻊ ﺩﻳﮕﺮ ﺍﺯ ﺟﻤﻠﻪ ﺳﻘﻮﻁ ﺻﺪﺍﻡ ﻭ ﺟﻨﮓ ﺁﻣﺮﻳﻜﺎ‬ ‫ﻭ ﻋــﺮﺍﻕ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﺨﺶﻫﺎﻱ ﺍﻋﻈﻢ ﻓﻴﻠﻢ ﺩﺭ ﻋﺮﺍﻕ ﻭ‬ ‫ﻛﺮﺑﻼ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺷﺪﻩ ﻭ ﺧﻴﻠﻲﻫﺎ ﻣﻨﺘﻈﺮ ﺗﻤﺎﺷﺎﻱ ﭘﺮﻭژﻩ ﭘﺮﺯﺣﻤﺖ‬ ‫ﻣﺠﺘﺒﻲ ﺭﺍﻋﻲ ﻫﺴــﺘﻨﺪ‪ .‬ﺗﺠﺮﺑﻪ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﻛﻪ ﺭﺍﻋﻲ ﻫﺮ ﭼﻨﺪ ﻓﻴﻠﻢ ﺩﺭ‬ ‫ﻣﻴﺎﻥ‪ ،‬ﺍﺛﺮﻱ ﻗﺎﺑﻞ ﺍﻋﺘﻨﺎ ﻭ ﺗﻤﺎﺷﺎﻳﻲ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺷﺎﻳﺪ ﺍﻳﻦ ﺑﺎﺭ ﻧﻮﺑﺖ ﺧﻮﺏ‬ ‫ﺷﺪﻥ ﻓﻴﻠﻢ ﺍﻭ ﺑﺎﺷﺪ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺠﺘﺒﻰ ﺭﺍﻋﻰ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﻣﻨﻮﭼﻬﺮ ﻣﺤﻤﺪﻯ‪ ،‬ﺑﻨﻴﺎﺩ‬ ‫ﺳﻴﻨﻤﺎﻳﻰ ﻓﺎﺭﺍﺑﻰ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻣﺠﺘﺒﻰ ﺭﺍﻋﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻣﻬﺮﺍﻥ‬ ‫ﻣﻠﻜﻮﺗــﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﺍﻣﻴﺮﺣﺴــﻴﻦ ﻗﺎﺳــﻤﻰ‪ ،‬ﻃﺮﺍﺡﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪:‬‬ ‫ﺣﺴﻦ ﺭﻭﺡﭘﺮﻭﺭﻯ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﻣﻬﺮﻯ ﺷﻴﺮﺍﺯﻯ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﺷﺎﭘﻮﺭ ﭘﻮﺭﺍﻣﻴﻦ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺣﺴﻦ ﺣﺴﻨﺪﻭﺳﺖ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ‬ ‫ﻋﻠﻴﻘﻠﻰ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻫﺎﻧﻴﻪ ﺗﻮﺳــﻠﻰ‪ ،‬ﺍﺣﻤﺪ ﻣﻬﺮﺍﻧﻔﺮ‪ ،‬ﺻﻐﺮﺍ ﻋﺒﻴﺴــﻰ‪،‬‬ ‫ﺳﻠﻴﻤﻪ ﺭﻧﮕﺰﻥ‪ ،‬ﻣﺪﺕ‪ 108 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺩﻛﺘﺮ ﻣﺮﻳﻢ ﺷﻴﺮﺍﺯﻯ ﭘﺲ ﺍﺯ ﺳﻘﻮﻁ ﺻﺪﺍﻡ ﺭﺍﻫﻰ‬ ‫ﻋﺮﺍﻕ ﻣﻰﺷﻮﺩ ﺗﺎ ﺑﻠﻜﻪ ﺍﺯ ﺳﺮﻧﻮﺷﺖ ﺧﻮﺍﻫﺮ ﮔﻤﺸﺪﻩﺍﺵ ﻣﻄﻠﻊ ﺷﻮﺩ‪.‬‬ ‫ﺁﻧﺎﻫﻴﺘﺎ ‪ /‬ﻋﺰﻳﺰﺍﷲ ﺣﻤﻴﺪﻧﮋﺍﺩ‬ ‫ﻋﺰﻳــﺰﺍﷲ ﺣﻤﻴﺪﻧﮋﺍﺩ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻛﻢﻛﺎﺭ ﻭ ﮔﺰﻳﺪﻩﻛﺎﺭﻱ ﺍﺳــﺖ ﻛﻪ‬ ‫ﻣﻌﻤﻮﻻ ‪ 4-5‬ﺳــﺎﻝ ﻳﻜﺒﺎﺭ ﻓﻴﻠﻢ ﻣﻲﺳــﺎﺯﺩ‪ .‬ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭﺁﻣﺪﻩ ﺍﻭ »ﺍﺷــﻚ ﺳــﺮﻣﺎ« ﺑﻮﺩ ﻛﻪ ﻫﻢ ﻣﻮﺭﺩ ﺗﻮﺟــﻪ ﻣﻨﺘﻘﺪﺍﻥ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺖ ﻭ ﻫﻢ ﻣﺮﺩﻡ ﺍﺯ ﺁﻥ ﺍﺳــﺘﻘﺒﺎﻝ ﻛﺮﺩﻧﺪ‪ .‬ﺣﻤﻴﺪﻧﮋﺍﺩ ﺍﻳﻨﺒﺎﺭ ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﺟﺪﻳﺪﺵ »ﺁﻧﺎﻫﻴﺘﺎ« ﺑﻪ ﺳﺮﺍﻍ ﻗﺼﻪﺍﻱ ﺧﺎﺹ ﺭﻓﺘﻪ ﻭ ﻣﻮﺿﻮﻋﻲ ﻋﻠﻤﻲ‬ ‫– ﺁﺯﻣﺎﻳﺸﮕﺎﻫﻲ ﺭﺍ ﺩﺳﺘﻤﺎﻳﻪ ﺳــﺎﺧﺖ ﻳﻚ ﻓﻴﻠﻢ ﺍﺟﺘﻤﺎﻋﻲ ﻗﺮﺍﺭ ﺩﺍﺩﻩ‬ ‫ﺍﺳــﺖ‪ .‬ﻧﻜﺘﻪ ﺟﺎﻟﺐ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﺣﻀﻮﺭ ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ ﺩﺭ ﻧﻘﺶ‬ ‫ﺍﺻﻠﻲ ﺯﻥ ﭘﺲ ﺍﺯ ﻣﺪﺕﻫﺎ ﺩﻭﺭﻱ ﺍﺯ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢﻫﺎﻱ ﺣﻤﻴﺪﻧﮋﺍﺩ‬ ‫ﻫﻤﻴﺸــﻪ ﺳﺎﺧﺘﺎﺭ ﺭﻭﺍﻥ ﻭ ﺑﺪﻭﻥ ﻟﻜﻨﺘﻲ ﺩﺍﺷــﺘﻪﺍﻧﺪ؛ ﺍﮔﺮ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺩﺭ‬ ‫ﻣﻮﺭﺩ »ﺁﻧﺎﻫﻴﺘﺎ« ﻫﻢ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷــﺪ‪ ،‬ﻓﻴﻠﻢ ﺍﻭ ﻧــﺰﺩ ﻋﺎﻡ ﻭ ﺧﺎﺹ ﻣﻘﺒﻮﻝ‬ ‫ﻭﺍﻗﻊ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳــﺲ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻋﺰﻳﺰﺍﷲ ﺣﻤﻴﺪﻧﮋﺍﺩ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪:‬‬ ‫ﻋﺰﻳﺰﺍﷲ ﺣﻤﻴﺪﻧﮋﺍﺩ ‪ ،‬ﻣﺮﻛﺰ ﮔﺴــﺘﺮﺵ ﺳــﻴﻨﻤﺎﻯ ﻣﺴﺘﻨﺪ ﻭ ﺗﺠﺮﺑﻲ ‪،‬‬ ‫ﻋﻠﻲ ﺳــﺘﻮﺩﻩﻧﻴﺎ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻣﺤﻤﻮﺩ ﺧﺮﺳــﻨﺪ‪ ،‬ﺻﺪﺍﮔــﺬﺍﺭ‪ :‬ﻋﻠﻴﺮﺿﺎ‬ ‫ﻋﻠﻮﻳﺎﻥ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺑﻬــﺰﺍﺩ ﻛﺰﺍﺯﻱ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﻛﻮﺭﻭﺵ‬ ‫ﻋﻠﻴﺰﺍﺩﻩ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻓﺮﺷــﺎﺩ ﻣﺤﻤﺪﻱ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺷــﻬﺮﺯﺍﺩ‬ ‫ﭘﻮﻳﺎ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﺳﺘﺎﺭ ﺍﻭﺭﻛﻲ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ‪ ،‬ﺷﻬﺎﺏ ﺣﺴﻴﻨﻲ‪،‬‬ ‫ﻧﺮﮔﺲ ﻣﺤﻤــﺪﻱ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﺩﺍﻭﻭﺩﻧﮋﺍﺩ‪ ،‬ﺍﻓﺴــﺎﻧﻪ ﻧﺎﺻــﺮﻱ ‪ ،‬ﭘﻮﺭﻳﺎ‬ ‫ﭘﻮﺭﺳﺮﺥ‪.‬ﻣﺪﺕ‪ 100 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﺩﻭ ﺩﺍﻧﺸﺠﻮﻱ ﺷﻴﻤﻲ ﺑﻪ ﻧﺎﻡﻫﺎﻱ »ﺧﻮﺭﺷﻴﺪ‬ ‫ﻭ ﻣﻬﺮﻧﺎﺯ« ﺑﺎ ﺁﺯﻣﺎﻳﺸــﮕﺎﻫﻲ ﻛــﻪ ﺩﺭ ﻳﻚ ﺳــﺎﺧﺘﻤﺎﻥ ﻣﺘﺮﻭﻛﻪ ﺑﻪ ﺭﺍﻩ‬ ‫ﺍﻧﺪﺍﺧﺘﻪﺍﻧﺪ ﺗﺤﻘﻴﻘﺎﺕ ﻭﺳــﻴﻌﻲ ﺭﺍ ﺭﻭﻱ ﻛﺮﻳﺴﺘﺎﻝﻫﺎﻱ ﻣﻮﻟﻜﻮﻝﻫﺎﻱ‬ ‫ﺁﺏ ﺷــﺮﻭﻉ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﻣﻬﺮﻧــﺎﺯ ﺑﻪﻃﻮﺭ ﻣﺮﻣﻮﺯﻱ ﺩﺭ‬ ‫ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺑﻪ ﻗﺘﻞ ﻣﻲﺭﺳﺪ‪.‬‬ ‫ﻃﺒﻘﻪ ﺳﻮﻡ ‪ /‬ﺑﻴﮋﻥ ﻣﻴﺮﺑﺎﻗﺮﻱ‬ ‫ﭼﻬﺎﺭﻣﻴــﻦ ﻓﻴﻠــﻢ ﺑﻠﻨــﺪ ﺑﻴــﮋﻥ ﻣﻴﺮﺑﺎﻗﺮﻱ ﺑــﺎ ﺍﺣﺘﺴــﺎﺏ ﻓﻴﻠﻢ‬ ‫»ﺭﻭﺯ ﺑﺮﻣﻲﺁﻳﺪ«‪ ،‬ﺧﺒﺮ ﺍﺯ ﻭﺭﻭﺩ ﺍﻳﻦ ﻓﻴﻠﻤﺴﺎﺯ ﺑﻪ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻲ ﺳﻴﻨﻤﺎ‬ ‫ﻭ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺑﺎ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺟﺬﺏ ﺗﻤﺎﺷﺎﮔﺮ ﮔﺴﺘﺮﺩﻩﺗﺮ ﻣﻲﺩﻫﺪ‪.‬‬ ‫»ﺩﻭﺯﺥ‪ ،‬ﺑﺮﺯﺥ‪ ،‬ﺑﻬﺸــﺖ« ﻛﻪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ‬ ‫ﺷﺪ‪ ،‬ﻫﻤﺎﻧﻨﺪ ﻓﻴﻠﻢ ﺍﻭﻝ ﻣﻴﺮﺑﺎﻗﺮﻱ »ﻣﺎ ﻫﻤﻪ ﺧﻮﺑﻴﻢ« ﻓﻀﺎﻳﻲ ﺷﺨﺼﻲ‬ ‫ﻣﺘﻨﺎﺳــﺐ ﺑﺎ ﺩﻏﺪﻏﻪﻫﺎﻱ ﻣﺨﺎﻃﺐ ﺧﺎﺹﺗﺮ ﺑﻮﺩ‪ .‬ﺍﻣﺎ »ﻃﺒﻘﻪ ﺳــﻮﻡ«‬ ‫ﺩﺍﺳﺘﺎﻧﻲ ﺟﺬﺍﺏﺗﺮ ﺑﺮﺍﻱ ﺗﻤﺎﺷــﺎﮔﺮ ﻋﺎﻡ ﺩﺍﺭﺩ ﻭ ﺍﻟﺒﺘﻪ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻣﺨﺎﻃﺐﭘﺴﻨﺪ ﺭﺍ ﻣﻄﺎﺑﻖ ﺳــﻠﻴﻘﻪﻫﺎﻱ ﺷﺨﺼﻲﺍﺵ ﺭﻭﺍﻳﺖ‬ ‫ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﺿﻤﻨﺎ ﺍﺣﺘﻤﺎﻝ ﺍﻳﻨﻜــﻪ ﻓﻴﻠﻢ ﻣﻴﺮﺑﺎﻗﺮﻱ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺁﻣﺎﺩﻩ ﻧﺸﻮﺩ‪ ،‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺑﻴﮋﻥ ﻣﻴﺮﺑﺎﻗﺮﻯ‪ ،‬ﺗﻬﻴــﻪ ﻛﻨﻨﺪﻩ‪ :‬ﻋﻠﻴﺮﺿﺎ‬ ‫ﻗﺎﺳﻢﺧﺎﻥ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻧﺎﺻﺮ ﺷــﻜﻮﻫﻰﻧﻴﺎ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﺣﺴﻴﻦ ﻣﺎﻓﻰ‪،‬‬ ‫ﻛﺎﻣﺮﺍﻥ ﺳﺤﺮﺧﻴﺰ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻓﺎﺿﻞ ژﻳﺎﻥ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﺍﻟﻬﺎﻡ‬ ‫ﺻﺎﻟﺤﻰ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻣﺮﺗﻀﻰ ﭘﻮﺭﺻﻤﺪﻯ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺳــﻌﻴﺪ‬ ‫ﺷﺎﻫﺴﻮﺍﺭﻯ‪ ،‬ﻣﻮﺳــﻴﻘﻰ‪ :‬ﺑﻬﺮﻧﮓ ﺷﮕﺮﻑﻛﺎﺭ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﻬﻨﺎﺯ ﺍﻓﺸﺎﺭ‪،‬‬ ‫ﭘﮕﺎﻩ ﺁﻫﻨﮕﺮﺍﻧﻰ‪ ،‬ﭘﺎﺷﺎ ﺭﺳﺘﻤﻰ‪ ،‬ﻣﻬﺮﺩﺍﺩ ﺿﻴﺎﻳﻰ‪ ،‬ﻣﺪﺕ‪ 90 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺩﺧﺘﺮﺟﻮﺍﻧﻰ ﭘﺲ ﺍﺯ ﻓﺮﺍﺭ ﺍﺯ ﻳﻚ ﻣﻴﻬﻤﺎﻧﻰ ﺷﺒﺎﻧﻪ‬ ‫ﻧﺎﺧﻮﺍﺳﺘﻪ ﻭﺍﺭﺩ ﺧﺎﻧﻪ ﺯﻧﻰ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻧﺸﻮﻳﺪ‬ ‫ﻳﺪ‬ ‫ﻟﻄﻔﺎ ﻣﺰﺍﺣﻢ ﻧﺸﻮ‬ ‫ﭘﺮﺳﻪ ﺩﺭ ﻣﻪ‪/‬ﺑﻬﺮﺍﻡ ﺗﻮﻛﻠﻲ‬ ‫»ﭘﺮﺳﻪ ﺩﺭ ﻣﻪ« ﺳــﺎﺧﺘﻪ ﺟﺪﻳﺪ ﺑﻬﺮﺍﻡ ﺗﻮﻛﻠﻲ ﭘﺲ ﺍﺯ ﻓﻴﻠﻢ ﻣﻮﻓﻖ‬ ‫»ﭘﺎﺑﺮﻫﻨﻪ ﺩﺭ ﺑﻬﺸﺖ« ﺍﺳﺖ ﻛﻪ ﭼﻨﺪ ﺳﺎﻝ ﭘﻴﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺷﺮﻛﺖ‬ ‫ﻛﺮﺩ‪ .‬ﺍﻳــﻦ ﻓﻴﻠﻢ ﻣﺎﺟﺮﺍﻱ ﻣﻘﻄﻌﻲ ﺍﺯ ﺯﻧﺪﮔﻲ ﺟﻮﺍﻧﻲ ‪ 30‬ﺳــﺎﻟﻪ ﺑﻪ ﻧﺎﻡ‬ ‫ﺍﻣﻴﻦ ﺑﺎ ﺑﺎﺯﻱ ﺷــﻬﺎﺏ ﺣﺴــﻴﻨﻲ ﺭﺍ ﺭﻭﺍﻳﺖ ﻣﻲ ﻛﻨﺪ ﻛﻪ ﺩﺭ ﭘﻲ ﻧﻮﺷﺘﻦ‬ ‫ﻗﻄﻌﻪﺍﻱ ﻣﻮﺳﻴﻘﻲ ﺍﺳﺖ ﻛﻪ ﺁﺭﻣﺎﻥ ﺯﻧﺪﮔﻲﺍﺵ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﻣﺸــﻜﻼﺕ ﺯﻧﺪﮔﻲ ﻭ ﺭﻭﺯﻣﺮﮔﻲ ﺑﻪ ﺟﺎﻳﻲ ﻣﻲﺭﺳﺪ ﻛﻪ ﺗﻌﺎﺩﻝ‬ ‫ﺭﻭﺣﻲﺍﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ‪» .‬ﭘﺎﺑﺮﻫﻨﻪ ﺩﺭ ﺑﻬﺸﺖ« ﻧﺸﺎﻥ ﺍﺯ ﻇﻬﻮﺭ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺧﻮﺵ ﺁﺗﻴﻪ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﻣﻲ ﺩﺍﺩ ﻭ »ﭘﺮﺳﻪ ﺩﺭ ﻣﻪ«‬ ‫ﻣﻲ ﺗﻮﺍﻧﺪ ﭘﺨﺘﮕﻲ ﺍﻳﻦ ﻓﻴﻠﻤﺴﺎﺯ ﺭﺍ ﺩﺭ ﺑﻴﺎﻥ ﺩﻏﺪﻏﻪﻫﺎﻳﺶ ﻧﺸﺎﻥ ﺩﻫﺪ‪.‬‬ ‫ﻋﻮﺍﻣﻞ ﭘﺸــﺖ ﺩﻭﺭﺑﻴﻦ ﺍﻳﻦ ﻓﻴﻠﻢ ﺗﻘﺮﻳﺒﺎ ﻫﻤﺎﻥﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﻓﻴﻠﻢ‬ ‫ﺍﻭﻝ ﺗﻮﻛﻠﻲ ﺭﺍ ﺗﻮﻟﻴﺪ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻭ ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﭼﻨﺪ ﺑﺎﺯﻳﮕﺮ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻩﺗﺮ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ »ﭘﺎ ﺑﺮﻫﻨﻪ ﺩﺭ ﺑﻬﺸﺖ« ﻣﻲ ﺧﻮﺍﻫﺪ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ‬ ‫ﻣﻮﻓﻖﺗﺮﻱ ﺭﺍ ﻫﻢ ﺗﺠﺮﺑﻪ ﻛﻨﺪ‪.‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺑﻬﺮﺍﻡ ﺗﻮﻛﻠﻰ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﺟﻮﺍﺩ ﻧﻮﺭﻭﺯﺑﻴﮕﻰ‪،‬‬ ‫ﻣﺮﻛﺰ ﮔﺴﺘﺮﺵ ﺳﻴﻨﻤﺎﻯ ﻣﺴﺘﻨﺪ ﻭ ﺗﺠﺮﺑﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻣﻬﺪﻯ ﺻﺎﻟﺢ‬ ‫ﻛﺮﻣﺎﻧﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﻓﺮﺍﻣﺮﺯ ﺍﺑﻮﺍﻟﺼــﺪﻕ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺑﺎﺑﻚ‬ ‫ﻛﺮﻳﻤﻰ‪ ،‬ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯ‪ :‬ﺳﻌﻴﺪ ﻣﻠﻜﺎﻥ‪ ،‬ﺟﻠﻮﻩ ﻫﺎﻯ ﻭﻳﮋﻩ‪ :‬ﻋﺒﺎﺱ ﺷﻮﻗﻰ‪،‬‬ ‫ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﻤﻴﺪ ﺧﻀﻮﻋﻰ ﺍﺑﻴﺎﻧﻪ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺑﻬﺮﺍﻡ ﺩﻫﻘﺎﻧﻰ‪،‬‬ ‫ﻣﻮﺳــﻴﻘﻰ‪ :‬ﺣﺎﻣﺪ ﺛﺎﺑﺖ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻟﻴﻼ ﺣﺎﺗﻤﻰ ‪ ،‬ﺷــﻬﺎﺏ ﺣﺴﻴﻨﻰ ‪،‬‬ ‫ﻣﺴﻌﻮﺩ ﺭﺍﻳﮕﺎﻥ ‪ ،‬ﺍﺣﻤﺪ ﺳﺎﻋﺘﭽﻰ‪ .‬ﻣﺪﺕ‪ 90 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺍﻣﻴﻦ ﺩﺍﻧﺸﺠﻮﻯ ﺭﺷﺘﻪ ﻣﻮﺳﻴﻘﻰ ﺗﻤﺎﻡ ﺗﻮﺍﻥ ﺧﻮﺩ‬ ‫ﺭﺍ ﺑﺮﺍﻯ ﺳﺎﺧﺖ ﺑﺰﺭگ ﺗﺮﻳﻦ ﻣﻮﺳﻴﻘﻰ ﺯﻧﺪﮔﻰ ﺍﺵ ﺑﻪ ﻛﺎﺭ ﻣﻰ ﺑﺮﺩ‪.‬‬ ‫ﭼﻬﻞﺳﺎﻟﮕﻲ‬ ‫ﺻﺒﺢ ﺭﻭﺯ ﻫﻔﺘﻢ‪/‬ﻣﺴﻌﻮﺩ ﺍﻃﻴﺎﺑﻲ‬ ‫ﮔﻔﺘﻪﻣﻲﺷﻮﺩ»ﺻﺒﺢﺭﻭﺯﻫﻔﺘﻢ«ﺳﺎﻝﮔﺬﺷﺘﻪﻫﻢﺑﻪﻫﻴﺎﺕﺍﻧﺘﺨﺎﺏ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺍﺭﺍﺋﻪ ﺷﺪ‪ ،‬ﺍﻣﺎ ﺁﻥ ﺭﺍ ﺑﺮﺍﻱ ﺷﺮﻛﺖ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻧﺘﺨﺎﺏ ﻧﻜﺮﺩﻧﺪ‪.‬‬ ‫ﺣﺎﻝ ﭘﺲ ﺍﺯ ﻳﻜﺴﺎﻝ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﻭ ﺍﻳﻦ ﺑﺎﺭ ﺩﺭ‬ ‫ﺑﺨﺶﺍﺻﻠﻲﭘﺬﻳﺮﻓﺘﻪﺷﺪﻩﺍﺳﺖ‪.‬ﺍﻳﻦﻓﻴﻠﻢﻛﻪﺑﻪﺻﻮﺭﺕﺩﻳﺠﻴﺘﺎﻝﺳﺎﺧﺘﻪ‬ ‫ﺷﺪﻩ ﺩﺭﺑﺎﺭﻩ ﻣﺮﺩﻱ ﺍﺳــﺖ ﻛﻪ ﺑﻪ ﺗﺎﺯﮔﻲ ﺍﺯ ﺯﻧﺪﺍﻥ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﻭ ﻣﻮﺍﺟﻬﻪ‬ ‫ﺁﺩﻣﻬﺎﻱﺩﻧﻴﺎﻱﺑﻴﺮﻭﻥﺑﺎﺍﻳﻦﻣﺮﺩ‪،‬ﻗﺼﻪﻓﻴﻠﻢﺭﺍﺗﺸﻜﻴﻞﻣﻲﺩﻫﺪ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺳﻴﺪ ﻣﺴﻌﻮﺩ ﺍﻃﻴﺎﺑﻰ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﺻﺪﺭﺍ ﻋﺒﺪﺍﻟﻠﻬﻰ ‪،‬‬ ‫ﺷﺒﻜﻪ ﺟﻬﺎﻧﻰ ﺳﺤﺮ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺁﺭﺯﻭ ﻣﺤﻤﺪﻧﮋﺍﺩ ‪ ،‬ﺟﻬﺎﻧﺒﺨﺶ‬ ‫ﺍﻳﻤﺎﻧــﻰ ‪ ،‬ﺣﺴــﻴﻦ ﻛﻴﺎﻧﻰ‪ ،‬ﺻﺪﺍﺑــﺮﺩﺍﺭ‪ :‬ﻭﺣﻴﺪ ﺳــﻠﻄﺎﻧﻰ‪،‬ﺻﺪﺍﮔﺬﺍﺭ‪:‬‬ ‫ﻣﺴﻌﻮﺩ ﺑﻬﻨﺎﻡ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺳﻴﺪ ﻣﺴﻌﻮﺩ ﺍﻃﻴﺎﺑﻰ ‪ ،‬ﻣﺮﺍﺩﻯ‪،‬‬ ‫ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯ‪ :‬ﺳﻮﺩﺍﺑﻪ ﺧﺴﺮﻭﻯ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺍﻓﺸﻴﻦ ﻋﻠﻴﺰﺍﺩﻩ‪،‬‬ ‫ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺭﺿﺎ ﺷﻴﺮﻭﺍﻧﻰ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﺳﻬﻴﻞ ﻧﻔﻴﺴﻰ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺷﻬﺮﺍﻡ‬ ‫ﺣﻘﻴﻘﺖ ﺩﻭﺳﺖ ‪ ،‬ﻋﻠﻰ ﺍﻭﺳﻴﻮﻧﺪ‪ .‬ﻣﺪﺕ‪88 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺳــﻴﺮﻭﺱ ﻛﻪ ﺑﻪ ﺗﺎﺯﮔﻰ ﺍﺯ ﺯﻧﺪﺍﻥ ﺁﺯﺍﺩ ﺷﺪﻩ ﺑﻪ‬ ‫ﻧﺎﭼﺎﺭ ﺩﺭ ﺧﺎﻧﻪ ﻳﻜﻰ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﺧﻮﺩ ﺳﺎﻛﻦ ﻣﻰ ﺷﻮﺩ‪.‬‬ ‫ﻋﺼﺮ ﺭﻭﺯ ﺩﻫﻢ‬ ‫ﺑﻴﺪﺍﺭﻯ ﺭﻭﻳﺎﻫﺎ‪/‬ﻣﺤﻤﺪ ﺑﺎﺷﻪﺁﻫﻨﮕﺮ‬ ‫ﻓﻴﻠﻢ ﻗﺒﻠﻲ ﺑﺎﺷــﻪﺁﻫﻨﮕﺮ »ﻓﺮﺯﻧﺪ ﺧﺎﻙ«‪ ،‬ﻓﻴﻠﻢ ﻣﻄﻠﻮﺏ ﺩﺍﻭﺭﺍﻥ ﻭ‬ ‫ﻣﺴﺌﻮﻻﻥ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺩﻭﺳﺎﻝ ﭘﻴﺶ ﻭ ﺍﻟﺒﺘﻪ ﻣﻄﺎﺑﻖ ﺑﺎ ﻧﮕﺎﻩ ﺭﺳﻤﻲ‬ ‫ﺳﻴﺎﺳﺖ ﮔﺬﺍﺭﺍﻥ ﺩﻭﻟﺘﻲ ﺳﻴﻨﻤﺎ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻢ ﺟﺪﻳﺪ ﺍﻭ »ﺑﻴﺪﺍﺭﻱ ﺭﻭﻳﺎﻫﺎ«‬ ‫ﻫﻢ ﻫﻤﺎﻥ ﻣﺘــﺮ ﻭ ﻣﻌﻴﺎﺭﻫﺎﻱ ﻓﻴﻠﻢ ﻗﺒﻠﻲ ﺍﻭ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﻫﻤﺎﻥ‬ ‫ﺣﺎﻝ ﻭ ﻫﻮﺍﺳﺖ‪ .‬ﺍﮔﺮ »ﻓﺮﺯﻧﺪ ﺧﺎﻙ« ﺑﻪ ﺧﺎﻃﺮ ﻧﺪﺍﺷﺘﻦ ﭼﻬﺮﻩ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻩ ﭼﻨﺪﺍﻥ ﺑﺎ ﻣﺨﺎﻃﺐ ﻋﺎﻡ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻧﻜﺮﺩ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﺑﺎﺷﻪ ﺁﻫﻨﮕﺮ‬ ‫ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﺎﺯﻳﮕﺮ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﻣﺤﺒﻮﺑﻲ ﻣﺎﻧﻨﺪ ﺍﻣﻴﻦ ﺣﻴﺎﻳﻲ)ﭘﺲ‬ ‫ﺍﺯ ﻣﺪﺗﻬﺎ ﺩﺭ ﻳﻚ ﻧﻘﺶ ﺟﺪﻱ( ﻗﺼﺪ ﻛﺸــﺎﻧﺪﻥ ﺗﻤﺎﺷﺎﮔﺮ ﮔﺴﺘﺮﺩﻩ ﺗﺮ‬ ‫ﺑﻪ ﭘﺎﻱ ﻓﻴﻠﻤﺶ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻣﺪﺕ ﺯﻣﺎﻥ ﺯﻳﺎﺩﻱ ﺻﺮﻑ ﻧﮕﺎﺭﺵ ﻭ ﻛﺎﺭ ﺭﻭﻱ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ »ﺑﻴﺪﺍﺭﻱ ﺭﻭﻳﺎﻫﺎ« ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﮔﺮ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺟﺬﺍﺑﻴﺖﻫﺎﻱ‬ ‫ﻻﺯﻡ ﺭﺍ ﺩﺍﺷــﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﺎ ﺗﺴــﻠﻄﻲ ﻛﻪ ﺁﻫﻨﮕﺮ ﺩﺭﻛﺎﺭﻫﺎﻱ ﻗﺒﻠﻲﺍﺵ ﺑﺮ‬ ‫ﺍﺑﺰﺍﺭ ﺳــﻴﻨﻤﺎ ﺍﺯ ﺧﻮﺩ ﻧﺸــﺎﻥ ﺩﺍﺩ‪ ،‬ﻓﻴﻠﻢ ﺟﺪﻳﺪ ﺍﻭ ﺩﻳﺪﻧﻲﺗﺮ ﺍﺯ »ﻓﺮﺯﻧﺪ‬ ‫ﺧﺎﻙ« ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺤﻤﺪﻋﻠﻰ ﺑﺎﺷﻪ ﺁﻫﻨﮕﺮ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﻋﻠﻰ ﺁﺷﺘﻴﺎﻧﻰﭘﻮﺭ‬ ‫‪ ،‬ﻣﻮﺳﺴــﻪ ﺗﻮﺳﻌﻪ ﺳــﻴﻨﻤﺎﻳﻰ ﺳــﻮﺭﻩ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ‬ ‫ﮔﻮﻫﺮﻯ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻭﺣﻴﺪ ﻣﻘﺪﺳﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﺳﻴﺪﻋﻠﻴﺮﺿﺎ ﻋﻠﻮﻳﺎﻥ‪،‬‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻋﺒﺎﺱ ﺑﻠﻮﻧﺪﻯ‪ ،‬ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯ‪ :‬ﻛﻮﺭﻭﺵ ﻋﻠﻴﺰﺍﺩﻩ‪،‬‬ ‫ﻣﺪﻳــﺮ ﻓﻴﻠﻤﺒــﺮﺩﺍﺭﻱ‪ :‬ﺗﻮﺭﺝ ﻣﻨﺼــﻮﺭﻯ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺣﻤﻴــﺪ ﺁﻫﻨﮕﺮ‪،‬‬ ‫ﻣﻮﺳــﻴﻘﻰ‪ :‬ﺁﺭﻳﺎ ﻋﻈﻴﻤﻰ ﻧــﮋﺍﺩ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺍﻣﻴﻦ ﺣﻴﺎﻳــﻰ ‪ ،‬ﻫﻨﮕﺎﻣﻪ‬ ‫ﻗﺎﺿﻴﺎﻧﻰ ‪ ،‬ﺍﻣﻴﺮﺣﺴــﻴﻦ ﺁﺭﻣﺎﻥ ‪ ،‬ﺭﺯ ﺭﺿﻮﻯ‪ ،‬ﺣﻤﻴﺪ ﻓﺮﺥ ﻧﮋﺍﺩ‪ ،‬ﺳــﺎﺭﺍ‬ ‫ﺧﻮﺋﻴﻨﻰ ﻫﺎ‪.‬ﻣﺪﺕ‪ 100 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﭘﺲ ﺍﺯ ﺍﻋﻼﻡ ﺧﺒﺮ ﺍﺳــﺎﺭﺕ ﻭ ﺷﻬﺎﺩﺕ ﺍﻳﻮﺏ ‪،‬‬ ‫ﺭﺧﺸﺎﻧﻪ – ﻫﻤﺴﺮﺵ – ﺑﻪ ﺧﺎﻃﺮ ﻓﺮﺯﻧﺪ ﺩﻭ ﺳﺎﻟﻪ ﺍﺵ ﺭﺿﺎﻳﺖ ﻣﻴﺪﻫﺪ‬ ‫ﺗﺎ ﺑﺎ ﺑﺮﺍﺩﺭ ﺍﻳﻮﺏ ﺍﺯﺩﻭﺍﺝ ﻛﻨﺪ‪.‬‬ ‫ﻧﺎﺳﭙﺎﺱ‪/‬ﺣﺴﻦ ﻫﺪﺍﻳﺖ‬ ‫ﻓﻴﻠﻢ ﺗﺎﺭﻳﺨﻲ ﺣﺴــﻦ ﻫﺪﺍﻳﺖ ﺑﺮﺧﻼﻑ ﺍﻛﺜﺮ ﺁﺛﺎﺭ ﺗﺎﺭﻳﺨﻲ‪ ،‬ﺑﺴﻴﺎﺭ‬ ‫ﺳــﺮﻳﻊ ﻣﺮﺍﺣﻞ ﺗﻮﻟﻴﺪ ﺭﺍ ﭘﺸــﺖ ﺳﺮ ﮔﺬﺍﺷــﺖ‪ .‬ﻫﺪﺍﻳﺖ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﮔﺬﺷــﺘﻪﺍﺵ ﺑﻪ ﺗﺎﺭﻳﺦ ﻣﻌﺎﺻﺮ ﻋﻼﻗﻪ ﺧﺎﺻﻲ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ‬ ‫ﺑﻪ ﺳــﺮﺍﻍ ﻗﻮﻡ ﻳﻬﻮﺩ ﻭ ﺯﻣﺎﻥ ﺣﻀﺮﺕ ﻣﻮﺳﻲ ﺭﻓﺘﻪ ﺗﺎ ﺩﺍﺳﺘﺎﻧﻲ ﺗﺎﺭﻳﺨﻲ‬ ‫ﺩﺭ ﺁﻥ ﺑﺮﻫﻪ ﺯﻣﺎﻧﻲ ﺭﺍ ﺭﻭﺍﻳﺖ ﻛﻨﺪ‪ .‬ﺣﺴﻦ ﻫﺪﺍﻳﺖ ﺩﺭﺣﺎﻟﻲ »ﻧﺎﺳﭙﺎﺱ«‬ ‫ﺭﺍ ﺑﺮﺍﻱ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺁﻣﺎﺩﻩ ﻣﻲ ﻛﻨﺪ ﻛﻪ ﻫﻨﻮﺯ ﺗﻜﻠﻴﻒ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﻗﺒﻠﻲ ﺍﻭ »ﺑﺎﺯﻱ ﺧﻄﺮﻧﺎﻙ« ﻧﺎ ﻣﺸﺨﺺ ﺍﺳﺖ ﻭ ﺍﻟﺒﺘﻪ ﭼﻨﺪ ﻓﻴﻠﻢ ﻗﺒﻞﺗﺮ‬ ‫ﺍﻭ ﻫﻢ ﺍﻛﺮﺍﻥ ﻣﻨﺎﺳــﺒﻲ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪» .‬ﻧﺎﺳــﭙﺎﺱ« ﻛﻪ ﺍﺑﺘﺪﺍ ﺩﺭ ﺑﺨﺶ‬ ‫ﺧﺎﺭﺝ ﺍﺯ ﻣﺴﺎﺑﻘﻪ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻌﺪ ﺍﺯ ﻳﻚ ﻫﻔﺘﻪ ﺑﻪ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ‬ ‫ﻣﻨﺘﻘﻞ ﺷﺪ‪.‬‬ ‫ﻃــﺮﺍﺡ ﺻﺤﻨــﻪ ﻭ ﻟﺒــﺎﺱ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺣﺴــﻦ ﻫﺪﺍﻳــﺖ‪ ،‬ﺗﻬﻴﻪ‬ ‫ﻛﻨﻨﺪﻩ‪ :‬ﺳــﻴﺪ ﻣﺤﺴــﻦ ﺟﺎﻫﺪ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺣﺴﻴﻦ ﺍﻛﺒﺮﺯﺍﺩﻩ ﻭ‬ ‫ﺍﺻﻐﺮ ﻫﺎﺷــﻤﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻣﺤﻤﺪ ﺷــﺎﻫﻮﺭﺩﻯ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﻣﺤﻤﻮﺩ‬ ‫ﻣﻮﺳﻮﻯﻧﮋﺍﺩ‪ ،‬ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯ‪ :‬ﻣﺤﺴﻦ ﺑﺎﺑﺎﻳﻰ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺳﻴﺪ‬ ‫ﻣﺤﺴﻦ ﺟﺎﻫﺪ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ :‬ﺣﺴﻦ ﺍﻳﻮﺑﻰ‪ ،‬ﻣﻮﺳﻴﻘﻰ‪ :‬ﺳﺘﺎﺭ ﺍﻭﺭﻛﻰ‪ ،‬ﻣﺪﻳﺮ‬ ‫ﺗﻮﻟﻴﺪ‪ :‬ﺑﻬﻤﻦ ﮔﻮﺩﺭﺯﻯ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺍﻟﻨﺎﺯ ﺷﺎﻛﺮﺩﻭﺳﺖ‪ ،‬ﭘﻮﺭﻳﺎ ﭘﻮﺭﺳﺮﺥ‪،‬‬ ‫ﻧﻴﻤﺎ ﺷﺎﻫﺮﺥ ﺷﺎﻫﻰ‪ ،‬ﻟﻴﻨﺪﺍ ﻛﻴﺎﻧﻰ‪ ،‬ﻣﺪﺕ‪ 100 :‬ﺩﻗﻴﻘﻪ‪.‬‬ ‫ﺧﻼﺻﻪﺩﺍﺳﺘﺎﻥ‪:‬ﺭﻗﺎﺑﺖﺩﻭﭘﻬﻠﻮﺍﻥﻳﻬﻮﺩﻯﻛﻪﻣﻨﺠﺮﺑﻪﻛﺸﺘﻪﺷﺪﻥ‬ ‫ﻳﻜﻰ ﺍﺯ ﺁﻧﻬﺎ ﻣﻰ ﺷﻮﺩ ﻭﺣﺪﺕ ﻗﺒﺎﻳﻞ ﺑﻨﻰ ﺍﺳﺮﺍﺋﻴﻞ ﺭﺍ ﺯﻳﺮ ﺳﻮﺍﻝ ﻣﻰ ﺑﺮﺩ‪.‬‬ ‫ﻟﻄﻔﺎ ﻣﺰﺍﺣﻢ ﻧﺸﻮﻳﺪ‪ /‬ﻣﺤﺴﻦ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ‬ ‫ﻣﺤﺴﻦ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﭘﺲ ﺍﺯ ﺩﻭ ﺗﺠﺮﺑﻪ ﻣﺸﺘﺮﻙ »ﮔﻴﻼﻧﻪ« ﻭ »ﺧﻮﻥ‬ ‫ﺑﺎﺯﻱ« ﺑﺎ ﺭﺧﺸﺎﻥ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ‪ ،‬ﺩﺭ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﻣﺴﺘﻘﻠﺶ »ﻟﻄﻔﺎ ﻣﺰﺍﺣﻢ‬ ‫ﻧﺸﻮﻳﺪ« ﺑﻪ ﺳــﺮﺍﻍ ﺟﻮﺍﻧﺎﻥ ﺭﻓﺘﻪ ﺍﺳــﺖ‪» .‬ﻟﻄﻔﺎ ﻣﺰﺍﺣﻢ ﻧﺸﻮﻳﺪ« ﻗﺮﺍﺭ‬ ‫ﺍﺳــﺖ ﻓﻴﻠﻤﻲ ﺟﻮﺍﻧﺎﻧﻪ ﺑــﺎ ﺭﮔﻪﻫﺎﻳﻲ ﻃﻨﺰ ﻭ ﺍﻟﺒﺘﻪ ﻣﺘﻔــﺎﻭﺕ ﺍﺯ ﺟﺮﻳﺎﻥ‬ ‫ﺍﺻﻠﻲ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﺎﺷــﺪ‪ .‬ﺩﺭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳﻌﻲ ﺷﺪﻩ‬ ‫ﺗﺎ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻳﻚ ﻛﺎﺭ ﻣﺴــﺘﻨﺪ ﺩﺭﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﻮﺩ ﻭ ﺑﻴﺸﺘﺮ ﭘﻼﻥﻫﺎ‬ ‫ﺑﻪ ﺻﻮﺭﺕ ﺩﻭﺭﺑﻴﻦ ﺭﻭﻱ ﺩﺳﺖ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺷﻮﻧﺪ‪ .‬ﻓﻴﻠﻢ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ‬ ‫ﺗﺮﻛﻴﺒﻲ ﺟﺬﺍﺏ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺳﻴﻨﻤﺎ ﻭ ﺗﺌﺎﺗﺮ ﺭﺍ ﻛﻨﺎﺭ ﻫﻢ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﺍﺣﺘﻤﺎﻝ‬ ‫ﻓﺮﺍﻭﺍﻥ ﻳﻜﻲ ﺍﺯ ﺁﺛﺎﺭ ﻗﺎﺑﻞ ﺑﺤﺚ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺤﺴــﻦ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ‪ ،‬ﻣﺪﻳﺮ ﻣﺪﻳﺮ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﻭ ﺗﻬﻴﻪﻛﻨﻨــﺪﻩ‪ :‬ﻣﺤﻤﺪ ﺍﺣﻤﺪﻯ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪:‬‬ ‫ﺍﻣﻴﺮ ﺍﺛﺒﺎﺗﻰ‪ ،‬ﻃﺮﺍﺡ ﮔﺮﻳﻢ‪ :‬ﻣﻬﺮﺩﺍﺩ ﻣﻴﺮﻛﻴﺎﻧﻰ‪ ،‬ﻣﺪﻳﺮ ﺻﺪﺍ‪ :‬ﻳﺪﺍﷲ ﻧﺠﻔﻰ‪،‬‬ ‫ﻣﺠﺮﻯ ﻃﺮﺡ ﻭ ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﺳﻌﻴﺪ ﻫﺎﺷﻤﻰ‪ ،‬ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺑﺎﺭﺍﻥ ﻛﻮﺛﺮﻯ‪،‬‬ ‫ﺍﻓﺸــﻴﻦ ﻫﺎﺷــﻤﻰ‪ ،‬ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ‪ ،‬ﻫﺪﺍﻳﺖ ﻫﺎﺷﻤﻰ‪ ،‬ﺳﻴﺎﻣﻚ ﺻﻔﺮﻯ‪،‬‬ ‫ﺧﺴﺮﻭ ﺍﺣﻤﺪﻯ‪ ،‬ﻣﺠﻴﺪ ﺑﻬﺮﺍﻣﻰ‪ ،‬ﻣﺰﺩﻙ ﻣﻴﺮﻋﺎﺑﺪﻳﻨﻰ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺍﻳﻦ ﻓﻴﻠﻢ ﭼﻬﺎﺭ ﻗﺼﻪ ﺗﻮ ﺩﺭ ﺗﻮ ﺑﺎ ﻧﮕﺎﻫﻰ ﻃﻨﺰﺁﻟﻮﺩ‬ ‫ﻭ ﺭﻭﺍﻳﺖﻫﺎﻳــﻰ ﺍﺯ ﻭﻗﺎﻳﻊ ﻣﺨﺘﻠﻒ ﻣﺮﺗﺒﻂ ﺑﺎ ﺯﻧﺪﮔــﻰ ﺟﻮﺍﻧﺎﻥ ﺍﻣﺮﻭﺯ ﺭﺍ‬ ‫ﺍﺭﺍﺋﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪33‬‬ ‫‪5‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫‪ 27‬ﻧﻜﺘﻪ ﺍﺯ ‪ 27‬ﻓﻴﻠﻢ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ ﻧﻤﻲﺩﺍﻧﻴﺪ‬ ‫ﺗﺴﻮﻳﻪ ﺣﺴﺎﺏ‬ ‫ﺍﻳﻨﻬﺎ ﻧﻜﺎﺕ ﻭ ﺣﺎﺷﻴﻪﻫﺎﻳﻲ ﺍﺯ ‪ 27‬ﻓﻴﻠﻢ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﺳــﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻄﻠﺐ ﺳﻌﻲ ﻛﺮﺩﻳﻢ ﺑﻪ ﻣﻮﺿﻮﻋﺎﺗﻲ ﺍﺷﺎﺭﻩ‬ ‫ﻛﻨﻴﻢ ﻛﻪ ﻛﻤﺘﺮ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ ﻭ ﻛﻤﺘﺮ ﻛﺴﻲ ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﻣﻲﺩﺍﻧﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻨﻜﻪ ﻓﻴﻠﻢﻫﺎﻳــﻲ ﻣﺜﻞ »ﻣﻠﻚ ﺳــﻠﻴﻤﺎﻥ«‪» ،‬ﻃﻬﺮﺍﻥ ﺗﻬﺮﺍﻥ«‪،‬‬ ‫»ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﻭ »ﺗﺴﻮﻳﻪ ﺣﺴﺎﺏ« ﺳﺮﺍﺳﺮ ﺣﺎﺷﻴﻪ ﻭ ﺟﻨﺠﺎﻝ‬ ‫ﺑﻮﺩﻩ‪ ،‬ﺷﻜﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺍﻣﺎ ﺍﺯ ﻫﺮ ﻓﻴﻠﻢ ﻳﻚ ﻧﻜﺘﻪ ﺟﺬﺍﺏ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ‬ ‫ﻛﻪ ﺧﻮﺍﻧﺪﺵ ﺑﺮﺍﻱ ﺗﻤﺎﺷﺎﮔﺮ ﺟﺸﻨﻮﺍﺭﻩ ﻣﻲﺗﻮﺍﻧﺪ ﺟﺎﻟﺐ ﺑﺎﺷﺪ‪.‬‬ ‫ﺁﻝ‬ ‫ﻓﻴﻠﻢ ﺑﻬــﺮﺍﻡ ﺑﻬﺮﺍﻣﻴﺎﻥ ﺗﺎ ﭼﻨﺪ ﺳــﺎﻋﺖ ﻣﺎﻧﺪﻩ ﺑﻪ ﺍﻋﻼﻡ ﺍﺳــﺎﻣﻲ‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﻦ ﻓﻬﺮﺳــﺖ ﻗﺮﺍﺭ ﺩﺍﺷــﺖ‪.‬‬ ‫ﮔﻮﻳــﺎ ﺭﺍﻱ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺑــﺮﺍﻱ ﺣﻀﻮﺭ »ﺁﻝ« ﺩﺭ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ‬ ‫ﻳﻚﺑﻪ ﻫﻔﺖ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ ﻋﻠﻲ ﻣﻌﻠﻢ ﺑﺎ ﺣﻀﻮﺭ ﺩﺭ ﺩﻓﺘﺮ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻋﺪﻡ ﺣﻀﻮﺭ ﻓﻴﻠﻤﺶ ﺩﺭ ﺑﺨﺶ ﺍﺻﻠﻲ ﺭﺍ ﺑﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﺶ‬ ‫ﺑﺮﺍﻱ ﻣﻬﺪﻱ ﻛﺮﻭﺑﻲ ﺩﺭ ﺯﻣﺎﻥ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺭﻳﺎﺳــﺖ ﺟﻤﻬﻮﺭﻱ ﻧﺴﺒﺖ‬ ‫ﺩﺍﺩﻩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﭘﺬﻳﺮﻓﺘﻪ »ﺁﻝ« ﺩﺭ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ‬ ‫ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﺑﻴﺎﻳﺪ‪.‬‬ ‫ﺁﻧﺎﻫﻴﺘﺎ‬ ‫ﮔﻠﺸــﻴﻔﺘﻪ ﻓﺮﺍﻫﺎﻧﻲ ﺩﺭ ﻳﻚ ﻗﺪﻣﻲ ﺍﻣﻀﺎﻱ ﻗــﺮﺍﺭﺩﺍﺩ ﺑﺎ ﻋﺰﻳﺰﺍﷲ‬ ‫ﺣﻤﻴﺪﻧﮋﺍﺩ ﺑﻮﺩ‪ .‬ﮔﻠﺸــﻴﻔﺘﻪ ﻭ ﻫﻤﺴــﺮﺵ ﺣﺘﻲ ﺟﻠﺴــﺎﺗﻲ ﺭﺍ ﺑﺎ ﺍﻳﻦ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩﻧﺪ ﺍﻣﺎ ﺩﺭ ﻛﺶﻭﻗﻮﺱ ﺍﻣﻀﺎﻱ ﻗﺮﺍﺭﺩﺍﺩ ﺁﻥﻗﺪﺭ‬ ‫ﺣﺎﺷﻴﻪ ﺑﺮﺍﻱ ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ ﺑﻪﻭﺟﻮﺩ ﺁﻣﺪ ﻛﻪ ﺍﻭ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺩﺭ ﻫﻤﺎﻥ‬ ‫ﺍﻭﺿــﺎﻉ ﻭ ﺍﺣﻮﺍﻝ ﺍﻳﺮﺍﻥ ﺭﺍ ﺗــﺮﻙ ﻛﻨﺪ‪ .‬ﺣﻤﻴﺪﻧﮋﺍﺩ ﺑﺮﺍﻱ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﺯ‬ ‫ﮔﻠﺸﻴﻔﺘﻪ ﻓﺮﺍﻫﺎﻧﻲ ﺣﺘﻲ ﺑﻪ ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﺭﻓﺘﻪ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ‬ ‫ﺍﺳــﺘﻌﻼﻡ ﻫﻢ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺩﻗﻴﻘﺎ ﻫﻤﺎﻥ ﻛﺎﺭﻱ ﺑﻮﺩ ﻛﻪ ﺣﻤﻴﺪﻧﮋﺍﺩ‬ ‫ﺑﺮﺍﻱ ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ ﺩﺭ ﻣﺮﺣﻠﻪ ﺑﻌﺪﻱ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪.‬‬ ‫ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ‬ ‫ﺑﻪﺭﻏﻢ ﺣــﺮﻑ ﻭ ﺣﺪﻳﺚﻫــﺎﻱ ﻣﻮﺟــﻮﺩ ﻧﻪ ﺍﺣﻤﺪﻱﻧــﮋﺍﺩ ﻓﻴﻠﻢ‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﺭﺍ ﺩﻳﺪﻩ ﻭ ﻧﻪ ﻣﺼﻠﺤﻲ ﻭﺯﻳﺮﺍﻃﻼﻋﺎﺕ ﺩﻭﻟﺖ ﺟﺪﻳﺪ‪ .‬ﮔﻔﺘﻪ‬ ‫ﻣﻲﺷﻮﺩ ﺗﻨﻬﺎ ﻛﺴﻲ ﻛﻪ ﺳﻔﺖ ﻭ ﺳﺨﺖ ﭘﺎﻱ »ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺍﺳﻔﻨﺪﻳﺎﺭ ﺭﺣﻴﻢﻣﺸﺎﻳﻲ ﺍﺳﺖ‪ .‬ﺗﻮﺻﻴﻪ ﺍﻭ ﺑﺎﻋﺚ ﺷﺪ »ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ«‬ ‫ﺭﻓﻊ ﺗﻮﻗﻴﻒ ﺷﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺧﻮﺩ ﻣﺸﺎﻳﻲ ﻫﻢ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺗﻜﺬﻳﺐ ﻛﺮﺩﻩ‪.‬‬ ‫ﺍﻳﻦ ﺩﺭﺣﺎﻟﻲ ﺍﺳﺖ ﻛﻪ ﻣﺪﻳﺮﺍﻥ ﻭﺯﺍﺭﺕ ﺍﻃﻼﻋﺎﺕ ﻫﻤﭽﻨﺎﻥ ﺑﺎ ﻧﻤﺎﻳﺶ‬ ‫ﻋﻤﻮﻣﻲ ﻓﻴﻠﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻣﺨﺎﻟﻒ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺑﻴﺪﺍﺭﻱ ﺭﻭﻳﺎﻫﺎ‬ ‫ﻳﻜﻲ ﺍﺯ ﻣﻠﺘﻬﺐﺗﺮﻳﻦ ﺳﻮژﻩﻫﺎ ﺩﺭ ﻣﻴﺎﻥ ﻓﻴﻠﻢﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩ ﻣﺘﻌﻠﻖ‬ ‫ﺑﻪ ﻓﻴﻠﻢ ﺑﺎﺷﻪ ﺁﻫﻨﮕﺮ ﺍﺳﺖ‪».‬ﺑﻴﺪﺍﺭﻱ ﺭﻭﻳﺎﻫﺎ« ﺷﺒﺎﻫﺖ ﺯﻳﺎﺩﻱ ﺑﻪ ﻓﻴﻠﻢ‬ ‫ﺟﻨﺠﺎﻟﻲ ﻣﺤﺴــﻦ ﻣﺨﻤﻠﺒﺎﻑ‪» ،‬ﻧﻮﺑﺖ ﻋﺎﺷــﻘﻲ« ﺩﺍﺭﺩ ﻭ ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺩﻟﻴﻞ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻩﺍﻧﺪ ﺧﻼﺻﻪ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢﺷﺎﻥ ﺭﺍ ﻣﻨﺘﺸﺮ ﻧﻜﻨﻨﺪ‪ .‬ﺍﻣﻴﻦ ﺣﻴﺎﻳﻲ ﺑﻌﺪ ﺍﺯ ﺳﺎﻝﻫﺎ ﻛﻪ ﺍﺯ‬ ‫‪34‬‬ ‫ﺍﺳﺎﺭﺕ ﺑﺮﻣﻲﮔﺮﺩﺩ ﻣﻲﺑﻴﻨﺪ ﺑﺮﺍﺩﺭﺵ ﺑﺎ ﻫﻤﺴﺮﺵ ﻫﻨﮕﺎﻣﻪ ﻗﺎﺿﻴﺎﻧﻲ‬ ‫ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﭘﺮﺳﻪ ﺩﺭ ﻣﻪ‬ ‫ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ »ﭘﺮﺳﻪ ﺩﺭ ﻣﻪ« ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﻭ ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﺩﺭ‬ ‫ﻓﻴﻠﻢ ﺑﻬﺮﺍﻡ ﺗﻮﻛﻠﻲ ﻣﻮﺍﻓﻘﺘﺶ ﺭﺍ ﺍﻋﻼﻡ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻣﻨﺘﻬﺎ ﻳﻚ ﺍﺧﺘﻼﻑ‬ ‫ﺣﺴﺎﺏ ﺟﺰﺋﻲ! )ﺩﺭﺧﻮﺍﺳﺖ ﺩﺳﺘﻤﺰﺩ ‪ 170‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻧﻲ( ﺑﺎﻋﺚ‬ ‫ﺷﺪ ﺍﻳﻦ ﻫﻤﻜﺎﺭﻱ ﻣﻴﺴﺮ ﻧﺸﻮﺩ ﻭ ﺍﻳﻦ ﻧﻘﺶ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﻟﻴﻼ ﺣﺎﺗﻤﻲ‬ ‫ﺑﺮﺳﺪ‪.‬‬ ‫ﭘﺮﻭﺍﺯ ﻣﺮﻏﺎﺑﻲﻫﺎ‬ ‫ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﻲ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺟﺮﻳــﺎﻥ ﻧﺎﺁﺭﺍﻣﻲﻫﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ‬ ‫ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺭﻓﺖ‪.‬ﺩﺭ ﺣﺎﻟﻴﻜــﻪ ﺁﻥ ﻣﻘﻄﻊ ﺍﺟﺎﺯﻩ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺑﻪ‬ ‫ﭘﺮﻭژﻩﻫﺎ ﺩﺍﺩﻩ ﻧﻤﻲﺷــﺪ ﻭ ﺧﻴﻠﻲ ﺍﺯ ﻓﻴﻠﻢﻫــﺎ ﺩﺭ ﻣﺮﺣﻠﻪ ﭘﻴﺶﺗﻮﻟﻴﺪ‬ ‫ﻣﺘﻮﻗﻒ ﻣﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻋﻠﻲ ﺷﺎﻩﺣﺎﺗﻤﻲ ﻭ ﮔﺮﻭﻫﺶ ﻋﺎﺯﻡ ﻫﻤﺪﺍﻥ ﺷﺪﻧﺪ‬ ‫ﺗﺎ »ﭘﺮﻭﺍﺯ ﻣﺮﻏﺎﺑﻲﻫﺎ« ﻛﻠﻴﺪ ﺑﺨﻮﺭﺩ‪ .‬ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﻫﺰﻳﻨﻪ ﻓﻴﻠﻢ ﺭﺍ ﻓﺎﺭﺍﺑﻲ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﻗﺮﺍﺭ ﺑﻮﺩ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻛﻮﺩﻙ ﺁﻣﺎﺩﻩ ﺷﻮﺩ‬ ‫ﺷﺎﻩﺣﺎﺗﻤﻲ ﭼﺎﺭﻩﺍﻱ ﺟﺰ ﭘﺸﺖﺩﻭﺭﺑﻴﻦ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﭘﺴﺮ ﺁﺩﻡ‪ ،‬ﺩﺧﺘﺮ ﺣﻮﺍ‬ ‫ﺩﺭﺣﺎﻟﻴﻜﻪ ﺷﻬﺎﺏ ﺣﺴﻴﻨﻲ ﺑﺮﺍﻱ ﺍﻳﻔﺎﻱ ﻧﻘﺶ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﻗﺮﺍﺭﺩﺍﺩ‬ ‫ﺍﻣﻀﺎ ﻛﺮﺩﻩ ﺑﻮﺩ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺟﻠﺴــﻪ ﺭﻭﺧﻮﺍﻧﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ‬ ‫ﺭﺳــﻴﺪ ﻛﻪ ﺁﻣﺎﺩﮔﻲ ﺑﺎﺯﻱ ﺩﺭ ﻳﻚ ﻓﻴﻠﻢ ﻛﻤﺪﻱ ﺭﺍ ﻧــﺪﺍﺭﺩ ﻭ ﺍﺯ ﺑﺎﺯﻱ ﺩﺭ‬ ‫»ﭘﺴــﺮ ﺁﺩﻡ‪ «....‬ﺍﻧﺼﺮﺍﻑ ﺩﺍﺩ‪ .‬ﺩﺭ ﺁﻥ ﻣﻘﻄﻊ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ ﺣﺘﻲ ﺑﻪ‬ ‫ﺭﺍﻣﺒﺪ ﺟﻮﺍﻥ ﭘﻴﺸﻨﻬﺎﺩ ﺩﺍﺩ ﺧﻮﺩﺵ ﻧﻘﺶ ﺭﻭﺑﻪ ﺭﻭﻱ ﻣﻬﻨﺎﺯ ﺍﻓﺸﺎﺭ ﺭﺍ ﺑﺎﺯﻱ‬ ‫ﻛﻨﺪ ﺍﻣﺎ ﺍﻭ ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﺑﻴﺸﺘﺮ ﺣﻮﺍﺳﺶ ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺑﺎﺷﺪ ﺗﺎ ﺑﺎﺯﻱ‪.‬‬ ‫ﺗﺮﺍﻧﻪ ﻛﻮﭼﻚ ﻣﻦ‬ ‫ﺍﻳﻦ ﻫﻢ ﺟﺰﻭ ﭘﺮﻭژﻩﻫﺎﻱ ﻣﻮﺭﺩ ﺣﻤﺎﻳﺖ ﺑﻨﻴﺎﺩ ﺳــﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ‬ ‫ﺍﺳــﺖ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻫﻤﺪﺍﻥ ﺁﻣﺎﺩﻩ ﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﺸــﻜﻼﺕ ﻣﺎﻟﻲ ﺑﺮ ﺳــﺮ ﺁﻏــﺎﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺑﺎﻋﺚ ﺷــﺪ‬ ‫»ﺗﺮﺍﻧﻪ ﻛﻮﭼﻚ ﻣﻦ« ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻮﺩﻙ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺮﻭﺩ ﻭ‬ ‫ﺑﻪ ﺟﺎﻱ ﻫﻤﺪﺍﻥ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺭﻭﻱ ﭘﺮﺩﻩ ﺑﺮﻭﺩ‪.‬‬ ‫ﺗﺴﻮﻳﻪ ﺣﺴﺎﺏ‬ ‫ﺑﻌــﺪ ﺍﺯ ﺭﻓﻊ ﺗﻮﻗﻴﻒ »ﺑــﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ«‪ ،‬ﺳــﺠﺎﺩﭘﻮﺭ ﺍﺯ ﺗﻬﻤﻴﻨﻪ‬ ‫ﻣﻴﻼﻧﻲ ﻫﻢ ﺩﺭﺧﻮﺍﺳــﺖ ﻛــﺮﺩﻩ ﺑﻮﺩ ﻓﻴﻠﻤﺶ ﺭﺍ ﺑﻪ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ‬ ‫ﻓﺠﺮ ﺑﺪﻫﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﺪﻳﺮﻛﻞ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ ﻭ ﺍﺭﺯﺷﻴﺎﺑﻲ ﻗﺼﺪ ﺩﺍﺷﺖ‬ ‫ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ »ﺗﺴﻮﻳﻪ ﺣﺴﺎﺏ« ﺭﺍ ﺑﺮﺍﻱ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖﻭﻫﺸﺘﻢ‬ ‫ﺻﺎﺩﺭ ﻛﻨﺪ ﺍﻣﺎ ﺳﺮﺳــﺨﺘﻲ ﻣﻴﻼﻧﻲ ﺑﺎﻋﺚ ﺷــﺪ ﺑــﺎ ﻛﻤﻲ ﺍﺻﻼﺣﺎﺕ‬ ‫»ﺗﺴﻮﻳﻪ ﺣﺴﺎﺏ« ﻣﺠﻮﺯ ﻗﻄﻌﻲ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﺑﮕﻴﺮﺩ‪ .‬ﻇﺎﻫﺮﺍ‬ ‫ﻓﻴﻠﻢ ﻣﻴﻼﻧﻲ ﻋﻴﺪﻧﻮﺭﻭﺯ ﺍﻛﺮﺍﻥ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻃﻬﺮﺍﻥ ﺗﻬﺮﺍﻥ‬ ‫ﺩﻗﻴﻘﺎ ﺩﺭ ﺷﺮﺍﻳﻄﻲ ﻛﻪ ﺳﺎﺯﻣﺎﻥﻓﺮﻫﻨﮕﻲ ‪ -‬ﻫﻨﺮﻱ ﺷﻬﺮﺩﺍﺭﻱ ﺑﺮﺍﻱ‬ ‫ﻛﻴﻔﺮ‬ ‫ﺗﻮﻟﻴﺪ ﺍﭘﻴﺰﻭﺩ ﺳﻮﻡ ﺑﺎ ﻣﺸﻜﻞ ﻣﺎﻟﻲ ﺭﻭﺑﻪﺭﻭ ﺑﻮﺩ‪ ،‬ﻣﺮگ ﺳﻴﻒﺍﷲ ﺩﺍﺩ ﻳﻚ‬ ‫ﺗﻮﻓﻴﻖ ﺍﺟﺒــﺎﺭﻱ ﺑﺮﺍﻱ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺑﻮﺩ ﺗﺎ ﺳــﺮﻭﺗﻪ ﺍﻳﻦ ﭘﺮﻭژﻩ‬ ‫ﻋﻈﻴﻢ ﺭﺍ ﺑﺎ ﺩﻭ ﺍﭘﻴﺰﻭﺩ ﺑﺒﻨﺪﻧﺪ‪ .‬ﺍﺿﺎﻓﻪ ﻛﺮﺩﻥ ﺗﺎﻳﻢ ﺍﭘﻴﺰﻭﺩﻫﺎﻱ ﻣﻬﺮﺟﻮﻳﻲ‬ ‫ﻭ ﻛﺮﻡﭘﻮﺭ ﺑﻬﺘﺮﻳﻦ ﺭﺍﻫﻜﺎﺭ ﺑﺮﺍﻱ ﺗﺒﺪﻳﻞ ﺷﺪﻥ »ﻃﻬﺮﺍﻥ ﺗﻬﺮﺍﻥ« ﺑﻪ ﻳﻚ‬ ‫ﻓﻴﻠﻢﺑﻠﻨﺪﺑﻮﺩ‪.‬ﻣﺮﺣﻮﻡﺩﺍﺩﭼﻨﺪﻫﻔﺘﻪﻗﺒﻞﺍﺯﻣﺮﮔﺶﻋﻨﻮﺍﻥﻛﺮﺩﻩﺑﻮﺩﻛﻪ‬ ‫ﺷﻬﺮﺩﺍﺭﻱ ﭘﻮﻟﻲ ﺑﺮﺍﻱ ﺗﻮﻟﻴﺪ ﺍﭘﻴﺰﻭﺩ ﺗﻬﺮﺍﻥ ﻣﺎﻭﺭﺍ ﭘﺮﺩﺍﺧﺖ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﭼﻬﻞ ﺳﺎﻟﮕﻲ‬ ‫ﺯﻭﺩﺗﺮ ﺍﺯ ﻣﻮﻋﺪ ﺗﻤﺎﻡ ﺷــﺪﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻭ ﻋﺪﻡ ﭘﺮﺩﺍﺧﺖ ﻛﺎﻣﻞ‬ ‫ﺩﺳــﺘﻤﺰﺩ ﻣﺤﻤﺪﺭﺿﺎ ﻓﺮﻭﺗﻦ ﺑﺎﻋﺚ ﺷــﺪ ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ ﺑﺮﺍﻱ ﮔﺮﻓﺘﻦ‬ ‫ﺣﻖﻭﺣﻘﻮﻗﺶ ﺑﻪ ﺧﺎﻧﻪ ﺳــﻴﻨﻤﺎ ﺷﻜﺎﻳﺖ ﻛﻨﺪ‪ .‬ﺷــﻜﺎﻳﺘﻲ ﻛﻪ ﺍﻟﺒﺘﻪ‬ ‫ﺑﺪﻭﻥ ﺳﺮﻭﺻﺪﺍ ﻭ ﺩﺭ ﺳﻜﻮﺕ ﺧﺒﺮﻱ ﺍﻧﺠﺎﻡ ﺷﺪ ﻭ ﭼﻨﺪ ﻣﺎﻩ ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ »ﭼﻬﻞ ﺳﺎﻟﮕﻲ«‪ ،‬ﺍﻳﻦ ﻋﻠﻴﺮﺿﺎ ﺭﺋﻴﺴﻴﺎﻥ ﺑﻮﺩ ﻛﻪ ﻣﺠﺒﻮﺭ‬ ‫ﺑﻪ ﭘﺮﺩﺍﺧﺖ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺩﺳﺘﻤﺰﺩ ﻣﺤﻤﺪﺭﺿﺎ ﻓﺮﻭﺗﻦ ﺷﺪ‪.‬‬ ‫ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ‬ ‫ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﺑﺮﺍﻱ ﻓﻴﻠﻢ ﭘﻮﺭﺍﻥ ﺩﺭﺧﺸﻨﺪﻩ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻤﺪﺍﻥ ﺍﻓﺘﺎﺩ‬ ‫ﺗﻘﺮﻳﺒﺎﻛﻢﻧﻈﻴﺮﺑﻮﺩ‪.‬ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥﺟﺸﻨﻮﺍﺭﻩﻧﺴﺨﻪﺍﻭﻟﻴﻪﺧﻮﺍﺏﻫﺎﻱ‬ ‫ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﻛﻪ ﺑﻴﺸــﺘﺮ ﺑﻪ ﺭﺍﺵ ﺷﺒﺎﻫﺖ ﺩﺍﺷــﺖ ﺭﺍ ﺑﻪ ﺍﺷﺘﺒﺎﻩ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﮔﺬﺍﺷﺘﻨﺪﻭﻧﻜﺘﻪﺟﺎﻟﺐﺍﻳﻨﺠﺎﺑﻮﺩﻛﻪﺗﺎﭘﺎﻳﺎﻥﻧﻤﺎﻳﺶﻓﻴﻠﻢﺻﺪﺍﻱﺍﻋﺘﺮﺍﺽ‬ ‫ﻫﻴﭻ ﺗﻤﺎﺷﺎﮔﺮﻱ ﺑﻠﻨﺪ ﻧﺸﺪ‪ .‬ﺩﺭﺧﺸــﻨﺪﻩ ﺭﻭﺯ ﺑﻌﺪ‪ ،‬ﺍﺯ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻛﻮﺩﻙ ﺍﻧﺘﻘﺎﺩ ﻛﺮﺩ ﻭ ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ ﺑﺮﺍﻱ ﺩﻟﺠﻮﻳﻲ ﺍﺯ‬ ‫ﺍﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻥﻗﻮﻝ ﺟﺸﻨﻮﺍﺭﻩﻓﻴﻠﻢﻓﺠﺮﺭﺍﺑﻪ ﺩﺭﺧﺸﻨﺪﻩﺩﺍﺩ‪.‬‬ ‫ﺳﻨﮓ ﺍﻭﻝ‬ ‫ﺩﺭ ﺭﻭﺯﻫﺎﻳــﻲ ﻛــﻪ ﻣﺤﺴــﻦ ﺗﻨﺎﺑﻨــﺪﻩ ﺑﺎﻳــﺪ ﺟﻠــﻮﻱ ﺩﻭﺭﺑﻴﻦ‬ ‫ﻋﻠــﻲ ﺭﻭﺋﻴﻦﺗﻦ ﺩﺭ »ﺯﻡﻫﺮﻳــﺮ« ﻣﻲﺭﻓﺖ ﺍﻭ ﺧﻴﻠــﻲ ﻣﺨﻔﻴﺎﻧﻪ ﻋﺎﺯﻡ‬ ‫ﻫﻤﺪﺍﻥ ﺷــﺪ ﺗﺎ ﻧﻘﺶ ﺍﺻﻠﻲ »ﺳﻨﮓ ﺍﻭﻝ« ﺭﺍ ﺑﺎﺯﻱ ﻛﻨﺪ‪ .‬ﻧﻜﺘﻪ ﺟﺎﻟﺐ‬ ‫ﺍﻳﻨﻜــﻪ ﺗﻨﺎﺑﻨﺪﻩ ﺑﺮﺍﻱ ﺍﻳﻔــﺎﻱ ﻳﻜﻲ ﺍﺯ ﻧﻘﺶﻫﺎﻱ »ﺯﻡﻫﺮﻳﺮ« ﺗﺴــﺖ‬ ‫ﮔﺮﻳﻢ ﺷــﺪﻩ ﻭ ﻗﺴﻂ ﺍﻭﻟﺶ ﺭﺍ ﻫﻢ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻨﮕﻮﻧﻪ ﺑﻮﺩ ﻛﻪ‬ ‫ﺳﻴﺪﺿﻴﺎء ﻫﺎﺷﻤﻲ ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﺑﻪ ﺟﺎﻱ ﭘﻴﻐﺎﻡﭘﺴﻐﺎﻡ ﻓﺮﺳﺘﺎﺩﻥ ﺑﺮﺍﻱ‬ ‫ﺗﻨﺎﺑﻨﺪﻩ ﺍﺯ ﺍﻭ ﺑﻪ ﺧﺎﻧﻪ ﺳﻴﻨﻤﺎ ﺷﻜﺎﻳﺖ ﻛﺮﺩﻩ ﻭ ﻣﺎﺟﺮﺍﻱ ﻛﻼﻩﮔﻴﺲ ﭼﻨﺪ‬ ‫ﻣﻴﻠﻴﻮﻧﻲ ﻛﻪ ﺑﺮﺍﻱ ﺍﻭ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﺭﺍ ﺑﺮﻣﻼ ﻛﻨﺪ!‬ ‫ﻣﺎﺟﺮﺍ ﺗﺎ ﺟﺎﻳﻲ ﭘﻴــﺶ ﺭﻓﺖ ﻛﻪ ﺗﻬﻴﻪﻛﻨﻨــﺪﻩ »ﺯﻡﻫﺮﻳﺮ« ﻗﺼﺪ‬ ‫ﺩﺍﺷــﺖ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻓﻴﻠﻢ ﻓــﺮﻭﺯﺵ ﺭﺍ ﺩﺭ ﻫﻤﺪﺍﻥ ﺗﻌﻄﻴﻞ ﻛﻨﺪ‪ .‬ﺩﺭ‬ ‫ﻧﻬﺎﻳﺖ ﺗﻨﺎﺑﻨﺪﻩ ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ »ﺳﻨﮓ ﺍﻭﻝ«ﺑﻪ ﺗﻬﺮﺍﻥ ﺑﺮﮔﺸﺖ ﻭ ﺑﺎ ﮔﻞ‬ ‫ﻭ ﺷﻴﺮﻳﻨﻲ ﺍﺯ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ »ﺯﻡﻫﺮﻳﺮ« ﻋﺬﺭﺧﻮﺍﻫﻲ ﻛﺮﺩ‪.‬‬ ‫ﺷﺐ ﻭﺍﻗﻌﻪ‬ ‫»ﺷﺐ ﻭﺍﻗﻌﻪ« ﺍﺯ ﻟﺤﻈﻪ ﻛﻠﻴﺪ ﺧﻮﺭﺩﻥ ﺗﺎ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺁﺧﺮﻳﻦ ﭘﻼﻥ‬ ‫ﺁﻥ‪ 5‬ﻣﺎﻩ ﻭ‪ 25‬ﺭﻭﺯ ﻃﻮﻝ ﻛﺸــﻴﺪ ﻛﻪ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﻳﻚ ﺭﻛﻮﺭﺩ ﻣﺤﺴﻮﺏ‬ ‫ﻣﻲﺷﻮﺩ‪.‬ﺍﻟﺒﺘﻪﺗﻤﺎﻡﺳﻜﺎﻧﺲﻫﺎﻱ»ﺷﺐﻭﺍﻗﻌﻪ«ﻃﻲﺍﻳﻦﺷﺶﻣﺎﻩﺟﻠﻮﻱ‬ ‫ﺩﻭﺭﺑﻴﻦ ﻧﺮﻓﺖ ﻭ ﺷﻬﺮﺍﻡ ﺍﺳﺪﻱ ﻣﺠﺒﻮﺭ ﺷﺪ ﺑﻌﺪ ﺍﺯ ﺗﺪﻭﻳﻦ‪ ،‬ﻳﻚ ﺳﻜﺎﻧﺲ‬ ‫ﺟﺎﻣﺎﻧﺪﻩ ﺭﺍ ﺍﺯ ﺍﻭﺍﻳﻞ ﺩﻱﻣﺎﻩ ﺑﺎ ﺣﻀﻮﺭ ﺩﻭ ﻫﺰﺍﺭ ﻫﻨﺮﻭﺭ ﻭ ﻻﺩﻥ ﻣﺴﺘﻮﻓﻲ ﺩﺭ‬ ‫ﻭﺭﺍﻣﻴﻦﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱﻛﻨﺪ‪.‬ﮔﻔﺘﻪﻣﻲﺷﻮﺩﺣﻤﻴﺪﻓﺮﺥﻧﮋﺍﺩﺑﺮﺍﻱﺑﺎﺯﻱﺩﺭ‬ ‫ﻫﻤﻴﻦﻓﻴﻠﻢﺟﺎﻳﺰﻩﻣﻲﮔﻴﺮﺩﻧﻪ»ﺑﻪﺭﻧﮓﺍﺭﻏﻮﺍﻥ«‪.‬‬ ‫ﺷﻜﺎﺭﭼﻲ ﺷﻨﺒﻪ‬ ‫ﺗﻨﻬﺎ ﻓﻴﻠﻢ ﺍﻳﺮﺍﻧﻲ ﺣﺎﺿﺮ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺳﺖ ﻛﻪ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺁﻥ‬ ‫ﺩﺭ ﭼﻨﺪ ﻛﺸﻮﺭ ﻣﺨﺘﻠﻒ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺷﻴﺦﻃﺎﺩﻱ ﻓﻴﻠﻢ ﺟﺪﻳﺪﺵ‬ ‫ﺭﺍ ﻣﺤﺼﻮﻝ ﻣﺸــﺘﺮﻙ ﺍﻳﺮﺍﻥ‪ ،‬ﺍﺭﻣﻨﺴــﺘﺎﻥ ﻭ ﻟﺒﻨــﺎﻥ ﻣﻲﺩﺍﻧﺪ ﻭ ﻧﻜﺘﻪ‬ ‫ﻗﺎﺑﻞ ﺗﻮﺟﻪﺍﺵ ﺣﻀﻮﺭ ﺧﻤﺴﻪ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻧﻘﺶﻫﺎﻱ ﺍﺻﻠﻲ »ﺷﻜﺎﺭﭼﻲ‬ ‫ﺷﻨﺒﻪ« ﺍﺳﺖ‪ .‬ﺧﻤﺴﻪ ﻫﻤﺎﻥ ﺑﺎﺯﻳﮕﺮﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ »ﻛﺘﺎﺏ ﻗﺎﻧﻮﻥ«‬ ‫ﻧﻘﺶ ﺩﺧﺘﺮ ﻓﺮﺍﻧﺴــﻮﻱ ‪ -‬ﻟﺒﻨﺎﻧﻲ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎﺯﻱ ﻣﻲﻛﺮﺩ ﻭ ﭘﻴﺶ ﺍﺯ ﺁﻥ‬ ‫ﺩﺭ »ﺗﻮﻟﺪﻱ ﺩﻳﮕﺮ« ﺑﺎ ﻋﺒﺎﺱ ﺭﺍﻓﻌﻲ ﻫﻤﻜﺎﺭﻱ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺻﺒﺢ ﺭﻭﺯ ﻫﻔﺘﻢ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﻃﻴﺎﺑﻲ ﺑﺎ ﻫﻴﭻ ﺳﻨﺠﺎﻗﻲ ﺑﻪ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﻧﻤﻲﭼﺴﺒﺪ‪.‬‬ ‫ﻓﻴﻠﻢ ﻳﻜﺴﺎﻝ ﻭ ﻧﻴﻢ ﻗﺒﻞ ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﺎ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ‬ ‫ﻭﻳﺪﺋﻮﻳﻲ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﺗﺎﺯﻩ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ‪ 35‬ﻣﻴﻠﻲﻣﺘﺮﻱ ﺁﻥ ﺻﺎﺩﺭ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻧﻜﺘﻪ ﺑﺎﻣﺰﻩﺗﺮ ﺍﻳﻨﻜﻪ »ﺻﺒﺢ ﺭﻭﺯ ﻫﻔﺘﻢ« ﺳﺎﻝ ﻗﺒﻞ ﺑﻪ ﻫﻴﺎﺕ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖﻭﻫﻔﺘﻢ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺍﻣﺎ ﻫﻴﺎﺕ ﺑﺎﺯﺑﻴﻨﻲ ﺁﻥ ﺭﺍ ﺭﺩ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ! ﺟﻨﺲ ﻛﻤﺪﻱ ﺍﻃﻴﺎﺑﻲ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺑﺎ ﺗﻮﻟﻴﺪﺍﺕ ﺍﻳﻦ ﺭﻭﺯﻫﺎﻱ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ ﻫﻤﻴﻦ ژﺍﻧﺮ ﻣﻘﺎﻳﺴﻪ ﻛﺮﺩ‪.‬‬ ‫ﻃﺒﻘﻪ ﺳﻮﻡ‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻧﺼﺮﺍﻑ ﻣﻬﻨﺎﺯ ﺍﻓﺸــﺎﺭ ﺍﺯ ﺳﺮﻳﺎﻝ »ﺷــﻤﺲﺍﻟﻌﻤﺎﺭﻩ« ﺍﻳﻦ‬ ‫ﺑﺎﺯﻳﮕﺮ ﭼﻨﺪ ﻣﺎﻩ ﺑﻌﺪ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﻴﮋﻥ ﻣﻴﺮﺑﺎﻗﺮﻱ ﺭﻓﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ‬ ‫ﮔﻔﺘﻪ ﻣﻲﺷﺪ ﺍﻓﺸــﺎﺭ ﺑﻪ ﺩﻟﻴﻞ ﭼﻨﺪ ﻋﻤﻞ ﺯﻳﺒﺎﻳﻲ ﺻﻮﺭﺕ ﺍﺯ ﺑﺎﺯﻱ ﺩﺭ‬ ‫ﺳﺮﻳﺎﻝ ﺳﺎﻣﺎﻥ ﻣﻘﺪﻡ ﺍﻧﺼﺮﺍﻑ ﺩﺍﺩﻩ‪» ،‬ﻃﺒﻘﻪ ﺳﻮﻡ« ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺍﻭﻟﻴﻦ‬ ‫ﺗﺠﺮﺑﻪ ﺗﺼﻮﻳﺮﻱ ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺑﻪﺣﺴﺎﺏ ﺁﻭﺭﺩ‪.‬‬ ‫ﻃﻼ ﻭ ﻣﺲ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢ ﺍﺳــﻌﺪﻳﺎﻥ ﺷــﺒﺎﻫﺖﻫﺎﻱ ﺯﻳﺎﺩﻱ ﺑﻪ »ﻣﺎﺭﻣﻮﻟﻚ«‬ ‫ﺩﺍﺭﺩ‪ .‬ﻣﻨﺘﻬﺎ ﺍﻳﻦ ﺑﺎﺭ ﻣﻨﻮﭼﻬــﺮ ﻣﺤﻤﺪﻱ )ﺗﻬﻴﻪﻛﻨﻨﺪﻩ(ﺑﻪ ﺟﺎﻱ ﭘﺮﻭﻳﺰ‬ ‫ﭘﺮﺳﺘﻮﻳﻲ ﺍﺯ ﺑﺎﺯﻳﮕﺮ ﻧﺎﺷﻨﺎﺧﺘﻪﺍﻱ ﻣﺜﻞ ﺑﻬﺮﻭﺯ ﺷﻌﻴﺒﻲ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﻣﺎﺟﺮﺍﻱ ﻃﻠﺒﻪ ﺟﻮﺍﻧﻲ ﻛﻪ ﺍﺯﻗﻢ ﺑﻪ ﺗﻬﺮﺍﻥﻣﻲﺁﻳﺪﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺟﺎﻟﺒﻲ‬ ‫ﺑﺮﺍﻳﺶ ﺭﺥ ﻣﻲﺩﻫﺪ‪ ،‬ﺁﻥ ﻗﺪﺭ ﺳﻮژﻩ ﺟﺬﺍﺑﻲ ﻫﺴﺖ ﻛﻪ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ‬ ‫»ﻃﻼﻭﻣﺲ«ﺣﺴﺎﺏ ﻭﻳﮋﻩﺍﻱﺭﻭﻱﮔﻴﺸﻪﺁﻥﺑﺎﺯ ﻛﻨﻨﺪ‪.‬ﻫﻤﻴﻦﻛﻪ ﻓﻴﻠﻢ‬ ‫ﺍﺳﻌﺪﻳﺎﻥ ﺍﺯ ﻓﻴﻠﺘﺮ ﺍﻳﻦ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ ﻭ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺑﺪﻭﻥ ﻫﻴﭻﺣﺮﻑ‬ ‫ﻭ ﺣﺪﻳﺜﻲ ﺑﻪ ﺳــﻼﻣﺖ ﮔﺬﺷﺘﻪ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ »ﻃﻼﻭﻣﺲ« ﺑﻪ ﺍﻧﺪﺍﺯﻩ‬ ‫»ﻣﺎﺭﻣﻮﻟﻚ« ﺑﺮﺍﻱ ﻣﻨﻮﭼﻬﺮ ﻣﺤﻤﺪﻱ ﺟﻨﺠﺎﻟﻲ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻋﺼﺮ ﺭﻭﺯ ﺩﻫﻢ‬ ‫ﻭﻗﺘﻲ ﻣﺬﺍﻛﺮﻩ ﻣﻨﻮﭼﻬﺮ ﻣﺤﻤﺪﻱ ﺑﺎ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ ﺑﻲﻧﺘﻴﺠﻪ ﻣﺎﻧﺪ‪،‬‬ ‫ﻫﺎﻧﻴﻪ ﺗﻮﺳﻠﻲ ﺧﻴﻠﻲ ﺯﻭﺩ ﺑﺮﺍﻱ ﺍﻳﻔﺎﻱ ﻧﻘﺲ ﺍﺻﻠﻲ »ﻋﺼﺮ ﺭﻭﺯ ﺩﻫﻢ«‬ ‫ﺍﻧﺘﺨﺎﺏ ﺷــﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺏ ﻫﺎﻧﻴﻪ ﺗﻮﺳﻠﻲ‪ ،‬ﺭﺍﻋﻲ ﺗﺸﺨﻴﺺ ﺩﺍﺩ ﻛﻪ‬ ‫ﺻﻮﺭﺕ ﺍﻭ ﺑﺮﺍﻱ ﺳﻪ ﮔﺮﻳﻢ ﺑﺮﺍﻱ ﺍﻳﻔﺎﻱ ﺳﻪ ﺷﺨﺼﻴﺖ ﻣﺨﺘﻠﻒ ﺟﻮﺍﺏ‬ ‫ﻣﻲﺩﻫﺪ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺑﻮﺩ ﻛﻪ ﻗﺮﺍﺭ ﺷﺪ ﺗﻮﺳﻠﻲ ﻧﻘﺶ ﺧﻮﺍﻫﺮ ﮔﻤﺸﺪﻩ‬ ‫ﻭ ﻣﺎﺩﺭ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎﺯﻱ ﻛﻨﺪ‪ .‬ﺩﺭ ﻣﻴﺎﻧﻪﻫﺎﻱ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺍﻣﺎ ﺭﺍﻋﻲ ﺗﺸﺨﻴﺺ ﺩﺍﺩ ﺑﺎﺯﻳﮕﺮ ﺩﻳﮕﺮﻱ ﻧﻘﺶ ﻣﺎﺩﺭ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎﺯﻱ ﻛﻨﺪ‪.‬‬ ‫ﻛﺎﻧﺪﻳﺪﺍ ﺷﺪﻥ ﺗﻮﺳﻠﻲ ﻭ ﺣﺘﻲ ﺩﺭﻳﺎﻓﺖ ﺳﻴﻤﺮﻍ ﺗﻮﺳﻂ ﺍﻭ ﺑﺮﺍﻱ ﻫﻤﻴﻦ‬ ‫ﻓﻴﻠﻢ ﺍﺗﻔﺎﻕ ﺩﻭﺭ ﺍﺯ ﺫﻫﻨﻲ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻛﻴﻔﺮ‬ ‫ﺣﺴــﻦ ﻓﺘﺤﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻋﻠﻴﺮﺿــﺎ ﻧﺎﺩﺭﻱ ﺭﺍ ﺑﺮﺍﺳــﺎﺱ ﺣﻀﻮﺭ‬ ‫ﺑﻬﺮﺍﻡ ﺭﺍﺩﺍﻥ ﻭ ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ ﺩﺭ ﻓﻴﻠﻤﺶ ﺑﺎﺯﻧﻮﻳﺴــﻲ ﻛﺮﺩﻩ ﺑﻮﺩ ﺍﻣﺎ‬ ‫ﻭﻗﺘــﻲ ﺍﻳﻦ ﺩﻭ ﺑﺎﺯﻳﮕﺮ ﺑﻪﺩﻟﻴﻞ ﻃﻮﻻﻧﻲ ﺑــﻮﺩﻥ ﻣﺪﺕ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻭ‬ ‫ﻣﺴﺎﺋﻞ ﻣﺎﻟﻲ ﺑﺎ ﺳﻌﻴﺪ ﺳﻌﺪﻱ ﺑﻪ ﺗﻮﺍﻓﻖ ﻧﺮﺳﻴﺪﻧﺪ ﻣﺼﻄﻔﻲ ﺯﻣﺎﻧﻲ ﻭ‬ ‫ﺍﻣﻴﺮ ﺟﻌﻔﺮﻱ ﺟﺎﻱ ﺁﻧﻬﺎ ﺭﺍ ﮔﺮﻓﺘﻨﺪ‪ .‬ﻓﺘﺤﻲ ﺍﻟﺒﺘﻪ ﻗﺒﻞ ﺍﺯ ﺯﻣﺎﻧﻲ ﺑﺎ ﺷﻬﺎﺏ‬ ‫ﺣﺴــﻴﻨﻲ ﻭ ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ ﻫﻢ ﻣﺬﺍﻛﺮﻩ ﻛﺮﺩﻩ ﺑﻮﺩ ﺍﻣﺎ ﻗﺴﻤﺖ ﻣﺼﻄﻔﻲ‬ ‫ﺯﻣﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ﻧﻘﺶ ﺍﺻﻠﻲ »ﻛﻴﻔﺮ« ﺭﺍ ﺑﺎﺯﻱ ﻛﻨﺪ‪.‬‬ ‫ﻛﻴﻤﻴﺎ ﻭ ﺧﺎﻙ‬ ‫ﻣﺎﺟﺮﺍﻱ ﻓﻴﻠــﻢ ﺩﺭ ﺁﺧﺮﻳﻦ ﺭﻭﺯﻫﺎﻱ ﭘﻴــﺶ ﺍﺯ ﺍﻧﻘﻼﺏ ﺩﺭ ﺑﻬﻤﻦ‬ ‫‪ 57‬ﻣﻲﮔﺬﺭﺩ‪.‬ﮔﻔﺘﻪ ﻣﻲﺷــﻮﺩ ﺳﻜﺎﻧﺲﻫﺎﻱ ﺯﺩ ﻭ ﺧﻮﺭﺩ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﺗﻬﺮﺍﻥ ﺑﻪ ﺩﻟﻴﻞ ﺍﺗﻔﺎﻗﺎﺕ ﺳﻴﺎﺳﻲ ﭼﻨﺪ ﻣﺎﻩ ﺍﺧﻴﺮ ﺑﻨﺎﺑﻪ ﺗﻮﺻﻴﻪ ﺍﻋﻀﺎﻱ‬ ‫ﻫﻴﺎﺕ ﺑﺎﺯﺑﻴﻨﻲ‪ ،‬ﻋﺒﺎﺱ ﺭﺍﻓﻌﻲ ﺭﺍ ﺑﺮﺁﻥ ﺩﺍﺷﺘﻪ ﺗﺎ ﭼﻨﺪ ﺩﻳﺎﻟﻮگ ﺍﺯ ﺯﺑﺎﻥ‬ ‫ﺣﺴﻴﻦ ﻳﺎﺭﻱ ﺑﻪ »ﻛﻴﻤﻴﺎ ﻭ ﺧﺎﻙ« ﺍﺿﺎﻓﻪ ﻛﻨﺪ‪.‬‬ ‫ﻟﻄﻔﺎ ﻣﺰﺍﺣﻢ ﻧﺸﻮﻳﺪ‬ ‫ﻓﻴﻠﻢ ﺍﺑﺘﺪﺍ ﺩﺭ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﻗﺮﺍﺭ ﻧﺪﺍﺷﺖ ﻭ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺩﻟﻴﻞ »ﻟﻄﻔﺎ ﻣﺰﺍﺣﻢ ﻧﺸﻮﻳﺪ« ﺭﺍ ﺍﺯ ﺑﺨﺶ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﻫﻢ ﺧﺎﺭﺝ‬ ‫ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺳــﺠﺎﺩﭘﻮﺭ ﻭﺍژﻩ »ﺍﻧﺼﺮﺍﻑ« ﺭﺍ ﺩﻭﺳــﺖ ﻧﺪﺍﺭﺩ ﺑﻌﺪ ﺍﺯ‬ ‫ﻛﺶﻭﻗﻮﺱﻫﺎﻱﻓﺮﺍﻭﺍﻥﺑﺪﻭﻥﻫﻴﭻﺗﻮﺿﻴﺤﻲ»ﻟﻄﻔﺎﻣﺰﺍﺣﻢﻧﺸﻮﻳﺪ«ﺭﺍ‬ ‫ﺑﻪﺑﺨﺶﻣﺴﺎﺑﻘﻪﺍﺿﺎﻓﻪﻛﺮﺩ‪.‬ﮔﻮﻳﺎﺩﻟﻴﻞﺑﻴﺮﻭﻥﻣﺎﻧﺪﻥﻓﻴﻠﻢﻋﺒﺪﺍﻟﻮﻫﺎﺏﺑﻪ‬ ‫ﺗﻠﺨﻲﻭﺳﻴﺎﻩﺑﻮﺩﻥﺁﻥﺑﺮﻣﻲﮔﺸﺖﻧﻪﺩﻻﻳﻞﺗﻜﻨﻴﻜﻲﻭﺳﺎﺧﺘﺎﺭﻱ‪.‬‬ ‫ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ‬ ‫ﺗﺒﻠﻴﻐﺎﺕ ﮔﺴﺘﺮﺩﻩﺍﻱ ﻛﻪ ﺭﻭﻱ ﺍﻳﻦ ﭘﺮﻭژﻩ ﭘﺮﻫﺰﻳﻨﻪ ﺷﺪ ﺍﻧﺘﻈﺎﺭﺍﺕ‬ ‫ﺍﻳﻦ ﺣﻜﺎﻳﺖ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪...‬‬ ‫ﺍﻣﻴﻦ ﻓﺮﺝﭘﻮﺭ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢ ﻭﻳﺪﺋﻮﻳﻲ » ﺩﺭ ﻣﻴﺎﻥ ﺍﺑﺮﻫﺎ«‬ ‫ﻫﺮﮔﻮﻧﻪ ﺷﺒﺎﻫﺘﻰ ﻣﻴﺎﻥ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﺷﺮﺍﻳﻂ ﺣﺎﻛﻢ ﺑﺮ ﺍﻳﻦ ﺷﺒﻪﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﺷﺮﺍﻳﻂ ﻭﺍﻗﻌﻰ‪ ،‬ﺣﺎﺻﻞ ﺫﻫﻦ ﺑﻴﻤﺎﺭ ﻧﻮﻳﺴﻨﺪﻩ –ﻛﻪ ﺗﺎﺯﻩ ﺍﺯ‬ ‫ﺗﻴﻤﺎﺭﺳﺘﺎﻥ ﻓﺮﺍﺭ ﻛﺮﺩﻩ ﻭ ﺧﻄﺮﻧﺎﻙ ﺍﺳﺖ – ﺑﻮﺩﻩ ﻭ ﺑﻪ ﻗﻮﻝ ﺑﺰﺭﮔﻰ )ﺍﺣﺘﻤﺎﻻ‬ ‫ﺗﺎﺭﺍﻧﺘﻴﻨﻮ( ﺩﺭ ﺣﻜﻢ ﺗﻮﻫﻴﻦ ﺑﻪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﻳﻦ ﺷﺒﻪﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﺳﺖ‪...‬‬ ‫• ﺩﺍﺧﻠﻰ ‪ -‬ﺩﻓﺘﺮ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺗﺠﺎﺭﻯ‬ ‫ﺁﻗﺎﻯ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺗﺠﺎﺭﻯ ﺳﻨﺎﺭﻳﻮ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﻭ ﻏﺬﺍﻳﺶ ﺭﺍ ﺧﻮﺭﺩﻩ ﻭ ﺩﺭ ﺣﺎﻟﻰ‬ ‫ﻛﻪ ﺑﺎ ﺧﻼﻝﺩﻧﺪﺍﻥ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ‪ ،‬ﺣﺮﻑ ﻣﻰﺯﻧﺪ‪:‬‬ ‫ ﺳــﻨﺎﺭﻳﻮ ﻋﺎﻟﻴﻪ‪ ،‬ﻭﻟﻰ‪) ...‬ﻣﻜﺚ ﻣﻰﻛﻨﺪ(‪ ...‬ﺍﻳﻦ ﺭﻭﺯﺍ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭﺍ ﻧﻤﻰﺷــﻪ ﺳﺎﺧﺖ‪ ....‬ﻳﻪ ﻛﺎﺭ ﻃﻨﺰ‬‫ﻧﺪﺍﺭﻯ؟‬ ‫• ﺩﺍﺧﻠﻰ ‪ -‬ﺩﻓﺘﺮ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺩﻭﻟﺘﻰ‬ ‫ﺁﻗﺎﻯ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺩﻭﻟﺘﻰ ﺳــﻨﺎﺭﻳﻮ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﻭ ﺑﺮﺧﻼﻑ ﺟﻠﺴــﺎﺕ ﻗﺒﻠﻰ ﻛﻪ ﺧﻮﺵ ﺑﺮﺧﻮﺭﺩ ﺑﻮﺩ‪ ،‬ﺍﺧﻢ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺳﺮﺳﻨﮕﻴﻦ ﺍﺳﺖ ﻭ ﻟﺤﻨﺶ ﺟﻮﺭﻯ ﺍﺳﺖ ﻛﻪ ﻓﻘﻂ ﻓﺤﺶ ﻛﻢ ﺩﺍﺭﺩ‪:‬‬ ‫ ﺷﻤﺎ ﻓﻜﺮ ﻛﺮﺩﻳﻦ ﺍﻳﻨﺠﺎ ﺷﻬﺮ ﻫﺮﺗﻪ‪ ....‬ﺑﺎ ﭘﻮﻝ ﺩﻭﻟﺖ ﺳﻴﺎﻩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﻰ‪ ...‬ﺁﺭﻩ؟ )ﻣﻜﺚ ﻣﻰﻛﻨﺪ( ﻧﻪ‬‫ﺁﻗﺎ ﺟﺎﻥ ‪ ...‬ﺍﺯ ﺍﻳﻦ ﺧﺒﺮﺍﻡ ﻧﻴﺲ‪ ...‬ﺍﻳﻦ ﺑﻮﻳﻰ ﻛﻪ ﻣﻰﺷﻨﻔﻰ ﺑﻮﻯ ﻛﺒﺎﺏ ﻧﻴﺲ‪ ....‬ﺧﺮ ﺩﺍﻍ ﻣﻰﻛﻨﻦ‪.........‬‬ ‫• ﺩﺍﺧﻠﻰ ‪ -‬ﺩﻓﺘﺮ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺟﺸﻨﻮﺍﺭﻩﺍﻯ‬ ‫ﺁﻗﺎﻯ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺟﺸــﻨﻮﺍﺭﻩﺍﻯ ﺩﺭ ﺣﺎﻟﻰﻛﻪ ﺳــﻨﺎﺭﻳﻮ ﺭﺍ ﻭﺭﻕ ﻣﻰﺯﻧﺪ‪ ،‬ﭘﻜﻰ ﺑــﻪ ﭘﻴﭙﺶ ﺯﺩﻩ ﻭ ﺣﺮﻑ‬ ‫ﻣﻰﺯﻧﺪ‪:‬‬ ‫ ﺍﻯ ﺑﺪﻙ ﻧﻴﺲ‪ ،‬ﻭﻟﻰ‪ ...‬ﺷﻤﺎ ﻣﻰﺩﻭﻧﻴﻦ ﺍﻣﺮﻭﺯ ﺑﺎﺯﺍﺭ ﭼﻰ ﻣﻰﺧﻮﺍﺩ؟ ﺗﻮﻯ ﺩﻫﻜﺪﻩ ﺟﻬﺎﻧﻰ ﺍﻣﺮﻭﺯ ﻋﺮﺍﻕ ﺗﻮ‬‫ﺑﻮﺭﺳﻪ‪ ...‬ﺍﻓﻐﺎﻧﺴﺘﺎﻥ‪ ...‬ﺗﺮﻭﺭﻳﺴﻢ‪) ...‬ﻣﻜﺚ ﻣﻰﻛﻨﺪ( ﻓﻜﺮ ﻛﺮﺩﻳﻦ ﻛﺴﻰ ﺍﻳﻦ ﭼﻴﺰﺍﻳﻰ ﻛﻪ ﺷﻤﺎ ﻧﻮﺷﺘﻴﻦ‬ ‫ﺑﺮﺍﺵ ﻣﻬﻤﻪ؟ ﺍﻣﺮﻭﺯ‪....‬‬ ‫• ﺩﺍﺧﻠﻰ ‪ -‬ﺩﻓﺘﺮ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ‬ ‫ﺁﻗﺎﻯ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ‪ 50‬ﺳﺎﻟﻪ ﺳﻨﺎﺭﻳﻮ ﺭﺍ ﻧﺨﻮﺍﻧﺪﻩ ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﺪ ﭼﻨﺪﺍﻥ ﻫﻢ ﻣﻬﻢ ﻧﻴﺴﺖ‪ .‬ﺩﺭﻣﻴﺎﻥ ﺑﻰﺷﻤﺎﺭ‬ ‫ﺭﺍ ﺑﺎﻻ ﺑﺮﺩﻩ ﺑﻮﺩ‪ .‬ﮔﻮﻳﺎ ﺑﻌﺪ ﺍﺯ ﭼﻨــﺪ ﻧﻤﺎﻳﺶ ﺧﺼﻮﺻﻲ ﺑﺮﺍﻱ ﺗﻌﺪﺍﺩﻱ‬ ‫ﺍﺯ ﻣﺴــﺌﻮﻻﻥ ﻭ ﺍﻫﺎﻟﻲ ﺳــﻴﻨﻤﺎ‪ ،‬ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ »ﻣﻠﻚ ﺳــﻠﻴﻤﺎﻥ«‬ ‫ﻣﺘﻔﻖﺍﻟﻘﻮﻝ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺣﺪ ﻭ ﺍﻧﺪﺍﺯﻩﻫﺎﻳﻲ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭﺑﺎﺭﻩﺍﺵ‬ ‫ﺻﺤﺒﺖ ﻣﻲﺷــﺪ‪ ،‬ﻧﺪﺍﻧﺴــﺘﻨﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻣﺤﻤﺪﺭﺿﺎ ﻣﻮﺋﻴﻨﻲ‬ ‫ﺩﺳﺖ ﺑﻪﻛﺎﺭ ﺷﺪ ﻭ ﺩﺭ ﺗﺪﻭﻳﻦ ﺗﻐﻴﻴﺮﺍﺕ ﺍﺳﺎﺳﻲ ﺩﺭ »ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ«‬ ‫ﺩﺍﺩ ﻭ ﺣﺘﻲ ﭘﺎﻳﺎﻥﺑﻨﺪﻱ ﻓﻴﻠﻢ ﺭﺍ ﻋﻮﺽ ﻛﺮﺩ‪ .‬ﮔﻔﺘﻪ ﻣﻲﺷــﻮﺩ ﻧﺴﺨﻪ‬ ‫ﺟﺪﻳﺪ ﺗﻔﺎﻭﺕﻫﺎﻱ ﺯﻳﺎﺩﻱ ﺑﺎ ﻧﺴﺨﻪ ﻗﺒﻠﻲ ﻓﻴﻠﻢ ﺑﺤﺮﺍﻧﻲ ﺩﺍﺭﺩ‪.‬‬ ‫ﻧﺎﺳﭙﺎﺱ‬ ‫ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺿﺎﻓﻪ ﺷﺪﻩ ﺑﻪ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺩﺭ ﻣﺮﺣﻠﻪ ﭘﻴﺶﺗﻮﻟﻴﺪ‬ ‫ﺑﺮﺍﻱ ﺟﺬﺏ ﺑﺎﺯﻳﮕﺮ ﺑﺎ ﺗﺒﺼﺮﻩ ﺍﺯ ﺳــﻮﻱ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺁﻥ ﺭﻭﺑﻪﺭﻭ ﺷﺪ‪.‬‬ ‫ﺗﺒﺼﺮﻩﺍﻱﻛﻪﺍﻟﺒﺘﻪﺑﻪﻧﻔﻊﺣﺴﻦﻫﺪﺍﻳﺖﻭﭘﺮﻭژﻩﺗﻤﺎﻡﺷﺪ‪.‬ﺍﺯﺁﻧﺠﺎﻛﻪﻓﻴﻠﻢ‬ ‫ﻗﺒﻠﻲﺷﺒﻜﻪﺳﺤﺮ)ﺷﻜﺎﺭﺭﻭﺑﺎﻩ(ﺑﺎﻭﺟﻮﺩﻫﺰﻳﻨﻪﻫﺎﻱﺯﻳﺎﺩﻭﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺩﺭ ﺍﺭﻣﻨﺴﺘﺎﻥ ﺩﺭ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ ﺷﻜﺴﺖ ﺧﻮﺭﺩ‪ ،‬ﻣﺴﺌﻮﻻﻥ ﺍﻳﻦ ﺷﺒﻜﻪ‬ ‫ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻨﺪ ﺑﺮﺧﻼﻑ ﺭﻭﻳﻪ ﻫﻤﻴﺸﮕﻲ ﺧﻮﺩ ﻣﺒﻠﻎ ﺑﻴﺸﺘﺮﻱ ﺭﺍ ﺑﺮﺍﻱ‬ ‫ﺗﻮﻟﻴﺪ»ﻧﺎﺳﭙﺎﺱ«ﻫﺰﻳﻨﻪﻛﻨﻨﺪ‪.‬ﺍﻳﻦﺗﺒﺼﺮﻩﻓﻘﻂﺷﺎﻣﻞﺳﻪﺑﺎﺯﻳﮕﺮﺍﺻﻠﻲ‬ ‫ﻓﻴﻠﻢ ﻣﻲﺷﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺷﺎﻛﺮﺩﻭﺳﺖ‪ ،‬ﭘﻮﺭﺳﺮﺥ ﻭ ﺷﺎﻫﺮﺥ ﺷﺎﻫﻲ‬ ‫ﭘﺬﻳﺮﻓﺘﻨﺪﻣﺸﻘﺖﻫﺎﻱﺑﺎﺯﻱﺩﺭﻳﻚﻛﺎﺭﺗﺎﺭﻳﺨﻲﺭﺍﺗﺤﻤﻞﻛﻨﻨﺪ‪.‬‬ ‫ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ‬ ‫ﺍﻳﻦ ﻫﻤﺎﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻋﻠﻴﺮﺿﺎ ﻧﺎﺩﺭﻱ ﺍﺳﺖ ﻛﻪ ﺍﻣﻴﻨﻲ ﻗﺼﺪ ﺩﺍﺷﺖ‬ ‫ﺳﺎﻝ ﻗﺒﻞ ﺁﻥ ﺭﺍ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺒﺮﺩ‪ .‬ﺍﻭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺟﺪﻳﺪ ﺭﺍ ﺧﻮﺩﺵ‬ ‫ﺑﺎﺯﻧﻮﻳﺴﻲ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺑﻌﺪ ﺍﺯ ﺭﻓﺘﻦ ﺷﻬﺎﺏ ﺣﺴﻴﻨﻲ ﺍﺯ ﭘﺮﻭژﻩ ﻭ ﺟﺎﻳﮕﺰﻳﻦ‬ ‫ﺷﺪﻥ ﻣﺤﺴﻦ ﺗﻨﺎﺑﻨﺪﻩ‪ ،‬ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ ﺑﺎﺯﻧﻮﻳﺴﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﻫﻢ ﺑﺮﻋﻬﺪﻩ‬ ‫ﮔﺮﻓﺖ‪ .‬ﮔﻮﻳﺎ ﺑﺎ ﺑﺎﺯﻧﻮﻳﺴــﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﻮﺳــﻂ ﺗﻨﺎﺑﻨــﺪﻩ ﻧﻘﺶ ﺍﻭ ﺩﺭ‬ ‫»ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﺑﻴﺸﺘﺮ ﺷﺪﻩ ﻭ ﻧﻘﺶ ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ ﻛﻤﺘﺮ! ﻇﺎﻫﺮﺍ‬ ‫ﺑﻬــﺪﺍﺩ ﺗﺎ ﻳﻚ ﻫﻔﺘﻪ ﻣﺎﻧﺪﻩ ﺑﻪ ﭘﺎﻳﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ )ﺑﻪ ﻏﻴﺮ ﺍﺯ ﻳﻜﻲ‪ ،‬ﺩﻭ‬ ‫ﺭﻭﺯ( ﻫﻨﻮﺯ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﻧﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻳﻚ ﮔﺰﺍﺭﺵ ﻭﺍﻗﻌﻲ‬ ‫ﻧﻘﺶ ﺭﻭﺑﻪﺭﻭﻱ ﻛﺎﻣﺒﻴﺰ ﺩﻳﺮﺑﺎﺯ ﺍﺑﺘﺪﺍ ﺑــﺮﺍﻱ ﺍﻣﻴﻦ ﺯﻧﺪﮔﺎﻧﻲ ﻛﻨﺎﺭ‬ ‫ﮔﺬﺍﺷــﺘﻪ ﺷــﺪﻩ ﺑﻮﺩ‪ .‬ﺯﻧﺪﮔﺎﻧﻲ ﺑﺪﻭﻥ ﺧﻮﺍﻧﺪﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺎ ﺩﺍﺭﻳﻮﺵ‬ ‫ﻓﺮﻫﻨﮓ ﻗﺮﺍﺭﺩﺍﺩ ﺍﻣﻀﺎ ﻛﺮﺩ ﺍﻣﺎ ﻭﻗﺘــﻲ ﺑﺮﺍﻱ ﺩﻭﺭﺧﻮﺍﻧﻲ ﺑﻪ ﺩﻓﺘﺮ ﺁﻣﺪ‬ ‫ﻭ ﺑﺎ ﻧﻘﺶ ﺩﻭﻡ »ﻳﻚ ﮔﺰﺍﺭﺵ ﻭﺍﻗﻌﻲ« ﺭﻭﺑﻪ ﺭﻭ ﺷــﺪ ﺍﺯ ﺑﺎﺯﻱ ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﺍﻧﺼﺮﺍﻑ ﺩﺍﺩ‪ .‬ﺍﻭ ﻋﻨﻮﺍﻥ ﻛــﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﻗﺒﻼ ﺑﺎﺯﻳﮕﺮﺩﺍﻥ ﻛﺎﻣﺒﻴﺰ ﺩﻳﺮﺑﺎﺯ‬ ‫ﺑﻮﺩﻩ )ﻣﺠﻤﻮﻋﻪ ﺗﺐ ﺳﺮﺩ( ﻭ ﺣﺎﻻ ﺣﺎﺿﺮ ﻧﻴﺴﺖ ﻧﻘﺶ ﺩﻭﻡ ﺍﻭ ﺭﺍ ﺑﺎﺯﻱ‬ ‫ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻧﻘﺶ ﺑﻌﺪﺍ ﺑﻪ ﻛﻮﺭﻭﺵ ﺳﻠﻴﻤﺎﻧﻲ ﺭﺳﻴﺪ‪.‬‬ ‫ﺗﻤﺎﺱﻫﺎﻳﺶ‪ ،‬ﺑﺎ ﺻﺪﺍ ﻭ ﻧﮕﺎﻫﻰ ﭘﺮ ﺍﺯ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ‪ ،‬ﺣﺮﻑﻫﺎﻳﺶ ﺭﺍ ﻣﻰﺯﻧﺪ‪:‬‬ ‫ﻣﻦﺑﺎﻳﺪﺑﺪﻭﻧﻢﻃﺮﻑﻣﻘﺎﺑﻠﻢﻛﻴﻪ‪....‬ﻫﻨﺮﭘﻴﺸﻪﻣﻌﺮﻭﻑﻧﺒﺎﺷﻪ‪،‬ﻣﻦﻧﻴﺴﺘﻢ‪...‬ﻗﺼﻪﺭﻡﻛﻪﺑﻬﺖﮔﻔﺘﻢ‪...‬ﺩﻭﺱ‬‫ﺩﺍﺭﻡﺁﺧﺮﺵ‪ ،‬ﺯﺧﻤﻰ‪،‬ﺳﻮﺍﺭﻣﻮﺗﻮﺭ‪ ....‬ﺭﺍﺳﺘﻰﻧﻮﺍﺭﻣﻴﺸﻪ ﮔﺬﺍﺷﺖ؟ﻣﺠﻮﺯﺷﻢﻣﻰﮔﻴﺮﻡ‪....‬‬ ‫• ﺩﺍﺧﻠﻰ ‪ -‬ﺩﻓﺘﺮ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻣﻌﺘﺒﺮ‬ ‫ﺁﻗﺎﻯ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻣﻌﺘﺒﺮ ﺳﻨﺎﺭﻳﻮ ﺭﺍ ﺭﻭﻯ ﻣﻴﺰ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻭ ﺑﻰﻣﻌﻄﻠﻰ ﺳﺮ ﺍﺻﻞ ﻣﻄﻠﺐ ﻣﻰﺭﻭﺩ‪:‬‬ ‫ ﻣﻰﺩﻭﻧــﻰ ﻛﻪ ﻣﻦ ﭼﻘﺪ ﺩﻭﺱ ﺩﺍﺭﻡ ﺑﺎ ﻓﻴﻠﻢ ﺍﻭﻟﻴﺎ ﻛﺎﺭ ﻛﻨﻢ‪ ،‬ﻭﻟﻰ‪ ...‬ﻣﻰﺩﻭﻧﻰ ﻛﻪ‪ ...‬ﺩﺭﺩﺳــﺮ ﺩﺍﺭﻩ ﮔﻴﺮ‬‫ﻣﻴﺪﻥ‪ ....‬ﻣﻰﺧﻮﺍﻥ ﻗﺪﻳﻤﻴﺎ ﻛﺎﺭ ﻛﻨﻦ‪ ...‬ﺩﻭ ﺳﺎﻝ ﺑﺎﻳﺪ ﺗﻮ ﻧﻮﺑﺖ ﺑﺨﻮﺍﺑﻰ‪...‬ﺍﻟﺒﺘﻪ‪...‬ﭼﻮﻥ ﻗﺒﻮﻟﺖ ﺩﺍﺭﻡ‪ ،‬ﻛﺎﺭﺗﻮ‬ ‫ﺟﻮﺭ ﻣﻰﻛﻨﻢ‪ ...‬ﺷﺼﺖ ﺗﻮﻣﻨﻢ ﭘﻴﺶ ﻣﻰﮔﻴﺮﻡ‪ ...‬ﻣﻰﺩﻭﻧﻰ ﻛﻪ ﭘﻮﻝ ﻳﻪ ﻫﻨﺮﭘﻴﺸﻪ ﻣﻌﺮﻭﻑ ﻫﻢ ﻧﻴﺲ‪....‬‬ ‫• ﺩﺍﺧﻠﻰ ‪ -‬ﺩﻓﺘﺮ ‪....‬‬ ‫• ﺩﺍﺧﻠﻰ ‪ -‬ﺩﻓﺘﺮ ‪....‬‬ ‫• ﺩﺍﺧﻠﻰ ‪ -‬ﺩﻓﺘﺮ ‪....‬‬ ‫ﺩﻭﻳﺪﻥ ﺩﺭ ﻣﻴﺎﻥ ﺍﺑﺮﻫﺎ ﺑﺎ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﻓﻴﻠﻤﻰ ﻛﻪ ﺩﺭ ﺗﺪﺍﺭﻙ ﺳﺎﺧﺘﺶ ﻫﺴﺘﻢ‪ ،‬ﻧﻴﺰ ﭼﻨﻴﻦ‬ ‫ﺍﻭﺿﺎﻉ ﻭ ﺍﺣﻮﺍﻟﻰ ﺩﺍﺭﺩ‪ .‬ﺷﻌﺎﺭﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﺮﺍﻯ ﻛﺴﻰ ﻛﻪ ﭘﻮﻝ ﻧﺪﺍﺭﺩ‪ ،‬ﻳﺎ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ﻳﻚ ﻓﻴﻠﻢ ﻛﻮﭼﻚ ﻭ ﺟﻤﻊ ﻭ ﺟﻮﺭ ﺑﺴــﺎﺯﺩ ‪ -‬ﻭ ﺩﻟﺶ ﻧﻤﻰﺧﻮﺍﻫﺪ ﻛﻤﺪﻯ ﺭﻭﻧﻮﻳﺴﻰ ﺷﺪﻩ ﺍﺯ ﺭﻭﻯ ﺩﺳﺖ‬ ‫ﻛﻤﺪﻯﻫﺎﻯ ﺩﻳﮕﺮ‪ ،‬ﻓﻴﻠﻢ ﺟﺸﻨﻮﺍﺭﻩﺍﻯ‪ ،‬ﻓﻴﻠﻢ ﺳﻔﺎﺭﺷﻰ ﻭ‪ ...‬ﻓﻴﻠﻢ ﺁﻏﺎﺯﻳﻦ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ ﺑﺎﺷﺪ – ﻫﻤﻪ ﺩﺭﻫﺎ‬ ‫ﺑﺴﺘﻪ ﺍﺳﺖ‪ .‬ﭼﻨﻴﻦ ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﻭﻳﺪﻥ ﺩﺭ ﻣﻴﺎﻥ ﺍﺑﺮﻫﺎ ﺳﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎ ﻳﻚ ﺑﻮﺩﺟﻪ ﻧﺎﭼﻴﺰ – ﻛﻪ ﺣﺘﻰ‬ ‫ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻛﻢ ﻫﺰﻳﻨﻪﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎ ﻫﻢ ﺷﻮﺧﻰ ﺍﺳﺖ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﺪﺍﺭﺍ ﻣﻰﺷﻮﺩ ﻭ ﺳﻜﺎﻧﺲﻫﺎﻳﻰ ﮔﺮﻓﺘﻪ‬ ‫ﻧﻤﻰﺷــﻮﺩ‪ – ...‬ﻭ ﻣﺮﺩﺍﻧﮕﻰ ﻣﺮﺩﻯ ﺑﻪﻧﺎﻡ ﻋﻠﻰ ﻗﻮﻯﺗﻦ ﻛﻪ ﺍﻟﺒﺘــﻪ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﭼﮕﻮﻧﻪ ﻓﻴﻠﻤﻰ‬ ‫ﺍﺳــﺖ ﻭ ﭼﻘﺪﺭ ﺳﻴﻨﻤﺎﻳﻰ ﺍﺳﺖ ﻭ ﭼﻘﺪﺭ ﺁﺑﺮﻭﻣﻨﺪ ﺍﺳﺖ ﻭ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻯ ﺩﻳﮕﺮ ﭼﻪ ﺟﺎﻳﮕﺎﻫﻰ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺻﺮﻓﺎ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﻛﻪ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﺳﻴﻨﻤﺎﻳﻰ ﮔﺮﻓﺘﻪ ﻧﺸﺪﻩ – ﺍﻧﮕﺎﺭ ﺗﺒﺪﻳﻞ ﻳﻚ ﻓﻴﻠﻢ ﭼﻪ ﻛﺎﺭ ﺷﺎﻗﻰ‬ ‫ﺍﺳﺖ! – )ﻣﺜﻞ ﺍﻳﻨﻜﻪ ﺩﺭ ﺩﺍﻭﺭﻯ ﺍﺩﺑﻰ ﺁﺛﺎﺭ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﺎ ﺧﻮﺩﻧﻮﻳﺲ ﺩﺭ ﻳﻚ ﺑﺨﺶ ﻭ ﺁﺛﺎﺭ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﺎ‬ ‫ﺧﻮﺩﻛﺎﺭ ﻭ ﻣﺪﺍﺩ ﺩﺭ ﺑﺨﺶ ﺩﻳﮕﺮ ﺩﺍﻭﺭﻯ ﺷﻮﻧﺪ!( ﺑﻪ ﻳﻚ ﺑﺨﺶ ﺣﺎﺷﻴﻪﺍﻯ ﺗﺒﻌﻴﺪ ﻣﻰﺷﻮﺩ‪.....‬‬ ‫‪....‬ﻭ ﺍﻳﻦ ﺣﻜﺎﻳﺖ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪ .‬ﺑﺎ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﺗﻮﺻﻴﻒ ﺷﺪ‪ ،‬ﻓﻴﻠﻢ ﺑﻌﺪﻯ ﻭ ﺑﻌﺪﺗﺮ ﻭ‪ ...‬ﻫﻢ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻰ‬ ‫ﺧﻮﺍﻫﺪ ﺩﺍﺷــﺖ ﻭ ﺍﻳﻦ ﻧﻔﺮﻳﻦ ﺑﺮ ﭘﻴﺸﺎﻧﻰ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ! ﻛﺎﺵ ﻛﺴــﻰ ﭘﻴﺪﺍ ﻣﻰﺷﺪ ﻭ ﺧﻮﺩ ﻓﻴﻠﻢ ﺭﺍ ﻧﮕﺎﻩ‬ ‫ﻣﻰﻛﺮﺩ‪ ،‬ﻧﻪ ﺗﻮﺍﻧﺎﻳﻰ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺩﺭ ﻛﻨﺎﺭ ﺁﻣﺪﻥ ﻭ ﺗﺤﻤﻞ ﻛﺮﺩﻥ ﻭ ﺑﻪ ﺟﺎﻥ ﺧﺮﻳﺪﻥ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﺫﻛﺮﺵ‬ ‫ﺁﻣﺪ ﻭ ﺑﻰﺷﻚ ﺧﻮﺩﺗﺎﻥ ﺑﻬﺘﺮ ﺍﺯ ﻣﻦ ﻣﻰﺩﺍﻧﻴﺪ ‪...‬‬ ‫‪35‬‬ ‫‪6‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﻛﺎﺭ ﻧﺎﻭﺍﻝ ﻣﺮگ‬ ‫ﻣﺴﺎﺑﻘﻪ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ ﻭ ﺩﻭﻡ‬ ‫ﺑﺮﺍﻱ ﺩﻳﺪﻩ ﺷﺪﻥ ﻭ ﺗﺜﺒﻴﺖ‬ ‫ﻛﺎﺭﻧﺎﻭﺍﻝ ﻣﺮگ‪/‬ﺣﺒﻴﺐﺍﷲ ﻛﺎﺳﻪﺳﺎﺯ‬ ‫»ﻛﺎﺭﻧﺎﻭﺍﻝ ﻣﺮگ« ﺭﺍ ﺍﺑﺘﺪﺍ ﺭﺿﺎ ﺍﻋﻈﻤﻴــﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﻛﻠﻴــﺪ ﺯﺩ‪ .‬ﺍﻭ ﻛــﻪ ﭘﻴــﺶ ﺍﺯ ﺁﻥ ﺗﺠﺮﺑﻪ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺳــﻴﻨﻤﺎﻳﻰ‬ ‫»ﺗﺎ ﻣﺮﺯ ﺯﻧﺪﮔﻰ« ﺭﺍ ﺩﺍﺷــﺖ‪ ،‬ﺗﺎ ﺣﺪﻭﺩ ‪ 80‬ﺩﺭﺻﺪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺟﻠﻮﻯ‬ ‫ﺩﻭﺭﺑﻴﻦ ﺑﺮﺩ‪ ،‬ﺍﻣﺎ ﭼﻮﻥ ﺯﻣﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺑﻴﺶ ﺍﺯ ﺑﺮﺁﻭﺭﺩﻫﺎ ﺑﻪ ﻃﻮﻝ‬ ‫ﺍﻧﺠﺎﻣﻴﺪ‪ ،‬ﻛﺎﺭ ﻣﺘﻮﻗﻒ ﺷــﺪ‪» .‬ﻛﺎﺭﻧﺎﻭﺍﻝ ﻣﺮگ« ﻛﻪ ﺩﺭﺑﺎﺭﻩ ﻳﻚ ﻗﺎﺗﻞ‬ ‫ﺯﻧﺠﻴﺮﻩﺍﻯ ﺑﻤﺐﮔﺬﺍﺭ ﺍﺳــﺖ‪ ،‬ﭼﻨﺪ ﺳــﺎﻟﻰ ﺑﻼﺗﻜﻠﻴﻒ ﺑﻮﺩ ﺗﺎ ﺍﻳﻨﻜﻪ‬ ‫ﺑﺎﻻﺧﺮﻩ ﺧﻮﺩ ﺣﺒﻴﺐﺍﷲ ﻛﺎﺳﻪﺳﺎﺯ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﺷﺪ ﺗﺎ ﻓﻴﻠﻢ ﺭﺍ ﺍﻳﻦ ﺑﺎﺭ‬ ‫ﺩﺭ ﻣﻘﺎﻡ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﻪ ﺳــﺮﺍﻧﺠﺎﻡ ﺑﺮﺳﺎﻧﺪ‪ .‬ﺍﻭ ﺗﻐﻴﻴﺮﺍﺗﻰ ﺩﺭ ﭘﺎﻳﺎﻥ ﻗﺼﻪ‬ ‫ﺩﺍﺩ ﻭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳــﺎﻧﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻰﺷــﻮﺩ ﻧﺘﻴﺠﻪ ﻓﻴﻠﻢ‬ ‫ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺳــﺎﻝ ﺑﻼﺗﻜﻠﻴﻔﻰ ﻭ ﺑﻪ ﺳﺒﺐ ﺗﻐﻴﻴﺮﺍﺕ ﺩﺍﺩﻩ ﺷﺪﻩ‪ ،‬ﺑﺴﻴﺎﺭ‬ ‫ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﭘﻴﺶﺑﻴﻨﻰﻫﺎﻯ ﺍﻭﻟﻴﻪ ﺍﺳﺖ‪.‬‬ ‫ﺧﺎﻃﺮﻩ‪ /‬ﻧﺎﺩﺭ ﻃﺮﻳﻘﺖ‬ ‫ﻧﺎﺩﺭ ﻃﺮﻳﻘﺖ ﺳﺎﻝﻫﺎ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﻛﻮﺗﺎﻩ ﺑﻪ ﻓﻴﻠﻤﺴﺎﺯﻱ ﭘﺮﺩﺍﺧﺘﻪ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﻣﺘﻌﺪﺩﻱ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻱ ﻛﻮﺗﺎﻫﺶ ﺷﺮﻛﺖ‬ ‫ﻛﺮﺩﻩ ﻭ ﺟﻮﺍﻳﺰﻱ ﺭﺍ ﻫﻢ ﺑﻪﺩﺳــﺖ ﺁﻭﺭﺩﻩ ﺍﺳــﺖ‪» .‬ﺧﺎﻃﺮﻩ« ﻛﻪ ﺍﺑﺘﺪﺍ‬ ‫»ﻧﻮﻳﺴﻨﺪﻩ« ﻧﺎﻡ ﺩﺍﺷﺖ‪ ،‬ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺳﻴﻨﻤﺎﻳﻲ ﺍﻭﺳﺖ ﻛﻪ ﺍﻭﺍﺧﺮ‬ ‫ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺭﻓﺖ‪ .‬ﻃﺮﻳﻘﺖ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﺶ ﭼﻪ‬ ‫ﭘﺸﺖ ﻭ ﭼﻪ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﺳﺮﺍﻍ ﻋﻮﺍﻣﻞ ﺣﺮﻓﻪﺍﻱ ﻭ ﺷﻨﺎﺧﺘﻪ ﺭﻓﺘﻪ‬ ‫ﺗﺎ ﺍﺯ ﻫﺮ ﻟﺤﺎﻅ ﺟﺎﻱ ﭘﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺳــﻴﻨﻤﺎ ﻣﺤﻜﻢ ﻛﻨﺪ‪ .‬ﺍﺳــﺘﻔﺎﺩﻩ‬ ‫ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺷــﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺷــﺪﻩﺍﻱ ﻣﺎﻧﻨﺪ ﻣﻬﻨﺎﺯ ﺍﻓﺸــﺎﺭ‪ ،‬ﭘﮋﻣﺎﻥ‬ ‫ﺑﺎﺯﻏﻲ ﻭ ﭘﻮﺭﻳﺎ ﭘﻮﺭﺳــﺮﺥ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺑﺎﺭ ﺗﺠﺎﺭﻱ ﻓﻴﻠﻢ ﻛﻤﻚ ﻛﻨﺪ ﻭ‬ ‫ﺍﺯ ﺁﻥ ﺳــﻮ ﺣﻀﻮﺭ ﻋﻠﻴﺮﺿﺎ ﺯﺭﻳﻦﺩﺳﺖ ﺩﺭ ﭘﺸﺖ ﺩﻭﺭﺑﻴﻦ ﺗﺎ ﺣﺪﻭﺩﻱ‬ ‫ﺗﻀﻤﻴﻦﻛﻨﻨﺪﻩ ﺑﺎﺭﻫﻨﺮﻱ ﻓﻴﻠﻢ ﻧﺎﺩﺭ ﻃﺮﻳﻘﺖ ﺍﺳﺖ‪.‬‬ ‫ﺭﺍﺯ ﺩﺷﺖ ﺗﺎﺭﺯﺍﻥ ‪ /‬ﻫﺎﺗﻒ ﻋﻠﻴﻤﺮﺩﺍﻧﻲ ﻭ ﻣﺤﻤﺪ ﻟﻄﻔﻌﻠﻰ‬ ‫ﺩﺍﺭﻳﻮﺵ ﺑﺎﺑﺎﺋﻴﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺋﺎﻝ – ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﻋﻨﻮﺍﻥ ﻛﺮﺩﻩ ﻛﻪ »ﺭﺍﺯ ﺩﺷــﺖ ﺗﺎﺭﺯﺍﻥ« ﻫﺮﻱﭘﺎﺗﺮ ﺍﻳﺮﺍﻧﻲ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ‬ ‫ﮔﻔﺘﻪ ﺑﺎﺑﺎﺋﻴﺎﻥ ﻭﺍﻛﻨﺶﻫﺎﻳﻲ ﺭﺍ ﺩﺭ ﭘﻲ ﺩﺍﺷــﺖ ﺍﻣﺎ ﺍﻭ ﻫﻤﻪ ﺭﺍ ﺑﻪ ﺩﻳﺪﻥ‬ ‫ﻓﻴﻠﻢ ﻭ ﻗﻀﺎﻭﺕ ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﺑﻌﺪ ﺍﺯ ﺗﻤﺎﺷﺎﻱ ﺍﺛﺮ ﺩﻋﻮﺕ ﻛﺮﺩ‪» .‬ﺭﺍﺯ ﺩﺷﺖ‬ ‫ﺗﺎﺭﺯﺍﻥ« ﺩﺭ ﺳــﻜﻮﺕ ﺧﺒﺮﻱ ﺳﺎﺧﺘﻪ ﺷــﺪ ﻭ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺘﺶ ﺯﻣﺎﻧﻲ‬ ‫ﺻﺎﺩﺭ ﺷﺪ ﻛﻪ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ‬ ‫ﺑﺨﺶﻫﺎﻱ ﺍﻧﻴﻤﻴﺸــﻦ ﻭ ﺗﺮﻭﻛﺎژﻫﺎﻱ ﻓﻴﻠﻢ ﺑﻴﺶ ﺍﺯ ﻳﻚ ﺳﺎﻝ ﺯﻣﺎﻥ‬ ‫ﺑﺮﺩﻩﺍﻧﺪ ﻭ ﺯﺣﻤﺖ ﺯﻳﺎﺩﻱ ﺭﻭﻱ ﺁﻧﻬﺎ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺣﻀﻮﺭ ﺗﺮﺍﻧﻪ‬ ‫ﻋﻠﻴﺪﻭﺳﺘﻲ ﺑﺎ ﻭﺳﻮﺍﺱ ﺯﻳﺎﺩﺵ ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﻧﻘﺶﻫﺎ ﻫﻢ ﺍﺯ ﻧﻜﺎﺕ ﻗﺎﺑﻞ‬ ‫ﺗﻮﺟﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﺳﺖ‪.‬‬ ‫ﻓﺼﻞ ﺑﺎﺭﺍﻥﻫﺎﻯ ﻣﻮﺳﻤﻰ ‪ /‬ﻣﺠﻴﺪ ﺑﺮﺯﮔﺮ‬ ‫ﺁﻧﻄﻮﺭ ﻛﻪ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﻨﺪ »ﻓﺼﻞ ﺑﺎﺭﺍﻥﻫﺎﻱ ﻣﻮﺳﻤﻲ« ﻳﻜﻲ ﺍﺯ‬ ‫ﭘﺪﻳﺪﻩﻫﺎﻱ ﺩﻳﺪﻧﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺍﺳﺖ‪ .‬ﻣﺠﻴﺪ ﺑﺮﺯﮔﺮ ﻛﻪ ﺑﻴﺸﺘﺮ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻭ ﺳﺎﺯﻧﺪﻩ ﺗﻴﺰﺭﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﺩﺍﺧﻠﻲ ﺷﻨﺎﺧﺘﻪ‬ ‫ﻣﻲﺷﻮﺩ‪ ،‬ﭼﻨﺪﻣﺎﻩ ﭘﻴﺶ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪﺵ ﺭﺍ ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ ﻳﺎﺭ‬ ‫‪36‬‬ ‫ﻫﻤﻴﺸﮕﻲﺍﺵ‪ ،‬ﻣﻨﻮﭼﻬﺮ ﺷﺎﻫﺴــﻮﺍﺭﻱ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺮﺩ‪» .‬ﻓﺼﻞ‬ ‫ﺑﺎﺭﺍﻥﻫﺎﻱ ﻣﻮﺳــﻤﻲ« ﻓﻴﻠﻤﻲ ﺟﻤﻊ ﻭ ﺟﻮﺭ ﺑﺎ ﻣﻮﺿﻮﻋﻲ ﺧﺎﺹ ﺍﺳﺖ‬ ‫ﻭ ﺍﺛﺮﻱ ﺗﺠﺮﺑﻪﮔﺮﺍ ﺑﻪﺣﺴــﺎﺏ ﻣﻲﺁﻳﺪ‪ .‬ﻓﻴﻠﻢ ﺑﺎﺯﻳﮕﺮ ﺷﻨﺎﺧﺘﻪﺷﺪﻩﺍﻱ‬ ‫ﻧــﺪﺍﺭﺩ ﻭ ﺍﺯ ﻫﺮﻟﺤﺎﻅ ﺍﺛﺮﻱ ﺧــﺎﺭﺝ ﺍﺯ ﻗﺎﻋﺪﻩ ﻣﺮﺳــﻮﻡ ﺍﻳﻦ ﺭﻭﺯﻫﺎﻱ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪.‬‬ ‫ﺩﻣﻮﻛﺮﺍﺳﻰ ﺗﻮﻯ ﺭﻭﺯ ﺭﻭﺷﻦ ‪ /‬ﻋﻠﻲ ﻋﻄﺸﺎﻧﻲ‬ ‫ﺧﻴﻠﻲﻫﺎ ﻣﻨﺘﻈﺮ ﺗﻤﺎﺷﺎﻱ ﻓﻴﻠﻤﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﺤﻤﺪﻋﻠﻲ ﺯﻡ ﭘﺲ‬ ‫ﺍﺯ ﺳﺎﻝﻫﺎ ﺩﻭﺭﻱ ﺍﺯ ﺳﻴﻨﻤﺎ ﺁﻥ ﺭﺍ ﺗﻬﻴﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻳﺎﺩﺁﻭﺭ ﺳﺎﻝﻫﺎﻱ‬ ‫ﻃﻼﻳﻲ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺩﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢﻫﺎﻱ ﺳﻴﻨﻤﺎﻳﻲ ﻭ ﺳﺎﺧﺘﻪ ﺷﺪﻥ‬ ‫ﺁﺛﺎﺭﻱ ﻣﺎﻧﻨﺪ »ﺁﺩﻡ ﺑﺮﻓﻲ«‪» ،‬ﻣﺮﺩ ﻋﻮﺿﻲ«‪» ،‬ﻣﻮﻣﻴﺎﻳﻲ‪ «3‬ﻭ »ﺩﻳﺪﺍﺭ«‬ ‫ﺍﺳﺖ‪ .‬ﺍﻛﻨﻮﻥ ﻭ ﭘﺲ ﺍﺯ ﮔﺬﺷــﺖ ﺑﻴﺶ ﺍﺯ ﻳﻚ ﺩﻫﻪ ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ‪ ،‬ﺯﻡ ﺑﺎ‬ ‫ﻓﻴﻠﻤﻲ ﻛﻪ ﻫﻤــﺎﻥ ﻭﻳﮋﮔﻲﻫﺎ ﻣﺎﻧﻨﺪ ﺑﺮﺧﻮﺭﺩﺍﺭﻱ ﺍﺯ ﻣﻮﺿﻮﻋﻲ ﮔﺰﻧﺪﻩ‬ ‫ﻭ ﺍﻧﺘﻘﺎﺩﻱ‪ ،‬ﺣــﺎﻝ ﻭ ﻫﻮﺍﻳﻲ ﻃﻨﺰﮔﻮﻧﻪ ﻭ ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺷــﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻩ ﻭ ﺗﻤﺎﺷﺎﮔﺮﭘﺴﻨﺪ ﺭﺍ ﺩﺍﺭﺍﺳﺖ‪ ،‬ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻗﺪﻡ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻧﮕﺎﺭﺵ ﻓﻴﻠﻤﻨﺎﻣﻪ »ﺩﻣﻮﻛﺮﺍﺳــﻲ ﺗﻮ ﺭﻭﺯ ﺭﻭﺷــﻦ« ﺑﻪ ﭼﻨﺪﻳﻦ ﺳﺎﻝ‬ ‫ﭘﻴﺶ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﻪ ﺩﺳــﺖ ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥ ﺷــﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻩﺍﻱ ﺭﺳــﻴﺪﻩ ﺍﻣﺎ ﮔﻮﻳﺎ ﻗﺴﻤﺖ ﻋﻠﻲ ﻋﻄﺸــﺎﻧﻲ ﻭ ﻣﺤﻤﺪﻋﻠﻲ ﺯﻡ‬ ‫ﺑﻮﺩﻩ ﻛﻪ ﺁﻥ ﺭﺍ ﺗﻮﻟﻴﺪ ﻛﻨﻨﺪ‪ .‬ﻋﻄﺸــﺎﻧﻲ ﭼﻨــﺪ ﺗﺠﺮﺑﻪ ﻧﺎﻣﻮﻓﻖ ﻭ ﻧﺎﻛﺎﻡ‬ ‫ﻣﺎﻧﻨﺪ »ﭘﻮﺳﺖﻣﻮﺯ« ﻭ ﻳﻜﻲ‪ ،‬ﺩﻭ ﻓﻴﻠﻢ ﻭﻳﺪﺋﻮﻳﻲ ﺩﻳﮕﺮ ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ‬ ‫ﺩﺍﺭﺩ ﻭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﻭﻟﻴﻦ ﺳــﺎﺧﺘﻪ ﺑﻠﻨﺪ ﺳﻴﻨﻤﺎﻳﻲ ﺍﻭﺳﺖ‪ .‬ﻧﻘﺶ ﺳﺮﺩﺍﺭ‬ ‫ﻗﺪﻳﻤﻲ ﺟﻨﮓ ﺭﺍ ﺍﺑﺘﺪﺍ ﻗﺮﺍﺭ ﺑﻮﺩ ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻳﻔﻲﻧﻴﺎ ﺑﺎﺯﻱ ﻛﻨﺪ ﺍﻣﺎ‬ ‫ﭼﻨﺪﺭﻭﺯ ﻣﺎﻧﺪﻩ ﺑﻪ ﺁﻏﺎﺯ ﻓﻴﻠﻤﺒــﺮﺩﺍﺭﻱ ﺍﻳﻦ ﻧﻘﺶ ﺑﻪ ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ‬ ‫ﺭﺳــﻴﺪ‪ .‬ﺣﻀﻮﺭ ﻛﻮﺗﺎﻩ ﺍﻣﺎ ﻧﻮﺩ ﻣﻴﻠﻴﻮﻧﻲ ﻣﺤﻤﺪﺭﺿﺎ ﮔﻠﺰﺍﺭ ﻫﻢ ﭘﺲ ﺍﺯ‬ ‫ﻣﺪﺕﻫﺎ ﻣﻤﻨﻮﻉﺍﻟﻜﺎﺭﻱ ﻳﻜﻲ ﺍﺯ ﻧﻜﺎﺕ ﺟﻨﺠﺎﻝﺑﺮﺍﻧﮕﻴﺰ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻮﺩ‬ ‫ﻛﻪ ﺳﺮ ﻭ ﺻﺪﺍﻫﺎﻱ ﺯﻳﺎﺩﻱ ﺩﺭ ﺯﻣﺎﻥ ﺗﻮﻟﻴﺪ ﺑﻪ ﭘﺎ ﻛﺮﺩ‪.‬‬ ‫ﺩﻳﮕﺮﻯ ‪ /‬ﻣﻬﺪﻱ ﺭﺣﻤﺎﻧﻲ‬ ‫ﺍﮔﺮ ﺗﺎ ﭼﻨﺪﺳﺎﻝ ﭘﻴﺶ ﻓﻴﻠﻢﻫﺎﻱ ﻫﻨﺮﻱ ﻭ ﻣﻮﺳﻮﻡ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ‬ ‫ﺑﺎ ﺣﻀﻮﺭ ﻧﺎﺑﺎﺯﻳﮕﺮﺍﻥ ﺳــﺎﺧﺘﻪ ﻣﻲﺷــﺪﻧﺪ ﻭ ﺗﺠﺮﺑﻲ ﺑﻮﺩﻥ ﺑﻪ ﻳﻜﻲ ﺍﺯ‬ ‫ﻭﻳﮋﮔﻲﻫﺎﻱ ﺩﺭﻭﻧﻲ ﻭ ﺑﻴﺮﻭﻧﻲ ﻓﻴﻠﻢﻫﺎ ﺗﺒﺪﻳﻞ ﻣﻲﺷﺪ‪ ،‬ﺍﻣﺎ ﭼﻨﺪﺳﺎﻟﻲ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺭﻭﻳﻪ ﺗﻐﻴﻴﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥ ﺟﻮﺍﻥ‬ ‫ﺣﺘﻲ ﺑﺮﺍﻱ ﺳــﺎﺧﺖ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺑــﺎ ﻣﻀﺎﻣﻴﻦ ﺧﺎﺹ ﻫﻢ ﺑﻪ ﺳــﺮﺍﻍ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﺷــﻨﺎﺧﺘﻪ ﺷــﺪﻩ ﻣﻲﺭﻭﻧﺪ ﺗﺎ ﻓﻴﻠﻤﺸــﺎﻥ ﻓﺮﺻﺖ ﺍﻛﺮﺍﻥ ﻭ‬ ‫ﺩﻳﺪﻩ ﺷﺪﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻫﻢ‬ ‫ﺑﺪﺷﺎﻥ ﻧﻤﻲﺁﻳﺪ ﺑﺮﺍﻱ ﻭﻳﺘﺮﻳﻦ ﻭ ﻛﻼﺱ ﻫﻨﺮﻱ ﻛﺎﺭﻧﺎﻣﻪﺷﺎﻥ‪ ،‬ﺩﺭ ﭼﻨﻴﻦ‬ ‫ﺁﺛﺎﺭﻱ ﺑﺎﺯﻱ ﻛﻨﻨﺪ ﺗﺎ ﺣﺪﺍﻗﻞ ﺣﻀﻮﺭﺷﺎﻥ ﺩﺭ ﭼﻨﺪ ﻓﻴﻠﻢ ﺗﺠﺎﺭﻱ ﺩﻳﮕﺮ‬ ‫ﺗﻮﺟﻴﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻓﻴﻠﻢ »ﺩﻳﮕﺮﻱ« ﻫﻢ ﺍﺯ ﭼﻨﻴﻦ ﻗﺎﻋﺪﻩﺍﻱ ﻣﺴﺘﺜﻨﻲ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺳﻴﻨﻤﺎﻳﻲ ﻣﻬﺪﻱ ﺭﺣﻤﺎﻧﻲ ﻣﻮﺿﻮﻋﻲ ﺩﺍﺭﺩ‬ ‫ﻛﻪ ﺷﺎﻳﺪ ﺩﺭ ﻳﻜﻲ‪ ،‬ﺩﻭ ﺩﻫﻪ ﮔﺬﺷﺘﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺯﻳﺎﺩﻱ‬ ‫ﺩﺍﺷﺖ ﺍﻣﺎ ﺍﻳﻦ ﻧﻮﻉ ﻗﺼﻪﻫﺎ ﺑﺮﺍﻱ ﺳﺎﻝﻫﺎﻱ ﭘﺎﻳﺎﻧﻲ ﺩﻫﻪ ‪ 80‬ﻛﻤﻲ ﻛﻬﻨﻪ‬ ‫ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ‪ .‬ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪ ﻭ ﻧﻮﻉ ﺭﻭﺍﻳﺖ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻇﺎﻫﺮ‬ ‫ﺗﻜﺮﺍﻱ ﺭﺍ ﺩﻳﺪ ﻭ ﺁﻧﮕﺎﻩ ﻣﻨﺼﻔﺎﻧﻪﺗﺮ ﻗﻀﺎﻭﺕ ﻛﺮﺩ‪.‬‬ ‫ﭼﺮﺍﻍ ﻗﺮﻣﺰ ‪ /‬ﻋﻠﻲ ﻏﻔﺎﺭﻱ‬ ‫ﻳﻜﻲ‪ ،‬ﺩﻭ ﻣﺎﻩ ﻣﺎﻧﺪﻩ ﺑﻪ ﺁﻏﺎﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻧﺎﻡ ﻣﺤﺴﻦ ﻋﻠﻲﺍﻛﺒﺮﻱ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ »ﭼﺮﺍﻍ ﻗﺮﻣﺰ« ﻣﻄﺮﺡ ﺑﻮﺩ ﺍﻣﺎ‬ ‫ﻭﻗﺘﻲ ﻋﻠﻲﺍﻛﺒﺮﻱ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﺍﻋﻀﺎﻱ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠﺮ ﻣﺸــﻐﻮﻝ ﺑﻪ ﻛﺎﺭ ﺷﺪ‪ ،‬ﻧﺎﮔﻬﺎﻥ ﺍﺳــﻢ ﺍﻭ ﺣﺬﻑ ﻭ ﺧﻮﺩ ﻏﻔﺎﺭﻱ ﺑﻪ‬ ‫ﻫﻤﺮﺍﻩ ﺳﻌﻴﺪ ﺷﺮﻓﻲﻛﻴﺎ ﺍﻳﻦ ﻋﻨﻮﺍﻥ ﺭﺍ ﺩﺍﺭﺍ ﺷﺪﻧﺪ‪) .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﺍﺗﻔﺎﻗﻲ‬ ‫ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﻓﻴﻠﻢ »ﺷــﻜﻼﺕ ﺩﺍﻍ« ﻭ ﻋﻠﻴﺮﺿﺎ ﺳﺠﺎﺩﭘﻮﺭ ﻫﻢ‬ ‫ﺑﻪﻭﻗﻮﻉ ﭘﻴﻮﺳﺖ(‪ .‬ﻋﻠﻲ ﻏﻔﺎﺭﻱ ﺳﺎﻝﻫﺎ ﺑﻪﻋﻨﻮﺍﻥ ﺩﺳﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺩﺭ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻓﻌﺎﻟﻴﺖ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺩﻫﻪ ﻫﻔﺘﺎﺩ ﻫﻢ ﻳﻚ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﺑﺎ ﻋﻨﻮﺍﻥ »ﺷﺎﻫﺮگ« ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﺮﺩﻩ ﺍﺳﺖ‪» .‬ﺷﺎﻫﺮگ« ﺩﺭ ﺯﻣﺎﻧﻲ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪ ﻛﻪ ﺗﻘﺮﻳﺒﺎ ﻓﻴﻠﻢﻫﺎﻱ ﺣﺎﺩﺛﻪﺍﻱ ﻭ ﺍﻛﺸﻦ ﺍﺯ ﻣﺪ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺍﺳﺘﻘﺒﺎﻝ ﭼﻨﺪﺍﻧﻲ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﻜﺮﺩﻧﺪ‪.‬‬ ‫ﺍﻣﺎ »ﭼﺮﺍﻍ ﻗﺮﻣﺰ« ﺑــﺎ ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻣﺤﺒﻮﺏ ﺳــﻴﻨﻤﺎﻱ ﺟﺮﻳﺎﻥ‬ ‫ﺍﺻﻠﻲ ﺍﻳﻦ ﺭﻭﺯﻫﺎﻱ ﺍﻳﺮﺍﻥ ﺳﺎﺧﺘﻪ ﺷــﺪﻩ ﺍﺳﺖ ﺁﻥ ﻫﻢ ﺩﺭ ﺯﻣﺎﻧﻲ ﻛﻪ‬ ‫ﻃﻨﺰ ﻭ ﻛﻤﺪﻱ )ﺍﺯ ﻫﺮ ﺟﻨﺲ ﻭ ﺷﻜﻞ( ﺧﺮﻳﺪﺍﺭﺍﻥ ﺑﺴﻴﺎﺭﻱ ﺩﺍﺭﺩ‪ .‬ﺑﻪﻧﻈﺮ‬ ‫ﻣﻲﺭﺳﺪ ﺑﻴﺸﺘﺮ ﻫﺪﻑ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺳﻴﺪﻥ ﺑﻪ ﮔﻴﺸﻪ ﻣﻨﺎﺳﺐ‬ ‫ﺑﺎ ﻓﻴﻠﻤﻲ ﺁﺑﺮﻭﻣﻨﺪ ﺑﻮﺩﻩ ﺍﺳــﺖ ﻭ ﺣﻀﻮﺭ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻤﻚ ﺯﻳﺎﺩﻱ‬ ‫ﺑﻪ ﺁﻧﻬﺎ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬ ‫ﻧﺰﺩﻳﻜﺘﺮ ﺍﺯ ﺁﺷﻨﺎ ‪ /‬ﺭﺿﺎ ﺳﺮﻛﺎﻧﻴﺎﻥ‬ ‫»ﻧﺰﺩﻳﻜﺘﺮ ﺍﺯ ﺁﺷﻨﺎ« ﺩﺭﺳﺖ ﻫﻤﺎﻥ ﺣﺎﻝ ﻭ ﻫﻮﺍ ﻭ ﻓﻀﺎﻱ ﻓﻴﻠﻢﻫﺎﻳﻲ‬ ‫ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥ ﺍﺯ ﻓﺮﻧﮓ ﺑﺮﮔﺸــﺘﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﺭﺿﺎ‬ ‫ﺍﻳﺮﺍﻥ‪ ،‬ﺁﻣﺪﻩ ﺗﺎ ﺍﻭﻟﻴﻦ ﻓﻴﻠــﻢ ﺑﻠﻨﺪﺵ ﺭﺍ ﺑﺎ‬ ‫ْ‬ ‫ﺳــﺮﻛﺎﻧﻴﺎﻥ ﺍﺯ ﻓﺮﺍﻧﺴــﻪ ﺑﻪ‬ ‫ﻣﺸﺎﺭﻛﺖ ﻓﺮﺍﻧﺴــﻪ ﻭ ﺁﻟﻤﺎﻥ ﻭ ﻣﺮﻛﺰ ﮔﺴﺘﺮﺵ ﺳــﻴﻨﻤﺎﻱ ﻣﺴﺘﻨﺪ ﻭ‬ ‫ﺗﺠﺮﺑﻲ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺒﺮﺩ‪.‬‬ ‫ﻗﺼﻪ »ﻧﺰﺩﻳﻚﺗﺮ ﺍﺯ ﺁﺷــﻨﺎ« ﺩﺭﺑﺎﺭﻩ ﺧﺎﻧﻮﺍﺩﻩﺍﻱ ﺳﻨﺘﻲ ﺍﺳﺖ ﻛﻪ‬ ‫ﭘــﺪﺭ ﺧﺎﻧﻮﺍﺩﻩ ﻭﺻﻴﺖ ﻣﻲﻛﻨﺪ ﺩﺭ ﺯﻣﺎﻥ ﻣــﺮگ‪ ،‬ﺍﻭ ﺭﺍ ﺩﺭ ﺍﻣﺎﻣﺰﺍﺩﻩﺍﻱ‬ ‫ﺩﻓﻦ ﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﻣﺴﻴﺮ ﺍﻣﺎﻣﺰﺍﺩﻩ ﺍﺗﻔﺎﻗﺎﺗﻲ ﻣﻲﺍﻓﺘﺪ ﻛﻪ ﺑﺎﻋﺚ ﺗﺤﻮﻝ‬ ‫ﺍﻋﻀﺎﻱ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻲﺷــﻮﺩ‪ .‬ﻓﻴﻠﻢ ﺣﺎﻝ ﻭ ﻫﻮﺍﻳــﻲ ﺗﺠﺮﺑﻲ ﺩﺍﺭﺩ ﻭ ﺗﻨﻬﺎ‬ ‫ﺑﺎﺯﻳﮕﺮ ﺣﺮﻓﻪﺍﻱ ﺁﻥ ﺩﺍﺭﻳﻮﺵ ﺍﺳﺪﺯﺍﺩﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭ ﭼﻨﺪ ﺑﺎﺯﻳﮕﺮ‬ ‫ﺧﺎﺭﺟﻲ ﺑﻪ ﺍﻳﻔﺎﻱ ﻧﻘﺶ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺳﻔﺮ ﺳﺮﺥ‪/‬ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ‬ ‫ﺍﮔﺮﭼﻪ ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ ﺑﻴﺸﺘﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺎﺯﻳﮕﺮ ﺷﻨﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‬ ‫ﺍﻣﺎ ﺩﺭ ﺳﺎﻝ ‪ 79‬ﻳﻚ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﻫﻢ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﻗﺮﺍﺭ ﺑﻮﺩ »ﺳﻔﺮ ﺳﺮﺥ« ﻳﻚ ﺳﺮﻳﺎﻝ ﺳﻪﻗﺴﻤﺘﻲ ﻣﺤﺼﻮﻝ ﺟﻨﮓ ﺷﺒﻜﻪ‬ ‫ﺍﻭﻝ ﺑﻪ ﻣﺪﺕ ﺯﻣﺎﻥ ‪ 150‬ﺩﻗﻴﻘﻪ ﺑﺎ ﻣﻮﺿﻮﻉ ﺳﻘﻮﻁ ﺧﺮﻣﺸﻬﺮ ﺑﺎﺷﺪ ﺍﻣﺎ‬ ‫ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﺗﺼﻤﻴﻢ ﺑﺮﺁﻥ ﺷــﺪ ﺗﺎ »ﺳﻔﺮ ﺳﺮﺥ« ﺩﺭ ﻗﺎﻟﺐ ﻳﻚ ﻓﻴﻠﻢ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻳﺪ‪ .‬ﺩﺭ ﺳــﺎﻝ ‪ 80‬ﻭ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺘﻢ ﺑﺎ‬ ‫ﺍﻳﻨﻜﻪ ﺍﻭﻟﻴﻦ ﺳﺎﺧﺘﻪ ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ ﻫﻢ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﻭ ﻫﻢ ﺩﺭ ﺑﺨﺶ ﺑﻴﻦﺍﻟﻤﻠﻞ ﭘﺬﻳﺮﻓﺘﻪ ﺷــﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻣﺴــﺌﻮﻻﻥ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻨﺪ ﺗﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﺧﺎﺭﺝ ﻛﻨﻨﺪ‪.‬‬ ‫ﺩﻟﻴﻞ ﺍﺻﻠﻲ ﻫﻢ‪ ،‬ﺩﻟﺨﻮﺭﻱ ﻣﺴﺌﻮﻻﻥ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﺯ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﮔﺎﻥ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﻮﺩ ﭼﺮﺍ ﻛﻪ ﺁﻧﻬــﺎ ﺍﺯ ﻣﻴﺎﻥ ‪ 10‬ﻓﻴﻠﻢ ﺍﺭﺍﺋﻪ ﺷــﺪﻩ ﺑﻪ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﺗﻮﺳﻂ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺗﻨﻬﺎ ﻳﻚ ﻓﻴﻠﻢ ‪ ،‬ﺁﻥﻫﻢ »ﺳﻔﺮ ﺳﺮﺥ« ﺭﺍ‬ ‫ﻗﺒﻮﻝ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻣﺎﺟﺮﺍ »ﺳــﻔﺮ ﺳﺮﺥ« ﺍﺟﺎﺯﻩ ﻧﻤﺎﻳﺶ‬ ‫ﻧﻴﺎﻓﺖ‪ ،‬ﺑﻪ ﺑﺎﻳﮕﺎﻧﻲ ﺳــﭙﺮﺩﻩ ﺷــﺪ ﻭ ﺣﺘﻲ ﺧﻮﺩ ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ ﻫﻢ‬ ‫ﻧﻔﻬﻤﻴﺪ ﭼﻪ ﺑﺮ ﺳﺮ ﻓﻴﻠﻤﺶ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﻧﺘﻴﺠﻪ ﻫﻢ ﺁﻥ ﺷﺪ ﻛﻪ ﻓﺮﺥﻧﮋﺍﺩ‬ ‫ﻓﻌﻼ ﺧﻴﺎﻝ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻧﺪﺍﺭﺩ ﻭ ﺻﺮﻓﺎ ﺑﻪ ﺑﺎﺯﻳﮕﺮﻱ ﻣﻲﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺯﻣﺰﻣﻪ ﺑﺎ ﺑﺎﺩ ‪ /‬ﺷﻬﺮﺍﻡ ﻋﻠﻴﺪﻱ‬ ‫ﻓﻴﻠــﻢ »ﺯﻣﺰﻣﻪ ﺑﺎ ﺑــﺎﺩ« ﺑﻪﻋﻨﻮﺍﻥ ﻣﺤﺼﻮﻝ ﻛﺸــﻮﺭ ﻋــﺮﺍﻕ ﻭ ﺑﺎ‬ ‫ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﺑﺨﺶ ﻓﺮﻫﻨﮕﻲ ﺩﻭﻟﺖ ﻛﺮﺩﺳﺘﺎﻥ ﻋﺮﺍﻕ ﺗﻬﻴﻪ ﺷﺪﻩ ﻭ‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻦ ‪ 2009‬ﻣﻮﻓﻖ ﺑﻪ ﺩﺭﻳﺎﻓﺖ ﺳﻪ ﺟﺎﻳﺰﻩ ﻣﻨﺘﺨﺐ ﺟﻮﺍﻧﺎﻥ‬ ‫ﺍﺭﻭﭘﺎ‪ ،‬ﺟﺎﻳﺰﻩ ﻛﺎﻧﺎﻝ ‪ 5‬ﻓﺮﺍﻧﺴﻪ ﻭ ﻫﻤﭽﻨﻴﻦ ﺟﺎﻳﺰﻩ ﺍﻛﺮﺍﻥ ﻭ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺩﺭ ﻛﺸﻮﺭ ﻓﺮﺍﻧﺴﻪ ﺍﺯ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﻫﻔﺘﻪ ﻣﻨﺘﻘﺪﺍﻥ ﺷﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﻣﻀﻤﻮﻧﻲ ﺍﻧﺴﺎﻧﻲ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺟﻨﮓ ﺩﻭﻟﺖ ﺻﺪﺍﻡ ﻋﻠﻴﻪ ﻛﺮﺩﻫﺎﻱ ﻋﺮﺍﻕ‬ ‫ﺩﺍﺭﺩ؛ ﺩﺭ ﺑﺤﺒﻮﺣﻪ ﺍﻳﻦ ﺟﻨﮓ ﻫﻤﻪ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺗﻮﻟﺪ ﻳﻚ ﻛﻮﺩﻙ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﻳﻚ ﭘﺴﺘﭽﻲ ﺑﺎ ﺿﺒﻂ ﺻﻮﺕ ﺑﻴﻦ ﻛﺮﺩﻫﺎﻳﻲ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ‬ ‫ﺟﻨﮓ ﺑﺎ ﺭژﻳﻢ ﺑﻌﺚ ﺑﻪ ﺩﻟﻴﻞ ﻛﻮﻫﺴــﺘﺎﻧﻲ ﺑﻮﺩﻥ ﻣﻨﻄﻘﻪ ﺭﺍﺑﻄﻪﺷﺎﻥ‬ ‫ﺑﺎ ﻫﻤﺪﻳﮕﺮ ﻗﻄﻊ ﺷــﺪﻩ ﺍﺳﺖ‪ ،‬ﺭﻓﺖ ﻭ ﺁﻣﺪ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺿﺒﻂ ﺻﺪﺍﻫﺎ‪،‬‬ ‫ﭘﻴﻐﺎﻡﻫﺎ ﺭﺍ ﺍﺯ ﺍﻳﻦ ﻣﻨﺎﻃﻖ ﻛﻮﻫﺴﺘﺎﻧﻲ ﺑﻪ ﻫﻤﺪﻳﮕﺮ ﻣﻨﺘﻘﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ‬ ‫ﻣﺪﺍﻡ ﺩﺭ ﺣﺎﻝ ﺩﻳﺪﻥ ﻇﻠﻢﻫﺎﻱ ﺭژﻳﻢ ﺻﺪﺍﻡ ﺑﺮ ﺳﺮ ﻣﺮﺩﻡ ﻋﺮﺍﻕ ﺍﺳﺖ ﻭ‬ ‫ﺍﻳﻨﮕﻮﻧﻪ ﺑﺨﺸﻲ ﺍﺯ ﺗﺎﺭﻳﺦ ﻣﻌﺎﺻﺮ ﻋﺮﺍﻕ ﺑﺎﺯﮔﻮ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻣﻘﻠﺪ ﺷﻴﻄﺎﻥ‪ /‬ﺍﻓﺸﻴﻦ ﺻﺎﺩﻗﻲ‬ ‫»ﻣﻘﻠﺪ ﺷﻴﻄﺎﻥ« ﻫﻢ ﺟﺰﻭ ﺁﻥ ﺩﺳﺘﻪ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻣﺠﻮﺯ‬ ‫ﻭ ﺣﻤﺎﻳﺖ ﻣﻮﺳﺴــﻪ ﻧﺎﺟﻲ ﻫﻨﺮ ﺑﺮﺍﻱ ﺷﺮﻛﺖ ﻭ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢ ﭘﻠﻴﺲ ﺳﺎﺧﺘﻪ ﺷﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻭ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ‬ ‫ﺍﻓﺸــﻴﻦ ﺻﺎﺩﻗﻲ ﺳﺎﺧﺘﻪ ﺷــﺪ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ ﻓﻴﻠﻢ »ﻓﺮﻭﺩ ﺩﺭ ﻏﺮﺑﺖ« ﺑﻪ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺳﻌﻴﺪ ﺍﺳﺪﻱ )ﻭ ﺁﻥﻫﻢ ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ ﺍﻓﺸﻴﻦ ﺻﺎﺩﻗﻲ(‬ ‫ﺑﺪﻭﻥ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺭﻓﺘﻨﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺗﺎﻛﻨﻮﻥ‬ ‫ﻭ ﭘﺲ ﺍﺯ ﮔﺬﺷــﺖ ﺑﻴﺶ ﺍﺯ ﺳﻪ ﺳــﺎﻝ ﺍﺯ ﺗﺎﺭﻳﺦ ﺗﻮﻟﻴﺪﺷﺎﻥ‪ ،‬ﻣﻮﻓﻖ ﺑﻪ‬ ‫ﺩﺭﻳﺎﻓﺖ ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﻧﺸﺪﻩﺍﻧﺪ‪.‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻓﻴﻠﻤﻨﺎﻣﻪ »ﻣﻘﻠﺪ ﺷــﻴﻄﺎﻥ« ﺣﻤﻴﺪ ﻧﻌﻤﺖﺍﷲ ﺍﺳﺖ ﻭ‬ ‫ﻫﻤﻴﻦ ﻣﺴﺎﻟﻪ‪ ،‬ﻓﻴﻠﻢ ﺍﻓﺸﻴﻦ ﺻﺎﺩﻗﻲ ﺭﺍ ﻛﻨﺠﻜﺎﻭﻱﺑﺮﺍﻧﮕﻴﺰ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ ﺍﻳﻦ ﻓﻴﻠﻢ ﻓﻀﺎﻱ ﺗﻴﺮﻩ ﻭ ﺗﺎﺭﻱ ﺩﺍﺭﺩ ﻭ ﺑﺎ ﺍﻳﻨﻜﻪ ﭘﻠﻴﺴﻲ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺣﺘﻲ ﻳﻚ ﭘﻠﻴﺲ ﻫﻢ ﺩﺭ ﺁﻥ ﺩﻳﺪﻩ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺍﻓﺸﻴﻦ ﺻﺎﺩﻗﻲ‬ ‫ﻃﻲ ﺍﻳﻦ ﺳــﺎﻝﻫﺎ ﺑﻪ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻤﺶ ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﻫﻤﭽﻨﺎﻥ‬ ‫ﻣﻲﮔﻮﻳﺪ ﻛﻪ »ﻣﻘﻠﺪ ﺷﻴﻄﺎﻥ« ﺑﻪ ﺯﻭﺩﻱ ﺍﻛﺮﺍﻥ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺑﺮﺧﻮﺭﺩ ﺧﻴﻠﻰ ﻧﺰﺩﻳﻚ ‪ /‬ﺍﺳﻤﺎﻋﻴﻞ ﻣﻴﻬﻦﺩﻭﺳﺖ‬ ‫»ﺑﺮﺧﻮﺭﺩ ﺧﻴﻠﻲ ﻧﺰﺩﻳﻚ« ﺳــﺎﻝ ﮔﺬﺷﺘﻪ ﻫﻢ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﺍﻣﺎ ﺑﻪ ﻋﻠﺖ‬ ‫ﺁﻣﺎﺩﻩ ﻧﺸــﺪﻥ ﺑﻪ ﺟﺸــﻨﻮﺍﺭﻩ ﻧﺮﺳــﻴﺪ‪ .‬ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻣﻴﻬﻦ ﺩﻭﺳﺖ ﻗﺮﺍﺭ ﺑﻮﺩ ﺍﻣﺴﺎﻝ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ ﺷﻮﺩ ﺍﻣﺎ ﺍﻛﺮﺍﻧﺶ ﺁﻧﻘﺪﺭ‬ ‫ﺑﻪ ﺗﻌﻮﻳﻖ ﺍﻓﺘﺎﺩ ﻛﻪ ﺯﻣﺎﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺷﺪ ﻭ ﺍﻭ ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﺑﺮﺍﻱ ﺑﻬﺘﺮ ﺩﻳﺪﻩ‬ ‫ﺷﺪﻥ ﻓﻴﻠﻤﺶ ﺁﻥ ﺭﺍ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺪﻫﺪ‪» .‬ﺑﺮﺧﻮﺭﺩ ﺧﻴﻠﻲ ﻧﺰﺩﻳﻚ«‬ ‫ﺩﺍﺳﺘﺎﻥ ﻣﺨﺎﻃﺐﭘﺴــﻨﺪﻱ ﺩﺍﺭﺩ ﻭ ﺩﺭﺑﺎﺭﻩ ﺭﻭﺍﺑﻂ ﻣﻴﺎﻥ ﭼﻨﺪ ﺁﺩﻡ ﺩﺭ‬ ‫ﺯﻧﺪﮔﻲ ﻣﺪﺭﻥ ﺍﻣﺮﻭﺯﻱ ﺍﺳﺖ‪ .‬ﻳﻚ ﺍﺗﻔﺎﻕ ﺑﺎﻋﺚ ﻣﺮگ ﻳﻚ ﺯﻥ ﺷﺪﻩ ﻭ‬ ‫ﺍﻃﺮﺍﻓﻴﺎﻥ ﻃﻲ ﺑﺎﺯﺟﻮﻳﻲﻫﺎﻱ ﺑﺎﺯﭘﺮﺱ‪ ،‬ﻣﺎﺟﺮﺍ ﻭ ﺭﺍﺑﻄﻪ ﻣﻘﺘﻮﻝ ﺑﺎ ﺧﻮﺩ ﺭﺍ‬ ‫ﺑﺎﺯﮔﻮ ﻣﻲﻛﻨﻨﺪ ﻭ ﺍﻳﻨﮕﻮﻧﻪ ﻫﺮ ﺑﺎﺭ ﺑﺨﺸﻲ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺑﺮﻣﻼ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﺍﺭﻧﺴﺖ ‪ /‬ﻣﺤﺴﻦ ﺩﺍﻣﺎﺩﻱ‬ ‫ﺩﺭ ﺷــﺮﺍﻳﻄﻲ ﻛــﻪ ﺍﻭﻟﻴــﻦ ﻓﻴﻠﻢ ﺳــﻴﻨﻤﺎﻳﻲ ﻣﺤﺴــﻦ ﺩﺍﻣﺎﺩﻱ‬ ‫»ﻳﻚ ﺍﺷــﺘﺒﺎﻩ ﻛﻮﭼﻮﻟﻮ« ﭘﺲ ﺍﺯ ﮔﺬﺷــﺖ ﺑﻴﺶ ﺍﺯ ﻳﻜﺴﺎﻝ ﻭﺿﻌﻴﺖ‬ ‫ﻧﺎﻣﺸــﺨﺼﻲ ﺑﻪ ﻟﺤﺎﻅ ﻧﻤﺎﻳﺶ ﺩﺍﺭﺩ‪ ،‬ﺍﻭ ﺩﻭﻣﻴﻦ ﻓﻴﻠــﻢ ﺑﻠﻨﺪ ﺭﺍ ﺑﺮﺍﻱ‬ ‫ﺣﻀﻮﺭ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺁﻣﺎﺩﻩ ﻛﺮﺩﻩ ﺍﺳــﺖ‪» .‬ﻳﻚﺍﺷــﺘﺒﺎﻩ ﻛﻮﭼﻮﻟﻮ«‬ ‫ﻳﻚ ﻓﻴﻠﻢ ﻛﻤﺪﻱ ﻋﻮﺍﻣﺎﻧﻪ ﺑﺎ ﺣﻀﻮﺭ ﺍﻣﻴﻦ ﺣﻴﺎﻳﻲ ﻭ ﺷــﺮﻳﻔﻲﻧﻴﺎ ﺑﺮﺍﻱ‬ ‫ﺩﺳﺘﻴﺎﺑﻲ ﺑﻪ ﮔﻴﺸﻪ ﺑﻮﺩ ﺍﻣﺎ ﺩﻭﻣﻴﻦ ﻓﻴﻠﻢ ﺩﺍﻣﺎﺩﻱ ﻣﻀﻤﻮﻧﻲ ﺧﺎﺹﺗﺮ‬ ‫ﻭ ﺷﺨﺼﻲ ﺩﺍﺭﺩ‪» .‬ﺧﺎﻧﻮﺍﺩﻩ ﺍﺭﻧﺴﺖ« ﺍﺯ ﺁﻥ ﺩﺳﺘﻪ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻪ ﻫﺪﻑ ﻫﻮﻳﺖﺷﻨﺎﺳﻲ ﻭ ﺷﻨﺎﺧﺖ ﺍﺻﻞ ﺧﻮﻳﺸﺘﻦ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﻧﺪ‬ ‫ﻭ ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﻋﺎﻡ ﺩﺭ ﺩﺭﺟﻪ ﺩﻭﻡ ﺍﻫﻤﻴﺖ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪.‬‬ ‫ﺳﻔﺮ ﻣﺮگ‪/‬ﺣﺴﻦ ﺁﻗﺎﻛﺮﻳﻤﻲ‬ ‫ﺣﺴــﻦ ﺁﻗﺎﻛﺮﻳﻤﻲ ﺗﺎ ﭘﻴــﺶ ﺍﺯ ﺍﻳــﻦ ﺑﻪﻋﻨــﻮﺍﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻭ‬ ‫ﻣﺪﻳﺮﺗﻮﻟﻴﺪ ﺩﺭ ﺳــﻴﻨﻤﺎ ﻓﻌﺎﻟﻴﺖ ﺩﺍﺷﺘﻪ ﻭ ﺍﻟﺒﺘﻪ ﻳﻜﻲ‪ ،‬ﺩﻭ ﺗﻠﻪﻓﻴﻠﻢ ﻫﻢ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﺮﺩﻩ ﺍﺳﺖ‪» .‬ﺳــﻔﺮ ﻣﺮگ« ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺍﻭﺳﺖ ﻛﻪ‬ ‫ﺍﻭﺍﻳﻞ ﺍﻣﺴﺎﻝ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺭﻓﺖ‪» .‬ﺳﻔﺮ ﻣﺮگ« ﻛﻪ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺩﺭ‬ ‫ﺑﺎﻍ ﻗﺮﻣﺰ‬ ‫ﺩﻣﻮﻛﺮﺍﺳﻰ ﺗﻮﻯ ﺭﻭﺯ ﺭﻭﺷﻦ‬ ‫ﭼﺮﺍﻍ ﻗﺮﻣﺰ‬ ‫ﺧﺎﻃﺮﻩ‬ ‫ﺩﻳﮕﺮﻱ‬ ‫ﺳﺎﺧﺖ ﺁﻥ ﺑﻪ ژﺍﻧﺮ ﻭﺣﺸﺖ ﻫﻢ ﻧﻴﻢﻧﮕﺎﻫﻲ ﺩﺍﺷﺘﻪ‪ ،‬ﻓﻴﻠﻤﻲ ﻛﻢﺑﺎﺯﻳﮕﺮ‬ ‫ﺍﺳﺖ ﻛﻪ ﻓﻘﻂ ﺑﺎ ﺳﻪ ﺷــﺨﺼﻴﺖ ﺟﻠﻮ ﻣﻲﺭﻭﺩ‪ .‬ﻋﻤﺪﻩ ﻣﺎﺟﺮﺍ ﺩﺭ ﺷﺐ‬ ‫ﻭ ﺩﺭ ﻳــﻚ ﺍﺗﻮﻣﺒﻴﻞ ﻣﻲﮔﺬﺭﺩ ﻭ ﻓﻴﻠﻤﻲ ﺩﺷــﻮﺍﺭ ﺑــﻪ ﻟﺤﺎﻅ ﺩﻛﻮﭘﺎژ ﻭ‬ ‫ﻓﻀﺎﺳﺎﺯﻱ ﺍﺳﺖ‪.‬‬ ‫ﻧﺨﻮﺩﻯ‪ /‬ﺟﻼﻝ ﻓﺎﻃﻤﻰ‬ ‫»ﻧﺨﻮﺩﻱ« ﺑﻪﻋﻨﻮﺍﻥ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺳﻴﻨﻤﺎﻳﻲ ﺟﻼﻝ ﻓﺎﻃﻤﻲ ﺍﺯ‬ ‫ﺟﻤﻠﻪ ﺁﺛﺎﺭ ﺣﻤﺎﻳﺘﻲ ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ ﺑﺮﺍﻱ ﺣﻀﻮﺭ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻛﻮﺩﻙ ﺍﻣﺴﺎﻝ ﻭ ﻧﻤﺎﻳﺶ ﺩﺭ ﻫﻤﺪﺍﻥ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﺩﺭ ﻣﺪﺕ ﺯﻣﺎﻥ‬ ‫ﻛﻮﺗﺎﻫﻲ ﻭ ﺍﻟﺒﺘﻪ ﺑﺎ ﺣﻀﻮﺭ ﭼﻬﺮﻩﻫﺎﻱ ﺷﻨﺎﺧﺘﻪﺷﺪﻩﺍﻱ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ‬ ‫ﺭﻓﺖ‪ ،‬ﺗﺮﻛﻴﺒﻲ ﺍﺯ ﻛﺎﺭ ﺭﺋﺎﻝ ﻭ ﻋﺮﻭﺳﻜﻲ ﺍﺳﺖ ﻛﻪ ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳﮋﻩ ﻫﻢ‬ ‫ﺩﺭ ﺁﻥ ﻧﻘﺶ ﻣﻮﺛﺮﻱ ﺩﺍﺭﺩ‪ .‬ﺁﻧﻬﺎﻳﻲ ﻛــﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﻫﻤﺪﺍﻥ ﺩﻳﺪﻩﺍﻧﺪ‪،‬‬ ‫»ﻧﺨﻮﺩﻱ« ﺭﺍ ﻓﻴﻠﻢ ﺳﺮﮔﺮﻡﻛﻨﻨﺪﻩ ﻭ ﺧﻮﺵﺳﺎﺧﺘﻲ ﺑﺮﺍﻱ ﻛﻮﺩﻛﺎﻥ ﻭ‬ ‫ﺍﻟﺒﺘﻪ ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﻣﻲﺩﺍﻧﻨﺪ‪.‬‬ ‫ﺑﺪﺭﻭﺩ ﺑﻐﺪﺍﺩ ‪ /‬ﻣﻬﺪﻱ ﻧﺎﺩﺭﻱ‬ ‫ﻣﻬﺪﻱ ﻧﺎﺩﺭﻱ ﻛﻪ ﺁﺩﻡ ﺷﻨﺎﺧﺘﻪﺷــﺪﻩﺍﻱ ﺩﺭ ﺣﻴﻄﻪ ﻓﻴﻠﻢ ﻛﻮﺗﺎﻩ ﻭ‬ ‫ﻣﺴﺘﻨﺪ ﺍﺳــﺖ‪ ،‬ﻗﺮﺍﺭ ﺑﻮﺩ ﻓﻴﻠﻢ »ﻣﺮﺍ ﺑﺒﺨﺶ ﻣﺎﺩﺭ« ﺭﺍ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺑﺎ‬ ‫ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮﺍﻧﻲ ﻣﺎﻧﻨﺪ ﺣﻤﻴﺪ ﻓﺮﺥﻧــﮋﺍﺩ‪ ،‬ﻓﺮﺍﻣﺮﺯ ﻗﺮﻳﺒﻴﺎﻥ ﻭ ﭘﺎﻧﺘﻪﺁ‬ ‫ﺑﻬﺮﺍﻡ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺒﺮﺩ ﺍﻣﺎ ﺷــﺮﺍﻳﻂ ﺳﺎﺧﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﻬﻴﺎ ﻧﺸﺪ‬ ‫ﺗﺎ ﺍﻳﻨﻜﻪ ﺍﻭ ﺍﻣﺴــﺎﻝ ﺑﺎ ﺩﺍﺩﻥ ﺗﻐﻴﻴﺮﺍﺗــﻲ ﺩﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺁﻥ ﺭﺍ ﻛﻠﻴﺪ ﺯﺩ‪.‬‬ ‫ﻓﻴﻠﻢ ﺍﻭ ﭘﺎﻳﻴﺰ ﺍﻣﺴــﺎﻝ ﺑﺎﺣﻀﻮﺭ ﭼﻨﺪ ﺑﺎﺯﻳﮕﺮ ﺷــﻨﺎﺧﺘﻪ ﺷــﺪﻩ ﻣﺎﻧﻨﺪ‬ ‫ﻣﺼﻄﻔﻲ ﺯﻣﺎﻧﻲ ﻭ ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ ﺑﻪ ﻣﺮﺣﻠﻪ ﺗﻮﻟﻴﺪ ﺭﺳﻴﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺑﻪ »ﺑــﺪﺭﻭﺩ ﻋﺮﺍﻕ« ﺗﻐﻴﻴﺮ ﻧــﺎﻡ ﺩﺍﺩ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﮕﺎﻫﻲ‬ ‫ﻣﺘﻔﺎﻭﺕ ﺑﻪ ﺣﻀﻮﺭ ﺍﺭﺗﺶ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﻋﺮﺍﻕ ﻭ ﺗﺎﺛﻴﺮﺍﺕ ﺁﻥ ﺭﻭﻱ ﺟﺎﻣﻌﻪ‬ ‫ﻛﻨﻮﻧﻲ ﻋﺮﺍﻕ ﭘﺲ ﺍﺯ ﺳﺮﻧﮕﻮﻧﻲ ﺻﺪﺍﻡ ﺩﺍﺭﺩ‪.‬‬ ‫ﭘﺸﺖ ﺩﺭ ﺧﺒﺮﻯ ﻧﻴﺴﺖ ‪ /‬ﺷﺒﻨﻢ ﻋﺮﻓﻰﻧﮋﺍﺩ‬ ‫ﺣﻀﻮﺭ ﻳﻜﺒﺎﺭﻩ ﺗﻠﻪﻓﻴﻠﻢ »ﭘﺸــﺖ ﺩﺭ ﺧﺒﺮﻱ ﻧﻴﺴــﺖ« ﺩﺭ ﺟﻤﻊ‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﻓﻴﻠﻢﻫﺎﻱ ﺳﻴﻨﻤﺎﻳﻲ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﻫﻢ ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﻋﺠﺎﻳﺐ ﺟﺸــﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻢ ﺟﺰﻭ ﺁﺛﺎﺭﻱ ﺍﺳﺖ ﻛﻪ‬ ‫ﻳﻚ ﻫﻔﺘﻪ ﺑﻌﺪ ﺍﺯ ﺍﻋﻼﻡ ﺭﺳﻤﻲ ﺍﺳﺎﻣﻲ ﻓﻴﻠﻢﻫﺎ‪ ،‬ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺿﺎﻓﻪ ﺷﺪ‬ ‫ﻭ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺨﺸﻲ ﺑﺎ ﻧﺎﻡ ﻭﻳﺪﺋﻮﻳﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﻭﻟﻴﻦ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺒﻨﻢ ﻋﺮﻓﻲﻧﮋﺍﺩ ﺑﻪ ﺑﺨﺶ ﻓﻴﻠﻢﻫﺎﻱ ﺳﻴﻨﻤﺎﻳﻲ ﺭﺍﻩﻳﺎﻓﺖ‪ .‬ﺑﺎﻳﺪ‬ ‫ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺗﻤﺎﺷــﺎﻱ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻗﻀﺎﻭﺕ ﻧﺸﺴﺖ ﻛﻪ ﭼﻪ‬ ‫ﻋﻮﺍﻣﻠﻲ ﺑﺎﻋﺚ ﺷﺪﻩ ﺗﺎ ﻳﻚ ﺗﻠﻪ ﺑﻪ ﺑﺨﺶ ﺳﻴﻨﻤﺎﻳﻲ ﺭﺍﻩ ﻳﺎﺑﺪ‪.‬‬ ‫ﺧﺎﻟﻪ ﺳﻮﺳﻜﻪ ‪ /‬ﻧﺎﺩﺭﻩ ﺗﺮﻛﻤﺎﻧﻰ‬ ‫»ﺧﺎﻟﻪ ﺳﻮﺳﻜﻪ« ﻫﻢ ﻳﻜﻲ ﺍﺯ ﺁﺛﺎﺭ ﺣﻤﺎﻳﺘﻲ ﻓﺎﺭﺍﺑﻲ ﺑﺮﺍﻱ ﺷﺮﻛﺖ ﺩﺭ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻫﻤﺪﺍﻥ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﻣﺨﺼﻮﺹ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ‬ ‫ﺍﺳﺖ‪ ،‬ﺩﺭ ﻟﻴﺴﺖ ﺍﺑﺘﺪﺍﻳﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩ ﺣﻀﻮﺭ ﻧﺪﺍﺷﺖ ﻭ ﺑﻌﺪ ﺍﺯ‬ ‫ﻳﻚ ﻫﻔﺘﻪ ﺑﻪ ﺍﻳﻦ ﺑﺨﺶ ﺍﻓﺰﻭﺩﻩ ﺷــﺪ‪ .‬ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ ﺍﻣﺴﺎﻝ ﻳﻜﻲ ﺍﺯ‬ ‫ﻋﻮﺍﻣﻞ ﺍﺻﻠﻲ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻦ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﻣﺸﺎﺭﻛﺖ ﻭ ﺣﻤﺎﻳﺖ ﻣﺎﻟﻲ‬ ‫ﻣﺮﻛﺰ ﮔﺴــﺘﺮﺵ ﺳﻴﻨﻤﺎﻯ ﻣﺴــﺘﻨﺪ ﻭ ﺗﺠﺮﺑﻰ ﺑﻮﺩﻩ ﻭ ﺍﻳﻦ ﻣﺮﻛﺰ ﺍﺯ ﻫﺮ‬ ‫ﻓﻴﻠﻤﻲ ﻛﻪ ﺣﻤﺎﻳﺖ ﻛﺮﺩﻩ‪ ،‬ﺣﺪﺍﻗﻞ ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﺣﻀﻮﺭ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺣﻮﺍﻟﻰ ﺍﺗﻮﺑﺎﻥ ‪ /‬ﺳﻴﺎﻭﺵ ﺍﺳﻌﺪﻱ‬ ‫ﺳﻴﺎﻭﺵ ﺍﺳــﻌﺪﻱ‪ ،‬ﺩﺍﻣﺎﺩ ﻣﻬﺪﻱ ﻫﺎﺷﻤﻲ ﻭ ﮔﻼﺏ ﺁﺩﻳﻨﻪ ﺍﺳﺖ ﻭ‬ ‫»ﺣﻮﺍﻟﻲ ﺍﺗﻮﺑﺎﻥ« ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺍﻭ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﻓﻴﻠﻤﺶ‬ ‫ﺭﺍ ﺳــﺎﻝ ﮔﺬﺷــﺘﻪ ﻛﻠﻴﺪ ﺯﺩ ﺍﻣﺎ ﺑﻪ ﻋﻠﺖ ﻣﺸــﻜﻼﺕ ﺳــﺮﻣﺎﻳﻪﮔﺬﺍﺭ‪،‬‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻣﺘﻮﻗﻒ ﺷــﺪ ﺗﺎ ﺍﻳﻨﻜﻪ ﺍﻭ ﺍﻣﺴــﺎﻝ ﺑــﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ‬ ‫ﻏﻼﻣﺮﺿﺎ ﻣﻮﺳﻮﻱ ﺁﻥ ﺭﺍ ﺗﻜﻤﻴﻞ ﻛﺮﺩ‪» .‬ﺣﻮﺍﻟﻲ ﺍﺗﻮﺑﺎﻥ« ﺍﺑﺘﺪﺍ ﺩﺭ ﻫﻴﭻ‬ ‫ﺑﺨﺶ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺣﻀﻮﺭ ﻧﺪﺍﺷﺖ ﻭ ﭼﻨﺪﺭﻭﺯ ﭘﺲ ﺍﺯ ﺍﻋﻼﻡ ﺍﺳﺎﻣﻲ‪،‬‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺍﺿﺎﻓﻪ ﺷــﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ‬ ‫ﺍﻭﻟﻴﻦ ﺳﺎﺧﺘﻪ ﺍﺳﻌﺪﻱ ﻓﻴﻠﻤﻲ ﻗﺎﺑﻞ ﺗﺎﻣﻞ ﺍﺯ ﺁﺏﺩﺭﺁﻣﺪﻩ ﻛﻪ ﺷﺎﻳﺴﺘﻪ‬ ‫ﺣﻀﻮﺭ ﺩﺭ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﺍﺻﻠﻲ ﻫﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪ ﻭ‬ ‫ﻧﺘﻴﺠﻪ ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﺮﺩ‪.‬‬ ‫ﺑﺎﻍ ﻗﺮﻣﺰ ‪ /‬ﺍﻣﻴﺮﺳﻤﻮﺍﺗﻲ‬ ‫ﻧــﺎﻡ ﻓﻴﻠﻢ »ﺑﺎﻍ ﻗﺮﻣﺰ« ﻫﻢ ﻭﻗﺘﻲ ﺍﺳــﺎﻣﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺍﻋﻼﻡ ﺷﺪ‪ ،‬ﺩﺭ ﻫﻴﭻ ﺑﺨﺸــﻲ ﺑﻪﭼﺸﻢ ﻧﻤﻲﺧﻮﺭﺩ ﺗﺎ ﺍﻳﻨﻜﻪ ﺑﻌﺪ ﺍﺯ ﻳﻚ‬ ‫ﻫﻔﺘﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻢ ﺑﻪ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺁﻣﺪ ﺗﺎ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺑﻴﺴــﺖ ﻭ ﻫﺸــﺘﻢ ﺍﺯ ﻟﺤﺎﻅ ﻭﺭﻭﺩ ﻭ ﺧﺮﻭﺝ ﻓﻴﻠﻢﻫﺎ ﺭﻛﻮﺭﺩﺩﺍﺭ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﻣﻴﺮ ﺳــﻤﻮﺍﺗﻲ ﺑﻴﺸــﺘﺮ ﺑﻪﻋﻨــﻮﺍﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻓﻴﻠﻢﻫﺎﻳــﻲ ﻣﺎﻧﻨﺪ‬ ‫»ﻧﻔﺲ ﻋﻤﻴﻖ« ﻭ »ﻛﺎﻓﻪ ﺗﺮﺍﻧﺰﻳﺖ« ﺷﻨﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ ﻭ »ﺑﺎﻍ ﻗﺮﻣﺰ«‬ ‫ﺍﻭﻟﻴﻦ ﺳﺎﺧﺘﻪ ﺑﻠﻨﺪ ﺳﻴﻨﻤﺎﻳﻲ ﺍﻭﺳــﺖ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﺍﺑﺘﺪﺍ‬ ‫»ﺑﺎﺑﺎﻧﻮﺋﻞ« ﻧﺎﻡ ﺩﺍﺷﺖ ﻭ ﺑﻪ ﺍﻳﻦ ﺍﺳﻢ ﺍﺟﺎﺯﻩ ﺳﺎﺧﺖ ﻧﻴﺎﻓﺖ‪ ،‬ﻣﻀﻤﻮﻧﻲ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﺑﺎ ﺗﻪﻣﺎﻳﻪﺍﻱ ﭘﻠﻴﺴــﻲ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﭘﻠﻴﺲ ﻛﻪ ﭼﻨﺪ‬ ‫ﺳﺎﻝ ﭘﻴﺶ ﺑﺮﮔﺰﺍﺭ ﺷﺪ ﭼﻨﺪ ﺟﺎﻳﺰﻩ ﺑﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪37‬‬ ‫‪7‬‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺧﺎﺭﺝ ﺍﺯ ﻣﺴﺎﺑﻘﻪ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﺑﺮﺍﻱ ﺧﺎﻟﻲ ﻧﺒﻮﺩﻥ ﻋﺮﻳﻀﻪ‬ ‫ﺁﺩﻣﻜﺶ ‪ /‬ﺭﺿﺎ ﻛﺮﻳﻤﻰ‬ ‫ﻫﻨﻮﺯ ﻣﺸــﺨﺺ ﻧﻴﺴــﺖ ﻛﻪ ﻓﻴﻠﻢ »ﺁﺩﻣﻜﺶ« ﺭﺿﺎ ﻛﺮﻳﻤﻲ ﺩﺭ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﻣﻲﺁﻳﺪ ﻳﺎ ﺧﻴﺮ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﺣﻀﻮﺭ ﺣﺮﻓﻪﺍﻱﺗﺮﻳﻦ ﻋﻮﺍﻣﻞ ﭘﺸــﺖ ﻭ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺳﺎﺧﺘﻪ ﺷﺪﻩ‬ ‫ﺑﻪﻃﻮﺭﻳﻜﻪ ﻣﺠﻤﻮﻉ ﺳﻴﻤﺮﻍﻫﺎﻱ ﺑﻠﻮﺭﻳﻨﻲ ﻛﻪ ﻋﻮﺍﻣﻞ ﻓﻴﻠﻢ ﻛﺮﻳﻤﻲ‬ ‫ﺍﺯ ﻫﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﮔﺮﻓﺘﻪﺍﻧﺪ ﺑﻴﺶ ﺍﺯ ‪ 15‬ﻣﻮﺭﺩ ﺭﺍ ﺷﺎﻣﻞ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﺯ‬ ‫ﻧﻈﺮ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺷﺎﻳﺴﺘﻪ ﺣﻀﻮﺭ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺷﻨﺎﺧﺘﻪ ﻧﺸﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎﻳﻲ ﻛﻪ »ﺁﺩﻣﻜﺶ« ﺭﺍ ﺩﻳﺪﻩﺍﻧﺪ‪ ،‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﻧﻪ ﺗﻨﻬﺎ ﺷﺎﻳﺴﺘﻪ‬ ‫ﺣﻀﻮﺭ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ‪ ،‬ﻛﻪ ﺣﺘﻲ ﺷﺎﻳﺴﺘﻪ ﻧﺎﻣﺰﺩﻱ ﺩﺭ ﭼﻨﺪ ﺭﺷﺘﻪ‬ ‫ﻫﻢ ﻣﻲﺩﺍﻧﻨﺪ‪ .‬ﺍﻣﺎ ﮔﻮﻳﺎ ﺍﻣﺴــﺎﻝ ﻫﻢ ﻗﺮﺍﺭ ﻧﻴﺴﺖ ﺣﺮﻑ ﻭ ﺣﺪﻳﺚﻫﺎ ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﻋﻤﻠﻜﺮﺩ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺗﻤﺎﻣﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫»ﺁﺩﻣﻜﺶ« ﺩﺭﺑﺎﺭﻩ ﺯﻧﻲ ﺍﺳــﺖ ﻛﻪ ﺑﻪ ﭼﻨﺪ ﻗﺘﻞ ﺍﻋﺘﺮﺍﻑ ﻛﺮﺩﻩ ﺍﻣﺎ‬ ‫ﺩﻛﺘﺮ ﭘﺰﺷــﻜﻲ ﻗﺎﻧﻮﻧﻲ ﺑﻪ ﺣﺮﻑﻫﺎ ﻭ ﺍﻋﺘﺮﺍﻓﺎﺕ ﺍﻭ ﺷﻚ ﺩﺍﺭﺩ ﻭ ﭘﻴﮕﻴﺮ‬ ‫ﭘﺮﻭﻧﺪﻩ ﺍﻳﻦ ﺯﻥ ﻣﻲﺷــﻮﺩ ﺗﺎ ﺣﻘﻴﻘﺖ ﺭﺍ ﻛﺸﻒ ﻛﻨﺪ‪ .‬ﻓﻴﻠﻢ ﻓﻀﺎ ﻭ ﺣﺎﻝ‬ ‫ﻭ ﻫﻮﺍﻳﻲ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺑﺎ ﺳﺎﻳﺮ ﻓﻴﻠﻢﻫﺎﻱ ﺭﺿﺎ ﻛﺮﻳﻤﻲ ﺩﺍﺭﺩ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺍﻭ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﺍﺳــﺖ‪ .‬ﺍﮔﺮ ﺑﻪ ﺗﺮﻳﻠﺮ ﻋﻼﻗﻤﻨﺪ ﻫﺴــﺘﻴﺪ ﻭ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﻓﺎﻗﺪ ﭼﻨﻴﻦ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻣﻲﺩﺍﻧﻴﺪ‪» ،‬ﺁﺩﻣﻜﺶ« ﺭﺍ ﺍﺯ‬ ‫ﺩﺳﺖ ﻧﺪﻫﻴﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﺷﻮﺩ‪.‬‬ ‫ﺷﻜﻼﺕ ﺩﺍﻍ ‪ /‬ﺣﺎﻣﺪ ﻛﻼﻫﺪﺍﺭﻱ‬ ‫ﺁﻥ ﺯﻣﺎﻥ ﻛﻪ ﻋﻠﻴﺮﺿﺎ ﺳﺠﺎﺩﭘﻮﺭ ﺩﺭ ﻣﻘﺎﻡ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺩﺭﺧﻮﺍﺳﺖ‬ ‫ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ »ﺷﻜﻼﺕ ﺩﺍﻍ« ﺭﺍ ﺑﻪ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ ﻭ ﺍﺭﺯﺷﻴﺎﺑﻲ‬ ‫ﻣﻌﺎﻭﻧﺖ ﺳــﻴﻨﻤﺎﻳﻲ )ﻛﻪ ﺧــﻮﺩ ﺍﻭ ﭼﻨﺪ ﻣﺎﻩ ﺑﻌﺪ ﺭﺋﻴﺲ ﺁﻧﺠﺎ ﺷــﺪ(‬ ‫ﺍﺭﺍﺋﻪ ﻛﺮﺩ‪ ،‬ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺗﺼﻮﺭ ﻧﻤﻲﻛﺮﺩ ﺍﻳﻦ ﻓﻴﻠﻢ ﺁﻧﻘﺪﺭ ﭘﺮﺣﺎﺷــﻴﻪ‬ ‫ﺷــﻮﺩ ﻛﻪ ﺍﻭ ﺭﺍ ﻣﺠﺒﻮﺭ ﻛﻨﻨﺪ ﻓﻴﻠﻢ ﺭﺍ ﺍﺯ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺑﻴﺮﻭﻥ ﺑﻜﺸﺪ‪.‬‬ ‫»ﺷﻜﻼﺕ ﺩﺍﻍ« ﺁﻧﮕﻮﻧﻪ ﻛﻪ ﺳﺠﺎﺩﭘﻮﺭ ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﭘﻴﺶﺗﻮﻟﻴﺪ ﻋﻨﻮﺍﻥ‬ ‫ﻣﻲﻛﺮﺩ‪ ،‬ﻳﻚ ﻓﻴﻠﻢ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺎ ﭘﺲﺯﻣﻴﻨﻪﺍﻱ ﺳﻴﺎﺳﻲ ﺩﺭﺑﺎﺭﻩ ﺭﻭﺯﻫﺎﻱ‬ ‫ﭘﻴﺶ ﺍﺯ ﺍﻧﺘﺨﺎﺏ ﺑﻮﺩ‪ .‬ﻗﺮﺍﺭ ﺑﻮﺩ ﺁﺩﻡﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻭﺍﺭﺩ ﻛﺎﻓﻲﺷﺎپ ﻗﺼﻪ‬ ‫ﺷﻮﻧﺪ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﺩﺭﺑﺎﺭﻩ ﻣﺴﺎﺋﻞ ﺭﻭﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺑﺤﺚ ﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ‬ ‫ﮔﻮﻳﺎ ﺩﺭ ﺑﺎﺯﻧﻮﻳﺴﻲﻫﺎﻱ ﻣﺘﻌﺪﺩ‪ ،‬ﻣﺴﺎﺋﻞ ﺳﻴﺎﺳﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﻪ ﺗﺪﺭﻳﺞ‬ ‫ﻛﻤﺮﻧﮓ ﺷــﺪﻩ ﺗﺎ ﺟﺎﻳﻲ ﻛﻪ ﺩﻳﮕﺮ ﭼﻴﺰﻱ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻭ ﺍﻳﻦ ﻣﺎﺟﺮﺍﻫﺎ‬ ‫ﺑﺎﻗﻲ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺣﺎﻣﺪ ﻛﻼﻫﺪﺍﺭﻱ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺗﻨﻬﺎ ﺳﺎﺑﻘﻪ ﺳﺎﺧﺖ‬ ‫ﻳﻚ ﺗﻠﻪﻓﻴﻠــﻢ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺎﺯﻳﮕﺮ ﺩﺭ ﺳــﺮﻳﺎﻝﻫﺎ ﻭ‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﻣﺘﻌﺪﺩﻱ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﻴﮕﺎﻧﮕﺎﻥ ‪ /‬ﻋﺒﺎﺱ ﺭﺍﻓﻌﻰ‬ ‫ﻋﺒﺎﺱ ﺭﺍﻓﻌﻲ ﺩﺭ ﺳــﺎﻝﻫﺎﻱ ﺍﺧﻴﺮ ﻳﻜﻲ ﺍﺯ ﭘﺎﻫﺎﻱ ﺛﺎﺑﺖ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠــﺮ ﺑﻮﺩﻩ ﻭ ﺗﻘﺮﻳﺒﺎ ﻫﺮ ﺳــﺎﻝ ﻳﻚ ﻓﻴﻠــﻢ ﺭﺍ ﺩﺭ ﺑﺨﺶﻫﺎﻱ ﻣﺨﺘﻠﻒ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﺍﺯ ﺑﺨﺶ ﻭﻳﺪﺋﻮﻳــﻲ ﮔﺮﻓﺘﻪ ﺗﺎ ﻣﺴــﺎﺑﻘﻪ ﻭ ﻣﻬﻤﺎﻥ ﻭ ﻏﻴﺮﻩ‬ ‫ﺩﺍﺷﺘﻪ ﺍﺳــﺖ‪ .‬ﺍﻭ ﺍﻣﺴﺎﻝ ﻫﻢ ﺑﺎ ﺩﻭ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺣﻀﻮﺭ ﺩﺍﺭﺩ‪.‬‬ ‫ﻳﻜﻲ »ﻛﻴﻤﻴﺎ ﻭ ﺧﺎﻙ« ﻛﻪ ﺩﺭ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﺍﺳــﺖ ﻭ ﺩﻳﮕﺮﻱ ﻫﻢ‬ ‫ﻓﻴﻠﻢ »ﺑﻴﮕﺎﻧﮕﺎﻥ« ﺩﺭ ﺑﺨﺶ ﺧﺎﺭﺝ ﻣﺴﺎﺑﻘﻪ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﺩﻳﺠﻴﺘﺎﻝ‬ ‫ﺳﺎﺧﺘﻪ ﺍﺳــﺖ‪» .‬ﺑﻴﮕﺎﻧﮕﺎﻥ« ﻫﻤﺎﻧﻨﺪ ﻳﻜﻲ‪ ،‬ﺩﻭ ﻓﻴﻠﻢ ﺩﻳﮕﺮ ﺭﺍﻓﻌﻲ ﻛﻪ‬ ‫ﻛﺸﻮﺭﻫﺎﻱ ﻋﺮﺑﻲ‪ ،‬ﺑﺎ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻋﺮﺏ ﻭ ﺑﻪ ﺯﺑﺎﻥ ﻋﺮﺑﻲ ﺳﺎﺧﺘﻪ ﺷﺪﻧﺪ‪،‬‬ ‫ﻣﻮﺿﻮﻋﻲ ﺩﺭﺑﺎﺭﻩ ﻣﻘﺎﻭﻣﺖ ﻣﺴﻠﻤﺎﻧﺎﻥ ﺩﺭ ﺑﺮﺍﺑﺮ ﺭژﻳﻢ ﺍﺳﺮﺍﺋﻴﻞ ﺩﺍﺭﺩ ﻭ‬ ‫ﻳﻚ ﻓﻴﻠﻢ ﻛﺎﻣﻼ ﺳﻔﺎﺭﺷﻲ ﺍﺳﺖ‪.‬‬ ‫ﺯﺧﻢ ﺷﺎﻧﻪ ﺣﻮﺍ ‪ /‬ﺣﺴﻴﻦ ﻗﻨﺎﻋﺖ‬ ‫ﺣﺴﻴﻦ ﻗﻨﺎﻋﺖ ﭘﺲ ﺍﺯ ﺳــﺎﺧﺖ ﺩﻭ ﻓﻴﻠﻢ »ﻣﻦ ﻭ ﻧﮕﻴﻦ ﺩﺍﺕﻛﺎﻡ«‬ ‫ﻭ »ﻣﺎﺟﺮﺍﻫﺎﻱ ﺍﻳﻨﺘﺮﻧﺘــﻲ« ﺩﺭ ژﺍﻧﺮ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ‪ ،‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ‬ ‫ﺳﻮﻣﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪﺵ ﺭﺍ ﺩﺭ ژﺍﻧﺮ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﻭ ﺑﺮﺍﺳﺎﺱ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ‬ ‫ﻛﻪ ﺳــﺎﻝﻫﺎ ﭘﻴﺶ ﺑﻪ ﻧﮕﺎﺭﺵ ﺩﺭﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﺟﻠــﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺒﺮﺩ‪ .‬ﺍﻭ‬ ‫ﺍﺑﺘﺪﺍ ﺳﺎﻝ ﮔﺬﺷﺘﻪ »ﺯﺧﻢ ﺷﺎﻧﻪ ﺣﻮﺍ« ﺭﺍ ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ ﺍﻛﺒﺮ ﻧﺒﻮﻱ‬ ‫ﻛﻠﻴﺪ ﺯﺩ ﺍﻣﺎ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻲ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺑﻪ ﻋﻠﺖ ﺍﺧﺘﻼﻑ ﺑﺎ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪،‬‬ ‫ﻛﺎﺭ ﻣﺘﻮﻗﻒ ﺷــﺪ‪ .‬ﺍﻳــﻦ ﺗﻮﻗﻒ ﺣﺪﻭﺩ ﻳﻚ ﺳــﺎﻝ ﺑﻪ ﻃــﻮﻝ ﺍﻧﺠﺎﻣﻴﺪ‬ ‫ﻭ ﺑﻌــﺪ ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﻗﻨﺎﻋﺖ ﺑــﺎ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ ﺣــﻮﺯﻩ ﻫﻨﺮﻱ ﺗﻮﻟﻴﺪ‬ ‫»ﺯﺧﻢ ﺷﺎﻧﻪ ﺣﻮﺍ« ﺭﺍ ﻣﺠﺪﺩﺍ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺖ ﻭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﺍﺯ ﺍﺑﺘﺪﺍ ﺁﻏﺎﺯ‬ ‫ﻛﺮﺩ‪» .‬ﺯﺧﻢ ﺷﺎﻧﻪ ﺣﻮﺍ« ﺩﺍﺳﺘﺎﻥ ﻟﻄﻴﻔﻲ ﺩﺭﺑﺎﺭﻩ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﺩﺍﺭﺩ ﻭ ﻗﺮﺍﺭ‬ ‫ﻧﮕﺮﻓﺘﻨﺶ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺗﻌﺠﺐ ﻛﺎﺭﮔﺮﺩﺍﻧﺶ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺖ‪ .‬ﺑﺎﻳﺪ‬ ‫ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺗﻤﺎﺷﺎﻱ ﻓﻴﻠﻢ‪ ،‬ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﻗﻀﺎﻭﺕ ﻛﺮﺩ‪.‬‬ ‫ﺻﺪﺳﺎﻝ ﺑﻪ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ‪ /‬ﺳﺎﻣﺎﻥ ﻣﻘﺪﻡ‬ ‫ﺳﺎﻣﺎﻥ ﻣﻘﺪﻡ ﺩﺭ ﺳــﺎﻝ ‪ 86‬ﺑﺮ ﺍﺳــﺎﺱ ﻃﺮﺣﻰ ﺟﻨﺠﺎﻝﺑﺮﺍﻧﮕﻴﺰ‬ ‫ﺳﺎﺧﺖ ﻓﻴﻠﻤﻰ ﺑﻪ ﻧﺎﻡ »ﺻﺪ ﺳﺎﻝ ﺑﻪ ﺍﻳﻦ ﺳﺎﻝﻫﺎ« ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ ﻛﻪ ﻗﺮﺍﺭ‬ ‫ﺑﻮﺩ ﺑﻪ ﻧﻮﻋﻰ ﺭﻭﺍﻳﺘﮕﺮ ﺗﺎﺭﻳﺦ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻥ ﺑﺎﺷﺪ‪ .‬ﻣﻘﺪﻡ ﻛﻪ ﺩﺭ ﭼﻨﺪ ﻓﻴﻠﻢ‬ ‫ﻗﺒﻠﻲﺍﺵ ﻣﺎﻧﻨﺪ »ﭘﺎﺭﺗﻲ« ﻭ »ﻣﻜﺲ« ﻧﺸــﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ ﻋﻼﻗﻪ ﺯﻳﺎﺩﻯ‬ ‫ﺑﻪ ﺳﺎﺧﺖ ﺁﺛﺎﺭﻯ ﺑﺮ ﻣﺒﻨﺎﻯ ﺗﺤﻮﻻﺕ ﺭﻭﺯ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺟﺎﻣﻌﻪ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ‬ ‫ﺑﺎﺭ ﻫﻢ ﺑﻪ ﺳﺮﺍﻍ ﭼﻨﻴﻦ ﻣﻮﺿﻮﻋﻲ ﺭﻓﺖ‪» .‬ﺻﺪ ﺳﺎﻝ ﺑﻪ ﺍﻳﻦ ﺳﺎﻝﻫﺎ«‬ ‫ﺭﻭﺍﻳﺘﮕﺮ ﺯﻧﺪﮔﻰ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﺍﻳﺮﺍﻥ ﺩﺭ ﻳﻚ ﺩﻭﺭﻩ ﺯﻣﺎﻧﻰ ‪ 30‬ﺳﺎﻟﻪ ﺩﺭ ﺳﻪ‬ ‫ﻣﻘﻄﻊ ﻣﺨﺘﻠﻒ ﺳﻨﻰ ﺍﺳــﺖ ﻛﻪ ﻭﻗﺎﻳﻊ ﺳﻴﺎﺳﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﻣﻌﺎﺻﺮ‬ ‫ﻣﺎﻧﻨﺪ ﺍﻧﻘﻼﺏ ﻭ ﻭﻗﺎﻳﻊ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺗﺎﺛﻴﺮ ﺯﻳﺎﺩﻯ ﺑﺮ ﺯﻧﺪﮔﻰﺍﺵ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫ﺗﻮﻟﻴــﺪ ﻓﻴﻠﻢ ﺑــﺎ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻫﻤﻴﺸــﮕﻲ ﻓﻴﻠﻢﻫﺎﻱ ﻣﻘــﺪﻡ ﻳﻌﻨﻲ‬ ‫ﻫﺪﺍﻳﺖﻓﻴﻠﻢﻭﺑﺎﺣﻀﻮﺭﺟﻤﻌﻰﺍﺯﻧﺎﻡﻫﺎﻯﺷﻨﺎﺧﺘﻪﺷﺪﻩﺳﻴﻨﻤﺎﻯﺍﻳﺮﺍﻥ‬ ‫ﺩﺭ ﺭﺷﺘﻪﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ ﻳﻚ ﺗﻮﻟﻴﺪ ﻧﺴﺒﺘﺎ ﭘﺮﻫﺰﻳﻨﻪ‬ ‫ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﻭ ﭘﺎﻳﻴﺰ ﺳﺎﻝ ‪ 86‬ﺳﺮﺍﻧﺠﺎﻡ ﺑﺮﺍﻯ ﺷﺮﻛﺖ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺑﻴﺴﺖ ﻭ ﺷﺸﻢ ﺁﻣﺎﺩﻩ ﻭ ﺗﺤﻮﻳﻞ ﺷﺪ ﺍﻣﺎ ﺑﻪ ﺩﻻﻳﻞ ﻣﻤﻴﺰﻱ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ‬ ‫ﺷﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺑﺮﺍﻱ ﺩﺭﻳﺎﻓﺖ ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﺑﺮﺧﻲ ﺻﺤﻨﻪﻫﺎﻱ ﻓﻴﻠﻢ‬ ‫ﺩﻭﺑﺎﺭﻩ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻭ ﺑﺮﺧﻲ ﺩﻳﮕﺮ ﺻﺪﺍﮔﺬﺍﺭﻱ ﻣﺠﺪﺩ ﺷــﺪ ﺍﻣﺎ ﺍﻳﻦ‬ ‫ﻛﺎﺭﻫﺎ ﻫﻢ ﻧﺘﻮﺍﻧﺴــﺖ ﻣﺸــﻜﻞ ﻓﻴﻠﻢ ﺭﺍ ﺣﻞ ﻭ ﺁﻥ ﺭﺍ ﺭﻭﺍﻧﻪ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺑﻴﺴﺖ ﻭ ﻫﻔﺘﻢ ﻛﻨﺪ‪ .‬ﺍﻣﺴﺎﻝ ﻭ ﺑﺎ ﺣﻀﻮﺭ ﺗﻴﻢ ﺟﺪﻳﺪ ﺳﻴﻨﻤﺎﻳﻲ‪ ،‬ﻣﺸﻜﻞ‬ ‫»ﺻﺪ ﺳﺎﻝ ﺑﻪ ﺍﻳﻦ ﺳــﺎﻝﻫﺎ« ﻫﻢ ﻣﺜﻞ ﺧﻴﻠﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺩﻳﮕﺮ ﺣﻞ ﻭ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍﻫﻲ ﺑﺨﺶ ﺧﺎﺭﺝ ﺍﺯ ﻣﺴﺎﺑﻘﻪ ﺷﺪ‪.‬‬ ‫ﻣﺤﻔﻞ ﺍﻛﺲ ‪ /‬ﺣﺒﻴﺐ ﻛﺎﻭﺵ‬ ‫»ﻣﺤﻔﻞﺍﻛﺲ«ﻛﻪﭘﻴﺶﺍﺯﺁﻥ»ﻣﺤﻔﻞﺍﻳﻜﺲ«ﻭﻗﺒﻞﺗﺮ»ﺍﺳﻼﻳﺮ«‬ ‫ﻧﺎﻡ ﺩﺍﺷﺖ‪ ،‬ﺳﺎﺧﺘﻪ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻧﺴﺒﺘﺎ ﭘﺮﻛﺎﺭ ﺩﻫﻪ ﺷﺼﺖ‪ ،‬ﺣﺒﻴﺐ ﻛﺎﻭﺵ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﻳﺎﺯﺩﻩ ﺳﺎﻝ ﭘﺲ ﺍﺯ ﺁﺧﺮﻳﻦ ﻓﻴﻠﻤﺶ »ﺍﻣﻴﺪ«‪ ،‬ﻫﻔﺘﻤﻴﻦ ﻓﻴﻠﻢ‬ ‫ﺳــﻴﻨﻤﺎﻳﻰﺍﺵ ﺭﺍ ﺩﺭ ﺳــﺎﻝ ‪ 1381‬ﺑﺎ ﻧﺎﻡ »ﻣﺤﻔﻞ ﺍﻳﻜﺲ« ﻛﻠﻴﺪ ﺯﺩ‪.‬‬ ‫ﻛﺎﻭﺵ ﭘﻴﺶ ﺍﺯ ﺍﻧﻘﻼﺏ ﻓﻴﻠﻢ »ﺁﺏ«‪ ،‬ﺩﺭ ﺑﺤﺒﻮﺣﻪ ﺍﻧﻘﻼﺏ ﻓﻴﻠﻢ »ﭘﺮﻭﺍﺯ‬ ‫ﺩﺭ ﻗﻔﺲ« ﻭ ﻃﻰ ﺩﻫﻪ ﺷﺼﺖ ﻓﻴﻠﻢﻫﺎﻯ »ﻓﺼﻞ ﺧﻮﻥ«‪» ،‬ﺩﺍﺩﺷﺎﻩ« ﻭ‬ ‫»ﺁﺗﺶ ﭘﻨﻬﺎﻥ« ﺭﺍ ﺳﺎﺧﺘﻪ ﺑﻮﺩ‪» .‬ﻣﺤﻔﻞ ﺍﻛﺲ« ﻓﻴﻠﻤﻰ ﺟﻮﺍﻧﺎﻧﻪ ﻭ ﺩﺭﺑﺎﺭﻩ‬ ‫ﻣﻌﻀﻼﺕ ﺟﻮﺍﻧﺎﻥ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻣﺴــﺎﻟﻪ ﺍﻛــﺲ ﻭ ﻗﺮﺹﻫﺎﻯ ﺭﻭﺍﻧﮕﺮﺩﺍﻥ‬ ‫ﻣﻰﭘﺮﺩﺍﺧﺖ‪ .‬ﺑﻪ ﮔﻔﺘﻪ ﻛﺎﻭﺵ‪» ،‬ﻣﺤﻔﻞ ﺍﻛﺲ« ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﺻﺪﺳﺎﻝ ﺑﻪ ﺍﻳﻦ ﺳﺎﻝﻫﺎ‬ ‫‪38‬‬ ‫ﺩﺭ ﺳﻴﻨﻤﺎ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪ ﻭ ﻫﻤﻴﻦ ﻧﻜﺘﻪ ﺑﺎﻋﺚ ﺗﻮﻗﻴﻒ‬ ‫ﻓﻴﻠﻢﺷﺪ‪.‬ﻛﺎﻭﺵﺩﺭﺍﻳﻦﻓﻴﻠﻢﺍﺯﭼﻬﺮﻩﻫﺎﻳﻰﺟﺪﻳﺪﻭﻧﺎﺷﻨﺎﺧﺘﻪﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻛﺮﺩﻩ ﺗﺎﻫﻢﺑﻪﻓﻀﺎﻯﻣﺴﺘﻨﺪﮔﻮﻧﻪﻓﻴﻠﻢﻛﻤﻚﻛﻨﺪﻭﻫﻢﺑﺮﺍﻯﻣﺨﺎﻃﺐ‬ ‫ﺑﺎﻭﺭﭘﺬﻳﺮﺗﺮﺑﺎﺷﺪ‪» .‬ﻣﺤﻔﻞﺍﻛﺲ«ﺑﺎﺩﺭﻳﺎﻓﺖﭘﺮﻭﺍﻧﻪﺳﺎﺧﺖﻭﺑﻪﺻﻮﺭﺕ‬ ‫‪ 35‬ﻣﻴﻠﻴﻤﺘــﺮﻯ ﺗﻮﻟﻴﺪ ﺷــﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻣــﺎﺩﻩ ﺷــﺪﻥ‪ ،‬ﺩﺭ ﺯﻣﺎﻧﻰ ﻛﻪ‬ ‫ﻣﺤﻤﺪﻣﻬﺪﻯ ﺣﻴﺪﺭﻳﺎﻥﺩﺭﭘﺴﺖ ﻣﻌﺎﻭﻥ ﺳﻴﻨﻤﺎﻳﻰ ﺍﺭﺷﺎﺩﺑﻮﺩ‪،‬ﺗﻮﻗﻴﻒ‬ ‫ﺷــﺪ‪ .‬ﺑﻪ ﮔﻔﺘﻪ ﻛﺎﻭﺵ‪ ،‬ﺁﻥ ﺯﻣﺎﻥ ﺍﺭﺷــﺎﺩ ﻭ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻰ ﻓﻀﺎﻯ‬ ‫ﻣﻠﺘﻬﺒﻰ ﺩﺍﺷﺖ ﺍﻣﺎ ﺍﻻﻥ ﺁﻥ ﺗﺐ ﻭ ﺗﺎﺏ ﻓﺮﻭﻛﺶ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‬ ‫ﺑﺎﺭﺍﻳﺰﻧﻰﻫﺎﻯﺍﻧﺠﺎﻡﺷﺪﻩﻣﺸﻜﻞ»ﻣﺤﻔﻞﺍﻛﺲ«ﺣﻞﻭﺩﺭﺑﺨﺶﺧﺎﺭﺝ‬ ‫ﺍﺯ ﻣﺴﺎﺑﻘﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻣﻌﺒﺪ ﺟﺎﻥ ‪ /‬ﻣﺤﻤﺪ ﺩﺭﻣﻨﺶ‬ ‫ﺩﺭﻣﻨﺶ ﻓﻴﻠﻢ ﺟﺪﻳﺪﺵ »ﻣﻌﺒﺪ ﺟﺎﻥ« ﺭﺍ ﺍﻣﺴــﺎﻝ ﺩﺭ ﺳــﻜﻮﺕ‬ ‫ﺧﺒﺮﻱ ﺗﻮﻟﻴﺪ ﻛﺮﺩ؛ ﺁﻧﻬﻢ ﺩﺭ ﺷــﺮﺍﻳﻄﻲ ﻛﻪ ﺩﺭ ﮔﻴﺮﻭﺩﺍﺭ ﺣﻞ ﻣﺸﻜﻞ‬ ‫ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﻗﺒﻠﻲ ﺍﺵ »ﻣﺎﻩ ﻭﺵ« ﺑﻮﺩ‪ .‬ﺁﻧﭽﻪ ﺍﺯ ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢ‬ ‫ﺑﺮﻣﻲﺁﻳﺪ‪ ،‬ﺑﺎ ﺍﺛﺮﻱ ﺳﻔﺎﺭﺷــﻲ ﻭ ﺗﺎ ﺣﺪﻭﺩﻱ ﺷﻌﺎﺭﻱ ﺭﻭﺑﻪﺭﻭ ﺧﻮﺍﻫﻴﻢ‬ ‫ﺑﻮﺩ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳــﺖ ﺧﻴﺮ ﻭ ﺷﺮ ﺭﺍ ﺑﻪ ﺍﻧﺴﺎﻥ ﻧﺸــﺎﻥ ﺩﻫﺪ ﻭ ﺁﻣﻮﺯﻩﻫﺎﻱ‬ ‫ﺍﺧﻼﻗﻲ ﺭﺍ ﮔﻮﺷﺰﺩ ﻛﻨﺪ‪ .‬ﻓﻴﻠﻢ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﺍﻱ ﺩﻭﻟﺘﻲ ﺩﺍﺭﺩ ﻭﻟﻲ ﮔﻮﻳﺎ‬ ‫ﺍﻣﺴﺎﻝ ﻣﺴﺌﻮﻻﻥ ﺟﺸﻨﻮﺍﺭﻩ ﻗﺮﺍﺭ ﻧﺒﻮﺩﻩ ﺑﻪ ﻣﺤﺼﻮﻻﺕ ﺣﻮﺯﻩ ﻫﻨﺮﻱ‬ ‫ﺭﻭﻱ ﺧﻮﺵ ﻧﺸــﺎﻥ ﺩﻫﻨﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻓﻴﻠﻢ ﺩﺭ ﺑﺨﺶ ﺧﺎﺭﺝ ﺍﺯ‬ ‫ﻣﺴﺎﺑﻘﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﺒﺎﺯﻯ ‪ /‬ﻏﻼﻣﺮﺿﺎ ﺭﻣﻀﺎﻧﻰ‬ ‫ﻏﻼﻣﺮﺿﺎ ﺭﻣﻀﺎﻧﻲ ﺑﺎﻻﺧﺮﻩ ﻓﻴﻠﻤﻲ ﺑﺮﺍﻱ ﺗﻤﺎﺷﺎﮔﺮ ﻋﺎﻡ ﺑﺎ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺳــﺎﺧﺖ ﺗﺎ ﺑﻠﻜﻪ ﻃﻠﺴﻢ ﺍﻛﺮﺍﻥ ﻧﺸــﺪﻥ ﻓﻴﻠﻢﻫﺎﻳﺶ‬ ‫ﺷﻜﺴﺘﻪ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﮔﻮﻳﺎ ﺍﻳﻦﺑﺎﺭ ﺍﻳﻦ ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﻋﺎﻡ ﺑﺎﻋﺚ ﺷﺪ ﺗﺎ ﻓﻴﻠﻢ‬ ‫ﺍﻭ ﺭﺍﻫﻲ ﺑﻪ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﭘﻴﺪﺍ ﻧﻜﻨﺪ ﺁﻧﻬﻢ ﺩﺭﺣﺎﻟﻲ ﻛﻪ »ﻫﻤﺒﺎﺯﻱ« ﺍﺯ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﻫﻤﺪﺍﻥ ﭼﻨﺪ ﺟﺎﻳﺰﻩ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻓﻴﻠﻢ ﺩﺍﺳــﺘﺎﻥ ﺑﺎﻣﺰﻩﺍﻱ ﺩﺭﺑﺎﺭﻩ ﻣﺼﺎﺋﺐ ﻳﻚ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ ﺑﺮﺍﻱ ﺍﺟﺎﺑﺖ‬ ‫ﺧﻮﺍﺳﺘﻪ ﻓﺮﺯﻧﺪﺷــﺎﻥ ﻛﻪ ﺍﺯ ﺁﻧﻬﺎ ﻳﻚ ﻛﺮﻩﺍﻻﻍ ﺧﻮﺍﺳﺘﻪ ﺍﺳﺖ‪ ،‬ﺩﺍﺭﺩ ﻭ‬ ‫ﺍﻳﻦﺑﺎﺭ ﻗﻄﻊ ﺑﻪ ﻳﻘﻴﻦ ﻣﺮﺩﻡ ﺑﻴﺸﺘﺮ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﻭ ﺩﺍﻭﺭﺍﻧﺸﺎﻥ ﻓﻴﻠﻢ‬ ‫ﺭﻣﻀﺎﻧﻲ ﺭﺍ ﺧﻮﺍﻫﻨﺪ ﺩﻳﺪ ﻭ ﭘﺴﻨﺪﻳﺪ‪.‬‬ ‫ﻳﻮﺳﻒ ﭘﻴﺎﻣﺒﺮ ‪ /‬ﻓﺮﺝ ﺍﷲ ﺳﻠﺤﺸﻮﺭ‬ ‫ﭼﻨﺪ ﺳﺎﻟﻲ ﻣﻲﺷــﺪ ﻛﻪ ﺳﻨﺖ ﻣﻮﻧﺘﺎژ ﻳﻚ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﺍﺯ ﺩﻝ‬ ‫ﻳﻚ ﻣﺠﻤﻮﻋﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻛﺎﻣﻼ ﺑﺮﭼﻴﺪﻩ ﺷﺪﻩ ﻭ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﺍﻣﺴﺎﻝ ﮔﻮﻳﺎ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻣﺠﻤﻮﻋﻪ ﺣﻀﺮﺕ ﻳﻮﺳﻒ ﺁﻧﻘﺪﺭ ﺑﺮ ﺍﺭﺯﺵﻫﺎﻱ‬ ‫ﻫﻨﺮﻱ ﻭ ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﺑﺼﺮﻱ ﻓﻴﻠﻤﺸﺎﻥ ﻣﻄﻤﺌﻦ ﺑﻮﺩﻩﺍﻧﺪ ﻛﻪ ﺣﻴﻒ‬ ‫ﺩﻳﺪﻩﺍﻧﺪ ﻳﻚ ﻧﺴــﺨﻪ ﺳﻴﻨﻤﺎﻳﻲ ﺍﺯ ﺁﻥ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺣﺎﺿﺮ ﻧﺒﺎﺷﺪ‪.‬‬ ‫ﺗﺎﻛﻨﻮﻥ ﻓﻘﻂ ﻳﻜﺒﺎﺭ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﻛﻪ ﺍﺯ ﺩﻝ ﻳﻚ ﻣﺠﻤﻮﻋﻪ ﭘﺨﺶ ﺷﺪﻩ‬ ‫ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ‪ ،‬ﻧﺴﺨﻪﺍﻱ ﺗﺪﻭﻳﻦ ﻭ ﺭﺍﻫﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺷﻮﺩ‪ .‬ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻧﻮﺯﺩﻫﻢ ﺩﻭ ﻓﻴﻠﻢ »ﻛﻤﻴﺘﻪ ﻣﺠــﺎﺯﺍﺕ« ﻭ »ﻃﻬﺮﺍﻥ ﺭﻭﺯﮔﺎﺭ ﻧﻮ« ﺍﺯ ﺩﻝ‬ ‫ﻣﺠﻤﻮﻋﻪ »ﻫﺰﺍﺭﺩﺳﺘﺎﻥ« ﻣﺮﺣﻮﻡ ﻋﻠﻲ ﺣﺎﺗﻤﻲ ﻣﻮﻧﺘﺎژ ﺷﺪﻧﺪ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﺑﺎ ﺍﻓﺰﻭﺩﻥ ﭼﻨﺪ ﺳﻜﺎﻧﺲ ﺩﻳﺪﻩ ﻧﺸــﺪﻩ‪ ،‬ﺩﺭ ﻗﺎﻟﺐ ﺩﻭ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍﻩﻳﺎﻓﺘﻨﺪ‪ .‬ﻧﻜﺘﻪ ﺟﺎﻟﺐ ﺩﺭ ﻣﻮﺭﺩ ﻳﻮﺳﻒ ﭘﻴﺎﻣﺒﺮ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻳﻜﻲ ﺍﺯ ﺑﺨﺶﻫﺎﻱ ﺑﻴﻦﺍﻟﻤﻠﻞ ﻫﻢ ﺭﺍﻩ ﻳﺎﻓﺘﻪ ﻭ ﺍﺣﺘﻤﺎﻝ‬ ‫ﺟﺎﻳﺰﻩ ﮔﺮﻓﺘﻦ ﺁﻥ ﻫﻢ ﺑﺴﻴﺎﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﻓﺎﺻﻠﻪ‬ ‫‪8‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﺑﺎﺯﮔﺸﺖ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ ﺑﺎ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ«‬ ‫ﻣﺪﻋﻴﺎﻥ ﺳﻴﻤﺮﻍ ﺑﺎﺯﻳﮕﺮﻱ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺑﻴﺶ ﺍﺯ ‪ 50‬ﻓﻴﻠﻢ ﺩﺭ ﺑﺨﺶﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠﺮ ﻭ ﻧﻴﺰ ﺭﻓـﻊ ﺗﻮﻗﻴﻒ ﺍﺯ ﭼﻨﺪ ﻓﻴﻠﻢ ﺗﻮﻗﻴﻔﻰ ﺑﺎﻋﺚ ﺷـﺪﻩ‬ ‫ﺟﺸـﻨﻮﺍﺭﻩ ﺍﻣﺴـﺎﻝ ﺑﻪﻧﻮﻋﻰ ﺗﺒﺪﻳﻞ ﺑﻪ ﺁﻳﻨﻪ ﺗﻤﺎﻡ ﻧﻤﺎﻳﻰ ﺍﺯ‬ ‫ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥﺷﻮﺩ‪.‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺗﻘﺮﻳﺒﺎ ﺗﻤﺎﻡ ﺳﻴﻨﻤﺎﮔﺮﺍﻧﻰ‬ ‫ﻛﻪ ﺩﺭ ﭼﻨﺪ ﺳﺎﻝ ﺍﺧﻴﺮ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺑﻮﺩﻩﺍﻧﺪ ﺩﺭ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺣﺎﺿﺮ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻫﺮﺳﺎﻟﻪ‬ ‫ﻣﻮﺿﻮﻉ ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺳـﻴﻨﻤﺎﮔﺮﺍﻥ ﺟﺸـﻨﻮﺍﺭﻩ ﻣﻮﺭﺩ ﺗﻮﺟﻪ‬ ‫ﭘﻴﮕﻴـﺮﺍﻥ ﺍﺧﺒﺎﺭ ﻭ ﺍﺗﻔﺎﻗـﺎﺕ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﻣﻬﻢ ﺑﻮﺩﻩ ﺍﺳـﺖ‪.‬‬ ‫ﺩﺭ ﺍﻳـﻦ ﮔﺰﺍﺭﺵ ﻣﺮﻭﺭﻯ ﺩﺍﺭﻳﻢ ﺑـﺮ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﭘﺮﻛﺎﺭﺗﺮﻳﻦ‬ ‫ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﺍﻳﺮﺍﻧﻰ ﺣﺎﺿﺮ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ‪.‬‬ ‫ﻓﺮﺥﻧﮋﺍﺩ‪ ،‬ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺳﻴﻨﻤﺎﮔﺮ‬ ‫ﺩﺭ ﺑﻴﺴـﺖﻭﻫﺸــﺘﻤﻴﻦ ﺟﺸـــﻨﻮﺍﺭﻩ ﻓﻴﻠــﻢ ﻓﺠــــﺮ ﺣﻤﻴـــﺪ‬ ‫ﻓﺮﺥﻧــﮋﺍﺩ ﺑــﺎ ﺑــﺎﺯﻯ ﺩﺭ ﻫﻔــﺖ ﻓﻴﻠــﻢ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧــﻰ ﻳــﻚ ﻓﻴﻠﻢ‬ ‫ﻧﻪ ﺗﻨﻬﺎﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﺑﻴﺴﺖﻭﻫﺸﺘﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ ﻛﻪ ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺳﻴﻨﻤﺎﮔﺮ ﺷﺎﺧﺺ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺳﺖ‪.‬‬ ‫ﺣﻤﻴــﺪ ﻓﺮﺥﻧــﮋﺍﺩ ﺩﺭ ﻣﻘــﺎﻡ ﺑﺎﺯﻳﮕــﺮ‪ ،‬ﺍﻣﺴــﺎﻝ ﭼﻬــﺎﺭ ﻓﻴﻠــﻢ‬ ‫»ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ«‪» ،‬ﺷــﺐ ﻭﺍﻗﻌﻪ«‪» ،‬ﺑﻴﺪﺍﺭﻱ ﺭﻭﻳﺎﻫﺎ« ﻭ »ﺷﻜﻼﺕ‬ ‫ﺩﺍﻍ« ﺭﺍ ﺩﺭ ﺑﺨﺶ ﺍﺻﻠﻲ ﺟﺸــﻨﻮﺍﺭﻩ ﺩﺍﺭﺩ ﻭ ﺑﺎ ﺩﻭ ﻓﻴﻠﻢ »ﺩﻣﻮﻛﺮﺍﺳﻲ‬ ‫ﺩﺭ ﺭﻭﺯ ﺭﻭﺷــﻦ« ﻭ »ﻫﻤﺒــﺎﺯﻱ« ﺩﺭ ﺑﺨﺶ ﻣﺴــﺎﺑﻘﻪ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ‬ ‫ﻭ ﺩﻭﻡ ﻭ ﺧــﺎﺭﺝ ﺍﺯ ﻣﺴــﺎﺑﻘﻪ ﺣﺎﺿــﺮ ﺍﺳــﺖ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛــﻪ ﺍﺧﺒﺎﺭ‬ ‫ﻣﻨﺘﺸــﺮﻩ ﻣﺒﻨﻰﺑــﺮ ﻧﻤﺎﻳــﺶ ﻣﺤﺪﻭﺩ ﻓﻴﻠﻢ »ﺁﺗﺸــﻜﺎﺭ« ﺳــﺎﺧﺘﻪ‬ ‫ﻣﺤﺴﻦ ﺍﻣﻴﺮﻳﻮﺳﻔﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺗﺤﻘﻖ ﭘﻴﺪﺍ ﻛﻨﺪ‪ ،‬ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢﻫﺎﻯ‬ ‫ﻓﺮﺥﻧﮋﺍﺩ ﺑﻪ ﻋﺪﺩ ﭘﻨﺞ ﻣﻰﺭﺳــﺪ ﻛﻪ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﺟﺎﻟﺐ ﺗﻮﺟﻪ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺍﻭ ﺩﺭ ﻣﻘﺎﻡ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢ »ﺳﻔﺮ ﺳﺮﺥ« ﺭﺍ ﻧﻴﺰ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺑﺎﻳﺪ ﻋﻨﻮﺍﻥ ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺳــﻴﻨﻤﺎﮔﺮ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺑﻴﺴﺖ ﻭ ﻫﺸﺘﻢ ﺭﺍ ﺑﻪ ﺍﻭ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩ‪.‬‬ ‫ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﻣﻬﻨﺎﺯ ﺍﻓﺸــﺎﺭ‪ ،‬ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ‪ ،‬ﻣﺼﻄﻔﻲ ﺯﻣﺎﻧﻲ ﻭ ﭘﻮﺭﻳﺎ ﭘﻮﺭﺳــﺮﺥ‬ ‫ﺩﻳﮕــﺮ ﺑﺎﺯﻳﮕﺮﺍﻥ ﭘﺮﻛﺎﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﺟﺸــﻨﻮﺍﺭﻩ ﻫﺴــﺘﻨﺪ ﻛﻪ ﻫﺮﻛﺪﺍﻡ‬ ‫ﭼﻬﺎﺭ ﻓﻴﻠﻢ ﺩﺍﺭﻧﺪ‪ .‬ﻣﻬﻨﺎﺯ ﺍﻓﺸــﺎﺭ ﻓﻴﻠﻢﻫﺎﻱ »ﭘﺴﺮ ﺁﺩﻡ ﺩﺧﺘﺮ ﺣﻮﺍ«‪،‬‬ ‫»ﺗﺴﻮﻳﻪﺣﺴــﺎﺏ« ﻭ »ﻃﺒﻘــﻪ ﺳــﻮﻡ« ﺭﺍ ﺩﺭ ﺑﺨﺶ ﺍﺻﻠــﻲ ﻭ ﻓﻴﻠﻢ‬ ‫»ﺧﺎﻃﺮﻩ« ﺭﺍ ﺩﺭ ﺑﺨﺶ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺩﺍﺭﺩ‪ .‬ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ ﻫﻢ ﺑﺎ‬ ‫»ﺗﺴﻮﻳﻪﺣﺴﺎﺏ«‪» ،‬ﻫﻔﺖﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﻭ»ﻃﻬﺮﺍﻥ ﺗﻬﺮﺍﻥ« ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﺣﻀﻮﺭ ﻛﻮﺗﺎﻫﻲ ﺩﺍﺭﺩ ﺩﺭ ﺑﺨﺶ ﺍﺻﻠﻲ ﺣﺎﺿﺮ ﺍﺳﺖ ﻭ »ﻟﻄﻔﺎ ﻣﺰﺍﺣﻢ‬ ‫ﻧﺸﻮﻳﺪ« ﺳﺎﺧﺘﻪ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﻧﻴﺰ ﺩﺭ ﺑﺨﺶﻫﺎﻱ ﺩﻳﮕﺮ ﺟﺸﻨﻮﺍﺭﻩ ﻗﺮﺍﺭ‬ ‫ﺍﺳﺖ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺷﻮﺩ‪ .‬ﺍﮔﺮ ﻓﻴﻠﻢ »ﺁﺩﻣﻜﺶ« ﻫﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻬﺪﺍﺩ ﺑﻪ ﻋﺪﺩ ﭘﻨﺞ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﻣﺼﻄﻔﻲ ﺯﻣﺎﻧــﻲ ﻛﻪ ﺍﻭﻟﻴﻦ ﺳــﺎﻝ ﺣﻀﻮﺭﺵ ﺭﺍ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﭘﺸﺖﺳــﺮ ﻣﻲﮔﺬﺍﺭﺩ‪ ،‬ﻓﻴﻠﻢﻫﺎﻱ »ﻛﻴﻔﺮ« ﻭ »ﺁﻝ« ﺩﺭ ﺑﺨﺶ ﺍﺻﻠﻲ‪،‬‬ ‫»ﻣﺮﺍ ﺑﺒﺨﺶ ﻣﺎﺩﺭ« ﺩﺭ ﺑﺨﺶ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﻭ »ﻳﻮﺳﻒ ﭘﻴﺎﻣﺒﺮ«‬ ‫ﺭﺍ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﻣﺴﺎﺑﻘﻪ ﺩﺍﺭﺩ‪.‬‬ ‫ﭘﻮﺭﻳﺎ ﭘﻮﺭﺳــﺮﺥ ﻧﻴﺰ ﺑﺎ »ﺁﻧﺎﻫﻴﺘﺎ«‪» ،‬ﭼــﺮﺍﻍ ﻗﺮﻣﺰ«‪» ،‬ﺧﺎﻃﺮﻩ« ﻭ‬ ‫»ﻧﺎﺳﭙﺎﺱ« ﺩﺭ ﺑﺨﺶﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺟﺸﻨﻮﺍﺭﻩ ﺣﺎﺿﺮ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﻨﺎﺯ ﺷﺎﻛﺮﺩﻭﺳــﺖ ﻫﻢ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﭼﻬﺎﺭ ﻓﻴﻠﻤﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺳﺖ‬ ‫ﻛﻪ ﻫﻴﭻﻛــﺪﺍﻡ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﺶ )»ﭼــﺮﺍﻍ ﻗﺮﻣﺰ«‪»،‬ﻛﺎﺭﻧﺎﻭﺍﻝ ﻣﺮگ«‪،‬‬ ‫»ﻓﺎﺻﻠﻪ« ﻭ »ﻧﺎﺳﭙﺎﺱ«( ﺩﺭ ﺑﺨﺶ ﺍﺻﻠﻲ ﺣﺎﺿﺮ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻧﻲ ﻛﻪ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﺎ ﺳــﻪ ﻓﻴﻠﻢ ﺣﺎﺿﺮ ﻫﺴــﺘﻨﺪ‬ ‫ﻣﻲﺗﻮﺍﻥ ﺑــﻪ ﻣﻬﺪﻱ ﻓﻘﻴﻪ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﻓﺮﻭﺗﻦ‪ ،‬ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ‪ ،‬ﻻﺩﻥ‬ ‫ﻣﺴــﺘﻮﻓﻲ‪ ،‬ﺣﺒﻴﺐ ﺩﻫﻘﺎﻥﻧﺴﺐ‪ ،‬ﻋﻠﻴﺮﺿﺎ ﺧﻤﺴﻪ ﻭ ﻧﻴﻜﻲ ﻛﺮﻳﻤﻲ‬ ‫ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪.‬‬ ‫ﻣﻬﺪﻱ ﻓﻘﻴﻪ ﺳــﻪﻓﻴﻠﻢ »ﺗﺴﻮﻳﻪ ﺣﺴــﺎﺏ«‪» ،‬ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ« ﻭ‬ ‫»ﺷﻜﺎﺭﭼﻲ ﺷﻨﺒﻪ« ﺭﺍ ﺩﺍﺭﺩ‪.‬‬ ‫ﭘﺎﻧﺘــﻪﺁ ﺑﻬــﺮﺍﻡ »ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟــﻪﺩﺍﺭ«‪» ،‬ﻃﻬــﺮﺍﻥ ﺗﻬﺮﺍﻥ«‬ ‫ﻭ »ﻣــﺮﺍ ﺑﺒﺨﺶ ﻣــﺎﺩﺭ«؛ ﻻﺩﻥ ﻣﺴــﺘﻮﻓﻲ »ﺗﺴــﻮﻳﻪ ﺣﺴــﺎﺏ«‪،‬‬ ‫»ﺷــﺐ ﻭﺍﻗﻌــﻪ« ﻭ »ﺑﺮﺧــﻮﺭﺩ ﺧﻴﻠــﻲ ﻧﺰﺩﻳــﻚ«؛ ﺣﺒﻴــﺐ‬ ‫ﺩﻫﻘﺎﻥﻧﺴــﺐ »ﺑﻴﺪﺍﺭﻱ ﺭﻭﻳﺎﻫﺎ«‪» ،‬ﺷــﺐ ﻭﺍﻗﻌﻪ« ﻭ »ﺳﻔﺮ ﺳﺮﺥ«؛‬ ‫ﻋﻠﻴﺮﺿﺎ ﺧﻤﺴﻪ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﻧﻘﺶ ﻣﻜﻤﻞ ﺟﺸﻨﻮﺍﺭﻩ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‬ ‫»ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ«‪» ،‬ﺷــﻜﻼﺕ ﺩﺍﻍ« ﻭ»ﻧﺨــﻮﺩﻱ« ﺭﺍ ﺩﺍﺭﺩ ﻭ‬ ‫ﻧﻴﻜﻲ ﻛﺮﻳﻤﻲ ﻫﻢ ﻓﻴﻠﻢﻫﺎﻱ »ﺷﻜﻼﺕ ﺩﺍﻍ«‪» ،‬ﺩﻣﻮﻛﺮﺍﺳﻲ ﺩﺭ ﺭﻭﺯ‬ ‫ﺭﻭﺷﻦ« ﻭ »ﻫﻤﺒﺎﺯﻱ« ﺭﺍ ﺩﺭ ﺑﺨﺶﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺟﺸﻨﻮﺍﺭﻩ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺷــﻬﺎﺏ ﺣﺴــﻴﻨﻲ ﻭ ﻟﻴﻼ ﺣﺎﺗﻤﻲ‪ ،‬ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺩﻭﺭﻩ ﻗﺒﻞ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻫﻢ ﻫﺮﻛﺪﺍﻡ ﺑﺎ ﺩﻭ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖﻭﻫﺸﺘﻢ ﺣﻀﻮﺭ‬ ‫ﺩﺍﺭﻧﺪ‪» .‬ﭘﺮﺳﻪ ﺩﺭ ﻣﻪ« ﻓﻴﻠﻢ ﻣﺸﺘﺮﻙ ﺍﻳﻦ ﺩﻭ ﺑﺎﺯﻳﮕﺮ ﺍﺳﺖ ﻭ »ﺁﻧﺎﻫﻴﺘﺎ«‬ ‫ﺍﺯ ﺣﺴــﻴﻨﻲ ﻭ »ﭼﻬﻞ ﺳﺎﻟﮕﻲ« ﺑﺎ ﺑﺎﺯﻱ ﻟﻴﻼ ﺣﺎﺗﻤﻲ ﺩﺭ ﺑﺨﺶ ﺍﺻﻠﻲ‬ ‫ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺧﻮﺍﻫﺪ ﺁﻣﺪ‪.‬‬ ‫ﻓﺮﻫﺎﺩ ﻗﺎﺋﻤﻴــﺎﻥ )»ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﻭ »ﻃﻬﺮﺍﻥ ﺗﻬﺮﺍﻥ«(‪ ،‬ﺣﺎﻣﺪ‬ ‫ﻛﻤﻴﻠﻲ )»ﭘﺴﺮ ﺁﺩﻡ ﺩﺧﺘﺮ ﺣﻮﺍ« ﻭ »ﺷﻜﻼﺕ ﺩﺍﻍ«(‪ ،‬ﺍﺣﻤﺪ ﻣﻬﺮﺍﻧﻔﺮ‬ ‫)»ﺗﺴﻮﻳﻪﺣﺴﺎﺏ« ﻭ »ﻋﺼﺮ ﺭﻭﺯ ﺩﻫﻢ«(‪ ،‬ﻣﺤﺴﻦ ﺗﻨﺎﺑﻨﺪﻩ )»ﺳﻨﮓ‬ ‫ﺍﻭﻝ« ﻭ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ«(‪،‬ﻫﺎﻧﻴﻪ ﺗﻮﺳــﻠﻲ )»ﻋﺼﺮ ﺭﻭﺯ ﺩﻫﻢ«‬ ‫ﻭ »ﻛﻴﻔــﺮ«(‪ ،‬ﻣﻬﺮﺩﺍﺩ ﺿﻴﺎﻳﻲ )»ﺑﻪﺭﻧﮓ ﺍﺭﻏــﻮﺍﻥ« ﻭ »ﻳﻚ ﮔﺰﺍﺭﺵ‬ ‫ﻭﺍﻗﻌﻲ«(‪ ،‬ﺍﻣﻴﺮ ﺟﻌﻔﺮﻱ )»ﻛﻴﻔﺮ« ﻭ »ﻧﻔﻮﺫﻱ«( ﻭ ﺟﻤﺸﻴﺪﻫﺎﺷﻢﭘﻮﺭ‬ ‫)»ﻛﻴﻔﺮ« ﻭ »ﻧﻔﻮﺫﻱ«( ﺍﺯ ﺩﻳﮕﺮ ﺑﺎﺯﻳﮕﺮﺍﻧﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﺩﻭ ﻓﻴﻠﻢ ﺩﺭ‬ ‫ﺑﺨﺶ ﺍﺻﻠﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺣﺎﺿﺮ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﭘﻴﺸﻜﺴﻮﺕ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‪ ،‬ﺟﻤﺸﻴﺪ ﻣﺸﺎﻳﺨﻲ‬ ‫ﻓﻴﻠﻢ »ﻳﻚ ﮔــﺰﺍﺭﺵ ﻭﺍﻗﻌــﻲ« ﺭﺍ ﺩﺭ ﺑﺨﺶ ﺍﺻﻠــﻲ ﻭ »ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﺍﺭﻧﺴــﺖ« ﺭﺍ ﺩﺭ ﺑﺨﺶ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺩﺍﺭﺩ‪ .‬ﻋﻠﻲ ﻧﺼﻴﺮﻳﺎﻥ‬ ‫»ﺷﻜﺎﺭﭼﻲ ﺷﻨﺒﻪ«‪ ،‬ﺩﺍﺭﻳﻮﺵ ﺍﺳﺪﺯﺍﺩﻩ ﺩﻭ ﻓﻴﻠﻢ »ﺻﺒﺢ ﺭﻭﺯ ﻫﻔﺘﻢ«‬ ‫ﻭ »ﻧﺰﺩﻳﻚﺗﺮ ﺍﺯ ﺁﺷــﻨﺎ« ﻭ ﻋﺰﺕﺍﷲ ﺍﻧﺘﻈﺎﻣﻲ ﺑﺎ »ﭼﻬﻞﺳــﺎﻟﮕﻲ«‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ‪.‬ﺍﺯ ﺩﻳﮕﺮ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻣﻄﺮﺣﻲ ﻫﻢ ﻛﻪ ﺩﺭ‬ ‫ﺑﺨﺶ ﺍﺻﻠﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖﻭﻫﺸﺘﻢ ﺑﺎ ﻳﻚ ﻓﻴﻠﻢ ﺣﺎﺿﺮ ﻫﺴﺘﻨﺪ‬ ‫ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﻫﻤﺎﻳﻮﻥ ﺍﺭﺷﺎﺩﻱ »ﺁﻝ«‪ ،‬ﺭﺿﺎ ﺑﺎﺑﻚ »ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ«‪،‬‬ ‫ﺍﻣﻴﻦ ﺣﻴﺎﻳﻲ »ﺑﻴــﺪﺍﺭﻱ ﺭﻭﻳﺎﻫﺎ«‪ ،‬ﻫﻨﮕﺎﻣــﻪ ﻗﺎﺿﻴﺎﻧﻲ »ﺑﻴﺪﺍﺭﻱ‬ ‫ﺭﻭﻳﺎﻫﺎ«‪ ،‬ﻣﺴــﻌﻮﺩ ﺭﺍﻳﮕﺎﻥ »ﭘﺮﺳــﻪ ﺩﺭ ﻣﻪ«‪ ،‬ﺭﺿــﺎ ﻧﺎﺟﻲ »ﭘﺮﻭﺍﺯ‬ ‫ﻣﺮﻏﺎﺑﻲ ﻫــﺎ«‪ ،‬ﻓﺮﺍﻣــﺮﺯ ﺻﺪﻳﻘﻲ»ﭘﺴــﺮ ﺁﺩﻡ ﺩﺧﺘــﺮ ﺣــﻮﺍ«‬ ‫ﺍﻛﺒﺮ ﻋﺒﺪﻱ »ﺗﺴﻮﻳﻪﺣﺴــﺎﺏ«‪ ،‬ﺭﺿﺎ ﻋﻄﺎﺭﺍﻥ »ﺗﺴﻮﻳﻪﺣﺴﺎﺏ«‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﺷــﺮﻳﻔﻲﻧﻴﺎ »ﺗﺴﻮﻳﻪﺣﺴﺎﺏ«‪ ،‬ﺳــﻴﺎﻭﺵ ﻃﻬﻤﻮﺭﺙ‬ ‫»ﺗﺴــﻮﻳﻪ ﺣﺴــﺎﺏ«‪ ،‬ﻓﺮﺷــﺘﻪ ﺻﺪﺭ ﻋﺮﻓﺎﻳــﻲ »ﺧﻮﺍﺏ ﻫــﺎﻱ‬ ‫ﺩﻧﺒﺎﻟــﻪﺩﺍﺭ«‪ ،‬ﻓﺮﻳﺒــﺮﺯ ﻋﺮﺏﻧﻴــﺎ »ﺷــﻜﻼﺕ ﺩﺍﻍ«‪ ،‬ﺩﺍﺭﻳــﻮﺵ‬ ‫ﺍﺭﺟﻤﻨــﺪ »ﺷــﻜﻼﺕ ﺩﺍﻍ«‪ ،‬ﭘــﮕﺎﻩ ﺁﻫﻨﮕﺮﺍﻧﻲ »ﻃﺒﻘﻪ ﺳــﻮﻡ«‪،‬‬ ‫ﺣﺴــﻴﻦ ﻳــﺎﺭﻱ »ﻛﻴﻤﻴﺎ ﻭ ﺧــﺎﻙ«‪ ،‬ﭘﺮﻳــﻮﺵ ﻧﻈﺮﻳــﻪ »ﻛﻴﻤﻴﺎ‬ ‫ﻭ ﺧــﺎﻙ«‪ ،‬ﻣﺤﻤــﻮﺩ ﭘﺎﻙﻧﻴــﺖ »ﻣﻠﻚ ﺳــﻠﻴﻤﺎﻥ«‪ ،‬ﺣﺴــﻴﻦ‬ ‫ﻣﺤﺠــﻮﺏ »ﻣﻠــﻚ ﺳــﻠﻴﻤﺎﻥ«‪ ،‬ﻣﺤﻤــﺪ ﻛﺎﺳــﺒﻲ »ﻧﻔﻮﺫﻱ«‪،‬‬ ‫ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ»ﺁﻧﺎﻫﻴﺘﺎ«‪ ،‬ﻛﺎﻣﺒﻴــﺰ ﺩﻳﺮﺑﺎﺯ »ﻳﻚ ﮔﺰﺍﺭﺵ ﻭﺍﻗﻌﻲ«‪،‬‬ ‫ﺩﺍﺭﻳﻮﺵ ﻓﺮﻫﻨﮓ »ﻳﻚ ﮔــﺰﺍﺭﺵ ﻭﺍﻗﻌﻲ«‪ ،‬ﺑﻬﻨﺎﺯ ﺟﻌﻔﺮﻱ »ﺗﺮﺍﻧﻪ‬ ‫ﻛﻮﭼﻚ ﻣﻦ« ﻭ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪.‬‬ ‫ﺿﻤﻨــﺎ ﻛﺎﻣﺒﻴﺰ ﺩﻳﺮﺑﺎﺯ ﻓﻴﻠــﻢ »ﻣﻘﻠﺪ ﺷــﻴﻄﺎﻥ« ﺭﺍ ﻫﻢ ﺩﺭ ﺑﺨﺶ‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺟﺸﻨﻮﺍﺭﻩ ﺩﺍﺭﺩ‪.‬‬ ‫ﭘﮋﻣــﺎﻥ ﺑﺎﺯﻏــﻲ »ﺧﺎﻃــﺮﻩ« ﻭ »ﻓﺎﺻﻠــﻪ«؛ ﻣﺤﻤﺪﺭﺿــﺎ ﮔﻠﺰﺍﺭ‬ ‫»ﺩﻣﻮﻛﺮﺍﺳﻲ ﺩﺭ ﺭﻭﺯ ﺭﻭﺷﻦ«؛ ﺑﺎﺭﺍﻥ ﻛﻮﺛﺮﻱ »ﻟﻄﻔﺎ ﻣﺰﺍﺣﻢ ﻧﺸﻮﻳﺪ«؛‬ ‫ﺁﺗﻴﻼ ﭘﺴﻴﺎﻧﻲ »ﺳــﻔﺮ ﻣﺮگ«‪ ،‬ﻓﺮﺍﻣﺮﺯ ﻗﺮﻳﺒﻴﺎﻥ »ﻛﺎﺭﻧﺎﻭﺍﻝ ﻣﺮگ« ﻭ‬ ‫»ﻓﺎﺻﻠﻪ«؛ ﺑﻬﺮﺍﻡ ﺭﺍﺩﺍﻥ »ﻛﺎﺭﻧﺎﻭﺍﻝ ﻣﺮگ«‪ ،‬ﺭﺿﺎ ﺷﻔﻴﻌﻲﺟﻢ »ﭼﺮﺍﻍ‬ ‫ﻗﺮﻣﺰ« ﻭ »ﺩﺷﺖ ﺗﺎﺭﺯﺍﻥ«؛ ﺷﻘﺎﻳﻖ ﻓﺮﺍﻫﺎﻧﻲ »ﻣﻘﻠﺪ ﺷﻴﻄﺎﻥ« ﻭ ﻣﺮﺿﻴﻪ‬ ‫ﺑﺮﻭﻣﻨﺪ »ﻧﺨﻮﺩﻱ« ﻫﻢ ﺩﻳﮕﺮ ﺑﺎﺯﻳﮕﺮﺍﻧﻲ ﻫﺴــﺘﻨﺪ ﻛﻪ ﻓﻴﻠﻤﺸﺎﻥ ﺩﺭ‬ ‫ﺑﺨﺶﻫﺎﻱ ﺩﻳﮕﺮ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪ ﻏﻴﺮ ﺍﺯ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﺣﻀﻮﺭ ﺩﺍﺭﺩ‪ .‬ﻭ ﺍﻣﺎ ﭘﺮﻭﻳﺰ ﭘﺮﺳﺘﻮﻳﻲ‪ ،‬ﺭﺿﺎ ﻛﻴﺎﻧﻴﺎﻥ ﻭ ﻓﺎﻃﻤﻪ ﻣﻌﺘﻤﺪﺁﺭﻳﺎ‬ ‫ﺩﺭﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺗﻨﻬﺎ ﻓﻴﻠﻢ »ﺻﺪﺳــﺎﻝ ﺑﻪ ﺍﻳﻦ ﺳﺎﻝﻫﺎ« ﺭﺍ ﺧﺎﺭﺝ ﺍﺯ‬ ‫ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﭘﺮﻛﺎﺭﻫﺎﻯ ﺳﺎﻝ ﻗﺒﻞ‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﻓﺮﻭﺗﻦ‪ ،‬ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﻣﺮﺩ ﺳﺎﻝ ﻗﺒﻞ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺍﻣﺴﺎﻝ ﺑﺎ »ﭼﻬﻞﺳــﺎﻟﮕﻲ« ﺩﺭ ﺑﺨﺶ ﺍﺻﻠﻲ ﻭ»ﺩﻣﻮﻛﺮﺍﺳﻲ ﺩﺭ ﺭﻭﺯ‬ ‫ﺭﻭﺷﻦ« ﻭ »ﺩﻳﮕﺮﻱ« ﺩﺭ ﺑﺨﺶ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺣﺎﺿﺮ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﺳــﺎﻝ ﮔﺬﺷﺘﻪ ﺑﺎ ﭘﻨﺞ ﻓﻴﻠﻢ »ﭘﺎﻱ ﭘﻴﺎﺩﻩ«‪» ،‬ﭘﺴﺘﭽﻲ ﺳﻪ ﺑﺎﺭ ﺩﺭ‬ ‫ﻧﻤﻲﺯﻧﺪ«‪» ،‬ﺷﺒﺎﻧﻪﺭﻭﺯ«‪» ،‬ﻋﻴﺎﺭ ‪ «14‬ﻭ »ﻣﻴﺰﺍﻙ« ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ‬ ‫ﻣﺮﺩ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﻮﺩ‪.‬‬ ‫ﻧﻜﺘﻪ ﺟﺎﻟﺐ ﺩﺭﺑﺎﺭﻩ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﻋﺪﻡ ﺣﻀﻮﺭ ﻣﻬﺘﺎﺏ ﻛﺮﺍﻣﺘﻲ‪،‬‬ ‫ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺍﺳــﺖ ﻛﻪ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻱ »ﺑﻴﺴﺖ«‪،‬‬ ‫»ﺗﺮﺩﻳﺪ«‪» ،‬ﺩﻭﺯﺥ‪ ،‬ﺑﺮﺯﺥ‪ ،‬ﺑﻬﺸــﺖ« ﻭ »ﺷــﺒﺎﻧﻪ ﺭﻭﺯ« ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺑﻴﺴﺖﻭﻫﻔﺘﻢ ﺣﺎﺿﺮ ﺑﻮﺩ ﻭ ﺳﻴﻤﺮﻍ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﻣﻜﻤﻞ ﺯﻥ ﺭﺍ ﻧﻴﺰ‬ ‫ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺍﻣﺴﺎﻝ ﻓﻴﻠﻤﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻭ ﺍﻣﺴﺎﻝ ﺗﻨﻬﺎ ﺩﺭ‬ ‫ﻓﻴﻠﻢ »ﺁﺩﻣﻜﺶ« ﺣﺎﺿﺮ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺗﻮﺳﻂ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺑﻪ ﺑﺨﺶ‬ ‫ﺧﺎﺭﺝ ﺍﺯ ﻣﺴﺎﺑﻘﻪ ﻓﺮﺳــﺘﺎﺩﻩ ﺷﺪﻩ ﻭ ﺑﻌﺪ ﻫﻢ ﺍﺯ ﺳﻮﻯ ﺳﺎﺯﻧﺪﮔﺎﻧﺶ ﺑﻪ‬ ‫ﺍﻋﺘﺮﺍﺽ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺧﺎﺭﺝ ﺷﺪ‪.‬‬ ‫‪39‬‬ ‫‪9‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﻋﺰﻳﺰﺍﷲ ﺣﻤﻴﺪﻧﮋﺍﺩ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ »ﺁﻧﺎﻫﻴﺘﺎ«‬ ‫ﻓﻴﻠﻤﻲ ﺩﺳﺖﻧﺨﻮﺭﺩﻩ ﻭ ﺑﻜﺮ ‪....‬‬ ‫ﻧﮕﺎﺭ ﺑﺎﺑﺎﺧﺎﻧﻲ‬ ‫ﻋﺰﻳـﺰﺍﷲ ﺣﻤﻴﺪﻧـﮋﺍﺩ‪ ،‬ﺟـﺰﻭ‬ ‫ﻓﻴﻠﻤﺴﺎﺯﺍﻧﻲﺍﺳﺖﻛﻪﺧﺎﻃﺮﻩﺧﻮﺷﻲ‬ ‫ﺍﺯ ﺍﻭﻟﻴـﻦ ﺣﻀﻮﺭﺵ ﺩﺭ ﺟﺸـﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﺑﺎ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﺶ‬ ‫»ﻫﻮﺭ ﺩﺭ ﺁﺗﺶ« ﺭﻩ ﺻﺪﺳﺎﻟﻪ ﺭﺍ ﻳﻚ‬ ‫ﺷـﺒﻪ ﻃﻲ ﻛﺮﺩ ﻭ ﺳـﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ‬ ‫ﺑﻬﺘﺮﻳـﻦ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮﺩ‪.‬‬ ‫ﭘـﺲ ﺍﺯ ﺁﻥ ﺍﻣﺎ ﺳـﺎﺧﺘﻪﻫﺎﻱ ﺣﻤﻴﺪﻧـﮋﺍﺩ ‪ -‬ﺑﻪ ﻫـﺮ ﺩﻟﻴﻞ ‪-‬‬ ‫ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻪ ﺷـﺪ ﻭ ﺣﺘﻲ ﻓﻴﻠﻤﻲ ﭼﻮﻥ»ﺍﺷﻚ ﺳﺮﻣﺎ« ﻛﻪ‬ ‫ﺧﻮﺵﺳـﺎﺧﺖ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺑﻮﺩ ﻓﻘﻂ ﺟﺎﻳﺰﻩ ﻧﻮﻳﺴـﻨﺪﮔﺎﻥ‬ ‫ﻭ ﻣﻨﺘﻘﺪﺍﻥ ﺳـﻴﻨﻤﺎﻳﻲ ﺭﺍ ﺩﺭﻳﺎﻓـﺖ ﻛﺮﺩ ﻛﻪ ﺍﻟﺒﺘـﻪ ﺑﻪ ﮔﻔﺘﻪ‬ ‫ﺣﻤﻴﺪﻧﮋﺍﺩ ﺧﻴﻠﻲ ﻣﻬﻢﺗﺮ ﺍﺯ ﺟﻮﺍﻳﺰ ﺩﻳﮕﺮ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳـﺪ ﺩﺭ ﺟﺸـﻨﻮﺍﺭﻩ ﺍﻣﺴـﺎﻝ ﺍﻳﻦ ﻓﻴﻠﻤﺴـﺎﺯ‬ ‫ﻣﺘﻮﻟﺪ ﮔﺮﻣﺴـﺎﺭ ﺑﺎ ﺗﺎﺯﻩﺗﺮﻳﻦ ﺳﺎﺧﺘﻪﺍﺵ »ﺁﻧﺎﻫﻴﺘﺎ« ﻓﺮﺻﺖ‬ ‫ﺩﻭﺑﺎﺭﻩﺍﻱ ﺑﺮﺍﻱ ﺩﻳﺪﻩ ﺷـﺪﻥ ﻭ ﭼﻪ ﺑﺴـﺎ ﺩﺭﺧﺸـﻴﺪﻥ ﭘﻴﺪﺍ‬ ‫ﺧﻮﺍﻫـﺪ ﻛﺮﺩ‪ .‬ﺣﻀـﻮﺭ »ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ« ﭘـﺲ ﺍﺯ ﻏﻴﺒﺘﻲ ﭼﻨﺪ‬ ‫ﺳـﺎﻟﻪ ﺍﺯ ﭘﺮﺩﻩ ﺳـﻴﻨﻤﺎﻫﺎ ﻧﻴﺰ ﻳﻜﻲ ﺍﺯ ﭘﻮﺋﻦﻫﺎﻱ ﻣﺜﺒﺖ ﻓﻴﻠﻢ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻧﻔﻊ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺗﻤﺎﻡ ﺷﻮﺩ‪.‬‬ ‫ﺷﻬﺎﺏ ﺣﺴـﻴﻨﻲ ﻭ ﭘﻮﺭﻳﺎﭘﻮﺭﺳـﺮﺥ‪ ،‬ﺩﻭﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲ ﺩﻳﮕﺮ‬ ‫ﻓﻴﻠـﻢ ﻫﻢ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑـﺎ ﺩٌﺯ ﺑﺎﻻﻱ ﻣﺤﺒﻮﺑﻴﺖﺷـﺎﻥ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺟﻮﺍﻥﻫﺎ ﻣﻮﻓﻘﻴﺘﻲ ﺩﻳﮕﺮ ﺭﺍ ﺑﺮﺍﻱ ﺳـﺎﺧﺘﻪ ﺟﺪﻳﺪ ﺣﻤﻴﺪﻧﮋﺍﺩ‬ ‫ﺭﻗﻢ ﺑﺰﻧﻨـﺪ‪ .‬ﻣﻮﻓﻘﻴﺘﻲ ﻛﻪ ﺑﺎ ﻳﻚ ﺳـﻴﻤﺮﻍ ﻣﻲﺗﻮﺍﻧﺪ ﺧﺎﻃﺮﻩ‬ ‫ﺧﻮﺵ »ﻫﻮﺭ ﺩﺭ ﺁﺗﺶ« ﺭﺍ ﺑﺮﺍﻱ »ﺁﻧﺎﻫﻴﺘﺎ« ﺗﺪﺍﻋﻲ ﻛﻨﺪ‪.‬‬ ‫ﻓﻴﻠـﻢ »ﺁﻧﺎﻫﻴﺘﺎ«ﺑﻪ ﻃﻮﺭ ﺣﺘﻢ ﺩﺭ ﺟﺸـﻨﻮﺍﺭﻩ ﺑـﻪ ﻧﻤﺎﻳﺶ ﺩﺭ‬ ‫ﻣﻲﺁﻳﺪ؟‬ ‫ﺑﻠﻪ‪ ،‬ﺍﻧﺸﺎءﺍﷲ ﻗﺮﺍﺭ ﺍﺳﺖ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﺷﻮﺩ‪.‬‬ ‫ﻗﺼﻪ ﻓﻴﻠﻢ ﻇﺎﻫﺮﺍ ﺣﻮﻝ ﻭ ﺣﻮﺵ ﺗﺤﻘﻴﻘﺎﺕ ﻋﻠﻤﻲ ﭼﻨﺪ ﺟﻮﺍﻥ‬ ‫ﺍﺳﺖ‪ ،‬ﭼﻄﻮﺭ ﺷﺪ ﻛﻪ ﭼﻨﻴﻦ ﻣﻀﻤﻮﻧﻲ ﺭﺍ ﺩﺳﺘﻤﺎﻳﻪ ﻓﻴﻠﻢﺗﺎﻥ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺩﻳﺪ؟‬ ‫ﺍﺻﻮﻻ ﺑﺎﻳﺪ ﻓﻴﻠﻢ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺑﻴﺎﻳﺪ ﻛﻪ ﺑﺘﻮﺍﻥ ﺑﻬﺘﺮ ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﺻﺤﺒﺖ‬ ‫ﻛﺮﺩ ﻭﻟﻲ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿــﺮ ﻣﻲﺗﻮﺍﻧﻢ ﺍﻳﻨﮕﻮﻧﻪ ﺗﻮﺿﻴﺢ ﺑﺪﻫﻢ ﻛﻪ ﻃﺮﺡ‬ ‫‪40‬‬ ‫ﺍﺻﻠﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ »ﺁﻧﺎﻫﻴﺘﺎ« ﻳﻚ ﻭﻳﮋﮔﻲﻫﺎﻳﻲ ﺩﺍﺷﺖ ﻛﻪ ﻣﻦ ﺭﺍ ﻣﺼﺮ‬ ‫ﻛﺮﺩ ﺩﺭ ﺍﺑﻌﺎﺩ ﻣﺨﺘﻠﻒ ﺭﻭﻱ ﺁﻥ ﻛﺎﺭ ﻛﻨﻢ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﻀﻤﻮﻧﻲ ﺩﺳــﺖ‬ ‫ﻧﺨﻮﺭﺩﻩ ﻭ ﺑﻜﺮ ﺑﻮﺩ ﻭ ﻣﻦ ﺧﻴﻠﻲ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﺩﺭ ﻳﻚ ﻋﺮﺻﻪﺍﻱ ﻛﺎﺭ‬ ‫ﻛﻨﻢ ﻛﻪ ﺑﺮﺍﻱ ﺧﻮﺩﻡ ﺟﺪﻳﺪ ﻭ ﻃﺮﺍﻭﺕ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺗﻼﺵ ﻛﻨﻢ ﺑﺎﺏ‬ ‫ﺟﺪﻳﺪﻱ ﺭﺍ ﺑﺎﺯ ﻛﻨﻢ ﻛﻪ ﻳﻚ ﻣﻘﺪﺍﺭ ﺑﺎ ﺁﺛﺎﺭ ﻣﺘﻨﻮﻉﺗﺮﻱ ﺩﺭ ﺳﻴﻨﻤﺎ ﺭﻭﺑﻪﺭﻭ‬ ‫ﺷﻮﻳﻢ‪ .‬ﻣﻮﺿﻮﻉ ﻓﻴﻠﻢ ﻣﻌﺎﺻﺮ ﺍﺳــﺖ ﻭ ﻳﻚ ﺩﺭﺍﻡ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺳﺖ ﻛﻪ‬ ‫ﭘﺲﺯﻣﻴﻨﻪ ﻋﻠﻤﻲ ﺩﺍﺭﺩ ﻭ ﻣﻦ ﺗﻼﺵ ﻛﺮﺩﻡ ﺑﺎ ﺗﻠﻔﻴﻖ ﺭﻭﺍﺑﻂ ﺍﻧﺴﺎﻧﻲ ﺩﺭ‬ ‫ﺍﻳﻦ ﺩﺭﺍﻡ ﻭ ﻣﺴﺎﺋﻠﻲ ﻛﻪ ﺷــﺨﺼﻴﺖﻫﺎﻱ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺣﻮﻝ ﻭ ﺣﻮﺵ‬ ‫ﻣﺴﺎﻟﻪ ﻋﻠﻤﻲ ﻗﺼﻪ ﻃﻲ ﻣﻲﻛﻨﻨﺪ ﻳﻚ ﺗﻠﻔﻴﻖ ﻫﻤﺎﻫﻨﮕﻲ ﺭﺍ ﺍﻧﺠﺎﻡ ﺑﺪﻫﻢ‬ ‫ﻛﻪ ﺑﺮﺍﻱ ﻣﺨﺎﻃﺐ ﻫﻢ ﺟﺬﺍﺏ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﺯ ﭼﻪ ﺯﻣﺎﻧﻲ ﺍﻳﻦ ﻃﺮﺡ ﺭﺍ ﺩﺭ ﺫﻫﻨﺘﺎﻥ ﺩﺍﺷﺘﻴﺪ؟‬ ‫ﺗﻘﺮﻳﺒﺎ ﺣﺪﻭﺩ ﺩﻭ ﺳــﺎﻝ ﭘﻴﺶ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻣﻄﺎﻟﻌﺎﺗﻲ ﻛﻪ ﻛﺮﺩﻡ ﺗﺼﻤﻴﻢ‬ ‫ﮔﺮﻓﺘﻢ ﺭﻭﻱ ﭼﻨﻴﻦ ﻣﻮﺿﻮﻋﻲ ﻛﺎﺭ ﻛﻨﻢ‪.‬‬ ‫ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﻋﻠﻤﻲ ﺩﻗﻴﻘﺎ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﭼﻴﺴﺖ؟‬ ‫ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻳﻚ ﺳــﺮﻱ ﺗﺤﻘﻴﻘﺎﺗﻲ ﺍﺳــﺖ ﺩﺭ ﻣﻮﺭﺩ ﻛﺮﻳﺴﺘﺎﻝﻫﺎﻱ‬ ‫ﻣﻮﻟﻜﻮﻝ ﺁﺏ‪ ،‬ﻣﻨﺘﻬﺎ ﺍﻳﻦ ﺩﺭ ﻭﺍﻗﻊ ﻳﻚ ﺑﻴﺲ ﺍﺳــﺖ ﻭ ﺩﺭﺍﻡ ﻭ ﺳﻴﺮﻗﺼﻪ‬ ‫ﻳﻚ ﻣﻮﺿﻮﻉ ﺩﻳﮕﺮ ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﺑﺴــﺘﺮ ﺍﻳﻦ ﺗﺤﻘﻴﻘﺎﺕ ﻋﻠﻤﻲ ﺍﺗﻔﺎﻕ‬ ‫ﻣﻲﺍﻓﺘﺪ‪.‬‬ ‫ﭘﺎﻳﻴﺰ ﺍﻣﺴﺎﻝ ﺳﺮﻳﺎﻟﻲ ﺑﺎ ﻋﻨﻮﺍﻥ »ﻓﺎﻛﺘﻮﺭ ﻫﺸﺖ« ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﭘﺨﺶ ﺷﺪ ﻛﻪ ﻣﻮﺿﻮﻋﻲ ﻋﻠﻤﻲ ‪ -‬ﭘﺰﺷﻜﻲ ﺩﺳﺘﻤﺎﻳﻪ ﺍﺻﻠﻲ‬ ‫ﻛﺎﺭ ﻗـﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑـﻮﺩ ﻭ ﺭﻭﺍﺑﻂ ﻣﻴﺎﻥ ﺷـﺨﺼﻴﺖﻫﺎ ﻭ ﻭﻗﺎﻳﻊ‬ ‫ﺩﺍﺳـﺘﺎﻥ ﺣﻮﻝﻭﺣﻮﺵ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻋﻠﻤﻲ ﻣﻲﭼﺮﺧﻴﺪ‪ .‬ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻲﺭﺳﺪ »ﺁﻧﺎﻫﻴﺘﺎ« ﻫﻢ ﺍﺯ ﭼﻨﻴﻦ ﺣﺎﻝ ﻭ ﻫﻮﺍﻳﻲ ﺑﺮﺧﻮﺭﺩﺍﺭ‬ ‫ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﻦ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺭﺍ ﻛﻪ ﻧﺎﻡ ﺑﺮﺩﻳﺪ‪ ،‬ﻧﺪﻳﺪﻩﺍﻡ‪ ،‬ﻭﻟﻲ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﻓﻜﺮ ﻣﻲﻛﻨﻢ‬ ‫ﻓﻴﻠﻢ »ﺁﻧﺎﻫﻴﺘﺎ« ﺍﺯ ﺗﺎﺯﮔﻲ ﺧﺎﺻﻲ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻳﻜﻲ ﺍﺯ ﻣﻮﺍﺭﺩﻱ ﻛﻪ ﺩﺭ ﺧﺒﺮﻫﺎ ﻣﺮﺑﻮﻁ ﺑﻪ ﻓﻴﻠﻢ »ﺁﻧﺎﻫﻴﺘﺎ«ﺟﻠﺐ‬ ‫ﺗﻮﺟﻪ ﻣﻲﻛﺮﺩ‪ ،‬ﺣﻀﻮﺭ »ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ« ﺑﻪﻋﻨﻮﺍﻥ ﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲ‬ ‫ﺑﻮﺩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪﻳﻦ ﺳـﺎﻝ ﺩﻭﺭﻱ ﺍﺯ ﺍﻳﺮﺍﻥ ﺑـﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ‬ ‫ﻋﺮﺻﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﺎﺯﮔﺸﺖ‪ .‬ﺁﻳﺎ ﻭﺭﻭﺩ »ﺣﺠﺎﺭ« ﺑﻪ ﺍﻳﺮﺍﻥ‬ ‫ﺷﻤﺎ ﺭﺍ ﺑﻪ ﺍﻧﺘﺨﺎﺏ ﺍﻭ ﺑﺮﺍﻱ ﻓﻴﻠﻤﺘﺎﻥ ﺗﺮﻏﻴﺐ ﻛﺮﺩ ﻳﺎ ﺍﻳﻨﻜﻪ ﻭﺍﻗﻌﺎ‬ ‫ﮔﺰﻳﻨﻪ ﻣﻨﺎﺳﺒﻲ ﺑﺮﺍﻱ ﻧﻘﺶ ﺍﺻﻠﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﻮﺩ؟‬ ‫ﺑﻪﻫﺮﺣﺎﻝ ﺧﺎﻧﻢ »ﺣﺠﺎﺭ« ﮔﺰﻳﻨﻪ ﺧﻴﻠﻲ ﻣﻨﺎﺳﺒﻲ ﺑﻮﺩ ﺑﺮﺍﻱ ﻧﻘﺸﻲ ﻛﻪ‬ ‫ﻣﻲﺧﻮﺍﺳﺘﻢ ﻭ ﻭﺍﻗﻌﺎ ﺗﻼﺵ ﻛﺮﺩﻡ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺑﭽﻴﻨﻢ‬ ‫ﻛﻪ ﻳﻚ ﻫﻤﺎﻫﻨﮕﻲﺍﻱ ﺑﺎ ﻫﻢ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻭ ﻧﺴﺒﺖ ﺑﻪ ﺷﺨﺼﻴﺖﻫﺎﻱ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﺯ ﻳﻚ ﻫﺎﺭﻣﻮﻧﻲ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﺎﺷﺪ ﻛﻪ ﺑﻪ ﻓﻴﻠﻢ ﻛﻤﻚ ﻛﻨﺪ ﻭ‬ ‫ﺧﺎﺭﺝ ﺍﺯ ﻓﻀﺎﻱ ﻗﺼﻪ ﻭ ﻓﻴﻠﻢ ﻗﺮﺍﺭ ﻧﮕﻴﺮﻧﺪ‪.‬‬ ‫ﺍﮔﺮ »ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ« ﺯﻣﺎﻥ ﺳـﺎﺧﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﺍﻳﺮﺍﻥ ﻧﻴﺎﻣﺪﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺁﻳﺎ ﮔﺰﻳﻨﻪ ﺩﻳﮕﺮﻱ ﻫﻢ ﻣﺪﻧﻈﺮﺗﺎﻥ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺷـﺨﺼﻴﺖ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﻧﺰﺩﻳﻚ ﺑﺎﺷﺪ؟‬ ‫ﺑﻠــﻪ‪ .‬ﮔﺰﻳﻨﻪﻫــﺎﻱ ﺩﻳﮕــﺮﻱ ﺭﺍ ﻫــﻢ ﻣﺪﻧﻈــﺮ ﺩﺍﺷــﺘﻢ ﺍﺯ ﺟﻤﻠــﻪ‬ ‫ﺧﺎﻧﻢ »ﮔﻠﺸــﻴﻔﺘﻪ ﻓﺮﺍﻫﺎﻧﻲ« ﻛﻪ ﺍﻟﺒﺘﻪ ﺁﻥ ﻫﻢ ﻣﺼﺎﺩﻑ ﺷﺪ ﺑﺎ ﺯﻣﺎﻧﻲ‬ ‫ﻛﻪ ﺍﻳﺸــﺎﻥ ﺑﻪ ﻣﺴﺎﻓﺮﺕ ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﺮﺍﻥ ﺭﻓﺘﻨﺪ ﻭ ﺣﻀﻮﺭﺷﺎﻥ ﺑﻪﻧﻮﻋﻲ‬ ‫ﻣﻨﺘﻔﻲ ﺷﺪ ﻭﻟﻲ ﺑﻪﻫﺮﺣﺎﻝ ﭼﻨﺪ ﮔﺰﻳﻨﻪ ﺩﻳﮕﺮ ﻫﻢ ﺩﺭ ﺫﻫﻦ ﻣﻦ ﺑﻮﺩ ﻛﻪ‬ ‫ﺍﮔﺮ ﺧﺎﻧﻢ »ﺣﺠﺎﺭ« ﻫﻢ ﺑﻪ ﺍﻳﺮﺍﻥ ﻧﻤﻲﺁﻣﺪﻧﺪ ﺍﺣﺘﻤﺎﻝ ﺣﻀﻮﺭﺷﺎﻥ ﺩﺭ‬ ‫ﻧﻘﺶ ﺍﺻﻠﻲ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪.‬‬ ‫ﺁﻳﺎ ﻋﻨﻮﺍﻥ ﻓﻴﻠﻢ ﺭﺍ ﻫﻢ ﺑﺮﺍﺳﺎﺱ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻲ ﺯﻥ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻛﺮﺩﻩﺍﻳﺪ؟‬ ‫»ﺁﻧﺎﻫﻴﺘﺎ« ﻳﻚ ﻋﻨﻮﺍﻥ ﺳــﻤﺒﻠﻴﻚ ﺍﺳــﺖ ﻭ ﺷــﺨﺼﻴﺖ ﺍﺻﻠﻲ ﺯﻥ‬ ‫»ﺧﻮﺭﺷﻴﺪ« ﻧﺎﻡ ﺩﺍﺭﺩ‪.‬‬ ‫ﻣﺸـﻜﻠﻲ ﺑﺎﺑﺖ ﺣﻀﻮﺭ »ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ« ﺑـﺮﺍﻱ ﻓﻴﻠﻢ ﺑﻪﻭﺟﻮﺩ‬ ‫ﻧﻴﺎﻣﺪ؟‬ ‫ﺑﻪ ﻃﻮﺭ ﺟﺪﻱ ﺧﻴﺮ ﻣﺸﻜﻠﻲ ﭘﻴﺶ ﻧﻴﺎﻣﺪ‪.‬‬ ‫ﺷﻬﺎﺏ ﺣﺴﻴﻨﻲ ﻭ ﭘﻮﺭﻳﺎ ﭘﻮﺭﺳﺮﺥ ﻣﻲﺗﻮﺍﻧﻨﺪ ﻫﺮﻛﺪﺍﻡ ﺑﺎﺯﻳﮕﺮ‬ ‫ﻧﻘﺶ ﺍﺻﻠﻲ ﻳﻚ ﻓﻴﻠﻢ ﺑﺎﺷﻨﺪ‪ ،‬ﭼﻄﻮﺭ ﺷﺪ ﻛﻪ ﻫﻤﺰﻣﺎﻥ ﺩﺭ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺑﺎﺯﻱ ﻛﺮﺩﻧﺪ؟‬ ‫ﺑﻪﻫﺮﺣﺎﻝ ﺁﻧﻬﺎ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺧﻮﺍﻧﺪﻧﺪ ﻭ ﺍﻧﮕﻴﺰﻩﻫﺎﻳﻲ ﺑﺮﺍﻳﺸﺎﻥ ﺑﻪﻭﺟﻮﺩ‬ ‫ﺁﻣﺪ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﺑﺘﻮﺍﻧﻨﺪ ﺍﻳﻔﺎﻱ ﻧﻘــﺶ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﺎ ﻫﻤﮕﻲ‬ ‫ﺗﻼﺵ ﻛﺮﺩﻳﻢ ﻛﻪ ﺑﺎﺯﻱﻫﺎﻱ ﺧﻴﻠﻲ ﺧﻮﺑﻲ ﺍﺭﺍﺋﻪ ﺷﻮﺩ ﻭ ﺑﻪ ﻋﻘﻴﺪﻩ ﻣﻦ‬ ‫ﺍﻳﻦ ﺳﻪ ﻧﻔﺮ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻱﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ ﻛﻪ ﺑﺎ ﭼﻴﻨﺶ ﺍﻳﻦ ﺳـﻪ ﺑﺎﺯﻳﮕﺮ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﺑﺎ‬ ‫ﻳﻚ ﻣﺜﻠﺚ ﻋﺸﻘﻲ ﻫﻢ ﺩﺭ ﻓﻴﻠﻢ ﻣﻮﺍﺟﻪ ﺑﺎﺷﻴﻢ‪....‬‬ ‫ﻗﺼﻪ ﻓﻴﻠﻢ ﺑﻪﻧﻮﻋﻲ ﻣﻌﻤﺎﻳﻲ ﺍﺳــﺖ ﻭ ﺗﻌﻠﻴﻘﺎﺗــﻲ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪﻫﺮﺣﺎﻝ‬ ‫ﺫﻫﻦ ﺭﺍ ﺁﺭﺍﻡ ﻧﻤﻲﮔــﺬﺍﺭﺩ ﻭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺫﻫﻦ ﻣﺨﺎﻃﺐ‬ ‫ﺭﺍ ﺩﺭﮔﻴﺮ ﻛﻨﺪ ﺑﺎ ﺩﺭﻭﻧﻴﺎﺕ ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﻣﺤﻮﺭ ﻛﺎﺭ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﺍﻳﻔﺎﻱ ﻧﻘﺶ ﻣﻲﻛﻨﻨﺪ‪.‬‬ ‫ﺷﻤﺎﺟﺰﻭﻛﺎﺭﮔﺮﺩﺍﻥﻫﺎﻳﻲﻫﺴﺘﻴﺪﻛﻪﻫﻤﻮﺍﺭﻩﻓﻴﻠﻢﻫﺎﻳﺘﺎﻥﺩﺭ‬ ‫ﺩﻭﺭﻩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺟﺸﻨﻮﺍﺭﻩ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺩﺍﻭﺭﺍﻥ ﻭ ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻣﻮﻗﻌﻴﺖ ﻓﻴﻠﻢ »ﺁﻧﺎﻫﻴﺘﺎ« ﺭﺍ ﺩﺭ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﭼﻄﻮﺭ ﻣﻲﺑﻴﻨﻴﺪ؟‬ ‫ﺍﺯ ﻧﻜﺘﻪﺍﻱ ﻛﻪ ﮔﻔﺘﻴﺪ ﻣﻤﻨﻮﻧﻢ‪ ،‬ﻭﻟﻲ ﺍﺻﻮﻻ ﻭﻗﺘﻲ ﻓﻴﻠﻢ ﻣﻲﺳــﺎﺯﻡ ﺑﻪ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻜﺮ ﻧﻤﻲﻛﻨﻢ‪ .‬ﻳﻌﻨﻲ ﺍﺯ ﻫﻤﺎﻥ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﻟﻴﻪﺍﻡ ﺗﺎﻛﻨﻮﻥ‬ ‫ﺗﻼﺵ ﻣﻲﻛﻨﻢ ﻓﻴﻠﻤﻢ ﺭﺍ ﺑﺮﺍﺳﺎﺱ ﻋﻘﺎﻳﺪ ﺣﺮﻓﻪﺍﻱﺍﻡ ﺑﺴﺎﺯﻡ ﻭ ﻓﻴﻠﻤﻲ‬ ‫ﺑﺴــﺎﺯﻡ ﻛﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﺘﻮﺍﻧﻢ ﺍﺯ ﺁﻥ ﺩﻓﺎﻉ ﻛﻨﻢ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﻦ‬ ‫ﺗﻼﺵ ﻣﻲﻛﻨﻢ ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﺍﺣﺘﺮﺍﻣﻲ ﻛﻪ ﺑــﺮﺍﻱ ﻣﺨﺎﻃﺐ ﻗﺎﺋﻠﻢ ﻓﻴﻠﻢ‬ ‫ﺑﺴــﺎﺯﻡ ﻭ ﺍﺯ ﻫﻤﻪ ﻋﻮﺍﻣﻠﻲ ﻛﻪ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﻣﻲﻛﻨﻢ ﺑﻪ ﻧﺤﻮ ﺍﺣﺴــﻦ‬ ‫ﺍﺳــﺘﻔﺎﺩﻩ ﻛﻨﻢ ﺗﺎ ﺩﺭ ﺧﺪﻣﺖ ﻛﺎﺭ ﺑﺎﺷﻨﺪ‪ .‬ﻫﺮ ﻣﻮﺿﻮﻋﻲ ﺭﺍ ﻫﻢ ﻣﻌﻤﻮﻻ‬ ‫ﺩﺳــﺖ ﻧﻤﻲﮔﻴﺮﻡ ﻭ ﻭﻗﺘﻲ ﻣﻮﺿﻮﻋﻲ ﺭﺍ ﺑﻪ ﺳﺮﺍﻏﺶ ﻣﻲﺭﻭﻡ ﺑﺎ ﺗﻤﺎﻡ‬ ‫ﺗﻮﺍﻥ ﺳــﻌﻲ ﻣﻲﻛﻨﻢ ﺁﻥ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﻢ ﻭ ﻓﻴﻠﻢ»ﺁﻧﺎﻫﻴﺘﺎ« ﻫﻢ ﺍﺯ‬ ‫ﺁﻥ ﺟﻤﻠﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻨﻜﻪ ﺣﺎﻻ ﻓﻴﻠﻤﻢ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎ ﻣــﻮﺭﺩ ﺗﻮﺟﻪ ﻫﻴﺎﺕ ﺩﺍﻭﺭﻱ ﻗﺮﺍﺭ‬ ‫ﺑﮕﻴﺮﺩ ﻳﺎ ﻧﮕﻴﺮﺩ ﺩﺭ ﺳﺮﻧﻮﺷــﺖ ﻧﻮﻉ ﻓﻴﻠﻤﺴﺎﺯﻱ ﻣﻦ ﺯﻳﺎﺩ ﻣﻮﺛﺮ ﻧﺒﻮﺩﻩ‬ ‫ﺍﺳﺖ ﻭﻟﻲ ﮔﺎﻫﻲ ﻓﻴﻠﻢﻫﺎﻳﻢ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻭﺍﻗﻊ ﺷﺪﻩﺍﻧﺪ‪ .‬ﻛﻤﺎ ﺍﻳﻨﻜﻪ ﻓﻴﻠﻢ‬ ‫»ﺍﺷﻚ ﺳﺮﻣﺎ« ﺩﺭ ﭼﻨﺪ ﺩﻭﺭﻩ ﻗﺒﻠﻲ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻣﻮﺭﺩ ﺗﻮﺟﻪ‬ ‫ﺩﺍﻭﺭﺍﻥ ﻧﺒﻮﺩ‪ .‬ﺑﻠﻜﻪ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻛﺎﺭﺷﻨﺎﺳــﺎﻥ ﻭ ﻣﻨﺘﻘﺪﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻭ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎﻱ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﻫﻢ ﺁﻥ ﺭﺍ ﭘﺴﻨﺪﻳﺪﻧﺪ ﻭ‬ ‫ﺣﺪﻭﺩ ‪ 7-8‬ﺟﺎﻳــﺰﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻫﻢ ﺩﺭﻳﺎﻓﺖ ﻛــﺮﺩ ﻭﻟﻲ ﻫﻤﻪ ﺍﻳﻨﻬﺎ‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺑﺤﺚﻫﺎﻱ ﺑﻌﺪﻱ ﻭ ﺟﻨﺒﻲ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﺍﺳﺖ‪ .‬ﻣﻦ ﻣﻌﺘﻘﺪﻡ‬ ‫ﻓﻴﻠﻤﺴﺎﺯ ﺑﻪ ﻣﺤﺾ ﺍﻳﻨﻜﻪ ﺑﺎ ﻳﻚ ﻣﻮﺿﻮﻋﻲ ﺍﺭﺗﺒﺎﻁ ﺗﻨﮕﺎﺗﻨﮓ ﺑﺮﻗﺮﺍﺭ‬ ‫ﻛﺮﺩ ﺑﺎﻳﺪ ﺗﻼﺵ ﻛﻨﺪ ﺑﺎ ﺩﺭﻳﺎﻓﺖﻫﺎ ﻭ ﺍﻧﺪﻳﺸــﻪﻫﺎﻱ ﺧﻮﺩﺵ ﻓﻴﻠﻤﺶ‬ ‫ﺭﺍ ﺑﺴــﺎﺯﺩ ﻭ ﺍﺭﺍﺋــﻪ ﺑﺪﻫﺪ‪ ،‬ﺣﺎﻻ ﺧﻴﻠﻲ ﺑﺎﻳﺪ ﺧﻮﺷــﺒﺨﺖ ﺑﺎﺷــﺪ ﻛﻪ‬ ‫ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﻭ ﻣﺨﺎﻃﺒﺎﻥ ﻫﻢ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﻨﺪ‪.‬‬ ‫ﺁﻳﺎ ﺑـﻪ ﻣﺨﺎﻃﺐ ﺍﻧﺒـﻮﻩ ﻭ ﻓﺮﻭﺵ ﺑـﺎﻻﻱ ﻓﻴﻠﻢﺗـﺎﻥ ﻫﻢ ﻓﻜﺮ‬ ‫ﻣﻲﻛﻨﻴﺪ؟‬ ‫ﺑﻪﻫﺮﺣﺎﻝ ﺗﻼﺵ ﻣﻲﻛﻨﻢ ﻓﻴﻠﻤﻲ ﺑﺴــﺎﺯﻡ ﻛﻪ ﺟﺬﺍﺏ ﺑﺎﺷﺪ‪ ،‬ﻫﻤﻴﻦ‬ ‫ﺟﺬﺍﺑﻴﺖ ﭼﻪ ﺑﺨﻮﺍﻫﻴﻢ ﻭ ﭼﻪ ﻧﺨﻮﺍﻫﻴﻢ ﻣﺨﺎﻃﺐ ﺭﺍ ﻫﻢ ﺩﺭ ﭘﻲ ﺧﻮﺍﻫﺪ‬ ‫ﺩﺍﺷﺖ‪ .‬ﻳﻌﻨﻲ ﻣﻦ ﺑﻪﻋﻨﻮﺍﻥ ﻓﻴﻠﻤﺴﺎﺯ ﺑﺎﻳﺪ ﺗﻼﺵ ﻛﻨﻢ ﻓﻴﻠﻢ ﺩﻳﺪﻧﻲ ﻭ‬ ‫ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻭ ﻗﺎﺑﻞ ﺑﺎﻭﺭﻱ ﺑﺴﺎﺯﻡ‪ .‬ﺣﺎﻻ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ‬ ‫ﻭ ﻗﺎﺑﻞ ﺑﺎﻭﺭ ﺩﺭ ﻳﻚ ﺷﺮﺍﻳﻂ ﺳﻴﺎﺳــﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺨﺎﻃﺐ ﻭﺳﻴﻌﻲ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻳﺎ ﺑﺮﻋﻜﺲ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﭼﻮﻥ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺍﻭﺿﺎﻉ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺎ ﺛﺒﺎﺕ ﻧﺪﺍﺭﺩ ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﻳﻚ‬ ‫ﻓﻴﻠﻤﺴﺎﺯ ﺩﺳﺖ ﺑﮕﺬﺍﺭﺩ ﺭﻭﻱ ﻣﻮﺿﻮﻋﻲ ﻛﻪ ﺑﻪ ﻓﺮﺽ ﺟﺰﻭ ﺧﻂﻗﺮﻣﺰﻫﺎ‬ ‫ﺑﺎﺷــﺪ‪ ،‬ﻣﻨﺘﻬﺎ ﺍﺯ ﻧﻈﺮ ﺗﻜﻨﻴﻜﻲ ﺑﺴﻴﺎﺭ ﺿﻌﻴﻒ ﺑﺎﺷﺪ ﻭ ﺁﻥ ﻓﻴﻠﻢ ﻓﺮﻭﺵ‬ ‫ﺑﺴــﻴﺎﺭﻱ ﻛﻨﺪ ﻭ ﭼﻨﻴﻦ ﻓﻴﻠﻤﻲ ﻇﺮﻑ ﻳﻜﻲ ‪ -‬ﺩﻭ ﺳﺎﻝ ﺑﻪ ﻓﺮﺍﻣﻮﺷﻲ‬ ‫ﺳﭙﺮﺩﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺍﻳﻦ ﻳﻚ ﻧﻮﻉ ﻓﻴﻠﻤﺴﺎﺯﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪﻋﻘﻴﺪﻩ ﻣﻦ‬ ‫ﻳﻚ ﻧﻮﻉ ژﻭﺭﻧﺎﻟﻴﺴﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺍﺳﺖ‪ .‬ﻳﻚ ﻧﻮﻉ ﻓﻴﻠﻤﺴﺎﺯﻱ ﻫﻢ ﻫﺴﺖ‬ ‫ﻛــﻪ ﺩﺭ ﻭﺍﻗﻊ ﺭﻭﻱ ﺍﺻﻮﻝ ﻭ ﺍﻋﺘﻘﺎﺩ ﻭ ﺷــﻢ ﺣﺮﻓﻪﺍﻱ ﻭ ﻫﻨﺮﻱ ﺁﻥ ﻓﻴﻠﻢ‬ ‫ﺳــﺎﺧﺘﻪ ﻣﻲﺷــﻮﺩ ﻭ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ ﻋﻤﻮﻣﺎ ﺩﺭ ﺩﺭﺍﺯ ﻣﺪﺕ ﺩﺭ ﻳﺎﺩﻫﺎ‬ ‫ﻣﻲﻣﺎﻧﻨﺪ ﻭ ﺑﻪ ﺯﻭﺩﻱ ﻓﺮﺍﻣﻮﺵ ﻧﻤﻲﺷﻮﻧﺪ‪ .‬ﻣﻦ ﺗﻼﺵ ﻣﻲﻛﻨﻢ ﺍﺯ ﺍﻳﻦ‬ ‫ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ ﺑﺴﺎﺯﻡ ﻭ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻤﺴﺎﺯﻱ ﺑﺮﺍﻳﻢ ﻣﻬﻢﺗﺮ ﺍﺳﺖ ﺗﺎ ﺍﻳﻨﻜﻪ‬ ‫ﻣﻮﺿﻮﻋﻲ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺑﮕﻴﺮﻡ ﻛﻪ ﺳﺮﻭﺻﺪﺍﻱ ﺯﻳﺎﺩﻱ ﻛﻨﺪ ﻭ ﻇﺮﻑ ﻳﻜﻲ‪،‬‬ ‫ﺩﻭ ﺳﺎﻝ ﻓﺮﺍﻣﻮﺵ ﺷﻮﺩ‪.‬‬ ‫ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺷـﻤﺎ »ﻫﻮﺭ ﺩﺭ ﺁﺗﺶ«ﻛﻪ ﺑﺮﻧﺪﻩ ﺳﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ‬ ‫ﺩﻫﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺷﺪ ﺍﺛﺮﻱ ﺩﺭ ژﺍﻧﺮ ﺩﻓﺎﻉ ﻣﻘﺪﺱ‬ ‫ﺑﻮﺩ ﻭ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻌﺪﻱﺗﺎﻥ »ﺳﺘﺎﺭﮔﺎﻥ ﺧﺎﻙ«‪» ،‬ﻗﻠﻪ ﺩﻧﻴﺎ« ﻭ‬ ‫»ﺍﺷﻚ ﺳﺮﻣﺎ« ﺗﺎﺣﺪﻭﺩﻱ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻣﻮﺿﻮﻉ ﺩﻓﺎﻉ ﻣﻘﺪﺱ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﭼﻄﻮﺭ ﺷﺪ ﺩﺭ »ﺁﻧﺎﻫﻴﺘﺎ«ﺍﺯ ﺍﻳﻦ ﻓﻀﺎ ﺟﺪﺍ ﺷﺪﻳﺪ؟‬ ‫ﺧﺐ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻨﻜﻪ ﻣــﻦ ﺧﻮﺩﻡ ﺭﺍ ﻣﺤﺪﻭﺩ ﻧﻜــﺮﺩﻡ ﺑﻪ ﻳﻚ ﻓﻀﺎﻱ‬ ‫ﺧﺎﺹ‪ .‬ﻣﻦ ﻣﻌﺘﻘﺪﻡ ﻛﻪ ﻓﻴﻠﻤﺴﺎﺯ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﻫﺮ ﻣﻮﻗﻌﻴﺘﻲ ﻓﻴﻠﻤﺶ‬ ‫ﺭﺍ ﺑﺴﺎﺯﺩ‪.‬‬ ‫ﻣﻨﺘﻬﺎ ﺁﻥ ﺳﺎﻝﻫﺎ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻣﺴﺎﺋﻞ ﻣﺮﺑﻮﻁ ﺑﻪ ﺟﻨﮓ ﻣﻮﺿﻮﻋﺎﺗﻲ ﺭﺍ‬ ‫ﺩﺳﺖ ﮔﺮﻓﺘﻢ ﻛﻪ ﻣﻌﺘﻘﺪﻡ ﺑﺎﻳﺪ ﻛﺎﺭ ﻣﻲﻛﺮﺩﻡ ﻭ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺑﺠﺎﻳﻲ ﺑﻮﺩ‬ ‫ﻭ ﻣﻦ ﻫﻢ ﺁﻥ ﺁﺛﺎﺭ ﺭﺍ ﺳــﺎﺧﺘﻢ‪ .‬ﺍﻻﻥ ﺩﺭ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﻢ‬ ‫ﻛﻪ ﻳﻚ ﻣﺴﺌﻮﻟﻴﺖ ﺩﻳﮕﺮﻱ ﺑﻪ ﻋﻬﺪﻩﺍﻡ ﻫﺴﺖ ﻛﻪ ﺑﺎﻳﺪ ﺩﺭ ﻳﻚ ﻣﺴﻴﺮ‬ ‫ﺩﻳﮕــﺮﻱ ﮔﺎﻡ ﺑــﺮﺩﺍﺭﻡ ﻭ ﺑﻪﻫﺮﺣﺎﻝ ﻧﻔﺲ ﻋﻤﻞ ﻣﻬﻢ ﺍﺳــﺖ ﻭ ﺍﻳﻨﻜﻪ‬ ‫ﻓﻴﻠﻤﺴﺎﺯ ﺑﺎﻳﺪ ﺳﻌﻲ ﻛﻨﺪ ﻓﻴﻠﻢ ﻗﺎﺑﻞﻗﺒﻮﻟﻲ ﺑﺴﺎﺯﺩ ﻭ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﻣﻬﻢﺗﺮ‬ ‫ﺍﺯ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺣﺎﻻ ﺩﺭ ﭼﻪ ﻋﺮﺻﻪ ﻭ ﭼﻪ ژﺍﻧﺮﻱ ﻛﺎﺭ ﻛﻨﺪ‪.‬‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﻩ »ﺁﻧﺎﻫﻴﺘﺎ« ﻣﺮﻛﺰ ﮔﺴـﺘﺮﺵ ﺳﻴﻨﻤﺎﻳﻲ ﻣﺴﺘﻨﺪ‬ ‫ﻭ ﺗﺠﺮﺑﻲ ﺍﺳﺖ؟‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺧﻮﺩﻡ ﺑﻪﻋﻬﺪﻩ ﺩﺍﺭﻡ ﺑﺎ ﻣﺸــﺎﺭﻛﺖ ﺑﺨﺶ‬ ‫ﺧﺼﻮﺻﻲ‪ .‬ﻣﺮﻛﺰ ﮔﺴﺘﺮﺵ ﻫﻢ ﻳﻚ ﻣﺸﺎﺭﻛﺘﻲ ﺑﻪﻋﻨﻮﺍﻥ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ‬ ‫ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺍﺭﺩ‪.‬‬ ‫ﺁﻳـﺎ ﺯﻣﺎﻥﻫﺎﻳﻲ ﻛﻪ ﻓﻴﻠـﻢ ﻧﻤﻲﺳـﺎﺯﻳﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺸـﺎﻭﺭ‬ ‫ﻛﺎﺭﮔـﺮﺩﺍﻥ ﺩﺭ ﺑﺮﺧﻲ ﭘﺮﻭژﻩﻫﺎ ﻓﻌﺎﻟﻴـﺖ ﻣﻲﻛﻨﻴﺪ‪ ،‬ﭼﻮﻥ ﺩﺭ‬ ‫ﻓﻴﻠﻢ »ﮔﻨﺎﻩ ﻣﻦ« ﻣﻬﺮﺷﺎﺩ ﻛﺎﺭﺧﺎﻧﻲ ﺳﻤﺖ ﻣﺸﺎﻭﺭ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ‬ ‫ﺭﺍ ﺩﺍﺷﺘﻴﺪ‪.‬‬ ‫ﺑﺮﺍﻱ ﻣﺸﺎﻭﺭﻩ ﭘﻴﺸــﻨﻬﺎﺩﻫﺎﻱ ﻣﺘﻌﺪﺩﻱ ﻣﻲﺷﻮﺩ ﻣﻨﺘﻬﺎ ﻣﻦ ﻛﻤﺘﺮ‬ ‫ﻗﺒﻮﻝ ﻣﺴﺌﻮﻟﻴﺖ ﻣﻲﻛﻨﻢ‪ ،‬ﺑﻪ ﺩﻻﻳﻠﻲ ﻛﻢ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﻛﻪ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﻣﺸﺎﻭﺭ ﺩﺭ ﻓﻴﻠﻤﻲ ﺣﻀﻮﺭ ﺩﺍﺷــﺘﻪ ﺑﺎﺷﻢ‪ .‬ﺩﺭ ﻓﻴﻠﻢ »ﮔﻨﺎﻩ ﻣﻦ« ﻫﻢ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﺍﻳﻨﻜﻪ ﻣﻬﺮﺷﺎﺩ ﻛﺎﺭﺧﺎﻧﻲ ﺑﺮﺍﺩﺭ ﺗﻨﻲ ﻣﻦ ﻫﺴﺖ ﻭﻇﻴﻔﻪﺍﻡ‬ ‫ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺸﺎﻭﺭ ﺩﺭ ﻛﻨﺎﺭﺵ ﺑﺎﺷﻢ ﻣﻨﺘﻬﺎ ﻛﺎﺭ ﺭﺍ ﺑﻴﺸﺘﺮ‬ ‫ﺍﻳﺸــﺎﻥ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻧﺪ ﻭ ﻣﻦ ﻓﻘﻂ ﺑﻪﻋﻨﻮﺍﻥ ﻳــﻚ ﺩﻟﮕﺮﻣﻲ ﺩﺭ ﻛﺎﺭ‬ ‫ﺣﻀﻮﺭ ﺩﺍﺷﺘﻢ‪.‬‬ ‫ﺍﻣﺴـﺎﻝ ﺻﺤﺒﺖﻫﺎﻳﻲ ﻣﺒﻨﻲﺑﺮ ﺍﻳﻨﻜﻪ ﺑﺮﺧﻲ ﺍﺯ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ‬ ‫ﻗﺼﺪ ﻧﺪﺍﺭﻧﺪ ﻓﻴﻠﻢﺷﺎﻥ ﺭﺍ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺭﺍﺋﻪ ﺑﺪﻫﻨﺪ ﻳﺎ ﺁﻥ ﺭﺍ‬ ‫ﺗﺤﺮﻳﻢ ﻣﻲﻛﻨﻨﺪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻧﻮﻉ ﻣﻮﺿﻊﮔﻴﺮﻱﻫﺎ ﺭﺍ ﺩﺭ‬ ‫ﻗﺒﺎﻝ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﻫﻨﺮﻱ ﭼﻄﻮﺭ ﺍﺭﺯﻳﺎﺑﻲ ﻣﻲﻛﻨﻴﺪ؟‬ ‫ﺟﺎﻣﻌﻪ ﻣﺎ ﻣﻨﺎﺳﺒﺎﺕ ﺑﺴﻴﺎﺭ ﭘﻴﭽﻴﺪﻩﺍﻱ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﻋﻘﻴﺪﻩ ﻣﻦ ﺍﮔﺮ ﻛﺴﻲ‬ ‫ﺑﺨﻮﺍﻫﺪ ﻛﺎﺭ ﺳﻴﺎﺳﻲ ﺍﻧﺠﺎﻡ ﺩﻫﺪ ﺑﺎﻳﺪ ﻣﺴﺘﻘﻴﻤﺎ ﻛﺎﺭ ﺳﻴﺎﺳﻲ ﻛﻨﺪ‪ .‬ﺍﮔﺮ‬ ‫ﻫﻢ ﻛﺴﻲ ﻣﻲﺧﻮﺍﻫﺪ ﻛﺎﺭ ﻓﺮﻫﻨﮕﻲ ﺍﻧﺠﺎﻡ ﺩﻫﺪ ﺑﺎﻳﺪ ﻛﺎﺭ ﻓﺮﻫﻨﮕﻲ ﻛﻨﺪ‬ ‫ﻭ ﺍﮔﺮ ﺩﻳﺪﮔﺎﻩﻫﺎﻱ ﻓﺮﺍﺳﻴﺎﺳﻲﺍﺵ ﺭﺍ ﺑﻪ ﺟﺎﻣﻌﻪ ﺗﺰﺭﻳﻖ ﻛﻨﺪ ﻭ ﺟﺎﻣﻌﻪ ﺭﺍ‬ ‫ﺗﺤﺖﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ ﺩﻫﺪ ﺍﻳﻦ ﺧﻴﻠﻲ ﻣﻮﺛﺮﺗﺮ ﺍﺯ ﻛﺎﺭ ﺳﻴﺎﺳﻲ ﺍﺳﺖ‪.‬‬ ‫ﻓﻴﻠﻤﺴﺎﺯ ﺑﻪ ﻋﻘﻴﺪﻩ ﻣﻦ ﺑﺎﻳﺪ ﻛﺎﺭ ﻓﺮﻫﻨﮕﻲ ﻛﻨﺪ ﻭﻟﻮ ﺍﻳﻨﻜﻪ ﺩﻳﺪﮔﺎﻩﻫﺎﻱ‬ ‫ﺷﺨﺼﻲ ﺳﻴﺎﺳﻲ ﻫﻢ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﻫﺮﭼﻪ ﺩﺍﻣﻦ ﻓﺮﻫﻨﮓ ﺍﺯ ﺳﻴﺎﺳﺖ‬ ‫ﺩﻭﺭﺗﺮ ﺑﺎﺷــﺪ ﻭ ﺑﻪ ﺳﻴﺎﺳــﺖ ﺁﻟﻮﺩﻩ ﻧﺸــﻮﺩ ﻓﻜﺮ ﻣﻲﻛﻨﻢ ﺁﺛﺎﺭ ﺑﻬﺘﺮﻱ‬ ‫ﻣﻲﺗﻮﺍﻧﺪ ﺗﺤﻮﻳــﻞ ﺟﺎﻣﻌﻪ ﺑﺪﻫﺪ ﻭ ﺟﺎﻣﻌﻪ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺍﻋﺘﻼﻱ ﻓﺮﻫﻨﮕﻲ‬ ‫ﻭ ﺭﻭﺣﻲ ﻭ ﺭﻭﺍﻧﻲ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ ﺑﺪﻫﺪ‪ .‬ﻛﺎﺭ ﺳﻴﺎﺳــﻲ ﻣﻨﺎﺳﺒﺎﺗﻲ ﺭﺍ‬ ‫ﻣﻲﻃﻠﺒﺪ ﻛﻪ ﺧﺐ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻛﻤﺘﺮ ﻭﺍﺭﺩ ﺁﻥ ﻣﻨﺎﺳﺒﺎﺕ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﭼﻮﻥ ﻳــﻚ ﺑﺨﺶ ﺯﻳﺎﺩﻱ ﺍﺯ ﻣﻨﺎﺳــﺒﺎﺕ ﺳﻴﺎﺳــﻲ ﺑــﻪ ﻋﻘﻴﺪﻩ ﻣﻦ‬ ‫ﺿﺪﻓﺮﻫﻨﮕﻲ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻛﻼ ﺑﺎ ﺑﺮﮔﺰﺍﺭﻱ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻣﻮﺍﻓﻘﻴﺪ؟‬ ‫ﺑﻪﻋﻘﻴﺪﻩ ﻣﻦ ﺑﺮﮔﺰﺍﺭﻱ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﮔﺮ ﺳﻴﺎﺳــﻲ ﺑﺎﺷﺪ ﻭ‬ ‫ﺑﺨﻮﺍﻫﺪ ﺍﺯ ﺁﻥ ﺳﻮءﺍﺳﺘﻔﺎﺩﻩﻫﺎﻱ ﺳﻴﺎﺳﻲ ﺷﻮﺩ ﺧﻮﺏ ﻧﻴﺴﺖ ﻭﻟﻲ ﺍﮔﺮ‬ ‫ﻓﺮﻫﻨﮕﻲ ﺑﺮﮔﺰﺍﺭ ﺷــﻮﺩ ﻭ ﺑﺪﻭﻥ ﺩﻏﺪﻏﻪﻫﺎ ﻭ ﻏﻞ ﻭ ﻏﺶﻫﺎﻱ ﺳﻴﺎﺳﻲ‬ ‫ﺑﺎﺷﺪ ﺧﻴﻠﻲ ﺧﻮﺏ ﺍﺳﺖ‪.‬‬ ‫ﺁﻳﺎ ﺑﺮﻧﺎﻣﻪﺍﻱ ﺑﺮﺍﻱ ﺍﻛﺮﺍﻥ »ﺁﻧﺎﻫﻴﺘﺎ« ﺩﺭ ﺳﺎﻝ ﺁﻳﻨﺪﻩ ﺩﺍﺭﻳﺪ؟‬ ‫ﺑﻠﻪ‪ ،‬ﺗﻼﺵ ﻣﻲﻛﻨﻴﻢ ﺍﻧﺸﺎء ﺍﷲ ﺩﺭ ﺍﻭﻟﻴﻦ ﻓﺮﺻﺖ ﺣﺘﻲ ﺍﮔﺮ ﺑﺸﻮﺩ ﺑﺮﺍﻱ‬ ‫ﻧﻮﺭﻭﺯ ‪ 89‬ﺁﻥ ﺭﺍ ﺍﻛﺮﺍﻥ ﻛﻨﻴﻢ‪.‬‬ ‫ﻳﺎﺩﺩﺍﺷﺖ‬ ‫ﺭﻭﺍﻳﺘﻲ ﺍﺯ ﭘﻴﺎﻣﺒﺮ ﭘﺎﺩﺷﺎﻩ‬ ‫ﺷﻬﺮﻳﺎﺭ ﺑﺤﺮﺍﻧﻲ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢ »ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ«‬ ‫ﺷــﺮﻭﻉ ﻛﺎﺭ ﻣﺎ ﺑــﺮﺍﻱ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ»ﻣﻠﻚﺳﻠﻴﻤﺎﻥ«ﺯﻣﺎﻧﻲ‬ ‫ﺑﻮﺩﻛﻪﻣﺤﻤﺪﻣﻬﺪﻱﺣﻴﺪﺭﻳﺎﻥ‪،‬ﻣﻌﺎﻭﻥ‬ ‫ﻭﻗﺖﺍﻣﻮﺭﺳﻴﻨﻤﺎﻳﻲﺍﺯﻣﻦﺧﻮﺍﺳﺖﺗﺎﺑﺎ‬ ‫ﻣﻮﺿﻮﻉﻳﻜﻲﺍﺯﻗﺼﻪﻫﺎﻱﻗﺮﺁﻧﻲ‪،‬ﻓﻴﻠﻤﻲ‬ ‫ﻓﺎﺧﺮ ﺗﻮﻟﻴﺪ ﻛﻨﻢ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﭘﻴﺸﻨﻬﺎﺩ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺩﺍﺳــﺘﺎﻥﻫﺎﻱ ﻗﺮﺁﻧﻲ ﺑﺮﺭﺳﻲ‬ ‫ﺍﻧﺠﺎﻡﺩﺍﺩﻡﻭﺍﺣﺴﺎﺱﻛﺮﺩﻡﺩﺍﺳﺘﺎﻥﻣﺮﺑﻮﻁﺑﻪﺣﻀﺮﺕﺳﻠﻴﻤﺎﻥ)ﻉ(‬ ‫ﻣﻲﺗﻮﺍﻧﺪﺟﺬﺍﺑﻴﺖﻫﺎﻱﺑﺴﻴﺎﺭﻱﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥﺣﻀﺮﺕﺳﻠﻴﻤﺎﻥ)ﻉ(ﺑﺎﺗﻮﺟﻪﺑﻪﻭﻳﮋﮔﻲﻫﺎﻳﻲﻛﻪﺩﺍﺭﺩ‪،‬‬ ‫ﮔﺎﻩ ﺑﺎ ﺧﺮﺍﻓﺎﺕ ﻭ ﺍﻓﺴﺎﻧﻪﻫﺎﻳﻲ ﻫﻤﺮﺍﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻇﻴﻔﻪ ﻣﻦ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﻪ ﻗﺼﺪ ﺩﺍﺷﺘﻢ ﺍﻳﻦ ﻗﺼﻪ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻓﻴﻠﻢ ﻛﻨﻢ‪،‬‬ ‫ﺯﺩﻭﺩﻥﺁﻥ ﺍﺯ ﺗﻤﺎﻣﻲ ﺍﻳﻦ ﺍﺑﻬﺎﻣﺎﺕﺑﻮﺩ‪ .‬ﺁﻣﻴﺨﺘﻪ ﺷﺪﻥ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﺑﻪ‬ ‫ﺧﺮﺍﻓﺎﺕﻣﻮﺟﺐﺷﺪﻩﺗﺎﮔﺎﻩﻣﻬﺠﻮﺭﻭﺍﻗﻊﺷﻮﺩﻭﻫﻤﻴﻦﻣﺴﺎﻟﻪﺍﻣﻜﺎﻥ‬ ‫ﺁﻥ ﺭﺍ ﻓﺮﺍﻫﻢ ﻣﻲﻛﺮﺩ ﺗﺎ ﻣﺎ ﺩﺍﺳــﺘﺎﻧﻲ ﻭﺍﻗﻌﻲ ﻭ ﺩﺭﺳــﺖ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ‬ ‫ﻣﺨﺎﻃﺒﺎﻥﻗﺮﺍﺭﺩﻫﻴﻢ‪.‬ﻭﻗﺘﻲﭘﻴﺸﻨﻬﺎﺩﺗﻮﻟﻴﺪﻓﻴﻠﻢﺑﺎﺍﻳﻦﻣﻮﺿﻮﻉﺭﺍﺑﺎ‬ ‫ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ ﻭﻗﺖ ﺩﺭ ﻣﻴﺎﻥ ﮔﺬﺍﺷﺘﻴﻢ‪ ،‬ﺑﺎ ﻣﻮﺍﻓﻘﺖ ﺁﻧﺎﻥ ﻫﻤﺮﺍﻩ‬ ‫ﺷﺪﻭﺑﻪﺍﻳﻦﺗﺮﺗﻴﺐﻛﺎﺭﺗﻮﻟﻴﺪ»ﻣﻠﻚﺳﻠﻴﻤﺎﻥ«ﺁﻏﺎﺯﺷﺪ‪.‬‬ ‫ﻣﺤﻤﺪﻣﻬﺪﻱ ﺣﻴﺪﺭﻳﺎﻥ ﺑﻪﻋﻨﻮﺍﻥ ﭘﻴﺸﻨﻬﺎﺩﺩﻫﻨﺪﻩ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺩﺭ ﺁﻥ ﻣﻘﻄﻊ ﻳﻜﻲ ﺍﺯ ﺣﺎﻣﻴﺎﻥ ﭘﺮﻭژﻩ ﺑﻮﺩ ﻭ ﻋﻠﻴﺮﺿﺎ ﺭﺿﺎﺩﺍﺩ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻣﺪﻳﺮﻋﺎﻣﻞ ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ ﺍﺯ ﺟﺮﻳﺎﻥ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ‬ ‫ﺣﻤﺎﻳﺖ ﻛﺮﺩ ﺗﺎ ﺍﻳﻨﻜﻪ ﺑﺎ ﺗﻐﻴﻴﺮ ﺩﻭﻟﺖ‪ ،‬ﺗﻐﻴﻴﺮﺍﺗﻲ ﻫﻢ ﺩﺭ ﻣﺪﻳﺮﻳﺖ‬ ‫ﺑﻨﻴﺎﺩ ﺳــﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ ﺑﻪﻭﺟﻮﺩ ﺁﻣﺪ‪» .‬ﻣﻠﻚ ﺳﻠﻴﻤﺎﻥ« ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻘﻄﻊ ﻧﻴﺰ ﻣﻮﺭﺩ ﺣﻤﺎﻳﺖ ﻣﺤﻤﺪﺭﺿﺎ ﺟﻌﻔﺮﻱ ﺟﻠﻮﻩ‪ ،‬ﻣﻌﺎﻭﻥ ﺍﻣﻮﺭ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ‪ ،‬ﻣﺤﻤﺪﺣﺴﻴﻦ ﺻﻔﺎﺭﻫﺮﻧﺪﻱ‪ ،‬ﻭﺯﻳﺮ ﻓﺮﻫﻨﮓ ﻭ ﺍﺭﺷﺎﺩ‬ ‫ﺍﺳﻼﻣﻲ ﻭ ﺩﻛﺘﺮ ﻣﺠﻴﺪ ﺷﺎﻩﺣﺴﻴﻨﻲ‪ ،‬ﻣﺪﻳﺮﻋﺎﻣﻞ ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﺗﺎ ﺍﻳﻨﻜﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻌﺪ ﺍﺯ ﭘﻨﺞ‪ ،‬ﺷــﺶ ﺳﺎﻝ ﻛﺎﺭ‪ ،‬ﻓﻴﻠﻢ‬ ‫ﺁﻣﺎﺩﻩ ﻧﻤﺎﻳﺶ ﺷﺪ‪.‬‬ ‫ﺗﺤﻘﻴﻘﺎﺕ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﻳﻜﻲ ﺍﺯ ﻣﺴﺎﺋﻞ ﻭﻳﮋﻩ‬ ‫ﺁﻥ ﺑﻮﺩ‪ .‬ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ ﺗﺤﻘﻴﻘﺎﺕ ﺩﺭ ﭼﻨﺪ ﺑﺨﺶ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﻣﻦ‬ ‫ﻫﻤﺮﺍﻩ ﺁﻗﺎﻱ ﻗﺪﻳﺮﻳﺎﻥ ﻃﺮﺍﺡ ﻫﻨﺮﻱ ﻭ ﺁﻗﺎﻱ ﻓﺮﺁﻭﺭﺩﻩ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪،‬‬ ‫ﺗﺤﻘﻴﻘﺎﺕ ﺭﺍ ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﻭ ﻧﮕﺎﺭﺵ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺁﻥ ﺁﻏﺎﺯ ﻛﺮﺩﻳﻢ‪ .‬ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ ﺗﻮﺳﻂ ﺩﻭ ﻧﻔﺮ ﺍﺯ ﻋﻠﻤﺎﻱ ﺍﺭﺯﺷﻤﻨﺪ ﻧﻴﺰ‬ ‫ﺗﺤﻘﻴﻘﺎﺗﻲﺁﻏﺎﺯﺷﺪ‪.‬ﺁﻧﺎﻥﺑﻪﻭﺍﺳﻄﻪﺗﺴﻠﻄﻲﻛﻪﺑﻪﻣﻮﺿﻮﻉﺩﺍﺷﺘﻨﺪﻭ‬ ‫ﺍﺯﺳﻮﻱﺩﻳﮕﺮﺍﺭﺗﺒﺎﻁﺑﺎﺩﻓﺘﺮﭘﮋﻭﻫﺶﻫﺎﻱﻗﻢﺷﺮﺍﻳﻂﺁﻥﺭﺍﺑﻪﻭﺟﻮﺩ‬ ‫ﺁﻭﺭﺩﻧﺪ ﺗﺎ ﺑﺘﻮﺍﻧﻴﻢ ﺑﻪ ﺟﺰﺋﻴﺎﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﻨﻴﻢ‪ .‬ﺩﺭ ﻣﻮﺭﺩ ﺁﻳﺎﺕ ﻗﺮﺁﻧﻲ ﻣﺮﺑﻮﻁ ﺑﻪﺣﻀﺮﺕ ﻫﻢ ﺗﻘﺪﻡ‬ ‫ﻭ ﺗﺎﺧﺮ ﺁﻳﺎﺕ ﺍﺳــﺘﺨﺮﺍﺝ ﺷــﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﺎ ﺑﺎ ﺗﺼﻮﻳﺮﻱ ﻭﺍﻗﻌﻲ ﺍﺯ‬ ‫ﺣﻀﺮﺕ ﺳﻠﻴﻤﺎﻥ)ﻉ( ﻣﻮﺍﺟﻪ ﺷﺪﻳﻢ‪.‬‬ ‫ﺩﺍﺳــﺘﺎﻥ ﺭﺍ ﺍﺯ ﺟﺎﻳﻲ ﺁﻏــﺎﺯ ﻛﺮﺩﻳﻢ ﻛــﻪ ﺩﺭ ﺫﺍﺕ ﺧﻮﺩ ﺩﺭﺍﻡ‬ ‫ﺩﺍﺭﺩ ﻭ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎ ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﺑﺴــﻴﺎﺭﻱ ﻫﻤﺮﺍﻩ ﺑﺎﺷــﺪ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﻛﺎﺭ ﻃﺮﺍﺣﻲ ﻓﻀﺎﻫﺎ ﻛﻪ ﺗﻮﺳﻂ ﺁﻗﺎﻱ ﻗﺪﻳﺮﻳﺎﻥ‬ ‫ﺻﻮﺭﺕ ﮔﺮﻓﺖ‪ ،‬ﺑﻪ ﻃﻮﺭ ﺟﺪﻱ ﭘﻴﮕﻴﺮﻱ ﺷﺪ ﺗﺎ ﺷﺮﺍﻳﻂ ﺑﺮﺍﻱ ﺷﺮﻭﻉ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻓﺮﺍﻫﻢ ﺷﻮﺩ‪.‬‬ ‫ﺑﺮﺍﻱ ﻧﻘﺶ ﺣﻀﺮﺕ ﺳﻠﻴﻤﺎﻥ)ﻉ( ﺑﺎﺯﻳﮕﺮﺍﻥ ﺑﺴﻴﺎﺭﻱ ﺭﺍ ﺩﺭ ﻧﻈﺮ‬ ‫ﺩﺍﺷــﺘﻴﻢ ﺍﻣﺎ ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﻢ ﺍﻣﻴﻦ ﺯﻧﺪﮔﺎﻧﻲ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﺍﺯ‬ ‫ﭘﺲ ﺍﻳﻔﺎﻱ ﻧﻘﺶ ﺧﻮﺩ ﺑﺮﺁﻣﺪﻩ ﻭ ﺷــﺨﺼﻴﺖ ﭘﻴﺎﻣﺒﺮﻱ ﻛﻪ ﺩﺭ ﻋﻴﻦ‬ ‫ﺣﺎﻝﭘﺎﺩﺷﺎﻩﺍﺳﺖﺭﺍﺑﻪﺧﻮﺑﻲﺩﺭﻙﻛﺮﺩﻩﻭﺗﻮﺍﻧﺴﺘﻪﻫﻤﻪﺍﺣﺴﺎﺳﺎﺕ‬ ‫ﻭ ﺣﺲ ﻭ ﺣﺎﻝ ﻻﺯﻡ ﺭﺍ ﺑﺮﺍﻱ ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﻓﺮﺍﻫﻢ ﻛﻨﺪ‪ .‬ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ‬ ‫ﻣﻌﺘﻘﺪﻡﺯﻧﺪﮔﺎﻧﻲﮔﺰﻳﻨﻪﺑﺴﻴﺎﺭﻣﻨﺎﺳﺒﻲﺑﺮﺍﻱﺣﻀﻮﺭﺩﺭﺍﻳﻦﻓﻴﻠﻢﻭ‬ ‫ﻧﻘﺶﺁﻓﺮﻳﻨﻲﺷﺨﺼﻴﺖﺣﻀﺮﺕﺳﻠﻴﻤﺎﻥ)ﻉ(ﺑﻮﺩ‪.‬‬ ‫ﻣﺎﺟﺮﺍﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑﻪ ﺣﻀﺮﺕ ﺳــﻠﻴﻤﺎﻥ)ﻉ( ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺑﻪ ﭘﺎﻳﺎﻥ ﻧﻤﻲﺭﺳــﺪ ﻭ ﻣﺎ ﺩﺭﺻﺪﺩ ﻫﺴــﺘﻴﻢ ﺗﺎ ﺑﺎﻗﻲ ﻣﻘﺎﻃﻊ‬ ‫ﺯﻧﺪﮔﻲ ﺍﻳﻦ ﺣﻀﺮﺕ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﻴﻢ ﻭ ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ ﺩﻭ ﻓﻴﻠﻢ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﺩﻳﮕﺮ ﻫﻢ ﺑﺎ ﻣﻮﺿﻮﻉ ﺣﻀﺮﺕ ﺳﻠﻴﻤﺎﻥ)ﻉ( ﻛﺎﺭﮔﺮﺩﺍﻧﻲ‬ ‫ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪.‬‬ ‫‪1‬‬ ‫‪2‬‬ ‫‪3‬‬ ‫‪4‬‬ ‫‪5‬‬ ‫‪6‬‬ ‫‪7‬‬ ‫‪41‬‬ ‫‪10‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﭘﻮﺭﺍﻥ ﺩﺭﺧﺸﻨﺪﻩ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ »ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ«‬ ‫ﺭﻭﻳﺎﻫﺎﻱ ﻗﺎﺑﻞ ﺑﺎﻭﺭ‪...‬‬ ‫ﻧﮕﺎﺭ ﺑﺎﺑﺎﺧﺎﻧﻲ‬ ‫ﭘﻮﺭﺍﻥﺩﺭﺧﺸﻨﺪﻩﺍﺯﻛﺎﺭﮔﺮﺩﺍﻥﻫﺎﻱ‬ ‫ﻣﻮﺭﺩ ﻋﻼﻗـﻪ ﺟﺸـﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﺍﺳـﺖ‪ .‬ﻋـﻼﻭﻩ ﺑـﺮ ﺍﻳـﻦ ﻭﺍﻗﻌﻴﺖ ﻛﻪ‬ ‫ﺗﻘﺮﻳﺒﺎ‪-‬ﺗﻤﺎﻡﻓﻴﻠﻢﻫﺎﻱﺩﺭﺧﺸﻨﺪﻩ‬‫ﺩﺭ ﺟﺸـﻨﻮﺍﺭﻩ ﻓﺠـﺮ ﺑـﻪ ﻧﻤﺎﻳـﺶ‬ ‫ﺩﺭﺁﻣﺪﻩﺍﻧـﺪ؛ ﭼﻨﺪ ﻓﻴﻠـﻢ ﺍﻭ ﺍﺯ ﺟﻤﻠﻪ‬ ‫»ﭘﺮﻧـﺪﻩ ﻛﻮﭼـﻚ ﺧﻮﺷـﺒﺨﺘﻲ«‪،‬‬ ‫»ﺷﻤﻌﻲﺩﺭﺑﺎﺩ«ﻭ»ﺑﭽﻪﻫﺎﻱﺍﺑﺪﻱ«ﺗﻮﺍﻧﺴﺘﻪﺍﻧﺪﺟﻮﺍﻳﺰﻱﻫﻢﺍﺯ‬ ‫ﺍﻳﻦﻓﺴﺘﻴﻮﺍﻝﺳﻴﻨﻤﺎﻳﻲﺑﻪﺩﺳﺖﺁﻭﺭﻧﺪﻛﻪﺍﻳﻦﻣﻲﺗﻮﺍﻧﺪﻧﺸﺎﻥ‬ ‫ﺍﺯﻣﺤﺒﻮﺑﻴﺖﺍﻳﻦﺳﻴﻨﻤﺎﮔﺮﺯﻥﺯﺍﺩﻩﻛﺮﻣﺎﻧﺸﺎﻩﺩﺭﺑﻴﻦﻣﺘﻮﻟﻴﺎﻥ‬ ‫ﻭ ﻣﺨﺎﻃﺒﺎﻥ ﺟﺸـﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷـﺪ‪ .‬ﻓﻴﻠﻢ »ﺑﭽﻪﻫﺎﻱ‬ ‫ﺍﺑﺪﻱ«ﭘﻮﺭﺍﻥ ﺩﺭﺧﺸـﻨﺪﻩ ﺑﺎﻋﺚ ﺷـﺪ ﺗﺎ »ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ« ﺑﺮﺍﻱ‬ ‫ﻳﻚ ﻧﻘﺶ ﻛﻮﺗﺎﻩ ﺳـﻴﻤﺮﻏﻲ ﺑﺎﺍﺭﺯﺵ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﺑﺒﺮﺩ‪ .‬ﺑﺎﻳﺪ ﺩﻳﺪ‬ ‫ﺟﺪﻳﺪﺗﺮﻳﻦﻓﻴﻠﻢﺍﻭﺑﺎﻋﻨﻮﺍﻥ»ﺧﻮﺍﺏﻫﺎﻱﺩﻧﺒﺎﻟﻪﺩﺍﺭ«ﻛﻪﺑﺴﺎﻥ‬ ‫ﺩﻳﮕﺮﺳﺎﺧﺘﻪﻫﺎﻳﺶﻣﻮﺿﻮﻋﻲﺍﺧﻼﻗﻲ‪-‬ﺗﺮﺑﻴﺘﻲ‪-‬ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﺩﺍﺭﺩﺧﻮﺍﻫﺪﺗﻮﺍﻧﺴﺖﻧﻘﻄﻪﺁﻏﺎﺯﻱﺩﻭﺑﺎﺭﻩﺩﺭﻛﺎﺭﻧﺎﻣﻪﺍﻳﻦﺑﺎﻧﻮﻱ‬ ‫ﺳﻴﻨﻤﺎﮔﺮﺭﻗﻢﺑﺰﻧﺪ‪...‬‬ ‫ﻗﺼﻪ ﻓﻴﻠﻢ »ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ« ﺍﺯ ﻛﺠﺎ ﺁﻣﺪﻩ ﺍﺳﺖ؟‬ ‫ﺁﻗﺎﻱ ﻣﺤﻤﻮﺩ ﺁﻳﺪﻭﻥ ﻃﺮﺡ ﺍﻭﻟﻴﻪ »ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ«ﺭﺍ ﺑﻪ ﻣﻦ ﺍﺭﺍﺋﻪ‬ ‫ﺩﺍﺩﻧﺪﻛﻪﺧﻴﻠﻲﺍﺯﺁﻥﺧﻮﺷﻢﺁﻣﺪﻭﻓﻜﺮﻛﺮﺩﻡﺑﺎﻳﻚﺍﺻﻼﺣﺎﺗﻲﺍﻳﻦﻃﺮﺡ‬ ‫ﻣﻲﺗﻮﺍﻧﺪﺗﺒﺪﻳﻞﺷﻮﺩﺑﻪﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱﺑﺎﻋﻼﻳﻘﻲﻛﻪﻣﻦﺩﺍﺭﻡ‪.‬‬ ‫ﻣﻀﻤﻮﻥ ﺍﺻﻠﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﭼﻴﺴﺖ؟‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ ﺩﺧﺘﺮ ﺑﭽﻪ ﻫﺸﺖ ﺳﺎﻟﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺧﻮﺍﺏ‬ ‫ﻣﻲﺑﻴﻨﺪ ﻭ ﺍﻳﻦ ﺧﻮﺍﺏ ﻳﺎ ﺩﺭ ﻭﺍﻗﻊ ﺭﻭﻳﺎﻱ ﺍﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﻣﻲﺷﻮﺩ‬ ‫ﻭﻟﻲ ﺑﻪ ﻫﺮﻛﺴﻲ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻣﻲﮔﻮﻳﺪ ﺑﺎﻭﺭ ﻧﻤﻲﻛﻨﺪ ﻭ ﺑﺮﺍﻱ ﺍﺛﺒﺎﺕ‬ ‫ﺣﻘﺎﻧﻴﺖ ﺧﻮﺍﺏ ﺧﻮﺩﺵ ﻣﺠﺒﻮﺭ ﻣﻲ ﺷﻮﺩ ﺁﻥ ﻟﻮﻛﻴﺸﻦﻫﺎ ﻭ ﻓﻀﺎﻫﺎﻳﻲ‬ ‫ﻛﻪ ﺩﺭ ﺧﻮﺍﺏ ﺩﻳﺪﻩ ﺍﺳﺖ ﺭﺍ ﺑﮕﺮﺩﺩ ﺗﺎ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﺁﻥ ﺧﻮﺍﺏ ﺑﺮﺳﺪ‪.‬‬ ‫ﺍﻭ ﭼﻪ ﺧﻮﺍﺑﻲ ﺩﻳﺪﻩ ﺍﺳﺖ؟‬ ‫ﺧﻮﺍﺏ ﻣﻲﺑﻴﻨﺪ ﻛﻪ ﻣﻌﻠﻤﺶ ﮔﻢ ﺷــﺪﻩ ﺍﺳﺖ ﺍﻣﺎ ﻫﺮﭼﻪ ﺑﻪ ﻣﺴﺌﻮﻻﻥ‬ ‫ﻣﺪﺭﺳــﻪ ﻣﻲﮔﻮﻳﺪ ﻫﻴﭻ ﻛﺲ ﻗﺒﻮﻝ ﻧﻤﻲﻛﻨﺪ ﻭ ﺍﻭ ﺑــﻪ ﺩﻧﺒﺎﻝ ﺍﺛﺒﺎﺕ‬ ‫ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺧﻮﺍﺏ ﻣﻲﺭﻭﺩ‪.‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺑﻪ ﻫﻢ ﺑﻪ ﺻﻮﺭﺕ ﻣﺸﺘﺮﻙ ﻧﻮﺷﺘﻴﺪ؟‬ ‫ﺑﻠﻪ‪،‬ﻓﻴﻠﻤﻨﺎﻣﻪﺭﺍﺑﻪﻫﻤﺮﺍﻩﺁﻗﺎﻱﺁﻳﺪﻭﻥﻧﻮﺷﺘﻢ‪.‬ﺍﻟﺒﺘﻪﻗﺼﻪﻓﻴﻠﻢﺩﺭﺭﺍﺳﺘﺎﻱ‬ ‫ﺳﺎﺧﺘﻪﻫﺎﻱ ﻗﺒﻠﻲﺍﻡ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺁﺳﻴﺐﺷﻨﺎﺳﻲ ﺍﺟﺘﻤﺎﻋﻲ ﻣﻲﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺍﻳﻦﺑﺎﺭﺑﺤﺚﺳﻮﺍﺩﺁﻣﻮﺯﻱﻭﺩﺍﻧﺎﻳﻲﺭﺍﻣﻄﺮﺡﻛﺮﺩﻩﺍﻡ‪،‬ﺍﻳﻨﻜﻪﺩﺧﺘﺮﺑﭽﻪﺍﻱ‬ ‫ﺑﻪﺩﻟﻴﻞﻭﻳﮋﮔﻲﻫﺎﻱﻓﻴﺰﻳﻜﻲﻭﻧﻴﺰﻛﻤﺒﻮﺩﻫﺎﻱﺍﻗﺘﺼﺎﺩﻱﺍﺯﻧﻌﻤﺖﺳﻮﺍﺩ‬ ‫ﻣﺤﺮﻭﻡ ﺍﺳﺖ ﻭ ﺧﻮﺩﺵ ﺗﺼﻤﻴﻢ ﻣﻲﮔﻴﺮﺩ ﺷﺮﺍﻳﻄﻲ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺑﻴﺎﻭﺭﺩ‬ ‫ﺑﺮﺍﻱ ﺳﻮﺍﺩﺁﻣﻮﺯﻱ ﺩﺭ ﻳﻚ ﺯﻳﺮﺯﻣﻴﻦ ﻣﺘﺮﻭﻛﻪ ﻳﻚ ﻣﻮﺗﻮﺭﺧﺎﻧﻪ‪ ،‬ﺣﺎﻻ ﺍﻳﻦ‬ ‫ﺧﻮﺍﺏﺗﺒﺪﻳﻞﺑﻪﻳﻚﻭﺍﻗﻌﻴﺖﻣﻲﺷﻮﺩﻛﻪﺍﺯﺩﺧﺘﺮﺑﭽﻪﻫﺸﺖﺳﺎﻟﻪﻗﺼﻪ‬ ‫ﺑﻪﻭﺍﻗﻌﻴﺖﻳﻚﺩﺧﺘﺮ‪ 14- 15‬ﺳﺎﻟﻪﺑﻲﺳﻮﺍﺩﻣﻲﺭﺳﺪﻛﻪﺗﻼﺵﻣﻲﻛﻨﺪ‬ ‫‪42‬‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺍﺭﺗﻘﺎ ﺑﺪﻫﺪ‪.‬‬ ‫ﺩﺭ ﻓﻴﻠﻢ ﺍﻳﻦ ﺷﻜﺴﺖ ﺯﻣﺎﻥ ﺭﺍ ﻣﻲﺑﻴﻨﻴﻢ؟‬ ‫ﺑﻠﻪ‪ ،‬ﺍﺯ ﻳﻚ ﺩﺧﺘﺮﻱ ﺑﻪ ﻳﻚ ﺩﺧﺘﺮ ﺩﻳﮕﺮ ﻣﻲﺭﺳﻴﻢ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﺍﺯ ﺧﻮﺍﺏ ﻭ‬ ‫ﺭﻭﻳﺎﻱ ﻳﻚ ﺩﺧﺘﺮ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﻳﻚ ﺩﺧﺘﺮ ﺩﻳﮕﺮ ﻣﻲﺭﺳﻴﻢ‪.‬‬ ‫ﻇﺎﻫﺮﺍ ﻓﻴﻠﻢ »ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ« ﻣﺪﺗﻲ ﺍﺳﺖ ﺁﻣﺎﺩﻩ ﺷﺪﻩ‬ ‫ﻭ ﺑﻪ ﻛﻮﺭﺍﻥ ﺭﻭﺯﻫﺎﻱ ﻧﺰﺩﻳﻚ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻧﺨﻮﺭﺩﻩ ﺍﺳﺖ؟‬ ‫ﺑﻠﻪ‪ ،‬ﻣﺎ ﺍﻭﺍﺧﺮ ﺗﺎﺑﺴﺘﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩﻳﻢ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻓﺮﺻﺖ‬ ‫ﻛﺎﻓﻲ ﺑﺮﺍﻱ ﻛﺎﺭﻫﺎﻱ ﻓﻨﻲ ﻭ ﺭﺳﺎﻧﺪﻥ ﻓﻴﻠﻢ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺩﺍﺷﺘﻴﻢ‪.‬‬ ‫ﺍﻧﺘﺨـﺎﺏ ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ ﺑﻪ ﺧﺎﻃﺮ ﻫﻤـﻜﺎﺭﻱ ﺧﻮﺑﻲ ﺑﻮﺩ ﻛﻪ ﺩﺭ‬ ‫»ﺑﭽﻪﻫﺎﻱ ﺍﺑﺪﻱ« ﺑﺎ ﺍﻭ ﺩﺍﺷﺘﻴﺪ؟‬ ‫ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﺑﻴﺸــﺘﺮ ﺑﻪ ﺧﺎﻃﺮ ﺗﻮﺍﻧﺎﻳﻲﻫــﺎﻱ ﺧﺎﻧﻢ »ﺑﻬﺮﺍﻡ« ﺻﻮﺭﺕ‬ ‫ﮔﺮﻓﺖ ﻭ ﻣﻦ ﻓﻜﺮ ﻛــﺮﺩﻡ ﻧﻘﺶ ﻣﺘﻔﺎﻭﺗﻲ ﻛﻪ ﺩﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﺳــﺖ ﺭﺍ‬ ‫ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺧﻮﺑﻲ ﺍﻳﻔﺎ ﻛﻨﺪ‪.‬‬ ‫ﺍﻭ ﻧﻘﺶ »ﻣﻌﻠﻢ« ﺭﺍ ﺑﺮﻋﻬﺪﻩ ﺩﺍﺭﺩ؟‬ ‫ﺑﻠﻪ‪ ،‬ﺍﻟﺒﺘﻪ ﺩﺭ ﻓﻴﻠﻢ ﺩﻭﺗﺎ ﻧﻘﺶ ﻣﻌﻠﻢ ﺩﺍﺭﻳﻢ‪ ،‬ﻳﻜﻲ ﻣﻌﻠﻢ ﭘﺮﻭﺭﺷﻲ ﺍﺳﺖ‬ ‫ﻭ ﻳﻚ ﻣﻌﻠﻢ ﻛﻼﺱ ﺍﺳــﺖ ﻛﻪ ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ ﻭ ﻓﺮﺷــﺘﻪ ﺻﺪﺭﻋﺮﻓﺎﻳﻲ‬ ‫ﻧﻘﺶ ﺁﻧﻬﺎ ﺭﺍ ﺑﺎﺯﻱ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺧﺎﻧﻢ ﺻﺪﺭﻋﺮﻓﺎﻳﻲ ﻧﻘﺶ ﻣﻌﻠﻢ‬ ‫ﮔﻤﺸﺪﻩ ﺭﺍ ﺍﻳﻔﺎ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻧﺘﺨﺎﺏ ﻓﺮﺷﺘﻪ ﺻﺪﺭﻋﺮﻓﺎﻳﻲ ﺑﺮﭼﻪ ﺍﺳﺎﺳﻲ ﺑﻮﺩ؟‬ ‫ﺍﻧﺘﺨﺎﺏ ﺍﻳﺸــﺎﻥ ﻫﻢ ﺑﺮﺍﺳــﺎﺱ ﺗﻮﺍﻧﺎﻳﻲﻫﺎ ﻭ ﻭﺳــﻮﺍﺱﻫﺎﻳﻲ ﻛﻪ ﺩﺭ‬ ‫ﺑﺎﺯﻳﮕﺮﻱ ﺩﺍﺭﻧﺪ ﺍﻧﺠﺎﻡ ﺷــﺪ ﻭ ﺑﻪ ﻧﻈﺮﻡ ﺭﺳــﻴﺪ ﺍﺯ ﻋﻬﺪﻩ ﺍﻳﻦ ﻧﻘﺶ ﺑﻪ‬ ‫ﺧﻮﺑﻲ ﺑﺮ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ »ﺑﭽﻪﻫﺎﻱ ﺍﺑﺪﻱ« ﺳﻪ ﺳـﺎﻝ ﻓﻴﻠﻢ ﻧﺴﺎﺧﺘﻴﺪ‪ ،‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻓﺎﺻﻠﻪ ﭼﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﻲ ﺩﺍﺷﺘﻴﺪ؟‬ ‫ﻣﻦ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﻓﻘﻂ ﻓﻴﻠﻢ »ﺑﻴﺴﺖ« ﺭﺍ ﺗﻬﻴﻪ ﻛﺮﺩﻡ‪ ،‬ﺍﻟﺒﺘﻪ ﻃﺮﺡﻫﺎﻱ‬ ‫ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺘﻢ ﻛﻪ ﺷﺮﺍﻳﻂ ﺳــﺎﺧﺖ ﺁﻧﻬﺎ ﻣﻬﻴﺎ ﻧﻤﻲﺷﺪ‪،‬‬ ‫ﺑﻪ ﺗﺎﺯﮔﻲ ﻫــﻢ ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﻓﻴﻠﻤﻨﺎﻣﻪ »ﻫﻴــﺲ ﺩﺧﺘﺮﻫﺎ ﻓﺮﻳﺎﺩ‬ ‫ﻧﻤﻲﺯﻧﻨﺪ« ﺭﺍ ﮔﺮﻓﺘﻪﺍﻡ ﻛﻪ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺩﺧﺘﺮﺍﻥ ﺟﻮﺍﻥ ﻭ ﺑﺎ ﻣﺤﻮﺭﻳﺖ‬ ‫ﺗﺮﺱ ﺍﺯ ﺁﺑﺮﻭ ﺍﺳﺖ ﻛﻪ ﻃﺮﺡ ﺍﺻﻠﻲ ﺁﻥ ﺑﺮﺍﻱ ﺧﻮﺩﻡ ﺍﺳﺖ ﻭ ﺍﻳﻦﺭﻭﺯﻫﺎ‬ ‫ﻣﺸﻐﻮﻝ ﻧﮕﺎﺭﺵ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﻪ ﻫﻤﺮﺍﻩ ﺁﻗﺎﻱ ﺍﺣﻤﺪ ﺭﻓﻴﻊﺯﺍﺩﻩ ﻫﺴﺘﻢ ﻭ‬ ‫ﺍﮔﺮ ﺷﺮﺍﻳﻂ ﻣﻬﻴﺎ ﺷــﻮﺩ ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ ﺧﻮﺩﻡ ﺍﻣﺴﺎﻝ ﺁﻥ ﺭﺍ ﻣﻘﺎﺑﻞ‬ ‫ﺩﻭﺭﺑﻴﻦ ﺧﻮﺍﻫﻢ ﺑﺮﺩ‪.‬‬ ‫ﺑﺎﺯﻳﮕـﺮﺍﻥ ﻛـﻮﺩﻙ ﻭ ﻧﻮﺟـﻮﺍﻥ ﻓﻴﻠـﻢ ﺭﺍ ﭼﻪ ﻃـﻮﺭ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻛﺮﺩﻳﺪ؟‬ ‫ﻳﻜﻲ ﺍﺯ ﻧﻘﺶﻫﺎﻱ ﺳﺨﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﻘﺶ ﺩﺧﺘﺮﻱ ﺍﺳﺖ ﻛﻪ ﻣﻌﻠﻮﻟﻴﺖ‬ ‫ﺟﺴــﻤﻲ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻧﻘﺶ ﺭﺍ »ﺯﻳﺒﺎ ﻫﺎﺷــﻤﻲ« ﻳﻜﻲ ﺍﺯ ﺷــﺎﮔﺮﺩﺍﻥ‬ ‫ﻛﻼﺱﻫﺎﻱ ﺧﻮﺩﻡ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ ﻛﻪ ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪ ﺑﺎﺯﻳﮕﺮﻱﺍﺵ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﻧﻘﺶ ﻳﻚ ﺩﺧﺘﺮ ‪ 14-15‬ﺳﺎﻟﻪ ﻣﻌﻠﻮﻝ ﺟﺴﻤﻲ ‪ -‬ﺣﺮﻛﺘﻲ ﺭﺍ ﺧﻴﻠﻲ‬ ‫ﺧﻮﺏ ﺍﻳﻔﺎ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﻓﻜﺮ ﻣﻲﻛﻨﻢ ﻳﻜﻲ ﺍﺯ ﻧﻘﺎﻁ ﻗﻮﺕ ﻓﻴﻠﻢ‪ ،‬ﺑﺎﺯﻱ‬ ‫ﺍﻭﺳــﺖ‪.‬ﻧﻘﺶ ﺩﺧﺘﺮ ﺩﻳﮕﺮ ﻓﻴﻠﻢ ﻛﻪ »ﺭﻳﺤﺎﻧﻪ« ﻧﺎﻡ ﺩﺍﺭﺩ ﻭ ﺷﺨﺼﻴﺖ‬ ‫ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺍﺳﺖ ﺭﺍ »ﺁﺭﻣﻴﺘﺎ ﻣﺮﺍﺩﻱ« ﺑﺎﺯﻱ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﭼﺮﺍ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻳـﺪ ﻓﻴﻠﻢﺗـﺎﻥ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺟﺸـﻨﻮﺍﺭﻩ ﺑﻪ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺭﺑﻴﺎﻳﺪ؟‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﻣﺮﺩﻡ ﺍﺳﺖ‪ .‬ﺑﻪﻫﺮﺣﺎﻝ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻳﻚ ﺭﻭﻳﺪﺍﺩ ﻓﺮﻫﻨﮕﻲ‬ ‫ﺍﺳﺖ ﻛﻪ ﻫﺮﺳﺎﻟﻪ ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷﻮﺩ ﻭ ﺁﻥ ﻫﻢ ﻛﺎﺭﻧﺎﻣﻪ ﻳﻚ ﺳﺎﻝ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﺍﺳــﺖ‪ ،‬ﻃﺒﻴﻌﺘﺎ ﻓﻴﻠﻢ ﻣﻦ ﻫﻢ ﺟﺰﻭ ﻫﻤﻴﻦ ﻛﺎﺭﻧﺎﻣﻪ ﺍﺳﺖ ﻭ ﺁﻥ‬ ‫ﺭﺍ ﺑﺮﺍﻱ ﻣﺮﺩﻡ ﺳــﺎﺧﺘﻪﺍﻡ ﻭ ﺩﻭﺳﺖ ﺩﺍﺷــﺘﻢ ﻛﻪ ﺁﻧﻬﺎ ﺩﺭ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ‬ ‫ﻓﺮﻫﻨﮕﻲ ﻓﻴﻠﻢ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‪.‬‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺷـﻤﺎ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﺟﺸـﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻭ ﻛﻮﺩﻙ ﻭ ﻧﻴﺰ‬ ‫ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﺟﻬﺎﻧﻲ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻭﺍﻗﻊ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻣﻨﻈﺮ‬ ‫ﻧﻘﻄﻪ ﻗﻮﺕ ﻓﻴﻠﻢ »ﺧﻮﺍﺏﻫﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ« ﺭﺍ ﺩﺭ ﭼﻪ ﭼﻴﺰﻱ ﻭ‬ ‫ﻣﻮﻗﻌﻴﺖ ﺁﻥ ﺭﺍ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﭼﻄﻮﺭ ﻣﻲﺑﻴﻨﻴﺪ؟‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻫــﺮﻛﺎﺭﻱ ﺑﺮﺍﻱ ﺧﻮﺩﺵ ﻭﻳﮋﮔﻲﻫﺎﻳــﻲ ﺩﺍﺭﺩ ﻭ ﻣﻦ ﻓﻜﺮ‬ ‫ﻣﻲﻛﻨــﻢ ﺍﻓﺮﺍﺩ ﺩﻳﮕﺮﻱ ﺑﺎﻳــﺪ ﺭﺍﺟﻊ ﺑﻪ ﺍﻳﻦ ﻗﻀﻴﻪ ﺣــﺮﻑ ﺑﺰﻧﻨﺪ ﻛﻪ‬ ‫ﻧﻘﺎﻁ ﻗﻮﺕ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﭼﻴﺴــﺖ‪ .‬ﻓﻘﻂ ﺗﻨﻬﺎ ﭼﻴــﺰﻱ ﻛﻪ ﻣﻲﺗﻮﺍﻧﻢ‬ ‫ﺑﮕﻮﻳﻢ ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﻓﻴﻠﻢ »ﺧﻮﺍﺏﻫــﺎﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ«ﻫﻢ ﻣﺜﻞ ﺑﻘﻴﻪ‬ ‫ﻛﺎﺭﻫﺎﻳﻢ ﺑﺎ ﻋﺸﻖ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﺑﺎ ﻧﮕﺎﻩ ﺁﺳﻴﺐﺷﻨﺎﺳﻲ ﻭ ﺩﺭ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺑﺎ ﺑﺎﻭﺭ ﺑﭽﻪﻫﺎ ﺳــﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭﺑﺎﺭﻩ ﺍﻳﻨﻜﻪ ﭼﻪ ﺟﻮﺭﻱ ﻣﻲﺷﻮﺩ‬ ‫ﺳﺎﺩﮔﻲﻫﺎ ﻭ ﺻﺪﺍﻗﺖﻫﺎ ﺭﺍ ﺑﺎﻭﺭ ﻛﺮﺩ‪ .‬ﺑﻪﻫﺮﺣﺎﻝ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻛﻪ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﻭ ﺗﻤﺎﺷﺎﮔﺮﺍﻧﻲ ﻛﻪ ﺑﺮﺍﻱ ﺩﻳﺪﻥ ﻓﻴﻠﻢ ﻣﻲﺁﻳﻨﺪ ﺍﺯ ﺁﻥ ﺧﻮﺷﺸﺎﻥ ﺑﻴﺎﻳﺪ‪.‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺁﻧﻬﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﻣﺎ ﻣﻲﮔﻮﻳﻨﺪ ﭼﻘﺪﺭ ﺧﻮﺏ ﺭﻓﺘﻴﻢ ﺟﻠﻮ ﻳﺎ‬ ‫ﺧﻴﺮ ﻭ ﻧﻈﺮ ﻣﺮﺩﻡ ﺑﺮﺍﻳﻢ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﻣﻬﻢﺗﺮ ﺍﺳﺖ‪.‬‬ ‫ﺷـﻤﺎ ﻋﻀﻮ ﺍﻧﺠﻤـﻦ ﻓﻴﻠﻤﺴـﺎﺯﺍﻥ ﺯﻥ ﺁﻣﺮﻳﻜﺎ ﻭ ﻧﻴﺰ ﺳـﻴﻔﮋ‬ ‫)ﻛﻮﺩﻛﺎﻥ ﻳﻮﻧﺴﻜﻮ( ﻫﺴﺘﻴﺪ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﭼﮕﻮﻧﻪ ﻓﻌﺎﻟﻴﺖ‬ ‫ﻣﻲﻛﻨﻴﺪ؟‬ ‫ﻣــﻦ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺍﻳــﻦ ﺍﻧﺠﻤﻦﻫﺎ ﻫﺴــﺘﻢ ﻭ ﻛﺎﺭﻫﺎﻳﻢ ﺭﺍ ﺑﺮﺍﻳﺸــﺎﻥ‬ ‫ﻣﻲﻓﺮﺳــﺘﻢ ﻭ ﻧﺸﺮﻳﺎﺕ ﺁﻧﺠﺎ ﺑﺮﺍﻳﻢ ﺍﺭﺳﺎﻝ ﻣﻲﺷــﻮﺩ ﻭ ﺩﺭ ﺟﻠﺴﺎﺕ ﻭ‬ ‫ﺳــﻤﻴﻨﺎﺭﻫﺎ ﻭ ﻫﻤﺎﻳﺶﻫﺎﻳﻲ ﻛﻪ ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷﻮﺩ ﺷﺮﻛﺖ ﻣﻲﻛﻨﻢ ﻭ‬ ‫ﻫﻢ ﺩﺭ ﺍﻧﺠﻤﻦ ﻓﻴﻠﻤﺴــﺎﺯﺍﻥ ﺯﻥ ﺁﻣﺮﻳﻜﺎ ﻭ ﻫﻢ ﺩﺭ ﺳﻴﻔﮋ ﺣﻀﻮﺭ ﺟﺪﻱ‬ ‫ﻭ ﻓﻌﺎﻝ ﺩﺍﺭﻡ‪.‬‬ ‫ﻣﻮﻗﻌﻴﺖ ﻭ ﺟﺎﻳﮕﺎﻩ ﻓﻴﻠﻤﺴـﺎﺯﺍﻥ ﺯﻥ ﺍﻳﺮﺍﻧﻲ ﺭﺍ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥ ﺯﻥ ﺁﻣﺮﻳﻜﺎﻳﻲ ﭼﻄﻮﺭ ﺍﺭﺯﻳﺎﺑﻲ ﻣﻲﻛﻨﻴﺪ؟‬ ‫ﻣﻦ ﻓﻜﺮ ﻣﻲﻛﻨﻢ ﻣﻮﻗﻌﻴﺖ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺯﻥ ﺩﺭ ﺍﻳﺮﺍﻥ ﺧﻴﻠﻲ ﺟﺪﻱﺗﺮ‬ ‫ﺍﺯ ﺁﻣﺮﻳﻜﺎ ﻭ ﺧﻴﻠﻲ ﺟﺎﻫﺎﻱ ﺩﻳﮕﺮ ﺩﻧﻴﺎﺳــﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥ ﺯﻥ‬ ‫ﺍﻳﺮﺍﻧﻲ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﻣﺴﺘﻘﻴﻢ ﺑﺎ ﻣﺨﺎﻃﺐ ﻫﺴﺘﻨﺪ ﻭ ﺍﻛﺜﺮﺍ ﻓﻴﻠﻢﻫﺎﻳﺸﺎﻥ‬ ‫ﺭﺍ ﺑﺮﺍﻱ ﻣﺨﺎﻃﺐ ﻣﻲﺳﺎﺯﻧﺪ ﻭ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺍﻛﺮﺍﻥ ﻣﻲﺷﻮﺩ ﻭ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ‬ ‫ﺯﻥ ﺧﻴﻠﻲ ﺟﺪﻱ ﺑﻪ ﺍﻳﻦ ﺣﺮﻓﻪ ﻧﮕﺎﻩ ﻣﻲﻛﻨﻨﺪ‪.‬‬ ‫ﺁﻳﺎ ﺑﺎ ﻓﻴﻠﻤﺴـﺎﺯ ﺯﻥ ﺧﺎﺻﻲ ﻫﻢ ﺍﺭﺗﺒﺎﻁ ﺣﺮﻓﻪﺍﻱ ﻭ ﻫﻤﻔﻜﺮﻱ‬ ‫ﺩﺍﺭﻳﺪ؟‬ ‫ﻃﺒﻴﻌﺘﺎ ﻭﻗﺘﻲ ﻋﻀﻮ ﺍﻳﻦ ﺍﻧﺠﻤﻦ ﻫﺴــﺘﻢ ﺑﺎ ﻳﻚ ﺳﺮﻱ ﺍﺯ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ‬ ‫ﺩﺭ ﺍﺭﺗﺒــﺎﻁ ﻫﺴــﺘﻢ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺑﺎ ﺧﺎﻧــﻢ »ﻣﻴﺮﺍﻧﺎﺋﻴﺮ« ﻛﻪ ﻓﻴﻠﻤﺴــﺎﺯ‬ ‫ﻫﻨﺪﻱﺍﻻﺻﻞ ﺍﺳــﺖ ﻭﻟﻲ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﻓﻴﻠﻢ ﻣﻲﺳــﺎﺯﺩ ﻭ ﻋﻀﻮ ﻫﻤﻴﻦ‬ ‫ﺍﻧﺠﻤﻦ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺑﺎ ﻓﻴﻠﻤﺴﺎﺯ ﻛﺎﻧﺎﺩﺍﻳﻲ ﺧﺎﻧﻢ »ﺟﻴﻦ ﻛﻤﭙﻴﻮﻥ«‬ ‫ﻛﻪ ﺍﻭ ﻫﻢ ﻋﻀﻮ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺯﻥ ﺁﻣﺮﻳﻜﺎﺳﺖ ﺍﺭﺗﺒﺎﻁ ﻛﺎﺭﻱ ﻭ ﻣﻜﺎﺗﺒﻪﺍﻱ‬ ‫ﺩﺍﺭﻡ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻃﺮﻳﻖ ﻓﻴﻠﻢﻫﺎﻳﻤﺎﻥ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﻫﺴﺘﻴﻢ ﻭ ﭘﻴﮕﻴﺮﻱ‬ ‫ﻣﻲﻛﻨﻴﻢ ﻛﻪ ﺯﻧﺎﻥ ﻓﻴﻠﻤﺴــﺎﺯ ﺩﺭ ﺩﻳﮕﺮ ﻧﻘﺎﻁ ﺩﻧﻴﺎ ﭼﻪ ﻛﺎﺭﻫﺎﻳﻲ ﺍﻧﺠﺎﻡ‬ ‫ﻣﻲﺩﻫﻨﺪ ﻭ ﭼﻪ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻣﻲﺳــﺎﺯﻧﺪ ﻭ ﻧﺸــﺮﻳﻪﺍﻱ ﻫﻢ ﺩﺭ ﻫﻤﻴﻦ‬ ‫ﺍﻧﺠﻤﻦ ﻣﻨﺘﺸﺮ ﻣﻲﺷــﻮﺩ ﻛﻪ ﺍﺯ ﻃﺮﻳﻖ ﺁﻥ ﻫﻢ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻛﺎﺭﻫﺎﻱ‬ ‫ﻫﻤﺪﻳﮕﺮ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻳﻢ‪.‬‬ ‫ﺍﺯ ﺗﺎﺯﻩﺗﺮﻳﻦ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﻣﻮﺳﺴﻪ »ﺧﻮﺭﻣﻬﺮ« ﺑﮕﻮﻳﻴﺪ‪...‬‬ ‫ﺩﺭ »ﺧﻮﺭ ﻣﻬــﺮ« ﻓﻴﻠــﻢ ﺩﺭ ﺍﻭﻟﻴﻦ ﻗــﺪﻡ ﻛﺎﺭ ﺗﻮﻟﻴــﺪ ﻓﻴﻠﻢ »ﻫﻴﺲ‬ ‫ﺩﺧﺘﺮﻫــﺎ ﻓﺮﻳﺎﺩ ﻧﻤﻲﺯﻧﻨﺪ« ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﻴــﻢ ﻭ ﺑﻌﺪ ﻫﻢ ﻃﺮﺡﻫﺎ ﻭ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻫﺎﻳﻲ ﻛﻪ ﺑﺮﺍﻳﻤﺎﻥ ﺭﺳــﻴﺪﻩ ﺍﺳﺖ ﺭﺍ ﺑﺮﺭﺳﻲ ﻛﺮﺩﻩ ﻭ ﺗﻼﺵ‬ ‫ﻣﻲﻛﻨﻴﻢ ﻛﻪ ﺑﺘﻮﺍﻧﻴﻢ ﺍﻳﻨﻬﺎ ﺭﺍ ﺑﻪ ﺗﻮﻟﻴﺪ ﺑﺮﺳﺎﻧﻴﻢ‪ .‬ﺩﺭ ﺣﺎﻝ ﺭﺍﻳﺰﻧﻲﻫﺎﻳﻲ‬ ‫ﺑﺮﺍﻱ ﺟﺬﺏ ﺳــﺮﻣﺎﻳﻪ ﻫﺴــﺘﻴﻢ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺑﺘﻮﺍﻧﻴﻢ ﺷﺮﺍﻳﻂ ﺭﺍ ﺑﺮﺍﻱ‬ ‫ﻓﻌﺎﻟﻴﺖ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺟﻮﺍﻥ ﻣﻬﻴﺎ ﻛﻨﻴﻢ‪.‬‬ ‫ﺍﻣﺴﺎﻝ ﺻﺤﺒﺖﻫﺎﻳﻲ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺗﺤﺮﻳﻢ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺯ ﺳﻮﻱ‬ ‫ﺑﺮﺧﻲ ﺍﺯ ﻛﺎﺭﮔﺮﺩﺍﻥﻫﺎ ﺷﻨﻴﺪﻩ ﻣﻲﺷﺪ‪ ،‬ﻣﻮﺿﻊ ﺷﻤﺎ ﺩﺭ ﺭﺍﺑﻄﻪ‬ ‫ﺑﺎ ﺍﻳﻦ ﻗﻀﻴﻪ ﭼﮕﻮﻧﻪ ﺍﺳﺖ؟‬ ‫ﻣﻦ ﻓﻜﺮ ﻣﻲﻛﻨﻢ ﺑﻪ ﻫﺮﺣﺎﻝ ﻣﺎ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﻣﺮﺩﻡ ﺭﺍ ﺗﺤﺮﻳﻢ ﻛﻨﻴﻢ‪،‬‬ ‫ﭼﻮﻥ ﺑﺮﺍﻱ ﻣﺮﺩﻡ ﻓﻴﻠﻢ ﻣﻲﺳــﺎﺯﻳﻢ‪ .‬ﻣﻦ ﺧﻮﺩﻡ ﻫﻤﻴﺸﻪ ﺑﺮﺍﻱ ﻣﺮﺩﻡ‬ ‫ﻓﻴﻠﻢ ﺳﺎﺧﺘﻪﺍﻡ ﻭ ﺍﻻﻥ ﻫﻢ ﻓﺮﺻﺘﻲ ﭘﻴﺶ ﺁﻣﺪﻩ ﻛﻪ ﻣﺮﺩﻡ ﻓﻴﻠﻢ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‬ ‫ﻭ ﺩﻟﻴﻠﻲ ﻧﺪﺍﺭﺩ ﻛﻪ ﺍﺯ ﻧﻤﺎﻳﺶ ﺁﻥ ﺟﻠﻮﮔﻴﺮﻱ ﻛﻨﻢ‪ .‬ﺍﻳﻦ ﻓﺮﺻﺖﻫﺎ ﺑﺮﺍﻱ‬ ‫ﻣﺮﺩﻡ ﺍﺳــﺖ‪ .‬ﻣﺎ ﺑﺮﺍﻱ ﺁﻧﻬﺎ ﻛﺎﺭ ﻣﻲﻛﻨﻴﻢ ﻭ ﺁﻥ ﭼﻴﺰﻱ ﻛﻪ ﻣﻬﻢ ﺍﺳﺖ‬ ‫ﻫﻤﻴﻦ ﺍﺳﺖ ﻭ ﻻﻏﻴﺮ‪.‬‬ ‫‪11‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﻳﺎﺩﺩﺍﺷﺖ‬ ‫ﮔﻔﺖ ﻭ ﮔﻮ ﺑﺎ ﺳﻴﺪ ﺟﻤﺎﻝ ﺳﺎﺩﺍﺗﻴﺎﻥ‪ ،‬ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﭘﺎﻳﻴﺰ ﺍﺭﻏﻮﺍﻧﻲ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺳﻴﺪ ﺟﻤﺎﻝ ﺳـﺎﺩﺍﺗﻴﺎﻥ ﺩﺭ ﻣﻘﺎﻡ‬ ‫ﺗﻬﻴﻪﻛﻨﻨـﺪﻩ ﺩﻭ ﻓﻴﻠـﻢ ﺳـﻴﻨﻤﺎﻳﻲ‬ ‫»ﺑـﻪ ﺭﻧﮓﺍﺭﻏﻮﺍﻥ« ﺑـﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ‬ ‫ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻭ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ‬ ‫ﺗﺎ ﭘﺎﻳﻴﺰ« ﺳﺎﺧﺘﻪ ﻋﻠﻴﺮﺿﺎ ﺍﻣﻴﻨﻲ ﺩﺭ‬ ‫ﺟﺸـﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺣﻀﻮﺭ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻳـﻦ ﺗﻬﻴﻪﻛﻨﻨـﺪﻩ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻳﻲ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻣﺮﺍﺣﻞ ﺗﻮﻟﻴﺪ ﻭ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﺳـﻴﻨﻤﺎﻳﻲ‬ ‫ﺳﺨﻦ ﻣﻲﮔﻮﻳﺪ‪.‬‬ ‫ﭼﻄﻮﺭ ﺷﺪ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻴﺪ ﺑﺎ ﻋﻠﻴﺮﺿﺎ ﺍﻣﻴﻨﻲ ﺑﺮﺍﻱ ﺗﻮﻟﻴﺪ‬ ‫»ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﻫﻤﻜﺎﺭﻱ ﻛﻨﻴﺪ؟‬ ‫ﻧﻜﺘﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳــﻴﻨﻤﺎﻳﻲ ﻗﺼﻪ ﺁﻥ ﺍﺳــﺖ‪.‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣــﻪ ﻭ ﻗﺼﻪ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﻧــﻜﺎﺕ ﺗﺎﺯﻩ ﻭ ﺟﺬﺍﺑﻲ ﺩﺭ‬ ‫ﺧﻮﺩ ﺟﺎﻱ ﺩﺍﺩﻩ ﺑﻮﺩ ﻛﻪ ﺗﻮﺍﻧﺴــﺖ ﺩﺭ ﺑﺮﺧﻮﺭﺩ ﺍﻭﻟﻴﻪ ﻧﻈﺮ ﻣﻦ ﺭﺍ ﻛﺎﻣﻼ‬ ‫ﺟﻠﺐ ﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﻧﻜﺎﺕ ﺗﺎﺯﻩ ﭼﻪ ﭼﻴﺰﻫﺎﻳﻲ ﺑﻮﺩﻧﺪ؟‬ ‫ﻣﺴــﺎﺋﻞ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻱ ﺳــﻴﻨﻤﺎﻳﻲ ﻣﺎ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻪ ﺍﻣﺎ ﻛﻤﺘﺮ ﺷــﺎﻫﺪ ﺑﺮﺧﻮﺭﺩﻱ ﻣﺘﻔﺎﻭﺕ ﺑﺎ ﺁﻥ ﺑﻮﺩﻩﺍﻳﻢ‪ .‬ﺳﻼﻳﻖ‬ ‫ﻣﺨﺘﻠﻒ ﻓﻜﺮﻱ ﻭ ﻓﺮﻫﻨﮕﻲ ﺩﺭ ﺍﻳﺮﺍﻥ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻨﺪ ﻭ ﺩﺭ ﻛﻼﻧﺸﻬﺮﻱ‬ ‫ﻫﻤﺎﻧﻨﺪ ﺗﻬﺮﺍﻥ ﻣﺴﺎﺋﻞ ﺭﻧﮓ ﻭ ﺑﻮﻱ ﺩﻳﮕﺮﻱ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻳﺠﺎﺩ‬ ‫ﻧﮕﺎﻩ ﻣﺘﻔﺎﻭﺕ ﺩﺭ ﺍﻳﻦ ﻛﺎﺭ ﺑﺮﺍﺳﺎﺱ ﺗﻔﺎﻭﺕ ﻧﮕﺎﻩ ﺑﻪ ﻣﺴﺎﺋﻞ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪» .‬ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﻓﻴﻠﻤﻲ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺳﺖ‬ ‫ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺁﻥ ﺩﺭ ﺗﻬﺮﺍﻥ ﭘﻴﺶ ﻣﻲﺭﻭﺩ ﻭ ﺩﺭ ﻣﻮﺭﺩ ﻣﻮﺿﻮﻉ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﻭﺍﺭﺩ ﻓﻀﺎﻳﻲ ﻣﻲﺷــﻮﺩ ﻛﻪ ﻭﺟــﺪﺍﻥ ﺍﺟﺘﻤﺎﻋﻲ ﺭﺍ ﻣــﻮﺭﺩ ﻫﺪﻑ ﻗﺮﺍﺭ‬ ‫ﻣﻲﺩﻫﺪ‪ .‬ﺣﻮﺍﺩﺛﻲ ﻛﻪ ﺭﻭﺯﺍﻧﻪ ﺑﺮﺍﻱ ﺷﻬﺮﻭﻧﺪﺍﻥ ﺗﻬﺮﺍﻧﻲ ﺍﺗﻔﺎﻕ ﻣﻲﺍﻓﺘﺪ‬ ‫ﻧﻴﺎﺯﻣﻨﺪ ﻭﺟﺪﺍﻧﻲ ﺁﮔﺎﻩ ﺍﺳﺖ ﺗﺎ ﺑﻪﺩﺭﺳــﺘﻲ ﻗﻀﺎﻭﺕ ﻭ ﺑﺮﺭﺳﻲ ﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻧﻮﻉ ﻧﮕﺎﻩ ﺑﻪﻋﻨﻮﺍﻥ ﺑﺴــﺘﺮ ﺍﻭﻟﻴﻪ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ »ﻫﻔﺖ ﺩﻗﻴﻘﻪ ﺗﺎ‬ ‫ﭘﺎﻳﻴﺰ« ﻣﻄﺮﺡ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﺭﻫﺎﻱ ﻗﺒﻠﻲ ﻋﻠﻴﺮﺿﺎ ﺍﻣﻴﻨﻲ ﺭﺍ ﺩﻳﺪﻩ ﺑﻮﺩﻳﺪ؟‬ ‫ﺑﻠــﻪ‪ ،‬ﺩﺭ ﺟﺮﻳﺎﻥ ﺁﻥ ﻛﺎﺭﻫﺎ ﺑﻮﺩﻡ ﻭ ﻣﻌﺘﻘﺪﻡ ﺑﺨﺸــﻲ ﺍﺯ ﻛﺎﺭ ﻣﺤﺘﻮﺍ‬ ‫ﻭ ﺑﺨﺶ ﺩﻳﮕﺮ ﺗﻜﻨﻴﻚ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺍﺳــﺖ‪ .‬ﺑﺎﺭﻫﺎ ﺩﻳﺪﻩﺍﻳﻢ ﻗﺼﻪﻫﺎﻱ‬ ‫ﺧﻮﺑﻲ ﺑﻪ ﺩﺳــﺖ ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻧــﻲ ﺍﻓﺘﺎﺩﻩ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﻧﺘﻮﺍﻧﺴــﺘﻪﺍﻧﺪ‬ ‫ﻣﻮﺿﻮﻉ ﺟﺬﺍﺏ ﺍﻭﻟﻴﻪ ﺭﺍ ﺑﻪ ﻧﺘﻴﺠﻪﺍﻱ ﻣﻄﻠﻮﺏ ﺑﺮﺳــﺎﻧﻨﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﺳﻮﻱ‬ ‫ﺩﻳﮕﺮ ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻧﻲ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﻣﺪﻳﻮﻡ ﺳــﻴﻨﻤﺎ ﺭﺍ ﺑﻪ ﺧﻮﺑﻲ‬ ‫ﻣﻲﺷﻨﺎﺳﻨﺪ ﻭ ﺑﺎ ﺷﻢ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺧﻮﺩ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺧﻮﺑﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺭﺍ ﺑﻪ ﺳــﺮﺍﻧﺠﺎﻡ ﺑﺮﺳــﺎﻧﻨﺪ‪ .‬ﻋﻠﻴﺮﺿﺎ ﺍﻣﻴﻨﻲ ﻇﺮﻓﻴﺖ ﺁﻥ ﺭﺍ ﺩﺍﺷﺖ ﻛﻪ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ »ﻫﻔــﺖ ﺩﻗﻴﻘﻪ ﺗﺎ ﭘﺎﻳﻴﺰ« ﺭﺍ ﺑﻪ ﺧﻮﺑﻲ ﭘﺮﻭﺭﺵ ﺩﻫﺪ ﻭ ﺁﻥ ﺭﺍ‬ ‫ﺑﻪ ﻧﺘﻴﺠﻪ ﺑﺮﺳﺎﻧﺪ‪.‬‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮ ﭼﻪ ﺍﺳﺎﺳﻲ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻳﺪ؟‬ ‫ﻃﺒﻴﻌﺘﺎ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺑﻪﻭﺍﺳــﻄﻪ ﺗﻨﺎﺳــﺒﻲ ﻛﻪ ﻛﺎﺭ ﻫﺮ ﻳﻚ ﺍﺯ ﺁﻧﺎﻥ ﺑﺎ‬ ‫ﻧﻘﺶﻫﺎ ﻭ ﺷــﺨﺼﻴﺖﻫﺎ ﺩﺍﺭﺩ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﺷــﺪﻩﺍﻧﺪ ﺍﻣﺎ ﻧﻜﺘﻪ ﻣﻬﻢ ﺍﻳﻦ‬ ‫ﺍﺳــﺖ ﻛﻪ ﻫﺮ ﭼﻬﺎﺭ ﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲ ﻓﻴﻠﻢ‪ ،‬ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ‪ ،‬ﺣﺎﻣﺪ ﺑﻬﺪﺍﺩ‪،‬‬ ‫ﺧﺎﻃﺮﻩ ﺍﺳــﺪﻱ ﻭ ﻣﺤﺴﻦ ﺗﻨﺎﺑﻨﺪﻩ‪ ،‬ﻫﻤﮕﻲ ﻛﺴﺎﻧﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺧﻮﺩ‬ ‫ﺑﺎ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻩ ﻭ ﺁﻧﺎﻥ ﻫﻢ ﺗﻔﺎﻭﺕﻫﺎﻱ‬ ‫ﻣﻮﺟﻮﺩ ﺩﺭ ﻓﻀﺎﻱ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺑﻪ ﺧﻮﺑﻲ ﺩﺭﻙ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺣﻀﻮﺭ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺴﻴﺎﺭ ﺧﺒﺮﺳﺎﺯ ﺷﺪ‪.‬‬ ‫ﺧﺎﻧﻢ ﺗﻬﺮﺍﻧﻲ ﻫﻢ ﺑﻪ ﺩﻟﻴــﻞ ﺟﺬﺍﺑﻴﺖﻫﺎﻳﻲ ﻛﻪ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺮﺍﻱ ﺍﻭ‬ ‫ﺩﺍﺷﺖ ﺣﻀﻮﺭ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﭘﺬﻳﺮﻓﺖ‪ .‬ﺗﻔﺎﻭﺕﻫﺎﻱ ﻧﮕﺎﻩ ﻣﻮﺟﻮﺩ ﺩﺭ‬ ‫ﻗﺼﻪ ﻭ ﺍﻧﺘﻈــﺎﺭﻱ ﻛﻪ ﺍﺯ ﻧﺘﻴﺠﻪ ﻛﺎﺭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴــﺐ ﺑﻪ ﻭﺟﻮﺩ ﻣﻲﺁﻳﺪ‬ ‫ﻣﻮﺟﺐ ﺷﺪ ﺗﺎ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ ﻫﻢ ﺑﺎ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﺣﺎﺻﻞ ﻛﺎﺭ ﻭ ﺍﻟﺒﺘﻪ ﻧﻘﺸﻲ‬ ‫ﻛﻪ ﺑﺮﻋﻬﺪﻩ ﺍﻭ ﮔﺬﺍﺷﺘﻪ ﺷــﺪ‪ ،‬ﺑﺎﺯﻱ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﺭﺍ ﺑﻌﺪ ﺍﺯ‬ ‫ﻣﺪﺕﻫﺎ ﺩﻭﺭﻱ ﺍﺯ ﺳﻴﻨﻤﺎ ﺑﭙﺬﻳﺮﺩ‪.‬‬ ‫ﻧﺘﻴﺠﻪ ﻛﺎﺭ ﻧﻈﺮﺗﺎﻥ ﺭﺍ ﺟﻠﺐ ﻛﺮﺩ ﻭ ﺗﻮﺍﻧﺴﺖ ﺧﻮﺍﺳﺘﻪ ﺷﻤﺎ‬ ‫ﺭﺍ ﺍﺯ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﻭﻟﻴﻪ ﺗﺎﻣﻴﻦ ﻛﻨﺪ؟‬ ‫ﺑﻠــﻪ‪ ،‬ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺑــﻪ ﺧﻮﺑﻲ ﭘﻴﺶ ﺭﻓــﺖ ﻭ ﺁﻧﭽﻪ ﺗﻮﻟﻴﺪ ﺷــﺪﻩ‪،‬‬ ‫ﭘﺮﻭﺭﺵﻳﺎﻓﺘﻪ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﺍﺳــﺖ ﻛــﻪ ﺍﺑﺘﺪﺍ ﺑﺎ ﺁﻥ ﺭﻭﺑــﻪﺭﻭ ﺑﻮﺩﻳﻢ‬ ‫ﺍﻣﺎ ﻣﻌﺘﻘﺪﻡ ﻗﻀــﺎﻭﺕ ﻧﻬﺎﻳﻲ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺎﻳﺪ ﺗﻮﺳــﻂ ﺍﻫﺎﻟﻲ‬ ‫ﻣﻄﺒﻮﻋﺎﺕ ﻭ ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﺍﻟﺒﺘﻪ ﻣﺨﺎﻃﺒﺎﻥ ﺍﻧﺠﺎﻡ ﺷﻮﺩ‪.‬‬ ‫ﻓﻴﻠﻢ ﺩﻳﮕﺮ ﺷﻤﺎ ﺩﺭ ﺑﻴﺴـﺖ ﻭ ﻫﺸﺘﻤﻴﻦ ﺩﻭﺭﻩ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ‪» ،‬ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺍﺳـﺖ‪ ،‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺩﺭ ﻣﺴـﻴﺮ‬ ‫ﺍﻛﺮﺍﻥ ﺑﺎ ﻣﺸﻜﻼﺕ ﺑﺴﻴﺎﺭﻱ ﻣﻮﺍﺟﻪ ﺷﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪ 82‬ﭼﻄﻮﺭ‬ ‫ﺷﺪ ﻛﻪ ﺑﺎ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﺮﺍﻱ ﺗﻮﻟﻴﺪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻫﻤﻜﺎﺭﻱ ﻛﺮﺩﻳﺪ؟‬ ‫ﻫﺮ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﺩﺭ ﺣــﻮﺯﻩﺍﻱ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑــﻪ ﺗﺠﺮﺑﻴﺎﺗﻲ ﻛﻪ ﺩﺍﺭﺩ‬ ‫ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﻋﺮﺻﻪ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﺣﺮﻓﻲ ﺑﺮﺍﻱ ﮔﻔﺘﻦ ﺩﺍﺷــﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻛﺎﺭﻧﺎﻣﻪﺍﻱ ﺑﺴــﻴﺎﺭ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺖ‬ ‫ﻭ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﺳــﺎﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻏﻠﺐ ﺟﺰﻭ ﺁﺛﺎﺭ ﺷــﺎﺧﺺ ﺳــﻴﻨﻤﺎﻱ‬ ‫ﺍﻳــﺮﺍﻥ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﺎ ﺳــﺎﺧﺖ ﻓﻴﻠﻢﻫﺎﻱ ﺧــﻮﺩ ﺑﻪﺧﺼﻮﺹ‬ ‫»ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ« ﻭ »ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ« ﻧﺸــﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ ﺗﺎ ﭼﻪ‬ ‫ﺣﺪ ﺑﻪ ﺍﺳــﺘﺎﻧﺪﺍﺭﺩﻫﺎ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺳــﺖ ﻳﺎﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺍﻣﺎ‬ ‫»ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﻭﻳﮋﮔﻲﻫﺎﻳﻲ ﺩﺍﺷــﺖ ﻛﻪ ﻧﺸﺎﻥ ﻣﻲﺩﺍﺩ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺳﺮﻭﺷــﻜﻞ ﺩﻳﮕﺮﻱ ﻧﺴــﺒﺖ ﺑﻪ ﺩﻳﮕﺮ ﻓﻴﻠﻢﻫﺎﻱ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺧﻮﺍﻫﺪ‬ ‫ﺩﺍﺷﺖ‪.‬‬ ‫ﭼﻪ ﻭﻳﮋﮔﻲ ﻣﻨﻈﻮﺭﺗﺎﻥ ﺍﺳﺖ؟‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻟﺤﺎﻅ ﻗﺼﻪ ﻓﻀﺎﻱ ﺧﺎﺹ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺷــﺖ‪ .‬ﻗﺼﻪ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﺸــﺎﻥ ﻣﻲﺩﺍﺩ ﺍﮔﺮ ﺗﻮﺳﻂ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﻫﻤﺎﻧﻨﺪ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﻪ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ ،‬ﺣﺮﻑﻫﺎﻱ ﺯﻳﺎﺩﻱ ﺑﺮﺍﻱ‬ ‫ﮔﻔﺘﻦ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﻣﺴﻴﺮ ﺗﻮﻟﻴﺪ ﺍﻳﻦ ﻓﻴﻠﻢ ﭼﻄﻮﺭ ﭘﻴﺶ ﺭﻓﺖ؟‬ ‫»ﺑﻪﺭﻧــﮓ ﺍﺭﻏﻮﺍﻥ« ﺩﺭ ﻓﺼﻞ ﺳــﺮﻣﺎ ﺩﺭ ﻓﻴﺮﻭﺯﻛﻮﻩ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﻣﻲﺷــﺪ ﻭ ﻭﺍﺿﺢ ﺍﺳﺖ ﻛﻪ ﻛﺎﺭ ﺩﺭ ﺍﻳﻦ ﺷــﺮﺍﻳﻂ ﭼﻨﺪﺍﻥ ﺳﺎﺩﻩ ﻧﺒﻮﺩﻩ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺯﻣﺎﻧـﻲ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﻣﻲﺳـﺎﺧﺘﻴﺪ ﻓﻜـﺮ ﻣﻲﻛﺮﺩﻳﺪ ﺑﺎ ﺍﻳﻦ‬ ‫ﺷﺮﺍﻳﻂ ﺩﺭ ﺍﻛﺮﺍﻥ ﻣﻮﺍﺟﻪ ﺷﻮﺩ؟‬ ‫ﺑﻪﻫﻴــﭻ ﻋﻨﻮﺍﻥ ﺍﻧﺘﻈــﺎﺭ ﭼﻨﻴﻦ ﺑﺮﺧــﻮﺭﺩﻱ ﺭﺍ ﻧﺪﺍﺷــﺘﻴﻢ‪ .‬ﻓﻜﺮ‬ ‫ﻧﻤﻲﻛــﺮﺩﻡ ﺍﻳــﻦ ﻃــﻮﺭ ﺩﺭ ﻣﻘﺎﺑــﻞ ﻓﻴﻠــﻢ ﻣﻮﺿﻊﮔﻴﺮﻱ ﺷــﻮﺩ ﻭ‬ ‫»ﺑﻪﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺑﺮﺍﻱ ﺍﻛﺮﺍﻥ ﻭ ﻧﻤﺎﻳﺶ ﭘﻨﺞﺳﺎﻝ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺑﻤﺎﻧﺪ‪.‬‬ ‫ﻫﻤﻜﺎﺭﻱ ﺑﺎ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴـﺎ ﭼﻄﻮﺭ ﺑﻮﺩ؟ ﺍﻭ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﺎ ﺷﻤﺎ ﺩﺭ ﻣﻘﺎﻡ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻫﻤﻜﺎﺭﻱ ﻣﻲﻛﺮﺩ‪.‬‬ ‫ﻣﻦ ﺑﻪﻋﻨﻮﺍﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻭ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ ﻣﻘﺎﻡ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻫﺮﻳﻚ‬ ‫ﺩﻳﺪﮔﺎﻩ ﻭ ﻃﺮﺯ ﺗﻔﻜﺮ ﻭ ﺷﻴﻮﻩ ﻛﺎﺭ ﻣﺨﺼﻮﺹ ﺑﻪﺧﻮﺩ ﺭﺍ ﺩﺍﺭﻳﻢ‪ .‬ﭘﻴﺶ ﺍﺯ‬ ‫ﺷﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺩﺭ ﻣﻮﺭﺩ ﺗﻤﺎﻣﻲ ﻣﺴﺎﺋﻠﻲ ﻛﻪ ﺑﺎﻳﺪ ﺗﻮﺍﻓﻖ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻴﻢ‪ ،‬ﺗﻮﺍﻓﻖﻫﺎ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻳﻢ ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﺍﻳﻦ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﻮﺩ ﻛﻪ ﻓﻴﻠﻢ‬ ‫ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻣﻲﻛﺮﺩ ﻭ ﻣﻦ ﺑﻪﻋﻨﻮﺍﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺳــﻌﻲ ﻣﻲﻛﺮﺩﻡ‬ ‫ﻭﻇﺎﻳﻒ ﺧﻮﺩ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﻢ‪.‬‬ ‫ﺣﺎﺻﻞ ﻓﻴﻠﻢ ﺭﺍ ﻓﺎﺭﻍ ﺍﺯ ﺍﺗﻔﺎﻗﺎﺗﻲ ﻛﻪ ﺩﺭ ﻣﺴـﻴﺮ ﺍﻛﺮﺍﻥ ﺁﻥ‬ ‫ﺑﻪﻭﺟﻮﺩ ﺁﻣﺪ‪ ،‬ﭼﻄﻮﺭ ﺍﺭﺯﻳﺎﺑﻲ ﻣﻲﻛﻨﻴﺪ؟‬ ‫ﻗﻄﻌــﺎ »ﺑﻪ ﺭﻧﮓ ﺍﺭﻏﻮﺍﻥ« ﺍﺛﺮ ﺑﺮﺟﺴــﺘﻪﺍﻱ ﺍﺳــﺖ ﻭ ﺑﺮﺍﺳــﺎﺱ‬ ‫ﭼﺎﺭﭼﻮﺏ ﻭ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﺧﺎﺻﻲ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﺍﻣﺮﻭﺯ ﺑﻌﺪ ﺍﺯ ﭘﻨﺞ ﺳﺎﻝ‪ ،‬ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‪ ،‬ﺍﺭﺯﺵﻫﺎﻱ ﺁﻥ ﺭﺍ‬ ‫ﺗﺤﺖﺍﻟﺸﻌﺎﻉ ﻗﺮﺍﺭ ﻧﺪﺍﺩﻩ ﺍﺳﺖ؟‬ ‫ﺑﻪ ﻫﺮﺣﺎﻝ ﻣﺎ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺑﻪ ﺩﺳــﺘﻮﺭﺍﺕ ﺻﺎﺩﺭ ﺷــﺪﻩ ﺍﺯ ﻭﺯﺍﺭﺕ‬ ‫ﻓﺮﻫﻨﮓ ﻭ ﺍﺭﺷــﺎﺩ ﺍﺳــﻼﻣﻲ ﺗﻤﻜﻴﻦ ﻛﺮﺩﻳﻢ ﻭ ﺍﻛﻨــﻮﻥ ﻛﻪ ﺿﻮﺍﺑﻂ‬ ‫ﺍﺟﺎﺯﻩ ﻣﻲﺩﻫﺪ ﻓﻴﻠﻢ ﺭﺍ ﺍﻛﺮﺍﻥ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ ﻭ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺷﺮﻛﺖ‬ ‫ﺧﻮﺍﻫﻴــﻢ ﺩﺍﺩ‪ .‬ﻭﻗﺘﻲ ﺍﺧﺘﻴﺎﺭ ﺑﺎ ﻣﺎ ﻧﺒﻮﺩ ﻧﻤﻲﺗﻮﺍﻧﺴــﺘﻴﻢ ﻛﺎﺭ ﺩﻳﮕﺮﻱ‬ ‫ﺍﻧﺠﺎﻡ ﺩﻫﻴﻢ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺗﺼﻮﺭ ﻣﻲﻛﻨﻢ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺍﻳﻦ ﺷﺮﺍﻳﻂ‬ ‫ﻫﻢ ﻣﻘﺒﻮﻝ ﺑﺎﺷﺪ‪.‬‬ ‫ﺳﻴﻢ ﺁﺧﺮ ﺟﻮﺍﻧﺎﻥ ﺗﻬﺮﺍﻧﻰ‬ ‫ﻣﻬﺪﻯ ﻛﺮﻡﭘﻮﺭ‬ ‫‪1‬‬ ‫»ﺗﻬﺮﺍﻥ‪ ..‬ﺳــﻴﻢﺁﺧﺮ« ﻣﺮﺣﻠﻪ‬ ‫ﺗﻮﻟﻴﺪ ﻭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺑﺴــﻴﺎﺭ ﺧﻮﺑﻰ‬ ‫ﺩﺍﺷــﺖ‪ .‬ﻛﺎﺭ ﺩﺭ ﺟﺮﻳﺎﻥ ﭘﻴﺶﺗﻮﻟﻴﺪ‪،‬‬ ‫ﺍﻧﺘﺨــﺎﺏ ﻋﻮﺍﻣــﻞ ﻭ ﺩﺭ ﺭﻭﺯﻫــﺎﻯ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﻭ ﺑﺮﺍﺳﺎﺱ‬ ‫ﭘﻴﺶﺑﻴﻨﻰﻫــﺎ ﻭ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯﻫــﺎﻯ‬ ‫ﻣﺎ ﭘﻴﺶ ﻣﻲﺭﻓــﺖ‪ .‬ﺍﺯ ﺑﺮﻧﺎﻣﻪ ﺗﻌﻴﻴﻦ‬ ‫ﺷﺪﻩ ﻋﻘﺐ ﻧﺒﻮﺩﻡ ﻭ ﻣﺸﻜﻞ ﺟﺪﻯ ﻛﻪ ﻣﺎﻧﻊ ﺍﺯ ﺍﺩﺍﻣﻪ ﻛﺎﺭﻣﺎﻥ ﺷﻮﺩ‪،‬‬ ‫ﭘﻴﺶ ﺭﻭﻳﻤﺎﻥ ﻗﺮﺍﺭ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻣﺎ ﭘﺲ ﺍﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ‪ ،‬ﻣﺮﺍﺣﻞ ﻓﻨﻲ‬ ‫ﺑﺴﻴﺎﺭ ﻃﻮﻻﻧﻰ ﺷﺪ‪ .‬ﻃﺒﻴﻌﻰ ﺍﺳــﺖ ﻛﻪ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﻣﺮﺍﺣﻞ ﻓﻨﻰ‬ ‫ﻓﻴﻠﻢ ﻭ ﺑﻪ ﻧﺘﻴﺠﻪ ﺭﺳﺎﻧﺪﻥ ﺁﻥ ﻧﻴﺎﺯﻣﻨﺪ ﺑﻮﺩﺟﻪ ﻛﺎﻓﻰ ﻫﺴﺘﻴﻢ‪ ،‬ﺍﻣﺎ‬ ‫ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ ﻛﺎﺭ ﻣﺎ ﺑﻪ ﺩﻟﻴﻞ ﻧﺒﻮﺩ ﺑﻮﺩﺟﻪ ﺑﻴﺶ ﺍﺯ ﺁﻧﭽﻪ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ‬ ‫ﻭ ﭘﻴﺶﺑﻴﻨﻰ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﻃﻮﻻﻧﻰ ﺷﺪ‪.‬‬ ‫‪2‬‬ ‫ﻓﻴﻠــﻢ »ﻃﻬﺮﺍﻥ‪ ،‬ﺗﻬﺮﺍﻥ« ﻛﻪ ﺷــﺎﻣﻞ ﺩﻭﺍﭘﻴﺰﻭﺩ »ﺗﻬﺮﺍﻥ‪..‬‬ ‫ﺳــﻴﻢﺁﺧﺮ« ﻭ »ﺗﻬﺮﺍﻥ‪ ..‬ﺭﻭﺯﻫﺎﻯ ﺁﺷﻨﺎﻳﻰ« ﺍﺳــﺖ‪ ،‬ﺍﺯ ﻧﮕﺎﻩ ﻣﻦ‬ ‫ﺍﻳﺪﻩ ﺍﻭﻟﻴﻪ ﺑﺴــﻴﺎﺭ ﺟﺬﺍﺑﻰ ﺩﺍﺷﺖ؛ ﺍﻳﻨﻜﻪ ﺳﻪ ﻧﺴﻞ ﺍﺯ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ‬ ‫ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﻛﻨــﺎﺭ ﻳﻜﺪﻳﮕﺮ ﻗــﺮﺍﺭ ﺑﮕﻴﺮﻧــﺪ ﻭ ﻓﻴﻠﻤﻲ ﺭﺍ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻛﻨﻨﺪ‪ ،‬ﻓﻜﺮ ﺧﻮﺑﻰ ﺑــﻮﺩ‪ .‬ﻋﻼﻗﻪﻣﻨﺪ ﺑﻮﺩﻡ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭ‬ ‫ﺳــﻴﻒﺍﷲ ﺩﺍﺩ ﻭ ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻰ ﻓﻴﻠﻤﻲ ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻛﻨﻢ‬ ‫ﻛﻪ ﻣﺘﺎﺳﻔﺎﻧﻪ ﻋﻤﺮ ﺯﻧﺪﻩﻳﺎﺩ ﺩﺍﺩ ﺑﻪ ﺩﻧﻴﺎ ﻧﺒﻮﺩ ﺗﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺑﺴﺎﺯﺩ‬ ‫ﺍﻣﺎ ﺍﻓﺘﺨﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭ ﺍﺳــﺘﺎﺩ ﺑﺰﺭﮔﻢ ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻰ‬ ‫ﻓﻴﻠﻤﻲ ﺭﺍ ﺳﺎﺧﺘﻢ‪.‬‬ ‫‪3‬‬ ‫ﻧﻜﺘﻪ ﺣﺎﺋﺰﺍﻫﻤﻴﺖ ﺩﺭ ﻣﻮﺭﺩ »ﺗﻬﺮﺍﻥ‪ ...‬ﺳﻴﻢﺁﺧﺮ« ﻭﺟﻮﺩ‬ ‫ﺭﻭﻳﻜﺮﺩ ﺍﺟﺘﻤﺎﻋﻰ ﺩﺭ ﻣﻮﺿﻮﻉ ﺁﻥ ﺍﺳﺖ ﻭ ﺍﻳﻨﻜﻪ ﺟﻮﺍﻧﺎﻥ ﻭ ﻣﺴﺎﺋﻞ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺁﻧﺎﻥ ﺭﺍ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻣﺮﻭﺯ »ﺗﻬﺮﺍﻥ‪..‬‬ ‫ﺳــﻴﻢ ﺁﺧﺮ« ﺭﻧﮓ ﻭ ﺑﻮﻯ ﺗﺎﺯﮔﻰ ﺩﺍﺭﺩ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﺍﺳــﺖ ﻛﻪ ﻣﺎ‬ ‫ﺯﻣﺎﻥ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺗﻮﺍﻧﺴﺘﻴﻢ ﺟﺎﻣﻌﻪ ﺭﺍ ﺑﺎ ﻧﮕﺎﻩ ﺭﻭ ﺑﻪ ﺟﻠﻮ ﺗﺤﻠﻴﻞ‬ ‫ﻛﻨﻴﻢ ﻭ ﺳــﻌﻰ ﻛﺮﺩﻳﻢ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺑﻀﺎﻋﺖ ﻭ ﺗﻮﺍﻧﺎﻳﻰ ﺩﺭ ﺗﻔﻜﺮﺍﺗﻤﺎﻥ‬ ‫ﺟﺎﻣﻌﻪ ﺭﺍ ﺗﺤﻠﻴﻞ ﻛﻨﻴﻢ‪.‬‬ ‫‪4‬‬ ‫ﺟﻮﺍﻧﺎﻥ ﻭ ﻣﻮﺿﻮﻋﺎﺕ ﻣﺮﺑﻮﻁ ﺑﻪ ﺁﻧــﺎﻥ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﻮﺭﺩ‬ ‫ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﻧﻜﺘﻪ ﻣﻬﻢ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺁﻥ ﺍﺳــﺖ ﻛﻪ ﻧﮕﺎﻩ ﻣﺎ‬ ‫ﺑﻪ ﺟﻮﺍﻧﺎﻥ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﮕﺎﻫﻰ ﺍﺯ ﺑﺎﻻ ﻧﻴﺴــﺖ ﻭ ﺍﻳﻦ ﻧﮕﺎﻩ ﻛﺎﻣﻼ ﺍﺯ‬ ‫ﺩﺭﻭﻥ ﺑﻪ ﺟﻮﺍﻧﺎﻥ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺗﻼﺵ ﻣﻦ ﺩﺭ ﺍﻳﻦ ﺟﻬﺖ‬ ‫ﺑﻮﺩﻩ ﺗﺎ ﺑﻪ ﻫﻴﭻ ﻋﻨﻮﺍﻥ ﻧﮕﺎﻫﻰ ﺍﺯ ﺑﺎﻻ ﺑﻪ ﺟﻮﺍﻧﺎﻥ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻢ ﻭ ﻧﮕﺎﻩ‬ ‫ﻣﻦ ﺑﻪ ﺁﻧﺎﻥ ﻫﻢﺍﻧﺪﺍﺯﻩ ﻭ ﻫﻢﺳﻄﺢ ﺑﺎﺷﺪ‪ .‬ﻣﻦ ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ‬ ‫ﻛﻪ ﻓﺎﺻﻠﻪ ﺳﻨﻰ ﭼﻨﺪﺍﻧﻰ ﺑﺎ ﻧﺴﻞ ﺟﻮﺍﻥ ﺍﻣﺮﻭﺯ ﻧﺪﺍﺭﻡ‪ ،‬ﺗﻼﺵ ﻛﺮﺩﻡ‬ ‫ﺗــﺎ ﺍﺯ ﻧﮕﺎﻩﻫﺎﻯ ﻧﺎﺻﺤﻴﺢ ﺍﺯ ﺑﺎﻻ ﺑﻪ ﺍﻳﻦ ﻗﺸــﺮ ﺩﻭﺭﻯ ﻛﻨﻢ ﻭ ﺗﺼﻮﺭ‬ ‫ﻣﻲﻛﻨﻢ ﻫﻤﻴﻦ ﻣﺴﺎﻟﻪ ﻳﻜﻰ ﺍﺯ ﻭﻳﮋﮔﻰﻫﺎﻯ »ﺗﻬﺮﺍﻥ‪ ..‬ﺳﻴﻢﺁﺧﺮ«‬ ‫ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ‪.‬‬ ‫‪5‬‬ ‫ﺩﺍﺳــﺘﺎﻥ »ﺗﻬﺮﺍﻥ‪ ..‬ﺳــﻴﻢﺁﺧﺮ« ﻣﺮﺑﻮﻁ ﺑﻪ ﺷﻬﺮﻯ ﺍﺳﺖ‬ ‫ﻛﻪ ﭘﺪﺭﻡ ﻭ ﻣﺎﺩﺭﻡ ﻭ ﻣﻦ ﺩﺭ ﺁﻥ ﻣﺘﻮﻟﺪ ﺷﺪﻩ ﻭ ﺭﺷﺪ ﻛﺮﺩﻩ ﻭ ﺗﺮﺑﻴﺖ‬ ‫ﺷﺪﻩﺍﻳﻢ‪ .‬ﺗﻬﺮﺍﻥ ﺷﻬﺮﻯ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺭﻭﺯ ﺍﺯ ﻧﺨﺴﺘﻴﻦ ﺳﺎﻋﺎﺕ ﺭﻭﺯ‬ ‫ﻛﻪ ﺑﻴﺪﺍﺭ ﻣﻲﺷــﻮﻳﻢ ﻭ ﻗﺼﺪ ﻣﻲﻛﻨﻴﻢ ﺍﺯ ﺧﺎﻧﻪ ﺧﺎﺭﺝ ﺷﻮﻳﻢ‪ ،‬ﺑﺎ ﺁﻥ‬ ‫ﻣﻮﺍﺟﻪ ﻫﺴﺘﻴﻢ ﻭ ﻫﻤﻴﻦ ﺍﺭﺗﺒﺎﻁ ﮔﺴــﺘﺮﺩﻩ ﺑﺎ ﺍﻳﻦ ﺷﻬﺮ ﺍﺳﺖ ﻛﻪ‬ ‫ﺳﺒﺐ ﻣﻲﺷﻮﺩ ﺗﻬﺮﺍﻥ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺩﻏﺪﻏﻪﻫﺎﻯ ﺫﻫﻨﻰ ﻣﻦ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﺳﺎﻛﻦ ﺍﻳﻦ ﺷــﻬﺮ ﻭ ﻳﻚ ﻓﻴﻠﻤﺴﺎﺯ ﺗﺒﺪﻳﻞ ﺷــﻮﺩ‪ .‬ﺷﻬﺮ ﺗﻬﺮﺍﻥ ﺩﺭ‬ ‫ﻓﻴﻠﻢ »ﺗﻬﺮﺍﻥ‪ ..‬ﺳــﻴﻢ ﺁﺧﺮ« ﺍﺯ ﻧﮕﺎﻩ ﻭ ﻣﻨﻈﺮ ﺟﻮﺍﻧﺎﻥ ﻣﻮﺭﺩ ﺗﻮﺟﻪ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪﻃــﻮﺭ ﻛﻠﻰ ﺗﻬﺮﺍﻥ ﻭ ﺟﻮﺍﻧﺎﻥ ﺑﻪﻋﻨﻮﺍﻥ ﺩﻭ ﺍﺻﻞ ﺩﺭ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻭﻳﮋﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫‪43‬‬ ‫‪12‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺑﻴﺴﺖﻭﻫﺸﺘﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﻛﻢﺑﺎﺭ ﻭ ﺑﻲﺭﻣﻖ‬ ‫ﺭﺿﺎ ﺣﺴﻴﻨﻲ‬ ‫ﺳﺮﺍﻧﺠﺎﻡ ﺯﻣﺎﻥ ﺑﺮﮔﺰﺍﺭﻱ ﺑﻴﺴﺖﻭﻫﺸﺘﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﻓﺮﺍﺭﺳــﻴﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﻣﻲﺗﻮﺍﻧﻴﻢ ‪ 10‬ﺭﻭﺯ ﺑﻴﺴــﺖﻭﭼﻬﺎﺭ ﺳﺎﻋﺘﻪ ﻓﻴﻠﻢ‬ ‫ﺑﺒﻴﻨﻴﻢ ﻭ ﮔﭗ ﺑﺰﻧﻴﻢ ﻭ ﭼﻨﺪ ﺭﻭﺯﻱ ﺭﺍ ﻫﻢ ﺻﺮﻑ ﻟﺬﺕ ﺩﻳﺪﻥ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺟﻬﺎﻥ ﺭﻭﻱ ﭘﺮﺩﻩ ﻧﻘﺮﻩﺍﻱ ﻛﻨﻴﻢ ﻭ ﺍﻳﻨﮕﻮﻧﻪ ﺳﻴﻨﻤﺎ ﺭﺍ ﻟﻤﺲ‬ ‫ﻛﻨﻴﻢ‪ .‬ﻣﻌﻤﻮﻻ ﻓﻴﻠﻢﻫﺎﻱ ﺧﺎﺭﺟﻲ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺩﺳــﺖ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﺑﻪ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺭﻣﻲﺁﻳﻨﺪ ﺭﺍ ﺩﻳﮕﺮ ﻧﻤﻲﺷــﻮﺩ ﮔﻴــﺮ ﺁﻭﺭﺩ‪ .‬ﭘﺲ ﺑﻪ ﻫﺮ ﺩﻭﺭﻩ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻣﻲﺗﻮﺍﻥ ﺑــﻪ ﻋﻨﻮﺍﻥ ﻓﺮﺻﺖ ﻣﻨﺎﺳــﺒﻲ ﺑﺮﺍﻱ ﺗﻐﻴﻴﺮ‬ ‫ﺣﺎﻝ ﻭ ﻫﻮﺍ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻫﻢ ﺍﺯ ﻟﺤﺎﻅ ﻛﻴﻔﻴﺖ ﻓﻴﻠﻢ ﺩﻳﺪﻥ ﻭ ﺩﻭﺭ ﺷــﺪﻥ‬ ‫ﺍﺯ ﻓﻀﺎﻱ ﺗﻤﺎﺷــﺎﻱ ﻓﻴﻠﻢﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺩﺭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻭ ﻣﺎﻧﻴﺘﻮﺭ ﻭ‪ ...‬ﻭ‬ ‫ﻫﻢ ﺍﺯ ﺟﻬﺖ ﻟــﺬﺕ ﺑﺮﺩﻥ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻓﻴﻠﻢﻫﺎﻳــﻲ ﻛﻪ ﻋﻤﺪﺗﺎ ﻧﺎﻳﺎﺏ‬ ‫ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ ﻭ ﺩﺭ ﻣﻴﺎﻧﺸــﺎﻥ ﺣﺪﺍﻗﻞ ﭼﻨﺪ ﻓﻴﻠــﻢ ﺧﻴﻠﻲ ﺧﻮﺏ ﻳﺎ ﺑﻪ‬ ‫ﻗﻮﻟﻲ »ﺷــﺎﻫﻜﺎﺭ ﻣﻬﺠﻮﺭ« ﻳﺎﻓﺖ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﭘﺲ ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺁﻣﺎﺩﻩ‬ ‫ﺁﺭﺍﻣﺶ ﻭ ﺿﺮﺑﺎﻫﻨﮓﻫﺎﻱ ﻛﻨﺪ ﺁﺛﺎﺭ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﮔﻤﻨﺎﻡ ﮔﻮﺷﻪﻭﻛﻨﺎﺭ‬ ‫ﺩﻧﻴﺎ ﻛﻨﻴﺪ ﻭ ﭼﻨﺪ ﺭﻭﺯﻱ ﺍﺯ ﺍﻳﻦ ﺩﻧﻴﺎﻱ ﺷﻠﻮﻍﭘﻠﻮﻍ ﺩﻭﺭ ﺷﻮﻳﺪ‪) .‬ﻛﺎﺭﻱ‬ ‫ﻫﻢ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﻛﻪ ﺟﺎﻱ ﭼﻪ ﻓﻴﻠﻢﻫﺎﻱ ﻣﻄﺮﺣﻲ‬ ‫ﺩﺭ ﺍﻳــﻦ ﺩﻭﺭﻩ ﻭ ﻫﺮ ﺩﻭﺭﻩ ﺩﻳﮕﺮﻱ ﺧﺎﻟﻲ ﺍﺳــﺖ ﻭ ﻓﻘﻂ ﻧﻴﻤﻪ ﭘﺮ ﻟﻴﻮﺍﻥ‬ ‫ﺭﺍ ﺑﺒﻴﻨﻴﺪ!( ﺩﺭ ﺍﺩﺍﻣﻪ ﺗﻮﺿﻴﺢ ﻣﺨﺘﺼﺮﻱ ﺩﺭﺑﺎﺭﻩ ﺑﺨﺶﻫﺎﻱ ﺧﺎﺭﺟﻲ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻭ ﻓﻴﻠﻢﻫﺎﻱ ﻣﻬﻢ ﻫﺮ ﺑﺨﺶ ﺁﻣﺪﻩ ﻭ ﺳﭙﺲ ﺑﻪﻃﻮﺭ ﻣﻔﺼﻞ ﺑﻪ‬ ‫‪44‬‬ ‫ﻣﻌﺮﻓﻲ ﻓﻴﻠﻢﻫﺎ ﭘﺮﺩﺍﺧﺘﻪﺍﻳﻢ‪.‬‬ ‫ﺑﺨﺶ ﺟﻠﻮﻩﮔﺎﻩ ﺷﺮﻕ )ﺳﻴﻨﻤﺎﻱ ﺁﺳﻴﺎ(‬ ‫ﺩﺭ ﻣﻴــﺎﻥ ﺩﻭﺍﺯﺩﻩ ﻓﻴﻠﻢ ﺍﻳــﻦ ﺑﺨﺶ »ﺑﻴــﺮﻭﻥ ﺍﺯ ﭼﺮﺧﻪ« ﻧﺎﻣﺰﺩ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺑﻨﮕﻼﺩﺵ ﺩﺭ ﺍﺳﻜﺎﺭ ﺍﺳﺖ ﻭ ﻣﻘﺎﻳﺴﻪﺍﻱ ﻛﻪ ﺩﺭ ﺳﺎﻳﺖ ﺭﺳﻤﻲ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺗﻮﺭﻧﺘﻮ ﻣﻴﺎﻥ ﻗﻬﺮﻣﺎﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﻭ ﻗﻬﺮﻣﺎﻧﺎﻥ ﺳﻴﻨﻤﺎﻱ ﻛﺎﭘﺮﺍ‬ ‫ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﺁﻥ ﺭﺍ ﺑﺪﺟﻮﺭﻱ ﻭﺳﻮﺳﻪﺍﻧﮕﻴﺰ ﻣﻲﻛﻨﺪ‪» .‬ﺑﺪﺭﻭﺩ‬ ‫ﮔﻠﺴــﺎﺭﻱ« ﺍﺯ ﺁﻥ ﺩﺳﺖ ﻓﻴﻠﻢﻫﺎﻱ ﺭﻭﺳﻲ ﺍﺳﺖ ﻛﻪ »ﻳﻚ ﻣﺮﺩ ﻭ ﻳﻚ‬ ‫ﺍﺳﺐ ﻭ ﻳﻚ ﻣﺰﺭﻋﻪ« ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺳﻴﻨﻤﺎﻱ ﺭﻭﺱ‬ ‫ﮔﺰﻳﻨﻪ ﺍﻳﺪﻩﺁﻟﻲ ﺍﺳــﺖ‪ ،‬ﻣﺨﺼﻮﺻﺎ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﻛﻪ ﻳﻜﻲ ﺍﺯ ﺍﺳﺘﺎﺩﺍﻥ‬ ‫ﺩﺍﻧﺸــﮕﺎﻩ ﺭﺟﻴﻨﺎ ﺑﺮ ﺁﻥ ﻣﻬﺮ ﺗﺎﻳﻴﺪ ﺯﺩﻩ ﺍﺳﺖ‪» .‬ﺑﺎﺭﺍﻥ ﻣﺰﺍﺣﻢ« ﺭﺍ ﻫﻢ‬ ‫ﻧﺒﺎﻳﺪ ﺍﺯ ﺩﺳــﺖ ﺩﺍﺩ ﭼــﻮﻥ ﺗﻮﺻﻴﻒ ﻣﻨﺘﻘﺪ ﻭﺭﺍﻳﺘــﻲ ﺍﺯ ﻧﻤﺎﻱ ﻛﺮﻳﻦ‬ ‫ﺍﺑﺘﺪﺍﻱ ﻓﻴﻠﻢ ﺑﻪ ﺷﺪﺕ ﺟﺎﻟﺐﺗﻮﺟﻪ ﻭ ﻛﻨﺠﻜﺎﻭﻱﺑﺮﺍﻧﮕﻴﺰ ﺍﺳﺖ ﻫﺮﭼﻪ‬ ‫ﺑﺎﺷﺪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﺤﺼﻮﻝ ﺳــﻴﻨﻤﺎﻱ ﻫﻨﺪ ﺍﺳﺖ ﻭ »ﺭﺍﺑﻮﻥ« ﻛﻪ ﺍﺯ ﺁﻥ‬ ‫ﻓﻴﻠﻢﻫﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﻣﻌﻠﻮﻡ ﻧﻴﺴــﺖ ﭼﻄﻮﺭ ﺍﺯ ﺑﺨﺶﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺳﺮﺩﺭﺁﻭﺭﺩﻩ ﺍﺳﺖ ﭼﻮﻥ ﻳﻚ ﻓﻴﻠﻢ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻣﺎﻟﺰﻳﺎﻳﻲ ﺍﺳﺖ ﻣﺤﺼﻮﻝ‬ ‫ﺳﺎﻝ ‪!2003‬‬ ‫ﺑﺨﺶ ﺳﻴﻨﻤﺎﻱ ﺳﻠﻄﻪﮔﺮ‬ ‫ﺑﻲﺗﺮﺩﻳــﺪ »ﻗﻔﺲﺭﻧــﺞ« )‪ (2009‬ﻭﺳﻮﺳــﻪﺍﻧﮕﻴﺰﺗﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺍﻳﻦ ﺑﺨﺶ ﺍﺳــﺖ ﻛﻪ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻣﻲﺩﺍﻧﻴﺪ ﻳﻜــﻲ ﺍﺯ ﻣﻮﻓﻖﺗﺮﻳﻦ ﻭ‬ ‫ﺗﺤﺴﻴﻦﺷﺪﻩﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﺳﺎﻝ ﻣﻴﻼﺩﻱ ﮔﺬﺷﺘﻪ ﺑﻪﺷﻤﺎﺭ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﻓﻴﻠﻢ ﺭﺍ ﻛﺎﺗﺮﻳﻦ ﺑﻴﮕﻠﻮ )ﻫﻤﺴﺮ ﺳــﺎﺑﻖ ﺟﻴﻤﺰ ﻛﺎﻣﺮﻭﻥ( ﻛﺎﺭﮔﺮﺩﺍﻧﻲ‬ ‫ﻛﺮﺩﻩ ﻛﻪ ﭘﻴــﺶ ﺍﺯ ﺍﻳﻦ ﺁﺛﺎﺭﻱ ﻣﺎﻧﻨﺪ »ﻧﻘﻄﻪ ﺷﻜﺴــﺖ« )‪،(1991‬‬ ‫»ﻭﺯﻥ ﺁﺏ« )‪ (2000‬ﻭ »ﻛﻲ ‪ :19‬ﺑﻴﻮﻩﺳﺎﺯ« )‪ (2002‬ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺟﻴﻤﺰ ﻛﺎﻣﺮﻭﻥ ﺩﺭ ﺍﻇﻬﺎﺭﻧﻈﺮ ﺍﺑﺘﺪﺍﻳﻲ ﺧﻮﺩ ﭘﻴﺮﺍﻣﻮﻥ ﻓﻴﻠﻢ ﮔﻔﺘﻪ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﻲﺗﻮﺍﻧﺪ »ﺟﻮﺧﻪ« )ﺍﻟﻴﻮﺭ ﺍﺳﺘﻮﻥ‪ (1986 ،‬ﺟﻨﮓ‬ ‫ﻋﺮﺍﻕ ﺑﺎﺷﺪ‪ .‬ﻓﻴﻠﻢﻫﺎﻱ »ﻣﻪ ﺟﻨﮓ«‪» ،‬ﺟﺎﺩﻩ ﮔﻮﺍﻧﺘﺎﻧﺎﻣﻮ«‪» ،‬ﺩﺭﻩ ﺍﻻﻩ«‬ ‫ﻭ »ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﺘﺸــﺎﺭ« ﻫﻢ ﻳﺎ ﺩﺭ ﺩﻭﺭﻩﻫﺎﻱ ﻗﺒﻠﻲ ﺟﺸــﻨﻮﺍﺭﻩ ﺣﻀﻮﺭ‬ ‫ﺩﺍﺷــﺘﻪﺍﻧﺪ ﻳﺎ ﭼﻨﺪ ﺑﺎﺭﻱ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﭘﺨﺶ ﺷــﺪﻩﺍﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‬ ‫ﺍﮔــﺮ ﺍﻳﻦ ﭼﻬﺎﺭ ﻓﻴﻠﻢ ﺭﺍ ﺗﺎ ﺍﻣﺮﻭﺯ ﻧﺪﻳﺪﻩﺍﻳﺪ‪ ،‬ﻓﺮﺻﺖ ﺗﻤﺎﺷــﺎﻱ ﺁﻧﻬﺎ ﺩﺭ‬ ‫ﺳﻴﻨﻤﺎ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺪﻫﻴﺪ‪ .‬ﺑﻪ ﻏﻴﺮ ﺍﺯ ﻓﻴﻠﻢ ﺟﺎﺩﻩﺍﻱ ﻏﻢﺍﻧﮕﻴﺰ »ﮔﺮﻳﺲ‬ ‫ﺭﻓﺘﻪ ﺍﺳﺖ« )‪ (1997‬ﻛﻪ ﺳــﺎﺧﺘﺎﺭ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﺟﺎﻟﺒﻲ ﺩﺍﺭﺩ‪ ،‬ﺑﻘﻴﻪ‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳﻦ ﺑﺨﺶ ﺁﺛﺎﺭ ﻛﻮﭼﻚ ﻭ ﮔﻤﻨﺎﻣﻲ ﻫﺴــﺘﻨﺪ ﻛﻪ ﺩﺭ ﺍﺩﺍﻣﻪ‬ ‫ﻣﻲﺗﻮﺍﻧﻴﺪ ﺩﺭﺑﺎﺭﻩﺷﺎﻥ ﺑﻴﺸﺘﺮ ﺑﺨﻮﺍﻧﻴﺪ‪.‬‬ ‫ﺑﺨﺶ ﺟﺸﻨﻮﺍﺭﻩ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ‬ ‫»ﺩﺭ ﺟﺴﺖﻭﺟﻮﻱ ﺍﺭﻳﻚ« ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺍﻳﻦ ﺑﺨﺶ ﺍﺳﺖ ﻛﻪ‬ ‫ﻭﺍﻗﻌﺎ ﻧﻤﻲﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺍﺯ ﺩﺳــﺖ ﺩﺍﺩ؛ﻫﻢ ﺑﻪ ﺧﺎﻃﺮ ﻛﻦ ﻟﻮچ‪ ،‬ﻫﻢ ﺍﺭﻳﻚ‬ ‫ﻛﺎﻧﺘﻮﻧﺎ ﻭ ﻫﻢ ﺳﺎﺧﺘﺎﺭ ﺩﺍﺳﺘﺎﻧﻲ ﻛﻪ ﺑﻪ ﻓﺎﻧﺘﺰﻱ ﻃﻌﻨﻪ ﻣﻲﺯﻧﺪ‪» .‬ﻳﺦ ﺯﺩﻩ«‬ ‫ﺩﻭﻣﻴﻦ ﻓﻴﻠﻢ ﺍﺯ ﺳﻴﻨﻤﺎﻱ ﻫﻨﺪ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺍﺳﺖ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻥ‬ ‫ﺁﻥ ﺭﺍ ﻧﺪﻳﺪ ﭼﻮﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺳﻴﺎﻩﻭﺳــﻔﻴﺪ ﺩﺭﺧﺸــﺎﻧﻲ ﺩﺍﺭﺩ ﻭ ﺑﻪ‬ ‫ﻗﻮﻝ ﻣﻨﺘﻘﺪ ﻭﺭﺍﻳﺘﻲ ﺑﻴﺸﺘﺮ ﺑﻪ ﻭﺳﺘﺮﻥﻫﺎ ﺷﺒﺎﻫﺖ ﺩﺍﺭﺩ! »ﺳﭙﻴﺪﻩ ﺩﻡ‬ ‫ﺟﻬﺎﻥ« ﻓﻴﻠﻢ ﺿﺪﺟﻨﮓ ﻛﻮﭼﻚ ﻭ ﺑﺎﻣﺰﻩﺍﻱ ﺍﺳﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻧﺶ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﺤﺪﻭﺩﻩ ﺟﻐﺮﺍﻓﻴﺎﻳﻲ ﺗﺎﺯﻩ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ‪ .‬ﺍﺯ ﺳﺎﻳﺮ ﻓﻴﻠﻢﻫﺎ »ﻫﺎﻧﺴﻞ ﻭ‬ ‫ﮔﺮﺗﻞ« ﺍﺯ ﻛﺮﻩ ﺟﻨﻮﺑﻲ ﺑﻪﺧﺎﻃﺮ ﺩﺍﺳﺘﺎﻥ ﻓﺎﻧﺘﺰﻱﺍﺵ ﻛﻪ ﺑﻪ »ﻫﺰﺍﺭﺗﻮﻱ‬ ‫ﭘﻦ« )ﮔﻴﺮﻣﻮ ﺩﻝﺗﻮﺭﻭ( ﺷــﺒﺎﻫﺖ ﺩﺍﺭﺩ؛ »ﺟﺎﻻﻳﻨﻮﺭ« ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻨﻜﻪ‬ ‫ﺷــﻤﺎ ﺭﺍ ﺩﺭ ﻃﺒﻴﻌﺖ ﺑﻪ ﺁﺭﺍﻣﺶ ﺧﻮﺍﻫﺪ ﺭﺳــﺎﻧﺪ ﻭ »ﺯﻣﺎﻥ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ‬ ‫ﺍﺳﺖ« ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻨﻜﻪ ﻓﻴﻠﻢ ﺟﺪﻳﺪ ﺍﻟﻴﺎ ﺳﻠﻴﻤﺎﻥ )ﺩﺧﺎﻟﺖ ﺍﻟﻬﻲ( ﺍﺳﺖ‪،‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ ﻛﻪ ﺍﺭﺯﺵ ﻭﻗﺖ ﮔﺬﺍﺷﺘﻦ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺑﺨﺶ ﺩﺭ ﺟﺴﺖﻭﺟﻮﻱ ﺣﻘﻴﻘﺖ ﻭ ﻋﺪﺍﻟﺖ‬ ‫)ﺳﻴﻨﻤﺎﻱ ﻣﻌﻨﺎﮔﺮﺍﻱ ﺳﺎﺑﻖ!(‬ ‫ﺩﺭ ﻣﻴــﺎﻥ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳــﻦ ﺑﺨﺶ ﭼﻬــﺎﺭ ﺍﺛﺮ ﺑﻴﺶ ﺍﺯ ﺳــﺎﻳﺮﻳﻦ‬ ‫ﺧﻮﺩﻧﻤﺎﻳﻲ ﻣﻲﻛﻨﻨﺪ‪» :‬ﺭﻭﺯ ﺳﻴﺰﺩﻫﻢ« ﻛﻪ ﺳﻮژﻩ ﻣﺬﻫﺒﻲ ﺗﻤﺎﻡﻋﻴﺎﺭﻱ‬ ‫ﺩﺍﺭﺩ ﻭ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻃﻼﻋﺎﺕ ﺟﺪﻳﺪﻱ ﺩﺭﺑﺎﺭﻩ ﺗﺎﺭﻳﺦ ﻣﺬﻫﺐ ﻣﺴﻴﺤﻴﺖ‬ ‫ﻭ ﺍﻟﺒﺘﻪ ﭘﺪﻳﺪﻩ »ﻣﻌﺠﺰﻩ ﺧﻮﺭﺷــﻴﺪ« ﺩﺭ ﺍﺧﺘﻴﺎﺭﻣﺎﻥ ﻗﺮﺍﺭ ﺩﻫﺪ؛ ﺗﺮﻳﻠﺮ‬ ‫ﭘﺎﺭﺍﻧﻮﻳﺎﻳﻲ »ﺣﺎﺩﺛﻪ« ﻛﻪ ﻣﻨﺘﻘﺪ ﻧﺸﺮﻳﻪ ﺁﺳــﻴﺎﻳﻲ ﺗﺎﻳﻢﺁﻭﺕ ﺭﺩﭘﺎﻱ‬ ‫ﺳــﻴﻨﻤﺎﻱ ژﺍﻥ ﭘﻲﻳﺮ ﻣﻠﻮﻳﻞ ﺭﺍ ﺩﺭ ﺁﻥ ﺩﻳﺪﻩ ﺍﺳــﺖ؛ ﻛﻤﺪﻱ ﻓﺎﻧﺘﺰﻱ‬ ‫»ﺗﺒﻌﻴــﺪﻱ ﺩﺭ ﻣﺎﻩ« ﻛﻪ ﻓﻘــﻂ ﺑﻪ ﺧﺎﻃﺮ ﺩﺍﺳــﺘﺎﻥ ﺑﺎﻣﺰﻩﺍﺵ ﺍﺭﺯﺵ‬ ‫ﺗﻤﺎﺷﺎ ﻛﺮﺩﻥ ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻣﻨﺰﻭﻱ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻳﺪ ﻓﻴﻠﻢ‬ ‫»ﺗﻮﻣﺎﺱ« ﻫﻢ ﮔﺰﻳﻨﻪ ﺧﻮﺑﻲ ﺍﺳﺖ ﭼﻮﻥ ﻇﺎﻫﺮﺍ ﻓﻴﻠﻤﺴﺎﺯ ﺧﻴﻠﻲ ﺧﻮﺏ‬ ‫ﺗﻨﻬﺎﻳﻲ ﻭ ﺩﻧﻴﺎﻱ ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﺭﺍ ﺩﺭﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺨﺶ ﺑﻴﻦﺍﻟﻤﻠﻞ )ﺟﺎﻡ ﺟﻬﺎﻥﻧﻤﺎ(‬ ‫ﻋﻤﺪﻩ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳﻦ ﺑﺨﺶ ﻓﺎﻗﺪ ﺍﻳﺪﻩ ﺟﺎﻟﺐ ﻳﺎ ﻣﻮﻓﻘﻴﺖ ﺩﺭﺧﻮﺭ‬ ‫ﺗﻮﺟﻬﻲ ﻫﺴﺘﻨﺪ‪» .‬ﺧﻮﺵ ﺁﻣﺪﻳﺪ« )ﻓﻴﻠﻴﭗ ﻟﻴﻮﺭﻩ( ﻭ »ﻏﻮﻝ« )ﺁﺩﺭﻳﺎﻥ‬ ‫ﺑﻴﻨﻲﻳﺰ( ﺍﺯ ﻣﻮﻓﻖﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳﻦ ﺑﺨﺶ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺑﺮﻟﻴﻦ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺟﻮﺍﻳﺰﻱ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻧﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻭ ﻣﻀﻤﻮﻥ‬ ‫ﻛﻠﻲ »ﺟﻬﺎﻥ ﮔﺴــﺘﺮﺩﻩ ﻭ ﺭﺳــﺘﮕﺎﺭﻱ ﺩﺭ ﺧﻢ ﻛﻮﭼﻪ ﺍﺳﺖ« ﻫﻢ ﺑﺪ‬ ‫ﺑﻪﻧﻈﺮ ﻧﻤﻲﺭﺳــﺪ ﻭ ﺑﻪ ﻧﻮﻋﻲ »ﺑﺎﺯﮔﺸــﺖ ﺑﻪ ﺍﺻﻞ« ﺭﺍ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎﻱ‬ ‫ﺍﻣﺮﻭﺯ ﻳﺎﺩﺁﻭﺭ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺑﺨﺶ ﻧﻤﺎﻳﺶﻫﺎﻱ ﻭﻳﮋﻩ‬ ‫ﻧﻴﻤــﻲ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳﻦ ﺑﺨﺶ ﻣﺘﺸــﻜﻞ ﺍﺯ ﺁﺛﺎﺭ ﻛﻮﺗﺎﻩ )ﮔﻮﻳﺎ(‬ ‫ﻣﻮﻓﻖ ﺟﻬﺎﻧﻲ ﺍﺳــﺖ ﻭ ﻧﻴﻢ ﺩﻳﮕﺮ ﺭﺍ ﺩﺭ ﻣﺠﻤﻮﻉ ﻣﻲﺗﻮﺍﻥ ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫»ﻓﻴﻠﻢﻫﺎﻱ ﺍﻛﺸــﻦ ﻧﻪ ﭼﻨــﺪﺍﻥ ﻣﻬﻢ« ﻃﺒﻘﻪﺑﻨﺪﻱ ﻛــﺮﺩ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﺑﻴــﻦ ﺁﻧﻬﺎ »ﻣﺸــﻤﻮﻻﻥ ﻏﺎﻳﺐ« )ﻛﻪ ﺑﺎﻋﻨــﻮﺍﻥ ‪Réfractaire‬‬ ‫ﺩﺭ ﻓﻬﺮﺳــﺖ ﺍﻳﻦ ﺑﺨﺶ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ( ﺑــﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻧﻴﻜﻮﻻﺱ‬ ‫ﺍﺳــﺘﻴﻦ ﻭ ﻣﺤﺼــﻮﻝ ‪ 2009‬ﻟﻮﻛﺰﺍﻣﺒــﻮﺭگ ﻧﺎﻣﺰﺩ ﺭﺳــﻤﻲ ﺍﻳﻦ‬ ‫ﻛﺸــﻮﺭ ﺑﺮﺍﻱ ﺭﻗﺎﺑﺖ ﺍﺳــﻜﺎﺭ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺧﺎﺭﺟﻲﺯﺑﺎﻥ ﺍﺳــﺖ؛‬ ‫ﺩﺭﺍﻡ ﺯﻧﺪﮔﻴﻨﺎﻣﻪﺍﻱ ﻭ ﺟﻨﮕﻲ »ﺟﺎﻥ ﺭﻳﺐ« )ﻓﻠﻮﺭﻳﺎﻥ ﮔﺎﻟﻦﺑﺮﮔﺮ‪،‬‬ ‫‪ (2009‬ﻛﻪ ﺭﻭﺍﻳﺘﮕﺮ ﺩﺍﺳــﺘﺎﻥ ﺗﺎﺟﺮ ﺁﻟﻤﺎﻧﻲ ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﻛﺸﺘﺎﺭ‬ ‫ﺳــﺎﻝﻫﺎﻱ ‪ 1937‬ﻭ ‪ 1938‬ﺩﺭ ﺷــﻬﺮ ﻧﺎﻧﺠﻴﻨﮓ‪ ،‬ﺟــﺎﻥ ﺑﻴﺶ ﺍﺯ‬ ‫ﺩﻭﻳﺴــﺖ ﻫﺰﺍﺭ ﻧﻔﺮ ﺭﺍ ﻧﺠﺎﺕ ﺩﺍﺩ ﻭ ﻣﻬﻢﺗــﺮ ﺍﺯ ﻫﻤﻪ »ﺗﺰﺍﺭ« )ﭘﺎﻭﻝ‬ ‫ﻻﻧﮕﻴــﻦ‪ (2009 ،‬ﻛﻪ ﻇﺎﻫﺮﺍ ﺧﻮﺵﺳــﺎﺧﺖ ﺍﺳــﺖ ﻭ ﺑﺎﺯﻱﻫﺎﻱ‬ ‫ﺩﺭﺧﺸﺎﻧﻲ ﺩﺍﺭﺩ ﻭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﺵ ﺗﻮﺳﻂ ﺗﺎﻡ ﺍﺳﺘﺮﻥ‬ ‫)ﻳﺎﺭ ﻫﻤﻴﺸﮕﻲ ﻛﻠﻴﻨﺖ ﺍﻳﺴﺘﻮﻭﺩ( ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪13‬‬ ‫ﺳﺮﺧﭙﻮﺳﺖ ﻛﻮﭼﻚ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦﺍﻟﻤﻠﻞ )ﺟﺎﻡﺟﻬﺎﻥﻧﻤﺎ(‬ ‫ﻧﺎﺷﻨﺎﺱﻫﺎ ﺑﺮﺍﻱ ﺍﻋﺘﺒﺎﺭ ﺑﺨﺸﻲ‬ ‫ﻏﻮﻝ‬ ‫‪Gigante‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺁﺩﺭﻳﺎﻥ ﺑﻴﻨﻲﻳﺰ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﺍﺳﭙﺎﻧﻴﺎ‪،‬‬ ‫ﺁﻟﻤﺎﻥ‪ ،‬ﺁﺭژﺍﻧﺘﻴﻦ ﻭ ﺍﻭﺭﻭﮔﻮﺋﻪ‪.‬‬ ‫ﺧﻼﺻـﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺟﺎﺭﺍ‪ ،‬ﻣﺎﻣﻮﺭ ﺍﻣﻨﻴﺘﻲ‪ 35‬ﺳــﺎﻟﻪ ﺗﻨﻬﺎ ﻭ ﺧﺠﺎﻟﺘﻲ‬ ‫ﺳﻮﭘﺮﻣﺎﺭﻛﺘﻲ ﻭﺍﻗﻊ ﺩﺭ ﺣﻮﻣﻪ ﻣﺎﻧﺘﻪﻭﻳﺪﺋﻮ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﺷﻴﻔﺖ ﺷﺐ ﻛﺎﺭ‬ ‫ﻣﻲﻛﻨﺪﻭﭘﺎﻱﻣﺎﻧﻴﺘﻮﺭﻫﺎﻱﻣﺮﺑﻮﻁﺑﻪﺩﻭﺭﺑﻴﻦﻫﺎﻱﺍﻣﻨﻴﺘﻲﻛﻞﺳﺎﺧﺘﻤﺎﻥ‬ ‫ﻣﻲﻧﺸﻴﻨﺪ‪.‬ﺍﻭﻳﻚﺷﺐﺩﺭﻳﻜﻲﺍﺯﺩﻭﺭﺑﻴﻦﻫﺎﻧﮕﺎﻫﺶﺑﻪﺟﻮﻟﻴﺎ‪،‬ﻧﻈﺎﻓﺘﭽﻲ‬ ‫‪25‬ﺳﺎﻟﻪ ﺳﻮﭘﺮﻣﺎﺭﻛﺖﻣﻲﺍﻓﺘﺪﻭﺩﻟﺒﺴﺘﻪﺍﻭﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻓﻴﻠﻢ‪»:‬ﻏﻮﻝ«ﺟﻮﺍﻳﺰﻣﺘﻌﺪﺩﻱﺩﺭﻳﺎﻓﺖﻛﺮﺩﻩﺍﺳﺖﺍﺯﺟﻤﻠﻪﺟﻮﺍﻳﺰ‬ ‫»ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺍﻭﻝ« ﻭ »ﺧﺮﺱ ﻧﻘﺮﻩﺍﻱ« ﺟﺸﻨﻮﺍﺭﻩ ﺑﺮﻟﻴﻦ‪ .‬ﺍﻣﺎ ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﻧﻈﺮﺍﺕﻣﺘﻔﺎﻭﺗﻲﺩﺭﺑﺎﺭﻩﺁﻥﺩﺍﺭﻧﺪ‪.‬ﺍﺳﺘﻔﻦﻫﻮﻟﺪﻥﺍﺯﻧﻴﻮﻳﻮﺭﻙﺗﺎﻳﻤﺰﺁﻥﺭﺍ‬ ‫ﻛﻤﺪﻱﺁﺭﺍﻡﻭﺟﺬﺍﺑﻲﺩﺍﻧﺴﺘﻪﻛﻪﺑﺪﻝﺑﻪﻳﻚﺩﺍﺳﺘﺎﻥﻋﺎﺷﻘﺎﻧﻪﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻛﻮﻳﻦﺗﺎﻣﺲ)ﻟﺲﺁﻧﺠﻠﺲﺗﺎﻳﻤﺰ(ﻫﻢﺍﺯﻓﻴﻠﻢﺗﻌﺮﻳﻒﻛﺮﺩﻩﻭﺁﻥﺭﺍﻓﻴﻠﻤﻲ‬ ‫ﺯﻳﺮﻛﺎﻧﻪ ﻭ ﺍﺭﺯﺷﻤﻨﺪ ﻭ ﺍﻟﺒﺘﻪ ﺑﻲﺍﺩﻋﺎ ﺧﻮﺍﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻣﻨﺘﻘﺪﺍﻥ ﻣﺨﺎﻟﻒ‬ ‫ﺁﻥﺭﺍﺑﺎ ﻋﺒﺎﺭﺕﻫﺎﻳﻲ ﻧﻈﻴﺮ»ﻧﻪﭼﻨﺪﺍﻥ ﺍﺭژﻳﻨﺎﻝ«‪»،‬ﻓﺎﻗﺪ ﺧﻮﺩﺟﻮﺷﻲ«ﻭ‬ ‫»ﻛﻤﺪﻱﺑﺎﺿﺮﺑﺎﻫﻨﮓﻛﻨﺪ«ﺗﻮﺻﻴﻒﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺷﻮﺭﺵ ﺩﺭ ﻛﻮﺗﻮﻛﻴﻨﻮ‬ ‫‪Rebellion Kautokeino‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻧﻴﻠﺲ ﮔﻮپ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴــﺎﻥ‪ :‬ﮔﻮپ‪ ،‬ﺗﻮﻧﻪ ﭘﻠﻮﻥ ﻭﺍﻝ‪،‬‬ ‫ﺭﺍﻳﺪﺭ ﺟﻮﻧﺴﻮﻥ ﻭ ﻧﻴﻠﺲ ﺍﻳﺰﺍﻙ ﺁﻳﺮﺍ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﻧﺮﻭژ ﻭ ﺳﻮﺋﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﻳﻜﻰ ﺍﺯ ﻗﺒﺎﻳﻞ ﺑﻮﻣﻰ ﻛﻪ ﺗﺤﺖ ﺭﻫﺒﺮﻱ ﺯﻥ ﺟﻮﺍﻧﻲ ﺑﺎ‬ ‫ﻧﺎﻡ ﺍﻟﻦ ﺑﻪﺳﺮ ﻣﻲﺑﺮﺩ ﺍﺯ ﭘﺮﺩﺍﺧﺖ ﻏﻴﺮﻋﺎﺩﻻﻧﻪ ﺑﺪﻫﻰﺍﺵ ﺑﻪ ﺭﻭﺙ ﺳﺮ ﺑﺎﺯ‬ ‫ﻣﻲﺯﻧﺪ ﻭ ﺍﻳﻦ ﺍﻣﺮ ﻣﻮﺟﺐ ﺷﻜﻞﮔﻴﺮﻱ ﻳﻜﻲ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ‬ ‫ﺩﺭﺍﻣﺎﺗﻴﻚ ﺗﺎﺭﻳﺦ ﺷﻤﺎﻝ ﺍﺳﻜﺎﻧﺪﻳﻨﺎﻭﻱ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﺷﻮﺭﺵ ﺩﺭ ﻛﻮﺗﻮﻛﻴﻨﻮ« ﻫﻔﺘﻤﻴﻦ ﻓﻴﻠﻢ ﻧﻴﻠﺲ ﮔﻮپ‬ ‫ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﻧﺮﻭژ ﺟﻮﺍﻳﺰ ﻣﺘﻌﺪﺩﻱ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪ .‬ﺟﻲ ﻭﻳﺴﺒﺮگ‬ ‫)ﻭﺭﺍﻳﺘﻲ( ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﭼﻨﻴﻦ ﻧﻈﺮﻱ ﺩﺍﺭﺩ‪» :‬ﺍﻳﻦ ﺩﺭﺍﻡ ﺣﻤﺎﺳــﻲ ﻛﻪ ﺑﺎ‬ ‫ﺑﻮﺩﺟﻪﺍﻱ ‪10‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭﻱ ﺳﺎﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﺗﺎ ﺍﻣﺮﻭﺯ ﮔﺮﺍﻥﺗﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺍﻳﻦ ﻛﺸﻮﺭ ﺍﺳﺖ ﻭﻟﻲ ﻓﻴﻠﻢ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﺛﺮﻱ ﺩﻟﺴﺮﺩﻛﻨﻨﺪﻩ ﺍﺳﺖ«‪.‬‬ ‫ﺳﺮﺧﭙﻮﺳﺖ ﻛﻮﭼﻚ‬ ‫‪Indi Little‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺎﺭﻙ ﺭﻛﺎ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻣﺎﺭﻙ ﺭﻛﺎ ﻭ ﻧﺎﺩﻳﻦ ﻻﻣﺎﺭﻱ‪،‬‬ ‫ﻣﺤﺼﻮﻝ ‪ 2009‬ﻓﺮﺍﻧﺴﻪ ﻭ ﺍﺳﭙﺎﻧﻴﺎ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺁﺭﻧﺎﺋﻮ‪ ،‬ﭘﺴﺮ ‪ 17‬ﺳﺎﻟﻪ ﺣﺴﺎﺱ ﻭ ﻭﻇﻴﻔﻪﺷﻨﺎﺳﻲ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﺣﻮﻣﻪ ﺷﻬﺮ ﺑﺎﺭﺳﻠﻮﻧﺎ ﻛﻪ ﭘﻴﺮﺍﻣﻮﻧﺶ ﺍﺯ ﻃﺒﻴﻌﺖ ﭘﻮﺷﻴﺪﻩ‬ ‫ﺷــﺪﻩ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﺪ ﻭ ﻏﺮﻕ ﺩﺭ ﺭﻭﻳﺎﻫﺎ‪ ،‬ﺯﻧﺪﮔﻲﺍﺵ ﺭﺍ ﻭﻗﻒ ﻋﺸﻖ‬ ‫ﻭﺍﻗﻌﻲﺍﺵ‪ ،‬ﻳﻌﻨﻲ ﺭﻗﺎﺑﺖ ﭘﺮﻧﺪﮔﺎﻥ ﺁﻭﺍﺯﺧﻮﺍﻥ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻋﻤﻮﻳﺶ‪،‬‬ ‫ﺭﻭﻣﻦ ﺍﺯ ﺷﺨﺼﻴﺘﻲ ﺭﺍﺳﺘﻴﻦ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳــﺖ ﻭ ﺁﺭﻧﺎﺋﻮ ﺍﺯ ﮔﺬﺭﺍﻧﺪﻥ‬ ‫ﺗﻌﻄﻴﻼﺕ ﺗﺎﺑﺴــﺘﺎﻧﻲ ﺑﺎ ﺍﻭ ﻟﺬﺕ ﻣﻰﺑﺮﺩ ﺑﻪﺧﺼﻮﺹ ﺯﻣﺎﻧﻲ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ‬ ‫ﺻﺤﻨﻪ ﻣﺒﺎﺭﺯﻩ ﺳﮓﻫﺎ ﻣﻲﺑﺮﺩ ﻭ ﺗﻤﺎﻣﻲ ﺩﻭﺯ ﻭ ﻛﻠﻚﻫﺎﻱ ﺁﻥ ﺭﺍ ﺑﻪ ﺍﻭ ﻳﺎﺩ‬ ‫ﻣﻲﺩﻫﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻫﻴﺠﺎﻥ ﻣﺴﺎﺑﻘﻪ ﺑﻪ ﺍﻭﺝ ﺭﺳﻴﺪﻩ‪ ،‬ﺁﺭﻧﺎﺋﻮ ﺑﻪ ﺭﻭﺷﻲ‬ ‫ﺳﺮﻳﻊ ﺑﺮﺍﻱ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩﻥ ﭘﻮﻝ ﺩﺳﺖ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺗﺼﻤﻴﻢ‬ ‫ﺍﻭ ﺭﺍ ﺑﺎ ﺁﻥ ﺭﻭﻱ ﺳﻜﻪ ﻭ ﺧﺸﻮﻧﺖ ﺯﻧﺪﮔﻲ ﻣﻮﺍﺟﻪ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﻣﻠﻮﺩﻱ ﺑﺮﺍﻱ ﻳﻚ ﺍﺭگ ﺧﻴﺎﺑﺎﻧﻲ‬ ‫‪Melody for a Street Organ‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﺎﻳــﺮﺍ ﻣﻮﺭﺍﺗــﻮﻭﺍ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳــﺲ‪ :‬ﻭﻻﺩﻳﻤﻴﺮ ﺯﻭﻳﻦ‪،‬‬ ‫ﻣﺤﺼﻮﻝ ‪ 2009‬ﺍﻭﻛﺮﺍﻳﻦ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺁﻟﻴﻨﺎ ﻭ ﻧﻴﻜﻴﺘﺎ ﺩﺭ ﻳﻚ ﺷــﺐ ﺗﺎﺭﻳﻚ ﻭ ﻃﻮﻻﻧﻲ‬ ‫ﺯﻣﺴﺘﺎﻧﻲ ﻛﻪ ﺑﺮﻑ ﺁﺭﺍﻡ ﺑﺮ ﺯﻣﻴﻦ ﻣﻲﻧﺸــﻴﻨﺪ‪ ،‬ﻣﺎﺩﺭﺷﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ‬ ‫ﻣﻲﺩﻫﻨﺪ‪ .‬ﺗﻤﺎﻡ ﭼﻴــﺰﻱ ﻛﻪ ﺍﻭ ﺑﺮﺍﻱ ﻓﺮﺯﻧﺪﺍﻧﺶ ﺑﺎﻗﻲ ﻣﻲﮔﺬﺍﺭﺩ ﻳﻚ‬ ‫ﻛﺖ ﻭ ﺩﺳــﺘﻜﺶ ﺑﺎﻓﺘﻨﻲ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﺩﻭ ﻗﻠﻢ ﺗﻨﻬﺎ ﻋﻮﺍﻣﻞ ﻣﺼﻮﻧﻴﺖ‬ ‫ﺁﻧﻬﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﺩﻧﻴﺎﺳــﺖ‪ .‬ﺁﻧﻬﺎ ﺍﺯ ﺗﺮﺱ ﺍﻳﻦﻛﻪ ﻣﺠﺒﻮﺭ ﺑﻪ ﺟﺪﺍﺷﺪﻥ ﺍﺯ‬ ‫ﻳﻜﺪﻳﮕﺮ ﺷﻮﻧﺪ‪ ،‬ﺳﻮﺍﺭ ﻗﻄﺎﺭﻱ ﻣﻲﺷــﻮﻧﺪ ﻭ ﺟﺴﺖﻭﺟﻮ ﺑﺮﺍﻱ ﻳﺎﻓﺘﻦ‬ ‫ﭘﺪﺭﺷــﺎﻥ ﺭﺍ ﺩﺭ ﺷﻬﺮﻱ ﺑﺰﺭگ ﻭ ﻫﺮﺍﺱﺍﻧﮕﻴﺰ ﺁﻏﺎﺯ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺩﺭﺑﺎﺭﻩ‬ ‫ﻓﻴﻠﻢ‪:‬ﻛﺎﻳﺮﺍ ﻣﻮﺭﺍﺗﻮﻭﺍ ﻛﻪ ﻧﺰﺩﻳﻚ ﺑﻪ ﺑﻴﺴــﺖ ﻓﻴﻠــﻢ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﺩﺍﺭﺩ‬ ‫ﺗﺎ ﺍﻣــﺮﻭﺯ ﺍﻓﺘﺨﺎﺭﺍﺕ ﻣﺘﻌﺪﺩ ﻭ ﻣﻬﻤﻲ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺑﻪ‬ ‫ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﺼﻄﻔﻲ ﺷﻮﻛﺎﻱ‬ ‫‪Shokai Mustafa‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺳﺎﺗﻴﺒﺎ ﻟﺪﻱ ﻧﺎﺭﻳﻤﺒﺘﻮﻑ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴﺎﻥ‪ :‬ﺁﻛﻴﻢ ﺗﺮﺍﺯﻱ‪،‬‬ ‫ﺍﺭﻣﻚ ﺗﻮﺭﺳﻮﻧﻒ ﻭ ﺳﺮﮔﺌﻲ ﺑﻮﺩﺭﻭﻑ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﻗﺰﺍﻗﺴﺘﺎﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻰ ﭘﺴﺮ ﻣﺸﻬﻮﺭ ﻗﺰﺍﻕ ﻛﻪ ﺍﺯ ﺩﻭﺭﺍﻥ‬ ‫ﺟﻮﺍﻧﻰ ﺗﺎ ﻣﺮگ ﺩﺭ ﺑﺮﻟﻴﻦ ‪ 1941‬ﺩﻧﺒﺎﻝ ﻣﻲﺷﻮﺩ‪ .‬ﻓﻴﻠﻢ ﺗﻘﺮﻳﺒﺎ ﺗﻤﺎﻣﻲ‬ ‫ﻣﺮﺍﺣﻞ ﺯﻧﺪﮔﻲ ﻣﺼﻄﻔﻰ ﺷﻮﻛﺎﻯ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻲﻛﺸﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﻣﺼﻄﻔﻲ ﺷــﻮﻛﺎﻱ« ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﭘﺮﻫﺰﻳﻨﻪ ﻭ ﺑﺰﺭگ‬ ‫ﺗﺎﺭﻳﺨﻲ ﺍﺳﺖ ﻛﻪ ﻗﺰﺍﻗﺴــﺘﺎﻥ ﺑﻌﺪ ﺍﺯ ﻓﺮﻭﭘﺎﺷﻲ ﺷﻮﺭﻭﻱ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ‬ ‫ﻣﻲﻛﺸــﺪ‪ .‬ﻣﺎﻳﻜﻞ ﺭﻭﻟﻨﺪ‪ ،‬ﺍﺳﺘﺎﺩ ﺩﺍﻧﺸــﮕﺎﻩ ﻣﻴﺎﻣﻲ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻧﻘﺪ‬ ‫ﺑﻠﻨﺪﻱ ﻧﻮﺷــﺘﻪ ﻭ ﺁﻥ ﺭﺍ ﺍﻳﻦﻃﻮﺭ ﺍﺭﺯﻳﺎﺑﻲ ﻛﺮﺩﻩ ﺍﺳﺖ‪» :‬ﻓﻴﻠﻢ ﻃﻮﺭﻱ‬ ‫ﻃﺮﺍﺣﻲ ﻭ ﺳﺎﺧﺘﻪ ﺷــﺪﻩ ﻛﻪ ﭼﻴﺰﻱ ﺑﻪ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺑﻴﺎﻣﻮﺯﺩ‪ ،‬ﺑﻪﻭﻳﮋﻩ‬ ‫ﻗﺰﺍﻕﻫﺎ‪ ،‬ﻭﻟﻲ ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻳــﻚ ﺩﺭﺍﻡ ﺗﺎﺭﻳﺨﻲ‬ ‫ﺁﻣﻮﺯﻧﺪﻩ ﻧﺎﻣﻮﻓﻖ ﺍﺳﺖ ﻭ ﺭﺍﻩ ﺑﻪ ﺟﺎﻳﻲ ﻧﻤﻲﺑﺮﺩ‪» .‬ﻣﺼﻄﻔﻲ ﺷﻮﻛﺎﻱ«‬ ‫ﺻﺮﻓﺎ ﻧﺴــﺨﻪﺍﻱ ﺗﺼﻮﻳــﺮﻱ ﺍﺯ ﺯﻧﺪﮔﻴﻨﺎﻣﻪ ﺿﺪﻭﻧﻘﻴــﺾ ﻭ ﭘﻴﭽﻴﺪﻩ‬ ‫ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺍﺳــﺖ‪ .‬ﻓﻴﻠﻢ ﺑﺎ ﺗﺼﺎﻭﻳﺮ ﺁﺷﻨﺎﻳﻲ ﺍﺯ ﻳﻚ ﻗﻄﺎﺭ ﻭ ﺁﺏ‬ ‫ﺟﺎﺭﻱ ﺁﻏﺎﺯ ﻣﻲﺷــﻮﺩ ﻛﻪ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺁﺳــﻴﺎﻱ ﻣﺮﻛﺰﻱ ﺩﻭ ﻣﻮﺗﻴﻒ‬ ‫ﺑﺴﻴﺎﺭ ﺗﻜﺮﺍﺭﺷﺪﻩ ﺑﻪ ﺷﻤﺎﺭ ﻣﻲﺁﻳﻨﺪ‪«.‬‬ ‫ﺭﺍﺯ ﺷﻜﻞﻫﺎ‬ ‫‪Morphus of Mystery‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﺎﺭﻭﻻ ﻫﺎﺗﻮپ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺁﻧﺪﺭﻱ ﻣﺎﻟﺸﻜﺎ‪ ،‬ﻣﺤﺼﻮﻝ‬ ‫‪ 2008‬ﺁﻟﻤﺎﻥ‪.‬‬ ‫ﺧﻼﺻـﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻧﻴﻜﻲ ‪10‬ﺳــﺎﻟﻪ ﺩﺭ ﻛﻴــﻒ ﻣﺪﺭﺳــﻪﺍﺵ‬ ‫»‪ «Morphus‬ﺭﺍ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ ﻛﻪ ﺁﺧﺮﻳﻦ ﺗﺼﻨﻴﻒ ﻣﻮﺳــﻴﻘﻴﺪﺍﻥ‬ ‫ﺑﺰﺭگﺁﻟﻤﺎﻧﻲ‪،‬ﻟﻮﺩﻭﻳﮓﻓﻮﻥﺑﺘﻬﻮﻭﻥﺍﺳﺖ‪.‬ﺍﻳﻦﻣﻠﻮﺩﻱﻗﺪﺭﺕﺟﺎﺩﻭﻳﻲ‬ ‫ﺩﺍﺭﺩ ﭼﻮﻥ ﻫﺮﻛﺴﻲ ﻛﻪ ﺑﻪ ﺁﻥ ﮔﻮﺵ ﻣﻲﺩﻫﺪ ﺑﻪ ﺧﻮﺍﺏ ﻣﻲﺭﻭﺩ‪ .‬ﺍﺯ ﺍﻳﻦ‬ ‫ﺭﺍﺯ ﻓﻘﻂ ﭼﻨﺪ ﻧﻔﺮ ﻣﻄﻠﻊ ﻫﺴﺘﻨﺪ ﺍﺯ ﺟﻤﻠﻪ ﻣﻜﺲ ﻭ ﻛﻮﺍﭘﻴﺶ ﮔﻨﮕﺴﺘﺮ‪.‬‬ ‫ﻧﻴﻜﻲ ﺑﺎ ﭘﺪﺭﺵ ﻋﺎﺯﻡ ﺳــﻔﺮﻱ ﺑﻪ ﻛﻮﻫﺴــﺘﺎﻥﻫﺎﻱ ﺑﺮﻓﻲ ﻣﻲﺷــﻮﺩ ﻭ‬ ‫ﮔﻨﮕﺴــﺘﺮﻫﺎ ﻫﻢ ﺑﺮﺍﻱ ﺩﺯﺩﻳﺪﻥ ﺍﻳﻦ ﻣﻠﻮﺩﻱ ﺁﻧﻬﺎ ﺭﺍ ﺗﻌﻘﻴﺐ ﻣﻲﻛﻨﻨﺪ‪.‬‬ ‫ﺁﻧﻬﺎﻣﻲﺧﻮﺍﻫﻨﺪﺑﺎﺍﺳﺘﻔﺎﺩﻩﺍﺯﺍﻳﻦﻣﻮﺳﻴﻘﻲﺑﻪﺍﻫﺪﺍﻑﺷﺮﺍﺭﺕﺁﻣﻴﺰﺷﺎﻥ‬ ‫ﺑﺮﺳﻨﺪ ﻭﻟﻲ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﻳﻦ ﻫﺪﻑ ﺑﺎﻳﺪ ﻧﻴﻜﻲ ﺭﺍ ﺷﻜﺴﺖ ﺩﻫﻨﺪ‪.‬‬ ‫ﺭﻧﺞ‬ ‫‪Pain‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺟﻤﺎﻝ ﺳﺎﻥ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﺗﺮﻛﻴﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻓﻴﻠﻢ ﺑﺎ ﻧﮕﺎﻫﻲ ﺑﻪ ﺷﻜﺎﻑ ﺑﻴﻦ ﻧﺴﻞﻫﺎ‪ ،‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻳﻚ ﭘﻴﺮﻣﺮﺩ ﻭ ﻧﻮﻩﺍﺵ ﺭﺍ ﺭﻭﺍﻳﺖ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺭﻧﺞ‬ ‫ﻣﻠﻮﺩﻱ ﺑﺮﺍﻱ ﻳﻚ ﺍﺭگ ﺧﻴﺎﺑﺎﻧﻲ‬ ‫ﺟﻬﺎﻥ ﮔﺴﺘﺮﺩﻩ ﻭ ﺭﺳﺘﮕﺎﺭﻱ ﺩﺭ ﺧﻢ ﻛﻮﭼﻪ ﺍﺳﺖ‬ ‫ﺧﻮﺵ ﺁﻣﺪﻳﺪ‬ ‫ﺑﺎﺯﮔﺸﺖ ﭘﺴﺮ ﮔﻤﺮﺍﻩ‬ ‫‪Son Prodigal the of Return‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻧﺎﺭﻳﻨﻪ ﻣﻜﺮﭼﻴﺎﻥ ﻭ ﺁﺭﺱ ﺁﺯﺍﺗﻴﺎﻥ‪ ،‬ﻣﺤﺼﻮﻝ‬ ‫‪ 2008‬ﺍﺭﻣﻨﺴﺘﺎﻥ‪.‬‬ ‫ﺧﻼﺻﻪﺩﺍﺳﺘﺎﻥ‪:‬ﺩﺍﺳﺘﺎﻥﺧﺎﻧﻮﺍﺩﻩﺍﻯﻛﻪﭘﺪﺭﺵﺩﺍﻧﺎﻭﺛﺮﻭﺗﻤﻨﺪﺍﺳﺖ‪،‬‬ ‫‪45‬‬ ‫ﭘﺴــﺮ ﺑﺰﺭگﺗﺮ ﺗﺎﺟﺮﻱ ﻣﻮﻓﻖ ﻭ ﻛﻮﭼﻜﺘﺮﻳﻦ ﭘﺴﺮ ﺧﺎﻧﻮﺍﺩﻩ ﻫﻨﻮﺯ ﻋﺎﻗﻞ‬ ‫ﻧﺸﺪﻩ ‪ .‬ﺍﻣﺎ ﭘﺴﺮ ﻣﻴﺎﻧﻰ ﻳﻚ ﻭﻟﺨﺮﺝ ﻻﺍﺑﺎﻟﻲ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺁﻥ ﺩﺳﺖ ﺁﺩﻡﻫﺎﻳﻲ‬ ‫ﻛﻪ ﻓﻜﺮ ﻣﻲﻛﻨﻨﺪ ﻓﻘﻂ ﺣﺮﻑ ﺧﻮﺩﺷــﺎﻥ ﺩﺭﺳﺖ ﺍﺳﺖ ﻭ ﻫﻤﻴﺸﻪ ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﺩﻳﮕﺮﺍﻥ ﻗﻀﺎﻭﺕ ﻣﻲﻛﻨﻨﺪ ﻭ ﺑﻲﺭﺣﻤﺎﻧﻪ ﺁﻧﻬﺎ ﺭﺍ ﻣﺤﻜﻮﻡ‪ .‬ﺍﻳﻦ ﭘﺴﺮ‬ ‫ﺭﻭﺯﻱ ﺍﺯ ﺧﺎﻧﻪ ﭘﺪﺭﺵ ﻓﺮﺍﺭ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪ ﻫﺮ ﺩﺭﻱ ﻣﻲﺯﻧﺪ ﺗﺎ ﻫﺪﻓﻲ ﺑﺮﺍﻱ‬ ‫ﺯﻧﺪﮔﻲﺍﺵ ﭘﻴﺪﺍ ﻛﻨﺪ ﻭﻟﻲ ﺭﺍﻩ ﺑﻪ ﺟﺎﻳﻲ ﻧﻤﻲﺑﺮﺩ ﻭ ﺷﻜﺴﺖ ﻣﻲﺧﻮﺭﺩ‪.‬‬ ‫ﺍﻭ ﻛﻪ ﺳــﺎﻝﻫﺎ ﺍﺯ ﻋﻤﺮﺵ ﺭﺍ ﺗﻠﻒ ﻛﺮﺩﻩ ﻭ ﻣﻮﻗﻌﻴﺖﻫﺎﻱ ﻣﺨﺘﻠﻔﻲ ﺭﺍ ﺍﺯ‬ ‫ﺩﺳﺖ ﺩﺍﺩﻩ‪ ،‬ﺗﺼﻤﻴﻢ ﻣﻲﮔﻴﺮﺩ ﻳﻜﺒﺎﺭ ﺩﻳﮕﺮ ﺍﺯ ﺻﻔﺮ ﺷﺮﻭﻉ ﻛﻨﺪ ﻭﻟﻲ ﺍﻳﻦ‬ ‫ﺑﺎﺭ ﺍﻃﺮﺍﻓﻴﺎﻥ ﺍﻳﻦ ﻓﺮﺻﺖ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﻤﻲﺩﻫﻨﺪ‪.‬‬ ‫ﺍﺗﺎﻕ ﺷﻤﺎﺭﻩ ‪6‬‬ ‫‪Ward No. 6‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﺎﺭﻥ ﺷــﺎﺧﻨﺎﺯﺍﺭﻭﻑ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴــﺎﻥ‪ :‬ﺍﻟﻜﺴــﺎﻧﺪﺭ‬ ‫ﺑﻮﺭﻭﺩﻳﺎﻧﺴﻜﻲ ﻭ ﺷﺎﺧﻨﺎﺯﺍﺭﻭﻑ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﺭﻭﺳﻴﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺩﻛﺘﺮ ﺭﻭﺍﻧﭙﺰﺷــﻜﻲ ﺑﺪﻝ ﺑﻪ ﻳﻜــﻲ ﺍﺯ ﺑﻴﻤﺎﺭﺍﻥ‬ ‫ﺗﻴﻤﺎﺭﺳﺘﺎﻥ ﺧﻮﺩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﺑﺮﺍﺳــﺎﺱ ﻳﻜﻲ ﺍﺯ ﺩﺍﺳــﺘﺎﻥﻫﺎﻱ ﻛﻮﺗﺎﻩ‬ ‫ﻣﺸﻬﻮﺭ ﺁﻧﺘﻮﺍﻥ ﭼﺨﻮﻑ ﺳــﺎﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﻧﺎﻣﺰﺩ ﺭﺳﻤﻲ ﻛﺸﻮﺭ ﺭﻭﺳﻴﻪ‬ ‫ﺑﺮﺍﻱ ﺭﻗﺎﺑﺖ ﺩﺭ ﺑﺨﺶ ﺍﺳــﻜﺎﺭ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺧﺎﺭﺟﻲ ﺯﺑﺎﻥ ﺍﺳــﺖ‪.‬‬ ‫ﻭﻻﺩﻳﻤﻴﺮ ﻻﻳﻦ‪ ،‬ﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻣﺴﻜﻮ‬ ‫ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳــﻦ ﺑﺎﺯﻳﮕﺮ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﺍﺳــﺘﻔﻦ ﻫﻮﻟﺪﻥ‬ ‫ﻣﻨﺘﻘﺪ ﻛﻬﻨﻪﻛﺎﺭ ﻧﻴﻮﻳﻮﺭﻙﺗﺎﻳﻤﺰ ﺩﺭ ﺑﺨﺸﻲ ﺍﺯ ﻧﻘﺪ ﺗﺤﺴﻴﻦﺁﻣﻴﺰﺵ‬ ‫ﺑﻪ ﺍﻳﻦ ﻧﻜﺘﻪ ﺟﺎﻟﺐ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﺷــﺎﺭﻩ ﻛﺮﺩﻩ ﺍﺳــﺖ‪» :‬ﻓﻴﻠﻢ ﺣﺴﻲ‬ ‫ﺍﺯ ﻧﺎﻫﻤﺨﻮﺍﻧﻲ ﺗﺎﺭﻳﺨﻲ ﺭﺍ ﺩﺭﺑﺮﺩﺍﺭﺩ‪ .‬ﺩﺍﺳــﺘﺎﻥ ﺩﺭ ﺳــﺎﻝﻫﺎﻱ ﺍﺧﻴﺮ‬ ‫ﺭﻭﻱ ﻣﻲﺩﻫــﺪ ﻭ ﺩﺭ ﺻﺤﻨﻪﻫﺎﻳﻲ ﻣﺴــﻜﻮﻱ ﺍﻳــﻦ ﺩﻭﺭﻩ ﻭ ﺯﻣﺎﻧﻪ ﺭﺍ ﺑﺎ‬ ‫ﺗﺮﺍﻓﻴــﻚ ﺧﻴﺎﺑﺎﻥﻫﺎﻳﺶ ﻣﻲﺑﻴﻨﻴﻢ ﺍﻣﺎ ﺍﺯ ﺳــﻮﻱ ﺩﻳﮕــﺮ ﺩﻳﺎﻟﻮﮔﻲ ﺍﺯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﭼﺨﻮﻑ ﺑﻪ ﮔﻮﺵ ﻣﻲﺭﺳﺪ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1892‬ﻣﻨﺘﺸﺮ ﺷﺪ ﻭ‬ ‫ﺿﺮﺑﺎﻫﻨﮓ ﺯﻧﺪﮔﻲ ﺭﻭﺯﻣﺮﻩ ﺑﺎ ﺯﻧﺪﮔﻲ ﺍﻭﺍﺧﺮ ﺳﺪﻩ ﻧﻮﺯﺩﻫﻢ ﻣﻄﺎﺑﻘﺖ‬ ‫ﺩﺍﺭﺩ ﻛﻪ ﺁﺩﻡﻫﺎ ﺳﺎﻋﺖﻫﺎ ﺑﻪ ﺑﺤﺚ ﻭ ﺗﻔﻜﺮ ﺩﺭ ﺑﺎﺏ ﻓﻠﺴﻔﻪ ﻣﻲﻧﺸﺴﺘﻨﺪ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳــﺪ ﻫﺪﻑ ﺍﺯ ﺍﻳﻦ ﺗﺮﻛﻴﺐ ﺯﻣﺎﻧﻲ ﺑﻴﺎﻥ ﺍﻳﻦ ﻣﻄﻠﺐ ﺑﻮﺩﻩ‬ ‫ﻛﻪ ﺩﺭ ﭘﺲ ﺿﺮﺑﺎﻫﻨﮓ ﺳﺮﺳﺎﻡﺁﻭﺭ ﺯﻧﺪﮔﻲ ﻣﺪﺭﻥ ﺩﺭ ﺭﻭﺳﻴﻪ ﻣﻌﺎﺻﺮ‪،‬‬ ‫ﻫﻤﺎﻥ ﺍﺷﺘﻴﺎﻗﻲ ﻛﻪ ﺗﻮﺳﻂ ﺑﻴﺸﺘﺮ ﺷﺨﺼﻴﺖﻫﺎﻱ ﭼﺨﻮﻑ ﻧﺴﺒﺖ ﺑﻪ‬ ‫»ﺭﻭﺯﮔﺎﺭ ﻛﻬﻦ« ﺍﺑﺮﺍﺯ ﻣﻲﺷﺪ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪«.‬‬ ‫ﺧﻮﺵ ﺁﻣﺪﻳﺪ‬ ‫‪Welcome‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻓﻴﻠﻴﭗ ﻟﻴﻮﺭﻩ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴــﺎﻥ‪ :‬ﺍﻟﻴﻮﻳﻪ ﺁﺩﺍﻡ‪ ،‬ﺍﻣﺎﻧﻮﺋﻞ‬ ‫ﻛﻮﺭﻛﻞ ﻭ ﻓﻴﻠﻴﭗ ﻟﻴﻮﺭﻩ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﻓﺮﺍﻧﺴﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺑﻴﻼ‪ ،‬ﺟﻮﺍﻥ ‪ 17‬ﺳــﺎﻟﻪﺍﻱ ﺍﺳﺖ ﺍﻫﻞ ﻛﺮﺩﺳﺘﺎﻥ‬ ‫ﻋﺮﺍﻕ‪ .‬ﺍﻭ ﺳﻔﺮﻱ ﭘﺮﺣﺎﺩﺛﻪ ﺭﺍ ﺩﺭ ﺳﺮﺍﺳــﺮ ﺍﺭﻭﭘﺎ ﺁﻏﺎﺯ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﻗﺼﺪ‬ ‫ﺩﺍﺭﺩ ﺑﻪ ﺍﻧﮕﻠﻴﺲ ﺑﺮﻭﺩ ﻭ ﺑﺎ ﻣﺤﺒﻮﺑــﺶ ﻣﻼﻗﺎﺕ ﻛﻨﺪ ﻛﻪ ﺁﻧﺠﺎ ﺯﻧﺪﮔﻲ‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺑﻴﻼ ﺧﻴﻠﻲ ﺯﻭﺩ ﻣﺘﻮﺟﻪ ﻣﻲﺷــﻮﺩ ﺳﻔﺮﺵ ﺑﻪ ﺁﻥ ﺁﺳﺎﻧﻲ‬ ‫ﻛﻪ ﻓﻜﺮ ﻣﻲﻛﺮﺩ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﺧﻮﺵ ﺁﻣﺪﻳﺪ« ﺩﻫﻤﻴﻦ ﻓﻴﻠﻢ ﻓﻴﻠﻴﭗ ﻟﻴﻮﺭﻩ ﺍﺳﺖ ﻛﻪ‬ ‫ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺩﻭ ﺟﺎﻳﺰﻩ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﺑﺮﻟﻴﻦ ﻭ ﺟﺎﻳﺰﻩ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻭﺭﺷــﻮ ﺭﺍ ﺑﺮﺩ‪ .‬ﻓﻴﻠﻢ ﺩﺭ ﻓﺮﺍﻧﺴــﻪ ﻓﺮﻭﺵ ﺧﻮﺑﻲ ﺩﺍﺷﺘﻪ ﻭ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﻣﺘﻔﻜــﺮ ﺭﺍ ﻫﻢ ﺗﺎﺣﺪ ﺯﻳﺎﺩﻱ ﺑﻪ ﺗﺤﺴــﻴﻦ‬ ‫ﻭﺍﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺟﻬﺎﻥ ﮔﺴﺘﺮﺩﻩ ﻭ ﺭﺳﺘﮕﺎﺭﻱ ﺩﺭ ﺧﻢ ﻛﻮﭼﻪ ﺍﺳﺖ‬ ‫‪World Is Big and Salvation Lurks around‬‬ ‫‪the Corner‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺍﺳــﺘﻔﺎﻥ ﻛﻮﻣﺎﻧﺪﺍﺭﻑ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴﺎﻥ‪ :‬ﻛﻮﻣﺎﻧﺪﺍﺭﻑ‪،‬‬ ‫ﺩﻭﺳــﺎﻥ ﻣﻴﻠﻴﭻ‪ ،‬ﻳﻮﺭﻱ ﺩﺍﭼــﻒ‪ ،‬ﺍﻳﻠﻴﺎ ﺗﺮﻭﻳﺎﻧــﻒ‪ ،‬ﻣﺤﺼﻮﻝ ‪2008‬‬ ‫ﺑﻠﻐﺎﺭﺳﺘﺎﻥ‪،‬ﺁﻟﻤﺎﻥ‪،‬ﺍﺳﻠﻮﻭﻧﻲﻭﻣﺠﺎﺭﺳﺘﺎﻥ‪.‬ﺧﻼﺻﻪﺩﺍﺳﺘﺎﻥ‪:‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﭘﺴــﺮ ﺑﻠﻐﺎﺭﻱ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺁﻟﻤﺎﻧﻲ ﺑﺰﺭگ ﺷﺪﻩ ﻭﻟﻲ ﺑﻌﺪ ﺍﺯ ﻳﻚ‬ ‫ﺳﺎﻧﺤﻪ ﺭﺍﻧﻨﺪﮔﻲ ﺣﺎﻓﻈﻪﺍﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ ﻭ ﺣﺘﻲ ﻧﺎﻡ ﺧﻮﺩﺵ‬ ‫ﺭﺍ ﻫﻢ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺧﺎﻃﺮ ﺑﻴﺎﻭﺭﺩ‪ .‬ﭘﺪﺭﺑﺰﺭگ ﺍﻭ ﺑﻪ ﻣﻨﻈﻮﺭ ﺩﺭﻣﺎﻥ ﺍﻳﻦ‬ ‫ﻓﺮﺍﻣﻮﺷﻲ ﺑﻪ ﺁﻟﻤﺎﻥ ﻣﻲﺁﻳﺪ ﻭ ﺳــﻔﺮﻱ ﻣﻌﻨﻮﻱ ﺑﺮﺍﻱ ﻧﻮﻩﺍﺵ ﺗﺮﺗﻴﺐ‬ ‫ﻣﻲﺩﻫﺪ ﺗﺎ ﺍﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺯﺍﺩﮔﺎﻫﺶ ﺑﺮﮔﺮﺩﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﻧﺎﻣﺰﺩ ﺭﺳــﻤﻲ ﺑﻠﻐﺎﺭﺳــﺘﺎﻥ ﺑــﺮﺍﻱ ﺭﻗﺎﺑﺖ ﺩﺭ ﺑﺨﺶ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺧﺎﺭﺟﻲ ﺯﺑﺎﻥ ﻫﺸﺘﺎﺩﻭﺩﻭﻣﻴﻦ ﺩﻭﺭﻩ ﺟﻮﺍﻳﺰ ﺁﻛﺎﺩﻣﻲ‪ ،‬ﻛﻪ‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 2008‬ﺟﺎﻳﺰﻩ ﻭﻳﮋﻩ ﻫﻴﺎﺕ ﺩﺍﻭﺭﺍﻥ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﺑﺮﮔﻦ ﻭ ﻭﺭﺷﻮ ﻭ ﺟﺎﻳﺰﻩ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺯﻭﺭﻳﺦ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪.‬‬ ‫ﭘﻨﺠﻤﻴﻦ ﻓﻴﻠﻢ ﺍﺳــﺘﻔﺎﻥ ﻛﻮﻣﺎﻧﺪﺍﺭﻑ ﺑﻴﺸــﺘﺮ ﻣﺨﻄﺒﺎﻧﺶ ﺭﺍ ﺭﺍﺿﻲ‬ ‫ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪46‬‬ ‫‪14‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﺩﺭ ﺟﺴﺖﻭﺟﻮﻱ ﺣﻘﻴﻘﺖ ﻭ ﻋﺪﺍﻟﺖ‬ ‫ﻧﺎﺷﻨﺎﺧﺘﻪﻫﺎﻱ ﻣﻌﻨﺎﮔﺮﺍ‬ ‫ﺭﻭﺯ ﺳﻴﺰﺩﻫﻢ‬ ‫‪13th Day‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻳﺎﻥ ﻭ ﺩﻭﻣﻴﻨﻴﻚ ﻫﻴﮕﻴﻨﺰ‪ ،‬ﻣﺤﺼﻮﻝ ‪2009‬‬ ‫ﺍﻧﮕﻠﻴﺲ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺩﺭ ﺭﻭﻳﺪﺍﺩ ﺷﮕﻔﺖﺍﻧﮕﻴﺰﻱ ﻛﻪ ﺍﺯ ﻗﺒﻞ ﭘﻴﺶﺑﻴﻨﻲ‬ ‫ﺷﺪﻩ‪ ،‬ﺑﻴﺶ ﺍﺯ ‪ 70‬ﻫﺰﺍﺭ ﻧﻔﺮ ﺑﻪ ﺗﻤﺎﺷﺎﻱ ﮔﺮﺩﺵ ﺧﻮﺭﺷﻴﺪ ﺩﺭ ﺁﺳﻤﺎﻥ‬ ‫ﻣﻲﻧﺸﻴﻨﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﺗﺎ ﭘﻨﻬﺎﻥ ﺷﺪﻥ ﺩﺭ ﭘﺸﺖ ﺍﻓﻖ ﻫﻤﺮﺍﻫﻲ ﻣﻲﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺑﻪ »ﻣﻌﺠﺰﻩ ﺧﻮﺭﺷﻴﺪ« ﻣﺸﻬﻮﺭ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﻋﺒﺎﺭﺕ »ﺭﻭﺯ ﺳــﻴﺰﺩﻫﻢ« ﺑﻪ ﻣﺠﻤﻮﻋﻪ ﺷــﺶ ﻇﻬﻮﺭ‬ ‫ﺣﻀﺮﺕ ﻣﺮﻳﻢ ﺍﺷﺎﺭﻩ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﺳﻴﺰﺩﻫﻢ ﻣﺎﻩ ﻣﻪ ﺳﺎﻝ ‪ 1917‬ﺁﻏﺎﺯ ﻭ‬ ‫ﺩﺭ ﺭﻭﺯ ﺳﻴﺰﺩﻫﻢ ﻫﺮ ﻣﺎﻩ ﺗﻜﺮﺍﺭ ﺷﺪ ﻭ ﺩﺭ ﺳﻴﺰﺩﻩ ﺍﻛﺘﺒﺮ ‪ 1917‬ﺑﻪ ﭘﺎﻳﺎﻥ‬ ‫ﺭﺳﻴﺪ؛ ﺭﻭﺯﻱ ﻛﻪ »ﻣﻌﺠﺰﻩ ﺧﻮﺭﺷﻴﺪ« ﻃﺒﻖ ﻣﻘﺎﻟﻪﻫﺎﻱ ﻣﻮﺟﻮﺩ ﺗﻮﺳﻂ‬ ‫ﺑﻴﺶ ﺍﺯ ﻫﺸﺘﺎﺩ ﻫﺰﺍﺭ ﻧﻔﺮ ﺭﻭﻳﺖ ﺷﺪ‪.‬‬ ‫ﺣﺎﺩﺛﻪ‬ ‫‪Accident‬‬ ‫ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﭼﻴﺎﻧﮓ ﭘﻮﺳــﻮﻳﻲ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺯﺍﺗــﻮ ﻛﺎﻡﻳﻮﻥ‪،‬‬ ‫ﻣﺤﺼﻮﻝ ‪ 2009‬ﻫﻨﮓﻛﻨﮓ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﻳﻚ ﻃﺮﺍﺡ ﺣﺮﻛﺎﺕ ﻣﻮﺯﻭﻥ ﺑﺎ ﻧﺎﻡ ﻫﻮ ﻛﻮﺍﻙ ﻓﺎﻱ‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﻳﻚ ﺁﺩﻣﻜﺶ ﺣﺮﻓﻪﺍﻱ ﺍﺳﺖ ﻣﻌﺮﻭﻑ ﺑﻪ »ﻣﻐﺰﻣﺘﻔﻜﺮ«؛ ﺍﻭ‬ ‫ﻗﺮﺑﺎﻧﻴﺎﻧﺶ ﺭﺍ ﻃﻮﺭﻱ ﺩﺭ ﺩﺍﻡﻫﺎﻱ ﺣﺴﺎﺏﺷﺪﻩ ﮔﺮﻓﺘﺎﺭ ﻣﻲﻛﻨﺪ ﻛﻪ‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﻛﺸﺘﻪ ﺷﺪﻧﺸﺎﻥ ﻣﺎﻧﻨﺪ ﻳﻚ ﺣﺎﺩﺛﻪ ﺑﺪﺑﻪﻧﻈﺮ ﺑﺮﺳﺪ‪ .‬ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﻳﻨﻜﻪ ﺭﻭﺯﻱ ﺑﺮﺣﺴــﺐ ﺣﺎﺩﺛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺍﺷﺘﺒﺎﻩ ﭘﻴﺶ ﻣﻲﺭﻭﺩ‬ ‫ﻭ ﺯﻧﺪﮔﻲ ﻳﻜﻲ ﺍﺯ ﺍﻋﻀــﺎﻱ ﺗﻴﻢ »ﻣﻐﺰﻣﺘﻔﻜﺮ« ﺑﻪ ﺧﻄﺮ ﻣﻲﺍﻓﺘﺪ‪ ،‬ﺍﻭ‬ ‫ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﻣﻲﺭﺳﺪ ﻛﻪ ﻛﺴــﻲ ﻃﺒﻖ ﻳﻚ ﺑﺮﻧﺎﻣﻪ ﺣﺴﺎﺏﺷﺪﻩ‬ ‫ﻗﺼﺪ ﻧﺎﺑﻮﺩﻱ ﺍﻭ ﻭ ﮔﺮﻭﻫــﺶ ﺭﺍ ﺩﺍﺭﺩ‪» .‬ﻣﻐﺰﻣﺘﻔﻜﺮ« ﻛﻪ ﺍﺯ ﻗﺒﻞ ﺑﺎﺭ‬ ‫ﮔﻨﺎﻩ ﺑﺮ ﺩﻭﺷــﺶ ﺳﻨﮕﻴﻨﻲ ﻣﻲﻛﺮﺩﻩ ﻭ ﺩﺭ ﻋﺬﺍﺏ ﺑﻮﺩﻩ ﺍﺳﺖ ﺑﺎ ﺍﻳﻦ‬ ‫ﺣﺎﺩﺛﻪ ﻭﺍﺭﺩ ﻭﺭﻃــﻪﺍﻱ ﭘﺎﺭﺍﻧﻮﻳﺎﻳﻲ ﻣﻲﺷــﻮﺩ ﻭ ﺩﺭ ﻣﺮﺯ ﻭﺍﻗﻌﻴﺖ ﻭ‬ ‫ﻭﻫﻢ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ‪ :‬ﭼﻴﺎﻧﮓ ﭘﻮﺳــﻮﻳﻲ ﻗﺒﻞ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﺎ ﻓﻴﻠﻤﺶ‬ ‫ﺑﻪ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎﻱ ﻭﻧﻴﺰ ﻭ ﻛﺎﺗﺎﻟﻮﻧﻴﺎ ﺭﻓﺖ ﻭ ﺑﻪ ﺗﺮﺗﻴﺐ ﻧﺎﻣﺰﺩ ﺩﺭﻳﺎﻓﺖ‬ ‫ﺷﻴﺮ ﻃﻼﻳﻲ ﻭ ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺷﺪ‪ .‬ﺍﻳﻦ ﺩﻫﻤﻴﻦ ﻓﻴﻠﻢ ﺍﻭﺳﺖ ﻛﻪ‬ ‫ﺍﺯ ﻟﺤﺎﻅ ﺷﺮﻛﺖ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﻭ ﺟﻠﺐ ﺭﺿﺎﻳﺖ ﻣﻨﺘﻘﺪﺍﻥ ﻣﻮﻓﻖﺗﺮﻳﻦ‬ ‫ﺍﺛﺮ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ ﺑﻪ ﺷﻤﺎﺭ ﻣﻲﺭﻭﺩ‪ .‬ﺍﺩﻣﻮﻧﺪ ﻟﻲ ﻣﻨﺘﻘﺪ ﺗﺎﻳﻢ ﺁﻭﺕ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺁﻥ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪» :‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻛﺎﻟﺖ ﺳﻴﻨﻤﺎﻱ ﻫﻨﮓﻛﻨﮓ ﺑﺎ ﺍﻳﻦ ﺗﺮﻳﻠﺮ‬ ‫ﺍﺭﻋﺎﺏﺍﻧﮕﻴﺰ‪ ،‬ﭘﺸﺖ ﺩﺭ ﻛﻼﺱ ﺍﺳﺘﺎﺩﺍﻥ ژﺍﻧﺮ ﺗﻌﻠﻴﻖ ﺳﻴﻨﻤﺎﻱ ﺟﻬﺎﻥ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺧﻮﺩﻱ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﭼﻴﺎﻧﮓ ﭘﻮﺳﻮﻳﻲ ﻛﻪ ﺑﺎ ﻧﻤﺎﻳﺶ‬ ‫ﺧﺸﻮﻧﺖﻫﺎﻱ ﻣﻔﺮﻁ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻱ ﺭﻭﺍﻥﭘﺮﻳﺶ ﺑﺎ ﺟﻬﺎﻥﺑﻴﻨﻲﻫﺎﻱ‬ ‫ﭘﻮچﮔﺮﺍﻳﺎﻧﻪ ﺷــﻨﺎﺧﺘﻪ ﺷــﺪﻩ‪ ،‬ﺩﺭ ﻓﻴﻠﻢ ﺟﺪﻳﺪﺵ ﺑﻪ ﺗﻮﺍﺯﻥ ﺩﺭﺧﻮﺭ‬ ‫ﺗﻮﺟﻬﻲ ﻣﻴﺎﻥ ﺍﺣﺴﺎﺳﺎﺕ ﻣﻔﺮﻁ ﻭ ﺩﺍﺳــﺘﺎﻥﮔﻮﻳﻲ ﺧﻮﻳﺸﺘﻨﺪﺍﺭﺍﻧﻪ‬ ‫ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻛﻞ »ﺣﺎﺩﺛﻪ« ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﺳﺎﻝﻫﺎﻱ‬ ‫ﺍﺧﻴﺮ ﺳﻴﻨﻤﺎﻱ ﻫﻨﮓﻛﻨﮓ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻋﻨﺎﺻﺮﻱ ﻧﻈﻴﺮ ﺟﻨﺎﻳﺖﻫﺎﻱ‬ ‫ﻭﺳﻮﺍﺳﻤﻨﺪ‪ ،‬ﺧﺸــﻮﻧﺖ ﺭﻭﺍﻧﻲ ﺑﺎﻟﻘﻮﻩ ﻭ ﺗﻌﻤﻖ ﻋﺎﺑﺪﺍﻧﻪ ﺑﺮ ﺳﺮﻧﻮﺷﺖ‪،‬‬ ‫ﺗﺼﺎﺩﻑ ﻭ ﭘﻴﺸــﮕﻮﻳﻲﻫﺎﻱ ﻛﺎﻣﺒﺨﺶ‪ ،‬ﺳﻴﻨﻤﺎﻱ ﺍﺳــﺘﺎﺩﺍﻧﻲ ﻧﻈﻴﺮ‬ ‫ژﺍﻥ ﭘﻴﺌﺮ ﻣﻠﻮﻳﻞ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻲﺁﻭﺭﺩ‪«.‬‬ ‫ﺗﺒﻌﻴﺪﻱ ﺩﺭ ﻣﺎﻩ‬ ‫‪Moon the on Castaway‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻟﻲ ﻫﻲﺟﻮﻥ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﻛﺮﻩ ﺟﻨﻮﺑﻲ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺟﺮﻳﺎﻥ ﺁﺏ ﻣﺮﺩ ﺩﻝﺷﻜﺴﺘﻪﺍﻱ ﻛﻪ ﺧﻮﺩﻛﺸﻲﺍﺵ‬ ‫ﻋﺒﻮﺭ‬ ‫ﻧﺎﻛﺎﻡ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﺭﺍ ﺑﻪ ﺟﺰﻳﺮﻩﺍﻯ ﻣﺘﺮﻭﻛﻪ ﺩﺭ ﻭﺳﻂ ﺭﻭﺩﺧﺎﻧﻪ ﻣﻲﺑﺮﺩ؛‬ ‫ﺟﺎﻳﻲ ﻛﻪ ﺍﺯ ﺁﻥ ﺁﭘﺎﺭﺗﻤﺎﻥﻫﺎﻯ ﺳﺮ ﺑﻪ ﻓﻠﻚ ﻛﺸﻴﺪﻩ ﺷﻬﺮ ﭘﻴﺪﺍﺳﺖ‪ .‬ﻣﺮﺩ‬ ‫ﺍﺑﺘﺪﺍ ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺧﻮﺩ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﺧﻴﻠﻲ ﺯﻭﺩ ﺳﺮﻧﻮﺷﺖ ﺭﺍ‬ ‫ﻣﻲﭘﺬﻳﺮﺩ ﻭ ﺑﺮﺍﻱ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﺩﺭ ﺟﺰﻳﺮﻩ ﺗﻼﺵ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﺁﻥ ﺳﻮﻱ‬ ‫ﺩﺍﺳــﺘﺎﻥ ﺯﻥ ﺟﻮﺍﻥ ﻣﻨﺰﻭﻱ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻛﻪ ﺳﺎﻝﻫﺎﺳﺖ ﺁﭘﺎﺭﺗﻤﺎﻧﺶ ﺭﺍ‬ ‫ﺗﺮﻙ ﻧﻜﺮﺩﻩ ﻭ ﺑﺎ ﺗﻠﺴــﻜﻮﭘﺶ ﻣﺎﻩ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﺭﻭﺯﻱ ﺗﺼﺎﺩﻓﺎ‬ ‫ﻣﺮﺩ ﺭﺍ ﺩﺭ ﺟﺰﻳﺮﻩ ﻣﻲﺑﻴﻨﺪ ﻭ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﺑﻴﮕﺎﻧﻪ ﺷﺨﺼﻲ ﺟﺎﺳﻮﺳﻲ‬ ‫ﺍﻭ ﺭﺍ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﺗﺒﻌﻴﺪﻱ ﺩﺭ ﻣﺎﻩ« ﺑﻲﺗﺮﺩﻳﺪ ﻛﻤﺪﻱ ﺩﻟﭙﺬﻳﺮﻱ ﺍﺳﺖ‬ ‫ﺍﺯ ﺳــﻴﻨﻤﺎﻱ ﻛﺮﻩ ﺟﻨﻮﺑﻲ ﺩﺭﺑﺎﺭﻩ ﺍﺗﻔﺎﻗــﺎﺕ ﺩﻭﺭ ﺍﺯ ﺫﻫﻨﻲ ﻛﻪ ﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ ﺑﺮﺍﻱ ﺁﺩﻡﻫﺎ ﺑﻴﻔﺘﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺧﻼﻗﺎﻧﻪ‪ ،‬ﺧﻨﺪﻩﺩﺍﺭ ﻭ ﻏﻴﺮﻋﺎﺩﻱ‪،‬‬ ‫ﺍﺑﻌﺎﺩ ﺷﮕﻔﺖﺍﻧﮕﻴﺰﻱ ﺍﺯ ﻃﺒﻴﻌﺖ ﺍﻧﺴﺎﻥ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲﮔﺬﺍﺭﺩ ﻛﻪ ﺩﺭ‬ ‫ﺷﺮﺍﻳﻂ ﻋﺠﻴﺐ ﻭ ﻏﻴﺮﻋﺎﺩﻱ ﻧﻤﻮﺩ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﻋﺒﻮﺭ‬ ‫‪Crossing‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﻴﻢ ﺗﺎﻳﻪ ﺟﻴﻮﻥ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻟﻲ ﻳﻮ ﺟﻴﻦ‪ ،‬ﻣﺤﺼﻮﻝ‬ ‫‪ 2008‬ﻛﺮﻩ ﺟﻨﻮﺑﻲ‪.‬‬ ‫ﺧﻼﺻـﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻳﻮﻧﮓ ﺳــﻮ ﻛﻪ ﺳــﺎﺑﻘﺎ ﺍﺯ ﻓﻮﺗﺒﺎﻟﻴﺴــﺖﻫﺎﻱ‬ ‫ﻛﺮﻩﺷــﻤﺎﻟﻲ ﺑﻮﺩﻩ‪ ،‬ﺑﻪ ﺻﻮﺭﺕ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﻭﺍﺭﺩ ﺧﺎﻙ ﭼﻴﻦ ﻣﻲﺷﻮﺩ‬ ‫ﺗﺎ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻧﺪ ﺑﺮﺍﻱ ﻫﻤﺴﺮ ﺭﻭ ﺑﻪ ﻣﺮﮔﺶ ﺩﺍﺭﻭ ﺗﻬﻴﻪ ﻛﻨﺪ‪ .‬ﺍﻭ ﺧﻮﺩﺵ‬ ‫ﺭﺍ ﺑﻪ ﺩﺳــﺖ ﻗﺎﭼﺎﻗﭽﻴﺎﻥ ﺍﻧﺴــﺎﻥ ﻣﻲﺳــﭙﺎﺭﺩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﺮﺧﻼﻑ‬ ‫ﻧﻘﺸﻪﺍﺵ ﺳــﺮ ﺍﺯ ﺳــﺌﻮﻝ ﺩﺭﻣﻲﺁﻭﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﭘﺴﺮﺵ ﻳﺎﻥ ﺍﺯ‬ ‫ﻳــﻚ ﺍﺭﺩﻭﮔﺎﻩ ﻛﺎﺭ ﻫﺮﺍﺱﺍﻧﮕﻴﺰ ﻓﺮﺍﺭ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺳــﺎﻳﺮ ﺑﭽﻪﻫﺎ ﻋﺎﺯﻡ‬ ‫ﻣﻐﻮﻟﺴﺘﺎﻥ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﺷﺸﻤﻴﻦ ﻓﻴﻠﻢ ﻛﻴﻢ ﺗﺎﻳﻪ ﺟﻴﻮﻥ ﺍﻳﻦ ﺍﻓﺘﺨﺎﺭ ﺭﺍ ﺑﻪ ﺩﺳﺖ‬ ‫ﺁﻭﺭﺩ ﻛﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻧﺎﻣﺰﺩ ﺭﺳﻤﻲ ﺳﻴﻨﻤﺎﻱ ﻛﺸﻮﺭﺵ ﺑﻪ ﺑﺨﺶ ﺭﻗﺎﺑﺘﻲ‬ ‫ﺍﺳــﻜﺎﺭ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺧﺎﺭﺟﻲﺯﺑﺎﻥ ﻣﻌﺮﻓﻲ ﺷﻮﺩ‪ .‬ﺩﺭﻙ ﺍﻟﻲ ﻣﻨﺘﻘﺪ‬ ‫ﻭﺭﺍﻳﺘﻲ ﺁﻥ ﺭﺍ ﭼﻨﻴﻦ ﺗﻮﺻﻴﻒ ﻛﺮﺩﻩ ﺍﺳﺖ‪» :‬ﺍﻳﻦ ﺩﺭﺍﻡ ﭘﻴﺮﺍﻣﻮﻥ ﺟﻨﮓ‬ ‫ﺳﺮﺩ ﺑﻪ ﺷﻴﻮﻩ ﻗﺪﻳﻤﻲ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺧﺎﻃﺮ ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮ ﻣﻄﺮﺡ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺍﻳﻦ ﻛﺸــﻮﺭ ﻳﻌﻨﻲ ﭼﺎ ﺍﻳﻦﭘﺎﻳﻮ ﻓﺮﻭﺵ ﺧﻮﺑﻲ ﺭﺍ ﺩﺭ ﮔﻴﺸﻪ‬ ‫ﺗﺠﺮﺑــﻪ ﻛﻨﺪ‪ ،‬ﻭﻟﻲ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﻛﺮﻩ ﺟﻨﻮﺑﻲ ﭼﻨﺪﺍﻥ ﺷﺎﻧﺴــﻲ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻛﻴﻢ ﺗﺎﻳﻪ ﺟﻴﻮﻥ ﻛﻪ ﺩﺭ ﻏﺮﺏ ﺑﺎ ﺍﻛﺸﻦ ﺭﺯﻣﻲ »ﺑﺎﻻﻱ ﻛﻮﻩ ﺁﺗﺸﻔﺸﺎﻥ«‬ ‫)‪ (2001‬ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻳﻜﺪﺳﺖ ﻭ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻱ‬ ‫ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ‪«.‬‬ ‫ﻧﺎﻣﻪﻫﺎﻳﻲ ﺑﻪ ﭘﺪﺭ ﻳﻌﻘﻮﺏ‬ ‫‪Jacob Father to Letters‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﻼﺋﻮﺱ ﻫﺎﺭﻭ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﻓﻨﻼﻧﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﻟﻴﻼ ﻛﻪ ﺑﻪ ﺗﺎﺯﮔﻲ ﻣﺤﻜﻮﻣﻴﺘﺶ ﺑﺨﺸﻴﺪﻩ ﺷﺪﻩ ﺍﺯ‬ ‫ﻣﻴﺎﻥ ﻣﻌﺪﻭﺩ ﮔﺰﻳﻨﻪﻫﺎﻱ ﻣﻮﺟﻮﺩ ﺑﺮﺍﻱ ﻛﺎﺭ‪ ،‬ﺩﺳﺘﻴﺎﺭﻱ ﻳﻚ ﻛﺸﻴﺶ‬ ‫ﻧﺎﺑﻴﻨﺎ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻲﻛﻨﺪ‪ .‬ﭘﺪﺭ ﻳﻌﻘﻮﺏ ﺭﻭﺯﻫﺎﻳﺶ ﺭﺍ ﺑﺎ ﭘﺎﺳﺦ ﺩﺍﺩﻥ ﺑﻪ‬ ‫ﻧﺎﻣﻪﻫﺎﻱ ﺁﺩﻡﻫﺎﻱ ﻣﺴــﺘﻤﻨﺪ ﺳﭙﺮﻱ ﻣﻲﻛﻨﺪ؛ ﻛﺎﺭﻱ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﻟﻴﻼ‬ ‫ﺑﻴﻬﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺯﻣﺎﻧﻲ ﻛﻪ ﻧﺎﻣﻪﻫﺎ ﻗﻄﻊ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺣﺎﻝ ﻛﺸﻴﺶ ﺑﺪ‬ ‫ﻣﻲﺷﻮﺩ ﻭ ﺗﺨﺮﻳﺐ ﺭﻭﺣﻲ ﻣﻲﺷــﻮﺩ ﺗﺎ ﺍﻳﻨﻜﻪ ﻟﻴﻼ ﻧﻘﺶ ﺗﺎﺯﻩﺍﻱ ﺭﺍ ﺑﻪ‬ ‫ﻋﻬﺪﻩ ﻣﻲﮔﻴﺮﺩ‪.‬‬ ‫ﺩﺭﺑـﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﻧﺎﻣﻪﻫﺎﻳــﻲ ﺑﻪ ﭘــﺪﺭ ﻳﻌﻘﻮﺏ« ﻫﺸــﺘﻤﻴﻦ ﻓﻴﻠﻢ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﺶ ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﺳــﺎﻝ ‪ 2002‬ﺑﺎ ﻓﻴﻠﻢ »ﺍﻟﻴﻨــﺎ‪ :‬ﺍﻧﮕﺎﺭ ﻣﻦ‬ ‫ﺁﻧﺠﺎ ﻧﺒﻮﺩﻡ« ﺟﻮﺍﻳﺰ ﺧﺮﺱ ﺑﻠﻮﺭﻳﻦ ﻭ ﻧﮕﺎﻩ ﻭﻳﮋﻩ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﺮﻟﻴﻦ ﺭﺍ‬ ‫ﺑﺮﺩ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺍﺑﺘﺪﺍ ﻗﺮﺍﺭ ﺑﻮﺩ ﺑﻪﻋﻨــﻮﺍﻥ ﻳﻚ ﺍﺛﺮ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺗﻮﻟﻴﺪ‬ ‫ﺷــﻮﺩ ﻭﻟﻲ ﺑﻌﺪ ﺩﺭ ﺳﻴﻨﻤﺎﻫﺎ ﺍﻛﺮﺍﻥ ﺷــﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﺎﻣﺰﺩ‬ ‫ﺭﺳﻤﻲ ﻛﺸــﻮﺭ ﻓﻨﻼﻧﺪ ﺑﻪ ﺁﻛﺎﺩﻣﻲ ﺍﺳــﻜﺎﺭ ﻣﻌﺮﻓﻲ ﺷﺪ‪» .‬ﻧﺎﻣﻪﻫﺎﻳﻲ‬ ‫ﺑﻪ ﭘﺪﺭ ﻳﻌﻘــﻮﺏ« ﺗﺎ ﺍﻣﺮﻭﺯ ﺟﻮﺍﻳﺰ ﺑﻬﺘﺮﻳــﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﻫﺮﻡ ﻃﻼﻳﻲ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻗﺎﻫﺮﻩ ﻭ ﺟﺎﻳﺰﻩ ﺍﺻﻠﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢ ﻣﻨﻬﺎﻳﻢ‬ ‫ﻫﺎﻳﺪﻟﺒﺮگ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺁﻟﻴﺴﺎ ﺳﺎﻳﻤﻦ )ﻭﺭﺍﻳﺘﻲ( ﺩﺭﺑﺎﺭﻩ‬ ‫ﻓﻴﻠﻢ ﻧﻮﺷﺘﻪ ﺍﺳــﺖ‪» :‬ﺩﺍﺳــﺘﺎﻧﻲ ﺳــﺎﺩﻩ ﺍﻣﺎ ﺍﺛﻴﺮﻱ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻤﺎﻥ ﻭ‬ ‫ﺿﻌﻒﻧﻔﺲ ﺁﺩﻣﻲ‪ .‬ﻗﺪﺭﺕ ﻭ ﺗﺴﻠﻂ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﺮ ﻓﻴﻠﻤﺶ ﺑﺎﻋﺚ ﺧﻠﻖ‬ ‫ﺍﺛﺮﻱ ﻧﻮ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺍﺯ ﺩﺳﺘﻤﺎﻳﻪﺍﻱ ﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻲ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻲﺗﺮﺩﻳﺪ ﺍﺭﺯﺵ ﻭﺍﻗﻌﻲﺍﺵ ﺗﻮﺳﻂ ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﺣﺮﻓﻪﺍﻱ ﻭ ﻣﺘﻔﻜﺮ‬ ‫ﺩﺭﻙ ﺧﻮﺍﻫﺪ ﺷﺪ‪«.‬‬ ‫ﻛﻮﻫﺴﺘﺎﻥ ﺭﻭﺑﻪﺭﻭ‬ ‫‪Mountain in Front‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻭﺍﺳﻴﻠﻴﺲ ﺩﻭﺭﻭﺱ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻳﺎﻧﺲ ﺳﻴﺮﻭﺱ‪،‬‬ ‫ﻣﺤﺼﻮﻝ ‪ 2008‬ﻳﻮﻧﺎﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺷﻨﺒﻪ ﻣﻘﺪﺱ‪ .‬ﻳﻚ ﻭﻥ ﻭﺳﺎﻳﻞ ﺁﺗﺶﺑﺎﺯﻯ ﮔﺮﻭﻫﻲ‬ ‫ﺍﻫﻞ ﺁﺗﻦ ﺭﺍ ﺣﻤﻞ ﻣﻲﻛﻨﺪ ﻛﻪ ﺩﭼﺎﺭ ﻧﻘﺺ ﻓﻨﻰ ﻣﻲﺷﻮﺩ‪ .‬ﻟﻮﺍﻥ ﭼﻮﭘﺎﻥ‬ ‫ﺁﻟﺒﺎﻧﻲﺗﺒﺎﺭﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪﻣﻨﻈﻮﺭ ﺧﺮﻳﺪ ﻳﻚ ﻣﻮﺷﻚ ﺁﺗﺶﺑﺎﺯﻱ ﻧﺰﺩ‬ ‫ﺳﺎﻛﻨﺎﻥ ﻣﺤﻠﻲ ﻣﻲﺭﻭﺩ ﻛﻪ ﻛﻴﻨﻪﺍﻱ ﺩﻳﺮﻳﻨﻪ ﺍﺯ ﺍﻭ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺗﻮﻣﺎﺱ‬ ‫‪Thomas‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﻴﻜﺎ ﺳﻮﻳﻴﻨﻲ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﻓﻨﻼﻧﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺗﻮﻣﺎﺱ ﻛﻪ ﺳــﺎﺑﻘﺎ ﺩﻛﺘﺮ ﺑﻮﺩﻩ‪ ،‬ﻫﻤﺴﺮﺵ ﺭﺍ ﺍﺯ‬ ‫ﺩﺳﺖ ﺩﺍﺩﻩ ﻭ ﺣﺎﻻ ﺗﻨﻬﺎ ﺩﺭ ﺯﻳﺮﺯﻣﻴﻦ ﺁﭘﺎﺭﺗﻤﺎﻧﻲ ﺩﺭ ﻫﻠﺴﻴﻨﻜﻲ ﺯﻧﺪﮔﻲ‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﺭﻭﺍﻝ ﺯﻧﺪﮔﻲ ﺍﻭ ﻭﻗﺘﻲ ﻣﺤﺪﻭﺩﺗﺮ ﻣﻲﺷــﻮﺩ ﻛﻪ ﺑﺮﺍﺩﺭﺵ ﻫﻢ‬ ‫ﻣﻲﻣﻴﺮﺩ ﻭ ﺭﻭﺍﺑﻂ ﺍﻧﺴــﺎﻧﻲ ﺍﻭ ﻋﻤﻼ ﻗﻄﻊ ﻣﻲﺷــﻮﺩ‪ .‬ﺍﻭ ﮔﺎﻩ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺍﻧﺒﻮﻫــﻲ ﺍﺯ ﺁﺩﻡﻫﺎ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﻭﻟﻲ ﺍﻧﮕﺎﺭ ﻧﺎﻣﺮﺋﻲ ﺍﺳــﺖ ﻭ ﺍﺯ ﻗﺎﻃﻲ‬ ‫ﺷﺪﻥ ﺑﺎ ﺁﺩﻡﻫﺎﻱ ﭘﻴﺮﺍﻣﻮﻧﺶ ﻃﻔﺮﻩ ﻣﻲﺭﻭﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ‪:‬ﺍﮔﺮﭼﻪ ﻓﻴﻠﻢ ﺩﺭ ﺫﺍﺕ ﺍﺛﺮﻱ ﻛﻨﺪ ﺍﺳــﺖ ﻭ ﻣﺪﺕ ﺯﻣﺎﻥ‬ ‫‪ 70‬ﺩﻗﻴﻘﻪﺍﻱ ﺁﻥ ‪ 90‬ﺩﻗﻴﻘﻪ ﺍﺣﺴﺎﺱ ﻣﻲﺷﻮﺩ‪ ،‬ﻭﻟﻲ ﺑﻪﻋﻨﻮﺍﻥ ﺍﻭﻟﻴﻦ‬ ‫ﺗﺠﺮﺑــﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﺶ ﻓﻴﻠﻢ ﻗﺎﺑﻞﻗﺒﻮﻝ ﻭ ﻧﻮﻳﺪﺑﺨﺸــﻲ ﺍﺳــﺖ‪ .‬ﻣﻴﻜﺎ‬ ‫ﺳﻮﻳﻴﻨﻲ ﺑﻪ ﺧﻮﺑﻲ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺭﻧﮓﻫﺎﻱ ﻗﻬﻮﻩﺍﻱ ﻭ ﻓﻀﺎﻫﺎﻱ ﮔﺮﻓﺘﻪ‬ ‫ﺩﺍﺧﻠﻲ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺗﺎ ﺑﻲﺣﺴﻲ ﻭ ﻛﺮﺧﺘﻲ ﻳﻚ ﺯﻧﺪﮔﻲ ﺍﻧﺰﻭﺍﻃﻠﺒﺎﻧﻪ‬ ‫ﻭ ﺑﺪﻭﻥ ﺍﺭﺗﺒﺎﻁ ﺍﻧﺴﺎﻧﻲ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﺪ‪.‬‬ ‫ﺯﺍﺭﺍ‬ ‫‪Zara‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﺁﻳﺘــﻦ ﻣﻮﺗﻠﻮ ﺳــﺎﺭﺍﻱ‪ ،‬ﻣﺤﺼﻮﻝ ‪2009‬‬ ‫ﺗﺮﻛﻴﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺩﺍﺳــﺘﺎﻥ ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ ﺗﺒﻌﻴﺪﺷﺪﮔﺎﻧﻲ ﺍﺳﺖ ﻛﻪ‬ ‫ﻣﺠﺒﻮﺭ ﻣﻲﺷﻮﻧﺪ ﺳﺮﻧﻮﺷﺖ ﺯﻧﺪﮔﻲ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻛﺸﻮﺭﻱ ﺑﻴﮕﺎﻧﻪ‬ ‫ﺑﺪﻫﻨﺪ ﺍﻣﺎ ﺑﺎﺯ ﻫﻢ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺩﺭ ﺍﻳﻦ ﺳﺮﻧﻮﺷﺖ ﺳﻬﻴﻢ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺣﺎﺩﺛﻪ‬ ‫‪15‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ‬ ‫ﭼﻨﺪ ﻧﺎﻡ ﻣﻬﻢ‬ ‫ﺳﭙﻴﺪﻩﺩﻡ ﺟﻬﺎﻥ‬ ‫‪World the of Dawn‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻋﺒــﺎﺱ ﻓﻬﺪﻝ‪ ،‬ﻣﺤﺼــﻮﻝ ‪ 2008‬ﻋﺮﺍﻕ‪،‬‬ ‫ﻓﺮﺍﻧﺴﻪ ﻭ ﺁﻟﻤﺎﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺑﺎﺗﻼﻕﻫﺎﻱ ﺳــﺮﺯﻣﻴﻦ ﺑﻴﻦﺍﻟﻨﻬﺮﻳﻦ ﺩﺭ ﺩﻟﺘﺎﻱ‬ ‫ﺭﻭﺩﺧﺎﻧﻪﻫﺎﻯ ﻓــﺮﺍﺕ ﻭ ﺩﺟﻠﻪ ﻭﺍﻗﻊ ﺩﺭ ﺟﻨﻮﺏ ﻋﺮﺍﻕ‪ ،‬ﻣﻜﺎﻧﻲ ﺍﺳــﺖ‬ ‫ﻛﻪ ﻣﺴــﺘﻮﺭ ﻭ ﺯﻫﺮﺍ ﺩﺭ ﺁﻥ ﺑﺰﺭگ ﺷــﺪﻧﺪ‪ .‬ﺁﻧﻬﺎ ﻣــﺪﺕ ﻛﻮﺗﺎﻫﻲ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﺯﺩﻭﺍﺝﺷــﺎﻥ ﻭﻗﺘﻲ ﺟﻨﮓ ﺧﻠﻴﺞ ﻓﺎﺭﺱ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ ﻣﺠﺒﻮﺭ ﺑﻪ‬ ‫ﺟﺪﺍﻳﻰ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﻣﻲﺷــﻮﻧﺪ‪ .‬ﻣﺴــﺘﻮﺭ ﺩﺭ ﻣﻴﺪﺍﻥ ﺟﻨﮓ ﺑﺎ ﺳــﺮﺑﺎﺯ‬ ‫ﺟﻮﺍﻥ ﺍﻫﻞ ﺑﻐﺪﺍﺩ ﺑﺎ ﻧﺎﻡ ﺭﻳﺎﺩ ﺩﻭﺳــﺖ ﻣﻰﺷــﻮﺩ‪ .‬ﻣﺴﺘﻮﺭ ﺑﻪ ﺳﺨﺘﻲ‬ ‫ﻣﺠﺮﻭﺡ ﻣﻲﺷــﻮﺩ ﻭ ﺍﺯ ﺭﻳﺎﺩ ﻗﻮﻝ ﻣﻰﮔﻴﺮﺩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ ﺟﻨﮓ ﺍﺯ‬ ‫ﺯﻫﺮﺍ ﻣﺤﺎﻓﻈﺖ ﻛﻨﺪ‪.‬‬ ‫ﺩﺭﺑـﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﺍﻳﻦ ﺩﺭﺍﻡ ﺟﻨﮕﻲ ﺳــﻮﻣﻴﻦ ﺗﺠﺮﺑــﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ‬ ‫ﻋﺒﺎﺱ ﻓﻬﺪﻝ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺳﻮﺭﺑﻦ ﻓﺮﺍﻧﺴﻪ ﺳﻴﻨﻤﺎ ﺧﻮﺍﻧﺪ ﻭ‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 2002‬ﺑﻪ ﻋﺮﺍﻕ ﺑﺮﮔﺸﺖ‪ .‬ﻋﺎﻳﺸﻪ ﻃﺮﻳﻖ ﺩﺭ ﻣﻄﻠﺒﺶ ﺑﺮﺍﻱ‬ ‫ﺳﺎﻳﺖ ﻧﺸﻨﺎﻝﻧﻴﻮﺯﭘﻲﭘﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﻳﻦﻃﻮﺭ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪» :‬ﻓﻴﻠﻢ‬ ‫ﺑﺴــﻴﺎﺭ ﻣﻮﺭﺩ ﺗﺤﺴــﻴﻦ ﻣﻨﺘﻘﺪﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﭼﻮﻥ ﻧﻮﻳﺴــﻨﺪﻩ ﻭ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﺶ ﮔﻮﺷﻪﺍﻱ ﺗﻘﺮﻳﺒﺎ ﻧﺎﺷﻨﺎﺧﺘﻪ ﺍﺯ ﺧﺎﻙ ﻋﺮﺍﻕ ﺭﺍ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻛﺮﺩﻩ ﻭ ﺩﺍﺳﺘﺎﻧﻲ ﺩﻟﭙﺬﻳﺮ ﻭ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻲ ﺭﺍ ﺭﻭﺍﻳﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﺑﺎ ﻧﻤﺎﻳﺶ ﻛﻤﺘﺮﻳﻦ ﻣﻴﺰﺍﻥ ﺧﺸــﻮﻧﺖ ﺑﻪ ﺧﻮﺑﻲ ﻭﻳﺮﺍﻧﮕﺮﻱﻫﺎﻱ‬ ‫ﺣﺎﺻﻞ ﺍﺯ ﺟﻨﮓ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸــﻴﺪﻩ ﺍﺳــﺖ‪ .‬ﺳــﺎﺩﮔﻲ ﻭ ﺭﻭﺍﻧﻲ‬ ‫ﺩﺍﺳــﺘﺎﻥ ﻓﻴﻠﻢ ﻣﺰﻳﺖ ﺍﺻﻠﻲ ﺁﻥ ﺍﺳــﺖ ﭼﺮﺍ ﻛﻪ ﺷــﺨﺼﻴﺖﻫﺎﻱ‬ ‫ﺍﻧﮕﺸﺖﺷﻤﺎﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺁﺭﺍﻣﻲ ﺩﺭ ﺑﻄﻦ ﺟﺬﺍﺏﺗﺮﻳﻦ ﻣﻮﻗﻌﻴﺖﻫﺎ‬ ‫ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻧﺪ‪» .‬ﺳﭙﻴﺪﻩﺩﻡ ﺟﻬﺎﻥ« ﻓﻴﻠﻢ ﻫﻨﺮﻣﻨﺪﺍﻧﻪﺍﻱ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﮔﺮ ﺿﺮﺑﺎﻫﻨﮓ ﻛﻨﺪ ﻭ ﺩﺍﺳــﺘﺎﻥ ﺗﻠﺦ ﺁﻥ ﺭﺍ ﺗﺤﻤﻞ ﻛﻨﻴﺪ ﺩﺭ ﭘﺎﻳﺎﻥ‬ ‫ﻟﺬﺕ ﻣﻀﺎﻋﻔﻲ ﺍﺯ ﺁﻥ ﺧﻮﺍﻫﻴﺪ ﺑﺮﺩ‪«.‬‬ ‫ﺍﺭﺛﻴﻪ ﺍﺳﺘﺮ‬ ‫‪Inheritance s'Eszter‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻳﻮژﻑ ﺳــﻴﭙﻮﺱ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺳﻴﭙﻮﺱ ﻭ ﻓﺮﺍﻧﺴﻮﺍ‬ ‫ژﻭﺯﻭ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﻣﺠﺎﺭﺳﺘﺎﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻓﻴﻠﻢ ﻛﻪ ﻣﺎﺟﺮﺍﻫﺎﻳﺶ ﺳــﺎﻝﻫﺎ ﭘﻴﺶ ﺍﺯ ﺟﻨﮓ‬ ‫ﺟﻬﺎﻧﻰ ﺩﻭﻡ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ ﺭﻭﺍﻳﺖﮔﺮ ﺩﺍﺳــﺘﺎﻧﻲ ﺍﺳﺖ ﻛﻪ ﻫﻨﻮﺯ ﻫﻢ‬ ‫ﺗﻜﺎﻥﺩﻫﻨﺪﻩ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢ ﺑﺎ ﺗﺤﻠﻴﻞ ﺭﻭﺍﺑﻂ ﺍﻧﺴﺎﻧﻰ ﻣﻲﻛﻮﺷﺪ ﺗﺎ ﺑﻪ ﻧﻘﺶ‬ ‫ﺳﺮﻧﻮﺷﺖ ﺩﺭ ﻛﻨﺘﺮﻝ ﻛﺎﺭﻫﺎﻱ ﺁﺩﻡﻫﺎ ﺑﺮﺳﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪ ﺳﻴﻨﻤﺎﻳﻲ ﻳﻮژﻑ ﺳﻴﭙﻮﺱ ﻛﻪ ﺳﺎﻝﻫﺎ ﺩﺭ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﺠﺎﺭﺳﺘﺎﻥ ﻛﺎﺭ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺳﺎﻝ ‪ 1990‬ﻛﻤﭙﺎﻧﻲ ﺗﻮﻟﻴﺪﻱ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺗﺎﺳــﻴﺲ ﻛــﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﻣﻘﺎﻡ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺗﺎ ﺳــﺎﻝ ‪2007‬‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎ‪ ،‬ﻣﺴﺘﻨﺪﻫﺎ ﻭ ﻓﻴﻠﻢﻫﺎﻱ ﻣﺘﻌﺪﺩﻱ ﺗﻮﻟﻴﺪ ﻛﺮﺩ‪.‬‬ ‫ﻳﺦﺯﺩﻩ‬ ‫‪Frozen‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺷﻴﻮﺍﺟﻲ ﭼﺎﻧﺪﺭﺍﺑﻮﺷﺎﻥ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺷﺎﻧﻜﺮ ﺭﺍﻣﺎﻥ‪،‬‬ ‫ﻣﺤﺼﻮﻝ ‪ 2007‬ﻫﻨﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ ﺳــﻔﺮ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻻﺳﻴﺎﺳﺖ ﻛﻪ ﺑﺎ‬ ‫ﭘﺪﺭﺵ ﻛﺎﺭﻣــﺎ ﻭ ﺑﺮﺍﺩﺭ ﺟﻮﺍﻧﺶ ﭼﻮﻣﻮ ﺩﺭ ﺩﻫﻜــﺪﻩ ﺩﻭﺭﺍﻓﺘﺎﺩﻩﺍﻱ ﺩﺭ‬ ‫ﻫﻴﻤﺎﻟﻴﺎ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﺮﻑ ﺳﺮﺍﺳــﺮ ﻛﻮﻫﺴــﺘﺎﻥﻫﺎﻱ ﺍﻃﺮﺍﻑ‬ ‫‪47‬‬ ‫ﺩﻫﻜﺪﻩ ﻛﻮﭼﻚ ﺁﻧﻬﺎ ﺭﺍ ﭘﻮﺷــﺎﻧﺪﻩ ﺍﺳــﺖ‪ .‬ﺭﻭﺯﻱ ﺍﺭﺗﺶ ﻭﺍﺭﺩ ﺩﻫﻜﺪﻩ‬ ‫ﺷﺪﻩ ﻭ ﺑﺎﻋﺚ ﺑﻪ ﻫﻢ ﺧﻮﺭﺩﻥ ﻫﻤﻪﭼﻴﺰ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﺩﻭﻣﻴﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﺷﻴﻮﺍﺟﻲ ﭼﺎﻧﺪﺭﺍﺑﻮﺷﺎﻥ ﻛﻪ‬ ‫ﺟﺎﻳﺰﻩ ﻭﻳﮋﻩ ﻫﻴﺎﺕ ﺩﺍﻭﺭﺍﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺳﻴﻨﻪﻓﺎﻥ )ﻓﻴﻠﻢﻫﺎﻱ ﺁﺳﻴﺎﻳﻲ‬ ‫ﻭ ﻋﺮﺑﻲ( ﺭﺍ ﺑﺮﺩ‪ ،‬ﻧﺎﻣﺰﺩ ﺩﺭﻳﺎﻓﺖ ﺟﺎﻳﺰﻩ ﺍﺳــﻜﻨﺪﺭ ﻃﻼﻳﻲ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢ ﺗﺴــﺎﻟﻮﻧﻴﻜﻲ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺷــﺎﻧﻜﺮ ﺭﺍﻣﺎﻥ ﺗﺎ ﺍﻣﺮﻭﺯ‬ ‫ﺑﺴــﻴﺎﺭ ﻣﻮﺭﺩ ﺗﺤﺴــﻴﻦ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺟﻮﺍﻳﺰﻱ ﺭﺍ ﻫــﻢ ﺑﺮﺍﻱ ﻭﻱ ﺑﻪ‬ ‫ﺍﺭﻣﻐﺎﻥ ﺁﻭﺭﺩﻩ ﺍﺳــﺖ‪ .‬ﺩﻧﻴﺲ ﻫﺎﺭﻭﻱ‪ ،‬ﻣﻨﺘﻘــﺪ ﻭﺭﺍﻳﺘﻲ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‬ ‫ﺍﻳﻨﭽﻨﻴﻦ ﺍﻇﻬﺎﺭﻧﻈﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪» :‬ﭘﻴﺸﻴﻨﻪ ﺷﻴﻮﺍﺟﻲ ﭼﺎﻧﺪﺭﺍﺑﻮﺷﺎﻥ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻋــﻜﺎﺱ ﻭ ﻛﻮﻫﻨﻮﺭﺩ ﺩﺭ ﺗﻚﺗﻚ ﻗﺎﺏﻫﺎﻱ ﻓﻴﻠﻢ ﻧﻤﻮﺩ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺳﻴﺎﻩﻭﺳﻔﻴﺪ ﺩﺭﺧﺸﺎﻥ ﺷﺎﻧﻜﺮ ﺭﺍﻣﺎﻥ ﺩﺭ‬ ‫ﻣﻨﻄﻘﻪ ﺩﻭﺭﺍﻓﺘﺎﺩﻩﻻﺩﺍﻙ ﺩﺭ ﺭﺷﺘﻪﻛﻮﻩﻫﺎﻱ ﻫﻴﻤﺎﻟﻴﺎ ﺑﺮ ﻓﻴﻠﻢ ﺣﺎﻛﻢ‬ ‫ﺍﺳﺖ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺍﺯ ﺗﻴﺘﺮﺍژ ﺍﻧﮕﻠﻴﺴﻲﺍﺵ ﺗﺎ ﻣﻮﺳﻴﻘﻲ ﻣﺘﻦ ﻣﺘﻜﻲ ﺑﻪ‬ ‫ﮔﻴﺘﺎﺭﺵ‪ ،‬ﺑﻴﺸﺘﺮ ﺑﻪ ﺁﺛﺎﺭ ﻫﻨﺮﻱ ﻭﺳــﺘﺮﻥ ﺷﺒﺎﻫﺖ ﺩﺍﺭﺩ ﺗﺎ ﻓﻴﻠﻤﻲ ﺍﺯ‬ ‫ﺭﺋﺎﻟﻴﺴﻢ ﺍﺟﺘﻤﺎﻋﻲ ﺳﻴﻨﻤﺎﻱ ﻫﻨﺪ‪«.‬‬ ‫ﺑﺪﺭﻭﺩ‬ ‫‪Goodbye‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺳﺎﻧﮓ ﻓﻨﮓ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﭼﻴﻦ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻟﻲ ﺯﻳﻦ ﺑﺮﺍﻱ ﻧﺨﺴــﺘﻴﻦﺑﺎﺭ ﺑﻪ ﺷﻬﺮ ﻧﺎﻧﺠﻴﻨﮓ‬ ‫ﺳــﻔﺮ ﻣﻲﻛﻨﺪ ﻛﻪ ﺯﺍﺩﮔﺎﻩ ﺩﻭﺳــﺖ ﺻﻤﻴﻤﻲﺍﺵ ﻟﻴﻦ ﺯﻱ ﺍﺳــﺖ‪ .‬ﺍﻭ‬ ‫ﺩﺭ ﻳﻚ ﺣﺎﺩﺛﻪ ﺭﺍﻧﻨﺪﮔﻲ ﺁﺳــﻴﺐﺩﻳﺪﻩ ﺍﺳــﺖ‪ .‬ﭘﻠﻴﺲ ﺩﺭ ﭘﻲ ﻳﺎﻓﺘﻦ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﻟﻴﻦ ﺯﻱ ﺍﺳــﺖ ﺗﺎ ﺑﻪ ﺍﻭ ﻛﻤﻚ ﻛﻨﺪ‪ .‬ﻟﻲ ﺯﻳﻦ ﻫﺮﮔﺰ ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﺩﻭﺳــﺘﺶ ﺭﺍ ﻣﻼﻗﺎﺕ ﻧﻜﺮﺩﻩ ﻭﻟﻲ ﺣﺎﻻ ﻧﺰﺩﺷﺎﻥ ﻣﻲﻣﺎﻧﺪ ﺗﺎ ﺩﻭﺳﺘﺶ‬ ‫ﺑﻬﺒﻮﺩ ﭘﻴﺪﺍ ﻛﻨﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ‪:‬ﺳﺎﻧﮓ ﻓﻨﮓ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﻛﻮﺗﺎﻫﺶ ﺟﺎﻳﺰﻩ ﺩﻭﻡ‬ ‫ﺑﺨﺶ ﺳﻴﻨﻪﻓﻮﻧﺪﻳﺸﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻛﻦ ‪ 2009‬ﻭ ﺟﺎﻳﺰﻩ ﺑﺨﺶ‬ ‫ﺭﻗﺎﺑﺘﻲ ﻓﻴﻠﻢﻫﺎﻱ ﻛﻮﺗﺎﻩ ﻳﺎﺯﺩﻫﻤﻴﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﺯﻧﺎﻥ ﺳﺌﻮﻝ ﺭﺍ‬ ‫ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻫﺎﻧﺴﻞ ﻭ ﮔﺮﺗﻞ‬ ‫‪Gretel & Hansel‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻳﻴﻢ ﭘﻴﻞﺳــﻮﻧﮓ ﺑﺮﺍﺳــﺎﺱ ﺩﺍﺳــﺘﺎﻧﻲ ﺍﺯ‬ ‫ﻛﻴﻢ ﻣﻴﻦﺳﻮﻙ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2007‬ﻛﺮﻩ ﺟﻨﻮﺑﻲ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻭﻗﺘﻲ ﻳﻮﻥ ﺳــﻮ ﺩﺭ ﺟﺎﺩﻩﺍﻱ ﺧﺎﺭﺝ ﺍﺯ ﺷﻬﺮ ﮔﻢ‬ ‫ﻣﻲﺷﻮﺩ ﺑﺎ ﺩﺧﺘﺮ ﻣﺮﻣﻮﺯﻱ ﻣﻼﻗﺎﺕ ﻣﻲﻛﻨﺪ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﻋﺠﻴﺐ‬ ‫ﻭ ﻓﺎﻧﺘﺰﻱ ﺧﻮﺩ ﺩﺭ ﻣﻴﺎﻥ ﺟﻨﮕﻞ ﻣﻲﺑﺮﺩ‪ .‬ﻳﻮﻥ ﺳــﻮ ﺩﺭ ﺁﻧﺠﺎ ﺑﻪ ﺩﺍﻡ ﺍﻭ ﻭ‬ ‫ﺧﻮﺍﻫﺮﺍﻥ ﻭ ﺑﺮﺍﺩﺭﺍﻧﺶ ﻣﻲﺍﻓﺘﺪ ﻛﻪ ﻫﺮﮔﺰ ﺳــﻦ ﻭ ﺳﺎﻝ ﺑﺮﻧﻤﻲﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻳﻮﻥ ﺳــﻮ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﺎ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻭ ﺧﻮﺍﻧــﺪﻥ ﻳﻚ ﻛﺘﺎﺏ ﭘﺮﻳﺎﻥ‪ ،‬ﺭﺍﻩ‬ ‫ﻓﺮﺍﺭﻱ ﭘﻴﺪﺍ ﻣﻲﻛﻨــﺪ‪ .‬ﺍﻣﺎ ﻧﻜﺘﻪ ﻋﺠﻴﺐ ﺍﻳﻨﺠﺎﺳــﺖ ﻛﻪ ﻛﺘﺎﺏ ﻓﻘﻂ‬ ‫ﺭﻭﺍﻳﺘﮕﺮ ﺩﺍﺳﺘﺎﻥ ﺍﻭﺳﺖ!‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﭼﻬﺎﺭﻣﻴﻦ ﻓﻴﻠﻢ ﻳﻴﻢ ﭘﻴﻞﺳﻮﻧﮓ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ‬ ‫ﻣﺨﺘﻠﻔﻲ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺟﻮﺍﻳﺰﻱ ﺭﺍ ﻫﻢ ﺑﺮﺍﻱ ﺳــﺎﺯﻧﺪﻩﺍﺵ ﺑﻪ‬ ‫ﺍﺭﻣﻐﺎﻥ ﺁﻭﺭﺩﻩ ﺍﺳــﺖ‪ .‬ﺭﺍﺏ ﻧﻴﻠﺴﻦ )ﻭﺭﺍﻳﺘﻲ( ﺩﺭ ﻧﻘﺪ ﺑﻠﻨﺪﺵ ﻓﻴﻠﻢ‬ ‫ﺭﺍ ﺍﻳﻦﻃﻮﺭ ﺗﻮﺻﻴﻒ ﻛﺮﺩﻩ ﺍﺳــﺖ‪» :‬ﻓﻴﻠﻢ ﭼﻨﺪﺍﻥ ﻣﺒﺘﻜﺮﺍﻧﻪ ﻧﻴﺴﺖ‬ ‫ﻭﻟﻲ ﺧﻮﺵﺳﺎﺧﺖ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ‪» .‬ﻫﺎﻧﺴﻞ ﻭ ﮔﺮﺗﻞ« ﺗﻘﻠﻴﺪﻱ‬ ‫ﺍﺯ »ﻫﺰﺍﺭﺗﻮﻱ ﭘــﻦ« )ﮔﻴﺮﻣﻮ ﺩﻝﺗﻮﺭﻭ( ﺑﻪ ﺷــﻤﺎﺭ ﻣﻲﺭﻭﺩ ﻛﻪ ژﺍﻧﺮ‬ ‫ﻭﺣﺸﺖ‪ ،‬ﻃﻨﺰ ﻭ ﺳــﻮﺭﺋﺎﻝ ﺭﺍ ﺑﺎ ﻫﻢ ﺗﺮﻛﻴﺐ ﻛﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﺑﺎﺑﺎﻧﻮﺋﻞ‬ ‫ﭼﺸــﻢﺁﺑﻲ‪ ،‬ﺩﻳﻜﻮﻥ ﺍﻫﺮﻳﻤﻨﻲ ﻭ ﺟﻨــﮕﻞ ﻏﻴﺮﻣﻌﻤﻮﻟﻲ ﺑﺎ ﺩﺭﺧﺘﺎﻥ‬ ‫ﻣﺘﺤﺮﻙ ﻭ ﻣﻮﺳﻴﻘﻲ ﻣﺘﻦ ﺩﻧﻲ ﺍﻟﻔﻤﻦﮔﻮﻧﻪ ﻓﻴﻠﻢ ﺍﺯ ﺟﻤﻠﻪ ﻋﻨﺎﺻﺮﻱ‬ ‫ﺍﺳﺖ ﻛﻪ ﺁﻥ ﺭﺍ ﺟﻬﺎﻧﻲ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻃﺮﺍﺣﻲ ﺻﺤﻨﻪ ﻓﻴﻠﻢ ﻣﻬﻢﺗﺮﻳﻦ‬ ‫ﺩﺳﺘﺎﻭﺭﺩ ﺁﻥ ﺍﺳﺖ‪«.‬‬ ‫ﺯﻣﺎﻥ ﺑﺎﻗﻲﻣﺎﻧﺪﻩ ﺍﺳﺖ‬ ‫‪48‬‬ ‫ﺟﺎﻻﻳﻨﻮﺭ‬ ‫‪Jalainur‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ژﺍﺋﻮ ﻳﻲ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﭼﻴﻦ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺟﺎﻻﻳﻨﻮﺭ ﻧﺎﻡ ﺩﺭﻳﺎﭼﻪ ﺯﻳﺒﺎﻳﻲ ﺍﺳﺖ ﺩﺭ ﺩﻻﻱﻧﻮﺭ‬ ‫ﻣﻐﻮﻟﺴﺘﺎﻥ؛ ﻳﻜﻲ ﺍﺯ ﺁﺧﺮﻳﻦ ﻣﻜﺎﻥﻫﺎﻱ ﺩﻧﻴﺎ ﻛﻪ ﻫﻨﻮﺯ ﻟﻜﻮﻣﻮﺗﻴﻮﻫﺎﻱ‬ ‫ﺑﺨﺎﺭﻱ ﺩﺭ ﺁﻥ ﺗﺮﺩﺩ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺩﺍﺳــﺘﺎﻥ ﻓﻴﻠﻢ ﺩﺭ ﭼﻨﻴﻦ ﻣﻜﺎﻧﻲ ﺁﻏﺎﺯ‬ ‫ﻣﻲﺷﻮﺩ ﻭ ﺩﻭ ﻗﻬﺮﻣﺎﻥ ﺁﻥ‪ ،‬ژﻭﻯ ﺳﺎﻟﺨﻮﺭﺩﻩ‪ ،‬ﺭﺍﻧﻨﺪﻩ ﻟﻜﻮﻣﻮﺗﻴﻮ ﺑﺨﺎﺭﻯ‬ ‫ﻭ ﺩﺳﺘﻴﺎﺭﺵ ﻟﻰ ژﻳﮋﻭﻧﮓ‪ ،‬ﺳﻮﺯﻥﺑﺎﻥ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻫﻤﻜﺎﺭﻱ‬ ‫ﻭ ﺭﻭﺍﺑﻂ ﻧﺰﺩﻳﻜﻲ ﺩﺍﺭﻧﺪ‪ .‬ﺭﻭﺯﻯ ژﻳﮋﻭﻧﮓ ﻣﺘﻮﺟﻪ ﻣﻲﺷﻮﺩ ﻛﻪ ﺧﺒﺮﻱ‬ ‫ﺍﺯ ﺩﻭﺳﺖ ﻛﻬﻨﺴﺎﻟﺶ ﻧﻴﺴﺖ‪.‬ﺩﺭﺑﺎﺭﻩﻓﻴﻠﻢ‪:‬ژﺍﺋﻮﻳﻲﺑﺎﺩﻭﻣﻴﻦﻓﻴﻠﻤﺶ‬ ‫ﻛﻪ ﺑﺎ ﺑﻮﺩﺟﻪﺍﻱ ﺩﻭﻳﺴــﺖﻫﺰﺍﺭ ﺩﻻﺭﻱ ﺳﺎﺧﺘﻪ ﺷــﺪﻩ‪ ،‬ﺗﻮﺍﻧﺴﺖ ﺟﺎﻳﺰﻩ‬ ‫ﻓﻴﭙﺮﺷﻲ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﭘﻮﺳﺎﻥ ﻭ ﺳﻨﮕﺎﭘﻮﺭ ﻭ ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﻭﺗﻤﺎﺷﺎﮔﺮﺍﻥﺑﺨﺶ»ﺍﺳﺘﻌﺪﺍﺩﺟﺪﻳﺪﺁﺳﻴﺎ«ﺭﺍﺩﺭﺟﺸﻨﻮﺍﺭﻩﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﻓﻴﻠﻢ ﺷــﺎﻧﮕﻬﺎﻱ ﺑﻪ ﺩﺳــﺖ ﺁﻭﺭﺩ‪ .‬ﻧﻴﻞ ﻳﺎﻧﮓ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺭﻭﺗﺮﺩﺍﻡ ﺩﻳﺪﻩ ﺍﺯ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﺭﺍﻣﻲ ﻣﺘﻮﺳﻂ ﻳﺎﺩ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻓﻴﻠﻢ ﺭﺍ‬ ‫ﺩﺭﮔﻴﺮﻛﻨﻨﺪﻩﺧﻮﺍﻧﺪﻩﻭﻟﻲﺑﻪﻧﻈﺮﺵﻓﻴﻠﻤﻨﺎﻣﻪﻧﺎﻗﺺﺍﺳﺖﻭﺁﻥﻃﻮﺭﻛﻪ‬ ‫ﺑﺎﻳﺪ ﺑﻪ ﺭﺍﺑﻄﻪ ﺩﻭ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻲ ﻧﭙﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﺍﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻭ‬ ‫ﻣﻮﺳﻴﻘﻲﻣﺘﻦﺍﺭﻛﺴﺘﺮﮔﻮﻧﻪﻓﻴﻠﻢﺑﻪﻋﻨﻮﺍﻥﻧﻘﺎﻁﻗﻮﺕﺁﻥﻧﺎﻡﺑﺮﺩﻩﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎﺩﺭﻧﻘﻄﻪﻣﻘﺎﺑﻞﺍﻭ ﺍﻧﺪﺭﻭﺭﺍﺑﺮﺗﺴﻦﻗﺮﺍﺭﮔﺮﻓﺘﻪﻛﻪﻓﻴﻠﻢﺭﺍﺑﺴﻴﺎﺭﺳﺘﻮﺩﻩ‬ ‫ﺍﺳﺖ‪»:‬ﻓﻴﻠﻢﭼﻨﺪﺍﻥﺩﻳﺎﻟﻮﮔﻲﻧﺪﺍﺭﺩ‪،‬ﺩﺍﺳﺘﺎﻥﺧﺎﺻﻲﻫﻢﻧﺪﺍﺭﺩﻭﻟﻲﺯﻳﺒﺎ‬ ‫ﻭ ﺷﻜﻮﻫﻤﻨﺪ ﺍﺳﺖ ﻭ ﻣﻌﺎﻧﻲ ﻋﻤﻴﻘﻲ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺟﺎﻱ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﻧﻤﺎﻫﺎﻱﻣﺴﺤﻮﺭﻛﻨﻨﺪﻩﺍﻱﻭﺟﻮﺩﺩﺍﺭﺩ‪.‬ﺗﺮﻛﻴﺐﺑﻨﺪﻱﻫﺎﻱﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻱ‬ ‫ﺍﺯ ﺑﺨﺎﺭ ﻭ ﺳﺎﻳﻪ ﺧﻠﻖ ﺷــﺪﻩ ﻭ ﺑﺮﺧﻲ ﻓﺼﻞﻫﺎﻱ ﺳﻴﺎﻩﺭﺥ ﻓﻴﻠﻢ ﺑﻪ ﺭﻭﻳﺎ ﻳﺎ‬ ‫ﺧﺎﻃﺮﻩ ﻣﻲﻣﺎﻧﻨﺪ‪ .‬ﺗﻢ ﻣﻮﺳﻴﻘﻲ ﻟﻴﻦ ژﺍﺋﻮ ﻳﺎﻧﮓ ﻛﺎﻣﻼ ﺑﺮ ﻓﻀﺎﻫﺎ ﻧﺸﺴﺘﻪ‬ ‫ﻭﻟﻲ ﺣﺎﻛﻢ ﻣﻄﻠﻖ ﻓﻴﻠﻢ ﭼﺸﻢﺍﻧﺪﺍﺯﻫﺎ ﻭ ﺩﺭ ﻛﻞ ﻣﺎﻫﻴﺖ ﺑﺼﺮﻱ ﺁﻥ ﺍﺳﺖ‪.‬‬ ‫ژﺍﺋﻮﻳﻲﻓﻴﻠﻢﺑﻲﻧﻈﻴﺮﻱﺳﺎﺧﺘﻪﻛﻪﻃﺒﻴﻌﺘﺎﺑﻪﺧﺎﻃﺮﺿﺮﺑﺎﻫﻨﮓﻛﻨﺪﺵ‬ ‫ﺑﻪ ﻛﺎﻡ ﻫﻤﻪ ﺧﻮﺵ ﻧﻤﻲﺁﻳﺪ ﻭﻟﻲ ﺑﺮﺍﻱ ﻛﺴﺎﻧﻲ ﻛﻪ ﺍﺯ ﺳﻴﻨﻤﺎﻱ ﻣﺘﻔﻜﺮﺍﻧﻪ‬ ‫ﻟﺬﺕﻣﻲﺑﺮﻧﺪ‪،‬ﻳﻚﻓﻴﻠﻢﺗﻤﺎﺷﺎﻳﻲﻭﺧﺎﻃﺮﻩﺍﻧﮕﻴﺰﺍﺳﺖ‪«.‬‬ ‫ﻛﺎﻧﮕﺎﻣﺒﺎ‬ ‫‪Kangamba‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺭﻭﮔﻴﻠﻴﺌــﻮ ﭘﺎﺭﻱ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳــﺲ‪ :‬ﺭﻭﮔﻴﻠﻴﺌﻮ ﭘﺎﺭﻱ ﻭ‬ ‫ﺧﻮﺭﺧﻪ ﻓﻮﻧﺘﺲ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﻛﻮﺑﺎ ﻭ ﺁﻧﮕﻮﻻ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪ :‬ﻣﺎﻩ ﺍﻭﺕ ﺳــﺎﻝ ‪ ،1983‬ﺁﻓﺮﻳﻘﺎ‪ ،‬ﺟﻤﻬﻮﺭﻯ ﺧﻠﻖ‬ ‫ﺁﻧﮕﻮﻻ‪ .‬ﻫﺰﺍﺭﺍﻥ ﺳــﺮﺑﺎﺯ ﻳﻮﻧﻴﺘﺎ ﺍﺯ ﺳــﻮﻱ ﺍﺭﺗﺶ ﻧﮋﺍﺩﭘﺮﺳﺖ ﺁﻓﺮﻳﻘﺎﻯ‬ ‫ﺟﻨﻮﺑﻰ ﺑﺮﺍﻯ ﻳﻮﺭﺵ ﻭﺣﺸــﻴﺎﻧﻪ ﺑﻪ ﮔﺮﻭﻩ ﻣﻘﺎﻭﻣﺖ ﻓﺎﭘﻼ ﻛﻪ ﺑﻪ ﺩﻭﻟﺖ‬ ‫ﺁﻧﮕﻮﻻ ﻭﻓﺎﺩﺍﺭ ﺍﺳﺖ‪ ،‬ﺗﻌﻠﻴﻢ ﺩﺍﺩﻩ ﻭ ﻣﺴﻠﺢ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ‪:‬ﻧﻬﻤﻴﻦ ﻓﻴﻠﻢ ﺭﻭﮔﻴﻠﻴﺌﻮ ﭘﺎﺭﻱ ﻛﻪ ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩﺵ ﺩﺭ‬ ‫ﺍﻭﻟﻴﻦ ﺣﻀﻮﺭ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻣﺎﺭﺩﻝ ﭘﻼﺗﺎ )ﺁﺭژﺍﻧﺘﻴﻦ(‬ ‫ﭼﻨﺎﻥ ﺑﺎ ﮔﺮﻣﻲ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻛﻪ ﺍﻭ ﺭﺍ ﻣﺘﺎﺛﺮ ﻛﺮﺩ‪ .‬ﺭﺍﻓﺎﺋﻞ‬ ‫ﻻﻫﻴﺮﺍ ﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﻣﻲﮔﻮﻳﺪ‪» :‬ﻣﺎ ﻣﻲﺧﻮﺍﺳﺘﻴﻢ ﺍﺯ ﻫﺮ ﻛﻮﺑﺎﻳﻲ‬ ‫ﺳﺘﺎﻳﺸﻲ ﻣﺘﻮﺍﺿﻌﺎﻧﻪ ﻛﺮﺩﻩ ﺑﺎﺷﻴﻢ‪«.‬‬ ‫ﻣﻮﻧﻴﻚ ﻭ ژﻭﺯﻑ‬ ‫‪Joseph Monique‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺩﻳﻤﻴﺌﻦ ﭼﻴﻤﻴﻦ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﺑﻠﮋﻳﻚ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺟﻮﺯﻑ ﻭ ﻣﻮﻧﻴﻚ ﻛﻪ ﺳﺨﺖ ﺩﺭﮔﻴﺮ ﻛﺸﺖﻭﻛﺎﺭ‬ ‫ﺩﺭ ﻣﺰﺭﻋﻪﺷﺎﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﺑﻪﺷﺪﺕ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻣﺎ ﺻﺒﺢ‬ ‫ﻳﻚ ﺭﻭﺯ ﭘﺎﺋﻴﺰﻱ ﻣﻮﻧﻴﻚ ﺑﻪ ﻳﻚ ﺁﻫﻮ ﺑﺪﻝ ﻣﻲﺷﻮﺩ‪ .‬ﺟﻮﺯﻑ ﻛﻪ ﺍﺯ ﺍﻳﻦ‬ ‫ﻭﺍﻗﻌﻪ ﺑﺮﺁﺷﻔﺘﻪ‪ ،‬ﺍﺯ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺍﻭ ﺳﺮ ﺑﺎﺯ ﻣﻲﺯﻧﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠـﻢ ‪:‬ﺍﻳﻦ ﻛﻤــﺪﻱ ﺩﺭﺍﻡ ‪ 38‬ﺩﻗﻴﻘﻪﺍﻱ ﺷﺸــﻤﻴﻦ ﻓﻴﻠﻢ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﺶ ﺑﻪﺷﻤﺎﺭ ﻣﻲﺭﻭﺩ‪.‬‬ ‫ﭘﻴﺘﺮ ﺩﺭ ﺭﺍﻩ ﺁﺳﻤﺎﻥ‬ ‫ﺩﺭ ﺟﺴﺖﻭﺟﻮﻱ ﺍﺭﻳﻚ‬ ‫‪Eric for Looking‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﻦ ﻟﻮچ‪ ،‬ﺑﺎ ﺣﻀﻮﺭ‪ :‬ﺍﺭﻳﻚ ﻛﺎﻧﺘﻮﻧﺎ‪ ،‬ﺍﺳﺘﻴﻮ ﺍﻳﻮﻧﺘﺰ‬ ‫ﻭ ﺟﺎﻥ ﻫﻨﺸﺎﻭ‪ .‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﺍﻧﮕﻠﻴﺲ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺍﺭﻳﻚ ﺑﻴﺸﺎپ‪ ،‬ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻟﻲ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻱ ﺍﺩﺍﺭﻩ‬ ‫ﭘﺴﺖ ﻣﻨﭽﺴﺘﺮ ﻛﺎﺭ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﺑﺎ ﺑﺤﺮﺍﻥ ﻭﺣﺸﺘﻨﺎﻛﻲ ﺭﻭﺑﻪﺭﻭ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺯﻥ ﺩﻭﻣﺶ ﻛﻪ ﭼﻨﺪ ﻣﺎﻩ ﭘﻴﺶ ﺍﺯ ﺯﻧﺪﺍﻥ ﺁﺯﺍﺩ ﺷﺪﻩ‪ ،‬ﺍﻭ ﻭ ﺩﻭ ﻧﺎﭘﺴﺮﻱﺍﺵ‬ ‫ﺭﺍ ﺗﺮﻙ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭﺿﺎﻉ ﭼﻨﺪﺍﻥ ﺑﺮ ﻭﻓﻖ ﻣﺮﺍﺩ ﺍﺭﻳﻚ ﻧﻴﺴﺖ ﭼﻮﻥ ﺩﻭ‬ ‫ﻧﺎﭘﺴﺮﻱ ﺍﺯ ﺍﻭ ﺣﺮﻑﺷﻨﻮﻱ ﻧﺪﺍﺭﻧﺪ ﻭ ﺩﺍﺋﻤﺎ ﻧﺎﻓﺮﻣﺎﻧﻲ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺷﺮﺍﻳﻂ‬ ‫ﻭﻗﺘﻲ ﺑﺪﺗﺮ ﻣﻲﺷﻮﺩ ﻛﻪ ﭘﺴــﺮ ﺑﺰﺭﮔﺘﺮ ﺭﺍﻳﺎﻥ‪ ،‬ﺑﺎ ﮔﻨﮕﺴﺘﺮ ﺧﻄﺮﻧﺎﻛﻲ‬ ‫ﺁﺷــﻨﺎ ﻣﻲﺷــﻮﺩ ﻭ ﺍﺳــﻠﺤﻪ ﺍﻭ ﺭﺍ ﺩﺭ ﺧﺎﻧﻪ ﻣﺨﻔﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺭﻳﻚ ﻛﻪ‬ ‫ﺑﻪﻭﺍﺳــﻄﻪ ﭼﻨﺪ ﻣﺎﺟﺮﺍﻱ ﺩﻳﮕﺮ ﺩﺭ ﺑﻄﻦ ﺑﺤﺮﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪،‬‬ ‫ﺭﻭﺯﻱ ﺭﻭ ﺑﻪ ﭘﻮﺳﺘﺮ ﺑﺎﺯﻳﻜﻦ ﻓﻮﺗﺒﺎﻝ ﻓﺮﺍﻧﺴﻮﻱ ﻣﺤﺒﻮﺑﺶ‪ ،‬ﺍﺭﻳﻚ ﻛﺎﻧﺘﻮﻧﺎ‬ ‫ﻣﻲﺍﻳﺴﺘﺪ ﻭ ﺑﺎ ﺧﻮﺩﺵ ﺻﺤﺒﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺍﺭﻳﻚ ﻛﺎﻧﺘﻮﻧﺎ‬ ‫ﻣﺎﻧﻨﺪ ﻏﻮﻝ ﭼﺮﺍﻍ ﺟﺎﺩﻭﻱ ﻋﻼءﺍﻟﺪﻳﻦ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭﺑـﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﻛﻦ ﻛــﻮچ ﻛﻪ ﭼﻬﺎﺭ ﺳــﺎﻝ ﭘﻴﺶ ﺑــﻪ ﺧﺎﻃﺮ ﻓﻴﻠﻢ‬ ‫ﺩﺭﺧﺸﺎﻧﺶ »ﺑﺎﺩﻱ ﻛﻪ ﺩﺭ ﻣﺮﻏﺰﺍﺭ ﻣﻲﻭﺯﺩ« ﻧﺨﻞ ﻃﻼﻱ ﻛﻦ ﺭﺍ ﺑﺮﺩ‪،‬‬ ‫ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺑﺨﺶ ﺭﻗﺎﺑﺘﻲ ﺣﻀﻮﺭ ﺩﺍﺷﺖ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﺑﺴﻴﺎﺭﻱ ﻓﻴﻠﻢ ﺟﺪﻳﺪ ﻛﻦ ﻟﻮچ ﺭﺍ ﺗﺤﺴﻴﻦ ﻛﺮﺩﻩ ﻭ ﺳﺎﺧﺘﺎﺭ ﭘﻴﭽﻴﺪﻩ ﻭ‬ ‫ﺗﻮﺩﺭﺗﻮﻱ ﺁﻥ ﺭﺍ ﺟﺎﻟﺐ ﺍﺭﺯﻳﺎﺑﻲ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻣﻮﺿﻮﻉ ﻏﻴﺮﺷﺨﺼﻲ‬ ‫‪Personal Nothing‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺎﺗﻴﺎ ﮔﻮﻛﺎﻟﭗ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻣﺎﺗﻴﺎ ﮔﻮﻛﺎﻟﭗ ﻭ ﻧﺎﺩﻳﻨﻪ‬ ‫ﻻﻣﺎﺭﻱ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﻓﺮﺍﻧﺴﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻳﻚ ﻛﻤﭙﺎﻧﻰ ﺩﺍﺭﻭﺳﺎﺯﻱ ﺟﺸــﻨﻲ ﺑﺮﭘﺎ ﻣﻲﻛﻨﺪ ﻭ‬ ‫ﻫﻤﻪ ﻛﺎﺭﻛﻨﺎﻧﺶ ﺍﺯ ﺩﻭﻥﭘﺎﻳﻪﺗﺮﻳﻦ ﺗﺎ ﻋﺎﻟﻲﺭﺗﺒﻪﺗﺮﻳﻦ ﺭﺍ ﺩﻋﻮﺕ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺍﺯ ﻫﻤﮕﺎﻥ ﺧﻮﺍﺳﺘﻪ ﻣﻲﺷﻮﺩ ﺩﺭ ﺑﺎﺯﻱ ﻣﺸﺎﺭﻛﺖ ﻛﻨﻨﺪ ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﻧﻮﻋﻲ‬ ‫ﺷﺒﻴﻪﺳﺎﺯﻱ ﺗﻤﺮﻳﻨﻲ ﺑﺮﺍﻱ ﮔﺮﻭﻩ ﻣﺪﻳﺮﻳﺖ ﻣﺤﺴﻮﺏﻣﻲﺷﻮﺩ‪ .‬ﺷﺎﻳﻌﺎﺕ‬ ‫ﺁﻏﺎﺯﻣﻲﺷﻮﺩﻭﻫﺮﻛﺲﺑﺮﺍﻱﺣﻔﻆﻣﻮﻗﻌﻴﺖﺧﻮﺩﺗﻼﺵﻣﻲﻛﻨﺪ‪.‬‬ ‫ﭘﻴﺘﺮ ﺩﺭ ﺭﺍﻩ ﺁﺳﻤﺎﻥ‬ ‫‪Heaven to Way the on Peter‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻧﻴﻜﻮﻻﻱ ﺩﺍﺳﺘﻞ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﺭﻭﺳﻴﻪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﭘﻴﺘﺎﻳﺎ ﺩﺭ ﺷــﻬﺮ ﻛﻮﭼﻜﻲ ﺯﻧﺪﮔﻲ ﻓﺎﻧﺘﺰﻱ ﺧﻮﺩ‬ ‫ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﻠﻴــﺲ ﺭﺍﻫﻨﻤﺎﻳﻲ ﻭ ﺭﺍﻧﻨﺪﮔﻲ ﺁﻏﺎﺯ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﻳﻚ ﺟﻠﺪ‬ ‫ﭼﺮﻣﻲ ﺍﺳﻠﺤﻪ ﻭ ﻳﻚ ﺍﺳــﻠﺤﻪ ﭼﻮﺑﻲ ﺩﺍﺭﺩ‪ .‬ﻣﺤﻠﻲﻫﺎ ﺑﺎ »ﺍﻃﺎﻋﺖ« ﺍﺯ‬ ‫ﻓﺮﻣﺎﻥﻫﺎﻳﺶ ﺍﻭ ﺭﺍ ﺩﺳــﺖ ﻣﻲﺍﻧﺪﺍﺯﻧﺪ‪ .‬ﻭﻗﺘﻲ ﻳﻚ ﻣﺤﻜﻮﻡ ﺍﺯ ﺯﻧﺪﺍﻧﻲ‬ ‫ﺩﺭ ﻧﺰﺩﻳﻜﻲ ﻣﺤﻞ ﺳﻜﻮﻧﺖ ﭘﻴﺘﺎﻳﺎ ﻓﺮﺍﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻭ ﻫﻢ ﻣﺎﻧﻨﺪ ﻫﺮ ﺍﻓﺴﺮ‬ ‫ﺧﻮﺏ ﺩﻳﮕﺮﻱ ﺗﺤﻘﻴﻘﺎﺗﺶ ﺭﺍ ﺷﺮﻭﻉ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺯﻣﺎﻥ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‬ ‫‪Remains That Time‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺍﻟﻴﺎ ﺳﻠﻴﻤﺎﻥ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﻓﺮﺍﻧﺴﻪ‪.‬‬ ‫ﺧﻼﺻﻪﺩﺍﺳﺘﺎﻥ‪:‬ﻫﻨﮕﺎﻡ ﭘﻴﺪﺍﻳﺶ ﺩﻭﻟﺖ ﺍﺳﺮﺍﺋﻴﻞ ﺩﺭ ﺳﺎﻝ‪ ،1948‬ﺩﺭ‬ ‫ﺁﺧﺮﻳﻦ ﺳﺎﻋﺖﻫﺎ ﭘﻴﺶ ﺍﺯ ﺗﺴﻠﻴﻢ ﺷﺪﻥ ﻧﺎﺻﺮﻩ‪ ،‬ﻓﻮﺍﺩ ﻳﻜﻰ ﺍﺯ ﺍﻓﺮﺍﺩ ﺟﺒﻬﻪ‬ ‫ﻣﻘﺎﻭﻣﺖﻓﻠﺴﻄﻴﻦﺍﺯﺛﺮﻳﺎ‪،‬ﻋﺸﻖﺯﻧﺪﮔﻰﺍﺵﺟﺪﺍﻣﻲﺷﻮﺩ‪.‬ﺛﺮﻳﺎﺍﺯﺻﺤﻨﻪ‬ ‫ﺩﺭﮔﻴﺮﻯﻣﻰﮔﺮﻳﺰﺩﻭﺑﻪﻫﻤﺮﺍﻩﺧﺎﻧﻮﺍﺩﻩﺍﺵﺑﻪﺍﺭﺩﻥﻣﻰﺭﻭﺩ‪،‬ﺍﻣﺎﻓﻮﺍﺩﻗﺒﻞ‬ ‫ﺍﺯﻓﺮﺍﺭﺑﻪﺩﺍﻡﻣﻲﺍﻓﺘﺪ‪.‬ﺳﺎﻝﻫﺎﻣﻰﮔﺬﺭﺩ‪.‬ﺩﺭﻧﺎﺻﺮﻩﺣﻜﻮﻣﺖﻧﻈﺎﻣﻰﺍﺳﺖ‪،‬‬ ‫ﻓﻮﺍﺩﻫﻤﺎﻧﻨﺪﺩﻳﮕﺮﺍﻥﺗﺤﺖﻧﻈﺮﭘﻠﻴﺲﺍﻣﻨﻴﺘﻰﻗﺮﺍﺭﺩﺍﺭﺩ‪.‬ﺍﻭﺑﻪﺍﺗﻬﺎﻡﻗﺎﭼﺎﻕ‬ ‫ﺍﺳﻠﺤﻪﺩﺳﺘﮕﻴﺮﻣﻲﺷﻮﺩﻭﺩﺭﻗﺮﺍﺭﮔﺎﻩﭘﻠﻴﺲﺑﺎﺛﺮﻳﺎﺑﺮﺧﻮﺭﺩﻣﻲﻛﻨﺪﻛﻪ‬ ‫ﺍﺟﺎﺯﻩﭘﻴﺪﺍ ﻛﺮﺩﻩﺑﺮﺍﻱﻣﻼﻗﺎﺕﭘﺪﺭ ﺑﻴﻤﺎﺭﺵﺑﻪ ﻧﺎﺻﺮﻩﺑﻴﺎﻳﺪ‪.‬ﻓﻮﺍﺩﻭﺑﺎﺛﺮﻳﺎ‬ ‫ﻃﻰﻳﻚﻣﻜﺎﻟﻤﻪﻛﻮﺗﺎﻩﺑﺮﺍﻯﻳﻜﺪﻳﮕﺮﺁﺭﺯﻭﻯﺧﻮﺷﺒﺨﺘﻰﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭ ﺟﺴﺖﻭﺟﻮﻱ ﺍﺭﻳﻚ‬ ‫‪16‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ‪28‬‬ ‫ﻣﺴﺎﺑﻘﻪ ﺳﻴﻨﻤﺎﻱ ﺁﺳﻴﺎ‬ ‫ﭼﺸﻢﺍﻧﺪﺍﺯ ﺍﻣﺴﺎﻝ ﻗﺎﺭﻩﻛﻬﻦ‬ ‫ﺑﻴﺮﻭﻥ ﺍﺯ ﭼﺮﺧﻪ‬ ‫‪BEYOND THE CIRCLE‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﻏــﻼﻡ ﺭﺑﺎﻧﻲ ﺑﻴﭙــﻼﺏ‪ ،‬ﻣﺤﺼﻮﻝ ‪2009‬‬ ‫ﺑﻨﮕﻼﺩﺵ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ ‪:‬ﻫﺮﻳﭙﺎﺩﺍ ﻳﻚ ﻧﻮﺍﺯﻧﺪﻩ ﻫﻨﺪﻭ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺭﻭﺳﺘﺎ‬ ‫ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﺪ ﻭ ﭘﺴــﺮ ﻣﺴــﻠﻤﺎﻧﻲ ﺭﺍ ﺑﻪ ﻓﺮﺯﻧــﺪﻱ ﭘﺬﻳﺮﻓﺘﻪ‪ .‬ﺗﻨﻬﺎ‬ ‫ﻣﻮﺍﺟﻬﻪ ﺍﻭ ﺑﺎ ﺯﻧﺪﮔﻲ ﺷــﻬﺮﻱ ﺯﻣﺎﻧﻲ ﺭﻭﻱ ﻣﻲﺩﻫﺪ ﻛﻪ ﮔﺰﺍﺭﺷﮕﺮﻱ‬ ‫ﺑــﺎ ﺍﻭ ﺩﺭﺑﺎﺭﻩ ﻣﻮﺳــﻴﻘﻲ ﻣﺼﺎﺣﺒﻪ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﭼــﺎپ ﻣﺼﺎﺣﺒﻪ‪،‬‬ ‫ﺳﻠﻴﻢ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭ ﺑﺮﻣﻲﮔﺮﺩﺩ ﻭ ﻫﺮﻳﭙﺎﺩﺍ ﺭﺍ ﺑﻪ ﺩﺍﻛﺎ ﺩﻋﻮﺕ ﻣﻲﻛﻨﺪ؛‬ ‫ﻛﻼﻧﺸﻬﺮﻱ ﺑﺎ ﺑﻴﺶ ﺍﺯ ﺩﻭﺍﺯﺩﻩ ﻣﻴﻠﻴﻮﻥ ﺟﻤﻌﻴﺖ ﻛﻪ ﺍﻣﺜﺎﻝ ﻫﺮﻳﭙﺎﺩﺍ ﺭﺍ‬ ‫ﺩﺭ ﻟﺤﻈﻪﺍﻱ ﻣﻲﺑﻠﻌﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ‪»:‬ﺑﻴﺮﻭﻥ ﺍﺯ ﭼﺮﺧﻪ« ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻱ ﺑﻨﮕﻼﺩﺵ‬ ‫ﺩﺭ ﺳﺎﻝ‪ 2009‬ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ ﭼﻮﻥ ﺍﺯ ﺳﻮﻱ ﺍﻳﻦ ﻛﺸﻮﺭ ﺑﻪ ﺁﻛﺎﺩﻣﻲ‬ ‫ﺍﺳﻜﺎﺭ ﻣﻌﺮﻓﻲ ﺷﺪ ﺗﺎ ﺷﺎﻳﺪ ﺩﺭ ﺭﻗﺎﺑﺖ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻱ ﺩﻳﮕﺮ ﻛﺸﻮﺭﻫﺎ ﻣﻮﻓﻖ‬ ‫ﺑﺎﺷﺪ ﻭ ﺑﻪ ﺟﻤﻊ ﭘﻨﺞ ﻧﺎﻣﺰﺩ ﻧﻬﺎﻳﻲ ﺑﺨﺶ »ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺧﺎﺭﺟﻲ ﺯﺑﺎﻥ«‬ ‫ﺭﺍﻩ ﻳﺎﺑﺪ‪ .‬ﻏﻼﻡ ﺭﺑﺎﻧﻲ )ﻛﻪ ﺯﺑﺎﻥ ﻭ ﺍﺩﺑﻴﺎﺕ ﺑﻨﮕﺎﻟﻲ ﺧﻮﺍﻧﺪﻩ ﻭ ﺩﺭ ﺭﺷﺘﻪﻫﺎﻱ‬ ‫ﻓﻠﺴــﻔﻪ ﻭ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻲ ﻫﻢ ﺗﺤﺼﻴﻞ ﻛﺮﺩﻩ ﺍﺳﺖ( ﺩﻭ ﺳﺎﻝ ﭘﻴﺶ ﺑﺎ‬ ‫ﺍﻭﻟﻴــﻦ ﻓﻴﻠﻤﺶ »ﺑﺮ ﺑﺎﻝﻫﺎﻱ ﺭﻭﻳﺎ« ﺧﻮﺩﻱ ﻧﺸــﺎﻥ ﺩﺍﺩ ﻭ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩﺍﻱ ﺭﺍ ﻏﺎﻓﻠﮕﻴﺮ ﻛــﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺍﻭﻟﻴﻦ ﺣﺮﻛــﺖ ﺟﺎﻳﺰﻩ ﻭﻳﮋﻩ‬ ‫ﻫﻴﺎﺕ ﺩﺍﻭﺭﺍﻥ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠــﻢ ﻫﻨﺪ ﻭ ﺟﺎﻳﺰﻩ »ﺑﻬﺘﺮﻳﻦ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﺟﻮﺍﻥ ﺁﺳﻴﺎ«ﻱ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢ ﺷﺎﻧﮕﻬﺎﻱ‬ ‫ﺭﺍ ﺩﺭﻳﺎﻓــﺖ ﻛﺮﺩ ﻭ ﺑﻪ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﺟﻬﺎﻧﻲ ﺑﺪﻝ ﺷــﺪ‪ .‬ﺍﻭ ﺩﺭ ﺩﻭﻣﻴﻦ‬ ‫ﻓﻴﻠﻤﺶ ﺑﺎ ﺭﻭﺍﻳﺖ ﺩﺍﺳــﺘﺎﻧﻲ ﺍﻧﺴــﺎﻧﻲ ﻭ ﺁﺭﺍﻡ‪ ،‬ﺍﺭﺯﺷﻤﻨﺪﻱ ﻭ ﭘﺮﺑﺎﺭﻱ‬ ‫ﺯﻧﺪﮔﻲ ﺭﻭﺳــﺘﺎﻳﻲ ﺩﺭ ﺑﻨﮕﻼﺩﺵ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﻭ ﺩﺭ ﻛﻨﺎﺭﺵ‬ ‫ﺑﻪ ﺑﺮﺭﺳــﻲ ﺗﻨﺶﻫﺎﻳﻲ ﭘﺮﺩﺍﺧﺘﻪ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﺗﻬﺪﻳﺪﻛﻨﻨﺪﻩ ﺍﻳﻦ ﻧﻮﻉ‬ ‫ﺯﻧﺪﮔﻲ ﺍﺳﺖ‪ .‬ﺩﺭ ﺳــﺎﻳﺖ ﺭﺳﻤﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢ ﺗﻮﺭﻧﺘﻮ‬ ‫ﺩﺭ ﺗﻮﺿﻴﺤﺎﺕ ﻓﻴﻠﻢ ﺍﻳﻨﻄﻮﺭ ﺁﻣﺪﻩ ﺍﺳﺖ‪» :‬ﺗﺒﺎﻫﻲ ﻳﻚ ﺭﻭﺳﺘﺎﻳﻲ ﺳﺎﺩﻩ‬ ‫ﻭ ﻣﻌﺼﻮﻡ ﺩﺭ ﺷــﻬﺮﻱ ﻣﻤﻠﻮ ﺍﺯ ﺷــﺮﺍﺭﺕ‪ ،‬ﺍﺯ ﺁﻥ ﺩﺳﺘﻤﺎﻳﻪﻫﺎﻳﻲ ﺍﺳﺖ‬ ‫ﻛﻪ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﻋﺎﻣﻴﺎﻧﻪ ﮔﺮﻓﺘﻪ ﺗﺎ ﻧﻮﻭﻝﻫﺎﻱ ﻗﺪﻳﻤﻲ ﻭ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻓﺮﺍﻧﻚ ﻛﺎﭘﺮﺍ ﺩﺭ ﻫﻤﻪ ﺟﺎ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﻫﺮﻳﭙﺎﺩﺍ ﻣﺎﻧﻨﺪ ﻗﻬﺮﻣﺎﻧﺎﻥ ﻛﺎﭘﺮﺍ‪،‬‬ ‫ﺷﺎﻳﺪ ﺁﺩﻣﻲ ﺳﺎﺩﻩﻟﻮﺡ ﺑﺎﺷﺪ ﻭﻟﻲ ﺍﺣﻤﻖ ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﻭﻗﺘﻲ ﺩﺭ ﭼﻨﮕﺎﻝ‬ ‫ﻓﺸﺎﺭﻫﺎ ﻭ ﺍﻟﺰﺍﻣﺎﺕ ﻣﺘﻌﺪﺩ ﺷــﻬﺮ ﺷﻠﻮﻍ ﺩﺍﻛﺎ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺑﺎﻻﺟﺒﺎﺭ‬ ‫ﺭﺍﻫﻲ ﻣﻲﻳﺎﺑﺪ ﻭ ﺑﻪ ﻣﻮﺳﻴﻘﻲ ﺧﻮﺩ ﭘﻨﺎﻩ ﻣﻲﺑﺮﺩ‪«.‬‬ ‫»ﺑﻴﺮﻭﻥ ﺍﺯ ﭼﺮﺧﻪ« ﺗﺎ ﺍﻣﺮﻭﺯ ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﻫﺸﺘﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﻴﻠﻢ ﺁﺳﻴﺎ ﻭ ﺟﺎﻳﺰﻩ »ﻫﺪﻳﻪ ﺑﻪ ﺍﺳــﺘﺎﻟﻴﻦ« ﺭﺍ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻗﺰﺍﻗﺴﺘﺎﻥ‬ ‫ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﻭ ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﻣﺨﺘﻠﻔﻲ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭﺁﻣﺪﻩ ﺍﺳــﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺁﻟﻴﺴﺎ ﺳــﺎﻳﻤﻦ‪ ،‬ﻣﻨﺘﻘﺪ ﻧﺸﺮﻳﻪ ﻣﻄﺮﺡ‬ ‫ﻭﺭﺍﻳﺘﻲ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﻳﻨﻄﻮﺭ ﺍﻇﻬﺎﺭﻧﻈﺮ ﻛﺮﺩﻩ ﺍﺳــﺖ‪» :‬ﺩﻭﻣﻴﻦ ﻓﻴﻠﻢ‬ ‫ﻏﻼﻡ ﺭﺑﺎﻧﻲ ﺍﺛﺮ ﺧﻮﺵﺑﻴﻨﺎﻧﻪﺍﻱ ﺍﺳﺖ ﻭﻟﻲ ﻟﺤﻦ ﺍﻧﺘﻘﺎﺩﻱﺍﺵ ﭘﻴﺮﺍﻣﻮﻥ‬ ‫ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﺍﻗﺘﺼﺎﺩ ﺑﺎﺯﺍﺭﻱ‪ ،‬ﻣﻠﻮﺩﺭﺍﻣﺎﺗﻴﻚ ﺍﺳﺖ‪» .‬ﺑﻴﺮﻭﻥ ﺍﺯ ﭼﺮﺧﻪ«‬ ‫ﻓﺎﻗﺪ ﺟﺬﺍﺑﻴﺖ ﻭ ﺻﺪﺍﻗﺘﻲ ﺍﺳــﺖ ﻛﻪ ﻣﻮﺟﺒﺎﺕ ﺗﺤﺴــﻴﻦ ﻭ ﻣﻮﻓﻘﻴﺖ‬ ‫ﮔﺴﺘﺮﺩﻩ »ﺑﺮ ﺑﺎﻝﻫﺎﻱ ﺭﻭﻳﺎ« ﺭﺍ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩ‪«.‬‬ ‫ﻣﺮﺩ ﺩﻟﻴﺮ ﻏﻤﺰﺩﻩ‬ ‫‪BLUE BRAVE‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻫﺎﻧﮓ ﭼﻲﻳﻮ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻛﺎﺋﻮ ﻣﻴﺎﺋﻮﻫﺎﻱ ﺑﺮﺍﺳﺎﺱ‬ ‫ﻧﻮﻭﻟﻲ ﺍﺯ ﻟﻲ ﭼﻴﺎﺋﻮ‪ .‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﺗﺎﻳﻮﺍﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ ‪:‬ﻓﻴﻠﻢ ﺭﻭﺍﻳﺘﮕﺮ ﺩﺍﺳﺘﺎﻥ ﻣﻘﺎﻭﻣﺖ ﻣﺮﺩﻣﻲ ﺗﺎﻳﻮﺍﻧﻲﻫﺎ‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻬﺎﺟﻢ ژﺍﭘﻨﻲﻫﺎ ﺩﺭ ﺳﺎﻝ ‪ 1895‬ﺍﺳﺖ )ﺑﺰﺭگﺗﺮﻳﻦ ﺟﻨﮓ ﺩﺭ‬ ‫ﺗﺎﺭﻳﺦ ﺗﺎﻳﻮﺍﻥ(‪ .‬ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ‪ ،1894‬ﺩﻭﻟﺖ ﺷﻴﻦ ﺗﺎﻳﻮﺍﻥ ﺭﺍ ﺑﻪ ژﺍﭘﻨﻲﻫﺎ‬ ‫ﻭﺍﮔﺬﺍﺭ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺎ ﭘﺨﺶ ﺷﺪﻥ ﺍﻳﻦ ﺧﺒﺮ‪ ،‬ﮔﺮﻭﻩﻫﺎﻱ ﻣﺮﺩﻣﻲ‪ ،‬ﻧﻬﻀﺖ‬ ‫ﻣﻘﺎﻭﻣﺘﻲ ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻲﺩﻫﻨﺪ ﺗﺎ ﺟﻤﻬﻮﺭﻱ ﺗﺎﻳﻮﺍﻥ ﺑﺮﭘﺎ ﺷﻮﺩ‪ .‬ﺑﺎ ﻭﺭﻭﺩ‬ ‫ﺍﺭﺗﺶ ژﺍﭘﻦ ﺑﻪ ﺳﻮﺍﺣﻞ ﺷﻤﺎﻝ ﺷﺮﻗﻲ ﺗﺎﻳﻮﺍﻥ ﺑﻴﺸﺘﺮ ﻣﻘﺎﻣﺎﺕ ﺗﺎﻳﻮﺍﻧﻲ‬ ‫ﺑﻪ ﭼﻴﻦ ﻓﺮﺍﺭ ﻣﻲﻛﻨﻨﺪ ﻭ ﺷــﻬﺮ ﺗﺎﻳﭙﻪ ﺑﻪ ﺭﺍﺣﺘﻲ ﺑﻪ ﺍﺷﻐﺎﻝ ﺩﺷﻤﻨﺎﻥ‬ ‫ﺩﺭﻣﻲﺁﻳﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺳــﻪ ﺟﻮﺍﻥ ﺗﺎﻳﻮﺍﻧﻲ ﺍﺯ ﻧــﮋﺍﺩ ﻫﺎﻛﺎﻳﻲ‪ ،‬ﮔﺮﻭﻩ‬ ‫ﭼﺮﻳﻜﻲ ﺗﺸﻜﻴﻞ ﻣﻲﺩﻫﻨﺪ ﻭ ﺑﻪ ﻧﺒﺮﺩ ﺑﺎ ژﺍﭘﻨﻲﻫﺎ ﻣﻲﭘﺮﺩﺍﺯﻧﺪ‪.‬‬ ‫ﺩﺭﺑـﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﺍﻳــﻦ ﺩﺭﺍﻡ ﺗﺎﺭﻳﺨــﻲ ﺩﻭﻣﻴﻦ ﺗﺠﺮﺑــﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ‬ ‫ﻫﺎﻧﮓ ﭼﻲﻳﻮ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﭼﻬﻞﻭﺩﻭ ﺳــﺎﻟﻪ ﺗﺎﻳﻮﺍﻧﻲ ﺍﺳﺖ ﻛﻪ ﺳﺎﻝﻫﺎ‬ ‫ﺩﺭ ﻛﺸــﻮﺭﺵ ﺩﺳــﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﻮﺩﻩ ﻭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎ ﺑﻮﺩﺟﻪﺍﻱ‬ ‫ﻳﻚ ﻣﻴﻠﻴﻮﻥ ﻭ ﻫﺸﺘﺼﺪ ﻫﺰﺍﺭ ﺩﻻﺭﻱ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﻧﻜﺎﺕ ﺟﺎﻟﺐ ﺩﺭ ﻣﻮﺭﺩ »ﻣﺮﺩ ﺩﻟﻴﺮ ﻏﻤﺰﺩﻩ« ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ‬ ‫ﺑﻠﻨﺪﻱ ﺍﺳﺖ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎﻳﺶ ﺑﻪﺯﺑﺎﻥ ﻫﺎﻛﺎﻳﻲ ﺳﺨﻦ ﻣﻲﮔﻮﻳﻨﺪ‪.‬‬ ‫ﺩﺭ ﺿﻤﻦ ﻋﻨﻮﺍﻥ ﻛﺎﻣﻞ ﻓﻴﻠﻢ »ﻣﺮﺩ ﺩﻟﻴﺮ ﻏﻤﺰﺩﻩ‪ :‬ﺍﻓﺴﺎﻧﻪ ﻓﻮﺭﻣﻮﺳﺎ ﺩﺭ‬ ‫ﺳﺎﻝ ‪ «1895‬ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺧﺖ ﮔﻴﻼﺱ ﺭﻭﻱ ﺗﭙﻪ‬ ‫‪Cherry Tree in the Hills‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺗ ِﺘﺴــﻮ ﺷــﻴﻨﻮﻫﺎﺭﺍ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻛﻨﺰﺍﺑــﻮﺭﻭ ﻟﻴﺪﺍ ﻭ‬ ‫ﻳﺎﺳﻮ ﻫﺎﺳــﻪﮔﺎﻭﺍ ﺑﺮﺍﺳﺎﺱ ﻧﻮﻭﻟﻲ ﺍﺯ ﺷــﻮﻫﻲ ﻓﻮﺟﻲﺳﺎﻭﺍ‪ .‬ﻣﺤﺼﻮﻝ‬ ‫‪ 2008‬ژﺍﭘﻦ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﻭﺭﻩ ﺍ ِﺩﻭ‪ ،‬ﺑﺰﺭگﺗﺮﻳﻦ ﺩﺧﺘﺮ ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﻳﻮﺭﻱ ﺑﺎ ﻧﺎﻡ »ﻧﻮﻱ« ﺍﻭﻟﻴﻦ ﺷــﻮﻫﺮ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳــﺖ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻭ ﺑﻪ‬ ‫ﺗﻮﺻﻴﻪ ﺑﺰﺭگﺗﺮﻫﺎ ﻋﻤــﻞ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺧﺎﻧﻮﺍﺩﻩ ﺁﻳﺴــﻮﻣﻮﺭﺍ ﻭﺻﻠﺖ‬ ‫ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺧﺎﻧﻮﺍﺩﻩ ﺷﻮﻫﺮ ﺟﺪﻳﺪﺵ ﻭﻓﻖ ﺩﻫﺪ‬ ‫ﻭ ﺍﺣﺴــﺎﺱ ﺑﺪﺑﺨﺘﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﺭﻭﺯﻱ ﺩﺭ ﺑﺎﺯﮔﺸﺖ ﺍﺯ ﻗﺒﺮﺳﺘﺎﻥ ﺑﺎ‬ ‫ﺳﺎﻣﻮﺭﺍﻳﻲ ﺑﺮﺧﻮﺭﺩ ﻣﻲﻛﻨﺪ ﻛﻪ ﺯﻳﺮ ﺩﺭﺧﺖ ﮔﻴﻼﺳﻲ ﻧﺸﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺳﺎﻣﻮﺭﺍﻳﻲ ﺷﺎﺧﻪﺍﻱ ﺍﺯ ﺩﺭﺧﺖ ﮔﻴﻼﺱ ﺭﺍ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪ ﺯﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻭ‬ ‫ﺗﺰﻭﻛﺎ ﻳﺎﺷﻴﺮﻭ ﺍﺳﺖ ﻛﻪ ﻣﺪﺕﻫﺎ ﻗﺒﻞ ﺑﻪ ﻧﻮﻱ ﻋﻼﻗﻪﻣﻨﺪ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ‪»:‬ﺩﺭﺧﺖ ﮔﻴﻼﺱ ﺭﻭﻱ ﺗﭙﻪ« ﺑﻴﺴﺖ ﻭ ﭼﻬﺎﺭﻣﻴﻦ ﻓﻴﻠﻢ‬ ‫ﺗﺘﺴﻮ ﺷﻴﻨﻮﻫﺎﺭﺍ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻛﻬﻨﻪﻛﺎﺭ ژﺍﭘﻨﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺳﺎﻝ ‪2000‬‬ ‫ﺑﻪ ﺑﻌﺪ ﺑﺪﻝ ﺑﻪ ﭼﻬﺮﻩﺍﻱ ﺟﻬﺎﻧﻲ ﺷــﺪ ﻭ ﺑﺎ ﺁﺛﺎﺭﺵ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ‬ ‫ﻣﺨﺘﻠﻒ ﺣﻀﻮﺭ ﻳﺎﻓﺖ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﻗﺘﺒﺎﺳﻲ ﺍﻳﻦ ﺩﺭﺍﻡ ﺗﺎﺭﻳﺨﻲ ﺑﺮﺍﺳﺎﺱ‬ ‫ﻧﻮﻭﻟﻲ ﺍﺯ ﺷﻮﻫﻲ ﻓﻮﺟﻲﺳﺎﻭﺍ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫»ﺷﺎﻣﮕﺎﻩ ﺳﺎﻣﻮﺭﺍﻳﻲ« ﺑﺮﺍﺳﺎﺱ ﺩﻳﮕﺮ ﺍﺛﺮﺵ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﻣﻮﻓﻖ ﺑﻪ‬ ‫ﻛﺴﺐ ﻧﺎﻣﺰﺩﻱ ﺍﺳﻜﺎﺭ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺧﺎﺭﺟﻲ ﺯﺑﺎﻥ ﺷﺪ‪.‬‬ ‫»ﺩﺭﺧﺖ ﮔﻴﻼﺱ ﺭﻭﻱ ﺗﭙﻪ« ﻫﻨﻮﺯ ﺗﻮﺳﻂ ﻣﻨﺘﻘﺪ ﺑﺮﺟﺴﺘﻪﺍﻱ ﺩﻳﺪﻩ‬ ‫ﻧﺸﺪﻩ ﻭﻟﻲ ﺍﺯ ﮔﻔﺘﻪﻫﺎﻱ ﻛﺎﺭﺑﺮﺍﻥ ﺳﺎﻳﺖ ‪ IMDB‬ﺍﻳﻦﻃﻮﺭ ﺑﺮﻣﻲﺁﻳﺪ‬ ‫ﻛﻪ ﻃﺮﺍﺣﻲ ﻟﺒﺎﺱ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺍﺯ ﻧﻘﺎﻁ ﻗﻮﺕ ﺁﻥ ﺍﺳﺖ ﻭ ﻓﻴﻠﻢ ﺑﻪﺧﻮﺑﻲ‬ ‫ﺍﺯ ﭘﺲ ﺗﺼﻮﻳﺮ ﻛﺮﺩﻥ ﺭﻧﺞﻫﺎ ﻭ ﺳﺨﺘﻲﻫﺎﻳﻲ ﺑﺮﺁﻣﺪﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻳﻚ‬ ‫ﻣﺮﺩ ﺩﻟﻴﺮﻏﻤﺰﺩﻩ‬ ‫ﺁﺷﻮﺏ‬ ‫ﺩﻭﺭﻩ ﺗﺎﺭﻳﺨﻲ‪ ،‬ﮔﺮﻳﺒﺎﻧﮕﻴﺮ ﺳﻄﻮﺡ ﻣﺨﺘﻠﻒ ﺟﺎﻣﻌﻪ ژﺍﭘﻦ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻧﻈﺮﺍﺕ ﻣﺨﺘﻠﻒ ﺍﺳــﺖ ﻭ ﻫﺮ ﻛﺎﺭﺑــﺮﻱ ﻓﻴﻠﻢ ﺭﺍ ﻳﻚﺟﻮﺭ‬ ‫ﺗﻮﺻﻴﻒ ﻛﺮﺩﻩ؛ ﻳﻜﻲ ﻓﻴﻠﻢ ﺭﺍ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺭﻭﻣﺎﻧﺘﻴﻚ ﺩﻟﭙﺬﻳﺮ ﺩﺍﻧﺴﺘﻪ‬ ‫ﻭ ﺑﺎ ﺗﻌﺮﻳﻒ ﻭ ﺗﻤﺠﻴﺪ ﺍﺯ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺳﻨﺠﻴﺪﻩ ﺷﻴﻨﻮﻫﺎﺭﺍ ﻭ ﺿﺮﺑﺎﻫﻨﮓ‬ ‫ﻣﻨﺎﺳــﺐ ﻓﻴﻠﻢ‪ ،‬ﺁﻥ ﺭﺍ ﻧﻘﻄﻪ ﻋﻄﻔﻲ ﺩﺭ ﻛﺎﺭﻧﺎﻣــﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﺶ ﺗﻠﻘﻲ‬ ‫ﻛﺮﺩﻩ ﺍﺳــﺖ ﻭ ﺩﻳﮕﺮﻱ ﺁﻥ ﺭﺍ ﻣﻌﻤﻮﻟﻲ ﻭ ﻛﻢﺗﺤــﺮﻙ ﺍﺭﺯﻳﺎﺑﻲ ﻛﺮﺩﻩ‬ ‫ﻭ ﺑﺎ ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺩﺭ ﻗﺎﻟﺐ ﺷــﺨﺼﻴﺖ »ﻧﻮﻱ« ﻣﺸﻜﻞ‬ ‫ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎﺭﺍﻥ ﻣﺰﺍﺣﻢ‬ ‫‪Damned Rain‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺳﺎﺗﻴﺶ ﻣَﻦﻭﺍﺭ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﻫﻨﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﻫﺮﭼﻨﺪ ﻭﻗﺖ ﻳﻚﺑﺎﺭ ﻛﺸﺎﻭﺭﺯﺍﻥ ﺩﻫﻜﺪﻩ ﻭﻳﺪﺍﺭﺑﻬﺎ‬ ‫ﺩﺭ ﻣﻨﻄﻘﻪ ﻣﺎﻫﺎﺭﺍﺷــﺘﺮﺍ ﺑﻪ ﻋﻠﺖ ﺧﺸﻚ ﺷﺪﻥ ﺯﻣﻴﻦﻫﺎ ﻳﺎ ﺑﺎﻻ ﺭﻓﺘﻦ‬ ‫ﺑﺪﻫﻰﻫﺎﻯﺷــﺎﻥ ﺑﻪ ﻧﺎﭼﺎﺭ‪ ،‬ﺩﺳﺖ ﺑﻪ ﺧﻮﺩﻛﺸــﻲ ﻣﻰﺯﻧﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻴﺎﻥ ﺧﺒﺮ ﺧﻮﺩﻛﺸــﻲ ﺷــﻮﻫﺮ ﻫﻤﺴﺎﻳﻪ ﺑﻪ ﺁﻟﻜﺎ ﻣﻲﺭﺳــﺪ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ‬ ‫ﺷﺪﺕ ﻧﮕﺮﺍﻥ ﺷﻮﻫﺮﺵ‪ ،‬ﻛﻴﺸﻨﺎ‪ ،‬ﻣﻲﻛﻨﺪ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺧﺸﻜﺴﺎﻟﻲ ﻭ‬ ‫ﺗﺎﺟﺮﺍﻥ ﺳﻮﺩﺟﻮ‪ ،‬ﺑﻪ ﺳﺨﺘﻲ ﭘﻮﻝ ﺩﺭﻣﻲﺁﻭﺭﺩ‪ .‬ﺁﻟﻜﺎ ﺑﺎ ﻛﻤﻚ ﻣﺎﺩﺭﺷﻮﻫﺮ‬ ‫ﻭ ﭘﺴﺮ ﺷــﺶ ﺳﺎﻟﻪﺍﺵ‪ ،‬ﻛﻴﺸــﻨﺎ ﺭﺍ ﺗﺤﺖﻧﻈﺮ ﻣﻲﮔﻴﺮﺩ ﺗﺎ ﻣﺒﺎﺩﺍ ﻓﻜﺮ‬ ‫ﺧﻮﺩﻛﺸــﻲ ﺑﻪ ﺫﻫﻦ ﺍﻭ ﻫﻢ ﺧﻄﻮﺭ ﻛﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺷــﻮﻫﺮ‬ ‫ﺧﺎﻧﻪ ﺭﺍ ﺗﺮﻙ ﻣﻲﻛﻨﺪ‪ ،‬ﺁﻟﻜﺎ ﭘﺴﺮﺷــﺎﻥ ﺭﺍ ﻫﻤﺮﺍﻩ ﺍﻭ ﻣﻲﻛﻨﺪ ﺗﺎ ﻣﺮﺍﻗﺐ‬ ‫ﻛﺎﺭﻫﺎﻱ ﭘﺪﺭﺵ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭﺑـﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﺑﺎﺭﺍﻥ ﻣﺰﺍﺣﻢ« ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﻣﺎﺭﺍﺗﻲﺯﺑﺎﻥ )ﺷﺎﺧﻪﺍﻱ‬ ‫ﺍﺯ ﺯﺑﺎﻥ ﻫﻨﺪﻱ( ﺍﺳــﺖ ﻛــﻪ ﺩﺭ ﻗﺎﻟﺐ ﺍﻛﺮﺍﻥﻫﺎﻱ ﻫﻨــﺮﻱ ﻭ ﻭﻳﮋﻩ ﺩﺭ‬ ‫ﺍﻳﺎﻻﺕﻣﺘﺤﺪﻩ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‪ .‬ﮔﻮﻳﺎ ﭘﺮﺍﺷــﺎﻧﺖ ﭘ ِﺘﻲ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‬ ‫ﻓﻴﻠﻢ ﻛﻪ ﺍﻓﺴﺮ ﻧﻴﺮﻭﻱ ﺩﺭﻳﺎﻳﻲ ﻭ ﺑﺎﺯﺭﮔﺎﻥ ﺍﺳﺖ ﺑﻌﺪ ﺍﺯ ﺍﺗﻤﺎﻡ ﻓﻴﻠﻢ ﭘﻮﻟﻲ‬ ‫ﺑﺮﺍﻱ ﺗﻮﺯﻳﻊ ﻭ ﻧﻤﺎﻳﺶ ﺁﻥ ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺳﻌﻲ ﻛﺮﺩﻩ ﺑﺎ ﻣﻌﺮﻓﻲ‬ ‫ﻓﻴﻠﻢ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻳﻚ ﺣﺎﻣﻲ ﻣﺎﻟﻲ ﭘﻴﺪﺍ ﻛﻨﺪ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ‪،‬‬ ‫ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﺳﺎﺗﻴﺶ ﻣﻨﻮﺍﺭ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﻣﺘﻌﺪﺩﻱ ﺑﻪ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪﻩ ﻭ ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻱ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺟِ ﻲ‬ ‫ﻭﻳﺴــﺒﺮگ‪ ،‬ﻣﻨﺘﻘﺪ ﻭﺭﺍﻳﺘﻲ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺭﻭﺗﺮﺩﺍﻡ ﺩﻳﺪﻩ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﭼﻨﻴﻦ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪» :‬ﺍﺯ ﻫﻤﺎﻥ ﻧﻤﺎﻱ ﻛﺮﻳﻦ ﺍﺑﺘﺪﺍﻳﻲ ﻓﻴﻠﻢ‬ ‫ﻛﻪ ﺍﺯ ﺯﻧﺎﻧﻲ ﺩﺭ ﻣﺰﺭﻋﻪ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ ﻭ ﺑﺎ ﮔﺬﺭ ﺍﺯ ﭼﺸﻢﺍﻧﺪﺍﺯﻱ ﺧﺸﻚ ﺑﻪ‬ ‫ﻛﺸﺎﻭﺭﺯﻱ ﺣﻠﻖﺁﻭﻳﺰﺷﺪﻩ ﻣﻲﺭﺳﺪ‪ ،‬ﻣﺸﺨﺺ ﺍﺳﺖ ﻛﻪ ﺳﺎﺗﻴﺶ ﻣﻨﻮﺍﺭ‬ ‫ﻭ ﺳﺎﺩﻫﻴﺮ ﭘﺎﻟﺴﻴﻦ )ﻣﺪﻳﺮﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ( ﺍﺯ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﺑﺎﻻﻳﻲ ﺑﺮﺧﻮﺭﺩﺍﺭﻧﺪ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻣﻨﻮﺍﺭ ﺑﺎ ﻣﻬﺎﺭﺕ ﻫﺮﻳﻚ ﺍﺯ‬ ‫ﺷﺨﺼﻴﺖﻫﺎ ﺭﺍ ﺑﻪ ﻣﺎ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ‪ .‬ﻫﻤﻪ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﺑﺎﺯﻱﻫﺎﻱ‬ ‫ﺗﻤﺎﺷﺎﻳﻲ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩﺍﻧﺪ ﻭ ﺑﻪ ﺧﻮﺑﻲ ﺍﺯ ﻋﻬﺪﻩ ﻧﻘﺶﻫﺎﻳﺸﺎﻥ ﺑﺮﺁﻣﺪﻩﺍﻧﺪ‪.‬‬ ‫ﮔﺬﺭ ﺗﺼﺎﻭﻳﺮ ﻭﺍﻳﺪ ﺍﺳــﻜﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﺩﻫﻜﺪﻩ ﺑﻪ ﺯﻣﻴﻦﻫﺎﻱ ﺧﺸﻚ‪،‬‬ ‫ﻣﻔﻬﻮﻡ »ﻭﺍﺑﺴــﺘﮕﻲ ﺍﻧﺴــﺎﻥ ﺑﻪ ﻃﺒﻴﻌﺖ« ﺭﺍ ﺑﺎ ﺯﻳﺮﻛﻲ ﺍﻟﻘﺎ ﻣﻲﻛﻨﺪ ﻭ‬ ‫ﻟﺤﻈﻪﺍﻱ ﭘﺮﺍﻣﻴﺪ ﺭﺍ ﺑﻪ ﻳﻚﺑﺎﺭﻩ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﺩ«‪.‬‬ ‫ﻣﻌﺎﺩﻟﻪ ﻋﺸﻖ ﻭ ﻣﺮگ‬ ‫‪EQUATION OF LOVE AND DEATH‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﺎﺋﻮ ﺑﺎﺋﻮﭘﻴﻨﮓ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﻫﻨﮓﻛﻨﮓ‬ ‫ﻭ ﭼﻴﻦ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﻟﻴﻤﻲ‪ ،‬ﺭﺍﻧﻨﺪﻩ ﺗﺎﻛﺴﻲ ﺍﺳﺖ ﻛﻪ ﺗﻼﺵ ﻣﻲﻛﻨﺪ‬ ‫ﻧﺎﻣﺰﺩﺵ‪ ،‬ﻓﺎﻧﮓ ﻭﻥ ﺭﺍ ﭘﻴﺪﺍ ﻛﻨﺪ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺍﻋﻼﻡ ﻧﺎﺭﺿﺎﻳﺘﻲ ﻭﺍﻟﺪﻳﻨﺶ‬ ‫ﺑﺮﺍﻱ ﺍﺯﺩﻭﺍﺝ‪ ،‬ﻧﺎﮔﻬﺎﻥ ﺍﺯ ﺯﻧﺪﮔﻲ ﺍﻭ ﻣﺤﻮ ﺷــﺪﻩ ﺍﺳﺖ‪ .‬ﻟﻴﻤﻲ ﻛﻪ ﭼﻬﺎﺭ‬ ‫ﺳﺎﻝ ﺍﺳﺖ ﻧﺎﻣﻪﻫﺎﻱ ﺑﺪﻭﻥ ﺁﺩﺭﺳــﻲ ﺍﺯ ﻧﺎﻣﺰﺩﺵ ﺩﺭﻳﺎﻓﺖ ﻣﻲﻛﻨﺪ‪،‬‬ ‫ﻋﻜﺲﻫﺎﻱ ﺍﻭ ﺭﺍ ﺑﻪ ﻫﺮ ﻣﺴﺎﻓﺮﻱ ﻛﻪ ﺳﻮﺍﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﺗﺎ‬ ‫ﺷﺎﻳﺪ ﺭﻭﺯﻱ ﺳﺮﻧﺨﻲ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﻣﻌﺎﺩﻟﻪ ﻋﺸــﻖ ﻭ ﻣﺮگ« ﺑﻌﺪ ﺍﺯ »ﺩﺭﺩﺳﺮﺳــﺎﺯﺍﻥ«‬ ‫)‪ (2006‬ﺩﻭﻣﻴﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﻛﺎﺋﻮ ﺑﺎﺋﻮﭘﻴﻨﮓ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﺑﺘﺪﺍﻱ‬ ‫ﺩﻫــﻪ ‪ 1990‬ﻧﻮﻳﺴــﻨﺪﮔﻲ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻓﻴﻠﻢﻫــﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺭﺍ‬ ‫ﺁﻏﺎﺯ ﻛــﺮﺩ‪ .‬ﻓﻴﻠﻢ ﻛﻪ ﺑﺎ ﺑﻮﺩﺟﻪﺍﻱ ﻳﻚﻭﻧﻴﻢ ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭﻱ ﺳــﺎﺧﺘﻪ‬ ‫ﺷــﺪﻩ‪ ،‬ﺗﺎ ﺍﻣﺮﻭﺯ ﻣﻮﻓﻘﻴﺖﻫﺎﻱ ﺩﺭﺧﻮﺭ ﺗﻮﺟﻬﻲ ﺭﺍ ﻛﺴﺐ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪49‬‬ ‫ﺟﺎﻳﺰﻩ »ﺑﻬﺘﺮﻳــﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺗﺎﺯﻩﻛﺎﺭ« ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢ‬ ‫ﺳﻦﺳﺒﺎﺳﺘﻴﻦ ﻭ ﺟﻮﺍﻳﺰﻱ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﺁﺳﻴﺎﻳﻲ ﺑﺮﺍﻱ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﻭ ﻣﻮﺳــﻴﻘﻲ ﻣﺘﻦ ﺍﺭژﻳﻨﺎﻝ ﻓﻴﻠﻢ ﺍﺯ ﺍﻓﺘﺨﺎﺭﺍﺗﻲ ﺍﺳﺖ ﻛﻪ ﻧﺼﻴﺐ ﻓﻴﻠﻢ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻧﻈﺮ ﻋﻤﺪﻩ ﻣﻨﺘﻘﺪﺍﻥ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻣﺜﺒﺖ ﺍﺳﺖ ﻭ ﺍﻛﺜﺮﺷﺎﻥ‬ ‫ﻓﻴﻠﻤﻨﺎﻣــﻪ ﻭ ﺑﺎﺯﻱ ژﻭ ﺯﺍﻥ ﺩﺭ ﻧﻘﺶ ﻟﻴﻤﻲ ﺭﺍ ﺳــﺘﻮﺩﻩﺍﻧﺪ‪ .‬ﺍﺩﻣﻮﻧﺪ ﻟﻲ‪،‬‬ ‫ﻣﻨﺘﻘﺪ ﻧﺸﺮﻳﻪ ﺗﺎﻳﻢ ﺁﻭﺕ ﺩﺭﺑﺎﺭﻩ ﺑﺎﺯﻱ ﺩﺭﺧﺸﺎﻥ ﺯﺍﻥ ﮔﻔﺘﻪ ﺍﺳﺖ‪» :‬ﻓﻴﻠﻢ‬ ‫ﺁﺷﻜﺎﺭﺍ ﺑﻪ ژﻭ ﺯﺍﻥ ﺗﻌﻠﻖ ﺩﺍﺭﺩ ﻛﻪ ﺑﺎﺯﻱ ﻫﻨﺮﻣﻨﺪﺍﻧﻪﺍﺵ ﻫﺮ ﺗﻤﺎﺷﺎﮔﺮﻱ‬ ‫ﺭﺍ ﻣﺴﺤﻮﺭ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﺑﺪﻭﻥ ﺗﺮﺩﻳﺪ ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻣﻌﺎﺻﺮ‬ ‫ﺳﻴﻨﻤﺎﻱ ﭼﻴﻦ ﺍﺳــﺖ«‪ .‬ﺩﺭﻙ ﺍﻟﻲ‪ ،‬ﻣﻨﺘﻘﺪ ﻭﺭﺍﻳﺘﻲ ﻫﻢ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‬ ‫ﺍﻳﻦﻃﻮﺭ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪» :‬ﻗﺒﻞ ﺍﺯ ﻓﺮﺍﺭﺳﻴﺪﻥ ﻓﺼﻞ ﭘﺎﻳﺎﻧﻲ‪ ،‬ﺳﺮﻧﺦ ﺭﻭﺍﻳﻲ‬ ‫ﮔﻢ ﻣﻲﺷــﻮﺩ ﻭﻟﻲ ﺳــﺎﺧﺘﺎﺭ ﺩﺭﮔﻴﺮﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ ﻭ ﺑﺎﺯﻱﻫﺎﻱ ﺟﺬﺍﺏ‬ ‫ﻭ ﺗﻤﺎﺷــﺎﻳﻲ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺍﺯ ﻧﻘﺎﻁ ﻗﻮﺕ ﻣﻬﻢ ﺁﻥ ﺍﺳــﺖ‪ .‬ﻛﺎﺋﻮ ﺭﺍ ﻣﻲﺗﻮﺍﻥ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺑﺎﺍﺳﺘﻌﺪﺍﺩﻱ ﻧﺎﻣﻴﺪ ﻛﻪ ﺳﺒﻚ ﺍﺭژﻳﻨﺎﻝ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ‪ «.‬ﺍﮔﺮ‬ ‫ﺑﺪﺍﻧﻴﺪ ﻛﻪ ﻛﺎﺋﻮ ﺑﺎﺋﻮﭘﻴﻨﮓ ﺳﺎﻝﻫﺎ ﻗﺒﻞ ﺍﺯ ﻭﺭﻭﺩﺵ ﺑﻪ ﻋﺮﺻﻪ ﻓﻴﻠﻤﺴﺎﺯﻱ‬ ‫ﺩﺭ ﺭﺷﺘﻪ ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴﻲ ﺗﺪﺭﻳﺲ ﻣﻲﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺁﻥ ﻭﻗﺖ ﺑﻴﺸﺘﺮ‬ ‫ﺭﻭﻱ ﺍﻳﻦ ﺍﻇﻬﺎﺭﻧﻈﺮ ﻣﻨﺘﻘﺪ ﻭﺭﺍﻳﺘﻲ ﺣﺴﺎﺏ ﺑﺎﺯﻣﻲﻛﻨﻴﺪ‪.‬‬ ‫ﺑﺪﺭﻭﺩ‪ ،‬ﮔﻠﺴﺎﺭﻱ!‬ ‫‪!Farewell Gulsary‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺁﺭﺩﻙ ﺍﻣﻴﺮﻛﺎﻟﻮﻑ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴﺎﻥ‪ :‬ﺍﻣﻴﺮﻛﺎﻟﻮﻑ ﻭ ﺍﺭﻻﻥ‬ ‫ﻧﻮﺭﻣﻴﻮﻫﺎﻣﺒﺘﻮﻑ ﺑﺮﺍﺳــﺎﺱ ﻧﻮﻭﻟﻲ ﺍﺯ ﭼﻨﮕﻴــﺰ ﺍﻳﺘﻤﺎﺗﻮﻑ‪ .‬ﻣﺤﺼﻮﻝ‬ ‫‪ 2008‬ﻗﺰﺍﻗﺴﺘﺎﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺗﺎﻧﺎﺑﻲ ﻳﻚ ﻗﻬﺮﻣﺎﻥ ﺟﻨﮕﻲ ﻗﺰﺍﻕ ﻭ ﻛﻤﻮﻧﻴﺴﺘﻲ‬ ‫ﻭﻓﺎﺩﺍﺭ ﺍﺳــﺖ ﻛﻪ ﺗﺤﺖ ﻓﺸــﺎﺭ ﻣﺠﺒﻮﺭ ﺑﻪ ﮔﻠــﻪﺩﺍﺭﻱ ﺩﺭ ﻳﻚ ﻣﺰﺭﻋﻪ‬ ‫ﺍﺷﺘﺮﺍﻛﻲ ﺩﺭ ﺩﻭﺭﺍﻥ ﺍﺳــﺘﺎﻟﻴﻨﻲ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺩﻭﻡ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﮔﻞ ﺳﺮﺳــﺒﺪ ﻭ ﻟﺬﺕ ﺍﻳﻦ ﻣﺰﺭﻋﻪ‪ ،‬ﻧﺮﻳﺎﻥ ﺯﻳﺒﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﮔﻠﺴﺎﺭﻱ‬ ‫ﻧﺎﻡ ﺩﺍﺭﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﭘﻴﺮﻭﺯﻱ ﮔﻠﺴــﺎﺭﻱ ﺩﺭ ﻳﻚ ﻣﺴﺎﺑﻘﻪ‪ ،‬ﻛﻤﻴﺴﺮ ﺟﺪﻳﺪ‬ ‫ﻣﺰﺭﻋﻪ ﺍﺷﺘﺮﺍﻛﻲ ﺧﻮﺍﺳﺘﺎﺭ ﺍﻳﻦ ﺍﺳﺐ ﻣﺤﺒﻮﺏ ﻭ ﺳﺮﺳﺨﺖ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻧﺘﻴﺠــﻪ ﺍﻳﻦ ﺍﺩﻋﺎ ﻧﺒﺮﺩﻱ ﺩﺭﻣﻲﮔﻴﺮﺩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻫﻢ ﺗﺎﻧﺎﺑﻲ ﻭ ﻫﻢ‬ ‫ﮔﻠﺴﺎﺭﻱ ﻣﺠﺎﺯﺍﺕ ﻣﻲﺷﻮﻧﺪ ﻭ ﺑﻪﺧﺎﻃﺮ ﺍﻣﺘﻨﺎﻉ ﺍﺯ ﭘﺬﻳﺮﺵ ﻗﻮﺍﻧﻴﻦ ﺍﻳﻦ‬ ‫ﺩﻭﺭﻩ ﺍﺳﺘﺎﻟﻴﻨﻲ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺟﺪﺍ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ‪:‬ﭼﻬﺎﺭﻣﻴﻦ ﻓﻴﻠﻢ ﺁﺭﺩﻙ ﺍﻣﻴﺮﻛﺎﻟﻮﻑ ﻛﻪ ﺩﺭ ﺩﺍﻧﺸــﮕﺎﻩ‬ ‫ﻓﻠﺴــﻔﻪ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺧﻮﺍﻧﺪﻩ‪ ،‬ﺩﺭ ﺳــﺎﻝ ‪ 1991‬ﺑــﺎ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﺶ‬ ‫»‪ «Otrara Gibel‬ﺟﺎﻳﺰﻩ ﻓﻴﭙﺮﺷﻲ ﺟﺸﻨﻮﺍﺭﻩ ﺟﻬﺎﻧﻲ ﻓﻴﻠﻢ ﻣﻮﻧﺘﺮﺍﻝ‬ ‫ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪ .‬ﻛﺮﻳﺴــﺘﻴﻨﺎ ﺍﺳﺘﻮﻳﺎﻧﻮﻭﺍ ﺍﺯ ﺩﺍﻧﺸــﮕﺎﻩ ﺭﺟﻴﻨﺎ ﺩﺭ ﻧﻘﺪ‬ ‫ﺑﻠﻨﺪﺵ ﺑﺮ »ﺑﺪﺭﻭﺩ‪ ،‬ﮔﻠﺴﺎﺭﻱ!« )ﻛﻪ ﺑﺎ ﺑﻮﺩﺟﻪﺍﻱ ﻳﻚ ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭﻱ‬ ‫ﺗﻬﻴﻪ ﺷﺪﻩ ﺍﺳــﺖ( ﻛﻪ ﺩﺭ ﻧﺸــﺮﻳﻪ ﺍﻳﻨﺘﺮﻧﺘﻲ »ﻛﻴﻨﻮﻛﺎﻟﭽﺮﺍ« ﺁﻣﺪﻩ‪،‬‬ ‫ﭼﻨﻴﻦ ﻧﻮﺷــﺘﻪ ﺍﺳــﺖ‪» :‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺩﺭ ﻣﺤﺘﻮﺍ ﻭ ﺳﺒﻚ ﻧﻮﺳﺘﺎﻟﮋﻳﻚ‬ ‫ﺍﺳﺖ ﻭ ﺩﻭﻣﻴﻦ ﺍﻗﺘﺒﺎﺱ ﺳﻴﻨﻤﺎﻳﻲ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻧﻮﻳﺴﻨﺪﻩ ﺷﻬﻴﺮ‬ ‫ﻗﺮﻗﻴــﺰ‪ ،‬ﭼﻨﮕﻴﺰ ﺍﻳﺘﻤﺎﺗﻮﻑ ﺑﻪﺷــﻤﺎﺭ ﻣﻲﺭﻭﺩ‪ .‬ﺷــﺨﺼﻴﺖ ﺗﺎﻧﺎﺑﻲ ﺍﺯ‬ ‫ﺳﻮﻳﻲ‪ ،‬ﺗﺠﻠﻲ ﺳﻴﻨﻤﺎﻳﻲ ﺩﻳﮕﺮﻱ ﺍﺳﺖ ﺍﺯ ﺍﺷﺘﻴﺎﻕ ﻓﺮﺍﻭﺍﻥ ﺑﻪ ﺩﺍﺷﺘﻦ‬ ‫ﻳﻚ ﻗﻬﺮﻣﺎﻥ ﺗﻤﺎﻡﻋﻴﺎﺭ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﻓﺮﻭﭘﺎﺷﻲ ﺷﻮﺭﻭﻱ‪ .‬ﺍﺻﻼ‬ ‫ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ ﻋﻼﻗﻪ ﻭ ﻭﺍﺑﺴــﺘﮕﻲ ﺷــﺪﻳﺪ ﺍﻭ ﺑﻪ ﻧﺮﻳــﺎﻥ ﺯﻳﺒﺎﻳﻲ ﺑﺎ ﻧﺎﻡ‬ ‫ﮔﻠﺴــﺎﺭﻱ )ﻧﻤﺎﺩﻱ ﺍﺯ ﺁﺯﺍﺩﻱ ﻭ ﺁﺭﻣﺎﻥﮔﺮﺍﻳﻲ( ﺍﺳــﺖ‪ .‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ‬ ‫ﺯﺑﺎﻥ ﺍﺳﺘﻌﺎﺭﻱ ﭘﻴﭽﻴﺪﻩ ﻓﻴﻠﻢ ﺍﻣﻴﺮﻛﺎﻟﻮﻑ‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪ ﺳﻴﻨﻤﺎﻱ ﺷﺎﻋﺮﺍﻧﻪ‬ ‫ﺷــﻮﺭﻭﻱ ﺩﻫﻪ ‪ 1970‬ﻧﺰﺩﻳﻚﺗﺮ ﻣﻲﻛﻨﺪ ﻭ ﺳــﻴﻨﻤﺎﻱ ﺍﺳــﺘﺎﺩﺍﻧﻲ‬ ‫ﻧﻈﻴﺮ ﺳــﺮﮔﺌﻲ ﭘﺎﺭﺍﺟﺎﻧــﻮﻑ ﺭﺍ ﺑﻪ ﻳــﺎﺩ ﻣﻲﺁﻭﺭﺩ ﻛــﻪ ﻣﻮﺗﻴﻒﻫﺎﻱ‬ ‫ﻓﺮﻫﻨﮕﻲ ﺑﻮﻣﻲ ﻭ ﮔﺮﻳﺰﮔﺮﺍﻳﺎﻧﻪ )ﺑﻮﻡﺷــﻨﺎﺧﺘﻲ ﻭ ﺍﺳﻄﻮﺭﻩﺷﻨﺎﺧﺘﻲ(‬ ‫ﺗﻮﺳــﻂ ﻛﻤﻮﻧﻴﺴــﻢ ﻣﻨﻜﻮﺏ ﻭ ﺳــﺮﻛﻮﺏ ﺷــﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎ ﻗﺪﺭﺕ‬ ‫ﻣﻲﺗﻮﺍﻥ »ﺑﺪﺭﻭﺩ‪ ،‬ﮔﻠﺴﺎﺭﻱ!« ﺭﺍ ﺩﺭ ﺯﻣﺮﻩ ﻣﻮﻓﻖﺗﺮﻳﻦ ﺁﺛﺎﺭ ﺳﻴﻨﻤﺎﻱ‬ ‫»ﻧﺌﻮ‪ -‬ﻧﺌﻮ« ﻗﺰﺍﻕ ﻗﺮﺍﺭ ﺩﺍﺩ‪«.‬‬ ‫ﺑﺮﺧﻼﻑ ﻧﻈﺮ ﺍﻳﻦ ﺍﺳﺘﺎﺩ ﺩﺍﻧﺸﮕﺎﻩ ﺁﺷﻨﺎ ﺑﻪ ﺳﻴﻨﻤﺎﻱ ﺭﻭﺳﻴﻪ‪ ،‬ﺩﻧﻴﺲ‬ ‫ﻫﺎﺭﻭﻱ‪ ،‬ﻣﻨﺘﻘﺪ ﻭﺭﺍﻳﺘﻲ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻣﻮﻧﺘﺮﺍﻝ ﺩﻳﺪﻩ‪ ،‬ﺁﻥ‬ ‫ﺭﺍ ﭼﻨﺪﺍﻥ ﺍﺭﺯﺷــﻤﻨﺪ ﺍﺭﺯﻳﺎﺑﻲ ﻧﻜﺮﺩﻩ ﻭ ﺳــﺎﺧﺘﺎﺭ ﺍﭘﻴﺰﻭﺩﻳﻚ ﻓﻴﻠﻢ ﺭﺍ‬ ‫ﺧﻮﺩﻧﻤﺎﻳﺎﻧﻪ ﺩﺍﻧﺴﺘﻪ ﻭﻟﻲ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺯﻳﺒﺎﻱ ﺁﻥ ﺗﻤﺠﻴﺪ‬ ‫ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺿﻤﻦ ﺑﺪﻧﻴﺴﺖ ﺑﺪﺍﻧﻴﺪ ﻛﻪ ﺧﻮﺩ ﺍﻣﻴﺮﻛﺎﻟﻮﻑ ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫»ﺩﺍﺳﺘﺎﻥ ﺁﺧﺮﻳﻦ ﺁﻭﺍﺭﻩ« ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻤﺶ ﻳﺎﺩ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﻧﻤﻲﺗﻮﺍﻧﻢ ﺑﺪﻭﻥ ﺗﻮ ﺯﻧﺪﮔﻲ ﻛﻨﻢ‬ ‫‪I Can't live without you‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻟﺌﻮﻥ ﺩﺍﻱ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2009‬ﺗﺎﻳﻮﺍﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﻟﻲ ﻭﻭﺳﻴﻮﻧﮓ ﻳﻚ ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻝ ﺗﺎﻳﻮﺍﻧﻲ ﺍﺳﺖ ﻛﻪ‬ ‫ﺯﻧﺪﮔﻲ ﺧﻮﺑﻲ ﻧﺪﺍﺭﺩ ﻭ ﺑﺎ ﺍﻧﺠﺎﻡ ﻛﺎﺭﻫﺎﻱ ﻣﻮﻗﺖ ﺩﺭﺁﻣﺪ ﺍﻧﺪﻛﻲ ﺑﻪ ﺩﺳﺖ‬ ‫ﻣﻲﺁﻭﺭﺩ ﻭ ﺣﺘﻲ ﮔﺎﻩ ﺟﺎﻧﺶ ﺭﺍ ﺑﻪﺧﻄﺮ ﻣﻲﺍﻧﺪﺍﺯﺩ‪ .‬ﻫﻤﺴﺮ ﻭﻱ ﺳﺎﻝﻫﺎ‬ ‫ﻗﺒﻞ ﺍﻭ ﻭ ﺗﻨﻬﺎ ﺩﺧﺘﺮﺷــﺎﻥ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻃﺒﻖ ﻗﻮﺍﻧﻴﻦ ﺗﺎﻳﻮﺍﻥ ﺍﻭ‬ ‫‪50‬‬ ‫ﻣﻌﺎﺩﻟﻪ ﻋﺸﻖ ﻭ ﻣﺮگ‬ ‫ﻧﻘﺐ‬ ‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﻭﻟﻲ ﻗﺎﻧﻮﻧﻲ ﺩﺧﺘﺮﺵ ﺑﺎﺷــﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻭﻗﺘﻲ ﻣﻲﺧﻮﺍﻫﺪ‬ ‫ﺍﻭ ﺭﺍ ﺩﺭ ﻣﺪﺭﺳــﻪ ﺛﺒﺖﻧﺎﻡ ﻛﻨﺪ ﺑﺎ ﻣﺸﻜﻞ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﺩﻭﻟﺖ ﺗﺼﻤﻴﻢ ﻣﻲﮔﻴﺮﺩ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻛﻨﺪ‪ .‬ﭘﺪﺭ ﻫﺮ ﻛﺎﺭﻱ ﻣﻲﻛﻨﺪ‬ ‫ﺗﺎ ﺷﺎﻳﺪ ﺩﺧﺘﺮﺵ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﻓﻴﻠﻢ ﺳﺎﺩﻩ ﻭ ﺑﻲﺍﺩﻋﺎﻱ ﻟﺌﻮﻥ ﺩﺍﻱ ﺑﺮﺍﺳﺎﺱ ﻣﺎﺟﺮﺍﻱ‬ ‫ﻭﺍﻗﻌﻲ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 2003‬ﺩﺭ ﺷﻬﺮ ﺗﺎﻳﭙﻪ ﺭﻭﻱ ﺩﺍﺩ‪.‬‬ ‫ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﻣﺮﺩﻱ ﺍﻓﺘﺎﺩﻩ ﻭ ﺑﻲﺳﻮﺍﺩ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺧﺘﺮ ﻫﻔﺖﺳﺎﻟﻪﺍﺵ‬ ‫ﺭﻭﻱ ﻳﻚ ﭘﻞ ﻋﺎﺑﺮﭘﻴﺎﺩﻩ ﺭﻓــﺖ ﻭ ﻫﻤﻪ ﺭﺍ ﺗﻬﺪﻳﺪ ﺑﻪ ﭘﺮﻳﺪﻥ ﻛﺮﺩ ﭼﻮﻥ‬ ‫ﻣﻘﺎﻣﺎﺕ ﺩﻭﻟﺘﻲ ﻣﻲﺧﻮﺍﺳﺘﻨﺪ ﺳﺮﭘﺮﺳﺘﻲ ﺩﺧﺘﺮ ﺭﺍ ﺍﺯ ﺍﻭ ﺑﮕﻴﺮﻧﺪ‪ .‬ﺩﻟﻴﻞ‬ ‫ﺩﻭﻟﺖ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻃﺒــﻖ ﻗﻮﺍﻧﻴﻦ ﺗﺎﻳــﻮﺍﻥ ﺍﻭ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻭﻟﻲ ﻗﺎﻧﻮﻧﻲ‬ ‫ﺩﺧﺘﺮﺵ ﺑﺎﺷﺪ ﻭ ﺍﮔﺮ ﻣﺎﺩﺭ ﻭﺍﻗﻌﻲ ﻭ ﻧﺎﭘﺪﺭﻱ ﻫﻢ ﺣﺎﺿﺮ ﺑﻪ ﻧﮕﻬﺪﺍﺭﻱ ﺍﺯ‬ ‫ﺍﻭ ﻧﺒﺎﺷﻨﺪ‪ ،‬ﺩﻭﻟﺖ ﺍﺯ ﺑﭽﻪ ﻧﮕﻬﺪﺍﺭﻱ ﻣﻲﻛﻨﺪ‪ .‬ﮔﺎﺑﺮﻳﻞ ﭼﺎﻧﮓ ﺩﺭ ﻧﻘﺪﺵ‬ ‫ﺑﺮﺍﻱ »ﻣﻮﻭﻱ ﺍ ِﻛﺴﻜﻠﻮﺳﻴﻮ« ﺍﻳﻦﻃﻮﺭ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪» :‬ﻓﻴﻠﻢ ﺭﻭﺍﻳﺖﮔﺮ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺳﺎﺩﻩ ﻭﻟﻲ ﻭﺍﻗﻌﺎ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﭘﺪﺭﻱ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﻓﻘﺮﺵ‬ ‫ﻫﻴﭻ ﭼﻴــﺰﻱ ﺭﺍ ﺍﺯ ﺩﺧﺘﺮﺵ ﺩﺭﻳﻎ ﻧﻤﻲﻛﻨﺪ‪ .‬ﻟﺌــﻮﻥ ﺩﺍﻱ ﺩﺭ ﺗﺼﻮﻳﺮ‬ ‫ﻛﺮﺩﻥ ﺭﺍﺑﻄﻪ ﭘﺪﺭ ﺩﺧﺘﺮﻱ ﺑﻪﺷﺪﺕ ﺍﺯ ﻭﺭﻭﺩ ﺑﻪ ﻗﻠﻤﺮﻭ ﻣﻠﻮﺩﺭﺍﻡ ﺍﺟﺘﻨﺎﺏ‬ ‫ﻛﺮﺩﻩ ﻭ ﺩﺭ ﻋﻮﺽ ﻭﺍﺑﺴﺘﮕﻲ ﻭ ﻗﺮﺍﺑﺖ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﺭﻭﺍﺑﻂ ﺭﻭﺯﻣﺮﻩ ﺩﺭﺁﻭﺭﺩﻩ‬ ‫ﺍﺳﺖ؛ ﺍﺯ ﺟﻤﻠﻪ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺻﺒﻮﺭﺍﻧﻪ ﺩﺧﺘﺮ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺸﺖ ﭘﺪﺭ ﻳﺎ ﺩﻳﮕﺮ‬ ‫ﻛﻤﻚﻫﺎﻱ ﺩﺧﺘﺮ ﺑﻪ ﭘﺪﺭﺵ‪«.‬‬ ‫ﺟﺮﻣﺎﻝ‬ ‫‪Jermal‬‬ ‫ﻛﺎﺭﮔــﺮﺩﺍﻥ‪ :‬ﺭﺍﻭﻱ ﺍﻝ‪ .‬ﺑﺎﺭﻭﺍﻧــﻲ )ﺑﺎ ﻫﻤﻜﺎﺭﻱ ﺭﺍﻳــﺎ ﻣﺎﻛﺎﺭﻳﻢ ﻭ ﻳﻮﺗﺎﻭﺍ‬ ‫ﺗﺮﺳــﻨﻮ(‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴــﺎﻥ‪ :‬ﺑﺎﺭﻭﺍﻧﻲ‪ ،‬ﻣﺎﻛﺎﺭﻳﻢ ﻭ ﺍﻭﺭﻟﻮ ﺳــﻮﻧﻜﻪ‪.‬‬ ‫ﻣﺤﺼﻮﻝ ‪ 2008‬ﺍﻧﺪﻭﻧﺰﻱ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺟﺎﻳﺎﻱ ﺩﻭﺍﺯﺩﻩ ﺳــﺎﻟﻪ ﺑﻌﺪ ﺍﺯ ﻣﺮگ ﻣﺎﺩﺭ‪ ،‬ﭘﻴﺶ‬ ‫ﭘﺪﺭﺵ‪ ،‬ﺟﻮﻫﺮ‪ ،‬ﻓﺮﺳﺘﺎﺩﻩ ﻣﻲﺷــﻮﺩ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺳﺮﭘﺮﺳﺖ ﺩﺭ ﻳﻚ‬ ‫»ﺟﺮﻣﺎﻝ« )ﻳﻚ ﺳﻜﻮﻱ ﻣﺎﻫﻴﮕﻴﺮﻱ ﺩﺭ ﻭﺳــﻂ ﺩﺭﻳﺎ( ﻛﺎﺭ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﭘﺪﺭ ﺷﻮﻛﻪ ﻣﻲﺷﻮﺩ ﭼﻮﻥ ﻫﺮﮔﺰ ﺍﺯ ﻭﺟﻮﺩ ﭘﺴﺮ ﻣﻄﻠﻊ ﻧﺒﻮﺩﻩ ﺍﺳﺖ ﻭ ﺩﺭ‬ ‫ﺍﺑﺘﺪﺍ ﺍﻭ ﺭﺍ ﻧﻤﻲﭘﺬﻳﺮﺩ ﻭﻟﻲ ﺑﻌﺪ ﺑﻪ ﺧﺎﻃﺮ ﮔﺬﺷﺘﻪ ﺗﻴﺮﻩﻭﺗﺎﺭﺵ ﻣﺠﺒﻮﺭ‬ ‫ﺑﻪ ﭘﺬﻳﺮﺵ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ‪»:‬ﺟﺮﻣﺎﻝ« ﺳــﻮﻣﻴﻦ ﻓﻴﻠﻢ ﺭﺍﻭﻱ ﺑﺎﺭﻭﺍﻧﻲ ﺍﺳــﺖ ﻛﻪ‬ ‫ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺗﻮﺍﻧﺴﺘﻪ ﺑﺎ ﻓﻴﻠﻢ »ﺑﺎﺭﺍﻥﺳﺎﺯ« )‪ (2004‬ﺟﺎﻳﺰﻩ ﺍﺳﺘﻌﺪﺍﺩ‬ ‫ﺟﺪﻳﺪ ﺁﺳﻴﺎ ﺭﺍ ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢ ﺷــﺎﻧﮕﻬﺎﻱ ﺩﺭﻳﺎﻓﺖ‬ ‫ﻛﻨﺪ‪» .‬ﺟﺮﻣﺎﻝ« ﺗﺎ ﺍﻣﺮﻭﺯ ﻓﻴﻠﻢ ﻛﻢ ﺳــﺮﻭﺻﺪﺍﻳﻲ ﺑﻮﺩﻩ ﻭ ﻛﻤﺘﺮ ﺩﻳﺪﻩ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻋﻨﺒﺮ ﻭﻳﻠﻜﻴﻨﺴــﻦ ﺍﺯ ﺳﺎﻳﺖ »ﻧﮕﺎﻫﻲ ﺑﻪ ﺳﻴﻨﻤﺎ« ﺩﺭﺑﺎﺭﻩ‬ ‫ﺁﻥ ﻧﻮﺷﺘﻪ ﺍﺳــﺖ‪» :‬ﺑﺎ ﺍﻳﻨﻜﻪ ﻓﻴﻠﻢ ﺳﻪ ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺩﺍﺭﺩ‬ ‫ﻭﻟﻲ ﻣﺎﺣﺼﻞ ﻛﺎﺭ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﻭ ﻣﻨﺴــﺠﻢ ﺍﺳﺖ ﻭ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ‬ ‫ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺗﻴﻢ ﻛﺎﻣﻞ ﻭ ﺑﻲﻧﻘﺼﻲ ﺭﺍ ﺗﺸﻜﻴﻞ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺳﺮﺍﺳﺮ‬ ‫ﻓﻴﻠﻢ ﺳﺮﺷﺎﺭ ﺍﺯ ﺍﺣﺴﺎﺳﺎﺕ ﺍﺳﺖ ﻭﻟﻲ ﻫﺮﮔﺰ ﻏﻠﻮﺁﻣﻴﺰ ﻭ ﺗﺼﻨﻌﻲ ﺑﻪﻧﻈﺮ‬ ‫ﻧﻤﻲﺭﺳﺪ ﻭ ﺗﻨﻬﺎ ﺟﻠﻮﻩﻫﺎﻱ ﺑﻲﺭﺣﻤﻲ ﺑﻪﻭﺍﺳﻄﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ‬ ‫ﺍﺯ ﻃﻨﺰ ﺧﻨﺜﻲ ﺷﺪﻩﺍﻧﺪ‪«.‬‬ ‫ﺭﺍﺑﻮﻥ‬ ‫‪Rabun‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻳﺎﺳﻤﻴﻦ ﺍﺣﻤﺪ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2003‬ﻣﺎﻟﺰﻱ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺯﻭﺝ ﻛﻬﻨﺴــﺎﻝ ﻣﻬﺮﺑﺎﻥ ﻭ ﺧﻮﻧﮕﺮﻣﻲ ﺍﺯ ﺷﻬﺮ ﺑﻪ‬ ‫ﺭﻭﺳﺘﺎ ﻧﻘﻞﻣﻜﺎﻥ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﺘﻮﺟﻪ ﻣﻲﺷﻮﻧﺪ ﻛﻪ ﺯﻧﺪﮔﻲ‬ ‫ﺩﺭ ﺩﻫﻜﺪﻩ ﻫﻢ ﻣﺸﻜﻼﺕ ﺧﺎﺹ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ‪.‬‬ ‫(‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﺑﻴﻨﺎﻳــﻲ ﺭﻭ ﺑﻪ ﺯﻭﺍﻝ ﻣﻦ« )‬ ‫ﻋﻨﻮﺍﻥ ﺍﻧﮕﻠﻴﺴﻲ ﻭ ﺟﻬﺎﻧﻲ ﺍﻳﻦ ﻓﻴﻠﻢ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻣﺤﺼﻮﻝ ﺳﺎﻝ ‪2003‬‬ ‫ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢ ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﺶ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺍﻣﺮﻭﺯ ﺑﻪ ﺧﺎﻃﺮ ﺩﻳﮕﺮ‬ ‫ﺁﺛﺎﺭﺵ ﺟﻮﺍﻳﺰ ﻣﺘﻌﺪﺩﻱ ﺭﺍ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺍﺯ ﺟﻤﻠﻪ ﺑﺮﻟﻴﻦ ﻭ‬ ‫ﺗﻮﻛﻴﻮ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺟﻲ ﻭﻳﺴﺒﺮگ ﺍﺯ ﻭﺭﺍﻳﺘﻲ ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ‬ ‫ﻧﻤﺎﻳﺶ »ﺑﻴﻨﺎﻳﻲ ﺭﻭ ﺑﻪ ﺯﻭﺍﻝ ﻣﻦ« ﭘﻴﺶﺑﻴﻨﻲ ﻛﺮﺩﻩ ﻛﻪ ﺣﻀﻮﺭ ﻓﻴﻠﻢ ﺑﻪ‬ ‫ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﺁﺳﻴﺎﻳﻲ ﻣﺤﺪﻭﺩ ﺧﻮﺍﻫﺪ ﺷﺪ ﻭ ﻧﻘﺎﻁ ﺿﻌﻒ ﻣﺘﻌﺪﺩ ﺁﻥ‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺻﺮﻓﺎ ﺑﻪﻭﺍﺳﻄﻪ ﺣﻀﻮﺭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ‬ ‫ﺩﻭ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻲ ﺗﺤﺖﺍﻟﺸﻌﺎﻉ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻧﻘﺐ‬ ‫‪shaft‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ژﺍﻧﮓ ﭼﻲ‪ ،‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﭼﻴﻦ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳـﺘﺎﻥ‪:‬ﺩﺭ ﻳﻚ ﺷــﻬﺮ ﻣﻌﺪﻧﻲ ﺩﺭ ﻏــﺮﺏ ﭼﻴﻦ‪ ،‬ﺑﻪﻃﻮﺭ‬ ‫ﺟﺪﺍﮔﺎﻧﻪ ﺩﺍﺳﺘﺎﻥ ﺳــﻪ ﻋﻀﻮ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺭﻭﺍﻳﺖ ﻣﻲﺷﻮﺩ؛ ﺩﺧﺘﺮﻱ‬ ‫ﻛﻪ ﺑﺎﻳﺪ ﺑﻴﻦ ﺭﻭﻳﺎﻫﺎﻳﺶ ﻭ ﺷــﻮﻫﺮﻱ ﻣﻨﺎﺳــﺐ ﻳﻜﻲ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ‪.‬‬ ‫ﭘﺴــﺮﻱ ﻛﻪ ﻣﻲﺧﻮﺍﻫﺪ ﻛﺎﺭ ﺩﺭ ﻣﻌﺪﻥ ﺭﺍ ﺷﺮﻭﻉ ﻛﻨﺪ ﻭ ﭘﺪﺭﻱ ﻛﻪ ﺗﺎﺯﻩ‬ ‫ﺑﺎﺯﻧﺸﺴﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺑـﺎﺭﻩ ﻓﻴﻠﻢ‪»:‬ﻧﻘﺐ« ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ژﺍﻧﮓ ﭼﻲ ﺍﺳﺖ ﻛﻪ ﺟﺎﻳﺰﻩ ﻭﻳﮋﻩ‬ ‫ﻫﻴﺎﺕ ﺩﺍﻭﺭﺍﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢ ﻣﺮﺍﻛﺶ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ‬ ‫ﻭ ﺩﺭ ﭼﻨﺪ ﺟﺸﻨﻮﺍﺭﻩ ﺩﻳﮕﺮ ﺧﻮﺵ ﺩﺭﺧﺸــﻴﺪﻩ ﺍﺳﺖ‪ .‬ﻧﻈﺮﺍﺕ ﻋﻤﺪﻩ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻣﺜﺒﺖ ﺍﺳــﺖ‪ .‬ﻓﺮﺩﺭﻳﻚ ﻭ ﻣﺮﻱ ﺁﻥ ﺑﺮﺍﺳﺖ ﺩﺭ‬ ‫ﻣﻄﻠﺐﺷﺎﻥ ﺭﺍﺟﻊ ﺑﻪ ﻓﻴﻠﻢ ﭼﻨﻴﻦ ﺑﺮﺩﺍﺷﺘﻲ ﺩﺍﺷﺘﻪﺍﻧﺪ‪» :‬ﻫﺮ ﺳﻪ ﺧﻂ‬ ‫ﺩﺍﺳﺘﺎﻧﻲ ﻓﻴﻠﻢ ﺑﻪ ﺍﻫﻤﻴﺖ ﻧﻘﺶ ﺁﺭﺯﻭ ﺩﺭ ﺯﻧﺪﮔﻲ ﻣﻲﭘﺮﺩﺍﺯﻧﺪ‪ .‬ﺭﺳﻴﺪﻥ‬ ‫ﺑﻪ ﺁﺭﺯﻭﻫﺎ ﺑﺎﻋﺚ ﻣﻲﺷﻮﺩ ﺗﺎ ﺩﺧﺘﺮ ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻲ ﺟﺪﻳﺪﻱ ﺭﺍ ﺩﺭ ﭘﻜﻦ‬ ‫ﺁﻏﺎﺯ ﻛﻨﺪ؛ ﭘﺴﺮ ﺧﺎﻧﻮﺍﺩﻩ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻳﺶ ﺁﮔﺎﻩ ﻣﻲﻛﻨﺪ ﻭ‬ ‫ﺍﻧﺮژﻱ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻱ ﺑﻪ ﭘﺪﺭ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻲﺩﻫﺪ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻭﻟﻴﻦ ﺯﻧﻲ‬ ‫ﺭﺍ ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺍﺳﺖ ﻓﺮﺍﻣﻮﺵ ﻛﻨﺪ‪» .‬ﻧﻘﺐ« ﻓﻴﻠﻤﻲ ﺍﺳﺖ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺯﻧﺪﮔﻲﻫﺎﻱ ﻣﻌﻤﻮﻟﻲ ﻛﻪ ﺁﺭﺯﻭ ﻧﻴﺮﻭﻱ ﻣﺤﺮﻛﻪ ﻭ ﺳﻮﺧﺖ ﺁﻧﻬﺎﺳﺖ‪«.‬‬ ‫ﻧﻴﻢﺭﻭﺯ ﺭﺍﺳﺘﻴﻦ‬ ‫‪Noon True‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻧﻮﺳﻴﺮ ﺳــﻌﻴﺪﻭﻑ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﺳﻔﺮ ﺣﻖﺩﺍﺩﻭﻑ‪،‬‬ ‫ﻣﺤﺼﻮﻝ ‪ 2009‬ﺗﺎﺟﻴﻜﺴﺘﺎﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﻧﻴﻠﻮﻓﺮ ﺩﺧﺘﺮﻱ ﺍﺯ ﭘﺎﻳﻴﻦ ﺷﻬﺮ ﺍﺳﺖ ﻛﻪ ﻣﻲﺧﻮﺍﻫﺪ‬ ‫ﺑﺎ ﭘﺴﺮﻱ ﺑﺎﻻﺷﻬﺮﻱ ﺍﺯﺩﻭﺍﺝ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻳﻚ ﺭﻭﺯ ﺳﺮﺑﺎﺯﺍﻥ ﻣﻲﺁﻳﻨﺪ ﻭ ﺍﻳﻦ‬ ‫ﺩﻭ ﺑﺨﺶ ﺷﻬﺮ ﺭﺍ ﺑﺎ ﺳﻴﻢﺧﺎﺭﺩﺍﺭ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺟﺪﺍ ﻣﻲﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪:‬ﺭﺍﺳــﻞ ﺍﺩﻭﺍﺭﺩﺯ‪ ،‬ﻣﻨﺘﻘﺪ ﻭﺭﺍﻳﺘــﻲ ﺩﺭﺑﺎﺭﻩ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ‬ ‫ﻧﻮﺳﻴﺮ ﺳــﻌﻴﺪﻭﻑ ﭼﻨﻴﻦ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪» :‬ﺑﺨﺸــﻲ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢ‬ ‫ﺑﺮﺍﺳﺎﺱ ﺟﺪﺍﻳﻲ ﺗﺎﺟﻴﻜﺴﺘﺎﻥ ﺍﺯ ﺍﺯﺑﻜﺴﺘﺎﻥ ﺑﻌﺪ ﺍﺯ ﻓﺮﻭﭘﺎﺷﻲ ﺷﻮﺭﻭﻱ‬ ‫ﺳﺎﺑﻖ ﺷﻜﻞ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﺧﻮﺏ ﻭ ﻣﺎﻫﺮﺍﻧﻪ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻓﻴﻠﻢ ﻫﻢ ﺑﺎ ﻇﺮﺍﻓﺖ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﻭ ﻗﺎﺏﺑﻨﺪﻱﻫﺎ ﺩﻗﻴﻖ‬ ‫ﻭ ﺯﻳﺮﻛﺎﻧﻪﺍﻧﺪ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻧﻴﺰ ﺩﺭﺧﻮﺭ ﺗﻮﺟﻪ ﺍﺳــﺖ ﻭ ﻧﻬﺎﻳﺖ ﺑﻬﺮﻩ ﺭﺍ‬ ‫ﺍﺯ ﭼﺸﻢﺍﻧﺪﺍﺯﻫﺎﻱ ﻣﺴﺤﻮﺭﻛﻨﻨﺪﻩ ﻟﻮﻛﻴﺸﻦ ﻓﻴﻠﻢ ﺑﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻋﻤﺪﻩ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﺁﻣﺎﺗﻮﺭ ﻓﻴﻠﻢ ﺑﺎ ﺫﻭﻕ ﺑﻪ ﺑﺎﺯﻱ ﺩﺭ ﻧﻘﺶﻫﺎﻱﺷﺎﻥ ﭘﺮﺩﺍﺧﺘﻪﺍﻧﺪ ﻭ‬ ‫ﺑﺎﺯﻱ ﺳﻤﭙﺎﺗﻴﻚ ﺍﻳﻮﺍﻧﻮﻭﻳﭻ ﻣﺠﺮﺏ ﻗﻮﺗﻲ ﺑﻪ ﻓﻴﻠﻢ ﺑﺨﺸﻴﺪﻩ ﺍﺳﺖ‪«.‬‬ ‫ﺁﺷﻮﺏ‬ ‫‪TURMOIL‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥ‪ :‬ﺳــﺎﺑﻴﺖ ﻛﻮﺭﻣﺎﻧﺒﻜﻮﻑ ﻭ ﻛﺎﻧﻴﻤﺒﻚ ﻛﺎﺳــﻴﻤﺒﻜﻮﻑ‪،‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴــﺎﻥ‪ :‬ﻛﻮﺭﻣﺎﻧﺒﻜﻮﻑ‪ ،‬ﻛﺎﺳــﻴﻤﺒﻜﻮﻑ‪ ،‬ﺍﻥ‪ .‬ﺍﻭﺭﺍﺯ ﻭ ﺯﺩ‪.‬‬ ‫ﻳﺮﮔﺎﻟﻴﻔﺎ‪ .‬ﻣﺤﺼﻮﻝ ‪ 2008‬ﻗﺰﺍﻗﺴﺘﺎﻥ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬ﺩﺍﺳــﺘﺎﻧﻲ ﭘﺮﺷــﻮﺭ ﻭ ﻧﺸــﺎﻁ ﺩﺭﺑﺎﺭﻩ ﺩﻫﻜﺪﻩﺍﻱ‬ ‫ﺍﻣــﺮﻭﺯﻱ ﻭ ﺳــﺎﻛﻨﺎﻧﺶ‪ .‬ﻫﺮ ﭼﻴــﺰﻱ ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﺑﻪﻗﺪﺭﻱ ﺳــﺮﻳﻊ‬ ‫ﺩﺳﺘﺨﻮﺵ ﺗﻐﻴﻴﺮ ﻣﻲﺷﻮﺩ ﻛﻪ ﺷﻤﺎ ﻣﺠﺒﻮﺭﻳﺪ ﺑﺠﻨﺒﻴﺪ ﺗﺎ ﺍﺯ ﻗﺎﻓﻠﻪ ﻋﻘﺐ‬ ‫ﻧﻤﺎﻧﻴﺪ‪ .‬ﻧﺴــﻞﻫﺎ ﺟﺎﻳﮕﺰﻳﻦ ﻳﻜﺪﻳﮕﺮ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺩﻭﺭﻩ ﻭ ﺯﻣﺎﻧﻪ ﻋﻮﺽ‬ ‫ﻣﻲﺷﻮﺩ ﻭ ﻓﻘﻂ ﺭﻭﺍﺑﻂ ﺍﻧﺴﺎﻧﻲ ﺍﺳﺖ ﻛﻪ ﺗﻐﻴﻴﺮ ﻧﻤﻲﻛﻨﺪ‪.‬‬ ‫‪ 30‬ﻓﻴﻠﻢ ﻣﻬﻢ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﺍﺯ ﻣﻨﻈﺮ ﺳﻴﺎﺳﺖ ﻭ ﺍﺟﺘﻤﺎﻉ‬ ‫ﺑﺎﺑﻚ ﻏﻔﻮﺭﻱﺁﺫﺭ‬ ‫ﺳــﻴﻨﻤﺎ ﺍﺯ ﺩﻳﺮﺑــﺎﺯ ﺗﺎﻛﻨﻮﻥ ﻫﻤــﻮﺍﺭﻩ ﻳﻜﻰ ﺍﺯ ﻣﻌﺪﻭﺩ ﺍﺳــﻨﺎﺩ‬ ‫ﺗﺼﻮﻳﺮﻯ ﺑﺮﺍﻯ ﻣﺮﺍﺟﻌﻪ ﺑﻪ ﺩﻭﺭﺍﻥ ﻭ ﻣﻘﺎﻃﻊ ﻣﺨﺘﻠﻒ ﺑﻮﺩﻩ ﺍﺳــﺖ‪.‬‬ ‫ﺍﺯ ﻭﺭﺍﻯ ﻓﻴﻠﻢﻫﺎ ﻣﻰﺗــﻮﺍﻥ ﺑﻪ ﻭﺍﻗﻌﻴﺖﻫــﺎﻯ ﻣﺨﺘﻠﻒ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﻫﺮ ﺩﻭﺭﻩ ﭘﻰﺑــﺮﺩ ﻭ ﻫﺮ ﻓﻴﻠﻢ ﺩﺭ ﺑﻄﻨﺶ ﺑﺎﺯﮔﻮ ﻛﻨﻨﺪﻩ ﺑﺨﺸــﻰ ﺍﺯ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﻭ ﺷﺮﺍﻳﻂ ﺩﻭﺭﻩﺍﺵ ﺍﺳﺖ‪ .‬ﺩﺭ ﻏﺮﺏ ﺩﺭ ﻛﻨﺎﺭ ﺭﺳﺎﻧﻪﻫﺎﻯ‬ ‫ﻣﻜﺘﻮﺏ‪ ،‬ﻓﻴﻠﻢﻫﺎ ﺍﺯ ﺍﺻﻠﻰﺗﺮﻳﻦ ﻣﻨﺎﺑﻊ ﺗﺤﻘﻴﻘﻰ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ‬ ‫ﻭﺍﻗﻌﻴﺖﻫﺎ ﻭ ﻣﻨﺎﺳﺒﺎﺕ ﺩﻭﺭﺍﻥ ﻫﺴﺘﻨﺪ‪ .‬ﻛﺎﺭﻛﺮﺩ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﺗﻘﺮﻳﺒﺎ‬ ‫ﺑﺮﺍﺑﺮ ﺑﺎ ﺭﺳــﺎﻧﻪ ﻫﺎﻯ ﻣﻜﺘﻮﺏ ﺍﺳــﺖ ﻭ ﺍﮔﺮ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﻭ ﻣﺠﻼﺕ‪،‬‬ ‫ﺑﺎﺯﮔﻮ ﻛﻨﻨﺪﻩ ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺭﺧﺪﺍﺩﻫﺎﻯ ﺁﺷــﻜﺎﺭ ﻫﺴــﺘﻨﺪ‪ ،‬ﺍﺯ ﻭﺭﺍﻯ‬ ‫ﻓﻴﻠﻢﻫﺎﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺑﻄﻦ ﺟﺎﻣﻌﻪ ﻭ ﻣﻨﺎﺳﺒﺎﺗﺶ ﺭﻓﺖ ﻭ ﺗﺎﺛﻴﺮ‬ ‫ﺭﺧﺪﺍﺩﻫﺎﻯ ﻣﻬﻢ ﺑﻴﺮﻭﻧﻰ ﺭﺍ ﺩﺭ ﺯﻧﺪﮔﻰ ﺍﻓﺮﺍﺩ ﺁﻥ ﺍﺟﺘﻤﺎﻉ ﺩﻳﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳــﺮﺍﻥ ﻫﻢ ﺳــﻴﻨﻤﺎ‪ ،‬ﺑﺎﻭﺟــﻮﺩ ﺗﻤــﺎﻡ ﻣﺤﺎﻓﻈﻪﻛﺎﺭﻯﻫﺎ ﻭ‬ ‫ﻣﺸــﻜﻼﺕ ﭘﻴﺮﺍﻣﻮﻧﻰ ‪ -‬ﺑﻴﺸــﺘﺮ ﻣﻨﺒﻌــﺚ ﺍﺯ ﻧﻮﻉ ﻧــﮕﺎﻩ ﻧﺎﻇﺮﺍﻥ‬ ‫ﺑﻴﺮﻭﻧﻰ‪ -‬ﺗﺎﺣﺪﻭﺩﻯ ﺗﻮﺍﻧﺴﺖ ﭼﻨﻴﻦ ﻛﺎﺭﻛﺮﺩﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦ ﻣﻴــﺎﻥ ﺍﻟﺒﺘﻪ ﺩﺭ ﻣﻘﺎﻃﻊ ﻣﺨﺘﻠﻒ ﺍﻳــﻦ ﻛﺎﺭﻛﺮﺩ ﺿﻌﻒ ﻭ ﻗﻮﺕ‬ ‫ﻓﺮﺍﻭﺍﻥ ﺩﺍﺷﺘﻪ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﻣﻰﺗﻮﺍﻥ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﻫﻢ ﻧﻤﻮﺩﻯ‬ ‫ﺍﺯ ﺷــﺮﺍﻳﻂ ﺗﺎﺭﻳﺨﻰ ﺟﺎﻣﻌﻪﺍﺵ ﺩﺍﻧﺴﺖ‪ .‬ﺳﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ‬ ‫ﺑﺮﺧﻼﻑ ﺳﻴﻨﻤﺎﻱ ﻗﺒﻞ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻪ ﺩﻻﻳﻞ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺗﺎﺭﻳﺨﻲ‬ ‫ﻭ ﻓﺮﻫﻨﮕﻲ ﻭ ﺑﺎﻻﺧﺺ ﺳﻴﺎﺳﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ ﻛﻪ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺑﺎﺷﺪ‪،‬‬ ‫ﺗﺎﺛﻴﺮ ﭘﺬﻳﺮ ﺍﺳــﺖ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻗﻴﻖﺗﺮ ﺳــﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ‬ ‫ﻫﻤﻴﺸــﻪ ﺩﺭ ﺍﺗﻔﺎﻗﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ ﻋﻘﺐ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺩﻻﻳﻠﺶ ﻓﻘﻂ‬ ‫ﺩﺭ ﺳﺎﻧﺴﻮﺭ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﻴﺸﺘﺮ ﺩﺭ ﭘﻴﭽﻴﺪﻩﺗﺮ ﺷﺪﻥ ﺟﺎﻣﻌﻪ ﺍﺳﺖ‪.‬‬ ‫ﮔﺴﺘﺮﺵ ﺭﺳﺎﻧﻪﻫﺎﻯ ﺩﻳﮕﺮ ﻭ ﺷﻜﻞ ﮔﻴﺮﻱ ﻧﺴﻞﻫﺎﻳﻲ ﻛﻪ ﺳﻴﻨﻤﺎ‬ ‫ﺑﺮﺍﻳﺸــﺎﻥ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺩﻫﻪﻫﺎﻱ ﭼﻬﻞ ﻭ ﭘﻨﺠﺎﻩ ﻣﻬﻢ ﻧﻴﺴﺖ ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺩﻻﻳﻞ ﺩﻳﮕﺮ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺍﺳﺖ‪ .‬ﺳﻴﻨﻤﺎ ﺍﺻﻮﻻ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻫﻤﻴﺖ‬ ‫ﺍﺟﺘﻤﺎﻋﻲﺍﺵ ﻛﺎﺳﺘﻪ ﻭ ﺑﻪ ﺍﻫﻤﻴﺖ ﻫﻨﺮﻱﺍﺵ ﺍﻓﺰﻭﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻣﻄﺎﻟﺐ ﻛﻮﺷﺸــﻰ ﺍﺳــﺖ ﺑﺮﺍﻯ ﻣﺮﻭﺭﻯ ﺑﺮ ‪ 30‬ﻓﻴﻠﻢ ﻣﻬﻢ‬ ‫ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺳــﻴﻨﻤﺎﻯ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﺳــﻼﻣﻰ ﺍﻳﺮﺍﻥ ﻛﻪ ﻫﺮﻛﺪﺍﻡ‬ ‫ﺭﺍﻭﻯ ﻭ ﻧﻤﺎﻳﺸﮕﺮ ﺷﺮﺍﻳﻂ ﺧﺎﺹ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺳﻴﺎﺳﻰ ﻛﺸﻮﺭ ﺑﻮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻓﻴﻠﻢﻫﺎﻳﻰﻛﻪﺑﺎﺯﺗﺎﺑﻰﺍﺯﺍﺗﻔﺎﻗﺎﺕﺑﻴﺮﻭﻧﻰﺟﺎﻣﻌﻪﺑﻮﺩﻧﺪﻳﺎﺧﻮﺩﺯﻣﻴﻨﻪ‬ ‫ﺍﻳﺠﺎﺩ ﻳﻚ ﺍﺗﻔﺎﻕ ﺍﺟﺘﻤﺎﻋﻰ ﺭﺍ ﺳــﺒﺐ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺗﻼﺵ ﺷﺪﻩ ﺍﺯ ﻭﺭﺍﻯ‬ ‫ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ‪ ،‬ﺭﻭﺍﻳﺘﻰ ﺍﺯ ﺗﺎﺭﻳﺦ ﺳــﻴﻨﻤﺎﻯ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ‬ ‫ﻫﻤﭽﻨﻴﻦ ﺩﮔﺮﮔﻮﻧﻰﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺳﻴﺎﺳﻰ ﻛﺸﻮﺭ ﺩﺍﺷﺖ‪.‬‬ ‫ﻣﻬــﻢ ﺗﺮﻳﻦ ﻣﻮﺿــﻮﻉ ﺩﺭ ﺍﻳﻦﮔﻮﻧــﻪ ﻣﻄﺎﻟﺐ ﻧﺤــﻮﻩ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻓﻴﻠﻢﻫﺎﺳــﺖ ﻛﻪ ﺍﺯ ﺯﺍﻭﻳﻪ ﻧﮕﺎﻩ ﻫﺮ ﻓﺮﺩﻯ ﻣﻰﺗﻮﺍﻧﺪ ﻣﺘﻔﺎﻭﺕ ﺑﺎﺷﺪ‪.‬‬ ‫ﻓﻬﺮﺳــﺖ ﻓﻴﻠﻢﻫﺎ ﺑﺮ ﻣﺒﻨﺎﻱ ﺭﻭﻳﻜﺮﺩ ﻭ ﮔﻔﺘﻤﺎﻥ ﺍﺟﺘﻤﺎﻋﻲ ﺁﻧﻬﺎ ﺩﺭ‬ ‫ﺟﺎﻣﻌﻪ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺗﻨﻈﻴﻢ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳﻦ ﻓﻬﺮﺳﺖ‬ ‫ﻟﺰﻭﻣﺎ ﺑﻬﺘﺮﻳﻦ ﺁﺛﺎﺭ ﺳﺎﺯﻧﺪﮔﺎﻧﺸــﺎﻥ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺁﺛﺎﺭﻱ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺩﺭ ﻫﺮﻛــﺪﺍﻡ ﺍﺯ ﺁﻧﻬﺎ ﻧﻤﻮﺩﻱ ﺍﺯ ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺷــﺮﺍﻳﻂ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﻛﺸــﻮﺭ ﻣﻨﺒﻌﺚ ﺍﺯ ﺯﻣﺎﻥ ﻭﻗﻮﻉ ﻭ ﺟﺮﻳﺎﻧﺎﺕ ﺣﺎﺩﺙ‪ ،‬ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﺧﻮﺩ ﻧﻴﺰ ﺩﺭ ﺍﻳﺠﺎﺩ ﻳﻚ ﺟﺮﻳﺎﻥ ﻓﺮﻫﻨﮕﻲ‬ ‫ﻭ ﺣﺘﻲ ﺳﻴﺎﺳﻲ ﺩﺭ ﻛﺸﻮﺭ ﻧﻘﺶ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻓﻬﺮﺳﺖ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﻭﺍﺿﺢ ﺍﺳــﺖ ﻛﻪ ﻓﺮﻭﺵ ﺑﺎﻻ ﻭ ﺍﺳﺘﻘﺒﺎﻝ ﻓﺮﺍﺗﺮ ﺍﺯ ﺍﻧﺘﻈﺎﺭ‬ ‫ﻭ ﻣﻌﻴﺎﺭﻫﺎﻯ ﻣﻌﻤﻮﻝ ﺍﺯ ﻳﻚ ﻓﻴﻠﻢ ﻫﻢ‪ ،‬ﺧﻮﺩ ﻳﻚ ﭘﺪﻳﺪﻩ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ ﻭ ﻣﻰﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺩﺭ ﻓﻬﺮﺳﺖ ﻣﻮﺭﺩﻧﻈﺮ ﺩﺭﻧﻈﺮ‬ ‫ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﺗﻨﻈﻴﻢ ﻓﻬﺮﺳﺖ ﺗﻼﺵ ﺷﺪﻩ ﺍﺳﺖ ﺍﺯ ﻫﺮ ﻣﻘﻄﻊ ﺯﻣﺎﻧﻰ‬ ‫ﻓﻴﻠﻤﻰ ﺩﺭ ﻓﻬﺮﺳــﺖ ﺑﺎﺷــﺪ‪ .‬ﻫﻤﻴﻦ ﻣﺒﻨﺎ ﺑﺎﻋﺚ ﺷﺪﻩ ﭼﻨﺪ ﻓﻴﻠﻢ‬ ‫ﺧﺎﺹ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻯ ﺩﻳﮕﺮ ﻓﻬﺮﺳﺖ‬ ‫ﺯﻣﻴﻨﻪﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺳﻴﺎﺳﻰ ﻛﻤﺘﺮﻯ ﺩﺍﺭﻧﺪ ﺩﺭ ﻓﻬﺮﺳﺖ ﻗﺮﺍﺭ‬ ‫ﮔﻴﺮﻧﺪ ﻭ ﺩﺭ ﻣﻘﺎﺑــﻞ‪ ،‬ﻓﻴﻠﻢﻫﺎﻯ ﻳﻚ ﻣﻘﻄﻊ ﻣﻬــﻢ ﺑﻪ ﺩﻟﻴﻞ ﺗﻌﺪﺩ‬ ‫ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺍﺯ ﻓﻬﺮﺳــﺖ ﺑﻴﺮﻭﻥ ﺑﻤﺎﻧﻨﺪ‪ .‬ﺍﻳﻦ ﺍﺗﻔﺎﻕ‬ ‫ﺩﺭ ﻣﻘﺎﻃﻊ ﻣﺨﺘﻠﻒ ﺑﻪ ﭼﺸــﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺑﻪﻋﻨــﻮﺍﻥ ﻣﺜﺎﻝ ﺗﻌﺪﺍﺩ‬ ‫ﻓﻴﻠﻢﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ – ﺳﻴﺎﺳﻰ ﺍﻭﺍﺧﺮ ﺩﻫﻪﻫﺎﻱ ‪ 60‬ﻭ ‪ 70‬ﻓﺰﻭﻧﻰ‬ ‫ﻣﻰﮔﻴﺮﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﻣﻘﻄﻊ ﻓﻴﻠﻢ ﺑﻴﺸــﺘﺮﻯ ﺩﺭ ﻓﻬﺮﺳــﺖ ﺍﺳﺖ‪ .‬ﺩﺭ‬ ‫ﻫﻤﻴﻦ ﺣﺎﻝ ﻣﺒﻨﺎﻱ ﺣﻀﻮﺭ ﻓﻴﻠﻢﻫﺎ ﺩﺭ ﻓﻬﺮﺳــﺖ ﻧﻬﺎﻳﻰ ﻧﻤﺎﻳﺶ‬ ‫ﻋﻤﻮﻣــﻲ )ﻭ ﻧﻪ ﺟﺸــﻨﻮﺍﺭﻩﺍﻱ( ﺁﻧﻬﺎ ﺑﻮﺩﻩ ﺍﺳــﺖ ﻭ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻧﻤﺎﻳﺶﻫﺎﻯ ﻣﺤﺪﻭﺩﻱ ﺩﺍﺷﺘﻪﺍﻧﺪ ﻣﺪﻧﻈﺮ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﻃﺒﻴﻌﻰ‬ ‫ﺍﺳــﺖ ﺑﺎﺯ ﻫﻢ ﻫﺮﻛﺴﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺍﻳﻦ ﻓﻬﺮﺳﺖ ﺧﺪﺷﻪﺍﻱ ﻭﺍﺭﺩ‬ ‫ﺑﺪﺍﻧﺪ ﻭ ﺣﻀﻮﺭ ﻳﻚ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﻓﻬﺮﺳﺖ ﻻﺯﻡ ﻭ ﺩﻳﺪﻥ ﻧﺎﻡ ﻓﻴﻠﻢ ﺩﻳﮕﺮ‬ ‫ﺭﺍ ﻧﺎﺩﺭﺳﺖ ﺑﺪﺍﻧﺪ‪ .‬ﺩﺭﺑﺎﺭﻩ ﻫﺮ ﻓﻴﻠﻢ ﺯﻣﻴﻨﻪﻫﺎﻳﻲ ﺍﺯ ﺍﻫﻤﻴﺖ ﻓﻴﻠﻢ ﻭ‬ ‫ﮔﻔﺘﻤﺎﻧﺶ ﺩﺭ ﺯﻣﺎﻥ ﺳــﺎﺧﺖ ﻭ ﻋﺮﺿﻪ ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﺷﺮﺣﻰ ﺍﺯ ﺗﻮﻟﻴﺪ‬ ‫ﻭ ﻧﻤﺎﻳﺸــﺶ ﺍﺭﺍﺋﻪ ﻭ ﻧﻬﺎﻳﺘﺎ ﺭﺟﻮﻋﻰ ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﺩﺭﻳﭽﻪ ﺍﻣﺮﻭﺯ ﺑﻪ ﺁﻥ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻼﺵ ﺷﺪﻩ ﺗﻤﺎﻡ ﺍﺗﻔﺎﻗﺎﺕ ﭘﻴﺮﺍﻣﻮﻧﻰ ﻓﻴﻠﻢ ﺑﻴﺎﻥ ﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺍﺩﺍﻣﻪ ﻧﻴﺰ ﺍﺯ ﺯﺍﻭﻳﻪ ﻧﮕﺎﻩ ﻣﻨﺘﻘﺪﺍﻥ ﻣﺮﻭﺭﻯ ﺑﺮ ﻭﺟﻮﻩ ﺳــﺎﺧﺘﺎﺭﻯ‬ ‫ﭼﻨﺪ ﻓﻴﻠﻢ ﺷﺪﻩ ﺍﺳــﺖ‪.‬ﭼﻨﺪ ﻓﻴﻠﻢ ﻣﻬﻢ ﻧﻬﺎﻳﺘﺎ ﺭﺍﻫﻰ ﺑﻪ ﻓﻬﺮﺳﺖ‬ ‫ﭘﻴــﺪﺍ ﻧﻜﺮﺩﻧﺪ‪ .‬ﺯﻧﺪﺍﻥ ﺯﻧﺎﻥ )ﺑﺎﺯﮔﻮﻳﻰ ﻧﺨﺴــﺘﻴﻦﺑﺎﺭ ﻣﻨﺎﺳــﺒﺎﺕ‬ ‫ﺯﻧﺪﺍﻥﻫﺎﻯ ﺯﻧﺎﻥ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ ﺭﺳــﻴﺪﻥ ﺑﻪ ﺻﺮﺍﺣﺖ‬ ‫ﺗﺼﻮﻳﺮﻯ ﻣﻨﺤﺼﺮﻯ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ(‪ ،‬ﺳــﻔﺮ ﺑﻪ ﭼﺰﺍﺑﻪ )ﺑﻴﺎﻥ ﺻﺮﻳﺢ ﻭ‬ ‫ﺧﺸﻦ ﺍﺯ ﻭﺍﻗﻌﻴﺖﻫﺎﻯ ﺻﺤﻨﻪﻫﺎﻯ ﻧﺒﺮﺩ ﺟﻨﮓ ‪ 8‬ﺳﺎﻟﻪ(‪ ،‬ﺑﺮﺝ ﻣﻴﻨﻮ‬ ‫)ﺗﻼﺷﻰ ﺑﺮﺍﻯ ﻫﻮﻳﺖﻳﺎﺑﻰ ﺻﺤﻴﺢ ﺑﺎﺯﮔﺸﺘﻪﻫﺎﻯ ﺟﻨﮓ(‪ ،‬ﻣﺘﻮﻟﺪ‬ ‫ﻣﺎﻩ ﻣﻬﺮ )ﺍﺭﺍﺋﻪ ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻯ ﻣﻮﺳﻮﻡ ﺑﻪ ﻟﺒﺎﺱ ﺷﺨﺼﻰ(‪،‬‬ ‫ﭘﺎﺭﺗﻲ )ﺑﻴﺎﻧﻰ ﺍﺯ ﺷﺮﺍﻳﻂ ﺧﺎﺹ ژﻭﺭﻧﺎﻟﻴﺴﻢ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ‪ ،(70‬ﺩﻭ ﺯﻥ‬ ‫)ﺍﻭﻟﻴﻦ ﺗﺼﻮﻳﺮ ﺍﺯ ﻣﺼﺎﺋﺐ ﺯﻧﺎﻥ ﻧﺴــﻞ ﺍﻭﻝ ﺍﻧﻘﻼﺏ( ‪ ،‬ﻧﺎﻥ ﻭ ﻋﺸﻖ‬ ‫ﻭ ﻣﻮﺗﻮﺭ ﻫﺰﺍﺭ )ﻣﺮﻭﺭﻯ ﻃﻨﺰﺁﻣﻴﺰ ﺑﺮ ﺍﺧﺘﻼﻓﺎﺕ ﺟﻨﺎﺣﻰ ﻛﺸــﻮﺭ( ﻭ‬ ‫ﻣﻮﺝ ﻣﺮﺩﻩ )ﺍﻭﻟﻴﻦ ﺗﺼﻮﻳﺮ ﺍﺯ ﺍﺧﺘﻼﻓﺎﺕ ﺑﻴﻦ ﻧﺴﻞ ﺍﻧﻘﻼﺑﻰ ﻭ ﻧﺴﻞ‬ ‫ﺑﻌﺪ( ﺍﺯ ﺟﻤﻠﻪ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺫﻛﺮ ﺍﻳﻦ ﻧﻜﺘﻪ ﺿﺮﻭﺭﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻧﮕﺎﺭﺵ ﻣﻄﺎﻟﺐ ﺗﺎﺭﻳﺨﻰ‪،‬‬ ‫ﺍﺯ ﻣﻨﺎﺑﻊ ﻣﻬﻤﻰ ﭼﻮﻥ ﻛﺘﺎﺏ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﻧﻮﺷﺘﻪ ﺟﻤﺎﻝ‬ ‫ﺍﻣﻴﺪ‪ ،‬ﺩﻭﺭﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻣﺎﻫﻨﺎﻣﻪ ﺳــﻴﻨﻤﺎﻳﻰ ﻓﻴﻠﻢ ﻭ ﻧﺸــﺮﻳﺎﺕ‬ ‫ﺩﻳﮕﺮ ﺑﻬﺮﻩ ﻓﺮﺍﻭﺍﻥ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺟﺎ ﺩﺍﺭﺩ ﺳﭙﺎﺱ ﻭﻳﮋﻩﺍﻯ‬ ‫ﺍﺯ ﻫﻤﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﻣﺪﻳﺮﺍﻧﺸﺎﻥ ﺩﺍﺷﺖ‪ .‬ﺟﻤﻊﺁﻭﺭﻯ ﻣﻄﺎﻟﺐ ﺑﻨﺎ‬ ‫ﺑﻪ ﺿﺮﻭﺭﺕﻫﺎﻳﻰ ﺩﺭ ﺯﻣﺎﻧﻲ ﺍﻧﺪﻙ ﻭ ﻣﺤﺪﻭﺩ ﺍﻧﺠﺎﻡ ﺷــﺪ ﻭ ﺩﺭ ﺍﻳﻦ‬ ‫ﺭﺍﻩ ﺑﺎﻳﺪ ﺍﺯ ﻛﻤﻚﻫﺎ ﻭ ﻣﺸﺎﻭﺭﻩﻫﺎﻯ ﺩﻭﺳﺘﺎﻥ ﻭ ﻫﻤﻜﺎﺭﺍﻧﻢ‪ ،‬ﺑﻪﻭﻳﮋﻩ‬ ‫ﻋﻠﻴﺮﺿﺎ ﻣﺤﻤﻮﺩﻯ ﻭ ﻣﻬــﺪﻯ ﻃﺎﻫﺒﺎﺯ ﻭ ﻫﻤﺮﺍﻫﻰﻫﺎﻯ ﺻﻤﻴﻤﺎﻧﻪ‬ ‫ﻫﻤﺴﺮﻡ ﺗﻘﺪﻳﺮ ﻭ ﺗﺸﻜﺮ ﻛﻨﻢ‪.‬‬ ‫ﺯﻣﺴﺘﺎﻥ ‪88‬‬ ‫‪51‬‬ ‫‪1‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺑﺮﺯﺧﻲﻫﺎ )‪(1361‬‬ ‫ﺑﺮﺯﺧﻲﻫﺎ ﺩﺭ ﺑﺮﺯﺥ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬ﺍﻳﺮﺝﻗﺎﺩﺭﻱ‪،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪:‬ﻋﺒﺪﺍﻟﺤﺴﻴﻦﻣﺤﻤﺪﺯﺍﺩﻩ‪،‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻓﻴﻠﻤﻨﺎﻣﻪ‪ :‬ﺳﻌﻴﺪ ﻣﻄﻠﺒﻲ‪ ،‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﺍﻥ‪ :‬ﻣﺎﺯﻳﺎﺭ ﭘﺮﺗﻮ‪،‬‬ ‫ﻓﺮﺝ ﺍﷲ ﺣﻴﺪﺭﻱ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﺍﻳﺮﺝ ﮔﻞﺍﻓﺸﺎﻥ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭﻱ‪ :‬ﺍﺣﻤﺪ‬ ‫ﺍﺣﻤﺪﭘﻮﺭ‪ ،‬ﮔﺮﻳﻢ‪ :‬ﺍﻳﺮﺝ ﺻﻔﺪﺭﻱ‪ ،‬ﻣﻮﺳﻴﻘﻲ‪ :‬ﺍﻧﺘﺨﺎﺑﻲ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﺤﻤﺪﻋﻠﻲ ﻓﺮﺩﻳﻦ‪ ،‬ﻧﺎﺻﺮ ﻣﻠﻚ ﻣﻄﻴﻌﻲ‪ ،‬ﺳﻌﻴﺪ ﺭﺍﺩ‪،‬‬ ‫ﺍﻳﺮﺝ ﻗﺎﺩﺭﻱ‪ ،‬ﻣﺤﻤﺪﻋﻠﻲ ﻛﺸـﺎﻭﺭﺯ‪ ،‬ﺧﺴـﺮﻭ ﺷﺠﺎﻉﺯﺍﺩﻩ‪ ،‬ﺁﺫﺭ‬ ‫ﺣﻜﻤﺖ‪ ،‬ﺗﻮﺭﺍﻥ ﻣﻬﺮﺯﺍﺩ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺑﻨﻴﺎﺩ ﻫﻨﺮ ﺩﺭ ﺍﺳﻼﻡ‪ 120 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 4 :‬ﺧﺮﺩﺍﺩ ‪ ،1361‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 8 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺭﻭﺯ‪22‬ﺑﻬﻤﻦ‪1357‬ﮔﺮﻭﻫﻲﻣﺠﺮﻡﻋﺎﺩﻱﺍﺯ ﺯﻧﺪﺍﻥﻣﻲﮔﺮﻳﺰﻧﺪ‪.‬ﺁﻧﻬﺎﻛﻪﻗﺼﺪ ﺩﺍﺭﻧﺪﺍﺯﻛﺸﻮﺭﺧﺎﺭﺝ‬ ‫ﺷﻮﻧﺪ‪ ،‬ﺩﺭ ﺩﻫﻜﺪﻩﺍﻱ ﻣﺮﺯﻱ ﺑﺎ ﻣﺮﺩﻱ ﺑﻪﻧﺎﻡ ﺳﻴﺪ ﻳﻌﻘﻮﺏ ﺁﺷﻨﺎ ﻣﻲﺷﻮﻧﺪ ﻛﻪ ﻣﻲﻛﻮﺷﺪ ﺑﺎ ﺍﻋﻤﺎﻝ ﻭ‬ ‫ﮔﻔﺘﺎﺭﺵ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺭﺍ ﺍﺯ ﻓﺮﺍﺭ ﺑﺎﺯ ﺩﺍﺭﺩ‪ .‬ﺁﻧﻬﺎ ﺍﺑﺘﺪﺍ ﻣﻮﻋﻈﻪ ﻫﺎﻱ ﺳﻴﺪ ﻳﻌﻘﻮﺏ ﺭﺍ ﺑﻪ ﺭﻳﺸﺨﻨﺪ ﻣﻲﮔﻴﺮﻧﺪ‪،‬‬ ‫ﺍﻣﺎ ﺑﻪﻣﺮﻭﺭ ﭘﺲ ﺍﺯ ﺗﺠﺎﻭﺯ ﺍﺭﺗﺶ ﺑﻴﮕﺎﻧﻪ ﺑﻪ ﺧﺎﻙ ﻣﻴﻬﻦ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻓﺪﺍﻛﺎﺭﻱ ﺳﻴﺪﻳﻌﻘﻮﺏ ﻭ ﺍﻫﺎﻟﻲ‬ ‫ﺩﻫﻜﺪﻩ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻧﺪ ﻭ ﺍﺯ ﺭﻭﺳﺘﺎ ﺩﻓﺎﻉ ﻣﻲﻛﻨﻨﺪ ﻭ ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﻨﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺳــﺎﻝﻫﺎﻱ ﺍﺑﺘﺪﺍﻳﻲ ﺑﻌﺪ ﺍﺯ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﻫﻨﻮﺯ ﻣﻌﻴﺎﺭﻫﺎ‪ ،‬ﻗﻮﺍﻧﻴﻦ ﻭ‬ ‫ﺧﻄﻮﻁ ﻗﺮﻣﺰ ﺭﻭﺍﻳﺖ ﻭ ﭘﺮﺩﺍﺧﺖ ﺩﺭ ﺳــﻴﻨﻤﺎ ﻣﺸﺨﺺ ﻧﺒﻮﺩ‪ .‬ﺳﻴﻨﻤﺎ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﻣﻈﺎﻫﺮ ﻓﺮﻫﻨﮕﻲ ﺭژﻳﻢ ﮔﺬﺷﺘﻪ‪ ،‬ﺩﺭ ﻃﻮﻝ ﻣﺒﺎﺭﺯﺍﺕ‬ ‫ﺍﻧﻘﻼﺑﻲ ﺁﺷــﻜﺎﺭﺍ ﺩﺭ ﻣﻴﺪﺍﻥ ﻧﺒﺮﺩ ﺣﻀﻮﺭ ﺟﺪﻱ ﺩﺍﺷــﺖ ﻭ ﺣﻤﻠﻪ ﺑﻪ‬ ‫ﺳﺎﻟﻦﻫﺎﻱ ﺳﻴﻨﻤﺎ ﻭ ﺗﻌﻄﻴﻠﻲ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺁﻧﻬﺎ ﺍﺯ ﺟﻤﻠﻪ ﻧﻤﻮﺩﻫﺎﻱ ﺟﺪﻱ‬ ‫ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑــﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﺍﮔــﺮ ﺟﻤﻠﻪ ﺗﺎﻳﻴﺪ ﻛﻨﻨﺪﻩ‬ ‫ﺣﻀﺮﺕ ﺍﻣﺎﻡ )ﺭﻩ( ﺩﺭ ﻋﺪﻡ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﻛﻠﻴﺖ ﺳــﻴﻨﻤﺎ ﻧﺒﻮﺩ‪ ،‬ﭼﻪﺑﺴﺎ‬ ‫ﻣﻮﺟﻮﺩﻳﺖ ﺍﻳﻦ ﻫﻨﺮ‪/‬ﺻﻨﻌﺖ ﻛﺎﻣﻼ ﺍﺯ ﺑﻴﻦ ﻣﻲﺭﻓﺖ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﻓﻀﺎﻳﻲ‪،‬‬ ‫ﺳــﺎﻝﻫﺎﻱ ﺍﻭﻝ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﺍﺯ ﻧﻈﺮ ﺣﺠﻢ ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ‬ ‫ﺧﺎﺹ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﺳــﺖ‪ .‬ﺩﻭﺭﺍﻧﻲ ﻛﻪ ﺗﻐﻴﻴﺮﺍﺕ ﺳﺮﻳﻊ ﺳﻴﺎﺳﻲ‬ ‫ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﺟﺎﻣﻌﻪ‪ ،‬ﻣﺎﻩ ﺑﻪ ﻣﺎﻩ ﺭﺥ ﻣــﻲﺩﺍﺩ‪ .‬ﭼﻬﺮﻩﻫﺎ ﻭ ﮔﺮﻭﻫﺎﻱ‬ ‫ﻣﺨﺘﻠﻒ ﺍﺯ ﻗﻄﺎﺭ ﺍﻧﻘﻼﺏ ﭘﻴﺎﺩﻩ ﻣﻲﺷــﺪﻧﺪ ﻭ ﻓﺼﻞ ﺣﺬﻑ ﺑﻮﺩ‪ .‬ﻛﺴﻲ‬ ‫ﺩﺭ ﻣﻴﺎﻧﻪ ﻗﺮﺍﺭ ﻧﺪﺍﺷﺖ‪ .‬ﺳــﻴﻨﻤﺎ ﻫﻢ ﻣﺘﺎﺛﺮ ﺍﺯ ﺁﻥ ﺷﺮﺍﻳﻂ ﺑﻮﺩ ﻫﺮﭼﻨﺪ‬ ‫ﻛﻪ ﻣﺤﺎﻓﻈﻪﻛﺎﺭﺍﻧﻪ ﻣﻲﻛﻮﺷﻴﺪ ﺑﻪ ﺳﻼﻣﺖ ﺍﺯ ﺁﻥ ﮔﺬﺭ ﻛﻨﺪ‪ .‬ﺁﻧﭽﻪ ﺩﺭ‬ ‫‪ 3‬ﺳﺎﻝ ﺍﻭﻝ ﺑﻌﺪ ﺍﺯ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﺩﺭ ﺳﻴﻨﻤﺎ ﮔﺬﺷﺖ ﻫﻢ ﺩﺭ ﺯﻣﻴﻨﻪ‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺑﺎ ﻭﻗﻮﻉ ﺍﻧﻘﻼﺏ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻋﻤﻼ ﺟﻤﻊ ﺯﻳﺎﺩﻱ ﺍﺯ ﻓﻌﺎﻻﻥ ﺳــﻴﻨﻤﺎﻳﻲ ﺩﻭﺭﺍﻥ ﮔﺬﺷﺘﻪ‪ ،‬ﺩﺭ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﺍﺯ‬ ‫ﺩﺍﻳﺮﻩ ﻓﻌﺎﻟﻴﺖ ﺣﺬﻑ ﺷــﺪﻧﺪ‪ ،‬ﺟﻤﻌﻲ ﻫﻢ ‪ -‬ﺑﻴﺸﺘﺮ ﺑﻪﻭﺍﺳﻄﻪ ﻋﻼﻗﻪ – ﻭﺍﺭﺩ ﺟﺮﻳﺎﻥ ﻓﻌﺎﻟﻴﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺷﺪﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﺟﻤﻊ ﻓﻌﺎﻟﻴﺖ ﺩﺭ ﺳــﻴﻨﻤﺎ ﺭﺍ ﺩﺭ ﺷــﺎﺧﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﭘﻴﮕﻴﺮﻱ ﻛﺮﺩﻧﺪ‪ .‬ﻋﺪﻩﺍﻱ ﺧﻮﺩ ﺑﻪ ﺧﻠﻖ ﻭ ﺁﻓﺮﻳﻨﺶ‬ ‫ﭘﺮﺩﺍﺧﺘﻨﺪ ﺍﻣﺎ ﻋﺪﻩﺍﻱ ﺩﻳﮕﺮ ﺩﺭ ﺣﻮﺯﻩ ﺗﻮﻟﻴﺪ ﻭﺍﺭﺩ ﺷﺪﻧﺪ ﻭ ﻋﻤﻼ ﺑﻪ ﺟﻤﻊ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﭘﻴﻮﺳﺘﻨﺪ؛ ﻛﺴﺎﻧﻲ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﺩﻭﺭﺍﻥ ﺍﺯ ﻣﻨﻈﺮ ﺍﻧﺘﺨﺎﺏ ﺍﻳﻦ ﻣﺴﻴﺮ ﻭ ﻭﺍﺭﺩﻛﺮﺩﻥ ﺳﺮﻣﺎﻳﻪﺍﻱ ﺩﺭ ﺍﻳﻦ ﺣﻮﺯﻩ ﻣﻨﺤﺼﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ‬ ‫ﻃﻴﻒﻫﺎﻱ ﻣﺨﺘﻠﻔﻲ ﺍﺯ ﺑﺪﻟﻜﺎﺭﺍﻥ ﻭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻧﻘﺶﻫﺎﻱ ﻓﺮﻋﻲ ﺳﻴﻨﻤﺎﻱ ﮔﺬﺷﺘﻪ ﺗﺎ ﺑﺎﺯﺍﺭﻳﺎﻥ ﻭ ﻓﻌﺎﻻﻥ ﻣﺬﻫﺒﻲ ﻭ‬ ‫ﺣﺘﻲ ﻣﺒﺎﺭﺯﺍﻥ ﺳﻴﺎﺳﻲ ﺭﺍ ﺩﺭﺑﺮ ﻣﻲﮔﺮﻓﺘﻨﺪ‪» .‬ﺳﺎﺯﻣﺎﻥ ﺳﻴﻨﻤﺎﻳﻲ ﻣﺤﻤﺪﺯﺍﺩﻩ« ﻛﻪ ﺑﻌﺪﻫﺎ ﺑﻪ ﻧﺎﻡ »ﺑﻨﻴﺎﺩ ﻫﻨﺮ ﺩﺭ‬ ‫ﺍﺳﻼﻡ« ﺑﺎ ﻧﺎﻡ ﻣﺨﻔﻒ »ﺑﻬﺪﺍ« ﺗﻐﻴﻴﺮ ﻋﻨﻮﺍﻥ ﺩﺍﺩ‪ ،‬ﻳﻜﻲ ﺍﺯ ﺍﻳﻦ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺟﺪﻳﺪ ﺑﻮﺩ‪ .‬ﺩﻓﺘﺮﻱ ﻛﻪ ﺩﺭ ﻣﺮﺩﺍﺩ ﻣﺎﻩ‬ ‫‪ 1358‬ﻣﻮﺟﻮﺩﻳﺖ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺍﻧﺘﺸﺎﺭ ﺧﺒﺮﻱ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ ﻛﻴﻬﺎﻥ ﺑﺎ ﺍﻋﻼﻡ ﺩﻋﻮﺕ ﺍﺯ ﻫﻤﻪ »ﺟﻬﺖ ﺗﺸﺮﻳﻚ ﻣﺴﺎﻋﻲ‬ ‫ﺩﺭﺯﻣﻴﻨﻪﻫﺎﻱﻫﻨﺮﻱﻭﺷﻨﺎﺳﺎﻧﺪﻥﻭﺍﻗﻌﻴﺖﻫﺎﻱﺩﻭﺭﺍﻥﺍﻧﻘﻼﺏ«ﺍﻋﻼﻡﻛﺮﺩ‪.‬ﺩﺭﺁﮔﻬﻲﺍﻋﻼﻡﻣﻮﺟﻮﺩﻳﺖﺍﻳﻦﺩﻓﺘﺮ‬ ‫ﻧﺎﻡﻫﺎﻳﻲ ﭼﻮﻥ ﺳﻴﺪﻣﺤﻤﺪ ﻣﻮﺳﻮﻱ ﺧﻮﺋﻴﻨﻲ‪ ،‬ﺳﻴﺪﺍﺑﻮﺍﻟﺤﺴﻦ ﺑﻨﻲﺻﺪﺭ ﻭ ﻋﺒﺪﺍﻟﺤﺴﻴﻦ ﻣﺤﻤﺪﺯﺍﺩﻩ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﻫﻴﺎﺕ ﻣﻮﺳﺲ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩﻧﺪ‪ .‬ﺣﻀﻮﺭ ﺍﻓﺮﺍﺩﻱ ﺍﺯ ﺑﻴﻦ ﺳﺮﺍﻥ ﺍﻧﻘﻼﺏ ﺁﻥ ﺩﻭﺭﺍﻥ ﺩﺭ ﺑﻴﻦ ﻫﻴﺎﺕﻣﻮﺳﺲ ﺑﻪ‬ ‫ﺳــﺒﺐ ﺁﺷﻨﺎﻳﻲﻫﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﮔﺮﺩﺍﻧﻨﺪﻩ ﺍﺻﻠﻲ )ﻣﺤﻤﺪﺯﺍﺩﻩ( ﺑﺎ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺩﺭ ﺩﻭﺭﺍﻥ ﺍﻧﻘﻼﺏ ﺩﺍﺷﺖ‪ .‬ﻣﺤﻤﺪﺯﺍﺩﻩ‬ ‫ﺍﺯ ﭼﻬﺮﻩﻫﺎﻱ ﺍﻧﻘﻼﺑﻲ ﺷﻬﺮ ﺍﻫﻮﺍﺯ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺍﻧﺘﺸﺎﺭ ﺟﺰﻭﺍﺕ ﻭ ﺍﻋﻼﻣﻴﻪﻫﺎ ﻭ ﺳﺨﻨﺮﺍﻧﻲﻫﺎﻱ ﭼﻬﺮﻩﻫﺎﻱ ﻣﺬﻫﺒﻲ‬ ‫ﻣﺒﺎﺭﺯ ﺩﺭ ﺍﺳــﺘﺎﻥ ﺧﻮﺯﺳــﺘﺎﻥ ﻓﻌﺎﻝ ﺑﻮﺩ ﻭ ﻣﺘﻌﺎﻗﺐ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﺩﺭ ﻧﻬﺎﺩ ﺗﺎﺯﻩﺗﺎﺳﻴﺲ ﻛﻤﻴﺘﻪﻫﺎﻱ ﺍﻧﻘﻼﺏ‬ ‫ﺍﺳــﻼﻣﻲ ﻫﻢ ﺳﻤﺘﻲ ﺩﺍﺷــﺖ‪ .‬ﺍﻭ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﺎ ﻫﺪﻑ ﻓﻌﺎﻟﻴﺖ ﺩﺭ ﺳﻴﻨﻤﺎ ﺑﺎ ﺗﺎﺳﻴﺲ ﺍﻳﻦ ﺩﻓﺘﺮ ﻓﻌﺎﻟﻴﺖ ﺧﻮﺩ‬ ‫ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﺩﻓﺘﺮ ﻣﺤﻤﺪﺯﺍﺩﻩ ﺩﺭ ﻫﻤﺎﻥ ﺳــﺎﻝ ﺍﻭﻝ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﻓﻴﻠﻢ ﻣﻌﺮﻭﻑ »ﻣﺤﻤﺪﺭﺳﻮﻝﺍﷲ« ﺭﺍ ﻭﺍﺭﺩ‬ ‫ﺍﻳﺮﺍﻥ ﻛﺮﺩ ﻛﻪ ﻧﻤﺎﻳﺸﺶ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﻓﺮﺍﻭﺍﻥ ﻣﻮﺍﺟﻪ ﺷــﺪ ﻭ ﺳﻮﺩ ﻣﻨﺎﺳﺒﻲ ﺭﺍ ﻧﺼﻴﺐ ﺩﻓﺘﺮ ﻛﺮﺩ‪ .‬ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ‬ ‫‪52‬‬ ‫ﻧﻤﺎﻳﺶ ﻭ ﻫﻢ ﺩﺭ ﺣﻴﻄــﻪ ﺍﻛﺮﺍﻥ‪ ،‬ﺁﻣﻴﺰﻩﺍﻱ ﺍﺯ ﺑﻼﺗﻜﻠﻴﻔﻲ‪ ،‬ﺑﻲﺛﺒﺎﺗﻲ ﻭ‬ ‫ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺗﻮﺟﻪ ﻭ ﺣﺴﺎﺳﻴﺖ ﺗﻮﺍﻣﺎﻥ ﻣﺨﺎﻃﺒﺎﻥ ﻭ ﻣﺴﺌﻮﻻﻥ ﻭﻗﺖ‬ ‫ﺑﻮﺩ‪ .‬ﺟﺪﺍ ﺍﺯ ﺁﻥ ﺗﺼﻤﻴﻢﮔﻴﺮﻱ ﺩﺭﺑــﺎﺭﻩ ﺣﻀﻮﺭ ﭼﻬﺮﻩﻫﺎﻱ ﻗﺪﻳﻤﻲ ﻭ‬ ‫ﻣﺸــﻬﻮﺭ ﺩﻭﺭﺍﻥ ﻗﺒﻞ ﺧﻮﺩ ﻣﻌﻀﻞ ﭘﻨﻬﺎﻧﻲ ﺑــﻮﺩ ﻛﻪ ﻫﺮﺍﺯﭼﻨﺪﻱ ﺭﺥ‬ ‫ﻣﻲﻧﻤﻮﺩ‪».‬ﺑﺮﺯﺧﻲﻫــﺎ« ﺭﻭﺍﻳﺘﻲ ﻋﻴﻨﻲ ﺍﺯ ﺁﻥ ﺭﻭﺯﻫﺎﺳــﺖ‪ .‬ﻓﻴﻠﻤﻲ‬ ‫ﻛﻪ ﻣﻨﺎﺯﻋﺎﺕ ﺩﺭﺑــﺎﺭﻩ ﺁﻥ ﺗــﺎ ﺑﺎﻻﺗﺮﻳﻦ ﻧﻬﺎﺩﻫــﺎﻱ ﺣﻜﻮﻣﺘﻲ ﭼﻮﻥ‬ ‫ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﻫﻢ ﭘﻴﺶ ﺭﻓﺖ ﻭ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺑﺮﻛﻨﺎﺭﻱ ﻭﺯﻳﺮ‬ ‫ﻭﻗﺖ ﺍﺭﺷــﺎﺩ ﺭﺍ ﻫﻢ ﻣﻬﻴﺎ ﻛﺮﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﻣﻨﻈــﺮ ﻓﻴﻠﻢ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﻱ‬ ‫ﺑﺮﺯﺧﻲﻫﺎ ﻫﻤﺮﺍﻩ ﺗﻮﻟﻴﺪ ﺩﻳﮕﺮ ﺍﻳﻦ ﺩﻓﺘﺮ ﺑﻪ ﻧﺎﻡ »ﺭﺍﻫﻲ ﺑﻪ ﺳــﻮﻱ ﺧﺪﺍ« ﻛﻪ ﺁﻥ ﻫﻢ ﺑﻪ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻰ ﺩﺭ ﻧﻴﺎﻣﺪ‪،‬‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 1358‬ﺩﺭ ﺯﻣﺎﻥ ﻣﺪﻳﺮﻳﺖ ﻣﺤﻤﺪﻋﻠﻲ ﻧﺠﻔﻲ ﺑﺮ ﺍﺩﺍﺭﻩ ﻛﻞ ﺗﺮﻭﻳﺞ ﻭ ﻧﻤﺎﻳﺶ )ﻧﻈﺎﺭﺕ ﻭ ﺍﺭﺯﺷﻴﺎﺑﻲ ﻓﻌﻠﻲ(‬ ‫ﺻﺎﺩﺭ ﺷﺪ‪ .‬ﻣﺤﻤﺪﺯﺍﺩﻩ ﺑﻪﻭﺍﺳﻄﻪ ﺷﻨﺎﺧﺘﻲ ﻛﻪ ﺍﺯ ﺍﻳﺮﺝ ﻗﺎﺩﺭﻱ ﺑﻪﻋﻨﻮﺍﻥ ﺳﻴﻨﻤﺎﮔﺮ ﻓﻌﺎﻝ ﭘﻴﺶ ﺍﺯ ﺍﻧﻘﻼﺏ ﺩﺍﺷﺘﻪ ﺍﺯ‬ ‫ﺍﻭ ﺩﻋﻮﺕ ﻣﻲﻛﻨﺪ ﻓﻴﻠﻤﻲ ﺟﺬﺍﺏ ﻭ ﺧﻮﺵ ﺳﺎﺧﺖ ﺍﻣﺎ ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﺍﻫﺪﺍﻑ ﺍﻧﻘﻼﺏ ﺩﺭ ﺩﻓﺘﺮﺵ ﺗﻮﻟﻴﺪ ﻛﻨﺪ‪ .‬ﻗﺎﺩﺭﻱ‬ ‫ﻛﻪ ﺧﻮﺩ ﺍﺯ ﺍﺩﺍﻣﻪ ﻓﻌﺎﻟﻴﺖ ﺩﺭ ﺩﻭﺭﺍﻥ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻴﻤﻨﺎﻙ ﺑﻮﺩ‪ ،‬ﺩﻋﻮﺕ ﻣﺤﻤﺪﺯﺍﺩﻩ ﺭﺍ ﺑﻪ ﻭﺍﺳﻄﻪ ﺁﺷﻨﺎﻳﻲﻫﺎﻳﺶ‬ ‫ﺑﺎ ﭼﻬﺮﻩﻫﺎﻱ ﺳﻴﺎﺳــﻲ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪ‪ ،‬ﻓﺮﺻﺖ ﻣﻨﺎﺳﺒﻲ ﺑﺮﺍﻱ ﺷﺮﻭﻉ ﺩﻭﺭ ﺟﺪﻳﺪ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﺶ ﺗﻠﻘﻲ ﻭ ﺗﻼﺵ‬ ‫ﻣﻲﻛﻨﺪ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺩﻳﮕﺮ ﭼﻬﺮﻩﻫﺎﻱ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺳﻴﻨﻤﺎﻳﻲ ﺭژﻳﻢ ﮔﺬﺷﺘﻪ ﺭﺍ ﻫﻢ ﺑﺎ ﻫﺪﻑ ﺁﺷﺘﻲ ﺁﻧﻬﺎ ﺑﺎ ﺍﻧﻘﻼﺏ ﻭ‬ ‫ﻧﻤﺎﺩﻱﺍﺯﭘﺬﻳﺮﺵﺩﻭﺭﺍﻥﺟﺪﻳﺪﺑﺎﻣﻌﻴﺎﺭﻫﺎﻱﺍﻧﻘﻼﺑﻲﻫﻤﺮﺍﻩﻛﻨﺪ‪.‬ﺍﻭﺩﺭﺍﻳﻦﺭﺍﻩﺍﺑﺘﺪﺍﺍﺯﻳﺎﺭﺩﻳﺮﻳﻨﺶﺳﻌﻴﺪﻣﻄﻠﺒﻲ‬ ‫ﺑﻪﻋﻨﻮﺍﻥﻧﻮﻳﺴﻨﺪﻩﺩﻋﻮﺕﻛﺮﺩ‪.‬ﻣﻄﻠﺒﻲﺑﺮﺍﺳﺎﺱﺑﻌﻀﻲﻭﻗﺎﻳﻊﺁﻥﻣﻘﻄﻊﻭﺍﻃﻼﻋﺎﺗﻰﻛﻪﺍﺯﻭﺯﺍﺭﺕﺧﺎﺭﺟﻪﮔﺮﻓﺘﻪ‬ ‫ﺑﻮﺩ‪ ،‬ﺩﺍﺳﺘﺎﻧﻲ ﺩﺭﺑﺎﺭﻩ ﺗﺠﺎﻭﺯﻫﺎﻱ ﻣﺮﺯﻱ ﻋﺮﺍﻕ ﺑﻪ ﺭﻭﺳﺘﺎﻫﺎﻱ ﻣﺮﺯﻱ ﺑﺎ ﺍﻟﻬﺎﻡ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻱ ﻫﻔﺖ ﺳﺎﻣﻮﺭﺍﻳﻲ ﻭ ﻫﻔﺖ‬ ‫ﺩﻻﻭﺭ ﻧﻮﺷﺖ‪ .‬ﻫﻤﺰﻣﺎﻥ ﻗﺎﺩﺭﻱ ﺑﺎ ﺍﻧﺘﺸﺎﺭ ﻣﺘﻨﻲ ﺗﻮﺑﻪﮔﻮﻧﻪ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ ﻛﻴﻬﺎﻥ ﻧﺴﺐ ﺑﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﮔﺬﺷﺘﻪﺍﺵ‬ ‫ﺍﺑﺮﺍﺯ ﭘﺸــﻴﻤﺎﻧﻲ ﻭ ﻧﺪﺍﻣﺖ ﻛﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﭘﺮﺩﺍﺧﺖ ﻧﻬﺎﻳﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﺍﺭﺍﺋﻪ ﺁﻥ ﺗﻮﺳﻂ ﻣﺤﻤﺪﺯﺍﺩﻩ ﺑﻪ ﭼﻨﺪ ﭼﻬﺮﻩ‬ ‫ﻣﻬﻢ ﻣﺴﺌﻮﻝ‪ ،‬ﺑﺎ ﺗﺎﻣﻴﻦ ﺑﻮﺩﺟﻪﺍﻱ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻱ ﺁﻥ ﺯﻣﺎﻥ‪ ،‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺩﺭ ﻫﻔﺘﻪ ﺍﻭﻝ ﻣﺮﺩﺍﺩ‬ ‫ﻣﺎﻩ ‪ 1358‬ﺑﺎﺣﻀﻮﺭ ﺟﻤﻊ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺳﺮﺷــﻨﺎﺱ ﮔﺬﺷﺘﻪ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺟﻤﻊ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ‬ ‫ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﺗﺠﺮﺑﻪ ﺣﻀﻮﺭ ﻛﻨﺎﺭ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﻧﺪﺍﺷــﺘﻨﺪ ﻭ ﻫﻤﻴﻦ ﺍﺯ ﺍﺑﺘﺪﺍ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪.‬‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﻭﺯ‪ 31‬ﺷﻬﺮﻳﻮﺭ‪ 1359‬ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺁﻏﺎﺯ ﺟﻨﮓ ﺗﺤﻤﻴﻠﻲ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﻣﻀﻤﻮﻥ‬ ‫ﻓﻴﻠــﻢ ﭘﻴﻮﻧﺪﻱ ﻛﺎﻣﻞ ﺑﺎ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺩﺍﺭﺩ ﻭ ﻫﻤﻴﻦ ﻣﻮﺟﺐ ﺗﺎﺧﻴﺮ ﺩﺭ ﻧﻤﺎﻳﺸــﺶ ﺑﻪ ﻭﺍﺳــﻄﻪ ﺍﻧﺠﺎﻡ ﺗﻐﻴﻴﺮﺍﺗﻲ‬ ‫ﺩﺭ ﺁﻥ ﺑﻪﻣﻨﻈﻮﺭ ﺟﻠﺐ ﻧﻈﺮ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻱ ﺑﺎﻧﻔﻮﺫ ﻣﺸــﻮﺭﺕ ﺩﻫﻨﺪﻩ ﺑﻪ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻣﻲﺷــﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ‬ ‫ﻳﻚ ﺳﺎﻝ ﻭ ﻧﻴﻢ ﺭﺍﻳﺰﻧﻲ‪ ,‬ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﺑﺎ ﺟﺮﺡ ﻭ ﺗﻌﺪﻳﻞﻫﺎﻳﻲ ﺗﻮﺳﻂ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻲ ﻣﻬﺪﻱ ﻛﻠﻬﺮ ﺩﺭ ﺩﻭﺭﺍﻥ‬ ‫ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﻋﺒﺪﺍﻟﻤﺠﻴﺪ ﻣﻌﺎﺩﻳﺨﻮﺍﻩ ﺻﺎﺩﺭ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺍﺳــﺖ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﻭﺍﺳــﻄﻪ ﭘﺎﻳﻪﮔﺬﺍﺭﻱ ﺍﺗﻔﺎﻗﺎﺗﻲ ﺩﺭ ﺳﻴﻨﻤﺎ ﺷﺪ ﻛﻪ‬ ‫ﺗﺎ ﻗﺒﻠﺶ ﻗﺎﺑﻞ ﺗﺼﻮﺭ ﻧﺒﻮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺣﺬﻑ ﻭ ﭘﻴﺎﺩﻩﺷــﺪﻥ ﺍﺯ ﻗﻄﺎﺭ‬ ‫ﺍﻧﻘﻼﺏ ﺭﺍ ﺑﻪ ﺍﻳﺴﺘﮕﺎﻩ ﺳﻴﻨﻤﺎ ﺭﺳﺎﻧﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺍﻛﺮﺍﻥ ﺑﺮﺯﺧﻲﻫﺎ ﺩﺭ ﺧــﺮﺩﺍﺩ ‪ ،1361‬ﭼﻨﺪﻣﺎﻩ ﺑﻌﺪ ﺍﺯﻋﺰﻝ ﺑﻨﻰﺻﺪﺭ‬ ‫ﻭ ﻣﺘﻌﺎﻗــﺐ ﺁﻥ ﺍﻧﻔﺠﺎﺭﻫــﺎﻯ ﺧﻮﻧﻴﻦ ﺩﺭ ﺣﺰﺏ ﺟﻤﻬﻮﺭﻯﺍﺳــﻼﻣﻰ‬ ‫ﻭ ﻧﺨﺴــﺖﻭﺯﻳﺮﻯ‪ ،‬ﺍﺯ ﻫﻤﺎﻥ ﺍﻭﻟﻴــﻦ ﺭﻭﺯ ﺑﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ‬ ‫ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻣﻮﺍﺟﻪ ﻣﻲﺷــﻮﺩ‪ .‬ﻫﺠﻮﻡ ﻣﺨﺎﻃﺒﺎﻥ ﺑﻪ ﻧﺤﻮﻱ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﻫﻤﺎﻥ ﺳــﻪ ﺭﻭﺯ ﺍﺑﺘﺪﺍﻱ ﻧﻤﺎﻳﺶ‪ ،‬ﺭﻛﻮﺭﺩ ﻓﺮﻭﺵ ﻳﻚ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ‬ ‫ﺍﻧﻘﻼﺏ ﺷﻜﺴﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﻫﻤﻴﻦ ﺗﻮﺟﻬﺎﺕ ﺗﻤﺎﻡ ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﻧﻬﺎﺩﻫﺎ‬ ‫ﺭﺍ ﺑﻪ ﺳــﻤﺖ ﻓﻴﻠﻢ ﺟﻠﺐ ﻣﻲﻛﻨﺪ‪ .‬ﻭﺍﻛﻨﺶﻫﺎ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﻧﺴــﺒﺖ‬ ‫ﺑﻪ ﻓﻴﻠﻢ ﺗﻨﺪ ﻭ ﻛﻮﺑﻨﺪﻩ ﺍﺳــﺖ‪ 5 .‬ﺭﻭﺯ ﺑﻌﺪ ﺍﺯ ﺷﺮﻭﻉ ﻧﻤﺎﻳﺶ ﺍﻭﻟﻴﻦ ﻧﻘﺪ‬ ‫ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ ﻛﻴﻬﺎﻥ ﻣﻨﺘﺸــﺮ ﻣﻲﺷﻮﺩ‪ .‬ﻧﻘﺪﻱ ﺑﺴــﻴﺎﺭ ﺗﻨﺪ ﻛﻪ ﺩﺭ ﺁﻥ‬ ‫ﺣﺘﻲ ﻧﺴــﺒﺖﻫﺎﻳﻲ ﺍﺯ ﻗﺒﻴﻞ »ﻫﻨﺮﺷــﻨﺎﺱﻧﻤﺎﻱ ﻏﺎﺻﺐ ﭘﺴﺖ« ﺑﻪ‬ ‫ﻣﺴﺌﻮﻻﻥ ﻓﺮﻫﻨﮕﻲ ﻛﺸﻮﺭ ﺑﻪﺩﻟﻴﻞ ﺻﺪﻭﺭ ﻣﺠﻮﺯ ﻓﻴﻠﻢ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻧﻘﺪ ﺑﻪ ﺁﻧﭽﻪ ﻧﻤﺎﻳﺶ ﭼﻬﺮﻩﻫﺎﻱ ﺳــﻴﻨﻤﺎﻳﻲ ﻣﻄﺮﻭﺩ ﮔﺬﺷﺘﻪ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﺎﺩﻫﺎﻳﻲ ﺍﺯ »ﻃﺎﻏﻮﺕ« ﺩﺭ ﻗﺎﻣﺖ ﻣﺪﺍﻓﻌﺎﻥ ﻭﻃﻦ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﺗﺠﺎﻭﺯ ﺩﺷﻤﻦ ﺧﻮﺍﻧﺪﻩ ﺷﺪﻩ ﺍﻋﺘﺮﺍﺽ ﺷﺪﻳﺪﻱ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ‬ ‫ﻧﮕﺎﻫﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪﺩﻟﻴﻞ ﺳــﺎﺧﺘﺎﺭ‪ ،‬ﻓﻴﻠﻢ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﻣﻨﺘﻘﻞ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺁﻥﭼﻨﺎﻥ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ ﺍﺗﻔﺎﻗﺎﺕ ﻓﻴﻠﻢ ﺭﻭﺍﻳﺘﻲ ﺍﺯ ﺟﻨﮓ ﺩﺭ ﺣﺎﻝ‬ ‫ﺍﻧﺠﺎﻡ ﺍﺳﺖ‪ .‬ﻣﻄﻠﺐ ﻓﻮﻕ ﺑﺎ ﺁﻧﻜﻪ ﺑﺪﻭﻥ ﻧﺎﻡ ﻧﻮﻳﺴﻨﺪﻩ ﻣﻨﺘﺸﺮ ﻣﻲﺷﻮﺩ‪،‬‬ ‫ﺍﻣﺎ ﺑﺴﻴﺎﺭﻱ ﻧﺎﻡ ﺣﻮﺯﻩ ﺍﻧﺪﻳﺸــﻪ ﻭ ﻫﻨﺮ ﺍﺳﻼﻣﻲ ﻭ ﺩﺭ ﺭﺍﺳﺶ ﻣﺤﺴﻦ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻣﻐﺰ ﻣﺘﻔﻜﺮ ﭘﺸﺖ ﺟﺮﻳﺎﻥ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﻧﻤﺎﻳﺶ‬ ‫ﻓﻴﻠﻢ ﻣﻄﺮﺡ ﻣﻲﻛﻨﻨﺪ‪ .‬ﭼﻬﺮﻩﺍﻱ ﻛﻪ ﺩﺭ ﺩﻭﻣﻴﻦ ﺟﻤﻌﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﺳــﺮﺩﻣﺪﺍﺭ ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﺍﻛﺮﺍﻥ ﺁﻥ ﺑﺎﺣﻀﻮﺭ ﺩﺭ ﻧﻤﺎﺯﺟﻤﻌﻪ ﻭ‬ ‫ﺗﻬﻴﻪ ﺗﻮﻣﺎﺭ ﺍﻋﺘﺮﺍﺿﻲ ‪ 18‬ﻣﺘﺮﻱ ﺧﻄﺎﺏ ﺑﻪ ﻭﺯﻳﺮ ﻭﻗﺖ ﺍﺭﺷﺎﺩ ﺍﻗﺪﺍﻡ ﺑﻪ‬ ‫ﺭﺍﻩﺍﻧــﺪﺍﺯﻱ ﺭﺍﻫﭙﻴﻤﺎﻳﻲ ﺍﻋﺘﺮﺍﺿﻲ ﺑﻌﺪ ﺍﺯ ﻧﻤﺎﺯ ﻣﻲﻛﻨﺪ ﻛﻪ ﺩﺭ ﺟﺮﻳﺎﻥ‬ ‫ﺁﻥ ﺑﻪ ﭼﻨﺪ ﺳﻴﻨﻤﺎﻱ ﺩﺭ ﺭﺍﻩ ﻛﻪ ﺑﺮﺯﺧﻲﻫﺎ ﺭﺍ ﻧﻤﺎﻳﺶ ﻣﻲﺩﻫﻨﺪ‪ ،‬ﺣﻤﻠﻪ‬ ‫ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻭ ﺑﺎﻻﮔﺮﻓﺘﻦ ﺍﻋﺘﺮﺍﺽﻫﺎ ﺳﺮﺍﻧﺠﺎﻡ ﻣﻨﺠﺮ ﺑﻪ ﺗﻮﻗﻒ‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ ‪ 12‬ﺭﻭﺯ ﻣﻲﺷــﻮﺩ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺩﺭ ﻫﻤﻴﻦ ﻣﺪﺕ‬ ‫ﺭﻛﻮﺭﺩ ﻓﺮﻭﺵ ﻓﻴﻠﻢ ﺩﺭ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺷﻜﺴﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﭘﺲ‬ ‫ﺍﺯ ﺗﻮﻗﻒ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻫﻤﭽﻨﺎﻥ ﻣﻮﺝ ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻻﺕ ﺍﻧﺘﻘﺎﺩﻱ ﻋﻠﻴﻪ‬ ‫ﻓﻴﻠﻢ ﺍﺩﺍﻣﻪ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ ﻭ ﺣﺘﻲ ﺭﻭﺯﻧﺎﻣﻪ ﺍﻃﻼﻋﺎﺕ ﺍﻗﺪﺍﻡ ﺑﻪ ﺍﻧﺘﺸــﺎﺭ‬ ‫ﻣﻄﻠﺒﻲ ﺑﺎ ﺍﻣﻀﺎﻱ ﺣﻮﺯﻩ ﺍﻧﺪﻳﺸﻪ ﻭ ﻫﻨﺮ ﺍﺳﻼﻣﻲ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ‬ ‫ﻫﻢ ﺑﻪ ﻣﺼﺎﺣﺒﻪﻫﺎﻱ ﺁﺗﺸــﻴﻨﺶ ﻋﻠﻴﻪ ﻓﻴﻠﻢ ﻭ ﻣﺴﺌﻮﻻﻥ ﺍﺭﺷﺎﺩ ﺍﺩﺍﻣﻪ‬ ‫ﻣﻲﺩﻫﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻌﺪ ﺍﺯ ﺑﺮﺯﺧﻲﻫﺎ ﺷﺎﻫﺪ ﺍﻛﺮﺍﻥ ﺍﻭﻟﻴﻦ‬ ‫ﻓﻴﻠﻢ ﻣﺤﺼﻮﻝ ﺣﻮﺯﻩ ﺍﻧﺪﻳﺸﻪ ﻭ ﻫﻨﺮ ﺍﺳﻼﻣﻲ ﺑﺎ ﻧﺎﻡ »ﺗﻮﺟﻴﻪ« ﻫﺴﺘﻴﻢ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻮﻳﺴــﻨﺪﻩ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ‬ ‫ﺳــﺮﺍﻧﺠﺎﻡ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﻭﺍﺭﺩ ﻣﻲﺷﻮﻧﺪ ﻭ ﺑﺎ ﺍﻧﺘﺸــﺎﺭ ﺟﻮﺍﺑﻴﻪﺍﻱ‬ ‫ﺗﻮﺿﻴﺤﺎﺗــﻲ ﺩﺭ ﻗﺎﻟﺐ ﺫﻛﺮ ﺳــﻮﺍﺑﻖ ﺍﻧﻘﻼﺑــﻲ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻭ ﺟﺮﻳﺎﻥ‬ ‫ﺗﻮﻟﻴﺪ ﻭ ﻫﺪﻑ ﻏﺎﻳﻲ ﻓﻴﻠﻢ ﺑﻴﺎﻥ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺸــﺎﺭ ﺍﻳﻦ ﺟﻮﺍﺑﻴﻪ‬ ‫ﻭﺯﻳﺮ ﺍﺭﺷــﺎﺩ ﻭﻗﺖ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﺳــﻜﻮﺗﻰ ﭼﻨﺪ ﻫﻔﺘﻪﺍﻯ ﻭﺍﺭﺩ ﻣﻨﺎﺯﻋﻪ‬ ‫ﻣﻲﺷــﻮﺩ ﻭ ﺑﺎ ﺩﻓﺎﻉ ﺍﺯ ﭘﺮﻭﺍﻧــﻪ ﻧﻤﺎﻳﺶ ﺻﺎﺩﺭﻩ ﺑــﺮﺍﻱ ﻓﻴﻠﻢ ﻋﻤﻠﻜﺮﺩ‬ ‫ﻣﺨﺎﻟﻔــﺎﻥ ﺭﺍ ﺍﻗﺪﺍﻣﻲ ﺑﺮﺍﻱ ﺯﻳﺮﺳــﻮﺍﻝ ﺑــﺮﺩﻥ ﺗﺼﻤﻴﻤﺎﺕ ﻧﻬﺎﺩﻫﺎﻱ‬ ‫ﻣﺴﺌﻮﻝ ﻛﺸﻮﺭ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺨﺎﻟﻔﺎﻥ ﺍﻣﺎ ﻇﺎﻫﺮﺍ ﻗﺪﺭﺕ ﺑﻴﺸﺘﺮﻱ‬ ‫ﺩﺍﺭﻧﺪ‪ ،‬ﺁﻥﭼﻨﺎﻥ ﻛﻪ ﺳــﺮﺍﻧﺠﺎﻡ ﻭﺯﻳﺮ ﻣﺠﺒﻮﺭ ﺑﻪ ﺍﺳــﺘﻌﻔﺎ ﻣﻲﺷﻮﺩ ﻭ‬ ‫ﻣﺴﺌﻮﻻﻥ ﺳــﻴﻨﻤﺎﻳﻲ ﻫﻢ ﻫﻤﮕﻲ ﺗﻐﻴﻴﺮ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻫﻢ‬ ‫ﺑﺎ ﺳــﺮﺧﻮﺭﺩﮔﻲ‪ ،‬ﺍﺯ ﺟﺮﻳﺎﻥ ﺳــﻴﻨﻤﺎ ﻛﻨﺎﺭﻩﮔﻴﺮﻱ ﻣﻲﻛﻨﺪ ﻭ ﻗﺎﺩﺭﻱ‬ ‫ﻫﻢ ﺑﻌﺪ ﺍﺯ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﭼﻨﺪ ﻓﻴﻠﻢ‪ ،‬ﺍﺟﺎﺯﻩ ﻓﻌﺎﻟﻴﺖ ﻧﻤﻲﻳﺎﺑﺪ ﻭ ﺍﺯ ﮔﺮﻭﻩ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﻫﻢ ﺗﻌﺪﺍﺩﻱ ﭼﻮﻥ ﻣﺤﻤﺪﻋﻠﻲ ﻓﺮﺩﻳﻦ ﻭ ﻧﺎﺻﺮ ﻣﻠﻚﻣﻄﻴﻌﻲ‬ ‫ﺍﺯ ﻓﻌﺎﻟﻴﺖ ﻣﻨﻊ ﻣﻲﺷﻮﻧﺪ ﻭ ﺟﻤﻊ ﺩﻳﮕﺮﻱ ﭼﻮﻥ ﺳﻌﻴﺪ ﺭﺍﺩ ﻫﻢ ﺑﻌﺪ ﺍﺯ‬ ‫ﺑﺎﺯﻱ ﺩﺭ ﭼﻨﺪ ﻓﻴﻠﻢ‪ ،‬ﻣﺠﺒﻮﺭ ﺑﻪ ﻛﻨﺎﺭﻩﮔﻴﺮﻱ ﺍﺯ ﺳﻴﻨﻤﺎ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺑﺮﺯﺧﻲﻫﺎ ﻧﻤــﺎﺩﻱ ﺍﺯ ﺩﻭﺭﺍﻥ ﺑﻲﺛﺒﺎﺗــﻲ ﻭ ﺑﻼﺗﻜﻠﻴﻔﻲ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ‬ ‫ﻓﺮﻫﻨﮕﻲ ﺩﻭﺭﺍﻥ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﺳــﺖ‪ .‬ﺩﻭﺭﺍﻧﻲ ﻛــﻪ ﻫﻨﻮﺯ ﻧﻬﺎﺩﻫﺎﻱ‬ ‫ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻭ ﺳــﺎﺯ ﻭ ﻛﺎﺭ ﻋﻤﻠﻜﺮﺩ ﺁﻧﻬﺎ ﺩﺭ ﺳــﻴﻨﻤﺎ ﻣﺸــﺨﺺ ﻧﺒﻮﺩ‪.‬‬ ‫ﻣﻮﺿﻮﻋﻲ ﻛﻪ ﺣﺘﻲ ﺑﺨﺶﻫﺎﻱ ﺩﻳﮕﺮ ﻣﺪﻳﺮﻳﺘﻲ ﻛﺸــﻮﺭ ﻫﻢ ﺩﺭﮔﻴﺮ‬ ‫ﺁﻥ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺗﻤﺎﺷــﺎﻱ ﺑﺮﺯﺧﻲﻫﺎ ﺍﻣﺮﻭﺯ ﻣﻤﻜﻦ ﺍﺳــﺖ ﺑﺮﺍﻱ ﻋﺪﻩﺍﻱ ﺣﺘﻲ ﻗﺎﺑﻞ‬ ‫ﺗﺤﻤﻞ ﻧﺒﺎﺷﺪ ﺍﻣﺎ ﺗﻤﺎﺷــﺎﮔﺮ ﺩﻳﺮﻭﺯ ﺑﺎ ﻭﻟﻊ ﺑﻪ ﺗﻤﺎﺷﺎﻳﺶ ﻣﻲﻧﺸﺴﺖ‬ ‫ﭼﺮﺍﻛــﻪ ﻗﻬﺮﻣﺎﻧﺎﻧﻲ ﺭﺍ ﻣﻲﺩﻳﺪ ﻛﻪ ﻗﺎﻟﺒﻲ ﺟﺪﻳﺪ ﻳﺎﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺷــﺎﻳﺪ‬ ‫ﺑــﺮﺍﻱ ﺁﻧﻬﺎ ﺩﻳﺪﻥ ﻓﺮﺩﻳﻦ ﺩﺭ ﻗﺎﻣﺖ ﻳﻚ ﻛﺪﺧﺪﺍﻱ ﺧﺪﺍﺟﻮ ﻛﻪ ﻣﻈﻬﺮ‬ ‫ﻣﻘﺎﻭﻣﺖ ﺭﻭﺳﺘﺎﻳﻴﺎﻥ ﻭ ﻓﺮﺍﺭﻳﺎﻥ ﺍﺳــﺖ‪ ،‬ﻗﺎﺑﻞ ﺑﺎﻭﺭ ﺑﻮﺩ ﺍﻣﺎ ﭼﻬﺮﻩﻫﺎﻱ‬ ‫ﺗﻨﺪﻭﺭﻱ ﺍﻧﻘﻼﺑﻲ ﺁﻥ ﺭﺍ ﺑﺮ ﻧﻤﻲﺗﺎﻓﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺍﺻﺮﺍﺭ ﺩﺍﺷﺘﻨﺪ ﺭﻭﺍﻳﺖ ﺧﻮﺩ‬ ‫ﺭﺍ ﺍﺯ ﺍﻳﻦ ﻣﻀﺎﻣﻴﻦ ﺍﺭﺍﺋﻪ ﺩﻫﻨﺪ‪ .‬ﻓﻴﻠــﻢ ﻫﺮﭼﻨﺪ ﺍﺯ ﻧﻈﺮ ﻭﺟﻮﻩ ﻛﻴﻔﻲ ﻭ‬ ‫ﺗﻜﻨﻴﻜﻲ ﻣﺸــﺨﺼﻪ ﻭﻳﮋﻩﺍﻱ ﺑﻪ ﻏﻴﺮ ﺍﺯ ﭘﺮﺩﺍﺧﺖ ﭼﻨﺪ ﺻﺤﻨﻪ ﺟﻨﮕﻲ‬ ‫ﻛﻪ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﺗﺠﺮﺑﻪ ﻧﺸﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﺪﺍﺭﺩ ﺍﻣﺎ ﺑﻪ ﺳﺒﺐ ﻣﺸﺨﺼﻪ ﺑﻴﺮﻭﻧﻲ‬ ‫ﺍﺻﻠﻲﺍﺵ ﻛﻪ ﻫﻤﺎﻥ ﺗﻼﺵ ﭼﻬﺮﻩﻫﺎﻱ ﺳــﻴﻨﻤﺎﻳﻲ ﺭژﻳﻢ ﮔﺬﺷــﺘﻪ‬ ‫ﺑﺮﺍﻱ ﻫﻤﺮﺍﻫﻲ ﺑﺎ ﻣﻮﺝ ﺍﻧﻘﻼﺏ ﺑﻮﺩ‪ ،‬ﻗﺎﺑﻞ ﺗﺎﻣﻞ ﺍﺳــﺖ‪ .‬ﺍﻗﺪﺍﻣﻲ ﻛﻪ ﺑﺎ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻭ ﻣﺴﺌﻮﻻﻥ ﻭﻗﺖ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ ﺍﻣﺎ ﻻﻳﻪﻫﺎﻱ‬ ‫ﺗﻨﺪﺭﻭ ﺁﻥ ﺭﺍ ﺑﺮﻧﻤﻲﺗﺎﺑﻨﺪ ﻭ ﻣﻘﺎﺑﻠﺶ ﻣﻲﺍﻳﺴــﺘﻨﺪ ﻫﺮﭼﻨﺪ ﻛﻪ ﺑﻌﺪﻫﺎ‬ ‫ﻣﺸﺨﺺ ﺷﺪ ﺻﺪﻭﺭ ﺍﺟﺎﺯﻩ ﻓﻌﺎﻟﻴﺖ ﺑﺮﺍﻱ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻗﺪﻳﻤﻲ ﺍﺯ ﻣﻈﻠﻮﻡ‬ ‫ﻧﻤﺎ ﺷــﺪﻥ ﺁﻧﻬﺎ ﺟﻠﻮﮔﻴﺮﻱ ﻣﻲﻛﻨﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻲ ﻫﻢ ﺣﺘﻲ ﻣﻤﻜﻦ‬ ‫ﺍﺳــﺖ ﻣﻨﺠﺮ ﺑﻪ‪ ،‬ﺑﻪ ﻓﺮﺍﻣﻮﺷﻲ ﺳﭙﺮﺩﻩ ﺷﺪﻥ ﺁﻧﻬﺎ ﺷﻮﺩ‪ .‬ﺁﻥ ﭼﻨﺎﻥ ﻛﻪ‬ ‫ﻫﻢﺍﻛﻨﻮﻥ ﺩﺭﺑﺎﺭﻩ ﻗﺎﺩﺭﻱ ﻗﺎﺑﻞ ﻣﺸﺎﻫﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻠﻘﻲ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ‬ ‫ﺍﺯ ﺁﻧﭽﻪ ﻧﺎﻡ ﻫﻤﺮﺍﻫﻲ ﻣﻠﻲ ﺩﺭ ﺩﻓﺎﻉ ﺍﺯ ﻛﻴﺎﻥ ﻛﺸﻮﺭ ﺑﻬﺘﺮﻳﻦ ﺗﻌﺒﻴﺮﺵ‬ ‫ﺑﻮﺩ‪ ،‬ﺁﻥ ﺯﻣﺎﻥ ﺗﺤﻤﻞ ﻧﺸﺪ‪ .‬ﮔﻮﻳﻲ ﻋﺪﻩﺍﻱ ﺣﻀﻮﺭ ﺩﺭ ﺟﻨﮓ ﻭ ﺩﻓﺎﻉ ﺭﺍ‬ ‫ﻣﺨﺘﺺ ﺟﻤﻊ ﺧﺎﺻﻲ ﻣﻲﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﻧﻜﺘﻪﺍﻱ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﻣﻨﺎﺯﻋﺎﺕ‬ ‫ﺩﺭﺑﺎﺭﻩﺍﺵ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪.‬‬ ‫ﺑﺮﺯﺧﻲﻫﺎ ﺍﺯ ﻣﻨﻈﺮﻱ ﺩﻳﮕﺮ ﺍﻣﺎ ﻳﺎﺩﺁﻭﺭ ﺳــﻨﺘﻲ ﺍﺳــﺖ ﻛﻪ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺣﻀﻮﺭ ﺩﺍﺭﺩ؛ ﺯﻳﺮﺳــﻮﺍﻝ ﺭﻓﺘﻦ ﻣﺠﻮﺯﻫﺎﻱ ﺭﺳﻤﻲ ﺣﻜﻮﻣﺘﻲ ﺗﻮﺳﻂ‬ ‫ﮔﺮﻭﻩﻫﺎﻱ ﻣﺨﺘﻠﻒ‪ .‬ﺻﺤﺒﺖﻫﺎﻱ ﻭﺯﻳﺮ ﺍﺭﺷــﺎﺩ ﻭﻗﺖ ﺩﺭ ﻣﺨﺎﻟﻔﺖ ﺑﺎ‬ ‫ﺍﻗﺪﺍﻣــﺎﺕ ﻣﺨﺎﻟﻔﺎﻥ ﻛــﻪ ﺩﺭ ﻣﻘﻄﻊ ﺍﻛﺮﺍﻥ ﺑﻴﺎﻥ ﺷــﺪ ﮔﻮﺍﻫﻲ ﺑﺮ ﺍﻳﻦ‬ ‫ﻣﺪﻋﺎﺳﺖ ﺯﻣﺎﻧﻲ ﻛﻪ ﮔﻔﺖ‪» :‬ﻣﻲﺧﻮﺍﺳﺘﻢ ﺍﻣﻀﺎﻳﻲ ﺭﺍ ﻛﻪ ﻧﻈﺎﻡ ﺩﺍﺩﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﻣﻌﺘﺒﺮ ﺑﻤﺎﻧﺪ‪«.‬‬ ‫ﺑﺮﺯﺧﻲﻫﺎ ﺩﺭ ﺗﺎﺭﻳﺦ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻧﻘﻄﻪ ﺍﻧﻔﺼﺎﻝ ﻛﺎﻣﻞ ﺳﻴﻨﻤﺎﻱ‬ ‫ﻗﺒﻞ ﺑﺎ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪ ﺍﺳﺖ‪ .‬ﺳﻴﻨﻤﺎﻳﻲ ﺟﺪﻳﺪ ﺑﺎﻳﺪ ﺗﻌﺮﻳﻒ ﻣﻲﺷﺪ ﻛﻪ‬ ‫ﺗﻤﺎﻡ ﺑﺨﺶﻫﺎﻳﺶ ﻛﻨﺘﺮﻝ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﺍﺳﺖ ﻛﻪ ﺳﻴﻨﻤﺎﻱ‬ ‫ﻧﻮﻳﻦ ﺑﺮ ﺍﺛﺮ ﺍﻧﺘﻈﺎﺭﺍﺕ ﺍﺟﺘﻤﺎﻋﻲ ﺷﻜﻞ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺳﻴﻨﻤﺎﻳﻲ ﻛﻪ ﻭﺭﻭﺩ‬ ‫ﺑﻪ ﻣﻀﺎﻣﻴﻦ ﺧﺎﺻﺶ ﺩﺭ ﺻﻼﺣﻴﺖ ﻫﻤﻪ ﻧﺒﻮﺩ‪.‬‬ ‫ﻳﺎﺩﺩﺍﺷﺖ‬ ‫ﺍﻳﻦ ﻧﺎﻡ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺑﺴﭙﺎﺭﻳﺪ‬ ‫ﻋﻠﻴﺮﺿﺎ ﻣﺤﻤﻮﺩﻱ‬ ‫ﺑﺮﺯﺧﻲﻫﺎ ﺣﺎﺻﻞ ﺗﻼﺵ ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﻳﻚ ﻓﻴﻠﻢ ﺍﻳﺮﺍﻧﻲ ﺑﺎ ﻣﻮﻟﻔﻪﻫﺎﻱ‬ ‫ﻭﺳﺘﺮﻥ ﺍﺳــﭙﺎﮔﺘﻲ ﺍﺳــﺖ ﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺍﮔﺮﭼﻪ ﺍﻭﻟﻴﻦ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺑﺪﻭﻥ‬ ‫ﺷﻚ ﻣﻮﻓﻖﺗﺮﻳﻦ ﺍﺳــﺖ‪ .‬ﻣﻮﻓﻘﻴﺖ ﻓﻴﻠﻢ ﻛﻪ ﺩﺭ ﺍﺳﺘﻘﺒﺎﻝ ﻣﻴﻠﻴﻮﻧﻲ ﺍﺯ ﺁﻥ‬ ‫ﻣﺘﺒﻠﻮﺭ ﺷﺪ‪ ،‬ﺣﺎﺻﻞ ﺗﺮﻛﻴﺐ ﺳﻪ ﻭﻳﮋﮔﻲ ﻣﻬﻢ ﺍﺳﺖ؛ ﺍﺳﺘﻔﺎﺩﻩ ﺧﻼﻗﺎﻧﻪﺗﺮ‬ ‫ﺍﺯ ﻛﻠﻴﺸﻪﻫﺎ‪ ،‬ﻣﺮﺍﺟﻌﻪ ﺑﻪ ﻇﺮﻓﻴﺖﻫﺎﻱ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻭ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺩﺭﻭﻧﻲ ﺑﺎ ﺣﺲ ﻭ ﺣﺎﻝ ﺯﻣﺎﻧﻪ‪ .‬ﭘﻴﺶ ﺍﺯ ﺑﺮﺯﺧﻲﻫﺎ‪ ،‬ﻓﻴﻠﻤﺴــﺎﺯﺍﻥ ﺩﻳﮕﺮﻱ‬ ‫ﺑﺮﺍﻱ ﺧﻠﻖ ﻭﺳﺘﺮﻥﻫﺎﻱ ﺍﺳــﭙﺎﮔﺘﻲ ﺍﻳﺮﺍﻧﻲ ﺩﺳﺖ ﺑﻪ ﺧﻠﻖ ﺁﺛﺎﺭﻱ ﺯﺩﻧﺪ‪.‬‬ ‫ﺩﺷﺖﺳــﺮﺥ )ﺣﻜﻤﺖﺁﻗﺎ ﻧﻴﻜﻴﺎﻥ( ﻭ ﺗﻚﺗﺎﺯﺍﻥ ﺻﺤﺮﺍ )ﺍﺣﻤﺪ ﺻﻔﺎﻳﻲ(‬ ‫ﻛﻪ ﻫﺮ ﺩﻭ ﺩﺭ ﺳــﺎﻝ ‪1374‬ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪﻧــﺪ‪ ،‬ﻧﻤﻮﻧﻪﻫﺎﻳﻲ ﺍﺯ ﺗﻼﺵ‬ ‫ﺍﺳﺘﻮﺩﻳﻮﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﻭﺳﺘﺮﻥﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﺑﻮﺩﻧﺪ‪ .‬ﺳﺮﻧﻮﺷﺖ‬ ‫ﺍﻳــﻦ ﺩﻭ ﺍﺛﺮ ﻛﻪ ﺁﺛﺎﺭﻱ ﺷﻜﺴــﺖﺧﻮﺭﺩﻩ ﻭ ﻧﺎﻛﺎﻡ ﺗﻠﻘﻲ ﻣﻲﺷــﻮﻧﺪ‪ ،‬ﺑﺮﺍﻱ‬ ‫ﺳﻨﺎﺭﻳﺴﺖﺑﺎﺗﺠﺮﺑﻪﺍﻱﭼﻮﻥﺳﻌﻴﺪﻣﻄﻠﺒﻲﺍﻳﻦﺭﻫﺎﻭﺭﺩﺭﺍﺩﺍﺷﺖﻛﻪﺑﺮﺍﻱ‬ ‫ﺳﺎﺧﺖﻳﻚﻭﺳﺘﺮﻥﺍﻳﺮﺍﻧﻲﺑﺎﻳﺪﻣﻨﻄﻖﺭﻭﺍﻳﻲﻭﺟﻬﺎﻥﺩﺍﺳﺘﺎﻧﻲﻣﺘﻨﺎﺳﺒﻲ‬ ‫ﺧﻠﻖﻛﺮﺩ‪.‬ﺍﻳﻦﺁﺛﺎﺭﺍﮔﺮﻧﺘﻮﺍﻧﺴﺘﻨﺪﺟﺎﻳﻲﺩﺭﺭﻭﺯﻣﺮﮔﻲﻣﺨﺎﻃﺒﺎﻥﺑﺎﺯﻛﻨﻨﺪ‪،‬‬ ‫ﺑﻪﺍﻳﻦﺩﻟﻴﻞﺑﻮﺩﻛﻪﺑﺎﺩﻧﻴﺎﻱﻗﺎﺑﻞﻓﻬﻢﺗﻤﺎﺷﺎﮔﺮﺍﻳﺮﺍﻧﻲﻓﺮﺳﻨﮓﻫﺎﻓﺎﺻﻠﻪ‬ ‫ﺩﺍﺷﺘﻨﺪ‪.‬ﻣﺮﺩﻡﻓﺮﺩﻳﻦﺭﺍﺑﺎﺁﻥﻫﻤﻪﻣﻘﺒﻮﻟﻴﺖﺩﺭﻟﺒﺎﺱﻛﻼﻧﺘﺮﺩﻧﻮﺭﺳﻴﺘﻲ‬ ‫)ﻣﺮﺩﺍﻧﻪﺑﻜﺶ‪ /‬ﻭ ﺣﺎﻻ ﺭﻭﺣﺖ ﺭﺍ ﺑﻪ ﺧﺪﺍ ﺑﺴــﭙﺎﺭ‪ -‬ﻣﺎﻳﻠﺰ ﺩﻳﻦ‪ /‬ﺩﻳﻤﻮﻓﻴﻠﻮ‬ ‫ﻓﻲﺩﺍﻧﻲ‪ (1374-‬ﭘﺲ ﺯﺩﻧﺪ‪ ،‬ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ ﻫﻔﺖﺗﻴﺮﻛﺸﻲ ﺷﺎﻧﺪﺭﻣﻨﻲ ﻭ‬ ‫ﺗﻴﺮﭘﺮﺍﻧﻲﺷﺎﻫﻴﻦ‪ .‬ﺑﺎﭼﻨﻴﻦﭘﻴﺶﻓﺮﺿﻲ‪،‬ﻣﻄﻠﺒﻲﺭﻭﻳﺪﺍﺩﻫﺎﻱﻣﺴﺘﻨﺪﻱ‬ ‫ﻛﻪ ﺗﻤﺎﺷﺎﮔﺮ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭﻙ ﻣﻲﻛﻨﺪ‪ ،‬ﺩﺭ ﻗﺎﻟﺐ ﺩﺍﺳﺘﺎﻧﻲ ﺑﺎﺭﻫﺎ ﮔﻔﺘﻪ ﺷﺪﻩ ﻭ‬ ‫ﻣﻀﻤﻮﻧﻲﻫﻤﻪﻓﻬﻢﻋﺮﺿﻪﻣﻲﻛﻨﺪ‪.‬ﮔﺸﻮﺩﻥﺩﺭﺯﻧﺪﺍﻥﻫﺎ‪،‬ﺍﻓﺘﺎﺩﻥﺍﺳﻠﺤﻪ‬ ‫ﭘﺎﺩﮔﺎﻥﻫﺎ ﺑﻪ ﺩﺳﺖ ﻣﺮﺩﻡ ﻋﺎﺩﻱ‪ ،‬ﻓﺮﺍﺭ ﺳﺮﺑﺎﺯﺍﻥ ﺍﺯ ﭘﺎﺩﮔﺎﻥﻫﺎ‪ ،‬ﺗﻬﺪﻳﺪﺍﺕ‬ ‫ﺍﺭﺿﻲﻭﻣﻘﺎﺑﻠﻪﻣﺮﺯﻧﺸﻴﻨﺎﻥﺑﺎﻣﺘﺠﺎﻭﺯﺍﻥﻫﻤﻪﺑﺮﺍﻱﺗﻤﺎﺷﺎﮔﺮﺍﻥﺁﻥﺳﺎﻝﻫﺎ‬ ‫ﻗﺎﺑﻞ ﻟﻤﺲ ﺑﻮﺩ‪ .‬ﻣﻄﻠﺒﻲ ﺩﺍﺳﺘﺎﻥ ﻫﻔﺖ ﺳﺎﻣﻮﺭﺍﺋﻲ ﻭ ﻫﻔﺖﺩﻻﻭﺭ ﺭﺍ ﺑﺎ ﻳﻚ‬ ‫ﺗﻐﻴﻴﺮ ﻛﻮﭼﻚ ﺑﺎﺯﻧﻮﻳﺴﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺗﺒﻬﻜﺎﺭﺍﻥ ﺑﺮﺍﻱ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻣﺘﺠﺎﻭﺯﺍﻥ‬ ‫ﺍﺳﺘﺨﺪﺍﻡ ﻧﻤﻲﺷﻮﻧﺪ‪ ،‬ﻣﺘﺤﻮﻝ ﻣﻲﺷﻮﻧﺪ؛ ﺁﻥ ﻫﻢ ﺑﺮﺍﻱ ﺩﻓﺎﻉ ﻛﻴﺎﻥ ﻭﻃﻦ‬ ‫ﻛﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻋﻤﻮﻣــﻲ ﻣﻔﻬﻮﻣﻲ ﻛﻠﻴﺪﻱ ﻭ ﺩﺭ ﺁﻥ ﺳــﺎﻝﻫﺎ ﻛﻠﻤﻪﺍﻱ‬ ‫ﺳﺮﺷﺎﺭ ﺍﺯ ﻫﻴﺠﺎﻥ ﻭ ﺷــﻮﺭ ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﺳﻤﺎﻥ ﺑﺮﺯﺧﻲﻫﺎ ﺑﺮﺍﻱ ﻫﺮ ﺳﺘﺎﺭﻩﺍﻱ‬ ‫ﻧﻘﺸﻲ ﻣﺘﻨﺎﺳﺐ ﺑﺎ ﺷﻤﺎﻳﻞ ﻛﻠﻲ ﺁﻥ ﺑﺎﺯﻳﮕﺮ ﺧﻠﻖ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺤﻤﺪﻋﻠﻲ‬ ‫ﻓﺮﺩﻳــﻦ ﺩﺭ ﻧﻘﺶ ﻣﺮﺩﻱ ﻛــﻪ ﭼﻴﺰﻱ ﺑﺮﺍﻳﺶ ﺑﺎﻻﺗﺮ ﺍﺯ ﻣﺴــﺌﻮﻟﻴﺖﻫﺎﻱ‬ ‫ﺍﻧﺴﺎﻧﻲ ﻧﻴﺴﺖ‪ ،‬ﻧﺎﺻﺮ ﻣﻠﻚ ﻣﻄﻴﻌﻲ ﺩﺭ ﻟﺒﺎﺱ ژﺍﻧﺪﺍﺭﻣﻲ ﻛﻪ ﻗﻮﺍﻋﺪ ﺍﻧﺴﺎﻧﻲ‬ ‫ﺑﺮﺍﻳﺶ ﻣﻬﻤﺘﺮ ﺍﺯ ﺷــﺮﺍﻳﻂ ﺭﻭﺯﮔﺎﺭ ﺍﺳــﺖ‪ .‬ﺍﻳﺮﺝ ﻗﺎﺩﺭﻱ ﺗﺒﻬﻜﺎﺭﻱ ﻛﻪ ﺩﺭ‬ ‫ﻧﻬﺎﻳﺖ ﻋﺎﻃﻔﻪﺍﺵ ﺑﺮ ﺳﺒﻌﻴﺘﺶ ﭼﻴﺮﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺳﻌﻴﺪ ﺭﺍﺩ ﺧﻮﻧﺴﺮﺩ ﻭ ﺑﺎ‬ ‫ﻣﻬﺎﺭﺕ ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﭘﺮﺷــﻮﺭ ﻭ ﺑﺎ ﺣﺮﺍﺭﺕ‪ .‬ﺩﺭ ﻛﻨﺎﺭ ﺍﻳﻦ ﺳﺘﺎﺭﮔﺎﻥ‪ ،‬ﮔﻮﺷﻪ‬ ‫ﭼﺸﻤﻲ ﻫﻢ ﺑﻪ ﺧﻮﺍﺳــﺘﻪﻫﺎﻱ ﺩﻳﮕﺮ ﺗﻤﺎﺷﺎﮔﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺟﺮﺍﻱ ﻓﻴﻠﻢ‬ ‫ﭼﻴﺰﻱ ﻓﺮﺍﺗﺮ ﺍﺯ ﻛﺎﺭﻫﺎﻱ ﻗﺒﻠﻲ ﻗﺎﺩﺭﻱ ﻧﻴﺴــﺖ‪ .‬ﻗﺎﺩﺭﻱ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ‬ ‫ﺑﺎﺯﻳﮕﺮ ﻧﻴﺴﺖ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻣﻲﻛﻨﺪ‪ ،‬ﺗﺴﻠﻂ ﺑﻴﺸﺘﺮﻱ ﺑﺮ ﺻﺤﻨﻪ ﺩﺍﺭﺩ‪ .‬ﺩﺭ‬ ‫ﻓﻴﻠﻢﻫﺎﻳﻲﻣﺜﻞﺑﺖ)‪(1355‬ﻭﺗﺎﺭﺍﺝ)‪(1363‬ﻗﺎﺩﺭﻱﺻﺤﻨﻪﻫﺎﻱﺧﻮﺑﻲ‬ ‫ﺭﺍ ﺩﺭ ﺟﻬﺎﻥ ﺳﻴﻨﻤﺎﻱ ﻋﺎﻣﻪﭘﺴﻨﺪ ﺍﻳﺮﺍﻧﻲ ﺧﻠﻖ ﻣﻲﻛﻨﺪ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ‬ ‫ﺳﻮﺩ ﻓﻴﻠﻢ ﺧﺘﻢ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﻗﺎﺩﺭﻱ ﻫﻢ ﺑﺎﺯﻳﮕﺮ ﺍﺳﺖ ﻭ‬ ‫ﻫﻢ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﻧﮕﺎﺭ ﺑﻴﺸﺘﺮ ﺣﻮﺍﺳﺶ ﺑﻪ ﻧﺤﻮﻩ ﺣﻀﻮﺭﺵ ﺩﺭ ﭘﻼﻥﻫﺎﺳﺖ‬ ‫ﺗﺎ ﺍﺟﺮﺍﻱ ﻛﻞ ﻓﻴﻠﻢ‪ .‬ﺑﻪﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻓﻴﻠﻢ ﺑﻴﺸــﺘﺮ ﺗﻮﺳﻂ ﻓﺮﺝ ﺣﻴﺪﺭﻱ‬ ‫)ﻓﻴﻠﻤﺒﺮﺩﺍﺭ(ﻭﺍﺣﻴﺎﻧﺎﺑﺎﺣﻀﻮﺭﺳﻌﻴﺪﻣﻄﻠﺒﻲ)ﺩﻭﺳﺖﻗﺎﺩﺭﻱﻭﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﺑﺎﺳﺎﺑﻘﻪ( ﺑﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺻﺤﻨﻪﻫﺎﻱ ﺩﺭﮔﻴﺮﻱ ﻭ ﺍﻛﺸﻦ ﻓﻴﻠﻢ‬ ‫ﺑﻪ ﻧﺴــﺒﺖ ﻓﻴﻠﻢﻫﺎﻱ ﻫﻤﺰﻣﺎﻥ ﺁﺑﺮﻭﻣﻨﺪ ﺍﺳــﺖ‪ ،‬ﺍﮔﺮﭼــﻪ ﺑﺮﺧﻲ ﺍﺯ ﺁﻧﻬﺎ‬ ‫ﺍﺯ ﻣﻨﻄﻖ ﻓﻴﻠﻢﻫﺎﻱ ﻭﺳــﺘﺮﻥ ﺍﺳــﭙﺎﮔﺘﻲ ﭘﻴﺮﻭﻱ ﻣﻲﻛﻨﻨﺪ ﻭ ﺩﺭ ﺩﻧﻴﺎﻱ‬ ‫ﻭﺍﻗﻌﻲ ﻣﺤﻠﻲ ﺍﺯ ﺍﻋﺮﺍﺏ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻣﺠﻤــﻮﻉ ﺑﺮﺍﻱ ﺯﻣﺎﻥ ﺧﻮﺩ ﻭ ﺑﺮﺍﻱ‬ ‫ﻋﺎﻣﻪ ﺗﻤﺎﺷﺎﮔﺮ ﺁﻥ ﺳﺎﻝﻫﺎ ﻗﺎﺑﻞ ﺩﺭﻙ ﻭ ﻓﻬﻢ ﻭ ﻣﻮﺟﺐ ﺍﻳﺠﺎﺩ ﻛﻒ ﻭ ﺳﻮﺕ‬ ‫ﻓﺮﺍﻭﺍﻥ ﺩﺭ ﺳــﺎﻟﻦ ﻣﻲﺷﺪ‪ .‬ﺍﺯ ﻣﻴﺎﻥ ﺻﺤﻨﻪﻫﺎﻱ ﻓﻴﻠﻢ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﺻﺤﻨﻪ‬ ‫ﻓﺮﺍﺭ ﺍﺯ ﺯﻧﺪﺍﻥ‪ ،‬ﺻﺤﻨﻪ ﮔﻠﻨﮕﺪﻥ ﻛﺸــﻴﺪﻥ ﺳﻌﻴﺪ ﺭﺍﺩ‪ ،‬ﺻﺤﻨﻪ ﺻﺒﺤﮕﺎﻩ‬ ‫ﭘﺎﺩﮔﺎﻥ ﺑﺎ ﺣﻀﻮﺭ ﺩﻭ ﺳﺮﺑﺎﺯ‪ ،‬ﺻﺤﻨﻪ ﺣﻀﻮﺭ ﺷﺠﺎﻉﺯﺍﺩﻩ ﺩﺭ ﻛﻼﺱ ﺩﺭﺱ‬ ‫ﺧﺎﻧﻢﻣﻌﻠﻢ‪،‬ﺻﺤﻨﻪﺧﻄﺎﺑﻪﻓﺮﺩﻳﻦﺑﺮﺍﻱﺍﻫﺎﻟﻲﺭﻭﺳﺘﺎﻭﺻﺤﻨﻪﻧﺒﺮﺩﻧﻬﺎﻳﻲ‬ ‫ﺭﺍﺑﻪﻋﻨﻮﺍﻥﺻﺤﻨﻪﻫﺎﻱﻗﺎﺑﻞﺗﻌﻤﻞﺩﺭﺍﺟﺮﺍﻱﻓﻴﻠﻢﻫﺎﻱﻋﺎﻣﻪﭘﺴﻨﺪﻣﻮﺭﺩ‬ ‫ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﻓﻴﻠﻢﻋﺎﻣﻪﭘﺴــﻨﺪﻱ ﻣﻮﻓﻖ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺩﺭ ﺯﻣﺎﻧﻪ ﻣﺘﻌﻠﻖ‬ ‫ﺑﻪ ﺧﻮﺩ ﺍﻛﺮﺍﻥ ﺷــﻮﺩ‪ .‬ﺯﻣﺎﻧﻪﺍﻱ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻲ ﺣﺮﻑ ﻓﻴﻠﻢ ﺑﺎ‬ ‫ﺩﺭﻭﻧﻴﺎﺕﻣﺨﺎﻃﺒﺎﻥﺩﺭﻫﻢﺁﻣﻴﺰﺩﻭﺑﻪﺳﻨﺘﺰﻓﺮﻭﺵﻣﺒﺪﻝﺷﻮﺩ‪.‬ﺑﺮﺯﺧﻲﻫﺎ‬ ‫ﺍﺯﺍﻳﻦﺟﻬﺖﻓﻴﻠﻢﻣﻬﻤﻲﺍﺳﺖﻛﻪﺣﺮﻓﻲ ﺩﺭﺑﺎﺭﻩﺯﻣﺎﻥﻭﻣﺘﻨﺎﺳﺐﺑﺎﺯﻣﺎﻥ‬ ‫ﺭﺍ ﺑﺎ ﺭﻭﺷﻲ ﻫﻤﻪﮔﻴﺮ ﻣﻨﺘﺸﺮ ﻛﺮﺩ‪ .‬ﻓﻴﻠﻢ ﺑﺮﺧﻼﻑ ﻫﻤﻪ ﺁﻥ ﺟﻨﺠﺎﻝﻫﺎﻱ‬ ‫ﺳﻴﺎﺳﻲ ﺍﺯ ﻣﻨﻈﺮ ﺍﻣﺮﻭﺯ ﻭﺩﺍﻉ ﻣﺤﺘﺮﻣﺎﻧﻪ ﻣﺮﺩﻡ ﺑﻮﺩ ﺑﺎ ﺳﺮﮔﺮﻣﻲﺳﺎﺯﺍﻧﻲ ﻛﻪ‬ ‫ﺩﻧﻴﺎﻳﺸﺎﻥ ﺑﻪ ﺑﺮﺯﺥ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫‪53‬‬ ‫‪2‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﮔﻞﻫﺎﻱ ﺩﺍﻭﻭﺩﻱ )‪(1363‬‬ ‫ﺳﻴﻨﻤﺎﻱﻣﻠﻮﺩﺭﺍﻡ ﺩﺭ‬ ‫ﭘﺎﺳﺦ ﺑﻪ ﺭﻭﺯﮔﺎﺭﻏﻤﺰﺩﻩ‬ ‫ﻛﺎﺭﮔـﺮﺩﺍﻥ ﻭ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ :‬ﺭﺳـﻮﻝ ﺻﺪﺭﻋﺎﻣﻠﻲ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ‪ :‬ﻓﺮﻳﺪﻭﻥ‬ ‫ﺟﻴﺮﺍﻧﻲ‪ ،‬ﻃﺮﺡ ﺍﻭﻟﻴﻪ ﺩﺍﺳـﺘﺎﻥ ﺍﺯ ﻗﺎﺿﻲ ﺭﺑﻴﺤﺎﻭﻱ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﻓﻴﺮﻭﺯ ﻣﻠﻚ ﺯﺍﺩﻩ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﻋﺒﺎﺱ ﮔﻨﺠﻮﻱ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪ :‬ﻛﺎﻣﺒﻴﺰ ﺭﻭﺷﻦ‬ ‫ﺭﻭﺍﻥ‪ ،‬ﺑﺮﻧﺎﻣﻪ ﺭﻳﺰ ﻭ ﺩﺳﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺭﺿﺎ ﻛﺮﻳﻤﻲ‪ ،‬ﺭﺧﺸﺎﻥ ﺑﻨﻲ ﺍﻋﺘﻤﺎﺩ‪،‬‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨـﻪ‪ :‬ﻛﻴﻬﺎﻥ ﻣﺮﺗﻀـﻮﻱ‪ ،‬ﺻﺪﺍﺑـﺮﺩﺍﺭﺍﻥ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺩﻟﭙﺎﻙ‪،‬‬ ‫ﻣﺤﺴﻦ ﺭﻭﺷﻦ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯﺍﻥ‪ :‬ﻋﺒﺪﺍﷲ ﺍﺳﻜﻨﺪﺭﻱ‪ ،‬ﻣﺠﻴﺪ ﺍﺳﻜﻨﺪﺭﻱ‪،‬‬ ‫ﻣﺪﻳﺮ ﺗﺪﺍﺭﻛﺎﺕ‪ :‬ﺟﻬﺎﻧﮕﻴﺮ ﻛﻮﺛﺮﻱ‬ ‫ﺑﺎﺯﻳﮕـﺮﺍﻥ‪ :‬ﺟﻤﺸـﻴﺪ ﻣﺸـﺎﻳﺨﻲ‪ ،‬ﭘﺮﻭﺍﻧـﻪ ﻣﻌﺼﻮﻣـﻲ‪ ،‬ﺩﺍﻭﻭﺩ ﺭﺷـﻴﺪﻱ‪ ، ،‬ﺑﻴـﮋﻥ ﺍﻣﻜﺎﻧﻴﺎﻥ‪،‬‬ ‫ﻫﻴﻠـﺪﺍ ﭘﻴـﺮﺯﺍﺩ‪ ،‬ﺟﻌﻔـﺮ ﻭﺍﻟـﻲ‪ ،‬ﻣﻬـﺮﻱ ﻭﺩﺍﺩﻳـﺎﻥ‪ ،‬ﻣﺤﺼـﻮﻝ‪ :‬ﺳـﺎﺯﻣﺎﻥ ﺳـﻴﻨﻤﺎﻳﻲ ﻣﻴﻼﺩ‪،‬‬ ‫‪ 108‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭﺗﻬﺮﺍﻥ‪ 16 :‬ﻣﺮﺩﺍﺩ ‪ ،1364‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 9/5 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 60‬ﺟﺎﻣﻌﻪ ﻓﺸــﺎﺭﻫﺎﻱ ﻧﺎﺷﻲ ﺍﺯ ﺟﻨﮓ ﺭﺍ ﻫﺮ ﺭﻭﺯ ﺑﻴﺸﺘﺮ ﺍﺯ‬ ‫ﮔﺬﺷﺘﻪ ﺣﺲ ﻣﻲﻛﺮﺩ‪ .‬ﻣﻘﺎﻭﻣﺘﻲ ﻛﻪ ﺗﻤﺎﻡ ﻛﺸﻮﺭ ﺩﺭ ﺣﺎﻝ ﺗﺠﺮﺑﻪﺍﺵ‬ ‫ﺑﻮﺩﻧــﺪ‪ ،‬ﻫﺰﻳﻨﻪﺍﻱ ﺩﺍﺷــﺖ ﻛﻪ ﺑﻴــﺶ ﺍﺯ ﮔﺬﺷــﺘﻪ ﭘﺮﺩﺍﺧﺘﺶ ﻻﺯﻡ‬ ‫ﻣﻲﻧﻤﻮﺩ‪ .‬ﺍﻳﻦ ﺷــﺮﺍﻳﻂ ﺿﺮﺑﺎﻫﻨــﮓ ﺟﺎﻣﻌﻪ ﺭﺍ ﻛﺎﻣﻼ ﺩﺳــﺘﺨﻮﺵ‬ ‫ﺗﻐﻴﻴﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺳــﺨﺘﻲ ﺟﻨﮓ ﺩﺭ ﺗﻐﻴﻴﺮ ﺭﻭﺣﻴﻪ ﺟﺎﻣﻌﻪ ﻫﻢ ﻧﻤﻮﺩ‬ ‫ﺩﺍﺷــﺖ‪ .‬ﻣﺤﻠﻪﻫﺎﻳﻲ ﻛﻪ ﻫﺮ ﺭﻭﺯ ﺑﺎ ﻧﺎﻡ ﺷــﻬﻴﺪ ﺟﺪﻳﺪﻱ ﺷــﻨﺎﺧﺘﻪ‬ ‫ﻣﻲﺷﺪﻧﺪ‪ ،‬ﺩﺭ ﻻﻳﻪﻫﺎﻱ ﭘﻨﻬﺎﻧﺶ ﻫﻢ ﻣﺤﺼﻮﻻﺕ ﺗﺼﻮﻳﺮﻱ ﺟﺪﻳﺪﻱ‬ ‫ﺭﺍ ﻣﻲﺩﻳﺪ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ ﺑﻮﺩ ﻛﻪ ﺳــﻴﻨﻤﺎﻱ ﺟﺪﻳﺪ ﺍﻳﺮﺍﻥ ﻫﻢ ﻛﻢﻛﻢ‬ ‫ﺗﻮﺳــﻂ ﻃﻴﻔﻲ ﺍﺯ ﺭﻭﺷــﻨﻔﻜﺮﺍﻥ ﻣﺴــﻠﻤﺎﻥ ﭘﺎﻳﻪ ﺭﻳﺰﻱ ﻣﻲﺷﺪ ﻭ ﺩﺭ‬ ‫ﻛﻨﺎﺭﺵ ﺩﺳــﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺳــﻴﻨﻤﺎ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﺣــﺎﻝ ﮔﻤﺎﻧﻪﺯﻧﻲ‬ ‫ﺷــﺮﺍﻳﻂ ﻭ ﺁﺯﻣﻮﻥ ﻭ ﺧﻄــﺎ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﺑــﺎ ﻫﻤﺮﺍﻫﻲ‬ ‫ﺟﻤﻌــﻲ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻱ ﻓﻌــﺎﻝ ﻗﺪﻳﻤﻲ ﻛﻪ ﺗﻮﺍﻧﺴــﺘﻪ ﺑﻮﺩﻧﺪ ﺑﺎ ﺩﻭﺭﺍﻥ‬ ‫ﺟﺪﻳﺪ ﻣﻨﻄﺒﻖ ﺷــﻮﻧﺪ ﻭ ﺗﺼﻤﻴﻢﮔﻴﺮﺍﻥ ﻫﻢ ﺁﻧﻬﺎ ﺭﺍ ﭘﺬﻳﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﺍﺻﻠﻲﺗﺮﻳــﻦ ﻧﻴﺮﻭﻫﺎﻱ ﻓﻌــﺎﻝ ﺟﺮﻳﺎﻥ ﺣﺮﻓﻪﺍﻱ ﺑﻮﺩﻧــﺪ‪» .‬ﮔﻞﻫﺎﻱ‬ ‫ﺩﺍﻭﻭﺩﻱ« ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﻣﺘﻮﻟﺪ ﺷــﺪ‪ .‬ﻣﻠﻮﺩﺭﺍﻣﻲ ﺣﺰﻥﺍﻧﮕﻴﺰ‬ ‫‪54‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ ‪:‬‬ ‫ﻋﺒﺎﺱ ﺻﻔﺎﺭﻱ‪ ،‬ﺩﺭ ﺟﺮﻳﺎﻥ ﺑﺮﻭﺯ ﻣﺸﺎﺟﺮﻩ ﺑﺎ ﺩﻭﺳﺖ ﺧﻮﺩ ﺑﺎﻋﺚ ﻣﺮگ ﻧﺎﮔﻬﺎﻧﻲ ﻭﻱ ﺷﺪﻩ ﻭ ﺑﻪ ‪ 25‬ﺳﺎﻝ‬ ‫ﺣﺒﺲ ﻣﺤﻜﻮﻡ ﻣﻲ ﺷﻮﺩ‪ .‬ﺑﺎ ﺳﭙﺮﻱ ﺷﺪﻥ ‪ 20‬ﺳﺎﻟﻪ ﻣﺤﻜﻮﻣﻴﺖ ﻭ ﻋﻔﻮ ‪ 5‬ﺳﺎﻟﻪ ﺁﺧﺮ‪ ،‬ﻗﺮﺍﺭ ﺁﺯﺍﺩﻱ ﻋﺒﺎﺱ‬ ‫ﺻﺎﺩﺭ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺭﻭﺯ ﻣﻮﻋﻮﺩ ﺩﺭ ﺷﺮﺍﻳﻄﻲ ﻛﻪ ﻫﻤﮕﺎﻥ ﻣﻨﺘﻈﺮ ﺁﺯﺍﺩﻱ ﻋﺒﺎﺱ ﻫﺴﺘﻨﺪ ﺍﺳﺘﻮﺍﺭ ﻫﺪﺍﻳﺖ‬ ‫ﺧﺒﺮ ﻣﺮگ ﻧﺎﮔﻬﺎﻧﻲ ﻋﺒﺎﺱ ﺭﺍ ﺑﻪ ﻫﻤﺴﺮﺵ‪ ،‬ﻋﺼﻤﺖ‪ ،‬ﻣﻲ ﺩﻫﺪ‪ .‬ﺍﻣﺎ ﻋﺼﻤﺖ ﺍﺯ ﮔﻔﺘﻦ ﺣﻘﻴﻘﺖ ﺑﻪ ﻓﺮﺯﻧﺪ‬ ‫ﻧﺎﺑﻴﻨﺎﻱ ﺧﻮﺩ‪ ،‬ﺟﻮﺍﺩ ﻛﻪ ﺩﺭ ﺁﺳﺘﺎﻧﻪ ﺑﺮﮔﺰﺍﺭﻱ ﻣﺮﺍﺳﻢ ﺍﺯﺩﻭﺍﺟﺶ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﺧﻮﺩﺩﺍﺭﻱ ﻣﻲ ﻛﻨﺪ‪.‬‬ ‫ﺍﺳــﺘﻮﺍﺭ ﻫﺪﺍﻳﺖ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﻋﺰﻳﻤﺖ ﺑﻪ ﺳــﻔﺮ ﻋﺼﻤﺖ ﺭﺍ ﺩﺭ ﺟﺮﻳﺎﻥ ﻭﺍﻗﻌﻴﺖ ﻛﺸﺘﻪ ﺷﺪﻥ ﻋﺒﺎﺱ ﺑﻪ‬ ‫ﺩﺳﺖ ﻳﻜﻲ ﺍﺯ ﻣﺎﻣﻮﺭﻳﻦ ﺯﻧﺪﺍﻥ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ ﺑﺎ ﺗﻘﺎﺿﺎﻱ ﻭﻱ ﻣﺒﻨﻲ ﺑﺮ ﻣﻌﺮﻓﻲ ﺧﻮﺩ ﺑﻪﻋﻨﻮﺍﻥ ﭘﺪﺭ ﺟﻮﺍﺩ‬ ‫ﻭ ﺣﻀﻮﺭ ﺩﺭ ﻣﺮﺍﺳﻢ ﻋﺮﻭﺳﻲ ﺍﻭ ﻣﻮﺍﺟﻪ ﻣﻲ ﺷﻮﺩ‪ .‬ﺟﻮﺍﺩ ﻛﻪ ﺑﻪﻃﻮﺭ ﻧﺎﮔﻬﺎﻧﻲ ﺩﺭ ﺟﺮﻳﺎﻥ ﻣﻜﺎﻟﻤﻪ ﺍﺳﺘﻮﺍﺭ‬ ‫ﻭ ﻣﺎﺩﺭﺵ ﻗﺮﺍﺭ ﻣﻲ ﮔﻴﺮﺩ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺣﻀﻮﺭ ﺩﺭ ﻣﺮﺍﺳــﻢ ﺧﻮﺩﺩﺍﺭﻱ ﻣﻲ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺳﺮﺍﻧﺠﺎﻡ‬ ‫ﺗﻮﺳﻂ ﻫﻤﺴﺮﺵ ﻣﺮﻳﻢ ﻣﺘﻘﺎﻋﺪ ﺷﺪﻩ ﻭ ﺑﺎ ﻭﺍﻗﻌﻴﺖ ﻣﺮگ ﭘﺪﺭﺵ ﻛﻨﺎﺭ ﻣﻲ ﺁﻳﺪ‪.‬‬ ‫ﺍﺯ ﻣﺼﺎﺋﺐ ﻳﻚ ﺯﻧﺪﮔﻲ ﺩﺷــﻮﺍﺭ ﻛﻪ ﻛﻤﺘﺮ ﻧﻘﻄﻪ ﺷﺎﺩﻱﺑﺨﺸــﻲ ﺩﺭ‬ ‫ﺁﻥ ﺑﻪ ﭼﺸــﻢ ﻣﻲﺧﻮﺭﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﻣﻲ ﺗﻮﺍﻧﺴﺖ ﺭﻗﻴﺒﻲ ﺟﺪﻱ ﺑﺮﺍﻱ‬ ‫ﻣﻠﻮﺩﺭﺍﻡﻫﺎﻱ ﺍﺷﻚﺍﻧﮕﻴﺰ ﻫﻨﺪﻱ ﺑﺎﺷــﺪ ﻛﻪ ﻳﺎ ﺩﺭ ﻭﻳﺪﺋﻮ ﻳﺎ ﺩﺭ ﭘﺨﺶ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻣﺨﺎﻃﺒﺎﻥ ﭘﺮﺷﻤﺎﺭﻱ ﺩﺍﺷﺘﻨﺪ‪ .‬ﮔﻞﻫﺎﻱ ﺩﺍﻭﻭﺩﻱ ﺍﺯ ﺍﻭﻟﻴﻦ‬ ‫ﻣﺤﺼﻮﻻﺕ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪ ﻣﺪﻳﺮﻳﺘﻲ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻮﺩ‪ .‬ﺩﻭﺭﺍﻧﻲ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﺼﻮﻳﺒﻲ ﺣﻜﻢ ﻛﺎﻻﻳﻲ ﺑﺎ ﺍﺭﺯﺵ ﻧﺰﺩ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ‬ ‫ﺩﺍﺷــﺖ‪ .‬ﮔﻞﻫــﺎﻱ ﺩﺍﻭﻭﺩﻱ ﺍﺯ ﺗﺠﺮﺑﻪﻫﺎﻱ ﻧﺨﺴــﺘﻴﻦ ﺳــﻴﻨﻤﺎﻱ‬ ‫ﺣﻤﺎﻳﺘﻲ ‪/‬ﻫﺪﺍﻳﺘﻲ ‪ /‬ﻧﻈﺎﺭﺗﻲ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺭﺳــﻮﻝ ﺻﺪﺭﻋﺎﻣﻠﻲ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻱ ﺟﺪﻳﺪ ﺳــﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ‬ ‫ﺑﺎ ﺳــﺎﺑﻘﻪ ﻓﻌﺎﻟﻴﺖ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﻱ ﺍﺯ ﻫﻤــﺎﻥ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﺶ ﺩﺭ ﻣﻘﺎﻡ‬ ‫ﺗﻬﻴﻪﻛﻨﻨــﺪﻩ ﺑﻪ ﻧــﺎﻡ »ﺧﻮﻧﺒﺎﺭﺵ« ﻛﻪ ﺩﺍﺳــﺘﺎﻧﺶ ﻣﺮﺗﺒﻂ ﺑﺎ ﻭﻗﺎﻳﻊ‬ ‫‪ 17‬ﺷــﻬﺮﻳﻮﺭ ﺑﻮﺩ‪ ،‬ﻧﺸــﺎﻥ ﺩﺍﺩﻩ ﺑــﻮﺩ ﻋﻼﻳﻖ ﺍﺻﻠــﻲﺍﺵ ﺩﺭ ﺭﻭﺍﻳﺖ‬ ‫ﻣﺴﺎﺋﻞ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﺍﻭﻟﻴﻦ ﺳﻴﻨﻤﺎﮔﺮﺍﻧﻲ ﻛﻪ‬ ‫ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﻓﻌﺎﻟﻴﺖ ﺳــﻴﻨﻤﺎﻳﻲ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪ ،‬ﺟﺰﻭ ﺍﻓﺮﺍﺩﻱ ﺑﻮﺩ ﻛﻪ‬ ‫ﺗﻼﺵ ﻣﻲﻛﺮﺩ ﻧﻮﻋﻲ ﺍﺯ ﺳــﻴﻨﻤﺎﻱ ﻣﺨﺎﻃﺐﭘﺴﻨﺪ ﺭﺍ ﺟﺪﺍ ﺍﺯ ﻣﻔﺎﻫﻴﻢ‬ ‫ﺧﺎﺹ ﺍﻳﺪﺋﻮﻟﻮژﻳﻚ ﺗﺠﺮﺑﻪ ﻛﻨــﺪ‪ .‬ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺩﺭ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﻲ ﻛﻪ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﺮﺩ ﺑﻪ ﻧﺎﻡ »ﺭﻫﺎﻳﻲ« ﺗﻼﺵ ﻛﺮﺩ ﻧﺨﺴﺘﻴﻦ ﺭﻭﺍﻳﺖﻫﺎﻱ‬ ‫ﺻــﺎﺩﻕ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺟﻨــﮓ ﺗﺤﻤﻴﻠﻲ ﺭﺍ ﺑﻴﺎﻥ ﻛﻨــﺪ‪ .‬ﺻﺪﺭﻋﺎﻣﻠﻲ ﺩﺭ‬ ‫ﺳــﺎﻝ ‪ 63‬ﻫﻤﺮﺍﻩ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﺍﻓﺮﺍﺩ ﻓﻌﺎﻝ ﺁﻥ ﺩﻭﺭﻩ ﻛﻪ ﺍﻧﺪﻙ ﺍﻧﺪﻙ ﺩﺭ‬ ‫ﻛﺎﺭ ﺳﻴﻨﻤﺎ ﺑﻪ ﺛﺒﺎﺕ ﻭ ﺁﺷﻨﺎﻳﻲ ﻣﻲﺭﺳــﻴﺪﻧﺪ‪ ،‬ﺑﻪ ﻗﺼﺪ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻤﻲ‬ ‫ﺧﻮﺵ ﺳــﺎﺧﺖ ﻭ ﺣﺮﻓﻪﺍﻱ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﻣﺨﺎﻃﺐ ﺍﻧﺒﻮﻩ ﺭﺍ ﺟﺬﺏ ﻛﻨﺪ‪،‬‬ ‫ﻛﺎﺭ ﺗﻮﻟﻴﺪ ﺍﺛﺮﻱ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﻗﺮﺍﺭ ﺑﻮﺩ »ﻣﻠﻮﺩﺭﺍﻣﻲ‬ ‫ﺍﺷــﻚﺍﻧﮕﻴﺰ« ﺑﺎﻣﺎﻳﻪﻫﺎﻳﻲ ﺍﺯ ﻃﺮﺡ ﻋﺸــﻖ ﺑﺎﺷــﺪ ﻛﻪ ﺗﺎ ﺁﻥ ﺩﻭﺭﻩ ﺩﺭ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻲﺳــﺎﺑﻘﻪ ﺑﻮﺩ‪ .‬ﻃﺮﺡ ﺍﻭﻟﻴﻪ ﻓﻴﻠﻢ ﻛﻪ ﺍﺑﺘﺪﺍ‬ ‫»ﭼﺸــﻢﻫﺎﻡ ﺑﺎﺵ« ﻧﺎﻡ ﺩﺍﺷﺖ ﻧﻮﺷــﺘﻪ ﻗﺎﺿﻲ ﺭﺑﻴﺤﺎﻭﻱ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﺟــﻮﺍﻥ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻃﺮﺡ ﺗﻮﺳــﻂ ﻓﺮﻳﺪﻭﻥ ﺟﻴﺮﺍﻧﻲ ﺑــﺮﺍﻱ ﺩﻓﺘﺮ ﺗﻮﻟﻴﺪ‬ ‫ﺻﺪﺭﻋﺎﻣﻠﻲ ﺧﺮﻳﺪﺍﺭﻱ ﺷــﺪ ﻭ ﺧﻮﺩﺵ ﻫــﻢ ﺗﻐﻴﻴﺮﺍﺗﻲ ﺩﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺩﺭ ﺭﺍﺳــﺘﺎﻱ ﺗﻘﻮﻳﺖ ﻭﺟﻮﻩ ﻣﻠﻮﺩﺭﺍﻣﺶ ﺍﻳﺠﺎﺩ ﻛــﺮﺩ‪ .‬ﺍﻳﻦ ﻭﺟﻮﻩ ﺩﺭ‬ ‫ﺯﻣﻴﻨﻪﻫﺎﻱ ﭘﺮﺭﻧﮓ ﻛﺮﺩﻥ ﺷــﺨﺼﻴﺖﻫﺎﻱ ﻧﺎﺑﻴﻨــﺎﻱ ﻓﻴﻠﻢ ﻭ ﺭﺍﺑﻄﻪ‬ ‫ﻋﺎﺷــﻘﺎﻧﻪ ﺁﻧﻬﺎ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﺳــﺎﺯﻧﺪﮔﺎﻥ ﺩﺭ ﺭﺍﺳــﺘﺎﻱ ﺗﻘﻮﻳﺖ ﻭﺟﻮﻩ‬ ‫ﺣﺮﻓﻪﺍﻱ ﻓﻴﻠﻢ ﺟﻤﻌﻲ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻣﻮﺟﻪ ﻗﺪﻳﻤﻲ ﻭ ﺟﻮﺍﻧﺎﻥ ﺗﺎﺯﻩﻭﺍﺭﺩ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻧﺪ‪ .‬ﺗﺮﻛﻴﺒﻲ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﺑﻪ‬ ‫ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪ ﻭ ﺗﻮﺍﻧﺴﺖ ﺗﻮﺟﻬﺎﺕ ﺭﺍ ﺟﻠﺐ ﻛﻨﺪ‪ .‬ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﺣﻀﻮﺭ ﺩﺭ‬ ‫ﺳﻮﻣﻴﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺁﻣﺎﺩﻩ ﻭ ﻧﻤﺎﻳﺸﺶ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺩﺍﻭﺭﺍﻥ‬ ‫ﻣﻮﺍﺟﻪ ﺷﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺎ ﺩﺍﺩﻥ ﺑﻴﺸﺘﺮﻳﻦ ﺗﻌﺪﺍﺩ ﺟﺎﻳﺰﻩ ﺑﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺟﻮﺍﻳﺰ ﺍﺻﻠﻲ ﺑﺎﺯﻳﮕــﺮﻱ ﺯﻥ ﻭ ﻣﺮﺩ ﻋﻤﻼ ﺁﻥ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻮﻓﻖﺗﺮﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺩﻭﺭﻩ ﺳﻮﻡ ﺟﺸﻨﻮﺍﺭﻩ ﻛﺮﺩﻧﺪ‪ .‬ﻫﺮﭼﻨﺪ ﻛﻪ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻧﺪ ﺟﺎﻳﺰﻩ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺍﺛﺮ ﺩﻳﮕﺮﻱ ﺍﻫــﺪﺍ ﻛﻨﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﭘﻴﺶﺯﻣﻴﻨﻪ ﻧﻤﺎﻳﺶ‬ ‫ﻣﻮﻓﻘﻴﺖ ﺁﻣﻴﺰ ﻓﻴﻠﻢ ﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻲ ﺑﻮﺩ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﻣﺮﺩﺍﺩ ‪1364‬ﻛﻪ ﮔﻞﻫﺎﻱ ﺩﺍﻭﻭﺩﻱ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‪ ،‬ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﻳﻜﻲ ﺍﺯ ﻣﻘﺎﻃﻊ ﺍﺳــﺘﺜﻨﺎﻳﻲ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺯﻣﻴﻨﻪ ﺍﺳﺘﻘﺒﺎﻝ ﻣﺨﺎﻃﺒﺎﻥ ﺍﺯ‬ ‫ﻣﺤﺼﻮﻻﺗﺶ ﺗﺠﺮﺑﻪ ﻣﻲﻛﺮﺩ‪ .‬ﮔﻞﻫــﺎﻱ ﺩﺍﻭﻭﺩﻱ ﺭﻗﻴﺒﺎﻥ ﭘﺮﻗﺪﺭﺗﻲ‬ ‫ﭼﻮﻥ »ﺗﺎﺭﺍﺝ«‪» ،‬ﻋﻘﺎﺏﻫﺎ« ﻭ »ﺷــﻬﺮ ﻣﻮﺵﻫﺎ« ﺩﺍﺷﺖ ﺍﻣﺎ ﺗﻮﺍﻧﺴﺖ‬ ‫ﺩﺭ ﺭﻗﺎﺑﺖ ﺑﺎ ﺁﻧﻬﺎ ﺧــﻮﺩ ﺑﻪ ﺭﻗﻴﺐ ﻗﺪﺭﺗﻤﻨﺪﻱ ﺗﺒﺪﻳﻞ ﺷــﻮﺩ‪ .‬ﺗﻼﺵ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﺩﺭ ﺟﺬﺏ ﻃﻴﻔﻲ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﺳﺎﻝﻫﺎﻱ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﺛﺮﻱ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﻧﻴﺎﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﻮﻓﻖ ﺑﻮﺩ‪.‬‬ ‫ﮔﻞﻫــﺎﻱ ﺩﺍﻭﻭﺩﻱ ‪ 50‬ﺭﻭﺯ ﺑﺮ ﭘﺮﺩﻩ ﺑﺎﻗــﻲ ﻣﻲﻣﺎﻧﺪ ﻭ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻲﺭﺳﺪ ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ ﺗﻼﺵ ﺩﺍﺭﻧﺪ ﺁﻥ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻟﮕﻮﻳﻲ‬ ‫ﻣﻮﺭﺩﻧﻈﺮ ﺩﺭ ﺯﻣﻴﻨﻪ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢﻫﺎﻱ ﺧﻮﺵ ﺳﺎﺧﺖ ﺣﺮﻓﻪﺍﻱ ﻛﻪ ﺑﺮﺍﻱ‬ ‫ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻳﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﻃﺒﻘﻪ ﻣﺘﻮﺳﻂ ﻫﻢ ﺟﺬﺍﺏ ﺑﺎﺷﺪ‪ ،‬ﺟﺎ ﺑﻴﻨﺪﺍﺯﻧﺪ‪،‬‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﺍﺳﺘﻘﺒﺎﻝ ﭼﻨﺪﺍﻧﻲ ﺍﺯ ﺁﻥ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﻫﺮﭼﻨﺪ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ‬ ‫ﺭﻗﻴﺒﺎﻧﺶ ﺑﻴﺸﺘﺮﻳﻦ ﺣﺠﻢ ﺗﻮﺟﻬﺎﺕ ﺭﺍ ﺑﻪ ﺧﻮﺩﺵ ﺍﺧﺘﺼﺎﺹ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﻧﻘﺪﻫﺎﻱ ﻣﺨﺘﻠﻔﻲ ﺑﺮ ﻓﻴﻠﻢ ﻧﻮﺷــﺘﻪ ﻣﻲﺷﻮﺩ ﻛﻪ ﺑﺎﻭﺟﻮﺩ ﺗﺎﻳﻴﺪ ﻭﺟﻮﻩ‬ ‫ﺣﺮﻓﻪﺍﻱ ﻓﻴﻠﻢ‪ ،‬ﺁﻥ ﺭﺍ ﺍﺛﺮ ﻗﺎﺑﻞ ﺗﺎﻣﻠﻲ ﻧﻤﻲﺩﺍﻧﻨﺪ‪ .‬ﺳــﻴﺎﻣﻚ ﺷــﺎﻳﻘﻲ‬ ‫ﺍﺯ ﻓﻴﻠﻤﺴــﺎﺯﺍﻥ ﺳــﺎﻝﻫﺎﻱ ﺑﻌﺪ ﺍﺯ ﺟﻤﻠﻪ ﺍﻳﻦ ﻣﻨﺘﻘﺪﺍﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﻧﻮﺷــﺘﻪﺍﺵ ﺑﺎ ﺍﺷــﺎﺭﻩ ﺑﻪ ﺿﻌﻒﻫﺎﻱ ﻓﻴﻠﻢ ﻧﺘﻴﺠﻪ ﻣﻲﮔﻴﺮﺩ‪» :‬ﻓﻴﻠﻢ‬ ‫ﺳــﻌﻲ ﻣﻲﻛﻨﺪ ﺗﻤﺎﻡ ﺿﻌﻒﻫﺎﻳﺶ ﺭﺍ ﭘﺸﺖ ﭼﻨﺪ ﺻﺤﻨﻪ ﺍﺛﺮﮔﺬﺍﺭ ﺑﺮ‬ ‫ﺗﻤﺎﺷﺎﮔﺮ‪ ،‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﺎﺯﻱﻫﺎﻱ ﻛﻢ ﻭ ﺑﻴﺶ ﻏﻠﻮ ﺷﺪﻩ ﻭ ﺍﺣﺴﺎﺳﺎﺗﻲ‪،‬‬ ‫ﻣﻮﺳــﻴﻘﻲ ﺑﺮﺍﻧﮕﻴﺰﺍﻧﻨﺪﻩ ﻭ ﺭﻳﺘﻤﻴــﻚ‪ ،‬ﻣﻮﻗﻌﻴﺖﻫﺎ ﻭ ﮔﻔﺖﻭﮔﻮﻫﺎﻱ‬ ‫ﺣﺰﻥﺍﻧﮕﻴــﺰ ﻳﺎ ﺷــﻮﺧﻲﻭﺍﺭ‪ ،‬ﭘﻨﻬﺎﻥ ﻛﻨﺪ‪) «.‬ﻓﻴﻠــﻢ‪ ،‬ﺵ‪ (29‬ﭼﻨﻴﻦ‬ ‫ﻧﻘﺪﻫﺎﻳﻲ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﺍﺳــﺘﻘﺒﺎﻝ ﻣﻨﺘﻘﺪﺍﻥ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﻧﺒﻮﺩ ﻫﺮﭼﻨﺪ ﻛﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺗﺎﺛﻴﺮﻱ ﭘﻴﺮﺍﻣﻮﻥ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺳﺎﻝﻫﺎﻱ ﺑﻌﺪ ﻧﻤﺎﻳﺶ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻓﻴﻠﻢ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺍﻛﺮﺍﻧﺶ ﻫﻢ ﻣﻮﻓﻖ‬ ‫ﺍﺳــﺖ ﻭ ﺑﻴﻨﻨﺪﮔﺎﻥ ﺯﻳﺎﺩﻱ ﺭﺍ ﭘﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﻲﻧﺸﺎﻧﺪ‪ .‬ﺍﻳﻦ ﻧﺸﺎﻥ ﺍﺯ‬ ‫ﻫﺪﻑﮔﻴﺮﻱ ﺻﺤﻴﺢ ﺳــﺎﺯﻧﺪﮔﺎﻧﺶ ﺩﺭ ﺷﻨﺎﺧﺖ ﺭﻭﺣﻴﺎﺕ ﺗﻤﺎﺷﺎﮔﺮ‬ ‫ﺩﻭﺭﺍﻧﺶ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫»ﮔﻞﻫﺎﻱ ﺩﺍﻭﻭﺩﻱ« ﺭﺍ ﺍﻣﺮﻭﺯ ﺑﻴﺶ ﺍﺯ ﻫﺮﭼﻴﺰ ﺑﺎ ﺩﻳﺎﻟﻮگﻫﺎﻱ ﺗﺼﻨﻌﻲ‬ ‫ﻭ ﻧﻤﺎﻳﺸــﻲ ﺟــﻮﺍﻥ ﺍﻭﻝ ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﺑﻴﮋﻥ ﺍﻣﻜﺎﻧﻴــﺎﻥ ﻭ »ﭘﺪﺭ‪ ،‬ﭘﺪﺭ«‬ ‫ﮔﻔﺘﻦﻫﺎﻳﺶ ﻛﻪ ﻳﺎﺩﺁﻭﺭ ﻣﺼﺎﺋﺒﻲ ﺍﺯ ﻳﻚ ﺯﻧﺪﮔﻲ ﺳــﭙﺮﻱ ﺷﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﺑﻪ ﻳﺎﺩ ﻣﻲﺁﻭﺭﻳﻢ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺑﻪ ﻋﻴﻨﻪ ﻳﺎﺩﺁﻭﺭ ﺩﻭﺭﺍﻧﺶ ﺍﺳﺖ‪ .‬ﺩﻭﺭﺍﻧﻲ‬ ‫ﺳﺨﺖ ﻛﻪ ﺣﺰﻥ ﻭ ﺍﻧﺪﻭﻩ ﺣﻀﻮﺭﻱ ﻣﺸﺨﺺ ﺩﺭ ﺯﻧﺪﮔﻲ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‬ ‫ﻭ ﻋﺸﻖﻫﺎﻳﺶ ﻫﻢ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﻣﻌﺮﺽ ﺗﻬﺪﻳﺪ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﻓﻴﻠﻤﻲ‬ ‫ﺑﺮﺍﻱ ﺗﻤﺎﺷﺎﮔﺮﻱ ﻛﻪ ﺁﻣﺎﺩﻩ ﺍﺷﻚﺭﻳﺰﻱ ﺑﻮﺩﻛﻪ ﺑﻬﺎﻧﻪﻫﺎﻱ ﭘﻴﺮﺍﻣﻮﻧﺶ‬ ‫ﺑﺮﺍﻱ ﺍﻳﻦ ﺍﺷــﻚ ﺭﻳﺰﻱ ﻫﻢ ﻓــﺮﺍﻭﺍﻥ ﺑﻮﺩ‪ .‬ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻳﻲ ﻛﻪ ﺑﻴﺸــﺘﺮ‬ ‫ﻣﺘﻌﻠﻖ ﺑﻪ ﻃﺒﻘﻪ ﻣﺘﻮﺳــﻂ ﺁﻥ ﺩﻭﺭﺍﻥ ﺑﻮﺩﻧﺪ ﺩﺭ ﺯﻣﺎﻥ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ‬ ‫ﻭ ﺑﻌﺪ ﻧﻤﺎﻳﺶ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺑﻪ ﺗﻤﺎﺷــﺎﻱ ﻓﻴﻠﻢ ﻧﺸﺴﺘﻨﺪ ﻭ ﻭﺟﻮﻫﻲ ﺍﺯ‬ ‫ﺯﻧﺪﮔﻲﺷــﺎﻥ ﺭﺍ ﺩﺭ ﻓﻴﻠﻢ ﻳﺎﻓﺘﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺑﻌﻴﺪ ﺍﺳﺖ ﺍﻣﺮﻭﺯ ﺟﻤﻊ‬ ‫ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﺍﺯ ﻫﻤﻴﻦ ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﺑﻪ ﺗﻤﺎﺷﺎﻳﺶ ﺑﻨﺸﻴﻨﻨﺪ‪ .‬ﮔﻮﻳﻲ‬ ‫ﻣﺼﺎﺋﺐ ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﻫﻢ ﺗﻐﻴﻴﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢ ﺣﺎﻻ ﺳﻨﺪﻱ ﺗﺼﻮﻳﺮﻱ‬ ‫ﺍﺯ ﺯﻣﺎﻧﺶ ﺩﺭ ﺷﻨﺎﺧﺖ ﻻﻳﻪﻫﺎﻳﻲ ﺍﺯ ﺟﺎﻣﻌﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﮔﻮﻳﻲ ﻛﻮﺷﺶ‬ ‫ﻣﻲﻛﻨﺪ ﻛﻤﺘﺮ ﺩﺭﮔﻴﺮ ﺍﺗﻔﺎﻗﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺳﻴﺎﺳــﻲ ﺷﻮﺩ ﺍﻣﺎ ﻇﺎﻫﺮﺍ‬ ‫ﮔﺮﻳﺰﻱ ﺍﺯ ﺁﻧﻬﺎ ﻧﺪﺍﺭﺩ‪ .‬ﮔﻞﻫــﺎﻱ ﺩﺍﻭﺩﻱ ﺩﺭ ﺯﻣﻴﻨﻪ ﺩﻳﮕﺮﻱ ﻫﻢ ﺣﺎﻻ‬ ‫ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳــﺖ‪ .‬ﻓﻴﻠﻢ ﺑﻪ ﻭﺍﺳــﻄﻪ ﺣﻤﺎﻳﺖﻫﺎﻱ ﻣﺴﺌﻮﻻﻥ ﻭﻗﺖ ﻭ‬ ‫ﺗﻼﺵ ﺑﺮﺍﻱ ﻧﻮﻋﻲ ﺍﻟﮕﻮﺳــﺎﺯﻱ ﻭ ﻧﻴﺰ ﺍﺳﺘﻘﺒﺎﻝ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‪ ،‬ﺣﺎﻻ ﺩﺭ‬ ‫ﮔﺬﺭ ﺳﺎﻝﻫﺎ ﺣﻜﻢ ﺍﺛﺮﻱ ﻧﻤﻮﻧﻪﺍﻱ ﺩﺭ ﺑﻴﻦ ﻣﻠﻮﺩﺭﺍﻡﻫﺎﻱ ﺍﻛﺜﺮﺍ ﭘﺮﻓﺮﻭﺵ‬ ‫ﺳﺎﻝﻫﺎﻱ ﺑﻌﺪ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻣﻠﻮﺩﺭﺍﻡﻫﺎﻳﻲ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﻫﺮﭼﻴﺰ ﺑﺮ ﻧﻤﺎﻳﺶ ﻏﻢ‬ ‫ﻭ ﺍﻧﺪﻭﻩ ﺍﺻﺮﺍﺭ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺩﺭ ﻣﺠﻤﻮﻉ ﮔﻞﻫﺎﻱ ﺩﺍﻭﻭﺩﻱ ﺭﺍ ﺩﺭ ﺳﺎﺩﻩ ﺗﺮﻳﻦ‬ ‫ﺑﻴﺎﻥ ﻭ ﺑﺎ ﺩﺭﻧﻈﺮﮔﺮﻓﺘﻦ ﺷﺮﺍﻳﻂ ﻫﻤﻪ ﻭﺍﻛﻨﺶ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻪ ﺍﻧﺪﺍﺯﻩ‬ ‫ﺗﻮﺍﻧﺶ ﺩﺭ ﺭﻭﺍﻳﺖ ﺍﻳﺮﺍﻥ ﺍﻭﺍﻳﻞ ﺩﻫﻪ‪ 60‬ﻣﻴﺎﻥ ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﺩﺍﻧﺴﺖ‪.‬‬ ‫ﻣﻠﻮﺩﺭﺍﻡ ﺟﺴﻮﺭﺍﻧﻪ‬ ‫ﻋﻠﻲ ﻋﻼﺋﻲ‬ ‫ﻣﻠــﻮﺩﺭﺍﻡ ﺩﺭ ﻣﻌﻨﺎ ﻭ ﻛﺎﺭﺑــﺮﺩ ﺍﻣﺮﻭﺯﻯ ﺍﺵ ﺑﻪ ﻣﺜﺎﺑﻪ ﺳــﺎﺧﺖ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﺍﻧﻰ ﭼﻮﻥ ﺟﻤﺸــﻴﺪﺍﻟﻮﻧﺪﻯ ﻛﻪ ﺑﺎ ﻣﻬﺮﺩﺍﺩ ﻓﺨﻴﻤﻰ ﺩﺭ‬ ‫ﻓﻴﻠﻢﻫﺎﻳﻰ ﺩﺭ ﻣﻀﺎﻣﻴﻦ ﺳﺮﺷﺎﺭ ﺍﺯ ﺍﺣﺴﺎﺳﺎﺗﻰ ﮔﺮﻯ‪ ،‬ﻫﻴﺠﺎﻥ ﺳﺎﺯﻯ ﻓﻴﻠﻢ ﺻﺎﻋﻘﻪ )ﻣﺤﺼﻮﻝ ﺳﺎﺯﻣﺎﻥ ﺳﻴﻨﻤﺎﻳﻰ ﻓﺠﺮ( ﻫﻤﻜﺎﺭﻯ ﺩﺍﺷﺖ‬ ‫ﻛﺎﺫﺏ‪ ،‬ﺗﺎﻛﻴﺪ ﺑﺮ ﻋﻮﺍﻃﻒ ﺳﻄﺤﻰ ﻭ ﻣﺒﺎﻟﻐﻪ ﺁﻣﻴﺰ‪ ،‬ﺳﺎﺑﻘﻪﺍﻯ ﻃﻮﻻﻧﻰ ﺍﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻓﺮﻳــﺪﻭﻥ ﺟﻴﺮﺍﻧﻰ ﻗﺮﺍﺭ ﺩﺍﺩ ﻭ ﺟﻴﺮﺍﻧﻰ‬ ‫ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺍﺭﺩ‪ .‬ژﺍﻧﺮﻯ ﻛﻪ ﺑﻪ ﺳﺒﺐ ﮔﺮﺍﻳﺶ ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻯ ﻣﻮﺿــﻮﻉ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺑﺎ ﺭﺳــﻮﻝ ﺻــﺪﺭ ﻋﺎﻣﻠﻰ ﻣﻄــﺮﺡ ﻭ ﺗﺎﻛﻴﺪ‬ ‫ﺍﻳﺮﺍﻧﻰ ﺑﻪ ﺁﻥ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ ﺟﺮﻳﺎﻥ ﺻﻨﻌﺘﻰ ﻳﺎ ﺧﺼﻮﺻﻰ ﺳﻴﻨﻤﺎ ﻛﺮﺩ ﺑﺎ ﺑﺎﺯﻧﻮﻳﺴــﻰ ﻣﻰﺗﻮﺍﻥ ﻛﺎﺭ ﺧﻮﺑــﻰ ﺍﺯ ﺁﻥ ﺗﻬﻴﻪ ﻛﺮﺩ‪ .‬ﭘﺲ ﺑﻪ‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻋﻼﻗﻪ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺑﻪ ﻣﻠﻮﺩﺭﺍﻡ ﻧﻴﺰ ﺳﺮﻋﺖ ﺍﻣﺘﻴﺎﺯ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺧﺮﻳﺪﺍﺭﻯ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﻮﺳﻂ‬ ‫ﺍﺯ ﺩﻳﺮﺑﺎﺯ ﺑﻪ ﻭﺍﺳــﻄﻪ ﻣﻮﻓﻘﻴﺖ ﻣﻠﻮﺩﺭﺍﻡﻫﺎﻯ ﻋﺎﻃﻔﻰ ﻭ ﺍﺷﻚ ﺍﻧﮕﻴﺰ ﻓﺮﻳﺪﻭﻥ ﺟﻴﺮﺍﻧﻰ ﺑﺎﺯﻧﻮﻳﺴﻰ ﺷﺪ ﻭ ﺻﺪﺭﻋﺎﻣﻠﻰ ﺑﺎ ﻣﺸﺎﺭﻛﺖ ﺑﻴﮋﻥ‬ ‫ﺍﻣﻜﺎﻧﻴﺎﻥ ﺗﻮﻟﻴﺪ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩ‪.‬‬ ‫ﻫﻨﺪﻯ‪ ،‬ﺗﺮﻛﻰ ﻭ ﻣﺼﺮﻯ ﻧﺎﺷﻰ ﻣﻰﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺍﻯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺻﺪﺭ ﻋﺎﻣﻠﻰ ﺑﻪ ﺳﺮﺍﻍ ﻓﻴﺮﻭﺯ ﻣﻠﻚ ﺯﺍﺩﻩ ﺭﻓﺖ‪.‬‬ ‫ﺍﻣﺎ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻰ ﺍﻳﺮﺍﻥ ﻣﺘﻮﻟﻴﺎﻥ ﺳﻴﻨﻤﺎﻳﻰ ﺗﺎ ﻣﺪﺕﻫﺎ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﻣﺎﻫﻴﺖ ﻓﺮﻫﻨﮕﻰ ﺍﻧﻘﻼﺏ ﻭ ﺗﻐﻴﻴﺮ ﺩﺭ ﺷــﺌﻮﻧﺎﺕ ﻣﺨﺘﻠﻒ ﻓﻴﺮﻭﺯ ﻣﻠﻚﺯﺍﺩﻩ ﺑﻌﺪ ﺍﺯ ﻓﻴﻠﻢ ﻏﺮﻳﺒﻪ ﻭ ﻣﻪ )ﺑﻬﺮﺍﻡ ﺑﻴﻀﺎﻳﻰ‪(1354-‬‬ ‫ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﻣﻨﺘﻈﺮ ﺍﻳﻦ ﺑﻮﺩﻧﺪ ﺗﺎ ﻧﻘﺶ ﺳــﻴﻨﻤﺎ ﻭ ﺭﻭﻧﺪ ﻓﻌﺎﻟﻴﺖ ﻓﻌﺎﻟﻴﺖ ﺩﺭ ﺳﻴﻨﻤﺎ ﺭﺍ ﻛﻨﺎﺭﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﻣﻠﻚﺯﺍﺩﻩ ﺑﺮﺍﻯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ‬ ‫ﺩﺭ ﺁﻥ ﺭﺍ ﺑﻴﺎﺑﻨﺪ‪ .‬ﭘﺲ ﺍﺯ ﺗﺎﻳﻴﺪ ﺳــﻴﻨﻤﺎ ﺩﺭ ﺷــﺮﺍﻳﻂ ﺟﺪﻳﺪ ﻧﺎﮔﺰﻳﺮ ﭘﺎﺳــﺦ ﻣﺜﺒﺖ ﺩﺍﺩ ﻭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ »ﮔﻞﻫﺎﻯ ﺩﺍﻭﻭﺩﻯ« ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺑﻪ ﺁﺯﻣﻮﻥﻫﺎﻯ ﻣﺒﺘﻨﻰ ﺑﺮ ﺳﻌﻰ ﻭ ﺧﻄﺎ ﺭﻭﻯ ﺁﻭﺭﺩﻧﺪ‪ .‬ﺍﺯ »ﭼﺸــﻢﻫﺎﻳﻢ ﺑﺎﺵ« ﺷﺮﻭﻉ ﺷــﺪ‪ .‬ﻭﻟﻰ ﺑﻌﺪ ﺍﺯ ﺩﻭﺑﻠﻪ ﻓﻴﻠﻢ ﻣﺠﺪﺩﺍ‬ ‫ﻫﻤﻴﻦ ﺭﻭ ﺩﺭ ﺳــﺎﻝﻫﺎﻯ ﺍﻭﻟﻴﻪ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﻓﻴﻠﻢﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﻋﻨﻮﺍﻥ »ﮔﻞﻫﺎﻯ ﺩﺍﻭﻭﺩﻯ« )ﺳــﻤﺒﻞ ﺻﺪﺍﻳﺖ ﺭﺍ ﺩﻭﺳــﺖ ﺩﺍﺭﻡ(‬ ‫ﺍﺯ ﻧﻈﺮ ﻣﻀﻤﻮﻧﻰ ﺳﺎﺧﺘﻪ ﺷــﺪﻧﺪ ﻛﻪ ﻋﻤﺪﺗﺎ ﺍﺯ ﻧﻈﺮ ﺳﺨﺖ ﺍﻓﺰﺍﺭﻯ ﺑﺮﺍﻯ ﺁﻥ ﺍﻧﺘﺨﺎﺏ ﺷﺪ‪ .‬ﮔﻔﺘﻨﻰ ﺍﺳﺖ ﺍﻛﺜﺮ ﺻﺤﻨﻪﻫﺎﻯ ﻓﻴﻠﻢ ﺗﻮﺳﻂ‬ ‫ﻣﺘﻜﻰ ﺑﻪ ﺩﺍﺷــﺘﻪﻫﺎﻯ ﭘﻴﺶ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭﺍﻳﻦ ﻣﻴﺎﻥ ﺳﻬﻢ ﺳــﻪ ﺩﻭﺭﺑﻴﻦ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺷﺪﻧﺪ‪ .‬ﻓﻴﻠﻢ ﺩﺭ ﺳــﻮﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻋﻤﺪﻩ ﺍﺯ ﺁﻥ ﻓﻴﻠﻢﻫﺎﻯ ﺳــﻄﺤﻰ ﺳﻴﺎﺳــﻰ ﻭ ﺑﺮﺧﻰ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺑﺎ ﻓﻴﻠﻢ ﻓﺠﺮ ﺩﺭ ﺳــﺎﻝ ‪ 1363‬ﭘﻨﺞ ﻟﻮﺡ ﺯﺭﻳﻦ ﻛﻪ ﺁﻥ ﺳﺎﻝﻫﺎ ﺑﻪﺟﺎﻯ‬ ‫ﻣﻮﺿﻮﻋﺎﺕ ﺍﻧﻘﻼﺑﻰ ﺑﻮﺩ ﻭ ﻛﻤﺘﺮ ﻛﺴــﻰ ﺑﻪﺷــﻜﻞ ﺟــﺪﻯ ﺑﻪ ژﺍﻧﺮ ﺳﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ ﺍﻫﺪﺍ ﻣﻰﺷﺪ ﮔﺮﻓﺖ‪ .‬ﻟﻮﺡ ﺯﺭﻳﻦ ﺑﻬﺘﺮﻳﻦ ﺗﺪﻭﻳﻦ ﺑﻪ‬ ‫ﺁﺯﻣﻮﺩﻩ ﻣﻠﻮﺩﺭﺍﻡ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﻣﺨﺎﻃﺒﺎﻥ ﺍﻳﺮﺍﻧﻰ ژﺍﻧﺮﻯ ﺧﺎﻧﻮﺍﺩﮔﻰ ﻋﺒﺎﺱ ﮔﻨﺠﻮﻯ ﺑﻪﺧﺎﻃﺮ ﺗﺪﻭﻳﻦ ﺍﻳــﻦ ﻓﻴﻠﻢ ﻭ »ﺗﺎﺗﻮﺭﻩ«‪ ،‬ﺑﻬﺘﺮﻳﻦ‬ ‫ﻣﻮﺳــﻴﻘﻰ ﻣﺘﻦ ﺑــﻪ ﻛﺎﻣﺒﻴﺰ ﺭﻭﺷــﻦﺭﻭﺍﻥ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳــﻦ ﻓﻴﻠﻢ ﻭ‬ ‫ﻧﻴﺰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ ﻓﻜﺮ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺗﺎ ﺍﻳﻨﻜﻪ ﺩﺭ ﺳﺎﻝ ‪ 1363‬ﺭﺳــﻮﻝ ﺻﺪﺭ ﻋﺎﻣﻠﻰ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﺑﺎ »ﺗﺎﺗــﻮﺭﻩ«‪ ،‬ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺑﻪ ﻓﻴــﺮﻭﺯ ﻣﻠﻚﺯﺍﺩﻩ‪ ،‬ﺑﻬﺘﺮﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺭﻫﺎﻳﻰ )‪ (1362‬ﺩﺭ ﻧﻮﻉ ﻧﮕﺎﻩ ﺑﻪ ﺟﻨﮓ ﺟﺴﺎﺭﺗﻤﻨﺪﻯ ﺑﻪ ﺧﺮﺝ ﺑﺎﺯﻳﮕــﺮ ﻧﻘــﺶ ﺍﻭﻝ ﺯﻥ ﺑﻪ ﭘﺮﻭﺍﻧــﻪ ﻣﻌﺼﻮﻣﻰ ﻭ ﺑﻬﺘﺮﻳــﻦ ﺑﺎﺯﻳﮕﺮ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩ‪» ،‬ﮔﻞﻫﺎﻯ ﺩﺍﻭﻭﺩﻯ«ﺭﺍ ﺳﺎﺧﺖ‪ .‬ﻣﻠﻮﺩﺭﺍﻣﻰ ﭼﻨﺪﻣﻨﻈﻮﺭﻩ ﻧﻘــﺶ ﺍﻭﻝ ﻣﺮﺩ ﺑﻪ ﺟﻤﺸــﻴﺪ ﻣﺸــﺎﻳﺨﻰ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳــﻦ ﻓﻴﻠﻢ ﻭ‬ ‫ﻛﻪ ﻫﻢ ﻋﺎﺷــﻘﺎﻧﻪ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺑﻮﺩ ﻭ ﻫﻢ ﺍﺷــﺎﺭﻩ ﻭ ﻧﻘﺪﻯ ﺑﻪ ﻓﻀﺎﻯ »ﻛﻤﺎﻝ ﺍﻟﻤﻠــﻚ« ﺍﻫﺪﺍ ﺷــﺪ‪» .‬ﮔﻞﻫﺎﻯ ﺩﺍﻭﻭﺩﻯ« ﻧﺨﺴــﺘﻴﻦ‬ ‫ﺳﻴﺎﺳــﻰ ﭘﻴﺶ ﺍﺯ ﺍﻧﻘﻼﺏ ﺩﺍﺷﺖ‪ .‬ﻓﻴﻠﻢ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﭘﻴﻮﻧﺪﻯ ﺑﻴﻦ ﻓﻴﻠﻢ ﻣﻠﻮﺩﺭﺍﻡ ﻋﺸــﻘﻰ ﺳــﻴﻨﻤﺎﻯ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻳﺮﺍﻥ ﺍﺳﺖ ﻛﻪ‬ ‫ﻋﻨﺎﺻﺮ ﻣﻠﻮﺩﺭﺍﻡ ﻭ ﻭ ﺷﺮﺍﻳﻂ ﻭ ﻓﻀﺎﻯ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻪﻭﺟﻮﺩ ﺑﻴﺎﻭﺭﺩ ﭘﺮﻓﺮﻭﺵ ﻣﻰﺷﻮﺩ ﻭ ﺟﺮﻳﺎﻥ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺑﺎ ﺟﺎﻳﺰﻩ ﮔﺮﻓﺘﻦ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﺳﺎﻝﻫﺎ ﺑﺎﺯ ﻧﻮﻋﻰ ﺟﺴﺎﺭﺕ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪» .‬ﮔﻞﻫﺎﻯ ﻭ ﻓﻴﻠﻢ ﻣﺘﺮﺳﻚ )ﺣﺴــﻦ ﻣﺤﻤﺪﺯﺍﺩﻩ( ﺩﺭ ﺁﻥ ﺳــﺎﻝ‪ ،‬ﻓﻴﻠﻢﻫﺎﻯ‬ ‫ﺩﺍﻭﻭﺩﻯ« ﻫﺮﭼﻨﺪ ﺍﺯ ﺳﻮﻯ ﻣﺨﺎﻃﺒﺎﻥ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ ﻭﺍﻗﻊ ﺷﺪ ﺍﻣﺎ ﻣﻠﻮﺩﺭﺍﻡ ﺯﻳﺎﺩﻯ ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻮﻓﻘﻴﺖ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﺳــﺎﺧﺘﻪ ﺷﺪﻧﺪ‪.‬‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﺁﻥ ﺩﻭﺭﻩ ﺩﺭ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﻓﻴﻠﻢ ﺑﺮﺍﺳــﺎﺱ ﺑﺪﻧﺎﻡ ﺑﻮﺩﻥ ژﺍﻧﺮ ﻫﻤﭽﻨﻴﻦ »ﮔﻞﻫﺎﻯ ﺩﺍﻭﻭﺩﻯ« ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻰ ﺍﻳﺮﺍﻥ ﭘﺲ‬ ‫ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﺳــﺖ ﻛﻪ ﺑﺎﺯﻳﮕﺮ ﺯﻥ ﺁﻥ ﺍﺯ‬ ‫ﻣﻠﻮﺩﺭﺍﻡ ﺁﻥ ﺭﺍ ﭼﻴﺰﻯ ﺟﺰ ﺍﻟﮕﻮﺑﺮﺩﺍﺭﻯ‬ ‫»ﮔﻞﻫﺎﻯﺩﺍﻭﻭﺩﻯ«ﺍﻭﻟﻴﻦ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺟﺎﻳﺰﻩ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺍﺯ ﺳﻴﻨﻤﺎﻯ ﮔﺬﺷﺘﻪ ﻭ ﻣﻠﻮﺩﺭﺍﻡﻫﺎﻯ‬ ‫ﺗﺎ ﭘﻴﺶ ﺍﺯ »ﮔﻞﻫﺎﻯ ﺩﺍﻭﻭﺩﻯ« ﺩﺭ ﺩﻭ‬ ‫ﻫﻨﺪﻯ ﻭ‪ ...‬ﻧﺪﺍﻧﺴﺘﻨﺪ‪.‬‬ ‫ﻓﻴﻠﻢﺳﻴﻨﻤﺎﻳﻰﺍﻳﺮﺍﻥﭘﺲﺍﺯ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺑﻪ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺯﻥ‬ ‫ﻓﻴﻠﻤﻨﺎﻣــﻪ ﺍﻭﻟﻴــﻪ »ﮔﻞ ﻫــﺎﻯ‬ ‫ﺍﻧﻘﻼﺏ ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻳﮕﺮ ﺯﻥ‬ ‫ﺟﺎﻳﺰﻩ ﺍﻯ ﺩﺍﺩﻩ ﻧﺸــﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﺳﻮﻯ‬ ‫ﺩﺍﻭﻭﺩﻯ« ﺑــﺎ ﻧــﺎﻡ »ﻳــﻚ ﺯﻥ‪ ،‬ﻳﻚ‬ ‫ﺩﻳﮕــﺮ »ﮔﻞﻫــﺎﻯ ﺩﺍﻭﻭﺩﻯ« ﺍﻭﻟﻴﻦ‬ ‫ﺭﺑﻴﺤﺎﻭﻯ‬ ‫ﺯﻧﺪﮔﻰ« ﻧﻮﺷــﺘﻪ ﻗﺎﺿﻰ‬ ‫ﺁﻥﺍﺯﺟﺸﻨﻮﺍﺭﻩﻓﻴﻠﻢﻓﺠﺮ‬ ‫ﻓﻴﻠﻤﻰ ﺍﺳــﺖ ﻛﻪ ﺟﺮﻳﺎﻥ ﺑﺎﺯﻧﻮﻳﺴﻰ‬ ‫ﻣﺪﺕﻫﺎ ﺩﺭ ﺩﺳﺖ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﻫﺎ ﻣﻰ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻫــﺎﻯ ﺗﺼﻮﻳﺐ ﺷــﺪﻩ ﺭﺍ ﺑﺎ‬ ‫ﭼﺮﺧﻴﺪ ﻭ ﺑﺮﺍﺳﺎﺱ ﺷﺮﺍﻳﻂ ﺫﻛﺮﺷﺪﻩ‬ ‫ﺟﺎﻳﺰﻩﻣﻰﮔﻴﺮﺩ‪.‬ﺗﺎﭘﻴﺶﺍﺯ‬ ‫ﻋﻨﻮﺍﻥ »ﭘﺮﺩﺍﺧﺖ ﻧﻬﺎﻳﻰ« ﺭﺍﻳﺞ ﻛﺮﺩ‪.‬‬ ‫ﻛﺴﻰ ﺟﺴﺎﺭﺕ ﺗﻮﻟﻴﺪ ﺁﻥ ﺭﺍ ﻧﺪﺍﺷﺖ ﺗﺎ‬ ‫»ﮔﻞﻫﺎﻯﺩﺍﻭﻭﺩﻯ« ﺩﺭ ﺩﻭ‬ ‫»ﮔﻞﻫﺎﻯ ﺩﺍﻭﻭﺩﻯ« ﺍﺯ ﺷــﺎﻧﺰﺩﻫﻢ‬ ‫ﺍﻳﻨﻜﻪ ﻣﺤﻤﺪ ﺭﺿﺎ ﺟﻤﺎﻟﻰ ﻭ ﻋﺒﺪﺍﻟﺮﺿﺎ‬ ‫ﻣﺮﺩﺍﺩﻣﺎﻩ ﺳﺎﻝ ‪ 1364‬ﺩﺭ ﺳﻴﻨﻤﺎﻫﺎﻯ‬ ‫ﺳﺎﻋﺘﭽﻰ ﻓﺮﺩ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﻓﻌﺎﻝ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﺑﻪ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﺗﻬﺮﺍﻥ ﺑﻪ ﻧﻤﺎﻳــﺶ ﺩﺭﺁﻣﺪ ﻭ ﻃﻰ ‪46‬‬ ‫ﺁﻥ ﺩﻭﺭﻩ ﻛﻪ ﺳــﺎﺯﻣﺎﻥ ﺳــﻴﻨﻤﺎﻳﻰ‬ ‫ﺯﻥ ﺟﺎﻳﺰﻩ ﺍﻯ ﺩﺍﺩﻩ ﻧﺸﺪﻩ ﺑﻮﺩ‬ ‫ﺭﻭﺯ ﺑﺎ ﻣﻴﺎﻧﮕﻴﻦ ﻗﻴﻤﺖ ﺑﻠﻴﺖ ‪ 9‬ﺗﻮﻣﺎﻥ‬ ‫ﻓﺠﺮ ﺭﺍ ﺗﺎﺳــﻴﺲ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺍﻣﺘﻴﺎﺯ‬ ‫‪ 9/794/908‬ﺗﻮﻣــﺎﻥ ﻓﺮﻭﺵ ﻛﺮﺩ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺧﺮﻳــﺪﻩ ﻭ ﭘﺮﻭﻳﺰ ﻧﻮﺭﻯ‬ ‫ﻣﻨﺘﻘﺪ ﻣﻌﺮﻭﻑ ﻭﺳﺎﺯﻧﺪﻩ ﻓﻴﻠﻢﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ ﭼﻮﻥ ﺭﺷﻴﺪ‪ ،‬ﻋﻴﺎﻟﻮﺍﺭ ﻭ ﺳــﻮﻣﻴﻦ ﻓﻴﻠﻢ ﭘﺮﻓﺮﻭﺵ ﺗﻬﺮﺍﻥ ﺩﺭ ﺁﻥ ﺳــﺎﻝ ﺷــﺪ‪ .‬ﺑﻪﻋﺒﺎﺭﺗﻰ‬ ‫ﻭ ﻃﻠﻮﻉ ﺍﻧﻔﺠﺎﺭ ﺭﺍ ﺑﺮﺍﻯ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺁﻥ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻧﺪ‪ .‬ﭘﺮﻭﻳﺰ ﻧﻮﺭﻯ ‪ 1/550/213‬ﻧﻔﺮ ﺑﻴﻨﻨﺪﻩ ﺑﻪ ﺗﻤﺎﺷــﺎﻯ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﺸﺴﺘﻨﺪ ﻛﻪ ﺑﺎ‬ ‫ﻧﻴﺰ ﺩﺍﻭﻭﺩﺭﺷــﻴﺪﻯ ﻭ ﺳــﻌﻴﺪ ﻛﻨﮕﺮﺍﻧﻰ ﺭﺍ ﺑﺮﺍﻯ ﺑﺎﺯﻯ ﺩﺭ ﺩﻭ ﻧﻘﺶ ﺍﺣﺘﺴﺎﺏ ﺟﻤﻌﻴﺖ ﺁﻥ ﺳﺎﻝ ﺗﻬﺮﺍﻥ ‪18‬ﺩﺭﺻﺪ ﺗﻬﺮﺍﻧﻰﻫﺎ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺍﺻﻠــﻰ ﻓﻴﻠﻢ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻣﺬﺍﻛﺮﺍﺕ ﺑﻪ ﻗﺮﺍﺭﺩﺍﺩ ﻧﺮﺳــﻴﺪ ﺭﺍ ﺭﻭﻯ ﭘﺮﺩﻩ ﺳــﻴﻨﻤﺎ ﺩﻳﺪﻧﺪ‪» .‬ﮔﻞﻫــﺎﻯ ﺩﺍﻭﻭﺩﻯ« ﺩﺭ ﻣﺠﻤﻮﻉ‬ ‫ﻭ ﺗﻮﻟﻴﺪ ﻣﺘﻮﻗﻒ ﺷــﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺭﺳﻮﻝ ﺻﺪﺭ ﻋﺎﻣﻠﻰ ﻛﻪ ﭘﺲ ﺍﺯ ‪ 2/606/611‬ﻧﻔﺮ ﺑﻴﻨﻨﺪﻩ ﺩﺭ ﻛﻞ ﺳــﻴﻨﻤﺎﻯ ﻛﺸــﻮﺭ ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ‬ ‫ﺍﻛﺮﺍﻥ ﻣﻮﻓﻖ »ﺭﻫﺎﻳﻰ« ﺗﺼﻤﻴﻢ ﺩﺍﺷــﺖ ﻓﻴﻠﻢ ﺩﻳﮕﺮﻯ ﺗﻮﻟﻴﺪ ﻛﻨﺪ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻓﻴﻠﻢ ﺧﻴﻠﻰ ﺯﻭﺩ ﺩﺭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‬ ‫ﺑﻪﺩﻧﺒﺎﻝ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻣﻨﺎﺳﺒﻰ ﺑﻮﺩ‪ .‬ﻋﻠﻰ ﺑﺎﻗﺮﻯ‪ ،‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭ ﻭ ﺩﺳﺘﻴﺎﺭ ﻭ ﺍﺯ ﮔﺮﺩﺵ ﭘﺨﺶ ﺧﺎﺭﺝ ﺷــﺪ‪.‬‬ ‫‪55‬‬ ‫‪3‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻋﻘﺎﺏﻫﺎ )‪(1363‬‬ ‫ﺍﻭﻟﻴﻦ ﺗﺼﻮﻳﺮ‬ ‫ﺍﺯ ﭘﻴﺮﻭﺯﻱ ﻫﻮﺍﻳﻲ‬ ‫ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﺳـﺎﻣﻮﺋﻞ ﺧﺎﭼﻴﻜﻴﺎﻥ‪ ،‬ﺑـﺎ ﻫﻤﻜﺎﺭﻱ‪ :‬ﺍﻣﻴـﺮ ﻗﻮﻳﺪﻝ‪،‬‬ ‫ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﻋﻠﻲ ﺍﻛﺒـﺮ ﻣﺰﻳﻨﺎﻧﻲ‪ ،‬ﻣﻨﺼﻮﺭ ﻣﺰﻳﻨﺎﻧﻲ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ‪:‬‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﻳﻮﺳـﻔﻲ‪ ،‬ﻃﺮﺡ ﺍﻭﻟﻴﻪ ﺩﺍﺳـﺘﺎﻥ ﺍﺯ ﻋﺒﺪﺍﷲ ﻋﻠﻴﺨﺎﻧﻲ‪،‬‬ ‫ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒـﺮﺩﺍﺭﻱ‪ :‬ﻋﻠﻲ ﺍﻛﺒـﺮ ﻣﺰﻳﻨﺎﻧـﻲ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﺳـﺎﻣﻮﺋﻞ‬ ‫ﺧﺎﭼﻴﻜﻴـﺎﻥ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪ :‬ﻣﺠﻴـﺪ ﺍﻧﺘﻈﺎﻣـﻲ‪ ،‬ﭼﻬﺮﻩ ﭘـﺮﺩﺍﺯ‪ :‬ﻋﻠﻲ‬ ‫ﺟﺎﻭﻳﺪﺍﻥ‪ ،‬ﻣﻴﻜـﺲ ﻭ ﺍﻣﻮﺭ ﻓﻨﻲ ﺻﺪﺍ‪ :‬ﺍﺳـﺤﺎﻕ ﺧﺎﻧـﺰﺍﺩﻱ‪ ،‬ﻣﺪﻳﺮ‬ ‫ﺗﻮﻟﻴـﺪ‪:‬ﻏﻔﺎﺭﺭﺿﺎﻳﻲ‪،‬ﺟﻠـﻮﻩﻫـﺎﻱﻭﻳـﮋﻩ‪:‬ﻣﻨﺼـﻮﺭﻣﺰﻳﻨﺎﻧـﻲ‪،‬ﻣﺤﺴـﻦﺭﻭﺯﺑﻬﺎﻧـﻲ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺳـﻌﻴﺪ ﺭﺍﺩ‪ ،‬ﺟﻤﺸﻴﺪ ﻫﺎﺷـﻢ ﭘﻮﺭ)ﺁﺭﻳﺎ(‪ ،‬ﺭﺿﺎ ﺭﻭﻳﮕﺮﻱ‪ ،‬ﺯﺭﻱ ﺑﺮﻭﻣﻨﺪ‪ ،‬ﺷﻬﺎﺏ‬ ‫ﻋﺴﮕﺮﻱ‪ ،‬ﻋﻠﻲ ﺍﻛﺒﺮ ﺍﻳﻠﺨﺎﻧﻲ‪ ،‬ﻣﺮﺗﻀﻲ ﻧﻴﻜﺨﻮﺍﻩ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺭﻭﺷﻦ ﻓﻴﻠﻢ‪ 107 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 13 :‬ﻣﺮﺩﺍﺩ ‪ ،1364‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪15/7 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺷــﺮﻭﻉ ﺟﻨﮓ ﺍﻳﺮﺍﻥ ﻭ ﻋﺮﺍﻕ ﺩﺭ ‪ 31‬ﺷــﻬﺮﻳﻮﺭ ‪ 1359‬ﺑﺴــﻴﺎﺭﻱ ﺍﺯ‬ ‫ﻣﻨﺎﺳــﺒﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺳﻴﺎﺳﻲ ﺭﺍ ﺩﺭ ﻛﺸــﻮﺭ ﺗﻐﻴﻴﺮ ﺩﺍﺩ‪ .‬ﺭﻭﻳﺪﺍﺩﻱ‬ ‫ﻛــﻪ ﺩﺭ ﻫﻤــﺎﻥ ﻣﺎﻩﻫﺎﻱ ﺍﻭﻝ ﻣﺸــﺨﺺ ﺷــﺪ ﻛﻪ ﺑﺮ ﺧــﻼﻑ ﭘﻴﺶ‬ ‫ﺑﻴﻨﻲﻫــﺎﻱ ﺍﻭﻟﻴﻪ‪ ،‬ﻛﻮﺗﺎﻩ ﻭ ﺯﻭﺩﮔﺬﺭ ﻧﻴﺴــﺖ ﻭ ﺍﺣﺘﻤــﺎﻻ ﺗﺎ ﻣﺪﺕﻫﺎ‬ ‫ﺩﺭ ﺯﻧﺪﮔﻲ ﻣﺮﺩﻡ ﺣﻀﻮﺭ ﺧﻮﺍﻫﺪ ﺩﺍﺷــﺖ‪ .‬ﻣﺎﻩﻫــﺎﻱ ﺍﺑﺘﺪﺍﻳﻲ ﺟﻨﮓ‬ ‫ﻫﺮﺍﻧﺪﺍﺯﻩ ﺍﺧﺒﺎﺭﻱ ﺍﺯ ﻫﺠﻮﻡ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﺩﺷﻤﻦ ﺩﺭ ﻣﺮﺯﻫﺎﻱ ﺟﻨﻮﺑﻲ‬ ‫ﻛﺸــﻮﺭ ﻭ ﺗﺼﺮﻑ ﭼﻨﺪ ﺷــﻬﺮ ﺑﻪ ﮔﻮﺵ ﻣﻲﺭﺳــﻴﺪ‪ ،‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﺧﺒﺎﺭ‬ ‫ﭘﻴﺮﻭﺯﻱﻫﺎﻱ ﻫﻮﺍﻳﻲ ﺧﻠﺒﺎﻧﺎﻥ ﺩﺭ ﻧﺒﺮﺩﻫﺎﻱ ﺁﺳﻤﺎﻧﻲ ﻫﻴﺠﺎﻥﻫﺎ ﺭﺍ ﺑﻪ‬ ‫ﺍﻭﺝ ﻣﻲﺭﺳﺎﻧﺪ‪ .‬ﻣﺴــﺌﻮﻻﻥ ﻫﻢ ﺑﺎ ﺍﻧﻌﻜﺎﺱ ﻫﺮﭼﻪ ﺑﻴﺸﺘﺮ ﺍﻳﻦ ﺍﺧﺒﺎﺭ‪،‬‬ ‫ﻣﻲﻛﻮﺷــﻴﺪﻧﺪ ﺍﺯ ﺁﻥ ﺩﺭ ﺭﺍﺳــﺘﺎﻱ ﺭﻭﺣﻴﻪ ﺑﺨﺸﻲ ﺑﻪ ﻣﺮﺩﻡ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻛﻨﻨــﺪ‪ .‬ﺑﺎ ﺍﻳﻦﻫﻤﻪ ﻫﻤﭽﻨــﺎﻥ ﺭﻭﺍﻳﺖ ﺗﺼﻮﻳﺮﻱ ﺍﻳــﻦ ﭘﻴﺮﻭﺯﻱﻫﺎﻱ‬ ‫ﻫﻮﺍﻳﻲ ﺑﻪ ﺩﻟﻴﻞ ﻣﺸــﻜﻼﺗﺶ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎ ﻏﺎﻳﺐ ﺑﻮﺩ‪ .‬ﻋﻘﺎﺏﻫﺎ ﺍﻭﻟﻴﻦ‬ ‫ﻭﺍﻛﻨﺶ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻪ ﺛﺒﺖ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺑﻮﺩ ﻛﻪ ﺍﻟﺒﺘﻪ ﺑﺎ ﻧﮕﺎﻫﻲ‬ ‫ﺑﻪ ﺷﺪﺕ ﺗﺠﺎﺭﻱ ﻭ ﺑﺎ ﻛﻤﺘﺮﻳﻦ ﺍﻣﻜﺎﻧﺎﺕ ﺍﺯ ﺳﻮﻱ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺑﺨﺶ‬ ‫ﺧﺼﻮﺻﻲ ﺳﺎﺧﺘﻪ ﺷﺪ ﺍﻣﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﺁﻥ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺑﻮﺩ‪.‬‬ ‫ﺗﺎ ﭘﻴﺶ ﺍﺯ ﻋﻘﺎﺏﻫﺎ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﻟﺒﺘــﻪ ﻭﺍﻛﻨﺶﻫﺎﻳﻲ ﺑﻪ ﺟﻨﮓ‬ ‫ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﻭﺍﻛﻨﺶﻫﺎﻳﻲ ﺍﺯ ﺩﻭ ﺟﻨﺲ ﻣﺘﻔﺎﻭﺕ‪ .‬ﺑﺨﺶ ﺧﺼﻮﺻﻲ‬ ‫ﺑﺎ ﻧﮕﺎﻫﻲ ﺍﻟﮕﻮﮔﺮﻓﺘﻪ ﺍﺯ ﺳــﻴﻨﻤﺎﻱ ﺟﻨﮕﻲ ﻏﺮﺏ ﻛﻮﺷــﻴﺪ ﺑﻪ ﺗﻮﻟﻴﺪ‬ ‫ﺁﺛﺎﺭﻱ ﺣﺎﺩﺛﻪﺍﻱ ﺑﻴﺸــﺘﺮ ﻣﺒﺘﻨﻲ ﺑﺮ ﺭﻭﺍﻳﺖ ﻋﻤﻠﻴــﺎﺕ ﻛﻤﺎﻧﺪﻭﻳﻲ ﻭ‬ ‫ﭼﺮﻳﻜﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﻴﺠﺎﻥ ﻭ ﺣﺎﺩﺛﻪﭘﺮﺩﺍﺯﻱ ﺣﻀﻮﺭ ﺍﺻﻠﻲ ﺩﺍﺷﺘﻨﺪ‪،‬‬ ‫ﺑﭙﺮﺩﺍﺯﺩ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﺟﻮﺍﻥ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ ﻣﺸﻐﻮﻝ‬ ‫ﻓﻌﺎﻟﻴﺖ ﺩﺭ ﻧﻬﺎﺩﻫﺎﻱ ﺍﻧﻘﻼﺑﻲ‪ ،‬ﺛﺒﺖ ﺍﻭﻟﻴﻦ ﺁﺯﻣﻮﻧﺸﺎﻥ ﺭﺍ ﺩﺭ ﺭﺍﺳﺘﺎﻱ‬ ‫‪56‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺩﺭ ﺟﻨﮓ ﺍﻳﺮﺍﻥ ﻭ ﻋﺮﺍﻕ ﻳﻚ ﻫﻮﺍﭘﻴﻤﺎﻱ ﺍﺭﺗﺶ ﺍﻳﺮﺍﻥ‪ ،‬ﭘﺲ ﺍﺯ ﺍﻧﺠﺎﻡ ﻣﺎﻣﻮﺭﻳﺘﻲ ﺩﺭﺧﺎﻙ ﻋﺮﺍﻕ‪ ،‬ﻣﻮﺭﺩ ﺣﻤﻠﻪ‬ ‫ﻋﺮﺍﻗﻲ ﻫﺎ ﻗﺮﺍﺭ ﻣﻲ ﮔﻴﺮﺩ ﻭ ﺩﺭ ﻛﺮﺩﺳــﺘﺎﻥ ﻋﺮﺍﻕ ﺳــﻘﻮﻁ ﻣﻲ ﻛﻨﺪ‪ .‬ﺧﻠﺒﺎﻥ ﺑﺎ ﭼﺘﺮ ﻧﺠﺎﺕ ﻓﺮﻭﺩ ﻣﻲ ﺁﻳﺪ‪.‬‬ ‫ﮔﺮﻭﻫﻲ ﺍﺯ ﻧﻈﺎﻣﻴﺎﻥ ﺩﺷﻤﻦ ﺩﺭ ﭘﻲ ﺩﺳﺘﮕﻴﺮﻱ ﺍﻭ ﻫﺴﺘﻨﺪ‪ .‬ﺧﻠﺒﺎﻥ ﺑﻪ ﻛﻤﻚ ﻳﻚ ﺗﻜﺎﻭﺭ ﺍﻳﺮﺍﻧﻲ ﻛﻪ ﺑﺮﺍﻱ‬ ‫ﺍﻧﺠﺎﻡ ﻣﺎﻣﻮﺭﻳﺘﻲ ﺑﺎ ﻟﺒﺎﺱ ﻣﺒﺪﻝ ﻭﺍﺭﺩ ﻛﺮﺩﺳﺘﺎﻥ ﻋﺮﺍﻕ ﺷﺪﻩ‪ ،‬ﻧﺠﺎﺕ ﻣﻲ ﻳﺎﺑﺪ‪ .‬ﻫﺮ ﺩﻭ ﭘﺲ ﺍﺯ ﺩﺭﮔﻴﺮﻱ ﺑﺎ‬ ‫ﻧﻈﺎﻣﻴﺎﻥ ﺩﺷــﻤﻦ ﺑﻪ ﻫﻤﺮﺍﻩ ﮔﺮﻭﻫﻲ ﺍﺯ ﻣﺒﺎﺭﺯﺍﻥ ﻛﺮﺩ ﻋﺮﺍﻗﻲ ﺑﻪ ﺭﻭﺳﺘﺎﻳﻲ ﭘﻨﺎﻩ ﻣﻲ ﺑﺮﻧﺪ‪ .‬ﻧﻈﺎﻣﻴﺎﻥ ﺁﻧﺎﻥ‬ ‫ﺭﺍ ﺗﻌﻘﻴﺐ ﻣﻲ ﻛﻨﻨﺪ ﻭ ﺧﻠﺒﺎﻥ ﻭ ﺗﻜﺎﻭﺭ ﺑﺎ ﻣﻮﺗﻮﺭ ﺳــﻴﻜﻠﺖ ﻣﻲﮔﺮﻳﺰﻧــﺪ‪ .‬ﻳﻚ ﻫﻠﻴﻜﻮﭘﺘﺮ ﻋﺮﺍﻗﻲ ﺁﻥ ﺩﻭ ﺭﺍ‬ ‫ﺗﻌﻘﻴﺐ ﻣﻲ ﻛﻨﺪ‪ .‬ﺩﺭ ﻧﺰﺩﻳﻜﻲ ﻣﺮﺯ ﻧﻴﺮﻭﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﻫﻠﻴﻜﻮﭘﺘﺮ ﺭﺍ ﺳــﺮﻧﮕﻮﻥ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺧﻠﺒﺎﻥ ﻭ ﺗﻜﺎﻭﺭ‪،‬‬ ‫ﺳﻮﺍﺭ ﺑﺮ ﻣﻮﺗﻮﺭ ﺳﻴﻜﻠﺖ‪ ،‬ﺩﺭﻧﺰﺩﻳﻜﻲ ﻣﺮﺯ ﺑﻪ ﺳﺮﻋﺖ ﺑﻪ ﻣﻴﺪﺍﻥ ﻣﻴﻦ ﻧﺰﺩﻳﻚ ﻣﻲ ﺷﻮﻧﺪ‪ .‬ﺍﺷﺎﺭﻩ ﺳﺮﺑﺎﺯﺍﻥ‬ ‫ﺍﻳﺮﺍﻧﻲ ﻛﻪ ﻣﻲ ﻛﻮﺷﻨﺪ ﺁﻥ ﺩﻭ ﺭﺍ ﻣﺘﻮﺟﻪ ﺧﻄﺮ ﻛﻨﻨﺪ ﻣﻮﺛﺮ ﻧﻤﻲ ﺍﻓﺘﺪ ﻭ ﺩﺭ ﺑﺮﺧﻮﺭﺩ ﻣﻮﺗﻮﺭ ﺳﻴﻜﻠﺖ ﺑﺎ ﻣﻴﻦ‬ ‫ﺗﻜﺎﻭﺭ ﻛﺸﺘﻪ ﻣﻲ ﺷﻮﺩ ﻭ ﺧﻠﺒﺎﻥ ﻧﺠﺎﺕ ﻣﻲ ﻳﺎﺑﺪ‪.‬‬ ‫ﺍﺭﺍﺋﻪ ﺗﺼﻮﻳﺮﻱ ﺑﻴﺸــﺘﺮ ﻣﻌﻨﻮﻱ ﺍﺯ ﺟﻨﮓ ﺩﺭﺑﺎﺭﻩ ﭼﻬﺮﻩﻫﺎﻳﻲ ﻣﺘﺤﻮﻝ‬ ‫ﻭ ﺑﺎ ﺳﻴﺮ ﻭ ﺳــﻠﻮﻙ ﻋﺮﻓﺎﻧﻲ ﺩﺭ ﺟﺒﻬﻪﻫﺎ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺨﺎﻃﺐ‬ ‫ﺍﻣﺎ ﺩﺭ ﺳﺎﻝﻫﺎﻱ ﺍﻭﻝ ﺑﻴﺸﺘﺮ ﺑﻪ ﺛﺒﺖ ﭘﻴﺮﻭﺯﻱﻫﺎﻱ ﺑﻪﺩﺳﺖ ﺁﻣﺪﻩ ﺩﺭ‬ ‫ﻧﺒﺮﺩﻫﺎﻳﻲ ﻫﻴﺠﺎﻥ ﺍﻧﮕﻴﺰ ﻋﻼﻗﻪ ﻧﺸــﺎﻥ ﻣﻲﺩﺍﺩ‪ .‬ﺍﻳــﻦ ﺩﺭ ﺯﻣﺎﻧﻲ ﺑﻮﺩ‬ ‫ﻛﻪ ﻫﻨﻮﺯ ﺟﻨﮓ ﺑﻪ ﺑﻄﻦ ﺷــﻬﺮﻫﺎﻱ ﺑﺰﺭگ ﻧﻔــﻮﺫ ﻧﻜﺮﺩﻩ ﺑﻮﺩ ﻭ ﺍﻳﺮﺍﻥ‬ ‫ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﻭﺍﺳــﻄﻪ ﻓﺘﺢ ﺧﺮﻣﺸــﻬﺮ ﻭ ﭘﻴﺮﻭﺯﻱ ﺩﺭ ﭼﻨﺪ ﻋﻤﻠﻴﺎﺕ‬ ‫ﺩﺳﺖ ﺑﺎﻻ ﺭﺍ ﺩﺭ ﻧﺒﺮﺩ ﺩﺍﺷــﺖ‪ .‬ﻫﻨﻮﺯ ﺗﺎ ﺁﻧﭽﻪ ﺑﻪ ﻧﺎﻡ »ﺟﻨﮓ ﺷﻬﺮﻫﺎ«‬ ‫ﻣﻌﺮﻭﻑ ﺷﺪ ﻳﻚ ﺳﺎﻟﻲ ﻓﺎﺻﻠﻪ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻋﻘﺎﺏﻫــﺎ ﺗﻮﻟﻴﺪ ﻛﺎﻣــﻞ ﺑﺨﺶ ﺧﺼﻮﺻﻲ ﺳــﻴﻨﻤﺎﻱ ﺍﻳــﺮﺍﻥ ﺑﻮﺩ‪.‬‬ ‫ﺑﺨﺸــﻲ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍﻱ ﭘﻴﺮﻭﺯﻱ ﺍﻧﻘﻼﺏ ﺗﻼﺵ ﻣﻲﻛﺮﺩ ﺿﻤﻦ‬ ‫ﻓﺮﺍﻫﻢ ﻛــﺮﺩﻥ ﺍﻣﻜﺎﻥ ﺍﺩﺍﻣــﻪ ﻓﻌﺎﻟﻴﺘﺶ‪ ،‬ﺳــﻮﺩﺁﻭﺭﻱ ﻛﺎﺭﺵ ﺭﺍ ﻫﻢ‬ ‫ﺗﻀﻤﻴــﻦ ﻛﻨــﺪ‪ .‬ﻭﺍﻛﻨﺶ ﺍﻳﻦ ﺑﺨــﺶ ﺑﻪ ﺭﻭﻳــﺪﺍﺩ ﻣﻨﺤﺼﺮﻱ ﭼﻮﻥ‬ ‫ﺟﻨﮓ ﻫﻢ ﺑــﺮ ﻣﺒﻨﺎﻱ ﺩﻳﺪﮔﺎﻩ ﺧــﻮﺩﺵ ﺍﺯ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺑــﻮﺩ‪ .‬ﺭﻭﺍﻳﺘﻲ‬ ‫ﻣﺒﺘﻨﻲ ﺑﺮ ﺍﻟﮕﻮﻫــﺎﻱ ﺍﻣﺘﺤﺎﻥ ﭘﺲ ﺩﺍﺩﻩ ﻏﺮﺑﻲ‪ .‬ﺑﻌــﺪ ﺍﺯ ﺗﺠﺮﺑﻪﻫﺎﻳﻲ‬ ‫ﺩﺭ ﺯﻣﻴﻨﻪ ﻧﻤﺎﻳﺶ ﻋﻤﻠﻴﺎﺕ ﭼﺮﻳﻜﻲ ﻭ ﻛﻤﺎﻧﺪﻭﻳﻲ‪ ،‬ﻋﺒﺪﺍﷲ ﻋﻠﻴﺨﺎﻧﻲ‬ ‫ﻛﻪ ﺍﺯ ﻓﻌﺎﻻﻥ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺳــﻴﻨﻤﺎﻱ ﺧﺼﻮﺻﻲ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺯﻣﻴﻨﻪ‬ ‫ﻭﺭﻭﺩ ﻓﻴﻠﻢ ﺧﺎﺭﺟﻲ ﺍﺯ ﻧﺎﻡﻫﺎﻱ ﺍﺻﻠﻲ ﻣﺤﺴــﻮﺏ ﻣﻲﺷﺪ‪ ،‬ﻃﺮﺣﻲ ﺭﺍ‬ ‫ﻛﻪ ﻣﺒﺘﻨﻲ ﺑﺮ ﺗﺮﻛﻴﺐ ﺳــﻴﻨﻤﺎﻱ ﻛﻤﺎﻧﺪﻭﻳﻲ ﺑﺎ ﻧﺒﺮﺩﻫﺎﻱ ﻫﻮﺍﻳﻲ ﺑﻮﺩ‪،‬‬ ‫ﻣﻄﺮﺡ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻃﺮﺡ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﻓﺘﺮ »ﺭﻭﺷﻦ ﻓﻴﻠﻢ« ﻛﻪ ﻣﺘﻌﻠﻖ ﺑﻪ‬ ‫ﺑﺮﺍﺩﺭﺍﻥ ﻣﺰﻳﻨﺎﻧﻲ ﺑﻮﺩ‪ ،‬ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﻣﻨﺼﻮﺭ ﻭ ﻋﻠﻲ ﻣﺰﻳﻨﺎﻧﻲ ﺍﺯ ﻓﻌﺎﻻﻥ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﻗﺒﻞ ﺍﻧﻘﻼﺏ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﻪﻭﻳﮋﻩ ﻋﻠﻲ ﺩﺭ ﺯﻣﻴﻨﻪ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺳﺎﺑﻘﻪ ﺯﻳﺎﺩﻱ ﺩﺍﺷــﺖ‪ .‬ﺑﺮﺍﺩﺭﺍﻥ ﻣﺰﻳﻨﺎﻧﻲ ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ‬ ‫ﻛﻪ ﺁﻥ ﺯﻣﺎﻥ ﺗﺼﻮﺭ ﭼﻨﺪﺍﻧﻲ ﺍﺯ ﺍﻣﻜﺎﻥ ﻣﻮﻓﻘﻴﺘﺶ ﻧﺪﺍﺷــﺘﻨﺪ‪ ،‬ﺳــﺮﺍﻍ‬ ‫ﺳﺎﻣﻮﺋﻞ ﺧﺎﭼﻴﻜﻴﺎﻥ ﻓﻴﻠﻤﺴــﺎﺯ ﻗﺪﻳﻤﻲ ﺭﻓﺘﻨﺪ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﺎ‬ ‫ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﻧﻴﺎﻣﺪﻥ ﻓﻴﻠﻢ »ﺍﻧﻔﺠﺎﺭ«ﺵ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺟﺰ ﺩﺭ ﻣﻘﺎﻡ‬ ‫ﺗﺪﻭﻳﻨﮕﺮ ﻭ ﻣﺸــﺎﻭﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻌﺎﻟﻴﺖ ﺩﻳﮕﺮﻱ ﺩﺭ ﺳــﻴﻨﻤﺎ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷــﺪ‪ .‬ﺧﺎﭼﻴﻜﻴﺎﻥ ﺑﻴﺸــﺘﺮ ﺑﺮﺍﻱ ﺍﺛﺒﺎﺕ ﺗﻮﺍﻧﺎﻳﻲﻫﺎﻳﺶ ﻛﺎﺭ ﺳﺎﺧﺖ‬ ‫ﻓﻴﻠﻢ ﺭﺍ ﺑﺎﻭﺟﻮﺩ ﺑﻮﺩﺟﻪ ﺍﻧﺪﻙ ﻭ ﺷــﺮﺍﻳﻂ ﺗﻮﻟﻴﺪ ﻧﻪ ﭼﻨﺪﺍﻥ ﻣﻨﺎﺳﺒﺶ‬ ‫ﭘﺬﻳﺮﻓﺖ‪ .‬ﻃﺮﺡ ﺍﻭﻟﻴﻪ ﺩﺭ ﻣﺴــﻴﺮ ﺗﺒﺪﻳﻞ ﺑﻪ ﻓﻴﻠﻤﻨﺎﻣــﻪ ﺑﻠﻨﺪ ﺑﺎﺭﻫﺎ ﺍﺯ‬ ‫ﺳﻮﻱ ﺻﺎﺣﺒﺎﻧﺶ ﺗﻮﺳﻂ ﻧﻮﻳﺴــﻨﺪﮔﺎﻥ ﮔﻮﻧﺎﮔﻮﻥ ﺍﺯ ﺟﻤﻠﻪ ﻣﺴﻌﻮﺩ‬ ‫ﺑﻬﻨﻮﺩ ﺑﺎﺯﻧﻮﻳﺴﻲ ﺷــﺪ ﻭ ﻋﺎﻗﺒﺖ ﻧﺴــﺨﻪ ﻧﻬﺎﻳﻲ ﻛﻪ ﺩﺭ ﺍﺻﻞ ﺗﻮﺳﻂ‬ ‫ﺳﺎﻣﻮﺋﻞ ﺧﺎﭼﻴﻜﻴﺎﻥ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﺑﻪ ﻧﺎﻡ ﻣﺤﻤﺪﺭﺿﺎ ﻳﻮﺳﻔﻲ ﺍﺯ‬ ‫ﺩﺳﺘﻴﺎﺭﺍﻥ ﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥ ﻓﻌﺎﻝ ﺁﻥ ﺯﻣﺎﻥ ﺩﺭ ﺗﻮﻟﻴﺪﺍﺕ ﺩﻓﺎﺗﺮ ﺧﺼﻮﺻﻲ‬ ‫ﺗﻮﺍﻧﺴــﺖ ﺍﺯ ﺷــﻮﺭﺍﻱ ﺗﺼﻮﻳﺐ ﻓﻴﻠﻤﻨﺎﻣــﻪ ﻋﻨﻮﺍﻥ ﻗﺒﻮﻟــﻲ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺩﺭ ﺟﺮﻳﺎﻥ ﺗﻮﻟﻴﺪ ﺑﺎ ﺩﻭ ﺍﺗﻔﺎﻕ ﺧﻮﺷﺎﻳﻨﺪ ﻣﻮﺍﺟﻪ ﺷﺪﻧﺪ؛‬ ‫ﺍﺑﺘﺪﺍ ﺗﻮﺍﻧﺴﺘﻨﺪ ﻣﺠﻮﺯ ﺑﺎﺯﻱ ﺳــﻌﻴﺪ ﺭﺍﺩ ﺭﺍ ﻛﻪ ﺗﻨﻬﺎ ﺑﺎﺯﻳﮕﺮ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ‬ ‫ﺩﻭﺭﺍﻥ ﻗﺒﻞ ﺑﻮﺩ ﻛﻪ ﻫﻨﻮﺯ ﺍﻣﻜﺎﻥ ﻓﻌﺎﻟﻴﺖ ﺭﺍ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ‬ ‫ﺩﺍﺷﺖ‪ ،‬ﺑﻪﺩﺳﺖ ﺁﻭﺭﻧﺪ‪ .‬ﺑﻌﺪ ﺑﺎ ﺭﺍﻳﺰﻧﻲ ﺑﺎ ﻧﻴﺮﻭﻱ ﻫﻮﺍﻳﻲ ﻫﻢ ﺗﻮﺍﻧﺴﺘﻨﺪ‬ ‫ﺍﺟﺎﺯﻩ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﺯ ﺁﺭﺷــﻴﻮ ﺍﻳﻦ ﻧﻬﺎﺩ ﺑﺮﺍﻱ ﺛﺒﺖ ﻧﺒﺮﺩﻫﺎﻱ ﻫﻮﺍﻳﻲ ﺭﺍ‬ ‫ﺑﻪﺩﺳــﺖ ﺁﻭﺭﻧﺪ ﻭ ﺩﺭ ﻛﻨﺎﺭﺵ ﻫﻢ ﻣﻮﻓﻖ ﺷﺪﻧﺪ ﻣﻮﺍﻓﻘﺖ ﺍﻳﻦ ﻧﻬﺎﺩ ﺭﺍ‬ ‫ﺑﺮﺍﻱ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺍﺯ ﻣﺎﻧﻮﺭﻫﺎﻱ ﻫﻮﺍﻳﻲ ﻛﺴﺐ ﻛﻨﻨﺪ‪.‬‬ ‫ﺑــﻪ ﺍﻳﻦ ﺗﺮﺗﻴــﺐ ﻋﻘﺎﺏﻫﺎ ﺗﺒﺪﻳﻞ ﺑــﻪ ﻓﻴﻠﻤﻲ ﻣﺮﺗﺒﻂ ﺑــﺎ ﻧﺒﺮﺩﻫﺎﻱ‬ ‫ﻫﻮﺍﻳﻲ ﺷــﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﻴﭻ ﺻﺤﻨﻪ ﺟﻨﮓ ﺩﺭ ﺁﺳﻤﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﻧﺸﺪ‪ .‬ﺍﻭﺍﺳــﻂ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺧﺎﭼﻴﻜﻴﺎﻥ ﺩﭼﺎﺭ ﺑﻴﻤﺎﺭﻱ ﺷﺪ ﻭ ﭼﻮﻥ‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺍﺻﺮﺍﺭ ﺑﻪ ﺍﺩﺍﻣﻪ ﻛﺎﺭ ﺩﺍﺷــﺘﻨﺪ‪ ،‬ﺍﻣﻴﺮ ﻗﻮﻳﺪﻝ ﺩﺳــﺘﻴﺎﺭ‬ ‫ﺳﺎﺑﻖ ﺧﺎﭼﻴﻜﻴﺎﻥ ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 30‬ﺩﻗﻴﻘﻪ ﻓﻴﻠﻢ ﻣﺮﺑﻮﻁ ﺑﻪ ﺻﺤﻨﻪﻫﺎﻱ‬ ‫ﺍﺑﺘﺪﺍﻳﻲ ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﺮﺩ‪ .‬ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﺑﺎ ﻗﻴﺪ ﻟﺰﻭﻡ ﺩﺭﺝ ﻧﺎﻡ ﺳﻌﻴﺪ‬ ‫ﺭﺍﺩ ﺑﻪ ﺍﺣﻤﺪ ﺣﻖﭘﺮﺳﺖ ﺭﺍﺩ ﻭ ﺟﻤﺸــﻴﺪ ﺁﺭﻳﺎ ﺑﻪ ﺟﻤﺸﻴﺪ ﻫﺎﺷﻢﭘﻮﺭ‬ ‫ﻭ ﺳــﻘﻒ ﻧﻤﺎﻳﺶ ﺩﻭ ﻣﺎﻩ ﺻﺎﺩﺭ ﺷــﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻲﻛــﻪ ﺍﺗﻔﺎﻗﺎﺕ ﺗﻮﻟﻴﺪ‬ ‫ﺧﺎﭼﻴﻜﻴﺎﻥ ﺭﺍ ﭼﻨﺪﺍﻥ ﺍﺯ ﻧﺘﻴﺠﻪ ﻛﺎﺭ ﺭﺍﺿﻲ ﻧﻜﺮﺩﻩ ﺑﻮﺩ ﺍﻣﺎ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﭼﻨﺪﺍﻥ ﺍﻋﺘﻨﺎﻳﻲ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻊ ﻧﺪﺍﺷﺘﻨﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﻋﻘﺎﺏﻫﺎ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺗﻤﺎﻡ ﻣﻌﻴﺎﺭﻫﺎ ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﻗﺒﻠﻲ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺣﻴﺮﺕﺁﻭﺭ ﺑﻮﺩ‪ .‬ﻫﺠﻮﻡ ﺑﻪ ﺳﻴﻨﻤﺎﻫﺎ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺑﻮﺩ ﻛﻪ‬ ‫ﺍﺯ ﺭﻭﺯ ﺩﻭﻡ ﭘﻠﻴﺲ ﻣﺠﺒﻮﺭ ﺑﻪ ﻣﺪﺍﺧﻠﻪ ﻭ ﻧﻈﻢ ﺑﺨﺸــﻴﺪﻥ ﺑﻪ ﺳﻴﻨﻤﺎﻫﺎ‬ ‫ﺷﺪ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﻫﻔﺘﻪ ﺍﻭﻝ ﺭﻛﻮﺭﺩ ﻓﺮﻭﺵ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻛﻪ ﺩﺭ‬ ‫ﺍﺧﺘﻴﺎﺭ ﺑﺮﺯﺧﻲﻫﺎ ﺑﻮﺩ‪ ،‬ﺷﻜﺴﺘﻪ ﺷﺪ‪ .‬ﺗﺮﻛﻴﺐ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻣﺤﺒﻮﺏ ﺁﻥ‬ ‫ﺩﻭﺭﻩ ﺑﻪ ﺍﺿﺎﻓﻪ ﻣﻀﻤــﻮﻥ ﻓﻴﻠﻢ ﺍﺯ ﺟﻤﻠﻪ ﺍﺻﻠﻲﺗﺮﻳﻦ ﺩﻻﻳﻞ ﻣﻮﻓﻘﻴﺖ‬ ‫ﻓﻴﻠﻢ ﻗﻠﻤﺪﺍﺩ ﺷﺪ‪ .‬ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻫﻨﮕﺎﻡ ﺗﻤﺎﺷﺎﻱ ﻓﻴﻠﻢ ﺩﺭ ﺻﺤﻨﻪﻫﺎﻱ‬ ‫ﻧﺒﺮﺩ ﻗﻬﺮﻣﺎﻧﺎﻥ ﺍﻳﺮﺍﻧﻲ ﺑﺎ ﻧﻴﺮﻭﻫﺎﻱ ﻋﺮﺍﻗﻲ ﻭ ﻏﻠﺒﻪ ﺑﺮ ﺁﻧﻬﺎ ﻭﺍﻛﻨﺶﻫﺎﻱ‬ ‫ﺍﺣﺴﺎﺳــﻲ ﻭ ﻫﻴﺠﺎﻧﻲ ﺩﺭ ﺳﺎﻟﻦﻫﺎ ﻧﺸــﺎﻥ ﻣﻲﺩﺍﺩﻧﺪ‪ .‬ﻛﺴﺎﻧﻲ ﺑﺎﺭﻫﺎ‬ ‫ﺑﻪ ﺗﻤﺎﺷــﺎﻱ ﻓﻴﻠﻢ ﺭﻓﺘﻨﺪ ﻭ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺁﺷﻜﺎﺭﺍ ﺳﺒﺐ ﺭﻭﻧﻖ ﺑﺨﺸﻲ‬ ‫ﺣﻴﺮﺕﺁﻭﺭﻱ ﺑﻪ ﺳﻴﻨﻤﺎ ﺷﺪ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺗﻤﺎﻡ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﻫﻤﺰﻣﺎﻥ‬ ‫ﺑﺎ ﻋﻘﺎﺏﻫﺎ ﺑﺮﭘﺮﺩﻩ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ ﺑﺎ ﻓﺮﻭﺵﻫﺎﻱ ﺑﺴﻴﺎﺭ ﺑﺎﻻ ﻣﻮﺍﺟﻪ ﺷﺪﻧﺪ؛‬ ‫ﺗﺎﺭﺍﺝ‪ ،‬ﮔﻞﻫﺎﻱ ﺩﺍﻭﻭﺩﻱ ﻭ ﺷﻬﺮ ﻣﻮﺵﻫﺎ ﺍﺯ ﺟﻤﻠﻪ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻋﻘﺎﺏﻫﺎ ﺳﺎﻝ ‪ 1364‬ﺭﺍ ﺑﻪ ﺳﺎﻟﻲ ﺍﺳﺘﺜﻨﺎﻳﻲ ﺩﺭ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎﻱ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻳﺮﺍﻥ ﺗﺒﺪﻳﻞ ﻛﺮﺩ‪ .‬ﺭﺳــﺎﻧﻪﻫﺎ ﺍﻣﺎ ﺑﺎ ﺑﻲﺍﻋﺘﻨﺎﻳﻲ ﺑﻪ ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﻓﻴﻠﻢ ﺭﻓﺘﻨﺪ‪ .‬ﺣﺘﻲ ﺧﺒﺮ ﺍﺳﺘﻘﺒﺎﻝ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺍﺯ ﻓﻴﻠﻢ ﻫﻢ ﭼﻨﺪﺍﻥ ﺩﺭ‬ ‫ﺭﺳﺎﻧﻪﻫﺎ ﻣﻨﺘﺸﺮ ﻧﺸﺪ‪ .‬ﻧﻘﺪﻫﺎﻱ ﻣﻨﺘﺸﺮﻩ ﻫﻢ ﻳﻚ ﺳﺮ ﻋﻠﻴﻪ ﻓﻴﻠﻢ ﺑﻮﺩ‪.‬‬ ‫ﻛﻴﻬﺎﻥ ﺩﺭ ﻧﻘﺪﻱ ﺑﺎ ﻋﻨﻮﺍﻥ »ﻳﻚ ﻓﻴﻠﻤﻔﺎﺭﺳﻲ ﺩﻳﮕﺮ ﺍﺯ ﻳﻚ ﻓﻴﻠﻤﺴﺎﺯ‬ ‫ﻗﺪﻳﻤﻲ« ﻓﻴﻠﻢ ﺭﺍ ﺍﺛﺮﻱ ﺩﺭ ﺍﺩﺍﻣﻪ ﺳﺎﺧﺘﻪﻫﺎﻱ ﺳﻴﻨﻤﺎﻱ ﻗﺒﻞ ﺍﺭﺯﻳﺎﺑﻲ‬ ‫ﻛــﺮﺩ ﻭ ﻣﺎﻫﻨﺎﻣﻪ ﻓﻴﻠﻢ ﻫــﻢ ﻋﻘﺎﺏﻫــﺎ ﺭﺍ ﺍﺛﺮﻱ ﻣﺘﻌﻠﻖ ﺑــﻪ ﺩﻭﺭﺍﻧﻲ‬ ‫ﺳــﭙﺮﻱ ﺷﺪﻩ ﺩﺍﻧﺴﺖ‪ .‬ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﺍﻣﺎ ﺑﺎ ﺑﻲ ﺍﻋﺘﻨﺎﻳﻲ ﺑﻪ ﻭﺍﻛﻨﺶﻫﺎ‬ ‫ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﺗﻤﺎﺷﺎﻱ ﭘﻴﺮﻭﺯﻱ ﻗﻬﺮﻣﺎﻧﺎﻥ ﺍﻳﺮﺍﻧﻲ ﻣﻲ ﺭﻓﺘﻨﺪ‪ ،‬ﺁﻧﭽﻨﺎﻥ‬ ‫ﻛﻪ ﻓﺮﻭﺵ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺍﻛﺮﺍﻥ ﺍﻭﻟﺶ ﻓﻘﻂ ﺩﺭ ﺗﻬﺮﺍﻥ ﺑﺎ ﺑﻠﻴﺖ ﻣﺘﻮﺳــﻂ‬ ‫‪ 10‬ﺗﻮﻣﺎﻧﻲ ﺑﻪ ﺭﻗﻢ ﺧﻴﺮﻩﻛﻨﻨﺪﻩ ‪ 15‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ ﺭﺳﺎﻧﺪﻧﺪ‪.‬‬ ‫ﻋﻘﺎﺏﻫﺎ ﺑﻌﺪ ﺍﺯ ﺍﻳــﻦ ﻧﻤﺎﻳﺶ ﺭﻛﻮﺭﺩ ﺗﻌــﺪﺍﺩ ﻧﻤﺎﻳﺶﻫﺎﻱ ﺑﻌﺪﻱ ﺭﺍ‬ ‫ﺷﻜﺴــﺖ ﺁﻥ ﭼﻨﺎﻥ ﻛﻪ ﺑﻪ ﮔﻔﺘﻪ ﭘﺨﺶ ﻛﻨﻨﺪﻩﺍﺵ ﺗﺎ ﻣﻴﺎﻧﻪ ﺩﻫﻪ ‪70‬‬ ‫ﻫﻤﭽﻨﺎﻥ ﺳﻴﻨﻤﺎﻫﺎﻱ ﺷﻬﺮﺳــﺘﺎﻥﻫﺎ ﻭ ﺑﻌﻀﻲ ﺳﻴﻨﻤﺎﻫﺎﻱ ﻣﻨﺎﻃﻖ‬ ‫ﭘﺎﻳﻴﻦ ﺷــﻬﺮ ﻣﺘﻘﺎﺿﻲ ﻧﻤﺎﻳﺸــﺶ ﺑﻮﺩﻧﺪ ﻭ ﻧﻤﺎﻳﺸــﺶ ﻫﻢ ﺣﺘﻲ ﺍﺯ‬ ‫ﺑﻌﻀﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻛﺮﺍﻥ ﺍﻭﻝ ﻣﻮﻓﻖﺗﺮ ﺑﻮﺩ‪ .‬ﻫﺮﭼﻨﺪ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﻧﺼﻴﺒﻲ ﺟــﺰ ﻣﻤﻨﻮﻋﻴــﺖ ﻓﻌﺎﻟﻴﺖ ﺑــﺮﺍﻱ ﻛﺎﺭﮔــﺮﺩﺍﻥ ﻭ ﺩﻭ ﺑﺎﺯﻳﮕﺮ‬ ‫ﺍﺻﻠﻲﺍﺵ ﻧﺮﺳﻴﺪ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺗﺎ ﻫﻤﻴﻦ ‪ 10‬ﺳــﺎﻝ ﭘﻴﺶ ﺩﺭ ﮔﺬﺭ ﺍﺯ ﺳﻴﻨﻤﺎﻫﺎﻱ ﻫﻨﻮﺯ ﻓﻌﺎﻝ ﻻﻟﻪﺯﺍﺭ‬ ‫ﻭ ﮔﻤﺮﻙ ﻣﻲﺷــﺪ ﺍﻋﻼﻥ ﺗﺒﻠﻴﻐﻲ ﻋﻘﺎﺏﻫﺎ ﺭﺍ ﺩﻳﺪ‪ .‬ﮔﻮﻳﻲ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻣﺠﺮﺩ ﺁﻥ ﺳﻴﻨﻤﺎﻫﺎ ﺑﺎ ﻓﻴﻠﻤﻲ ﭼﻮﻥ ﻋﻘﺎﺏﻫﺎ ﺑﻴﺸﺘﺮ ﻫﻤﺮﺍﻩ‬ ‫ﻣﻲﺷــﺪﻧﺪ ﺗﺎ ﺁﺛﺎﺭ ﻣﺘﺎﺧﺮ‪ .‬ﻋﻘﺎﺏﻫﺎ ﻣﺤﺼﻮﻝ ﺩﻭﺭﺍﻥ ﻧﺒﺮﺩ ﻭ ﺩﺭﮔﻴﺮﻱ‬ ‫ﺑﻮﺩ‪ .‬ﻣﺤﺼﻮﻝ ﺩﻭﺭﺍﻧﻲ ﻛﻪ ﺟﻮﺍﻧﺎﻥ ﻫﻴﺠﺎﻥﺁﻣﺪﻩ ﺍﺯ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﺟﻨﮓ‬ ‫ﮔﺮﻭﻩ ﮔﺮﻭﻩ ﺑﻪ ﺟﺒﻬﻪﻫﺎ ﻣﻲ ﺭﻓﺘﻨﺪ‪ .‬ﻋﺪﻩﺍﻱ ﺻﺮﻓﺎ ﺣﻀﻮﺭ ﺩﺭ ﺟﺒﻬﻪﻫﺎ‬ ‫ﻭ ﺍﻗﺪﺍﻡ ﺩﺍﻭﻃﻠﺒﺎﻧﻪ ﺭﺍ ﻣﻲﭘﺴــﻨﺪﻳﺪﻧﺪ ﻭ ﺗﻌﺪﺍﺩﻱ ﺩﻳﮕﺮ ﺑﻪ ﻗﺼﺪ ﺗﻜﺎﻭﺭ‬ ‫ﺷــﺪﻥ ﻭ ﻧﺒﺮﺩ ﻛﻤﺎﻧﺪﻭﻳﻲ ﮔﺰﻳﻨﻪ ﺍﺳــﺘﺨﺪﺍﻡ ﺭﺳــﻤﻲ ﺩﺭ ﻧﻴﺮﻭﻫﺎﻱ‬ ‫ﻭﻳــﮋﻩ ﺍﺭﺗﺶ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﻋﻘﺎﺏﻫﺎ ﻓﻴﻠﻤﻲ ﺑﺮﺍﻱ ﭘﺎﺳــﺦ ﺑﻪ‬ ‫ﻋﻄﺶ ﺍﻳﻦ ﻃﺒﻘﻪ ﺑﻮﺩ‪ .‬ﻋﻄﺸــﻲ ﻛﻪ ﺗﺎ ﻫﻤﻴﻦ ﺳــﺎﻝﻫﺎ ﻣﻲﺷــﺪ ﺩﺭ‬ ‫ﺭﻭﻧﻖ ﺑﺎﺷــﮕﺎﻩﻫﺎﻱ ﺭﺯﻣﻲ ﺟﺴــﺖﻭﺟﻮ ﻛﺮﺩ‪ .‬ﻋﻘﺎﺏﻫﺎ ﻓﻴﻠﻤﻲ ﺑﺮﺍﻱ‬ ‫ﺭﻭﺣﻴﻪ ﺑﺨﺸــﻲ ﺑﻪ ﻣﺮﺩﻣﻲ ﺑﻮﺩ ﻛﻪ ﺍﻧﻘﻼﺏ ﻭ ﺟﻨﮓ ﺭﺍ ﺩﺭ ﻫﻤﺎﻥ ﻻﻳﻪ‬ ‫ﻇﺎﻫﺮﻱ ﻫﻴﺠﺎﻥ ﻭ ﭘﻴﺮﻭﺯﻱ ﻣﻲﺩﻳﺪﻧﺪ‪.‬‬ ‫ﺍﻣﺮﻭﺯ ﺩﺭ ﺩﻳﺪﺍﺭ ﺩﻭﺑﺎﺭﻩ ﻓﻴﻠﻢ‪ ،‬ﺍﺛﺮﻱ ﻛﻢﻣﺎﻳﻪ ﻭ ﺳﻄﺤﻲ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ‬ ‫ﻛﻪ ﻇﺎﻫﺮﺍ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﺗﻠﻘﻲ ﻋﺪﻩﺍﻱ ﺍﺯ ﻣﻔﻬﻮﻡ ﺟﻨﮓ ﺍﺳﺖ‪ .‬ﻣﻔﻬﻮﻣﻲ‬ ‫ﻛﻪ ﺍﻟﺒﺘﻪ ﻣﺨﺎﻟﻒ ﻧﮕﺎﻩ ﻣﺪﻳﺮﻳﺘﻲ ﺑﻮﺩ ﻭ ﻫﻤﻴﻦ ﻣﻨﺠﺮ ﺑﻪ ﻭﺍﻛﻨﺶﻫﺎﻳﻲ‬ ‫ﺍﺯ ﺟﺎﻧﺐ ﻣﺴﺌﻮﻻﻥ ﺑﻪ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﻓﻴﻠﻢ ﺷﺪ‪.‬‬ ‫ﻓﺮﻭﺵ ﺑﺎﻻﻱ ﻋﻘﺎﺏﻫﺎ ﺍﺯ ﻣﻨﻈﺮﻱ ﺩﻳﮕﺮ ﻧﻘﺶ ﻣﻬﻤﻲ ﺩﺭ ﺗﺪﺍﻭﻡ ﺣﻴﺎﺕ‬ ‫ﻛﻠﻲ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺍﺷﺖ‪ .‬ﺳــﻴﻨﻤﺎ ﻧﺸﺎﻥ ﺩﺍﺩ ﺩﺭ ﺣﻀﻮﺭ ﻭﻳﺪﺋﻮ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻳﻚ ﺭﻗﻴﺐ ﺟﺪﻱ ﻫﻤﭽﻨﺎﻥ ﺑﻴﻨﻨﺪﻩ ﺩﺍﺭﺩ ﻭ ﻣﺴﺌﻮﻻﻥ ﺭﺍ ﺑﻪ ﻓﻜﺮ‬ ‫ﺍﻧﺪﺍﺧﺖ ﻛﻪ ﺍﻳﻦ ﻣﺨﺎﻃﺐ ﺭﺍ ﻫﺮﭼﻪ ﺑﻴﺸﺘﺮ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺑﮕﻴﺮﻧﺪ‪ .‬ﻋﻘﺎﺏﻫﺎ‬ ‫ﺗﺪﺍﻭﻣﻲ ﺑﻮﺩ ﺑﺮ ﺳﻴﻨﻤﺎﻱ ﻣﺨﺎﻃﺐ ﭘﺴﻨﺪ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ‪.‬‬ ‫ﺳﺮﺍﺳﺮ ﺣﺎﺩﺛﻪ‬ ‫ﺳﻌﻴﺪ ﻣﺮﻭﺗﻲ‬ ‫»ﻋﻘﺎﺏﻫﺎ« ‪ 5‬ﺳــﺎﻝ ﭘــﺲ ﺍﺯﺁﻏﺎﺯ ﺟﻨﮓ ﺗﺤﻤﻴﻠــﻲ ﺭﻭﻱ ﭘﺮﺩﻩ‬ ‫ﺭﻓﺖ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭﺳــﺖ ﺩﺭ ﺯﻣﺎﻧﻲ ﻛﻪ ﺟﻨﮓ ﺍﺯ ﺭﻭﻱ ﺯﻣﻴﻦ ﺑﻪ ﺁﺳﻤﺎﻥ‬ ‫ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻫﻮﺍﭘﻴﻤﺎﻫﺎﻱ ﻋﺮﺍﻗﻲ ﺷﻬﺮﻫﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﻤﺒﺎﺭﺍﻥ‬ ‫ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻓﻴﻠﻢ ﺯﻣﺎﻧﻲ ﺍﻛﺮﺍﻥ ﺷﺪ ﻛﻪ ﺑﻤﺒﺎﺭﺍﻥ ﺷﻬﺮﻫﺎ ﺧﺎﺗﻤﻪ‬ ‫ﻳﺎﻓﺘﻪ ﺑﻮﺩ ﻭ ﺭﺳــﺎﻧﻪﻫﺎ ﺍﺯ ﺭﺷﺎﺩﺕ ﺧﻠﺒﺎﻧﺎﻥ ﺍﻳﺮﺍﻧﻲ ﺧﺒﺮ ﻣﻲﺩﺍﺩﻧﺪ ﻛﻪ‬ ‫ﻫﻮﺍﭘﻴﻤﺎﻫﺎﻱ ﻣﺘﺠﺎﻭﺯ ﻋﺮﺍﻗﻲ ﺭﺍ ﺳﺎﻗﻂ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺟﻨﮓ ﻣﻬﻢﺗﺮﻳﻦ‬ ‫ﺍﺗﻔﺎﻕ ﺁﻥ ﺩﻭﺭﺍﻥ‪ ،‬ﺍﻧﻌﻜﺎﺳــﻲ ﻣﻨﺎﺳﺐ ﺩﺭ ﺳﻴﻨﻤﺎ ﻧﺪﺍﺷﺖ‪ .‬ﺳﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﻛﻪ ﺑﺮ ﻭﻳﺮﺍﻧﻪﻫﺎﻱ ﻓﻴﻠﻤﻔﺎﺭﺳــﻲ ﺑﻨﺎ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻫﻨﻮﺯ ﻓﺎﻗﺪ ﺍﻳﻦ‬ ‫ﻇﺮﻓﻴﺖ ﻭ ﺗﻮﺍﻧﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺑﻪ ﺷﻜﻞ ﺣﺮﻓﻪﺍﻱ ﺑﻪ ﺟﻨﮓ ﺑﭙﺮﺩﺍﺯﺩ‬ ‫ﻭ ﺗﻘﺮﻳﺒــﺎ ﺍﻛﺜﺮ ﻓﻴﻠﻢﻫــﺎﻱ ﺟﻨﮕﻲ ﺁﻥ ﺩﻭﺭﺍﻥ ﻓﺎﻗــﺪ ﺟﺬﺍﺑﻴﺖ ﺑﺮﺍﻱ‬ ‫ﺗﻤﺎﺷﺎﮔﺮ ﺑﻮﺩﻧﺪ‪ .‬ﻓﻴﻠﻢﻫﺎﻱ ﺟﻨﮕﻲﺁﻥ ﺩﻭﺭﺍﻥﻳﺎ ﻣﺸﺤﻮﻥ ﺍﺯ ﺷﻌﺎﺭﻫﺎﻱ‬ ‫ﺍﻳﺪﺋﻮﻟﻮژﻳﻚ ﺑﻮﺩﻧﺪ ﻳﺎ ﺑﻪ ﺗﻘﻠﻴﺪ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻱ ﭘﺎﺭﺗﻴﺰﺍﻧﻲ ﻣﻲﭘﺮﺩﺍﺧﺘﻨﺪ‪.‬‬ ‫ﺭﺳﻮﻝﻣﻼﻗﻠﻲﭘﻮﺭ ﺗﺎﺯﻩ ﻓﻴﻠﻤﺴﺎﺯﻱ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺁﺛﺎﺭ ﺍﻭﻟﻴﻪﺍﺵ‬ ‫ﺧﺎﻡﺩﺳــﺘﺎﻧﻪ ﺑﻮﺩﻧﺪ ﻭ ﻫﻨﻮﺯ ﺧﺒﺮﻱ ﺍﺯ ﺍﺑﺮﺍﻫﻴﻢﺣﺎﺗﻤﻲﻛﻴﺎ ﻧﺒﻮﺩ‪ .‬ﺩﺭ‬ ‫ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻲ ﺳــﺎﻣﻮﺋﻞ ﺧﺎﭼﻴﻜﻴﺎﻥ ﺑﺎ ﺗﺠﺮﺑﻪ ‪4‬ﺩﻫﻪ ﻓﻌﺎﻟﻴﺖ ﺩﺭ‬ ‫ﺳﻴﻨﻤﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻜﻨﺴــﻴﻨﻲ ﻗﺪﻳﻤﻲ ﻭ ﻣﻮ ﺳﭙﻴﺪ ﻛﺮﺩﻩ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺗﺼﻮﻳﺐ ﺷﺪﻩ ﻋﻘﺎﺏﻫﺎ ﺭﺍ ﺩﺭ ﻃﺎﻟﻘﺎﻥ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺑﺮﺩ‪.‬‬ ‫ﺑﺎﺍﻧﺘﺨﺎﺏﻳﻜﻲﺍﺯﻣﻌﺪﻭﺩﺳﺘﺎﺭﻩﻫﺎﻱﺳﻴﻨﻤﺎﻱﻗﺒﻞﺍﺯﺍﻧﻘﻼﺏﺑﺮﺍﻱ‬ ‫ﻧﻘﺶ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﻭ ﺑﺮﮔﺰﻳﺪﻥ ﺳﺘﺎﺭﻩﺍﻱ ﻧﻮﻇﻬﻮﺭ ﺑﺮﺍﻱ ﻧﻘﺶ ﻣﻜﻤﻞ‬ ‫ﻋﻘﺎﺏﻫﺎ ﺑﺎ ﺣﻀﻮﺭ ﺳﻌﻴﺪﺭﺍﺩ ﻭ ﺟﻤﺸــﻴﺪ ﺁﺭﻳﺎ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺭﻓﺖ‪.‬‬ ‫ﻫﺮﭼﻨﺪ ﻭﻗﺘﻲ ﻓﻴﻠﻢ ﺍﻛﺮﺍﻥ ﺷــﺪ ﻧﺎﻡ ﺁﻧﻬﺎ ﺑﺎ ﺍﺳــﻢ ﺷﻨﺎﺳﻨﺎﻣﻪﺍﻱﺷﺎﻥ‬ ‫ﺩﺭ ﺗﻴﺘــﺮﺍژ ﻭ ﭘﻮﺳــﺘﺮﻫﺎ ﻧﻘﺶ ﺑﺴــﺖ‪ :‬ﺍﺣﻤــﺪ ﺣﻖﭘﺮﺳــﺖﺭﺍﺩ ﻭ‬ ‫ﺟﻤﺸﻴﺪﻫﺎﺷﻢﭘﻮﺭ ﻛﻪ ﺍﻟﺒﺘﻪ ﺩﺍﺧﻞ ﭘﺮﺍﻧﺘﺰ ﻭ ﺑﺎ ﻓﻮﻧﺘﻲ ﻛﻮﭼﻚ ﻧﺎﻡﻫﺎﻱ‬ ‫ﺳﻌﻴﺪﺭﺍﺩ ﻭ ﺟﻤﺸﻴﺪﺁﺭﻳﺎ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪ .‬ﻋﻘﺎﺏﻫﺎ ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺳــﻌﻴﺪﺭﺍﺩ ﺩﺭ ﺁﻥ ﺩﻭﺭﺍﻥ ﺑﻮﺩ‪ .‬ﺍﻭ ﻧﺰﺩﻳﻚ ﺑــﻪ ﺩﻭ ﺩﻫﻪ ﺍﺯ ﺻﺤﻨﻪ ﻛﻨﺎﺭ‬ ‫ﺭﻓﺖ‪ .‬ﻫﺎﺷﻢﭘﻮﺭ ﻫﻢ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﺗﺎ ﺳﺎﻝﻫﺎ ﺍﺯ ﺑﺎﺯﻱ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﺣﺎﺩﺛﻪ ﻣﺤﻮﺭ ﻣﺤﺮﻭﻡ ﺷﺪ‪ .‬ﻋﻘﺎﺏﻫﺎ ﺩﺭ ﺷﺮﺍﻳﻄﻲ ﺭﻭﻱ ﭘﺮﺩﻩ ﺭﻓﺖ ﻛﻪ‬ ‫ﺳﻴﺎﺳﺖ ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺳﺘﺎﺭﻩ ﻣﺤﻮﺭﻱ ﺑﻮﺩ‪.‬‬ ‫ﺳﻴﻨﻤﺎﻱ ﻧﻮﻳﻦ ﺍﻳﺮﺍﻥ ﺑﺎ ﺗﺸﻜﻴﻞ ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ ﻣﺘﻮﻟﺪ‬ ‫ﺷﺪ ﻭ ﻧﻴﺮﻭﻫﺎﻱ ﺗﺎﺯﻩ ﻧﻔﺲ ﺯﻳﺎﺩﻱ ﺩﺭ ﻣﻘﺎﻡ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ ،‬ﺗﺪﻭﻳﻨﮕﺮ‪ ،‬ﻣﺪﻳﺮ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ ﻭ‪ ...‬ﻭﺍﺭﺩ ﻣﻴﺪﺍﻥ ﺷــﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺩﻭﺭﺍﻧﻲ ﻛﻪ ﺳﻴﻨﻤﺎ ﺑﻪ ﻭﺍﺳﻄﻪ ﭘﻴﺎﻡﻫﺎﻱ ﺍﺭﺯﺷﻤﻨﺪﺵ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ‬ ‫ﻣﻲﮔﺮﻓﺖ ﻭ ﺧﺎﭼﻴﻜﻴﺎﻥ ﻓﻴﻠﻤﺴﺎﺯﻱ ﺑﻪ ﺟﺎ ﻣﺎﻧﺪﻩ ﺍﺯ ﺩﻭﺭﺍﻧﻲ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﻮﺭﺩ ﺗﺎﻳﻴﺪ ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ ﻭﻗﺖ ﻗﺮﺍﺭ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺩﺭ ﻋﻮﺽ‪ ،‬ﻋﺰﻡ ﺍﻭ ﺑﺮﺍﻱ ﺳــﺎﺧﺖ ﻓﻴﻠﻤــﻲ ﭘﺮﻫﻴﺠﺎﻥ ﻭ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻟﺤﻦ ﺣﻤﺎﺳــﻲ ﺩﺭ ﻋﻘﺎﺏﻫﺎ‪ ،‬ﺑﻪ ﻧﻴﺎﺯﻫﺎﻱ ﺟﺎﻣﻌﻪﺍﻱ ﺩﺭﮔﻴﺮ ﺟﻨﮓ‬ ‫ﭘﺎﺳﺦ ﻣﻲﺩﺍﺩ‪ .‬ﺭﻛﻮﺭﺩ ﭘﺮﺑﻴﻨﻨﺪﻩﺗﺮﻳﻦ ﻓﻴﻠﻢ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﻛﻪ ﻫﻨﻮﺯ‬ ‫ﻫﻢ ﭘﺲ ﺍﺯ ‪ 24‬ﺳﺎﻝ ﺷﻜﺴﺘﻪ ﻧﺸﺪﻩ‪ ،‬ﻧﺸــﺎﻥ ﻣﻲﺩﺍﺩ ﻛﻪ ﭘﻴﺮﻣﺮﺩ ﺩﺭ‬ ‫ﺗﺸﺨﻴﺺ ﺳﻠﻴﻘﻪ ﻭ ﺧﻮﺍﺳﺖ ﺗﻤﺎﺷﺎﮔﺮ ﺍﺷﺘﺒﺎﻩ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻛﺴﻲ ﻛﻪ‬ ‫ﺭﻭﺯﮔﺎﺭﻱ ﻫﻴﭽﻜﺎﻙ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﺪ ﻭ ﺩﺭ ﻧﻴﻤﻪﺍﻭﻝ‬ ‫ﺩﻫﻪ‪ 40‬ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﻳﻦ ﺳــﻴﻨﻤﺎ ﺑﻮﺩ‪ ،‬ﭘﺲ ﺍﺯ ﺩﻭﺭﻩ ﻃﻼﻳﻲ‬ ‫ﺟﻨﺎﻳﻲﺳــﺎﺯﻱ‪ ،‬ﻧﺘﻮﺍﻧﺴــﺘﻪ ﺑﻮﺩ ﺑﺎ ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﻣﻮﺝﻫﺎﻱ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺁﺑﮕﻮﺷــﺘﻲ ﻭ ﺟﺎﻫﻠﻲ ﻫﻤﺮﺍﻫــﻲ ﻛﻨﺪ‪ .‬ﺩﺭﺍﻗﻠﻴﺖ ﺑﻮﺩﻥ ﺳــﺎﻣﻮﺋﻞ ﻭ‬ ‫ﻋﻼﻗﻪﺍﺵ ﺑﻪ ﻓﺮﻡ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ‪ ،‬ﺍﻭ ﺭﺍ ﺩﺭ ﻣﻘﺎﻡ ﻓﻴﻠﻤﺴﺎﺯﻱ‬ ‫ﻣﻲﻧﻤﺎﻳﺎﻧﺪﻛﻪﺍﺯﺯﻣﺎﻧﻪﻋﻘﺐﻣﺎﻧﺪﻩﻭﻫﻤﭽﻨﺎﻥﺩﺭﺩﺭﺩﻫﻪ‪40‬ﻣﻨﺠﻤﺪ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪20‬ﺳﺎﻝ ﻧﺎﻛﺎﻣﻲ ﻣﻄﻠﻖ ﻭ ﺳﺎﺧﺖ ﺍﻧﺒﻮﻫﻲ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﺗﻘﺮﻳﺒﺎ‬ ‫ﻫﻴﭻﻛﺪﺍﻣﺸﺎﻥﻣﻮﺭﺩﺗﻮﺟﻪﻗﺮﺍﺭﻧﮕﺮﻓﺘﻨﺪﺩﺭﺳﺎﻝﻫﺎﻱﭘﺲﺍﺯﭘﻴﺮﻭﺯﻱ‬ ‫ﺍﻧﻘﻼﺏ‪ ،‬ﺑﻪ ﺁﺷﻔﺘﮕﻲ ﺑﻴﺸﺘﺮ ﭘﻴﺮﻣﺮﺩ ﺍﻧﺠﺎﻣﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺭﺧﺪﺍﺩﻫﺎﻱ ﻋﻈﻴﻢ ﺳﻴﺎﺳﻲ‪ -‬ﺍﺟﺘﻤﺎﻋﻲ ﻫﻤﺴﻮ ﻭ ﻫﻤﺎﻫﻨﮓ‬ ‫ﻛﻨﺪ‪ .‬ﻃﺒﻴﻌﻲ ﺑﻮﺩ ﻛﻪ ﺳﺎﻣﻮﺋﻞ ﻧﺘﻮﺍﻧﺪ ﻓﻴﻠﻢ ﺍﻧﻘﻼﺑﻲ )ﮔﻮﻧﻪ ﻣﺮﺳﻮﻡ ﻭ‬ ‫ﻣﺘﺪﺍﻭﻝ ﺁﻥ ﺳــﺎﻝﻫﺎ( ﺭﺍ ﺑﺴﺎﺯﺩ ﻭ ﺗﻨﻬﺎ ﺑﻴﺸــﺘﺮ ﺩﺭ ﭘﻴﻠﻪ ﺗﻨﻬﺎﻳﻲﺍﺵ‬ ‫ﻓــﺮﻭ ﺭﻓﺖ‪ .‬ﻋﻘﺎﺏﻫﺎ ﻳﻚ ﻓﺮﺻﺖ ﺍﺳــﺘﺜﻨﺎﻳﻲ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺸــﺖ ﺑﻮﺩ‪.‬‬ ‫ﻓﻦﺳــﺎﻻﺭ ﺑﻮﺩﻥ ﺧﺎﭼﻴﻜﻴــﺎﻥ ﻛﻪ ﭘــﺲ ﺍﺯ ﺁﻏﺎﺯ ﻣﻮﺝ ﻧــﻮ ﻭ ﻇﻬﻮﺭ‬ ‫ﻓﻴﻠﻤﺴــﺎﺯﺍﻧﻲ ﭼﻮﻥ ﻛﻴﻤﻴﺎﻳــﻲ‪ ،‬ﻣﻬﺮﺟﻮﻳﻲ‪ ،‬ﻧــﺎﺩﺭﻱ‪ ،‬ﺣﺎﺗﻤﻲ ﻭ‪...‬‬ ‫ﺍﻫﻤﻴﺘﺶ ﺭﺍ ﺍﺯ ﺩﺳــﺖ ﺩﺍﺩﻩ ﺑــﻮﺩ‪ ،‬ﺩﺭ ﺩﻭﺭﺍﻥ ﻏﻴﺒﺖ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ‬ ‫ﺷﺎﺧﺺ ﻭ ﺑﺮﺟﺴﺘﻪ ﻭ ﻫﻤﭽﻨﻴﻦ ﺧﻼء ﻋﻈﻴﻢ ﺧﺮﻭﺝ ﺑﻴﺸﺘﺮ ﻓﻌﺎﻻﻥ‬ ‫ﺳﻴﻨﻤﺎﻱ ﻓﺎﺭﺳﻲ ﺍﺯ ﺻﺤﻨﻪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﻣﻬﻢ ﺷــﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻣﻴﺎﻧﻪﻫﺎﻱ‬ ‫ﺳﺎﻝ ‪ 1363‬ﺑﺮﺍﻱ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﭘﺮﺣﺎﺩﺛﻪ ﺟﻨﮕﻲ‪ ،‬ﻫﻴﭻ ﮔﺰﻳﻨﻪﺍﻱ‬ ‫ﻣﻨﺎﺳﺐﺗﺮ ﺍﺯ ﺳﺎﻣﻮﺋﻞ ﻧﺒﻮﺩ‪ .‬ﺧﺎﭼﻴﻜﻴﺎﻧﻲ ﻛﻪ ﺑﺎﺭ ﺩﻳﮕﺮ ﺗﻜﻨﻴﻚﻫﺎﻱ‬ ‫ﻗﺪﻳﻤﻲ ﻭ ﺑﻪ ﻇﺎﻫﺮ ﺍﺯ ﻣــﺪ ﺍﻓﺘﺎﺩﻩﺍﺵ ﺭﺍ ﺑﻪﻛﺎﺭ ﻣﻲﮔﺮﻓﺖ‪ ،‬ﻧﻤﺎﻫﺎ ﺭﺍ ﺗﺎ‬ ‫ﻣﻲﺗﻮﺍﻧﺴﺖ ﺧﺮﺩ ﻣﻲﻛﺮﺩ‪ ،‬ﭘﻼﻥﻫﺎﻱ ﺷــﻴﻚ ﻣﻲﮔﺮﻓﺖ ﻛﻪ ﺑﺮﺍﻱ‬ ‫ﺗﻤﺎﺷــﺎﮔﺮ ﻳﺎﺩﺁﻭﺭ ﻓﻴﻠﻢﻫــﺎﻱ ﺧﺎﺭﺟﻲ ﺑﻮﺩ ﻭ ﻣﻬﻢﺗــﺮ ﺍﺯ ﻫﻤﻪ ﺍﻳﻨﻬﺎ‬ ‫ﺭﺍﻩ ﻭ ﺭﺳﻢ ﺑﻪ ﻫﻴﺠﺎﻥ ﺁﻭﺭﺩﻥ ﺗﻤﺎﺷــﺎﮔﺮ ﺭﺍ ﺩﺭ ﺳﻜﺎﻧﺲﻫﺎﻱ ﺟﻨﮓ‬ ‫ﻫﻮﺍﻳﻲ ﺧﻮﺏ ﻣﻲﺩﺍﻧﺴــﺖ‪ .‬ﺧﺎﭼﻴﻜﻴﺎﻥ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺻﺤﻨﻪﻫﺎﻱ‬ ‫ﺁﺭﺷــﻴﻮﻱ‪ ،‬ﺍﻳﻦ ﺳــﻜﺎﻧﺲﻫﺎﺭﺍ ﺭﻭﻱ ﻣﻴﺰ ﺗﺪﻭﻳﻦ ﺳﺎﺧﺖ؛ ﻛﺎﺭﻱ ﻛﻪ‬ ‫ﺍﻭ ﺩﺭ ﺣﺪ ﺑﻀﺎﻋﺖ ﺁﻥ ﺳــﺎﻝﻫﺎﻱ ﺳــﻴﻨﻤﺎﻱ ﺍﻳــﺮﺍﻥ ﺣﺮﻓﻪﺍﻱﺗﺮ ﺍﺯ‬ ‫ﺩﻳﮕﺮﺍﻥ ﺍﻧﺠﺎﻣﺶ ﻣﻲﺩﺍﺩ‪ .‬ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺴــﺖ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ‬ ‫ﺩﺭ ﺧﺪﻣﺖ ﺭﻳﺘﻢ ﺳــﺮﻳﻊ ﻭ ﭘﺮﻛﺸــﺶ ﺩﺭﺁﻭﺭﺩ‪ .‬ﺍﻧﺒﻮﻩ ﺳﻜﺎﻧﺲﻫﺎﻱ‬ ‫ﭘﺮﻫﻴﺠﺎﻥ ﻋﻘﺎﺏﻫﺎ ﺳﻴﻨﻤﺎﺭﻭﻫﺎﻱ ﺁﻥ ﺳــﺎﻝﻫﺎ ﺭﺍ ﺑﻪﻭﺟﺪ ﻣﻲﺁﻭﺭﺩ‪.‬‬ ‫ﺍﻳــﻦ ﻓﻴﻠﻤﻲ ﺑﻮﺩ ﻛﻪ ﺑﻴﺸــﺘﺮ ﺍﺯ ﻫﺮ ﻓﻴﻠﻢ ﺩﻳﮕﺮﻱ ﺩﺭ ﺁﻥ ﺳــﺎﻝﻫﺎ ﺑﺎ‬ ‫ﺳﻮﺕ ﻭ ﻛﻒ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻣﻮﺍﺟﻪ ﻣﻲﺷــﺪ‪ .‬ﺳﺎﻣﻮﺋﻞ ﭘﺲ ﺍﺯ ﺩﻭ ﺩﻫﻪ‬ ‫ﮔﻢ ﺷــﺪﻥ ﺩﺭ ﺗﻮﻧﻞ ﺯﻣــﺎﻥ‪ ،‬ﺭﻭﺡ ﺯﻣﺎﻧــﻪ ﺭﺍ ﺑﺎﺯﻳﺎﻓﺘﻪ ﺑــﻮﺩ؟ ﭼﮕﻮﻧﻪ‬ ‫ﭘﻴﺮﻣﺮﺩﻱﻛﻪ ﺳــﺎﻝﻫﺎ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﭘﺴﻨﺪ ﺗﻤﺎﺷــﺎﮔﺮ ﺭﺍ ﺑﺎ ﻋﻼﻳﻖ‬ ‫ﺧﻮﺩ ﻫﻤﺴــﻮ ﻛﻨﺪ‪ ،‬ﺩﺭ ﻋﻘﺎﺏﻫﺎ ﺗﻮﺍﻧﺴﺖ ﺭﺿﺎﻳﺖ ﺍﻧﺒﻮﻩ ﺳﻴﻨﻤﺎﺭﻭﻫﺎ‬ ‫ﺭﺍ ﺟﻠﺐ ﻛﻨــﺪ؟ ﺧﺎﭼﻴﻜﻴﺎﻥ ﻧﻪ ﺑﻠــﺪ ﺑﻮﺩ ﺷــﻌﺎﺭﻫﺎﻱ ﺍﻳﺪﺋﻮﻟﻮژﻳﻚ‬ ‫ﺑﺪﻫﺪ ﻭ ﻧﻪ ﺍﺩﻋﺎﻱ ﺷــﻨﺎﺧﺖ ﻓﻀﺎﻱ ﺟﺒﻬﻪﻫﺎ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﺟﻨﮓ ﺑﺮﺍﻱ‬ ‫ﺍﻭ ﺑﻬﺎﻧﻪﺍﻱ ﺑﻮﺩ ﺑﺮﺍﻱ ﺳــﺎﺧﺘﻦ ﻓﻴﻠﻤﻲ ﺳﺮﺍﺳــﺮ ﺣﺎﺩﺛﻪ ﻭ ﺗﻤﺎﺷﺎﻱ‬ ‫ﺍﻋﻤﺎﻝ ﻗﻬﺮﻣﺎﻧﺎﻧﻪ ﺳــﻌﻴﺪﺭﺍﺩ ﻭ ﺟﻤﺸﻴﺪﺁﺭﻳﺎ ﺩﺭ ﻗﺎﺏﻫﺎﻱ ﭘﺮﺗﺤﺮﻙ‬ ‫ﺳﺎﻣﻮﺋﻞ‪ ،‬ﻣﻲﺗﻮﺍﻧﺴﺖ ﺗﻤﺎﺷﺎﮔﺮ ﺭﺍ ﺳﻴﺮﺍﺏ ﻛﻨﺪ؛ ﺗﻤﺎﺷﺎﮔﺮﻱ ﻛﻪ ﻫﺮ‬ ‫ﺭﻭﺯ ﺧﺒﺮ ﺭﺷــﺎﺩﺕ ﺧﻠﺒﺎﻧﺎﻥ ﺍﻳﺮﺍﻧﻲ ﺭﺍ ﻣﻲﺷﻨﻴﺪ ﺩﺭ ﺁﺧﺮﻳﻦ ﺭﻭﺯﻫﺎﻱ‬ ‫ﺗﺎﺑﺴﺘﺎﻥ‪ ،64‬ﺍﺯ ﺩﻳﺪﻥ ﺍﻧﺒﻮﻩ ﺳﻜﺎﻧﺲﻫﺎﻱ ﺍﻛﺸﻦ ﻋﻘﺎﺏﻫﺎ ﺑﻪ ﻫﻴﺠﺎﻥ‬ ‫ﻣﻲﺁﻣﺪ‪ .‬ﭘﻴﺮﻣﺮﺩ ﺁﺧﺮﻳﻦ ﺑﺮگ ﺑﺮﻧﺪﻩﺍﺵ ﺭﺍ ﺑﻪ ﻣﻮﻗﻊ ﺭﻭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻫﺮ‬ ‫ﭼﻨﺪ ﭘﺲ ﺍﺯ ﺍﻛﺮﺍﻥ »ﻋﻘﺎﺏ« ﺳــﺎﻣﻮﺋﻞ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ »ﻳﻮﺯﭘﻠﻨﮓ« ﺭﺍ‬ ‫ﻧﻴﺰ ﺩﺭ ﺍﻳﻦ ﻓﺎﺻﻠﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﺮﺩﻩ ﺑــﻮﺩ ﺑﻪ ﺟﺮﻡ ﻫﻴﺠﺎﻥ ﺁﻓﺮﻳﻨﻲ‬ ‫ﻛﺎﺫﺏ ﻣﻤﻨﻮﻉﺍﻟﻜﺎﺭ ﺷﺪ‪ .‬ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﺑﻪﺷﺮﻁ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﻋﺮﻓﺎﻧﻲ‬ ‫»ﭼﺎﻭﻭﺵ« ﺩﻭﺑﺎﺭﻩ ﺍﻣﻜﺎﻥ ﻧﺸﺴﺘﻦ ﺑﺮ ﺻﻨﺪﻟﻲ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺭﺍ ﻳﺎﻓﺖ‬ ‫ﻛﻪ ﺑﻲﺭﺑﻂﺗﺮﻳﻦ ﻓﻴﻠﻢ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ ﻧﻴﺰ ﺑﻮﺩ‪.‬‬ ‫ﻛﻮﺷﺶﻫﺎﻱ ﺑﻌﺪﻱ ﭘﻴﺮﻣﺮﺩ‪ ،‬ﺗﻼﺵﻫﺎﻳﻲ ﻧﺎﻛﺎﻡ ﺑﺮﺍﻱ ﺑﺎﺯﺁﻓﺮﻳﻨﻲ‬ ‫ﺩﻭﺭﺍﻥ ﻃﻼﻳــﻲﺍﺵ ﺩﺭ ﻧﻴﻤــﻪ ﺍﻭﻝ ﺩﻫﻪ ﭼﻬﻞ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎﺯﮔﺸــﺖ ﺑﻪ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺟﻨﺎﻳﻲ ﻛﻪ ﺍﺯ ﺳﻮﻳﻲ ﺗﻌﻠﻖ ﺧﺎﻃﺮ ﺳﺎﻣﻮﺋﻞ ﺑﻪ ژﺍﻧﺮ ﻣﺤﺒﻮﺑﺶ‬ ‫ﺭﺍ ﻧﺸﺎﻥ ﻣﻲ ﺩﺍﺩ ﻭ ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ ﻓﺎﺻﻠﻪ ﻋﻤﻴﻘﻲ ﺭﺍ ﻧﻤﺎﻳﺎﻥ ﻣﻲﻛﺮﺩ ﻛﻪ‬ ‫ﺍﺯ ﺳﻴﻨﻤﺎ‪ ،‬ﺷﺮﺍﻳﻂ ﻭ ﺯﻧﺪﮔﻲ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻧﻲ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫‪57‬‬ ‫‪4‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺑﺎﻳﻜﻮﺕ )‪(1364‬‬ ‫ﺩﺭﻣﺤﻜﻮﻣﻴﺖ ﻣﺎﺭﻛﺴﻴﺴﻢ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺤﺴﻦ ﻣﺨﻤﻠﺒﺎﻑ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻓﺮﺝ ﺣﻴﺪﺭﻱ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﺭﻭﺑﻴﻚ ﻣﻨﺼﻮﺭﻱ‪،‬‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨﻪ‪ :‬ﻣﺤﻤﺪﺑﺎﻗﺮ ﺁﺷﺘﻴﺎﻧﻲ ﻭ ﻣﺴـﻌﻮﺩ ﻗﻨﺪﻱ‪ ،‬ﺩﺳﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺣﺴﻴﻦ ﺻﺎﺑﺮﻱ‪ ،‬ﺻﺪﺍ ﻭ ﺍﻓﻜﺖ‪:‬‬ ‫ﺭﻭﺑﻴﻚ ﻣﻨﺼﻮﺭﻱ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯﻱ‪ :‬ﻋﺒﺪﺍﷲ ﺍﺳـﻜﻨﺪﺭﻱ‪ ،‬ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳﮋﻩ‪ :‬ﻋﻠﻲ ﺭﺳـﺘﮕﺎﺭ‪ ،‬ﻣﺮﺗﻀﻲ‬ ‫ﺭﺳﺘﮕﺎﺭ‪ ،‬ﺣﺴﻦ ﺻﺎﺑﺮﻱ ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﺠﻴﺪ ﻣﺠﻴﺪﻱ‪ ،‬ﻣﺤﻤﺪ ﻛﺎﺳﺒﻲ‪ ،‬ﺯﻫﺮﻩ ﺳﺮﻣﺪﻱ‪ ،‬ﺍﺭﺩﻻﻥ ﺷﺠﺎﻉﻛﺎﻭﻩ‪،‬‬ ‫ﺳﻌﻴﺪﻛﺸﻦﻓﻼﺡ‪،‬ﺍﺳﻤﺎﻋﻴﻞﺳﻠﻄﺎﻧﻴﺎﻥ‬ ‫ﻣﺤﺼﻮﻝ‪:‬ﺣﻮﺯﻩﻫﻨﺮﻱﺳﺎﺯﻣﺎﻥﺗﺒﻠﻴﻐﺎﺕﺍﺳﻼﻣﻲ‪ 114،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥﻧﻤﺎﻳﺶﺩﺭﺗﻬﺮﺍﻥ‪ 23:‬ﻣﻬﺮ‪،1365‬ﻓﺮﻭﺵﺩﺭﺗﻬﺮﺍﻥ‪ 9/4:‬ﻣﻴﻠﻴﻮﻥﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﻭﺍﻟﻪ ﻣﻌﺼﻮﻣﻲ ﻋﻀﻮ ﺳﺎﺯﻣﺎﻧﻲ ﻏﻴﺮﻣﺬﻫﺒﻲ ﺍﺳﺖ ﻛﻪ ﺿﺪﻧﻈﺎﻡ ﺳﻠﻄﻨﺘﻲ ﻓﻌﺎﻟﻴﺖ ﺳﻴﺎﺳﻲ ﻭ ﻧﻈﺎﻣﻲ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﻫﻤﺴﺮﺵ ﺭﺍ ﺩﺭ ﺯﺍﻳﺸﮕﺎﻩ ﺭﻫﺎ ﻣﻲﻛﻨﺪ‬ ‫ﺗﺎ ﻳﻜﻲ ﺍﺯ ﺭﻓﻘﺎﻳﺶ ﺭﺍ ﻣﻼﻗﺎﺕ ﻛﻨﺪ ﺍﻣﺎ ﺩﺳــﺘﮕﻴﺮ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﺯﻧﺪﺍﻥ ﺗﺤﺖ ﺷــﻜﻨﺠﻪ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﻫﻤﺴﺮﺵ ﻧﻴﺰ ﻛﻪ ﺍﺯ ﺁﻣﺪﻥ ﺍﻭ ﻧﺎﺍﻣﻴﺪ ﺷﺪﻩ‬ ‫ﺑﺎ ﻧﻮﺯﺍﺩ ﺧﻮﺩ ﺍﺯ ﺯﺍﻳﺸــﮕﺎﻩ ﻣﻲﮔﺮﻳﺰﺩ‪ .‬ﻭﺍﻟﻪ ﺩﺭ ﺯﻧﺪﺍﻥ ﺧﺎﻃﺮﺍﺕ ﻭ ﺭﺍﺑﻄﻪﺍﺵ ﺭﺍ ﺑﺎ ﺩﻭﺳﺖ ﻣﺴﻠﻤﺎﻧﺶ ﻋﻠﻲ ﻭ ﻫﻤﺴﺮﺵ ﺭﺍ ﻣﺮﻭﺭ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪﺗﺪﺭﻳﺞ‬ ‫ﺩﺭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺳــﺎﺯﻣﺎﻧﻲﺍﺵ ﺩﭼﺎﺭ ﺗﺮﺩﻳﺪ ﻣﻲﺷﻮﺩ‪ .‬ﺩﻭﺳﺘﺎﻥ ﺳﺎﺯﻣﺎﻧﻲ ﻭﺍﻟﻪ ﻣﻲﻛﻮﺷﻨﺪ ﺍﻭ ﺭﺍ ﻛﻪ ﺑﻪ ﻣﺮگ ﻣﺤﻜﻮﻡ ﺷﺪﻩ ﻣﺠﺪﺩﺍ ﻧﺴﺒﺖ ﺑﻪ ﺍﻫﺪﺍﻑ‬ ‫ﺳﺎﺯﻣﺎﻥ ﻗﺎﻧﻊ ﻛﻨﻨﺪ ﺗﺎ ﻣﺮﮔﺶ ﺑﻪ ﻧﻔﻊ ﺳﺎﺯﻣﺎﻥ ﺑﺎﺷﺪ ﺍﻣﺎ ﻣﻮﻓﻖ ﻧﻤﻲﺷﻮﻧﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﮔﺮﻭﻩﻫﺎﻱ ﻏﻴﺮ ﻣﺬﻫﺒﻲ ﻫﺮﭼﻨﺪ ﺩﺭ ﻣﻘﻄﻊ ﻣﺒﺎﺭﺯﻩ ﻭ ﺑﻌﺪ ﺗﻌﺪﺍﺩﻱ ﺣﺘﻲ ﺩﺭ‬ ‫ﻣﺎﻩﻫﺎﻱ ﺍﻭﻝ ﻫﻤﺮﺍﻩ ﺍﻧﻘﻼﺑﻴﻮﻥ ﻣﺴــﻠﻤﺎﻥ ﺑﻮﺩﻧﺪ ﺍﻣﺎ ﺑﻪﺗﺪﺭﻳﺞ ﺑﻪ ﺍﺧﺘﻼﻑ‬ ‫ﻭ ﻣﻨﺎﺯﻋﻪ ﺭﺳــﻴﺪﻧﺪ‪ .‬ﻣﻠﻲﮔﺮﺍﻳﺎﻥ ﻭ ﻟﻴﺒﺮﺍﻝﻫﺎﻱ ﻣﺴﻠﻤﺎﻥ ﺩﺭ ﻣﺎﻩﻫﺎﻱ ﺍﻭﻝ‬ ‫ﺑﺨﺸــﻲ ﺍﺯ ﻗﺪﺭﺕ ﺭﺍ ﻫﻢ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷــﺘﻨﺪ ﺍﻣﺎ ﺩﻭﻟﺖ ﻣﺴﺘﻌﺠﻞ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺁﻧﻬﺎ ﺍﻣﺎ ﮔﺮﻭﻩﻫﺎﻱ ﻣﺘﺎﺛﺮ ﺍﺯ ﺍﻧﺪﻳﺸــﻪﻫﺎﻱ ﻣﺎﺭﻛﺴﻴﺴــﺘﻲ ﻛﻪ ﺩﺭ‬ ‫ﻧﺤﻠﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻓﻜﺮﻱ ﻫﻤﮕﻲ ﺩﺭ ﻗﺎﻟﺐ ﺁﻧﭽﻪ ﺩﺭ ﺟﺎﻣﻌﻪ ﺑﻪ ﻧﺎﻡ »ﭼﭗ«‬ ‫ﺷﻨﺎﺧﺘﻪ ﻣﻲﺷﺪ‪ ،‬ﺑﺎ ﺍﻧﻘﻼﺑﻴﻮﻥ ﻣﺴــﻠﻤﺎﻥ ﺑﻴﺸﺘﺮﻳﻦ ﺑﺮﺧﻮﺭﺩ ﺭﺍ ﺩﺍﺷﺘﻨﺪ‪.‬‬ ‫ﻋﻘﺒﻪ ﻓﻜــﺮﻱ ﺍﻳﻦ ﮔﺮﻭﻩﻫــﺎ ﺩﺭ ﺟﺎﻣﻌﻪ ﺣﺎﺻﻞ ﻫﻤﺴــﺎﻳﮕﻲ ﺑﺎ ﺍﺑﺮﻗﺪﺭﺕ‬ ‫ﭘﺪﺭﺧﻮﺍﻧﺪﻩ ﻭ ﮔﻔﺘﻤﺎﻥ ﻣﺒﺎﺭﺯﻩﮔﺮ ﺟﺮﻳﺎﻥﻫﺎﻱ ﺟﻮﺍﻥﭘﺴــﻨﺪ ﺟﺪﻳﺪﺷﺎﻥ‪،‬‬ ‫ﺍﻧﻘﻼﺑﻴﻮﻥ ﻣﺴــﻠﻤﺎﻥ ﺭﺍ ﺑﻪ ﺑﻴﺸــﺘﺮﻳﻦ ﻣﻴﺰﺍﻥ ﺣﺴﺎﺳــﻴﺖ ﺩﺭﺑــﺎﺭﻩ ﺁﻧﻬﺎ‬ ‫ﻓﺮﺍﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺣﻀﻮﺭ ﻋﻴﻨﻲ ﺍﻳﻦ ﺟﺮﻳﺎﻥﻫﺎ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺳــﻪ‬ ‫ﺳﺎﻝ ﺑﻴﺸﺘﺮ ﻧﺒﻮﺩ ﻭﭘﺲ ﺍﺯ ﻣﻮﺿﻊﮔﻴﺮﻱ ﻋﻠﻨﻲ ﻣﻘﺎﺑﻞ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻲ ﺍﺯ‬ ‫ﺟﺮﻳﺎﻥ ﺭﺳﻤﻲ ﺣﺬﻑ ﺷﺪﻧﺪ‪ .‬ﺍﻧﺘﻈﺎﺭ ﺍﺯ ﺳﻴﻨﻤﺎﻱ ﻣﺤﺎﻓﻈﻪﻛﺎﺭ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻱ‬ ‫ﺭﻭﺍﻳﺖ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﺟﻮ ﻭ ﺟﺮﻳﺎﻥ ﺣﺎﻛﻢ ﺑﻌﻴﺪ ﺑﻮﺩ ﺍﻣﺎ ﭼﻬﺎﺭ ﺳﺎﻝ‬ ‫ﺑﻌﺪ ﺍﺯ ﺁﻧﻜﻪ ﺗﻤﺎﻣﻲ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺣﻀﻮﺭ ﺍﻳﻦ ﮔﺮﻭﻩﻫﺎ ﺍﺯ ﺟﺎﻣﻌﻪ ﺣﺬﻑ ﺷﺪ‪،‬‬ ‫ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﻣﺴﻠﻤﺎﻥ ﺗﻮﺍﻧﺴﺘﻨﺪ ﺩﺭ ﺷﻴﻮﻩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺭﻭﺍﻳﺘﮕﺮ ﺑﺨﺸﻲ‬ ‫ﺍﺯ ﻣﻨﺎﺯﻋﺎﺕ ﻣﺮﺑﻮﻁ ﺑﻪ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺍﻳﻦ ﺟﺮﻳﺎﻥﻫﺎ ﺷﻮﻧﺪ‪ .‬ﻫﺪﺍﻳﺖ ﺍﺻﻠﻲ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﻣﺴــﻠﻤﺎﻥ ﺑﺎ ﻧﻬﺎﺩﻱ ﺑﻮﺩ ﺑﻪ ﻧﺎﻡ ﺣﻮﺯﻩ ﺍﻧﺪﻳﺸﻪ ﻭ ﻫﻨﺮ ﺍﺳﻼﻣﻲ‬ ‫ﻛﻪ ﺗﻮﺳﻂ ﺟﻤﻌﻲ ﺍﺯ ﺍﻧﻘﻼﺑﻴﻮﻥ ﻣﺴــﻠﻤﺎﻥ ﭘﺎﻳﻪﺭﻳﺰﻱ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﮔﺮﻭﻫﻰ‬ ‫ﻛﻪ ﻣﺘﺎﺛﺮ ﺍﺯ ﺍﻧﻘﻼﺏ ﻣﻲﺧﻮﺍﺳــﺘﻨﺪ ﺑﻪ ﺁﻓﺮﻳﻨﺶ ﻫﻨﺮ ﺍﺳــﻼﻣﻲ ﺑﭙﺮﺩﺍﺯﻧﺪ‪.‬‬ ‫ﺟﻤﻌﻲ ﻛﻪ ﻫﻴﭻﮔﺎﻩ ﺧﻮﺩ ﺭﺍ ﻣﻘﻴﺪ ﺑﻪ ﭘﻴﺮﻭﻱ ﻛﺎﻣﻞ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﻣﺪﻳﺮﻳﺖ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﻛﺸﻮﺭ ﻧﺪﺍﻧﺴﺖ ﻭ ﺑﺎ ﺭﻭﺣﻴﻪ ﺗﻜﻠﻴﻒﻣﺪﺍﺭﻱ ﺑﻪ ﺑﻴﺎﻥ ﺁﻧﭽﻪ ﻻﺯﻣﻪ‬ ‫‪58‬‬ ‫ﻳﻚ ﺟﺎﻣﻌﻪ ﺍﻧﻘﻼﺑﻲ ﻭ ﺍﺳﻼﻣﻲ ﺑﻮﺩ‪ ،‬ﻣﻲﭘﺮﺩﺍﺧﺖ‪ .‬ﺍﻳﻦ ﮔﺮﻭﻩ ﺍﺯ ﻫﻤﺎﻥ ﺳﺎﻝ‬ ‫ﺳﺮﻧﻮﺷﺖﺳــﺎﺯ ‪ 1360‬ﻓﻌﺎﻟﻴﺖ ﺍﺻﻠﻲﺍﺵ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ؛ ﻓﻌﺎﻟﻴﺘﻲ ﻫﻢ ﺩﺭ‬ ‫ﺟﺒﻬﻪ ﻋﻤﻞ ﺍﺟﺘﻤﺎﻋﻲ )ﻣﺪﺍﺧﻠﻪ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﻛﺮﺍﻥ ﺑﺮﺯﺧﻲﻫﺎ ﻭ ﺑﺮﺧﻮﺭﺩ ﺑﺎ‬ ‫ﺁﻥ ﻭ ﺯﻣﻴﻨﻪﺳﺎﺯﻱ ﺗﻐﻴﻴﺮ ﻭﺯﻳﺮ( ﻭ ﻫﻢ ﺩﺭ ﺟﺒﻬﻪ ﺣﻀﻮﺭ ﻓﺮﻫﻨﮕﻲ )ﺣﺮﻛﺖ‬ ‫ﺩﺭ ﺑﻄﻦ ﺟﺮﻳــﺎﻥ ﻓﺮﻫﻨﮕﻲ ﻭ ﻫﻨــﺮﻱ ﺟﺎﻣﻌﻪ ﺑﺎ ﺗﺎﻟﻴﻒ ﻛﺘﺐ ﻭ ﺳــﺎﺧﺖ‬ ‫ﻓﻴﻠﻢﻫﺎ ﻭ ﺍﺟﺮﺍﻱ ﻧﻤﺎﻳﺶﻫﺎﻱ ﻣﺨﺘﻠﻒ(‪ .‬ﻣﻐﺰ ﻣﺘﻔﻜﺮ ﺍﻳﻦ ﮔﺮﻭﻩ ﻳﻚ ﺟﻮﺍﻥ‬ ‫ﺍﻧﻘﻼﺑﻲ ﺑﻮﺩ‪ :‬ﻣﺤﺴﻦ ﻣﺨﻤﻠﺒﺎﻑ‪ ،‬ﺷﻨﺎﺧﺘﻪﺷﺪﻩﺗﺮﻳﻦ ﻭ ﺟﺮﻳﺎﻥﺳﺎﺯﺗﺮﻳﻦ‬ ‫ﻭ ﭘﺮﻛﺎﺭﺗﺮﻳﻦ ﻫﻨﺮﻣﻨﺪ ﻭ ﭼﻬﺮﻩ ﻓﺮﻫﻨﮕﻲ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺍﻧﻘﻼﺏ ﺩﺭ ﺩﻫﻪ ﺍﻭﻟﺶ‪.‬‬ ‫ﻛﺴــﻲ ﻛﻪ ﺁﻥ ﺭﻭﺯﻫﺎ ﻣﻲﺧﻮﺍﺳــﺖ ﻧﻮﻉ ﻣﻄﻠﻮﺏ ﻫﻨﺮ ﺍﺳﻼﻣﻲ ﺭﺍ ﺗﺒﻴﻴﻦ‬ ‫ﻛﻨﺪ‪ .‬ﺑﺎﻳﻜﻮﺕ ﻣﻬﻢﺗﺮﻳﻦ ﺑﻴﺎﻧﻴﻪ ﻫﻨﺮﻱ ﺍﻧﺪﻳﺸﻪ ﺍﺳﻼﻣﻲ ﺩﺭ ﻧﻘﺪ ﺗﻔﻜﺮ ﭼﭗ‬ ‫ﺑﻮﺩ ﻛﻪ ﺗﻮﺳــﻂ ﺑﻬﺘﺮﻳﻦ ﺍﺳﺘﻌﺪﺍﺩﺵ ﺑﻴﺎﻥ ﻣﻲﺷــﺪ‪ .‬ﺳﻴﺎﺳﻲﺗﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺗﺎ ﻧﻴﻤﻪ ﺍﻭﻝ ﺩﻫﻪ ‪ 60‬ﺩﺭ ﺩﻭﺭﺍﻧﻲ ﺳﺎﺧﺘﻪ ﺷﺪ ﻛﻪ ﺟﺎﻣﻌﻪ‬ ‫ﻫﻨﻮﺯ ﺯﺧﻢﻫﺎﻱ ﻳﻚ ﻧﺒﺮﺩ ﺩﺍﺧﻠﻰ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﺟﻨﮓ ﺗﻤﺎﻡ ﻋﻴﺎﺭ ﺑﺎ ﺩﺷــﻤﻦ‬ ‫ﺧﺎﺭﺟﻰ ﺑﺮ ﺑﺪﻥ ﺩﺍﺷﺖ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﺑﻌﺪ ﺍﺯ ﺳﻴﺎﻩﻣﺸﻖﻫﺎﻱ ﺍﻭﻟﻴﻪ )ﺗﻮﺑﻪ ﻧﺼﻮﺡ‪ ،‬ﺍﺳﺘﻌﺎﺫﻩ ﻭ ﺩﻭﭼﺸﻢ‬ ‫ﺑﻲﺳــﻮ(‪ ،‬ﻫﻤﺮﺍﻩ ﻧﮕﺎﺭﺵ ﭼﻨﺪﻳﻦ ﻃﺮﺡ ﻧﻤﺎﻳﺸﻲ ﻭ ﺳــﻴﻨﻤﺎﻳﻲ ﻭ ﺗﺎﻟﻴﻒ‬ ‫ﻣﻘﺎﻻﺕ ﻣﺘﻌﺪﺩ‪ ،‬ﻛﺎﺭ ﺳــﺎﺧﺖ ﺑﺎﻳﻜﻮﺕ ﺭﺍ ﺍﻭﺍﺳﻂ ﺳﺎﻝ ‪ 1364‬ﺁﻏﺎﺯ ﻛﺮﺩ‪.‬‬ ‫ﻓﻴﻠﻤﻲ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﭼﻜﻴﺪﻩ ﻭ ﻓﺼﻞﺍﻟﺨﻄﺎﺏ ﺁﻧﭽﻪ ﻧﻘﺪ ﺗﻔﻜﺮ ﻣﺎﺭﻛﺴﻴﺴﺘﻲ‬ ‫ﺩﺭ ﺷــﺎﺧﻪﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻧﺶ ﻧﺎﻣﻴﺪﻩ ﻣﻲﺷــﺪ‪ ،‬ﺑﺎﺷــﺪ‪ .‬ﺍﻭ ﻫﺮﭼﻨﺪ ﺩﺭ ﺁﺛﺎﺭ‬ ‫ﭘﻴﺸــﻴﻨﺶ ﻧﻘﺒﻲ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺯﺩﻩ ﺑــﻮﺩ ﺍﻣﺎ ﺍﻳﻦ ﺑﺎﺭ ﺑــﺎ ﺑﻬﺮﻩﮔﻴﺮﻱ ﺍﺯ‬ ‫ﺗﺠﺮﺑﻴﺎﺕ ﻗﺒﻠﻲ ﺑﺎ ﺗﺴﻠﻂ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﺑﺰﺍﺭ ﺳﻴﻨﻤﺎ ﻗﺼﺪ ﺩﺍﺷﺖ ﺿﻤﻦ ﻧﻤﺎﻳﺶ‬ ‫ﺗﻮﺍﻧﺎﻳﻲﻫﺎﻳﺶ‪ ،‬ﻣﺎﻧﻴﻔﺴﺘﻲ ﺍﺯ ﻧﮕﺎﻩ ﺑﻪ ﺟﺮﻳﺎﻧﻲ ﻛﻪ ﺩﺭ ﺳﺎﻝﻫﺎﻱ ﺍﻭﻝ ﺍﻧﻘﻼﺏ‬ ‫ﺣﻀﻮﺭ ﻋﻴﻨﻲ ﺩﺭ ﺟﺎﻣﻌﻪ ﺩﺍﺷﺖ ﺭﺍ ﺍﺭﺍﺋﻪ ﺩﻫﺪ‪ .‬ﻓﻴﻠﻢ ﺑﺎ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ ﻣﻌﻤﻮﻝ‬ ‫ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﻭ ﺑﺎ ﻫﻤﻜﺎﺭﻱ ﺩﻭﺳــﺘﺎﻥ ﻭ ﻫﻤﺮﺍﻫﺎﻥ ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ ﺍﻳﻦ ﻧﻬﺎﺩ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪ‪ .‬ﺗﻮﻟﻴﺪﻱ ﻧﻪ ﭼﻨﺪﺍﻥ ﻣﺸﻜﻞ ﻛﻪ ﺩﺭ ﻣﻴﺎﻧﻪﺍﺵ ﻣﺨﻤﻠﺒﺎﻑ ﻣﺠﺒﻮﺭ‬ ‫ﺍﺳﺖ ﻫﻤﭽﻨﺎﻥ ﻧﻈﺎﺭﺗﺶ ﺭﺍ ﺑﺮ ﺳﺎﺧﺘﻪﻫﺎﻱ ﺩﻳﮕﺮ ﺣﻮﺯﻩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﺶ ﺩﺭ ﭼﻬﺎﺭﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺑﻲﺍﻋﺘﻨﺎﻳﻲ‬ ‫ﻛﺎﻣﻞ ﺩﺍﻭﺭﺍﻥ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺗﻘﺎﺑﻠﻲ ﻛﻪ ﺑﻌﺪﻫﺎ ﺑﻪ ﺍﺧﺘﻼﻑ ﻭ ﺭﻭﺩﺭ ﺭﻭﻳﻲ‬ ‫ﺟﺮﻳﺎﻥ ﻣﺪﻳﺮﻳﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺑﺎ ﻧﻬﺎﺩ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺗﻌﺒﻴﺮ ﻣﻲﺷﻮﺩ‪ .‬ﻧﻤﺎﻳﺶ‬ ‫ﻋﻤﻮﻣﻲ ﺍﻣﺎ ﺳــﺮﺁﻏﺎﺯ ﺑﺤﺚ ﻭ ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﺳﺖ‪ .‬ﺑﻮﻳﮋﻩ ﻛﻪ ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﻫﻢ ﺍﺯ ﺁﻥ ﻛﺎﻣﻼ ﺩﻭﺭ ﺍﺯ ﺍﻧﺘﻈﺎﺭ ﺍﺳــﺖ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ ﻣﺘﻤﺎﻳﻞ ﺑﻪ‬ ‫ﺟﺮﻳﺎﻥ ﺭﻭﺷــﻨﻔﻜﺮﻱ ﺑﻴﺸﺘﺮ ﺑﺮ ﻭﺟﻪ ﺣﺎﺩﺛﻪﭘﺮﺩﺍﺯﺍﻧﻪ ﻓﻴﻠﻢ ﺗﺎﻛﻴﺪ ﻭ ﺗﻼﺵ‬ ‫ﻣﻲﻛﻨﻨﺪ ﺭﺳــﻴﺪﻥ ﻣﺨﻤﻠﺒﺎﻑ ﺑﻪ ﻳــﻚ ﺑﻴﺎﻥ ﻭ ﭘﺮﺩﺍﺧﺖ ﺳــﻴﻨﻤﺎﻳﻲ ﺭﺍ‬ ‫ﺑﺮﺟﺴﺘﻪ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺭﺳﺎﻧﻪﻫﺎﻱ ﺟﺮﻳﺎﻥ ﺣﺎﻛﻢ ﺍﺳﺘﻘﺒﺎﻝ ﺷﺎﻳﺎﻧﻲ ﺍﺯ‬ ‫ﺁﻥ ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﻣﻀﻤﻮﻥ ﻭ ﺗﻔﻜﺮ ﻓﻴﻠﻢ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻧﻜﺘﻪﺍﻱ ﻛﻪ ﻛﺎﻣﻼ ﻣﻄﻠﻮﺏ‬ ‫ﻧﻈﺮ ﺧــﻮﺩ ﻣﺨﻤﻠﺒﺎﻑ ﻫﻢ ﻫﺴــﺖ‪ .‬ﺍﻭ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻫﺎﻳﺶ ﺿﻤﻦ ﺗﺒﻴﻴﻦ‬ ‫ﻛﺎﻣﻞ ﺍﻧﺪﻳﺸﻪ ﺣﺎﻛﻢ ﺑﺮ ﻓﻴﻠﻢ ﻭ ﺑﻴﺎﻥ ﻛﺎﻣﻠﺘﺮ ﺍﻋﺘﻘﺎﺩﺍﺗﺶ ﺣﺘﻲ ﺑﻪ ﻣﺪﻳﺮﺍﻥ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﻫﻢ ﺣﻤﻠﻪ ﻣﻲﻛﻨﺪ ﻛﻪ ﺑﺎ ﺳﻴﺎﺳــﺖﻫﺎﻱ ﻣﺤﺎﻓﻈﻪﻛﺎﺭﺍﻧﻪﺷﺎﻥ‬ ‫ﺑﺎﻋﺚ ﺷــﻜﻞﮔﻴﺮﻱ ﺳــﻴﻨﻤﺎﻳﻲ ﺑﻲﺍﺛﺮ ﻭ ﺧﻨﺜﻲ ﺷــﺪﻩﺍﻧﺪ‪» :‬ﺗﺼﻮﺭ ﻣﻦ‬ ‫ﺍﻳﻦ ﺍﺳــﺖ ﻛﻪ ﺳــﻴﻨﻤﺎﻱ ﺍﻧﻘﻼﺏ ﺍﺳــﻼﻣﻲ ﺍﻳﺮﺍﻥ ﻛﻪ ﺁﺭﻣﺎﻥ ﺑﺴﻴﺎﺭﻱ ﺍﺯ‬ ‫ﻣﺴﺘﻀﻌﻔﺎﻥ ﺟﻬﺎﻥ ﺍﺳــﺖ ﻭ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻭﻳﮋﮔﻲﻫﺎﻳﺶ ﺳﻴﺎﺳﻲ ﺑﻮﺩﻥ‬ ‫ﺍﺳﺖ ﺩﺭ ﺍﺛﺮ ﺳﻴﺎﺳــﺖﻫﺎﻱ ﺍﺣﺘﻴﺎﻃﻲ ﻭ ﺑﺎﻟﻴﻨﻲ ﺑﻪ ﻳﻚ ﺳﻴﻨﻤﺎﻱ ﺧﻨﺜﻲ‬ ‫ﻭ ﺑﻲﻗﺎﺑﻠﻴﺖ ﻳﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﻳﻚ ﺳــﻴﻨﻤﺎﻱ ﺳﺮﮔﺮﻣﻲ ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﺗﺒﺪﻳﻞ‬ ‫ﺷﺪﻩ‪ «.‬ﺍﺳﺘﻘﺒﺎﻝ ﻣﺮﺩﻡ ﺍﺯ ﻓﻴﻠﻢ ﭘﺸــﺘﻮﺍﻧﻪﺍﻱ ﺑﺮﺍﻱ ﺍﻋﺘﻘﺎﺩﺍﺕ ﻣﺨﻤﻠﺒﺎﻑ‬ ‫ﺗﻠﻘﻲ ﻣﻲﺷﻮﺩ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﻣﻨﺘﻘﺪﺍﻥ ﺍﺻﺮﺍﺭ ﺩﺍﺭﻧﺪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻣﺮﺑﻮﻁ‬ ‫ﺑﻪ ﻭﺟﻪ ﺣﺎﺩﺛﻪﭘﺮﺩﺍﺯﺍﻧﻪ ﻓﻴﻠﻢ ﺑﺪﺍﻧﻨﺪ‪ .‬ﺣﺠﻢ ﺑﺤﺚ ﻭ ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﻟﺒﺘﻪ‬ ‫ﻭﺍﺭﺩ ﻻﻳﻪﻫﺎﻱ ﺳﻴﺎﺳﻲ ﻭ ﺣﺎﻛﻤﻴﺘﻲ ﺟﺎﻣﻌﻪ ﻧﻤﻲ ﺷﻮﺩ ﻫﺮﭼﻨﺪ ﻛﻪ ﺁﺷﻜﺎﺭ‬ ‫ﺍﺳﺖ ﺟﺮﻳﺎﻥ ﺍﻧﻘﻼﺑﻲ ﻛﺎﻣﻼ ﺑﺎ ﺁﻥ ﻣﻮﺍﻓﻖ ﺍﺳﺖ‪ .‬ﻃﺮﻓﻲ ﻫﻢ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﻣﻮﺭﺩ‬ ‫ﻧﻘﺪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺻﻼ ﺣﻀﻮﺭﻱ ﺭﺳﻤﻲ ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﻪ ﺩﻓﺎﻉ ﺍﺯ ﺧﻮﺩ ﺑﭙﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺑﺎﻳﻜﻮﺕ ﺑﺎ ﻛﺴــﺐ ﻋﻨﻮﺍﻥ ﭘﺮﻓﺮﻭﺵﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺳــﺎﻝ ‪ ،1365‬ﺯﻣﻴﻨﻪﺍﻱ‬ ‫ﻣﻲﺷﻮﺩ ﺑﺮﺍﻱ ﭘﺎﻳﺎﻥ ﺩﻭﺭﻩ ﺍﻭﻝ ﻓﻴﻠﻤﺴﺎﺯﻱ ﻣﺨﻤﻠﺒﺎﻑ‪ .‬ﺯﻣﺎﻧﻲ ﻛﻪ ﺍﻭ ﺟﻬﺖ‬ ‫ﺍﻧﺘﻘﺎﺩﺍﺗﺶ ﺭﺍ ﺍﻧﺪﻙﺍﻧﺪﻙ ﻣﺘﻮﺟﻪ ﺑﺨﺸﻲ ﺍﺯﺟﺮﻳﺎﻥ ﺣﺎﻛﻢ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫»ﺑﺎﻳﻜﻮﺕ« ﺍﺯ ﻣﻌﺪﻭﺩ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻪ ﺟﺎﻣﺎﻧﺪﻩ ﺍﺯ ﺩﻭﺭﺍﻧﺶ ﺍﺳﺖ ﻛﻪ ﻣﻲﺗﻮﺍﻥ‬ ‫ﺑﺎ ﺗﻤﺎﺷــﺎﻳﺶ ﺗﺎ ﺣﺪﻭﺩ ﺯﻳﺎﺩﻱ ﺑﻪ ﺭﻳﺸــﻪﻫﺎﻱ ﺍﺧﺘﻼﻓﺎﺕ ﻋﺪﻳﺪﻩ ﺟﺮﻳﺎﻥ‬ ‫ﺣﺎﻛﻢ ﻣﺬﻫﺒﻲ ﺍﻧﻘﻼﺏ ﺑــﺎ ﮔﺮﻭﻩﻫﺎﻱ ﻣﺒﺎﺭﺯ ﻏﻴﺮﻣﺬﻫﺒﻲ ﭘــﻲ ﺑﺮﺩ؛ ﺍﻳﻨﻜﻪ‬ ‫ﺍﻳﻦ ﺍﺧﺘﻼﻑ ﻧــﻪ ﺍﺯ ﺩﻭﺭﺍﻥ ﺑﻌﺪ ﺍﺯ ﭘﻴﺮﻭﺯﻱ ﺑﻠﻜــﻪ ﺍﺯ ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﻱ ﻣﺒﺎﺭﺯﻩ‬ ‫ﻭ ﺩﺭ ﺟﺮﻳﺎﻥ ﻣﻨﺎﺳــﺒﺎﺕ ﺩﺭﻭﻧﻲ ﻣﺒﺎﺭﺯﺍﻥ ﺩﺭ ﺯﻧﺪﺍﻥ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺑﺎﻳﻜﻮﺕ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺎ ﺷــﺨﺼﻴﺘﻲ ﺍﺯ ﺳﻤﭙﺎﺕﻫﺎﻱ ﮔﺮﻭﻩﻫﺎﻱ ﻣﻠﻬﻢ‬ ‫ﺍﺯ ﺍﻧﺪﻳﺸﻪﻫﺎﻱ ﻣﺎﺭﻛﺴﻴﺴــﺘﻲ ‪ -‬ﺍﻟﺒﺘﻪ ﺑﺪﻭﻥ ﻧﺎﻡ ﺑﺮﺩﻥ ﺍﺯ ﮔﺮﻭﻩ ﻣﺸﺨﺼﻲ‬ ‫ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﻳﻢ ﻛﻪ ﺳــﺎﺯﻧﺪﻩ ﺗﺼﻮﻳﺮ ﺗﻤﺎﻣﺎ ﻣﻨﻔﻲ ﺍﺯ ﺁﻥ ﺍﺭﺍﺋﻪ ﻧﻤﻲﺩﻫﺪ‪.‬‬‫ﺍﺗﻔﺎﻗﻲﻛﻤﻴﺎﺏﺑﺮﺍﻱﺳﻴﻨﻤﺎﻱﺁﻥ ﺩﻭﺭﺍﻥﻛﻪﺧﺎﺹﻓﻀﺎﻳﺶﺑﻮﺩ‪.‬ﻣﺨﻤﻠﺒﺎﻑ‬ ‫ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻣﻌﺪﻭﺩ ﻧﻤﻮﻧﻪﻫﺎﻱ ﻧﺰﺩﻳﻚ ﺑــﻪ ﻭﺍﻗﻌﻴﺖ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﺯﻧﺪﺍﻥﻫﺎ ﻭ‬ ‫ﺯﻧﺪﺍﻧﻴﺎﻥ ﺳﻴﺎﺳﻲ ﭘﻴﺶ ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ ﺭﻭﺍﺑﻂ ﺑﻴﻦ ﺁﻧﻬﺎ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ‪ .‬ﺭﻭﺍﺑﻄﻲ‬ ‫ﻛﻪ ﺑﻪ ﺑﺎﻭﺭ ﺑﺴﻴﺎﺭﻱ ﺳﺮﺁﻏﺎﺯ ﺍﺧﺘﻼﻓﺎﺕ ﺑﻌﺪ ﺍﺯ ﭘﻴﺮﻭﺯﻱ ﺑﻴﻦ ﺍﻧﻘﻼﺑﻴﻮﻥ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎﻳﻜﻮﺕ ﺑﻴﺎﻧﻴﻪ ﺗﺼﻮﻳﺮﻱ ﻫﻨﺮ ﺍﻧﻘﻼﺑﻲ ﺩﺭ ﺑﻴــﺎﻥ ﺩﻻﻳﻞ ﺫﺍﺗﻲ ﺭﻭﻧﺪ ﺑﻴﻬﻮﺩﻩ‬ ‫ﻣﺒﺎﺭﺯﻩ ﻏﻴﺮﻣﺬﻫﺒﻲﻫﺎ ﺑﻮﺩ‪ .‬ﺗﻤﺎﺷﺎﻱ ﻓﻴﻠﻢ ﺣﺎﻻ ﺑﺮﺍﻱ ﺑﻴﻨﻨﺪﻩ ﭘﻴﮕﻴﺮ ﺗﺎﺭﻳﺦ‬ ‫ﮔﺬﺷﺘﻪﻣﻲﺗﻮﺍﻧﺪﺩﺭﻟﺤﻈﺎﺗﻲﺣﺘﻲﺳﻨﺪﺗﺼﻮﻳﺮﻱﺑﺎﺷﺪﺍﺯﺯﻧﺪﮔﻲﻣﺒﺎﺭﺯﺍﻧﻲ‬ ‫ﻣﻌﺘﻘﺪﺑﺮ ﺍﻫﺪﺍﻓﻲ ﻛﻪ ﺯﻧﺪﮔﻲﺷــﺎﻥ ﺭﺍ ﺩﺭ ﺭﺍﻩ ﺍﻋﺘﻘﺎﺩﺷﺎﻥ ﻓﺪﺍ ﻣﻲﻛﺮﺩﻧﺪ ﺍﺯ‬ ‫ﺯﺑﺎﻥ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﻛﻪ ﺧﻮﺩ ﻫﻢ ﺳــﺎﻝﻫﺎﻳﻲ ﺍﺯ ﻋﻤﺮ ﺭﺍ ﺑﺎ ﺁﻧﻬﺎ ﮔﺬﺭﺍﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺷﻨﻴﺪﻥ ﺩﻳﺎﻟﻮگﻫﺎﻳﻲ ﭼﻮﻥ »ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﻓﻜﺮ ﻛﻦ‪ ،‬ﺑﻪ ﺍﻣﭙﺮﻳﺎﻟﻴﺴﻢ ﻛﻪ ﺩﺍﺭﻩ‬ ‫ﻧﺎﺑﻮﺩ ﻣﻲﺷﻪ« ﺍﺯ ﺯﺑﺎﻥ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻓﻴﻠﻢ ﻭﺍﻗﻌﻴﺘﻲ ﺍﺯ ﺗﺒﺎﻫﻲ ﺍﻋﺘﻘﺎﺩ ﻧﺴﻠﻲ‬ ‫ﺳﺮﺳﺨﺖ ﺍﻣﺎ ﺳﺎﺩﻩ ﻭ ﺳﻄﺤﻲ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻲﺁﻭﺭﺩ ﻛﻪ ﺩﺭ ﺗﻮﻓﺎﻥ ﻣﻨﺎﺯﻋﺎﺕ ﺟﺎﻥ‬ ‫ﺑﺮ ﺳــﺮ ﺍﻋﺘﻘﺎﺩﺷــﺎﻥ ﺩﺍﺩﻧﺪ‪ .‬ﻭ ﻣﺨﻤﻠﺒﺎﻑ »ﺑﺎﻳﻜﻮﺕ« ﺍﻳﺴﺘﺎﺩﻩ ﺑﺮ ﻗﻠﻪ ﺗﻔﻜﺮ‬ ‫ﻫﻨﺮ ﺍﺳﻼﻣﻲ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﻬﻢﺗﺮﻳﻦ ﻣﺤﺼﻮﻟﺶ ﺩﺭ ﺭﺩ ﻛﺎﻣﻞ ﺟﺮﻳﺎﻧﻲ ﻛﻪ ﺁﻥ‬ ‫ﺯﻣﺎﻥ ﺗﺼﻮﺭ ﻣﻲﺷﺪ ﺑﺰﺭگﺗﺮﻳﻦ ﺗﻬﺪﻳﺪ ﺍﻧﻘﻼﺏ ﺍﺳﺖ‪ ،‬ﺣﺎﻻ ﺩﺭ ﮔﺬﺭ ﺳﺎﻝﻫﺎ‬ ‫ﺧﻮﺩ ﺁﻳﻨﻪﺍﻱ ﺍﺳﺖ ﺍﺯ ﻣﺴﻴﺮ ﺗﻔﻜﺮﺍﺕ ﻳﻚ ﮔﺮﻭﻩ ﻣﺒﺎﺭﺯ ﺩﻳﮕﺮ ﻛﻪ ﺑﻌﺪﻫﺎ ﺧﻮﺩ‬ ‫ﺩﭼﺎﺭ ﺳﻮﺍﻻﺗﻲ ﺷﺪ‪ .‬ﺳــﻮﺍﻻﺗﻲ ﻛﻪ ﮔﻮﻳﻲ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻱ ﺧﻮﺩ ﻓﻴﻠﻢ ﺑﻪ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻧﺶ ﺗﺴــﺮﻱ ﻳﺎﻓﺖ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﺧﻴﻠﻲ ﺯﻭﺩﺗﺮ ﺍﺯ ﺩﻳﮕﺮ ﺩﻭﺳﺘﺎﻧﺶ‬ ‫ﻣﺎﻧﻨﺪ ﻗﻬﺮﻣﺎﻧﺶ »ﻭﺍﻟﻪ« ﺩﺭ ﻣﺴــﻴﺮ ﻣﺒﺎﺭﺯﻩ ﻣﺴــﺎﻟﻪﺩﺍﺭ ﺷــﺪ‪ ،‬ﻫﺮﭼﻨﺪ ﻛﻪ‬ ‫ﭼﻨﺪﻳﻦ ﺳــﺎﻝ ﺑﻌﺪﺵ ﺑﺎﺯﻳﮕﺮ ﻧﻘﺶ ﻭﺍﻟﻪ ﻫﻢ ﺩﺭ ﻣﺴﻴﺮ ﺣﺮﻛﺘﻲ ﺍﻧﻘﻼﺏ‪ ،‬ﺑﺎ‬ ‫ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺍﻧﺘﺨﺎﺑﺎﺗﻲ ﻧﺎﻣﺰﺩﻱ ﻛﻪ ﺯﻣﺎﻥ ﺳﺎﺧﺖ ﺑﺎﻳﻜﻮﺕ ﻧﺨﺴﺖﻭﺯﻳﺮ‬ ‫ﺑﻮﺩ ﺩﺭ ﻣﺴﻴﺮ ﻣﺴﺎﻟﻪﺩﺍﺭ ﺷــﺪﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺗﻤﺎﺷﺎﻱ ﺑﺎﻳﻜﻮﺕ ﺣﺎﻻ ﻳﺎﺩﺁﻭﺭ‬ ‫ﻃﻨﺰ ﺗﻠﺦ ﺗﺎﺭﻳﺦ ﺍﺳﺖ‪.‬‬ ‫‪5‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺑﺎﺷﻮ ﻏﺮﻳﺒﻪ ﻛﻮﭼﻚ )‪(1364‬‬ ‫ﻣﺎ ﻓﺮﺯﻧﺪﺍﻥ ﺍﻳﺮﺍﻧﻴﻢ‬ ‫ﺗﺪﻭﻳـﻦ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﺑﻬـﺮﺍﻡ ﺑﻴﻀﺎﻳـﻲ‪ ،‬ﺩﺳـﺘﻴﺎﺭ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺩﺍﺭﻳﻮﺵ ﻓﺮﻫﻨﮓ‪ ،‬ﺑﺎ ﺗﺸـﻜﺮ ﺍﺯ‪ :‬ﻭﺍﺭﻭژ ﻛﺮﻳﻢﻣﺴﻴﺤﻲ‪،‬‬ ‫ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒـﺮﺩﺍﺭﻱ ﻭ ﻣﺠـﺮﻱ ﻃـﺮﺡ‪ :‬ﻓﻴـﺮﻭﺯ ﻣﻠـﻚ ﺯﺍﺩﻩ‪،‬‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨـﻪ‪ :‬ﺍﻳـﺮﺝ ﺭﺍﻣﻴﻦﻓﺮ‪ ،‬ﺑﻬـﺮﺍﻡ ﺑﻴﻀﺎﻳﻲ‪ ،‬ﺻﺪﺍﺑـﺮﺩﺍﺭﺍﻥ‪:‬‬ ‫ﺑﻬﺮﻭﺯ ﻣﻌﺎﻭﻧﻴﺎﻥ‪ ،‬ﺟﻬﺎﻧﮕــﻴﺮ ﻣﻴﺮﺷـــﻜﺎﺭﻱ‪ ،‬ﺍﺻﻐﺮ ﺷﺎﻫﻮﺭﺩﻱ‪،‬‬ ‫ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﭼﻨﮕﻴﺰ ﺻﻴﺎﺩ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﻓﺮﻫﻨﮓ ﻣﻌﻴﺮﻱ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺳﻮﺳﻦ ﺗﺴـﻠﻴﻤﻲ‪ ،‬ﻋﺪﻧﺎﻥ ﻋﻔﺮﺍﻭﻳﺎﻥ‪ ،‬ﭘﺮﻭﻳﺰ ﭘﻮﺭﺣﺴﻴﻨﻲ‪ ،‬ﻓﺮﺥ ﻟﻘﺎ ﻫﻮﺷﻤﻨﺪ‪،‬‬ ‫ﺍﻛﺒﺮ ﺩﻭﺩﻛﺎﺭ‪ ،‬ﺭﺿﺎ ﻫﻮﺷﻤﻨﺪ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ‪ 122 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 23 :‬ﺑﻬﻤﻦ ‪ ،1368‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 3/4 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺍﻭﺍﺳــﻂ ﺩﻫﻪ ‪ ، 60‬ﺟﻨﮓ ﭘﺎﻳﺶ ﺭﺍ ﺗﺎ ﺍﻛﺜﺮ ﺷــﻬﺮﻫﺎ ﺑــﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﻮﺷﻚ ﺑﺎﺭﺍﻥ ﺷﻬﺮﻫﺎ ﻭ ﺑﻤﺒﺎﺭﺍﻥ ﻫﻮﺍﻳﻲ ﻣﺪﺍﻭﻡ ﺑﺎﻋﺚ ﺷﺪﻩ ﺑﻮﺩ ﺣﺘﻲ‬ ‫ﺍﻣﻮﺭ ﺭﻭﺯﻣﺮﻩ ﺯﻧﺪﮔﻲ ﻣﺨﺘﻞ ﺷــﻮﺩ‪ .‬ﺗﺸــﺪﻳﺪ ﺍﻳــﻦ ﻭﺿﻌﻴﺖ ﺗﺠﺮﺑﻪ‬ ‫ﻣﻬﺎﺟﺮﺕﻫﺎﻱ ﻣﻮﻗﺘﻲ ﺭﺍ ﻭﺍﺭﺩ ﺯﻧﺪﮔﻲ ﺳــﺎﻛﻨﺎﻥ ﺷــﻬﺮﻫﺎﻱ ﺑﺰﺭگ‬ ‫ﻛــﺮﺩ‪ .‬ﺍﮔﺮ ﺍﺑﺘﺪﺍﻱ ﺟﻨﮓ ﺍﻳﻦ ﻣﺮﺩﻡ ﺷــﻬﺮﻫﺎﻱ ﻧﺰﺩﻳــﻚ ﻣﺮﺯ ﺑﻮﺩﻧﺪ‬ ‫ﻛﻪ ﺑﺮﺍﻱ ﻧﺠﺎﺕ ﺟﺎﻧﺸــﺎﻥ ﺧﺎﻧﻪ ﻭ ﺷــﻬﺮ ﺭﺍ ﺗﺮﻙ ﻣﻲﻛﺮﺩﻧﺪ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺑﺎﺷــﻮ ﺑﻪﺩﻧﺒﺎﻝ ﺑﻤﺒﺎﺭﺍﻥ ﻫﻮﺍﻳﻲ ﻭ ﻛﺸﺘﻪ ﺷﺪﻥ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺵ ﺩﺭﻭﻥ ﻛﺎﻣﻴﻮﻧﻲ ﻣﻲﭘﺮﺩ ﻭ ﺍﺯ ﺯﺍﺩﮔﺎﻫﺶ‪،‬‬ ‫ﺟﻨﻮﺏ‪ ،‬ﻣﻲﮔﺮﻳﺰﺩ‪ .‬ﻭﻗﺘﻲ ﭼﺎﺩﺭ ﺑﺎﺭ ﻛﺎﻣﻴﻮﻥ ﺭﺍ ﻛﻨﺎﺭ ﻣﻲﺯﻧﺪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺷﻤﺎﻝ ﻣﻲﺑﻴﻨﺪ‪ .‬ﺑﺎﺷﻮ ﺑﻪ ﻣﺰﺭﻋﻪ‬ ‫ﺯﻧﻲ ﺑﻪ ﻧﺎﻡ »ﻧﺎﻳﻲ« ﭘﻨﺎﻩ ﻣﻲﺑﺮﺩ‪ .‬ﻧﺎﻳﻲ ﺩﺭ ﻏﻴﺒﺖ ﺷﻮﻫﺮ‪ ،‬ﻛﻪ ﺑﻪ ﺟﻨﮓ ﺭﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﻣﺰﺭﻋﻪ ﺭﺍ ﺍﺩﺍﺭﻩ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺯﻥ ﺑــﻪ ﺯﺑﺎﻥ ﻏﻠﻴﻆ ﮔﻴﻠﻜﻲ ﺗﻜﻠﻢ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎﺷــﻮ ﺑﻪ ﺯﺑﺎﻥ ﻋﺮﺑﻲ‪ .‬ﺑﻪﺭﻏﻢ ﺁﻧﻜــﻪ ﺁﻧﻬﺎ ﺣﺮﻑ ﻳﻜﺪﻳﮕﺮ ﺭﺍ‬ ‫ﻧﻤﻲﻓﻬﻤﻨﺪ ﺭﻓﺘﻪﺭﻓﺘﻪ ﺭﺍﺑﻄﻪ ﻋﺎﻃﻔﻲ ﻣﻴﺎﻥ ﺁﻥ ﺩﻭ ﺑﺮﻗﺮﺍﺭ ﻣﻲﺷﻮﺩ‪ .‬ﻧﺎﻳﻲ ﻧﺎﻣﻪﻫﺎﻳﻲ ﺑﻪ ﺷﻮﻫﺮ ﻣﻲﻧﻮﻳﺴﺪ‬ ‫ﻭ ﺑﺮﺧﻼﻑ ﻧﻈﺮ ﺍﻭ ﺑﺎﺷــﻮ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻓﺮﺯﻧﺪ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻲﭘﺬﻳﺮﺩ‪ .‬ﭘﺴــﺮﻙ ﺩﺭ ﻛﺎﺭﻫﺎﻱ ﺧﺎﻧﻪ ﻭ ﻣﺰﺭﻋﻪ ﺑﻪ‬ ‫ﺯﻥ ﻛﻤﻚ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺪﺗﻲ ﺑﻌﺪ ﻣﺮﺩ ﻛﻪ ﺩﺳــﺖ ﺭﺍﺳﺘﺶ ﻗﻄﻊ ﺷــﺪﻩ‪ ،‬ﺑﺎﺯﻣﻲﮔﺮﺩﺩ ﻭ ﺣﻀﻮﺭ ﺑﺎﺷﻮ ﺭﺍ ﺩﺭ‬ ‫ﺟﻤﻊ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻲﭘﺬﻳﺮﺩ‪.‬‬ ‫ﺷﻬﺮﻧﺸــﻴﻦﻫﺎﻱ ﻣﻨﺎﻃﻖ ﺩﻳﮕﺮ ﻫﻢ ﻣﺠﺒﻮﺭ ﺑﻪ ﻣﻬﺎﺟﺮﺕ ﻣﻲﺷﺪﻧﺪ‪.‬‬ ‫ﺟﻨﮓ ﺣﺎﻻ ﺩﻳﮕــﺮ ﺑﺰﺭگﺗﺮﻳﻦ ﻣﻮﺿﻮﻉ ﺯﻧﺪﮔﻲ ﺑــﻮﺩ‪ .‬ﺗﺎ ﺁﻥ ﻣﻘﻄﻊ‬ ‫ﺭﻭﺍﻳــﺖ ﺍﺯ ﺍﻳﻦ ﺟﻨﮓ ﻫﺮﭼﻨــﺪ ﺗﻘﺮﻳﺒﺎ ﺍﺯ ﺍﺑﺘﺪﺍﻳﺶ ﺩﺭ ﺳــﻴﻨﻤﺎ ﺁﻏﺎﺯ‬ ‫ﺷــﺪﻩ ﺑﻮﺩ ﺍﻣﺎ ﻫﻴﭻﮔﺎﻩ ﺷﻜﻠﻲ ﺟﺪﺍ ﺍﺯ ﺗﻌﺎﺭﻳﻒ ﻣﺮﺳﻮﻡ ﻧﺪﺍﺷﺖ‪ .‬ﺻﺮﻓﺎ‬ ‫ﭘﻴﺮﻭﺯﻱﻫﺎ ﻭ ﺍﺯ ﺧﻮﺩﮔﺬﺷﺘﮕﻲﻫﺎ ﻭ ﻓﻀﺎﻱ ﻣﻌﻨﻮﻱ ﺟﺒﻬﻪﻫﺎ ﺑﻪ ﺗﺼﻮﻳﺮ‬ ‫ﻛﺸﻴﺪﻩ ﻣﻲﺷﺪ‪ .‬ﻓﻀﺎ ﺍﻧﮕﺎﺭ ﻫﻨﻮﺯ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﭼﻴﺰﻱ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﻬﻴﺎ ﻧﺒــﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺍﻧﺪﻙ ﺗﻼﺵﻫﺎﻳﻲ ﻫﻢ ﺑﺮﺍﻱ ﺷﻜﺴــﺘﻦ ﺍﻳﻦ‬ ‫ﻓﻀﺎ ﺻﻮﺭﺕ ﻣﻲﮔﺮﻓﺖ‪» .‬ﺑﺎﺷــﻮ ﻏﺮﻳﺒﻪ ﻛﻮﭼــﻚ« ﻣﻬﻢﺗﺮﻳﻦ ﻧﻤﻮﻧﻪ‬ ‫ﺍﻳﻦ ﺗﻼﺵﻫﺎ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻲﺩﺭ ﺳــﺘﺎﻳﺶ ﺯﻧﺪﮔﻲ ﻭ ﺻﻠﺢ ﻭ ﻣﻔﻬﻮﻣﻲﺑﻪ‬ ‫ﻧﺎﻡ ﻣﻠﻲﮔﺮﺍﻳﻲ‪ .‬ﺑﺎﺷــﻮﻱ ﺟﻨﮓﺯﺩﻩ ﺟﻨﻮﺑﻲ ﻣﻬﺮ ﺧﺎﻧﻮﺍﺩﻩ ﺭﺍ ﺩﺭ ﮔﺬﺭ‬ ‫ﺍﺯ ﻣﻬﺎﺟﺮﺗﻲ ﻧﺎﺧﻮﺍﺳــﺘﻪ ﺩﺭ ﺁﻏﻮﺵ ﻧﺎﻳﻲ ﺷﻤﺎﻟﻲ ﻣﻲﻳﺎﻓﺖ‪ .‬ﻣﺎﺩﺭﻱ‬ ‫ﻛﻪ ﺑﺎ ﺻﻼﺑﺖ‪ ،‬ﺧﺎﻧﻮﺍﺩﻩﺍﻱ ﺭﺍ ﺑﺪﻭﻥ ﺣﻀﻮﺭ ﻫﻤﺴﺮ ﺍﺩﺍﺭﻩ ﻣﻲﻛﺮﺩ ﻭ ﺩﺭ‬ ‫ﺍﻳﻦ ﺭﺍﻩ ﺍﻟﺒﺘﻪ ﺁﻏﻮﺷــﻲ ﺑﺎﺯ ﺑﺮﺍﻱ ﺑﭽﻪﻫﺎﻱ ﻗﺮﺑﺎﻧﻲ ﺩﻳﮕﺮ ﺩﺍﺷﺖ‪ .‬ﻓﻴﻠﻢ‬ ‫ﺗﺼﻮﻳﺮﻱ ﺳﺘﺎﻳﺶﺑﺮﺍﻧﮕﻴﺰ ﺍﺯ ﺟﻨﮓ ﺍﺭﺍﺋﻪ ﻧﻤﻲﺩﺍﺩ ﺍﻣﺎ ﻧﻮﻋﻲ ﻫﻤﺮﺍﻫﻲ‬ ‫‪59‬‬ ‫ﻭ ﻫﻤﮕﺎﻣﻲ ﺟﻤﻌﻲ ﺭﺍ ﺩﺭ ﺩﻭﺭﺍﻥ ﻫﺠﻮﻡ ﺑﻪ ﻳﺎﺩ ﻣﻲﺁﻭﺭﺩ‪ .‬ﺗﻼﺷﻲ ﺑﺮﺍﻱ‬ ‫ﺯﻧﺪﻩ ﻣﺎﻧــﺪﻥ ﺩﺭ ﻛﻨﺎﺭ ﻳﻜﺪﻳﮕﺮ ﺣﺘﻲ ﺍﮔﺮ ﺭﺍﻩﻫــﺎﻱ ﺑﺮﻗﺮﺍﺭﻱ ﺍﺭﺗﺒﺎﻁ‬ ‫ﻫﻢ ﺳــﺨﺖ ﺑﺎﺷــﺪ‪ .‬ﭼﻨﻴﻦ ﻓﻴﻠﻤﻲ ﺁﺷــﻜﺎﺭ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﺯﻣﺎﻥ ﺗﺪﺍﻭﻡ ﻭ‬ ‫ﺣﻀﻮﺭ ﺑﻴﺮﻭﻧﻲ ﭘﺪﻳﺪﻩﺍﻱ ﺑﻪ ﻧﺎﻡ ﺟﻨﮓ ﻓﺮﺻﺖ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﭘﻴﺪﺍ‬ ‫ﻧﻜﻨﺪ‪ .‬ﺍﻳﻦ ﺟﺪﻱﺗﺮﻳﻦ ﻭﺍﻛﻨﺶ ﻫﻨﺮﻣﻨﺪ ﺭﻭﺷﻨﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﺑﻪ ﺭﻭﻳﺪﺍﺩ‬ ‫ﻫﻤﻪﮔﻴﺮﻱ ﭼﻮﻥ ﺟﻨﮓ‪ ،‬ﺑﺎﻳﺪ ﭼﻨﺪ ﺳــﺎﻟﻲ ﺩﺭ ﻣﺤﺎﻕ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺗﻨﻬﺎ‬ ‫ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﺭﺳــﻤﻲﺍﺵ ﺑﻮﺩ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺴﺖ ﻓﺮﺻﺖ ﺣﻀﻮﺭ ﻭ ﺑﻴﺎﻥ‬ ‫ﺣﺮﻓﺶ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻧﻮﺷﺘﻪ ﺷﺪ ﺍﻣﺎ ﺗﺎ ﺟﺸﻨﻮﺍﺭﻩ ﺳﺎﻝ ﺑﻌﺪ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺩﺭ ﺑﺨﺶ ﻛﺎﻣﻼ‬ ‫ﻓﺮﻋﻲ »‪ 10‬ﺳــﺎﻝ ﺳــﻴﻨﻤﺎﻱ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ« ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‬ ‫ﺧﺒﺮﻱ ﺍﺯ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲﻧﺒﻮﺩ‪.‬‬ ‫ﺳــﺮﺍﻧﺠﺎﻡ ﺩﺭ ﻛﻢﺧﻮﺍﺳﺘﺎﺭﺗﺮﻳﻦ ﻓﺼﻞ ﻧﻤﺎﻳﺸــﻲ ﺳﺎﻝ‪ ،‬ﺑﺎﺷﻮ ﻏﺮﻳﺒﻪ‬ ‫ﻛﻮﭼﻚ ﺍﺯ ﺻﺒﺢ ﺩﻭﺷــﻨﺒﻪ ‪ 23‬ﺑﻬﻤﻦ ‪ 1368‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺳﺎﻝ ﺩﺭ ﺗﻬﺮﺍﻥ ﺑﻪ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﺩﺭﺁﻣﺪ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﻭﺍﻛﻨﺶﻫﺎ ﺑﻪ ﻓﻴﻠﻢ‬ ‫ﻫﻤﮕﻲ ﺩﺭ ﺗﺎﻳﻴﺪ ﻛﻴﻔﻲ ﺁﻥ ﺍﺳــﺖ ﻫﺮﭼﻨﺪ ﻛﻪ ﻣﺨﺎﻟﻔﺎﻥ ﺳﺮﺳــﺨﺖ‬ ‫ﺑﻴﻀﺎﻳﻲ ﺑﻪ ﻣﻮﺍﺯﺍﺕ ﺳــﻴﻞ ﺗﺎﻳﻴﺪﺍﺕ ﻣﻨﺘﻘﺪﺍﻥ‪ ،‬ﺣﻀﻮﺭﻱ ﻫﻤﻪﺟﺎﻧﺒﻪ‬ ‫ﺩﺍﺭﻧﺪ‪ .‬ﻫﻮﺷــﻨﮓ ﻛﺎﻭﻭﺳﻲ‪ ،‬ﺳــﺮﺩﻣﺪﺍﺭ ﺍﺻﻠﻲ ﻣﺨﺎﻟﻔﺎﻥ ﺍﺳﺖ ﻛﻪ ﺍﺯ‬ ‫ﺟﺮﻳﺎﻥ ﺭﺳﻤﻲ ﺣﺎﻛﻢ ﻫﻢ ﺧﺮﺩﻩﻫﺎﻳﻲ ﺍﺯ ﻓﻴﻠﻢ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪» :‬ﺟﻨﮓ‬ ‫ﺩﺭ ﻓﻴﻠﻢ ﺑﺎﺷﻮ ﺻﺮﻓﺎ ﺑﻬﺎﻧﻪﺍﻱ ﺍﺳــﺖ ﺑﺮﺍﻱ ﻏﺮﺑﺖ ﺑﺎﺷﻮ ﻭ ﺳﭙﺲ ﺑﻴﺎﻥ‬ ‫ﺗﻌﺎﺭﺽﻫﺎ‪ .‬ﺗﻌﺎﺭﺽﻫﺎﻳﻲ ﻛﻪ ﻫﺮ ﺑﻼﻱ ﺁﺳــﻤﺎﻧﻲ ﭼــﻮﻥ ﻭﺑﺎ ﻭ ﺯﻟﺰﻟﻪ‬ ‫ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺯﺍﻳﻨﺪﻩ ﺁﻥ ﺑﺎﺷــﺪ‪ .‬ﺟﻨﮓ ﺩﺭ ﻓﻴﻠﻢ ﺑﻴﻀﺎﻳﻲ‪ ،‬ﺑﻪ ﻏﻠﻂ‬ ‫ﻫﻤﭽﻮﻥ ﻭﺑﺎﺳــﺖ ﻛﻪ ﺑﺮ ﺳــﺮ ﻗﺮﺑﺎﻧﻴﺎﻥ ﻓﺮﻭﺩ ﺁﻣﺪﻩ ﻭ ﺁﻧﺎﻥ ﻋﻮﺍﻗﺒﺶ‬ ‫ﺭﺍ ﺗﺤﻤﻞ ﻣﻲﻛﻨﻨﺪ‪) «.‬ﺭﺳــﺎﻟﺖ‪ 10 ،‬ﺍﺳــﻔﻨﺪ ‪ (68‬ﻓﻴﻠﻢ ﻳﻚ ﻣﺎﻩ ﺑﺮ‬ ‫ﭘﺮﺩﻩ ﻫﻔﺖ ﺳــﻴﻨﻤﺎ ﻣﻲﻣﺎﻧﺪ ﻭ ﺑﻌﺪ ﺩﺭ ﺷﺮﻭﻉ ﺳــﺎﻝ ﺟﺪﻳﺪ ﺟﺎﻳﺶ‬ ‫ﺭﺍ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻛــﺮﺍﻥ ﻧﻮﺭﻭﺯﻱ ﻣﻲﺩﻫﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ‬ ‫ﻧﻤﺎﻳﺸــﺶ ﭼﻨﺪﺍﻥ ﺧﺒﺮﺩﺍﺭ ﻧﻤﻲﺷــﻮﻧﺪ ﻭ ﺩﺭ ﮔﺬﺭ ﺳﺎﻝﻫﺎﺳﺖ ﻛﻪ‬ ‫ﺑﻴﻨﻨﺪﻩﺍﺵ ﺭﺍ ﻣﻲﻳﺎﺑﺪ‪.‬‬ ‫ﺍﻳﻦﭼﻨﻴﻦ ﻣﻲﺷﻮﺩ ﻛﻪ ﺑﺤﺚﻭﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺗﺎ ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﺍﺩﺍﻣﻪ‬ ‫ﭘﻴﺪﺍ ﻣﻲﻛﻨــﺪ‪ .‬ﺍﺯ ﻣﺎﺟــﺮﺍﻱ ﺻﺤﺒﺖﻫﺎﻱ ﻋﺪﻧــﺎﻥ ﻋﻔﺮﺍﻭﻳﺎﻥ ﻋﻠﻴﻪ‬ ‫ﺑﻴﻀﺎﻳــﻲ ﺩﺭﺑﺎﺭﻩ ﻧﻮﻉ ﺑﺎﺯﻳﮕﺮ ﮔﺮﻓﺘﻨﺶ ﺗﺎ ﭘﺨــﺶ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻓﻴﻠﻢ ﺑﺎ‬ ‫ﺣﻀﻮﺭ ﻫﻮﺷﻨﮓ ﻛﺎﻭﻭﺳﻲ ﻭ ﺣﻤﻼﺕ ﺷﺪﻳﺪﺵ ﺑﻪ ﺑﻴﻀﺎﻳﻲ ﺍﺯ ﺭﺳﺎﻧﻪ‬ ‫ﭘﺮﺑﻴﻨﻨﺪﻩﺍﻱ ﭼﻮﻥ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻛﻪ ﺍﻟﺒﺘﻪ ﺣﺘﻲ ﺑﻴﻨﻨﺪﮔﺎﻥ ﻋﺎﺩﻱ ﺭﺍ ﻫﻢ‬ ‫ﭘﺲ ﺍﺯ ﻣﺸــﺎﻫﺪﻩ ﻓﻴﻠﻢ ﺑﻪ ﺗﻌﺠﺐ ﻭﺍﺩﺍﺷــﺖ‪ ،‬ﺑﺨﺸﻲ ﺍﺯ ﺣﻀﻮﺭﻫﺎﻱ‬ ‫ﺭﺳﺎﻧﻪﺍﻱ ﺑﺎﺷﻮ ﭘﺲ ﺍﺯ ﻧﻤﺎﻳﺸﺶ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻳــﻚ ﺩﻫﻪ ﺑﻌﺪ ﺍﺭﺯﺵﻫــﺎﻱ ﻓﻴﻠﻢ ﻧــﺰﺩ ﻣﻨﺘﻘﺪﺍﻥ ﺑﺎ ﻣﺸــﺎﻫﺪﻩ ﺁﺛﺎﺭ‬ ‫ﺑﻌﺪﻱ ﺑﻴﺸﺘﺮ ﻣﺸﺨﺺ ﺷــﺪ ﺗﺎ ﺟﺎﻳﻲ ﻛﻪ ﻓﻴﻠﻢ ﺣﺎﻻ ﺟﺎﻳﻲ ﺛﺎﺑﺖ ﺩﺭ‬ ‫ﻓﻬﺮﺳﺖﻫﺎﻱ ﺑﺮﮔﺰﻳﺪﮔﺎﻥ ﺑﺴﻴﺎﺭﻱ ﺩﺍﺭﺩ ﻭ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﻓﺮﺍﻭﺍﻧﻲ ﻧﻴﺰ‬ ‫ﻧﺰﺩ ﻣﺨﺎﻃﺒﺎﻥ ﭘﻴﮕﻴﺮ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫‪ 4‬ﺳــﺎﻝ ﺑﻌــﺪ ﺍﺯ ﺍﻧﻘــﻼﺏ ﺍﺳــﻼﻣﻲ‪ ،‬ﺑﻬــﺮﺍﻡ ﺑﻴﻀﺎﻳﻲ‪ ،‬ﻧﻮﻳﺴــﻨﺪﻩ‪،‬‬ ‫ﻧﻤﺎﻳﺸــﻨﺎﻣﻪﻧﻮﻳﺲ ﻭ ﻓﻴﻠﻤﺴــﺎﺯ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺗﺌﺎﺗﺮ ﺩﻭ ﻓﻴﻠﻢ ﺗﻮﻗﻴﻒ‬ ‫ﺷــﺪﻩ ﺩﺍﺷــﺖ‪ .‬ﭼﺮﻳﻜﻪ ﺗﺎﺭﺍ ﻭ ﻣﺮگ ﻳﺰﺩﮔﺮﺩ ﺁﺛﺎﺭﻱ ﺑﻮﺩﻧﺪ ﻛﻪ ﻫﺮ ﺩﻭ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﻋﺪﻡ ﺭﻋﺎﻳﺖ ﻣﻮﺍﺯﻳﻦ ﭘﻮﺷﺸــﻲ‪ ،‬ﭘﺸﺖ ﺧﻂ ﻣﻤﻴﺰﻱ ﻣﺎﻧﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﺁﻳﻨﺪﻩ ﻓﻌﺎﻟﻴﺖ ﺑﻴﻀﺎﻳــﻲ ﺩﺭ ﻫﺎﻟﻪﺍﻱ ﺍﺯ‬ ‫ﺍﺑﻬﺎﻡ ﻗﺮﺍﺭ ﺩﺍﺷــﺖ‪ .‬ﻃﺮﺡﻫﺎﻳﻲ ﻛﻪ ﺍﺭﺍﺋﻪ ﻣﻲﺩﺍﺩ ﻛﻤﺘﺮ ﻣﺠﻮﺯ ﺳﺎﺧﺖ‬ ‫ﻣﻲﮔﺮﻓﺖ ﻭ ﺻﺤﻨﻪ ﺗﺌﺎﺗﺮ ﻫﻢ ﺧﺎﻣﻮﺵ ﺗﺮ ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﻇﺮﻓﻴﺖ ﺣﻀﻮﺭ‬ ‫ﻧﻤﺎﻳﺸﻨﺎﻣﻪﺍﻱ ﺍﺯ ﺑﻴﻀﺎﻳﻲ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻲ ﻣﺪﻳﺮﻳﺖ ﻭﻗﺖ ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ ﻛﻮﺩﻛﺎﻥ ﻭ‬ ‫ﻧﻮﺟﻮﺍﻧﺎﻥ ﺑﺎ ﻃﺮﺡ »ﻏﺮﻳﺒﻪ ﻛﻮﭼﻚ‪ ،‬ﺑﺎﺷــﻮ« ﻣﻮﺍﻓﻘﺖ ﻛﺮﺩ ﻭ ﺗﻮﺍﻧﺴﺖ‬ ‫ﻣﺠﻮﺯ ﺳــﺎﺧﺖ ﺭﺍ ﻫﻢ ﺑﮕﻴﺮﺩ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﺳﺎﻝ ‪ 63‬ﺩﺭ‬ ‫ﺷــﻤﺎﻝ ﻛﺸﻮﺭ ﺁﻏﺎﺯ ﺷﺪ ﻭ ﺗﺎﺑﺴﺘﺎﻥ ﺳﺎﻝ ﺑﻌﺪﺵ ﻛﺎﻣﻼ ﺁﻣﺎﺩﻩ ﻧﻤﺎﻳﺶ‬ ‫ﺑﻮﺩ ﺍﻣﺎ ﺗﻬﻴﻪ ﻛﻨﻨﺪﮔﺎﻧﺶ ﺑﺎ ﻣﺸــﺎﻫﺪﻩ ﻧﺘﻴﺠــﻪ ﻧﻬﺎﻳﻲ ﺭﻏﺒﺘﻲ ﺑﺮﺍﻱ‬ ‫ﻋﺮﺿﻪﺍﺵ ﻧﺸﺎﻥ ﻧﺪﺍﺩﻧﺪ‪ .‬ﻋﻠﺖ ﺭﻭﺷﻦ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻢ ﺳﺘﺎﻳﺸﮕﺮ ﺟﻨﮓ ﻧﺒﻮﺩ‬ ‫ﻭ ﻫﻤﻴﻦ ﻣﻬﻢﺗﺮﻳﻦ ﻣﺸﻜﻞ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﻓﻌﺎﻟﻴﺖ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺑﺮﺍﻱ ﻓﻴﻠﻢ‬ ‫ﺑﺮﭘﺎﻳﻲ ﺟﻠﺴﺎﺕ ﺧﺼﻮﺻﻲ ﻧﻤﺎﻳﺶ ﺑﺮﺍﻱ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﺻﺎﺣﺐﻧﻈﺮﺍﻥ‬ ‫ﻭ ﻣﺴﺌﻮﻻﻥ ﺑﻮﺩ‪ .‬ﺟﻠﺴﺎﺗﻲ ﻛﻪ ﺣﺎﺻﻠﺶ ﺗﺎﻳﻴﺪ ﻛﺎﻣﻞ ﻛﻴﻔﻲ ﻓﻴﻠﻢ ﺑﻮﺩ‬ ‫ﺍﻣﺎ ﻧﺘﻴﺠﻪﺍﻱ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻧﺪﺍﺷﺖ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺟﻠﺴﺎﺕ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﺘﺮﺟﻤﻲ ﺍﺩﻋﺎ ﻛﺮﺩ ﺧﻂ ﺭﻭﺍﻳﻲ ﻓﻴﻠﻢ ﺍﺯ ﻛﺘﺎﺏ ﻣﺎﺩﺭ ﻧﻮﺷﺘﻪ ﻟﻴﻮ ﺑﺎﻭﺭﻧﻜﻮﺍ‬ ‫ﺑﺮﺩﺍﺷﺘﻪ ﺷﺪﻩ ﺍﺳــﺖ‪ .‬ﻛﺘﺎﺑﻲ ﻛﻪ ﺗﻮﺳﻂ ﺧﻮﺩ ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻴﻀﺎﻳﻲ ﭘﺎﺳــﺨﻲ ﺑﻪ ﺍﻳﻦ ﺍﺩﻋﺎ ﻧﺪﺍﺩ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ‬ ‫ﺩﺭ ﺗﻤﺎﻡ ﺳﺎﻝﻫﺎﻱ ﺗﻮﻗﻴﻒ ﻓﻴﻠﻢ ﺍﻇﻬﺎﺭﻧﻈﺮ ﭼﻨﺪﺍﻧﻲ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻤﺶ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻧﻜﺮﺩ‪ .‬ﺑﺎﺷﻮ ﻭﺿﻌﻴﺘﻲ ﻣﺸﺎﺑﻪ »ﻣﺪﺭﺳﻪﺍﻱ ﻛﻪ ﻣﻲﺭﻓﺘﻴﻢ« ﺩﻳﮕﺮ ﺗﻮﻟﻴﺪ ﺑﺎﺷــﻮ‪ ،‬ﻏﺮﻳﺒﻪ ﻛﻮﭼﻚ ﺍﻣﺮﻭﺯ ﺣﻜﻢ ﺳــﻨﺪﻱ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﺍﻋﺘﻘﺎﺩﺍﺕ‬ ‫ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ؛ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺁﻥ ﺭﺍ ﺑﺮﺍﻱ ﺩﺭﻳﺎﻓﺖ ﺟﻤﻌﻲ ﺍﺯ ﺳــﺎﻛﻨﺎﻥ ﺳــﺮﺯﻣﻴﻦ ﺍﻳﺮﺍﻥ ﺩﺭﺑﺎﺭﻩ ﺟﻨــﮓ ﺩﺍﺭﺩ‪ .‬ﻓﻴﻠﻤﻲ‬ ‫ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﺍﺭﺍﺋﻪ ﻧﻤﻲﺩﺍﺩ‪.‬‬ ‫ﺧﻮﺵﺳﺎﺧﺖ ﻭ ﺩﻳﺪﻧﻲ ﺩﺭ ﺳــﺘﺎﻳﺶ ﻣﻔﻬﻮﻣﻲ ﺑﻪ ﻧﺎﻡ »ﻫﻤﺒﺴﺘﮕﻲ‬ ‫ﺳــﺎﻝ ‪ 65‬ﺑﻮﺩ ﻛﻪ ﺣﻤﻴﺪ ﺩﻫﻘﺎﻥﭘﻮﺭ ﻣﺴﺌﻮﻝ ﻭﻗﺖ ﺳﻴﻨﻤﺎﻳﻲ ﻛﺎﻧﻮﻥ ﻣﻠﻲ« ﻭ ﻟﺰﻭﻡ ﻛﻨﺎﺭ ﻳﻜﺪﻳﮕﺮ ﺑﻮﺩﻥ ﺩﺭ ﻭﻗﺖ ﻣﺼﺎﺋﺐ‪ .‬ﻓﻴﻠﻢ ﺭﺍ ﺍﺯ ﺯﺍﻭﻳﻪﺍﻱ‬ ‫ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ ﺩﺭ ﺍﻇﻬﺎﺭﻧﻈﺮﻱ ﻛﻮﺗﺎﻩ ﮔﻔﺖ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﻧﻬﺎﺩ ﻣﺘﺒﻮﻋﺶ ﺩﻳﮕﺮ ﻣﻲﺗﻮﺍﻥ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﻧﻮﻉ ﻧﮕﺎﻩ ﭼﻬﺮﻩ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺍﻱ ﭼﻮﻥ‬ ‫ﺑﺎﺷﻮ ﺑﺎ ﭼﻨﺪ ﺗﻐﻴﻴﺮ ﺍﺯ ﺳﻮﻱ ﺳﺎﺯﻧﺪﻩ ﻗﺎﺑﻞ ﻧﻤﺎﻳﺶ ﺍﺳﺖ‪ .‬ﻛﻤﺘﺮ ﻛﺴﻲ ﺑﻴﻀﺎﻳﻲ ﺑﻪ ﻣﻮﺿﻮﻉ ﻣﻬﻢ ﺩﻭﺭﺍﻧﺶ ﻳﻌﻨﻲ ﺟﻨﮓ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻳﻨﻜﻪ ﺍﻭ ﻧﻴﺰ‬ ‫ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺟﺪﻱ ﮔﺮﻓﺖ ﭼﺮﺍﻛﻪ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﻫﻢ ﻫﻤﻪ ﻣﻲﺩﺍﻧﺴﺘﻨﺪ ﺍﺯ ﻛﻨﺎﺭ ﻳﻜﺪﻳﮕﺮ ﺑﻮﺩﻥ ﻭ ﺁﻏﻮﺵ ﺑﺎﺯ ﻣﺎﺩﺭ ﻣﻴﻬﻦ ﺩﺭ ﺣﻔﺎﻇﺖ ﻭ ﺣﻤﺎﻳﺖ‬ ‫ﻛﻪ ﻓﻴﻠﻢ ﺗﺎ ﺯﻣﺎﻧﻲ ﻛﻪ ﺟﻨﮓ ﺩﺭﺟﺮﻳﺎﻥ‬ ‫ﺍﺯ ﻓﺮﺯﻧﺪﺍﻧﺶ ﺻﺤﺒــﺖ ﻣﻲﻛﻨﺪ‪ .‬ﻫﺮﭼﻨﺪ‬ ‫ﺩﺭ ﻛﻢﺧﻮﺍﺳﺘﺎﺭﺗﺮﻳﻦ ﻓﺼﻞ‬ ‫ﺍﺳــﺖ‪ ،‬ﺭﻧﮓ ﭘــﺮﺩﻩ ﺭﺍ ﻧﺨﻮﺍﻫﺪ ﺩﻳﺪ‪.‬‬ ‫ﻛﻪ ﺁﺷﻜﺎﺭﺍ ﺟﻨﮓ ﻭ ﻣﺴﺎﺋﻠﺶ ﺭﺍ ﻣﺮﺑﻮﻁ ﺑﻪ‬ ‫ﺑﻴﻀﺎﻳﻲ ﺑﺎ ﻣﺸــﺎﻫﺪﻩ ﺷﺮﺍﻳﻂ ﺩﺳﺖ‬ ‫ﺩﻳﮕﺮﺍﻥ ﻣﻲﺩﺍﻧﺪ ﻭﺣﺘﻲ ﺍﺑﺎﻳﻲ ﺍﺯ ﺁﻥ ﻧﺪﺍﺭﺩ‬ ‫ﻧﻤﺎﻳﺸﻲ ﺳﺎﻝ‪ ،‬ﺑﺎﺷﻮ‬ ‫ﺑﻪ ﻛﺎﺭ ﺗﻮﻟﻴﺪ ﺟﺪﻳﺪﻱ ﺑﻪ ﻧﺎﻡ »ﺷــﺎﻳﺪ‬ ‫ﻛــﻪ ﺩﺭ ﺭﻭﺍﻳﺘﺶ ﭼﻬــﺮﻩﺍﻱ ﻭﻳﺮﺍﻧﮕﺮ ﺍﺯ ﺁﻥ‬ ‫ﻭﻗﺘﻲ ﺩﻳﮕﺮ« ﺷﺪ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺯﻭﺩﺗﺮ ﺍﺯ‬ ‫ﻏﺮﻳﺒﻪ ﻛﻮﭼﻚ ﺍﺯ ﺻﺒﺢ ﺩﻭﺷﻨﺒﻪ ﺗﺮﺳﻴﻢ ﻛﻨﺪ‪.‬‬ ‫ﺳﺎﺧﺘﻪ ﻗﺒﻠﻲ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺗﻤﺎﺷﺎﻱ ﺑﺎﺷــﻮ ﺩﻭ ﺩﻫﻪ ﺑﻌﺪ ﺍﺯ ﺳﺎﺧﺘﺶ‬ ‫‪ 23‬ﺑﻬﻤﻦ ‪ 1368‬ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﺩﺭﺁﻣﺪ‪.‬‬ ‫ﻫﻤﭽﻨﺎﻥ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﺳــﺎﺧﺘﺎﺭ ﺍﺳﺘﻮﺍﺭ‬ ‫ﺗﻨﻬــﺎ ﺑﻌــﺪ ﺍﺯ ﭘﺎﻳﺎﻥ ﺟﻨــﮓ ﺑﻮﺩ ﻛﻪ‬ ‫ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ ﺳﺎﻝ ﺩﺭ ﺗﻬﺮﺍﻥ ﺑﻪ ﻭ ﭘﺮﺩﺍﺧــﺖ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﺗﻤــﺎﻡ ﻋﻮﺍﻣﻠﺶ‬ ‫ﮔﺸﺎﻳﺸــﻲ ﺩﺭ ﻭﺿﻌﻴﺖ ﻓﻴﻠﻢ ﺣﺎﺻﻞ‬ ‫ﺩﺍﺭﺩ‪ .‬ﻋﺪﻩﺍﻱ ﺁﻥ ﺭﺍ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻴﻀﺎﻳﻲ‬ ‫ﺷﺪ‪ .‬ﺳــﻪ ﺳــﺎﻝ ﺑﻌﺪ ﺍﺯ ﺁﻣﺎﺩﻩﺳﺎﺯﻱ‬ ‫ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﺩﺭﺁﻣﺪ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﻣﻲﺩﺍﻧﻨﺪ‪ .‬ﺑﺎﺷــﻮ ﻓﻴﻠــﻢ ﺍﻭﺝ ﺣﻀﻮﺭ ﻳﻚ‬ ‫ﻧﻬﺎﻳﻲ‪.‬‬ ‫ﺑﺎﺯﻳﮕﺮ ﺩﺭ ﻓﻴﻠﻢ ﺍﺳﺖ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﺑﺎﺯﻳﮕﺮﻱ‪،‬‬ ‫ﻭﺍﻛﻨﺶﻫﺎ ﺑﻪ ﻓﻴﻠﻢ ﻫﻤﮕﻲ ﺩﺭ‬ ‫ﺩﺭ ﺯﻣﻴﻨﻪﻫــﺎﻱ ﺩﻳﮕــﺮ ﭼــﻮﻥ ﻣﺘﺮﺟــﻢ‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺩﻳﺎﻟﻮگﻫﺎﻱ ﮔﻴﻠﻜﻲ ﻓﻴﻠﻢ ﺑﺎ ﺳــﺎﺯﻧﺪﮔﺎﻥ‬ ‫ﺗﺎﻳﻴﺪ ﻛﻴﻔﻲ ﺁﻥ ﺍﺳﺖ‬ ‫» ﺑﺎﺷﻮ‪ ،‬ﻏﺮﻳﺒﻪ ﻛﻮﭼﻚ« ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ‬ ‫ﻫﻤﻜﺎﺭﻱ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎﺷﻮ ﻓﻴﻠﻢ ﺳﻮﺳﻦ‬ ‫ﺑﻪ ﻃﻮﺭ ﺭﺳﻤﻲ ﭘﺎﻳﻴﺰ ﺩﺭ ﭼﻬﺎﺭﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺗﺴﻠﻴﻤﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻫﺮ ﻟﺤﻈﻪﺍﺵ ﺳﺎﻳﻪﺍﺵ ﺭﺍ ﺑﺮ ﻓﻴﻠﻢ ﻣﻲﺗﻮﺍﻥ ﺩﻳﺪ‬ ‫ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ ﻛﻪ ﺩﺭ ﺣﺎﺷﻴﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷﺪ‪ ،‬ﺑﻪ ﻭ ﺩﺭﻳﻎﻫﺎﻱ ﻧﺎﺷﻲ ﺍﺯ ﻗﻬﺮ ﻭ ﻛﻨﺎﺭﻩﮔﻴﺮﻱﺍﺵ ﺍﺯ ﺳﻴﻨﻤﺎ ﻭ ﻣﻬﺎﺟﺮﺗﺶ ﺍﺯ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‪ ،‬ﭼﻨﺪ ﻣﺎﻩ ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ ﺟﻨﮓ ‪ 8‬ﺳــﺎﻟﻪ‪ .‬ﺗﻘﺪﻳﺮ ﺁﻥ ﺑﻮﺩ ﺍﻳﺮﺍﻥ ﺍﺯ ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﻱ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻓﻴﻠﻢ ﺗﺎ ﺍﻣﺮﻭﺯ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪.‬‬ ‫ﻛﻪ ﻓﻴﻠﻤﻲﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺮﺍﻱ ﺗﻤﺎﺷﺎﮔﺮ ﺑﺰﺭﮔﺴﺎﻝ ﺑﻪ ﻇﺎﻫﺮ ﺍﺑﺘﺪﺍ ﺑﺮﺍﻱ ﭼﻨﺪ ﺳﻜﺎﻧﺲ ﻓﻴﻠﻢ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﺧﺎﻃﺮﻩ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﻣﺨﺎﻃﺐ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻳﺪ ﺑﺎ ﺍﻳﻦ ﺗﻮﺟﻴﻪ ﻛﻪ ﻓﻴﻠﻢ ﺑﺎﻗﻲ ﺍﺳﺖ؛ ﺻﺤﻨﻪ ﺭﻭﺑﻪﺭﻭﻳﻲ ﻧﺎﻳﻲ ﻭ ﺑﺎﺷﻮ ﻭ ﻧﺨﺴﺘﻴﻦ ﺗﻼﺵﻫﺎﻳﺸﺎﻥ‬ ‫ﺍﺳﺎﺳﺎ ﺑﺮﺍﻱ ﺍﻳﻦ ﮔﺮﻭﻩ ﺍﺳﺖ‪ .‬ﺳﻴﻞ ﺗﻤﺠﻴﺪﻫﺎ ﺍﺯ ﻫﻤﻴﻦ ﻧﻮﺑﺖ ﻧﻤﺎﻳﺶ ﺑــﺮﺍﻱ ﺑﺮﻗﺮﺍﺭﻱ ﺍﺭﺗﺒﺎﻁ ﺑــﺎ ﻳﻜﺪﻳﮕﺮ ﺩﺭ ﻗﺎﻟﺐ ﺑﻴﺎﻥ ﺍﺳــﺎﻣﻲﻧﺎﻡ ﭼﻨﺪ‬ ‫ﺑﻪﻃﻮﺭ ﺭﺳــﻤﻲ ﺁﻏﺎﺯ ﺷــﺪ ﻫﺮﭼﻨﺪ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﻧﻮﺑﺖ ﻧﻤﺎﻳﺶﻫﺎﻱ ﺧﻮﺭﺍﻛﻲ ﻳــﺎ ﺩﻳﺎﻟﻮگﻫﺎﻱ ﻛﻮﺑﻨﺪﻩ ﺑﺎﺷــﻮ ﺩﺭ ﻧﻤﺎﻳــﻲ ﺍﺯ ﻓﻴﻠﻢ ﻛﻪ ﺑﺎ‬ ‫ﺧﺼﻮﺻﻲ ﻫﻢ ﺯﻣﺰﻣﻪﻫﺎﻱ ﺳــﺎﺧﺖ ﻳﻚ ﻓﻴﻠﻢ ﺩﻳﺪﻧــﻲ ﺩﺭ ﻣﺤﺎﻓﻞ ﺻﺪﺍﻱ ﺑﻠﻨﺪ ﺍﺯ ﻛﺘﺎﺏ ﻓﺎﺭﺳﻲ ﺩﺑﺴﺘﺎﻥ ﻣﻲﺧﻮﺍﻧﺪ ﻭ ﺗﻤﺎﺷﺎﻳﺶ ﻫﻨﻮﺯ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﭘﻴﭽﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻫﻢ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺍﺳــﺖ‪» :‬ﺍﻳﺮﺍﻥ ﺳﺮﺯﻣﻴﻦ ﻣﺎﺳﺖ‪ .‬ﻣﺎ ﻫﻤﻪ ﺍﺯ ﻳﻚ ﺁﺏ ﻭ‬ ‫ﻧﻘﺪﻫﺎﻱ ﻛﻮﺗﺎﻩ ﺑﺎﻭﻋﺪﻩ ﺗﻮﺟﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﻓﻴﻠﻢ ﺩﺭ ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﺧﺎﻛﻴﻢ‪ .‬ﻣﺎ ﻓﺮﺯﻧﺪﺍﻥ ﺍﻳﺮﺍﻧﻴﻢ‪«.‬‬ ‫‪60‬‬ ‫ﺷﻮﺭ ﻧﻬﺎﻥ‬ ‫ﺷﻬﺮﺍﻡ ﺟﻌﻔﺮﻱ ﻧﮋﺍﺩ‬ ‫ﺑﺎﻭﺭ ﺑﻪ ﻧﮕﺎﻫﻲ ﺩﻳﮕﺮﺑﺎﺭ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻱ ﭘﺮﺍﺭﺝ ﭘﻴﺸــﻴﻦ ‪ -‬ﻧﮕﺎﻫﻲ‬ ‫ﻛﻪ ﺑﻪﻭﻳﮋﻩ ُﻣﻬﺮ ﮔﺬﺷــﺖ ﺳــﺎﻝﻫﺎ ﺭﺍ ﺑﺮ ﺧﻮﺩ ﺩﺍﺭﺩ ﺩﺭ ﺭﻭﻳﺎﺭﻭﻳﻲ ﺑﺎ‬ ‫ﻓﻴﻠﻤﻲ ﭼﻮﻥ »ﺑﺎﺷــﻮ ﻏﺮﻳﺒﻪ ﻛﻮﭼﻚ« ﻛﻪ ﺑﻴﻦ ﺳﺎﺧﺘﻪﻫﺎﻱ ﺑﻬﺮﺍﻡ‬ ‫ﺑﻴﻀﺎﻳﻲ ﺑﻴﺸﺘﺮﻳﻦ ﺧﻮﺷﺎﻣﺪ ﻫﻤﮕﺎﻥ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺷﺘﻪ ﻭ ﻛﻢﻭﺑﻴﺶ‬ ‫ﻫﻤﻪﭼﻴﺰ ﺩﺭﺑﺎﺭﻩﺍﺵ ﮔﻔﺘﻪ ﺷﺪﻩ‪ ،‬ﺩﺷﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﺑﺮ ﺁﻧﻢ ﺗﺎ‬ ‫ﻭﻳﮋﮔــﻲﺍﻱ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ‪ -‬ﻧﺨﺴــﺖ ﺩﺭ ﺩﻳﮕﺮ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻴﻀﺎﻳﻲ‬ ‫ ﭘﻴﮕﻴﺮﻱ ﻭ ﺳــﭙﺲ ﺑﺮﺭﺳﻲ ﻛﻨﻢ ﻛﻪ ﺑﻴﺸﺘﺮﻳﻦ ﭘﻴﻮﻧﺪ ﺭﺍ ﺑﺎ ﻫﻤﻴﻦ‬‫ﺧﻮﺷــﺎﻣﺪ ﻫﻤﮕﺎﻧﻲ ﻭ ﺳﺒﺐﻫﺎﻱ ﺭﻭﺷــﻦ ﺍﻳﻦ ﺭﻭﻳﻜﺮﺩ ﺩﺍﺭﺍﺳﺖ ﻭ‬ ‫ﭘﺲ ﺍﺯ ﺁﻥ ﺑﻪ ﺑﺮﺭﺳﻲ ﭼﮕﻮﻧﮕﻲ ﺩﺭﺁﻣﻴﺨﺘﻦ ﺍﻳﻦ ﻭﻳﮋﮔﻲ ﺑﺎ ﺳﺎﺧﺘﺎﺭ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﺍﻳﻦ ﻓﻴﻠﻢ ﺧﻮﺍﻫﻢ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺍﺯ ﺳــﻴﻨﻤﺎﻱ »ﺍﻧﺪﻳﺸــﮕﻮﻥ« ﺑﻬﺮﺍﻡ ﺑﻴﻀﺎﻳﻲ ﻧﺎﻡ‬ ‫ﻣﻲﺑﺮﻡ‪ ،‬ﻫﺪﻓﻢ ﺍﻓﺰﻭﻥ ﺑﺮ ﺍﺷــﺎﺭﻩ ﺑﻪ ﺩﺍﻧــﺶ ﻭ ﺗﻮﺍﻧﺎﻳﻲﻫﺎﻱ ﻫﻨﺮﻱ‬ ‫ﺍﻭ‪ ،‬ﺍﺷــﺎﺭﻩ ﺑﻪ ﻛﺎﺭﻛﺮﺩ ﺁﺷﻜﺎﺭ‪ ،‬ﺑﺴــﻨﺪﻩ ﻭ ﮔﺎﻩ ﻟﺒﺮﻳﺰ ﺳﻴﻨﻤﺎﻱ ﺍﻭ ﺩﺭ‬ ‫ﺳﺎﻣﺎﻥ ﺩﺍﺩﻥ ﺧﺮﺩﮔﻮﻥ ﻫﺮ ﻓﺮﺁﻳﻨﺪ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﭘﻴﻮﻧﺪﻫﺎﻱ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ‬ ‫ﺗﻤﺎﺷﺎﮔﺮ ﺑﺎ ﭘﺮﺩﻩ ﻧﻴﺰ ﻫﺴــﺖ‪ .‬ﺑﻪ ﺩﻳﮕﺮ ﺳﺨﻦ‪ ،‬ﭘﻴﺶﺍﻧﺪﻳﺸﻴﺪﮔﻲ‬ ‫ﺍﻓﺰﻭﻥ ﺑﻴﻀﺎﻳﻲ ﺩﺭ ﮔﺬﺍﺭ ﺳﺎﻝﻫﺎ ‪ -‬ﺑﺎ ﺍﻳﻦ ﺍﻧﺪﻳﺸﻪ ﻛﻪ ﻧﺎﺗﻮﺍﻧﺎﻳﻲﻫﺎﻱ‬ ‫ﺟﺎﺭﻱ ﺳــﻴﻨﻤﺎﻱ ﺍﻳــﺮﺍﻥ ﺑﻪ ﺭﻭﻳــﺪﺍﺩﻱ ﺑﻴﺮﻭﻥ ﺍﺯ ﺧﻮﺍﺳــﺖﻫﺎﻱ‬ ‫ﺍﻭ ﻧﻴﻨﺠﺎﻣــﺪ ‪ -‬ﺩﺭ ﺭﻭﻱ ﺩﻳﮕــﺮ‪ ،‬ﺍﻳﻦ ﭘﻴﺎﻣﺪ ﺭﺍ ﺩﺍﺷــﺘﻪ ﻛﻪ ﺑﺮﺧﻮﺭﺩ‬ ‫ﺧﻮﺩﺍﻧﮕﻴﺨﺘﻪ ﺑﺮﺧﻲ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺑﺎ ﺟﻬﺎﻥ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭ ﺑﻪ ﺭﻫﻴﺎﻓﺖ‬ ‫ﺣﺴﻲ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﻧﺮﺳﺪ ﻭ ﺑﮕﻮﻳﻨﺪ ﻛﻪ ﺑﺎ ﺩﻳﺪﻥ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭ ﺍﺯ ﺩﻳﺪﮔﺎﻩ‬ ‫ﺣﺴﻲ ﺧﺮﺳﻨﺪ ﻧﻤﻲﺷــﻮﻧﺪ‪ .‬ﻧﻴﺎﺯ ﺑﻪ ﮔﻔﺘﻦ ﻧﺪﺍﺭﺩ ﻛﻪ ﺗﻤﺎﻣﻲ ﺭﻭﺵ‬ ‫ﻛﺎﺭ ﺍﻭ‪ ،‬ﺍﺯ ﻓﻴﻠﻤﻨﺎﻣﻪﻫﺎﻱ ﺍﺳــﺘﻮﺍﺭﺵ ﺗﺎ ﭼﺎﺭﭼﻮﺏ ﻛﮋﻱﻧﺎﭘﺬﻳﺮﺵ‬ ‫ﻫﻨﮕﺎﻡ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻭ ﭘﻴﻮﻧﺪ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺷﻜﻞﻳﺎﻓﺘﻪﺍﺵ‪ ،‬ﻧﺎﺧﻮﺩﺁﮔﺎﻩ‬ ‫ﻫﻤﻴﻦ ﻭﻳﮋﮔــﻲ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲﻛﻨﻨــﺪ ﻭ ﺑﺎﺯ ﻧﻴﺎﺯ ﺑﻪ ﮔﻔﺘــﻦ ﻧﺪﺍﺭﺩ ﻛﻪ‬ ‫ﭘﻴﭽﻴﺪﻩ ﺍﺭﺯﻳﺎﺑﻲ ﺷــﺪﻥ ﻓﻴﻠﻢﻫﺎﻳﺶ ﺍﺯ ﺳــﻮﻱ ﺑﺮﺧﻲ ‪ -‬ﺳــﻮﺍﻱ‬ ‫ﻭﺍﺑﺴــﺘﮕﻲ ﺗﻤﺎﺷــﺎﮔﺮ ﺑﻪ ﺍﻟﮕﻮﻫﺎﻱ ﺭﺍﻳﺞ ﻛﻪ ﺍﻭ ﻫﻴﭻﮔﺎﻩ ﺑﻪ ﺁﻥ ﺗﻦ‬ ‫ﻧﺪﺍﺩﻩ ‪ -‬ﺑﺨﺸﻲ ﻧﻴﺰ ﺑﻪ ﻫﻤﻴﻦ ﺭﺍﻩ ﻧﻪﭼﻨﺪﺍﻥ ﻫﻤﻮﺍﺭ ﺟﻮﺷﺶ ﺍﺣﺴﺎﺱ‬ ‫ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺍﻭ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ ﻭ ﺍﻟﺒﺘﻪ ﮔﺎﻩ ﺑﻪ ﻧﺎﺩﺭﺳــﺖ ﻣﻮﺟﺐ ﺯﻳﺮ‬ ‫ﭘﻮﺷﺶ ﺑﺮﺩﻥ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭ ﺑﻪ ﺳــﺒﺐ ﺍﻳﻦ ﻭﻳﮋﮔﻲ ‪ -‬ﻛﻪ ﺑﻪ ﺧﻮﺩﻱ‬ ‫ﺧﻮﺩ ﻫﻴﭻ ﺍﺭﺯﺵ ﻛﺎﻫﻨﺪﻩ ﻳﺎ ﻓﺰﺍﻳﻨﺪﻩﺍﻱ ﻧﺪﺍﺭﺩ ‪ -‬ﻧﻴﺰ ﺷــﺪﻩ ﺍﺳــﺖ‪.‬‬ ‫ﺑﻴﻀﺎﻳﻲ ﺑﻪﺳــﺎﺩﮔﻲ ﺩﺭ ﭘﻲ »ﻣﻔﻬﻮﻡ« ﺍﺳــﺖ ﻭ ﻫــﺮ ﻓﺮﺁﻳﻨﺪﻱ ﺩﺭ‬ ‫ﻗﺎﻟﺐ ﺳﻴﻨﻤﺎ ﺍﺑﺘﺪﺍ ﺑﺎﻳﺪ ﺑﺮﺍﻳﺶ ﻣﻔﻬﻮﻡ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺍﺯ ﺁﻥ‬ ‫ﺧﺮﺳــﻨﺪ ﺷﻮﺩ ﻭ ﺍﻳﻦ ﺧﺮﺳﻨﺪﻱ ﻭ ﺳــﺒﻜﺒﺎﻟﻲ ﺭﺍ ﺑﺮ ﭘﺮﺩﻩ ﺑﻨﻤﺎﻳﺎﻧﺪ‪.‬‬ ‫ﺩﺍﻭﺭﻱ ﻛﻨﻴﻢ ﺑﺎ ﺳﻴﻨﻤﺎﻱ ﺩﻳﮕﺮﻱ ﻛﻪ ﺁﻥﻫﻢ ﺑﺮﺍﻱ ﺧﻮﺩ‪ ،‬ﺁﻓﺮﻳﻨﻨﺪﻩ‬ ‫ﺷــﻜﻠﻲ ﺍﺯ ﺧﺮﺳﻨﺪﻱ‪ ،‬ﺑﻪ ﺑﺎﺭ ﻧﺸﺴﺘﻦ ﺍﺣﺴــﺎﺱ ﻭ ﺳﺎﻣﺎﻥ ﺯﻳﺒﺎﻳﻲ‬ ‫ﺷــﻨﺎﺧﺘﻲ ﺍﺯ ﺟﻬﺎﻥ ﺍﺳﺖ ﻭ ﺍﻣﺎ ﺍﻳﻦ ﺳــﺎﻣﺎﻥ ﺭﺍ ﺑﺎ ﺧﻮﺩﺍﻧﮕﻴﺨﺘﮕﻲ‬ ‫ﻛﺎﻣﻞ ﻭ ﮔﺎﻩ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻧﻬﺎﺩﻥ ﺑﺨﺶﺍﻓﺰﻭﻧﻲ ﺍﺯ ﺯﻣﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺑﻪ ﻓﻜﺮﻫﺎﻱ ﺑﺪﺍﻫﻪ ﻭ ﺷــﻮﺭ ﻧﻬﺎﻥ ﻫﺮ ﭘﺎﺭﻩ ﺯﻣﺎﻥ ﺑﻪ ﺩﺳــﺖ ﻣﻲﺁﻭﺭﺩ‬ ‫)ﺑﺎ ﻛﺎﺭ ﺑﻲﺳﺮﻭﺳــﺎﻣﺎﻥ ﻭ ﺍﺯ ﭘﺎﻳﻪ ﺑﺪﻭﻥ ﺍﻧﺪﻳﺸﻪ ﺑﺮﺧﻲ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ‬ ‫ﺍﺷﺘﺒﺎﻩ ﻧﺸﻮﺩ(‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻫﺎﻛﺲ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﻓﻠﻴﻨﻲ ﺩﺭ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﺭﻭﭘﺎ ﻭ‪ ...‬ﺑﺴﻴﺎﺭﻱ ﺩﻳﮕﺮ‪.‬‬ ‫ﺑﺎﺯﮔﺮﺩﻳﻢ ﺑﻪ ﺑﻴﻀﺎﻳﻲ ﻭ ﺷــﻮﺭ ﻧﻬﺎﻧﻲ ﻛﻪ ﺩﺭ ﻧﺨﺴﺘﻴﻦ ﺳﺎﺧﺘﻪ‬ ‫ﺑﻠﻨﺪﺵ »ﺭﮔﺒﺎﺭ« ﺩﺍﺭﺩ )ﻭ ﻛﻴﺴــﺖ ﻛﻪ ﻧﺪﺍﻧﺪ ﺑﻴﺸﺘﺮﻳﻦ ﺧﻮﺷﺎﻣﺪ‬ ‫ﻫﻤــﮕﺎﻥ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺁﻧﺎﻥ ﻛﻪ ﺁﺷــﻜﺎﺭﺍ ﺑــﻪ ﺩﻳﺪﮔﺎﻩﻫﺎ ﻭ‬ ‫ﻭﻳﮋﮔﻲﻫﺎﻱ ﻛﺎﺭﻫﺎﻱ ﺑﻴﻀﺎﻳﻲ ﺑﻲﻣﻴﻞﺍﻧﺪ‪ ،‬ﺩﺭ ﺍﺳﺎﺱ‪ ،‬ﺧﻮﺷﺎﻣﺪ ﺁﻧﺎﻥ‬ ‫ﺍﺯﺷﻮﺭﻭ ﻫﻴﺠﺎﻥ ﺭﺍﺳﺘﻴﻦ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﻧﺨﺴﺘﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪﺵ ﺍﺳﺖ(‪ .‬ﺍﻣﺎ‬ ‫ﺍﻳﻦ ﺷﻮﺭ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﻣﻦ ﺩﺭ ﻣﻴﺎﻧﻪ ﺳﺎﺧﺘﺎﺭ ﻧﻪﭼﻨﺪﺍﻥ ﺑﺴﺎﻣﺎﻥ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺩﺭ ﺩﺍﻭﺭﻱ ﺑﺎ ﺩﻳﮕﺮ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻴﻀﺎﻳﻲ ﻭ ﺑﻪﻭﻳﮋﻩ ﺑﺎ ﺑﺎﺯﮔﺸﺖ ﭘﺮﺷﺘﺎﺏ‬ ‫ﺍﻭ ﺍﺯ ﺍﺩﺍﻣﻪ ﭼﻨﻴﻦ ﺷﻮﺭ ﭘﺎﻧﮕﺮﻓﺘﻪ ﺩﺭ ﺳﺎﺧﺖﻭﺳﺎﺯ ﺳﻴﻨﻤﺎﻳﻲ ﺍﺭﺯﺵ‬ ‫ﻓﻴﻠﻢﻫﺎﻳﻲ ﺭﺍ ﻛﻪ ﺩﺭ ﺁﻳﻨﺪﻩ ﺑﺎ ﺁﻣﻴﺰﻩ ﺍﻳﻦ ﺩﻭ ﻧﮕﺮﺵ ﻣﻲﺳﺎﺯﺩ‪ ،‬ﻧﺪﺍﺭﺩ‪.‬‬ ‫»ﻏﺮﻳﺒﻪ ﻭ ﻣﻪ« ﺁﻏﺎﺯﮔﺮ ﺳﻴﻨﻤﺎﻱ ﻣﻴﻨﻴﺎﺗﻮﺭﻱ ﻭ ﭼﻴﺪﻩﺷﺪﻩ ﺍﻭﺳﺖ‬ ‫ﻭ »ﻛﻼﻍ«‪ ،‬ﺩﺭ ﭼﺎﺭﭼﻮﺑﻲ ﻛﻮﭼﻚﺗﺮ‪ ،‬ﺍﺩﺍﻣﻪ ﺁﻥ‪ ...‬ﻭ ﺁﻥ ﺷــﻮﺭ ﻧﻬﺎﻥ‬ ‫ﺩﻳﮕﺮ ﻣﺠــﺎﻝ ﺑﺮﻭﺯ ﭼﻨﺪﺍﻧﻲ ﻧﺪﺍﺭﺩ‪ :‬ﻫﻢ ﺑﻪ ﺍﻳﻦ ﺳــﺒﺐ ﻛﻪ ﺑﻴﻀﺎﻳﻲ‬ ‫ﺩﺭ ﺁﻏﺎﺯ ﭘﺮﺩﺍﺯﺵ ﺳﺎﺧﺘﺎﺭ ﺳﻴﻨﻤﺎﻳﻲ ﻓﻴﻠﻢﻫﺎﻳﺶ ﺍﺳﺖ )ﻭ ﺍﻳﻦ ﻛﺎﺭ‬ ‫ﺧﻮﺩ ﺑﻪ ﺧﻮﺩ ﺗﻤﺎﻣــﻲ ﻧﻴﺮﻭﻱ ﺍﻭ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴــﺎﺭ ﻣﻲﮔﻴﺮﺩ( ﻭ ﻫﻢ ﺑﻪ‬ ‫ﺍﻳﻦ ﺩﻟﻴﻞ ﻛﻪ ﻣﺎﻳﻪ ﺍﺯ ﺣــﺎﻻ ﭘﺎﮔﺮﻓﺘﻪ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭ )ﭘﺮﺩﺍﺯﺵ ﺯﻥ( ﻭ‬ ‫ﺑﺎﺯﻳﮕﺮ ﻧﻘﺶ ﺁﻥ ﺩﺭ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﺍﺯ ﺍﺳــﺎﺱ ﺷﻮﺭ ﻭ ﺧﻮﺩﺍﻧﮕﻴﺨﺘﮕﻲ‬ ‫ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺑــﺎ »ﭼﺮﻳﻜﻪ ﺗﺎﺭﺍ« ﺑﺨﺶ ﻭﻳﮋﻩﺍﻱ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﺍﻭ‬ ‫ﮔﺸﻮﺩﻩ ﻣﻲﺷــﻮﺩ‪ :‬ﺑﺎﺯﻱ ﺧﺠﺴــﺘﻪ ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺗﺎﺭﻳﺦ‬ ‫ﻧﻤﺎﻳﺶ ﻭ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ‪ -‬ﺳﻮﺳــﻦ ﺗﺴــﻠﻴﻤﻲ ‪ -‬ﻭ ﺁﻣﻴﺰﻩ ﺷــﻮﺭ ﻭ‬ ‫ﺍﺣﺴﺎﺱ ﮔﻮﻫﺮﻱ ‪ -‬ﺁﮔﺎﻫﺎﻧﻪﺍﻱ ﻛﻪ ﺍﻭ ﺩﺭ ﻫﺮ ﭘﺎﺭﻩﺍﻱ ﺍﺯ ﺯﻣﺎﻥ ﺩﺭ ﺑﺎﺯﺗﺎﺏ‬ ‫ﺁﻥ ﺗﻮﺍﻧﺎﺳﺖ‪ ،‬ﺑﺎﺭﻭﺭﻱ ﺣﺴﻲ ﻓﻴﻠﻢ ‪ -‬ﺍﻳﻦ ﻛﻤﺒﻮﺩ ﻓﻴﻠﻢﻫﺎﻱ ﭘﻴﺸﻴﻦ ‪ -‬ﺭﺍ‬ ‫ﺍﺯ ﺁﻥ ﺧﻮﺩ ﻣﻲﻛﻨــﺪ‪ ...‬ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﺩﺭ »ﻣﺮگ ﻳﺰﺩﮔﺮﺩ«‪» ،‬ﺑﺎﺷــﻮ« ﻭ‬ ‫»ﺷﺎﻳﺪ ﻭﻗﺘﻲ ﺩﻳﮕﺮ« ﺍﺩﺍﻣﻪ ﻣﻲﻳﺎﺑﺪ‪ .‬ﭘﮋﻭﻫﺶ ﻭ ﺁﺯﻣﺎﻳﺶ ﻛﺎﺭﻛﺮﺩﻫﺎﻱ‬ ‫ﮔﻮﻧﺎﮔﻮﻥ ﺳــﺎﺧﺘﺎﺭﻱ ﻧﻴﺰ ﺑﺮﺍﻱ ﻓﻴﻠﻤﺴﺎﺯ ﺑﻪ ﺳﺎﻣﺎﻧﻲ ﺩﺭﺧﻮﺭ ﻣﻲﺭﺳﺪ‬ ‫ﻭ ﻫﻤﮕﻮﻧﻲﺍﻱ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﻫﺴــﺘﻲﺑﺨﺶ ﻫﺮ ﻓﻴﻠﻢ ﭘﺪﻳﺪ ﻣﻲﺁﻳﺪ ﻛﻪ‬ ‫ﭼﮕﻮﻧﮕﻲ ﺍﻓﺰﻭﻧﻲ ﻳﺎ ﻛﺎﻫﺶ ﺗﻮﺍﻧﺎﻳﻲﻫﺎﻱ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺧﺘﻲ ﭘﺲ ﺍﺯ ﺁﻥ‪،‬‬ ‫ﺗﻨﻬﺎ ﺑﺎ ﺩﺍﻭﺭﻱ ﻓﻴﻠﻢﻫــﺎﻱ ﭘﺲ ﺍﺯ ﺁﻥ ﺩﺭ ﻛﻨﺎﺭ ﺍﻳﻦ ﭼﻬﺎﺭﮔﺎﻧﻪ ﺩﺭ ﺍﻭﺝ ﺑﻪ‬ ‫ﺩﺳﺖ ﻣﻲﺁﻳﺪ ﻛﻪ ﺧﻮﺩ ﺑﺮﺭﺳﻲ ﺩﻳﮕﺮﻱ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣــﺎ ﺩﺭ ﭼﻬﺎﺭ ﻓﻴﻠﻢ ﮔﻔﺘﻪﺷــﺪﻩ ﻧﻴﺰ‪» ،‬ﭼﺮﻳﻜﻪ ﺗــﺎﺭﺍ« ﺑﺎ ﻧﻤﻮﺩﻫﺎﻱ‬ ‫ﺍﻓﺴﺎﻧﻪﺍﻱ ‪ -‬ﺍﺳﺎﻃﻴﺮﻱﺍﺵ‪» ،‬ﻣﺮگ ﻳﺰﺩﮔﺮﺩ« ﺑﺎ ﭼﺎﺭﭼﻮﺏ ﻧﻤﺎﻳﺸﻲ ﻭ‬ ‫ﺍﻟﻬﺎﻡ ﺗﺎﺭﻳﺨﻲﺍﺵ ﻭ »ﺷــﺎﻳﺪ ﻭﻗﺘﻲ ﺩﻳﮕﺮ« ﺑﺎ ﭘﺲﺯﻣﻴﻨﻪ ﻛﺎﺑﻮﺱﮔﻮﻧﻪ‬ ‫ﺷــﻬﺮﻱﺍﺵ‪ ،‬ﺧﻮﺩ ﺑﻪ ﺧﻮﺩ ﻣﺠﺎﻝ ﻛﻤﺘﺮﻱ ﺑﺮﺍﻱ ﺍﺑﺮﺍﺯ ﺭﻭﺷــﻦ ﻣﻬﺮ ﻭ‬ ‫ﺍﺣﺴﺎﺱ ﺩﺳﺖﻛﻢ ﺑﻪ ﺷﻜﻞ ﺑﻲﭘﻴﺮﺍﻳﻪ »ﺑﺎﺷﻮ« ‪ -‬ﺩﺍﺭﻧﺪ‪ .‬ﺑﻪ ﻳﺎﺩ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷــﻴﻢ ﻛﻪ ﺩﺭ »ﭼﺮﻳﻜﻪ ﺗﺎﺭﺍ« ﺍﮔﺮﭼﻪ ﻣﺎﻳﻪ ﺍﺳﺎﺳــﻲ ﻣﻬﺮ ﺍﺳــﺖ‪ ،‬ﺍﻳﻦ‬ ‫ﻣﻬﺮ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﻻﻳﻪﺍﻱ ﺩﺳــﺖﻧﻴﺎﻓﺘﻨﻲ ﻭ ﺁﺳﻤﺎﻧﻲ ﻣﻲﻣﺎﻧﺪ )ﻭ ﺑﻪﻭﻳﮋﻩ‬ ‫ﺍﻳﻦﻛﻪ ﺩﺭ ﭘﺎﻳﺎﻥ‪ ،‬ﺍﻳﻦ ﻣﻬﺮ ﻓﺮﺍﺯﻣﻴﻨﻲ ﻣﺎﻳﻪ ﻧﺠﺎﺕ ﺑﻴﮕﺎﻧﻪ ﻧﻴﺴﺖ ﻭ ﻣﻬﺮ‬ ‫ﺯﻣﻴﻨﻲﺗﺮﻱ ﺍﺯ ﺩﻝ ﺗﺎﺭﺍ ﺟﻮﺍﻧﻪ ﻣﻲﺯﻧﺪ ﻛﻪ ﻓﻴﻠﻢ ﺩﻳﮕﺮ ﺑﻪ ﺁﻥ ﻧﻤﻲﭘﺮﺩﺍﺯﺩ(‪.‬‬ ‫ﺩﺭ »ﻣﺮگ ﻳﺰﺩﮔﺮﺩ« ﻧﻴﺰ ﻫﺮ ﻧﺸﺎﻧﻲ ﺍﺯ ﻣﻬﺮ‪ ،‬ﺩﺭ ﻫﺎﻟﻪﺍﻱ ﺍﺯ ﺍﺑﻬﺎﻡ ﺑﺮﺧﺎﺳﺘﻪ‬ ‫ﺍﺯ ﺩﺍﻭﺭﻱ ﻧﻬﻔﺘﻪ ﺩﺭ ﺍﺳﺎﺱ ﺩﺍﺳﺘﺎﻥ ﺍﺳــﺖ ﻭ ﺩﺭ »ﺷﺎﻳﺪ ﻭﻗﺘﻲ ﺩﻳﮕﺮ«‬ ‫ﻧﻴﺰ ﺭﻭﺍﻥﭘﺮﻳﺸــﻲﻫﺎﻱ ﺯﻧﺪﮔﻲ ﺑﻪ ﺯﻭﺭ ﺷﻬﺮﻱ ﺑﻴﺶ ﺍﺯ ﺁﻧﻨﺪ ﻛﻪ ﻣﻬﺮﻱ‬ ‫ﺷــﻜﻞ ﺑﮕﻴﺮﺩ ﻭ ﺷﻮﺭ ﻧﻬﺎﻧﻲ ﺩﺭ ﻛﺎﺭ ﺑﺎﺷــﺪ ﻛﻪ ﺑﺨﻮﺍﻫﺪ ﺑﺮ ﭘﺮﺩﻩ ﺑﺎﺯﺗﺎﺏ‬ ‫ﻳﺎﺑﺪ‪ .‬ﺍﻣﺎ »ﺑﺎﺷــﻮ ﻏﺮﻳﺒﻪ ﻛﻮﭼــﻚ« ﺍﺯ ﺍﻳﻦ ﺩﻳــﺪ‪ ،‬ﺩﺭ ﺟﺎﻳﮕﺎﻫﻲ ﺩﻳﮕﺮ‬ ‫ﻣﻲﻧﺸﻴﻨﺪ‪.‬ﻳﻚ( ﻓﻴﻠﻢ ﺍﺯ ﺍﺳــﺎﺱ ﺩﺭﺑﺎﺭﻩ ﻣﻬﺮ ﻭ ﺁﺷﺘﻲ ﺍﺳﺖ‪ .‬ﺩﻭ( ﺍﻳﻦ‬ ‫ﻣﻬﺮ‪ ،‬ﺩﺭ ﺩﺭﺟﻪ ﻧﺨﺴﺖ ﭘﻴﻮﻧﺪﻱ ﻧﻬﺎﺩﻳﻦ ﺑﺎ ﺁﻳﻴﻦﻣﻬﺮ ﻭ ﺑﺎﺭﻭﺭﻱ ﺯﻣﻴﻦ‬ ‫ﺩﺭ ﺩﻭﺭﺍﻥ ﺑﺎﺳــﺘﺎﻥ ﺩﺍﺭﺩ‪ .‬ﺳــﻪ( ﺍﻳﻦ ﻣﻬﺮ ﺍﺯ ﻣﻔﻬﻮﻡ ﺟﺎﺭﻱ ﺧﻮﺩ ﻓﺮﺍﺗﺮ‬ ‫ﻣﻲﺭﻭﺩ ﻭ ﺑﻨﻴﺎﻥ ﻫﺴﺘﻲ ﺁﺩﻣﻲ ﺭﺍ ﺍﺯ ﻣﻬﺮﻱ ﻣﻲﺩﺍﻧﺪ ﻛﻪ ﺍﺯ ﻧﺨﺴﺘﻴﻦ ﺭﻭﺯ‬ ‫ﭼﺸــﻢ ﮔﺸﻮﺩﻥ ﺩﺭ ﺍﻳﻦ ﺟﻬﺎﻥ ﺩﺭ ﺍﻭ ﺳﺮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ :‬ﻣﻬﺮ ﻣﺎﺩﺭﻱ‪.‬‬ ‫ﭼﻬﺎﺭ( ﻓﻴﻠﻢ ﺍﺯ ﺁﻳﻴﻦ ﻣﻬﺮ ﻧﻴﺰ ﺩﺭﻣﻲﮔﺬﺭﺩ ﻭ ﺩﺭ ﻻﻳﻪﺍﻱ ﺩﻳﮕﺮ‪ ،‬ﺑﺎﺯ ﻣﺎﻳﻪ‬ ‫ﺑﻴﮕﺎﻧﻪ ﻭ ﻧﻴﺎﺯ ﺍﻭ ﺑﻪ ﺩﻳﺪﻩ ﺷــﺪﻥ ﻭ ﭘﺬﻳﺮﻓﺘﻪ ﺷــﺪﻥ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﭘﻨﺞ( ﻭ ﺁﺷﻜﺎﺭ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻥ ﻣﺎﻳﻪ ﻫﻤﻴﺸﮕﻲ‪ ،‬ﺑﻴﻀﺎﻳﻲ‬ ‫ﻫﻤﭽﻨﺎﻥ ﭘﺮﻧﺪﻩ ﺧﻴﺎﻝ ﺭﺍ ﭘﺮﻭﺍﺯ ﻣﻲﺩﻫﺪ ﻭ ﺍﺳﺎﺳــﻲﺗﺮﻳﻦ ﺑﻨﻴﺎﻥﻫﺎﻱ‬ ‫ﺯﻳﺒﺎﻳﻲﺷــﻨﺎﺧﺘﻲ ﻓﻴﻠﻤﺶ ﺭﺍ ﻧﻪ ﺑﺮ ﻫﻤﺎﻧﻨﺪﺳــﺎﺯﻱ ﺑﻪ ﺭﻭﺵ ﺟﺎﺭﻱ ﻭ‬ ‫ﻣﻮﺭﺩ ﭘﺴــﻨﺪ ﻫﻤﮕﺎﻥ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻛﻪ ﺑﺮ ﭘﺮﺩﺍﺯﺵ ﺍﻧﺪﻳﺸــﻪ‬ ‫ﻭ ﺷﻜﺴــﺖ ﭘﺮﻣﻔﻬﻮﻡ ﺯﻣﺎﻥ ﻭ ﻣــﻜﺎﻥ ‪ -‬ﺁﻧﭽﻪ ﺗﻮﺍﻧﺎﻳﻲ ﺳﻴﻨﻤﺎﺳــﺖ ﻭ‬ ‫ﺑﺲ ‪ -‬ﺑﻨﺎ ﻣﻲﻧﻬﺪ )ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭﻳﻢ ﺩﺍﻭﺭﻱ ﺁﻥﺩﺳــﺘﻪ ﺍﺯ ﻧﻮﻳﺴــﻨﺪﮔﺎﻥ‬ ‫ﺳــﻴﻨﻤﺎﻳﻲ ﺭﺍ ﻛﻪ ﻫﻨــﮕﺎﻡ ﻧﻤﺎﻳﺶ »ﺑﺎﺷــﻮ«‪ ،‬ﻧﻤﺎﻫــﺎﻱ ﺧﻴﺎﻝﮔﻮﻥ‬ ‫ﺁﻥ ﺭﺍ ﺍﻓــﺰﻭﻥ ﺑﺮ ﻛﺎﺭﻛــﺮﺩ ﺍﺭﺯﻳﺎﺑﻲ ﻛﺮﺩﻧﺪ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻦﻛــﻪ ﺑﺪﺍﻧﻨﺪ ﺍﻳﻦ‬ ‫ﻧﺎﺩﻳﺪﻩﺍﻧﮕﺎﺭﻱ‪ ،‬ﻫﻤﭽﻮﻥ ﻧﺎﺩﻳﺪﻥ ﻧﻴﻤﻲ ﺍﺯ ﺑﻴﻀﺎﻳﻲ‪ ،‬ﻧﻴﻤﻲ ﺍﺯ ﺑﺪﻧﻪ ﻓﻴﻠﻢ‬ ‫ﻭ ﺗﻤﺎﻣﻲ ﺭﻫﻴﺎﻓﺖ ﺳﻴﻨﻤﺎﻳﻲ ﻭ ﺳﺎﺧﺘﺎﺭﻱ ﺁﻥ ﺍﺳﺖ(‪ ...‬ﺷﺶ( ﺩﺭ ﺁﻧﺴﻮ‪،‬‬ ‫ﺳﻮﺳﻦ ﺗﺴــﻠﻴﻤﻲ ﺍﻳﺴﺘﺎﺩﻩ ﻛﻪ ﺍﻳﻦﺑﺎﺭ ﺑﺎﻳﺪ ﻫﻢ ﺧﻮﺩ ﺑﻴﮕﺎﻧﻪﺍﻱ ﺑﺎﺷﺪ ﻭ‬ ‫ﻫﻢ ﺑﻴﮕﺎﻧﻪﺍﻱ ﺩﻳﮕﺮ ﺭﺍ ﭘﻨﺎﻩ ﺩﻫﺪ‪ ،‬ﻫﻢ ﺯﻥ ﻛﺎﺭﺁﻣﺪ ﻭ ﺧﻮﺩﻛﻔﺎﻱ ﺯﻳﺴﺘﻦ‬ ‫ﺑﺎﺷﺪ ﻭ ﻫﻢ ﺩﺍﻣﺎﻥ ﭘﺮﻣﻬﺮ ﻣﺎﺩﺭ ﻭ ﻫﻢ ﻣﺎﺩﺭ ﺯﻣﻴﻦ ﻭ ﻫﻢ ﺍﻟﻬﻪ ﻣﻬﺮ‪ ،‬ﻧﺎﻫﻴﺪ‪،‬‬ ‫ﻧﺎﻳﻲ‪ ...‬ﻭ ﺍﻳﻦﻫﻤﻪ ﺩﺭ ﻳﻚ ﻫﻤﺎﻧﻨﺪﻱ ﺑﺎ ﺯﻣﻴﻦ ﻭ ﺁﺳــﻤﺎﻧﻲ ﻛﻪ ﺗﻨﻬﺎ ﺍﻭ ﺍﺯ‬ ‫ﭘﺲ ﺟﺎ ﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻴﺎﻧﻪ ﺁﻥ ﺑﺮﻣﻲﺁﻣﺪ ﻭ ﻓﺮﻫﻨﮓ ﻭ ﮔﻮﻳﺸــﻲ ﻛﻪ ﺗﻨﻬﺎ‬ ‫ﺍﻭ ﺗﻮﺍﻧﺎﻳﻲ ﺑﺎﺯﺗﺎﺏ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﺁﻥ ﺭﺍ ﺩﺍﺷﺖ ﻭ ﺑﺲ‪ .‬ﭘﺲ ﻓﻴﻠﻢ ﺩﺭ ﻛﺎﻟﺒﺪ‬ ‫ﺧﻮﺩ‪ ،‬ﺳﺎﺯﻣﺎﻧﻲ ﺭﺍ ﺩﺍﺭﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﺳﺎﺱ ﻣﻲﺗﻮﺍﻥ ﻭ ﺑﺎﻳﺪ ﺑﺨﺸﻲ ﺍﺯ ﺁﻥ ﺭﺍ‬ ‫ﺑــﺮ ﺩﻭﺵ ﺍﻧﺮژﻱ ﺧﻮﺩﺍﻧﮕﻴﺨﺘﻪ ﺍﻳــﻦ ﺑﺎﺯﻳﮕﺮ ﭘﺮﺗﻮﺍﻥ ﻧﻬــﺎﺩ ﻭ ﺑﻬﺘﺮﻳﻦ‬ ‫ﻫﻤﺴــﺎﺯﻱ ﺗﻤﺎﻣﻲ ﺍﻧﺪﻳﺸــﻤﻨﺪﻱﻫﺎﻱ ﻓﻴﻠﻢﻫﺎﻱ ﭘﻴﺸﻴﻦ ﺭﺍ ﺑﺎ ﺑﺴﻴﺎﺭ‬ ‫ﭘﺎﺭﻩﻫﺎﻱ ﺁﻓﺮﻳﻨﺶ ﺑﺪﺍﻫﻪ ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ ﭘﺮﺗﻮﺍﻥ ﺑﻪ ﺗﻤﺎﺷﺎ ﻧﺸﺴﺖ )ﻭ ﺁﺷﻜﺎﺭ‬ ‫ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‪ ،‬ﺟﺎﻳﮕﺎﻩ ﺍﻭ ﺩﺭ ﻧﻮﺷﺘﻪ ﺷﺪﻥ ﺷﻤﺎﻱ ﻧﺨﺴﺘﻴﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﺮﮔﺮﺩﺍﻥ‪ ،‬ﻳﺎ ﭘﻴﺸﻨﻬﺎﺩ ﮔﻔﺖﻭﮔﻮﻫﺎﻱ ﮔﻴﻠﻜﻲ ﻓﻴﻠﻢ‬ ‫ﺭﺍ ﻧﻴﺰ ﺍﺯ ﻳﺎﺩ ﻧﻤﻲﺑﺮﻳﻢ(‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺳﺎﺧﺖﻭﺳﺎﺯﻱ ﻛﻪ ﺩﺭ »ﺑﺎﺷﻮ« ﺭﻭﻱ‬ ‫ﻣﻲﺩﻫﺪ ﻭ ﻧﺎﮔﻬﺎﻥ ﻓﺮﻫﻨﮓ ﺳﻴﻨﻤﺎﻳﻲﻧﻮﻳﺴﻲ ﺩﺭ ﺍﻳﻦ ﺩﻳﺎﺭ ﺭﺍ ﺍﺯ ﺑﺎﺭﻭﺭﻱ‬ ‫ﻭ ﻣﻬﺮ ﻧﻬﻔﺘﻪ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺑﻴﻀﺎﻳﻲ ﺁﮔﺎﻩ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻪﺳﺎﺩﮔﻲ ﺭﺳﻴﺪﻥ‬ ‫ﺧﻮﺩﺍﻧﮕﻴﺨﺘﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻣﺮﺯ ﻳﻚ ﻫﻤﺴــﺎﺯﻱ ﻓﺮﺧﻨﺪﻩ ﺑﻴﻦ ﺳﺎﺧﺘﺎﺭ‬ ‫ﺍﻧﺪﻳﺸﮕﻮﻥ ﭘﺸﺖ ﺩﻭﺭﺑﻴﻦ ﻭ ﺷــﻮﺭ ﻧﻬﺎﻥ ﻭ ﺑﺪﺍﻫﻪ ﺟﻠﻮﻱ ﺁﻥ ﺍﺳﺖ ﻛﻪ‬ ‫ﺁﺷﻜﺎﺭ ﺍﺳﺖ ﺗﻨﻬﺎ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻤﺴﺎﺯ ﻭ ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ ﻣﻤﻜﻦ ﺑﻮﺩ ﻭ ﺷﺪ‪.‬‬ ‫ﺑﭙﺮﺩﺍﺯﻳﻢ ﺑﻪ ﻓﻴﻠﻢ ﻭ ﭘﺎﺭﻩﻫﺎﻳﻲ ﺍﺯ ﺑﺴــﻴﺎﺭ ﺯﻣﺎﻥﻫﺎﻱ ﺷــﻜﻞﮔﻴﺮﻱ‬ ‫ﺍﻳــﻦ ﻫﻤﺴــﺎﺯﻱ ﺭﺍ ﺑﺮﺭﺳــﻲ ﻛﻨﻴــﻢ‪ :‬ﻧﺨﺴــﺘﻴﻦ ﻧﻤﺎﻳــﻲ ﻧﺎﻳﻲ )ﻛﻪ‬ ‫ﺍﻳﻨﻚ ﺩﻳﮕــﺮ ﻧﻤﺎﻳﻨﺪﻩ ﻓﻴﻠﻢ ﺍﺳــﺖ(‪ ،‬ﻧﻤﺎﻳﻲ ﺍﺳــﺎﻃﻴﺮﻱ ﻭ ﺑﻪ ﺗﻤﺎﻣﻲ‬ ‫ﺁﮔﺎﻫﺎﻧﻪ ﺍﺳــﺖ‪ :‬ﻧﺎﻳﻲ ﺑــﺎ ﺭﻭﺑﻨﺪﻩﺍﻱ ﻛﻪ ﺩﻭ ﺳــﻮﻱ ﺁﻥ ﺭﺍ ﮔﺮﻓﺘﻪ ﻭ ﺗﻨﻬﺎ‬ ‫ﭼﺸــﻢﻫﺎﻳﺶ ﺍﺯ ﺑﻴﻦ ﺁﻥ ﭘﻴﺪﺍﺳــﺖ‪ ،‬ﺭﻭ ﺑــﻪ ﻣﺎ ﺍﺯ ﭘﺎﻳﻴﻦ ﻗــﺎﺏ ﺑﻪ ﺑﺎﻻ‬ ‫ﻣﻲﺁﻳــﺪ ﻭ ﻗــﺎﺏ ﺭﺍ ﭘﺮ ﻣﻲﻛﻨﺪ‪ .‬ﻧﻤﺎﻳﻲ ﺑﺴــﻴﺎﺭ ﻛﻮﺗــﺎﻩ ﻭ ﺗﻜﺎﻥﺩﻫﻨﺪﻩ‬ ‫ﻛــﻪ ﺑﻪﺳــﺎﺩﮔﻲ ﻓﻴﻠــﻢ ﺭﺍ ﺍﺯ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﻧﺨﺴــﺖ ﻧﻤﺎﻳــﺶ ﺑﺎﺯﻳﮕﺮ‬ ‫ﺑﺮﺗﺮﺵ‪ ،‬ﺑﻪ ﺁﻳﻴﻦﻫﺎﻱ ﺑﺎﺳــﺘﺎﻥ ﺑﺮﻣﻲﮔﺮﺩﺍﻧــﺪ ﻭ ﺗﻤﺎﻣﻲ ﻣﻬﺮ ﻭ ﺧﺮﺩ ﻭ‬ ‫ﻧﻴﻚﺍﻧﺪﻳﺸــﻲ ﺍﻳﻦ ﺍﻟﻬﻪ ﺭﺍ ﻳﻚﺟﺎ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻳﺎﻓﺘﻦ ﺑﺎﺷﻮ‪ ،‬ﺁﻏﺎﺯﮔﺮ‬ ‫ﺧﻮ ﮔﺮﻓﺘﻦ ﻣﺎ ﺑﺎ ﻧﺎﻳﻲ ﺯﻣﻴﻨﻲ ﺍﺳﺖ‪ :‬ﻧﻤﺎﻫﺎﻳﻲ ﭘﻴﻮﺳﺘﻪ ﻭ ﭘﻴﻮﻧﺪﺩﻫﻨﺪﻩ‪،‬‬ ‫ﻧﻤﺎﻳﺸــﮕﺮ ﺍﺯ ﭘﻲ ﺭﻭﻧﺪﻩ ﻛﻨﺠﻜﺎﻭ ﺍﻳﻦ ﺑﻴﮕﺎﻧﻪ ﺍﺳــﺖ )ﻭ ﺍﺯ ﻫﻤﻴﻦ ﺁﻏﺎﺯ‪،‬‬ ‫ﭘﻴﻮﺳــﺘﮕﻲ ﺍﻓﺰﻭﻥ ﻧﻤﺎﻫﺎﻱ ﻧﺎﻳﻲ ﺑﻪ ﺳﺒﺐ ﺑﺎﺯﻱ ﭘﻴﻮﺳﺘﻪ ﺩﺭﺧﺸﺎﻥ ﺍﻭ‬ ‫ﺩﺭ ﻫﺮ ﻧﻤﺎ ﺁﺷــﻜﺎﺭ ﺍﺳــﺖ(‪ .‬ﺧﻮﺭﺍﻙ ﻧﻬﺎﺩﻥ ﺩﺭ ﺩﻫﺎﻥ ﻛﻮﺩﻙ‪ ،‬ﺑﺎ ﺗﺮﺱ‬ ‫ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺑﻪ ﺑﺎﺷﻮ‪ ،‬ﺳــﻨﮓ ﭘﺮﺗﺎﺏ ﻛﺮﺩﻥ ﺑﻪ ﺍﻭ ﻭ ﺗﻤﺎﻣﻲ ﻧﺸﺴﺘﻦ‪،‬‬ ‫ﺑﺮﺧﺎﺳــﺘﻦ‪ ،‬ﺭﻓﺘﻦ ﻭ ﺩﻳﮕﺮ ﺣﺮﻛﺖﻫﺎﻱ ﻛﻮﺗﺎﻩ ﺳﺮ ﻭ ﺩﺳﺖ ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ‬ ‫ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ ﻛﻪ ﺍﺯ ﻫﻤﻴﻦ ﺁﻏﺎﺯ‪ ،‬ﺭﺍﺳﺘﻴﻦﺗﺮﻳﻦ ﻭ ﭘﻴﺮﻭﺯﺗﺮﻳﻦ‬ ‫ﭼﻬــﺮﻩ ﻭ ﺭﻓﺘﺎﺭ ﺯﻥ ﻧﻤﻮﻧﻪﺍﻱ ﺷــﻤﺎﻝ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳــﺶ ﻣﻲﮔﺬﺍﺭﻧﺪ ﻭ ﺩﺭ‬ ‫ﺭﻭﻳﺎﺭﻭﻳﻲ ﺑﺎ ﺩﻳﺪﮔﺎﻩ ﺑﺮﺧﻲ ﻛﻪ ﮔﻮﻳﺶ ﺭﺍﺳﺘﻴﻦ ﻓﻴﻠﻢ ﺭﺍ ﺗﻨﻬﺎ ﭘﺮﺩﺍﺯﺵ‬ ‫ﭘﻴﺮﻭﺯ ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ ﻣﻲﺩﺍﻧﻨﺪ‪ ،‬ﻓﺮﺳﻨﮓﻫﺎ ﭘﻴﺶ ﺍﺯ ﮔﻮﻳﺶ‪ ،‬ﻧﻤﺎﻳﻨﺪﻩ ﻳﻚ‬ ‫ﺑﺎﺯﻱ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﻭ ﭼﻨﺎﻥ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ‪ ،‬ﮔﻮﻫﺮﻱ ﺁﮔﺎﻫﺎﻧﻪﺍﻧﺪ ﻛﻪ ﺧﻮﺩ‬ ‫ﺑﻪ ﺧــﻮﺩ‪ ،‬ﭘﻴﻮﻧﺪﻱ ﺍﺯ ﻫﺮ ﺩﻭ ﻓﺮﺁﻳﻨﺪ ﺭﻓﺘﺎﺭ ﻭ ﺑﻴﺎﻥ ﺍﺳــﺖ‪ .‬ﻧﻴﺰ ﺍﺯ ﻫﻤﻴﻦ‬ ‫ﻧﺨﺴﺖ‪ ،‬ﻧﮕﺎﻩ ﻛﻨﻴﻢ ﺑﻪ ﻛﻮﺷﺶ ﺍﻓﺰﻭﻧﻲ ﻛﻪ ﺗﻤﺎﻣﻲ ﻗﺎﺏﻫﺎ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ‬ ‫ﻭ ﺁﺳــﻤﺎﻥ ﭘﻴﻮﻧﺪ ﻣﻲﺩﻫﺪ ﺗﺎ ﻧﺨﺴــﺘﻴﻦ ﺑﺎﻭﺭ ﻣﺎ ﺍﺯ ﺑﺎﺭﻭﺭﻱ ﺷﺎﻟﻲﻫﺎﻱ‬ ‫ﺳﺒﺰ ﺭﺍ ﺑﺴﺎﺯﺩ؛ ﺑﺎﺭﻭﺭﻱﺍﻱ ﻛﻪ ﺩﺭ ﻻﻳﻪ ﺯﻳﺮﻳﻦ‪ ،‬ﻫﻤﺎﻥ ﺑﺎﺭﻭﺭﻱ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻭ ﺑﺎﺭﻭﺭﻱ ﺍﻳﻦ ﻣﺎﺩﺭ ﺯﻣﻴﻦ ﺍﺳــﺖ )ﺩﺭ ﭘﺎﻳﺎﻥ‪ ،‬ﺑﺎﺷﻮ ﻫﻤﭽﻮﻥ ﻛﻮﺩﻛﻲ ﻧﻮ‬ ‫ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﭘﺬﻳﺮﻓﺘﻪ ﻣﻲﺷــﻮﺩ(‪ .‬ﺩﻳﮕﺮ ﺯﻣﺎﻥﻫﺎﻱ ﺁﺷﻨﺎ ﺷﺪﻥ ﺑﻴﺸﺘﺮ‬ ‫ﺑﺎﺷﻮ ﺑﺎ ﺍﻳﻦ ﺧﺎﻧﻪ ﻭ ﺧﺎﻧﻮﺍﺩﻩ‪ ،‬ﻛﺎﺭﻫﺎﻱ ﺭﻭﺯﺍﻧﻪ ﻧﺎﻳﻲ ﻭ ﺁﺷﻨﺎﻳﻲ ﺑﺎ ﻣﺮﺩﻣﺎﻥ‬ ‫ﺩﻳﮕﺮﻱ ﻛﻪ ﭘﻴﺮﺍﻣﻮﻥ ﺍﻳﻦ ﺧﺎﻧﻪ ﻣﻲﺯﻳﻨﺪ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﻣﻴﺎﻧﻪ ﻫﻤﺴﺎﺯﻱ‬ ‫ﮔﻔﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻫﻤﭽﻨﺎﻥ ﺍﺳﺘﻮﺍﺭ ﺑﺮ ﺩﻭ ﭘﺎﻳﻪ ﺑﺮﭘﺎﺩﺍﺭﻧﺪﻩ ﺩﺭ ﺩﻭ ﺳﻮﻱ‬ ‫ﻓﻴﻠﻢ‪ :‬ﺑﺎﺷــﻮ‪ ،‬ﺑﺎ ﺗﻤﺎﻣﻲ ﭼﺎﺭﭼﻮﺑﻲ ﻛﻪ ﻧﻴﺎﺯ ﺩﺍﺭﺩ ﺗﺎ ﻧﮕﺮﻩ ﺍﻧﺪﻳﺸﮕﻮﻧﻲ ﺍﺯ‬ ‫ﺍﻭ ﺳﺎﺧﺘﻪ ﺷﻮﺩ ﻭ ﺑﻴﺸﺘﺮ ﺳﺎﺧﺖﻭﺳﺎﺯﻫﺎﻱ ﺁﮔﺎﻫﺎﻧﻪ ﭘﻴﺮﺍﻣﻮﻥ ﺍﻭ ﺷﻜﻞ‬ ‫ﻣﻲﮔﻴﺮﺩ ﻭ ﻧﺎﻳﻲ ﻛﻪ ﺧﻮﺩ ﭼﺎﺭﭼﻮﺏ ﺳﺮﺍﭘﺎﻱ ﻫﺮ ﺯﻣﺎﻥ ﺍﺳﺖ ﻭ ﭘﻴﻮﺳﺘﮕﻲ‬ ‫ﺍﻓﺰﻭﻥ ﺍﻭ ﺑﺎ ﺯﻣﻴﻦ ﻭ ﺁﺳﻤﺎﻥ‪ ،‬ﺩﺭ ﻫﻤﺴﻮﻳﻲ ﭘﻴﻮﺳﺘﻪ ﺍﻭ ﺑﺎ ﭘﺎﺭﻩﻫﺎﻱ ﺁﻥﻫﺎ‪،‬‬ ‫ﺍﺯ ﺁﺏ ﻭ ﺧﺎﻙ ﻭ ﺑﺎﺩ ﻭ ﺁﺗــﺶ ﮔﺮﻓﺘﻪ ﺗﺎ ﻛﻮﺩﻙ ﻭ ﮔﻴﺎﻩ ﻭ ﭘﺮﻧﺪﻩ ﻭ ﭼﻬﺎﺭﭘﺎ‬ ‫ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﻣﻲﺁﻳﺪ‪ .‬ﺩﻭ ﻧﻤﺎﻱ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﻭ ﻧﻤﻮﻧﻪﺍﻱ ﺩﺭ ﻫﻤﺴﺎﺯﻱ‬ ‫ﮔﻔﺘﻪﺷــﺪﻩ ﺩﺭ ﺍﻳﻦ ﻫﻨﮕﺎﻡ ﻫﺴﺖ ﻛﻪ ﻫﺮ ﺩﻭ ﺑﻪﺳــﺎﺩﮔﻲ‪ ،‬ﺗﻨﻬﺎ ﺑﺎ ﻳﻚ‬ ‫ﺣﺮﻛﺖ ﻧﺎﭼﻴﺰ ﺩﻭﺭﺑﻴﻦ ﺳــﺎﺧﺘﻪ ﻣﻲﺷﻮﻧﺪ‪ :‬ﻳﻚ( ﻫﻨﮕﺎﻡ ﺩﺍﺩﻥ ﭘﺨﺶ‬ ‫ﻛﺮﺩﻥ ﻧﺎﻳﻲ ﺑﺮ ﺯﻣﻴﻦ ﻛﻪ ﺷــﻜﻮﻩ ﺣﺮﻛﺖ ﭘﻴﻮﺳــﺘﻪ ﻭ ﺩﺭﺧﺸــﺎﻥ ﺍﻭ ﺭﺍ‬ ‫ﺣﺮﻛﺖ ﻛﻮﺗﺎﻩ ﺩﻭﺭﺑﻴﻦ ﺍﺯ ﭘﻲ ﺍﻭ ﺩﻭﭼﻨــﺪﺍﻥ ﻣﻲﻛﻨﺪ )ﺩﺍﻭﺭﻱ ﻛﻨﻴﺪ ﺑﺎ‬ ‫ﻗﺎﺏ ﺍﻳﺴﺘﺎﻳﻲ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﺍﻳﻦ ﭘﻴﺎﻣﺪ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ( ﻭ ﺩﻭ( ﭘﺲ‬ ‫ﺍﺯ ﺭﻭﺍﻳﺖ ﺩﺭﺧﺸﺎﻥ ﺑﺎﺷﻮ ﺍﺯ ﺟﻨﮓ )ﭘﻴﻮﻧﺪ ﺭﻭﺍﻳﺖﮔﺮﺍﻳﺎﻧﻪ ﺍﻭ ﺑﺎ ﻧﻤﺎﻫﺎﻳﻲ‬ ‫ﺍﺯ ﮔﺬﺷﺘﻪ(‪ ،‬ﺣﺮﻛﺖ ﻛﻮﺗﺎﻩ ﺑﻪ ﺳﻮﻱ ﭼﻬﺮﻩ ﻧﺎﻳﻲ ﻭ ﺩﻳﺪﻥ ﺍﺷﻚ ﺩﺭ‬ ‫ﭼﺸــﻤﺎﻥ ﺍﻭ‪ ...‬ﺍﻳﻦﻫﺎ ﻫﻤﺎﻥ ﭘﺎﺭﻩﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﻣﻦ‪،‬‬ ‫ﻛﻠﻴﺪﻫﺎﻱ ﺯﻳﺒﺎﻳﻲﺷــﻨﺎﺧﺘﻲ ﻧﺎﺏ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﺍﻣﺎ ﻳﻚ‬ ‫ﮔﺎﻡ ﺑﻪ ﺟﻠﻮ‪ ،‬ﭘﺎﺭﻩﻫﺎﻳﻲ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻫﻤﺴﺎﺯﻱ ﺩﺭ ﻣﻲﮔﺬﺭﻧﺪ ﻭ ﺑﻨﻴﺎﻥ‬ ‫ﺩﺭﻭﻧﻲ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺁﻓﺮﻳﻨــﺶ ﺧﻮﺩﺍﻧﮕﻴﺨﺘﻪ ﺑﺎﺯﻳﮕﺮ ﻣﻲﻧﻬﻨﺪ‪ :‬ﻳﻚ(‬ ‫ﮔﻔﺖﻭﮔﻮﻱ ﺭﻭ ﺩﺭﺭﻭﻱ ﻧﺎﻳﻲ ﻭ ﺑﺎﺷﻮ ﺑﺎ ﻧﺎﻡ ﺑﺮﺩﻥ ﭼﻴﺰﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻥ‬ ‫ﻛﻪ ﺗﻨﻬﺎ ﺯﻣﺎﻥ ﻓﻴﻠﻢ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻱ ﺍﺯ ﺑﻴﻦ ﻧﺮﻓﺘﻦ ﭘﻴﻮﺳﺘﮕﻲ ﺑﺎﺯﻱﻫﺎ‪،‬‬ ‫ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺩﻭ ﺩﻭﺭﺑﻴﻦ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻣﻲﺷــﻮﺩ ﻭ ﺑﻪ ﺗﻤﺎﻣﻲ ﺍﺳﺘﻮﺍﺭ‬ ‫ﺑﺮ ﻣﻬــﺮ ﻭ ﻳﮕﺎﻧﮕﻲ ﺁﻣﻴﺨﺘﻪ ﺩﺭ ﺭﻓﺘﺎﺭ ﻧﺎﻳﻲ ﺑﺮﺍﻱ ﻧﺰﺩﻳﻚ ﺷــﺪﻥ ﺑﻪ‬ ‫ﺑﺎﺷﻮﺳﺖ ﻭ ﺩﻭ( ﻓﺮﻭﺵ ﺩﺭ ﺑﺎﺯﺍﺭ ﻛﻪ ﺍﺯ ﺍﺳﺎﺱ ﺍﺳﺘﻮﺍﺭ ﺑﺮ ﻫﻤﺎﻧﻨﺪﻱ ﺑﺎ‬ ‫ﺑﺎﺯﺍﺭﻫﺎﻱ ﺟﺎﺭﻱ ﺷﻤﺎﻝ ﺍﺳﺖ ﻭ ﺑﺎ ﺩﻭﺭﺑﻴﻦﻫﺎﻳﻲ ﭘﻨﻬﺎﻥ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺭﻓﺘﺎﺭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻣﻲﭘﺮﺩﺍﺯﺩ ﻭ ﺗﻨﻬﺎ ﺍﻳﺮﺍﺩﺵ )ﻛﻪ ﺑﺴــﻴﺎﺭ‬ ‫ﻫﻢ ﮔﻔﺘﻪ ﺷﺪﻩ(‪ ،‬ﻛﻤﻲ ﻛﺸــﺪﺍﺭ ﺑﻮﺩﻥ ﺁﻥ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺑﻪ ﻳﺎﺩ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷــﻴﻢ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﭘﺎﺭﻩﻫﺎ ﻧﻴﺰ‪ ،‬ﺁﻥﭼﻪ ﻛﻠﻴــﺪ ﻭ ﻣﻔﻬﻮﻡ ﺩﺭﻭﻧﻲ ﺁﻧﻬﺎ‬ ‫ﺭﺍ ﻣﻲﺳﺎﺯﺩ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺑﺎ ﻛﺎﺭ ﺳﻴﻨﻤﺎﻳﻲ ﺑﺴﻴﺎﺭ ﺩﺭﺧﺸﺎﻥ ﺑﻪ ﺩﺳﺖ‬ ‫ﻣﻲﺁﻳﺪ ﻭ ﺁﻓﺮﻳﻨﺶ ﺑﺎﺯﻳﮕﺮ‪ ،‬ﺗﻨﻬــﺎ‪ ،‬ﺭﺍﻫﻲ ﺭﺍ ﭘﺮﺑﺎﺭ ﻣﻲﻛﻨﺪ ﻛﻪ ﻛﻠﻴﺪ‬ ‫ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﺑﻬﺘﺮ ﺳــﺎﺧﺘﻪ ﺷﻮﺩ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺩﺭ ﻫﻤﻴﻦ ﺑﺎﺯﺍﺭ‪ ،‬ﻧﮕﺎﻩ ﻛﻨﻴﻢ‬ ‫ﺑﻪ ﻧﻤﺎﻱ ﭘﺎﻳﺎﻧﻲ ﻭ ﺩﻭﺭ ﻧﺎﻳﻲ ﻭ ﺩﻭ ﻛﻮﺩﻛﺶ ﺩﺭ ﭘﻬﻨﻪ ﻟﺨﺖ ﻭ ﺳﺎﻛﺖ‬ ‫ﺧﻴﺎﺑﺎﻥ )ﺩﺭ ﭘﻲ ﺑﺎﺷﻮ(‪ ،‬ﭼﺮﺧﺶ ﻫﺮ ﺳﻪ ﺑﺎ ﻧﺎﺍﻣﻴﺪﻱ ﻭ ﺩﻭﺭﺷﺪﻥﺷﺎﻥ‬ ‫ﺍﺯ ﻣﺎ‪ ...‬ﻛﻪ ﺑﻪ ﺗﻤﺎﻣﻲ‪ ،‬ﺭﻭﻱ ﺩﻳﮕﺮ ﺍﻳﻦ ﭘﻴﻮﻧﺪ ﺗﺎﺯﻩ ﭘﺎﮔﺮﻓﺘﻪ ﺭﺍ ﺁﺷﻜﺎﺭ‬ ‫ﻣﻲﻛﻨﺪ؛ ﺗﻨﻬﺎﻳﻲ ﺍﻳﻦ ﺧﺎﻧﻮﺍﺩﻩ ﺑﺪﻭﻥ ﺑﺎﺷﻮ‪.‬‬ ‫ﻭ ﺩﺭ ﭘﺎﻳــﺎﻥ‪ ،‬ﺑﺎ ﻧﺎﻡ ﺑﺮﺩﻥ ﺍﺯ ﺩﻭ ﻛﺎﺭﻛﺮﺩ ﺷــﮕﻔﺖ ﺩﻳﮕﺮ ﻓﻴﻠﻢ ﻛﻪ‬ ‫ﻛﻠﻴﺪﻫﺎﻳﻲ ﺩﺭ ﻻﻳﻪﻫﺎﻳﻲ ﺩﻳﮕﺮ ﻫﺴــﺘﻨﺪ‪ ،‬ﺍﻳﻦ ﻧﻮﺷــﺘﻪ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ‬ ‫ﻣﻲﺑﺮﻡ ﻭ ﺁﻥﻫﺎ ﺯﻣﺎﻥﻫﺎﻳﻲ ﻫﺴــﺘﻨﺪ ﻛﻪ ﺍﻓﺰﻭﻥ ﺑﺮ ﻛﺎﺭ ﺩﺭﺧﺸــﺎﻥ‬ ‫ﺳــﻴﻨﻤﺎﻳﻲ ﻭ ﺑــﺎﺯﻱ ﺩﺭ ﺍﻭﺝ ﺑﺎﺯﻳﮕﺮ‪ ،‬ﻓــﺮﺍ ﺭﻓﺘﻦ ﺍﺯ ﻣــﺮﺯ ﺧﻴﺎﻝ ﺭﺍ‬ ‫ﻧﻴــﺰ ﮔﻮﻫﺮﻩ ﺁﻓﺮﻳﻨــﺶ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺑﻲﮔﻤــﺎﻥ‪ ،‬ﺗﻜﺎﻥﺩﻫﻨﺪﻩﺗﺮﻳﻦ‬ ‫ﺯﻣﺎﻥﻫﺎﻱ ﻓﻴﻠﻢﺍﻧﺪ‪ :‬ﻳﻚ( ﻫﻨﮕﺎﻡ ﮔﺮﻳﺨﺘﻦ ﺑﺎﺷــﻮ ﻭ ﺟﺴﺖﻭﺟﻮﻱ‬ ‫ﻧﺎﻳــﻲ ﺍﺯ ﭘــﻲ ﺍﻭ ﺩﺭ ﺁﻥ ﺗﻮﻓــﺎﻥ ﻫﺮﺍﺳــﻨﺎﻙ‪ ،‬ﭼﻬــﺮﻩ ﺧﻴﺎﻟــﻲ‬ ‫)ﻳﺎ ﺭﺍﺳﺘﻴﻦ( ﻣﺎﺩﺭ ﺑﺎﺷﻮ ﻛﻪ ﺗﺎﻛﻨﻮﻥ ﺑﺎ ﺍﻧﺪﻙ ﻣﺴﺎﻓﺘﻲ ﺍﺯ ﻧﺎﻳﻲ ﺩﻳﺪﻩ‬ ‫ﻣﻲﺷــﺪ‪ ،‬ﺍﻳﻨﻚ ﺩﺭ ﻛﻨﺎﺭ ﺍﻭ ﻣﻲﺍﻳﺴــﺘﺪ ﻭ ﺭﺍﻩ ﺭﺍ ﻧﺸﺎﻧﺶ ﻣﻲﺩﻫﺪ ﻭ‬ ‫ﺩﻭ( ﭼﺮﺧﺶ ﺯﺑﺎﻧﺰﺩ ﺩﻭﺭﺑﻴﻦ ﻫﻨﮕﺎﻡ ﻧﺎﻣﻪ ﻧﻮﺷﺘﻦ ﺑﺎﺷﻮ ﺑﺮﺍﻱ ﻧﺎﻳﻲ‬ ‫ﻭ ﺭﺳــﻴﺪﻥ ﭘﺲﺯﻣﻴﻨﻪ ﺍﺯ ﺷﻤﺎﻝ ﺳﺮﺳﺒﺰ ﺑﻪ ﺳــﻨﮕﺮﻫﺎﻱ ﺟﻨﮕﻲ‪،‬‬ ‫ﺟﺎﻳﻲ ﻛﻪ ﺍﻳﻦ ﻧﺎﻣﻪ ﻣﻲﺭﻭﺩ‪ .‬ﺑﻲﮔﻤﺎﻥ ﺑﻴﻀﺎﻳﻲ ﺑﺎ ﺳﺎﺧﺘﻦ »ﺑﺎﺷﻮ«‬ ‫ﺳــﻮﻣﻴﻦ ﺭﻫﻴﺎﻓﺘﺶ ﺑــﻪ ﺟﻬــﺎﻥ ﺑﻲﺁﻻﻳﺶ ﺷــﻤﺎﻝ‪ ،‬ﺭﻫﻴﺎﻓﺘﻲ‬ ‫ﺭﺍﺳــﺖﮔﺮﺍﻳﺎﻧﻪ ﻭ ﺑﺮﺧﺎﺳــﺘﻪ ﺍﺯ ﺁﻳﻴﻦ ﺑــﺎﺭﻭﺭﻱ ﺯﻣﻴــﻦ ﺭﺍ ﭘﺲ ﺍﺯ‬ ‫ﺭﻫﻴﺎﻓﺖﻫﺎﻱ ﺷﻴﻮﻩﮔﺮﺍﻳﺎﻧﻪ »ﻏﺮﻳﺒﻪ ﻭ ﻣﻪ« ﻭ ﺍﺳﺎﻃﻴﺮﻱ »ﭼﺮﻳﻜﻪ‬ ‫ﺗﺎﺭﺍ« ﺑﺎ ﭘﻴﺮﻭﺯﻱ ﭘﻴﻤﻮﺩﻩ ﺍﺳــﺖ‪ .‬ﭘﻴﺮﻭﺯﻱ ﺑﺮﺍﻱ ﺧﻮﺩ‪ ،‬ﺑﺮﺍﻱ ﻳﮕﺎﻧﻪ‬ ‫ﺑﺎﺯﻳﮕﺮ ﺷــﮕﺮﻓﺶ ﻭ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﺩﺭ ﺭﺍﻩ ﺍﻧﺪﻛﻲ ﻭﺍﮔﺬﺍﺭﺩﻥ ﺟﻬﺎﻥ‬ ‫ﺳــﺎﺯﻣﺎﻥﻳﺎﻓﺘﻪﺍﺵ ﺑﻪ ﺧﻮﺩﺍﻧﮕﻴﺨﺘﻲ ﺟﺎﻥ ﻭ ﺭﻭﺍﻥ ﺗﻤﺎﺷﺎﮔﺮ‪ ،‬ﺑﺮﺍﻱ‬ ‫ﭘﺬﻳﺮﺵ ﻣﻬﺮ ﺑــﺮ ﺯﻣﻴﻦ ﻭ ﺯﻳﺮ ﺁﺳــﻤﺎﻧﻲ ﻛﻪ ﻫﻨﻮﺯ ﮔﻨﺎﻩ ﺷــﻤﺮﺩﻩ‬ ‫ﻧﻤﻲﺷﻮﺩ‪.‬‬ ‫‪61‬‬ ‫‪6‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺍﺟﺎﺭﻩﻧﺸﻴﻦﻫﺎ )‪(1365‬‬ ‫ﺭﻭﺍﻳﺖ ﻣﻨﺎﺳﺒﺎﺕ ﻛﺎﺳﺒﻜﺎﺭﺍﻧﻪ ﺟﺪﻳﺪ ﺍﺟﺘﻤﺎﻉ ﺑﺎ ﺯﺑﺎﻥ ﻃﻨﺰ‬ ‫ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﮔﺎﻥ‪:‬ﻫﺎﺭﻭﻥ‬ ‫ﻳﺸـﺎﻳﺎﺋﻲ ﻭ ﻣﺤﻤﺪﻋﻠـﻲ ﺳـﻠﻄﺎﻥ ﺯﺍﺩﻩ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴـﻦ‬ ‫ﻗﻠـﻲﺯﺍﺩﻩ‪ ،‬ﺗﺪﻭﻳـﻦ‪ :‬ﺣﺴـﻦ ﺣﺴﻨﺪﻭﺳـﺖ ﻭ ﺩﺍﺭﻳـﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ‪،‬‬ ‫ﻣﻮﺳـﻴﻘﻲ‪ :‬ﻧﺎﺻﺮ ﭼﺸـﻢ ﺁﺫﺭ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ‪ :‬ﻓﺮﻳﺎﺭ ﺟﻮﺍﻫﺮﻳﺎﻥ ﻭ ﻣﺎﻟﻴﻨﺎ‬ ‫ﻓﻜﺮﻱ‪ ،‬ﺩﺳـﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺑﻬﺮﺍﻡ ﻛﺎﻇﻤﻲ‪ ،‬ﺻﺪﺍﺑـﺮﺩﺍﺭﺍﻥ‪ :‬ﺟﻬﺎﻧﮕﻴﺮ‬ ‫ﻣﻴﺮﺷﻜﺎﺭﻱ‪ ،‬ﺍﺻﻐﺮ ﺷﺎﻫﻮﺭﺩﻱ‪ ،‬ﺑﻬﺮﻭﺯ ﻣﻌﺎﻭﻧﻴﺎﻥ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯﻱ‪:‬‬ ‫ﻣﻬﺮﺍﻥ ﺭﻭﺣﺎﻧﻲ‪ ،‬ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳﮋﻩ‪ :‬ﻏﻼﻣﺮﺿﺎ ﻧﺎﻣﻲ‪ ،‬ﻣﺤﻤﺪﻋﻠﻲ ﻧﻘﻲﻛﻨﻲ‪،‬‬ ‫ﻧﺎﺻﺮ ﺑﻬﺮﺍﻡﭘﻮﺭ‬ ‫ﺑﺎﺯﻳﮕـﺮﺍﻥ‪ :‬ﻋـﺰﺕﺍﷲ ﺍﻧﺘﻈﺎﻣﻲ‪ ،‬ﺍﻛﺒﺮ ﻋﺒـﺪﻱ‪ ،‬ﺣﻤﻴﺪﻩ ﺧﻴﺮﺁﺑﺎﺩﻱ‪ ،‬ﺣﺴـﻴﻦ ﺳﺮﺷـﺎﺭ‪ ،‬ﺍﻳﺮﺝ‬ ‫ﺭﺍﺩ‪ ،‬ﺭﺿﺎ ﺭﻭﻳﮕﺮﻱ‪ ،‬ﻓﺮﻳﻤـﺎﻩ ﻓﺮﺟﺎﻣﻲ‪ ،‬ﻓﺮﺩﻭﺱ ﻛﺎﻭﻳﺎﻧﻲ‪ ،‬ﻣﻨﻴﮋﻩ ﺳـﻠﻴﻤﻲ‪ ،‬ﻣﻨﻮﭼﻬﺮ ﺣﺎﻣﺪﻱ‪،‬‬ ‫ﺳﻴﺎﻭﺵ ﻃﻬﻤﻮﺭﺙ‪ ،‬ﻳﺎﺭﺗﺎ ﻳﺎﺭﺍﻥ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺷﺮﻛﺖ ﭘﺨﺸﻴﺮﺍﻥ‪ 130 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻧﻴﻤﻪ ﺍﻭﻝ ﺩﻫﻪ ‪ 60‬ﺟﺎﻣﻌﻪ ﺍﻳــﺮﺍﻥ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﺣﺎﻝ ﺗﻄﺒﻴﻖ ﺧﻮﺩ ﺑﺎ‬ ‫ﺷــﺮﺍﻳﻂ ﺟﺪﻳﺪﻱ ﺑﻮﺩ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﻫﺮﭼﻴﺰ ﺍﺯ ﺍﺗﻔﺎﻗﺎﺕ ﺳﻴﺎﺳﻲ ﻛﺸﻮﺭ‬ ‫ﭘﺪﻳﺪ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﻓﺸــﺎﺭ ﺍﻗﺘﺼﺎﺩﻱ ﻧﺎﺷﻲ ﺍﺯ ﺟﻨﮓ ﺑﺮ ﺣﺠﻢ ﻣﺸﻜﻼﺕ‬ ‫ﺍﻓﺰﻭﺩﻩ ﺑﻮﺩ ﻭ ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ ﺑﻮﺩ ﻛﻪ ﻃﺒﻘﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ ﻛﺸﻮﺭ ﻣﻨﺒﻌﺚ‬ ‫ﺍﺯ ﺍﺗﻔﺎﻗﺎﺕ ﺟﺎﻣﻌﻪ ﺩﺭ ﺣﺎﻝ ﺗﻐﻴﻴﺮ ﺑﻮﺩﻧﺪ‪ .‬ﻃﺒﻘﻪ ﻣﺘﻮﺳﻂ ﺑﺎ ﺍﺭﺯﺵﻫﺎﻱ‬ ‫ﺟﺪﻳﺪﻱ ﺁﺷﻨﺎ ﻣﻲﺷــﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻭﺍﺳﻄﻪﮔﺮﻱ ﻭ ﺳﻮﺩﺟﻮﻳﻲ ﺻﺮﻑ‬ ‫ﺣﺮﻑ ﺍﻭﻝ ﺭﺍ ﻣﻲﺯﺩ‪ .‬ﺩﻭﺭﺍﻧﻲ ﻛﻪ ﻫﻤﻪ ﺑﻴﺸــﺘﺮ ﺑﻪ ﺩﻧﺒﺎﻝ ﻛﺴﺐ ﺳﻮﺩ‬ ‫ﺍﺯ ﻫﺮ ﻓﻌﺎﻟﻴﺘﻲ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺤﺮﺍﻥ ﻣﺴــﻜﻦ ﻧﺎﺷﻲ ﺍﺯ ﻣﻬﺎﺟﺮﺕ ﺑﻲﺭﻭﻳﻪ ﺑﻪ‬ ‫ﺷــﻬﺮﻫﺎﻱ ﺑﺰﺭگ ﻳﻜﻲ ﺍﺯ ﻣﻮﺿﻮﻋﺎﺕ ﺟﺪﻱ ﺑــﺮﺍﻱ ﻧﻤﻮﺩ ﻋﻴﻨﻲ ﺍﻳﻦ‬ ‫ﭘﺪﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﺳﻴﻨﻤﺎﻱ ﻣﺤﺎﻓﻈﻪﻛﺎﺭ ﺍﻳﺮﺍﻥ ﻛﻤﺘﺮ‬ ‫ﻋﻼﻗﻪﺍﻱ ﺑﻪ ﻧﻤﺎﻳﺶ ﭼﻨﻴﻦ ﻣﻌﻀﻼﺗﻲ ﺍﺯ ﺧﻮﺩ ﻧﺸﺎﻥ ﻣﻲﺩﺍﺩ‪ .‬ﺩﻭﺭﺍﻥ‬ ‫ﻳﻜﻪﺗﺎﺯﻱ ﻣﻠﻮﺩﺭﺍﻡﻫﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻧﻮﻋﻲ ﻣﺨﺎﻃﺒﺎﻥ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭﺁﻣﺪﻥ‬ ‫ﺑﺎ ﺷﺮﺍﻳﻂ ﺗﺸﻮﻳﻖ ﻣﻲﻛﺮﺩ‪ .‬ﻣﺴﺌﻮﻻﻥ ﻫﻢ ﺑﺎ ﺻﺮﺍﺣﺖ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺑﻪ‬ ‫ﻣﻀﺎﻣﻴﻦ ﻣﻠﺘﻬﺐ ﺭﺍ ﺩﺭ ﺻﻼﺣﻴﺖ ﻫﺮ ﻓﺮﺩﻱ ﻧﻤﻲﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﺩﺭ ﭼﻨﻴﻦ‬ ‫ﻓﻀﺎﻳﻲ »ﺍﺟﺎﺭﻩﻧﺸــﻴﻦﻫﺎ« ﺣﻜﻢ ﻫﻮﺍﻱ ﺗﺎﺯﻩ ﺭﺍ ﺩﺍﺷــﺖ‪ .‬ﻓﻴﻠﻤﻲﻛﻪ‬ ‫ﺑﺎ ﺑﻪﺗﺼﻮﻳﺮ ﻛﺸــﻴﺪﻥ ﻣﻌﻀﻼﺕ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﺳﺎﺧﺘﺎﺭﻱ ﻃﻨﺰﺁﻣﻴﺰ‬ ‫ﺗﺼﻮﻳﺮﻱ ﻋﻴﻨﻲ ﺍﺯ ﺷــﺮﺍﻳﻂ ﺟﺎﻣﻌﻪ ﺍﺭﺍﺋﻪ ﻣﻲﺩﺍﺩ‪ .‬ﺳــﺎﺧﺘﺎﺭ ﺳﺮﺗﺎﺳﺮ‬ ‫ﻛﻤﻴﻚ ﻓﻴﻠﻢ ﻭ ﻃﻨﺰ ﺷﻴﺮﻳﻨﺶ ﻣﺨﺎﻃﺐ ﺭﺍ ﻫﻤﺮﺍﻩ ﻣﻲﻛﺮﺩ ﺿﻤﻦ ﺁﻧﻜﻪ‬ ‫ﺭﺍﻩﺣﻠﻲ ﺑﺮﺍﻱ ﻋﺒﻮﺭ ﺍﺯ ﻣﻤﻴﺰﻱ ﺑﻮﺩ‪ .‬ﺗﻤﺎﺷﺎﮔﺮ ﺧﺴﺘﻪ ﺍﺯ ﺗﻤﺎﺷﺎﻱ ﮔﺮﻳﻪ ﻭ‬ ‫ﺧﺸﻮﻧﺖ ﺑﺮ ﭘﺮﺩﻩ ﺣﺎﻻ ﻓﻴﻠﻤﻲ ﺍﺯ ﺟﻨﺲ ﻣﻨﺎﺳﺒﺎﺕ ﺧﻮﺩﺵ ﻭ ﺁﺩﻡﻫﺎﻱ‬ ‫‪62‬‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 7 :‬ﺧﺮﺩﺍﺩ ‪ ،1366‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 18 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﻳﻚ ﻭﺍﺣﺪ ﺁﭘﺎﺭﺗﻤﺎﻧﻲ ﻛﻪ ﻭﺍﺭﺙ ﺁﻥ ﻧﺎﻣﻌﻠﻮﻡ ﺍﺳﺖ ﺯﻳﺮ ﻧﻈﺮ ﻣﺒﺎﺷﺮ ﻣﺎﻟﻚ ﻣﺘﻮﻓﺎﻱ ﺧﺎﻧﻪ ﺍﺩﺍﺭﻩ ﻣﻲﺷﻮﺩ‪ .‬ﻣﺒﺎﺷﺮ‬ ‫ﺑﺎ ﻫﻤﻜﺎﺭﻱ ﺩﻻﻝ ﺑﻨﮕﺎﻩ ﻣﻌﺎﻣﻼﺕ ﺍﻣﻼﻙ ﻗﺼﺪ ﺗﺼﺎﺣﺐ ﻭ ﻓﺮﻭﺵ ﺧﺎﻧﻪ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﺗﻌﻤﻴﺮ ﺍﺳﺎﺳﻲ ﺁﭘﺎﺭﺗﻤﺎﻥ‬ ‫ﺳﺮﺑﺎﺯ ﻣﻲﺯﻧﺪ‪ .‬ﻣﺴﺘﺎﺟﺮﺍﻥ ﻛﻪ ﺑﻪ ﻣﺎﺟﺮﺍ ﭘﻲ ﺑﺮﺩﻩﺍﻧﺪ ﺑﺮﺍﻱ ﭼﺎﺭﻩﺟﻮﻳﻲ ﺑﺎ ﺑﻨﮕﺎﻩ ﺭﻗﻴﺐ‪ ،‬ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﻣﻨﻄﻘﻪ‬ ‫ﺍﺳﺖﺗﻤﺎﺱﻣﻲﮔﻴﺮﻧﺪﻭﻣﺘﻮﺟﻪﻣﻲﺷﻮﻧﺪﻛﻪﺣﻜﻢﺗﺨﻠﻴﻪﺍﻱﻛﻪﺩﺭﻳﺎﻓﺖﻛﺮﺩﻩﺍﻧﺪ‪،‬ﺑﻪﻋﻠﺖﻣﺠﻬﻮﻝﺍﻟﻮﺍﺭﺙ‬ ‫ﺑﻮﺩﻥ ﻣﻠﻚ ﻓﺎﻗﺪ ﺍﻋﺘﺒﺎﺭ ﺍﺳﺖ‪ .‬ﻣﺴﺘﺎﺟﺮﺍﻥ ﺑﺮﺍﻱ ﺗﻌﻤﻴﺮ ﺁﭘﺎﺭﺗﻤﺎﻥ ﻋﺪﻩﺍﻱ ﻛﺎﺭﮔﺮ ﺳﺎﺧﺘﻤﺎﻧﻲ ﺭﺍ ﺍﺳﺘﺨﺪﺍﻡ‬ ‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﻣﺒﺎﺷﺮ ﺑﻪ ﺁﻧﻬﺎ ﺍﻋﺘﺮﺍﺽ ﻣﻲﻛﻨﺪ ﻭ ﻛﺎﺭ ﺗﻌﻤﻴﺮ ﻣﺘﻮﻗﻒ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺩﺭ ﺷﺒﻲ ﺑﺎﺭﺍﻧﻲ ﻣﻨﺒﻊ ﺑﺰﺭگ ﺁﺏ‬ ‫ﺁﭘﺎﺭﺗﻤﺎﻥ‪ ،‬ﻛﻪ ﺑﺎﻻﻱ ﭘﺸﺖ ﺑﺎﻡ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﺳﻘﻮﻁ ﻣﻲﻛﻨﺪ ﻭ ﺑﺴﺎﻁ ﻫﻤﻪ ﺭﺍ ﺑﺮ ﻫﻢ ﻣﻲﺭﻳﺰﺩ‪ .‬ﺭﻭﺯ ﺑﻌﺪ ﻣﺎﻣﻮﺭﺍﻥ‬ ‫ﺷﻬﺮﺩﺍﺭﻱ ﺑﻪ ﻣﺴﺘﺎﺟﺮﺍﻥ ﺍﻋﻼﻡ ﻣﻲﻛﻨﻨﺪ ﻛﻪ ﺁﭘﺎﺭﺗﻤﺎﻥ ﺑﻪ ﺍﻗﺴﺎﻁ ﺑﻪ ﺁﻧﻬﺎ ﻭﺍﮔﺬﺍﺭ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺍﻃﺮﺍﻓﺶ ﻣﻲﺩﻳﺪ ﻛﻪ ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﺁﻥ ﻃﺒﻴﻌﻲ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺩﺍﺭﻳــﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ ﭘﺲ ﺍﺯ ﺁﻧﻜﻪ ﻓﻴﻠﻢ »ﺣﻴﺎﻁﭘﺸــﺘﻲ ﻣﺪﺭﺳــﻪ‬ ‫ﻋﺪﻝ ﺁﻓﺎﻕ« ﺩﺭ ﺳــﺎﻝ ‪1359‬ﻧﺘﻮﺍﻧﺴــﺖ ﻣﺠﻮﺯ ﻧﻤﺎﻳﺶ ﺑﮕﻴﺮﺩ ﻭ ﺑﻪ‬ ‫ﻣﺤﺎﻕ ﺗﻮﻗﻴﻒ ﺭﻓﺖ‪ ،‬ﺳﺮﺧﻮﺭﺩﻩ ﺍﺯ ﺷﺮﺍﻳﻂ ﭘﻴﺶﺁﻣﺪﻩ ﺍﻳﺮﺍﻥ ﺭﺍ ﺗﺮﻙ‬ ‫ﻛــﺮﺩ ﻭ ﻫﻤﺮﺍﻩ ﺧﺎﻧﻮﺍﺩﻩ ﺑﻪ ﻓﺮﺍﻧﺴــﻪ ﺭﻓﺖ‪ .‬ﺩﺭ ﺁﻧﺠــﺎ ﻓﻴﻠﻢ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ‬ ‫»ﺳﻔﺮ ﺑﻪ ﺳﺮﺯﻣﻴﻦ ﺭﻣﺒﻮ« ﺭﺍ ﺳــﺎﺧﺖ ﻛﻪ ﺑﺎ ﺁﻧﻜﻪ ﺩﺭ ﭼﻨﺪ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻭ ﻛﺎﻧﺎﻝ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‪ ،‬ﻧﺘﻮﺍﻧﺴــﺖ ﺧﺎﻃﺮﻩ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻣﻮﻓﻖ ﻣﻬﺮﺟﻮﻳﻲ ﺭﺍ ﺯﻧﺪﻩ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﻪ ﺍﺿﺎﻓﻪ ﺷﺮﺍﻳﻂ ﺧﺎﺹ‬ ‫ﺯﻧﺪﮔﻲ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺳﻴﺎﺳﻲ ﭘﻴﺮﺍﻣﻮﻧﺶ‪ ،‬ﺑﺎﻋﺚ ﺷﺪ‬ ‫ﻣﻬﺮﺟﻮﻳﻲ ﺗﺼﻤﻴﻢ ﺑﻪ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﻗﺒﻠﺶ ﺗﻌﺪﺍﺩﻱ‬ ‫ﺍﺯ ﺩﻭﺳﺘﺎﻧﺶ ﺭﺍﻳﺰﻧﻲﻫﺎﻳﻲ ﺑﺮﺍﻱ ﻓﺮﺍﻫﻢ ﻛﺮﺩﻥ ﺷﺮﺍﻳﻂ ﻓﻌﺎﻟﻴﺖ ﺩﻭﺑﺎﺭﻩ‬ ‫ﺍﻭ ﺩﺭ ﺩﺍﺧﻞ ﻛﺸــﻮﺭ ﺁﻏﺎﺯ ﻛﺮﺩﻧﺪ ﻛــﻪ ﻣﻮﻓﻘﻴﺖﺁﻣﻴﺰ ﺑﻮﺩ‪ .‬ﻣﻬﺮﺟﻮﻳﻲ‬ ‫ﺳﺎﻝ ‪ 1364‬ﭘﺲ ﺍﺯ ﺣﺪﻭﺩ ‪ 4‬ﺳﺎﻝ ﻣﻬﺎﺟﺮﺕ‪ ،‬ﺑﻪ ﺍﻳﺮﺍﻥ ﺁﻣﺪ ﻭ ﺑﻼﻓﺎﺻﻠﻪ‬ ‫ﭘﻴﮕﻴﺮ ﺳــﺎﺧﺖ ﻃﺮﺡ »ﺧﺎﻧﻪ ﺧﻮﺍﺭﺍﻥ« ﺷﺪ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺩﺭ‬ ‫ﺍﺧﺘﻴﺎﺭ ﺩﻭﺳﺘﺎﻧﺶ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻃﺮﺡ ﺗﺎﺣﺪﻭﺩﻱ ﺷﺒﻴﻪ ﻫﻤﻴﻦ‬ ‫ﻧﺴﺨﻪ ﻧﻬﺎﻳﻲ ﺁﻣﺎﺩﻩ ﺷﺪﻩ ﺑﻮﺩ ﺍﻣﺎ ﻣﻬﺮﺟﻮﻳﻲ ﻫﻨﮕﺎﻡ ﺳﺎﺧﺖ ﺗﻐﻴﻴﺮﺍﺗﻲ‬ ‫ﺩﺭ ﺁﻥ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺩﻓﺘﺮ ﭘﺨﺸﻴﺮﺍﻥ ﺗﻬﻴﻪ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﮔﺮﻓﺖ ﻭ ﻛﺎﺭ‬ ‫ﺳﺎﺧﺖ ﺑﺎﺣﻀﻮﺭ ﺟﻤﻊ ﻗﺎﺑﻞﺗﻮﺟﻬﻲ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ‬ ‫ﻛﻨﺠﻜﺎﻭﻱﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﻧﺘﻴﺠﻪ ﻛﺎﺭ ﺩﺭ ﻣﺤﺎﻓﻞ ﻣﺨﺘﻠﻒ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﻪﻭﻳﮋﻩ ﺍﺯ ﻧﺎﺣﻴﻪ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﻛــﻪ ﺩﺭ ﺁﻥ ﻣﻘﻄﻊ ﻫﻤﭽﻨﺎﻥ ﺑﺎ ﻣﻮﺿﻊ‬ ‫ﻣﺨﺎﻟﻒ ﻧﺴــﺒﺖ ﺑﻪ ﻓﻌﺎﻟﻴﺖ ﻫﺮﭼﻬﺮﻩ ﻓﻌﺎﻝ ﺳﻴﻨﻤﺎﻱ ﻗﺒﻞ ﺍﺯ ﺍﻧﻘﻼﺏ‬ ‫ﺑﺮﺧﻮﺭﺩ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻳﻚ ﺑﺎﺭ ﺑﻪ ﺩﻟﻴﻞ ﻣﺸــﻜﻼﺕ ﻣﺎﻟﻲ‬ ‫ﻣﺘﻮﻗﻒ ﺷﺪ ﺍﻣﺎ ﺳﺮﺍﻧﺠﺎﻡ ﻧﺴــﺨﻪ ﻧﻬﺎﻳﻲ ﺑﺎ ﺗﻼﺵ ﺯﻳﺎﺩ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺁﻣﺎﺩﻩ ﺷﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﻧﺨﺴﺘﻴﻦ ﻧﻤﺎﻳﺶ ﺍﺟﺎﺭﻩﻧﺸﻴﻦﻫﺎ ﺩﺭ ﭘﻨﺠﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﺑﻮﺩ‪ .‬ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﻛﻪ ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﻟﻴﻦ ﺩﻭﺭﻩﺍﻱ ﻛﻪ‬ ‫ﻋﻤﻼ ﻣﺤﺼﻮﻻﺗﺶ ﺑﺎ ﻫﺪﺍﻳﺖ ﻭ ﺣﻤﺎﻳﺖ ﺍﻳﻦ ﻣﺪﻳﺮﺍﻥ ﺳــﺎﺧﺘﻪ ﺷﺪﻩ‬ ‫ﺑﻮﺩﻧــﺪ‪ ،‬ﺑﺎ ﻧﮕﺎﻩ ﻭﻳﮋﻩﺍﻱ ﺑﻪ ﺁﻥ ﻧﮕﺎﻩ ﻣﻲﻛﺮﺩﻧــﺪ ﻭ ﺩﺭ ﺁﻥ ﺗﻘﺮﻳﺒﺎ ﺗﻤﺎﻡ‬ ‫ﻓﻴﻠﻤﺴــﺎﺯﺍﻥ ﻣﻬﻢ ﻓﻌﺎﻝ ﺍﺛﺮﻱ ﺩﺭ ﺁﻥ ﺩﺍﺷــﺘﻨﺪ؛ ﺗﻘﻮﺍﻳﻲ‪ ،‬ﻛﻴﻤﻴﺎﻳﻲ‪،‬‬ ‫ﻛﻴﺎﺭﺳــﺘﻤﻲ‪ ،‬ﻣﺨﻤﻠﺒﺎﻑ ﻭ ﺟﻌﻔﺮﻱﺟﻮﺯﺍﻧﻲ ﺍﺯ ﺟﻤﻠــﻪ ﺁﻧﻬﺎ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺍﺟﺎﺭﻩﻧﺸﻴﻦﻫﺎ ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﭘﺎﻳﺎﻧﻲ ﺁﻣﺎﺩﻩ ﺷﺪ ﻭ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ ﺷﺪﻳﺪ‬ ‫ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺩﺍﻭﺭﺍﻥ ﻫﺮﭼﻨﺪ ﺩﺭ ﻓﻬﺮﺳﺖ ﻧﺎﻣﺰﺩﻫﺎ ﺗﻮﺟﻪ‬ ‫ﺯﻳﺎﺩﻱ ﺑﻪ ﻓﻴﻠﻢ ﻛﺮﺩﻧﺪ ﺍﻣﺎ ﻫﻨﮕﺎﻡ ﺍﻫﺪﺍﻱ ﺟﻮﺍﻳﺰ ﺍﺻﻠﻲ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻧﺪ‬ ‫ﺗﻨﻬﺎ ﻳﻚ ﺟﺎﻳﺰﻩ ﻓﻨــﻲ )ﺻﺪﺍﺑﺮﺩﺍﺭﻱ( ﺭﺍ ﺑــﻪ ﺁﻥ ﺑﺪﻫﻨﺪ‪ .‬ﺍﺗﻔﺎﻗﻲ ﻛﻪ‬ ‫ﮔﻔﺘﻪ ﻣﻲﺷــﺪ ﻧﺎﺷﻲ ﺍﺯ ﺑﻌﻀﻲ ﺣﺴﺎﺳــﻴﺖﻫﺎ ﺑﻮﺩ‪ .‬ﺣﺴﺎﺳﻴﺘﻲ ﻛﻪ‬ ‫ﺑﻌﺪﺍ ﺑﺎ ﺍﻓﺸــﺎﻱ ﻧﺎﻣﻪ ﺧﺼﻮﺻﻲ ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ ﺷﺐ ‪ 22‬ﺑﻬﻤﻦ ‪ 65‬ﺑﻪ‬ ‫ﺳﻴﺪﻣﺤﻤﺪ ﺑﻬﺸﺘﻲ ﻣﺪﻳﺮ ﻭﻗﺖ ﺑﻨﻴﺎﺩ ﻓﺎﺭﺍﺑﻲ ﻭ ﺩﺑﻴﺮ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺻﻮﺭﺕ ﻭﺍﻗﻌﻲ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ ﻧﺎﻣﻪﺍﺵ ﺿﻤﻦ ﺣﻤﻠﻪ‬ ‫ﺷﺪﻳﺪ ﺑﻪ ﻓﻴﻠﻢ ﺍﺟﺎﺭﻩﻧﺸﻴﻦﻫﺎ ﻭ ﺳــﺎﺧﺘﻪ ﺷﺪﻥ ﺁﻥ‪ ،‬ﺣﺘﻲ ﺍﺯ ﺣﺬﻑ‬ ‫ﻓﻴﺰﻳﻜﻲ ﻫﻢ ﺻﺤﺒﺖ ﻛﺮﺩ‪» :‬ﺩﻭ ﺳﺎﻋﺖ ﭘﻴﺶ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﻳﺪﻡ‪ ،‬ﺣﺎﺿﺮ‬ ‫ﺑﻮﺩﻡ ﺑﻪ ﺧﻮﺩﻡ ﻧﺎﺭﻧﺠﻚ ﺑﺒﻨﺪﻡ ﻭ ﻣﻬﺮﺟﻮﻳﻲ ﺭﺍ ﺑﻐﻞ ﻛﻨﻢ ﻭ ﺑﺎ ﻫﻢ ﺑﻪ ﺁﻥ‬ ‫ﺩﻧﻴﺎ ﺑﺮﻭﻳﻢ‪ «.‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﭘﺎﺳﺦ ﺑﻬﺸﺘﻲ ﺑﻪ ﻣﺨﻤﻠﺒﺎﻑ ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ‬ ‫ﻣﺪﻳﺮﺍﻥ ﺧﻼﻑﻧﻈﺮ ﺍﻓﺮﺍﺩ ﺗﻨﺪﺭﻭﻳﻲ ﭼﻮﻥ ﻣﺨﻤﻠﺒﺎﻑ ﻣﻮﺍﻓﻖ ﻧﻤﺎﻳﺶ‬ ‫ﻓﻴﻠﻢ ﺑﻮﺩﻧﺪ‪» :‬ﺩﺭ ﻣﻮﺭﺩ ﻓﻴﻠﻢ ﺍﺟﺎﺭﻩﻧﺸﻴﻦﻫﺎ ﺑﺎ ﻧﻈﺮﺍﺗﻲ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ‬ ‫ﺍﺯ ﺟﺎﻧﺐ ﺑﺮﺍﺩﺭﺍﻥ ﻣﺴﻠﻤﺎﻥ ﻭ ﻣﻄﻠﻊ ﺑﻪ ﺳﻴﻨﻤﺎ ﺷﻨﻴﺪﻩﺍﻡ ﻋﻤﻮﻣﺎ ﺁﻥ ﺭﺍ‬ ‫ﻓﻴﻠﻤﻲ ﻣﺘﻮﺳﻂ ﺩﺭ ﺳﻄﺢ ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﺍﻧﺘﻘﺎﺩﻱ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺩﻳﺪﻩﺍﻧﺪ ﻭ‬ ‫ﺍﻟﺒﺘﻪ ﺑﺎ ﺳﺎﺧﺘﻲ ﺳﻴﻨﻤﺎﻳﻲ‪ .‬ﺑﺴﻴﺎﺭ ﺧﻮﺷﺤﺎﻝ ﻣﻲﺷﻮﻡ ﺍﮔﺮ ﻧﻈﺮﺗﺎﻥ ﺭﺍ‬ ‫ﻣﺸﺮﻭﺡﺗﺮ ﺑﺪﺍﻧﻢ‪ «.‬ﻭ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﺭﺍﻩ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻓﻴﻠﻢ ﺑﺎﺯ‬ ‫ﻣﻲﺷﻮﺩ‪ .‬ﻫﺮﭼﻨﺪ ﻛﻪ ﺳﺎﻳﻪ ﻣﺨﺎﻟﻔﺖ ﻫﻤﭽﻨﺎﻥ ﺑﺮ ﺳﺮ ﻓﻴﻠﻢ ﺳﻨﮕﻴﻨﻲ‬ ‫ﻣﻲﻛﻨﺪ ﻭ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲﻫﻢ ﺧﻮﺩﺵ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺧﺮﺩﺍﺩ ‪ 1366‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﻣﻮﺍﺟﻪ ﻣﻲﺷــﻮﺩ‪ ،‬ﻣﺨﺎﻟﻔﺎﻧﻲ ﻫﻢ ﺩﺍﺭﺩ‪ .‬ﻣﺨﺎﻟﻔﺎﻧﻲ ﻛﻪ ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ‬ ‫ﺭﺍ ﻧﮕﺎﻩ ﻧﻤﺎﺩﮔﺮﺍﻳﺎﻧﻪ ﺑﻪ ﺷــﺮﺍﻳﻂ ﻋﻤﻮﻣﻲ ﻛﺸــﻮﺭ ﻣﻲﺩﺍﻧﻨﺪ ﻭ ﺍﻋﺘﻘﺎﺩ‬ ‫ﺩﺍﺭﻧﺪ ﻛﻪ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﺯﺑﺎﻥ ﻃﻨﺰ ﺗﻼﺵ ﺩﺍﺷــﺘﻪﺍﻧﺪ ﺍﻧﻘﻼﺏ ﺭﺍ ﺯﻳﺮ‬ ‫ﺳــﻮﺍﻝﺑﺒﺮﻧﺪ‪.‬‬ ‫ﺁﻧﻬــﺎ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺣﺘﻲ ﺑﺮﺍﻱ ﻫﺮ ﺍﺗﻔﺎﻕ ﻭ ﺣﻀــﻮﺭ ﻣﻮﺟﻮﺩﻱ ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﻣﺎﺑﻪﺍﺯﺍ ﻣﻲﺳﺎﺯﻧﺪ ﻭ ﻛﺎﺭ ﺭﺍ ﺗﺎ ﺟﺎﻳﻲ ﭘﻴﺶ ﻣﻲﺑﺮﻧﺪ ﻛﻪ ﺑﺮﺍﻱ ﭘﺮﻧﺪﮔﺎﻥ‬ ‫ﻓﻴﻠﻢ ﻫﻢ ﻣﻌﻨﺎ ﻣﻲﺗﺮﺍﺷــﻨﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ ﺩﺳﺖ ﺑﻪ ﺍﻓﺸﺎﮔﺮﻱﻫﺎﻳﻲ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺍﻗﺪﺍﻣﺎﺕ ﻣﻬﺮﺟﻮﻳﻲ ﺩﺭ ﻓﺮﺍﻧﺴــﻪ ﻭ ﺭﺍﺑﻄﻪﺍﺵ ﺑﺎ ﻏﻼﻣﺤﺴﻴﻦ‬ ‫ﺳــﺎﻋﺪﻱ ﻣﻲﺯﻧﻨﺪ ﻭ ﺩﺍﻣﻨﻪ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﻓﻴﻠﻢ ﺭﺍ ﺑــﻪ ﺍﻣﻀﺎﻱ ﺗﻮﻣﺎﺭ ﻭ‬ ‫ﺍﺭﺍﺋﻪ ﺑﻪ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺠﻠﺲ ﻫﻢ ﻣﻲﻛﺸﺎﻧﻨﺪ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﻧﮕﺮﺍﻧﻲ ﺍﺯ‬ ‫ﺍﺣﺘﻤﺎﻝ ﺑﺮﻭﺯ ﻣﺸﻜﻞ ﺩﺭ ﺭﺍﻩ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺗﻤﺎﻡ ﮔﻔﺖﻭﮔﻮﻫﺎﻳﺸﺎﻥ‬ ‫ﻫﻤﻪ ﺑﺮﺩﺍﺷﺖﻫﺎﻱ ﺧﺎﺹ ﺍﺯ ﻓﻴﻠﻢ ﻭ ﺍﺷﺎﺭﺍﺕ ﺍﺳﺘﻌﺎﺭﻩﺍﻱ ﺭﺍ ﺭﺩ ﻭ ﺻﺮﻓﺎ‬ ‫ﺁﻥ ﺭﺍ ﺍﺛﺮﻱ ﻃﻨﺰﺁﻣﻴﺰ ﻭ ﺳﺎﺩﻩ ﺑﺪﻭﻥ ﺍﻫﺪﺍﻑ ﺧﺎﺹ ﻋﻨﻮﺍﻥ ﻣﻲﻛﻨﻨﺪ‪.‬‬ ‫ﻭﺍﻛﻨﺶ ﺭﺳﺎﻧﻪﻫﺎ ﺑﻪ ﻓﻴﻠﻢ ﻫﻢ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺖ‪ .‬ﺗﻘﺮﻳﺒﺎ ﺗﻤﺎﻡ ﺁﻧﻬﺎ ﺑﻪ‬ ‫ﺑﺤﺚ ﻭ ﺑﺮﺭﺳﻲ ﻓﻴﻠﻢ ﻣﻲﭘﺮﺩﺍﺯﻧﺪ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺗﻘﺮﻳﺒﺎ ﻫﻤﻪ ﺍﺯ ﺳﺎﺧﺖ‬ ‫ﺳــﻴﻨﻤﺎﻳﻲ ﻭ ﻣﺤﻜﻢ ﻓﻴﻠﻢ ﺗﻘﺪﻳﺮ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦﻫﻤﻪ ﺑﺤﺚﻫﺎﻳﻲ‬ ‫ﻫﻢ ﺩﺭﺑﺎﺭﻩ ﻧﻮﻉ ﻃﻨﺰ ﻓﻴﻠﻢ ﻭ ﺍﺗﻔﺎﻗــﺎﺕ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻱ ﺧﺎﺭﺝ ﺍﺯ ﺩﻧﻴﺎﻱ‬ ‫ﻭﺍﻗﻌﻴــﺖ ﺩﺭ ﺑﺮﻣﻲﮔﻴﺮﺩ ﻛــﻪ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑــﻪ ﻣﺨﺎﻟﻔﺖﻫﺎﻱ ﻛﻠﻲ ﻭ‬ ‫ﻣﻀﻤﻮﻧﻲ ﭼﻨﺪﺍﻥ ﻣﻬﻢ ﻧﺸﺎﻥ ﻧﻤﻲﺩﻫﺪ‪ .‬ﻧﻜﺘﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﻛﻤﺘﺮ ﺍﺯ ﻓﻴﻠﻢ ﺩﺭ ﺷﻬﺮﺳﺘﺎﻥﻫﺎ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺗﻬﺮﺍﻥ ﺍﺳﺖ ﻛﻪ ﻧﺸﺎﻥ‬ ‫ﻣﻲﺩﻫﺪ ﻫﺪﻑﮔﻴﺮﻱ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﺑﺮ ﻣﺨﺎﻃﺒﺎﻥ ﺷــﻬﺮﻫﺎﻱ ﺑﺰﺭگ‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺗﻤﺎﺷﺎﻱ ﺍﺟﺎﺭﻩﻧﺸﻴﻦﻫﺎ ﺍﻣﺮﻭﺯ ﻫﻢ ﺟﺬﺍﺏ ﺍﺳﺖ ﻫﺮﭼﻨﺪ ﻛﻪ ﺍﺣﺘﻤﺎﻻ‬ ‫ﻛﻤﺘﺮ ﻛﺴﻲ ﺍﺯ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺳﻴﻨﻤﺎ ﭘﻴﺪﺍ ﻣﻲﺷﻮﺩ ﻛﻪ ﺁﻥ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﺎﺷﺪ‬ ‫ﺍﻣﺎ ﻓﻴﻠﻢ ﺑﻪ ﺷﻜﻞ ﺣﻴﺮﺕﺁﻭﺭﻱ ﺩﺭ ﺩﻳﺪﺍﺭﻫﺎﻱ ﭼﻨﺪﺑﺎﺭﻩ ﻫﻢ ﻣﻲﺗﻮﺍﻧﺪ‬ ‫ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﻫﻤﺮﺍﻩ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺑﻪ ﺳــﺎﺧﺖ ﺩﻗﻴﻖ ﻭ ﻧﻴﺰ ﺭﻭﺍﻳﺖ ﺳــﺎﺩﻩ ﺩﺭ‬ ‫ﻋﻴﻦﺣﺎﻝ ﺩﻗﻴــﻖ ﻭ ﺭﻭﺍﻧﺶ ﺑﺎﺯ ﻣﻲﮔﺮﺩﺩ ﻛﻪ ﺩﺭ ﻧــﮕﺎﻩ ﻫﺮ ﺑﻴﻨﻨﺪﻩﺍﻱ‬ ‫ﻛﻨﺠﻜﺎﻭﻱﺑﺮﺍﻧﮕﻴﺰ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺍﺟﺮﺍﻱ ﻋﻮﺍﻣﻞ ﺑﻮﻳﮋﻩ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﻫﻢ ﺩﺭ ﺍﻭﺟﻲ ﺩﺳــﺖ ﻧﻴﺎﻓﺘﻨﻲ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﺁﻥ ﭼﻨــﺎﻥ ﻛﻪ ﺗﻜﺮﺍﺭﻫﺎﻳﻲ‬ ‫ﺍﺯ ﺍﺟﺮﺍﻫﺎﻱ ﻣﺸــﺎﺑﻪ ﺷــﺨﺼﻴﺖﻫﺎﻱ ﻓﻴﻠﻢ ﺑﻌــﺪ ﺍﺯ ﺁﻥ ﺩﺭ ﻓﻴﻠﻢﻫﺎ ﻭ‬ ‫ﺳﺮﻳﺎﻝﻫﺎﻱ ﻣﺘﻌﺪﺩ ﺩﻳﮕﺮﻱ ﻫﻢ ﺩﻳﺪﻩ ﺷﺪ‪.‬‬ ‫ﺟﺪﺍ ﺍﺯ ﭘﺮﺩﺍﺧﺖ ﺣﺮﻓﻪﺍﻱ ﻭ ﺳــﺎﺧﺘﺎﺭ ﻣﺤﻜﻢ ﻓﻴﻠﻢ‪ ،‬ﺍﺟﺎﺭﻩﻧﺸــﻴﻦﻫﺎ‬ ‫ﻫﻤﭽﻨﺎﻥ ﻳﺎﺩﺁﻭﺭ ﻣﻌﻀﻼﺕ ﺍﻣﺮﻭﺯ ﻫﻢ ﻫﺴﺖ‪ .‬ﺑﺎ ﺁﻧﻜﻪ ﻓﻴﻠﻢ ﺑﻪ ﻭﺍﺳﻄﻪ‬ ‫ﻣﻼﺣﻈﺎﺕ ﺯﻣﺎﻥ ﺳﺎﺧﺖ‪ ،‬ﭘﺎﻳﺎﻥ ﺧﻮﺵ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻣﻴﺪﻭﺍﺭﻛﻨﻨﺪﻩﺍﻱ‬ ‫ﺩﺍﺭﺩ ﺍﻣﺎ ﺗﻤﺎﺷﺎﮔﺮ ﺍﻣﺮﻭﺯ ﺍﺣﺘﻤﺎﻻ ﺭﻭﺍﻳﺘﻲ ﺑﻪ ﻣﺮﺍﺗﺐ ﺗﻠﺦﺗﺮ ﻭ ﺧﺸﻦﺗﺮ ﺍﺯ‬ ‫ﻣﺎﺟﺮﺍﻫﺎﻱ ﻓﻴﻠﻢ ﺭﺍ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﻭﺍﺳﻄﻪﮔﺮﻱ ﻭ ﺭﻗﺎﺑﺖ ﺳﻮﺩﺟﻮﻳﺎﻧﻪ‬ ‫ﺷــﺨﺼﻴﺖﻫﺎﻱ ﻓﻴﻠﻢ ﺍﻣﺮﻭﺯ ﺑﻪ ﻭﻳﮋﮔﻲﻫﺎﻱ ﻣﺘﻌﺎﺭﻑ ﺟﺎﻣﻌﻪ ﺗﺒﺪﻳﻞ‬ ‫ﺷــﺪﻩ ﺍﺳــﺖ ﻭ ﺗﻤﺎﺷــﺎﮔﺮ ﺍﻣﺮﻭﺯ ﺷــﺎﻳﺪ ﺑﺎ ﺧﻨﺪﻩ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﻓﻴﻠﻢ ﺩﺭ ﻧﻬﺎﻧﺶ ﻣــﺮﻭﺭﻱ ﺑﺮ ﺩﻭﺭﻩ ﺁﻏﺎﺯﻳﻦ ﭘﺎﮔﺮﻓﺘــﻦ ﺍﻳﻦ ﺍﺭﺯﺵﻫﺎ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺟﺎﻟﺐ ﺍﻳﻨﺠﺎﺳــﺖ ﻛﻪ ﺣﺘﻲ ﺩﺭ ﺻﻮﺭﺕ ﻗﺎﺋﻞ ﺷﺪﻥ ﺑﻪ‬ ‫ﺗﻔﺴــﻴﺮﻫﺎﻱ ﻧﻤﺎﺩﮔﺮﺍﻳﺎﻧﻪ ﺍﺯ ﻓﻴﻠﻢ ﻫﻤﭽﻨﺎﻥ ﻫﻢ ﺭﺍﻩ ﺑﺮ ﺗﺪﺍﻭﻡ ﭼﻨﻴﻦ‬ ‫ﺑﺮﺩﺍﺷﺖﻫﺎﻳﻲ ﺍﺯ ﻓﻴﻠﻢ ﺑﺎﻭﺟﻮﺩ ﮔﺬﺷﺖ ﺑﻴﺶ ﺍﺯ ﺩﻭ ﺩﻫﻪ ﺍﺯ ﺳﺎﺧﺖ ﺁﻥ‬ ‫ﺑﺎﺯ ﺍﺳﺖ‪.‬‬ ‫ﺍﺟﺎﺭﻩﻧﺸــﻴﻦﻫﺎ ﺭﺍ ﺍﺯ ﻣﻨﻈﺮﻱ ﺩﻳﮕﺮ ﻣﻲﺗﻮﺍﻥ ﺍﻟﮕﻮﻱ ﺍﻭﻟﻴﻪ ﺳــﺎﺧﺖ‬ ‫ﻓﻴﻠﻢﻫــﺎ ﻭ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﺁﭘﺎﺭﺗﻤﺎﻧﻲ ﺍﻳﺮﺍﻥ ﺩﺍﻧﺴــﺖ ﻛــﻪ ﺑﻮﻳﮋﻩ ﺩﺭ‬ ‫ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 70‬ﺭﻭﻧﻖ ﭼﺸــﻤﮕﻴﺮﻱ ﭘﻴﺪﺍ ﻛﺮﺩﻧﺪ‪ .‬ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﻛﻤﺘﺮ‬ ‫ﻛﻤﺪﻱ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺣﺘﻲ ﺗﺎ ﺑﻪﺣﺎﻝ ﺗﻮﺍﻧﺴــﺘﻪ ﭼﻨﻴﻦ ﺧﻨﺪﻩﻫﺎﻳﻲ ﺭﺍ ﺍﺯ‬ ‫ﺑﻴﻨﻨﺪﻩﺍﺵ ﺑﮕﻴﺮﺩ‪.‬‬ ‫‪7‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻋﺮﻭﺳﻲ ﺧﻮﺑﺎﻥ )‪(1367‬‬ ‫ﻓﺮﻳﺎﺩ ﻛﻮﺑﻨﺪﻩ ﻋﺪﺍﻟﺖ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﺗﺪﻭﻳﻦ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺤﺴـﻦ ﻣﺨﻤﻠﺒﺎﻑ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻋﻠﻴﺮﺿﺎ‬ ‫ﺯﺭﻳﻦﺩﺳﺖ‪ ،‬ﻣﻮﺳﻴﻘﻲ‪ :‬ﺑﺎﺑﻚ ﺑﻴﺎﺕ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﻛﺮﻳﻢ ﺯﺭﮔﺮ‪ ،‬ﺩﺳﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺤﺮﻡ ﺯﻳﻨﺎﻝﺯﺍﺩﻩ‪،‬‬ ‫ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﻋﺒﺪﺍﷲ ﺍﺳﻜﻨﺪﺭﻱ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺍﺣﻤﺪ ﺍﺣﻤﺪﭘﻮﺭ‪ ،‬ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳﮋﻩ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ‬ ‫ﺷﺮﻑﺍﻟﺪﻳﻦ‪ ،‬ﻣﺪﻳﺮ ﺗﺪﺍﺭﻛﺎﺕ‪ :‬ﻣﻬﺮﺍﻥ ﺻﺎﺭﻣﻲ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﺤﻤﻮﺩ ﺑﻲﻏﻢ‪ ،‬ﺭﻭﻳﺎ ﻧﻮﻧﻬﺎﻟﻲ‪ ،‬ﻣﺤﺴـﻦ ﺯﻫﺘﺎﺏ‪ ،‬ﺣﺴﻴﻦ ﻣﺴﻠﻤﻲ‪ ،‬ﺍﺑﺮﺍﻫﻴﻢﺁﺑﺎﺩﻱ‪ ،‬ﺍﻳﺮﺝ‬ ‫ﺻﻐﻴﺮﻱ‪ ،‬ﻋﺼﻤﺖ ﻣﺨﻤﻠﺒﺎﻑ ﻣﺤﺼﻮﻝ‪ :‬ﻣﻮﺳﺴﻪ ﺍﻣﻮﺭ ﺳﻴﻨﻤﺎﻳﻲ ﺑﻨﻴﺎﺩ ﺟﺎﻧﺒﺎﺯﺍﻥ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻲ‪،‬‬ ‫‪ 79‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 6 :‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪ ،1368‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 8/7 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺣﺎﺟﻲ ﻛﻪ ﺩﺭ ﺟﺒﻬﻪ ﺩﭼﺎﺭ ﻣﻮﺝ ﺍﻧﻔﺠﺎﺭ ﺷــﺪﻩ ﺍﺯ ﺁﺳﺎﻳﺸﮕﺎﻩ ﺭﻭﺍﻧﻲ ﻣﺮﺧﺺ ﻣﻲ ﺷﻮﺩ ﺗﺎ ﺩﺭ ﻣﺤﻴﻄﻲ ﺁﺭﺍﻡ ﺳﻼﻣﺖ ﺧﻮﺩ ﺭﺍ ﺑﺎﺯﻳﺎﺑﺪ‪ .‬ﭘﺪﺭ ﻧﺎﻣﺰﺩ ﺍﻭ‪،‬‬ ‫ﻣﻬﺮﻱ‪ ،‬ﺩﺭ ﺟﺮﻳﺎﻥ ﺟﻨﮓ ﺑﺎ ﺳﻮﺩﺁﻭﺭﻱ ﺍﺯ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺗﺒﺪﻳﻞ ﺑﻪ ﺗﺎﺟﺮ ﺛﺮﻭﺗﻤﻨﺪﻱ ﺷﺪﻩ ﻭ ﺣﺎﻻ ﺑﺎ ﺍﺯﺩﻭﺍﺝ ﺁﻥ ﺩﻭ ﻣﺨﺎﻟﻒ ﺍﺳﺖ‪ .‬ﺣﺎﺟﻲ ﺩﺭ ﺗﻌﺎﺭﺽ‬ ‫ﺑﺎ ﻧﺎﮔﻮﺍﺭﻱﻫﺎﻱ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻓﺶ ﺩﭼﺎﺭ ﺣﻤﻠﻪﻫﺎﻱ ﺷــﺪﻳﺪ ﻋﺼﺒﻲ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺑﻪﻋﻨﻮﺍﻥ ﻋﻜﺎﺱ ﺷﺮﻭﻉ ﺑﻪ ﻛﺎﺭ ﻣﻲﻛﻨﺪ ﻭ‬ ‫ﻋﻜﺲﻫﺎﻳﻲ ﻧﻴﺰ ﺍﺯ ﻣﻌﺘﺎﺩﺍﻥ ﻭ ﺍﻓﺮﺍﺩ ﺩﻭﺭﻩﮔﺮﺩ ﺑﺮﺍﻱ ﭼﺎپ ﺑﻪ ﻣﺪﻳﺮ ﺭﻭﺯﻧﺎﻣﻪ ﻣﻲﺩﻫﺪ‪ .‬ﻋﻜﺲﻫﺎ ﭼﺎپ ﻧﻤﻲﺷﻮﻧﺪ‪ .‬ﺣﺎﺟﻲ ﺑﻨﺎ ﺑﻪﺍﺻﺮﺍﺭ ﻣﻬﺮﻱ ﺍﺯﺩﻭﺍﺝ‬ ‫ﻣﻲﻛﻨﺪ ﻭ ﺩﺭ ﻣﺮﺍﺳــﻢ ﺍﺯﺩﻭﺍﺝ ﭘﺪﺭ ﺩﺧﺘﺮ ‪ ،‬ﺍﻣﺜﺎﻝ ﺍﻭ ﺭﺍ ﺑﻪ ﺭﻳﺸﺨﻨﺪ ﻣﻲﮔﻴﺮﺩ ﻭ ﭘﺲ ﺍﺯ ﺣﻤﻠﻪ ﺷﺪﻳﺪ ﻋﺼﺒﻲ ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﻭ ﺭﺍ ﺑﻪ ﺁﺳﺎﻳﺸﮕﺎﻩ ﻣﻲﺑﺮﻧﺪ‪.‬‬ ‫ﺣﺎﺟﻲ ﺍﺯ ﺁﺳﺎﻳﺸﮕﺎﻩ ﻣﻲﮔﺮﻳﺰﺩ ﻭ ﺳﭙﺲ ﺑﻪ ﻣﻬﺮﻱ ﺗﻠﻔﻦ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﻗﺼﺪ ﺭﻓﺘﻦ ﺑﻪ ﺟﺒﻬﻪ ﺍﺯ ﺍﻭ ﺣﻼﻟﻴﺖ ﻣﻲﻃﻠﺒﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺟﺎﻣﻌــﻪ ﺍﻳﺮﺍﻥ ﺩﺭ ﺣﺎﻟﻲ ﭘــﺎﻱ ﺩﺭ ﻧﻴﻤﻪ ﺩﻭﻡ ﺩﻫﻪ ‪ 60‬ﻣﻲﮔﺬﺍﺷــﺖ ﻛﻪ‬ ‫ﻫﻤﭽﻨﺎﻥ ﻭﺍﻗﻌﻴﺘﻲ ﺑﻪ ﻧﺎﻡ ﺟﻨﮓ ﺑﺮﺍﺑﺮﺵ ﮔﺸــﻮﺩﻩ ﺑــﻮﺩ‪ .‬ﺭﻭﻳﺪﺍﺩﻱ ﻛﻪ‬ ‫ﻫﺮﭼﻪ ﺍﺯ ﺗﺪﺍﻭﻣﺶ ﻣﻲﮔﺬﺷﺖ‪ ،‬ﻣﺼﺎﺋﺐ ﻭ ﻣﺸﻜﻼﺗﺶ ﺑﻴﺸﺘﺮ ﻣﻲﺷﺪ‪.‬‬ ‫ﻋﺮﺍﻕ ﺑﺎ ﺗﺠﻬﻴﺰ ﺑﻲﭘﺎﻳﺎﻥ ﺍﺯ ﺳﻮﻱ ﻏﺮﺏ‪ ،‬ﺟﻨﮓ ﺭﺍ ﻛﺎﻣﻼ ﺑﻪ ﺷﻬﺮﻫﺎ ﻛﺸﺎﻧﺪﻩ‬ ‫ﺑﻮﺩ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺩﺭ ﺍﺳــﻔﻨﺪ ‪ 66‬ﻭ ﻓﺮﻭﺭﺩﻳﻦ ‪ 67‬ﺗﻬﺮﺍﻥ ﺗﻘﺮﻳﺒﺎ ﺷــﺒﻲ ﺍﺯ‬ ‫ﻣﻮﺷﻚ ﺑﺎﺭﺍﻥ ﺩﺷﻤﻦ ﺩﺭ ﺍﻣﺎﻥ ﻧﺒﻮﺩ‪ .‬ﻧﻮﺭﻭﺯ ﺩﺭ ﺣﺎﻟﻲ ﺩﺭ ﭘﻨﺎﻫﮕﺎﻩﻫﺎ ﺟﺸﻦ‬ ‫ﮔﺮﻓﺘﻪ ﺷﺪ ﻛﻪ ﻓﺸﺎﺭ ﺍﻗﺘﺼﺎﺩﻱ ﻧﺎﺷــﻲ ﺍﺯ ﺟﻨﮓ ﺭﻭﺯﺍﻓﺰﻭﻥ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎ‬ ‫ﺍﻳﻦﻫﻤﻪ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺧﻮﺩ ﻃﺒﻘﻪ ﺟﺪﻳﺪﻱ ﺑﻮﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﻃﺒﻘﻪﺍﻱ‬ ‫ﻛﻪ ﺍﺯ ﺟﻨﮓ ﻣﻨﺘﻔﻊ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺳﻮﺩﺁﻭﺭﻱ ﺟﺮﻳﺎﻧﻲ ﻣﺘﺼﻞ ﺑﻪ ﺑﺎﺯﺍﺭ ﺍﺯ ﺟﻨﮓ‬ ‫ﺣﺪﻳﺚ ﻛﻮﭼﻪ ﻭ ﺑﺎﺯﺍﺭ ﺑﻮﺩ‪ .‬ﺣﺪﻳﺜﻲ ﻛﻪ ﺍﻧﺘﻈﺎﺭ ﺑﻴﺎﻧﺶ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﻛﺎﻣﻼ ﺩﻭﺭ ﺍﺯ ﺫﻫﻦ ﺑﻪ ﻧﻈﺮ ﻣﻲ ﺭﺳــﻴﺪ ﺍﻣﺎ ﺑﺮﺍﻱ ﻳﻚ ﭘﺪﻳﺪﻩ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‬ ‫ﻣﻤﻜﻦ ﺑﻮﺩ‪ :‬ﻣﺤﺴﻦ ﻣﺨﻤﻠﺒﺎﻑ‪ .‬ﺍﺳﺘﻌﺪﺍﺩ ﺳﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ ﻧﻤﺎﺩ‬ ‫ﺳﻴﻨﻤﺎﻱ ﻣﺘﻌﻠﻖ ﺑﻪ ﻣﺴﺘﻀﻌﻔﻴﻦ ﺩﺭ ﺩﻭﺭﻩ ﺩﻭﻡ ﻓﻴﻠﻤﺴﺎﺯﻱﺍﺵ‪ ،‬ﭘﻴﮕﻴﺮ‬ ‫ﻋﺪﺍﻟﺖ ﺍﺟﺘﻤﺎﻋﻲ ﺷــﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻭﺭﻩﺍﻱ ﻛﻪ ﺍﺯ »ﺩﺳﺘﻔﺮﻭﺵ« ﺁﻏﺎﺯ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺗﺪﺍﻭﻣﻲ ﻗﺎﺑﻞ ﺗﺎﻣﻞ ﻣﺎﻧﻨﺪ »ﺑﺎﻱﺳــﻴﻜﻞﺭﺍﻥ«‪ ،‬ﺍﻭﺟﻲ ﭼﻮﻥ‬ ‫»ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ« ﻣﻲﺧﻮﺍﺳــﺖ‪ .‬ﺭﺯﻣﻨﺪﻩ ﻣﻮﺟﻲ ﺟﻨﮓ ﺩﺭ ﻣﺮﺍﺟﻌﺖ‬ ‫ﺍﺯ ﺟﺒﻬﻪ ﺑﻪ ﺷــﻬﺮ ﻭ ﺑﺎ ﻣﺸﺎﻫﺪﻩ ﻣﻌﻀﻼﺕ ﻭ ﻣﻨﺎﺳﺒﺎﺕ ﺁﻟﻮﺩﻩ‪ ،‬ﻣﺠﺮﻭﺡﺗﺮ‬ ‫ﻭ ﺳﺮﺧﻮﺭﺩﻩﺗﺮ ﻣﺪﺍﻭﺍﻳﺶ ﺭﺍ ﺩﺭ ﻫﻤﺎﻥ ﺟﺒﻬﻪﻫﺎ ﻣﻲﻳﺎﻓﺖ‪ .‬ﻓﻴﻠﻤﻲ ﺑﺴﻴﺎﺭ‬ ‫ﺻﺮﻳﺢ ﺩﺭ ﻧﻘﺪ ﻛﻠﻴﺖ ﻣﻨﺎﺳﺒﺎﺕ ﻳﻚ ﺟﺎﻣﻌﻪ‪ .‬ﺟﺎﻣﻌﻪﺍﻱ ﻛﻪ ﮔﻮﻳﻲ ﺟﺎﻳﻲ‬ ‫ﺑﺮﺍﻱ ﻳﻚ ﺁﺭﻣﺎﻧﺨﻮﺍﻩ ﻧﺪﺍﺷﺖ‪ .‬ﻋﺮﻭﺳﻲ ﺧﻮﺑﺎﻥ ﺗﻨﺪﺗﺮﻳﻦ ﻧﻘﺪ ﺑﻪ ﺟﺮﻳﺎﻥ‬ ‫ﺳﺮﻣﺎﻳﻪﺳﺪﺍﺭﻱ ﺍﺳــﻼﻣﻲ ﻭ ﺟﻨﺎﺡ ﺭﺍﺳﺖ ﺍﺳﻼﻣﻲ ﺁﻥ ﺩﻭﺭﺍﻥ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﻣﻲﺗﻮﺍﻧﺴــﺖ ﭼﻨﻴﻦ ﺑﻲﭘﺮﻭﺍﻳﻲ ﺩﺭ ﺁﻥ ﺩﻭﺭﺍﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻛﺴــﻲ ﻛﻪ »ﻣﻮﺝ ﺍﺟﺘﻤﺎﻉ« ﺭﺍ ﺍﺯ »ﻣﻮﺝ ﺍﻧﻔﺠﺎﺭ« ﻫﻢ ﻣﻬﻴﺐﺗﺮ ﺩﻳﺪﻩ ﺑﻮﺩ‬ ‫ﻭ ﺍﻳﻦ ﺑﺮﺍﻱ ﺟﺎﻣﻌﻪ ﺁﻥ ﺭﻭﺯ ﺯﻭﺩ ﺑﻮﺩ‪ .‬ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺑﺎ ﺍﻏﻤﺎﺽﻫﺎﻳﻲ ﻛﻪ‬ ‫ﺑﻴﺶ ﺍﺯ ﻫﺮﭼﻴﺰ ﻧﺎﺷــﻲ ﺍﺯ ﭘﺎﻳﺎﻥ ﺟﻨﮓ ﻭ ﺭﺧﻮﺕ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺑﻮﺩ‪ ،‬ﺗﺤﻤﻞ‬ ‫ﺷﺪ‪ .‬ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﺑﺮﺍﻱ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻌﺪ »ﭘﺪﻳﺪﻩ« ﻧﻴﻔﺘﺎﺩ‪ .‬ﺍﻭ ﺩﺭ ﺣﺎﻝ ﮔﺬﺭ ﺍﺯ‬ ‫ﺍﻋﺘﻘﺎﺩﺍﺕ ﭘﻴﺸﻴﻨﺶ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺑﻌــﺪ ﺍﺯ ﺍﺧﺘﻼﻓﺎﺗﻲ ﻛﻪ ﻣﺨﻤﻠﺒﺎﻑ ﺍﺯ ﻓﻴﻠﻢ »ﺩﺳــﺘﻔﺮﻭﺵ« ﺑﺎ ﻣﺪﻳﺮﻳﺖ‬ ‫ﻭﻗﺖ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﭘﻴﺪﺍ ﻛﺮﺩ‪ ،‬ﻣﻮﺳﺴﻪ ﺳــﻴﻨﻤﺎﻳﻲ ﺑﻨﻴﺎﺩ ﻣﺴﺘﻀﻌﻔﺎﻥ‬ ‫‪63‬‬ ‫ﻛﺎﺭ ﺗﻬﻴﻪ ﺩﻭ ﻓﻴﻠﻢ ﺑﻌﺪﻱ ﺍﻭ ﺭﺍ ﺑﻪﻋﻬــﺪﻩ ﮔﺮﻓﺖ‪ .‬ﺩﻭ ﻓﻴﻠﻤﻲ ﻛﻪ ﺑﺎ ﻓﺎﺻﻠﻪ ﺗﺼﻮﻳﺮﻱ ﻣﻐﺸــﻮﺵ ﺍﺯ ﺍﻳﺮﺍﻥ ﺍﺳــﻼﻣﻲ ﺩﺍﺭﺩ‪ «.‬ﻣﻨﺘﻘﺪﺍﻧﻲ ﻛﻪ ﺗﻼﺵ‬ ‫ﻛﻤﻲ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺳﺎﺧﺘﻪ ﺷﺪﻧﺪ ﻭ ﻫﺮ ﺩﻭ ﻳﻚ ﻣﻀﻤﻮﻥ ﻣﺤﻮﺭﻱ ﺩﺍﺷﺘﻨﺪ‪ :‬ﻣﻲﻛﻨﻨﺪ ﺑﻴﺸﺘﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺑﻪ ﺑﺤﺚ ﺑﻨﺸﻴﻨﻨﺪ ﺑﻴﺸﺘﺮ ﺑﺮ ﺳﺎﺧﺘﺎﺭ ﻧﻴﻤﻪ‬ ‫ﻋﺪﺍﻟﺖ ﺍﺟﺘﻤﺎﻋﻲ‪ .‬ﺁﺷــﻜﺎﺭ ﺑﻮﺩ ﻛﻪ ﺩﻳﮕﺮ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﻧﻤﻲﺗﻮﺍﻧﺴــﺖ ﺳــﻮﺭﺭﺋﺎﻝ ﻓﻴﻠﻢ ﺗﺎﻛﻴﺪ ﻣﻲﻛﻨﻨﺪ ﻭ ﺍﻟﺒﺘﻪ ﺑﺎﻭﺟﻮﺩ ﺗﻤﺎﻡ ﺗﻼﺵﻫﺎﻳﺸﺎﻥ‬ ‫ﻫﻤﭙــﺎﻱ ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺟﺪﻳﺪﺵ ﭘﻴﺶ ﺁﻳــﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺍﻭ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺍﺯ ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ ﺳﺨﻨﻲ ﺑﺮ ﺯﺑﺎﻥ ﻧﻴﺎﻭﺭﻧﺪ‪ .‬ﺍﻳﻦ ﭼﻨﻴﻦ ﺍﺳﺖ‬ ‫ﺁﻧﻘﺪﺭ ﺍﻋﺘﺒﺎﺭ ﺩﺍﺷــﺖ ﻛﻪ ﺑﻼﻓﺎﺻﻠﻪ ﻧﻬﺎﺩﻫﺎﻱ ﺩﻳﮕﺮ ﭘﺬﻳﺮﺍﻳﺶ ﺑﺎﺷــﻨﺪ‪ .‬ﻛﻪ ﺗﻤﺎﻡ ﺻﺤﺒﺖﻫﺎ ﻭ ﻧﻈﺮﺍﺕ ﺣﻮﻝ ﻣﻀﻤﻮﻥ ﻣﻲﭼﺮﺧﺪ ﻭ ﻛﻤﺘﺮ ﻛﺴﻲ‬ ‫ﻛﺎﺭ ﺗﻮﻟﻴــﺪ ﻋﺮﻭﺳــﻲﺧﻮﺑﺎﻥ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻌــﺪ ﺍﺯ ﭘﺎﻳــﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺑﺮ ﺳــﺎﺧﺘﺎﺭ ﻭ ﺯﺑﺎﻥ ﺳﻴﻨﻤﺎﻳﻲ ﺗﻜﻴﻪ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺍﻣﻨﻪ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‬ ‫ﺑﺎﻱﺳﻴﻜﻞﺭﺍﻥ ﺑﺮ ﺍﺳﺎﺱ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﻛﻪ ﺳﺎﻝ‪ 66‬ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ ﺍﺯ ﺳﻮﻱ ﺣﺘﻲ ﺑﻪ ﺭﺳﺎﻧﻪﻫﺎﻱ ﻏﺮﺑﻲ ﻫﻢ ﻛﺸﻴﺪﻩ ﻣﻲﺷﻮﺩ ﻭ ﮔﺰﺍﺭﺵﻫﺎﻱ ﺁﻧﻬﺎ ﺑﺮ‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﺳﺮﻭﺵ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺁﻏﺎﺯ‬ ‫ﺣﺴﺎﺳــﻴﺖﻫﺎ ﻣﻲﺍﻓﺰﺍﻳﺪ‪ .‬ﮔﺰﺍﺭﺵﻫﺎﻳﻲ‬ ‫ﺷــﺪ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ ﺭﻭﺯﻫﺎﻳﻲ ﻛﻪ ﺗﻬﺮﺍﻥ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺨﻤﻠﺒﺎﻑ ﺑﻪ ﺳــﺮﺧﻮﺭﺩﮔﻲ ﺍﺯ‬ ‫ﭘﻴﺶ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﻣﺨﻤﻠﺒﺎﻑ‬ ‫ﺯﻳﺮ ﺷﺪﻳﺪﺗﺮﻳﻦ ﻣﻮﺷــﻚﺑﺎﺭﺍﻥ ﺩﺷﻤﻦ‬ ‫ﺍﻧﻘﻼﺏ ﻣﺘﻬﻢ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻤﺰﻣﺎﻥ ﻣﻴﺰﺍﻥ‬ ‫ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺭﺍ ﺑﻬﺘﺮﻳﻦ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﺑﺎ ﺳﻤﺎﺟﺖ ﻛﺎﺭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺗﺤــﻮﻝ ﻣﺨﻤﻠﺒﺎﻑ ﺍﻟﺒﺘﻪ ﺑﺴــﻴﺎﺭﻱ ﺭﺍ ﺑﻪ‬ ‫ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺭﺍ ﭘﻴﺶ ﺑﺮﺩ‪ .‬ﻫﺮﭼﻨﺪ ﺩﺭ‬ ‫ﺗﺤﻴﺮ ﻭﺍﺩﺍﺷــﺘﻪ ﺑﻮﺩ‪ .‬ﻣﺴــﻴﺮ ﺗﺤﻮﻝ ﺍﻭ ﺍﺯ‬ ‫ﻣﻘﺎﻃﻌــﻲ ﻣﺠﺒﻮﺭ ﺑــﻪ ﺗﻮﻗﻒﻫﺎﻱ ﻛﻮﺗﺎﻩ‬ ‫ﺳﺎﺧﺘﻪﺍﺵ ﻋﻨﻮﺍﻥ ﻛﺮﺩ ﻭ ﮔﻔﺖ ﺩﺭ ﻫﺮ ﺍﻇﻬﺎﺭ ﻧﻈﺮ ﺗﺎ ﺍﻇﻬﺎﺭﻧﻈﺮ ﺑﻌﺪﻱ ﺁﺷﻜﺎﺭ‬ ‫ﺷﺪ‪ .‬ﺳــﺮﺍﻧﺠﺎﻡ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻫﻤﺰﻣﺎﻥ ﺑﺎ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻭ ﺳﺮﺍﻧﺠﺎﻡ ﮔﻔﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻋﺮﻭﺳﻲ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪﺩﻧﺒﺎﻝ ﻧﻤﺎﺩ ﻭ ﮔﻔﺘﻦ‬ ‫ﺭﻭﺯﻫﺎﻱ ﭘﺬﻳﺮﺵ ﻗﻄﻌﻨﺎﻣﻪ ﻭ ﭘﺎﻳﺎﻥ ﺟﻨﮓ‬ ‫ﺧﻮﺑﺎﻥ ﻣﻲﺧﻮﺍﻫﺪ ﺑﻪ ﺧﺎﻧﻪﺗﻜﺎﻧﻲ ﺭﻭﺣﻲ‬ ‫ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ .‬ﺍﺯ ﻧﻜﺎﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﻓﻴﻠﻢ ﻓﻠﺴﻔﻪ ﻭ ﺳﻴﺎﺳﺘﻲ ﺧﺎﺹ ﻧﺒﻮﺩﻩ‬ ‫ﺑﭙﺮﺩﺍﺯﺩ ﻭ ﭼﻨﺪ ﺳــﺎﻟﻲ ﻓﻴﻠﻢ ﻧﺴــﺎﺯﺩ ﺩﺭ‬ ‫ﺣﺎﻟﻲ ﻛــﻪ ﻫﻤﺎﻥ ﻣﻮﻗــﻊ ﺍﺯ ﺯﻳﺒﺎﻳﻲﻫﺎﻱ‬ ‫ﺣﻀﻮﺭ ﻛﺮﻳﻢ ﺯﺭﮔﺮ ﺭﺋﻴﺲ ﻭﻗﺖ ﺩﺍﻧﺸﻜﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦﻫﻤﻪ ﺍﺯ ﻫﻤﺎﻥ ﺍﻭﻟﻴﻦ‬ ‫ﺻﺪﺍﻭﺳﻴﻤﺎ ﺩﺭ ﻣﻘﺎﻡ ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺑﻮﺩ‬ ‫»ﺑﺮﻟﻴﻦ ﺯﻳﺮﺑﺎﻝ ﻓﺮﺷﺘﮕﺎﻥ« ﻭﻳﻢ ﻭﻧﺪﺭﺱ‬ ‫ﻛــﻪ ﺩﺭ ﻓﺮﺍﻫﻢﻛﺮﺩﻥ ﻣﻘﺪﻣﺎﺕ ﺳــﺎﺧﺖ‬ ‫ﺻﺤﺒﺖ ﻣﻲﻛﺮﺩ ﻭ ﭼﻨﺪﻣــﺎﻩ ﺑﻌﺪ ﻣﻘﺎﻟﻪ‬ ‫ﻧﻮﺑﺖ ﻧﻤﺎﻳﺶ ﺣﺮﻑ ﻭ ﺣﺪﻳﺚ‬ ‫ﻓﻴﻠﻢ ﻧﻘﺶ ﭘﺮﺭﻧﮕﻲ ﺩﺍﺷﺖ ﻭ ﺧﻮﺩﺵ ﻫﻢ‬ ‫ﻣﻌﺮﻭﻓــﺶ ﺭﺍ ﺑﺎ ﻧــﺎﻡ »ﺍﺯ ﺍﺳــﺐ ﭼﻮﺑﻴﻦ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‬ ‫ﺑﻼﻓﺎﺻﻠﻪ ﺑﺮ ﺍﺳــﺎﺱ ﻓﻴﻠﻤﻨﺎﻣﻪ »ﻣﺪﺭﺳﻪ‬ ‫ﺟﺰﻣﻴﺖ ﺗﺎ ﺑﺎﻝ ﻣﻬﺮﺑﺎﻥ ﻧﺴﺒﻴﺖ« ﻧﻮﺷﺖ‪.‬‬ ‫ﺭﺟﺎﻳﻲ« ﻣﺨﻤﻠﺒﺎﻑ ﻧﺨﺴﺘﻴﻦ ﻓﻴﻠﻤﺶ‬ ‫ﻧﻤﺎﻳﺶ ﻋﺮﻭﺳﻲ ﺧﻮﺑﺎﻥ ﺩﺭ ﺣﺎﻟﻲ ﺑﺎ ﻭﻗﻮﻉ‬ ‫ﺭﺍ ﺳﺎﺧﺖ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺟﺰ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺮﺻﺖ ﻧﻤﺎﻳﺶ ﺩﻳﮕﺮﻱ ﻧﻴﺎﻓﺖ‪ .‬ﺩﺭﮔﺬﺷﺖ ﺍﻣﺎﻡ)ﺭﻩ( ﭘﺎﻳﺎﻥ ﻳﺎﻓﺖ ﻛﻪ ﺟﻤﻌﻲ ﻃﺮﺡﻫﺎﻳﻲ ﺳﻴﻨﻤﺎﻳﻲ ﺩﺭ‬ ‫ﺑﻪ ﻫﺮﺷــﻜﻞ ﻋﺮﻭﺳــﻲ ﺧﻮﺑﺎﻥ ﺑﺎ ﺗﻐﻴﻴﺮﺍﺕ ﺯﻳﺎﺩ ﻧﺴــﺒﺖ ﺑﻪ ﻓﻴﻠﻤﻨﺎﻣﻪ ﭘﺎﺳﺦ ﺑﻪ ﻓﻴﻠﻢ ﺁﻣﺎﺩﻩ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻳﻜﻲ ﺍﺯ ﺁﻧﻬﺎ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﻮﺩ‬ ‫ﻣﻨﺘﺸﺮﻩﺍﺵ‪ ،‬ﻫﻤﺮﺍﻩ ﺑﺎﻱﺳﻴﻜﻞﺭﺍﻥ ﺑﺮﺍﻱ ﻋﺮﺿﻪ ﺩﺭ ﻫﺸﺘﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻣﻮﺿﻌﺶ ﺭﺍ ﺩﺭ ﻗﺒﺎﻝ ﻓﻴﻠﻢ ﺑﺎ ﺍﻋﻼﻡ ﺍﻳﻨﻜﻪ ﻣﺤﺘﻮﺍﻱ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ ﺁﻣﺎﺩﻩ ﺷﺪ‪.‬‬ ‫ﺁﻥ ﻣﻮﺭﺩ ﺗﺎﻳﻴﺪﺵ ﻧﻴﺴــﺖ‪ ،‬ﺻﺮﻳﺤﺎ ﺍﻋﻼﻡ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﻭ ﺳــﺎﻝ ﺑﻌﺪ‬ ‫»ﻭﺻﻞ ﻧﻴﻜﺎﻥ« ﺭﺍ ﺑﺎ ﻃﻌﻨﻪﺍﻱ ﺣﺘﻲ ﺩﺭ ﻧﺎﻡ ﺩﺭ ﺟﻮﺍﺏ ﻋﺮﻭﺳــﻲﺧﻮﺑﺎﻥ‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺳﺎﺧﺖ‪.‬‬ ‫ﭘﻴﺶ ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﻣﺨﻤﻠﺒﺎﻑ ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺭﺍ ﺑﻬﺘﺮﻳﻦ ﺳﺎﺧﺘﻪﺍﺵ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻋﻨــﻮﺍﻥ ﻛﺮﺩ ﻭ ﮔﻔــﺖ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠــﻢ ﺑﻪﺩﻧﺒﺎﻝ ﻧﻤﺎﺩ ﻭ ﮔﻔﺘﻦ ﻓﻠﺴــﻔﻪ‬ ‫ﻭ ﺳﻴﺎﺳــﺘﻲ ﺧﺎﺹ ﻧﺒﻮﺩﻩ ﺍﺳــﺖ‪ .‬ﺑﺎ ﺍﻳﻦﻫﻤﻪ ﺍﺯ ﻫﻤــﺎﻥ ﺍﻭﻟﻴﻦ ﻧﻮﺑﺖ ﻋﺮﻭﺳﻲ ﺧﻮﺑﺎﻥ ﺭﺍ ﺍﻣﺮﻭﺯ ﻫﻢ ﺟﺪﺍ ﺍﺯ ﺟﺴﺎﺭﺕ ﻭ ﺑﻲﭘﺮﻭﺍﻳﻲﺍﺵ ﻧﻤﻲﺗﻮﺍﻥ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺣــﺮﻑ ﻭ ﺣﺪﻳﺚ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺁﻏﺎﺯ ﻣﻲﺷــﻮﺩ‪ .‬ﺗﺤﻠﻴــﻞ ﻛﺮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛــﻪ ﺩﺭ ﻳﻚ ﺩﻭﺭﺍﻥ ﺧﺎﺹ ﻓﺮﻳــﺎﺩ ﻋﺪﺍﻟﺖ ﺭﺍ ﺩﺭ‬ ‫ﻋﺪﻩﺍﻱ ﺑﻴﺸــﺘﺮ ﺍﺯ ﺟﺮﻳﺎﻥ ﻣﺘﻌﻠﻖ ﺑﻪ ﺣﻮﺯﻩ ﻫﻨــﺮﻱ ﺑﻪ ﻣﻮﺿﻊﮔﻴﺮﻱ ﺭﺳﺎﺗﺮﻳﻦ ﺷﻜﻠﺶ ﺑﺮﺁﻭﺭﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﻗﺮﺍﺭﺩﺍﺩﻥ ﺁﻳﻨﻪﺍﻱ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﻋﻠﻴﻪ ﻓﻴﻠﻢ ﻣﻲﭘﺮﺩﺍﺯﻧﺪ ﻭ ﺟﻤﻊ ﺩﻳﮕﺮﻱ ﺁﻥ ﺭﺍ ﺑﻪﻭﺍﺳــﻄﻪ ﺟﺎﻧﺒﺪﺍﺭﻱ ﺍﺯ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺴــﺖ ﺑﺮﺍﻱ ﺭﺯﻣﻨﺪﮔﺎﻧﺶ ﺁﺭﺍﻣﺸﻲ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ ،‬ﻫﻤﻪ ﺭﺍ ﺑﻪ‬ ‫ﺭﺯﻣﻨﺪﮔﺎﻥ ﻭ ﻃﺒﻘﻪ ﻣﺤﺮﻭﻡ ﺟﺎﻣﻌﻪ ﺳﺘﺎﻳﺶ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺩﺍﻣﻨﻪ ﺻﺤﺒﺖ ﻭ ﻣﺤﺎﻛﻤﻪ ﻣﻲﻛﺸﺪ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ ﻓﻴﻠﻢ ﺁﺷﻜﺎﺭﺍ ﺗﻔﻜﺮ ﺟﻨﺎﺣﻲ ﻣﻮﺳﻮﻡ‬ ‫ﺍﺑﺮﺍﺯ ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺑﻪ ﺑﻌﺪ ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﻛﺸﻴﺪﻩ ﻣﻲﺷﻮﺩ ﺩﺭ ﺣﺎﻟﻲ ﺑﻪ ﺭﺍﺳﺖ ﺳﻨﺘﻲ ﻛﻪ ﺑﺎﺯﺍﺭ ﻭ ﺟﺮﻳﺎﻥ ﺍﻗﺘﺼﺎﺩﻱ ﻣﺘﻜﻲ ﺑﻪ ﺁﻥ ﺭﺍ ﺩﺭ ﺩﺳﺖ‬ ‫ﻛﻪ ﺩﺍﻭﺭﺍﻥ ﺍﺳﺘﻘﺒﺎﻝ ﺑﻴﺸــﺘﺮﻱ ﺍﺯ ﺩﻳﮕﺮ ﺳﺎﺧﺘﻪ ﻣﺨﻤﻠﺒﺎﻑ ﻣﻲﻛﻨﻨﺪ ﺩﺍﺭﺩ ﺑﻪ ﻧﻘﺪ ﻣﻲﻛﺸــﻴﺪ ﺁﻥﭼﻨﺎﻥ ﻛﻪ ﺣﺎﻻ ﻣﻲﺗﻮﺍﻥ ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺭﺍ‬ ‫ﻭ ﺑﺎﻱﺳــﻴﻜﻞﺭﺍﻥ ﺑﺎ ﺟﻮﺍﻳﺰ ﺑﻴﺸــﺘﺮﻱ ﺑﺪﺭﻗﻪ ﻣﻲ ﺷــﻮﺩ ﺍﻟﺒﺘﻪ ﺳﻬﻢ ﺻﺮﻳﺢﺗﺮﻳﻦ ﻣﺤﺼﻮﻝ ﺗﺼﻮﻳﺮﻱ ﭼﭗ ﺍﺳﻼﻣﻲ ﺩﺭ ﺑﺮﺍﺑﺮ ﺭﺍﺳﺖ ﺳﻨﺘﻲ‬ ‫ﻋﺮﻭﺳﻲ ﺧﻮﺑﺎﻥ ﺳﻴﻤﺮﻍ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﺯﻥ ﺑﺮﺍﻱ ﺭﻭﻳﺎ ﻧﻮﻧﻬﺎﻟﻲ ﺍﺳﺖ‪ .‬ﺩﺍﻧﺴــﺖ‪ .‬ﻓﺮﻳﺎﺩﻱ ﺣﺎﺟﻲ ﺩﺭ ﺳﻜﺎﻧﺲ ﻣﻌﺮﻭﻑ ﻋﺮﻭﺳﻲ ﺑﺎ ﺗﺮﺟﻴﻊ ﺑﻨﺪ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﺳﺎﺧﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺑﺎﻱ ﺳﻴﻜﻞ ﺭﺍﻥ ﺭﺍ ﺑﻬﺘﺮ ﺍﺯ ﻋﺮﻭﺳﻲ ﺧﻮﺑﺎﻥ »ﺣﺮﻭﻡﺧﻮﺭﻱ ﺧﻮﺷــﻤﺰﻩ ﺍﺳﺖ« ﺻﺮﻳﺢﺗﺮﻳﻦ ﺟﻤﻠﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﻋﻨﻮﺍﻥ ﻣﻲﻛﻨﻨﺪ ﺍﻣﺎ ﻓﻴﻠﻢ ﺩﻭﻡ ﺭﺍ ﺑﻪﻭﺍﺳــﻄﻪ ﻣﻀﻤﻮﻧﺶ‪ ،‬ﺟﺴــﻮﺭﺍﻧﻪ ﻭ ﺩﺭ ﺑﻴﺎﻥ ﺑﻌﻀﻲ ﻣﻨﺎﺳــﺒﺎﺕ ﺳﻴﺎﺳــﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﺟﺎﻣﻌﻪ ﺑﻮﺩ‪ .‬ﺣﺎﺟﻲ‬ ‫ﺑﻲﭘﺮﻭﺍ ﻣﻲﺧﻮﺍﻧﻨﺪ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﺑﺎ ﻣﺼﺎﺣﺒﻪﻫﺎﻳﺶ ﺧﻮﺩ ﺑﺮ ﺩﺍﻣﻨﻪ ﺑﺤﺚﻫﺎ ﻓﻴﻠﻢ ﻋﺮﻭﺳــﻲﺧﻮﺑﺎﻥ ﺍﺯ ﻫﻤﻪ ﺷــﺎﻛﻲ ﺑﻮﺩ‪ .‬ﺍﺯ ﺑﺎﺯﺍﺭﻱﻫــﺎﻱ ﻃﻤﺎﻉ ﻭ‬ ‫ﻣﻲﺍﻓﺰﺍﻳﺪ‪ .‬ﺯﻣﺎﻧﻲ ﻛﻪ ﻣﻲﮔﻮﻳﺪ ﺑﺎ ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﺩﻭﺳﺘﺎﻧﺶ ﻣﺤﺘﻜﺮ ﻛﻪ ﺗﻨﻬﺎ ﺑﻪ ﻓﻜﺮ ﺳــﻮﺩ ﻣﺎﻟﻲ ﺧﻮﺩﺷــﺎﻥ ﻫﺴــﺘﻨﺪ‪ ،‬ﮔﺮﻓﺘﻪ ﺗﺎ‬ ‫ﺣﺎﻻ ﺑﻪ ﺩﺷﻤﻨﺎﻧﺶ ﺗﺒﺪﻳﻞ ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﺭ ﻛﻨﺎﺭﺵ ﺩﻭﺳﺘﺎﻥ ﺟﺪﻳﺪﻱ ﺍﺯ ﻣﺪﻳﺮﻳﺎﻥ ﺳﻴﻨﻤﺎﻳﻲ ﻛﻪ ﻓﻴﻠﻤﻲ ﺍﺯ ﻓﺮﺩﻳﻦ ﺭﺍ ﺩﺭ ﺳﻴﻨﻤﺎﻫﺎ ﺍﻛﺮﺍﻥ ﻛﺮﺩﻩ‬ ‫ﺩﺷﻤﻨﺎﻥ ﻗﺒﻠﻲﺍﺵ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻓﻴﻠﻢ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻮﺩﻧﺪ ﻭ ﺟﻮﺍﻧﺎﻧﻲ ﻛﻪ ﺳﺮﻳﻊ ﺩﭼﺎﺭ ﺧﻮﺩﺑﺎﺧﺘﮕﻲ ﻓﺮﻫﻨﮕﻲ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻱ ﻣﻲﺷﻮﺩ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﻫﻤﭽﻨﺎﻥ ﻓﻀﺎﻱ ﻣﺨﻤﻠﺒﺎﻑ ﮔﻮﻳﻲ ﻛﻨﺎﻳﻪﺍﻱ ﻫﻢ ﺩﺭ ﻟﻔﺎﻓﻪ ﺑﻪ ﻧﺴــﻞ ﺁﺭﻣﺎﻧﺨﻮﺍﻩ ﺧﻮﺩ ﺯﺩﻩ‬ ‫ﺑﺤﺚ ﻭ ﻧﻘﺪ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪ .‬ﺗﻨﺪﺗﺮﻳﻦ ﺣﻤﻠﻪ ﺍﺯ ﺳﻮﻱ ﺭﻭﺯﻧﺎﻣﻪ ﺑﻮﺩ‪ .‬ﻧﺴﻠﻲ ﻛﻪ ﺗﻨﻬﺎ ‪ 10‬ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﻳﻚ ﺭﻭﻳﺪﺍﺩ ﻋﻈﻴﻢ‪ ،‬ﻓﺮﻳﺎﺩ ﺍﻋﺘﺮﺍﺽ‬ ‫ﺭﺳﺎﻟﺖ ﺑﻪ ﻓﻴﻠﻢ ﻣﻲﺷﻮﺩ‪» :‬ﺑﺎ ﺍﻃﻤﻴﻨﺎﻥ ﻣﻲﮔﻮﻳﻴﻢ ﻛﻪ ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺑﺮﺁﻭﺭﺩﻩ ﺑﻮﺩ‪.‬‬ ‫‪64‬‬ ‫‪8‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺩﻧﺪﺍﻥ ﻣﺎﺭ )‪(1368‬‬ ‫ﺗﺼﻮﻳﺮ ﺗﻠﺦ‬ ‫ﺟﻨﮓﺯﺩﮔﺎﻥ ﻭ‬ ‫ﺣﺎﺷﻴﻪﻧﺸﻴﻦﻫﺎﻱ‬ ‫ﺍﺟﺘﻤﺎﻉ‬ ‫ﻃـﺮﺍﺡ ﻟﺒـﺎﺱ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ ﻭ‬ ‫ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﻣﺴـﻌﻮﺩ ﻛﻴﻤﻴﺎﻳﻲ‪،‬‬ ‫ﺗﻬﻴﻪﻛﻨﻨـﺪﻩ‪ :‬ﻣﺠﻴـﺪ ﻣﺪﺭﺳـﻲ‪،‬‬ ‫ﻃـﺮﺡ ﺍﻭﻟﻴـﻪ ﺩﺍﺳـﺘﺎﻥ ﺍﺯ‪ :‬ﺍﺣﻤﺪ‬ ‫ﻃﺎﻟﺒﻲﻧﮋﺍﺩ‪ ،‬ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﺍﻳﺮﺝ ﺻﺎﺩﻕﭘـﻮﺭ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﻣﻬﺪﻱ‬ ‫ﺭﺟﺎﻳﻴﺎﻥ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ‪ :‬ﺟﻤﺸـﻴﺪ ﺁﻫﻨﮕﺮﺍﻧﻲ‪ ،‬ﻣﻮﺳﻴﻘﻲ‪:‬‬ ‫ﻓﺮﻳﺒﺮﺯ ﻻﭼﻴﻨﻲ‪ ،‬ﺩﺳـﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺳﻌﻴﺪ ﭘﻴﺮﺩﻭﺳﺖ‪،‬‬ ‫ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳـﮋﻩ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺷـﺮﻑﺍﻟﺪﻳﻦ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪:‬‬ ‫ﻧﺼﺮﺕ ﻛﺮﻳﻤﻲ‪ ،‬ﭼﻬﺮﻩ ﭘـﺮﺩﺍﺯﻱ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﻗﻮﻣﻲ‪ ،‬ﻣﮋﺩﻩ‬ ‫ﺷﻤﺴﺎﻳﻲ‪ ،‬ﺍﻣﻮﺭ ﻓﻨﻲ ﺻﺪﺍ‪ :‬ﻣﻬﺪﻱ ﺭﺟﺎﻳﻴﺎﻥ‪ ،‬ﻫﺎﺩﻱ ژﻭﺭﻙ‬ ‫ﺑﺎﺯﻳﮕـﺮﺍﻥ‪ :‬ﻓﺮﺍﻣـﺮﺯ ﺻﺪﻳﻘـﻲ‪ ،‬ﺍﺣﻤـﺪ ﻧﺠﻔـﻲ‪ ،‬ﮔﻠﭽﻬﺮﻩ‬ ‫ﺳـﺠﺎﺩﻳﻪ‪ ،‬ﻓﺮﻳﺒﺎ ﻛﻮﺛﺮﻱ‪ ،‬ﺣﺴـﻦ ﺭﻓﻴﻌﻲ‪ ،‬ﻧﺮﺳﻲ ﮔﺮﮔﻴﺎ‪،‬‬ ‫ﺳـﻌﻴﺪ ﭘﻴﺮﺩﻭﺳـﺖ‪ ،‬ﺭﺿﺎ ﺧﻨﺪﺍﻥ‪ ،‬ﻧﺼﺮﺕ ﻛﺮﻳﻤﻲ‪ ،‬ﺷﺎﻫﺪ‬ ‫ﺍﺣﻤﺪﻟﻮ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻛﺎﺩﺭ ﻓﻴﻠﻢ‪ 108 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 23 :‬ﺁﺑﺎﻥ ‪ ،1369‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪:‬‬ ‫‪6/5‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺭﺿﺎ‪ ،‬ﻛﺎﺭﮔﺮ ﭼﺎﭘﺨﺎﻧﻪ‪ ،‬ﭘﺲ ﺍﺯ ﻓﻮﺕ ﻣﺎﺩﺭﺵ ﻳﺎﺩﮔﺎﺭﻱﻫﺎﻱ ﻣﺎﺩﺭ‬ ‫ﻭ ﭘﻼﻙ ﺑﺮﺍﺩﺭ ﮔﻤﺸــﺪﻩﺍﺵ ﺭﺍ ﺑﺮ ﻣﻲﺩﺍﺭﺩ ﻭ ﺩﺭ ﻣﺴــﺎﻓﺮﺧﺎﻧﻪﺍﻱ‬ ‫ﺳﺎﻛﻦ ﻣﻲﺷﻮﺩ‪ .‬ﻫﻢ ﺍﺗﺎﻕ ﺍﻭ ﺟﻮﺍﻥ ﺟﻨﻮﺑﻲ ﺟﻨﮓ ﺯﺩﻩﺍﻱ ﺍﺳﺖ ﺑﻪ‬ ‫ﻧﺎﻡ ﺍﺣﻤﺪ‪ .‬ﺑﻴﻦ ﺁﻥ ﺩﻭ ﺭﻭﺍﺑﻂ ﺻﻤﻴﻤﺎﻧﻪﺍﻱ ﺑﺮﻗﺮﺍﺭ ﻣﻲﺷﻮﺩ‪ .‬ﺭﻭﺯ‬ ‫ﺑﻌﺪ ﺭﺿﺎ ﺩﺭ ﺳﺎﻙﺩﺳﺘﻲ ﺧﻮﺩ ﻳﺎﺩﮔﺎﺭﻱﻫﺎﻱ ﻣﺎﺩﺭ ﺭﺍ ﻧﻤﻲﺑﻴﻨﺪ‪.‬‬ ‫ﺑﻪ ﺍﺣﻤﺪ ﻣﺸﻜﻮﻙ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺍﺣﻤﺪ ﺍﻭ ﺭﺍ ﻣﺘﻘﺎﻋﺪ ﻣﻲﺳﺎﺯﺩ ﻛﻪ‬ ‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺷــﻴﺎﻱ ﺍﻭ ﺭﺍ ﺍﻓﺮﺍﺩﻱ ﻛﻪ ﺑﺮﺍﻱ »ﺁﻗﺎ ﻋﺒﺪﻝ«‪ ،‬ﺩﻻﻝ‬ ‫ﻛﺎﻻﻫﺎﻱ ﺍﺣﺘﻜﺎﺭﻱ‪ ،‬ﻛﺎﺭ ﻣﻲﻛﻨﻨﺪ ﺭﺑﻮﺩﻩ ﺑﺎﺷــﻨﺪ‪ .‬ﺁﻥ ﺩﻭ ﺳﺮﺍﻍ‬ ‫ﺁﻗﺎ ﻋﺒﺪﻝ ﻣﻲﺭﻭﻧﺪ‪ .‬ﺭﺿﺎ ﮔﺮﺩﻧﺒﻨــﺪ ﻣﺎﺩﺭﺵ ﺭﺍ ﺑﻪ ﮔﺮﺩﻥ ﻋﺒﺪﻝ‬ ‫ﻣﻲﺑﻴﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺗﻮﺻﻴﻪ ﺍﺣﻤﺪ ﺍﺯ ﺩﺭﮔﻴﺮ ﺷــﺪﻥ ﺍﻣﺘﻨﺎﻉ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﻋﺒﺪﻝ ﺩﺧﺘﺮﻱ ﺑﻪ ﻧﺎﻡ ﻓﺎﻃﻤﻪ ﺭﺍ ﺑﻪ ﺭﺿﺎ ﻣﻲﺳﭙﺎﺭﺩ ﻛﻪ ﺑﻪ ﺁﺩﺭﺱ‬ ‫ﻣﻌﻴﻨﻲ ﺑﺒﺮﺩ‪ .‬ﺍﻣﺎ ﺭﺿﺎ ﺍﺑﺘﺪﺍ ﻓﺎﻃﻤﻪ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﺩﻭﺳﺘﺶ ﺟﻼﻝ ﻭ‬ ‫ﺳــﭙﺲ ﺑﻪ ﺧﺎﻧﻪ ﻣﺎﺩﺭﻱ ﻣﻲﺑﺮﺩ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﻮﺍﻫﺮﺵ ﺯﻳﻮﺭ‪ ،‬ﻛﻪ ﺍﺯ‬ ‫ﺷﻮﻫﺮﺵ ﺟﺪﺍ ﺷﺪﻩ‪ ،‬ﻣﻲﺳﭙﺎﺭﺩ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﺭﺿﺎ ﻭ ﺍﺣﻤﺪ ﺑﻪ ﺳﺮﺍﻍ‬ ‫ﻋﺒﺪﻝ ﻣﻲﺭﻭﻧﺪ‪ .‬ﺩﺭ ﻳﻚ ﺩﺭﮔﻴــﺮﻱ ﺍﻧﺒﺎﺭﻫﺎﻱ ﻛﺎﻻﻫﺎﻱ ﺍﺣﺘﻜﺎﺭ‬ ‫ﺷﺪﻩ ﺍﻭ ﺭﺍ ﺑﻪ ﺁﺗﺶ ﻣﻲﻛﺸﻨﺪ ﻭ ﺑﻪ ﺧﺎﻧﻪ ﺑﺎﺯ ﻣﻲﮔﺮﺩﻧﺪ‪.‬‬ ‫ﺍﻭ ﻛﺮﺩ ﺗﺎ ﺑــﺮﺍﻱ ﭼﻨﺪ ﻓﻴﻠﻢ ﻋﻨﻮﺍﻥ ﻫﻨﺮﭘﻴﺸــﻪ ﺯﻥ ﻣﺤﺒﻮﺏ ﻛﻴﻤﻴﺎﻳﻲ‬ ‫ﺑﻌﺪ ﺍﺯ ﻓﺮﻳﻤﺎﻩ ﻓﺮﺟﺎﻣﻲ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻳﻦ ﺗﺮﻛﻴﺐ ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﻭ‬ ‫ﭘﺎﻳﻴﺰ ‪ 1368‬ﻣﻘﻄﻊ ﻣﻬﻢ ﺗﻐﻴﻴﺮ ﻣﻨﺎﺳﺒﺎﺕ ﺳﻴﺎﺳﻲ ﻛﺸﻮﺭ‪ ،‬ﻛﺎﺭ ﺗﻮﻟﻴﺪ‬ ‫ﺩﻧﺪﺍﻥ ﻣﺎﺭ ﺭﺍ ﺑﻪ ﺳــﺮﺍﻧﺠﺎﻡ ﺭﺳــﺎﻧﺪﻧﺪ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﻛﻪ ﺩﺭ ﺟﺮﻳﺎﻥ ﺗﻮﻟﻴﺪ‬ ‫ﺳﺮﺏ ﭼﻨﺪﺑﺎﺭﻱ ﺑﺎ ﺍﻧﺠﺎﻡ ﻣﺼﺎﺣﺒﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻭ ﺫﻛﺮ ﭼﻨﺪﺑﺎﺭﻩ ﺍﻳﻨﻜﻪ‬ ‫»ﺩﺭ ﺳﺮﺏ ﺑﻪ ﺷﺪﺕ ﺧﻮﺩﻡ ﻫﺴــﺘﻢ« ﺗﻼﺵ ﺩﺍﺷﺖ ﺷﺎﺋﺒﻪ ﺳﻔﺎﺭﺳﻲ‬ ‫ﺑﻮﺩﻥ ﻓﻴﻠــﻢ ﺭﺍ ﺍﺯ ﺍﺫﻫﺎﻥ ﺩﻭﺭ ﻛﻨﺪ ﺩﺭ ﺯﻣــﺎﻥ ﺗﻮﻟﻴﺪ ﺩﻧﺪﺍﻥ ﻣﺎﺭ ﭼﻨﺪﺍﻥ‬ ‫ﺻﺤﺒﺖ ﻧﻜﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺍﻳﻦ ﺷــﺎﻳﻌﻪ ﺑﻪﺷــﺪﺕ ﺩﺭ‬ ‫ﻣﺤﺎﻓﻞ ﺳﻴﻨﻤﺎﻳﻲ ﻣﻄﺮﺡ ﺷﺪ ﻛﻪ ﻛﻴﻤﻴﺎﻳﻲ ﻗﺼﺪ ﺩﺍﺭﺩ ﺩﺭ ﺍﺩﺍﻣﻪ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﺍﺯ ﭼﻬﺮﻩﻫﺎﻱ ﻗﺪﻳﻤﻲ ﻛﺎﺭ ﺳﺎﺧﺖ ﻣﻮﺳﻴﻘﻲ ﻣﺘﻦ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪ ﺩﻭﺳﺖ ﻭ‬ ‫ﻫﻤﺮﺍﻩ ﺳﺎﺑﻘﺶ ﺍﺳﻔﻨﺪﻳﺎﺭ ﻣﻨﻔﺮﺩﺯﺍﺩﻩ ﺑﺴﭙﺎﺭﺩ‪ .‬ﻇﺎﻫﺮﺍ ﻣﺬﺍﻛﺮﺍﺗﻲ ﻫﻢ ﺩﺭ‬ ‫ﺍﻳﻦ ﺭﺍﺳﺘﺎ ﺍﻧﺠﺎﻡ ﺷﺪ ﺍﻣﺎ ﺳﺮﺍﻧﺠﺎﻡ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﻴﻔﺘﺎﺩ ﺗﺎ ﻓﺮﻳﺒﺮﺯ ﻻﭼﻴﻨﻲ‬ ‫ﻣﻮﺳﻴﻘﻲ ﺩﻧﺪﺍﻥ ﻣﺎﺭ ﺭﺍ ﺑﺴﺎﺯﺩ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺗﻨﻬﺎ ﭘــﺲ ﺍﺯ ﺟﻨﮓ ﺑﻮﺩ ﻛﻪ ﺳــﻴﻨﻤﺎﻱ ﺍﻳــﺮﺍﻥ ﺍﺟﺎﺯﻩ ﻳﺎﻓــﺖ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺍﻳــﻦ ﺭﻭﻳﺪﺍﺩ ﻣﻬــﻢ ﺭﻭﺍﻳﺖﻫﺎﻳﻲ ﺟﺪﺍ ﺍﺯ ﻧﻤﺎﻳﺶ ﺻــﺮﻑ ﭘﻴﺮﻭﺯﻱﻫﺎ ﻭ‬ ‫ﺳﻠﺤﺸﻮﺭﻱﻫﺎ ﻭ ﻣﻘﺎﻭﻣﺖﻫﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺁﻧﭽﻪ ﺑﻪ ﻧﺎﻡ ﻭﺍﻗﻌﻴﺖ ﺟﻨﮓ‪،‬‬ ‫‪ 8‬ﺳﺎﻝ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﮔﺬﺷﺖ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﺟﺎﺯﻩ ﺗﻨﻔﺲ ﻳﺎﻓﺘﻪ‬ ‫ﺳﺎﻝﻫﺎﻱ ﭘﺎﻳﺎﻧﻲ ﺩﻫﻪ ‪ 60‬ﺷﻜﻞ ﺩﻳﮕﺮﻱ ﻳﺎﻓﺖ‪ .‬ﺍﮔﺮ ﻣﺤﺴﻦ ﻣﺨﻤﻠﺒﺎﻑ‬ ‫ﺩﺭ ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺟﺎﻣﻌﻪ ﺳﺮﻣﺎﻳﻪﺩﺍﺭﻱ ﻭ ﻣﺤﺘﻜﺮﺍﻥ ﻭ ﻣﺎﻝﺍﻧﺪﻭﺯﺍﻥ ﻭ‬ ‫ﺑﻬﺮﻩﻣﻨﺪﺍﻥ ﺍﺯ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺭﺍ ﺑﻪ ﻣﺤﺎﻛﻤﻪ ﻛﺸﺎﻧﺪ‪ ،‬ﻣﺴﻌﻮﺩ ﻛﻴﻤﻴﺎﻳﻲ ﺩﺭ‬ ‫ﺩﻧﺪﺍﻥﻣﺎﺭ ﺗﻮﺍﻧﺴﺖ ﺗﺼﻮﻳﺮﻱ ﺑﻪ ﻏﺎﻳﺖ ﺻﺮﻳﺢ ﻭ ﺗﻠﺦ ﺍﺯ ﻣﻬﺎﺟﺮﺍﻥ ﺟﻨﮕﻲ‬ ‫ﻭ ﺁﺳﻴﺐﺩﻳﺪﮔﺎﻥ ﺟﻨﮓ ﻧﻤﺎﻳﺶ ﺩﻫﺪ‪ .‬ﺩﻭﺭﺑﻴﻦ ﺍﻭ ﺑﺮﺍﻱ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﻧﻘﻼﺏ ﺗﻮﺍﻧﺴــﺖ ﺑﻪ ﺁﻟﻮﻧﻚﻫﺎﻱ ﺣﺎﺷﻴﻪ ﺷﻬﺮﻫﺎ ﺑﺮﻭﺩ ﻭ ﻧﻤﺎﻳﺸﻲ ﺍﺯ‬ ‫ﺯﻧﺪﮔﻲﻫﺎﻱ ﻣﺤﻘﺮ ﻭ ﻧﺎﭼﻴﺰ ﻣﻬﺎﺟﺮﺍﻥ ﺟﻨﮕﻲ ﺍﺭﺍﺋﻪ ﺩﻫﺪ‪ .‬ﺟﺎﻣﻌﻪ ﺑﻌﺪ ﺍﺯ‬ ‫ﺟﻨﮓ ﺍﻳﺮﺍﻥ ﺩﺭ ﺑﻄﻨﺶ ﺑﺎ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺭﻭﺑﻪﺭﻭ ﺑﻮﺩ ﺍﻣﺎ ﻛﻤﺘﺮ ﻛﺴﻲ ﺍﻧﺘﻈﺎﺭ‬ ‫ﻣﺸﺎﻫﺪﻩ ﺁﻥ ﺭﺍ ﺑﺮ ﭘﺮﺩﻩ ﺳﻴﻨﻤﺎ ﺩﺍﺷﺖ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﻣﺴﻌﻮﺩ ﻛﻴﻤﻴﺎﻳﻲ ﺑﺎ‬ ‫ﭘﺲﺯﻣﻴﻨﻪ ﺳﺎﺧﺖ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ – ﺳﻴﺎﺳﻲ ﻗﺒﻞ ﺍﺯ‬ ‫ﺍﻧﻘﻼﺏ‪ ،‬ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺑﺶ ﺩﺭ ﻳﻚ ﻣﻘﻄﻊ‬ ‫ﺗﺎﺭﻳﺨﻲ ﺍﻭﻟﻴﻦ ﻭﺍﻛﻨﺶ ﻣﺘﻔﺎﻭﺕ ﺑﻪ ﻳﻚ ﺭﻭﻳﺪﺍﺩ ﺭﺳﻤﻲﺭﺍ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﻓﻴﻠﻤﻲ ﻛﻪ ﻣﺤﺼﻮﻝ ﺯﻣﺎﻧﻪﺍﺵ ﻭ ﻓﻀﺎﻱ ﺧﺎﺻﺶ ﺩﺭ ﻧﺨﺴﺘﻴﻦ ﺳﺎﻝ ﺑﻌﺪ‬ ‫ﺍﺯ ﺟﻨﮓ ﺑﻮﺩ ﻭ ﻧﻤﻲﺗﻮﺍﻥ ﺗﺼﻮﺭ ﺳــﺎﺧﺘﺶ ﺭﺍ ﺟﺪﺍ ﺍﺯ ﺍﻳﻦ ﺯﻣﺎﻥ ﺩﺍﺷﺖ‪.‬‬ ‫ﺩﻧﺪﺍﻥﻣﺎﺭ ﺭﻭﺍﻳﺖ ﺩﺳﺖ ﻭ ﭘﺎ ﺯﺩﻥ ﺣﺎﺷﻴﻪﻧﺸﻴﻦﻫﺎﻱ ﺷﻬﺮﻱ ﺩﺭ ﻣﻴﺎﻧﻪ‬ ‫ﻣﺸﺎﻏﻠﻲ ﭼﻮﻥ ﻛﻮﭘﻦﻓﺮﻭﺷﻲ ﻭ ﻗﺎﭼﺎﻕ ﻭ ﺍﺭﺯﻓﺮﻭﺷﻲ ﻭ ﻭﺍﺳﻄﻪﮔﺮﻱ ﻭ‬ ‫ﺍﺣﺘﻜﺎﺭ ﻭ ﺑﺰﻫﻜﺎﺭﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺗﻤﺎﺷﺎﻱ ﺟﺮﻳﺎﻥ ﺗﻮﻟﺪ ﻃﺒﻘﻪ ﺟﺪﻳﺪﻱ‬ ‫ﻧﺸﺴﺘﻪﺍﻧﺪ‪ .‬ﻃﺒﻘﻪﺍﻱ ﻛﻪ ﺑﺮﺍﻱ ﺩﺳﺘﻴﺎﺑﻲ ﺑﻪ ﺭﻓﺎﻩ ﻣﺎﺩﻱ ﺣﺎﺿﺮ ﺑﻪ ﺍﻧﺠﺎﻡ‬ ‫ﻫﺮ ﻛﺎﺭﻱ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻃﺒﻘﻪ ﺯﺍﻳﻴﺪﻩ ﻣﻨﺎﺳﺒﺎﺕ ﻳﻚ ﺟﺎﻣﻌﻪ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ‬ ‫ﺑﻮﺩ‪ .‬ﺟﺎﻣﻌﻪ ﺍﻳــﺮﺍﻥ ﻭﺍﺳــﻄﻪﮔﺮﻱﻫﺎﻱ ﻭﺭﻭﺩ ﻛﺎﻻﻫﺎﻱ ﻣﺨﺘﻠﻒ‪ ،‬ﻳﻚ‬ ‫ﺟﺮﻳﺎﻥ ﺍﻗﺘﺼﺎﺩﻱ ﭘﻨﻬﺎﻥ ﻛﻪ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﻣﻨﺎﺳﺒﺎﺕ ﺯﻧﺪﮔﻲ ﺭﺍ ﻫﺪﺍﻳﺖ‬ ‫ﻣﻲﻛﻨﺪ ﻭ ﻓﻌﺎﻻﻧﻲ ﻛﻪ ﺑﺎ ﺣﻀﻮﺭ ﺩﺭ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺑﻪ ﺳﻮﺩﻫﺎﻱ ﺳﺮﺷﺎﺭﻱ‬ ‫ﺭﺳﻴﺪﻩ ﺑﻮﺩ ﻣﻲﺩﻳﺪ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﺩﺭ ﻓﻴﻠﻤﺶ ﻣﻲﺧﻮﺍﺳﺖ ﺍﻳﻦ ﻣﻨﺎﺳﺒﺎﺕ‬ ‫ﺭﺍ ﺩﺭ ﺑﺴﺘﺮ ﻣﺎﻳﻪﻫﺎﻱ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﺵ ﺭﻭﺍﻳﺖ ﻛﻨﺪ ﻛﻪ ﺣﺎﺻﻠﺶ ﻳﻜﻲ ﺍﺯ‬ ‫ﻣﻬﻢﺗﺮﻳﻦ ﺁﺛﺎﺭ ﻛﻴﻤﻴﺎﻳﻲ ﺍﺳﺖ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻛﻴﻤﻴﺎﻳﻲ ﺑﻌﺪ ﺍﺯ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺳﻔﺎﺭﺷﻲ ﺳﺮﺏ ﻭ ﻣﻮﻓﻘﻴﺖ ﻧﺴﺒﻲ ﺁﻥ‪ ،‬ﺑﺎ‬ ‫ﻫﻤﺮﺍﻫﻲ ﺍﺣﻤﺪ ﻃﺎﻟﺒﻲﻧﮋﺍﺩ ﻭ ﻧﻮﻳﺴــﻨﺪﻩ ﻭ ﻣﻨﺘﻘﺪ ﺳﻴﻨﻤﺎﻳﻲ ﻣﺸﻬﻮﺭ ﻭ‬ ‫ﭘﺮﻛﺎﺭ ﺁﻥ ﺭﻭﺯﻫﺎ ﻛﻪ ﻃﺮﺣﻲ ﺩﺭﺑﺎﺭﻩ ﻣﻬﺎﺟﺮﺍﻥ ﺟﻨﮕﻲ ﺩﺍﺷﺖ‪ ،‬ﺳﺎﺧﺖ‬ ‫ﻓﻴﻠــﻢ ﺩﻧﺪﺍﻥ ﻣﺎﺭ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﺑﻪ ﺷــﻴﻮﻩ ﻣﺎﻟﻮﻓﺶ ﺗﻐﻴﻴﺮﺍﺕ‬ ‫ﻓﺮﺍﻭﺍﻧﻲ ﺩﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﻭﻟﻴﻪ ﻓﻴﻠﻢ ﺍﻳﺠﺎﺩ ﻛﺮﺩ ﻭ ﻫﻤﻴﻦ ﺯﻣﻴﻨﻪ ﺍﺧﺘﻼﻑ ﺍﻭ ﻭ‬ ‫ﻃﺎﻟﺒﻲﻧﮋﺍﺩ ﺷﺪ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺩﻓﺘﺮ ﻛﺎﺩﺭ ﻓﻴﻠﻢ ﺑﻪ ﻣﺪﻳﺮﻳﺖ‬ ‫ﻣﺠﻴﺪ ﻣﺪﺭﺳــﻲ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺗﺎﺯ ﻭﺍﺭﺩ ﺁﻥ ﺩﻭﺭﺍﻥ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺩﻧﺪﺍﻥ ﻣﺎﺭ‬ ‫ﻧﺨﺴﺘﻴﻦ ﻓﻴﻠﻢ ﺗﻮﻟﻴﺪﻱ ﺍﻳﻦ ﺩﻓﺘﺮ ﻣﺤﺴﻮﺏ ﻣﻲﺷﺪ ﻛﻪ ﺑﺎ ﻫﺪﻑ ﺣﻀﻮﺭ‬ ‫ﺩﺭ ﺟﺮﻳﺎﻥ ﻓﺮﻫﻨﮕﻲ ﺳــﻴﻨﻤﺎ ﻭﺍﺭﺩ ﺍﻳﻦ ﻋﺮﺻﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻱ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻋﻮﺍﻣﻞ ﻛﻴﻤﻴﺎﻳﻲ ﻛﻪ ﺩﺳــﺖ ﺧﻮﺩ ﺭﺍ ﺑﺎﺯ ﻣﻲﺩﻳﺪ ﺍﻧﺘﺨﺎﺏﻫﺎﻱ ﺟﺎﻟﺒﻲ‬ ‫ﻛﺮﺩ‪ .‬ﺩﺭ ﺭﺍﺳــﺶ ﺍﻳﺮﺝ ﺻﺎﺩﻗﭙﻮﺭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭ ﻗﺪﻳﻤﻲ ﻗﺮﺍﺭ ﺩﺍﺷــﺖ ﻛﻪ‬ ‫ﺳﺎﻝﻫﺎ ﭘﺸﺖ ﺩﻭﺭﺑﻴﻦ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﻛﻴﻤﻴﺎﻳﻲ ﺑﺎ ﺍﻧﺘﺨﺎﺑﺶ ﺑﺴﻴﺎﺭﻱ‬ ‫ﺭﺍ ﻣﺘﻌﺠﺐ ﻛﺮﺩ‪ .‬ﺗﻘﺪﻳﺮ ﻫﻢ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺁﺧﺮﻳﻦ ﻛﺎﺭ ﺻﺎﺩﻗﭙﻮﺭ‬ ‫ﺑﺎﺷﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺍﻭ ﺍﺯ ﺩﻧﻴﺎ ﺭﻓﺖ‪ .‬ﺑﻪ ﺟﺰ ﺻﺎﺩﻗﭙﻮﺭ ﺗﺮﻛﻴﺐ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻫﻢ‬ ‫ﺟﺎﻟﺐ ﺗﻮﺟﻪ ﺑﻮﺩ‪ .‬ﻓﺮﺍﻣﺮﺯ ﺻﺪﻳﻘﻲ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﻧﻘﺶ ﺍﺻﻠﻲ ﺭﺍ ﺑﺎﺯﻱ ﻛﻨﺪ‬ ‫ﻭ ﺩﺭ ﻟﺤﻈﺎﺕ ﺁﺧﺮ ﻫﺎﺩﻱ ﺍﺳﻼﻣﻲ ﺟﺎﻳﮕﺰﻳﻨﺶ ﺑﻌﺪ ﺍﺯ ﻳﻚ ﺩﻭﺭﻩ ﻛﺪﻭﺭﺕ‬ ‫ﺩﻭﺑﺎﺭﻩ ﻫﻤﺮﺍﻩ ﻛﻴﻤﻴﺎﻳﻲ ﺷــﺪ‪ .‬ﺍﻭ ﺩﺭ ﺗﻴﻎ ﻭ ﺍﺑﺮﻳﺸﻢ ﻫﻢ ﻧﻘﺶ ﻗﻬﺮﻣﺎﻥ‬ ‫ﻛﻴﻤﻴﺎﻳﻲ ﺭﺍ ﺑﺎﺯﻱ ﻣﻲﻛﺮﺩ‪ .‬ﺍﺣﻤﺪ ﻧﺠﻔﻲ ﺩﻭﺳــﺖ ﻗﺪﻳﻤﻲ ﻛﻴﻤﻴﺎﻳﻲ‬ ‫ﻛﻪ ﺧﺎﻃﺮﻩ ﻫﻤﺮﺍﻫﻲﺍﺵ ﺑﺎ ﻛﻴﻤﻴﺎﻳﻲ ﺩﺭ ﺳــﺎﻝ ﺍﻭﻝ ﺍﻧﻘﻼﺏ ﺩﺭ ﺷﺒﻜﻪ‬ ‫ﺩﻭﻡ ﺳﻴﻤﺎ ﻧﺰﺩ ﺩﺳــﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ ﺑﺎ ﺣﺎﺷﻴﻪﻫﺎﻳﻲ ﺑﺎﻗﻲ ﺑﻮﺩ‬ ‫ﺩﺭ ﻧﻘﺶ ﻳﻚ ﺷﺨﺼﻴﺖ ﺟﻨﻮﺑﻲ ﺧﻮﺩﺳﺎﺧﺘﻪ ﺍﻣﺎ ﺍﺳﻴﺮ ﺷﺪﻩ ﺩﺭ ﭼﻨﺒﺮﻩ‬ ‫ﻳﻚ ﻭﺍﺳﻄﻪﮔﺮ ﺳﻮﺩﺟﻮ ﺍﻧﺘﺨﺎﺏ ﺷﺪ‪ .‬ﺑﺮﺍﻱ ﻧﻘﺶ ﺍﻭﻝ ﺯﻥ ﻫﻢ ﻛﻴﻤﻴﺎﻳﻲ‬ ‫ﺍﺑﺘﺪﺍ ﻓﺮﻳﻤﺎﻩ ﻓﺮﺟﺎﻣﻲ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷــﺖ ﺍﻣﺎ ﺩﺭ ﺁﺧﺮﻳﻦ ﺭﻭﺯﻫﺎﻱ ﻣﺎﻧﺪﻩ‬ ‫ﺑﻪ ﺷــﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺑﻨﺎ ﺑﻪ ﺩﻻﻳﻠﻲ ﮔﻠﭽﻬﺮﻩ ﺳﺠﺎﺩﻳﻪ ﺭﺍ ﺟﺎﻳﮕﺰﻳﻦ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺩﻧﺪﺍﻥ ﻣــﺎﺭ ﺣﺎﻻ ﻳﻜﻲ ﺍﺯ ﭼﻨﺪ ﺳــﻨﺪ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﺭﻭﺯﻫــﺎﻱ ﭘﺎﻳﺎﻥ ﺟﻨﮓ ﻭ ﻭﺍﺳــﻄﻪﮔﺮﻱﻫﺎﻱ ﺁﻥ‬ ‫ﺭﻭﺯﻫﺎ ﻭ ﻣﻨﺎﺳــﺒﺎﺗﺶ ﺍﺳــﺖ‪ .‬ﻫﺮﭼﻨﺪ ﺷــﻜﻞ ﻧﮕﺎﻩ ﻭ ﭘﺮﺩﺍﺧﺖ ﻛﻴﻤﻴﺎﻳﻲ ﺑﻪ ﻣﻮﺿﻮﻉ ﺑﺎﻋﺚ ﻧﻮﻋﻲ ﺍﻏﺮﺍﻕ‬ ‫ﺷــﺪﻩ ﺍﺳــﺖ ﺍﻣﺎ ﺑﺎﺯ ﻫﻢ ﺩﻧﺪﺍﻥ ﻣﺎﺭ ﻧﻤﻮﻧﻪ ﺩﻳﮕﺮﻱ ﻧﺪﺍﺭﺩ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﺩﺭ ﻓﻴﻠﻤــﺶ ﺿﻤﻦ ﺁﻧﻜﻪ ﺗﺼﻮﻳﺮﻱ‬ ‫ﺍﺯ ﺍﺟﺘﻤﺎﻋــﺶ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ‪ ،‬ﺍﺷــﺎﺭﻩﻫﺎﻱ ﻛﻨﺎﻳﻪﻭﺍﺭﻱ ﺑﻪ ﻭﺿﻌﻴﺖ ﺍﻫﻞ ﻓﺮﻫﻨﮓ ﻫﻢ ﺩﺍﺭﺩ‪ .‬ﺷــﺨﺼﻴﺖ‬ ‫ﺍﺻﻠﻲ ﻓﻴﻠــﻢ ﻛﺎﺭﺵ ﺩﺭ ﭼﺎﭘﺨﺎﻧــﻪ ﺑﻮﺩﻩ ﻭ ﺩﻭﺳــﺘﺶ ﻫﻢ ﺭﻭﺯﻧﺎﻣﻪﻧــﮕﺎﺭﻱ ﻗﺪﻳﻤﻲﺍﺳــﺖ‪ .‬ﻫﺮ ﺩﻭ ﺗﻚ‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺩﻧﺪﺍﻥﻣﺎﺭ ﻧﺨﺴﺘﻴﻦﺑﺎﺭ ﺩﺭ ﻫﺸﺘﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭﺁﻣﺪ‪ .‬ﺩﺍﻭﺭﺍﻥ ﺑﺎ ﺑﻲﺍﻋﺘﻨﺎﻳﻲ ﻛﺎﻣﻞ ﺑﺎ ﺁﻥ ﺑﺮﺧﻮﺭﺩ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﻧﻴﺰ ﺑﻴﺸــﺘﺮ ﺩﺭ ﻣﺪﺡ ﻫﺎﻣﻮﻥ ﻭ ﻛﻠﻮﺯﺁپ ﺑﻪ ﻧﻘﺪ ﻣﻲﻧﺸﻴﻨﻨﺪ ﻭ ﻛﻴﻤﻴﺎﻳﻲ‬ ‫ﺭﺍ ﻣﺘﻬﻢ ﺑﻪ ﺗﻜﺮﺍﺭ ﺩﻟﻤﺸــﻐﻮﻟﻲﻫﺎ ﻭ ﺩﻧﻴﺎﻫﺎﻱ ﺷﺨﺼﻲﺍﺵ ﻣﻲﻛﻨﻨﺪ‪.‬‬ ‫ﻳﻚ ﻣﺎﻩ ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺎ ﻳﻜﻲ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻭﺍﻛﻨﺶﻫﺎ ﺑﻪ ﻓﻴﻠﻢ ﻧﻘﺪ‬ ‫ﻣﺮﺗﻀﻲ ﺁﻭﻳﻨﻲ ﺩﺭ ﺷﻤﺎﺭﻩ ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻣﺎﻫﻨﺎﻣﻪ ﻣﻬﻢ ﺳﻮﺭﻩ ﺑﻪ ﺁﻥ‬ ‫ﺍﺳﺖ ﻛﻪ ﻛﺎﻣﻼ ﻧﺴــﺒﺖ ﺑﻪ ﻓﻴﻠﻢ ﻣﻮﺿﻊﮔﻴﺮﻱ ﻣﻲﻛﻨﺪ ﻭ ﺗﻠﻮﻳﺤﺎ ﺁﻥ ﺭﺍ‬ ‫ﺍﺛﺮﻱ ﻣﺘﻌﻠﻖ ﺑﻪ ﺟﺮﻳﺎﻥ ﻣﺨﺎﻟــﻒ ﻧﻈﺎﻡ ﻣﻲﺩﺍﻧﺪ‪» :‬ﺩﻧﻴﺎﻳﻲ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﺗﺼﻮﻳﺮ ﺷﺪﻩ ﻳﻚ »ﺷﻬﺮ ﻫﺮﺕ« ﺍﺳﺖ‪ .‬ﻳﻚ ﺑﻠﺒﺸﻮﻱ ﻭﺍﻗﻌﻲ‪ ،‬ﻧﻪ ﻧﻈﺎﺭﺗﻲ‬ ‫ﺍﺯ ﺑــﺎﻻ ﺍﺯ ﺟﺎﻧﺐ ﺣﻜﻮﻣﺖ ﻭ ﻧﻪ ﻧﻈﺎﺭﺗﻲ ﺍﺯ ﭘﺎﻳﻴﻦ ﺍﺯ ﺟﺎﻧﺐ ﻣﺮﺩﻡ‪ ،‬ﺑﺮ ﺍﻳﻦ‬ ‫ﺍﻣﭙﺮﺍﺗﻮﺭﻱ ﻗﺎﭼﺎﻕ ﻭ ﺩﺯﺩﻱ ﻭ ﺧﻴﺎﻧﺖ ﻭ ﺑﻲﻧﺎﻣﻮﺳــﻲ ﻭ ﺟﻌﻞ ﺍﺳــﻨﺎﺩ ﻭ‬ ‫ﻛﻮﭘﻦ ﻭ ﺩﻻﺭ ﻓﺮﻭﺷــﻲ ﻭ ‪ ...‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻭ ﺍﮔﺮ »ﺭﺿﺎ« ﺍﻳﻦ ﻧﺎﺟﻲ ﻣﺎﺩﺭ‬ ‫ﻣﺮﺩﻩ ﻫﻢ ﻧﻤﻲﺁﻣﺪ ﺩﻳﮕﺮ ﻣﻌﻠﻮﻡ ﻧﺒﻮﺩ ﻛﻪ ﻭﺍﻗﻌﺎ ﭼﻪ ﻛﺴــﻲ ﻗﺮﺍﺭ ﺍﺳــﺖ‬ ‫ﺑﻪ ﺩﺍﺩ ﺍﻳﻦ ﺑﻴﭽﺎﺭﻩﻫﺎ ﺑﺮﺳــﺪ‪ .‬ﺩﺭ ﺟﻮﺍﺏ ﺍﻳﻦ ﺳــﻮﺍﻝ ﻛﻪ ﭼﺮﺍ ﺍﻳﻦ ﺷﻬﺮ‬ ‫ﺷــﻬﺮﻫﺮﺕ ﺑﻪﻭﺟﻮﺩ ﺁﻣﺪﻩ ﻓﻴﻠﻢ ﺩﻧﺪﺍﻥ ﻣﺎﺭ ﻓﻘﻂ ﻣﻲﮔﻔﺖ‪» :‬ﺟﻨﮓ«‪.‬‬ ‫ﺍﮔﺮ ﺯﻣﻴﻨﻪ ﺁﻣﺎﺩﻩﺍﻱ ﺍﺯ ﻟﺤﺎﻅ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺳﻴﺎﺳﻲ‪ ،‬ﻓﺮﻫﻨﮕﻲ ﻭ ﺍﺧﻼﻗﻲ‬ ‫ﻧﺒﺎﺷــﺪ ﻣﮕﺮ ﺟﻨﮓ ﻣﻲﺗﻮﺍﻧﺪ ﻳﻚ ﭼﻨﻴﻦ ﺑﻠﺒﺸــﻮﻳﻲ ﺩﺭ ﺟﺎﻣﻌﻪ ﺑﻪ ﺭﺍﻩ‬ ‫ﺑﻴﻨﺪﺍﺯﺩ؟« ﺍﻳﻦ ﻧﻘﺪ ﻓﻀﺎﻱ ﺧﺎﺻﻲ ﺭﺍ ﭘﻴﺮﺍﻣﻮﻥ ﻓﻴﻠﻢ ﺷــﻜﻞ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﺁﻥ ﭼﻨﺎﻥ ﻛﻪ ﺭﺳﺎﻧﻪﻫﺎ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﭘﻴﺮﺍﻣﻮﻥ ﻓﻴﻠﻢ ﺑﻪ ﺑﺤﺚ ﻣﻲﻧﺸﻴﻨﻨﺪ‬ ‫ﻭ ﺷﺎﻳﻌﺎﺗﻲ ﺩﺭﺑﺎﺭﻩ ﺍﺣﺘﻤﺎﻝ ﺑﺮﻭﺯ ﻣﺸﻜﻼﺗﻲ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻣﻨﺘﺸﺮ‬ ‫ﻣﻲﺷــﻮﺩ‪ .‬ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻣﺠﺒﻮﺭ ﺑــﻪ ﺍﻧﺠﺎﻡ ﺍﺻﻼﺣﺎﺗﻲ‬ ‫ﻣﺘﻌﺪﺩ ﺩﺭ ﺣﺪﻭﺩ ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 10‬ﺩﻗﻴﻘﻪ ﻣﻲﺷﻮﺩ ﻭ ﻫﻤﻴﻦ ﺯﻣﻴﻨﻪ ﺑﻴﺎﻥ‬ ‫ﺍﻧﺘﻘﺎﺩﺍﺗﻲ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﺍﺯ ﺳﻮﻱ ﻛﻴﻤﻴﺎﻳﻲ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﻛﻪ ﺩﺭ ﺟﺮﻳﺎﻥ‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﭼﻨﺪﺍﻥ ﭘﺮﺣﺮﻑ ﻧﺒﻮﺩ ﻭ ﺗﻨﻬﺎ ﺗﻮﺿﻴﺤﺎﺗﻲ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩ ﺑﻮﺩ ﺩﺭ ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﺩﺭ ﺻﺤﺒﺖﻫﺎﻳﺶ‬ ‫ﺑﻴﺸﺘﺮ ﺑﺎ ﻧﺸــﺮﻳﺎﺗﻲ ﻣﺘﻤﺎﻳﻞ ﺑﻪ ﺟﺮﻳﺎﻥ ﺭﻭﺷﻨﻔﻜﺮﻱ ﻭ ﺧﻼﻑ ﺟﺮﻳﺎﻥ‬ ‫ﺭﺳــﻤﻲﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺧﺎﺭﺝ ﺍﺯ ﻓﻴﻠﻢ ﻭ ﻣﺴﺎﺋﻞ ﭘﻴﺮﺍﻣﻮﻥ‬ ‫ﺁﻥ ﺭﺍ ﺗﻮﺿﻴﺢ ﺩﻫﺪ‪» :‬ﻫﻤﻴﺸــﻪ ﺑﻪ ﺭﻓﺎﻗﺖ ﺍﺣﺘﻴــﺎﺝ ﺩﺍﺭﻳﻢ‪ ،‬ﺑﺨﺼﻮﺹ‬ ‫ﺣﺎﻻ ﻛﻪ ﻫﻤﻪ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﮔﻢ ﻛﺮﺩﻩﺍﻳﻢ‪ ،‬ﺍﺯ ﺍﻳﻨﻬﺎ ﮔﺬﺷﺘﻪ ﻫﺮﻓﻴﻠﻤﺴﺎﺯ‪،‬‬ ‫ﻣﻮﻟﻔﻪﻫﺎﻳــﻲ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﺗﻤﺎﻣﻲﺁﺛﺎﺭﺵ ﺗﻜﺮﺍﺭ ﻣﻲﺷــﻮﺩ‪ .‬ﺷــﺮﺍﻳﻂ ﻭ‬ ‫ﻣﻮﻗﻌﻴﺖ ﺁﺩﻡﻫﺎﺳــﺖ ﻛﻪ ﺗﻐﻴﻴﺮ ﻣﻲﻛﻨﺪ‪ .‬ﭼﻴﺰﻱ ﻛﻪ ﺩﻭ ﺗﺎ ﺁﺩﻡ ﺍﺻﻠﻲ‬ ‫ﺍﻳﻦ ﻗﺼﻪ ﺭﺍ ﺑﻪ ﻫﻢ ﭘﻴﻮﻧﺪ ﻣﻲﺩﻫﺪ‪ ،‬ﻣﺴﺎﻟﻪﺍﻱ ﺍﺳﺖ ﺧﺎﺹ ﺩﻭﺭﻩﺍﻱ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ ﺯﻧﺪﮔــﻲ ﻣﻲﻛﻨﻴﻢ‪ «.‬ﺍﻣﺎ ﻣﻨﺘﻘــﺪﺍﻥ ﺍﻋﺘﻨﺎﻳﻲ ﺑﻪ ﺍﻳﻦ ﺻﺤﺒﺖﻫﺎ‬ ‫ﻧﺪﺍﺭﻧﺪ ﻭ ﺟﺰ ﭼﻨﺪ ﻧﻘﺪ ﻣﻮﺍﻓﻖ ﺩﺭ ﻫﻤﺎﻥ ﻧﺸــﺮﻳﺎﺕ ﺭﻭﺷــﻨﻔﻜﺮﻱ ﺑﻘﻴﻪ‬ ‫ﻳﻚ ﺳﺮ ﻋﻠﻴﻪ ﻓﻴﻠﻢ ﻫﺴﺘﻨﺪ‪ .‬ﻧﺸﺮﻳﺎﺕ ﺟﺮﻳﺎﻥ ﺭﺳﻤﻲ ﻫﻢ ﺍﻋﺘﻘﺎﺩ ﻗﺒﻠﻲ‬ ‫ﻣﺒﻨﻲﺑﺮ ﻣﺨﺎﻟﻒ ﺑﻮﺩﻥ ﺩﻳﺪﮔﺎﻩﻫﺎﻱ ﻓﻴﻠﻢ ﻋﻠﻴﻪ ﺷﺮﺍﻳﻂ ﺟﺎﻣﻌﻪ ﺭﺍ ﺗﻜﺮﺍﺭ‬ ‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﭼﻨﻴﻦ ﻓﻀﺎﻳﻲ ﺑﺴﻴﺎﺭ ﺑﺮ ﻛﻴﻤﻴﺎﻳﻲ ﺗﺎﺛﻴﺮ ﻣﻲﮔﺬﺍﺭﺩ ﻭ ﺍﻭ ﺭﺍ ﺗﺎ‬ ‫ﺣﺪﻭﺩﻱ ﺳﺮﺧﻮﺭﺩﻩ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺍﻓﺘــﺎﺩﻩ ﻭ ﺑﻴﺮﻭﻥﻣﺎﻧﺪﻩ ﻫﺴــﺘﻨﺪ‪ .‬ﺑﻲﺍﻋﺘﻨﺎﻳﻲ ﻣﻨﺘﻘﺪﺍﻥ ﺑﻪ ﻓﻴﻠــﻢ ﺭﺍ ﺣﺎﻻ ﻣﻲﺗﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﺍﺷــﺘﺒﺎﻫﺎﺕ‬ ‫ﺗﺎﺭﻳﺨﻲ ﺁﻧﻬﺎ ﺩﺍﻧﺴــﺖ‪ .‬ﺷــﺎﻳﺪ ﺍﺳــﺘﻘﺒﺎﻝﻫﺎﻱ ﺍﻣﺮﻭﺯ ﺑــﺮﺍﻱ ﻓﻴﻠﻢﻫــﺎﻱ ﺍﺧﻴﺮ ﻛﻴﻤﻴﺎﻳــﻲ ﺟﺒﺮﺍﻧﻲ ﺑﺮ‬ ‫ﺑﻲﻣﻬﺮﻱﻫﺎﻱ ﮔﺬﺷــﺘﻪ ﺑﺎﺷــﺪ‪ .‬ﺗﻚﺍﻓﺘﺎﺩﮔﻲ ﻭ ﺧﺴــﺘﮕﻲ ﻭ ﺍﻧﻔﻌﺎﻝ ﻧﻮﻋﻲ ﻗﻬﺮﻣــﺎﻥ ﻛﻴﻤﻴﺎﻳﻲ ﻫﻢ ﺩﺭ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻤﺶ ﺟﺎﻟﺐ ﺗﻮﺟﻪ ﺍﺳــﺖ ﻗﻬﺮﻣﺎﻧﻲ ﻛــﻪ ﺗﻮﺍﻧﺎﻳﻲ ﻫﻤﺮﺍﻫﻲ ﺩﻭﺳــﺘﺶ ﺭﺍ ﺩﺭ ﺣﺮﻛﺖ ﻗﻴﺎﻡ ﻭﺍﺭﺵ‬ ‫ﺭﺍ ﻧﺪﺍﺭﺩ ﻭ ﺗﻨﻬﺎ ﺻﺤﻨﻪ ﺭﺍ ﺗﺮﻙ ﻣﻲﻛﻨﺪ‪.‬ﺩﻧﺪﺍﻥﻣﺎﺭ ﺩﺭ ﺩﻳﺪﺍﺭﻫﺎﻱ ﻣﺘﺎﺧﺮ ﺗﻠﺨﻲ ﺷــﺪﻳﺪﻱ ﺩﺍﺭﺩ ﻛﻪ ﺣﺘﻲ‬ ‫ﺗﺼﻮﺭ ﺳﺎﺧﺘﺶ ﺩﺭ ﺷﺮﺍﻳﻂ ﻓﻌﻠﻲ ﺭﺍ ﻫﻢ ﺑﻌﻴﺪ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺑﺎﻳﺪ ﺩﻧﺪﺍﻥ ﻣﺎﺭ ﺭﺍ ﺷﺒﻴﻪﺗﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻛﻴﻤﻴﺎﻳﻲ ﺑﻪ ﺍﺛﺮ ﻣﻬﻤﺶ »ﮔﻮﺯﻥﻫﺎ« ﺩﺍﻧﺴﺖ‪.‬‬ ‫‪65‬‬ ‫‪9‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻫﺎﻣﻮﻥ )‪(1368‬‬ ‫ﺳﺮﮔﺸﺘﮕﻲ‬ ‫ﺭﻭﺷﻨﻔﻜﺮﺍﻳﺮﺍﻧﻲ‬ ‫ﻣﻴﺎﻥﺍﻳﻤﺎﻥﻭﻋﺸﻖ‬ ‫ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﺩﺍﺭﻳـﻮﺵ ﻣﻬﺮﺟﻮﻳـﻲ‪ ،‬ﺗﻬﻴـﻪ ﻛﻨﻨﺪﮔﺎﻥ‪:‬‬ ‫ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ ﻭ ﻫﺎﺭﻭﻥ ﻳﺸـﺎﻳﺎﺋﻲ‪ ،‬ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺗﻮﺭﺝ‬ ‫ﻣﻨﺼﻮﺭﻱ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﺣﺴﻦ ﺣﺴﻨﺪﻭﺳﺖ‪ ،‬ﻣﻮﺳﻴﻘﻲ‪ :‬ﻧﺎﺻﺮ ﭼﺸﻢﺁﺫﺭ‪،‬‬ ‫ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﻋﺒﺪﺍﷲ ﺍﺳﻜﻨﺪﺭﻱ ﺻﺪﺍﺑﺮﺩﺍﺭﺍﻥ‪ :‬ﺍﺣﻤﺪ ﺻﺎﻟﺤﻲ‪،‬‬ ‫ﺍﺻﻐﺮ ﺷﺎﻫﻮﺭﺩﻱ‪ ،‬ﺩﺳﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺳﻴﺪﺍﻣﻴﺮ ﺳﻴﺪﻱ‪ ،‬ﻃﺮﺍﺡ ﻟﺒﺎﺱ‪:‬‬ ‫ژﻳـﻼ ﻣﻬﺮﺟﻮﻳﻲ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ‪ :‬ﻓﺮﻳﺎﺭ ﺟﻮﺍﻫﺮﻳـﺎﻥ ﻭ ﻣﻌﺼﻮﻣﻪ ﻭﺛﻮﻕ‪،‬‬ ‫ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﻓﺮﻳﺪﻭﻥ ﺁﺯﻣﺎ‪ ،‬ﺟﻠﻮﻩ ﻫﺎﻱ ﻭﻳﮋﻩ‪ :‬ﻣﺤﻤﺪﻋﻠﻲ ﻧﻘﻲ ﻛﻨﻲ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺧﺴﺮﻭ ﺷﻜﻴﺒﺎﻳﻲ‪ ،‬ﺑﻴﺘﺎ ﻓﺮﻫﻲ‪ ،‬ﻋﺰﺕﺍﷲ ﺍﻧﺘﻈﺎﻣﻲ‪ ،‬ﺣﺴﻴﻦ ﺳﺮﺷﺎﺭ‪ ،‬ﺗﻮﺭﺍﻥ ﻣﻬﺮﺯﺍﺩ‪،‬‬ ‫ﺟﻼﻝ ﻣﻘﺪﻡ‪ ،‬ﺍﻣﺮﺍﻟﻪ ﺻﺎﺑﺮﻱ‪ ،‬ﻓﺘﺤﻌﻠﻲ ﺍﻭﻳﺴـﻲ‪ ،‬ﻓﺮﻫﺎﺩ ﺧﺎﻥ ﻣﺤﻤﺪﻱ‪ ،‬ﺍﺳﺪﺍﷲ ﻳﻜﺘﺎ‪ ،‬ﺳﻴﻤﺎ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺟﺮﻳﺎﻧﺎﺕ ﺭﻭﺷــﻨﻔﻜﺮﻱ‪ ،‬ﻫﻤﺮﺍﻩ ﺍﻭﻟﻴﻪ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻲ ﺑﻮﺩﻧﺪ‪ .‬ﺣﻀﻮﺭ‬ ‫ﺍﻳﻦ ﻃﺒﻘﻪ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﺭﻭﻳﺪﺍﺩ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ ‪ 57‬ﺭﻳﺸﻪ ﺩﺭ ﺟﺮﻳﺎﻧﺎﺕ‬ ‫ﻓﻜﺮﻱ ﻭ ﺗﺎﺭﻳﺨﻲ ﺍﻳﻦ ﮔﺮﻭﻩ ﺩﺍﺷﺖ ﻛﻪ ﻫﻤﻮﺍﺭﻩ ﺧﻮﺩ ﺭﺍ ﻣﻘﺎﺑﻞ ﻭ ﻣﻨﺘﻘﺪ‬ ‫ﻧﻈﺎﻡ ﺣﺎﻛﻢ ﻗﺒﻞ ﻣﻲﺩﺍﻧﺴــﺖ‪ .‬ﺍﻳﻦ ﮔﺮﻭﻩ ﺑﺎ ﺷﺮﻭﻉ ﻣﻮﺝ ﺍﻧﻘﻼﺏ ﻫﻤﺮﺍﻩ‬ ‫ﺟﺮﻳﺎﻥ ﺷﺪ ﺍﻣﺎ ﺍﻳﻦ ﻫﻤﺮﺍﻫﻲ ﺩﻭﺍﻣﻲ ﻧﺪﺍﺷﺖ‪ .‬ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﻏﻴﺮﻣﺬﻫﺒﻲ‬ ‫ﺟﺰﻭ ﺍﻭﻟﻴﻦ ﭘﻴﺎﺩﻩﺷــﺪﮔﺎﻥ ﻗﻄﺎﺭ ﺍﻧﻘﻼﺏ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻥ ﻫﻢ ﺩﺭ ﺟﺎﻣﻌﻪﺍﻱ‬ ‫ﻛﻪ ﺍﺻﻮﻻ ﻧﮕﺎﻩ ﻣﺜﺒﺘﻲ ﺑﻪ ﺭﻭﺷﻨﻔﻜﺮﺍﻧﺶ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺳﺮﻳﻊ ﻛﻪ‬ ‫ﺑﺎ ﺣﻮﺍﺩﺙ ﺳــﺎﻝﻫﺎﻱ ﺑﻌﺪ ﺩﺭ ﺟﺪﺍﻳﻲ ﻛﺎﻣﻞ ﻧﻴﺮﻭﻫﺎﻱ ﻏﻴﺮ ﻣﺬﻫﺒﻲ ﺍﺯ‬ ‫ﺍﻧﻘﻼﺏ ﺷﻜﻞ ﺑﻴﺮﻭﻧﻲ ﻣﺸﺨﺼﻲ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ‪ ،‬ﺭﻭﺷﻨﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﺭﺍ ﺑﻪ‬ ‫ﺑﺎﺯﺧﻮﺍﻧﻲ ﺁﻣﻮﺯﻩﻫﺎ ﻭ ﻧﮕﺮﺵﻫﺎﻱ ﺍﺑﺘﺪﺍﻳﻲﺍﺵ ﻭﺍﺩﺍﺷﺖ‪ .‬ﺩﺭ ‪ 10‬ﺳﺎﻟﮕﻲ‬ ‫ﺍﻧﻘﻼﺏ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺳﺮﮔﺸﺘﮕﻲ ﺭﻭﺷﻨﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﺑﺎ ﻇﻬﻮﺭ ﺟﺮﻳﺎﻥﻫﺎﻱ‬ ‫ﺟﺪﻳﺪ ﻓﻜﺮﻱ‪ -‬ﻣﺬﻫﺒﻲ ﻛﻪ ﻧﺴــﺨﻪﻫﺎﻱ ﻣﺪﺭﻧﻲ ﺩﺭ ﻫﻤﺮﺍﻫﻲ ﻣﺬﻫﺐ‬ ‫ﻭ ﻣﻔﺎﻫﻴﻢ ﺍﻣﺮﻭﺯﻱ ﺗﻔﻜﺮ ﻭ ﺩﺳــﺘﺎﻭﺭﺩﻫﺎﻱ ﺑﺸــﺮﻱ ﺍﺭﺍﺋــﻪ ﻣﻲﺩﺍﺩﻧﺪ‪،‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺣﻤﻴﺪ ﻫﺎﻣﻮﻥ ﻛﻪ ﺑﺎ ﻫﻤﺴﺮﺵ ﻣﻬﺸﻴﺪ ﺩﺍﺋﻢ ﻛﺶﻣﻜﺶ ﺩﺍﺭﺩ ﺯﻧﺪﮔﻲ ﻛﺎﺑﻮﺱ ﮔﻮﻧﻪﺍﺵ ﺭﺍ ﻣﺮﻭﺭ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ‬ ‫ﻛﻪ ﻣﺸﻐﻮﻝ ﻧﻮﺷﺘﻦ ﺭﺳﺎﻟﻪﺍﺵ ﺩﺭﺑﺎﺭﻩ ﻋﺸﻖ ﻭ ﺍﻳﻤﺎﻥ ﺍﺳﺖ ﺩﺭ ﭘﻲ ﺩﻭﺳﺖ ﻗﺪﻳﻤﻲ ﻭ ﻣﺮﺍﺩﺵ ﻋﻠﻲ ﻋﺎﺑﺪﻳﻨﻲ‬ ‫ﻣﻲﮔﺮﺩﺩ‪ .‬ﺧﺎﻧﻪ ﻭ ﻛﺎﺷﺎﻧﻪ ﺭﺍ ﺗﺮﻙ ﻣﻲﻛﻨﺪ ﻭ ﺩﺳﺖ ﺑﻪ ﺍﻋﻤﺎﻝ ﺩﻳﻮﺍﻧﻪﻭﺍﺭﻱ ﻣﻲﺯﻧﺪ‪ .‬ﺍﻭ ﺩﺭ ﺣﺎﻟﺘﻲ ﭘﺮﻳﺸﺎﻥ‪،‬‬ ‫ﺩﺭ ﭘﻲ ﺷﻜﺎﻳﺖ ﻫﺎﻳﺶ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺍﻣﻮﺍﺝ ﺩﺭﻳﺎ ﻣﻲﺳﭙﺎﺭﺩ‪ ،‬ﺍﻣﺎ ﻋﺎﺑﺪﻳﻨﻲ ﺍﻭ ﺭﺍ ﻧﺠﺎﺕ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺧﺎﺳــﺘﮕﺎﻩ ﺭﻭﺷﻨﻔﻜﺮﻱ‬ ‫ﻏﻴﺮﻣﺬﻫﺒﻲ ﺍﻳﺮﺍﻧﻲ‪ ،‬ﺟﺮﻳﺎﻧﺴﺎﺯﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻧﺰﺩ ﻣﻨﺘﻘﺪﺍﻥ ﻭ‬ ‫ﻋﻼﻗﻤﻨﺪﺍﻥ ﺟﺪﻱ ‪ -‬ﻭ ﺣﺘﻲ ﻛﻤﺘﺮ ﺟﺪﻱ ﺳﻴﻨﻤﺎ ‪ -‬ﺭﺍ ﻣﻲﺳﺎﺯﺩ‪ .‬ﻓﻴﻠﻤﻲ‬ ‫ﻛﻪ ﻧﻤﺎﻳﺸــﻲ ﺻﺮﻳﺢ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺍﺯ ﻣﻮﻗﻌﻴﺖ ﺑﻪ ﻫﻢﺭﻳﺨﺘﻪ‪ ،‬ﻣﻐﺸﻮﺵ‬ ‫ﻭ ﻧﺎﻣﺸﺨﺺ ﺭﻭﺷــﻨﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﺍﺳﺖ ﻭ ﺑﻪ ﺳــﺮﻋﺖ ﺗﻮﺟﻪﺑﻴﻨﻨﺪﮔﺎﻥ‬ ‫ﺧﺎﺻﺶ ﺭﺍ ﺟﻠــﺐ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻴﻨﻨﺪﮔﺎﻧﻲ ﻛﻪ ﮔﻮﻳــﻲ ﻧﻤﺎﻳﺶ ﺻﺮﻳﺢ ﺍﺯ‬ ‫ﺩﻏﺪﻏﻪﻫﺎ ﻭ ﺩﻟﻤﺸﻐﻮﻟﻲﻫﺎ ﻭ ﻣﻮﻗﻌﻴﺖ ﻧﻬﺎﻳﻲﺷﺎﻥ ﺭﺍ ﻣﻲﺑﻴﻨﻨﺪ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﻓﺮﺍﻭﺍﻥ ﺍﺯ ﻓﻴﻠﻢ ﺑﻪﻭﻳﮋﻩ ﺍﺯ ﺳﻮﻱ ﻧﺴﻞ ﺟﻮﺍﻥ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﺟﺪﻱ ﺑﻮﺩﻥ‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻱ ﻣﻄﺮﺡ ﺷﺪﻩ ﺩﺭ ﻓﻴﻠﻢ ﺩﺍﺷﺖ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ ﺑﻌﺪ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ»ﺍﺟﺎﺭﻩﻧﺸــﻴﻦﻫﺎ«‬ ‫ﻭ ﻓﻴﻠــﻢ ﻧﺎﻣﻮﻓﻖ»ﺷــﻴﺮﻙ«‪ ،‬ﺑﺮ ﺍﺳــﺎﺱ ﻃﺮﺣﻲ ﻗﺪﻳﻤــﻲ ﺑﺮ ﻣﺒﻨﺎﻱ‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻱ ﻓﻠﺴﻔﻲﺍﺵ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﺳﺎﺧﺖ »ﻫﺎﻣﻮﻥ« ﺷﺪ‪ .‬ﻫﺎﻣﻮﻥ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 20‬ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺳﺎﺧﺘﻪﺷﺪﻥ »ﻫﺎﻣﻮﻥ« ﺍﻣﺮﻭﺯ ﺍﻳﻦ ﻓﻴﻠﻢ ﻭﺍﺭﺩ ﻓﻬﺮﺳﺖ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺁﺛﺎﺭ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺭﺯﺵﻫﺎﻱ ﺍﻳﻦ ﺳــﺎﺧﺘﻪ ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻲ ﺍﺯ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺳﺎﺧﺖ ﻣﻮﺭﺩ‬ ‫ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻭ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺟﺰﻭ ﻗﺪﺭ ﺩﻳﺪﻩﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﺗﺎﺭﻳﺦ ﺳــﻴﻨﻤﺎ ﺩﺍﻧﺴﺖ‪ .‬ﺗﻤﺎﺷﺎﻱ ﻫﺎﻣﻮﻥ‬ ‫ﺍﻣﺮﻭﺯ ﻧﻴﺰ ﺟﺬﺍﺏ ﺍﺳــﺖ ﺍﻣﺎ ﻛﻤﺘﺮ ﻣﻲﺗﻮﺍﻥ ﻫﻤﺬﺍﺕﭘﻨﺪﺍﺭﻱﻫﺎﻱ ﺯﻣــﺎﻥ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻧﺰﺩ ﻣﺨﺎﻃﺒﺎﻧﺶ‬ ‫ﺭﺍ ﺩﺭ ﺗﻤﺎﺷــﺎﮔﺮ ﺍﻣﺮﻭﺯ ﻳﺎﻓﺖ‪ .‬ﮔﻮﻳﻲ ﻓﻴﻠﻢ ﺑﻴﺶ ﺍﺯ ﺁﻧﭽﻪ ﺗﻠﻘﻲ ﻣﻲﺷﺪ ﻭﺍﺑﺴــﺘﻪ ﺑﻪ ﺷﺮﺍﻳﻂ ﺩﻭﺭﺍﻧﺶ ﺑﻮﺩ‪.‬‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻱ ﺭﻭﺷﻨﻔﻜﺮﺍﻧﻪ ﻗﻬﺮﻣﺎﻥ ﻓﻴﻠﻢ ﻛﻪ ﺁﺭﺍﻣﺸﺶ ﺭﺍ ﻇﺎﻫﺮﺍ ﺩﺭ ﻧﻮﻋﻲ ﻋﺮﻓﺎﻥ ﻣﺬﻫﺒﻲ ﻣﻲﻳﺎﻓﺖ‪ ،‬ﺍﻣﺮﻭﺯ‬ ‫ﺑﺮﺍﻱ ﻣﺨﺎﻃﺒﺶ ﭼﻨﺪﺍﻥ ﻣﻠﻤﻮﺱ ﻧﻴﺴــﺖ‪ .‬ﺗﻚﺍﻓﺘﺎﺩﮔﻲ ﻭ ﺗﻠﺦﺍﻧﺪﻳﺸﻲ ﺭﻭﺷــﻨﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﭼﻨﺪ ﺳﺎﻟﻲ‬ ‫‪66‬‬ ‫ﺗﻴﺮﺍﻧﺪﺍﺯ‪ ،‬ﺁﻧﻴﻚ ﺷﻔﺮﺍﺯﻳﺎﻥ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﭘﺨﺸﻴﺮﺍﻥ‪ 120 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 6 :‬ﺗﻴﺮ‪ ،1369‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 16/5 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺍﺯ ﻃﺮﺣﻲ ﻣﻲﺁﻣﺪ ﻛﻪ ﻣﻬﺮﺟﻮﻳﻲ ﻗﺒﻞ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﺮﺍﻱ ﻧﻮﺷﺘﻦ ﻳﻚ ﺭﻣﺎﻥ‬ ‫ﺩﺭ ﺫﻫﻦ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﺁﻥ ﺩﺍﺳﺘﺎﻥ ﺍﻋﻀﺎﻱ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺑﺰﺭگ ﺑﺎ ﻣﺴﺎﺋﻞ‬ ‫ﺧﺎﺻﺸﺎﻥ ﺭﻭﺍﻳﺖ ﻣﻲﺷﺪ‪ .‬ﻫﺎﻣﻮﻥ ﻳﻜﻲ ﺍﺯ ﺍﻋﻀﺎﻱ ﺍﻳﻦ ﺧﺎﻧﻮﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻌﺪ‬ ‫ﺍﻳﻦ ﻃﺮﺡ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﭼﻨﺪﮔﺎﻧﻪ ﺷــﺪ ﻛﻪ ﺗــﺎ ﺣﺪﻭﺩﻱ ﺩﺭ ﺁﺛﺎﺭ ﺑﻌﺪ ﺍﺯ‬ ‫ﻫﺎﻣﻮﻥ ﻧﺸﺎﻧﻪﻫﺎﻳﺶ ﺩﻳﺪﻩ ﻣﻲﺷــﻮﺩ‪ .‬ﻣﻬﺮﺟﻮﻳﻲ ﺑﺎ ﺗﺠﺮﺑﻪ ﺑﻪ ﺩﻭ ﻓﻴﻠﻢ‬ ‫ﺍﺟﺎﺭﻩﻧﺸﻴﻦﻫﺎ ﻭ ﺷﻴﺮﻙ ﻭ ﺣﺎﺷﻴﻪﻫﺎﻱ ﺗﻮﻟﻴﺪﺷﺎﻥ‪ ،‬ﻛﺎﺭ ﺗﻮﻟﻴﺪ ﻫﺎﻣﻮﻥ ﺭﺍ‬ ‫ﺑﻪﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲﺧﻮﺩﺵﺩﺭﺩﻓﺘﺮﺗﻮﻟﻴﺪﭘﺨﺸﻴﺮﺍﻥﭘﻴﺶﺑﺮﺩ‪.‬ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﻫﺎﻣﻮﻥ ﺩﺭ ﺩﻭﺭﻩﺍﻱ ﺗﺼﻮﻳﺐ ﺷﺪ ﻛﻪ ﻣﺪﻳﺮﻳﺖ ﺳﻴﻨﻤﺎﻳﻲ ﻛﺸﻮﺭ ﺑﺮ ﻣﺒﻨﺎﻱ‬ ‫ﺍﻟﮕﻮﻳﻲ ﻭﺍﻡ ﮔﺮﻓﺘﻪ ﺍﺯ ﻧﻮﻉ ﺳﻴﻨﻤﺎﻱ ﺷﺎﻋﺮﺍﻧﻪ ﻭ ﺩﺭﻭﻧﻲ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺑﻠﻮﻙ‬ ‫ﺷﺮﻕ ﭼﻮﻥ ﺗﺎﺭﻛﻮﻓﺴــﻜﻲ ﻭ ﭘﺎﺭﺍﺟﺎﻧﻒ‪ ،‬ﺳﻌﻲ ﺩﺍﺷﺖ ﺟﺮﻳﺎﻥ ﺟﺪﻳﺪﻱ‬ ‫ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻣﻌﺮﻭﻑ ﺑﻪ »ﺳﻴﻨﻤﺎﻱ ﻋﺮﻓﺎﻧﻲ« ﺭﺍ ﺑﻪﻭﺟﻮﺩ ﺁﻭﺭﺩ ﻭ‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﺭﺍﺳــﺘﺎ ﺩﺭ ﺯﻣﺎﻥ ﺗﻮﻟﻴﺪ ﻫﺎﻣﻮﻥ ﮔﻔﺘﻪ ﻣﻲﺷــﺪ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﻣﻬﺮﺟﻮﻳﻲ ﻫﻢ ﺣﺎﺻﻞ ﻫﻤﺎﻥ ﺗﻮﺻﻴﻪﻫﺎ ﻭ ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞﻫﺎ ﺩﺭ ﺍﻳﻦ ﮔﻮﻧﻪ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﺍﺳﺖ ﺑﻪﻭﻳﮋﻩ ﻛﻪ ﻫﻨﻮﺯ ﺣﺎﺷﻴﻪﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﺟﺎﺭﻩﻧﺸﻴﻦﻫﺎ‬ ‫ﺍﺳــﺖ ﻛﻪ ﺟﺎﻳﺶ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻫﻲ ﺑﻴﺸــﺘﺮ ﺑﺎ ﻭﺍﻗﻌﻴﺖﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺍﺩﻩ‪ .‬ﺍﻣﺮﻭﺯ ﺑﻬﺘﺮ ﻣﻲﺗﻮﺍﻥ ﻣﻮﻗﻌﻴﺖ‬ ‫ﻓﻴﻠﻤﻲ ﺭﺍ ﺩﺭ ﺍﺗﺘﻬﺎﻱ ﺩﻫﻪ ﻣﻨﺤﺼﺮ ‪ 60‬ﻣﺘﻮﺟﻪ ﺷــﺪ ﻛﻪ ﺍﻧﺒﻮﻩ ﺣﻮﺍﺩﺙ ﻭ ﻭﻗﺎﻳﻊ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ ﺳﻴﺮ ﻧﺰﻭﻟﻲ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ ﺍﻣﺎ ﻫﻨﻮﺯ ﺁﺛﺎﺭﺵ ﺩﺭ ﺟﺎﻣﻌﻪ ﻧﻤﺎﻳﺎﻥ ﺑﻮﺩ‪.‬‬ ‫ﺗﻐﻴﻴﺮ ﺫﺍﺋﻘﻪ ﻭ ﺭﻭﺣﻴﺎﺕ ﻣﺨﺎﻃﺐ ﺑﺎﻟﻘﻮﻩ ﻫﺎﻣﻮﻥ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﺭﻭﻧﺪ ﺍﺧﻴﺮ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﺳﺎﺯﻧﺪﻩ ﺍﺵ ﻫﻢ‬ ‫ﻣﺸــﺎﻫﺪﻩ ﻛﺮﺩ‪ .‬ﻣﻬﺮﺟﻮﻳﻲ ﻛﻪ ﺧﻮﺩ ﻫﺎﻣﻮﻥ ﺭﺍ ﺗﺎﺣﺪﻭﺩ ﺯﻳﺎﺩﻱ ﺣﺪﻳﺚ ﻧﻔﺲ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺳــﺎﻝﻫﺎ‬ ‫ﺳﺮﺧﻮﺵﺗﺮ ﻭ ﺑﺎﺯﻳﮕﻮﺵﺗﺮ ﻭ ﻳﻠﻪﺗﺮ ﻓﻴﻠﻢ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺍﻭ ﻫﻢ ﮔﻮﻳﻲ ﭘﺎﺳﺦ ﭘﺮﺳﺶﻫﺎﻳﺶ ﺭﺍ ﮔﺮﻓﺘﻪ ﻭ ﺁﺭﺍﻣﺶ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﻧﮕﺎﻫﻲ ﺩﻳﮕﺮ ﺗﻤﺎﺷﺎﻱ ﺩﻭﺑﺎﺭﻩ ﻫﺎﻣﻮﻥ‪ ،‬ﺍﺭﺯﺵ ﺍﺟﺮﺍﻱ ﺑﺎﺯﻳﮕﺮ ﺍﺳﺘﺜﻨﺎﻳﻲ ﭼﻮﻥ ﺧﺴﺮﻭ ﺷﻜﻴﺒﺎﻳﻲ ﺭﺍ ﺩﺭ ﻳﻚ‬ ‫ﺍﻭﺝ ﺍﺳﺘﺜﻨﺎﻳﻲ ﺗﺎﻛﻴﺪ ﻣﻲﻛﻨﺪ‪ .‬ﻛﺴﻲ ﻛﻪ ﺑﺪﻭﻥ ﺍﻭ ﻗﻄﻌﺎ ﻫﺎﻣﻮﻥ ﭼﻨﻴﻦ ﻓﻴﻠﻤﻲ ﻧﺒﻮﺩ‪.‬‬ ‫ﭘﻴﺮﺍﻣﻮﻥ ﻣﻬﺮﺟﻮﻳﻲ ﻣﻄﺮﺡ ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﺮﺍﻱ ﻧﻘﺶ ﺍﻭﻝ ﻓﻴﻠﻢ ﻛﻪ ﺗﻤﺎﻡ ﻛﻠﻴﺖ‬ ‫ﻧﻬﺎﻳﻲﺍﺛﺮﺑﺴﺘﮕﻲﺑﻪ ﺍﺟﺮﺍﻱﺻﺤﻴﺢ ﺑﺎﺯﻳﮕﺮﺵ ﺩﺍﺷﺖ‪،‬ﺧﺴﺮﻭ ﺷﻜﻴﺒﺎﻳﻲ‬ ‫ﺭﺍ ﻛﻪ ﺑﻪ ﺭﻏﻢ ﺣﻀﻮﺭﻫﺎﻳﺶ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻫﻨﻮﺯ ﻧﺘﻮﺍﻧﺴﺘﻪ‬ ‫ﺑﻮﺩ ﺗﻮﺍﻧﺎﻳﻲﻫﺎﻳﺶ ﺭﺍ ﺍﺛﺒﺎﺕ ﻛﻨﺪ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﻣﻲﻛﻨﺪ ﻭ ﻣﺎﺑﻘﻲ ﻋﻮﺍﻣﻞ ﺭﺍ ﺍﺯ‬ ‫ﺑﻴﻦ ﻫﻤﺮﺍﻫﺎﻥ ﻣﻌﻤﻮﻝ ﺁﻥ ﺩﻭﺭﺍﻧﺶ ﺑﺮﻣﻲﮔﺰﻳﻨﺪ ﺗﺎ ﺩﺭ ﺗﻮﻟﻴﺪﻱ ﻣﻌﻘﻮﻝ‬ ‫ﻭ ﺑﺪﻭﻥ ﺣﺎﺷــﻴﻪ »ﻫﺎﻣﻮﻥ« ﺭﺍ ﺁﻣﺎﺩﻩ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻛﻨﺪ‪ .‬ﺗﻨﻬﺎ‬ ‫ﻣﺸﻜﻞ ﺑﻴﻤﺎﺭﻱ ﻋﺰﺕﺍﷲ ﺍﻧﺘﻈﺎﻣﻲ ﺩﺭ ﻣﻘﻄﻌﻲ ﺍﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻓﻴﻠﻢ ﺑﻮﺩ‬ ‫ﻛﻪ ﻣﻮﺟﺐ ﻭﻗﻔﻪﺍﻱ ﻣﻲﺷﻮﺩ ﺍﻣﺎ ﺑﺎ ﺑﻬﺒﻮﺩ ﺍﻧﺘﻈﺎﻣﻲ ﻣﺸﻜﻞ ﺭﻓﻊ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻓﻴﻠﻢ ﺑﺎ ﻛﻤﺘﺮﻳﻦ ﺯﻣﺎﻥ ﻃﻲ ﺷﺪﻩ ﺍﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺗﺎ ﻧﻤﺎﻳﺶ ﺩﺭ ﺭﻭﺯﻫﺎﻱ‬ ‫ﭘﺎﻳﺎﻧﻲ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻫﺸﺘﻢ ﻓﻴﻠﻢ ﻓﺠﺮ ﻣﻲﺭﺳﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﻫﺎﻣﻮﻥ ﺩﺭ ﺭﻭﺯ ﭘﺎﻳﺎﻧﻲ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﺩﺍﻭﺭﺍﻥ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺩﺭ‬ ‫ﺩﻭﺭﻩ ﭘﺮ ﺭﻗﺎﺑﺖ ﻫﺸــﺘﻢ ﻛــﻪ ﻧﺎﻡﻫﺎﻳﻲ ﭼﻮﻥ ﻛﻴﺎﺭﺳــﺘﻤﻲ‪ ،‬ﺗﻘﻮﺍﻳﻲ ﻭ‬ ‫ﻛﻴﻤﻴﺎﻳﻲ ﺑﺎ ﺁﺛﺎﺭﺷــﺎﻥ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺣﺎﺿﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﺗﺎﻳﻴﺪ ﻛﺎﻣﻞ‬ ‫ﺩﺍﻭﺭﺍﻥ ﺭﺍ ﺑﻪﺩﺳﺖ ﻣﻲﺁﻭﺭﺩ‪ .‬ﻧﺎﻣﺰﺩﻱ ﺩﺭ ﺍﻛﺜﺮ ﺭﺷﺘﻪﻫﺎ ﻭ ﺩﺭﻳﺎﻓﺖ ﺟﻮﺍﻳﺰ‬ ‫ﻣﻬﻤﻲ ﭼﻮﻥ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﻣﺮﺩ ﻭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺩﺭ ﺣﺎﻟﻲﻛﻪ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﻧﻴﺰ ﻣﻮﺍﻓﻖ ﭼﻨﻴﻦ ﺍﻧﺘﺨﺎﺏﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ‪ ،‬ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻳﻜﻲ‬ ‫ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﭼﻨﺪ ﺳﺎﻝ ﺍﺧﻴﺮ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺳﺎﺧﺘﻪ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺗﻔﺎﻕ ﻧﻈﺮ ﻣﻨﺘﻘﺪﺍﻥ ﺩﺭ ﭘﺮﺩﺍﺧﺖ ﺗﺤﺴﻴﻦ ﺑﺮﺍﻧﮕﻴﺰ ﺳﻴﻨﻤﺎﻳﻲ ﻭ‬ ‫ﺳﺎﺧﺘﻤﺎﻥ ﻓﻴﻠﻢ ﻭ ﺍﺟﺮﺍﻱ ﺩﺭﺧﺸﺎﻥ ﻋﻮﺍﻣﻞ‪ ،‬ﺑﻲﺗﺮﺩﻳﺪ ﺍﺳﺖ‪ .‬ﺍﺧﺘﻼﻑﻫﺎ‬ ‫ﺍﻣﺎ ﺩﺭ ﺑﺮﺩﺍﺷــﺖ ﺍﺯ ﻣﻔﺎﻫﻴﻢ ﺟﺎﺭﻱ ﺩﺭ ﺍﺛــﺮ ﻭ ﻣﻼﺣﻈﺎﺕ ﻣﻀﻤﻮﻧﻲ ﺁﻥ‬ ‫ﺍﺳﺖ‪ .‬ﻧﻜﺘﻪﺍﻱ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﺶ ﺑﻪ ﭼﺸﻢ ﻣﻲﺁﻳﺪ‪ .‬ﻣﻬﺮﺟﻮﻳﻲ‬ ‫ﺻﺮﻳﺢﺗﺮﻳــﻦ ﺻﺤﺒﺖﻫﺎ ﺭﺍ ﺩﺭﺑــﺎﺭﻩ ﻓﻴﻠﻢ ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﻣﻲﻛﻨﺪ ﭼﺮﺍﻛﻪ ﺑﻌــﺪﺍ ﺩﺭ ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻭ ﺍﺳــﺘﻘﺒﺎﻝ ﻓﺮﺍﻭﺍﻥ‬ ‫ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﻭ ﺑﺎﻻﮔﺮﻓﺘﻦ ﺑﺤﺚ ﻭ ﮔﻔﺖﻭﮔﻮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺑﻪ ﺳــﻴﺎﻕ‬ ‫ﻣﻌﺮﻭﻓﺶ ﺗﺮﺟﻴﺢ ﻣﻲﺩﻫﺪ ﻧﮕﺎﻩ ﺳﺎﺩﻩﺍﻧﮕﺎﺭﺍﻧﻪﺍﻱ ﺑﻪ ﻓﻴﻠﻢ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‬ ‫ﻭ ﻣﻔﺎﻫﻴﻢ ﺑﺮﺩﺍﺷﺖ ﺷﺪﻩ ﺍﺯ ﺁﻥ ﺭﺍ ﺑﻲﻣﻌﻨﺎ ﺑﺨﻮﺍﻧﺪ ﺍﻣﺎ ﺍﻳﻦ ﺻﺤﺒﺖﻫﺎﻱ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩﺍﻱ ﻣﻬﻢﺗﺮﻳﻦ ﻛﻠﻴﺪ ﻓﻴﻠﻢ ﺑﻮﺩﻧﺪ ﺍﺯ ﺯﺑﺎﻥ ﻣﻬﺮﺟﻮﻳﻲ‪» :‬ﻗﺼﻪ‬ ‫ﺣﻤﻴﺪ ﻫﺎﻣﻮﻥ ﺣﺪﻳﺚ ﻧﻔﺲ ﻧﻴﺴﺖ ﻭ ﻫﺴــﺖ‪ .‬ﻣﺮﺩﻱ ﺭﺍ ﻛﻪ ﻣﻲﺷﻮﺩ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﻧﻤﻮﻧﻪ ﺍﺯ ﻣﻮﻗﻌﻴﺖ ﺍﻧﺴﺎﻥ ﺍﻳﺮﺍﻧﻲ ﻓﺮﺽ ﻛﺮﺩ‪ ،‬ﺩﺭ ﺑﺤﺮﺍﻥ‪،‬‬ ‫ﺑﺤﺮﺍﻧﻲ ﻛﻪ ﻋﺎﻃﻔﻲ‪ ،‬ﺫﻫﻨﻲ‪ ،‬ﻋﻘﻴﺪﺗﻲ‪ ،‬ﻋﺸﻘﻲ ﻭ ﺍﻳﻤﺎﻧﻲ ﺍﺳﺖ‪ .‬ﻣﺮﺩﻱ‬ ‫ﮔﺮﻓﺘــﺎﺭ ﻛﻪ ﺟﺎﻳﮕﺎﻩ ﺫﻫﻨﻲ ﻭ ﻋﻴﻨﻲ ﺧــﻮﺩ ﺭﺍ ﻧﻤﻲﺩﺍﻧﺪ‪ .‬ﻧﻪ ﺩﺭ ﺟﺎﻣﻌﻪ ﻭ‬ ‫ﻧﻪ ﺩﺭ ﻣﻐﺰ ﻭ ﺫﻫﻦ ﺧﻮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺩﺭ ﺣﺎﻝ ﮔﺬﺭ ﺍﺳــﺖ‪ .‬ﺩﺭ ﺣﺎﻝ‬ ‫ﻣﺒﺎﺭﺯﻩ ﺍﺳﺖ‪ ،‬ﺑﺎ ﺧﻮﺍﺳﺘﻦ ﻭ ﻧﺨﻮﺍﺳﺘﻦ‪ .‬ﻫﺎﻣﻮﻥ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﻳﻚ ﺍﻋﺘﺒﺎﺭ‬ ‫ﻣﺮﺩ ﺭﻭﺷﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﺩﺍﻧﺴﺖ‪) «.‬ﻧﺸﺮﻳﻪ ﺭﻭﺯﺍﻧﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻫﺸﺘﻢ ﻓﺠﺮ‪،‬‬ ‫ﺷــﻤﺎﺭﻩ ‪ (10‬ﺍﻳﻦ ﺗﻮﺻﻴﻒ ﺻﺮﻳﺢ ﺍﻣﺎ ﭼﻨﺪﺍﻥ ﻧﺰﺩ ﻣﻨﺘﻘﺪﺍﻥ ﮔﺮﻩﮔﺸﺎ‬ ‫ﻧﺒﻮﺩ ﭼﺮﺍ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﭘﻲ ﺑﺮﺩﺍﺷﺖﻫﺎﻱ ﺧﻮﺩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ‬ ‫ﻓﻴﻠﻢ ﻫﻢ ﺑﺎ »ﻣﻬﺎﺟﺮ« ﻓﻴﻠﻤﻲ ﻛﻪ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻫﻤﭙﺎﻱ ﻫﺎﻣﻮﻥ‬ ‫ﺩﺭ ﺭﺑﻮﺩﻥ ﺟﻮﺍﻳﺰ ﭘﻴﺶ ﺁﻣﺪ‪ ،‬ﻫﻤﺰﻣﺎﻥ ﺷﺪ ﺗﺎ ﺩﻭ ﮔﻮﻧﻪ ﺍﻋﺘﻘﺎﺩﻱ ﻣﻘﺎﺑﻞ‬ ‫ﻫﻢ ﻗﺮﺍﺭ ﮔﻴﺮﻧــﺪ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﻋﺮﻓﺎﻥ ﻭ ﺧﻠــﻮﺹ ﻭ ﺍﻋﺘﻘﺎﺩ ﺭﺯﻣﻨﺪﮔﺎﻧﻲ‬ ‫ﭘﺎﻙ ﻧﻴﺖ ﺩﺭ ﺩﺳــﺘﻴﺎﺑﻲ ﺑﻪ ﺍﻫﺪﺍﻓﺸــﺎﻥ ﺩﺭ ﺟﺒﻬﻪﻫﺎﻱ ﺟﻨﮓ ﺍﻳﺮﺍﻥ ﻭ‬ ‫ﻋﺮﺍﻕ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﺍﺩ ﺩﺭ ﻣﻘﺎﺑﻞ ﻓﻴﻠﻤﻲ ﻛﻪ ﺳﺮﮔﺸﺘﮕﻲ ﻭ ﺑﻼﺗﻜﻠﻴﻔﻲ‬ ‫ﻭ ﺁﺷﻔﺘﮕﻲ ﺭﻭﺷﻨﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﺭﺍ ﺗﺼﻮﻳﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﺍﻣﺎ ﺍﺯ ﻫﺎﻣﻮﻥ ﺑﻴﺸــﺘﺮ ﺑﻮﺩ‪ .‬ﺍﺳﺘﻘﺒﺎﻟﻲ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺟﺎﻳﮕﺎﻩ ﭼﻬﺎﺭﻣﻴﻦ‬ ‫ﻓﻴﻠﻢ ﭘﺮﻓﺮﻭﺵ ﺳــﺎﻝ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺍﻳﻦﭼﻨﻴﻦ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻣﻴﺎﻧﻪ ﺑﺤﺚﻫﺎﻱ‬ ‫ﭘﺮﺷــﻮﺭ ﻭ ﺩﺍﻍ ﻣﻨﺘﻘﺪﺍﻥ‪ ،‬ﺟﻮﺍﻧﺎﻧﻲ ﻛﻪ ﻗﺸــﺮ ﺍﺻﻠﻲ ﻣﺨﺎﻃﺒﺎﻥ ﻫﺎﻣﻮﻥ‬ ‫ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻲﺩﺍﺩﻧﺪ ﺩﺭ ﺗﻤﺎﺷــﺎﻳﺶ ﭘﺎﺳﺦﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﻣﻲﺟﺴﺘﻨﺪ‪.‬‬ ‫ﺭﺳــﺎﻧﻪﻫﺎﻱ ﺟﺮﻳﺎﻥ ﺭﺳــﻤﻲ ﺣﺎﻛﻢ ﭼﻨﺪﺍﻥ ﺗﻮﺟﻬﻲ ﺑﻪ ﻓﻴﻠﻢ ﻧﺸﺎﻥ‬ ‫ﻧﺪﺍﺩﻧﺪ ﺍﻣﺎ ﺩﺭ ﻣﻌﺪﻭﺩ ﺑﺮﺧﻮﺭﺩﻫﺎﻳﺸــﺎﻥ ﺁﻥ ﺭﺍ ﺭﻭﺍﻳﺘﻲ ﺍﺳــﺘﻬﺰﺍﺁﻣﻴﺰ ﺍﺯ‬ ‫ﺳﺮﻧﻮﺷﺖ ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﺑﻪ ﺭﻭﺍﻳﺖ ﺧﻮﺩﺷﺎﻥ ﺧﻮﺍﻧﺪﻧﺪ‪ .‬ﺑﺎﺯﺍﺭ ﺑﺤﺚ ﻭ ﻧﻈﺮ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ ﻧﻤﺎﻳﺸــﺶ ﻫﻤﭽﻨﺎﻥ ﺩﺍﻍ ﻣﻲﻣﺎﻧﺪ ﻭ ﻫﻤﻴﻦ ﺑﺎﻋﺚ‬ ‫ﺭﺍﻩﻳﺎﻓﺘﻦ ﻓﻴﻠﻢ ﺑﻪ ﺑﺎﺯﺍﺭ ﻣﻤﻨﻮﻉ ﻧﻤﺎﻳﺶ ﻭﻳﺪﺋﻮﻳﻲ ﺁﻥ ﺩﻭﺭﺍﻥ ﺍﺯ ﻣﺠﺮﺍﻱ‬ ‫ﻧﺎﻣﺸﺨﺼﻲ ﻣﻲﺷﻮﺩ‪ .‬ﻋﺪﻩﺍﻱ ﺍﻟﺒﺘﻪ ﺩﺭ ﻣﻮﺍﺭﺩﻱ ﺑﻪ ﻧﮕﺎﻩ ﺍﺳﺘﻬﺰﺍﮔﺮﺍﻳﺎﻧﻪ‬ ‫ﻣﻬﺮﺟﻮﻳﻲ ﺑﻪ ﺭﻭﺷــﻨﻔﻜﺮ ﺍﻳﺮﺍﻧﻲ ﻭ ﺗﺼﻮﻳﺮ ﻛﻨﺎﻳﻪﺁﻣﻴﺰ ﺍﻭ ﺍﻧﺘﻘﺎﺩ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺟﺎﻳﮕﺎﻩ ﻓﻴﻠﻢ ﻫﻤﭽﻨﺎﻥ ﺑﻌﺪ ﺍﺯ ﻧﻤﺎﻳﺶ ﻧﺰﺩ ﻣﻨﺘﻘﺪﺍﻥ ﺭﻓﻴﻊ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‬ ‫ﺁﻥ ﭼﻨﺎﻥﻛﻪ ﺑﺎﺭﻫﺎ ﺩﺭ ﻧﻈﺮﺧﻮﺍﻫﻲﻫﺎﻱ ﮔﺴﺘﺮﺩﻩ ﺍﺯ ﻣﻨﺘﻘﺪﺍﻥ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻧﺘﺨﺎﺏ ﻣﻲﺷــﻮﺩ‪ .‬ﻣﺴﺌﻮﻻﻥ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻭﻗﺖ ﻧﻴﺰ ﺑﺎ ﻣﺸــﺎﻫﺪﻩ ﺍﺳــﺘﻘﺒﺎﻝ ﺗﻮﺍﻡ ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺍﺯ ﻓﻴﻠﻢ‬ ‫ﻛﻮﺷــﻴﺪﻧﺪ ﺁﻥ ﺭﺍ ﺑﻪﻋﻨــﻮﺍﻥ ﻣﺤﺼﻮﻟﻲ ﺍﺯ ﻣﺪﻳﺮﻳﺖ ﭼﻨﺪ ﺳــﺎﻟﻪ ﺧﻮﺩ‬ ‫ﻣﻌﺮﻓﻲ ﻛﻨﻨﺪ ﺑﻪﻭﻳﮋﻩ ﺩﺭ ﭘﺎﻳﺎﻥ ﺩﻫﻪ ‪ 60‬ﻛﻪ ﺍﻧﺘﻘﺎﺩﻫﺎ ﺍﺯ ﻣﺪﻳﺮﻳﺖ ﺳﻴﻨﻤﺎ‬ ‫ﻭﺍﺭﺩ ﻣﻨﺎﺯﻋﺎﺕ ﺟﻨﺎﺣﻲ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ ﺩﺭ ﻣﺼﺎﺣﺒﻪﻫﺎﻱ‬ ‫ﻣﺪﺍﻓﻌﻪﮔﺮﺍﻳﺎﻧﻪﺷﺎﻥ ﺑﺎﺭﻫﺎ ﺑﻪ ﻫﺎﻣﻮﻥ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻧﺪ‪.‬‬ ‫‪10‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻛﻠﻮﺯﺁپ ﻧﻤﺎﻱ ﻧﺰﺩﻳﻚ )‪(1368‬‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﻫﻮﻳﺖ ﺟﺪﻳﺪ‬ ‫ﺗﺪﻭﻳﻦ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻋﺒﺎﺱ ﻛﻴﺎﺭﺳﺘﻤﻲ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﻋﻠﻴﺮﺿﺎ ﺯﺭﻳﻦ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﻋﻠﻴﺮﺿﺎ ﺯﺭﻳﻦﺩﺳﺖ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭﺍﻥ‪ :‬ﺟﻬﺎﻧﮕﻴﺮ ﻣﻴﺮﺷﻜﺎﺭﻱ‪ ،‬ﺍﺣﻤﺪ ﻋﺴﮕﺮﻱ‪ ،‬ﺣﺴﻦ ﺯﺍﻫﺪﻱ‪ ،‬ﻣﺤﻤﺪ‬ ‫ﺣﻘﻴﻘﻲ‪ ،‬ﭼﻨﮕﻴﺰ ﺻﻴﺎﺩ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﺣﺴﻦ ﺁﻗﺎﻛﺮﻳﻤﻲ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪ :‬ﻓﺮﻳﺒﺎ ﺯﻧﺪﭘﻮﺭ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺣﺴﻴﻦ ﺳـﺒﺰﻳﺎﻥ‪ ،‬ﺣﺴﻦ ﻓﺮﺍﺯﻣﻨﺪ‪ ،‬ﻫﻮﺷﻨﮓ ﺷـﻤﺎﻋﻲ‪ ،‬ﺍﺑﻮﺍﻟﻔﻀﻞ ﺁﻫﻨﺨﻮﺍﻩ‪ ،‬ﻣﻬﺮﺩﺍﺩ‬ ‫ﺁﻫﻨﺨﻮﺍﻩ‪ ،‬ﻣﺤﺴﻦ ﻣﺨﻤﻠﺒﺎﻑ‪ ،‬ﻋﺒﺎﺱ ﻛﻴﺎﺭﺳﺘﻤﻲ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ‪ 102 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 7 :‬ﺩﻱ ‪ ،1369‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 1/6 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ ‪:‬‬ ‫ﺣﺴــﻴﻦ ﺳﺒﺰﻳﺎﻥ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﺷﺒﺎﻫﺘﺶ ﺑﻪ ﻣﺤﺴــﻦ ﻣﺨﻤﻠﺒﺎﻑ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺧﺎﻧﻮﺍﺩﻩ ﺁﻫﻨﺨﻮﺍﻩ ﺑﻪﻋﻨﻮﺍﻥ ﻣﺨﻤﻠﺒﺎﻑ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪ ﺑﻬﺎﻧﻪ‬ ‫ﺳﺎﺧﺘﻦ ﻓﻴﻠﻢ ﺑﻪ ﺧﺎﻧﻪ ﺁﻧﻬﺎ ﺭﺍﻩ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺁﻧﻬﺎ ﮔﺎﻫﻲ ﺻﺤﻨﻪﻫﺎﻱ ﻓﻴﻠﻤﻰ ﺭﺍ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺳﺎﺧﺘﻪ ﺷﻮﺩ‪ ،‬ﺗﻤﺮﻳﻦ ﻫﻢ ﻣﻲﻛﻨﻨﺪ‪ .‬ﭘﺪﺭ ﺧﺎﻧﻮﺍﺩﻩ ﻛﻪ‬ ‫ﺑﻪ ﺳــﺒﺰﻳﺎﻥ ﻣﺸﻜﻮﻙ ﺍﺳﺖ ﺑﻪ ﻛﻤﻚ ﻳﻜﻲ ﺍﺯ ﺩﻭﺳﺘﺎﻧﺶ ﻛﻪ ﺁﻫﻨﮕﺴﺎﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﺳﺖ ﺍﺯ ﻃﺮﻳﻖ ﺣﺴﻦ ﻓﺮﺍﺯﻣﻨﺪ‪ ،‬ﺧﺒﺮﻧﮕﺎﺭ ﻣﺠﻠﻪ ﺳﺮﻭﺵ‪،‬‬ ‫ﻫﻮﻳﺖ ﺳــﺒﺰﻳﺎﻥ ﺭﺍ ﺑﺮﻣﻼ ﻣﻲﻛﻨﺪ ﻭ ﭘﺲ ﺍﺯ ﺩﺳــﺘﮕﻴﺮﻱ‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪ ﺩﺍﺩﮔﺎﻩ ﻣﻲﻛﺸﺎﻧﻨﺪ‪ .‬ﺩﺭ ﺩﺍﺩﮔﺎﻩ ﭘﺲ ﺍﺯ ﺑﺮﺭﺳــﻲ ﻣﺎﺟﺮﺍ ﻭ ﮔﺮﻓﺘﻦ ﺗﻌﻬﺪ ﺍﺯ‬ ‫ﺳــﺒﺰﻳﺎﻥ ﻭ ﺭﺿﺎﻳﺖ ﺧﺎﻧﻮﺍﺩﻩ ﺁﻫﻨﺨﻮﺍﻩ ﭘﺮﻭﻧﺪﻩ ﺑﺴﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺭﻭﺯ ﺁﺯﺍﺩﻱ ﺳﺒﺰﻳﺎﻥ ﻣﺤﺴــﻦ ﻣﺨﻤﻠﺒﺎﻑ ﺑﻪ ﺩﻳﺪﺍﺭ ﺍﻭ ﻣﻲﺭﻭﺩ ﻭ ﻫﺮ ﺩﻭ‪ ،‬ﺑﺮﺍﻱ‬ ‫ﺭﻓﻊ ﻛﺪﻭﺭﺕ‪ ،‬ﺑﻪ ﺧﺎﻧﻪ ﺁﻫﻨﺨﻮﺍﻩ ﻣﻲﺭﻭﻧﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻋﺒــﺎﺱ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺩﺭ ﻣﻬﻢﺗﺮﻳﻦ ﻣﻘﻄﻊ ﺩﻭﺭﺍﻥ ﻓﻴﻠﻤﺴــﺎﺯﻱﺍﺵ ﺑﺎ‬ ‫ﺑﻬﺮﻩﮔﻴﺮﻱ ﺍﺯ ﻗﺮﻳﺤﻪ ﺳﺮﺷــﺎﺭﺵ ﺩﺭ ﺭﺻﺪ ﻓﺮﻫﻨــﮓ ﻋﻤﻮﻣﻲ ﺟﺎﻣﻌﻪ‬ ‫ﻭ ﺳﻤﺖﻭﺳــﻮﻱ ﺣﺮﻛﺘﻲﺍﺵ‪ ،‬ﺩﺭ ﻗﺎﻟﺐ ﺩﻭ ﻓﻴﻠﻢ ﻣﺴــﺘﻨﺪ – ﺩﺍﺳﺘﺎﻧﻲ‪،‬‬ ‫ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﻭﺍﻗﻌﻴﺖﻫﺎﻱ ﻇﺮﻳﻒ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺗﻐﻴﻴﺮﺍﺕ ﺷﮕﺮﻑ ﺁﻥ‪ ،‬ﺍﺭﺍﺋﻪ‬ ‫ﻣﻲﺩﻫﺪ‪ .‬ﻓﺮﺩﻳﺖﻫﺎﻱ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪ ﻭ ﺭﻳﺎﻛﺎﺭﻱﻫﺎ ﻭ ﺗﻐﻴﻴﺮ ﻓﻀﺎﻱ ﻋﻤﻮﻣﻲ ﻭ‬ ‫ﺧﺎﻧﮕﻲﺑﺨﺸﻲﺍﺯﺍﻳﻦﻣﻨﺎﺳﺒﺎﺕﺑﻮﺩﻧﺪﻛﻪﺩﺭﺩﻭﻓﻴﻠﻢﻣﺴﺘﻨﺪ–ﺩﺍﺳﺘﺎﻧﻲ‬ ‫»ﻣﺸﻖ ﺷﺐ« ﻭ »ﻛﻠﻮﺯﺁپ ﻧﻤﺎﻱ ﻧﺰﺩﻳﻚ« ﺑﻪ ﺷﻜﻞ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﺍﻱ ﺑﻪ‬ ‫ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﻣﻲﺷــﻮﺩ‪ .‬ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﻣﻌﺪﻭﺩ ﺗﺠﺮﺑﻴﺎﺕ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ ﺭﺳﻴﺪﻥ ﺑﻪ ﺻﺮﺍﺣﺖ ﻣﺴﺘﻨﺪ ﺗﺼﻮﻳﺮﻱ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻳﻦ‬ ‫ﺩﻭ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﺎ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺑﻪ ﻣﺮﺯﻫﺎﻱ ﮔﺰﺍﺭﺵ ﺗﺼﻮﻳﺮﻱ‬ ‫ﺍﺯ ﻳﻚ ﻣﻮﺿﻮﻉ ﻭ ﺍﺗﻔﺎﻕ ﺗﻮﺍﻧﺴــﺘﻨﺪ ﺑﺎ ﮔﺬﺭ ﺍﺯ ﺳﺪ ﻣﻤﻴﺰﻱ ﺁﻧﭽﻪ ﺩﺭ ﺑﻄﻦ‬ ‫ﻓﺮﻫﻨﮓ ﻋﻤﻮﻣﻲ ﺟﺎﻣﻌﻪ ﻣﻲﮔﺬﺷﺖ ﺭﺍ ﻧﺸﺎﻥ ﺩﻫﻨﺪ‪ .‬ﻓﺮﻫﻨﮓ ﻋﻤﻮﻣﻲ‬ ‫ﻛﻪ ﺑﻪﻭﺍﺳــﻄﻪ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﺍﺗﻔﺎﻗﺎﺕ ﺳﻬﻤﮕﻴﻦ ﺑﻴﺮﻭﻧﻲ ﺷﻜﻞ ﺩﻳﮕﺮﻱ ﺑﻪ‬ ‫ﺧﻮﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺍﮔﺮ ﻣﺸﻖ ﺷﺐ ﺍﺩﻋﺎﻳﻲ ﺩﺭ ﺭﺩ ﻧﻈﺎﻡ ﺁﻣﻮﺯﺷﻲ ﻛﺸﻮﺭ ﺑﺎ ﺯﻣﻴﻨﻪﻫﺎﻳﻲ ﺩﺭﺑﺎﺭﻩ‬ ‫ﻧﻘﺶﻗﺪﺭﺕﻧﺎﻇﺮﺑﻮﺩ‪،‬ﻛﻠﻮﺯﺁپﺑﺎﺯﺗﺎﺑﻲﺍﺯﺩﻏﺪﻏﻪﻫﺎﻭﺁﺭﺯﻭﻫﺎﻱﻓﺮﻭﺧﻔﺘﻪ‬ ‫ﺩﺭﻭﻧﻲ ﻧﺴﻠﻲ ﺑﻴﺮﻭﻥ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺭﻓﺘﻦ ﺩﺭ ﻗﺎﻟﺐ ﺷﺨﺼﻴﺘﻲ ﻣﻌﺮﻭﻑ‬ ‫‪67‬‬ ‫ﻣﻲﺗﻮﺍﻧﺴﺖﻋﺎﻣﻞﺗﻮﺟﻪﺩﻳﮕﺮﺍﻥﻭﺣﺘﻲﺣﻜﻤﺮﺍﻧﻲﺑﺮﺁﻧﻬﺎﺑﺎﺷﺪ‪.‬ﺭﺳﻴﺪﻥ‬ ‫ﺑﻪ ﻗﺪﺭﺕ ﻭ ﻣﻮﻗﻌﻴﺖ ﺑﺎ ﻋﺠﻴﺐﺗﺮﻳﻦ ﺷﻴﻮﻩ ﻣﻤﻜﻦ ﻭ ﺑﻪﺻﺮﺍﺣﺖ ﻋﻴﻨﻲ ﺩﺭ‬ ‫ﻛﻠﻮﺯﺁپ ﺗﺼﻮﻳﺮ ﺷﺪ‪ .‬ﭼﻨﻴﻦ ﻣﻮﺿﻮﻋﻲ ﺧﺎﺹ ﺩﻭﺭﺍﻧﻲ ﺑﻮﺩ ﻛﻪ ﺍﺭﺯﺵﻫﺎ‬ ‫ﺗﻐﻴﻴﺮ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﻛﻠﻮﺯﺁپ ﺑﺎ ﺭﻭﺍﻳﺖ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﺍﻳﻦ ﺷــﺮﺍﻳﻂ ﻗﺪﻡﻫﺎﻱ‬ ‫ﺍﻭﻟﻴﻪ »ﺟﻬﺎﻧﻲ« ﺷﺪﻥ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺭﺍ ﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫ﻛﺮﺩ ﺻﺪﺍ ﺭﺍ ﺣﺬﻑ ﻛﻨﻢ‪ .‬ﺍﻳﻦ ﭼﻴﺰﻱ ﺍﺳــﺖ ﻛﻪ ﺍﺯ ﺁﻥ ﭘﺲ ﺑﺮ ﻓﻴﻠﻢﻫﺎﻳﻢ‬ ‫ﻭ ﻧﺤﻮﻩ ﺳﺎﺧﺖ ﺁﻧﻬﺎ ﺗﺎﺛﻴﺮ ﮔﺬﺍﺷــﺖ‪ «.‬ﻭ ﻫﻤﻴﻦ ﻧﻘﻄﻪ ﺍﻓﺘﺮﺍﻕ ﻭ ﺟﺪﺍﻳﻲ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﻭ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺩﺭ ﺳــﺎﻝﻫﺎﻱ ﺑﻌﺪ ﻭ ﻣﻨﺎﺯﻋﺎﺕ ﺩﺍﻣﻨﻪﺩﺍﺭ ﺁﻧﻬﺎ‬ ‫ﺷــﺪ‪ .‬ﻛﻠﻮﺯﺁپ ﻧﻤﺎﻱ ﻧﺰﺩﻳﻚ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﻫﺸﺘﻤﻴﻦ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺁﻣﺎﺩﻩ ﺷﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺑﻌﺪ ﺍﺯ ﺑﺮﻭﺯ ﻣﺸﻜﻼﺗﻲ ﺑﺮ ﺳــﺮ ﺭﺍﻩ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﻣﺸﻖ ﺷﺐ‬ ‫ﻛﻪ ﻧﺎﺷﻲ ﺍﺯ ﻣﺨﺎﻟﻔﺖﻫﺎﻱ ﻭﺯﺍﺭﺕ ﺁﻣﻮﺯﺵ ﻭ ﭘﺮﻭﺭﺵ ﺑﻮﺩ‪ ،‬ﻃﺮﺡ ﺳﺎﺧﺖ‬ ‫ﻓﻴﻠﻤﻲﺑﻪﻧﺎﻡ»ﭘﻮﻝﺗﻮﺟﻴﺒﻲ«ﺭﺍﺑﻪﻫﻤﺎﻥﺗﻬﻴﻪﻛﻨﻨﺪﻩﻣﺸﻖﺷﺐ‪،‬ﻛﺎﻧﻮﻥ‬ ‫ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺍﺭﺍﺋﻪ ﺩﺍﺩ‪ .‬ﻃﺮﺡ ﺷــﺒﺎﻫﺖﻫﺎﻳﻲ ﺑﻪ‬ ‫ﻫﻤﺎﻥ ﻓﻀﺎﻱ ﻣﺸــﻖ ﺷﺐ ﺩﺍﺷــﺖ ﻭ ﺑﺨﺶ ﻋﻤﺪﻩﺍﺵ ﺩﺭ ﻳﻚ ﻣﺪﺭﺳﻪ‬ ‫ﻣﻲﮔﺬﺷﺖ‪.‬ﺑﺎ ﻣﻮﺍﻓﻘﺖ ﻛﺎﻧﻮﻥ‪ ،‬ﻛﻴﺎﺭﺳﺘﻤﻲ ﺁﻣﺎﺩﻩ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﻣﻲﺷﺪ ﻛﻪ ﺧﺒﺮ ﺟﺎﺯﺩﻥ ﻳﻚ ﺟﻮﺍﻥ ﺑﻪ ﺟﺎﻱ ﻣﺨﻤﻠﺒﺎﻑ ﺭﺍ ﺩﺭ ﻫﻔﺘﻪﻧﺎﻣﻪ‬ ‫ﺳﺮﻭﺵ ﺧﻮﺍﻧﺪ ﻭ ﺁﻥ ﭼﻨﺎﻥ ﺟﺬﺑﺶ ﻛﺮﺩ ﻛﻪ ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ‬ ‫ﺭﺍ ﺩﺳــﺘﻤﺎﻳﻪ ﻓﻴﻠﻤﺶ ﻛﻨﺪ‪ .‬ﺍﻭ ﺑﺎ ﺭﺍﻳﺰﻧﻲ ﺑــﺎ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺩﺭ ﻓﺎﺻﻠﻪ ﭼﻨﺪ‬ ‫ﺭﻭﺯ ﺑﻪ ﺷﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﭘﻮﻝ ﺗﻮﺟﻴﺒﻲ‪ ،‬ﺗﻮﺍﻧﺴﺖ ﻧﻈﺮ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺭﺍ‬ ‫ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺍﺯ ﻫﻤﺎﻥ ﻭﺍﻗﻌﻪ ﺟﻠﺐ ﻛﻨﺪ ﻭ ﺩﺭ ﻣﻮﻗﻌﻴﺘﻲ ﻣﻨﺤﺼﺮ‬ ‫ﺷﺮﺍﻳﻂ ﺑﺎﺯﺳــﺎﺯﻱ ﻭﻗﺎﻳﻊ ﻣﺮﺗﺒﻂ ﺑﺎ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺭﺍ ﻫﻢ ﻓﺮﺍﻫﻢ ﻛﺮﺩ ﻭ ﺣﺘﻲ‬ ‫ﺭﺿﺎﻳــﺖ ﻣﺨﻤﻠﺒﺎﻑ ﺭﺍ ﻫﻢ ﺑﺮﺍﻱ ﺣﻀﻮﺭ ﺩﺭ ﻓﻴﻠﻢ ﺑﻪﺩﺳــﺖ ﺁﻭﺭﺩ‪ .‬ﻭﺍﻗﻌﻪ‬ ‫ﺍﺻﻠﻲ ﻧﻴﻤﻪ ﺍﻭﻝ ﻣﻬﺮﻣﺎﻩ ﺭﺥ ﻣﻲﺩﻫﺪ ﻭ ﺍﻧﺘﺸﺎﺭﺵ ﺩﺭ ﻫﻤﺎﻥ ﻣﻘﻄﻊ ﻣﻬﺮﻣﺎﻩ‬ ‫ﻧﻈﺮ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺭﺍ ﺟﻠﺐ ﻣﻲﻛﻨﺪ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺍﺯ ‪ 18‬ﺁﺑﺎﻥ ‪ 68‬ﺩﺭ ﻛﺎﺥ‬ ‫ﺩﺍﺩﮔﺴــﺘﺮﻱ ﺑﺎ ﺛﺒﺖ ﻭﻗﺎﻳﻊ ﺩﺍﺩﮔﺎﻩ ﺳﺒﺰﻳﺎﻥ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ‬ ‫ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ ﻃﺮﺡ ﻛﻠﻲ ﻓﻴﻠﻢ ﻭ ﺳﺎﺧﺘﺎﺭﺵ ﺗﻨﻬﺎ ﭼﻨﺪ‬ ‫ﺭﻭﺯ ﻣﻬﻠﺖ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺑﺪﻭﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺧﺎﺻﻲ ﻭ ﺻﺮﻓﺎ ﺑﺮ ﻣﺒﻨﺎﻱ‬ ‫ﻳﺎﺩﺩﺍﺷــﺖﻫﺎﻱ ﺭﻭﺯﺍﻧﻪ ﻭ ﻳﻚ ﺷﺮﻭﻉ ﻭ ﭘﺎﻳﺎﻥ ﺧﺎﺹ ﻛﺎﺭ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺭﺍ‬ ‫ﭘﻴﺶ ﻣﻲﺑﺮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻛﻠﻮﺯﺁپ ﺍﻭﻟﻴﻦ ﻗﺪﻡﻫﺎﻱ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺩﺭ‬ ‫ﺭﺳﻴﺪﻥﺑﻪﺳﺒﻚﺧﺎﺹﻓﻴﻠﻤﺴﺎﺯﻱﺍﺵﺑﺎﺣﺬﻑﻣﻮﺍﺭﺩﻭﺍﻟﺰﺍﻣﺎﺕﻣﻌﻤﻮﻝ‬ ‫ﻣﺤﺴــﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﺍﻇﻬﺎﺭﻧﻈﺮﻫﺎﻳﺶ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺩﺭ ﻫﻤﺎﻥ ﻣﻘﻄﻊ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﮔﻔﺘﻪ ﺍﺳﺖ‪» :‬ﻭﻗﺘﻲ ﻣﺎﺟﺮﺍ‬ ‫ﺭﺍ ﺩﺭ ﺳــﺮﻭﺵ ﺧﻮﺍﻧﺪﻡ‪ ،‬ﭘﺸﺖ ﺁﻥ ﻗﻀﻴﻪﺍﻱ ﺭﻭﺣﻲ ‪/‬ﺭﻭﺍﻧﻲ ﺩﻳﺪﻡ‪ .‬ﻓﻮﺭﻱ‬ ‫ﺑﻪ ﺳﺮﺍﻍ ﻣﺘﻬﻢ ﺭﻓﺘﻢ‪ .‬ﻭﻗﺘﻲ ﻣﺮﺍ ﺩﻳﺪ ﮔﻔﺖ ﺑﻬﺘﺮﻳﻦ ﻛﺴﻲ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺴﺖ‬ ‫ﺑﻪ ﻣﻼﻗﺎﺕ ﻣﻦ ﺑﻴﺎﻳﺪ‪ ،‬ﺗﻮ ﺑﻮﺩﻱ‪ .‬ﻫﻤﺎﻥ ﺭﻭﺯ ﺑﻪ ﺍﺗﻔﺎﻕ ﻣﺨﻤﻠﺒﺎﻑ ﺑﻪ ﺳﺮﺍﻍ‬ ‫ﺧﺎﻧــﻮﺍﺩﻩ ﺁﻫﻨﺨﻮﺍﻩ ﺭﻓﺘﻴــﻢ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﻣﺘﻬﻢ ﺁﺩﻡ ﻋﺠﻴﺒﻲ ﺍﺳــﺖ‪ «.‬ﺍﻳﻦ‬ ‫ﻫﻤﺎﻥ ﻧﻜﺘﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﻫﻢ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﻭ ﺗﻨﻬﺎﻳﻲ‬ ‫ﻭ ﻣﺸﻜﻼﺕ ﺩﺭﻭﻧﻲ ﺣﺴﻴﻦ ﺳﺒﺰﻳﺎﻥ ﻛﺴﻲ ﻛﻪ ﺑﺎ ﺭﻓﺘﻦ ﺩﺭ ﻗﺎﻟﺐ ﻓﺮﺩﻱ‬ ‫ﺩﻳﮕﺮ ﻗﺼﺪ ﺩﺍﺷــﺘﻪ ﻫﻮﻳﺖ ﭘﻴﺪﺍ ﻛﻨﺪ‪ ،‬ﻣﺸــﺨﺺ ﺍﺳــﺖ‪ .‬ﻫﻮﺷﻤﻨﺪﻱ‬ ‫ﻛﻴﺎﺭﺳﺘﻤﻲ ﺩﺭ ﭘﻲ ﺑﺮﺩﻥ ﺑﻪ ﺩﺭﻭﻧﻴﺎﺕ ﻭ ﺧﻮﺍﺳﺘﻪﻫﺎﻱ ﺳﺒﺰﻳﺎﻥ ﺑﺎﻋﺚ ﺷﺪ‬ ‫ﺗﺎ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻫﺎﻱ ﻣﺴﺘﻨﺪﻱ ﻛﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺩﺭ ﻓﻴﻠﻢ ﻫﻢ ﺁﻥ ﺭﺍ ﺛﺒﺖ‬ ‫ﻛﺮﺩﻩ‪ ،‬ﺟﻠﻮﻩ ﺍﺻﻠﻲ ﻻﻳﻪ ﭘﻨﻬﺎﻥ ﻓﻴﻠﻢ ﺁﺷــﻜﺎﺭ ﺷﻮﺩ‪ .‬ﻧﻬﺎﻳﺘﺎ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺩﺭ ﻣﺪﺕ ‪ 40‬ﺭﻭﺯ ﺑﺎ ﻣﺼﺎﺋﺒﻲ ﻛﻪ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺧﻮﺩ ﺁﻧﻬﺎ ﺭﺍ ﻃﺎﻗﺖﻓﺮﺳﺎ‬ ‫ﺧﻮﺍﻧﺪ ﺑﻪ ﺍﺗﻤﺎﻡ ﻣﻲﺭﺳﺪ‪ .‬ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﺩﺭ ﺑﺎﺭﻩ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻓﻴﻠﻢ ﮔﻔﺖ‪:‬‬ ‫»ﺩﺭ ﻣﺪﺕ ‪ 40‬ﺭﻭﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﭼﺸــﻢ ﺭﻭﻱ ﻫﻢ ﻧﮕﺬﺍﺷﺘﻢ‪ .‬ﻫﻨﻮﺯ ﻫﻢ‬ ‫ﺩﺭ ﺗﻌﺠﺒﻢ ﺍﺯ ﺍﻳﻨﻜﻪ ﺗﻮﺍﻧﺴﺘﻪﺍﻡ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺑﺴﺎﺯﻡ‪ .‬ﻭﺍﻗﻌﺎ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺑﻪ‬ ‫ﺭﻭﺯﻫﺎﻱ ﺳﺎﺧﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﻓﻜﺮ ﻣﻲﻛﻨﻢ‪ ،‬ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﻢ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﻧﺒﻮﺩﻡ‪ ،‬ﺑﻠﻜﻪ ﻋﻀﻮﻱ ﺍﺯ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺑﻮﺩﻩﺍﻡ ﭼﻮﻥ ﻓﻴﻠﻢ ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻱ ﺧﻮﺩ‬ ‫ﺑﻪ ﺧﻮﺩ ﺳﺎﺧﺘﻪ ﺷﺪ‪ .‬ﺷــﺨﺼﻴﺖﻫﺎﻱ ﺩﺧﻴﻞ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﺴﻴﺎﺭ ﻭﺍﻗﻌﻲ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﻣﻦ ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺭﺍ ﭼﻨﺎﻧﭽﻪ ﺑﺎﻳﺪ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻧﻤﻲﻛﺮﺩﻡ ﻭ ﺍﻧﮕﺎﺭ‬ ‫ﺧﻮﺩﺷﺎﻥ‪ ،‬ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻣﻲﻛﺮﺩﻧﺪ‪ «.‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺳﻜﺎﻧﺲ‬ ‫ﻧﻬﺎﻳﻲ ﻓﻴﻠــﻢ ﺟﺎﻳﻲ ﻛﻪ ﻣﺨﻤﻠﺒﺎﻑ ﺩﻧﺒﺎﻝ ﺳــﺒﺰﻳﺎﻥ ﻫﻨﮕﺎﻡ ﺁﺯﺍﺩﻱﺍﺵ‬ ‫ﻣﻲﺁﻳﺪ ﻭ ﺑﺎ ﻫﻢ ﺑﻪ ﺩﻳﺪﺍﺭ ﺧﺎﻧﻮﺍﺩﻩ ﺁﻫﻨﺨﻮﺍﻩ ﻣﻲﺭﻓﺘﻨﺪ‪ ،‬ﻣﻬﻢﺗﺮﻳﻦ ﺳﻜﺎﻧﺲ‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﻛﻠﻮﺯﺁپ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﻣﺪﻋﻴﺎﻥ ﺍﺻﻠﻲ ﻧﺨﺴــﺘﻴﻦ ﺑﺎﺭ ﺩﺭ ﻫﺸﺘﻤﻴﻦ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‪ .‬ﺟﺸــﻨﻮﺍﺭﻩﺍﻱ ﻛﻪ ﻣﺪﻋﻴﺎﻧﺶ‬ ‫ﺻﻒ ﭘﺮﺷﻤﺎﺭﻱ ﺗﺸﻜﻴﻞ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﻧﺎﻣﺪﺍﺭﺍﻥ ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﺁﻥ ﺣﺎﺿﺮ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦﻫﻤﻪ ﻛﻠﻮﺯﺍپ ﻧﮕﺎﻩﻫــﺎ ﺭﺍ ﻣﺘﻮﺟﻪ ﺧﻮﺩ ﻛﺮﺩ‪ .‬ﻫﻢ ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﻭ ﻫــﻢ ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﺟﻠﺐ ﻧﮕﺎﻩ ﺗﺎﺯﻩ ﻭ ﺷــﻴﻮﻩ ﺑﺮﺧﻮﺭﺩ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺑﺎ‬ ‫ﻣﻮﺿﻮﻉ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻋﺪﻩﺍﻱ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺭﺍ ﺑﻪ ﺑﻬﺮﻩﺑﺮﺩﺍﺭﻱ‬ ‫ﺳﻮءﺍﺳــﺘﻔﺎﺩﻩﮔﻮﻧﻪ ﺍﺯ ﻭﺍﻗﻌﻪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﻣﺘﻬﻢ ﻣﻲﻛﻨﻨﺪ ﻭ ﭘﺮﺩﺍﺧﺖ ﺍﻭ‬ ‫ﺭﺍ ﺍﺯ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻭ ژﻭﺭﻧﺎﻟﻴﺴــﺘﻲ ﻣﻲﺩﺍﻧﻨﺪ‪» :‬ﺑﺎﻳﺪ ﻋﺮﺽ ﻛﻨﻢ‬ ‫ﻣﺘﺎﺳــﻔﺎﻧﻪ ﻛﻠﻮﺯﺁپ ﻓﻴﻠﻢ ﻧﻴﺴﺖ‪ ،‬ﻳﻌﻨﻲ ﺳــﻴﻨﻤﺎ ﻧﻴﺴﺖ‪ ،‬ﻳﻚ ﮔﺰﺍﺭﺵ‬ ‫ﻛﺴﻞﻛﻨﻨﺪﻩ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺍﺳﺖ ﻛﻪ ﺑﻲﺟﻬﺖ ﻛﺶ ﺁﻣﺪﻩ ﺍﺳﺖ ﺗﺎ ﺑﺮ ﺑﻄﺎﻟﺖ‬ ‫ﺗﺼﻮﺭﺍﺕ ﺻﺮﻑ ﻏﺮﻳﺰﻱ ﻓﻴﻠﻤﺴــﺎﺯ ﺷﻬﺎﺩﺕ ﺩﻫﺪ‪ .‬ﺁﻗﺎﻱ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﻪ‬ ‫ﺑﻬﺎﻧﻪ ﺣﺴﻴﻦ ﺳﺒﺰﻳﺎﻥ ﺩﺭ ﭘﻲ ﻃﺮﺡ ﺍﺑﺘﻜﺎﺭﺍﺗﻲ ﺷﺨﺼﻲ ﺑﺮﺍﻱ ﺑﺰﺭﮔﺪﺍﺷﺖ‬ ‫ﺧﻮﺩ ﺑﻮﺩﻩ ﺍﺳــﺖ‪) «.‬ﻓﺮﻳﺪﻭﻥ ﺻﺪﻳﻘﻲ‪ ،‬ﻛﻴﻬﺎﻥ‪ 25 ،‬ﺑﻬﻤﻦ ‪ (68‬ﺟﺎﻳﺰﻩ‬ ‫ﻭﻳﮋﻩ ﻫﻴﺎﺕ ﺩﺍﻭﺭﺍﻥ ﺑﻪ ﻃﻮﺭ ﻣﺸﺘﺮﻙ ﺑﺎ ﻫﺎﻣﻮﻥ ﺑﻪ ﻓﻴﻠﻢ ﺗﻌﻠﻖ ﻣﻲﮔﻴﺮﺩ ﺗﺎ‬ ‫ﻣﺸﺨﺺ ﻛﻨﻨﺪﻩ ﻧﮕﺎﻩ ﺗﺎﻳﻴﺪ ﻛﻨﻨﺪﻩ ﺩﺍﻭﺭﺍﻥ ﺑﻪ ﻓﻴﻠﻢ ﺑﺎﺷﺪ ﻫﺮﭼﻨﺪ ﻛﻪ ﺍﺯ‬ ‫ﺟﻮﺍﻳﺰﺩﻳﮕﺮﻧﺼﻴﺒﻲﻧﻤﻲﺑﺮﺩ‪.‬ﺑﻌﺪﺍﺯﺟﺸﻨﻮﺍﺭﻩﺍﺯﻣﻬﻢﺗﺮﻳﻦﻧﻘﺪﻫﺎﺑﻪﻓﻴﻠﻢ‬ ‫ﻧﻮﺷﺘﻪﺷﻬﻴﺪﺁﻭﻳﻨﻲﺩﺭﺑﺎﺭﻩﺁﻥﺩﺭﻣﺎﻫﻨﺎﻣﻪﺳﻮﺭﻩﺍﺳﺖ‪.‬ﻧﮕﺎﻫﻲﻛﻪﻓﻴﻠﻢﺭﺍ‬ ‫ﻛﺎﻣﻼ ﺭﺩ ﻧﻤﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻓﺼﻞ ﺍﻭﺝ ﮔﺮﻓﺘﻦ ﺑﺤﺚﻫﺎ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺁﻥ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢ ﺗﻨﻬﺎ ﺩﺭ ﺩﻭ ﺳﻴﻨﻤﺎﻱ ﻋﺼﺮﺟﺪﻳﺪ ﻭ ﺁﺯﺍﺩﻱ ﻳﻚ ﻣﺎﻩ ﻣﺎﻧﺪﻩ‬ ‫ﺑﻪ ﺟﺸــﻨﻮﺍﺭﻩ ﻧﻬﻢ ﻓﺠﺮ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﻣﻲﺁﻳﺪ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﺗﻌﺪﺍﺩ ﻛﻢ ﺳﻴﻨﻤﺎﻫﺎ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺖ ﺍﻣﺎ ﻟﺤﻦ ﻧﻘﺪﻫﺎ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﻓﻴﻠﻢ ﺗﻨﺪﺗﺮ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺧﻮﺩ ﺳﺒﺰﻳﺎﻥ ﻧﻴﺰ ﻣﻮﺭﺩﺗﻮﺟﻪ‬ ‫ﺭﺳﺎﻧﻪﻫﺎ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﻭ ﺍﻭ ﻫﻢ ﺩﺭ ﺻﺤﺒﺖﻫﺎﻳﺶ ﺑﺎ ﺑﻴﺎﻥ ﻧﻘﻄﻪ ﻧﻈﺮﺍﺕ‬ ‫ﻋﺠﻴﺐ ﻭ ﺟﺎﻟﺐ ﺗﻮﺟﻪﺍﺵ ﻧﮕﺎﻩﻫﺎ ﺭﺍ ﻣﻌﻄﻮﻑ ﺧﻮﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺁﻧﻜﻪ‬ ‫ﻣﻲﮔﻮﻳﺪ ﭼﻨﺎﻥ ﺷﻴﻔﺘﻪ ﻧﻘﺶ ﻭ ﻫﻮﻳﺖ ﺟﺪﻳﺪﺵ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﻫﺮﺟﺎ‬ ‫ﻛﻪ ﺧﺎﻧﻮﺍﺩﻩ ﺁﻫﻨﺨﻮﺍﻩ ﺑﺎﻭﺭ ﻣﻲﻛﺮﺩﻧﺪ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺭﺍ ﺍﺩﺍﻣﻪ ﻣﻲﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺷــﺪﺕ ﻭﺍﻛﻨﺶﻫﺎ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﺎ ﻧﻮﻋﻲ‬ ‫ﺁﺯﺭﺩﮔﻲ ﺍﺯ ﺻﺤﺒﺖ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺧﻮﺩﺩﺍﺭﻱ ﻣﻲﻛﻨﺪ‪» :‬ﺷﺮﺍﻳﻂ ﻣﻨﺎﺳﺒﻲ‬ ‫ﺑﺮﺍﻱ ﺩﻓﺎﻉ ﺍﺯ ﻓﻴﻠﻢ ﻧﻤﻲﺑﻴﻨﻢ‪ .‬ﻇﺎﻫﺮﺍ ﺷﻜﻞ ﻭ ﺷﻤﺎﻳﻞ ﻭ ﻧﻮﻉ ﭘﺮﺩﺍﺧﺖ ﺍﻳﻦ‬ ‫ﻧﻮﻉ ﻓﻴﻠﻢ ﻭ ﻓﻴﻠﻢ ﻗﺒﻠﻲﺍﻡ ﻣﺸــﻖ ﺷﺐ ﻫﻤﺎﻧﻘﺪﺭ ﻛﻪ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﻋﺪﻩﺍﻱ‬ ‫ﻫﺴﺖ‪ ،‬ﺑﻪ ﻫﻤﺎﻥ ﻧﺴﺒﺖ ﻫﻢ ﻣﺨﺎﻟﻒ ﺩﺍﺭﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﺮ ﺗﻮﺿﻴﺤﻲ ﺗﺒﺪﻳﻞ‬ ‫ﺑﻪ ﺗﻮﺟﻴﻪ ﻣﻲﺷﻮﺩ‪ .‬ﻣﻦ ﺗﺎ ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺑﻪ ﺍﻳﻦ ﺷﻴﻮﻩ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‬ ‫ﭘﻴﺪﺍ ﻛﻨــﻢ‪ ،‬ﻗﻄﻌﺎ ﻫﻤﻴﻦ ﺭﺍﻩ ﻭ ﺭﻭﺵ ﺭﺍ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫــﻢ ﺩﺍﺩ‪ .‬ﻣﻦ ﻛﺎﺭﻱ ﺭﺍ‬ ‫ﻛﻪ ﺑﻪ ﺁﻥ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻡ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﻢ‪ .‬ﺑﮕﺬﺍﺭ ﻋﺪﻩﺍﻱ ﻧﺎﺭﺍﺿﻲ ﺑﺎﺷــﻨﺪ‪«.‬‬ ‫ﺍﻳﻦ ﺻﺤﺒﺖﻫﺎ ﺑﺎ ﺁﻧﻜﻪ ﭘﺎﻳﺎﻥﺩﻫﻨﺪﻩ ﺑﺤﺚ ﻭ ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻧﻴﺴﺖ ﺍﻣﺎ‬ ‫ﺷﺮﻭﻋﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﺗﻮﺟﻪ ﺑﻴﺸﺘﺮ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﻪ ﻧﻤﺎﻳﺶﻫﺎﻱ ﺧﺎﺭﺟﻲ‬ ‫ﻭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‪ .‬ﻛﻠﻮﺯﺁپ ﺭﻛﻮﺭﺩ ﺣﻀﻮﺭﻫﺎﻱ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬ ‫ﻳﻚ ﻓﻴﻠﻢ ﺍﻳﺮﺍﻧﻲ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎﻱ ﺟﻬﺎﻧﻲ ﺭﺍ ﻣﻲﺷــﻜﻨﺪ ﻭ ﺗﻘﺮﻳﺒﺎ ﺩﺭ‬ ‫ﺗﻤﺎﻡ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱ ﻣﻬﻢ ﺟﻬﺎﻥ ﺑﻪﻧﻤﺎﻳﺶ ﺩﺭ ﻣﻲﺁﻳﺪ‪ .‬ﺍﻭﻟﻴﻦ ﺣﻀﻮﺭﻫﺎ‬ ‫ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺟﺸــﻨﻮﺍﺭﻩﻫﺎﻱ ﻟﻮﻛﺎﺭﻧﻮ ﻭ ﺗﻮﺭﻧﺘﻮ ﺍﺳﺖ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺗﺎ‬ ‫ﻫﻤﻴﻦﺳﺎﻝﻫﺎﻱﺍﺧﻴﺮﺑﻪﺑﻬﺎﻧﻪﻫﺎﻱﻣﺨﺘﻠﻒﻣﺎﻧﻨﺪﻣﺮﻭﺭﺁﺛﺎﺭﻛﻴﺎﺭﺳﺘﻤﻲ‬ ‫ﺩﺭﺟﺸﻨﻮﺍﺭﻩﻫﺎﻱﻣﻌﺘﺒﺮﺩﻳﮕﺮﻧﻤﺎﻳﺶﺩﺍﺩﻩﻣﻲﺷﻮﺩ‪.‬ﻧﻘﻄﻪﻧﻈﺮﺍﺕﺩﺭﺑﺎﺭﻩ‬ ‫ﻓﻴﻠﻢﺍﻟﺒﺘﻪﺑﻪﺗﺮﻳﺞﺗﻐﻴﻴﺮﻛﺮﺩﻭﺩﺭﺑﺎﺯﺧﻮﺍﻧﻲﻫﺎﻱﻣﺠﺪﺩﺍﺭﺯﺵﻫﺎﻱﻓﻴﻠﻢ‬ ‫ﺑﻴﺸﺘﺮ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻣﻨﺘﻘﺪﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪.‬‬ ‫ﻓﻴﻠﻢ ﻣﺤﺴﻮﺏ ﻣﻲﺷﺪ ﻛﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﻨﺎﻳﺶ ﺭﺍ ﺑﺮﺻﺤﺒﺖﻫﺎﻱ ﺑﺪﺍﻫﻪ‬ ‫ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ ﻧﻔﺮ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺳــﺒﺰﻳﺎﻥ ﺍﺯ ﺛﺒﺖ ﺻﻮﺗﻲ ﻭ ﺗﺼﻮﻳﺮﻱ ﺍﻳﻦ‬ ‫ﺻﺤﺒﺖﻫﺎ ﻭ ﺩﻳﺪﺍﺭﻫﺎ ﻣﻄﻠﻊ ﻧﺒﻮﺩﻩ ﺍﻣﺎ ﻣﺨﻤﻠﺒﺎﻑ ﺍﻃﻼﻉ ﺩﺍﺷﺘﻪ‪ .‬ﺁﻧﭽﻪ ﺩﺭ‬ ‫ﻧﻬﺎﻳﺖ ﺍﻣﺎ ﺍﺯ ﺍﻳﻦ ﺩﻳﺪﺍﺭ ﺗﺼﻮﻳﺮ ﺷــﺪﻩ ﺑﺴﻴﺎﺭ ﻏﻴﺮﻣﻌﻤﻮﻝ ﺍﺳﺖ‪ .‬ﺑﻴﻨﻨﺪﻩ‬ ‫ﭼﻴﺰﻱ ﺍﺯ ﺻﺤﺒﺖﻫــﺎﻱ ﺍﻳﻦ ﺩﻭ ﻧﻔﺮ ﺟﺰ ﺩﻳﺎﻟــﻮگ ﺍﺑﺘﺪﺍﻳﻲ ﻣﺨﻤﻠﺒﺎﻑ‬ ‫ﻧﻤﻲﺷﻨﻮﺩ ﻭ ﺍﻳﻦ ﻣﻬﻢﺗﺮﻳﻦ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭﺗﺮﻳﻦ ﺗﻤﻬﻴﺪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﻧﻪ ﺗﻨﻬﺎ‬ ‫ﺩﺭﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻠﻜﻪ ﺩﺭ ﺗﻤﺎﻡ ﺳﺎﺧﺘﻪﻫﺎﻱﺑﻌﺪﻱﺍﺵ ﺍﺳﺖ‪.‬ﺷﺮﺡ ﻣﺨﻤﻠﺒﺎﻑ‬ ‫ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﺩﺭﺑﺎﺭﻩ ﺣﺬﻑ ﺻﺪﺍﻱ ﺍﻳﻦ ﺳﻜﺎﻧﺲ ﻛﻪ ﺍﺗﻔﺎﻗﺎ ﻧﻘﻄﻪ ﻧﻬﺎﻳﻲ ﻭ‬ ‫ﻧﺘﻴﺠﻪﮔﻴﺮﻱ ﻓﻴﻠﻢ ﺑﻮﺩ‪ ،‬ﭼﻨﻴﻦ ﺍﺳﺖ‪» :‬ﻣﻦ ﺑﻪ ﮔﻔﺖﻭﮔﻮﻫﺎﻱ ﺁﻧﻬﺎ ﮔﻮﺵ‬ ‫ﻣﻲﺩﺍﺩﻡ‪ .‬ﭼﻴﺰﻱ ﻛﻪ ﺧﻴﻠﻲ ﺳﺨﺖ ﺑﻮﺩ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻳﻜﻲ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎ‬ ‫ﻧﻤﻲﺩﺍﻧﺴﺖ ﺭﻭﺩﺭﻭﻱ ﺩﻭﺭﺑﻴﻦ ﺍﺳﺖ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺩﻳﮕﺮﻱ ﻣﻲﺩﺍﻧﺴﺖ ﻭ‬ ‫ﺁﻧﻜﻪ ﻣﻲﺩﺍﻧﺴﺖ‪ ،‬ﻧﺴﺒﺖ ﺑﻪ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﺵ ﺁﻣﺎﺩﮔﻲ ﺩﺍﺷﺖ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ‬ ‫ﺩﺭﺑــﺎﺭﻩ ﻣﻮﺿﻮﻋﺎﺕ ﺯﻳﺎﺩﻱ ﺻﺤﺒﺖ ﻣﻲﻛﺮﺩ ﻛﻪ ﻗﺼﺪ ﺩﺍﺷــﺖ ﺑﻪ ﻓﻴﻠﻢ‬ ‫ﺭﺍﻩ ﻳﺎﺑﻨﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻭ ﺯﻳﺎﺩﻱ ﺑﺎﺯﻳﮕﺮ ﺑﻮﺩ‪ .‬ﻣﺎ ﺍﻳﻦ ﺳﻜﺎﻧﺲ ﺭﺍ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﻛﺮﺩﻳﻢ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺁﺷﻜﺎﺭﺍ ﻧﻤﻲﺗﻮﺍﻧﺴﺘﻴﻢ ﺁﻥ ﺭﺍ ﺗﻜﺮﺍﺭ ﻛﻨﻴﻢ‪ .‬ﺳﺒﺰﻳﺎﻥ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﺭﺍ ﺑﻪﮔﻮﻧﻪ ﭘﺮﺷﻮﺭ ﺩﺭ ﺑﺮﮔﺮﻓﺖ ﻭ ﻭﺍﻗﻌﺎ ﺍﺯ ﺍﺣﺴﺎﺳﺶ ﮔﻔﺖ ﺍﻣﺎ‬ ‫ﻣﺨﻤﻠﺒﺎﻑﺩﺭﺍﺻﻞﺩﺍﺷﺖﺷﻌﺎﺭﻫﺎﻳﺎﻫﺮﺁﻧﭽﻪﻣﻲﺧﻮﺍﺳﺖﺑﮕﻮﻳﺪﺭﺍﺗﻜﺮﺍﺭ‬ ‫ﻣﻲﻛﺮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﺪﻓﻮﻥ ﺭﺍ ﺍﺯ ﮔﻮﺷﻢ ﺑﺮﺩﺍﺷﺘﻢ ﻭ ﺩﻳﮕﺮ ﮔﻮﺵ ﻧﺪﺍﺩﻡ‪ .‬ﺑﻌﺪ‬ ‫ﺍﺯ ﻳﻚ ﺷﺐ ﺑﻲﺧﻮﺍﺑﻲ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪﻡ ﻛﻪ ﻛﺎﺭﻱ ﻛﻪ ﺑﺎﻳﺪ ﺑﻜﻨﻢ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﮕﻮﻳﻢ ﻣﺸــﻜﻠﻲ ﺩﺭ ﺻﺪﺍ ﺍﻳﺠﺎﺩ ﺷﺪﻩ‪ .‬ﺍﺯ ﺍﻳﻦ ﺑﺎﺑﺖ ﺑﻲﻧﻬﺎﻳﺖ ﺍﺯ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﺳﭙﺎﺳﮕﺰﺍﺭﻡ ﻛﻪ ﻋﺎﻣﻞ ﻭﺿﻌﻴﺖ ﺑﻪﻭﺟﻮﺩ ﺁﻣﺪﻩ ﺷﺪ ﻭ ﻣﺠﺒﻮﺭﻡ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻛﻠﻮﺯﺁپ ﺍﻣﺮﻭﺯ ﻛﻪ ﭼﻨﺪ ﺳــﺎﻟﻲ ﺍﺯ ﻣﺮگ ﺣﺴﻴﻦ ﺳﺒﺰﻳﺎﻥ ﻣﻲﮔﺬﺭﺩ‪ ،‬ﺑﻴﺶ ﺍﺯ ﮔﺬﺷﺘﻪ‬ ‫ﻧﻤﺎﻳﺎﻧﮕﺮ ﻣﻀﻤﻮﻥ ﻭ ﮔﻔﺘﻤﺎﻥ ﻣﺤﻮﺭﻱ ﻓﻴﻠﻢ ﺍﺳﺖ‪ .‬ﻧﺴﻠﻲ ﻛﻪ ﺑﺤﺮﺍﻥ ﻫﻮﻳﺖ ﭼﻮﻥ ﺳﺮﻧﻮﺷﺘﻲ ﻣﺤﺘﻮﻡ‬ ‫ﺑــﺮ ﮔﺮﺩﻧﺶ ﺑﻮﺩ ﻭ ﺑﺪﻭﻥ ﻧﺠﺎﺕ ﺍﺯ ﺁﻥ ﺑﻪ ﻓﻨﺎ ﻭ ﻧﻴﺴــﺘﻲ ﺭﺳــﻴﺪ‪ .‬ﻧﻤﻲﺗﻮﺍﻥ ﺑﻪ ﺳــﺎﺩﮔﻲ ﺍﺯ ﺟﻤﻠﻪﻫﺎ ﻭ‬ ‫ﺻﺤﺒﺖﻫﺎﻱ ﺳﺒﺰﻳﺎﻥ ﺩﺭ ﻓﻴﻠﻢ ﮔﺬﺷﺖ‪ .‬ﺷﻨﻴﺪﻥ ﺟﻤﻼﺕ ﺣﻜﻴﻤﺎﻧﻪﺍﻱ ﻣﺎﻧﻨﺪ »ﻣﻦ ﻛﻼﻩ ﺑﺮﻧﺪﺍﺷﺘﻢ‪،‬‬ ‫ﻣﻦ ﻛﻼﻩ ﺍﺣﺴﺎﺳــﺎﺗﺶ ﺭﺍ ﺑﺮﺩﺍﺷــﺘﻢ« ﻳﺎ »ﻣﻦ ﻫﻢ ﻣﺜﻞ ﺑﭽﻪ ﻓﻴﻠﻢ ﻣﺴــﺎﻓﺮ ﺟــﺎ ﻣﻲﻣﻮﻧﻢ« ﺍﺯ ﺯﺑﺎﻥ‬ ‫ﺳــﺒﺰﻳﺎﻥ ﺩﺭ ﻓﻴﻠﻢ ﺣﺎﻻ ﺑﻴﺶ ﺍﺯ ﮔﺬﺷﺘﻪ ﺩﺭﺩﻧﺎﻙ ﻫﺴــﺘﻨﺪ‪ .‬ﺍﻭ ﺯﺑﺎﻥ ﮔﻮﻳﺎﻱ ﻧﺴﻠﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎﻭﺟﻮﺩ‬ ‫ﻧﻮﻋــﻲ ﺍﻃﻼﻉ ﻭ ﺩﺍﻧﺶ ﻭ ﺣﺘﻲ ﻫﻮﺵ ﻧﻤﻲﺗﻮﺍﻧﺴــﺖ ﺟــﺎ ﻭ ﻣﻮﻗﻌﻴﺖ ﻣﻨﺎﺳــﺐ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻴﺎﺑﺪ ﻭ ﺩﺭ‬ ‫‪68‬‬ ‫ﺟﻠﺪ ﺩﻳﮕﺮﺍﻥ ﻓﺮﺩﻳﺖﻫﺎﻱ ﺳــﺮﺧﻮﺭﺩﻩﺍﺵ ﺭﺍ ﻣﻲﻳﺎﻓﺖ‪ .‬ﺗﺼﻮﻳﺮﻱ ﭼﻨﻴﻦ ﻋﻴﻨﻲ ﻭ ﻋﻤﻴﻖ ﺍﺯ ﺷــﺮﺍﻳﻂ‬ ‫ﺩﻫﻪ ‪ 60‬ﺟﺰ ﺩﺭ ﻛﻠﻮﺯﺍپ ﻧﻤﻲﺗﻮﺍﻥ ﺳــﺮﺍﻍ ﮔﺮﻓﺖ‪.‬‬ ‫ﻛﻠﻮﺯﺁپ ﻭ ﻣﺸﻖ ﺷــﺐ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺟﺎﻳﮕﺎﻩ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺭﺍ ﻛﺎﻣﻼ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻧﺪ‪ ،‬ﻣﺴﻴﺮﻱ ﻧﻴﺰ ﭘﻴﺶﺭﻭﻱ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﮔﺸﻮﺩﻧﺪ ﻛﻪ ﻓﺮﺍﺗﺮ ﺍﺯ ﻣﻨﺎﺳﺒﺎﺕ ﻣﺮﺳﻮﻡ ﺍﻳﻦ ﺳﻴﻨﻤﺎ ﺑﻮﺩ‪ .‬ﺳﺎﺧﺘﺎﺭ ﻓﻴﻠﻢ ﺩﺭ ﻓﻴﻠﻢ ﻭ ﺑﻪ ﻫﻢ‬ ‫ﺯﺩﻥ ﻣﻨﺎﺳﺒﺎﺕ ﻣﺮﺳﻮﻡ ﺭﻭﺍﻳﺘﻲ ﺍﻭﻟﻴﻦ ﺍﻳﻦ ﺗﺎﺛﻴﺮﺍﺕ ﺑﻮﺩﻧﺪ ﻭ ﻧﮕﺎﻩ ﺑﻪ ﺧﺎﺭﺝ ﻭ ﺳﺎﺧﺖ ﻓﻴﻠﻢﻫﺎﻱ ﻣﻌﺮﻭﻑ ﺑﻪ‬ ‫»ﺟﺸﻨﻮﺍﺭﻩﺍﻱ« ﺗﺎﺛﻴﺮ ﺩﻳﮕﺮﺷﺎﻥ‪ .‬ﺗﻤﺎﺷﺎﻱ ﻣﺨﻤﻠﺒﺎﻑ ﺩﻳﺮﻭﺯ ﺩﺭ ﻣﻘﻄﻌﻲ ﻛﻪ ﻫﻨﻮﺯ ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﻴﻠﻤﺴﺎﺯﻱ‬ ‫ﻣﺴﻠﻤﺎﻥ ﻭ ﻣﺘﻌﻬﺪ ﺷﻨﺎﺧﺘﻪ ﻣﻲﺷﺪ ﻫﻢ ﺧﺎﻟﻲ ﺍﺯ ﻟﻄﻒ ﻧﻴﺴﺖ‪ .‬ﺿﻤﻦ ﺁﻧﻜﻪ ﻧﻘﻄﻪ ﺍﻓﺘﺮﺍﻗﺶ ﺑﺎ ﻛﻴﺎﺭﺳﺘﻤﻲ‬ ‫ﻫﻢ ﺍﺯ ﻫﻤﻴﻦ ﻓﻴﻠﻢ ﺁﻏﺎﺯ ﺷــﺪ ﺁﻥ ﭼﻨﺎﻥ ﻛﻪ ﻣﻨﺘﻘﺪﺍﻧﺶ ﺳــﺎﻝﻫﺎ ﺑﻌﺪ ﻛﻠﻮﺯﺁپ ﺭﺍ ﻧﻘﻄﻪ ﺗﺎﺛﻴﺮﭘﺬﻳﺮﻱ ﺍﻭ ﺍﺯ‬ ‫ﻛﻴﺎﺭﺳﺘﻤﻲ ﻋﻨﻮﺍﻥ ﻛﺮﺩﻧﺪ‪.‬‬ ‫‪11‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻋﺮﻭﺱ )‪(1369‬‬ ‫ﺁﻏﺎﺯﺩﻭﺭﺍﻥﺟﺪﻳﺪ؛ﺑﺎﺯﮔﺸﺖﺳﺘﺎﺭﻩﻫﺎ‬ ‫ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﺑﻬـﺮﻭﺯ ﺍﻓﺨﻤـﻲ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨـﺪﻩ ﻭ ﻣﺪﻳـﺮ ﺗﻮﻟﻴـﺪ‪:‬‬ ‫ﺳﻴﺪﺿﻴﺎءﻫﺎﺷﻤﻲ‪ ،‬ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ :‬ﻋﻠﻴﺮﺿﺎ ﺩﺍﻭﻭﺩﻧﮋﺍﺩ‪ ،‬ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ‪،‬‬ ‫ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻧﻌﻤﺖ ﺣﻘﻴﻘﻲ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪ :‬ﺑﺎﺑﻚ ﺑﻴﺎﺕ‪ ،‬ﺗﺪﻭﻳﻦ‪:‬‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﻣﻮﻳﻴﻨﻲ‪ ،‬ﺩﺳـﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻋﻠﻲ ﺳﺠﺎﺩﻱﺣﺴـﻴﻨﻲ‪،‬‬ ‫ﻃـﺮﺍﺡ ﺻﺤﻨـﻪ ﻭ ﻟﺒـﺎﺱ‪ :‬ﻋﺒﺪﺍﻟﺤﻤﻴـﺪ ﻗﺪﻳﺮﻳـﺎﻥ‪ ،‬ﻃـﺮﺍﺡ ﭼﻬﺮﻩ‬ ‫ﭘﺮﺩﺍﺯﻱ‪ :‬ﻋﺒﺪﺍﷲ ﺍﺳـﻜﻨﺪﺭﻱ‪ ،‬ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳـﮋﻩ‪ :‬ﻣﻬﺪﻱ ﺑﻬﻤﻦ ﭘﻮﺭ‪،‬‬ ‫ﺻﺪﺍ‪ :‬ﻓﺮﻳﺪﻭﻥ ژﻭﺭﻙ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺍﺑﻮﺍﻟﻔﻀﻞ ﭘﻮﺭﻋﺮﺏ‪ ،‬ﻧﻴﻜﻲ ﻛﺮﻳﻤﻲ‪ ،‬ﻋﺒﺎﺱ ﺍﻣﻴﺮﻱ‪ ،‬ﺳﻴﺪﻋﻠﻲ ﺳﺠﺎﺩﻱﺣﺴﻴﻨﻲ‪،‬‬ ‫ﻓﺮﺣﻨﺎﺯ ﻣﻨﺎﻓﻲﻇﺎﻫـﺮ‪ ،‬ﻣﻨﺼﻮﺭ ﻭﺍﻻﻣﻘﺎﻡ‪ ،‬ﻣﻨﺼـﻮﺭﻩ ﺍﻳﻠﺨﺎﻧﻲ‪ ،‬ﻣﻌﺼﻮﻣﻪ ﺍﺳـﻜﻨﺪﺭﻱ‪ ،‬ﺭﻗﻴﻪ‬ ‫ﭼﻬﺮﻩﺁﺯﺍﺩ‪ ،‬ﺍﻛﺒﺮ ﻣﻌﺰﺯﻱ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻣﻬﺎﺏ ﻓﻴﻠﻢ‪ 89 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 19 :‬ﺗﻴﺮ ‪ ،1370‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 33 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﭘﺎﻳﺎﻥ ﺟﻨﮓ ﺷــﺮﺍﻳﻂ ﺟﺪﻳﺪﻱ ﺭﺍ ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﻳﺠﺎﺩ ﻛــﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﻭﻣﻴﻦ‬ ‫ﺩﻫﻪ ﺣﻴﺎﺕ ﺟﻤﻬﻮﺭﻱ ﺍﺳﻼﻣﻲ ﺩﺭ ﺣﺎﻟﻲ ﺁﻏﺎﺯ ﻣﻲﺷﺪ ﻛﻪ ﺳﻴﺎﺳﺖﻫﺎﻱ‬ ‫ﺗﻮﺳــﻌﻪ ﺍﻗﺘﺼﺎﺩﻱ ﻭ ﻣﺪﺭﻧﻴﺰﺍﺳــﻴﻮﻥ ﺟﺎﻣﻌﻪ ﻧﺰﺩ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﺗﺒﺪﻳﻞ ﺑﻪ‬ ‫ﺍﻭﻟﻮﻳﺖ ﺍﺻﻠﻲ ﺷــﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻭﺭﺍﻥ ﺑﺎﺯﺳﺎﺯﻱ ﻭ ﺳﺎﺯﻧﺪﮔﻲ ﺁﻏﺎﺯ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ »ﺭﻓﺎﻩ«ﺁﺷﻜﺎﺭﺍ ﺍﺯ ﺟﺎﻧﺐ ﺭﺋﻴﺲ ﺟﻤﻬﻮﺭ ﻭﻗﺖ ﺗﺎﻳﻴﺪ ﻣﻲﺷﺪ‪ .‬ﻃﻮﻝ‬ ‫ﺻﻒﻫﺎﻱﺧﺮﻳﺪﻛﺎﻻﻛﻤﺘﺮﻣﻲﺷﺪﻭﺩﺭﻣﻘﺎﺑﻞﺑﺮﺣﺠﻢﻛﺎﻻﻫﺎﻱﺍﺳﺎﺳﻲﺩﺭ‬ ‫ﻣﻐﺎﺯﻩﻫﺎﻱﻣﻌﻤﻮﻝﺍﻓﺰﻭﺩﻩﻣﻲﺷﺪ‪.‬ﺍﻗﺘﺼﺎﺩﻛﻮﭘﻨﻲﻣﻲﺭﻓﺖﻛﻪﺟﺎﻳﺶﺭﺍﺑﻪ‬ ‫ﺍﻗﺘﺼﺎﺩﺭﻗﺎﺑﺘﻲﺑﺪﻫﺪ‪.‬ﺩﺭﻫﻤﻴﻦﺣﺎﻝﻓﻀﺎﻱﻓﺮﻫﻨﮕﻲﺟﺎﻣﻌﻪﺁﺷﻜﺎﺭﺍﺑﺎﺯﺗﺮ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭘﻴﺸﺨﻮﺍﻥ ﻛﺘﺎﺏﻓﺮﻭﺷﻲﻫﺎﻳﻲ ﻛﻪ ﺑﺮ ﺗﻌﺪﺍﺩ ﻭ ﺭﻭﻧﻘﺸﺎﻥ ﺍﻓﺰﻭﺩﻩ‬ ‫ﺷﺪﻩﺑﻮﺩﺑﺎﻛﺘﺎﺏﻫﺎﻳﻲﺟﺪﻳﺪﺩﺭﺑﺎﺭﻩﻣﻀﺎﻣﻴﻦﻭﻣﻮﺍﺭﺩﻱﺗﺎﺁﻥﺯﻣﺎﻥﻛﻤﺘﺮ‬ ‫ﺧﻮﺍﻧﺪﻩﺷﺪﻩﭼﺸﻢﻧﻮﺍﺯﺷﺪﻩﺑﻮﺩﻧﺪ‪.‬ﻫﻤﻴﻦﻭﺿﻌﻴﺖﺩﺭﭘﻴﺸﺨﻮﺍﻥﺭﻭﺯﻧﺎﻣﻪ‬ ‫ﻓﺮﻭﺵﻫﺎ ﻫﻢ ﺩﻳﺪﻩ ﻣﻲﺷﺪ‪ .‬ﺑﺎ ﺻﺪﻭﺭ ﻣﺠﻮﺯ ﺑﺮﺍﻱ ﺍﻧﺘﺸﺎﺭ ﻧﺸﺮﻳﺎﺕ ﺟﺪﻳﺪ‪،‬‬ ‫ﻣﺨﺎﻃﺒﺎﻥ ﻋﺎﺩﺕ ﻛﺮﺩﻩ ﺑﻪ ﭼﻨﺪ ﻧﺎﻡ ﺧﺎﺹ ﺣﺎﻻ ﮔﺰﻳﻨﻪﻫﺎﻱ ﺟﺪﻳﺪ ﺑﺮﺍﻱ‬ ‫ﺍﻧﺘﺨﺎﺏﺩﺍﺷﺘﻨﺪ‪.‬ﺩﺭﻧﺸﺮﻳﺎﺕﻫﻮﺍﻱﺗﺎﺯﻩﺍﻱﺩﻣﻴﺪﻩﺷﺪﻩﺑﻮﺩﻭﻧﺎﻡﻫﺎﻳﻲﻛﻪ‬ ‫ﻳﻚﺩﻫﻪﻏﺎﻳﺐﺑﻮﺩﻧﺪﺩﻭﺑﺎﺭﻩﻣﻲﺷﺪﭘﻴﺪﺍﻳﺸﺎﻥﻛﺮﺩ‪ .‬ﻓﺼﻞﺟﺪﻳﺪﻱﺁﻏﺎﺯ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻓﺼﻠﻲ ﻛﻪ ﭼﻨﺪﺳﺎﻝ ﻗﺒﻞ ﻇﻬﻮﺭﺵ ﻗﺎﺑﻞ ﺗﺼﻮﺭ ﻧﺒﻮﺩ‪ .‬ﻧﻤﻮﺩ ﺍﻳﻦ‬ ‫ﻓﺼﻞﺩﺭﺳﻴﻨﻤﺎﻫﻢﻗﺎﺑﻞﻣﺸﺎﻫﺪﻩﺑﻮﺩ‪.‬‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎﻱ ﺟﺪﻳﺪ ﺗﻮﻟﻴﺪﻱ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻧﻬﻢ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ ﺩﺭ ﺳﺎﻝ‪ 69‬ﺗﺎﺑﻠﻮﻱ ﻋﻴﻨﻲ ﺍﻳﻦ ﺗﻐﻴﻴﺮﺍﺕ ﺑﻮﺩ‪ .‬ﺩﻭ ﻓﻴﻠﻢ ﺟﻨﺠﺎﻟﻲ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ )ﺷــﺐﻫﺎﻱ ﺯﺍﻳﻨﺪﻩﺭﻭﺩ ﻭ ﻧﻮﺑﺖ ﻋﺎﺷﻘﻲ( ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻳﻚ ﺩﻭﺭﻩ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺣﻤﻴﺪ ﺍﺯ ﻣﻬﻴﻦ ﺧﻮﺍﺳﺘﮕﺎﺭﻱ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﭘﺪﺭ ﻣﻬﻴﻦ ﺑﺎ ﺷﺮﻁﻫﺎﻳﻲ ﻛﻪ ﺑﺮﺍﻱ ﺍﺯﺩﻭﺍﺝ ﺗﻌﻴﻴﻦ ﻣﻲ ﻛﻨﺪ ﺣﻤﻴﺪ‬ ‫ﺭﺍ ﺑﺮﺍﻱ ﺍﻧﺪﻭﺧﺘﻦ ﺛﺮﻭﺕ ﺑﻪ ﻛﺎﺭ ﻗﺎﭼﺎﻕ ﺩﺍﺭﻭ ﻣﻲﻛﺸﺎﻧﺪ‪ .‬ﺣﻤﻴﺪ ﺩﺭ ﺯﻣﺎﻥ ﺍﻧﺪﻛﻲ ﺛﺮﻭﺕﻛﻼﻧﻲ ﻣﻲﺍﻧﺪﻭﺯﺩ‬ ‫ﻭ ﺍﺯﺩﻭﺍﺝ ﺍﻭ ﺑﺎ ﻣﻬﻴﻦ ﺳﺮﻣﻲﮔﻴﺮﺩ ﻭ ﺑﺮﺍﻱ ﻣﺎﻩ ﻋﺴﻞ ﺭﺍﻫﻲ ﺷﻤﺎﻝ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺟﺎﺩﻩ ﺣﻤﻴﺪ ﺑﺮ ﺍﺛﺮ ﺳﺮﻋﺖ‬ ‫ﺯﻳﺎﺩ ﺍﺗﻮﻣﺒﻴﻞ ﺑﺎ ﺯﻧﻲ ﺭﻭﺳــﺘﺎﻳﻲ ﺗﺼﺎﺩﻑ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪﺭﻏﻢ ﻧﻈﺮ ﻣﻬﻴﻦ ﺍﺯ ﻣﺤﻞ ﺣﺎﺩﺛﻪ ﻣﻲﮔﺮﻳﺰﺩ‪ .‬ﺁﻥ ﺩﻭ‬ ‫ﺑﻪ ﺧﺎﻧﻪ ﭘﺴﺮﻋﻤﻮﻱ ﺣﻤﻴﺪ‪ ،‬ﺳﻌﻴﺪ‪ ،‬ﻣﻲﺭﻭﻧﺪ ﻭ ﭘﺲ ﺍﺯ ﺷﺮﺡ ﻣﺎﺟﺮﺍ ﻋﺎﺯﻡ ﻭﻳﻼﻱ ﺣﻤﻴﺪ ﻣﻲﺷﻮﻧﺪ‪ .‬ﭘﺲ ﺍﺯ‬ ‫ﺩﺭﮔﻴﺮﻱ ﻟﻔﻈﻲ ﺑﻴﻦ ﺯﻥ ﻭ ﺷﻮﻫﺮ‪ ،‬ﺭﻭﺯ ﺑﻌﺪ‪ ،‬ﻣﻬﻴﻦ ﺣﻤﻴﺪ ﺭﺍ ﺗﺮﻙ ﻣﻲﻛﻨﺪ‪ ،‬ﺗﺎ ﺍﺯ ﺳﺮﻧﻮﺷﺖ ﺯﻥ ﺭﻭﺳﺘﺎﻳﻲ‬ ‫ﻣﻄﻠﻊ ﺷﻮﺩ‪ .‬ﺣﻤﻴﺪ ﻛﻪ ﺑﺮﺍﻱ ﻳﺎﻓﺘﻦ ﻣﻬﻴﻦ ﻣﺴﺘﺄﺻﻞ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﺑﺎ ﺳﻌﻴﺪ ﺗﻤﺎﺱ ﻣﻲﮔﻴﺮﺩ ﻭ ﺳﻌﻴﺪ ﺍﻭ ﺭﺍ‬ ‫ﺗﺮﻏﻴﺐ ﻣﻲﻛﻨﺪ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﭘﻠﻴﺲ ﻣﻌﺮﻓــﻲ ﻛﻨﺪ‪ .‬ﺣﻤﻴﺪ ﺑﻪ ﻣﺤﻞ ﺣﺎﺩﺛﻪ ﻣﻲﺭﻭﺩ ﻭ ﺩﺭﻣﻲﻳﺎﺑﺪ ﻛﻪ ﺯﻥ‬ ‫ﺭﻭﺳﺘﺎﻳﻲ ﺟﺎﻥ ﺳــﺎﻟﻢ ﺑﻪ ﺩﺭ ﺑﺮﺩﻩ ﻭ ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺑﺴﺘﺮﻱ ﺍﺳــﺖ‪ .‬ﺣﻤﻴﺪ ﻋﺎﺯﻡ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻣﻲﺷﻮﺩ ﻭ‬ ‫ﻣﻬﻴﻦ‪ ،‬ﻛﻪ ﭘﺲ ﺍﺯ ﺗﺮﻙ ﺷﻮﻫﺮ ﻫﺰﻳﻨﻪ ﻣﺪﺍﻭﺍﻱ ﺯﻥ ﺭﻭﺳﺘﺎﻳﻲ ﺭﺍ ﺍﺯ ﺣﺴﺎﺏ ﭘﺲﺍﻧﺪﺍﺯ ﺣﻤﻴﺪ ﺑﺮﺩﺍﺷﺖ ﻛﺮﺩﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﺯ ﺭﺍﻫﺮﻭﻱ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺣﻤﻴﺪ ﺭﺍ ﻣﻲﺑﻴﻨﺪ ﻛﻪ ﺍﺯ ﺍﺗﻮﻣﺒﻴﻞ ﭘﻴﺎﺩﻩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﻭ ﺳــﺎﻟﻪ ﺑﺎﺯﻧﮕﺮﻱ ﺩﺭ ﺍﻓﻜﺎﺭ ﻭ ﻋﻘﺎﻳﺪﺵ‪ ،‬ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺻﺮﺍﺣﺘﻲ‬ ‫ﻓﻮﻕ ﺗﺼﻮﺭ ﺭﺍ ﻭﺍﺭﺩ ﺳﻴﻨﻤﺎ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺟﺪﺍ ﺍﺯ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﻭﺭﻭﺩ ﻣﻀﺎﻣﻴﻦ‬ ‫ﺟﺪﻳﺪ ﺑﻪ ﺳﻴﻨﻤﺎ ﭼﺸﻤﮕﻴﺮ ﺑﻮﺩ‪ .‬ﺗﺎﺑﻮﻱ ﻋﺸﻖ ﺁﺷﻜﺎﺭﺍ ﺷﻜﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ‬ ‫ﻗﻬﺮﻣﺎﻧﺎﻥﺟﺪﻳﺪﻱﻛﻪﺑﻪﺩﻧﺒﺎﻝﺗﻌﻠﻘﺎﺕﺩﻧﻴﻮﻱﺑﻮﺩﻧﺪﺑﺮﭘﺮﺩﻩﺁﻣﺪﻩﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﻋﺮﻭﺱ« ﻓﻴﻠﻢ ﻛﻠﻴﺪﻱ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺣﻜﺎﻳﺖ ﺍﺯ ﺗﻨﻔﺴــﻲ‬ ‫ﺟﺪﻳﺪ ﺩﺭ ﺳﻴﻨﻤﺎ ﺩﺍﺷﺖ ﻭ ﺗﻤﺎﻡ ﻣﺮﺯﻫﺎﻱ ﻗﺒﻠﻲ ﺭﺍ ﺑﺮ ﻫﻢ ﻣﻲﺯﺩ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﺍﺯ ﺁﻥ ﻧﺸــﺎﻥﺩﻫﻨﺪﻩ ﺍﺷﺘﻴﺎﻕ ﺟﺎﻣﻌﻪ ﺩﺭ ﺗﻤﺎﺷﺎ ﻭ ﭘﺬﻳﺮﺵ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ‬ ‫ﺑﻮﺩ؛ ﺑﻴﻨﻨﺪﮔﺎﻧﻲﻛﻪﺑﺎﻧﺎﺑﺎﻭﺭﻱﺑﻪﺗﺼﺎﻭﻳﺮﻛﻠﻮﺯﺁپﺑﺎﺯﻳﮕﺮﺯﻥﻓﻴﻠﻢﺑﺎﺁﺭﺍﻳﺶ‬ ‫ﻏﻠﻴﻆ ﺧﻴﺮﻩ ﻣﻲﺷﺪﻧﺪ ﻭ ﺑﺎﻭﺭ ﻣﻲﻛﺮﺩﻧﺪ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪﻱ ﺁﻏﺎﺯ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﻭﺭﺍﻧﻲ ﻛﻪ ﺗﻮﺳﻂ ﺍﻧﻘﻼﺑﻴﻮﻥ ﺩﻳﺮﻭﺯ ﺩﺭ ﻫﻤﺮﺍﻫﻲ ﺑﺎ ﺷﺮﺍﻳﻂ ﻧﻮﻳﻦ ﻭ ﺟﺪﻳﺪ‬ ‫ﭘﺪﻳﺪﺁﻣﺪﻩﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ ﺑﺎ ﺳﺎﺑﻘﻪ ﻣﺪﻳﺮﻳﺖ ﭘﺮﺣﺎﺷﻴﻪ ﺑﺮ ﮔﺮﻭﻩ ﻓﻴﻠﻢ ﻭ ﺳﺮﻳﺎﻝ ﺷﺒﻜﻪ‬ ‫ﺍﻭﻝ ﺳﻴﻤﺎ ﻭ ﻣﺎﺟﺮﺍﻫﺎﻱ ﺗﻮﻟﻴﺪ ﺳﺮﻳﺎﻝ ﻣﻌﺮﻭﻑ »ﻛﻮﭼﻚ ﺟﻨﮕﻠﻲ« ﻭ ﻧﻴﺰ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻳﺶ ﺩﺭ ﺯﻣﻴﻨﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺳﻴﻨﻤﺎﻳﻲ ﭼﻮﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻭ‬ ‫ﺗﺪﻭﻳﻦﻭﻣﺸﺎﻭﺭﻩ‪،‬ﻧﺎﻡﺷﻨﺎﺧﺘﻪﺷﺪﻩﺍﻱﻧﺰﺩﺳﻴﻨﻤﺎﮔﺮﺍﻥﺑﻮﺩ‪.‬ﺍﻭﻛﻪﺍﺯﻃﻴﻒ‬ ‫ﺟﻮﺍﻧﺎﻥ ﻣﺬﻫﺒﻲ ﻭﺍﺭﺩ ﺟﺮﻳﺎﻥ ﻣﺪﻳﺮﻳﺖ ﺷــﺪﻩ ﺑﻌــﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻮﺩ‪ ،‬ﺍﻭﺍﺧﺮ‬ ‫ﺩﻫﻪ‪ 60‬ﻭﭘﺲﺍﺯﻓﺮﺍﻏﺖﺍﺯﺳﺎﺧﺖﺳﺮﻳﺎﻝﻛﻮﭼﻚﺟﻨﮕﻠﻲ‪،‬ﻫﻤﺮﺍﻩﺟﻤﻌﻲ‬ ‫ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺍﻗﺪﺍﻡ ﺑﻪ ﺗﺎﺳﻴﺲ ﺩﻓﺘﺮﻱ ﺑﻪ ﻧﺎﻡ »ﻣﻬﺎﺏ ﻓﻴﻠﻢ« ﺑﺎ‬ ‫ﻫﺪﻑ ﺳﺎﺧﺖ ﺁﺛﺎﺭ ﺧﻮﺵ ﺳﺎﺧﺖ ﻭ ﺍﻟﺒﺘﻪ ﻣﻮﻓﻖ ﺩﺭ ﺟﺬﺏ ﻣﺨﺎﻃﺐ ﻛﺮﺩ‪.‬‬ ‫ﺳﻴﺪﺿﻴﺎءﻫﺎﺷﻤﻲ‪ ،‬ﺷــﻬﺮﻳﺎﺭ ﺑﺤﺮﺍﻧﻲ ﻭ ﻣﺤﻤﺪﺭﺿﺎ ﻫﻨﺮﻣﻨﺪ ﻫﻤﺮﺍﻫﺎﻥ‬ ‫ﺍﻓﺨﻤﻲ ﺩﺭ ﺗﺎﺳﻴﺲ ﺍﻳﻦ ﺩﻓﺘﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻭﻟﻴﻦ ﻣﺤﺼﻮﻝ ﻣﻬﺎﺏ ﻓﻴﻠﻢ »ﺩﺯﺩ‬ ‫ﻋﺮﻭﺳــﻚﻫﺎ« ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻫﻨﺮﻣﻨﺪ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺩﻭﺭﺍﻥ ﺭﻭﻧﻖ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻛﻮﺩﻛﺎﻥﺳﺎﺧﺘﻪﺷﺪﻭﻋﻨﻮﺍﻥﭘﺮﻓﺮﻭﺵﺗﺮﻳﻦﻓﻴﻠﻢﺳﺎﻝ‪ 69‬ﺭﺍﻛﺴﺐﻛﺮﺩ‪.‬‬ ‫ﺑﺎﺍﻳﻦﻣﻮﻓﻘﻴﺖﻣﻬﺎﺏﻓﻴﻠﻢﺟﺪﻱﺗﺮﺍﺯﮔﺬﺷﺘﻪﭘﻴﮕﻴﺮﻓﻌﺎﻟﻴﺖﻫﺎﻳﺶﺷﺪ‪.‬‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻳﻲﻛﻪﻗﺮﺍﺭﺑﻮﺩﻣﺘﻔﺎﻭﺕﺍﺯﺟﺮﻳﺎﻥﺭﻭﺯﻭﺟﻠﻮﺗﺮﺍﺯﺍﻗﺪﺍﻣﺎﺕﻣﺸﺎﺑﻪ‬ ‫ﺑﺎﺷﺪ‪.‬ﺩﺭﺍﻳﻦﺭﺍﻩﻃﺮﺡﺳﺎﺧﺖﻋﺮﻭﺱﻣﻄﺮﺡﺷﺪﺑﺮﺍﺳﺎﺱﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱﺍﺯ‬ ‫ﻋﻠﻴﺮﺿﺎ ﺩﺍﻭﻭﺩﻧﮋﺍﺩﻛﻪﺍﻓﺨﻤﻲﺑﻌﺪﺍ ﺗﻐﻴﻴﺮﺍﺗﻲﺩﺭﺁﻥﺍﻧﺠﺎﻡﺩﺍﺩ‪.‬ﻃﺮﺣﻲﻛﻪ‬ ‫ﺩﺭ ﺍﻧﺪﺍﺯﻩ ﺩﻭﺭﺍﻥ ﺧﻮﺩ »ﺟﺴﻮﺭﺍﻧﻪ« ﻣﺤﺴﻮﺏ ﻣﻲﺷﺪ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺍﺯ ﺍﺑﺘﺪﺍ‬ ‫ﺗﻼﺵﻛﺮﺩﻧﺪﻫﻤﺎﻥﻃﻮﺭﻛﻪﻣﻀﻤﻮﻥﻓﻴﻠﻤﺸﺎﻥﻣﺘﻔﺎﻭﺕﺍﺯﻓﻀﺎﻱﺭﻭﺯﺑﻮﺩ‪،‬‬ ‫ﺍﺯﭼﻬﺮﻩﻫﺎﻱﺟﺪﻳﺪﻭﺑﻜﺮﻫﻢﺍﺳﺘﻔﺎﺩﻩﻛﻨﻨﺪ‪.‬ﺩﺭﺍﻳﻦﺭﺍﻩﺍﺑﻮﺍﻟﻔﻀﻞﭘﻮﺭﻋﺮﺏ‬ ‫ﺍﺯﺻﺤﻨﻪﻫﺎﻱﺗﺌﺎﺗﺮﻭﻧﻴﻜﻲﻛﺮﻳﻤﻲﺍﺯﺗﺠﺮﺑﻪﺑﺎﺯﻱﺩﺭﻓﻴﻠﻢﻭﺳﻮﺳﻪﺍﻧﺘﺨﺎﺏ‬ ‫ﺷﺪﻧﺪ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺗﺎﺑﺴﺘﺎﻥ ﺳﺎﻝ‪ 69‬ﺁﻏﺎﺯ ﻭ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠﺮﺁﻣﺎﺩﻩﺷﺪﺩﺭﺣﺎﻟﻲﻛﻪﭘﺲﺍﺯﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱﻭﺩﺭﻣﺮﺍﺣﻞﻓﻨﻲﺷﺎﻳﻌﺎﺕ‬ ‫ﻭ ﺷــﻨﻴﺪﻩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺩﺭﺑﺎﺭﻩ ﺣﺎﺻﻞ ﺟﺴﻮﺭﺍﻧﻪ ﻭ ﺍﻟﺒﺘﻪ ﺩﻳﺪﻧﻲ ﻓﻴﻠﻢ ﺩﺭ‬ ‫ﻣﺤﺎﻓﻞﺳﻴﻨﻤﺎﻳﻲﭘﻴﭽﻴﺪﻩﺑﻮﺩ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﻧﺨﺴﺘﻴﻦ ﻧﻤﺎﻳﺶ ﻋﺮﻭﺱ ﺩﺭ ﺟﻨﺠﺎﻟﻲﺗﺮﻳﻦ ﺩﻭﺭﻩ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﺩﻭﺭﻩ ﻧﻬﻢ ﺑﻮﺩ‪ .‬ﺩﻭﺭﻩﺍﻱ ﻛﻪ ﻧﻤﺎﻳﺸﮕﺮ ﭘﻮﺳﺖﺍﻧﺪﺍﺯﻱ ﺳﻴﻨﻤﺎﻱ ﻧﻮﻳﻦ ﺍﻳﺮﺍﻥ‬ ‫ﺑﻮﺩ‪ .‬ﻧﻤﺎﻳﺶ ﻋﺮﻭﺱ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﻴﺸﺘﺮ ﺩﺭ ﺳﺎﻳﻪ ﺟﻨﺠﺎﻝﻫﺎﻱ ﺩﻭ‬ ‫‪69‬‬ ‫‪12‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﺁﻛﺘﻮﺭ ﺳﻴﻨﻤﺎ )‪(1370‬‬ ‫ﻓﻴﻠﻢﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥﻭﺷﺐﻫﺎﻱﺯﺍﻳﻨﺪﻩﺭﻭﺩﻗﺮﺍﺭﮔﺮﻓﺖﺍﻣﺎﺗﻮﺍﻧﺴﺖﻧﻈﺮﻫﺎ‬ ‫ﺭﺍ ﺟﻠﺐ ﻛﻨﺪ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ ﺍﺯ ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﺶ ﺑﻪ ﺗﻤﺠﻴﺪ ﺳــﺎﺧﺘﺎﺭ ﻭ ﭘﺮﺩﺍﺧﺖ‬ ‫ﻣﺴﺘﺤﻜﻢ ﺳــﻴﻨﻤﺎﻳﻲ ﺍﺛﺮ ﭘﺮﺩﺍﺧﺘﻨﺪ ﻭ ﺩﺍﻭﺭﺍﻥ ﻫﻢ ﺑﺎ ﺍﻫﺪﺍﻱ ﺳﻪ ﺟﺎﻳﺰﻩ ﺑﻪ‬ ‫ﻓﻴﻠﻢ ﺩﺭ ﻛﻨﺎﺭ ﻧﺎﻣﺰﺩﻱﻫﺎﻱ ﻣﺘﻌﺪﺩ ﻧﺸــﺎﻥ ﺩﺍﺩﻧﺪ‪ ،‬ﻣﺤﺘﻮﺍ ﻭ ﺳﺎﺧﺘﺎﺭ ﻓﻴﻠﻢ‬ ‫ﻣﻮﺭﺩ ﺗﺎﻳﻴﺪﺷــﺎﻥ ﺍﺳﺖ‪ .‬ﺩﺍﻭﺭﺍﻧﻲ ﻛﻪ ﺩﺭ ﻣﻴﺎﻧﺸﺎﻥ ﻧﺎﻡ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ‬ ‫ﺑﻪﭼﺸﻢﻣﻲﺧﻮﺭﺩ‪.‬ﺍﻣﺎﺍﻳﻦﺗﺎﻳﻴﺪﻫﺎﻛﻪﻛﻠﻴﺖﺭﻭﻧﺪﺣﺮﻛﺘﻲﺳﻴﻨﻤﺎﻱﺍﻳﺮﺍﻥ‬ ‫ﻭﮔﺸﺎﻳﺶﻧﺴﺒﻲﻓﻀﺎﻫﻢﺷﺎﻣﻠﺶﻣﻲﺷﺪﺗﺎﺯﻩﺳﺮﺁﻏﺎﺯﺟﻨﺠﺎﻝﻫﺎﻳﻲﺑﻮﺩ‬ ‫ﻛﻪﻋﺮﻭﺱﻫﻢﺩﺭﻣﻴﺎﻧﻪﺍﺵﺣﻀﻮﺭﺟﺪﻱﺩﺍﺷﺖ‪.‬ﺑﻼﻓﺎﺻﻠﻪﺑﻌﺪﺍﺯﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠﺮ ﺭﻭﺯﻧﺎﻣﻪ ﻛﻴﻬﺎﻥ ﻛﻪ ﻣﺪﻳﺮ ﺟﺪﻳﺪﻱ ﺑﻪ ﻧﺎﻡ ﻣﻬﺪﻱ ﻧﺼﻴﺮﻱ ﺭﺍ ﺑﺮ ﺧﻮﺩ‬ ‫ﻣﻲﺩﻳﺪ‪،‬ﺩﺭﻗﺎﻟﺐﻣﻘﺎﻻﺕﺗﻨﺪﻭﺍﻓﺸﺎﮔﺮﺍﻳﺎﻧﻪﺍﻱﺑﻪﺑﻬﺎﻧﻪﺳﺎﺧﺖﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﺷﺐﻫﺎﻱﺯﺍﻳﻨﺪﻩﺭﻭﺩﻭﻧﻮﺑﺖﻋﺎﺷﻘﻲﺣﻤﻼﺕﺷﺪﻳﺪﻱﺑﻪﻣﺪﻳﺮﻳﺖﺳﻴﻨﻤﺎ‬ ‫ﻭ ﺣﺮﻛﺖ ﻛﻠﻲ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺭﻭﺯﻧﺎﻣﻪ ﻛﻪ ﺍﻧﺘﻘﺎﺩﺍﺕ ﺭﺍ ﺍﺑﺘﺪﺍ ﺑﺎ‬ ‫ﺷﻴﺐﻣﻼﻳﻢﺩﺭﺁﻏﺎﺯﺳﺎﻝ‪ 69‬ﻭﺑﻪﺑﻬﺎﻧﻪﺍﻧﺘﺸﺎﺭﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﺑﺖﻋﺎﺷﻘﻲﺁﻏﺎﺯ‬ ‫ﻛﺮﺩﻩﺑﻮﺩ‪،‬ﺑﻌﺪﺍﺯﺟﺸﻨﻮﺍﺭﻩﺑﺮﺣﺠﻢﻭﺷﺪﺕﺣﻤﻼﺗﺶﺍﻓﺰﻭﺩ‪.‬ﺍﻭﻟﻴﻦﻣﻘﺎﻟﻪ‬ ‫ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﻫﻔﺖ ﻭ ﻫﺸﺖ ﺍﺳــﻔﻨﺪ ‪ 69‬ﺑﺎ ﺍﻣﻀﺎﻱ ﻉ‪.‬ﻧﺼﺮﺁﺑﺎﺩﻱ ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫»ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ‪ -69‬ﻣﺴﻠﺦ ﻋﺸــﻖ ﻭ ﻧﻔﻲ ﺁﺭﻣﺎﻥﻫﺎ« ﻣﻨﺘﺸﺮ ﻣﻲﺷﻮﺩ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﺍﻧﺘﻘﺎﺩﺍﺕ ﺷﺪﻳﺪﻱ ﺍﺯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻱ ﺳﻴﻨﻤﺎ ﺩﺭ ﺟﻬﺖ ﺳﺎﺧﺖ‬ ‫ﻓﻴﻠﻢﻫﺎﻳﻲﺑﺎﻣﻀﺎﻣﻴﻦﺧﺎﺻﻲﻣﻄﺮﺡﺍﺳﺖ‪.‬ﺍﻧﺘﺸﺎﺭﺍﻳﻦﻣﻘﺎﻻﺕﺍﺩﺍﻣﻪﭘﻴﺪﺍ‬ ‫ﻣﻲﻛﻨﺪ ﻛﻪ ﺩﺭ ﺍﺩﺍﻣﻪ ﺣﻤﻼﺕ ﻣﺘﻮﺟﻪ ﻛﻠﻴﺖ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﭘﺎﺳﺦﻫﺎﻱ ﺗﻨﺪ ﻭ ﺍﺣﺴﺎﺳــﻲ ﻣﺨﻤﻠﺒﺎﻑ ﻫﻢ ﺑﺮ ﺣﺴﺎﺳﻴﺖﻫﺎ ﻣﻲﺍﻓﺰﺍﻳﺪ‪.‬‬ ‫ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻲ ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ ﻛﻪ ﻓﻴﻠﻢ ﻧﺨﺴﺘﺶ »ﻋﺮﻭﺱ« ﻫﻢ ﺩﺭ‬ ‫ﻣﻴﺎﻧﻪ ﺍﻧﺘﻘﺎﺩﺍﺕ ﻧﺎﻣﺶ ﭼﻨﺪ ﺑﺎﺭﻱ ﻣﻄﺮﺡ ﻣﻲﺷﻮﺩ ﻭﺍﺭﺩ ﻣﻨﺎﺯﻋﻪ ﻣﻲﺷﻮﺩ ﻭ‬ ‫ﺩﺭ ﺟﻬﺖ ﺩﻓﺎﻉ ﻭ ﺣﻤﺎﻳﺖ ﺍﺯ ﻛﻠﻴﺖ ﺣﺮﻛﺘﻲ ﺳﻴﻨﻤﺎ ﻭ ﺩﺭ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﻧﮕﺎﻩﻫﺎﻱ‬ ‫ﺟﻬﺖ ﺩﺍﺭ ﺑﻪ ﺁﻥ ﻣﻘﺎﻟﻪﺍﻱ ﺑﺎ ﻧﺎﻡ »ﺭﻳﺸــﻪﻫﺎﻱ ﻳﺄﺱ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ«‬ ‫ﻣﻲﻧﻮﻳﺴﺪ ﻭ ﺑﻪ ﺭﻭﺯﻧﺎﻣﻪ ﻛﻴﻬﺎﻥ ﻣﻲﻓﺮﺳﺘﺪ‪ .‬ﺍﻳﻦ ﺭﻭﺯﻧﺎﻣﻪ ﻧﻴﺰ ﭘﺎﺳﺦ ﺧﻮﺩ‬ ‫ﻭ ﻣﻘﺎﻟﻪ ﺍﺻﻠﻲ ﺭﺍ ﻫﻤﺰﻣﺎﻥ ﺩﺭ ﻛﻨﺎﺭ ﻳﻜﺪﻳﮕﺮ‪ ،‬ﺩﺭ ﻳﻚ ﺭﻭﺯ ﻣﻨﺘﺸﺮ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺍﻓﺨﻤﻲﺩﺭﻣﻘﺎﻟﻪﺍﺵ ﺍﺑﺘﺪﺍﺍﺯﻓﻴﻠﻤﺴﺎﺯﺍﻥﻣﺴﻠﻤﺎﻥﻛﻪﺍﺗﻬﺎﻣﺎﺕﻣﻄﺮﺡﺷﺪﻩ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺧﻮﺩ ﺭﺍ ﺑﻲﭘﺎﺳﺦ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺍﻧﺘﻘﺎﺩ ﻣﻲﻛﻨﺪ ﻭ ﺑﻌﺪ ﺑﻪ ﺩﻓﺎﻉ ﺍﺯ ﻧﺎﺻﺮ‬ ‫ﺗﻘﻮﺍﻳﻲ ﻭ ﻓﻴﻠﻢ ﺁﺧﺮﺵ )ﺍﻱ ﺍﻳﺮﺍﻥ( ﻛﻪ ﻫﺪﻑ ﺣﻤﻠﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻣﻲﭘﺮﺩﺍﺯﺩ‬ ‫ﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﺍﺩﺍﻣﻪ ﺍﻧﺘﺸــﺎﺭ ﭼﻨﻴﻦ ﻧﻈﺮﺍﺗﻲ ﺭﺍ ﺑﻪ ﺿﺮﺭ ﻧﻈﺎﻡ ﻓﺮﻫﻨﮕﻲ ﻛﺸﻮﺭ‬ ‫ﻣﻲﺩﺍﻧﺪ‪» :‬ﺳﻮءﻇﻦ‪ ،‬ﺳﻮﻇﻦ ﻣﻲﺁﻭﺭﺩ ﻭ ﺗﺮﺩﻳﺪ ﻭ ﺗﺰﻟﺰﻝ‪ ،‬ﻭﺣﺸﺖ ﺭﺍ ﺩﺍﻣﻦ‬ ‫ﻣﻲﺯﻧﺪ‪ .‬ﺑﻲﺍﻋﺘﻤﺎﺩﻱ‪ ،‬ﺍﻣﻨﻴﺖ ﻭ ﺍﻣﻴﺪ ﺭﺍ ﻣﺜﻞ ﺧﻮﺭﻩ ﻣﻲﺧﻮﺭﺩ ﻭ ﺳﺎﻧﺴــﻮﺭ‬ ‫ﺗﺸﺪﻳﺪﺳﺎﻧﺴﻮﺭﺭﺍﺩﺭﻳﻚﺩﻭﺭﻩﺑﺎﻃﻞﻧﺎﮔﺰﻳﺮﻣﻲﺳﺎﺯﺩ‪.‬ﺍﮔﺮﺍﻳﻦﭼﺮﺥﺭﻭﻱ‬ ‫ﻫﻤﻴﻦﺩﻭﺭﺑﭽﺮﺧﺪﻓﺮﻫﻨﮓﺍﻳﻦﻛﺸﻮﺭﺭﺍﺧﺮﺩﻣﻲﻛﻨﺪﻭﺍﺯﻫﻢﻣﻲﭘﺎﺷﺪ‪«.‬‬ ‫ﻛﻴﻬﺎﻥ ﺩﺭ ﭘﺎﺳﺨﺶ ﻣﻘﺎﻻﺗﺶ ﺭﺍ ﺩﺭ ﺩﻓﺎﻉ ﺍﺯ ﻣﻘﺪﺳﺎﺕ ﻭ ﺍﺭﺯﺵﻫﺎﻱ ﻧﻈﺎﻡ‬ ‫ﻣﻲﺩﺍﻧﺪ‪.‬ﺍﻣﺎﻭﺍﻛﻨﺶﻫﺎﺍﺩﺍﻣﻪﻣﻲﻳﺎﺑﺪﺩﺭﺣﺎﻟﻲﻛﻪﭼﻨﻴﻦﺟﻮﻱﻫﻤﭽﻨﺎﻧﻜﻪ‬ ‫ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﺩﻭ ﻓﻴﻠﻢ ﺟﻨﺠﺎﻟﻲ ﻣﺨﻤﻠﺒــﺎﻑ ﺭﺍ ﻏﻴﺮﻣﻤﻜﻦ ﻣﻲﻛﻨﺪ‪،‬‬ ‫ﺷﺎﻳﻌﺎﺗﻲ ﻣﺒﻨﻲﺑﺮ ﺍﺣﺘﻤﺎﻝ ﻋﺪﻡ ﺍﻛﺮﺍﻥ »ﻋﺮﻭﺱ« ﺭﺍ ﻫﻢ ﺑﺮﺯﺑﺎﻥﻫﺎ ﺟﺎﺭﻱ‬ ‫ﻣﻲﺳﺎﺯﺩ‪.‬ﺑﻪﻭﻳﮋﻩﻛﻪﻭﺭﻭﺩﺍﻓﺨﻤﻲﺑﻪﻣﻨﺎﺯﻋﻪﻣﺨﻤﻠﺒﺎﻑﻭﻛﻴﻬﺎﻥﺣﻤﻼﺗﻲ‬ ‫ﺭﺍ ﻫﻢ ﻣﺘﻮﺟﻪ ﺍﻭ ﻣﻲﻛﻨﺪ‪ .‬ﺭﺣﻴﻢ ﺭﺣﻴﻤﻲﭘﻮﺭ‪ ،‬ﻓﻴﻠﻤﺴﺎﺯ ﺟﺮﻳﺎﻥ ﻣﺬﻫﺒﻲ ﻭ‬ ‫ﺍﻋﺘﻘﺎﺩﻱ ﭼﻨﺪ ﺭﻭﺯ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺸــﺎﺭ ﻣﻘﺎﻟﻪ ﺍﻓﺨﻤﻲ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺍﻭ ﻋﺮﻭﺱ ﺭﺍ‬ ‫ﻧﺸﺎﻧﻪﺍﻱﺍﺯﺗﻐﻴﻴﺮﺍﻓﺨﻤﻲﻣﻲﺩﺍﻧﺪ‪»:‬ﺗﺤﺖﺷﺮﺍﻳﻂﻣﻮﺟﻮﺩﺳﻴﻨﻤﺎﻱﺍﻳﺮﺍﻥ‪،‬‬ ‫ﺗﻮﺑﻪ ﻧﺼﻮﺡ ﺑﻪ ﻧﻮﺑﺖ ﻋﺎﺷﻘﻲ ﻭ ﺷــﺐﻫﺎﻱ ﺯﺍﻳﻨﺪﻩﺭﻭﺩ‪ ،‬ﻭ ﭘﺮﻭﺍﺯ ﺩﺭ ﺷﺐ ﺑﻪ‬ ‫ﻣﺠﻨﻮﻥﻭﻣﺮگﺩﻳﮕﺮﻱﺑﻪﺩﺯﺩﻋﺮﻭﺳﻚﻫﺎﺗﺒﺪﻳﻞﺷﺪﻩﺍﻧﺪﻭﺧﺪﺍﻣﻲﺩﺍﻧﺪ‬ ‫ﺍﮔﺮﺍﻳﻦﻃﻮﺭﭘﻴﺶﺑﺮﻭﺩﺑﻘﻴﻪﺑﻪﭼﻪﺑﺪﻝﺧﻮﺍﻫﻨﺪﺷﺪﻭﻣﺎﻧﻴﺰﺧﻮﺷﺘﺮﺍﺳﺖ‬ ‫‪70‬‬ ‫ﻛﻪﻧﺎﺭﺍﺣﺖﺍﻳﻦﺗﺒﺪﻳﻞﻫﺎﺑﺎﺷﻴﻢﻧﻪﻧﺎﺭﺍﺣﺖﺁﻧﻜﻪﻣﺜﻼﺍﻧﺪﻳﺸﻪﻓﻴﻠﻢﻛﺮﺩﻥ‬ ‫ﻓﻼﻥ ﭼﻴﺰ ﻛﻪ ﺭﻳﺸﻪ ﺍﻧﺘﺮﻧﺎﺳﻴﻮﻧﺎﻟﻴﺴﺘﻲ ﺩﺍﺷﺘﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺯ ﺳﺮ ﻓﻼﻧﻲ‬ ‫ﺩﺭ ﺭﻓﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺑﻠﻪ ﺑﻬﺘﺮ ﺍﺳﺖ ﻣﺎ ﻧﮕﺮﺍﻥ ﻭ ﻧﺎﺭﺍﺣﺖ ﻛﻮﭼﻚ ﺟﻨﮕﻠﻲ ﺑﺎﺷﻴﻢ‬ ‫ﻛﻪﻋﺮﻭﺱﺷﺪﻭﺧﺎﻧﻪﻧﺸﻴﻦ‪،‬ﻭﺩﺳﺖﺍﺯﻣﺒﺎﺭﺯﺍﺕﺧﻮﺩﺑﺮﺍﻱﻣﻌﺮﻓﻲﺗﺎﺭﻳﺦ‬ ‫ﺍﺳﻼﻡﻭﺍﻧﻘﻼﺏﺍﺳﻼﻣﻲﺑﻪﻭﺳﻴﻠﻪﺳﻴﻨﻤﺎ ﺷﺴﺖ‪«.‬ﺩﺍﻣﻨﻪﺑﺤﺚﻫﺎﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎﺭﺍﻭﺍﺭﺩﺑﺤﺚﻣﻲﻛﻨﺪﻭﺍﻭﺩﺭﻣﻘﺎﻟﻪﺩﻟﺴﻮﺯﺍﻧﻪﺍﻱﺗﻼﺵﻣﻲﻛﻨﺪ‬ ‫ﻛﻠﻴﺖﺳﻴﻨﻤﺎﻱﺍﻳﺮﺍﻥﺭﺍﺟﺪﺍﺍﺯﺳﺎﺧﺖﻓﻴﻠﻢﻫﺎﻱﻣﺨﻤﻠﺒﺎﻑﺑﺪﺍﻧﺪﻭﻣﻮﺿﻊ‬ ‫ﺑﻴﻨﺎﺑﻴﻨﻲ ﺍﺗﺨﺎﺫ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﻭ ﻣﻮﺿﻊﮔﻴﺮﻱﻫﺎﻱ ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻛﻪ ﺩﺭ ﭼﻨﺪ ﺷــﻤﺎﺭﻩ ﺑﻪ ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﺭﻭﺯﻧﺎﻣﻪ ﺍﻃﻼﻋﺎﺕ ﻣﻲﻧﺸــﻴﻨﻨﺪ ﻭ ﺍﺯ‬ ‫ﻋﻤﻠﻜﺮﺩﺷﺎﻥ ﺩﻓﺎﻉ ﻣﻲﻛﻨﻨﺪ ﺩﺭ ﻛﻨﺎﺭ ﻣﻘﺎﻟﻪ ﻣﻮﺛﺮ ﺷﻬﻴﺪﻣﺮﺗﻀﻲ ﺁﻭﻳﻨﻲ‬ ‫ﺩﺭﺩﻓﺎﻉﺍﺯﻓﻴﻠﻢ»ﻋﺮﻭﺱ«ﺑﺎﻋﺚﻓﺮﻭﻛﺶﻛﺮﺩﻥﻧﺴﺒﻲﺍﻧﺘﻘﺎﺩﺍﺕﻭﻓﺮﺍﻫﻢ‬ ‫ﺷﺪﻥﺷﺮﺍﻳﻂﻧﻤﺎﻳﺶﻓﻴﻠﻢﺍﻓﺨﻤﻲﻣﻲﺷﻮﺩ‪.‬ﺑﻪﺍﻳﻦﺗﺮﺗﻴﺐﻋﺮﻭﺱﺍﺯﻣﻴﺎﻧﻪ‬ ‫ﺗﺎﺑﺴﺘﺎﻥ ﺍﻛﺮﺍﻥ ﻭ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺗﻤﺎﺷــﺎﮔﺮﺍﻧﻲ ﻛﻪ ﺑﺎ ﺗﺒﻠﻴﻎ ﺷــﻔﺎﻫﻲ ﻭ ﺩﻫﺎﻥ ﺑﻪ ﺩﻫﺎﻥ ﻓﻀﺎﻱ ﻣﻨﺤﺼﺮﻱ‬ ‫ﭘﻴﺮﺍﻣﻮﻥ ﻓﻴﻠﻢ ﺍﻳﺠــﺎﺩ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻧﻬــﺎ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺟﺪﻳﺪﻱ ﺻﺤﺒﺖ‬ ‫ﻣﻲﻛﺮﺩﻧﺪ ﻛﻪ ﺟﺬﺍﺑﻴﺖ ﻇﺎﻫﺮﻱ ﭼﺸــﻢﻧﻮﺍﺯﻱ ﺩﺍﺷــﺘﻨﺪ ﻭ ﺩﺍﺳﺘﺎﻧﺸﺎﻥ‬ ‫ﻫﻢ ﻣﺸــﺎﺑﻪ ﺩﻏﺪﻏﻪﻫﺎﻱ ﺧﻮﺩ ﺁﻧﻬﺎ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﭼﻨﻴﻦ ﺑﻮﺩ ﻛﻪ ﻋﺮﻭﺱ ﺗﻤﺎﻡ‬ ‫ﺭﻛﻮﺭﺩﻫﺎﻱ ﻗﺒﻞ ﺍﺯ ﺧــﻮﺩ ﺭﺍ ﺟﺎﺑﺠﺎ ﻛﺮﺩ ﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﭘﺮﻓﺮﻭﺵﺗﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺗﺎﺭﻳﺦ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺷﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺤﺚ ﻭ ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺩﺭ ﺍﻭﺝ‬ ‫ﺑﻮﺩ ﺑﻮﻳﮋﻩ ﻛﻪ ﺑﺎ ﺍﻓﺰﺍﻳﺶ ﺗﻌﺪﺍﺩ ﻧﺸــﺮﻳﺎﺕ‪ ،‬ﺻﺤﺒــﺖ ﻭ ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻭ‬ ‫ﮔﻔﺖ ﮔﻮ ﺑﺎ ﻋﻮﺍﻣﻞ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺁﺛﺎﺭ ﻗﺒﻞ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻧﺒﻮﺩ ﺗﺎ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﻨﻈﺮﻫﻢﻋﺮﻭﺱﻣﺘﻔﺎﻭﺕﺑﺎﺷﺪ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻋﺮﻭﺱ ﺳــﻨﺪ ﻣﻨﺤﺼﺮﻱ ﺍﺯ ﺩﻭﺭﺍﻧﺶ ﺍﺳﺖ‪ .‬ﺩﻭﺭﺍﻧﻲ ﻛﻪ ﻣﺎﺩﻱﮔﺮﺍﻳﻲ ﻭ‬ ‫ﺭﺳﻴﺪﻥ ﺑﻪ ﺭﻓﺎﻩ ﻭ ﺗﻼﺵ ﺑﺮﺍﻱ ﺗﻐﻴﻴﺮ ﻃﺒﻘﻪ ﺩﺭ ﺣﺎﻝ ﺗﺒﺪﻳﻞ ﺑﻪ ﻫﺪﻑ ﻏﺎﻳﻲ‬ ‫ﺍﻓﺮﺍﺩ ﻣﺨﺘﻠﻒ ﺟﺎﻣﻌﻪ ﺑﻮﻳﮋﻩ ﺟﻮﺍﻧﺎﻥ ﺑﻮﺩ‪ .‬ﺑﺎ ﺗﻤﺎﺷــﺎﻱ ﻋﺮﻭﺱ ﻣﻲﺗﻮﺍﻥ‬ ‫ﻧﺸﺎﻧﻪﻫﺎﻱ ﻣﺸﺨﺼﻲ ﺍﺯ ﻫﻮﺷﻤﻨﺪﻱ ﺳﺎﺯﻧﺪﮔﺎﻧﺶ ﺭﺍ ﺩﺭ ﺭﻭﺍﻳﺖ ﺍﻳﻦ ﻧﻮﻉ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﺟﺪﻳﺪ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﺪ‪ .‬ﭘﻮﺳﺖﺍﻧﺪﺍﺯﻱ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺩﺭ ﮔﺬﺭ‬ ‫ﺍﺯ ﺟﻨﮕﻲ ﻓﺮﺳﺎﻳﺸــﻲ ﺑﻪ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺪﺭﻥ ﻛﻪ ﺩﺭ ﺁﻥ ﺭﻓﺎﻩ ﻭ ﺑﻬﺮﻩﻣﻨﺪﻱ‬ ‫ﺍﺯ ﻟﺬﺍﺕ ﺩﻧﻴﻮﻱ ﺷــﺎﺧﺼﻪ ﺍﺻﻠﻲ ﺑﻮﺩ‪ ،‬ﺩﺭ ﻋــﺮﻭﺱ ﺣﻀﻮﺭ ﻋﻴﻨﻲ ﺩﺍﺭﺩ‪.‬‬ ‫ﺟﻮﺍﻥ ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﺩﺳﺘﻴﺎﺑﻲ ﺑﻪ ﺩﺧﺘﺮ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﺵ ﺗﻦ ﺑﻪ ﻣﻨﺎﺳﺒﺎﺕ‬ ‫ﺁﻟﻮﺩﻩ ﭘﺪﺭ ﺩﺧﺘﺮ ﻣﻲﺩﻫﺪ ﻭﻟﻲ ﺑﺎﻭﺟﻮﺩ ﺭﺳﻴﺪﻥ ﺑﻪ ﻣﺤﺒﻮﺏ‪ ،‬ﺩﺭ ﻫﻨﮕﺎﻣﻪ‬ ‫ﻣﺸﻜﻞ ﭼﻬﺮﻩ ﺍﺻﻠﻲ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺗﻤﺎﺷﺎﻱ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺩﺭ‬ ‫ﺳﺎﺧﺘﺎﺭ ﻭ ﭘﺮﺩﺍﺧﺘﻲ ﻧﻮ ﻛﻪ ﺩﺭ ﺁﻥ ﻋﺸﻖ ﺯﻣﻴﻨﻲ ﻭ ﺍﺑﺮﺍﺯ ﻋﻼﻗﻪ ﺑﻪ ﺟﻨﺲ‬ ‫ﻣﺨﺎﻟﻒ ﺑﺮﺧﻼﻑ ﺳﻨﺖ ﺳﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻳﺮﺍﻥ ﻓﺮﺍﻣﻮﺵ ﻧﺸﺪﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﺮﺍﻱ ﺗﻤﺎﺷﺎﮔﺮ ﺗﺎﺯﮔﻲ ﺩﺍﺷــﺖ‪ .‬ﺍﻣﺮﻭﺯ ﻋﺮﻭﺱ ﺍﺯ ﻣﻨﻈﺮ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻧﺸــﺎﻧﻪﺍﻱ ﺍﺳﺖ ﺍﺯ ﺗﺴﻠﻂ ﻳﻚ ﻓﻴﻠﻤﺴــﺎﺯ ﺧﻮﺵ ﺫﻭﻕ ﺑﻪ ﺍﺑﺰﺍﺭﺵ ﺍﻣﺎ ﺍﺯ‬ ‫ﻧﮕﺎﻩ ﻭﺟﻮﻩ ﺍﺟﺘﻤﺎﻋﻲ ﻧﻤﻲﺗﻮﺍﻥ ﺑﻪ ﻧﺨﺴــﺘﻴﻦ ﺣﻀﻮﺭ ﻋﻴﻨﻲ ﺯﻥ ﺟﻮﺍﻥ‬ ‫ﺍﻳﺮﺍﻧﻲ ﺑﻬﺮﻩﻣﻨﺪ ﺍﺯ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺯﻧﺎﻧﻪ ﺑﺮ ﭘﺮﺩﻩ ﺳــﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ‬ ‫ﮔﺬﺷﺖ‪ .‬ﻧﻜﺘﻪﺍﻱ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺁﻏﺎﺯ ﺷﺪ ﻭ ﺣﺎﻻ ﺗﺒﺪﻳﻞ ﺑﻪﻭﻳﮋﮔﻲ ﺍﻛﺜﺮ‬ ‫ﺗﻮﻟﻴﺪﺍﺕ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺳــﺎﺧﺖ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎﻳﻲ ﭼﻮﻥ‬ ‫ﻋﺮﻭﺱ ﭼﻨﺪﺳﺎﻝ ﻣﺘﻮﻗﻒ ﺷﺪ ﺍﻣﺎ ﺗﺪﺍﻭﻡ ﻭ ﺑﺮﻭﺯ ﺟﺪﻱ ﺁﻥ ﺩﺭ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺑﻌﺪ ﺍﺯ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﻣﺸﺎﻫﺪﻩ ﺷﺪ ﻛﻪ ﺑﺎ ﺑﻬﺮﻩﮔﻴﺮﻱ ﺍﺯ ﻧﻮﻉ ﺳﻴﻨﻤﺎﻱ ﻋﺮﻭﺱ‬ ‫ﺑﻪﻧﻮﻋﻲ ﺍﺯ ﺑﻠﻮﻍ ﻭ ﻛﻤﺎﻝ ﺳﻴﻨﻤﺎﻱ ﻣﻨﺘﻘﺪ ﺍﺟﺘﻤﺎﻋﻲ ﺭﺳﻴﺪ‪.‬‬ ‫ﺭﺍﺑﻄﻪ ﻫﻨﺮ‬ ‫ﻭ ﻗﺪﺭﺕ ﺑﻪ‬ ‫ﺭﻭﺍﻳﺖ ﺗﺎﺭﻳﺦ‬ ‫ﺗﺪﻭﻳﻦ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬‬ ‫ﻣﺤﺴﻦ ﻣﺨﻤﻠﺒﺎﻑ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪:‬‬ ‫ﻣﺤﻤﺪﻣﻬـﺪﻱ ﺩﺍﺩﮔﻮ‪ ،‬ﻣﺴـﻌﻮﺩ‬ ‫ﺟﻌﻔﺮﻱﺟــــﻮﺯﺍﻧـﻲ‪ ،‬ﻣﺪﻳـﺮ‬ ‫ﻓﻴــﻠﻤﺒـــﺮﺩﺍﺭﻱ‪ :‬ﻓـﺮﺝﺍﷲ‬ ‫ﺣﻴـﺪﺭﻱ‪ ،‬ﺑـــﺎ ﻫﻤـــﻜﺎﺭﻱ‪:‬‬ ‫ﻣﺤﻤـﺪ ﺁﻻﺩﭘﻮﺵ‪ ،‬ﻧﻌﻤـﺖ ﺣﻘﻴﻘﻲ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪ :‬ﻣﺠﻴﺪ‬ ‫ﺍﻧﺘﻈﺎﻣـﻲ‪،‬ﻃﺮﺍﺡﭼﻬﺮﻩﭘـﺮﺩﺍﺯﻱ‪:‬ﻋﺒﺪﺍﷲ ﺍﺳـﻜﻨﺪﺭﻱ‪،‬‬ ‫ﺑﺮﻧﺎﻣﻪﺭﻳﺰ ﻭ ﺩﺳـﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺣﻤﻴﺪ ﺭﺿﺎ ﺻﻼﺣﻤﻨﺪ‪،‬‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺣﺴﻦ ﻓﺎﺭﺳﻲ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ ﺻﺤﻨﻪ‪:‬‬ ‫ﺍﺣﻤﺪ ﻋﺴﮕﺮﻱ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭﻱ ﻭ ﻣﻴﻜﺲ‪ :‬ﻣﺤﺴﻦ ﺭﻭﺷﻦ‪،‬‬ ‫ﺟﻠﻮﻩﻫﺎﻱﻭﻳﮋﻩ‪:‬ﺍﻳﺮﺝﺗﻘﻲﭘﻮﺭ‪،‬ﻣﺠﺮﻱﻃﺮﺡﻭﻣﺪﻳﺮﺗﻮﻟﻴﺪ‪:‬‬ ‫ﻣﺤﻤﺪﻣﻬﺪﻱﺩﺍﺩﮔﻮ‬ ‫ﺑﺎﺯﻳﮕـﺮﺍﻥ‪ :‬ﻋـﺰﺕ ﺍﷲ ﺍﻧﺘﻈﺎﻣـﻲ‪ ،‬ﻣﻬـﺪﻱ ﻫﺎﺷـﻤﻲ‪،‬‬ ‫ﻣﺤﻤﺪﻋﻠﻲ ﻛﺸـﺎﻭﺭﺯ‪ ،‬ﺍﻛﺒﺮ ﻋﺒﺪﻱ‪ ،‬ﺩﺍﺭﻳﻮﺵ ﺍﺭﺟﻤﻨﺪ‪،‬‬ ‫ﻓﺎﻃﻤـﻪ ﻣﻌﺘﻤﺪﺁﺭﻳـﺎ‪ ،‬ﻣﺎﻫﺎﻳـﺎ ﭘﻄﺮﻭﺳـﻴﺎﻥ‪ ،‬ﭘﺮﻭﺍﻧـﻪ‬ ‫ﻣﻌﺼﻮﻣﻲ‪ ،‬ﺟﻬﺎﻧﮕﻴﺮ ﻓﺮﻭﻫﺮ‪ ،‬ﺳـﻌﻴﺪ ﺍﻣﻴﺮﺳـﻠﻴﻤﺎﻧﻲ‪،‬‬ ‫ﻣﺤﺮﻡ ﺯﻳﻨﺎﻝﺯﺍﺩﻩ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺟﻮﺯﺍﻥ ﻓﻴﻠﻢ‪ 92 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣـﺎﻥ ﻧﻤﺎﻳـﺶ ﺩﺭ ﺗﻬـﺮﺍﻥ‪ 16 :‬ﺩﻱ ‪ ،1371‬ﻓﺮﻭﺵ ﺩﺭ‬ ‫ﺗﻬﺮﺍﻥ‪ 15/7 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﻧﮕﺎﻫﻲ ﺑﻪ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﺯ ﺁﻏﺎﺯ ﺗﺎ ﺍﻣﺮﻭﺯ‪ .‬ﻣﻴﺮﺯﺍ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﺧﺎﻥ ﻋﻜﺎﺱﺑﺎﺷﻲ ﻛﻪ ﺩﺭ ﺷﻮﻕ ﺍﺯﺩﻭﺍﺝ ﺑﺎ ﺁﺗﻴﻪ ﻣﻲﺳﻮﺯﺩ‪ ،‬ﻫﻤﺮﺍﻩ‬ ‫ﻣﻈﻔﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﺑﻪ ﺳــﻔﺮ ﻓﺮﻧﮓ ﻣﻲﺭﻭﺩ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﻫﻤﺮﺍﻩ ﺷﺎﻩ‬ ‫ﻗﺎﺟﺎﺭ ﺑﻪ ﺳــﻴﻨﻤﺎﺗﻮﮔﺮﺍﻑ ﻋﻼﻗﻪﻣﻨﺪ ﻣﻲﺷﻮﺩ‪ .‬ﻭﻗﺘﻲ ﺑﻪ ﺍﻳﺮﺍﻥ‬ ‫ﺑﺎﺯﻣﻲﮔﺮﺩﻧﺪ ﺳــﻠﻄﺎﻥ ﻗﺎﺟــﺎﺭ ﺑﺎ ﻭﺿﻊ ﻧﺎﺑﺴــﺎﻣﺎﻥ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﻣﻤﻠﻜﺖ ﻭ ﺩﺭﺑﺎﺭ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ‪ .‬ﻋﻜﺎﺱﺑﺎﺷﻲ ﻛﺴﺐ ﺗﻜﻠﻴﻒ‬ ‫ﻣﻲﻛﻨﺪ ﻭ ﺷﺎﻩ ﺍﺯ ﻓﺮﺍﺵﺑﺎﺷﻲ ﻣﻲﺧﻮﺍﻫﺪ ﻛﻪ ﻋﻜﺎﺱﺑﺎﺷﻲ ﺭﺍ ﻧﺰﺩ‬ ‫ﭘﺴﺮﺵ ﺑﺒﺮﺩ ﻭ ﺍﻭ ﻋﻜﺎﺱﺑﺎﺷﻲ ﺭﺍ ﺑﻪ ﺩﻭﺭﻩ ﻗﺒﻞﺗﺮ‪ ،‬ﺯﻣﺎﻥ ﺳﻠﻄﻨﺖ‬ ‫ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﻣﻲﺑﺮﺩ‪ .‬ﻋﻜﺎﺱﺑﺎﺷﻲ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﻫﻮﺍﻱ ﺁﺗﻴﻪ‬ ‫ﺭﺍ ﺩﺭ ﺳﺮ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﺧﺪﻣﺖ ﺷــﺎﻩ ﺩﺭﻣﻲﺁﻳﺪ ﺗﺎ ﺍﻳﻨﻜﻪ ﻣﺪﺗﻲ ﺑﻌﺪ‬ ‫ﺗﻮﻓﺎﻧﻲ ﺩﺭﻣﻲﮔﻴﺮﺩ ﻭ ﺳــﻴﻨﻤﺎﻳﻲ ﺳﺮﺷــﺎﺭ ﺍﺯ ﻣﺤﺒﺖ ﻭ ﭘﺎﻛﻲ ﻭ‬ ‫ﺻﺪﺍﻗﺖ ﺷﻜﻞ ﻣﻲﮔﻴﺮﺩ‪.‬‬ ‫ﻋﻮﺍﻣﻞ ﺷﻨﺎﺧﺘﻪ ﺷــﺪﻩ ﺩﺭ ﺣﺎﻟﻲ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﺨﻤﻠﺒﺎﻑ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺑﺎ‬ ‫ﺩﻳﮕﺮ ﺳﺎﺧﺘﻪﻫﺎﻳﺶ ﻣﺘﻤﺎﻳﺰ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ ﺗﻌﻤﺪﺍ ﺍﺯ‬ ‫ﻫﻤﻜﺎﺭﻱﺑﺎﻋﻮﺍﻣﻞﻓﻌﺎﻝﻭﺷﻨﺎﺧﺘﻪﺷﺪﻩﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥﺩﻭﺭﻱﻣﻲﻛﺮﺩﻭ‬ ‫ﻫﻤﻴﻦﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﻟﻴﻦﻧﺸﺎﻧﻪﻫﺎﺍﺯ ﺭﻭﻳﻜﺮﺩﺟﺪﻳﺪ ﻣﺨﻤﻠﺒﺎﻑ ﺍﺭﺯﻳﺎﺑﻲﺷﺪ‪.‬‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱﺩﺭﺳﻜﻮﺕﺧﺒﺮﻱﺑﻪﭘﺎﻳﺎﻥﺭﺳﻴﺪﻭﺳﺎﺯﻧﺪﮔﺎﻥﺗﻼﺵﻛﺮﺩﻧﺪ‬ ‫ﻧﺨﺴﺘﻴﻦﻧﻤﺎﻳﺶﺩﺭﺩﻭﺭﻩﺩﻫﻢﺟﺸﻨﻮﺍﺭﻩﻓﻴﻠﻢﻓﺠﺮﺑﺎﺷﺪ‪.‬ﺍﻳﻦﺩﺭﺣﺎﻟﻲﺑﻮﺩ‬ ‫ﻛﻪﻛﻨﺠﻜﺎﻭﻱﻫﺎﻱﻓﺮﺍﻭﺍﻧﻲﺩﺭﺑﺎﺭﻩﺍﻳﻦﻓﻴﻠﻢﻫﻢﺩﺭﺭﺳﺎﻧﻪﻫﺎﻭﻫﻢﺩﺭﻣﺤﺎﻓﻞ‬ ‫ﺳﻴﻨﻤﺎﻳﻲﻭﺣﺘﻲﺳﻴﺎﺳﻲﻭﺟﻮﺩﺩﺍﺷﺖﺗﺎﻭﺍﻛﻨﺶﻣﺨﻤﻠﺒﺎﻑﺑﻪﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﭘﻴﺶ ﺁﻣﺪﻩ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‪ .‬ﻫﻤﻴﻦ ﻛﻨﺠﻜﺎﻭﻱﻫﺎ ﺑﺎﻋﺚ ﻫﺠﻮﻡ ﺷــﮕﻔﺖﺍﻧﮕﻴﺰ‬ ‫ﻋﻼﻗﻪﻣﻨﺪﺍﻥﺑﻪﺳﻴﻨﻤﺎﻫﺎﻱﻧﻤﺎﻳﺶﺩﻫﻨﺪﻩﻓﻴﻠﻢﺩﺭﺟﺸﻨﻮﺍﺭﻩﺷﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺳــﺎﻝ ‪ 1370‬ﻣﻘﻄﻊ ﻣﻬﻤﻲ ﺩﺭ ﺣﻴﺎﺕ ﺗﺎﺭﻳﺨﻲ ﺟﺮﻳﺎﻥ ﻓﺮﻫﻨﮕﻲ ﺍﻳﺮﺍﻥ‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻣﺤﺴﻮﺏ ﻣﻲﺷــﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﻣﻨﺎﺯﻋﺎﺕ ﻣﺮﺑﻮﻁ ﺑﻪ ﻧﻮﻉ‬ ‫ﺳﻴﺎﺳﺘﮕﺬﺍﺭﻱﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻛﺸــﻮﺭ ﺑﻪﺳﺮﺍﻧﺠﺎﻡ ﺭﺳﻴﺪ ﻭ ﺗﻐﻴﻴﺮ ﻣﺴﻴﺮ‬ ‫ﺟﺪﻱ ﺩﺭ ﺭﻭﻧﺪ ﺣﺮﻛﺘﻲ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﻛﺸــﻮﺭ ﺍﻳﺠﺎﺩ ﺷــﺪ‪ .‬ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﻦ‬ ‫ﺳﺎﻝﻫﺎﻣﻨﺎﺯﻋﺎﺕﻣﻴﺎﻥﻣﺨﺎﻟﻔﺎﻥﻭﻣﻮﺍﻓﻘﺎﻥﺳﻴﺎﺳﺖﻫﺎﻱﻓﺮﻫﻨﮕﻲﺩﻭﻟﺖ‬ ‫ﺍﺩﺍﻣﻪﺩﺍﺷﺖﻭﺁﻧﭽﻪﺩﺭﭘﺎﻳﺎﻥﺣﺎﺻﻞﺷﺪ‪،‬ﺑﺮﺗﺮﻱﻣﺨﺎﻟﻔﺎﻥﺑﻮﺩﻛﻪﻧﺨﺴﺘﻴﻦ‬ ‫ﺛﻤﺮﻩﺍﺵ ﺍﺳﺘﻌﻔﺎﻱ ﻭﺯﻳﺮ ﺍﺭﺷــﺎﺩ ﺩﺭ ﺧﺮﺩﺍﺩ ﺳﺎﻝ ﺑﻌﺪﺵ ﺑﻮﺩ‪ .‬ﻣﺨﺎﻟﻔﺎﻥ‪،‬‬ ‫ﺳﻴﺎﺳــﺖﻫﺎﻱ ﺑﺎﺯ ﻣﺪﻳﺮﺍﻥ ﻓﺮﻫﻨﮕﻲ ﺩﻭﻟﺖ ﺍﻭﻝ ﻫﺎﺷﻤﻲ ﺭﻓﺴﻨﺠﺎﻧﻲ ﺭﺍ‬ ‫ﻣﻮﺟﺐﻧﻔﻮﺫﺟﺮﻳﺎﻥﻫﺎﻱﻣﺨﺎﻟﻒﺍﻧﻘﻼﺏﺑﻪﻣﺤﺼﻮﻻﺕﻓﺮﻫﻨﮕﻲﺟﺎﻣﻌﻪ‬ ‫ﻣﻲﺩﺍﻧﺴﺘﻨﺪﻭﺧﻮﺍﺳﺘﺎﺭﺗﻐﻴﻴﺮﺍﻳﻦﺳﻴﺎﺳﺖﻫﺎﺑﻮﺩﻧﺪ‪.‬ﺑﺎﻭﺟﻮﺩﺗﻮﺿﻴﺤﺎﺕ‬ ‫ﻣﺪﻳﺮﺍﻥ ﻭ ﺍﻗﺪﺍﻣﺎﺕ ﻣﻘﻄﻌﻲﺷﺎﻥ ﺑﺎﺯﻫﻢ ﺍﻳﻦ ﻣﺨﺎﻟﻔﺎﻥ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﺯ ﻗﺪﺭﺕ‬ ‫ﺑﻴﺸﺘﺮﻱﺑﺮﺧﻮﺭﺩﺍﺭﺑﻮﺩﻧﺪ‪.‬ﺗﻐﻴﻴﺮﻣﺴﻴﺮﺣﺮﻛﺘﻲﻓﺮﻫﻨﮕﻲﻛﺸﻮﺭﺩﺭﺣﺎﻟﻲ‬ ‫ﺭﻗﻢ ﺧﻮﺭﺩ ﻛﻪ ﺟﺎﻣﻌﻪ ﺩﺭ ﻣﻴﺎﻧﻪ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺳﻴﺎﺳﺖﻫﺎﻱ ﺍﻗﺘﺼﺎﺩﻱ ﺟﺪﻳﺪ‬ ‫ﻗﺮﺍﺭﺩﺍﺷﺖﻭﭼﻨﺪﺍﻥﻋﻼﻗﻪﺍﻱﺑﻪﭘﻴﮕﻴﺮﻱﺍﻳﻦﺍﺗﻔﺎﻗﺎﺕﻧﺪﺍﺷﺖ‪.‬ﺍﻳﻦﭼﻨﻴﻦ‬ ‫ﺑﻮﺩ ﻛﻪ ﻛﺸﺎﻛﺶﻫﺎﻱ ﭘﻴﺶﺁﻣﺪﻩ ﺑﻴﺸﺘﺮ ﺑﺮﺍﻱ ﺍﻫﻞ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﻗﺎﺑﻞ‬ ‫ﺗﻮﺟﻪ ﺁﻣﺪ ﻭ ﻫﻤﺎﻥﻫﺎ ﺭﺍ ﻫﻢ ﺩﺭﮔﻴﺮ ﺧﻮﺩ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭﭼﻨﻴﻦﺷﺮﺍﻳﻄﻲﺳﻴﻨﻤﺎﻱﺍﻳﺮﺍﻥﻳﻜﻲﺍﺯﺳﺎﻝﻫﺎﻱﻣﻬﻤﺶﺭﺍﺩﺭﺯﻣﻴﻨﻪ‬ ‫ﺳﺎﺧﺖ ﻓﻴﻠﻢﻫﺎﻱ ﻣﻬﻢ ﻭ ﺷﺎﺧﺺ ﭘﺸﺖﺳﺮ ﮔﺬﺍﺷﺖ‪ .‬ﻣﻘﻄﻊ ﺛﻤﺮﻩ ﺩﺍﺩﻥ‬ ‫ﺳﻴﺎﺳــﺖﻫﺎﻱ ﻣﺪﻳﺮﺍﻧﻲ ﺑﻮﺩ ﻛﻪ ﺍﻭﺍﻳﻞ ﺩﻫﻪ‪ 60‬ﺳــﻴﻨﻤﺎﻱ ﻧﻮﻳﻦ ﺍﻳﺮﺍﻥ ﺭﺍ‬ ‫ﭘﺎﻳﻪﮔﺬﺍﺭﻱ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺎﺻﻞ ﺍﻳﻦ ﺳﻴﺎﺳﺖﻫﺎ ﺷﻜﻞﮔﻴﺮﻱ ﺷﺎﺧﺼﻪ‬ ‫ﺍﺳﺘﻮﺍﺭ ﺳــﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ ﺣﻀﻮﺭ ﭘﻮﻳﺎﻳﺶ ﺩﺭ ﺟﺎﻣﻌﻪ ﺑﻮﺩ‪ .‬ﺳﺎﻝ‬ ‫‪ 70‬ﺩﺭﺣﺎﻟﻲﺭﻛﻮﺭﺩﻓﺮﻭﺵﺳﻴﻨﻤﺎﺷﻜﺴﺘﻪﻣﻲﺷﺪﻛﻪﻓﻴﻠﻢﻫﺎﻱﻣﻬﻤﻲ‬ ‫ﻫﻢ ﺩﺭ ﺣﺎﻝ ﺳﺎﺧﺖ ﺑﻮﺩﻧﺪ‪ .‬ﻳﻜﻲ ﺍﺯ ﺁﻧﻬﺎ »ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﺁﻛﺘﻮﺭ ﺳﻴﻨﻤﺎ«‬ ‫ﺑﻮﺩ‪ .‬ﻓﻴﻠﻢ ﻣﻬﻢ ﻣﺨﻤﻠﺒﺎﻑ‪ ،‬ﭘﺪﻳﺪﻩ ﺳــﻴﻨﻤﺎﻱ ﺑﻌــﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻛﻪ ﺿﻤﻦ‬ ‫ﻧﻤﺎﻳﺶ ﺍﻭﺝ ﺗﻮﺍﻧﺎﻳﻲﻫﺎﻱ ﺗﻜﻨﻴﻜﻲﺍﺵ ﺑﺮ ﺭﺳﺎﻧﻪ ﺳﻴﻨﻤﺎ‪ ،‬ﻣﻀﻤﻮﻥ ﻭ ﻧﮕﺎﻩ‬ ‫ﺟﺴﻮﺭﺍﻧﻪﺩﻳﮕﺮﻱﺭﺍﻣﻄﺮﺡﻣﻲﻛﺮﺩ‪ .‬ﻣﺨﻤﻠﺒﺎﻑﺩﺭﻣﻴﺎﻧﻪﺍﺧﺘﻼﻓﺎﺕﺩﺭﺑﺎﺭﻩ‬ ‫ﺳﻴﺎﺳﺖﻫﺎﻱ ﻣﺪﻳﺮﻳﺘﻲ ﻓﺮﻫﻨﮓ ﻛﺸﻮﺭ ﺣﻀﻮﺭ ﻛﺎﻣﻠﻲ ﺩﺍﺷﺖ‪ .‬ﺩﻭ ﻓﻴﻠﻢ‬ ‫ﺟﻨﺠﺎﻟﻲﺍﻭﻧﻮﺑﺖﻋﺎﺷﻘﻲﻭﺷﺐﻫﺎﻱﺯﺍﻳﻨﺪﻩﺭﻭﺩﺑﻮﺩﻛﻪﺑﺤﺚﻫﺎﺩﺭﺍﻳﻦﺑﺎﺭﻩ‬ ‫ﺭﺍ ﺑﻪ ﺍﻭﺝ ﺭﺳﺎﻧﺪ‪ .‬ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﻫﻢ‪ ،‬ﺍﻭ ﺑﺎ ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ ﺟﺮﻗﻪ ﺍﻳﻦ‬ ‫ﻣﺒﺎﺣﺚ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﺣﻜﻢ ﻭﺍﻛﻨﺶﻭ ﺑﻴﺎﻧﻴﻪ ﺍﺻﻠﻲ‬ ‫ﺍﻭﺑﻪﺍﻳﻦﺍﺗﻔﺎﻗﺎﺕﺑﻮﺩ‪.‬ﺍﻭﺑﺎﭘﻴﺶﻛﺸﻴﺪﻥﻣﻮﺿﻮﻉﺣﺴﺎﺳﻴﺖﺑﺮﺍﻧﮕﻴﺰﺭﺍﺑﻄﻪ‬ ‫ﻫﻨﺮﻭ ﻗﺪﺭﺕﺑﻪ ﺳﺘﺎﻳﺶ ﺍﺯ ﻛﻠﻴﺖ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺣﺎﻟﻲ‬ ‫ﺍﺯﻭﺟﻮﺩﻧﮕﺎﻩﻫﺎﻱﻣﺤﺪﻭﺩﻧﮕﺮﻭﻫﻤﻮﺍﺭﻩﺩﺭﺳﻮءﺗﻔﺎﻫﻢﻧﺴﺒﺖﺑﻪﺳﻴﻨﻤﺎﺩﺭ‬ ‫ﻗﺎﻟﺒﻲﻃﻨﺰﺍﻧﺘﻘﺎﺩﻛﺮﺩﻩﺑﻮﺩﻛﻪﺩﺭﻛﻨﺎﺭﺵﺩﺳﺖﺩﻭﺳﺘﻲﺑﻪﺳﻮﻱﻫﻤﻪﺩﺭﺍﺯ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺍﺯ ﺁﺷﺘﻲ ﻣﻲﺧﻮﺍﺳﺖ ﺻﺤﺒﺖ ﻛﻨﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻣﺨﺎﻟﻔﺎﻧﺶ‬ ‫ﺑﺎﻏﻴﺮﻣﻤﻜﻦﻛﺮﺩﻥﻧﻤﺎﻳﺶﺩﻭﻓﻴﻠﻢﺁﺧﺮﺵﺣﺘﻲﺩﺭﺻﺪﺩﺍﻳﺠﺎﺩﻣﺸﻜﻞ‬ ‫ﺑﺮﺳﺮﺭﺍﻩﻧﻤﺎﻳﺶﺍﻳﻦﻓﻴﻠﻤﺶﺑﻮﺩﻧﺪ‪.‬ﻧﺎﺻﺮﺍﻟﺪﻳﻦﺷﺎﻩﺍﻳﻦﭼﻨﻴﻦﺗﺒﺪﻳﻞﺑﻪ‬ ‫ﻳﻜﻲﺩﻳﮕﺮﺍﺯﺗﺎﺛﻴﺮﮔﺬﺍﺭﺍﻥﺳﻴﻨﻤﺎﻱﺍﻳﺮﺍﻥﺷﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﺍﻭﺍﻳﻞ ﺳــﺎﻝ ‪ 70‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻫﻤﭽﻨــﺎﻥ ﭘﻴﮕﻴﺮ ﺟﺪﻝﻫﺎﻱ‬ ‫ﻣﻄﺒﻮﻋﺎﺗﻲﺑﻮﺩﻭﺑﺎﭘﺎﺳﺦﻫﺎﻱﺍﺣﺴﺎﺳﻲﻭﭘﺮﺷﻮﺭﻣﺨﺎﻟﻔﺎﻧﺶﺭﺍﻋﺼﺒﺎﻧﻲﺗﺮ‬ ‫ﻣﻲﻛﺮﺩ‪،‬ﺑﺮﻣﺒﻨﺎﻱﻫﻤﻴﻦﺍﺗﻔﺎﻗﺎﺕﻃﺮﺣﻲﺑﻪﻧﺎﻡ»ﺭﻭﺯﻱﺭﻭﺯﮔﺎﺭﻱﺳﻴﻨﻤﺎ«‬ ‫ﻧﻮﺷﺖ ﻛﻪ ﺑﻠﻨﺪﭘﺮﻭﺍﺯﻱ ﺟﺴــﻮﺭﺍﻧﻪﺍﻱ ﻫﻢ ﺩﺭ ﺍﺟﺮﺍ ﻭ ﻫﻢ ﺩﺭ ﻣﻀﻤﻮﻥ ﺑﻮﺩ‪.‬‬ ‫ﻃﺮﺣﻲ ﺩﺭ ﺑﺎﺯﻧﮕﺮﻱ ﺗﺎﺭﻳﺦ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻭ ﺭﺍﺑﻄﻪ ﻗﺪﺭﺕ )ﺳﺎﻧﺴــﻮﺭ(‬ ‫ﺑﺎ ﺁﻥ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﺑﺮﺍﻱ ﺍﻳﻦ ﻃﺮﺡ ﺗﺎﺭﻳﺨﻲ ﻧﻴﺎﺯ ﺑﻪ ﺳــﺮﻣﺎﻳﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ‬ ‫ﺩﺍﺷــﺖ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﭘﺎﺳﺨﮕﻮﻱ ﻫﺰﻳﻨﻪﻫﺎﻱ ﻓﻴﻠﻢ ﺑﺎﺷــﺪ‪ .‬ﺍﻭ ﻛﻪ ﺩﻳﮕﺮ ﻧﺰﺩ‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺩﻭﻟﺘﻲ ﻣﺤﺒﻮﺑﻴﺘﻲ ﻧﺪﺍﺷﺖ ﻭ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻗﺒﻠﻲﺍﺵ ﻫﻢ‬ ‫ﺑﻪﺧﺎﻃﺮﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱﺑﺮﺩﻭﻓﻴﻠﻢﻗﺒﻠﻲﻣﺨﻤﻠﺒﺎﻑﺍﺯﺟﻨﺒﻪﻫﺎﻱﻣﺨﺘﻠﻒ‬ ‫ﻣﺘﻀﺮﺭ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﻌﻄﻮﻑ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﻫﺎﻱ ﺧﺼﻮﺻﻲ ﺟﺮﻳﺎﻥ ﺣﺮﻓﻪﺍﻱ‬ ‫ﺳﻴﻨﻤﺎ ﺷــﺪ‪ .‬ﻣﺤﻤﺪﻣﻬﺪﻱ ﺩﺍﺩﮔﻮ ﭼﻬﺮﻩ ﻓﻌﺎﻝ ﻭ ﺧﻮﺷﻨﺎﻡ ﺗﻮﻟﻴﺪ ﺳﻴﻨﻤﺎ‬ ‫ﻛﻪ ﺩﺭ ﺗﻮﻟﻴﺪ ﭘﺮﻭژﻩﻫﺎﻱ ﺳﻨﮕﻴﻦ ﭼﻮﻥ ﺣﺎﺟﻲ ﻭﺍﺷﻨﮕﺘﻦ‪ ،‬ﻛﻤﺎﻝﺍﻟﻤﻠﻚ‪،‬‬ ‫ﺷﻴﺮ ﺳﻨﮕﻲ ﻭ ﭘﺮﺩﻩ ﺁﺧﺮ ﻧﻘﺶ ﺟﺪﻱ ﺩﺍﺷﺖ‪ ،‬ﺑﻌﺪ ﺍﺯ ﻛﻨﺎﺭﻩﮔﻴﺮﻱ ﺍﺯ ﺑﺨﺶ‬ ‫ﺗﻮﻟﻴﺪﺑﻨﻴﺎﺩﻓﺎﺭﺍﺑﻲﺧﻮﺩﺩﺭﻣﻘﺎﻡﻳﻚﺗﻬﻴﻪﻛﻨﻨﺪﻩﻓﻌﺎﻝﺷﺪﻩﺑﻮﺩ‪.‬ﺍﻭﻫﻤﺮﺍﻩ‬ ‫ﺩﻭﺳﺖ ﺩﻳﺮﻳﻨﺶ ﻣﺴــﻌﻮﺩ ﺟﻌﻔﺮﻱﺟﻮﺯﺍﻧﻲ ﺩﺭ ﺩﻓﺘﺮ ﺟﻮﺯﺍﻥ ﻓﻴﻠﻢ ﺗﻬﻴﻪ‬ ‫ﻃﺮﺡﺭﻭﺯﻱﺭﻭﺯﮔﺎﺭﻱﺳﻴﻨﻤﺎﺭﺍﺑﺮﻋﻬﺪﻩﮔﺮﻓﺖ‪.‬ﺍﻭﺍﻟﺒﺘﻪﺩﺭﺍﻳﻦﺭﺍﻩﺗﻮﺍﻧﺴﺖ‬ ‫ﺍﺯ ﺣﻤﺎﻳﺖﻫﺎﻱ ﺑﻨﻴﺎﺩ ﻓﺎﺭﺍﺑﻲ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﺪ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻓﻴﻠﻢ ﺗﺎﺑﺴﺘﺎﻥ‬ ‫ﺳــﺎﻝ ‪ 70‬ﺩﺭ ﺣﺎﻟﻲ ﺁﻏﺎﺯ ﺷﺪ ﻛﻪ ﻫﻨﻮﺯ ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ ﻣﺮﻛﺰ ﺣﻤﻼﺕ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺷﺖ ﻭ ﻣﺪﻳﺮﺍﻥ ﺳــﻴﻨﻤﺎﻳﻲ ﺑﺎ ﮔﻔﺖﻭﮔﻮﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺗﻼﺵ ﺩﺍﺷﺘﻨﺪ‬ ‫ﻓﻀﺎﻱﺳﻨﮕﻴﻦﺑﻪﻭﺟﻮﺩﺁﻣﺪﻩﺩﺭﺳﻴﻨﻤﺎﺭﺍﺗﻌﺪﻳﻞﻛﻨﻨﺪ‪.‬ﻣﺨﻤﻠﺒﺎﻑﻧﻴﺰﺩﺭ‬ ‫ﺗﺼﻤﻴﻤﻲ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ‪ ،‬ﺑﻪ ﺳﻜﻮﺕ ﻓﺮﻭ ﺭﻓﺖ ﻭ ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﭘﻴﮕﻴﺮ ﺳﺎﺧﺖ‬ ‫ﻓﻴﻠﻤﺶ ﺑﺎﺷﺪ‪ .‬ﺗﺪﺍﺭﻙ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺑﻪﻭﺍﺳﻄﻪ ﺯﻣﻴﻨﻪ ﺗﺎﺭﻳﺨﻲﺍﺵ ﻧﻴﺎﺯ ﺑﻪ‬ ‫ﭘﻴﮕﻴﺮﻱﻫﺎﻱ ﻓﺮﺍﻭﺍﻥ ﺑﻪﻭﻳﮋﻩ ﺍﺧﺬ ﻣﺠﻮﺯﻫــﺎﻱ ﻻﺯﻡ ﺑﺮﺍﻱ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺩﺭ ﻣﺤﻮﻃﻪ ﺗﺎﺭﻳﺨﻲ ﻛﺎﺥ ﮔﻠﺴﺘﺎﻥ ﺩﺍﺷﺖ ﻛﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﻭﺍﺳﻄﻪﻫﺎﻳﻲ‬ ‫ﺗﻮﺍﻧﺴــﺘﻨﺪ ﺁﻥ ﺭﺍ ﺍﺧﺬ ﻛﻨﻨﺪ‪.‬ﺣﺠﻢ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺳﺮﺷــﻨﺎﺱ ﻭ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﺁﻛﺘﻮﺭ ﺳــﻴﻨﻤﺎ ﺭﺍ ﺍﻣﺮﻭﺯ ﻣﻲﺗﻮﺍﻥ ﻧﻤﻮﻧﻪ ﺩﻳﮕﺮﻱ ﺍﺯ ﭘﻨﺎﻩ ﺑﺮﺩﻥ ﻳﻚ ﻓﻴﻠﻤﺴﺎﺯ ﺑﻪ‬ ‫ﺗﺎﺭﻳﺦ ﻭ ﻧﻤﺎﺩ ﻭ ﺍﺳــﺘﻌﺎﺭﻩﮔﻮﻳﻲ ﻭ ﻛﻨﺎﻳﻪ ﺑﺮﺍﻱ ﺑﻴﺎﻥ ﺷــﺮﺍﻳﻂ ﺭﻭﺯﺵ ﺩﺍﻧﺴﺖ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ ﺩﻭﺭﺍﻧﻲ ﻛﻪ‬ ‫ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩ ﺷﺪﻳﺪ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ‪ ،‬ﺑﺎ ﻣﺮﺍﺟﻌﻪ ﺑﻪ ﺗﺎﺭﻳﺦ ﻭ ﺭﻭﺍﻳﺖ ﻛﺮﺩﻥ ﭼﮕﻮﻧﮕﻲ ﻭﺭﻭﺩ ﺳﻴﻨﻤﺎ ﺑﻪ ﺍﻳﺮﺍﻥ‪ ،‬ﺍﺯ‬ ‫ﺗﺪﺍﻭﻡ ﻧﮕﺎﻩﻫﺎﻱ ﻣﺤﺪﻭﺩﮔﺮﺍﻳﺎﻧﻪ ﺑﻪ ﺍﻳﻦ ﻫﻨﺮ‪/‬ﺻﻨﻌﺖ ﺍﺯ ﺑﺪﻭ ﺗﺎﺭﻳﺦ ﺗﺎﻛﻨﻮﻥ ﺻﺤﺒﺖ ﻛﺮﺩ‪ .‬ﺳﻜﺎﻧﺲﻫﺎﻱ‬ ‫ﻣﺤﺎﻛﻤﻪ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺩﺭ ﻓﻴﻠﻢ ﻭ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺳــﺮﺵ ﺯﻳﺮ ﮔﻴﻮﺗﻴﻦ‪ ،‬ﺁﺷــﻜﺎﺭﺍ ﻃﻌﻨﻪﺍﻱ ﺑﻪ ﺷﺮﺍﻳﻂ ﺁﻥ ﺭﻭﺯ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﺑﻮﺩ ﻭ ﺩﻳﺎﻟﻮگ ﻛﻠﻴﺪﻱ »ﺳــﻴﻨﻤﺎﺗﻮﮔﺮﺍﻑ ﺁﺩﻡ ﺗﺮﺑﻴﺖ ﻣﻲﻛﻨــﺪ« ﻓﺮﻳﺎﺩ ﺑﻠﻨﺪ ﻣﺨﻤﻠﺒﺎﻑ ﺑﻪ‬ ‫ﻣﺨﺎﻟﻔﺎﻥ ﺩﺭ ﺣﻤﻠﻪ ﺑﻪ ﻛﻠﻴﺖ ﺳــﻴﻨﻤﺎ ﻣﺤﺴﻮﺏ ﻣﻲﺷــﻮﺩ‪ .‬ﻟﺤﻦ ﺗﻨﺪ ﻭ ﭘﺮﺧﺎﺷﮕﺮﺍﻳﺎﻧﻪ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻞ‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﺁﻛﺘﻮﺭ ﺳﻴﻨﻤﺎ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺩﻫﻢ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﻧﻮﺑﺖ ﻫﺎﻱ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺗﻨﻬﺎ ﺑﺎ ﺩﻭ ﻓﻴﻠﻢ ﻗﺒﻠﻲ ﻣﺨﻤﻠﺒﺎﻑ ﻳﻌﻨﻲ ﻧﻮﺑﺖ ﻋﺎﺷﻘﻲ ﻭ ﻋﺮﻭﺳﻲﺧﻮﺑﺎﻥ‬ ‫ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﺑﻮﺩ‪ .‬ﺗﻤﺎﺷﺎﻱ ﺑﺨﺶﻫﺎﻳﻲ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻱ ﭘﻴﺶ ﺍﺯ ﺍﻧﻘﻼﺏ‬ ‫ﺑﺮ ﭘﺮﺩﻩ ﻋﺮﻳﺾ ﻭ ﺑﺎﺯﺳــﺎﺯﻱ ﺑﺨﺶﻫﺎﻳﻲ ﺍﺯ ﻫﻤﻴﻦ ﻓﻴﻠﻢﻫﺎ ﻧﺨﺴﺘﻴﻦ‬ ‫ﻧﻜﺘﻪ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻭﺍﻛﻨﺶﻫﺎﻱ ﺍﺣﺴﺎﺳﻲ ﺁﻧﻬﺎ ﻫﻢ‬ ‫ﻫﻤﺮﺍﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩ ﺷﺎﻳﻌﺎﺗﻲ ﻣﺒﻨﻲﺑﺮ ﺗﻮﻗﻴﻒ ﻓﻴﻠﻢ‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪ ﻛﻪ ﺑﺮ ﻫﻴﺠﺎﻧﺎﺕ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻭ ﺍﺷﺘﻴﺎﻕ ﻫﺎ ﺑﺮﺍﻱ ﺗﻤﺎﺷﺎﻳﺶ‬ ‫ﻣﻲﺍﻓﺰﻭﺩ‪ .‬ﺳــﺎﻧﺲﻫﺎﻱ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺑﺮﺍﻱ ﻓﻴﻠﻢ ﺗﺎ ﺳﺎﻋﺖﻫﺎﻱ ﺍﺑﺘﺪﺍﻳﻲ‬ ‫ﺑﺎﻣﺪﺍﺩ ﮔﺬﺍﺷﺘﻪ ﺷــﺪ ﻭ ﻫﻤﻪ ﺍﻳﻨﻬﺎ ﺩﺭ ﺳﻜﻮﺕ ﻣﺨﻤﻠﺒﺎﻑ ﻣﻲﮔﺬﺷﺖ‪.‬‬ ‫ﺩﺍﻭﺭﺍﻥ ﻛﻪ ﺍﻳﻦ ﺑﺎﺭ ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ ﻣﺪﺍﻓﻊ ﺭﺳــﺎﻧﻪﺍﻱ ﻣﺨﻤﻠﺒﺎﻑ ﻫﻢ ﺩﺭ‬ ‫ﻣﻴﺎﻧﺸﺎﻥ ﺣﻀﻮﺭ ﺩﺍﺷﺖ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻧﺪ ﺑﻴﺸﺘﺮ ﺩﺭ ﺭﺷﺘﻪﻫﺎﻱ ﻓﻨﻲ ﻣﺎﻧﻨﺪ‬ ‫ﻃﺮﺍﺣﻲ ﺻﺤﻨــﻪ ﻭ ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳﮋﻩ ﻭ ﺗﺪﻭﻳﻦ ﺑــﻪ ﻓﻴﻠﻢ ﺟﺎﻳﺰﻩ ﺑﺪﻫﻨﺪ‪.‬‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﻫﻢ ﺑﻴﺸﺘﺮ ﺑﻪ ﺗﻤﺠﻴﺪ ﺳــﺎﺧﺘﺎﺭ ﺳﻴﻨﻤﺎﻳﻲ ﻓﻴﻠﻢ ﺑﺎ ﺗﺎﻛﻴﺪ ﺑﺮ‬ ‫ﺑﻠﻮﻍ ﺳﻴﻨﻤﺎﻳﻲ ﻣﺨﻤﻠﺒﺎﻑ ﻭ ﻫﺪﺍﻳﺖ ﺑﺎﺯﻳﮕﺮﺍﻥ ﭘﺮﺩﺍﺧﺘﻨﺪ‪ .‬ﻓﻴﻠﻢ ﺍﻟﺒﺘﻪ‬ ‫ﺑﺪﻭﻥ ﻭﺍﻛﻨﺶﻫﺎﻱ ﻣﺨﺎﻟﻒ ﻧﺒﻮﺩ ﻭ ﺭﺳﺎﻧﻪﻫﺎﻳﻲ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺗﻐﻴﻴﺮﺍﺕ‬ ‫ﺫﻫﻨﻲ ﻣﺨﻤﻠﺒﺎﻑ ﺭﺍ ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ ﻧﺎﺻﺮ ﺍﻟﻴﺪﻥ ﺷﺎﻩ ﺭﺍ ﻫﻢ‬ ‫ﺳﻨﺪ ﻋﻴﻨﻲ ﺩﻭﺳﺘﻲﺍﺵ ﺑﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻗﺒﻠﻲ ﻭ ﭘﺸﻴﻤﺎﻧﻲ ﺍﻭ ﺍﺯ ﺍﻋﺘﻘﺎﺩﺍﺕ‬ ‫ﭘﻴﺸﻴﻨﺶ ﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﺻﺤﺒﺖ ﻭ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺩﺍﻣﻪ‬ ‫ﻳﺎﻓﺖ ﺍﻣﺎ ﻭﻗﻮﻉ ﻳﻚ ﺍﺗﻔﺎﻕ ﻣﻬﻢ ﺷﺎﻳﻌﺎﺕ ﺩﺭﺑﺎﺭﻩ ﺍﺣﺘﻤﺎﻝ ﻋﺪﻡ ﻧﻤﺎﻳﺶ ﺁﻥ‬ ‫ﺭﺍ ﻗﻮﺕ ﺑﺨﺸﻴﺪ‪.‬ﺍﺳﺘﻌﻔﺎﻱ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ ﻭ ﺭﻭﻱ ﻛﺎﺭﺁﻣﺪﻥ ﻭﺯﻳﺮﻱ ﻛﻪ ﻣﻮﺭﺩ‬ ‫ﺗﺎﻳﻴﺪ ﺭﺳﺎﻧﻪ ﻫﺎﻱ ﻣﺨﺎﻟﻒ ﺑﻮﺩ ﺑﺎﻋﺚ ﺑﺮﻭﺯ ﺷﺎﻳﻌﺎﺗﻲ ﻣﺒﻨﻲﺑﺮ ﺗﻮﻗﻴﻒ ﻓﻴﻠﻢ‬ ‫ﺷﺪ‪ .‬ﺗﻼﺵﻫﺎﻱ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻛﻪ ﻫﺰﻳﻨﻪﻫﺎﻱ ﻫﻨﮕﻔﺘﻲ ﺭﺍ ﺻﺮﻑ ﺗﻮﻟﻴﺪ‬ ‫ﻓﻴﻠﻢ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﻨﺠﺮ ﺑﻪ ﺻﺪﻭﺭ ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﺑﺮﺍﻱ ﻓﻴﻠﻢ ﺩﺭ ﺻﻮﺭﺕ‬ ‫ﺍﻧﺠﺎﻡ ﺍﺻﻼﺣﺎﺕ ﻧﺴــﺒﺘﺎ ﺯﻳﺎﺩﻱ ﺷــﺪ‪ .‬ﺍﻳﻦ ﺍﺻﻼﺣﺎﺕ ﺑﻴﺸﺘﺮ ﺷﺎﻣﻞ‬ ‫ﻛﻢ ﻛﺮﺩﻥ ﺑﺨﺶﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑــﻪ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻞ ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ ﺗﺼﺎﻭﻳﺮ‬ ‫ﻫﻨﺮﭘﻴﺸﮕﺎﻥ ﻗﺪﻳﻤﻲ ﻣﺎﻧﻨﺪ ﺑﻬﺮﻭﺯ ﻭﺛﻮﻗﻲ ﻣﻲﺷﺪ‪ .‬ﻓﻴﻠﻢ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺩﺭ‬ ‫ﭼﻨﺪ ﺷﻬﺮﺳﺘﺎﻥ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ ﻭ ﺍﻛﺮﺍﻥ ﺗﻬﺮﺍﻧﺶ ﭼﻨﺪﺑﺎﺭ ﺑﻪ ﺗﻌﻮﻳﻖ‬ ‫ﺍﻓﺘﺎﺩ ﺗﺎ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﺑﺪﺗﺮﻳﻦ ﺯﻣﺎﻥ ﻣﻤﻜﻦ‪ ،‬ﻳﻚ ﻣﺎﻩ ﻣﺎﻧﺪﻩ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠﺮ ﺑﺪﻭﻥ ﺗﺒﻠﻴﻐﺎﺕ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺑﻪ ﺭﻭﻱ ﭘﺮﺩﻩ ﺭﻓﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺎﺗﻮﺟﻪ‬ ‫ﺑﻪ ﺍﺳﺘﻘﺒﺎﻝﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩ ﭘﻴﺶﺑﻴﻨﻲ ﻓﺮﻭﺵ ﺑﺎﻻﻳﻲ ﺑﺮﺍﻳﺶ ﻣﻲﺷﺪ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﻣﺘﻮﺳﻄﻲ ﺍﺯ ﺁﻥ ﺷﺪ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﺑﺮﺧﻼﻑ ﺩﻓﻌﺎﺕ ﻗﺒﻠﻲ ﻫﻨﮕﺎﻡ‬ ‫ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺻﺤﺒﺖ ﭼﻨﺪﺍﻧﻲ ﻧﻜﺮﺩ ﺍﻣﺎ ﺑﻌﺪﻫﺎ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻫﺎﻳﺶ ﮔﻔﺖ‬ ‫ﻛﻪ ﺩﺭ ﻣﻘﻄﻊ ﺳﺎﺧﺖ ﻭ ﻧﻤﺎﻳﺶ ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﺩﻭﺭﺍﻥ ﺳﺨﺘﻲ ﺩﺍﺷﺘﻪ‬ ‫ﻭ ﻓﺸﺎﺭ ﺯﻳﺎﺩﻱ ﺭﺍ ﺗﺤﻤﻞ ﻣﻲﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﺭﺍ ﺩﺭ ﺩﻭﺭﻩ‬ ‫ﺳﻮﻡ ﻓﻴﻠﻤﺴﺎﺯﻱﺍﺵ ﺗﻘﺴــﻴﻢﺑﻨﺪﻱ ﻛﺮﺩﻩ ﻭ ﺁﻥ ﺭﺍ ﻧﻤﺎﻳﺎﻧﮕﺮ ﻧﮕﺎﻫﺶ‬ ‫ﺑﻪ ﻣﻮﺿﻮﻉ ﺳﺎﻧﺴــﻮﺭ ﻭ ﻣﺤﺪﻭﺩﻳﺖﺳــﺎﺯﻱ ﺩﺭ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﺩﺍﻧﺴﺖ‪ .‬ﺗﻮﺟﻪ ﺭﺳﺎﻧﻪﻫﺎ ﺑﻪ ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷﺎﻩ ﻫﻢ ﻣﺎﻧﻨﺪ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻠﻲ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﭘﺮﺣﺠﻢ ﻧﺒﻮﺩ ﻭ ﺍﻳﻦ ﺩﺭ ﺯﻣﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ﻓﻴﻠﻤﺴﺎﺯ ﺟﺮﻳﺎﻥﺳﺎﺯ‬ ‫ﻛﻢ ﻛﻢ ﻣﺘﻮﺟﻪ ﺣﻀﻮﺭﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﺧﺎﺭﺟﻲ ﻣﻲﺷﺪ‪.‬‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﺍﻳﻨﺠﺎ ﺑﻪ ﻣﻬﺮﺑﺎﻧﻲ ﻭ ﺩﻭﺳــﺘﻲ ﺗﻐﻴﻴﺮ ﻳﺎﻓﺘﻪ ﺑﻮﺩ ﻭ ﺣﺘﻲ ﺩﺭ ﺳــﻜﺎﻧﺲ ﺁﺧﺮ ﺑﺎ ﺗﺪﻭﻳﻦ ﻧﻤﺎﻫﺎﻱ‬ ‫ﺩﺭﺁﻏﻮﺵ ﻛﺸﻴﺪﻥ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺁﺷﻜﺎﺭﺍ ﺍﺯ ﻟﺰﻭﻡ ﻛﻨﺎﺭﺁﻣﺪﻥ ﻭ ﻫﻤﺮﺍﻩ ﺷﺪﻥ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺻﺤﺒﺖ‬ ‫ﻛﺮﺩ‪ .‬ﻧﺎﺻﺮﺍﻟﺪﻳﻦ ﺷــﺎﻩ ﺍﻟﺒﺘﻪ ﺍﺯ ﺯﺍﻭﻳﻪ ﺍﻣﺮﻭﺯ ﻧﻤﺎﻳﺶ ﺩﻫﻨــﺪﻩ ﺫﻭﻕﻫﺎ ﻭ ﺍﺑﺘﻜﺎﺭﺍﺕ ﺩﻳﺪﻧﻲ ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ‬ ‫ﺭﻭﺍﻳﺖ ﻳﻚ ﺍﺛﺮ ﺗﺎﺭﻳﺨﻲ ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﻓﺼﻞﻫﺎﻱ ﺗﻠﻔﻴﻖ ﺑﺎ ﺳﻜﺎﻧﺲﻫﺎﻱ ﻣﻌﺮﻭﻑ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺪﻳﻤﻲ ﺑﻪ‬ ‫ﺍﻭﺝ ﻣﻲﺭﺳﺪ‪ .‬ﺍﺟﺮﺍﻱ ﻣﺴــﻠﻂ ﺍﻭ ﺑﺮ ﻳﻚ ﻓﻴﻠﻢ ﺗﺎﺭﻳﺨﻲ ﻭ ﻫﺪﺍﻳﺖ ﺑﺎﺯﻳﮕﺮﺍﻥ ﭘﺮﺷﻤﺎﺭ ﻧﺎﺻﺮﺍﻟﻴﺪﻥ ﺷﺎﻩ ﺭﺍ‬ ‫ﺗﺒﺪﻳﻞ ﺑﻪ ﻓﻴﻠﻢ ﺩﻳﺪﻧﻲ ﺣﺘﻲ ﺩﺭ ﺩﻳﺪﺍﺭﻫﺎﻱ ﭼﻨﺪ ﺑﺎﺭﻩ ﻣﻲﻛﻨﺪ‪ .‬ﻛﻨﺎﻳﻪﻫﺎﻱ ﻓﻴﻠﻢ ﺣﺎﻻ ﮔﺰﻧﺪﮔﻲ ﺑﻴﺸﺘﺮﻱ‬ ‫ﺩﺍﺭﺩ ﻣﺎﻧﻨﺪ ﻧﺎﺗﻮﺍﻧﻲ ﺩﺭﺑﺎﺭ ﻣﻔﻠﻮﻙ ﺩﺭ ﺍﺩﺍﺭﻩ ﻛﺸــﻮﺭ ﺍﻣﺎ ﺣﻤﻠﻪ ﻭ ﻫﺠﻮﻡ ﺑﻪ ﺳﻴﻨﻤﺎ ﻭ ﻣﺤﻜﻮﻡ ﻛﺮﺩﻥ ﺁﻥ ﻳﺎ‬ ‫ﻧﻮﻉ ﻧﮕﺎﻩ ﺑﻪ ﻛﻠﻴﺖ ﺍﺩﺍﺭﻩ ﺳﻴﻨﻤﺎ ﺩﺭ ﺟﻤﻠﻪ ﻛﻠﻴﺪﻱ ﺷﺎﻩ ﺑﻪ ﺍﺑﺮﺍﻫﻴﻢ ﺧﺎﻥ‪» :‬ﺳﻴﻨﻤﺎﺗﻮﮔﺮﺍﻑ ﺗﻮ ﺭﺍ ﻣﻠﻴﺠﻚ‬ ‫ﻣﺎ ﻫﻢ ﻣﻲﺗﻮﺍﻧﺪ ﺍﺩﺍﺭﻩ ﻛﻨﺪ«‬ ‫‪71‬‬ ‫‪13‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺭﺧﺸﺎﻥ‬ ‫ﺑﻨﻲﺍﻋﺘﻤﺎﺩ‪ ،‬ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ :‬ﺭﺧﺸﺎﻥ‬ ‫ﺑﻨﻲﺍﻋﺘﻤﺎﺩ‪،‬ﻓﺮﻳﺪﻭﻥﺟﻴﺮﺍﻧﻲ‪،‬ﻣﺪﻳﺮ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴـﻴﻦ ﺟﻌﻔﺮﻳﺎﻥ‪،‬‬ ‫ﻣﻮﺳـﻴﻘﻲ‪ :‬ﻣﺤﻤﺪﺭﺿـﺎ ﻋﻠﻴﻘﻠﻲ‪،‬‬ ‫ﺗﺪﻭﻳﻦ‪ :‬ﺷـﻴﺮﻳﻦ ﻭﺣﻴﺪﻱ‪ ،‬ﻃﺮﺍﺡ‬ ‫ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﺍﻣﻴﺮ ﺍﺛﺒﺎﺗﻲ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﻋﺒﺪﺍﷲ‬ ‫ﺍﺳﻜﻨﺪﺭﻱ‪،‬ﺩﺳﺘﻴﺎﺭﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬ﺳﻌﻴﺪﻣﻮﺳﻮﻱ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻓﺮﻳﻤﺎﻩ ﻓﺮﺟﺎﻣﻲ‪ ،‬ﺍﺑﻮﺍﻟﻔﻀﻞ ﭘﻮﺭﻋﺮﺏ‪ ،‬ﻋﺎﻃﻔﻪ‬ ‫ﺭﺿﻮﻱ‪ ،‬ﺭﺿـﺎ ﻛﺮﻡ ﺭﺿﺎﻳـﻲ‪ ،‬ﻣﺠﻴﺪ ﮔﻞﺑﺎﺑﺎﻳـﻲ‪ ،‬ﻓﺎﻃﻤﻪ‬ ‫ﻃﺎﻫﺮﻱ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺁﺭﻣﺎﻥ ﻓﻴﻠﻢ‪ 95 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 8 :‬ﻣﻬﺮ ‪ ،1371‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪:‬‬ ‫‪ 12/8‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﻧﺮﮔﺲ )‪(1370‬‬ ‫ﺣﺎﺷﻴﻪ ﻋﻠﻴﻪ ﻣﺘﻦ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺁﻓﺎﻕ ﺑﺎ ﺟﻮﺍﻧﻲ ﺑﻪ ﻧﺎﻡ ﻋﺎﺩﻝ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺁﻓﺎﻕ ﺍﺯ ﻛﻮﺩﻛﻲ ﻋﺎﺩﻝ‬ ‫ﺭﺍ ﺑﺰﺭگ ﻛﺮﺩﻩ ﻭ ﺑﻌﺪ ﺑﻪ ﻧﺎﭼﺎﺭ ﺑﻪ ﻋﻘﺪ ﺍﻭ ﺩﺭﺁﻣﺪﻩ ﺍﺳــﺖ‪ .‬ﺁﻥ ﺩﻭ ﺍﺯ‬ ‫ﻃﺮﻳﻖ ﺩﺯﺩﻱ ﮔﺬﺭﺍﻥ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻋﺎﺩﻝ ﺑﺎ ﺩﺧﺘﺮ ﺟﻮﺍﻧﻲ ﻛﻪ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﻓﻘﻴﺮﻱ ﺩﺍﺭﺩ‪ ،‬ﺁﺷﻨﺎ ﻣﻲ ﺷﻮﺩ ﻭ ﺑﻪ ﺍﻭ ﺩﻝ ﻣﻲ ﺑﻨﺪﺩ‪ .‬ﻧﺮﮔﺲ‬ ‫ﻭ ﻋﺎﺩﻝ ﺍﺯﺩﻭﺍﺝ ﻣﻲﻛﻨﻨﺪ ﻭ ﻋﺎﺩﻝ ﺩﺭﺟﺮﻳﺎﻥ ﻳﻚ ﺳﺮﻗﺖ ﺩﺳﺘﮕﻴﺮ‬ ‫ﻣﻲﺷﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺁﺯﺍﺩ ﺷﺪﻥ ﻋﺎﺩﻝ ﻭ ﺑﺮﻣﻼ ﺷﺪﻥ ﺭﺍﺯ ﺍﻭ‪ ،‬ﺁﻓﺎﻕ ﻋﺎﺩﻝ‬ ‫ﺭﺍ ﺗﺤﺮﻳﻚ ﻣﻲﻛﻨﺪ ﻛﻪ ﺑﻪﻫﻤﺮﺍﻩ ﻣﺎﻝﺧﺮﻱ ﺑﻪ ﻧﺎﻡ ﻳﻌﻘﻮﺏ ﺩﺳﺖ‬ ‫ﺑﻪ ﻳﻚ ﺩﺯﺩﻱ ﻛﻼﻥ ﺑﺰﻧﻨﺪ ﻭ ﺑﺎ ﭘﻮﻝ ﺁﻥ ﺩﺭ ﺷــﻬﺮﻱ ﺩﻳﮕﺮ ﺯﻧﺪﮔﻲ‬ ‫ﻛﻨﻨﺪ‪ .‬ﻳﻌﻘﻮﺏ ﺩﺳﺘﮕﻴﺮ ﻣﻲﺷــﻮﺩ ﺍﻣﺎ ﻋﺎﺩﻝ ﻭ ﺁﻓﺎﻕ ﻣﻲﮔﺮﻳﺰﻧﺪ‪.‬‬ ‫ﺑﻴﻦ ﺁﻧﻬﺎ ﺩﺭﮔﻴﺮﻱ ﺭﺥ ﻣﻲﺩﻫــﺪ ﻭ ﺁﻓﺎﻕ ﺑﺎ ﻳﻚ ﻛﺎﻣﻴﻮﻥ ﺗﺼﺎﺩﻑ‬ ‫ﻣﻲﻛﻨﺪ ﻭ ﻣﻲﻣﻴﺮﺩ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺩﺭ ﻣﻴﺎﻧﻪ ﻓﻀﺎﻱ ﻧﻴﻤﻪ ﮔﺸﻮﺩﻩ ﺳﻴﻨﻤﺎ ﺩﺭ ﻧﺨﺴﺘﻴﻦ ﺳﺎﻝ ﺩﻫﻪ ﻫﻔﺘﺎﺩ ﻳﻜﻲ‬ ‫ﺍﺯ ﺟﺴﻮﺭﺍﻧﻪﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪ » .‬ﻧﺮﮔﺲ«‬ ‫ﺭﻭﺍﻳﺘﻲ ﺗﻠﺦ ﻭ ﺻﺮﻳﺢ ﺍﺯ ﺁﺩﻡﻫﺎﻱ ﺣﺎﺷﻴﻪﺍﻱ ﺍﺟﺘﻤﺎﻉ ﺁﻥ ﺭﻭﺯ ﺑﻮﺩ‪ .‬ﺁﺩﻡﻫﺎﻳﻲ‬ ‫ﺑﺎ ﺭﻭﺍﺑﻂ ﻧﺎﻣﺘﻌﺎﺭﻑ ﻭ ﺯﻧﺪﮔﻲ ﻣﺤﻘﺮ ﻛﻪ ﺁﺷﻜﺎﺭﺍ ﻧﺎﺑﺴﺎﻣﺎﻧﻲ ﻳﻚ ﺍﺟﺘﻤﺎﻉ‬ ‫ﻧﺎﻫﻤﮕﻮﻥ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﺍﻧﻨﺪ‪.‬‬ ‫ﻃﺮﺡ ﻣﻌﻀــﻼﺕ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺯ ﻣﻨﻈﺮ ﺭﻭﺍﻳﺖ ﺯﻧﺪﮔﻲ ﺁﺩﻡﻫﺎﻱ ﺣﺎﺷــﻴﻪ‬ ‫ﺍﺟﺘﻤﺎﻉ ﺍﺯ ﺩﻭﺭﺍﻥ ﺷﻜﻞﮔﻴﺮﻱ ﻣﻮﺝ ﻧﻮﻱ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻗﺪﻣﺖ ﺩﺍﺷﺖ ﻭ‬ ‫ﺩﻭﺭﺍﻥ ﻧﻮﻳﻨﻲ ﺩﺭ ﺍﻳﻦ ﺳﻴﻨﻤﺎ ﺑﻪﻭﻳﮋﻩ ﺩﺭ ﺩﻫﻪ ‪ 50‬ﺷﻜﻞ ﮔﺮﻓﺖ‪ .‬ﺑﻪﻭﺍﺳﻄﻪ‬ ‫ﺗﻐﻴﻴﺮﺍﺕ ﺑﻨﻴﺎﺩﻳﻦ ﻭ ﻣﻮﺍﺯﻳﻦ ﺩﮔﺮﮔﻮﻥﺷﺪﻩ‪ ،‬ﻛﻤﺘﺮ ﻧﺸﺎﻧﻲ ﺍﺯ ﺍﻳﻦ ﺁﺩﻡﻫﺎ‬ ‫ﺩﺭ ﺳﻴﻨﻤﺎ ﺩﻳﺪﻩ ﺷﺪ ﻭ ﺗﻨﻬﺎ ﻣﺴﻌﻮﺩ ﻛﻴﻤﻴﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﺩﻧﺪﺍﻥﻣﺎﺭ‬ ‫ﺗﺎ ﺣﺪﻭﺩﻱ ﺍﻳﻦ ﺁﺩﻡﻫﺎ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﻭﺍﺭﺩ ﺳﻴﻨﻤﺎ ﻛﺮﺩ‪ .‬ﭼﻨﻴﻦ ﺍﻓﺮﺍﺩﻱ ﮔﻮﻳﻲ‬ ‫ﺍﺯ ﻣﻨﺎﺳــﺒﺎﺕ ﺟﺎﻣﻌﻪ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺣﺬﻑ ﺷــﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻣﺴﺎﺋﻞﺷﺎﻥ‬ ‫ﺗﺎ ﻣﺪﺕﻫﺎ ﺩﻏﺪﻏﻪ ﻛﺴــﻲ ﻧﺒﻮﺩ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﺭﻭﺍﻳﺖ ﺭﺧﺸﺎﻥ‬ ‫ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺩﺭ »ﻧﺮﮔﺲ« ﺑﻪ ﻛﻠﻲ ﺑﺎ ﺩﻳﮕــﺮ ﻓﻴﻠﻢﻫﺎﻱ ﺩﻭﺭﺍﻧﺶ ﺗﻔﺎﻭﺕ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺍﻭ ﺩﺭ ﻓﻴﻠﻤﺶ ﺳﺮﺍﻍ ﺯﻧﺎﻥ ﻭ ﻣﺮﺩﺍﻥ ﺣﺎﺷﻴﻪﻧﺸﻴﻦ ﻭ ﺑﺰﻫﻜﺎﺭ ﺭﻓﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻣﻮﺿﻮﻋﻲ ﻛﻪ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﻧﻪ ﺗﻨﻬﺎ ﻧﻤﻮﻧﻪﺍﻱ ﺩﺭ ﺳﻴﻨﻤﺎ ﻧﺪﺍﺷﺖ ﺑﻠﻜﻪ‬ ‫ﺩﺭ ﺩﻳﮕﺮ ﺭﺳﺎﻧﻪﻫﺎﻱ ﻋﻤﻮﻣﻲ ﻫﻢ ﻛﻤﺘﺮ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﻣﻲﺷﺪ‪ .‬ﭼﻨﻴﻦ‬ ‫ﻓﻴﻠﻤﻲ ﺍﺯ ﻓﻴﻠﻤﺴﺎﺯﻱ ﻛﻪ ﺧﺎﺳﺘﮕﺎﻩ ﺍﻧﻘﻼﺑﻲ ﻧﺪﺍﺷﺖ ﺑﺎ ﻫﺮ ﻣﺘﺮ ﻭ ﻣﻌﻴﺎﺭﻱ‬ ‫ﺩﺭ ﺩﻭﺭﺍﻧﺶ ﻳﻚ ﺍﺗﻔﺎﻕ ﺑﻮﺩ‪ .‬ﻧﺮﮔﺲ ﻣﺤﺼﻮﻝ ﺩﻭﺭﺍﻥ ﻛﻮﺗﺎﻩﻣﺪﺗﻲ ﺑﻮﺩ ﻛﻪ‬ ‫ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﺍﺟﺎﺯﻩ ﻳﺎﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻧﻘﺒﻲ ﺑﻪ ﺑﻌﻀﻲ ﻣﺴﺎﺋﻞ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺰﻧﻨﺪ‪.‬‬ ‫ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﻫﻢ ﺩﺭ ﺷﻨﺎﺧﺘﻲ ﺻﺤﻴﺢ ﺍﺯ ﺷــﺮﺍﻳﻂ ﻭ ﻓﻀﺎ ﺑﺎ ﺗﺴﻠﻂ‬ ‫ﻛﺎﻣﻞ ﺑﺮ ﻣﻀﻤﻮﻥ ﻭ ﺩﺍﺳﺘﺎﻧﺸﺎﻥ‪ ،‬ﭘﺮﺩﺍﺧﺘﻲ ﻛﺎﻣﻼ ﺣﺮﻓﻪﺍﻱ ﻭ ﺍﻟﺒﺘﻪ ﻗﺎﺑﻞ‬ ‫ﻧﻤﺎﻳﺶ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺗﺎﺑﻮﮔﻮﻧﻪﺷﺎﻥ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻧﺪ ﺗﺎ ﺟﺮﻗﻪ ﺷﻜﻞﮔﻴﺮﻱ ﻧﻮﻋﻲ‬ ‫ﺍﺯ ﺳﻴﻨﻤﺎﻱ ﻣﻨﺘﻘﺪ ﺍﺟﺘﻤﺎﻋﻲ ﺭﺍ ﺯﺩﻩ ﺑﺎﺷﻨﺪ‪ .‬ﻫﺮﭼﻨﺪ ﻛﻮﺷﺶ ﺁﻧﻬﺎ ﺛﻤﺮﻱ‬ ‫ﻧﺪﺍﺷﺖ ﻭ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﺑﺎ ﺳﻴﺎﺳﺖﻫﺎﻱ ﺗﻐﻴﻴﺮﻳﺎﻓﺘﻪ ﺳﺎﻝﻫﺎﻱ‬ ‫ﺑﻌﺪ ﺍﺩﺍﻣﻪ ﻧﻴﺎﻓﺖ‪ ،‬ﺍﻣﺎ ﻧﺸــﺎﻥ ﺩﺍﺩ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ ﺑﻠﻮﻏﻲ ﻛﺎﻣﻞ ﻭﺍﺟﺪ‬ ‫ﻓﻴﻠﻤﺴﺎﺯﺍﻧﻲ ﺷــﺪﻩ ﻛﻪ ﺩﺭﻙ ﺻﺤﻴﺢ ﻭ ﻛﺎﻣﻠﻲ ﺍﺯ ﺍﺟﺘﻤﺎﻋﺸﺎﻥ ﺩﺍﺭﻧﺪ ﻭ‬ ‫ﺩﺭﻛﻨﺎﺭﺵ ﺍﺣﺎﻃﻪ ﻛﺎﻣﻠﻲ ﻫﻢ ﺑﺮ ﺷﻜﻞ ﺑﻴﺎﻥ ﺻﺤﻴﺢ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺭﺧﺸﺎﻥ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺑﺎﺳﺎﺑﻘﻪ ﺩﺳــﺘﻴﺎﺭﻱ ﭼﻨﺪ ﻓﻴﻠﻤﺴﺎﺯ ﻣﻄﺮﺡ ﻣﺎﻧﻨﺪ‬ ‫ﻛﻴﺎﻧﻮﺵ ﻋﻴﺎﺭﻱ ﻭ ﺳﺎﺧﺖ ﻣﺴــﺘﻨﺪﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺮﺍﻱ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﺎ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﭼﻨﺪ ﻓﻴﻠﻢ ﻣﻮﻓــﻖ ﻭ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻱ ﭼﻮﻥ »ﺯﺭﺩ‬ ‫ﻗﻨــﺎﺭﻱ« ﻭ »ﺧﺎﺭﺝ ﺍﺯ ﻣﺤﺪﻭﺩﻩ« ﺩﺭ ﭘﺎﻳﺎﻥ ﺩﻫــﻪ ‪ 60‬ﺟﺰﻭ ﻳﻜﻲ ﺍﺯ ﭼﻨﺪ‬ ‫ﻓﻴﻠﻤﺴــﺎﺯ ﺯﻥ ﻣﻄﺮﺡ ﺳــﻴﻨﻤﺎ ﺑﻮﺩ‪ .‬ﺍﻭ ﻛﻪ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻳﺶ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ‬ ‫ﺩﻏﺪﻏﻪ ﺑﻴــﺎﻥ ﻣﻌﻀﻼﺕ ﺍﺟﺘﻤﺎﻋــﻲ ﺭﺍ ﺩﺍﺭﺩ ﺩﺭ ﻓﺮﺻﺘﻲ ﻛﻪ ﻧﺎﺷــﻲ ﺍﺯ‬ ‫ﻛﺴﺐ ﺩﺭﺟﻪ ﺍﻟﻒ ﺑﺮﺍﻱ ﻓﻴﻠﻢ ﻗﺒﻠﻲﺍﺵ )ﭘﻮﻝ ﺧﺎﺭﺟﻲ( ﻓﺮﺍﻫﻢ ﺷﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﺑﺮ ﺍﺳــﺎﺱ ﻗﻮﺍﻧﻴﻦ ﺁﻥ ﺯﻣﺎﻥ ﺑﺪﻭﻥ ﻧﻴﺎﺯ ﺑﻪ ﺗﺼﻮﻳﺐ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﻮﺍﻧﺴــﺖ‬ ‫ﻃﺮﺡ ﻓﻴﻠﻢ ﻧﺮﮔﺲ ﺭﺍ ﺑﻪ ﺟﺮﻳﺎﻥ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺍﻭ ﺩﺭ ﺭﺍﺳــﺘﺎﻱ ﻗﻮﺍﻡ ﺑﺨﺸــﻲ‬ ‫ﻫﺮﭼﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﺎﺧﺘﺎﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﺛﺮﻱ ﻛﺎﻣﻞ ﺑﺎ ﻓﺮﻳﺪﻭﻥ‬ ‫ﺟﻴﺮﺍﻧﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻧﻮﻳﺲ ﻓﻌﺎﻝ ﺁﻥ ﺩﻭﺭﻩ ﺑﺮﺍﻱ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺷﺪ‪ .‬ﺳــﺎﺑﻘﻪ ﻣﺴﺘﻨﺪﺳــﺎﺯﻱ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﻛﻪ ﻣﻨﻄﺒﻖ ﺑﺮ ﭘﮋﻭﻫﺶﻫﺎﻱ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﮔﺴﺘﺮﺩﻩ ﺑﻮﺩ ﺑﺎﻋﺚ ﺷﺪﻩ ﺑﻮﺩ ﺍﻭ ﺑﺮﺧﻮﺭﺩﻫﺎﻱ ﻣﺪﺍﻡ ﻭ ﺻﺮﻳﺤﻲ‬ ‫ﺑﺎ ﻧﻮﻉ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻓﻴﻠﻢ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺷﻨﺎﺧﺘﺶ ﺍﺯ ﺁﻧﻬﺎ ﻛﺎﻣﻞ ﺑﺎﺷﺪ‪.‬‬ ‫ﻓﺮﻳﺪﻭﻥ ﺟﻴﺮﺍﻧﻲ ﻧﻴﺰ ﻫﻤــﻮﺍﺭﻩ ﺩﻏﺪﻏﻪ ﻃﺮﺡ ﻣﺴــﺎﺋﻞ ﻣﺮﺑﻮﻁ ﺑﻪ ﺯﻧﺎﻥ‬ ‫ﺣﺎﺷــﻴﻪﺍﻱ ﻭ ﺑﺰﻫﻜﺎﺭ ﺭﺍ ﺩﺭ ﺫﻫﻦ ﺩﺍﺷــﺘﻪ ﻭ ﺩﺍﺭﺩ‪ .‬ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﻫﻤﻜﺎﺭﻱ‬ ‫ﺷﻜﻞﮔﻴﺮﻱ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻧﺮﮔﺲ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺗﺮﻛﻴﺐ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻋﻴﻨﻲ‬ ‫ﺑﻴﺮﻭﻥ ﻭ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺭﻭﺍﻳﺘﻲ ﻭ ﺩﺍﺳﺘﺎﻧﻲ ﺑﻪﺩﺳﺖ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺑﺎ ﻫﻮﺷﻤﻨﺪﻱ ﺩﻳﮕﺮ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﺗﺮﻛﻴﺐ ﻋﻮﺍﻣﻞ ﻋﻼﻗﻤﻨﺪ ﻭ‬ ‫ﺑﺎﺍﻧﮕﻴﺰﻩ ﻭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻣﻨﺎﺳﺐ ﺗﻘﻮﻳﺖ ﻫﻢ ﺷﺪ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺗﺎﺑﺴﺘﺎﻥ ﺳﺎﻝ‬ ‫‪ 70‬ﺩﺭ ﻧﻘﺎﻁ ﺟﻨﻮﺑﻲ ﺗﻬﺮﺍﻥ ﺁﻏﺎﺯ ﺷﺪ ﻭ ﺑﻪﺭﻏﻢ ﻭﺳﻮﺍﺱﻫﺎﻱ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺍﺭﺯﺵﻫﺎﻱ ﻧﺮﮔﺲ ﺍﻣﺮﻭﺯ ﺑﻴﺸــﺘﺮ ﻣﺸﺨﺺ ﻣﻲﺷﻮﺩ‪ .‬ﺗﺼﻮﺭ ﺳــﺎﺧﺘﻪ ﺷﺪﻥ ﭼﻨﻴﻦ ﻓﻴﻠﻢ ﺻﺮﻳﺠﻲ ﺑﺎ‬ ‫ﺍﻳﻦ ﺭﻭﺍﺑﻂ ﻭ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺳﺎﻝ ‪ 70‬ﺑﻴﺸﺘﺮ ﻧﻤﺎﻳﺎﻧﮕﺮ ﻓﻀﺎﻱ ﺧﺎﺹ ﺩﻭﺭﺍﻧﺶ ﺍﺳﺖ‪ .‬ﻧﺮﮔﺲ ﺣﺎﻻ ﺟﺰﻭ ﭼﻨﺪ‬ ‫ﻓﻴﻠﻢ ﺷــﺎﺧﺺ ﺳﻴﻨﻤﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻳﺮﺍﻥ ﺍﺳــﺖ ﻛﻪ ﺍﺯ ﺍﻓﺮﺍﺩﻱ ﺻﺤﺒﺖ ﻣﻲﻛﻨﺪ ﻛﻪ ﻛﻤﺘﺮ ﺩﻭﺭﺑﻴﻦ ﺍﻳﻦ‬ ‫ﺳﻴﻨﻤﺎ ﺑﻪ ﺳﻮﻳﺸﺎﻥ ﭼﺮﺧﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫‪72‬‬ ‫ﺩﺭ ﺯﻣﺎﻥ ﻣﻘﺮﺭ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺩﻫﻢ ﻓﺠﺮ ﺁﻣﺎﺩﻩ ﺷﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﭘﻴﺶ ﺍﺯ ﺁﻏﺎﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﺩﻫﻢ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺣﻀﻮﺭ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻣﻄﺮﺡ ﻓﺮﺍﻭﺍﻥ ﻛﻤﺘﺮ ﻛﺴﻲ ﺭﻭﻱ ﻧﺮﮔﺲ ﺣﺴﺎﺏ ﻭﻳﮋﻩﺍﻱ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‬ ‫ﺍﻣﺎ ﻧﻤﺎﻳﺸﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺴﻴﺎﺭﻱ ﺭﺍ ﻏﺎﻓﻠﮕﻴﺮ ﻛﺮﺩ‪ .‬ﻓﻴﻠﻢ ﺧﻴﻠﻲ ﺯﻭﺩ ﺑﺎ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﻣﻨﺘﻘﺪﺍﻥ ﻣﻮﺍﺟﻪ ﺷﺪ‪ .‬ﺩﺍﻭﺭﺍﻥ ﻫﻢ ﺑﺎ ﺍﻫﺪﺍﻱ ﺳﻪ ﺟﺎﻳﺰﻩ ﺍﺻﻠﻲ‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻓﻴﻠﻢ ﺭﺍ ﺗﺎﻳﻴﺪ ﻛﺮﺩﻧﺪ‪ .‬ﭘﺲ ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﻧﻴﺰ ﺩﺭ ﻧﻈﺮﺧﻮﺍﻫﻲ ﻣﻨﺘﻘﺪﺍﻥ ﺟﺎﻳﮕﺎﻩ ﻣﻨﺎﺳﺒﻲ ﺭﺍ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻓﻴﻠــﻢ ﻣﻨﺘﺨﺐ ﻣﻨﺘﻘﺪﺍﻥ ﻣﺎﻫﻨﺎﻣﻪ ﺗــﺎﺯﻩﻭﺍﺭﺩ ﮔﺰﺍﺭﺵ ﻓﻴﻠﻢ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺷــﺪ‪ .‬ﺑﺎ ﭼﻨﻴﻦ ﭘﻴﺶﺯﻣﻴﻨﻪﺍﻱ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﻧﺴﺒﻲ‬ ‫ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﻫﻤﺮﺍﻩ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻢ ﺩﺭ ﻣﻘﻄﻌﻲ ﺍﻛﺮﺍﻥ ﺷﺪ ﻛﻪ ﺳﻴﻨﻤﺎﻫﺎ ﺑﻪ‬ ‫ﻭﺍﺳﻄﻪ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺍﻣﺮﻳﻜﺎﻳﻲ »ﺑﺎ ﮔﺮگﻫﺎ ﻣﻲﺭﻗﺼﺪ« ﻓﺼﻞ ﭘﺮ ﺭﻭﻧﻘﻲ‬ ‫ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻲﻛﺮﺩﻧﺪ ﻭ ﺍﻳﻦ ﺭﻭﻧﻖ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﻫﻢ ﺭﺳــﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺍﻛﺮﺍﻥ ﺣﺠﻢ ﻧﻘﺪﻫﺎﻱ ﺗﻤﺠﻴﺪﺁﻣﻴﺰ ﻫﻢ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻓﺰﻭﻧﻲ‬ ‫ﮔﺮﻓﺖ ﻭ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ ﺑﻮﺩ ﻛﻪ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺻﺮﻳﺢﺗﺮ ﺍﺯ ﮔﺬﺷﺘﻪ ﺑﻪ ﺻﺤﺒﺖ‬ ‫ﻭ ﮔﻔﺖ ﮔﻮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻤﺶ ﻧﺸﺴــﺖ‪ .‬ﺍﺯ ﻧــﻜﺎﺕ ﻛﻠﻴﺪﻱ ﺻﺤﺒﺖﻫﺎﻱ‬ ‫ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺗﺎﻛﻴﺪ ﺍﻭ ﺑﺮ ﻧﻮﻉ ﺭﺍﺑﻄﻪ ﺯﻥ ﻭ ﻣﺮﺩ ﺍﺻﻠﻲ ﻓﻴﻠﻢ )ﻋﺎﺩﻝ ﻭ ﺁﻓﺎﻕ(‬ ‫ﺑﻮﺩ‪» :‬ﻣﻬﻢ ﺑﺮﺍﻱ ﻣﻦ ﺑﺮﻣﻼ ﻧﺸﺪﻥ ﺍﺻﻞ ﺭﺍﺑﻄﻪ ﺁﻓﺎﻕ ﻭ ﻋﺎﺩﻝ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻳﻢ‬ ‫ﻣﻬﻢ ﺑﻮﺩ ﻛﻪ ﺿﻤﻦ ﻧﺸــﺎﻥ ﺩﺍﺩﻥ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﻭ ﺣﻔﻆ ﺍﺑﻬﺎﻣﻲ ﻛﻪ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺷﺖ ﺑﮕﻮﻳﻢ ﻛﻪ ﺍﺭﺗﺒﺎﻁ ﻋﺎﺩﻝ ﻭ ﺁﻓﺎﻕ ﺩﺭ ﺭﺍﺑﻄﻪ ﺩﻭ ﺯﻥ ﺭﻭﺷﻦ ﻧﻤﻲﺷﻮﺩ‬ ‫ﻳﻌﻨﻲ ﺍﺯ ﺳــﻮﻱ ﺁﻓﺎﻕ ﺑﺮﻣﻼ ﻧﻤﻲﺷﻮﺩ‪ «.‬ﻫﻤﻴﻦ ﻳﻜﻲ ﺍﺯ ﻧﻜﺎﺕ ﻛﻠﻴﺪﻱ‬ ‫ﻓﻴﻠــﻢ ﺑﻮﺩ ﻛﻪ ﻋﻮﺍﻣﻞ ﺑﺎ ﻧﻮﻋﻲ ﮔﺬﺭ ﺍﺯ ﺑﻴﺎﻧﺶ ﺩﺭ ﻓﻴﻠﻢ ﺗﻼﺵ ﺩﺍﺷــﺘﻨﺪ‬ ‫ﺗﻤﺎﺷﺎﮔﺮ ﺧﻮﺩ ﺑﻪ ﺍﺻﻞ ﻣﻮﺿﻮﻉ ﭘﻲ ﺑﺒﺮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻧﺮﮔﺲ ﺑﺎ ﺍﻳﺠﺎﺩ‬ ‫ﺟﻮﻱ ﺑﻴﺸﺘﺮ ﻣﻨﻄﻘﻲ ﺣﻮﻝ ﻓﻴﻠﻢ ﺗﺎ ﻓﻀﺎﻱ ﺟﻨﺠﺎﻟﻲ ﺗﻮﺍﻧﺴﺖ ﻧﻤﺎﻳﺶ‬ ‫ﺑﺪﻭﻥ ﺣﺎﺷﻴﻪﺍﻱ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳــﻦ ﻣﻴﺎﻥ ﺗﺠﺮﺑﻪﻫﺎﻱ ﭘﮋﻭﻫﺸــﻲ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺩﺭ ﺩﺳــﺘﻴﺎﺑﻲ ﺑــﻪ ﺍﻃﻼﻋــﺎﺕ ﻭ ﺯﻣﻴﻨﻪﻫﺎﻱ ﻛﺎﻣﻞ‬ ‫ﺷــﺨﺼﻴﺖﻫﺎﻱ ﻓﻴﻠﻤﺶ ﺑﺎﻋﺚ ﺭﺳــﻴﺪﻥ ﺑﻪ ﻧﮕﺎﻫﻲ ﻣﻠﻤﻮﺱ ﻭ ﻗﺎﺑﻞﺑﺎﻭﺭ ﻧﺴﺒﺖ ﺑﻪ ﻓﻴﻠﻢ ﻧﺰﺩ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪﻧﺤﻮﻱ ﻫﺮﻳﻚ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎ ﺻﺮﻓﺎ ﺍﺟﺮﺍﻱ ﺗﻴﭗﻫﺎﻱ ﻛﻠﻴﺸﻪﺍﻱ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺟﺴﺎﺭﺕﻫﺎﻱ‬ ‫ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﭘﺲ ﺍﺯ ﮔﺬﺷﺖ ﻧﺰﺩﻳﻚ ﺑﻪ‪ 18‬ﺳﺎﻝ ﺍﺯ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪.‬‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻳﺮﺍﻥ ﺑﺎ ﻧﺮﮔﺲ ﻣﻲﺭﻓﺖ ﻛﻪ ﺗﻮﻟﺪﻱ ﺩﻭﺑﺎﺭﻩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺍﻣﺎ ﺗﻐﻴﻴﺮ ﻣﺴﻴﺮ ﻛﻠﻲ ﻣﺪﻳﺮﻳﺖ‬ ‫ﺳﻴﻨﻤﺎ ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 70‬ﺍﻳﻦ ﻧﻮﻉ ﺳﻴﻨﻤﺎ ﺭﺍ ﻫﻢ ﺑﻪ ﻣﺮﺯﻫﺎﻱ ﭘﻴﺸﻴﻦ ﺧﻮﺩ ﺑﺎﺯﮔﺮﺩﺍﻧﺪ‪.‬‬ ‫‪14‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ )‪(1371‬‬ ‫ﻓﺮﻳﺎﺩﻫﺎﻱ‬ ‫ﻧﺴﻞ ﺟﻨﮓ‬ ‫ﻛﻨﺎﺭ ﺭﺍﻳﻦ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫»ﺁﻳــﺎ ﺟﻨﮓ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺘــﻪ ﺑﻮﺩ؟ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﭼﻪ ﺑﺎﻳــﺪ ﺑﻜﻨﻴﻢ؟« ﺍﻳﻦ‬ ‫ﻣﻬﻢﺗﺮﻳﻦ ﭘﺮﺳــﺶ ﻛﺴﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ‪ 8‬ﺳــﺎﻝ ﺩﺭ ﺑﻄﻦ ﻭﺍﻗﻌﻴﺘﻲ ﺑﻪ ﻧﺎﻡ‬ ‫ﺟﻨــﮓ‪ ،‬ﺭﻭﺡ ﻭ ﺯﻧﺪﮔﻲ ﺩﻳﮕﺮﻱ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻧــﺪ‪ .‬ﺁﻧﻬﺎ ﻛﻪ ﺩﺭ ﮔﺬﺭ ﺍﺯ‬ ‫ﺣﻀﻮﺭ ﻋﻴﻨﻲ ﺩﺭ ﺟﺮﻳﺎﻥ ﻭﺍﻗﻌﻴﺘﻲ ﺑﻪ ﺟﻨﮓ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺁﻣﻮﺯﻩﻫﺎ ﻭ‬ ‫ﺍﺭﺯﺵﻫﺎ ﻭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺟﺪﻳﺪﻱ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ ﺭﺳــﻤﻲ‬ ‫ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﻭ ﺣﺘــﻲ ﺩﺭ ﺯﻣﺎﻥ ﻭﻗﻮﻋﺶ ﺑﺎ ﺁﻧﭽﻪ ﺩﺭ ﺟﺎﻣﻌﻪ ﺷــﻬﺮﻱ ﻭ‬ ‫ﺩﻭﺭ ﺍﺯ ﺟﺒﻬﻪ ﻣﻲﮔﺬﺷــﺖ ﺍﻧﻄﺒﺎﻗﻲ ﭘﻴﺪﺍ ﻧﻤﻲﻛﺮﺩﻧــﺪ‪ .‬ﭘﺎﻳﺎﻥ ﺟﻨﮓ‬ ‫ﺍﻳﻦ ﻣﺴــﺎﻟﻪ ﺭﺍ ﺗﺸﺪﻳﺪ ﻛﺮﺩ‪ .‬ﺟﺎﻣﻌﻪ ﺟﺪﻳﺪ ﺩﺭ ﺣﺎﻝ ﭘﻮﺳﺖﺍﻧﺪﺍﺯﻱ ﺑﻮﺩ‬ ‫ﻭ ﺑﺎ ﺁﻧﻜﻪ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﻫــﻢ ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﻱ ﺗﻘﺪﻳﺲ ﻭ ﺍﻫﻤﻴﺖ ﺩﺍﺩﻥ ﺑﻪ‬ ‫ﺭﺯﻣﻨﺪﮔﺎﻥ ﻭ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﺟﻨﮓ ﺑﻮﺩﻧﺪ ﺍﻣﺎ ﺩﺭ ﻛﻨﺎﺭﺵ ﺑﺎ ﺳﻴﺎﺳﺖﻫﺎﻱ‬ ‫ﺟﺪﻳﺪ ﺑﺎﺯﺳــﺎﺯﻱ ﺑﻪ ﺷﻜﻞﮔﻴﺮﻱ ﺩﻭﺭﺍﻥ ﺩﻳﮕﺮﻱ ﺑﺎ ﺍﺭﺯﺵﻫﺎ ﻭ ﻣﺴﺎﺋﻞ‬ ‫ﺩﻳﮕﺮ ﻛﻤﻚ ﻣﻲﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺍﻳﻦﭼﻨﻴﻦ ﺑﻮﺩ ﻛﻪ ﻣﺴﺎﻟﻪ ﺭﺯﻣﻨﺪﮔﺎﻥ ﺩﻳﺮﻭﺯ ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﻣﺮﻭﺯ ﻣﻮﺿﻮﻉ‬ ‫ﺍﺻﻠﻲ ﺷﺪ‪ .‬ﻧﮕﺎﻩ ﺟﺎﻣﻌﻪ ﻭ ﺣﺎﻛﻤﺎﻥ ﺑﻪ ﺁﻧﻬﺎ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪ .‬ﺁﻧﻬﺎ ﺩﺭ ﺣﺎﻟﻲ‬ ‫ﺗﻘﺪﻳﺲ ﻣﻲﺷﺪﻧﺪ ﻛﻪ ﺩﺭ ﻻﻳﻪ ﺩﻳﮕﺮﻱ ﻣﺠﺒﻮﺭ ﺑﻪ ﺩﻓﺎﻉ ﺍﺯ ﺧﻮﺩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺭﻭﺍﻳﺖ ﺍﻳﻦ ﺗﻘﺎﺑﻞ ﺩﺭ ﺷــﻜﻞ ﺻﺮﻳﺤﺶ ﻫﻨﻮﺯ ﺑﺮﺍﻱ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﺯﻭﺩ ﺑﻮﺩ ﺍﻣﺎ ﻧﺨﺴــﺘﻴﻦ ﺗﻼﺵﻫﺎ ﻫﻢ ﺁﻏﺎﺯ ﺷــﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ‬ ‫ﺷﺎﺧﺺﺗﺮﻳﻦ ﻭ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻊ‬ ‫ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻲﺳﺎﺧﺘﻪ ﺷــﺪﻩ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻤﺴــﺎﺯ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺟﺮﻳﺎﻥ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﻛﻪ ﺁﺛــﺎﺭ ﻗﺒﻠﻲﺍﺵ ﺩﺭﺳــﺖﺗﺮﻳﻦ ﻭ ﻭﺍﻗﻌﻲ‬ ‫ﺗﺮﻳﻦ ﺗﺼﻮﻳﺮ ﺭﺍ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺟﺎﺭﻱ ﺩﺭ ﺟﺒﻬﻪﻫﺎﻱ ﻧﺒﺮﺩ ﺗﺼﻮﻳﺮ ﻣﻲﻛﺮﺩ‪.‬‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﻛﻪ ﺑﺎ »ﺩﻳﺪﻩﺑﺎﻥ« ﻭ »ﻣﻬﺎﺟﺮ« ﺗﺼﻮﻳﺮﮔﺮ ﻭﺍﻗﻌﻴﺖ ﻣﻌﻨﻮﻱ‬ ‫ﺟﺒﻬﻪﻫﺎﻱ ﻧﺒﺮﺩ ﻭ ﻣﻨﺎﺳﺒﺎﺕ ﺧﺎﺻﺶ ﻣﺒﺘﻨﻲ ﺑﺮ ﻣﻔﺎﻫﻴﻤﻲ ﭼﻮﻥ ﺍﻳﺜﺎﺭ‬ ‫ﻭ ﺍﺯ ﺧﻮﺩﮔﺬﺷﺘﮕﻲ ﻭ ﺍﻋﺘﻘﺎﺩ ﺑﻮﺩ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﻫﻢ ﭘﻴﺸﮕﺎﻡ ﺑﻴﺎﻥ ﻣﺴﺎﺋﻞ‬ ‫ﻭ ﺗﺎﺛﻴﺮﺍﺕ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺷﺪ‪.‬‬ ‫ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ ﺩﺭ ﻧﮕﺎﻩ ﺳــﺎﺯﻧﺪﮔﺎﻧﺶ ﻗﺮﺍﺭ ﺑﻮﺩ ﻓﺮﻳﺎﺩﮔﺮ ﻣﻈﻠﻮﻣﻴﺖ‬ ‫ﺑﺴــﻴﺠﻲ ﺩﺭ ﺩﻭﺭﺍﻥ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﻭ ﺑﻴﺎﻧﻴﻪﺍﻱ ﺩﺭ ﺗﺪﺍﻭﻡ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺍﻳﻦ‬ ‫ﮔﺮﻭﻩ ﺑﻪ ﺭﻏﻢ ﺑﺮﻭﺯ ﻣﺴﺎﺋﻞ ﺟﺪﻳﺪ ﺑﺎﺷﺪ‪ .‬ﻓﻴﻠﻤﻲﻣﻨﻄﺒﻖ ﺑﺮ ﭘﺎﻳﻪﻫﺎ ﻭ ﻗﻮﺍﻋﺪ‬ ‫ﺻﺤﻴﺢ ﻳﻚ ﻣﻠﻮﺩﺭﺍﻡ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻛﻪ ﺗﻤﺎﺷــﺎﮔﺮﺵ ﺭﺍ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ‬ ‫ﻣﻲﺩﺍﺩ ﻭ ﺗﻼﺵ ﺩﺍﺷﺖ ﺁﻧﻬﺎ ﺭﺍ ﻫﻤﺮﺍﻩ ﺧﻮﺩ ﻛﻨﺪ‪ .‬ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎﻱ‬ ‫ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺟﻨﮓ ﻭ ﺳﭙﺎﻩﭘﺎﺳــﺪﺍﺭﺍﻥ ﺩﺭ ﺩﻭﺭﺍﻥ ﺍﺣﺎﻃﻪ ﺑﻪ ﺗﻜﻨﻴﻚﻫﺎ ﻭ‬ ‫ﺍﺑﺰﺍﺭ ﺳﻴﻨﻤﺎ ﻣﻮﻓﻖ ﺷﺪ ﺑﺎ ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ ﺍﻭﻟﻴﻦ ﮔﺎﻡ ﺭﺍ ﺑﺮﺍﻱ ﺍﻳﻦ ﺩﻏﺪﻏﻪ‬ ‫ﻣﻮﻓﻖ ﺑﺮﺩﺍﺭﺩ ﺗﺎ ﻧﻮﻳﺪﮔﺮ ﺗﻮﻟﻴﺪ ﻳﻚ ﻓﻴﻠﻤﺴــﺎﺯ ﺁﮔﺎﻩ ﺑﻪ ﻣﺴﺎﺋﻞ ﺟﺎﻣﻌﻪ‬ ‫ﻭ ﻣﻨﺎﺳﺒﺎﺗﺶ ﺑﺎﺷﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺗﺮﺑﻴﺖ ﺷﺪﻩ ﻣﺪﺭﺳﻪ ﻓﻴﻠﻤﺴﺎﺯﻱ ﺭﻭﺍﻳﺖ ﻓﺘﺢ ﺩﺭ ﻛﻨﺎﺭ ﭼﻬﺮﻩ ﻣﻨﺤﺼﺮﻱ‬ ‫ﭼﻮﻥ ﺷﻬﻴﺪ ﺁﻭﻳﻨﻲ ﻛﻪ ﺑﺎ ﺩﻳﺪﻩﺑﺎﻥ ﻭ ﻣﻬﺎﺟﺮ ﺗﺤﺴﻴﻦ ﺗﻮﺍﻡ ﻣﻨﺘﻘﺪﺍﻥ ﻭ‬ ‫ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﺍﺑﺮﺍﻫﻴـﻢ ﺣﺎﺗﻤﻲﻛﻴـﺎ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒـﺮﺩﺍﺭﻱ‪ :‬ﻣﺤﻤـﻮﺩ ﻛﻼﺭﻱ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪:‬‬ ‫ﻣﺠﻴﺪ ﺍﻧﺘﻈﺎﻣﻲ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﺣﺴﻴﻦ ﺯﻧﺪﺑﺎﻑ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ‪ :‬ﭘﺮﻭﻳﺰ ﺷﻴﺦ ﻃﺎﺩﻱ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭﺍﻥ‪ :‬ﻳﺪﺍﷲ ﻧﺠﻔﻲ‬ ‫ﻭ ﻣﺤﻤﻮﺩ ﺳﻤﺎﻙ ﺑﺎﺷﻲ‪ ،‬ﺩﺳﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺑﻬﺮﺍﻡ ﻋﻈﻴﻢﭘﻮﺭ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯﻱ‪ :‬ﻣﺴﻌﻮﺩ ﻭﻟﺪﺑﻴﮕﻲ‪،‬‬ ‫ﺟﻠﻮﻩ ﻫﺎﻱ ﻭﻳﮋﻩ‪ :‬ﺭﺿﺎ ﺭﺳﺘﮕﺎﺭ‪ ،‬ﻣﺠﺮﻱ ﻃﺮﺡ‪ :‬ﺳﻴﻒﺍﷲ ﺩﺍﺩ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪:‬ﻫﻤﺎﺭﻭﺳﺘﺎ‪،‬ﻋﻠﻲﺩﻫﻜﺮﺩﻱ‪،‬ﻫﺎﻧﺲﻧﻮﻳﻤﺎﻥ‪،‬ﺁﻧﺪﺭﻳﺎﺱﻛﻮﺭﺗﺰ‪،‬ﺻﺎﺩﻕﺻﻔﺎﻳﻲ‪،‬ﺍﺻﻐﺮﻧﻘﻲﺯﺍﺩﻩ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺳﻴﻨﺎ ﻓﻴﻠﻢ‪ 93 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 3 :‬ﺷﻬﺮﻳﻮﺭ ‪ ،1372‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 43/5 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ ‪:‬‬ ‫ﺳــﻌﻴﺪ ﺭﺯﻣﻨﺪﻩ ﺟﺎﻧﺒﺎﺯ ﻛﻪ ﺑﺮﺍﻱ ﻣﻌﺎﻟﺠﻪ ﭼﺸﻤﺎﻥ ﺧﻮﺩ ﻋﺎﺯﻡ ﺁﻟﻤﺎﻥ ﻣﻲﺷــﻮﺩ‪ ،‬ﺑﺎ ﺧﻮﺍﻫﺮﺵ ﻟﻴﻼ ﻛﻪ ﺳﺎﻟﻴﺎﻧﻲ ﭼﻨﺪ ﺍﺳﺖ ﺑﺎ ﻫﻤﺴﺮ ﺁﻟﻤﺎﻧﻲ‬ ‫ﺧﻮﺩ ﺩﺭ ﺷﻬﺮ »ﻛﻠﻦ« ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﺪ ﺭﻭﺑﻪﺭﻭ ﻣﻲﺷﻮﺩ‪ .‬ﺳﻌﻴﺪ ﺑﻴﻨﺎﻳﻲ ﺧﻮﺩ ﺭﺍ ﺑﺎﺯ ﻣﻲﻳﺎﺑﺪ ﻭ ﺍﻛﻨﻮﻥ ﻣﺤﻴﻄﻲ ﺗﺎﺯﻩ ﻭ ﻏﺮﻳﺐ ﭘﻴﺶ ﺭﻭﻱ ﺍﻭﺳﺖ‬ ‫ﻭ ﺧﻮﺍﻫﺮﻱ ﻛﻪ ﺳــﻌﻴﺪ ﺭﺍ ﺩﺭﻳﭽﻪﺍﻱ ﺑﺮ ﺧﺎﻃﺮﺍﺕ ﺩﻭﺭ ﻭ ﻋﺰﻳﺰ ﮔﺬﺷﺘﻪ ﻣﻲﺩﺍﻧﺪ‪ .‬ﺳﻌﻴﺪ ﺩﺭ ﺗﺪﺍﺭﻙ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺍﻳﺮﺍﻥ ﺍﺳﺖ ﻛﻪ ﻧﺘﺎﻳﺞ ﺁﺧﺮﻳﻦ‬ ‫ﺁﺯﻣﺎﻳﺸﺎﺕ ﭘﺰﺷﻜﻲ ﻭﻱ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻬﻢ ﻣﻲﺭﻳﺰﺩ‪ .‬ﺳﻌﻴﺪ ﺑﻪ ﻧﻮﻉ ﻧﺎﺩﺭﻱ ﺍﺯ ﺳﺮﻃﺎﻥ ﺧﻮﻥ ﻛﻪ ﺩﺭ ﺍﺛﺮ ﺑﻤﺒﺎﺭﺍﻥ ﺷﻴﻤﻴﺎﻳﻲ ﻋﺮﺍﻕ ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ‪،‬‬ ‫ﻣﺒﺘﻼ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺳﻌﻴﺪ ﭘﺲ ﺍﺯ ﻣﻌﺎﻟﺠﻪﺍﻱ ﻧﺎﻛﺎﻡ ﻣﻲﻣﻴﺮﺩ ﻭ ﭘﺲ ﺍﺯ ﻣﺮگ ﺍﻭ ﺧﻮﺍﻫﺮﺵ ﻟﻴﻼ ﻋﺎﺯﻡ ﺍﻳﺮﺍﻥ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺟﺮﻳﺎﻥ ﺍﺭﺯﺷﮕﺮﺍ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺘﻪ ﺑﻮﺩ‪ ،‬ﭘﺲ ﺍﺯ ﭘﺎﺳﺦ ﻧﻪﭼﻨﺪﺍﻥ ﻣﺤﻜﻤﺶ‬ ‫ﺑﻪ ﻣﺨﻤﻠﺒﺎﻑ ﺩﺭ »ﻭﺻﻞ ﻧﻴﻜﺎﻥ«‪ ،‬ﺩﺳــﺖ ﺑﻪ ﻛﺎﺭ ﺳــﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺩﺭ‬ ‫ﭘﺎﺳﺦ ﺑﻪ ﭘﺮﺳﺶﻫﺎﻱ ﺯﻣﺎﻧﻪ ﻭ ﺫﻫﻨﺶ ﺷﺪ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﻫﻢ ﺩﺭ ﻣﻨﺎﺳﺒﺎﺕ‬ ‫ﺗﻮﻟﻴﺪ ﺑﻪ ﺳﺒﺐ ﺳﺎﺧﺘﻪﺷﺪﻥ ﺑﺨﺶ ﺍﺻﻠﻲﺍﺵ ﺩﺭ ﻳﻚ ﻛﺸﻮﺭ ﺧﺎﺭﺟﻲ‬ ‫ﻭ ﻫﻢ ﺩﺭ ﻣﻀﻤﻮﻧﺶ ﻃﺮﺡ ﺗﺠﺮﺑﻪ ﻧﺸﺪﻩﺍﻱ ﺑﻮﺩ‪ .‬ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ ﺍﺯ ﻫﻤﺎﻥ‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻱ ﺍﻓﺮﺍﺩ ﺣﺎﺿﺮ ﺩﺭ ﺟﻨﮓ ﻣﻲﺁﻣﺪ‪.‬‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﺧﻮﺩ ﺷﻜﻞﮔﻴﺮﻱ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﻱ ﺗﻮﻟﻴﺪ ﭼﻨﻴﻦ‬ ‫ﺷــﺮﺡ ﺩﺍﺩﻩ ﺍﺳــﺖ‪» :‬ﻳﻚ ﺩﻏﺪﻏﻪ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﺫﻫﻦ ﻣﻦ ﺑﻮﺩﻩ ﻭ ﻫﺴﺖ‬ ‫ﻛﻪ ﺁﻳﺎ ﺍﺻﻼ ﺟﻨﮓ ﻣﺎ ﺑﻪ ﻛﻠﻲ ﺗﻤﺎﻡ ﺷــﺪﻩ ﻳﺎ ﻧﻪ ﻭ ﺍﮔﺮ ﺗﻤﺎﻡ ﻧﺸﺪﻩ ﭼﻘﺪﺭ‬ ‫ﺁﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ ﻭ ﺑﺎﻻﺧﺮﻩ ﻧﻬﺎﻳﺖ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﻛﺠﺎﺳﺖ؟ ﺗﺎ ﺍﻳﻨﻜﻪ ﺩﺭ ﻳﻜﻲ‬ ‫ﺍﺯ ﻫﻔﺘﻪﻫﺎﻱ ﻓﻴﻠﻢ ﺩﺭ ﺍﺗﺮﻳﺶ ﻛﻪ ﻓﻴﻠــﻢ ﻣﻬﺎﺟﺮ ﺭﺍ ﻧﻤﺎﻳﺶ ﻣﻲﺩﺍﺩﻧﺪ‪،‬‬ ‫ﺍﺯ ﻃﺮﻳﻖ ﻳﻜﻲ ﺍﺯ ﻣﺘﺮﺟﻤﺎﻥ ﺳــﻴﻨﻤﺎﻳﻲ ﻣﻘﻴﻢ ﺁﻧﺠﺎ ﺑــﺎ ﻓﻜﺮ ﺍﻭﻟﻴﻪ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺁﺷﻨﺎ ﺷﺪﻡ‪ .‬ﻣﻮﺿﻮﻉ ﺩﺭ ﻋﻴﻦ ﺟﺬﺍﺑﻴﺘﻲ ﻛﻪ ﺑﺮﺍﻳﻢ ﺩﺍﺷﺖ ﺑﻪﺷﺪﺕ‬ ‫ﺩﺭﺩﻧﺎﻙ ﻫﻢ ﺑﻮﺩ‪ .‬ﺟﻨﮓ ﺷﻴﻤﻴﺎﻳﻲ ﺑﺮﺍﺳﺘﻲ ﻧﺎﺟﻮﺍﻧﻤﺮﺩﺍﻧﻪﺗﺮﻳﻦ ﺷﻜﻞ‬ ‫ﺍﺯ ﺍﺷﻜﺎﻝ ﺟﻨﮓ ﺍﺳﺖ‪ .‬ﻛﺴﻲ ﻛﻪ ﻣﺜﻼ ﭼﻬﺎﺭ ﺳﺎﻝ ﭘﻴﺶ ﺩﺭ ﺟﻨﮕﻲ ﭼﻪ‬ ‫ﺑﺤﻖ ﭼﻪ ﻧﺎﺣﻖ ﺷــﺮﻛﺖ ﻛﺮﺩﻩ‪ ،‬ﺗﺎﺯﻩ ﭘﺲ ﺍﺯ ﺁﺗﺶﺑﺲ ﻭ ﮔﺬﺷﺖ ﭼﻨﺪ‬ ‫ﺳــﺎﻝ ﺩﭼﺎﺭ ﺍﻧﺘﻘﺎﻡ ﺍﻳﻦ ﺟﻨﮓ ﻭ ﻭﺍﻗﻌﻴﺖ ﺁﻥ ﻣﻲﺷــﻮﺩ ﻭ ﺍﻳﻦ ﺍﻧﺘﻘﺎﻡ ﺑﻪ‬ ‫ﻗﺪﺭﻱ ﻓﺠﻴﻊ ﺍﺳــﺖ ﻛﻪ ﺣﺘﻲ ﺭﻭﻱ ﻓﺮﺯﻧﺪ ﺍﻭ ﻫﻢ ﺗﺎﺛﻴﺮ ﻣﻲﮔﺬﺍﺭﺩ‪ .‬ﺍﻳﻦ‬ ‫ﻗﻀﻴﻪ ﺑﻪ ﻧﻈﺮ ﻣــﻦ ﺑﺎﻳﺪ ﺩﺭ ﺟﺎﻳﻲ ﻣﻄﺮﺡ ﻣﻲﺷــﺪ ﻭ ﻣﻦ ﺑﺮﺍﻱ ﻫﻤﻴﻦ‬ ‫ﺷﺮﻭﻉ ﺑﻪ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻛﺮﺩﻡ‪«.‬‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﺮﺍﻱ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﺤﻘﻴﻘﺎﺕ ﻣﻴﺪﺍﻧﻲ ﮔﺴﺘﺮﺩﻩﺍﻱ ﺩﺭ‬ ‫ﻗﺎﻟﺐ ﺍﻧﺠﺎﻡ ﻣﺼﺎﺣﺒﻪ ﻭ ﺩﻳﺪﺍﺭﻫﺎﻳﻲ ﺑﺎ ﻣﺠﺮﻭﺣﺎﻥ ﺷﻴﻤﻴﺎﻳﻲ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‬ ‫ﻛﻪ ﺩﺭ ﺟﺮﻳﺎﻧﺶ ﺑﻪ ﺷﺨﺼﻴﺘﻲ ﻣﺸﺎﺑﻪ ﺳــﻌﻴﺪ ﻓﻴﻠﻢ ﺭﺳﻴﺪ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﻧﻬﺎﻳﻲ ﺩﺭ ﺩﻓﺘﺮ ﺳﻴﻨﻤﺎﻳﻲ ﺳﻴﻨﺎ ﻛﻪ ﺗﻮﺳﻂ ﭼﻬﺮﻩﻫﺎﻱ ﻓﻌﺎﻝ ﻣﺪﻳﺮﻳﺖ‬ ‫ﺳــﻴﻨﻤﺎﻳﻲ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﭘﺎﻳﻪﮔﺬﺍﺭﻱ ﺷــﺪﻩ ﺑﻮﺩ ﺑــﻪ ﻣﺮﺣﻠﻪ ﺗﻮﻟﻴﺪ‬ ‫ﺭﺳــﻴﺪ‪ .‬ﻣﻨﻮﭼﻬﺮ ﻣﺤﻤﺪﻱ ﻭ ﺳــﻴﻒﺍﷲ ﺩﺍﺩ ﺍﺯ ﻣﻬﻢﺗﺮﻳــﻦ ﺍﻓﺮﺍﺩ ﺍﻳﻦ‬ ‫ﻣﻮﺳﺴﻪ ﺳﻴﻨﻤﺎﻳﻲ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻭﻟﻴﻦ ﺳﻔﺮﻫﺎ ﺑﺮﺍﻱ ﺑﺎﺯﺑﻴﻨﻲ ﻟﻮﻛﻴﺸﻦﻫﺎ ﻭ‬ ‫ﻓﺮﺍﻫﻢ ﻛﺮﺩﻥ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺗﻮﻟﻴﺪ ﺩﺭ ﺍﺳﻔﻨﺪ ‪ 1370‬ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﺳﻔﺮﻱ‬ ‫ﻛــﻪ ﺧﻮﺵﺑﻴﻨﻲﻫﺎﻱ ﺍﻭﻟﻴﻪ ﺩﺭﺑﺎﺭﻩ ﻳﻚ ﺗﻮﻟﻴــﺪ ﻣﻌﻤﻮﻝ ﺭﺍ ﺑﻪ ﻫﻢ ﺯﺩ ﻭ‬ ‫ﻭﺍﻗﻌﻴﺖﻫﺎﻱ ﻛﺎﺭ ﺩﺭ ﻳﻚ ﻛﺸﻮﺭ ﺧﺎﺭﺟﻲ ﻭ ﭘﻴﭽﻴﺪﮔﻲﻫﺎﻱ ﺧﺎﺻﺶ ﺭﺍ‬ ‫ﺑﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻧﺸﺎﻥ ﺩﺍﺩ‪ .‬ﺁﻧﻬﺎ ﺑﻪ ﻫﺮﺷﻜﻞ ﺑﺎ ﺟﺬﺏ ﻛﻤﻚﻫﺎﻱ ﻣﺎﺩﻱ ﻭ‬ ‫ﻣﻌﻨﻮﻱ ﺍﺯ ﭼﻨﺪ ﻧﻬﺎﺩ ﻣﻬﻢ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻛﻪ ﺑﺎ ﺗﻮﺻﻴﻪ ﻣﺤﻤﺪ ﺧﺎﺗﻤﻲﻭﺯﻳﺮ‬ ‫ﺍﺭﺷﺎﺩ ﻭﻗﺖ ﻋﻤﻠﻲ ﺷــﺪ‪ ،‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﺍﺭﺩﻳﺒﻬﺸﺖ ‪ 1370‬ﺩﺭ ﺷﻬﺮ‬ ‫ﻛﻠﻦ ﺁﻟﻤﺎﻥ ﺁﻏﺎﺯ ﻛﺮﺩﻧﺪ‪ .‬ﻣﺸﻜﻼﺕ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺩﺭ ﺁﻟﻤﺎﻥ ﻛﻪ ﺍﻭﺟﺶ‬ ‫ﺩﺭ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﺯ ﻛﻮﺩﻙ ﺑﺎﺯﻳﮕﺮ ﺁﻟﻤﺎﻧﻲ ﻭ ﺍﺟــﺎﺯﻩ ﮔﺮﻓﺘﻦ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺩﺭ ﺍﻣﺎﻛﻦ ﻋﻤﻮﻣﻲﻣﺎﻧﻨﺪ ﻓﺮﻭﺩﮔﺎﻩ ﺑﻮﺩ ﻣﺴــﺎﺋﻞ ﺍﺻﻠﻲ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﻛﺎﺭ‬ ‫ﺑــﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺑﻴــﻦ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻭ ﻛﻼﺭﻱ ﻓﻴﻠﻤﺒــﺮﺩﺍﺭ ﻓﻴﻠﻢ ﻫﻢ‬ ‫ﺍﺧﺘﻼﻑ ﺩﻳﺪﮔﺎﻩ ﭘﻴﺶ ﺁﻣﺪ ﻛﻪ ﺑﺮ ﻣﺸــﻜﻼﺕ ﺍﻓﺰﻭﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﻫﺮﺷﻜﻞ‬ ‫ﻓﻴﻠﻤﺒــﺮﺩﺍﺭﻱ ﻛﻤﻲ ﺑﻴــﺶ ﺍﺯ ﺑﺮﻧﺎﻣــﻪ ﻣﻌﻤﻮﻝ ﺍﻧﺠﺎﻡ ﺷــﺪ ﻭ ﮔﺮﻭﻩ ﺑﺎ‬ ‫ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺗﻬﺮﺍﻥ ﭘﻴﮕﻴﺮ ﺑﻘﻴﻪ ﻣﺮﺍﺣﻞ ﺷﺪﻧﺪ‪.‬‬ ‫ﻧﺨﺴﺘﻴﻦ ﻧﺴﺨﻪ ﻓﻴﻠﻢ ﺩﺭ ﻳﺎﺯﺩﻫﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭﺁﻣﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﻳﺎﺯﺩﻫﻤﻴﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﻭﻟﻴﻦ ﺩﻭﺭﻩﺍﻱ ﺑﻮﺩ ﻛﻪ‬ ‫ﺗﺤﺖ ﻣﺪﻳﺮﻳﺖ ﻋﻠﻲ ﻻﺭﻳﺠﺎﻧﻲ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ ﺟﺪﻳﺪ ﺍﻟﺒﺘﻪ ﺗﻮﺳﻂ ﻣﺪﻳﺮﻳﺎﻥ‬ ‫ﺳــﻴﻨﻤﺎﻳﻲ ﻗﺒﻠﻲ ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷــﺪ‪ .‬ﺩﻭﺭﻩﺍﻱ ﺑﻪﻣﺮﺍﺗﺐ ﺁﺭﺍﻣﺘﺮ ﻭ ﻛﻤﺘﺮ‬ ‫ﺟﻨﺠﺎﻟﻲ ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﺩﻭﺭﻩﻫﺎﻱ ﭘﻴﺶ ﺑﺎ ﺣﻀﻮﺭ ﭼﻬﺮﻩﻫﺎﻳﻲ ﭼﻮﻥ‬ ‫‪73‬‬ ‫ﺷﻬﻴﺪ ﺁﻭﻳﻨﻲ ﻭ ﺳﻴﺪﻣﻬﺪﻱ ﺷﺠﺎﻋﻲ ﺩﺭ ﺟﻤﻊ ﺩﺍﻭﺭﺍﻥ‪.‬‬ ‫ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ ﺩﺭ ﭼﻨﻴﻦ ﺟﺸــﻨﻮﺍﺭﻩﺍﻱ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺩﺍﻭﺭﺍﻥ ﺭﻭﺑﻪﺭﻭ‬ ‫ﺷﺪ ﻭ ﺿﻤﻦ ﻧﺎﻣﺰﺩﻱ ﺩﺭ ﭼﻨﺪﻳﻦ ﺭﺷــﺘﻪ ﻣﻬﻢﺗﺮﻳﻦ ﺟﺎﻳﺰﻩ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻳﻌﻨﻲ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ ﺗﺎ ﻣﺸــﺨﺺ ﺷﻮﺩ ﻣﻀﻤﻮﻥ ﻭ ﻧﮕﺎﻩ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﻛﺎﻣﻼ ﻣﻮﺭﺩ ﺗﺎﻳﻴﺪ ﺟﺮﻳﺎﻥ ﺭﺳﻤﻲ ﻣﺪﻳﺮﻳﺘﻲ ﺍﺳﺖ‪ .‬ﺻﺤﺒﺖ‬ ‫ﻭ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺸﺘﺮ ﺩﺭ ﺳﺎﻳﻪ ﭼﻨﺪ ﻓﻴﻠﻢ ﺩﻳﮕﺮ ﭼﻮﻥ‬ ‫ﺳﺎﺭﺍ ﻭ ﺭﺩﭘﺎﻱ ﮔﺮگ ﻭ ﻫﻨﺮﭘﻴﺸــﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺍﻣﺎ ﺑﻴﺸﺘﺮﻳﻦ ﺻﺤﺒﺖ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺩﺭ ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲﺍﻧﺠﺎﻡ ﺷﺪ‪.‬‬ ‫ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ ﺍﻭﺍﺧﺮ ﺗﺎﺑﺴﺘﺎﻥ ﺩﺭ ﻓﺼﻞ ﺭﻭﻧﻖ ﺳﻴﻨﻤﺎ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‬ ‫ﻭ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺧﻮﺏ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻫﻢ ﻣﻮﺍﺟﻪ ﺷﺪ‪ .‬ﺗﺒﻠﻴﻐﺎﺕ ﭘﺮﺣﺠﻢ ﻓﻴﻠﻢ‬ ‫ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﺩﻻﻳﻞ ﺍﺳﺘﻘﺒﺎﻝ ﻓﻴﻠﻢ ﺑﻮﺩ‪ ،‬ﺿﻤﻦ‬ ‫ﺁﻧﻜﻪ ﺳﺎﺧﺘﺎﺭ ﺟﺬﺍﺏ ﻭ ﻣﻮﺿﻮﻉ ﻧﺎﺩﻳﺪﻩﺍﺵ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﻋﺎﻣﻠﻲ ﺩﺭ ﺟﺬﺏ‬ ‫ﺗﻤﺎﺷﺎﮔﺮ ﺑﻮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻓﻴﻠﻢ ﺩﺭ ﺍﻛﺮﺍﻧﻲ ﻣﻨﺎﺳﺐ ﺗﻮﺍﻧﺴﺖ ﻋﻨﻮﺍﻥ‬ ‫ﺳﻮﻣﻴﻦ ﻓﻴﻠﻢ ﭘﺮﻓﺮﻭﺵ ﺳﺎﻝ ‪ 72‬ﺭﺍ ﻛﺴﺐ ﻛﻨﺪ ﻭ ﻋﻤﻼ ﺟﺎﻳﮕﺎﻩ ﻣﻬﻢ ﻭ‬ ‫ﺷﺎﺧﺺ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺭﺍ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺗﺜﺒﻴﺖ ﻛﻨﺪ‪.‬‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﻛﺮﺍﻥ ﻓﻴﻠــﻢ ﻫﻢ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻫﺎﻳﺶ ﺑﺎﺭ ﺩﻳﮕﺮ‬ ‫ﺑﻪ ﺑﻴﺎﻥ ﺩﻏﺪﻏﻪﻫﺎﻳــﺶ ﺩﺭ ﺭﻭﺍﻳﺖ ﺑﭽﻪﻫﺎﻱ ﺟﻨﮓ ﻭ ﺟﺒﻬﻪ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﻳﻚ ﺷــﺨﺼﻴﺖ ﺑﺴــﻴﺠﻲ ﺩﺭ ﻓﻴﻠﻢ ﻛﻪ ﻗﺼﺪ‬ ‫ﭘﻨﺎﻫﻨﺪﮔــﻲ ﺩﺍﺭﺩ ﺯﻣﻴﻨــﻪ ﺑﺤــﺚ ﻭ ﮔﻔﺖﻭﮔﻮ ﺭﺍ ﻓﺮﺍﻫــﻢ ﻣﻲﻛﻨﺪ ﺍﻣﺎ‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﺎ ﺍﻳﻦ ﺗﻮﺿﻴﺢ ﻛﻪ ﺑﻪ ﭼﻨﻴﻦ ﺷــﺨﺼﻴﺖﻫﺎﻳﻲ ﺩﺭ ﺟﺮﻳﺎﻥ‬ ‫ﺗﺤﻘﻴﻘﺎﺗﺶ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩﻩ‪ ،‬ﻧﮕﺎﻩ ﻭ ﻧﻈﺮﺵ ﺭﺍ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻧﻮﻉ ﺍﻓﺮﺍﺩﻱ‬ ‫ﭼﻮﻥ ﺳﻌﻴﺪ ﺭﻭﺷﻦ ﻋﻨﻮﺍﻥ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺯ ﺩﻳﮕﺮ ﻧﻜﺎﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺯ ﻛﺮﺧﻪ‬ ‫ﺗﺎ ﺭﺍﻳﻦ ﻧﻤﺎﻳﺶ ﺁﻥ ﺩﺭ ﭼﻨﺪ ﻛﺸﻮﺭ ﺧﺎﺭﺟﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎﻋﺚ ﺑﺮﻭﺯ ﺑﺤﺚ ﻭ‬ ‫ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻧﺰﺩ ﺍﻳﺮﺍﻧﻲﻫﺎﻱ ﻣﻬﺎﺟﺮ ﻭ ﺑﻌﻀﺎ ﻣﺨﺎﻟﻒ ﻓﻴﻠﻢ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻗﻮﺕ ﻭ ﺗﺎﺛﻴﺮ ﻓﻴﻠﻢ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﻮﺍﺭﺩﻱ ﺍﻳﻦ ﻧﻮﻉ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﺭﺍ ﻫﻤــﺮﺍﻩ ﻣﻲﻛﻨﺪ ﻭ ﻫﻤﻴﻦ ﺁﻥ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑــﻪ ﺍﺗﻔﺎﻕ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﻱ‬ ‫ﻣﻲﻛﻨﺪ ﺗﺎ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﺮﺍﻥ ﻫﻢ ﺭﺳــﺎﻧﻪﻫﺎﻱ ﻓﺎﺭﺳﻲ ﺯﺑﺎﻥ ﺩﺭﺑﺎﺭﻩﺍﺵ‬ ‫ﺑﻪ ﺑﺤﺚ ﺑﻨﺸﻴﻨﻨﺪ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺑــﺎ ﺗﻌﻘﻴﺐ ﺭﻭﻧﺪﻱ ﻛﻪ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﺳــﻴﻨﻤﺎﻳﻲﺍﺵ ﺩﺭ ﺍﻳﻦ‬ ‫ﺳــﺎﻝﻫﺎ ﻃﻲ ﻛﺮﺩ ﺑﺎﻳﺪ ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ ﺭﺍ ﻧﻘﻄﻪ ﻋﺰﻳﻤﺖ ﺍﻭ ﺑﻪ ﺳﻤﺖ‬ ‫ﺳﻴﻨﻤﺎﻱ ﭘﺮﭼﺎﻟﺶ ﻭ ﺻﺮﻳﺢ ﺑﻌﺪﻱﺍﺵ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻭ ﺑﺎ ﺭﺳﻴﺪﻥ ﺑﻪ ﺯﺑﺎﻥ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﻣﻮﺛﺮ ﻭ ﻗﻮﻱ ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﺑﺮ ﺧﻼﻑ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﻫﻤﺮﺍﻫﺎﻧﺶ‬ ‫ﻣﻲﺩﺍﻧــﺪ ﺑﺮﺍﻱ ﺑﻴﺎﻥ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻧﻈﺮﺍﺗﺶ ﺑﺎﻳﺪ ﺑﺮ ﺍﺑﺰﺍﺭ ﻛﺎﺭﺵ ﻣﺴــﻠﻂ‬ ‫ﺑﺎﺷﺪ‪.‬‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎﻱ ﺍﺯ ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ ﻫﻨﻮﺯ ﺳﺘﺎﻳﺸﮕﺮ ﻛﺎﻣﻞ ﺗﻤﺎﻡ ﺗﺼﻤﻴﻤﺎﺕ‬ ‫ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺍﺳﺖ‪ .‬ﻗﻬﺮﻣﺎﻥ ﺍﻭ ﻫﻨﻮﺯ ﻣﻮﺷﻚﻫﺎﻱ ﺟﻨﮓ ﺭﺍ ﻓﺮﺷﺘﻪ ﻣﻲﺩﺍﻧﺪ‬ ‫ﻭ ﺑﺮ ﺻﻮﺭﺕ ﺩﻭﺳﺘﻲ ﻛﻪ ﻗﺼﺪ ﭘﻨﺎﻫﻨﺪﮔﻲ ﺩﺍﺭﺩ ﺳﻴﻠﻲ ﻣﻲﺯﻧﺪ ﻭ ﺑﻪ ﻛﻨﺎﻳﻪ‬ ‫ﺍﻭ ﺭﺍ ﻣﺘﻬﻢ ﺑﻪ ﺍﺭﺯﺍﻥ ﻓﺮﻭﺧﺘﻦ ﻫﻤﻪ ﺩﺍﺷﺘﻪﻫﺎﻳﺶ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﻓﻴﻠﻤﺶ‬ ‫ﺣﺘﻲ ﺍﺯ ﺑﻴﺎﻥ ﺑﻌﻀﻲ ﺑﻴﺎﻧﻴﻪﻫﺎﻱ ﺳﻴﺎﺳﻲ ﻫﻢ ﻏﻔﻠﺖ ﻧﻤﻲﻛﻨﺪ ﻭ ﺍﻧﮕﺸﺖ‬ ‫ﺍﺗﻬﺎﻣﺶ ﺭﺍ ﺑﻪ ﺳــﻤﺖ ﻛﺸﻮﺭﻫﺎﻱ ﺍﺭﻭﭘﺎﻳﻲ ﻣﻲﮔﻴﺮﺩ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﻫﻢ ﺑﺮﺍﻱ‬ ‫ﻓﺮﻭﺵ ﺳــﻼﺡ ﺩﺭ ﺟﺮﻳﺎﻥ ﺟﻨﮓ ﺑﻪ ﻋﺮﺍﻕ ﺑﻪ ﻣﺤﻜﻮﻣﻴﺖ ﻣﻲﻛﺸﺪ‪ .‬ﺍﻭ‬ ‫ﺍﻟﺒﺘﻪ ﻧﮕﺎﻩ ﻧﺴﺒﺘﺎ ﻣﻬﺮﺑﺎﻧﻲ ﺑﻪ ﺍﻳﺮﺍﻧﻴﺎﻥ ﻣﻬﺎﺟﺮ ﻫﻢ ﺩﺍﺷﺖ ﻭ ﻫﻤﻴﻦ ﺯﻣﻴﻨﻪ‬ ‫ﻫﻤﺮﺍﻫﻲ ﺑﻴﺸﺘﺮ ﺑﺎ ﺍﻋﺘﻘﺎﺩﺍﺗﺶ ﻣﻲﺷﺪ‪.‬‬ ‫ﺍﺯ ﻛﺮﺧﻪ ﺗــﺎ ﺭﺍﻳﻦ ﺑﻴﺎﻧﻴﻪ ﺗﺼﻮﻳﺮﻱ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ ﭘﺎﺳــﺦ ﺑﻪ ﻣﺪﻋﻴﺎﻥ‬ ‫ﺩﻭﺭﺍﻧﺶ ﺑﻮﺩ ﻛﻪ ﺍﻭﻟﻴﻦ ﺯﻣﺰﻣﻪﻫﺎ ﺭﺍ ﺩﺭ ﻧﺎﺩﺭﺳﺘﻲ ﺗﺪﺍﻭﻡ ﺟﻨﮓ ﻭ ﻓﻀﺎﻱ‬ ‫ﺷﻜﻞﮔﺮﻓﺘﻪ ﭘﻴﺮﺍﻣﻮﻧﺶ ﺳﺮ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻭ ﺑﺎ ﺑﻪﻣﻴﺎﻥ ﻛﺸﻴﺪﻥ ﭘﺎﻛﻲ ﻭ‬ ‫ﺍﻳﺜﺎﺭ ﺍﺩﺍﻣﻪﺩﺍﺭ ﺑﺴــﻴﺠﻲﻫﺎ ﺳﻮﺧﺘﻦ ﺷﻤﻊﻭﺍﺭ ﺁﻧﻬﺎ ﺭﺍ ﻧﺸﺎﻧﻪﺍﻱ ﺍﺯ ﺍﺩﺍﻣﻪ‬ ‫ﻣﺴﻴﺮﺷﺎﻥ ﻣﻲﺩﺍﻧﺴــﺖ ﻭ ﺑﺮ ﺻﻮﺭﺕ ﺟﺎﻣﻌﻪ ﻓﺮﺍﻣﻮﺵﻛﺎﺭ ﻣﻲﻛﻮﺑﻴﺪ‪.‬‬ ‫ﺍﻭ ﺁﻧﻘﺪﺭ ﺗﻮﺍﻧﺎ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺩﺍﺳــﺘﺎﻧﺶ ﺍﺷﻚﻫﺎﻱ ﺗﻤﺎﺷﺎﮔﺮ ﺩﻭﺭ ﺍﺯ ﻓﻀﺎﻱ‬ ‫ﻗﻬﺮﻣﺎﻧﺎﻧﺶ ﺭﺍ ﻫﻢ ﺑﮕﻴﺮﺩ ﻭ ﻫﻤﻪ ﺍﻳﻨﻬﺎ ﺍﺯ ﺯﺍﻭﻳﻪ ﺍﻣﺮﻭﺯ ﻧﺸــﺎﻧﮕﺮ ﺷــﺮﻭﻉ‬ ‫ﻣﺴــﻴﺮ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺗﺎ ﺭﺳــﻴﺪﻥ ﺑــﻪ ﻧﻘﻄﻪ ﻓﻌﻠﻲ ﺍﺳــﺖ‪ .‬ﻧﻘﻄﻪﺍﻱ ﻛﻪ‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎﻱ ﺩﻳﮕﺮﻱ ﺭﺍ ﺑﻪ ﻣﺎ ﺩﺭ ﮔﺬﺭ ﺍﻳﺎﻡ ﻭ ﻣﺸــﺎﻫﺪﻩ ﻭﺍﻗﻌﻴﺖﻫﺎﻱ‬ ‫ﺟﺎﺭﻱ ﻧﺸــﺎﻥ ﺩﺍﺩ‪ .‬ﺍﻳﻦ ﺻﺤﺒﺖﻫﺎﻱ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ ﺯﻣﺎﻥ ﺳﺎﺧﺖ ﺍﺯ‬ ‫ﻛﺮﺧﻪ ﺗﺎ ﺭﺍﻳﻦ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﻭﻗﻒ ﺑﭽﻪﻫﺎﻱ ﺟﺒﻬﻪ ﻭ ﺟﻨﮓ ﻣﻲﺩﺍﻧﺴــﺖ‬ ‫ﺣﺎﻻ ﻣﻌﻨﺎﻱ ﺩﻳﮕﺮﻱ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺍﺷــﺘﻪ ﺑﺎﺷﺪ‪» :‬ﻳﻚ ﭼﻴﺰ ﻛﺎﻣﻼ ﺑﺮﺍﻳﻢ‬ ‫ﺭﻭﺷﻦ ﺍﺳﺖ‪ :‬ﻣﻦ ﻭﻗﻒ ﺍﻳﻦ ﺑﭽﻪﻫﺎ ﻫﺴﺘﻢ‪ ،‬ﺣﺘﻲ ﺑﻴﺴﺖ ﺳﺎﻝ ﺩﻳﮕﺮ ﻫﻢ‬ ‫ﺍﮔﺮ ﺍﻳﻦ ﺑﭽﻪﻫﺎ ﺑﺎﺷﻨﺪ ﺣﺮﻑ ﻣﻲﺯﻧﻢ ﻭﮔﺮﻧﻪ ﺣﺮﻓﻲ ﺑﺮﺍﻱ ﮔﻔﺘﻦ ﻧﺨﻮﺍﻫﻢ‬ ‫ﺩﺍﺷــﺖ‪ .‬ﻣﻦ ﻧﻴﺎﻣﺪﻩﺍﻡ ﺗﺎ ﺻﺮﻓﺎ ﻓﻴﻠﻤﻲ ﺳﺎﺧﺘﻪ ﺑﺎﺷﻢ ﻳﺎ ﺁﭘﺎﺭﺍﺕﻫﺎ ﺭﺍ ﺑﻪ‬ ‫ﺭﻭﻧﻖ ﺍﻧﺪﺍﺯﻡ ﺑﻠﻜﻪ ﺗﺎ ﺣﺮﻑ ﻭ ﺣﺪﻳﺜﻲ ﺍﺯ ﺍﻳﻦ ﺑﭽﻪﻫﺎ ﻫﺴﺖ ﻣﺎ ﻫﻢ ﻫﺴﺘﻴﻢ‬ ‫ﻭﺍﻻ ﻣﺎ ﺭﺍ ﺑﻪ ﺧﻴﺮ ﻭ ﺳﻴﻨﻤﺎ ﺭﺍ ﺑﻪ ﺳﻼﻣﺖ!«‬ ‫‪74‬‬ ‫‪15‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻭ ﭘﺴﺮﺧﺎﻟﻪ )‪(1373‬‬ ‫ﺷﻴﻄﻨﺖﻫﺎﻱ‬ ‫ﺷﻴﺮﻳﻦ ﻓﺮﺯﻧﺪ‬ ‫ﺭﻭﺯﮔﺎﺭ ﺟﺪﻳﺪ‬ ‫ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﺍﻳـﺮﺝ ﻃﻬﻤﺎﺳـﺐ‪،‬‬ ‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ :‬ﻫﻤﺎﻳﻮﻥ ﺍﺳﻌﺪﻳﺎﻥ‪،‬‬ ‫ﺍﻳﺮﺝ ﻃﻬﻤﺎﺳـﺐ‪ ،‬ﺣﻤﻴﺪ ﺟﺒﻠﻲ‪،‬‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪:‬ﻣﺤﻤﺪﻣﻬﺪﻱﺩﺍﺩﮔﻮ‪،‬‬ ‫ﺷـﺮﻛﺖ ﺗﺼﻮﻳﺮ ﺯﻧﺪﮔـﻲ‪ ،‬ﻣﺪﻳﺮ‬ ‫ﻓﻴﻠﻤﺒـﺮﺩﺍﺭﻱ‪ :‬ﻋﺰﻳﺰ ﺳـﺎﻋﺘﻲ‪،‬‬ ‫ﻣﺸﺎﻭﺭ ﺍﺟﺮﺍﻳﻲ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻫﻤﺎﻳﻮﻥ ﺍﺳﻌﺪﻳﺎﻥ‪ ،‬ﺗﺪﻭﻳﻦ‪:‬‬ ‫ﺭﻭﺡﺍﷲﺍﻣﺎﻣﻲ‪،‬ﻣﻮﺳﻴﻘﻲ‪:‬ﻣﺤﻤﺪﺭﺿﺎﻋﻠﻴﻘﻠﻲ‪،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪:‬‬ ‫ﺍﺣﻤـﺪ ﺍﻣﻴﺮﻱ‪ ،‬ﻃـﺮﺍﺡ ﺻﺤﻨﻪ‪ :‬ﺣﻤﻴﺪ ﺟﺒﻠﻲ‪ ،‬ﺳـﺎﺧﺖ‬ ‫ﻋﺮﻭﺳـﻚﻫﺎ‪ :‬ﻣﺮﺿﻴـﻪ ﻣﺤﺒﻮﺏ‪ ،‬ﻋﺮﻭﺳـﻚﮔﺮﺩﺍﻥﻫﺎ‪:‬‬ ‫ﺩﻧﻴﺎ ﻓﻨﻲﺯﺍﺩﻩ‪ ،‬ﻣﺮﺿﻴﻪ ﻣﺤﺒﻮﺏ‪ ،‬ﺻﺪﺍﻱ ﻋﺮﻭﺳـﻚﻫﺎ‪:‬‬ ‫ﺣﻤﻴﺪ ﺟﺒﻠﻲ‪ ،‬ﻣﺠﺮﻱ ﻃـﺮﺡ‪ :‬ﻛﺎﻭﻩ ﺩژﺍﻛﺎﻡ‪ ،‬ﭼﻬﺮﻩﭘﺮﺩﺍﺯ‪:‬‬ ‫ﻧﺎﻫﻴﺪ ﻏﻼﻣﻲ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺍﻳﺮﺝ ﻃﻬﻤﺎﺳﺐ‪ ،‬ﻓﺎﻃﻤﻪ ﻣﻌﺘﻤﺪﺁﺭﻳﺎ‪ ،‬ﺣﻤﻴﺪ‬ ‫ﺟﺒﻠﻲ‪ ،‬ﺣﻤﻴـﺪﻩ ﺧﻴﺮﺁﺑﺎﺩﻱ‪ ،‬ﻣﺮﺗﻀـﻲ ﺍﺣﻤﺪﻱ‪ ،‬ﻣﻬﺮﻱ‬ ‫ﻣﻬﺮﻧﻴﺎ‪ ،‬ﻓﺮﺥﻟﻘﺎ ﻫﻮﺷﻤﻨﺪ‪ ،‬ﺍﻛﺒﺮ ﺩﻭﺩﻛﺎﺭ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺗﺼﻮﻳﺮ ﺯﻧﺪﮔﻲ‪ 90،‬ﺩﻗﻴﻘﻪ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 16 :‬ﺁﺫﺭ ‪ ،1373‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪200 :‬‬ ‫ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫»ﻛﻼﻩ ﻗﺮﻣﺰﻱ« ﻛﻪ ﺣﺎﻻ ﺑﺰﺭگ ﺷــﺪﻩ ﻣﺸﻐﻮﻝ ﺗﺤﺼﻴﻞ ﺍﺳﺖ‬ ‫ﺍﻣﺎ ﺑﺎﺯﻳﮕﻮﺷــﻲﻫﺎﻳﺶ ﺳﺒﺐ ﻣﻲﺷﻮﺩ ﺗﺎ ﺍﺯ ﻣﺪﺭﺳﻪ ﺍﺧﺮﺍﺝ ﺷﻮﺩ‪.‬‬ ‫ﺗﻼﺵ ﺍﻭ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺷﻐﻠﻲ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ ﻧﻴﺰ ﻧﺘﻴﺠﻪﺍﻱ ﻋﺎﻳﺪﺵ‬ ‫ﻧﻤﻲﻛﻨﺪ‪ ،‬ﺗﺎ ﺍﻳﻨﻜﻪ ﺍﺯ ﻃﺮﻳﻖ ﺗﻤﺎﺷﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻭ ﻣﻼﺣﻈﻪ ﺑﺮﻧﺎﻣﻪ‬ ‫»ﺁﻗﺎﻱ ﻣﺠﺮﻱ« ﺗﺼﻤﻴــﻢ ﻣﻲﮔﻴﺮﺩ ﺗﺎ ﺭﻭﺍﻧﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺷــﻮﺩ‪.‬‬ ‫»ﻛﻼﻩ ﻗﺮﻣﺰﻱ« ﺑﻪ ﺗﻬﺮﺍﻥ ﻧﺰﺩ »ﭘﺴــﺮﺧﺎﻟﻪ« ﻣﻲﺭﻭﺩ ﻭ ﺑﺎ ﻛﻤﻚ‬ ‫ﺍﻭ ﺭﻭﺍﻧﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﺑﻪ ﺧﺎﻃﺮ ﻋﻼﻗﻪ ﺯﻳﺎﺩﺵ ﺑﻪ‬ ‫»ﺁﻗﺎﻱ ﻣﺠﺮﻱ« ﺳــﻌﻲ ﻣﻲﻛﻨﺪ ﺗﺎ ﻣﻮﺍﻧﻊ ﺭﺍﻩ ﺍﺯﺩﻭﺍﺝ ﺍﻭ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ‬ ‫ﺑﺮﺩﺍﺭﺩ ﺍﻣﺎ ﻣﺸﻜﻼﺗﻲ ﺭﺍ ﺑﺎﻋﺚ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻛﻼﻩﻗﺮﻣﺰﻱ ﻭ ﭘﺴﺮﺧﺎﻟﻪ ﭘﺪﻳﺪﻩ ﻧﻴﻤﻪ ﺍﻭﻝ ﺩﻫﻪ ‪ 70‬ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﺑﺮﺁﻣﺪﻩ‬ ‫ﺍﺯ ﻳﻚ ﺑﺮﻧﺎﻣــﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺑﺴــﻴﺎﺭ ﻣﻮﻓﻖ ﻛﻪ ﺑﻌــﺪ ﺍﺯ ﻣﺪﺕﻫﺎ ﺻﻨﻌﺖ‬ ‫ﺳﺮﮔﺮﻣﻲ ﺳﺎﺯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺻﺎﺣﺐ ﺷــﺨﺼﻴﺖﻫﺎﻱ ﺟﺪﻳﺪ ﻛﺎﻣﻼ ﺍﻳﺮﺍﻧﻲ‬ ‫ﻛﺮﺩ‪ .‬ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻋﺮﻭﺳــﻚ ﺷــﻴﻄﺎﻧﻲ ﻛﻪ ﺣﺘﻲ ﻧــﻮﻉ ﺣﺮﻑ ﺯﺩﻧﺶ‬ ‫ﻫﻢ ﻧﺎﻣﻔﻬﻮﻡ ﻭ ﭘﺮﻏﻠﻂ ﺑﻮﺩ‪ ،‬ﺗﻤﺎﻡ ﻣﻨﺎﺳــﺒﺎﺕ ﻭ ﺍﺧﻼﻗﻴﺎﺕ ﺭﺍ ﺑﻪ ﺳــﺨﺮﻩ‬ ‫ﻣﻲﮔﺮﻓﺖ ﻭ ﺑﺎ ﺷــﻴﻄﻨﺖ ﺷﻴﺮﻳﻦ ﻣﻌﺼﻮﻣﺎﻧﻪﺍﻱ‪ ،‬ﺩﻧﻴﺎﻱ ﺑﺰﺭﮔﺴﺎﻻﻥ ﺭﺍ‬ ‫ﻫﻢ ﺑﻪ ﻫﻢ ﻣﻲﺭﻳﺨﺖ‪ .‬ﻛﻼﻩﻗﺮﻣﺰﻱ ﺁﺷــﻜﺎﺭﺍ ﻣﺤﺼــﻮﻝ ﺩﻭﺭﻩﺍﺵ ﺑﻮﺩ‪.‬‬ ‫ﻛﻮﺩﻛﺎﻧﻲ ﻛﻪ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻧﻤﻮﻧﻪﻫﺎﻱ ﻗﻬﺮﻣﺎﻧﺎﻥ ﻏﺮﺑﻲ‪ ،‬ﻣﺎﺑﻪﺍﺯﺍﻱ ﺍﻳﺮﺍﻧﻲ‬ ‫ﻧﺪﺍﺷﺘﻨﺪ‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪﺁﺳﺎﻧﻲ ﭘﺬﻳﺮﻓﺘﻨﺪ‪ .‬ﻛﻼﻩﻗﺮﻣﺰﻱ ﺗﺠﻠﻲ ﻫﻤﻪ ﺳﻮﺍﻻﺕ ﻭ‬ ‫ﺍﺑﻬﺎﻡﻫﺎﻱ ﻛﻮﺩﻛﺎﻥ ﺩﻭﺭﻩﺍﺵ ﺑﻮﺩ‪ .‬ﻛﻮﺩﻛﺎﻧﻲ ﻛﻪ ﻣﻨﺎﺳﺒﺎﺕ ﻛﺎﻣﻼ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺧﺎﻧﻪ‪ /‬ﻣﺪﺭﺳــﻪ ﻫﻤﻪ ﻭﺟﻮﺩﺷﺎﻥ ﺭﺍ ﺩﺭ ﺑﺮﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﺑﺮﻧﺎﻣﻪ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻛﻼﻩﻗﺮﻣﺰﻱ ﺍﺯ ﻫﻤﺎﻥ ﻧﺨﺴﺘﻴﻦ ﻗﺴﻤﺖﻫﺎ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺑﻮﺩ‪.‬‬ ‫ﺍﻭ ﺁﻥ ﻗﺪﺭ ﺯﻭﺩ ﺩﺭ ﺧﺎﻧﻪﻫﺎ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪ ﻛﻪ ﺩﺭ ﺍﻧﺪﻙ ﺯﻣﺎﻧﻲ ﺗﻘﻠﻴﺪ ﻟﺤﻦ‬ ‫ﻭ ﻧﻮﻉ ﺻﺤﺒﺖﻛﺮﺩﻧﺶ ﺷﻮﺧﻲ ﺭﺍﻳﺞ ﻣﻴﺎﻥ ﺑﭽﻪﻫﺎ ﻭ ﺣﺘﻲ ﺑﺰﺭﮔﺴﺎﻻﻥ‬ ‫ﺷــﺪﻩ ﺑﻮﺩ‪ .‬ﺳــﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺍﺯ ﺍﻳﻦ ﺷــﺨﺼﻴﺖ ﻭ ﻣﺎ ﺑﻪ ﺍﺯﺍﻱ ﻣﻮﺩﺑﺶ‬ ‫)ﭘﺴــﺮﺧﺎﻟﻪ( ﻛﻪ ﺑﺎ ﻇﺮﺍﻓﺖ ﻫﻨﺮﻣﻨﺪﺍﻧﻪﺍﻱ ﺍﻏﺮﺍﻕ ﻭ ﺍﻓﺮﺍﻁ ﺷﻴﺮﻳﻨﻲ ﺩﺭ‬ ‫ﺷﻮﺧﻲ ﺑﺎ ﻧﻮﻉ ﺗﺮﺑﻴﺖ ﻫﻤﻮﺍﺭﻩ ﺗﺒﻠﻴﻎ ﺷــﺪﻩ ﺍﺧﻼﻗﻴﺎﺕ ﺍﻳﺮﺍﻧﻲ ﺩﺍﺷﺖ‪،‬‬ ‫ﺗﺼﻤﻴﻢ ﻣﻨﻄﻘﻲ ﻭ ﺻﺤﻴﺤﻲ ﺑﻮﺩ‪ .‬ﺁﻥ ﻫﻢ ﺩﺭ ﺷــﺮﺍﻳﻂ ﺧﺎﺹ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﺩﺭ ﻧﻴﻤﻪ ﺍﻭﻝ ﺩﻫﻪ ‪ 70‬ﻛﻪ ﺁﺷــﻜﺎﺭﺍ ﺑﺎ ﺭﻳﺰﺵ ﺗﻤﺎﺷــﺎﮔﺮ ﻭ ﺑﺤﺮﺍﻥ‬ ‫ﻣﺨﺎﻃﺐ ﺩﺭ ﻛﻨﺎﺭ ﺍﻓﺰﺍﻳﺶ ﺳﺮﺳــﺎﻡﺁﻭﺭ ﻫﺰﻳﻨﻪﻫــﺎ ﻣﻮﺍﺟﻪ ﺑﻮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ‬ ‫ﺗﺮﺗﻴﺐ ‪ 10‬ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺳﺎﺧﺘﻪ ﺷﺪﻥ »ﺷﻬﺮ ﻣﻮﺵﻫﺎ« ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﺴﺨﻪ‬ ‫ﺳــﻴﻨﻤﺎﻳﻲ ﻳﻚ ﺑﺮﻧﺎﻣﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻣﻮﻓﻖ‪ ،‬ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ ﻳﻜﻲ ﺍﺯ‬ ‫ﺑﺤﺮﺍﻧﻲﺗﺮﻳﻦ ﺩﻭﺭﻩﻫﺎﻱ ﺣﻴﺎﺗﺶ ﺩﺳﺖ ﺑﻪ ﺗﻜﺮﺍﺭ ﺩﻭﺑﺎﺭﻩ ﺍﻳﻦ ﺗﺠﺮﺑﻪ ﺯﺩ ﻭ‬ ‫ﺗﻮﺍﻧﺴﺖ ﺿﻤﻦ ﺟﻠﺐ ﺗﻮﺟﻪ ﺍﻧﺒﻮﻩ ﻣﺨﺎﻃﺒﺎﻥ‪ ،‬ﺑﻪ ﺻﻮﺭﺕ ﻣﻘﻄﻌﻲ ﺑﺨﺸﻲ‬ ‫ﺍﺯ ﻣﺸﻜﻼﺗﺶ ﺭﺍ ﺩﺭ ﺯﻣﻴﻨﻪ ﻛﺎﻫﺶ ﺗﻤﺎﺷــﺎﮔﺮ ﺣﻞ ﻛﻨﺪ‪ .‬ﻛﻼﻩ ﻗﺮﻣﺰﻱ‬ ‫ﺷﺒﺎﻫﺖﻫﺎﻱ ﻓﺮﺍﻭﺍﻧﻲ ﺑﻪ ﻧﻤﻮﻧﻪ ‪ 10‬ﺳــﺎﻝ ﻗﺒﻠﺶ ﺩﺍﺭﺩ‪ .‬ﺷﻬﺮ ﻣﻮﺵﻫﺎ‬ ‫ﻓﻴﻠﻤﻲ ﺑﻮﺩ ﻛﻪ ﺑﺮﺍﻱ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻲ‪ ،‬ﺻﺪﺍﻱ ﻛﻒ‬ ‫ﻭ ﺷــﺎﺩﻱ ﻭ ﺧﻨﺪﻩ ﻭ ﺗﺸﻮﻳﻖ ﺭﺍ ﺩﺭ ﺳﺎﻟﻬﺎﻱ ﺟﻨﮓ ﺑﻪ ﺳﺎﻟﻦﻫﺎﻱ ﺳﻴﻨﻤﺎ‬ ‫ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﺭﺧﻮﺕ ﭼﻨﺪﻳﻦ ﺳــﺎﻟﻪ ﺗﻮﺍﻧﺴــﺖ‬ ‫ﺑﻪﺗﺸــﻮﻳﻖ ﻭ ﺍﺻﺮﺍﺭ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﺭﺍ ﺑﻪ ﺳﻴﻨﻤﺎﻫﺎ ﺑﻜﺸﺎﻧﺪ ﻭ ﺁﻧﻬﺎ‬ ‫ﺳﺎﻟﻦﻫﺎﻱ ﺳﻴﻨﻤﺎ ﺭﺍ ﺑﻪ ﻣﺤﻞ ﺷﺎﺩﻱ ﺟﻤﻌﻲ ﺗﺒﺪﻳﻞ ﻛﻨﻨﺪ‪ .‬ﻛﻼﻩ ﻗﺮﻣﺰﻱ‬ ‫ﻳﺎﺩﺁﻭﺭﻱ ﺩﻭﺑﺎﺭﻩﺍﻱ ﻫﻢ ﺑﻪ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺩﺭ ﺩﺳــﺘﻴﺎﺑﻲ ﺑﻪ ﻧﻮﻋﻲ ﺧﻨﺪﻩ‬ ‫ﻭ ﺳﺮﺧﻮﺷﻲ ﺟﻤﻌﻲ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﺮﻧﺎﻣﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻛﻼﻩﻗﺮﻣﺰﻱ ﻭ ﭘﺴﺮﺧﺎﻟﻪ )ﺍﻳﺮﺝ ﻃﻬﻤﺎﺳﺐ‪،‬‬ ‫ﺣﻤﻴﺪ ﺟﺒﻠــﻲ‪ ،‬ﻓﺎﻃﻤﻪ ﻣﻌﺘﻤﺪﺁﺭﻳﺎ( ﭘﻴــﺶ ﺍﺯ ﺍﻧﻘﻼﺏ ﺩﺭ ﻛﻼﺱﻫﺎﻱ‬ ‫ﺁﻣﻮﺯﺵ ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺁﺷــﻨﺎ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺍﺯ ﻫﻤﺎﻥ ﻛﻼﺱﻫﺎ ﻧﺨﺴﺘﻴﻦ ﺗﺠﺮﺑﻪﻫﺎﻱ ﻧﻤﺎﻳﺸﻲﺷﺎﻥ‬ ‫ﺭﺍ ﭘﺸﺖﺳﺮﮔﺬﺍﺷــﺘﻨﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﭘــﺲ ﺍﺯ ﺣﻀﻮﺭ ﺩﺭ ﭼﻨﺪ ﺑﺮﻧﺎﻣﻪ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻲ‪ ،‬ﺍﺑﺘﺪﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﺮﻭﺳــﻚﮔﺮﺩﺍﻥ ﻭ ﺑﻌﺪ ﺑﺎﺯﻳﮕﺮ ﻭﺍﺭﺩ ﺟﺮﻳﺎﻥ‬ ‫ﺣﺮﻓﻪﺍﻱ ﺳــﻴﻨﻤﺎ ﺷــﺪﻧﺪ‪ .‬ﺍﻳﻦ ﮔﺮﻭﻩ ﺑﺎ ﻫﻤﺮﺍﻫــﻲ ﻣﺮﺿﻴﻪ ﻣﺤﺒﻮﺏ ﻭ‬ ‫ﺩﻧﻴــﺎ ﻓﻨﻲﺯﺍﺩﻩ ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﺭﺍ ﻣﺘﻮﻟﺪ ﻛﺮﺩﻧﺪ‪ .‬ﺍﺳــﺘﻘﺒﺎﻝ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ‬ ‫ﺍﺯ ﺑﺮﻧﺎﻣــﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻛﻼﻩﻗﺮﻣﺰﻱ‪ ،‬ﻃﺮﺡ ﺳــﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ‬ ‫ﺩﻭ ﺷﺨﺼﻴﺖ ﻣﺤﺒﻮﺏ ﺭﺍ ﺑﻪ ﺳــﺮﻋﺖ ﺩﺭ ﺫﻫﻦ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺳﻴﻨﻤﺎ‬ ‫ﻣﻄــﺮﺡ ﻛﺮﺩ‪ .‬ﺍﺯ ﺑﻴﻦ ﺩﻓﺎﺗــﺮ ﻣﺨﺘﻠﻒ‪ ،‬ﻣﺤﻤﺪﻣﻬﺪﻱ ﺩﺍﺩﮔﻮ ﺗﻮﺍﻧﺴــﺖ‬ ‫ﺭﺿﺎﻳﺖ ﻣﺴــﺌﻮﻻﻥ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺭﺍ ﺑﺮﺍﻱ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺑﻪﺩﺳــﺖ ﺁﻭﺭﺩ‬ ‫ﻭ ﻛﺎﺭ ﺗﻮﻟﻴــﺪ ﺭﺍ ﺑﺎ ﻣﺸــﺎﺭﻛﺖ ﻋﻮﺍﻣﻞ ﺑﻪ ﺟﺮﻳﺎﻥ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﻃﻬﻤﺎﺳــﺐ‬ ‫ﻭ ﺟﺒﻠﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻮﻳﺴــﻨﺪﮔﺎﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ‪ ،‬ﺩﺍﺳــﺘﺎﻥ ﺭﺍ ﺑﻪ ﮔﺬﺷــﺘﻪ‬ ‫ﻭ ﺧﺎﺳــﺘﮕﺎﻩ ﻛﻼﻩ ﻗﺮﻣــﺰﻱ ﻭ ﭼﮕﻮﻧﮕﻲ ﺭﺍﻩ ﻳﺎﻓﺘﻨﺶ ﺑــﻪ ﺑﺮﻧﺎﻣﻪ ﺁﻗﺎﻱ‬ ‫ﻣﺠﺮﻱ ﺑﺮﺩﻧﺪ ﻭ ﺩﺭ ﻛﻨﺎﺭﺵ ﺷــﻮﺧﻲﻫﺎﻳﻲ ﺑﺎ ﺑﻌﻀﻲ ﻓﻴﻠﻢﻫﺎ ﻭ ﻟﺤﻈﺎﺕ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻭ ﻧﻴﺰ ﺑﻌﻀﻲ ﭘﻴﺎﻡﻫﺎﻱ ﺍﺧﻼﻗﻲ ﻛﺮﺩﻧﺪ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﻪ ﻧﺎﻡ‬ ‫»ﻣﺪﺭﺳﻪ ﺧﻮﺩﻣﻪ« ﺍﺭﺩﻳﺒﻬﺸﺖ‪ 73‬ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﮔﺮﻓﺖ ﻭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﻫﻢ ﺍﺯ ‪ 11‬ﺧﺮﺩﺍﺩ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺭﻭﺯ ﺟﻬﺎﻧﻲ ﻛﻮﺩﻙ ﺩﺭ ﺗﻬﺮﺍﻥ ﺁﻏﺎﺯ ﺷــﺪ‪.‬‬ ‫ﮔﺮﻭﻩ ﺳــﺎﺯﻧﺪﻩ ﻓﻴﻠﻢ ﻧﺴــﺒﺖ ﺑﻪ ﺑﺮﻧﺎﻣﻪ ﺗﻠﻮﻳﺰﻳﻮﻧــﻲ ﺗﻐﻴﻴﺮﺍﺗﻲ ﺩﺭ ﻓﺮﻡ‬ ‫ﻳﺎﺩﺩﺍﺷﺖ‬ ‫ﭘﻴﻨﻮﻛﻴﻮﻱ ﺍﻳﺮﺍﻧﻲ‬ ‫ﻣﻬﺪﻱ ﻃﺎﻫﺒﺎﺯ‬ ‫ﻋﺮﻭﺳﻚﻫﺎ ﻭ ﺗﺎ ﺣﺪﻭﺩﻱ ﻟﺤﻦ ﺻﺤﺒﺖ ﺧﻮﺩ ﻛﻼﻩﻗﺮﻣﺰﻱ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻧﺪ ﻭ‬ ‫ﺩﺭ ﻛﺎﺭ ﺗﻘﺮﻳﺒﺎ ﻣﺸﺘﺮﻛﻲ ﺍﻣﻮﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺭﺍ ﭘﻴﺶ ﺑﺮﺩﻧﺪ‪ .‬ﺍﻳﺮﺝ ﻃﻬﻤﺎﺳﺐ‬ ‫ﺩﺭ ﻣﻘﺎﻡ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪ ﺳﺎﺧﺖ ﻳﻚ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻲ ﺭﺍ ﺍﻧﺠﺎﻡ‬ ‫ﻣﻲﺩﺍﺩ ﺍﻟﺒﺘﻪ ﻧﻘﺶ ﻫﻤﺎﻳﻮﻥ ﺍﺳــﻌﺪﻳﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﺳــﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﻣﺴﻠﻂ ﻭ ﻛﺎﺭﺑﻠﺪ ﺁﻥ ﻣﻘﻄﻊ ﺳﻴﻨﻤﺎ ﻛﻪ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﺶ ﺭﺍ ﻫﻢ ﺳﺎﺧﺘﻪ ﺑﻮﺩ‪،‬‬ ‫ﺩﺭ ﻛﺎﺭﮔﺮﺩﺍﻳﻦ ﻓﻴﻠﻢ ﻣﺤﺴﻮﺱ ﺑﻮﺩ‪ .‬ﺭﺻﺪ ﻣﺮﺍﺣﻞ ﺁﻣﺎﺩﻩ ﺳﺎﺯﻱ ﻓﻴﻠﻢ ﻧﺰﺩ‬ ‫ﺻﺎﺣﺒﺎﻥ ﺳﻴﻨﻤﺎﻫﺎ ﺍﺯ ﻫﻤﺎﻥ ﻣﺮﺍﺣﻞ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺁﻏﺎﺯ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﭘﺲ‬ ‫ﺍﺯ ﺁﻥ ﻫﻢ ﺩﺭ ﻣﺮﺣﻠﻪ ﺍﻣﻮﺭ ﻓﻨﻲ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ‪ .‬ﻓﻴﻠﻢ ﺧﻴﻠﻲ ﺳﺮﻳﻊ ﻣﺮﺍﺣﻞ‬ ‫ﻓﻨﻲﺍﺵ ﺭﺍ ﻃﻲ ﻛﺮﺩ ﻭ ﺩﺭ ﻧﻴﻤﻪ ﭘﺎﻳﻴﺰ ﺗﻘﺮﻳﺒﺎ ﺁﻣﺎﺩﻩ ﻧﻤﺎﻳﺶ ﺷﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﻣﺮﺍﺣــﻞ ﭘﺎﻳﺎﻧﻲ ﺗﻮﻟﻴﺪ ﻓﻴﻠــﻢ ﻛﻼﻩﻗﺮﻣﺰﻱ ﻭ ﭘﺴــﺮﺧﺎﻟﻪ ﺩﺭ ﺣﺎﻟﻲ ﻃﻲ‬ ‫ﻣﻲﺷﺪ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺳــﻴﻨﻤﺎﺩﺍﺭﺍﻥ ﭼﺸﻢﺍﻧﺘﻈﺎﺭ ﺁﻣﺎﺩﻩ ﺷﺪﻥ ﻓﻴﻠﻢﻫﺎ‬ ‫ﺑﻮﺩﻧــﺪ‪ .‬ﺩﺭﺣﺎﻟﻲﻛــﻪ ﺑﻨﺎ ﺑﺮ ﺳــﻨﺖ ﭼﻨﺪﻳﻦ ﺳــﺎﻟﻪ ﺳــﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ‬ ‫ﺍﻧﻘــﻼﺏ‪ ،‬ﺑﺮﻧﺎﻣــﻪ ﺍﻛﺮﺍﻥ ﺳــﻴﻨﻤﺎﻫﺎ ﺩﺭ ﺗﻘﻮﻳﻤﻲ ﺳــﺎﻟﻴﺎﻧﻪ ﺑﺎ ﺗﻘﺴــﻴﻢ‬ ‫ﺑﻨــﺪﻱ ﺳــﻴﻨﻤﺎﻫﺎ ﺩﺭ ﮔﺮﻭﻩﻫــﺎﻱ ﻣﺨﺘﻠــﻒ ﺁﻣــﺎﺩﻩ ﻣﻲﺷــﺪ ﻭ ﻓﻴﻠﻢ‬ ‫ﻛﻼﻩﻗﺮﻣــﺰﻱ ﻫﻢ ﺑﻪﺧﺎﻃﺮ ﺗﻮﻟﻴﺪ ﺟﺪﻳﺪ ﻋﻤﻼ ﻧﺎﻣﺶ ﺩﺭ ﺍﻳﻦ ﻓﻬﺮﺳــﺖ‬ ‫ﻧﺒﻮﺩ ﺍﻣﺎ ﺳــﻴﻨﻤﺎﺩﺍﺭﺍﻥ ﺍﺻــﺮﺍﺭ ﻓﺮﺍﻭﺍﻧﻲ ﺑــﻪ ﻧﻤﺎﻳﺶ ﺧــﺎﺭﺝ ﺍﺯ ﺑﺮﻧﺎﻣﻪ‬ ‫ﺩﺍﺷــﺘﻨﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻲﺷــﺪ ﺍﺧﺘﻼﻑ ﺑﺮ ﺳــﺮ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺑﺎﻋــﺚ ﺍﻳﺠﺎﺩ‬ ‫ﻣﻨﺎﺯﻋﻪ ﺩﺭ ﺟﻠﺴــﺎﺕ ﻛﻤﻴﺴﻴﻮﻥ ﺍﻛﺮﺍﻥ ﺷــﺪﻩ ﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺣﺘﻲ ﻣﺪﻳﺮ‬ ‫ﺩﻭ ﺳﻴﻨﻤﺎ ﻫﻢ ﺗﻨﺒﻴﻪ ﺍﺩﺍﺭﻱ ﺷﺪﻧﺪ‪ .‬ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ ﺣﺎﻟﻲ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 73‬ﺷــﺎﻫﺪ ﻓﺮﻭﺵ ﺧــﻮﺏ ﭼﻨﺪ ﻓﻴﻠﻢ ﺑــﻮﺩ ﻛﻪ ﺑﺎﻻﺭﻓﺘﻦ ﺳﺮﺳــﺎﻡﺁﻭﺭ‬ ‫ﻫﺰﻳﻨﻪﻫﺎﻱ ﺗﻮﻟﻴﺪ ﺑﺎ ﻗﻄﻊ ﺳﻮﺑﺴــﻴﺪﻫﺎﻱ ﭼﻨﺪﺳــﺎﻟﻪ ﻫﻤﺮﺍﻩ ﺑﺎ ﺗﻮﺭﻡ ﺑﻪ‬ ‫ﻇﺎﻫﺮ ﻣﻬﺎﺭﻧﺸــﺪﻧﻲ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺳــﻴﻨﻤﺎﻫﺎ ﺭﺍ ﺩﺭ ﺁﺳﺘﺎﻧﻪ ﻭﺭﺷﻜﺴﺘﮕﻲ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ ﺁﻥ ﭼﻨﺎﻥ ﻛﻪ ﻣﻮﺿﻮﻉ ﺗﺒﺪﻳﻞ ﺳــﻴﻨﻤﺎﻫﺎ ﺑﻪ ﭘﺎﺳــﺎژﻫﺎﻱ‬ ‫ﺗﺠﺎﺭﻱ ﻛﻪ ﺁﻥ ﺯﻣﺎﻥ ﺗﺐ ﺳﺎﺧﺘﺸــﺎﻥ ﻫﻤﻪﺟﺎ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺩﺭ ﻣﺤﺎﻓﻞ‬ ‫ﻣﺨﺘﻠﻒ ﻣﻄﺮﺡ ﺑﻮﺩ‪ .‬ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻲ ﻛﻤﻴﺴﻴﻮﻥ ﺍﻛﺮﺍﻥ ﺭﺍ ﻣﺠﺎﺏ ﻛﺮﺩ‬ ‫ﺑﺮﺧﻼﻑ ﻗﻮﺍﻧﻴﻨﺶ ﺩﺳﺘﻮﺭ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺭﺍ ﺍﺯ ﻧﻴﻤﻪ ﺩﻭﻡ ﺁﺫﺭﻣﺎﻩ ﺩﺭ ﻳﻜﻲ‬ ‫ﺍﺯ ﺯﻣﺎﻥﻫﺎﻱ ﻧﺎﻣﻨﺎﺳﺐ ﺳﺎﻝ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺁﻏﺎﺯ ﺍﻣﺘﺤﺎﻧﺎﺕ ﻣﺪﺍﺭﺱ ﺻﺎﺩﺭ‬ ‫ﻛﻨﺪ‪ .‬ﭘﻴﺶ ﺍﺯ ﺷﺮﻭﻉ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺍﻟﺒﺘﻪ ﺍﺷﺘﻴﺎﻕ ﻓﺮﺍﻭﺍﻧﻲ ﻧﺰﺩ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﺍﺻﻠﻲﺍﺵ ‪ -‬ﻛﻮﺩﻛﺎﻥ ﻛﻪ ﺍﺧﺒﺎﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺭﺍ ﺷﻨﻴﺪﻩ ﺑﻮﺩﻧﺪ ﺑﻮﺟﻮﺩ ﺁﻣﺪﻩ‬ ‫ﺑﻮﺩ ﻭ ﺣﺘﻲ ﺗﻌﺪﺍﺩﻱ ﻛﺎﺭ ﺭﺍ ﺑﻪﻟﺤﻈﻪ ﺷﻤﺎﺭﻱ ﺭﺳﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻭ‬ ‫ﭘﺴﺮﺧﺎﻟﻪ ﺑﻪ ﺩﻟﻴﻞ ﻫﻤﺎﻥ ﻣﺸﻜﻼﺕ ﻭ ﺍﺧﺘﻼﻓﺎﺕ ﻛﻤﻴﺴﻴﻮﻥ ﺍﻛﺮﺍﻥ‪ ،‬ﺑﺪﻭﻥ‬ ‫ﻫﻴﭻ ﺗﺒﻠﻴﻐﻲ ﻭ ﻧﺎﮔﻬﺎﻧﻲ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ ﺍﻣﺎ ﺩﺭ ﻫﻤﺎﻥ ﻫﻔﺘﻪ ﺍﻭﻝ ﻧﺸﺎﻥ‬ ‫ﺩﺍﺩ ﺍﺻﻼ ﻧﻴﺎﺯﻱ ﺑﻪ ﺍﻃﻼﻉﺭﺳﺎﻧﻲ ﻧﺪﺍﺭﺩ‪ .‬ﻫﺠﻮﻡ ﺑﻪ ﺳﻴﻨﻤﺎﻫﺎ ﺧﻴﺮﻩﻛﻨﻨﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺩﺭ ﺩﻭﻣﻴﻦ ﺁﺧﺮﻫﻔﺘﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﭘﻠﻴﺲ ﻣﺠﺒﻮﺭ ﺑﻪ ﺣﻀﻮﺭ ﻣﻘﺎﺑﻞ‬ ‫ﺳﻴﻨﻤﺎﻫﺎﻱ ﺍﺻﻠﻲ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺷﺪ ﻭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻌﺪ ﺍﺯ ﻗﺮﻳﺐ ﻳﻚ‬ ‫ﺩﻫﻪ ﺩﻭﺑﺎﺭﻩ ﺧﺎﻃﺮﻩ ﺻﻒﻫﺎﻱ ﻛﻴﻠﻮﻣﺘﺮﻱ ﻭ ﺷﻜﺴﺘﻪ ﺷﺪﻥ ﺷﻴﺸﻪﻫﺎ ﺭﺍ‬ ‫ﺟﺰ ﺍﻳﺎﻡ ﺟﺸﻨﻮﺍﺭﻩ ﺗﻜﺮﺍﺭ ﻛﺮﺩ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻫﺎﻱ ﻣﺨﺘﻠﻒ‬ ‫ﺑﻴﺸﺘﺮ ﺩﺭﺑﺎﺭﻩ ﭼﮕﻮﻧﮕﻲ ﺷــﻜﻞ ﺩﺍﺩﻥ ﺷﺨﺼﻴﺖ ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻭ ﻭﺟﻮﻩ‬ ‫ﻣﺨﺘﻠﻒ ﺭﻓﺘﺎﺭﻱﺍﺵ ﺑﻪ ﺻﺤﺒﺖ ﻧﺸﺴــﺘﻨﺪ ﻭ ﺍﻟﺒﺘﻪ ﭘﺎﺳﺨﮕﻮﻱ ﻣﻮﺿﻮﻉ‬ ‫ﻫﻤﻴﺸــﮕﻲ ﺑﺪﺁﻣﻮﺯﻱ ﺍﺣﺘﻤﺎﻟﻲ ﺑﻌﻀﻲ ﺭﻓﺘﺎﺭﻫــﺎﻱ ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻛﻪ‬ ‫ﺗﻮﺳﻂ ﻣﻨﺘﻘﺪﺍﻥ ﺍﺟﺘﻤﺎﻋﻲ ﻣﻄﺮﺡ ﻣﻲﺷﺪ ﻫﻢ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ ﻓﻀﺎﻱ ﺳﻴﻨﻤﺎ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﺍﻟﺒﺘﻪ ﻋﻼﻗﻪ ﭼﻨﺪﺍﻧﻲ ﺑﻪ ﺻﺤﺒﺖ ﺩﺭﺑﺎﺭﻩ ﻣﺴﺎﻳﻞ ﺗﻜﻨﻴﻜﻲ ﻓﻴﻠﻢ‬ ‫ﻧﺪﺍﺷﺘﻨﺪ ﻭ ﺑﻴﺸﺘﺮ ﺩﺭﺑﺎﺭﻩ ﺩﻻﻳﻞ ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﻓﻴﻠﻢ ﺑﻪ ﮔﻤﺎﻧﻪﺯﻧﻲ ﻣﺸﻐﻮﻝ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺍﻟﺒﺘﻪ ﻧﻮﻉ ﻧﮕﺎﻩ ﻣﺎﻫﻨﺎﻣﻪ »ﺁﺩﻳﻨﻪ« ﻫﻢ ﺟﺎﻟﺐ ﺑﻮﺩ ﻛﻪ‬ ‫ﻓﺮﻭﺵ ﻭ ﺍﺳﺘﻘﺒﺎﻝ ﺑﺎﻻ ﺍﺯ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎ ﻭﺿﻌﻴﺖ ﺗﻴﺮﺍژ ﻛﺘﺎﺏﻫﺎ ﻭ ﻣﺤﺼﻮﻻﺕ‬ ‫ﻓﺮﻫﻨﮕﻲ ﺟﺪﻱ ﻣﻘﺎﻳﺴﻪ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﻧﻮﻋﻲ ﻣﻮﺿﻊﮔﻴﺮﻱ ﻋﻠﻴﻪ ﻓﻴﻠﻢ‪،‬‬ ‫ﺳﺎﺧﺘﻪﺷﺪﻥ ﺁﻥ ﺭﺍ ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﺳﻴﺎﺳــﺘﻲ ﺑﺮﺍﻱ ﺳﺮﮔﺮﻡ ﻛﺮﺩﻥ ﻣﺮﺩﻡ‬ ‫ﺑﻪ ﻣﺴــﺎﺋﻞ ﭘﻴﺶﭘﺎﺍﻓﺘﺎﺩﻩ ﻭ ﺩﻭﺭﻛــﺮﺩﻥ ﺍﺯ ﺁﺛﺎﺭ ﺗﺎﻣــﻞ ﺑﺮﺍﻧﮕﻴﺰ ﻭ ﺟﺪﻱ‬ ‫ﺩﺍﻧﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﺩﻭﺭﺍﻓﺘﺎﺩﻩﺗﺮﻳﻦ ﺳﺎﻟﻦﻫﺎﻱ ﻧﻤﺎﻳﺸﻲ ﺗﻬﺮﺍﻥ ﻭ‬ ‫ﺷﻬﺮﺳﺘﺎﻥﻫﺎ ﺭﺍ ﻫﻢ ﺭﻭﻧﻖ ﺩﺍﺩ ﻭ ﺣﺠﻢ ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﺁﻥ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺑﻮﺩ ﻛﻪ‬ ‫ﺗﻤﺎﻡ ﺳﺎﻟﻦﻫﺎ ﺑﺮﺍﻱ ﺑﻬﺮﻩﻣﻨﺪﻱ ﺍﺯ ﻣﻮﺍﻫﺒﺶ ﺗﻘﺎﺿﺎﻱ ﺍﻛﺮﺍﻧﺶ ﺭﺍ ﺩﺍﺷﺘﻨﺪ‪.‬‬ ‫ﺍﻳﻦﭼﻨﻴﻦ ﻛﻼﻩﻗﺮﻣﺰﻱ ﺩﺭ ﺗﻤﺎﻡ ﺳــﺎﻟﻦﻫﺎ ﭼﺮﺧﻴﺪ ﻭ ﺑﻴﻨﻨﺪﮔﺎﻥ ‪ 4‬ﻭ ‪5‬‬ ‫ﺑﺎﺭﻩ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺭﻛﻮﺭﺩ ﻓﺮﻭﺵ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﺎ ‪ 200‬ﺩﺭﺻﺪ ﺍﻓﺰﺍﻳﺶ‬ ‫ﻧﺴﺒﺖ ﺑﻪﺭﻗﻢ ﻓﺮﻭﺵ ﻗﺒﻠﻲ ﺷﻜﺴﺖ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﻛﻼﻩﻗﺮﻣﺰﻱ ﻭ ﺣﻀﻮﺭ‬ ‫ﺍﺟﺘﻤﺎﻋﻲﺍﺵ ﻳﺎﺩﺁﻭﺭ ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻲ ﭼﻮﻥ ﮔﻨﺞ ﻗﺎﺭﻭﻥ‪ ،‬ﻗﻴﺼﺮ‪،‬‬ ‫ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﺷــﺐ ﻭ ﻋﻘﺎﺏﻫﺎ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺗﻨﻬﺎ ﺭﻭﻧﻖ ﺑﺨﺶ ﺳﻴﻨﻤﺎﻫﺎ‬ ‫ﻧﺒﻮﺩ ﺑﻠﻜﻪ ﻣﺸــﺎﻏﻞ ﺩﻳﮕﺮﻱ ﻫﻢ ﺍﺯ ﺁﻥ ﺳــﻮﺩ ﺑﺮﺩﻧﺪ‪ .‬ﺍﻧﺒﻮﻩ ﻋﺮﻭﺳﻚﻫﺎ ﻭ‬ ‫ﻋﻜﺲﺑﺮﮔﺮﺩﺍﻥﻫﺎ ﻭ ﺩﻓﺎﺗﺮ ﻭ ﺁﻟﺒﻮﻡﻫﺎ ﻭ ﺑﺴﻴﺎﺭﻱ ﻣﺤﺼﻮﻻﺕ ﺩﻳﮕﺮ ﺍﺯ ﻛﻼﻩ‬ ‫ﻗﺮﻣﺰﻱ ﺩﺭ ﺧﺎﻧﻪﻫﺎﻱ ﻣﺮﺩﻡ ﺍﻳﺮﺍﻥ ﺩﻳﺪﻩ ﻣﻲﺷﺪ‪ .‬ﻛﻼﻩﻗﺮﻣﺰﻱ ﻫﻤﺎﻥﻃﻮﺭ‬ ‫ﻛﻪ ﭘﺎﻱ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﻣﺪﺕﻫﺎ ﺑﻪ ﺳﻴﻨﻤﺎ ﺑﺎﺯ ﻛﺮﺩ‪،‬‬ ‫ﻣﺮﻫﻤﻲ ﺑﺮ ﺯﺧﻢﻫﺎﻱ ﺍﻗﺘﺼﺎﺩﻱ ﺳﻴﻨﻤﺎ ﻫﻢ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻛﻼﻩﻗﺮﻣﺰﻱ ﻭ ﭘﺴﺮﺧﺎﻟﻪﺍﺵ ﻫﻤﭽﻨﺎﻥ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺷﺨﺼﻴﺖﻫﺎﻱ‬ ‫ﻧﻤﺎﻳﺸــﻲ ﺍﻳﺮﺍﻥ ﻫﺴــﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻣﺪﻋﺎ ﻫﺮﭼﻨﺪ ﺳــﺎﻝ ﻳﻚﺑﺎﺭ ﺑﺎ ﺳﺎﺧﺘﻪ‬ ‫ﺷﺪﻥ ﻗﺴــﻤﺖﻫﺎﻱ ﺩﻳﮕﺮﻱ ﺍﺯ ﻣﺎﺟﺮﺍﻫﺎﻱ ﺁﻧﻬﺎ ﺩﺭ ﻗﺎﻟﺐ ﻓﻴﻠﻢ ﻭ ﺑﺮﻧﺎﻣﻪ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻭ ﺍﺳﺘﻘﺒﺎﻝ ﻓﺮﺍﻭﺍﻥ ﺍﺯ ﺁﻧﻬﺎ ﺛﺎﺑﺖ ﻭ ﻣﺸﺨﺺ ﻣﻲﺷﻮﺩ ﭼﻨﺎﻧﭽﻪ‬ ‫ﺯﻣﻴﻨﻪﻫــﺎﻱ ﺻﺤﻴﺢ ﻓﺮﻫﻨﮓ ﺍﻳﺮﺍﻧــﻲ ﺑﺎ ﻇﺮﺍﻓﺖ ﺑﻪ ﻛﺎﺭ ﮔﺮﻓﺘﻪ ﺷــﻮﺩ‬ ‫ﻣﻲﺗﻮﺍﻥ ﺍﻟﮕﻮﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﺷــﺨﺼﻴﺖﻫﺎﻱ ﻛﺎﺭﺗﻮﻧﻲ ﻏﺮﺑﻲ ﻫﻢ ﺩﺍﺷﺖ‪.‬‬ ‫ﻛﻼﻩﻗﺮﻣﺰﻱ ﻫﻤﭽﻨﺎﻥ ﺍﺧﻼﻗﻴﺎﺕ ﺭﺍ ﺑﻪ ﺳــﺨﺮﻩ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺑﺎ ﺷﻴﻄﻨﺖ‬ ‫ﺩﺭﻭﻍ ﻣﻲﮔﻮﻳــﺪ ﻭ ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﺧﺮﺍﺑﻜﺎﺭﺍﻧﻪ ﻣﻲﭼﻴﻨــﺪ ﻭ ﺯﻧﺪﮔﻲ ﺁﻗﺎﻱ‬ ‫ﻣﺠــﺮﻱ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﻲﺭﻳﺰﺩ‪ .‬ﻛــﻮﺩﻛﺎﻥ ﺍﻣﺮﻭﺯ ﻫﻢ ﻫﻤﭙﺎﻱ ﻧﺴــﻞ ﻗﺒﻠﻲ‬ ‫ﺑــﻪ ﺍﻗﺪﺍﻣﺎﺗﺶ ﻣﻲﺧﻨﺪﻧﺪ ﻭ ﺩﻭﺳــﺘﺶ ﺩﺍﺭﻧﺪ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﻧﺸــﺎﻥ ﺍﺯ ﺍﺩﺍﻣﻪ‬ ‫ﻣﻨﺎﺳــﺒﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻣﺮﻭﺯ ﻧــﺪﺍﺭﺩ؟ ﮔﻮﻳﻲ ﺁﻧﭽــﻪ ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪70‬‬ ‫ﺯﻣﻴﻨﻪﺳﺎﺯ ﻇﻬﻮﺭ ﭘﺪﻳﺪﻩ ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺷﺪ‪ ،‬ﻫﻤﭽﻨﺎﻥ‬ ‫ﻭ ﺑﻪ ﻗﻮﺕ ﺑﻴﺸــﺘﺮﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺑﺎﻳﺪ ﺍﻭ ﺭﺍ ﻳﮕﺎﻧﻪ ﺷﺨﺼﻴﺖ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ‬ ‫ﺻﻨﻌﺖ ﺳــﺮﮔﺮﻣﻲ ﺳﺎﺯﻱ ﺍﻳﺮﺍﻥ ﺩﺍﻧﺴﺖ ﻛﻪ ﻋﻤﺮﻱ ﺩﻭ ﺩﻫﻪﺍﻱ ﻳﺎﻓﺘﻪ ﻭ‬ ‫ﻫﻤﭽﻨﺎﻥ ﻫﻢ ﻣﺤﺒﻮﺏ ﺍﺳﺖ‪ .‬ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻓﺮﺯﻧﺪ ﺭﻭﺯﮔﺎﺭ ﺟﺪﻳﺪ ﻭ ﺯﻧﺪﮔﻲ‬ ‫ﺷﻬﺮﻱ ﺍﺳﺖ‪ .‬ﺻﺮﺍﺣﺖ ﺍﻭ ﺩﺭ ﺑﻪ ﭼﺎﻟﺶ ﻛﺸﻴﺪﻥ ﺍﺧﻼﻗﻴﺎﺕ ﻭ ﻣﻨﺎﺳﺒﺎﺕ‬ ‫ﻭ ﺭﻓﺘﺎﺭﻫﺎﻱ ﺑﻲﻗﻴﺪﺵ ﺁﻳﻨﻪ ﺩﻭﺭﺍﻥ ﻣﺎﺳﺖ‪ .‬ﺍﻭ ﻣﺤﺒﻮﺏﺗﺮ ﻭ ﺷﻴﺮﻳﻦﺗﺮ ﺍﺯ‬ ‫ﻫﻤﻪ ﻧﻤﻮﻧﻪﻫﺎﻱ ﻣﺒﺎﺩﻱ ﺁﺩﺍﺏ ﻭ ﺍﺧﻼﻕﮔﺮﺍﻱ ﺗﻤﺎﻡ ﺍﻳﻦ ﺳﺎﻝﻫﺎﺳﺖ‪ .‬ﺍﻭ‬ ‫ﺭﺍ ﺑﻴﺸﺘﺮ ﺩﺭﻙ ﻣﻲﻛﻨﻴﻢ ﻭ ﺩﻭﺳﺘﺶ ﺩﺍﺭﻳﻢ‪.‬‬ ‫ﻫﻤــﺎﻥ ﺍﺗﻔﺎﻗــﻲ ﻛــﻪ ﺩﺭ ﻣــﻮﺭﺩ ﻣﺠﻤﻮﻋﻪ»ﻣﺪﺭﺳــﻪ ﻣﻮﺵﻫﺎ« ﻭ‬ ‫ﺳــﺎﺯﻧﺪﮔﺎﻧﺶ ﺍﻓﺘﺎﺩ‪ ،‬ﺩﺭﺑﺎﺭﻩ »ﻛﻼﻩﻗﺮﻣﺰﻱ« ﻭ ﺳــﺎﺯﻧﺪﮔﺎﻧﺶ ﻫﻢ ﺗﻜﺮﺍﺭ‬ ‫ﺷﺪ‪» .‬ﻣﺪﺭﺳــﻪ ﻣﻮﺵﻫﺎ« ﻛﻪ ﺍﺯ ﻗﻀﺎ ﻣﺜﻠﺚ ﺍﺻﻠﻲ ﺗﺸﻜﻴﻞﺩﻫﻨﺪﻩ ﻓﻴﻠﻢ‬ ‫»ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻭ ﭘﺴــﺮﺧﺎﻟﻪ« ﻳﻌﻨﻲ ﺍﻳﺮﺝ ﻃﻬﻤﺎﺳــﺐ‪ ،‬ﺣﻤﻴﺪ ﺟﺒﻠﻲ ﻭ‬ ‫ﻓﺎﻃﻤﻪ ﻣﻌﺘﻤﺪﺁﺭﻳﺎ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻋﺮﻭﺳــﻚﮔﺮﺩﺍﻥ ﻭ ﮔﻮﻳﻨﺪﻩ ﻋﺮﻭﺳﻚﻫﺎ‬ ‫ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺷــﺖ‪ ،‬ﺑﻌﺪ ﺍﺯ ﻣﺤﺒﻮﺑﻴﺘﻲ ﻛﻪ ﺩﺭ ﭘﺨﺶ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺑﻪﺩﺳﺖ‬ ‫ﺁﻭﺭﺩ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﻓﻴﻠﻢ ﺳــﻴﻨﻤﺎﻳﻲ ﺷﺪ‪ .‬ﺩﺭ ﺳــﺎﻝﻫﺎﻱ ﺍﺑﺘﺪﺍﻳﻲ ﺩﻫﻪ‬ ‫ﺷﺼﺖ‪ ،‬ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺑﺮﻧﺎﻣﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﻛﻪ ﺣﺘﻲ ﺑﺰﺭگﺗﺮﻫﺎ‬ ‫ﺭﺍﻫﻢﭘﺎﻱﺗﻠﻮﻳﺰﻳﻮﻥﻣﻲﻧﺸــﺎﻧﺪ‪،‬ﻣﺠﻤﻮﻋﻪ»ﻣﺪﺭﺳﻪﻣﻮﺵﻫﺎ«ﺑﻮﺩ‪.‬ﺑﻌﺪ‬ ‫ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛــﻪ ﻣﺮﺿﻴﻪ ﺑﺮﻭﻣﻨﺪ ﻭ ﻣﺤﻤﺪﻋﻠﻲ ﻃﺎﻟﺒــﻲ ﺑﻪ ﻓﻜﺮ ﺗﻮﻟﻴﺪ ﻳﻚ‬ ‫ﻓﻴﻠﻢﺳــﻴﻨﻤﺎﻳﻲﺑﺎﻫﻤﺎﻥﺷــﺨﺼﻴﺖﻫﺎﺍﻓﺘﺎﺩﻧﺪﻭﺍﻳﻨﮕﻮﻧﻪﺑﻮﺩﻛﻪﻓﻴﻠﻢ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ»ﺷــﻬﺮﻣﻮﺵﻫﺎ«ﺳﺎﺧﺘﻪﺷــﺪ‪» .‬ﻛﻼﻩﻗﺮﻣﺰﻱ«ﻫﻢﺍﺯﻳﻚ‬ ‫ﻣﺠﻤﻮﻋﻪﺗﻠﻮﻳﺰﻳﻮﻧﻲﺁﻏﺎﺯﺷــﺪ‪.‬ﺍﻳﺮﺝﻃﻬﻤﺎﺳــﺐﺩﺭﺳﺎﻝﻫﺎﻱﺁﻏﺎﺯﻳﻦ‬ ‫ﺩﻫﻪﻫﻔﺘﺎﺩﺑﺮﻧﺎﻣﻪ»ﺻﻨﺪﻭﻕﭘﺴــﺖ«ﺭﺍﺩﺭﺗﻠﻮﻳﺰﻳﻮﻥﺁﻏﺎﺯﻛﺮﺩﻭﻫﻤﻴﻦ‬ ‫ﺟﺎ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻫﻤﻜﺎﺭﻱ ﺣﻤﻴﺪ ﺟﺒﻠﻲ ﻛﺎﺭﺍﻛﺘﺮ »ﻛﻼﻩ ﻗﺮﻣﺰﻱ« ﺧﻠﻖ ﺷﺪ‪.‬‬ ‫ﺟﺬﺍﺑﻴﺖ ﺑﺪﻩﺑﺴﺘﺎﻥﻫﺎﻱ ﻛﻼﻣﻲ ﻭ ﻋﺎﻃﻔﻲ ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻭ ﺁﻗﺎﻱ ﻣﺠﺮﻱ‬ ‫ﺍﻳﺮﺝﻃﻬﻤﺎﺳــﺐ‪-‬ﺑﻪﺣــﺪﻱﺑﻮﺩﻛﻪﺑﻌﺪﺍﺯﻣﺪﺗــﻲﺑﺰﺭگﺗﺮﻫﺎﻫﻢﺑﻪ‬‫ﺗﻤﺎﺷــﺎﻱﺍﻳﻦﺑﺮﻧﺎﻣﻪﻧﺸﺴﺘﻨﺪﻭﺍﻳﻦﺍﺳﺘﻘﺒﺎﻝ‪،‬ﺟﺒﻠﻲﻭﻃﻬﻤﺎﺳﺐﺭﺍﺑﻪ‬ ‫ﻓﻜﺮﺳﺎﺧﺘﻦﻳﻚﻓﻴﻠﻢﺳﻴﻨﻤﺎﻳﻲﺑﺎﺣﻀﻮﺭﺩﻭﻋﺮﻭﺳﻚﻣﺤﺒﻮﺏﺁﻥﺯﻣﺎﻥ‬ ‫ﻳﻌﻨﻲﻛﻼﻩﻗﺮﻣﺰﻱﻭﭘﺴﺮﺧﺎﻟﻪﺍﻧﺪﺍﺧﺖ‪».‬ﻛﻼﻩﻗﺮﻣﺰﻱﻭﭘﺴﺮﺧﺎﻟﻪ«ﺍﻭﻟﻴﻦ‬ ‫ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺳﻴﻨﻤﺎﻳﻲ ﺍﻳﺮﺝ ﻃﻬﻤﺎﺳﺐ ﺍﺳﺖ‪ .‬ﺍﻭ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻳﺎ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﺑﺎﺯﻳﮕﺮﺩﺭﻓﻴﻠﻢﻫﺎﻱﺳﻴﻨﻤﺎﻳﻲﺣﻀﻮﺭﺩﺍﺷﺖﻳﺎﺩﺭﺗﻠﻮﻳﺰﻳﻮﻥﺑﺮﺍﻱﺑﭽﻪﻫﺎ‬ ‫ﺑﺮﻧﺎﻣﻪﺳﺎﺯﻱ ﻣﻲﻛﺮﺩ‪ .‬ﻛﻼﻩﻗﺮﻣﺰﻱ ﺩﺭ ﻓﻴﻠﻢ »ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻭ ﭘﺴﺮﺧﺎﻟﻪ«‬ ‫ﺍﺳﺖﻛﻪﺩﺍﺭﺍﻱﺷﻨﺎﺳﻨﺎﻣﻪﻣﻲﺷﻮﺩ‪.‬ﺍﻳﻦﻓﻴﻠﻢﺑﻪﻧﻮﻋﻲﺳﺮﺁﻏﺎﺯﺣﻀﻮﺭﺍﻳﻦ‬ ‫ﻛﺎﺭﺍﻛﺘﺮﺩﺭﺑﺮﻧﺎﻣﻪﻫﺎﻱﺗﻠﻮﻳﺰﻳﻮﻧﻲﻭﺁﺷﻨﺎﻳﻲﺍﺵﺑﺎﺁﻗﺎﻱﻣﺠﺮﻱﺍﺳﺖ‪.‬ﻓﻴﻠﻢ‬ ‫»ﻛﻼﻩﻗﺮﻣﺰﻱﻭ‪«...‬ﺍﺯﻫﻤﺎﻥﺍﻟﮕﻮﻱﻓﻴﻠﻢﻫﺎﻱﻛﻮﺩﻛﺎﻧﻪﺩﻫﻪﺷﺼﺖﭘﻴﺮﻭﻱ‬ ‫ﻣﻲﻛﻨﺪ‪.‬ﺩﺭﺁﻥﺳﺎﻝﻫﺎﺑﻪﻋﻠﺖﻭﺟﻮﺩﺧﻂﻗﺮﻣﺰﻫﺎﻱﻓﺮﺍﻭﺍﻥﻭﺑﺴﺘﻪﺑﻮﺩﻥ‬ ‫ﺩﺳــﺖﻛﺎﺭﮔﺮﺩﺍﻧﺎﻥﺩﺭﻧﺸﺎﻥﺩﺍﺩﻥﻓﻀﺎﻫﺎﻱﺷﺎﺩﻭﻣﻮﺯﻳﻜﺎﻝ‪،‬ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻛﻮﺩﻙ ﻣﺠﺎﻟﻲ ﻣﻨﺎﺳــﺐ ﺑﺮﺍﻱ ﺟﺒﺮﺍﻥ ﭼﻨﻴﻦ ﻛﻤﺒﻮﺩﻫﺎﻳــﻲ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻨﮕﻮﻧﻪﺁﺛﺎﺭﭼﻪﺍﺯﻧﻮﻉﻋﺮﻭﺳﻜﻲﻭﭼﻪﺍﺯﻧﻮﻉﺯﻧﺪﻩ‪،‬ﺳﻜﺎﻧﺲﻫﺎﻱﻣﻮﺯﻳﻜﺎﻝ‬ ‫ﻭﺗﺮﺍﻧﻪﺧﻮﺍﻧﻲﻫﺎﻱﻣﺘﻌﺪﺩﻱﻭﺟﻮﺩﺩﺍﺷﺖﻛﻪﻫﻤﻴﻦﻣﺴﺎﻟﻪﻳﻜﻲﺍﺯﺩﻻﻳﻞ‬ ‫ﻣﻬﻢﺭﻭﻧﻖﻓﻴﻠﻢﻫﺎﻱﻛﻮﺩﻙﺩﺭﺁﻥﺳــﺎﻝﻫﺎﺑــﻮﺩ‪ .‬ﺍﻣﺎﻳﻜﻲﺍﺯﻣﻬﻢﺗﺮﻳﻦ‬ ‫ﺗﻔﺎﻭﺕﻫﺎﻱﻛﺎﺭﺍﻛﺘﺮﻭﻓﻴﻠﻢﻛﻼﻩﻗﺮﻣﺰﻱﺑﺎﺳﺎﻳﺮﻛﺎﺭﺍﻛﺘﺮﻫﺎﻭﻓﻴﻠﻢﻫﺎﻳﻲﺍﺯ‬ ‫ﺍﻳﻦﺩﺳﺖ‪،‬ﻧﮕﺎﻩﻛﻮﺩﻛﺎﻧﻪﺑﻪﺩﻧﻴﺎﻱﺁﺩﻡﺑﺰﺭگﻫﺎﺳﺖ‪.‬ﻛﻼﻩﻗﺮﻣﺰﻱﻣﺪﺍﻡ‬ ‫ﺩﺭ ﺣﺎﻝ ﺳﺮﻙ ﻛﺸﻴﺪﻥ ﺩﺭ ﺩﻧﻴﺎﻱ ﺁﺩﻡ ﺑﺰﺭگﻫﺎﺳﺖ ﻭ ﺣﺮﻑﻫﺎﻱ ﺁﻧﻬﺎ ﺭﺍ‬ ‫ﺩﺭ ﻗﺎﻟﺒﻲ ﻛﻮﺩﻛﺎﻧﻪ ﺑﺎﺯﮔﻮ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻨﻜﻪ »ﻛﻼﻩ ﻗﺮﻣﺰﻱ ﻭ ﭘﺴﺮﺧﺎﻟﻪ« ﻭ‬ ‫ﺣﺘﻲﻓﻴﻠﻢﺑﻌﺪﻱﺍﻳﻦﻣﺠﻤﻮﻋﻪ»ﻛﻼﻩﻗﺮﻣﺰﻱﻭﺳﺮﻭﻧﺎﺯ«ﺩﺭژﺍﻧﺮﻛﻮﺩﻙ‬ ‫ﻭ ﻧﻮﺟﻮﺍﻥ ﺟﺎﻱ ﻣﻲﮔﻴﺮﻧﺪ ﻭ ﺣﺘﻲ ﻛﺎﺭﺍﻛﺘﺮ ﺍﺻﻠﻲ ﺁﻧﻬﺎ ﻳﻚ ﻛﻮﺩﻙ )ﻛﻼﻩ‬ ‫ﻗﺮﻣﺰﻱ(ﺍﺳﺖ‪،‬ﺍﻣﺎﺩﺭﺍﻳﻦﺁﺛﺎﺭﺷﺨﺼﻴﺖﺍﺻﻠﻲ ﺍﺭﺗﺒﺎﻁﭼﻨﺪﺍﻧﻲﺑﺎ ﺩﻧﻴﺎﻱ‬ ‫ﻛﻮﺩﻛﺎﻥ ﻭ ﻫﻤﺴــﻦ ﻭ ﺳــﺎﻝﻫﺎﻱ ﺧﻮﺩﺵ ﻧﺪﺍﺭﺩ ﻭ ﻣﺪﺍﻡ ﺑﺎ ﺁﺩﻡ ﺑﺰﺭگﻫﺎ‬ ‫ﺩﻣﺨﻮﺭﺍﺳﺖ‪.‬ﻛﻼﻩﻗﺮﻣﺰﻱﻳﻚﻋﺼﻴﺎﻧﮕﺮﻫﻨﺠﺎﺭﺷﻜﻦﻛﻮﭼﻚﺍﺳﺖﻛﻪ‬ ‫ﭘﺎﺑﻪﺩﻧﻴﺎﻱﺑﺰﺭگﺗﺮﻫﺎﮔﺬﺍﺷﺘﻪﻭﺿﻤﻦﺁﻣﻮﺧﺘﻦﺑﺴﻴﺎﺭﻱﻣﺴﺎﻳﻞﺍﺯﺁﻧﻬﺎ‪،‬‬ ‫ﻣﺪﺍﻡﺩﺭﺣﺎﻝﻧﻘﺪﻛﺮﺩﻥﺷﺎﻥﺍﺳﺖ‪.‬ﺑﺮﺧﻼﻑﺑﺴﻴﺎﺭﻱﺩﻳﮕﺮﺍﺯﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻛﻮﺩﻙﻭﻧﻮﺟﻮﺍﻥﻛﻪﺍﺯﺯﺍﻭﻳﻪﺩﻳﺪﻛﻮﺩﻛﺎﻥﺑﻪﻫﻤﺎﻥﺩﻧﻴﺎﻱﻛﻮﺩﻛﺎﻧﻪﻧﮕﺎﻩ‬ ‫ﻣﻲﺷﻮﺩ‪ ،‬ﺩﺭ ﻓﻴﻠﻢﻫﺎ ﻭ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﻛﻼﻩﻗﺮﻣﺰﻱ‪ ،‬ﺍﺯ ﺯﺍﻭﻳﻪ ﺩﻳﺪ ﻛﻮﺩﻛﺎﻥ‬ ‫ﺑﻪﺩﻧﻴﺎﻱﺑﺰﺭگﺗﺮﻫﺎﭘﺮﺩﺍﺧﺘﻪﻣﻲﺷــﻮﺩ‪.‬ﺷﺎﻳﺪﺑﻪﻫﻤﻴﻦﻋﻠﺖﺍﺳﺖﻛﻪ‬ ‫ﻋﻼﻭﻩﺑﺮﺑﭽﻪﻫﺎ‪،‬ﺑﺰﺭگﺗﺮﻫﺎﻫﻢﺍﻳﻦﻛﺎﺭﺍﻛﺘﺮﺭﺍﺩﻭﺳﺖﺩﺍﺭﻧﺪﻭﺍﺯﺗﻤﺎﺷﺎﻱ‬ ‫ﻋﺼﻴﺎﻧﮕﺮﻱﻫﺎﻭﻫﻨﺠﺎﺭﺷﻜﻨﻲﻫﺎﻱﻛﻮﺩﻛﺎﻧﻪﺍﻭﻟﺬﺕﻣﻲﺑﺮﻧﺪ‪.‬ﻳﻚﻧﻜﺘﻪ‬ ‫ﺩﻳﮕﺮﻫﻢﻛﻪﺑﺎﻋﺚﻣﺤﺒﻮﺑﻴﺖﺷﺨﺼﻴﺖﻛﻼﻩﻗﺮﻣﺰﻱﺩﺭﻣﻘﺎﻳﺴﻪﺑﺎﺳﺎﻳﺮ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻱ ﻋﺮﻭﺳﻜﻲ ﺳــﻴﻨﻤﺎﻭﺗﻠﻮﻳﺰﻳﻮﻥﻣﻲﺷﻮﺩﺍﻳﻦﺍﺳﺖﻛﻪﺍﻭ‬ ‫ﻫﻤﺸــﻜﻞ ﺁﺩﻣﻴﺰﺍﺩ ﻭ ﺍﻟﺒﺘﻪ ﺍﺯ ﺟﻨﺴﻲ ﺩﻳﮕﺮ ﺍﺳﺖ‪ .‬ﺳﺎﻳﺮ ﺷﺨﺼﻴﺖﻫﺎﻱ‬ ‫ﻋﺮﻭﺳﻜﻲﺳﻴﻨﻤﺎﻭ ﺗﻠﻮﻳﺰﻳﻮﻥﻳﺎﺍﺯ ﺟﻨﺲ ﺣﻴﻮﺍﻧﺎﺕ)ﺩﺭﻓﻴﻠﻢﻫﺎﻳﻲﻣﺎﻧﻨﺪ‬ ‫ﮔﺮﺑﻪﺁﻭﺍﺯﻩﺧﻮﺍﻥ‪،‬ﻛﺎﻛﻠﻲ‪،‬ﮔﻠﻨﺎﺭ‪،‬ﻣﺪﺭﺳﻪﻭﺷﻬﺮﻣﻮﺵﻫﺎ(ﺑﻮﺩﻩﺍﻧﺪﻳﺎﺍﻳﻨﻜﻪ‬ ‫ﻣﻮﺟﻮﺩﺍﺗﻲ ﻓﺮﺍﺯﻣﻴﻨﻲ )ﻣﺎﻧﻨﺪ ﭘﺎﺗﺎﻝ ﻳﺎ ﺯﻱﺯﻱ ﮔﻮﻟﻮ( ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸــﻴﺪﻩ‬ ‫ﺷﺪﻩﺍﻧﺪ‪.‬ﺍﻣﺎﻛﻼﻩﻗﺮﻣﺰﻱﺍﻧﺴﺎﻧﻲﻋﺮﻭﺳﻜﻲﺍﺳﺖﻛﻪﺩﻏﺪﻏﻪﻫﺎﻳﻲﺑﺸﺮﻱ‬ ‫ﺩﺍﺭﺩ؛ﺍﻭﺍﻫﻞﺗﺠﺮﺑﻪﻛﺮﺩﻥﻭﻣﺎﺟﺮﺍﺟﻮﻳﻲﺍﺳﺖ‪،‬ﺳﺎﺩﮔﻲﻭﺧﻠﻮﺻﻲﻛﻮﺩﻛﺎﻧﻪ‬ ‫ﺩﺍﺭﺩﻭﺷﺎﻳﺪﺑﻪﻫﻤﻴﻦﺩﻻﻳﻞﺑﺘﻮﺍﻥﺍﻭﺭﺍﭘﻴﻨﻮﻛﻴﻮﻱﺍﻳﺮﺍﻧﻲﻧﺎﻣﻴﺪ‪.‬‬ ‫‪75‬‬ ‫‪16‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺁﺩﻡ ﺑﺮﻓﻲ )‪(1373‬‬ ‫ﺗﺎﺑﻮ ﺷﻜﻨﻲ ﺩﺭ ﺭﻭﺯﮔﺎﺭ ﻣﺤﺎﻓﻈﻪﻛﺎﺭﻱ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺩﺍﻭﻭﺩ ﻣﻴﺮﺑﺎﻗﺮﻱ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻣﺎﺯﻳﺎﺭ‬ ‫ﭘﺮﺗﻮ‪ ،‬ﻣﻮﺳﻴﻘﻲ‪ :‬ﻓﺮﻫﺎﺩ ﻓﺨﺮﺍﻟﺪﻳﻨﻲ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﻣﻮﻳﻴﻨﻲ‪،‬‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻣﺤﺴﻦ ﺷﺎﻩ ﺍﺑﺮﺍﻫﻴﻤﻲ‪ ،‬ﺑﺮﻧﺎﻣﻪﺭﻳﺰ ﻭ ﺩﺳﺘﻴﺎﺭ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻳﻔﻲﻧﻴﺎ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﺍﺭﺩﺷﻴﺮ ﺍﻳﺮﺍﻥﻧﮋﺍﺩ‪،‬‬ ‫ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﻋﺒﺪﺍﷲ ﺍﺳـﻜﻨﺪﺭﻱ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭﻱ ﻭ ﻣﻴﻜﺲ‪:‬‬ ‫ﻣﺤﺴﻦ ﺭﻭﺷﻦ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺍﻛﺒﺮ ﻋﺒﺪﻱ‪ ،‬ﺩﺍﺭﻳﻮﺵ ﺍﺭﺟﻤﻨﺪ‪ ،‬ﻣﻬﺪﻱ ﻓﺘﺤﻲ‪ ،‬ﺁﺯﻳﺘﺎ ﺣﺎﺟﻴﺎﻥ‪ ،‬ﭘﺮﻭﻳﺰ ﭘﺮﺳﺘﻮﻳﻲ‪،‬‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻳﻔﻲﻧﻴﺎ‪ ،‬ﺳﻴﺮﻭﺱ ﮔﺮﺟﺴﺘﺎﻧﻲ‪ ،‬ﺷﻬﺮﻩ ﺳﻠﻄﺎﻧﻲ‪ ،‬ﻣﺤﻤﺪﻭﻟﻲ ﺍﺣﻤﺪﻟﻮ‪ ،‬ﻓﺮﺍﻣﺮﺯ‬ ‫ﺭﻭﺷﻨﺎﻳﻲ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺳﺎﺯﻣﺎﻥ ﺗﻮﺳﻌﻪ ﺳﻴﻨﻤﺎﻳﻲ ﺳﻮﺭﻩ )ﺣﻮﺯﻩ ﻫﻨﺮﻱ(‪ 109 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺩﻫﻪ ﻫﻔﺘــﺎﺩ ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﻳــﺮﺍﻥ ﺑﺎ ﺗﻐﻴﻴﺮﺍﺕ ﻓﺮﺍﻭﺍﻥ ﺩﺭ ﻣﻨﺎﺳــﺒﺎﺗﺶ‬ ‫ﺁﻏﺎﺯ ﺷــﺪﻩ ﺑﻮﺩ‪ .‬ﭼﻨﺪ ﺳــﺎﻝ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﻭ ﺑﺎ ﺗﻐﻴﻴﺮ ﻣﺤﺴــﻮﺱ ﺩﺭ‬ ‫ﺳﻴﺎﺳﺖﻫﺎﻱ ﻣﺪﻳﺮﻳﺘﻲ ﻛﺸﻮﺭ ﻃﺒﻘﻪ ﻣﺘﻮﺳﻂ ﻧﻴﻤﻪﻣﺮﻓﻪﺍﻱ ﺷﻜﻞ‬ ‫ﮔﺮﻓﺘﻪ ﺑــﻮﺩ ﻛﻪ ﻓﺮﻫﻨﮓ ﺧــﺎﺹ ﺧﻮﺩﺵ ﺭﺍ ﺟﺴــﺖﻭﺟﻮ ﻣﻲﻛﺮﺩ‪.‬‬ ‫ﻃﺒﻘﻪﺍﻱ ﻛﻪ ﺿﺮﺑﺎﻥ ﺟﺎﻣﻌﻪ ﺭﺍ ﺩﺭ ﺩﺳــﺖ ﺩﺍﺷــﺖ ﻭ ﺍﺭﺯﺵﻫﺎﻳﺶ ﺭﺍ‬ ‫ﺩﺭ ﺩﺳــﺖ ﻣﻲﮔﺮﻓﺖ‪ .‬ﻣﺎﻫﻮﺍﺭﻩ ﻭﺍﺭﺩ ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﺍﺯ ﻣﺤﺼﻮﻻﺕ ﻓﺮﻫﻨﮕﻲ ﻛﺸﻮﺭﻫﺎﻱ ﻏﺮﺑﻲ ﺁﺷــﻜﺎﺭﺍ ﺩﺭ ﺟﺎﻣﻌﻪ ﺭﺍﻳﺞ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﻫﺮﭼﻨﺪ ﺭﺳﺎﻧﻪﻫﺎﻱ ﺭﺳﻤﻲ ﻫﻢ ﺗﻼﺵ ﻣﻲﻛﺮﺩﻧﺪ ﺑﺎ ﺍﻓﺰﺍﻳﺶ‬ ‫ﺷﺒﻜﻪﻫﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻭ ﺗﻮﻟﻴﺪ ﻣﺤﺼﻮﻻﺕ ﻓﺮﻫﻨﮕﻲ ﺑﻴﺸﺘﺮ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺑــﺮ ﺍﺭﺯﺵﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﺗﺎﻛﻴﺪ ﻛﻨﻨﺪ‪ .‬ﻫﺸــﺪﺍﺭ ﻣﺴــﺌﻮﻻﻥ ﺩﺭﺑﺎﺭﻩ‬ ‫»ﺗﻬﺎﺟﻢ ﻓﺮﻫﻨﮕﻲ« ﻭﺍﻛﻨﺸــﻲ ﺑﻪ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﺑﻮﺩ‪ .‬ﻓﺮﻫﻨﮓ ﻋﻤﻮﻣﻲ‬ ‫ﺟﺎﻣﻌــﻪ ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﻣﻴﺎﻥ ﺗﺒﻠﻴﻐﺎﺕ ﺭﺳــﻤﻲ ﺣﺎﻛﻤﻴﺖ ﻭ‬ ‫ﺟﺮﻳﺎﻥ ﭘﻨﻬﺎﻥ ﺣﺎﻛﻢ ﺩﺭ ﺟﺎﻣﻌﻪ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻃﺒﻘﻪ ﺟﺪﻳﺪ ﺧﻮﺍﺳﺘﻪﻫﺎﻱ‬ ‫ﺩﻳﮕﺮﻱ ﺩﺍﺷﺖ ﻭ ﺑﺎﻭﺟﻮﺩ ﺁﻧﻜﻪ ﻓﻀﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻛﺸﻮﺭ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ‬ ‫ﺑﺎ ﮔﺬﺷﺘﻪ ﻧﺒﻮﺩ ﺍﻣﺎ ﺑﺎﺯ ﻫﻢ ﭘﺎﺳﺨﮕﻮﻳﻲ ﺑﻪ ﺍﻳﻦ ﻧﻴﺎﺯﻫﺎ ﺍﺯ ﺳﻄﺢ ﻋﻤﻮﻣﻲ‬ ‫ﺟﺎﻣﻌﻪ ﺑﺎﻻﺗﺮ ﺑﻮﺩ‪.‬‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻫﻢ ﺩﺭ ﻣﻴــﺎﻥ ﺍﻳﻦ ﻣﻨﺎﺯﻋﻪ ﺣﻀﻮﺭ ﺟﺪﻱ ﺩﺍﺷــﺖ‪.‬‬ ‫ﺳﻜﺎﻧﺪﺍﺭﺍﻧﺶ ﺑﻌﺪ ﺍﺯ ‪ 11‬ﺳــﺎﻝ ﺩﺭ ﻛﺸﺎﻛﺶ ﻫﻤﻴﻦ ﺍﺧﺘﻼﻑﻧﻈﺮﻫﺎ‬ ‫‪76‬‬ ‫ﺯﻣﺎﻥ ﺍﻛﺮﺍﻥ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 11 :‬ﺁﺫﺭ ‪ ،1376‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 140 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ ‪:‬‬ ‫ﻋﺒــﺎﺱ ﺧﺎﻛﭙﻮﺭ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺍﻗﺪﺍﻡ ﺷﻜﺴــﺖ ﺧﻮﺭﺩﻩ ﺑــﺮﺍﻱ ﮔﺮﻓﺘﻦ ﻭﻳﺰﺍﻱ ﺁﻣﺮﻳــﻜﺎ ﺩﺭ ﺗﺮﻛﻴﻪ‪ ،‬ﺑﻪ‬ ‫ﭘﻴﺸــﻨﻬﺎﺩ ﻳﻚ ﺩﻻﻝ ﺍﻳﺮﺍﻧــﻲ ﺗﻐﻴﻴﺮ ﭼﻬــﺮﻩ ﺩﺍﺩﻩ ﻭ ﺑﻪ ﻇﺎﻫﺮ ﻳــﻚ ﺯﻥ ﺩﺭﻣﻲﺁﻳﺪ‪ .‬ﺑﺎ ﺍﻳــﻦ ﺗﺮﻓﻨﺪ ﺍﻭ‬ ‫ﻣﻲﺗﻮﺍﻧــﺪ ﻭﻳﺰﺍﻱ ﻣﻬﺎﺟﺮﺕ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﺑﺎ ﺍﺯﺩﻭﺍﺝ ﺻﻮﺭﻱ ﺑﺎ ﻳﻚ ﻣــﺮﺩ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ‬ ‫ﺑﻴﻦ ﺑﺎ ﺯﻧﻲ ﺍﻳﺮﺍﻧﻲ )ﺩﻧﻴﺎ( ﺁﺷــﻨﺎ ﻣﻲﺷﻮﺩ ﻛﻪ ﺗﻮﺳﻂ ﺷــﻮﻫﺮ ﺳﺎﺑﻘﺶ ﺑﻪ ﺗﺮﻛﻴﻪ ﻛﺸﺎﻧﺪﻩ ﺷﺪﻩ ﻭ ﺁﻭﺍﺭﻩ‬ ‫ﻭ ﺳــﺮﮔﺮﺩﺍﻥ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩ ﺭﻫﺎ ﺷﺪﻩ ﺍﺳــﺖ‪ .‬ﺧﺎﻛﭙﻮﺭ ﻛﻪ ﺭﻓﺘﻪﺭﻓﺘﻪ ﺑﻪ ﺯﻥ ﺩﻝ ﺑﺴــﺘﻪ‪ ،‬ﻓﻜﺮ ﺳﻔﺮ ﺑﻪ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﺍﺯ ﺳــﺮ ﺑﻴﺮﻭﻥ ﻣﻲﻛﻨــﺪ ﻭ ﺗﺼﻤﻴﻢ ﻣﻲﮔﻴﺮﺩ ﺑﻪ ﻇﺎﻫﺮ ﻗﺒﻠﻲ ﺧﻮﺩ ﺑﺎﺯﮔﺸــﺘﻪ ﺑﺎ ﺩﻧﻴﺎ ﺍﺯﺩﻭﺍﺝ‬ ‫ﻛﻨﺪ ﻭ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﺎﺯ ﮔﺮﺩﺩ‪.‬‬ ‫ﺟــﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑــﻪ ﭼﻬﺮﻩﻫﺎﻱ ﺟﺪﻳــﺪ ﺩﺍﺩﻧﺪ‪ .‬ﺗﻴﻢ ﺍﻧﻮﺍﺭ ‪ ،‬ﺑﻬﺸــﺘﻲ ﻭ‬ ‫ﺣﻴﺪﺭﻳﺎﻥ ﺩﺭ ﺣﺎﻟﻲ ﺑﺪﺭﻗﻪ ﺷﺪﻧﺪ ﻛﻪ ﻣﺴﻴﺮ ﺣﺮﻛﺘﻲ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﺍﺯ ﺍﻭﻳﻞ ﺩﻫﻪ ‪ 70‬ﻛﺎﻣﻼ ﺗﻐﻴﻴﺮ ﻛــﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎﻭﺟﻮﺩ ﺗﻤﺎﻡ ﺗﻼﺵﻫﺎﻱ‬ ‫ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺑﺮﺍﻱ ﻫﻤﺮﺍﻫﻲ ﺑﺎ ﻧﻈــﺮﺍﺕ ﻣﺪﻳﺮﺍﻥ ﻓﺮﻫﻨﮕﻲ ﺟﺪﻳﺪ ﺩﻭﻟﺖ‬ ‫ﻧﻤﻲﺗﻮﺍﻧﺴــﺘﻨﺪ ﻧﻈــﺮ ﻧﻬﺎﻳﻲ ﺁﻧﻬﺎ ﺭﺍ ﺟﻠــﺐ ﻛﻨﺪ‪ .‬ﺗﻴﻢ ﻓﺮﻳــﺪﺯﺍﺩﻩ ﻭ‬ ‫ﺧﺎﻛﺒﺎﺯﺍﻥ ﺑــﺎ ﻫﺪﻑ ﻣﺤﺪﻭﺩﺳــﺎﺯﻱ ﻭ ﻛﻢ ﻛﺮﺩﻥ ﺣﺴﺎﺳــﻴﺖﻫﺎ ﻭ‬ ‫ﺗﻮﺟﻪﺩﺍﺩﻥ ﺳﻴﻨﻤﺎ ﺑﻪ ﮔﻮﻧﻪﻫﺎﻱ ﺩﻳﮕﺮﻱ ﭼﻮﻥ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﻭ ﺣﺎﺩﺛﻪ‬ ‫ﺑﺮ ﺳﺮﻛﺎﺭ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ ﺑﻮﺩ ﻛﻪ ﻣﺸﻜﻞ ﺳﺮﻣﺎﻳﻪ ﻭ ﺍﻓﺰﺍﻳﺶ‬ ‫ﺳﺮﺳــﺎﻡﺁﻭﺭ ﻫﺰﻳﻨﻪﻫﺎ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﺸﻜﻞ ﺍﺻﻠﻲ ﺳــﻴﻨﻤﺎ ﺷﺪﻩ ﺑﻮﺩ ﻭ‬ ‫ﺭﺍﻩﺣﻞ ﻣﺪﻳﺮﺍﻥ ﺟﺪﻳﺪ ﺟﺬﺏ ﺳﺮﻣﺎﻳﻪﻫﺎﻱ ﺩﻭﻟﺘﻲ ﺍﺯ ﻧﻬﺎﺩﻫﺎﻱ ﻛﺎﻣﻼ‬ ‫ﻏﻴﺮﻣﺮﺗﺒﻂ ﺑﺎ ﺳــﻴﻨﻤﺎ ﺑﺎ ﺷﺮﻁ ﺳﺎﺧﺖ ﻓﻴﻠﻢﻫﺎﻱ ﺳﻔﺎﺭﺷﻲ ﻣﻄﻠﻮﺏ‬ ‫ﻧﻈﺮ ﺍﻳﻦ ﻧﻬﺎﺩﻫﺎ ﺑﻮﺩ‪.‬‬ ‫»ﺁﺩﻡ ﺑﺮﻓﻲ« ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﺍﺯ ﺳﻮﻱ ﻳﻚ ﻧﻬﺎﺩ ﺩﻭﻟﺘﻲ ﺳﺎﺧﺘﻪ‬ ‫ﺷــﺪ‪ .‬ﻓﻴﻠﻤﻲ ﺩﺭﺑﺎﺭﻩ ﻣﻬﺎﺟﺮﺕ ﻭ ﭘﻨﺎﻫﻨﺪﮔﻲ ﻛﻪ ﺗﺎ ﺯﻣﺎﻥ ﺳــﺎﺧﺘﺶ‬ ‫ﺗﺎﺑﻮﻳﻲ ﺣﺴــﺎﺱ ﺑﻮﺩ‪ .‬ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺁﺩﻡ ﺑﺮﻓﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﻳﻚ ﺳﺮ‬ ‫ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﺗﻘﺒﻴﺢ ﻣﻬﺎﺟﺮﺕ ﻭ ﺣﺘﻲ ﺗﻤﺴﺨﺮ ﻓﺮﻫﻨﮓ ﻏﺮﺏ ﺑﻮﺩﻧﺪ ﺍﻣﺎ‬ ‫ﺁﺩﻡ ﺑﺮﻓﻲ ﺣﻜﺎﻳﺖ ﺩﻳﮕﺮﻱ ﺩﺍﺷﺖ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﻣﺨﺎﻃﺐ ﺑﺎ ﻗﻬﺮﻣﺎﻧﺶ‬ ‫ﻫﻤﺮﺍﻫــﻲ ﻣﻲﻛﺮﺩ ﻭ ﺁﺷــﻜﺎﺭﺍ ﺧــﻼﻑ ﺟﺮﻳﺎﻥ ﺣﺮﻛﺘــﻲ ﻣﻄﻠﻮﺏ‬ ‫ﻣﺪﻳﺮﺍﻥ ﺟﺪﻳﺪ ﺑﻮﺩ ﺁﻥ ﻫﻢ ﺳــﺎﺧﺘﻪ ﺷــﺪﻩ ﺩﺭ ﻧﻬﺎﺩﻱ ﺩﻭﻟﺘﻲ ﺑﻪ ﻧﺎﻡ‬ ‫ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﻛﻪ ﻛﻢﻛﻢ ﺯﻣﺰﻣﻪﻫﺎﻱ ﺩﻳﮕــﺮﻱ ﺧﻼﻑ ﺭﻭﻳﻪ ﻣﻌﻤﻮﻝ‬ ‫ﻣﺪﻳﺮﻳﺖ ﺳﻴﻨﻤﺎﻱ ﻛﺸﻮﺭ ﺳﺮ ﻣﻲﺩﺍﺩ‪ .‬ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻲ ﻣﺸﺨﺺ ﺑﻮﺩ‬ ‫ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﻋﺪﻡ ﺻﺪﻭﺭ ﻣﺠﻮﺯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺷﻮﺩ ﺗﺎ ﻃﻨﺰ ﺗﺎﺭﻳﺦ ﺗﻜﺮﺍﺭ‬ ‫ﺷﻮﺩ‪ .‬ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺑﺎﺯ ﻫﻢ ﺑﺎ ﻣﺪﻳﺮﻳﺖ ﺳﻴﻨﻤﺎﻳﻲ ﻣﺸﻜﻞ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‬ ‫ﺍﻣﺎ ﺍﮔﺮ ﺩﺭ ﺩﻫﻪ ‪ 60‬ﺑﻪ ﺳﺒﺐ ﻧﺮﻡﺧﻮﻳﻲ ﻭ ﻣﻼﻳﻤﺖ ﻣﺪﻳﺮﺍﻥ ﺳﻴﻨﻤﺎﻳﻲ ﺑﺎ‬ ‫ﻧﻬﺎﺩ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺑﻪﻣﺸﻜﻞ ﺧﻮﺭﺩﻩ ﺑﻮﺩ ﺍﻳﻦ ﺑﺎﺭ ﺑﻪ ﺳﺒﺐ ﺷﺪﺕ‬ ‫ﺑﺮﺧﻮﺭﺩ ﺍﻳﻦ ﻧﻬﺎﺩ ﻭ ﻣﺴﺌﻮﻻﻧﺶ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻣﻨﺎﺯﻋﻪ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻛﺮﺍﻥ‬ ‫ﻧﺸــﺪﻥ ﺁﺩﻡ ﺑﺮﻓﻲ ﺩﺭ ﺯﻣﺎﻥ ﺳــﺎﺧﺘﺶ ﺑﺮﺍﻱ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﻓﻴﻠﻤﻲ ﺍﺯ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺛﺮ ﻣﻤﻨﻮﻋﻪ ﻭﺍﺭﺩ ﺑﺎﺯﺍﺭ ﻗﺎﭼﺎﻕ ﻭﻳﺪﻳﻮﻳﻲ‬ ‫ﻛﺮﺩ ﻭ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﺁﻥ ﺭﺍ ﺑﺎ ﻭﺻﻒ ﻓﻴﻠﻢ ﺗﻮﻗﻴﻒ ﺷــﺪﻩﺍﻱ‬ ‫ﺩﺭ ﺧﺎﻧﻪﻫﺎﻳﺸــﺎﻥ ﺩﻳﺪﻧﺪ‪ .‬ﺍﻳﻦ ﺑﺮﺍﻱ ﺳــﻴﻨﻤﺎﻱ ﻣﺤﺎﻓﻈﻪﻛﺎﺭ ﺍﻳﺮﺍﻥ‬ ‫ﻧﻘﻄﻪ ﻋﻄﻔﻲ ﺩﺭ ﻣﻨﺎﺳــﺒﺎﺗﺶ ﺑــﻮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛــﻪ ﻣﺤﺼﻮﻝ ﺩﻳﮕﺮ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﻫﻤﻴﻦ ﻓﻴﻠﻢ‪ ،‬ﺳــﺮﻳﺎﻝ »ﺍﻣﺎﻡ ﻋﻠﻲ« ﺑﺎ ﺳﺘﺎﻳﺶ ﻓﺮﺍﻭﺍﻥ ﺍﺯ‬ ‫ﺭﺳﻤﻲﺗﺮﻳﻦ ﺭﺳﺎﻧﻪ ﻛﺸﻮﺭ ﭘﺨﺶ ﻣﻲﺷﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺩﺍﻭﻭﺩ ﻣﻴﺮﺑﺎﻗﺮﻱ ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺳﺮﻳﺎﻝ ﻋﻈﻴﻢ ﻭ ﭘﺮﻫﺰﻳﻨﻪ‬ ‫ﺍﻣﺎﻡ ﻋﻠﻲ)ﻉ( ﺩﺭ ﻣﺴــﻴﺮ ﺍﻧﺠﺎﻡ ﻣﺮﺍﺣﻞ ﻓﻨﻲ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺑﻪ ﭘﻴﺸﻨﻬﺎﺩ‬ ‫ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺑﺎ ﻫﻤﺎﻥ ﺗﻴﻢ ﻫﻤﺮﺍﻫﺶ ﺩﺭ ﺳﺮﻳﺎﻝ‪ ،‬ﻛﺎﺭ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻲ‬ ‫ﺩﺭﺑﺎﺭﻩ ﭘﺪﻳﺪﻩ ﻣﻬﺎﺟﺮﺕ ﺍﻳﺮﺍﻧﻴﺎﻥ ﻭ ﻭﺿﻌﻴﺖ ﺁﻧﻬﺎ ﺩﺭ ﺗﺮﻛﻴﻪ – ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﺍﻳﺴــﺘﮕﺎﻩ ﮔﺬﺭﻱ ﺍﻳﻦ ﻣﺴــﻴﺮ ‪ -‬ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﻣﻴﺮﺑﺎﻗﺮﻱ ﻗﺼﺪ ﺩﺍﺷﺖ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺩﺭ ﻓﻀﺎﻱ ﻃﻨﺰ ﺑﻨﻮﻳﺴــﺪ ﺍﻣﺎ ﻇﺎﻫــﺮﺍ ﺗﺎﺛﻴﺮ ﺍﻣﺎﻡ ﻋﻠﻲ)ﻉ(‬ ‫ﻫﻤﭽﻨﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﻭ ﺳﺎﻳﻪ ﺑﻌﻀﻲ ﻭﺟﻮﻫﺶ ﺑﺮ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻣﺸﻬﻮﺩ‬ ‫ﺑﻮﺩ‪ .‬ﺧﻮﺩ ﻣﻴﺮﺑﺎﻗﺮﻱ ﭼﻨﻴﻦ ﮔﻔﺘﻪ ﺍﺳــﺖ‪» :‬ﻗﺼﻪ ﺭﺍ ﻛﻪ ﻧﻮﺷﺘﻢ ﺩﻳﺪﻡ‬ ‫ﻧﺘﻮﺍﻧﺴــﺘﻪﺍﻡ ﺍﺯ ﺗﺎﺛﻴﺮ ﻋﻤﻴﻖ ﺳــﺎﻝﻫﺎﻱ ﭘﺮﺗﻼﻃﻢ ‪ 10‬ﺳﺎﻝ ﺍﺯ ﺗﺎﺭﻳﺦ‬ ‫ﭘﺮﺗﻨﺶ ﺯﻧﺪﮔﻲ ﺍﻣﺎﻡ ﻋﻠﻲ )ﻉ( ﺭﻫﺎﻳﻲ ﻳﺎﺑﻢ‪ .‬ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻗﺼﻪ ﺁﺩﻡ ﺑﺮﻓﻲ‬ ‫ﻳﻚ ﻗﺼﻪ ﺟﺪﻱ ﻭ ﺣﺘﻲ ﺩﺭ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﻟﺤﻈﺎﺕ ﺗﻠﺦ ﺷﺪ‪ «.‬ﮔﺰﺍﺭﺵ‬ ‫ﻓﻴﻠﻢ‪ ،‬ﺷﻤﺎﺭﻩ ‪ (170‬ﺑﺎ ﺁﻣﺎﺩﻩ ﺷﺪﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ‪ ،‬ﻣﻀﻤﻮﻥ ﻭ ﭘﺮﺩﺍﺧﺘﺶ‬ ‫ﺁﺷــﻜﺎﺭﺍ ﺍﺯ ﻧﻈﺮ ﻫﺮ ﻓﺮﺩ ﺁﺷﻨﺎ ﺑﻪ ﺷﺮﺍﻳﻂ ﺳــﻴﻨﻤﺎ ﺣﺴﺎﺳﻴﺖﺑﺮﺍﻧﮕﻴﺰ‬ ‫ﺑــﻪ ﻧﻈﺮ ﻣﻲﺭﺳــﺪ‪ .‬ﻫﻤﻴﻦ ﺻﺪﻭﺭ ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺭﺍ ﻣﺸــﻜﻞ‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﻧﻬــﺎﺩ ﻣﻮﺭﺩﺍﻋﺘﻤﺎﺩ ﻭ ﻣﻬﻤﻲ ﭼﻮﻥ ﺣــﻮﺯﻩ ﻫﻨﺮﻱ ﺩﺭ ﻣﻘﺎﻡ‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻧﻘﺶ ﺍﺻﻠــﻲ ﺭﺍ ﺩﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺍﻳﻔﺎ ﻣــﻰ ﻛﻨﺪ‪ .‬ﻣﺪﻳﺮﺍﻥ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﻣﺨﺎﻟﻒ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺑﻮﺩﻧﺪ ﭼﻨﺎﻧﻜﻪ ﭘﺮﻭﺍﻧﻪ‬ ‫ﺳﺎﺧﺖ ﺩﺭ ﺗﺎﺭﻳﺦ ‪ 19‬ﺷﻬﺮﻳﻮﺭ ‪ 73‬ﺑﺎ ﺍﻳﻦ ﺗﻮﺿﻴﺢ ﺻﺎﺩﺭ ﺷﺪ‪» :‬ﺑﻪﺭﻏﻢ‬ ‫ﻣﺨﺎﻟﻔﺖﻫﺎﻱ ﻣﻜﺮﺭ ﻛﻤﻴﺴﻴﻮﻥ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﺍﻳﻦ ﺍﻣﻮﺭ ﺑﺎ ﻣﻮﺿﻮﻉ ﻭ‬ ‫ﻣﺤﺘﻮﺍﻱ ﻓﻴﻠﻤﻨﺎﻣﻪ‪ ،‬ﺑﻪ ﻋﻠﺖ ﭘﺬﻳﺮﺵ ﻛﻠﻴﻪ ﻣﺴــﺌﻮﻟﻴﺖﻫﺎﻱ ﺷﺮﻋﻲ‬ ‫ﻭ ﻋﺮﻓﻲ ﻭ ﺍﺧﻼﻗﻲ ﻓﻴﻠﻢ ﺗﻮﺳــﻂ ﺣﺠﺖﺍﻻﺳﻼﻡ ﺯﻡ ﺍﻳﻦ ﻣﺠﻮﺯ ﺻﺎﺩﺭ‬ ‫ﮔﺮﺩﻳﺪ‪ .‬ﺑﺪﻳﻬﻲ ﺍﺳــﺖ ﻛﻪ ﺍﻇﻬﺎﺭﻧﻈﺮ ﻧﻬﺎﻳﻲ ﻣﻮﻛﻮﻝ ﺑﻪ ﺑﺎﺯﺑﻴﻨﻲ ﻓﻴﻠﻢ‬ ‫ﺍﺳﺖ‪) «.‬ﮔﺰﺍﺭﺵ ﻓﻴﻠﻢ‪ ،‬ﺷﻤﺎﺭﻩ ‪ (95‬ﺑﺎ ﺍﻳﻦ ﻣﺠﻮﺯ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﺗﺮﻛﻴﺐ‬ ‫ﻛﺎﻣﻞ ﻋﻮﺍﻣﻞ ﺳﺮﻳﺎﻝ ﺍﻣﺎﻡ ﻋﻠﻲ)ﻉ( ﻛﺎﺭ ﺳﺎﺧﺖ ﺭﺍ ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﻭ ﭘﺎﻳﻴﺰ‬ ‫ﺳﺎﻝ ‪ 73‬ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺳﻔﺮﻱ ﻫﻢ ﺑﻪ ﺗﺮﻛﻴﻪ ﻣﻲﻛﻨﻨﺪ ﻭ ﻣﻮﻓﻖ‬ ‫ﻣﻲﺷﻮﻧﺪ ﺗﻮﻟﻴﺪ ﺭﺍ ﺩﺭ ﺯﻣﺎﻥ ﻣﻌﻤﻮﻝ ﺑﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺑﺮﺳﺎﻧﻨﺪ ﻭ ﻓﻴﻠﻢ ﺑﺮﺍﻱ‬ ‫ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺳﻴﺰﺩﻫﻢ ﻓﻴﻠﻢ ﻓﺠﺮ ﺁﻣﺎﺩﻩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﭘﻴﺶ ﺍﺯ ﺷــﺮﻭﻉ ﺟﺸــﻨﻮﺍﺭﻩ ﻧــﺎﻡ ﺁﺩﻡﺑﺮﻓﻲ ﺩﺭ ﻓﻬﺮﺳــﺖ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺍﻋﻼﻡ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﺟﺪﻭﻝ ﺑﺮﻧﺎﻣﻪﻫﺎ‬ ‫ﻫﻢ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺷــﺎﻳﻌﺎﺗﻲ ﻣﺒﻨﻲ ﺑﺮ ﺑﺮﻭﺯ ﻣﺸــﻜﻼﺗﻲ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﺷﻨﻴﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺷﺎﻳﻌﺎﺕ ﺩﺭ ﻣﻴﺎﻧﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺭﻧﮓ ﻭﺍﻗﻌﻴﺖ‬ ‫ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﻧﺪ ﻭ ﻓﻴﻠﻢ ﻳﻚ ﺷــﺐ ﻗﺒﻞ ﺍﺯ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺑﻪﺩﻟﻴﻞ ﻣﺨﺎﻟﻔﺖ ﻣﺪﻳﺮﺍﻥ ﺳــﻴﻨﻤﺎﻳﻲ ﻛﻨﺎﺭ ﮔﺬﺍﺷــﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﺳﺮﺁﻏﺎﺯ ﺳﻪ ﺳﺎﻝ ﻛﺸــﻤﻜﺶ ﻭ ﺗﻘﺎﺑﻞ ﻣﻴﺎﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ ﺣﻮﺯﻩ‬ ‫ﻫﻨﺮﻱ ﻛﻪ ﺟﺰ ﺁﺩﻡﺑﺮﻓﻲ ﻓﻴﻠﻢ ﺩﻳﮕــﺮﺵ »ﺩﻳﺪﺍﺭ« ﻫﻢ ﺩﭼﺎﺭ ﻫﻤﻴﻦ‬ ‫ﻣﺸﻜﻞ ﺷﺪﻩ‪ ،‬ﺑﺎ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺍﺳﺖ‪ .‬ﺁﺩﻡ ﺑﺮﻓﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ‬ ‫ﺗﻨﻬﺎ ﺩﺭ ﻳﻚ ﺳﺎﻧﺲ ﺑﺮﺍﻱ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺳﻴﻨﻤﺎ ﻭ ﺍﻫﺎﻟﻲ‬ ‫ﺭﺳﺎﻧﻪ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ ﻭ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻢ ﺩﺭ‬ ‫ﻧﻤﺎﻳﺶﻫﺎﻱ ﻣﻌﻤﻮﻟﺶ ﺁﻥ ﺭﺍ ﺍﻛﺮﺍﻥ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﻧﻤﺎﻳﺶﻫﺎﻱ‬ ‫ﻣﺤﺪﻭﺩ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﺳــﺎﺧﺘﺎﺭ ﻭ ﭘﺮﺩﺍﺧﺖ ﻧﻮ ﻭ ﺑﺪﻳــﻊ ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ‬ ‫ﻳﻚ ﻣﻮﺿﻮﻉ ﺧﺎﺹ ﻭ ﻧﻴﺰ ﻧﻜﺘﻪ ﺍﺻﻠﻲﺍﺵ )ﺯﻥﭘﻮﺷــﻲ ﺍﻛﺒﺮ ﻋﺒﺪﻱ(‬ ‫ﺻﺤﺒﺖ ﻣﻲﻛﻨﻨﺪ ﺍﻣﺎ ﻛﻤﺘﺮ ﻛﺴﻲ ﺩﺭ ﻫﻤﺎﻥ ﻣﻘﻄﻊ ﺗﺼﻮﺭ ﻧﻤﺎﻳﺸﺶ‬ ‫ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻫﻔﺘﻪﻧﺎﻣــﻪ ﺻﺒﺢ ﺍﺯ ﺍﻭﻟﻴﻦ ﺭﺳــﺎﻧﻪﻫﺎﻳﻲ ﺍﺳــﺖ ﻛﻪ ﺑﻪ ﻓﻴﻠﻢ‬ ‫ﺣﻤﻠﻪ ﻣﻲﻛﻨــﺪ‪ .‬ﭼﻨﺪ ﻧﻘﺪ ﻣﻮﺍﻓﻖ ﻫﻢ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺩﺭ ﭼﻨﺪ ﻧﺸــﺮﻳﻪ‬ ‫ﻣﺎﻧﻨــﺪ ﻣﺎﻫﻨﺎﻣﻪ ﺳــﻮﺭﻩ ﺍﺭﮔﺎﻥ ﺭﺳــﻤﻲ ﺣﻮﺯﻩ ﻫﻨــﺮﻱ ﻭ ﻓﺼﻠﻨﺎﻣﻪ‬ ‫ﻓﺎﺭﺍﺑﻲ ﻣﻨﺘﺸــﺮ ﻣﻲﺷﻮﺩ‪ .‬ﭼﻨﺪ ﻣﺎﻩ ﺑﻌﺪ ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﺩﺭ ﻣﻴﺎﻧﻪ ﺳﺎﻝ‬ ‫‪ 74‬ﺭﺍﻳﺰﻧﻲﻫﺎﻱ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺑﺎ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ‬ ‫ﺑﻪ ﻧﺘﺎﻳﺞ ﺛﻤﺮﺑﺨﺸــﻲ ﺭﺳــﻴﺪﻩ ﺍﻣﺎ ﺑﺎ ﺍﻧﺠﺎﻡ ﺗﻐﻴﻴﺮﺍﺕ ﮔﺴــﺘﺮﺩﻩ ﺩﺭ‬ ‫ﺳــﻄﺢ ﻣﺪﻳﺮﻳﺖ ﺳــﻴﻨﻤﺎ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﻫﻤﻪﭼﻴﺰ ﺑﻪ ﻧﻘﻄــﻪ ﺍﺑﺘﺪﺍﻳﻲ ﺑﺎﺯ‬ ‫ﻣﻲﮔﺮﺩﺩ‪ .‬ﻋــﺰﺕﺍﷲ ﺿﺮﻏﺎﻣﻲ‪ ،‬ﻣﺪﻳﺮ ﺟﺪﻳﺪ ﻧﮕﺎﻩ ﺗﻨﺪﺗﺮﻱ ﻧﺴــﺒﺖ‬ ‫ﺑــﻪ ﻓﻴﻠﻢ ﺩﺍﺭﺩ‪ .‬ﺳــﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﻣﺸــﺎﻫﺪﻩ ﺗﻐﻴﻴﺮ ﻧﻜﺮﺩﻥ ﺷــﺮﺍﻳﻂ ﺑﺮ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻳﺸﺎﻥ ﺷﺪﺕ ﻣﻲﺑﺨﺸﻨﺪ ﻭ ﺭﺍﻳﺰﻧﻲﻫﺎ ﺭﺍ ﺗﺎ ﺳﻄﺢ ﻋﺎﻟﻲﺗﺮﻳﻦ‬ ‫ﺁﺩﻡ ﺑﺮﻓﻲ ﺩﺭ ﺯﻣﺴﺘﺎﻥ ‪ 76‬ﻛﻪ ﻓﺼﻞ‬ ‫ﻧﺎﻣﻨﺎﺳﺒﻲ ﻫﻢ ﻫﺴﺖ ﺑﻪ ﺭﻭﻱ ﭘﺮﺩﻩ‬ ‫ﻣﻲﺭﻭﺩ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﺍﻣﺎ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ‬ ‫ﺍﺳﺖ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺍﺧﺒﺎﺭﻱ ﻣﺒﻨﻲﺑﺮ‬ ‫ﺣﻤﻠﻪ ﺍﻳﺬﺍﻳﻲ ﺑﻪ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﺳﻴﻨﻤﺎﻫﺎﻱ‬ ‫ﻧﻤﺎﻳﺶ ﺩﻫﻨﺪﻩ ﻓﻴﻠﻢ ﺩﺭ ﺗﻬﺮﺍﻥ ﻭ‬ ‫ﺷﻬﺮﺳﺘﺎﻥﻫﺎﻣﻨﺘﺸﺮﻣﻲﺷﻮﺩ‬ ‫ﻣﻘﺎﻣﺎﺕ ﻧﻈــﺎﻡ ﭘﻴــﺶ ﻣﻲﺑﺮﻧﺪ‪ .‬ﺩﺭ ﻫﻤﻴــﻦ ﺯﻣﺎﻥ ﺍﺳــﺖ ﻛﻪ ﻧﺎﻣﻪ‬ ‫ﻣﻌﺮﻭﻑ ﺍﻋﺘﺮﺍﺿﻲ ﺍﻫﻞ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﺑﻪ ﺷــﺮﺍﻳﻂ ﻧﻈﺎﺭﺗﻲ ﺑﺎﻋﻨﻮﺍﻥ‬ ‫»ﻣﺎ ﻫﻨﺮﻣﻨﺪﻳﻢ« ﻣﻨﺘﺸــﺮ ﻣﻲﺷﻮﺩ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺷﺮﺍﻳﻂ ﺁﺩﻡ ﺑﺮﻓﻲ ﺭﺍ‬ ‫ﻧﻤﻮﺩﻱ ﺍﺯ ﻣﺴﺎﺋﻞ ﭘﻴﺮﺍﻣﻮﻥ ﺍﻳﻦ ﻧﺎﻣﻪ ﺟﻨﺠﺎﻟﻲ ﻣﻲﺩﺍﻧﻨﺪ‪.‬‬ ‫ﺳــﺎﻝ ‪ 74‬ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﻣﻲﮔﺬﺭﺩ ﻭ ﺳﺎﻝ ﺁﻳﻨﺪﻩ ﺑﺎ ﺻﺤﺒﺖﻫﺎﻱ‬ ‫ﻋــﺰﺕﺍﷲ ﺿﺮﻏﺎﻣﻲ ﺩﺭﺑــﺎﺭﻩ ﻓﻴﻠﻢ ﺁﻏﺎﺯ ﻣﻲﺷــﻮﺩ‪ .‬ﺩﺭ ﻓﺮﻭﺭﺩﻳﻦ ‪75‬‬ ‫ﻣﺴﺌﻮﻻﻥ ﺣﻮﺯﻩ ﻣﻮﻓﻖ ﻣﻲﺷــﻮﻧﺪ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮﺍﻱ ﻫﻴﺎﺕ ﺩﻭﻟﺖ ﺩﺭ ﺩﻭ‬ ‫ﻧﻮﺑﺖ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻭﺭﻧﺪ ﻭ ﺗﻮﺻﻴﻪﻫﺎﻳﻲ ﺑﮕﻴﺮﻧﺪ‪ ،‬ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺭﺋﻴﺲ‬ ‫ﺟﻤﻬﻮﺭ ﺩﺭﺑﺎﺭﻩ ﻭﺿﻌﻴﺖ ﻓﻴﻠﻢ ﺍﺯ ﻣﺼﻄﻔﻲ ﻣﻴﺮﺳــﻠﻴﻢ‪ ،‬ﻭﺯﻳﺮ ﺍﺭﺷــﺎﺩ‬ ‫ﻭﻗﺖ ﺗﻮﺿﻴﺢ ﻣﻲﺧﻮﺍﻫﺪ ﻭ ﺩﺳــﺘﻮﺭ ﻣﺴﺎﻋﺪﺕ ﺩﺭ ﺣﻞ ﻣﺸﻜﻞ ﻓﻴﻠﻢ‬ ‫ﺭﺍ ﻣﻲﺩﻫﺪ‪ .‬ﻋﺰﺕﺍﷲ ﺿﺮﻏﺎﻣﻲ‪ ،‬ﻣﻌﺎﻭﻥ ﺳﻴﻨﻤﺎﻳﻲ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﺍﻳﻦ‬ ‫ﺍﻗﺪﺍﻣﺎﺕ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻳﻲ ﺟﻤﻌﻲ ﺑﺎ ﻣﺴــﺌﻮﻻﻥ ﺑﺨﺶ ﺳــﻴﻨﻤﺎﻳﻲ‬ ‫ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﻭ ﺭﺳﺎﻧﻪﻫﺎ ﺩﺭﺑﺎﺭﻩ ﻋﺪﻡ ﻧﻤﺎﻳﺶ ﺩﻳﺪﺍﺭ ﻭ ﺁﺩﻡ ﺑﺮﻓﻲ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫»ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺍﺷﻜﺎﻻﺗﻲ ﺩﺍﺷــﺖ ﻭ ﻣﺎ ﺑﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺩﻭ ﻓﻴﻠﻢ ﮔﻔﺘﻴﻢ‬ ‫ﻛﻪ ﺑﺎ ﭼﻨﺪ ﻣﻮﺭﺩ ﺍﺻﻼﺣﻲ‪ ،‬ﻓﻴﻠﻢﻫﺎﻳﺸــﺎﻥ ﻗﺎﺑﻞ ﻧﻤﺎﻳﺶ ﺍﺳــﺖ ﻭﻟﻲ‬ ‫ﻣﺘﺎﺳــﻔﺎﻧﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﺑﻪ ﺩﻻﻳﻠﻲ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ ﺳﺮﺑﺎﺯ ﺯﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﻣﺎ ﺣﺘﻲ ﮔﻔﺘﻪﺍﻳﻢ ﺣﺎﺿﺮﻳﻢ ﻫﺰﻳﻨﻪ ﻣﻮﺍﺭﺩ ﺍﺻﻼﺣﻲ ﺭﺍ ﻧﻴﺰ ﻣﺘﻘﺒﻞ‬ ‫ﺷﻮﻳﻢ‪ «.‬ﺍﻳﻦ ﺻﺤﺒﺖﻫﺎ ﻧﺸــﺎﻥﺩﻫﻨﺪﻩ ﻣﻨﺎﺯﻋﻪ ﺳﻨﮕﻴﻦ ﭘﻴﺶﺁﻣﺪﻩ‬ ‫ﻣﻴﺎﻥ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎ ﻭ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﻣﻴﺎﻧﻪ ﺍﻳﻦ ﺳﺎﻝ ﺑﺎ ﺁﻧﻜﻪ ﻣﺪﻳﺮ ﻧﻈﺎﺭﺕ ﻭ ﺍﺭﺯﺷﻴﺎﺑﻲ ﻫﻢ ﺗﻐﻴﻴﺮ ﻣﻲﻛﻨﺪ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺳﺮﻧﻮﺷﺖ ﺁﺩﻡ ﺑﺮﻓﻲ ﺣﺎﻻ ﻧﻤﻮﻧﻪ ﻋﻴﻨﻲ ﺩﻭ ﻧﻮﻉ ﻃﺮﺯ ﺗﻠﻘﻲ ﺩﺭ ﻣﺪﻳﺮﻳﺖ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﮕﺎﻫــﻲ ﻛﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺑﺎ ﻣﻀﻤﻮﻥ ﻭ ﭘﺮﺩﺍﺧﺖ ﺧﺎﺹ ﺭﺍ ﻣﻨﺠﺮ ﺑﻪ ﺑﺮﻭﺯ ﻭﺍﻛﻨﺶﻫﺎﻳﻲ ﺩﺭ ﺟﺎﻣﻌﻪ‬ ‫ﻣﻲﺩﺍﻧﻨﺪ ﻭ ﻣﺨﺎﻟﻒ ﺍﻛﺮﺍﻥ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎﺳــﺖ ﻭ ﻧﮕﺎﻩ ﺩﻳﮕﺮﻱ ﻛﻪ ﻧﻤﺎﻳﺶ ﭼﻨﻴﻦ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺭﺍ ﺑﺮﺍﻱ‬ ‫ﺟﺎﻣﻌﻪﺍﻱ ﻛﻪ ﺩﺭ ﻻﻳﻪﻫﺎﻱ ﭘﻨﻬﺎﻧﺶ ﺧﻮﺩ ﺩﺭﮔﻴﺮ ﻭ ﻫﻤﺮﺍﻩ ﺑﺎ ﭼﻨﻴﻦ ﻣﻀﺎﻣﻴﻨﻲ ﺍﺳﺖ‪ ،‬ﻻﺯﻡ ﻭ ﻣﻔﻴﺪ ﻣﻲﺩﺍﻧﺪ‪.‬‬ ‫ﺁﺩﻡ ﺑﺮﻓﻲ ﺩﺭ ﻧﮕﺎﻩ ﺍﻣﺮﻭﺯ ﻓﻴﻠﻤﻲ ﺧﻮﺵﺳﺎﺧﺖ ﻭ ﺩﻳﺪﻧﻲ ﺍﺳﺖ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﻫﺮﭼﻴﺰ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﺍﺣﺎﻃﻪ‬ ‫ﺳــﺎﺯﻧﺪﮔﺎﻧﺶ ﺩﺭ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺟﺬﺍﺏ ﻭ ﺗﻤﺎﺷﺎﮔﺮﭘﺴﻨﺪ ﺍﺳــﺖ‪ .‬ﻣﻀﻤﻮﻥ ﺁﺩﻡﺑﺮﻓﻲ ﺷﺎﻳﺪ ﺩﺭ ﺯﻣﺎﻥ‬ ‫ﺳﺎﺧﺘﺶ ﻣﻠﺘﻬﺐ ﻭ ﺧﺎﺹ ﺑﻮﺩ ﺍﻣﺎ ﮔﻮﻳﻲ ﭼﻨﺪ ﺳﺎﻝ ﺑﻌﺪﺵ ﺁﻥ ﻗﺪﺭ ﻣﺴﺎﺋﻞ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺗﺎﺑﻮﮔﻮﻧﻪ ﺩﻳﮕﺮ ﺩﺭ‬ ‫ﻭ ﻣﺪﻳﺮ ﺟﺪﻳﺪ‪ ،‬ﺣﺒﻴﺐﺍﷲ ﻛﺎﺳﻪﺳــﺎﺯ ﺑﻪﻇﺎﻫﺮ ﻫﻤﺮﺍﻫﻲ ﺑﻴﺸــﺘﺮﻱ‬ ‫ﺑﺎ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﺩﺍﺭﺩ ﺍﻣﺎ ﺩﺭ ﻋﻤﻞ ﺍﺗﻔﺎﻗﻲ ﺑــﺮﺍﻱ ﻓﻴﻠﻢ ﻧﻤﻲﺍﻓﺘﺪ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦ ﺳــﺎﻝ ﺣﺠﺖﺍﻻﺳــﻼﻡ ﺯﻡ‪ ،‬ﺭﺋﻴــﺲ ﺑﺎﻧﻔﻮﺫ ﺣــﻮﺯﻩ ﻫﻨﺮﻱ ﻫﻢ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻳﺶ ﺭﺍ ﺑﺮﺍﻱ ﺭﻓﻊ ﻣﺸــﻜﻞ ﻓﻴﻠﻢ ﺷــﺪﺕ ﻣﻲﺑﺨﺸــﺪ ﻭ ﺩﺭ‬ ‫ﺍﻳﻦ ﺭﺍﻩ ﻧﺎﻣﻪ ﺳﺮﮔﺸــﺎﺩﻩ ﺗﻨﺪﻱ ﺧﻄﺎﺏ ﺑﻪ ﻭﺯﻳﺮ ﺍﺭﺷــﺎﺩ ﻣﻲﻧﻮﻳﺴﺪ ﻭ‬ ‫ﺭﻭﻧﻮﺷﺘﺶ ﺭﺍ ﺑﻪ ﺩﻓﺘﺮ ﻣﻘﺎﻡﻣﻌﻈﻢﺭﻫﺒﺮﻱ‪ ،‬ﺭﺋﻴﺲﺟﻤﻬﻮﺭﻱ ﻭ ﺳﺎﺯﻣﺎﻥ‬ ‫ﺑﺎﺯﺭﺳﻲ ﻫﻢ ﻣﻲﻓﺮﺳﺘﺪ‪ .‬ﺳﺎﺯﻣﺎﻥ ﺑﺎﺯﺭﺳﻲ ﭘﻴﮕﻴﺮ ﻣﻮﺿﻮﻉ ﻣﻲﺷﻮﺩ ﻭ‬ ‫ﺍﺯ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ ﺗﻮﺿﻴﺢ ﻣﻲﺧﻮﺍﻫﺪ‪ .‬ﺿﺮﻏﺎﻣﻲ‪ ،‬ﻣﻌﺎﻭﻥ ﺳﻴﻨﻤﺎﻳﻲ ﭘﻴﺮﻭ‬ ‫ﻧﺎﻣﻪ ﻭﺯﻳﺮﺍﺭﺷﺎﺩ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺑﺮ ﺍﺻﺮﺍﺭ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ‬ ‫ﺩﺭ ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩﻥ ﺍﺻﻼﺣﻴﻪﻫﺎﻱ ﻻﺯﻡ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﺪ ﻭ ﻫﻤﻴﻦ ﺭﺍ ﻋﻠﺖ‬ ‫ﺍﺻﻠﻲ ﺣﻞ ﻧﺸــﺪﻥ ﻣﺸﻜﻞ ﻣﻲﺩﺍﻧﺪ‪ .‬ﺣﺠﺖﺍﻻﺳــﻼﻡ ﺯﻡ ﻧﻴﺰ ﺍﻧﺠﺎﻡ‬ ‫ﺍﺻﻼﺣﺎﺕ ﺭﺍ ﻧﺎﻣﻤﻜﻦ ﻣﻲﺩﺍﻧﺪ ﺯﻳــﺮﺍ‪» :‬ﺩﺭ ﺻﻮﺭﺕ ﺍﻋﻤﺎﻝ ﺍﺻﻼﺣﻴﻪ‬ ‫ﭼﻴﺰﻱ ﺍﺯ ﻓﻴﻠﻢ ﺑﺎﻗﻲ ﻧﻤﻲﻣﺎﻧﺪ‪«.‬‬ ‫ﺳﺎﻝ ‪ 76‬ﺍﻣﺎ ﺣﻜﺎﻳﺖ ﺩﻳﮕﺮﻱ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺷﺮﻭﻉ ﺍﻳﻦ ﺳﺎﻝ ﺑﺎ ﺭﺍﻳﺰﻧﻲﻫﺎﻱ‬ ‫ﺯﻡ‪ ،‬ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﺩﺳﺘﻮﺭ ﻛﺘﺒﻲ ﺭﻓﻊ ﻣﺸﻜﻞ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺭﺍ ﺻﺎﺩﺭ‬ ‫ﻣﻲﻛﻨﺪ ﻭ ﻫﻤﺰﻣﺎﻥ ﻧﻴﺰ ﺣﺠﺖﺍﻻﺳﻼﻡ ﺯﻡ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻳﻲ ﺭﺳﺎﻧﻪﺍﻱ‬ ‫ﺑﻪ ﺻﺤﺒــﺖ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻣﻲﭘﺮﺩﺍﺯﺩ‪» :‬ﺍﻳــﻦ ﺩﻭ ﻓﻴﻠﻢ ﻗﺮﺑﺎﻧﻲ ﻧﮕﺎﻫﻲ‬ ‫ﻛﺞﺍﻧﺪﻳﺸــﺎﻧﻪ ﻭ ﺑﺪﺑﻴﻨﺎﻧﻪ ﺩﺭ ﻋﺮﺻﻪ ﺳﻴﻨﻤﺎ ﻭ ﻧﻤﺎﻳﺶ ﻛﺸﻮﺭ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﻋﺪﻩﺍﻱ ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ ﺟﺬﺍﺑﻴﺖ ﺑﺮﺍﻱ ﻓﻴﻠﻢ ﻻﺯﻡ ﻧﻴﺴــﺖ ﺍﻣﺎ ﺣﻮﺯﻩ ﺑﻪ‬ ‫ﺍﻳﻦ ﺍﺻﻞ ﻣﻌﺘﻘﺪ ﺷــﺪﻩ ﻛﻪ ﻫﻴﭻ ﻓﻴﻠﻤﻲ ﻧﺒﺎﻳﺪ ﺳــﺎﺧﺘﻪ ﺷــﻮﺩ‪ ،‬ﻣﮕﺮ‬ ‫ﺁﻥ ﻛﻪ ﻭﺿﻌﻴﺘﺶ ﺑﺎ ﻣﺨﺎﻃﺐ ﺭﻭﺷﻦ ﺷــﻮﺩ‪ «.‬ﺍﻣﺎ ﺍﻳﻦ ﺻﺤﺒﺖﻫﺎ ﺩﺭ‬ ‫ﻣﻴﺎﻧﻪ ﺗﻐﻴﻴﺮﺍﺕ ﺳﻴﺎﺳﻲ ﺩﺭ ﺭﺍﻩ ﻛﺸﻮﺭ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﻧﺘﺨﺎﺑﺎﺕ‬ ‫ﺭﻳﺎﺳﺖﺟﻤﻬﻮﺭﻱ ﻣﺨﺎﻃﺐ ﭼﻨﺪﺍﻧﻲ ﻧﻤﻲﻳﺎﺑﺪ‪ .‬ﻧﺘﻴﺠﻪ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ‬ ‫ﺍﻧﺘﺨﺎﺑﺎﺕ ﻭ ﭘﻴﺮﻭﺯﻱ ﺳــﻴﺪﻣﺤﻤﺪ ﺧﺎﺗﻤﻲ ﻣﻌــﺎﺩﻻﺕ ﺭﺍ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ‬ ‫ﺩﻭ ﻓﻴﻠــﻢ ﺗﻐﻴﻴﺮ ﻣﻲﺩﻫﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ‪ ،‬ﻣﻌﺎﻭﻣﺖ ﺳــﻴﻨﻤﺎﻳﻲ ﻛﻪ‬ ‫ﻣﺪﻳﺮﺵ ﺑﺮ ﺳــﺮﻛﺎﺭﺵ ﺣﺎﺿﺮ ﻧﻤﻲﺷــﻮﺩ ﺑﺎ ﺻــﺪﻭﺭ ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ‬ ‫ﻣﺸﺮﻭﻁ ﺑﺎ ﺍﻳﻦ ﺷــﺮﻁ ﻛﻪ ﺳﺎﺯﻣﺎﻥ ﺗﺒﻠﻴﻐﺎﺕ ﺍﺳــﻼﻣﻲ )ﻭ ﻧﻪ ﺣﻮﺯﻩ‬ ‫ﻫﻨﺮﻱ( ﻣﺴــﺌﻮﻟﻴﺖ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮﻋﻬﺪﻩ ﺑﮕﻴــﺮﺩ ﻋﻤﻼ ﺧﻮﺩ ﺭﺍ ﺍﺯ‬ ‫ﺍﻳﻦ ﻣﻨﺎﺯﻋﻪ ﺧﺎﺭﺝ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺴــﺌﻮﻻﻥ ﺣﻮﺯﻩ ﻛﻪ ﻣﻲﺩﺍﻧﻨﺪ ﻣﺪﻳﺮﺍﻥ‬ ‫ﺟﺪﻳﺪ ﺍﺭﺷﺎﺩ ﺩﺭ ﺩﻭﻟﺖ ﺑﻌﺪﻱ ﺑﺮﺍﻱ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﻧﮕﺎﻩ ﺟﺪﻳﺪﺷﺎﻥ ﺑﺎﻳﺪ‬ ‫ﺍﻗﺪﺍﻡ ﻋﻤﻠﻲ ﺍﻧﺠﺎﻡ ﺩﻫﻨﺪ‪ ،‬ﺿﻤﻦ ﭘﺎﺳــﺦ ﺗﻨﺪ ﺑﻪ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﺻﺒﺮ ﻣﻲﻛﻨﻨﺪ ﻭ ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﺍﻗﺪﺍﻣﺸــﺎﻥ ﺭﺍ ﻫﻢ ﺑﺎ ﺩﺳﺘﻮﺭ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ‬ ‫ﺟﺪﻳﺪ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﻋﻄﺎﺍﷲ ﻣﻬﺎﺟﺮﺍﻧﻲ ﺩﺳــﺘﻮﺭ ﻧﻤﺎﻳــﺶ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ‬ ‫ﺍﻭﻟﻴﻦ ﺭﻭﺯﻫﺎﻱ ﺁﻏــﺎﺯ ﻓﻌﺎﻟﻴﺘﺶ ﺻﺎﺩﺭ ﻣﻲﻛﻨــﺪ ﻭ ﺁﺩﻡ ﺑﺮﻓﻲ ﺑﻌﺪ ﺍﺯ‬ ‫ﺳﻪﺳﺎﻝ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﻣﺨﺎﻃﺒﺎﻥ ﺑﺎﻟﻘﻮﻩﺍﺵ ﻧﺴﺨﻪﻫﺎﻱ‬ ‫ﺑﻲﻛﻴﻔﻴــﺖ ﺁﻥ ﺭﺍ ﺩﺭ ﻭﻳﺪﻳــﻮ ﺩﻳﺪﻩﺍﻧﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺑﺴــﻴﺎﺭﻱ‬ ‫ﭘﻴﺶﺑﻴﻨﻲ ﻓﺮﻭﺵ ﭼﻨﺪﺍﻧﻲ ﺑﺮﺍﻳﺶ ﻧﻤﻲﻛﻨﻨﺪ ﺩﺭ ﺯﻣﺴــﺘﺎﻥ ‪ 76‬ﻛﻪ‬ ‫ﻓﺼﻞ ﻧﺎﻣﻨﺎﺳــﺒﻲ ﻫﻢ ﻫﺴــﺖ ﺑﻪ ﺭﻭﻱ ﭘﺮﺩﻩ ﻣﻲﺭﻭﺩ‪ .‬ﺍﺳــﺘﻘﺒﺎﻝ ﺍﻣﺎ‬ ‫ﺣﻴﺮﺕﺍﻧﮕﻴﺰ ﺍﺳﺖ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺍﺧﺒﺎﺭﻱ ﻣﺒﻨﻲﺑﺮ ﺣﻤﻠﻪ ﺍﻳﺬﺍﻳﻲ )ﺍﻛﺜﺮﺍ‬ ‫ﺩﺭ ﺳــﺎﻋﺎﺕ ﻧﻴﻤﻪ ﺷﺐ( ﺑﻪ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﺳــﻴﻨﻤﺎﻫﺎﻱ ﻧﻤﺎﻳﺶ ﺩﻫﻨﺪﻩ‬ ‫ﻓﻴﻠﻢ ﺩﺭ ﺗﻬﺮﺍﻥ ﻭ ﺷﻬﺮﺳــﺘﺎﻥﻫﺎ ﻣﻨﺘﺸــﺮ ﻣﻲﺷــﻮﺩ ﺳﻴﻞ ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪ .‬ﺭﺳــﺎﻧﻪﻫﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﺍﺯ ﻓﻴﻠﻢ ﺭﺍ ﻧﺎﺷــﻲ ﺍﺯ ﺣﺎﺷﻴﻪﻫﺎﻱ‬ ‫ﺳﻪ ﺳــﺎﻟﻪﺍﺵ ﻣﻲﺩﺍﻧﻨﺪ ﻭ ﺩﺭ ﻧﻘﺪﻫﺎﻳﺸــﺎﻥ ﭼﻨﺪﺍﻥ ﺑﺎ ﻓﻴﻠﻢ ﻣﻬﺮﺑﺎﻥ‬ ‫ﻧﻴﺴــﺘﻨﺪ‪ .‬ﺗﻌﺪﺍﺩﻱ ﺣﺘﻲ ﺁﻥ ﺭﺍ ﻧﻮﻋﻲ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻣﺪﺭﻥ ﻓﻴﻠﻤﻔﺎﺭﺳــﻲ‬ ‫ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻛﻠﻴﺸــﻪﺍﻱﺍﺵ ﻣﻲﺩﺍﻧﻨﺪ‪ .‬ﻣﺨﺎﻃﺒﺎﻥ ﺍﻣﺎ ﺑﻲﺍﻋﺘﻨﺎ‬ ‫ﻓﺮﻭﺵ ﻓﻴﻠﻢ ﺭﺍ ﺗﺎ ﺣﺪ ﺷﻜﺴــﺘﻦ ﺭﻛﻮﺭﺩ ﺗﺎﺭﻳﺦ ﺳــﻴﻨﻤﺎ ﺑﺎﻻ ﻣﻲﺑﺮﻧﺪ‪.‬‬ ‫ﻫﻤﮕﺎﻥ ﺍﺯ ﺷﺮﻭﻉ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪ ﺻﺤﺒﺖ ﻣﻲﻛﻨﻨﺪ ﻭ ﺍﻗﺪﺍﻡ ﻣﺴﺌﻮﻻﻥ‬ ‫ﺟﺪﻳﺪ ﺭﺍ ﻣﻲﺳﺘﺎﻳﻨﺪ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﮔﺬﺷﺖ ﺑﻴﺶ ﺍﺯ ﺳﻪ ﺳﺎﻝ‬ ‫ﺍﺯ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﭼﻨﺪﺍﻥ ﺭﻏﺒﺘﻲ ﺑﻪ ﺻﺤﺒﺖ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺗﺎ ﺣﺪﻭﺩﻱ ﻫﻢ‬ ‫ﺭﻋﺎﻳــﺖ ﺣﺎﺷــﻴﻪﻫﺎ ﺭﺍ ﻣﻲﻛﻨﻨﺪ ﻭ ﺍﻳﻦ ﭼﻨﻴﻦ ﺍﺳــﺖ ﻛــﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺁﺩﻡ ﺑﺮﻓﻲ ﺳﻨﺪﻱ ﺍﺯ ﺍﻗﺪﺍﻣﺎﺕ ﻣﺪﻳﺮﺍﻥ ﺟﺪﻳﺪ ﺗﻠﻘﻲ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺟﺎﻣﻌﻪ ﺭﺥ ﺩﺍﺩﻩ ﻛﻪ ﺣﺎﻻ ﺗﻤﺎﺷﺎﻳﺶ ﺁﻥ ﺭﺍ ﺑﺴﻴﺎﺭ ﻋﻘﺐﺗﺮ ﺍﺯ ﺯﻣﺎﻧﻪ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺁﺷﻜﺎﺭ‬ ‫ﺍﺳﺖ ﻛﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻛﺎﻣﻼ ﺑﺎ ﺷﺮﺍﻳﻂ ﺁﺷﻨﺎ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﺑﺎﻭﺟﻮﺩ ﺍﻧﺘﺨﺎﺏ ﻣﻀﻤﻮﻥ ﺧﺎﺻﻲ‪ ،‬ﻧﺘﻴﺠﻪ ﻧﻬﺎﻳﻲ ﻭ‬ ‫ﺗﺼﻮﻳﺮ ﺍﺭﺍﺋﻪ ﻛﻨﻨﺪﻩ ﺍﺯ ﺁﻥ ﺑﺴﻴﺎﺭ ﺑﺎ ﺁﻣﻮﺯﻩﻫﺎﻱ ﺭﺳﻤﻲ ﻫﻤﺮﺍﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﻜﺘﻪ ﺍﻱ ﺍﺳﺖ ﻛﻪ ﮔﻮﻳﺎ ﻣﺴﺌﻮﻻﻥ‬ ‫ﭼﻨﺪﺍﻥ ﺑﻪ ﺁﻥ ﺗﻮﺟﻬﻲ ﻧﻜﺮﺩﻩ ﻭ ﺑﻴﺸــﺘﺮ ﺩﺭ ﺳــﻄﺢ ﻫﻤﺎﻥ ﻧﻜﺘﻪ ﻇﺎﻫﺮﻱ ﻳﻌﻨﻲ ﺯﻥﭘﻮﺷﻲ ﺟﺬﺍﺏ ﺍﻛﺒﺮ‬ ‫ﻋﺒﺪﻱ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺟﺮﺍﻱ ﺯﻳﺒﺎ ﻭ ﻣﺘﻔﺎﻭﺕ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﺍﻣﺎ ﺣﺎﻻ ﻳﻜﻲ ﺍﺯ ﻧﻘﺎﻁ ﺍﻭﺝ ﺳــﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﺩﺭ ﺍﺭﺍﺋﻪ ﺗﻴﭗﻫﺎﻱ ﻧﻤﻮﻧﻪﺍﻱ ﺳﻴﻨﻤﺎﺳﺖ‪ .‬ﺍﻛﺒﺮ ﻋﺒﺪﻱ ﺩﺭ ﺍﻭﺟﻲ ﺩﻳﺪﻧﻲ ﺯﻥﭘﻮﺷﻲ ﺣﻴﺮﺕﺍﻧﮕﻴﺰﻱ‬ ‫ﺩﺍﺭﺩ ﻭ ﻫﻤﺮﺍﻫﺶ ﺩﺍﺭﻳﻮﺵ ﺍﺭﺟﻤﻨﺪ ﻭ ﭘﺮﻭﻳﺰ ﭘﺮﺳﺘﻮﻳﻲ ﻭ ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻳﻔﻲﻧﻴﺎ‪ ،‬ﻫﻢ ﺍﺟﺮﺍﻫﺎﻱ ﺩﻳﺪﻧﻲ‬ ‫ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻣﻠﻤﻮﺱ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺍﻣﺎ ﻧﻤﻮﻧﻪﻫﺎﻱ ﻓﻴﻠﻢﻫﺎﻳﻲ ﭼﻮﻥ ﺁﺩﻡ ﺑﺮﻓﻲ ﺩﺭ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﻛﻢ ﻫﺴﺘﻨﺪ ﻭ ﻫﻤﻴﻦ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﻧﮕﺎﻩ ﻣﺤﺪﻭﺩﻧﮕﺮ ﺍﺳﺖ‪.‬‬ ‫‪77‬‬ ‫‪17‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ ﺍﺳﺖ )‪(1374‬‬ ‫ﻭﺭﻭﺩ ﻃﻨﺰﺁﻣﻴﺰ‬ ‫ﺑﻪ ﻣﻨﻄﻘﻪ ﻣﻤﻨﻮﻋﻪ‬ ‫ﺗﺪﻭﻳـﻦ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻱ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ‪ :‬ﺭﺿـﺎ ﻣﻘﺼﻮﺩﻱ‪،‬‬ ‫ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻱ‪ ،‬ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻣﺠﺘﺒﻲ ﺭﺣﻴﻤﻲ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪:‬‬ ‫ﺑﻬﻨﺎﻡ ﺍﺑﻄﺤﻲ‪ ،‬ﺻﺪﺍﺑـﺮﺩﺍﺭ‪ :‬ﺑﻬﺮﻭﺯ ﻣﻌﺎﻭﻧﻴﺎﻥ‪ ،‬ﺑﺮﻧﺎﻣﻪﺭﻳﺰ ﻭ ﺩﺳـﺘﻴﺎﺭ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺭﺿﺎ ﻏﻔﺎﺭﻱ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭﻱ‪ :‬ﻣﺤﻤﺪ ﺣﻘﻴﻘﻲ‪ ،‬ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯﻱ‪:‬‬ ‫ﺭﺣﻴﻢ ﻣﻬﺪﻱ ﺧﺎﻧﻲ‪ ،‬ﺟﻠﻮﻩﻫﺎﻱ ﻭﻳﮋﻩ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻑﺍﻟﺪﻳﻦ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﭘﺮﻭﻳﺰ ﭘﺮﺳـﺘﻮﻳﻲ‪ ،‬ﻣﺤﻤﻮﺩ ﻋﺰﻳﺰﻱ‪ ،‬ﺷـﻬﺮﻩ ﻟﺮﺳـﺘﺎﻧﻲ‪،‬‬ ‫ﺭﺣﻤﺎﻥ ﺑﺎﻗﺮﻳﺎﻥ‪ ،‬ﺣﺴﻴﻦ ﻣﻌﻠﻮﻣﻲ‪ ،‬ﻣﻬﺪﻱ ﻓﻘﻴﻪ‪ ،‬ﻫﺪﺍﻳﺖ ﺍﷲ ﻧﻮﻳﺪ‪ ،‬ﻋﻠﻲ ﻏﻔﺎﺭﻱ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺳﻴﻤﺎ ﻓﻴﻠﻢ‪ 94 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 24 :‬ﺧﺮﺩﺍﺩ ‪ ،1375‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 95 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻣﺪﻳﺮﺍﻧﻲ ﻛﻪ ﺍﺯ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ﻫﻔﺘﺎﺩ ﺑﻪ ﺟﺎﻱ ﻣﻌﻤﺎﺭﺍﻥ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﺑﺮ ﻣﺴﻨﺪ ﻣﺴﺌﻮﻟﻴﺖ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﺻﻠﻲﺗﺮﻳﻦ ﺑﺮﻧﺎﻣﻪﻫﺎﻳﺸﺎﻥ ﺭﺍ‬ ‫ﺗﻘﻮﻳﺖ ﺳﻴﻨﻤﺎﻱ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﻭ ﺗﻮﺟﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﻳﻦ ﮔﻮﻧﻪ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﺍﻋﻼﻡ ﻛﺮﺩﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﺑﻮﺩ ﻛﻪ ﺷــﻬﺮﻙ ﺳﻴﻨﻤﺎﻳﻲ ﺩﻓﺎﻉ ﻣﻘﺪﺱ‬ ‫ﺳﺎﺧﺘﻪ ﺷــﺪ ﻭ ﺗﻌﺪﺍﺩ ﻓﻴﻠﻢﻫﺎﻱ ﺳــﺎﺧﺘﻪ ﺷــﺪﻩ ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﻮﺿﻮﻉ‬ ‫ﺩﻓﺎﻉﻣﻘﺪﺱ ﻭ ﭘﻴﺎﻣﺪﻫﺎﻱ ﺁﻥ ﺍﻓﺰﺍﻳﺶ ﭼﺸــﻤﮕﻴﺮﻱ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ‬ ‫ﻫﻤﻪ ﺭﻭﻧﺪ ﺍﺳﺘﻘﺒﺎﻝ ﻣﺨﺎﻃﺒﺎﻥ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺑﻪ ﺭﻏﻢ ﺗﻤﺎﻡ ﺗﻼﺵﻫﺎ ﺯﻳﺎﺩ‬ ‫ﻧﺒﻮﺩ‪ .‬ﭘﺮﻓﺮﻭﺵﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻱ ﻧﻴﻤﻪ ﺍﻭﻝ ﺩﻫﻪ ‪ 70‬ﺭﺍ ﻓﻴﻠﻢﻫﺎﻱ ﻣﺮﺑﻮﻁ‬ ‫ﺑﻪ ﮔﻮﻧﻪﻫﺎﻱ ﺩﻳﮕﺮ ﭼﻮﻥ ﻛﻤﺪﻱ ﻭ ﻣﻠﻮﺩﺭﺍﻡ ﺗﺸــﻜﻴﻞ ﻣﻲﺩﺍﺩﻧﺪ ﻭ ﺍﻳﻦ‬ ‫ﻧﺸــﺎﻧﻪﺍﻱ ﺍﺯ ﻭﺍﻛﻨﺶ ﺟﺎﻣﻌﻪ ﺑﻪ ﺗﻜﺮﺍﺭ ﺑﺪﻭﻥ ﺟﺬﺍﺑﻴﺖ ﻓﻴﻠﻢﻫﺎﻱ ﺩﻓﺎﻉ‬ ‫ﻣﻘﺪﺱ ﺑﻮﺩ ﻛﻪ ﺑﻌــﺪ ﺍﺯ ﺍﻭﺟﻲ ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ‪ 60‬ﺑﺎ ﻛﻤﺘﺮﻳﻦ ﻧﻮﺁﻭﺭﻱ ﻭ‬ ‫ﺗﻐﻴﻴﺮ ﺻﺮﻓﺎ ﺑﻪ ﺑﺎﺯﺗﻮﻟﻴﺪ ﺁﺛﺎﺭ ﺗﺎﻳﻴﺪ ﺷــﺪﻩ ﻗﺒﻠﻲ ﻣﻲﭘﺮﺩﺍﺧﺘﻨﺪ‪ .‬ﺻﺪﺍﻱ‬ ‫ﺍﻳــﻦ ﺗﻐﻴﻴﺮ ﻭ ﺧﻮﺍﺳــﺘﻪ ﺟﺎﻣﻌﻪ ﺭﺍ ﺩﺭ ﭼﻨﻴﻦ ﻓﻀﺎﻳــﻲ ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻱ‬ ‫ﻓﻴﻠﻤﺴــﺎﺯ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ ﺟﺮﻳﺎﻥ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﻣﺴﻠﻤﺎﻥ ﺷﻨﻴﺪ‬ ‫ﻭ ﻳﻜــﻲ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻢﻫــﺎﻱ ﺍﻳﻦ ﺩﻭﺭﻩ ﺭﺍ ﺳــﺎﺧﺖ‪» .‬ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ‬ ‫ﺍﺳﺖ« ﺑﺮﺍﻱ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﻃﻨﺰ ﻭ ﻛﻤﺪﻱ ﺭﺍ ﻭﺍﺭﺩ ﮔﻮﻧﻪ ﺑﻪ ﺷﺪﺕ ﺧﺎﺹ‬ ‫ﻭ ﻣﺤﺎﻓﻈﺖﺷــﺪﻩ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﻛﺮﺩ ﻭ ﺍﺯ ﺳــﻮﻱ ﺩﻳﮕــﺮ ﺩﺭ ﻻﻳﻪﻫﺎﻱ‬ ‫ﺯﻳﺮﻳﻨﺶ ﻧﻤﺎﻳﺸﻲ ﺍﺯ ﺭﻳﺎﻛﺎﺭﻱ ﺟﻤﻌﻲ ﺳﻮﺩﺟﻮ ﻭ ﻓﺮﺻﺖﻃﻠﺐ ﺍﺯ ﺷﺮﺍﻳﻂ‬ ‫ﺧﺎﺹ ﺳﺎﻝﻫﺎﻱ ﺟﻨﮓ ﺍﺭﺍﺋﻪ ﺩﺍﺩ‪ .‬ﭘﺮﺩﺍﺧﺖ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﻭ ﺁﮔﺎﻩ ﻛﻤﺎﻝ‬ ‫ﺗﺒﺮﻳﺰﻱ ﺳــﺎﺯﻧﺪﻩ ﻓﻴﻠﻢ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺑﻮﺩ ﻛﻪ ﺻﺪﻭﺭ ﻣﺠﻮﺯ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ‬ ‫ﭼﻨﻴﻦ ﻓﻴﻠﻤﻲ ﻃﺒﻴﻌﻲ ﻣﻲﻧﻤﻮﺩ‪ .‬ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ ﺍﺳــﺖ ﺍﺗﻔﺎﻕ ﺳــﻴﻨﻤﺎﻱ‬ ‫‪78‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺻﺎﺩﻕ‪ ،‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭ ﺗﻠﻮﻳﺰﻳﻮﻥ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﻣﺸــﻜﻼﺕ ﻣﺎﻟﻲ ﻧﻴﺎﺯ ﺷــﺪﻳﺪﻱ ﺑﻪ ﻭﺍﻡ ﺩﺍﺭﺩ‪ .‬ﻫﻤﻜﺎﺭﺵ ﺑﻪ ﺍﻭ‬ ‫ﺗﻮﺻﻴﻪ ﻣﻲ ﻛﻨﺪ ﺩﺭ ﺻﻮﺭﺗﻲ ﻛﻪ ﺩﺭ ﺳــﻔﺮ ﻛﻮﺗﺎﻫﻲ ﺑﺎ ﻳﻜﻲ ﺍﺯ ﺍﻓﺮﺍﺩ ﻭﺍﺣــﺪ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﻪ‬ ‫ﻣﻨﻄﻘــﻪ ﺟﻨﮕﻲ ﺑﺮﻭﺩ‪ ،‬ﺧﻴﻠــﻲ ﺭﺍﺣﺖ ﻣﻲ ﺗﻮﺍﻧﺪ ﻭﺍﻡ ﻣــﻮﺭﺩ ﻧﻴﺎﺯﺵ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﻨــﺪ‪ .‬ﺻﺎﺩﻕ ﺑﻪ ﺭﻏﻢ‬ ‫ﻋﺪﻡ ﺗﻤﺎﻳﻞ ﺑﻪ ﺣﻀﻮﺭ ﺩﺭ ﻣﻨﺎﻃﻖ ﺟﻨﮕﻲ ﻭ ﺗﺮﺱ ﺍﺯ ﻣﺤﻴﻄﻲ ﻧﺎﺷــﻨﺎﺧﺘﻪ‪ ،‬ﺗﺼﻤﻴﻢ ﺑﻪ ﺭﻓﺘﻦ ﻣﻲ ﮔﻴﺮﺩ‬ ‫ﻭ ﻣﺪﺕ ‪ 48‬ﺳــﺎﻋﺖ ﺑﺎ ﻫﻤﻜﺎﺭﺵ ﻛﻤﺎﻟﻲ ﻋﺎﺯﻡ ﻣﻨﺎﻃﻖ ﺟﻨﮕﻲ ﺟﻨﻮﺏ ﻣﻲ ﺷﻮﺩ‪ .‬ﺻﺎﺩﻕ ﺑﺎ ﺣﻀﻮﺭ ﺩﺭ‬ ‫ﻼ ﺑﻴﮕﺎﻧﻪ ﺑﺎ ﺧﻮﺩ ﻗﺮﺍﺭ ﻣﻲ ﮔﻴﺮﺩ ﻭ ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ ﺍﺳﺖ ﻛﻪ ﻟﺤﻈﻪ ﺑﻪ ﻟﺤﻈﻪ‪،‬‬ ‫ﻣﻨﻄﻘﻪ‪ ،‬ﺩﺭ ﺷــﺮﺍﻳﻄﻲ ﻛﺎﻣ ً‬ ‫ﻧﺎﺧﻮﺍﺳــﺘﻪ ﺑﻪ ﺧﻂ ﻣﻘﺪﻡ ﻧﺰﺩﻳﻚ ﺗﺮ ﻣﻲ ﺷﻮﺩ ﻭ ﻫﺮ ﻟﺤﻈﻪ ﺗﺼﻮﺭﺵ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺩﻭﺭ ﺷﺪﻥ‬ ‫ﺍﺯ ﺧﻂ ﻣﻘﺪﻡ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺗﺪﺭﻳﺞ ﻣﺸــﺎﻫﺪﻩ ﺁﺩﻡ ﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﺟﻨﮓ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﺗﻠﻘﻲ ﺍﻭ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﺟﻨﮓ ﺗﻐﻴﻴﺮ ﻣﻲ ﺩﻫﺪ ﻭ ﺧﻮﺩﺵ ﻧﻴﺰ ﺩﺭ ﻧﺒﺮﺩ ﺑﺎ ﺩﺷﻤﻦ‪ ،‬ﺳﻬﻴﻢ ﻣﻲ ﺷﻮﺩ‪.‬‬ ‫ﻧﻴﻤﻪ ﺍﻭﻝ ﺩﻫﻪ ‪ 70‬ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻱ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺟﻤﻊ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﻣﺴــﻠﻤﺎﻥ ﻛﻪ ﻛﺎﺭ ﺧﻮﺩ‬ ‫ﺭﺍ ﺑﺎ ﺛﺒﺖ ﺗﺼﻮﻳﺮﻱ ﻭﻗﺎﻳﻊ ﺗﺴــﺨﻴﺮ ﺳــﻔﺎﺭﺕ ﺁﻣﺮﻳﻜﺎ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﻭ ﺑﻌﺪ‬ ‫ﺿﻤﻦ ﻓﻌﺎﻟﻴﺖ ﺩﺭ ﮔﺮﻭﻩ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﺍﻥ ﺟﻨﮓ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﺎ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﻫﻮﻳﺖ )ﺍﺑﺮﺍﻫﻴــﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ( ﻭ ﺗﻮﻫﻢ )ﺳــﻌﻴﺪ ﺣﺎﺟﻲﻣﻴﺮﻱ ( ﻭﺍﺭﺩ‬ ‫ﺟﺮﻳﺎﻥ ﺣﺮﻓﻪﺍﻱ ﺳﻴﻨﻤﺎ ﺷﺪﻩ ﺑﻮﺩ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺳﺎﺧﺖ ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ ﺍﺳﺖ‪،‬‬ ‫ﻳﻚ ﻓﻴﻠﻢ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﻧﻴﺎﻣﺪﻩ )ﺩﺭ ﻣﺴــﻠﺦ ﻋﺸــﻖ( ﻭ ﺩﻭ ﻓﻴﻠﻢ ﻛﻤﺘﺮ‬ ‫ﺩﻳﺪﻩ ﺷــﺪﻩ »ﻋﺒﻮﺭ« ﻭ »ﭘﺎﻳﺎﻥ ﻛﻮﺩﻛﻲ« ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﺩﺍﺷــﺖ‪ .‬ﺍﻭ ﺩﺭ‬ ‫ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﻭﻗﺘﻲ ﺑﺎ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺿﺎ ﻣﻘﺼــﻮﺩﻱ ﺑﻪ ﻧﺎﻡ »ﺭﻭﻳﺎﻱ‬ ‫ﺻﺎﺩﻕ« ﻣﻮﺍﺟﻪ ﺷﺪ‪ ،‬ﺟﺮﻗﻪ ﺳــﺎﺧﺖ ﻳﻚ ﻓﻴﻠﻢ ﺑﻜﺮ ﺑﻪ ﺫﻫﻨﺶ ﺧﻄﻮﺭ‬ ‫ﻛﺮﺩ‪» :‬ﻭﻗﺘﻲ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺧﻮﺍﻧﺪﻡ ﺑﻪ ﻧﻈــﺮﻡ ﺧﻴﻠﻲ ﺑﻜﺮ ﻭ ﺟﺎﻟﺐ ﺁﻣﺪ‪.‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣــﻪ ﺩﺭ ﺯﻣﻴﻨﻪ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﺑﻮﺩ ﻭﻟﻲ ﻣﺤﺘﻮﺍ‪ ،‬ﺧﺎﻟﻲ ﺍﺯ ﻃﻨﺰ ﻧﺒﻮﺩ‬ ‫ﻭ ﭼﻮﻥ ﺗﺎﻛﻨﻮﻥ ﭼﻨﻴﻦ ﭼﻴﺰﻱ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻧﺪﺍﺷﺘﻴﻢ‪ ،‬ﻋﻼﻗﻤﻨﺪ‬ ‫ﺷﺪﻡ ﻛﻪ ﺁﻥ ﺭﺍ ﺑﺴﺎﺯﻡ‪ «.‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺎ ﻫﻤﺮﺍﻫﻲ ﺗﺒﺮﻳﺰﻱ ﻳﻚ ﺑﺎﺭ ﺑﻪ ﻃﻮﺭ‬ ‫ﻛﺎﻣﻞ ﺑﺎﺯﻧﻮﻳﺴــﻲ ﻭ ﻳﻚ ﻣﺎﻳﻪ ﻣﻌﻨﻮﻱ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ ﻣﻲﺷــﻮﺩ‪ .‬ﭼﻨﻴﻦ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﺍﻣﺎ ﺩﺭ ﻓﻀﺎﻱ ﺁﻥ ﺳﺎﻝﻫﺎ ﺑﻪ ﺳﺎﺩﮔﻲ ﺍﻣﻜﺎﻥ ﺳﺎﺧﺖ ﭘﻴﺪﺍ‬ ‫ﻧﻤﻲﻛﺮﺩ‪ .‬ﺗﺒﺮﻳﺰﻱ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺑﻪ ﻧﻬﺎﺩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ‪ ،‬ﺍﺯ‬ ‫ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺗﺎ ﺑﺨﺶ ﻓﺮﻫﻨﮕﻲ ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ ﺍﻣﺎ ﻫﻴﭻﻛﺪﺍﻡ‬ ‫ﺭﻳﺴﻚ ﺗﻮﻟﻴﺪ ﺁﻥ ﺭﺍ ﻗﺒﻮﻝ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﻣﺪﻳﺮ ﻋﺎﻣﻞ ﻭﻗﺖ ﺳﻴﻤﺎ‬ ‫ﻓﻴﻠﻢ )ﻣﺤﻤﺪﻣﻬﺪﻱ ﺣﻴﺪﺭﻳﺎﻥ( ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﻣﺸﺎﻭﺭﻩ ﺑﺎ ﻗﺎﺋﻢ‬ ‫ﻣﻘﺎﻡ ﻭﻗﺖ ﺳــﻴﻤﺎ )ﺍﺣﻤﺪ ﭘﻮﺭﻧﺠﺎﺗﻲ( ﺗﻬﻴﻪ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎﺷﺮﻁ ﺗﻮﻟﻴﺪ ﻳﻚ‬ ‫ﺳــﺮﻳﺎﻝ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺍﺯ ﺁﻥ ﺑﻪ ﺷﻴﻮﻩ ﻣﻌﻤﻮﻝ ﺁﻥ ﺳﺎﻝﻫﺎ ﻗﺒﻮﻝ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺳــﺎﺑﻘﻪ ﺧﻮﺩ ﺗﺒﺮﻳﺰﻱ ﻭ ﭘﺬﻳﺮﺵ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﻴﻠﻤﺴﺎﺯﻱ‬ ‫ﻣﻌﺘﻘﺪ ﻭ ﻣﺘﻌﻬﺪ ﻧﻘﺶ ﺯﻳﺎﺩﻱ ﺩﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺩﺍﺷــﺘﻪ ﺍﺳﺖ‪ .‬ﺗﺒﺮﻳﺰﻱ‬ ‫ﺯﻣﺎﻥ ﺍﻛــﺮﺍﻥ ﻓﻴﻠﻢ ﺩﺭﺑــﺎﺭﻩ ﭼﮕﻮﻧﮕﻲ ﺗﺼﻮﻳﺐ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﮔﻔﺖ‪:‬‬ ‫»ﻣﺘﻘﺎﻋﺪ ﻛﺮﺩﻥ ﻣﺴــﺌﻮﻻﻥ ﺍﻣﻮﺭ ﺳﻴﻨﻤﺎﻳﻲ ﺩﺷــﻮﺍﺭ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﺩﺭ ﺫﺍﺕ ﺧﻮﺩﺵ ﺧﻴﻠﻲ ﺧﻄﺮﻧﺎﻙ ﺑﻮﺩ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺭﺍﻩ ﺭﻓﺘﻦ‬ ‫ﺭﻭﻱ ﻟﺒﻪ ﺗﻴﻎ‪ .‬ﺍﻏﻠﺐ ﻣﺴﺌﻮﻻﻥ ﻣﻲﮔﻔﺘﻨﺪ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺩﺭ ﺫﺍﺕ ﺧﻮﺩﺵ‬ ‫ﺍﺷــﻜﺎﻟﻲ ﻧﺪﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﻇﺎﻫﺮﺵ ﺧﻄﺮﻧﺎﻙ ﺍﺳﺖ‪ «.‬ﺑﺎ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﺗﺒﺮﻳﺰﻱ‬ ‫ﻛﺎﺭ ﺑﻪ ﻣﺮﺣﻠﻪ ﺗﻮﻟﻴﺪ ﻣﻲﺭﺳــﺪ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺗﺒﺮﻳﺰﻱ ﻗﺼﺪ ﺩﺍﺭﺩ ﻧﺴﺨﻪ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺭﺍ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﻧﺴﺨﻪ ﺳﻴﻨﻤﺎﻳﻲ ﺑﺴﺎﺯﺩ‪ .‬ﺑﺮﺍﻱ ﺍﻧﺘﺨﺎﺏ ﺑﺎﺯﻳﮕﺮ‬ ‫ﻛﻪ ﻧﺘﻴﺠﻪ ﻧﻬﺎﻳﻲ ﻓﻴﻠﻢ ﺑﺴــﺘﮕﻲ ﺑﻪ ﺍﺟﺮﺍﻱ ﺁﻥ ﺩﺍﺭﺩ‪ ،‬ﺗﺒﺮﻳﺰﻱ ﻧﺎﻡﻫﺎﻱ‬ ‫ﻣﺨﺘﻠﻒ ﺭﺍ ﻧﺎﻣﺰﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺣﻤﻴﺪ ﺟﺒﻠﻲ‪ ،‬ﺍﺣﻤﺪ ﺁﻗﺎﻟﻮ ﻭ ﻣﺴﻌﻮﺩ ﻛﺮﺍﻣﺘﻲ‬ ‫ﻧﺎﻣﺰﺩﻫﺎﻱ ﺍﻭﻟﻴﻪ ﻧﻘﺶ ﻫﺴــﺘﻨﺪ ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﭘﺮﻭﻳﺰ ﭘﺮﺳﺘﻮﻳﻲ ﺑﺮﺍﻱ‬ ‫ﺍﻳﻔﺎﻱ ﻧﻘﺶ ﺍﻧﺘﺨﺎﺏ ﻣﻲﺷــﻮﺩ‪ .‬ﺗﺒﺮﻳﺰﻱ ﻋﻠﺖ ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﺭﺍ ﭼﻨﻴﻦ‬ ‫ﺷﺮﺡ ﻣﻲﺩﻫﺪ‪» :‬ﺩﺭ ﻧﻬﺎﻳﺖ ﭘﺮﺳﺘﻮﻳﻲ ﺭﺍ ﻣﻨﺎﺳﺐ ﻧﻘﺶ ﺻﺎﺩﻕ ﺗﺸﺨﻴﺺ‬ ‫ﺩﺍﺩﻡ‪ .‬ﺷﺎﻳﺪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﻛﻪ ﺑﺮﺧﻮﺭﺩ ﻭ ﺑﺮﺩﺍﺷﺖ ﭘﺮﺳﺘﻮﻳﻲ ﭘﺲ ﺍﺯ‬ ‫ﺧﻮﺍﻧﺪﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺎ ﺩﻳﮕﺮﺍﻥ ﺗﻔﺎﻭﺕ ﺩﺍﺷﺖ‪ .‬ﺍﺣﺴﺎﺱ ﻛﺮﺩﻡ ﻛﻪ ﺍﻭ ﻧﻮﻉ‬ ‫ﺧﺎﺻﻲ ﺑﺎ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺩﺭﮔﻴﺮ ﺷــﺪﻩ ﻭ ﺑﺎ ﺷﺨﺼﻴﺖ ﺻﺎﺩﻕ ﺍﺭﺗﺒﺎﻁ ﺧﻴﻠﻲ‬ ‫ﻧﺰﺩﻳﻜﻲ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻩ ﺍﺳﺖ‪ «.‬ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﭘﺮﺳﺘﻮﻳﻲ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺍﺯ ﺍﻭﻝ‬ ‫ﻣﺮﺩﺍﺩ ‪ 74‬ﺩﺭ ﻏﺮﺏ ﺗﻬﺮﺍﻥ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ ﻭ ﭘﺲ ﺍﺯ ﺩﻭ ﻣﺎﻩ ﻭ ﻧﻴﻢ ﻭ ﺍﻧﺠﺎﻡ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺩﺭ ﺑﺨﺶﻫﺎﻳﻲ ﺍﺯ ﭘﺎﺩﮔﺎﻧﻲ ﺩﺭ ﺍﺗﻮﺑﺎﻥ ﻗﻢ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ‪.‬‬ ‫ﺩﺭ ﻣﺮﺣﻠﻪ ﻓﻨﻲ ﻫﻢ ﻧﺎﻡ ﻓﻴﻠﻢ ﺑﻪ ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ ﺍﺳﺖ ﺗﻐﻴﻴﺮ ﻣﻲﻛﻨﺪ‪ .‬ﻃﺒﻖ‬ ‫ﺭﻭﺍﻝ ﻣﻌﻤﻮﻝ ﻧﺨﺴﺘﻴﻦ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﺟﺸﻨﻮﺍﺭﻩ ﭼﻬﺎﺭﺩﻫﻢ ﻓﻴﻠﻢ‬ ‫ﻓﺠﺮ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻱ ﻣﻲﺷﻮﺩ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻧﻤﺎﻳﺸﺶ ﺑﺮﺍﻱ ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ‬ ‫ﺳﺒﺐ ﺳﺎﺯ ﺍﻭﻟﻴﻦ ﺯﻣﺰﻣﻪﻫﺎ ﺩﺭﺑﺎﺭﻩ ﻣﻀﻤﻮﻥ ﻭ ﭘﺮﺩﺍﺧﺘﺶ ﺍﺳﺖ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺍﻛﺮﺍﻥ ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ ﺍﺳﺖ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﻏﺎﻓﻠﮕﻴﺮﻱ ﺍﺻﻠﻲ ﺩﻭﺭﻩ‬ ‫ﭼﻬﺎﺭﺩﻫﻢ ﻟﻘﺐ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺑﺴــﻴﺎﺭﻱ ﺭﺍ ﺑﻬﺖ ﺯﺩﻩ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺗﺼﻮﺭ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻲ ﻛﻪ ﺷﻮﺧﻲ ﻭ ﻃﻨﺰ ﺭﺍ ﻭﺍﺭﺩ ﺳﻴﻨﻤﺎﻱ ﺩﻓﺎﻉ ﻣﻘﺪﺱ‬ ‫ﺑﻜﻨﺪ‪ ،‬ﺗﺎ ﺳﺎﻝﻫﺎ ﺩﺭ ﺫﻫﻦ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺳﻴﻨﻤﺎ ﺧﻄﻮﺭ ﻧﻤﻲﻛﺮﺩ ﺍﻣﺎ ﺗﻼﺵ‬ ‫ﺗﺒﺮﻳﺰﻱ ﺑﻪ ﺛﻤﺮ ﻣﻲﻧﺸــﻴﻨﺪ ﻭ ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ ﺍﺳــﺖ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻬﻢﺗﺮﻳﻦ‬ ‫ﻓﻴﻠﻢ ﮔﻮﻧﻪ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﺩﺭ ﻣﻴﺎﻧﻪ ﺩﻫﻪ ‪ 70‬ﻣﻲ ﺷــﻮﺩ‪ .‬ﺗﺒﺮﻳﺰﻱ ﺑﻪ ﻗﻮﻝ‬ ‫ﺧﻮﺩﺵ ﻣﻮﻓﻖ ﺷــﺪﻩ ﺑﻮﺩ ﺍﺯ »ﻣﻴﺪﺍﻥ ﻣﻴﻦ« ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﻋﺒﻮﺭ ﻛﻨﺪ‪.‬‬ ‫ﻣﻨﺘﻘــﺪﺍﻥ ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ ﻭ ﺍﺟــﺮﺍﻱ ﻇﺮﻳﻔﺶ ﺭﺍ ﻣﻮﺭﺩ ﺳــﺘﺎﻳﺶ ﻗﺮﺍﺭ‬ ‫ﻣﻲﺩﻫﻨﺪ ﻭ ﺩﺍﻭﺭﺍﻥ ﻫﻢ ﺑﺎ ﺍﻫﺪﺍﻱ ﺩﻭ ﺳــﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ ﻣﻬﻢ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫)ﺑﻬﺘﺮﻳﻦﺑﺎﺯﻳﮕﺮﻭﺑﻬﺘﺮﻳﻦﻓﻴﻠﻤﻨﺎﻣﻪ(ﺁﻥﺭﺍﺗﺎﻳﻴﺪﻣﻲﻛﻨﻨﺪ‪.‬ﻭﺍﻛﻨﺶﻫﺎﻱ‬ ‫ﺗﺎﻳﻴﺪﺁﻣﻴﺰ ﻧﺴــﺒﺖ ﺑﻪ ﻓﻴﻠﻢ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺑﻴﺶ ﺍﺯ ﺁﻧﻜﻪ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻭ ﺳﺎﺧﺘﺎﺭﺵ ﺑﻪ ﺻﺤﺒﺖ ﺑﻨﺸﻴﻨﻨﺪ‪ ،‬ﺻﺮﻓﺎ ﺩﺭﺑﺎﺭﻩ ﻣﻀﻤﻮﻥ‬ ‫ﻭ ﺣﺮﻑ ﺁﻥ ﺻﺤﺒﺖ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻓﻴﻠﻢ‬ ‫ﺑﺮﺍﻱ ﻓﺼﻞ ﻣﻨﺎﺳﺐ ﺍﺑﺘﺪﺍﻱ ﺗﺎﺑﺴﺘﺎﻥ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻱ ﻣﻲﺷﻮﺩ ﺩﺭ ﺣﺎﻟﻲﻛﻪ‬ ‫ﭘﻴﺶﺑﻴﻨﻲ ﻓﺮﻭﺵ ﻣﻨﺎﺳﺐ ﻫﻢ ﺑﺮﺍﻳﺶ ﺩﺭ ﻣﺤﺎﻓﻞ ﺳﻴﻨﻤﺎﻳﻲ ﭘﻴﭽﻴﺪﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﭘﻴﺶﺑﻴﻨﻲﺍﻱ ﻛﻪ ﺩﺭﺳــﺖ ﺍﺯ ﺁﺏ ﺩﺭﻣﻲﺁﻳﺪ ﻭ ﻓﻴﻠﻢ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﺑﺴﻴﺎﺭ ﺧﻮﺑﻲ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ ﺍﻣﺎ ﺑﻪ ﺳﺒﺐ ﺑﺮﻧﺎﻣﻪ ﺭﻳﺰﻱ ﻋﺠﻴﺐ ﻣﻌﺎﻭﻧﺖ‬ ‫ﺳــﻴﻨﻤﺎﻳﻲ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎ ﺩﺭ ﺳﺎﻝ ‪ 1375‬ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﭼﻬﺎﺭ‬ ‫ﻫﻔﺘﻪ ﺑﺮ ﭘﺮﺩﻩ ﺑﺎﻗﻲ ﺑﻤﺎﻧﺪ ﻭ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﻧﻤﺎﻳﺸــﺶ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﻣﻮﺍﺟﻪ‬ ‫ﺷﺪﻩ ﺍﺳﺖ ﺍﻛﺮﺍﻧﺶ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﮔﺮﻭﻩ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ‪ .‬ﺑﺎ ﺍﻳﻦﻫﻤﻪ‬ ‫ﻣﻮﻓﻖ ﻣﻲﺷــﻮﺩ ﻋﻨﻮﺍﻥ ﺩﻭﻣﻴــﻦ ﻓﻴﻠﻢ ﭘﺮﻓﺮﻭﺵ ﺳــﺎﻝ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﻓﻴﻠﻢ‬ ‫ﺧﻮﺍﻫﺮﺍﻥﻏﺮﻳﺐﻛﺴﺐﻛﻨﺪ‪.‬ﺻﺤﺒﺖﺩﺭﺑﺎﺭﻩﻓﻴﻠﻢﺍﻣﺎﺩﺭﻧﻤﺎﻳﺶﻋﻤﻮﻣﻲ‬ ‫ﻫﻢ ﻣﺎﻧﻨﺪ ﺯﻣﺎﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺸﺘﺮ ﺩﺭﺑﺎﺭﻩ ﻣﻀﻤﻮﻥ ﺁﻥ ﺍﺳﺖ ﻭ ﺗﺒﺮﻳﺰﻱ ﻫﻢ‬ ‫ﺑﻴﺸﺘﺮ ﻣﺠﺒﻮﺭ ﺍﺳﺖ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﺩﻳﺪﮔﺎﻩﻫﺎﻳﺶ ﺭﺍ ﺗﻮﺿﻴﺢ ﺩﻫﺪ‪:‬‬ ‫»ﻣﺎ ﺑﺎﻳﺪ ﺗﺎﺭﻳﺦ ﺟﻨﮓ ﺭﺍ ﺑﻪ ﻧﺤﻮﻱ ﺑﺎ ﻣﻮﻗﻌﻴﺖ ﻛﻨﻮﻧﻲ ﻭ ﺷﺮﺍﻳﻄﻲ ﻛﻪ ﺍﻻﻥ‬ ‫ﺩﺍﺭﻳﻢ ﺯﻧﺪﮔﻲﻣﻲ ﻛﻨﻴﻢ ﻣﻨﻄﺒﻖ ﻛﻨﻴﻢ‪ ،‬ﻭﻟﻲ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺳﻴﻨﻤﺎﻱ ﺟﻨﮓ‬ ‫ﻣﺎ ﺍﺯ ﻧﻈﺮ ﻣﻀﻤﻮﻥ ﺿﻌﻴﻒ ﺍﺳﺖ‪ .‬ﻳﻌﻨﻲ ﺍﮔﺮ ﻣﺎ ﺑﺨﻮﺍﻫﻴﻢ ﻫﻤﺎﻥ ﺍﺗﻔﺎﻕﻫﺎ‬ ‫ﺭﺍ ﺑﺪﻭﻥ ﻧﮕﺎﻩ ﺑﻪ ﺷــﺮﺍﻳﻂ ﻛﻨﻮﻧﻲ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﻴﻢ ﺍﺻﻼ ﺑﺮﺍﻱ ﺑﻴﻨﻨﺪﻩ‬ ‫ﺟﺬﺍﺑﻴﺖ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﻲﺑﺎﻳﺴﺖ ﺗﻮﺍﻧﺎﻳﻲ ﺧﻮﺩ ﺭﺍ ﻣﺼﺮﻭﻑ‬ ‫ﺁﻥ ﻛﻨﻴﻢ ﻛﻪ ﺣﺮﻑ ﺍﻣﺮﻭﺯﻣﺎﻥ ﺭﺍ ﺿﻤﻦ ﺑﻪ ﺗﺼﻮﻳﺮﺩﺭﺁﻭﺭﺩﻥ ﺗﺎﺭﻳﺦ ﺟﻨﮓ‬ ‫ﺑﻴﺎﻥ ﻛﻨﻴﻢ‪ «.‬ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﻓﻴﻠﻢ‪ ،‬ﻣﺴﺌﻮﻻﻥ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﻼﻓﺎﺻﻠﻪ ﺯﻣﻴﻨﻪ‬ ‫ﭘﺨﺶ ﺳﺮﻳﺎﻝ ﺗﻠﻮﻳﺰﻳﻮﻧﻲﺍﺵ ﺭﺍ ﻓﺮﺍﻫﻢ ﻣﻲﻛﻨﻨﺪ ﻭ ﺳﺮﻳﺎﻝ ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ‬ ‫ﺑﻪﺭﻏﻢ ﺑﻌﻀﻲ ﺗﻔﺎﻭﺕﻫﺎﻱ ﺳــﺎﺧﺘﺎﺭﻱ‪ ،‬ﺍﺯ ﻧﻈﺮ ﻣﻀﻤﻮﻥ ﻫﻤﺎﻥ ﺣﺮﻑ ﻭ‬ ‫ﻧﮕﺎﻩ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲﻛﻨﺪ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺭﻭﺑﻪﺭﻭ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻟﻴﻠﻲﺑﺎﻣﻦﺍﺳﺖﺣﺎﻻﺣﻜﻢﻧﻘﻄﻪﻋﻄﻒﻛﺎﺭﻧﺎﻣﻪﺳﻴﻨﻤﺎﻳﻲﻛﻤﺎﻝﺗﺒﺮﻳﺰﻱ‬ ‫ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺟﺎﻳﮕﺎﻩ ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻱ ﺭﺍ ﻛﺎﻣﻼ ﺗﻐﻴﻴﺮ ﺩﺍﺩ ﻭ ﺍﻭ ﺭﺍ ﻭﺍﺭﺩ‬ ‫ﺻﻒ ﺍﻭﻝ ﻓﻴﻠﻤﺴــﺎﺯﺍﻥ ﺍﻳﺮﺍﻧﻲ ﻛﺮﺩ‪ .‬ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ ﺍﺳــﺖ ﺍﻣﺮﻭﺯ ﻫﻤﭽﻨﺎﻥ‬ ‫ﻧﻤﻮﻧﻪ ﻣﻨﺤﺼﺮ ﻭﺭﻭﺩ ﻃﻨﺰ ﻭ ﺷــﻮﺧﻲ ﺑﻪ ﮔﻮﻧﻪ ﻫﻤﻴﺸــﻪ ﺣﺴﺎﺱ ﺩﻓﺎﻉ‬ ‫ﻣﻘﺪﺱ ﺍﺳﺖ ﻭ ﺟﺴﺎﺭﺗﺶ ﺭﺍ ﻧﻤﻲﺗﻮﺍﻥ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻱ ﺩﻳﮕﺮ ﺑﺮﺍﺑﺮ ﺩﺍﻧﺴﺖ‪.‬‬ ‫ﻓﻴﻠﻤﻲ ﻛﻪ ﻣﺘﻔﺎﻭﺕﺗﺮﻳﻦ ﺭﻭﺍﻳــﺖ ﺍﺯ ﺟﻨﮓ ﺭﺍ ﻧﻤﺎﻳﺶ ﻣﻲﺩﻫﺪ ﻭ ﺑﻪﺭﻏﻢ‬ ‫ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ ﻣﺤﺘﻮﻡ ﻧﻬﺎﻳﻲﺍﺵ ﺩﺭ ﺑﺎﻃﻦ ﺍﺷﺎﺭﻩﻫﺎﻳﻲ ﺑﻪ ﻣﺴﺎﺋﻠﻲ ﭼﻮﻥ‬ ‫ﺗﺮﺱ ﺍﺯ ﺟﻨﮓ ﻭ ﺭﻳﺎﻛﺎﺭﻱ ﻭ ﻇﺎﻫﺮﺳــﺎﺯﻱﻫﺎﻱ ﻋﺪﻩﺍﻱ ﺍﺯ ﺟﺒﻬﻪ ﺭﻓﺘﻪﻫﺎ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺍﻳﻨﻜﻪ ﻳﻚ ﺷــﺨﺼﻴﺖ ﺗﺮﺳــﻮ ﻭ ﺩﻭﺭ ﺍﺯ ﺟﺒﻬﻪ‪ ،‬ﺩﺭ ﺍﻧﺘﻬﺎ ﺷــﻤﺎﻳﻠﻲ‬ ‫ﻗﻬﺮﻣﺎﻥﮔﻮﻧﻪﭘﻴﺪﺍﻣﻲﻛﻨﺪﺍﺯﻇﺮﻳﻒﺗﺮﻳﻦﻧﻜﺎﺕﻓﻴﻠﻢﺍﺳﺖ‪.‬ﻧﻜﺘﻪﺩﻳﮕﺮﻱ‬ ‫ﻛﻪﺣﺎﻻﺑﺎﻣﺸﺎﻫﺪﻩﻟﻴﻠﻲﺑﺎﻣﻦﺍﺳﺖﻣﺸﺨﺺﻣﻲﺷﻮﺩﻋﺪﻡﺗﺪﺍﻭﻡﺭﻭﻧﺪﻱ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺁﻏﺎﺯﮔﺮﺵ ﺑﺎﺷﺪ‪ .‬ﻟﻴﻠﻲ ﺑﺎ ﻣﻦ ﺍﺳﺖ ﻫﻨﻮﺯ‬ ‫ﻫﻢ ﺗﻨﻬﺎ ﻓﻴﻠﻢ ﻃﻨﺰﺁﻣﻴﺰ ﺳﻴﻨﻤﺎﻱ ﺩﻓﺎﻉ ﻣﻘﺪﺱ ﺍﺳﺖ ﻛﻪ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ‬ ‫ﺍﺩﺍﻣﻪ ﻭﺟﻮﺩ ﻫﻤﺎﻥ ﻧﮕﺎﻩ ﻧﺎﻇﺮ ﻣﺤﺪﻭﺩﻛﻨﻨﺪﻩ ﺍﺳﺖ‪ ،‬ﻧﻜﺘﻪﺍﻱ ﻛﻪ ﺗﺒﺮﻳﺰﻱ‬ ‫ﺩﺭﻫﻤﺎﻥﺭﻭﺯﻫﺎﻱﻧﻤﺎﺵﻓﻴﻠﻢﺩﺭﮔﻔﺖﻭﮔﻮﻳﻲﺩﺭﻗﺎﻟﺐﻫﺸﺪﺍﺭﻫﺎﻱﻳﻜﻲ‬ ‫ﺍﺯﻣﺨﺎﻟﻔﺎﻥﻓﻴﻠﻢﭘﻴﺶﺑﻴﻨﻲﻛﺮﺩﻩﺑﻮﺩ‪»:‬ﺩﻭﺳﺘﻲﺑﺮﺍﻱﺳﺎﺧﺘﻦﺍﻳﻦﻓﻴﻠﻢ‬ ‫ﺳﺮﺯﻧﺸﻢ ﻛﺮﺩ ﻭ ﮔﻔﺖ ﻛﻪ ﻫﻨﮕﺎﻡ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ‪ ،‬ﻧﻘﺪ ﺗﻨﺪﻱ ﻋﻠﻴﻪ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢﺧﻮﺍﻫﻢﻧﻮﺷﺖ‪.‬ﺩﻟﻴﻠﺶﺭﺍ ﭘﺮﺳﻴﺪﻡ‪.‬ﮔﻔﺖﻛﻪﺑﺎﺗﺒﻌﺎﺕﻓﻴﻠﻢﻣﺸﻜﻞ‬ ‫ﺩﺍﺭﻡ‪ ،‬ﭼﻮﻥ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﺴﺎﻧﻲ ﭘﻴﺪﺍ ﺧﻮﺍﻫﻨﺪ ﺷﺪ ﻛﻪ ﺑﺨﻮﺍﻫﻨﺪ ﺍﺯ ﺁﻥ‬ ‫ﺗﻘﻠﻴﺪ ﻛﻨﻨﺪ ﻭ ﻣﻌﻠﻮﻡ ﻧﻴﺴــﺖ ﻛﻪ ﺁﻧﻬﺎ ﺁﺩﻡﻫﺎﻱ ﺻﺎﺩﻗﻲ ﺑﺎﺷﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬ ‫ﺟﺮﻳﺎﻧﻲ ﺑﻪ ﺭﺍﻩ ﺧﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ ﻛﻪ ﺧﻄﺮﻧﺎﻙ ﺍﺳﺖ‪«.‬‬ ‫‪18‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ )‪(1375‬‬ ‫ﺍﺯ ﺳﺘﺎﻳﺶ ﻓﻘﺮ ﺗﺎ ﺍﺳﻜﺎﺭ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺠﻴﺪ ﻣﺠﻴﺪﻱ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﭘﺮﻭﻳﺰ ﻣﻠﻚﺯﺍﺩﻩ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﺣﺴﻦ ﺣﺴﻨﺪﻭﺳﺖ‪،‬‬ ‫ﻣﻮﺳﻴﻘﻲ‪:‬ﻛﻴﻮﺍﻥﺟﻬﺎﻧﺸﺎﻫﻲ‪،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪:‬ﻳﺪﺍﷲﻧﺠﻔﻲ‪،‬ﺻﺪﺍﮔﺬﺍﺭﻱﻭﺗﺮﻛﻴﺐﺻﺪﺍ‪:‬ﻣﺤﻤﺪﺭﺿﺎﺩﻟﭙﺎﻙ‪،‬ﻣﺪﻳﺮ‬ ‫ﺗﻮﻟﻴﺪ‪ :‬ﺳﻴﺪﺳﻌﻴﺪ ﺳﻴﺪﺯﺍﺩﻩ‪ ،‬ﺑﺮﻧﺎﻣﻪﺭﻳﺰ ﻭ ﺩﺳـﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻋﻠﻴﺮﺿﺎ ﺳﺒﺰﻭﺍﺭﻱ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪:‬‬ ‫ﺍﺻﻐﺮﻧﮋﺍﺩ ﺍﻳﻤﺎﻧﻲ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﻣﺤﺴﻦ ﻣﻮﺳﻮﻱ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪:‬ﺭﺿﺎﻧﺎﺟﻲ‪،‬ﻓﺮﺷﺘﻪﺳﺮﺍﺑﻨﺪﻱ‪،‬ﻛﻤﺎﻝﻣﻴﺮﻛﺮﻳﻤﻲ‪،‬ﺑﻬﺰﺍﺩﺭﻓﻴﻌﻲ‪،‬ﻣﻴﺮﻓﺮﺥﻫﺎﺷﻤﻴﺎﻥ‪،‬ﺑﻬﺎﺭﻩﺻﺪﻳﻘﻲ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻱ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ‪ 90 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ :‬ﺁﺫﺭ ‪ ،1376‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 31/5 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ ‪:‬‬ ‫ﻋﻠﻲ ﻛﻔﺶﻫﺎﻱ ﺧﻮﺍﻫﺮﺵ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﮔﺮﻓﺘﻦ ﺍﺯ ﻛﻔﺎﺷﻲ ﮔﻢ ﻣﻲﻛﻨﺪ‪ .‬ﺯﻫﺮﺍ ﻛﻔﺶ ﺩﻳﮕﺮﻱ ﻧﺪﺍﺭﺩ ﻭ ﭘﺪﺭ ﻫﻢ ﺗﻮﺍﻧﺎﻳﻲ ﺧﺮﻳﺪ ﻛﻔﺶ ﻧﻮ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺯﻭﺩﻱ‬ ‫ﻧﺪﺍﺭﺩ‪ .‬ﭘﺲ ﻗﺮﺍﺭ ﻣﻲﺷﻮﺩ ﺻﺒﺢﻫﺎ ﺯﻫﺮﺍ ﻛﺘﺎﻧﻲ ﻋﻠﻲ ﺭﺍ ﺑﭙﻮﺷﺪ ﻭ ﻇﻬﺮ ﻋﻠﻲ ﺑﺎ ﻛﺘﺎﻧﻲ ﺑﻪ ﻣﺪﺭﺳﻪ ﺑﺮﻭﺩ ﻭ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﻋﻠﻲ ﺑﻪ ﻣﻮﻗﻊ ﺑﻪ ﻣﺪﺭﺳﻪ ﺑﺮﺳﺪ‬ ‫ﺯﻫﺮﺍ ﺗﻤﺎﻡ ﻣﺴﻴﺮ ﺗﺎ ﺧﺎﻧﻪ ﺭﺍ ﻣﻲﺩﻭﺩ‪ ،‬ﺍﻣﺎ ﻋﻠﻲ ﺑﺎﺯ ﻫﻢ ﺩﻳﺮ ﺑﻪ ﻣﺪﺭﺳﻪ ﻣﻲﺭﺳﺪ ﻭ ﺗﻮﺳﻂ ﻧﺎﻇﻢ ﺗﻮﺑﻴﺦ ﻣﻲﺷﻮﺩ‪ .‬ﻋﻠﻲ ﺗﺼﻤﻴﻢ ﻣﻲﮔﻴﺮﺩ ﺑﺮﺍﻱ ﺗﻬﻴﻪ‬ ‫ﻛﻔﺶ ﺧﻮﺍﻫﺮﺵ‪ ،‬ﺩﺭ ﻣﺴــﺎﺑﻘﻪﺍﻱ ﻛﻪ ﺑﻴﻦ ﭼﻨﺪ ﻣﺪﺭﺳﻪ ﺍﻧﺠﺎﻡ ﻣﻲﺷﻮﺩ ﺷﺮﻛﺖ ﻛﻨﺪ ﻭ ﺟﺎﻳﺰﻩ ﻧﻔﺮ ﺳﻮﻡ ﺭﺍ ﻛﻪ ﻳﻚ ﺟﻔﺖ ﻛﻔﺶ ﻭﺭﺯﺷﻲ ﺍﺳﺖ‬ ‫ﺑﺒﺮﺩ‪ ،‬ﺍﻣﺎ ﺭﻭﺯ ﻣﺴﺎﺑﻘﻪ ﻋﻠﻲ ﻧﻔﺮ ﺍﻭﻝ ﻣﻲﺷﻮﺩ ﻭ ﻟﺒﺎﺱ ﮔﺮﻣﻜﻦ ﺟﺎﻳﺰﻩ ﻣﻲﮔﻴﺮﺩ ﻭ ﻧﺎﺭﺍﺣﺖ ﺑﻪ ﺧﺎﻧﻪ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ‪ .‬ﻭﻟﻴﻜﻦ ﻫﻤﺎﻥ ﺭﻭﺯ ﭘﺪﺭ ﺭﺍ ﻣﻲﺑﻴﻨﻴﻢ‬ ‫ﻛﻪ ﺑﺎ ﺩﻭ ﺟﻔﺖ ﻛﻔﺶ ﺑﺮﺍﻱ ﺯﻫﺮﺍ ﻭ ﻋﻠﻲ ﺑﻪ ﺧﺎﻧﻪ ﻣﻲﺭﻭﺩ‪...‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻣﻴﺎﻧــﻪ ﺩﻫﻪ ﻫﻔﺘﺎﺩ ﻗــﺮﺍﺭ ﺑﻮﺩ ﺯﻣﺎﻥ ﻧﺘﻴﺠﻪ ﺩﺍﺩﻥ ﺳﻴﺎﺳــﺖﻫﺎﻱ‬ ‫ﻣﻌﺮﻭﻑ ﺑﻪ »ﺳﺎﺯﻧﺪﮔﻲ« ﺑﺎﺷﺪ‪ ،‬ﺳﻴﺎﺳﺖﻫﺎﻳﻲ ﻛﻪ ﺑﺎ ﻫﺪﻑ ﺍﻳﺠﺎﺩ ﺭﻓﺎﻩ‬ ‫ﻭ ﺁﺭﺍﻣﺶ ﺩﺭ ﺟﺎﻣﻌﻪ ﺁﺳﻴﺐﺩﻳﺪﻩ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺍﺟﺮﺍ ﺷﺪﻧﺪ ﻭ ﻧﺘﻴﺠﻪﺍﺵ‬ ‫ﺩﺭ ﻇﺎﻫﺮ ﺷــﻜﻞﮔﻴﺮﻱ ﻳﻚ ﻃﺒﻘﻪ ﻣﺘﻮﺳــﻂ ﺟﺪﻳﺪ ﺷﻬﺮﻧﺸﻴﻦ ﺑﻮﺩ‬ ‫ﻛــﻪ ﺩﺭ ﺣﺎﻝ ﺗﺠﺮﺑﻪ ﺍﻭﻟﻴﻦ ﻗﺪﻡﻫﺎﻱ ﻳــﻚ ﺯﻧﺪﮔﻲ ﻣﺼﺮﻓﻲ ﺑﻮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﺍﻣﺎ ﺗﺼﻮﻳﺮ ﺗﻤﺎﻡ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﻧﺒﻮﺩ ﭼﺮﺍﻛﻪ ﻫﻤﻴﻦ ﺳﻴﺎﺳــﺖﻫﺎ ﺧﻮﺩ‬ ‫ﻣﻨﺠﺮ ﺑﻪ ﺍﻳﺠﺎﺩ ﺷﻜﺎﻑ ﻃﺒﻘﺎﺗﻲ ﺑﻴﺸﺘﺮ ﺩﺭ ﺟﺎﻣﻌﻪ ﻭ ﺍﺩﺍﻣﻪ ﻣﺤﺮﻭﻣﻴﺖ‬ ‫ﻃﺒﻘﺎﺕ ﺿﻌﻴﻒﺗﺮ ﺟﺎﻣﻌﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻴﺎﻧﻪ ﺩﻫﻪ ﻫﻔﺘﺎﺩﺁﻏﺎﺯ ﺗﻤﺎﺷﺎﻱ‬ ‫ﻋﻴﻨﻲ ﺍﻳﻦ ﺍﺧﺘﻼﻓﺎﺕ ﺑﻮﺩ‪ .‬ﻫﻤﺰﻣﺎﻥ ﻛﻪ ﺑﺮﺝﻫﺎﻱ ﺷﻤﺎﻝ ﺷﻬﺮ ﻫﺮ ﺭﻭﺯ‬ ‫ﺑﺮ ﺗﻌﺪﺍﺩﺷﺎﻥ ﺍﻓﺰﻭﺩﻩ ﻣﻲﺷﺪ‪ ،‬ﺷــﻬﺮﻙﻫﺎﻱ ﺍﻗﻤﺎﺭﻱ ﺍﻃﺮﺍﻑ ﺗﻬﺮﺍﻥ‬ ‫ﻫﻢ ﺟﻤﻌﻴﺖ ﺑﻴﺸــﺘﺮﻱ ﺑﻪ ﺧﻮﺩ ﻣﻲﺩﻳﺪﻧﺪ‪ .‬ﻓﻘﺮ ﻭ ﺛﺮﻭﺕ ﻫﻤﺰﻣﺎﻥ ﺩﺭ‬ ‫ﺗﻬﺮﺍﻥ ﺭﺷﺪ ﻣﻲﻛﺮﺩ‪.‬‬ ‫»ﺑﭽﻪﻫﺎﻱ ﺁﺳــﻤﺎﻥ« ﻣﺘﻮﻟﺪ ﺍﻳﻦ ﺩﻭﺭﻩ ﺍﺳــﺖ‪ ،‬ﻓﻴﻠﻤﻲ ﺑﺮﺁﻣﺪﻩ‬ ‫ﺍﺯ ﮔﻔﺘﻤﺎﻥ ﻋﺪﺍﻟﺖﻣﺤــﻮﺭ ﻛﻪ ﺿﻤﻦ ﺍﺭﺍﺋﻪ ﺗﺼﻮﻳﺮﻱ ﺳــﺘﺎﻳﺶﺁﻣﻴﺰ‬ ‫ﺍﺯ ﻗﻨﺎﻋــﺖ‪ ،‬ﺍﻋﺘﺮﺍﺿﻲ ﭘﻨﻬﺎﻥ ﺑﻮﺩ ﺑﻪ ﺷــﺮﺍﻳﻂ ﺍﻗﺘﺼــﺎﺩﻱ ﺟﺎﻣﻌﻪ ﺩﺭ‬ ‫ﺷﻜﻞﮔﻴﺮﻱ ﺍﺧﺘﻼﻓﺎﺕ ﻃﺒﻘﺎﺗﻲ ﻋﻴﺎﻥ ﻭ ﺻﺮﻳﺢ ﻻﻳﻪﻫﺎﻱ ﻣﺨﺘﻠﻔﺶ‪.‬‬ ‫ﭘﺪﺭﻱ ﻛﻪ ﺑﺎﻭﺟﻮﺩ ﺗﻤﺎﻡ ﺗﻼﺵﻫﺎ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﺣﺪﺍﻗﻠﻲ ﺍﺯ ﻧﻴﺎﺯﻫﺎﻱ‬ ‫ﻓﺮﺯﻧﺪﺍﻧﺶ ﺭﺍ ﺑﺮﺁﻭﺭﺩﻩ ﻛﻨﺪ ﻭ ﻛﻮﺩﻛﺎﻧــﺶ ﺩﺭ ﻫﻤﺮﺍﻫﻲ ﺑﺎ ﺍﻭ ﻛﻪ ﺑﺮﺍﻱ‬ ‫ﻛﺎﺭ ﺑﻪ ﻣﺤﻼﺕ ﺷﻤﺎﻝ ﺷﻬﺮ ﻣﻲﺭﻓﺘﻨﺪ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﺷﺮﺍﻳﻂ ﻣﺠﺒﻮﺭ‬ ‫ﺑﻮﺩﻧﺪ ﺧﻮﺩﺷﺎﻥ ﺑﺎ ﺗﻼﺵ ﺟﺴﻤﻲﻭ ﻃﺎﻗﺖﻓﺮﺳﺎ ﺭﺍﻫﻲ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ‬ ‫ﺧﻮﺍﺳﺘﻪﻫﺎﻳﺸﺎﻥ ﺑﻴﺎﺑﻨﺪ‪ .‬ﻣﺠﻴﺪ ﻣﺠﻴﺪﻱ ﻓﻴﻠﻤﺴﺎﺯ ﺗﺮﺑﻴﺖﺷﺪﻩ ﺣﻮﺯﻩ‬ ‫ﻫﻨﺮﻱ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﺶ )ﺑﺪﻭﻙ( ﺑﺎ ﺗﺼﻮﻳﺮ ﻛﺮﺩﻥ ﺷﺮﺍﻳﻄﻲ‬ ‫ﺍﺯ ﻣﻨﺎﻃﻖ ﻣﺤﺮﻭﻡ ﺟﺎﻣﻌﻪ‪ ،‬ﺧﺸــﻢ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺘﻪ ﺑﻮﺩ ﺩﺭ‬ ‫ﺳــﻮﻣﻴﻦ ﻓﻴﻠﻤﺶ ﺑﻪ ﺍﻭﺟﻲ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﺍﺯ ﺗﺼﻮﻳﺮ ﻛﺮﺩﻥ ﺩﻏﺪﻏﻪﻫﺎ‬ ‫ﻭ ﺍﻋﺘﻘﺎﺩﺍﺗﺶ ﺭﺳــﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﻛــﻪ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻤﺶ ﺑــﺎ ﺗﻘﺪﻳﺮ ﺭﻫﺒﺮ‬ ‫ﺍﻧﻘﻼﺏ ﻣﻮﺍﺟﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺯﻣﻴﻨﻪﺳﺎﺯ ﺍﺗﻔﺎﻗﺎﺕ ﻋﻤﻠﻲ ﺩﺭ ﻣﺤﻞ ﺭﻭﺍﻳﺖ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢ ﺷــﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ ﺿﻤﻦ ﺁﻧﻜﻪ ﺗﻮﺍﻧﺴﺖ‬ ‫ﺑﺨﺸــﻲ ﺍﺯ ﻧﮕﺎﻩﻫﺎﻱ ﺟﺮﻳﺎﻥﻫﺎﻱ ﻣﺪﻳﺮﻳﺘﻲ ﻛﺸــﻮﺭ ﻛﻪ ﻣﻌﻄﻮﻑ ﺑﻪ‬ ‫ﺣﻤﺎﻳﺖ ﺍﺯ ﺍﻗﺸــﺎﺭ ﻣﺤﺮﻭﻡ ﺟﺎﻣﻌﻪ ﺑﻮﺩﻧﺪ ﺭﺍ ﻣﻨﻌﻜﺲ ﻛﻨﺪ‪ ،‬ﺩﺭ ﺩﻧﻴﺎﻱ‬ ‫ﺳﻴﻨﻤﺎ ﻫﻢ ﺗﻮﻓﻴﻖ ﭼﺸــﻤﮕﻴﺮﻱ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ ﻭ ﺗﺎ ﺳﺎﻟﻦ ﺍﺳﻜﺎﺭ ﻫﻢ‬ ‫ﭘﻴﺶ ﺭﻓﺖ‪ .‬ﺑــﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﺠﻴــﺪ ﻣﺠﻴﺪﻱ ﺟﺎﻳــﮕﺎﻩ ﻣﻨﺤﺼﺮﻱ ﺩﺭ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺍﻳــﺮﺍﻥ ﻭ ﻣﻨﺎﺳــﺒﺎﺗﺶ ﺑﻪﺩﺳــﺖ ﺁﻭﺭﺩ‪ .‬ﺟﺎﻳﮕﺎﻫﻲ ﻛﻪ ﺍﻭ‬ ‫ﺭﺍ ﻫﻤﺮﺩﻳــﻒ ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﺗﺎﻳﻴﺪ ﺷــﺪﻩ ﻧﻈﺎﻡ ﻗــﺮﺍﺭ ﺩﺍﺩ ﻛﻪ ﺣﺘﻲ‬ ‫ﺍﻇﻬﺎﺭﻧﻈﺮﻫﺎﻳﺸﺎﻥ ﻫﻢ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺯﻣﻴﻨﻪﺳﺎﺯ ﺍﺗﻔﺎﻗﺎﺗﻲ ﺑﺎﺷﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻗﺒﻞ ﺍﺯ ﻓﻴﻠﻢ ﺳﺘﺎﻳﺶ ﺷﺪﻩ »ﭘﺪﺭ«‪ ،‬ﻣﺠﻴﺪ ﻣﺠﻴﺪﻱ ﺑﺮ ﺍﺳﺎﺱ ﺷﺮﺡ‬ ‫ﻳﻚ ﻣﺎﺟﺮﺍﻱ ﻭﺍﻗﻌﻲ ﺗﻮﺳﻂ ﻳﻮﺳﻔﻌﻠﻲ ﻣﻴﺮﺷﻜﺎﻙ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺷﺎﻋﺮ‬ ‫ﻣﻌﺮﻭﻑ‪ ،‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﭽﻪﻫﺎﻱ ﺁﺳــﻤﺎﻥ ﺭﺍ ﻧﻮﺷﺖ‪ .‬ﺍﻣﺎ ﺟﺮﻳﺎﻥ ﺭﺳﻴﺪﻥ‬ ‫‪79‬‬ ‫ﺑــﻪ ﺍﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺣﻜﺎﻳﺖ ﺷــﻨﻴﺪﻧﻲ ﺍﺯ ﺯﺑﺎﻥ ﺧــﻮﺩ ﻣﺠﻴﺪﻱ ﺩﺍﺭﺩ‪:‬‬ ‫»ﻳﻚﺷﺐ ﺍﺯ ﺷﺐﻫﺎﻱ ﺯﻣﺴﺘﺎﻥ ﺳــﺎﻝ ‪ 1372‬ﺩﺭ ﻳﻜﻲ ﺍﺯ ﺍﺗﺎﻕﻫﺎﻱ‬ ‫ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺑﺎ ﻳﻮﺳﻔﻌﻠﻲ ﻣﻴﺮﺷﻜﺎﻙ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻳﻢ‪ .‬ﻣﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﻛﻮﺗﺎﻫﻲ ﺭﺍ ﻛﻪ ﻧﻮﺷــﺘﻪ ﺑﻮﺩﻡ ﺑﺮﺍﻳﺶ ﺧﻮﺍﻧﺪﻡ‪ .‬ﺑﻌﺪ ﻳﻮﺳــﻒ ﺷﺮﻭﻉ ﺑﻪ‬ ‫ﺍﻇﻬﺎﺭﻧﻈــﺮ ﻛﺮﺩ ﻭ ﺍﺯ ﻫﻤﻪﭼﻴﺰ ﻭ ﻫﻤﻪﺟــﺎ ﺻﺤﺒﺖ ﻛﺮﺩ‪ .‬ﺩﺭ ﻻﺑﻪﻻﻱ‬ ‫ﺣﺮﻑﻫﺎﻳﺶ ﻣﺎﺟﺮﺍﻱ ﻭﺍﻗﻌﻲ ﻳﻚ ﺧﻮﺍﻫﺮ ﻭ ﺑﺮﺍﺩﺭ ﺧﺮﺩﺳــﺎﻝ ﺭﺍ ﺑﺮﺍﻳﻢ‬ ‫ﺗﻌﺮﻳﻒ ﻛﺮﺩ‪ ،‬ﻣﺎﺟﺮﺍﻳﻲ ﺳــﺎﺩﻩ ﻭ ﺗﻜﺎﻥﺩﻫﻨﺪﻩ ﺍﺯ ﮔﺬﺷﺖ ﻭ ﻓﺪﺍﻛﺎﺭﻱ‬ ‫ﻳﻚ ﺧﻮﺍﻫﺮ ﻭ ﺑﺮﺍﺩﺭ‪ .‬ﺁﻥ ﺷــﺐ ﺑــﻪ ﻗﺪﺭﻱ ﺗﺤﺖ ﺗﺎﺛﻴــﺮ ﻣﺎﺟﺮﺍﻱ ﺁﻥ‬ ‫ﺧﻮﺍﻫــﺮ ﻭ ﺑﺮﺍﺩﺭ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻢ ﻛﻪ ﺑﻪ ﻛﻠﻲ ﻗﺼﻪ ﺧﻮﺩ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻡ‪.‬‬ ‫ﺩﻟﻢ ﻣﻲﺧﻮﺍﺳﺖ ﺍﺯ ﻫﻤﺎﻥ ﻓﺮﺩﺍﻱ ﺁﻥ ﺭﻭﺯ ﻣﺸﻐﻮﻝ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﻭ ﺳﭙﺲ ﻣﺮﺍﺣﻞ ﺳﺎﺧﺖ ﺁﻥ ﺷــﻮﻡ‪ .‬ﻃﺮﺡ ﻗﺼﻪ ﺭﺍ ﻧﻮﺷﺘﻢ‪ «.‬ﻃﺮﺡ ﺍﻣﺎ‬ ‫ﺩﺭ ﺟﻠﺴﻪ ﻛﺎﺭﮔﺎﻩ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺩﺭ ﺣﻀﻮﺭ ﺣﺠﺖ ﺍﻻﺳﻼﻡ‬ ‫ﺯﻡ ﺑﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﻣﻮﺍﺟﻪ ﻧﻤﻲﺷﻮﺩ ﻭ ﺑﺎﻭﺟﻮﺩ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻧﻬﺎﻳﻲ‬ ‫ﺗﻮﺳﻂ ﻣﺠﻴﺪﻱ ﺑﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﻧﻬﺎﺩﻫﺎﻱ ﺩﻳﮕﺮ ﻫﻢ ﻫﻤﺮﺍﻩ ﻧﻤﻲﺷﻮﺩ ﻭ‬ ‫ﻣﺠﻴﺪﻱ ﻧﻴﺰ ﺳﺮﺧﻮﺭﺩﻩ ﭘﻴﮕﻴﺮ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﭘﺪﺭ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺑﻌــﺪ ﺍﺯ ﭘــﺪﺭ ﻭ ﺍﺳــﺘﻘﺒﺎﻝ ﺍﺯ ﺁﻥ‪ ،‬ﻣﺠﻴــﺪﻱ ﭘﻴﮕــﺮﻱ ﺳــﺎﺧﺖ‬ ‫ﺑﭽﻪﻫﺎﻱ ﺁﺳــﻤﺎﻥ ﻣﻲﺷــﻮﺩ ﺍﻣﺎ ﻣﺘﻘﺎﻋﺪ ﻛﺮﺩﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻧﻲ ﻛﻪ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﻓﺎﻗﺪ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺟﺬﺍﺏ ﻣﻲﺩﺍﻧﺴــﺘﻨﺪ ﻫﻤﭽﻨﺎﻥ ﻣﺸﻜﻞ‬ ‫ﺍﺳﺖ‪.‬ﻓﻴﻠﻤﻲﻛﻪﺑﺮﺧﻼﻑﺩﻭﺳﺎﺧﺘﻪﻗﺒﻠﻲﻣﺠﻴﺪﻱﺩﺍﺳﺘﺎﻧﺶﺩﺭﺷﻬﺮ‬ ‫ﻣﻲﮔﺬﺷﺖ ﻭ ﺑﻴﺸﺘﺮ ﻭﻗﺎﻳﻌﺶ ﺩﺭ ﻧﻤﺎﻫﺎﻱ ﺧﺎﺭﺟﻲ )ﻛﻮﭼﻪ ﻭ ﺧﻴﺎﺑﺎﻥ ﻭ‬ ‫ﻣﺪﺭﺳﻪ( ﺑﻮﺩ‪ .‬ﻫﻤﻴﻦ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻲﺑﻮﺩ ﻛﻪ ﺯﻣﻴﻨﻪﻫﺎﻱ‬ ‫ﺍﺟﺘﻤﺎﻋــﻲﺍﺵ ﭘﺮﺭﻧﮓ ﺑﻮﺩ‪ .‬ﻣﺠﻴــﺪﻱ ﻛﻪ ﭘﺪﺭ ﺭﺍ ﺑــﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻲ‬ ‫ﻣﺮﻛﺰ ﮔﺴﺘﺮﺵ ﺳﻴﻨﻤﺎﻱ ﻣﺴﺘﻨﺪ ﻭ ﺗﺠﺮﺑﻲ ﺳــﺎﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﻫﻢ‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﺍﻱ ﺩﻭﻟﺘﻲ ﺑﻮﺩ ﺗﺎ ﺯﻣﻴﻨﻪ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺭﺍ ﻓﺮﺍﻫﻢ‬ ‫ﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺑﻬﺰﺍﺩ ﺑﻬﺰﺍﺩﭘﻮﺭ‪ ،‬ﺩﻭﺳــﺖ ﻗﺪﻳﻤﻲ ﻣﺠﻴﺪﻱ ﺍﺯ ﺣﻮﺯﻩ‬ ‫ﻫﻨﺮﻱ ﺑﻌﺪ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺎ ﺁﺷﻨﺎﻳﻲﻫﺎ ﻭ ﺍﺭﺗﺒﺎﻁ ﻭ ﺟﺎﻳﮕﺎﻫﻲ ﻛﻪ‬ ‫ﻧــﺰﺩ ﻣﺪﻳﺮﻳﺖ ﻭﻗﺖ ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜــﺮﻱ ﺩﺍﺭﺩ‪ ،‬ﺯﻣﻴﻨﻪ ﺗﻬﻴﻪ ﻓﻴﻠﻢ ﺭﺍ‬ ‫ﺗﻮﺳﻂ ﺍﻳﻦ ﻧﻬﺎﺩ ﻓﺮﺍﻫﻢ ﻣﻲﻛﻨﺪ‪ .‬ﻣﻬﻢﺗﺮﻳﻦ ﺍﺗﻔﺎﻕ ﻗﺒﻞ ﺍﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﺑﻮﺩ ﻛﻪ ﺑﻨﺎ ﺑﺮ ﺍﺻﺮﺍﺭ ﻭ ﺍﻋﺘﻘﺎﺩ ﻣﺠﻴﺪﻱ ﺑﺎﻳﺪ ﺍﺯ ﺑﻴﻦ‬ ‫ﭼﻬﺮﻩﻫﺎﻱ ﻧﺎﺷﻨﺎﺧﺘﻪ ﻭ ﻧﺎﺑﺎﺯﻳﮕﺮﺍﻥ ﺍﻧﺘﺨﺎﺏ ﻣﻲﺷﺪﻧﺪ‪ .‬ﻣﺠﻴﺪﻱ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﮔﻔﺖ‪» :‬ﻓﻀﺎﻱ ﻓﻴﻠﻢ ﺑﺎﻳﺪ‬ ‫ﻛﺎﻣﻼ ﺑﺎﻭﺭﺩﻛﺮﺩﻧﻲ ﻣﻲﺷــﺪ ﻭ ﺍﺻﻼ ﺩﻭﺳــﺖ ﻧﺪﺍﺷﺘﻢ ﭼﻬﺮﻩ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷــﺪﻩﺍﻱ ﺍﻳﻔﺎﻱ ﻧﻘﺶ ﻛﻨﺪ ﻛﻪ ﺗﺼﻮﻳﺮ ﻗﺒﻠﻲ ﺍﺯ ﺍﻭ ﺩﺭ ﺫﻫﻦ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﺑﺎﺷﺪ‪ .‬ﻣﺜﻼ ﺷﺨﺼﻴﺖ ﻣﻬﻢ ﭘﺪﺭ ﺩﺭ ﻓﻴﻠﻢ ﺑﺎﻳﺪ ﭼﻬﺮﻩﺍﻱ ﺯﺣﻤﺖﻛﺶ ﻭ‬ ‫ﺟﻨﻮﺏ ﺷﻬﺮﻱ ﻣﻲﺩﺍﺷــﺖ‪ «.‬ﺍﻳﻨﭽﻨﻴﻦ ﺑﻮﺩ ﻛﻪ ﺑﺨﺶ ﻣﻬﻤﻲ ﺍﺯ ﺯﻣﺎﻥ‬ ‫ﺗﻮﻟﻴﺪ ﻓﻴﻠــﻢ ﺻﺮﻑ ﺍﻧﺘﺨﺎﺏ ﺑﺎﺯﻳﮕﺮﺍﻧﺶ ﺷــﺪ‪ .‬ﺭﺿــﺎ ﻧﺎﺟﻲ ﺍﺯ ﻫﻤﻴﻦ‬ ‫ﺟﺴﺖﻭﺟﻮﻫﺎﺍﻧﺘﺨﺎﺏﺷﺪ‪.‬ﺳﺎﺯﻧﺪﮔﺎﻥﻓﻴﻠﻢﺑﻌﺪﺍﺯﺟﺴﺖﻭﺟﻮﻱﻓﺮﺍﻭﺍﻥ‬ ‫ﺩﺭ ﻣﺤﻼﺕ ﺁﺫﺭﻱﻧﺸﻴﻦ ﺗﻬﺮﺍﻥ‪ ،‬ﻧﺎﺟﻲ ﺭﺍ ﻛﻪ ﺍﺯ ﺳﻮﻱ ﺍﻧﺠﻤﻦ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺟﻮﺍﻥ ﺗﺒﺮﻳﺰﻣﻌﺮﻑﺷﺪﻩﺑﻮﺩﭘﺴﻨﺪﻳﺪﻧﺪ‪.‬ﺳﻪ ﺑﺎﺯﻳﮕﺮﻛﻮﺩﻙﺍﺻﻠﻲﻓﻴﻠﻢ‬ ‫ﻫﻢ ﺍﺯ ﺑﻴﻦ ‪ 35‬ﻫﺰﺍﺭ ﺩﺍﻧﺶﺁﻣﻮﺯ ﻣﻨﺎﻃﻖ ﻣﺨﺘﻠﻒ ﺗﻬﺮﺍﻥ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻧﺪ‪.‬‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱﺑﻬﻤﻦ‪74‬ﺩﺭﺗﻬﺮﺍﻥﺁﻏﺎﺯﺷﺪﻭﺑﻪﺷﻴﻮﻩﻫﻤﻴﺸﮕﻲﻣﺠﻴﺪﻱ‬ ‫ﻫﻢ ﺑﺎ ﻭﺳﻮﺍﺱ ﻭ ﺻﺮﻑ ﻭﻗﺖ ﺯﻳﺎﺩﻱ ﺑﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺭﺳﻴﺪ‪ .‬ﻣﺮﺍﺣﻞ ﻓﻨﻲ ﻫﻢ‬ ‫ﺩﺭ ﺯﻣﺎﻥ ﻛﺎﻓﻲ ﻭ ﺑﺎ ﺩﻗﺖ ﺯﻳﺎﺩ ﺍﻧﺠﺎﻡ ﺷﺪ ﻭ ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﭘﺎﻧﺰﺩﻫﻢ ﻓﻴﻠﻢ ﻓﺠﺮ ﻛﺎﻣﻼ ﺁﻣﺎﺩﻩ ﺷﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﭘﺎﻧﺰﺩﻫﻤﻴﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺯﻣﺎﻥ ﻇﻬــﻮﺭ ﺍﻧﺒﻮﻩ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﻛــﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺑﻮﺩ ﻛﻪ ﺍﻛﺜﺮﺍ ﻣﺘﺎﺛﺮ ﺍﺯ ﻣﻮﻓﻘﻴﺖﻫﺎﻱ‬ ‫ﺟﻬﺎﻧﻲ ﭼﻨﺪ ﻓﻴﻠﻤﺴﺎﺯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ ﻫﻢ ﺍﺑﺘﺪﺍ‬ ‫ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ ﻃﺒﻘﻪﺑﻨﺪﻱ ﺷﺪ‪ .‬ﺍﻣﺎ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﭘﻴﺶﺩﺍﻭﺭﻱﻫﺎ‬ ‫ﺭﺍ ﺑﺮ ﻫــﻢ ﺯﺩ‪ .‬ﭘﺮﺩﺍﺧﺖ ﺗﺎﺛﻴﺮﮔــﺬﺍﺭ ﻓﻴﻠﻢ ﺑﺎ ﺑﻬﺮﻩﮔﻴــﺮﻱ ﺻﺤﻴﺢ ﺍﺯ‬ ‫ﻣﻮﻟﻔﻪﻫﺎﻱ ﺍﺣﺴﺎﺳﻲ ﺗﻮﺍﻧﺴﺖ ﺭﺿﺎﻳﺖ ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﺩﺍﻭﺭﺍﻥ ﺭﺍ ﺑﻪﺩﺳﺖ‬ ‫ﺁﻭﺭﺩ‪ .‬ﺑﭽﻪﻫﺎﻱ ﺁﺳــﻤﺎﻥ ﺩﺭ ﺭﻗﺎﺑﺖ ﺑﺎ ﻟﻴﻼ ﻭ ﺳﺮﺯﻣﻴﻦ ﺧﻮﺭﺷﻴﺪ ﻓﺎﺗﺢ‬ ‫ﻣﻄﻠﻖ ﺟﻮﺍﻳﺰ ﺟﺸــﻨﻮﺍﺭﻩ ﻟﻘــﺐ ﻣﻲﮔﻴﺮﺩ‪ .‬ﻧﺰﺩ ﻣﻨﺘﻘــﺪﺍﻥ ﻫﻢ ﻓﻴﻠﻢ‬ ‫ﺟﺎﻳﮕﺎﻩ ﺑﺎﻻﻳــﻲ ﺩﺍﺭﺩ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺭﻗﻴﺒﺶ ﻟﻴﻼ ﻫﻢ ﻃﺮﻓﺪﺍﺭﺍﻧﻲ ﺩﺍﺭﺩ‬ ‫ﺍﻣــﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﭽﻪﻫﺎﻱ ﺁﺳــﻤﺎﻥ ﺗﻮﻓﻴﻖ ﺑﻴﺸــﺘﺮﻱ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻓﻴﻠﻢ‬ ‫ﺗﻮﺳــﻂ ﻣﻨﺘﻘﺪﺍﻥ ﻣﺎﻫﻨﺎﻣﻪ ﺳــﻴﻨﻤﺎﻳﻲ ﻓﻴﻠﻢ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺛﺮ ﺑﺮﮔﺰﻳﺪﻩ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺍﻧﺘﺨﺎﺏ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻓﻴﻠﻢ ﺑﺎ ﻫﻤﻴﻦ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﺭﻭﺑﻪﺭﻭ ﻧﻤﻲﺷــﻮﺩ‪ .‬ﺍﻛﺮﺍﻥ ﻓﻴﻠﻤﻲ ﺩﺭ ﺳﺎﻝ ﭘﺮﺍﺗﻔﺎﻕ ‪1376‬‬ ‫ﺍﺳﺖ‪ ،‬ﺳــﺎﻟﻲ ﻛﻪ ﺩﺭ ﺧﺮﺩﺍﺩﺵ ﺭﺋﻴﺲﺟﻤﻬﻮﺭﻱ ﺟﺪﻳﺪ ﺯﻣﺎﻡ ﺍﻣﻮﺭ ﺭﺍ‬ ‫ﺑﺮ ﺧﻼﻑ ﭘﻴﺶﺑﻴﻨﻲﻫﺎﻱ ﺍﻭﻟﻴﻪ ﺩﺭ ﺩﺳــﺖ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻓﻀﺎ ﻛﺎﻣﻼ‬ ‫ﺗﻐﻴﻴﺮ ﻛﺮﺩﻩ ﻭ ﻣﻨﺎﺳــﺒﺎﺕ ﺩﻳﮕﺮﻱ ﺣﺎﻛﻢ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ‬ ‫ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﺍﻭﺍﺧﺮ ﭘﺎﻳﻴﺰ ﺑﺮ ﭘﺮﺩﻩ ﭼﻨﺪ ﺳﻴﻨﻤﺎ ﺭﻓﺖ ﺩﺭ ﺣﺎﻟﻲ‬ ‫ﻛﻪ ﻧﺘﻮﺍﻧﺴــﺘﻪ ﺑﻮﺩ ﺗﻌﺪﺍﺩ ﺳﻴﻨﻤﺎﻫﺎﻱ ﺯﻳﺎﺩﻱ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺑﮕﻴﺮﺩ‪ .‬ﻓﻴﻠﻢ‬ ‫ﺍﻟﺒﺘﻪ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻧﻤﺎﻳﺶﻫﺎﻳﻲ ﺩﺭ ﭼﻨﺪ ﺟﺸﻨﻮﺍﺭﻩ ﺧﺎﺭﺟﻲ ﺩﺍﺷﺖ ﻭ‬ ‫ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﺯﻣﺰﻣﻪﻫﺎﻳﻲ ﺩﺭﺑﺎﺭﻩ ﻣﻌﺮﻓﻲﺍﺵ ﺑﻪ ﺁﻛﺎﺩﻣﻲ ﺍﺳﻜﺎﺭ ﻛﻪ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﺗﻔﺎﻗﺎﺕ ﺳﻴﺎﺳﻲ ﺩﺭ ﺍﻳﺮﺍﻥ ﺭﻭﻱ ﮔﺸﺎﺩﻩﺗﺮﻱ ﺑﺮﺍﻱ ﺩﺭﻳﺎﻓﺖ ﻓﻴﻠﻤﻲ‬ ‫ﺍﺯ ﺍﻳﺮﺍﻥ ﻧﺸﺎﻥ ﻣﻲﺩﺍﺩ‪ ،‬ﺑﻪ ﮔﻮﺵ ﻣﻲﺭﺳﻴﺪ‪ .‬ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﻓﻴﻠﻢ ﺩﺭ‬ ‫ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﻣﺠﻴﺪﻱ ﺩﺭ ﮔﻔﺖ ﻭ ﮔﻮﻫﺎﻳﺶ ﻧﺴﺒﺖ ﺑﻪ ﺷﺮﺍﻳﻂ‬ ‫ﺑﺪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺍﻋﺘﺮﺍﺽ ﻛﺮﺩ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ ﻫﻤﺮﺍﻫﻲ ﺯﻣﺎﻥ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺭﺍ ﺑﺎ ﻓﻴﻠﻢ ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩﻧﺪ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺍﻣﺎ ﺭﺳــﺎﻧﻪﻫﺎﻱ ﻣﻌﻄﻮﻑ ﺑﻪ ﺟﻨﺎﺡ‬ ‫ﺑﺎﺯﻧﺪﻩ ﺩﺭ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺗﻤﺠﻴﺪﻫﺎﻱ ﻓﺮﺍﻭﺍﻧــﻲ ﺍﺯ ﻓﻴﻠﻢ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺍﺗﻔﺎﻕ‬ ‫ﺍﺻﻠﻲ ﺩﺭ ﺭﺍﻩ ﺑﻮﺩ‪ .‬ﺧﺎﻧﻪ ﺳﻴﻨﻤﺎ ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻛﻤﻴﺘﻪﺍﻱ‬ ‫ﺑﺮﺍﻱ ﺍﻧﺘﺨﺎﺏ ﻓﻴﻠﻢ ﺍﻳﺮﺍﻧﻲ ﺍﺳﻜﺎﺭ ﺗﺸﻜﻴﻞ ﺩﺍﺩ‪ .‬ﺍﻳﻦ ﻛﻤﻴﺘﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ‬ ‫ﺩﻭ ﻓﻴﻠﻢ ﮔﺒﻪ ﻭ ﺑﭽﻪﻫﺎﻱﺁﺳﻤﺎﻥ ﺭﺳﻴﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﮔﺒﻪ ﺭﺍ ﺑﺮﮔﺰﻳﺪ‪ .‬ﺭﺍﻱ‬ ‫ﻧﻬﺎﻳﻲ ﺍﻣﺎ ﺍﺯ ﺳﻮﻱ ﻣﺪﻳﺮﻳﺖ ﺳﻴﻨﻤﺎﻳﻲ ﻣﻌﻠﻖ ﺷﺪ ﻭ ﻫﻤﻴﻦ ﺯﻣﻴﻨﻪﺳﺎﺯ‬ ‫ﺑﺤﺚﻫﺎﻱ ﭘﺮﺩﺍﻣﻨﻪ ﻭ ﺟﻨﺠﺎﻟﻲ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﻋﻠﻴﻪ ﻳﻜﺪﻳﮕﺮ‬ ‫ﺷﺪ‪ ،‬ﺳــﺎﺯﻧﺪﮔﺎﻧﻲ ﻛﻪ ﺯﻣﺎﻧﻲ ﻫﻤﺮﺍﻩ ﻭ ﺩﻭﺳﺖ ﻭ ﻫﻤﻔﻜﺮ ﻳﻜﺪﻳﮕﺮ ﺩﺭ‬ ‫ﻧﻬﺎﺩ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺨﻤﻠﺒﺎﻑ ﻧﺎﻣﻪ ﺍﻋﺘﺮﺍﺽﺁﻣﻴﺰﻱ ﺑﻪ ﻣﺴﺌﻮﻻﻥ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﻧﻮﺷــﺖ ﻭ ﺩﺭ ﻣﻘﺎﺑﻞ ﻣﺠﻴﺪﻱ ﺩﺭ ﻧﺎﻣﻪﺍﻱ ﺑﻪ ﻫﻴﺎﺕ ﻣﺪﻳﺮﻩ‬ ‫ﺧﺎﻧﻪ ﺳﻴﻨﻤﺎ‪ ،‬ﻃﺮﻑ ﺩﻳﮕﺮ ﺭﺍ ﺑﻪ ﺟﻮﺳﺎﺯﻱ ﻭ ﻣﻈﻠﻮﻡ ﻧﻤﺎﻳﻲ ﻭ ﻫﻴﺎﻫﻮﻱ‬ ‫ﺭﺳﺎﻧﻪﺍﻱ ﻣﺘﻬﻢ ﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺭﺳﺎﻧﻪﻫﺎﻱ ﻫﻤﺮﺍﻩ ﺩﻭ ﮔﺮﻭﻩ ﻫﻢ ﻭﺍﺭﺩ‬ ‫ﻣﻨﺎﺯﻋﻪ ﺷــﺪﻧﺪ ﻭ ﺟﺎﻟﺐ ﻋﻤﻠﻜﺮﺩ ﻃﻴﻔﻲ ﺑﻮﺩ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻣﺨﺎﻟﻒ‬ ‫ﺣﻀﻮﺭ ﻓﻴﻠﻤﻲ ﺍﺯ ﺍﻳﺮﺍﻥ ﺩﺭ ﺍﺳﻜﺎﺭ ﺑﻮﺩﻧﺪ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﮔﺒﻪ ﻣﻌﺮﻓﻲ ﺷﺪ ﻭ‬ ‫ﺗﻮﻓﻴﻘﻲ ﻫﻢ ﻧﻴﺎﻓﺖ ﺍﻣﺎ ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ ﺑﺎ ﺍﺩﺍﻣﻪ ﺳﻔﺮﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ‬ ‫ﻭ ﻣﻮﻓﻘﻴﺖﻫﺎﻱ ﺟﻬﺎﻧﻲ ﺳﺎﻝ ﺑﻌﺪ ﻧﻤﺎﻳﻨﺪﻩ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺷﺪ ﻭ ﺑﺮﺍﻱ‬ ‫ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺩﺭ ﻣﻴﺎﻥ ﭘﻨﺞ ﻧﺎﻣﺰﺩ ﻧﻬﺎﻳﻲ ﻫﻢ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺍﻳﻦ ﻣﻮﻓﻘﻴﺖ‬ ‫ﺩﺭ ﺩﻭﺭﻩﺍﻱ ﺑﻪﺩﺳــﺖ ﺁﻣﺪ ﻛﻪ ﺁﻣﺮﻳﻜﺎ ﻧﻬﺎﻳﺖ ﺗﻮﺍﻧﺶ ﺭﺍ ﺑﺮﺍﻱ ﻧﺰﺩﻳﻜﻲ‬ ‫ﺑﻪ ﺍﻳﺮﺍﻥ ﻭ ﮔﺸــﻮﺩﻥ ﺑﺎﺏ ﻣﺬﺍﻛﺮﻩ ﺍﻧﺠﺎﻡ ﻣﻲﺩﺍﺩ ﻭ ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﺑﺮﻭﺯ‬ ‫ﺗﺤﻠﻴﻞﻫﺎﻳﻲ ﺩﺭﺑﺎﺭﻩ ﺍﻧﺘﺨﺎﺏ ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ ﺷﺪ‪ .‬ﻣﺠﻴﺪﻱ ﺩﺭ ﺳﺎﻟﻦ‬ ‫ﻛﺪﺍﻙﻫﺎﻟﻴﻮﻭﺩ ﺣﺎﺿﺮ ﺷﺪ ﻭ ﻫﺮﭼﻨﺪ ﺭﻗﺎﺑﺖ ﻧﻬﺎﻳﻲ ﺭﺍ ﺑﻪ ﻓﻴﻠﻢ ﺯﻧﺪﮔﻲ‬ ‫ﺯﻳﺒﺎﺳــﺖ‪ ،‬ﻓﻴﻠﻤﻲ ﺩﺭ ﺑﺎﺭﻩ ﻛﺸــﺘﺎﺭ ﻳﻬﻮﺩﻳﺎﻥ ﺩﺭ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺩﻭﻡ‬ ‫ﺑﺎﺧﺖ ﺍﻣﺎ ﺑﺎ ﻟﺒﺨﻨﺪﻱ ﺑﺮ ﻟﺐ ﻭ ﺭﻭﻱ ﮔﺸــﺎﺩﻩ ﺑﻪ ﻋﻜﺲ ﮔﺮﻓﺘﻦ ﺑﺎ ﻫﻤﻪ‬ ‫ﭘﺮﺩﺍﺧﺖ ﻭ ﺗﺼﻮﻳﺮﻱ ﻣﻬﺮﺑﺎﻥ ﻭ ﻫﻤﺮﺍﻩ ﺍﺯ ﺩﺳــﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺳﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﺍﺭﺍﺋﻪ ﺩﺍﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ ﻭﺍﺭﺩ ﺗﺎﺭﻳﺦ ﺷﺪ ﻫﺮﭼﻨﺪ‬ ‫ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲﻣﻮﻓﻘﻲ ﻧﺪﺍﺷــﺖ ﻭ ﻓﺮﻭﺵ ﺍﻧﺪﻛﺶ ﻧﺸﺎﻥ ﺩﺍﺩ ﺫﺍﺋﻘﻪ‬ ‫ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺷــﻬﺮﻱ ﻛﻪ ﻳﻚ ﺭﻭﻳﺪﺍﺩ ﺗﺎﺭﻳﺨﻲ ﺭﺍ ﻫﻢ ﺭﻗﻢ ﺯﺩﻩ ﺑﻮﺩﻧﺪ‬ ‫ﭼﻨﺪﺍﻥ ﺑﺎ ﮔﻔﺘﻤﺎﻥ ﻓﻴﻠﻢ ﻫﻤﺮﺍﻩ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ ﺣﺎﻻ ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﻴﻠﻤﻲﻛﻪ ﻧﻤﺎﻳﺶ ﻫﻨﺮﻣﻨﺪﺍﻧﻪﺍﻱ ﺍﺯ ﺍﺳﺘﻐﻨﺎ ﻭ ﻗﻨﺎﻋﺖ ﻣﻲﺩﻫﺪ‪ ،‬ﺷﻨﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺁﺷﻜﺎﺭﺍ‬ ‫ﻧﻤﺎﻳﺎﻧﮕﺮ ﻧﻮﻉ ﻧﮕﺎﻩ ﺑﺨﺸﻲ ﺍﺯ ﺑﺪﻧﻪ ﻣﺘﻔﻜﺮ ﻭ ﻣﻌﺘﻘﺪ ﻭ ﻫﻤﺮﺍﻩ ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻲﺑﻪ ﺭﻭﻧﺪ ﺗﺼﻤﻴﻢﻫﺎ ﻭ ﺳﻴﺎﺳﺖﻫﺎﻱ ﺩﻭﺭﻩﺍﺵ ﺍﺳﺖ‪ .‬ﮔﻔﺘﻤﺎﻥ‬ ‫ﻋﺪﺍﻟﺖ ﻭ ﺗﻮﺟﻪ ﺑﻪ ﻃﺒﻘﺎﺕ ﻣﺤﺮﻭﻡ ﻭ ﻣﺴﺎﺋﻞﺷــﺎﻥ ﺩﺭ ﻓﻴﻠﻢ ﺣﻀﻮﺭﻱ ﻋﻴﻨﻲ ﺩﺍﺭﺩ ﻭ ﻧﻤﻲﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺟﺪﺍ ﺍﺯ ﻓﻴﻠﻢ ﺩﺍﻧﺴــﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‬ ‫ﺭﺟﻮﻉ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺑﻪ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺑﻪﻋﻨﻮﺍﻥ ﮔﺮﻭﻫﻲ ﻛﻪ ﺳــﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻳﺮﺍﻥ ﻫﻤﻮﺍﺭﻩ ﻧﮕﺎﻩ ﻫﻤﺮﺍﻩ ﻭ ﭘﻴﮕﻴﺮﻱ ﺑﻪ‬ ‫ﺁﻧﻬﺎ ﺩﺍﺷﺘﻪ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﺟﺎﻟﺐ ﺍﺳــﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺑﭽﻪﻫﺎﻱ ﺁﺳﻤﺎﻥ ﺑﺮ ﺑﺴﺘﺮﻱ ﻓﺮﺍﻫﻢ ﺁﻣﺪﻩ ﺍﺯ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﻭ ﮔﻔﺘﻤﺎﻧﺶ‬ ‫ﺭﺍ ﻣﻄﺮﺡ ﻣﻲﻛﻨﺪ‪ .‬ﺗﻤﺎﺷــﺎﻱ ﺍﻣﺮﻭﺯ ﺑﭽﻪﻫﺎﻱ ﺁﺳــﻤﺎﻥ ﻫﺮﭼﻨﺪ ﺗﺎﺛﻴﺮ ﺍﻭﻟﻴﻪﺍﺵ ﺭﺍ ﻧﺪﺍﺭﺩ ﺍﻣﺎ ﺣﺎﻭﻱ ﻧﻜﺎﺕ ﺩﻳﮕﺮﻱ ﺍﺳﺖ‪ ،‬ﺍﻳﻨﻜﻪ ﻣﺠﻴﺪﻱ‬ ‫ﺷــﻨﺎﺧﺖ ﻭ ﺍﻃﻼﻉ ﺩﻗﻴﻘﻲ ﺍﺯ ﻃﺒﻘﻪﺍﻱ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﺗﺼﻮﻳﺮ ﻣﻲﻛﻨﺪ‪ ،‬ﺩﺍﺭﺩ ﻭ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻨﺎﺳﺒﺎﺗﺸﺎﻥ ﺭﺍ ﺑﻪﺩﺭﺳﺘﻲ ﺗﺼﻮﻳﺮ ﻛﻨﺪ‪ .‬ﺩﻳﮕﺮﻱ ﻫﻢ‬ ‫ﺟﻠﻮﻩ ﺍﺣﺴﺎﺳــﺎﺕﮔﺮﺍﻳﺎﻧﻪ ﻓﻴﻠﻢ ﺩﺭ ﺑﻬﺮﻩﻣﻨﺪﻱ ﺍﺯ ﻣﻌﺼﻮﻣﻴﺖﻫﺎﻱ ﻛﻮﺩﻛﺎﻧﻪ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺗﺎﺛﻴﺮﻫﺎﻱ ﻣﻮﺭﺩﻧﻈﺮ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﭘﺮﺩﺍﺧﺖ‬ ‫ﺁﻧﭽﻨﺎﻥ ﻫﺴــﺖ ﻛﻪ ﺑﻴﻨﻨﺪﻩ ﺧﺎﺭﺟﻲ ﺭﺍ ﻫﻢ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ ﺩﻫﺪ‪ .‬ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺑﭽﻪﻫﺎﻱ ﺁﺳــﻤﺎﻥ ﻫﻤﭽﻨﺎﻥ ﺗﻨﻬﺎ ﻓﻴﻠﻢ ﺍﻳﺮﺍﻧﻲ ﺍﺳــﺖ ﻛﻪ‬ ‫ﻧﺴﺨﻪﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺍﺯ ﺁﻥ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪80‬‬ ‫‪19‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻃﻌﻢ ﮔﻴﻼﺱ )‪(1376‬‬ ‫ﺣﺮﻛﺖ‬ ‫ﻓﻴﻠﻤﺴﺎﺯ ﺟﻬﺎﻧﻲ‬ ‫ﺍﺯ ﺯﻧﺪﮔﻲ ﺑﻪ ﻣﺮگ‬ ‫ﺗﺪﻭﻳﻦ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‬ ‫ﻭﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬ﻋﺒﺎﺱﻛﻴﺎﺭﺳﺘﻤﻲ‪،‬‬ ‫ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒـﺮﺩﺍﺭﻱ‪ :‬ﻫﻤﺎﻳﻮﻥ‬ ‫ﭘﺎﻳـﻮﺭ‪ ،‬ﺻﺪﺍﺑـﺮﺩﺍﺭ‪ :‬ﺟﻬﺎﻧﮕﻴﺮ‬ ‫ﻣﻴﺮ ﺷـﻜﺎ ﺭ ﻱ ‪ ،‬ﺑﺮ ﻧﺎ ﻣﻪ ﺭ ﻳـﺰ‬ ‫ﻭ ﺩﺳـﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺣﺴـﻦ‬ ‫ﻳﻜﺘﺎﭘﻨـﺎﻩ‪ ،‬ﺻﺪﺍﮔـﺬﺍﺭﻱ ﻭ ﺗﺮﻛﻴﺐ ﺻـﺪﺍ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ‬ ‫ﺩﻟﭙـﺎﻙ‪ ،‬ﻣﻮﺳـﻴﻘﻲ ﭘﺎﻳﺎﻧـﻲ‪ :‬ﻟﻮﻳـﻲ ﺁﺭﻣﺴـﺘﺮﺍﻧﮓ‬ ‫)ﺍﻧﺘﺨﺎﺑﻲ(‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻫﻤﺎﻳﻮﻥ ﺍﺭﺷـﺎﺩﻱ‪ ،‬ﻋﺒﺪﺍﻟﺤﺴﻴﻦ ﺑﺎﻗﺮﻱ‪،‬‬ ‫ﺍﻓﺸـﻴﻦ ﺧﻮﺭﺷـﻴﺪﺑﺎﺧﺘﺮﻱ‪ ،‬ﺻﻔﺮﻋﻠـﻲ ﻣـﺮﺍﺩﻱ‪،‬‬ ‫ﻣﻴﺮﺣﺴﻴﻦ ﻧﻮﺭﻱ‬ ‫‪ 95‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 10 :‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪ ،1378‬ﻓﺮﻭﺵ‬ ‫ﺩﺭ ﺗﻬﺮﺍﻥ‪ 32/5 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻟﻲ ﺑﻪ ﻧﺎﻡ ﺑﺪﻳﻌﻲ ﺳﻮﺍﺭ ﺑﺮ ﺍﺗﻮﻣﺒﻴﻞ ﺧﻮﺩ ﺷﻬﺮ ﺭﺍ ﺯﻳﺮ‬ ‫ﭘﺎ ﻣﻲﮔﺬﺍﺭﺩ ﺗﺎ ﻛﺴــﻲ ﺭﺍ ﺑﺮﺍﻱ ﺧﺎﻙ ﺭﻳﺨﺘﻦ ﺭﻭﻱ ﮔﻮﺭ ﺧﻮﺩ‬ ‫ﭘﺲ ﺍﺯ ﺧﻮﺩﻛﺸــﻲ ﭘﻴﺪﺍ ﻛﻨﺪ‪ .‬ﻗﺮﺍﺭ ﺍﺳــﺖ ﺍﻭ ﺍﻣﺸﺐ ﭼﻨﺪﻳﻦ‬ ‫ﻗﺮﺹ ﺧﻮﺍﺏ ﺑﺨﻮﺭﺩ ﻭ ﺩﺭ ﭼﺎﻟﻪﺍﻱ ﻛﻪ ﻗﺒﻼ ﻛﻨﺪﻩ ﺩﺭﺍﺯ ﺑﻜﺸــﺪ‬ ‫ﻭ ﻓﺮﺩ ﺩﻳﮕﺮﻱ ﻛﻪ ﺣﺎﻻ ﺩﺭ ﭘﻲ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺍﻭﺳــﺖ‪ ،‬ﻓﺮﺩﺍ ﺻﺒﺢ‬ ‫ﺭﻭﻱ ﺟﻨﺎﺯﻩﺍﺵ ﺧﺎﻙ ﺑﺮﻳﺰﺩ‪ .‬ﺑﺪﻳﻌﻲ ﺍﺑﺘﺪﺍ ﻳﻚ ﺳﺮﺑﺎﺯ ﻭ ﺳﭙﺲ‬ ‫ﻳﻚ ﻃﻠﺒﻪ ﺍﻓﻐﺎﻧﻲ ﺭﺍ ﺳــﻮﺍﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺁﻧﻬﺎ ﺗﻤﺎﻳﻠﻲ ﺑﻪ ﺍﻧﺠﺎﻡ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﻧﺸــﺎﻥ ﻧﻤﻲﺩﻫﻨﺪ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﭘﻴﺮﻣﺮﺩﻱ ﺑﻪ ﻧﺎﻡ ﺑﺎﻗﺮﻱ‬ ‫ﻛﻪ ﺩﺭ ﻣﻮﺯﻩ ﺣﻴﺎﺕﻭﺣــﺶ ﻛﺎﺭ ﻣﻲﻛﻨﺪ ﻭ ﺧﻮﺩﺵ ﻫﻢ ﻳﻜﺒﺎﺭ‬ ‫ﺑﻪ ﻓﻜﺮ ﺧﻮﺩﻛﺸﻲ ﺍﻓﺘﺎﺩﻩ ﺍﺳــﺖ ﻭ ﺑﺎ ﺧﻮﺭﺩﻥ ﺗﻮﺕ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ‬ ‫ﭘﺸﻴﻤﺎﻥ ﺷــﺪﻩ‪ ،‬ﻣﻲﭘﺬﻳﺮﺩ ﻛﻪ ﻃﺒﻖ ﻗﺮﺍﺭ ﻛﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ ﻭ‬ ‫ﺩﻭﻳﺴﺖﻫﺰﺍﺭ ﺗﻮﻣﺎﻥ ﺩﺳﺘﻤﺰﺩ ﻭﻋﺪﻩ ﺩﺍﺩﻩ ﺷﺪﻩ ﺭﺍ ﺑﺮﺩﺍﺭﺩ‪ .‬ﺑﺪﻳﻌﻲ‬ ‫ﺍﺯ ﺑﺎﻗﺮﻱ ﻣﻲﺧﻮﺍﻫﺪ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺭﻳﺨﺘﻦ ﺧﺎﻙ‪ ،‬ﭼﻨﺪ ﺳﻨﮕﺮﻳﺰﻩ ﺑﻪ‬ ‫ﺍﻭ ﺑﺰﻧﺪ ﻭ ﺗﻜﺎﻧﺶ ﺑﺪﻫﺪ ﺗﺎ ﺍﮔﺮ ﺧﻮﺍﺑﺶ ﺑﺮﺩﻩ ﺑﻮﺩ ﻭ ﻫﻨﻮﺯ ﺯﻧﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﺯﻧﺪﻩ ﺑﻪﮔﻮﺭ ﻧﺸــﻮﺩ‪ .‬ﺑﺎﻗﺮﻱ ﻣﻲﭘﺬﻳﺮﺩ ﻭ ﺑﺎ ﺍﻳﻦ ﺍﻣﻴﺪ ﻛﻪ ﺑﺪﻳﻌﻲ‬ ‫ﺭﺍ ﻓﺮﺩﺍ ﺯﻧﺪﻩ ﺑﺒﻴﻨﺪ‪ ،‬ﺍﺯ ﺍﻭ ﺟﺪﺍ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺪﻳﻌﻲ ﺑﻪﺧﺎﻧﻪ ﻣﻲﺭﻭﺩ‬ ‫ﻭ ﺧﻮﺩ ﺭﺍ ﺁﻣﺎﺩﻩ ﻣﻲ ﻛﻨﺪ ﻭ ﺑﺎ ﺗﺎﻛﺴﻲ ﺑﻪ ﻣﺤﻠﻲ ﻛﻪ ﭼﺎﻟﻪ ﻛﻨﺪﻩ‬ ‫ﺷــﺪﻩ ﻣﻲﺭﻭﺩ‪ .‬ﺩﺭﺍﺯ ﻣﻲﻛﺸــﺪ ﻭ ﻣﻨﺘﻈﺮ ﻣــﺮگ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺩﺭ‬ ‫ﺁﺧﺮ ﻓﻴﻠﻢ ﮔﺮﻭﻩ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻭ ﺩﺳﺘﻪﺍﻱ ﺳﺮﺑﺎﺯ ﺭﺍ ﺩﺭ ﺍﻃﺮﺍﻑ‬ ‫ﭼﺎﻟﻪﺍﻱ ﻛﻪ ﺑﺪﻳﻌﻲ ﻛﻨﺪﻩ ﺑﻮﺩ ﻣﻲﺑﻴﻨﻴﻢ؛ ﺑﻪ ﺩﺳﺘﻮﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﻓﻴﻠﻢ‪ ،‬ﻛﺎﺭ ﻣﺘﻮﻗﻒ ﻭ ﺑﻪ ﻫﻤﻪ ﺍﺳــﺘﺮﺍﺣﺖ ﺩﺍﺩﻩ ﻣﻲﺷــﻮﺩ‪ ،‬ﺩﺭ‬ ‫ﺣﺎﻟﻲﻛﻪ ﺣﺎﻻ ﻫﻤﻪ ﺟﺎ ﺳﺮﺳﺒﺰ ﻭ ﭘﺮﮔﻞ ﺍﺳﺖ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻧﺎﻣﺪﺍﺭﺗﺮﻳﻦ ﺳــﻴﻨﻤﺎﮔﺮ ﺍﻳﺮﺍﻧﻲ ﺩﺭ ﻋﺮﺻﻪ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‪ ،‬ﻧﻴﻤﻪ ﺩﻫﻪ‬ ‫‪ 70‬ﭼﻨﺪ ﻣﺎﻩ ﻣﺎﻧﺪﻩ ﺑﻪ ﺭﻭﻳﺪﺍﺩ ﺳﺮﻧﻮﺷﺖﺳــﺎﺯ ﺍﻳــﻦ ﻣﻘﻄﻊ‪ ،‬ﺑﺎ ﺗﻐﻴﻴﺮ‬ ‫ﻣﺴﻴﺮﻱ ﺁﺷﻜﺎﺭ ﺩﺭ ﺭﻭﻧﺪ ﻣﻀﻤﻮﻧﻲ ﻭ ﺳﺎﺧﺘﺎﺭﻱ ﻓﻴﻠﻢﻫﺎﻳﺶ ﻣﻬﻢﺗﺮﻳﻦ‬ ‫ﻓﻴﻠﻢ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ ﺭﺍ ﺑﺎ ﻣﻀﻤﻮﻧﻲ ﺑﻪ ﻏﺎﻳﺖ ﭼﺎﻟﺶ ﺑﺮﺍﻧﮕﻴﺰ ﻭ ﺣﺴــﺎﺱ‬ ‫ﺳﺎﺧﺖ‪» .‬ﻃﻌﻢ ﮔﻴﻼﺱ« ﻓﻴﻠﻤﻲ ﺩﺭﺑﺎﺭﻩ ﻣﺮگ ﺑﻮﺩ ﺍﺯ ﻓﻴﻠﻤﺴﺎﺯﻱ ﻛﻪ ﺗﺎ‬ ‫ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻫﻤﻮﺍﺭﻩ ﺍﺯ ﺯﻧﺪﮔﻲ ﻣﻲﮔﻔﺖ‪ .‬ﻗﻬﺮﻣﺎﻥ ﻋﺒﺎﺱ ﻛﻴﺎﺭﺳﺘﻤﻲ‬ ‫ﺍﻳﻦ ﺑﺎﺭ ﺑﻪﺩﻧﺒﺎﻝ ﻛﺴﻲ ﺑﻮﺩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻣﺮﮔﺶ ﺑﺮ ﺟﻨﺎﺯﻩﺍﺵ ﺧﺎﻙ ﺑﺮﻳﺰﺩ‪.‬‬ ‫ﭼﻨﻴﻦ ﻣﻀﻤﻮﻧﻲ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﻫﻢ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﻭ ﻫﻢ ﺩﺭ ﺗﺎﺭﻳﺦ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻲﺳﺎﺑﻘﻪ ﺑﻮﺩ‪ .‬ﻛﻴﺎﺭﺳﺘﻤﻲ ﻛﻪ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻠﻲﺍﺵ‬ ‫ﻛﻪ ﻫﻤﮕﻲ ﺩﺭ ﺳﺘﺎﻳﺶ ﺳﺎﺩﮔﻲ ﻭ ﻟﻄﺎﻓﺖ ﻭ ﺷﻮﺭ ﺯﻧﺪﮔﻲ ﺑﻮﺩﻧﺪ‪ ،‬ﺟﻬﺎﻥ‬ ‫ﺭﺍ ﺩﻭﺭﻩ ﻛﺮﺩﻩ ﺑﻮﺩ ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﺗﻠﺦﺗﺮﻳﻦ ﻓﻴﻠﻤﺶ ﻣﻬﻢﺗﺮﻳﻦ ﺟﺎﻳﺰﻩ ﻭ ﺍﻓﺘﺨﺎﺭ‬ ‫ﺟﻬﺎﻧﻲ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻭ ﺧﻮﺩﺵ ﺭﺍ ﻛﺴﺐ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺷﺎﻳﺪ ﺗﻮﺻﻴﻒ‬ ‫ﮔﻮﻳﺎﻳﻲ ﺑﻮﺩ ﺍﺯ ﺷﺮﺍﻳﻂ ﻋﻤﻮﻣﻲ ﺯﻣﺎﻥ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ‪ ،‬ﺷﺮﺍﻳﻄﻲ ﻛﻪ ﺑﺮ‬ ‫ﻧﻤﺎﻳﺶﻓﻴﻠﻢﻫﻢﺳﺎﻳﻪﺍﻧﺪﺍﺧﺖﻭﭘﻴﺮﺍﻣﻮﻧﺶﺭﺍﮔﺮﻓﺖ‪.‬ﺁﻗﺎﻱﺑﺪﻳﻌﻲﻓﻴﻠﻢ‬ ‫ﻛﻴﺎﺭﺳﺘﻤﻲﺁﺷﻜﺎﺭﺍﻧﺴﻞﻣﻴﺎﻧﺴﺎﻝﺁﮔﺎﻩﻭﺗﺤﺼﻴﻠﻜﺮﺩﻩﺍﻱﺭﺍﻧﻤﺎﻳﻨﺪﮔﻲ‬ ‫ﻣﻲﻛﺮﺩ ﻛﻪ ﺩﻏﺪﻏﻪﻫﺎﻱ ﺭﻭﺷﻨﻔﻜﺮﺍﻧﻪﺍﺵ ﺍﺯ ﭘﺲ ﺳﺌﻮﺍﻻﺗﻲ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﺍﺯ ﺁﺩﻡﻫﺎﻱ ﻋﺎﻣﻲ ﻣﻲﭘﺮﺳﻴﺪ‪ ،‬ﻣﺸﺨﺺ ﺑﻮﺩ‪ .‬ﺍﻭ ﺭﻭﺷﻨﻔﻜﺮ ﺑﻪ ﺧﻮﺩﻛﺸﻲ‬ ‫ﺭﺳــﻴﺪﻩﺍﻱ ﺑﻮﺩ ﻛﻪ ﺩﻟﻴﻞ ﺗﺼﻤﻴﻤﺶ ﺭﺍ ﺑﻴﺎﻥ ﻧﻤﻲﻛــﺮﺩ ﻭ ﺭﺍﻩ ﺭﺍ ﺑﺮ ﻫﺮ‬ ‫ﺗﻔﺴﻴﺮﻱ ﺍﺯ ﺍﻳﻦ ﺗﺼﻤﻴﻢ ﺑﺎﺯ ﻣﻲﮔﺬﺍﺷﺖ‪ .‬ﻫﻤﻴﻦ ﺑﺮﺩﺍﺷﺖ ﻭ ﺗﻔﺴﻴﺮﻫﺎ‬ ‫ﺯﻣﻴﻨﻪ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺟﺎﻣﻌﻪ ﻓﺮﻫﻨﮕﻲ ﻭ ﺣﺘﻲ ﺳﻴﺎﺳﻲ ﺍﻳﺮﺍﻥ‬ ‫ﻓﺮﺍﻫﻢ ﻛﺮﺩ‪ .‬ﻃﻌﻢ ﮔﻴﻼﺱ ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﺧﻮﺩ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﻫﻢ ﮔﻔﺖ‬ ‫»ﺗﺤﻤﻴﻞﺩﻭﺭﻩﺧﻮﺩﺵﺍﺳﺖ«‪.‬ﻛﻴﺎﺭﺳﺘﻤﻲﻣﻬﻢﺗﺮﻳﻦﺍﻓﺘﺨﺎﺭﺳﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﺭﺍ ﭼﻨﺪ ﺭﻭﺯ ﻗﺒﻞ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﺗﺤﻮﻝ ﺳﻴﺎﺳــﻲ ﺩﻫﻪ ﺩﻭﻡ ﺍﻧﻘﻼﺏ‬ ‫ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ‪ .‬ﺷﺎﻳﺪ ﺍﻭ ﻫﻢ ﻣﺎﻧﻨﺪ ﻗﻬﺮﻣﺎﻧﺶ ﺷﻮﺭ ﺯﻧﺪﮔﻲ ﺭﺍ ﺩﺭ ﺁﺧﺮﻳﻦ‬ ‫ﻟﺤﻈﺎﺕ ﺩﺭ ﮔﺬﺭ ﺍﺯ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺍﻓﺮﺍﺩ ﻋﺎﻣﻲ ﻛﻪ ﻋﻤﻴﻖﺗﺮﻳﻦ ﺣﺮﻑﻫﺎ ﺭﺍ ﺍﺯ‬ ‫ﭘﺲ ﺟﻤﻼﺕ ﻋﺎﻣﻴﺎﻧﻪﺷﺎﻥ ﻣﻲﺯﺩﻧﺪ ﭘﻴﺪﺍ ﻣﻲﻛﺮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺑﻌــﺪ ﺍﺯ ﻣﻮﻓﻘﻴــﺖ ﺩﺍﺧﻠــﻲ ﻭ ﺧﺎﺭﺟــﻲ‬ ‫»ﺯﻳﺮ ﺩﺭﺧﺘﺎﻥ ﺯﻳﺘﻮﻥ«‪ ،‬ﺿﻤﻦ ﺍﺩﺍﻣﻪ ﺣﻀﻮﺭﻫﺎﻱ ﺟﻬﺎﻧﻲﺍﺵ ﺯﻣﻴﻨﻪ‬ ‫ﺍﺟﺮﺍﻳﻲ ﭼﻨﺪ ﻃﺮﺡ ﺩﺭ ﺫﻫﻨﺶ ﺭﺍ ﺑﺮﺭﺳــﻲ ﻣﻲﻛﺮﺩ‪ .‬ﺍﻭ ﻛﻪ ﺩﻳﮕﺮ ﺧﻮﺩ‬ ‫ﺭﺍ ﻣﻘﻴــﺪ ﺑﻪ ﺣﻀﻮﺭ ﺩﺭ ﭼﺎﺭﭼﻮﺏﻫﺎﻱ ﺳــﻴﻨﻤﺎﻱ ﺍﻳــﺮﺍﻥ ﻧﻤﻲﺩﻳﺪ‪،‬‬ ‫ﺯﻣﻴﻨﻪﻫﺎﻱ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻤﻲ ﻛﻪ ﻣﻀﻤﻮﻥ ﺧﻮﺩﻛﺸــﻲ ﻣﺤﻮﺭ ﺍﺻﻠﻲﺍﺵ‬ ‫ﺑﻮﺩ ﺭﺍ ﺍﻧﺪﻙﺍﻧﺪﻙ ﻓﺮﺍﻫﻢ ﻣﻲﻛﺮﺩ‪ .‬ﻃﺮﺡ ﺍﺑﺘﺪﺍ »ﺳــﻔﺮ ﺑﻪ ﺻﺒﺢ« ﻧﺎﻡ‬ ‫ﺩﺍﺷﺖ ﻭ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﻪ ﺷﻴﻮﻩ ﻣﺎﻟﻮﻓﺶ ﻭﻗﺖ ﺯﻳﺎﺩﻱ ﺭﺍ ﺻﺮﻑ ﺍﻧﺘﺨﺎﺏ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻧﺶ ﺑﻪﻭﻳﮋﻩ ﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲﺍﺵ ﻛﺮﺩ‪ .‬ﺍﻭ ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺧﻮﺩﺵ ﮔﻔﺖ‬ ‫»ﻳﻚ ﺳﺎﻝ ﻫﻤﻪ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﺍﻳﻨﻜﻪ ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﺪﻳﻌﻲ ﺑﺎﺷﻨﺪ ﻳﺎ ﻧﻪ‪،‬‬ ‫ﻧﮕﺎﻩ ﻣﻲﻛﺮﺩ« ﺗﺎ ﺍﻳﻨﻜﻪ ﻫﻤﺎﻳﻮﻥ ﺍﺭﺷﺎﺩﻱ ﺭﺍ ﭘﺸﺖ ﭼﺮﺍﻍ ﻗﺮﻣﺰ ﭘﻴﺪﺍ ﻛﺮﺩ‬ ‫ﻭ ﻣﺎﺑﻘﻲ ﺭﺍ ﻫﻢ ﺑﻪ ﺷﻴﻮﻩ ﻣﻌﻤﻮﻟﺶ ﺩﺭ ﻣﺤﻞﻫﺎﻱ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﺑﺮﮔﺰﻳﺪ‪.‬‬ ‫ﻛﻴﺎﺭﺳﺘﻤﻲ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﭘﺎﻳﻴﺰ ‪ 74‬ﺩﺭ ﺍﻃﺮﺍﻑ ﺗﻬﺮﺍﻥ ﺑﺪﻭﻥ ﺩﺍﺷﺘﻦ‬ ‫ﻓﻴﻠﻤﻨﺎﻣــﻪ ﻛﺎﻣﻞ ﺑﺮ ﻣﺒﻨﺎﻱ ﻃﺮﺡ ﺫﻫﻨــﻲﺍﺵ ﺁﻏﺎﺯ ﻛﺮﺩ ﺩﺭ ﺣﺎﻟﻲﻛﻪ‬ ‫ﻣﺠﻮﺯﻫﺎﻱ ﻣﻌﻤﻮﻝ ﺭﺍ ﺑﺮﺍﻱ ﺷــﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺍﺧﺬ ﻧﻜﺮﺩﻩ ﻭ ﺻﺮﻓﺎ‬ ‫ﺷﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﺑﻪ ﺍﻃﻼﻉ ﻣﺴﺌﻮﻻﻥ ﺭﺳﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﮔﺮﻭﻩ ﺗﻮﻟﻴﺪ‬ ‫ﻃﻌﻢ ﮔﻴﻼﺱ ﻛﻮﭼﻚﺗﺮﻳﻦ ﮔﺮﻭﻫﻲ ﺑﻮﺩ ﻛﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ‬ ‫ﻳﻚ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎ ﺁﻧﻬﺎ ﻣﻲﺳﺎﺧﺖ‪ .‬ﻛﺎﺭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻓﻴﻠﻢ ﺍﻭﺍﺧﺮ ﭘﺎﻳﻴﺰ ﺑﻪ‬ ‫ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﻫﻤﭽﻨﺎﻥ ﺩﺭﺑﺎﺭﻩ ﭘﺎﻳﺎﻥ ﻓﻴﻠﻢ‬ ‫ﺑﻪ ﺟﻤﻊ ﺑﻨﺪﻱ ﻧﺮﺳﻴﺪﻩ ﻭ ﺁﻧﭽﻪ ﻣﻄﻠﻮﺏ ﻧﻈﺮﺵ ﺑﻮﺩ ﺑﻪﺩﺳﺖ ﻧﻴﺎﻣﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺻﺤﺒﺖ ﺩﺭﺑﺎﺭﻩ ﺯﻣــﺎﻥ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻏﻴﺮﻣﻤﻜﻦ‬ ‫ﺑﻮﺩ‪ .‬ﻧﻪ ﻣﺴﺌﻮﻻﻥ ﻭ ﻧﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺍﻟﺒﺘﻪ ﻋﻼﻗﻪﺍﻱ ﺑﻪ ﻧﻤﺎﻳﺶ ﻧﺨﺴﺖ‬ ‫ﻓﻴﻠﻢ ﺩﺭ ﺍﻳﺮﺍﻥ ﻧﺸــﺎﻥ ﻧﻤﻲﺩﺍﺩﻧﺪ‪ .‬ﺍﻭﺍﺧﺮ ﺳﺎﻝ ‪ 75‬ﻃﻌﻢ ﮔﻴﻼﺱ ﻳﻚ‬ ‫ﺳــﺎﻝ ﺍﺯ ﺗﻮﻟﻴﺪﺵ ﻣﻲﮔﺬﺷــﺖ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﻛﻴﺎﺭﺳﺘﻤﻲ‬ ‫ﻃﺮﺡﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺩﺭﺑﺎﺭﻩ ﭘﺎﻳﺎﻧﺶ ﺭﺍ ﺩﺭ ﺫﻫﻦ ﺍﺭﺯﻳﺎﺑﻲ ﻣﻲﻛﺮﺩ‪ .‬ﻧﻬﺎﻳﺘﺎ‬ ‫ﺩﺭ ﻓﺮﻭﺭﺩﻳﻦ ‪ 76‬ﺍﻳﺪﻩ ﺟﺎﻟﺒﻲ ﺑﻪ ﺫﻫﻨﺶ ﺭﺳﻴﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻛﻦ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍﻱ ﺷــﺮﻭﻉ ﻣﺮﺍﺣﻞ ﺳــﺎﺧﺖ‬ ‫ﻃﻌﻢ ﮔﻴﻼﺱ ﭘﻴﮕﻴﺮ ﺁﻣﺎﺩﻩﺳــﺎﺯﻱﺍﺵ ﺑﻮﺩ‪ .‬ﻧﺴﺨﻪ ﺍﻭﻟﻴﻪ ﻓﻴﻠﻢ ﺑﻪ ﻧﻈﺮ‬ ‫ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻛﻦ ﺭﺳﻴﺪﻩ ﺑﻮﺩ ﻭ ﺁﻧﻬﺎ ﻫﻢ ﺑﺎ ﭘﺬﻳﺮﺵ ﻓﻴﻠﻢ ﺧﻮﺍﺳﺘﺎﺭ ﺍﺭﺳﺎﻝ‬ ‫ﻧﺴﺨﻪ ﻛﺎﻣﻞ ﺁﻥ ﺑﺮﺍﻱ ﺣﻀﻮﺭ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻮﺩﻧﺪ ﺍﻣﺎ ﻣﻮﺍﻧﻊ ﺩﺭ ﺭﺍﻩ ﺗﺤﻘﻖ‬ ‫ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻛﻢ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺍﺑﺘﺪﺍ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺑﺎ ﺗﺎﺧﻴﺮ ﺑﻪ ﺟﻤﻊﺑﻨﺪﻱ‬ ‫ﻧﻬﺎﻳﻲﺍﺵ ﺑﺮﺍﻱ ﭘﺎﻳﺎﻥ ﻓﻴﻠﻢ ﻣﻲﺭﺳــﺪ ﻭ ﺑﻌﺪ ﻧﻮﺑﺖ ﻣﺴــﺌﻮﻻﻧﻲ ﺍﺳﺖ‬ ‫ﻛﻪ ﻫﻢ ﺑﺎ ﻧﺤﻮﻩ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﻓﻴﻠﻢ ﻭ ﻫﻢ ﺑﺎ ﻣﻀﻤﻮﻧﺶ ﻣﺸﻜﻞ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺩﻭﻡ ﺍﺭﺩﻳﺒﻬﺸﺖ ‪ 76‬ﻧﺎﻡ ﻃﻌﻢ ﮔﻴﻼﺱ ﺩﺭ ﻛﻨﻔﺮﺍﻧﺲ ﻣﻄﺒﻮﻋﺎﺗﻲ ﻫﻴﺎﺕ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺩﻭﺭﻩ ﭘﻨﺠﺎﻫﻢ ﺟﺸــﻨﻮﺍﺭﻩ ﻛﻦ ﺍﻋﻼﻡ ﻧﻤﻲﺷﻮﺩ ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ‬ ‫ژﻳﻞ ژﺍﻛﻮﺏ ﺭﺋﻴﺲ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﺎﺯ ﻫﻢ ﺭﺍﻩ ﺭﺍ ﺑﺮﺍﻱ ﻓﻴﻠﻢ ﺑﺎﺯ ﻣﻲﮔﺬﺍﺭﺩ‪:‬‬ ‫»ﻫﻨﻮﺯ ﻓﻴﻠﻢ ﺑﻪﺩﺳﺖ ﻣﺎ ﻧﺮﺳﻴﺪﻩ ﺍﺳــﺖ‪ .‬ﭼﻨﺎﻧﭽﻪ ﻣﻮﻓﻖ ﺑﻪ ﺩﺭﻳﺎﻓﺖ‬ ‫ﻛﭙﻲ ﺷﻮﻳﻢ‪ ،‬ﺟﺎﻳﻲ ﺑﺮﺍﻳﺶ ﻧﮕﻪ ﻣﻲﺩﺍﺭﻳﻢ‪ «.‬ﻫﻤﻴﻦ ﺍﻇﻬﺎﺭﻧﻈﺮ ﺳﺮﺁﻏﺎﺯ‬ ‫ﺍﻧﺒﻮﻩ ﺗﻔﺴــﻴﺮﻫﺎ ﻭ ﮔﺰﺍﺭﺵﻫﺎ ﺩﺭﺑﺎﺭﻩ ﻣﺨﺎﻟﻔﺖ ﻣﺴــﺌﻮﻻﻥ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻃﻌــﻢ ﮔﻴﻼﺱ ﺭ ﺍ ﺍﻣﺮﻭﺯ ﺑﻪﻋﻨﻮﺍﻥ ﻧﻘﻄﻪ ﺷــﺮﻭﻉ ﻧﻮﻉ ﺩﻳﮕﺮ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﺍﻟﻤﺎﻥﻫﺎ ﻭ ﺟﺰﺋﻴﺎﺕ ﻣﻌﻤﻮﻝ ﻳﻚ ﻓﻴﻠﻢ ﺣﺬﻑ ﻣﻲﺷــﻮﺩ‪ ،‬ﺑﻪ ﻳﺎﺩ ﻣﻲﺁﻭﺭﻳﻢ‪.‬ﻓﻴﻠﻤﻲ‬ ‫ﻛﻪ ﺩﻏﺪﻏﻪ ﺩﺍﻧﺴــﺘﻦ ﺩﻟﻴﻞ ﺍﻗــﺪﺍﻡ ﻗﻬﺮﻣﺎﻧﺶ ﻟﺤﻈﻪ ﺑﻪ ﻟﺤﻈﻪ ﺑﻴﻨﻨــﺪﻩ ﺭﺍ ﺭﻫﺎ ﻧﻤﻲﻛﻨﺪ ﻭ ﻫﺮﻛﺲ‬ ‫ﺑﺎﻭﺟﻮﺩ ﺳــﺨﺘﻲ ﺑﻲﭘﺎﻳﺎﻥ ﺗﺤﻤﻞ ﻧﻮﻉ ﺭﻭﺍﻳﺖ ﻓﻴﻠﻢ ﺗﺎ ﭘﺎﻳﺎﻥ ﺗﻤﺎﺷــﺎﮔﺮ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ ﻭ ﻫﻤﺮﺍﻫﺶ‬ ‫ﻣﻲﺷــﻮﺩ‪ .‬ﻧﺒﻮﻍ ﻭ ﺍﺑﺘﻜﺎﺭ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺩﺭ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﻧﻤﻮﺩ ﺩﺭﺧﺸــﺎﻧﻲ ﭘﻴــﺪﺍ ﻣﻲﻛﻨﺪ‪ .‬ﻃﻌﻢ‬ ‫ﺑﺎ ﺣﻀﻮﺭ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻦ ﻣﻲﺷــﻮﺩ‪ .‬ﺭﻭﺯﻫﺎ ﻣﻲﮔﺬﺭﺩ ﻭ ﺍﺗﻔﺎﻕ‬ ‫ﺟﺪﻳﺪﻱ ﻧﻤﻲﺍﻓﺘﺪ‪ .‬ﻣﺪﻳﺮﺍﻥ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻦ ﺍﺯ ﻭﺯﺍﺭﺕ ﺧﺎﺭﺟﻪ ﻓﺮﺍﻧﺴﻪ‬ ‫ﺩﺭﺧﻮﺍﺳﺖ ﻛﻤﻚ ﻣﻲﻛﻨﻨﺪ ﻭ ﺍﻳﻦ ﻭﺯﺍﺭﺗﺨﺎﻧﻪ ﻫﻢ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﻭﺯﺍﺭﺕ‬ ‫ﺧﺎﺭﺟﻪ ﺍﻳﺮﺍﻥ ﻣﻨﺘﻘﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺣﻀﻮﺭ ﻃﻌﻢ ﮔﻴﻼﺱ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﻛﻦ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻮﺿﻮﻋﻲ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﻣﻲﺷــﻮﺩ‪ .‬ﺭﺍﻳﺰﻧﻲﻫﺎ ﺳﺮﺍﻧﺠﺎﻡ‬ ‫ﺑﺎ ﺩﺧﺎﻟﺖ ﻣﻘﺎﻣﺎﺕ ﻣﻬــﻢ ﺑﻪ ﻧﺘﻴﺠﻪ ﻣﻲﺭﺳــﺪ ﻭ ﻛﭙﻲ ﻃﻌﻢ ﮔﻴﻼﺱ‬ ‫‪ 16‬ﺍﺭﺩﻳﺒﻬﺸﺖ ﻳﻚ ﺭﻭﺯ ﻗﺒﻞ ﺍﺯ ﺁﻏﺎﺯ ﺭﺳﻤﻲ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻦ ﺩﺭﺣﺎﻟﻲ‬ ‫ﻛﻪ ﻧﺎﻣــﺶ ﻫﻢ ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎ ﻗﺮﺍﺭ ﻧﺪﺍﺭﺩ ﺑﻪ ﻓﺮﻭﺩﮔﺎﻩ ﺍﺭﻟﻲ‬ ‫ﭘﺎﺭﻳﺲ ﻣﻲﺭﺳــﺪ‪ .‬ﻛﻦ ﭘﻨﺠﺎﻫﻢ ﺳﺮﺍﻧﺠﺎﻡ ﻧﺨﺴــﺘﻴﻦ ﻣﻴﺰﺑﺎﻥ ﻃﻌﻢ‬ ‫ﮔﻴﻼﺱ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﺭﻭﺯ ﭘﺎﻳﺎﻧﻲ ‪ 28‬ﺍﺭﺩﻳﺒﻬﺸﺖ ﻫﻢ ﻣﻬﻢﺗﺮﻳﻦ ﺟﺎﻳﺰﻩ‬ ‫ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﻪﻃﻮﺭ ﻣﺸﺘﺮﻙ ﺑﺎ ﻳﻚ ﻓﻴﻠﻢ ژﺍﭘﻨﻲ ﺑﻪﺩﺳﺖ‬ ‫ﻣﻲﺁﻭﺭﺩ‪ .‬ﺍﻣﺎ ﻧﺤﻮﻩ ﺍﻫﺪﺍﻱ ﺟﺎﻳﺰﻩ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺗﻮﺳﻂ ﻛﺎﺗﺮﻳﻦ ﺩﻧﻮﻭ‬ ‫ﻭ ﺑﺮﻭﺯ ﻳﻚ ﺍﺗﻔﺎﻕ ﺯﻣﻴﻨﻪ ﺭﺍﻩﺍﻧﺪﺍﺯﻱ ﺑﺤﺚ ﺩﻭﺑﺎﺭﻩ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺣﺘﻲ ﺭﺳــﺎﻧﻪﻫﺎﻱ ﺩﺍﺧﻠﻲ ﺭﺍ ﻣﺠﺒــﻮﺭ ﺑﻪ ﻭﺍﻛﻨﺶ ﺍﺣﺘﻴﺎﻁ‬ ‫ﺁﻣﻴــﺰ ﺩﺭﺑﺎﺭﻩ ﺍﻧﻌﻜﺎﺱ ﺧﺒﺮ ﺍﻫﺪﺍﻱ ﺟﺎﻳﺰﻩ ﺑﻪ ﻓﻴﻠﻢ ﻣﻲﻛﻨﺪ ﻭ ﺟﺰ ﭼﻨﺪ‬ ‫ﺭﻭﺯﻧﺎﻣﻪ ﻣﺎﻧﻨﺪ ﺳــﻼﻡ ﻭ ﺍﺧﺒﺎﺭ ﻭ ﻫﻔﺘﻪﻧﺎﻣﻪ ﺳﻴﻨﻤﺎ ﺩﺭﺑﺎﺭﻩ ﺟﺎﻳﺰﻩ ﻣﻬﻢ‬ ‫ﻛﻴﺎﺭﺳﺘﻤﻲ ﺍﻃﻼﻉ ﺭﺳــﺎﻧﻲ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺑﻌﻀﻲ ﺭﺳﺎﻧﻪﻫﺎﻱ‬ ‫ﺭﺳﻤﻲ ﺑﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺣﻤﻠﻪ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﺪﻭﻥ ﺍﺳﺘﻘﺒﺎﻟﻲ‬ ‫ﺭﺳــﻤﻲ ﺑﻪ ﺗﻬﺮﺍﻥ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻓﻀﺎﻱ ﻛﺸــﻮﺭ ﺩﺭ ﺗﺐ ﻭ‬ ‫ﺗﺎﺏ ﺑﺮﮔﺰﺍﺭﻱ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺍﺳــﺖ‪ .‬ﻧﺘﻴﺠﻪ ﺑﻪﺩﺳﺖ ﺁﻣﺪﻩ ﺍﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺍﻣﺎ‬ ‫ﺯﻣﻴﻨﻪ ﺳﺎﺯ ﺗﻮﺟﻪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻓﻴﻠﻢ ﻭ ﺟﺎﻳﺰﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺣﻤﻠﻪﻛﻨﻨﺪﮔﺎﻥ ﺍﺯ‬ ‫ﻣﻮﺿﻊﻗﺒﻠﻲﺷﺎﻥﻋﻘﺐﺗﺮﻣﻲﺭﻭﻧﺪﻭﺧﺎﻧﻪﺳﻴﻨﻤﺎﻧﻴﺰﺩﺭﺍﻗﺪﺍﻣﻲﻧﻤﺎﺩﻳﻦ‬ ‫ﺩﺭ ﻧﺨﺴــﺘﻴﻦ ﺩﻭﺭﻩ ﺟﺸﻦ ﺧﺎﻧﻪ ﺳﻴﻨﻤﺎ ﻛﻪ ﺩﺭ ﺣﻀﻮﺭ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ‬ ‫ﻭﻗﺖ )ﺍﻛﺒﺮ ﻫﺎﺷﻤﻲ ﺭﻓﺴﻨﺠﺎﻧﻲ( ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷﻮﺩ‪ ،‬ﺗﻘﺪﻳﺮ ﻭﻳﮋﻩﺍﻱ ﺍﺯ‬ ‫ﻛﻴﺎﺭﺳــﺘﻤﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺩﻭﻡ ﺧــﺮﺩﺍﺩ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﭘﻴﺶ ﺑﻴﻨﻲ‬ ‫ﻣﻲﺷﻮﺩﻃﻌﻢﮔﻴﻼﺱﺑﻪﺯﻭﺩﻱﺭﻧﮓﭘﺮﺩﻩﺳﻴﻨﻤﺎﻫﺎﺭﺍﺑﺒﻴﻨﺪ‪،‬ﺍﻳﻦﺍﺗﻔﺎﻕ‬ ‫ﻧﻤﻲﺍﻓﺘﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻧﻤﺎﻳﺶﻫﺎﻱ ﺧﺎﺭﺟﻲﺍﺵ ﺑﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﻓﺮﺍﻭﺍﻥ‬ ‫ﻣﺨﺎﻃﺒﺎﻥ ﻭ ﻣﻨﺘﻘﺪﺍﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪ .‬ﺍﺯ ﮔﺬﺭ ﻫﻤﻴﻦ ﺣﻀﻮﺭﻫﺎ ﻳﻚ ﻧﺴﺨﻪ‬ ‫ﻭﻳﺪﻳﻮﻳﻲ ﺍﺯ ﻓﻴﻠﻢ ﺭﺍﻫﻲ ﺑﺎﺯﺍﺭ ﻗﺎﭼﺎﻕ ﻣﻲﺷﻮﺩ ﻭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﺁﻥ ﺭﺍ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﻣﻲﺑﻴﻨﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻭ ﮔﺬﺷــﺖ ﺑﻴﺶ‬ ‫ﺍﺯ ﻳﻚ ﺳﺎﻝ ﻭ ﻧﻴﻢ ﺍﺯ ﺁﻣﺎﺩﻩ ﺷﺪﻥ ﻓﻴﻠﻢ ﺯﻣﻴﻨﻪ ﺑﺮﻭﺯ ﺑﺤﺚﻫﺎﻳﻲ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺍﺣﺘﻤﺎﻝ ﺗﻮﻗﻴﻒ ﻓﻴﻠﻢ ﻣﻲﺷﻮﺩ‪ .‬ﻋﺪﻩﺍﻱ ﻧﻴﺰ ﺍﻛﺮﺍﻥ ﻧﺸﺪﻥ ﻓﻴﻠﻢ ﺭﺍ ﻧﻮﻋﻲ‬ ‫ﻭﺍﻛﻨﺶ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﻪ ﺭﺍﻫﻴﺎﺑﻲ ﻧﺴــﺨﻪ ﻗﺎﭼﺎﻕ ﻓﻴﻠﻤﺶ ﻣﻲﺩﺍﻧﻨﺪ‪.‬‬ ‫ﭼﻨﺪ ﻣﺎﻩ ﺑﻌﺪ ﺩﺭ ﺍﺭﺩﻳﺒﻬﺸــﺖ ‪78‬ﻃﻌﻢ ﮔﻴــﻼﺱ ﺭﻧﮓ ﭘﺮﺩﻩ ﺭﺍ ﺩﺭ ﺩﻭ‬ ‫ﺳﻴﻨﻤﺎ ﻣﻲﺑﻴﻨﺪ ﻛﻪ ﻳﻚ ﺳﻴﻨﻤﺎ ﻫﻢ ﺧﻴﻠﻲ ﺯﻭﺩ ﺁﻥ ﺭﺍ ﺍﺯ ﭘﺮﺩﻩ ﺑﺮﻣﻲﺩﺍﺭﺩ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺍﺳــﺘﻘﺒﺎﻝ ﺍﺯ ﻓﻴﻠﻢ ﺑﻪ ﻧﺴــﺒﺖ ﺗﻌﺪﺍﺩ ﺳﻴﻨﻤﺎﻫﺎﻱ ﺍﻧﺪﻛﺶ‬ ‫ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳــﺖ‪ .‬ﻛﻴﺎﺭﺳــﺘﻤﻲ ﻧﻴﺰ ﺑﻌﺪ ﺍﺯ ﺣﻀــﻮﺭ ﻛﺎﻣﻞ ﺟﻬﺎﻧﻲ ﻭ‬ ‫ﺻﺤﺒﺖﻫﺎﻱ ﻓﺮﺍﻭﺍﻥ ﺳــﺮﺍﻧﺠﺎﻡ ﭘــﺎﻱ ﺻﺤﺒﺖ ﺭﺳــﺎﻧﻪﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ‬ ‫ﻣﻲﻧﺸــﻴﻨﺪ ﻭ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﻇﻬﺎﺭﻧﻈﺮ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﻓﻴﻠــﻢ ﺭﺍ ﻧﻪ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺧﻮﺩﻛﺸــﻲ ﺑﻠﻜﻪ ﺩﺭﺑﺎﺭﻩ ﺍﻣﻜﺎﻥ ﺧﻮﺩﻛﺸﻲ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ ﻭ ﺩﺭﺑﺎﺭﻩ‬ ‫ﭘﺎﻳﺎﻥ ﻓﻴﻠﻢ ﻛﻪ ﻋﺪﻩﺍﻱ ﺁﻥ ﺭﺍ ﺍﻟﺤﺎﻗﻲ ﻭ ﺑﺮﺍﻱ ﻓﺮﺍﻫﻢ ﻛﺮﺩﻥ ﺯﻣﻴﻨﻪ ﻧﻤﺎﻳﺶ‬ ‫ﻣﻲﺩﺍﻧﻨﺪ‪ ،‬ﻣﻲﮔﻮﻳﺪ‪» :‬ﻫﻤﻴﻦ ﻳﻚ ﭘﺎﻳﺎﻥ ﺭﺍ ﺩﺭ ﻧﻈﺮﺩﺍﺷــﺘﻢ‪ .‬ﻣﻨﺘﻬﺎ ﻧﻪ‬ ‫ﺑﺎ ﻭﻳﺪﻳﻮ ﻭ ﻧﻪ ﺍﺯ ﭘﺸﺖ ﺻﺤﻨﻪ‪ .‬ﺷﻨﻴﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﮔﻔﺘﻪﺍﻧﺪ ﺍﮔﺮ ﻓﻴﻠﻢ ﺍﻳﻦ‬ ‫ﭘﺎﻳﺎﻥ ﺧﻮﺵ ﺭﺍ ﻧﻤﻲﺩﺍﺷﺖ‪ ،‬ﺍﺟﺎﺯﻩ ﻧﻤﺎﻳﺶ ﻧﻤﻲﮔﺮﻓﺖ‪ .‬ﻳﻌﻨﻲ ﺗﺤﻤﻴﻞ‬ ‫ﻣﻤﻴﺰﻱ‪ .‬ﺍﺻﻼ ﺍﻳﻦ ﻃﻮﺭ ﻧﺒﻮﺩ‪ «.‬ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﻪﺷﻴﻮﻩ ﻣﻌﻤﻮﻟﺶ ﺿﻤﻦ‬ ‫ﺑﺎﺯ ﮔﺬﺍﺷﺘﻦ ﻫﻤﻪ ﺗﻌﺒﻴﺮﻫﺎ ﻭ ﺗﻠﻘﻲﻫﺎ ﺍﺯ ﻓﻴﻠﻢ ﺩﻳﺪﮔﺎﻩﻫﺎ ﺩﺭﺑﺎﺭﻩ ﻣﺮگ‬ ‫ﺍﻧﺪﻳﺶ ﺑﻮﺩﻥ ﻓﻴﻠﻢ ﺭﺍ ﺗﻘﺮﻳﺒﺎ ﺭﺩ ﻛﺮﺩ‪» :‬ﺳﺘﺎﻳﺶ ﺍﺯ ﺯﻧﺪﮔﻲ ﺩﺭ ﻣﺘﻦ ﻓﻴﻠﻢ‬ ‫ﻫﺴﺖ ﻭ ﺍﮔﺮ ﻧﺒﻮﺩﻩ ﻣﻦ ﺣﻖ ﻧﺪﺍﺷﺘﻢ ﺑﺎ ﺁﻥ ﺻﺤﻨﻪ ﺁﺧﺮ‪ ،‬ﺍﻳﻦ ﻣﻔﻬﻮﻡ ﺭﺍ‬ ‫ﺑﻪ ﺁﻥ ﻭﺻﻞ ﻛﻨﻢ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﻫﻤــﻪ ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﻗﺒﻠﺶ ﮔﻔﺘﻢ ﺑﻲﺍﻋﺘﺒﺎﺭ‬ ‫ﻛﻨــﻢ‪ .‬ﺣﺘﻲ ﺍﮔﺮ ﺍﻳﻦ ﺑﻬﺎﺭ ﺭﻭﻳﺎﻱ ﻣﺎ ﻫﻢ ﻫﺴــﺖ‪ ،‬ﺑــﺎﺯ ﺍﻳﻦ ﺭﻭﻳﺎ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ‪ «.‬ﺩﺭ ﻣﻴﺎﻧﻪ ﺍﻳﻦ ﺗﻮﺿﻴﺤﺎﺕ ﺭﻭﺷــﻨﮕﺮﺍﻧﻪ ﺑﻲ ﺳﺎﺑﻘﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ‬ ‫ﺍﻣﺎ ﺍﻧﺒﻮﻩ ﺑﺤﺚ ﻭ ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺑﻴﺸﺘﺮ ﺩﺭ ﻣﺤﺎﻓﻞ ﺳﻴﻨﻤﺎﻳﻲ ﻭ ﻛﻤﺘﺮ‬ ‫ﻣﺤﺎﻓﻞ ﺭﺳﺎﻧﻪﺍﻱ ﻋﻤﻮﻣﻲﺗﺮ ﻣﻄﺮﺡ ﺍﺳﺖ ﻭ ﻫﺮﻛﺴﻲ ﺍﺯ ﻇﻦ ﺧﻮﺩ ﻳﺎﺭ‬ ‫ﻓﻴﻠﻢ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﮔﻴﻼﺱ ﺭﺍ ﺣﺎﻻ ﺟﺪﺍ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻱ ﺑﻌﺪﻱ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﻣﺎﻧﻨﺪ ﺑﺎﺩ ﻣــﺎ ﺭﺍ ﺧﻮﺍﻫﺪ ﺑﺮﺩ ﻭ ﺩﻩ ﻧﻤﻲﺗﻮﺍﻥ‬ ‫ﺩﺍﻧﺴــﺖ‪ ،‬ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﺩﻳﮕﺮ ﺷﻴﺮﻳﻨﻲ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻞ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺭﺍ ﻧﺪﺍﺭﻧﺪ ﻭ ﻧﺸﺎﻥ ﺍﺯ ﻧﻮﻉ ﺩﻳﮕﺮ‬ ‫ﺍﻧﺪﻳﺸــﻪ ﻭ ﺗﻔﻜﺮ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺩﺍﺭﻧﺪ‪ ،‬ﺗﻔﻜﺮﻱ ﺗﻠﺦﺗﺮ ﺍﺯ ﮔﺬﺷــﺘﻪ ﻛﻪ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﭘﺮ ﺭﻧﮕﻲ‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﻛﻴﺎﺭﺳــﺘﻤﻲ ﺭﺍ ﺩﺭ ﻟﺤﻈﺎﺗﻲ ﺑﻪ ﻳﻚ ﻧﺎﻇــﺮ ﻭ ﺭﺍﻭﻱ ﻣﺼﺎﺋﺐ ﺍﺟﺘﻤﺎﻉ ﻧﺰﺩﻳﻚ ﻣﻲﻛﻨﺪ‪ .‬ﻃﻌﻢ‬ ‫ﮔﻴﻼﺱ ﺭﺍ ﺑﺎ ﭘﺎﺳــﺦﻫﺎﻱ ﺍﺑﻬﺎﻡ ﺑﺮﺍﻧﮕﻴﺰ ﺍﻣﺎ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﻛﻴﺎﺭﺳﺘﻤﻲ ﺑﻪ ﻫﻤﻪ ﺳﻮﺍﻻﺕ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‬ ‫ﺑﻪ ﻳﺎﺩ ﻣﻲﺁﻭﺭﻳﻢ‪.‬‬ ‫‪81‬‬ ‫‪20‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ )‪(1376‬‬ ‫ﻭﺍﻛﻨﺶ‬ ‫ﺑﻪ ﺩﻭﻡ ﺧﺮﺩﺍﺩ‬ ‫ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ‪ ،‬ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﻋﺰﻳﺰ ﺳـﺎﻋﺘﻲ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪ :‬ﻓﺮﻫﺎﺩ ﻣﺠﻴﺪ ﺍﻧﺘﻈﺎﻣﻲ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﻫﺎﻳﺪﻩ‬ ‫ﺻﻔﻲﻳـﺎﺭﻱ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﭘﺮﻭﻳﺰ ﺷـﻴﺦﻃﺎﺩﻱ‪ ،‬ﺑﺮﻧﺎﻣﻪ ﺭﻳﺰ‬ ‫ﻭ ﺩﺳـﺘﻴﺎﺭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺣﻤﻴﺪﺭﺿﺎ ﭼﺎﺭﻛﭽﻴﺎﻥ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﻣﻬﺪﻱ‬ ‫ﻛﺮﻳﻤﻲ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯﻱ‪ :‬ﻣﻬﺮﺩﺍﺩ ﻣﻴﺮﻛﻴﺎﻧﻲ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻣﺤﻤﻮﺩ‬ ‫ﺳﻤﺎﻙ ﺑﺎﺷـﻲ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭﻱ ﻭ ﻣﻴﻜﺲ‪ :‬ﻣﺤﺴﻦ ﺭﻭﺷﻦ‪ ،‬ﺑﺎﺯﻳﮕﺮﺩﺍﻥ‪:‬‬ ‫ﺭﺿﺎ ﻛﻴﺎﻧﻴﺎﻥ‪ ،‬ﻣﺠﺮﻱ ﻃﺮﺡ‪ :‬ﻣﻬﺪﻱ ﻛﺮﻳﻤﻲ‪ ،‬ﻣﺤﺮﻣﻌﻠﻲ ﻛﻠﻴﺞ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﭘﺮﻭﻳﺰ ﭘﺮﺳـﺘﻮﻳﻲ‪ ،‬ﺭﺿﺎ ﻛﻴﺎﻧﻴﺎﻥ‪ ،‬ﺣﺒﻴﺐ ﺭﺿﺎﻳﻲ‪ ،‬ﻗﺎﺳﻢ ﺯﺍﺭﻉ‪ ،‬ﺍﺻﻐﺮ ﻧﻘﻲﺯﺍﺩﻩ‪،‬‬ ‫ﺑﻲﺗﺎ ﺑﺎﺩﺭﺍﻥ‪ ،‬ﻣﺤﻤﺪ ﺣﺎﺗﻤﻲ‪ ،‬ﻋﺰﺕﺍﷲ ﻣﻬﺮﺁﻭﺭﺍﻥ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺷﺮﻛﺖ ﻭﺭﺍﻫﻨﺮ‪ ،‬ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ‪ 114 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﺍﻛﺮﺍﻥ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 17 :‬ﺗﻴﺮ ‪ ،1377‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 165 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ ‪:‬‬ ‫ﻋﺒﺎﺱ‪ ،‬ﺑﺴﻴﺠﻲ ﺷﻬﺮﺳــﺘﺎﻧﻲ ﻛﻪ ﺗﺮﻛﺶ ﺧﻤﭙﺎﺭﻩﺍﻱ ﺭﺍ ﻛﻨﺎﺭ ﺷﺎﻫﺮگ ﮔﺮﺩﻧﺶ ﺍﺯ ﺩﻭﺭﺍﻥ ﺣﻀﻮﺭﺵ ﺩﺭ‬ ‫ﺟﺒﻬﻪ ﺑﻪ ﻳﺎﺩﮔﺎﺭ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﺍﺻﺮﺍﺭ ﻫﻤﺴــﺮﺵ ﻧﺮﮔﺲ ﺑﺮﺍﻱ ﻣﻌﺎﻳﻨﻪ ﺑﻪ ﺗﻬﺮﺍﻥ ﻣﻲﺁﻳﺪ ﻭ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺑﺎ ﻫﻤﺮﺯﻡ‬ ‫ﺳﺎﺑﻘﺶ ﻛﺎﻇﻢ ﺭﻭﺑﻪ ﺭﻭ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺑﺎ ﺍﺗﻮﻣﺒﻴﻠﺶ ﻣﺸﻐﻮﻝ ﻣﺴﺎﻓﺮﻛﺸﻲ ﺍﺳﺖ‪ .‬ﭘﺰﺷﻚ ﻭﺿﻌﻴﺖ ﻋﺒﺎﺱ ﺭﺍ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻭﺍﻗﻌﻪ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺍﻳﺮﺍﻥ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﺍﻧﺘﺨﺎﺏ ﺭﺋﻴﺲﺟﻤﻬﻮﺭﻱ ﻛﻪ‬ ‫ﺩﻳﺪﮔﺎﻩﻫﺎ‪ ،‬ﺑﺮﻧﺎﻣﻪﻫﺎ ﻭ ﺟﺎﻳﮕﺎﻫﻲ ﺁﺷﻜﺎﺭﺍ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﻧﺎﻣﺰﺩﻫﺎﻱ ﺭﺳﻤﻲ‬ ‫ﺩﺍﺷﺖ ﺑﺎ ‪ 20‬ﻣﻴﻠﻴﻮﻥ ﺭﺍﻱ ﻣﻬﻢﺗﺮﻳﻦ ﺗﺤﻮﻝ ﺳﻴﺎﺳﻲ ﺩﻫﻪ ﺩﻭﻡ ﺣﻴﺎﺕ‬ ‫ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻲ ﺑﻮﺩ‪ .‬ﺳﻴﺪﻣﺤﻤﺪ ﺧﺎﺗﻤﻲ ﺑﺎ ﺷﻌﺎﺭ ﺗﻮﺳﻌﻪ ﺳﻴﺎﺳﻲ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ ﻣﻔﺎﻫﻴﻤﻲ ﭼﻮﻥ ﺁﺯﺍﺩﻱ ﻭ ﻣﺪﺍﺭﺍ ﻭ ﮔﻔﺖ ﻭ ﮔﻮ ﻭ ﺩﻭﺭﻱ ﺍﺯ ﺧﺸﻮﻧﺖ‬ ‫ﻭ ﺑﻪ ﺭﺳﻤﻴﺖ ﺷﻨﺎﺧﺘﻦ ﺣﻘﻮﻕ ﻫﻤﻪ ﺷﻬﺮﻭﻧﺪﺍﻥ‪ ،‬ﻧﻘﺶ ﻣﻬﻤﻲ ﺩﺍﺷﺖ‪،‬‬ ‫ﻋﻨﻮﺍﻥ ﭼﻬﺎﺭﻣﻴﻦ ﺭﺋﻴﺲ ﺟﻤﻬﻮﺭ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﺪﺳــﺖ ﺁﻭﺭﺩ ﻭ ﺍﻳﻦ ﺳﺮﺁﻏﺎﺯ‬ ‫ﺍﻧﺒﻮﻩ ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺣﻮﺍﺩﺙ ﺑﻮﺩ‪ .‬ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺍﺯ ﭘﺲ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﻣﻲﺭﻓﺖ‬ ‫ﻛﻪ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪﻱ ﺭﺍ ﺁﻏﺎﺯ ﻛﻨﺪ‪ .‬ﺳﻴﺎﺳﺖ ﻛﻪ ﺑﻪﺩﻧﺒﺎﻝ ﺷﺮﺍﻳﻂ ﺧﺎﺹ‬ ‫ﭼﻨﺪ ﺳــﺎﻝ ﺍﻭﻝ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﺯ ﺟﺎﻣﻌﻪ ﺭﺧﺖ ﺑﺮ ﺑﺴــﺘﻪ ﺑﻮﺩ‪ ،‬ﺣﻀﻮﺭ‬ ‫ﻋﻴﻨﻲ ﺩﺭ ﺟﺎﻣﻌــﻪ ﭘﻴﺪﺍ ﻣﻲﻛﺮﺩ‪ .‬ﻭﻗﺎﻳﻊ ﭼﻨﺪ ﻣﺎﻩ ﻗﺒــﻞ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻭ ﺑﻪ‬ ‫ﺩﻧﺒﺎﻟــﺶ ﭘﻴﺮﻭﺯﻱ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﺧﺎﺗﻤﻲ ﺧــﻼﻑ ﺗﻤﺎﻡ ﭘﻴﺶ ﺑﻴﻨﻲﻫﺎ‪،‬‬ ‫ﺑﺴﻴﺎﺭﻱ ﺭﺍ ﺑﻪ ﮔﻤﺎﻧﻪ ﻭ ﺗﺤﻠﻴﻞ ﺷــﺮﺍﻳﻂ ﭘﻴﺶﺭﻭ ﻭﺍﺩﺍﺷﺖ‪ .‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ‬ ‫ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻴﻔﺘﺪ؟‬ ‫ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ ﻣﻬﻢﺗﺮﻳﻦ‪ ،‬ﺟﺪﻱﺗﺮﻳــﻦ ﻭ ﺑﺤﺚ ﺑﺮﺍﻧﮕﻴﺰﺗﺮﻳﻦ‬ ‫ﻭﺍﻛﻨﺶ ﺑﻪ ﺭﻭﻳﺪﺍﺩ ﺑﻨﻴﺎﺩﻳﻦ ﺭﺥ ﺩﺍﺩﻩ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻮﺩ‪ .‬ﻭﺍﻛﻨﺸــﻲ ﺳــﺮﻳﻊ‬ ‫ﻛﻪ ﺍﺯ ﻧﻬﺎﺩﻱ ﻓﺮﻫﻨﮕﻲ ﺑﻪ ﻧﺎﻡ ﺳــﻴﻨﻤﺎ ﺑﺮﺁﻣــﺪ‪ .‬ﻧﻬﺎﺩﻱ ﻛﻪ ﺩﺭ ﺑﻄﻦ ﺍﻳﻦ‬ ‫ﺭﻭﻳﺪﺍﺩ ﺣﻀﻮﺭ ﺟﺪﻱ ﺩﺍﺷﺖ ﻭ ﺍﻧﺘﻈﺎﺭ ﻣﻲﺭﻓﺖ ﻫﻤﺪﻻﻧﻪﺗﺮﻳﻦ ﺑﺮﺧﻮﺭﺩ‬ ‫ﺭﺍ ﺑﺎ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺩﺍﺷــﺘﻪ ﺑﺎﺷــﺪ‪ .‬ﺳــﻴﻨﻤﺎﮔﺮﺍﻥ ﺟﺰﻭ ﻣﻌﺪﻭﺩ ﮔﺮﻭﻩﻫﺎﻱ‬ ‫‪82‬‬ ‫ﺑﺤﺮﺍﻧﻲ ﺗﺸﺨﻴﺺ ﻣﻲﺩﻫﺪ ﻭ ﺗﻮﺻﻴﻪ ﻣﻲﻛﻨﺪ ﻫﺮﭼﻪ ﺯﻭﺩﺗﺮ ﺑﺮﺍﻱ ﺩﺭﺁﻭﺭﺩﻥ ﺗﺮﻛﺶ ﺑﻪ ﻟﻨﺪﻥ ﺑﺮﻭﺩ‪ .‬ﻛﺎﻇﻢ‬ ‫ﺑﺮﺍﻱ ﺗﺎﻣﻴﻦ ﻫﺰﻳﻨﻪ ﺳﻔﺮ ﻋﺒﺎﺱ‪ ،‬ﺣﺎﺿﺮ ﻣﻲﺷﻮﺩ ﺍﺗﻮﻣﺒﻴﻠﺶ ﺭﺍ ﺑﻔﺮﻭﺷﺪ‪ .‬ﺩﺭ ﺁژﺍﻧﺲ ﻫﻮﺍﭘﻴﻤﺎﻳﻲ‪ ،‬ﺧﺮﻳﺪﺍﺭ‬ ‫ﺍﺗﻮﻣﺒﻴﻞ ﭘﻮﻝ ﺭﺍ ﺑﻪ ﻣﻮﻗﻊ ﺑﻪ ﻛﺎﻇﻢ ﻧﻤﻲﺭﺳﺎﻧﺪ ﻭ ﺍﻭ ﺑﻪ ﻧﺎﭼﺎﺭ ﺑﻪ ﺭﺋﻴﺲ ﺁژﺍﻧﺲ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻲﻛﻨﺪ ﺗﺎ ﺭﺳﻴﺪﻥ‬ ‫ﭘﻮﻝ‪ ،‬ﺳﻮﺋﻴﭻ ﻭ ﻣﺪﺍﺭﻙ ﺍﺗﻮﻣﺒﻴﻞ ﺭﺍ ﮔﺮﻭ ﺑﺮﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺭﺋﻴﺲ ﺁژﺍﻧﺲ ﻧﻤﻲﭘﺬﻳﺮﺩ‪ .‬ﻛﺎﻇﻢ ﻛﻪ ﻋﺼﺒﺎﻧﻲ ﺷﺪﻩ‪،‬‬ ‫ﻣﺸﺘﺮﻳﺎﻥ ﺁژﺍﻧﺲ ﺭﺍ ﮔﺮﻭﮔﺎﻥ ﻧﮕﻪ ﻣﻲﺩﺍﺭﺩ ﺗﺎ ﻣﺴﺌﻮﻻﻥ ﺗﺮﺗﻴﺐ ﺳﻔﺮ ﻓﻮﺭﻱ ﺍﻭ ﻭ ﻋﺒﺎﺱ ﺑﻪ ﻟﻨﺪﻥ ﺭﺍ ﺑﺪﻫﻨﺪ‪.‬‬ ‫ﺁژﺍﻧﺲ ﺑﻪﺳﺮﻋﺖ ﺗﻮﺳﻂ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻭ ﺍﻣﻨﻴﺘﻲ ﻣﺤﺎﺻﺮﻩ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﺍﺻﻐﺮ‪ ،‬ﻫﻤﺮﺯﻡ ﻛﺎﻇﻢ‬ ‫ﻭ ﻋﺒــﺎﺱ ﻧﻴﺰ ﺑﻪ ﺍﻓﺮﺍﺩ ﺩﺍﺧﻞ ﺁژﺍﻧﺲ ﻣﻲﭘﻴﻮﻧﺪﺩ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺍﺣﻤﺪ ـ ﻛﻪ ﺧﻮﺩ ﻫﻤﺮﺯﻡ ﻛﺎﻇﻢ ﺑﻮﺩﻩ ـ ﺑﻪ‬ ‫ﻫﻤﺮﺍﻩ ﻓﺮﺩﻱ ﺑﻪ ﻧﺎﻡ ﺳﻠﺤﺸﻮﺭ ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻧﻴﺮﻭﻫﺎﻱ ﺍﻣﻨﻴﺘﻲ ﻭﺍﺭﺩ ﺁژﺍﻧﺲ ﻣﻲﺷﻮﻧﺪ ﻭ ﺍﺯ ﻛﺎﻇﻢ‬ ‫ﻣﻲﺧﻮﺍﻫﻨﺪ ﻛﻪ ﺍﺳــﻠﺤﻪ ﺭﺍ ﻛﻨﺎﺭ ﺑﮕﺬﺍﺭﺩ‪ .‬ﻛﺎﻇﻢ ﻧﻤﻲﭘﺬﻳﺮﺩ ﻭ ﭘﺲ ﺍﺯ ﺁﺯﺍﺩ ﻛﺮﺩﻥ ﭼﻨﺪ ﮔﺮﻭﮔﺎﻥ ﺑﻪ ﺍﺣﻤﺪ‬ ‫ﻭ ﺳﻠﺤﺸﻮﺭ ﺗﺎ ﺷــﺶ ﺻﺒﺢ ﻣﻬﻠﺖ ﻣﻲﺩﻫﺪ ﺗﺎ ﺍﺗﻮﻣﺒﻴﻠﻲ ﺭﺍ ﺑﺮﺍﻱ ﺑﺮﺩﻥ ﺍﻭ ﻭ ﻋﺒﺎﺱ ﺑﻪ ﻓﺮﻭﺩﮔﺎﻩ ﺑﻪ ﺁژﺍﻧﺲ‬ ‫ﺑﻔﺮﺳﺘﻨﺪ‪ .‬ﺳﺎﻋﺖ ﺷﺶ ﺻﺒﺢ‪ ،‬ﺍﺗﻮﻣﺒﻴﻞ ﺑﻪ ﺁژﺍﻧﺲ ﻧﻤﻲﺁﻳﺪ ﻭ ﻛﺎﻇﻢ ﺭﺋﻴﺲ ﺁژﺍﻧﺲ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻗﺮﺑﺎﻧﻲ ﺍﻭﻝ‬ ‫ﺍﻧﺘﺨﺎﺏ ﻭ ﻛﺸــﺘﻦ ﺍﻭ ﺭﺍ ﺻﺤﻨﻪﺳﺎﺯﻱ ﻣﻲﻛﻨﺪ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﺧﻮﺩﺭﻭ ﻣﻲﺭﺳﺪ‪ ،‬ﻣﺄﻣﻮﺭﺍﻥ ﺑﺎ ﻧﻘﺸﻪ ﻗﺒﻠﻲ ﻭﺍﺭﺩ‬ ‫ﺁژﺍﻧﺲ ﻣﻲﺷﻮﻧﺪ ﻭ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺭﺍﻧﻨﺪﻩ ﺍﺗﻮﻣﺒﻴﻞ ﺳﻮﻳﻴﭻ ﺁﻥ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻧﺪﺍﺭﺩ‪ ،‬ﺍﻓﺮﺍﺩ ﺩﺍﺧﻞ ﺁژﺍﻧﺲ ﺁﺯﺍﺩ‬ ‫ﻣﻲﺷﻮﻧﺪ‪.‬ﺳﻠﺤﺸﻮﺭ‪ ،‬ﺷﺎﺩﻣﺎﻥ‪ ،‬ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺘﻪ ﺗﻠﻘﻲ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﺣﻤﺪ ﺑﺎ ﻳﻚ ﻫﻠﻰﻛﻮﭘﺘﺮ ﺳﺮ‬ ‫ﻣﻲﺭﺳﺪ ﻭ ﺑﺎ ﺣﻜﻤﻲ ﺍﺯ ﻣﺴﺌﻮﻻﻥ ﺭﺩﻩ ﺑﺎﻻ‪ ،‬ﻋﺒﺎﺱ ﻭ ﻛﺎﻇﻢ ﺭﺍ ﺑﻪ ﻓﺮﻭﺩﮔﺎﻩ ﻣﻲﺭﺳﺎﻧﺪ‪ .‬ﻫﻨﻮﺯ ﻫﻮﺍﭘﻴﻤﺎ ﺍﺯ ﻣﺮﺯ‬ ‫ﻫﻮﺍﻳﻲ ﻛﺸﻮﺭ ﺧﺎﺭﺝ ﻧﺸﺪﻩ ﻛﻪ ﺩﺭﺳﺖ ﻫﻨﮕﺎﻡ ﺗﺤﻮﻳﻞ ﺳﺎﻝ ﻧﻮ‪ ،‬ﻋﺒﺎﺱ ﺑﺮﺍﻱ ﻫﻤﻴﺸﻪ ﺁﺭﺍﻡ ﻣﻲ ﺷﻮﺩ‪.‬‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﻪﺻﻮﺭﺕ ﻳﻜﭙﺎﺭﭼﻪ ﻭ ﺳــﺎﺯﻣﺎﻥﻳﺎﻓﺘﻪ ﺑﻪ ﺣﻤﺎﻳﺖ‬ ‫ﺍﺯ ﺧﺎﺗﻤــﻲ ﭘﺮﺩﺍﺧﺘﻨﺪ ﻭ ﺑــﺮﺍﻱ ﺍﻧﺘﺨﺎﺑﺶ ﻛﻮﺷــﻴﺪﻧﺪ‪ ،‬ﺍﻗﺪﺍﻣﻲ ﻛﻪ ﺑﺎ‬ ‫ﻭﺍﻛﻨﺶ ﻣﺪﻳﺮﺍﻥ ﻓﺮﻫﻨﮕﻲ ﻭﻗﺖ ﺭﻭﺑﻪﺭﻭ ﺷــﺪ ﻭ ﺁﻧﻬﺎ ﺁﺷﻜﺎﺭﺍ ﺍﺯ ﺩﺧﺎﻟﺖ‬ ‫ﺩﺭ ﺳﻴﺎﺳﺖ ﻣﻨﻊ ﺷــﺪﻧﺪ‪ .‬ﺍﻣﺎ ﺍﻧﺘﺨﺎﺏ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﻫﻤﻪ ﻣﻨﺎﺳﺒﺎﺕ ﺭﺍ‬ ‫ﺗﻐﻴﻴﺮ ﺩﺍﺩ‪ .‬ﻣﻌﺎﻭﻥ ﺳﻴﻨﻤﺎﻳﻲ ﻛﻪ ﺍﺯ ﻗﺒﻞ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺑﺎ ﻧﻬﺎﺩ ﺧﺎﻧﻪ ﺳﻴﻨﻤﺎ‬ ‫ﺩﭼﺎﺭ ﻣﻨﺎﺯﻋﻪ ﺷــﺪﻩ ﺑﻮﺩ‪ ،‬ﻓﺮﺩﺍﻱ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺑﺮ ﺳﺮ ﻛﺎﺭﺵ ﺣﺎﺿﺮ ﻧﺸﺪ ﻭ‬ ‫ﻫﻤﻴﻦ ﻧﻤﺎﻳﺎﻧﮕﺮ ﺁﻏﺎﺯ ﺩﻭﺭﺍﻧﻲ ﺟﺪﻳﺪ ﺩﺭ ﺳﻴﻨﻤﺎ ﺑﻮﺩ‪ .‬ﻧﺴﻴﻢ ﺩﻭﻡ ﺧﺮﺩﺍﺩ‬ ‫ﺩﺭ ﺳــﻴﻨﻤﺎ ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﻳﻚ ﺳــﻴﻨﻤﺎﮔﺮ ﺑﻪﻋﻨﻮﺍﻥ ﻣﻌﺎﻭﻥ ﺳــﻴﻨﻤﺎﻳﻲ ﻭ‬ ‫ﻭﺿﻊ ﻗﻮﺍﻧﻴﻦ ﺳﻬﻞﮔﻴﺮﺍﻧﻪ ﺟﺪﻳﺪ ﻭﺯﻳﺪﻥ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻛﺴﻲ ﺍﻧﺘﻈﺎﺭ‬ ‫ﻭﺍﻛﻨﺶ ﻏﻴﺮﻣﻨﺘﻈﺮﻩﺍﻱ ﭼﻮﻥ ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ ﺭﺍ ﻧﺪﺍﺷﺖ‪ .‬ﻓﻴﻠﻤﻲ‬ ‫ﻛﻪ ﻓﺮﻳﺎﺩ ﺑﻠﻨﺪﻱ ﺩﺭ ﺑﻪ ﭼﺎﻟﺶ ﻛﺸــﻴﺪﻥ ﺷﻌﺎﺭﻫﺎ ﻭ ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﺩﻭﺭﺍﻥ‬ ‫ﺟﺪﻳﺪ ﺑﻮﺩ‪ .‬ﻓﺮﻳﺎﺩﻱ ﻛﻪ ﺩﻧﺒﺎﻝ ﻧﺸــﺎﻧﻲ ﺍﺯ ﺁﺭﻣﺎﻥﻫﺎ ﺩﺭ ﺣﻀﻮﺭ ﻣﻔﺎﻫﻴﻢ‬ ‫ﻭ ﺍﺭﺯﺵﻫﺎﻱ ﺟﺪﻳﺪﻱ ﭼﻮﻥ ﺟﺎﻣﻌﻪ ﻣﺪﻧﻲ ﻭ ﻗﺎﻧﻮﻥﻣﺪﺍﺭﻱ ﻣﻲﮔﺸﺖ‪.‬‬ ‫ﺳﻴﺎﺳــﻲﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻣﺤﺼﻮﻝ ﻣﺎﻩﻫﺎﻱ ﺍﻭﻝ ﺑﻌﺪ ﺍﺯ ﺩﻭﻡ‬ ‫ﺧﺮﺩﺍﺩ ﺑﻮﺩ‪ .‬ﺳــﻮﺍﻻﺕ ﻭ ﻣﻀﻤﻮﻧﻲ ﻛﻪ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ ﻧﻬﻤﻴﻦ‬ ‫ﻓﻴﻠﻤﺶ ﻣﻄﺮﺡ ﻛــﺮﺩ ﺁﻥ ﭼﻨﺎﻥ ﻋﻤﻴﻖ‪ ،‬ﺩﻗﻴﻖ ﻭ ﺁﮔﺎﻫﺎﻧﻪ ﺑﻮﺩ ﻛﻪ ﻫﻨﻮﺯ‬ ‫ﭘﺎﺳﺦ ﺩﺭﺳــﺘﻲ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻩﺍﻧﺪ‪ .‬ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ ﻓﻴﻠﻤﻲ ﺩﺭ ﺳﺘﺎﻳﺶ‬ ‫ﺧﺸــﻮﻧﺖ ﺑﻮﺩ ﻳﺎ ﺩﺭ ﺗﻘﺒﻴﺢ ﺁﻥ؟ ﺟﺎﻧﺐ ﺁﺭﻣﺎﻥﻫﺎ ﺭﺍ ﻣﻲﮔﺮﻓﺖ ﻳﺎ ﻟﺰﻭﻡ‬ ‫ﭘﺎﻱﺑﻨﺪﻱ ﻗﻬﺮﻣﺎﻧﺶ ﺭﺍ ﺑﻪ ﻗﻮﺍﻧﻴﻦ ﻭ ﺷــﺮﺍﻳﻂ ﻳﺎﺩﺁﻭﺭ ﻣﻲﺷﺪ؟ ﺍﻣﻨﻴﺖ‬ ‫ﻣﻠﻲ ﺭﺍ ﺩﺭ ﻣﺎﻧﺪﻥ ﻋﺒﺎﺱﻫﺎ ﺗﺎﻣﻴﻦ ﺷــﺪﻩ ﻣﻲﺩﻳــﺪ ﻳﺎ ﺩﺭ ﮔﺰﺍﺭﺵﻫﺎﻱ‬ ‫ﺳﻲﺍﻥﺍﻥ ﻭ ﺑﻲﺑﻲﺳﻲ؟ ﻭ ﻧﻬﺎﻳﺘﺎ ﺁﻳﺎ ﺟﺎﻧﺐ ﺍﺻﻼﺡﻃﻠﺒﺎﻥ ﺭﺍ ﻣﻲﮔﺮﻓﺖ‬ ‫ﻳﺎ ﻣﺤﺎﻓﻈﻪﻛﺎﺭﺍﻥ ﺭﺍ؟ ﺍﻳﻦ ﭘﺮﺳﺶﻫﺎ ﭘﺎﺳﺨﻲ ﻧﺪﺍﺷﺘﻨﺪ ﭼﺮﺍ ﻛﻪ ﺟﺎﻣﻌﻪ‬ ‫ﻫﻢ ﻣﺎﻧﺪﻩ ﺩﺭ ﻫﻤﻴﻦ ﺷﺮﺍﻳﻂ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺟﺮﻳﺎﻥ ﺳﺎﺧﺖ ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ ﺑﻪ ﻭﺍﺳﻄﻪ ﻣﻮﺿﻮﻉ ﻭ ﻣﻀﻤﻮﻧﺶ‬ ‫ﻫــﻢ ﺩﺭ ﺯﻣﺎﻥ ﺳــﺎﺧﺖ ﻭ ﻫﻢ ﺗﺎ ﻣﺪﺕﻫﺎ ﺑﻌﺪ ﺍﺯ ﺳــﺎﺧﺘﺶ ﺍﺯ ﺳــﻮﻱ‬ ‫ﺳــﺎﺯﻧﺪﮔﺎﻧﺶ‪ ،‬ﺑﻴﺎﻥ ﻧﺸــﺪ‪ .‬ﺷــﺎﻳﻌﺎﺕ ﻣﺨﺘﻠﻔﻲ ﺩﺭﺑــﺎﺭﻩ ﭼﮕﻮﻧﮕﻲ‬ ‫ﺗﻮﻟﻴﺪﺵ ﺍﺯ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺗﺎ ﻫﻤﻴﻦ ﺳﺎﻝﻫﺎﻱ ﺍﺧﻴﺮ ﻣﻄﺮﺡ‬ ‫ﺑــﻮﺩﻩ ﻭ ﮔﻮﻳﻲ ﻫﻨﻮﺯ ﺯﻭﺍﻳــﺎﻱ ﭘﻨﻬﺎﻧﻲ ﺩﺍﺭﺩ‪ .‬ﻣﻬﻢﺗﺮﻳــﻦ ﻣﻮﺿﻮﻉ ﻧﻬﺎﺩ‬ ‫ﺗﺎﻣﻴﻦ ﻛﻨﻨﺪﻩ ﺳﺮﻣﺎﻳﻪ ﻓﻴﻠﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻫﺮﭼﻨﺪ ﻓﻴﻠﻢ ﺩﺭ ﺩﻓﺘﺮ ﻭﺭﺍﻫﻨﺮ‬ ‫ﺗﻬﻴﻪ ﺷــﺪﻩ ﻭ ﻧﺎﻡ ﺍﻳﻦ ﺩﻓﺘﺮ ﺑﻪﻋﻨﻮﺍﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ ﺩﺭ ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻫﻤﺮﺍﻩ ﺑﻨﻴﺎﺩ ﺳﻴﻨﻤﺎﻳﻲ ﻓﺎﺭﺍﺑﻲ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ ﺍﻣﺎ ﺍﻳﻦ ﺷﺎﻳﻌﻪ ﻣﻄﺮﺡ‬ ‫ﺑﻮﺩﻩ ﻛﻪ ﺟﺮﻳﺎﻧﻲ ﺩﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﻧﻘﺶ ﺩﺍﺷﺘﻪ‪ ،‬ﺟﺮﻳﺎﻧﻲ ﻛﻪ ﺑﻪ ﻧﺎﻡ »ﺍﻧﺼﺎﺭ‬ ‫ﺣﺰﺏﺍﷲ« ﺩﺭ ﺟﺎﻣﻌﻪ ﺷﻨﺎﺧﺘﻪ ﻣﻲﺷﺪﻧﺪ‪ .‬ﻣﻬﺪﻱ ﻛﺮﻳﻤﻲ ﻭ ﻣﺤﺮﻣﻌﻠﻲ‬ ‫ﻛﻠﻴﺞ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺪﻳﺮﺍﻥ ﺩﻓﺘﺮ ﻭﺭﺍﻫﻨﺮ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺍﻭﺍﺧﺮ ﺳﺎﻝ ‪ 75‬ﺑﺎ ﺗﻮﻟﻴﺪ‬ ‫ﻓﻴﻠﻢ ﻣﻬﺮ ﻣﺎﺩﺭﻱ ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻱ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺩﻭ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﺳﻴﻨﻤﺎ ﺳﻮﺍﺑﻖ‬ ‫ﺍﻧﺪﻛﻲ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻣﺤﺮﻣﻌﻠﻲ ﻛﻠﻴﺞ ﺩﺭ ﻓﻴﻠﻢ »ﻋﺒﻮﺭ« ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﺳﻌﻴﺪ‬ ‫ﺣﺎﺟﻲﻣﻴﺮﻱ ﻫﻤﺮﺍﻩ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺳــﺘﻴﺎﺭ ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻱ ﺩﺭ‬ ‫ﻣﺎﻧﺪﻩ ﺗﺎ ﺷــﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺿﺎ ﻛﻴﺎﻧﻴﺎﻥ ﺟﺎﻳﺶ ﺭﺍ ﺩﺭ ﻣﺴــﺌﻮﻟﻴﺖ‬ ‫ﺑﺎﺯﻳﮕﺮﺩﺍﻧــﻲ ﻓﻴﻠﻢ ﻛﻪ ﺁﻥ ﺭﻭﺯﻫﺎ ﺩﺭ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻣﺘﺪﺍﻭﻝ ﺷــﺪﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﻪ ﻋﻬﺪﻩ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﻪ ﻫﺮ ﺷــﻜﻞ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ‬ ‫ﺩﺭ ﻣﻬﺮ ‪ 76‬ﺩﺭ ﺳــﻜﻮﺕ ﻛﺎﻣﻞ ﺧﺒﺮﻱ ﺩﺭ ﺗﻬﺮﺍﻥ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﺗﻨﻬﺎ ﺧﺒﺮ ﺍﺯ‬ ‫ﻓﻴﻠﻢ ﺍﺷﺎﺭﻩ ﺑﻪ ﺷﺮﻭﻉ ﺳﺎﺧﺖ ﺁﻥ ﻭ ﺫﻛﺮ ﻧﺎﻡ ﻋﻮﺍﻣﻞ ﺑﻮﺩ ﻭ ﻫﻴﭻ ﻧﻜﺘﻪﺍﻱ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢ ﻓﺎﺵ ﻧﺸــﺪ‪ .‬ﺣﺘﻲ ﻋﻮﺍﻣﻞ ﻫﻢ ﺍﺯ ﺫﻛﺮ ﺩﺍﺳﺘﺎﻥ ﺑﻪ‬ ‫ﺍﻓﺮﺍﺩ ﺩﻳﮕﺮ ﻧﻬﻲ ﺷــﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺟﻮ ﻣﻠﺘﻬــﺐ ﭘﻴﺮﺍﻣﻮﻥ ﻓﻴﻠﻢ ﺑﻪﮔﻮﻧﻪﺍﻱ‬ ‫ﺑﻮﺩ ﻛﻪ ﺣﺘﻲ ﺍﺣﺘﻤﺎﻝ ﺩﺳــﺘﮕﻴﺮﻱ ﻋﻮﺍﻣﻞ ﻫﻢ ﻧﺰﺩ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻣﻄﺮﺡ‬ ‫ﺑﻮﺩﻩ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﻓﻀﺎﻳﻲ ﻛﺎﺭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺑﻪﻭﺍﺳــﻄﻪ ﮔﺬﺷــﺘﻦ ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 85‬ﺩﺭﺻﺪ ﻭﻗﺎﻳﻌــﺶ ﺩﺭ ﻳﻚ ﻣﻜﺎﻥ‬ ‫ﻣﺤﺪﻭﺩ ﺑﺎ ﺑﺎﺯﻳﮕﺮﺍﻥ ﭘﺮﺗﻌﺪﺍﺩ ﺑﺴﻴﺎﺭ ﻣﺸﻜﻞ ﺑﻮﺩ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﻌﺪ ﺍﺯ ﺁﻧﻜﻪ‬ ‫ﻧﺘﻮﺍﻧﺴﺘﻨﺪ ﻫﻤﺎﻫﻨﮕﻲ ﻻﺯﻡ ﺭﺍ ﺑﺎ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺩﺭ ﺑﻪ ﺧﺪﻣﺖ ﮔﺮﻓﺘﻦ‬ ‫ﺍﻣﻜﺎﻧﺎﺕ ﺍﻳﻦ ﻧﻬﺎﺩ ﻓﺮﺍﻫﻢ ﻛﻨﻨﺪ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ﻧﻬﺎﺩﻫﺎﻱ ﺩﻳﮕﺮ ﻧﻴﺎﺯﻫﺎﻳﺸﺎﻥ‬ ‫ﺭﺍ ﺑﺮﻃﺮﻑ ﻛﺮﺩﻧﺪ‪ ،‬ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﺑﻌﺪﻫﺎ ﺯﻣﻴﻨﻪ ﺳﺎﺯ ﺣﺎﺷﻴﻪﻫﺎﻳﻲ ﺑﺮﺍﻱ ﻓﻴﻠﻢ‬ ‫ﺷﺪ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺣﺘﻲ ﺗﻮﺍﻧﺴــﺘﻨﺪ ﺍﻣﻜﺎﻥ ﻓﺮﻭﺩﺁﻣﺪﻥ ﻳﻚ ﻫﻠﻲﻛﻮﭘﺘﺮ‬ ‫ﺭﺍ ﻧﻴــﺰ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎﻱ ﻣﺮﻛﺰﻱ ﺗﻬﺮﺍﻥ ﺑﻪﺩﺳــﺖ ﺁﻭﺭﻧﺪ ﺗﺎ ﻓﻴﻠﻢ ﺑﺪﻭﻥ‬ ‫ﻭﻗﻔﻪﺍﻱ ﺧﺎﺹ ﻣﺮﺍﺣﻞ ﺗﻮﻟﻴﺪﺵ ﺭﺍ ﭘﺸﺖﺳــﺮ ﺑﮕــﺬﺍﺭﺩ‪ .‬ﺣﺎﺗﻤﻲﻛﻴﺎ‬ ‫ﺩﺭ ﺭﻭﺯﻫﺎﻱ ﻣﻨﺘﻬﻲ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻢ ﺳــﻜﻮﺗﺶ ﺭﺍ ﻧﺸﻜﺴﺖ ﻭ ﺗﻨﻬﺎ ﺑﺎ‬ ‫ﺫﻛﺮ ﺍﻳﻨﻜﻪ »ﺗﺮﺟﻴﺢ ﻣﻲﺩﻫﻢ ﻓﻴﻠﻢ ﺧــﻮﺩﺵ ﺣﺮﻑ ﺑﺰﻧﺪ« ﻫﻤﻪ ﺭﺍ ﺑﻪ‬ ‫ﺳﺎﺧﺘﻪﺍﺵ ﺍﺭﺟﺎﻉ ﺩﺍﺩ‪ .‬ﻧﺨﺴﺘﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺮﮔﺰﺍﺭ ﺷﺪﻩ ﺗﻮﺳﻂ ﺩﻭﻟﺖ‬ ‫ﺧﺎﺗﻤﻲ ﻣﻴﺰﺑﺎﻥ ﻓﻴﻠﻢ ﺑﻮﺩ‪.‬‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻓﻴﻠﻢ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﻓﻴﻠﻢ ﻋﺒﻮﺭ ﺳــﺎﺧﺘﻪ ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻱ ﻫﻢ‬ ‫ﺩﺳــﺘﻴﺎﺭ ﻓﻴﻠﻤﺒﺮﺩﺍﺭ ﺑﻮﺩﻩ‪ .‬ﺩﺭ ﺗﻴﺘﺮﺍژ ﻓﻴﻠﻢ »ﻭﺻﻞﻧﻴﻜﺎﻥ« ﺣﺎﺗﻤﻲﻛﻴﺎ‬ ‫ﻫﻢ ﺍﺯ ﺍﻭ ﺗﺸﻜﺮ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﻬﺪﻱ ﻛﺮﻳﻤﻲ ﺍﺧﻴــﺮﺍ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻳﻲ ﺍﻋﻼﻡ ﻛﺮﺩﻩ ﻛﻪ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ ﺩﺭ ﺗﻴﺮﻣﺎﻩ ‪ ،76‬ﻳﻚ ﻣﺎﻩ ﺑﻌﺪ ﺍﺯ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺍﺯ ﻃﺮﻳﻖ‬ ‫ﺭﺍﺑﻄﻪﺍﻱ ﻛﻪ ﻛﻠﻴﺞ ﺑﺎ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺍﺷﺘﻪ ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﺑﻪ ﺩﻓﺘﺮ ﻭﺭﺍﻫﻨﺮ‬ ‫ﺁﻣﺪﻩ ﺍﺳــﺖ ﻭ ﺟﺎﻧﺒﺎﺯﺍﻧﻲ ﻧﻴﺰ ﺩﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻛﺮﺩﻩﺍﻧﺪ‪:‬‬ ‫»ﻓﻴﻠﻤﻨﺎﻣﻪ ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ ﻗﺒﻞ ﺍﺯ ﺍﺭﺍﺋﻪ ﺑﻪ ﺩﻓﺘﺮ ﻣﺎ‪ ،‬ﺩﺭ ﺩﻓﺎﺗﺮ ﺩﻳﮕﺮ‬ ‫ﻫﻢ ﺑﻪ ﻧﻮﻋﻲ ﻣﻄﺮﺡ ﺷــﺪﻩ ﺑﻮﺩ ﻭ ﺗﻘﺮﻳﺒﺎ ﺑﻪ ﺩﻻﻳــﻞ ﻣﺨﺘﻠﻔﻲ ﺗﺼﻤﻴﻢ‬ ‫ﺑﺮﺍﻱ ﺗﻮﻟﻴﺪ ﺁﻥ ﮔﺮﻓﺘﻪ ﻧﺸــﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺧﻮﺍﻧﺪﻡ ﻭ‬ ‫ﺻﺤﺒﺖﻫﺎﻱ ﺍﻭﻟﻴﻪ ﺭﺍ ﻫﻢ ﺑﺎ ﺁﻗﺎﻱ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻳﻢ‪ ،‬ﻗﺮﺍﺭ ﺷــﺪ‬ ‫ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ ﺟﺰﻭ ﺗﻮﻟﻴﺪﺍﺕ ﺟﺪﻳﺪ ﻭﺭﺍﻫﻨــﺮ ﭘﺲ ﺍﺯ ﻣﻬﺮﻣﺎﺩﺭﻱ‬ ‫ﺑﺎﺷﺪ‪ .‬ﺟﺬﺏ ﺳــﺮﻣﺎﻳﻪ ﻧﻴﺰ ﺑﻪ ﺍﻳﻦ ﺷــﻜﻞ ﺑﻮﺩ ﻛﻪ ﺩﻭﺳﺘﺎﻥ ﺟﺎﻧﺒﺎﺯﻱ‬ ‫ﺳــﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻛﺮﺩﻧﺪ ﻭ ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﻓﺎﺭﺍﺑــﻲ ﻫﻢ ﺩﺭ ﺗﻬﻴﻪ ﺁژﺍﻧﺲ‬ ‫ﺷﻴﺸﻪﺍﻱ ﺩﺧﺎﻟﺖ ﺩﺍﺷﺖ‪) «.‬ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﻫﻔﺘﻪﻧﺎﻣﻪ ﻣﺜﻠﺚ‪ ،‬ﺷﻤﺎﺭﻩ ‪(8‬‬ ‫ﻛﺮﻳﻤﻲ ﺗﻮﺿﻴﺢ ﺑﻴﺸﺘﺮﻱ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ ﺟﺎﻧﺒﺎﺯﺍﻥ ﻧﺪﺍﺩﻩ ﺍﻣﺎ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ‬ ‫ﺻﺤﺒﺖﻫﺎﻳﻲ ﻛﻪ ﺑﻌﺪﻫﺎ ﺩﺭﺑﺎﺭﻩ ﻧﻘﺶ ﺑﻌﻀﻲ ﮔﺮﻭﻩﻫﺎ ﺩﺭ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ‬ ‫ﻓﻴﻠﻢ ﻣﻄﺮﺡ ﺷﺪ ﻧﺎﻇﺮ ﺑﺮ ﻫﻤﻴﻦ ﺍﻓﺮﺍﺩ ﺑﻮﺩ‪ .‬ﺣﺴﺎﺳﻴﺖ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺩﺭ‬ ‫ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﻱ ﺗﻮﻟﻴﺪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﻭ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻧﻴﺰ ﻧﺴﺒﺖ ﺑﻪ ﻧﺘﻴﺠﻪ‬ ‫ﻛﺎﺭ ﺑﻴﻤﻨﺎﻙ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ ﺑﻮﺩ ﻛﻪ ﻣﺴــﺌﻮﻻﻥ ﺟﺪﻳﺪ ﺳﻴﻨﻤﺎﻱ‬ ‫ﻛﺸﻮﺭ ﻫﻢ ﻫﻨﻮﺯ ﺍﻧﺘﺨﺎﺏ ﻧﺸﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻣﺴﺌﻮﻻﻥ ﻗﺒﻠﻲ ﻫﻢ ﻋﻤﻼ ﻛﺎﺭ‬ ‫ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﻣﻲﮔﻴﺮﺩ‪.‬‬ ‫ﺩﺭ ﺭﻭﺯﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﻏﻴﺎﺏ ﻋﺰﺕﺍﷲ ﺿﺮﻏﺎﻣﻲ‪ ،‬ﻣﺤﻤﺪ ﺭﺟﺒﻲ‪ ،‬ﻣﺪﻳﺮ ﺑﻨﻴﺎﺩ‬ ‫ﻓﺎﺭﺍﺑﻲ ﺑﺎ ﺣﻔﻆ ﺳﻤﺖ ﺳﺮﭘﺮﺳﺘﻲ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺭﺍ ﺑﺮﻋﻬﺪﻩ ﮔﺮﻓﺘﻪ‬ ‫ﺑﻮﺩ ﻭ ﺍﻭ ﻫﻢ ﺑﺎ ﺩﺳــﺘﺨﻂ ﻳﻚ ﻣﻘﺎﻡ ﻋﺎﻟﻲ ﺭﺗﺒﻪ ﻧﻈﺎﻡ ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﺭﺍ‬ ‫ﺍﻣﻀﺎ ﻛﺮﺩﻩ ﻭ ﻣﻌﺎﻭﻥ ﺑﻌﺪﻱ‪ ،‬ﺳﻴﻒﺍﷲ ﺩﺍﺩ ﻫﻢ ﺁﻥ ﺭﺍ ﺗﺎﻳﻴﺪ ﻛﺮﺩﻩ ﺍﺳﺖ‪،‬‬ ‫ﺭﻭﻧﺪﻱ ﻛﻪ ﺩﺍﺩ ﺗﻠﻮﻳﺤــﺎ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻳﻲ ﺩﺭ ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺑﺮ ﺁﻥ‬ ‫ﺻﺤﻪ ﮔﺬﺍﺷﺖ‪ .‬ﭘﻴﺶ ﺗﻮﻟﻴﺪ ﺍﺯ ﺗﺎﺑﺴﺘﺎﻥ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ ﻭ ﺁﺗﻴﻼ ﭘﺴﻴﺎﻧﻲ‬ ‫ﻛﺎﺭ ﺍﻧﺘﺨﺎﺏ ‪49‬ﺑﺎﺯﻳﮕﺮ ﻓﻴﻠﻢ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﺪ ﺍﻣﺎ ﺩﺭ ﺁﺧﺮﻳﻦ ﺭﻭﺯﻫﺎﻱ‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻲ ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ ﺩﺭ ﻣﺮﺍﺳــﻢ ﺍﻓﺘﺘﺎﺣﻴﻪ‬ ‫ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﻮﺩ‪ ،‬ﺍﻛﺮﺍﻧﻲ ﻛﻪ ﺳــﻴﻒﺍﷲ ﺩﺍﺩ ﺩﺭ ﺻﺤﺒﺖﻫﺎﻳﺶ ﺩﺭ‬ ‫ﺍﻳﻦ ﻣﺮﺍﺳــﻢ ﺍﺯ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺍﺗﻔﺎﻕ ﻳﺎﺩ ﻛﺮﺩ‪ ،‬ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﺑﺴﻴﺎﺭﻱ‬ ‫ﺭﺍ ﺑﻪ ﺣﻴﺮﺕ ﻭﺍ ﺩﺍﺷﺖ‪ .‬ﺑﺴــﻴﺎﺭﻱ ﺍﻧﺘﻈﺎﺭ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﭼﻨﻴﻦ ﻓﻴﻠﻤﻲ‬ ‫ﺑﺎ ﺍﻳــﻦ ﺻﺮﺍﺣﺖ ﺩﺭﺑﺎﺭﻩ ﻭﺿــﻊ ﻣﻮﺟﻮﺩ ﻭ ﺟﻨﺎﺡﻫﺎﻱ ﺳﻴﺎﺳــﻲ ﺭﺍ ﺩﺭ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻧﺪﺍﺭﻧﺪ ﻭ ﻧﻤﻲﺩﺍﻧﻨﺪ ﭼﻪ ﻭﺍﻛﻨﺸﻲ ﺑﺮﻭﺯ ﺩﻫﻨﺪ‪ .‬ﻫﺠﻮﻡ ﺑﻪ‬ ‫ﺳﻴﻨﻤﺎﻫﺎ ﺍﺯ ﻫﻤﺎﻥ ﺷﺮﻭﻉ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺮﺍﻱ ﺗﻤﺎﺷﺎﻱ ﻓﻴﻠﻢ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‬ ‫ﻭ ﺩﺭ ﺭﻭﺯﻫــﺎﻱ ﭘﺎﻳﺎﻧﻲ ﺑﻪ ﺍﻭﺝ ﻣﻲ ﺭﺳــﺪ‪ .‬ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺍﺯ ﻫﻤﻴﻦ ﻧﻘﻄﻪ‬ ‫ﺳﺮﺁﻏﺎﺯ ﺑﺤﺚﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺍﺳﺖ‪ .‬ﺑﺴﻴﺎﺭﻱ ﻭﺍﻛﻨﺶﻫﺎﻱ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ‬ ‫ﺍﺯ ﭼﮕﻮﻧﮕﻲ ﺳﺎﺧﺘﻪﺷــﺪﻥ ﻓﻴﻠﻢ ﺑﺮﻭﺯ ﻣﻲﺩﻫﻨﺪ‪.‬ﻋﺪﻩﺍﻱ ﺧﺸﻤﮕﻴﻦ‬ ‫ﻫﺴــﺘﻨﺪ ﻭ ﺗﻌﺪﺍﺩﻱ ﺍﺷﻚﻫﺎﻳﺸﺎﻥ ﺭﺍ ﭘﺎﻙ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺯﻣﺰﻣﻪﻫﺎﻱ ﻧﮕﺎﻩ‬ ‫ﺟﺎﻧﺒﺪﺍﺭﺍﻧﻪ ﻓﻴﻠﻢ ﻧﺴــﺒﺖ ﺑﻪ ﺍﻗﺪﺍﻣﺎﺕ ﺧﺸــﻮﻧﺖﮔﺮﺍﻱ ﻗﻬﺮﻣﺎﻥ ﻓﻴﻠﻢ‬ ‫ﺁﻏﺎﺯ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎ ﺳﻜﻮﺗﺶ ﺭﺍ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺭﺳﺎﻧﻪﻫﺎﻱ ﮔﺮﻭﻫﻲ‬ ‫ﻣﻲﺷﻜﻨﺪ ﻭ ﺩﺭ ﺟﻠﺴﻪ ﻧﺴﺒﺘﺎ ﭘﺮﺗﻨﺸﻲ ﭘﺎﺳﺨﮕﻮﻱ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﺳﻮﺍﻻﺕ‬ ‫ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺍﻧﺒﻮﻩ ﺳﻮﺍﻻﺕ ﺑﻪ ﺳﻮﻳﺶ ﺳﺮﺭﻳﺰ ﺍﺳﺖ‪ ،‬ﻣﻲﮔﻮﻳﺪ‬ ‫ﺍﺯ ﺳــﺎﺧﺘﻦ ﻓﻴﻠﻢ ﺷــﺮﻣﻨﺪﻩ ﻧﻴﺴــﺖ ﻭ ﺩﺭﺑﺎﺭﻩ ﻣﻮﺿﻊ ﻧﻬﺎﻳﻲ ﻓﻴﻠﻢ ﻛﻪ‬ ‫ﻫﺮ ﻛﺲ ﻣﺪﻋﻲ ﺟﺎﻧﺒــﺪﺍﺭﻱ ﺍﺯ ﮔﺮﻭﻩ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺧﻮﺩ ﺍﺳــﺖ‪ ،‬ﺻﺮﻓﺎ‬ ‫ﺍﻳﻦ ﺗﻮﺿﻴــﺢ ﺭﺍ ﻣﻲﺩﻫﺪ‪» :‬ﻛﻞ ﻓﻴﻠﻢ ﺗﻨﺎﻗﺾ ﺍﺳــﺖ‪ ،‬ﺑﻨﺪﻩ ﻫﻴﭽﮕﻮﻧﻪ‬ ‫ﻣﻮﺿﻊﮔﻴﺮﻱ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﺧﻮﺩ ﻧﺸﺎﻥ ﻧﺪﺍﺩﻩﺍﻡ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻓﻴﻠﻢ ﺧﻮﺩ‬ ‫ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺑﺎﺷﺪ‪) «.‬ﻫﻔﺘﻪﻧﺎﻣﻪ ﺳﻴﻨﻤﺎ‪ ،‬ﺷﻤﺎﺭﻩ ‪ (301‬ﺍﻣﺎ ﻧﻜﺘﻪ ﺍﺻﻠﻲ‬ ‫ﺻﺤﺒﺖﻫﺎﻱ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ ﺟﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻧﺒﻮﻩ ﺍﻧﺘﻘﺎﺩﺍﺕ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺟﻬﺖﮔﻴﺮﻱ ﻓﻴﻠﻢ ﻋﻠﻴﻪ ﺩﻭﻟﺖ ﺟﺪﻳﺪ ﺑﺮ ﻛﺎﺭ ﺁﻣﺪﻩ ﺧﻮﺩ ﺭﺍ ﻧﺴﺒﺖ‬ ‫ﺑــﻪ ﺁﻗﺎﻱ ﺧﺎﺗﻤﻲ ﻭ ﺍﻓﻜﺎﺭ ﻭ ﺍﻳﺪﻩﻫﺎﻱ ﺍﻳﺸــﺎﻥ ﻋﺒــﺪ ﻭ ﻋﺒﻴﺪ ﻣﻲﺩﺍﻧﺪ ﻭ‬ ‫ﻣﻲﮔﻮﻳﺪ‪» :‬ﺑﻪ ﻋﻘﻴﺪﻩ ﻣﻦ ﻫﻢ ﺁﻥ ﮔﺮﻭﻩ ﺷﺒﻪ ﺭﻭﺷﻨﻔﻜﺮ ﻭ ﻫﻢ ﺁﻥ ﮔﺮﻭﻫﻲ‬ ‫ﻛﻪ ﺩﺭ ﺳــﻴﻨﻤﺎﻫﺎ ﺁﻥ ﺑﻼﻫﺎ ﺭﺍ ﺳــﺮ ﻣﺮﺩﻡ ﺁﻭﺭﺩﻧﺪ ﻫﺮ ﺩﻭ ﺍﺯ ﻳﻚ ﺟﻬﺖ‬ ‫ﻣﻨﻜﻮﺏ ﻫﺴﺘﻨﺪ‪ «.‬ﺍﻳﻦ ﺗﻮﺿﻴﺤﺎﺕ ﻗﺎﻧﻊ ﻛﻨﻨﺪﻩ ﻧﻴﺴﺖ ﭼﺮﺍﻛﻪ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺻﺤﺒــﺖ ﻭ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺻﺤﺒﺖ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺍﺯ ﻧﻘﺪ‬ ‫ﻭ ﻧﻈﺮ ﺩﺭﺑﺎﺭﻩﺍﺵ ﺑﻪ ﻣﺴــﺎﺋﻞ ﺣﺎﺷﻴﻪﺍﻱ ﻣﺎﻧﻨﺪ ﺍﺩﻋﺎﻱ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ‬ ‫ﺍﻧﺼﺎﺭ ﺣﺰﺏﺍﷲ ﺩﺭ ﻓﻴﻠﻢ ﻣﻲﺭﺳــﺪ ﻛﻪ ﻧﺨﺴﺘﻴﻦﺑﺎﺭ ﻫﻔﺘﻪﻧﺎﻣﻪ ﻣﻬﺮ ﺁﻥ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺍﻣﺮﻭﺯ‪ :‬ﺍﺩﺍﻣﻪ ﺍﺧﺘﻼﻓﺎﺕ ﻭ ﻣﻨﺎﺯﻋﺎﺕ ﺩﺭ ﻓﻀﺎﻱ ﺳﻴﺎﺳــﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻳﺮﺍﻥ ﺑﺎﻋﺚ ﺷــﺪﻩ ﺗﺎ ﺁژﺍﻧﺲ‬ ‫ﺷﻴﺸﻪﺍﻱ ﺑﺮﺧﻼﻑ ﭘﻴﺶ ﺑﻴﻨﻲﻫﺎ ﻫﻤﭽﻨﺎﻥ ﺑﺎ ﮔﺬﺷﺖ ﻳﻚ ﺩﻫﻪ ﺍﺯ ﺳﺎﺧﺖ ﻭ ﻧﻤﺎﻳﺶ ﻫﻤﭽﻨﺎﻥ ﺍﺳﺘﻮﺍﺭ‬ ‫ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺑﺎﺷﺪ‪ .‬ﺗﺴﻠﻂ ﻭ ﺁﮔﺎﻫﻲ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﺮ ﻣﻨﺎﺳﺒﺎﺕ ﻭ ﺷﺮﺍﻳﻂ ﻭ ﺭﻭﺍﺑﻂ ﺧﺎﺹ ﺟﺎﺭﻱ ﺩﺭ ﻓﻀﺎﻱ‬ ‫ﺳﻴﺎﺳﻲ ﺍﻳﺮﺍﻥ ﻭ ﺩﺍﻧﺴﺘﻦ ﺗﻌﻠﻘﺎﺕ ﻭ ﺩﻳﺪﮔﺎﻩﻫﺎﻱ ﺣﺎﻛﻤﺎﻥ ﺑﺎﻋﺚ ﺷﺪﻩ ﺗﺎ ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ ﺩﺭﺳﺖﺗﺮﻳﻦ‬ ‫ﻭ ﺻﺤﻴﺢﺗﺮﻳﻦ ﺗﻔﺴــﻴﺮ ﺍﺯ ﻭﺿﻌﻴﺖ ﺍﺧﺘﻼﻓﻲ ﻣﺪﻳﺮﻳﺖ ﻛﺸﻮﺭ ﺑﺎﺷــﺪ‪ .‬ﺩﻳﺎﻟﻮگﻫﺎ ﻭ ﻣﺒﺎﺣﺜﻲ ﻛﻪ ﻣﻴﺎﻥ‬ ‫ﺣﺎﺝ ﻛﺎﻇﻢ ﻭ ﺳﻠﺤﺸﻮﺭ ﻣﻲﮔﺬﺭﺩ ﻫﻨﻮﺯ ﻫﻢ ﺟﺬﺍﺏ ﻭ ﻣﻴﺨﻜﻮﺏ ﻛﻨﻨﺪﻩ ﺍﺳﺖ ﻭ ﻳﻚ ﻧﮕﺎﻩ ﺗﻴﺰﺑﻴﻦ ﺍﺯ ﻭﺭﺍﻱ‬ ‫ﺭﺍ ﺍﻋﻼﻡ ﻣﻲﻛﻨﺪ‪ .‬ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ ﺑﺎ ﺍﻗﺘﺪﺍﺭ ﺍﻛﺜﺮﻳﺖ ﺟﻮﺍﻳﺰ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺷــﺎﻣﻞ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﻭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻭ ﺑﺎﺯﻳﮕﺮﻱ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ‬ ‫ﺳــﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﻧﮕﺎﻩ ﻣﺮﺩﻡ ﺭﺍ ﺑﻪﺩﺳــﺖ ﻣﻲﺁﻭﺭﺩ ﺗﺎ‬ ‫ﻣﺸــﺨﺺ ﺷــﻮﺩ ﺗﺎﺛﻴﺮﺵ ﺭﺍ ﺑﺮ ﻃﻴﻒﻫﺎﻱ ﻣﺨﺘﻠﻒ ﮔﺬﺍﺷــﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺤﺚ ﻭ ﮔﻔﺖﻭﮔﻮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪ .‬ﺍﺯ ﺟﺎﻟﺐﺗﺮﻳﻦ ﻭﺍﻛﻨﺶﻫﺎ ﺑﻪ ﻓﻴﻠﻢ ﻣﻘﺎﻟﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺑﺎ‬ ‫ﭘﻴﺶ ﺑﻴﻨﻲ ﺍﺳﺘﻘﺒﺎﻝ ﻓﺮﺍﻭﺍﻥ ﺍﺯ ﻓﻴﻠﻢ ﺑﻪﺩﻧﺒﺎﻝ ﺍﻛﺮﺍﻥ ﺯﻭﺩﻫﻨﮕﺎﻡ ﺍﺳﺖ‬ ‫ﻛﻪ ﺍﻧﺘﺸﺎﺭ ﺧﺒﺮﻱ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ ﺍﻳﺮﺍﻥ ﻣﺒﻨﻲﺑﺮ ﺷﻜﺎﻳﺖ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺍﺯ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺑﻪ ﺩﻟﻴﻞ ﺯﻳﺮ ﺳﻮﺍﻝ ﺑﺮﺩﻥ ﻓﻌﺎﻟﻴﺖ ﻭ ﻛﺎﺭﺁﻳﻲ ﺍﻳﻦ ﻧﻬﺎﺩ ﻭ‬ ‫ﻣﺨﺪﻭﺵ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﭼﻬﺮﻩ ﺍﻳﻦ ﻧﻴﺮﻭ ﺣﺎﺷﻴﻪﻫﺎ ﺭﺍ ﺍﻓﺰﻭﻥ ﻣﻲﻛﻨﺪ‪ .‬ﺧﺒﺮ‬ ‫ﺑﻼﻓﺎﺻﻠﻪ ﺍﺯ ﺟﺎﻧﺐ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺗﻜﺬﻳﺐ ﻣﻲﺷﻮﺩ ﺍﻣﺎ ﺩﺭ ﻣﺤﺎﻓﻞ ﺳﻴﻨﻤﺎﻳﻲ‬ ‫ﻭ ﺭﺳﺎﻧﻪﺍﻱ ﺻﺤﺒﺖ ﺍﺯ ﺗﻮﻗﻴﻒ ﻓﻴﻠﻢ ﻭ ﺣﺘﻲ ﻣﺤﻜﻮﻣﻴﺖ ﻗﻀﺎﻳﻲ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﺣﺎﺗﻤﻲﻛﻴﺎﺳﺖ‪) .‬ﺭﻭﺯﻧﺎﻣﻪ ﺻﺒﺢ ﺧﺎﻧﻮﺍﺩﻩ‪ 24 ،‬ﺧﺮﺩﺍﺩ ‪ (1377‬ﻧﻬﺎﻳﺘﺎ ﺑﺎ‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻳﻚ ﺭﻭﺯ ﻗﺒﻞ ﺍﺯ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ ﺩﺭ ﺳﻴﻨﻤﺎ ﻓﺮﻫﻨﮓ ﺑﺮﺍﻱ‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﻭﻗﺖ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻭ ﺟﻤــﻊ ﺩﻳﮕﺮﻱ ﺍﺯ ﻣﻘﺎﻣﺎﺕ ﺑﻠﻨﺪﭘﺎﻳﻪ‬ ‫ﺍﻳﻦ ﻧﻴﺮﻭ ﻭ ﺍﻋﻼﻡ ﺭﺿﺎﻳﺖ ﺳــﺮﺗﻴﭗ ﻫﺪﺍﻳﺖ ﻟﻄﻔﻴﺎﻥ ﺍﺯ ﻓﻴﻠﻢ‪ ،‬ﻣﻮﺿﻮﻉ‬ ‫ﻓﻴﺼﻠﻪ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺳﻴﻒﺍﷲ ﺩﺍﺩ ﻳﻚ ﻣﺎﻩ ﺑﻌﺪ ﺩﺭ ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﮔﻔﺖ‬ ‫ﻛﻪ ﺷﻜﺎﻳﺖ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﻭ ﻣﺮﺑﻮﻁ ﺑﻪ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺗﻬﺮﺍﻥ ﺑﻮﺩﻩ ﻛﻪ‬ ‫ﺳــﺮﺍﻧﺠﺎﻡ ﺑﺎ ﻭﺭﻭﺩ ﻓﺮﻣﺎﻧﺪﻫﻲ ﻛﻞ ﻓﻴﺼﻠﻪ ﻳﺎﻓﺘﻪ‪) .‬ﻓﻴﻠﻢ‪ ،‬ﺷﻤﺎﺭﻩ ‪(223‬‬ ‫ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺩﺭ ﭼﻨﻴﻦ ﻓﻀﺎﻳﻲ ﻭ ﺩﺭ ﺍﻭﺝ ﺳﻴﺎﺳــﺖﺯﺩﮔﻲ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ‬ ‫ﺁﻏﺎﺯ ﻣﻲﺷــﻮﺩ‪ .‬ﺍﺳــﺘﻘﺒﺎﻝ ﻣﺨﺎﻃﺒﺎﻥ ﺩﺭ ﻛﻨﺎﺭ ﺗﻮﺟﻪ ﺭﺳﺎﻧﻪﻫﺎ ﺑﺴﻴﺎﺭ‬ ‫ﺯﻳﺎﺩ ﺍﺳــﺖ‪ .‬ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﺎﺯ ﻫﻢ ﺳــﻜﻮﺕ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﻫﺎ ﻭ‬ ‫ﺳــﺎﻳﺮ ﻋﻮﺍﻣﻞ ﺑﻪ ﮔﻔﺖﻭﮔﻮ ﻣﻲﭘﺮﺩﺍﺯﻧﺪ‪ .‬ﺣﺎﺗﻤﻲﻛﻴﺎ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻣﻌﺪﻭﺩ‬ ‫ﻭﺍﻛﻨﺶﻫﺎﻳﺶ ﺩﺭ ﻗﺎﻟﺐ ﻳﺎﺩﺩﺍﺷﺘﻲ ﻛﻮﺗﺎﻩ ﺑﺮ ﺩﺭﺳﺘﻲ ﺩﻳﺪﮔﺎﻫﺶ ﺗﺎﻛﻴﺪ‬ ‫ﻣﻲﻛﻨﺪ‪» :‬ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﻓﻀﺎ ﺗﻮﻓﺎﻧﻲ ﺍﺳﺖ‪ .‬ﺗﻮﻓﺎﻧﻲ ﻣﻄﺒﻮﻉ‪ .‬ﺑﻌﻀﻲ ﺑﺮﺍﻱ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﺑﻪ ﻗﻠﻪ ﻛﻮﻩﻫﺎ ﮔﺴﻴﻞ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻭ ﺑﻌﻀﻲ ﻫﻤﭽﻮﻥ ﻛﺮﻡ ﺯﻣﻴﻦ‬ ‫ﻣﻲﻛﻨﻨﺪ ﻛﻪ ﺩﺭ ﺍﻣﺎﻥ ﺑﻤﺎﻧﻨﺪ‪ .‬ﻣﻦ ﻫﻨﻮﺯ ﺟﻮﺍﻧﻢ‪ .‬ﻳﻌﻨﻲ ﻫﻨﻮﺯ ﺑﻪ ﺳﻦ ﻋﻘﻞ‬ ‫ﻧﺮﺳﻴﺪﻩﺍﻡ‪ .‬ﻗﺼﺪ ﺍﺳــﺘﺮﺍﺣﺖ ﻧﺪﺍﺭﻡ‪ .‬ﻗﺼﺪ ﭼﺎﺩﺭ ﺯﺩﻥ ﺩﺭ ﺩﺍﻣﻨﻪ ﺭﺍ ﻫﻢ‬ ‫ﻧﺪﺍﺭﻡ‪ .‬ﺍﮔﺮ ﺻﻮﺭﺗﻢ ﺍﺯ ﺳﻴﻠﻲ ﻧﻘﺪﺗﺎﻥ ﻳﺦ ﺷﺪﻩ‪ ،‬ﻭﻟﻲ ﻫﻨﻮﺯ ﺍﺣﺴﺎﺱ ﻭﺟﻮﺩ‬ ‫ﻣﻲﻛﻨﻢ‪ .‬ﺍﺟﺎﺯﻩ ﺑﺪﻩ ﺗﺎ ﻋﺎﻗﻞ ﻧﺸﺪﻩﺍﻡ ﺑﻪ ﺍﺑﺮﺍﻫﻴﻢ ﻭﺟﻮﺩﻡ ﻣﺘﻜﻲ ﺑﺎﺷﻢ ﻭ‬ ‫ﻧﻪ ﺍﺑﺮﺍﻫﻴﻢﻫﺎﻱ ﺷــﻤﺎ!« )ﻓﻴﻠﻢ‪ ،‬ﺷﻤﺎﺭﻩ ‪ (223‬ﺭﺳﺎﻧﻪﻫﺎ ﺳﺮﺍﻍ ﻣﺴﻌﻮﺩ‬ ‫ﺩﻩﻧﻤﻜﻲ ﻭ ﺣﺴﻴﻦ ﺍﷲﻛﺮﻡ‪ ،‬ﭼﻬﺮﻩﻫﺎﻱ ﺷﺎﺧﺺ ﺟﺮﻳﺎﻥ ﺍﻧﺼﺎﺭ ﺣﺰﺏﺍﷲ‬ ‫ﻣﻲﺭﻭﻧــﺪ ﺗﺎ ﺩﻳﺪﮔﺎﻩﻫﺎﻱ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠــﻢ ﺑﻴﺎﺑﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻫﻢ ﺑﻪ ﻃﻮﺭ‬ ‫ﻛﺎﻣﻞ ﺍﺯ ﻓﻴﻠﻢ ﺭﺍﺿﻲ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﷲﻛﺮﻡ ﺍﺯ ﻇﻠﻢ ﺑﻪ ﻫﻤﻪ ﺩﺭ ﻓﻴﻠﻢ ﺻﺤﺒﺖ‬ ‫ﻣﻲﻛﻨــﺪ ﻭ ﺩﻩﻧﻤﻜﻲ ﺁﻥ ﺭﺍ ﻓﻴﻠﻢ ﺩﻳﺮﻭﺯ ﻭ ﻧــﻪ ﺍﻣﺮﻭﺯ ﻣﻲﺩﺍﻧﺪ‪ .‬ﺩﺭ ﺟﺒﻬﻪ‬ ‫ﻣﻘﺎﺑﻞ ﻫﻢ ﻭﺿﻊ ﺑﻪ ﻫﻤﻴﻦ ﺷــﻜﻞ ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﻫﻢ ﻫﻤﺮﺍﻫﻲ ﻓﻴﻠﻤﺴﺎﺯ ﺭﺍ‬ ‫ﺑﻴﺸــﺘﺮ ﺑﺎ ﺣﺎﺝ ﻛﺎﻇﻢ ﻣﻲﺩﺍﻧﻨﺪ ﺍﻣﺎ ﻣﺘﺬﻛﺮ ﻣﻲﺷﻮﻧﺪ ﻛﻪ ﻫﻤﻴﻦ ﺍﻗﺪﺍﻡ‬ ‫ﺑﺎﻋﺚ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻦ ﺯﻭﺩﺗﺮ ﻋﺒﺎﺱ ﻣﻲﺷﻮﺩ‪ .‬ﻓﻴﻠﻢ ﻛﻪ ﺍﺯ ﺳﻮﻱ ﻋﺪﻩﺍﻱ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﺍﺛﺮ ﻣﻘﺎﺑﻠﻪ ﺟﻮﻳﺎﻧﻪ ﺳﻴﺎﺳﺖﻫﺎﻱ ﺩﻭﻟﺖ ﺟﺪﻳﺪ ﺷﻨﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪،‬‬ ‫ﺟﺎﻳﺰﻩ ﺳﻴﻨﻤﺎﻱ ﻣﺼﻠﺤﺎﻧﻪ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺭﺍ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ‬ ‫ﺑﻌﺪ ﺍﺯ ﺳــﻪ ﻣﺎﻩ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻫﻨﻮﺯ ﺯﻣﻴﻨﻪ ﺑﺤﺚﻫﺎ ﺩﺭ‬ ‫ﺟﺎﻣﻌﻪ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﺩﺍﻣﻨﻪ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﺑﻪ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﻛﺸﻴﺪﻩ‬ ‫ﻣﻲﺷﻮﺩ ﻭ ﺣﺘﻲ ﻋﺪﻩﺍﻱ ﺍﺯ ﻣﺨﺎﻟﻔﺎﻥ ﻧﻈﺎﻡ ﺑﺎ ﻗﻬﺮﻣﺎﻥ ﻓﻴﻠﻢ ﻫﻤﺪﺭﺩﻱ ﻭ‬ ‫ﻫﻤﺮﺍﻫﻲ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺣﺎﺗﻤﻲﻛﻴﺎ ﻛﻪ ﻫﻤﺮﺍﻩ ﻓﻴﻠﻢ ﺳﻔﺮﻱ ﺑﻪ ﺧﺎﺭﺝ ﺩﺍﺭﺩ ﺩﺭ‬ ‫ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﻣﺨﺎﻃﺒﺎﻥ ﺁﻧﺠﺎﻳﻲ ﺟﻠﺴﻪ ﭘﺮﺷﻮﺭﻱ ﺑﺮﮔﺰﺍﺭ ﻣﻲﻛﻨﺪ ﻭ ﺩﺍﻣﻨﻪ‬ ‫ﺑﺤﺚﻫﺎ ﭼﻨﺎﻥ ﺍﺳﺖ ﻛﻪ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺭﺍ ﺑﻪ ﻓﻜﺮ ﺳﺎﺧﺖ ﺩﻧﺒﺎﻟﻪﺍﻱ ﺑﺮ ﻓﻴﻠﻢ‬ ‫ﻣﻲﺍﻧﺪﺍﺯﺩ ﻭ ﺣﺘﻲ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﻣﻲﻧﻮﻳﺴﺪ‪ .‬ﺁﺧﺮﻳﻦ‬ ‫ﻧﻜﺘﻪ ﺩﺭﺑﺎﺭﻩ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﭘﺨﺶ ﺯﻭﺩﻫﻨﮕﺎﻡ ﺁﻥ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﭼﻨﺪ ﻣﺎﻩ‬ ‫ﺑﻌﺪ ﺍﺯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻭ ﺩﺭ ﺍﻭﺝ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺷﻮﺭﺍﻫﺎﻱ ﺷﻬﺮ ﺑﻮﺩ‪ .‬ﻣﺨﺎﻟﻔﺎﻥ‬ ‫ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﺭﺍ ﻫﻢ ﻧﻜﺘﻪﺍﻱ ﺩﻳﮕﺮ ﺩﺭ ﻫﻤﺮﺍﻫﻲ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﺳﻴﺎﺳﺖﻫﺎﻱ‬ ‫ﻃﻴﻒ ﻣﻘﺎﺑﻞ ﺍﺻﻼﺣﺎﺕ ﻣﻲﺩﺍﻧﻨﺪ ﺍﻣﺎ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺻﺮﻓﻪ ﺍﻗﺘﺼﺎﺩﻱ ﺭﺍ‬ ‫ﺩﻟﻴﻞ ﺍﺻﻠﻲ ﺍﻗﺪﺍﻣﺸﺎﻥ ﻣﻲﺩﺍﻧﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺧﻮﺩ ﺯﻣﻴﻨﻪ ﺟﺪﺍﻝ ﻗﻠﻤﻲ‬ ‫ﺗﻨﺪﻱ ﻣﻴﺎﻥ ﺩﻭ ﺭﻭﺯﻧﺎﻣﻪ ﺧﺮﺩﺍﺩ ﻭ ﻛﻴﻬﺎﻥ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻫﻤﻴﻦ ﺟﻤﻼﺕ ﻣﻲﺗﻮﺍﻧﺪ ﭘﺎﺳﺦ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺳــﻮﺍﻻﺗﺶ ﺭﺍ ﺩﺭﺑﺎﺭﻩ ﺳﻴﺎﺳﺖﻫﺎ ﻭ ﺗﺼﻤﻴﻤﺎﺕ ﻭ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﺟﺎﺭﻱ ﺳﻴﺎﺳﻲ ﻳﻚ ﺩﻫﻪ ﺍﺧﻴﺮ ﻛﺸﻮﺭ ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺷﺪﺕ ﻋﻤﻖ ﻭ ﺍﺳﺘﻮﺍﺭﻱ ﻓﻴﻠﻢ ﭼﻨﺎﻥ ﺍﺳﺖ ﻛﻪ ﺣﺘﻲ ﺩﺭ‬ ‫ﻓﻀﺎﻱ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻭ ﻣﺴــﺎﺋﻞ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻋﺪﻩﺍﻱ ﺩﻭﺑﺎﺭﻩ ﺑــﻪ ﺁﻥ ﺭﺟﻮﻉ ﻛﺮﺩﻧﺪ ﻭ ﺣﺎﺗﻤﻲﻛﻴﺎ ﻫﻢ ﺑﺎ ﻧﮕﺎﺭﺵ‬ ‫ﻳﺎﺩﺩﺍﺷﺘﻲ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻓﻀﺎﻱ ﻗﻬﺮﻣﺎﻧﺎﻥ ﻓﻴﻠﻢ ﺗﻮﺻﻴﻒ ﻛﺮﺩ‪.‬‬ ‫ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ ﺍﻭﻟﻴﻦ ﻭ ﻣﻬﻢﺗﺮﻳﻦ ﻭﺍﻛﻨﺶ ﺑﻪ ﻣﻬﻢﺗﺮﻳﻦ ﺗﺤﻮﻝ ﺩﻫﻪ ﺩﻭﻡ ﺍﻧﻘﻼﺏ ﺍﺳﺖ‪ ،‬ﻭﺍﻛﻨﺸﻲ ﺑﺎ‬ ‫ﺑﻴﺸﺘﺮﻳﻦ ﺑﻬﺮﻩﮔﻴﺮﻱ ﺍﺯ ﺍﺑﺰﺍﺭ ﻭ ﺍﻣﻜﺎﻧﺎﺕ ﺳﻴﻨﻤﺎ ﻛﻪ ﻣﺤﺼﻮﻝ ﺩﻭﺭﻩﺍﻱ ﺧﺎﺹ ﻭ ﻣﻨﺤﺼﺮ ﺍﺳﺖ ﺍﻣﺎ ﺗﻮﺍﻧﺴﺘﻪ‬ ‫ﺩﺍﻣﻨﻪ ﺣﻀﻮﺭﺵ ﺭﺍ ﺗﺎ ﺳﺎﻝﻫﺎ ﮔﺴــﺘﺮﺩﻩ ﻛﻨﺪ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺁژﺍﻧﺲ ﺷﻴﺸﻪﺍﻱ ﺍﺣﺘﻤﺎﻻ ﺗﺎ ﺳﺎﻝﻫﺎ ﻋﻨﻮﺍﻥ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻭ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺳﻴﺎﺳﻲ ﺍﻳﺮﺍﻥ ﺭﺍ ﻳﺪﻙ ﺧﻮﺍﻫﺪ ﻛﺸﻴﺪ‪.‬‬ ‫‪83‬‬ ‫‪21‬‬ ‫ﺩﺭ ﺗﻤﺎﻡ ﺟﺎﻣﻌﻪ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺁﺷﻜﺎﺭﺍ‬ ‫ﻓﻴﻠﻤﻲ ﺳــﺎﺧﺘﻪ ﺷــﺪﻩ ﺑﺮﺍﻱ ﺯﻣﺎﻧﻪﺍﺵ ﺑﻮﺩ‪ ،‬ﻧﻬﻴﺒﻲ ﺑﺮ ﺟﺎﻣﻌﻪﺍﻱ ﻛﻪ‬ ‫ﺳﺮﺧﻮﺭﺩﮔﻲﻫﺎﻱ ﺩﺭﻭﻧﻲ ﺍﻓﺮﺍﺩﺵ ﺗﻬﺪﻳﺪ ﻛﻨﻨﺪﻩ ﺑﻮﺩ‪.‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ )‪(1377‬‬ ‫ﺷﺮﻭﻉ ﺩﻭﺭﻩ ﺟﻮﺍﻧﺎﻧﻪ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬ﺭﺳﻮﻝ ﺻﺪﺭﻋﺎﻣﻠﻲ‪،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪:‬ﺭﺳﻮﻝ ﺻﺪﺭﻋﺎﻣﻠﻲ‪،‬ﻣﻨﻴﮋﻩ ﺣﻜﻤﺖ‪،‬ﻧﻮﻳﺴﻨﺪﻩ‪:‬ﭘﻴﻤﺎﻥ‬ ‫ﻗﺎﺳـﻢﺧﺎﻧﻲ‪ ،‬ﻓﺮﻳﺪﻭﻥ ﻓﺮﻫﻮﺩﻱ‪ ،‬ﺑﺮﺍﺳﺎﺱ ﻃﺮﺣﻲ ﺍﺯ‪ :‬ﺭﺳـﻮﻝ ﺻﺪﺭﻋﺎﻣﻠﻲ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﺩﺍﺭﻳﻮﺵ ﻋﻴﺎﺭﻱ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﻣﺼﻄﻔﻲ ﺧﺮﻗﻪﭘﻮﺵ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪ :‬ﻣﻠﻚﺍﻳـﺮﺝ ﭘﻨﺎﻫﻲ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ‬ ‫ﻟﺒﺎﺱ‪ :‬ﻋﻠﻲ ﻋﺎﺑﺪﻳﻨﻲ‪ ،‬ﺩﺳـﺘﻴﺎﺭ ﺍﻭﻝ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺤﻤﺪ ﺭﺳﻮﻝﺍﻑ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﭘﺮﻭﻳﺰ ﺍﺑﻨﺎﺭ‪ ،‬ﻃﺮﺍﺡ‬ ‫ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯﻱ‪ :‬ﻋﺒﺪﺍﷲ ﺍﺳﻜﻨﺪﺭﻱ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ ﻭ ﺑﺮﻧﺎﻣﻪﺭﻳﺰ‪ :‬ﻣﻨﻴﮋﻩ ﺣﻜﻤﺖ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﭘـﮕﺎﻩ ﺁﻫﻨﮕﺮﺍﻧﻲ‪ ،‬ﻣﺠﻴـﺪ ﺣﺎﺟﻲﺯﺍﺩﻩ‪ ،‬ﺍﻛـﺮﻡ ﻣﺤﻤﺪﻱ‪ ،‬ﻋﺒﺪﺍﻟﺮﺿـﺎ ﺍﻛﺒﺮﻱ‪ ،‬ﻣﺤﻤﻮﺩ‬ ‫ﻋﺰﻳﺰﻱ‪،‬ﺩﺍﺭﻳﻮﺵ ﻣﻮﺩﺑﻴﺎﻥ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻣﻴﻼﺩ ﻓﻴﻠﻢ‪ 97 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪14 :‬ﻣﻬﺮ ‪ ،1378‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 186 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺁﻳﺪﻳﻦ ﻭ ﺗﺪﺍﻋﻲ ﺩﺭ ﺣﻴﻦ ﮔﺮﺩﺵ ﺩﺭ ﭘﺎﺭﻙ ﺗﻮﺳــﻂ ﻣﺎﻣﻮﺭﻳﻦ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﻣﺘﻮﻗﻒ ﺷــﺪﻩ ﻭ ﺑﻪ ﻛﻼﻧﺘﺮﻱ ﺑﺮﺩﻩ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺑﺎ ﺗﺸﻜﻴﻞ‬ ‫ﭘﺮﻭﻧﺪﻩ ﻭ ﺗﺎ ﺑﺮﮔﺸــﺖ ﺁﻥ ﺍﺯ ﺩﺍﺩﺳﺮﺍ ﺁﻳﺪﻳﻦ ﺩﺭ ﻛﻼﻧﺘﺮﻱ ﻣﺎﻧﺪﻩ ﻭ ﺗﺪﺍﻋﻲ ﻧﻴﺰ ﺑﺮﺍﻱ ﺗﺤﻘﻴﻘﺎﺕ ﺑﻪ ﭘﺰﺷﻜﻲ ﻗﺎﻧﻮﻧﻲ ﻣﻨﺘﻘﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﭘﺲ‬ ‫ﺍﺯ ﺑﺎﺯﮔﺸــﺖ ﺍﺯ ﭘﺰﺷﻜﻲ ﻗﺎﻧﻮﻧﻲ ﻭ ﻧﺪﺍﺷﺘﻦ ﻣﻮﺭﺩ ﻭ ﻣﺴﺎﻟﻪ ﺧﺎﺹ ﺗﻮﺳــﻂ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺵ ﺑﺎﺯﺧﻮﺍﺳﺖ ﺷﺪﻩ ﻭ ﺭﻓﺖ ﻭ ﺁﻣﺪﻫﺎﻱ ﻭﻱ ﻛﻨﺘﺮﻝ‬ ‫ﻣﻲﺷــﻮﺩ‪ .‬ﺗﺪﺍﻋﻲ ﺍﺯ ﺭﻓﺘﻦ ﺑﻪ ﻣﺪﺭﺳــﻪ ﺧﻮﺩﺩﺍﺭﻱ ﻛﺮﺩﻩ ﻭ ﺗﺼﻤﻴﻢ ﺑﻪ ﻓﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻭ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍ ﻗﺼﺪ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺧﺎﻧﻪ ﺭﺍ ﻧﺪﺍﺷﺖ ﺑﺎ‬ ‫ﮔﺮﺩﺵ ﺩﺭ ﺳﻄﺢ ﺷﻬﺮ ﻭ ﻣﺨﺎﻃﺮﺍﺕ ﻭ ﻣﺸﻜﻼﺕ ﻓﺮﺍﻭﺍﻥ ﭘﺸﻴﻤﺎﻥ ﺷﺪﻩ ﻭ ﺑﺎ ﺳﻔﺎﺭﺵ ﺁﻳﺪﻳﻦ ﺑﻪ ﺧﺎﻧﻪ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻧﻴﻤــﻪ ﺩﻭﻡ ﺩﻫﻪ ﻫﻔﺘﺎﺩ‪ ،‬ﺟﻮﺍﻧﺎﻥ ﺁﺷــﻜﺎﺭﺍ ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﻧﻘﺶ‬ ‫ﻣﻬﻤﻲ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﮔﺮﻭﻩ ﻛﻪ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻣﻘﻄﻊ ﻣﻌﻤﻮﻻ‬ ‫ﺩﺭ ﺗﺼﻤﻴﻢﮔﻴﺮﻱﻫﺎ ﺩﺧﺎﻟﺖ ﺩﺍﺩﻩ ﻧﻤﻲﺷﺪﻧﺪ‪ ،‬ﺧﻮﺩ ﺩﺭ ﺷﻜﻞﮔﻴﺮﻱ‬ ‫ﺍﺗﻔﺎﻕ ﺗﺎﺭﻳﺦﺳﺎﺯﻱ ﭼﻮﻥ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﻧﻘﺶ ﻣﻬﻤﻲ ﺍﻳﻔﺎ ﻛﺮﺩﻧﺪ ﻭ ﻫﻤﻴﻦ‬ ‫ﺗﻤﺎﻡ ﻧﮕﺎﻩﻫــﺎ ﺭﺍ ﻣﻌﻄﻮﻑ ﺁﻧﻬﺎ ﻛﺮﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﭘــﺲ ﺁﻧﻬﺎ ﺑﻮﺩﻧﺪ ﻛﻪ ﺧﻮﺩ‬ ‫ﺗﺼﻤﻴﻢﻫﺎ ﺭﺍ ﻣﻲﺳﺎﺧﺘﻨﺪ‪ .‬ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﺟﺪﻳﺪ ﺁﺷﻜﺎﺭﺍ ﻣﻮﺭﺩ ﺗﻮﺟﻪ‬ ‫ﺁﻧﻬﺎ ﺑﻮﺩ‪ .‬ﺟﺎﻣﻌﻪ ﻧﮕﺎﻫﺶ ﺭﺍ ﻣﻌﻄﻮﻑ ﺁﻧﻬﺎ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻧﺘﻈﺎﺭ ﺍﺯ ﺍﻳﻨﻜﻪ ﺍﻳﻦ‬ ‫ﮔﺮﻭﻩ ﻭﺍﺭﺩ ﺳﻴﻨﻤﺎ ﺩﺭ ﺗﻤﺎﻡ ﺷﺌﻮﻧﺶ ﺷﻮﻧﺪ‪ ،‬ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﻧﺒﻮﺩ‪ .‬ﺭﻭﺍﺑﻂ‬ ‫ﺑﻴﻦ ﺟﻮﺍﻧﺎﻥ ﻭ ﻣﻨﺎﺳﺒﺎﺕ ﺑﻴﻦ ﺁﻧﻬﺎ ﺧﻴﻠﻲ ﺯﻭﺩ ﺩﺳﺘﻤﺎﻳﻪ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺣﺎﻝ ﺑﺨﺶ ﺯﻳــﺎﺩﻱ ﺍﺯ ﻫﻤﻴﻦ ﺟﻮﺍﻥﻫﺎ ﻭﺍﺭﺩ‬ ‫ﺳﻴﻨﻤﺎ ﺷــﺪﻧﺪ‪ .‬ﭼﻬﺮﻩﻫﺎﻱ ﺟﺪﻳﺪ ﺗﻨﻬﺎ ﻣﺤﺪﻭﺩ ﺑﻪ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻧﺒﻮﺩﻧﺪ‪.‬‬ ‫‪84‬‬ ‫ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺟﺪﻳﺪ ﺟﻮﺍﻥ ﻫﻢ ﺧﻴﻠﻲ ﺯﻭﺩ ﻭﺍﺭﺩ ﻋﺮﺻﻪ ﺷﺪﻧﺪ‪ .‬ﺳﻤﻴﺮﺍ‬ ‫ﻣﺨﻤﻠﺒﺎﻑ ﺑﻪﻋﻨــﻮﺍﻥ ﺟﻮﺍﻥﺗﺮﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺟﻬــﺎﻥ ﺑﺎ ﻓﻴﻠﻢ ﺍﻭﻟﺶ‬ ‫)ﺳــﻴﺐ( ﺟﻬﺎﻥ ﺭﺍ ﭼﺮﺧﻴﺪ‪ .‬ﺟﻮﺍﻧﺎﻥ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻧﻘﺶ ﺍﺻﻠﻲ ﺭﺍ ﺩﺭ‬ ‫ﺷﻜﻞﮔﻴﺮﻱ ﻭﺍﻗﻌﻪ ﻣﻬﻤﻲ ﭼﻮﻥ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺭﻳﺎﺳﺖﺟﻤﻬﻮﺭﻱ ﺩﺍﺷﺘﻨﺪ‪،‬‬ ‫ﺩﺭ ﺳﻴﻨﻤﺎ ﻫﻢ ﭘﺎﻳﻪﮔﺬﺍﺭ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪﻱ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﻓﻴﻠﻢ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﻫﻤﺮﺍﻩ ﻣﺼﺎﺋﺐ ﺷﻴﺮﻳﻦ ﻧﺨﺴﺘﻴﻦ ﺗﻼﺵﻫﺎﻱ ﺳﻴﻨﻤﺎﻱ ﻣﺤﺎﻓﻈﻪﻛﺎﺭ‬ ‫ﺍﻳﺮﺍﻥ ﺑﺮﺍﻱ ﻭﺭﻭﺩ ﺑﻪ ﻃﺮﺡ ﻣﺴﺎﻳﻞ ﺟﻮﺍﻧﺎﻥ ﺑﻮﺩ‪ .‬ﻣﺴﺎﺋﻠﻲ ﻛﻪ ﺩﺭ ﺻﺪﺭﺵ‬ ‫ﺭﺍﺑﻄــﻪ ﺑﺎ ﺟﻨﺲ ﻣﺨﺎﻟــﻒ ﻭ ﺩﻏﺪﻏﻪﻫﺎﻱ ﺩﻭﺭﺍﻥ ﺑﻠﻮﻍ ﻗﺮﺍﺭ ﺩﺍﺷــﺖ‪.‬‬ ‫ﺩﺧﺘــﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺟﺪﻱﺗﺮﻳﻦ ﺭﻭﺍﻳﺖ ﺩﺭ ﺑﻴﺎﻥ ﻣﺴــﺎﺋﻞ‬ ‫ﺩﺧﺘﺮﺍﻥ ﺟﻮﺍﻥ ﺟﺎﻣﻌﻪ ﺷــﻬﺮﻱ ﺍﻳﺮﺍﻥ ﺑﻮﺩ‪ .‬ﺩﺧﺘﺮﺍﻧﻲ ﻛﻪ ﻫﻤﻮﺍﺭﻩ ﺩﺭ‬ ‫ﻣﻌﺮﺽ ﺗﻬﺪﻳﺪ ﺑﻮﺩﻧﺪ ﻭ ﻧﮕﺎﻩ ﻣﺘﻬﻤﺎﻧﻪ ﻭ ﺳﻮءﺍﺳﺘﻔﺎﺩﻩ ﮔﺮﺍﻳﺎﻧﻪ ﺑﻪ ﺁﻧﻬﺎ‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺭﺳــﻮﻝ ﺻﺪﺭﻋﺎﻣﻠــﻲ ﺍﺯ ﺁﻏﺎﺯ ﺩﻫــﻪ ﺩﻭﻡ ﺍﻧﻘﻼﺏ ﻧﺘﻮﺍﻧﺴــﺘﻪ ﺑﻮﺩ‬ ‫ﺩﺭﺧﺸﺶ ﺩﻫﻪ ﻗﺒﻞ ﺭﺍ ﺩﺍﺷــﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻭ ﻛﻪ ﺩﺭ ﺩﻫﻪ ‪ 60‬ﺑﺎ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻣﻮﻓﻘﻲ ﭼﻮﻥ »ﮔﻞﻫﺎﻱ ﺩﺍﻭﺩﻱ« ﻭ »ﭘﺎﻳﻴﺰﺍﻥ« ﺍﺯ ﭼﻬﺮﻩﻫﺎﻱ ﺍﺻﻠﻲ‬ ‫ﺳﻴﻨﻤﺎ ﻣﺤﺴــﻮﺏ ﻣﻲﺷــﺪ ﻧﻴﻤﻪ ﺍﻭﻝ ﺩﻫﻪ ﻫﻔﺘﺎﺩ ﺭﺍ ﻛﺎﻣﻼ ﻧﺎﻣﻮﻓﻖ‬ ‫ﺳــﭙﺮﻱ ﻛﺮﺩ‪ .‬ﻓﻴﻠﻢ »ﻗﺮﺑﺎﻧﻲ« ﺣﺎﺻﻠﻲ ﻛــﻪ ﺍﻧﺘﻈﺎﺭ ﻣﻲﺭﻓﺖ ﺭﺍ ﺑﻪ ﺑﺎﺭ‬ ‫ﻧﻴﺎﻭﺭﺩ ﻭ ﻓﻴﻠﻢ ﻧﻴﻤﻪ ﺑﻠﻨﺪ »ﺳﻤﻔﻮﻧﻲ ﺗﻬﺮﺍﻥ« ﻫﻢ ﻫﻴﭽﮕﺎﻩ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭ ﻧﻴﺎﻣﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺣﺎﻝ ﺗﻼﺵﻫﺎﻱ ﺻﺪﺭﻋﺎﻣﻠﻲ ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﻓﻴﻠﻢ‬ ‫ﺍﺯ ﺩﻭ ﻣﺎﺟﺮﺍﻱ ﺧﺒﺮﺳــﺎﺯ ﻭﺍﻗﻌــﻲ ﺭﺥ ﺩﺍﺩﻩ ﺩﺭ ﺟﺎﻣﻌﻪ )ﭘﺮﻭﻧﺪﻩ ﭘﺪﺭﺍﻡ‬ ‫ﺗﺠﺮﻳﺸﻲ ﻭ ﺣﺎﺩﺛﻪ ﻣﻌﺮﻭﻑ ﺑﻪ ﺷــﺎﻫﺮﺥ ﻭ ﺳﻤﻴﻪ( ﺑﺎﻭﺟﻮﺩ ﺗﺤﻘﻴﻖ ﻭ‬ ‫ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻱ ﻣﻔﺼﻞ ﺑﻪ ﺳﺪ ﻣﻤﻴﺰﻱ ﺧﻮﺭﺩﻩ ﻭ ﺍﻣﻜﺎﻥ ﺗﻮﻟﻴﺪ ﻧﻴﺎﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺑﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺭﻓﺖ ﻭ ﺳﺮﻳﺎﻝ ﻧﻴﻤﻪ ﺩﺍﺳﺘﺎﻧﻲ »ﺧﺎﻃﺮﺍﺕ‬ ‫ﻳﻚ ﺧﺒﺮﻧﮕﺎﺭ« ﺭﺍ ﺩﺭﺑﺎﺭﻩ ﺍﻗﺎﻣﺖ ﺍﻣﺎﻡ ﺩﺭ ﻧﻮﻓﻞ ﻟﻮﺷﺎﺗﻮ ﺑﺮ ﻣﺒﻨﺎﻱ ﺗﺠﺮﺑﻪ‬ ‫ﻭﺍﻗﻌﻲ ﺧﻮﺩﺵ ﺳﺎﺧﺖ‪ .‬ﭘﺲ ﺍﺯ ﺩﻭﻡﺧﺮﺩﺍﺩ ﻭ ﮔﺸﺎﻳﺶ ﻧﺴﺒﻲ ﻓﻀﺎﻱ‬ ‫ﺗﻨﻔﺴﻲ ﺟﺎﻣﻌﻪ‪ ،‬ﺻﺪﺭﻋﺎﻣﻠﻲ ﺑﻼﻓﺎﺻﻠﻪ ﻃﺮﺡ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻱ ﻗﺒﻠﻲﺍﺵ ﻣﺮﺗﺒﻂ ﺑﺎ ﺟﻮﺍﻧﺎﻥ ﻛﻪ ﻗﺒﻼ ﺑﻪ ﻧﺘﻴﺠﻪ ﻧﺮﺳﻴﺪﻩ‬ ‫ﺑﻮﺩ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺩﺳﺖ ﺑﻪ ﺍﺑﺘﻜﺎﺭ ﺟﺎﻟﺒﻲ ﺯﺩ ﻭ ﺳﻔﺎﺭﺵ‬ ‫ﻳﻚ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑــﻪ ﺩﻭﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ ﺩﺍﺩ؛ ﺩﺍﺳــﺘﺎﻥ ﻓﺮﺍﺭ ﺩﺧﺘﺮﻱ‬ ‫ﺩﺭ ﺗﻬﺮﺍﻥ ﻭ ﭘﺮﺳــﻪ ﻳﻚ ﺭﻭﺯﻩﺍﺵ ﺩﺭ ﺍﻳﻦ ﺷــﻬﺮ‪ .‬ﭘﻴﻤﺎﻥ ﻗﺎﺳﻢﺧﺎﻧﻲ‪،‬‬ ‫ﻧﻮﻳﺴــﻨﺪﻩ ﺟﻮﺍﻥ ﻭ ﺗﺎﺯﻩﻛﺎﺭ ﺁﻥ ﺭﻭﺯﻫﺎ ﺑﺮ ﻣﺒﻨﺎﻱ ﻋﻼﻳﻘﺶ ﺍﻳﻦ ﻃﺮﺡ‬ ‫ﺭﺍ ﺑﺎ ﻧﮕﺎﻫﻲ ﻃﻨﺰﺁﻣﻴﺰ ﻭ ﺩﺭ ﮔﺴــﺘﺮﻩ ﻧﻴﻤﻪﺷﻤﺎﻟﻲ ﺷﻬﺮ ﺭﻭﺍﻳﺖ ﻛﺮﺩ ﻭ‬ ‫ﻓﺮﻳﺪﻭﻥ ﻓﺮﻫﻮﺩﻱ ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺴﻲ ﺟﺪﻱ ﺑﺎ ﺳﺎﺑﻘﻪ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫»ﺳﺎﺣﺮﻩ« ﺁﻥ ﺭﺍ ﺑﺴــﻴﺎﺭ ﺗﻠﺦ ﻭ ﺟﺪﻱ ﺩﺭ ﻓﺸﺎﻱ ﺟﻨﻮﺏﺷﻬﺮ ﻧﻮﺷﺖ‪.‬‬ ‫ﺻﺪﺭﻋﺎﻣﻠﻲ ﺣﺎﺻﻞ ﻛﺎﺭ ﺍﻳﻦ ﺩﻭ ﻧﻔﺮ ﺭﺍ ﺧﻮﺩﺵ ﺩﺭ ﻗﺎﻟﺐ ﻳﻚ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﻧﻬﺎﻳﻲ ﺗﺮﻛﻴﺐ ﻛﺮﺩ‪ .‬ﻧﺘﻴﺠﻪ ﻓﻴﻠﻤﻨﺎﻣﻪ »ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ«‬ ‫ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﻛﻪ ﺻﺪﺭﻋﺎﻣﻠﻲ ﻛﺎﺭ ﺳﺎﺧﺘﺶ ﺭﺍ ﺩﺭ ﺩﻓﺘﺮ ﻣﻴﻼﺩ ﻓﻴﻠﻢ‬ ‫ﺑﺎ ﻣﺸﺎﺭﻛﺖ ﻣﻨﻴﮋﻩ ﺣﻜﻤﺖ ﺩﺭ ﺁﻏﺎﺯ ﺳﺎﻝ ‪ 1377‬ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﺻﺪﺭﻋﺎﻣﻠﻲ‬ ‫ﺑﺮﺍﻱ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﭼﻬﺮﻩﻫﺎﻱ ﺟﺪﻳﺪﻱ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ ﻭ ﻣﺎﺑﻘﻲ‬ ‫ﺭﺍ ﺍﺯ ﻋﻮﺍﻣــﻞ ﺣﺮﻓﻪﺍﻱ ﮔﺰﻳﺪ‪ .‬ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻗﺼﺪ ﺩﺍﺷــﺘﻨﺪ ﺍﺯ ﺍﺑﺘﺪﺍﻱ‬ ‫ﺗﺎﺑﺴــﺘﺎﻥ ‪ 77‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﺷــﺮﻭﻉ ﻛﻨﻨﺪ ﺍﻣﺎ ﻣﺴﺌﻮﻻﻥ ﻣﻌﺎﻭﻧﺖ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﺩﺭ ﺩﺍﺩﻥ ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﺗﺮﺩﻳﺪ ﺩﺍﺭﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﻣﺬﺍﻛﺮﺍﺗﻲ‬ ‫ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﺍﺑﺘﺪﺍﻱ ﭘﺎﻳﻴﺰ ﺻﺎﺩﺭ ﻣﻲﺷﻮﺩ ﺍﻣﺎ ﻓﺮﺍﻫﻢ ﻧﺸﺪﻥ ﻣﻠﺰﻭﻣﺎﺕ‬ ‫ﻓﻨﻲ ﺍﺯ ﺳﻮﻱ ﺑﻨﻴﺎﺩ ﻓﺎﺭﺍﺑﻲ ﻋﻤﻼ ﺷﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﺗﺎ ﺯﻣﺴﺘﺎﻥ ﺑﻪ‬ ‫ﺗﻌﻮﻳﻖ ﻣﻲﺍﻧﺪﺍﺯﺩ ﻭ ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﻧﺮﺳﻴﺪﻥ ﻓﻴﻠﻢ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻔﺪﻫﻢ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ ﻣﻲﺷــﻮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺑﺴــﻴﺎﺭﻱ ﺑﺎ ﺷــﻨﻴﺪﻥ ﻣﻀﻤﻮﻥ ﻭ‬ ‫ﺩﺍﺳﺘﺎﻧﺶ ﻛﻨﺠﻜﺎﻭ ﺗﻤﺎﺷــﺎﻱ ﻓﻴﻠﻢ ﻫﺴﺘﻨﺪ‪ ،‬ﺻﺪﺭﻋﺎﻣﻠﻲ ﺑﺨﺸﻲ ﺍﺯ‬ ‫ﺻﺤﻨﻪﻫﺎﻱ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺷﺪﻩ ﺭﺍ ﻫﻢ ﺑﺮﺍﻱ ﻛﻢ ﻛﺮﺩﻥ ﺣﺴﺎﺳﻴﺖﻫﺎ‬ ‫ﺍﺯ ﻓﻴﻠﻢ ﺣﺬﻑ ﻣﻲﻛﻨﺪ ﻭ ﺩﺧﺘﺮﻱ ﺑــﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺟﺰﻭ ﺍﻭﻟﻴﻦ‬ ‫ﻓﻴﻠﻢﻫﺎﻱ ﺩﻭﺭﻩ ﺟﺪﻳﺪ ﺍﺳﺖ ﻛﻪ ﺑﺪﻭﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻣﺴﺘﻘﻴﻤﺎ‬ ‫ﺭﺍﻫﻲ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻲ ﻣﻲﺷــﻮﺩ‪ .‬ﭘﻴﺶ ﺍﺯ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻦ ﺧﺎﻧﻪ‬ ‫ﺳﻴﻨﻤﺎ ﺷﺮﻛﺖ ﻣﻲﻛﻨﺪ ﻭ ﻣﻮﻓﻖ ﻣﻲﺷﻮﺩ ﺟﻮﺍﻳﺰ ﻣﻬﻢ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﻭ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺩﺧﺘﺮﻱ ﺑــﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺩﺭ ﺍﻭﺝ ﺳﻴﺎﺳــﺖﺯﺩﮔﻲ ﺟﺎﻣﻌﻪ‬ ‫ﺍﻳﺮﺍﻥ ﺳﻪ ﻣﺎﻩ ﺑﻌﺪ ﺍﺯ ﺣﺎﺩﺛﻪ ﻛﻮﻱ ﺩﺍﻧﺸﮕﺎﻩ ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﻫﻨﻮﺯ ﺟﺎﻣﻌﻪ‬ ‫ﻣﺘﺎﺛﺮ ﺍﺯ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺩﺭ ﺣﺎﻝ ﻫﻀﻢ ﺁﻥ ﺑﻮﺩ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‪ .‬ﻓﻴﻠﻢ ﺍﺯ‬ ‫ﺍﻳﻦ ﻣﻨﻈﺮ ﺑﻴﺸﺘﺮﻳﻦ ﺑﻬﺮﻩ ﺭﺍ ﺑﺮﺩ‪ .‬ﻣﺨﺎﻟﻔﺖ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﺎ ﭘﺨﺶ ﺁﮔﻬﻲ‬ ‫ﺗﺒﻠﻴﻐﻲ ﻓﻴﻠﻢ‪ ،‬ﺑﺎﻋﺚ ﺷﺪ ﺻﺪﺭﻋﺎﻣﻠﻲ ﺑﻪ ﻓﻜﺮ ﺩﻳﮕﺮ ﺭﺍﻩﻫﺎﻱ ﺗﺒﻠﻴﻎ ﺑﺮﺍﻱ‬ ‫ﻓﻴﻠﻢ ﺑﻴﻔﺘﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺍﻭ ﺑﺎ ﺍﺧﺬ ﻣﻮﺍﻓﻘﺖﻫﺎﻳﻲ ﺑﺮ ﻭﻳﺮﺍﻧﻪﻫﺎﻱ ﺳﻴﻨﻤﺎ‬ ‫ﺁﺯﺍﺩﻱ ﺩﺍﺭﺑﺴﺖ ﻭ ﭘﺎﺭﭼﻪ ﺑﺰﺭﮔﻲ ﺑﺎ ﺟﻤﻠﻪ ﺳﻴﻨﻤﺎ ﺯﻧﺪﻩ ﺍﺳﺖ ﺑﻨﺎ ﻛﺮﺩ‬ ‫ﻭ ﺩﺭ ﻫﻤﺎﻥ ﻣﺤﻞ ﺍﻗﺪﺍﻡ ﺑــﻪ ﺭﺯﺭﻭ ﺑﻠﻴﺖ ﻓﻴﻠﻢ ﻛﺮﺩ‪ .‬ﺍﻗﺪﺍﻡ ﺻﺪﺭﻋﺎﻣﻠﻲ‬ ‫ﻭ ﺟﻤﻠﻪ ﺍﻧﺘﺨﺎﺑﻲﺍﺵ ﺁﺷﻜﺎﺭﺍ ﻣﺘﺎﺛﺮ ﺍﺯ ﺷــﺮﺍﻳﻂ ﺭﻭﺯ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﺑﺎ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﻣﺮﺩﻡ ﺑﺮﺍﻱ ﭼﻨﺪﻳﻦ ﻓﻴﻠﻢ ﺩﻳﮕﺮ ﺗﻜﺮﺍﺭ ﺷﺪ‪.‬ﺁﮔﻬﻲ ﺩﺧﺘﺮﻱ‬ ‫ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪﻫــﺎﻱ ﭘﺮﺗﻴﺮﺍژ ﺁﻥ ﺭﻭﺯﻫﺎ ﺣﺘﻲ ﻗﺒﻞ‬ ‫ﺍﺯ ﺍﻛﺮﺍﻥ ﻣﻜﺮﺭﺍ ﭼﺎپ ﻣﻲﺷﺪ ﻭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻤﺮﺍﻩ ﭼﻨﺪ ﺍﺛﺮ ﺩﻳﮕﺮ ﻣﺎﻧﻨﺪ‬ ‫»ﺩﻭ ﺯﻥ« ﻭ »ﻣﺼﺎﺋــﺐ ﺷــﻴﺮﻳﻦ« ﻭ »ﻗﺮﻣﺰ« ﺑﺎﺗﻮﺟــﻪ ﺑﻪﻣﻀﻤﻮﻥ ﻭ‬ ‫ﺩﺍﺳﺘﺎﻧﺶ ﻫﻤﭙﺎﻱ ﺷــﺮﺍﻳﻂ ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﻮﺩ ﻋﻴﻨﻲ ﺣﻀﻮﺭ ﺳﻴﻨﻤﺎ ﺩﺭ‬ ‫ﻭﻗﺎﻳﻊ ﺳﻴﺎﺳــﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻭﺭﺍﻥ ﺍﺯ ﺳﻮﻱ ﺟﺎﻣﻌﻪ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻧﺪ‪.‬‬ ‫ﻣﻄﺎﻟﺐ ﻣﺨﺘﻠﻒ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺗﻮﺟﻬﺎﺕ ﺑﺴﻴﺎﺭﻱ ﺭﺍ ﺟﻠﺐ ﻛﺮﺩ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﻣﻨﺠﺮ ﺑﻪ ﻣﻮﺿﻊﮔﻴﺮﻱﻫﺎﻳﻲ ﻫﻢ ﺷــﺪ‪ .‬ﺧﺒﺮﻫﺎﻳــﻲ ﺍﺯ ﻣﺨﺎﻟﻔﺖﻫﺎﻱ‬ ‫ﺟﺮﻳﺎﻧﻲ ﺑﺎ ﻓﻴﻠﻢ ﺩﺭ ﻣﻄﺒﻮﻋﺎﺕ ﻣﻨﺘﺸــﺮ ﺷﺪ ﻛﻪ ﺩﺭ ﻓﻀﺎﻱ ﺁﻥ ﺩﻭﺭﺍﻥ‬ ‫ﻗﺎﺑﻞ ﺗﻮﺿﻴﺢ ﺍﺳــﺖ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺍﻳﻦ ﺧﺒﺮ‪» :‬ﺭﺋﻴﺲ ﺣﺮﺍﺳــﺖ ﻳﻜﻲ ﺍﺯ‬ ‫ﻣﻨﺎﻃﻖ ﺟﻨﻮﺑﻲ ﺗﻬﺮﺍﻥ ﺩﺭ ﺟﻤﻊ ﺯﻳﺎﺩﻱ ﺍﺯ ﻣﺸﺎﻭﺭﺍﻥ ﺩﺑﻴﺮﺳﺘﺎﻥﻫﺎﻱ‬ ‫ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﺑﺎ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﺍﻭﺿﺎﻉ ﻓﺮﻫﻨﮕﻲ ﻭ ﺗﺮﺑﻴﺘﻲ ﺟﻮﺍﻧﺎﻥ‪ ،‬ﺿﻤﻦ ﺣﻤﻠﻪ‬ ‫ﺷﺪﻳﺪ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻱ ﻣﺼﺎﺋﺐ ﺷﻴﺮﻳﻦ ﻭ ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ‬ ‫ﺍﻳﻦ ﺩﻭ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻋﺎﻣﻞ ﺑﺮﻭﺯ ﺑﻲﺑﻨﺪﻭﺑﺎﺭﻱ ﻭ ﺍﻧﺤﺮﺍﻑ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻥ ﻣﻌﺮﻓﻲ ﻛﺮﺩ ﻭ ﮔﻔﺖ ﻧﻤﺎﻳﺶ ﺍﻳﻦﮔﻮﻧﻪ ﻓﻴﻠﻢﻫﺎ ﺯﺣﻤﺎﺕ‬ ‫ﻣﺸــﺎﻭﺭﺍﻥ ﻭ ﻣﺮﺑﻴﺎﻥ ﺭﺍ ﺩﺭ ﻣﺪﺍﺭﺱ ﺑﺮ ﺑﺎﺩ ﻣﻲﺩﻫﺪ‪) «.‬ﺁﻓﺘﺎﺏ ﺍﻣﺮﻭﺯ‪،‬‬ ‫‪ 27‬ﻣﻬﺮ ‪ (78‬ﭼﻨﻴﻦ ﺣﻤﻼﺗﻲ ﺑﻪ ﻓﻴﻠﻢ ﺭﻭﺯﻫﺎﻱ ﺁﻳﻨﺪﻩ ﺍﺯ ﺳﻮﻱ ﺍﻓﺮﺍﺩ‬ ‫ﻭ ﺟﺮﻳﺎﻥﻫﺎﻱ ﺩﻳﮕﺮ ﻫﻢ ﺍﻧﺠﺎﻡ ﺷﺪ ﻭ ﺩﺭ ﻣﻄﺒﻮﻋﺎﺕ ﺍﻧﻌﻜﺎﺱﻫﺎﻳﻲ ﻫﻢ‬ ‫ﻳﺎﻓﺖ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻫﺎﻳﺸــﺎﻥ ﺗﻼﺵ ﻛﺮﺩﻧﺪ ﭘﺎﺳﺨﮕﻮﻱ‬ ‫ﺍﻳﻦ ﺍﺗﻬﺎﻣﺎﺕ ﺑﺎﺷﻨﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺻﺪﺭﻋﺎﻣﻠﻲ ﺍﺻﻼ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮﺍﻱ ﻭﺍﻟﺪﻳﻦ‬ ‫ﻧﻮﺟﻮﺍﻧﺎﻥ ﺩﺍﻧﺴــﺖ‪» :‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺮﺍﻱ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﻫﺎﻳﻲ ﺳﺎﺧﺘﻪ ﺷﺪﻩ‬ ‫ﻛﻪ ﻫﻤﺮﺍﻩ ﻧﻮﺟﻮﺍﻧﺎﻧﺸــﺎﻥ ﺑﻪ ﺗﻤﺎﺷــﺎﻱ ﺁﻥ ﺑﻴﺎﻳﻨــﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ‬ ‫ﻧﺎﮔﻔﺘﻪﻫﺎﻳﻲ ﺭﺍ ﺑﮕﻮﻳﺪ ﻛﻪ ﺩﺭ ﺟﺎﻣﻌﻪ ﻣﺎ ﺑﺴﻴﺎﺭ ﺍﺳﺖ ﻭ ﺑﺮ ﺯﺑﺎﻥ ﻧﻴﺎﻭﺭﺩﻥ‬ ‫ﺁﻥ ﻫﻢ ﺑﻪﺷﺪﺕ ﺭﺍﻳﺞ‪) «.‬ﻓﻴﻠﻢ‪ ،‬ﺷﻤﺎﺭﻩ ‪ (243‬ﺑﺎﻭﺟﻮﺩ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻬﺮﻩ‬ ‫ﺍﺻﻠﻲ ﺭﺍ ﺍﺯ ﻓﻀﺎﻱ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﻣﻲﺑﺮﺩ ﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻜﻲ ﺍﺯ ﺁﺛﺎﺭ ﭘﺮﻓﺮﻭﺵ‬ ‫ﺳﺎﻝ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻋﺪﻩﺍﻱ ﺍﺯ ﻣﻨﺘﻘﺪﺍﻥ ﻫﻢ ﺻﺮﺍﺣﺖ ﻓﻴﻠﻢ ﺭﺍ‬ ‫ﻧﺎﻛﺎﻓﻲ ﻣﻲﺩﺍﻧﻨﺪ ﻭ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻧﺪ ﻓﻴﻠﻢ ﺩﺭ ﺳﻄﺢ ﺣﺮﻛﺖ ﻛﺮﺩﻩ ﻭ ﻋﻤﻖ‬ ‫ﻻﺯﻡ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﺻﺪﺭﻋﺎﻣﻠﻲ ﭘﺎﺳﺦ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺭﺍ ﭼﻨﻴﻦ ﻣﻲﺩﻫﺪ‪» :‬ﺑﺎﻳﺪ‬ ‫ﺍﺻﻮﻟﻲ ﺭﺍ ﺭﻋﺎﻳﺖ ﻣﻲﻛﺮﺩﻡ‪ .‬ﻧﻤﻲﺧﻮﺍﺳــﺘﻢ ﺧﻴﻠﻲ ﺑﻪ ﺯﻭﺍﻳﺎﻱ ﭘﻨﻬﺎﻥ‬ ‫ﺳﺮﻙ ﺑﻜﺸﻢ‪ .‬ﭼﻨﻴﻦ ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﻫﺴﺖ‪ ،‬ﺣﺘﻲ ﺍﮔﺮ ﺩﺭ ﺯﻧﺪﮔﻲ‬ ‫ﺧﺼﻮﺻﻲ ﺧﻮﺩﻡ ﻫﻢ ﺍﺗﻔﺎﻕ ﻣﻲﺍﻓﺘﺎﺩ ﺯﻳﺎﺩ ﻧﻤﻲﺗﻮﺍﻧﺴﺘﻢ ﺑﺎ ﺁﻥ ﻛﻠﻨﺠﺎﺭ‬ ‫ﺑﺮﻭﻡ ﻭ ﺑﺎﻳﺪ ﻓﺎﺻﻠﻪﺍﻱ ﺭﺍ ﺭﻋﺎﻳﺖ ﻣﻲﻛﺮﺩﻡ‪«.‬‬ ‫ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺣﻀﻮﺭﻫﺎﻱ ﺟﺸﻨﻮﺍﺭﻩﺍﻱ ﻫﻢ ﻫﻤﺮﺍﻩ‬ ‫ﺍﻛﺮﺍﻧﺶ ﺩﺍﺷﺖ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻗﺎﻫﺮﻩ ﺗﻮﺍﻧﺴﺖ ﻋﻨﻮﺍﻥ ﺑﻬﺘﺮﻳﻦ‬ ‫ﺑﺎﺯﻳﮕﺮ ﺯﻥ ﺭﺍ ﻛﺴــﺐ ﻛﻨﺪ‪ .‬ﺗﻠﻮﻳﺰﻳﻮﻥ ﭼﻨﺪ ﺳﺎﻝ ﺑﻌﺪ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎ ﺣﺬﻑ‬ ‫ﭼﻨﺪ ﺻﺤﻨــﻪ ﻫﻤﺮﺍﻩ ﮔﻔﺖ ﻭﮔﻮﻳﻲ ﺗﻮﺿﻴﺢ ﺩﻫﻨــﺪﻩ ﺑﺎ ﻛﺎﺭﮔﺮﺩﺍﻧﺶ‬ ‫ﭘﺨﺶ ﻛﺮﺩ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺯﻣــﺎﻥ ﺍﻛﺮﺍﻥ ﺑﻪ ﺩﻟﻴﻞ ﻣﻀﻤﻮﻧﺶ ﺍﺯ ﭘﺨﺶ‬ ‫ﺗﻴﺰﺭ ﻓﻴﻠﻢ ﺍﺟﺘﻨﺎﺏ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺩﺧﺘﺮﻱ ﺑــﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺁﻏﺎﺯﮔﺮ ﻣﺴــﻴﺮ ﺭﻭﺍﻳﺖ ﻣﺴــﺎﺋﻞ‬ ‫ﺩﺧﺘﺮﺍﻥ ﺟﻮﺍﻥ ﺩﺭ ﺳﻴﻨﻤﺎ ﺷﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﻮﺿﻮﻉ ﻓﺮﺍﺭ ﺩﺧﺘﺮﺍﻥ‬ ‫ﺟﻮﺍﻥ ﺗﺒﺪﻳﻞ ﺑﻪ ﺳﻮژﻩ ﺑﺴــﻴﺎﺭﻱ ﺍﺯ ﻓﻴﻠﻢﻫﺎ ﺷﺪ ﻭ ﺑﻪ ﻓﺎﺻﻠﻪ ﻛﻮﺗﺎﻫﻲ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﺩﺍﺳﺘﺎﻥ ﺩﺧﺘﺮﻫﺎﻱ ﻓﺮﺍﺭ ﻛﺮﺩﻩ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ ﻧﺎﻛﺎﻡ ﺩﺭ‬ ‫ﺭﺳﻴﺪﻥ ﺑﻪ ﻋﻼﻳﻖ ﻭ ﻋﺸﻖﻫﺎﻳﺸﺎﻥ ﮔﺮﻓﺖ‪ .‬ﻛﻤﺘﺮ ﻓﻴﻠﻤﻲ ﺍﻣﺎ ﺗﻮﺍﻧﺴﺖ‬ ‫ﺗﺎﺛﻴﺮﻱ ﭼﻮﻥ ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺑﮕﺬﺍﺭﺩ‪ .‬ﻓﻴﻠﻢ ﺯﻣﻴﻨﻪﺳﺎﺯ‬ ‫ﺳﺎﺧﺖ ﺳﻪﮔﺎﻧﻪﺍﻱ ﺗﻮﺳﻂ ﺳــﺎﺯﻧﺪﻩﺍﺵ ﺩﺭﺑﺎﺭﻩ ﺩﺧﺘﺮﺍﻥ ﺟﻮﺍﻥ ﺷﺪ‬ ‫ﻭ ﺍﮔﺮﭼﻪ ﺣﺎﻻ ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﺁﻥ ﻓﻴﻠﻢﻫﺎ )ﺑﻪﻭﻳﮋﻩ ﻣﻦ ﺗﺮﺍﻧﻪ ‪ 15‬ﺳﺎﻝ‬ ‫ﺩﺍﺭﻡ( ﺍﺯ ﻧﻈﺮ ﭘﺮﺩﺍﺧﺖ ﻭ ﺳــﺎﺧﺘﺎﺭ ﺿﻌﻒﻫﺎﻳــﻲ ﺩﺍﺭﺩ ﺍﻣﺎ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺟﺴﻮﺭﺍﻧﻪ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﻓﻀﺎﻱ ﺣﺎﻛﻢ ﺑﺮ ﺟﺎﻣﻌﻪ ﺩﻭﺭﺍﻧﺶ ﺭﺍ ﻫﻢ‬ ‫ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﻣﻨﻈﺮ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﻳﺪ ﺁﻥ ﻫﻢ ﺩﺭ ﺷــﺮﺍﻳﻄﻲ ﻛﻪ ﺑﻪ ﻭﺍﺳﻄﻪ‬ ‫ﺗﻨﺪﺭﻭﻱﻫﺎﻱ ﻣﻄﺒﻮﻋﺎﺕ‪ ،‬ﻋﺪﻩﺍﻱ ﺍﺯ ﻋﻘﺐ ﻣﺎﻧﺪﻥ ﺳــﻴﻨﻤﺎ ﺍﺯ ﺟﺎﻣﻌﻪ‬ ‫ﺻﺤﺒﺖ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺟﺮﻳﺎﻧﻲ ﻛﻪ ﺑﺎ ﻓﻴﻠﻢ ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ‬ ‫ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﻓﻴﻠﻢﻫﺎﻱ ﺯﻳﺎﺩﻱ ﻣﺘﺎﺛﺮ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺍﻣﺎ ﺑﺪﻭﻥ ﻋﻤﻖ ﻭ ﻇﺮﺍﻓﺖ ﺁﻥ ﺳﺎﺧﺘﻪ ﺷﺪﻧﺪ ﺳﺒﺐﺳﺎﺯ ﺣﺴﺎﺳﻴﺖﻫﺎ‬ ‫ﻭ ﺍﻧﺘﻘﺎﺩﻫﺎﻱ ﺑﺨﺶﻫﺎﻳﻲ ﺍﺯ ﺟﺎﻣﻌﻪ ﻭ ﺟﺮﻳﺎﻥﻫﺎﻱ ﺳﻴﺎﺳﻲ ﺍﺯ ﺳﻴﻨﻤﺎ‬ ‫ﺷــﺪ‪ .‬ﺍﻣﺮﻭﺯ ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺳﻨﺪﻱ ﺍﺯ ﺩﻭﺭﺍﻧﺶ ﺍﺳﺖ‪.‬‬ ‫ﺩﻭﺭﺍﻧﻲ ﻛﻪ ﺟﺎﻣﻌﻪ ﺭﺍﻩ ﺭﺍ ﺑﺮﺍﻱ ﺭﻭﺍﻳﺖﻫﺎﻱ ﻧﺎﮔﻔﺘﻪﻫﺎﻳﻲ ﺍﺯ ﻣﻨﺎﺳﺒﺎﺕ‬ ‫ﺧﻮﺩﺵ ﺩﺭ ﺳــﻴﻨﻤﺎ ﮔﺸــﻮﺩﻩ ﺍﻣﺎ ﻫﻤﭽﻨﺎﻥ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻳﻲ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺭﻭﻧﺪﻱ ﻛﻪ ﺑﻌﺪﻫﺎ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﭘﻴﺶ ﺁﻣﺪ ﺣﺎﻻ‬ ‫ﺍﻳﻦ ﻣﻴﺰﺍﻥ ﺟﺴــﺎﺭﺕ ﺭﺍ ﻫﻢ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﻛﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﺩﺭﺣﺎﻟﻲ‬ ‫ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺳﺎﺯﻧﺪﻩ ﻓﻴﻠﻢ‪ ،‬ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ ﻛﺘﺎﻧﻲ ﺭﺍ ﺳﻨﺪﻱ‬ ‫ﺍﺯ ﺩﻭﺭﺍﻧﺶ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻣﺤﺪﻭﺩﻳﺖﻫﺎ ﺩﺭ ﺯﻣﺎﻥ ﻧﻤﺎﻳﺸﺶ ﺩﺍﻧﺴﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﮔﻔﺘﻪﺍﻱ ﻛﻪ ﺣﺎﻻ ﻣﻌﻨﺎﻱ ﺩﻳﮕﺮﻱ ﻣﻲﻳﺎﺑﺪ‪» :‬ﺑﻪ ﻧﻈﺮﻡ ﺍﮔﺮ ﻛﺴﻲ‬ ‫ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﺑﺨﻮﺍﻫﺪ ﺷﺮﺍﻳﻂ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻻﻥ ﻣﺎ ﻭ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻳﻲ ﺭﺍ‬ ‫ﻛﻪ ﺳﻴﻨﻤﺎ ﺑﺎ ﺁﻥ ﺭﻭﺑﻪﺭﻭ ﺍﺳــﺖ ﺑﺮﺭﺳﻲ ﻛﻨﺪ‪ ،‬ﺩﺧﺘﺮﻱ ﺑﺎ ﻛﻔﺶﻫﺎﻱ‬ ‫ﻛﺘﺎﻧﻲ ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺍﺳﺘﻨﺎﺩ ﺑﻪ ﺁﻥ ﺩﺭﻳﺎﺑﺪ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﺍﻥ‬ ‫ﻋﻤﻖ ﺧﻮﺩﺳﺎﻧﺴﻮﺭﻱ ﻭ ﺍﺯ ﻛﻨﺎﺭ ﻣﺴﺎﺋﻞ ﺗﻮﺿﻴﺢ ﻧﺪﺍﺩﻩ ﮔﺬﺷﺘﻦ ﭼﻘﺪﺭ‬ ‫ﺑﻮﺩﻩ‪«.‬‬ ‫‪22‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺍﻋﺘﺮﺍﺽ )‪(1378‬‬ ‫ﺳﻴﻨﻤﺎﻱ ژﻭﺭﻧﺎﻟﻴﺴﺘﻲ‬ ‫ﺩﺭ ﺩﻭﺭﺍﻥ ﺳﻴﺎﺳﺖﺯﺩﮔﻲ‬ ‫ﻃﺮﺍﺡ ﺻﺤﻨﻪ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺴـﻌﻮﺩ ﻛﻴﻤﻴﺎﻳﻲ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﺳـﻴﺪﺿﻴﺎ ﻫﺎﺷـﻤﻲ‪ ،‬ﻣﺪﻳﺮ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺍﺻﻐﺮ ﺭﻓﻴﻌﻲﺟﻢ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﻣﻮﻳﻴﻨﻲ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪ :‬ﻣﺠﻴﺪ ﺍﻧﺘﻈﺎﻣﻲ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ ﻭ‬ ‫ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﺍﺳﺤﺎﻕ ﺧﺎﻧﺰﺍﺩﻱ‪ ،‬ﺩﺳـﺘﻴﺎﺭ ﺍﻭﻝ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺍﻣﻴﺮﺷﻬﺎﺏ ﺍﺳﻤﺎﻋﻴﻠﻲ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯﻱ‪:‬‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﻗﻮﻣﻲ‬ ‫ﺑﺎﺯﻳﮕـﺮﺍﻥ‪ :‬ﺩﺍﺭﻳﻮﺵ ﺍﺭﺟﻤﻨﺪ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﻓﺮﻭﺗﻦ‪ ،‬ﻣﻴﺘﺮﺍ ﺣﺠﺎﺭ‪ ،‬ﺑـﻲ ﺗﺎ ﻓﺮﻫﻲ‪ ،‬ﭘﻮﻻﺩ ﻛﻴﻤﻴﺎﻳﻲ‪ ،‬ﻣﻬﺪﻱ‬ ‫ﻓﺘﺤﻲ‪ ،‬ﻛﻴﺎﻧﻮﺵ ﮔﺮﺍﻣﻲ‪ ،‬ﺍﻛﺒﺮ ﻣﻌﺰﺯﻱ‪ ،‬ﺭﺍﻣﺒﺪ ﺷﻜﺮﺁﺑﻲ‪ ،‬ﺷﻴﻼ ﺧﺪﺍﺩﺍﺩ‪ ،‬ﺭﺍﻣﻴﻦ ﭘﺮﭼﻤﻲ‬ ‫‪ 102‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 18 :‬ﺧﺮﺩﺍﺩ ‪ ،1379‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 87 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺍﻣﻴﺮﻋﻠﻲ ﻛﻪ ﺷــﺮﻳﻔﻪ‪ ،‬ﻧﺎﻣﺰﺩ ﺑﺮﺍﺩﺭﺵ ﺭﺿﺎ ﺭﺍ ﺑﻪﺩﻟﻴﻞ ﺭﺍﺑﻄﻪ ﻧﺎﻣﺸــﺮﻭﻋﺶ ﺑﺎ ﻣﺮﺩﻱ ﺑﻪ ﻧﺎﻡ ﺍﺣﻤﺪ ﺑﻪ ﻗﺘﻞ ﺭﺳﺎﻧﺪﻩ‪ ،‬ﭘﺲ ﺍﺯ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻝ ﺍﺯ ﺯﻧﺪﺍﻥ‬ ‫ﺁﺯﺍﺩ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻴﺮﻭﻥ ﺍﺯ ﺯﻧﺪﺍﻥ ﺩﺭ ﻏﻴﺎﺏ ﺍﻭ ﭘﺪﺭﺵ ﺍﺯ ﻓﺮﺍﻕ ﺍﻭ ﻣﺮﺩﻩ ﻭ ﻳﻮﺳﻒ‪ ،‬ﻳﻜﻲ ﺩﻳﮕﺮ ﺍﺯ ﺑﺮﺍﺩﺭﻫﺎﻳﺶ‪ ،‬ﺩﺭ ﻳﻚ ﺁﺳﺎﻳﺸﮕﺎﻩ ﺭﻭﺍﻧﻲ ﺑﺴﺘﺮﻱ ﺍﺳﺖ‪.‬‬ ‫ﻳﻮﺳــﻒ ﺩﺭ ﺟﺮﺍﻥ ﺗﻈﺎﻫﺮﺍﺕ ﺩﺍﻧﺸﺠﻮﻳﻲ ﺑﺮ ﺍﺛﺮ ﺿﺮﺑﺎﺗﻲ ﻛﻪ ﺑﻪ ﺳــﺮﺵ ﻭﺍﺭﺩ ﺁﻣﺪﻩ ﺩﭼﺎﺭ ﺍﺧﺘﻼﻝ ﺭﻭﺍﻧﻲ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺭﺿﺎ‪ ،‬ﺑﺮﺍﺩﺭ ﺁﺯﺍﺩ ﺷﺪﻩﺍﺵ ﺭﺍ‬ ‫ﺑﻪ ﻳﻚ ﭘﻴﺘﺰﺍﻓﺮﻭﺷــﻲ ﺩﺭ ﺷﻤﺎﻝ ﺷــﻬﺮ ﻛﻪ ﻣﺤﻞ ﻛﺎﺭ ﺍﻭﺳﺖ ﻣﻲ ﺑﺮﺩ‪ .‬ﺭﺿﺎ ﻋﺎﺷــﻖ ﺩﺧﺘﺮ ﭘﻮﻟﺪﺍﺭﻱ ﺑﻪ ﻧﺎﻡ ﻻﺩﻥ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺍﺗﻔﺎﻕ ﺩﻭﺳﺘﺎﻧﺶ ﺍﺯ‬ ‫ﻣﺸــﺘﺮﻳﺎﻥ ﺩﺍﺋﻤﻲ ﭘﻴﺘﺰﺍﻓﺮﻭﺷﻲ ﺍﺳــﺖ‪ ،‬ﻭ ﺍﺯ ﻃﺮﻓﻲ ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺑﻪ ﻧﺎﺭﺍﺣﺘﻲﻫﺎﻱ ﺭﻭﺍﻧﻲ ﺩﻭﺳــﺖ ﻣﻌﺘﺎﺩﺵ ﻗﺎﺳﻢ ﭘﺎﻳﺎﻥ ﺩﻫﺪ‪ .‬ﺭﺿﺎ ﺑﻪ ﻻﺩﻥ‬ ‫ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺍﺧﺘﻼﻑ ﻃﺒﻘﺎﺗﻲ ﻣﻴﺎﻥ ﺧﺎﻧﻮﺍﺩﻩ ﺁﻥ ﺩﻭ‪ ،‬ﺍﺯﺩﻭﺍﺟﺸــﺎﻥ ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ ﻭ ﺑﻬﺘﺮ ﺍﺳﺖ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺟﺪﺍ ﺷﻮﻧﺪ‪ .‬ﺍﻣﻴﺮﻋﻠﻲ ﻛﻪ‬ ‫ﻣﻮﻓﻖ ﺷﺪﻩ ﻃﻠﺐ ﻣﺤﺴــﻦ ﺭﺍ ﺑﮕﻴﺮﺩ‪ ،‬ﺩﺭ ﺭﺍﻩ ﺑﺎﺯﮔﺸﺖ ﺑﺎ ﺍﺣﻤﺪ‪ ،‬ﻓﺎﺳﻖ ﻧﺎﻣﺰﺩ ﺳﺎﺑﻖ ﺑﺮﺍﺩﺭﺵ‪ ،‬ﺭﻭﺑﻪﺭﻭ ﻣﻲﺷﻮﺩ ﻭ ﺍﺣﻤﺪ ﺍﻭ ﺭﺍ ﺑﺎ ﺿﺮﺑﻪﻫﺎﻱ ﻣﺘﻌﺪﺩ‬ ‫ﭼﺎﻗﻮ ﻣﻲﻛﺸــﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺍﻣﻴﺮﻋﻠﻲ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻭ ﺯﻳﺮ ﺑﺎﺭﺍﻥ ﺷﺪﻳﺪ ﺁﺧﺮﻳﻦ ﻧﻔﺲ ﻫﺎ ﺭﺍ ﻣﻲﻛﺸﺪ‪ ،‬ﻻﺩﻥ ﺑﻪ ﭘﻴﺘﺰﺍﻓﺮﻭﺷﻲ ﻛﻪ ﺩﻭﺳﺘﺎﻧﺶ ﺩﺭ ﺁﻥ‬ ‫ﺟﻤﻊ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻧﺰﺩ ﺭﺿﺎ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺁﻧﭽﻪ ﺩﺭ ﺩﻭ ﺳــﺎﻝ ﭘﺮ ﺣﺎﺩﺛﻪ ‪ 77‬ﻭ ‪ 78‬ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﮔﺬﺷﺖ‪،‬‬ ‫ﺗﺎﺭﻳﺦ ﺳﻴﺎﺳﻲ ﺍﻧﻘﻼﺏ ﺍﺳــﻼﻣﻲ ﺭﺍ ﻭﺍﺭﺩ ﻣﺮﺣﻠﻪ ﺗﺎﺯﻩﺍﻱ ﻛﺮﺩ‪ .‬ﺷﺪﺕ‬ ‫ﻭ ﺍﻫﻤﻴﺖ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﺍﻳﻦ ﺩﻭ ﺳــﺎﻝ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺑﻮﺩ ﻛﻪ ﻛﻤﺘﺮ ﻛﺴﻲ‬ ‫ﻣﻲﺗﻮﺍﻧﺴﺖ ﺍﺯ ﻛﻨﺎﺭﺵ ﺑﻪ ﺳﺎﺩﮔﻲ ﺑﮕﺬﺭﺩ‪ .‬ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ‪ 20‬ﺳﺎﻝ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﻧﻘﻼﺏ ﺩﻭﺑﺎﺭﻩ ﺗﺎ ﻣﻨﺘﻬﺎﻱ ﺧﻮﺩ ﺳﻴﺎﺳــﻲ ﺷــﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﻧﭽﻪ ﺍﻳﻦ‬ ‫ﺩﻭ ﺳﺎﻝ ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﮔﺬﺷﺘﻪ ﻣﻄﺒﻮﻋﺎﺕ ﻭ ﺩﺍﻧﺸﮕﺎﻩ ﻧﻘﺶ ﻣﻬﻤﻲ‬ ‫ﺍﻳﻔﺎ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﺩﻭ ﻧﻬــﺎﺩ ﺩﺭ ﺟﺎﻣﻌﻪ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺗﺼﻮﺭ‬ ‫ﺑﻮﺩ‪ .‬ﮔﻮﻳﻲ ﻛــﻪ ﺍﻳﻨﻬﺎ ﺣﻮﺍﺩﺙ ﺭﻭﺯ ﺭﺍ ﺷــﻜﻞ ﻣﻲﺩﻫﻨﺪ‪» .‬ﺍﻋﺘﺮﺍﺽ«‬ ‫ﺗﻼﺵ ﻧﺎﻓﺮﺟﺎﻡ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻱ ﺛﺒــﺖ ﺗﺼﻮﻳﺮﻱ ﺍﻳﻦ ﺣﻮﺍﺩﺙ‬ ‫ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﻭﻗﺎﻳﻊ ﺭﻭﺯ ﺭﺍ ﺑﻪ ﻫﻤﺎﻥ ﺳﺎﺩﮔﻲ ﻛﻪ ﭘﺪﻳﺪﺁﻭﺭﻧﺪﮔﺎﻧﺶ‬ ‫ﻣﻲﭘﻨﺪﺍﺷــﺘﻨﺪ‪ ،‬ﺩﻳﺪﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﺳــﻄﺢ ﻓﺮﺍﺗﺮ ﻧﻤﻲﺭﻓﺖ ﺍﻣﺎ ﺧﻮﺩﺵ‬ ‫ﻫﻢ ﺍﺗﻔﺎﻗﻲ ﺑــﻮﺩ ﻣﺎﻧﻨﺪ ﻫﻤﻴﻦ ﺭﻭﻳﺪﺍﺩﻫﺎ‪ .‬ﺍﻋﺘﺮﺍﺽ‪ ،‬ﻧﻤﺎﺩ ﺳــﻴﻨﻤﺎﻱ‬ ‫ژﻭﺭﻧﺎﻟﻴﺴﺘﻲ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺳﻴﻨﻤﺎﻳﻲ ﻛﻪ ﺯﺍﻳﻴﺪﻩ ﺷﺮﺍﻳﻂ‬ ‫ﺩﻭﺭﺍﻧﺶ ﺑﻮﺩ‪.‬‬ ‫»ﺍﻋﺘﺮﺍﺽ« ﺩﺭ ﺳﻴﺎﺳﺖﺯﺩﻩﺗﺮﻳﻦ ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ‬ ‫ﺳــﺎﺧﺘﻪ ﺷﺪ ﺁﻥ ﻫﻢ ﺗﻮﺳﻂ ﻓﻴﻠﻤﺴــﺎﺯﻱ ﻛﻪ ﺳﺎﺧﺖ ﺳﻴﺎﺳﻲﺗﺮﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺷﺖ‪» .‬ﺍﻋﺘﺮﺍﺽ« ﻭﺍﻛﻨﺶ‬ ‫ﻣﺴــﻌﻮﺩ ﻛﻴﻤﻴﺎﻳﻲ ﺑﻮﺩ ﺑﻪ ﺣﻮﺍﺩﺛﻲ ﻛﻪ ﺩﺭ ﺍﺟﺘﻤﺎﻉ ﻭ ﺳﻴﺎﺳﺖ ﺍﻳﺮﺍﻥ‬ ‫ﻣﻲﮔﺬﺷــﺖ ﺍﺯ ﺻﺎﻓﻲ ﻧﻈﺮ ﺧﻮﺩﺵ‪ .‬ﻓﻴﻠﻤﻲ ﻛــﻪ ﺗﻮﻟﻴﺪ ﻭ ﻧﻤﺎﻳﺶ ﻭ‬ ‫ﺣﺎﺷﻴﻪﻫﺎﻱ ﭘﻴﺮﺍﻣﻮﻧﺶ ﺧﻮﺩ ﻛﻴﻤﻴﺎﻳﻲ ﺭﺍ ﻫﻢ ﺑﻪ ﺩﺍﻣﻦ ﺍﻟﺘﻬﺎﺑﺎﺕ ﺑﺮﺩ‪.‬‬ ‫ﺍﻋﺘﺮﺍﺽ ﻫﻤﺮﺍﻩ ﻫﻤﺰﺍﺩﺵ »ﻣﺘﻮﻟﺪ ﻣــﺎﻩ ﻣﻬﺮ« ﺟﺪﻱﺗﺮﻳﻦ ﻭﺍﻛﻨﺶ‬ ‫ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻪ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﺑﻌﺪ ﺍﺯ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺑﻪﻭﻳﮋﻩ ﺍﻋﺘﺮﺍﺿﺎﺕ‬ ‫ﺩﺍﻧﺸــﺠﻮﻳﻲ ﺑﻮﺩ ﺍﻣﺎ ﻫﺮ ﺩﻭ ﺑﻪ ﺩﻟﻴﻞ ﺿﻌﻒﻫﺎﻱ ﺳﺎﺯﻧﺪﮔﺎﻧﺸــﺎﻥ ﺩﺭ‬ ‫ﺷــﻨﺎﺧﺖ ﺩﻗﻴﻖ ﺣــﻮﺍﺩﺙ ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎ ﺩﺭ ﺩﺭ ﺩﺍﻡ ﺳــﻄﺤﻲ ﻧﮕﺮﻱ ﻭ‬ ‫ﺷــﻌﺎﺭﺯﺩﮔﻲ ﮔﺮﻓﺘﺎﺭ ﺁﻣﺪﻧﺪ ﻭ ﻧﺘﻮﺍﻧﺴــﺘﻨﺪ ﺑﻪ ﻋﻤــﻖ ﻭ ﻻﻳﻪ ﺯﻳﺮﻳﻦ‬ ‫ﻣﺎﺟﺮﺍﻫﺎ ﺑﺮﻭﻧﺪ‪ .‬ﺑﺎﻭﺟﻮﺩ ﻫﻤﻪ ﺿﻌﻒﻫﺎ‪ ،‬ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﻭﺍﺳــﻄﻪ ﺭﻭﺍﻳﺘﻲ‬ ‫ﻛﻪ ﺍﺯ ﺣﻮﺍﺩﺙ ﻣﻘﻄﻌﺶ ﺩﺍﺭﺩ‪ ،‬ﺳــﻨﺪﻱ ﺍﺯ ﺩﻭﺭﺍﻧﺶ ﺍﺳﺖ‪ .‬ﺟﻤﻼﺗﻲ‬ ‫ﻛﻪ ﻗﻬﺮﻣﺎﻧﺎﻥ ﻓﻴﻠﻢ ﺩﺭ ﻓﺼﻞ ﺭﺳــﺘﻮﺭﺍﻥ ﺑﺎ ﭘﻬﻦ ﻛﺮﺩﻥ ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻱ‬ ‫ﻣﻄﺮﺡ ﺁﻥ ﻣﻘﻄﻊ ﻭ ﺑﺮﺩﻥ ﻧﺎﻡ ﺍﺣﺰﺍﺏ ﻭ ﺷــﺨﺼﻴﺖﻫﺎﻱ ﺳﻴﺎﺳــﻲ ﺑﻪ‬ ‫ﻧﺎﻣﺎﻧﻮﺱﺗﺮﻳﻦ ﺷــﻜﻞ ﺑﻴﺎﻥ ﻣﻲﻛﺮﺩﻧﺪ ﮔﻮﻳﻲ ﻣﻘﺎﻟﻪ ﺑﻠﻨﺪﺑﺎﻻﻳﻲ ﺑﻮﺩ‬ ‫ﻛﻪ ﻓﻴﻠﻤﺴﺎﺯ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻩ ﺑﻮﺩ ﺑﻪ ﺟﺎﻱ ﻧﮕﺎﺭﺵ ﺩﺭ ﻧﺸﺮﻳﻪﺍﻱ ﺩﺭ ﻳﻚ‬ ‫ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺑﻴﺎﻥ ﻛﻨﺪ‪» :‬ﺑﺎ ﻓﻠﺴــﻔﻪ ﻛﻪ ﻧﻤﻲﺷﻪ ﻣﻤﻠﻜﺖ ﺭﻭ ﺍﺩﺍﺭﻩ ﻛﺮﺩ‪،‬‬ ‫ﻣﻤﻠﻜﺖ ﺭﻭ ﻗﺎﻧــﻮﻥ‪ ،‬ﻗﺪﺭﺕ ﻭ ﺁﺯﺍﺩﻱ ﺑﺎ ﻫــﻢ ﺍﺩﺍﺭﻩ ﻣﻲﻛﻨﻦ‪ «.‬ﺑﻪ ﻧﻈﺮ‬ ‫‪85‬‬ ‫ﻣﻲﺭﺳــﻴﺪ ﻛﻴﻤﻴﺎﻳﻲ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺭﻭﺷــﻨﻔﻜﺮﻱ ﻣﻌﺘﺮﺽ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﻣﻲﺩﺍﻧــﺪ ﻓﺮﺻﺖ ﻭ ﺍﺟــﺎﺯﻩ ﻳﺎﻓﺘﻪ ﺑﻮﺩ ﭘــﺲ ﺍﺯ ﺩﻭ ﺩﻫﻪ ﺑــﻪ ﺍﺑﺮﺍﺯ ﻧﻈﺮ‬ ‫ﺳﻴﺎﺳــﻲ ﺑﭙﺮﺩﺍﺯﺩ ﻭ ﻧﺘﻴﺠﻪ‪ ،‬ﺍﻧﺒﻮﻩ ﻧﻈﺮﺍﺕ ﻧﺎﻣﺎﻧﻮﺳﻲ ﺑﻮﺩ ﻛﻪ ﺣﻴﺮﺕ‬ ‫ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﺑﺮ ﻣﻲﺍﻧﮕﻴﺨﺖ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳﻴﺎﺳﺖ ﺭﺍ ﺗﻤﺎﻡ ﻗﺪ‬ ‫ﻭﺍﺭﺩ ﺳﻴﻨﻤﺎ ﻛﺮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫‪ 4‬ﺷــﻬﺮﻳﻮﺭ ‪ ،1378‬ﻛﻤﻲ ﺑﻴﺶ ﺍﺯ ﻳﻚ ﻣﺎﻩ ﺑﻌﺪ ﺍﺯ ﺣﺎﺩﺛﻪ ﻣﻬﻴﺐ‬ ‫ﻛﻮﻱ ﺩﺍﻧﺸﮕﺎﻩ‪ ،‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺍﻋﺘﺮﺍﺽ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﻃﺮﺡ ﺍﻭﻟﻴﻪ ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺯﻣﻴﻨﻪﻫﺎﻳﻲ ﻣﺸــﺎﺑﻪ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻠﻲ ﻛﻴﻤﻴﺎﻳﻲ ﺩﺍﺷــﺖ ﻭ ﻗﻬﺮﻣﺎﻥ‬ ‫ﺩﻳــﺮﻭﺯﺵ ﺭﺍ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑــﺎ ﺩﻧﻴﺎﻱ ﺍﻣﺮﻭﺯ ﻭ ﺍﺻﻮﻟــﺶ ﻣﻲﺩﻳﺪ‪ .‬ﺍﻳﻦ‬ ‫ﻓﻴﻠﻤﻨﺎﻣــﻪ ﺍﻣﺎ ﻣﻄﺎﺑﻖ ﺍﺻﺮﺍﺭ ﻫﻤﻴﺸــﮕﻲ ﻛﻴﻤﻴﺎﻳــﻲ ﺩﺭ ﻭﺍﺭﺩﻛﺮﺩﻥ‬ ‫ﺣﻮﺍﺩﺙ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺳﻴﺎﺳــﻲ ﺭﻭﺯﮔﺎﺭ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻳﺶ ﺩﺭﺳﺖ ﺩﺭ ﺁﻏﺎﺯ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺗﻐﻴﻴﺮﺍﺗﻲ ﻛﺮﺩ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻱ ﺩﻳﮕﺮﻱ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ‬ ‫ﺷﺪﻧﺪ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﻗﺼﺪ ﺩﺍﺷﺖ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﮔﻠﭽﻬﺮﻩ ﺳﺠﺎﺩﻳﻪ‬ ‫ﺑﺎﺯﻳﮕﺮ ﺛﺎﺑﺖ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ﺷــﺼﺘﺶ ﺍﺳــﺘﻔﺎﺩﻩ ﻛﻨﺪ ﺍﻣﺎ ﺩﺭ‬ ‫ﺁﺧﺮﻳﻦ ﻟﺤﻈﺎﺕ ﺑﻪ ﺩﻻﻳﻠﻲ ﺑﻲﺗــﺎ ﻓﺮﻫﻲ ﺭﺍ ﺟﺎﻳﮕﺰﻳﻨﺶ ﻛﺮﺩ‪ .‬ﭘﻴﺶ‬ ‫ﺍﺯ ﺷﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻧﺎﻣﻪﺍﻱ ﺍﺯ ﻛﻴﻤﻴﺎﻳﻲ ﺧﻄﺎﺏ ﺑﻪ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ‬ ‫ﺩﺭ ﻣﻄﺒﻮﻋﺎﺕ ﻣﻨﺘﺸﺮ ﺷــﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻛﻴﻤﻴﺎﻳﻲ ﺍﺯ ﺧﺎﺗﻤﻲ ﺧﻮﺍﺳﺘﻪ‬ ‫ﺑﻮﺩ ﺑﻪ ﺩﻟﻴﻞ ﻣﺸﻜﻼﺗﻲ ﻛﻪ ﺩﺭ ﻛﺎﺭ ﻓﻴﻠﻤﺴﺎﺯﻱ ﺩﺭ ﻛﺸﻮﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‬ ‫ﺑﻪ ﺍﻭ ﻭ ﭘﺴــﺮﺵ ﭘﻮﻻﺩ ﺍﺟﺎﺯﻩ ﻣﻬﺎﺟﺮﺕ ﺑﻪ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﺩﺍﺩﻩ ﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻧﺎﻣﻪ ﺗﻌﺠﺐ ﺑﺮﺍﻧﮕﻴﺰ ﺩﺭ ﺍﺻﻞ ﺩﺭ ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﺩﺭﺟﻪﺑﻨﺪﻱ ﻛﻴﻔﻲ‬ ‫ﻓﻴﻠﻢ ﻗﺒﻠﻲ ﻛﻴﻤﻴﺎﻳﻲ ﻳﻌﻨﻲ ﻓﺮﻳﺎﺩ ﻧﻮﺷــﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻓﺮﻳﺎﺩ ﺑﻪ ﺩﻟﻴﻞ‬ ‫ﺿﻌﻒ ﻛﻴﻔﻲ ﺍﺯ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ ﺩﺭﺟﻪ ﺏ ﺳﺘﺎﺭﻩﺩﺍﺭ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ ﺑﻮﺩ ﻛﻪ‬ ‫ﺑﻪ ﻣﻌﻨﺎﻱ ﺗﻌﻠﻴﻖ ﻳﻚ ﺳﺎﻟﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺑﻮﺩ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ‬ ‫ﻛﻴﻤﻴﺎﻳﻲ ﺗﺎ ﻳﻚ ﺳﺎﻝ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﻓﻴﻠﻤﻲ ﺑﺴﺎﺯﺩ‪ .‬ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺑﺎ ﺻﺪﻭﺭ‬ ‫ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﺍﻋﺘﺮﺍﺽ ﺧﺘﻢ ﺑﻪ ﺧﻴﺮ ﺷﺪ ﻭ ﺑﻪ ﻫﺮ ﺷﻜﻞ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﺍﻋﺘﺮﺍﺽ ﺍﺯ ﺯﻧﺪﺍﻥ ﻗﺰﻝﺣﺼﺎﺭ ﺷﺮﻭﻉ ﺷﺪ ﻭ ﻇﺮﻑ ﻣﺪﺕ ﺍﻧﺪﻛﻲ )ﻳﻚ‬ ‫ﻣﺎﻩ( ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ .‬ﺍﻣﺎ ﺍﺗﻔﺎﻗﻲ ﺭﻭﺯﻫﺎﻱ ﭘﺎﻳﺎﻧﻲ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺭﺍ ﻛﺎﻣﻼ‬ ‫ﺗﺤﺖﺗﺎﺛﻴــﺮ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺭﻭﺯﻧﺎﻣﻪ ﺍﺧﺒﺎﺭ ﺍﻗﺘﺼــﺎﺩ ﺩﺭ ﺧﺒﺮ ﻛﻮﺗﺎﻫﻲ ﺍﺩﻋﺎ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ ﺳﻌﻴﺪ ﺍﻣﺎﻣﻲ‪ ،‬ﻣﺘﻬﻢ ﺍﺻﻠﻲ ﭘﺮﻭﻧﺪﻩ ﻗﺘﻞﻫﺎﻱ ﺯﻧﺠﻴﺮﻩﺍﻱ ﺩﺭ‬ ‫ﺳــﺎﺧﺖ ﺩﻭ ﻓﻴﻠﻢ ﻧﻴﻤﻪ ﺩﻫﻪ ﻫﻔﺘﺎﺩ ﻛﻴﻤﻴﺎﻳﻲ ﻫﻤﻜﺎﺭﻱ ﺩﺍﺷﺘﻪ‪ .‬ﺍﻳﻦ‬ ‫ﺧﺒﺮ ﺯﻟﺰﻟﻪﺍﻱ ﺩﺭ ﻓﻀﺎﻱ ﺭﺳﺎﻧﻪﺍﻱ ﺍﻳﺮﺍﻥ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﻳﻚ‬ ‫ﻫﻔﺘﻪ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﺧﺒﺮ ﺑﺎ ﺍﻧﺘﺸﺎﺭ ﺟﻮﺍﺑﻴﻪ ﺗﻨﺪﻱ ﺑﻪ ﻛﻠﻲ ﺍﺗﻬﺎﻡ ﻓﻮﻕ ﺭﺍ‬ ‫ﺭﺩ ﻛﺮﺩ ﺍﻣﺎ ﺳــﺎﻳﻪ ﺍﻳﻦ ﺧﺒﺮ ﻛﻪ ﺑﻌﻀﻲ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺩﻭ ﻓﻴﻠﻢ ﺳﻠﻄﺎﻥ ﻭ‬ ‫ﺿﻴﺎﻓﺖ ﻋﺎﻣﻠﻲ ﺑﺮﺍﻱ ﺗﺎﻳﻴﺪ ﻧﺴﺒﻲ ﺁﻥ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺗﺎ ﺳﺎﻝﻫﺎ ﺑﺮ ﻓﻌﺎﻟﻴﺖ‬ ‫ﻭ ﺯﻧﺪﮔﻲ ﻛﻴﻤﻴﺎﻳﻲ ﺳﺎﻳﻪ ﺍﻧﺪﺍﺧﺖ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺍﻋﺘﺮﺍﺽ ﻫﻢ ﺍﺯ ﭘﺲ ﺍﻳﻦ‬ ‫ﺍﺧﺒﺎﺭ ﺷﻜﻞ ﺩﻳﮕﺮﻱ ﺩﻳﺪﻩ ﺷﺪ ﻭ ﻣﻮﺭﺩ ﻗﻀﺎﻭﺕ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﻣﻴﺎﻧﻪ‬ ‫ﺍﻳﻦ ﺗﻜﺬﻳﺐﻫﺎ ﻭ ﺗﻮﺿﻴﺢﻫﺎﻱ ﺩﻭﺑﺎﺭﻩ ﻛﻪ ﻫﻢ ﺗﻮﺳﻂ ﺳﺮﺩﺑﻴﺮ ﺭﻭﺯﻧﺎﻣﻪ‬ ‫ﻣﻨﺘﺸﺮ ﻛﻨﻨﺪﻩ ﺧﺒﺮ ﻭ ﻫﻢ ﻧﻮﻳﺴﻨﺪﻩ ﺧﺒﺮ ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﻣﺼﺎﺣﺒﻪ ﻛﻴﻤﻴﺎﻳﻲ‬ ‫ﺑﺎ ﻳﻚ ﻧﺸﺮﻳﻪ ﺩﻳﮕﺮ ﻛﺎﻣﻼ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻮﺿﻮﻋﻲ ﺣﺎﺩ ﻭ ﻣﻠﺘﻬﺐ ﺷﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﻛﺎﺭ ﺁﻣﺎﺩﻩﺳﺎﺯﻱ ﺍﻋﺘﺮﺍﺽ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ‪ .‬ﻣﺮﺍﺣﻞ ﻓﻨﻲ ﺗﺎ ﺯﻣﺎﻥ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ‬ ‫ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻧﺠﺎﻡ ﺷﺪ ﻭ ﺍﻋﺘﺮﺍﺽ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﺩﺭ ﻫﺠﺪﻫﻤﻴﻦ ﺩﻭﺭﻩ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺁﻣﺎﺩﻩ ﺷﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺍﻋﺘــﺮﺍﺽ ﺩﺭ ﺳﻴﺎﺳــﺖﺯﺩﻩﺗﺮﻳﻦ ﺩﻭﺭﻩ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺑﻪ‬ ‫ﻧﻤﺎﻳــﺶ ﺩﺭﺁﻣﺪ‪ ،‬ﺩﻭﺭﻩﺍﻱ ﻛﻪ ﻓﻴﻠﻢﻫﺎﻳﻲ ﭼــﻮﻥ ﻣﺘﻮﻟﺪ ﻣﺎﻩ ﻣﻬﺮ‪ ،‬ﺑﻮﻱ‬ ‫ﻛﺎﻓﻮﺭ ﻋﻄــﺮ ﻳﺎﺱ‪ ،‬ﻣﺮﺩ ﺑﺎﺭﺍﻧﻲ ﻭ ﻋﺮﻭﺱ ﺁﺗــﺶ ﻫﻤﮕﻲ ﺑﺎ ﺯﻣﻴﻨﻪﻫﺎﻱ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺳﻴﺎﺳــﺖ ﻭ ﺍﺟﺘﻤﺎﻉ ﺩﺭ ﺁﻥ ﺣﻀﻮﺭ ﺩﺍﺷــﺘﻨﺪ‪ .‬ﺍﻋﺘﺮﺍﺽ ﺍﻣﺎ‬ ‫ﺻﺮﻳﺢﺗﺮﻳــﻦ ﻓﻴﻠﻢ ﺑﻮﺩ‪ .‬ﺯﻣﻴﻨﻪﻫﺎﻱ ﻣﻄﺮﺡ ﺷــﺪﻩ ﺩﺭ ﻓﻴﻠﻢ ﺑﻪﮔﻮﻧﻪﺍﻱ‬ ‫ﺑﻮﺩ ﻛﻪ ﺣﺘــﻲ ﻭﺍﻛﻨــﺶ ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﺭﺍ ﻫﻢ ﻫﻨــﮕﺎﻡ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺑــﺮ ﻣﻲﺍﻧﮕﻴﺨﺖ‪ .‬ﺍﻭﺝ ﺁﻥ ﺩﺭ ﺻﺤﻨﻪﺍﻱ ﺑﻮﺩ ﻛﻪ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺭﻭ ﺑﻪ ﺩﻭﺭﺑﻴﻦ‬ ‫ﻧﻈﺮﺍﺕ ﺳﻴﺎﺳــﻲ ﺩﺭﺑــﺎﺭﻩ ﺍﺗﻔﺎﻗــﺎﺕ ﺭﻭﺯ ﻣﻲﺩﺍﻧﻨﺪ ﻭ ﻧــﺎﻡ ﺗﻌﺪﺍﺩﻱ ﺍﺯ‬ ‫ﺳﻴﺎﺳــﻴﻮﻥ ﻓﻌﺎﻝ ﺭﺍ ﻣﻲﺑﺮﻧﺪ‪ .‬ﻫﻤﻴﻦ ﺳﻴﺎﺳﻴﻮﻥ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻧﻮﺑﺖﻫﺎﻱ‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺗﻤﺎﺷﺎﮔﺮ ﻓﻴﻠﻢ ﺷﺪﻧﺪ ﺗﺎ ﺳﻴﺎﺳﺖ ﻛﺎﻣﻼ ﺑﻪ‬ ‫ﺩﻝ ﺳﻴﻨﻤﺎ ﺑﺮﻭﺩ‪ .‬ﻫﺮﭼﻨﺪ ﻭﺍﻛﻨﺶ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺑﻪ ﻓﻴﻠﻢ ﭼﻨﺪﺍﻥ ﺧﻮﺷﺎﻳﻨﺪ‬ ‫ﻧﺒﻮﺩ ﻭ ﻫﻤﮕﻲ ﺍﺯ ﺩﻭﺭ ﺑﻮﺩﻥ ﻓﻴﻠﻤﺴــﺎﺯ ﺍﺯ ﺣﻘﻴﻘﺖ ﻭ ﻋﻤﻖ ﺟﺮﻳﺎﻥﻫﺎﻱ‬ ‫ﺟﺎﺭﻱ ﺩﺭ ﻛﺸﻮﺭ ﺻﺤﺒﺖ ﻣﻲﻛﺮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﻛﻤﺘﺮ ﻛﺴﻲ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻧﻤﺎﻳﺶ‬ ‫ﺍﻳﻦ ﻣﻴﺰﺍﻥ ﺻﺮﺍﺣﺖ ﻭ ﺳﻴﺎﺳﺖﺯﺩﮔﻲ ﻭ ﺷﻌﺎﺭﺩﻫﻲ ﺩﺭ ﻓﻴﻠﻢ ﻣﺘﻌﺠﺐ‬ ‫ﻧﺸﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻧﮕﺎﻩ ﻫﻤﺮﺍﻫﻲ ﺑﻪ ﻓﻴﻠﻢ ﺩﺍﺷﺘﻨﺪ‬ ‫ﻭ ﺣﺘﻲ ﺩﺭ ﺁﺭﺍﻱ ﻣﺮﺩﻣﻲ ﻫﻢ ﺭﻗﺎﺑﺖ ﺗﻨﮕﺎﺗﻨﮕﻲ ﺑﺎ ﺩﻭ ﻓﻴﻠﻢ ﻣﺪﻋﻲ ﺩﻳﮕﺮ‬ ‫)ﻋﺮﻭﺱ ﺁﺗﺶ ﻭ ﻣﺘﻮﻟﺪ ﻣﺎﻩ ﻣﻬﺮ( ﺩﺍﺷﺖ‪ .‬ﺩﺍﻭﺭﺍﻥ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﭼﻨﺪ ﺭﺷﺘﻪ‬ ‫ﻧﺎﻣﺰﺩ ﻛﺮﺩﻧﺪ ﺍﻣﺎ ﺗﻨﻬﺎ ﻳﻚ ﺳﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ ﻓﺮﻋﻲ ﺑﻪ ﺁﻥ ﺩﺍﺩﻧﺪ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﺳــﺎﺧﺘﻪﻫﺎﻱ ﻗﺒﻠﻲ‬ ‫ﻛﻴﻤﻴﺎﻳﻲ ﺑﻬﺘﺮ ﻭ ﺣــﺎﻭﻱ ﭼﻨﺪ ﻟﺤﻈﻪ ﭘﺮ ﺣﺲ ﻭ ﺣﺎﻝ ﺗﻮﺻﻴﻒ ﻛﺮﺩﻧﺪ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺗﻤﺎﺷﺎﻱ ﺩﻭﺑﺎﺭﻩ ﺍﻋﺘﺮﺍﺽ ﺍﻣﺮﻭﺯ ﭘﺲ ﺍﺯ ﮔﺬﺷﺖ ‪ 10‬ﺳﺎﻝ ﺍﺯ ﺳﺎﺧﺘﺶ‪ ،‬ﺩﺭ ﻧﮕﺎﻩ ﺍﻭﻝ ﻫﺮﭼﻨﺪ ﻫﻤﺎﻥ‬ ‫ﺳــﻄﺤﻲﮔﺮﺍﻳﻲ ﻭ ﺷﻌﺎﺭﺯﺩﮔﻲﺍﺵ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﺍﻣﺎ ﺑﻪ ﺷﻜﻞ ﻏﺮﻳﺒﻲ ﻳﺎﺩﺁﻭﺭ ﻫﻤﺎﻥ ﺩﻭﺭﺍﻧﺶ ﺍﺳﺖ‪.‬‬ ‫ﺩﻭﺭﻩﺍﻱ ﻛﻪ ﻫﺮ ﻓﺮﺩﻱ ﺑﺎ ﻛﻤﺘﺮﻳﻦ ﺩﺍﻧﺶ ﺳﻴﺎﺳــﻲ ﺧﻮﺩ ﺭﺍ ﻛﺎﺭﺷﻨﺎﺱ ﺍﺗﻔﺎﻗﺎﺕ ﺟﺎﺭﻱ ﻣﻲﺩﺍﻧﺴﺖ ﻭ ﺑﻪ‬ ‫ﺍﻇﻬﺎﺭﻧﻈﺮ ﻣﻲﭘﺮﺩﺍﺧﺖ‪ .‬ﻗﻬﺮﻣﺎﻧﺎﻥ ﻛﻴﻤﻴﺎﻳﻲ ﻫﻢﮔﻮﻳﻲ ﺍﺯ ﻫﻤﺎﻥ ﺟﻨﺲ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻋﺘﺮﺍﺽ ﺣﺎﻻ ﺗﻨﻬﺎ ﻓﻴﻠﻤﻲ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺻﺮﺍﺣﺖ ﺍﻋﺠﺎﺏﺁﻭﺭﻱ ﻧﺎﻡ ﺳﻴﺎﺳﻲﻫﺎ ﻭ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﺍﻥ ﻓﻌﺎﻝ ﺩﻭﺭﺍﻥ ﺍﺯ ﺩﻫﺎﻥ ﺑﺎﺯﻳﮕﺮﺍﻧﺶ‬ ‫ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺎﺯﺳــﺎﺯﻱ ﺣﻮﺍﺩﺙ ﻛﻮﻱ ﺩﺍﻧﺸﮕﺎﻩ ﺛﺒﺖ ﺷﺪ‪ .‬ﻛﻤﺘﺮ ﻓﻴﻠﻤﻲ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺑﻌﺪ ﺍﺯ‬ ‫ﺍﻧﻘﻼﺏ ﺍﻳﺮﺍﻥ ﺩﺭ ﭼﻨﻴﻦ ﺣﺪﻱ ﺩﺭ ﮔﺰﺍﺭﺵ ﺻﺮﻑ ﻭﻗﺎﻳﻊ ﭘﺮﺩﺍﺧﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﮔﻮﻳﻲ ﻛﻴﻤﻴﺎﻳﻲ ﭘﺮﺩﻩ ﭘﻮﺷﻲ‬ ‫‪86‬‬ ‫ﺍﻣﺎ ﻧﺘﻮﺍﻧﺴــﺘﻨﺪ ﺩﺭ ﻣﻘﺎﺑﻞ ﺣﺠﻢ ﺯﻳﺎﺩ ﺳﻴﺎﺳــﺖﺯﺩﮔﻲ ﻓﻴﻠﻢ ﺳﺎﻛﺖ‬ ‫ﺑﻤﺎﻧﻨﺪ ﻭﻳﻜﺴﺮ ﻋﻠﻴﻪ ﺍﻳﻦ ﺑﺨﺶ ﻣﻮﺿﻊ ﮔﺮﻓﺘﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻋﺪﻩﺍﻱ‬ ‫ﻫﻢ ﻧﮕﺎﻩ ﺟﺪﻳﺪ ﻛﻴﻤﻴﺎﻳﻲ ﺩﺭ ﻗﺮﺑﺎﻧﻲﻛﺮﺩﻥ ﻗﻬﺮﻣﺎﻧﺶ ﺑﻪ ﻣﻌﻨﺎﻱ ﻧﻔﻲ‬ ‫ﺧﺸﻮﻧﺖ ﻭﺭﺯﻱ ﺭﺍ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻭ ﺑﻌﻀﺎ ﺳﺘﺎﻳﺶ ﻗﺮﺍﺭ ﻣﻲﺩﻫﻨﺪ ﻭ ﺳﻌﻲ‬ ‫ﻣﻲﻛﻨﻨﺪ ﺍﻳﻦ ﻭﺟﻪ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮﺟﺴــﺘﻪ ﻛﻨﻨﺪ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﺩﺭ ﻧﺸﺴــﺖ‬ ‫ﻣﻄﺒﻮﻋﺎﺗﻲ ﭘﺮﺗﻨﺶ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺗﻼﺵ ﻛﺮﺩ ﭘﺎﺳﺨﮕﻮﻱ ﺑﻌﻀﻲ‬ ‫ﻣﺴﺎﺋﻞ ﻓﻴﻠﻢ ﺑﺎﺷﺪ ﺍﺯ ﺟﻤﻠﻪ ﺁﻧﻜﻪ ﮔﻔﺖ ﻓﻴﻠﻤﺶ ﺳﻴﺎﺳﻲ ﻧﻴﺴﺖ ﻭ ﺩﺭ‬ ‫ﺻﺪﺩ ﺍﻟﻘﺎﻱ ﭼﻴﺰ ﺧﺎﺻﻲ ﻫﻢ ﻧﺒﻮﺩﻩ‪» :‬ﻣﻲﺧﻮﺍﺳﺘﻢ ﺑﻪ ﺟﺎﻱ ﺍﻇﻬﺎﺭﻧﻈﺮ‬ ‫ﺷﺨﺼﻲ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﻛﻪ ﻣﺮﺩﻡ ﺑﻪﻃﻮﺭ ﺭﻭﺯﻣﺮﻩ ﻣﻲﮔﻮﻳﻨﺪ ﺭﺍ ﺑﮕﻮﻳﻢ‪«.‬‬ ‫ﺍﻭ ﻫﻤﭽﻨﻴﻦ ﮔﻔﺖ ﻛﻪ ﺩﺭ ﺑﺎﺯﺳــﺎﺯﻱ ﺭﻭﺍﺑﻂ ﺳﻴﺎﺳﻲ ﺑﻴﻦ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ‬ ‫ﺗﻼﺵ ﻛﺮﺩﻩ ﻓﻀﺎﻱ ﺩﻫﻪ‪ 30‬ﺭﺍ ﺯﻧﺪﻩ ﻛﻨﺪ ﻛﻪ ﺑﻼﻓﺎﺻﻠﻪ ﺑﺎ ﻭﺍﻛﻨﺶ ﺭﻭﺑﻪﺭﻭ‬ ‫ﺷــﺪ‪ .‬ﭘﺲ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻼﻓﺎﺻﻠﻪ ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﺍﻣﻴﺪﻫﺎﻱ‬ ‫ﺍﻛﺮﺍﻥ ﺳﺎﻝ ﺁﻳﻨﺪﻩ ﺳﻴﻨﻤﺎﻫﺎ ﺍﺭﺯﻳﺎﺑﻲ ﺷﺪ‪ .‬ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺷﺮﻭﻉ ﻓﺼﻞ‬ ‫ﺗﺎﺑﺴــﺘﺎﻥ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻓﺼﻞﻫﺎﻱ ﺳﺎﻝ ﺩﺭ ﻛﻨﺎﺭ ﺩﻭ ﻓﻴﻠﻢ‬ ‫ﭘﺮﺍﻣﻴﺪ ﺩﻳﮕﺮ ﻳﻌﻨﻲ ﻣﻮﻣﻴﺎﻳﻲ‪ 3‬ﻭ ﻣﺘﻮﻟﺪ ﻣﺎﻩ ﻣﻬﺮ ﺑﺮﻧﺎﻣﻪ ﺭﻳﺰﻱ ﺷﺪ ﺍﻣﺎ ﺩﻭ‬ ‫ﺷﺎﻳﻌﻪ ﺑﺮ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺳﺎﻳﻪ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﻭﻟﻲ ﺧﺒﺮ ﺷﻜﺎﻳﺖ ﻗﺮﺍﺭﮔﺎﻩ ﺛﺎﺭﺍﷲ‬ ‫ﺍﺯ ﻛﻴﻤﻴﺎﻳﻲ ﻭ ﺍﺣﻀﺎﺭﺵ ﺑﻪ ﺩﺍﺩﮔﺎﻩ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮﻱ ﺧﺮﻭﺟﺶ ﺍﺯ ﻛﺸــﻮﺭ‬ ‫ﻫﻤﺮﺍﻩﻫﻤﺴﺮﻭﻓﺮﺯﻧﺪﺵ‪.‬ﻫﺮﺩﻭﺍﻳﻦﺧﺒﺮﻫﺎﺍﺑﺘﺪﺍﺗﻜﺬﻳﺐﺷﺪﺍﻣﺎﭼﻨﺪﻱ‬ ‫ﺑﻌﺪ ﻣﺸﺨﺺ ﺷﺪ ﻛﻪ ﻫﺮ ﺩﻭ ﺩﺭﺳــﺖ ﺑﻮﺩﻩ‪ .‬ﺧﺒﺮ ﺍﻭﻝ ﺭﺍ ﺭﻭﺯﻧﺎﻣﻪ ﺍﻳﺮﺍﻥ‬ ‫‪ 13‬ﻣﺮﺩﺍﺩ ﺑﺎ ﭼﺎپ ﺧﺒﺮﻱ ﻛﻮﺗﺎﻩ ﺗﺎﻳﻴﺪ ﻛﺮﺩ ﻭ ﺩﻭﻣﻲ ﻫﻢ ﺑﺎ ﻣﺼﺎﺣﺒﻪﻫﺎﻱ‬ ‫ﺧﻮﺩ ﻛﻴﻤﻴﺎﻳﻲ ﻭ ﻫﻤﺴــﺮﺵ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﺭﻧﮓ ﻭﺍﻗﻌﻴﺖ ﮔﺮﻓﺖ‪.‬‬ ‫ﻧﻤﺎﻳﺶ ﺍﻋﺘﺮﺍﺽ ﺑﺎ ﺷــﻌﺎﺭ »ﺍﻋﺘﺮﺍﺽ‪ ،‬ﺧﺸــﻮﻧﺖ ﻧﻴﺴﺖ ﺍﻋﺘﺮﺍﺽ ﺑﻪ‬ ‫ﺧﺸــﻮﻧﺖ ﺍﺳﺖ« ﺩﺭ ﺳــﻴﻨﻤﺎﻫﺎ ﺁﻏﺎﺯ ﺷــﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺧﺒﺮ ﺧﺮﻭﺝ‬ ‫ﻛﻴﻤﻴﺎﻳﻲ ﺍﺯ ﺍﻳﺮﺍﻥ ﺑﻪ ﻗﺼﺪ ﺑﺮﮔﺰﺍﺭﻱ ﻛﻨﺴــﺮﺕ ﻭ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﻫﻤﻪ‬ ‫ﻧﮕﺎﻩﻫﺎ ﺭﺍ ﻣﻌﻄﻮﻑ ﺧﻮﺩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺍﻋﺘﺮﺍﺽ ﺍﻛﺮﺍﻥ ﻣﻮﻓﻘﻲ‬ ‫ﻧﺪﺍﺷﺖ‪ .‬ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﺯ ﻧﻤﺎﻳﺶ ﺗﻴﺰﺭ ﻓﻴﻠﻢ ﺳﺮﺑﺎﺯ ﺯﺩ ﻭ ﻣﻄﺒﻮﻋﺎﺗﻲ ﻫﻢ ﺑﻌﺪ‬ ‫ﺍﺯ ﺗﻮﻗﻴﻒ ﺩﺳﺘﻪ ﺟﻤﻌﻲ‪ ،‬ﺑﺎﻗﻲ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﺗﺎ ﺍﻃﻼﻉﺭﺳﺎﻥ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺑﺎﺷــﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺍﻋﺘﺮﺍﺽ ﺩﺭ ﻣﻴﺎﻧﻪ ﺣﺎﺷﻴﻪﻫﺎﻱ ﭘﻴﺮﺍﻣﻮﻧﺶ ﺗﻨﻬﺎ‬ ‫ﻣﺎﻧﺪ ﻭ ﮔﻮﻳﻲ ﻣﺨﺎﻃﺒﺎﻧﺶ ﻫﻢ ﻋﻼﻗﻪ ﺩﺍﺷﺘﻨﺪ ﺩﺭ ﻫﻤﺎﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺻﺮﻓﺎ‬ ‫ﺗﻤﺎﺷﺎﮔﺮﺵ ﺑﺎﺷــﻨﺪ‪ .‬ﻛﻴﻤﻴﺎﻳﻲ ﺩﺭ ﻫﻤﺎﻥ ﺧﺎﺭﺝ ﻛﺸﻮﺭ ﺩﺭ ﻛﻨﺎﺭ ﺩﻳﮕﺮ‬ ‫ﻣﻮﺿﻮﻋﺎﺗﻲ ﻛــﻪ ﺩﺭﺑﺎﺭﻩ ﺁﻧﻬﺎ ﺑﻪ ﺍﺑﺮﺍﺯ ﻧﻈﺮ ﭘﺮﺩﺍﺧﺖ ﺩﺭﺑﺎﺭﻩ ﺍﻋﺘﺮﺍﺽ ﻫﻢ‬ ‫ﺻﺤﺒﺖ ﻛﺮﺩ ﻭ ﮔﻔﺖ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺩﻭﺳــﺖ ﺩﺍﺭﺩ ﻭ ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﺛﺎﺑﺖ‬ ‫ﺧﻮﺍﻫﺪ ﺷﺪ ﻛﻪ ﺁﻳﺎ ﺗﺎﺭﻳﺦ ﻣﺼﺮﻑ ﺩﺍﺭ ﺑﻮﺩﻩ ﻳﺎ ﻧﻪ‪.‬‬ ‫‪ 20‬ﺳــﺎﻟﻪ ﺭﺍ ﺩﺭ ﺍﻋﻼﻡ ﻣﻮﺍﺿﻌﺶ ﻧﺴــﺒﺖ ﺑﻪ ﻭﻗﺎﻳﻊ ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﺳﻴﺎﺳﻲ ﻛﺸــﻮﺭ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺍﻋﺘﺮﺍﺽ ﺍﻣﺮﻭﺯ ﺍﻟﺒﺘﻪ ﻧﺴﺒﺖ ﺑﻪ ﭼﻨﺪ ﻓﻴﻠﻢ ﺑﻌﺪﻱ ﻛﻴﻤﻴﺎﻳﻲ ﻗﺎﺑﻞ ﺗﺤﻤﻞ ﺗﺮ ﺍﺳﺖ‪ .‬ﺑﻌﻀﻲ ﻟﺤﻈﺎﺗﺶ ﻣﺎﻧﻨﺪ‬ ‫ﻓﺼﻞ ﺍﻓﺘﺘﺎﺣﻴﻪ ﻭ ﺯﺧﻤﻲ ﺷــﺪﻥ ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚ ﺩﺭ ﺣﻮﺍﺩﺙ ﻛﻮﻱ ﺩﺍﻧﺸﮕﺎﻩ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ‪ .‬ﺍﻋﺘﺮﺍﺽ‬ ‫ﺍﻟﺒﺘﻪ ﺍﺯ ﻧﻈﺮ ﻣﻴﺰﺍﻥ ﺩﻗﺖ ﻭ ﭘﺮﺩﺍﺧﺖ ﻋﻤﻴﻖ ﻭ ﻣﻨﻄﺒﻖ ﺑﺮ ﺷــﻨﺎﺧﺖ ﺩﻗﻴﻖ ﺷــﺮﺍﻳﻂ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺩﺭ ﻧﻘﻄﻪ‬ ‫ﻣﻘﺎﺑﻞ ﻓﻴﻠﻤﻲ ﭼﻮﻥ ﺁژﺍﻧﺲ ﺷﻴﺸــﻪﺍﻱ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻣﺎﻧﻨﺪ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﺣﺮﻑ ﻭ ﻛﻼﻣﺶ‬ ‫ﺍﻣﺮﻭﺯ ﻫﻢ ﻣﺴﺎﻟﻪ ﻭ ﻣﺤﻞ ﺑﺤﺚ ﺑﺎﺷﺪ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻲ ﺭﺳﻴﺪ ﺗﺎ ﺯﻣﺎﻧﻲ ﻛﻪ ﻫﻨﻮﺯ ﻭﻗﺎﻳﻊ ﻧﻴﻤﻪ ﺩﻭﻡ ﺩﻫﻪ ﻫﻔﺘﺎﺩ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﻮﺭﺩ ﺑﺤﺚ ﻭ ﮔﻔﺖﻭﮔﻮ ﺑﺎﺷﺪ‬ ‫ﻭ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺍﺗﻔﺎﻗﺎﺕ ﺁﻥ ﺩﻭﺭﺍﻥ ﺩﺭ ﺟﺎﻣﻌﻪ ﻭﺟﻮﺩ ﺩﺍﺷــﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺑﺘﻮﺍﻥ ﺑﻪ ﺍﻋﺘﺮﺍﺽ ﻣﺮﺍﺟﻌﻪ‬ ‫ﻛﺮﺩ ﻭ ﺑﻪ ﺗﻤﺎﺷﺎﻳﺶ ﻧﺸﺴﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺯﺍﻭﻳﻪ ﺍﻋﺘﺮﺍﺽ ﺷﺎﻳﺪ ﺩﻳﺪﻧﻲ ﺑﺎﺷﺪ‪.‬‬ ‫‪23‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺷﻮﻛﺮﺍﻥ )‪(1378‬‬ ‫ﺭﻭﺍﻳﺖ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﭘﻨﻬﺎﻥ‬ ‫ﻳﻚ ﺩﻭﺭﻩ ﺟﺪﻳﺪ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ‪ ،‬ﺗﻬﻴﻪ‬ ‫ﻛﻨﻨـﺪﻩ‪ :‬ﺳـﻴﺪﺿﻴﺎ ﻫﺎﺷـﻤﻲ‪،‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ‪ ،‬ﻣﻴﻨﻮ‬ ‫ﻓﺮﺷـﭽﻲ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‬ ‫ﻭ ﻃﺮﺍﺡ ﺻﺤﻨـﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ﻧﻌﻤﺖ‬ ‫ﺣﻘﻴﻘـﻲ‪ ،‬ﺗﺪﻭﻳـﻦ‪ :‬ﻣﻬـﺮﺯﺍﺩ‬ ‫ﻣﻴﻨﻮﻳﻲ‪ ،‬ﻣﻮﺳﻴﻘﻲ‪ :‬ﺳﻴﺪﻣﺤﻤﺪ ﻣﻴﺮﺯﻣﺎﻧﻲ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪:‬‬ ‫ﻣﺤﻤـﺪ ﻋﻠﻴﺰﺍﺩﻩ ﻭ ﻣﻨﺼﻮﺭ ﺷـﻬﺒﺎﺯﺯﺍﺩﻩ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩ‬ ‫ﭘﺮﺩﺍﺯﻱ‪ :‬ﻣﻬﺮﺩﺍﺩ ﻣﻴﺮﻛﻴﺎﻧﻲ‪ ،‬ﻣﺠﺮﻱ ﻃﺮﺡ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ‬ ‫ﺗﺨﺖ ﻛﺸﻴﺎﻥ‬ ‫ﺑﺎﺯﻳﮕـﺮﺍﻥ‪ :‬ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧـﻲ‪ ،‬ﻓﺮﻳﺒﺮﺯ ﻋﺮﺏﻧﻴـﺎ‪ ،‬ﺭﺯﻳﺘﺎ‬ ‫ﻏﻔﺎﺭﻱ‪ ،‬ﺣﻤﻴﺪﺭﺿﺎ ﺍﻓﺸﺎﺭ‪ ،‬ﻣﻨﻮﭼﻬﺮ ﺻﺎﺩﻕﭘﻮﺭ‪ ،‬ﻣﺤﻤﺪ‬ ‫ﺻﺎﻟﺢﻋﻼ‪ ،‬ﺍﻛﺒﺮ ﻣﻌﺰﺯﻱ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺳـﺎﺯﻣﺎﻥ ﺗﻮﺳـﻌﻪ ﺳـﻴﻨﻤﺎﻳﻲ ﺳـﻮﺭﻩ‪90 ،‬‬ ‫ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 2:‬ﻓﺮﻭﺭﺩﻳﻦ ‪ ،1379‬ﻓﺮﻭﺵ ﺩﺭ‬ ‫ﺗﻬﺮﺍﻥ‪ 383 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﻣﻬﻨﺪﺱ ﺧﺎﻛﭙﻮﺭ‪ ،‬ﻣﺪﻳﺮ ﻋﺎﻣﻞ ﻳﻚ ﻛﺎﺭﺧﺎﻧﻪ ﺩﺭ ﺣﻮﻣﻪ ﺗﻬﺮﺍﻥ‬ ‫ﺑﺮﺍﻱ ﺑﺮﺭﺳــﻲ ﺿﺮﺭ ﻭ ﺯﻳﺎﻥ ﻭ ﺩﺭﻳﺎﻓﺖ ﻛﻤﻚ ﺍﺯ ﻭﺯﻳﺮ ﺑﻪ ﺗﻬﺮﺍﻥ‬ ‫ﻋﺰﻳﻤﺖ ﻣﻲ ﻛﻨﺪ‪ .‬ﺍﻭ ﻃﻲ ﺳــﺎﻧﺤﻪ ﺗﺼﺎﺩﻑ ﺩﺭ ﺟﺎﺩﻩ ﻣﺼﺪﻭﻡ‬ ‫ﻭ ﺑﻪ ﺑﻴﻤﺎﺭﺳــﺘﺎﻥ ﻣﻨﺘﻘﻞ ﻣﻲ ﺷﻮﺩ‪ .‬ﻣﺤﻤﻮﺩ ﺑﺼﻴﺮﺕ‪ ،‬ﻣﻌﺎﻭﻥ‬ ‫ﻭ ﺩﻭﺳــﺖ ﻗﺪﻳﻤﻲ ﺧﺎﻛﭙﻮﺭ ﺑﺎ ﺷﻨﻴﺪﻥ ﺧﺒﺮ ﺗﺼﺎﺩﻑ ﺑﻪ ﺗﻬﺮﺍﻥ‬ ‫ﻣﺮﺍﺟﻌــﻪ ﻛﺮﺩﻩ ﻭ ﺧﺎﻛﭙﻮﺭ ﺭﺍ ﺩﺭ ﺗﻬﺮﺍﻥ ﻣﻼﻗﺎﺕ ﻣﻲ ﻛﻨﺪ‪ .‬ﺍﻭ ﺩﺭ‬ ‫ﭘﻲ ﻣﺪﺍﻭﺍﻱ ﺧﺎﻛﭙﻮﺭ ﺑﺎ ﭘﺮﺳﺘﺎﺭﻱ ﺑﻪ ﻧﺎﻡ ﺳﻴﻤﺎ ﺁﺷﻨﺎ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺑﺎ ﮔﺬﺷــﺖ ﺯﻣﺎﻥ ﺭﺍﺑﻄﻪ ﺳﻴﻤﺎ ﻭ ﻣﺤﻤﻮﺩ ﺻﻤﻴﻤﻴﺖ ﺑﻴﺸﺘﺮﻱ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩ ﻩ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺑﺎ ﭘﻴﺸﻨﻬﺎﺩ ﻣﺤﻤﻮﺩ‪ ،‬ﺳﻴﻤﺎ ﺑﻄﻮﺭ ﭘﻨﻬﺎﻧﻲ‬ ‫ﺑﻪ ﻋﻘﺪ ﻣﻮﻗﺖ ﺍﻭ ﺩﺭﻣﻲ ﺁﻳﺪ‪ .‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﻣﺤﻤﻮﺩ ﻛﻪ ﻣﺘﻮﺟﻪ‬ ‫ﺍﻃﻼﻉ ﺧﺎﻛﭙﻮﺭ ﺍﺯ ﺟﺮﻳﺎﻥ ﺷــﺪﻩ ﺑﻮﺩ ﻣﻬﺮﻳﻪ ﺳﻴﻤﺎ ﺭﺍ ﭘﺮﺩﺍﺧﺘﻪ‬ ‫ﻭ ﺍﻭ ﺭﺍ ﺗﺮﻙ ﻣﻲ ﻛﻨﺪ‪ .‬ﺳﻴﻤﺎ ﭘﺲ ﺍﺯ ﻳﺎﻓﺘﻦ ﻣﺤﻤﻮﺩ ﺧﺒﺮ ﺑﺎﺭﺩﺍﺭ‬ ‫ﺑﻮﺩﻧﺶ ﺭﺍ ﺑﻪ ﺍﻭ ﻣــﻲ ﺩﻫﺪ ﻭ ﺗﻘﺎﺿﺎﻱ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻣﺤﻤﻮﺩ ﻣﺒﻨﻲ‬ ‫ﺑﺮ ﮔﺮﻓﺘﻦ ﺷﻨﺎﺳﻨﺎﻣﻪ ﺑﺮﺍﻱ ﻓﺮﺯﻧﺪﺵ ﻣﻄﺮﺡ ﻣﻲ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﭘﺲ‬ ‫ﺍﺯ ﺷﻨﻴﺪﻥ ﺟﻮﺍﺏ ﻣﻨﻔﻲ ﻣﺤﻤﻮﺩ‪ ،‬ﺑﺎ ﻣﺮﺍﺟﻌﻪ ﺑﻪ ﻣﻨﺰﻝ ﻣﺤﻤﻮﺩ‬ ‫ﺍﻭ ﺭﺍ ﺗﻬﺪﻳﺪ ﺑﻪ ﻣﻄﻠﻊ ﺳﺎﺧﺘﻦ ﻫﻤﺴﺮ ﻭﻱ ﺍﺯ ﻣﻮﺿﻮﻉ ﻣﻲ ﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﻣﻘﺎﺑﻞ ﻣﺤﻤﻮﺩ ﻧﻴﺰ ﺑﻪ ﻣﻨﺰﻝ ﺳﻴﻤﺎ ﺭﻓﺘﻪ ﻭ ﭘﺪﺭ ﺍﻭ ﺭﺍ ﺍﺯ ﻣﺎﺟﺮﺍ‬ ‫ﻣﻄﻠﻊ ﻣﻲ ﻛﻨﺪ‪ .‬ﺳــﻴﻤﺎ ﻧﻴــﺰ ﺗﺼﻤﻴﻢ ﺑﻪ ﺍﻧﺘﻘــﺎﻡ ﮔﺮﻓﺘﻪ ﺍﻣﺎ ﺑﺎ‬ ‫ﺻﺮﻓﻨﻈﺮ ﺍﺯ ﺗﺼﻤﻴﻢ ﺧﻮﺩ ﺩﺭ ﺭﺍﻩ ﺑﺎﺯﮔﺸﺖ ﺍﺯ ﻣﻨﺰﻝ ﻣﺤﻤﻮﺩ‪ ،‬ﺩﺭ‬ ‫ﺍﺛﺮ ﺳﺎﻧﺤﻪ ﺗﺼﺎﺩﻑ ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲ ﺩﻫﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺩﻭ ﺳــﺎﻝ ﺑﻌــﺪ ﺍﺯ ﻭﺍﻗﻌﻪ ﺩﻭﻡ ﺧﺮﺩﺍﺩ‪ ،‬ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺗﻮﺍﻧﺴــﺖ ﺑﺎ‬ ‫ﺑﻬﺮﻩﮔﻴﺮﻱ ﺍﺯ ﻓﻀﺎ ﻭ ﺷﺮﺍﻳﻂ ﺍﻳﺠﺎﺩ ﺷــﺪﻩ ﻳﻜﻲ ﺍﺯ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻬﻢ ﻭ ﺩﺭ‬ ‫ﭘﺮﺩﻩ ﻣﺎﻧﺪﻩ ﺟﺎﻣﻌﻪ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﺪ‪» .‬ﺷﻮﻛﺮﺍﻥ« ﻓﻴﻠﻤﻲ ﻇﺎﻫﺮﺍ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺭﻭﺍﺑﻂ ﺧﺎﺭﺝ ﻋﺮﻑ ﺯﻧﺎﻥ ﻭ ﻣﺮﺩﺍﻥ ﺍﻳﺮﺍﻧﻲ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺑﺎﻃﻦ ﺩﺭ ﺭﺩ ﻣﻨﺎﺳﺒﺎﺕ ﻭ‬ ‫ﺍﺧﻼﻗﻴﺎﺕﺭﻳﺎﻛﺎﺭﺍﻧﻪﻭﻇﺎﻫﺮﺳﺎﺯﺍﻧﻪﺟﺎﻣﻌﻪ‪ ،‬ﺁﺷﻜﺎﺭﺍﺍﺛﺮﻱﺯﺍﻳﻴﺪﻩﺯﻣﺎﻧﻪﺍﺵ‬ ‫ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﺑﻪ ﺷﺪﺕ ﻣﺘﻜﻲ ﺑﻪ ﺑﺎﺯﻳﮕﺮ ﻭ ﺷﺮﺍﻳﻂ ﻛﻪ ﺩﺍﺳﺘﺎﻧﻲ ﺭﺍﺯﺁﻟﻮﺩ ﻭ‬ ‫ﭘﻨﻬﺎﻥﺍﺯﺁﻧﭽﻪﺩﺭﺳﻄﻮﺡﺯﻳﺮﻳﻦﻳﻚﺟﺎﻣﻌﻪﻣﻲﮔﺬﺷﺖﺗﻌﺮﻳﻒﻣﻲﻛﺮﺩ‪.‬‬ ‫ﺷﻮﻛﺮﺍﻥ ﺩﺭ ﺩﻭﺭﻩﺍﻱ ﺳﺎﺧﺘﻪ ﺷــﺪ ﻛﻪ ﻣﻄﺎﻟﺒﺎﺕ ﺟﺎﻣﻌﻪ ﺍﺯ ﻭﺭﺍﻱ ﺍﺗﻔﺎﻕ‬ ‫ﻇﺎﻫﺮﻱ ﺭﺥ ﺩﺍﺩﻩ ﺍﺯ ﺩﻭ ﺳــﺎﻝ ﻗﺒﻞ ﺑﻪ ﺳﻄﻮﺡ ﺩﻳﮕﺮﻱ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺍﮔﺮ ﺗﺎ‬ ‫ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺻﺮﻓﺎ ﺑﻴﺎﻥ ﺑﻌﻀﻲ ﻣﺴﺎﺋﻞ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺗﺎﺑﻮ ﺑﻮﺩ‪ ،‬ﺣﺎﻻ ﻣﺮﺯﻫﺎﻳﻲ‬ ‫ﺍﺯ ﻋﻤﻠﮕﺮﺍﻳﻲ ﻭ ﺗﺠﺮﺑﻪ ﻋﻴﻨﻲ ﻣﻮﺍﺭﺩ ﭘﻮﺷــﻴﺪﻩ ﻣــﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﭼﻬﺮﻩ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺩﻭ ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﻭﺍﻗﻌﻪ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺁﺷﻜﺎﺭﺍ ﺗﻐﻴﻴﺮ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺣﻀﻮﺭ ﺟﻮﺍﻧﺎﻥ ﺩﺭ ﺳــﻄﺢ ﺷﻬﺮ‪ ،‬ﺭﺍﻩﺍﻧﺪﺍﺯﻱ ﻣﺮﺍﻛﺰ ﺗﻔﺮﻳﺤﻲ‪،‬‬ ‫ﺑﺮﮔﺰﺍﺭﻱ ﻛﻨﺴﺮﺕﻫﺎﻱ ﻣﻮﺳﻴﻘﻲ ﻭ ﺭﻭﻧﻖ ﻣﺤﺼﻮﻻﺕ ﻓﺮﻫﻨﮕﻲ ﺑﺨﺸﻲ‬ ‫ﺍﺯ ﺍﻳﻦ ﺗﻐﻴﻴﺮﺍﺕ ﻇﺎﻫﺮﻱ ﺑﻮﺩ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﺑﻮﺩ ﻛﻪ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ‬ ‫ﻧﻴﺰ ﺑﺎ ﺗﻌﻤﻖ ﻭ ﺩﻗﺖ ﺑﻴﺸــﺘﺮ ﺑﻪ ﺳــﻮﻱ ﺭﻭﺍﻳﺖﻫﺎﻱ ﺟﺪﻳﺪ ﺍﺯ ﻧﺎﮔﻔﺘﻪﻫﺎ‬ ‫ﻣﻲﺭﻓﺘﻨﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻧﻮﺑﺖ ﺭﻭﺍﻳﺖ ﺩﺍﺳــﺘﺎﻥﻫﺎﻱ ﺯﻧﺎﻥ ﺗﻨﻬــﺎ ﺑﻮﺩ‪ .‬ﺯﻧﺎﻧﻲ ﺑﻪ‬ ‫ﻇﺎﻫﺮ ﺧﻮﺩﺳــﺎﺧﺘﻪ ﻭ ﻣﺘﻜﻲ ﺑﻪ ﺧﻮﺩ ﺍﻣﺎ ﺩﺭ ﻋﻤﻖ ﺑﻪ ﺷﺪﺕ ﺁﺳﻴﺐﭘﺬﻳﺮ‬ ‫ﻭ ﻣﺤﺘﺎﺝ ﺣﻀﻮﺭ ﻣﺮﺩﺍﻥ ﺩﺭ ﺯﻧﺪﮔــﻲ‪ .‬ﭼﻬﺮﻩ ﻳﻜﺘﺎ ﻭ ﻣﻨﺤﺼﺮ ﺍﻳﻦ ﺩﻭﺭﺍﻥ‬ ‫ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ ﺑــﻮﺩ‪ ،‬ﺑﺎﺯﻳﮕﺮﻱ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺟﺮﻳﺎﻥ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﻛﻪ ﺑﻪ ﻟﻄﻒ‬ ‫ﮔﺸﺎﻳﺶﻫﺎﻱﺍﻳﺠﺎﺩﺷﺪﻩﺗﺼﻮﻳﺮﻱﺍﺯﭘﺮﺳﻮﻧﺎژﺯﻧﺎﻥﺩﺭﻇﺎﻫﺮﺑﻲﺍﺣﺴﺎﺱ‬ ‫ﻭ ﻓﺮﺩﮔﺮﺍ ﻭ ﻣﺼﻤﻤﻲ ﺭﺍ ﺗﺼﻮﻳﺮ ﻣﻲﻛﺮﺩ ﻛﻪ ﺑﻪ ﺍﻃﺮﺍﻓﻴﺎﻥ ﻭ ﺟﻨﺲ ﻣﺨﺎﻟﻒ‬ ‫ﺑﻲﺍﻋﺘﻨﺎﻳﻲ ﻣﻲﻛﺮﺩﻧﺪ ﺍﻣﺎ ﺩﺭ ﺍﺻﻞ ﻧﻴﺎﺯﻣﻨﺪ ﺣﻀﻮﺭ ﺁﻧﻬﺎ ﺑﻮﺩﻧﺪ‪ .‬ﺷﻮﻛﺮﺍﻥ‬ ‫ﻓﻴﻠﻢ ﻣﺤﻮﺭﻱ ﺍﻳﻦ ﭘﺮﺳﻮﻧﺎژ ﺑﻮﺩ‪ .‬ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻢ ﻧﻴﻤﻪ ﺩﻭﻡ ﺩﻫﻪ ﻫﻔﺘﺎﺩ‬ ‫ﺳﻴﻨﻤﺎﻱﺍﻳﺮﺍﻥ‪،‬ﻣﺮﺯﻫﺎﻱﺭﻭﺍﻳﺘﻲﻭﺗﺼﻮﻳﺮﻱﺍﻳﻦﺳﻴﻨﻤﺎﺭﺍﺩﮔﺮﮔﻮﻥﻛﺮﺩ‪.‬‬ ‫ﻓﻴﻠﻤﻲ ﻛﻪ ﺍﺯ ﮔﻮﺷﺰﺩ ﺭﻭﺍﺑﻂ ﺑﻴﻦ ﺯﻥ ﻭ ﻣﺮﺩ ﺑﻪ ﺑﻴﻨﻨﺪﻩﺍﺵ ﻓﺮﺍﺭ ﻧﻤﻲﻛﺮﺩ‬ ‫ﻭ ﺑﻨﺎﺷﺪﻩ ﺑﺮ ﻫﻤﻴﻦ ﻣﺴــﺎﺋﻞ ﺑﻮﺩ‪ .‬ﺿﻤﻦ ﺁﻧﻜﻪ ﺩﺭ ﺳﻄﺢ ﺩﻳﮕﺮﻱ ﻧﻴﺶ ﻭ‬ ‫ﻛﻨﺎﻳﻪﻫﺎﻱ ﻋﻤﻴﻘﻲ ﻧﻴﺰ ﺑﻪ ﻣﻨﺎﺳــﺒﺎﺕ ﺟﺎﺭﻱ ﺳﻴﺎﺳﻲ ﺩﺭ ﻛﺸﻮﺭ ﻣﻴﺎﻥ‬ ‫ﺳﻴﺎﺳــﺘﻤﺪﺍﺭﺍﻥ ﻭﺗﺼﻤﻴﻢﮔﻴﺮﻧﺪﮔﺎﻥ ﻫﻢ ﻣﻲ ﺯﺩ‪ .‬ﺷﺨﺼﻴﺖ ﻣﺮﺩ ﻓﻴﻠﻢ‬ ‫ﺁﺷﻜﺎﺭﺍ ﻳﻚ »ﺧﻮﺩﻱ« ﺑﻮﺩ‪ .‬ﺗﻘﺴﻴﻢ ﺑﻨﺪﻱ ﻛﻪ ﺁﻥ ﺭﻭﺯﻫﺎ ﺑﺴﻴﺎﺭ ﻣﺘﺪﺍﻭﻝ‬ ‫ﻭ ﻣﺤﻞ ﻣﻨﺎﻗﺸﻪ ﻓﺮﺍﻭﺍﻥ ﺑﻮﺩ‪ .‬ﺟﺎﻟﺐ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻢ ﻣﺎﻧﻨﺪ ﺩﻳﮕﺮ‬ ‫ﺍﺛﺮ ﺟﻨﺠﺎﻟﻲ ﺍﻳﻦ ﺩﻫﻪ ﺩﺭ ﻧﻴﻤﻪ ﺍﻭﻟﺶ )ﺁﺩﻡ ﺑﺮﻓﻲ( ﺗﻮﺳﻂ ﺣﻮﺯﻩ ﻫﻨﺮﻱ‬ ‫ﺗﻬﻴﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﮔﻮﻳﻲ ﺍﻳﻦ ﻧﻬﺎﺩ ﺩﺭ ﺳﺎﺧﺖ ﻓﻴﻠﻢﻫﺎﻱ ﺟﺴﻮﺭ ﻭ ﺗﺎﺑﻮﺷﻜﻦ‬ ‫ﭘﻴﺸﺮﻭ ﺗﺮ ﺍﺯ ﺑﺨﺶ ﺧﺼﻮﺻﻲ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 70‬ﺑﺎ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﻋﺮﻭﺱ‬ ‫ﺗﻮﺍﻧﺴﺖ ﻣﺮﺯﻫﺎﻱ ﺭﻭﺍﻳﺘﻲ ﻭ ﺗﺼﻮﻳﺮﻱ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺭﺍ ﻛﺎﻣﻼ ﺩﮔﺮﮔﻮﻥ‬ ‫ﻛﻨﺪ‪ ،‬ﭘﺲ ﺍﺯ ﺁﻧﻜﻪ ﺧﻮﺩ ﺩﺭ ﺷﻜﻞﮔﻴﺮﻱ ﻭﺍﻗﻌﻪ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻜﻲ‬ ‫ﺍﺯ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺗﺒﻠﻴﻐﻲ ﺳﻴﺪﻣﺤﻤﺪ ﺧﺎﺗﻤﻲ ﻧﻘﺶ ﻋﻤﻠﻲ ﺍﻳﻔﺎ ﻛﺮﺩ‪،‬‬ ‫ﻛﺎﺭ ﺳــﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺩﺭﺑﺎﺭﻩ ﻣﻮﺿﻮﻉ ﻣﻠﺘﻬﺐ ﻭ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺭﻭﺍﻳﺖ ﻧﺸﺪﻩ‬ ‫ﺭﺍﺑﻄﻪ ﻣﺮﺩ ﺯﻥ ﺩﺍﺭ ﺑﺎ ﺯﻥ ﻣﺠﺮﺩ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﻓﻴﻠﻢ ﺳﺎﻝ ‪ 77‬ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ‬ ‫ﮔﺮﻓﺖ‪ .‬ﻃﺮﺡ ﺍﺻﻠﻲ ﺗﻮﺳﻂ ﺍﻓﺨﻤﻲ ﺑﺎ ﻧﮕﺎﻫﻲ ﺑﻪ ﻓﻴﻠﻢ ﻣﻌﺮﻭﻑ ﺁﻣﺮﻳﻜﺎﻳﻲ‬ ‫»ﺟﺬﺍﺑﻴﺖ ﻣﺮﮔﺒﺎﺭ« ﻣﻄﺮﺡ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻧﻬﺎﻳﺘﺎ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺎ ﻣﺸﺎﺭﻛﺖ ﻣﻴﻨﻮ‬ ‫ﻓﺮﺷﭽﻲ ﺁﻣﺎﺩﻩ ﺷﺪ‪ .‬ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺍﺯ ﺍﺑﺘﺪﺍ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺑﺮ ﻣﺒﻨﺎﻱ ﻛﺎﺭﺍﻛﺘﺮ‬ ‫ﺗﺼﻮﻳﺮﻱﻫﺪﻳﻪﺗﻬﺮﺍﻧﻲﻧﻮﺷﺘﻪﺑﻮﺩﻧﺪ‪.‬ﺑﻪﻭﻳﮋﻩﺍﻓﺨﻤﻲﻛﻪﺑﺎﺩﺭﻙﺗﻴﺰﺑﻴﻨﻲ‬ ‫ﺍﺯ ﺷــﺮﺍﻳﻂ ﻭ ﺩﻭﺭﺍﻥ‪ ،‬ﺗﻬﺮﺍﻧﻲ ﺭﺍ ﻧﻤﺎﺩ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪ ﻣﻲﺩﺍﻧﺴﺖ‪ .‬ﺳﺎﺯﻣﺎﻥ‬ ‫ﺗﻮﺳﻌﻪ ﺳﻴﻨﻤﺎﻳﻲ ﺳــﻮﺭﻩ ﺣﻮﺯﻩ ﻫﻨﺮﻱ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺑﻮﺩ ﻭ‬ ‫ﺳــﻴﺪﺿﻴﺎ ﻫﺎﺷﻤﻲ ﻭ ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ ‪ ،‬ﻋﻠﻲ ﻣﻌﻠﻢ ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﻣﻮﺋﻴﻨﻲ ﻭ‬ ‫ﻓﺮﻳﺒﺮﺯ ﻋﺮﺏﻧﻴﺎ ﻫﻢ ﺩﺭ ﺗﺎﻣﻴﻦ ﺳﺮﻣﺎﻳﻪ ﻓﻴﻠﻢ ﻣﺸﺎﺭﻛﺖ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻓﻴﻠﻢ ﺑﻪ‬ ‫ﻧﺎﻡ ﺳﻴﺪﺿﻴﺎ ﻫﺎﺷﻤﻲ ﻫﻤﺎﻥ ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ ﻋﺮﻭﺱ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﮔﺮﻓﺖ ﻭ‬ ‫ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱﺍﺵ ﺍﺯ ﺩﻫﻢ ﻣﺮﺩﺍﺩ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﺑﺨﺶﻫﺎﻱ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺑﺎ ﺩﻗﺖ‬ ‫ﻭ ﻭﺳــﻮﺍﺱ ﻓﺮﺍﻭﺍﻥ ﻃﻲ ﻣﺪﺕ ﺑﻴﺶ ﺍﺯ ﺩﻭ ﻣﺎﻩ ﺩﺭ ﺗﻬﺮﺍﻥ‪ ،‬ﻗﻢ ﻭ ﻣﻬﺮﺷﻬﺮ‬ ‫ﻛﺮﺝ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺷﺪ ﺍﻣﺎ ﻗﺴــﻤﺖ ﺍﻧﺪﻛﻲ ﺍﺯ ﺁﻥ ﺑﺎﻗﻲ ﻣﺎﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻏﺎﺯ‬ ‫ﺗﺪﻭﻳﻦ ﻛﻪ ﺁﻥ ﻫﻢ ﺭﻭﻧﺪﻱ ﻃﻮﻻﻧﻲ ﺭﺍ ﻃﻲ ﻛﺮﺩ‪ ،‬ﺍﻓﺨﻤﻲ ﺍﺣﺴــﺎﺱ ﻛﺮﺩ‬ ‫ﻧﻴﺎﺯ ﺑﻪ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺩﻭﺑﺎﺭﻩ ﺑﻌﻀﻲ ﺻﺤﻨﻪﻫــﺎ ﻭ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻥ ﻧﻤﺎﻫﺎﻱ‬ ‫ﺩﻳﮕﺮﻱ ﺑﻪ ﻓﻴﻠﻢ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﺩﺭ ﭘﺎﻳﺎﻥ ﺳــﺎﻝ ‪ 77‬ﺑﻮﺩ‪ .‬ﺍﻭﺍﻳﻞ ﺳــﺎﻝ ‪78‬‬ ‫ﺑﺨﺶﻫﺎﻱ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﻭ ﻧﻤﺎﻫﺎﻱ ﺟﺪﻳﺪ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺷﺪ ﻭ ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ‬ ‫ﺑﻮﺩ ﻛﻪ ﺍﻓﺨﻤﻲ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻮﺳﺴﻪ ﺗﻨﻈﻴﻢ ﻭﻧﺸــﺮ ﺁﺛﺎﺭ ﺍﻣﺎﻡ ﺭﺍ ﻫﻢ ﺑﺮﺍﻱ‬ ‫ﺳــﺎﺧﺖ ﻓﻴﻠﻢ »ﻓﺮﺯﻧﺪ ﺻﺒﺢ« ﭘﺬﻳﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺷــﺎﻳﻌﺎﺗﻲ‬ ‫ﻣﺒﻨﻲ ﺑﺮ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺑﺮ ﻣﺒﻨﺎﻱ ﺣﺎﺩﺛﻪ ﻗﺘﻞﻫﺎﻱ ﺯﻧﺠﻴﺮﻩﺍﻱ ﺗﻮﺳﻂ ﺍﻭ‬ ‫ﻫﻢ ﻣﻄﺮﺡ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻣﺸﻐﻠﻪﻫﺎ ﺑﺎﻋﺚ ﺗﺎﺧﻴﺮ ﺩﺭ ﺁﻣﺎﺩﻩ ﺳﺎﺯﻱ ﻧﻬﺎﻳﻲ ﻓﻴﻠﻢ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﻣﻀﻤﻮﻥ ﻭ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺣﺴﺎﺳﻴﺖ ﺑﺮﺍﻧﮕﻴﺰ ﻓﻴﻠﻢ ﻣﺘﺮﺻﺪ ﺑﻪ ﺩﺳــﺖ ﺁﻭﺭﺩﻥ ﻣﻮﻗﻌﻴﺖ ﻣﻨﺎﺳﺐ‬ ‫ﺑﺮﺍﻱ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻭﺍﺧﺮ ﺳﺎﻝ ‪ 78‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺍﻋﻼﻡ ﻛﺮﺩﻧﺪ ﺑﺮﺍﻱ‬ ‫ﺑﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺭﺳﻴﺪﻥ ﻓﻴﻠﻢ ﻛﻪ ﺷﺎﻣﻞ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻧﻤﺎﻫﺎﻱ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﻭ‬ ‫ﺿﺒﻂ ﺩﻭﺑﺎﺭﻩ ﺻﺪﺍﻱ ﭼﻨﺪ ﺻﺤﻨﻪ ﺍﺳﺖ‪ ،‬ﻧﻴﺎﺯ ﺑﻪ ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺍﺻﻠﻲ‬ ‫ﺍﺳﺖ ﺍﻣﺎ ﭼﻮﻥ ﺗﻬﺮﺍﻧﻲ ﺩﺭ ﺳﻔﺮﻱ ﻃﻮﻻﻧﻲ ﻣﺪﺕ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﺮﺍﻥ ﺑﻪ ﺳﺮ‬ ‫ﻣﻲﺑﺮﺩ‪ ،‬ﻓﻴﻠﻢ ﺁﻣﺎﺩﻩ ﻧﻤﺎﻳﺶ ﻧﻴﺴــﺖ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﺯﻣﺴﺘﺎﻥ ﺳﺎﻝ ‪ 78‬ﺑﺎ‬ ‫ﺑﺎﺯﮔﺸﺖ ﺗﻬﺮﺍﻧﻲ‪ ،‬ﻓﻴﻠﻢ ﺁﻣﺎﺩﻩ ﻧﻤﺎﻳﺶ ﺷﺪ ﺍﻣﺎ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﻫﻤﻴﻦ ﺑﻬﺎﻧﻪ‬ ‫ﻛﻪ ﻣﺮﺍﺣﻞ ﻓﻨﻲ ﺻﺪﺍﻱ ﻓﻴﻠﻢ ﻛﺎﻣﻞ ﻧﺸﺪﻩ ﺍﺯ ﺣﻀﻮﺭ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺑﺎ ﭘﻴﺶ ﺑﻴﻨﻲ ﺍﻳﺠﺎﺩ ﺟﻮ ﻣﻨﻔﻲ ﻋﻠﻴﻪ ﺁﻥ ﺍﺯ ﺳــﻮﻱ ﺑﻌﻀﻲ ﺟﺮﻳﺎﻧﺎﺕ ﺳﺮ‬ ‫ﺑﺎﺯ ﺯﺩﻧﺪ ﺍﻣﺎ ﺑﻼﻓﺎﺻﻠﻪ ﺁﻥ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻱ ﺍﻛﺮﺍﻥ ﻧﻮﺭﻭﺯ ‪79‬‬ ‫ﺳﻴﻨﻤﺎﻫﺎ ﺭﻭﺍﻧﻪ ﭘﺮﺩﻩ ﻧﻤﺎﻳﺶ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺷــﻮﻛﺮﺍﻥ ﺩﻭﻡ ﻓﺮﻭﺭﺩﻳﻦ ‪ 79‬ﺩﺭ ﺣﺎﻟﻲ ﻧﻤﺎﻳﺶ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺳﻴﻨﻤﺎﻫﺎ‬ ‫‪87‬‬ ‫ﺁﻏﺎﺯ ﻛﺮﺩ ﻛﻪ ﺑﻬﺮﻭﺯ ﺍﻓﺨﻤﻲ ﺳﺎﺯﻧﺪﻩﺍﺵ ﻧﺰﺩﻳﻚ ﺑﻪ ﻳﻚ ﻣﺎﻩ ﻗﺒﻞ ﺑﺎ ﻛﺴﺐ‬ ‫ﺭﺗﺒﻪ ‪ 21‬ﺩﺭ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ‪ ،‬ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﻧﺨﺴﺘﻴﻦﺳﻴﻨﻤﺎﮔﺮﺍﻳﺮﺍﻧﻲﺑﻌﺪﺍﺯﺍﻧﻘﻼﺏﺭﺍﻫﻲﻣﺠﻠﺲﺷﻮﺩ‪.‬ﺍﻳﻦﻣﻮﺿﻮﻉ‬ ‫ﭘﻴﺶﺑﻴﻨﻲﻣﻲﺷﺪﺗﺎﺛﻴﺮﺯﻳﺎﺩﻱﺩﺭﻓﺮﻭﺵﻓﻴﻠﻢﺑﮕﺬﺍﺭﺩ‪.‬ﺑﻪﻭﻳﮋﻩﻛﻪﺩﺭﺟﻮ‬ ‫ﺑﻪ ﺷﺪﺕ ﺳﻴﺎﺳﺖﺯﺩﻩ ﺁﻥ ﺭﻭﺯﻫﺎﻱ ﻛﺸﻮﺭ‪ ،‬ﺍﻓﺨﻤﻲ ﺣﻀﻮﺭ ﻛﺎﻣﻠﻲ ﺩﺍﺷﺖ‬ ‫ﻭ ﺣﺘﻲ ﻳﻚ ﻫﻔﺘﻪ ﻗﺒﻞ ﺍﺯ ﺍﻛﺮﺍﻥ ﺷﻮﻛﺮﺍﻥ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺣﺎﺩﺛﻪ ﺗﺮﻭﺭ ﺳﻌﻴﺪ‬ ‫ﺣﺠﺎﺭﻳﺎﻥ‪ ،‬ﺍﻋﻼﻡ ﻛﺮﺩ ﻛﻪ ﻗﺼﺪ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻲ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﺧﺒﺎﺭ ﻭ ﺍﻇﻬﺎﺭﺍﺕ ﺍﻓﺨﻤﻲ ﻫﻤﺮﺍﻩ ﺁﮔﻬﻲﻫﺎﻱ ﺷــﻮﻛﺮﺍﻥ ﭼﻨﺪ ﺭﻭﺯ ﻣﺎﻧﺪﻩ‬ ‫ﺑﻪ ﺍﻛﺮﺍﻧﺶ ﺑﻪ ﺗﻨﺎﻭﺏ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻱ ﭘﺮﺗﻴﺮﺍژ ﺁﻥ ﺭﻭﺯﻫﺎ ﻣﻨﺘﺸﺮ ﻣﻲﺷﺪ‬ ‫ﻭ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺍﻃﻼﻉ ﺭﺳﺎﻧﻲ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻛﺎﻣﻞ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺗﻌﺠﺐ ﻫﻤﮕﺎﻥ ﻓﺮﻭﺵ ﺷﻮﻛﺮﺍﻥ ﺩﺭ ﺩﻭ ﻫﻔﺘﻪ ﺍﻭﻝ ﺍﻛﺮﺍﻥ ﻛﻤﺘﺮ ﺍﺯ ﺭﻗﻴﺐ‬ ‫ﺍﺻﻠﻲﺍﺵ )ﺩﺧﺘﺮﺍﻥ ﺍﻧﺘﻈﺎﺭ( ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻭﺍﻗﻌﻪﺍﻱ ﺍﻳﻦ ﺭﻭﻧﺪ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﺍﺩ‪ .‬ﺑﻌﺪ‬ ‫ﺍﺯ ﺗﻌﻄﻴﻼﺕ ﻧﻮﺭﻭﺯ‪ ،‬ﺟﻤﻌﻲ ﺍﺯ ﭘﺮﺳﺘﺎﺭﺍﻥ ﻧﺴﺒﺖ ﺑﻪ ﺗﺼﻮﻳﺮ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺍﺯ‬ ‫ﺍﻳﻦ ﺻﻨﻒ ﺩﺭ ﻓﻴﻠﻢ ﺍﻋﺘﺮﺍﺽ ﻛﺮﺩﻧﺪ ﻭ ﻛﺎﺭ ﺭﺍ ﺑﻪ ﺗﺠﻤﻊ ﻣﻘﺎﺑﻞ ﺳﺎﺧﺘﻤﺎﻥ‬ ‫ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﻛﺸــﺎﻧﺪﻧﺪ‪ .‬ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺑﺮ ﺣﺎﺷﻴﻪﻫﺎﻱ ﻓﻴﻠﻢ ﺍﻓﺰﻭﺩ ﻭ‬ ‫ﻧﺎﮔﻬﺎﻥ ﻓﺮﻭﺵ ﻓﻴﻠﻢ ﺳــﻴﺮ ﺻﻌﻮﺩﻱ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺑﺎﻻﮔﺮﻓﺘﻦ ﺍﻋﺘﺮﺍﺽﻫﺎ‬ ‫ﺑﻪ ﻓﻴﻠﻢ‪ ،‬ﺍﻓﺨﻤﻲ ﺑﺎ ﻧﮕﺎﺭﺵ ﻣﻘﺎﻟﻪﺍﻱ ﺿﻤــﻦ ﺁﻧﻜﻪ ﻓﻴﻠﻢ ﺭﺍ ﺑﻲﺍﺭﺗﺒﺎﻁ ﺑﺎ‬ ‫ﭘﺮﺳﺘﺎﺭﺍﻥ ﻭ ﺣﺮﻓﻪ ﭘﺮﺳــﺘﺎﺭﻱ ﺩﺍﻧﺴﺖ‪ ،‬ﺷﺨﺼﻴﺖ ﺳﻴﻤﺎ ﺑﺎ ﺑﺎﺯﻱ ﻫﺪﻳﻪ‬ ‫ﺗﻬﺮﺍﻧﻲ ﺭﺍ ﻣﻈﻠﻮﻡﺗﺮﻳﻦ‪ ،‬ﺩﻟﻨﺸــﻴﻦﺗﺮﻳﻦ ﻭ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺷــﺨﺼﻴﺖ‬ ‫ﻓﻴﻠﻢ ﻋﻨﻮﺍﻥ ﻛﺮﺩ ﻭ ﻧﻮﺷﺖ‪» :‬ﺳﻴﻤﺎ ﻳﻚ ﺷﻬﺮﻭﻧﺪ ﺩﺭﺟﻪ ﺩﻭﻡ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺗﻨﻬﺎﻳﻲ ﻭ ﺑﻲﭘﻨﺎﻫﻲ‪ ،‬ﭘﺪﺭ ﭘﻴﺮﺵ ﺭﺍ ﻧﮕﻬﺪﺍﺭﻱ ﻣﻲﻛﻨﺪ ﻭ ﺍﻧﺰﻭﺍﻱ ﻋﺎﻃﻔﻲ‬ ‫ﻳﻚ ﺯﻥ ﺑﻴﻮﻩ ﮔﺮﻓﺘﺎﺭ ﺭﺍ ﺗﺤﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﻣﺪﺕﻫﺎﺳﺖ ﻛﻪ ﻣﻮﻗﻌﻴﺖ ﻳﻚ‬ ‫ﺷﻬﺮﻭﻧﺪﺩﺭﺟﻪﺩﻭﻡﺭﺍﭘﺬﻳﺮﻓﺘﻪﻭﻇﻠﻤﻲﺭﺍﻛﻪﺑﺮﺍﻭﺗﺤﻤﻴﻞﺷﺪﻩ‪،‬ﻭﺍﻗﻌﻴﺘﻲ‬ ‫ﺍﺟﺘﻨﺎﺏ ﻧﺎﭘﺬﻳﺮ ﻣﻲﺩﺍﻧﺪ‪ .‬ﺍﻭ ﺭﺿﺎﻳﺖ ﻣﻲﺩﻫﺪ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻤﺴﺮ ﺩﺭﺟﻪ‬ ‫ﺩﻭﻡ ﻭ ﭘﻨﻬﺎﻧﻲ ﺑﻪ ﺍﺯﺩﻭﺍﺝ ﻳﻚ ﺷﻬﺮﻭﻧﺪ ﺩﺭﺟﻪ ﺍﻭﻝ ﻭ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺯ ﻣﻮﻗﻌﻴﺖ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﻣﻤﺘﺎﺯ ﺩﺭﺑﻴﺎﻳﺪ ﺍﻣﺎ ﺍﻳﻦ ﺩﺳــﺖ ﻭ ﭘــﺎ ﺯﺩﻥ ﺍﻭ ﻧﺘﻴﺠﻪﺍﻱ ﻏﻴﺮ ﺍﺯ‬ ‫ﺗﺸﺪﻳﺪ ﺭﻧﺞ ﻭ ﺗﺤﻘﻴﺮ ﻭ ﺑﺎﻻﺧﺮﻩ ﻣﭽﺎﻟﻪ ﺷﺪﻧﺶ ﺑﻪ ﺑﺎﺭ ﻧﻤﻲﺁﻭﺭﺩ‪) «.‬ﻓﻴﻠﻢ‪،‬‬ ‫ﺷــﻤﺎﺭﻩ ‪ (251‬ﺍﻳﻦ ﺗﻮﺿﻴﺤﺎﺕ ﺍﻓﺨﻤﻲ ﻫﺮﭼﻨﺪ ﺩﺭ ﭘﺎﺳــﺦ ﺑﻪ ﺍﻋﺘﺮﺍﺽ‬ ‫ﭘﺮﺳﺘﺎﺭﺍﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﺍﻣﺎ ﺻﺮﻳﺢﺗﺮﻳﻦ ﻭ ﺩﻗﻴﻖﺗﺮﻳﻦ ﺭﻭﺍﻳﺖ ﺍﺯ ﺳﻮﻱ‬ ‫ﺳــﺎﺯﻧﺪﻩ ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ ﺍﺛﺮﺵ ﺑﻮﺩ‪ .‬ﺍﻓﺨﻤﻲ ﺍﺯ ﻭﺭﺍﻱ ﺍﺛﺮﺵ ﺑﻴﺸﺘﺮ ﺗﻼﺵ‬ ‫ﺩﺍﺷﺖ ﺯﻣﻴﻨﻪ ﻫﺎﻱ ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮﺟﺴﺘﻪ ﻛﻨﺪ ﺩﺭ ﺣﺎﻟﻲ‬ ‫ﻛﻪ ﻣﻨﺘﻘﺪﺍﻥ ﺑﻴﺸﺘﺮ ﻋﻼﻗﻤﻨﺪ ﺯﺑﺎﻥ ﺳــﻴﻨﻤﺎﻳﻲ ﻭ ﺳﺎﺧﺘﺎﺭ ﻓﻴﻠﻢ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺁﻧﻬﺎ ﺷﻮﻛﺮﺍﻥ ﺭﺍ ﻧﻤﻮﻧﻪﺍﻱ ﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺍﻳﺮﺍﻧﻲ ﻣﻨﻄﺒﻖ ﺑﺮ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻱ‬ ‫ﺟﻬﺎﻧﻲ ﻳﻚ ﺗﺮﻳﻠﺮ ﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﻭﺍﻛﻨﺶﻫﺎ ﺩﺭ ﺳﻄﺢ ﺟﺎﻣﻌﻪ ﻭ ﺟﺪﺍ ﺍﺯ ﻣﺤﺎﻓﻞ‬ ‫ﺳﻴﻨﻤﺎﻳﻲ ﺍﻣﺎ ﻣﺘﻨﺎﻗﺾ ﺑﻮﺩ‪ .‬ﻋﺪﻩﺍﻱ ﻓﻴﻠﻢ ﺭﺍ ﺍﺛﺮﻱ ﺿﺪ ﺯﻥ ﻋﻨﻮﺍﻥ ﻛﺮﺩﻧﺪ‬ ‫ﻭ ﺟﻤﻊ ﺩﻳﮕﺮ ﺁﻥ ﺭﺍ ﺩﺭ ﺭﺩ ﺭﻭﺣﻴﺎﺕ ﻭ ﺍﺧﻼﻗﻴﺎﺕ ﺟﺎﻣﻌﻪ ﺳﻨﺘﻲ ﻣﺮﺩﺳﺎﻻﺭ‬ ‫ﺍﻳﺮﺍﻥ ﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻲ ﺣﺘﻲ ﺯﻣﺰﻣﻪﻫﺎﻳﻲ ﺩﺭﺑﺎﺭﻩ ﺍﺣﺘﻤﺎﻝ‬ ‫ﺗﻮﻗﻒ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻫﻢ ﻣﻄﺮﺡ ﺷﺪ ﻭ ﺍﻓﺨﻤﻲ ﻧﻴﺰ ﺩﺭ ﮔﻔﺖ ﻭ ﮔﻮﻳﻲ ﺍﻳﻦ‬ ‫ﺍﺭﺍﺩﻩ ﺭﺍ ﺗﺎﻳﻴﺪ ﻛﺮﺩ ﻛﻪ ﺟﺮﻳﺎﻧﻲ ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﻮﻗﻒ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ‬ ‫ﻫﻤﻪ ﻓﺮﻭﺵ ﻓﻴﻠﻢ ﺍﺯ ﻧﻴﻤﻪ ﻓﺮﻭﺭﺩﻳﻦ ﺍﻓﺰﺍﻳﺶ ﺷﺪﻳﺪﻱ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻪ‬ ‫ﻫﺮ ﺷﻜﻞ ﺷﻮﻛﺮﺍﻥ ﺗﺎ ﺩﻭ ﻣﺎﻩ ﺑﺮ ﭘﺮﺩﻩ ﺑﺎﻗﻲ ﻣﺎﻧﺪ ﻭ ﺩﺭ ﻧﻴﻤﻪﻫﺎﻱ ﺍﺭﺩﻳﺒﻬﺸﺖ‬ ‫ﺑﺎ ﺁﻏﺎﺯ ﺗﻮﻗﻴﻒ ﺟﻤﻌﻲ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ‪ ،‬ﻛﻢ ﻛﻢ ﺍﺯ ﺗﻌﺪﺍﺩ ﺳﻴﻨﻤﺎﻫﺎﻳﺶ ﻛﺎﺳﺘﻪ‬ ‫ﺷﺪ ﻭ ﻧﻤﺎﻳﺸﺶ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺖ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺷﻮﻛﺮﺍﻥ ﺑﻌﺪ ﺍﺯ ﺍﻛﺮﺍﻥ ﺑﻴﺸﺘﺮ ﻗﺪﺭ ﺩﻳﺪ‪ .‬ﭼﻨﺪ ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺣﺎﻻﺍﻳﻦﺳﺎﺧﺘﻪﺑﻬﺮﻭﺯﺍﻓﺨﻤﻲﺗﺒﺪﻳﻞﺑﻪﺍﺛﺮﻧﻤﻮﻧﻪﺍﻱﻧﺰﺩﻣﻨﺘﻘﺪﺍﻥﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﺩﺭ ﮔﺬﺭ ﺍﺯ ﺣﻮﺍﺩﺙ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺳﺎﻝﻫﺎﻱ ﺑﻌﺪ‪ ،‬ﺑﻴﺸﺘﺮ ﺑﺮ ﺷﻮﻛﺮﺍﻥ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﻴﻠﻢ ﻧﻤﻮﻧﻪﺍﻱ ﺩﻭﺭﺍﻧﺶ ﻳﺎﺩ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻓﻴﻠﻤﻲ ﺑﻪ ﺷﺪﺕ ﺧﻮﺵ‬ ‫ﺳﺎﺧﺖﻭﺩﻳﺪﻧﻲﻛﻪﺩﺭﻟﺤﻈﺎﺗﻲﻓﺮﺍﺗﺮﺍﺯﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻱﻣﻌﻤﻮﻝﺳﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﻫﻢ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﻓﻴﻠﻢ ﺣﺎﻻ ﻫﻢ ﺳﺮﭘﺎ ﻭ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ ﻭ ﻣﻲﺗﻮﺍﻧﺪ‬ ‫ﺑﻴﻨﻨﺪﻩﺍﺵ ﺭﺍ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ ﺩﻫﺪ‪ .‬ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﻫﻨﻮﺯ ﻫﻢ ﺯﻣﻴﻨﻪﻫﺎﻱ‬ ‫ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﻓﻴﻠﻢ ﻧﻤﻮﺩ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺫﻫﻦ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﭼﺎﻟﺸﻲ‬ ‫ﻛﻪ ﺷﻮﻛﺮﺍﻥ ﺩﺭ ﻣﻔﺎﻫﻴﻤﻲ ﭼﻮﻥ »ﻗﻀﺎﻭﺕ« ﻭ »ﺗﻌﻬﺪ« ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ‪،‬‬ ‫ﺑﻌﺪﻫﺎ ﺩﺭ ﻛﻤﺘﺮ ﻓﻴﻠﻢ ﺍﻳﺮﺍﻧﻲ ﺩﻳﺪﻩ ﺷﺪ‪ .‬ﻓﻴﻠﻢ ﺷﺨﺼﻴﺖ ﺯﻥ ﺍﻳﺮﺍﻧﻲ ﻣﻌﺎﺻﺮ‬ ‫ﺭﺍ ﻛﻪ ﮔﻮﻳﻲ ﺩﺭ ﺯﻣﺎﻧﻪ ﺳﺎﺧﺖ ﺩﺭ ﺍﻭﺝ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ‪ ،‬ﺑﻪ ﺣﻀﻴﺾ ﻣﻲﺭﺳﺎﻧﺪ‬ ‫ﻭ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻱ ﺍﺧﻼﻗﻲ ﺟﺎﻣﻌﻪﺍﻱ ﻛﻪ ﮔﻮﻳﻲ ﺩﺭ ﻇﺎﻫﺮ ﻣﺪﺭﻥ ﺷﺪﻩ ﺍﻣﺎ‬ ‫ﺑﻪ ﺷﺪﺕ ﺳﻨﺘﻲ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﺭﺍ ﻳﺎﺩﺁﻭﺭ ﻣﻲﺷﻮﺩ‪.‬ﺷﻮﻛﺮﺍﻥ ﺣﺎﻻ ﻧﻤﻮﻧﻪﺍﻱ‬ ‫ﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺩﻭﺭﺍﻥ ﺍﻭﺝ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺍﺳــﺖ ﻛﻪ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺭﺍ ﻧﻪ ﺍﺯ ﭘﺲ‬ ‫ﺣﻮﺍﺩﺙ ﻭ ﺷﺮﺍﻳﻂ ﺑﻴﺮﻭﻧﻲ ﺑﻠﻜﻪ ﺍﺯ ﺩﻭﺭﻥ ﻣﻨﺎﺳﺒﺎﺗﺶ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻲﻛﺸﺪ‪.‬‬ ‫ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻲ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺳﺘﺎﺭﻩ ﺩﻭﺭﺍﻥ ﺷﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺗﺎ ﻗﺒﻠﺶ ﺍﺳﺘﻮﺍﺭ‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﺮﺩ ﭘﺮﺧﺎﺷﮕﺮﺵ ﻣﻲﺍﻳﺴﺘﺎﺩ )ﻗﺮﻣﺰ( ﺍﻳﻨﺠﺎ ﺍﺷﻜﺎﺭﺍ ﺁﺳﻴﺐ ﭘﺬﻳﺮ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻭﺍﻗﻌﻴــﺖ ﺩﻭﺭﺍﻥ ﺑﻮﺩ ﻫﺮﭼﻨﺪ ﺩﺭ ﻇﺎﻫﺮ ﻣﺤﻜﻢ ﻭ ﺧﻠﻞﻧﺎﭘﺬﻳﺮ ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻲﺭﺳﻴﺪ‪.‬‬ ‫‪88‬‬ ‫‪24‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺯﻳﺮ ﭘﻮﺳﺖﺷﻬﺮ )‪(1378‬‬ ‫ﺍﻗﺘﺼﺎﺩ ﻣﻬﻢﺗﺮ ﺍﺳﺖ ﻳﺎ ﺁﺯﺍﺩﻱ؟‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺭﺧﺸـﺎﻥ ﺑﻨﻲﺍﻋﺘﻤـﺎﺩ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨـﺪﻩ‪ :‬ﺟﻬﺎﻧﮕﻴﺮ ﻛﻮﺛﺮﻱ‪ ،‬ﺭﺧﺸـﺎﻥ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ‪،‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻓﺮﻳﺪ ﻣﺼﻄﻔﻮﻱ‪ ،‬ﺭﺧﺸﺎﻥ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴﻴﻦ ﺟﻌﻔﺮﻳﺎﻥ‪ ،‬ﺗﺪﻭﻳﻦ‪:‬‬ ‫ﻣﺼﻄﻔﻲ ﺧﺮﻗﻪﭘﻮﺵ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭﻟﺒﺎﺱ‪ :‬ﺍﻣﻴﺪ ﻣﺤﻴﻂ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺍﺻﻐﺮ ﺷﺎﻫﻮﺭﺩﻱ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭﻱ‬ ‫ﻭ ﻣﻴﻜﺲ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺩﻟﭙﺎﻙ‪ ،‬ﻣﺪﻳﺮ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻱ ﻭ ﺩﺳﺘﻴﺎﺭ ﺍﻭﻝ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻣﺤﺴﻦ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ‪،‬‬ ‫ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﻣﻬﺮﻱ ﺷﻴﺮﺍﺯﻱ‬ ‫ﺑﺎﺯﻳﮕـﺮﺍﻥ‪ :‬ﮔﻼﺏﺁﺩﻳﻨـﻪ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﻓﺮﻭﺗﻦ‪ ،‬ﺑـﺎﺭﺍﻥ ﻛﻮﺛﺮﻱ‪ ،‬ﺍﺑﺮﺍﻫﻴﻢ ﺷـﻴﺒﺎﻧﻲ‪ ،‬ﻣﺤﺴـﻦ‬ ‫ﻗﺎﺿﻲﻣﺮﺍﺩﻱ‪ ،‬ﺣﻤﻴﺮﺍ ﺭﻳﺎﺿﻲ‪ ،‬ﻣﻬﺮﺍﻭﻩ ﺷﺮﻳﻔﻲﻧﻴﺎ‪ ،‬ﻋﻠﻲ ﺍﻭﺳﻴﻮﻧﺪ‪ ،‬ﻧﺎﺯﻧﻴﻦ ﻓﺮﺍﻫﺎﻧﻲ‪ ،‬ﻣﺮﻳﻢ ﺑﻮﺑﺎﻧﻰ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺳﺎﺯﻣﺎﻥ ﺳﻴﻨﻤﺎﻳﻲ ‪ 93 ،79‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 4 :‬ﺁﺑﺎﻥ ‪ ،1379‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 304 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﻃﻮﺑﻲ‪ ،‬ﺯﻥ ﻛﺎﺭﮔﺮﻱ ﻛﻪ ﺯﻧﺪﮔﻲ ﻓﻘﻴﺮﺍﻧﻪﺍﻱ ﺩﺍﺭﺩ‪ ،‬ﺑﺮﺧﻼﻑ ﻋﻘﻴﺪﻩ ﺷــﻮﻫﺮ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩﻩﺍﺵ ﻣﺤﻤﻮﺩ ﻭ ﭘﺴﺮ ﺑﺰﺭﮔﺶ ﻋﺒﺎﺱ‪ ،‬ﺩﻭﺳﺖ‬ ‫ﺩﺍﺭﺩ ﺩﺭ ﻫﻤﺎﻥ ﺧﺎﻧﻪ ﻣﺤﻘﺮﺵ ﺯﻧﺪﮔﻲ ﻛﻨﺪ‪ .‬ﭘﺴﺮ ﻛﻮﭼﻚﺗﺮﺵ ﻋﻠﻲ ﻛﻪ ﺑﻪ ﻣﺎﺩﺭﺵ ﺳﻮﺍﺩ ﻣﻲﺁﻣﻮﺯﺩ ﺩﺭ ﺑﺤﺒﻮﺣﻪ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻣﺠﻠﺲ ﺷﺸﻢ‪،‬‬ ‫ﺑﻪ ﻣﺴــﺎﺋﻞ ﺳﻴﺎﺳﻲ ﻛﺸﻮﺭﺵ ﻋﻼﻗﻤﻨﺪ ﺍﺳﺖ ﻭ ﺩﺭ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﺍﻧﺘﺨﺎﺑﺎﺗﻲ ﺷــﺮﻛﺖ ﻣﻲﻛﻨﺪ ﻭ ﻫﺮﺍﺯﮔﺎﻫﻲ ﭘﺎﻳﺶ ﺑﻪ ﻛﻼﻧﺘﺮﻱ ﻛﺸﻴﺪﻩ‬ ‫ﻣﻲﺷــﻮﺩ‪ .‬ﻋﺒﺎﺱ ﻛﻪ ﺭﻭﻳﺎﻱ ﺳﻔﺮ ﺑﻪ ژﺍﭘﻦ ﺭﺍ ﺩﺭ ﺳﺮ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﻳﻚ ﻛﺎﺭﮔﺎﻩ ﭘﻮﺷﺎﻙ ﻛﺎﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﺩﻝ ﺩﺭ ﮔﺮﻭﻱ ﻋﺸﻖ ﺩﺧﺘﺮﻱ ﻣﻲﺑﻨﺪﺩ‪،‬‬ ‫ﺩﺧﺘﺮ ﺑﺰﺭﮔﺘﺮ ﺧﺎﻧﻮﺍﺩﻩ ﻛﻪ ﺣﺎﻣﻠﻪ ﺍﺳــﺖ‪ ،‬ﭘﺲ ﺍﺯ ﻛﺘﻚ ﺧﻮﺭﺩﻥ ﺍﺯ ﺷــﻮﻫﺮﺵ ﺑﺎ ﺩﺧﺘﺮ ﻛﻮﭼﻜﺶ ﺑﻪ ﺧﺎﻧﻪ ﻣﺎﺩﺭﺵ ﻣﻲﺁﻳﺪ ﻭﻟﻲ ﺑﻌﺪﻫﺎ ﺑﺎ‬ ‫ﻭﺳﺎﻃﺖ ﻃﻮﺑﻲ ﺑﻪ ﺧﺎﻧﻪﺍﺵ ﺑﺮﻣﻲﮔﺮﺩﺩ‪ .‬ﻋﺒﺎﺱ ﻭ ﭘﺪﺭﺵ‪ ،‬ﺩﺭ ﻏﻴﺎﺏ ﻃﻮﺑﻲ‪ ،‬ﻗﺒﺎﻟﻪ ﺧﺎﻧﻪ ﺭﺍ ﺑﻪ »ﻣﻌﻤﺎﺭ« ﻛﻪ ﺧﺮﻳﺪﺍﺭ ﺧﺎﻧﻪ ﺍﺳﺖ ﻣﻲﺩﻫﻨﺪ‪.‬‬ ‫ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻣﺮﻳﻢ ﺧﺎﻧﻢ‪ ،‬ﻫﻤﺴﺎﻳﻪ ﻭ ﻫﻤﻜﺎﺭ ﻃﻮﺑﻲ ﺩﺭ ﻛﺎﺭﺧﺎﻧﻪ ﺩﺭ ﺗﺪﺍﺭﻙ ﺟﺸﻦ ﻋﺮﻭﺳﻲ ﺳﻤﻴﻪ ﺩﺧﺘﺮ ﺑﺰﺭﮔﺘﺮﺵ ﺍﺳﺖ‪ ،‬ﻣﻌﺼﻮﻣﻪ ﺩﺧﺘﺮ‬ ‫ﻛﻮﭼﻜﺶ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﻛﺘﻜﻲ ﻛﻪ ﺍﺯ ﺑــﺮﺍﺩﺭﺵ ﺑﻪﺧﺎﻃﺮ ﺩﻳﺮﺁﻣﺪﻧﺶ ﺑﻪ ﺧﺎﻧﻪ ﺧﻮﺭﺩﻩ‪ ،‬ﺍﺯ ﺧﺎﻧﻪ ﻓﺮﺍﺭ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺤﺒﻮﺑﻪ‪ ،‬ﺩﺧﺘﺮ ﻛﻮﭼﻚ ﻃﻮﺑﻲ‬ ‫ﻛﻪ ﺑﺎ ﻣﻌﺼﻮﻣﻪ ﺩﻭﺳــﺖ ﺍﺳــﺖ ﺍﻭ ﺭﺍ ﺩﺭ ﭘﺎﺭﻙ ﻣﻠﺖ ﻣﻼﻗﺎﺕ ﻣﻲﻛﻨﺪ ﻭﻟﻲ ﺗﻮﺳﻂ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻈﺎﻣﻲ ﺩﺳﺘﮕﻴﺮ ﻭ ﺑﻪ ﻛﻼﻧﺘﺮﻱ ﺑﺮﺩﻩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻃﻮﺑﻲ ﻛﻪ ﻣﻲﺧﻮﺍﻫﺪ ﻗﺒﺎﻟﻪ ﺧﺎﻧﻪ ﺭﺍ ﺑﺮﺍﻱ ﺁﺯﺍﺩﻱ ﺩﺧﺘﺮﺵ ﺩﺭ ﻛﻼﻧﺘﺮﻱ ﮔﺮﻭ ﺑﮕﺬﺍﺭﺩ‪ ،‬ﻣﺘﻮﺟﻪ ﻣﻲﺷــﻮﺩ ﻛﻪ ﻗﺒﺎﻟﻪ ﺩﺭ ﺧﺎﻧﻪ ﻧﻴﺴﺖ‪ .‬ﺩﺧﺘﺮ‬ ‫ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮﻣﻲﮔﺮﺩﺍﻧﻨﺪ‪ .‬ﺷﺮﻛﺖ ﺍﺧﺬ ﻭﻳﺰﺍ ﻗﻼﺑﻲ ﺍﺯ ﺁﺏ ﺩﺭﻣﻲﺁﻳﺪ ﻭ ﻋﺒﺎﺱ ﺑﻪ ﻛﺎﺭ ﻗﺎﭼﺎﻕ ﻛﺸﻴﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﺑﻪ ﺍﺭﻭﻣﻴﻪ ﻣﻲﺭﻭﺩ ﻭ ﻋﻠﻲ‬ ‫ﻛﻪ ﺑﻪ ﺗﺼﻤﻴﻢ ﻧﺎﮔﻬﺎﻧﻲ ﺍﻭ ﻣﺸﻜﻮﻙ ﺷﺪﻩ ﺑﻪﻃﻮﺭ ﭘﻨﻬﺎﻧﻲ ﭘﺸﺖ ﻭﺍﻧﺖ ﺍﻭ ﺳﻮﺍﺭ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭﻣﻲﻳﺎﺑﺪ ﺍﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﻟﺒﺎﺱﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺁﻧﻬﺎ ﻣﻮﺍﺩﻣﺨﺪﺭ ﺟﺎﺳﺎﺯﻱ ﺷﺪﻩ ﺭﺍ ﺑﻪ ﻣﺤﻠﻲ ﺗﺤﻮﻳﻞ ﺩﻫﺪ‪ .‬ﻋﻠﻲ ﻟﺒﺎﺱﻫﺎ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻲﺭﻳﺰﺩ‪ ،‬ﻋﺒﺎﺱ ﭘﺲ ﺍﺯ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺑﺮﺍﺩﺭﺵ ﺩﺭ ﭘﺸﺖ‬ ‫ﻭﺍﻧﺖ ﺍﻭ ﺭﺍ ﺑﻪ ﺷﺪﺕ ﻛﺘﻚ ﻣﻲﺯﻧﺪ ﻭﻟﻲ ﺑﻌﺪ ﺑﺎ ﻫﻢ ﺑﺮﻣﻲﮔﺮﺩﻧﺪ‪ .‬ﻃﻮﺑﻲ ﺑﺮﺍﻱ ﺩﻳﺪﺍﺭ ﻋﺒﺎﺱ ﺑﻪ ﻣﺨﻔﻲﮔﺎﻩ ﺍﻭ ﻣﻲﺭﻭﺩ‪ .‬ﺻﺎﺣﺐﻛﺎﺭ ﻋﺒﺎﺱ ﻫﻢ‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻭ ﻣﻲﺁﻳﺪ ﻭﻟﻲ ﺑــﺎ ﻛﻤﻚ ﻣﺎﺩﺭﺵ ﻓﺮﺍﺭ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﻃﻮﺑﻲ ﺩﺭ ﺭﻭﺯ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺣﺮﻑ ﻣﻲﺯﻧﺪ ﻭ ﺑﻪ‬ ‫ﺁﻧﻬﺎ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺑﻬﺘﺮ ﺍﺳﺖ ﺍﺯ ﺩﺭﻭﻥ ﻗﻠﺐ ﺍﻭ ﺗﺼﻮﻳﺮﺑﺮﺩﺍﺭﻱ ﻛﻨﻨﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺍﻗﺸــﺎﺭ ﻣﺤﺮﻭﻡ ﺩﺭ ﻣﻴﺎﻧﻪ ﻣﻨﺎﺯﻋﻪ ﺳــﻨﮕﻴﻦ ﺳﻴﺎﺳﻲ ﺍﻳﺮﺍﻥ ﺍﻭﺍﺧﺮ‬ ‫ﺩﻫﻪ ‪ 70‬ﭼﻪ ﺟﺎﻳﮕﺎﻫﻲ ﺩﺍﺷﺘﻨﺪ؟ ﺯﻳﺮ ﭘﻮﺳﺖ ﺷﻬﺮ ﺗﻚ ﺭﻭﺍﻳﺖ ﺻﺤﻴﺢ‪،‬‬ ‫ﻣﻨﻄﺒﻖ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺍﺯ ﻭﺿﻌﻴﺖ ﺍﻳﻦ ﻗﺸﺮ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫ﺩﻫــﻪ ‪ 70‬ﻭ ﺑﺎ ﺗﻌﻤﻴﻤﻲ ﻛﻠﻲ ﺑﻪ ﻫﻤــﻪ ﺩﻭ ﺩﻫﻪ ﻗﺒﻞ ﺑﻮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻲﻛﻪ‬ ‫ﺳــﻴﻨﻤﺎ ﻋﻤﺪﻩ ﺗﻤﺮﻛﺰ ﺧﻮﺩ ﺭﺍ ﺑــﺮ ﺑﻴﺎﻥ ﻣﻄﺎﻟﺒﺎﺕ ﻭ ﺧﻮﺍﺳــﺘﻪﻫﺎﻱ‬ ‫ﺑﺨﺶﻫﺎﻱ ﻣﺘﻮﺳــﻂ ﻭ ﺭﻭ ﺑﻪ ﺑــﺎﻻﻱ ﺟﺎﻣﻌﻪ ﺩﺭ ﮔــﺬﺭ ﺍﺯ ﺍﺗﻔﺎﻗﺎﺕ ﻭ‬ ‫ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﺟﺪﻳﺪ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺭﺧﺸﺎﻥ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺑﺎ ﺯﻳﺮ ﭘﻮﺳﺖ‬ ‫ﺷﻬﺮ ﻧﮕﺎﻩﻫﺎ ﺭﺍ ﻣﻌﻄﻮﻑ ﺟﻨﻮﺏﺷﻬﺮ ﻛﺮﺩ ﺗﺎ ﺭﻭﺍﻳﺘﮕﺮ ﺭﻭﻱ ﺩﻳﮕﺮ ﺳﻜﻪ‬ ‫ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪ ﺑﺎﺷﺪ‪ .‬ﺩﻭﺭﺍﻧﻲ ﻛﻪ ﺷﻌﺎﺭﻫﺎ ﻭ ﺑﺎﻭﺭﻫﺎﻱ ﺟﺬﺍﺏ ﻭ ﺩﻟﻔﺮﻳﺐ‬ ‫ﺩﺭ ﻣﻴﺎﻧﻪ ﻣﺤﺮﻭﻣﻴﺖﻫﺎ ﻭ ﻣﺸﻜﻼﺕ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺩﺳﺖﻧﻴﺎﻓﺘﻨﻲ ﻭ ﺩﻭﺭ‬ ‫ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﻴﺪﻧﺪ‪.‬‬ ‫ﺭﺧﺸﺎﻥ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﻓﻴﻠﻢﻫﺎﻱ ﻗﺒﻠﻲﺍﺵ ﻧﺸﺎﻥ ﺩﺍﺩﻩ‬ ‫ﺑﻮﺩ ﺑﻪﻭﺍﺳــﻄﻪ ﻋﻼﻳﻖ ﻭ ﭘﮋﻭﻫﺶﻫﺎ ﻭ ﻣﻄﺎﻟﻌﺎﺗﺶ ﺷﻨﺎﺧﺖ ﺩﻗﻴﻖ ﻭ‬ ‫ﻛﺎﻣﻠﻲ ﺍﺯ ﻣﻨﺎﺳــﺒﺎﺕ ﻭ ﻣﺸﻜﻼﺕ ﺍﻗﺸﺎﺭ ﻣﺤﺮﻭﻡ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﺯﻳﺮ ﭘﻮﺳﺖ‬ ‫ﺷﻬﺮ ﻛﺎﻣﻞﺗﺮ ﻭ ﺻﺮﻳﺢﺗﺮ ﺍﺯ ﮔﺬﺷﺘﻪ ﺩﻭﺭﺑﻴﻨﺶ ﺭﺍ ﺑﻪ ﻣﻴﺎﻥ ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻱ‬ ‫ﺟﻨﻮﺏ ﺷﻬﺮ ﺑﺮﺩ ﻭ ﺩﺍﺳﺘﺎﻧﻲ ﺍﺯ ﻭﺍﻗﻌﻴﺖﻫﺎﻱ ﺟﺎﻣﻌﻪ ﮔﻔﺖ‪ .‬ﺩﺍﺳﺘﺎﻧﻲ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﺳﻴﺎﺳــﺖ ﻭ ﺳﻴﺎﺳــﺖﺑﺎﺯﻱ ﺑــﺰﺭﮔﺎﻥ ﺗﻨﻬــﺎ ﺯﻣﻴﻨﻪﻫﺎﻱ‬ ‫ﻣﺸــﻜﻼﺕ ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻱ ﻣﺤﺮﻭﻡ ﺭﺍ ﮔﺴﺘﺮﺩﻩ ﻣﻲﻛﺮﺩ‪ .‬ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺑﺎ‬ ‫ﺯﻳﺮ ﭘﻮﺳﺖﺷــﻬﺮ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﻓﻴﻠﻢ ﺩﻳﮕﺮﻱ ﺗﻼﺵ ﻛﺮﺩ ﺣﺮﻑ ﺍﺻﻠﻲ‬ ‫ﺍﻗﺸــﺎﺭ ﻣﺤﺮﻭﻡ ﺭﺍ ﺑﺰﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻋﺪﻩﺍﻱ ﭼﻨﻴﻦ ﺩﻳﺪﮔﺎﻫﻲ ﺭﺍ ﺩﺭ‬ ‫ﺭﺍﺳــﺘﺎﻱ ﻧﻈﺮ ﺟﻨﺎﺣﻲ ﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﺩﻭﻟﺖ ﺭﺍ ﺑﻪ ﺗﻮﺟﻪ ﺑﻪ ﻣﻄﺎﻟﺒﺎﺕ ﻭ‬ ‫ﻣﺸﻜﻼﺕ ﺍﻗﺘﺼﺎﺩﻱ ﻣﺮﺩﻡ ﺗﺸﻮﻳﻖ ﻣﻲﻛﺮﺩ‪ .‬ﺯﻳﺮ ﭘﻮﺳﺖﺷﻬﺮ ﺍﻣﺎ ﮔﻮﻳﻲ‬ ‫ﻣﻲﺧﻮﺍﺳــﺖ ﻭﺭﺍﻱ ﺟﻨﺎﺡﺑﻨﺪﻱﻫﺎ ﻭ ﺷﻌﺎﺭﻫﺎ ﺭﺍﻭﻱ ﻣﺸﻜﻼﺕ ﺑﺎﺷﺪ‪.‬‬ ‫ﻓﻴﻠﻤﻲ ﺗﻠﺦ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻛﻪ ﺟﺰﻭ ﭼﻨﺪ ﻧﻤﻮﻧﻪ ﻣﺤﺪﻭﺩ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ‬ ‫ﺩﺭ ﺭﺳــﻴﺪﻥ ﺑﻪ ﻧﻮﻋﻲ ﺍﺯ ﺭﺋﺎﻟﻴﺴﻢ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻭﺭﺍﻧﺶ ﺑﻮﺩ‪ .‬ﻫﺮﭼﻨﺪ ﺑﺎ‬ ‫ﻣﺤﺪﻭﺩﺷﺪﻥ ﻓﻀﺎ ﻧﺘﻮﺍﻧﺴﺖ ﺑﻪ ﺣﻴﺎﺗﺶ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺯﻳﺮ ﭘﻮﺳﺖﺷﻬﺮ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﻗﺪﻳﻤﻲ ﺑﻪ ﻧﺎﻡ »ﻃﻮﺑﻲ«‬ ‫ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﻛﻪ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺳﺎﻝ ‪ 1364‬ﻫﻤﺮﺍﻩ ﻓﺮﻳﺪ ﻣﺼﻄﻔﻮﻱ‬ ‫ﺑﺮ ﻣﺒﻨﺎﻱ ﺯﻧﺪﮔﻲ ﻃﻮﺑﻲ ﺍﺻﻐﺮﺯﺍﺩﻩ‪ ،‬ﻛﺎﺭﮔﺮ ﻛﺎﺭﺧﺎﻧﻪ ﭼﻴﺖ ﺭﻱ ﻧﻮﺷﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ ﺩﺭ ﻭﺍﻗﻊ ﺑﺎﺯﮔﻮ ﻛﻨﻨﺪﻩ ﻣﻮﺿﻮﻉ ﺍﺷــﺘﻐﺎﻝ ﺯﻧﺎﻥ ﻣﺤﺮﻭﻡ‬ ‫ﺑﻮﺩ ﻭ ﺁﺷﻜﺎﺭ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻘﻄﻊ ﻣﺠﻮﺯ ﻧﻤﻲﮔﺮﻓﺖ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ‬ ‫»ﻓﺎﻗﺪ ﺍﺭﺯﺵﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻭ ﻫﻨﺮﻱ« ﺷﻨﺎﺧﺘﻪ ﺷﺪ ﻭ ﻋﻤﻼ ﺳﺎﺧﺘﺶ‬ ‫ﻣﻨﺘﻔﻲ ﺷــﺪ ﺍﻣﺎ ﺍﺯ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺩﺭ ﺫﻫﻦ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺑﺎﻗﻲ ﻣﺎﻧﺪ ﻭ ﺩﺭ‬ ‫ﻫــﺮ ﺩﻭﺭﻩﺍﻱ ﺗﻼﺵ ﻛﺮﺩ ﺯﻣﻴﻨــﻪ ﺗﻮﻟﻴﺪﺵ ﺭﺍ ﻓﺮﺍﻫــﻢ ﻛﻨﺪ‪ .‬ﺩﺭ ﮔﺬﺭ‬ ‫ﺯﻣﺎﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﻐﻴﻴﺮﺍﺗﻲ ﻣﻲﻛﺮﺩ ﺍﻣﺎ ﻫﻤﭽﻨﺎﻥ ﺷــﺎﻟﻮﺩﻩ ﺍﺻﻠﻲﺍﺵ‬ ‫ﺑﺮ ﻣﺒﻨﺎﻱ ﺯﻧﺪﮔﻲ ﺯﻥ ﺷــﺎﻏﻞ ﻛﻢﺩﺭﺁﻣﺪﻱ ﻛﻪ ﺑﺎﺭ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺭﺍ ﺑﻪ‬ ‫ﺩﻭﺵ ﻣﻲﻛﺸﻴﺪ‪ ،‬ﺑﺎﻗﻲ ﺑﻮﺩ‪ .‬ﺯﻣﻴﻨﻪﻫﺎﻳﻲ ﺍﺯ ﺗﺼﻮﻳﺮ ﺷﺨﺼﻴﺖ ﻃﻮﺑﻲ‬ ‫ﺩﺭ ﻓﻴﻠﻢ »ﺑﺎﻧﻲ ﺍﺭﺩﻳﺒﻬﺸﺖ« ﻛﻪ ﻧﻮﻋﻲ ﺟﻤﻊﺑﻨﺪﻱ ﺁﺛﺎﺭ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ‬ ‫ﻭ ﺍﻓــﻜﺎﺭﺵ ﺗﺎ ﺁﻥ ﻣﻘﻄﻊ ﺑﻮﺩ ﺩﻳﺪﻩ ﺷــﺪ‪ .‬ﺍﻭﺍﻳﻞ ﺳــﺎﻝ ‪ 78‬ﺟﻬﺎﻧﮕﻴﺮ‬ ‫ﻛﻮﺛﺮﻱ‪ ،‬ﻫﻤﺴﺮ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﭘﻴﮕﻴﺮ ﺩﺭﻳﺎﻓﺖ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﺑﺮﺍﻱ ﺍﻳﻦ‬ ‫ﻃﺮﺡ ﺷﺪ ﻭ ﺗﻮﺍﻧﺴﺖ ﺍﺟﺎﺯﻩ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺑﺎ ﺻﺪﺭﻭ ﭘﺮﻭﺍﻧﻪ‬ ‫ﺳﺎﺧﺖ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺩﻭﺑﺎﺭﻩ ﺗﻮﺳﻂ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﻭ ﻣﺼﻄﻔﻮﻱ ﺑﺎﺯﻧﻮﻳﺴﻲ‬ ‫ﻭ ﺑﻌﻀﻲ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺳﻴﺎﺳﻲ ﻣﻨﻄﺒﻖ ﺑﺎ ﺷﺮﺍﻳﻂ ﺭﻭﺯ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ ﺷﺪ‪.‬‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﺷــﺨﺼﻴﺖ ﭘﺴــﺮ ﻧﻮﺟﻮﺍﻥ ﺧﺎﻧﻮﺍﺩﻩ ﻛﻪ ﺳﻤﭙﺎﺕ ﮔﺮﻭﻩﻫﺎﻱ‬ ‫ﺩﻭﻡ ﺧﺮﺩﺍﺩﻱ ﺑﻮﺩ ﻭ ﺩﺭ ﻣﺤﺎﻓﻞ ﻭ ﮔﺮﺩﻫﻤﺎﻳﻲﻫﺎﻱ ﺳﻴﺎﺳــﻲ ﺣﺎﺿﺮ‬ ‫ﻣﻲﺷــﺪ‪ .‬ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺑﺮﺍﻱ ﻧﻘﺶ ﻃﻮﺑﻲ ﺍﺯ ﺳﺎﻝﻫﺎ ﻗﺒﻞ ﮔﻼﺏ ﺁﺩﻳﻨﻪ‬ ‫ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷــﺖ ﻭ ﺣﺘﻲ ﺍﻭ ﺭﺍ ﺩﺭ ﺟﺮﻳﺎﻥ ﻓﻴﻠﻤﻨﺎﻣــﻪ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻃﺒﻴﻌﻲ ﺑﻮﺩ ﻛﻪ ﺍﻳﻔﺎﮔﺮ ﻧﻘﺶ ﻃﻮﺑﻲ‪ ،‬ﺍﻭ ﺑﺎﺷــﺪ‪ .‬ﺑﻘﻴﻪ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻫﻢ ﺍﺯ‬ ‫ﻣﻴﺎﻥ ﭼﻬﺮﻩﻫﺎﻱ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺭﻭﺯ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻧﺪ‪ .‬ﺑﻪﻭﻳﮋﻩ ﻣﺤﻤﺪﺭﺿﺎ‬ ‫ﻓﺮﻭﺗﻦ ﻛﻪ ﺗﺒﺪﻳﻞ ﺑﻪ ﭼﻬﺮﻩ ﺍﺻﻠﻲ ﻓﻴﻠﻢﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ – ﺳﻴﺎﺳــﻲ‬ ‫ﺍﻭﺍﺧﺮ ﺩﻫﻪ ‪ 70‬ﺷــﺪﻩ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﻣﻲﺗــﻮﺍﻥ ﺍﻭ ﺭﺍ ﺑﻪﻧﻮﻋﻲ ﻧﻤﺎﺩ ﻫﻤﺎﻥ‬ ‫ﺩﻭﺭﻩ ﻫﻢ ﺩﺍﻧﺴــﺖ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﺩﺭ ﺍﻭﺍﺧﺮ ﭘﺎﻳﻴﺰ ﺳﺎﻝ ‪ 78‬ﺷﺮﻭﻉ ﺷﺪ‬ ‫ﻭ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺷﺸﻢ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺖ‪.‬‬ ‫ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﻫﻢ ﻧﻤﻮﺩ ﺩﺍﺷﺖ ﻭ ﻓﻴﻠﻢ ﻫﻢ ﺑﺎ ﻫﻤﻴﻦ ﻭﺍﻗﻌﻪ ﺗﻤﺎﻡ‬ ‫ﻣﻲﺷﺪ‪ .‬ﻫﻨﮕﺎﻡ ﺗﺪﻭﻳﻦ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﺑﻨﺎ ﺑﻪﺩﻻﻳﻠﻲ ﺍﺯ ﺟﻤﻠﻪ ﻣﺸﺎﻫﺪﻩ‬ ‫ﺍﻧﺒﻮﻩ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺳﻴﺎﺳــﻲ ﺑﺴﻴﺎﺭ ﭘﺮﺭﻧﮕﻲ ﻣﻨﻄﺒﻖ ﺑﺮ‬ ‫ﺣﻮﺍﺩﺙ ﺭﻭﺯ ﺩﺍﺷــﺘﻨﺪ‪ ،‬ﺗﺎ ﺣﺪﻭﺩ ﺯﻳﺎﺩﻱ ﺍﺯ ﺟﻨﺒﻪﻫﺎﻱ ﺳﻴﺎﺳﻲ ﻓﻴﻠﻢ‬ ‫ﻛﻪ ﺑﻴﺸﺘﺮ ﺷﺎﻣﻞ ﺻﺤﻨﻪﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑﻪ ﭘﺴﺮ ﺟﻮﺍﻥ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻲﺷﺪ‪،‬‬ ‫ﻛﻢ ﻛﺮﺩﻧﺪ‪ .‬ﻓﻴﻠﻢ ﻧﺨﺴــﺘﻴﻦ ﺑﺎﺭ ﺑﺮﺍﻱ ﺩﺍﻭﺭﺍﻥ ﺟﺸﻦ ﺧﺎﻧﻪ ﺳﻴﻨﻤﺎ ﻛﻪ‬ ‫ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺻﺪﺳﺎﻟﮕﻲ ﺳــﻴﻨﻤﺎ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷﺪ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭﺁﻣﺪ ﻭ ﺗﻮﺍﻧﺴــﺖ ﺍﻛﺜﺮ ﺟﻮﺍﻳﺰ ﻣﻬﻢ ﺭﺍ ﻫﻢ ﺑﻪﺩﺳــﺖ ﺁﻭﺭﺩ ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮ ﺯﻥ ﻭ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ .‬ﺳــﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﻣﺸــﺎﻫﺪﻩ‬ ‫ﻓﻀﺎﻱ ﻣﺜﺒﺖ ﺑﻪﻭﺟﻮﺩ ﺁﻣﺪﻩ ﭘﻴﺮﺍﻣﻮﻥ ﻓﻴﻠﻢ ﺑﻼﻓﺎﺻﻠﻪ ﺯﻣﻴﻨﻪ ﻧﻤﺎﻳﺶ‬ ‫ﻋﻤﻮﻣﻲﺍﺵ ﺭﺍ ﻓﺮﺍﻫﻢ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺯﻳﺮ ﭘﻮﺳﺖﺷــﻬﺮ ﺍﻭﺍﻳﻞ ﺁﺑﺎﻥ ﺩﺭ ﺳــﻴﻨﻤﺎﻫﺎﻱ ﺗﻬﺮﺍﻥ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭﺁﻣﺪ‪ .‬ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﻛﻪ ﺁﺷﻜﺎﺭﺍ ﻣﺸﺨﺺ ﺑﻮﺩ ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﻋﻼﻗﻪ‬ ‫ﻭ ﺗﻮﺟﻪ ﻭﻳﮋﻩﺍﻱ ﺩﺍﺭﺩ‪ ،‬ﺑﻴﺶ ﺍﺯ ﻫﺮ ﻓﻴﻠﻢ ﺩﻳﮕﺮﻱ ﺑﻪ ﮔﻔﺖ ﻭ ﮔﻮ ﺩﺭﺑﺎﺭﻩﺍﺵ‬ ‫ﻧﺸﺴﺖ ﻭ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺻﺤﺒﺖ ﻛﺮﺩ‪» :‬ﺯﻳﺮ ﭘﻮﺳﺖﺷﻬﺮ ﺩﺭﺑﺎﺭﻩ ﺑﺨﺸﻲ ﺍﺯ‬ ‫ﻭﺍﻗﻌﻴﺖﻫﺎﻱ ﺟﺎﻣﻌﻪ ﺍﺳﺖ ﻛﻪ ﻣﻲﺧﻮﺍﺳﺘﻨﺪ ﻓﺮﺍﻣﻮﺵ ﺷﻮﺩ‪ «.‬ﻭ ﻫﻤﻴﻦ‬ ‫ﻧﺸــﺎﻥ ﻣﻲﺩﺍﺩ ﻛﻪ ﺻﺤﺒﺖ ﺩﺭﺑﺎﺭﻩ ﻗﺸــﺮ ﻣﺤﺮﻭﻡ ﺟﺎﻣﻌﻪ ﻛﻪ ﺍﺯ ﻓﺮﻁ‬ ‫ﺗﻮﺟﻪ ﻧﻜﺮﺩﻥ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻭ ﺑﺎ ﺩﻳﺪﻱ ﻛﻠﻲ ﺩﺭ ﻓﻀﺎﻱ ﺑﺤﺚﻫﺎﻱ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺳﻴﺎﺳﻲ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﭼﻪ ﻣﻴﺰﺍﻥ ﺟﻠﺐ ﺗﻮﺟﻪ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺗﺒﻠﻴﻐﺎﺕ ﺯﻳﺮ ﭘﻮﺳﺖﺷــﻬﺮ ﺗﺎ ﺣﺪﻭﺩﻱ ﺳﻮءﺗﻔﺎﻫﻢ‬ ‫ﺑﺮﺍﻧﮕﻴﺰ ﺷــﺪ ﻭ ﺣﺘﻲ ﻭﺍﻛﻨﺶ ﺧﻮﺩ ﺑﻨﻲ ﺍﻋﺘﻤﺎﺩ ﺭﺍ ﻫﻢ ﺑﺮﺍﻧﮕﻴﺨﺖ ﭼﺮﺍ‬ ‫ﻛﻪ ﻇﺎﻫﺮﺍ ﻣﺘﺎﺛﺮ ﺍﺯ ﻓﻀﺎﻱ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺗﻼﺵ ﻣﻲﻛﺮﺩ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﺍﺛﺮﻱ ﺟﻮﺍﻧﺎﻧﻪ ﻭ ﺩﺭﺑﺎﺭﻩ ﺭﻭﺍﺑﻂ ﺩﺧﺘﺮﺍﻥ ﻭ ﭘﺴــﺮﺍﻥ ﺟﻮﺍﻥ ﺑﻪ ﻣﺨﺎﻃﺐ‬ ‫ﻣﻌﺮﻓﻲ ﻛﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺯﻳﺮ ﭘﻮﺳــﺖ ﺷــﻬﺮ ﺍﻛﺮﺍﻥ ﻃﻮﻻﻧﻲ ﻣﺪﺕ ﻭ‬ ‫ﻓﺮﻭﺵ ﺧﻮﺑﻲ ﺩﺍﺷﺖ ﻭ ﻋﻨﻮﺍﻥ ﺳﻮﻣﻴﻦ ﻓﻴﻠﻢ ﭘﺮﻓﺮﻭﺵ ﺳﺎﻝ ‪ 79‬ﺭﺍ ﻫﻢ‬ ‫ﻛﺴﺐ ﻛﺮﺩ‪ .‬ﻧﮕﺎﻩ ﻣﻨﺘﻘﺪﺍﻥ ﻫﻢ ﺑﻪ ﺁﻥ ﻣﺜﺒﺖ ﺑﻮﺩ ﻭ ﺍﻛﺜﺮ ﻧﻘﺪﻫﺎ ﭘﺮﺩﺍﺧﺖ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺯﻳﺮ ﭘﻮﺳﺖ ﺷــﻬﺮ ﺭﺍ ﺍﻣﺮﻭﺯ ﻫﻢ ﻣﻲﺗﻮﺍﻥ ﺩﻳﺪ ﻫﺮﭼﻨﺪ ﺑﻌﻀﻲ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺭﻭﺍﻳﺘﻲﺍﺵ ﻛﺎﻣﻼ ﻣﺘﺎﺛﺮ ﺍﺯ‬ ‫ﺷــﺮﺍﻳﻂ ﺭﻭﺯﺵ ﺑﻮﺩﻩ‪ ،‬ﺍﻣﺎ ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳــﺪ ﺟﻮﻫﺮﻩ ﺍﺻﻠﻲ ﻓﻴﻠﻢ ﺍﻣﺮﻭﺯ ﻫﻢ ﺗﻮﺍﻧﺎﻳﻲ ﺟﻠﺐ ﺗﻮﺟﻪ ﺑﻴﻨﻨﺪﻩ‬ ‫ﺭﺍ ﺩﺍﺷــﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻣﺤﺮﻭﻣﻴﺖﻫﺎ ﻭ ﻣﺸــﻜﻼﺕ ﻃﺒﻘﺎﺕ ﭘﺎﻳﻴﻦ ﺍﺟﺘﻤﺎﻉ ﻛﻤﺘﺮ ﺩﺭ ﺳﻴﻨﻤﺎﻱ ﺩﻭ ﺩﻫﻪ ﺍﺧﻴﺮ‬ ‫ﺍﻳﺮﺍﻥ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ ﻭ ﺯﻳﺮ ﭘﻮﺳﺖ ﺷﻬﺮ ﺍﺯ ﻧﻤﻮﻧﻪﻫﺎﻱ ﻣﻌﺪﻭﺩ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺍﺳﺖ‪ .‬ﺁﻧﭽﻪ‬ ‫ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺩﺭﺑﺎﺭﻩ ﻣﺴﺎﺋﻞ ﻭ ﻣﺸﻜﻼﺕ ﻗﺸﺮﻫﺎﻱ ﻣﺤﺮﻭﻡ ﺟﺎﻣﻌﻪ ﺩﺭ ﺯﻳﺮ ﭘﻮﺳﺖ ﺷﻬﺮ ﺑﻴﺎﻥ ﻛﺮﺩﻩ‪ ،‬ﮔﻮﻳﻲ‬ ‫ﺗﻔﺎﻭﺕﻫﺎﻱ ﭼﻨﺪﺍﻧﻲ ﺑﺎ ﺷــﺮﺍﻳﻂ ﺍﻣﺮﻭﺯ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺑﻪ ﺗﺪﺍﻭﻡ ﻣﺸﻜﻼﺕ ﺍﺟﺘﻤﺎﻋﻲ ﺟﺎﻣﻌﻪ ﺑﺎﺯ ﻣﻲﮔﺮﺩﺩ‬ ‫ﻭ ﺍﻟﺒﺘﻪ ﺷــﺮﺍﻳﻄﻲ ﻛﻪ ﺩﺭ ﻣﻘﻄﻊ ﺳﺎﺧﺖ ﺯﻳﺮ ﭘﻮﺳﺖ ﺷــﻬﺮ ﺑﺮﺍﻱ ﺑﻴﺎﻥ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﻓﺮﺍﻫﻢ ﺑﻮﺩﻩ ﻭ ﺍﺟﺎﺯﻩ‬ ‫ﻃﺮﺡ ﺁﻧﻬﺎ ﺭﺍ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﻋﻤﻠﻜﺮﺩ ﻓﻴﻠﻢ ﺭﺍ ﺳﺘﻮﺩﻧﺪ ﺑﻪﻭﻳﮋﻩ ﻛﺎﺭ ﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲ‪ ،‬ﮔﻼﺏ ﺁﺩﻳﻨﻪ ﺩﺭ‬ ‫ﻧﻘﺶﻃﻮﺑﻲ ﺑﺴﻴﺎﺭﻣﻮﺭﺩﺗﻮﺟﻪﻭ ﺳﺘﺎﻳﺶ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺑﻌﻀﻲ ﻧﻘﺪﻫﺎﻫﻢ‬ ‫ﺩﺭ ﻓﻀﺎﻱ ﺳﻴﺎﺳﺖ ﺯﺩﻩ ﺁﻥ ﺩﻭﺭﺍﻥ ﻧﮕﺎﻩ ﻓﻴﻠﻤﺴﺎﺯ ﺩﺭ ﺭﺩ ﻛﺎﻣﻞ ﺳﻴﺎﺳﺖ‬ ‫ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﻛﻪ ﺩﺭ ﺷﺨﺼﻴﺖ ﭘﺴﺮ ﺟﻮﺍﻥ ﺗﺒﻠﻮﺭ ﻳﺎﻓﺘﻪ ﺑﻮﺩ ﺭﺍ ﺗﺎﺣﺪﻭﺩﻱ‬ ‫ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩ ﻗﺮﺍﺭ ﺩﺍﺩﻧﺪ‪» :‬ﺁﻳﺎ ﺟﻤﻠﻪ ﺁﺷــﻨﺎﻱ »ﺗﻮﺳــﻌﻪ ﺍﻗﺘﺼﺎﺩﻱ ﺑﺮ‬ ‫ﺗﻮﺳﻌﻪ ﺳﻴﺎﺳﻲ ﻣﻘﺪﻡ ﺍﺳــﺖ« ﺭﺍ ﺑﺎﻳﺪ ﺩﺭ ﺩﻝ ﭼﻨﻴﻦ ﻓﻴﻠﻤﻲ ﺑﻴﺎﺑﻴﻢ؟‬ ‫ﻛﻪ ﻧﮕﺎﻩ ﺩﺭﺩﺁﺷﻨﺎﻱ ﺧﺎﻟﻘﺶ ﺻﺪﺍﻗﺖ ﺍﻭ ﺭﺍ ﻋﻴﺎﻥ ﻣﻲﻛﻨﺪ‪ .‬ﭘﺴﺮﺟﻮﺍﻥ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﻛﻪ ﺭﺍﻩ ﻓﺮﺍﺭ ﺍﺯ ﻣﺸﻜﻼﺕ ﺭﺍ ﺩﺭ ﺍﺻﻼﺣﺎﺕ ﺳﻴﺎﺳﻲ ﻣﻲﺩﺍﻧﺪ‪ ،‬ﻫﻢ‬ ‫ﺍﺯ ﺟﺎﻧﺐ ﭘﺪﺭ ﻣﻮﺍﺧﺬﻩ ﻣﻲﺷﻮﺩ ﻭ ﻫﻢ ﺍﺯ ﺳﻮﻱ ﺑﺮﺍﺩﺭ ﺑﺰﺭگ‪ .‬ﻓﻴﻠﻤﺴﺎﺯ ﺍﻭ ﺭﺍ‬ ‫ﻣﺤﻜﻮﻡ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎﺯﻳﭽﻪ ﺩﺳﺖ ﺩﻳﮕﺮﺍﻥ ﻣﻲﺩﺍﻧﺪ‪) «.‬ﻧﺎﺻﺮ ﺻﻔﺎﺭﻳﺎﻥ‪،‬‬ ‫ﻓﻴﻠﻢ‪ ،‬ﺷﻤﺎﺭﻩ ‪(261‬‬ ‫ﺯﻳﺮ ﭘﻮﺳﺖﺷــﻬﺮ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﻧﻤﻮﻧﻪ ﻣﺸﺨﺼﻲ ﺍﺯ ﻧﻮﻉ ﺳﻴﻨﻤﺎﻱ ﺭﺋﺎﻝ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺍﻧﺴﺖ ﻛﻪ ﺗﻨﻬﺎ‬ ‫ﺩﺭ ﻣﻘﺎﻃﻌﻲ ﺧﺎﺹ ﺍﺯ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻓﺮﺻﺖ ﺭﺷﺪ ﻭ ﺭﻭﻧﻖ ﺩﺍﺷــﺘﻨﺪ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﻓﻴﻠﻤﻲ ﻛﻪ ﻧﻤﺎﻳﺎﻧﮕﺮ‬ ‫ﻧﻮﻋﻲ ﺗﻌﻬﺪ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺷــﺎﻳﺪ ﺳﻴﺎﺳــﻲ ﺳﺎﺯﻧﺪﻩ ﺍﺵ ﻫﻢ ﻫﺴــﺖ ﻛﻪ ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺍﺯ ﺯﺍﻭﻳﻪﺍﻱ‬ ‫ﻓﺮﺍﺗﺮ ﺍﺯ ﻣﻨﺎﺳــﺒﺎﺕ ﺭﻭﺍﻳﺘﮕﺮ ﻣﺼﺎﺋﺐ ﺟﺎﻣﻌﻪﺍﺵ ﺑﺎﺷــﺪ‪ .‬ﻣﺮﻭﺭﻱ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻱ ﻣﺘﺎﺧﺮ ﺳــﻴﻨﻤﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﻧﺸــﺎﻥﺩﻫﻨﺪﻩ ﻛﻤﺒﻮﺩ ﺟﺪﻱ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎﻳﻲ ﺷــﺒﻴﻪ ﺯﻳﺮ ﭘﻮﺳﺖ ﺷــﻬﺮ ﻭ ﻓﻴﻠﻤﺴﺎﺯﺍﻧﻲ ﭼﻮﻥ‬ ‫ﺭﺧﺸــﺎﻥ ﺑﻨﻲﺍﻋﺘﻤﺎﺩ ﺑﺎ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺣﻀﻮﺭ ﭘﺮﺭﻧﮓ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺳﻴﺎﺳﻲ ﺍﺳﺖ‪ .‬ﻧﻜﺘﻪ ﺩﻳﮕﺮ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺯﻳﺮ ﭘﻮﺳــﺖ ﺷﻬﺮ ﺣﺎﻻ ‪ 10‬ﺳــﺎﻝ ﭘﺲ ﺍﺯ ﺳــﺎﺧﺘﺶ‪ ،‬ﺻﺤﺒﺖ ﻭ ﺭﺟﻮﻉ ﻛﻤﺘﺮ ﺑﻪ ﺁﻥ ﺩﺭ ﺣﻮﺯﻩ ﻧﻘﺪ‬ ‫ﻭ ﺗﺎﻭﻳﻞ ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﭼﻨﺪ ﻓﻴﻠﻢ ﻫﻤﺪﻭﺭﻩﺍﺵ ﺍﺳــﺖ‪ .‬ﮔﻮﻳﻲ ﻫﻤﭽﻨﺎﻥ ﻣﻀﻤﻮﻥ ﻭ ﺩﺍﺳــﺘﺎﻧﻲ ﻛﻪ‬ ‫ﺯﻳﺮ ﭘﻮﺳﺖ ﺷــﻬﺮ ﺩﺭﺑﺎﺭﻩ ﺍﻗﺸــﺎﺭ ﻣﺤﺮﻭﻡ ﻭ ﻣﺴﺎﺋﻠﺸــﺎﻥ ﺑﺎﺯﮔﻮ ﻣﻲﻛﻨﺪ ﭼﻨﺪﺍﻥ ﺑﺎﺏ ﻣﻴﻞ ﺟﺮﻳﺎﻥ‬ ‫ﺗﺌﻮﺭﻳﻚ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﻧﻴﺴﺖ‪.‬‬ ‫‪89‬‬ ‫‪25‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺳﮓ ﻛﺸﻲ )‪(1379‬‬ ‫ﺧﺸﻤﮕﻴﻨﺎﻧﻪﺗﺮﻳﻦ ﻓﺮﻳﺎﺩ ﻋﻠﻴﻪ ﺭﻭﺯﮔﺎﺭ‬ ‫ﺗﺪﻭﻳﻦ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺑﻬﺮﺍﻡ ﺑﻴﻀﺎﻳﻲ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺍﺻﻐﺮ ﺭﻓﻴﻌﻲﺟﻢ‪،‬‬ ‫ﻃﺮﺍﺡﺻﺤﻨﻪﻭﻟﺒﺎﺱ‪:‬ﺍﻳﺮﺝﺭﺍﻣﻴﻦﻓﺮ‪،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺟﻬﺎﻧﮕﻴﺮ ﻣﻴﺮﺷﻜﺎﺭﻱ‪،‬ﻣﻬﺮﺍﻥ ﻣﻠﻜﻮﺗﻲ‪،‬ﻣﻮﺳﻴﻘﻲ‪:‬‬ ‫ﻭﺍﺭﻃﺎﻥﺳﺎﻫﺎﻛﻴﺎﻥ‪،‬ﺻﺒﺎﺧﻀﻮﻋﻲ‪،‬ﺗﺪﻭﻳﻦﺻﺪﺍ‪:‬ﺷﻬﺮﺯﺍﺩﭘﻮﻳﺎ‪،‬ﻃﺮﺍﺡﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪:‬ﻓﺮﻫﻨﮓﻣﻌﻴﺮﻱ‪،‬‬ ‫ﻣﺠﺮﻱ ﻃﺮﺡ‪ :‬ﻣﻮﺳﺴﻪ ﻓﺮﻫﻨﮓ ﺗﻤﺎﺷﺎ‪ ،‬ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﺍﻥ‪ :‬ﺑﻬﺮﻭﺯﻫﺎﺷﻤﻴﺎﻥ‪ ،‬ﺑﻬﺮﺍﻡ ﺑﻴﻀﺎﻳﻲ‪.‬‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﮋﺩﻩ ﺷﻤﺴﺎﻳﻲ‪ ،‬ﻣﺠﻴﺪ ﻣﻈﻔﺮﻱ‪ ،‬ﺭﺿﺎ ﻛﻴﺎﻧﻴﺎﻥ‪ ،‬ﺩﺍﺭﻳﻮﺵ ﺍﺭﺟﻤﻨﺪ‪ ،‬ﺍﺣﻤﺪ ﻧﺠﻔﻲ‪ ،‬ﻣﻴﺘﺮﺍ‬ ‫ﺣﺠﺎﺭ‪ ،‬ﺍﺳﻤﺎﻋﻴﻞ ﺷﻨﮕﻠﻪ‪ ،‬ﻓﺮﺩﻭﺱ ﻛﺎﻭﻳﺎﻧﻲ‪ ،‬ﺑﻬﺰﺍﺩ ﻓﺮﺍﻫﺎﻧﻲ‪ ،‬ﻋﻨﺎﻳﺖ ﺑﺨﺸﻲ‪ ،‬ﺑﺎﻗﺮ ﺻﺤﺮﺍﺭﻭﺩﻱ‪،‬‬ ‫ﺣﺒﻴﺐ ﺩﻫﻘﺎﻥﻧﺴﺐ‪ ،‬ﺣﺴﻦ ﭘﻮﺭﺷﻴﺮﺍﺯﻱ‪ ،‬ﻛﺎﻇﻢ ﺍﻓﺮﻧﺪﻧﻴﺎ‪ ،‬ﺟﻤﺸﻴﺪ ﻻﻳﻖ‪ ،‬ﻣﻬﺘﺎﺏ ﻧﺼﻴﺮﭘﻮﺭ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﮔﺮﻭﻩ ﻓﻴﻠﻢ ﻟﻴﺴﺎﺭ‪ 140 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 26 :‬ﺁﺫﺭ ‪ ،1380‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 323 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﮔﻠﺮﺥ ﻛﻤﺎﻟﻲ ﭘﺲ ﺍﺯ ﻳﻚ ﺳﺎﻝ ﺩﻭﺭﻱ ﺑﻪ ﺗﻬﺮﺍﻥ ﺑﺮﻣﻲﮔﺮﺩﺩ ﺗﺎ ﻧﺰﺩ ﻫﻤﺴﺮﺵ‪ ،‬ﻧﺎﺻﺮ ﻣﻌﺎﺻﺮ ﺑﺎﺷﺪ ﻭﻟﻲ ﻣﺘﻮﺟﻪ ﻣﻲﺷﻮﺩ ﻛﻪ ﺷﺮﻳﻚ ﺍﻭ ﺟﻮﺍﺩ‬ ‫ﻣﻘﺪﻡ ﺑﻪ ﻧﺎﺻﺮ ﻛﻠﻚﺯﺩﻩ ﻭ ﺑﺎ ﻫﻔﺘﺼﺪ ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ ﮔﺮﻳﺨﺘﻪ ﺍﺳــﺖ ﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻪ ﺧﺎﻃﺮ ﭼﻚﻫﺎ‪ ،‬ﻧﺎﺻﺮ ﺯﻧﺪﺍﻧﻲ ﺷﻮﺩ‪ .‬ﮔﻠﺮﺥ ﺑﻪﺟﺒﺮﺍﻥ‬ ‫ﻳﻚ ﺳــﺎﻝ ﺩﻭﺭﻱ ﺍﺯ ﻫﻤﺴﺮﺵ ﺑﺎ ﻃﻠﺒﻜﺎﺭﺍﻥ ﺗﻤﺎﺱ ﻣﻲﮔﻴﺮﺩ ﻭ ﺳﻌﻲ ﺩﺭ ﺟﻠﺐ ﺭﺿﺎﻳﺖ ﺁﻧﻬﺎ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺴﻴﺮ ﭘﻴﺸﻨﻬﺎﺩﺍﺕ‪ ،‬ﺗﺤﻘﻴﺮﻫﺎ‪،‬‬ ‫ﺗﻬﺪﻳﺪﻫﺎ ﻭ ﻓﺠﻴﻊﺗﺮﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺭﺍ ﺗﺤﻤﻞ ﻣﻲﻛﻨﺪ ﺗﺎ ﺳــﺮﺍﻧﺠﺎﻡ ﻣﻮﻓﻖ ﻣﻲﺷﻮﺩ ﺍﻣﺎ ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﻛﻪ ﺗﺼﻮﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺑﺮ ﻭﻓﻖ‬ ‫ﻣﺮﺍﺩ ﺍﺳﺖ‪ ،‬ﺟﻮﺍﺩ ﻣﻘﺪﻡ ﺑﻪ ﻣﻼﻗﺎﺗﺶ ﻣﻲﺁﻳﺪ ﻭ ﻣﺎﺟﺮﺍﻳﻲ ﺭﺍ ﺧﻼﻑ ﺁﻧﭽﻪ ﻧﺎﺻﺮ ﻣﻌﺎﺻﺮ ﻧﻘﻞ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺷﺮﺡ ﻣﻲﺩﻫﺪ‪ .‬ﮔﻠﺮﺥ ﺩﺭ ﻣﻲﻳﺎﺑﺪ‪،‬‬ ‫ﻧﺎﺻﺮ ﻫﻤﺮﺍﻩ ﻣﻨﺸــﻲﺍﺵ‪ ،‬ﻓﺮﺷﺘﻪ ﻭ ﻫﻤﻪ ﭘﻮﻝﻫﺎﻱ ﻣﻔﻘﻮﺩ ﺷــﺪﻩ‪ ،‬ﻗﺼﺪ ﻓﺮﺍﺭ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺍﻭ ﻭ ﺳﺎﻳﺮﻳﻦ ﻓﻘﻂ ﻳﻚ ﺑﺎﺯﻳﭽﻪ ﺑﻮﺩﻩ ﺍﻧﺪ‪.‬‬ ‫ﮔﻠﺮﺥ‪ ،‬ﻧﺎﺻﺮ ﻭ ﻓﺮﺷﺘﻪ ﺭﺍ ﺑﺎ ﺟﻮﺍﺩ ﻣﻘﺪﻡ ﻭ ﺩﻳﮕﺮ ﻃﻠﺒﻜﺎﺭﺍﻥ ﺗﻨﻬﺎ ﻣﻲﮔﺬﺍﺭﺩ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﮔﺸﺎﻳﺶ ﻧﺴﺒﻲ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺩﺭ ﻓﻀﺎﻱ ﺗﻨﻔﺴﻲ ﺳﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺭ‬ ‫ﻣﻘﻄﻊﺍﺳﺘﺜﻨﺎﻳﻲﺍﻭﺍﺧﺮﺩﻫﻪ‪،70‬ﺑﻪﺑﻬﺮﺍﻡﺑﻴﻀﺎﻳﻲ‪،‬ﻧﻤﺎﺩﻭﻧﻤﻮﻧﻪﺟﺮﻳﺎﻥ‬ ‫ﻓﺮﻫﻨﮕﻲ ﻣﻨﺘﻘﺪ ﻭ ﻣﺨﺎﻟﻒ‪ ،‬ﺍﺟﺎﺯﻩ ﺩﺍﺩ ﺗﺎ ﺍﻭ ﻫﻢ ﺭﻭﺍﻳﺖ ﻭ ﻧﮕﺎﻩ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺷﺮﺍﻳﻂ ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﻛﺸﻮﺭ ﺍﺭﺍﺋﻪ ﺩﻫﺪ‪ .‬ﺭﻭﺍﻳﺘﻲ ﻛﻪ ﺑﻪ‬ ‫ﺷﺪﺕ ﺗﻠﺦ ﺗﺮ‪ ،‬ﺻﺮﻳﺢﺗﺮ ﻭ ﻛﻮﺑﻨﺪﻩ ﺗﺮ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺑﻮﺩ ﻭ ﺩﺭ ﻣﻮﺍﺭﺩﻱ ﺣﺘﻲ‬ ‫ﺗﺎ ﻧﻘﺪ ﻛﻠﻴﺖ ﺟﺎﻣﻌﻪ ﻫﻢ ﭘﻴﺶ ﻣﻲﺭﻓﺖ‪ .‬ﺑﻬﺮﺍﻡ ﺑﻴﻀﺎﻳﻲ ﺍﺯ ﺟﺎﻳﮕﺎﻩ ﻳﻚ‬ ‫ﺭﻭﺷﻨﻔﻜﺮ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ ﻭ ﺁﺳﻴﺐ ﺩﻳﺪﻩ ﺩﺭ »ﺳﮓ ﻛﺸﻲ« ﺗﻤﺎﻡ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﻭ ﺳﻴﺎﺳﺖﻫﺎﻱ ﻳﻚ ﺩﻫﻪ ﻗﺒﻞ ﺟﺎﻣﻌﻪ ﺍﺯ ﺟﻨﮓ ﺗﺎ ﺳﺎﺯﻧﺪﮔﻲ‬ ‫ﺭﺍ ﺑﻪ ﻧﻘﺪ ﻛﺸــﻴﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺣﺎﻛﻤﺎﻥ ﻭ ﺯﻳﺮﺩﺳﺘﺎﻥ ﺭﺍ ﻫﻢ ﺑﻲﻧﺼﻴﺐ‬ ‫ﻧﮕﺬﺍﺷــﺖ‪ .‬ﺟﺎﻣﻌﻪﺍﻱ ﻛﻪ ﺩﺭ ﺳﮓﻛﺸﻲ ﺑﻪﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﺣﺎﻭﻱ ﻭ ﺣﺎﻣﻞ ﺗﻤﺎﻡ ﺻﻔﺎﺕ ﻣﻨﻔﻲ ﻭ ﻣﻄﺮﻭﺩ ﺑﻮﺩ‪ .‬ﻗﻬﺮﻣﺎﻥ ﺑﻴﻀﺎﻳﻲ ﺩﺭ‬ ‫‪90‬‬ ‫ﺳﮓﻛﺸﻲ ﺑﺎ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻳﻲ ﻣﻮﺍﺟﻪ ﻣﻲﺷﺪ ﻛﻪ ﺑﻪﺭﻏﻢ‬ ‫ﻇﺎﻫﺮﻣﻮﺟﻪ‪،‬ﺩﺭﺑﺎﻃﻦﻧﮕﺎﻩﻃﻤﺎﻉﻭﻣﺘﺠﺎﻭﺯﮔﺮﻱﺩﺍﺷﺘﻨﺪ‪.‬ﺯﻥﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﺑﻴﻀﺎﻳﻲ ﻛﻪ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺑﺎ ﻓﺮﻫﻨــﮓ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺍﻧﺘﻬﺎ ﺑﺎﻭﺟﻮﺩ‬ ‫ﺳــﺮﺑﻠﻨﺪﻱ ﺩﺭ ﻧﺒﺮﺩ ﺳﻬﻤﮕﻴﻨﻲ ﻛﻪ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺗﻨﻬﺎ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺍﻭ ﺑﺎ‬ ‫ﺯﺧﻢﻫﺎﻳﻲ ﺩﺭ ﻭﺟﻮﺩ ﻭ ﺩﺭﻭﻧﺶ‪ ،‬ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺗﻨﻬﺎ ﻣﻲﮔﺬﺍﺷﺖ ﺗﺎ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﭘﻠﻴﺪﻱ ﻭ ﭘﻠﺸﺘﻲ ﺧﻮﺩﺷﺎﻥ ﺩﺭﮔﻴﺮ ﺑﺎﺷﻨﺪ‪ .‬ﺳﮓﻛﺸﻲ ﺑﻴﺎﻧﻴﻪ ﻛﻮﺑﻨﺪﻩ‬ ‫ﻭ ﺗﻨﺪ ﺑﻴﻀﺎﻳﻲ ﻋﻠﻴﻪ ﻣﻨﺎﺳﺒﺎﺕ ﺩﻭ ﺩﻫﻪ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﻭ ﻧﺎﺍﻣﻴﺪﺍﻧﻪﺗﺮﻳﻦ‬ ‫ﻭ ﺗﻠﺦﺗﺮﻳﻦ ﻓﻴﻠــﻢ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛــﻪ ﺑﻪﺭﻏﻢ ﺗﻤﺎﻡ ﺗﻠﺨﻲ ﻭ‬ ‫ﺻﺮﺍﺣﺖ ﺑﻪﻭﺍﺳــﻄﻪ ﺳــﺎﺧﺘﺎﺭ ﻭ ﻗﻮﺕ ﻧﻤﺎﻳﺸــﻲ ﺟﺬﺍﺏ ﻭ ﻣﻴﺨﻜﻮﺏ‬ ‫ﻛﻨﻨﺪﻩﺍﺵ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ ﺗﻮﺍﻣﺎﻥ ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‬ ‫ﺗﺎ ﻗﺪﺭ ﺩﻳﺪﻩ ﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻴﻀﺎﻳﻲ ﺑﺎﺷﺪ‪.‬ﺳﮓﻛﺸــﻲ ﺩﺭ ﺯﻣﺎﻥ ﺳﺎﺧﺖ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﺭﻭﺍﻳﺖ ﺷﺨﺼﻲ ﺧﻮﺩ ﺑﻴﻀﺎﻳﻲ ﺍﺯ ﺁﻧﭽﻪ ﺩﺭ ﺗﻤﺎﻡ ﺩﻭ ﺩﻫﻪ ﺍﺧﻴﺮ‬ ‫ﺑﺮ ﺍﻭ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺗﻮﺻﻴﻒ ﻭ ﺩﻳﺪﻩ ﺷﺪ‪ ،‬ﻧﻜﺘﻪﺍﻱ ﻛﻪ ﺧﻮﺩﺵ ﻫﻢ ﺗﺎﻛﻴﺪ‬ ‫ﻛﺮﺩ‪» :‬ﺗﻜﻪﺍﻱ ﺍﺯ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﻴﺴﺖ ﻛﻪ ﺗﺠﺮﺑﻪ ﺷﺨﺼﻲ ﻣﻦ ﻧﺒﻮﺩﻩ ﺑﺎﺷﺪ‪«.‬‬ ‫)ﻓﻴﻠﻢ‪ ،‬ﺷﻤﺎﺭﻩ ‪ (279‬ﺍﻭ ﻛﻪ ﺑﻌﺪ ﺍﺯ ‪ 10‬ﺳﺎﻝ ﺩﻭﺑﺎﺭﻩ ﻓﺮﺻﺖ ﻓﻴﻠﻤﺴﺎﺯﻱ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺗﺼﻮﻳﺮ ﻫﻮﻟﻨﺎﻛــﻲ ﺍﺯ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺍﺭﺍﺋﻪ ﺩﺍﺩ‪ ،‬ﺗﺼﻮﻳﺮﻱ‬ ‫ﻛﻪ ﮔﻮﻳﻲ ﻓﺮﻫﻨﮓ ﻭ ﻭﺍﺭﺳــﺘﮕﻲ ﺩﺭ ﺁﻥ ﺟﺎﻳﻲ ﻧﺪﺍﺷﺖ‪ .‬ﺻﺮﻳﺢﺗﺮﻳﻦ ﻭ‬ ‫ﺗﻠﺦﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻴﻀﺎﻳﻲ ﻣﺤﺼﻮﻝ ﻫﻤﺎﻥ ﺩﻭﺭﻩ ﻣﺤﺪﻭﺩ ﭼﻨﺪ ﺳﺎﻟﻪ ﺍﻭﺍﺧﺮ‬ ‫ﺩﻫﻪ ‪ 70‬ﺑﻮﺩ ﻛﻪ ﻣﺮﺯﻫﺎﻱ ﺻﺮﺍﺣﺖ ﻭ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﺣﺪ ﺗﺼﻮﺭ ﻓﺮﺍﺗﺮ ﺭﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﻴﻀﺎﻳﻲ ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻲ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻩ ﺑﻮﺩ ﺩﻭﺭﺑﻴﻨﺶ ﺭﺍ ﻣﻌﻄﻮﻑ‬ ‫ﻳﻚ ﺩﻫﻪ ﻗﺒﻞ ﻭ ﻓﻀﺎﻱ ﺟﻨﮓﺯﺩﻩ ﺁﻥ ﺯﻣﺎﻥ ﻛﻨﺪ ﻭ ﺭﺍﻭﻱ ﺷــﺮﺍﻳﻂ ﺁﻥ‬ ‫ﺭﻭﺯ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺷﺮﺍﻳﻄﻲ ﻛﻪ ﺍﻛﺜﺮ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ ﺩﻭﺭﺍﻥ‬ ‫ﺍﻣﺮﻭﺯﺷﺎﻥ ﺭﺍ ﺍﺯ ﺻﺎﻓﻲ ﻧﻈﺮ ﺧﻮﺩ ﺭﻭﺍﻳﺖ ﻛﻨﻨﺪ‪ ،‬ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﺑﻴﻀﺎﻳﻲ ﻧﻮﻋﻲ‬ ‫ﺭﻳﺸﻪﻳﺎﺑﻲ ﻭ ﺗﻌﻤﻖ ﺩﺭ ﺍﺣﻮﺍﻝ ﺩﻳﺮﻭﺯ ﺑﻮﺩ‪ .‬ﺍﻭ ﻣﻲﺧﻮﺍﺳﺖ ﻣﻨﺸﺎ ﻭ ﻋﺎﻣﻞ‬ ‫ﻣﺸﻜﻼﺕ ﺭﺍ ﻧﺸﺎﻥ ﺩﻫﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺳﮓﻛﺸــﻲ ﺣﻜﻢ ﺑﺎﺯﮔﺸﺖ ﺑﻴﻀﺎﻳﻲ ﺑﻪ ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻌﺪ ﺍﺯ‬ ‫‪ 10‬ﺳﺎﻝ ﻓﺘﺮﺕ ﻭ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻥ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﺍﺯ ﻫﻤﺎﻥ ﻣﺎﻩﻫﺎﻱ ﺍﻭﻝ‬ ‫ﺑﻌﺪ ﺍﺯ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺑﺴﻴﺎﺭﻱ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻨﺪ ﺗﺎ ﺑﻴﻀﺎﻳﻲ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ‬ ‫ﺳﺎﻝ ﻣﺤﺮﻭﻣﻴﺖ ﺁﺷﻜﺎﺭ ﺍﺯ ﻓﻌﺎﻟﻴﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺑﺘﻮﺍﻧﺪ ﭘﺸﺖ ﺩﻭﺭﺑﻴﻦ‬ ‫ﺑﺎﺯﮔﺮﺩﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ‪ 10‬ﺳﺎﻝ ﺍﻟﺒﺘﻪ ﻫﻤﻮﺍﺭﻩ ﺻﺤﺒﺖ ﺍﺯ ﺳﺎﺧﺖ ﻓﻴﻠﻢﻫﺎﻱ‬ ‫ﻣﺨﺘﻠﻒ ﺗﻮﺳﻂ ﺑﻴﻀﺎﻳﻲ ﺑﻮﺩ‪ .‬ﺍﻭ ﭼﻨﺪﺑﺎﺭ ﺗﺎ ﺩﺭﻳﺎﻓﺖ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﻫﻢ‬ ‫ﭘﻴﺶ ﺭﻓﺘﻪ ﺑﻮﺩ ﺍﻣﺎ ﻫﺮ ﺑﺎﺭ ﻣﻮﺍﻧﻊ ﻭ ﻣﺸﻜﻼﺕ ﻧﺎﻣﻌﻠﻮﻡ ﻭ ﻣﺒﻬﻤﻲ ﺍﻣﻜﺎﻥ‬ ‫ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺭﺍ ﻧﺎﻣﻤﻜﻦ ﻣﻲﻛﺮﺩ‪» .‬ﭼﻪ ﻛﺴــﻲ ﺭﺋﻴﺲ ﺭﺍ ﻛﺸﺖ«‪،‬‬ ‫»ﻓﻴﻠﻢ ﺩﺭ ﻓﻴﻠﻢ«‪» ،‬ﺳﻴﺎﻭﺵﺧﻮﺍﻧﻲ«‪» ،‬ﺍﻓﺮﺍ ﻳﺎ ﺭﻭﺯ ﻣﻲﮔﺬﺭﺩ« ﺗﻌﺪﺍﺩﻱ‬ ‫ﺍﺯ ﻃﺮﺡﻫــﺎﻱ ﺳــﻴﻨﻤﺎﻳﻲ ﺑﻴﻀﺎﻳﻲ ﺑﻮﺩﻧﺪ ﻛﻪ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺳﮓﻛﺸــﻲ‬ ‫ﺻﺤﺒﺖ ﺍﺯ ﺳﺎﺧﺘﺸــﺎﻥ ﺑــﻮﺩ ﻭ ﺍﻟﺒﺘﻪ ﻫﻴﭻﮔﺎﻩ ﺑﻪ ﻧﺘﻴﺠﻪ ﻧﺮﺳــﻴﺪﻧﺪ‪.‬‬ ‫ﺳﮓﻛﺸــﻲ ﺍﺯ ﻓﻴﻠﻤﻨﺎﻣﻪﻫﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﺑﻌــﺪ ﺍﺯ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﻣﻮﺿﻮﻉ‬ ‫ﺳﺎﺧﺘﺶ ﺗﻮﺳﻂ ﺑﻴﻀﺎﻳﻲ ﻣﻄﺮﺡ ﺷﺪ‪ .‬ﺑﻴﻀﺎﻳﻲ ﺍﻳﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺳﺎﻝ‬ ‫‪ 1371‬ﻧﻮﺷــﺘﻪ ﺑﻮﺩ ﻭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﻗﺼﺪ ﺳﺎﺧﺘﺶ ﺭﺍ ﺩﺍﺷﺖ ﻛﻪ ﻣﺜﻞ‬ ‫ﻃﺮﺡﻫﺎﻱ ﺩﻳﮕﺮ ﺑﻪ ﻧﺘﻴﺠﻪ ﻧﺮﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪﺍﻱ ﻛﻪ ﮔﻔﺘﻪ ﻣﻲﺷﺪ‬ ‫ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﺩﻳﮕﺮ ﺁﺛﺎﺭ ﺑﻴﻀﺎﻳﻲ ﺩﺍﺳﺘﺎﻧﻲ ﻛﻢﻫﺰﻳﻨﻪﺗﺮ‪ ،‬ﺍﺟﺮﺍﻳﻲﺗﺮ‪،‬‬ ‫ﻣﻌﺎﺻﺮﺗﺮ ﻭ ﺍﻟﺒﺘﻪ ﺗﻤﺎﺷــﺎﮔﺮ ﭘﺴــﻨﺪﺗﺮ ﺩﺍﺭﺩ ﻭ ﺍﻣﻜﺎﻥ ﺳﺎﺧﺘﺶ ﺑﻴﺶ‬ ‫ﺍﺯ ﻃﺮﺡﻫﺎﻱ ﺩﻳﮕﺮ ﻓﺮﺍﻫﻢ ﺍﺳــﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﻛﻮﺗﺎﻩ‬ ‫»ﮔﻔﺖﻭﮔﻮ ﺑــﺎ ﺑﺎﺩ« ﺩﺭ ﻣﺠﻤﻮﻋﻪ ﻓﻴﻠﻢﻫﺎﻱ ﻛﻮﺗﺎﻩ ﻣﺮﺑﻮﻁ ﺑﻪ ﻛﻴﺶ ﻭ‬ ‫ﻣﺴﺎﺋﻞ ﺑﻌﺪﻱﺍﺵ ﺑﺎﻋﺚ ﻭﻗﻔﻪ ﺩﺭ ﺗﻮﻟﻴﺪ ﺳﮓﻛﺸﻲ ﺷﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﻓﻴﻠﻢ‬ ‫ﮔﻔﺖ ﻭ ﮔﻮ ﺑﺎ ﺑﺎﺩ‪ ،‬ﺑﺎ ﺍﺑﺮﺍﺯ ﺗﻤﺎﻳﻞ ﺑﻬﺮﻭﺯﻫﺎﺷﻤﻴﺎﻥ‪ ،‬ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ ﺍﻳﺮﺍﻧﻲ‬ ‫ﻋﻼﻗﻤﻨﺪ ﻣﻘﻴﻢ ﺧﺎﺭﺝ ﻛﺸــﻮﺭ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﻣﻮﺿﻮﻉ ﺳﺎﺧﺖ ﺳﮓﻛﺸﻲ‬ ‫ﻣﻄﺮﺡ ﺷــﺪ‪ .‬ﺍﻳﻦ ﺑﻪ ﺁﻏﺎﺯ ﺳــﺎﻝ ‪ 78‬ﺑﺎﺯ ﻣﻲﮔﺮﺩﺩ ﻛﻪ ﺑﺎ ﺻﺪﻭﺭ ﭘﺮﻭﺍﻧﻪ‬ ‫ﺳﺎﺧﺖ‪ ،‬ﻓﻴﻠﻢ ﺭﺳﻤﺎ ﻭﺍﺭﺩ ﻣﺮﺣﻠﻪ ﺗﻮﻟﻴﺪ ﺷﺪ‪ .‬ﺑﺮﺍﻱ ﺍﻧﺘﺨﺎﺏ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﺑﺎ ﻓﻀﺎﻱ ﺧﺎﺻﻲ ﻛﻪ ﭘﻴﺮﺍﻣﻮﻥ ﻓﻴﻠﻢ ﻭ ﺳــﺎﺯﻧﺪﻩﺍﺵ ﺍﻳﺠﺎﺩ ﺷــﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺳﻴﻨﻤﺎ ﻭ ﺗﺌﺎﺗﺮ ﺣﺘﻲ ﺑﺪﻭﻥ ﺩﻋﻮﺕ‪ ،‬ﻋﻼﻗﻪ ﺧﻮﺩ ﺭﺍ‬ ‫ﺑﺮﺍﻱ ﺣﻀﻮﺭ ﺩﺭ ﻓﻴﻠﻢ ﺍﺑﺮﺍﺯ ﻛﺮﺩﻧﺪ‪ .‬ﺑﻴﻀﺎﻳﻲ ﻧﻴﺰ ﺍﺯ ﺟﻤﻊ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻱ‬ ‫ﺍﺯ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺗﺴــﺖ ﮔﺮﻓﺖ ﻭ ﻋــﺪﻩﺍﻱ ﻧﻴﺰ ﺣﺘﻲ ﺑﺪﻭﻥ‬ ‫ﺩﺭﻳﺎﻓﺖ ﺩﺳــﺘﻤﺰﺩ ﺣﺎﺿﺮ ﺑﻪ ﺑﺎﺯﻱ ﺩﺭ ﻓﻴﻠﻢ ﺷــﺪﻧﺪ‪ .‬ﻭﻗﺘﻲ ﻓﻬﺮﺳﺖ‬ ‫ﻧﻬﺎﻳﻲ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﺍﻋﻼﻡ ﺷــﺪ‪ ،‬ﺣﻀﻮﺭ ﻧﺎﻡﻫﺎﻳﻲ ﺍﺯ ﻃﻴﻒ ﺗﺠﺎﺭﻱ‬ ‫ﺳــﻴﻨﻤﺎ ﺗﻌﺠﺐ ﻋﺪﻩﺍﻱ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺖ ﻭ ﺑﺮ ﻛﻨﺠﻜﺎﻭﻱﻫﺎﻱ ﺗﻤﺎﺷﺎﻱ‬ ‫ﻓﻴﻠﻢ ﺍﻓﺰﻭﺩ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﭘﺲ ﺍﺯ ﻳﻚ ﭘﻴﺶ ﺗﻮﻟﻴﺪ ﻃﻮﻻﻧﻲ ﺩﺭ ﭘﺎﻳﻴﺰ‬ ‫ﺳﺎﻝ ‪ 78‬ﺷﺮﻭﻉ ﺷــﺪ ﻭ ﭘﺲ ﺍﺯ ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 4‬ﻣﺎﻩ ﺍﻭﺍﺧﺮ ﺳﺎﻝ ﺑﻪ ﭘﺎﻳﺎﻥ‬ ‫ﺭﺳــﻴﺪ ﺩﺭﺣﺎﻟﻲﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺍﺧﺒﺎﺭ ﻣﺨﺘﻠﻔﻲ ﺍﺯ ﻭﺳﻮﺍﺱ ﻭ ﺩﻗﺖ‬ ‫ﺑﻴﻀﺎﻳﻲ ﻫﻨﮕﺎﻡ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻭ ﻃﻮﻻﻧﻲ ﺷﺪﻥ ﺯﻣﺎﻥ ﻛﺎﺭ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎ‬ ‫ﻣﻨﺘﺸﺮ ﻣﻲﺷــﺪ‪ .‬ﺍﻳﻦ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﺑﻪ ﻓﻀﺎﻱ ﺧﻮﺩ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻭ ﺯﻣﺎﻥ‬ ‫ﻭﻗﻮﻋﺶ ﺩﺭ ﺳﺎﻝ ‪ 1367‬ﺑﺎﺯ ﻣﻲﮔﺸﺖ ﻛﻪ ﺑﺎﺯﺳﺎﺯﻱ ﺗﻬﺮﺍﻥ ﺁﻥ ﺩﻭﺭﻩ‬ ‫ﺑﻴﺸﺘﺮﻳﻦ ﻭﻗﺖ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﺩﺭﻣﺠﻤﻮﻉ ﺩﺭ ﺗﻬﺮﺍﻥ ﺩﺭ ﺷﺮﻭﻉ‬ ‫ﺳﺎﻝ ‪ 79‬ﺧﺒﺮ ﻣﻲﺭﺳﻴﺪ ﻛﻪ ﺑﻴﻀﺎﻳﻲ ﺍﺯ ﺑﻌﻀﻲ ﺻﺤﻨﻪﻫﺎ ﺭﺍﺿﻲ ﻧﻴﺴﺖ‬ ‫ﻭ ﻗﺼﺪ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ ﻣﺠﺪﺩ ﺁﻧﻬﺎ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﺭﺥ ﺩﺍﺩ ﻭ ﺩﺭ ﻫﻤﻴﻦ‬ ‫ﺣﺎﻝ ﺯﻣﺰﻣﻪ ﺑﺮﻭﺯ ﺍﺧﺘﻼﻓﺎﺗﻲ ﺑﻴﻦ ﺍﻭ ﻭ ﻫﺎﺷﻤﻴﺎﻥ‪ ،‬ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ ﻓﻴﻠﻢ‬ ‫ﺷــﻨﻴﺪﻩ ﻣﻲﺷﺪ‪ .‬ﻣﺮﺍﺣﻞ ﻓﻨﻲ ﻓﻴﻠﻢ ﺷــﺎﻣﻞ ﺗﺪﻭﻳﻦ ﻭ ﺻﺪﺍﮔﺬﺍﺭﻱ ﻭ‬ ‫ﺳﺎﺧﺖ ﻣﻮﺳﻴﻘﻲ ﻭ ﺳﺎﻳﺮ ﺍﻣﻮﺭ ﻓﻨﻲ ﺑﺎ ﻛﻨﺪﻱ ﺍﻧﺠﺎﻡ ﻣﻲﺷﺪ ﻭ ﺣﺘﻲ ﺗﺎ‬ ‫ﺁﺧﺮﻳﻦ ﺭﻭﺯﻫﺎﻱ ﻣﺎﻧﺪﻩ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻮﺯﺩﻫﻢ ﻓﻴﻠﻢ ﻓﺠﺮ‪ ،‬ﺁﻣﺎﺩﻩﺷﺪﻥ‬ ‫ﻭ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻣﺸﺨﺺ ﻧﺒﻮﺩ‪ .‬ﺍﺧﺘﻼﻑ ﺑﻴﻦ ﺑﻴﻀﺎﻳﻲ‬ ‫ﻭ ﻫﺎﺷــﻤﻴﺎﻥ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﻋﻴﺎﻥ ﺷــﺪﻩ ﺑــﻮﺩ ﻭ ﻫﻤﻴﻦ ﺣﺘﻲ ﺩﺭ‬ ‫ﻣﺮﺣﻠﻪﺍﻱ ﺑﺎﻋﺚ ﺗﻮﻗﻒ ﺍﻧﺠﺎﻡ ﻣﺮﺍﺣﻞ ﻓﻨﻲ ﻓﻴﻠﻢ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﭼﻨﻴﻦ‬ ‫ﺷﺮﺍﻳﻄﻲ ﺍﮔﺮ ﺩﺧﺎﻟﺖ ﻣﺴﺌﻮﻻﻥ ﺳﻴﻨﻤﺎﻳﻲ ﻭ ﭘﻴﮕﻴﺮﻱ ﺁﻧﻬﺎ ﻧﺒﻮﺩ‪ ،‬ﺑﻪﻧﻈﺮ‬ ‫ﻧﻤﻲﺭﺳﻴﺪ ﺳﮓﻛﺸﻲ ﺑﻪ ﺯﻭﺩﻱ ﺑﻪ ﺳــﺮﺍﻧﺠﺎﻡ ﺑﺮﺳﺪ‪ .‬ﻧﻬﺎﻳﺘﺎ ﻓﻴﻠﻢ ﺑﺎ‬ ‫ﻣﺪﺕ ﺯﻣﺎﻥ ‪ 140‬ﺩﻗﻴﻘﻪ ﺁﻣﺎﺩﻩ ﻧﻤﺎﻳﺶ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺷﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺳﮓﻛﺸﻲ ﺑﻪﻋﻨﻮﺍﻥ ﻣﻬﻢﺗﺮﻳﻦ ﺍﺗﻔﺎﻕ ﻧﻮﺯﺩﻫﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ‬ ‫ﻓﺠﺮ‪،‬ﺁﺧﺮﻳﻦ ﺟﺸﻨﻮﺍﺭﻩﺍﻱﻛﻪﺩﺭﺩﻭﻟﺖﺍﻭﻝﺳﻴﺪﻣﺤﻤﺪﺧﺎﺗﻤﻲ ﺑﺮﮔﺰﺍﺭ‬ ‫ﻣﻲﺷﺪ‪،‬ﺩﺭﻣﻴﺎﻧﻪﺍﺳﺘﻘﺒﺎﻝﻭﻫﺠﻮﻡﻓﺮﺍﻭﺍﻥﺑﻪﻧﻤﺎﻳﺶﺩﺭﺁﻣﺪ‪.‬ﻭﺍﻛﻨﺶﻫﺎ‬ ‫ﺑﻪ ﻓﻴﻠﻢ‪ ،‬ﻫﻤﺎﺭﻩ ﺑﺎ ﺳــﺘﺎﻳﺶ ﻭ ﺣﻴﺮﺕ ﺑﻮﺩ‪ .‬ﺣﻴﺮﺕ ﺍﺯ ﺍﻳﻦ ﻣﻴﺰﺍﻥ ﺩﻗﺖ‬ ‫ﺩﺭ ﺟﺰﺋﻴﺎﺕ ﻭ ﺗﻠﺨﻲ ﻭ ﻓﻀﺎﻱ ﺳــﻨﮕﻴﻦ ﻓﻴﻠﻢ ﻛﻪ ﺩﺭ ﻧﮕﺎﻩ ﺍﻭﻝ ﺑﻴﻨﻨﺪﻩ ﺭﺍ‬ ‫ﻣﻴﺨﻜﻮﺏ ﻣﻲﻛﺮﺩ‪ .‬ﺳﮓﻛﺸﻲ ﺁﺷﻜﺎﺭﺍ ﻓﻴﻠﻢ ﺩﺍﺳﺘﺎﻧﮕﻮﺗﺮﻱ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﻓﻴﻠﻢ ﻗﺒﻠﻲ ﺑﻴﻀﺎﻳﻲ ﺑﻮﺩ ﻭ ﻧﺸــﺎﻥ ﻣﻲﺩﺍﺩ ﻛﻪ ﺍﻭ ﻗﺼﺪ ﺑﺮﻗﺮﺍﺭﻱ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺑﺎ ﻃﻴﻒ ﺑﻴﺸﺘﺮﻱ ﺍﺯ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺭﺍ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻋﺪﻩﺍﻱ‬ ‫ﺍﺯ ﻣﻨﺘﻘﺪﺍﻥ ﺳﻨﺘﻲ ﻛﻪ ﺑﻴﻀﺎﻳﻲ ﺭﺍ ﺩﺭ ﻫﻤﺎﻥ ﻗﺎﻟﺐ ﻗﺒﻠﻲ ﻣﻲﺧﻮﺍﺳﺘﻨﺪ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﻓﻴﻠﻢ ﻣﻮﺿﻊ ﮔﺮﻓﺘﻪ ﻭ ﺳﮓﻛﺸﻲ ﺭﺍ ﺩﺭ ﺍﻧﺪﺍﺯﻩﻫﺎﻱ ﺁﺛﺎﺭ ﻗﺒﻠﻲ‬ ‫ﺑﻴﻀﺎﻳﻲ ﻧﺪﺍﻧﺴﺘﻨﺪ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﺗﻤﺎﺷــﺎﮔﺮﺍﻥ ﻭ ﺩﺍﻭﺭﺍﻥ ﺍﺯ ﻓﻴﻠﻢ ﺑﺎ ﺍﻫﺪﺍﻱ‬ ‫ﺳﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﻧﮕﺎﻩ ﻣﺮﺩﻡ ﻭ‪ 4‬ﺳﻴﻤﺮﻍ ﺩﻳﮕﺮ ﻭ ﻧﺎﻣﺰﺩﻱ‬ ‫ﺩﺭ ‪ 11‬ﺭﺷــﺘﻪ ﻧﺸــﺎﻥ ﺍﺯ ﭘﺬﻳﺮﺵ ﻓﻴﻠﻢ ﺩﺍﺷــﺖ‪ .‬ﭘﺲ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺎ‬ ‫ﺑﻼﻓﺎﺻﻠﻪ ﻣﻮﺿﻮﻉ ﺯﻣﺎﻥ ﻃﻮﻻﻧﻲ ﻓﻴﻠﻢ ﻭ ﺧﻮﺩﺩﺍﺭﻱ ﺳﻴﻨﻤﺎﻫﺎ ﺍﺯ ﻧﻤﺎﻳﺶ‬ ‫ﻓﻴﻠﻤﻲﺑﺎﺍﻳﻦﻣﺪﺕﺯﻣﺎﻥﺩﺭﻣﺤﺎﻓﻞﻣﺨﺘﻠﻒﻣﻄﺮﺡﺷﺪ‪.‬ﺑﻴﻀﺎﻳﻲﺍﻋﻼﻡ‬ ‫ﻛﺮﺩ ﺯﻣﺎﻥ ﻓﻴﻠﻢ ﺭﺍ ﻛﻢ ﻧﻤﻲﻛﻨﺪ ﻭ ﻫﻤﻴﻦ ﺍﺧﺘﻼﻑﻫﺎ ﺑﻴﻦ ﺍﻭ ﻭ ﻫﺎﺷﻤﻴﺎﻥ‬ ‫ﺭﺍ ﺑﻪ ﺍﻭﺝ ﺧﻮﺩ ﺭﺳــﺎﻧﺪ‪ .‬ﺍﺧﺘﻼﻓﻲ ﻛﻪ ﺑﻪﺩﻋﻮﺍﻱ ﺣﻘﻮﻗﻲ ﺗﺒﺪﻳﻞ ﻭ ﺗﻨﻬﺎ‬ ‫ﺑﺎ ﺩﺧﺎﻟﺖ ﺷﻮﺭﺍﻱ ﺩﺍﻭﺭﻱ ﺧﺎﻧﻪ ﺳﻴﻨﻤﺎ ﻭ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻲ ﺣﻞ ﺷﺪ‪.‬‬ ‫ﺷﺪﺕ ﺍﻳﻦ ﻣﻨﺎﺯﻋﺎﺕ ﻛﻪ ﺑﻪ ﺍﺗﻬﺎﻡ ﺯﻧﻲﻫﺎﻱ ﺭﺳﺎﻧﻪﺍﻱ ﻫﻢ ﻛﺸﻴﺪﻩ ﺷﺪ‪،‬‬ ‫ﺳﮓﻛﺸﻲﺭﺍﺑﻪﺍﺛﺮﻣﻨﺤﺼﺮﻱﺩﺭﻛﺎﺭﻧﺎﻣﻪﺑﻴﻀﺎﻳﻲﺍﺯﻣﻨﻈﺮﻣﺴﺎﺋﻞﭘﺲ‬ ‫ﺍﺯ ﺗﻮﻟﻴﺪ ﻛﺮﺩ‪ .‬ﺳــﺮﺍﻧﺠﺎﻡ ﺑﺎ ﺭﺍﻱ ﺷﻮﺭﺍﻱ ﺩﺍﻭﺭﻱ ﻭ ﻭﺍﮔﺬﺍﺭﻛﺮﺩﻥ ﺣﻘﻮﻕ‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺑﻪ ﺑﻴﻀﺎﻳﻲ‪ ،‬ﺳﮓﻛﺸﻲ ﺑﺎ ﻫﻤﺎﻥ ﻣﺪﺕ ﺯﻣﺎﻥ ﺍﻭﺍﺧﺮ ﺳﺎﻝ‬ ‫‪ 80‬ﻧﻤﺎﻳﺸــﺶ ﺭﺍ ﺩﺭ ﺳــﻴﻨﻤﺎﻫﺎ ﺁﻏﺎﺯ ﻛﺮﺩ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺗﻌﺠﺐ ﻧﺎﻇﺮﺍﻥ‬ ‫ﺳــﻴﻨﻤﺎﻳﻲ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ ﭘﺮﻓﺮﻭﺵﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺳﺎﻝ ﻭ ﭘﺮﺗﻤﺎﺷﺎﮔﺮﺗﺮﻳﻦ‬ ‫ﻓﻴﻠﻢ ﻛﺎﺭﻧﺎﻣﻪ ﺑﻴﻀﺎﻳﻲﺷﺪ‪.‬ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺯﻣﻴﻨﻪ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺭﺍ ﺑﻴﺸﺘﺮ‬ ‫ﻓﺮﺍﻫﻢ ﻛﺮﺩ ﺍﻣﺎ ﺑﻴﻀﺎﻳﻲ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﺩﺭﮔﻴﺮ ﻣﺴــﺎﺋﻞ ﺣﻘﻮﻗﻲ ﻓﻴﻠﻢ ﻭ‬ ‫ﺩﺭﻳﺎﻓﺖ ﺳــﻬﻤﺶ ﺍﺯ ﻓﺮﻭﺵ ﻓﻴﻠﻢ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺗﻠﺨﻲ ﻭ ﻧﺎﺭﺍﺣﺘﻲ ﺍﺯ ﻓﻴﻠﻢ ﻳﺎﺩ‬ ‫ﻣﻲﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺗﺎﻛﻴﺪﺍﺕ ﺻﺮﻳﺢ ﺑﻴﻀﺎﻳﻲ ﺑﺮ ﺯﻣﻴﻨﻪﻫﺎﻱ ﻧﻤﺎﻳﺸﻲ‬ ‫ﻣﻨﺘﻘﺪﺍﻧﻪ ﻓﻴﻠﻢ ﺟﺎﻟﺐ ﺗﻮﺟﻪ ﺑﻮﺩ‪» :‬ﻧﺎﻡ ﺳﮓﻛﺸــﻲ ﺑﺮﺍﻱ ﻣﻦ ﺑﻴﺸﺘﺮ‬ ‫ﺗﺪﺍﻋﻲ ﻛﻨﻨﺪﻩ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﺟﺎﻣﻌﻪ ﺍﺳــﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﻣﻲﺩﻳﺪﻡ‬ ‫ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﭘﻮﻝ ﻭ ﺩﻋﻮﺍﻫﺎﻱ ﭘﻮﻟﻲ ﺍﺯ ﻧﻈﺮ ﺍﺧﻼﻗﻲﻫﺎﺭ ﺷﺪﻩ‪ .‬ﻛﺎﻓﻲ ﺍﺳﺖ‬ ‫ﺑﻪ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﻧﮕﺎﻩ ﻛﻨﻴﻢ‪ ،‬ﺑﻪ ﺍﺭﻗﺎﻡ ﺩﺯﺩﻱﻫﺎ‪ ،‬ﺟﻨﺎﻳﺖﻫﺎﻱ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ‬ ‫ﻭ‪...‬ﻭﺑﺒﻴﻨﻴﻢﻛﻪﺟﺎﻣﻌﻪﻣﺎﭼﻪﺍﻧﺪﺍﺯﻩﻣﺎﺩﻱﻭﻣﺎﺩﻱﺗﺮﺷﺪﻩ‪.‬ﺍﻳﻦ»ﻫﺎﺭﻱ«‬ ‫ﻣﻮﺿﻮﻉ ﻓﻴﻠﻢ ﺍﺳﺖ‪ «.‬ﻓﺮﻭﺵ ﺯﻳﺎﺩ ﺳﮓﻛﺸﻲ ﺍﻳﻦ ﭘﻴﺶﺑﻴﻨﻲ ﺭﺍ ﻣﻄﺮﺡ‬ ‫ﻛﺮﺩ ﻛﻪ ﺑﻴﻀﺎﻳﻲ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺑﺘﻮﺍﻧﺪ ﺭﺍﺣﺖﺗﺮ ﻓﻴﻠﻢ ﺑﺴــﺎﺯﺩ ﺍﻣﺎ ﺗﺪﺍﻭﻡ ﻧﻮﻉ‬ ‫ﻣﺸﻜﻼﺕ ﺧﺎﺹ ﺑﻴﻀﺎﻳﻲ ﻭ ﺗﻐﻴﻴﺮ ﺷﺮﺍﻳﻂ ﻓﻴﻠﻤﺴﺎﺯﻱ ﺑﺎﻋﺚ ﺷﺪ ﺗﺎ ﺍﻭ‬ ‫ﺑﻌﺪ ﺍﺯ ‪ 8‬ﺳﺎﻝ ﺑﺘﻮﺍﻧﺪ ﻓﻴﻠﻢ ﺩﻳﮕﺮﻱ ﺑﺴﺎﺯﺩ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺗﻠﺨــﻲ ﺳﮓﻛﺸــﻲ ﺩﺭ ﺩﻳﺪﺍﺭﻫــﺎﻱ ﺩﻭﺑﺎﺭﻩ ﻫــﻢ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ‬ ‫ﺍﺳــﺖ‪ .‬ﺑﻴﻨﻨﺪﻩ ﺍﻣﺮﻭﺯ ﻓﻴﻠﻢ ﻫﻢ ﺍﺯ ﺍﻳﻦ ﻣﻴﺰﺍﻥ ﺗﻠﺨﻲ ﻣﺘﺎﺛﺮ ﻣﻲﺷــﻮﺩ‪.‬‬ ‫ﺳﮓﻛﺸــﻲ ﺣﺎﻻ ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻱ ﺩﻳﮕﺮ ﻛﺎﺭﻧﺎﻣﻪ ﺑﻴﻀﺎﻳﻲ‬ ‫ﻋﻨﻮﺍﻥ ﺻﺮﻳﺢﺗﺮﻳﻦ ﻓﻴﻠﻢ ﺍﻭ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﻣﺴﺎﺋﻞ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺳﻴﺎﺳﻲ‬ ‫ﻛﺸﻮﺭ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ‪ .‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﺷﮕﻔﺖﺍﻧﮕﻴﺰﻱ ﺗﻮﺍﻧﺴﺘﻪ‬ ‫ﻓﻀﺎﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻫﻪ ‪ 60‬ﻭ ﻣﺴﺎﺋﻞ ﭘﻴﺮﺍﻣﻮﻧﺶ ﺭﺍ ﺑﻪ ﺩﻗﺖ ﺑﺎﺯﺳﺎﺯﻱ‬ ‫ﻛﻨﺪ‪ .‬ﺯﻣﻴﻨﻪﻫﺎﻱ ﺳﻴﺎﺳــﻲ ﻓﻴﻠﻢ ﺣﺎﻻ ﺑﻴﺸــﺘﺮ ﺑﺮﺟﺴــﺘﻪ ﻣﻲﺷﻮﺩ‬ ‫ﺑﻪ ﺧﺼﻮﺹ ﻧﻮﻉ ﺗﺼﻮﻳﺮﻱ ﻛﻪ ﺍﺯ ﻣﻔﻬﻮﻡ »ﺳــﺎﺯﻧﺪﮔﻲ« ﺩﺭ ﻓﻴﻠﻢ ﺍﺭﺍﺋﻪ‬ ‫ﻣﻲﺷﻮﺩ‪ ،‬ﺁﺷﻜﺎﺭﺍ ﺩﺭ ﺭﺍﺳــﺘﺎﻱ ﺭﺩ ﺑﻨﻴﺎﺩﻳﻦ ﺳﻴﺎﺳﺖﻫﺎﻱ ﺳﺎﻝﻫﺎﻱ‬ ‫ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﻴﺰﺍﻥ ﻫﺠﻮﻡ ﺳﻨﮕﻴﻨﻲ ﻭ ﺧﺸﻮﻧﺖ ﻧﺪﻳﺪﻩ ﺍﻣﺎ‬ ‫ﺍﺣﺴﺎﺱ ﺷــﻮﻧﺪﻩ ﺭﺍ ﺩﺭ ﻓﻴﻠﻢ ﺩﻳﮕﺮﻱ ﻧﺪﻳﺪﻩﺍﻳﻢ‪ .‬ﻧﺎﺍﻣﻨﻲ ﻛﻪ ﺍﺣﺴﺎﺱ‬ ‫ﻣﻲﺷــﻮﺩ ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﻫﺠﻮﻡ ﻧﻮﻋﻲ ﺍﺯ ﺳﺎﺧﺖ ﻭ ﺳﺎﺯﻫﺎ ﻫﻢ ﻛﺎﺑﻮﺳﻲ ﺍﺯ‬ ‫ﻫﻤﺎﻥ ﻧﻮﻉ ﺟﻨﮓ ﻭ ﻛﺸــﺘﺎﺭ ﺭﺍ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﺍﻟﻘﺎ ﻣﻲﻛﻨﺪ‪ .‬ﺣﺠﻢ ﺧﻴﺎﻧﺖ‬ ‫ﻭ ﺧﺸﻮﻧﺖ ﻭ ﺗﻬﺪﻳﺪ ﻭ ﻧﻬﺎﻳﺘﺎ ﻧﺰﻭﻝ ﺟﻤﻌﻲ ﻛﻪ ﺩﺭ ﺳﮓﻛﺸﻲ ﺗﺼﻮﻳﺮ‬ ‫ﺷــﺪﻩ ﺣﺎﻻ ﺁﻥ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻓﻴﻠﻤﻲ ﻣﻲﻛﻨﺪ ﻛــﻪ ﻛﻤﺘﺮ ﻧﻤﻮﻧﻪﺍﻱ ﺩﺭ‬ ‫ﺳــﻴﻨﻤﺎﻱ ﺍﻳﺮﺍﻥ ﺩﺍﺭﺩ‪ .‬ﺑﻴﻀﺎﻳﻲ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻓﺮﻳﺎﺩﻱ ﺍﺯ ﺳﺮ ﺧﺸﻢ ﺑﻪ‬ ‫ﺟﺎﻣﻌﻪﺍﺵ ﻣﻲﻛﺸــﺪ‪ .‬ﺟﺎﻣﻌﻪﺍﻱ ﻛﻪ ﺑﻪﺷﺪﺕ ﻣﺎﺩﻱﮔﺮﺍ ﻭ ﺳﻮﺩﺍﺯﺩﻩ‬ ‫ﺷــﺪﻩ ﻭ ﺍﺯ ﺍﺭﺯﺵﻫﺎﻱ ﺍﺧﻼﻗﻲ ﻫﻢ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺳﮓﻛﺸﻲ‬ ‫ﺭﺍ ﺑﺎ ﺭﻭﺍﻳﺖ ﻣﻨﺤﺼﺮﺵ ﺍﺯ ﻣﻨﺎﺯﻋﻪ ﻣﻴــﺎﻥ ﻗﺪﺭﺕ ﻭ ﻓﺮﻫﻨﮓ ﺑﻪﺧﺎﻃﺮ‬ ‫ﻣﻲﺳﭙﺎﺭﻳﻢ‪.‬‬ ‫‪26‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ )‪(1380‬‬ ‫ﺗﺸﻜﻴﻚ ﺩﺭ ﺭﺳﺘﮕﺎﺭﻱ ﮔﻨﺎﻫﻜﺎﺭﺍﻥ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺑﻬﻤﻦ ﻓﺮﻣﺎﻥﺁﺭﺍ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﻣﺤﻤﻮﺩ ﻛﻼﺭﻯ‪ ،‬ﻃﺮﺍﺡ‬ ‫ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪ :‬ژﻳـﻼ ﻣﻬﺮﺟﻮﻳﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﭘﺮﻭﻳﺰ ﺁﺑﻨﺎﺭ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪ :‬ﺍﺣﻤﺪ ﭘﮋﻣﺎﻥ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩ‬ ‫ﭘﺮﺩﺍﺯﻱ‪ :‬ﺟﻼﻝ ﻣﻌﻴﺮﻳﺎﻥ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﺭﺿﺎ ﻛﻴﺎﻧﻴﺎﻥ‪ ،‬ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻰ‪ ،‬ﻋﺰﺕﺍﷲ ﺍﻧﺘﻈﺎﻣﻰ‪ ،‬ﺟﻤﺸﻴﺪ ﻣﺸﺎﻳﺨﻰ‪ ،‬ﺑﻰﺗﺎ ﻓﺮﻫﻰ‪ ،‬ﺑﻬﻨﺎﺯ‬ ‫ﺟﻌﻔﺮﻯ‪ ،‬ﺭﻭﻳﺎ ﻧﻮﻧﻬﺎﻟﻰ‪ ،‬ﻣﻬﺪﻯ ﺻﻔﻮﻯ‪ ،‬ﻭﻟﻰ ﺷﻴﺮﺍﻧﺪﺍﻣﻰ‪ ،‬ﺣﺴﻴﻦ ﻛﺴﺒﻴﺎﻥ‪ ،‬ﺷﺒﻨﻢ ﻃﻠﻮﻋﻰ‪ ،‬ﺷﺎﻫﺮﺥ‬ ‫ﻓﺮﻭﺗﻨﻴﺎﻥ‪ 90 -‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 29 :‬ﺍﺳﻔﻨﺪ ‪1381‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺩﻛﺘﺮ ﺳــﭙﻴﺪﺑﺨﺖ ﺷﺒﻲ ﻣﻮﻗﻊ ﺭﺍﻧﻨﺪﮔﻲ ﻓﺮﺷﺘﻪﺍﻱ ﺭﺍ ﺯﻳﺮ ﻣﻲﮔﻴﺮﺩ ﻭ ﺩﺳﺘﺶ ﺑﺎ ﻟﻤﺲ ﺍﻧﮕﺸﺘﺎﻥ ﻓﺮﺷﺘﻪ ﺯﺧﻤﻲ ﻋﻤﻴﻖ ﺑﺮﻣﻲﺩﺍﺭﺩ‪ .‬ﻓﺮﺩﺍ‬ ‫ﻭﻗﺘﻲ ﺩﻛﺘﺮ ﺑﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻣﻲﺭﻭﺩ‪ ،‬ﻣﺴﺌﻮﻝ ﺑﺨﺶ ﺑﻪ ﺍﻭ ﻣﻲﮔﻮﻳﺪ ﭘﺴﺮﺑﭽﻪﺍﻱ ﺣﺎﻓﻆ ﻗﺮﺁﻥ ﻛﻪ ﺑﻴﻬﻮﺵ ﺷﺪﻩ‪ ،‬ﺍﺷﺘﺒﺎﻫﺎ ﺑﻪ ﺑﺨﺶ ﺩﺭﻣﺎﻧﻲ‬ ‫ﺩﻛﺘﺮ )ﺯﻧﺎﻥ ﻭ ﺯﺍﻳﻤﺎﻥ( ﻣﻨﺘﻘﻞ ﻛﺮﺩﻩ ﺍﻧﺪ‪ .‬ژﺍﻟﻪ ﻣﻨﺸــﻲ ﺩﻛﺘﺮ ﺍﺯ ﺍﻭ ﺑﻪ ﺩﻟﻴﻞ ﺭﺍﺑﻄﻪ ﮔﺬﺷﺘﻪ ﺷﺎﻥ ﻭ ﺍﻳﻨﻜﻪ ﺩﻛﺘﺮ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﺎﻋﺚ ﺷﺪﻩ ﺩﻳﮕﺮ‬ ‫ﻫﻴﭻ ﻭﻗﺖ ﻧﺘﻮﺍﻧﺪ ﺑﭽﻪﺩﺍﺭ ﺷــﻮﺩ ﮔﻼﻳﻪ ﻣﻲﻛﻨﺪ‪ .‬ﺩﻛﺘﺮ ﺑﺮﺍﻱ ﺩﻳﺪﻥ ﭘﺪﺭ ﭘﻴﺮﺵ ﺑﻪ ﺧﺎﻧﻪ ﺳــﺎﻟﻤﻨﺪﺍﻥ ﻣــﻲﺭﻭﺩ ﻭ ﺑﻴﻦ ﺁﻧﻬﺎ ﺑﺮﺧﻮﺭﺩ ﺗﻠﺨﻲ‬ ‫ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺩﻛﺘﺮ ﺑﻪ ژﺍﻟﻪ ﻣﻲﮔﻮﻳﺪ ﻣﺪﺗﻲ ﺍﺳﺖ ﺳﺮﻧﺸﻴﻨﺎﻥ ﻳﻚ ﭘﻴﻜﺎﻥ ﺳﻔﻴﺪ ﺩﺭ ﺗﻌﻘﻴﺒﺶ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﺍﻭ ﻧﺸﺎﻧﻲ ﻳﻚ ﻧﺼﺐ ﻛﻨﻨﺪﻩ‬ ‫ﺩﺯﺩﮔﻴﺮ ﺭﺍ ﻣﻲﮔﻴﺮﺩ‪ .‬ﻣﺎﻧﻲ ﭘﺴﺮ ﺟﻮﺍﻥ ﺩﻛﺘﺮ ﺳﭙﻴﺪﺑﺨﺖ ﭘﺲ ﺍﺯ ﭘﺎﻧﺰﺩﻩ ﺳﺎﻝ ﺑﻪ ﻛﺸﻮﺭ ﻣﻲﺁﻳﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻓﺮﻭﺩﮔﺎﻩ ﺑﻪ ﺟﺮﻡ ﺣﻤﻞ ﻣﻮﺍﺩ ﻣﺨﺪﺭ‬ ‫ﺑﺎﺯﺩﺍﺷﺖ ﻣﻲﺷﻮﺩ‪ .‬ﺩﻛﺘﺮ ﺑﺎﻻﺧﺮﻩ ﻣﻮﻓﻖ ﻣﻲﺷﻮﺩ ﻣﺎﻧﻲ ﺭﺍ ﺧﻼﺹ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻧﻴﻤﻪ ﺷﺐ ﻣﻲﻓﻬﻤﺪ ﭘﺴﺮﺵ ﺩﺭ ﺣﺎﻝ ﺗﺰﺭﻳﻖ ﻣﻮﺍﺩﻣﺨﺪﺭ ﺍﺳﺖ‬ ‫ﻭ ﺗﺼﻤﻴﻢ ﻣﻲﮔﻴﺮﺩ ﺍﻭ ﺭﺍ ﺑﺮﺍﻱ ﺗﺮﻙ ﺍﻋﺘﻴﺎﺩ ﺑﻪ ﻛﻠﻴﻨﻴﻚ ﺑﺒﺮﺩ‪ .‬ﭘﺴﺮ ﺍﺯ ﻛﻠﻴﻨﻴﻚ ﻣﻲﮔﺮﻳﺰﺩ ﻭ ﺩﻛﺘﺮ ﻛﻪ ﺩﺭ ﺟﺴﺖﻭﺟﻮﻱ ﭘﺴﺮﺵ ﺑﻪ ﺟﻨﻮﺏ‬ ‫ﺷــﻬﺮ ﺭﻓﺘﻪ ﺍﺗﻔﺎﻗﻲ ﭘﺪﺭ ژﺍﻟﻪ ﺭﺍ ﻣﻲﺑﻴﻨﺪ ﻭ ﻣﺘﻮﺟﻪ ﻣﻲﺷﻮﺩ ﻛﻪ ﺍﻭ ﻣﺪﺕﻫﺎﺳﺖ ﺑﺎ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺍﺭﺗﺒﺎﻃﻲ ﻧﺪﺍﺭﺩ ﻭ ﺗﻨﻬﺎ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﺪ‪ .‬ژﺍﻟﻪ‬ ‫ﺑﺎ ﺗﻌﻘﻴﺐﻛﻨﻨﺪﮔﺎﻥ ﺩﻛﺘﺮ ﺳــﭙﻴﺪﺑﺨﺖ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺍﺳﺖ ﻭ ﺭﻓﺖ ﻭ ﺁﻣﺪﻫﺎﻱ ﺩﻛﺘﺮ ﺭﺍ ﺑﻪ ﺁﻧﻬﺎ ﺧﺒﺮ ﻣﻲﺩﻫﺪ‪ .‬ﺩﻛﺘﺮ ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻛﺎﻣﻮﺍﻳﻲ‬ ‫ﺭﻧﮕﻲ ﻣﻲﺑﻴﻨﺪ ﻭ ﺭﺩ ﺁﻥ ﺭﺍ ﻣﻲﮔﻴﺮﺩ ﻭ ﺑﻪ ﺍﺗﺎﻗﻲ ﻛﻪ ﭘﺴــﺮ ﻗﺎﺭﻱ ﻗﺮﺁﻥ ﺩﺭ ﺁﻥ ﺧﻮﺍﺑﻴﺪﻩ ﻣﻲﺭﺳــﺪ‪ .‬ﭘﺴــﺮ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ ﺩﻛﺘﺮ‬ ‫ﻣﻲﮔﻮﻳﺪ ﺍﻭ ﺭﺍ ﺑﺎ ﺧﻮﺩﺵ ﺑﺒﺮﺩ‪ .‬ﺩﻛﺘﺮ ﺑﺎ ﺻﺪﺍﻱ ﺁژﻳﺮ ﺧﻄﺮ ﺑﻴﺪﺍﺭ ﻣﻲﺷﻮﺩ ﻭ ﻣﻲﻓﻬﻤﺪ ﭼﻨﺪ ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﺑﻪ ﺧﺎﻧﻪ ﺍﻭ ﻭﺍﺭﺩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻭ ﭘﺴﺮ‬ ‫ﺣﺎﻓﻆ ﻗﺮﺁﻥ ﺭﺍ ﺩﺭ ﻛﻤﺪ ﭘﻨﻬﺎﻥ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪ ﻃﺒﻘﻪ ﭘﺎﻳﻴﻦ ﻣﻲﺭﻭﺩ‪ ،‬ﺍﻣﺎ ﻣﻮﺭﺩ ﺣﻤﻠﻪ ﻣﻬﺎﺟﻤﺎﻥ ﺳــﻴﺎﻩ ﭘﻮﺵ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﻭ ﺑﺎ ﺿﺮﺑﻪ ﻫﺎﻱ‬ ‫ﻣﺘﻌﺪﺩ ﭼﺎﻗﻮﻱ ﺁﻧﻬﺎ ﻛﺸﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﭘﺴﺮ ﺑﺮ ﺟﺴﺪ ﺩﺭ ﺣﺎﻝ ﺍﺣﺘﻀﺎﺭ ﺩﻛﺘﺮ ﻗﺮﺁﻥ ﻣﻰﺧﻮﺍﻧﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﻫﻪ ‪ 80‬ﺭﺍ ﺑﺎ ﺗﻌﻤﻖ ﻭ ﺍﺣﺘﻴﺎﻁ ﺑﻴﺸﺘﺮ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﺳــﺎﻝﻫﺎﻯ ﻗﺒﻠﺶ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﺣﺎﺻﻞ ﺗﻨﺪﺭﻭﻯﻫﺎﻯ ﭼﻨﺪ ﺳﺎﻝ ﻗﺒﻞ‬ ‫ﺍﻓﺰﺍﻳﺶ ﺣﺴﺎﺳﻴﺖﻫﺎ ﻭ ﺍﻧﺘﻘﺎﺩﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﺳﻴﻨﻤﺎ ﻭ ﺭﻭﻧﺪ ﺣﺮﻛﺘﻰﺍﺵ‬ ‫ﻧﺰﺩ ﻻﻳﻪﻫﺎﻳﻰ ﺍﺯ ﺣﺎﻛﻤﻴﺖ ﻭ ﺑﻌﻀﻰ ﺍﻗﺸﺎﺭ ﻣﺬﻫﺒﻰ ﺟﺎﻣﻌﻪ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺟﺎﻣﻌﻪ ﻧﻴﺰ ﺑﻪ ﺭﻏــﻢ ﺍﻋﺘﻤﺎﺩ ﻣﺠﺪﺩ ﺑﻪ ﺧﺎﺗﻤﻰ‪ ،‬ﺷــﺎﻫﺪ ﺣﺮﻛﺖﻫﺎ ﻭ‬ ‫ﺗﺼﻤﻴﻤﺎﺕ ﻣﺤﺘﺎﻃﺎﻧﻪ ﺍﻭ ﺩﺭ ﺯﻣﻴﻨﻪ ﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺑﻮﺩ‪ .‬ﮔﻮﻳﻰ ﺍﻭ ﻫﻢ ﺑﺎ‬ ‫ﺷﻨﺎﺧﺖ ﺑﻴﺸــﺘﺮ ﻭ ﺩﻗﻴﻖﺗﺮ ﺍﺯ ﻣﻨﺎﺳﺒﺎﺕ ﺣﺎﻛﻤﻴﺖ ﻗﺼﺪ ﺯﻣﺎﻣﺪﺍﺭﻯ‬ ‫ﻛﻢﺧﻄﺮﺗﺮﻯ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﻫﻤﮕﻰ ﺑﻪ ﺍﺣﺘﻴﺎﻁ ﻭ ﺗﻌﻤﻖ ﻭ ﺗﺎﻣﻠﻰ ﺟﻤﻌﻰ‬ ‫ﻓﺮﺍﺧﻮﺍﻧﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻰ‪ ،‬ﺑﻬﻤﻦ ﻓﺮﻣﺎﻥﺁﺭﺍ‪ ،‬ﻓﻴﻠﻤﺴﺎﺯ ﻗﺪﻳﻤﻰ ﺩﻭﺑﺎﺭﻩ‬ ‫ﻓﻌﺎﻝ ﺷــﺪﻩ ﺳــﺎﻝﻫﺎﻯ ﺑﻌﺪ ﺍﺯ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺑﺎ ﻣﺸﺎﻫﺪﻩ ﻭﺍﻛﻨﺶﻫﺎﻯ‬ ‫ﻣﺜﺒﺖ ﺑﻪ ﺳــﺎﺧﺘﻪ ﻗﺒﻠﻰﺍﺵ )ﺑﻮﻯ ﻛﺎﻓﻮﺭ‪ ،‬ﻋﻄﺮ ﻳﺎﺱ( ﻓﻴﻠﻢ ﺩﻳﮕﺮﻯ‬ ‫ﺑــﺎ ﺯﻣﻴﻨﻪﻫﺎﻯ ﻣﻨﺘﻘﺪﺍﻧﻪ ﺍﻳﻨﺒﺎﺭ ﺩﺭ ﺣــﻮﺯﻩ ﭼﺎﻟﺶﺑﺮﺍﻧﮕﻴﺰ ﺍﻋﺘﻘﺎﺩﺍﺕ‬ ‫ﻭ ﺑﺎﻭﺭﻫﺎﻯ ﻣﺬﻫﺒﻰ ﺳــﺎﺧﺖ‪ .‬ﻓﻴﻠﻤــﻰ ﻛﻪ ﺑﺎﻭﺟﻮﺩ ﺗﺎﻳﻴــﺪ ﺍﻭﻟﻴﻪ‪ ،‬ﺑﺎ‬ ‫ﻣﺨﺎﻟﻔﺖﻫﺎﻯ ﺷﺪﻳﺪ ﻫﻤﺎﻥ ﻻﻳﻪﻫﺎﻯ ﻣﻨﺘﻘﺪ ﻣﻮﺍﺟﻪ ﺷﺪ ﺩﺭ ﺣﺎﻟﻰﻛﻪ‬ ‫‪91‬‬ ‫ﻃﻴﻒ ﺩﻳﮕﺮﻯ ﺳﺎﺧﺖ ﺁﻥ ﺭﺍ ﺣﺎﺻﻞ ﺳــﺎﺯﺵ ﻭ ﺳﻔﺎﺭﺵ ﻣﺴﺌﻮﻻﻥ‬ ‫ﺗﻠﻘﻰ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻰ ﺧﺎﻧــﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺗﻮﺻﻴﻒ‬ ‫ﻣﺸــﺨﺺ ﻭ ﺁﺷﻜﺎﺭﻯ ﺷــﺪ ﺍﺯ ﺗﻠﻘﻰ ﻭ ﺑﺎﻭﺭﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻳﻚ ﺟﺎﻣﻌﻪ‬ ‫ﻧﺴــﺒﺖ ﺑﻪ ﻣﻔﺎﻫﻴﻢ ﺩﻳﻨﻰ‪ .‬ﺩﺭ ﺣﺎﻟﻰﻛﻪ ﻋــﺪﻩﺍﻯ ﺁﻥ ﺭﺍ ﺩﺭ ﺭﺩ ﺑﺎﻭﺭﻫﺎ‬ ‫ﺩﺍﻧﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺟﻤﻌﻰ ﻫﻢ ﺑﺮ ﻧﮕﺎﻩ ﻭ ﺭﻭﺍﻳﺖ ﻣﺘﻔﺎﻭﺗﺶ ﺗﺎﻛﻴﺪ ﻣﻰﻛﺮﺩﻧﺪ‬ ‫ﻭ ﺁﻥ ﺭﺍ ﻧﻤﻮﻧﻪ ﻳﻚ ﻓﻴﻠﻢ ﺩﻳﻨﻰ ﻣﻰﺧﻮﺍﻧﺪﻧﺪ‪ .‬ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺑﻪ ﺍﻳﻦ‬ ‫ﺗﺮﺗﻴﺐ ﻧﻤﺎﻳﺸﮕﺮ ﺳﺮﻧﻮﺷﺖ ﻛﻢ ﺗﻮﻓﻴﻖ ﻣﻌﺪﻭﺩ ﺗﻼﺵﻫﺎﻯ ﺳﻴﻨﻤﺎﻯ‬ ‫ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﺗﺠﺮﺑﻪ ﺳــﺎﺧﺖ ﻓﻴﻠﻤﻰ ﺩﺭﺑﺎﺭﻩ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺷــﺪ‪.‬ﺧﺎﻧﻪﺍﻯ‬ ‫ﺭﻭﻯ ﺁﺏ ﺟﺪﺍ ﺍﺯ ﺍﻳﻦ ﻣﻔﺎﻫﻴﻢ‪ ،‬ﻧﮕﺎﻩ ﻣﻨﺘﻘﺪﺍﻧﻪﺍﻯ ﺑﻪ ﺍﻧﺤﻄﺎﻁ ﺍﺧﻼﻗﻰ‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﻃﺒﻘﺎﺕ ﺟﺎﻣﻌﻪ ﻫﻢ ﺩﺍﺷﺖ‪ .‬ﻧﮕﺎﻩ ﺍﻭﻝ ﻣﻌﻄﻮﻑ ﻗﺸﺮ ﻣﺮﻓﻪ ﻭ‬ ‫ﺑﻪﻇﺎﻫﺮ ﺑﻰﺍﻋﺘﻘﺎﺩﻯ ﺑﻮﺩ ﻛﻪ ﻋﻤﺮﺵ ﺭﺍ ﺑﻰﺑﺎﻭﺭ ﺑﺎ ﻫﺪﻑ ﻛﺴﺐ ﻟﺬﺍﻳﺬ‬ ‫ﺳﭙﺮﻯ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﺣﺎﺻﻞ ﺗﺒﺎﻩ ﺷﺪﻩ ﻋﻤﺮﺵ ﺭﺍ ﺑﺎﻭﺟﻮﺩ ﺗﻮﻓﻴﻖ‬ ‫ﻣﺎﺩﻯ ﺩﺭ ﻓﺮﺯﻧﺪ ﺧﻼﻓﻜﺎﺭ ﻭ ﭘﺪﺭ ﻧﺎﺗﻮﺍﻥ ﻭ ﺑﺪﺑﻴﻦ ﻣﻰﺩﻳﺪ‪ .‬ﺩﺭ ﻧﮕﺎﻩ ﺩﻳﮕﺮ‬ ‫ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺻﺮﻳﺢﺗﺮﻳﻦ ﻧﻘﺪ ﺭﺍ ﻫﻢ ﺑﻪ ﻧﺴﻞ ﺟﻮﺍﻧﻰ ﻭﺍﺭﺩ ﻣﻰﻛﺮﺩ‬ ‫ﻛﻪ ﺣﺎﺿﺮ ﺑﻮﺩ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﻫﺪﺍﻓﺶ‪ ،‬ﻓﺮﻳﺐ ﺩﻫﺪ ﻭ ﺩﺭﻭﻍ ﺑﮕﻮﻳﺪ‪.‬‬ ‫ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺟﺪﻯﺗﺮﻳﻦ ﻧﻘﺪ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﻣﻔﻬﻮﻡ ﺍﻋﺘﻘﺎﺩ ﻭ‬ ‫ﺍﻳﻤﺎﻥ ﺑﻮﺩ‪ ،‬ﻧﻘﺪﻯ ﻛﻪ ﺁﺷﻜﺎﺭ ﺑﻮﺩ ﺩﺭ ﺯﻣﺎﻧﻪﺍﺵ ﺗﺤﻤﻞ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺑﺮ ﺍﺳﺎﺱ ﺗﺠﺮﺑﻴﺎﺕ ﺷﺨﺼﻰﺍﺵ ﻭ ﺗﺎﺣﺪﻭﺩﻯ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ‬ ‫ﺑﻮﻯ ﻛﺎﻓﻮﺭ‪ ،‬ﻋﻄﺮﻳﺎﺱ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻳــﻦ ﻣﻴﺎﻥ ﻣﻮﺿﻮﻉ ﺍﺧﺘﻼﻑ ﺍﻭ‬ ‫ﺑــﺎ ﺍﺗﺤﺎﺩﻳﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﻛﻪ ﻓﺮﻣــﺎﻥﺁﺭﺍ ﺭﺍ ﺩﺍﺭﺍﻯ ﺻﻼﺣﻴﺖ ﺑﺮﺍﻯ‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻰ ﻓﻴﻠﻢ ﻧﻤﻰﺩﺍﻧﺴﺘﻨﺪ‪ ،‬ﻣﺪﺗﻰ ﺑﺮ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺳﺎﻳﻪ ﺍﻓﻜﻨﺪ‪.‬‬ ‫ﻣﻌﺎﻭﻧﺖ ﺳــﻴﻨﻤﺎﻳﻰ ﺑﺎ ﺻﺪﻭﺭ ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﺑﻪ ﻧﺎﻡ ﺧﻮﺩ ﻓﺮﻣﺎﻥﺁﺭﺍ‬ ‫ﺻﻼﺣﻴﺖ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻰ ﻓﺮﻣــﺎﻥﺁﺭﺍ ﺭﺍ ﺗﺎﻳﻴﺪ ﻛﺮﺩ ﻭ ﺍﺗﺤﺎﺩﻳﻪ ﻧﻴﺰ ﺩﺭ‬ ‫ﻣﻘﺎﺑﻞ ﻋﻮﺍﻣﻞ ﻫﻤﻜﺎﺭ ﻓﺮﻣﺎﻥ ﺁﺭﺍ ﺩﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺭﺍ ﺗﻬﺪﻳﺪ ﺑﻪ ﺗﺤﺮﻳﻢ ﻭ‬ ‫ﺑﺎﻳﻜﻮﺕ ﻛﺮﺩ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﺍﻓﺸﺎﮔﺮﻯﻫﺎﻳﻰ ﻫﻢ ﺩﺭﺑﺎﺭﻩ ﻓﺮﻣﺎﻥﺁﺭﺍ‬ ‫ﺑﺎ ﺻﺪﻭﺭ ﺍﻋﻼﻣﻴﻪﺍﻯ ﺗﻮﺳﻂ ﺍﺗﺤﺎﺩﻳﻪ ﺻﻮﺭﺕ ﮔﺮﻓﺖ ﺍﻣﺎ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ‬ ‫ﻓﻴﻠﻢ ﺑﺎ ﺗﺒﻠﻴﻎ ﻭ ﺍﻃﻼﻉﺭﺳــﺎﻧﻰ ﺯﻳﺎﺩ ﻭ ﻧﻴﺰ ﺣﻀﻮﺭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷــﺪﻩ ﺁﻏﺎﺯ ﺷــﺪ‪ .‬ﻓﺮﻣﺎﻥﺁﺭﺍ ﺑﺮﺍﻯ ﻧﻘﺶ ﺍﺻﻠﻰ ﻓﻴﻠﻢ ﺭﺿﺎ ﻛﻴﺎﻧﻴﺎﻥ ﺭﺍ‬ ‫ﻣﺠﺒﻮﺭ ﺑﻪ ﺍﻓﺰﺍﻳﺶ ﻭﺯﻧﻰ ﭼﻨﺪﻳﻦ ﻛﻴﻠﻮﻳﻰ ﻛﺮﺩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺗﻮﺍﻧﺴﺖ‬ ‫ﺭﺿﺎﻳﺖ ﺑﺎﺯﻳﮕﺮﺍﻧﻰ ﭼﻮﻥ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻰ ﻭ ﻋﺰﺕﺍﷲ ﺍﻧﺘﻈﺎﻣﻰ ﻭ ﺟﻤﺸﻴﺪ‬ ‫ﻣﺸــﺎﻳﺨﻰ ﺭﺍ ﺑﺮﺍﻯ ﺑﺎﺯﻯ ﺩﺭ ﻧﻘﺶﻫﺎﻯ ﻛﻮﺗﺎﻩ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ‪ .‬ﻧﺘﻴﺠﻪ‬ ‫ﻓﻴﻠﻢ ﭘﺮﺑﺎﺯﻳﮕﺮ ﻭ ﻛﻨﺠﻜﺎﻭﺑﺮﺍﻧﮕﻴﺰﻯ ﺑﻮﺩ ﻛــﻪ ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﺯﻣﻴﻨﻪﻫﺎﻯ‬ ‫ﺳﻴﺎﺳــﻰ‪ -‬ﺍﺟﺘﻤﺎﻋﻰ ﻓﻴﻠﻢ ﻗﺒﻠﻰ ﻓﺮﻣﺎﻥﺁﺭﺍ ﭘﻴﺶ ﺍﺯ ﻧﻤﺎﻳﺶ ﻳﻜﻰ ﺍﺯ‬ ‫ﺍﺗﻔﺎﻕﻫﺎﻯ ﺳﺎﻝ ﻟﻘﺐ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﺑﻬﻤﻦ ﻓﺮﻣﺎﻥﺁﺭﺍ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﻭ ﺳﻴﻨﻤﺎﮔﺮ ﺷﺎﺧﺺ ﻗﺒﻞ ﺍﺯﺍﻧﻘﻼﺏ‬ ‫ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺯ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 70‬ﭘﺲ ﺍﺯ ﺑﺎﺯﮔﺸــﺖ ﺑﻪ ﺍﻳﺮﺍﻥ ﭘﻴﮕﻴﺮ‬ ‫ﺍﻳﺠﺎﺩ ﺷﺮﺍﻳﻂ ﺩﻭﺑﺎﺭﻩ ﻓﻴﻠﻤﺴﺎﺯﻯ ﺑﻮﺩ‪ .‬ﻃﺮﺡﻫﺎ ﻭ ﻓﻴﻠﻤﻨﺎﻣﻪﻫﺎﻯ ﻣﺘﻌﺪﺩ‬ ‫ﺍﻭ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺩﻭﻡ ﺧﺮﺩﺍﺩ ﺍﺟﺎﺯﻩ ﺳﺎﺧﺖ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻧﺪ ﻭ ﺗﻨﻬﺎ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ‬ ‫ﺍﺗﻔﺎﻕ ﻣﻬﻢ ﺳﻴﺎﺳــﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺑﻮﺩ ﻛﻪ ﻓﺮﻣﺎﻥﺁﺭﺍ ﺗﻮﺍﻧﺴﺖ ﺩﻭﺑﺎﺭﻩ‬ ‫ﭘﺸــﺖ ﺩﻭﺭﺑﻴﻦ ﺑﺮﻭﺩ‪» .‬ﺑﻮﻯ ﻛﺎﻓﻮﺭ‪ ،‬ﻋﻄﺮ ﻳﺎﺱ«‪ ،‬ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻌﺪ ﺍﺯ‬ ‫ﺍﻧﻘﻼﺏ ﻓﺮﻣﺎﻥﺁﺭﺍ ﺣﺪﻳﺚ ﻧﻔﺴــﻰ ﺩﺭﺑﺎﺭﻩ ﻣﺤﺮﻭﻣﻴﺖﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﺟﻤﻌﻰ ﺍﺯ ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﻭ ﺍﻫﻞ ﻓﺮﻫﻨﮓ ﻛﺸﻮﺭ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻰ ﻛﻪ ﺑﺎﻭﺟﻮﺩ‬ ‫ﺍﺷﺎﺭﻩﻫﺎﻯ ﻣﺴﺘﻘﻴﻢ ﻓﺮﻣﺎﻥﺁﺭﺍ ﺑﻪ ﺑﻌﻀﻰ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎﻯ‬ ‫ﻭﺍﻗﻌﻰ‪ ،‬ﺑﻪ ﻭﺍﺳــﻄﻪ ﺳــﺎﺧﺘﺎﺭ ﺩﻗﻴﻖ ﻭ ﻟﺤﻦ ﭘﺮﺍﻳﻬﺎﻡ ﻭ ﺍﺑﻬﺎﻡ ﻭ ﻛﻨﺎﻳﻪ‬ ‫ﮔﻮﻯ ﻓﺮﻣﺎﻥﺁﺭﺍ‪ ،‬ﺍﺛﺮ ﻗﺎﺑﻞ ﺗﺎﻣﻠﻰ ﺷــﺪﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﻣﺴﺌﻮﻻﻥ‬ ‫ﻫﻢ ﻣﻮﺍﺟﻪ ﺷﺪ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺍﻛﺜﺮ ﺟﻮﺍﻳﺰ ﺟﺸﻨﻮﺍﺭﻩ ﻫﺠﺪﻫﻢ ﻓﻴﻠﻢ ﻓﺠﺮ‬ ‫ﺭﺍ ﺑﻪﺩﺳــﺖ ﺁﻭﺭﺩ ﻭ ﺑﺎ ﺳــﺘﺎﻳﺶ ﻣﻨﺘﻘﺪﺍﻥ ﻫﻢ ﺭﻭﺑﻪ ﺭﻭ ﺷﺪ‪ .‬ﻓﺮﻣﺎﻥﺁﺭﺍ‬ ‫ﺑﺎ ﻣﺸــﺎﻫﺪﻩ ﭼﻨﻴﻦ ﺍﺳﺘﻘﺒﺎﻟﻰ‪ ،‬ﻛﺎﺭ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺑﻌﺪﻯﺍﺵ ﺭﺍ ﺑﺎﺯ ﻫﻢ‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻜﻰ ﺍﺯ ﭼﻨﺪ ﻓﻴﻠﻢ ﺷــﺎﺧﺺ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺑﻴﺴــﺘﻢ ﻓﻴﻠﻢ ﻓﺠﺮ ﺩﺭ ﺳﺎﻟﻰ ﻛﻪ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﻣﺪﻳﺮ ﺟﺪﻳﺪﻯ ﺭﺍ ﺑﻪ‬ ‫ﺟﺎﻯ ﺳﻴﻒﺍﷲ ﺩﺍﺩ ﺑﺎﻻﻯ ﺳﺮ ﺧﻮﺩ ﻣﻰﺩﻳﺪ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ‪ ،‬ﺳﺎﻟﻰ‬ ‫ﻛﻪ ﺣﺠﻢ ﺍﺗﻔﺎﻗﺎﺕ ﺣﺎﺷــﻴﻪﺍﻯ ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺑﻪ ﺍﻭﺝ ﺧﻮﺩ ﺭﺳﻴﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﻧﺨﺴﺘﻴﻦ ﺣﻜﻢ ﻗﻀﺎﻳﻰ ﻋﻠﻴﻪ ﻳﻚ ﻓﻴﻠﻢ )ﭘﺎﺭﺗﻰ( ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﺻﺎﺩﺭ‬ ‫ﺷﺪﻭﻳﻚﺳﻴﻨﻤﺎﮔﺮ)ﺗﻬﻤﻴﻨﻪﻣﻴﻼﻧﻰ(ﻧﻴﺰﭼﻨﺪﺭﻭﺯﻯﺭﺍﺩﺭﻫﻤﻴﻦﺳﺎﻝ‬ ‫ﺩﺭ ﺑﺎﺯﺩﺍﺷﺖ ﺳﭙﺮﻯ ﻛﺮﺩ‪ .‬ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻳﻦ ﺳﺎﻝ‪ ،‬ﺩﺭ‬ ‫ﻣﻴﺎﻧﻪ ﻫﻤﻴﻦ ﺣﺎﺷﻴﻪﻫﺎ ﺩﻳﺪﻩ ﺷﺪ‪ .‬ﻓﻴﻠﻢ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﻌﻀﻰ ﺯﻣﻴﻨﻪﻫﺎﻯ‬ ‫ﺟﺴــﻮﺭﺍﻧﻪ ﺩﻳﺪﻩ ﻧﺸــﺪﻩﺍﻯ ﺩﺍﺷــﺖ ﺍﻣﺎ ﺍﺯ ﺳــﻮﻯ ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﻃﻴﻒ‬ ‫ﺭﻭﺷﻨﻔﻜﺮﻯ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺑﻮﻯ ﻛﺎﻓﻮﺭ‪ ،‬ﻋﻄﺮ ﻳﺎﺱ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﻣﻮﺍﺟﻪ ﻧﺸﺪ‪.‬‬ ‫ﺍﮔﺮ ﺟﻮﺍﻳﺰ ﺑﺴﻴﺎﺭﻯ ﻛﻪ ﺑﻮﻯ ﻛﺎﻓﻮﺭ‪ ،‬ﻋﻄﺮ ﻳﺎﺱ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻫﺠﺪﻫﻢ‬ ‫ﻛﺴﺐ ﻛﺮﺩ ﺑﺎ ﺗﺎﻳﻴﺪ ﻣﻨﺘﻘﺪﺍﻥ ﻫﻤﺮﺍﻩ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﺟﻮﺍﻳﺰ ﻓﺮﺍﻭﺍﻥ ﺧﺎﻧﻪﺍﻯ‬ ‫ﺭﻭﻯ ﺁﺏ ﺑﻪ ﺣﺴﺐ ﻧﮕﺎﻩ ﻣﺘﻈﺎﻫﺮﺍﻧﻪ ﻭ ﺳﻔﺎﺭﺷﻰ ﻓﻴﻠﻤﺴﺎﺯ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‪.‬‬ ‫ﺍﻫﺪﺍﻯ ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺑﺎﻋﺚ ﺷــﺪ ﺗﺎ ﺑﻬﻤﻦ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺍﻣﺮﻭﺯ ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﺑﻮﻯ ﻛﺎﻓﻮﺭ‪ ،‬ﻋﻄﺮ ﻳﺎﺱ ﺑﻪﻋﻨﻮﺍﻥ ﺩﻭ ﻓﻴﻠﻢ ﻣﺸــﺎﺑﻪ ﻭ ﺍﺯ ﻳﻚ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﺑﻪﺭﻏﻢ ﺣﺠﻢ ﺗﻮﻟﻴﺪ ﻭ ﺣﻀﻮﺭ ﻋﻮﺍﻣﻞ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﺗﻌﺪﺩ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﻟﻮﻛﻴﺸﻦﻫﺎ‪ ،‬ﺩﺭ ﺭﺩﻩ‬ ‫ﭘﺎﻳﻴﻦﺗﺮﻯ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ .‬ﮔﻮﻳﻰ ﺣﺠﻢ ﻣﺒﺎﺣﺜﻰ ﻛﻪ ﻓﺮﻣﺎﻥﺁﺭﺍ ﻗﺼﺪ ﺑﻴﺎﻧﺶ ﺭﺍ ﺩﺍﺷﺘﻪ ﺩﺭ ﺳﺎﻳﻪ ﻻﻳﻪﺭﻭﺑﻰ‬ ‫ﻓﻴﻠﻢ ﺩﺭ ﺑﺎﺏ ﻣﻔﻬﻮﻡ ﺍﻳﻤﺎﻥ ﻭ ﺍﻋﺘﻘﺎﺩ ﺑﻪﺩﺭﺳــﺘﻰ ﺩﺭﻙ ﻧﺸــﺪﻧﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻣﺎﻳﻪﻫﺎﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﮔﺮﻭﻩ‬ ‫ﺗﻌﻘﻴﺐ ﻛﻨﻨﺪﻩ ﻭ ﻗﺎﺗﻞ ﻓﻴﻠﻢ ﻣﺒﻬﻢ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ ﺩﺭﺣﺎﻟﻰ ﻛﻪ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺩﺭ ﺑﻮﻯ ﻛﺎﻓﻮﺭ‪ ،‬ﻋﻄﺮ ﻳﺎﺱ‬ ‫‪92‬‬ ‫ﻓﺮﻣﺎﻥﺁﺭﺍ ﺗﻨﻬﺎ ﻓﻴﻠﻤﺴﺎﺯ ﺩﺭ ﺗﺎﺭﻳﺦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺎﺷﺪﻛﻪ ﺩﻭ ﻓﻴﻠﻢ ﭘﻴﺎﭘﻰﺍﺵ‬ ‫ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺪﺳﺖ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺑﻪ ﺟﺰ ﺍﻳﻦ ﺧﺎﻧﻪﺍﻯ‬ ‫ﺭﻭﻯ ﺁﺏ ﺑﺎ ﺑﺮﺩﻥ ﭼﻬﺎﺭ ﺟﺎﻳﺰﻩ ﺩﻳﮕﺮ )ﺍﺯ ﺟﻤﻠﻪ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻣﺮﺩ(‬ ‫ﻓﺎﺗﺢ ﺍﺻﻠﻰ ﺟﺸــﻨﻮﺍﺭﻩ ﻟﻘﺐ ﮔﺮﻓﺖ‪،‬ﺟﺸﻨﻮﺍﺭﻩﺍﻯ ﻛﻪ ﺩﺍﻭﺭﻯﻫﺎﻳﺶ ﺑﺎ‬ ‫ﺟﻨﺠﺎﻝ ﻭ ﺍﻋﺘﺮﺍﺽ ﻫﻤﺮﺍﻩ ﺑﻮﺩ ﻭ ﻧﺎﺻﺮ ﺗﻘﻮﺍﻳﻰ ﺟﺎﻳﺰﻩﺍﺵ ﺭﺍ ﭘﺲ ﻓﺮﺳﺘﺎﺩ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺩﺭ ﺣﺎﻟﻰﻛﻪ ﺑﺎ ﻛﺴــﺐ ﻋﻨﻮﺍﻥ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺩﻳﻨﻰ ﺍﺯ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢﻫﺎﻯ ﺩﻳﻨﻰ ﭘﻴﺶﺑﻴﻨﻰ ﻣﻰﺷﺪ ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺍﻛﺮﺍﻥ‬ ‫ﻣﻨﺎﺳﺒﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺗﺎﺯﻩ ﻣﺸﻜﻼﺕ ﺁﻏﺎﺯ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺭﺳﺎﻧﻪﻫﺎﻯ ﻣﻌﻄﻮﻑ ﺑﻪ ﺟﺮﻳﺎﻥ ﻣﺨﺎﻟﻒ ﺩﻭﻟﺖ‪ ،‬ﻧﺴﺒﺖ ﺑﻪ ﻧﮕﺎﻩ‬ ‫ﻓﻴﻠﻢ ﺑﻪﻭﻳﮋﻩ ﺣﻀﻮﺭ ﻛﻮﺩﻙ ﺣﺎﻓﻆ ﻗﺮﺁﻥ ﺩﺭ ﻓﻴﻠﻢ ﻭ ﻧﻴﺰ ﺗﺼﻮﻳﺮ ﺧﺎﺹ‬ ‫ﭘﺪﺭ ﺍﻭ ﺍﻋﺘﺮﺍﺽ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ ﺷــﺮﻭﻉ ﺳﺎﻝ‪ ،‬ﺍﻭﻟﻴﻦ ﺧﺒﺮ‪ ،‬ﺑﻪ ﻣﺸﻜﻞ‬ ‫ﺑﺮﺧﻮﺭﺩﻥﻓﻴﻠﻢ ﺑﺮﺍﻯ ﺩﺭﻳﺎﻓﺖ ﭘﺮﻭﺍﻧﻪﻧﻤﺎﻳﺶﺑﻮﺩ‪.‬ﺩﺭ ﺧﺮﺩﺍﺩﻣﺎﻩﻣﺴﺌﻮﻝ‬ ‫ﭘﺨﺶ ﺑﻨﻴﺎﺩ ﻓﺎﺭﺍﺑﻰ ﺍﻋﻼﻡ ﻛﺮﺩ ﺷﺮﻁ ﺍﻛﺮﺍﻥ ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺍﺏ ﺣﺬﻑ ‪6‬‬ ‫ﺻﺤﻨﻪ ﺍﺯ ﺁﻥ ﺍﺳﺖ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﺎ ﺍﻃﻼﻉ ﺍﺯ ﺣﺴﺎﺳﻴﺖﻫﺎﻯ ﺍﻳﺠﺎﺩ ﺷﺪﻩ‬ ‫ﺩﺭ ﺳﻜﻮﺕ ﺧﺒﺮﻯ ﺑﻪ ﺭﺍﻳﺰﻧﻰ ﺑﺎ ﻣﺴﺌﻮﻻﻥ ﭘﺮﺩﺍﺧﺘﻨﺪ ﻭ ﺩﺭ ﺍﻭﺍﺧﺮ ﺗﺎﺑﺴﺘﺎﻥ‬ ‫ﺍﻋﻼﻡ ﻛﺮﺩﻧﺪ ﻛﻪ ﻓﻴﻠﻢ ﺑﺎ ﺣﺬﻑ ﺻﺤﻨﻪﻫﺎﻯ ﻣﻮﺭﺩﻧﻈﺮ ﻣﺴﺌﻮﻻﻥ ﻧﻈﺎﺭﺕ‬ ‫ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ‪.‬ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﻋﻴﺪﻓﻄﺮ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ‬ ‫ﺷﺪ ﺍﻣﺎ ﺍﻧﺘﺸﺎﺭ ﻧﺎﻣﻪ ﻣﺤﻤﺪﺻﺎﺩﻕ ﻃﺒﺎﻃﺒﺎﻳﻰ‪ ،‬ﭘﺪﺭ ﻧﺎﺑﻐﻪ ﻗﺮﺁﻧﻰ ﻛﺸﻮﺭ ﺑﻪ‬ ‫ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﺯ ﺗﺼﻮﻳﺮ ﺗﺮﺳﻴﻢ ﺷﺪﻩ ﺍﺯ ﺧﻮﺩ ﺩﺭ ﻓﻴﻠﻢ ﺍﻧﺘﻘﺎﺩ ﻛﺮﺩﻩ‬ ‫ﻭ ﺧﻮﺍﺳﺘﺎﺭ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺑﺮ ﻫﻢ ﺯﺩ‪.‬‬ ‫ﻭﺯﻳﺮﺍﺭﺷﺎﺩﺍﺑﺘﺪﺍﻭﺍﻛﻨﺸﻰﺑﻪﻧﺎﻣﻪﻧﺪﺍﺩﺍﻣﺎﺷﺎﻳﻌﻪﺗﻮﻗﻴﻒﻓﻴﻠﻢﺩﺭﻣﺤﺎﻓﻞ‬ ‫ﺳﻴﻨﻤﺎﻳﻰﻭﺭﺳﺎﻧﻪﺍﻯﺑﻪﺷﺪﺕﻣﻄﺮﺡﺷﺪﻭﺳﺮﺍﻧﺠﺎﻡﻓﻴﻠﻢﺩﻭﺭﻭﺯﻣﺎﻧﺪﻩ‬ ‫ﺑﻪ ﺗﺎﺭﻳﺦ ﺍﻛﺮﺍﻥ ﺍﺯ ﻧﻤﺎﻳﺶ ﺑﺎﺯﻣﺎﻧﺪ‪.‬ﺍﺑﺘﺪﺍ ﺍﻋﻼﻡ ﺷﺪ ﻛﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﺎﻳﺪ‬ ‫ﺍﺻﻼﺣﺎﺕ ﺩﻳﮕﺮﻯ ﺭﺍ ﺑﺮ ﻓﻴﻠﻢ ﻭﺍﺭﺩ ﻛﻨﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﻳﻚ ﻫﻔﺘﻪ ﺑﻌﺪ ﺍﺯ ﺗﺎﺭﻳﺦ ﻣﻘﺮﺭ )‪ 21‬ﺁﺫﺭ( ﺁﻏﺎﺯ ﺧﻮﺍﻫﺪ ﺷــﺪ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ‬ ‫ﺗﻐﻴﻴﺮﺍﺕﺟﺪﻳﺪ ﺭﺍ ﺍﻋﻤﺎﻝ ﻛﺮﺩﻧﺪ ﺍﻣﺎ ﺩﻭ ﺭﻭﺯﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﺗﺎﺭﻳﺦ ﺧﺒﺮﮔﺰﺍﺭﻯ‬ ‫ﺍﻳﺴﻨﺎ ﺍﺯ ﺩﺳــﺘﻮﺭ ﻗﺎﺿﻰ ﺷﻌﺒﻪ‪ 619‬ﻣﺠﺘﻤﻊ ﻗﻀﺎﻳﻰ ﺭﺳﺎﻟﺖ ﻣﺒﻨﻰﺑﺮ‬ ‫ﺗﻮﻗﻴﻒ ﻓﻴﻠﻢ ﺑﻪ ﺩﻟﻴﻞ ﺷﻜﺎﻳﺖ ﺳﺘﺎﺩ ﺍﻣﺮ ﺑﻪ ﻣﻌﺮﻭﻑ ﻭ ﻧﻬﻰ ﺍﺯ ﻣﻨﻜﺮ ﺧﺒﺮ‬ ‫ﺩﺍﺩ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻋﻤﻼ ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺑﻪ ﻣﺤﺎﻕ ﺭﻓﺖ‪ .‬ﺑﺎﺯﺗﺎﺏ ﺍﻳﻦ‬ ‫ﺧﺒﺮ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎ ﺑﺴﻴﺎﺭ ﮔﺴﺘﺮﺩﻩ ﺑﻮﺩ ﻭ ﺯﻣﻴﻨﻪ ﺻﺤﺒﺖ ﺩﺭﺑﺎﺭﻩ ﺍﻗﺪﺍﻣﺎﺕ‬ ‫ﻧﻬﺎﺩﻫﺎﻯ ﺧﺎﺭﺝ ﺍﺯ ﺣﻮﺯﻩ ﻧﻈﺎﺭﺗﻰ ﺩﺭ ﺳﻴﻨﻤﺎ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﻣﻄﺮﺡ ﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻴﺎﻥﺳﻴﻨﻤﺎﮔﺮﺍﻥﻧﻴﺰﺑﻪﺩﻓﺎﻉﺍﺯﻓﻴﻠﻢﻭﺍﺭﺩﻣﻨﺎﺯﻋﻪﺷﺪﻧﺪ‪.‬ﺑﻬﺮﻭﺯﺍﻓﺨﻤﻰ‬ ‫ﺍﺯﺟﻤﻠﻪﺍﻳﻦﭼﻬﺮﻩﻫﺎﺑﻮﺩ‪»:‬ﺍﮔﺮﻭﺯﺍﺭﺕﺍﺭﺷﺎﺩﻧﺘﻮﺍﻧﺪﻓﻴﻠﻢﺭﺍﻧﻤﺎﻳﺶﺩﻫﺪ‬ ‫ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺍﺯ ﺍﻳﻦ ﭘﺲ ﺣﻖ ﺩﺍﺭﻧﺪ ﻛﻪ ﻃﺮﻑ ﺣﺴﺎﺏ ﺧﻮﺩ ﺭﺍ ﻗﻮﻩ ﻗﻀﺎﺋﻴﻪ‬ ‫ﺑﺪﺍﻧﻨﺪ ﻭ ﻧﻈﺮﺍﺕ ﺁﻧﻬﺎ ﺭﺍ ﺗﺎﻣﻴﻦ ﻛﻨﻨﺪ‪) «.‬ﺣﻴﺎﺕ ﻧﻮ‪ 28 ،‬ﺁﺫﺭ( ﻧﺨﺴﺘﻴﻦ‬ ‫ﻭﺍﻛﻨﺶ ﻓﺮﻣﺎﻥﺁﺭﺍ ﺑﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﻧﮕﺎﺭﺵ ﻧﺎﻣﻪ ﺗﻨﺪﻯ ﺑﻪ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ ﺑﻮﺩ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﺍﺯ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﻭ ﻧﻤﺎﻳﺶ ﺻﺎﺩﺭ ﺷﺪﻩ ﺍﺯ ﺳﻮﻯ ﺍﻳﻦ‬ ‫ﻭﺯﺍﺭﺗﺨﺎﻧﻪ ﺍﺑﺮﺍﺯ ﭘﺸﻴﻤﺎﻧﻰ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﻳﻚ ﺭﻭﺯ ﺑﻌﺪ ﺑﻪ ﻧﺎﻣﻪ‬ ‫ﻓﺮﻣﺎﻥﺁﺭﺍ ﭘﺎﺳــﺦ ﺩﺍﺩ ﻭ ﺩﺭ ﺁﻥ ﺻﺮﻳﺤﺎ ﺍﻋﻼﻡ ﻛﺮﺩ ﻛﻪ ﻭﻗﺎﻳﻊ ﭘﻴﺶﺁﻣﺪﻩ‬ ‫ﺑﺮﺍﻯ ﻓﻴﻠﻢ ﺧﺎﺭﺝ ﺍﺯ ﺣﻮﺯﻩ ﺍﻳﻦ ﻭﺯﺍﺭﺕ ﺑﻮﺩﻩ ﻭ ﺗﻼﺵﻫﺎ ﺑﺮﺍﻯ ﺭﻓﻊ ﺗﻮﻗﻴﻒ‬ ‫ﻓﻴﻠﻢ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪) .‬ﺣﻴﺎﺕ ﻧــﻮ‪ 17 ،‬ﺩﻯ( ﺗﻮﻗﻒ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺩﺭ ﺁﺧﺮﻳﻦ‬ ‫ﻟﺤﻈﺎﺕ ﺣﺘﻰ ﺑﺮﻧﺎﻣﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎ ﺩﺭ ﺳﻴﻨﻤﺎﻫﺎ ﺭﺍ ﺩﭼﺎﺭ ﺍﺧﺘﻼﻝ ﻛﺮﺩ‬ ‫ﻭ ﺳﻴﻨﻤﺎ ﻋﺼﺮﺟﺪﻳﺪ ﻳﻚ ﻫﻔﺘﻪ ﺭﺍ ﺑﺪﻭﻥ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻤﻰ ﺳﭙﺮﻯ ﻛﺮﺩ‪.‬‬ ‫ﺍﺻﻼﺣﻴﻪﻫﺎﻯ ﺟﺪﻳﺪﻯ ﺑﺮﺍﻯ ﺗﺎﻣﻴﻦ ﻧﻈﺮ ﻧﻬﺎﺩ ﺷﺎﻛﻰ ﻭ ﻗﻮﻩﻗﻀﺎﺋﻴﻪ ﻛﻪ‬ ‫ﺍﻛﺜﺮﺍ ﺷﺎﻣﻞ ﺣﺬﻑ ﺻﺤﻨﻪﻫﺎﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﭘﺪﺭ ﻛﻮﺩﻙ ﺣﺎﻓﻆ ﻗﺮﺁﻥ ﻭ‬ ‫ﻧﻴﺰ ﺩﺧﺘﺮ ﺟﻮﺍﻥ ﻣﻰﺷﺪ‪ ،‬ﺍﻋﻤﺎﻝ ﺷﺪ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏﻳﻚ‬ ‫ﻫﻔﺘﻪ ﻣﺎﻧﺪﻩ ﺑﻪ ﺷﺮﻭﻉ ﺳﺎﻝ ﺟﺪﻳﺪ ﺑﺮ ﭘﺮﺩﻩ ﺳﻴﻨﻤﺎﻫﺎ ﺭﻓﺖ‪ .‬ﺩﺭﺣﺎﻟﻰﻛﻪ‬ ‫ﺑﺎﺯ ﻫﻢ ﺩﺭ ﺁﺧﺮﻳﻦ ﺭﻭﺯﻫﺎﻯ ﻣﺎﻧﺪﻩ ﺑﻪ ﻧﻤﺎﻳﺶ ﺍﺻﻼﺣﻴﻪﻫﺎﻯ ﺟﺪﻳﺪﻯ‬ ‫ﺑﺮ ﺁﻥ ﻭﺍﺭﺩ ﺷﺪ ﻭ ﻋﻤﻼ ﻧﺴﺨﻪ ﻛﺎﻣﻼ ﺗﻐﻴﻴﺮ ﻳﺎﻓﺘﻪﺍﻯ ﺍﺯ ﻓﻴﻠﻢ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﻋﻤﻮﻣﻰ ﺩﺭﺁﻣﺪ‪ .‬ﻧﻤﺎﻳﺸﻰ ﻛﻪ ﺑﺮﺧﻼﻑ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺤﺚ ﺑﺮﺍﻧﮕﻴﺰ ﻧﺒﻮﺩ ﻭ‬ ‫ﺑﺎ ﻭﻗﺎﻳﻌﻰ ﻛﻪ ﺑﺮ ﻓﻴﻠﻢ ﮔﺬﺷــﺘﻪ ﺑﻮﺩ ﻛﻤﺘﺮ ﻛﺴﻰ ﻋﻼﻗﻪﺍﻯ ﺑﻪ ﺻﺤﺒﺖ‬ ‫ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ .‬ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻫﻢ ﺍﺳﺘﻘﺒﺎﻝ ﭼﻨﺪﺍﻧﻰ ﺍﺯ ﻓﻴﻠﻢ‬ ‫ﻧﻜﺮﺩﻧﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺩﻭﻣﻴﻦ ﺳــﺎﺧﺘﻪ ﻓﺮﻣﺎﻥﺁﺭﺍ ﺑﻪﺭﻏﻢ ﺗﺎﻳﻴﺪﻫﺎﻯ‬ ‫ﺍﻭﻟﻴﻪ ﺳﺮﻧﻮﺷﺖ ﺗﺮﺍژﻳﻜﻰ ﭘﻴﺪﺍ ﻛﺮﺩ‪.‬‬ ‫ﺑﺪﻭﻥ ﺍﺷﺎﺭﻩ ﻣﺴﺘﻘﻴﻢ ﺻﺮﻓﺎ ﺑﺎ ﭘﺮﺩﺍﺧﺖ ﺻﺤﻴﺢ‪ ،‬ﻛﺎﻣﻼ ﺍﺯ ﺳﻮﻯ ﺗﻤﺎﺷﺎﮔﺮ ﺩﺭﻙ ﻣﻰﺷﺪ‪ .‬ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ‬ ‫ﺍﻟﺒﺘﻪ ﻓﻴﻠﻢ ﺧﻮﺵ ﺳﺎﺧﺖ ﻭ ﺩﻳﺪﻧﻰ ﺍﺳﺖ ﺍﻣﺎ ﻣﺸﺨﺺ ﺍﺳﺖ ﻧﮕﺎﻩ ﻓﻴﻠﻤﺴﺎﺯ ﺑﻪ ﻣﻮﺿﻮﻉ ﺧﻼﻑ ﻧﮕﺎﻩ ﺭﺳﻤﻰ‬ ‫ﺍﺳﺖ ﻭ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺑﺮﺍﻯ ﺁﻧﻜﻪ ﻓﺮﺻﺖ ﻃﺮﺡ ﻭ ﻧﻤﺎﻳﺶ ﺑﻴﺎﺑﺪ‪ ،‬ﺷﻜﻞ ﻧﺎﻣﺸﺨﺼﻰ ﮔﺮﻓﺘﻪ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺑﻪ‬ ‫ﺍﺛﺮ ﻧﺎﻛﺎﻣﻠﻰ ﻣﻨﺘﻬﻰ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺧﺎﻧﻪﺍﻯ ﺭﻭﻯ ﺁﺏ ﺍﺯ ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻯ ﺟﺴﻮﺭﺍﻧﻪ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﺎ ﺑﺴﺘﻪ ﺷﺪﻥ ﻓﻀﺎ ﺍﺯ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 80‬ﺩﻳﮕﺮ ﻓﺮﺻﺖ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎﻳﺪ ﺣﺴﻦ‬ ‫ﺧﺘﺎﻣﻰ ﺑﺮ ﻳﻚ ﺩﻭﺭﻩ ﺣﻴﺎﺕ ﺳﻴﻨﻤﺎ ﺩﺍﻧﺴﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻮﺿﻮﻋﺎﺕ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺳﻴﺎﺳﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺟﺎﻣﻌﻪ‬ ‫ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺑﻮﺩﻧﺪ ﻭ ﺍﺯ ﺻﺎﻓﻰ ﻧﮕﺎﻩ ﺁﻧﻬﺎ ﺩﺭ ﺟﺎﻣﻌﻪ ﺑﺎﺯﺗﺎﺏ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫‪27‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻧﻔﺲ ﻋﻤﻴﻖ )‪(1381‬‬ ‫ﺧﻮﺩ ﻭﻳﺮﺍﻧﮕﺮﻯ‬ ‫ﺩﺭ ﺷﺮﻭﻉ ﺩﻭﺭﺍﻥ ﻧﺎﺍﻣﻴﺪﻯ‬ ‫ﺗﺪﻭﻳﻦ‪ ،‬ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬‬ ‫ﭘﺮﻭﻳﺰ ﺷﻬﺒﺎﺯﻯ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﺍﻣﻴﺮ‬ ‫ﺳـﻤﺎﻭﺍﺗﻰ‪ ،‬ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪:‬‬ ‫ﻋﻠـﻰ ﻟﻘﻤﺎ ﻧـﻰ ‪ ،‬ﻣﻮ ﺳـﻴﻘﻲ ‪:‬‬ ‫ﻣﻬـﺮﺩﺍﺩ ﭘﺎﻟﻴﺰﺑـﺎﻥ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭﻯ‬ ‫ﻭ ﺻﺪﺍﮔـﺬﺍﺭﻯ‪ :‬ﺑﻬﻤـﻦ ﺍﺭﺩﻻﻥ‪،‬‬ ‫ﺩﺳـﺘﻴﺎﺭ ﺍﻭﻝ ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﺭﺿﺎ ﻣﻴﻬﻦﺩﻭﺳـﺖ‪ ،‬ﻃﺮﺍﺡ‬ ‫ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﻗﻮﻣﻲ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪:‬ﻣﻨﺼﻮﺭﺷﻬﺒﺎﺯﻯ‪،‬ﻣﺮﻳﻢﭘﺎﻟﻴﺰﺑﺎﻥ‪،‬ﺳﻌﻴﺪﺍﻣﻴﻨﻰ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻣﻮﺳﺴﻪ ﺳﻴﻨﻤﺎﻳﻰ ﺑﻪﻧﮕﺮ‪ 82 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 2 :‬ﻣﻬﺮ ‪ ،1382‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪:‬‬ ‫‪ 46‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﮔﻮﻳﺎ ﺩﺧﺘﺮ ﻭ ﭘﺴــﺮﻱ ﺑﺮ ﺍﺛﺮ ﺗﺼﺎﺩﻑ‪ ،‬ﺩﺭ ﺩﺭﻳﺎﭼﻪ ﺳــﺪ ﻛﺮﺝ ﻏﺮﻕ‬ ‫ﺷﺪﻩﺍﻧﺪ ﻭ ﻣﺮﺩﻡ ﻭ ﻣﺎﻣﻮﺭﺍﻥ ﻗﺼﺪ ﺩﺍﺭﻧﺪ ﺍﺟﺴﺎﺩ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﺁﺏ ﺑﻴﺮﻭﻥ‬ ‫ﺑﻜﺸﻨﺪ‪ .‬ﻗﻄﻊ ﺑﻪ ﻧﻤﺎﻳﻲ ﺍﺯ ﺍﺳﺘﺨﺮ ﻭ ﻛﺎﻣﺮﺍﻥ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺷﻨﺎ ﻛﺮﺩﻥ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﻭﺳﺘﻲ ﺻﻤﻴﻤﻲ ﺑﻪ ﻧﺎﻡ ﻣﻨﺼﻮﺭ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﺍﻭ ﭘﻨﺎﻩ ﻣﻲﺑﺮﺩ‪.‬‬ ‫ﻛﺎﻣﺮﺍﻥ ﻭ ﻣﻨﺼﻮﺭ ﺭﻭﺯﻫﺎ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺳﺮﮔﺮﺩﺍﻥ ﺑﻪ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ‬ ‫ﻣﻲﺭﻭﻧﺪﻭﺷﺐﻫﺎﻧﻴﺰﺩﺭﻣﺴﺎﻓﺮﺧﺎﻧﻪﻣﻲﺧﻮﺍﺑﻨﺪ‪.‬ﻣﻨﺼﻮﺭﻭﻛﺎﻣﺮﺍﻥ‬ ‫ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺎ ﻣﺎﺷﻴﻨﻲ ﻛﻪ ﺩﺯﺩﻳﺪﻩﺍﻧﺪ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﭼﺮﺥ ﻣﻲﺯﻧﻨﺪ ﺑﺎ‬ ‫ﺩﺧﺘﺮﻱ ﺑﻪ ﻧﺎﻡ ﺁﻳﺪﺍ ﺁﺷﻨﺎ ﻣﻲﺷﻮﻧﺪ ﻭ ﻣﻨﺼﻮﺭ ﺩﻟﺒﺴﺘﻪ ﺍﻭ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺁﻳﺪﺍ ﺩﺧﺘﺮﻱ ﭘﺮﺷــﻮﺭ ﻭ ﻇﺎﻫﺮﺍ ﺍﻣﻴﺪﻭﺍﺭ ﺑﻪ ﺯﻧﺪﮔﻲ ﺍﺳــﺖ‪ .‬ﺍﻭ ﺑﺮﺍﻱ‬ ‫ﻣﺪﺗﻲ ﺑﺎﻋﺚ ﻣﻲﺷﻮﺩ ﻣﻨﺼﻮﺭ ﻧﺎﺭﺍﺣﺘﻲ ﻭ ﻣﺸﻜﻼﺕ ﺯﻧﺪﮔﻲ ﺍﺵ ﺭﺍ‬ ‫ﻓﺮﺍﻣﻮﺵ ﻛﻨﺪ ﻭ ﺍﺯ ﺣﺎﻟﺖ ﻣﻨﻔﻌﻠﻲ ﻛﻪ ﺩﺍﺷﺖ ﺧﺎﺭﺝ ﺷﻮﺩ‪ .‬ﺗﺎ ﺍﻳﻨﻜﻪ‬ ‫ﻭﺿﻊﺟﺴﻤﺎﻧﻲ ﻛﺎﻣﺮﺍﻥﺑﻪﻫﻢﻣﻲﺭﻳﺰﺩﻭﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥﻣﻲﻣﻴﺮﺩ‪.‬‬ ‫ﻣﻨﺼﻮﺭ ﺍﻳﻦ ﺑﺎﺭ ﺩﭼﺎﺭ ﻧﺎﺍﻣﻴﺪﻱ ﻛﺎﻣﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﺑﻪ ﻧﻈﺮ ﻣﻲ‬ ‫ﺁﻳﺪ ﻛﻪ ﻣﺎﺷﻴﻦ ﺁﻧﻬﺎ ﺩﭼﺎﺭ ﺗﺼﺎﺩﻑ ﻭ ﺩﺭ ﺳﺪ ﻏﺮﻕ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﭼﻬﺎﺭ ﺳــﺎﻝ ﺑﻌﺪ ﺍﺯ ﺩﻭﻡ ﺧﺮﺩﺍﺩ‪ ،‬ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺩ ﺭﺣﺎﻟﻰ ﭘﺎ ﺑﻪ ﺩﻫﻪ‪80‬‬ ‫ﻣﻰﮔﺬﺍﺷﺖﻛﻪﺩﺭﻣﻴﺎﻧﻪﺗﺤﻘﻖﺍﻧﺘﻈﺎﺭﺍﺕﻭﺗﻮﻗﻌﺎﺕﺍﺯﺑﺮﻧﺎﻣﻪﻫﺎﻭﺍﻫﺪﺍﻑ‬ ‫ﺷــﻜﻞﮔﻴﺮﻯ ﺩﻭﻟﺖ ﺍﺻﻼﺣﺎﺕ‪ ،‬ﺗﺼﻮﻳﺮ ﺭﻭﺷﻨﻰ ﺍﺯ ﺷــﺮﺍﻳﻂ ﭘﻴﺶﺭﻭ‬ ‫ﻧﺪﺍﺷــﺖ‪ .‬ﻣﺤﺼﻮﻝ ﺩﻭﻟﺖ ﺍﺻﻼﺣﺎﺕ ﻫﺮﭼﻨﺪ ﺩﺭ ﺷﺮﻭﻉ ﺷﻮﺭ ﻭ ﺍﺷﺘﻴﺎﻕ‬ ‫ﺑﻮﺩ‪،‬ﺩﺭﻧﺨﺴﺘﻴﻦﺳﺎﻝﻫﺎﻯﺩﻫﻪ‪ 80‬ﺗﺒﺪﻳﻞﺑﻪﻧﺎﺍﻣﻴﺪﻯﻭﺩﻟﺴﺮﺩﻯﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺩﺭ ﻣﻴﺎﻥ ﺟﻮﺍﻧﺎﻥ‪ ،‬ﺁﻓﺮﻳﻨﻨﺪﮔﺎﻥ ﺍﺻﻠﻰ‬ ‫ﺭﺧﺪﺍﺩﺩﻭﻡﺧﺮﺩﺍﺩﻧﻤﻮﺩﺩﺍﺷﺖ‪.‬ﺑﺨﺶﻋﻤﺪﻩﺍﻯﺍﺯﺍﻳﻦﻗﺸﺮﺑﺎﻧﻮﻋﻰﻗﻬﺮ‬ ‫ﺍﺟﺘﻤﺎﻋﻰﻣﺴﻴﺮﺟﺪﺍﻳﻰﺍﺯﺭﻭﻧﺪﺣﺮﻛﺘﻰﺍﺟﺘﻤﺎﻉﺑﺮﮔﺰﻳﺪﻩﺑﻮﺩﻧﺪ‪.‬ﺟﺎﻣﻌﻪ‬ ‫ﺟﻮﺍﻥﺍﻳﺮﺍﻥﻫﺮﺭﻭﺯﺑﻴﺶﺍﺯﮔﺬﺷﺘﻪﺑﺎﺍﻳﻦﺟﻮﺍﻧﺎﻥﺭﻭﺑﻪﺭﻭﻣﻰﺷﺪ‪.‬ﺟﻮﺍﻧﺎﻧﻰ‬ ‫ﻛﻪ ﮔﻮﻳﻰ ﺑﻰﻫﻴــﭻ ﺍﻋﺘﻘﺎﺩ ﻭ ﺑﺎﻭﺭﻯ ﺭﻭﺯﻣﺮﮔﻰﻫﺎﻯ ﺧــﻮﺩ ﺭﺍ ﺑﺎ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﻟﺤﻈﻪﺍﻯ ﺯﻭﺩﮔﺬﺭ ﻣﻰﮔﺬﺭﺍﻧﺪﻧﺪ ﻭ ﻳﻚ ﺳﺮ ﻣﻨﺎﺳﺒﺎﺕ ﻣﻌﻤﻮﻝ ﺟﺎﻣﻌﻪ ﺭﺍ‬ ‫ﺯﻳﺮﭘﺎﻣﻰﮔﺬﺍﺷﺘﻨﺪ‪».‬ﻧﻔﺲﻋﻤﻴﻖ«ﻓﻴﻠﻢﺍﻳﻦﺟﻮﺍﻧﺎﻥﺑﻮﺩ‪.‬ﺟﻮﺍﻧﺎﻥﻋﺎﺻﻰ‬ ‫ﻭ ﺑﻰﻗﻴﺪ ﺍﻣﺎ ﺩﺭ ﺑﺎﻃــﻦ ﭘﺎﻙ ﻭ ﺻﺎﺩﻗﻰ ﻛﻪ ﺟﺎﻳﮕﺎﻩ ﻭ ﺁﻳﻨﺪﻩﺍﻯ ﺑﺮﺍﻯ ﺧﻮﺩ‬ ‫ﻧﻤﻰﺩﻳﺪﻧﺪﻭﺑﻪﺳﻮﻯﻧﻮﻋﻰﺧﻮﺩﻭﻳﺮﺍﻧﮕﺮﻯﻣﻰﺭﻓﺘﻨﺪ‪.‬ﻧﻔﺲﻋﻤﻴﻖﻳﻜﻰ‬ ‫ﺍﺯ ﻣﻌﺪﻭﺩ ﻧﻤﻮﻧﻪﻫﺎﻯ ﻣﻨﻄﺒﻖ ﻭ ﻋﻴﻨﻰ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﻧﻤﺎﻳﺶ ﻳﻜﻰ‬ ‫ﺍﺯ ﻭﺍﻗﻌﻴﺖﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﻫﻤﺮﺍﻩ ﺑﺎ ﺳﺎﺧﺘﺎﺭ ﻭ ﭘﺮﺩﺍﺧﺘﻰ ﻣﺸﺎﺑﻪ ﻭ ﻧﻤﻮﻧﻪ‬ ‫ﻣﻮﺿﻮﻋﺶ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻰ ﺑﺎ ﺑﻴﺎﻧﻰ ﻣﺪﺭﻥ ﻭ ﺍﻣﺮﻭﺯﻯ ﺑﻨﺎ ﺷﺪﻩ ﺑﺮ ﺭﻭﺍﻳﺖﻫﺎﻯ‬ ‫ﺳﺎﺩﻩﺟﺪﻳﺪﺑﺪﻭﻥﺷﺨﺼﻴﺖﻫﺎﻯﻣﺘﻌﺪﺩﺑﺎﺩﺍﺳﺘﺎﻧﻰﺳﺎﺩﻩﻭﻳﻚﺧﻄﻰﻭ‬ ‫ﻣﻬﻢﺗﺮﺍﺯﻫﻤﻪﺑﺪﻭﻥﻟﺤﻦﻧﺼﻴﺤﺖﮔﺮﺍﻳﺎﻧﻪﻭﻧﻔﻰﻛﻨﻨﺪﻩ‪.‬ﻫﻤﻪﺍﻳﻨﻬﺎﻧﻔﺲ‬ ‫ﻋﻤﻴﻖﺭﺍﺗﺒﺪﻳﻞﺑﻪﻧﻤﻮﻧﻪﻣﻨﺤﺼﺮﺑﻪﻓﺮﺩﻯﺩﺭﺳﻴﻨﻤﺎﻯﺍﻳﺮﺍﻥﻛﺮﺩ‪.‬ﻓﻴﻠﻤﻰ‬ ‫ﻛﻪﺩﺭﻣﻘﻄﻊﺑﺴﻴﺎﺭﻣﻬﻤﻰﺳﺎﺧﺘﻪﺷﺪﻭﺣﺎﻻﻓﻴﻠﻢﺩﻭﺭﺍﻧﺶﺍﺳﺖ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﭘﺮﻭﻳﺰ ﺷــﻬﺒﺎﺯﻯ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻛﻪ ﻓﻴﻠﻢﻫﺎﻯ ﻗﺒﻠﻰﺍﺵ )ﻣﺴــﺎﻓﺮ‬ ‫ﺟﻨﻮﺏ ﻭ ﻧﺠﻮﺍ( ﻫﻴﭻﻛﺪﺍﻡ ﺗﻮﺟﻪ ﭼﻨﺪﺍﻧﻰ ﺭﺍ ﺑﺮﻧﻴﻨﮕﻴﺨﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺳﺎﻝ‬ ‫‪ 1380‬ﻃﺮﺡ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻰ ﺑﺎ ﻧﺎﻡ ﻧﻔﺲ ﻋﻤﻴﻖ ﺭﺍ ﺑﺎ ﻣﺸﻮﺭﺕ ﺗﻌﺪﺍﺩﻯ‬ ‫ﺍﺯ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﻣﻌﺮﻭﻑ ﻭ ﺟﻬﺎﻧﻰ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﻧﻮﺷﺖ‪ .‬ﻓﻴﻠﻢ ﻛﻪ‬ ‫ﺯﻧﺪﮔﻰ ﺳﻪ ﺟﻮﺍﻥ ﺭﺍ ﺩﺭ ﺷﻬﺮ ﺗﻬﺮﺍﻥ ﺭﻭﺍﻳﺖ ﻣﻰﻛﺮﺩ ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻰ‬ ‫ﺍﻣﻴﺮ ﺳﻤﺎﻭﺍﺗﻰ ﭘﺮﻭﺍﻧﻪ ﺳــﺎﺧﺖ ﮔﺮﻓﺖ ﻭ ﺑﻼﻓﺎﺻﻠﻪ ﻣﺮﺍﺣﻞ ﺗﻮﻟﻴﺪﺵ‬ ‫ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﺷﻬﺒﺎﺯﻯ ﺑﺮﺍﻯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﻓﻴﻠﻢ ﺑﻪ ﺳﺮﺍﻍ ﭼﻬﺮﻩﻫﺎﻯ ﺟﺪﻳﺪ‬ ‫ﻭ ﺩﻳﺪﻩ ﻧﺸﺪﻩ ﺭﻓﺖ ﻭ ﺍﺯ ﺑﻴﻦ ﺩﻭﺳــﺘﺎﻥ ﻭ ﺁﺷﻨﺎﻳﺎﻥ ﻭ ﻧﺎﻡﻫﺎﻯ ﻣﻌﺮﻓﻰ‬ ‫ﺷﺪﻩ ﺍﺯ ﺳــﻮﻯ ﺁﻧﻬﺎ ﺑﺎﺯﻳﮕﺮﺍﻧﺶ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﭼﻨﺪ‬ ‫ﺭﻭﺯ ﻣﺎﻧﺪﻩ ﺑﻪ ﺯﻣﺴﺘﺎﻥ ﺳــﺎﻝ ‪ 80‬ﺩﺭ ﺗﻬﺮﺍﻥ ﺁﻏﺎﺯ ﺷﺪ ﻭ ﺩﺭ ‪ 28‬ﺑﻬﻤﻦ‬ ‫ﻫﻤﺎﻥ ﺳــﺎﻝ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ .‬ﻓﻴﻠﻢ ﺷــﻬﺮﻳﻮﺭ ﺳﺎﻝ ‪ 81‬ﺑﻪﻃﻮﺭ ﻛﺎﻣﻞ‬ ‫ﺁﻣﺎﺩﻩ ﻧﻤﺎﻳﺶ ﺑﻮﺩ ﺍﻣﺎ ﻫﻤﺎﻥ ﻧﮕﺎﻩ ﺗﻠﺦ ﻭ ﻣﺎﻳﻮﺳﺎﻧﻪﺍﺵ ﻣﺸﻜﻞﺳﺎﺯ ﺷﺪ‬ ‫ﻭ ﺑﻪ ﻣﺬﺍﻕ ﻣﺴﺌﻮﻻﻥ ﺧﻮﺵ ﻧﻴﺎﻣﺪ‪ .‬ﻧﺘﻴﺠﻪ ﺗﻮﻗﻴﻒ ﻣﻘﻄﻌﻰ ﻓﻴﻠﻢ ﺑﻮﺩ‪.‬‬ ‫ﺷــﻬﺒﺎﺯﻯ ﺑﺎ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷــﺪﻩ ﺯﻣﻴﻨﻪ ﺑﺤﺚ ﻭ ﮔﻔﺖﻭﮔﻮ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎ‬ ‫ﺑﺮﺍﻧﮕﻴﺨﺖ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻧﮕﺎﻩﻫﺎ ﻣﻌﻄﻮﻑ ﻓﻴﻠﻤﻰ ﺷﺪ ﻛﻪ ﺑﺴﻴﺎﺭ ﺍﺯ‬ ‫ﺁﻥ ﺗﻌﺮﻳﻒ ﻭ ﺗﻤﺠﻴﺪ ﻣﻰﺷــﺪ ﺍﻣﺎ ﻫﻨﻮﺯ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺍﺧﺬ ﻛﻨﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺣﺎﻝ ﺗﻼﺵ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﺭﻓﻊ ﺳﻮءﺗﻔﺎﻫﻢ ﺍﺯ ﻓﻴﻠﻢ‬ ‫ﻧﺰﺩ ﻣﺴــﺌﻮﻻﻥ ﻛﺮﺩ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﺁﺳــﺘﺎﻧﻪ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖ ﻭ ﻳﻚ‬ ‫ﻓﺠﺮ ﺍﻋﻼﻡ ﺷﺪ ﻣﺸــﻜﻞ ﻓﻴﻠﻢ ﺑﺎ ﺣﺬﻑ ﻳﻚ ﺳﻜﺎﻧﺲ ﻭ ﭼﻨﺪ ﺩﻳﺎﻟﻮگ‬ ‫ﺣﻞ ﺷﺪﻩ ﻭ ﻓﻴﻠﻢ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺷﺮﻛﺖ ﻛﻨﺪ‪ .‬ﻫﻤﺰﻣﺎﻥ‬ ‫ﺑﺎ ﺍﻋﻼﻡ ﭘﺬﻳﺮﺵ ﻓﻴﻠﻢ ﺩﺭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﺍﻳﻦ ﺯﻣﺰﻣﻪ ﻛﻪ ﻧﻔﺲ ﻋﻤﻴﻖ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺩﺭﺑﺎﺭﻩ ﺟﻮﺍﻧﺎﻥ ﺩﺭ ﺍﻳﻦ ﭼﻨﺪ ﺳﺎﻝ ﺍﺳﺖ ﺩﺭ‬ ‫ﻣﺤﺎﻓﻞ ﺳﻴﻨﻤﺎﻳﻰ ﭘﻴﭽﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺍﻛﺮﺍﻥ ﻧﻔﺲ ﻋﻤﻴﻖ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺍﺳﺘﻘﺒﺎﻝ ﺷﺪﻳﺪ ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﺭﺍ ﺩﺭ ﭘﻰ ﺩﺍﺷــﺖ‪ .‬ﻓﻴﻠﻢ ﺗﻘﺮﻳﺒﺎ ﺗﻮﺍﻧﺴﺖ ﺳــﺘﺎﻳﺶ ﺗﻤﺎﻡ ﻣﻨﺘﻘﺪﺍﻥ ﺑﻪ‬ ‫ﻭﺍﺳــﻄﻪ ﻧﮕﺎﻩ ﺩﻗﻴﻖ ﻭ ﻫﻤﺮﺍﻩ ﺯﻣﺎﻧﻪﺍﺵ ﺑﻪ ﺟﻮﺍﻧﺎﻥ ﻭ ﺩﻧﻴﺎﻯ ﺁﻧﻬﺎ ﻭ ﻧﻴﺰ‬ ‫ﺳــﺎﺧﺘﺎﺭ ﻭ ﭘﺮﺩﺍﺧﺖ ﺳــﺎﺧﺘﺎﺭ ﺍﻣﺎ ﺗﺎﺛﻴﺮﮔﺬﺍﺭﺵ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺰﺩ‪ .‬ﻓﻴﻠﻢ ﺑﺎ‬ ‫ﻓﺎﺻﻠﻪ ﺑﺴــﻴﺎﺭ ﺯﻳﺎﺩ ﺩﺭ ﺗﻤﺎﻡ ﻧﻈﺮﺳــﻨﺠﻰﻫﺎ ﺑﻪﻋﻨﻮﺍﻥ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺍﺯ ﻧﮕﺎﻩ ﻣﻨﺘﻘﺪﺍﻥ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩﺍﻯ ﻛﻪ ﺑﺪﻭﻥ ﺣﻀﻮﺭ ﻣﺪﻋﻰ ﭼﻨﺪﺍﻧﻰ‬ ‫ﺑﺮﮔﺰﺍﺭ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﻣﻰﺷــﻮﺩ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻰ ﺍﺳﺖ ﻛﻪ ﺩﺍﻭﺭﺍﻥ‬ ‫ﺗﻨﻬﺎ ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪ ﺁﻥ ﺍﻫﺪﺍﻣﻰﻛﻨﻨﺪ ﻭ ﺷﻬﺒﺎﺯﻯ ﻧﻴﺰ ﻫﻨﮕﺎﻡ‬ ‫ﺩﺭﻳﺎﻓﺘﺶ ﺍﻳﻦ ﺟﺎﻳﺰﻩ ﺭﺍ ﻧﺸــﺎﻧﻪﺍﻯ ﺍﺯ ﺗﺎﻳﻴﺪ ﻣﺤﺘﻮﺍﻯ ﻓﻴﻠﻢ ﺗﻮﺳــﻂ‬ ‫ﺩﺍﻭﺭﺍﻥ ﻭ ﻣﺴﺌﻮﻻﻥ ﻣﻰﺧﻮﺍﻧﺪ ﻭ ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﻣﺎﻧﻨﺪ ﺻﺤﺒﺖﻫﺎﻳﺶ‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻴﺰ ﭼﻨﺪﺍﻥ ﺑﻪ ﺣﺎﺷﻴﻪﻫﺎ ﻧﭙﺮﺩﺍﺯﺩ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﺍﺯ ﻓﻴﻠــﻢ ﺍﻟﺒﺘﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﻣﻨﺘﻘﺪﺍﻥ ﻧﺒﻮﺩ ﺍﻣــﺎ ﻧﻮﺑﺖﻫﺎﻯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺑﻪﻭﻳﮋﻩ ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﭘﺎﻳﺎﻧﻰ ﺑﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﻫﻤﺮﺍﻩ ﺑﻮﺩ ﻭ ﺩﺭ ﺟﺪﻭﻝ ﺁﺭﺍﻯ‬ ‫ﻣﺮﺩﻣﻰ ﻫﻢ ﺩﺭ ﺭﺩﻩﻫﺎﻯ ﺑﺎﻻ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺻﺤﺒﺖ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺩﺭ ﻣﺤﺎﻓﻞ ﺭﺳﺎﻧﻪﺍﻯ ﺍﺩﺍﻣﻪ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺣﺘﻰ‬ ‫ﺻﺤﺒﺖ ﺍﺯ ﺍﺣﺘﻤــﺎﻝ ﻓﺮﻭﺵ ﺑﺎﻻﻯ ﻓﻴﻠﻢ ﻣﻰﺷــﻮﺩ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺣﺎﻝ‬ ‫ﺑﻌﻀﻰ ﺯﻣﺰﻣﻪﻫﺎ ﻧﻴﺰ ﺣﺎﻛﻰ ﺍﺯ ﺍﺣﺘﻤﺎﻝ ﺑﺮﻭﺯ ﻣﺸﻜﻼﺗﻰ ﺩﻭﺑﺎﺭﻩ ﺑﺮﺍﻯ‬ ‫ﻓﻴﻠﻢ ﺍﺳــﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﻓﻴﻠﻢ ﺑﺎ ﻫﻤﺎﻥ ﻣﻘﺪﺍﺭ ﺣﺬﻓﻰﻫﺎﻯ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻓﺠﺮ ﺍﺯ ﺁﻏﺎﺯ ﭘﺎﻳﻴﺮ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻰﺍﺵ ﺭﺍ ﺁﻏﺎﺯ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬ ‫ﺍﻣﺎ ﻣﻄﺎﺑﻖ ﺍﻧﺘﻈﺎﺭﺍﺕ ﻧﻴﺴــﺖ ﻭ ﺑﺎ ﺍﻳﻨﻜﻪ ﻓﻴﻠﻢ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺧﺎﺻﺶ ﺭﺍ‬ ‫ﻣﻰ ﻳﺎﺑﺪ ﺍﻣﺎ ﻧﻤﻰﺗﻮﺍﻧﺪ ﭘﺎﺳﺨﮕﻮﻯ ﺍﻧﺘﻈﺎﺭﺍﺕ ﺑﺎﺷﺪ‪ .‬ﻋﻮﺍﻣﻞ ﻓﻴﻠﻢ ﻫﻢ‬ ‫ﺩﺭ ﮔﻔﺖ ﻭﮔﻮﻫﺎﻯ ﻣﺘﻌﺪﺩ ﺷﺮﻛﺖ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺍﺛﺮ ﻣﻰﻧﺸﻴﻨﻨﺪ‪ .‬ﺩﺍﻣﻨﻪ ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺑﻪ ﻣﺤﻴﻂﻫﺎﻯ ﻣﺠﺎﺯﻯ ﻫﻢ‬ ‫ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺷﻬﺒﺎﺯﻯ ﺩﺭ ﮔﻔﺖ ﻭ ﮔﻮﻫﺎﻳﺶ ﺗﻮﺿﻴﺤﺎﺗﻰ ﺩﺭﺑﺎﺭﻩ‬ ‫ﻓﻴﻠﻢ ﻣﻰﺩﻫﺪ‪» :‬ﻧﻔﺲ ﻋﻤﻴﻖ ﺑﺮﺍﻯ ﻣﻦ ﺍﺯ ﻳﻚ ﺳــﻮﺍﻝ ﺷﺮﻭﻉ ﺷﺪ ﻛﻪ‬ ‫ﭼﺮﺍ ﺍﻳﻦ ﻧﺴــﻞ ﺍﻳﻦ ﻃﻮﺭﻯ ﺍﺳــﺖ؟ ﻣﮕﺮ ﺑﻪ ﭼﻰ ﻓﻜﺮ ﻣﻰﻛﻨﺪ؟ ﭼﺮﺍ‬ ‫ﺳــﺮﮔﺮﺩﺍﻥ ﺍﺳﺖ؟ ﻧﻔﺲ ﻋﻤﻴﻖ ﺣﺴﺮﺕﺑﺎﺭ ﺍﺳــﺖ‪ ،‬ﭼﻮﻥ ﺍﻧﮕﺎﺭ ﻗﺮﺍﺭ‬ ‫ﺍﺳــﺖ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻢ ﺟﻮﺍﻥ ﻧﺘﻮﺍﻧﺪ ﺟﻮﺍﻧﻰ ﻛﻨــﺪ؛ ﺁﻥ ﻫﻢ ﺑﻪ ﺩﻟﻴﻞ‬ ‫ﺷﺮﺍﻳﻂ ﺍﺟﺘﻤﺎﻋﻰ ﻛﻪ ﻧﻪ ﻓﻘﻂ ﺍﻳﺮﺍﻥ ﺑﻠﻜﻪ ﺩﺭ ﺟﺎﻫﺎﻯ ﺩﻳﮕﺮ ﻫﻢ ﺣﺎﻛﻢ‬ ‫ﺍﺳﺖ‪) «.‬ﻓﻴﻠﻢ‪ ،‬ﺷــﻤﺎﺭﻩ ‪ (308‬ﻧﻤﺎﻳﺶ ﻧﻔﺲ ﻋﻤﻴﻖ ﺑﺎ ﻓﺮﻭﺵ ﻛﻢ ﺑﻪ‬ ‫ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﺎﻳﻨﺪﻩ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺑﻪ ﺁﻛﺎﺩﻣﻰ‬ ‫ﺍﺳﻜﺎﺭ ﻣﻌﺮﻓﻲ ﺷﺪ ﺍﻣﺎ ﺩﺭ ﺑﻴﻦ ﭘﻨﺞ ﻧﺎﻣﺰﺩ ﻧﻬﺎﻳﻰ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺖ‪ .‬ﻓﻴﻠﻢ ﺑﻪ‬ ‫ﭼﻨﺪ ﺟﺸﻨﻮﺍﺭﻩ ﺟﻬﺎﻧﻰ ﻫﻢ ﺭﻓﺖ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻧﻔﺲ ﻋﻤﻴﻖ ﺍﻣــﺮﻭﺯ ﺑﻪ ﻓﻴﻠﻢ ﻧﻤﻮﻧﻪﺍﻯ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﺑﻴﺎﻥ‬ ‫ﻣﺴــﺎﺋﻞ ﺟﻮﺍﻧﺎﻥ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺍﺳــﺖ‪ .‬ﻓﻴﻠﻤﻰ ﻛﻪ ﺗﻤﺎﺷﺎﻳﺶ ﺍﻣﺮﻭﺯ‬ ‫ﻳﺎﺩﺁﻭﺭ ﻳﻚ ﻧﺴــﻞ ﻭ ﻣﺴﺎﺋﻠﺶ ﺍﺳﺖ‪ .‬ﻧﺴــﻞ ﻣﺘﻮﻟﺪ ﺩﻫﻪ ‪ 60‬ﺑﻴﺶ ﺍﺯ‬ ‫ﺩﻳﮕﺮﺍﻥ ﺧــﻮﺩﺵ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠــﻢ ﻣﻰﺑﻴﻨﺪ‪ .‬ﻫﻤﻪ ﺁﻧﭽﻪ ﺍﻳﻦ ﻧﺴــﻞ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻭﻳﮋﮔﻰﻫﺎﻳﺶ ﺩﺍﺭﺩ ﺩﺭ ﻓﻴﻠﻢ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻧﺴﻞ ﺑﺎ ﺩﺍﻧﺶ‬ ‫ﻭ ﺳــﻮﺍﺩ ﻭ ﻫﻮﺷﻰ ﻛﻪ ﺑﻴﺸﺘﺮ ﺩﺭ ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﻧﻮﻋﻰ ﺍﺯ ﻧﻈﻢ ﺭﻳﺎﻛﺎﺭﺍﻧﻪ ﻭ‬ ‫ﻇﺎﻫﺮﺳﺎﺯ ﻭ ﺍﺳﺘﻌﺪﺍﺩ ﺗﻠﻒ ﻛﻦ ﺟﺎﻣﻌﻪ‪ ،‬ﺳﺮ ﺑﻪ ﺷﻮﺭﺷﻰ ﺧﻮﺩﻭﻳﺮﺍﻧﮕﺮ‬ ‫ﻣﻰﺯﻧﺪ ﻭ ﺧــﻮﺩﺵ ﺭﺍ ﻓﻨﺎ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻔﺲ ﻋﻤﻴﻖ ﺭﺍ ﻧﺒﺎﻳﺪ ﺟﺪﺍ ﺍﺯ ﺯﻣﺎﻧﻪ‬ ‫ﻭ ﺩﻭﺭﻩﺍﺵ ﺩﻳﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﺍﺛﺮ ﺩﻳﮕﺮﻯ ﻣﻰﺗﻮﺍﻧﺪ ﻧﺎﺍﻣﻴﺪﻯ‬ ‫ﻭ ﺩﻟﺴــﺮﺩﻯ ﻧﺴﻞ ﺟﻮﺍﻥ ﺭﺍ ﻧﺸﺎﻥ ﺩﻫﺪ‪ .‬ﺳــﻄﺢ ﭘﺮﺩﺍﺧﺖ ﻭ ﻣﻀﻤﻮﻥ‬ ‫ﻓﻴﻠﻢ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﻣﻰﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺁﻳﻨﻪﺍﻯ ﺍﺯ ﺷﺮﺍﻳﻂ‬ ‫ﺳــﺎﻝﻫﺎﻯ ﺑﻌﺪﺵ ﻫــﻢ ﺩﻳﺪ‪ .‬ﻫﺮﭼﻨــﺪ ﺑﻪﻧﻈﺮ ﻣﻰﺭﺳــﺪ ﺍﻳﻦ ﺩﻭﺭﻩ‬ ‫ﺧﻮﺩﻭﻳﺮﺍﻧﮕﺮﻯ ﻭ ﻧﺎﺍﻣﻴﺪﻱ ﺟﺎﻳﺶ ﺭﺍ ﺑﻪ ﻋﻤﻞﮔﺮﺍﻳﻰ ﻭ ﺍﻣﻴﺪ ﻧﺰﺩ ﺟﻮﺍﻧﺎﻥ‬ ‫ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪93‬‬ ‫‪28‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﻣﺎﺭﻣﻮﻟﻚ )‪(1382‬‬ ‫ﻋﺒﻮﺭ ﺍﺯ ﺧﻂ ﻗﺮﻣﺰ‬ ‫ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﻛﻤﺎﻝ ﺗﺒﺮﻳـﺰﻯ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨـﺪﻩ‪ :‬ﻣﻨﻮﭼﻬﺮ ﻣﺤﻤﺪﻯ‪،‬‬ ‫ﻧﻮﻳﺴـﻨﺪﻩ‪ :‬ﭘﻴﻤﺎﻥ ﻗﺎﺳـﻢﺧﺎﻧﻰ‪ ،‬ﺑﺮ ﺍﺳـﺎﺱ ﻃﺮﺣـﻰ ﺍﺯ‪ :‬ﻣﻨﻮﭼﻬﺮ‬ ‫ﻣﺤﻤﺪﻯ‪ ،‬ﻣﺪﻳـﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﻤﻴﺪ ﺧﻀﻮﻋﻰﺍﺑﻴﺎﻧﻪ‪ ،‬ﻣﻮﺳـﻴﻘﻲ‪:‬‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﻋﻠﻴﻘﻠﻰ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﺣﺴﻴﻦ ﺯﻧﺪﺑﺎﻑ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ ﻭ ﻟﺒﺎﺱ‪:‬‬ ‫ﻓﺮﻫﺎﺩ ﻭﻳﻠﻜﻴﺠﻰ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﻣﺤﻤﻮﺩ ﺳﻤﺎﻙﺑﺎﺷـﻰ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭﻯ‬ ‫ﻭ ﻣﻴﻜﺲ‪ :‬ﻣﺤﺴـﻦ ﺭﻭﺷـﻦ‪ ،‬ﺩﺳـﺘﻴﺎﺭ ﺍﻭﻝ ﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬ﺳﻴﺪﺟﻤﺎﻝ‬ ‫ﺳـﻴﺪﺣﺎﺗﻤﻰ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩﭘﺮﺩﺍﺯﻱ‪ :‬ﻣﺠﻴﺪ ﺍﺳـﻜﻨﺪﺭﻯ‪ ،‬ﺑﺎﺯﻳﮕـﺮﺩﺍﻥ ﻭ ﺍﻧﺘﺨﺎﺏ ﺑﺎﺯﻳﮕﺮ‪:‬‬ ‫ﺣﺒﻴﺐ ﺭﺿﺎﻳﻰ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﺟﻮﺍﺩ ﻧﻮﺭﻭﺯﺑﻴﮕﻰ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﭘﺮﻭﻳﺰ ﭘﺮﺳﺘﻮﻳﻰ‪ ،‬ﺑﻬﺮﺍﻡ ﺍﺑﺮﺍﻫﻴﻤﻰ‪ ،‬ﺭﺿﺎ ﺳﻌﻴﺪﻯ‪ ،‬ﺷﺎﻫﺮﺥ ﻓﺮﻭﺗﻨﻴﺎﻥ‪ ،‬ﺭﻋﻨﺎ‬ ‫ﺁﺯﺍﺩﻯﻭﺭ‪ ،‬ﻧﻘﻰ ﺳﻴﺪﺟﻤﺎﻟﻰ‪ ،‬ﻣﻬﺮﺍﻥ ﺭﺟﺒﻰ‪ ،‬ﺳﻬﻴﻼ ﺭﺿﻮﻯ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻓﺮﺍﺩﻳﺲ ﺑﺮﻳﻦ‪ 115 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳـﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 2 :‬ﺍﺭﺩﻳﺒﻬﺸـﺖ ‪ ،1383‬ﻓـﺮﻭﺵ ﺩﺭ ﺗﻬـﺮﺍﻥ‪ 772 :‬ﻣﻴﻠﻴﻮﻥ‬ ‫ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻣﺎﺭﻣﻮﻟﻚ ﺁﺧﺮﻳﻦ ﮔﺎﻡ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﻭﺭﻭﺩ ﺑﻪ ﻣﻮﺿﻮﻋﺎﺕ ﻭ‬ ‫ﻣﺤﺪﻭﺩﻩﻫﺎﻯ ﻣﻠﺘﻬﺐ ﻭ ﻣﻤﻨﻮﻉ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻰ ﻛﻪ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﭘﺎﻳﺎﻧﻰ‬ ‫ﺣﻴﺎﺕ ﺩﻭﻟﺖ ﺍﺻﻼﺣﺎﺕ ﻭ ﺩﺭ ﻣﻘﻄﻌﻰ ﻛﻪ ﺍﺻﻼﺡ ﻃﻠﺒﺎﻥ ﺍﻧﺪﻙ ﺍﻧﺪﻙ‬ ‫ﺍﺯ ﻗﻄﺎﺭ ﻗﺪﺭﺕ ﭘﻴﺎﺩﻩ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﺳﺎﺧﺘﻪ ﻭ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪ ﻭ ﻧﻤﺎﻳﺸﮕﺮ‬ ‫ﻣﻴﺰﺍﻥ ﺣﺴﺎﺳــﻴﺖﻫﺎﻳﻰ ﺷــﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ ﻧﺴﺒﺖ ﺑﻪ ﺳﻴﻨﻤﺎ ﻧﺰﺩ‬ ‫ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ ﺟﺎﻣﻌﻪ ﻭﺟﻮﺩ ﺩﺍﺷــﺖ‪ .‬ﻣﺎﺭﻣﻮﻟﻚ ﺩﺭ ﭼﻨﻴﻦ ﺩﻭﺭﻩﺍﻯ‪،‬‬ ‫ﺑﻠﻨﺪﭘﺮﻭﺍﺯﻯ ﺟﺴــﻮﺭﺍﻧﻪﺍﻯ ﺑﻮﺩ ﺑﺮﺍﻯ ﺗﺼﻮﻳﺮ ﻛﺮﺩﻥ ﻣﺴﺎﺋﻞ ﻣﺮﺗﺒﻂ‬ ‫ﺑﺎ ﺭﻭﺣﺎﻧﻴﺖ ﺩﺭ ﺳــﻴﻨﻤﺎ‪ .‬ﻣﻮﺿﻮﻉ ﻧﻤﺎﻳﺶ ﺭﻭﺣﺎﻧﻴﺖ ﻭ ﻣﺴــﺎﺋﻠﺶ ﺩﺭ‬ ‫ﺳــﻴﻨﻤﺎ ﺁﻥ ﻫﻢ ﺑﻪ ﺯﺑﺎﻥ ﻃﻨﺰ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﺳــﺎﺑﻘﻪ ﻧﺪﺍﺷﺖ ﻭ ﺩﺭ ﻫﻤﺎﻥ‬ ‫ﺯﻣﺎﻥ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻭﺍﻛﻨﺶ ﺑﺮﺍﻧﮕﻴﺰ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺣﺠﻢ ﻭﺍﻛﻨﺶ‬ ‫ﺩﺭ ﻗﺎﻟــﺐ ﺍﻧﺘﻘﺎﺩﺍﺕ ﻭ ﺣﻤــﻼﺕ ﻟﻔﻈﻰ ﻭ ﻓﻴﺰﻳﻜﻰ ﺑــﻪ ﻓﻴﻠﻢ‪ ،‬ﺑﻴﺶ ﺍﺯ‬ ‫ﻫﺮ ﭼﻴﺰ ﻧﻤﺎﻳﺸﮕﺮ ﻭﺍﻗﻌﻴﺎﺕ ﻧﻴﺮﻭﻫﺎﻯ ﻗﺪﺭﺗﻤﻨﺪ ﺟﺎﻣﻌﻪ ﺑﻮﺩ‪ .‬ﻧﻴﺮﻭﻫﺎﻳﻰ‬ ‫‪94‬‬ ‫ﺭﺿﺎ ﻣﺜﻘﺎﻟﻲ ﻣﻌﺮﻭﻑ ﺑﻪ ﺭﺿﺎ ﻣﺎﺭﻣﻮﻟﻚ ﺩﺯﺩ ﺳﺎﺑﻘﻪﺩﺍﺭﻱ ﺍﺳﺖ ﻛﻪ ﺑﺎﺭﻫﺎ ﺩﺳﺘﮕﻴﺮ ﻭ ﺯﻧﺪﺍﻧﻲ ﺷﺪﻩ‪ ،‬ﺍﻣﺎ‬ ‫ﺩﺭ ﺁﺧﺮﻳﻦ ﺩﺳﺘﮕﻴﺮﻱ‪ ،‬ﺍﺗﻬﺎﻡ ﺍﻭ ﺳﺮﻗﺖ ﻣﺴﻠﺤﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺭﺿﺎ ﺭﺍ ﺑﻪ ﺯﻧﺪﺍﻧﻲ ﺗﺤﻮﻳﻞ ﻣﻲﺩﻫﻨﺪ ﻛﻪ ﺭﺋﻴﺲ‬ ‫ﺁﻥ )ﺁﻗﺎﻱ ﻣﺠﺎﻭﺭ( ﻣﺮﺩﻱ ﺑﺴﻴﺎﺭ ﺳﺨﺘﮕﻴﺮ ﻭ ﺍﻧﻌﻄﺎﻑﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﺍﻭ ﻋﻘﻴﺪﻩ ﺩﺍﺭﺩ ﺑﺎﻳﺪ ﺁﻧﻘﺪﺭ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﻣﺠﺮﻣﺎﻥ ‪ -‬ﺑﺎ ﺭﻭﺵﻫﺎﻳﻲ ﺧﺎﺹ – ﺳــﺨﺖﮔﻴﺮﻱ ﻛﻨﺪ ﻛﻪ ﺣﺘﻲ ﻓﻜﺮ ﺍﻋﻤﺎﻝ ﺧﻼﻑ ﺑﻪ ﻣﻐﺰﺷﺎﻥ ﻧﺮﺳﺪ‪.‬‬ ‫ﻭ ﻣﻌﺘﻘﺪ ﺍﺳــﺖ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺭﺍ ﺑﻪ ﺯﻭﺭ ﻫﻢ ﻛﻪ ﺷﺪﻩ ﺑﺎﻳﺪ ﻭﺍﺩﺍﺭ ﺑﻪ ﺩﺭﺳﺘﻜﺎﺭﻱ ﻛﺮﺩ ﺗﺎ ﺑﻪ ﺑﻬﺸﺖ ﺑﺮﻭﻧﺪ‪ .‬ﺭﺿﺎ‬ ‫ﺩﺭ ﺣﺎﺩﺛﻪﺍﻱ ﻣﺠﺮﻭﺡ ﻣﻲ ﺷــﻮﺩ ﻭ ﺑﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺧﺎﺭﺝ ﺍﺯ ﺯﻧﺪﺍﻥ ﻣﻨﺘﻘﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺁﻧﺠﺎ ﻟﺒﺎﺱ ﻳﻚ‬ ‫ﺭﻭﺣﺎﻧﻲ ﺑﻴﻤﺎﺭ ﺭﺍ ﻣﻲﺭﺑﺎﻳﺪ ﻭ ﺩﺭ ﻟﺒﺎﺱ ﺭﻭﺣﺎﻧﻴﺖ ﻣﻮﻓﻖ ﺑﻪ ﻓﺮﺍﺭ ﺍﺯ ﺯﻧﺪﺍﻥ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﺑﺎ ﻣﺼﻮﻧﻴﺘﻲ ﻛﻪ ﺩﺭ‬ ‫ﻟﺒﺎﺱ ﺗﺎﺯﻩ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻪ ﻳﻚ ﺷــﻬﺮﻙ ﻣﺮﺯﻱ ﻣﻲﺭﻭﺩ ﺗﺎ ﺑﺎ ﮔﺬﺭﻧﺎﻣﻪ ﺟﻌﻠﻲ ﺍﺯ ﻛﺸﻮﺭ ﺧﺎﺭﺝ ﺷﻮﺩ ﺍﻣﺎ ﺑﻪ‬ ‫ﺩﻻﻳﻠﻲ ﺑﺎ ﻳﻚ ﺭﻭﺣﺎﻧﻲ ﺩﻳﮕﺮ ﺍﺷﺘﺒﺎﻩ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﺍﻣﺎﻣﺖ ﺟﻤﺎﻋﺖ ﻣﺤﻠﻲ ﺭﺍ ﺑﺮﻋﻬﺪﻩﺍﺵ ﻣﻲﮔﺬﺍﺭﻧﺪ‪.‬‬ ‫ﺍﻭ ﺑﺎ ﺷــﻴﻮﻩﻫﺎﻱ ﺧﻮﺩﺵ ﻣﺮﺩﻡ ﺭﺍ ﻣﻮﻋﻈﻪ ﻭ ﺭﺍﻫﻨﻤﺎﻳﻲ ﻣﻲﻛﻨــﺪ ﻭ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺍﻋﻤﺎﻝ ﺧﻼﻓﻜﺎﺭﺍﻧﻪﺍﺵ‬ ‫ﺑﻪ ﺳــﻮءﺗﻌﺒﻴﺮ ﻧﻴﻜﻮﻛﺎﺭﻱ ﻗﻠﻤﺪﺍﺩ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺩﺭ ﺭﻭﺳــﺘﺎ ﻣﺮﻳﺪﻫﺎﻱ ﺯﻳﺎﺩﻱ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ ﻭ‬ ‫ﺧــﻮﺩ ﺍﻭ ﻧﻴﺰ ﻛﻢﻛﻢ ﺗﺤــﺖ ﺗﺎﺛﻴﺮ ﻟﺒﺎﺱ ﻭ ﻣﻮﻗﻌﻴﺖ ﺟﺪﻳــﺪ ﺑﻪ ﺍﻋﻤﺎﻝ ﻣﺜﺒﺘﻲ ﺭﻭﻱ ﻣــﻲﺁﻭﺭﺩ ﺗﺎ ﺍﻳﻨﻜﻪ‬ ‫ﺁﻗﺎﻱ ﻣﺠﺎﻭﺭ ﺭﺋﻴﺲ ﺯﻧﺪﺍﻥ ﻛﻪ ﻫﻤﻪ ﺟﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻭ ﻣﻲﮔﺮﺩﺩ‪ ،‬ﺑﻪ ﺳﺮﺍﻏﺶ ﻣﻲﺁﻳﺪ ﺍﻣﺎ ﺍﻭ ﻫﻢ ﺩﻳﮕﺮ ﻣﺎﻳﻞ‬ ‫ﻧﻴﺴﺖ ﺭﺿﺎ ﺭﺍ ﺑﺎ ﺩﺳﺘﺒﻨﺪ ﺩﺳﺘﮕﻴﺮ ﻛﻨﺪ‪.‬‬ ‫ﻛﻪ ﺍﺯ ﺷﺮﻭﻉ ﺩﻫﻪ ‪ 80‬ﻣﻨﺴﺠﻢﺗﺮ ﺍﺯ ﮔﺬﺷﺘﻪ ﻓﻀﺎﻯ ﻋﻤﻮﻣﻰ ﺟﺎﻣﻌﻪ ﺭﺍ‬ ‫ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎﻭﺟﻮﺩ ﺗﺎﻳﻴﺪﺍﺕ ﻧﻬﺎﺩﻫﺎﻯ ﻣﺴﺌﻮﻝ ﻛﺸﻮﺭ‪،‬‬ ‫ﻣﺎﺭﻣﻮﻟﻚ ﺑﻴﺶ ﺍﺯ ‪ 3‬ﻫﻔﺘﻪ ﻧﺘﻮﺍﻧﺴــﺖ ﺑﺮ ﭘﺮﺩﻩ ﺑﺎﻗــﻰ ﺑﻤﺎﻧﺪ ﻭ ﻛﻤﺎﻝ‬ ‫ﺗﺒﺮﻳﺰﻯ ﻛﻪ ﻳﻚ ﺑﺎﺭ ﺑﺎ »ﻟﻴﻠﻰ ﺑﺎ ﻣﻦ ﺍﺳــﺖ« ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺑﻪ ﺳﻼﻣﺖ‬ ‫ﺍﺯ ﻣﻮﺿﻮﻉ ﻭﺍﺭﺩ ﻛﺮﺩﻥ ﻃﻨﺰ ﺑﻪ ﻳﻚ ﻋﺮﺻﻪ ﺣﺴﺎﺳــﻴﺖ ﺑﺮﺍﻧﮕﻴﺰ ﺩﻳﮕﺮ‬ ‫)ﺟﻨﮓ( ﻋﺒﻮﺭ ﻛﻨﺪ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﺗﻼﺵﻫﺎﻳﺶ ﺛﻤﺮﻯ ﻧﺪﺍﺷﺖ‪ .‬ﻣﺎﺭﻣﻮﻟﻚ‬ ‫ﺍﻟﺒﺘﻪ ﺑﻴﺶ ﺍﺯ ﺗﺒﺮﻳﺰﻯ ﻓﻴﻠﻢ ﻣﻨﻮﭼﻬﺮ ﻣﺤﻤﺪﻯ ﺑﻮﺩ‪ .‬ﺗﻬﻴﻪﻛﻨﻨﺪﻩﺍﻯ ﺑﺎ‬ ‫ﻳﻚ ﺑﺎﺭ ﺳﺎﺑﻘﻪ ﻣﺪﻳﺮﻳﺖ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ ﻭ ﺍﺭﺯﺷﻴﺎﺑﻰ ﻣﻌﺎﻭﻧﺖ ﺳﻴﻨﻤﺎﻳﻰ‬ ‫ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺗﻤﺎﻡ ﻫﻤﻜﺎﺭﺍﻧﺶ ﺑﺎ ﻣﻨﺎﺳﺒﺎﺕ ﺳﻴﺎﺳﺘﻰ ﻛﺸﻮﺭ ﺁﺷﻨﺎ ﺑﻮﺩ‬ ‫ﻭ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺳــﺎﺧﺖ ﻓﻴﻠﻤﻰ ﭼﻮﻥ ﻣﺎﺭﻣﻮﻟﻚ ﺭﺍ ﺑﻪ ﻧﺘﻴﺠﻪ ﺑﺮﺳﺎﻧﺪ‪.‬‬ ‫ﺑﺎ ﻫﻤﻪ ﺍﻳﻨﻬﺎ ﻣﺎﺭﻣﻮﻟﻚ ﺗﺤﻤﻞ ﻧﺸﺪ‪ .‬ﺑﺎﻭﺟﻮﺩ ﺍﺳﺘﻘﺒﺎﻝ ﺣﻴﺮﺍﺕﺍﻧﮕﻴﺰ‬ ‫ﻣﺨﺎﻃﺒﺎﻥ ﻣﺸــﺨﺺ ﺷــﺪ ﻛﻪ ﺣﺘــﻰ ﻣﻮﺿﻮﻉ ﻭ ﻣﻀﻤﻮﻥ ﺁﺷــﻜﺎﺭﺍ‬ ‫ﺗﺎﻳﻴﺪﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﺪ ﻓﺮﺻﺖ ﺑﺮﻭﺯ ﭘﻴﺪﺍ ﻛﻨﺪ‪.‬‬ ‫ﻣﺎﺭﻣﻮﻟــﻚ ﺑــﺎ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﺯ ﻣﺎﻳﻪ ﺗﻜــﺮﺍﺭﻯ ﺟﺎﺑﺠﺎﻳــﻰ ﺍﻓﺮﺍﺩ ﺩﺭ‬ ‫ﻣﻮﻗﻌﻴﺖﻫــﺎﻯ ﻣﺨﺘﻠﻒ ﺗﻼﺵ ﻣﻰﻛﺮﺩ ﻧﻤﺎﻳﺸــﮕﺮ ﺗﻘﺪﺱ ﻭ ﺍﻋﺘﺒﺎﺭ‬ ‫ﻣﻮﻗﻌﻴﺖ ﺭﻭﺣﺎﻧﻴﺖ ﺑﺎﺷــﺪ ﺍﻣﺎ ﻣﺨﺎﻟﻔﺎﻥ ﻫﻤﻴــﻦ ﺟﺎﺑﻪﺟﺎﻳﻰ ﻭ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻦ ﻳﻚ ﺩﺯﺩ ﺩﺭ ﻣﻘﺎﻡ ﺭﻭﺣﺎﻧﻰ ﺭﺍ ﻣﻬﻢﺗﺮﻳﻦ ﻣﺸﻜﻞ ﻓﻴﻠﻢ ﺩﺍﻧﺴﺘﻨﺪ‬ ‫ﻭ ﺑﺮﺩﺍﺷﺖﻫﺎﻯ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻣﻨﻮﭼﻬﺮ ﻣﺤﻤﺪﻯ ﺑﻌﺪ ﺍﺯ ﻣﺸﺎﻫﺪﻩ ﺗﺠﺮﺑﻪ ﻣﺴﺎﻋﺪ »ﺯﻳﺮ ﻧﻮﺭ ﻣﺎﻩ«‬ ‫ﻛﻪ ﺑــﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻳﻚ ﺭﻭﺣﺎﻧﻰ ﺟﻮﺍﻥ ﻭ ﺍﻋﺘﻘﺎﺩﺍﺗﺶ ﺭﺍ ﺩﺳــﺘﻤﺎﻳﻪ‬ ‫ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺮ ﺍﺳــﺎﺱ ﻃﺮﺣﻰ ﺍﺯ ﺧﻮﺩﺵ ﻛﺎﺭ ﺳﺎﺧﺖ‬ ‫ﻣﺎﺭﻣﻮﻟﻚ ﺭﺍ ﺩﺭ ﺳﺎﻝ ‪ 82‬ﺑﻪ ﻃﻮﺭ ﺟﺪﻯ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﻃﺮﺡ ﻣﺎﺭﻣﻮﻟﻚ ﺭﺍ‬ ‫ﻣﺤﻤﺪﻯ ﺍﺯ ﭼﻨﺪ ﺳــﺎﻝ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﺫﻫﻦ ﺩﺍﺷﺖ ﻭ ﺍﺑﺘﺪﺍ ﻓﺮﻳﺪﻭﻥ‬ ‫ﺟﻴﺮﺍﻧﻰ ﻳﻚ ﺑﺎﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻛﺎﻣﻠﻰ ﺑﺮﻣﺒﻨﺎﻯ ﻫﻤﻴﻦ ﻃﺮﺡ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺳﺎﻝ‪ 82‬ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﻣﺤﻤﺪﻯ ﺟﺪﻯ ﻣﻰﺷﻮﺩ ﻭ ﺑﺮﺍﻯ ﺁﻧﻜﻪ ﺑﻌﺪﺍ‬ ‫ﻣﺸــﻜﻠﻰ ﺩﺭ ﺗﻮﻟﻴﺪ ﻭ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻗﺼﻪ ﺍﻭﻟﻴﻪ ﻓﻴﻠﻢ ﺭﺍ‬ ‫ﺑﺮﺍﻯ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ ﻭﻗﺖ )ﺍﺣﻤﺪ ﻣﺴﺠﺪﺟﺎﻣﻌﻰ( ﻣﻄﺮﺡ ﻭ ﭘﺲ ﺍﺯ ﻛﺴﺐ‬ ‫ﻧﻈﺮ ﺗﺎﻳﻴﺪﻯ ﺍﻭ ﻛﺎﺭ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﻧﻬﺎﻳﻰ ﺭﺍ ﺑﻪ ﭘﻴﻤﺎﻥ ﻗﺎﺳﻢﺧﺎﻧﻰ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ ﺟﻮﺍﻧﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺭﻭﺯﻫﺎ ﺑﺎ ﻛﺎﺭﻫﺎﻳﺶ ﺩﺭ ﺣﻮﺯﻩ ﻃﻨﺰ‬ ‫ﻭ ﻫﻤﻜﺎﺭﻯ ﺑﺎ ﻣﻬﺮﺍﻥ ﻣﺪﻳﺮﻯ ﻧﺎﻣﺶ ﺑﺮ ﺯﺑﺎﻥﻫﺎ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﻣﻰﺳﭙﺎﺭﺩ‬ ‫ﻭ ﻃﺮﺡ ﻧﻬﺎﻳﻰ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﻮﺳــﻂ ﻗﺎﺳــﻢﺧﺎﻧﻰ ﻧﻮﺷﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﺗﻮﺳــﻂ ﻣﺤﻤﺪﻯ ﺑﻪ ﭼﻬﺮﻩﻫــﺎﻯ ﻣﺨﺘﻠﻒ ﺑﺎﻧﻔﻮﺫﻯ ﺑﺮﺍﻯ‬ ‫ﻛﺴﺐ ﻧﻈﺮ ﻭ ﻣﺸﻮﺭﺕ ﻭ ﺩﺭ ﻧﻈﺮﮔﺮﻓﺘﻦ ﻧﻜﺎﺕ ﺧﺎﺹ ﻋﺮﻓﻰ ﻭ ﺍﻋﺘﻘﺎﺩﻯ‬ ‫ﺁﻧﻬﺎ ﺩﺍﺩﻩ ﺷﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﻋﻠﻤﺎﻯ ﻣﺬﻫﺒﻰ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﻣﺤﻤﺪﻯ ﺍﺯ ﺍﺑﺘﺪﺍ ﻃﺮﺡ ﺳــﺎﺧﺖ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎ ﺁﻧﻬﺎ ﺩﺭ ﻣﻴﺎﻥ ﮔﺬﺍﺷﺘﻪ‬ ‫ﺍﺳــﺖ‪ .‬ﺩﺭ ﻃﺮﺡ ﺍﻭﻟﻴﻪ ﻣﺤﻤﺪﻯ‪ ،‬ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺑﺎ ﭘﻮﺷﻴﺪﻥ ﻟﺒﺎﺱ‬ ‫ﺭﻭﺣﺎﻧﻴﺖ ﺑﻪ ﺷﻬﺮ ﻣﺬﻫﺒﻰ ﻣﺸﻬﺪ ﻣﻰﺭﻓﺖ ﺍﻣﺎ ﺑﻨﺎ ﺑﺮ ﻫﻤﻴﻦ ﻣﻼﺣﻈﺎﺕ‬ ‫ﻳﻚ ﺷﻬﺮ ﻣﺮﺯﻯ ﻛﻮﭼﻚ ﺟﺎﻳﮕﺰﻳﻦ ﻣﺸﻬﺪ ﺷﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﺗﻐﻴﻴﺮﺍﺕ‬ ‫ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺻﻮﺭﺕ ﮔﺮﻓﺖ‪ .‬ﻣﺤﻤﺪﻯ ﺑﺮﺍﻯ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ‬ ‫ﻓﻴﻠﻢ ﺍﺑﺘﺪﺍ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻰﻛﻴﺎ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺖ ﻭ ﻣﺬﺍﻛﺮﺍﺗﻰ ﻫﻢ ﺑﺎ ﺍﻭ‬ ‫ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺣﺘﻰ ﺩﺭ ﻣﺮﺣﻠﻪﺍﻯ ﻟﺤﻦ ﻃﻨﺰﺁﻣﻴﺰ ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﻧﺰﺩﻳﻚ‬ ‫ﺷــﺪﻥ ﺑﻪ ﻓﻀﺎﻯ ﻛﺎﺭﻯ ﺣﺎﺗﻤﻰ ﻛﻴﺎ ﺑﻪ ﺟﺪﻯ ﺗﻐﻴﻴﺮ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ‬ ‫ﺣﺎﺗﻤﻰﻛﻴﺎ ﻳﻚ ﺑﺎﺭ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺧﻮﺩﺵ ﻧﻮﺷــﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎﻭﺟﻮﺩ ﻋﻼﻗﻪ ﺍﻭﻟﻴﻪ ﺣﺎﺗﻤﻰﻛﻴﺎ ﻧﻬﺎﻳﺘﺎ ﺍﻭ ﺍﺯ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺍﻧﺼﺮﺍﻑ ﺩﺍﺩ ﻭ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﻼﻓﺎﺻﻠﻪ ﺳﺮﺍﻍ ﻛﻤﺎﻝ ﺗﺒﺮﻳﺰﻯ ﻛﻪ ﻗﺒﻼ ﻣﺬﺍﻛﺮﺍﺗﻰ ﻫﻢ ﺑﺎ ﺍﻭ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﻰﺭﻭﻧﺪ‪ .‬ﭘﺮﻭﻳﺰ ﭘﺮﺳﺘﻮﻳﻰ ﻧﻴﺰ ﺍﺯ ﺍﺑﺘﺪﺍ ﺑﺮﺍﻯ ﺑﺎﺯﻯ ﺩﺭ ﻧﻘﺶ‬ ‫ﺍﺻﻠﻰ ﻓﻴﻠﻢ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩ ﻭ ﺍﺻﻼ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺮﻣﺒﻨﺎﻯ ﻭﺟﻮﻩ ﺑﺎﺯﻳﮕﺮﻯ‬ ‫ﺍﻭ ﻧﻮﺷﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎ ﺍﻋﻼﻡ ﺁﻣﺎﺩﮔﻰ ﺗﺒﺮﻳﺰﻯ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺮﺍﻯ ﺩﺭﻳﺎﻓﺖ‬ ‫ﭘﺮﻭﺍﻧﻪ ﺳﺎﺧﺖ ﺑﻪ ﺷﻮﺭﺍﻯ ﻣﺬﻛﻮﺭ ﻣﻰﺭﻭﺩ‪ .‬ﺷﻮﺭﺍ ﺑﺎ ﺍﻛﺜﺮﻳﺖ ﺁﺭﺍ ﺑﺎﺗﻮﺟﻪ‬ ‫ﺑﻪ ﺷــﻨﺎﺧﺖ ﺍﺯ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﻭ ﺍﻋﺘﻘﺎﺩ ﺑﻪ ﺩﻳﺪﮔﺎﻫﺸﺎﻥ‪ ،‬ﭘﺮﻭﺍﻧﻪ‬ ‫ﺳﺎﺧﺖ ﺭﺍ ﺻﺎﺩﺭ ﻣﻰﻛﻨﺪ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ‪ 82‬ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﻛﻤﺘﺮﻳﻦ ﺧﺒﺮﻯ ﺩﺭﺑﺎﺭﻩ ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ ﻧﻤﻰﺩﻫﻨﺪ ﻭ ﺗﻼﺵ‬ ‫ﻣﻰﻛﻨﻨﺪ ﺁﻥ ﺭﺍ ﻳﻚ ﺍﺛــﺮ ﻋﺎﺩﻯ ﺟﻠﻮﻩ ﺩﻫﻨﺪ‪ .‬ﻧﺰﺩﻳﻚ ﺑﻪ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺯﻣﺰﻣﻪﻫﺎﻳﻰ ﺩﺭﺑﺎﺭﻩ ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ ﺩﺭ ﻣﺤﺎﻓﻞ ﺳــﻴﻨﻤﺎﻳﻰ ﻣﻰﭘﻴﭽﺪ‬ ‫ﻭ ﻛﻢﻛﻢ ﺍﻳﻦ ﺷــﺎﻳﻌﻪ ﻛﻪ ﻣﺎﺭﻣﻮﻟﻚ ﺩﺭﺑﺎﺭﻩ ﺩﺯﺩﻯ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻟﺒﺎﺱ‬ ‫ﺭﻭﺣﺎﻧﻴﺖ ﻣﻰﺭﻭﺩ‪ ،‬ﺩﺭ ﻫﻤﻪﺟﺎ ﺷﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺗﺎ ﺍﻳﻦ ﺯﻣﺎﻥ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﻫﻴﭻ ﻋﻜﺴــﻰ ﺍﺯ ﭘﺮﺳﺘﻮﻳﻰ ﺩﺭ ﻟﺒﺎﺱ ﺭﻭﺣﺎﻧﻴﺖ ﻭ ﺧﺒﺮﻯ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺩﺍﺳﺘﺎﻥ ﺍﺻﻠﻰ ﻓﻴﻠﻢ ﻣﻨﺘﺸﺮ ﻧﻜﺮﺩﻩﺍﻧﺪ‪ .‬ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ‬ ‫ﺁﺳﺘﺎﻧﻪ ﺟﺸــﻨﻮﺍﺭﻩ ﭘﺲ ﺍﺯ ﻣﺸﺎﻫﺪﻩ ﻓﻴﻠﻢ ﺗﻮﺳﻂ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ‪ ،‬ﻣﻌﺎﻭﻥ‬ ‫ﺳــﻴﻨﻤﺎﻳﻰ‪ ،‬ﻣﺪﻳﺮ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ ﻭ ﺍﺭﺯﺷﻴﺎﺑﻰ ﻭ ﺗﻤﺎﻡ ﺍﻋﻀﺎﻯ ﺷﻮﺭﺍﻯ‬ ‫ﭘﺮﻭﺍﻧﻪ ﻧﻤﺎﻳﺶ ﻛﻪ ﻋﻀﻮ ﺭﻭﺣﺎﻧﻰ ﻫﻢ ﺩﺍﺷﺖ‪ ،‬ﺻﺎﺩﺭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻤﻨﺎﻣــﻪ ﻭ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠــﻢ ﺑﻴﻦﺍﻟﻤﺬﺍﻫﺐ ﺭﺍ ﺑﻪ ﺁﻥ‬ ‫ﻣﻰﺩﻫﻨﺪ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ ﻧﻴﺰ ﺟﺴﺎﺭﺕ ﻭ ﻣﻀﻤﻮﻥ ﺟﺪﻳﺪ ﻓﻴﻠﻢ ﺭﺍ ﻣﻰﺳﺘﺎﻳﻨﺪ‬ ‫ﻭ ﻫﺮﭼﻨﺪ ﺍﺷــﻜﺎﻻﺗﻰ ﺑﺮ ﺳــﺎﺧﺘﺎﺭ ﻭ ﭘﺮﺩﺍﺧﺖ ﻓﻴﻠﻢ ﻣﻰﮔﻴﺮﻧﺪ ﺍﻣﺎ ﺩﺭ‬ ‫ﻣﺠﻤــﻮﻉ ﻧﮕﺎﻩ ﻣﺜﺒﺘﻰ ﺩﺍﺭﻧﺪ‪ .‬ﺍﺯ ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﻯ ﺟﺸــﻨﻮﺍﺭﻩ ﺷــﺎﻳﻌﻪ‬ ‫ﺗﻮﻗﻴﻒ ﻓﻴﻠﻢ ﺑﻪ ﺻﻮﺭﺕ ﺧﻮﺩﺟﻮﺵ ﻣﻨﺘﺸــﺮ ﻣﻰﺷﻮﺩ ﺍﻣﺎ ﺳﺎﺯﻧﺪﮔﺎﻥ‬ ‫ﺻﺮﻓﺎ ﺑﻪ ﺗﻜﺬﻳﺒــﺶ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ ﻭ ﺗﻼﺵ ﻣﻰﻛﻨﻨــﺪ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻌﺪ‬ ‫ﺍﺯ ﺟﺸــﻨﻮﺍﺭﻩ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮﺍﻯ ﻧﻮﺭﻭﺯ ﺑﺮﻧﺎﻣﻪﺭﻳــﺰﻯ ﻛﻨﻨﺪ‪ .‬ﺑﺮﺍﻯ‬ ‫ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺑﻪ ﺻﻼﺣﺪﻳﺪ ﺍﻓــﺮﺍﺩﻯ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﻳﺪﻧﺪ ﭼﻨﺪ ﺻﺤﻨﻪ ﻭ‬ ‫ﺩﻳﺎﻟﻮگ ﻓﻴﻠﻢ ﺣﺬﻑ ﻣﻰﺷــﻮﺩ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﻧﺎﻡ ﻓﻴﻠﻢ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻜﻰ ﺍﺯ‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻧﻮﺭﻭﺯﻯ ﺳــﻴﻨﻤﺎﻫﺎ ﺍﻋﻼﻡ ﻣﻰﺷﻮﺩ ﺍﻣﺎ ﭼﻨﺪ ﺭﻭﺯ ﻣﺎﻧﺪﻩ ﺑﻪ‬ ‫ﺁﻏﺎﺯ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ‪ ،‬ﻣﺸﻜﻼﺕ ﺟﺪﻯ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪ .‬ﻧﻤﺎﻳﺶ‬ ‫ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﻧﻤﺎﻳﻨﺪﮔﺎﻧﻰ ﺍﺯ ﻗﻮﻩ ﻗﻀﺎﺋﻴﻪ ﻭ ﺳﺎﺯﻣﺎﻥ ﺑﺎﺯﺭﺳﻰ ﻛﻞ ﻛﺸﻮﺭ‬ ‫ﻭ ﻛﺴﺐ ﻧﻈﺮﺍﺕ ﺁﻧﻬﺎ‪ ،‬ﻭﺯﺍﺭﺕ ﺍﺭﺷــﺎﺩ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﻣﻰﺭﺳﺎﻧﺪ ﻛﻪ‬ ‫ﺍﻛــﺮﺍﻥ ﻓﻴﻠﻢ ﺭﺍ ﻳﻚ ﻣﺎﻩ ﺑﻪ ﺗﻌﻮﻳﻖ ﺍﻧﺪﺍﺯﻧﺪ‪ .‬ﻧﻬﺎﻳﺘﺎ ﻣﺴــﺌﻮﻻﻥ ﻭﺯﺍﺭﺕ‬ ‫ﺍﺭﺷﺎﺩ ﺑﺎ ﺭﺍﻳﺰﻧﻰ ﺍﻓﺮﺍﺩ ﺷﺎﺧﺺ ﺍﺟﺎﺯﻩ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺍﺯ ﺩﻭﻡ ﺍﺭﺩﻳﺒﻬﺸﺖ‬ ‫ﺭﺍ ﺻﺎﺩﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻋﻄﺶ ﺗﻤﺎﺷﺎﻯ ﻓﻴﻠﻢ ﻧﺰﺩ ﻣﺮﺩﻡ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ‬ ‫ﺍﺧﺒﺎﺭ ﻣﺮﺑﻮﻁ ﺑﻪ ﺁﻥ ﺭﺍ ﺷــﻨﻴﺪﻩﺍﻧﺪ ﺑﺴﻴﺎﺭ ﺑﺎﻻﺳﺖ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻫﺠﻮﻡ‬ ‫ﻧﻤﺎﻳﺶ‬ ‫»ﻣﺎﺭﻣﻮﻟﻚ« ﺍﺗﻔﺎﻕ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﻴﺴــﺖ ﻭ ﺩﻭﻡ ﻓﻴﻠﻢ ﻓﺠﺮ ﺍﺳﺖ‪.‬‬ ‫ﻓﻴﻠﻤﻰ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺳــﺎﻝﻫﺎ ﺩﻭﺑﺎﺭﻩ ﺍﺯﺩﺣﺎﻡ ﻭ ﺷــﻠﻮﻏﻰ ﻭﺻﻒﻧﺎﭘﺬﻳﺮ‬ ‫ﺭﺍ ﺑﻪ ﺳــﻴﻨﻤﺎﻫﺎﻯ ﺟﺸــﻨﻮﺍﺭﻩ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺍﻧﺪ‪ .‬ﺩﺭ ﻃﻮﻝ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﻧﻮﺑﺖﻫﺎﻯ ﻧﻤﺎﻳﺶ ﻣﺎﺭﻣﻮﻟﻚ ﺷــﻠﻮﻍﺗﺮﻳﻦ ﺳــﺎﻧﺲﻫﺎﻯ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺍﺳــﺖ ﻭ ﺍﺯ ﺭﻫﮕﺬﺭ ﻫﻤﻴﻦ ﻧﻤﺎﻳﺶﻫﺎ ﻣﻮﺿﻮﻉ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﻓﻴﻠﻤﻰ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﺷــﻮﺧﻰﻫﺎﻳﻰ ﺑﺎ ﻗﺸﺮ ﺭﻭﺣﺎﻧﻰ ﻣﻰﺷــﻮﺩ ﺑﻪ ﺑﻄﻦ ﺟﺎﻣﻌﻪ‬ ‫ﻣﻰ ﺭﻭﺩ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﻧﻤﺎﻳﺶﻫﺎﻯ ﻣﻌﻤﻮﻝ ﺟﺸــﻨﻮﺍﺭﻩﺍﻯ‪ ،‬ﺳــﺎﺯﻧﺪﮔﺎﻥ‬ ‫ﻓﻴﻠﻢ ﺁﻥ ﺭﺍ ﺩﺭ ﻧﻮﺑﺖﻫﺎﻯ ﻣﺘﻌﺪﺩ ﺑﺮﺍﻯ ﻣﻘﺎﻡﻫﺎﻯ ﻣﺴــﺌﻮﻝ ﻣﺨﺘﻠﻒ‪،‬‬ ‫ﺧﺎﺭﺝ ﺍﺯ ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﺑﻪﻭﻳﮋﻩ ﺩﺭ ﻧﻬﺎﺩﻫﺎﻯ ﻣﻬﻢ ﻭ ﺗﺼﻤﻴﻢﮔﻴﺮ ﻧﻤﺎﻳﺶ‬ ‫ﻣﻰﺩﻫﻨــﺪ‪ .‬ﻧﻤﺎﻳﺶﻫﺎﻳﻰ ﻛــﻪ ﻇﺎﻫﺮﺍ ﺗﺎﻳﻴﺪﻛﻨﻨﺪﻩ ﺍﺳــﺖ‪ .‬ﻭﺍﻛﻨﺶ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﻣﺮﺩﻡ ﻭ ﺩﺍﻭﺭﺍﻥ ﺑﻪ ﻓﻴﻠﻢ ﻫﻤﮕﻰ ﻣﺜﺒﺖ ﺍﺳــﺖ‪ .‬ﻣﺎﺭﻣﻮﻟﻚ‬ ‫ﻋﻨﻮﺍﻥ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﻧﮕﺎﻩ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺍﻭﺭﺍﻥ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﻣﺎﺭﻣﻮﻟﻚ ﺍﻣﺮﻭﺯ ﻧﻤﺎﺩ ﺣﺮﻛﺖ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﻣﺮﺯﻫﺎﻯ‬ ‫ﻣﻨﻄﻘﻪ ﻣﻤﻨﻮﻋﻪﺍﻯ ﺷــﺮﻭﻉ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﺁﻧﻜﻪ ﺳــﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺗﻼﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺑﺎ ﺭﻋﺎﻳﺖ ﻓﺮﻣﻮﻝ‬ ‫ﺍﻣﺘﺤﺎﻥ ﭘﺲ ﺩﺍﺩﻩ ﻓﻴﻠﻢ ﻟﻴﻠﻰ ﺑﺎ ﻣﻦ ﺍﺳﺖ‪ ،‬ﺑﺎ ﭘﺮﺩﺍﺧﺘﻰ ﺻﺤﻴﺢ ﻭ ﻳﻚ ﻧﺘﻴﺠﻪﮔﻴﺮﻯ ﻧﻬﺎﻳﻰ ﻣﻄﺎﺑﻖ ﺍﺻﻮﻝ‪،‬‬ ‫ﺯﻣﻴﻨﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺭﺍ ﻓﺮﺍﻫﻢ ﻛﻨﻨﺪ ﺍﻣﺎ ﻣﺘﻮﺟﻪ ﺷﺪﻧﺪ ﻛﻪ ﮔﺎﻡ ﮔﺬﺍﺷﺘﻦ ﺩﺭ ﺍﻳﻦ ﻋﺮﺻﻪ ﺣﺘﻰ ﺣﺴﺎﺱﺗﺮ‬ ‫ﺍﺯ ﻣﻮﺿﻮﻉ ﺟﻨﮓ ﺍﺳﺖ‪ .‬ﻣﺎﺭﻣﻮﻟﻚ ﭘﺎﻳﺎﻧﻰ ﺑﻮﺩ ﺑﺮ ﺳﻴﻨﻤﺎﻯ ﻣﻮﺳﻮﻡ ﺑﻪ ﺩﻭﻡﺧﺮﺩﺍﺩ ﻛﻪ ﺩﺭ ﮔﺬﺭ ﺍﺯ ﺁﺯﻣﻮﻥ‬ ‫ﻭ ﺧﻄﺎﻯ ﺳــﺎﻝﻫﺎﻯ ﺳﻴﺎﺳﺖﺯﺩﻩ ﺍﻭﻟﻴﻪ‪ ،‬ﺩﺭ ﺷﺮﻭﻉ ﺩﻫﻪ ‪ 80‬ﻣﻰﺗﻮﺍﻧﺴــﺖ ﺑﻪ ﺑﻠﻮﻍ ﻭ ﭘﺨﺘﮕﻰ ﺑﺮﺳﺪ‪ .‬ﺑﺎ‬ ‫ﺍﺗﻔﺎﻗﺎﺗﻰ ﻛﻪ ﺑﺮﺍﻯ ﻣﺎﺭﻣﻮﻟﻚ ﺍﻓﺘﺎﺩ‪ ،‬ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﻭ ﺗﺼﻤﻴﻢ ﮔﻴﺮﻧﺪﮔﺎﻧﺶ ﺑﻴﺶ ﺍﺯ ﮔﺬﺷﺘﻪ ﻣﺤﺎﻓﻈﻪﻛﺎﺭ‬ ‫ﺑﻪ ﺳــﻴﻨﻤﺎﻫﺎ ﺁﻏﺎﺯ ﻣﻰﺷــﻮﺩ‪ .‬ﻓﺮﻭﺵ ﻣﺎﺭﻣﻮﻟﻚ ﺩﺭ ﻫﻤﺎﻥ ‪ 3‬ﺭﻭﺯ ﺍﻭﻝ‬ ‫ﻧﻤﺎﻳﺶ ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﭘﻴﺶ ﺑﻴﻨﻰﻫﺎﻯ ﻗﺒﻠﻰ ﺩﺭﺑﺎﺭﻩ ﺭﻛﻮﺭﺩﺷﻜﻨﻰﺍﺵ‬ ‫ﺩﺭﺳﺖ ﺍﺳﺖ‪ .‬ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﻓﻴﻠﻢ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺳﻴﻨﻤﺎﻫﺎﻯ ﺯﻳﺎﺩ‬ ‫ﻣﺘﻘﺎﺿﻰ ﻧﻤﺎﻳﺸﺶ ﻫﺴﺘﻨﺪ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺣﺎﻝ ﺯﻣﺰﻣﻪﻫﺎﻯ ﻣﺨﺎﻟﻔﺖ‬ ‫ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻯ ﺷﺎﺧﺺ ﺑﺎ ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﺍﻭﻟﻴﻦ ﻭﺍﻛﻨﺶﻫﺎ ﺍﺯ ﺷﻬﺮﺳﺘﺎﻥﻫﺎﺳــﺖ‪ .‬ﺩﺭ ﻣﺸــﻬﺪ ﻳﻚ ﺭﻭﺯ ﺑﻌﺪ ﺍﺯ‬ ‫ﺷــﺮﻭﻉ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‪ ،‬ﻗﺎﺿﻰ ﺷﻌﺒﻪ ‪ 4‬ﺣﻜﻢ ﺑﻪ ﺗﻮﻗﻴﻒ ﻭ ﺟﻤﻊﺁﻭﺭﻯ‬ ‫ﻛﭙﻰﻫﺎﻳﺶ ﺭﺍ ﻣﻰﺩﻫﺪ ﻭ ﺩﺭ ﺭﺷﺖ ﻧﻴﺰ ﺑﺎ ﻫﺠﻮﻡ ﻋﺪﻩﺍﻯ ﺑﻪ ﺳﻴﻨﻤﺎﻫﺎ‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻣﺘﻮﻗﻒ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻳﻚ ﻧﺴﺨﻪ ﺑﺪﻛﻴﻔﻴﺖ ﻛﻪ‬ ‫ﺑﻪﺻﻮﺭﺕ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺍﺯ ﭘﺮﺩﻩ ﺳﻴﻨﻤﺎ ﺗﻬﻴﻪ ﺷﺪﻩ‪ ،‬ﺑﻪ ﺑﺎﺯﺍﺭ ﻗﺎﭼﺎﻕ ﺭﺍﻩ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﺑﻴﻦ ﻣﺮﺩﻡ ﻣﻰﭼﺮﺧﺪ‪ .‬ﻫﻤﻴﻦ ﻧﺴﺨﻪ‬ ‫ﻛﻪ ﺑﺨﺶﻫﺎﻯ ﺣﺬﻑ ﺷــﺪﻩ ﺟﺸﻨﻮﺍﺭﻩ ﺭﺍ ﻫﻢ ﺩﺍﺭﺩ‪ ،‬ﺯﻣﻴﻨﻪ ﻗﻀﺎﻭﺕ ﻭ‬ ‫ﺍﻋﺘﺮﺍﺽ ﻣﻨﺘﻘﺪﺍﻥ ﺭﺍ ﻓﺮﺍﻫﻢ ﻣﻰﻛﻨﺪ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺗﻼﺵ ﻣﻰﻛﻨﻨﺪ ﺑﺎ‬ ‫ﮔﻔﺖﻭﮔﻮ ﻭ ﺗﻮﺿﻴﺢ ﺍﺯ ﺣﺴﺎﺳــﻴﺖﻫﺎ ﻛﻢ ﻛﻨﻨــﺪ ﺍﻣﺎ ﻧﺘﻴﺠﻪﺍﻯ ﺩﺭ ﺑﺮ‬ ‫ﻧﺪﺍﺭﺩ‪ .‬ﺳــﺮﺍﻧﺠﺎﻡ ﻣﺨﺎﻟﻔﺖﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﻓﻴﻠﻢ ﺑﻪ ﭼﻬﺮﻩﻫﺎﻯ ﺑﻠﻨﺪﭘﺎﻳﻪ‬ ‫ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺍﻧﺘﻘﺎﺩﺍﺕ ﺳــﺮﺍﻧﺠﺎﻡ ﻭﺯﻳﺮ ﺍﺭﺷﺎﺩ ﺭﺍ ﻣﺠﺒﻮﺭ ﺑﻪ‬ ‫ﻭﺭﻭﺩ ﺑﻪ ﺻﺤﻨﻪ ﻭ ﺩﻓﺎﻉ ﺍﺯ ﻓﻴﻠﻢ ﻣﻰﻛﻨﺪ‪» :‬ﻣﺠﻮﺯ ﻓﻴﻠﻢ ﺩﺭ ﻭﺯﺍﺭﺕﺍﺭﺷﺎﺩ‬ ‫ﻭ ﺍﺯ ﺭﺍﻩ ﻗﺎﻧﻮﻧﻰ ﺁﻥ ﻭ ﺯﻳﺮ ﻧﻈﺮ ﻋﻠﻤﺎﻳﻰ ﻛﻪ ﺑﺮ ﻛﺎﺭ ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﻧﻈﺎﺭﺕ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺻﺎﺩﺭ ﺷــﺪﻩ ﻭ ﺍﻛﻨﻮﻥ ﺟﻠﻮﮔﻴــﺮﻯ ﺍﺯ ﻧﻤﺎﻳﺶ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﺯ‬ ‫ﻃﺮﻳﻖ ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﺍﺳﺖ‪) «.‬ﻳﺎﻟﺜﺎﺭﺍﺕ‪ 16 ،‬ﺍﺭﺩﻳﺒﻬﺸﺖ(‬ ‫ﺭﺳــﺎﻧﻪﻫﺎ ﺣﺘﻰ ﺑﻪ ﺳــﺮﺍﻍ ﺭﺋﻴﺲ ﻗﻮﻩﻗﻀﺎﺋﻴﻪ ﻣﻰﺭﻭﻧﺪ ﺍﻣﺎ ﺍﻳﻦ ﻣﻘﺎﻡ‬ ‫ﺍﺯ ﺍﻇﻬﺎﺭﻧﻈــﺮ ﻗﻄﻌﻰ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺧﻮﺩﺩﺍﺭﻯ ﻣﻰﻛﻨﺪ‪ .‬ﺭﺳــﺎﻧﻪﻫﺎﻯ‬ ‫ﺧﺎﺭﺟــﻰ ﻫﻢ ﺗﻘﺮﻳﺒﺎ ﻫﻤﮕﻰ ﺑﻪ ﺍﻧﺘﺸــﺎﺭ ﮔﺰﺍﺭﺵﻫﺎﻳﻰ ﺩﺭﺑﺎﺭﻩ ﺍﻛﺮﺍﻥ‬ ‫ﻓﻴﻠﻤﻰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺎ ﻣﻮﺿﻮﻉ ﻳﻚ ﺭﻭﺣﺎﻧﻰ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ‪ .‬ﻣﻮﺿﻮﻉ ﻧﻤﺎﻳﺶ‬ ‫ﻓﻴﻠﻢ ﻣﺎﺭﻣﻮﻟﻚ ﺑﻪ ﺧﻄﺒﻪﻫﺎﻯ ﻧﻤﺎﺯ ﺟﻤﻌﻪ ﺭﻭﺯ ‪ 18‬ﺍﺭﺩﻳﺒﻬﺸﺖ ﻫﻢ ﺭﺍﻩ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺍﺋﻤﻪ ﺟﻤﻌﻪ ﻛﺸﻮﺭ ﺩﺭ ﺧﻄﺒﻪﻫﺎﻳﺸﺎﻥ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﻓﻴﻠﻢ ﺍﻧﺘﻘﺎﺩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺗﻼﺵﻫﺎﻯ ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ ﺑﺮﺍﻯ ﺗﻤﺎﺱ ﺑﺎ ﺩﻓﺎﺗﺮ‬ ‫ﻣﺨﺎﻟﻔﺎﻥ ﻭ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻭ ﺗﻮﺿﻴﺢ ﺑﻪ ﺁﻧﻬــﺎ ﻧﺘﻴﺠﻪ ﭼﻨﺪﺍﻧﻰ ﻧﺪﺍﺭﺩ ﻭ‬ ‫ﺳــﺮﺍﻧﺠﺎﻡ ﺑﺎﻭﺟﻮﺩ ﻓﺮﻭﺵ ﺑﺎﻻ‪ ،‬ﺩﺳــﺘﻮﺭ ﺗﻮﻗﻒ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺻﺎﺩﺭ‬ ‫ﻣﻰﺷــﻮﺩ‪ .‬ﻣﺤﻤﺪﻯ ﻭ ﺗﺒﺮﻳﺰﻯ ﺑﺎ ﺑﺮﮔﺰﺍﺭﻯ ﻳﻚ ﻧﺸﺴﺖ ﻣﻄﺒﻮﻋﺎﺗﻰ‬ ‫ﺑﻪ ﺗﺼﻤﻴﻤﺎﺕ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﻋﺘﺮﺍﺽ ﻣﻰﻛﻨﻨﺪ ﻭ ﺳﺮﻧﻮﺷﺖ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪ‬ ‫ﻭﺯﺍﺭﺕﺍﺭﺷﺎﺩ ﻣﻰﺳﭙﺎﺭﻧﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺟﺎﻣﻌﻪ ﺳﻴﻨﻤﺎﻳﻰ ﻛﺸﻮﺭ ﻫﻢ‬ ‫ﻫﻤﺮﺍﻩ ﺁﻧﻬﺎ ﺩﺭ ﺍﻳﻦ ﺍﻋﺘﺮﺍﺽ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﻣﻬﻢﺗﺮﻳﻦ ﺻﺤﺒﺖ ﻣﺤﻤﺪﻯ‬ ‫ﺩﺭ ﺍﻳﻦ ﺟﻤﻠﻪﺍﺵ ﺑﻮﺩ‪» :‬ﻣﺸﻜﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺭﻭﺣﺎﻧﻰﻫﺎﻯ ﻣﻮﺍﻓﻖ ﺑﺎ‬ ‫ﺻﺮﺍﺣﺖ ﻭ ﺁﺷﻜﺎﺭ ﻧﻈﺮ ﻣﺜﺒﺖﺷﺎﻥ ﺭﺍ ﺍﻋﻼﻡ ﻧﻤﻰﻛﻨﻨﺪ ﺍﻣﺎ ﻣﺨﺎﻟﻔﺎﻥ ﺑﻪ‬ ‫ﺗﻠﺨﻰ ﻭ ﺗﻨﺪﻯ ﻣﻰﮔﻮﻳﻨﺪ‪ «.‬ﺟﺎﻟﺐ ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ ﻣﺤﻤﺪﻯ ﻣﻰﮔﻮﻳﺪ‬ ‫ﻫﻴﭻ ﻧﻬﺎﺩﻯ ﺑﻪﻃﻮﺭ ﺭﺳﻤﻰ ﺩﺳﺘﻮﺭ ﺗﻮﻗﻒ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺭﺍ ﺻﺎﺩﺭ ﻧﻜﺮﺩﻩ‬ ‫ﺍﺳــﺖ‪» :‬ﻭﺯﺍﺭﺕ ﺍﺭﺷــﺎﺩ ﻓﻴﻠﻢ ﺭﺍ ﺗﻮﻗﻴﻒ ﻧﻜﺮﺩﻩ‪ ،‬ﻗﻮﻩ ﻗﻀﺎﺋﻴﻪ ﻣﻨﻬﺎﻯ‬ ‫ﭼﻨﺪ ﺷﻬﺮ ﻓﻴﻠﻢ ﺭﺍ ﺗﻮﻗﻴﻒ ﻧﻜﺮﺩﻩ‪ ،‬ﻫﻴﭻ ﻣﺮﺟﻊ ﺭﺳﻤﻰ ﺣﻜﻤﻰ ﺩﺭ ﺍﻳﻦ‬ ‫ﺯﻣﻴﻨﻪ ﺻﺎﺩﺭ ﻧﻜﺮﺩﻩ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﭘﺮﻭﻧﺪﻩ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺣﺎﻝ ﺑﺴــﺘﻪ‬ ‫ﺷﺪﻥ ﺍﺳــﺖ‪ «.‬ﺗﺒﺮﻳﺰﻯ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﻧﺸﺴﺖ ﻫﺪﻑ ﺍﺯ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﺭﺍ‬ ‫ﭼﻨﻴﻦ ﻋﻨﻮﺍﻥ ﻣﻰﻛﻨﺪ‪» :‬ﻫﺪﻑ ﻣﺎ ﺟﺬﺏ ﻣﺨﺎﻃﺒﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﺭﻭﺣﺎﻧﻴﺖ ﮔﺎﺭﺩ ﺩﺍﺭﻧﺪ ﻭ ﻣﻰﺧﻮﺍﺳﺘﻴﻢ ﺍﻳﻦ ﻓﺎﺻﻠﻪ ﺭﺍ ﺑﺮﺩﺍﺭﻳﻢ ﻭ ﻓﻀﺎﻯ‬ ‫ﺗﻔﺎﻫﻢ ﺑﺮﻗﺮﺍﺭ ﻛﻨﻴﻢ ﻭﮔﺮﻧﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﻛﺴــﺎﻧﻰ ﻛﻪ ﺑﺎ ﺭﻭﺣﺎﻧﻴﺖ‬ ‫ﻣﺸــﻜﻠﻰ ﻧﺪﺍﺭﻧﺪ ﺣــﺮﻑ ﺗﺎﺯﻩﺍﻯ ﻧــﺪﺍﺭﺩ‪) «.‬ﻣﺼﺎﺣﺒــﻪ ﻣﻄﺒﻮﻋﺎﺗﻰ‬ ‫‪ 26‬ﺍﺭﺩﻳﺒﻬﺸﺖ ﺩﺭ ﺧﺎﻧﻪ ﺳﻴﻨﻤﺎ( ﺳــﺮﺍﻧﺠﺎﻡ ﻣﺎﺭﻣﻮﻟﻚ ﺑﺎ ﺷﻜﺴﺘﻦ‬ ‫ﺭﻛﻮﺭﺩ ﻓﺮﻭﺵ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺗﻨﻬﺎ ﺑﺎ ‪ 3‬ﻫﻔﺘﻪ ﻧﻤﺎﻳﺶ ﺍﺯ ﭘﺮﺩﻩ ﭘﺎﻳﻴﻦ‬ ‫ﻣﻰﺁﻳﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺟﻨﺠﺎﻟﻰﺗﺮﻳﻦ ﺍﻛﺮﺍﻥ ‪ 10‬ﺳــﺎﻝ ﺭﺍ ﭘﺪﻳﺪ ﺁﻭﺭﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻛﺮﺍﻥ‪ ،‬ﻧﺴﺨﻪ ﺑﺎﻛﻴﻔﻴﺘﻰ ﺍﺯ ﻓﻴﻠﻢ ﺑﻪ ﺑﺎﺯﺍﺭ ﺧﺎﻧﮕﻰ ﻣﻰﺁﻳﺪ ﻭ‬ ‫ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﻛﺸﻮﺭﻫﺎﻯ ﺧﺎﺭﺟﻰ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺷﺪﻳﺪ‬ ‫ﺍﻳﺮﺍﻧﻰﻫﺎﻯ ﻣﻘﻴﻢ ﺁﻧﺠﺎ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﺪﻧﺪ ﻭ ﻃﺮﺡﻫﺎﻯ ﭼﻮﻥ »ﺳﻴﻨﻤﺎﻯ ﻣﻌﻨﺎﮔﺮﺍ« ﻫﻢ ﺩﺭ ﺭﺍﺳﺘﺎﻯ ﻫﻤﻴﻦ ﺍﻗﺪﺍﻣﺎﺕ ﺁﺭﺍﻡ ﺳﺎﺯ ﻣﻄﺮﺡ ﺷﺪ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦ ﻣﻴﺎﻥ ﺑﺎﻳﺪ ﺑﻪ ﻧﮕﺎﻩ ﺍﺻﻠﻰ ﻓﻴﻠﻢ ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﺟﻤﻠﻪ ﻛﻠﻴﺪﻯ »ﺑﻪ ﻋﺪﺩ ﺁﺩﻡﻫﺎﻯ ﺭﻭﻯ ﺯﻣﻴﻦ ﺭﺍﻩﻫﺎﻯ‬ ‫ﺭﺳﻴﺪﻥ ﺑﻪ ﺧﺪﺍﺳﺖ« ﻣﺘﺒﻠﻮﺭ ﺑﻮﺩ ﻫﻢ ﺗﻮﺟﻪ ﻛﺮﺩ‪ .‬ﭘﻠﻮﺭﺍﻟﻴﺴﻢ ﺩﻳﻨﻰ‪ ،‬ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﺳﺎﻝﻫﺎﻯ ﺩﻭﻡﺧﺮﺩﺍﺩ‬ ‫ﻣﻀﻤﻮﻥ ﺣﻤﻠﻪ ﻣﺨﺎﻟﻔﺎﻥ ﺩﻭﻟﺖ ﺑﻮﺩ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺑﻮﺩ ﻭ ﺷﺎﻳﺪ ﻋﻤﺪﻩ ﺩﻟﻴﻞ ﺣﻤﻼﺕ ﻭ ﺍﻧﺘﻘﺎﺩ‬ ‫ﺑﻪ ﺁﻥ ﻫﻢ ﺍﺯ ﻫﻤﻴﻦ ﺯﺍﻭﻳﻪ ﺑﻮﺩ‪.‬‬ ‫ﻣﺎﺭﻣﻮﻟﻚ ﺍﻣﺮﻭﺯ ﻫﻢ ﻣﻰﺗﻮﺍﻧﺪ ﺍﺯ ﺑﻴﻨﻨﺪﻩﺍﺵ ﺧﻨﺪﻩ ﺑﮕﻴﺮﺩ ﻭ ﺍﻭ ﺭﺍ ﺗﺎ ﭘﺎﻳﺎﻥ ﻫﻤﺮﺍﻩ ﺧﻮﺩ ﺩﺍﺷــﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺗﺴﻠﻂ ﻭ ﺗﻮﺍﻧﺎﻳﻰ ﺳﺎﺯﻧﺪﮔﺎﻧﺶ ﺩﺍﺭﺩ ﺍﻣﺎ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰ ﺭﺳﺪ ﺑﺘﻮﺍﻥ ﺗﺼﻮﺭ ﺳﺎﺧﺘﻪ‬ ‫ﺷﺪﻥ ﭼﻨﻴﻦ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺭﺍ ﺗﺎ ﺁﻳﻨﺪﻩ ﻧﺰﺩﻳﻚ ﺑﺎﻭﺟﻮﺩ ﺩﺭﻧﻈﺮﮔﺮﻓﺘﻦ ﺗﻤﺎﻡ ﻣﻮﺍﺯﻳﻦ ﻭ ﺷﺮﺍﻳﻂ ﺩﺍﺷﺖ‪ .‬ﺳﺎﺧﺘﻪ‬ ‫ﻫﺎﻯ ﺑﻌﺪﻯ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻣﺎﺭﻣﻮﻟﻚ ﺧﻮﺩ ﮔﻮﺍﻫﻰ ﺑﺮ ﺍﻳﻦ ﻣﺪﻋﺎ ﻫﺴﺘﻨﺪ‪.‬‬ ‫‪95‬‬ ‫‪29‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ )‪(1384‬‬ ‫ﭼﺎﻟﺶﻫﺎﻱ ﻃﺒﻘﻪ ﻣﺘﻮﺳﻂ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺍﺻﻐﺮ ﻓﺮﻫﺎﺩﻯ‪ ،‬ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ‪ :‬ﺟﻤﺎﻝ ﺳﺎﺩﺍﺗﻴﺎﻥ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ‪:‬‬ ‫ﺍﺻﻐﺮ ﻓﺮﻫﺎﺩﻯ‪ ،‬ﻣﺎﻧﻰ ﺣﻘﻴﻘﻰ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴﻴﻦ ﺟﻌﻔﺮﻳﺎﻥ‪،‬‬ ‫ﻣﻮﺳﻴﻘﻲ‪ :‬ﭘﻴﻤﺎﻥ ﻳﺰﺩﺍﻧﻴﺎﻥ‪ ،‬ﺗﺪﻭﻳﻦ‪ :‬ﻫﺎﻳﺪﻩ ﺻﻔﻰﻳﺎﺭﻯ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨﻪ‬ ‫ﻭ ﻟﺒﺎﺱ‪ :‬ﺣﺴﻴﻦ ﻣﺠﺪ‪ ،‬ﺻﺪﺍﺑﺮﺩﺍﺭ‪ :‬ﺣﺴﻦ ﺯﺍﻫﺪﻯ‪ ،‬ﺻﺪﺍﮔﺬﺍﺭ‪ :‬ﺣﺴﻴﻦ‬ ‫ﺍﺑﻮﺍﻟﺼﺪﻕ‪ ،‬ﺩﺳـﺘﻴﺎﺭ ﺍﻭﻝ ﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬ﻣﻨﻮﭼﻬـﺮ ﻫﺎﺩﻯ‪ ،‬ﻃﺮﺍﺡ ﭼﻬﺮﻩ‬ ‫ﭘﺮﺩﺍﺯﻱ‪ :‬ﻣﻬﺮﺩﺍﺩ ﻣﻴﺮﻛﻴﺎﻧﻰ‪ ،‬ﻣﺪﻳﺮ ﺗﻮﻟﻴﺪ‪ :‬ﭘﻴﻤﺎﻥ ﺟﻌﻔﺮﻯ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻰ‪ ،‬ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ‪ ،‬ﺗﺮﺍﻧﻪ ﻋﻠﻴﺪﻭﺳﺘﻰ‪ ،‬ﭘﺎﻧﺘﻪﺁ ﺑﻬﺮﺍﻡ‪ ،‬ﻫﻮﻣﻦ ﺳﻴﺪﻯ‪،‬‬ ‫ﺳﺤﺮ ﺩﻭﻟﺘﺸﺎﻫﻰ‪ ،‬ﻣﺘﻴﻦ ﺣﻴﺪﺭﻧﻴﺎ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﺑﺸﺮﺍ ﻓﻴﻠﻢ‪ 107 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 26 :‬ﺑﻬﻤﻦ ‪ ،1384‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 530 :‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﺭﻭﺡﺍﻧﮕﻴﺰ ﻛﻪ ﻛﺎﺭﮔﺮ ﻳﻚ ﻣﻮﺳﺴــﻪ ﺧﺪﻣﺎﺕ ﻣﻨﺰﻝ ﺍﺳــﺖ‪ ،‬ﺭﻭﺯ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺑﻪﺧﺎﻧﻪﺍﻯ ﺩﺭ ﻳﻚ‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﺭﻭﻧﺪ ﺗﻐﻴﻴﺮ ﺷــﻜﻞ ﻭ ﻣﻨﺎﺳــﺒﺎﺕ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺩﺭ ﺩﻫﻪ ‪ ،80‬ﻭﺍﺭﺩ‬ ‫ﻣﺴﻴﺮ ﺗﺎﺯﻩﺍﻯ ﺷــﺪ‪ .‬ﺍﻳﻦ ﺩﻫﻪ ﺯﻣﺎﻥ ﭘﻴﭽﻴﺪﻩ ﻭ ﻣﺒﻬﻢ ﺷﺪﻥ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﺭﻭﻧﺪﻫﺎﻯ ﭘﻴﺸــﻴﻦ ﺑﻮﺩ‪ .‬ﺩﻭﺭﻩﺍﻯ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﻪ ﺳﺎﺩﮔﻰ ﻧﻤﻰﺷﺪ ﺑﻪ‬ ‫ﺑﺎﻭﺭﻫﺎ ﻭ ﻧﻤﻮﺩﻫﺎﻯ ﺑﻴﺮﻭﻧﻰ ﺍﻋﺘﻤﺎﺩ ﻛﺮﺩ‪ .‬ﺩﻭﺭﻩ ﺩﺭﻭﻧﻰ ﺷﺪﻥ ﺁﻏﺎﺯ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺩﻭﺭﻩﺍﻯ ﻛﻪ ﺑﺎﻭﺟــﻮﺩ ﻫﻤﻪ ﺗﻤﻬﻴﺪﺍﺕ ﻧﻮﻋﻰ ﺍﻧﺰﻭﺍﮔﺰﻳﻨﻰ ﺑﻪﻭﻳﮋﻩ‬ ‫ﺩﺭ ﻃﺒﻘﻪ ﻣﺘﻮﺳــﻂ ﺣﺎﻛﻢ ﺷــﺪﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﺳــﺨﺘﻰ ﺍﻋﺘﻤﺎﺩﻫﺎ ﺟﻠﺐ‬ ‫ﻣﻰ ﺷﺪ‪ .‬ﺍﮔﺮ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﻫﻪ ﻣﻰ ﺷﺪ ﺑﺎ ﻛﻤﻰ ﺍﻏﻤﺎﺽ‪ ،‬ﻫﻤﭽﻨﺎﻥ‬ ‫ﺷﺎﻫﺪ ﺣﻀﻮﺭﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﺍﻓﺮﺍﺩ ﺑﻮﺩ‪ ،‬ﺩﻫﻪ ‪ 80‬ﺯﻣﺎﻥ ﺷﺒﻴﻪﺳﺎﺯﻯ‬ ‫ﺩﺭﻭﻧﻰ ﻣﻨﺎﺳﺒﺎﺕ ﻭ ﺧﻮﺍﺳﺘﻪﻫﺎﻯ ﺑﻴﺮﻭﻧﻰ ﺑﻮﺩ‪ .‬ﺧﺎﻧﻪﻫﺎ ﺑﻴﺶ ﺍﺯ ﻫﻤﻴﺸﻪ‬ ‫ﻛﺎﺭﻛﺮﺩﻫﺎﻯ ﺑﻴﺮﻭﻧﻰ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻣﻜﺎﻧﺎﺕ ﺍﺟﺘﻤﺎﻉ ﺩﺭ ﺧﺎﻧﻪﻫﺎ‬ ‫‪96‬‬ ‫ﻣﺠﺘﻤﻊ ﻣﺴــﻜﻮﻧﻰ ﻣﻰﺭﻭﺩ‪ .‬ﺧﺎﻧﻪ ﺍﻭﺿﺎﻉ ﻣﻨﺎﺳﺒﻰ ﻧﺪﺍﺭﺩ ﻭ ﺯﻥ ﻭ ﺷــﻮﻫﺮ‪ ،‬ﻣﺮﺗﻀﻰ ﻭ ﻣﮋﺩﻩ ﺷﺐ ﻗﺒﻞ‬ ‫ﺩﻋﻮﺍﻯ ﻣﻔﺼﻠﻰ ﺑﺎ ﻫﻢ ﺩﺍﺷــﺘﻪﺍﻧﺪ‪ .‬ﺭﻭﺣﻰ ﻛﺎﺭﺵ ﺭﺍ ﺩﺭ ﺣﻀﻮﺭ ﻣﺮﺗﻀﻰ ﺁﻏﺎﺯ ﻣﻰﻛﻨﺪ ﺍﻣﺎ ﺑﺎ ﻭﺭﻭﺩ ﻣﮋﺩﻩ‬ ‫ﺩﺭﮔﻴﺮﻯ ﺗﺎﺯﻩﺍﻯ ﺷــﺮﻭﻉ ﻣﻰﺷــﻮﺩ‪ .‬ﺑﺎ ﺭﻓﺘﻦ ﻣﺮﺗﻀﻰ ﺑﻪ ﻣﺤﻞ ﻛﺎﺭ‪ ،‬ﻣــﮋﺩﻩ‪ ،‬ﺭﻭﺣﻰ ﺭﺍ ﻣﺎﻣﻮﺭ ﻣﻰﻛﻨﺪ‬ ‫ﺗﺎ ﺍﺯ ﭼﻨﺪ ﻭﭼﻮﻥ ﺭﺍﺑﻄﻪﺍﻯ ﻛﻪ ﮔﻤﺎﻥ ﻣﻰﻛﻨﺪ ﻫﻤﺴــﺎﻳﻪ ﺁﺭﺍﻳﺸﮕﺮ ﺭﻭﺑﻪﺭﻭﻳﻰﺍﺵ ﺳﻴﻤﻴﻦ ﺑﺎ ﻣﺮﺗﻀﻰ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺳــﺮﺩﺭ ﺑﻴﺎﻭﺭﺩ‪ .‬ﺭﻭﺣﻰ ﺩﺭ ﻗﺎﻟﺐ ﻣﺸﺘﺮﻯ ﺑﻪ ﺧﺎﻧﻪ ﺳــﻴﻤﻴﻦ ﻣﻰﺭﻭﺩ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ‬ ‫ﻫﻤﺴﺎﻳﮕﺎﻥ ﻗﺼﺪ ﺩﺍﺭﻧﺪ ﺍﻭ ﺭﺍ ﻣﺠﺒﻮﺭ ﺑﻪ ﺗﺮﻙ ﺁﻧﺠﺎ ﻛﻨﻨﺪ‪ .‬ﻣﮋﺩﻩ ﺁﻭﺭﺩﻥ ﻓﺮﺯﻧﺪﺵ ﺍﺯ ﻣﺪﺭﺳﻪ ﺭﺍ ﺑﻪ ﺭﻭﺣﻰ‬ ‫ﻣﻰﺳﭙﺎﺭﺩ ﻭ ﺧﻮﺩﺵ ﺩﺭ ﺗﻌﻘﻴﺐ ﻣﺮﺗﻀﻰ ﻧﺰﺩﻳﻚ ﻣﺤﻞ ﻛﺎﺭﺵ ﻣﻰﺭﻭﺩ‪ .‬ﻣﺮﺗﻀﻰ ﻛﻪ ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﻣﮋﺩﻩ‬ ‫ﺭﺍ ﺣﺪﺱ ﺯﺩﻩ ﻣﺘﻮﺟﻪ ﻣﻮﺿﻮﻉ ﻣﻰﺷﻮﺩ ﻭ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﻣﮋﺩﻩ ﺭﺍ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻛﺘﻚ ﻣﻰﺯﻧﺪ‪ .‬ﺩﺭ ﺑﺎﺯﮔﺸﺖ‬ ‫ﺑﻪ ﻣﻨﺰﻝ ﺩﻋﻮﺍﻯ ﻣﻔﺼﻠﻰ ﺑﻴﻦ ﺁﻥ ﺩﻭ ﺷــﻜﻞ ﻣﻰﮔﻴﺮﺩ ﺍﻣﺎ ﺭﻭﺣﻰ ﺑﺎ ﻳــﻚ ﺩﺭﻭﻍ ﻓﻀﺎ ﺭﺍ ﺁﺭﺍﻡ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﺩﺍﻣﻪ ﻣﺮﺗﻀﻰ ﺭﺍ ﻫﻤﺮﺍﻩ ﺳــﻴﻤﻴﻦ ﻣﻰﺑﻴﻨﻴﻢ ﻭ ﻣﺘﻮﺟﻪ ﻣﻰﺷــﻮﻳﻢ ﺁﻥ ﺩﻭ ﻭﺍﻗﻌــﺎ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺭﺍﺑﻄﻪ‬ ‫ﺩﺍﺷــﺘﻪﺍﻧﺪ‪ .‬ﺭﻭﺣﻰ ﻫﻢ ﺍﺯ ﻃﺮﻳﻖ ﻓﻨﺪﻛﻰ ﻛﻪ ﺍﺑﺘﺪﺍ ﺩﺭ ﺧﺎﻧﻪ ﺳﻴﻤﻴﻦ ﺩﻳﺪﻩ ﻭ ﺣﺎﻻ ﺩﺭ ﻣﺎﺷﻴﻦ ﻣﺮﺗﻀﻰ‬ ‫ﻣﻰﺑﻴﻨﺪ‪ ،‬ﻣﺘﻮﺟﻪ ﺍﺻﻞ ﺭﺍﺑﻄﻪ ﻣﻰﺷــﻮﺩ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﻣﺮﺗﻀﻰ‪ ،‬ﺭﻭﺣﻰ ﺭﺍ ﻣﻰﺭﺳــﺎﻧﺪ ﻭ ﻧﺎﻣﺰﺩ ﺭﻭﺣﻰ ﺍﻭ ﺭﺍ‬ ‫ﺩﺭ ﻇﺎﻫﺮﻯ ﻣﺘﻔﺎﻭﺕ ﻣﻰﺑﻴﻨﺪ‪.‬‬ ‫ﺷﺒﻴﻪﺳﺎﺯﻯ ﻣﻰﺷﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺭﻭﺍﻥ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﺑﻪ ﺧﻠﻮﺕ‬ ‫ﮔﺰﻳﻨﻰ ﻛﺸﺶ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳــﺖ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺎ ﺗﻐﻴﻴﺮﺍﺕ ﺳﻴﺎﺳﻰ‬ ‫ﻛﺸﻮﺭ ﻫﻢ ﺗﺸﺪﻳﺪ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫»ﭼﻬﺎﺭﺷــﻨﺒﻪ ﺳــﻮﺭﻯ« ﻓﻴﻠﻢ ﭼﻨﻴﻦ ﺩﻭﺭﻩﺍﻯ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻤﻰ ﻛﻪ‬ ‫ﺭﻭﺍﻳﺘﮕﺮ ﻣﺴــﺎﺋﻞ ﺧﺎﺹ ﻃﺒﻘﻪ ﻣﺘﻮﺳﻂ ﺍﻳﺮﺍﻥ ﺍﺳــﺖ‪ .‬ﻃﺒﻘﻪﺍﻯ ﻛﻪ‬ ‫ﺍﻓــﺮﺍﺩﺵ ﺑﺎﻭﺟﻮﺩ ﺗﻤﺎﻡ ﺍﻣﻜﺎﻧﺎﺕ ﻭ ﺗﻮﺍﻧﺎﻳﻰﻫــﺎ ﺍﻋﺘﻤﺎﺩﻯ ﺑﻪ ﻳﻜﺪﻳﮕﺮ‬ ‫ﻧﺪﺍﺭﻧﺪ‪ .‬ﻓﻴﻠﻤﻰ ﻛﻪ ﻧﺎﺍﻣﻨﻰ ﺭﻭﺍﻧﻰ ﺟﺎﻣﻌﻪ ﺭﺍ ﺩﺭ ﺳــﺎﺧﺘﺎﺭ ﺩﺭﻭﻧﻰﺍﺵ‬ ‫ﺑﻪﺧﻮﺑﻰ ﻧﺸــﺎﻥ ﻣﻰﺩﻫﺪ ﻭ ﺑﻴﻨﻨﺪﻩﺍﺵ ﺭﺍ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺍﺻﻼ ﻓﻴﻠﻤﻰ ﺩﺭﺑﺎﺭﻩ ﻧﺎﺍﻣﻨﻰ ﺍﺳﺖ‪ .‬ﻧﺎﺍﻣﻨﻰ ﻣﻮﺟﻮﺩ‬ ‫ﺩﺭﺍﺟﺘﻤﺎﻉ ﻭ ﺧﺎﻧﻪ‪ .‬ﻧﺎﺍﻣﻨﻰ ﻧﺎﺷﻰ ﺍﺯ ﻧﺒﻮﺩ ﺍﻋﺘﻤﺎﺩ‪ .‬ﻧﺎﺍﻣﻨﻰ ﻛﻪ ﭘﺪﻳﺪ ﺁﻣﺪﻩ‬ ‫ﺍﺯ ﺩﺭﻭﻍﮔﻮﻳﻰ ﻣﺘﺪﺍﻭﻡ ﺩﺭ ﺧﺎﻧﻪﻫﺎﺳﺖ‪ .‬ﻓﻴﻠﻤﻰ ﻛﻪ ﺗﻌﺮﻳﻒ ﺟﺪﻳﺪﻯ‬ ‫ﺍﺯ ﻣﻔﻬﻮﻡ ﺧﻴﺎﻧﺖ ﺭﺍ ﻭﺍﺭﺩ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﻛﺮﺩ‪.‬‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳــﻮﺭﻯ ﺩﺭ ﺩﻭﺭﻩﺍﻯ ﺳﺎﺧﺘﻪ ﺷﺪ ﻛﻪ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ‬ ‫ﻫﻢ ﺩﺭﮔﺬﺭ ﺍﺯ ﺣﺎﻛﻤﻴﺖ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﺟﺪﻳﺪ ﺩﺭ ﺷﺮﺍﻳﻂ ﻧﺎﻣﺸﺨﺺ ﻭ‬ ‫ﻣﺒﻬﻤﻰ ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‪ :‬ﺍﺻﻐﺮ ﻓﺮﻫﺎﺩﻯ ﺑﺎ ﺳﺎﺑﻘﻪ ﺳﺎﺧﺖ ﻳﻚ ﻣﺠﻤﻮﻋﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‬ ‫ﻗﺎﺑﻞ ﺗﺎﻣﻞ ﻭ ﺳﺎﺧﺖ ﺩﻭ ﻓﻴﻠﻢ ﺳﺘﺎﻳﺶ ﺷﺪﻩ »ﺭﻗﺺ ﺩﺭ ﻏﺒﺎﺭ« ﻭ »ﺷﻬﺮ‬ ‫ﺯﻳﺒﺎ« ﻫﻤﺮﺍﻩ ﻣﺎﻧﻰ ﺣﻘﻴﻘﻰ ﻃﺮﺡ ﻓﻴﻠﻢ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺭﺍ ﻧﻮﺷﺖ‪.‬‬ ‫ﺍﻳﻦ ﺩﻭ ﺍﺯ ﺍﺭﺩﻳﺒﻬﺸــﺖ ‪ 83‬ﻛﺎﺭ ﺑﺮ ﺭﻭﻯ ﻓﻴﻠﻢ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩﻧﺪ ﻭ ﭘﺲ ﺍﺯ‬ ‫‪ 8‬ﻣﺎﻩ ﻛﺎﺭ ﻓﺸﺮﺩﻩ ﺩﺭ ﺩﻯ ﻣﺎﻩ ﺑﻪ ﺳــﺎﺧﺘﺎﺭ ﺍﺻﻠﻰ ﻛﺎﺭ ﺭﺳﻴﺪﻧﺪ‪ .‬ﻓﻴﻠﻢ‬ ‫ﻃﺮﺡ ﺩﺍﺳﺘﺎﻥ ﺁﺷﻔﺘﮕﻰ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺩﺭ ﺁﺳﺘﺎﻧﻪ ﺳﺎﻝ ﻧﻮ ﻭ ﺭﻭﺯ ﺧﺎﺹ‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪﺳــﻮﺭﻯ ﺑﺎ ﻣﺤﻮﺭﻳﺖ ﻣﻮﺿﻮﻉ ﺧﻴﺎﻧﺖ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻭﺭﻭﺩ ﻳﻚ‬ ‫ﻛﺎﺭﮔﺮ ﻧﻈﺎﻓﺘﭽﻰ ﺭﻭﺍﻳﺖ ﻣﻰﺷﺪ‪ .‬ﻓﺮﻫﺎﺩﻯ ﺑﺎ ﺳﺎﺧﺘﻪﻫﺎﻯ ﻗﺒﻠﻰﺍﺵ‬ ‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻗﺎﻣﺖ ﻳﻚ ﺍﺳــﺘﻌﺪﺍﺩ ﺟﺪﻳﺪ ﻛﻪ ﻣﻨﺎﺳﺒﺎﺕ ﺍﺟﺘﻤﺎﻉ ﺭﻭﺯ ﻭ‬ ‫ﻣﺴﺎﺋﻞ ﭘﻴﺮﺍﻣﻮﻧﺶ ﺭﺍ ﻣﻰﺷﻨﺎﺳــﺪ ﺷﻨﺎﺳﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻣﺎﻧﻰ ﺣﻘﻴﻘﻰ‬ ‫ﺑــﺎ ﻓﻴﻠﻢﻫﺎﻳﺶ ﻧﺸــﺎﻥ ﺩﺍﺩﻩ ﺑــﻮﺩ ﺩﻏﺪﻏﻪﻫﺎﻯ ﺑﻪ ﻇﺎﻫــﺮ ﻣﺘﻔﺎﻭﺗﻰ‬ ‫ﻧﺴــﺒﺖ ﺑﻪ ﻓﺮﻫﺎﺩﻯ ﺩﺍﺭﺩ‪ .‬ﻫﻤﻜﺎﺭﻯ ﺍﻳﻦ ﺩﻭ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﺟﺎﻟﺐ ﺑﻮﺩ‪.‬‬ ‫ﻓﺮﻫــﺎﺩﻯ ﻭ ﺣﻘﻴﻘﻰ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍﻯ ﻧــﮕﺎﺭﺵ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺑﺮ ﺗﺮﻛﻴﺐ‬ ‫ﺳــﻪ ﻧﻔﺮﻩ ﻫﺪﻳﻪ ﺗﻬﺮﺍﻧﻰ‪ ،‬ﺗﺮﺍﻧﻪ ﻋﻠﻴﺪﻭﺳــﺘﻰ ﻭ ﺣﻤﻴﺪ ﻓﺮﺥﻧﮋﺍﺩ ﺑﺮﺍﻯ‬ ‫ﺍﻳﻔﺎﻯ ﻧﻘﺶﻫﺎﻯ ﻓﻴﻠﻢ ﺗﺎﻛﻴﺪ ﺩﺍﺷــﺘﻨﺪ ﻭ ﻧﻬﺎﻳﺘﺎ ﻫﻢ ﻫﻤﻴﻦ ﺗﺮﻛﻴﺐ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺷﺪ‪ .‬ﻛﺎﺭ ﺟﺪﻯ ﺗﻮﻟﻴﺪ ﺍﺯ ﺑﻬﻤﻦ ‪ 83‬ﺑﻪ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻰ ﺟﻤﺎﻝ‬ ‫ﺳﺎﺩﺍﺗﻴﺎﻥ ﺩﺭ ﺩﻓﺘﺮ ﺑﺸﺮﺍ ﻓﻴﻠﻢ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺭﻭﺯﻫﺎﻯ ﻧﺰﺩﻳﻚ‬ ‫ﺑﻪ ﻧﻮﺭﻭﺯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺭﺍ ﺁﻏــﺎﺯ ﻛﺮﺩﻧﺪ ﺗﺎ ﻣﻨﻄﺒﻖ ﺑﺮ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺍﺯ ﺍﻳﻦ‬ ‫ﺯﻣﺎﻥ ﺍﺳــﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ ﺍﻟﺒﺘﻪ ﻧﻬﺎﻳﺘﺎ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺻﺤﻨﻪﻫﺎ ﺭﺍ ﺑﺎﺯﺳﺎﺯﻯ‬ ‫ﻛﺮﺩﻧــﺪ ﺑﻪﻭﻳﮋﻩ ﺻﺤﻨﻪ ﺑﻴﺮﻭﻧــﻰ ﺩﺭ ﭘﺎﺭﻙ ﻛﻪ ﻛﺎﻣــﻼ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ‬ ‫ﭼﻬﺎﺭﺷــﻨﺒﻪ ﺳــﻮﺭﻯ ﻭﺍﺭ ﺩﺍﺭﺩ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺑﻪﺩﻟﻴﻞ ﻓﻀﺎﻯ ﺧﺎﺹ‬ ‫ﻟﻮﻛﻴﺸﻦ ﻓﻴﻠﻢ ﻭ ﮔﺬﺷﺘﻦ ﺑﺨﺶ ﺯﻳﺎﺩﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻓﻀﺎﻯ ﺩﺍﺧﻠﻰ‬ ‫ﻳﻚ ﺁﭘﺎﺭﺗﻤﺎﻥ ﺑﺎ ﻭﺳﻮﺍﺱ ﻭ ﺩﻗﺖ ﻓﺮﺍﻭﺍﻥ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﻣﻬﻢﺗﺮﻳﻦ ﺍﺗﻔﺎﻕ‬ ‫ﺭﻭﺯﻫﺎﻯ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺩﺭﮔﺬﺷــﺖ ﻧﺎﮔﻬﺎﻧﻰ ﺑﺮﺍﺩﺭ ﻋﻠﻴﺪﻭﺳــﺘﻰ ﺩﺭ‬ ‫ﻫﻤﺎﻥ ﺭﻭﺯ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺑﻪﺧﺎﻃﺮ ﺍﺗﻔﺎﻗﺎﺕ ﺧﺎﺹ ﺁﻥ ﺭﻭﺯ ﺑﻮﺩ ﻛﻪ‬ ‫ﻭﻗﻔﻪﺍﻯ ﺩﺭ ﺗﻮﻟﻴﺪ ﺍﻳﺠﺎﺩ ﻛﺮﺩ‪ .‬ﻧﻬﺎﻳﺘﺎ ﺩﺭ ﺧﺮﺩﺍﺩ ‪ 84‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﭘﺎﻳﺎﻥ‬ ‫ﻳﺎﻓﺖ ﻭ ﻣﺮﺍﺣﻞ ﻓﻨﻰ ﺑﻪ ﺭﻭﺍﻝ ﻗﺒﻞ ﺑﺎ ﺩﻗﺖ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖ ﻭ ﭼﻬﺎﺭﻡ ﻓﻴﻠﻢ ﻓﺠﺮ ﺁﻣﺎﺩﻩ ﻣﻰﺷﻮﺩ ﺩﺭ ﺣﺎﻟﻰﻛﻪ‬ ‫ﺣﺎﺻﻞ ﺗﺎﻣﻞ ﺑﺮﺍﻧﮕﻴﺰ ﻭ ﺩﻳﺪﻧﻰ ﺑﻪﺩﺳــﺖ ﺁﻣﺪﻩ ﺍﺯ ﻓﻴﻠﻢ ﻧﻘﻞ ﻣﺤﺎﻓﻞ‬ ‫ﺳﻴﻨﻤﺎﻳﻰ ﻭ ﺭﺳﺎﻧﻪﺍﻯ ﺍﺳﺖ ﻭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ‬ ‫ﻓﺮﻫﺎﺩﻯ ﻳﺎﺩ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪﺳــﻮﺭﻯ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴــﺖ ﻭ ﭼﻬﺎﺭﻡ ﻓﺠﺮ‪ ،‬ﺍﻭﻟﻴﻦ‬ ‫ﺟﺸﻨﻮﺍﺭﻩﺍﻯ ﻛﻪ ﺩﺭ ﺩﻭﻟﺖ ﻣﺤﻤﻮﺩ ﺍﺣﻤﺪﻯﻧﮋﺍﺩ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻮﺭﺩ‬ ‫ﺗﺤﺴﻴﻦ ﻭ ﺗﻤﺠﻴﺪ ﻓﺮﺍﻭﺍﻥ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺁﻥ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫ﺍﺛﺮ ﺑﺮﮔﺰﻳﺪﻩ ﺷﺎﻥ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﻨﺘﻘﺪﺍﻥ ﻫﻢ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﻛﺎﻣﻞ‬ ‫ﺍﺯ ﻓﻴﻠﻢ ﺩﺭ ﺗﻤﺎﻡ ﺯﻣﻴﻨﻪﻫﺎ )ﺑﻪﻭﻳﮋﻩ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻭ ﺑﺎﺯﻳﮕﺮﻯ ﻭ ﻓﻴﻠﻤﻨﺎﻣﻪ(‪،‬‬ ‫ﻓﺮﻫﺎﺩﻯ ﺭﺍ ﻭﺍﺭﺩ ﺻﻒ ﺍﻭﻝ ﻓﻴﻠﻤﺴــﺎﺯﺍﻥ ﺍﻳﺮﺍﻧﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺍﻭﺭﺍﻥ ﻫﻢ‬ ‫ﺗﻮﺟﻪ ﻭﻳﮋﻩ ﺑﻪ ﻓﻴﻠﻢ ﺩﺍﺭﻧﺪ ﻭ ﺟﻮﺍﻳﺰ ﺍﺻﻠﻰ ﭼﻮﻥ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻭ‬ ‫ﺑﺎﺯﻳﮕﺮ ﺯﻥ ﺭﺍ ﺑﻪ ﻓﻴﻠﻢ ﻣﻰﺩﻫﻨﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﭼﻬﺎﺭﺷــﻨﺒﻪ ﺳﻮﺭﻯ‬ ‫ﻓﺎﺗﺢ ﻣﻄﻠﻖ ﺟﺸــﻨﻮﺍﺭﻩ ﻟﻘﺐ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺑﺎ ﺗﻴﺰﻫﻮﺷﻰ‬ ‫ﭼﻨﺪ ﺭﻭﺯ ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺭﺍ ﺁﻏﺎﺯ ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﺑﻴﺸﺘﺮﻳﻦ‬ ‫ﺑﻬﺮﻩ ﺭﺍ ﺍﺯ ﻓﻀﺎﻯ ﺍﻳﺠﺎﺩ ﺷــﺪﻩ ﭘﻴﺮﺍﻣﻮﻥ ﻓﻴﻠﻢ ﺑﺒﺮﻧﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ‬ ‫ﻓﺮﻫﺎﺩﻯ ﻟﺐ ﺑﻪ ﺳــﺨﻦ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﻣﻰﮔﺸﺎﻳﺪ ﻭ ﺯﻭﺍﻳﺎﻯ ﺩﻳﮕﺮﻯ ﺍﺯ‬ ‫ﺍﺛﺮﺵ ﺭﺍ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ‪» :‬ﺩﺭ ﺗﻤﺎﻡ ﺍﺗﻔﺎﻗﺎﺕ ﻓﻴﻠﻢ ﻳﻚ ﭼﻴﺰ ﻣﺸــﺘﺮﻙ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻫﻤﻪ ﻳﺎ ﺩﺍﺭﻧﺪ ﺩﺭﻭﻍ ﻣﻰﮔﻮﻳﻨﺪ ﻳﺎ ﺩﺍﺭﻧﺪ ﺩﺭﻭﻍ ﻳﻜﻰ ﺩﻳﮕﺮ‬ ‫ﺭﺍ ﺩﺭﺳﺖ ﻣﻰﻛﻨﻨﺪ ﻳﺎ ﻣﻰﮔﻮﻳﻨﺪ ﻣﺎ ﻓﻬﻤﻴﺪﻳﻢ ﺗﻮ ﺩﺭﻭﻍ ﮔﻔﺘﻰ‪ .‬ﺳﻌﻰ‬ ‫ﺷــﺪﻩ ﺍﻳﻦ ﺣﺲ ﭘﺸﺖ ﻫﻤﻪ ﭼﻴﺰ ﺑﺎﺷــﺪ‪ «.‬ﻓﺮﻫﺎﺩﻯ ﺟﺰ ﺍﻳﻦ ﺑﺎ ﺩﻗﺖ‬ ‫ﺟﺰﺋﻴﺎﺕ ﻓﻴﻠﻤﺶ ﻭ ﻧﺤﻮﻩ ﺭﺳــﻴﺪﻥ ﺑﻪ ﺳﺎﺧﺘﺎﺭ ﻧﻬﺎﻳﻰ ﺍﺛﺮﺵ ﺭﺍ ﺷﺮﺡ‬ ‫ﻣﻰﺩﻫــﺪ ﻭ ﺍﻟﺒﺘﻪ ﺟﺎ ﺑﻪ ﺟﺎ ﻣﻮﺿﻮﻉ ﻃﺮﺡ ﻧﺎﺍﻣﻨــﻰ ﺩﺭ ﺍﺟﺘﻤﺎﻉ ﻛﻪ ﺩﺭ‬ ‫ﻓﻴﻠﻢ ﻫﻢ ﺑﻪ ﺷﻴﻮﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﺷﺪﻩ‪ ،‬ﻣﻄﺮﺡ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﭼﻬﺎﺭﺷــﻨﺒﻪ ﺳــﻮﺭﻯ ﺑﻪﺭﻏﻢ ﺍﻛﺮﺍﻥ ﺩﺭ ﻳﻚ ﺯﻣﺎﻥ ﻣﺮﺩﻩ ﺩﺭ ﻧﻤﺎﻳﺶ‬ ‫ﻋﻤﻮﻣﻰ ﻫﻢ ﻣﻮﻓﻖ ﺍﺳــﺖ ﻭ ﻓﺮﻭﺵ ﺑﺎﻻﻳﻰ ﺩﺍﺭﺩ‪ .‬ﺍﺳــﺘﻘﺒﺎﻝ ﺍﺯ ﻓﻴﻠﻢ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺷﮕﻔﺖ ﺯﺩﻩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳــﻮﺭﻯ ﺭﺍ ﺑﺎﻳﺪ ﻧﻘﻄﻪ ﭘﺮﺵ ﻛﺎﻣﻞ ﺍﺻﻐﺮ ﻓﺮﻫﺎﺩﻯ‬ ‫ﺩﺍﻧﺴﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﻓﺮﻫﺎﺩﻯ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻴﻠﻤﺴﺎﺯ ﺩﻫﻪ‬ ‫‪ 80‬ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺷﺪ ﻛﻪ ﺩﺭ ﺍﺩﺍﻣﻪ ﻣﺴﻴﺮ ﺩﺭﺳﺖ ﻛﺎﺭﻯﺍﺵ ﺑﻪ‬ ‫ﺍﻭﺟﻰ ﭼﻮﻥ »ﺩﺭﺑﺎﺭﻩ ﺍﻟﻰ« ﺭﺳــﻴﺪ‪ .‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻌﺪﻯ‬ ‫ﻓﺮﻫﺎﺩﻯ‪ ،‬ﭼﻬﺎﺭﺷﻨﺒﻪﺳــﻮﺭﻯ ﻓﻴﻠﻢ ﻣﻌﺎﺻﺮﺗﺮﻯ ﻧﺸــﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻓﻴﻠﻤﻰ ﻛﻪ ﺣﺎﻻ ﺣﻜﻢ ﺩﺭﺳﺖﺗﺮﻳﻦ ﻭ ﺩﻗﻴﻖﺗﺮﻳﻦ ﺗﺼﻮﻳﺮ ﺍﺯ ﻃﺒﻘﻪ‬ ‫ﻣﺘﻮﺳــﻂ ﺍﻳﺮﺍﻥ ﺩﻫﻪ ‪ 80‬ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻃﺒﻘﻪﺍﻯ ﺑﻪﻇﺎﻫﺮ ﻣﻮﻓﻖ ﺍﻣﺎ ﺩﺭ‬ ‫ﺑﺎﻃــﻦ ﺩﺭﮔﻴﺮ ﻣﺸــﻜﻼﺕ ﺩﺭﻭﻧﻰ ﺧﺎﺹ‪ .‬ﭼﻬﺎﺭﺷﻨﺒﻪﺳــﻮﺭﻯ ﺩﺭ‬ ‫ﺩﻳﺪﺍﺭ ﺩﻭﺑﺎﺭﻩ ﺿﻤﻦ ﺁﻧﻜﻪ ﻛﺎﻣﻼ ﺗﻤﺎﺷــﺎﻳﻰ ﻭ ﺟﺬﺍﺏ ﺍﺳﺖ‪ ،‬ﺑﻴﺶ‬ ‫ﺍﺯ ﻫﺮ ﻧﻜﺘﻪ ﺩﻳﮕﺮﻯ ﻓﻀﺎﻯ ﺧﺎﺹ ﻭ ﻋﺼﺒﻰ ﻓﻴﻠﻢ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻻﻳﻪ‬ ‫ﺯﻳﺮﻳﻨﺶ ﻧﺎﺍﻣﻨــﻰ ﻋﺠﻴﺒﻰ ﺭﺍ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﻣﻨﺘﻘــﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻧﺘﻘﺎﻝ‬ ‫ﺍﻳﻦ ﻣﻔﻬﻮﻡ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﻓﻴﻠﻢ ﺩﻳﮕﺮﻯ ﭼﻬﺎﺭﺷﻨﺒﻪﺳﻮﺭﻯ ﺭﺍ ﺑﺎﺯﺗﺎﺑﻰ‬ ‫ﺍﺯ ﺩﻭﺭﺍﻧﺶ ﻧﺸــﺎﻥﻣﻰﺩﻫﺪ‪.‬‬ ‫‪30‬‬ ‫‪ 30‬ﺳﺎﻝ ‪ 30 ،‬ﻓﻴﻠﻢ‬ ‫ﺍﺧﺮﺍﺟﻰﻫﺎ )‪(1385‬‬ ‫ﺗﺼﻮﻳﺮ ﺟﺪﻳﺪ ﺍﺯ ﺁﺩﻡﻫﺎﻱ ﺟﻨﮓ‬ ‫ﻧﻮﻳﺴـﻨﺪﻩ ﻭ ﻛﺎﺭﮔـﺮﺩﺍﻥ‪ :‬ﻣﺴـﻌﻮﺩ ﺩﻩﻧﻤﻜﻰ‪ ،‬ﺗﻬﻴـﻪ ﻛﻨﻨـﺪﻩ‪ :‬ﺣﺒﻴﺐﺍﷲ ﻛﺎﺳﻪﺳـﺎﺯ‪ ،‬ﻫﻤﻜﺎﺭ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﭘﻴﻤﺎﻥ ﻗﺎﺳـﻢﺧﺎﻧﻰ‪ ،‬ﻣﺪﻳﺮ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻱ‪ :‬ﺣﺴﻦ ﭘﻮﻳﺎ‪ ،‬ﻣﻮﺳﻴﻘﻲ‪ :‬ﻓﺮﻳﺪﻭﻥ ﺷﻬﺒﺎﺯﻳﺎﻥ‪،‬‬ ‫ﺗﺪﻭﻳـﻦ‪ :‬ﺭﺿـﺎ ﺑﻬﺎﺭﺍﻧﮕﻴـﺰ‪ ،‬ﻃﺮﺍﺡ ﺻﺤﻨـﻪ ﻭ ﻟﺒـﺎﺱ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺷـﺠﺎﻋﻰ‪ ،‬ﺻﺪﺍﺑـﺮﺩﺍﺭ‪ :‬ﻣﻬﺮﺍﻥ‬ ‫ﻣﻠﻜﻮﺗـﻰ‪ ،‬ﺻﺪﺍﮔـﺬﺍﺭ‪ :‬ﺑﻬـﺮﻭﺯ ﺷـﻬﺎﻣﺖ‪ ،‬ﻣﺪﻳـﺮ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ‪ :‬ﺳـﻴﺪ ﻣﺤﺴـﻦ ﺍﻭﺭﻧـﮓ‪ ،‬ﻃﺮﺍﺡ‬ ‫ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯﻱ‪ :‬ﺍﻣﻴﺮ ﺍﺳﻜﻨﺪﺭﻯ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻳﻔﻰﻧﻴﺎ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪ :‬ﻛﺎﻣﺒﻴﺰ ﺩﻳﺮﺑﺎﺯ‪ ،‬ﺍﻛﺒﺮ ﻋﺒﺪﻯ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻳﻔﻰﻧﻴﺎ‪ ،‬ﺍﻣﻴﻦ ﺣﻴﺎﻳﻰ‪ ،‬ﺍﺭژﻧﮓ ﺍﻣﻴﺮﻓﻀﻠﻰ‪،‬‬ ‫ﻋﻠﻰ ﺍﻭﺳـﻴﻮﻧﺪ‪ ،‬ﻧﻴﻮﺷﺎ ﺿﻴﻐﻤﻰ‪ ،‬ﺳﻴﺪﺟﻮﺍﺩﻫﺎﺷﻤﻰ‪ ،‬ﻋﺒﺪﺍﻟﺮﺿﺎ ﺍﻛﺒﺮﻯ‪ ،‬ﻗﺎﺳﻢ ﺯﺍﺭﻉ‪ ،‬ﻣﻨﻮﭼﻬﺮ ﺁﺫﺭ‪ ،‬ﻓﺨﺮﺍﻟﺪﻳﻦ ﺻﺪﻳﻖ‬ ‫ﺷﺮﻳﻒ‬ ‫ﻣﺤﺼﻮﻝ‪ :‬ﻣﻮﺳﺴﻪ ﻋﺼﺮ ﺍﻧﺘﻈﺎﺭ ﻭ ﻣﺮﻛﺰ ﮔﺴﺘﺮﺵ ﺳﻴﻨﻤﺎﻯ ﻣﺴﺘﻨﺪ ﻭ ﺗﺠﺮﺑﻰ‪ 108 ،‬ﺩﻗﻴﻘﻪ‬ ‫ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭ ﺗﻬﺮﺍﻥ‪ 16 :‬ﺍﺳﻔﻨﺪ ‪ ،1385‬ﻓﺮﻭﺵ ﺩﺭ ﺗﻬﺮﺍﻥ‪ :‬ﻳﻚ ﻣﻴﻠﻴﺎﺭﺩ ﻭ ‪ 300‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‪:‬‬ ‫ﻣﺠﻴﺪ ﺳﻮﺯﻭﻛﻰ ﺍﺯ ﺧﻼﻓﻜﺎﺭﻫﺎﻱ ﻳﻜﻲ ﺍﺯ ﻣﺤﻠﻪﻫﺎﻱ ﻗﺪﻳﻤﻰ ﺗﻬﺮﺍﻥ‪ ،‬ﻋﺎﺷﻖ ﺩﺧﺘﺮ ﻣﻴﺮﺯﺍ )ﮔﻴﻮﻩﺩﻭﺯ ﻋﺎﺭﻑ ﻣﺤﻠﻪ( ﺍﺳﺖ‪ .‬ﻣﻴﺮﺯﺍ ﺷﺮﻁ‬ ‫ﺍﺯﺩﻭﺍﺝ ﺁﻧﻬﺎ ﺭﺍ ﺳﺮﺑﻪ ﺭﺍﻩ ﺷﺪﻥ ﻣﺠﻴﺪ ﮔﺬﺍﺷــﺘﻪ ﺍﺳﺖ‪ .‬ﻣﺠﻴﺪ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ ﻧﺮﮔﺲ ﺩﺳﺖ ﺑﻪ ﺩﺭﻭﻍ ﻭ ﻛﻠﻚ ﻣﻲﺯﻧﺪ ﺍﻣﺎ ﻧﻘﺸﻪﺍﺵ ﺍﻓﺸﺎ‬ ‫ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﺪ ﺩﺭ ﺳﺮﺭﺍﻩ ﺧﻮﺩ ﺭﻗﻴﺒﻲ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﺑﭽﻪﻫﺎﻱ ﺟﺒﻬﻪﺍﻱ ﺍﺳﺖ ﻭ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺍﺯ ﺍﻭ ﻋﻘﺐ ﻧﻴﻔﺘﺪ‪ ،‬ﺑﺎ ﻧﻮﭼﻪﻫﺎﻳﺶ‬ ‫ﺭﺍﻫﻲ ﺟﺒﻬﻪ ﻣﻲ ﺷﻮﺩ‪ .‬ﺁﻧﻬﺎ ﺩﺭ ﮔﺰﻳﻨﺶ ﺭﺩ ﻣﻰﺷﻮﻧﺪ ﺍﻣﺎ ﺑﺎ ﺿﻤﺎﻧﺖ ﺭﻭﺣﺎﻧﻰ ﻣﺤﻞ ﺍﻣﻜﺎﻥ ﺣﻀﻮﺭ ﺩﺭ ﺟﺒﻬﻪ ﺭﺍ ﻣﻰﻳﺎﺑﻨﺪ‪ .‬ﺩﺭ ﭘﺎﺩﮔﺎﻥ ﺁﻣﻮﺯﺷﻰ‬ ‫ﻧﺎﻣﺘﺠﺎﻧﺲ ﺑﻮﺩﻥ ﺭﻓﺘﺎﺭﻫﺎﻯ ﻣﺠﻴﺪ ﻭ ﻫﻤﺮﺍﻫﺎﻧﺶ ﻣﺸــﻜﻼﺕ ﺯﻳﺎﺩﻯ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ ﻭ ﻋﺪﻩﺍﻯ ﺍﺯ ﺟﻤﻠﻪ ﻓﺮﻣﺎﻧﺪﻩ ﺑﺎ ﺣﻀﻮﺭ ﺁﻧﻬﺎ ﻣﺨﺎﻟﻔﺖ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﭘﺎﺩﺭﻣﻴﺎﻧﻰ ﭼﻨﺪ ﻧﻔﺮ ﺑﺎﻋﺚ ﻣﺎﻧﺪﻥ ﺁﻧﻬﺎ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻧﺪﻙ ﺍﻧﺪﻙ ﺗﻐﻴﻴﺮﺍﺗﻰ ﺩﺭ ﺭﻓﺘﺎﺭ ﻣﺠﻴﺪ ﻭ ﻫﻤﺮﺍﻫﺎﻧﺶ ﺍﻳﺠﺎﺩ ﻣﻰﺷﻮﺩ‪ .‬ﺁﻧﭽﻨﺎﻥ‬ ‫ﻛﻪ ﻫﻨﮕﺎﻡ ﻋﻤﻠﻴﺎﺕ‪ ،‬ﻣﺠﻴﺪ ﺑﻪ ﻣﻴﺪﺍﻥ ﻣﻴﻦ ﻣﻰﺯﻧﺪ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﺎﻧﻚ ﻋﺮﺍﻗﻰ ﺳﻴﻨﻪ ﺳﭙﺮ ﻣﻰﻛﻨﺪ ﻭ ﺷﻬﻴﺪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﻳﺮﻭﺯ‬ ‫ﻣﻴﺎﻧﻪ ﺩﻫﻪ ‪ 80‬ﺑﻪ ﻫﻢ ﺭﻳﺨﺘﮕﻰﻫﺎﻯ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﻛﺎﻣﻞ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﺭﺯﺵﻫﺎﻯ ﺟﺪﻳﺪ ﻭ ﺷﻤﺎﻳﻞﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺩﺭ ﺟﺎﻣﻌﻪ ﻣﻄﺮﺡ ﻭ ﻣﺤﺒﻮﺏ‬ ‫ﻣﻰﺷﺪﻧﺪ‪ .‬ﮔﻮﻳﻰ ﺩﻭﺭﻩ ﻓﺮﻫﻴﺨﺘﮕﻰ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﻭ ﺍﺭﺯﺵﻫﺎﻯ ﭘﻴﺸــﻴﻦ ﺗﻮﺳﻂ ﺍﻓﺮﺍﺩﻯ ﺯﻳﺮﭘﺎ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‬ ‫ﻛﻪ ﺗﺎ ﻗﺒﻠﺶ ﻫﻢ ﺗﺼﻮﺭﺵ ﻧﻤﻰﺭﻓﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﺟﺪﻳﺪ‬ ‫ﻫﻢ ﮔﻮﻯﺳﺒﻘﺖ ﺭﺍ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺭﺑﻮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻮﻉ ﺍﺩﺑﻴﺎﺕ ﻭ ﻣﻨﺎﺳﺒﺎﺕ‬ ‫ﺭﺳﻤﻰ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﻫﻢ ﺷﻜﻞ ﺩﻳﮕﺮﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﭼﻨﻴﻦ ﻓﻀﺎﻳﻰ‬ ‫ﻣﺤﺼﻮﻻﺕ ﻓﺮﻫﻨﮕﻰ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺳﺎﺧﺖ ﻭ »ﺍﺧﺮﺍﺟﻰﻫﺎ« ﻣﺘﻮﻟﺪ‬ ‫ﭼﻨﻴﻦ ﺩﻭﺭﻩﺍﻯ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻤﻰ ﺳــﺎﺧﺘﻪ ﺷــﺪﻩ ﺗﻮﺳﻂ ﭼﻬﺮﻩ ﺟﻨﺠﺎﻟﻰ‬ ‫ﮔﺮﺩﻫﻤﺎﻳﻰﻫﺎﻯ ﺳﻴﺎﺳــﻰ ﺩﻳﺮﻭﺯ ﻭ ﻋﻨﺼﺮ ﺳﻴﺎﺳﻰ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ‬ ‫ﻛﻪ ﺩﺭ ﭘﻮﺷﺶ ﻃﺮﺡ ﺭﻭﺍﻳﺖ ﺟﺪﻳﺪﻯ ﺍﺯ ﺟﻨﮓ‪ ،‬ﺷﻮﺧﻰﻫﺎﻯ ﻛﻼﻣﻰ‬ ‫ﺭﺍﻳــﺞ ﺩﺭ ﺟﺎﻣﻌﻪ ﺭﺍ ﺑﻪ ﺟﻐﺮﺍﻓﻴﺎﻯ ﺣﺴــﺎﺱ ﺟﻨﮓ ﺑــﺮﺩ ﻭ ﻗﻬﺮﻣﺎﻧﺎﻥ‬ ‫ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ ﺩﻭﺭﻩ ﺟﺪﻳﺪ ﺟﺎﻣﻌﻪ ﺭﺍ ﻛﻨﺎﺭ ﻳﻜﺪﻳﮕﺮ ﺑﻪﻧﻮﻋﻰ ﻧﻤﺎﻳﺶ‬ ‫ﻋﺎﻣﻪﭘﺴﻨﺪ ﻭﺍ ﻣﻰﺩﺍﺷﺖ‪.‬‬ ‫ﺍﺧﺮﺍﺟﻰﻫﺎ ﻣﺤﺼﻮﻝ ﺩﻭﺭﻩﺍﻯ ﺑﻮﺩ ﻛﻪ ﮔﻮﻳﻰ ﺗﻤﺎﻡ ﺩﺳــﺘﺎﻭﺭﺩﻫﺎ ﻭ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﺑﻪﺩﺳﺖ ﺁﻣﺪﻩ ﮔﺬﺷﺘﻪ ﺑﺎﻳﺪ ﻓﺮﺍﻣﻮﺵ ﻣﻰﺷﺪ‪ .‬ﺍﺧﺮﺍﺟﻰﻫﺎ‬ ‫ﺩﺭ ﭼﻨﻴﻦ ﻓﻀﺎﻳﻰ ﻣﻮﺝﺁﻓﺮﻳﻨﻰ ﻛﺮﺩ ﻭ ﺧﻮﺩ ﺗﺒﺪﻳﻞ ﺑﻪ ﭘﺪﻳﺪﻩ ﺩﻭﺭﺍﻧﺶ‬ ‫ﺷــﺪ‪ .‬ﺟﻨﺠﺎﻝﻫﺎﻳﻰ ﻛﻪ ﺁﻓﺮﻳﺪ ﻭ ﺍﺳــﺘﻘﺒﺎﻟﻰ ﻛﻪ ﺍﺯ ﺁﻥ ﺷــﺪ‪ ،‬ﻳﺎﺩﺁﻭﺭ‬ ‫ﭘﺪﻳﺪﻩﻫﺎﻯ ﺩﻭﺭﻩﻫﺎﻱ ﻗﺒﻞ ﺑﻮﺩ‪ .‬ﻣﺴﻌﻮﺩ ﺩﻩﻧﻤﻜﻰ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺴﻴﺎﺭﻯ‬ ‫‪97‬‬ ‫ﺍﺯ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﻗﺪﻳﻤﻰ ﺭﺍ ﻛﻨﺎﺭ ﺯﺩ ﻭ ﺑﺎ ﺭﻓﺘﺎﺭ ﻭ ﺍﻗﺪﺍﻣﺎﺗﺶ ﺩﺭ ﻋﻤﻞ ﻫﻢ‪،‬‬ ‫ﻫﻤﻪ ﻣﻨﺎﺳﺒﺎﺕ ﻗﺒﻠﻰ ﺭﺍ ﺑﻪ ﭼﺎﻟﺶ ﻛﺸﻴﺪ‪.‬‬ ‫ﺗﻮﻟﻴﺪ‬ ‫ﻣﺴﻌﻮﺩ ﺩﻩﻧﻤﻜﻰ ﺑﻌﺪ ﺍﺯ ﺳﺎﺧﺖ ﺩﻭ ﻓﻴﻠﻢ ﻣﺴﺘﻨﺪ ﺟﻨﺠﺎﻟﻰ »ﻓﻘﺮ‬ ‫ﻭ ﻓﺤﺸــﺎ« ﻭ »ﻛﺪﺍﻡ ﺍﺳــﺘﻘﻼﻝ؟ ﻛﺪﺍﻡ ﭘﻴﺮﻭﺯﻯ« ﺩﺭﺑﺎﺭﻩ ﻣﻨﺎﺳﺒﺎﺕ‬ ‫ﺩﻭ ﻣﻮﺿــﻮﻉ ﺟﻨﺠﺎﻟﻰ ﺟﺎﻣﻌﻪ ﻳﻌﻨﻰ ﻓﺤﺸــﺎ ﻭ ﻓﻮﺗﺒﺎﻝ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺳﺎﺧﺖ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪﺵ ﺁﻣﺎﺩﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺩﻩﻧﻤﻜﻰ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ‬ ‫ﺑﺎ ﺣﻀﻮﺭﻫﺎﻯ ﺭﺳﺎﻧﻪﺍﻯ ﻭ ﺳﻴﺎﺳﻰ‪ ،‬ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ ﻭ‬ ‫ﺗﺎﻳﻴﺪ ﻻﺯﻡ ﺑﺮﺍﻯ ﺷﺮﻭﻉ ﻛﺎﺭ ﻓﻴﻠﻤﺴﺎﺯﻯ ﺭﺍ ﺩﺍﺭﺩ ﺑﺎ ﻫﻤﺎﻥ ﺳﺮ ﻭ ﺻﺪﺍﻯ‬ ‫ﻛﺎﺭﻫﺎﻯ ﻗﺒﻠﻰﺍﺵ ﻣﻘﺪﻣﺎﺕ ﺗﻮﻟﻴــﺪ ﻓﻴﻠﻢ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺭﺍ ﻓﺮﺍﻫﻢ ﻛﺮﺩ‪.‬‬ ‫ﻓﻴﻠﻤﻰ ﺩﺭﺑﺎﺭﻩ ﺣﻀﻮﺭ ﻋــﺪﻩﺍﻯ ﺍﺯ ﺍﻭﺑﺎﺵ ﻭ ﺧﻼﻓﻜﺎﺭﺍﻥ ﺩﺭ ﺟﺒﻬﻪ ﻛﻪ‬ ‫ﺩﻩﻧﻤﻜﻰ ﻣﺪﻋﻰ ﺑﻮﺩ ﺑﺮﺍﺳــﺎﺱ ﺧﺎﻃﺮﺍﺕ ﻭ ﻣﺸﺎﻫﺪﺍﺕ ﻋﻴﻨﻰﺍﺵ ﺩﺭ‬ ‫ﺟﺒﻬﻪ ﺍﻳﻦ ﻓﻜﺮ ﺑﻪﺳﺮﺍﻏﺶ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻫﻨﮕﺎﻡ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ‬ ‫ﻃﺮﺡ ﺩﺍﺳــﺘﺎﻥ ﻓﻴﻠﻢ ﮔﻔﺖ‪» :‬ﺁﺩﻡﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺩﻭﺭﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ‬ ‫ﺩﺭ ﺟﺒﻬﻪﻫﺎ ﺷــﻨﺎﺧﺘﻪ ﺑﻮﺩﻡ‪ ،‬ﺩﺭ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺟﻤﻊ ﻛﺮﺩﻡ‪ .‬ﻫﺮﻛﺲ‬ ‫ﻧﻤﺎﻳﻨﺪﻩ ﻳﻚ ﻃﻴﻒ ﻭ ﺗﻔﻜﺮ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺟﻨﮓ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ‪ .‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﺭﺍ ﺟﻤﻊ ﻭ ﺟﻮﺭ ﻛﺮﺩﻡ ﻭ ﺍﺯ ﭼﻨﺪ ﻧﻔﺮ ﻛﻤﻚ ﺧﻮﺍﺳﺘﻢ‪ .‬ﺍﺯ ﻳﻜﻰ ﺧﻮﺍﺳﺘﻢ‬ ‫ﺭﻣﺎﻧﺶ ﺭﺍ ﺑﻨﻮﻳﺴﺪ‪ ،‬ﻳﻜﻰ ﻓﻴﻠﻤﻨﺎﻣﻪﺍﺵ ﺭﺍ ﺑﻨﻮﻳﺴﺪ‪ .‬ﺑﻌﺪ ﺩﻳﺪﻡ ﺍﺩﺑﻴﺎﺕ‬ ‫ﻭ ﻃﻨﺰ ﺟﺒﻬﻪ ﺭﺍ ﻧﻤﻰﺷﻨﺎﺳﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺧﻮﺩﻡ ﻭﺍﺭﺩ ﺷﺪﻡ‪ .‬ﻓﻴﻠﻤﻨﺎﻣﻪ‬ ‫ﺗﺎ ﺩﻩ ﻧﺴﺨﻪ ﺑﺎﺯﺑﻴﻨﻰ ﺷــﺪ‪ «.‬ﺩﺭ ﺭﺍﻩ ﻧﻮﺷــﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺩﻩﻧﻤﻜﻰ ﺍﺯ‬ ‫ﭼﻬﺮﻩﻫﺎﻯ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﻳﻦ ﻋﺮﺻﻪ ﻣﺎﻧﻨﺪ ﭘﻴﻤﺎﻥ ﻗﺎﺳﻢﺧﺎﻧﻰ ﻛﻤﻚ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﻣﻀﻤﻮﻥ ﻓﻴﻠﻢ ﺗﺎﺣــﺪﻭﺩﻯ ﻳﺎﺩﺁﻭﺭ ﻓﻴﻠﻢ ﻣﻮﻓﻖ ﻟﻴﻠﻰ ﺑﺎ ﻣﻦ‬ ‫ﺍﺳﺖ‪ ،‬ﺑﻮﺩ ﺍﻣﺎ ﺩﻩﻧﻤﻜﻰ ﺗﻮﺟﻪ ﺑﻴﺸــﺘﺮﺵ ﺭﺍ ﺑﺮ ﺷﻮﺧﻰﻫﺎﻯ ﻛﻼﻣﻰ‬ ‫ﺷﺨﺼﻴﺖﻫﺎ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻣﺎﺩﻩ ﺷﺪﻥ ﻓﻴﻠﻤﻨﺎﻣﻪ‪ ،‬ﺣﺒﻴﺐﺍﷲ‬ ‫ﻛﺎﺳﻪﺳــﺎﺯ ﺍﺯ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﻣﻮﺭﺩ ﺍﻋﺘﻤﺎﺩ ﺟﺮﻳﺎﻥﻫﺎﻯ ﺭﺳﻤﻰ ﻛﺎﺭ‬ ‫ﺗﻬﻴﻪ ﻓﻴﻠﻢ ﺭﺍ ﻣﻰﭘﺬﻳﺮﺩ ﻭ ﭘﻴﺶ ﺗﻮﻟﻴﺪ ﺁﻏﺎﺯ ﻣﻰﺷــﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺮﺣﻠﻪ‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﺷﺮﻳﻔﻰﻧﻴﺎ ﭼﻬﺮﻩ ﻣﻬﻢ ﺭﺍﻩﺍﻧﺪﺍﺯﻯ ﭘﺮﻭژﻩﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ‬ ‫ﻧﻘﺶ ﻣﻬﻤﻰ ﺍﻳﻔــﺎ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺿﻤﻦ ﺟﻤﻊ ﻛــﺮﺩﻥ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﺍﺯ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﻧﻘﺶ ﻣﺸــﺎﻭﺭ ﻛﺎﺭﮔــﺮﺩﺍﻥ ﻫﻢ ﻇﺎﻫﺮ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﻋﻤﻼ ﺳﺎﺧﺖ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻯ ﺑﻪﻭﺍﺳﻄﻪ ﺣﻀﻮﺭ‬ ‫ﺍﻭ ﺻﻮﺭﺕ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺷﺮﻭﻉ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﺳﺎﻝ ‪ 85‬ﺁﻏﺎﺯ‬ ‫ﺍﻧﺘﺸــﺎﺭ ﺍﺧﺒﺎﺭ ﻣﺨﺘﻠﻒ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢ ﺑﻮﺩ‪ .‬ﻋﺪﻩﺍﻯ ﺍﺯ ﺑﻮﺩﺟﻪ ﻫﻨﮕﻔﺖ‬ ‫ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﻭ ﺍﻧﺒﻮﻩ ﺍﻣﻜﺎﻧﺎﺕ ﻭ ﻣﺴﺎﻋﺪﺕﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺳﻮﻯ ﻧﻬﺎﺩﻫﺎﻯ‬ ‫ﻣﺨﺘﻠﻒ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻓﻴﻠﻢ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺷــﺪﻩ ﺑــﻮﺩ ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩﻧﺪ ﻭ‬ ‫ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺩﻩﻧﻤﻜﻰ ﻧﻴﺰ ﺑﺎ ﺍﻧﺘﺸــﺎﺭ ﺭﻭﺯ ﺑــﻪ ﺭﻭﺯ ﺍﺧﺒﺎﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ‬ ‫ﺩﺭ ﻭﺑﻼﮔــﺶ ﺍﺯ ﻧﺎﻫﻤﺮﺍﻫﻰ ﺑﺨﺶﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻭ ﻣﺸــﻜﻼﺕ ﺗﻮﻟﻴﺪ‬ ‫ﮔﻼﻳﻪ ﻣﻰﻛﺮﺩ‪ .‬ﺣﻀﻮﺭ ﻭﺯﻳﺮ ﺍﺭﺷــﺎﺩ ﺳﺮﺻﺤﻨﻪ ﻓﻴﻠﻢ ﻭ ﺑﻴﺎﻥ ﺟﻤﻼﺕ‬ ‫ﺣﻤﺎﻳﺖﺁﻣﻴﺰ ﻭ ﺗﻤﺠﻴﺪ ﺩﻩﻧﻤﻜﻰ ﺑﺮ ﺣﺎﺷﻴﻪﻫﺎ ﺍﻓﺰﻭﺩ ﺑﻪﻭﻳﮋﻩ ﻛﻪ ﮔﻔﺘﻪ‬ ‫ﺷﺪ ﻳﻚ ﺩﻭﺭﺑﻴﻦ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺳﻴﻨﻤﺎﻳﻰ ﻫﻢ ﺩﺭ ﺯﻣﺎﻥ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ‬ ‫ﻓﻴﻠﻢ ﺷﻜﺴﺘﻪ ﺷﺪﻩ ﺍﺳــﺖ‪ .‬ﺍﺧﺒﺎﺭ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺑﻪ ﺗﻨﺎﻭﺏ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎ‬ ‫ﻣﻨﺘﺸﺮ ﻣﻰﺷــﺪ ﻭ ﺩﻩﻧﻤﻜﻰ ﻧﻴﺰ ﺍﺯ ﻫﺮ ﻓﺮﺻﺘﻰ ﺑﺮ ﺣﻤﻠﻪ ﺑﻪ ﻣﺨﺎﻟﻔﺎﻥ‬ ‫ﻓﻴﻠﻢ ﻛﻪ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺷﺖ ﺩﺭ ﺭﺍﻩ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﺁﻥ ﺳﻨﮓﺍﻧﺪﺍﺯﻯ ﻭ ﺍﺧﻼﻝ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩ‪ .‬ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ ﺑﻌﺪ ﺍﺯ ﺩﻭ ﻣﺎﻩ ﻭ ﻧﻴﻢ ﺑﻪ ﭘﺎﻳﺎﻥ‬ ‫ﺭﺳﻴﺪ ﻭ ﻣﺮﺍﺣﻞ ﻓﻨﻰ ﺁﻣﺎﺩﻩﺳــﺎﺯﻯ ﺁﻥ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﺑﺎ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺑﻪ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ »ﺍﺧﺮﺍﺟﻰﻫﺎ« ﭘﺮ ﺳﺮ ﻭ ﺻﺪﺍﺗﺮﻳﻦ ﻓﻴﻠﻤﻰ ﺑﻮﺩ ﻛﻪ ﺧﻮﺩ‬ ‫ﺭﺍ ﺑﺮﺍﻯ ﺣﻀﻮﺭ ﺩﺭ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺳﻴﻨﻤﺎﻳﻰ ﺁﻣﺎﺩﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻧﻤﺎﻳﺶ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴــﺖ ﻭ ﭘﻨﺠﻢ ﻓﺠﺮ ﻗﺮﺍﺭ ﺑﻮﺩ ﻧﻤﺎﻳﺶﺩﻫﻨﺪﻩ ﺣﺎﺻﻞ‬ ‫ﺳﻴﺎﺳﺖﻫﺎﻯ ﺳــﻴﻨﻤﺎﻳﻰ ﺩﻭﻟﺖ ﺟﺪﻳﺪ ﺑﺎﺷــﺪ ﺩﺭ ﻧﺘﻴﺠﻪ ﻧﮕﺎﻩﻫﺎﻯ‬ ‫ﺑﺴــﻴﺎﺭﻯ ﻣﻌﻄﻮﻓﺶ ﺑﻮﺩ ﺍﻣﺎ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺴــﻴﺎﺭ ﺟﻨﺠﺎﻟﻰ ﺍﺯ ﺁﺏ‬ ‫ﺩﺭﺁﻣﺪ‪ .‬ﺟﻨﺠﺎﻝﻫﺎﻳﻰ ﻛﻪ ﺍﺧﺮﺍﺟﻰﻫﺎ ﻭ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺩﺭ ﺑﻄﻨﺶ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻛﻨﺎﺭﮔﺬﺍﺷﺘﻪ ﺷــﺪﻥ ﺍﻭﻟﻴﻪ ﺳﻨﺘﻮﺭﻯ ﻧﻘﻄﻪ ﺷــﺮﻭﻉ ﺍﻳﻦ ﺟﻨﺠﺎﻝﻫﺎ‬ ‫ﺑﻮﺩ ﻭ ﺍﻋﺘﺮﺍﺽﻫﺎﻯ ﺩﻩﻧﻤﻜﻰ ﺑﻪ ﺩﺍﻭﺭﺍﻥ ﺟﺸﻨﻮﺍﺭﻩ ﻧﻘﻄﻪ ﭘﺎﻳﺎﻧﻰﺍﺵ‪.‬‬ ‫ﺍﺧﺮﺍﺟﻰﻫﺎ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﻣﺮﺩﻡ ﻭ ﺍﻧﺘﻘﺎﺩ ﺷــﺪﻳﺪ‬ ‫ﺻﺎﺣﺐﻧﻈﺮﺍﻥ ﻣﻮﺍﺟﻪ ﺷــﺪ‪ .‬ﻧﻮﺑﺖﻫﺎﻯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺑــﺎ ﺍﺳــﺘﻘﺒﺎﻝ ﻭ ﺍﺯﺩﺣﺎﻡ ﻫﻤــﺮﺍﻩ ﺑﻮﺩ ﺍﻣــﺎ ﻭﺍﻛﻨﺶﻫﺎ ﺑــﻪ ﺁﻥ ﻣﺜﺒﺖ‬ ‫ﻧﺒﻮﺩ‪ .‬ﺩﻩﻧﻤﻜﻰ ﺩﺭ ﻧﺸﺴــﺖ ﻣﻄﺒﻮﻋﺎﺗﻰ ﻓﻴﻠﻢ ﺑﺎ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﻋﻜﺲ‬ ‫ﺷﻬﻴﺪ ﻣﺠﻴﺪ ﺧﺪﻣﺖ ﺑﻪﻛﺴﺎﻧﻰ ﻛﻪ ﻣﺪﻋﻰ ﻧﺎﺩﺭﺳﺖ ﺑﻮﺩﻥ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺍﻣﺮﻭﺯ‬ ‫ﺑﻌﺪ ﺍﺯ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﻗﺴﻤﺖ ﺩﻳﮕﺮﻯ ﺑﺮ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺣﺎﻻ ﺑﺎﻳﺪ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﮔﺬﺷﺘﻪ ﻭﺍﺑﺴﺘﻪ‬ ‫ﺑﻪ ﺩﻭﺭﺍﻧﺸــﺎﻥ ﺩﺍﻧﺴﺖ‪ .‬ﺩﻭﺭﺍﻧﻰ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﻧﻮﻋﻰ ﺳــﻄﺤﻰﻧﮕﺮﻯ ﻭ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻦ ﺍﺭﺯﺵﻫﺎﻯ‬ ‫ﭘﻴﺸــﻴﻦ ﺩﺭ ﺟﺎﻣﻌﻪ ﺑﻪ ﭼﺸــﻢ ﻣﻰﺧــﻮﺭﺩ ﻭ ﺍﺧﺮﺍﺟﻰﻫﺎ ﻧﻤﺎﺩ ﺁﻧﻬﺎﺳــﺖ‪ .‬ﻓﻴﻠﻤﻰ ﻛــﻪ ﺩﺭ ﺁﻥ ﭼﻨﺪﺍﻥ‬ ‫ﺗﻜﻨﻴﻚﻫﺎ ﻭ ﻇﺮﺍﻓﺖﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ ﻧﻘﺸﻰ ﻧﺪﺍﺭﺩ ﻭ ﺻﺮﻓﺎ ﺑﻴﺎﻥ ﻧﻈﺮﺍﺕ ﻭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺳﺎﺯﻧﺪﻩﺍﺵ ﻛﻪ ﺍﻟﺒﺘﻪ‬ ‫‪98‬‬ ‫ﻭ ﻓﻀﺎﻯ ﻓﻴﻠﻢ ﺑﻮﺩﻧﺪ‪ ،‬ﻳﻚ ﺟﻠﺴﻪ ﻣﻄﺒﻮﻋﺎﺗﻰ ﺟﻨﺠﺎﻟﻰ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩ‪.‬‬ ‫ﺍﻭ ﻫﻤﭽﻨﻴﻦ ﺑﻪﺷــﺪﺕ ﺗﺼﻤﻴﻢ ﺩﺍﻭﺭﺍﻥ ﺩﺭ ﻧﺎﺩﻳــﺪﻩ ﮔﺮﻓﺘﻦ ﻋﻮﺍﻣﻞ‬ ‫ﻓﻴﻠﻢ ﺭﺍ ﺯﻳﺮ ﺳــﻮﺍﻝ ﺑﺮﺩ‪ .‬ﺍﻭ ﻫﻤﻴﻦ ﺍﻗﺪﺍﻡ ﺭﺍ ﺩﺭ ﻣﺮﺍﺳــﻢ ﺍﺧﺘﺘﺎﻣﻴﻪ ﺑﻪ‬ ‫ﺟﻨﺠﺎﻟﻰﺗﺮﻳﻦ ﺷــﻜﻞ ﻣﻤﻜــﻦ ﺗﻜﺮﺍﺭ ﻛﺮﺩ ﻭ ﻋﻤﻼ ﻣﺮﺍﺳــﻢ ﺭﺍ ﺗﺤﺖ‬ ‫ﺗﺎﺛﻴﺮ ﺍﻗﺪﺍﻣﺎﺕ ﺧﻮﺩ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﻧﺼﻴﺐ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﺴﺖ‬ ‫ﻭ ﭘﻨﺠﻢ ﻓﺠﺮ ﺳــﻴﻤﺮﻍ ﺑﻠﻮﺭﻳﻦ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﻧﮕﺎﻩ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺑﻮﺩ‬ ‫ﻛﻪ ﺑﻪﻃﻮﺭ ﻣﺸﺘﺮﻙ ﺑﺎ ﺳﻨﺘﻮﺭﻯ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ‪ .‬ﺍﺧﺮﺍﺟﻰﻫﺎ ﺑﻼﻓﺎﺻﻠﻪ‬ ‫ﺑﻌﺪ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻜﻰ ﺍﺯ ﺍﻛﺮﺍﻥﻫﺎﻯ ﻧﻮﺭﻭﺯﻯ ﺩﻭ ﻫﻔﺘﻪ ﻗﺒﻞ‬ ‫ﺍﺯ ﺳﺎﻝ ﻧﻮ ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻰﺍﺵ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ ﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﭘﺪﻳﺪﻩ ﻓﺮﻭﺵ‬ ‫ﺳــﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺷﺪ‪ .‬ﻓﻴﻠﻢ ﺭﻛﻮﺭﺩ ﻓﺮﻭﺵ ﺳــﻴﻨﻤﺎ ﺭﺍ ﺷﻜﺴﺖ ﻭ ﺩﺭ‬ ‫ﺣﺎﻟﻰ ﻛﻪ ﺍﺳــﺘﻘﺒﺎﻝ ﺍﺯ ﺁﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ ﺑﺎ ﺭﺍﻩ ﻳﺎﻓﺘﻦ ﻧﺴﺨﻪ ﻭﻳﺪﻳﻮﻳﻰ‬ ‫ﻓﻴﻠﻢ ﺑﻪ ﺑﺎﺯﺍﺭ ﻗﺎﭼﺎﻕ ﺍﺯ ﻓﺮﻭﺷﺶ ﻛﺎﺳﺘﻪ ﺷﺪ‪ .‬ﺩﻩﻧﻤﻜﻰ ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﺭﺍ ﺑﻪ‬ ‫ﻣﺨﺎﻟﻔﺎﻧﺶ ﻧﺴــﺒﺖ ﺩﺍﺩ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻫﺎﻳﺶ ﺗﻼﺵ‬ ‫ﺩﺍﺷــﺖ ﻣﻔﺎﻫﻴﻢ ﻭ ﺯﻭﺍﻳﺎﻯ ﻣﻀﻤﻮﻧﻰ ﺟﺪﻳﺪﻯ ﺑﺮﺍﻯ ﻓﻴﻠﻢ ﺗﺮﺳــﻴﻢ‬ ‫ﻛﻨــﺪ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ ﺑﺮ ﺣﺠﻢ ﺣﻤــﻼﺕ ﺑﻪ ﻓﻴﻠﻢ ﺍﻓــﺰﻭﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﻴﺰﺍﻥ‬ ‫ﻭﺍﻛﻨﺶﻫﺎﻯ ﺭﺳــﺎﻧﻪﺍﻯ ﺑﻪ ﻓﻴﻠﻢ ﺩﺭ ﭼﻨﺪ ﺳــﺎﻝ ﻗﺒﻞ ﺑﻰﺳﺎﺑﻘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻋﺪﻩﺍﻯ ﺣﻀﻮﺭ ﭼﻬﺮﻩﺍﻯ ﭼﻮﻥ ﺩﻩﻧﻤﻜﻰ ﺩﺭ ﺳﻴﻨﻤﺎ ﺭﺍ ﻧﺸﺎﻧﻪﺍﻯ ﺩﻳﮕﺮ‬ ‫ﺩﺭ ﺗﻐﻴﻴﺮ ﻣﻨﺎﺳﺒﺎﺕ ﺩﺍﻧﺴﺘﻨﺪ ﻭ ﻓﻀﺎﻯ ﻓﻴﻠﻤﺶ ﺭﺍ ﻫﻢ ﻧﺎﺷﻰ ﺍﺯ ﻣﻮﺭﺩ‬ ‫ﺗﺎﻳﻴﺪ ﺑﻮﺩﻥ ﻓﻴﻠﻤﺴــﺎﺯﺵ ﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺣﺎﻟﻰ ﺑﻪ ﭘﺎﻳﺎﻥ‬ ‫ﺭﺳﻴﺪ ﻛﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺗﻼﺵ ﻛﺮﺩﻧﺪ ﻳﻚ ﻧﺴﺨﻪ ﺳﻴﻨﻤﺎﻳﻰ ﺟﺪﺍ ﺑﺎ ﺍﺿﺎﻓﻪ‬ ‫ﻛــﺮﺩﻥ ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 20‬ﺩﻗﻴﻘﻪ ﺑﻪ ﻓﻴﻠﻢ ﺭﺍﻫﻰ ﺑﺎﺯﺍﺭ ﺧﺎﻧﮕﻰ ﻛﻨﻨﺪ ﻛﻪ ﺑﺎ‬ ‫ﻣﺨﺎﻟﻔﺖ ﺍﺩﺍﺭﻩ ﻧﻈﺎﺭﺕ ﻭ ﺍﺭﺯﺷﻴﺎﺑﻰ ﻣﻮﺍﺟﻪ ﺷﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﻓﻴﻠﻤﻰ‬ ‫ﺍﺯ ﮔﻔﺘﻪﻫﺎﻯ ﺧﺎﻧﻮﺍﺩﻩ ﺷﻬﻴﺪ ﺧﺪﻣﺖ ﻣﻨﺘﺸﺮ ﺷﺪ ﻛﻪ ﺑﻪ ﺳﺎﺧﺘﻪ ﺷﺪﻥ‬ ‫ﻓﻴﻠﻢ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺍﻋﺘﺮﺍﺽ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺁﻥ ﺭﺍ ﺍﻗﺪﺍﻣﻰ ﺩﺭ ﺭﺍﺳﺘﺎﻯ ﺯﻳﺮ‬ ‫ﺳﻮﺍﻝ ﺑﺮﺩﻥ ﺷﻬﻴﺪﺷﺎﻥ ﻋﻨﻮﺍﻥ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺩﻩﻧﻤﻜﻰ ﺑﺎﺯ ﻫﻢ ﺑﻪ ﺷﻴﻮﻩ‬ ‫ﺧﻮﺩ ﺑﻪ ﺍﻳﻦ ﺍﻗﺪﺍﻡ ﻭﺍﻛﻨﺶ ﻧﺸﺎﻥ ﺩﺍﺩ ﻭ ﺑﻪ ﺩﻳﺪﺍﺭ ﺧﺎﻧﻮﺍﺩﻩ ﺷﻬﻴﺪ ﺭﻓﺖ‪.‬‬ ‫ﺍﻳﻦ ﻣﻴﺰﺍﻥ ﻭﺍﻛﻨــﺶ ﻭ ﺟﻨﺠﺎﻝ ﺍﺧﺮﺍﺟﻰﻫــﺎ ﺭﺍ ﺩﺭ ﺭﺩﻳﻒ ﻓﻴﻠﻢﻫﺎﻯ‬ ‫ﺟﻨﺠﺎﻟﻰ ﺳﺎﻝﻫﺎﻯ ﻗﺒﻞ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺍﺧﺮﺍﺟﻰﻫﺎ ﻭ ﻣﺴﺎﺋﻞ‬ ‫ﭘﻴﺮﺍﻣﻮﻧﺶ ﺗﺎ ﻧﻴﻤﻪ ﺳﺎﻝ ‪ 86‬ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ ﻭ ﺑﺎ ﺍﻋﻼﻡ ﺗﺼﻤﻴﻢ ﺩﻩﻧﻤﻜﻰ‬ ‫ﺩﺭ ﺳﺎﺧﺖ ﻗﺴﻤﺖ ﺩﻳﮕﺮﻯ ﺑﺮ ﻓﻴﻠﻢ ﺗﻘﺮﻳﺒﺎ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺖ‪.‬‬ ‫ﺗﻌﺪﻳﻞ ﺷــﺪﻩﺗﺮ ﺍﺯ ﮔﺬﺷﺘﻪ ﻫﺴﺘﻨﺪ‪ ،‬ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺑﻮﺩﻩ ﺍﺳــﺖ‪ .‬ﺑﺎ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺑﻴﺶ ﺍﺯ ﻫﻤﻴﺸﻪ ﺍﺯ ﺟﻨﮓ‬ ‫ﺗﻘﺪﺱﺯﺩﺍﻳﻰ ﺷﺪ ﻭ ﮔﻮﻳﻰ ﻣﺪﺍﻓﻌﺎﻥ ﺳﻴﻨﻪ ﭼﺎﻙ ﺩﻳﺮﻭﺯﺵ ﻗﺼﺪ ﺩﺍﺷﺘﻨﺪ ﺗﺼﻮﻳﺮ ﻗﺒﻠﻰ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺯ‬ ‫ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﺭﺍ ﭘﻴﺶ ﭼﺸﻤﺎﻥ ﺗﻐﻴﻴﺮ ﺍﺳﺎﺳﻰ ﺩﻫﻨﺪ‪ .‬ﻫﻤﻴﻦ ﺍﻗﺪﺍﻡ ﺩﺭ ﺷﻜﻞﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ‬ ‫ﺳــﺎﺧﺘﻪ ﺷﺪﻥ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺩﺭ ﺯﻣﻴﻨﻪﻫﺎﻯ ﺩﻳﮕﺮ ﺍﺟﺘﻤﺎﻉ ﺻﻮﺭﺕ ﮔﺮﻓﺖ ﻭ ﺣﺎﻻ ﻓﻴﻠﻢ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺷﻜﻞ‬ ‫ﺳﻴﻨﻤﺎﻳﻰ ﭼﻨﻴﻦ ﺍﺗﻔﺎﻗﺎﺗﻰ ﺩﺍﻧﺴﺖ‪.‬‬