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ﺴﻴﻨﻤﺎ ﺍﻝﻘﺴﻭﺓ
André Bazin
»ﺇﺫﺍ ﻜﺎﻨﺕ ﻫﻨﺎﻙ ﺍﻝﻴﻭﻡ ﺴﻴﻨﻤﺎ ﻗﺴﻭﺓ،
ﺁﻨﺩﺭﻴﻪ ﺒﺎﺯﺍﻥ
ﻤﻘﺩﻤﺔ
ﻓﺭﺍﻨﺴﻭﺍ ﺘﺭﻭﻓﻭ
François Truffaut
ﻭﻝﺩ ﺁﻨﺩﺭﻴﻪ ﺒﺎﺯﺍﻥ ﻓﻲ 1918/4/18ﻓﻲ ﻤﺩﻴﻨﺔ ﺃﻨﺠﻴﺭﺱ ،ﻭﺘﻭﻓﻲ ﻋﺎﻡ ،1958ﻭﻜﺎﻥ ﻁﻭﺍل ﺍﻝﺴﻨﻭﺍﺕ
ﺍﻝﺨﻤﺱ ﻋﺸﺭﺓ ﺍﻷﺨﻴﺭﺓ ﻤﻥ ﺤﻴﺎﺘﻪ ﺃﻓﻀل ﻨﺎﻗﺩ ﺴﻴﻨﻤﺎﺌﻲ ،ﻭﻗﺩ ﻴﻜﻭﻥ ﻤﻥ ﺍﻷﺼﻭﺏ ﺍﻝﻘﻭل ﺇﻥ ﺒﺎﺯﺍﻥ ﻜﺎﻥ ﺃﻓﻀل
ﻜﺎﺘﺏ ﺴﻴﻨﻤﺎﺌﻲ ،ﺇﺫ ﻜﺎﻥ ﻤﺘﻔﺭﻏﹰﺎ ﺒﺸﻜل ﺨﺎﺹ ﻝﺘﺤﻠﻴل ﺍﻷﻓﻼﻡ ﻭﻭﺼﻔﻬﺎ ﺃﻜﺜﺭ ﻤﻥ ﺘﻘﻴﻴﻤﻬﺎ.
ﺍﻝﺘﺤﻕ ﺒﺎﺯﺍﻥ ﻋﺎﻡ 1938ﺒﺎﻝﻤﺩﺭﺴﺔ ﺍﻝﻭﻁﻨﻴﺔ ﺍﻝﻌﻠﻴﺎ "ﺴﺎﻥ -ﻜﻠﻭﺩ" ﺤﻴﺙ ﻜﺎﻥ ﺃﺴﺎﺘﺫﺓ ﺍﻝﻤﺴﺘﻘﺒل ﻴﺘﻠﻘﻭﻥ
ﺘﺄﻫﻴﻠﻬﻡ ،ﻭﻏﺎﺩﺭﻫﺎ ﻋﺎﻡ 1939ﺒﻌﺩ ﺃﻥ ﺍﺴﺘﺤﻭﺫ ﻋﻠﻴﻪ ﺍﻝﺸﻐﻑ ﺒﺎﻝﺴﻴﻨﻤﺎ ،ﻭﺘﺤﻭل ﻋﺎﻡ 1942ﺇﻝﻰ ﻭﺍﺤﺩ ﻤﻥ ﺃﺒﺭﺯ
ﻤﻨﺸﻁﻲ ﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻝﺩﺍﺭ ﺍﻵﺩﺍﺏ .ﻨﺸﺭ ﺁﻨﺫﺍﻙ ﻤﻘﺎﻻﺘﻪ ﺍﻷﻭﻝﻰ ﻓﻲ ﻤﺠﻼﺕ ﻁﻼﺒﻴﺔ ،ﻭﻫﻲ ﻤﻘﺎﻻﺕ ﺃﻋﻴﺩ
ﻨﺸﺭﻫﺎ ﺘﺤﺕ ﻋﻨﻭﺍﻥ" :ﺍﻝﺴﻴﻨﻤﺎ ﺨﻼل ﺍﻻﺤﺘﻼل" ،ﻭﺒﻌﺩ ﺍﻝﺘﺤﺭﻴﺭ ﺃﺼﺒﺢ ﻨﺎﻗﺩﹰﺍ ﻝﺼﺤﻑ Le Parisien Libéréﻭ
Espritﻭ L`Observateurﻭ"ﺭﺍﺩﻴﻭ -ﺘﻠﻔﺯﻴﻭﻥ -ﺴﻴﻨﻤﺎ" ﻭﻤﺸﺎﺭﻜﹰﺎ ﻓﻲ ﺭﺌﺎﺴﺔ ﺘﺤﺭﻴﺭ Les Cahiers du
،Cinémaﻭﺃﺩﺍﺭ ﺒﺎﺯﺍﻥ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ Les Jeunesses Cinématographiquesﻭﺍﻝﻘﺴﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ
ﻝـ"ﺍﻝﻌﻤل ﻭﺍﻝﺜﻘﺎﻓﺔ" .ﻜﻤﺎ ﻗﺎﻡ ﺒﺘﻘﺩﻴﻡ ﺍﻷﻓﻼﻡ ﻓﻲ ﺍﻝﻨﻭﺍﺩﻱ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻭﺃﺩﺍﺭ ﺍﻝﻨﻘﺎﺸﺎﺕ ﻤﻊ ﺍﻝﻤﺸﺎﻫﺩﻴﻥ ﻓﻲ "ﺍﻝﻐﺭﻓﺔ
ﺍﻝﺴﻭﺩﺍﺀ" ﻭ .Objectif 48ﻜﺎﻥ ﺤﺎﻀﺭﹰﺍ ﺩﺍﺌﻤﹰﺎ ﺤﻴﺙ ﻴﺠﺭﻱ ﻋﺭﺽ ﺃﻓﻼﻡ ،ﻜﻤﺎ ﻜﺎﻥ ﺭﺠل ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻜﺜﺭ ﺇﺜﺎﺭﺓ
ﻼ ﻤﺘﺴﺎﻤﺤﹰﺎ ﻭﻁﻴﺒﹰﺎ
ﻝﻺﻋﺠﺎﺏ ،ﻭﺍﻷﻜﺜﺭ ﺍﺤﺘﺭﺍﻤﹰﺎ ﻭﻤﺤﺒﺔ ﻤﻥ ﻗﺒل ﺍﻵﺨﺭﻴﻥ ﻝﺼﺭﺍﻤﺘﻪ ﺍﻷﺨﻼﻗﻴﺔ .ﻭﺃﺨﻴﺭﺍﹰ ،ﻜﺎﻥ ﺭﺠ ﹰ
ﻭﻭﺩﻭﺩﹰﺍ ،ﺒﻁﺭﻴﻘﺔ ﺍﺴﺘﺜﻨﺎﺌﻴﺔ.
ﺕ ﻓﻴﻪ ﺃﻭل ﻋﻤل ﻤﻤﺘﻊ ﻝﻲ ﻤﻌﻪ ،ﺃﻱ ﻓﻲ "ﺍﻝﻌﻤل ﻭﺍﻝﺜﻘﺎﻓﺔ" ،ﺘﺤﻭل
ﻤﻨﺫ ﺫﻝﻙ ﺍﻝﻴﻭﻡ ﻤﻥ ﻋﺎﻡ 1948ﺍﻝﺫﻱ ﺒﺩﺃ ﹸ
ﻲ ،ﺒﺼﻭﺭﺓ ﻤﺎ ،ﺇﻝﻰ ﺃﺏ ﻤﻌﻨﻭﻱ ،ﻭﻴﻌﻭﺩ ﺍﻝﻔﻀل ﺇﻝﻴﻪ ﻓﻲ ﻜل ﺍﻷﻤﻭﺭ ﺍﻝﻁﻴﺒﺔ ﺍﻝﺘﻲ ﺘﺤﻘﻘﺕ ﻝﻲ ﻤﻨﺫ ﺫﻝﻙ
ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝ
ﺍﻝﺤﻴﻥ :ﻋﹼﻠﻤﻨﻲ ﺒﺎﺯﺍﻥ ﻜﻴﻑ ﺃﻜﺘﺏ ،ﻭﺼﺤﺢ ﻝﻲ ﺃﻭل ﻤﻘﺎل ﻓﻲ "ﺩﻓﺎﺘﺭ ﺍﻝﺴﻴﻨﻤﺎ" ،ﻭﻤﻀﻰ ﺒﻲ ،ﺘﺩﺭﻴﺠﻴﺎﹰ ،ﺇﻝﻰ
ﺍﻹﺨﺭﺍﺝ.
ﻋﻨﺩﻤﺎ ﺘﻭﻓﻲ ،ﻴﻭﻡ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺘﺸﺭﻴﻥ ﺍﻝﺜﺎﻨﻲ ،1958ﻜﻨﺕ ﻗﺩ ﺒﺩﺃﺕ ،ﻭﺒﺎﻝﻀﺒﻁ ﻓﻲ ﺍﻝﻴﻭﻡ ﺍﻝﺴﺎﺒﻕ،
ﺘﺼﻭﻴﺭ ﺃﻭل ﺃﻓﻼﻤﻲ "ﺍﻝﻀﺭﺒﺎﺕ ﺍﻷﺭﺒﻌﻤﺎﺌﺔ" ،ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺫﻱ ﻝﻡ ﻴﺼل ﻤﻌﻲ ﻓﻴﻪ ﺇﻝﻰ ﺃﻜﺜﺭ ﻤﻥ ﻗﺭﺍﺀﺓ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ،
ﻭﺒﺎﻝﻁﺒﻊ ﻓﻘﺩ ﺃﻫﺩﻴﺘﻪ ﺇﻝﻰ ﺫﻜﺭﺍﻩ .ﻗﺒل ﻭﻓﺎﺘﻪ ،ﻋﺎﺩ ﻤﻥ ﺠﺩﻴﺩ ﻝﻤﺸﺎﻫﺩﺓ ﻓﻴﻠﻡ "ﺠﺭﻴﻤﺔ ﺍﻝﺴﻴﺩ ﻻﻨﻎ" ﻓﻲ ﺍﻝﺘﻠﻔﺯﻴﻭﻥ ،ﺒﻌﺩ
ﺃﻥ ﻜﺎﻥ ﻗﺩ ﺸﺎﻫﺩﻩ ﻤﺭﺍﺕ ﻜﺜﻴﺭﺓ ﻓﻲ ﺍﻝﺴﺎﺒﻕ ،ﻭﻓﻲ ﺍﻝﺤﺎل ﺒﺎﺩﺭ ﺇﻝﻰ ﻜﺘﺎﺒﺔ ﻋﺩﺓ ﺼﻔﺤﺎﺕ ﺸ ﹼﻜﻠﺕ ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺃﻓﻀل ﻓﺼﻭل
ﻜﺘﺎﺒﻪ ﻋﻥ "ﺠﺎﻥ ﺭﻴﻨﻭﺍﺭ" ﺍﻝﺫﻱ ﺼﺩﺭ ﺒﻌﺩ ﺭﺤﻴﻠﻪ.
ﻜﺎﻨﺕ ﻁﻴﺒﺔ ﺁﻨﺩﺭﻴﻪ ﺒﺎﺯﺍﻥ ﻤﺴﺄﻝﺔ ﺃﺴﻁﻭﺭﻴﺔ ،ﻭﻜﺎﻥ ﺍﻝﻌﺎﹶﻝﻡ ﺍﻝﺫﻱ ﻴﻌﻴﺵ ﻓﻴﻪ ﻴﺒﺩﻭ ﻝﻪ ﻭﻜﺄﻨﻪ ﻴﻨﺘﻤﻲ ﺇﻝﻰ
ﻋﺼﺭ ﺴﺎﺒﻕ ﻝﻠﺨﻁﻴﺌﺔ ﺍﻷﻭﻝﻰ .ﻜﺎﻨﺕ ﺍﺴﺘﻘﺎﻤﺘﻪ ﻭﻜﺭﻤﻪ ﻤﺩﻋﺎﺓ ﻝﻼﺴﺘﻐﺭﺍﺏ ،ﺇﺫ ﻝﻡ ﻴﻘﺘﺼﺭ ﺴﻠﻭﻜﻪ ﺍﻝﻨﺒﻴل ﻓﻲ ﺤﻴﺎﺘﻪ
ﺍﻝﻴﻭﻤﻴﺔ ﻋﻠﻰ ﻋﻼﻗﺘﻪ ﺒﺄﺼﺩﻗﺎﺌﻪ ،ﺒل ﻜﺎﻥ ﻴﻌﻴﺸﻪ ﻤﻊ ﻜل ﻤﻥ ﻴﻠﺘﻘﻴﻪ ﻭﻝﻭ ﺒﺼﻭﺭﺓ ﻋﺎﺒﺭﺓ ،ﺤﺘﻰ ﺭﺠﺎل ﺍﻝﺸﺭﻁﺔ
ﺍﻷﻜﺜﺭ ﻋﻨﺎﺩﹰﺍ ﻭﺘﺸﺩﺩﹰﺍ ﻜﺎﻨﻭﺍ ﻴﺴﺤﺭﻭﻥ ﺒﻪ ﺒﻌﺩ ﺒﻀﻊ ﺩﻗﺎﺌﻕ ﻤﻥ ﺍﺴﺘﻤﺎﻋﻬﻡ ﺇﻝﻴﻪ ﻭﻫﻭ ﻴﺘﺤﺩﺙ ﻭﻴﺤﺎﺠﺞ ،ﻤﺴﺘﻌﻴﻨﹰﺎ ﻤﻥ
ﺃﺠل ﺇﻗﻨﺎﻋﻬﻡ ﺒﺎﻝﻨﻭﺍﻴﺎ ﺍﻝﻁﻴﺒﺔ .ﺒﻬﺫﺍ ﺍﻝﻘﻠﺏ ﺍﻝﻜﺒﻴﺭ ،ﻭﺫﻝﻙ ﺍﻝﻭﻫﻥ ﺍﻝﺼﺤﻲ ﺍﻝﺫﻱ ﻝﻡ ﻴﻜﻥ ﻴﺤﻭل ﺩﻭﻥ ﺍﺴﺘﻤﺭﺍﺭ ﺇﺸﺭﺍﻕ
ﻑ ﻤﺜﻠﻤﺎ ﻜﺎﻥ ﺠﺩﻝﻴﹰﺎ ﺭﺍﺌﻌﹰﺎ.
ﺍﻝﺴﻌﺎﺩﺓ ﻋﻠﻰ ﻭﺠﻬﻪ ،ﻜﺎﻥ ﺒﺎﺯﺍﻥ ﻫﻭ ﺍﻝﻤﻨﻁﻕ ﻓﻲ ﺤﺎﻝﺔ ﺍﻝﺤﺭﻜﺔ؛ ﻜﺎﻥ ﺇﻨﺴﺎﻨﹰﺎ ﺫﺍ ﻓﻜﺭ ﺼﺎ
ﻁﺎﻝﺏ ،ﻤﻨﺫ ﺍﻷﻴﺎﻡ ﺍﻷﻭﻝﻰ ﻝﻌﻤﻠﻪ ﻓﻲ ﺍﻝﻤﺠﻼﺕ ﺍﻝﻁﻼﺒﻴﺔ ﻭﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻝﺩﺍﺭ ﺍﻵﺩﺍﺏ ،ﺒﺴﻴﻨﻤﺎ ﺃﻜﺜﺭ
ﻨﻀﺠﹰﺎ ﻭﺃﻜﺜﺭ ﻤﺴﺅﻭﻝﻴﺔ" :ﺇﻥ ﺃﺯﻤﺔ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻜﺭﻴﺔ ﺃﻜﺜﺭ ﻤﻨﻬﺎ ﺠﻤﺎﻝﻴﺔ .ﻭﺃﺴﻭﺃ ﻤﺎ ﻓﻲ ﻤﺴﺄﻝﺔ ﺍﻹﻨﺘﺎﺝ ﻫﻭ ﺍﻝﻐﺒﺎﺀ،
ﺍﻝﻐﺒﺎﺀ ﺍﻝﻭﺍﻀﺢ ﻝﺩﺭﺠﺔ ﻴﺘﺭﺍﺠﻊ ﻤﻌﻬﺎ ﺍﻝﺠﺩل ﺤﻭل ﺍﻝﺠﻤﺎﻝﻴﺎﺕ ﺇﻝﻰ ﺍﻝﻤﺭﺘﺒﺔ ﺍﻝﺜﺎﻨﻴﺔ" .ﺘﺄﺜﺭ ﺒﺎﺯﺍﻥ ﻜﺜﻴﺭﹰﺍ ﻓﻲ ﺒﺩﺍﻴﺎﺘﻪ
ﺒﺠﺎﻥ ﺒﻭل ﺴﺎﺭﺘﺭ ،ﻭﻗﺎل ﻋﻨﻪ "ﺇﻨﻪ ﺫﻭ ﺒﺭﺍﻋﺔ ﻤﺩﻫﺸﺔ ﻓﻲ ﺍﻝﺘﺤﻠﻴل" .ﻜﺎﻥ ﺍﺘﺠﺎﻫﻪ ﺍﻝﺘﺭﺒﻭﻱ ﻤﺤل ﺘﻘﺩﻴﺭ ﺍﻝﺠﻤﻴﻊ،
ﻭﻝﻘﺩ ﻜﺎﻥ ،ﻭﻤﺎ ﺯﺍل ،ﺍﻝﻨﺎﻗﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺫﺍ ﺍﻝﻨﺼﻴﺏ ﺍﻷﻜﺒﺭ ﻓﻲ ﺘﻨﺎﻭل ﺃﻋﻤﺎﻝﻪ ﺒﺎﻝﺘﺭﺠﻤﺔ ﻭﺍﻝﻨﺸﺭ ﺨﺎﺭﺝ ﻓﺭﻨﺴﺎ.
ﺘﺭﻙ ﺒﺎﺯﺍﻥ ﻝﺩﻯ ﻭﻓﺎﺘﻪ ﻤﺅﱠﻝﻔﹰﺎ ﻏﻴﺭ ﻤﻜﺘﻤل ﺤﻭل ﺠﺎﻥ ﺭﻴﻨﻭﺍﺭ )ﺼﺩﺭ ﻓﻴﻤﺎ ﺒﻌﺩ ﻋﻥ ﺩﺍﺭ ،(Champ Libre
ﻝﻜﻨﻪ ﻜﺎﻥ ﻗﺩ ﺃﻨﺠﺯ ﺍﻝﺘﺼﺤﻴﺢ ﺍﻝﻁﺒﺎﻋﻲ ﻝﻜﺘﺎﺏ ﻀﻡ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﻤﻘﺎﻻﺘﻪ ،ﺘﻡ ﻨﺸﺭﻩ ﻓﻲ ﺃﺭﺒﻌﺔ ﺃﺠﺯﺍﺀ ﺘﺤﺕ
)(1
ﻋﻨﻭﺍﻥ"ﻤﺎ ﻫﻲ ﺍﻝﺴﻴﻨﻤﺎ؟" ،ﻭﺃﻋﻴﺩ ﻨﺸﺭﻩ ﻤﺭﺍﺕ ﻋﺩﺓ ﻤﻥ ﻗﺒل "ﻤﻨﺸﻭﺭﺍﺕ ."Cerf
ﺤﺩﺩ ﺒﺎﺯﺍﻥ ﺩﻋﻭﺘﻪ ﺒﺼﻭﺭﺓ ﻭﺍﻀﺤﺔ ﺠﺩﹰﺍ ﻋﻨﺩﻤﺎ ﻜﺘﺏ" :ﺇﻥ ﻤﻬﻤﺔ ﺍﻝﻨﺎﻗﺩ ﻝﻴﺴﺕ ﺘﻘﺩﻴﻡ ﺤﻘﻴﻘﺔ ﻏﻴﺭ ﻤﻭﺠﻭﺩﺓ،
ﺒل ﺍﻝﺫﻫﺎﺏ ﻭﺍﻝﺘﻭﻏل ﺇﻝﻰ ﺃﺒﻌﺩ ﻤﺩﻯ ﻓﻲ ﻋﻘل ﻭﺇﺤﺴﺎﺱ ﺍﻝﻘﺎﺭﺉ ﻤﻊ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻝﺫﻱ ﻴﺤﻘﻘﻪ ﺍﻝﻌﻤل ﺍﻝﻔﻨﻲ".
) (1ﺘﺭﺠﻡ ﺍﻝﺩﻜﺘﻭﺭ ﺭﻴﻤﻭﻥ ﻓﺭﻨﺴﻴﺱ ﺇﻝﻰ ﺍﻝﻌﺭﺒﻴﺔ ﺠﺯﺃﻴﻪ ﺍﻷﻭل ﻭﺍﻝﺜﺎﻨﻲ ﻭﺭﺍﺠﻌﻬﻤﺎ ﺍﻝﻤﺨﺭﺝ ﺃﺤﻤﺩ ﺒﺩﺭﺨﺎﻥ ،ﻭﺼﺩﺭﺕ ﺍﻝﺘﺭﺠﻤﺔ ﻓـﻲ
)ﺍﻝﻤﺘﺭﺠﻡ( ﻤﺼﺭ ﻋﺎﻡ .1968
ﺃﺭﺩﺕ ﻓﻲ "ﺴﻴﻨﻤﺎ ﺍﻝﻘﺴﻭﺓ" ﺘﺼﻨﻴﻑ ﻨﺼﻭﺹ ﺒﺎﺯﺍﻥ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﺴﺘﺔ ﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﺘﺠﻤﻌﻬﻡ ﻨﻘﺎﻁ ﻤﺸﺘﺭﻜﺔ ﻫﻲ ﺃﻥ
ﻼ ﻤﻨﻬﻡ ﺍﻤﺘﻠﻙ ﺃﺴﻠﻭﺒﹰﺎ ﻤﺘﻤﻴﺯﹰﺍ ﻭﻭﺠﻬﺔ ﻨﻅﺭ ﺍﻨﻘﻼﺒﻴﺔ ،ﻭﻤﺎﺭﺱ ،ﺃﻭ ﻤﺎ ﻴﺯﺍل ﻴﻤﺎﺭﺱ ،ﺘﺄﺜﻴﺭﹰﺍ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ،
ﻜ ﹰ
ﻭﻨﺠﺩ ﻭﺭﺍﺀ ﺃﻓﻼﻤﻬﻡ ﺍﻹﻨﺴﺎﻥ ﺍﻷﺨﻼﻗﻲ ،ﻭﻫﻲ ﺃﻓﻼﻡ ﺤ ﻭﻝﺘﻬﻡ ،ﺒﺩﺀﹰﺍ ﻤﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﺇﻝﻰ ﺴﻴﻨﻤﺎﺌﻴﻲ ﺍﻝﻘﺴﻭﺓ.
ﻼ ﻓﻲ "ﻤﻭﻝﺩ ﺃﻤﺔ" ﻫﻭ ،ﺒﻤﻌﻨﻰ ﻤﺎ ،ﺍﺒﻥ ﻝـ "ﻏﺭﻴﻔﻴﺙ" ،ﻤﺜل "ﻜﺎﺭل
-1ﺇﻴﺭﻴﻙ ﻓﻭﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﺍﻝﺫﻱ ﺒﺩﺃ ﻤﻤﺜ ﹰ
ﺩﺭﺍﻴﺭ" ﻭ"ﺭﻴﻨﻭﺍﺭ" ﻭﻤﻌﻅﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﺍﻝﺫﻴﻥ ﺒﺩﺅﻭﺍ ﻤﻨﺫ ﻋﺎﻡ 1918ﺘﺤﺩﻭﻫﻡ ﺍﻝﺭﻏﺒﺔ ﻓﻲ ﻤﺠﺎﺭﺍﺓ ﺃﻓﻀل ﻤﺎ ﻜﺎﻥ
ﻤﻭﺠﻭﺩﹰﺍ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﺎﻤﺘﺔ ﺁﻨﺫﺍﻙ .ﻭﻗﺩ ﺘﺤﻭل ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﺍﻝﺫﻱ ﻝﻡ ﻴﺤﻘﻕ ﺴﻭﻯ ﺘﺴﻌﺔ ﺃﻓﻼﻡ ،ﻗﺒل ﺃﻥ ﻴﺘﺨﻠﻰ ﻋﻥ
ﺍﻹﺨﺭﺍﺝ ﺒﻌﺩ ﻅﻬﻭﺭ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻨﺎﻁﻘﺔ )ﻤﻊ ﺍﺴﺘﺜﻨﺎﺀ ﻭﺍﺤﺩ ﻭﻻﻤﻊ( ،ﺇﻝﻰ ﺭﻤﺯ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﻤﻠﻌﻭﻨﺔ.
ﻼ ﺇﻝﻰ ﺍﻹﻴﺠﺎﺯ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ،ﻗﺎﺩﺭﹰﺍ ﻋﻠﻰ ﺇﻁﺎﻝﺔ ﻤﺸﻬﺩﻴﻥ ﺃﻭ ﺜﻼﺜﺔ
ﻜﺎﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﻭﻫﻭ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻷﻗل ﻤﻴ ﹰ
ﻤﺸﺎﻫﺩ ﻋﺎﺩﻴﺔ ﺤﺘﻰ ﺨﻤﺴﻴﻥ ﺩﻗﻴﻘﺔ ،ﻭﺍﻝﺘﻲ ﻜﺎﻥ ﺯﻤﻼﺅﻩ ﻴﻨﻔﺫﻭﻨﻬﺎ ﺒﺄﻗل ﻤﻥ ﻋﻠﺒﺔ ﻓﻴﻠﻡ ﻭﺍﺤﺩﺓ ﺫﺍﺕ ﺍﻝﺩﻗﺎﺌﻕ ﺍﻝﻌﺸﺭ.
ﻼ ﻋﻠﻰ ﺍﻹﻁﻼﻕ .ﻭﺍﻝﻭﺍﻗﻊ ﺃﻨﻪ ﻜﺎﻥ ﻴﻁﻴل ﻓﻲ ﻤﺸﺎﻫﺩﻩ ﺍﻝﺼﺎﻤﺘﺔ ﺒﺼﻭﺭﺓ
ﻜﺎﻥ ﻤﻬﻭﻭﺴﹰﺎ ﺒﺎﻝﺘﺤﻠﻴل ،ﺇﻻ ﺃﻨﻪ ﻝﻡ ﻴﻜﻥ ﻤﻤ ﹰ
ﻤﺒﺭﺭﺓ ﻤﺜﻠﻤﺎ ﻓﻌل ﻤﺎﺭﺴﻴل ﺒﺎﻨﻴﻭل ﻓﻴﻤﺎ ﺒﻌﺩ ﻓﻲ ﻤﺸﺎﻫﺩﻩ ﺍﻝﻨﺎﻁﻘﺔ .ﺩﻋﻲ ﺇﻝﻰ ﺍﻝﺘﻠﻔﺯﻴﻭﻥ ﻤﺭﺍﺕ ﻋﺩﺓ ﻝﻠﺘﺤﺩﺙ ﺤﻭل
"ﺍﻝﻭﻫﻡ ﺍﻝﻜﺒﻴﺭ" ﺤﻴﺙ ﺃﺩﻯ ﺃﻓﻀل ﺃﺩﻭﺍﺭﻩ ﻜﻤﻤﺜل ،ﻝﻜﻨﻪ ﻝﻡ ﻴﺘﻤﻜﻥ ﺃﺒﺩﹰﺍ ﻤﻥ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﻝﻘﺎﺌﻪ ﺒـ "ﺠﺎﻥ ﺭﻴﻨﻭﺍﺭ" ،ﺇﺫ
ﻜﺎﻥ ﺍﻝﻭﻗﺕ ﻴﻤﻀﻲ ﻭﻫﻭ ﻤﺴﺘﻤﺭ ﻓﻲ ﺍﻻﺴﺘﺭﺴﺎل ﺒﻭﺼﻑ ﺍﻨﺘﻘﺎﻝﻪ ﺒﺎﻝﻘﻁﺎﺭ ﺇﻝﻰ ﻤﻜﺎﻥ ﺍﻝﺘﺼﻭﻴﺭ ﻋﺒﺭ ﻤﺭﺘﻔﻌﺎﺕ
ﻜﻭﻨﻴﻜﺴﺒﻭﺭﻍ ،ﻭﻗﺒﻌﺔ ﻭﺤﺭﻜﺎﺕ ﻤﻔﺘﺵ ﺍﻝﻘﻁﺎﺭ.
ﻜﺎﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻤﺘﺸﺩﺩﹰﺍ ﻓﻲ ﻭﺍﻗﻌﻴﺘﻪ .ﻭﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺃﻨﻪ ﻜﺎﻥ ﻴﺴﺘﺨﺩﻡ ﺼﻴﻐﹰﺎ ﺠﺎﻫﺯﺓ ،ﺇﻻ ﺃﻨﻪ ﻜﺎﻥ ﻴﺸﺤﻨﻬﺎ
ﺒﻘﺩﺭ ﻜﺒﻴﺭ ﻤﻥ ﺍﻝﻭﺍﻗﻌﻴﺔ ﻜﻲ ﻻ ﺘﺒﺩﻭ ﻜﺫﻝﻙ ،ﻤﻊ ﺇﻀﺎﻓﺔ ﻗﺩﺭ ﻤﻥ ﺍﻝﻔﻜﺎﻫﺔ ﻭﺍﻝﺴﺨﺭﻴﺔ ،ﻴﻤﻜﹼﻥ ﺃﻋﻤﺎﻝﻪ ،ﺍﻝﻘﺎﺩﻤﺔ ﻤﻥ
ﻗﻠﺏ ﺍﻝﻤﻴﻠﻭﺩﺭﺍﻤﺎ ،ﻤﻥ ﺍﻹﻓﻼﺕ ﻤﻨﻬﺎ ،ﻜﻲ ﺘﺘﺤﻭل ﺇﻝﻰ ﺼﻴﻐﺔ ﻤﻥ ﺍﻝﻘﺼﻴﺩﺓ ﺍﻝﻬﺠﺎﺌﻴﺔ.
-2ﻜﺎﺭل ﺩﺭﺍﻴﺭ ،ﻜﺎﻥ ﺴﻴﻨﻤﺎﺌﻴﹰﺎ ﻻﻓﺘﹰﺎ ﻝﻼﻨﺘﺒﺎﻩ ﺒﻤﺸﺎﻋﺭ ﺍﻝﺘﺩﻴﻥ ﺍﻝﺘﻲ ﺘﻁﺒﻊ ﺍﺨﺘﻴﺎﺭﻩ ﻝﻤﻭﺍﻀﻴﻌﻪ ،ﻝﻜﻥ ﻝﻡ ﻴﻜﻥ
ﻴﺴﺘﺭﻋﻲ ﺍﻻﻨﺘﺒﺎﻩ ،ﺒﺼﻭﺭﺓ ﻜﺎﻓﻴﺔ ،ﺫﻝﻙ ﺍﻝﻌﻨﻑ ﻭﺘﻠﻙ ﺍﻻﻨﺘﻬﺎﻜﺎﺕ ﺍﻝﻜﺎﻤﻨﺔ ﻭﺭﺍﺀ ﻫﺫﻩ ﺍﻝﻤﻭﺍﻀﻴﻊ .ﻗﺎل ﻋﻨﻪ ﺠﺎﻥ
ﺭﻴﻨﻭﺍﺭ" :ﺩﺭﺍﻴﺭ ﻴﻌﺭﻑ ﺍﻝﻁﺒﻴﻌﺔ ﺃﻜﺜﺭ ﻤﻥ ﻋﺎﻝﻡ ﻁﺒﻴﻌﻲ ،ﻭﻴﻌﺭﻑ ﺍﻹﻨﺴﺎﻥ ﺃﻜﺜﺭ ﻤﻥ ﻋﺎﻝﻡ ﻓﻲ ﻁﺒﺎﺌﻊ ﺍﻹﻨﺴﺎﻥ".
ﻭﻤﺜﻠﻤﺎ ﻜﺎﻥ ﺭﻴﻨﻭﺍﺭ ﻨﻔﺴﻪ ،ﻓﻘﺩ ﻜﺎﻥ ﺩﺭﺍﻴﺭ ﻴﻌﺘﻤﺩ ﻋﻠﻰ ﺼﺭﺍﺤﺔ ﺸﺨﺼﻴﺎﺘﻪ ،ﺍﻝﺘﻲ ﺘﻜﺸﻑ ﻗﻨﺎﻋﺎﺘﻬﺎ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ
ﺍﻷﺤﻴﺎﻥ ﻋﻥ ﺘﺒﺎﻴﻥ ﻋﻨﻴﻑ.
ﻤﺭﺕ ﺇﺤﺩﻯ ﻋﺸﺭﺓ ﺴﻨﺔ ﺒﻴﻥ ﺇﺨﺭﺍﺠﻪ "ﻤﺼﺎﺹ ﺍﻝﺩﻤﺎﺀ" ﻭ "ﻴﻭﻡ ﺍﻝﻐﻀﺏ" ﻭﺜﻼﺙ ﻋﺸﺭﺓ ﺴﻨﺔ ﻤﻥ ﺍﻝﺒﻁﺎﻝﺔ
ﺒﻴﻥ "ﺍﻝﻜﻠﻤﺔ" ﻭ "ﻏﻴﺭﺘﺭﻭﺩ" ،ﻭﺒﺎﻝﺭﻏﻡ ﻤﻥ ﺃﻥ ﻤﺴﻴﺭﺓ ﻋﻤل ﻜﺎﺭل ﺩﺭﺍﻴﺭ ﻝﻡ ﺘﻜﻥ ﺃﻜﺜﺭ ﻴﺴﺭﹰﺍ ﻤﻥ ﺘﻠﻙ ﺍﻝﺘﻲ ﻋﺎﺸﻬﺎ
ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﺇﻻ ﺃﻨﻪ ،ﻋﻠﻰ ﺍﻷﻗل ،ﺍﺴﺘﻤﺭ ﻓﻲ ﻋﻤﻠﻪ ﺍﻝﻔﻨﻲ ﺇﻝﻰ ﺤﻴﻥ ﻭﻓﺎﺘﻪ ،ﺍﻝﺘﻲ ﺤﺩﺜﺕ ﺒﻌﺩ ﻭﻗﺕ ﻗﺼﻴﺭ ﻤﻥ ﺘﺤﻘﻴﻘﻪ
ﻓﻴﻠﻤﻪ ﺍﻷﺨﻴﺭ "ﻏﻴﺭﺘﺭﻭﺩ".
-3ﺇﺫﺍ ﻜﺎﻥ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﺍﻝﻴﻭﻡ ﻫﻭ ﺃﻗل ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ ﺸﻬﺭﺓ ﻝﻔﺘﺭﺓ ﻤﺎ ﺒﻌﺩ ﺍﻝﺤﺭﺏ
ﺍﻝﻌﺎﻝﻤﻴﺔ ﺍﻝﺜﺎﻨﻴﺔ ،ﻓﺎﻝﺴﺒﺏ ﻴﻌﻭﺩ ﺇﻝﻰ ﺴﻭﺀ ﺘﻭﺯﻴﻊ ﻨﺴﺦ ﺍﻷﻓﻼﻡ ،ﻭﺍﻝﺘﺤﻜﻡ ﺍﻝﻤﺘﻌﺴﻑ ﻓﻲ ﺍﻻﺨﺘﻴﺎﺭ ،ﺍﻝﺫﻱ ﻴﺅﺩﻱ ﺇﻝﻰ
ﺘﻠﻙ ﺍﻝﻅﺎﻫﺭﺓ ﺍﻝﻤﻌﺭﻭﻓﺔ ﺒـ"ﺘﻜﺭﺍﺭ ﺍﻝﻌﺭﻭﺽ" ،ﺍﻝﺘﻲ ﺘﻌﺘﻤﺩ ،ﻓﻲ ﺃﺤﺴﻥ ﺍﻷﺤﻭﺍل ،ﻋﻠﻰ ﺍﻝﺘﺒﺎﺩل ﻓﻴﻤﺎ ﺒﻴﻥ ﻤﺭﺍﻜﺯ
ﺍﻷﺭﺸﻴﻑ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ.
ﻭﻝﺩ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﻋﺎﻡ 1898ﻓﻲ ﺸﻴﻜﺎﻏﻭ ،ﻭﺃﻤﻀﻰ ﺠﺎﻨﺒﹰﺎ ﻜﺒﻴﺭﹰﺍ ﻤﻥ ﻁﻔﻭﻝﺘﻪ ﻓﻲ ﺒﺎﺭﻴﺱ ،ﺜﻡ ﻓﻲ
ﺴﻭﻴﺴﺭﺍ ،ﻗﺒل ﺃﻥ ﻴﺼﺒﺢ ﻁﺎﻝﺒﹰﺎ ﻓﻲ .Jeanson-de-Saillyﻭﻋﻨﺩﻤﺎ ﻋﺎﺩ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ ﻓﻲ ﺍﻝﺜﻼﺜﻴﻨﺎﺕ ﺒﺩﺃ ﻋﻤﻠﻪ ﻓﻲ
ﺍﻝﻤﺴﺭﺡ ،ﺜﻡ ﺩﻋﻲ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ﻝﻠﻌﻤل ﻜﻜﺎﺘﺏ ﺴﻴﻨﺎﺭﻴﻭ ،ﻭﺘﺤﻭل ﺇﻝﻰ ﺍﻹﺨﺭﺍﺝ ﻤﻊ ﻨﺸﻭﺏ ﺍﻝﺤﺭﺏ ﺍﻝﻌﺎﻝﻤﻴﺔ ﺍﻝﺜﺎﻨﻴﺔ.
ﻭﺭﺒﻤﺎ ﻷﻥ ﺍﻨﻁﻼﻗﺘﻪ ﻜﺎﻨﺕ ﺨﻼل ﻤﺭﺤﻠ ﺔ ﺃﻗل ﺍﻁﻤﺌﻨﺎﻨﹰﺎ ﻤﻤﺎ ﻜﺎﻨﺕ ﻋﻠﻴﻪ ﺍﻝﺤﺎل ﻗﺒل ﺍﻝﺤﺭﺏ ،ﻓﻘﺩ ﺭﺍﺡ
ﺴﺘﻭﺭﻏﻴﺱ ﻴﻌﻤل ﻋﻠﻰ ﺍﻝﺘﺠﺩﻴﺩ ﻓﻲ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺒﻁﺭﻴﻘﺔ ﺘﻤﻴﺯﺕ ﺒﺎﻝﻌﻤﻕ ،ﻤﺘﺨﺫﹰﺍ ﻤﻨﺤﻰ ﻓﺭﺍﻨﻙ ﻜﺎﺒﺭﺍ ﻓﻲ
ﺍﻻﺘﺠﺎﻩ ﺍﻻﺠﺘﻤﺎﻋﻲ ،ﻝﻜﻥ ﻤﻊ ﺍﺒﺘﻌﺎﺩ ﻋﻥ ﺍﻝﺘﻔﺎﺅل ﻭﺍﻝﻤﺜﺎﻝﻴﺔ .ﺍﺘﺼﻔﺕ ﻤﺴﻴﺭﺘﻪ ﺒﺎﻝﻜﺜﻴﺭ ﻤﻥ ﺘﻌﺎﻗﺏ ﺍﻝﻨﺠﺎﺡ ﻭﺍﻝﻔﺸل،
ﻭﺃﺸﻬﺭ ﺃﻓﻼﻤﻪ ﻫﻲ "ﻤﺎﻙ ﺠﻴﻨﺘﻲ ﺍﻝﻌﻅﻴﻡ" ﻭ"ﻝﻴﺎﻝﻲ ﺇﻴﻔﺎ ﺍﻝﺜﻼﺙ" ﻭ"ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ" ﻭ"ﺍﻝﻼ ﻤﺨﻠﺹ ﻝﻙ" .ﺃﻤﺎ ﺃﻓﻼﻤﻪ
ﺍﻷﺨﻴﺭﺓ ،ﻭﺍﻝﺘﻲ ﺠﺭﻯ ﺘﺼﻭﻴﺭ ﺃﺤﺩﻫﺎ "ﻤﻔﻜﺭﺍﺕ ﺍﻝﻤﺎﺠﻭﺭ ﺘﻭﻤﺒﺴﻭﻥ" ﻓﻲ ﻓﺭﻨﺴﺎ ،ﻓﻜﺎﻨﺕ ﻜﺎﺭﺜﺔ ﺤﻘﻴﻘﻴﺔ ،ﻭﻤﺎﺕ
ﺒﻌﺩﻫﺎ ﺒﻔﺘﺭﺓ ﻗﺼﻴﺭﺓ ،ﻋﺎﻡ .1959ﻭﻋﻨﺩﻤﺎ ﺘﺘﺎﺡ ﻝﻨﺎ ﻓﺭﺼﺔ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻤﺸﺎﻫﺩﺓ ﻓﻴﻠﻡ ﻤﺜل "ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ" ﻨﺘﺒﻴﻥ
ﺃﻫﻤﻴﺔ ﺴﺘﻭﺭﻏﻴﺱ ﻭﻤﺩﻯ ﺍﻻﺒﺘﻜﺎﺭ ﻓﻲ ﺃﺴﻠﻭﺒﻪ ،ﺍﻝﺫﻱ ﻴﻤﺯﺝ ،ﺒﻁﺭﻴﻘﺔ ﻏﺎﻴﺔ ﻓﻲ ﺍﻝﺠﺭﺃﺓ ،ﺒﻴﻥ ﺍﻝﻔﻜﺎﻫﺔ ﻭﺍﻝﻘﺴﻭﺓ.
-4ﻜﺎﻥ ﻝﹼﻠﻘﺎﺀ ﺒﻴﻥ ﺒﻭﻨﻭﻴل ﻭﺒﺎﺯﺍﻥ ﻓﻲ ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ ﻋﺎﻡ ،1954ﺒﻌﺩ ﺃﻥ ﺘﺭﺍﺴﻼ ﻁﻭﺍل ﺍﻝﻌﺎﻤﻴﻥ
ﻼ ﻤﻤﺘﺎﺯﹰﺍ
ﺍﻝﺴﺎﺒﻘﻴﻥ ،ﺃﻫﻤﻴﺔ ﻜﺒﻴﺭﺓ ﻓﻲ ﺤﻴﺎﺓ ﻜل ﻤﻨﻬﻤﺎ .ﻜﺎﻥ ﺒﺎﺯﺍﻥ ﻗﺩ ﻜﺘﺏ ﻗﺒل ﺫﻝﻙ ﺒﺜﻼﺙ ﺴﻨﻭﺍﺕ ﺘﺤﻠﻴ ﹰ
ﺙ ﻜﺸﻑ ﻝﻠﺠﻤﻴﻊ ﻋﻭﺩﺓ ﺴﻴﻨﻤﺎﺌﻲ ﻜﺎﻥ ﻗﺩ
ﻝـ"ﺍﻝﻤﻨﺴﻴﻭﻥ" ،ﻝﻡ ﻴﻜﻥ ﻓﻘﻁ ﻋﻥ ﻓﻴﻠﻡ ﻫﺎﻡ ﻴﺼل ﻤﻥ ﺍﻝﻤﻜﺴﻴﻙ ،ﺒل ﻋﻥ ﺤﺩ
ﺃﻀﺎﻉ ﺍﻝﺴﺒﻴل ﻤﻨﺫ ﻋﺸﺭﻴﻥ ﻋﺎﻤﹰﺎ .ﻓﺒﻭﻨﻭﻴل ،ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﺍﻨﺘﻤﻰ ﺇﻝﻰ ﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﻤﻨﺫ ﺒﺩﺍﻴﺘﻬﺎ،
ﻭﺒﻌﺩ ﺍﻝﻔﻀﻴﺤﺔ ﺍﻝﺘﻲ ﺃﺜﺎﺭﻫﺎ ﻓﻴﻠﻤﺎﻩ ﺍﻷﻭﻻﻥ "ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ﻭ" ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ،ﻏﺎﺩﺭ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ ﺘﺎﺭﻜﹰﺎ ﺍﻻﻨﻁﺒﺎﻉ
ﺒﺄﻨﻪ ﻗﺩ ﺘﺨﻠﻰ ﻋﻥ ﺍﻝﻌﻤل ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ.
ﻜﺎﻨﺎ ﻴﺴﺎﺭﻴﻴﻥ ﺒﺘﻜﻭﻴﻥ ﻜﺎﺜﻭﻝﻴﻜﻲ ،ﻭﺘﻔﺎﻫﻡ ﺍﻻﺜﻨﺎﻥ ﻓﻲ ﺍﻝﺤﺎل ،ﻭﻫﻭ ﺘﻔﺎﻫﻡ ﻝﻡ ﻴﻨﺸﺄ ﻓﻘﻁ ﻤﻥ ﺨﻼل ﺍﻷﻓﻜﺎﺭ ،ﺒل
ﻭﺃﻴﻀﹰﺎ ﻤﻥ ﺘﺸﺎﺒﻪ ﻓﻲ ﺍﻝﺴﻠﻭﻙ .ﻝﻘﺩ ﺍﻓﺘﺘﻥ ﺒﻭﻨﻭﻴل ،ﺍﻝﻔﻁﺭﻱ ﺠﺩﺍﹰ ،ﻭﺍﻝﺫﻱ ﻜﺜﻴﺭﹰﺍ ﻤﺎ ﺘﺤﺩﺙ ﻋﻥ ﺍﻨﺠﺫﺍﺒﻪ ﻝﻼﻤﻌﻘﻭل،
ﺒﻤﻨﻁﻕ ﺒﺎﺯﺍﻥ ﻭﺒﺼﺭﺍﻤﺘﻪ ﺍﻷﺨﻼﻗﻴﺔ ،ﻭﻜﺎﻥ ﻴﺘﻭﻗﻊ ﻤﻥ ﺒﺎﺯﺍﻥ ﺃﻥ ﻴﺤﺩﺜﻪ ﻋﻥ ﺁﺭﺍﺌﻪ ﺒﺄﻓﻼﻤﻪ ،ﻤﻊ ﺃﻥ ﺍﻝﻜﺜﻴﺭﻴﻥ ﻤﻥ
ﺍﻝﻔﻨﺎﻨﻴﻥ -ﻭﺨﺎﺼﺔ ﻓﻲ ﻤﺠﺎل ﺍﻝﺴﻴﻨﻤﺎ -ﻴﺴﺘﺨﻔﻭﻥ ﺒﻤﺎ ﻴﻘﻭﻝﻪ ﺍﻝﻨﻘﺎﺩ ﻋﻥ ﺃﻋﻤﺎﻝﻬﻡ ،ﻝﻜﻥ ﻫﺫﺍ ﺍﻝﺫﻱ ﺘﻭﻗﻌﻪ ﻝﻡ ﻴﺤﺼل،
ﻭﺘﺒﻴﻥ ﻝﻠﻭﻴﺱ ﺒﻭﻨﻭﻴل ﺃﻥ ﺒﺎﺯﺍﻥ ﺇﻨﻤﺎ ﻴﻌﺘﺒﺭﻩ ﺃﺨﻼﻗﻴﹰﺎ ﻗﺒل ﺃﻱ ﺃﻤﺭ ﺁﺨﺭ.
ﺘﺅﻜﺩ ﺍﻝﺼﺩﺍﻗﺔ ﺍﻝﺘﻲ ﻗﺎﻤﺕ ﺒﻴﻥ ﺒﻭﻨﻭﻴل ﻭﺒﺎﺯﺍﻥ ﻤﺎ ﻴﻤﻜﻥ ﻝﻠﻨﻘﺩ ﺃﻥ ﻴﻠﻌﺒﻪ ﻤﻥ ﺩﻭﺭ ﺇﻴﺠﺎﺒﻲ ﻭﻤﻜﻤل .ﻭﻓﻴﻤﺎ ﻴﻠﻲ
ﻤﺎ ﻜﺘﺒﻪ ﺒﻭﻨﻭﻴل ﺒﻌﺩ ﻭﻗﺕ ﻗﺼﻴﺭ ﻤﻥ ﻭﻓﺎﺓ ﺒﺎﺯﺍﻥ:
"ﻗﺒل ﺃﻥ ﺃﻋﺭﻓﻪ ﺒﺼﻭﺭﺓ ﺸﺨﺼﻴﺔ ،ﻜﻨﺕ ﻤﻔﺘﻭﻨﹰﺎ ﺒﺎﻝﺩﺭﺍﺴﺔ ﺍﻝﺘﻲ ﻨﺸﺭﻫﺎ ﻓﻲ Espritﺤﻭل ﺃﺤﺩ ﺃﻓﻼﻤﻲ .ﻝﻘﺩ
ﻻ ﺃﻜﻭﻥ ﻜﺜﻴﺭ ﺍﻻﻤﺘﻨﺎﻥ ﻝﻪ؟ .ﻓﻴﻤﺎ
ﺠﻌﻠﻨﻲ ﺃﻜﺘﺸﻑ ﺃﻤﻭﺭﹰﺍ ﻤﻌﻴﻨﺔ ﻓﻲ ﻋﻤﻠﻲ ﻜﻨﺕ ﺃﻨﺎ ﻨﻔﺴﻲ ﺃﺠﻬﻠﻬﺎ .ﻜﻴﻑ ﻴﻤﻜﻥ ﻝﻲ ﺃ ﹼ
ﺒﻌﺩ ،ﺍﺠﺘﻤﻌﻨﺎ ﻤﻌﹰﺎ ﻓﻲ ﻝﺠﻨﺔ ﺘﺤﻜﻴﻡ ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ ،ﺭﺃﻴﺕ ﻭﺠﻬﻪ ﺍﻝﺸﺎﺤﺏ ﻭﺍﻝﺯﺍﻫﺩ ،ﺍﻝﺫﻱ ﻜﺎﻥ ﻴﻔﺼﺢ ﻋﻥ ﺍﻋﺘﻼل
ﺼﺤﺘﻪ ،ﻝﻜﻥ ﻋﻴﻨﻴﻪ ﻜﺎﻨﺘﺎ ﻋﺫﺒﺘﻴﻥ ﻭﺒﺎﺴﻤﺘﻴﻥ .ﻭﻤﻥ ﺜﻡ ،ﻋﻨﺩﻤﺎ ﺘﻭﻁﺩﺕ ﺼﺩﺍﻗﺘﻨﺎ ،ﻋﺭﻓﺕ ﻋﻥ ﻗﺭﺏ ﻤﺩﻯ ﺤﺒﻪ
ﺍﻝﻜﺒﻴﺭ ﻝﻠﺤﻴﺎﺓ".
-5ﺭﺒﻤﺎ ﻴﻜﻭﻥ ﻤﻥ ﺍﻝﻤﻔﺎﺠﺊ ﺃﻥ ﺘﺠﺘﻤﻊ ﻫﻨﺎ ﻏﺎﻝﺒﻴﺔ ﻤﻘﺎﻻﺕ ﺒﺎﺯﺍﻥ ﺍﻝﻤﺨﺼﺼﺔ ﻝﺴﻴﻨﻤﺎﺌﻲ ﻝﻡ ﻴﺼل ﺇﻝﻰ ﺤﺩ
ﺍﻹﻋﺠﺎﺏ ﺒﻪ ﺒﺼﻭﺭﺓ ﻜﺎﻤﻠﺔ :ﺁﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ .ﻤﻊ ﺫﻝﻙ ،ﺒﺩﺍ ﻝﻲ ﺃﻥ ﺘﺠﻤﻴﻊ ﻫﺫﻩ ﺍﻝﻤﻘﺎﻻﺕ ﻜﺎﻥ ﺘﻌﻠﻴﻤﻴ ﹰﺎ ﻭﻋﺎﻁﻔﻴﹰﺎ.
ﻜﺎﻥ ﺘﻌﻠﻴﻤﻴﹰﺎ ﻷﻥ ﺒﺎﺯﺍﻥ ﻭﺼﻑ ﺃﻓﻼﻡ ﻫﻴﺘﺸﻜﻭﻙ ﺒﺼﻭﺭﺓ ﺃﻓﻀل ﻤﻤﺎ ﻓﻌل ﺍﻝﻜﺜﻴﺭﻭﻥ ﻤﻤﻥ ﻴﻌﺠﺒﻭﻥ ﺒﻪ ﺩﻭﻥ ﺃﻱ
ﺘﺤﻔﻅ؛ ﻭﻜﺎﻥ ﻋﺎﻁﻔﻴﹰﺎ ﻷﻥ ﻗﺭﺍﺀﺓ ﻫﺫﻩ ﺍﻝﻤﻘﺎﻻﺕ ﻭﻓﻕ ﺘﺭﺘﻴﺏ ﻅﻬﻭﺭﻫﺎ )ﺍﻝﺫﻱ ﻻ ﻴﺘﺒﻊ ﺩﺍﺌﻤﹰﺎ ﺘﻭﺍﺭﻴﺦ ﻋﺭﺽ ﺍﻷﻓﻼﻡ(
ﹸﺘﻅﻬﺭ ﻨﻭﻋﹰﺎ ﻤﻥ ﺍﻝﻤﻘﺎﻭﻤﺔ ﺍﻝﺘﻲ ﺘﻨﻬﺎﺭ ﺒﺼﻭﺭﺓ ﺘﺩﺭﻴﺠﻴﺔ ،ﻝﻜﻥ ﺩﻭﻥ ﺃﻥ ﻴﻔﻘﺩ ﺸﻴﺌﹰﺎ ﻤﻥ ﺘﺸﺩﺩﻩ .ﻫل ﻜﺎﻥ ﻝﺩﻯ ﺒﺎﺯﺍﻥ،
ﻭﻜﻤﺎ ﻴﻘﺎل ﻫﺫﻩ ﺍﻷﻴﺎﻡ" ،ﺤﺴﺎﺴﻴﺔ" ﺘﺠﺎﻩ ﻫﻴﺘﺸﻜﻭﻙ؟ ﻻ ،ﻝﻜﻥ ﻤﻥ ﺍﻝﺼﺤﻴﺢ ﺘﻤﺎﻤﹰﺎ ﺃﻥ ﺃﺼﺎﻝﺔ ﺒﺎﺯﺍﻥ ﻜﺎﻨﺕ ﺘﺩﻓﻊ ﺒﻪ
ﺒﺎﺘﺠﺎﻩ ﺭﻴﻨﻭﺍﺭ ﺍﻝﺫﻱ ﻜﺎﻥ ﻴﺤﺏ ﺍﻹﻨﺴﺎﻥ ،ﺃﻜﺜﺭ ﻤﻤﺎ ﻜﺎﻨﺕ ﺘﺩﻓﻊ ﺒﻪ ﺒﺎﺘﺠﺎﻩ ﻫﻴﺸﻜﻭﻙ ﺍﻝﺫﻱ ﻝﻡ ﻴﻜﻥ ﻴﺤﺏ ﺴﻭﻯ
ﺍﻝﺴﻴﻨﻤﺎ.
* ﻝﻡ ﻴﻜﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻤﺴﺘﻬﺘﺭﹰﺍ ﺤﻘﻴﻘﻴﺎﹰ ،ﺇﻨﻤﺎ ﻜﺎﻨﺕ ﺘﺤﺭﻜﻪ ﺇﺭﺍﺩﺓ ﻨﺤﻭ ﺍﻻﺴﺘﻬﺘﺎﺭ ﹸﺘ ﹶﻜ ﹼﺫﺒﻬﺎ ﺍﻝﻌﺎﻁﻔﻴﺔ ،ﻭﺍﻝﺘﻲ
ﺒﺩﻭﺭﻫﺎ ﻴﺠﺭﻱ ﺘﺼﺤﻴﺤﻬﺎ ﻋﺒﺭ ﺍﻝﻔﻜﺎﻫﺔ .ﻜﺎﻥ ﺒﻭﻨﻭﻴل ﻴﻜﺸﻑ ﺍﻝﺴﻠﻭﻙ ﺍﻝﺨﺎﻁﺊ ﻝﻤﻌﺎﺼﺭﻴﻪ ﻭﻴﻀﺤﻙ ﻤﻨﻬﻡ ﺴﺎﺨﺭﺍﹰ،
ﻝﻜﻨﻪ ﻜﺎﻥ ﻴﺭﻯ ﺃﻥ ﺍﻝﺤﻴﺎﺓ ﺘﺴﺘﺤﻕ ﺃﻥ ﺘﻌﺎﺵ .ﻫﻴﺘﺸﻜﻭﻙ ،ﺒﺭﺃﻴﻲ ،ﻝﻴﺱ ﺃﻗل ﺤﺯﻨﹰﺎ ﻭﻴﺄﺴﹰﺎ ﻤﻥ ﺇﻴﻨﻐﻤﺎﺭ ﺒﻴﺭﻏﻤﺎﻥ ،ﻝﻜﻥ
ﺘﺸﺎﺅﻤﻪ ﺃﻜﺜﺭ ﻭﻀﻭﺤﹰﺎ ﻭﺘﺠﺴﺩﺍﹰ ،ﻝﺩﺭﺠﺔ ﺃﻨﻪ ﺃﻝﻐﻰ ﻤﻥ ﺃﻋﻤﺎﻝﻪ ﺫﻝﻙ ﺍﻝﻨﻭﻉ ﻤﻥ ﻨﺒل ﺍﻝﻨﻭﺍﻴﺎ ،ﺍﻷﻤﺭ ﺍﻝﺫﻱ ﻴﻤﻜﻥ
ﻤﻼﺤﻅﺘﻪ ﺒﺼﻭﺭﺓ ﻭﺍﻀﺤﺔ ﺇﻝﻰ ﺩﺭﺠﺔ ﺘﺒﻌﺩ ﺍﻝﺘﺸﻭﻴﻕ ﺇﻝﻰ ﺍﻝﻤﺭﺘﺒﺔ ﺍﻝﺜﺎﻨﻴﺔ .ﻝﻜﻥ ﻝﻭ ﻜﺎﻥ ﺍﻝﺯﻤﻥ ﻗﺩ ﺃﺘﺎﺡ ﻝﺒﺎﺯﺍﻥ ﺃﻥ
ﻴﺸﺎﻫﺩ "ﺩﻭﺍﺭ" ﻭ Psychoﻭ"ﻤﺎﺭﻨﻲ" ،ﻝﺘﺤﻭل ﻤﻭﻗﻔﻪ ﻤﻥ ﻫﻴﺘﺸﻜﻭﻙ ﺒﺼﻭﺭﺓ ﺃﻜﺜﺭ ﺇﻴﺠﺎﺒﻴﺔ.
-6ﻫﺫﺍ ﺍﻝﻜﺘﺎﺏ ﻋﻥ ﺴﻴﻨﻤﺎ ﺍﻝﻘﺴﻭﺓ ﻴﻨﺘﻬﻲ ﺒﺩﺭﺍﺴﺔ ﺤﻭل ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ،ﻭﺒﺸﻜل ﺨﺎﺹ ﻋﻥ ﺴﻴﻨﻤﺎ ﺁﻜﻴـﺭﺍ
ﻜﻭﺭﻭﺴﺎﻭﺍ ،ﺍﻝﺫﻱ ﻜﺎﻥ ﺸﻐﻭﻓﹰﺎ ﺒﺒﺎﺯﺍﻥ ،ﻝﻜﻥ ﻫﺫﺍ ﻜﺎﻥ ﺃﻭل ﻤﻥ ﺸﻜﻙ ﺒﻤﺩﻯ ﺃﻫﻤﻴﺔ ﻜﻭﺭﻭﺴﺎﻭﺍ ﻭﺘﺄﺜﻴﺭﻩ ﻓـﻲ ﺒـﺎﻗﻲ
ﺩﻭل ﺍﻝﻌﺎﻝﻡ )ﻤﺜل ﻗﻭل ﺒﻌﻀﻬﻡ ،ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﺇﻥ "ﺍﻝﻌﻅﻤﺎﺀ ﺍﻝﺴﺒﻌﺔ" ﻝﺠﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﻫﻭ ﺼـﻴﻐﺔ ﺠﺩﻴـﺩﺓ
ﻝﻠﺴﺎﻤﻭﺭﺍﻱ ،ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺫﻱ ﺤﺭﺽ ﺇﻨﻐﻤﺎﺭ ﺒﻴﺭﻏﻤﺎﻥ ﻋﻠﻰ ﺘﺤﻘﻴﻕ ﺃﺤﺩ ﺃﺸﻬﺭ ﺃﻓﻼﻤﻪ "ﻨﺒﻊ ﺍﻝﺒﺘﻭل"(.
ﺍﻝﻨﻘﺎﺩ ،ﻭﺨﺎﺼﺔ ﻋﻨﺩﻤﺎ ﻴﻜﻭﻨﻭﻥ ﺸﺒﺎﻨﹰﺎ ﻭﻤﺘﻌﺼﺒﻴﻥ ،ﻻ ﻴﻘﺎﻭﻤﻭﻥ ﺘﻠﻙ ﺍﻝﻠﻌﺒﺔ ﺍﻝﺼﻐﻴﺭﺓ ﺍﻝﻌﻘﻴﻤﺔ ﺍﻝﺘﻲ ﺘﺘﻤﺜل ﺒﺄﻥ
ﻴﻀﻌﻭﺍ ﻤﺒﺩﻋﻲ ﺍﻝﺒﻠﺩ ﺍﻝﻭﺍﺤﺩ ﻭﺠﻬﹰﺎ ﻝﻭﺠﻪ .ﻭﻗﺩ ﻗﺎﻤﺕ "ﺩﻓﺎﺘﺭ ﺍﻝﺴﻴﻨﻤﺎ" ﻋﺎﻡ 1958ﺒﺈﺜﺎﺭﺓ ﺠﺩﺍل ﺇﺫ ﻭﻀﻌﺕ ﻭﺠﻬـﹰﺎ
)(1
ﻲ
ﻝﻭﺠﻪ ﺃﻜﺒﺭ ﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﻴﺎﺒﺎﻨﻴﻴﻥ" :ﻜﻭﺭﻭﺴﺎﻭﺍ" ﻭ"ﻤﻴﺯﻭﻏﻭﺸﻲ" ؛ ﻭﻓﻴﻤﺎ ﻴﻠﻲ ﻤﻘﻁﻊ ﻤﻥ ﺭﺴﺎﻝﺔ ﺒﻌﺙ ﺒﻬﺎ ﺒﺎﺯﺍﻥ ﺇﻝ
ﻑ ﻁﺭﻴﻘﺘﻪ ﻓﻲ ﺭﺅﻴﺔ ﺍﻷﻤﻭﺭ" :ﺁﺴﻑ ﺠﺩﹰﺍ ﻷ ﹼﻨﻲ ﻝﻡ ﺃﺴﺘﻁﻊ ﺃﻥ ﺃﻋﻭﺩ ﻜﻲ ﺃﺸـﺎﻫﺩ
ﻓﻲ ﺘﻠﻙ ﺍﻝﻔﺘﺭﺓ ،ﺘﻭﻀﺢ ﺒﺸﻜل ﻜﺎ
ﻤﻌﻙ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎﺘﻴﻙ ﺃﻓﻼﻡ ﻤﻴﺯﻭﻏﻭﺸﻲ .ﺇﻨﻲ ﺃﻗﺩﺭﻩ ﺠﺩﺍﹰ ،ﺘﻤﺎﻤﹰﺎ ﻜﻤﺎ ﺘﻘﺩﺭﻩ ﺃﻨﺕ ،ﻭﺃﻭﺩ ﺃﻥ ﺃﺯﻴﺩ ﻓﻲ ﺘﻘـﺩﻴﺭﻱ ﻝـﻪ
ﺩﻭﻥ ﺃﻥ ﺃﻗﻠل ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻤﻥ ﻜﻭﺭﻭﺴﺎﻭﺍ ،ﺍﻝﺫﻱ ﻫﻭ ﻤﻜﻤل ﻝﻪ .ﻫل ﻴﻤﻜﻥ ﺃﻥ ﻨﺼل ﺇﻝﻰ ﻤﻌﺭﻓﺔ ﺍﻝﻨﻬﺎﺭ ﺠﻴـﺩﹰﺍ
ﻭﻨﺤﻥ ﻻ ﻨﻌﺭﻑ ﺍﻝﻠﻴل؟ ﺃﻥ ﻨﻜﺭﻩ ﻜﻭﺭﻭﺴﺎﻭﺍ ﻜﻲ ﻨﺤﺏ ﻤﻴﺯﻭﻏﻭﺸﻲ ﻫﻭ ﻤﺠﺭﺩ ﻤﺤﺎﻭﻝﺔ ﻤﺘﻭﺍﻀﻌﺔ ﻝﻠﻔﻬﻡ ﻭﺍﻹﺩﺭﺍﻙ.
ﻻ ﺸﻙ ﻓﻲ ﺃﻥ ﻤﻥ ﻴﻔﻀل ﻜﻭﺭﻭﺴﺎﻭﺍ ﻝﻴﺱ ﺴﻭﻯ ﺃﻋﻤﻰ ﻻ ﻋﻼﺝ ﻝﻪ ،ﻝﻜﻥ ﻤﻥ ﻻ ﻴﺤﺏ ﺴﻭﻯ ﻤﻴﺯﻭﻏﻭﺸﻲ ﻓﻬـﻭ
ﺃﻋﻭﺭ .ﻓﻲ ﻤﺠﺎﻻﺕ ﺍﻝﻔﻥ ﻜﺎﻓﺔ ﻫﻨﺎﻙ ﺇﻝﻬﺎﻡ ﺘﺄﻤﻠﻲ ﻭﺇﻝﻬﺎﻡ ﺘﻌﺒﻴﺭﻱ … ".
ﺘﺒﻘﻰ ﻫﻨﺎﻙ ،ﻤﻊ ﺫﻝﻙ ،ﻨﺼﻭﺹ ﻜﺜﻴﺭﺓ ﻝﺒﺎﺯﺍﻥ ﺠﺩﻴﺭﺓ ﺒﺄﻥ ﺘﺠﻤﻊ ﻭﺘﻨﺸﺭ ،ﻭﺃﻥ ﻻ ﻴﺨﺴﺭﻫﺎ ﺍﻷﺩﺏ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ
ﺍﻷﻭﺭﻭﺒﻲ .ﻜﺘﺏ "ﺇﻴﺭﻴﻙ ﺭﻭﻤﺭ" ﻋﻨﺩﻤﺎ ﺼﺩﺭ "ﻤﺎ ﻫﻲ ﺍﻝﺴﻴﻨﻤﺎ"" :ﻨﻨﺘﻅﺭ ﺃﻥ ﺘﻐﺘﻨﻲ ﺍﻝﺴﻠﺴﻠﺔ ﺒﻜﺘـﺏ ﺠﺩﻴـﺩﺓ ،ﻷﻥ
ﺠﻤﻴﻊ ﻤﻘﺎﻻﺕ ﺁﻨﺩﺭﻴﻪ ﺒﺎﺯﺍﻥ ﺘﻘﺭﻴﺒﹰﺎ ﺠﺩﻴﺭﺓ ﺒﺄﻥ ﻴﻌﺎﺩ ﻨﺸﺭﻫﺎ".
)ا
( ).(1956 – 1898) Kenji Mizoguchi (1
ﺍﻝﻔﺼل ﺍﻷﻭل
* ﺃﻓﻼﻤﻪ :
ﺃﻋﻤﺎل ﺇﻴﺭﻴﻙ ﻓﻭﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻫﻲ ﻤﻥ ﺘﻠﻙ ﺍﻝﺘﻲ ﺘﻨﺘﻤﻲ ﺇﻝﻰ ﻨﻘﺎﺩ ﻭﺴﻴﻨﻤﺎﺌﻴﻲ ﻤﺎ ﺒﻌـﺩ ﺍﻝﺤـﺭﺏ ﺍﻝﻌﺎﻝﻤﻴـﺔ
ﻼ ﻋﻥ ﺃﻨﻬﺎ ﻏﻴﺭ ﻤﻌﺭﻭﻓﺔ ﺒﺼﻭﺭﺓ ﻜﺎﻓﻴﺔ ﻝﺩﻯ ﺠﻤﻴﻊ ﺍﻝﺫﻴﻥ ﻝﻡ ﻴﻌﺎﻴﺸﻭﺍ ﺒﺎﻨﺘﺒـﺎﻩ ﺍﻝﺴـﻨﻭﺍﺕ ﺍﻝﺨﻤـﺱ
ﺍﻷﻭﻝﻰ ،ﻓﻀ ﹰ
ﺍﻷﺨﻴﺭﺓ ﻤﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﺎﻤﺘﺔ .ﺇﻨﻬﺎ ﺃﺤﺩﺙ ﻤﻥ ﺃﻋﻤﺎل ﺸﺎﺒﻠﻥ ﻭﻏﺭﻴﻔﻴﺙ ،ﻭﺭﺒﻤﺎ ﺘﺤﺘﺎﺝ ﺇﻝﻰ ﺒﻀﻊ ﺴـﻨﻭﺍﺕ ﻜـﻲ
ﺘﺩﺨل ﺒﺼﻭﺭﺓ ﺤﻘﻴﻘﻴﺔ ﻓﻲ ﺒﺭﺍﻤﺞ ﺍﻝﻌﺭﻭﺽ ﺍﻻﺴﺘﻌﺎﺩﻴﺔ ﻭﺍﻝﺘﺄﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ .ﻭﻗﺒل ﻜل ﺸﻲﺀ ،ﻫل ﻫـﻲ ﻤﺠـﺭﺩ
ﻤﺼﺎﺩﻓﺔ ،ﺃﻡ ﻗﺩﺭ؟ ﺃﻥ ﺃﻓﻼﻤﻪ ﻫﻲ ﻤﻥ ﺃﻜﺜﺭ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺘﻌﺫﺭ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻤﺸﺎﻫﺩﺘﻬﺎ ﻫﺫﻩ ﺍﻷﻴﺎﻡ .ﻫﺫﻩ ﺍﻷﻋﻤـﺎل
ﺍﻝﻘﺼﻴﺭﺓ ﻨﺴﺒﻴﹰﺎ ﻭﺍﻝﻼﻤﻌﺔ ،ﺒﺎﻗﻴﺔ ﻓﻘﻁ ﻓﻲ ﺫﺍﻜﺭﺓ ﺍﻝﺫﻴﻥ ﺴﺤﺭﺘﻬﻡ ﻤﺭﺤﻠﺘﻬﺎ ،ﻭﻓﻲ ﻨﻁﺎﻕ ﺍﻹﻋﺠﺎﺏ ﻭﺍﻻﺤﺘﺭﺍﻡ ﺍﻝﻠﺫﻴﻥ
ﻴﺤﻤﻠﻬﻤﺎ ﻝﻬﺎ ﺍﻝﺠﻴل ﺍﻝﺤﺎﻝﻲ ،ﻭﺒﻜل ﺠﺩﺍﺭﺓ.
ﻝﺴﺕ ﻓﻲ ﺍﻝﺴﻥ ﺍﻝﺘﻲ ﺴﻤﺤﺕ ﻝﻲ ﺒﺄﻥ ﺃﺘﻌﺭﻑ ﻋﻠﻰ ﺃﻋﻤﺎل ﺸﺘﺭﻭﻫﺎﻴﻡ ﺤﻴﻥ ﻅﻬﻭﺭﻫﺎ ،ﻭﺃﻋﻠﻡ ﺘﻤﺎﻤﹰﺎ ﺃ ﹼﻨﻲ ،ﻓﻲ
ﻫﺫﺍ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﺃﺘﺤﺩﺙ ﻓﻴﻪ ﻋﻨﻬﺎ ﺒﻤﺎ ﻴﻠﻴﻕ ﺒﻬﺎ ،ﻴﻨﻘﺼﻨﻲ ﺃﻥ ﺃﻜﻭﻥ ﻗﺩ ﺍﺠﺘﺯﺕ "ﺍﻝﻁﺭﻴﻕ ﺇﻝﻰ ﺩﻤﺸﻕ" ﻓﻲ ﻤﺠـﺎل
ﺍﻝﺴﻴﻨﻤﺎ.
ﻼ ﻋﻥ ﺍﻻﻓﺘﻘﺎﺭ ﻝﻠﻭﺜﺎﺌﻕ ،ﻻ ﺒ ﺩ ﻤﻥ ﺃﻥ ﻨﻀﻴﻑ ،ﻜﻲ ﻨﻘ ﻴﻡ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﺘﻠﻙ ﺍﻝﻌﻘﺩﺓ ﺍﻝﻨﻔﺴﻴﺔ ﻓﻲ ﺍﻝﻤﺭﺍﺠﻊ
ﻭﻓﻀ ﹰ
ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﺩﻭﺭﻴﺔ :ﺇﻨﻪ ﺸﻲﺀ ﻤﻥ ﺍﻝﺭﻋﺏ ﺍﻝﻤﻘﺩﺱ ،ﺍﻝﺫﻱ ﻴﺩﻓﻊ ﺒﻨﺎ ﻀﻤﻨﻴﹰﺎ ﻨﺤﻭ ﺠﺤﻴﻡ ﺍﻝﺴﻴﻨﻤﺎ ،ﻭﺭﺒﻤﺎ ﻝﻬﺫﺍ ﺍﻝﺴﺒﺏ
ﻓﺈﻥ ﻤﻥ ﺍﻝﺼﻌﺏ ﺍﻝﻌﺜﻭﺭ ،ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﻪ ،ﺒﻴﻥ ﺸﻬﺎﺩﺍﺕ ﺃﻭﻝﺌﻙ ﺍﻷﻜﺜﺭ ﺘﺄﺜﺭﹰﺍ ﺒﻪ -ﻤﺜل ﺭﻴﻨﻭﺍﺭ -ﺃﻭ ﺍﻝﻤﻌﺠﺒﻴﻥ ﺒـﻪ،
ﻋﻠﻰ ﻤﺎ ﻫﻭ ﺃﻜﺜﺭ ﻤﻥ ﺒﻌﺽ ﺍﻝﻤﺒﺎﻝﻐﺎﺕ ﺃﻭ ﺍﻷﺤﻜﺎﻡ ﺫﺍﺕ ﺍﻝﻁﺎﺒﻊ ﺍﻝﺸﺨﺼﻲ.
ﺒﺎﻝﻁﺒﻊ ،ﺍﻝﻜل ﻴﻌﺭﻑ ﺃﻴﻥ ﺘﻜﻤﻥ ﺍﻝﺠﺩﺓ ﻓﻲ ﻤﻭﺍﻀﻴﻌﻪ ﻭﺸﺨﺼﻴﺎﺘﻪ ،ﻭﻜﻴﻑ ﻏﻴﺭ ﻓﻲ ﻤﻔﻬﻭﻡ ﺍﻝﺠـﻨﺱ ﻋﻠـﻰ
ﺍﻝﺸﺎﺸﺔ ،ﻓﻲ ﻓﺘﺭﺓ ﻜﺎﻥ ﻴﻠﻤﻊ ﻓﻴﻬﺎ ﺭﻭﺩﻭﻝﻑ ﻓﺎﻝﻨﺘﻴﻨﻭ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﻭ"ﻓﻴﻠﻡ ﺍﻝﻔﻥ" ﺍﻝﺠﺩﻴﺩ ﻓﻲ ﻓﺭﻨﺴﺎ ،ﺍﻝﺫﻱ ﻤﺎ ﻨﺯﺍل ﺤﺘﻰ
ﺍﻝﻴﻭﻡ ﻨﻠﻤﺢ ﺸﻴﺌﹰﺎ ﻤﻥ ﺘﺄﺜﻴﺭﻩ ﻓﻲ ﺍﻝﻤﻤﺜل ﺍﻝﺫﻱ ﻨﻌﺠﺏ ﺒﻪ .ﻝﻜﻥ ﻴﺒﻘﻰ ﺍﻝﺴﺅﺍل ﻗﺎﺌﻤﹰﺎ ﻤﻊ ﺫﻝﻙ ﻓﻴﻤﺎ ﺇﺫﺍ ﻜﺎﻨﺕ ﺃﻫﻤﻴﺘـﻪ
ﺘﻜﻤﻥ ﻓﻘﻁ ﻓﻲ ﺠﺭﺃﺓ ﻤﻭﺍﻀﻴﻌﻪ ﻭﻓﻲ ﺍﻝﻌﻨﻑ ﺍﻝﻤﺴﻴﻁﺭ ﻭﺍﻝﻁﺎﻏﻲ ﻓﻲ ﺃﻓﻼﻤﻪ .ﺇﻥ ﻜﻼﻤﹰﺎ ﻜﻬﺫﺍ ﻴﺸﻴﺭ ﺇﻝﻰ ﻓﻬﻡ ﺴـﻴﺊ
ﻝﻤﺩﻯ ﺃﻫﻤﻴﺔ ﺘﺄﺜﻴﺭﻩ ،ﻭﻫﻭ ﺘﺄﺜﻴﺭ ﻤﺎ ﺯﺍل ﻤﺴﺘﻤﺭﺍﹰ ،ﻷﻨﻨﺎ ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﻨﻘﺩﺭ ﺍﻝﺠﺎﻨﺏ ﺍﻷﻜﺜﺭ ﺘﻔﺭﺩﹰﺍ ﻓﻲ ﺃﻋﻤﺎﻝﻪ .ﻭﺇﺫﺍ ﻜﺎﻥ
ﻝﺸﺎﺒﻠﻥ ﺘﺄﺜﻴﺭ )ﻭﻫﻭ ﻤﻊ ﺫﻝﻙ ﺃﻗل ﻜﺜﻴﺭﹰﺍ ﻤﻥ ﺘﺄﺜﻴﺭ ﺸﺘﺭﻭﻫﺎﻴﻡ( ﻓﺈﻥ ﺫﻝﻙ ﻜﺎﻥ ،ﺒﺭﺃﻴﻲ ,ﺒﺴﺒﺏ "ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ" ،ﺇﺫ ﺴﻤﺢ
ﻼ ﻋﻠﻰ ﻤﺜﺎل
ﻏﻴﺎﺒﻪ ﻜﻤﻤﺜل ﺒﺎﻜﺘﺸﺎﻑ ﺃﺴﻠﻭﺒﻪ ﻭﻋﻤﻠﻪ ﺍﻹﺨﺭﺍﺠﻲ .ﻭﻤﻥ ﺤﻴﺙ ﺍﻝﻨﺘﻴﺠﺔ ،ﻤﻥ ﺍﻝﺼﻌﺏ ﺃﻥ ﻨﺘﺼﻭﺭ ﻋﻤ ﹰ
"ﺸﺎﺭﻝﻭﺕ" ،ﻭﻜﺫﻝﻙ ﻋﻠﻰ ﻤﺜﺎل ﺃﺤﺩ ﺃﻋﻤﺎل ﺸﺘﺭﻭﻫﺎﻴﻡ؛ ﻝﺫﻝﻙ ،ﻓﻜﻤﺎ ﺃﻥ ﺸﺎﺒﻠﻥ ﻫﻭ ﻓﻲ ﻗﻠـﺏ ﺃﻋﻤﺎﻝـﻪ ﻭﻻ ﻴﻤﻜـﻥ
ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﻫﺫﻩ ﺍﻷﻋﻤﺎل ﻤﻊ ﻋﺩﻡ ﺘﻭﻀﻴﺢ ﻝﺸﺨﺼﻴﺘﻪ ﻋﻠﻰ ﻨﺤﻭ ﻤﺎ ،ﻓﻤﻥ ﻏﻴﺭ ﺍﻝﻤﻤﻜـﻥ ﺃﻴﻀـﹰﺎ ﻓﻴﻤـﺎ ﻴﺘﻌﻠـﻕ
ﺠﺸﹶﻊ" ،ﺤﻴﺙ ﻻ ﻴﻌﻤل ﻜﻤﻤﺜل .ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻫﻨـﺎﻙ
ﺒﺸﺘﺭﻭﻫﺎﻴﻡ ﺃﻥ ﻴﻨﻔﺼل ﻋﻥ "ﺯﻭﺠﺎﺕ ﻤﺠﻨﻭﻨﺎﺕ" ﺃﻭ ﺤﺘﻰ ﻋﻥ "
ﺃﻋﻤﺎل ،ﻋﺒﺭ ﻜل ﻤﺎ ﺃﻨﺘﺠﺘﻪ ﺍﻝﺴﻴﻨﻤﺎ ،ﺒﺎﺴﺘﺜﻨﺎﺀ ﺃﻋﻤﺎل ﺸﺎﺒﻠﻥ ،ﻗﺩ ﺤﻘﻘﺕ ﺘﻌﺒﻴﺭﹰﺍ ﺼﺤﻴﺤﹰﺎ ﻋﻥ ﺼﺎﺤﺒﻬﺎ ،ﻓﻬﻲ ﺒـﻼ
ﺸﻙ ﺃﻋﻤﺎل ﺇﻴﺭﻴﻙ ﻓﻭﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ .ﻭﻝﻬﺫﺍ ﻓﺈﻥ ﺩﺭﺍﺴﺔ ﺤﺎﻝﺘﻪ ﺭﺒﻤﺎ ﺘﺘﻴﺢ ﻝﻨﺎ ﺇﺯﺍﺤﺔ ﺍﻝﻘﻨﺎﻉ ﻋﻥ ﻤﺸﻜﻠﺔ ﺠﻤﺎﻝﻴﺔ ﻏﻴﺭ
ﺤﻘﻴﻘﻴﺔ ،ﻭﺘﻘﻭﺩ ﺇﻝﻰ ﺤل ﻤﻔﺎﺭﻗﺔ ﻨﻘﺩﻴﺔ؛ ﻫﺫﻩ ﺍﻝﻤﻔﺎﺭﻗﺔ ﺘﺘﻤﺜل ﻓﻲ ﺃﻥ ﺜﻭﺭﺓ ﺠﻤﺎﻝﻴﺔ ﺘﺤﻤل ﺘﺠﺩﻴﺩﹰﺍ ﺠﺫﺭﻴﹰﺎ ﻓﻲ ﺍﻷﻁـﺭ
ﺍﻝﺸﻜﻠﻴﺔ ﻝﻠـ"ﺇﺨﺭﺍﺝ" ﻴﻤﻜﻥ ﻓﻘﻁ ﺃﻥ ﺘﻜﻭﻥ ﻜﻨﺘﻴﺠﺔ ﻤﺒﺎﺸﺭﺓ ﻝﻌﻤل ﻤﻤﺜل ﻭﻝﻠﻀﺭﻭﺭﺓ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻅﻬـﻭﺭﻩ ،ﻭﺍﻝﻤﺜـﺎل
ﺍﻝﻨﻤﻭﺫﺠﻲ ﺒﺎﻝﻁﺒﻊ ،ﻭﻤﺭﺓ ﺃﺨﺭﻯ ،ﻫﻭ ﺸﺎﺒﻠﻥ .ﻝﻜﻨﻨﺎ ،ﺒﻭﺠﻪ ﻋﺎﻡ ،ﻝﻥ ﻨﻜﻭﻥ ﻋﻠﻰ ﺤﻕ ﺇﺫﺍ ﺍﻋﺘﻘﺩﻨﺎ ﺃﻥ ﺸـﺎﺒﻠﻥ ﻝـﻡ
ﻴﺒﺘﻜﺭ ﺸﻴﺌﹰﺎ ﻓﻲ ﺍﻹﺨﺭﺍﺝ ،ﻭﺃﻥ ﻤﻭﻨﺘﺎﺝ ﺃﻓﻼﻤﻪ ﻝﻡ ﻴﻘﺩﻡ ﺃﻴﺔ ﺠﻤﺎﻝﻴﺔ ﺨﺎﺼﺔ ﻝﻠﺤﻜﺎﻴﺔ ،ﻭﻤﻊ ﺫﻝﻙ ﻓﺈﻥ ﺃﻫﻤﻴﺔ ﺫﻝﻙ ﺘﺒﻘﻰ
ﺜﺎﻨﻭﻴﺔ ﻤﻥ ﻭﺠﻬﺔ ﺍﻝﻨﻅﺭ ﻫﺫﻩ .ﺇﻥ ﺍﻝﻤﻤﺜل "ﻴﺒﺘﻠﻊ" ﻓﻲ ﺃﻋﻤﺎﻝﻪ ﻜﺎﻤل ﺍﻝﻔﻴﻠﻡ ﺘﻘﺭﻴﺒﺎﹰ ،ﻝﻜﻥ ﻻ ﻴﻤﻜﻥ ﻝﻨﺎ ﺃﻥ ﻨﺴﺘﺨﺭﺝ ﻤﻥ
ﻫﺫﺍ ﻗﺎﻨﻭﻨﹰﺎ ﻋﺎﻤﹰﺎ ﺒﺨﺼﻭﺹ ﻓﻴﻠﻡ ﺍﻝﻤﻤﺜل .ﻭﺒﺒﺴﺎﻁﺔ ،ﺇﻥ ﺃﺴﻠﻭﺏ ﺸﺎﺒﻠﻥ ﻗﺩ ﻭﻝﺩ ،ﻤﻥ ﻨﺎﺤﻴـﺔ ﺃﺨـﺭﻯ ،ﻤـﻥ ﺍﻝــ
"ﻤﻴﻭﺯﻴﻙ ﻫﻭل" ﻭﻤﻥ "ﻤﺎﻙ ﺴﻴﻨﻴﺕ" ﺍﻝﺫﻱ ﻜﺎﻥ ﻗﺩ ﻭﺠﺩ ﻜﻤﺎل ﺘﻌﺒﻴﺭﻩ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﻗﺒل "ﻏﺭﻴﻔﻴﺙ" ،ﻭﻝﻡ ﻴﻘـﺩﻡ ﻝـﻪ
ﻼ ﺁﺨﺭ ﻴﻤﻜﻥ ﺃﻥ ﻴﺤﺘﺎﺝ ﺇﻝﻰ ﻭﺴﺎﺌل ﺃﺨﺭﻯ ،ﻭﺸﺘﺭﻭﻫﺎﻴﻡ ﻋﻠﻰ ﻭﺠﻪ ﺍﻝﺘﺤﺩﻴﺩ ،ﻭﻫﻭ
ﺍﻝﻤﻭﻨﺘﺎﺝ ﺸﻴﺌﹰﺎ ﺘﻘﺭﻴﺒﹰﺎ .ﻝﻜﻥ ﻤﻤﺜ ﹰ
ﺍﻝﺫﻱ ﺠﺎﺀ ﺒﻌﺩ "ﺯﻨﺎﺒﻕ ﻤﻬﺸﻤﺔ" ﻭ"ﺍﻝﺘﻌﺼﺏ" ،ﻭﺠﺩ ﻨﻔﺴﻪ ،ﻋﻨﺩﻤﺎ ﺃﺭﺍﺩ ﺍﻝﺘﻌﺒﻴﺭ ﻋﻥ ﺫﺍﺘﻪ ،ﺃﻤـﺎﻡ ﻤﻘﺎﻭﻤـﺔ ﻤﻭﻨﺘـﺎﺝ
ﺃﺼﺒﺤﺕ ﻗﻭﺍﻨﻴﻨﻪ ﻤﻌﺭﻭﻓﺔ ﺘﻤﺎﻤﺎﹰ ،ﻭﻜﺎﻨﺕ ﻫﻨﺎﻙ ﻀﺭﻭﺭﺓ ﻝﻌﺩﻡ ﺍﻻﻜﺘﺭﺍﺙ ﺒﻬـﺎ ﻭﺒـﺒﻌﺽ ﺍﻷﻋـﺭﺍﻑ ﺍﻝﺴـﻴﻨﻤﺎﺌﻴﺔ
ﺍﻷﺨﺭﻯ ،ﻭﻜﺎﻥ ﺍﻷﻤﺭ ﻨﻔﺴﻪ ﻴﻨﻁﺒﻕ ﻋﻠﻰ ﺴﻴﻨﺎﺭﻴﻭﻫﺎﺕ ﺘﻠﻙ ﺍﻝﻤﺭﺤﻠﺔ.
ﻻ ﺇﻝﻰ ﺸـﻲﺀ ﻤـﻥ ﺍﻝﺘﺤﻠﻴـل ﻭﻝﺘﻭﻀﻴﺢ ﻤﺴﺄﻝﺔ "ﺍﻹﺨﺭﺍﺝ" ﻝﺩﻯ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﻴﻤﻜﻥ ﺃﻥ ﻨﺘﻔﻕ ﻋﻠﻰ ﺍﻝﻠﺠﻭﺀ ﺃﻭ ﹰ
ﺍﻝﻨﻔﺴﻲ ﻝﻠﺸﺨﺼﻴﺔ ،ﻓﻨﻘﺒل ،ﻭﺒﻼ ﺼﻌﻭﺒﺔ ،ﺒﺄﻥ ﺃﻋﻤﺎﻝﻪ ﺘﺴﻴﻁﺭ ﻋﻠﻴﻬﺎ ﻓﻜﺭﺓ ﻤﺘﺴﻠﻁﺔ ﻝﻠﺠﻨﺱ ﻭﻝﻠﺴﺎﺩﻴﺔ ،ﻭﺒﺄﻨﻬﺎ ﺘﺘﺴﻡ
ﺠﺸﹶﻊ" ﻭ"ﺯﻭﺠﺎﺕ ﻤﺠﻨﻭﻨﺎﺕ" ﻫﻲ ﻤﻘﻭﻝﺔ ﺍﺠﺘﻤﺎﻋﻴـﺔ ﺃﻭ ﺒﺎﻝﻌﻨﻑ ﻭﺍﻝﻘﺴﻭﺓ .ﺇﻥ ﺍﻝﺭﺴﺎﻝﺔ ﺍﻝﺘﻲ ﻴﺠﺏ ﺍﻝﺒﺤﺙ ﻋﻨﻬﺎ ﻓﻲ "
ﺃﺨﻼﻗﻴﺔ ،ﻜﻤﺎ ﻓﻲ "ﺍﻝﺘﻌﺼﺏ" .ﺇﻨﻬﺎ ﻋﺒﺎﺭﺓ ﻋﻥ ﻨﻭﻉ ﻤﻥ ﺍﻝﺸﻬﺎﺩﺓ ﺫﺍﺕ ﺍﻝﻨﻐﻤﺔ ﺍﻝﻭﺍﺤﺩﺓ ،ﻭﺍﻝﺘﺄﻜﻴﺩ ﺍﻝﻭﺤﻴﺩ ﻝﻠﺸﺨﺼﻴﺔ،
ﻭﺍﻝﺭﺅﻴﺔ ﺍﻝﻤﺫﻫﻠﺔ ﻝﻠﻌﺎﻝﻡ ،ﻋﺒﺭ ﻤﻭﺸﻭﺭ ﻤﻠﻭﻥ ﻝﺤﺎﻝﺔ ﻤﻥ ﺍﻝﺸﻌﻭﺭ ،ﺃﻭ ﻋﻠﻰ ﺍﻷﺼﺢ ،ﺍﻝﻼﺸﻌﻭﺭ .ﺍﻝﺴـﻴﻨﻤﺎ ﺒﺎﻝﻨﺴـﺒﺔ
ﻝﺸﺘﺭﻭﻫﺎﻴﻡ ﻫﻲ ﺍﻝﻭﺴﻴﻠﺔ ﺍﻷﻜﺜﺭ ﻓﻌﺎﻝﻴﺔ ﻹﺜﺒﺎﺕ ﺸﺨﺼﻴﺘﻪ ،ﻭﻋﻼﻗﺎﺘﻪ ﺒﺎﻝﻜﺎﺌﻨﺎﺕ ،ﻭﺨﺎﺼﺔ ﺒﺎﻝﻨﺴﺎﺀ .ﻭﻤﻥ ﺍﻝﻤﻨﺎﺴـﺏ
ﺍﻹﺸﺎﺭﺓ ﻫﻨﺎ ﺇﻝﻰ ﺃﻥ ﺨﻁﺎﺏ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻗﺩ ﻻ ﻴﺤﻤل ،ﻓﻲ ﻋﺼﺭﻩ ﺃﻭ ﺍﻝﻴﻭﻡ ﺃﻴﻀﺎﹰ ،ﺃﻫﻤﻴﺔ ﺃﺩﺒﻴﺔ ﺘﺫﻜﺭ .ﻤﻥ ﺍﻝﻭﺍﻀﺢ
ﺃﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻜﺎﻥ ،ﻭﺇﻝﻰ ﺤﺩ ﻜﺒﻴﺭ ،ﺩﻭﻥ ﺍﻝﺠﺭﺃﺓ ﻭﺍﻝﻌﻤﻕ ﺍﻝﻨﻔﺴﻲ ﻝﻠﻜﺜﻴﺭ ﻤﻥ ﺭﻭﺍﻴﺎﺕ ﺍﻝﺴﻨﻭﺍﺕ ﺍﻝﺨﻤﺴﻴﻥ ﺍﻷﺨﻴﺭﺓ،
ﻻ ﻨﻌﺘﻘﺩ ﺒﺄﻥ ﻤﺎ ﻨﺩﻋﻭﻩ ﺍﺼﻁﻼﺤﹰﺎ ﺒـ"ﺍﻝﺨﻠﻔﻴﺔ" ،ﻴﺘﻤﺘﻊ ،ﻭﻝﻭ ﺒﺼﻭﺭﺓ ﺍﻓﺘﺭﺍﻀﻴﺔ ،ﺒﻭﺠﻭﺩ ﻝﻜﻥ ،ﻭﻫﻨﺎ ﺃﻴﻀﺎﹰ ،ﻴﺠﺏ ﺃ ﹼ
ﻤﺴﺘﻘل ﻋﻥ ﻭﺴﺎﺌل ﺍﻝﺘﻌﺒﻴﺭ ﺍﻝﺘﻲ ﺘﺅﺜﺭ ﻓﻴﻨﺎ.
ﻴﻤﻜﻥ ،ﺒﻼ ﺸﻙ ،ﺍﻝﻘﻭل ﺇﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻤﺘﻭﺍﻀﻊ ﺍﻝﺸﺄﻥ ﻓﻲ ﻤﺠﺎل ﺍﻷﺩﺏ ،ﺇﻻ ﺃﻥ ﻤﺠﻴﺌﻪ ﻓﻲ ﻓﺘﺭﺓ ﻤﺤﺩﺩﺓ ﻤﻥ
ﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎ ،ﻭﻜﻭﻨﻪ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻗﺩ ﺍﺨﺘﺎﺭ ﻫﺫﺍ ﺍﻝﻔﻥ ،ﺠﻌﻼ ﺒﺎﻹﻤﻜﺎﻥ ﻤﻘﺎﺭﻨﺘﻪ ﺒﺎﻝﻜﺒﺎﺭ ﺍﻷﻋﻅـﻡ ﺸـﺄﻨﹰﺎ .ﺇﻥ
ﺃﻫﻤﻴﺔ ﻤﻭﻀﻭﻉ ﻤﺎ ،ﻭﻓﻌﺎﻝﻴﺔ ﺸﺨﺼﻴﺔ ﻤﺎ ،ﺘﺘﻭﻗﻔﺎﻥ ﻜﺜﻴﺭﹰﺍ ﻋﻠﻰ ﻭﻗﺕ ﻅﻬﻭﺭﻫﻤﺎ ،ﻤﻊ ﺍﻷﺨﺫ ﺒﻌﻴﻥ ﺍﻻﻋﺘﺒﺎﺭ ﺘـﺎﺭﻴﺦ
ﺍﻝﻔﻥ ﻭﺘﻁﻭﺭ ﺃﻨﻭﺍﻉ ﺍﻝﻔﻨﻭﻥ ،ﻭﺤﺘﻰ ﺍﻷﺴﺎﻝﻴﺏ .ﻭﻫﻜﺫﺍ ﻴﻤﻜﻥ ﺃﻥ ﻨﺴﻤﺢ ﻷﻨﻔﺴﻨﺎ ﺒﺄﻥ ﻨﺼﻑ ﺸﺘﺭﻭﻫﺎﻴﻡ ﺒـ"ﻤﺭﻜﻴـﺯ
ﺩﻭﺴﺎﺩ" ﺍﻝﺴﻴﻨﻤﺎ ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺃﻥ ﺍﻝﻌﻅﻤﺔ ﻭﺍﻝﺠﺩﺓ ﻝﻌﻤل ﻤﺎ ،ﻻ ﻴﻤﻜﻥ ﻗﻴﺎﺴﻬﻤﺎ ،ﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ،ﺇﻻ ﺩﺍﺨل ﺇﻁﺎﺭ ﺍﻝﻔﻥ
ﺍﻝﺫﻱ ﺘﻨﺘﻤﻴﺎﻥ ﺇﻝﻴﻪ.
ﻭﻨﻌﻭﺩ ﺇﻝﻰ ﻤﻭﻗﻊ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻓﻲ ﺴﻴﻨﻤﺎ ﻋﺼﺭﻩ .ﻜﺎﻥ ﻏﺭﻴﻔﻴﺙ ﻗﺩ ﺃﻋﺎﺩ ﺍﺒﺘﻜﺎﺭ ﺍﻝﺴﻴﻨﻤﺎ ﻭﻋﻠﹼﻡ ﺍﻝﻌﺎﻝﻡ ﺒﻜﺎﻤﻠـﻪ
ﻗﻭﺍﻨﻴﻥ ﺍﻝﻤﻭﻨﺘﺎﺝ ،ﻭﻜﺎﻥ Forfeitureﻗﺩ ﺤﻘﻕ ﻋﻠﻰ ﺼﻌﻴﺩ ﺍﻝﺘﻤﺜﻴل ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺜﻭﺭﺓ ،ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﻤﺴﺄﻝﺔ ﺍﻝﺘﻌﺒﻴـﺭ
ﻋﻥ ﺍﻝﻤﺸﺎﻋﺭ ،ﻓﻲ ﻤﻭﺍﺠﻬﺔ ﺍﻝﺘﻤﺜﻴل ﺍﻝﻤﺴﺭﺤﻲ .ﻭﺃﺨﻴﺭﺍﹰ ،ﻜﺎﻥ ﺸﺎﺒﻠﻥ ﻗﺩ ﺃﻅﻬﺭ ﻋﺒﺭ ﺃﺴﻠﻭﺒﻪ ﻓﻲ ﺍﻝﺘﻤﺜﻴل ،ﻭﻜـﺫﻝﻙ
ﻋﺒﺭ ﻁﺭﻴﻘﺘﻪ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ ،ﺍﻝﻘﻴﻤﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻝﻠﺘﻠﻤﻴﺢ ﻭﺍﻝﺘﻭﺭﻴﺔ .ﻜﺎﻥ ﻴﺭﺘﻘﻲ ﺒﺎﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺇﻝﻰ ﻤﻨﺯﻝـﺔ ﺭﻓﻴﻌـﺔ
ﺒﻔﻀل ﻤﺎ ﻝﻡ ﻴﻜﻥ ﻴﻅﻬﺭﻩ ﻝﻨﺎ .ﻭﻜﺎﻨﺕ ﺘﻠﻙ ﺍﻝﻔﺘﺭﺓ ﻫﻲ ﺃﻴﻀﹰﺎ ﺍﻝﺘﻲ ﻝﻤﻊ ﻓﻴﻬﺎ ﻨﻤﻭﺫﺝ "ﺍﻝﺠﺎﺫﺒﻴﺔ ﺍﻝﺠﻨﺴﻴﺔ" ﻝﺭﻭﺩﻭﻝـﻑ
ﻓﺎﻝﻨﺘﻴﻨﻭ ،ﻭﺘﺠﺎ ﻭ ﺯ ﺍﻝﻨﻤﻭﺫﺝ ﺍﻷﻨﺜﻭﻱ ﻝﻠﻤﺭﺃﺓ ﺍﻝﻤﺩ ﻤﺭﺓ ﺍﻝﺤﺩﻭﺩ ﺍﻷﻝﻤﺎﻨﻴﺔ .ﻭﺇﺫﺍ ﺃﺭﺩﻨﺎ ﺃﻥ ﻨﻠﺨﺹ ﻫﺫﻩ ﺍﻝﻤﺴﺄﻝﺔ ﺍﻝﺠﻤﺎﻝﻴﺔ
ﻴﻤﻜﻥ ﺃﻥ ﻨﻌﺭﻓﻬﺎ ﺒﺄﻨﻬﺎ – ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﺤﺘﻭﻯ -ﻨﺠﺎﺡ ﻝﻠﻨﺠﻡ ﺍﻷﺴﻁﻭﺭﻱ؛ ﻭﻜﻤﺎ ﻴﻘﻭل "ﻤﺎﻝﺭﻭ"" :ﺇﻨﻪ ﺘﺠﺴﻴﺩ ﻝﺤﺎﻝـﺔ
ﻤﻥ ﺍﻝﻐﺭﻴﺯﺓ ﺍﻝﺠﻤﻌﻴﺔ ﺍﻝﻘﻭﻴﺔ ﻭﻏﻴﺭ ﺍﻝﻭﺍﻋﻴﺔ" .ﻭﻤﻥ ﺤﻴﺙ ﺍﻷﺴﻠﻭﺏ ﺃﺼﺒﺤﺕ ﻫﻨﺎﻙ ﻝﻐﺔ ﺴﻴﻨﻤﺎﺌﻴﺔ ﺫﺍﺕ ﺴﻤﺔ ﻤﻤﻴﺯﺓ
ﺘﺘﺼﻑ ،ﺒﺨﺎﺼﺔ ،ﺒﺎﻝﺭﻤﺯ ﻭﺍﻹﻴﺠﺎﺯ .ﺇﻥ ﺍﻻﻜﺘﺸﺎﻑ ﺍﻝﻜﺒﻴﺭ ﻝﻐﺭﻴﻔﻴﺙ ،ﻫﻭ ﺇﻴﻀﺎﺤﻪ ﺃﻥ ﺩﻭﺭﺍﻝﺴﻴﻨﻤﺎ ﻻ ﻴﻘﺘﺼﺭ ﻋﻠﻰ
ﺍﻻﺴﺘﻌﺭﺍﺽ ﻭﻨﻘل ﺍﻝﻭﺍﻗﻊ ،ﺒل ﻴﺘﺠﺎﻭﺯ ﺫﻝﻙ ﺇﻝﻰ ﻜﻭﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺘﻘﻭل ﻭﺘﺭﻭﻱ ،ﻭﻫﻲ ،ﻤﻥ ﺃﺠل ﺘﺤﻠﻴل ﺍﻝﻭﺍﻗﻊ ،ﺘﻌﺯل
ﻤﻘﻁﻌﹰﺎ ﻤﻨﻪ ﻋﻥ ﺴﻴﺎﻗﻪ ﻭﺘﻀﻌﻪ ﻓﻲ ﺇﻁﺎﺭ ﺯﻤﻨﻲ ﺒﻁﺭﻴﻘﺔ ﻤﺤﺩﺩﺓ .ﺇﻥ ﺁﻝﺔ ﺍﻝﺘﺼﻭﻴﺭ ﻻ ﺘﻜﺘﻔﻲ ﺒﺘﺴﺠﻴل ﺍﻝﺤﺩﺙ ،ﺒـل
ﻫﻲ ﺘﻌﻴﺩ ﺨﻠﻘﻪ ﺒﻁﺭﻴﻘﺘﻬﺎ ﺍﻝﺨﺎﺼﺔ ،ﺍﻝﺘﻲ ﻻ ﺘﺘﺸﺎﺒﻪ ﻤﻊ ﺃﻴﺔ ﻁﺭﻴﻘﺔ ﺃﺨﺭﻯ.
ﺇﻨﻨﺎ ﻝﻡ ﻨﺘﺤﺩﺙ ﺒﻤﺎ ﻓﻴﻪ ﺍﻝﻜﻔﺎﻴﺔ ﻋﻥ ﺃﻫﻤﻴﺔ ﻏﺭﻴﻔﻴﺙ ﻭﻋﻥ ﺍﺒﺘﻜﺎﺭ ﺍﻝﻤﻭﻨﺘﺎﺝ ،ﻓﺸﺘﺭﻭﻫﺎﻴﻡ ﻝﻡ ﻴﻜﻥ ﻝﻪ ﺃﻥ ﻴﺤﻘﻕ
ﻤﺎ ﺃﻨﺠﺯﻩ ﻝﻭ ﺃﻨﻪ ﺠﺎﺀ ﻗﺒل ﻏﺭﻴﻔﻴﺙ .ﻝﻘﺩ ﻜﺎﻥ ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﻠﻐﺔ ﺃﻥ ﺘﻭﺠﺩ ،ﻜﻲ ﺘﻜﻭﻥ ﻫﻨﺎﻙ ﺇﻤﻜﺎﻨﻴﺔ ﻝﺘﻁﻭﻴﺭﻫـﺎ ،ﺇﺫ
ﺒﺩﺕ ﺃﻋﻤﺎل ﺸﺘﺭﻭﻫﺎﻴﻡ ﻭﻜﻤﺎ ﻝﻭ ﺃﻨﻬﺎ ﺭﻓﺽ ﻝﻜل ﺍﻝﻘﻴﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻝﻌﺼﺭﻩ ،ﺤﻴﺙ ﺭﺍﺡ ﻴﺅﻜﺩ ﻋﻠـﻰ ﺩﻭﺭ ﺍﻝﺴـﻴﻨﻤﺎ
ﻜﻭﺴﻴﻠﺔ ﻝﻠﻜﺸﻑ ،ﻤﻀﺤﻴﹰﺎ ﺒﺎﻝﺒﻼﻏﺔ ﻭﻓﻥ ﺍﻝﻘﺹ ﻤﻥ ﺃﺠل ﺍﻝﻭﻀﻭﺡ .ﻭﻋﻠﻰ ﺃﻨﻘﺎﺽ ﺍﻹﻴﺠـﺎﺯ ﻭﺍﻝﺭﻤـﺯ ﺍﻨﺼـﺏ
ﺍﻫﺘﻤﺎﻤﻪ ﻋﻠﻰ ﺴﻴﻨﻤﺎ ﺍﻝﻤﺒﺎﻝﻐﺔ ﻭﺍﻝﺤﻘﻴﻘﺔ ،ﻭﻓﻲ ﻤﻘﺎﺒل ﺍﻷﺴﻁﻭﺭﺓ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻝﻠﻨﺠﻡ ﻭﺍﻝﺒﻁل ﺍﻝﻤﺠﺭﺩ ﻭﺃﻁﻴﺎﻑ ﺍﻷﺤﻼﻡ
ﺍﻝﺠﻤﻌﻴﺔ ،ﺭﺍﺡ ﻴﻌﻤل ﻋﻠﻰ ﺇﻋﺎﺩﺓ ﺘﺄﻜﻴﺩ ﺍﻝﺘﺠﺴﻴﺩ ﺍﻷﻜﺜﺭ ﻓﺭﺩﻴﺔ ﻝﻠﻤﻤﺜل ،ﻭﺍﻝﺘﻀﺨﻴﻡ ﺍﻝﻤﺒﺎﻝﻎ ﻓﻴﻪ ﻝﻬﺫﻩ ﺍﻝﻔﺭﺩﻴﺔ .ﻭﻝـﻭ
ﻜﺎﻥ ﻝﻲ ﺃﻥ ﺃﺼﻑ ﻤﺎ ﻗﺎﻡ ﺒﻪ ﺸﺘﺭﻭﻫﺎﻴﻡ ﺒﻜﻠﻤﺔ ﻭﺍﺤﺩﺓ ،ﺒﺸﻜل ﺘﻘﺭﻴﺒﻲ ﻁﺒﻌﺎﹰ ،ﻝﺘﺤﺩﺜﺕ ﻋﻥ ﺜﻭﺭﺓ ﻓﻲ ﻤﺠﺎل ﻤﺎ ﻫـﻭ
ﻤﺤﺩﺩ ﻭﻝﻴﺱ ﻤﺠﺭﺩﹰﺍ.
ﻭﻨﻼﺤﻅ ﺃﻥ ﻤﺎ ﺃﺭﺍﺩ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻝﻠﺴﻴﻨﻤﺎ ﺃﻥ ﺘﻘﻭﻝﻪ ﻜﺎﻥ ﺒﺎﻝﻀﺒﻁ ﻋﻜﺱ ﻤﺎ ﻴﻤﻜﻥ ﻝﻠﺸﺎﺸﺔ ﺃﻥ ﺘﻌﺒﺭ ﻋﻨﻪ.
ﺇﻨﻪ ﻤﻤﺜل ﺇﻝﻰ ﺩﺭﺠﺔ ﺍﻻﺴﺘﻌﺭﺍﻀﻴﺔ ،ﻭﻝﺩﻴﻪ ،ﻓﻲ ﺍﻝﻤﻘﺎﻡ ﺍﻷﻭل ،ﺍﻝﺭﻏﺒﺔ ﻓﻲ ﺍﺴﺘﻌﺭﺍﺽ ﻨﻔﺴﻪ ،ﻭﺘﺨﺘﺯﻥ ﺸﺨﺼﻴﺘﻪ،
ﺍﻝﺘﻲ ﺘﺨﺘﻔﻲ ﻭﺭﺍﺀ ﺃﺼﺎﻝﺘﻬﺎ ﺍﻝﻤﺘﻔﺭﺩﺓ ،ﺇﺭﺍﺩﺓ ﻭﻁﺎﻗﺔ ﻤﺩﻫﺸﺘﻴﻥ ﺘﺘﻭﺍﻝﺩﺍﻥ ﻜﺎﻝﺩﻭﺍﺌﺭ ﺍﻝﺘﻲ ﻴﺸﻜﻠﻬﺎ ﺇﻝﻘﺎﺀ ﺤﺠـﺭ ﻓـﻭﻕ
ﺼﻔﺤﺔ ﻤﺎﺀ ﺴﺎﻜﻥ … ﺇﻨﻪ ﺍﻹﺨﺭﺍﺝ "ﺍﻝﺸﺘﺭﻭﻫﺎﻴﻤﻲ" .ﻭﻏﻨﻲ ﻋﻥ ﺍﻝﻘﻭل ﺇﻥ ﻋﺒﻘﺭﻴﺔ ﺸﺘﺭﻭﻫﺎﻴﻡ ﺘﺭﺘﻜﺯ ﺒﺎﻝﻔﻌل ﻋﻠﻰ
ﻜﻭﻥ ﻜﺒﺭﻴﺎﺌﻪ ﺍﻝﻤﺴﺘﺒﺩﺓ ﻝﻡ ﺘﻘﺩﻩ ﺇﻝﻰ ﺍﻝﻐﻁﺭﺴﺔ ﺍﻝﺒﻠﻬﺎﺀ ﺍﻝﺘﻲ ﻴﺘﺼﻑ ﺒﻬﺎ ﻤﻌﻅﻡ ﺍﻝﻨﺠﻭﻡ ،ﺍﻝﺫﻴﻥ ﻴﻔﺭﺤﻭﻥ ﺒﺎﻝﻌﺩﺩ ﺍﻝﻜﺒﻴﺭ
ﻝﹼﻠﻘﻁﺎﺕ ﺍﻝﻘﺭﻴﺒﺔ؛ ﺇﻨﻪ ﻴﺴﻴﻁﺭ ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ ،ﺒﺄﻥ ﻴﻠﺯﻡ ﺍﻷﺸﺨﺎﺹ ﻭﺍﻷﺸﻴﺎﺀ ﺒﺎﻝﺨﻀﻭﻉ ﻝﻪ ﻭﺒﺎﻝﻅﻬﻭﺭ ﻜﻤﺎ ﻴﺭﻴﺩ .ﺇﻥ
ﺍﻝﺴﺎﺩﻴﺔ ﺘﺤﺘﺎﺝ ﺇﻝﻰ ﻝﺤﻡ ﻭﺩﻡ ﻭﺃﻋﺼﺎﺏ ﺇﻨﺴﺎﻨﻴﺔ ،ﻭﺒﻬﺫﺍ ﻓﻘﻁ ﻴﻤﻜﻥ ﺍﻻﻨﺘﺼﺎﺭ ﻋﻠﻰ ﺍﻝﻘﻠﻭﺏ .ﻤﻥ ﻫﻨﺎ ،ﻭﻓﻲ ﺍﻝﻤﻘـﺎﻡ
ﺍﻷﻭل ،ﺘﺄﺘﻲ ﺤﻘﻴﻘﺔ "ﺍﻹﺨﺭﺍﺝ" ﻝﺩﻯ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﻤﻊ ﺍﺴﺘﺨﺩﺍﻤﻪ )ﺍﻝﺜﻭﺭﻱ ﻓﻲ ﺘﻠﻙ ﺍﻝﻤﺭﺤﻠﺔ( ﻝﻠـﺩﻴﻜﻭﺭ ﺍﻝﻁﺒﻴﻌـﻲ،
ﺃﻭﻋﻠﻰ ﺍﻷﻗل ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﻌﺎﺩ ﺒﻨﺎﺅﻩ ﺒﺄﻤﺎﻨﺔ ،ﺒﺄﺒﻌﺎﺩﻩ ﺍﻝﺤﻘﻴﻘﻴﺔ ،ﻭﺍﻝﺴﻘﻭﻑ ﺍﻝﺸﻬﻴﺭﺓ ،ﺍﻝﺘﻲ ﺃﻋـﺎﺩ ﺃﻭﺭﺴـﻭﻥ ﻭﻴﻠـﺯ
ﺍﺴﺘﺨﺩﺍﻤﻬﺎ .ﻝﻡ ﻴﻜﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻴﻁﻠﺏ ﻤﻥ ﺍﻝﻤﻤﺜل ﺃﻥ ﻴﻌﺒﺭ ﻋﻥ ﺃﺤﺎﺴﻴﺴﻪ ﺨﻼل ﺍﻷﺩﺍﺀ ﻭﻓﻕ ﻤﻔﺭﺩﺍﺕ ﻭﺇﺸـﺎﺭﺍﺕ
ﻴﺠﺭﻱ ﺘﺭﺘﻴﺒﻬﺎ ﺒﻨﺎﺀ ﻋﻠﻰ ﺃﺴﺱ ﺘﻌﺒﻴﺭﻴﺔ ﻤﺤﺩﺩﺓ ،ﺒل ،ﻭﻋﻠﻰ ﺍﻝﻌﻜﺱ ،ﻜﺎﻥ ﻴﻁﻠﺏ ﻤﻨﻪ ﺃﻥ ﻴﻨﻁﻠﻕ ﻋﻠﻰ ﺴﺠﻴﺘﻪ ﺇﻝﻰ
ﺃﻗﺼﻰ ﺤﺩ ،ﻭﺃﻥ ﻴﻁﻠﻕ ﺘﻌﺒﻴﺭﻩ ﺩﻭﻥ ﺘﺭﺩﺩ ،ﻷﻥ ﻤﺎ ﻴﺭﺘﺴﻡ ﺒﻌﻔﻭﻴﺔ ﻋﻠﻰ ﺍﻝﻭﺠﻪ ﺍﻹﻨﺴﺎﻨﻲ ﻤﻥ ﺍﻨﻔﻌﺎﻻﺕ ﻻ ﺒـ ﺩ ﻭﺃﻥ
ﺸﻊ" ﺇﻻ ﻤﺭﺓ ﻭﺍﺤﺩﺓ ،ﻝﻜﻥ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺘﻲ ﻅﻠﺕ ﻤﺎﺜﻠﺔ ﺩﺍﺌﻤـﹰﺎ
ﺠﹶ
ﻴﻨﺒﺌﻨﺎ ﻋﻥ ﻋﺎﻝﻤﻪ ﺍﻝﺩﺍﺨﻠﻲ .ﻭﻝﺴﻭﺀ ﺍﻝﺤﻅ ﻝﻡ ﺃﺸﺎﻫﺩ "
ﻓﻲ ﺫﺍﻜﺭﺘﻲ ،ﻭﺒﺩﺭﺠﺔ ﺃﻜﺒﺭ ﺤﺘﻰ ﻤﻥ ﺍﻝﺠﺯﺀ ﺍﻝﻨﻬﺎﺌﻲ ﺍﻝﺸﻬﻴﺭ ﺍﻝﺫﻱ ﻴﺠﺭﻱ ﻓﻲ ﺍﻝﺼﺤﺭﺍﺀ ،ﻫﻲ ﺍﻝﻤﺸﻬﺩ ﺍﻝﺠﻨﺴﻲ ﻓﻲ
ﺱ ﺍﻝﺭﻤﺯ ﺍﻝﻔﺭﻭﻴﺩﻱ ﻝﻠﺴﻥ ،ﺍﻝﺫﻱ ﺘﻜﺭﺭ ﺒﺎﺴﺘﻤﺭﺍﺭ ﻁﻭﺍل ﺍﻝﻤﻘﺎﻁﻊ ﺍﻷﻭﻝﻰ ﻝﻠﻔﻴﻠﻡ ،ﻭﺘﻁﺒﻴﻘﻪ
ﻤﻨﺯل ﻁﺒﻴﺏ ﺍﻷﺴﻨﺎﻥ :ﻝﻨﻨ
ﻋﻠﻰ ﻤﺴﺄﻝﺔ ﻤﻘﺩﻤﺎﺕ ﺍﻝﺤﺏ ،ﻭﻜل ﺃﺩﻭﺍﺕ ﺍﻝﺘﻌﺫﻴﺏ ﻓﻲ ﻏﺭﻓﺔ ﺍﻝﻁﺒﻴﺏ .ﺍﻝﺸﺎﺒﺔ ﻤﺴﺘﻤﺭﺓ ﻓﻲ ﺘﺤﻤل ﺃﻝﻡ ﺍﻝﺜ ﹼﻘﺎﺒﺔ ﺍﻵﻝﻴﺔ،
ﻭﻫﻲ ﻤﺨﺩﺭﺓ ﻤﻥ ﻗﺒل ﺍﻝﻁﺒﻴﺏ ﻭﻻ ﻴﻅﻬﺭ ﻤﻨﻬﺎ ﺴﻭﻯ ﻭﺠﻬﻬﺎ ﻤﻥ ﺨﻼل ﺍﻝﻐﻁﺎﺀ ﺍﻷﺒﻴﺽ ﺍﻝﻤﺴﺩل ﻋﻠﻴﻬﺎ؛ ﺤﻴﻨﺌ ﺫ ﻴﺒﺩﺃ
ﺍﻝﺭﺠل ﻴﺤﺱ ﺸﻴﺌﹰﺎ ﻓﺸﻴﺌﹰﺎ ﺒﺭﻏﺒﺔ ﻻ ﺘﻘﺎﻭﻡ ﺘﺘﻤﻠﻜﻪ ﻭﺒﺎﺤﺘﺩﺍﻡ ﺍﻹﺜﺎﺭﺓ ﺍﻝﺠﻨﺴﻴﺔ ،ﻭﻫﻭ ﻤﺎﻻ ﻴﺒﺭﺭﻩ ﺸـﺘﺭﻭﻫﺎﻴﻡ ﻋﻠـﻰ
ﺍﻹﻁﻼﻕ ﺒﺎﻝﻤﻨﻁﻕ ﺍﻝﻤﺎﺩﻱ ﻝﻠﻤﻭﻗﻑ )ﺍﻤﺭﺃﺓ ﻤﺴﺘﺴﻠﻤﺔ ﺩﻭﻥ ﺃﻴﺔ ﻤﻘﺎﻭﻤﺔ( ،ﺒل ﻤﻥ ﺨﻼل ﻭﺠﻪ ﺍﻝﺒﻁﻠﺔ ،ﺇﺫ ﻴﻜﺎﺩ ﻴﺼل
ﺇﻝﻰ ﺘﺼﻭﻴﺭﺃﺤﻼﻤﻬﺎ :ﺍﺭﺘﻌﺎﺸﺎﺕ ﻭﺘﻘﻠﺼﺎﺕ ﻋﻀﻠﻴﺔ ﺒﺴﻴﻁﺔ ،ﺍﺭﺘﻌﺎﺵ ﻋﺼﺒﻲ ﻝﻠﺸﻔﺔ ﺃﻭ ﻝﻠﺠﻔﻥ ،ﺍﺨﺘﻼﺠﺎﺕ ﻝﻠﻭﺠﻪ
ﻻﺘﻜﺎﺩ ﺘﺩﺭﻙ ،ﻝﻜﻨﻬﺎ ﺘﺸﻲ ﺒﺄﺤﻼﻡ ﻤﺸﻭﺸﺔ ﺘﺘﻭﺍﻝﻰ ﺒﻔﻌل ﺍﻝﻤﺨﺩﺭ .ﺇﻨﻨﺎ ﻻ ﻨﺴﺘﻌﺭﺽ ﺤﺎﻝﺔ ﺘﺼﺎﻋﺩ ﺍﻝﺭﻏﺒـﺔ ﻝـﺩﻯ
ﺍﻝﺭﺠل ﺒﻭﺍﺴﻁﺔ ﺍﻝﻤﻭﻨﺘﺎﺝ )ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺭﻴﻨﺎ ﻭﺠﻬﻪ ﺍﻝﺫﻱ ﻴﻔﺼﺢ ﻋﻥ ﺤﺎﻝﺘﻪ( ،ﻭﻨﺸﺎﺭﻙ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺸﻬﺩ ﺤﺘﻰ ﻨﺼـل
ﺇﻝﻰ ﺸﻲﺀ ﻤﻥ ﺍﻻﻨﺯﻋﺎﺝ ﻭﺍﻝﺘﻘﺯﺯ ،ﻓﻘﻁ ﻤﻥ ﺨﻼل ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻤﻥ ﺍﻹﻴﺤﺎﺀ ﺍﻝﺸﻬﻭﺍﻨﻲ ﺍﻝﺫﻱ ﻴﺒﻠﻎ ﻝﺤﻅﺔ ﺍﻻﻨﻁـﻼﻕ
ﺍﻝﺠﺴﺩﻱ ﺍﻝﻭﺍﻀﺢ .ﺇﻥ ﻤﻤﺜﻠﻲ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻻ ﻴﺒﻜﻭﻥ ﺒﺩﻤﻭﻉ ﻤﻥ ﺍﻝﻐﻠﻴﺴﻴﺭﻴﻥ ،ﻓﻌﻴﻭﻨﻬﻡ ﻫﻲ ﺩﺍﺌﻤﹰﺎ ﻤﺭﺁﺓ ﻝﻠﺭﻭﺡ ،ﺘﻤﺎﻤﹰﺎ
ﻤﺜل ﻤﺴﺎﻡ ﺠﻠﺩ ﻴﺘﻌﺭﻕ؛ ﻝﻜﻥ ،ﻭﻤﻊ ﺫﻝﻙ ،ﻻ ﺸﻲﺀ ﻤﻤﺎ ﺘﺤﺩﺜﻨﺎ ﻋﻨﻪ ﺤﺘﻰ ﺍﻵﻥ ﻴﺘﻌـﺎﺭﺽ ﻜﻠﻴـﹰﺎ ﻤـﻊ ﺍﻝﻤﻔﻬـﻭﻡ
ﺍﻝﻜﻼﺴﻴﻜﻲ ﻝﻺﺨﺭﺍﺝ ،ﻓﺸﺘﺭﻭﻫﺎﻴﻡ ﻤﺎ ﻜﺎﻥ ﻝﻴﻜﻭﻥ ﺃﻜﺜﺭ ﻤﻥ ﻜﺎﺘﺏ ﺴﻴﻨﺎﺭﻴﻭ ﻤﺩﻫﺵ ﻭﻤﺩﻴﺭ ﻝﻤﻤﺜﻠﻴﻥ ﻋﻅﺎﻡ ﻝـﻭﻻ ﺃﻥ
ﻜﺸﻭﻓﺎﺕ ﺍﻝﻤﻭﻨﺘﺎﺝ ﻭﺍﻝ ﺒﻨﻰ ﺍﻝﺭﻭﺍﺌﻴﺔ ﻜﺎﻨﺕ ﻗﺩ ﺠﺎﺀﺕ ﻭﺃﻨﺠﺯﺕ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺃﺴﺱ ﻫﺫﺍ ﺍﻝﻔﻥ.
ﺇﻥ ﺍﻝﻤﻔﺭﺩﺍﺕ ﺍﻝﻤﻬﻨﻴﺔ ﻝﻠﺴﻴﻨﻤﺎ ﻤﺎ ﺘﺯﺍل ،ﻝﻸﺴﻑ ،ﻓﻘﻴﺭﺓ ﺠﺩﹰﺍ ﻭﺘﺤﻔل ﺒﺎﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻷﺨﻁﺎﺀ ،ﻓﻜﻠﻤﺘﺎ "ﻤﻭﻨﺘـﺎﺝ"
ﻭ"ﺘﻘﻁﻴﻊ" ﺘﺴﺘﺨﺩﻤﺎﻥ ﺒﻼ ﻤﺒﺎﻻﺓ ﻝﻠﺘﻌﺒﻴﺭ ﻋﻥ ﻋﺩﺓ ﺃﻤﻭﺭ ﺘﻘﻨﻴﺔ ﻭﺠﻤﺎﻝﻴﺔ .ﻭﺒﻤﺎ ﺃ ﹼﻨﻲ ﻻ ﺃﺴـﺘﻁﻴﻊ ﺃﻥ ﺃﺤـﺩﺩ ﻤﺴـﺒﻘﹰﺎ
ﻲ ﺇﺫﻥ ﺃﻥ ﺃﺴﺘﺨﺩﻡ ﻤﺼﻁﻠﺤﺎﺕ ﻤﺘﻌﺎﺭﻓﹰﺎ ﻋﻠﻴﻬﺎ ﻤﻨﺫ ﻤﺎ ﻗﺒل ﺸﺘﺭﻭﻫﺎﻴﻡ .ﺇﻨﻨﺎ ﺤﺘﻰ ﻴﻭﻤﻨﺎ ﻫﺫﺍ،
ﺘﻌﺎﺭﻴﻑ ﺸﺨﺼﻴﺔ ،ﻋﻠ
ﻭﻓﻴﻤﺎ ﻴﺘﺼل ﺒﻨﺤﻭ ﺘﺴﻌﻴﻥ ﺒﺎﻝﻤﺎﺌﺔ ﻤﻥ ﺍﻷﻓﻼﻡ ،ﻨﺠﺩ ﺃﻥ ﻭﺤﺩﺓ ﺍﻝﺴﺭﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺘﻌﺘﻤﺩ ﻤﺨﻁﻁـﹰﺎ ﻭﻓـﻕ ﻨﻤـﻭﺫﺝ
ﻏﺭﻴﻔﻴﺙ ،ﺃﻱ ﺍﻝﺘﺤﻠﻴل ﻏﻴﺭ ﺍﻝﻤﺘﺘﺎﺒﻊ ﻝﻠﻭﺍﻗﻊ .ﻭﺒﺎﻝﻤﻨﺎﺴﺒﺔ ﻓﺈﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ﺍﺴﺘﺨﺩﻡ ﺃﻴﻀﹰﺎ ﺍﻝﻠﻘﻁﺔ ﺍﻝﻘﺭﻴﺒﺔ ﻭﻗﺎﻡ ﺒﺘﺤﻠﻴل
ﻤﺸﺎﻫﺩﻩ ﺨﻼل ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻭﻴﺭ ،ﺇﻻ ﺃﻥ ﺍﻝﺘﺠﺯﺌﺔ ﺍﻝﺘﻲ ﺘﻌﺎﻨﻲ ﻤﻨﻬﺎ ﺍﻷﺤﺩﺍﺙ ﻝﻴﺴﺕ ﻨﺎﺠﻤﺔ ﻋﻥ ﺍﻝﻘﻭﺍﻨﻴﻥ ﺍﻝﺘﺤﻠﻴﻠﻴـﺔ
ﻝﻠﻤﻭﻨﺘﺎﺝ .ﻭﺇﺫﺍ ﻜﺎﻥ ﺍﻝﺴﺭﺩ ﺍﻝﺭﻭﺍﺌﻲ ﻝﺩﻯ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻝﻨﺠﺎﺓ ﻤﻥ ﻋﺩﻡ ﺍﻝﺘﺘﺎﺒﻊ ،ﻷﺴﺒﺎﺏ ﺘﻘﻨﻴﺔ ﻭﺍﻀـﺤﺔ،
ﻥ ﻤﺎ ﺃﺭﺍﺩ ﺘﻭﺠﻴﻬﻨﺎ ﺇﻝﻴﻪ،
ﻼ ﻋﺩﻡ ﺘﺘﺎﺒﻊ ،ﺒل ،ﻭﻋﻠﻰ ﺍﻝﻌﻜﺱ ،ﺇ
ﻓﺈﻥ ﻤﺭ ﺩ ﺫﻝﻙ ،ﻋﻠﻰ ﺍﻷﻗل ،ﻝﻴﺱ ﻫﻭ ﻓﻲ ﺃﻥ ﻫﻨﺎﻙ ﻓﻌ ﹰ
ﻭﺒﻜل ﻭﻀﻭﺡ ،ﻫﻭ ﺍﻝﺤﻀﻭﺭ ﺍﻝﻤﺘﺯﺍﻤﻥ ﻝﺤﻭﺍﺩﺙ ﻤﺘﺭﺍﻓﻘﺔ ،ﻭﺘﺭﺍﺒﻁﻬﺎ ﻝﻴﺱ ﻤﻨﻁﻘﻴﹰﺎ )ﻜﻤﺎ ﻓﻲ ﺍﻝﻤﻭﻨﺘﺎﺝ( ﺒـل ﻫـﻭ
ﻤﺘﺠﺴﺩ ﻤﺎﺩﻴﹰﺎ .ﺇﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻫﻭ ﺍﻝﺫﻱ ﺃﻭﺠﺩ ﺍﻝﺴﺭﺩ ﺍﻝﺭﻭﺍﺌﻲ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﻤﺴـﺘﻤﺭ ،ﻝﻜـﻥ ﺒﺼـﻭﺭﺓ ﺍﻓﺘﺭﺍﻀـﻴﺔ
)ﻀﻤﻨﻴﺔ( ،ﺘﻨﺘﺸﺭ ﺒﺘﻜﺎﻤل ﻤﺴﺘﻤﺭ ﻋﻠﻰ ﺍﻤﺘﺩﺍﺩ ﻓﻀﺎﺀ ﺍﻝﻌﻤل .ﻭﻝﺴﻭﺀ ﺍﻝﺤﻅ ،ﻓﺈﻥ ﺍﻝﺤﺎﻝﺔ ﺍﻝﺘﻘﻨﻴﺔ ﻭﺍﻝﺠﻤﺎﻝﻴﺔ ﻝﻠﺴـﻴﻨﻤﺎ
ﻓﻲ ﺃﻴﺎﻤﻪ ﻝﻡ ﺘﻜﻥ ﺘﺴﻤﺢ ﺒﻌﺩ ﺒﺘﺤﻘﻴﻕ ﺍﻝﺸﻜل ﺍﻝﺠﺩﻴﺩ ﻝﻠﺘﻘﻁﻴﻊ ﺒﺼﻭﺭﺓ ﻤﺘﻘﻨﺔ .ﻭﻗﺩ ﺍﺒﺘﻜﺭ ﺩﻭﻥ ﺃﻥ ﻴﺩﺭﻱ ،ﻤﺎ ﺃﺼﺒﺢ
ﻓﻴﻤﺎ ﺒﻌﺩ ﻝﻐﺔ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻨﺎﻁﻘﺔ ،ﺇﻨﻪ ﺍﻝﺘﻘﻁﻴﻊ ﺍﻝﻤﺘﺘﺎﺒﻊ ﺍﻝﺫﻱ ﻻ ﻴﻤﻜﻥ ﺘﺼﻭﺭﻩ ﻤﻊ ﻭﺍﻗﻊ ﻗﺎﺌﻡ ﻋﻠﻰ ﺇﻨﺘﺎﺝ ﺼﻭﺭ ﻤﺭﺌﻴﺔ
ﺒﻼ ﺤﻀﻭﺭ ﺼﻭﺘﻲ .ﺇﻥ ﻏﻴﺎﺏ ﺍﻝﺼﻭﺕ ﺘﺭﻙ ﺜﻐﺭﺍﺕ ﻻ ﻴﻤﻜﻥ ﺘﻔﺎﺩﻴﻬﺎ ،ﻓﺠﻭﺍﺕ ﺼﻐﻴﺭﺓ ﻝﻴﺱ ﺒﺎﻹﻤﻜﺎﻥ ﻤﻠﺅﻫﺎ ﺇﻻ
ﺒﺎﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﺭﻤﺯﻴﺔ ،ﻤﻀﺎﻓﹰﺎ ﺇﻝﻴﻬﺎ ﺍﻝﺘﻤﺜﻴل ﺃﻭ ﺍﻝﻤﻭﻨﺘﺎﺝ.
ﻝﻘﺩ ﻜﺎﻥ ﻋﻠﻴﻨﺎ ﺍﻨﺘﻅﺎﺭ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻨﺎﻁﻘﺔ ،ﻭﺍﻜﺘﺸﺎﻑ ،ﺃﻭ ﺇﻋﺎﺩﺓ ﺍﻜﺘﺸﺎﻑ ،ﻋﻤﻕ ﺍﻝﻤﺠﺎل ،ﻤﻥ ﺒﻴﻥ ﺍﻜﺘﺸـﺎﻓﺎﺕ
ﺃﺨﺭﻯ ،ﻜﻲ ﻴﺴﺘﻁﻴﻊ ﺍﻝﻤﺨﺭﺠﻭﻥ ﺤﻘﹰﺎ ﺇﺩﺭﺍﻙ ﻫﺫﺍ ﺍﻹﻨﺠﺎﺯ ﺍﻝﺫﻱ ﺤﻘﻘﻪ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻓﻲ ﻤﺠﺎل ﺍﻝﻤﻭﻨﺘﺎﺝ ،ﻭﻫﺫﺍ ﻤﺎ ﻓﻌﻠﻪ
ﺭﻴﻨﻭﺍﺭ ،ﺒﻜل ﻭﻀﻭﺡ ،ﻓﻲ "ﻗﻭﺍﻋﺩ ﺍﻝﻠﻌﺒﺔ" ،ﺤﻴﺙ ﻗﺎﻡ ﺒﺈﻨﺠﺎﺯ ﻨﻔﺱ ﺍﻝﺘﺼﻤﻴﻡ ﻀﻤﻥ ﻤﻨﻬﺞ ﻭﺍﻗﻌﻲ ﻝﻤﺠﺎل ﻤﺘﺤـﺭﺭ.
ﻭﻜﺎﻥ ﻻﺒ ﺩ ﻤﻥ ﻤﻀﻲ ﺒﻌﺽ ﺍﻝﻭﻗﺕ ﻝﻅﻬﻭﺭ ﺍﻝﺼﻭﺕ ،ﺍﻝﺫﻱ ﻜﺎﻥ ﻤﻥ ﺸﺄﻨﻪ ﺃﻥ ﻴﻤﻨﺢ ﺸﺘﺭﻭﻫﺎﻴﻡ ﺍﻝﻤﻜﺎﻨﺔ ﺍﻝﺘﻲ ﺘﻠﻴﻕ
ﺒﻪ ﻭﺍﻝﺘﻲ ﻴﺴﺘﺤﻘﻬﺎ ،ﻭﺃﻥ ﻴﺼﺒﺢ "ﻏﺭﻴﻔﻴﺙ" ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻨﺎﻁﻘﺔ ،ﺇﻻ ﺃﻥ ﺭﺴﺎﻝﺘﻪ ﻗﺩ ﺠﺭﻯ ﻓﻬﻤﻬـﺎ ﻭﺍﺴـﺘﻴﻌﺎﺒﻬﺎ ،ﻭﻝـﻭ
ﺒﺼﻭﺭﺓ ﺠﺯﺌﻴﺔ ﻭﻋﺎﺭﻀﺔ ،ﺇﺫ ﺃﻨﻨﺎ ﻨﻌﻭﺩ ﻝﻨﻠﺘﻘﻴﻪ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ﻓﻲ ﺃﻓﻼﻡ ﻤﻌﺎﺼﺭﺓ ،ﻓﻨﺸﺎﻫﺩ ﻤﻼﻤﺢ ﻤـﻥ "ﺯﻭﺠـﺎﺕ
ﻤﺠﻨﻭﻨﺎﺕ" ﻭ"ﺠﺸﻊ" … ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻫﻨﺎﻙ ﺍﻝﻴﻭﻡ ﺴﻴﻨﻤﺎ ﻗﺴﻭﺓ ،ﻓﻬﻭ ﻤﺒﺘﻜﺭﻫﺎ .ﻝﻜﻥ ،ﻭﻤﻊ ﺫﻝـﻙ ،ﻓﻜﺜﻴـﺭﻭﻥ ﻤﻤـﻥ
ﻋﺭﻓﻭﺍ ﺃﻋﻤﺎﻝﻪ ﻻ ﻴﺘﻤﻜﻨﻭﻥ ﺩﺍﺌﻤﹰﺎ ﻤﻥ ﺍﺴﺘﻠﻬﺎﻡ ﺘﻘﻨﻴﺎﺕ ﺍﻝﺴﺭﺩ ﻝﺩﻴﻪ ،ﻫﺫﻩ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﻝﺘﻲ ﺘﻜﺎﺩ ﺘﻜﻭﻥ ﺃﻜﺜﺭ ﺇﺜﺎﺭﺓ ﻝﻠﺫﻋﺭ
ﻻ ﺨﺼﺒﹰﺎ ﻴﻔﻭﻗﺎﻥ
ﻤﻥ ﻤﻭﺍﻀﻴﻌﻪ .ﺇﻥ ﺍﻝﺘﻤﻜﻥ ﻤﻥ ﺍﺴﺘﻴﻌﺎﺏ ﺘﻘﻨﻴﺔ ﺍﻝﺴﺭﺩ ﻝﺩﻯ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻴﺘﻁﻠﺏ ﻤﺴﺘﻭﻯ ﻤﻬﻨﻴﹰﺎ ﻭﺨﻴﺎ ﹰ
ﻤﺎ ﻴﺘﻁﻠﺒﻪ ﺍﺴﺘﻠﻬﺎﻡ ﻤﻭﺍﻀﻴﻌﻪ ،ﻋﻠﻰ ﺃ ﹼﻨﻲ ﺃﻋﺘﻘﺩ ﺃﻴﻀ ﹰﺎ ﺃﻥ ﺘﺼﻤﻴﻡ ﺍﻝﻤﻘﺎﻁﻊ ﻝﺩﻯ ﺃﻭﺭﺴﻭﻥ ﻭﻴﻠﺯ ﻫﻭ ﻨﺘﻴﺠﺔ ﺨﺎﺭﺠﻴﺔ
ﻝﺘﻘﻨﻴﺔ ﺍﻝﺴﺭﺩ ﻝﺩﻯ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﺒل ﻭﻴﻤﻜﻥ ﺍﻝﻘﻭل ﺇﻥ ﻜل ﻤﺎ ﺘﻡ ﺘﺤﻘﻴﻘﻪ ﻤﻥ ﺠﺩﻴﺩ ،ﺘﻘﺭﻴﺒﺎﹰ ،ﻤﻨﺫ ﻨﺤﻭ ﻋﺸﺭﻴﻥ ﻋﺎﻤـﺎﹰ،
ﻝﻪ ﺼﻠﺔ ﺒﺄﻋﻤﺎﻝﻪ ،ﻭﻝﻜﻨﻪ ﻤﺎ ﻴﺯﺍل ﺤﺘﻰ ﺍﻝﻴﻭﻡ ﻏﻴﺭ ﻤﻔﻬﻭﻡ ﺒﺼﻭﺭﺓ ﻜﺎﻓﻴﺔ ،ﻋﻠﻰ ﺍﻷﻗل ﻓﻲ ﺠﺎﻨﺏ ﻜﺒﻴﺭ ﻤﻨﻪ ،ﻋﻠـﻰ
ﺍﻝﺭﻏﻡ ﻤﻥ ﺃﻥ ﺭﺴﺎﻝﺘﻪ ﻗﺩ ﻭﺼﻠﺕ ،ﻭﺒﻌﻤﻕ ،ﻓﻨﺤﻥ ﻨﺸﺎﻫﺩﻫﺎ ﺘﻭﻤﺽ ﺒﻴﻥ ﺍﻝﺤﻴﻥ ﻭﺍﻵﺨﺭ ،ﻓﻲ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻷﻋﻤـﺎل
ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ،ﻭﻝﻭ ﺃﻨﻨﺎ ﻝﻡ ﻨﺸﻬﺩ ﺒﻌﺩ ﺍﻝﻤﺭﺤﻠﺔ ﺍﻝﺘﻲ ﺘﻨﺘﻘل ﻓﻴﻬﺎ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻨﺎﻁﻘﺔ ﻤﻥ ﺍﻻﺭﺘﺒﺎﻁ ﺒــ"ﻏﺭﻴﻔﻴـﺙ" ﺇﻝـﻰ
"ﺸﺘﺭﻭﻫﺎﻴﻡ" ﺃﻭ "ﻤﻭﺭﻨﺎﻭ".
)ﺭﻗﺼﺔ ﺍﻝﻤﻭﺕ(
ﺍﻝﺫﻴﻥ ﻴﺘﺫﻜﺭﻭﻥ "ﺠﺸﻊ" ﻭ"ﺯﻭﺠﺎﺕ ﻤﺠﻨﻭﻨﺎﺕ" ﻭ"ﻝﺤﻥ ﺍﻝﺯﻓﺎﻑ" ﻴﻌﺭﻓﻭﻥ ﺃﻥ ﻋﺩﻡ ﺍﻜﺘﻔﺎﺀ ﺍﻝﺴﻴﻨﻤﺎ ﺒﺎﻝﺤـﺩﻴﺙ
ﻋﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﻓﻘﻁ ،ﻜﻤﻤﺜل ﺭﺍﺌﻊ ،ﻫﻭ ﻤﺎ ﺠﻌﻠﻨﺎ ﻨﺘﺤﺩﺙ ﺍﻵﻥ ﻋﻥ ﺍﻓﺘﻘﺎﺩﻨﺎ ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺍﻝﻤﺨﺭﺠﻴﻥ ﺍﻷﻜﺜﺭ ﺃﻫﻤﻴـﺔ
ﻼ ﻭﻤﺨﺭﺠﹰﺎ ﻻ ﻴﻤﻜﻥ ﺍﻝﻔﺼل ﺒﻴﻨﻬﻤﺎ ،ﻭﻗﺩ ﺃﻓﻘﺩﻩ ﻋﻤﻠـﻪ ﺘﺤـﺕ
ﻓﻲ ﺍﻝﻌﺎﻝﻡ ،ﻭﺭﺒﻤﺎ ﻫﻭ ﺍﻷﻋﻅﻡ ﺒﻌﺩ ﺸﺎﺒﻠﻥ .ﻜﺎﻥ ﻤﻤﺜ ﹰ
ﺇﺩﺍﺭﺓ ﻤﺨﺭﺠﻴﻥ ﺁﺨﺭﻴﻥ ﺍﻝﻜﺜﻴﺭ ﻤﻤﺎ ﻴﺘﺼل ﺒﻌﻤﻠﻪ ﻜﻤﻤﺜل ،ﻭﺍﻝﺸﺨﺼﻴﺔ ﺍﻝﺘﻲ ﺠﻌﻠﻭﻩ ﻴﺠﺴﺩﻫﺎ ،ﻭﺒﺼﻭﺭﺓ ﻤﺘﻭﺍﻀﻌﺔ،
ﻝﻴﺴﺕ ﺍﻝﻴﻭﻡ ﺴﻭﻯ ﻤﺠﺭﺩ ﻅل ﻝﻤﺎ ﻫﺠﺭﺘﻪ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ ﻤﻨﺫ ﻋﺎﻡ .1925ﻭﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ﻜﺎﻥ ﻝﺸﺘﺭﻭﻫﺎﻴﻡ ﺤﺠـﻡ
ﻭﺤﻀﻭﺭ ﻜﺎﻓﻴﺎﻥ ﻜﻲ ﻴﺴﺘﻤﺭ ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺫﻝﻙ ،ﺇﻨﻪ ﻤﻤﺜل ﻤﺩﻫﺵ ،ﻤﻊ ﺃﻨﻪ ﺍﺴﺘﻤﺭ ﻤﻨﺫ "ﺍﻝـﻭﻫﻡ ﺍﻝﻜﺒﻴـﺭ" ﻓـﻲ
ﺍﻝﺘﻭﻏل ﺩﺍﺨل ﺸﺨﺼﻴﺔ ﻨﻤﻁﻴﺔ ﻓﻜﺭﻴﹰﺎ ﻭﺠﺴﺩﻴﺎﹰ ،ﻭﻫﻲ ﺸﺨﺼﻴﺔ ﺘﺸﻜل ﺍﻝﻘﻁﺏ ﺍﻝﻤﻘﺎﺒـل ﻝﻠﺒﻁـل ﻓـﻲ "ﺯﻭﺠـﺎﺕ
ﻤﺠﻨﻭﻨﺎﺕ" ﻭ"ﻝﺤﻥ ﺍﻝﺯﻓﺎﻑ" .ﻝﻜﻥ ،ﻭﺴﻭﺍﺀ ﺃﻜﺎﻥ ﺫﻝﻙ ﻓﻲ ﺘﺠﺴﻴﺩﻩ ﻝﻠﻤﻐﺎﻤﺭ ﺍﻝﺩﻭﻝﻲ ﻓـﻲ "ﺍﻝﻌﺎﺼـﻔﺔ" ﺃﻭ ﻝﻠﻀـﺎﺒﻁ
ﺍﻝﺒﺭﻭﺴﻲ ﻓﻲ "ﺍﻝﻭﻫﻡ ﺍﻝﻜﺒﻴﺭ" ﻓﻘﺩ ﻜﺎﻥ ﺫﻝﻙ ﺍﻝﻘﻠﺏ ﺍﻝﻤﺠﻨﻭﻥ ،ﻭﻭﺭﺍﺀ ﻗﻨﺎﻋﻪ ﺍﻝﺭﻫﻴﺏ ﺍﻝﻤﻠـﻲﺀ ﺒﺎﻝﻨـﺩﻭﺏ ﻭﺭﺃﺴـﻪ
ﺍﻝﺤﻠﻴﻕ ،ﻭﻭﺭﺍﺀ ﺼﻤﺘﻪ ﺍﻝﻤﺯﻋﺞ ﻭﺍﻝﻔﻅﺎﻅﺔ ﺍﻝﺘﻲ ﻴﺯﺩﺭﺩ ﺒﻬﺎ ﻜﺄﺱ ﺍﻝﻜﺤﻭل ،ﻜﺎﻥ ﻴﺨﻔﻲ ﺤﺴﺎﺴﻴﺔ ﻤﻜﺒﻭﺤﺔ ﺘﺘﻁﻠـﻊ
ﻜﺜﻴﺭﹰﺍ ﺇﻝﻰ ﺃﻥ ﺘﻜﻭﻥ ﺭﻗﻴﻘﺔ؛ ﻭﺤﺘﻰ ﻋﻨﺩﻤﺎ ﻜﺎﻥ ﻴﺅﺩﻱ ﺩﻭﺭ ﺍﻝﺸﺭﻴﺭ ﻝﻡ ﻴﻜﻥ ﻴﺘﻭﻏل ﻓﻴﻪ ﺒﻌﻴﺩﹰﺍ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ،ﺇﺫ ﻤﻊ
ﻁﺭﹰﺍ ﺠﺩﹰﺍ.
ﺍﻨﻁﻼﻗﻪ ﻓﻲ ﻓﻌل ﻤﺸﻴﻥ ،ﻨﻜﺘﺸﻑ ﻓﻲ ﺍﻝﻌﻤﻕ ،ﺃﻥ ﺍﻝﺸﺭﻴﺭ ﻝﻡ ﻴﻜﻥ ﺨ
ﻭﺸﺘﺭﻭﻫﺎﻴﻡ ،ﺍﻝﺫﻱ ﺍﺘﺼﻑ ﺒﻬﻴﺌﺔ ﻭﺒﺤﺭﻜﺎﺕ ﺨﺎﺼﺔ ﺒﻪ ﻤﻨﺫ ﺃﺩﻭﺍﺭﻩ ﺍﻷﻭﻝﻰ ،ﻜﺎﻥ ﻓﻲ ﺍﻝﺤﻘﻴﻘـﺔ ،ﺒﺎﻝﻨﺴـﺒﺔ
ﻝﻠﺫﻴﻥ ﺘﻌﺎﻤﻠﻭﺍ ﻤﻌﻪ ،ﻋﺼ ﻴﹰﺎ ﻋﻠﻰ ﺍﻹﻤﺴﺎﻙ ﺒﻤﺎ ﻜﺎﻥ ﻴﺸﻜل ﺍﻷﻤﺭ ﺍﻝﺠﻭﻫﺭﻱ ﻝﻌﺒﻘﺭﻴﺘﻪ.
ﺇﻥ ﺍﻝﻜﺸﻑ ﻭﺍﻝﺜﻭﺭﺓ ﻝﺩﻯ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻴﺭﺠﻌﺎﻥ ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﺇﻝﻰ ﻋﻨﻑ ﻨﻔﺴﻲ ﺒﻼ ﻜﻭﺍﺒﺢ ﺃﻭ ﺤﺩﻭﺩ ،ﻭﻨﻌﺘـﺭﻑ
ﻝﻪ ،ﺩﻭﻥ ﺃﺩﻨﻰ ﺸﻙ ،ﺒﺄﻨﻪ ﺼﺎﺤﺏ ﺃﻓﻼﻡ ﺍﻝﻤﺨﻴﻠﺔ ﺍﻝﻭﺤﻴﺩﺓ ﺍﻝﺘﻲ ﺍﻨﺘﻘﻠﺕ ﺍﻝﺴﻴﻨﻤﺎ ﻤﻌﻬﺎ ﺇﻝﻰ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻝﻜﺎﻤﻠﺔ ،ﻭﺍﻝﺘﻲ ﻝﻡ
ﺘﺘﻤﻜﻥ ﻤﻌﻬﺎ ﺃﻴﺔ ﺭﻗﺎﺒﺔ ﻤﺎﻜﺭﺓ ،ﺃﻭ ﺤﺘﻰ ﻤﻭﻀﻭﻋﻴﺔ ،ﺇﻝﻰ ﺍﻝﺤﺩ ﻤﻥ ﻏﻨﺎﻫﺎ ﻓﻲ ﺍﻻﺒﺘﻜﺎﺭ ﻭﺍﻝﺘﻌﺒﻴﺭ ،ﻓﻲ ﺃﻓﻼﻡ ﻭﺍﻗﻌﻴﺔ
ﺘﻤﺎﻤﹰﺎ ﻜﺎﻝﺤﺠﺎﺭﺓ ،ﻭﺤﺭﺓ ﺘﻤﺎﻤﹰﺎ ﻜﺎﻷﺤﻼﻡ.
ﻝﺴﺕ ﺭﺍﻏﺒﹰﺎ ﺒﺎﻹﻁﺎﻝﺔ ،ﺤﻭل ﻤﺴﺄﻝﺔ ﺃﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﻭﺒﺴﺒﺏ ﻤﻥ ﺭﻏﺒﺘﻪ ﻓﻲ ﺘﺤﻘﻴﻕ ﺼﻭﺭﺓ ﺃﻜﺜـﺭ ﻋﻤﻘـﹰﺎ
ﻝﺸﺨﺼﻴﺘﻪ ﻗﺩ ﺘﻭﺼل )ﻤﺜل ﺸﺎﺒﻠﻥ( ﺇﻝﻰ ﺍﺒﺘﻜﺎﺭ ﺠﻤﺎﻝﻴﺔ ﺠﺩﻴﺩﺓ ﻝﻺﺨﺭﺍﺝ ،ﺃﺼﺒﺤﺕ ﺩﺭﻭﺴﻬﺎ ﻏﺎﻴﺔ ﻓـﻲ ﺍﻷﻫﻤﻴـﺔ.
ﻭﻝﻬﺫﺍ ﺃﺭﻴﺩ ﺍﻝﺤﺩﻴﺙ ﻫﻨﺎ ﻓﻘﻁ ﻋﻥ ﺍﻝﻤﻤﺜل.
ﻝﻸﺴﻑ ،ﺒﻌﺩ ﺒﻀﻌﺔ ﺃﺸﻬﺭ ﻤﻥ ﻤﻌﺭﻓﺘﻨﺎ ﺒﻤﺸﺎﺭﻜﺘﻪ ﻓﻲ ﺇﻋﺩﺍﺩ "ﺭﻗﺼﺔ ﺍﻝﻤﻭﺕ" ﻨﹸﺸﺭﺕ ﺇﺸﺎﻋﺎﺕ ،ﻝـﻡ ﺘﺜـﺭ
ﻝﺩﻴﻨﺎ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻘﻠﻕ ،ﺒﺄﻥ ﺸﺘﺭﻭﻫﺎﻴﻡ "ﺃﻀﺎﻑ" ﺃﺸﻴﺎﺀ ﻜﺜﻴﺭﺓ ﺇﻝﻰ ﺴﺘﺭﻴﻨﺩﺒﺭﻍ .ﻜﺎﻥ ﺍﻝﻔﻴﻠﻡ ﻴﺒﺩﺃ ﻗﺒل ﻋﺸﺭﻴﻥ ﻋﺎﻤـﹰﺎ
ﻤﻤﺎ ﻜﺎﻥ ﻗﺩ ﺠﺎﺀ ﻓﻲ ﺍﻝﻌﻤل ﺍﻷﺼﻠﻲ ،ﻭﻗﺎﻝﺕ ﺃﻝﺴﻨﺔ ﺍﻝﺴﻭﺀ ﺇﻨﻪ ﻜﺎﻥ ﻴﺭﻏﺏ ﺒﻔﺭﺼﺔ ﻝﺘﺠﺩﻴﺩ ﺸﺒﺎﺒﻪ ،ﻓﻭﻀﻊ ﺃﻜﺒـﺭ
ﻗﺩﺭ ﻤﻥ ﺘﻔﺎﺼﻴﻠﻪ ﺍﻝﻤﻌﺘﺎﺩﺓ ﻋﻠﻰ ﺤﺴﺎﺏ ﺃﻤﺎﻨﺘﻪ ﻝﻠﺩﺭﺍﻤﺎ ،ﻭﻤﻤﺎ ﻻ ﺸﻙ ﻓﻴﻪ ،ﻓﻲ ﻤﺜل ﻫﺫﻩ ﺍﻝﺤﺎﻝﺔ ،ﺃﻥ ﻴﻜﻭﻥ ﻫﻨـﺎﻙ
ﻼ ﻋﻥ ﺍﺘﻬﺎﻡ ﺸﺘﺭﻭﻫﺎﻴﻡ
ﺘﺨﻭﻑ ﻤﻥ ﺃﻥ ﺍﻝﻔﻴﻠﻡ ﻗﺩ ﺃﻝﺤﻕ ﺇﺴﺎﺀﺓ ﺒﺎﻝﻌﻤل ،ﺒﺴﺒﺏ ﺼﻌﻭﺒﺔ ﺍﻹﻋﺩﺍﺩ ﻋﻥ ﺴﺘﺭﻴﻨﺩﺒﺭﻍ ،ﻓﻀ ﹰ
ﺒﺄﻨﻪ ﻴﻤﻌﻥ ﺒﺎﻝﺒﻘﺎﺀ ﺃﺴﻴﺭﹰﺍ ﻝﻠﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺤﺭﻜﺎﺕ ﺍﻝﻤﻜﺭﺭﺓ ﺍﻝﺘﻲ ﻻ ﹸﺘﺤﺘﻤل.
ﻝﻴﺱ "ﺭﻗﺼﺔ ﺍﻝﻤﻭﺕ" ﻝﻤﺎﺭﺴﻴل ﻜﺭﺍﻓﻴﻥ ﻤﺠﺭﺩ ﻓﻴﻠﻡ ﻤﺘﻤﻴﺯ ﺍﻹﻋﺩﺍﺩ ) ﺘﻡ ﺒﺎﻝﺘﻌﺎﻭﻥ ﻤﻊ ﻤﻴﺸﻴل ﺁﺭﻨﻭ ،ﻭﻜﺘﺏ
ﻝﻪ ﺍﻝﺤﻭﺍﺭ ﺠﺎﻙ ﻝﻭﺭﺍﻥ ﺒﻭﺴﺕ( ،ﺒل ﻫﻭ ﺫﻭ ﺃﻫﻤﻴﺔ ﺨﺎﺼﺔ ﺃﻴﻀﹰﺎ ﻝﻜﻭﻨﻪ ﻗﺩ ﺃﻋﺎﺩ ﺇﻝﻴﻨـﺎ ،ﻭﺒﻘـﻭﺓ ،ﺇﺭﻴـﻙ ﻓـﻭﻥ
ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﺍﻝﺫﻱ ﻜﺎﺩ ﻴﺼﺒﺢ ﻏﻴﺭ ﻤﻌﺭﻭﻑ.
ﻤﻥ ﺍﻝﻤﺅﻜﺩ ﺃﻨﻪ ﻝﻭﻻ ﻋﻤل ﺸﺘﺭﻭﻫﺎﻴﻡ ﻜﻤﻤﺜل ﻝﻤﺎ ﻜﺎﻥ ﻫﻨﺎﻙ ﺃﻱ ﻤﺒﺭﺭ ﻝﻨﻘل "ﺭﻗﺼﺔ ﺍﻝﻤﻭﺕ" ﺇﻝﻰ ﺍﻝﺸﺎﺸﺔ.
ﻜﺎﻨﺕ ﺸﺨﺼﻴﺘﻪ ﺍﻝﻤﺩﻫﺸﺔ ﻓﻲ ﻤﺭﻜﺯ ﺍﻝﻔﻴﻠﻡ ،ﻭﻗﺩ ﻭﺠﺩ ﺸﺘﺭﻭﻫﺎﻴﻡ ،ﻭﻝﻠﻤﺭﺓ ﺍﻷﻭﻝﻰ ﻤﻨﺫ "ﺍﻝﻭﻫﻡ ﺍﻝﻜﺒﻴﺭ" ﺩﻭﺭﹰﺍ ﻋﻠـﻰ
ﻤﻘﺎﺴﻪ ،ﻭﻤﺨﺭﺠﹰﺎ ﻋﺭﻑ ﻜﻴﻑ ﻴﻀﻌﻪ ﻓﻲ ﺍﻝﻤﻜﺎﻥ ﺍﻝﻤﻨﺎﺴﺏ .ﻭﻤﻥ ﺍﻝﻤﻼﺤﻅ ﺃﻥ ﻤﺎﺭﺴﻴل ﻜﺭﺍﻓﻴﻥ ﺒﺫل ﺃﻗﺼﻰ ﺍﻝﺠﻬﺩ
ﻼ ،ﻓﻘـﺩ ﻜﺎﻨـﺕ ﻝـﺩﻯ
ﺍﻝﺫﻜﻲ ﻭﺍﻝﻨﺎﻗﺩ ﻤﻊ ﻤﻤﺜﻠﻪ ﻜﻲ ﻴﺤﻘﻕ ﻋﻭﺩﺓ ﻅﻬﻭﺭ ﺸﺨﺼﻴﺘﻪ ﺍﻝﻌﻤﻴﻘﺔ ،ﻭﻝﻡ ﻴﻜﻥ ﺫﻝﻙ ﺴـﻬ ﹰ
ﺸﺘﺭﻭﻫﺎﻴﻡ ﺃﻓﻜﺎﺭﻩ ﻭﻤﻔﺎﻫﻴﻤﻪ ﺍﻝﺨﺎﺼﺔ ﺒﻪ .ﻜﺎﻨﺕ ﻫﻨﺎﻙ ﻤﺸﻜﻠﺔ ﻓﻲ ﺃﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻴﺒﺩﺃ "ﻗﺒل ﻋﺸﺭﻴﻥ ﻋﺎﻤﹰﺎ" ،ﺇﺫ ﺴﻴﻁﺭ
ﻋﻠﻰ ﺸﺘﺭﻭﻫﺎﻴﻡ ﻫﺎﺠﺱ ﺸﺨﺼﻴﺘﻪ ﺍﻝﻘﺩﻴﻤﺔ ،ﻭﻜﺎﻥ ﻴﺭﻴﺩ ،ﻓﻲ ﺃﻋﻤﺎﻗﻪ ،ﺃﻥ ﻴﺠﺴﺩ ﻤﺎ ﻜﺎﻥ ﻋﻠﻴﻪ ﻤﻥ ﺍﻝﻌﻤﺭ ﻓﻲ ﺫﻝـﻙ
ﺍﻝﺤﻴﻥ .ﻝﻘﺩ ﺍﺴﺘﻁﺎﻉ ﻤﺎﺭﺴﻴل ﻜﺭﺍﻓﻴﻥ ،ﺒﺼﻌﻭﺒﺔ ،ﻭﺃﺤﻴﺎﻨﹰﺎ ﺒﺎﻝﺘﺤﺎﻴل ،ﺃﻥ ﻴﺠﻌل ﺍﻝﻤﻤﺜل ﻴﺅﺩﻱ ﺩﻭﺭﹰﺍ ﻜﺎﻥ ﻫﺫﺍ ﺍﻷﺨﻴﺭ
ﻴﺭﺍﻩ ﻋﻠﻰ ﺼﻭﺭﺓ ﺃﺨﺭﻯ .ﻭﻗﺩ ﺠﺭﻯ ﺘﺼﻭﻴﺭ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻤﺸﺎﻫﺩ ،ﺍﻝﺘﻲ ﻝﻡ ﺘﻅﻬﺭ ﻓﻲ ﺍﻝﻔـﻴﻠﻡ ،ﻝﻤﺠـﺭﺩ ﺇﺭﻀـﺎﺀ
ﺸﺘﺭﻭﻫﺎﻴﻡ ﻭﺠﻌﻠﻪ ﻴﻭﺍﻓﻕ ﻋﻠﻰ ﺃﻥ ﻴﻨﻔﺫ ﻓﻲ ﻝﺤﻅﺎﺕ ﺃﺨﺭﻯ ﻤﺎ ﻜﺎﻥ ﻴﺭﻴﺩﻩ ﺍﻝﻤﺨﺭﺝ .ﻭﺇﺫﺍ ﻜﺎﻥ ﻻ ﻴﻨﻅﺭ ﻓﻲ ﺍﻝﻔـﻥ
ﺴﻭﻯ ﺇﻝﻰ ﺍﻝﻨﺘﺎﺌﺞ ،ﻓﺈﻥ ﻤﺎﺭﺴﻴل ﻜﺭﺍﻓﻴﻥ ﻜﺎﻥ ﻋﻠﻰ ﻗﻨﺎﻋﺔ ﺒﻀﺭﻭﺭﺓ ﺇﻋﺎﺩﺘﻨﺎ ﺇﻝﻰ ﺸﺘﺭﻭﻫﺎﻴﻡ ﺍﻝﺤﻘﻴﻘﻲ .ﻝﻡ ﻴﻜﻥ ﺍﻷﻤﺭ
ﻤﺠﺭﺩ ﺭﻏﺒﺔ ﻓﻲ ﺘﻘﺩﻴﻡ ﺫﻝﻙ ﺍﻝﻌﻨﻑ ﺍﻝﺫﻱ ﻻ ﻴﻤﻜﻥ ﺘﺒﺭﻴﺭﻩ ﺃﻭ ﺍﻝﺩﻓﺎﻉ ﻋﻨﻪ ،ﻜﻤﺎ ﻓﻲ "ﺠﺸﻊ" ،ﻓﻘﺩ ﺘﻀـﻤﻨﺕ ﺒﻌـﺽ
ﺍﻝﻤﺸﺎﻫﺩ ،ﻭﺒﻁﺭﻴﻘﺔ ﻋﺎﺒﺭﺓ ،ﻭﻤﻀﺎﺕ ﺴﺭﻴﻌﺔ ﻤﻥ ﺍﻝﻘﺴﻭﺓ ،ﻜﻤﺎ ﻓﻲ ﺭﻗﺼﺔ ﺍﻝﺴﻴﻑ ﺍﻝﺸـﻬﻴﺭﺓ ﻝﻠﻀـﺎﺒﻁ ﺍﻝﻌﺠـﻭﺯ
ﺍﻝﺴﻜﻴﺭ ﺍﻝﻤﺭﻴﺽ ﺒﺎﻝﻘﻠﺏ ﺇﻝﻰ ﺃﻥ ﻴﻐﻤﻰ ﻋﻠﻴﻪ ،ﻭﻜﺫﻝﻙ ﺤﻴﻥ ﻴﻼﺤﻕ ﺯﻭﺠﺘﻪ ﺒﺭﺃﺱ ﺍﻝﺴﻴﻑ ﺒﺸﻲﺀ ﻤـﻥ ﺍﻝﺴـﺨﺭﻴﺔ
ﺍﻝﻤﺭﻋﺒﺔ ﻭﺍﻝﻤﻠﺘﺒﺴﺔ ،ﺃﻭ ﻭﻫﻭ ﻴﻀﺭﺒﻬﺎ ﺒﺎﻝﺴﻭﻁ ﻋﻠﻰ ﺩﺭﺝ ﺍﻝﻘﻠﻌﺔ؛ ﺇﻨﻬﺎ ﺒﻌﺽ ﻤﻥ ﻝﻬﻴﺏ ﻫﺫﺍ ﺍﻝﺠﺤـﻴﻡ ﺍﻝﺴـﻴﻨﻤﺎﺌﻲ
ﺍﻝﺫﻱ ﻜﺎﻥ ﻫﻭ ﻤﺒﺩﻋﻪ ،ﻗﺒل ﺃﻥ ﺘﻠﻘﻲ ﺒﻪ ﻋﺸﺭﻭﻥ ﻋﺎﻤﹰﺎ ﻁﻲ ﺍﻝﻨﺴﻴﺎﻥ.
ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ
* ﻤﻥ ﺃﻫﻡ ﺃﻓﻼﻤﻪ:
-ﺍﻝﺭﺌﻴﺱ ).(1919
-ﺃﺭﻤﻠﺔ ﺍﻝﻜﺎﻫﻥ ).(1920
-ﻤﻴﻜﺎﺌﻴل ). (1924
-ﺴﻴﺩ ﺍﻝﺒﻴﺕ -ﻋﺭﻭﺱ ﻏﻠﻭﻤﺒﺎل ). (1925
-ﺁﻻﻡ ﺠﺎﻥ ﺩﺍﺭﻙ ).(1928
-ﻤﺼﺎﺹ ﺍﻝﺩﻤﺎﺀ " ،"Vampireﻭﻫﻭ ﺃﻭل ﺃﻓﻼﻤﻪ ﺍﻝﻨﺎﻁﻘﺔ ).(1932
-ﻴﻭﻡ ﺍﻝﻐﻀﺏ ).(1943
-ﺸﺨﺼﺎﻥ ).(1945
-ﺍﻝﻜﻠﻤﺔ ".(1955) "Ordet
-ﻏﻴﺭﺘﺭﻭﺩ ).(1964
ﺁﻻﻡ ﺠﺎﻥ ﺩﺍﺭﻙ
ﻴﺘﻤﺘﻊ ﻗﺭﺍﺅﻨﺎ ﺍﻝﺒﺎﺭﻴﺴﻴﻭﻥ ﺒﺎﻤﺘﻴﺎﺯ ﻜﺒﻴﺭ :ﺇﻨﻬﻡ ﻴﺴﺘﻁﻴﻌﻭﻥ ﻤﺸﺎﻫﺩﺓ ،ﺃﻭ ﺇﻋﺎﺩﺓ ﻤﺸﺎﻫﺩﺓ "ﺁﻻﻡ ﺠﺎﻥ ﺩﺍﺭﻙ" ﻓﻲ
"ﺴﻴﻨﻤﺎ ﺍﻝﺘﺠﺭﺒﺔ"؛ ﻭﺒﺎﻝﻤﻨﺎﺴﺒﺔ ،ﻭﻝﺤﺴﻥ ﺍﻝﺤﻅ ،ﻓﺈﻥ ﻨﻭﺍﺩﻱ ﺍﻝﺴﻴﻨﻤﺎ ﺒﺩﺃﺕ ﺒﺘﻘﺩﻴﻡ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻓﻲ ﺍﻷﻗﺎﻝﻴﻡ ﻤﻨﺫ ﺜﻼﺙ ﺃﻭ
ﺃﺭﺒﻊ ﺴﻨﻭﺍﺕ ،ﺇﻻ ﺃﻥ ﺍﻝﻨﺴﺨﺔ ﺍﻝﻤﻌﺭﻭﻀﺔ ﺤﺎﻝﻴﹰﺎ ﻓﻲ "ﺴﻴﻨﻤﺎ ﺍﻝﺘﺠﺭﺒﺔ" ﺘﻌﻴﺩ ﺇﻝﻰ ﻫﺫﺍ ﺍﻝﻌﻤل ﺍﻝﺭﺍﺌﻊ ﻤﻥ ﺃﻋﻤﺎل ﺩﺭﺍﻴﺭ
ﺸﻴﺌﹰﺎ ﻤﻥ ﺍﻝﻁﺯﺍﺠﺔ ،ﻓﻘﺩ ﺘﻡ ﻁﺒﻌﻬﺎ ﻤﻥ ﺍﻝﺴﺎﻝﺏ ﺍﻷﺼﻠﻲ ﻝﻠﻔﻴﻠﻡ ،ﺍﻝﺫﻱ ﻋﺜﺭ ﻋﻠﻴﻪ ﺒﺄﻋﺠﻭﺒﺔ ﻭﺴﻁ ﺃﻜﻭﺍﻡ ﻤـﻥ ﻤـﻭﺍﺩ
ﺴﻴﻨﻤﺎﺌﻴﺔ ﻏﻴﺭ ﺼﺎﻝﺤﺔ ،ﻓﻲ ﺸﺭﻜﺔ ﻏﻭﻤﻭﻥ ،ﻭﻜﺎﻥ ﻗﺩ ﺴﺎﺩ ﺍﻻﻋﺘﻘﺎﺩ ﺒﺄﻥ ﻫﺫﺍ ﺍﻝﺴﺎﻝﺏ ﻗﺩ ﻀﺎﻉ .ﻭﺭﺒﻤﺎ ﻝﻴﺱ ﻫﻨﺎﻙ
ﻓﻴﻠﻡ ﺁﺨﺭ ﺘﺭﺘﻘﻲ ﻓﻴﻪ ﺴﻭﻴﺔ ﺍﻝﺘﺼﻭﻴﺭ ﺇﻝﻰ ﻤﺜل ﻫﺫﻩ ﺍﻷﻫﻤﻴﺔ.
ﻜﺎﻥ ﻗﺩ ﺠﺭﻯ ﺘﺤﻘﻴﻕ "ﺁﻻﻡ ﺠﺎﻥ ﺩﺍﺭﻙ" ﻓﻲ ﻓﺭﻨﺴﺎ ﻋﺎﻡ 1928ﻤﻥ ﻗﺒل "ﺩﺭﺍﻴﺭ" ﺒﺎﻝﺘﻌﺎﻭﻥ ﻤﻊ ﻋﺩﺩ ﻤـﻥ
ﻜﺘﺎﺏ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﻤﺠﻤﻭﻋﺔ ﻋﻤل ﻓﺭﻨﺴﻴﺔ ،ﺍﻨﻁﻼﻗﹰﺎ ﻤﻥ ﺴﻴﻨﺎﺭﻴﻭ ﻝـ ،Joseph Delteilﻤﺴﺘﻘﻰ ﻤﺒﺎﺸﺭﺓ ﻭﺒﺄﻤﺎﻨﺔ
ﻤﻥ ﺩﻗﺎﺌﻕ ﺍﻝﻤﺤﺎﻜﻤﺔ.
ﻭ"ﺠﺎﻥ ﺩﺍﺭﻙ" ﺩﺭﺍﻴﺭ ﺠﺩﻴﺭ ﺒﺄﻥ ﻴﺸﺎﺭ ﺇﻝﻴﻪ ﺩﺍﺌﻤﹰﺎ ﻓﻲ ﺍﻹﺼﺩﺍﺭﺍﺕ ﺍﻝﺴﻨﻭﻴﺔ ﻝﻠﺴﻴﻨﻤﺎ ﺒﺴﺒﺏ ﺠﺭﺃﺓ ﺍﻝﺘﺼـﻭﻴﺭ.
ﻭﺒﺎﺴﺘﺜﻨﺎﺀ ﺒﻌﺽ ﺍﻝﻠﻘﻁﺎﺕ ،ﻓﺈﻥ ﺍﻝﻔﻴﻠﻡ ﻴﺘﻜﻭﻥ ﺒﺄﻜﻤﻠﻪ ﻤﻥ ﺍﻝﻠﻘﻁﺎﺕ ﺍﻝﻘﺭﻴﺒﺔ) ،ﻝﻠﻭﺠﻭﻩ ﺒﺸﻜل ﺃﺴﺎﺴﻲ( .ﻫﺫﻩ ﺍﻝﺘﻘﻨﻴـﺔ
ﺃﺠﺎﺒﺕ ﻋﻠﻰ ﻏﺭﻀﻴﻥ ﻤﺘﻨﺎﻗﻀﻴﻥ ﻓﻲ ﺍﻝﻅﺎﻫﺭ ،ﻝﻜﻨﻬﻤﺎ ﻤﺘﻜﺎﻤﻼﻥ ﺒﺼﻭﺭﺓ ﻭﺜﻴﻘﺔ :ﺍﻝﺘﺼﻭﻑ ﻭﺍﻝﻭﺍﻗﻌﻴﺔ .ﺇﻥ ﺤﻜﺎﻴـﺔ
ﺠﺎﻥ ﺩﺍﺭﻙ ،ﻓﻲ ﺤﻘﻴﻘﺘﻬﺎ ،ﻭﻜﻤﺎ ﻗﺩﻤﻬﺎ ﻝﻨﺎ ﺩﺭﺍﻴﺭ ،ﺘﺨﻠﻭ ﻤﻥ ﺃﻱ ﻤﻨﺤﻰ ﻗﺼﺼﻲ ،ﻝﻜﻨﻬﺎ ﻜﻔﺎﺡ ﻨﻘﻲ ﻝﻠﻨﻔﻭﺱ ،ﺤﻴـﺙ
ﻜل ﺍﻝﺤﺭﻜﺔ ﻓﻲ ﻫﺫﻩ ﺍﻝﻤﺄﺴﺎﺓ ﺍﻝﺭﻭﺤﻴﺔ ﺍﻝﺨﺎﻝﺼﺔ ﻫﻲ ﺤﺭﻜﺔ ﺩﺍﺨﻠﻴﺔ ،ﺘﺠﺩ ﺘﻌﺒﻴﺭﻫﺎ ﺍﻝﻌﻤﻴﻕ ﻭﺍﻝﻜﺎﻤل ﻋﺒﺭ ﺫﻝﻙ ﺍﻝﺠﺯﺀ
ﺍﻝﻤﺘﻤﻴﺯ ﻤﻥ ﺍﻝﺠﺴﻡ ،ﺍﻝﺫﻱ ﻫﻭ ﺍﻝﻭﺠﻪ.
ﻝﻜﻥ ﻴﺠﺏ ﺇﻀﺎﺀﺓ ﺍﻷﻤﻭﺭ ﺒﺼﻭﺭﺓ ﺃﻓﻀل ،ﻓﺎﻝﻤﻤﺜل ﻴﺴﺘﺨﺩﻡ ﻭﺠﻬﻪ ﻝﻠﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻝﻤﺸﺎﻋﺭ ،ﺇﻻ ﺃﻥ ﺩﺭﺍﻴـﺭ
ﻴﺘﻁﻠﺏ ﻤﻥ ﻤﻤﺜﻠﻴﻪ ﺃﻤﺭﹰﺍ ﺁﺨﺭ ،ﺸﻴﺌﹰﺎ ﺃﻜﺜﺭ ﻤﻥ ﻤﺠﺭﺩ ﺍﻝﺘﻤﺜﻴل .ﻴﻘﻭل ﺍﻝﻨﺎﻗﺩ ﺍﻝﻤﺠﺭﻱ "ﺒﻴﻼ ﺒﺎﻻﺵ"" :ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺨﺘﺭﻕ
ﻼ ،ﻭﻤـﻊ
ﺠﻤﻴﻊ ﻁﺒﻘﺎﺕ ﺍﻝﻤﻼﻤﺢ ،ﻓﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻭﺠﻪ ﺍﻝﺫﻱ ﻨﺼﻨﻌﻪ ،ﻓﻬﻲ ﺘﻜﺘﺸﻑ ﺍﻝﻭﺠﻪ ﺍﻝﺫﻱ ﻫـﻭ ﻝﻨـﺎ ﻓﻌـ ﹰ
ﺍﻝﻤﺸﺎﻫﺩﺓ ﺒﻬﺫﻩ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﻤﻘﺭﺒﺔ ،ﺘﺘﺤﻭل ﺍﻝﻤﻼﻤﺢ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺇﻝﻰ ﻭﺜﻴﻘﺔ" .ﺇﻥ ﺍﻝﻔﻌل ﺍﻝﺫﻱ ﺘﻘﺩﻤﻪ ﻝﻨﺎ ﻋﻤﻠﻴﺔ ﺍﻝﺘﻁﻬﻴـﺭ
ﺍﻝﺭﻭﺤﻲ ﻋﻥ ﻁﺭﻴﻕ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻷﻜﺜﺭ ﺘﺩﻗﻴﻘﹰﺎ ﺘﺤﺕ ﻤﺠﻬﺭ ﺁﻝﺔ ﺍﻝﺘﺼﻭﻴﺭ ،ﻫﻲ ﺍﻝﻤﻔﺎﺭﻗﺔ ﺍﻝﺨﺼﺒﺔ ،ﻭﺍﻝﺩﺭﺱ ﺍﻝﺫﻱ ﻻ
ﻼ ﺤﻠﻴﻘﺔ ،ﻭﺃﻤﺎﻡ ﺍﻝﻌﻴﻭﻥ
ﻴﻨﻀﺏ ﻝﻬﺫﺍ ﺍﻝﻔﻴﻠﻡ .ﻝﻘﺩ ﺍﺴﺘﺒﻌﺩ ﺩﺭﺍﻴﺭ ﻜل ﻤﺎ ﻝﻪ ﺼﻠﺔ ﺒﺎﻝﻤﺎﻜﻴﺎﺝ ،ﻓﺭﺅﻭﺱ ﺍﻝﺭﻫﺒﺎﻥ ﻫﻲ ﻓﻌ ﹰ
ﺍﻝﺒﺎﻜﻴﺔ ﻝﺠﻤﻴﻊ ﺃﻓﺭﺍﺩ ﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻝﻔﻨﻴﺔ ﺭﺍﺤﺕ ﺍﻝﻤﻭﺴﻰ ﺘﻌﻤل ﻹﺯﺍﻝﺔ ﺸﻌﺭ "ﻓﺎﻝﻜﻭﻨﻴﺘﻲ" ﻗﺒل ﺍﻗﺘﻴﺎﺩﻫﺎ ﺇﻝﻰ ﺍﻝﺤـﺭﻕ؛
ﻭﻗﺩ ﺴﺎﻋﺩ ﺫﻝﻙ ﻜﺜﻴﺭﹰﺍ ﻓﻲ ﺘﺤﻘﻴﻕ ﺘﺭﺠﻤﺔ ﺼﺎﺩﻗﺔ ﻷﻋﻤﺎﻕ ﺍﻝﺭﻭﺡ .ﻜﻤﺎ ﺃﻥ ﺘﺅﻝﻭﻝﺔ "ﺴﻴﻠﻔﻴﻥ" ﻭﻨﻤﺵ "ﺠـﺎﻥ ﺩﻴـﺩ"
ﻭﺘﺠﺎﻋﻴﺩ "ﻤﻭﺭﻴﺱ ﺸﻭﺘﺱ" ﺠﻤﻴﻌﻬﺎ ﺍﺘﺤﺩﺕ ﻤﻊ ﺃﺭﻭﺍﺤﻬﻡ ﻭﺍﻤﺘﺯﺠﺕ ﻤﻊ ﺇﻴﻤﺎﺀﺍﺘﻬﻡ .ﻭﻗﺩ ﻭﺠﺩﻨﺎ ﻫﺫﺍ ﻝﺩﻯ ﺒﺭﻴﺴﻭﻥ،
ﺱ ﻓﻲ ﺍﻷﺭﻴﺎﻑ".
ﺒﻌﺩ ﻨﺤﻭ ﻋﺸﺭﻴﻥ ﻋﺎﻤﺎﹰ ،ﻓﻲ "ﻴﻭﻤﻴﺎﺕ ﻗ
ﻻ
ﺘﺒﻘﻰ ﻫﻨﺎﻙ ﺃﻤﻭﺭ ﻜﺜﻴﺭﺓ ﻴﻤﻜﻥ ﺃﻥ ﺘﻘﺎل ﺤﻭل ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ،ﺃﺤﺩ ﺃﻜﺜﺭ ﺍﻷﻋﻤﺎل ﺘﻤﻴﺯﹰﺍ ﻓﻲ ﻋﺎﻝﻡ ﺍﻝﺴـﻴﻨﻤﺎ .ﺇ ﹼ
ﺃﻨﹼﻲ ﺃﻭﺩ ﻓﻘﻁ ﺇﻀﺎﻓﺔ ﻤﻼﺤﻅﺘﻴﻥ ،ﺍﻷﻭﻝﻰ :ﻫﻲ ﺃﻥ ﺩﺭﺍﻴﺭ ﺭﺒﻤﺎ ﻴﻜﻭﻥ ،ﻤﻊ ﺇﻴﺯﻨﺸﺘﻴﻥ ،ﺍﻝﻭﺤﻴﺩﻴﻥ ﺍﻝﻠﺫﻴﻥ ﺘﺘﺴـﺎﻭﻯ
ﺃﻋﻤﺎﻝﻬﻤﺎ ﻤﻊ ﺍﻷﻋﻤﺎل ﺍﻝﻌﻅﻴﻤﺔ ﻓﻲ ﻓﻥ ﺍﻝﺭﺴﻡ ،ﻭﺘﺤﻔل ﺒﻨﻔﺱ ﺍﻝﺴﺭ ﺍﻝﻐﺎﻤﺽ ﺍﻝﺫﻱ ﺘﺘﺸﺎﺒﻪ ﻤﻥ ﺨﻼﻝﻪ ﻤﻌﻬﺎ ﻓﻲ ﺒﻌـﺽ
ﺃﻋﻤﺎﻗﻬﺎ ﺍﻝﺠﻤﺎﻝﻴﺔ ،ﻭﺘﺤﺩﻴﺩﹰﺍ ﺃﻋﻤﺎل ﻜﺒﺎﺭ ﺭﺴﺎﻤﻲ ﻋﺼﺭ ﺍﻝﻨﻬﻀﺔ ﻭﺍﻝﻤﺩﺭﺴﺔ ﺍﻝﻔﻠﻤﻨﻜﻴﺔ .ﻭﺍﻝﻤﻼﺤﻅﺔ ﺍﻝﺜﺎﻨﻴﺔ :ﻫﻲ ﺃﻥ ﻤﺎ ﻜﺎﻥ
ﻴﻨﻘﺹ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻫﻭ ﺍﻝﻜﻼﻡ ،ﺤﻴﺙ ﺃﺒﻘﻰ ﻋﻠﻰ ﺃﻤﺭ ﻭﺍﺤﺩ ﻓﺤﺴﺏ ﻤﻥ ﺍﻷﻤﻭﺭ ﺍﻝﺘﻲ ﺘﺠﺎﻭﺯﻫﺎ ﺍﻝﺯﻤﻥ ،ﻭﻫﻭ ﺇﺩﺨﺎل ﺒﻌـﺽ
ﺍﻝﻌﺒﺎﺭﺍﺕ ﺍﻝﻤﻜﺘﻭﺒﺔ ﺒﻴﻥ ﺍﻝﻤﺸﺎﻫﺩ .ﻝﻘﺩ ﺸﻌﺭ ﺩﺭﺍﻴﺭ ﺃﻨﻪ ﻏﻴﺭ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺼﻭﺕ ،ﺍﻝﺫﻱ ﻜﺎﻥ ﻤﺎ ﻴﺯﺍل ﻤﺘﻌﺜﺭﹰﺍ ﻋـﺎﻡ
.1928ﻭﺇﻝﻰ ﺍﻝﺫﻴﻥ ﻴﻌﺘﻘﺩﻭﻥ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻗﺩ ﺘﺩﻨﺕ ﺒﺈﻨﻁﺎﻗﻬﺎ ،ﻴﻜﻔﻲ ﺃﻥ ﻴﺘﺼﻭﺭﻭﺍ ﻫﺫﺍ ﺍﻝﻌﻤل ﺍﻝﻌﻅﻴﻡ ﻤﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﺎﻤﺘﺔ
ﻝﻭ ﻜﺎﻥ ﻨﺎﻁﻘﹰﺎ.
)ﺭﺍﺩﻴﻭ -ﺴﻴﻨﻤﺎ(1952 ،
ﻴﻭﻡ ﺍﻝﻐﻀﺏ
ﺴﻤﻌﺕ ﻓﻲ ﻤﻬﺭﺠﺎﻥ ﺍﻝﺒﻨﺩﻗﻴﺔ ﺃﻥ ﻝﺠﻨﺔ ﺍﻝﺘﺤﻜﻴﻡ ﻗﺩ ﺍﻨﺘﹸﻘﺩﺕ ﻝﻜﻭﻨﻬﺎ ﺃﻋﻁﺕ "ﺍﻝﻜﻠﻤـﺔ" ﺍﻷﺴـﺩ ﺍﻝـﺫﻫﺒﻲ ،ﺇﺫ
ﺃﺒﺭﺯﺕ ،ﻭﻓﻘﹰﺎ ﻝﻤﺎ ﻗﻴل ،ﻓﻴﻠﻤﹰﺎ ﻫﻭ ﺒﻼ ﺸﻙ ﺠﻤﻴل ﺠﺩﹰﺍ ﺇﻻ ﺃﻥ ﻗﻴﻤﺘﻪ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻗﺩ ﻋﻔﺎ ﻋﻠﻴﻬﺎ ﺍﻝﺯﻤﻥ ،ﺇﻀﺎﻓﺔ ﺇﻝـﻰ ﺃﻥ
ﺘﻘﺩﻴﺭ ﺍﻝﻠﺠﻨﺔ ﻝﻡ ﻴﻜﻥ ﻤﻭﺠﻬﺎﹰ ،ﺘﺤﺩﻴﺩﺍﹰ ،ﻝﻠﻔﻴﻠﻡ ،ﻓﻬﻲ ﻋﺯﺕ ﻗﺭﺍﺭﻫﺎ ،ﻓﻲ ﺤﻴﺜﻴﺎﺘﻪ ،ﺇﻝﻰ ﻤﺠﻤل ﺃﻋﻤﺎل ﺩﺭﺍﻴﺭ .ﻭﻫﻜﺫﺍ
ﻓﻘﺩ ﺘﺭﻜﺕ ﺍﻻﻨﻁﺒﺎﻉ ﺒﺄﻥ "ﺍﻝﻜﻠﻤﺔ" ﻻ ﻴﺴﺘﺤﻕ ﻤﻨﻔﺭﺩﹰﺍ ﻫﺫﺍ ﺍﻝﺘﻜﺭﻴﻡ ،ﻭﺇﻨﻤﺎ ﺍﻗﺘﻀﺕ ﺍﻝﻠﻴﺎﻗﺔ ﺘﻭﺠﻴﻪ ﻝﻔﺘﺔ ﺨﺎﺼﺔ ﻝﻬـﺫﺍ
ﺸﺭﻑ" ﺍﻝﺒﻨﺩﻗﻴﺔ ﺒﺤﻀﻭﺭﻩ.
ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﺩﺍﻨﻤﺭﻜﻲ ﺍﻝﻌﺠﻭﺯ ﺍﻝﺫﻱ " ﹶ
ﺃﻴﺔ ﺍﻋﺘﺭﺍﻀﺎﺕ ،ﻭﺃﻱ ﺘﺒﺼﺭ ﻤﻊ ﻫﺫﻩ ﺍﻝﻌﺒﺜﻴﺔ! ..ﺍﷲ ﻴﻌﻠﻡ ،ﻭﻫﻭ ﻤﺎ ﻴﻌﺭﻓﻪ ﺍﻝﻘﺎﺭﺉ ﺃﻴﻀﺎﹰ ،ﺍﻝﻀﺭﻴﺒﺔ ﺍﻝﺘـﻲ
ﺘﻨﻬﻜﻨﺎ ﻫﻨﺎ ،ﺒﺸﻜل ﻋﺎﻡ ،ﻓﻲ ﺘﺼﻭﺭﻨﺎ ﻝﻠﻁﻠﻴﻌﻴﺔ .ﺇﻨﻨﺎ ﻻ ﻨﺩﺍﻓﻊ ﻋﻥ ﺍﻷﻓﻼﻡ ﺒﺴﺒﺏ ﻤﺎ ﺘﺘﺼﻑ ﺒﻪ ﻤﻥ ﻗﻴﻤﺔ ﻓﺤﺴﺏ،
ﺒل ﻭﺃﻴﻀﺎﹰ ،ﻭﻓﻲ ﻤﻌﻅﻡ ﺍﻷﺤﻴﺎﻥ ،ﺒﺴﺒﺏ ﻤﺎ ﺘﺜﻴﺭﻩ ﻤﻥ ﺠﺩل ،ﻭﻝﻤﺩﻯ ﺍﻝﺨﺼﺏ ﺍﻝﻜﺎﻤﻥ ﻓـﻲ ﺠـﺩﺘﻬﺎ ﻭﺃﺼـﺎﻝﺘﻬﺎ.
ﻭﺭﺒﻤﺎ ﻨﺼل ﺤﺘﻰ ﺇﻝﻰ ﺍﻝﻭﻗﻭﻑ ﺇﻝﻰ ﺠﺎﻨﺏ ﺃﻓﻼﻡ ﺃﺴﻭﺃ ﻤﻥ ﺃﺨﺭﻯ ﻜﻨﺎ ﻗﺩ ﻨﺩﺩﻨﺎ ﺒﻬﺎ ،ﻝﻤﺠﺭﺩ ﺃﻨﻨﺎ ﻭﺠﺩﻨﺎ ﻓﻴﻬﺎ ﻗﺎﺒﻠﻴﺔ
ﻝﻼﻨﺩﺭﺍﺝ ﻓﻲ ﺇﻁﺎﺭ ﺍﻝﻔﻜﺭﺓ ﺍﻝﺘﻲ ﻨﺭﺍﻫﺎ ﺤﻭل ﺴﺒل ﺘﻁﻭﺭ ﺍﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ .ﻭﺍﻝﺨﻼﺼﺔ ،ﻻ ﺃﻅﻥ ﺃﻨﻨﺎ ﻨﻨﺴﺎﻕ ﻨﺤـﻭ
ﺍﻻﻓﺘﺘﺎﻥ ﺒﻨﻤﺎﺫﺝ ﻤﻬﺠﻭﺭﺓ ﻓﻲ ﻤﺠﺎل ﺍﻷﺴﻠﻭﺏ ،ﺃﻭ ﺒﺎﺴﺘﻤﺭﺍﺭ ﻨﻬﺞ ﺍﻝﺘﻁﻭﻴل ﺍﻝﺫﻱ ﺘﺘﺼﻑ ﺒﻪ ﺍﻝﺘﻌﺒﻴﺭﻴﺔ ﺍﻝﺼـﺎﻤﺘﺔ،
ﻓﻲ ﺍﻷﻋﻤﺎل ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﻨﺎﻁﻘﺔ .ﻝﻜﻥ ﻴﺠﺏ ﺃﻥ ﻨﻌﺭﻑ ﻜﻴﻑ ﺘﻭﻀﻊ ﺩﺭﺠﺎﺕ ﺍﻝﺘﻘﻴﻴﻡ ،ﺇﺫ ،ﻓﻭﻕ ﻤﺴﺘﻭﻯ ﻤﻌﻴﻥ ﻴﺒﻘﻰ
ﻤﻥ ﻏﻴﺭ ﺍﻝﻤﻼﺌﻡ ﺘﺼﻭﺭ ﺍﻝﺤﺩﻴﺙ ﻋﻤﺎ ﻫﻭ ﻤﻬﺠﻭﺭ .ﻭﺒﺎﻝﺘﺄﻜﻴﺩ ،ﻓﺈﻥ "ﺍﻝﻜﻠﻤﺔ" ﻝﻴﺱ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﻤﺠـﺭﺩ ﺇﻀـﺎﻓﺔ
ﻻ ﺇﺫﺍ ﻜﺎﻥ "ﺃﻀﻭﺍﺀ ﺍﻝﻤﺴﺭﺡ" ﻝﻴﺱ ﺃﻜﺜﺭ ﻤﻥ ﻤﺠﺭﺩ "ﻜﻭﺍﻝﻴﺱ ﻤﺴﺭﺡ".
ﺠﻤﺎﻝﻴﺔ ﻋﻔﺎ ﻋﻠﻴﻬﺎ ﺍﻝﺯﻤﻥ ،ﺇ ﹼ
ﺒﻌﺽ ﺍﻷﻋﻤﺎل ﻻ ﻴﻤﻜﻥ ﺘﻘﻴﻴﻤﻬﺎ ﻭﻓﻘﹰﺎ ﻝﺴﻴﺎﻕ ﺘﻁﻭﺭ ﺍﻝﺴﻴﻨﻤﺎ ،ﺇﻨﻬﺎ ﺘﻅﻬﺭ ﺒﻴﻥ ﺤﻴﻥ ﻭﺁﺨﺭ ﺨﺎﺭﺝ ﺃﻴﺔ ﻤﺭﺠﻌﻴﺔ
ﺘﺎﺭﻴﺨﻴﺔ ،ﻤﺜل ﻝﺅﻝﺅﺓ ﺩﺍﺨل ﻤﺤﺎﺭﺓ ،ﺫﺍﺕ ﺒﺭﻴﻕ ﻻ ﻤﺜﻴل ﻝﻪ.
ﻻ ﺴـﻴﻨﻤﺎﺌﻴﺔ،
ﻭﺒﺎﻝﻤﻨﺎﺴﺒﺔ ،ﻨﺤﻥ ﻻ ﻨﺸﻙ ﻓﻲ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻴﻤﻜﻥ ﻝﻬﺎ ﺃﻥ ﺘﻘﺎﺭﻥ ﺒﺎﻝﻔﻨﻭﻥ ﺍﻷﺨﺭﻯ ،ﻭﺃﻥ ﺃﻋﻤـﺎ ﹰ
ﻭﻫﻲ ﻗﻠﻴﻠﺔ ﺠﺩﺍﹰ ،ﺘﺴﺘﺤﻕ ﺍﻝﻤﻘﺎﺭﻨﺔ ﺒﺄﻓﻀل ﺇﻨﺘﺎﺠﺎﺕ ﺍﻝﺭﺴﻡ ﺃﻭ ﺍﻝﻤﻭﺴﻴﻘﺎ ﺃﻭ ﺍﻝﺸﻌﺭ .ﻭﻋﻨﺩ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﻓﻴﻠﻡ ﻤﺜـل
"ﺍﻝﻜﻠﻤﺔ" ،ﻴﻤﻜﻥ ﻷﻴﺔ ﺼﻔﺔ ﺃﻭ ﺘﺴﻤﻴﺔ ﺃﻥ ﺘﻁﻠﻕ ﺩﻭﻥ ﺨﺸﻴﺔ ﺍﻝﻭﻗﻭﻉ ﻓﻲ ﺍﻝﻤﺒﺎﻝﻐﺔ .ﺇﻥ ﺩﺭﺍﻴﺭ ﻴﺼل ﻤﻊ ﻫﺫﺍ ﺍﻝﻔـﻴﻠﻡ
ﺇﻝﻰ ﻤﺴﺘﻭﻯ ﻜﺒﺎﺭ ﺍﻝﻌﻅﻤﺎﺀ.
1944ﻋﻠﻰ ﺃﻴﺩﻱ "ﺍﻝﻜﻠﻤﺔ" ﻫﻭ ﺇﻋﺩﺍﺩ )ﺭﺒﻤﺎ ﺒﺄﻤﺎﻨﺔ ﻜﺒﺭﻯ( ﻋﻥ ﻋﻤل ﻝـ"ﻜﺎﺝ ﻤﻭﻨﻙ" ،ﺍﻝﺫﻱ ﹸﻗﺘل ﻋﺎﻡ
ﺍﻝﻨﺎﺯﻴﻴﻥ ،ﻭﻗﺩ ﻜﺘﺒﻪ ﻋﺎﻡ .1932ﻭﻜﺎﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﺴﻭﻴﺩﻱ "ﻏﻭﺴﺘﺎﻑ ﻤﻭﻻﻨﺩﺭﺯ" ﻗﺩ ﻨﻘﻠﻪ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﻗﺒل ﺩﺭﺍﻴﺭ
ﺒﻨﺤﻭ ﻋﺸﺭ ﺴﻨﻭﺍﺕ ،ﻭﻝﺴﻭﺀ ﺍﻝﺤﻅ ﻝﻡ ﺃﺘﻤﻜﻥ ﻤﻥ ﻤﺸﺎﻫﺩﺓ ﻓﻴﻠﻡ "ﻤﻭﻻﻨﺩﺭﺯ" ﻋﻨﺩﻤﺎ ﻋﺭﺽ ﻓﻲ ﺒﺎﺭﻴﺱ ،ﻭﻝﻥ ﺃﺴﺘﻁﻴﻊ
ﺃﻥ ﺃﻋﻘﺩ ﻤﻘﺎﺭﻨﺔ ﺒﻴﻥ ﺍﻝﻔﻴﻠﻤﻴﻥ .ﺍﻝﻔﻜﺭﺓ ﺍﻝﺩﺭﺍﻤﻴﺔ ،ﻋﻠﻰ ﻤﺎ ﻴﺒﺩﻭ ،ﻤﺭﺘﺒﻁﺔ ﺒﺼـﻭﺭﺓ ﻭﺜﻴﻘـﺔ ﺒـﺎﻷﻋﺭﺍﻑ ﺍﻝﺩﻴﻨﻴـﺔ
ﺍﻻﺴﻜﻨﺩﻨﺎﻓﻴﺔ ،ﻭﺒـ "ﻜﻴﺭﻜﻐﺎﺭﺩ" ،ﺍﻝﺫﻱ ﻴﺘﺒﺎﺩﺭ ﻓﻲ ﺍﻝﺤﺎل ﺇﻝﻰ ﺃﺫﻫﺎﻨﻨﺎ ،ﺩﻭﻥ ﺃﻥ ﺘﻜﻭﻥ ﻫﻨﺎﻙ ﺃﻴﺔ ﺇﺸﺎﺭﺓ ﺇﻝﻴﻪ ﻓـﻲ
ﺍﻝﻔﻴﻠﻡ.
ﻭﻨﺤﺎﻭل ﺘﻠﺨﻴﺹ ﻫﺫﻩ ﺍﻝﺤﻜﺎﻴﺔ ،ﺍﻝﺘﻲ ﺘﻔﺘﻘﺩ ﻓﻴﻬﺎ ﺍﻝﺘﻔﺎﺼﻴل ﺍﻝﻴﻭﻤﻴﺔ ﺍﻝﺒﺴﻴﻁﺔ ﻁﺒﻴﻌﺘﻬـﺎ ﺒﺴـﺒﺏ ﺍﻝﺤﻀـﻭﺭ
ﺍﻝﻤﻠﺘﺒﺱ ﻝﻤﺎ ﻫﻭ ﻓﻭﻕ ﺍﻝﻁﺒﻴﻌﻲ:
ﻴﺒﺩﻭ ﺃﻥ ﺍﻷﻤﺭ ﻗﺩ ﺤﺩﺙ ﻗﺒل ﻨﺤﻭ ﺜﻼﺜﻴﻥ ﻋﺎﻤﹰﺎ ،ﻓﻲ ﻤﺯﺭﻋﺔ ﺭﺍﻗﻴﺔ ﺒﺎﺴﻜﻭﺘﻠﻨﺩﺍ .ﻤﺯﺍﺭﻉ ﻋﺠﻭﺯ ﻝـﻪ ﺜﻼﺜـﺔ
ﺃﺒﻨﺎﺀ :ﺍﻻﺒﻥ ﺍﻷﻜﺒﺭ ﺸﻬﻡ ﺠﺩﹰﺍ ﻭﺫﻭ ﻤﺯﺍﺝ ﺇﻴﺠﺎﺒﻲ ،ﻤﺘﺯﻭﺝ ﻤﻥ ﺍﻤﺭﺃﺓ ﺸﺎﺒﺔ ﻭﺠﻤﻴﻠﺔ ﺃﻨﺠﺒﺕ ﻤﻨﻪ ﻁﻔﻠﺘﻴﻥ ﻭﺘﻨﺘﻅـﺭ
ﻗﺩﻭﻡ ﻁﻔل ﺁﺨﺭ .ﻭﺍﻻﺒﻥ ﺍﻷﺼﻐﺭ ﻴﺭﻏﺏ ﺒﺎﻝﺯﻭﺍﺝ ﻤﻥ ﺍﺒﻨﺔ ﺤﺭﻓﻲ ﺼﻐﻴﺭ ﻓﻲ ﺍﻝﻘﺭﻴﺔ ﻭﻤﺴﺅﻭل ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴـﻪ
ﻋﻥ ﻁﺎﺌﻔﺔ ﺒﺭﻭﺘﺴﺘﺎﻨﺘﻴﺔ ﻤﺘﺸﺩﺩﺓ ﻓﻲ ﺍﻷﻤﻭﺭ ﺍﻷﺨﻼﻗﻴﺔ ﻭﻋﻠﻰ ﺨﻼﻑ ﻤﻊ ﻁﺎﺌﻔﺔ ﺍﻝﻤﺯﺍﺭﻉ ،ﺇﻨﻪ ﺭﺠل ﺘﻘﻲ ،ﻭﻴﺒﺸـﺭ
ﺒﻤﺴﻴﺤﻴﺔ ﺘﺘﻁﻠﻊ ﺇﻝﻰ ﺍﻝﺴﻌﺎﺩﺓ ﻭﺍﻝﻔﺭﺡ ،ﻭﻴﻤﺘﺯﺝ ﺨﻼﻓﻪ ﺍﻝﺩﻴﻨﻲ ﻤﻊ ﺸﻜل ﻤﻥ ﺃﺸﻜﺎل ﺍﻝﺤﻘﺩ ﺍﻻﺠﺘﻤﺎﻋﻲ .ﺃﻤﺎ ﺍﻻﺒـﻥ
ل ﻋﻘﻠﻴﹰﺎ ﺒﻌﺩ ﺃﻥ ﻜﺎﻥ ﻗﺩ
ﺍﻷﻭﺴﻁ "ﻴﻭﻫﺎﻨﺱ" ﻓﻬﻭ ﻤﺼﺩﺭ ﺍﻝﻘﻠﻕ ﺍﻷﻜﺒﺭ ﻝﻠﻌﺎﺌﻠﺔ .ﻴﻌﻭﺩ ﻫﺫﺍ ﺍﻷﺨﻴﺭ ﻤﻥ ﺍﻝﻤﺩﻴﻨﺔ ﻭﻗﺩ ﺍﺨﺘ ّ
ﺫﻫﺏ ﺇﻝﻴﻬﺎ ﻝﻼﻝﺘﺤﺎﻕ ﺒﺩﺭﺍﺴﺎﺕ ﻓﻲ ﻤﺠﺎل ﺍﻝﻼﻫﻭﺕ ﺒﻬﺩﻑ ﺃﻥ ﻴﺼﺒﺢ ﺭﺠل ﺩﻴﻥ .ﻭﻴﺴﻴﻁﺭ ﻋﻠﻴﻪ ﺍﻻﻋﺘﻘـﺎﺩ ﺒﺄﻨـﻪ
ﻼ ﺒﻴﻥ ﺍﻝﺤﻘﻭل ﻤﻁﻠﻘﹰﺎ ﺘﻨﺒﺅﺍﺘﻪ .ﻭﺘﻬﺒﻁ ﻤﺼﻴﺒﺔ ﺃﺨﺭﻯ ﻋﻠﻰ ﺭﺅﻭﺱ ﻫﺫﻩ ﺍﻷﺴﺭﺓ ،ﺤﻴﺙ ﺘﻠﺩ
ﺍﻝﻤﺴﻴﺢ ،ﻭﻴﻤﻀﻲ ﻤﺘﻨﻘ ﹰ
ﻼ ﻤﻴﺘﺎﹰ ،ﻭﻜﺎﻥ ﻴﻅﻥ ﺒﺄﻥ ﺤﻴﺎﺘﻬﺎ ﻫﻲ ﺴﺘﹸﻨ ﹶﻘﺫ ،ﺇﻻ ﺃﻨﻬﺎ ﺘﻤﻭﺕ ﺃﻴﻀـﹰﺎ .ﻭ"ﻴﻭﻫـﺎﻨﺱ" ،
"ﺇﻴﻨﻐﺭ" ،ﺍﻝﺯﻭﺠﺔ ﺍﻝﺤﺎﻤل ،ﻁﻔ ﹰ
ﺍﻝﺫﻱ ﻜﺎﻥ ﻗﺩ ﺘﻨﺒﺄ ﺒﻬﺫﻩ ﺍﻝﻤﺼﺎﺌﺏ ،ﻴﻔﺭ ﺨﻼل ﺍﻝﻠﻴل .ﻭﻋﻨﺩﻤﺎ ﺘﺄﺘﻲ ﻝﺤﻅﺔ ﺇﻏﻼﻕ ﺍﻝﻨﻌﺵ ،ﻴﻌـﻭﺩ ﻴﻭﻫـﺎﻨﺱ ﺇﻝـﻰ
ﺍﻝﻅﻬﻭﺭ ،ﻤﻌﺎﻓﻰ ﻋﻠﻰ ﻤﺎ ﻴﺒﺩﻭ ،ﻝﻴﻠﻭﻡ ﻫﺅﻻﺀ ﺍﻝﺭﺠﺎل ﻝﻘﻠﺔ ﺇﻴﻤﺎﻨﻬﻡ ،ﺍﻝﺘﻲ ﻝﻡ ﺘﺩﻓﻌﻬﻡ ﺇﻝﻰ ﺍﻝﻁﻠﺏ ﻤﻥ ﺍﻝﺭﺏ ﺇﻋـﺎﺩﺓ
ﺍﻝﺤﻴﺎﺓ ﺇﻝﻰ ﺍﻝﻤﻴﺘﺔ .ﻭﺘﺄﺘﻲ ﺇﻝﻴﻪ ﺍﺒﻨﺔ ﺃﺨﻴﻪ ﺍﻝﺼﻐﺭﻯ ﻁﺎﻝﺒﺔ ﺘﺤﻘﻴﻕ ﻫﺫﻩ ﺍﻝﻤﻌﺠﺯﺓ ،ﻭﺒﺎﺴﻡ ﺇﻴﻤﺎﻥ ﻫﺫﻩ ﺍﻝﻁﻔﻠـﺔ ﻴـﺘﻠﻔﻅ
ﻴﻭﻫﺎﻨﺱ ﺒﻜﻠﻤﺎﺕ "ﺍﻻﻨﺒﻌﺎﺙ" .ﻭﻨﺘﺭﻙ ﻝﻠﻘﺎﺭﺉ ﺍﻝﺫﻱ ﻴﺭﻓﺽ ﺍﻝﻘﺒﻭل ﺒﻬﺫﺍ ﺍﻷﻤﺭ ،ﺍﻻﺭﺘﻴﺎﺏ ﺍﻝﻼﻤﺤﺩﻭﺩ ﺒﺎﻝﺨﺎﺘﻤﺔ ،ﻭﻫﻭ
ﺍﺭﺘﻴﺎﺏ ﻴﺯﻴﺩ ﺩﺭﺍﻴﺭ ﻓﻲ ﺇﺫﻜﺎﺌﻪ .ﻭﻨﻜﺘﻔﻲ ﺒﺎﻝﻘﻭل ﺇﻨﻪ ﻻ ﻴﻤﻜﻥ ﺍﻝﺘﻘﻠﻴل ﻤﻥ ﻭﺠﻪ ﺍﻝﻐﺭﺍﺒﺔ ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﻜﺎﻴﺔ .
ﻭﺒﺎﻝﻤﻨﺎﺴﺒﺔ ،ﻭﻨﺤﻥ ﻨﻔﻜﺭ ﺠﻴﺩﹰﺍ ﺒﺤﻜﺎﻴﺔ "ﺠﺎﻥ ﺩﺍﺭﻙ" ،ﺍﻝﺘﻲ ﻻ ﺘﻘل ﺃﻫﻤﻴﺔ ﻋﻥ ﻫﺫﺍ ﺍﻝﻌﻤل ،ﻓﺈﻨﻨﺎ ﻨﺭﻯ ﺃﻥ "ﺠﺎﻥ
ﺩﺍﺭﻙ" ﻴﺘﻤﻴﺯ ﺒﻘﻭﺓ ﺍﻷﺴﻁﻭﺭﺓ ﻭﺍﺘﺴﺎﻉ ﺍﻷﻓﻕ ﺍﻝﺘﺎﺭﻴﺨﻲ ،ﻓﻲ ﺤﻴﻥ ﺃﻥ "ﻴﻭﻡ ﺍﻝﻐﻀﺏ" ﻝﻡ ﻴﻜﻠﻑ ﺩﺭﺍﻴﺭ ﺍﻝﻜﺜﻴﺭ ﻤـﻥ
ﺍﻝﻌﻨﺎﺀ ﻜﻲ ﻴﺠﻌﻠﻨﺎ ﻨﻘﺒل ﺒﺎﻝﺤﻘﻴﻘﺔ ﺍﻝﺘﻲ ﻜﺎﻥ ﻴﺭﺍﻫﺎ ﺤﻭل ﺘﻠﻙ ﺍﻝﻤﺭﺤﻠﺔ.
ﺠﻤﻴﻊ ﻫﺫﻩ ﺍﻝﻤﺯﺍﻴﺎ ﺃﻨﻜﺭﺘﻬﺎ ﺍﻝﻜﺘﺎﺒﺎﺕ ﺍﻝﺭﻜﻴﻜﺔ ﺤﻭل ﻋﻤل "ﻜﺎﺝ ﻤﻭﻨﻙ" ،ﺍﻝﺫﻱ ﺃﺭﺍﺩ ﺍﻝﺤﺩﻴﺙ ﺒﻨﺒـﺭﺓ ﻭﺍﻗﻌﻴـﺔ
ﺃﻜﺜﺭ ﻤﺒﺎﺸﺭﺓ ﻭﺃﻜﺜﺭ ﻗﺴﻭﺓ .ﻭﻤﻥ ﺨﻼل ﻭﺠﻬﺔ ﻨﻅﺭ ﻤﺤﺩﺩﺓ ،ﻓﺈﻥ "ﺍﻝﻜﻠﻤﺔ" ﻋﺒﺎﺭﺓ ﻋﻥ ﺭﺍﻓﺩ ﻝﺠﻤﺎﻝﻴﺔ ﺃﻗـﺭﺏ ﺇﻝـﻰ
ﺍﻝﻁﺒﻴﻌﻴﺔ ،ﻝﻜﻥ ﻫﺫﻩ ﺍﻝﻤﺎﺩﺓ ﺍﻝﺩﺭﺍﻤﻴﺔ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺘﺒﺩﻭ ﻭﻜﻤﺎ ﻝﻭ ﺃﻨﻬﺎ ﻤﻀﺎﺀﺓ ﻤﻥ ﺍﻝﺩﺍﺨل ﺒﻔﻀل ﺘﻤﺭﺩﻫﺎ ﺍﻝﺤﻤﻴﻡ .ﻝﻘـﺩ
ﻜﺎﻥ ﻝﻠﺼﻭﺭﺓ ﺘﺄﺜﻴﺭ ﻓﻲ ﻨﻔﺴﻲ ﺒﺴﺒﺏ ﺍﻻﺴﺘﺨﺩﺍﻡ ﺍﻝﻤﺘﻤﻴﺯ ﺍﻝﺫﻱ ﺤﻘﻘﻪ ﺩﺭﺍﻴﺭ ﻓﻲ ﻤﺠﺎل ﺍﻹﻀﺎﺀﺓ ،ﺃﻤﺎ ﺍﻹﺨﺭﺍﺝ ﻓﻬﻭ،
ﻓﻲ ﺍﻝﻤﻘﺎﻡ ﺍﻷﻭل" ،ﻤﻴﺘﺎﻓﻴﺯﻴﻘﺎ" ﻝﻸﺒﻴﺽ ،ﻭﻫﺫﺍ ﻴﻌﻨﻲ ﻁﺒﻌﺎﹰ ،ﻤﻥ ﺍﻝﺭﻤﺎﺩﻴﺎﺕ ﺤﺘﻰ ﺍﻷﺴﻭﺩ ﺍﻝﺼﺎﻓﻲ ،ﻝﻜﻥ ﺍﻷﺒﻴﺽ ﻫﻭ
ﻥ ﻤﻌﺎﹰ ،ﻝﻭﻥ ﺍﻝﻤﻭﺕ ﻭﺍﻝﺤﻴﺎﺓ" .ﺍﻝﻜﻠﻤﺔ" ﻫﻭ ،ﺒﻤﻌﻨﻰ
ﺍﻷﺴﺎﺱ ﻝﻜل ﺸﻲﺀ ،ﺇﻨﻪ ﺍﻝﻤﺭﺠﻌﻴﺔ ﺍﻝﻤﻁﻠﻘﺔ ،ﻭﺍﻷﺒﻴﺽ ﻫﻭ ،ﻓﻲ ﺁ ﹴ
ﻤﺎ ،ﺁﺨﺭ ﺍﻷﻓﻼﻡ ﺒﺎﻷﺒﻴﺽ ﻭﺍﻷﺴﻭﺩ ،ﻭﻗﺩ ﺃﻏﻠﻕ ﻭﺭﺍﺀﻩ ﺠﻤﻴﻊ ﺍﻷﺒﻭﺍﺏ.
ﻓﻲ ﻫﺫﺍ ﺍﻝﺒﻨﺎﺀ ﻤﻥ ﺍﻝﻜﻬﺭﻤﺎﻥ ﺍﻷﺴﻭﺩ ﻭﺍﻷﺼﺩﺍﻑ ﺘﺘﺤﺭﻙ ﺒﻌﺽ ﺍﻝﻜﺎﺌﻨﺎﺕ ﺍﻝﺒﺸﺭﻴﺔ ﺒﺼـﻭﺭﺓ ﻏﺎﻤﻀـﺔ .ﺇﻥ
ﺍﻝﺒﻁﺀ ﻓﻲ ﺤﺭﻜﺎﺘﻬﺎ ،ﻭﻓﻲ ﻜﻠﻤﺎﺘﻬﺎ ،ﻭﻓﻲ ﺘﻨﻘﻼﺘﻬﺎ ،ﻫﻭ ﻓﻘﻁ ﺒﻁﺀ ﻋﺒﺭ ﺍﻝﺫﺍﻜﺭﺓ ﻭﺍﻝﻤﻘﺎﺭﻨﺔ .ﺇﻨﻪ ﻨﻔﺱ ﺇﻴﻘﺎﻉ ﺍﻝﻭﺍﻗـﻊ،
ﻤﺜل ﻤﺸﻬﺩ ﺍﻝﻤﺨﺎﺽ ﺍﻝﻤﺩﻫﺵ ،ﺇﺤﺩﻯ ﺍﻝﻠﺤﻅﺎﺕ ﺍﻷﻜﺜﺭ ﺼﻌﻭﺒﺔ ﻋﻠﻰ ﺍﻝﺘﺤﻤل ﻓـﻲ ﺍﻝﺴـﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴـﺔ )ﺒﺴـﺒﺏ
ﺠﻤﺎﻝﻬﺎ( ،ﺤﻴﺙ ﺤﺭﻜﺎﺕ ﺍﻝﺠﺭﺍﺡ ﺘﺘﻭﺍﻓﻕ ﻤﻊ ﻨﺒﻀﺎﺕ ﺍﻝﺤﻴﺎﺓ ،ﺇﻻ ﺃﻥ ﻫﺫﺍ ﺍﻝﺒﻁﺀ ﺍﻝﻭﺍﻀﺢ ﻫﻭ ،ﺒﺎﻝﻨﺴـﺒﺔ ﻝـﺩﺭﺍﻴﺭ،
ﻋﺒﺎﺭﺓ ﻋﻥ ﻭﻋﻲ ﺒﺎﻝﻔﺭﺍﻍ ﻭﺒﺠﺴﺎﻤﺔ ﺍﻝﺤﺭﻜﺔ .ﻭﻓﻲ ﻜل ﺍﻷﺤﻭﺍل ،ﻓﺈﻥ ﺫﻝﻙ ﻴﺼﻠﻨﺎ ﻜﺄﻤﺭ ﺤﻘﻴﻘﻲ ﻭﺼﺎﺩﻕ ،ﻝﺩﺭﺠـﺔ
ﺃﻥ ﺃﻴﺔ ﺤﺭﻜﺔ ﺇﻀﺎﻓﻴﺔ ﻜﺎﻨﺕ ﺴﺘﺒﺩﻭ ﻏﻴﺭ ﻤﻼﺌﻤﺔ ﻭﻏﻴﺭ ﻗﺎﺒﻠﺔ ﻝﻠﺘﺼﺩﻴﻕ!.
ﻓﻲ ﻫﺫﺍ ﺍﻝﻜﻭﻥ ،ﺍﻝﺫﻱ ﻴﺘﺤﻭل ﻨﺤﻭ ﺍﻝﻤﺯﻴﺩ ﻤﻥ ﺍﻝﻐﻤﻭﺽ ،ﻻ ﻴﻨﺒﻊ ﻏﻴ ﺭ ﺍﻝﻁﺒﻴﻌﻲ ﻤﻥ ﺍﻝﺨﺎﺭﺝ ،ﺒل ﻫﻭ ﻴﻨﺒـﻊ
ﻤﻥ ﺍﻝﺩﺍﺨل ﺒﺼﻭﺭﺓ ﻜﺎﻤﻠﺔ ،ﻭﻴﺘﻜﺸﻑ ﻝﻨﺎ ،ﻓﻲ ﺤﺩﻩ ﺍﻷﻗﺼﻰ ،ﻜﻐﻤﻭﺽ ﻝﻠﻁﺒﻴﻌﺔ ،ﻭﻫﻭ ﻓﻲ ﻫـﺫﻩ ﺍﻝﺤﺎﻝـﺔ ،ﻤﺜـل
ﻏﻤﻭﺽ ﺍﻝﻤﻭﺕ .ﺤﺘﻰ ﺍﻵﻥ ﻝﻡ ﻨﺸﻬﺩ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﻋﻠﻰ ﺍﻹﻁﻼﻕ )ﻭﺩﻭﻥ ﺃﺩﻨﻰ ﺸﻙ ﻜﺎﻥ ﺫﻝﻙ ﻓﻲ ﻤﺭﺍﺕ ﻗﻠﻴﻠﺔ ﺠﺩﹰﺍ
ﻓﻲ ﺍﻝﻔﻨﻭﻥ ﺍﻷﺨﺭﻯ( ،ﺍﻗﺘﺭﺍﺒﹰﺎ ﻤﻥ ﺍﻝﻤﻭﺕ ﻜﻬﺫﺍ ،ﻭﺃﻋﻨﻲ ﺍﻻﻗﺘﺭﺍﺏ ﻤﻥ ﺤﻘﻴﻘﺘﻪ ،ﻭﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻤﻥ ﻤﻌﻨﺎﻩ.
ﺇﻥ ﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻝﺘﻲ ﺃﺭﺩﺕ ﻤﻌﺎﻝﺠﺘﻬﺎ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﻘﺎل ﻝﻴﺴﺕ ﺠﺩﻴﺩﺓ ﻋﻠﻰ ﺃﻋﻤﺎل ﺩﺭﺍﻴﺭ ،ﻭﻤـﻥ ﺍﻝﻭﺍﻀـﺢ ﺃﻥ
"ﺍﻝﻜﻠﻤﺔ" ﻴﻨﺩﺭﺝ ﻓﻲ ﻨﻔﺱ ﺨﻁ "ﻤﺼﺎﺹ ﺍﻝﺩﻤﺎﺀ" ﻭ"ﻴﻭﻡ ﺍﻝﻐﻀﺏ" .ﻝﻜ ﹼﻨﻲ ﻭﻀﻌﺘﻪ ﻓﻲ ﻤﻘﺎﻡ ﺃﻋﻠﻰ ،ﻝﻴﺱ ﻓﻘﻁ ﻝﻤﺎ ﺒﺩﺍ
ﻝﻲ ﻤﻥ ﺃﻥ ﻓﻥ ﺩﺭﺍﻴﺭ ﻴﺒﺩﻭ ﻫﻨﺎ ﺃﻜﺜﺭ ﻜﻤﺎﻻﹰ ،ﻭﺤﺘﻰ ﺃﻜﺜﺭ ﺨﺼﻭﺼﻴﺔ ،ﻝﻜﻥ ،ﻭﺃﻴﻀﺎﹰ ،ﻷﻥ ﻤﺎ ﻫﻭ ﻓﻭﻕ ﺍﻝﻁﺒﻴﻌـﻲ،
ﻜﺎﻥ ﻓﻲ ﺃﻓﻼﻤﻪ ﺍﻝﺴﺎﺒﻘﺔ ﻤﺎ ﻴﺯﺍل ﻋﻠﻰ ﺼﻠﺔ ﺒﺘﻘﺎﻝﻴﺩ ﺍﻝﻔﺎﻨﺘﺎﺯﻴﺎ ﺍﻝﺘﺠﺩﻴﻔﻴﺔ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻷﻝﻤﺎﻨﻴﺔ ﻭﺍﻝﺸـﻤﺎﻝﻴﺔ .ﺇﻥ ﺍﻝﻤﻌﻨـﻰ
ﺍﻝﺩﻴﻨﻲ ﻝﻠﻌﺎﻝﻡ ﻴﺘﺠﺎﻭﺯ ﺍﻝﺤﺴﺎﺴﻴﺎﺕ ،ﻭ"ﺍﻝﻜﻠﻤﺔ" ،ﻜﻤﺄﺴﺎﺓ ﻻﻫﻭﺘﻴﺔ ،ﻻ ﻴﺤﻤل ﺃﻱ ﻗﺩﺭ ﻤﻥ ﺍﻝﺘﺨﻭﻑ.
)ﻓﺭﺍﻨﺱ ﺃﻭﺒﺴﻴﺭﻓﺎﺘﻭﺭ(1956 -
ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ
ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ
PRESTON STURGES
* ﻤﻥ ﺃﻫﻡ ﺃﻓﻼﻤﻪ:
-ﻤﺎﻙ ﺠﻴﻨﺘﻲ ﺍﻝﻌﻅﻴﻡ.
– ﻋﻴﺩ ﻤﻴﻼﺩ ﻓﻲ ﺘﻤﻭﺯ.
-ﺍﻝﺴﻴﺩﺓ ﺇﻴﻑ ).(1941
-ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ.
-ﺤﻜﺎﻴﺔ ﺒﺎﻝﻡ ﺒﻴﺘﺵ ).(1942
-ﻤﻌﺠﺯﺓ ﺨﻠﻴﺞ ﻤﻭﺭﻏﺎﻥ ).(1943
-ﺍﻝﻠﺤﻅﺔ ﺍﻝﻜﺒﺭﻯ.
– ﻴﺤﻴﺎ ﺍﻝﺒﻁل ﺍﻝﻤﻨﺘﺼﺭ ). (1944
-ﺍﻷﺭﺒﻌﺎﺀ ﺍﻝﻤﺠﻨﻭﻥ ). (1947
-ﺒﻜل ﻋﺩﻡ ﺇﺨﻼﺹ ).(1948
-ﺍﻝﺸﻘﺭﺍﺀ ﺍﻝﺠﻤﻴﻠﺔ ﻤﻥ ﺒﺎﺸﻔﻭل ﺒﻴﻨﺩ ). (1949
-ﻤﻔﻜﺭﺍﺕ ﺍﻝﻤﻴﺠﻭﺭ ﺘﻭﻤﺒﺴﻭﻥ ).(1955
ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ
ﻓﻲ ﺍﻷﺸﻬﺭ ﺍﻝﺘﻲ ﺃﻋﻘﺒﺕ ﺍﻝﺘﺤﺭﻴﺭ ،ﻋﻨﺩﻤﺎ ﻜﺎﻨﺕ ﺍﻷﻓﻼﻡ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺍﻝﺘﻲ ﹸﺘﻌﺭﺽ ﻋﻠﻰ ﺸﺎﺸﺎﺘﻨﺎ ﻤـﺎ ﺘـﺯﺍل
ﻗﻠﻴﻠﺔ ،ﻜﺎﻨﺕ ﺍﻝﻤﺭﺍﺠﻊ ﺘﺨﺒﺭﻨﺎ ﺒﺄﻥ ﻫﻭﻝﻴﻭﻭﺩ ﻗﺩ ﺍﻏﺘﻨﺕ ﺨﻼل ﺍﻝﻔﺘﺭﺓ ﺍﻝﺘﻲ ﺍﻨﻘﻁﻌﻨﺎ ﻓﻴﻬﺎ ﻋﻥ ﺍﻝﻤﺸﺎﻫﺩﺓ ،ﺒﺎﺜﻨﻴﻥ ﻤـﻥ
ﺍﻝﻤﺨﺭﺠﻴﻥ ﺍﻝﻬﺎﻤﻴﻥ :ﺃﻭﺭﺴﻭﻥ ﻭﻴﻠﺯ ﻭﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ .ﻭﻗﺩ ﺃﺭﻀﻴﻨﺎ ﻓﻀﻭﻝﻨﺎ ،ﻭﺸﺎﻫﺩﻨﺎ ﻝﻭﻴﻠﺯ ﻜل ﻤﺎ ﻴﺴﺘﺤﻕ
ﺍﻝﻤﺸﺎﻫﺩﺓ .ﻭﻤﻊ "ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ" ﻭ"ﻋﻴﺩ ﻤﻴﻼﺩ ﻓﻲ ﺘﻤﻭﺯ" ﻭ"ﺤﻜﺎﻴﺔ ﺒﺎﻝﻡ ﺒﻴﺘﺵ" "ﻭﺍﻝﺴﻴﺩﺓ ﺇﻴﻑ" ،ﻋﺭﻓﻨﺎ ﻤﺎ ﻴﻜﻔـﻲ
ﻝﻠﺤﺩﻴﺙ ﻋﻥ ﻤﻭﻫﺒﺔ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ.
ﻕ ﻨﺠﺎﺤﹰﺎ ﻜﺒﻴﺭﹰﺍ ﻓﻲ ﻓﺭﻨﺴﺎ" .ﻋﻴﺩ ﻤﻴﻼﺩ ﻓﻲ ﺘﻤـﻭﺯ" ،ﻭﺒﻌـﺩ ﺃﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺜﻼﺜﺔ ﺍﻷﺨﻴﺭﺓ ﺍﻝﺘﻲ ﺫﻜﺭﻨﺎﻫﺎ ﻝﻡ ﺘﻠ ﹶ
ﺍﺴﺘﻤﺭ ﻋﺭﻀﻪ ﻓﻲ ﺒﺎﺭﻴﺱ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ ،ﻝﻡ ﻴﺼل ﺇﻝﻰ ﺍﻷﻗﺎﻝﻴﻡ ﺇﻻ ﻋﺒﺭ ﺍﻷﻨﺩﻴﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ،ﻭﺇﻝﻰ ﺠﻤﻬـﻭﺭ ﻝـﻡ
ﻴﻌﺭﻑ ﻜﻴﻑ ﻴﻘﺩﺭﻩ .ﺃﻤﺎ ﺍﻝﻔﻴﻠﻤﺎﻥ ﺍﻵﺨﺭﺍﻥ ﻓﻘﺩ ﻤﺭﺍ ﺩﻭﻨﻤﺎ ﺇﺜﺎﺭﺓ ﺍﻨﺘﺒﺎﻩ ﻴﺫﻜﺭ.
ﺠﺩﺓ ﻝﺩﻯ ﺴﺘﻭﺭﻏﻴﺱ ﺒﺎﻝﺤﻤﺎﺱ ﻭﺍﻝﺠﺩل ﻤﺜﻠﻤﺎ ﺤﺼل ﻤﻊ ﻭﻴﻠﺯ ،ﺭﺒﻤﺎ ﻷﻨﻪ ﻝﻡ ﻴﻜـﻥ ﻝﻡ ﺘﹸﺴﺘﻘﺒل ﺍﻷﺼﺎﻝﺔ ﻭﺍﻝ ﹺ
ﺒﻌﻅﻤﺘﻪ ،ﻝﻜﻥ ﺒﺎﻝﺘﺄﻜﻴﺩ ﻷﻥ ﺃﻓﻼﻤﻪ ﻝﻡ ﺘﻜﻥ ﻤﻔﻬﻭﻤﺔ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ .ﻝﻘﺩ ﺒﺩﺕ ﻨﺼﻭﺼﻪ ﻭﻋﻤﻠﻪ ﺍﻹﺨﺭﺍﺠﻲ ﻜﺎﺴﺘﻤﺭﺍﺭ
ﻝﺘﻘﺎﻝﻴﺩ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﻝﻜﻥ ،ﺒﻼ ﺸﻙ ،ﺒﻁﺎﺒﻊ ﺃﻜﺜﺭ ﺜﻘﺎﻓﺔ ،ﻭﻫﺫﺍ ﻤﺎ ﺠﻌل ﺍﻝﻔﻜﺎﻫﺔ ﻝﺩﻴﻪ ﺃﻗل ﻗﺎﺒﻠﻴﺔ ﻝﻠﻔﻬﻡ ﻝـﺩﻯ
ﺍﻝﺠﻤﻬﻭﺭ ﺍﻷﻭﺭﻭﺒﻲ .ﻝﻡ ﻴﻜﻥ ﺍﻝﻀﻌﻑ ﺍﻝﻤﺘﻨﺎﻫﻲ ﻝﻠﻤﻀﺎﻤﻴﻥ ،ﺍﻝﺘﻲ ﺘﻌﺘﻤﺩ ﺒﺸﻜل ﻜﺎﻤـل ﻋﻠـﻰ ﺍﻝﻨﻜﺘـﺔ ﻭﺍﻓﺘﻌـﺎل
ﺍﻝﻤﻭﺍﻗﻑ ،ﻤﻊ ﺃﻋﻤﺎل ﻜﺎﺒﺭﺍ ،ﻤﺜﻴﺭﹰﺍ ﻝﻠﺘﺄﻤل .ﺒﻴﻨﻤﺎ ﻨﺭﻯ ﺃﻥ "ﻋﻴﺩ ﻤﻴﻼﺩ ﻓﻲ ﺘﻤﻭﺯ" ﺸ ﹼﻜل ﺘﻁﻭﺭﹰﺍ ﻫﺎﻤﹰﺎ ﻝﺫﻝﻙ ﺍﻝﻨﻭﻉ ﻓﻲ
ﺴﻴﻨﻤﺎ ﻫﻭﻝﻴﻭﻭﺩ ﺍﻝﺫﻱ ﻜﻨﺎ ﻨﺩﻋﻭﻩ ﺒﺎﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﺍﻝﺘﻲ ﺍﺴﺘﻤﺭﺕ ﻋﻠﻰ ﻗﻴﺩ ﺍﻝﺤﻴﺎﺓ ،ﺒﺼﻌﻭﺒﺔ ،ﻀﻤﻥ ﺼـﻴﻐﻬﺎ
ﻭﻤﻊ ﺃﺒﻁﺎﻝﻬﺎ ﺍﻝﻘﺩﺍﻤﻰ ،ﺤﻴﺙ ﻴﻐﺭﻕ ﻜﺎﺒﺭﺍ ﻭﺴﻁ ﻀﺠﻴﺞ ﻫﺎﺌل ﻤﻥ ﺍﻝﻤﻭﺍﻋﻅ ﺍﻝﺒﺎﻝﻴﺔ ،ﻤﻊ ﺍﺴﺘﺜﻨﺎﺀﺍﺕ ﻗﻠﻴﻠﺔ ،ﺭﺒﻤﺎ ﻜﺎﻥ
ﻤﻥ ﺒﻴﻨﻬﺎ ﻤﺎ ﺤﻘﻘﻪ ﺒﻤﺸﺎﺭﻜﺔ "ﻭﻝﻴﻡ ﺒﺎﻭل -ﻤﻴﺭﻨﺎ ﻝﻭﻱ" ،ﺍﻝﻠﺫﻴﻥ ﺩﻓﻌﺎﻨﺎ ﺇﻝﻰ ﺍﻝﻘﻠﻴل ﻤﻥ ﺍﻻﺒﺘﺴﺎﻡ ،ﻝﻜﻥ ﻝﻴﺱ ﺒﺴﺒﺏ ﻤﺎ
ﻗﺩﻤﺎﻩ ،ﺒل ﺒﺴﺒﺏ ﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﺫﻜﺭﺍﻨﺎ ﺒﻪ.
ﻓﻲ "ﺃﻓﻀل ﺴﻨﻭﺍﺕ ﺤﻴﺎﺘﻨﺎ" ﻝﻡ ﻴﻜﻥ ﻤﺸﻬﺩ ﻓﺭﻴﺩﺭﻴﻙ ﻤﺎﺭﺵ ﻭﻤﻴﺭﻨﺎ ﻝﻭﻱ ﻤﻔﻬﻭﻤﹰﺎ ﻋﻨﺩﻤﺎ ﺘﻘﻭل ﻝﻬﻤﺎ ﺘﻴﺭﻴـﺯﺍ
ﺭﺍﻴﺕ ﺇﻨﻬﻤﺎ ﻜﺎﻨﺎ ﺩﺍﺌﻤﹰﺎ ﺴﻌﻴﺩﻴﻥ ﻓﻲ ﺤﺒﻬﻤﺎ ،ﻓﻴﻨﻅﺭﺍﻥ ،ﻜل ﻤﻨﻬﻤﺎ ﺇﻝﻰ ﺍﻵﺨﺭ ،ﻤﺒﺘﺴﻤﻴﻥ ﻭﻤﺴﺘﻌﻴﺩﻴﻥ ﺍﻝﻤﺭﺍﺕ ﺍﻝﻜﺜﻴﺭﺓ
ﺍﻝﺘﻲ ﺘﺨﺎﺼﻤﺎ ﻓﻴﻬﺎ ﻭﻗﺭﺭﺍ ﺍﻻﻨﻔﺼﺎل ،ﻭﻫﻭ ﻤﺎ ﻴﺫ ﹼﻜﺭ ﺍﻝﺠﻤﻬﻭﺭ ﺍﻷﻤﺭﻴﻜﻲ ،ﺍﻝـﺫﻱ ﻴﻌﺭﻓﻬﻤـﺎ ﺠﻴـﺩﹰﺍ ،ﺒﺎﻷﻋﻤـﺎل
ﺍﻝﻜﻭﻤﻴﺩﻴﺔ ﺍﻝﺴﺎﺒﻘﺔ ﺍﻝﻤﺘﻌﺩﺩﺓ ﺍﻝﺘﻲ ﻜﺎﻨﺎ ﻓﻴﻬﺎ ﻴﻁﻠﻘﺎﻥ ﺍﻝﺩﻋﺎﺒﺎﺕ ﺍﻝﻜﺜﻴﺭﺓ ﺤﻭل ﺍﻝﻁﻼﻕ .ﻋﻠﻰ ﺃﻥ ﺍﻝﺤﺭﺏ ﻜﺎﻨﺕ ﺁﻨﺌ ﺫ ﻗﺩ
ﻨﺸﺒﺕ ،ﻭﺘﺤﻭل ﻓﺭﻴﺩﺭﻴﻙ ﻤﺎﺭﺵ ،ﺩﻭﻥ ﺠﻭﺍﻥ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﺫﻱ ﺸﺎﺥ ،ﻤﻊ ﻤﻼﻤﺤﻪ ﺍﻝﻤﻤﻴﺯﺓ ،ﺇﻝﻰ ﺸﺨﺼﻴﺔ ﺩﺭﺍﻤﻴﺔ،
ﻭﺒﺩﺃﺕ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﻤﻊ ﺍﻷﻴﺎﻡ ،ﺘﺸﻴﺦ ﻜﻤﻤﺜﻠﻴﻬﺎ.
ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﻫﻭ ،ﺩﻭﻥ ﺃﺩﻨﻰ ﺸﻙ ،ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﻋﺭﻑ ﻜﻴﻑ ﻴﺘﺎﺒﻊ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ،ﻤﺠـﺩﺩﹰﺍ
ﻓﻴﻪ ﺒﺼﻭﺭﺓ ﻋﻤﻴﻘﺔ.
ﻓﻲ ﺍﻝﻭﺍﻗﻊ ،ﻭﻋﻠﻰ ﻋﻜﺱ ﻤﺎ ﻗﺩ ﻴﺒﺩﻭ ﻓﻲ ﺍﻝﻅﺎﻫﺭ ،ﻜﺎﻨﺕ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﻨﻭﻉ ﺍﻷﻜﺜﺭ ﺠﺩﻴﺔ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ ،ﺒﻤﻌﻨﻰ
ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻜﺎﻨﺕ ﺘﻌﻜﺱ ،ﻋﻥ ﻁﺭﻴﻕ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ،ﺍﻝﻘﻴﻡ ﺍﻷﺨﻼﻗﻴﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺍﻷﻜﺜﺭ ﻋﻤﻘﹰﺎ ﻭﺘﺠﺫﺭﹰﺍ ﻓـﻲ ﺍﻝﺤﻴـﺎﺓ
ﺍﻷﻤﺭﻴﻜﻴﺔ.
ﻝﻥ ﻨﻁﻴل ﻭﻨﺫﻫﺏ ﻫﻨﺎ ﺒﺎﺘﺠﺎﻩ ﺍﻝﺘﺤﻠﻴل ﺍﻝﻨﻔﺴﻲ ،ﺇﻻ ﺃﻥ ﺍﻝﻤﻼﺤﻅ ﺒﻭﻀﻭﺡ ﺍﺭﺘﺒﺎﻁ ﺍﻝﺘﻔﺎﺅل ﺍﻝﻌﻤﻴـﻕ ﻷﻋﻤـﺎل
ﻜﺎﺒﺭﺍ ﺒﺎﻝﺭﺃﺴﻤﺎﻝﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﻓﻤﻥ ﺨﻼل ﺍﻝﺩﻋﺎﺒﺔ ،ﻜﺎﻥ ﻴﺠﺭﻱ ﺘﻘﺩﻴﻡ ﻤﻔﻬﻭﻡ ﻜﺎﻤل ﻝﻌﻼﻗـﺎﺕ ﺍﻝﺤـﺏ ،ﻭﺍﻝﻤـﺎل،
ﻭﺍﻝﺤﻅ ،ﻭﺍﻝﺴﻴﺎﺴﺔ ،ﻫﺫﻩ ﺍﻷﻤﻭﺭ ﺍﻝﺜﺎﺒﺘﺔ ﻓﻲ ﺍﻝﻭﻋﻲ ﺍﻷﻤﺭﻴﻜﻲ؛ ﻭﺒﺎﻝﻘﺩﺭ ﺍﻝﺫﻱ ﺤﻁﻤﺕ ﻓﻴﻪ ﺍﻝﺤﺭﺏ ،ﻓﻲ ﻫﺫﺍ ﺍﻝﻭﻋﻲ
ﻋﻠﻰ ﺍﻷﻗل ،ﺃﺴﺒﺎﺏ ﺍﻝﺒﺴﺎﻁﺔ ﻭﺍﻝﺘﻔﺎﺅل ،ﻓﻘﺩ ﺫﺒﻠﺕ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻭﻤﺎﺘﺕ ﻤﺜل ﻨﺒﺘﺔ ﻤﻘﺘﻠﻌﺔ.
ﺘﻤﻴﺯﺕ ﻋﺒﻘﺭﻴﺔ ﺴﺘﻭﺭﻏﻴﺱ ﺒﻜﻭﻨﻬﺎ ﻗﺩ ﻨﺠﺕ ﻤﻥ ﻫﺫﻩ ﺍﻝﺸﻴﺨﻭﺨﺔ ،ﺇﺫ ﺃﺴﺴﺕ ﻋﻨﺎﺼـﺭﻫﺎ ﻋﻠـﻰ ﺍﻻﺭﺘﻘـﺎﺀ
ﺍﻻﺠﺘﻤﺎﻋﻲ ﺒﺎﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﻜﻼﺴﻴﻜﻴﺔ ،ﻭﺃﺘﺎﺡ ﻝﻪ ﻫﺫﺍ ﺍﻻﺭﺘﻘﺎﺀ ﺍﻝﺘﻨﺎﻭل ﺍﻝﺼﺭﻴﺢ ﻝﻠﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘ ﹺﺭﺩ
ﺒﺼﻭﺭﺓ ﻀﻤﻨﻴﺔ ﻓﻲ ﺴﻴﻨﺎﺭﻴﻭﻫﺎﺕ ﻤﺎ ﻗﺒل ﺍﻝﺤﺭﺏ .ﻓﻔﻲ "ﻋﻴﺩ ﻤﻴﻼﺩ ﻓﻲ ﺘﻤﻭﺯ" ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﻻ ﻴﻅﻬﺭ ﺍﻝﺒﻁل
ﺍﻝﺭﺌﻴﺱ ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ ،ﺇﻨﻪ ﺍﻝﺤﻅ ﻏﻴﺭ ﺍﻝﻤﺭﺌﻲ ﻭﺼﺎﺤﺏ ﺍﻝﻘﻭﺓ ﺍﻝﻤﻁﻠﻘﺔ .ﻝﻘﺩ ﺘﺤﻭﻝﺕ ﺍﻝﻔﻜﺎﻫﺔ ﻓﻲ ﺍﻝﻜﻭﻤﻴـﺩﻴﺎ ﻤـﻊ
ﺴﺘﻭﺭﻏﻴﺱ ﺇﻝﻰ ﺍﻝﺴﺨﺭﻴﺔ ﺤﻴﻥ ﺍﺴﺘﻌﺎﺩ ﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻝﻘﺩﻴﻤﺔ ،ﻝﻜﻥ ﻤﻊ ﺇﺯﺍﺤﺔ ﺍﻷﻗﻨﻌﺔ ﻋﻨﻬﺎ ﻭﺘﻌﺭﻴﺘﻬﺎ.
ﻻ
ﺒﻘﻲ ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﻌﺭﻑ ﻤﻊ ﺫﻝﻙ ،ﻓﻴﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﺃﺭﺍﺩ ﺃﻥ ﻴﻨﺠﺯ ﻤﻥ ﺨﻼل ﻫﺫﺍ ﺍﻝﺸﻜل ﺃﻋﻤـﺎ ﹰ
ﻤﻥ ﺍﻝﻬﺠﺎﺀ ﺍﻻﺠﺘﻤﺎﻋﻲ ﺃﻭ ﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﺭﺍﻀﻴﹰﺎ ﺒﻬﺫﻩ ﺍﻝﻠﻌﺒﺔ ﺍﻝﺒﺴﻴﻁﺔ .ﻭﻴﺒﺩﻭ ﺃﻥ "ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ" ﻴﺠﻴﺏ ﺒﺼﻭﺭﺓ ﻗﺎﻁﻌﺔ
ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﺴﺅﺍل.
ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ،ﺒﻼ ﺸﻙ ،ﻋﺒﺎﺭﺓ ﻋﻥ ﻓﻜﺭﺓ ﻤﻥ ﺃﻜﺜﺭ ﺍﻷﻓﻜﺎﺭ ﺘﺄﺜﻴﺭﹰﺍ ﺒﻴﻥ ﻤﺎ ﻴﻤﻜﻥ ﺘﺼﻭﺭﻩ .ﻜﺎﺘﺏ ﺴﻴﻨﺎﺭﻴﻭ ﻜﺒﻴﺭ
ﻝﻠﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ )ﺠﻭﻥ ﺴﻭﻝﻴﻔﺎﻥ( ،ﻭﻤﻥ ﺨﻼل ﺍﻫﺘﻤﺎﻤﻪ ﺒﺎﻝﻤﻭﻀﻭﻉ ﺍﻻﺠﺘﻤﺎﻋﻲ ،ﻴﻘﺭﺭ ﺍﻝﻜﺘﺎﺒﺔ ﻭﻫـﻭ ﻋﻠـﻰ
ﻤﻘﺭﺒﺔ ﻤﻥ ﺍﻝﺒﺅﺱ ﺍﻹﻨﺴﺎﻨﻲ ،ﻭﻝﻬﺫﺍ ﺍﻝﻐﺭﺽ ،ﻭﻝﺘﺤﻘﻴﻕ ﺃﻜﺒﺭ ﻗﺩﺭ ﻤﻥ ﺍﻝﻤﺼﺩﺍﻗﻴﺔ ،ﻴﺘﺨﻔﻰ ﻓﻲ ﺯﻱ ﺭﺠل ﻤﺘﺸـﺭﺩ
ﻭﻴﺫﻫﺏ ﻓﻲ ﻤﻐﺎﻤﺭﺘﻪ ﻭﻫﻭ ﻻ ﻴﺤﻤل ﻓﻲ ﺠﻴﺒﻪ ﺴﻭﻯ ﺨﻤﺴﺔ ﻭﻋﺸﺭﻴﻥ ﺴﻨﺘﹰﺎ .ﺃﻤﺎ ﺍﻝﻤﻨﺘﺠﻭﻥ ،ﺍﻝﺫﻴﻥ ﻁﺎﺭ ﺼﻭﺍﺒﻬﻡ،
ﻓﻴﺘﺒﻌﻭﻨﻪ ﻓﻲ ﺸﺎﺤﻨﺔ ﻤﺠﻬﺯﺓ ﺠﻴﺩﹰﺍ ﺒﻜل ﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﻠﺒﻲ ﻤﺘﻁﻠﺒﺎﺘﻪ .ﻭﺃﺨﺫﺕ ﺍﻹﺫﺍﻋﺔ ﺘﺭﻭﻱ ﻴﻭﻤﹰﺎ ﺒﻌﺩ ﻴـﻭﻡ ﻝﻜـل
ﺃﻤﺭﻴﻜﺎ ﻤﻐﺎﻤﺭﺍﺕ ﺴﻭﻝﻴﻔﺎﻥ ﻓﻲ ﺒﻼﺩ ﺍﻝﺒﺅﺱ .ﻭﺒﻌﺩ ﺃﻥ ﺘﺘﺴﻠل ﺇﻝﻴﻪ ﺤﺸﺭﺍﺕ ﺍﻝﻘﻤل ﻓﻲ ﺃﺤﺩ ﺍﻝﻤﻼﺠﺊ ،ﻭﺒﻌﺩ ﺴـﻔﺭﻩ
ﻓﻲ ﻗﻁﺎﺭﺍﺕ ﺍﻝﺸﺤﻥ ﺩﻭﻥ ﺘﺫﻜﺭﺓ ،ﻴﻌﻭﺩ ﻜﺎﺘﺒﻨﺎ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ﻝﻴﻔﻴﺩ ﻤﻥ ﺍﻝﺨﺒﺭﺓ ﺍﻝﺘﻲ ﺤﺼل ﻋﻠﻴﻬـﺎ ﺒﻬـﺫﺍ ﺍﻝـﺜﻤﻥ
ﺍﻝﺒﺎﻫﻅ .ﻋﻨﺩﺌ ﺫ ﺘﻘﻊ ﺤﺎﺩﺜﺔ ﻏﻴﺭ ﻤﺘﻭﻗﻌﺔ ﺘﻘﻠﺏ ﺍﻝﻔﻴﻠﻡ ﻓﺠﺄﺓ ﺇﻝﻰ ﻤﺄﺴﺎﺓ :ﻴﺨﺘﻔﻲ ﺴﻭﻝﻴﻔﺎﻥ ﺫﺍﺕ ﻝﻴﻠﺔ ،ﺒﻴﻨﻤﺎ ﻜﺎﻥ ﻴﻘـﻭﻡ،
ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﺩﻋﺎﻴﺔ ﺒﻌﺩ ﺘﻭﻗﻴﻊ ﻋﻘﺩ ﺍﻝﻔﻴﻠﻡ ،ﺒﺘﻭﺯﻴﻊ ﺃﻝﻑ ﻗﻁﻌﺔ ﻤﻥ ﻓﺌـﺔ ﺍﻝﺨﻤﺴـﺔ ﺩﻭﻻﺭﺍﺕ ﻋﻠـﻰ "ﺃﺼـﺩﻗﺎﺌﻪ"
ﺍﻝﻤﺘﺸﺭﺩﻴﻥ .ﻭﻴﻌﺜﺭ ﻋﻠﻰ ﻤﺎ ﺍﻋ ﹸﺘﻘﺩ ﺃﻨﻬﺎ ﺒﻘﺎﻴﺎ ﺠﺜﺘﻪ ﻭﻗﺩ ﺩﻫﺴﻬﺎ ﻗﻁﺎﺭ ،ﻓﺒﻜﺕ ﻫﻭﻝﻴﻭﻭﺩ ﺒﺄﺴﺭﻫﺎ ﻜﺎﺘـﺏ ﺍﻝﺴـﻴﻨﺎﺭﻴﻭ
ﺍﻷﻋﻅﻡ ﻝﺩﻴﻬﺎ.
ﺴﺭﻗﺕ ﺃﻏﺭﺍﻀﻪ ﻤﻥ ﻗﺒل ﺃﺤﺩ ﺍﻝﻤﺘﺸﺭﺩﻴﻥ ،ﻭﻋﺎﻨﻰ ﻤﻥ ﻓﻘﺩﺍﻥ ﺫﺍﻜـﺭﺓ ﻝﻜﻥ ﺴﻭﻝﻴﻔﺎﻥ ﻜﺎﻥ ﻗﺩ ﺍﻋ ﹸﺘﺩﻱ ﻋﻠﻴﻪ ﻭ
ﺠﺯﺌﻲ ،ﻭﺃُﺩﺨل ﺇﻝﻰ ﺴﺠﻥ ﺇﺤﺩﻯ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﺠﻨﻭﺒﻴﺔ ﻝﺒﻀﻊ ﺴﻨﻭﺍﺕ ﻤﻊ ﺍﻷﺸﻐﺎل ﺍﻝﺸﺎﻗﺔ .ﻭﺒﺩﺃﺕ ﻫﻨـﺎ ﻋﻨﺎﺼـﺭ
ﺠﺩﻴﺩﺓ ﺘﺸﻜل ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻪ ﻭﺠﻬﹰﺎ ﻤﺨﺘﻠﻔﹰﺎ ﻝﻠﺒﺅﺱ ﺍﻹﻨﺴﺎﻨﻲ :ﺍﻝﻐﻭﻏﺎﺀ ،ﺍﻝﺯﻨﺯﺍﻨﺔ ،ﺍﻝﺴﻭﻁ… ﻭﻜﺎﻨﺕ ﺘﺘﺎﺡ ﻓﻲ ﺒﻌـﺽ
ﺃﻴﺎﻡ ﺍﻷﺤﺩ ﻝﻤﻥ ﻴﺴﻠﻜﻭﻥ ﺴﻠﻭﻜﹰﺎ ﺠﻴﺩﹰﺍ ﻤﻥ ﺒﻴﻥ ﺍﻝﻤﺤﻜﻭﻤﻴﻥ ﺒﺎﻷﺸﻐﺎل ﺍﻝﺸﺎﻗﺔ ﻓﺭﺼﺔ ﻤﺸﺎﻫﺩﺓ ﻋـﺭﺽ ﺴـﻴﻨﻤﺎﺌﻲ،
ﻭﻫﻨﺎﻙ ﺒﺩﺃ ﺴﻭﻝﻴﻔﺎﻥ ﻴﻜﺘﺸﻑ ﺃﻥ ﺍﻝﻀﺤﻜﺔ ﻫﻲ ﻓﺭﺍﺭﻩ ﺍﻝﻭﺤﻴﺩ ﺍﻝﻤﻤﻜﻥ .ﻭﻋﻨﺩﻤﺎ ﺠﺭﻯ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻴﻪ ﺫﺍﺕ ﻴﻭﻡ ،ﻋﺎﺩ
ﻜﺎﺘﺏ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﻜﺒﻴﺭ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ،ﻭﻁﹸﻠﺏ ﺇﻝﻴﻪ ﻜﺘﺎﺒﺔ ﺃﻓﻼﻡ ﺍﺠﺘﻤﺎﻋﻴﺔ ،ﻝﻜﻥ ﺴﻭﻝﻴﻔﺎﻥ ﺃﺠﺎﺏ ﺒﺄﻥ ﺃﻓﻀل ﻁﺭﻴﻘﺔ
ﻴﻤﻜﻨﻪ ﻤﻌﻬﺎ ﺃﻥ ﻴﻜﻭﻥ ﻭﻓﻴﹰﺎ ﻝﻤﻐﺎﻤﺭﺘﻪ ﻫﻲ ﻓﻲ ﺃﻥ ﻴﻘﻭﻡ ﺒﺘﺤﻘﻴﻕ ﻤﺎ ﻴﺩﻓﻊ ﺍﻝﻨﺎﺱ ﺇﻝﻰ ﺍﻝﻀﺤﻙ.
ﻤﻥ ﺍﻝﻭﺍﻀﺢ ﺃﻥ ﻫﺫﺍ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﺫﻱ ﻴﺒﺩﺃ ﻜـ"ﻜﻭﻤﻴﺩﻴﺎ ﺃﻤﺭﻴﻜﻴﺔ" ﺜـﻡ ﻴﺘـﺎﺒﻊ ﻜﻔـﻴﻠﻡ ﻭﺍﻗﻌـﻲ ﺇﺯﺍﺀ ﻨﻔـﺱ
ﺍﻝﻤﻭﻀﻭﻉ ،ﻫﻭ ﺸﻜل ﻤﻥ ﺃﺸﻜﺎل ﺍﻝﺘﺩﻤﻴﺭ ﺍﻝﺫﺍﺘﻲ ﻝﻬﺫﺍ ﺍﻝﻨﻭﻉ ﺍﻝﺫﻱ ﻴﺒﺩﻭ ﺃﻨﻪ ﹸﻜﺘﺏ ﻓﻲ ﺇﻁﺎﺭﻩ ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﺒﺩﺃ ،ﻝﻜﻥ
ﺴﺘﻭﺭﻏﻴﺱ ،ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﻴﺴﺨﺭ ﻓﻴﻪ ﻤﻥ ﻗﻭﺍﻨﻴﻥ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ،ﻴﻌﻤﺩ ﺇﻝﻰ ﺇﻅﻬﺎﺭ ﻻ ﺠﺩﻭﺍﻫﺎ ،ﻭﺃﺨﻴﺭﹰﺍ ﻴﺒﺭﺭﻫـﺎ،
ﻝﻜﻥ ﻓﻘﻁ ﺒﻌﺩ ﺠﺭﻋﺔ ﻤﻥ ﺍﻝﻭﻋﻲ ﻝﺘﻜﺫﻴﺒﻬﺎ ،ﻭﻷﻥ ﻫﺫﺍ ﺍﻝﻜﺫﺏ ﺴ ﻴﻨﻅﺭ ﺇﻝﻴﻪ ﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ﻋﻠﻰ ﺃﻨـﻪ ﻤﺠـﺭﺩ ﺇﺴـﺎﺀﺓ
ﻁﻔﻴﻔﺔ!.
ﻝﻤﺎﺫﺍ ﻴﺠﻌﻠﻨﺎ "ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ" ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺫﻝﻙ ،ﻏﻴﺭ ﺭﺍﻀﻴﻥ؟ ..ﻷﻥ ﺴﺘﻭﺭﻏﻴﺱ ﻝﻡ ﻴﺘﺠﺭﺃ ،ﺃﻭ ﻝﻡ
ﻴﺘﻤﻜﻥ ﻤﻥ ﺃﻥ ﻴﺘﺎﺒﻊ ﻓﻲ ﺍﻝﻌﻤﻕ ﺍﻻﻨﻁﻼﻗﺔ ﺍﻝﺘﻲ ﻜﺎﻥ ﻗﺩ ﺸﺭﻉ ﻓﻴﻬﺎ ،ﻭﺍﻝﺘﻲ ﻝﻡ ﺘﻜﻥ ﻀﺭﻭﺭﻴﺔ .ﻝﻡ ﻴﻜﻥ ﻝﻼﺴـﺘﺭﺍﺤﺔ
ﺍﻝﺘﺭﺍﺠﻴﺩﻴﺔ )ﻷﺴﺒﺎﺏ ﺇﺨﺭﺍﺠﻴﺔ( ﺍﻝﻌﻨﻑ ﻭﺍﻝﺼﺩﻕ ﺍﻝﻤﻁﻠﻭﺒﺎﻥ ،ﻭﺒﻌﺽ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺘﺠﺎﺭﻴﺔ ﺘﺩﺨﻠﺕ ﻭﺃﺜـﺭﺕ ﺴـﻠﺒﹰﺎ
ﻋﻠﻰ ﻁﺒﻴﻌﺔ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻨﻔﺴﻪ .ﻭﻤﺎ ﻜﺎﻥ ﻴﻔﺘﺭﺽ ﻓﻴﻪ ﺃﻨﻪ ﻤﻌﺎﺭﻀﺔ ﻝﻬﻭﻝﻴﻭﻭﺩ ،ﻫﻭ ﺒﺎﻝﻀﺒﻁ ﻤﺎ ﻝﻡ ﻴﺴﺘﻁﻊ ﺍﻝﻨﻴل ﻤﻤﺎ
ﻫﻭ ﻫﻭﻝﻴﻭﻭﺩﻱ .ﻜﺎﻨﺕ ﺍﻝﺘﺭﺍﺠﻴﺩﻴﺎ ،ﺠﺩﻝﻴﹰﺎ ﻭﺒﺎﻝﻀﺭﻭﺭﺓ ،ﺘﻠﻐﻲ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ،ﻭﺇﺫﻥ ،ﻓﺈﻥ ﺍﻝﻌﻭﺩﺓ ﺍﻝﻨﻬﺎﺌﻴﺔ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ
ﻜﺎﻥ ﻴﻤﻜﻥ ﻝﻬﺎ ﺃﻥ ﺘﺄﺨﺫ ﻁﺎﺒﻌﹰﺎ ﺴﺎﺨﺭﺍﹰ ،ﻤﻤﺎ ﻜﺎﻥ ﺴﻴﺤﻭل ﺩﻭﻥ ﺃﻥ ﻴﺼﺒﺢ ﺍﻝﻤﺸﺎﻫﺩ ﺭﺍﻀﻴﹰﺎ ﻜﻠﻴﹰﺎ ﻤﻊ ﺍﻝﺤﻜﻤﺔ ﺍﻝﻨﻬﺎﺌﻴﺔ
ﻝﺴﻭﻝﻴﻔﺎﻥ.
ﻤﻊ ﺫﻝﻙ ،ﻓﻬﺫﺍ ﺍﻝﻔﻴﻠﻡ ،ﻭﻤﻬﻤﺎ ﻜﺎﻥ ﺍﻷﻤﺭ ،ﺃﻭﻀﺢ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ ﺍﺘﺠﺎﻩ ﺃﻋﻤﺎل ﺴﺘﻭﺭﻏﻴﺱ؛ ﺇﻨﻪ ﻴﺘﻤﺘـﻊ ﺒﻤـﺎ
ﻴﻜﻔﻲ ﻤﻥ ﺍﻝﻘﻴﻡ ﻭﺍﻝﺠﺭﺃﺓ ﻜﻲ ﻴﻌﺘﺒﺭ ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻷﻜﺜﺭ ﺃﻫﻤﻴﺔ ﺨﻼل ﺍﻝﺴﻨﻭﺍﺕ ﺍﻝﻌﺸـﺭ ﺍﻷﺨﻴـﺭﺓ .ﻭﻝﻠﻤـﺭﺓ
ﺍﻷﻭﻝﻰ ،ﺭﺒﻤﺎ ،ﺘﺠﺭﺅ ﻫﻭﻝﻴﻭﻭﺩ ﻋﻠﻰ ﺍﻝﺨﺭﻭﺝ ﺇﻝﻰ ﺍﻝﻤﺸﻬﺩ ﺍﻝﻤﻌﺎﺭﺽ ﻝﻠﺤﻴﺎﺓ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﻝﻜﻥ ﺒﻌﺽ ﺍﻝﻘﺼﻭﺭ )ﻓﻲ
ﺍﻹﺨﺭﺍﺝ ﻜﻤﺎ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ( ﻴﺘﺭﻙ ﺇﺤﺴﺎﺴﹰﺎ ﺒﺎﻝﺨﺸﻴﺔ ﻤﻥ ﺃﻥ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﻝﻡ ﻴﻜﻥ ﺒﺎﺭﺘﻔﺎﻉ ﻗﺎﻤﺔ ﻤﻭﻫﺒﺘﻪ.
)ﺍﻝﺸﺎﺸﺔ ﺍﻝﻔﺭﻨﺴﻴﺔ ،ﺃﻴﺎﺭ (1948
ﻓﻴﻠﻤﹰﺎ ﺒﻌﺩ ﺁﺨﺭ ﻨﺘﺄﻜﺩ ﻤﻥ ﺃﺼﺎﻝﺔ ﻭﻤﻭﻫﺒﺔ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ،ﻋﺒﺭ ﺍﻹﻨﺘﺎﺝ ﺍﻷﻤﺭﻴﻜﻲ ﺍﻝﺫﻱ ﺸﺎﻫﺩﻨﺎﻩ ﻤﻨﺫ
ﻋﺎﻡ ،1940ﻤﻊ ﺃﻥ ﺃﻓﻼﻤﻪ ﻻ ﺘﻠﻘﻰ ﻓﻲ ﺃﻭﺭﻭﺒﺎ ﻜل ﺍﻝﻨﺠﺎﺡ ﺍﻝﺫﻱ ﺘﺴﺘﺤﻘﻪ ،ﻭﻫﺫﺍ ﺭﺍﺠﻊ ،ﺒﺎﻝﺘﺄﻜﻴﺩ ،ﺇﻝﻰ ﺍﺭﺘﺒﺎﻁﻬـﺎ
ﺍﻝﻭﺜﻴﻕ ﺒﺎﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﻘﺎﻝﻴﺩ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﻭﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺃﻓﻀل ﺘﻔﺎﺼﻴﻠﻬﺎ ﺍﻝﺠﻤﻴﻠﺔ ﻏﻴﺭ ﻗﺎﺒل ﻝﻠﻔﻬﻡ ﺨﺎﺭﺝ ﻫﺫﺍ ﺍﻻﺭﺘﺒﺎﻁ.
ﻭﻤﻊ ﺫﻝﻙ ،ﻝﻴﺱ ﻀﺭﻭﺭﻴﹰﺎ ﺃﻥ ﻨﻜﻭﻥ ﻗﺩ ﻋﺸﻨﺎ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﻜﻲ ﻨﺴﺘﻁﻴﻊ ﻤﻘﺎﺭﻨﺘﻬﺎ ﺒﺼﻭﺭﺓ ﺼﺤﻴﺤﺔ ﺒﻤﺎ ﻜﻨـﺎ
ﻨﺘﺎﺒﻌﻪ ،ﻜﻤﺸﺎﻫﺩﻴﻥ ﻤﻬﺘﻤﻴﻥ ،ﻤﻥ ﺃﻓﻼﻡ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻝﻔﺘﺭﺓ ﻤﺎ ﻗﺒل ﺍﻝﺤﺭﺏ .ﺇﻨﻨﺎ ﻻ ﻨﺴـﺘﻁﻴﻊ ﺃﻥ ﻨﺼـﻔﻬﺎ
ﺒﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﻘﺎﻝﻴﺩ ﺒﻨﻔﺱ ﺍﻝﻤﻌﻨﻰ ﺍﻝﺫﻱ ﻨﺼﻑ ﻓﻴﻪ ﺃﻓﻼﻤـﹰﺎ ﻤﺜـل Turcaretﻭ ،Topazeﻓﻘـﺩ ﺫﻫـﺏ
ﺴﺘﻭﺭﻏﻴﺱ ﺇﻝﻰ ﻤﺎ ﻫﻭ ﺃﺒﻌﺩ ﻤﻥ ﺍﻷﺸﻜﺎل ﺍﻝﺘﻘﻠﻴﺩﻴﺔ ﻝﻠﺤﻴﺎﺓ ﺍﻝﻨﻤﻁﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﻓﻬﺎﺠﻡ ،ﻭﻗﺒل ﺃﻱ ﺸﻲﺀ ،ﺍﻝﻤﻌﺘﻘﺩﺍﺕ
ﻭﺍﻝﺨﺭﺍﻓﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻷﺴﺎﻁﻴﺭ ،ﻭﻫﻲ ﺭﻤﻭﺯ ﺘﻠﻙ ﺍﻝﺤﻴﺎﺓ .ﻭﻭﺼل ﻓﻲ "ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ" ﺇﻝﻰ ﺤـﺩ ﻓﻀـﺤﻪ
ﻼ ﻤﻥ ﻨﻔﺴﻪ ﻫﻭ ﻤ ﻭﱢﻝﺩﹰﺍ ﻝﻸﺴﻁﻭﺭﺓ .ﻭﻝﻡ ﻴﻜﻥ ﺃﻴﻀﹰﺎ ﻓﻲ ﺴﻴﻨﺎﺭﻴﻭ"ﻤﻌﺠﺯﺓ ﺨﻠﻴﺞ ﻤﻭﺭﻏﺎﻥ" ﺃﻗل
ﺘﺯﻴﻴﻑ ﺍﻝﺴﻴﻨﻤﺎ ،ﺠﺎﻋ ﹰ
ﺘﺸﺩﺩﺍﹰ ،ﻓﻘﺩ ﺠﻤﻊ ﺴﺘﻭﺭﻏﻴﺱ ،ﺇﻝﻰ ﺠﺎﻨﺏ ﻋﺩﺩ ﻤﻥ ﺍﻝﺸﺨﺼﻴﺎﺕ ﻏﻴﺭ ﺍﻝﻤﺘﻜﻴﻔﺔ ﺇﻁﻼﻗﹰﺎ ﻤﻊ ﺍﻝﻭﺍﻗﻊ ،ﻜل ﺜﻘل ﺍﻝﻤﺯﺍﻋﻡ
ﻭﺍﻻﺩﻋﺎﺀﺍﺕ ﻭﺍﻝﻤﺼﺎﻝﺢ ﻭﺍﻷﻭﺍﻤﺭ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺍﻝﺴﺎﺌﺩﺓ ﻓﻲ ﻤﺩﻴﻨﺔ ﺼﻐﻴﺭﺓ ﺒﺈﺤﺩﻯ ﺍﻝﻤﻘﺎﻁﻌـﺎﺕ ﺍﻷﻤﺭﻴﻜﻴـﺔ ﺃﻴـﺎﻡ
ﺍﻝﺤﺭﺏ.
ﺍﻝﺸﺨﺼﻴﺎﺕ ،ﻭﺤﺭﻓﻴﺎﹰ ،ﻝﻴﺴﺕ ﺃﺒﻁﺎﻻﹰ ،ﻭﻝﺫﻝﻙ ﻓﻬﻲ ﻏﻴﺭ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻝﺴﻴﻁﺭﺓ ﺒﻨﻔﺴﻬﺎ ﻋﻠﻰ ﺍﻷﺤﺩﺍﺙ ،ﺍﻝﺠﻴﺩﺓ
ﺃﻭ ﺍﻝﺴﻴﺌﺔ ،ﻭﺍﻝﺘﻲ ﻋﻠﻴﻬﺎ ﺃﻥ ﺘﻌﺎﻨﻲ ﻤﻥ ﻨﺘﺎﺌﺠﻬﺎ .ﺇﻨﻨﺎ ﻻ ﻨﻀﻠل ﺃﻨﻔﺴﻨﺎ ،ﻓﻬﺫﻩ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴـﺔ ﺍﻝﺠﺩﻴـﺩﺓ ﻫـﻲ
ﻨﻘﻴﻀﺔ ﻝﺘﻠﻙ ﺍﻝﺘﻲ ﺴﺒﻕ ﺃﻥ ﻋﺭﻓﻨﺎﻫﺎ .ﺴﺘﻭﺭﻏﻴﺱ ﻫﻭ "ﻨﻘﻴﺽ ﻜﺎﺒﺭﺍ" ،ﻷﻥ ﻤﺅﻝﻑ "ﻤﺴﺘﺭﺩﻴﺩﺯ" ﺠﻌﻠﻨﺎ ﻨﻀﺤﻙ ﻤـﻥ
ﺃﺠل ﺃﻥ ﻨﻌﻴﺩ ﺍﻝﺘﺄﻜﺩ ﺒﺼﻭﺭﺓ ﺃﻓﻀل ﻤﻥ ﺜﻘﺘﻨﺎ ﺒﺎﻝﻤﻴﺜﻭﻝﻭﺠﻴﺎ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺃﻋﻤﺎﻝﻪ ﺍﻝﻜﻭﻤﻴﺩﻴﺔ ﺘﺅﻜﺩ ﻋﻠﻴﻬﺎ.
ﺇﻥ ﺍﻝﻤﺄﺜﺭﺓ ﺍﻝﻔﺫﺓ ﻝﺴﺘﻭﺭﻏﻴﺱ ﻫﻲ ﻓﻲ ﺃﻨﻪ ﻋﺭﻑ ﻜﻴﻑ ﻴﺴﺘﻤﺭ ﻓﻲ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻋﺒﺭ ﺘﺤﻭﻴل ﺍﻝﻔﻜﺎﻫﺔ ﺇﻝـﻰ
ﺍﻝﺴﺨﺭﻴﺔ .ﻝﻜﻥ ﻴﻤﻜﻥ ﺍﻝﺘﺨﻭﻑ ﻤﻥ ﺃﻨﻪ ﻗﺩ ﺃﻋﻠﻥ ﺒﻬﺫﻩ ﺍﻝﻁﺭﻴﻘﺔ ﻨﻬﺎﻴﺔ ﻨﻭﻉ ﻜﺎﻥ ،ﻤﻊ ﺫﻝﻙ ،ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺃﻫﻡ ﺍﻷﻨﻭﺍﻉ.
)ﺍﻝﺸﺎﺸﺔ ﺍﻝﻔﺭﻨﺴﻴﺔ – ﺸﺒﺎﻁ (1949
ﻴﺤﻴﺎ ﺍﻝﺒﻁل ﺍﻝﻤﻨﺘﺼﺭ
ﻭﺍﻀﺢ ﺠﺩﹰﺍ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻨﺎ ﺃﻥ ﻋﻠﻴﻨﺎ ﺍﻝﻨﻅﺭ ﺇﻝﻰ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﻜـ"ﺃﺨﻼﻗﻲ" ،ﻓﺄﺨﻼﻗﻪ ﺘﺘﻤﺘﻊ ﺒﺎﻝﺼﺭﺍﻤﺔ
ﺍﻝﺩﺍﻝﺔ ﻋﻠﻰ ﺘﻘﺩﻴﻡ "ﺍﻝ ﻤﺜﹶل" ﺃﻭ ﺍﻝﻘﺼﺔ ﺍﻝﺘﻌﻠﻴﻤﻴﺔ .ﺃﻤﺎ ﺍﻝﻁﺒﻴﻌﺔ ﻏﻴﺭ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻝﺸﺨﺼﻴﺎﺘﻪ ،ﻭﺒﻨﻴﺘﻬـﺎ ﺍﻝﻨﻔﺴـﻴﺔ ﻏﻴـﺭ
ﻼ ﺃﻭ ﻤﺤﺩﻭﺩﻴﺔ ،ﻓﻬﺫﺍ ﻨﺎﺸﺊ ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ﻤﻥ ﻗﺎﻨﻭﻥ ﺍﻝﻨﻭﻉ ﻨﻔﺴﻪ ،ﻭ"ﺯﺍﺩﻴﻙ"
ﺍﻝﻤﺭﻜﺒﺔ ،ﻭﻫﻭ ﺍﻷﻤﺭ ﺍﻝﺫﻱ ﻗﺩ ﻴﻌﺘﺒﺭ ﺨﻠ ﹰ
ﻝﻴﺱ "ﺸﺨﺼﻴﺔ" ﺒل ﻫﻭﻴﺔ ﺃﺨﻼﻗﻴﺔ ،ﺤﺠﺭ ﻓﻠﺴﻔﻴﺔ ،ﻴﻨﻔﺼل ﺒﻠﻤﺴﻬﺎ ﺍﻝﺭﺼﺎﺹ ﺍﻝﺘﺎﻓﻪ ﻋﻥ ﺍﻝﺫﻫﺏ ﺍﻝﺼﺎﻓﻲ.
ﻭﺒﺎﻝﻤﻨﺎﺴﺒﺔ ،ﻫﻨﺎﻙ ﺃﺨﻼﻗﻴﻭﻥ ﻋﻠﻤﺎﺀ ﻨﻔﺱ ﻻ ﺘﺤﻴﺎ ﺸﺨﺼﻴﺎﺘﻬﻡ ﺍﻝﻤﺘﺨﻴﻠﺔ ﻓﻘﻁ ﻤﻊ ﺍﻝﺤﻘﺎﺌﻕ ﺍﻷﺨﻼﻗﻴﺔ .ﺇﻻ ﺃﻥ
ﺍﻷﺨﻼﻗﻴﺔ ﺍﻝﺼﺎﻓﻴﺔ ﻗﺩ ﻻﻗﺕ ﺍﺤﺘﺭﺍﻤ ﹰﺎ ﻋﺎﻤﹰﺎ ﻤﻨﺫ ﺍﻝﻌﺼﻭﺭ ﺍﻝﻭﺴﻁﻰ ﻭﺤﺘﻰ ﺃﻨﺎﺘﻭل ﻓﺭﺍﻨﺱ ﻤﺭﻭﺭﹰﺍ ﺒﻔﻭﻝﺘﻴﺭ .ﻭﻝﻤـﺎﺫﺍ
ﻴﻌﺎﺏ ﻋﻠﻰ ﺴﺘﻭﺭﻏﻴﺱ ﺍﻻﻓﺘﻘﺎﺭ ﺇﻝﻰ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻋﻨﺩﻤﺎ ﻴﻜﻭﻥ ﻗﺼﺩﻩ ،ﺒﺎﻝﻀﺒﻁ ،ﻜﺸﻑ ﺍﻝﺠﺒﺭﻴﺔ ﺍﻝﺠﻤﻌﻴـﺔ ﻭﺍﻵﻝﻴـﺔ
ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ،ﻤﺒﺭﻫﻨﹰﺎ ﻋﻠﻰ ﻋﺩﻡ ﺼﻠﺘﻬﺎ ﺒﺎﻝﺤﻘﻴﻘﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ؟ ﺇﻥ ﺠﻤﻴﻊ ﺃﻓﻼﻤﻪ ﻫﻲ ﺘﻌﺭﻴﺔ ﻝﻸﺨﻁﺎﺀ .ﻤﺎﺫﺍ ﻴﺤﺼـل
ﻋﻨﺩﻤﺎ ﻴﻅﻥ ﺒﺄﻥ ﺇﻨﺴﺎﻨﹰﺎ ﻤﺎ ﻝﺩﻴﻪ ﺤﻅ )ﻭﺃﻨﻪ ﻫﻭ ﻨﻔﺴﻪ ﻴﻌﺘﻘﺩ ﺫﻝﻙ(؟ ﻫﺫﺍ ﻤﺎ ﻴﺩﻭﺭ ﻓﻲ "ﻤﻴﻼﺩ ﻓﻲ ﺘﻤﻭﺯ" .ﻤﺎﺫﺍ ﻴﺤﺩﺙ
ﻝﻜﺎﺘﺏ ﺴﻴﻨﺎﺭﻴﻭ ﻜﺒﻴﺭ ﻋﻨﺩﻤﺎ ﻴﻠﻌﺏ ﺩﻭﺭ ﻤﺘﺸﺭﺩ؟ ﺤﻭل ﻫﺫﺍ ﻴﺩﻭﺭ "ﺭﺤﻼﺕ ﺴﻭﻝﻴﻔﺎﻥ" .ﻜﻴﻑ ﻴﻨﻅﺭ ﺍﻝﻤﺠﺘﻤﻊ ﺇﻝـﻰ
ﺴﺠﻴﻥ ﻋﺎﺩﻱ ﻓﺎﺭ ﻤﻥ ﺍﻝﺴﺠﻥ ﻭﻴﺠﺭﻱ ﺍﻝﺒﺤﺙ ﻋﻨﻪ ﻤﻥ ﻗﺒل ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﺠﻬﺎﺕ ﺍﻝﻘﻀﺎﺌﻴﺔ ﻋﻨﺩﻤﺎ ﻗ ﹺﺒل ﺃﻥ ﻴﻜﻭﻥ ﺃﺒﹰﺎ
ﻝﺴﺘﺔ ﺃﺒﻨﺎﺀ )ﻭﻫﻡ ﻝﻴﺴﻭﺍ ﺃﺒﻨﺎﺀﻩ(؟ ﺤﻭل ﺫﻝﻙ ﻴﺩﻭﺭ ﻓﻴﻠﻡ "ﻤﻌﺠﺯﺓ ﺨﻠﻴﺞ ﻤﻭﺭﻏﺎﻥ".
"ﻴﺤﻴﺎ ﺍﻝﺒﻁل ﺍﻝﻤﻨﺘﺼﺭ" ﻴﺅﻜﺩ ﻤﺭﺓ ﺃﺨﺭﻯ ﻋﻠﻰ ﺍﻷﺴﻠﻭﺏ ﺍﻝﺼﺎﺭﻡ ﻝﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ :ﺘﻌﺭﻴﺔ ﺍﻝﺘﻁـﻭﺭ
ﺍﻝﻜﻼﺴﻴﻜﻲ ،ﺍﻝﺫﻱ ﻻ ﻴﺤﺘﻤل ،ﻝﺤﺎﻝﺔ ﺍﺠﺘﻤﺎﻋﻴﺔ .ﻭﺍﻝﻤﺸﺎﻫﺩ ﻴﺴﺘﻁﻴﻊ )ﻀﻤﻨﹰﺎ( ﺍﻝﺘﺄﻜﺩ ﺤﻴﻨﺌ ﺫ ﻤﻥ ﺃﻥ ﻜل ﺸﻲﺀ ﺴﻴﺘﻁﻭﺭ
ﻼ ﻓﻲ ﺍﻝﻤﺤﻴﻁ ﺍﻝﻬﺎﺩﺉ .ﻝﻜﻥ "ﺇﻴﺩﻱ ﺒﺭﺍﻨﻜﻴﻥ"
ﺘﻤﺎﻤﹰﺎ ﻜﻤﺎ ﻝﻭ ﺃﻥ ﺍﻝﺒﻁل ﻗﺩ ﺭﺒﺢ ﺒﺎﻝﻴﺎﻨﺼﻴﺏ ،ﺃﻭ ﻤﻘﺎﻭﻤﹰﺎ ﺒﻤﻔﺭﺩﻩ ﺃﺭﺨﺒﻴ ﹰ
ﻝﻡ ﻴﻜﻥ ﻝﻴﻭﺠﺩ ،ﻭﺩﻭﺭﻩ ﻝﻡ ﻴﻜﻥ ﻝﻴﻤﻸ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺫﻱ ﻜﺎﻥ ﺨﻔ ﻴﹰﺎ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ،ﻝﻭ ﻝﻡ ﻴﻜﻥ ﻫﻭ ﺍﻝﺭﺠل ﺍﻝـﺫﻱ ﻴﻌﺘﻘـﺩ
ﺍﻝﺠﻤﻴﻊ ﺃﻨﻪ ﻫﻭ ،ﺃﻱ ﺒﻁل ﺍﻝﻤﺤﻴﻁ ﺍﻝﻬﺎﺩﺉ ﺍﻝﻌﺎﺌﺩ ﺇﻝﻰ ﺒﻠﺩﺘﻪ ﺍﻝﺼﻐﻴﺭﺓ ﺍﻷﺼﻠﻴﺔ .ﻭﺍﻝﻤﻀﺤﻙ ﻴﻨﺒﻊ ﺤﻴﻨﺌـﺫ ﻤـﻥ ﺃﻥ
ﺍﻝﻤﺠﺘﻤﻊ ﻻ ﻴﺩﺭﻙ ﺃﻥ ﻤﺎ ﻴﻤﺠﺩﻩ ﻫﻭ "ﻻ ﺸﻲﺀ" :ﻜل ﺘﺼﺭﻓﺎﺕ ﺍﻝﺒﻁل ﺍﻝﻤﺯﻋﻭﻡ ﻭﺃﺒﺴﻁ ﻜﻠﻤﺎﺘﻪ ﺘﻀﺎﻑ ﺇﻝﻰ ﻗﻴﻤﺘـﻪ
ﺍﻻﺠﺘﻤﺎﻋﻴﺔ .ﻝﻜﻥ ﺍﻝﻤﺸﺎﻫﺩ ﻴﻀﻊ ﺨﻁﹰﺎ ﺘﺤﺕ ﺍﻝﻤﻘﻭﻝﺔ ﻭﻴﻁﺭﺡ ﺍﻝﺘﺎﻝﻲ :ﺇﻥ ﺴﻠﻭﻙ ﺍﻝﻤﺠﺘﻤﻊ ﻭﺍﻷﻓﺭﺍﺩ ﻴﻅﻬﺭ ﻓﻲ ﻋﺭﻴﻪ
ﺍﻝﻘﺒﻴﺢ ،ﻓﻲ ﻁﻘﺴﻪ ﻏﻴﺭ ﺍﻝﻤﻌﺘﺭﻑ ﺒﻪ ،ﻓﻲ ﺸﻜﻠﻴﺎﺘﻪ ﺍﻝﺩﻴﻨﻴﺔ ﺒﺩﻭﻥ ﺇﻝﻪ.
ﻝﻘﺩ ﻗﻠﻨﺎ ،ﻝﻜﻥ ﻤﻥ ﺍﻝﻀﺭﻭﺭﻱ ﺃﻥ ﻨﻌﻴﺩ ،ﺇﻥ ﺃﻓﻼﻡ ﺴﺘﻭﺭﻏﻴﺱ ﺘﺘﺎﺒﻊ ﺘﻘﺎﻝﻴﺩ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻋﻥ ﻁﺭﻴـﻕ
ﺭﻓﻀﻬﺎ ﻝﻬﺫﻩ ﺍﻝﺘﻘﺎﻝﻴﺩ .ﻜﺎﻥ ﻓﻴﻠﻡ "ﻓﺎﺭﺱ ﺒﻼ ﺴﻴﻑ" ﻝﻔﺭﺍﻨﻙ ﻜﺎﺒﺭﺍ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻨﺎ ﺘﺠﺴﻴﺩﹰﺍ ﻝﻺﺭﺍﺩﺓ ﺍﻝﺩﻴﻤﻘﺭﺍﻁﻴﺔ ﺍﻝﻁﻴﺒﺔ
ﻭﻝﺴﻠﻁﺔ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻌﺎﺩل ﻓﻲ ﻤﺠﺘﻤﻊ ﺠﻴﺩ ﺍﻝﺒﻨﻴﺎﻥ ﺒﺼﻭﺭﺓ ﺘﺴﻤﺢ ﻝﻪ ﺒﺄﻥ ﻴﻘﺩﻡ ﻓﻴﻪ ﻤﻔﺎﻫﻴﻤﻪ .ﻀﺤﻜﺎﺘﻨﺎ ﺍﻝﻤﺅﺜﺭﺓ ﺘﻬﺩﺉ
ﻗﻠﺒﻨﺎ ﻭﺘﺠﻌﻠﻨﺎ ﻨﺸﻌﺭ ﺒﻪ ﻜﻴﻑ ﻴﺨﻔﻕ .ﻫﻜﺫﺍ ﺇﺫﻥ ﻫﻲ ﺍﻝﻘﻴﻤﺔ ،ﻓﺎﻝﻜﺭﻡ ﺍﻷﺨﻼﻗﻲ ﻴﺴﺘﻁﻴﻊ ﺩﺍﺌﻤﹰﺎ ﺃﻥ ﻴﻘﻠﻕ ﻗﻭﻯ ﺍﻝﺸـﺭ
ﺍﻝﻤﺘﺤﺎﻝﻔﺔ .ﻝﻘﺩ ﺃﻅﻬﺭ ﻝﻨﺎ ﺴﺘﻭﺭﻏﻴﺱ ﺃﻥ ﺤﻀﻭﺭﻩ ﻜﺎﻥ ﻓﻲ ﻜل ﻤﻜﺎﻥ ،ﻭﺃﻨﻪ ﻴﻁﻭﻕ ﺍﻝﻤﻭﺍﻁﻥ ﺍﻷﻤﺭﻴﻜﻲ ﻤﻥ ﺠﻤﻴـﻊ
ﺍﻝﺠﻭﺍﻨﺏ ،ﻝﻜﻨﻪ ﻴﺜﺒﺕ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﺃﻥ ﺍﻷﻤﺭ ﻻ ﻴﻌﺩﻭ ﻜﻭﻨﻪ ﺴﻠﻁﺔ ﻤﺘﺨﻴﻠﺔ ،ﺇﻨﻪ ﻴﻌﻴﺩﻨﺎ ﺇﻝﻰ ﻋﻠﻡ ﺍﻻﺠﺘﻤﺎﻉ ﻓﻲ ﺍﻝﻭﻗﺕ
ﺍﻝﺫﻱ ﻨﻌﺘﻘﺩ ﻓﻴﻪ ﺃﻨﻨﺎ ﺃﻤﺎﻡ ﻋﻼﻗﺔ ﺒﻔﻠﺴﻔﺔ ﺍﻷﺨﻼﻕ :ﻨﻌﺘﻘﺩ ﺃﻥ ﺍﻷﻤﺭ ﻫﻭ ﺒﺘﺼﺭﻓﻨﺎ ،ﺒﻴﻨﻤﺎ ﺍﻝﻭﺍﻗﻊ ﻫﻭ ﺃﻨﻨﺎ ﻤﺠﺭﺩ ﻗﻁﻌﺔ ﻤـﻥ
ﺍﻝﻔﻠﻴﻥ ﺘﺘﻘﺎﺫﻓﻬﺎ ﻝﺠﺞ ﺍﻝﻤﺤﻴﻁ.
ﺤﺘﻰ ﺍﻝﻔﻴﻠﻡ ،ﻤﺜل ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ،ﻴﻜﺸﻑ ﻝﻨﺎ ﺍﻝﺴﺭ ﺍﻝﺫﻱ ﺘﻜﻤﻥ ﻓﻴﻪ ﻗﻭﺘﻪ ،ﻷﻥ ﺍﺴﺘﺒﺩﺍل ﻏﺎﺭﻱ ﻜﻭﺒﺭ ﺃﻭ ﺠـﻴﻤﺱ
ﺴﺘﻴﻭﺍﺭﺕ ﺃﻭ ﻜﺎﺭﻱ ﻏﺭﺍﻨﺕ ﺒـ "ﺇﻴﺩﻱ ﺒﺭﺍﻨﻜﻴﻥ" ﺍﻝﻤﺜﻴﺭ ﻝﻠﻀﺤﻙ ،ﻴﺭﻴﻨﺎ ﺒﻁﺭﻴﻘﺔ ﺘﺫﻜﺭﻴﺔ ﺃﻥ ﺇﻋﺠﺎﺒﻨﺎ ﺫﺍﻙ ﻴﺸـﻜل
ﺠﺯﺀﹰﺍ ﻤﻥ ﺇﻋﺠﺎﺒﻨﺎ ﻫﺫﺍ ﺇﺯﺍﺀ ﺍﻝﺒﻁل .ﻫﺫﺍ ﺍﻝﺠﻤﻬﻭﺭ ﺍﻝﺤﺎﺸﺩ ،ﺍﻝﺫﻱ ﻻ ﻴﻌﺭﻑ ﺃﻨﻪ ﻴﻬﺘﻑ ﻝﺸﺒﺢ ﻤﻜﺴﻭ ﺒﺼﻔﺎﺕ ﺇﻨﺴﺎﻥ
ﺨﺎﺭﻕ ،ﻫﺫﺍ ﺍﻝﺠﻤﻬﻭﺭ ﻝﻪ ﺸﺒﻪ ﻜﺒﻴﺭ ﺒﻨﺎ ﻷﻨﻪ ﻴﺫﻫﺏ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ.
ﺭﺒﻤﺎ ﻜﺎﻥ ﻫﻨﺎﻙ ﻤﻥ ﻴﻌﺘﺭﺽ ،ﻭﻝﻴﺱ ﺩﻭﻨﻤﺎ ﺴﺒﺏ ﻭﺠﻴﻪ ،ﺒﺄﻥ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﻝﺩﻴﻪ ﺸﻲﺀ ﻤﻥ ﺃﺨﻼﻗﻲ
ﻤ ﺭ ،ﻭﺃﻥ ﻤﻌﻅﻡ ﺃﻓﻼﻤﻪ ﺒﺩﺀﹰﺍ ﻤﻥ "ﻴﺤﻴﺎ ﺍﻝﺒﻁل ﺍﻝﻤﻨﺘﺼﺭ" ﺃﺠﺭﺕ ﻤﺼﺎﻝﺤﺔ ﻨﻬﺎﺌﻴﺔ ﻤﻊ ﺍﻝﻤﺠﺘﻤﻊ ﻭﻤﻊ ﺍﻝﺴﻴﻨﻤﺎ ،ﺠﺩﻴﺭﺓ
ﺒـ"ﻜﺎﺒﺭﺍ" .ﻻﺒﺄﺱ ،ﻝﻜﻨﻲ ،ﻭﻋﻠﻰ ﻫﺫﺍ ﺍﻷﺴﺎﺱ ،ﺃﻋﻁﻲ ﺍﻷﻫﻤﻴﺔ ﻨﻔﺴﻬﺎ ﻷﻋﻤﺎل ﻤﻭﻝﻴﻴﺭ .ﺭﺒﻤﺎ ﺃﻥ ﺴﺘﻭﺭﻏﻴﺱ ﻴﺠﺩ
ﻓﻲ ﻗﺎﻨﻭﻨﻪ ﺍﻝﺩﺍﺨﻠﻲ ﻤﺎ ﻴﻨﺴﺠﻡ ﻤﻊ ﻫﺫﻩ ﺍﻝﻤﻴﺜﻭﻝﻭﺠﻴﺎ ﺃﻜﺜﺭ ﻤﻥ ﻤﺴﺄﻝﺔ ﻜﺸﻑ ﺍﻷﻗﻨﻌﺔ .ﺇﻨﻲ ﺃﻤﻴل ﺇﻝﻰ ﺍﻻﻋﺘﻘﺎﺩ ﺒﺄﻨﻪ ﻝﻡ
ﻴﻜﻥ ﻤﺒﺸﺭﹰﺍ ﺍﺠﺘﻤﺎﻋﻴﹰﺎ ﻤﺸ ﹶﺘﺒﻬ ﹰﺎ ﺒﻪ ،ﺒل ،ﻭﻜﻤﺎ ﺃﺸﺎﺭ "ﺃﺴﺘﺭﻭﻙ" ﺨﻼل ﻨﻘﺎﺵ ﻓﻲ "ﺃﻭﺒﺠﻴﻜﺘﻴﻑ ) :"49ﺇﻨﻪ ﺍﻨﺘﻘﺎﻡ ﻤﺘﺄﺨﺭ
ﻝﻜﺎﺘﺏ ﺴﻴﻨﺎﺭﻴﻭ ﺘﺤﻭل ﺇﻝﻰ ﻤﺨﺭﺝ ،ﻭﻫﻭ ﻴﻨﺘﻬﺯ ﻤﻭﻗﻌﻪ ﺍﻝﺤﺎﻝﻲ ﻜﻲ "ﻴﻜﺸﻑ ﺍﻝﺴﺭ"( .ﺇﻻ ﺃﻥ ﻫﺫﻩ ﺍﻻﻓﺘﺭﺍﻀـﺎﺕ ﻻ
ﹸﺘﻨﻘﺹ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﻤﻥ ﺍﻝﻘﻴﻤﺔ ﺍﻝﻤﻭﻀﻭﻋﻴﺔ ﻷﻋﻤﺎﻝﻪ ،ﻭﻤﻥ ﺃﻫﻤﻴﺘﻬﺎ ،ﺍﻝﺘﻲ ﺃﻋﺎﺩﺕ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺍﻻﺘﺠﺎﻩ
ﺇﻝﻰ ﺍﻝﻬﺠﺎﺀ ﺍﻻﺠﺘﻤﺎﻋﻲ ،ﺍﻝﺫﻱ ﻻ ﻨﺠﺩ ﻤﺎ ﻴﻌﺎﺩﻝﻪ ﺇﻻ ﻤﻊ "ﺸﺎﺭﻝﻭﺕ".
ﺍﻷﺭﺒﻌﺎﺀ ﺍﻝﻤﺠﻨﻭﻥ
ﻤﻥ ﺍﻷﻤﻭﺭ ﺍﻝﺘﻲ ﺃﺼﺒﺤﺕ ﻤﺤﺴﻭﻤﺔ ،ﺃﻥ ﻗﺎﻨﻭﻥ ﺍﻝﻤﺴﻠﺴﻼﺕ ﺃﺼﺒﺢ ﻋﻠﻰ ﻤـﺎ ﻴﺒـﺩﻭ ﻤﺴـﻴﻁﺭﹰﺍ ،ﺒﻁﺭﻴﻘـﺔ
ﻏﺎﻤﻀﺔ ،ﻋﻠﻰ ﺍﻝﺴﻴﻨﻤﺎ ،ﻓﻔﻲ ﺤﻴﻥ ﺍﺨﺘﺎﺭ ﻓﻴﻠﻡ "ﺒﻭﻝﻴﻔﺎﺭﺍﻝﻐﺭﻭﺏ" ﻤﻭﻀﻭﻋﻪ ﺤﻭل ﺸﻴﺨﻭﺨﺔ ﺍﻝﻨﺠﻡ ،ﻓﺈﻥ "ﺍﻷﺭﺒﻌـﺎﺀ
ﺍﻝﻤﺠﻨﻭﻥ" ﻗﺩﻡ ﺇﻝﻴﻨﺎ ،ﻀﻤﻥ ﺍﻝﻨﻭﻉ ﺍﻝﻜﻭﻤﻴﺩﻱ ،ﺼﻭﺭﺓ ﻤﻘﻠﻘﺔ ﻝﻨﻔﺱ ﺍﻝﻤﻭﻀﻭﻉ .ﻭﻤﻊ ﺫﻝﻙ ﻻ ﻴﻤﻜﻨﻨﺎ ﺍﺩﻋـﺎﺀ ﺘـﺄﺜﻴﺭ
"ﺒﻴﻠﻲ ﻭﺍﻴﻠﺩﺭ" ﻋﻠﻰ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ،ﻓﻌﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺃﻥ "ﺍﻷﺭﺒﻌﺎﺀ ﺍﻝﻤﺠﻨﻭﻥ" ﻗﹸﺩﻡ ﻓﻲ ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ ﺍﻷﺨﻴﺭ
ﻓﺈﻥ ﺇﻨﺠﺎﺯﻩ ﺘ ﻡ ﻋﺎﻡ .1948
ﻨﻌﻭﺩ ﻝﻨﺘﺫﻜﺭ ﻓﻲ "ﺍﻷﺭﺒﻌﺎﺀ ﺍﻝﻤﺠﻨﻭﻥ" ﺃﺤﺩ ﺃﺸﻬﺭ ﺍﻷﻋﻤﺎل ﺍﻝﻜﻭﻤﻴﺩﻴﺔ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ،ﺍﻝﺫﻱ ﻴﻌﺭﻓـﻪ ﺍﻝﻤﺸـﺎﻫﺩﻭﻥ
ﺍﻝﺫﻴﻥ ﻝﻬﻡ ﻤﻥ ﺍﻝﻌﻤﺭ ﻤﺎ ﺴﻤﺢ ﺒﺫﻝﻙ .ﻓﺘﻠﻙ ﺍﻝﻔﻘﺭﺓ ﺍﻝﺒﻬﻠﻭﺍﻨﻴﺔ ﻓﻲ "ﺍﻝﺭﺠل ﺍﻝﺫﺒﺎﺒﺔ" ﻤﺎ ﺘﺯﺍل ﺤﺘﻰ ﺍﻵﻥ ﺇﺤـﺩﻯ ﻗﻤـﻡ
ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ.
ﻤﻊ ﻅﻬﻭﺭ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻨﺎﻁﻘﺔ ﻏﺎﺏ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﻨﺠﻭﻡ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﻌﻅﺎﻡ ،ﻤﺜل "ﻫﺎﺭﻭﻝﺩ ﻝﻭﻴﺩ" ﻭ"ﺒﺴـﺘﺭﻜﻴﺘﻭﻥ"،
ﻤﻤﻥ ﺠﺎﺅﻭﺍ ،ﺒﺼﻭﺭﺓ ﺃﻭ ﺒﺄﺨﺭﻯ ،ﻤﻥ ﻤﺩﺭﺴﺔ ﻤﺎﻙ ﺴﻴﻨﻴﺕ .ﻝﻘﺩ ﻗﺎﻡ ﺒﺭﻴﺴﺘﻭﻥ ﺴﺘﻭﺭﻏﻴﺱ ﺒﺈﻋﺎﺩﺓ ﺍﻻﺘﺼﺎل ﻤـﻊ
ﺇﺤﺩﻯ ﻗﻤﻡ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻋﺒﺭ ﺍﻝﺸﺭﻴﺎﻥ ﺍﻝﻘﺩﻴﻡ ﻝﻸﻋﻤﺎل ﺍﻝﻜﻭﻤﻴﺩﻴﺔ ،ﻫﻜﺫﺍ ﺒﺎﻝﻀﺒﻁ ﻴﺒﺩﺃ ﺍﻝﻔﻴﻠﻡ … ﻋﺎﻡ 1923
ﻤﻊ ﻨﺠﺎﺡ ﻗﺩﻴﻡ ﻝﻬﺎﺭﻭﻝﺩ ﻝﻭﻴﺩ) ،ﻤﺒﺎﺭﺍﺓ ﻜﺭﺓ ﺍﻝﻘﺩﻡ ﻓﻲ "ﻤﺘﺯﻭﺝ ﻭﻤﻊ ﺤﻤﺎﺘﻪ"( ﻴﻨﻁﻠﻕ ﻝﺘﻘﺩﻴﻡ ﻗﺼﺔ ﻫـﺫﺍ ﺍﻝﻜﻭﻤﻴـﺩﻱ
ﺍﻝﻜﺒﻴﺭ.
ﻜﺜﻴﺭﹰﺍ ﻤﺎ ﻴﻘﺎل ﺇﻥ ﺠﻭﺩﺓ ﺍﻝﻘﺩﻴﻡ ﺘﻀﺭ ﺒﺎﻝﺤﺩﻴﺙ ،ﻝﻜﻨﻲ ﻻ ﺃﺠﺩ ﺍﻷﻤﺭ ﻜـﺫﻝﻙ ،ﻓﻬـﺫﺍ ﻴﺘﻭﻗـﻑ ﻋﻠـﻰ ﺇﺩﺭﺍﻙ
ﺍﻝﺴﺨﺭﻴﺔ ﺍﻝﻤﺩﺭﻭﺴﺔ ﺠﻴﺩﹰﺍ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ .ﺇﻥ ﺍﻷﻤﺭ ﻫﻭ ﺍﻻﺴﺘﻤﺭﺍﺭ ﻤﻊ ﺍﻝﻔﻜﺎﻫﺔ ﺍﻝﻘﺩﻴﻤﺔ ﻝﻜﻥ ﺩﻭﻥ ﺃﻭﻫﺎﻡ ،ﻭﻴﺒﺩﻭ ﺃﻥ
ﺴﺘﻭﺭﻏﻴﺱ ﻴﻘﻭل ﻝﻨﺎ" :ﺇﻝﻴﻜﻡ ﻤﺎ ﻴﻠﻲ ،ﻴﻤﻜﻨﻜﻡ ﺃﻥ ﺘﻤﻴﺯﻭﺍ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﺤﻘﻴﻘﻴﺔ ﺒﺄﻨﻔﺴﻜﻡ ،ﺇﻥ ﻫﺫﺍ ﻫـﻭ ﻤـﺎ
ﻥ ﺍﻝﻔﻥ ،ﻜﺎﻝﺘﺎﺭﻴﺦ ،ﻻ ﻴﺘﻜﺭﺭ .ﺘﻘﻭل ﻏﻠﻭﺭﻴﺎ ﺴﻭﺍﻨﺴﻥ ﻓﻲ "ﺒﻭﻝﻴﻔﺎﺭ ﺍﻝﻐـﺭﻭﺏ":
ﺃﺭﻴﺩ ﺃﻥ ﺃﻓﻌﻠﻪ ،ﻝﻨﻘﻡ ﺒﺫﻝﻙ ." ...ﻝﻜ
"ﺍﻝﻨﺠﻭﻡ ﻻ ﺘﺸﻴﺦ" .ﺇﻨﻬﺎ ﻤﺤﻘﺔ ﻓﻲ ﺃﻥ "ﺍﻝﻨﺠﻡ" ﻴﺘﻭﺤﺩ ﻤﻊ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻝﺩﺍﺌﻤﺔ ﻝﺸﺨﺼﻴﺘﻪ ،ﻝﻜﻨﻬﺎ ﻤﺨﻁﺌﺔ ﻓﻲ ﺍﻻﻋﺘﻘﺎﺩ
ﺒﺄﻥ ﺠﺴﻤﻪ ﺴﻴﻜﻭﻥ ﻝﻪ ﻨﻔﺱ ﺍﻝﻤﺴﺎﺭ ﻏﻴﺭ ﺍﻝﻤﺤﺩﻭﺩ ﺒﺯﻤﻥ" .ﺍﻝﻤﻤﺜل" ﻴﻤﻜﻥ ﺃﻥ ﻴﺸﻴﺦ ﻭﺃﻥ ﻴﻜﻴﻑ ﻨﻔﺴﻪ ،ﻝﻜﻥ "ﺍﻝﻨﺠﻡ"
ﻻ ﻴﻤﻜﻨﻪ ﺃﻥ ﻴﺒﺩل ﻤﻅﻬﺭﻩ ﺒﺼﻭﺭﺓ ﻤﺘﻭﺍﺼﻠﺔ ،ﻝﻬﺫﺍ ﻓﺈﻥ ﺴﻤﺎﺀ ﺍﻝﺴﻴﻨﻤﺎ ﻤـﻸﻯ ﺒـﺎﻝﻨﺠﻭﻡ ﺍﻝﻤﻴﺘـﺔ .ﺇﻥ ﺒﺭﻴﺴـﺘﻭﻥ
ﺴﺘﻭﺭﻏﻴﺱ ،ﻭﻫﻭ ﻴﺤﻘﻕ ﻫﺫﺍ ﺍﻝﻌﻤل ﻋﻥ ﺴﻴﺭﻭﺭﺓ ﻫﺎﺭﻭﻝﺩ ﻝﻭﻴﺩ ﻨﺤﻭ ﺍﻝﺸﻴﺨﻭﺨﺔ ،ﻴﻜﺸﻑ ،ﺒﻁﺭﻴﻘﺔ ﻗﺎﺴﻴﺔ ﻭﻤﺅﺜﺭﺓ،
ﻼ ﺇﻝﻰ ﺍﻝﻌﺩﻡ ﻭﺇﻝﻰ ﺍﻝﻨﻬﺎﻴﺔ ﺫﻝﻙ ﺍﻝﻤﻌﺒﻭﺩ ،ﺫﻝﻙ ﺍﻝﺼﻨﻡ ﺍﻝـﺫﻱ
ﻭﺸﺒﻪ ﻭﻗﺤﺔ ،ﺍﻵﺜﺎﺭ ﺍﻝﻤﺎﺩﻴﺔ ﻝﻠﺯﻤﻥ ﻋﻠﻰ ﻭﺠﻬﻪ ،ﻤﺤﻴ ﹰ
ﻜﺎﻥ ﻗﺩ ﺍﻨﺘﺼﺏ .ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻫﻭ ﺍﻝﺘﻜﺭﻴﻡ ﺍﻷﻜﺜﺭ ﺫﻜﺎ ﺀ ﻓﻲ ﻤﺠﺎل ﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﻘـﺎﻡ ﻝﻬﺎﺭﻭﻝـﺩ ﻝﻭﻴـﺩ ﻭﻝﻠﻤﺩﺭﺴـﺔ
ﺍﻝﻜﻭﻤﻴﺩﻴﺔ ﺍﻝﻌﻅﻴﻤﺔ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﻝﻜﻥ ،ﻴﺒﺩﻭ ﺃﻨﻪ ﻴﻘﺎل ﻝﻨﺎ" :ﺍﻀﺤﻜﻭﺍ ﻤﺭﺓ ﺃﺨﺭﻯ ،ﻭﺍﻀﺤﻜﻭﺍ ﺠﻴﺩﺍﹰ ،ﻝﻜﻨﻬﺎ
ﺍﻝﻤﺭﺓ ﺍﻷﺨﻴﺭﺓ ،ﻷﻨﻜﻡ ﺘﻀﺤﻜﻭﻥ ﺒﺴﺒﺏ ﻤﻭﺕ ﺍﻝﻀﺤﻜﺔ".
ﻝﻭﻴﺱ ﺒﻭﻨﻭﻴل
LUIS BUÑUEL
ﻭﻝﺩ ﻓﻲ ﺒﻠﺩﺓ ﻜﺎﻻﻨﺩﺍ ﺒﺈﺴﺒﺎﻨﻴﺎ ﻓﻲ 22ﺸﺒﺎﻁ ﻋﺎﻡ ،1900ﻭﺘﻭﻓﻲ ﻓﻲ ﺍﻝﻌﺎﺼﻤﺔ ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ﻴﻭﻡ 29ﺘﻤﻭﺯﻋﺎﻡ
.1983
* ﻤﻥ ﺃﻫﻡ ﺃﻓﻼﻤﻪ:
-ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ ). (1930 -ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ ). (1928
-ﺍﻝﻜﺎﺯﻴﻨﻭ ﺍﻝﻜﺒﻴﺭ ). (1947 -ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ ". (1932) "Las Urdes
-ﺴﻭﺴﺎﻨﺎ – ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ ).(1951 -ﺍﻝﻤﻨﺴﻴﻭﻥ ). (1950
-ﺭﻭﺒﻨﺴﻭﻥ ﻜﺭﻭﺯﻭ ). (1953 -ﻫ ﻭ ).(1952
-ﺘﺠﺭﺒﺔ ﺠﺭﻴﻤﺔ ،ﺃﻭ"ﺍﻝﺤﻴﺎﺓ ﺍﻝﺠﻨﺎﺌﻴﺔ ﻵﺭﺘﺸﻴﺒﺎﻝﺩﻭ ﺩﻱ ﻻ ﻜﺭﻭﺙ" ). (1954
-ﺍﻝﻤﻭﺕ ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﺩﻴﻘﺔ ).(1956 -ﻫﺫﺍ ﻴﺩﻋﻰ ﺍﻝﻔﺠﺭ ).(1955
-ﺍﻝﺸﺎﺒﺔ ). (1960 -ﻨﺎﺜﺎﺭﻴﻥ ).(1959
-ﺍﻝﻤﻼﻙ ﺍﻝﻤﺒﻴﺩ ). (1962 -ﻓﻴﺭﻴﺩﻴﺎﻨﺎ ). (1961
-ﺴﻤﻌﺎﻥ ﺍﻝﻌﻤﻭﺩﻱ ). (1964 -ﻤﺫﻜﺭﺍﺕ ﺨﺎﺩﻤﺔ ). (1963
-ﺩﺭﺏ ﺍﻝﺘﺒﺎﻥ ). (1968 -ﺤﺴﻨﺎﺀ ﺍﻝﻨﻬﺎﺭ ). (1966
-ﺴﺤﺭ ﺍﻝﺒﻭﺭﺠﻭﺍﺯﻴﺔ ﺍﻝﺨﻔﻲ ). (1972 -ﺘﺭﻴﺴﺘﺎﻨﺎ ). (1969
-ﻫﺫﺍ ﺍﻝﻐﺭﺽ ﺍﻝﻐﺎﻤﺽ ﻝﻠﺭﻏﺒﺔ ). (1977 -ﺸﺒﺢ ﺍﻝﺤﺭﻴﺔ ). (1974
ﺍﻝﻤﻨﺴﻴﻭﻥ
ﺤﺎﻝﺔ ﺒﻭﻨﻭﻴل ﻫﻲ ﻭﺍﺤﺩﺓ ﻤﻥ ﺃﻜﺜﺭ ﺍﻝﺤﺎﻻﺕ ﺇﺜﺎﺭﺓ ﻝﻠﻔﻀﻭل ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎ ،ﻓﺒـﻴﻥ 1936 -1928ﻝـﻡ
ﻴﺤﻘﻕ ﺒﻭﻨﻭﻴل ﺴﻭﻯ ﺜﻼﺜﺔ ﺃﻓﻼﻡ ،ﻜﺎﻥ ﺒﻴﻨﻬﺎ ﻓﻘﻁ ﻓﻴﻠﻡ ﻁﻭﻴل ﻭﺍﺤﺩ ،ﻫﻭ ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ ،ﻝﻜﻥ ﻫﺫﻩ ﺍﻵﻻﻑ ﺍﻝﺜﻼﺜﺔ
ﻤﻥ ﺍﻷﻤﺘﺎﺭ ﺍﻝﻔﻴﻠﻤﻴﺔ ،ﺒﻴﻥ ﻜﻼﺴﻴﻜﻴﺎﺕ ﺍﻝﺴﻴﻨﻤﺎ ،ﻫﻲ ﺍﻷﻗل ﺘﺄﺜﺭﹰﺍ ﺒﻤﺭﻭﺭ ﺍﻝﺯﻤﻥ ﺒﻴﻥ ﺍﻷﻓﻼﻡ ﺍﻝﻁﻠﻴﻌﻴﺔ؛ ﻭﻓـﻲ ﻜـل
ﺍﻷﺤﻭﺍل ،ﻫﻲ ﺍﻹﻨﺘﺎﺝ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﺴﻭﺭﻴﺎﻝﻲ ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﻴﺘﻤﺘﻊ ﺒﺴﻭﻴﺔ ﺭﻓﻴﻌﺔ .ﻓﻲ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" – ﻭﺜﺎﺌﻘﻲ-
ﺤﻭل ﺒﺅﺱ ﺍﻝﻨﺎﺱ ﻓﻲ ﻤﻨﻁﻘﺔ "ﻻﺱ ﺃﻭﺭﺩﻴﺱ" ﻝﻡ ﻴﺭﺘ ﺩ ﺒﻭﻨﻭﻴل ﻋﻥ "ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ،ﺒل ﻋﻠـﻰ ﺍﻝﻌﻜـﺱ ،ﻓﻤﺸـﻬﺩ
ﺍﻝﺤﻤﺎﺭ ﺍﻝﺫﻱ ﺘﻨﻬﺵ ﺠﺴﺩﻩ ﺃﺴﺭﺍﺏ ﺍﻝﻨﺤل ﻴﺤﻘﻕ ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻨﺒل ﺃﺴﻁﻭﺭﺓ ﻤﺘﻭﺴﻁﻴﺔ ﻭﻗﺴﻭﺓ ﻴﻤﻜﻥ ﻤﻘﺎﺭﻨﺘﻬﻤـﺎ
ﺒﺸﻬﺭﺓ ﺍﻝﺤﻤﺎﺭ ﺍﻝﻤﻴﺕ ﻓﻭﻕ ﺍﻝﺒﻴﺎﻨﻭ) .(1ﻻﺸﻙ ﻓﻲ ﺃﻥ ﺒﻭﻨﻭﻴل ﻫﻭ ﺃﺤﺩ ﺃﻜﺜﺭ ﺍﻷﺴﻤﺎﺀ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻋﻅﻤﺔ ﻤﻊ ﻨﻬﺎﻴﺎﺕ
ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﺎﻤﺘﺔ ﻭﺒﺩﺍﻴﺎﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻨﺎﻁﻘﺔ -ﻭﻴﻤﻜﻥ ﻤﻘﺎﺭﻨﺘﻪ ﻓﻘﻁ ﺒـ "ﻓﻴﻐﻭ" – ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﻗﻠﺔ ﺃﻋﻤﺎل ﺍﻷﺨﻴﺭ.
ﻝﻜﻥ ،ﻤﻨﺫ ﻨﺤﻭ ﺜﻤﺎﻨﻴﺔ ﻋﺸﺭ ﻋﺎﻤﺎﹰ ،ﺒﺩﺍ ﻭﻜﺄﻨﻪ ﻗﺩ ﺍﺨﺘﻔﻰ ﻨﻬﺎﺌﻴﹰﺎ ﻤﻥ ﻋﺎﻝﻡ ﺍﻝﺴﻴﻨﻤﺎ ،ﻭﻝﻡ ﻴﻜﻥ ﺍﻝﻤﻭﺕ ﻫﻭ ﺍﻝﺴﺒﺏ ﻤﺜﻠﻤﺎ
ﺤﺼل ﻤﻊ ﻓﻴﻐﻭ ،ﻓﻘﺩ ﻋﻠﻤﻨﺎ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺘﺠﺎﺭﻴﺔ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ﺍﻝﺠﺩﻴﺩ ﻗﺩ ﺍﺒﺘﻠﻌﺘﻪ ،ﻭﺭﺍﺡ ﻴﺤﻘﻕ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ ،ﻤﻥ ﺃﺠل
ﻻ ﺴﻴﻨﻤﺎﺌﻴﺔ ﻤﺘﻭﺍﻀﻌﺔ ،ﻭﻤﻥ ﺍﻝﺩﺭﺠﺔ ﺍﻝﺜﺎﻝﺜﺔ.
ﻜﺴﺏ ﺍﻝﻌﻴﺵ ،ﺃﻋﻤﺎ ﹰ
ﻼ ﻋﻥ ﺫﻝﻙ ﻓﺈﻨﻪ ﺇﻨﺘﺎﺝ ﺘﻡ ﺘﺼﻭﻴﺭﻩ ﺨﻼل ﺸﻬﺭ ﻭﺍﺤﺩ.
ﻓﺠﺄﺓ ،ﻴﺼﻠﻨﺎ ﻤﻥ ﻫﻨﺎﻙ ﻓﻴﻠﻡ ﺒﺘﻭﻗﻴﻊ ﺒﻭﻨﻭﻴل ،ﺁﻩ! ﻭﻓﻀ ﹰ
ﺃﺨﻴﺭﹰﺍ ،ﺍﺴﺘﻁﺎﻉ ﺒﻭﻨﻭﻴل ﺃﻥ ﻴﺤﻘﻕ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ ﺒﻤﻨﺘﻬﻰ ﺍﻝﺤﺭﻴﺔ ،ﻭﺘﺤﻘﻘﺕ ﺍﻝﻤﻌﺠﺯﺓ :ﻤﻊ ﺜﻤﺎﻨﻴﺔ ﻋﺸﺭ ﻋﺎﻤﹰﺎ
ﻭﺨﻤﺴﺔ ﺁﻻﻑ ﻜﻴﻠﻭ ﻤﺘﺭ ﻤﻥ ﺍﻝﻤﺴﺎﻓﺔ ،ﻫﺎ ﻫﻭ ﺒﻭﻨﻭﻴل ﺍﻝﺫﻱ ﻻ ﻨﻅﻴﺭ ﻝﻪ ،ﻓﻲ ﺭﺴﺎﻝﺔ ﻭﻓﻴﺔ ﻝـ"ﺍﻝﻌﺼـﺭ ﺍﻝـﺫﻫﺒﻲ"
ﻭ"ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ،ﻤﻊ ﻓﻴﻠﻡ ﻴﻼﻤﺱ ﺍﻝﺭﻭﺡ ﻤﺜل ﺤﺩﻴﺩ ﺤﺎ ﹴﻡ.
ﻴﻨﺤﻭ ﺍﻝﻤﻭﻀﻭﻉ ﺒﺎﺘﺠﺎﻩ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺘﻨﺎﻭل ﺍﻝﺸﺒﺎﺏ ﺍﻝﺘﺎﺌﻪ :ﺍﻝﺒﺅﺱ ﺍﻝﻤﻔﺘﻘﺭ ﺇﻝﻰ ﺍﻝﺭﻋﺎﻴﺔ ﻭﺍﻝﻨﺼﺢ ،ﻭﺍﻝﺘﺭﺒﻴﺔ
ﺍﻝﻤﻤﻜﻨﺔ ﻋﻥ ﻁﺭﻴﻕ ﺍﻝﺤﺏ ﻭﺍﻝﺜﻘﺔ ﻭﺍﻝﻌﻤل .ﻭﻤﻥ ﺍﻝﻤﻬﻡ ﻤﻼﺤﻅﺔ ﺍﻝﺘﻔﺎﺅل ﺍﻝﻌﻤﻴﻕ ﻓﻲ ﻫـﺫﺍ ﺍﻝﻤﺸـﺭﻭﻉ :ﺍﻝﺘﻔـﺎﺅل
ﺴﻭ" ،ﻁﻴﺒﺔ ﻓﻁﺭﻴﺔ ﻓﻲ ﺍﻹﻨﺴﺎﻥ ،ﻓﺭﺩﻭﺱ ﺍﻝﻁﻔﻭﻝﺔ ﺍﻝـﺫﻱ
ﺍﻷﺨﻼﻗﻲ ﻓﻲ ﺍﻝﻤﻘﺎﻡ ﺍﻷﻭل ،ﻭﺍﻝﺫﻱ ﻴﻔﺘﺭﺽ ،ﺤﺴﺏ "ﺭﻭ
ﻴﺘﻌﺭﺽ ﺇﻝﻰ ﺍﻹﻓﺴﺎﺩ ﻤﻥ ﻗﺒل ﻤﺠﺘﻤﻊ ﺍﻝﻜﺒﺎﺭ؛ ﺇﻻ ﺃﻨﻪ ﺃﻴﻀﹰﺎ ﺘﻔﺎﺅل ﺍﺠﺘﻤﺎﻋﻲ ﻴﻔﺘﺭﺽ ﺃﻥ ﺍﻝﻤﺠﺘﻤﻊ ﻴﻤﻜﻥ ﺃﻥ ﻴﺼﻠﺢ
ﺨﻭﺓ ﺍﻝﺘﻲ ﺍﻓﺘﻘﺩﻫﺎ ﺍﻝﻤﺠـﺭﻡ،
ﻷﹸﻼ ﻤﻥ ﺍﻹﺼﻼﺤﻴﺔ ﻋﺎﹶﻝﻤﹰﺎ ﺍﺠﺘﻤﺎﻋﻴﹰﺎ ﺼﻐﻴﺭﹰﺍ ﻗﺎﺌﻤﺎﹰ ﻋﻠﻰ ﺍﻝﺜﻘﺔ ﻭﺍﻝﻨﻅﺎﻡ ﻭﺍ ُ
ﺍﻷﺫﻯ ﺠﺎﻋ ﹰ
ﻭﻫﻭ ﻭﻀﻊ ﻴﺴﻤﺢ ﺒﺈﻋﺎﺩﺓ ﺘﺄﻫﻴل ﺍﻝﻤﺭﺍﻫﻕ ﻭﺍﺴﺘﻌﺎﺩﺘﻪ ﺒﺭﺍﺀﺘﻪ ﺍﻷﺼﻠﻴﺔ .ﻫﺫﺍ ﻴﻌﻨﻲ ﺃﻥ ﻫﺫﻩ ﺍﻝﺘﺭﺒﻴﺔ ﻻ ﺘﺴﺘﺨﺩﻡ ﺇﻋﺎﺩﺓ
ﺍﻝﺘﺄﻫﻴل ﺒﺸﻜل ﺘﻌﻭﻴﺫﺓ ﺃﻭ ﻫﺩﺍﻴﺔ؛ ﻓﺤﻘﻴﻘﺘﻬﺎ ﺍﻝﻨﻔﺴﻴﺔ ﺘﺘﺄﻜﺩ ﻤﻥ ﺨﻼل ﺍﻝﺘﺠﺭﺒﺔ ،ﻭﻻ ﺘﻘﻭﻡ ﻋﻠﻰ ﻤﺘﻁﻠﺒﺎﺘﻬﺎ ﺍﻝﻌﻠﻴـﺎ .ﺇﻥ
ﺍﻝﺴﻴﻨﺎﺭﻴﻭﻫﺎﺕ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﺎﻝﻁﻔﻭﻝﺔ ﺍﻝﻤﻨﺤﺭﻓﺔ ،ﻤﻨﺫ "ﻁﺭﻴﻕ ﺍﻝﺤﻴﺎﺓ" ﺤﺘـﻰ ) L'Ecole Bussionnièreﺸﺨﺼـﻴﺔ
ﺍﻝﻁﺎﻝﺏ ﺍﻝﺴﻴﺊ( ﻤﺭﻭﺭﹰﺍ ﺒـ"ﻁﺭﻴﻕ ﺍﻷﻁﻔﺎل ﺍﻝﻀﺎﺌﻌﻴﻥ" ،ﻗﺩﻤﺕ ﺍﻝﻤﺴﺄﻝﺔ ﺩﺍﺌﻤﹰﺎ ﻋﻠﻰ ﺃﻨﻬﺎ ﻗﻴﻤﺔ ﺃﺨﻼﻗﻴﺔ ،ﺃﻭ ﺸﻜل ﻤﻥ
ﺃﺸﻜﺎل ﺍﻝ ﻤﺜﹶل ﺍﻻﺠﺘﻤﺎﻋﻲ ﺫﻱ ﺍﻝﺭﺴﺎﻝﺔ ﺍﻝﺘﻲ ﻻﻴﺠﻭﺯ ﺍﻝﻤﺴﺎﺱ ﺒﻬﺎ.
ﺍﻝﻤﻴﺯﺓ ﺍﻷﻭﻝﻰ ﻝـ"ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻫﻲ ﺃﻨﻪ ﺘﺠﺭﺃ ﻋﻠﻰ ﺘﺒﺩﻴل ﻤﺴﺎﺭ ﻫﺫﻩ ﺍﻝﻘﻴﻤﺔ ﺍﻷﺨﻼﻗﻴﺔ .ﻓﺒﺎﻝﻨﺴﺒﺔ ﻝـ"ﺒﻴـﺩﺭﻭ"،
ﻜﺎﻥ ﻤﻥ ﺍﻝﺼﻌﺏ ﺇﺩﺨﺎﻝﻪ ﺇﻝﻰ ﺇﺼﻼﺤﻴﺔ ﻤﻥ ﻨﻭﻉ "ﺍﻝﻤﺯﺭﻋﺔ ﺍﻝﻨﻤﻭﺫﺠﻴﺔ"؛ ﻝﻘﺩ ﺨﻀﻊ ﺇﻝﻰ ﺘﺠﺭﺒـﺔ ﺍﻝﺜﻘـﺔ )ﻋﻠﺒـﺔ
ﺍﻝﺴﻜﺎﺌﺭ ،ﻭﺍﻝﻨﻘﻭﺩ ﺍﻝﺘﻲ ﻴﺠﺏ ﺇﻋﺎﺩﺘﻬﺎ( ،ﻤﺜﻠﻤﺎ ﺠﺭﻯ ﻤﻊ ﻤﺼﻁﻔﻰ ﻓﻲ "ﻁﺭﻴﻕ ﺍﻝﺤﻴﺎﺓ" ﺤﻭل ﻤﺴﺄﻝﺔ ﺸﺭﺍﺀ ﺍﻝﻨﻘﺎﻨﻕ.
ﺇﻻ ﺃﻥ ﺍﻝﺩﺍﻓﻊ ﻝﻌﺩﻡ ﻋﻭﺩﺓ ﺒﻴﺩﺭﻭ ﺇﻝﻰ ﺍﻝﻘﻔﺹ ﺍﻝﻤﻔﺘﻭﺡ ،ﻝﻡ ﻴﻜﻥ ﺘﻔﻀﻴﻠﻪ ﺴﺭﻗﺔ ﺍﻝﻨﻘﻭﺩ ،ﺒل ﺍﻝﺘﺨﻠﺹ ﻤـﻥ "ﺨـﺎﻴﺒﻭ"
ﺭﻓﻴﻕ ﺍﻝﺴﻭﺀ .ﺒﻬﺫﻩ ﺍﻝﺼﻭﺭﺓ ،ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﻔﻘﺩ ﺍﻝﻘﻴﻤﺔ ﺍﻷﺨﻼﻗﻴﺔ ﺍﻝﺜﻘﺔ ﺒﻬﺎ ﻤﻥ ﺍﻝﺩﺍﺨل ،ﺇﺫ ﻝﻭ ﻜﺎﻥ ﺒﻴﺩﺭﻭ ﻗﺩ ﺍﺴﺘﻐل
ﻏ ﺭﺭ ﺒﻪ ﺒﺴﺒﺏ ﻨﻴﺘﻪ ﺍﻝﻁﻴﺒﺔ .ﺇﻥ ﺍﻷﻤـﺭ ،ﻤﻭﻀـﻭﻋﻴﺎﹰ،
ﺜﻘﺔ ﺍﻝﻤﺩﻴﺭ ،ﻝﻜﺎﻥ ﻝﻬﺫﺍ ﺍﻷﺨﻴﺭ ﺍﻝﺤﻕ ﻓﻲ ﺃﻥ ﻴﺸﻌﺭ ﺒﺄﻨﻪ ﻗﺩ ﹸ
)ﺍﻝﻤﺘﺭﺠﻡ( ) (1ﻓﻲ ﺇﺸﺎﺭﺓ ﺇﻝﻰ ﺍﻝﻤﺸﻬﺩ ﺍﻝﻤﻌﺭﻭﻑ ﻤﻥ " ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" .
ﺃﺨﻁﺭ ﻜﺜﻴﺭﹰﺍ ﻤﻥ ﻤﺴﺄﻝﺔ ﺍﻝﺘﺠﺭﺒﺔ ﺍﻝﻤﺤ ﺒﻁﺔ ﻤﻥ ﺍﻝﺨﺎﺭﺝ ،ﻭﻀﺩ ﺇﺭﺍﺩﺓ ﺒﻴﺩﺭﻭ ،ﻓﻬﻨﺎﻙ ﻤﺴﺅﻭﻝﻴﺔ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﺫﻱ ﺃﻓﺴﺩ
ﺒﻴﺩﺭﻭ ﻭﻗﻠل ﻤﻥ ﺇﻤﻜﺎﻨﻴﺔ ﺨﻼﺼﻪ؛ ﺇﺫ ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺇﻗﺎﻤﺔ "ﻤﺯﺍﺭﻉ ﻨﻤﻭﺫﺠﻴﺔ" ﺤﻴﺙ ﺘﺴـﻭﺩ ﺍﻝﻌﺩﺍﻝـﺔ ﻭﺍﻝﻌﻤـل
ﺨ ﻭﺓ ،ﻓﺈﻥ ﻭﺠﻭﺩﻫﺎ ﻀﻤﻥ ﻨﻔﺱ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﻤﻠﻲﺀ ﺒﺎﻷﻝﻡ ﻭﻓﻘﺩﺍﻥ ﺍﻝﻌﺩﺍﻝﺔ ،ﺴ ﻴﺒﻘﻲ ﻓﻀﻴﺤﺔ ﺍﻝﻘﺴﻭﺓ ﺍﻝﺴـﺎﺌﺩﺓ ﻓـﻲ
ﻷﹸﻭﺍ ُ
ﺍﻝﻌﺎﻝﻡ ﻤﺴﺘﻤﺭﺓ ﻋﻠﻰ ﻤﺎ ﻫﻲ ﻋﻠﻴﻪ.
ﻤﺎ ﺃﻋﺭﻓﻪ ﻤﻥ ﺃﻓﻼﻡ ﺘﺘﺼل ﺒﺎﻝﻁﻔﻭﻝﺔ ﺍﻝﺠﺎﻨﺤﺔ ﻻﻴﺘﺸﺎﺒﻪ ﺴﻭﻯ ﻤﻊ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻷﻜﺜﺭ ﺨﺎﺭﺠﻴ ﹰﺔ ﻝﻔﻴﻠﻡ ﺒﻭﻨﻭﻴـل،
ﺍﻝﺫﻱ ﻴﺤﻤل ﻓﻲ ﺃﻋﻤﺎﻗﻪ ﻏﺭﻀﹰﺎ ﻤﺨﺘﻠﻔﹰﺎ ﻜﻠﻴﹰﺎ .ﻝﻴﺱ ﻫﻨﺎﻙ ﺘﻨﺎﻗﺽ ﺒﻴﻥ ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺒﺴﻴﻁ ﻭﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻝﻌﻤﻴﻘﺔ ﺍﻝﺘﻲ
ﺃﻭﺩ ﺃﻥ ﺃﺘﻨﺎﻭﻝﻬﺎ ﺍﻵﻥ ،ﻝﻜﻥ ﺍﻷﻭل ﻝﻪ ﻓﻘﻁ ﺃﻫﻤﻴﺔ ﺍﻝﻤﻭﻀﻭﻉ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﺭﺴﺎﻡ ،ﻤﻥ ﺨﻼل ﻗﻨﺎﻋﺎﺘﻪ )ﺍﻝﺘﻲ ﻴﻌﻠﻨﻬﺎ ﻓﻘـﻁ
ﻜﻲ ﻴﻘﻭﻡ ﺒﺘﻬﺩﻴﻤﻬﺎ( .ﻴﻨﻅﺭ ﺍﻝﻔﻨﺎﻥ ﺒﺼﻭﺭﺓ ﺃﻜﺜﺭ ﺒﻌﺩﹰﺍ ﻨﺤﻭ ﺤﻘﻴﻘﺔ ﺘﺘﺠﺎﻭﺯ ﺍﻷﺨـﻼﻕ ﻭﻋﻠـﻡ ﺍﻻﺠﺘﻤـﺎﻉ؛ ﺤﻘﻴﻘـﺔ
ﻤﻴﺘﺎﻓﻴﺯﻴﻘﻴﺔ؛ ﻗﺴﻭﺓ ﺍﻝﺸﺭﻁ ﺍﻹﻨﺴﺎﻨﻲ.
ﻴﻤﻜﻥ ﺇﺩﺭﺍﻙ ﻋﻅﻤﺔ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻓﻲ ﺍﻝﺤﺎل ﻋﻨﺩﻤﺎ ﻨﺘﺒﻴﻥ ﺃﻨﻪ ﻻ ﻴﻨﺘﻤﻲ ﺇﻁﻼﻗﹰﺎ ﺇﻝﻰ ﺍﻷﻨﻭﺍﻉ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ .ﻝﻴﺴﺕ
ﻫﻨﺎﻙ ﺃﻴﺔ ﻨﻤﺫﺠﺔ ﻓﻲ ﺍﻝﺸﺨﺼﻴﺎﺕ ،ﻭﺠﻨﻭﺤﻬﺎ ﻫﻭ ﻤﺠﺭﺩ ﺠﻨﻭﺡ ﻋﺎﺭﺽ :ﺍﻝﺘﺭﺍﺒﻁ ﺍﻻﺤﺘﻤﺎﻝﻲ ﻝﻠﻤﺼﺎﺌﺭ ﺍﻝﺘﻲ ﺘﺘﻘﺎﻁﻊ
ﻜﺎﻝﺨﻨﺎﺠﺭ .ﻭﺒﺎﻝﻤﻨﺎﺴﺒﺔ ،ﻭﻓﻲ ﻀﻭﺀ ﻋﻠﻡ ﺍﻝﻨﻔﺱ ﻭﻋﻠﻡ ﺍﻷﺨﻼﻕ ،ﻨﺴﺘﻁﻴﻊ ﺍﻝﻘﻭل ﻋﻥ ﺒﻴﺩﺭﻭ ﺇﻥ ﻝﺩﻴﻪ ﺃﺴﺎﺴﹰﺎ ﺠﻴـﺩﹰﺍ،
ﻨﻘﺎ ﺀ ﻓﻁﺭﻴﹰﺎ ،ﺇﻨﻪ ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﻴﺨﺘﺭﻕ ﻫﺫﺍ ﺍﻝﻭﺍﺒل ﻤﻥ ﺍﻝﻭﺤﻭل ﺩﻭﻥ ﺃﻥ ﻴﺘﻠﻁﺦ ﺒﻪ .ﻝﻜﻥ ﺨﺎﻴﺒﻭ ،ﺍﻝﺴﺎﺩﻱ ،ﺍﻝﻔﺎﺴـﺩ،
ﺍﻝﻘﺎﺴﻲ ،ﺍﻝﻐﺩﺍﺭ ،ﻻ ﻴﺠﻌﻠﻨﺎ ﻨﺸﻌﺭ ﺒﺎﻝﻨﻔﻭﺭ ،ﺒل ﻓﻘﻁ ﺒﻨﻭﻉ ﻤﻥ ﺍﻝﺭﻋﺏ ،ﺍﻝﺫﻱ ﻻ ﻴﺘﻨﺎﻗﺽ ﻤﻊ ﺍﻝﺤﺏ .ﻭﻨﻔﻜﺭ ﺒﺄﺒﻁﺎل
"ﺠﻴﻨﻴﻪ" ،ﻤﻊ ﺍﻝﻔﺎﺭﻕ ﺒﺄﻥ ﻝﺩﻯ ﻤﺅﻝﻑ "ﻤﻌﺠﺯﺓ ﺍﻝﻭﺭﺩﺓ" ﺍﺴﺘﺜﻤﺎﺭﹰﺍ ﻝﻠﻘﻴﻡ ﻻ ﻨﺠﺩﻩ ﻫﻨﺎ .ﻫﺅﻻﺀ ﺍﻷﻁﻔـﺎل ﺠﻤﻴﻠـﻭﻥ ﻻ
ﻷﻨﻬﻡ ﻴﻔﻌﻠﻭﻥ ﻤﺎ ﻫﻭ ﺠﻴﺩ ﻭﻤﺎ ﻫﻭ ﺴﻴﺊ ،ﺒل ﻷﻨﻬﻡ ﺃﻁﻔﺎل ،ﺤﺘﻰ ﻓﻲ ﺍﻝﺠﺭﻴﻤﺔ ،ﻭﺤﺘﻰ ﻓﻲ ﺍﻝﻤﻭﺕ .ﺒﻴﺩﺭﻭ ﻫﻭ ﻁﻔل
ﻤﺜل ﺨﺎﻴﺒﻭ ﺍﻝﺫﻱ ﻴﻐﺩﺭ ﺒﻪ ﻭﻴﻘﺘﻠﻪ ﺒﺎﻝﻌﺼﻲ ،ﻝﻜﻨﻬﻤﺎ ﻤﺘﺴﺎﻭﻴﺎﻥ ﻓﻲ ﺍﻝﻤﻭﺕ ،ﻓـﻲ ﺤـﻴﻥ ﺃﻥ ﻁﻔﻭﻝﺘﻬﻤـﺎ ﺃ ﺩﺕ ﺇﻝـﻰ
ﺘﻐﻴﻴﺭﻫﻤﺎ .ﻭﺒﻭﻨﻭﻴل ﻴﻁﻴل ﻓﻲ ﻤﺄﺜﺭﺓ ﺇﻋﺎﺩﺓ ﺒﻨﺎﺀ ﺤﻠﻤﻴﻥ ،ﻓﻲ ﺃﺴﻭﺃ ﻋﺎﺩﺓ ﻝﺩﻯ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﺍﻝﻔﺭﻭﻴﺩﻭ -ﻫﻭﻝﻴﻭﺩﻴـﺔ،
ﻭﻴﺘﺭﻜﻨﺎ ﻤﻊ ﺫﻝﻙ ﻨﺨﺘﻠﺞ ﺫﻋﺭﹰﺍ ﻭﺇﺸﻔﺎﻗﹰﺎ .ﻴﻬﺭﺏ ﺒﻴﺩﺭﻭ ﻤﻥ ﺒﻴﺘﻪ ﻷﻥ ﺃﻤﻪ ﺭﻓﻀﺕ ﺇﻋﻁﺎﺀﻩ ﻗﻁﻌﺔ ﻝﺤﻡ ﺭﻏﺏ ﺒﻬـﺎ.
ﻼ ﻝﺘﻘﺩﻡ ﺇﻝﻴﻪ ﻗﻁﻌﺔ ﻝﺤﻡ ﺤﻤﺭﺍﺀ ﻨﻴﺌﺔ ،ﻭﻴﺩ ﺨﺎﻴﺒﻭ ،ﺍﻝﻤﺨﺘﺒﺊ ﺘﺤﺕ ﺍﻝﺴﺭﻴﺭ ،ﺘﺨﻁﻔﻬﺎ ﻤﻨـﻪ.
ﺤﻠﻡ ﺒﺄﻥ ﺃﻤﻪ ﻨﻬﻀﺕ ﻝﻴ ﹰ
ﺇﻨﻨﺎ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻨﻨﺴﻰ ﺇﻁﻼﻗﹰﺎ ﻗﻁﻌﺔ ﺍﻝﻠﺤﻡ ﻫﺫﻩ ،ﺍﻝﺘﻲ ﺘﻨﺘﻔﺽ ﻤﺜل ﺃﺨﻁﺒﻭﻁ ﻤﺘﻭﺜﺏ ،ﻭﺃﻤﻪ ﺍﻝﺘﻲ ﺘﻘﺩﻤﻬﺎ ﺇﻝﻴﻪ ﺒﻭﺠﻪ
ﺒﺎﺴﻡ ﻭﻜﺄﻨﻪ ﻭﺠﻪ ﺍﻝﻌﺫﺭﺍﺀ .ﻜﺫﻝﻙ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻨﻨﺴﻰ ﺫﻝﻙ ﺍﻝﻜﻠﺏ ﺍﻝﻤﺴﻜﻴﻥ ﺍﻷﺠﺭﺏ ﺍﻝﺫﻱ ﻴﺨﺘﺭﻕ ﺍﻝﻠﻴﻠﺔ ﺍﻷﺨﻴـﺭﺓ
ﺸﺎﻫﺩﹰﺍ ﻋﻠﻰ ﺨﺎﻴﺒﻭ ﻭﻫﻭ ﻴﻤﻭﺕ ﻓﻲ ﺍﻝﻌﺭﺍﺀ ﻭﺠﺒﻴﻨﻪ ﻤﻀﺭﺝ ﺒﺎﻝﺩﻤﺎﺀ .ﻗﻠﻤﺎ ﻴﻐﻴﺏ ﻋﻥ ﺫﻫﻨﻲ ﺃﻥ ﺒﻭﻨﻭﻴل ﻗـﺩﻡ ﻝﻨـﺎ
ﺍﻝﺘﺠﺭﺒﺔ ﺍﻝﺠﻤﺎﻝﻴﺔ ﺍﻝﻤﻌﺎﺼﺭﺓ ﺍﻝﻭﺤﻴﺩﺓ ﻝﻠﻔﺭﻭﻴﺩﻴﺔ .ﻝﻘﺩ ﺍﺴﺘﺨﺩﻤﺘﻬﺎ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﺒﻁﺭﻴﻘﺔ ﻭﺍﻋﻴﺔ ﺠﺩﺍﹰ ،ﻝﺫﻝﻙ ﻻ ﻴﻔﺎﺠﺌﻨـﺎ
ﺃﻥ ﻨﻠﺘﻘﻲ ﻓﻲ ﺃﻋﻤﺎﻝﻬﺎ ﺍﻝﺘﺸﻜﻴﻠﻴﺔ ﺘﻠﻙ ﺍﻝﺭﻤﻭﺯ ﺍﻝﺘﻲ ﺍﺴﺘﺨﺩﻤﻬﺎ .ﻓﻘﻁ ﺃﻓﻼﻡ "ﻜﻠـﺏ ﺃﻨﺩﻝﺴـﻲ" ﻭ"ﺍﻝﻌﺼـﺭ ﺍﻝـﺫﻫﺒﻲ"
ﻭ"ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻫﻲ ﺍﻝﺘﻲ ﺘﺠﻌﻠﻨﺎ ﻨﺴﺘﺭﺠﻊ ﻤﻭﺍﻗﻑ ﺍﻝﺘﺤﻠﻴل ﺍﻝﻨﻔﺴﻲ ﻓﻲ ﺤﻘﻴﻘﺘﻬﺎ ﺍﻝﻌﻤﻴﻘﺔ ﺍﻝﺘﻲ ﻴﺼﻌﺏ ﻭﺼﻔﻬﺎ .ﻭﻜﻴﻔﻤﺎ
ﻜﺎﻨﺕ ﺍﻝﺼﻴﻐﺔ ﺍﻝﺘﺸﻜﻴﻠﻴﺔ )ﻭﻫﻲ ﻫﻨﺎ ﺍﻷﻜﺜﺭ ﺇﺜﺎﺭﺓ ﻝﻠﻨﻘﺎﺵ( ﺍﻝﺘﻲ ﺃﻋﻁﺎﻫﺎ ﺒﻭﻨﻭﻴل ﻝﻠﺤﻠﻡ ،ﻓﺈﻥ ﻝﺼﻭﺭﻩ ﻓﻌﺎﻝﻴﺔ ﻭﻨﺒﻀﹰﺎ
ﻼ ﻭﻴﻐﻤﺭﻨﺎ ،ﻜﻤﺎ ﻝﻭ ﺃﻨﻪ ﻴﻨﺒﺠﺱ ﻤﻥ ﺸﺭﻴﺎﻥ ﻤﻔﺘﻭﺡ ،ﻋﻠﻰ ﺇﻴﻘﺎﻉ ﺍﻝﺭﻭﺡ.
ﺤﺎﺭﻴﻥ :ﹶﻓ ﺩ ﻡ ﺍﻝﻼﺸﻌﻭﺭ ﻴﻨﺴﺎﺏ ﺜﻘﻴ ﹰ
ﻭﺒﻭﻨﻭﻴل ﻻ ﻴﻘﺩﻡ ﺤﻜﻡ ﻗﻴﻤﺔ ﺤﻭل ﺍﻷﻁﻔﺎل ،ﻜﻤﺎ ﺃﻨﻪ ﺃﻴﻀﹰﺎ ﻻ ﻴﻔﻌل ﺫﻝﻙ ﻤﻊ ﺸﺨﺼﻴﺎﺘﻪ ﺍﻝﺒﺎﻝﻐﺔ ،ﻭﺇﺫﺍ ﻜـﺎﻥ
ﺍﻝﺒﺎﻝﻐﻭﻥ ،ﺒﺸﻜل ﻋﺎﻡ ،ﺃﻜﺜﺭ ﻀﺭﺭﹰﺍ ،ﻓﻬﺫﺍ ﻴﻌﻭﺩ ﺇﻝﻰ ﻜﻭﻨﻬﻡ ﻗﺩ ﺘﺒﻠﻭﺭﻭﺍ ﺒﺼﻭﺭﺓ ﻻ ﺸﻔﺎﺀ ﻤﻨﻬﺎ ،ﻭﺘﺤﺠﺭﻭﺍ ﺒﺴـﺒﺏ
ﺍﻝﺒﺅﺱ.
ﻻ ﺸﻙ ﻓﻲ ﺃﻥ ﺍﻝﺠﺎﻨﺏ ﺍﻷﻜﺜﺭ ﻓﻅﺎﻋﺔ ﻝﻠﻔﻴﻠﻡ ﻫﻭ ﺠﺭﺃﺘﻪ ﻓﻲ ﺘﻘﺩﻴﻡ ﺃﺸﺨﺎﺹ ﻴﺘﻌﺭﻀـﻭﻥ ﻝﻸﺫﻴـﺔ ﺩﻭﻥ ﺃﻥ
ﻴﺩﻓﻌﻨﺎ ﺇﻝﻰ ﺍﻝﺘﻌﺎﻁﻑ ﻤﻌﻬﻡ .ﺍﻝﻤﺘﺴﻭل ﺍﻷﻋﻤﻰ ﺍﻝﺫﻱ ﻴﻌﺎﻤﻠﻪ ﺍﻷﻁﻔﺎل ﺒﺼﻭﺭﺓ ﺴﻴﺌﺔ ﻴﺫﻫﺏ ﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ﻝﻴﺨﺒﺭ ﻋـﻥ
ﺨﺎﻴﺒﻭ ﻝﺩﻯ ﺍﻝﺸﺭﻁﺔ .ﻤﻌﻭﻕ ﺒﻼ ﺴﺎﻗﻴﻥ ﺒﺨﻴل ﻓﻲ ﺘﻘﺩﻴﻡ ﺴﻜﺎﺌﺭﻩ ،ﻴﺴﺭﻕ ﻭﻴﺘﺭﻙ ﻤﺭﻤﻴﹰﺎ ﻋﻠﻰ ﺍﻝﺭﺼﻴﻑ ﺒﻌﻴﺩﹰﺍ ﻨﺤﻭ
ﻤﺎﺌﺔ ﻤﺘﺭ ﻋﻥ ﻋﺭﺒﺘﻪ .ﻓﻲ ﻫﺫﺍ ﺍﻝﻌﺎﻝﻡ ،ﺤﻴﺙ ﻜل ﻤﻥ ﻓﻴﻪ ﺒﺎﺌﺱ ،ﻜل ﻤﻥ ﻓﻴﻪ ﻴﻜﺎﻓﺢ ﺒﺎﻷﺴﻠﺤﺔ ﺍﻝﺘﻲ ﻫﻲ ﺒﻤﺘﻨـﺎﻭل
ﻴﺩﻩ ،ﻝﻴﺱ ﻫﻨﺎﻙ ﻤﻥ ﻫﻭ "ﺃﻜﺜﺭ ﺒﺅﺴﹰﺎ ﻤﻨﻲ" .ﺇﻥ ﺍﻻﺘﺠﺎﻩ ﺍﻷﺨﻼﻗﻲ ﺍﻝﺫﻱ ﻴﺒﺩﻭ ﺴﻤﺔ ﻝﺒﻌﺽ ﺍﻝﺸﺨﺼﻴﺎﺕ ﻫﻭ ﻓﻘﻁ ،ﻓﻲ
ﺍﻝﻌﻤﻕ ،ﺸﻜل ﻤﻥ ﺃﺸﻜﺎل ﻗﺩﺭﻫﺎ ،ﻤﻴل ﺇﻝﻰ ﺍﻝﻨﻘﺎﺀ ﻭﺇﻝﻰ ﺍﻝﻨﺯﺍﻫﺔ .ﺇﻥ ﻫﺅﻻﺀ ﺍﻝﻤﺘﻤﻴﺯﻴﻥ ﻻ ﻴﻌﻴﺒﻭﻥ ﻋﻠﻰ ﺍﻵﺨـﺭﻴﻥ
"ﺭﺩﺍﺀﺘﻬﻡ" ،ﻭﺃﻗﺼﻰ ﻤﺎ ﻴﻔﻌﻠﻭﻨﻪ ﻫﻭ ﺇﺼﺭﺍﺭﻫﻡ ﻋﻠﻰ ﺍﻝﻨﻀﺎل ﻀﺩ ﻫﺫﻩ ﺍﻝﺭﺩﺍﺀﺓ.
ﺍﻝﻤﺭﺠﻌﻴﺔ ﺍﻝﻭﺤﻴﺩﺓ ﻝﻬﺅﻻﺀ ﺍﻝﻨﺎﺱ ﻫﻲ ﺍﻝﺤﻴﺎﺓ ،ﻫﺫﻩ ﺍﻝﺤﻴﺎﺓ ﺍﻝﺘﻲ ﻨﻌﺘﻘﺩ ﺃﻨﻬﺎ ﺘﺄﻨﺴﻨﺕ ﻋﻥ ﻁﺭﻴـﻕ ﺍﻷﺨـﻼﻕ
ﻭﺍﻝﻨﻅﺎﻡ ﺍﻻﺠﺘﻤﺎﻋﻲ ،ﺃﻤﺎ ﺍﻝﻔﻭﻀﻰ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺍﻝﺘﻲ ﺘﻨﺘﺞ ﺍﻝﺒﺅﺱ ﻓﺴﺒﺒﻬﺎ ﺍﻝﺨﺼﺎﺌﺹ ﺍﻷﺼﻠﻴﺔ ،ﺍﻝﺘﻲ ﻫـﻲ ﺃﺸـﺒﻪ
ﺝ ﻤﻨﻪ ﺴﻴﻑﹲ ﻤﻥ ﻨﺎﺭ.
ﺒﻔﺭﺩﻭﺱ ﺠﻬﻨﻤﻲ ﺃﺭﻀﻲ ﻴﻌﻴﻕ ﺍﻝﺨﺭﻭ
ﻤﻥ ﺍﻝﻌﺒﺙ ﺃﻥ ﻨﻨﺴﺏ ﺇﻝﻰ ﺒﻭﻨﻭﻴل ﺍﻝﻤﻴل ﺍﻝﺸﺩﻴﺩ ﺇﻝﻰ ﺍﻝﻘﺴﻭﺓ .ﺼﺤﻴﺢ ﻤﺎ ﻴﺒﺩﻭ ﻤﻥ ﺃﻨﻪ ﻴﺨﺘﺎﺭ ﻤﻭﺍﻗﻔﻪ ﺒﺴـﺒﺏ
ﺸﺩﺓ ﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﺭﻋﺏ؛ ﻫل ﻫﻨﺎﻙ ﺃﻜﺜﺭ ﺒﺸﺎﻋﺔ ﻤﻥ ﻁﻔل ﻴﺴﻲﺀ ﻤﻌﺎﻤﻠﺔ ﺭﺠل ﺃﻋﻤﻰ؟ ﻭﻤﻥ ﺃﻋﻤﻰ ﻴﻨﺘﻘﻡ ﻤﻥ ﻁﻔل!
ﻭﺠﺴﺩ ﺒﻴﺩﺭﻭ ﺍﻝﺫﻱ ﻗﺘﻠﻪ ﺨﺎﻴﺒﻭ ﻴﺴﺤﺏ ﺇﻝﻰ ﺍﻝﻌﺭﺍﺀ ،ﺇﻝﻰ ﻤﺯﺒﻠﺔ ،ﺒﻴﻥ ﺍﻝﻘﻁﻁ ﺍﻝﻤﻴﺘﺔ ﻭﺒﻘﺎﻴﺎ ﺍﻝﺼﻔﻴﺢ ﺍﻝﺼﺩﺉ .ﻝﻜـﻥ
ﺍﻝﻘﺴﻭﺓ ﻝﻴﺴﺕ ﻤﻥ ﺒﻭﻨﻭﻴل ،ﺇﻨﻪ ﻓﻘﻁ ﻴﻜﺸﻔﻬﺎ ﻝﻠﻌﺎﻝﻡ ،ﻴﺨﺘﺎﺭ ﺍﻷﻜﺜﺭ ﺒﺸﺎﻋﺔ ﺒﻐﺭﺽ ﺇﺩﺭﺍﻙ ﺍﻝﻤﺩﻯ ﺍﻝـﺫﻱ ﻴﻤﻜـﻥ ﺃﻥ
ﻴﺼل ﺇﻝﻴﻪ ﺍﻝﺸﻘﺎﺀ ﻓﻲ ﺍﻝﺸﺭﻁ ﺍﻹﻨﺴﺎﻨﻲ .ﻜﺎﻥ ﻫﺫﺍ ﺍﻝﻐﺭﺽ ﻭﺍﻀﺤﹰﺎ ﻓﻲ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ،ﻓﺎﻷﻤﺭ ﺴﻴﺎﻥ ﺒﺎﻝﻨﺴـﺒﺔ
ﺇﻝﻴﻪ ﺇﻥ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﻘﺭﻴﺔ ﺍﻝﺒﺎﺌﺴﺔ ﺍﻝﻤﺘﺨﻠﻔﺔ ﺘﻤﺜل ﺍﻝﻔﻼﺡ ﺍﻹﺴﺒﺎﻨﻲ ﺘﺤﺩﻴﺩﺍﹰ ،ﺃﻡ ﻻ .ﻤﺎ ﻜﺎﻥ ﻫﺎﻤﹰﺎ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴـﻪ ﻫـﻭ
ﺤﺠﻡ ﻤﺎ ﻓﻲ ﻫﺫﺍ ﺍﻝﻌﺎﻝﻡ ﻤﻥ ﺒﺅﺱ .ﻭﻫﻜﺫﺍ ،ﻓﻔﻲ ﻤﻜﺎﻥ ﻤﺎ ﺒﻴﻥ ﺒﺎﺭﻴﺱ ﻭﻤﺩﺭﻴﺩ ،ﻜﺎﻥ ﻴﻤﻜﻥ ﺃﻥ ﻨﺠﺩ ﺃﻗﺼﻰ ﺩﺭﺠﺎﺕ
ﺍﻝﺘﺨﻠﻑ ﺍﻹﻨﺴﺎﻨﻲ ،ﻭﻝﻴﺱ ﻓﻲ ﺍﻝﺘﻴﺒﺕ ﺃﻭ ﺁﻻﺴﻜﺎ ﺃﻭ ﺃﻓﺭﻴﻘﻴﺎ ﺍﻝﺠﻨﻭﺒﻴﺔ .ﺃﻨﺎﺱ ،ﻤﺜﻠﻨﺎ ،ﻴﻨﺘﻤﻭﻥ ﺇﻝﻰ ﻨﻔﺱ ﺍﻝﺤﻀـﺎﺭﺓ،
ﺘﺤﻭﻝﻭﺍ ﺇﻝﻰ ﺭﻋﺎﺓ ﺨﻨﺎﺯﻴﺭ ﺒﹶﻠﻬﺎﺀ ،ﻴﺄﻜﻠﻭﻥ ﺍﻝﻜﺭﺯ ﺍﻷﺨﻀﺭ ،ﻭﻫﻡ ﻤﻥ ﺍﻝﺒﻼﺩﺓ ﺒﺤﻴﺙ ﺃﻨﻬﻡ ﻏﻴﺭ ﻗﺎﺩﺭﻴﻥ ﻋﻠﻰ ﺇﺯﺍﺤﺔ
ﺍﻝﺫﺒﺎﺏ ﻋﻥ ﻭﺠﻭﻫﻬﻡ .ﻝﻴﺱ ﻤﻬﻤﹰﺎ ﺇﻥ ﻜﺎﻥ ﻫﺫﺍ ﺍﺴﺘﺜﻨﺎﺀ ،ﻤﺎ ﻴﻬﻡ ﻫﻭ ﺃﻨﻪ ﻤﻭﺠﻭﺩ ،ﻭﻤﺎ ﺘﺒﺤﺙ ﻋﻨﻪ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﻝـﺩﻯ
ﺒﻭﻨﻭﻴل ﻫﻭ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﻋﻤﻕ ﺍﻝﺤﻘﻴﻘﺔ .ﺇﻥ ﺍﻝﺤﻠﻡ ﺍﻝﻬﺫﻴﺎﻨﻲ ﻝـ"ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ﻫﻭ ﻏﻭﺹ ﻓﻲ ﺍﻝﺭﻭﺡ ﺍﻹﻨﺴـﺎﻨﻴﺔ،
ﻜﻤﺎ ﺃﻥ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻭ"ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻫﻤﺎ ﺴﺒﺭ ﻝﻺﻨﺴﺎﻥ ﺩﺍﺨل ﺍﻝﻤﺠﺘﻤﻊ.
ﺇﻻ ﺃﻥ ﻗﺴﻭﺓ ﺒﻭﻨﻭﻴل ﻫﻲ ﻤﻭﻀﻭﻋﻴﺔ ﻜﻠﻴﺎﹰ ،ﺇﻨﻬﺎ ﺼﺤﻭﺓ ﻭﻝﻴﺱ ﻓﻴﻬﺎ ﺃﻱ ﻗﺩﺭ ﻤـﻥ ﺍﻝﺘﺸـﺎﺅﻡ ،ﻭﺇﺫﺍ ﻜﺎﻨـﺕ
ﺍﻝﺭﺤﻤﺔ ﺘﺨﺭﺝ ﻋﻥ ﺇﻁﺎﺭ ﺃﺴﻠﻭﺒﻪ ﺍﻝﺠﻤﺎﻝﻲ ﻓﺫﻝﻙ ﻷﻨﻬﺎ ﺘﻐﻤﺭ ﻜل ﺸﻲﺀ .ﻫﺫﻩ ﺍﻝﻤﻼﺤﻅـﺔ ﺘﺼـﻠﺢ ﻋﻠـﻰ ﺍﻷﻗـل
ﻝـ"ﺍﻝﻤﻨﺴﻴﻭﻥ" ،ﺇﺫ ﻴﺒﺩﻭ ﻝﻲ ﺃﻨﻪ ﺤﻘﻕ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺠﺎل ﺘﻁﻭﺭﹰﺍ ﺒﺎﻝﻤﻘﺎﺭﻨﺔ ﻤﻊ"ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﺍﻝﺫﻱ ﻜـﺎﻥ ﻝـﺭﻓﺽ
ﺍﻝﺭﺤﻤﺔ ﻓﻴﻪ ﺃﻫﻤﻴﺔ ﻓﻲ ﺍﻝﺘﺤﺭﻴﺽ ﺍﻝﺠﻤﺎﻝﻲ .ﺃﻤﺎ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻓﻬﻭ ﻓﻴﻠﻡ ﺤﺏ ﻭﺍﺴﺘﺩﻋﺎﺀ ﻝﻠﺤﺏ .ﻝﻴﺱ ﻫﻨﺎﻙ ﻤـﺎ ﻫـﻭ
ﺃﻜﺜﺭ ﺘﻌﺎﺭﻀﹰﺎ ﻤﻊ ﺍﻝﺘﺸﺎﺅﻡ "ﺍﻝﻭﺠﻭﺩﻱ" ﻤﻥ ﺍﻝﻘﺴﻭﺓ ﻝﺩﻯ ﺒﻭﻨﻭﻴل .ﻭﻷﻨﻪ ﻻ ﻴﺘﻔﺎﺩﻯ ﺸﻴﺌﺎﹰ ،ﻭﻴﺘﺠﺭﺃ ﻋﻠﻰ ﺇﻅﻬﺎﺭ ﺍﻝﻭﺍﻗﻊ
ﺒﻤﺒﻀﻊ ﺠﺭﺍﺡ ،ﻓﻬﻭ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻌﻭﺩ ﻝﻤﻼﻗﺎﺓ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﻜل ﻋﻅﻤﺘﻪ ،ﻭﻴﺠﺒﺭﻨﺎ ﻋﻠﻰ ﺍﻝﺤﺏ ﻭﺍﻹﻋﺠﺎﺏ ،ﻋﺒـﺭ
ﺸﻲﺀ ﻤﻥ ﺍﻝﺠﺩﻝﻴﺔ ﺍﻝـ"ﺒﺎﺴﻜﺎﻝﻴﺔ") .(1ﺇﻥ ﺍﻹﺤﺴﺎﺱ ﺍﻝﺫﻱ ﻴﺘﺩﻓﻕ ﻤﻥ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻭ"ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻫﻭ ﺍﻹﺤﺴـﺎﺱ
ﺍﻝﻤﺘﻌﻠﻕ ﺒﺎﻝﻜﺭﺍﻤﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﻝﺘﻲ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﺫﻭﻱ .ﻓﻲ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻨﺸﺎﻫﺩ ﺍﻤﺭﺃﺓ ﺫﺍﻫﻠﺔ ﺘﻀﻊ ﻋﻠﻰ ﺭﻜﺒﺘﻴﻬﺎ
)(2
ﺇﺴﺒﺎﻨﻴﺔ ،ﺒﻨﺒﻠﻬﺎ ﻭﺘﻨﺎﺴﻘﻬﺎ ﺠﺴﺩ ﻁﻔﻠﻬﺎ ﺍﻝﻤﻴﺕ ،ﻝﻜﻥ ﻫﺫﺍ ﺍﻝﻭﺠﻪ ﺍﻝﺫﺍﻫل ﻤﻥ ﺍﻝﺒﺅﺱ ﻭﺍﻷﻝﻡ ﻓﻴﻪ ﻜل ﺠﻤﺎل ""Pieta
ﺍﻝﻤﺅﺜﺭﻴﻥ .ﻭﺒﻨﻔﺱ ﺍﻝﻁﺭﻴﻘﺔ ،ﻨﺸﺎﻫﺩ ﻓﻲ "ﺍﻝﻤﻨﺴﻴﻭﻥ"
ﺍﻝﻭﺠﻭﻩ ﺍﻷﻜﺜﺭ ﺇﺜﺎﺭﺓ ﻝﻠﺭﻋﺏ ﺫﺍﺕ ﻤﺤﻴﺎ ﺇﻨﺴﺎﻨﻲ .ﻫﺫﺍ ﺍﻝﺤﻀﻭﺭ ﻝﻠﺠﻤﺎل ﻓﻲ ﻤﺎ ﻫﻭ ﻓﻅﻴﻊ )ﻭﺍﻝﺫﻱ ﻝﻴﺱ ﻫﻭ ﻓﻘـﻁ
ﺠﻤﺎل ﻤﺎ ﻫﻭ ﻓﻅﻴﻊ( ،ﻫﺫﺍ ﺍﻝﺩﻭﺍﻡ ﻝﻠﻨﺒل ﺍﻹﻨﺴﺎﻨﻲ ﻓﻲ ﺍﻻﻨﺤﻁﺎﻁ ،ﻴﺤ ﻭل ﺍﻝﻘﺴﻭﺓ ،ﺠﺩﻝﻴﺎﹰ ،ﺇﻝﻰ ﻓﻌل ﺤـﺏ ﻭﺸـﻔﻘﺔ،
ﻰ ﺴﺎﺩﻴﹰﺎ ﺃﻭ ﺴﺨﻁﹰﺎ ﻤﻨﺎﻓﻘﹰﺎ.
ﻭﻝﻬﺫﺍ ﻓـ"ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻻ ﻴﺜﻴﺭ ﻝﺩﻯ ﺍﻝﺠﻤﻬﻭﺭ ﺭﻀ
ﻝﻘﺩ ﺃﺸﺭﻨﺎ ﺨﻼل ﺍﻝﺴﻴﺎﻕ ﺇﻝﻰ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ،ﺍﻝﺘﻲ ﻴﻤﺜل ﺒﻭﻨﻭﻴل ﺘﺎﺭﻴﺨﻴﹰﺎ ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﻗﻠﺔ ﺒﻴﻥ ﻤﻤﺜﻠﻴﻬﺎ ﺍﻝﻜﺒـﺎﺭ،
ﻻ ﺃﻨﻨﺎ ﻨﺭﻏﺏ ،ﻝﻼﺴﺘﻜﻤﺎل ،ﺒﺄﻥ ﻨﺸﻴﺭ ﺇﻝﻰ ﻀﺭﻭﺭﺓ ﻋﺩﻡ ﺍﻻﻗﺘﺼﺎﺭ
ﻷﻨﻪ ﻝﻡ ﻴﻜﻥ ﺒﺎﻹﻤﻜﺎﻥ ﺘﺠﻨﺏ ﻫﺫﻩ ﺍﻝﻤﺭﺠﻌﻴﺔ .ﺇ ﹼ
ﻋﻠﻴﻬﺎ ،ﺇﺫ ﺇﻥ ﻫﻨﺎﻙ ﻤﺎ ﻫﻭ ﺃﺒﻌﺩ ﻤﻥ ﺍﻝﺘﺄﺜﻴﺭﺍﺕ ﺍﻝﻐﺭﺒﻴﺔ ) ﺍﻝﺘﻲ ﻜﺎﻥ ﻝﻬﺎ ﺩﻭﻥ ﺸﻙ ﺤﻀﻭﺭﻫﺎ ﺍﻝﻤﺜﺭﻱ( ،ﻓﻘﺩ ﻜـﺎﻥ
ﻝﺩﻯ ﺒﻭﻨﻭﻴل ﺘﻤﺎﺯﺝ ﻋﻤﻴﻕ ﺒﻴﻥ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﻭﻤﺠﻤل ﺍﻝﺘﻘﺎﻝﻴﺩ ﺍﻹﺴﺒﺎﻨﻴﺔ؛ ﺒﻤﺎ ﻓﻲ ﻫﺫﻩ ﺍﻝﺘﻘﺎﻝﻴﺩ ﻤﻥ ﻤﻴل ﺇﻝﻰ ﻤـﺎ ﻫـﻭ
ﻤﺨﻴﻑ ،ﻭﺍﺘﺠﺎﻩ ﺇﻝﻰ ﺍﻝﻘﺴﻭﺓ ،ﻭﺒﺤﺙ ﻋﻥ ﺍﻝﺠﻭﺍﻨﺏ ﺍﻷﻜﺜﺭ ﺘﻁﺭﻓﹰﺎ ﻝﺩﻯ ﺍﻷﺸﺨﺎﺹ؛ ﻭﻫﺫﺍ ﻜﻠﻪ ﻫﻭ ﺃﻴﻀـﹰﺎ ﺘـﺭﺍﺙ
"ﻏﻭﻴﺎ" ﻭ"ﺜﻭﺭﺒﺎﺭﺍﻥ" ﻭ"ﺭﻴﺒﻴﺭﺍ" ،ﺍﻝﺫﻴﻥ ﻋﺒﺭﻭﺍ ﻋﻥ ﺍﻝﺤﺱ ﺍﻝﻤﺄﺴﺎﻭﻱ ﻝﻠﻜﺎﺌﻥ ﺍﻹﻨﺴﺎﻨﻲ ﻓﻲ ﺃﻜﺜﺭ ﺃﺸـﻜﺎﻝﻪ ﺘﻁﺭﻓـﹰﺎ:
ﺍﻝﺤﺭﺏ ،ﻭﺍﻝﻤﺭﺽ ،ﻭﺍﻝﺸﻘﺎﺀ ﻭﺁﻓﺎﺘﻪ .ﻝﻜﻥ ﺍﻝﻘﺴﻭﺓ ﻝﺩﻯ ﻫﺅﻻﺀ ﺍﻝﺭﺴﺎﻤﻴﻥ ،ﻜﺎﻨﺕ ﻓﻘﻁ ﻤﻘﻴﺎﺴﹰﺎ ﻝﻠﺜﻘـﺔ ﺍﻝﺘـﻲ ﻜـﺎﻨﻭﺍ
ﻴﻀﻌﻭﻨﻬﺎ ﻓﻲ ﺍﻹﻨﺴﺎﻥ ،ﻭﻓﻲ ﺍﻝﺭﺴﻡ.
)(1951 – Esprit
ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ
ﺭﺒﻤﺎ ﻴﻜﻭﻥ ﻤﻥ ﺍﻝﻤﻔﻴﺩ ﺍﻝﺘﺄﻜﻴﺩ ﻋﻠﻰ ﺃﻥ ﻋﻭﺩﺓ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ،ﺍﻝﺘﻲ ﺃﺨﺫﺕ ﻤﻨﺫ ﻋﺎﻤﻴﻥ ﺘﻠﻘﻰ ﺘﻘﺩﻴﺭﹰﺍ ﺨﺎﺼﹰﺎ
ﻓﻲ ﺍﻝﻤﻬﺭﺠﺎﻨﺎﺕ ،ﻭﺍﻫﺘﻤﺎﻤﹰﺎ ﻤﺴﺘﺤﻘﹰﺎ ﻝﺩﻯ ﺍﻝﻨﻘﺎﺩ ﻭﺍﻝﺠﻤﻬﻭﺭ ،ﺇﻨﻤﺎ ﻜﺎﻨﺕ ﺒﻔﻀل ﺭﺠل ﺃﺨﺫ ﻴﻘﺩﻡ ،ﺒﺸﻜل ﻻﻓﺕ ،ﻨﻘﻴﺽ
ﻤﺎ ﻗﺩﻤﻪ ﺍﻝﻁﺎﻗﻡ ﺍﻝﺸﻬﻴﺭ ﻓﻴﺭﻨﺎﻨﺩﻴﺙ -ﻓﻴﻐﻭﻴﺭﻭﺍ .ﺼﺤﻴﺢ ﺃﻥ ﻓﻴﻐﻭﻴﺭﻭﺍ ﻜﺎﻥ ﻤﺼﻭﺭ ﺒﻭﻨﻭﻴل ﻓﻲ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ،ﺇﻻ ﺃﻥ
ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻝﻡ ﻴﺘﻤﻜﻥ ﻤﻥ ﺇﻋﻁﺎﺌﻪ -ﻤﺭﺓ ﺃﺨﺭﻯ -ﺠﺎﺌﺯﺓ "ﺃﻓﻀل ﺘﺼﻭﻴﺭ" ،ﻭﻻ ﻨﻌﻠﻡ ﺒﺼﻭﺭﺓ ﺩﻗﻴﻘﺔ ﻤﺎ ﺍﻝﺫﻱ ﻜـﺎﻥ
ﻴﻔﻌﻠﻪ ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ "ﺃﻓﻀل ﻤﺼﻭﺭ ﻓﻲ ﺍﻝﻌﺎﻝﻡ".
) (1ﻨﺴﺒﺔ ﺇﻝﻰ ﺍﻝﻔﻴﻠﺴﻭﻑ ﻭﺍﻝﺭﻴﺎﻀﻲ ﻭﺍﻝﻜﺎﺘﺏ ﺍﻝﻔﺭﻨﺴﻲ ) .(1662 -1623) Blaise Pascalﺍﻝﻤﺘﺭﺠﻡ(
) (2ﻓﻲ ﺇﺸﺎﺭﺓ ﺇﻝﻰ ﻝﻭﺤﺔ ﺍﻝﻔﻨﺎﻥ ﺍﻹﻴﻁﺎﻝﻲ ﺍﻝﻌﻅﻴﻡ ﻤﻴﻜﻴل ﺁﻨﺠﻠﻭ ) ،(1564-1475ﺍﻝﺘﻲ ﺘﻤﺜل ﺍﻝﺴﻴﺩﺓ ﺍﻝﻌﺫﺭﺍﺀ ﺠﺎﻝﺴﺔ ،ﻭﻋﻠﻰ ﺭﻜﺒﺘﻴﻬﺎ
ﺍﻝﺴﻴﺩ ﺍﻝﻤﺴﻴﺢ ﻤﻴﺘﹰﺎ ﺒﻌﺩ ﺇﻨﺯﺍﻝﻪ ﻋﻥ ﺍﻝﺼﻠﻴﺏ) .ﺍﻝﻤﺘﺭﺠﻡ(
ﻝﻘﺩ ﺘﻼﺸﺕ ﺍﻝﻤﻔﺎﺠﺄﺓ ﻭﺍﻹﻋﺠﺎﺏ ﺍﻝﻠﺫﺍﻥ ﺃﺜﺎﺭﻫﻤﺎ ﺍﻹﻨﺘﺎﺝ ﺍﻝﻤﻜﺴﻴﻜﻲ ﺒﻌﺩ ﺍﻝﺤﺭﺏ ﻤﺒﺎﺸﺭﺓ ﺒﻜل ﺃﺴﻑ ،ﻷﻨﻬﻤـﺎ
ﻀّﻠﻠﺕ
ﻜﺎﻨﺎ ﻗﺎﺌﻤﻴﻥ ،ﻓﻲ ﺠﺎﻨﺏ ﻜﺒﻴﺭ ﻤﻨﻬﻤﺎ ،ﻋﻠﻰ ﻭﻫﻡ .ﻭﻝﻴﺱ ﻤﻥ ﺍﻝﻤﻔﺎﺠﺊ ﺃﻥ ﻝﺠﺎﻥ ﺍﻝﺘﺤﻜﻴﻡ ﻓﻲ ﺍﻝﻤﻬﺭﺠﺎﻨﺎﺕ ﻗﺩ
ﻝﻤﺩﺓ ﻋﺎﻤﻴﻥ ،ﻷﻨﻬﺎ ﺘﻀﻡ ﺃﻨﺎﺴﹰﺎ ﻴﺨﻠﻁﻭﻥ ﺒﻴﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺘﺼﻭﻴﺭ .ﻜﺎﻥ ﻤﻥ ﺍﻝﺴﻬل ﺃﻥ ﻨﺸﺎﻫﺩ ،ﻋﺎﻤﹰﺎ ﺒﻌﺩ ﻋﺎﻡ ،ﻜﻴﻑ
ﺃﻥ ﺍﻝﺠﻤﺎﻝﻴﺎﺕ ﺍﻝﺸﻜﻠﻴﺔ ،ﻭﺍﻝﺒﻼﻏﺔ ﺍﻝﻭﻁﻨﻴﺔ ،ﻴﺤﻼﻥ ﻤﺤل ﺍﻝﻭﺍﻗﻌﻴﺔ ﻭﺍﻝﺸﻌﺭﻴﺔ؛ ﻭﺍﻨﺘﻬﺕ ﺍﻝﻤﻔﺎﺠﺄﺓ ﺍﻝﺩﺨﻴﻠﺔ ،ﻭﺘﺭﺍﺠﻌﺕ
ﻤﺂﺜﺭ ﻓﻴﻐﻭﻴﺭﻭﺍ ﺇﻝﻰ ﻤﺠﺭﺩ ﺃﻋﻤﺎل ﺘﺘﺼﻑ ﺒﺎﻝﺠﺭﺃﺓ ﺍﻝﺘﻘﻨﻴﺔ ،ﻭﺍﺴ ﹸﺘﺒﻌﺩﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ﻋﻥ ﺍﻝﺠﻐﺭﺍﻓﻴﺎ ﺍﻝﻨﻘﺩﻴﺔ.
ﺤﻴﻨﺌﺫ ،ﺠﺭﻯ ﺘﺼﻭﻴﺭ ﻓﻴﻠﻡ ﺒﺴﻴﻁ ﻓﻲ ﺯﻤﻥ ﻗﻴﺎﺴﻲ ﻭﺒﺘﻜﺎﻝﻴﻑ ﻗﻠﻴﻠﺔ ﻤـﻥ ﻗﺒـل ﻤﺨـﺭﺝ ﻜـﺎﻥ ﺍﻝﻤﻨﺘﺠـﻭﻥ
ﺍﻝﻤﻜﺴﻴﻜﻴﻭﻥ ﻴﺜﻘﻭﻥ ﺒﻪ ﻓﻘﻁ ﻓﻲ ﺘﺤﻘﻴﻕ ﺃﻓﻼﻡ ﺘﺠﺎﺭﻴﺔ ،ﻭﺇﺫ ﺒﻪ ﻴﺤﺼل ﻋﻠﻰ ﺍﻝﺠﺎﺌﺯﺓ ﺍﻷﻭﻝﻰ ﻓﻲ ﻤﻬﺭﺠـﺎﻥ ﻜـﺎﻥ
ﻭﻴﺤﻘﻕ ﻓﻲ ﺒﺎﺭﻴﺱ ﺃﺤﺩ ﺃﻜﺒﺭ ﻨﺠﺎﺤﺎﺕ ﺍﻝﻤﻭﺴﻡ .ﻭﻫﻜﺫﺍ ﻋﺎﺩ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ﺒﻔﻀل ﻝﻭﻴﺱ ﺒﻭﻨﻭﻴل.
ﺇﻥ ﺤﺎﻝﺔ ﻫﺫﺍ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻨﺎﺩﺭﺓ ،ﻭﺘﻨﻘﺼﻨﺎ ﺒﻌﺽ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ،ﻭ"ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ﻝﻥ ﻴﺴﺎﻋﺩﻨﺎ ﻓـﻲ ﻫـﺫﺍ
ﺍﻝﻤﺠﺎل .ﻓﺎﻝﻭﺤﺩﺓ ﻭﺍﻝﻤﺜﺎﺒﺭﺓ ﻝﻺﻝﻬﺎﻡ ﻝﺩﻯ ﻤﺅﻝﻑ "ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ﻭ"ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﺘﻔﺎﺠﺌﺎﻨﻨﺎ ﺒﺎﻝﺩﺭﺠﺔ ﺍﻷﻭﻝﻰ ﻓـﻲ
ﺃﻨﻪ ،ﻭﺒﻌﺩ ﺨﻤﺴﺔ ﻋﺸﺭ ﻋﺎﻤﹰﺎ ﻤﻥ ﺍﻝﻬﺠﺭﺓ ﺇﻝﻰ ﺍﻝﻅل ﻭﺍﻝﻌﻤل ﺩﻭﻥ ﺘﻭﻗﻴﻊ ،ﻴﻌﻭﺩ ﺇﻝﻰ ﻫﺫﺍ ﺍﻝﺼﻌﻭﺩ ﻏﻴﺭ ﺍﻝﻤﺘﻭﻗـﻊ،
ﻻ ﺫﺍﺕ ﺘﻜـﺎﻝﻴﻑ
ﻭﺍﻝﺫﻱ ﻝﻪ ﻨﻀﺎﺭﺓ ﺍﻝﺒﺩﺍﻴﺔ .ﻜﺎﻨﺕ ﺃﻓﻼﻡ "ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ﻭ"ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ﻭ"ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﺃﻋﻤﺎ ﹰ
ﻤﺤﺴﻭﺒﺔ ﺠﺩﺍﹰ ،ﻻﻤﻌﺔ ،ﻝﻜﻥ ﺩﻭﻥ ﻋﻨﺎﻴﺔ ﻜﺎﻓﻴﺔ ،ﺇﻻ ﺃﻥ ﺍﻝﻔﻴﻠﻤﻴﻥ ﺍﻝﻤﻜﺴﻴﻜﻴﻴﻥ ﻝﺒﻭﻨﻭﻴل ﻴﺘﻤﻴﺯﺍﻥ ﺒﺎﻝﻤﻘﺎﺒل ،ﻭﺒﺎﻝﺩﺭﺠـﺔ
ﺍﻷﻭﻝﻰ ،ﺒﺎﻷﻓﻀﻠﻴﺔ ﺍﻝﻤﻁﻠﻘﺔ ﺍﻝﻤﻌﻁﺎﺓ ﻝﻠﺒﻨﻴﺔ ﺍﻝﺸﺎﻋﺭﻴﺔ ،ﻭﺍﻝﻌﻤل ﻋﻠﻰ ﺍﻝﺸﻜل ،ﻭﻋﻠﻰ ﺃﺴﺱ ﻤﻥ ﺍﻝﻤﺼﺩﺍﻗﻴﺔ ﺍﻝﻤﻨﻁﻘﻴﺔ
ﻭﺍﻝﻨﻔﺴﻴﺔ .ﻜﻨﺎ ﻨﻌﺭﻑ ﺃﻥ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﺠﺭﻯ ﺘﺼﻭﻴﺭﻩ ﺒﺴﺭﻋﺔ ﻓﺎﺌﻘﺔ ﻭﺩﻭﻥ ﺘﻜﻠﻔﺔ ﻤﺎﻝﻴﺔ ﻜﺒﻴﺭﺓ ،ﻭﻫﺫﺍ ﻤﺎ ﻴﻤﻜـﻥ ﺃﻥ
ﻴﺒﺭﺭ ﺒﻌﺽ ﻨﻘﺎﻁ ﺍﻝﻀﻌﻑ ﺍﻝﺜﺎﻨﻭﻴﺔ ﻓﻴﻪ .ﺇﻻ ﺃﻨﻨﺎ ﻓﻲ ﻫﺫﻩ ﺍﻝﻤﺭﺓ ﻻ ﻨﺠﺩ ﻓﻲ ﻤﺴﺄﻝﺘﻲ ﺍﻝﻭﻗﺕ ﻭﺍﻝﺘﻤﻭﻴل ﻤـﺎ ﻴﻜﻔـﻲ
ﺨﻭﺍﻥ ﻜﺒﻴﺭﺍﻥ "ﺴﻴﺌﺎﻥ" ﻴﺤﺎﻭﻻﻥ ﺍﻻﺴـﺘﻴﻼﺀ ﻋﻠـﻰ
ﻝﺘﻔﺴﻴﺭ ﺍﺴﺘﻬﺘﺎﺭ ﺒﻭﻨﻭﻴل ﻓﻲ ﻗﺒﻭﻝﻪ ﻝﻬﺫﻩ ﺍﻝﺤﻜﺎﻴﺔ ﺍﻝﻤﺘﻭﺍﻀﻌﺔَ :ﺃ ﹶ
ﻤﻴﺭﺍﺙ ﺃﺨﻴﻬﻤﺎ ﺍﻷﺼﻐﺭ ﻀﺩ ﺇﺭﺍﺩﺓ ﺍﻷﻡ ،ﺍﻝﺘﻲ ﺘﺤﺘﻀﺭ .ﻜﺎﻥ ﻋﻠﻰ ﺍﻝﺸﺎﺏ ﺃﻥ ﻴﺘﺭﻙ ﺯﻭﺠﺘﻪ ﻝﻴﻠﺔ ﺍﻝﺯﻓﺎﻑ ،ﻝﻴﺫﻫﺏ
ﻋﻠﻰ ﺍﻤﺘﺩﺍﺩ ﻴﻭﻡ ﻜﺎﻤل ،ﻓﻲ ﺤﺎﻓﻠﺔ ﺭﻜﺎﺏ ،ﻜﻲ ﻴﺴﺘﺸﻴﺭ ﺍﻝﻜﺎﺘﺏ ﺒﺎﻝﻌﺩل ﺍﻝﺫﻱ ﻴﺘﺎﺒﻊ ﺃﻤﻭﺭ ﺍﻝﻌﺎﺌﻠﺔ .ﻫﺫﻩ ﻫﻲ ﻨﻘﻁـﺔ
ﺍﻻﻨﻁﻼﻕ ﻝﻤﻭﻀﻭﻉ ﺍﻝﻔﻴﻠﻡ ،ﺍﻝﻤﺒﻨﻲ ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﺭﺤﻠﺔ ،ﻭﻋﻠﻰ ﺍﻝﺤﻭﺍﺩﺙ ﺍﻝﻤﺘﻌﺩﺩﺓ ﺍﻝﺘﻲ ﺘﺴﺒﺒﺕ ﻓﻲ ﺘﺄﺨﻴﺭ ﻭﺼـﻭل
ﺍﻝﺤﺎﻓﻠﺔ :ﻤﺨﺎﺽ ﺍﻤﺭﺃﺓ ،ﺍﻻﻀﻁﺭﺍﺭ ﺇﻝﻰ ﻋﺒﻭﺭ ﻤﺠﺭﻯ ﻤﺎﺌﻲ ،ﻋﺎﺼﻔﺔ ﻓﻲ ﻤﺭﻓﺄ "ﺍﻝﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ،ﺠﻨـﺎﺯﺓ
ﻁﻔﻠﺔ ،ﺍﻹﻫﻤﺎل ﺍﻝﺫﻱ ﻴﺘﺼﻑ ﺒﻪ ﺍﻝﺴﺎﺌﻕ.
ﻋﻠﻰ ﺃﻥ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻤﻥ ﺍﻝﺤﻜﺎﻴﺔ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻝﻪ ﻤﻨﻁﻘﻪ ﻭﺒﻨﺎﺅﻩ ،ﻝﻜﻥ ﺒﻭﻨﻭﻴل ﻻ ﻴﺒـﺩﻱ ﺍﻫﺘﻤﺎﻤـﹰﺎ ﺒﻬـﺫﺍ
ﺍﻷﻤﺭ ،ﺇﺫ ﺘﻨﺘﻅﻡ ﻤﻘﺎﻁﻊ ﺍﻝﻔﻴﻠﻡ ﻜﺤﺒﺎﺕ ﺍﻝﻠﺅﻝﺅ ﻓﻲ ﺨﻴﻁ ﻫﺵ ﻝﺤﺒﻜﺔ ﻏﻴﺭ ﻤﺘﻤﺎﺴﻜﺔ.
ﻝﻘﺩ ﻜﺎﻥ ﻝﻬﺫﻩ ﺍﻻﻨﺘﻘﺎﺩﺍﺕ ﺃﻥ ﺘﺼﺒﺢ ﺃﺴﺎﺴﻴﺔ ﻝﻭ ﺃﻨﻬﺎ ﺘﺅﺜﺭ ﺒﺸﻜل ﺤﻘﻴﻘﻲ ﻋﻠﻰ ﻤﺎ ﻨﺸﺎﻫﺩﻩ ،ﻝﻜﻥ ﺍﻝﻔﻴﻠﻡ ﻴـﺫﻫﺏ
ﻓﻲ ﺍﺘﺠﺎﻩ ﺁﺨﺭ؛ ﻓﺠﻭﻫﺭ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻴﺤﺘﻠﻪ ﺤﻠﻡ ،ﺃﻁﻭل ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺤﻠﻡ ﺍﻝﺫﻱ ﻴﺘﻀﻤﻨﻪ "ﺍﻝﻤﻨﺴﻴﻭﻥ" - ،ﻭﻫﻭ ﺒﻼ ﺸﻙ
ﺃﺭﻭﻉ ﻤﺎ ﺸﺎﻫﺩﻨﺎﻩ ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺠﺎل ،-ﻝﻜﻥ ﺭﺒﻤﺎ ﻗﺩ ﻴﻜﻭﻥ ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﻨﻅﺭ ﺇﻝﻰ ﺒﻨﻴﺔ ﺍﻝﻔـﻴﻠﻡ ﻜﻬـﺫﻴﺎﻥ
ﺤﻠﻤﻲ ،ﻭﺃﻥ ﺤﻠﻡ ﺍﻝﺸﺎﺏ ﻫﻭ ﺤﻠﻡ ﻤﻥ ﺍﻝﻤﺭﺘﺒﺔ ﺍﻝﺜﺎﻨﻴﺔ ،ﺤﻠﻡ ﺩﺍﺨل ﺍﻝﺤﻠﻡ؟.
ﻝﻥ ﺃﺫﻫﺏ ﻤﻊ ﺫﻝﻙ ﺇﻝﻰ ﻤﺤﺎﻭﻝﺔ ﻓﻲ ﺍﻝﺘﺤﻠﻴل ﺍﻝﻨﻔﺴﻲ ﻝـ"ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" .ﺇﻥ ﺍﻝﺸﺎﻋﺭﻴﺔ ﺍﻝﺘـﻲ ﻴﻐـﺫﻴﻬﺎ
ﻻ ﻓﻲ ﺍﻝﻤﻭﺍﻗﻊ ،ﻴﻜﺎﺩ ﻴﻜﻭﻥ ﻤﺜﻴﺭﹰﺍ
ﺍﻝﺤﻠﻡ ﺒﻭﻀﻭﺡ ،ﻻ ﺘﻌﻴﻕ ﺤﺭﻴﺔ ﺍﻝﻤﺨﻴﻠﺔ .ﻭﻫﻨﺎ ،ﺒﺨﺎﺼﺔ ،ﻨﺭﻯ ﻝﻠﻤﺭﺓ ﺍﻷﻭﻝﻰ ﺘﺒﺎﺩ ﹰ
ﻝﻠﻀﺤﻙ ﺒﻴﻥ ﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻝﻤﻌﺘﺎﺩﺓ ﻝﺒﻭﻨﻭﻴل ،ﻓﻜﻠﻤﺎﺕ "ﻨﻀﺎﺭﺓ" ﻭ"ﺤﻨﺎﻥ" ﻭ"ﻓﺭﺡ" ،ﺍﻝﺘﻲ ﻫﻲ ﺤﺘﻰ ﺍﻵﻥ ﻤﺘﻨﺎﻗﻀﺔ ﻜﻠﻴ ﹰﺎ
ﻤﻊ ﺃﻋﻤﺎﻝﻪ ،ﻨﺠﺩﻫﺎ ﻓﻲ "ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ﺫﺍﺕ ﺤﻀﻭﺭ ﻭﺍﻀﺢ ﻭﺃﺴﺎﺴﻲ.
ﻝﻠﻤﺭﺓ ﺍﻷﻭﻝﻰ ﻻ ﺘﻜﺎﺩ ﺴﺎﺩﻴﺔ ﺒﻭﻨﻭﻴل ﺘﻅﻬﺭ ﺒﺼﻭﺭﺓ ﻤﺤﺴﻭﺴﺔ ،ﻭﻴﺒﺩﻭ ﺃﻥ ﺒﻭﻨﻭﻴل ﺍﻝﺫﻱ ﺘﺠـﺎﻭﺯ ﺴـﺎﺩﻴﺘﻪ
ﻭﻭﺼل ﻓﻲ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﺇﻝﻰ ﺍﻝﺸﻔﻘﺔ ،ﻴﺩﺨل ﺃﺨﻴﺭﹰﺍ ﺇﻝﻰ ﺸﻲﺀ ﻤﻥ ﺍﻝﺴﻌﺎﺩﺓ .ﻝﻜﻥ ﻻ ﻴﻤﻜﻨﻨﺎ ﺃﻥ ﻨﺯﻋﻡ ،ﻤﻊ ﻤﺅﺸﺭﺍﺕ
ﻗﻠﻴﻠﺔ ﻜﻬﺫﻩ ،ﻭﺒﻤﻨﺎﺴﺒﺔ ﻋﻤل ﻤﻠﺘﺒﺱ ﻜﻬﺫﺍ ،ﺇﻤﻜﺎﻨﻴﺔ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﺘﻭﺼﻴﻑ ﺩﻗﻴﻕ ﻝﺭﺠل ﻫﻭ ﻗﺒل ﻜل ﺸﻲﺀ ﻋﻠﻰ ﻫﺫﻩ
ﺍﻝﺩﺭﺠﺔ ﻤﻥ ﺍﻝﻐﻤﻭﺽ .ﻭﺴﻭﺍﺀ ﺃﻤﻜﻥ ﺇﺜﺒﺎﺕ ﻫﺫﺍ ﺍﻻﻓﺘﺭﺍﺽ ﺃﻡ ﻻ ،ﻓﻨﺤﻥ ﺒﺎﻨﺘﻅﺎﺭ ﺍﻝﻌﻤل ﺍﻝﻘـﺎﺩﻡ ﻝﺒﻭﻨﻭﻴـل ،ﺃﺤـﺩ
ﺸﻌﺭﺍﺀ ﺍﻝﺸﺎﺸﺔ ﺍﻝﻘﻼﺌل ،ﻭﺭﺒﻤﺎ ﺃﻋﻅﻤﻬﻡ.
ﻫــ ﻭ
ﺃﺜﺎﺭ ﺁﺨﺭ ﺃﻓﻼﻡ ﺒﻭﻨﻭﻴل ﻓﻲ ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ 1952ﻨﺯﺍﻋﹰﺎ ﺤﺎﺩﹰﺍ .ﻓﺒﺎﻝﻨﺴﺒﺔ ﻝﻤﻌﻅﻡ ﺍﻝﻤﺸﺎﻫﺩﻴﻥ ،ﻭﻜﺫﻝﻙ ﻝﻐﺎﻝﺒﻴﺔ
ﺍﻝﻨﻘﺎﺩ ،ﻜﺎﻥ "ﻫﻭ" ﻤﺠﺭﺩ ﻤﻴﻠﻭﺩﺭﺍﻤﺎ ﻜﺌﻴﺒﺔ ،ﻋﻔﺎ ﻋﻠﻴﻬﺎ ﺍﻝﺯﻤﻥ ،ﺘﻨﺘﻤﻲ ﺇﻝﻰ ﺃﺴﻭﺃ ﻤﺎ ﻜﺎﻨﺕ ﺘﻘﺩﻤﻪ ﻤﺴﺎﺭﺡ ﺍﻝﺒﻭﻝﻴﻔـﺎﺭ
ﻋﺎﻡ .1900ﻭﻗﺩ ﺃﻀﺎﻑ "ﺁﺭﺘﻭﺭﻭ ﺩﻱ ﻜﻭﺭﺩﻭﺒﺎ" ﺇﻝﻰ ﻫﺫﻩ ﺍﻝﺩﺭﺍﻤﺎ ،ﺍﻝﻤﺒﻨﻴﺔ ﻋﻠﻰ ﻁﺭﺍﺯ ،Paul Hervieuﺍﻝﺘﻔﺎﻫﺔ
ﺍﻝﻨﻤﻁﻴﺔ ﻝﻠﻨﺠﻭﻤﻴﺔ ﺍﻝﺫﻜﻭﺭﻴﺔ ﺍﻹﺴﺒﺎﻨﻴﺔ .ﻝﻘﺩ ﺃﺜﺎﺭ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ،ﺒﺨﺎﺼﺔ ،ﺍﻫﺘﻤﺎﻡ ﺍﻷﺸﺨﺎﺹ ﺍﻷﻗل ﺤﺴﺎﺴﻴﺔ ،ﺒﺴـﺒﺏ
ﻭﻀﻭﺡ ﻗﺴﻭﺘﻪ ،ﻜﻤﺎ ﺃﺜﺎﺭ ﺍﻫﺘﻤﺎﻡ ﻫﺅﻻﺀ "ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ﺒﺴﺒﺏ ﺍﻝﻔﺎﻨﺘﺎﺯﻴﺎ ﻏﻴﺭ ﺍﻝﻤﻌﺘـﺎﺩﺓ ،ﻭﻝـﻡ ﻴﻜـﻥ ﻓـﻲ
ﺍﻝﺤﺎﻝﺘﻴﻥ ﺸﻲﺀ ﻤﻥ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﺍﻝﻤﻤﻨﻬﺠﺔ ﻝـ"ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ﻭ"ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ،ﻏﻴﺭ ﺃﻨﻪ ﺍﺒﺘﻌﺩ ﻋﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭﻫﺎﺕ
ﺍﻝﺘﺠﺎﺭﻴﺔ ﺍﻝﺘﻘﻠﻴﺩﻴﺔ ﺫﺍﺕ ﺍﻝﺴﻬﻭﻝﺔ ﺍﻝﻭﺍﻀﺤﺔ .ﻭﻝﻭﻻ ﺘﻠﻙ ﺍﻻﺴﺘﻌﺎﺩﺍﺕ ﻓﻲ ﺍﻝﺫﺍﻜﺭﺓ ،ﺍﻝﺘﻲ ﺠﺎﺀﺕ ﻋﻠﻰ ﺩﺭﺠﺔ ﻋﺎﻝﻴﺔ ﻤﻥ
ﺍﻝﺠﻤﺎل ،ﻷﺼﺒﺤﻨﺎ ﺃﻤﺎﻡ ﻤﺠﺭﺩ ﻓﻴﻠﻤﻴﻥ ﻤﺘﻭﺍﻀﻌﻴﻥ ﻝﻴﺴﺕ ﻝﻬﻤﺎ ﺃﻴﺔ ﺃﻫﻤﻴﺔ .
ﻭﺤﺘﻰ ﻓﻲ ﺤﺎﻝﺔ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﺃﻜﺜﺭ ﺃﻓﻼﻡ ﺒﻭﻨﻭﻴل ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ﺍﺴﺘﻘﻼﻝﻴﺔ ﻭﺘﻌﺒﻴﺭﹰﺍ ﻋﻨﻪ ،ﻤﻥ ﺍﻝﺴﻬل ﺃﻥ ﻨﻤﻴـﺯ،
ﺇﻝﻰ ﺠﺎﻨﺏ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ "ﺍﻻﺠﺘﻤﺎﻋﻲ" ﺍﻝﻤﻨﻘﻭل ﻤﺒﺎﺸﺭﺓ ﻋﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻘﻠﻴﺩﻴﺔ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﺎﻝﻁﻔﻭﻝﺔ ﺍﻝﻤﻨﺤﺭﻓـﺔ" ،ﺒﻌـﺽ
ﺍﻻﻜﺘﺸﺎﻓﺎﺕ ﻓﻲ ﺍﻝﺘﻔﺎﺼﻴل" ﺍﻝﺘﻲ ﺤﻘﻘﺕ ﻝﻠﻔﻴﻠﻡ ﺃﺼﺎﻝﺘﻪ.
ﻼ ﻝﻺﻋﺠﺎﺏ ،ﺇﺫ ،ﻋﻠـﻰ ﺃﻱ
ﻭﻫﻜﺫﺍ ﺇﺫﻥ ﻴﺒﻘﻰ ﻫﻨﺎﻙ ﺸﻙ ،ﺃﻭ ﻋﻠﻰ ﺍﻷﻗل ﺤﺎﺠﺔ ﺇﻝﻰ ﺍﻝﺘﺄﻜﺩ ﻤﻤﺎ ﻫﻭ ﻤﺜﻴﺭ ﻓﻌ ﹰ
ﺃﺴﺎﺱ ﻨﻘﺩﻡ ﺍﻝﺘﻬﻨﺌﺔ ﺇﻝﻰ ﻤﺅﻝﻑ ﻝﻤﺠﺭﺩ ﺒﻌﺽ ﺍﻹﺸﺭﺍﻗﺎﺕ ﺍﻝﺘﻲ ﺘﺒﺩﻭ ﻜﻤﺼﺎﺩﻓﺎﺕ ،ﻭﻤﻥ ﺃﺠل ﻨﺠﺎﺤـﺎﺕ ﺠﺯﺌﻴـﺔ،
ﻭﺭﺒﻤﺎ ﻫﻲ ﻁﺎﺭﺌﺔ؟ .ﺇﻥ ﺍﻝﻨﻘﺩ ﺍﻝﺩﻴﻜﺎﺭﺘﻲ ،ﺤﺘﻰ ﻭﻝﻭ ﺍﻨﻁﺒﻕ ﻋﻠﻰ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ،ﻴﺤﺘﺎﺝ ﺇﻝﻰ ﺘﺼﺩﻴﻕ ﻤﻨﻁﻕ ﺍﻝﻌﻤـل
ﺍﻹﺒﺩﺍﻋﻲ ﻭﺍﻝﻭﻋﻲ ﺒﺎﻝﻨﻭﺍﻴﺎ ،ﻭﻴﻤﻜﻥ ﻝﻨﺎ ﺃﻥ ﻨﻁﺒﻕ ﻫﺫﺍ ﺒﺼﻭﺭﺓ ﻜﺎﻤﻠﺔ ﻤﻊ "ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ،ﻝﻜﻥ ﺒﺼﻭﺭﺓ ﺴﻴﺌﺔ ﻤـﻊ
"ﺴﻭﺴﺎﻨﺎ" ﻭ"ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ،ﻭﺒﺩﺭﺠﺔ ﺃﻗل ﻋﻨﺩ ﺘﻁﺒﻴﻘﻪ ﻤﻊ "ﻫﻭ" .ﻭﺇﺫﺍ ﺃﻤﻜﻨﻨﺎ ﺍﻝﻘﻭل ﺇﻥ ﺃﻓﻼﻡ ﺒﻭﻨﻭﻴل ﺍﻝﺴﺎﺒﻘﺔ
ﻝﻡ ﻴﺠﺭ ﺘﺤﻘﻴﻘﻬﺎ ﺇﻻ ﻝﺘﺼﻭﻴﺭ ﺴﻴﻨﺎﺭﻴﻭﻫﺎﺕ ﺘﺠﺎﺭﻴﺔ ﺒﺴﻴﻁﺔ ﻤﻥ ﺃﺠل ﺍﻝﺠﻤﻬﻭﺭ ﺍﻷﻤﺭﻴﻜﻲ ،ﻭﺇﻥ "ﻫﻭ" ﻗﺩ ﺃﻅﻬﺭ ﺸﻴﺌﹰﺎ
ﻤﻥ ﺍﻝﻁﻤﻭﺡ ﺍﻝﺘﻘﻨﻲ ،ﻓﺈﻥ ﻝﻭﻴﺱ ﺒﻭﻨﻭﻴل ،ﻭﻁﺒﻌﹰﺎ ﻤﻊ ﺍﻝﻤﺯﻴﺩ ﻤﻥ ﺍﻝﺘﻜﻠﻔﺔ ﻭﺍﻹﻤﻜﺎﻨﺎﺕ ،ﻝﻡ ﻴﺤﻘﻕ ﻤﺎ ﻴﺘﺠﺎﻭﺯ ﺨﺩﻤـﺔ
ﺃﺴﻭﺃ ﺃﺸﻜﺎل ﺍﻷﺩﺏ ﺍﻝﺒﻭﺭﺠﻭﺍﺯﻱ.
ﻓﻲ ﻤﻨﺎﻗﺸﺔ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ،ﺃﻋﺘﻘﺩ ﺃﻥ ﺃﻓﻀل ﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﺃﻓﻌﻠﻪ ﻹﻋﻁﺎﺌﻜﻡ ﻓﻜﺭﺓ ﻤﺤﺎﻴﺩﺓ ﻫﻭ ﺘﻘﺩﻴﻡ ﻤﺎ ﺠﺎﺀ ﻓـﻲ
ﻜﺭﺍﺱ ﺍﻹﻋﻼﻥ ﺍﻝﻤ ﻌﺩ ﻤﻥ ﻗﺒل ﺍﻝﻤﻭﺯﻉ ﺍﻝﻔﺭﻨﺴﻲ" :ﺇﻨﻪ ﺤﻜﺎﻴﺔ ﺭﺠل ﻤﺤﺘﺭﻡ )ﺠﺩﹰﺍ( ،ﺫﻱ ﻤﺭﻜﺯ ﺍﺠﺘﻤﺎﻋﻲ ﻤﺭﻤﻭﻕ،
ﻴﻘﺩﺭﻩ ﺍﻝﻤﺤﻴﻁﻭﻥ ﺒﻪ ﻝﺘﻬﺫﻴﺒﻪ ﺍﻝﻜﺎﻤل ﻭﺃﺨﻼﻗﻪ ﺍﻝﺴﺎﻤﻴﺔ ﻭﺇﻴﻤﺎﻨﻪ ﺍﻝﺩﻴﻨﻲ ،ﻭﻤﻊ ﺫﻝﻙ ﻓﻬﻭ ﻴﺨﺘﺯﻥ ﻓﻲ ﺃﻋﻤـﻕ ﺃﻋﻤـﺎﻕ
ﻨﻔﺴﻪ ﻁﺒﻴﻌﺔ ﺇﻨﺴﺎﻨﻴﺔ ﻜﺭﻴﻬﺔ ﺠﺩﹰﺍ :ﺍﻝﻐﻴﺭﺓ ،ﻏﻴﺭﺓ ﻤﺘﻁﺭﻓﺔ ،ﺩﺍﺌﻤﺔ ،ﻤﺘﺴﻠﻁﺔ ،ﻭﻫﺫﻩ ﺍﻝﻨﻘﻴﺼﺔ ﺘﺴﻤﻡ ﺤﻴﺎﺘﻪ ،ﻜﻤﺎ ﺘﺴﻤﻡ
ﺤﻴﺎﺓ ﺯﻭﺠﺘﻪ ،ﻭﺘﺘﺤﻭل ﺇﻝﻰ ﻜﺎﺒﻭﺱ ﻤﺭﻴﻊ ...،ﺇﻝﻰ ﺃﻥ ﻴﺘﺤﺭﺭﺍ ﻤﻌﹰﺎ ﻤﻥ ﻫﺫﻩ ﺍﻝﺤﺎﻝﺔ ﺍﻝﻤﺘﺴﻠﻁﺔ ﺍﻝﺘﻲ ﺒﻠﻐـﺕ ﺤـﺩﹰﺍ
ﻴﻘﺘﺭﺏ ﻤﻥ ﺍﻝﺠﻨﻭﻥ ،ﺤﻴﻥ ﻴﺫﻫﺏ ﺍﻝﺯﻭﺝ ﺇﻝﻰ ﺃﺤﺩ ﺍﻷﺩﻴﺭﺓ ﻭﻴﻐﻠﻕ ﻋﻠﻰ ﻨﻔﺴﻪ ﻫﻨﺎﻙ ،ﺒﻴﻨﻤﺎ ﺘـﺘﻤﻜﻥ ﺍﻝﺯﻭﺠـﺔ ﻤـﻥ
ﺍﻝﻌﺜﻭﺭ ﻋﻠﻰ ﺴﻌﺎﺩﺓ ﻤﺘﺄﺨﺭﺓ ﻤﻊ ﺼﺩﻴﻘﻬﺎ ﺍﻝﻘﺩﻴﻡ".
ﻭﻤﻊ ﻫﺫﺍ ﺍﻝﻤﻭﻀﻭﻉ ،ﻗﺎﻡ ﺒﻭﻨﻭﻴل ﺒـ"ﺭﺸﻭﺓ" ﺍﻝﺤﻜﺎﻴﺔ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ،ﺒﺒﻌﺽ ﺍﻝﺘﻔﺎﺼﻴل ﺍﻝﺠﻨﺴـﻴﺔ ﺍﻝﺴـﺎﺩﻴﺔ،
ﻭﺴﺎﻋﺩﻩ ﺠﺩﹰﺍ ﺘﻤﺜﻴل "ﺁﺭﺘﻭﺭﻭ ﺩﻱ ﻜﻭﺭﺩﻭﺒﺎ" ،ﻭ"ﺩﻴﻠﻼ ﻏﺎﺭﺜﻴﺱ" ﺍﻝﻤﺘﻤﻴﺯﺓ ﻭﺫﺍﺕ ﺍﻝﺠﻤﺎل ﺍﻝﺭﺍﺌﻊ ﻓﻲ ﺩﻭﺭ ﺼـﻌﺏ.
ﺃﻤﺎ ﺍﻝﺘﺼﻭﻴﺭ ﻓﻬﻭ ﻝـ"ﻏﺎﺒﺭﻴﻴل ﻓﻴﻐﻭﻴﺭﻭﺍ".
ﺒﺼﺭﺍﺤﺔ ،ﺃﺭﻯ ﻤﻥ ﺍﻝﺼﻌﺏ ﺍﻝﺤﻜﻡ ﻓﻴﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﻓﻲ ﻫﺫﺍ ﺍﻹﻴﺠﺎﺯ ﻭﻫﺫﻩ ﺍﻹﺸﺎﺭﺍﺕ ﺍﻝﻤﻘﺘﻀﺒﺔ ﻤـﺎ ﻴﺴـﻤﺢ
ﺒﺎﻝﺤﺩﻴﺙ ﻋﻥ ﺃﻨﻨﺎ ﺃﻤﺎﻡ ﻋﻤل ﻤﺘﻤﻴﺯ ﻝﻼﺸﻌﻭﺭ ﺃﻭ ﻝﻠﻔﻜﺎﻫﺔ ﺍﻝﺭﻓﻴﻌﺔ .ﻓﻲ ﺤﺎل ﺍﻝﻔﺭﻀﻴﺔ ﺍﻷﺨﻴﺭﺓ ﻓﺈﻥ ﻫـﺫﺍ ﻴﺘﻭﺍﻓـﻕ
ﻭﺍﻝﻔﻴﻠﻡ ﺤﻴﻥ ﻴﺘﺭﺍﺒﻁ ﺍﻝﻭﺼﻑ ﻤﻊ ﺍﻝﻤﻭﻀﻭﻋﻴﺔ ﺍﻝﺯﺍﺌﻔﺔ ،ﻭﻫﻭ ﻤﺎ ﺴﻴﻜﻭﻥ ،ﻝﺭﺒﻤﺎ ،ﻤﻔﺘﺎﺡ ﻫﺫﺍ ﺍﻝﻌﻤل.
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ﺃﻁﻠﺏ ﺍﻵﻥ ﻤﻥ ﺍﻝﻘﺎﺭﺉ ﺃﻥ ﻴﻌﻭﺩ ﺇﻝﻲ ،ﺒﻌﺩ ﻫﺫﺍ ﺍﻝﻭﻜﻴل ﺍﻹﻋﻼﻨﻲ ﺍﻝﻤﺠﻬﻭل .ﻓﻔﻲ ﺍﻝﻴﻭﻡ ﺍﻝﺘﺎﻝﻲ ﻝﻌﺭﺽ "ﻫﻭ"
ﺕ" :ﺒﻌﺩ ﺃﻥ ﺍﻜﺘﻔﻰ ﺒﻭﻨﻭﻴل ﺨﻼل ﺨﻤﺴﺔ ﻋﺸﺭ ﻋﺎﻤﹰﺎ ﺒﺎﻷﻋﻤﺎل ﺍﻝﺘﺠﺎﺭﻴﺔ ﺍﻝﻤﺘﺩﻨﻴﺔ ،ﺴـﺠﻴﻨﹰﺎ ﻓﻲ ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ ،ﻜﺘﺒ ﹸ
ﺒﻴﻥ ﺃﺴﻭﺍﺭ ﺃﻤﻭﺍل ﺍﻹﻨﺘﺎﺝ ﺍﻷﻤﺭﻴﻜﻲ ،ﺘﻌﻠﻡ ﻤﻥ ﺘﺠﺭﺒﺘﻪ ﺃﻥ ﺭﻤﻭﺯ ﺍﻝﺼﻭﺭﺓ ﻭﻤﺎ ﻴﻤﻜـﻥ ﺃﻥ ﺘﻘﺩﻤـﻪ ﻻ ﺘﺭﻀـﻲ
ﻤﺘﻁﻠﺒﺎﺕ ﺃﺤﻼﻡ ﺸﺎﻋﺭ .ﺇﻥ ﺤﺩ ﺍﻝﻤﻭﺴﻰ ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻔﺘﺢ ،ﺒﻼ ﻋﻘﺎﺏ ،ﻋﻴﻥ ﻋﺎﹶﻝ ﹴﻡ ﻴﻘ ﺩﺭ ﺍﻝﻌﻤﻰ .ﻭﺇﺫﻥ ،ﻓﻘﺩ ﻗﺒل
ﻗﻭﺍﻋﺩ ﺍﻝﻠﻌﺒﺔ ﺒﺭﻀﻭﺥ ﻤﺭﻴﻊ :ﻗﺘل ﺍﻝﻔﻨﺎﻨﻴﻥ؛ ﺍﻝﺨﻀﻭﻉ ﺍﻝﺼﺎﻏﺭ ﺇﻝﻰ ﺍﺨﺘﻴـﺎﺭﺍﺕ ﺍﻝﺠﻤﻬـﻭﺭ ﻭﺍﻝﻤﻨﺘﺠـﻴﻥ .ﻜـﺎﻥ
ﺨل ﺃﺨﻴﺭﹰﺍ ،ﻭﺒﺸﻜل "ﺴﻭﺴﺎﻨﺎ" ،ﺍﻝﺫﻱ ﺍﺴ ﹸﺘﻘﺒل ﻨﻘﺩﻴﹰﺎ ﺒﺼﻭﺭﺓ ﺴﻴﺌﺔ ﻜﺈﻨﺘﺎﺝ ﺘﺠﺎﺭﻱ ﻤﺘﻭﺍﻀﻊ ،ﻤﺴﻭﺩﺓ ﻝـ"ﻫﻭ" ،ﺤﻴﺙ َﺃﺩ ﹶ
ﻜﺎﻤل ،ﺇﻝﻰ ﻓﻴﻠﻡ ﻤﺼﻨﻭﻉ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ ،ﺃﻓﻀل ﻤﺯﺝ ﺒﻴﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺸﻌﺭ ،ﻭﻤﺜﻠﻤﺎ ﻴﻔﻌل ﺃﻭﻝﺌﻙ ﺍﻝﻤﻬﺭﺒﻭﻥ ﺍﻝﺫﻴﻥ ﻻ
ﻴﺠﺩﻭﻥ ﻭﺴﻴﻠﺔ ﺃﻤﺎﻤﻬﻡ ﺴﻭﻯ ﺍﺒﺘﻼﻉ ﺍﻝﻤﺎﺴﺎﺕ ﻻﺴﺘﺭﺠﺎﻋﻬﺎ ﻤﻥ ﺜﻡ ﻋﻨﺩ ﺘﻐﻭﻁﻬﻡ ،ﻤﺯﺝ ﻝﻭﻴﺱ ﺒﻭﻨﻭﻴل "ﺍﻝﻤﺭﻜﻴـﺯ
ﺩﻱ ﺴﺎﺩ" ﻤﻊ ﺃﺴﻠﻭﺏ .Paul Hervieuﻭﻗﺩ ﺸﺩﺩ ﺠﻭﺭﺝ ﺴﺎﺩﻭل ﺃﻤﺎﻤﻲ ﻋﻠﻰ ﺃﻥ ﻜل ﻤﻭﺍﻀﻴﻊ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ"،
ﺩﻭﻥ ﺍﺴﺘﺜﻨﺎﺀ ،ﻋﺎﺩﺕ ﺇﻝﻰ ﺍﻝﻅﻬﻭﺭ ﻓﻲ "ﻫﻭ" ،ﻭﺃﺭﺍﺩ ﺒﺫﻝﻙ ﺍﻝﻘﻭل ﺇﻨﻪ ﻜﺎﻥ ﻫﻨﺎﻙ ﺸﻲﺀ ﻤﻥ Paul Bourgetﻓـﻲ
"ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ﻭﺇﻥ ﺍﻝﻤﺴﺅﻭﻝﻴﺔ ﺍﻝﺒﻭﺭﺠﻭﺍﺯﻴﺔ ﻜﺎﻥ ﻝﻬﺎ ﺘﺄﺜﻴﺭ ﻓﻲ ﺍﻝﻤﺭﻭﺭ ﺍﻝﻭﺍﺜـﻕ ﻝﺸـﺤﻨﺎﺕ "ﺍﻝﻔﻀـﻼﺕ" .ﺇﻥ
ﻼ
ﺍﻝﺴﺨﺭﻴﺔ ﻭﺍﻀﺤﺔ ﺒﺠﻼﺀ ،ﻝﻜﻥ ﺃﻻ ﻴﺴﺘﻭﻗﻔﻨﺎ ﺒﻭﻨﻭﻴل ﺃﻴﻀﹰﺎ ﻭﻫﻭ ﻴﻤﺭﺭ ﺃﻤﺎﻡ ﺃﻋﻴﻥ ﺍﻝﺠﻤﻴﻊ ،ﻤﺴﻴﺤﻴﹰﺎ ﺼﺎﻝﺤﹰﺎ ،ﺭﺠ ﹰ
ﻴﺤﺘﺭﻡ ﺍﻝﻁﻘﻭﺱ ﺍﻝﺩﻴﻨﻴﺔ ،ﻋﻨﺩ ﻤﺩﺨل ﺍﻝﻜﻨﻴﺴﺔ ،ﻤﺎﺩﹰﺍ ﺇﻝﻴﻨﺎ ﺃﺼﺎﺒﻌﻪ ﺍﻝﻤﺒﺘﻠﺔ ﺒﺎﻝﻤﺎﺀ ﺍﻝﻤﺒﺎﺭﻙ؟ ﻭﻜﺎﻫﻨﹰﺎ ﻴﻘ ﺒل ﻗﺩﻤﹰﺎ ﻋﺎﺭﻴﺔ
ﺘﻐﺘﺴل ﻓﻲ ﻤﺎﺀ ﺍﻝﺨﻤﻴﺱ ﺍﻝﻤﻘﺩﺱ ،ﻤﺜﻴﺭﹰﺍ ﺍﻝﺠﻨﻭﻥ ﺍﻝﺠﻨﺴﻲ ﻓﻲ ﻗﻠﺏ ﺭﺠل ﻤﺅﻤﻥ!.
"ﺠﻨﻭﻨﻲ -ﻴﻘﻭل ﺒﻁل ﺍﻝﻔﻴﻠﻡ -ﻜﺎﻥ ﻓﻘﻁ ﺠﻨﻭﻨﹰﺎ ﺒﺴﻴﻁﺎﹰ ،ﻝﻘﺩ ﻭﺠﺩﺕ ﻓﻲ ﻫﺫﺍ ﺍﻝﺩﻴﺭ ﺍﻝﺴﻼﻡ ﻭﺍﻝﻌﻘل" .ﻝﻜﻥ ﻋﺸﺭ
ﺴﻨﻭﺍﺕ ﻤﻥ ﻫﺫﺍ ﺍﻝﺼﻔﺎﺀ ﺍﻝﻭﺭﻉ ﻝﻡ ﺘﻤﻜﻨﻪ ﻤﻥ ﺃﻥ ﻴﺘﻔﺎﺩﻯ ،ﻋﺒﺭ ﺃﺴﻭﺍﺭﺍﻝﺩﻴﺭ ،ﺤﻀﻭﺭ ﺍﻝﻤﺭﺃﺓ ،ﺍﻝﺘﻲ ﺍﺴﺘﻤﺭﺕ ﻜﻤﻠﻜﺔ
ﻝﻠﻜﺜﻴﺭ ﻤﻥ ﺃﺤﻼﻤﻪ ،ﻭﻫﻭ ﻤﺎ ﻝﻡ ﻴﺘﺤﺩﺙ ﺒﻪ ﻋﻠﻰ ﻜﺭﺴﻲ ﺍﻻﻋﺘﺭﺍﻑ.
ﻋﺩ ﺇﻝﻰ ﻗﺭﺍﺀﺘﻙ ﺍﻝﻭﺭﻋﺔ" .ﻭﺍﺴﺘﻤﻌﻭﺍ ﺇﻝﻰ ﺒﻭﻨﻭﻴل ﻭﻫﻭ ﻴﻬﻤﺱ ،ﻭﻋﻴﻨﺎﻩ ﺘﻨﻅﺭﺍﻥ
"ﻴﺎ ﻭﻝﺩﻱ -ﻴﻘﻭل ﺍﻝﻜﺎﻫﻥ ﺍﻷﻋﻠﻰ -
ﺒﺨﺸﻭﻉ ﺇﻝﻰ ﻅل ﺜﻭﺒﻪ" :ﻜﻤﺎ ﺘﺭﻴﺩ ﺤﻀﺭﺘﻙ ،ﺃﻴﻬﺎ ﺍﻷﺏ".
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ﺃﺘﺠﺭﺃ ﻋﻠﻰ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﻤﻘﺎل ﻜﺘﺒﺘﻪ ﺁﻨﺫﺍﻙ ﻓﻲ Rendez-Vous de Cannesﻷﻨﻲ ،ﺭﺒﻤﺎ ،ﺴﻭﻑ ﻝـﻥ
ﺃﺘﻤﻜﻥ ﻤﻥ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﺸﻌﻭﺭ ﺒﻬﺫﻩ ﺍﻝﺜﻘﺔ ﺍﻝﺘﻲ ﺃﺜﺎﺭﺕ ﻝﺩﻱ ﺍﻝﻘﻴﺎﻡ ﺒﻬﺫﺍ ﺍﻝﺘﺄﻭﻴل ﺍﻝﻤﺘﺤﻤﺱ ،ﻭﺍﻝﺫﻱ ﻻ ﺃﺘﺭﺍﺠﻊ ﻋﻨﻪ.
ﻭﺒﺒﺴﺎﻁﺔ ،ﻓﻘﺩ ﺘﻌﺭﻓﺕ ﻓﻴﻤﺎ ﺒﻌﺩ ﺇﻝﻰ ﺒﻭﻨﻭﻴل ﻭﺇﻝﻰ ﺤﻘﻴﻘﺔ ﺭﺠل ﺩﺨل ﺒﻴﻥ ﺃﻋﻤﺎﻝﻪ ﻭﺒﻴﻨﻲ ،ﻭﺃﺭﺒﻙ ﺒﻌﺽ ﺍﻝﺸـﻲﺀ،
ﺒﺘﺭﻜﻴﺒﺘﻪ ﺍﻝﻨﻔﺴﻴﺔ ﺍﻝﺨﺎﺼﺔ ،ﻤﻨﻁﻕ ﻫﺫﻩ ﺍﻝﻔﺭﻀﻴﺎﺕ .ﻭﻜﺎﻨﺕ ﻝﻨﺎ" ،ﺩﻭﻨﻴﻭل -ﻓﺎﻝﻜﺭﻭﺯ" ﻭﺃﻨﺎ ،ﺨﻼل ﻤﻬﺭﺠﺎﻥ ﻜـﺎﻥ
ﺍﻷﺨﻴﺭ ،ﻓﺭﺼﺔ ﻁﻴﺒﺔ ﻝﻨﺴﺄل ﺒﻭﻨﻭﻴل ﻋﻥ ﺃﺸﻴﺎﺀ ﻜﺜﻴﺭﺓ ﺤﻭل ﻋﻤﻠﻪ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ ﻭﺒﺸﻜل ﺨﺎﺹ ﺤﻭل ﻓﻴﻠﻡ "ﻫـﻭ"،
ﻭﺒﺎﻝﻁﺒﻊ ﻓﻘﺩ ﺴﺄﻝﻨﺎﻩ ﻓﻴﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﻤﻥ ﺍﻝﻤﻨﺎﺴﺏ ﺃﻭﺍﻝﻤﺸﺭﻭﻉ ﺃﻥ ﻨﻘﺭﺃ ،ﺒﻴﻥ ﺍﻝﺴﻁﻭﺭ ،ﺍﻝﻨﻭﺍﻴﺎ ﺍﻝﺘﻲ ﻋﺯﻭﻨﺎﻫـﺎ ﺇﻝﻴـﻪ،
ﻭﺒﺨﺎﺼﺔ ﻤﺎ ﻴﺘﺼل ﺒﺎﻝﺘﻜﺭﺍﺭ ﺍﻝﻀﻤﻨﻲ ﻝـ"ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ،ﻭﻫﻭ ﻤﺎ ﻝﻡ ﻨﻜﻥ ﺍﻝﻭﺤﻴﺩﻴﻥ ﻓـﻲ ﺇﺩﺭﺍﻜـﻪ ،ﻭﺃﺠﺎﺒﻨـﺎ
ﻼ ،ﻓﺈﻨﻤﺎ ﻫﻭ ﺒﺸﻜل ﻏﻴﺭ ﺇﺭﺍﺩﻱ.
ﺒﻭﻨﻭﻴل ﻤﺅﻜﺩﹰﺍ ﺃﻨﻪ ﻗﻁﻌﹰﺎ ﻝﻡ ﻴﻘﻡ ﺒﺫﻝﻙ ﺒﺼﻭﺭﺓ ﻭﺍﻋﻴﺔ ،ﻭﺇﺫﺍ ﻜﺎﻥ ﺫﻝﻙ ﻗﺩ ﺤﺼل ﻓﻌ ﹰ
ﻭﻤﻊ ﺫﻝﻙ ،ﻭﺨﻼل ﺘﻌﻤﻘﻨﺎ ﻓﻲ ﺍﻝﺤﻭﺍﺭ ﺒﻴﻥ ﻝﻨﺎ ﺒﻌﺽ ﺍﻝﻨﻘﺎﻁ ﺍﻝﺘﻲ ﺤﺭﺹ ﻋﻠﻴﻬﺎ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﻓـﻲ ﺍﻹﺨـﺭﺍﺝ،
ﻭﻜﺎﻨﺕ ﺠﻤﻴﻌﻬﺎ ﺘﺩل ﺘﻤﺎﻤﹰﺎ ﻋﻠﻰ ﺍﻝﺘﻜﺭﺍﺭ ﺍﻝﺫﻱ ﺫﻜﺭﻨﺎﻩ .ﻓﻤﺜﻼﹰ ،ﻤﺸﻬﺩ ﺍﻝﺤﺏ ،ﺍﻝﺫﻱ ﻴﺜﻴﺭ ﺨﻼﻝﻪ ﻤﺴﺎﻋﺩ ﺍﻝﺘﺼـﻭﻴﺭ
ﺒﻤﻨﻔﻀﺔ ﺍﻝﺭﻴﺵ ﻏﻴﻤﺔ ﻤﻥ ﺍﻝﻐﺒﺎﺭ ،ﻴﺸﻜل ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻰ ﺒﻭﻨﻭﻴل ﺴﺨﺭﻴﺔ ﻤﻥ ﻤﺸﻬﺩ ﺍﻝﺤﺏ ﺍﻝﺘﻘﻠﻴﺩﻱ ،ﻓﻲ ﻨﻔﺱ ﺍﻝﻭﻗﺕ
ﺍﻝﺫﻱ ﻴﺤﺘﺭﻡ ﻓﻴﻪ ﻭﻗﺎﺭﻩ ﺍﻻﺠﺘﻤﺎﻋﻲ .ﻝﻜﻥ ،ﺒﺼﻭﺭﺓ ﻋﺎﻤﺔ ،ﻭﻝﻭ ﺃﻥ ﺒﻭﻨﻭﻴل ﻜﺎﻥ ﻤﻤﺘﻨﹰﺎ ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﺒـﺩﺃ ﻝﻠﻁﺒﻴﻌـﺔ
ﻏﻴﺭ ﺍﻝﻤﺄﻝﻭﻓﺔ ،ﺒل ﻭﺍﻝﻤﺯﻋﺠﺔ ،ﺍﻝﺘﻲ ﻁﺭﺤﻨﺎ ﻓﻴﻬﺎ ﻫﺫﻩ ﺍﻷﻤﺜﻠﺔ ،ﻓﻬﻭ ﻝﻡ ﻴﺠﺩ ﺘﻔﺴﻴﺭﹰﺍ ﻭﺍﻋﻴﹰﺎ ﺁﺨﺭ ﻻﺨﺘﻴﺎﺭﻩ ﺍﻝﺫﻱ ﻁﺒﻊ
ﻤﺯﺍﺠﻪ ﺒﺎﻝﻤﻅﻬﺭ ﺍﻝﻜﻭﻤﻴﺩﻱ ﻭﺒﺎﻝﻐﺭﺍﺒﺔ .ﻭﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﻋﻨﺩﻤﺎ ﻴﻨﻬﺽ ﺍﻝﺯﻭﺝ ﺨﻼل ﺍﻝﻠﻴل ﻭﻴﺘﻨﺎﻭل ﻤﺨـﺭﺯﹰﺍ
ﻭﺨﻴﻁﺎﹰ ﻭﺴﻜﻴﻨﹰﺎ ﻭﻴﻨﺩﻓﻊ ﺇﻝﻰ ﻏﺭﻓﺔ ﺯﻭﺠﺘﻪ ﻤﻊ ﻨﻴﺔ ﻭﺍﻀﺤﺔ ﻹﺩﺨﺎل "ﺇﺼﻼﺤﺎﺕ ﻫﺎﻤﺔ" ﻓﻲ ﺤﺯﺍﻡ ﺍﻝﻌﻔﺔ ،ﻴﻭﻀـﺢ
ﺒﻭﻨﻭﻴل ﺃﻥ ﻫﺫﻩ ﺍﻷﺩﻭﺍﺕ ﻫﻲ ﺍﻝﺘﻲ ﻜﺎﻥ ﻋﻠﻰ ﺍﻝﺒﻁل ﺃﻥ ﻴﺄﺨﺫﻫﺎ ،ﺍﺴﺘﻨﺎﺩﹰﺍ ﺇﻝﻰ ﻁﺒﻴﻌﺘﻪ ﻭﺇﻝﻰ ﻤﺎ ﻴﻔﺘﺭﻀـﻪ ﺴـﻠﻭﻜﻪ
ﺁﻨﺌﺫ ،ﻝﻜﻨﻪ ﻴﻌﺘﺭﻑ ﺒﺄﻥ ﻫﺫﺍ ﺍﻝﺨﻴﺎﺭ ﺼﺩﺭ ﻋﻨﻪ ﺃﻴﻀﹰﺎ ﺒﺴﺒﺏ ﺘﻭﺠﻪ ﻤﺯﺍﺠﻲ ﻏﻴﺭ ﺴﻭﻱ .ﻭﻤﺜﺎل ﺁﺨﺭ ﺫﻭ ﺩﻻﻝﺔ ﻜﺒﻴﺭﺓ
ﻝـ"ﺍﻝﻼﺸﻌﻭﺭ" ﺍﻝﻨﺎﺸﻁ ﻭﺍﻝﺨﻼﻕ ﻝﺩﻯ ﺒﻭﻨﻭﻴل :ﺍﻝﻠﻘﻁﺔ ﺍﻝﺘﻲ ﺘﻠﻲ ﺍﻝﺠﻭﺍﺏ ﺍﻷﺨﻴﺭ ﻓﻲ ﺍﻝﻔﻴﻠﻡ" ،ﻜﻤﺎ ﺘﺭﻴﺩ ﺤﻀـﺭﺘﻙ
ﺃﻴﻬﺎ ﺍﻷﺏ" ،ﺇﺫ ﻴﺒﺘﻌﺩ ﺁﺭﺘﻭﺭﻭ ﺩﻱ ﻜﻭﺭﺩﻭﺒﺎ ﻋﺒﺭ ﺤﺩﻴﻘﺔ ﺍﻝﺩﻴﺭ ﻤﺘﺭﻨﺤﹰﺎ ﻤﺜل ﺴﻜﺭﺍﻥ ،ﻭﻫﺫﻩ ﻤﺴﺄﻝﺔ ﻻ ﺘﺨﻀـﻊ ﻷﻱ
ﺘﻔﺴﻴﺭ ﻭﺍﻗﻌﻲ .ﻭ ﺒﻭﻨﻭﻴل ﻝﻡ ﻴﺠﺩ ﺴﺒﺒﹰﺎ ﺁﺨﺭ ﻏﻴﺭ ﻤﺘﻌﺘﻪ ﺩﻓﻌﻪ ﺤﻴﻨﺫﺍﻙ ﺇﻝﻰ ﺃﻥ ﻴﺠﻌل ﻤﻤﺜﻠﻪ ﻴﺴﻴﺭ ﻤﺘﺭﻨﺤﹰﺎ.
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ﻼ ﻤﻐﻠﻘﺎﹰ ،ﻝﻜﻥ ،ﻭﺒﺎﻝﺘﺄﻜﻴﺩ،
ﻴﺒﺩﻭ ﻝﻲ ﺃﻨﻪ ﻤﻥ ﺍﻝﻤﻤﻜﻥ ،ﺤﺘﻰ ﺒﻌﺩ ﺍﻝﺸﻬﺎﺩﺓ ﺍﻝﺸﺨﺼﻴﺔ ﻝﺒﻭﻨﻭﻴل ،ﺍﻋﺘﺒﺎﺭ "ﻫﻭ" ﻋﻤ ﹰ
ﻫﺫﺍ ﺍﻝﺴﺭ ﺍﻝﺫﻱ ﻴﻐﻠﻑ ﺍﻝﻔﻴﻠﻡ ﻝﻡ ﻴﺘﻡ ﺇﺩﺨﺎﻝﻪ ﺒﺼﻭﺭﺓ ﻤﻤﻨﻬﺠﺔ ،ﻜﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﺘﺼﻭﺭ ،ﻝﻀﺭﻭﺭﺍﺕ ﺒﻨـﺎﺀ ﻤﻨﻁﻘـﻲ.
ﻭﻤﻊ ﺫﻝﻙ ،ﻫل ﺤﻘﹰﺎ ﻫﻨﺎﻙ ﺃﻫﻤﻴﺔ ﻝﻬﺫﺍ ﺍﻝﻔﺎﺭﻕ؟ ﻫل ﺼﺤﻴﺢ ﺃﻥ ﺍﻝﻤﺅﻝﻑ ﻴﻌﺭﻑ ﻤﺎ ﻴﺭﻴﺩ ﺃﻥ ﻴﻔﻌل ،ﻓﻴﻘـﻭﻡ ﺒﻔﻌﻠـﻪ؟
ﻲ ،ﻴﻜﻔﻲ ﺃﻥ ﺸﻬﺎﺩﺓ ﺒﻭﻨﻭﻴل ،ﺩﻭﻥ ﺍﻝﺘﺄﻜﻴﺩ ﺍﻝﻭﺍﻀﺢ ﻝﻠﺘﺄﻭﻴل ﺍﻝﺴﺭﻱ ،ﻻ ﻴﻤﻜﻥ ﺘﻔﻨﻴﺩﻫﺎ )ﺘﺎﺭﻜﻴﻥ ﻓﻲ ﺍﻝﻭﻗﺕ
ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝ
ﻻ ﺴﻴﻨﻤﺎﺌﻴﹰﺎ ﻝﻠﻤﻅﺎﻫﺭ
ﻨﻔﺴﻪ ﺇﻤﻜﺎﻨﻴﺔ ﻭﻀﻊ ﺘﺄﻭﻴﻼﺕ ﺃﺨﺭﻯ( ،ﻭﻴﺒﺩﻭ ﻝﻲ ﺇﺫﻥ ﺃﻨﻪ ﻤﻥ ﺍﻝﻤﺒ ﺭﺭ ﺘﻤﺎﻤﹰﺎ ﺍﻋﺘﺒﺎﺭ "ﻫﻭ" ﻤﻌﺎﺩ ﹰ
ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﺍﻝﺨﺎﺩﻋﺔ .ﻭﻴﻠﻌﺏ ﻋﻠﻡ ﺍﻝﻨﻔﺱ ﻭﺍﻷﺨﻼﻕ ﺍﻝﺒﻭﺭﺠﻭﺍﺯﻴﺔ ﻫﻨﺎ ﺩﻭﺭ ﺍﻝﺭﺅﻴﺔ ﻭﻭﻀﻭﺡ ﺍﻝﺘﺼﻭﻴﺭ ،ﻝﻜﻥ ﻫـﺫﺍ
ﺡ ﻴﻔﻭﻕ ﻤﺎ ﻴﻤﻜﻥ ﺍﺤﺘﻤﺎﻝﻪ.
ﺍﻝﻜﻭﻥ ﺍﻝﻤﻬﺫﺏ ﻭﺍﻝﻤﻨﻅﻡ ،ﺍﻝﺫﻱ ﻴﻤﻜﻥ ﻗﺭﺍﺀﺘﻪ ﺒﺼﻭﺭﺓ ﻤﺩﻫﺸﺔ ،ﻴﺘﺸﻘﻕ ﺒﻭﻀﻭ ﹴ
) 10ﺤﺯﻴﺭﺍﻥ (1954
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ﻝﺩﻯ ﻋﻭﺩﺘﻲ ﺇﻝﻰ ﻗﺭﺍﺀﺓ ﻨﻘﺩﻱ ﻝـ"ﻫﻭ" ﺍﻝﻤﻨﺸﻭﺭ ﻓﻲ ﺍﻷﺴﺒﻭﻉ ﺍﻝﻤﺎﻀﻲ ،ﺘﺤﻘﻘﺕ ﻤﻥ ﺃﻨﻲ ﺭﺒﻤﺎ ﻝﻡ ﺃﺸﺩﺩ ﺒﻤﺎ
ﻑ ﻭﺘﺴﻠﻴﺔ ،ﺒل ﻋﻠﻰ ﺍﻝﻌﻜﺱ ،ﻓﺒﺎﻝﻨﺴﺒﺔ
ﻓﻴﻪ ﺍﻝﻜﻔﺎﻴﺔ ﻋﻠﻰ ﺍﻝﻤﻀﻤﻭﻥ ﺍﻝﻭﺍﻀﺢ ﻝﻠﻔﻴﻠﻡ ،ﻭﺍﻝﺫﻱ ﻻ ﻴﻘﻭﻡ ﻋﻠﻰ ﻋﻤﻠﻴﺔ ﺘﺨ
ﻝﺒﻭﻨﻭﻴل ،ﻤﻥ ﺍﻝﻤﺅﻜﺩ ﺃﻥ "ﻫﻭ" ،ﻭﺩﻭﻥ ﺃﻱ ﻀﺭﺭ ﻤﻥ ﻭﺠﻭﺩ ﻤﺩﻝﻭل ﺴﺭﻱ ﻓﻲ ﺍﻝﻼﺸﻌﻭﺭ ،ﻫﻭ ﻤﺭﺍﻗﺒﺔ ﻤﻭﻀﻭﻋﻴﺔ
ﻝﺭﺠل ﻏﻴﻭﺭ .ﻭﻤﻥ ﺨﻼل ﻤﻔﺎﺭﻗﺔ ﺠﻤﺎﻝﻴﺔ ﺴﻬﻠﺔ ﺍﻝﺘﺤﻠﻴل ،ﺘﺒﺭﺯ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﻫﻨﺎ ﻋﺒﺭ ﻤﻭﻀﻭﻋﻴ ﺔ ﺃُﺠﺒـﺭﺕ ﻋﻠـﻰ
ﺍﻻﻨﺤﺭﺍﻑ ﺒﻐﺭﻀﻬﺎ ،ﻭﻝﻴﺱ ﻤﻥ ﺍﻝﻤﺅﻜﺩ ﺃﻨﻬﺎ ﺴﺘﺫﻫﺏ ﻤﻥ ﺜﻡ ﺇﻝﻰ ﺃﺒﻌﺩ ﻤﻤﺎ ﻫﻭ ﻅﺎﻫﺭ .ﻭﻜﻤﺎ ﻫﻭ ﺍﻷﻤﺭ ﻤـﻊ ﻓـﻥ
ﺍﻝﺘﺼﻭﻴﺭ ،ﻓﺈﻥ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﺍﻝﻨﻔﺴﻴﺔ ﺘﻤﺭ ﺘﺤﺕ ﻤﻅﻬﺭ ﻤﺨـﺎﺩﻉ ﻝﻠﻭﺍﻗﻌﻴـﺔ ،ﻭﺘﺤﻀـﺭﻫﻨﺎ ﻤـﻥ ﺨـﻼل ﺍﻝﻘﻭﺍﻋـﺩ
ﻭﺍﻻﺼﻁﻼﺤﺎﺕ ﺍﻝﺩﺭﺍﻤﻴﺔ ﻝﻌﻠﻡ ﻨﻔﺱ ﺒﻭﺭﺠﻭﺍﺯﻱ .ﻭﻫﻜﺫﺍ ﻨﻌﻭﺩ ﻝﻨﻠﺘﻘﻲ ﻓﻲ "ﻫﻭ" ﻨﻔﺱ ﺍﻝﺤـﺩﺓ ﻓـﻲ ﺍﻝﻤﻭﻀـﻭﻋﻴﺔ
ﺍﻝﺘﺴﺠﻴﻠﻴﺔ ﺍﻝﺘﻲ ﻭﺠﺩﻨﺎﻫﺎ ﻓﻲ ﺒﺩﺍﻴﺔ ﻓﻴﻠﻡ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ".
ﻴﻁﻴﺏ ﻝﺒﻭﻨﻭﻴل ﺍﻝﻘﻭل ﺇﻨﻪ ﻗﺩ ﺍﻫﺘﻡ ﺒﺸﺄﻥ "ﻓﺭﺍﻨﺜﻴﺴﻜﻭ" ﺒﻨﻔﺱ ﺍﻝﻔﻀﻭل ﺍﻝﺫﻱ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻝﻪ ﺇﺯﺍﺀ ﺠـﺭﺫ.
ﻜﻤﺎ ﻴﻘﻭل ﺇﻥ ﻝﻪ ﺫﻭﻕ ﻋﺎﻝﻡ ﺤﺸﺭﺍﺕ ،ﻭﻴﻨﻅﺭ ﺇﻝﻰ ﻫﺫﻩ ﺍﻝﺸﺨﺼﻴﺔ ﻤﺜﻠﻤﺎ ﻴﻨﻅﺭ ﺇﻝﻰ ﺤﺸﺭﺓ .ﺘﺫ ﱠﻜﺭﻭﺍ ﻓﻲ "ﺃﺭﺽ ﺒﻼ
ﺨﺒﺯ" ﺍﻝﻤﻘﻁﻊ ﺍﻝﻤﺘﻌﻠﻕ ﺒﺎﻝﺒﻌﻭﺽ ﺍﻝﺫﻱ ﻴﻨﺸﺭ ﺍﻝﻤﻼﺭﻴﺎ ،ﻭﻜﻤﺎ ﻝﻭ ﺃﻨﻪ ﻨﻘل ﺴﻴﻨﻤﺎﺌﻲ ﻝﻤﻘﻁﻊ ﻤﻥ ﻤﻌﺠﻡ!.
ﻭﻤﻥ ﻤﺤﺎﺴﻥ ﺍﻝﺼﺩﻑ ،ﻴﻤﻜﻥ ﻝﻨﺎ ﺃﻥ ﻨﺘﺎﺒﻊ ﻓﻲ ﻨﻔﺱ ﺍﻝﻭﻗﺕ "ﻫﻭ" ﻭ"ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ،ﻤﻘﺘﺭﹺﺤﹰﺎ ﻋﻠـﻰ ﺍﻝﻘـﺭﺍﺀ
ﺍﻝﻤﻬﺘﻤﻴﻥ ﺒﺒﻭﻨﻭﻴل ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﻌﺩﺩ ﺭﻗﻡ " "10ﻤﻥ ﻤﺠﻠﺔ Positifﺍﻝﺘﻲ ﻋﺎﺩﺕ ﺇﻝﻰ ﺍﻝﻅﻬﻭﺭ ﻀـﻤﻥ ﺇﺼـﺩﺍﺭﺍﺕ
،Minuitﺤﻴﺙ ﺠﺭﻯ ﺘﺨﺼﻴﺹ ﺃﻜﺜﺭ ﻤﻥ ﻨﺼﻑ ﺍﻝﻌﺩﺩ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ﻭﺒﺸﻜل ﺭﺌﻴﺱ ﻝﺒﻭﻨﻭﻴل .ﻭﻓﻲ ﺩﺭﺍﺴﺔ
ﻝﺠﺎﻙ ﺩﻭﻤﻭﺭ ﻴﻘﻭل ﺇﻥ ﻝﻭﻴﺱ ﺒﻭﻨﻭﻴل ﻫﻭ ﺸﺎﻋﺭ ﺍﻝﻘﺴﻭﺓ )ﺨﻼل ﺒﺤﺙ ﻤﻭﺴﻊ ﺤﻭل "ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ"( ،ﻜﻤﺎ ﺃﻥ ﻫﻨﺎﻙ
ﺍﺜﻨﺘﻲ ﻋﺸﺭﺓ ﺼﻔﺤﺔ ﺨﹸﺼﺼﺕ ﻝﺘﺤﻠﻴل "ﻫﻭ" ،ﻭﺴﻨﺠﺩ ﺃﻴﻀﹰﺎ ﻓﻲ ﺍﻝﻌﺩﺩ ﺍﻝﻘﺎﺩﻡ ﻤﻥ "ﺩﻓﺎﺘﺭ ﺍﻝﺴﻴﻨﻤﺎ" ،ﺍﻝﻭﺜﻴﻘﺔ ﺍﻝﻬﺎﻤـﺔ
ﺍﻝﺘﻲ ﺃﺸﺭﺕ ﺇﻝﻴﻬﺎ ﻓﻲ ﻤﻘﺎﻝﻲ ﺍﻝﺴﺎﺒﻕ :ﺍﻝﻤﻘﺎﺒﻠﺔ )ﺍﻝﻤﺴﺠﻠﺔ ﻋﻠﻰ ﺸﺭﻴﻁ( ﻤﻊ ﻝﻭﻴﺱ ﺒﻭﻨﻭﻴل ،ﺍﻝﺘﻲ ﺘﺤﺩﺙ ﻓﻴﻬـﺎ ﻋـﻥ
ﻜﺎﻤل ﺍﻝﻤﺭﺤﻠﺔ ﻏﻴﺭ ﺍﻝﻤﻌﺭﻭﻓﺔ ﻜﺜﻴﺭﹰﺍ ﻤﻥ ﺤﻴﺎﺘﻪ ،ﺒﻴﻥ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ﻭ"ﻫﻭ".
ﺘﺠﺭﺒﺔ ﺠﺭﻴﻤﺔ
ﻻ ﻴﺠﻭﺯ ﺃﻥ ﻨﻘﻠل ﻤﻥ ﺃﻫﻤﻴﺔ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻤﻜﺴﻴﻜﻲ ﻝﻠﻭﻴﺱ ﺒﻭﻨﻭﻴل ﻭﻻ ﺃﻥ ﻨﺒﺎﻝﻎ ﻓﻴﻬﺎ .ﻻ ﺸﻙ ﻓﻲ ﺃﻥ "ﺘﺠﺭﺒﺔ
ﺠﺭﻴﻤﺔ" ﺘﻀﻤﻥ ﺒﻌﺽ ﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻷﺜﻴﺭﺓ ﻝﺩﻯ ﻤﺅﻝﻑ "ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ﻭﻁﻭﺭﻫﺎ ،ﻭﺘﻨﺎﻭﻝﻬﺎ ،ﺭﺒﻤﺎ ،ﺒﺎﻝﻁﺭﻴﻘﺔ ﺍﻷﻜﺜﺭ
ﻭﻀﻭﺤﹰﺎ ﻤﻨﺫ ﺫﻝﻙ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺸﻬﻴﺭ ﻭﺍﻝﻤﻠﻌﻭﻥ ،ﻭﻝﻴﺱ ﻤﻥ ﺸﻙ ﺃﻴﻀﺎﹰ ،ﺒﺭﺃﻴﻲ ،ﻓﻲ ﺃﻥ ﻫﺫﺍ ﺍﻝﻌﻤل ﻗﺩ ﺍﻨﻁﻠﻕ ﻤﻥ ﻤﺨﻁﱠﻁ
ﻝﻔﻴﻠﻡ ،ﻝﻡ ﻴﻠﺘﺯﻡ ﺒﻪ ﺍﻝﻤﺅﻝﻑ ،ﻭﻫﻭﻤﺎ ﻓﻌﻠﻪ ﻓﻲ "ﻫﻭ" ﻭ"ﺍﻝﻤﻨﺴﻴﻭﻥ" .ﻭﻋﻠﻰ ﻤﺎ ﺃﻋﺘﻘﺩ ،ﺇﻨﻨﺎ ﻨﺭﺘﻜﺏ ﺨﻁًﺄ ﻓﺎﺩﺤﹰﺎ ﺇﻥ ﺭﺃﻴﻨﺎ
ﺱ .ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻫﻭ ﻋﻤل ﻤﻤﺘﻊ ﺠﺩﹰﺍ ،ﻭﻜـﺎﻥ
ﻓﻲ "ﺘﺠﺭﺒﺔ ﺠﺭﻴﻤﺔ" ﻤﺠﺭﺩ ﻜﻭﻤﻴﺩﻴﺎ ﺒﺴﻴﻁﺔ ،ﻓﻨﺴﺤﻘﻬﺎ ﺒﺘﻌﺎﻤل ﻨﻘﺩﻱ ﻗﺎ ﹴ
ﻴﺠﺏ ﺃﻥ ﻴﻌﺭﺽ ﻤﻨﺫ ﻋﺎﻤﻴﻥ ﺃﻭ ﺜﻼﺜﺔ ،ﻭﺩﻭﻥ ﺘﺨﻭﻑ – ﻻ ﻴﻤﻜﻥ ﻓﻬﻤﻪ -ﻤﻥ ﺃﻭﻝﺌﻙ ﺍﻝﺫﻴﻥ ﻴﻔﺠـﺭﻭﻥ ﺼـﺎﻻﺕ
ﺍﻝﻌﺭﺽ.
ﻻ ﻴﻤﻜﻨﻨﺎ ﺇﻻ ﺃﻥ ﻨﻘﺎﺭﻥ – ﻤﻊ ﺍﻝﺘﺸﺩﻴﺩ ﻋﻠﻰ ﺃﻭﺠﻪ ﺍﻻﺨﺘﻼﻑ " -ﺘﺠﺭﺒـﺔ ﺠﺭﻴﻤـﺔ" ﺒﻜﻭﻤﻴـﺩﻴﺎ ﺍﻝﺠﺭﻴﻤـﺔ
ﺠﻤل ﻝﻤﻴﺕ".
ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ،ﻭﺒﺨﺎﺼﺔ "ﺜﻤﺎﻨﻲ
ﺃﻋﺯﺏ ﻤﻜﺴﻴﻜﻲ ﺜﺭﻱ ﻴﻘﺘﻨﻲ ﺼﻨﺩﻭﻕ ﻤﻭﺴﻴﻘﺎ ﻴﻔﺘﺭﺽ ﺃﻨﻪ ﺫﻭ ﻗﺩﺭﺓ ﺴﺤﺭﻴﺔ :ﺘﺤﻘﻴﻕ ﺭﻏﺒﺎﺕ ﺼـﺎﺤﺒﻪ .ﺇﻻ
ﺃﻥ ﺭﻏﺒﺎﺕ "ﺃﺭﺘﺸﻴﺒﺎﻝﺩﻭ ﺩﻱ ﻻ ﻜﺭﻭﺙ" ﻤﺘﺴﻠﻁﺔ ﺠﺩﺍﹰ ،ﻓﻬﻭ ﻴﺤﻠﻡ ﺒﺠﺭﺍﺌﻡ ﻤﺠﺎﻨﻴﺔ ﻭﺩﻤﻭﻴﺔ ﺘﺴﺘﻬﺩﻑ ﻨﺴﺎﺀ ﺸـﺎﺒﺎﺕ
ﻭﺭﺍﺌﻌﺎﺕ ﺍﻝﺠﻤﺎل ،ﻝﻜﻨﻪ ﻻ ﻴﺭﻏﺏ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﺒﺄﻥ ﻴﻘﻭﻡ ﺼﻨﺩﻭﻕ ﺍﻝﻤﻭﺴﻴﻘﺎ ﺒﻬﺫﺍ ﺍﻝﻌﻤل ،ﻜل ﻤﺎ ﻓﻲ ﺍﻷﻤـﺭ ،ﺃﻥ
ﻴﺴﺎﻋﺩﻩ ﻋﻠﻰ ﺘﺤﻘﻴﻕ ﺍﻝﻨﺠﺎﺡ .ﻭﻝﺴﻭﺀ ﺍﻝﺤﻅ ﻓﺈﻥ ﻗﻭﺓ ﺍﻝﺴﺤﺭ ﺘﻌﻤل ﺒﻔﻌﺎﻝﻴﺔ ﺃﻜﺜﺭ ﻤﻥ ﺍﻝﻼﺯﻡ ،ﻓﻔﻲ ﻜل ﻤﺭﺓ ﻴﺤـﺎﻭل
ﻓﻴﻬﺎ ﺍﻹﻋﺩﺍﺩ ﻝﺠﺭﻴﻤﺘﻪ ﺍﻝﻜﺎﻤﻠﺔ ،ﻴﺠﺩ ﺃﺭﺘﺸﻴﺒﺎﻝﺩﻭ ﺩﻱ ﻻ ﻜﺭﻭﺙ ﻨﻔﺴﻪ ﺨﺎﺌﺒﹰﺎ ﻝﻠﻐﺎﻴﺔ ﺒﺴﺒﺏ ﺍﻝﻤﻴﺘﺔ ﺍﻝﻌﻨﻴﻔﺔ ﻝﻀـﺤﻴﺘﻪ
"ﺍﻝﻤﻨﺘﻅﺭﺓ" .ﻜﻠﻬﻥ ،ﻤﺎ ﻋﺩﺍ ﻭﺍﺤﺩﺓ! ﻭﻁﺒﻌﹰﺎ ﻷﻥ ﺍﻝﻅﺭﻭﻑ ﺘﺴﻤﺢ ﺒﺈﺒﺩﺍل ﺍﻝﻔﺘﺎﺓ ﺒﻤﺎﻨﻴﻜﺎﻥ ﻤﻥ ﺍﻝﺸﻤﻊ ﺸﺒﻴﻪ ﺒﻬﺎ .ﻭﻴﻘﺭﺭ
ﺍﻝﺭﺠل ،ﻤﺤ ﺒﻁﹰﺎ ﻭﻴﺎﺌﺴﺎﹰ ،ﺃﻥ ﻴﺸﺩ ﻤﻥ ﻋﺯﻴﻤﺘﻪ ﻗﺩﺭ ﺍﻹﻤﻜﺎﻥ ﻜﻲ ﻴﺘﺤﻤل ﺍﻝﻌﻘﻭﺒﺔ ﺍﻝﻤﻘﺭﺭﺓ ﻝﻠﺠﺭﺍﺌﻡ ﺍﻝﺘﻲ ﻴﻌﺘﺭﻑ ﺒﻬﺎ
ﻱ ﻤﻬﻭﻭﺱ .ﻫـﺫﺍ ﺍﻝﻔﺸـل ﺍﻷﺨﻴـﺭ ﺃﻋﻁـﻰ
ﺃﻤﺎﻡ ﺍﻝﺸﺭﻁﺔ ..ﺍﻝﺘﻲ ﺴﺘﻌﺎﻤﻠﻪ ﺒﻁﺭﻴﻘﺔ ﻤﺨﺘﻠﻔﺔ ﻴﺘﻁﻠﺒﻬﺎ ﻭﻀﻌﻪ ﻜﺜﺭ
ﺃﺭﺘﺸﻴﺒﺎﻝﺩﻭ ﺍﻝﺠﺭﺃﺓ ﻋﻠﻰ ﺍﻝﺘﺨﻠﻲ ﻋﻥ ﺼﻨﺩﻭﻕ ﺍﻝﻤﻭﺴﻴﻘﺎ ﺍﻝﺸﻬﻴﺭ ،ﻭﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ،ﻋﻥ ﻨﺯﻭﺍﺘﻪ ﺍﻝﻤﺘﺴﻠﻁﺔ .ﻭﺒﻌـﺩ
ﺸﻌﻭﺭﻩ ﺒﻬﺫﺍ ﺍﻝﺘﺤﺭﺭ ﺃﺤﺱ ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻻﺭﺘﻴﺎﺡ؛ ﻭﻴﺼﺎﺩﻑ ﻓﻲ ﻁﺭﻴﻘﻪ ﺍﻝﻔﺘﺎﺓ ﺍﻝﺘﻲ ﺃﻨﻘﺫﻫﺎ ﺍﻝﻘﺩﺭ )ﻤـﻥ ﺃﻥ ﺘﻜـﻭﻥ
ﺤﺒﻴﺒﺘﻪ ،ﻓﻲ ﺍﻝﻼﻭﻋﻲ ،ﻜﻤﺎ ﻜﺎﻥ ﻴﻤﻜﻥ ﺃﻥ ﻴﺤﺼل(!.
ﺘﺤﺩﺜﺕ ﻋﻥ "ﺜﻤﺎﻨﻲ ﺠﻤل ﻝﻤﻴﺕ" ﻓﻘﻁ ﻤﻥ ﺨﻼل ﺍﻝﺨﻁ ﺍﻝﻌﺎﻡ ﻝﻠﺴﻴﻨﺎﺭﻴﻭ ،ﻭﺍﻝﻔﻜﺎﻫـﺔ ﺍﻝﻤﺘﺼـﻠﺔ ﺒﻤﻭﺍﻀـﻴﻊ
ﺍﻝﻤﻭﺕ .ﻭﺍﻝﺤﻘﻴﻘﺔ ﺃﻥ ﻓﻴﻠﻡ ﺒﻭﻨﻭﻴل ﻴﺘﻤﻴﺯ ﻋﻨﻪ ﻜﺜﻴﺭﹰﺍ ﺒﺴﺒﺏ ﺃﺠﻭﺍﺌﻪ ﺍﻝﻘﻠﻘﺔ ﺍﻝﺘﻲ ﺘﺴـﻴﻁﺭ ﻋﻠﻴـﻪ ﺘﺤـﺕ ﻤﻅﻬـﺭﻩ
ﺍﻝﻜﻭﻤﻴﺩﻱ .ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ﺍﻝﺴﻭﺩﺍﺀ ﻫﻲ ﻤﺴﺄﻝﺔ ﺒﻼﻏﺔ ،ﻭﺘﻘﻠﻴﺩ ﻓﻜﺭﻱ ﺨﺎﻝﺹ ،ﺒﻴﻨﻤﺎ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﻝﺩﻯ ﺒﻭﻨﻭﻴـل
ﻫﻲ ﺫﺍﺕ ﺃﺼل ﻨﻔﺴﻲ ﻭﺃﺨﻼﻗﻲ ﻭﺸﺨﺼﻲ ،ﻭﺘﻤﺘﻠﻙ ﻜل ﺍﻝﻘﻭﺓ ﺍﻝﻐﺎﻤﻀﺔ ﻭﺍﻝﻤﺭﻋﺒﺔ ﻝﻸﺤﻼﻡ ،ﻭﺭﻤﺯﻴﺘﻬﺎ ،ﻭﺘﺼـل
ﺇﻝﻰ ﺃﻗﺼﻰ ﻤﺎ ﻴﻤﻜﻥ ﻤﻥ ﺍﻷﺼﺩﺍﺀ ﺍﻝﺘﻲ ﺘﻭﻗﻅﻬﺎ ﻓﻲ ﻀﻤﺎﺌﺭﻨﺎ .ﻭﻫﻨﺎﻙ ﻤﺴﺄﻝﺔ ﺃﺨﺭﻯ ﻤﻥ ﺍﻝﻤﻬﻡ ﺃﻴﻀـﹰﺎ ﺍﻹﺸـﺎﺭﺓ
ﺇﻝﻴﻬﺎ ،ﻫﻲ ﺍﻝﺸﺤﻨﺔ ﺍﻝﺠﻨﺴﻴﺔ ﺍﻝﺘﻲ ﻻ ﺘﻨﻔﺼل ﻋﻥ ﺍﻹﻴﺤﺎﺀ ﺍﻝﻤﻨﺒﻌﺙ ﻤﻥ ﺍﻝﺤﻠﻡ ،ﺇﻻ ﺃﻥ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺘﻠﻁﻑ ﻜﺜﻴﺭﹰﺍ ﻤـﻥ
ﺸﺩﺓ ﻫﺫﻩ ﺍﻹﻴﺤﺎﺀﺍﺕ.
ﻝﻴﺱ ﺒﻭﻨﻭﻴل ﺫﻝﻙ ﺍﻝﻨﻤﻁ ﻤﻥ ﺍﻝﻤﺨﺭﺠﻴﻥ ﻜﺭﻭﺒﻴﺭ ﺒﺭﻴﺴﻭﻥ ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﺍﻝـﺫﻴﻥ ﻻ ﻴﺘﺴـﺎﻫﻠﻭﻥ ﻭﻻ
ﻴﻭﺍﻓﻘﻭﻥ ﻋﻠﻰ ﻤﻭﻀﻭﻉ ﻻ ﻴﻘﺘﺭﻥ ﺒﻜﺎﻤل ﻗﻨﺎﻋﺘﻬﻡ ،ﻓﻤﺅﻝﻑ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ﻭ"ﻜﻠﺏ ﺃﻨﺩﻝﺴﻲ" ﺃﻅﻬﺭ ﻓﻲ ﺍﻝﻌﺩﻴﺩ ﻤﻥ
ﺃﻓﻼﻤﻪ ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ﺫﺍﺕ ﺍﻝﺴﻴﻨﺎﺭﻴﻭﻫﺎﺕ ﺍﻝﻤﻴﻠﻭﺩﺭﺍﻤﻴﺔ ﺍﻝﺘﺠﺎﺭﻴﺔ ﺃﻥ ﺒﺈﻤﻜﺎﻨﻪ ﺍﻻﺴﺘﻤﺭﺍﺭ ﻓـﻲ ﺍﻝﻌﻤـل ﻤـﻊ ﺘﻘـﺩﻴﻡ
ﺍﻝﺘﻨﺎﺯﻻﺕ.
ﻝﻭ ﻜﺎﻥ ﺒﻭﻨﻭﻴل ﻗﺩ ﺤﻘﻕ ﻓﻘﻁ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺘﻔﻕ ﻭﺭﻏﺒﺎﺘﻪ ،ﻻﺤﺘﺭﻗﺕ ﺍﻝﺸﺎﺸﺔ ﺩﺍﺌﻤﹰﺎ ﻤﻨﺫ ﺍﻝﻌﺭﺽ ﺍﻷﻭل! ﻝﻜﻨﻪ
ﺤﻘﻕ ﺍﻝﺴﻴﻨﺎﺭﻴﻭﻫﺎﺕ ﺍﻝﻤﺘﻭﺍﻀﻌﺔ ،ﻭﻜﺫﻝﻙ ﺘﻠﻙ ﺍﻝﺘﻲ ﺘﺘﻤﺘﻊ ﺒﺄﻜﺒﺭ ﻗﺩﺭ ﻤﻥ ﺍﻻﺤﺘـﺭﺍﻡ ،ﻤـﻊ ﻭﺩﺍﻋﺘـﻪ ،ﻭﺼـﺒﺭﻩ،
ﻭﻋﺫﻭﺒﺘﻪ ﺍﻝﻤﺎﻜﺭﺓ ،ﻭﻫﻭ ﻤﺎ ﻴﺸﻜل ﺍﻝﻭﺠﻪ ﻏﻴﺭ ﺍﻝﻤﺘﻭﻗﻊ ﻝﻌﺒﻘﺭﻴﺘﻪ.
ﻻ ﺘﻬﺩﻑ ﻫﺫﻩ ﺍﻝﻤﻘﺩﻤﺔ ﺇﻝﻰ ﺍﻝﺘﻘﻠﻴل ﻤﻥ ﻗﻴﻤﺔ ﺴﻴﻨﺎﺭﻴﻭ "ﺍﻝﻤﻭﺕ ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﺩﻴﻘﺔ" ،ﺍﻝﺫﻱ ﻴﻤﺜل ،ﺒﻼ ﺸﻙ ،ﻭﺍﺤﺩﹰﺍ
ﻤﻥ ﺍﻝﻤﻀﺎﻤﻴﻥ ﺍﻝﻤﺸ ﺭﻓﺔ؛ ﺒل ﻓﻘﻁ ﻜﻲ ﻨﻭﻀﺢ ﺒﺠﻼﺀ ،ﻭﻤﻨﺫ ﺍﻝﺒﺩﺍﻴﺔ ،ﺃﻨﻪ ﻻ ﻴﺸﻜل ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﻤﻭﻗﻌـﹰﺎ ﻤﺘﻘـﺩﻤﹰﺎ
ﻜﻤﻭﻀﻭﻉ "ﺒﻭﻨﻭﻴﻠﻲ" ،ﻤﺜل "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﺃﻭ "ﻫﻭ" .ﻝﻜﻥ ،ﺤﺘﻰ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻤﺸﺎﻫﺩ ﺍﻝﻌﺎﺩﻱ ،ﻤﻥ ﻏﻴـﺭ ﺍﻝﻤﻤﻜـﻥ ﺃﻥ ﻻ
ﻴﻨﺴﺏ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ،ﺒﻌﺩ ﻋﺸﺭ ﺩﻗﺎﺌﻕ ،ﺇﻝﻰ ﻤﺤﻘﻕ "ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ﻭ"ﺭﻭﺒﻨﺴﻭﻥ ﻜﺭﻭﺯﻭ".
ﻨﺤﻥ ﻓﻲ ﻗﺭﻴﺔ ﺒﺄﻤﺭﻴﻜﺎ ﺍﻝﺠﻨﻭﺒﻴﺔ ﺤﻴﺙ ﻴﻀ ﹺﺭﺏ ﻋﻤﺎل ﻤﻨﺠﻡ ،ﻭﻴﺒﺎﺩﺭ ﺍﻝﺠﻴﺵ ﺇﻝﻰ ﻗﻤﻊ ﺍﻹﻀﺭﺍﺏ .ﻭﺨـﻼل
ﺍﻝﻔﻭﻀﻰ ﺍﻝﺤﺎﺼﻠﺔ ﻴﻘﺒﺽ ﻋﻠﻰ ﻤﻐﺎﻤﺭ ﻗﺎﺩﻡ ﻤﻥ ﻤﻜﺎﻥ ﻏﻴﺭ ﻤﻌﺭﻭﻑ )ﺠﻭﺭﺝ ﻤﺎﺭﺸﺎل( ﺒﻌﺩ ﺃﻥ ﻴﻜﻭﻥ ﻗـﺩ ﻗـﺎﻡ
ﺒﺴﺭﻗﺔ ﻭﺠﺭﻯ ﺍﻹﺨﺒﺎﺭ ﻋﻨﻪ ﻤﻥ ﻗﺒل ﺍﻝﻤﻭﻤﺱ ﺍﻝﻤﻌﺭﻭﻓﺔ ﻓﻲ ﺘﻠﻙ ﺍﻝﻤﻨﻁﻘﺔ )ﺴﻴﻤﻭﻥ ﺴﻴﻨﻴﻭﺭﻴﻪ( ،ﻭﻫﺫﻩ ﺘﺒﺩﻱ ﺸﻐﻔﹰﺎ
ﺼﺭﻴﺤﹰﺎ ،ﻭﻤﺜﻴﺭﹰﺍ ﻨﻭﻋﹰﺎ ﻤﺎ ﻝﻠﻀﺤﻙ ،ﺇﺯﺍﺀ ﺼﺎﺤﺏ ﺩﻜﺎﻥ ﻝﻠﻤﺄﻜﻭﻻﺕ )ﺸﺎﺭل ﻓﺎﻨﻴل( ،ﻭﻫﻭ ﺃﺭﻤل ﻝﻪ ﺍﺒﻨﺔ ﺼـﻤﺎﺀ
ﻭﺒﻜﻤﺎﺀ ،ﻭﻴﺤﻠﻡ ﺒﺎﻝﺯﻭﺍﺝ ﻤﻨﻬﺎ ﻭﺍﻝﺫﻫﺎﺏ ﺒﻬﺎ ﺇﻝﻰ ﻓﺭﻨﺴﺎ ..ﻻ ﺃﻗل ﻤﻥ ﺫﻝﻙ! ﻭﻤﺎ ﻴﺜﻴﺭ ﺍﻫﺘﻤﺎﻡ ﻫﺫﻩ ﺍﻝﻤﻭﻤﺱ ،ﺍﻝﺘﻲ ﻻ
ﺘﺤﺘﺭﻡ ﺸﻴﺌﺎﹰ ،ﻫﻭ ﻓﻘﻁ ﺜﺭﻭﺓ ﻫﺫﺍ ﺍﻝﻌﺠﻭﺯ ﺍﻝﻌﺎﺸﻕ .ﺜﻡ ﻫﻨﺎﻙ ﺒﻁل ﺁﺨﺭ :ﻜﺎﻫﻥ ﺍﻝﻘﺭﻴﺔ ،ﺍﻝﺫﻱ ﻴﻤﻴـل ﺇﻝـﻰ ﺍﻝﻨﻅـﺎﻡ
ﻕ
ﺍﻷﺨﻼﻗﻲ ﺍﻝﻘﺎﺌﻡ ،ﻭﻝﻭ ﺃﻨﻪ ﺸﺠﺎﻉ ﺨﻼل ﺍﻝﻅﺭﻭﻑ ﺍﻝﺼﻌﺒﺔ ،ﻭﺭﺒﺎﻥ ﻝﻠﻤﺭﻜﺏ ﺍﻝﺼﻐﻴﺭ ﺍﻝﺫﻱ ﻴﺭﺒﻁ ﺍﻝﻘﺭﻴﺔ ﻋﻥ ﻁﺭﻴ
ﻨﻬﺭﻱ ﺒﺒﻌﺽ ﺍﻝﻤﻨﺎﻁﻕ ﺍﻷﻜﺜﺭ ﺘﺤﻀﺭﹰﺍ.
ﻲ ﺃﻥ ﺃﺨﺘﺼﺭﻫﺎ ،ﺘﻠﺘﻘﻲ ﻫﺫﻩ ﺍﻝﺸﺨﺼﻴﺎﺕ ﺫﺍﺕ ﺍﻝﻁﺒﺎﻉ ﻭﺍﻻﻫﺘﻤﺎﻤـﺎﺕ
ﺒﻌﺩ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺤﻭﺍﺩﺙ ﺍﻝﺘﻲ ﻋﻠ
ﺍﻝﻤﺘﻨﻭﻋﺔ ،ﺠﻤﻴﻌﻬﺎ ،ﻋﻠﻰ ﻅﻬﺭ ﺍﻝﻤﺭﻜﺏ ،ﻭﻤﻥ ﺜﻡ ﻨﺠﺩ ﻫﺅﻻﺀ ﻭﺤﻴﺩﻴﻥ ﻓﻲ ﻏﺎﺒﺔ ،ﻭﻤﻁﺎﺭﺩﻴﻥ ﻤﻥ ﻗﺒل ﺍﻝﺸـﺭﻁﺔ
ﺍﻝﻤﺴﺘﻨﻔﺭﺓ .ﺍﻝﺨﻁﺭ ﺍﻝﺭﺌﻴﺱ ،ﺇﻝﻰ ﺠﺎﻨﺏ ﻝﺩﻏﺎﺕ ﺍﻷﻓﺎﻋﻲ ،ﺍﻝﺫﻱ ﻴﺸﻜل ﺍﻝﻤﻔﺎﺭﻗﺔ ﻤﻊ ﺫﻝﻙ ﺍﻝﺠﺤﻴﻡ ﺍﻷﺨﻀـﺭ ،ﻫـﻭ
ﺍﻝﺠﻭﻉ ،ﺤﻴﺙ ﻻ ﻴﻜﺎﺩ ﻴﺘﻭﻓﺭ ﻫﻨﺎﻙ ﺃﻱ ﺸﻲﺀ ﻴﻤﻜﻥ ﺃﻥ ﻴﺅﻜل .ﻭﺒﻨﺎﺀ ﻋﻠﻰ ﻫﺫﺍ ،ﻓﺈﻥ "ﺍﻝﻤﻭﺕ ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﺩﻴﻘﺔ" ﻜﺎﻥ
ﻴﻤﻜﻥ ﺃﻥ ﻴﺼﺒﺢ ﻤﺠﺭﺩ ﻓﻴﻠﻡ ﻝﻠﻤﻐﺎﻤﺭﺍﺕ ﺍﻝﻐﺭﻴﺒﺔ ﺍﻵﺴﺭﺓ ،ﺒﺼﻭﺭﺓ ﺃﻭ ﺒﺄﺨﺭﻯ ،ﻝﻭ ﻝﻡ ﺘﻜـﻥ ﺍﻝﻤﻐـﺎﻤﺭﺓ ﺍﻝﺤﻘﻴﻘﻴـﺔ
ﻝﺒﻭﻨﻭﻴل ﻗﺎﺌﻤﺔ ﻓﻲ ﺍﻝﻭﻋﻲ ﺍﻹﻨﺴﺎﻨﻲ .ﻭﻜﺎﻥ ﻗﺩ ﺤﻘﻕ ﺒﻨﻔﺱ ﺍﻝﻁﺭﻴﻘﺔ ﻓﻲ "ﺭﻭﺒﻨﺴﻭﻥ ﻜﺭﻭﺯﻭ" ﻤﻠﺤﻤﺔ ﺼﻐﻴﺭﺓ ﻝﻠﻌﺯﻝﺔ
ﻭﻤﻥ ﺜﻡ ﻝﻸﺨ ﻭﺓ .ﻫﻨﺎ ،ﻓﻲ "ﺍﻝﻤﻭﺕ ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﺩﻴﻘﺔ" ،ﻴﺩﻓﻌﻬﻡ ﺍﻝﻤﻭﺕ ﻭﺍﻝﺤﺏ ﻭﺍﻝﻤﻌﺎﻨﺎﺓ ﺍﻝﻤﺸﺘﺭﻜﺔ ﺇﻝﻰ ﺃﻥ ﻴﺘﻌﺭﻓﻭﺍ
ﻋﻠﻰ ﺫﻭﺍﺘﻬﻡ ،ﻭﻴﺘﺤﻭﻝﻭﺍ ﺇﻝﻰ ﺃﺸﺨﺎﺹ ﺃﻓﻀل ﻤﻤﺎ ﻜﺎﻨﻭﺍ ﻋﻠﻴﻪ ،ﺒﺎﺴﺘﺜﻨﺎﺀ ﺃﺤﺩﻫﻡ ،ﺍﻝﺫﻱ ﻴﺼﺎﺏ ﺒـﺎﻝﺠﻨﻭﻥ )ﺸـﺎﺭل
ﻓﺎﻨﻴل( ،ﻭﻴﻘﻭﻡ ﺒﻘﺘل ﺍﻝﺠﻤﻴﻊ ،ﻤﺎ ﻋﺩﺍ ﺍﻝﻤﻐﺎﻤﺭ ﻭﺸﺎﺒﺔ ﺠﺭﻴﺤﺔ ،ﺍﻝﻠﺫﻴﻥ ﻴﻤﻀﻴﺎﻥ ﻨﺤﻭ ﻤﺼﻴﺭ ﺠﺩﻴﺩ ﻭﻏﺎﻤﺽ.
ﻼ ﻤﺘﻤﻴﺯﹰﺍ ﻝﺒﻭﻨﻭﻴل ،ﺇﻻ ﺃﻨﻪ ،ﻤﻊ ﺫﻝﻙ ،ﻓﻴﻠﻡ ﺠﻤﻴل ﻭﻏﺭﻴﺏ
ﻤﺭ ﹰﺓ ﺃﺨﺭﻯ" ،ﺍﻝﻤﻭﺕ ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﺩﻴﻘﺔ" ﻝﻴﺱ ﻋﻤ ﹰ
ﻴﺘﻤﻜﻥ ﻤﻥ ﺍﺘﺒﺎﻉ ﺒﻌﺽ ﺍﻝﺴﺒل ﻝﺘﻀﻠﻴﻠﻨﺎ ﺒﺼﻭﺭﺓ ﺃﻓﻀل ،ﻤﻊ ﺸﺨﺼﻴﺎﺕ ﺘﺒﺩﻭ ﻭﻜﺄﻨﻬﺎ ﺨﺎﺭﺠﺔ ﻤﻥ ﻓﻴﻠﻡ ﻤﻐـﺎﻤﺭﺍﺕ
ﺘﻘﻠﻴﺩﻱ ﺇﻝﻰ ﺤﺩ ﻤﺎ ،ﺘﻌﻴﺵ ﻗﻠﻘﹰﺎ ﻋﻠﻰ ﺇﻨﺴﺎﻨﻴﺘﻬﺎ .ﻜﺎﻨﺕ ﻭﻁﺄﺓ ﺍﻝﻤﻌﺎﻨﺎﺓ ﺒﺎﺩﻴ ﹰﺔ ﻋﻠﻰ ﺍﻝﻤﻤﺜﻠﻴﻥ ،ﺍﻝﺫﻴﻥ ﻝﻡ ﻴﺘﺤﻤﻠﻭﺍ ﺤﺭﺍﺭﺓ
ﺨﺎﺫﹰﺍ ،ﻭﻝﻭ ﺃﻨﻪ ﺒﺩﺍ ﻏﻴﺭ ﻤﺄﻝﻭﻑ.
ﺍﻝﺸﻤﺱ ﻭﺍﻝﻤﻨﺎﺥ ،ﻝﻜﻥ ﺍﻝﺘﻤﺜﻴل ﻜﺎﻥ ﺩﺍﺌﻤﹰﺎ ﺃ ﹼ
)(1957
ﺘﻌﺭﻓﺕ ﺒﻠﻭﻴﺱ ﺒﻭﻨﻭﻴل ،ﺍﻝﺫﻱ ﻜﻨﺕ ﻗﺩ ﺘﺭﺍﺴﻠﺕ ﻤﻌﻪ ﻤﻨﺫ ﺒﻌﺽ ﺍﻝﻭﻗﺕ ،ﻓﻲ ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ ﺍﻷﺨﻴﺭ ،ﻭﺨﻼل
ﻫﺫﻩ ﺍﻝﺘﻅﺎﻫﺭﺓ ﺃﺼﺭ ﺒﻌﺽ ﺍﻝﺼﺤﻔﻴﻴﻥ ﺍﻝﻤﺤﻠﻴﻴﻥ ﻴﻭﻤﻴﹰﺎ ﻋﻠﻰ ﺍﻝﺤﺩﻴﺙ ﻋﻥ "ﻗﻨﺎﻋﻪ ﺍﻝﻘﺎﺴﻲ" ﻭﺍﻝﺘﺭﺩﻴﺩ ﺒـﺄﻥ ﻜﻠﻤﺘـﻪ
ﺍﻝﻤﻔﻀﻠﺔ ﻫﻲ ﻝﻔﻅﺔ "ﻤﺘﻭﺤﺵ" .ﻝﻴﺱ ﻓﻴﻪ ﺸﻲﺀ ﻤﻥ ﺍﻝﺯﻴﻑ ،ﻤﺤﺩﻭﺩﺏ ﻗﻠﻴﻼﹰ ،ﻓﻴﻪ ﺸﻲﺀ ﻤﻥ ﺜﻭﺭ ﻤﺒﻬـﻭﺭ ﺒﺸـﻜل
ﻤﻔﺎﺠﺊ ﺒﻀﻭﺀ ﺍﻝﺴﺎﺤﺔ ﺒﻌﺩ ﻅﻬﺭ ﻴﻭﻡ ﻤﺸﻤﺱ ،ﺼ ﻤ ﻤﻪ ﺍﻝﺒﺴﻴﻁ ﻴﻌﻁﻲ ﺍﻻﻨﻁﺒﺎﻉ ﺒﻭﺤﺩ ﺓ ﻗﻠﻘﺔ ،ﻝﻜﻥ ﺍﻝﺤﺎﺠﺯ ﺍﻝـﺫﻱ
ﻴﺠﺏ ﺍﻝﺘﺨﻠﺹ ﻤﻨﻪ ﻝﹼﻠﻘﺎﺀ ﺒﺎﻝﺭﺠل ﺒﺴﻴﻁ ﺠﺩﹰﺍ؛ ﻋﺫﺏ ،ﻫﺎﺩﺉ ،ﺤﻨﻭﻥ ،ﻤﺘﺤﻔﻅ ،ﻏﻴﺭ ﻗﺎﺩﺭ ﺇﻁﻼﻗﹰﺎ ﻋﻠﻰ ﺍﻝﻨﻔﺎﻕ .ﺜـﻡ
ﻫﻨﺎﻙ ﺃﻤﺭﺍﻥ ﻴﻌﺭﻓﺎﻥ ﺒﻪ ﺠﻴﺩﺍﹰ ،ﺇﻥ ﻜﺎﻥ ﺒﺎﻹﻤﻜﺎﻥ ﻭﺼﻑ ﻫﺫﺍ ﺍﻹﺴﺒﺎﻨﻲ ﺍﻝﻐﺎﻤﺽ ،ﺍﻝﻤﺘﺠﻬﻡ ﻭﺍﻝﺨﺠـﻭل :ﻨﻅﺭﺘـﻪ
ﺍﻝﻤﻀﻴﺌﺔ ،ﺍﻝﺨﺎﺼﺔ ﺒﻌﺎِﻝﻡ ﺤﺸﺭﺍﺕ ،ﻭﺍﻝﻌﺒﺎﺭﺓ ﺍﻝﺘﻲ ﻴﺘﻠﻔﻅ ﺒﻬﺎ ﻓﻲ ﻤﻭﻗﻊ ﻤﺎ ﻤﻥ ﻫﺫﺍ ﺍﻝﺤﻭﺍﺭ ﺒﻤﻨﺎﺴﺒﺔ ﺍﻝﺤﺩﻴﺙ ﻋـﻥ
"ﺭﻭﺒﻨﺴﻭﻥ" ﻭﻋﻥ "ﻓﻴﻴﺭﻨﻴﺱ"" :ﺇﻨﻬﻡ ﻴﻌﻭﺩﻭﻥ ﺇﻝﻰ ﺍﻹﺤﺴﺎﺱ ﺒﺎﻝﻔﺨﺭ ﺒﺄﻨﻬﻡ ﺒﺸﺭ" .ﻭﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ،ﺴﻴﻘﺩﻡ ﺍﻝﻠﻘﺎﺀ ﺍﻝﺘﺎﻝﻲ
ﺃﻓﻀل ﺼﻭﺭﺓ ﻋﻨﻪ.
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ﺁﻨﺩﺭﻴﻪ ﺒﺎﺯﺍﻥ :ﻋﺯﻴﺯﻱ ﻝﻭﻴﺱ ﺒﻭﻨﻭﻴل ،ﺍﻝﻘﺭﺍﺀ ﺍﻝﻔﺭﻨﺴﻴﻭﻥ ﺍﻝﺫﻴﻥ ﺃﻀﺎﻋﻭﻙ ﺒﻌﺩ "ﺍﻝﻌﺼﺭ ﺍﻝـﺫﻫﺒﻲ" ﻭ"ﺃﺭﺽ
ﺒﻼ ﺨﺒﺯ" ﻭﻓﻭﺠﺌﻭﺍ ﺒﻌﻭﺩﺘﻙ ﻭﺒﻭﺠﻭﺩﻙ ﻋﺎﻡ 1951ﻓﻲ ﻓﻴﻠﻡ ﻤﻜﺴﻴﻜﻲ ،ﺴﻴﻜﻭﻨﻭﻥ ﺸﺎﻜﺭﻴﻥ ﺇﺫﺍ ﻭﺍﻓﻘـﺕ ﻋﻠـﻰ ﺃﻥ
ﺘﺭﻭﻱ ﻝﻬﻡ ﺒﺎﺨﺘﺼﺎﺭ ﺤﻭل ﺤﻴﺎﺘﻙ ﺍﻝﻤﻬﻨﻴﺔ ﺍﻋﺘﺒﺎﺭﹰﺍ ﻤﻥ ﺴﻨﻭﺍﺕ ﺍﻝﺜﻼﺜﻴﻨﺎﺕ.
ﻝﻭﻴﺱ ﺒﻭﻨﻭﻴل :ﻋﺎﻡ ،1930ﺒﻌﺩ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ،ﺫﻫﺒﺕ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ،ﻭﻜﺎﻨﺕ ﺸﺭﻜﺔ ﻤﺘـﺭﻭ ﻏﻭﻝـﺩﻭﻴﻥ
ﻤﺎﻴﺭ ﻗﺩ ﺘﻌﺎﻗﺩﺕ ﻤﻌﻲ.
ﺁ.ﺏ :ﺒﺴﺒﺏ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ"؟
ل.ﺏ :ﻨﻌﻡ ،ﺒﺴﺒﺏ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ،ﻜﺎﻨﺕ "ﻤﺘﺭﻭ" ﻗﺩ ﺸﺎﻫﺩﺕ ﺍﻝﻔﻴﻠﻡ ﻓﻲ ﺒﺎﺭﻴﺱ ﻭﺘﻌﺎﻗﺩﺕ ﻓﻲ ﺍﻝﺤﺎل ﻤﻊ
ﻲ ﺃﻥ ﺃﺫﻫﺏ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ﻤﻊ ﻋﻘﺩ ،ﻝﻜﻨﻲ ﻝﻡ ﺃﺭﺤﺏ ﻓﻲ ﺃﻋﻤﺎﻗﻲ ،ﺇﺫ
ﺒﻁﻠﺔ ﺍﻝﻔﻴﻠﻡ "ﻝﻴﺴﺎﻝﻴﺱ" .ﺒﻌﺩ ﺫﻝﻙ ﻋﺭﻀﺕ ﻋﻠ
ﻝﻡ ﻴﻜﻥ ﻴﺜﻴﺭ ﺍﻫﺘﻤﺎﻤﻲ ﺘﺤﻘﻴﻕ ﺃﻓﻼﻡ ﺒﺸﺭﻭﻁﻬﻡ ،ﻜﻨﺕ ﻓﻲ ﺒﺎﺭﻴﺱ ﺤﺭﹰﺍ ﻓﻲ ﺃﻥ ﺃﺼﻨﻊ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺘﻲ ﺃﺭﻴـﺩ ﺒﻤﻌﻭﻨـﺔ
ﺒﻌﺽ ﺍﻷﺼﺩﻗﺎﺀ ﺍﻝﺫﻴﻥ ﻗﺩﻤﻭﺍ ﺇﻝﻲ ﺍﻝﻤﺎل .ﻭﻋﻠﻰ ﺃﻴﺔ ﺤﺎل ،ﻓﻘﺩ ﺘﻌﺎﻗﺩﻭﺍ ﻤﻌﻲ ﺒﺼﻔﺔ ﻤﺭﺍﻗﺏ :ﺃﺫﻫﺏ ﻝﻤﺩﺓ ﺴﺘﺔ ﺃﺸﻬﺭ
ﻭﺃﺘﺎﺒﻊ ﺨﻼﻝﻬﺎ ﻜﻴﻑ ﻴﺼﻨﻌﻭﻥ ﺍﻷﻓﻼﻡ ،ﻤﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺤﺘﻰ ﺍﻝﻤﻭﻨﺘﺎﺝ.
ﻭ ..ﻫل ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﻗﻭل ﻜل ﻤﺎ ﺃﻓﻜﺭ ﻓﻴﻪ؟
ﺁ.ﺏ :ﺒﺎﻝﻁﺒﻊ ،ﻤﻥ ﺃﺠل ﻫﺫﺍ ﻨﺤﻥ ﻫﻨﺎ.
ل.ﺏ :ﻜﺎﻥ ﻜﻠﻭﺩ ﺃﻭﺘﺎﻥ ﻻﺭﺍ ﻗﺩ ﻭﺼل ﺇﻝﻰ ﻫﻨﺎﻙ ﻗﺒﻠﻲ ،ﺇﺫ ﺘﻌﺎﻗﺩ ﻤﻌﻬﻡ ﻤﻥ ﺃﺠل ﺍﻝﻨﺴﺦ ﺍﻝﻨﺎﻁﻘﺔ ﺒﺎﻝﻔﺭﻨﺴﻴﺔ.
ﻓﻲ ﺍﻝﻴﻭﻡ ﺍﻷﻭل ﻨﻅﺭ ﺍﻝﻤﺸﺭﻑ ﺇﻝﻰ ﻋﻘﺩﻱ ﺜﻡ ﻗﺎل ﻝﻲ" :ﻤﻥ ﺍﻝﻨﺎﺩﺭ ﺠﺩﹰﺍ ﺇﺒﺭﺍﻡ ﻋﻘﺩ ﻜﻬﺫﺍ ،ﻝﻜﻥ ،ﻻ ﺒﺄﺱ… ﻤﻥ ﺃﻴﻥ
ﺘﺭﻴﺩ ﺃﻥ ﺘﺒﺩﺃ؟ ﺍﻻﺴﺘﻭﺩﻴﻭ؟ ،ﺍﻝﺴﻴﻨﺎﺭﻴﻭ؟ ،ﺍﻝﻤﻭﻨﺘﺎﺝ؟" ﻭﺍﺨﺘﺭﺕ ﺍﻻﺴﺘﻭﺩﻴﻭ ،ﺤﻴﻨﺌ ﺫ ﻗﺎل ﻝﻲ" :ﻓﻲ ﺍﻝـ ،24ﻝﺩﻴﻨﺎ ﻏﺭﻴﺘﺎ
ﻏﺎﺭﺒﻭ ﺘﻌﻤل ،ﻫل ﺘﺭﻴﺩ ﺃﻥ ﺘﺫﻫﺏ ﺇﻝﻰ ﻫﻨﺎﻙ ﻜﻤﺭﺍﻗﺏ ﻝﻤﺩﺓ ﺸﻬﺭ؟" .ﺫﻫﺒﺕ ﺇﻝﻰ ﻫﻨﺎﻙ ،ﻭﻝﺩﻯ ﻭﺼﻭﻝﻲ ﺸـﺎﻫﺩﺕ
ﻏﺭﻴﺘﺎ ﻏﺎﺭﺒﻭ ،ﻭﻜﺎﻨﻭﺍ ﻴﺠﺭﻭﻥ ﻝﻬﺎ ﺍﻝﻤﺎﻜﻴﺎﺝ ،ﻨﻅ ﺭﺕﹾ ﺇﻝﻲ ﺒﺎﺯﺩﺭﺍﺀ ﺴﺎﺌﻠﺔ ﻋﻤﻥ ﻴﻜﻭﻥ ﻫﺫﺍ ﺍﻷﺠﻨﺒﻲ ،ﺜﻡ ﻗﺎﻝﺕ ﺸﻴﺌﹰﺎ
ﺒﻠﻐﺔ ﻏﻴﺭ ﻤﻔﻬﻭﻤﺔ )ﻜﺎﻨﺕ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ( -ﻜﻨﺕ ﺁﻨﺫﺍﻙ ﻻ ﺃﻋﺭﻑ ﺴﻭﻯ ﻋﺒﺎﺭﺓ ﺇﻨﻜﻠﻴﺯﻴﺔ ﻭﺍﺤﺩﺓ :ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ -ﺜـﻡ
ﻻ ﻴـﻭﻡ
ﺃﺸﺎﺭﺕ ﺒﺤﺭﻜﺔ ﻤﻥ ﻴﺩﻫﺎ ﺃﺩﺕ ﺇﻝﻰ ﺃﻥ ﻴﻠﻘﻭﺍ ﺒﻲ ﺇﻝﻰ ﺍﻝﺨﺎﺭﺝ .ﻭﺍﺒﺘﺩﺍﺀ ﻤﻥ ﺫﻝﻙ ﺍﻝﻴﻭﻡ ﺃﺼﺒﺤﺕ ﻻ ﺃﺫﻫﺏ ﺇ ﹼ
ﺍﻝﺴﺒﺕ ﻤﻥ ﻜل ﺃﺴﺒﻭﻉ ﻋﻨﺩ ﺍﻝﺴﺎﻋﺔ ﺍﻝﺜﺎﻨﻴﺔ ﻋﺸﺭﺓ ،ﻜﻲ ﺃﺘﻘﺎﻀﻰ ﻤﺴﺘﺤﻘﺎﺘﻲ ،ﻭﻝﻡ ﻴﻌﺩ ﺃﺤﺩ ،ﻤﻥ ﺜﻡ ،ﻴﻨﺸﻐل ﺒﻲ .ﺒﻌﺩ
ﻲ ﺃﺨﻴﺭﹰﺍ ﺃﻥ ﺃﺸﺎﻫﺩ "ﺒﺭﻭﻓـﺔ" ﻝــ"ﻝﻴﻠـﻲ
ﻤﺭﻭﺭ ﺜﻼﺜﺔ ﺃﺸﻬﺭ ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﺤﻴﺎﺓ ﺫﻫﺒﺕ ﺇﻝﻰ ﺍﻝﻤﺸﺭﻑ ،ﺍﻝﺫﻱ ﻁﻠﺏ ﺇﻝ
ﺩﺍﻤﻴﺘﺎ"– ﻫل ﺘﺫﻜﺭ ﻝﻴﻠﻲ ﺩﺍﻤﻴﺘﺎ؟ – ،ﻗﺎل ﻝﻲ" :ﻫل ﺃﻨﺕ ﺇﺴﺒﺎﻨﻲ؟ " ﻗﻠﺕ" :ﻨﻌﻡ ،ﻝﻜﻨﻲ ﻤﻭﺠﻭﺩ ﻫﻨﺎ ﻜﻔﺭﻨﺴـﻲ ،ﻝﻘـﺩ
ﺘﻌﺎﻗﺩﻭﺍ ﻤﻌﻲ ﻓﻲ ﺒﺎﺭﻴﺱ" … ﻓﻲ ﻜل ﺍﻷﺤﻭﺍل ،ﺃﺠﺎﺏ ﺍﻝﻤﺸﺭﻑ" :ﺍﻝﺴﻴﺩ ﺘﺎﻝﺒﺭﻍ ﻴﻁﻠﺏ ﺃﻥ ﺘﺫﻫﺏ ﻝﻤﺸﺎﻫﺩﺓ ﻓـﻴﻠﻡ
ﺇﺴﺒﺎﻨﻲ ﻝـ"ﻝﻴﻠﻲ ﺩﺍﻤﻴﺘﺎ" ،ﻭﺃﺠﺒﺕ" :ﻗل ﻝﻠﺴﻴﺩ ﺘﺎﻝﺒﺭﻍ -ﻭﻜﺎﻥ ﺭﺌﻴﺱ ﺸﺭﻜﺔ ﻤﻴﺘﺭﻭ … -ﻫل ﺃﺴـﺘﻁﻴﻊ ﺃﻥ ﺃﻗـﻭل
ﺍﻝﻜﻠﻤﺔ ﺍﻝﺘﻲ ﻗﻠﺘﻬﺎ ﻝﻪ؟
ﺠﺎﻙ-ﺩﻭﻨﻴﻭل ﻓﺎﻝﻜﺭﻭﺯ :ﺒﺎﻝﻁﺒﻊ.
ل.ﺏ :ﺃﺠﺒﺘﻪ ﺒﺄﻨﻲ ﻝﻴﺱ ﻝﺩﻱ ﻭﻗﺕ ﺃﻀﻴﻌﻪ ﻓﻲ ﺍﻹﺼﻐﺎﺀ ﺇﻝﻰ ﺒﻌﺽ ﺍﻝﻤﻭﻤﺴﺎﺕ .ﺤﻴﻨﺌ ﺫ ﺍﻨﺘﻬﻰ ﻜل ﺸـﻲﺀ.
ﺒﻌﺩ ﺸﻬﺭ ﺃﻨﻬﻴﺕ ﻋﻘﺩﻱ ،ﻭﻜﺎﻥ ﻗﺩ ﺘﺒﻘﻰ ﻝﻲ ﻤﻨﻪ ﺸﻬﺭﺍﻥ ،ﻭﻋﺩﺕ ﺇﻝﻰ ﻓﺭﻨﺴﺎ ﺒﻌﺩ ﺃﻥ ﺩﻓﻌﻭﺍ ﻝﻲ ﺘﻜـﺎﻝﻴﻑ ﺍﻝﻌـﻭﺩﺓ
ﻻ ﻤﻥ ﺸﻬﺭﻴﻥ .ﻭﻫﺫﺍ ﻫﻭ ﻜل ﻤﺎ ﻋﻤﻠﺘﻪ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ.
ﻭﺘﻌﻭﻴﺽ ﺸﻬﺭ ﻭﺍﺤﺩ ﺒﺩ ﹰ
ﺁ.ﺏ :ﻜﻨﺕ ﺇﺫﻥ ﻓﻲ ﻓﺭﻨﺴﺎ ﻤﻊ ﺒﺩﺍﻴﺎﺕ ﻋﺎﻡ 1931؟
ل.ﺏ :ﻨﻌﻡ ،ﻭﺒﺎﻝﻀﺒﻁ ﻓﻲ ﻨﻴﺴﺎﻥ ﻋﺎﻡ ،1931ﻋﻨﺩ ﻗﻴﺎﻡ ﺍﻝﺠﻤﻬﻭﺭﻴﺔ ﺍﻹﺴﺒﺎﻨﻴﺔ .ﺒﻘﻴﺕ ﻓﻲ ﺒﺎﺭﻴﺱ ﻝﻴﻭﻤﻴﻥ ﺜﻡ
ﺍﻗﺘﺭﻀﺕ ﺒﻌﺽ ﺍﻝﻤﺎل ﻷﺫﻫﺏ ﻓﻲ ﺴﻴﺎﺭﺓ ﺃﺠﺭﺓ ﻤﻥ ﺒﺎﺭﻴﺱ ﺇﻝﻰ ﻤﺩﺭﻴﺩ .ﺃﺨﺫﺕ ﺴﻴﺎﺭﺓ ﻓﻲ ﺒﺎﺭﻴﺱ ﻭﺃﺨـﺭﻯ ﻓـﻲ
ﺇﻴﺭﻭﻥ ﺇﻝﻰ ﻤﺩﺭﻴﺩ .ﺜﻡ ﻋﺩﺕ ﺇﻝﻰ ﺒﺎﺭﻴﺱ .ﻜﻨﺕ ﻗﺩ ﻗﺭﺃﺕ ﺸﻴﺌﹰﺎ ﻝـ Maurice Legendreﺍﻝﺫﻱ ﻜـﺎﻥ ﻤـﺩﻴﺭﹰﺍ
ﻑ
ﻝﻠﻤﻌﻬﺩ ﺍﻝﻔﺭﻨﺴﻲ ﻓﻲ ﻤﺩﺭﻴﺩ ،ﺤﻭل ﺤﻴﺎﺓ ﺒﻌﺽ ﺍﻝﺠﻤﺎﻋﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﻝﻤﺘﺨﻠﻔﺔ ،ﻜﺎﻨﺕ ﺃﻁﺭﻭﺤﺔ ﺩﻜﺘﻭﺭﺍﻩ ﻤﻥ ﺃﻝـ
ﻭﻤﺎﺌﺘﻲ ﺼﻔﺤﺔ ،ﻭﻫﻲ ﺩﺭﺍﺴﺔ ﻤﺘﻜﺎﻤﻠﺔ ﺠﺩﹰﺍ ﻭﺩﻗﻴﻘﺔ ﻝﻬﺫﺍ ﺍﻝﺸﻜل ﻤﻥ ﺍﻝﺤﻴﺎﺓ .ﺃﺜﺎﺭﺘﻨﻲ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﻜﺜﻴﺭﹰﺍ ،ﻭﻓﻜـﺭﺕ
ﺕ ﺫﺍﺕ ﻴﻭﻡ ﻓﻲ ﺍﻝﻴﺎﻨﺼـﻴﺏ
ﺒﻤﺸﺭﻭﻉ ﻓﻴﻠﻡ .ﻜﺎﻥ ﻝﻲ ﺼﺩﻴﻕ ،ﻭﻫﻭ ﻋﺎﻤل ﺇﺴﺒﺎﻨﻲ ﺍﺴﻤﻪ "ﺁﺜﻴﻥ" ،ﻗﺎل ﻝﻲ" :ﺇﻥ ﺭﺒﺤ ﹸ
ﺴﺄﺩﻓﻊ ﻝﻙ ﻝﺘﻤﻭﻴل ﻓﻴﻠﻤﻙ" .ﺒﻌﺩ ﺜﻼﺜﺔ ﺃﺸﻬﺭ ﺭﺒﺢ ﻓﻲ ﺍﻝﻴﺎﻨﺼﻴﺏ .ﻜﺎﻥ ﻓﻭﻀﻭﻴﹰﺎ ﻭﻋﻤل ﺭﻓﺎﻗﻪ ﺍﻝﻔﻭﻀﻭﻴﻭﻥ ﻤﻥ ﺃﺠل
ﺃﻥ ﻴﻭﺯﻉ ﻋﻠﻴﻬﻡ ﻫﺫﺍ ﺍﻝﻤﺎل ،ﺇﻻ ﺃﻨﻪ ﻤﻊ ﺫﻝﻙ ﻭﻓﻰ ﺒﻭﻋﺩﻩ ﻭﺃﻋﻁﺎﻨﻲ ﻋﺸﺭﻴﻥ ﺃﻝﻑ ﺒﻴﺴﻴﺘﺎ .ﻝﻡ ﻴﻜﻥ ﻤﺒﻠﻐﹰﺎ ﻜﺒﻴﺭﹰﺍ ﻝﻜﻨﻪ
ﻭﻓ ﺭ ﺘﻜﺎﻝﻴﻑ ﺍﻝﺴﻔﺭ ﻝﻲ ﻭﻝﻜل ﻤﻥ ﺒﻴﻴﺭ ﺃﻭﻨﻴﻙ ﻭﺇﻴﻠﻲ ﻝﻭﺘﺎﺭ ،ﻭﻤﻥ ﻨﺎﺤﻴﺔ ﺃﺨﺭﻯ ﻓﻘﺩ ﺘﻘﺎﻀﻰ ﺃﻭﻨﻴﻙ ﺒﻌﺽ ﺍﻝﻤﺎل ﻤﻥ
ﻤﺠﻠﺔ ،Vogueﺍﻝﺘﻲ ﻨﺸﺭ ﻓﻴﻬﺎ ﺘﺤﻘﻴﻘ ﹰﺎ ﻤﻤﺘﻌﹰﺎ ﺠﺩﹰﺍ ﻅﻬﺭ ﻓﻲ ﺜﻼﺜﺔ ﺃﻋﺩﺍﺩ.
ﺁ .ﺏ :ﻻ ﺃﺩﺭﻱ ﺃﻴﻥ ﺴﻤﻌﺕ ﺃﻥ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻜﺎﻥ ﻓﻴﻠﻤﹰﺎ ﻤﻁﻠﻭﺒﹰﺎ ﻤﻥ ﻗﺒل ﺍﻝﺤﻜﻭﻤﺔ ﺍﻹﺴﺒﺎﻨﻴﺔ ﻷﺴـﺒﺎﺏ
ﺍﺠﺘﻤﺎﻋﻴﺔ ﻭﺘﺭﺒﻭﻴﺔ.
ل.ﺏ :ﺇﻁﻼﻗﺎﹰ ،ﻋﻠﻰ ﺍﻝﻌﻜﺱ ،ﻝﻘﺩ ﻤﻨﻊ ﻤﻥ ﻗﺒل ﺍﻝﺠﻤﻬﻭﺭﻴﺔ ﺍﻹﺴﺒﺎﻨﻴﺔ ﺒﺤﺠﺔ ﺃﻨﻪ ﻴﺴﻲﺀ ﺇﻝﻰ ﺇﺴﺒﺎﻨﻴﺎ ﻭﻴﺸـﺘﻡ
ﺍﻹﺴﺒﺎﻥ .ﻜﺎﻨﺕ ﺍﻷﻭﺴﺎﻁ ﺍﻝﺭﺴﻤﻴﺔ ﻏﺎﻀﺒﺔ ﻝﺩﺭﺠﺔ ﺃﻨﻬﺎ ﻁﻠﺒﺕ ﺇﻝﻰ ﺍﻝﺴﻔﺎﺭﺍﺕ ﺍﻝﻌﻤل ﻋﻠﻰ ﻋﺩﻡ ﻋﺭﺽ ﺍﻝﻔﻴﻠﻡ ﻓـﻲ
ﻋﺭﺽ ﻓﻘﻁ ﻓﻲ ﻓﺭﻨﺴﺎ ﻋﺎﻡ 1937ﺨﻼل ﺃﻴﺎﻡ ﺍﻝﺤﺭﺏ ﺍﻹﺴﺒﺎﻨﻴﺔ.
ﺍﻝﺨﺎﺭﺝ ،ﻭﻗﺩ
ﺁ.ﺏ :ﻤﻥ ﻜﺘﺏ ﺘﻌﻠﻴﻕ ﺍﻝﻔﻴﻠﻡ؟
ل.ﺏ :ﺒﻴﻴﺭ ﺃﻭﻨﻴﻙ .ﺒﺎﻷﺤﺭﻯ ﻗﻤﻨﺎ ﺒﺫﻝﻙ ،ﻫﻭ ﻭﺃﻨﺎ ﻤﻌﹰﺎ.
ﺁ.ﺏ :ﻝﻤﻥ ﻜﺎﻨﺕ ﻓﻜﺭﺓ ﺍﻝﺘﺼﻭﺭ ﺍﻝﻤﻭﺴﻴﻘﻲ؟
ل.ﺏ :ﻝﻲ ،ﻜﺎﻨﺕ ﻝﺩﻱ ﺘﺼﻭﺭﺍﺕ ﺨﺎﺼﺔ ﺤﻭل ﺍﻝﻤﻭﺴﻴﻘﺎ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ.
ﺩ.ﻑ :ﺃﻝﻡ ﻴﺸﺎﺭﻙ Gremillon؟
ل.ﺏ :ﻜﻼ .ﻝﻘﺩ ﺘﻌﺭﻓﺕ ﺇﻝﻴﻪ ﺒﻌﺩ ﺫﻝﻙ ﺒﺄﺭﺒﻊ ﺴﻨﻭﺍﺕ ،ﻓﻲ ﺇﺴﺒﺎﻨﻴﺎ ،ﻋﻨﺩﻤﺎ ﺍﺘﺼﻠﺕ ﺒﻪ ﺒﺼﻔﺘﻪ ﻤﺨﺭﺠﹰﺎ ﻭﻜﻨﺕ
ﺁﻨﺌ ﺫ ﻤﻨﺘﺠﹰﺎ .ﻜﺎﻥ ﻗﺩ ﺠﺎﺀ ﺇﻝﻰ ﺇﺴﺒﺎﻨﻴﺎ ﻻ ﻝﺸﻲﺀ ﺇﻻ ﻷﻨﻪ ﻜﺎﻥ ﻤﻌﺠﺒﹰﺎ ﺒﻬﺎ.
ﻼ ﺒﺸﻜل ﺨﺎﺹ.
ﺁ.ﺏ :ﻝﻘﺩ ﺤﺫﻓﺕ ﺍﻝﺭﻗﺎﺒﺔ ﺒﻌﺽ ﺍﻝﻤﺸﺎﻫﺩ ،ﺼﺭﺍﻉ ﺍﻝﺩﻴﻜﺔ ﻤﺜ ﹰ
ل.ﺏ :ﻨﻌﻡ ،ﻋﻨﺩﻤﺎ ﻋﺭﺽ ﺍﻝﻔﻴﻠﻡ ﻓﻲ ﻓﺭﻨﺴﺎ ،ﻋﺎﻡ 1937ﻋﻠﻰ ﻤﺎ ﺃﻋﺘﻘﺩ ،ﻜﺎﻨﺕ ﻫﻨﺎﻙ ﺍﺤﺘﺠﺎﺠﺎﺕ ﻜﺜﻴﺭﺓ ﻓﻲ
ﺒﻌﺽ ﺼﺤﻑ ،Saboyaﻗﺎﻝﻭﺍ ﺇﻥ ﺍﻝﺴﻴﺎﺤﺔ ﻓﻲ ﻏﺭﻭﻨﻭﺒل ﻜﺎﻨﺕ ﻤﻬﺩﺩﺓ ﻷﻥ ﺍﻝﺘﻌﻠﻴﻕ ﺃﺸﺎﺭ ﻓﻲ ﺒﺩﺍﻴﺔ ﺍﻝﻔـﻴﻠﻡ ﺇﻝـﻰ
ﻭﺠﻭﺩ ﺃﻤﺎﻜﻥ ﻤﻌﻴﻨﺔ ﻓﻲ ﺃﻭﺭﻭﺒﺎ ،ﻓﻲ ﺘﺸﻴﻜﻭﺴﻠﻭﻓﺎﻜﻴﺎ ﻭﻓﻲ ﺴﺎﺒﻭﻴﺎ ﺍﻝﻔﺭﻨﺴﻴﺔ ﻭﻓﻲ ﺇﺴﺒﺎﻨﻴﺎ ،ﻤﺎ ﺘﺯﺍل ﻓﻴﻬـﺎ ﺒﻌـﺽ
ﺠﺕ ﻤﻨﻁﻘﺔ ﺴﺎﺒﻭﻴﺎ ﺒﺼﻭﺭﺓ ﺸﺩﻴﺩﺓ… ﻜﺎﻨﺕ ﺍﻝﺴﻴﺩﺓ ﺒﻴﻜﺎﺒﻴـﺎ ﻗـﺩ
ﺍﻝﻤﺠﻤﻭﻋﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻤﺘﺨﻠﻔﺔ ﺤﻀﺎﺭﻴﹰﺎ… ﻭﺍﺤﺘ
ﺭﻭﺕ ﻝﻲ ﺃﻥ ﻓﻲ ﺴﺎﺒﻭﻴﺎ ﻗﺭﻴﺔ ﻤﺸﺎﺒﻬﺔ ﻝـ"ﻻﺱ ﺃﻭﺭﺩﻴﺱ" ،ﹸﺘﺩﻓﻥ ﺘﺤﺕ ﺍﻝﺜﻠﻭﺝ ﻁﻭﺍل ﺴﺘﺔ ﺃﺸﻬﺭ ،ﺤﻴﺙ ﻴﻨﺩﺭ ﺘﻭﻓﺭ
ﺍﻝﺨﺒﺯ.
ﺁ.ﺏ :ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻙ ،ﻜﻴﻑ ﺘﺭﻯ ﺍﻝﻌﻼﻗﺔ ﻤﺎ ﺒﻴﻥ ﻓﻴﻠﻡ ﻤﺜل "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻭﻋﻤﻠﻙ ﺍﻝﺴﺎﺒﻕ؟ ﻜﻴـﻑ ﺘـﺭﻯ
ﺍﻝﻌﻼﻗﺔ ﻤﺎ ﺒﻴﻥ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﻭﺸﻬﺎﺩﺓ ﺍﻝﻌﻤل ﺍﻝﻭﺜﺎﺌﻘﻲ؟
ﻱ ﺭﺅﻴﺔ ﺴـﻭﺭﻴﺎﻝﻴﺔ ،ﻭﻜﻨـﺕ ﻤﻬﺘﻤـﹰﺎ
ل.ﺏ :ﺃﺠﺩ ﻋﻼﻗﺔ ﻭﺜﻴﻘﺔ ،ﻝﻘﺩ ﻋﻤﻠﺕ"ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻷﻨﻪ ﻜﺎﻨﺕ ﻝﺩ
ﺒﻤﺸﻜﻠﺔ ﺍﻹﻨﺴﺎﻥ ،ﻭﺃﺭﻯ ﺍﻝﻭﺍﻗﻊ ﺒﺸﻜل ﺁﺨﺭ ،ﻴﺨﺘﻠﻑ ﻋﻤﺎ ﻜﻨﺕ ﺃﺭﺍﻩ ﻗﺒل ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ .ﻜﻨﺕ ﻤﺘﺄﻜﺩﹰﺍ ﻤﻥ ﻫﺫﺍ ﻭﻜﺫﻝﻙ
ﻜﺎﻥ ﺒﻴﻴﺭ ﺃﻭﻨﻴﻙ.
ﺁ.ﺏ :ﻫل ﺒﻘﻴﺕ ﻓﻲ ﺇﺴﺒﺎﻨﻴﺎ ﺒﻌﺩ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻝﻠﻌﻤل ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ؟
ﻱ ﺍﻝﻤـﻭﺍﺭﺩ
ل.ﺏ :ﺒﻌﺩ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻋﻤﻠﺕ ﻓﻲ ﺒﺎﺭﻴﺱ ،ﻝﻡ ﺃﻜﻥ ﺃﻭﺩ ﺃﻥ ﺃﻋﻤل ﺃﻓﻼﻤﹰﺎ ﺃﺨﺭﻯ .ﻜﺎﻨﺕ ﻝﺩ
ﻼ ﺒﻌﺽ ﺍﻝﺸﻲﺀ ﻤﻥ ﺃﻥ ﻻ ﺃﻓﻌل ﺸﻴﺌﹰﺎ .ﻋﻤﻠﺕ ﺁﻨـﺫﺍﻙ ﻝـﺩﻯ
ﺍﻝﻤﺎﻝﻴﺔ ﻜﻲ ﺃﻋﻴﺵ ،ﺒﻔﻀل ﻋﺎﺌﻠﺘﻲ .ﻝﻜﻨﻲ ﻜﻨﺕ ﺨﺠ ﹰ
"ﺒﺎﺭﺍﻤﻭﻨﺕ" ﻓﻲ ﺒﺎﺭﻴﺱ ﻁﻭﺍل ﻋﺎﻤﻴﻥ ،ﻓﻲ ﺍﻝﺩﻭﺒﻼﺝ ،ﺒﻌﺩﺌ ﺫ ﺃﺭﺴﻠﺘﻨﻲ ﺸﺭﻜﺔ "ﻭﺍﺭﻨﺭ" ﺇﻝﻰ ﺇﺴﺒﺎﻨﻴﺎ ﻜﻲ ﺃﺩﻴـﺭ ﻝﻬـﺎ
ﻫﻨﺎﻙ ﺇﻨﺘﺎﺠﺎﺘﻬﺎ ﺍﻝﻤﺸﺘﺭﻜﺔ ،ﻭﻋﻤﻠﺕ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻓﻲ ﺍﻝﺩﻭﺒﻼﺝ ،ﻜﻤﺎ ﻋﻤﻠﺕ ﻤﻊ Urgoitiﺃﻓﻼﻤﹰﺎ ﻜﻤﻨﺘﺞ .ﺤﻘﻘﺕ
ﺃﺭﺒﻌﺔ ﺃﻓﻼﻡ ﺩﻭﻥ ﺃﻴﺔ ﻤﺘﻌﺔ ،ﻭﻨﺴﻴﺕ ﻋﻨﺎﻭﻴﻨﻬﺎ .ﺒﻌﺩﻫﺎ ﺠﺎﺀﺕ ﺍﻝﺤﺭﺏ ﺍﻹﺴﺒﺎﻨﻴﺔ ،ﻭﺍﻋﺘﻘﺩﺕ ﺃﻥ ﺍﻝﻌﺎﻝﻡ ﻗـﺩ ﺍﻨﺘﻬـﻰ،
ﻭﺃﻥ ﻋﻠﻲ ﺍﻝﺘﻔﻜﻴﺭ ﻓﻲ ﺸﻲﺀ ﺁﺨﺭ ﺃﻓﻀل ﻤﻥ ﻋﻤل ﺍﻷﻓﻼﻡ .ﻭﻭﻀﻌﺕ ﻨﻔﺴﻲ ﻓﻲ ﺨﺩﻤﺔ ﺍﻝﺤﻜﻭﻤﺔ ﺍﻝﺠﻤﻬﻭﺭﻴﺔ ﻓـﻲ
ﺒﺎﺭﻴﺱ ،ﺍﻝﺘﻲ ﺃﺭﺴﻠﺘﻨﻲ ﻋﺎﻡ 1938ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ﺒﻤﻬﻤﺔ "ﺩﻴﺒﻠﻭﻤﺎﺴﻴﺔ" ،ﻝﻺﺸﺭﺍﻑ ﻜـ"ﻤﺴﺘﺸﺎﺭ ﺘﻘﻨﻲ" ﻋﻠﻰ ﻓﻴﻠﻤﻴﻥ
ﻼ ﻜﻠﻴﹰﺎ
ﺘﻘ ﺭﺭ ﺘﺤﻘﻴﻘﻬﻤﺎ ﺤﻭل ﺍﻝﺠﻤﻬﻭﺭﻴﺔ ﺍﻹﺴﺒﺎﻨﻴﺔ .ﻫﻨﺎﻙ ﻓﻭﺠﺌﺕ ﺒﺎﻨﺘﻬﺎﺀ ﺍﻝﺤﺭﺏ ،ﻭﻭﺠﺩﺕ ﻨﻔﺴﻲ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﻤﻬ ﻤ ﹰ
ﻭﺩﻭﻥ ﻋﻤل .ﻭﺒﻔﻀل ﺍﻵﻨﺴﺔ ﺇﻴﺭﻴﺱ ﺒﺎﺭﻱ ﺤﺼﻠﺕ ﻋﻠﻰ ﻋﻤل ﻓﻲ ﻤﺘﺤﻑ ﺍﻝﻔﻥ ﺍﻝﺤﺩﻴﺙ ،ﻭﻅﻨﻨﺕ ﺃﻨـﻲ ﺴـﺄﻗﻭﻡ
ﺒﺘﺤﻘﻴﻕ ﺃﻤﻭﺭ ﻋﻅﻴﻤﺔ ،ﻝﻜﻥ ﺍﻷﻤﺭ ﻝﻡ ﻴﻜﻥ ﺃﻜﺜﺭ ﻤﻥ ﻤﺠﺭﺩ ﻋﻤل ﻤﻜﺘﺒﻲ .ﻜﺎﻥ ﻴﺘﺒﻊ ﻝﻲ ﺨﻤﺴﺔ ﻋﺸﺭ ﺃﻭ ﻋﺸـﺭﻭﻥ
ﻤﻭﻅﻔﺎﹰ ،ﻭﺒﻘﻴﺕ ﻫﻨﺎﻙ ﺃﺭﺒﻊ ﺴﻨﻭﺍﺕ .ﻭﻓﻲ ﻋﺎﻡ 1942ﻜﻨﺕ ﻤﻀﻁﺭﹰﺍ ﻝﺘﻘﺩﻴﻡ ﺍﺴﺘﻘﺎﻝﺘﻲ ﻷﻨـﻲ ﻤﺅﻝـﻑ "ﺍﻝﻌﺼـﺭ
ﺍﻝﺫﻫﺒﻲ" ،ﻭﻭﺍﻓﻘﺕ ﺍﻵﻨﺴﺔ ﺇﻴﺭﻴﺱ ﺒﺎﺭﻱ ﻋﻠﻰ ﺍﺴﺘﻘﺎﻝﺘﻲ ﻭﺍﻝﺩﻤﻭﻉ ﻓﻲ ﻋﻴﻨﻴﻬﺎ ،ﻜﺎﻥ ﺍﻝﻤﻭﻗﻑ ﺤﺯﻴﻨﹰﺎ .ﻭﺠﺎﺀ ﺒﻌـﺽ
ﺍﻝﺼﺤﻔﻴﻴﻥ ﻝﻠﻘﺎﺀ ﺒﻲ ﺇﻻ ﺃﻨﻲ ﺭﻓﻀﺕ ﺃﻱ ﻝﻘﺎﺀ ،ﻜﻨﺕ ﺃﺸﻌﺭ ﻓﻲ ﺘﻠﻙ ﺍﻝﻠﺤﻅﺎﺕ ﺃﻨﻪ ﻝﻴﺱ ﻤﻬﻤـﹰﺎ ﺃﻥ ﻴﻜـﻭﻥ ﺍﻝﺴـﻴﺩ
ﺒﻭﻨﻭﻴل ﺩﺍﺨل ﺍﻝﻤﺘﺤﻑ ﺃﻭ ﺨﺎﺭﺠﻪ؛ ﻜﻨﺕ ﺤﺯﻴﻨﹰﺎ ﺠﺩﺍﹰ ،ﺩﻭﻥ ﺃﻴﺔ ﻤﺩﺨﺭﺍﺕ ،ﻭﻋﺸﺕ ﺍﻷﻴﺎﻡ ﺍﻝﺘﺎﻝﻴﺔ ﻋﻠﻰ ﻗﺩﺭ ﻤﺎ ﻜﺎﻥ
ﺒﺎﺴﺘﻁﺎﻋﺘﻲ ﺃﻥ ﺃﻓﻌل .ﺒﻌﺩ ﺫﻝﻙ ﺘﻌﺎﻗﺩﺕ ﻤﻌﻲ ﻫﻴﺌﺔ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﺍﻝﻌﺴﻜﺭﻴﻴﻥ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ ﻜﻤﻌﻠﻕ ﻝﻸﻓﻼﻡ ﺍﻷﻤﺭﻴﻜﻴﺔ،
ﻭﺘﺤﺩﺜﺕ ﺒـ"ﺍﻝﺼﻭﺕ ﺍﻝﺠﻤﻴل" ﺍﻝﺫﻱ ﺃﻤﺘﻠﻜﻪ ،ﻓﻲ ﺍﻝﻨﺴﺦ ﺍﻹﺴﺒﺎﻨﻴﺔ ﻝﺨﻤﺴﺔ ﻋﺸﺭ ﺃﻭ ﻋﺸﺭﻴﻥ ﻓﻴﻠﻤﹰﺎ ،ﺤـﻭل ﻗﻁـﻊ
ﺍﻝﻁﺎﺌﺭﺍﺕ ﻭﺍﻝﻠﺤﺎﻡ ﻭﺍﻝﻤﺘﻔﺠﺭﺍﺕ ،ﻭﻓﻲ ﺠﻤﻴﻊ ﺃﻓﻼﻡ ﺍﻷﻤﻭﺭ ﺍﻝﺘﻘﻨﻴﺔ ﺍﻝﺘﻲ ﻜﺎﻨﻭﺍ ﻴﻨﺘﺠﻭﻨﻬﺎ ﻓﻲ ﺫﻝﻙ ﺍﻝﺤﻴﻥ.
ﺩ.ﻑ :ﻫل ﻝﺨﺭﻭﺠﻙ ﻤﻥ ﺍﻝﻤﺘﺤﻑ ﺃﻴﺔ ﻋﻼﻗﺔ ﻤﺒﺎﺸﺭﺓ ﺒﻜﺘﺎﺏ ﺩﺍﻝﻲ؟ ﺃﻱ ﺃﻨﻬﻡ ﻗﺩ ﻋﻠﻤﻭﺍ ﺒﺴﺒﺒﻪ ﺃﻨﻙ ﺼـﺎﺤﺏ
"ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ"؟
ل.ﺏ :ﺃﺠل.
ﺁ.ﺏ :ﺍﺸﺘﻐﻠﺕ ﺇﺫﻥ ﻝﺼﺎﻝﺢ ﻫﻴﺌﺔ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﺍﻝﻌﺴﻜﺭﻴﻴﻥ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ؟
ل.ﺏ :ﻨﻌﻡ ،ﻓﻲ ﻨﻴﻭﻴﻭﺭﻙ .ﺜﻡ ﺫﻫﺒﺕ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ﻤﺘﻌﺎﻗﺩﹰﺍ ﻤﻊ ﺸﺭﻜﺔ ﻭﺍﺭﻨﺭ ،ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﻘﻭﻡ ﺒﺈﻋﺩﺍﺩ ﻨﺴﺦ
ﻲ ﺃﻥ ﺃﻗﻭل ﻝﻙ ﺇﻨﻲ ﻜﺴﻭل ،ﻝﻜﻥ ﻋﻨﺩﻤﺎ ﺃﻋﻤل ﻓﺄﻨﺎ ﺃﻗﻭﻡ ﺒﺫﻝﻙ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ .ﺘﻌﺎﻗﺩﻭﺍ ﻤﻌـﻲ
ﺇﺴﺒﺎﻨﻴﺔ ﻷﻋﻤﺎﻝﻬﺎ .ﻋﻠ
ﺸﺭ ﺒﻪ ﻋﻠﻰ
ﻤﻥ ﺜﻡ ﻜﻤﺩﻴﺭ ﺇﻨﺘﺎﺝ ﻭﻜﺎﻨﻭﺍ ﻴﺩﻓﻌﻭﻥ ﻝﻲ ﺒﺼﻭﺭﺓ ﻤﻼﺌﻤﺔ .ﺇﻻ ﺃﻥ ﺫﻝﻙ ﺍﻹﻨﺘﺎﺝ ﺫﺍ ﺍﻝﻨﺴﺦ ﺍﻹﺴﺒﺎﻨﻴﺔ ﻝﻡ ﻴﺒﺎ ﹶ
ﺍﻹﻁﻼﻕ ،ﻭﻤﺭﺓ ﺃﺨﺭﻯ ﺠﺭﻯ ﺍﺴﺘﺨﺩﺍﻤﻲ ﻜﺎﺨﺘﺼﺎﺼﻲ ﻓﻲ ﺍﻝﺩﻭﺒﻼﺝ.
ﺩ.ﻑ :ﻓﻲ ﺃﻴﺔ ﺴﻨﺔ ﻜﺎﻥ ﺫﻝﻙ؟
ل.ﺏ :ﺃﻤﻀﻴﺕ ﻋﺎﻤﻴﻥ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ ،ﻤﻥ 1944ﺤﺘﻰ ،1946ﻭﻷﻨﻬﻡ ﻜﺎﻨﻭﺍ ﻴﺩﻓﻌﻭﻥ ﻝﻲ ﺠﻴﺩﹰﺍ ﺍﺴـﺘﻁﻌﺕ
ﺃﻥ ﺃﺩﺨﺭ ﻤﺎ ﻴﻜﻔﻲ ﻜﻲ ﺃﺤﻘﻕ ﺨﻼل ﻋﺎﻡ ﻤﺎ ﻫﻭ ﻤﺜﺎﻝﻲ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻲ :ﺃﻥ ﻻ ﺃﻓﻌل ﺸﻴﺌﹰﺎ .ﻭﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺫﻝﻙ ،ﻜﺎﻥ
ﻗﺩ ﻨﻔﺩ ﻜل ﻤﺎ ﻝﺩﻱ ﺤﻴﻥ ﺩﻋﺎﻨﻲ ﺩﻴﻨﻴﺱ ﺘﻭﺍل ﺇﻝﻰ ﺍﻝﻤﻜﺴﻴﻙ .ﻜﺎﻥ ﻴﺭﻴﺩﻨﻲ ﺃﻥ ﺃﻋﻤل ﻓﻴﻠﻤﹰﺎ ﻓﻲ ﻓﺭﻨﺴﺎ ،ﺃﺴﻌﺩﻨﻲ ﺫﻝﻙ
ﻭﺍﻋﺘﻘﺩﺕ ﺃﻨﻲ ﺴﺄﺠﺩ ﺃﺒﻭﺍﺏ ﺍﻝﺴﻤﺎﺀ ﻭﻗﺩ ﻓﹸﺭﺠﺕ ،ﻜﺎﻥ ﻤﺸﺭﻭﻋﹰﺎ ﻋﻥ "ﺒﻴﺕ ﺒﻴﺭﻨﺎﺭﺩﺍ ﺁﻝﺒﺎ" ،ﻝﻜﻨﻪ ﻝـﻡ ﻴـﺘﻤﻜﻥ ﻤـﻥ
ﺇﻨﺘﺎﺠﻪ ،ﻷﻥ ﻋﺎﺌﻠﺔ ﻏﺎﺭﺜﻴﺎ ﻝﻭﺭﻜﺎ ﻜﺎﻨﺕ ﻗﺩ ﺒﺎﻋﺕ ﺍﻝﺤﻘﻭﻕ .ﻭﻤﻊ ﺫﻝﻙ ،ﻓﻘﺩ ﺘﻌﺭﻓﺕ ﻓﻲ ﺍﻝﻤﻜﺴـﻴﻙ ﺇﻝـﻰ Oscar
،Dancigersﺍﻝﺫﻱ ﻋﺭﺽ ﻋﻠﻲ ﺃﻥ ﺃﻋﻤل ﻓﻴﻠﻤﺎﹰ ،ﻭﻗﻤﺕ ﺒﺫﻝﻙ ،ﻭﻤﻨﺫ ﺫﻝﻙ ﺍﻝﺤﻴﻥ ﺒﻘﻴﺕ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ .
ﺁ.ﺏ :ﺃﻱ ﻓﻴﻠﻡ ﻜﺎﻥ؟
ل.ﺏ :ﻓﻴﻠﻡ ﺃﻏﻨﻴﺎﺕ .ﻜﺎﻨﺕ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺃﻏﻨﻴﺎﺕ ﻤﻥ ﺍﻝﺘﺎﻨﻐﻭ ﻭﻻ ﺃﻋﺭﻑ ﺠﻴﺩﹰﺍ ﻤﺎﺫﺍ ﻜﺎﻥ ﻓﻴﻪ ﺃﻴﻀﺎﹰ ،ﻝﻜﻥ ،ﻓـﻲ
ﻜل ﺍﻷﺤﻭﺍل ،ﻜﺎﻨﺕ ﻓﻴﻪ ﺃﻏﻨﻴﺎﺕ ﻜﺜﻴﺭﺓ ،ﻋﻨﻭﺍﻨﻪ "ﺍﻝﻜﺎﺯﻴﻨﻭ ﺍﻝﻜﺒﻴﺭ" ،ﻜﺎﻥ ﻋﺒﺎﺭﺓ ﻋﻥ ﺤﻜﺎﻴﺔ ﺤﺩﺜﺕ ﻓﻲ Tampico
ﺨل ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻤﻐﻨﻴﺎﻥ ﺍﻷﻜﺜﺭ ﺸﻬﺭﺓ ﻓﻲ ﻜل ﻤﻥ ﺍﻝﻤﻜﺴﻴﻙ
ﻓﻲ ﺍﻝﻔﺘﺭﺓ ﺍﻝﻨﻔﻁﻴﺔ .ﻝﻡ ﻴﻜﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺴﻴﺌﺎﹰ ،ﻝﻜﻥ ﺩ ﹶ
ﻭﺍﻷﺭﺠﻨﺘﻴﻥ Jorge Negreteﻭ .Libertad Lamarqueﺠﻌﻠﺘﻬﻤﺎ ﻴﻐﻨﻴﺎﻥ ﻁﻭﺍل ﺍﻝﻔﻴﻠﻡ ،ﻜﺎﻥ ﺍﻷﻤـﺭ ﻤﺜـل
ﻤﺴﺎﺒﻘﺔ ﺃﻭ ﺒﻁﻭﻝﺔ .ﻝﻡ ﻴﺤﻅ ﺍﻝﻔﻴﻠﻡ ﺒﺎﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻨﺠﺎﺡ ،ﺜﻡ ﺒﻘﻴﺕ ﻋﺎﻤﻴﻥ ﺩﻭﻥ ﺃﻥ ﺃﻓﻌل ﺸﻴﺌﹰﺎ.
ﺩ.ﻑ :ﻫل ﻜﺎﻥ ﺃﻭﺴﻜﺎﺭ ﺩﺍﻨﺜﻴﺨﻴﺭﺱ ﺩﺍﺌﻤﹰﺎ ﻫﻭ ﻤﻨﺘﺠﻙ ﻫﻨﺎﻙ؟
ﻲ ﺍﻝﻜﺜﻴﺭ ،ﻓﻘﺩ ﺍﺴﺘﻁﻌﺕ ﺒﻔﻀﻠﻪ ﺃﻥ ﺃﺒﻘﻰ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ ﻭﺃﻥ ﺃﺤﻘﻕ ﺃﻓﻼﻤﹰﺎ.
ل.ﺏ :ﻨﻌﻡ ،ﺇﻨﻪ ﺭﺠل ﻝﻪ ﻋﻠ
ﺁ.ﺏ :ﻗﻴل ﺍﻝﻜﺜﻴﺭ ﻋﻥ ﺃﻨﻙ ﻗﺩ ﻋﻤﻠﺕ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ ﻀﻤﻥ ﺸﺭﻭﻁ "ﺘﺠﺎﺭﻴﺔ" ﺠﺩﹰﺍ .ﻫل ﻜﺎﻥ ﺍﻹﻨﺘـﺎﺝ ﻫﻨـﺎﻙ
ﻤﻀﻁﺭﺍﹰ ،ﺒﻤﻌﻨﻰ ﻤﺎ ،ﺇﻝﻰ ﺘﺤﻘﻴﻕ ﺃﻓﻼﻡ ﻤﻴﻠﻭﺩﺭﺍﻤﻴﺔ ﺃﻭ ﺸﺩﻴﺩﺓ ﺍﻝﺒﺴﺎﻁﺔ؟
ل.ﺏ :ﻨﻌﻡ .ﻭﻗﺩ ﺍﺴﺘﺴﻠﻤﺕ ﻝﻬﺫﺍ ﺍﻷﻤﺭ ﺒﺎﺴﺘﻤﺭﺍﺭ.
ﺁ.ﺏ :ﻝﻜﻥ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ؟
ل.ﺏ" :ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻜﺎﻥ ﺃﻤﺭﹰﺍ ﻤﺨﺘﻠﻔﺎﹰ ،ﺒﻌﺩ ﻓﺸل "ﺍﻝﻜﺎﺯﻴﻨﻭ ﺍﻝﻜﺒﻴﺭ" ،ﻭﺒﻌﺩ ﻋﺎﻤﻴﻥ ﻤﻥ ﺒﻘﺎﺌﻲ ﺩﻭﻥ ﺃﻱ ﻋﻤـل،
ﻁﻠﺏ ﺇﻝﻲ ﺩﺍﻨﺜﻴﺨﻴﺭﺱ ﺃﺨﻴﺭﹰﺍ ﺃﻥ ﺃﻗﺘﺭﺡ ﻋﻠﻴﻪ ﺨﻼﺼﺔ ﻓﻴﻠﻡ ﻝﻸﻁﻔﺎل ،ﻭﻗﺩﻤﺕ ﺇﻝﻴﻪ ،ﻋﻠـﻰ ﺍﺴـﺘﺤﻴﺎﺀ ،ﺴـﻴﻨﺎﺭﻴﻭ
"ﺍﻝﻤﻨﺴﻴﻭﻥ" ،ﻭﻜﻨﺕ ﻗﺩ ﻜﺘﺒﺘﻪ ﻤﻊ ﺼﺩﻴﻘﻲ ﻝﻭﻴﺱ ﺁﻝﻜﻭﺭﻴﺜﺎ .ﺃﻋﺠﺒﻪ ﻭﻭﺍﻓﻕ ﻋﻠﻰ ﺘﻨﻔﻴﺫﻩ ،ﻭﺨﻼل ﺫﻝﻙ ﻗﺩﻡ ﺇﻝﻲ ﻓﺭﺼﺔ
ﻋﻤل ﻜﻭﻤﻴﺩﻴﺎ ﺘﺠﺎﺭﻴﺔ ﻭﻁﻠﺏ ﺇﻝﻲ ﺃﻥ ﺃﻨﻔﺫﻫﺎ ﺃﻭﻻﹰ ،ﻤﻊ ﺇﺘﺎﺤﺔ ﺍﻝﻤﺠﺎل ﺃﻤﺎﻤﻲ ﻜﻲ ﺃﻗﻭﻡ ﺒﺘﺤﻘﻴﻕ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﺒﻬﺎﻤﺵ
ﺠﻴﺩ ﻤﻥ ﺍﻝﺤﺭﻴﺔ .ﺃﻨﺠﺯﺕ "ﺍﻝﻤﺎﺠﻥ ﺍﻝﻜﺒﻴﺭ" ﺨﻼل ﺴﺘﺔ ﻋﺸﺭ ﻴﻭﻤﹰﺎ ﻭﺤﻘﻕ ﻨﺠﺎﺤﹰﺎ ﻜﺒﻴﺭﺍﹰ ،ﻭﺍﺴﺘﻁﻌﺕ ﺃﻥ ﺃﺒﺩﺃ ﺍﻝﻌﻤـل
ﺒـ "ﺍﻝﻤﻨﺴﻴﻭﻥ" .ﻭﻻ ﺸﻙ ﻓﻲ ﺃﻥ ﺩﺍﻨﺜﻴﺨﻴﺭﺱ ﻗﺩ ﻁﻠﺏ ﺤﺫﻑ ﺃﺸﻴﺎﺀ ﻜﺜﻴﺭﺓ ﻤﻤﺎ ﺃﺭﺩﺕ ﺃﻥ ﻴﺘﻀﻤﻨﻪ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﺇﻻ
ﺃﻨﻪ ﺘﺭﻙ ﻝﻲ ﺤﺭﻴﺔ ﻤﻌﻘﻭﻝﺔ.
ﺁ.ﺏ :ﺃﻱ ﻨﻭﻉ ﻤﻥ ﻫﺫﻩ ﺍﻷﺸﻴﺎﺀ؟
ل.ﺏ :ﻜل ﻤﺎ ﻜﺎﻥ ﻝﻪ ﻁﺎﺒﻊ ﺭﻤﺯﻱ .ﺃﺭﺩﺕ ﺃﻥ ُﺃﺩﺨل ﻓﻲ ﺍﻝﻤﺸـﺎﻫﺩ ﺍﻷﻜﺜـﺭ ﻭﺍﻗﻌﻴـﺔ ﺒﻌـﺽ ﺍﻝﻌﻨﺎﺼـﺭ
ﺍﻝﻼﻤﻌﻘﻭﻝﺔ ،ﺍﻝﺘﻲ ﻝﻴﺱ ﻝﻬﺎ ﺃﻱ ﺭﺍﺒﻁ ﻤﻊ ﺍﻝﺴﻴﺎﻕ .ﻓﻤﺜﻼﹰ ،ﻋﻨﺩﻤﺎ ﻴﺫﻫﺏ "ﺨﺎﻴﺒﻭ" ﻝﻠﺼﺭﺍﻉ ﻤﻊ ﺍﻝﻁﻔل ﺍﻵﺨﺭ ﻭﻴﻘﺘﻠﻪ،
ﻨﺸﺎﻫﺩ ﺨﻼل ﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ،ﻫﻴﻜل ﺒﻨﺎﺀ ﻀﺨﻡ ﻤﻥ ﺃﺤﺩ ﻋﺸﺭ ﻁﺎﺒﻘﹰﺎ ﻗﻴﺩ ﺍﻹﻨﺠﺎﺯ ،ﻭﻜﻨﺕ ﺃﺭﻴﺩ ﺃﻥ ﺃﻀﻊ ﻫﻨـﺎﻙ
ﻓﺭﻗﺔ ﻤﻭﺴﻴﻘﻴﺔ ﻤﻥ ﻤﺎﺌﺔ ﻋﺎﺯﻑ ،ﻭﻜﺎﻥ ﻴﻤﻜﻥ ﺃﻥ ﻴﺸﺎ ﻫﺩ ﺫﻝﻙ ﺒﻁﺭﻴﻘﺔ ﻤﻠﺘﺒﺴﺔ .ﺃﺭﺩﺕ ﺇﺩﺨﺎل ﻋﻨﺎﺼﺭ ﻜﺜﻴﺭﺓ ﻤـﻥ
ﻫﺫﺍ ﺍﻝﻘﺒﻴل ﻝﻜﻨﻲ ﻤﻨﻌﺕ ﻤﻥ ﺫﻝﻙ ﺒﻁﺭﻴﻘﺔ ﺤﺎﺴﻤﺔ.
ﺁ.ﺏ :ﻤﺎ ﺃﺜﺭﺘﻪ ﺍﻵﻥ ﻫﺎﻡ ﺠﺩﺍﹰ ،ﻭﺨﺎﺼﺔ ﺃﻥ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﺍﺴﺘﻁﺎﻉ ﺃﻥ ﻴﻜﻭﻥ ﻓﻴﻠﻤﹰﺎ ﺫﺍ ﺍﺘﺠﺎﻩ ﺍﺠﺘﻤﺎﻋﻲ ﻭﺘﺭﺒﻭﻱ
ﻓﻲ ﺁﻥ ﻤﻌﺎﹰ ،ﻭﻴﻨﺩﺭﺝ ﻓﻲ ﺘﻘﺎﻝﻴﺩ "ﻁﺭﻴﻕ ﺍﻝﺤﻴﺎﺓ" ﻭ"ﻤﻭﻝﺩ ﺭﺠﺎل" .ﺇﻥ ﻤﺎ ﺘﻘﻭﻝﻪ ﻝﻨﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﺒﺩﻭ ﻭﻜﺄﻨﻪ ﻤﺘﻌـﺎﺭﺽ
ﻤﻊ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺍﻝﺘﻲ ﺃﻜﺩ ﺍﻝﻨﺎﺱ ﻋﻠﻰ ﺃﻨﻬﺎ ﺴﻤﺔ ﺍﻝﻔﻴﻠﻡ .ﻴﻬﻤﻨﻲ ﺃﻥ ﺘﺤﺩﺩ ،ﺒﺄﻱ ﻤﻘﻴﺎﺱ ﻴﻤﻜﻥ ﺃﻥ ﺘﻜﻭﻥ ﻫﺫﻩ
ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﺘﻬﺎﻤﺎﹰ ،ﺃﻡ ﺃﻨﻬﺎ ﻫﻨﺎ ،ﻭﻋﻠﻰ ﺍﻝﻌﻜﺱ ،ﻤﺠﺭﺩ ﻤﻠﻤﺢ ﺨﺎﺭﺠﻲ ﻝﺭﺴﺎﻝﺔ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺸﻌﺭﻴﺔ ﺍﻝﺤﻘﻴﻘﻴﺔ؟
ل.ﺏ :ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻲ" ،ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻫﻭ ﻓﻴﻠﻡ ﻋﻥ ﺍﻝﻨﻀﺎل ﺍﻻﺠﺘﻤﺎﻋﻲ .ﻓﺄﻨﺎ ﺃﻋﺘﻘﺩ ،ﻭﺒﻜل ﺒﺴﺎﻁﺔ ،ﺃﻨﻲ ﺼـﺎﺩﻕ
ﻲ ﺃﻥ ﺃﺤﻘﻕ ﻓﻴﻠﻤﹰﺎ ﻤﻥ ﺍﻝﻨﻤﻁ ﺍﻻﺠﺘﻤﺎﻋﻲ .ﺃﻋﺭﻑ ﺃﻨﻲ ﺃﺫﻫﺏ ﻓﻲ ﻫﺫﺍ ﺍﻻﺘﺠﺎﻩ ،ﻭﺨـﺎﺭﺝ ﻫـﺫﺍ ﻤﻊ ﻨﻔﺴﻲ .ﻜﺎﻥ ﻋﻠ
ﺍﻹﻁﺎﺭ ﻝﻡ ﺃﻜﻥ ﻷﺤﻘﻕ ،ﻋﻠﻰ ﺍﻹﻁﻼﻕ ،ﻓﻴﻠﻤﹰﺎ ﺫﺍ ﺭﺴﺎﻝﺔ .ﻝﻘﺩ ﺸﺎﻫﺩﺕ ﺩﺍﺌﻤـﹰﺎ ﺃﺸـﻴﺎﺀ ﻜﺜﻴـﺭﺓ ﺃﺜـﺎﺭﺕ ﺍﻫﺘﻤـﺎﻤﻲ
ﻭﻤﺸﺎﻋﺭﻱ ﻭﺃﺭﺩﺕ ﻨﻘﻠﻬﺎ ﺇﻝﻰ ﺍﻝﺸﺎﺸﺔ ،ﻝﻜﻥ ﺩﺍﺌﻤﹰﺎ ﻤﻥ ﺨﻼل ﺫﻝﻙ ﺍﻝﺤﺏ ﺍﻝﺫﻱ ﻝﺩﻱ ﻝﻤﺎ ﻫﻭ ﻓﻁﺭﻱ ﻭﻝﻤـﺎ ﻫـﻭ ﻻ
ﻋﻘﻼﻨﻲ ،ﻭﺍﻝﺫﻱ ﻴﻤﻜﻥ ﺃﻥ ﻴﻅﻬﺭ ﻓﻲ ﻜل ﺸﻲﺀ .ﺸﻌﺭﺕ ﺩﺍﺌﻤﹰﺎ ﺒﺄﻨﻲ ﻤﻨﺠﺫﺏ ﺇﻝﻰ ﺍﻝﺠﺎﻨـﺏ ﻏﻴـﺭ ﺍﻝﻤﻌـﺭﻭﻑ ﺃﻭ
ﺍﻝﻐﺭﻴﺏ ،ﻭﻫﻭ ﻤﺎ ﻴﺴﺤﺭﻨﻲ ﺩﻭﻥ ﺃﻥ ﺃﻋﺭﻑ ﻝﻤﺎﺫﺍ؟.
ﺩ.ﻑ :ﻜﺎﻥ ﻤﻌﻙ ﻓﻴﻐﻭﻴﺭﻭﺍ ﻤﺼﻭﺭﺍﹰ ﻝﻜﻨﻙ ﻋﻤﻠﺕ ﻤﻌﻪ ﺒﻁﺭﻴﻘﺔ ﺘﺨﺘﻠﻑ ﻜﻠﻴﹰﺎ ﻋﻥ ﺃﺴﻠﻭﺒﻪ ﺍﻝﻤﻌﺘﺎﺩ .ﻫل ﺤﻠـﺕ
ﺒﻴﻨﻪ ،ﺒﺸﻜل ﻤﻥ ﺍﻷﺸﻜﺎل ،ﻭﺒﻴﻥ ﻤﺠﺭﺩ ﻗﻴﺎﻤﻪ ﺒﺘﺤﻘﻴﻕ ﺼﻭﺭﺓ ﺠﻤﻴﻠﺔ؟
ل.ﺏ :ﻁﺒﻌﺎﹰ ،ﻷﻥ ﺍﻝﻔﻴﻠﻡ ﻝﻡ ﻴﻜﻥ ﻴﻘﺒل ﺫﻝﻙ؟
ﺩ.ﻑ :ﻫل ﻜﺎﻥ ﻴﺸﻌﺭ ﺒﺎﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻻﻨﺯﻋﺎﺝ؟
ل.ﺏ :ﻜﺎﻥ ﻤﻨﺯﻋﺠﹰﺎ ﺠﺩﹰﺍ .ﻗﺭﺃﺕ ﻓﻲ "ﺩﻓﺎﺘﺭ ﺍﻝﺴﻴﻨﻤﺎ" ﻫﺫﺍ ﺍﻝﺫﻱ ﺘﻘﻭﻝﻪ .ﺒﻌﺩ ﺍﻨﻘﻀﺎﺀ ﺃﺤﺩ ﻋﺸﺭ ﻴﻭﻤـﹰﺎ ﻤـﻥ
ﺍﻝﺘﺼﻭﻴﺭ ﺴﺄل ﻓﻴﻐﻭﻴﺭﻭﺍ ﺩﺍﻨﺜﻴﺨﻴﺭﺱ ﻋﻥ ﺍﻝﺴﺒﺏ ﻓﻲ ﺍﺨﺘﻴﺎﺭﻩ ﻝﻔﻴﻠﻡ ﻜﺎﻥ ﻴﻤﻜﻥ ﻷﻱ ﻤﺼـﻭﺭ ﺃﺨﺒـﺎﺭ ﺃﻥ ﻴﻨﻔـﺫﻩ
ﺒﺼﻭﺭﺓ ﺃﻓﻀل ،ﻓﺄﺠﺎﺒﻪ" :ﻷﻨﻙ ﻤﺼﻭﺭ ﺴﺭﻴﻊ ﺠﺩﺍﹰ ،ﻭﺘﺠﺎﺭﻱ ﺠﺩﹰﺍ" .ﻭﻫﺫﻩ ﺤﻘﻴﻘﺔ ،ﻓﻴﻐﻭﻴﺭﻭﺍ ﻤﺼﻭﺭ ﺴﺭﻴﻊ ﺒﺸﻜل
ﺍﺴﺘﺜﻨﺎﺌﻲ ﻭﺠﻴﺩ ﺠﺩﹰﺍ .ﻭﻗﺩ ﺃﺴﻌﺩﻩ ﺫﻝﻙ.ﻝﻡ ﻴﻜﻥ ﻓﻲ ﺍﻝﺒﺩﺍﻴﺔ ﻤﺭﺘﺎﺤﹰﺎ ﻝﻌﻤﻠﻪ ﻤﻌﻲ .ﻝﻡ ﻨﻜﻥ ﻤﺘﻔﻘﻴﻥ ،ﻝﻜﻨﻲ ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﺘﻐﻴﺭ
ﻜﺜﻴﺭﹰﺍ ،ﻭﺘﺭﺒﻁ ﻓﻴﻤﺎ ﺒﻴﻨﻨﺎ ﺍﻵﻥ ﺼﺩﺍﻗﺔ ﻤﺘﻴﻨﺔ.
ﺁ.ﺏ :ﻭ"ﻫﻭ" ،ﻤﺎﺫﺍ ﻴﻤﺜل "ﻫﻭ" ﻓﻲ ﺇﻁﺎﺭ ﻋﻤﻠﻙ ﺒﺎﻝﻤﻜﺴﻴﻙ؟ ﻫل ﻀﻤﻨﺕ ﺒﺼﻭﺭﺓ ﻭﺍﻋﻴﺔ ﻤﺎ ﺃﺴﻌﺩﺘﻨﺎ ﻤﺸﺎﻫﺩﺘﻪ
ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ،ﺃﻱ ﺸﻴﺊ ﻤﻥ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ﺒﻴﻥ ﺍﻝﺴﻁﻭﺭ ،ﻓﻲ ﺴﻴﻨﺎﺭﻴﻭ ﻋﺎﺩﻱ؟
ل.ﺏ :ﺒﺼﺭﺍﺤﺔ ،ﻝﻡ ﺃﻭﺩ ،ﺒﺼﻭﺭﺓ ﻭﺍﻋﻴﺔ ،ﺃﻥ ﺃﻗﻠﺩ ﺃﻭ ﺃﺘﺒﻊ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" .ﺍﻝﺒﻁل ﻓﻲ "ﻫﻭ" ﻨﻤﻭﺫﺝ ﻴﺜﻴﺭ
ﺍﻫﺘﻤﺎﻤﻲ ﻤﺜل ﺨﻨﻔﺱ ﺃﻭ ﺒﻌﻭﻀﺔ… ﺩﺍﺌﻤﹰﺎ ﺘﺜﻴﺭ ﺍﻝﺤﺸﺭﺍﺕ ﺍﻫﺘﻤﺎﻤﻲ ﻜﺜﻴﺭﹰﺍ .ﺃﻨﺎ ،ﻭﺇﻝﻰ ﺤﺩ ﻤﺎ ،ﻋـﺎﻝﻡ ﺤﺸـﺭﺍﺕ،
ﻻ
ﻭﻤﻭﻝﻊ ﺒﺎﻝﺒﺤﺙ ﻋﻥ ﺍﻝﺤﻘﻴﻘﺔ .ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒـ"ﻫﻭ" ،ﻋﻤﻠﺕ ﻤﺎ ﻫﻭ ﻤﻌﺘﺎﺩ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ :ﻝﻘﺩ ﺍﻗﺘﺭﺤﻭﺍ ﻋﻠﻲ ﻓﻴﻠﻤﹰﺎ ﻭﺒﺩ ﹰ
ﻤﻥ ﺃﻥ ﺃﻭﺍﻓﻕ ﻤﺒﺎﺸﺭﺓ ،ﻋﺯﻤﺕ ﻋﻠﻰ ﺘﻘﺩﻴﻡ ﺍﻗﺘﺭﺍﺡ ﻤﻘﺎﺒل ،ﻜﺎﻥ ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺃﻨﻪ ﺘﺠﺎﺭﻱ ،ﻗﺎﺩﺭﹰﺍ ﻋﻠﻰ ﺍﺤﺘـﻭﺍﺀ
ﺒﻌﺽ ﺍﻷﻤﻭﺭ ﺍﻝﺘﻲ ﺃﺴﺘﻤﺘﻊ ﺒﻬﺎ .ﻫﻜﺫﺍ ﻜﺎﻥ ﺍﻷﻤﺭ ﻤﻊ "ﻫﻭ" ،ﻝﻡ ﺃﻓﻜﺭ ﺒـ"ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ" ،ﺃﺭﺩﺕ ﺃﻥ ﺃﺤﻘﻕ ﻓﻴﻠﻤـﹰﺎ
ﻋﻥ ﺍﻝﺤﺏ ﻭﺍﻝﻐﻴﺭﺓ ،ﺒﺼﻭﺭﺓ ﻭﺍﻋﻴﺔ .ﻝﻜﻨﻲ ﺃﻋﺘﺭﻑ ﺒﺄﻨﻲ ﺃﻨﺠﺫﺏ ﺩﺍﺌﻤﹰﺎ ﺇﻝﻰ ﻨﻔﺱ ﻤﺼﺎﺩﺭ ﺍﻹﻝﻬﺎﻡ ،ﻭﻋﺒـﺭ ﻨﻔـﺱ
ﺍﻷﺤﻼﻡ ،ﻤﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻗﺩ ﺠﻠﺏ ﺇﻝﻰ "ﻫﻭ" ﺃﺸﻴﺎﺀ ﺘﺘﺸﺎﺒﻪ ﻤﻊ "ﺍﻝﻌﺼﺭ ﺍﻝﺫﻫﺒﻲ".
ﺩ.ﻑ :ﻫل ﻓﻬﻡ ﺍﻝﻤﻨﺘﺠﻭﻥ ﺠﻴﺩﹰﺍ ﺍﻝﻤﺸﻬﺩ ﺍﻝﻌﻨﻴﻑ ﺍﻝﺫﻱ ﻴﺭﻴﺩ ﻓﻴﻪ ﺍﻝﺯﻭﺝ ﺃﻥ "ﻴﺨﻴﻁ" ﺯﻭﺠﺘﻪ؟
ل.ﺏ :ﻻ ﺃﻋﺭﻑ .ﻓﻲ ﺍﺨﺘﻴﺎﺭﻱ ﻝﻠﻌﻨﺎﺼﺭ ﻭﺍﻷﻓﻜﺎﺭ ﻝﻡ ﺘﻜﻥ ﻝﺩﻱ ﻨﻴﺔ ﺘﻘﻠﻴﺩ "ﺴﺎﺩ" ،ﻭﻤﻊ ﺫﻝﻙ ﻓﻘﺩ ﺃﻜﻭﻥ ﻗـﺩ
ﻓﻌﻠﺕ ﺫﻝﻙ ﺩﻭﻥ ﺇﺭﺍﺩﺓ .ﻤﻥ ﺍﻝﻁﺒﻴﻌﻲ ﺃﻥ ﻭﺠﻬﺔ ﺍﻝﻨﻅﺭ ﺍﻝﺴﺎﺩﻴﺔ ﻜﺎﻨﺕ ﺘﻐﻠﺏ ﻋﻠﻰ ﺍﺘﺠﺎﻫﻲ ﻓﻲ ﺍﻝﺭﺅﻴﺔ ﻭﺍﻝﺘﻔﻜﻴﺭ ﺃﻜﺜﺭ
ﻤﻥ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ .ﻜﻨﺕ ﺃﻗﻭل ﻝﻨﻔﺴﻲ :ﻤﺎﺫﺍ ﻴﺠﺏ ﺃﻥ ﺘﺄﺨﺫ ﺍﻝﺸﺨﺼﻴﺔ؟ :ﻤﺴﺩﺱ؟ ﺴﻜﻴﻥ؟ ﻜﺭﺴﻲ؟ ﻭﺍﻨﺘﻬﻴﺕ ﺇﻝﻰ
ﺕ ﺃﻜﺜﺭ ﺇﺯﻋﺎﺠﺎ .ﻭﻫﺫﺍ ﻜل ﺸﻲﺀ.
ﺍﺨﺘﻴﺎﺭ ﺃﺩﻭﺍ
ﺩ.ﻑ :ﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ،ﻋﻨﺩﻤﺎ ﻴﺘﺤﻭل ﺍﻝﺒﻁل ﺇﻝﻰ ﺭﺍﻫﺏ ،ﻨﺭﺍﻩ ﻴﺴﻴﺭ ﻓﻲ ﺍﻝﻁﺭﻴﻕ ﻤﺘﺭﻨﺤﺎ .ﻤﺎ ﺍﻝﺫﻱ ﻴﻌﻨﻴﻪ ﻫـﺫﺍ
ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻙ؟
ل.ﺏ :ﻻ ﺸﻲﺀ ،ﺃﺜﺎﺭﺕ ﻝﺩﻱ ﻤﺸﺎﻫﺩﺘﻪ ﻭﻫﻭ ﻴﻤﻀﻲ ﻤﺘﺭﻨﺤﹰﺎ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻀﺤﻙ .ﻻ ﻴﻌﻨﻲ ﺫﻝﻙ ﺃﻱ ﺸﻲﺀ،
ﻝﻜﻨﻪ ﻴﻌﺠﺒﻨﻲ!
ﺁ.ﺏ :ﻜﺎﻥ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻓﻴﻠﻤﹰﺎ ﻤﺘﺤﺭﺭﹰﺍ ﻨﺴﺒﻴﺎﹰ ،ﺃﻤﺎ "ﻫﻭ" ﻓﺈﻨﻪ ﻓﻴﻠﻡ ﺫﻭ ﻭﻅﻴﻔﺔ ،ﺃﺩﺨﻠﺕ ﺒﻭﻋﻲ ﺃﻭ ﺒﺎﻝﻼﺸـﻌﻭﺭ،
ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺃﺸﻴﺎﺌﻙ .ﻝﻜﻥ ،ﻫل ﺘﻌﺘﻘﺩ ﺃﻥ "ﺴﻭﺴﺎﻨﺎ" ﻤﺜﻼﹰ ،ﺃﻭ "ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ﻫﻤﺎ ﻓﻴﻠﻤﺎﻥ ﺘﺠﺎﺭﻴﺎﻥ ﺼـﻐﻴﺭﺍﻥ
ﺃﻤﻜﻨﻙ ﺃﻥ ﺘﻀﻤﻨﻬﻤﺎ ﺒﻴﻥ ﺤﻴﻥ ﻭﺁﺨﺭ ﺃﺸﻴﺎﺀ ﺨﺎﺼﺔ ﺒﻙ؟ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻨﺎ ،ﻨﺭﻯ ﻝﻬﻤﺎ ﺃﻫﻤﻴﺔ ﺃﻜﺜﺭ ﻤﻤﺎ ﻴﺒﺩﻭ ﺃﻨﻙ ﺘﻌﻁﻴﻪ
ﻰ ﻴﺴﺘﺤﻕ ﺍﻝﺘﻘﺩﻴﺭ ،ﻫل ﻫﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻙ ﻤﺠﺭﺩ ﻋﻤﻠﻴﻥ ﺘﺠﺎﺭﻴﻴﻥ؟
ﻝﻬﻤﺎ ،ﻭﻨﻜﺘﺸﻑ ﻓﻴﻬﻤﺎ ﻏﻨ
ل.ﺏ :ﻻ .ﺃﻨﺎ ﺃﺤﻜﻡ ﻋﻠﻴﻬﻤﺎ ﺍﺴﺘﻨﺎﺩﹰﺍ ﺇﻝﻰ ﺍﻝﻤﺘﻌﺔ ﺍﻝﺘﻲ ﺃﺤﺴﺴﺕ ﺒﻬﺎ ﻋﻨﺩ ﺘﺤﻘﻴﻘﻬﻤﺎ .ﻜﺎﻥ ﻴﻤﻜﻥ ﻝـ"ﺴﻭﺴﺎﻨﺎ" ﺃﻥ
ﻴﻜﻭﻥ ﺃﻜﺜﺭ ﺇﻤﺘﺎﻋﹰﺎ ﻝﻭ ﻜﻨﺕ ﻗﺩ ﺍﺴﺘﻁﻌﺕ ﺃﻥ ﺃﻀﻊ ﻝﻪ ﻨﻬﺎﻴﺔ ﺃﺨﺭﻯ .ﻝﻘﺩ ﺃﻨﺠﺯﺘﻪ ﻓﻲ ﻋﺸﺭﻴﻥ ﻴﻭﻤﺎﹰ ،ﻝﻜﻥ ﺍﻝﻭﻗﺕ ﻻ
ﻴﻌﺘﺩ ﺒﻪ ﻓﻲ ﺍﻝﻌﺎﺩﺓ ،ﺨﻤﺴﺔ ﺃﺸﻬﺭ ﺃﻡ ﻴﻭﻤﺎﻥ ،ﻫﺫﺍ ﻻ ﻴﻬﻡ ،ﺇﻥ ﻤﺎ ﻴﻌﺘﺩ ﺒﻪ ﻫﻭ ﺍﻝﻤﻀﻤﻭﻥ ،ﺍﻝﺘﻌﺒﻴﺭ" .ﺼـﻌﻭﺩ ﺇﻝـﻰ
ﺍﻝﺴﻤﺎﺀ" ﻴﻌﺠﺒﻨﻲ ﺠﺩﺍﹰ ،ﺘﻌﺠﺒﻨﻲ ﺍﻝﻠﺤﻅﺎﺕ ﺍﻝﺘﻲ ﻻ ﻴﺤﺼل ﻓﻴﻬﺎ ﺃﻱ ﺸﻲﺀ .ﺍﻝﺭﺠل ﺍﻝﺫﻱ ﻴﻘﻭل" :ﺃﻋﻁﻨﻲ ﻋﻭﺩ ﺜﻘﺎﺏ"،
ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻤﻥ ﺍﻷﻤﻭﺭ ﻴﻌﺠﺒﻨﻲ ﺠﺩﺍﹰ ،ﺃﻭ "ﻫل ﺘﺭﻴﺩ ﺃﻥ ﺘﺄﻜل؟" ﺃﻭ"ﻜﻡ ﺍﻝﺴﺎﻋﺔ؟" ،ﻝﻘﺩ ﺤﻘﻘﺕ "ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ﻓﻲ
ﻫﺫﺍ ﺍﻻﺘﺠﺎﻩ ﺒﻌﺽ ﺍﻝﺸﻲﺀ.
ﺩ.ﻑ :ﻤﺎ ﻫﻭ ﺍﻝﺘﺭﺘﻴﺏ ﺍﻝﺯﻤﻨﻲ ﻷﻓﻼﻤﻙ ﺒﻌﺩ "ﺍﻝﻤﻨﺴﻴﻭﻥ"؟
ل.ﺏ :ﺒﻌﺩ "ﺍﻝﻤﻨﺴﻴﻭﻥ" ﻋﻤﻠﺕ "ﺴﻭﺴﺎﻨﺎ" ،ﺜﻡ ﻓﻴﻠﻤﹰﺎ ﺁﺨﺭ ﻝﻡ ﻴﻭﺯﻉ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﻭﻻ ﺃﺘﺫﻜﺭ ﻋﻨﻭﺍﻨﻪ .ﺍﻷﻓﻼﻡ
ﺴل ﺇﻝﻴﻜﻡ ﺩﻭﻥ ﺍﻝﺴﺅﺍل ﻋﻥ ﺭﺃﻴﻲ .ﺍﻝﺤﻜﻭﻤﺔ ﻫﻲ ﺍﻝﺘﻲ ﺘﻘﺭﺭ ،ﺃﻭ ﻴـﺘﻡ ﺍﺘﻔـﺎﻕ ﺒـﻴﻥ
ﺍﻝﺘﻲ ﻋﻤﻠﺘﻬﺎ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ ﺘﺭ
ﺍﻝﻤﻨﺘﺠﻴﻥ .ﺃﻨﺎ ﻝﻡ ﺃﺭﻏﺏ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﺒﺈﺭﺴﺎل ﺃﻓﻼﻤﻲ ﺇﻝﻰ ﺍﻝﻤﻬﺭﺠﺎﻨﺎﺕ ﺃﻭ ﺇﻝﻰ ﺃﻱ ﻤﻜﺎﻥ ﺁﺨﺭ .ﺒﻌﺩ ﺫﻝﻙ ﻋﻤﻠﺕ
"ﺼﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺴﻤﺎﺀ" ﺜﻡ "ﺍﻝﻤﺘﻭﺤﺵ" ﻭﻫﻭ ﻓﻴﻠﻡ ﺴﺭﻴﻊ ﺠﺩﹰﺍ ﺃﻴﻀﺎﹰ ،ﻓﻲ ﺜﻤﺎﻨﻴﺔ ﻋﺸﺭ ﻴﻭﻤﹰﺎ .ﻜﺎﻥ ﻴﻤﻜﻥ ﻝـ"ﺍﻝﻤﺘﻭﺤﺵ"
ﺃﻥ ﻴﻜﻭﻥ ﻓﻴﻠﻤﹰﺎ ﺠﻴﺩﺍﹰ ،ﻓﺎﻝﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﺫﻱ ﻜﺘﺒﺘﻪ ﻤﻊ "ﺁﻝﻜﻭﺭﻴﺜﺎ" ﻜﺎﻥ ﻤﻤﺘﻌﹰﺎ ﺠﺩﺍﹰ ،ﻝﻜﻨﻬﻡ ﺠﻌﻠﻭﻨﻲ ﺃﻋﺩل ﻓﻴـﻪ ﺃﻤـﻭﺭﹰﺍ
ﻜﺜﻴﺭﺓ ،ﻭﺃﺼﺒﺢ ﻓﻴﻠﻤﹰﺎ ﺃﻗل ﻤﻥ ﻋﺎﺩﻱ.
ﺩ.ﻑ :ﺒﻌﺩ ﺫﻝﻙ ﺼﻭﺭﺕ ﺭﻭﺒﻨﺴﻭﻥ ﻜﺭﻭﺯﻭ؟
ل.ﺏ :ﺒﻌﺩ "ﺍﻝﻤﺘﻭﺤﺵ" ﻋﻤﻠﺕ ﺃﺭﺒﻌﺔ ﺃﻓﻼﻡ" .ﺭﻭﺒﻨﺴﻭﻥ ﻜﺭﻭﺯﻭ" ﻭ"ﻗﻤﻡ ﻋﺎﺼﻔﺔ" ﻭ"ﺍﻷﻤل ﻴﺭﻜﺏ ﺍﻝﺘﺭﺍﻡ" …
،ﻭﻫﻭ ﻗﺼﺔ ﺴﺭﻗﺔ ﺘﺠﺭﻱ ﻓﻲ ﺘﺭﺍﻡ ﻴﺭﺘﻜﺒﻬﺎ ﺍﺜﻨﺎﻥ ﻤﻥ ﺍﻝﻌﻤﺎل… ﻴﺫﻫﺒﺎﻥ ﻤﻥ ﺃﺤﺩ ﺍﻝﻤﻘﺎﻫﻲ ﻭﻴﻁﻭﻓﺎﻥ ﻓﻲ ﺍﻝﻤﺩﻴﻨﺔ
ﺒﺎﻝﺘﺭﺍﻡ … ﻫﻨﺎﻙ ﻓﺼل ﻤﻨﻪ ﻤﻤﺘﻊ ﺠﺩﹰﺍ .ﻭﺃﺨﻴﺭﹰﺍ ﻓﻴﻠﻡ ﺭﺍﺒﻊ ﻫﻭ "ﺍﻝﻨﻬﺭ ﻭﺍﻝﻤﻭﺕ" :ﺇﻨﻪ ﺤﻭل ﺍﻝﻤﻭﺕ ﻋﻠﻰ ﺍﻝﻁﺭﻴﻘـﺔ
ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ،ﻫﺫﺍ "ﺍﻝﻤﻭﺕ ﺍﻝﺴﻬل"… ﻋﻨﺩﻤﺎ ﻴﻤﻭﺕ ﺍﻹﻨﺴﺎﻥ ،ﻓﺎﻝﻨﺎﺱ ﻴﺩﺨﻨﻭﻥ ﻭﻴﺸﺭﺒﻭﻥ ﻜﺅﻭﺱ ﺍﻝﻜﺤﻭل… ﺍﻝﺤﻴﺎﺓ
ﺃﻤﺭ ﺼﻐﻴﺭ ﺠﺩﺍﹰ ،ﻭﺍﻝﻤﻭﺕ ﻻ ﺃﻫﻤﻴﺔ ﻝﻪ .ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺴﺒﻌﺔ ﺃﻤﻭﺍﺕ ﻭﺃﺭﺒﻊ ﺠﻨﺎﺌﺯ ﻭﻻ ﺃﺩﺭﻱ ﻜﻡ ﻜﺎﻥ ﻋﺩﺩ ﺍﻝﻤﺂﺘﻡ.
ﺁ.ﺏ :ﻫل ﺘﻌﺘﺒﺭ "ﺭﻭﺒﻨﺴﻭﻥ ﻜﺭﻭﺯﻭ" ﻓﻴﻠﻤﹰﺎ ﻫﺎﻤﹰﺎ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻙ؟
ل.ﺏ" :ﺭﻭﺒﻨﺴﻭﻥ" ﻤﺜل ﻏﻴﺭﻩ ،ﻝﻘﺩ ﹸﻜﹼﻠﻔﺕ ﺒﻪ .ﻝﻡ ﺘﻌﺠﺒﻨﻲ ﺍﻝﺭﻭﺍﻴﺔ ،ﻝﻜﻥ ﺃﻋﺠﺒﺘﻨﻲ ﺍﻝﺸﺨﺼﻴﺔ ،ﻭﻭﺍﻓﻘﺕ ﻷﻥ
ﻻ ﻫﻨﺎﻙ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻁﺒﻴﻌﺔ ،ﻝﻴﺴﺕ ﻫﻨﺎﻙ ﻗﺼﺔ ﺭﻭﻤﺎﻨﺴﻴﺔ ﻭﻻ ﻤﺸﺎﻫﺩ ﺤﺏ ﺴﻬﻠﺔ
ﻓﻴﻬﺎ ﺸﻴﺌﹰﺎ ﺼﺎﻓﻴﹰﺎ .ﺃﻭ ﹰ
ﻭﻻ ﻤﺅﺍﻤﺭﺓ ﻤﻌﻘﺩﺓ .ﺇﻨﻪ ،ﺒﺒﺴﺎﻁﺔ ،ﺭﺠل ﻴﺠﺩ ﻨﻔﺴﻪ ،ﻝﺩﻯ ﻭﺼﻭﻝﻪ ،ﻭﺤﻴﺩﹰﺍ ﺃﻤﺎﻡ ﺍﻝﻁﺒﻴﻌـﺔ ﻭﻋﻠﻴـﻪ ﺃﻥ ﻴﻘﺘـﺎﺕ…
ﺃﻋﺠﺒﻨﻲ ﺍﻝﻤﻭﻀﻭﻉ ،ﻭﺍﻓﻘﺕ ﻭﻗﺭﺭﺕ ﺃﻥ ﺃﻋﻤل ﺃﺸﻴﺎﺀ ﻜﺎﻥ ﻴﻤﻜﻥ ﻝﻬﺎ ﺃﻥ ﺘﻜﻭﻥ ﻤﻤﺘﻌﺔ ،ﻭﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻗﺩ ﺒﻘﻲ ،ﻤـﻊ
ﺫﻝﻙ ،ﺸﻲﺀ ﻤﻨﻬﺎ ،ﻓﻘﺩ ﺍﻗﺘﻁﻌﻭﺍ ﺃﺠﺯﺍﺀ ﺴﻭﺭﻴﺎﻝﻴﺔ ﻭﻏﻴﺭ ﻗﺎﺒﻠﺔ ﻝﻠﻔﻬﻡ )ﻭﻓﻕ ﻤﺎ ﻗﺎﻝﻭﻩ( .ﻴﺒﺩﺃ ﺍﻝﻔﻴﻠﻡ ﺒﻨﺯﻭل ﺭﻭﺒﻨﺴـﻭﻥ
ﺇﻝﻰ ﺍﻝﺒﺭ :ﻴﻠﻔﻅ ﺍﻝﺒﺤﺭ ﺇﻨﺴﺎﻨﹰﺎ ﺇﻝﻰ ﺍﻝﺠﺯﻴﺭﺓ ،ﺇﻨﻬﺎ ﺍﻝﺼﻭﺭﺓ ﺍﻷﻭﻝﻰ ،ﻭﺨﻼل ﺴﺒﻌﺔ ﻓﺼﻭل ﻴﺒﻘﻰ ﻭﺤﻴﺩﹰﺍ ﺒﺎﻝﻜﺎﻤل ،ﻓﻘﻁ
ﻻ
ﻤﻊ ﻜﻠﺒﻪ .ﺜﻡ ﻴﺘﻌﺭﻑ ﺇﻝﻰ "ﻓﻴﻴﺭﻨﻴﺱ" ،ﻝﻜﻨﻪ ﺁﻜل ﻝﺤﻭﻡ ﺒﺸﺭ ﻭﻻ ﻴﻤﻜﻨﻪ ﺍﻝﺘﺤﺩﺙ ﺇﻝﻴﻪ .ﺜﻡ ﺜﻼﺜﺔ ﻓﺼـﻭل ﻤﺤـﺎﻭ ﹰ
ﺍﻝﺘﻔﺎﻫﻡ ﻤﻌﻪ ،ﻭﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ﻴﺄﺨﺫ ﺍﻝﻘﺭﺍﺼﻨﺔ ﺭﻭﺒﻨﺴﻭﻥ .ﺃﺭﺩﺕ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺇﻅﻬﺎﺭ ﻭﺤﺩﺓ ﺍﻹﻨﺴﺎﻥ ﻗﺒل ﺃﻱ ﺸﻲﺀ ﺁﺨﺭ،
ﺸﺩﺓ ﺍﻝﺘﻲ ﻴﻌﺎﻨﻲ ﻤﻨﻬﺎ ﻤﻥ ﻏﻴﺭ ﺼﺤﺒﺔ ﺇﻨﺴﺎﻨﻴﺔ .ﺃﺭﺩﺕ ﺍﻝﺘﻌﺎﻤل ﺃﻴﻀﹰﺎ ﻤﻊ ﻤﻭﻀﻭﻉ ﺍﻝﺤﺏ ،ﺃﻗﺼﺩ ﺍﻓﺘﻘﺎﺩ ﺍﻝﺤـﺏ
ﻭﺍﻝ
ﺃﻭ ﺍﻝﺼﺩﺍﻗﺔ ،ﺍﻝﺭﺠل ﺩﻭﻥ ﺼﺤﺒﺔ ﺭﺠل ﺃﻭ ﺍﻤﺭﺃﺓ .ﻭﺃﻋﺘﻘﺩ ﺃﻨﻪ ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﻜل ﺸﻲﺀ ،ﻭﺤﺘﻰ ﻤﻊ ﻜل ﺍﻝﺤﺫﻑ،
ﺒﻘﻴﺕ ﻋﻼﻗﺔ "ﺭﻭﺒﻨﺴﻭﻥ" ﺒـ"ﻓﻴﻴﺭﻨﻴﺱ" ﻭﺍﻀﺤﺔ ﺒﻤﺎ ﻓﻴﻪ ﺍﻝﻜﻔﺎﻴﺔ :ﺍﻷﻤﺭ ﺍﻝﻤﺘﻌﻠﻕ ﺒﺎﻝﻌﺭﻕ "ﺍﻷﻋﻠﻰ" ﺍﻷﻨﻜﻠﻭﺴﻜﺴﻭﻨﻲ
ﻻ ﺃﻨﻬﻤﺎ
ﻤﻊ ﺍﻝﻌﺭﻕ "ﺍﻷﺩﻨﻰ" ﺍﻝﺯﻨﺠﻲ .ﻓﻲ ﺍﻝﺒﺩﺍﻴﺔ ﻻ ﻴﺸﻌﺭ ﺭﻭﺒﻨﺴﻥ ﺒﺎﻻﻁﻤﺌﻨﺎﻥ ﻭﺍﻝﺜﻘﺔ ،ﻭﻴﺴﺘﻤﺭ ﻤﻘﺘﻨﻌ ﹶﺎ ﺒﻔﻭﻗﻴﺘﻪ ،ﺇ ﹼ
ﻴﺼﻼﻥ ﺃﺨﻴﺭﹰﺍ ﺇﻝﻰ ﺍﻷﺨﻭﺓ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﻝﻜﺒﺭﻯ… ﻭﺍﻹﺤﺴﺎﺱ ﺒﺎﻝﻔﺨﺭ ﻝﻜﻭﻨﻬﻤﺎ ﺒﺸﺭﹰﺍ! ﻭﺁﻤل ﺃﻥ ﻴﻜﻭﻥ ﻫﺫﺍ ﺍﻝﻘﺼـﺩ
ﻗﺩ ﻭﺼل.
ﺁ.ﺏ :ﻭ"ﻗﻤﻡ ﻋﺎﺼﻔﺔ" ؟
ل.ﺏ :ﻫﺫﺍ ﻤﺜﻴﺭ ﺠﺩﹰﺍ ﻝﻠﻔﻀﻭل .ﺇﻨﻪ ﻓﻴﻠﻡ ﻜﻨﺕ ﺃﺭﻴﺩ ﺘﺼﻭﻴﺭﻩ ﺃﻴـﺎﻡ "ﺍﻝﻌﺼـﺭ ﺍﻝـﺫﻫﺒﻲ" .ﻜـﺎﻥ ﺒﺎﻝﻨﺴـﺒﺔ
ﻝﻠﺴﻭﺭﻴﺎﻝﻴﻴﻥ ﻜﺘﺎﺒﹰﺎ ﻤﺩﻫﺸﺎﹰ ،ﺃﻋﺘﻘﺩ ﺃﻥ ﺠﻭﺭﺝ ﺴﺎﺩﻭل ﻫﻭ ﺍﻝﺫﻱ ﺘﺭﺠﻤﻪ .ﺃﻋﺠﺒﻬﻡ "ﺍﻝﺤﺏ ﺍﻝﻤﺠﻨﻭﻥ" ،ﻫﺫﺍ ﺍﻝﺤﺏ ﺍﻝﺫﻱ
ﻫﻭ ﻗﺒل ﻜل ﺸﻲﺀ ،ﻭﺒﺎﻝﻁﺒﻊ ،ﺤﻴﺙ ﻜﻨﺕ ﺃﻨﺘﻤﻲ ﺇﻝﻰ ﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ،ﻴﺘﺼﻑ ﺒﻨﻔﺱ ﺃﻓﻜﺎﺭ ﺍﻝﻤﺠﻤﻭﻋﺔ ﻋﻨﻪ،
ﻭﻴﺒﺩﻭ ﻝﻲ ﺃﻥ ﺍﻝﺭﻭﺍﻴﺔ ﻜﺎﻨﺕ ﺭﺍﺌﻌﺔ ،ﺇﻻ ﺃﻨﻨﺎ ﻝﻡ ﻨﻌﺜﺭ ﻓﻲ ﺤﻴﻨﻪ ﻋﻠﻰ ﺸﺭﻴﻙ ﻤﻤﻭل ﻭﺒﻘﻲ ﺍﻝﻔﻴﻠﻡ ﻋﻠﻰ ﺍﻝﻭﺭﻕ .ﻭﻝـﻡ
ﻲ "ﺩﺍﻨﺜﻴﺨﻴﺭﺱ" ﺃﻥ ﺃﺤﻘﻕ ﻓﻴﻠﻤﹰﺎ ﻜﺎﻥ ﻗﺩ ﺘﻌﺎﻗﺩ ﺒﺨﺼﻭﺼﻪ ﻤﻊ "ﻤﻴﺴﺘﺭﺍل" ﻭﻫﻭ ﻤﻤﺜل
ﺃﻜﻥ ﺃﻓﻜﺭ ﻓﻴﻪ ﻋﻨﺩﻤﺎ ﻁﻠﺏ ﺇﻝ
ﻻ ﺃﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻝﻡ ﻴﻌﺠﺒﻨﻲ .ﻭﺘﺫﻜﺭﺕ ﺤﻴﻨﺌ ﺫ ﺃﻨﻲ
ﻤﻌﺭﻭﻑ ﺠﺩﹰﺍ ﻓﻲ ﺇﺴﺒﺎﻨﻴﺎ ،ﻭﻨﺠﻤﺔ ﺇﺴﺒﺎﻨﻴﺔ ﻫﻲ "ﺇﻴﺭﺍﺴﻴﻤﺎ ﺩﻴﻠﻴﺎﻡ" ،ﺇ ﹼ
ﻜﻨﺕ ﻗﺩ ﺤﺩﺜﺘﻪ ﺴﺎﺒﻘﹰﺎ ﻋﻥ ﺇﻋﺩﺍﺩﻱ ﻝـ"ﻗﻤﻡ ﻋﺎﺼﻔﺔ" ،ﻭﻗﺩﻤﺘﻪ ﺇﻝﻴﻪ ،ﻭﻭﺍﻓﻕ .ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﻝﻡ ﺃﻜـﻥ ﻜﺜﻴـﺭ ﺍﻻﻫﺘﻤـﺎﻡ
ﺒﺘﺤﻘﻴﻕ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ،ﻭﻜﺎﻥ ﻤﺎ ﻴﺯﺍل ﻋﻠﻰ ﺍﻝﺤﺎل ﺍﻝﺘﻲ ﺘﺭﻜﺘﻪ ﻋﻠﻴﻬﺎ ﻋﺎﻡ ،1930ﻭﻫﺫﺍ ﻴﻌﻨﻲ ﺃﻨﻪ ﻗﺩ ﺃﺼﺒﺢ ﺇﻋـﺩﺍﺩﹰﺍ
ﺱ ﺠﺩﺍﹰ ،ﻭﻴﺤﺘﺭﻡ
ﻗﺩﻴﻤﹰﺎ ،ﺒﻌﺩ ﺃﺭﺒﻌﺔ ﻭﻋﺸﺭﻴﻥ ﻋﺎﻤﺎﹰ ،ﻝﻜﻨﻲ ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﺃﻤﻴﻥ ﻝﺭﻭﺡ ﻋﻤل "ﺇﻴﻤﻴﻠﻲ ﺒﺭﻭﻨﺘﻲ" .ﺇﻨﻪ ﻓﻴﻠﻡ ﻗﺎ ﹴ
ﻤﻌﻨﻰ ﺍﻝﺤﺏ ﻭﺩﻻﻻﺕ ﺍﻝﺭﻭﺍﻴﺔ.
ﺁ.ﺏ :ﻭﻓﻘﹰﺎ ﻝﺸﺭﻭﻁ ﺍﻹﻨﺘﺎﺝ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ ،ﺃﻨﺕ ﻤﻠﺯﻡ ﺒﺘﻨﻔﻴﺫ ﺃﻓﻼﻤﻙ ﺒﺴﺭﻋﺔ ﻜﺒﻴﺭﺓ ،ﻫل ﻫﺫﺍ ﺼﺤﻴﺢ؟
ﻼ ﻤﻥ ﺃﻓﻼﻤﻲ ﺍﻷﺨﺭﻯ ﺨﻼل ﺨﻤﺴﺔ ﻭﻋﺸﺭﻴﻥ ﻴﻭﻤﺎﹰ،
ل.ﺏ :ﺼﺤﻴﺢ .ﻭﺒﺎﺴﺘﺜﻨﺎﺀ "ﺭﻭﺒﻨﺴﻭﻥ" ﻓﻘﺩ ﺼﻭﺭﺕ ﻜ ﹰ
ﻭﻫﺫﺍ ﻝﻴﺱ ﺯﻤﻨﹰﺎ ﻗﻴﺎﺴﻴﹰﺎ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ ،ﻫﻨﺎﻙ ﻤﻥ ﻴﺼﻭﺭ ﺤﺘﻰ ﺨﻼل ﺯﻤﻥ ﺃﻗل ﻤﻥ ﺫﻝﻙ ،ﻭﻨﺤﻥ ﻓﻘﻁ ﺃﺭﺒﻌﺔ ﺍﻝـﺫﻴﻥ
ﻨﺴﺘﻁﻴﻊ ﺃﻥ ﻨﺼل ﺇﻝﻰ ﺃﺭﺒﻌﺔ ﻭﻋﺸﺭﻴﻥ ﺃﻭ ﺨﻤﺴﺔ ﻭﻋﺸﺭﻴﻥ ﻴﻭﻤﹰﺎ.
ﺩ.ﻑ :ﺤﺘﻰ ﻓﻴﺭﻨﺎﻨﺩﻴﺙ)(1؟
ل.ﺏ :ﻜﻼ .ﺇﻨﻪ ﺤﺎﻝﺔ ﺍﺴﺘﺜﻨﺎﺌﻴﺔ ،ﻭﻫﻡ ﻴﺴﻤﺤﻭﻥ ﻝﻪ ﺒﺄﺸﻴﺎﺀ ﻜﺜﻴﺭﺓ ﺃﺨﺭﻯ.
ﺁ.ﺏ :ﻭﻓﻘﹰﺎ ﻝﻤﺎ ﺘﺤﺩﺜﻨﺎ ﺒﻪ ،ﺃﺭﻯ ﺃﻨﻙ ﻤﺎ ﺘﺯﺍل ﻤﺭﺘﺒﻁﹰﺎ ﺒﺎﻝﺴﻭﺭﻴﺎﻝﻴﺔ ،ﻋﻠﻰ ﺍﻷﻗل ﺒﺎﺴﺘﻠﻬﺎﻤﻬﺎ ،ﺇﻥ ﻝﻡ ﻴﻜﻥ ﺫﻝﻙ
ﻼ .ﺇﻨﻙ ،ﻋﻠﻰ ﻤﺎ ﻴﺒﺩﻭ ،ﻝﻡ ﺘﺒﺘﻌﺩ ﻋﻥ ﺘﻜﻭﻴﻨﻙ ﺍﻝﺴﻭﺭﻴﺎﻝﻲ ،ﻭﻤﺎ ﺯﻝﺕ ﺘﺤﺘﻔﻅ ﻤﻥ ﺫﻝﻙ ﺒـﺫﻜﺭﻯ ﺤﻴـﺔ
ﺍﺭﺘﺒﺎﻁﹰﺎ ﻜﺎﻤ ﹰ
ﻭﻓﻌﺎﻝﺔ؛ ﻫل ﻫﺫﺍ ﺼﺤﻴﺢ؟
ل.ﺏ :ﻝﻡ ﺃﺭﺘ ﺩ ﻋﻨﻬﺎ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ،ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﻜﺸﻔﺕ ﻝﻲ ﺃﻥ ﻓﻲ ﺍﻝﺤﻴﺎﺓ ﺍﺘﺠﺎﻫﹰﺎ ﺃﺨﻼﻗﻴﹰﺎ ﻻ ﻴﻤﻜﻥ ﻝﻺﻨﺴﺎﻥ
ﺍﻝﺘﺨﻠﻲ ﻋﻨﻪ ،ﻭﺒﻔﻀﻠﻬﺎ ﺍﻜﺘﺸﻔﺕ ،ﻭﻝﻠﻤﺭﺓ ﺍﻷﻭﻝﻰ ،ﺃﻥ ﺍﻹﻨﺴﺎﻥ ﻝﻴﺱ ﺤﺭﹰﺍ .ﺃﻨﺎ ﺃﺅﻤﻥ ﺒﺎﻝﺤﺭﻴﺔ ﺍﻝﻜﺎﻤﻠﺔ ﻝﻺﻨﺴﺎﻥ ،ﻝﻜﻨﻲ
) Emilio Fernandez (1ﻤﺨﺭﺝ ﻭﻜﺎﺘﺏ ﺴﻴﻨﺎﺭﻴﻭ ﻭﻤﻤﺜل ،ﺍﻻﺴﻡ ﺍﻷﻜﺜﺭ ﺸﻬﺭﺓ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ،ﹸﻝﻘﹼﺏ ﺒـ"ﺍﻝﻬﻨﺩﻱ" El
)ﺍﻝﻤﺘﺭﺠﻡ( .(1986-1904) Indio
ﻭﺠﺩﺕ ﻓﻲ ﺍﻝﺴﻭﺭﻴﺎﻝﻴﺔ ﻨﻅﺎﻤﹰﺎ ﻴﺠﺩﺭ ﺍﺘﺒﺎﻋﻪ .ﻜﺎﻥ ﻫﺫﺍ ﺩﺭﺴﹰﺎ ﻋﻅﻴﻤﹰﺎ ﻝﻲ ﻓﻲ ﺤﻴـﺎﺘﻲ ،ﻭﻜـﺫﻝﻙ ﺨﻁـﻭﺓ ﻤﺩﻫﺸـﺔ
ﻭﺸﺎﻋﺭﻴﺔ .ﻝﻜﻨﻲ ،ﻭﻤﻨﺫ ﺒﻌﺽ ﺍﻝﻭﻗﺕ ،ﻝﻡ ﺃﻋﺩ ﻀﻤﻥ ﺍﻝﻤﺠﻤﻭﻋﺔ.
ﺁ.ﺏ :ﻗﻠﺕ ﻝﻨﺎ ﻤﺭﺍﺭﹰﺍ ﺇﻨﻙ ﻜﺴﻭل ،ﻤﻥ ﻨﺎﺤﻴﺔ؛ ﻭﻤﻥ ﻨﺎﺤﻴﺔ ﺃﺨﺭﻯ ،ﺇﻨﻙ ﻜﻨﺕ ﻤﺭﺍﺕ ﻋﺩﻴﺩﺓ ﻋﻠﻰ ﻭﺸـﻙ ﺃﻥ
ﻻﺘﺴﺘﻤﺭ ﺒﺎﻝﻌﻤل ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ .ﻭﻗﻠﺕ ﻝﻨﺎ ﻓﻲ ﺃﺤﺎﺩﻴﺙ ﺃﺨﺭﻯ ﺇﻨﻙ ﻜﻨﺕ ﻗﻠﻤﺎ ﺘﺫﻫﺏ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ .ﺃﻋﺘﻘﺩ ﺃﻥ ﻤﻬﺭﺠﺎﻥ
ﻜﺎﻥ ﻫﻭ ﻓﺭﺼﺔ ﺍﺴﺘﺜﻨﺎﺌﻴﺔ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻙ ﻝﻤﺸﺎﻫﺩﺓ ﺃﻓﻼﻡ .ﻜﻡ ﻤﺭﺓ ﺘﺫﻫﺏ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﺍﻝﻌﺎﻡ؟
ل.ﺏ :ﻗﻠﻴل ﺠﺩﹰﺍ .ﻻ ﺃﺭﻏﺏ ﺒﺎﻝﻤﺒﺎﻝﻐﺔ ،ﻝﻨﻘل ﺃﺭﺒﻊ ﻤﺭﺍﺕ ،ﻭﺃﺤﻴﺎﻨﹰﺎ ﺴﺕ ،ﻭﻗﺩ ﺘﻜﻭﻥ ﻓﻲ ﺃﺤﻴﺎﻥ ﺃﺨﺭﻯ ﻤﺠﺭﺩ
ﻤﺭﺘﻴﻥ ،ﻴﻤﻜﻥ ﺃﻥ ﻨﻘﻭل ﺇﻨﻬﺎ ﻓﻲ ﺍﻝﻤﺘﻭﺴﻁ ﺃﺭﺒﻊ ﻤﺭﺍﺕ.
ﺁ.ﺏ :ﺇﺫﻥ ،ﻻ ﺒﺩ ﻭﺃﻥ ﻴﻜﻭﻥ ﻝﺩﻴﻙ ﺩﺍﻓﻊ ﺍﺴﺘﺜﻨﺎﺌﻲ ﻜﻲ ﺘﺫﻫﺏ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ،ﺒﺎﻝﺭﻏﻡ ﻤﻥ ﻜﺴﻠﻙ ،ﻭﺒﺎﻝﺭﻏﻡ ﻤﻥ
ﺃﻱ ﺸﻲﺀ ،ﻭﺒﺎﻝﺭﻏﻡ ﻤﻥ ﻜل ﺍﻝﺼﻌﻭﺒﺎﺕ ﺍﻝﺘﻲ ﻭﺍﺠﻬﺘﻙ ﻓﻲ ﻋﻤﻠﻙ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻭﺍﻝﻤﺘﻌﺔ ﺍﻝﻘﻠﻴﻠﺔ ﺍﻝﺘﻲ ﻋﺎﻴﺸﺘﻬﺎ ﺨـﻼل
ﻻ ﻤﻥ ﺃﻥ ﺘﻘﻭﻡ ﺒﺄﻤﺭ ﺁﺨﺭ ﺃﻭ ﺃﻥ ﺘﺴﺘﻤﺘﻊ ﺒﻭﺴﻴﻠﺔ ﺘﻌﺒﻴـﺭ ﺃﺨـﺭﻯ
ﻋﻤﻠﻙ .ﻤﺎ ﺍﻝﺫﻱ ﻴﺠﻌﻠﻙ ﺘﺫﻫﺏ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺒﺩ ﹰ
ﻜﺎﻝﺭﻭﺍﻴﺔ ﺃﻭ ﺍﻝﺭﺴﻡ؟
ل.ﺏ :ﻻ ﺃﺤﺏ ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ،ﻝﻜﻨﻲ ﺃﺤﺏ ﺍﻝﺴﻴﻨﻤﺎ ﻜﻭﺴﻴﻠﺔ ﺘﻌﺒﻴﺭ ،ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻝﻴﺴﺕ ﻫﻨﺎﻙ ﺃﻴﺔ ﻭﺴﻴﻠﺔ
ﺃﺨﺭﻯ ﺃﻓﻀل ﻤﻨﻬﺎ ﺒﺈﻤﻜﺎﻨﻬﺎ ﺃﻥ ﺘﻅﻬﺭ ﻝﻨﺎ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺫﻱ ﻻ ﻴﻤﻜﻨﻨﺎ ﺃﻥ ﻨﺭﺍﻩ ﻜل ﻴﻭﻡ ،ﻭﻫﺫﺍ ﻴﻌﻨﻲ ﺃﻨﻨﺎ ،ﻤـﻥ ﺨـﻼل
ﺍﻝﻜﺘﺏ ،ﻭﺍﻝﺼﺤﻑ ،ﻭﻜﺫﻝﻙ ﻤﻥ ﺨﻼل ﺘﺠﺎﺭﺒﻨﺎ ﻭﺨﺒﺭﺍﺘﻨﺎ ،ﻨﺘﻌﺭﻑ ﻋﻠﻰ ﻭﺍﻗﻊ ﺨﺎﺭﺠﻲ ﻭﻤﻭﻀﻭﻋﻲ ،ﺃﻤﺎ ﺍﻝﺴـﻴﻨﻤﺎ،
ﺒﺴﺒﺏ ﺁﻝﻴﺘﻬﺎ ﺍﻝﺨﺎﺼﺔ ،ﻓﻬﻲ ﺘﻔﺘﺢ ﻝﻨﺎ ﻨﺎﻓﺫﺓ ﺼﻐﻴﺭﺓ ﻋﻠﻰ ﺍﻤﺘﺩﺍﺩ ﻫﺫﺍ ﺍﻝﻭﺍﻗﻊ .ﻤﺎ ﺃﺘﻁﻠﻊ ﺇﻝﻴﻪ ،ﻜﻤﺸﺎﻫﺩ ﻝﻠﺴﻴﻨﻤﺎ ،ﻫـﻭ
ﺃﻥ ﻴﻜﺸﻑ ﺍﻝﻔﻴﻠﻡ ﻝﻲ ﺸﻴﺌﺎﹰ ،ﻭﻫﺫﺍ ﻤﺎﻻ ﻴﺤﺩﺙ ﻤﻌﻲ ﺴﻭﻯ ﻤﺭﺍﺕ ﻗﻠﻴﻠﺔ ،ﻭﻗﺩ ﻴﻜﻭﻥ ﺫﻝﻙ ﺒﺴﺒﺏ ﺃﻨﻲ ﻗﺩ ﻜﺒﺭﺕ .ﺃﻨـﺎ
ﺴﻌﻴﺩ ﺇﺫ ﺃﺘﻴﺤﺕ ﻝﻲ ﺍﻝﻔﺭﺼﺔ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﻬﺭﺠﺎﻥ ﻝﻤﺸﺎﻫﺩﺓ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻷﻓﻼﻡ ،ﺸﺎﻫﺩﺕ ﺃﻓﻼﻤﹰﺎ ﻫﺎﻤﺔ ،ﻝﻜﻨﻬﺎ ﻝﻡ ﺘﻘـل
ﻝﻲ ﺃﺸﻴﺎﺀ ﻫﺎﻤﺔ .ﻗﻠﻤﺎ ﺘﻜﺸﻑ ﻝﻲ ﺍﻝﺴﻴﻨﻤﺎ ﻤﺎ ﺃﺒﺤﺙ ﻋﻨﻪ ،ﻭﻝﻬﺫﺍ ﻻ ﺃﺫﻫﺏ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺇﻻ ﻓﻴﻤﺎ ﻨﺩﺭ .ﻁﺒﻌﺎﹰ ،ﻫﻨـﺎﻙ
ﺃﺼﺩﻗﺎﺀ ﻴﺸﻴﺭﻭﻥ ﻋﻠﻲ ﺒﻤﺸﺎﻫﺩﺓ ﺃﻓﻼﻡ ﺃﻋﺠﺒﺘﻬﻡ ،ﻭﻫﻜﺫﺍ ﻓﻘﺩ ﺸﺎﻫﺩﺕ "ﺃﻝﻌﺎﺏ ﻤﻤﻨﻭﻋﺔ" ﺍﻝﺫﻱ ﻓﺘﺢ ﻝﻲ ﻨﺎﻓﺫﺓ ﺼﻐﻴﺭﺓ؛
ﺇﻨﻪ ﻓﻴﻠﻡ ﻤﺩﻫﺵ .ﺸﺎﻫﺩﺕ ﺃﻴﻀﹰﺎ "ﺼﻭﺭﺓ ﺠﻴﻨﻲ" ﺍﻝﺫﻱ ﺃﻋﺠﺒﻨﻲ ﻜﺜﻴﺭﹰﺍ ﻭﻓﺘﺢ ﻝﻲ ﻨﺎﻓﺫﺓ ﻜﺒﻴﺭﺓ .ﻤﻥ ﻭﺠﻬـﺔ ﺍﻝﻨﻅـﺭ
ﻲ ﻤﺸﺎﻫﺩﺓ ﺃﻓﻼﻡ ﺃﻜﺜﺭ ﻭﺃﻥ ﺃﺫﻫﺏ ﻴﻭﻤﻴﹰﺎ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ… ﺇﻥ ﺍﻷﻤﺭ ﺴﻴﺊ ﺠـﺩﺍﹰ ،ﺃﻋـﺭﻑ
ﺍﻝﻤﻬﻨﻴﺔ ﻻ ﺸﻙ ﻓﻲ ﺃﻥ ﻋﻠ
ﻻ ﻤـﻥ ﺍﻝـﺫﻫﺎﺏ ﺇﻝـﻰ
ﺫﻝﻙ ،ﻝﻜﻨﻲ ﻤﻊ ﺫﻝﻙ ﺃﻓﻀل ﺃﻥ ﺃﺒﻘﻰ ﻓﻲ ﺍﻝﺒﻴﺕ ﺃﺸﺭﺏ ﺯﺠﺎﺠﺔ ﻭﻴﺴﻜﻲ ﻤﻊ ﺍﻷﺼﺩﻗﺎﺀ ﺒـﺩ ﹰ
ﺍﻝﺴﻴﻨﻤﺎ.
ﺁ.ﺏ :ﻨﻭﺩ ﺃﻥ ﻨﻁﻠﺏ ﻤﻨﻙ ﺃﻴﻀﹰﺎ ﺒﻌﺽ ﺍﻹﻴﻀﺎﺤﺎﺕ ﺤﻭل ﺃﻓﻜﺎﺭﻙ ﺒﺨﺼﻭﺹ ﻤﻭﺴﻴﻘﺎ ﺍﻷﻓﻼﻡ ،ﻭﺒﺼﻭﺭﺓ
ﺃﻜﺜﺭ ﺘﺤﺩﻴﺩﹰﺍ ﺤﻭل "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ".
ل.ﺏ :ﺫﻫﺒﺕ ﺫﺍﺕ ﻤﺭﺓ ﺇﻝﻰ ﻤﺅﺘﻤﺭ ﻝـ"ﺠﻤﻌﻴﺔ ﻤﻨﺘﺠﻲ ﺍﻷﻓﻼﻡ ﺍﻝﻭﺜﺎﺌﻘﻴﺔ" ﺍﻨﻌﻘﺩ ﻓﻲ ﻨﻴﻭﻴﻭﺭﻙ ،ﻜﺎﻥ ﻫﻨـﺎﻙ
ﻲ ﺃﺤـﺩﻫﻡ
ﻋﺩﺩ ﻤﻥ ﺍﻝﻤﺅﻝﻔﻴﻥ ﺍﻝﺸﺒﺎﻥ ﺍﻷﻜﺜﺭ ﺸﻬﺭﺓ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ .ﻗﺩﻤﻨﺎ ﻫﻨﺎﻙ "ﺃﺭﺽ ﺒﻼ ﺨﺒﺯ" ﻭﺠﺎﺀ ﺇﻝ
ﻴﺴﺄﻝﻨﻲ ﺒﺈﻋﺠﺎﺏ ﻋﻥ ﺍﻝﻔﻜﺭﺓ ﺍﻝﺭﺍﺌﻌﺔ ﺍﻝﺘﻲ ﺠﻌﻠﺘﻨﻲ ﺃﺴﺘﺨﺩﻡ ﻤﻭﺴﻴﻘﺎ ﺒﺭﺍﻤﺯ .ﻜﻨﺕ ﺃﺸﻌﺭ ﺃﻨﻲ ﻝﻡ ﺃﺒﺘﻜﺭ ﺸﻴﺌﺎﹰ ،ﺇﻨﻤﺎ ﺒﺩﺍ
ﻝﻲ ،ﺒﻜل ﺒﺴﺎﻁﺔ ،ﺃﻥ ﻤﻭﺴﻴﻘﺎ ﺒﺭﺍﻤﺯ ﺘﺘﻔﻕ ﻤﻊ ﺍﻝﺭﻭﺡ ﺍﻝﻌﺎﻤﺔ ﻝﻠﻔﻴﻠﻡ ،ﻜﺎﻨﺕ ﻫﻲ ﺍﻝﺴﻴﻤﻔﻭﻨﻴﺔ ﺍﻝﺭﺍﺒﻌﺔ .ﻓﻭﺠﺊ ﺍﻝﺠﻤﻴﻊ
ﺒﺴﺒﺏ ﻫﺫﻩ ﺍﻝﺒﺴﺎﻁﺔ ،ﺇﺫ ﻜﺎﻥ ﺍﻝﺒﺤﺙ ﻴﺠﺭﻱ ﺩﺍﺌﻤﹰﺎ ﻋﻥ ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﻤﻌﻘﺩﺓ .ﺃﻨﺎ ﺸﺨﺼﻴﹰﺎ ﻻ ﺃﺤـﺏ ﺍﻝﻤﻭﺴـﻴﻘﺎ ﻓـﻲ
ﺍﻷﻓﻼﻡ ،ﻭﺃﺠﺩ ﺃﻨﻬﺎ ﻋﻨﺼﺭ ﺴﻴﺊ ،ﻭﻨﻭﻉ ﻤﻥ ﺍﻝﺘﺤﺎﻴل ،ﻤﻊ ﺒﻌﺽ ﺍﻻﺴﺘﺜﻨﺎﺀﺍﺕ ﺒﺎﻝﻁﺒﻊ .ﻭﻗﺩ ﺃﺩﻫﺸﻨﻲ ﺠﺩﹰﺍ ﺃﻥ ﺃﺸﺎﻫﺩ
ﻓﻲ ﻫﺫﺍ ﺍﻝﻠﻘﺎﺀ ﺃﻓﻼﻤﹰﺎ ﻋﻅﻴﻤﺔ ﺒﻼ ﻤﻭﺴﻴﻘﺎ ،ﻭﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﺫﻜﺭ ﺜﻼﺜﺔ ﺃﻭ ﺃﺭﺒﻌﺔ ﺃﻓﻼﻡ ،ﻭﺭﺒﻤـﺎ ﺃﻜﺜـﺭ ،ﺩﻭﻥ ﺃﻴـﺔ
ﻤﻭﺴﻴﻘﺎ .ﻭﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل "ﺍﻝﻤﻐﺎﻤﺭﺓ ﺍﻝﻜﺒﺭﻯ" .ﻭﺍﻵﻥ ،ﻭﻷﻨﻲ ﺃﺼﺒﺤﺕ ﺃﺼ ﻡ ،ﻓﺄﻨﺎ ﻻ ﺃﺴﻤﻌﻬﺎ ،ﺒﻴﻨﻤﺎ ﺘﺼـﺩﺡ،
ﻁﻭﺍل ﺍﻝﻭﻗﺕ ،ﻓﺭﻗﺔ ﻤﻭﺴﻴﻘﻴﺔ ﻜﺒﺭﻯ ﻤﻥ ﺜﻤﺎﻨﻴﻥ ﻋﺎﺯﻓﹰﺎ .ﻋﻠﻰ ﺃﻥ ﻫﺫﺍ ﻻ ﻴﻌﻨﻲ ﺸﻴﺌﹰﺎ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻲ ،ﻭﻴﺒﺩﻭ ﻝـﻲ ﺃﻥ
ﺍﻝﺼﻤﺕ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻫﻭ ﺍﻝﻤﻔﻀل ﻓﻲ ﺠﻤﻴﻊ ﺍﻷﺤﻭﺍل.
ﺩ.ﻑ :ﻓﻌﻼﹰ ،ﻝﻡ ﺘﻜﻥ ﻫﻨﺎﻙ ﻤﻭﺴﻴﻘﺎ ﻓﻲ "ﺍﻝﻤﻐﺎﻤﺭﺓ ﺍﻝﻜﺒﺭﻯ".
ل.ﺏ :ﻭﺃﺠﺩ ﻓﻲ ﺍﻹﻨﺘﺎﺝ ﺍﻝﻌﺎﻝﻤﻲ ﺍﺘﺠﺎﻫﹰﺎ ﺇﻝﻰ ﺇﻤﻜﺎﻨﻴﺔ ﺇﻝﻐﺎﺀ ﺍﻝﻤﻭﺴﻴﻘﺎ ﺇﻝﻰ ﺤﺩ ﺒﻌﻴﺩ .ﺍﻝﺼـﻤﺕ! ﻫـﺫﺍ ﻫـﻭ
ﺍﻝﻤﺅﺜﺭ! ﻝﻡ ﺃﻜﺘﺸﻑ ﺸﻴﺌﹰﺎ ﺤﻭل ﺍﻝﻤﻭﺴﻴﻘﺎ ،ﻝﻜﻥ ،ﻭﺒﺼﻭﺭﺓ ﻏﺭﻴﺯﻴﺔ ،ﺃﻋﺘﺒﺭﻫﺎ ﻋﻨﺼﺭﹰﺍ ﻁﻔﻴﻠﻴﹰﺎ ﻴﺴﺘﺨﺩﻡ ﻓﻘﻁ ﻝﺯﺨﺭﻓﺔ
ﺒﻌﺽ ﺍﻝﻤﺸﺎﻫﺩ ﺍﻝﺘﻲ ﻝﻴﺴﺕ ﺫﺍﺕ ﺃﻫﻤﻴﺔ ﺴﻴﻨﻤﺎﺌﻴﺔ .ﻓﻲ"ﻗﻤﻡ ﻋﺎﺼﻔﺔ" ﻜﻨﺕ ﻗﺩ ﺘﺼﻭﺭﺕ ،ﻤﻊ ﺤﺎﻝﺘﻲ ﻋـﺎﻡ ،1930
ﻭﻜﻌﺎﺸﻕ ﻝﻔﺎﻏﻨﺭ ﻓﻲ ﺘﻠﻙ ﺍﻝﻤﺭﺤﻠﺔ ،ﺇﺩﺨﺎل ﺨﻤﺴﻴﻥ ﺩﻗﻴﻘﺔ ﻤﻥ ﻤﻭﺴﻴﻘﺎﻩ.
ﺁ.ﺏ :ﻭﺍﻵﻥ ،ﻫل ﻝﺩﻴﻙ ﺘﻁﻠﻊ ،ﺃﻭ ﻤﺸﺭﻭﻉ ﻴﻨﺒﻊ ﻤﻥ ﺇﺭﺍﺩﺘﻙ ﻨﻔﺴﻬﺎ ،ﺃﻋﻨﻲ ﻓﻴﻠﻤﹰﺎ ﻻ ﻴﻜﻭﻥ ﻤﻁﻠﻭﺒﹰﺎ ﻤﻨﻙ؟
ﻱ ﻓﻜﺭﺓ ﻓﻴﻠﻡ ﻤﻥ ﻓﺼﻠﻴﻥ ،ﺃﻗﻭﻡ ﺒﺎﻝﺘﺤﻀﻴﺭ ﻝﻪ ﻤﻊ ﻁﺎﻗﻡ ﻤﻥ ﺍﻷﺼﺩﻗﺎﺀ ﻭﺍﻝﺘﻘﻨﻴﻴﻥ ﻓـﻲ ﺍﻝﻤﻜﺴـﻴﻙ.
ل.ﺏ :ﻝﺩ
ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﺴﻴﻜﻭﻥ ﺠﻴﺩﹰﺍ ﺇﻝﻰ ﺤﺩ ﺒﻌﻴﺩ ،ﻭﻝﻥ ﺘﻜﻭﻥ ﻝﻪ ﺃﻴﺔ ﺼﻠﺔ ﺒﻤﺎ ﻫﻭ ﺘﺠﺎﺭﻱ ،ﻭﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻌـﺭﺽ ﺨـﺎﺭﺝ
ﻤﺭﺍﻜﺯ ﺍﻷﺭﺸﻴﻑ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺃﻭ ﺍﻷﻨﺩﻴﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ،ﻝﻜﻥ ﻻ ﻴﻤﻜﻨﻨﻲ ﺍﻵﻥ ﺍﻝﺘﺤﺩﺙ ﺤﻭل ﺍﻝﻤﻭﻀﻭﻉ.
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ﺍﻝﻔﺼل ﺍﻝﺨﺎﻤﺱ
ﺁﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ
ALFRED HITCHCOCK
ﻴﻌﻠﻥ ﺍﻝﻤﻠﺼﻕ ﺃﻨﻪ ﻓﻴﻠﻡ ﺒﻭﻝﻴﺴﻲ ،ﺇﺫﻥ ،ﻭﻝﺴﻭﺀ ﺍﻝﺤﻅ ،ﻫﻭ ﻓﻴﻠﻡ ﺒﻭﻝﻴﺴﻲ ﻤﺜل ﺍﻝﻜﺜﻴﺭ ﻏﻴﺭﻩ ،ﻤﻤﺎ ﻻ ﻴﺨﻠﻭ ﻤﻥ
ﺍﻻﺒﺘﺫﺍل ﺍﻝﺫﻱ ﻴﻔﻀل ﺍﻷﻤﺭﻴﻜﻲ ﺍﻝﻤﺘﻭﺴﻁ ﺃﻥ ﻴﺠﺩﻩ ﻓﻲ ﺴﻴﻨﻤﺎﻩ .ﻝﻜﻨﻪ ﻜﺎﻥ ﺸﻴﺌﹰﺎ ﺁﺨﺭ ،ﻭﺒﻠﻎ ﻓﻲ ﺒﻌـﺽ ﺍﻷﺤﻴـﺎﻥ
ﻤﺴﺘﻭﻯ ﻤﻥ ﺍﻝﻌﻅﻤﺔ ﺍﻝﻤﺫﻫﻠﺔ ﻭﺍﻝﻘﺎﺴﻴﺔ" .ﻅل ﻤﻥ ﺍﻝﺸﻙ" ﻴﺴﺘﺤﻕ ،ﺩﻭﻥ ﺃﺩﻨﻰ ﺸﻙ ،ﺃﻥ ﻨﻌﻴﺭﻩ ﺍﻻﻫﺘﻤﺎﻡ.
ﻴﺩﻭﺭ ﺍﻝﺤﺩﺙ ﻓﻲ ﺃﺴﺭﺓ ﺭﻴﻔﻴﺔ ،ﻤﺘﻭﺴﻁﺔ ﻭﻤﺜﺎﻝﻴﺔ ،ﻤﻥ ﺘﻠﻙ ﺍﻷﺴﺭ ﺍﻝﺘﻲ ﻗﺩﻤﺘﻬﺎ ﻫﻭﻝﻴـﻭﻭﺩ ﻓـﻲ ﻨﻤﺎﺫﺠﻬـﺎ
ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻤﻨﺫ ﺍﻝﺤﺭﺏ )ﻤﺩﻴﻨﺘﻨﺎ ،ﻜﻭﻤﻴﺩﻴﺎ ﺇﻨﺴﺎﻨﻴﺔ ،ﻭﻏﻴﺭﻫﻤﺎ( .ﺍﻷﺏ ﻤﻭﻅﻑ ﻓﻲ ﻤﺼﺭﻑ ،ﺍﻷﻡ ﻤﺭﺤﺔ ﻭﺸﺠﺎﻋﺔ
ﻤﺜل "ﻓﺎﻱ ﺒﺎﻴﺘﻨﺭ" ﻨﻔﺴﻬﺎ .ﺍﻻﺒﻨﺔ ﺍﻝﻜﺒﺭﻯ ﺠﻤﻴﻠﺔ ﻭﺼﺎﻓﻴﺔ ،ﻭﺍﻻﺒﻨﺔ ﺍﻝﺼﻐﺭﻯ ﺫﺍﺕ ﻀﻔﺎﺌﺭ ﻭﻨﻅﺎﺭﺍﺕ.
ﻴﺼل ﺍﻝﺨﺎل ﺘﺸﺎﺭﻝﻲ ﺇﻝﻰ ﻫﺫﺍ ﺍﻝﻔﺭﺩﻭﺱ ﻤﻥ ﺍﻝﻤﺤﺒﺔ ﺍﻷﺴﺭﻴﺔ :ﺇﻨﻪ ﺃﺨﻭ ﺍﻷﻡ ،ﺍﻝﺫﻱ ﻴﺤﻭﻝﻪ ﺸﺒﺎﺒﻪ ﺍﻝﻨﺴﺒﻲ ﺇﻝﻰ
ﻼ ﺒﺎﻝﻬـﺩﺍﻴﺎ ،ﻝﻜـﻥ
ﻁﻔل ﻤﺩﻝل ﻝﻠﻌﺎﺌﻠﺔ .ﻫﻭ ﺠﻤﻴل ﻭﻗﻭﻱ ﻭﺫﻜﻲ ،ﻭﻫﺫﻩ ﺍﻝﻤﺭﺓ ﻫﻭ ﻏﻨﻲ ،ﻴﺼل ﻤﺜل ﺒﺎﺒﺎﻨﻭﻴل ﻤﺤﻤ ﹰ
ﺍﻝﻬﺩﻴﺔ ﺍﻷﺠﻤل ﻫﻲ ﺨﺎﺘﻡ ﺯﻤﺭﺩ ،ﻨﹸﻘﺸﺕ ﻋﻠﻴﻪ ﺇﺸﺎﺭﺍﺕ ﻏﺭﻴﺒﺔ ،ﻴﻀﻌﻪ ﻓﻲ ﺇﺼﺒﻊ ﺍﺒﻨﺔ ﺃﺨﺘﻪ.
ﻴﺼل ﻓﻲ ﺍﻝﻴﻭﻡ ﺍﻝﺘﺎﻝﻲ ﺍﺜﻨﺎﻥ ﻤﻥ ﺍﻝﻤﺨﺒﺭﻴﻥ ،ﻴﺭﻴﺩﺍﻥ ،ﻭﺒﺄﻱ ﺜﻤﻥ ،ﺍﻝﺘﻘﺎﻁ ﺼﻭﺭ ﻝﻠﺨﺎل ﺘﺸﺎﺭﻝﻲ .ﻴﻘﻭﻡ ﺍﻝﺨﺎل
ﺘﺸﺎﺭﻝﻲ ﺒﺘﻤﺯﻴﻕ ﻤﻘﺎل ﻅﻬﺭ ﻓﻲ ﺼﺤﻴﻔﺔ ﺫﻝﻙ ﺍﻝﻴﻭﻡ ﺃﺜﺎﺭ ﺍﻝﺭﻋﺏ ﻓﻲ ﻨﻔﺴﻪ .ﻜﺎﻥ ﻴﺘﺤﺩﺙ ﺃﺤﻴﺎﻨﹰﺎ ﺒﻁﺭﻴﻘﺔ ﻏﺭﻴﺒـﺔ،
ﻋﻥ ﺍﻝﻌﺎﻝﻡ ﺒﺸﻜل ﻋﺎﻡ ،ﻭﻋﻥ ﺍﻝﻨﺴﺎﺀ ﺍﻝﻤﺴﻨﹼﺎﺕ ﺍﻝﺜﺭﻴﺎﺕ ﺒﺼﻭﺭﺓ ﺨﺎﺼﺔ .ﻭﻴﻘﻠﻕ ﺍﻝﺸﺎﺒﺔ ﻅل ﻤﻥ ﺍﻝﺸﻙ ،ﻓﻬﻲ ﺘﺭﻴـﺩ
ﺃﻥ ﺘﻌﺭﻑ ﺸﻴﺌﺎﹰ ،ﻭﻤﺎ ﺘﻜﺘﺸﻔﻪ ﻜﺎﻥ ﻤﺭﻋﺒﺎﹰ ،ﻓﺎﻝﺨﺎل ﺘﺸﺎﺭﻝﻲ "ﺭﺌﻴﺱ ﺍﻝﻤﻼﺌﻜﺔ ﺍﻷﻨﻴﻕ" ﻗﺘل ﺜﻼﺙ ﺃﺭﺍﻤل ﺜﺭﻴﺎﺕ ﺠﺩﹰﺍ.
ﻜﺎﻥ ﺍﻝﻤﺨﺒﺭﺍﻥ ﺭﺠﻠﻲ ﺸﺭﻁﺔ ،ﻭﻜﺎﻥ ﺍﻻﻋﺘﻘﺎل ﻤﺘﻭﻗﻔﹰﺎ ﻋﻠﻰ ﺍﻝﺼﻭﺭ ﺍﻝﺘﻲ ﺃﺭﺍﺩﺍ ﺍﻝﺘﻘﺎﻁﻬﺎ.
ﺘﺘﺎﺒﻊ ﺍﻝﺸﺭﻁﺔ ،ﺍﻝﺘﻲ ﻝﻡ ﺘﻜﻥ ﻤﻌﻠﻭﻤﺎﺘﻬﺎ ﺩﻗﻴﻘﺔ ،ﻁﺭﻴﻘﻬﺎ ﺒﺎﺘﺠﺎﻩ ﺸﺨﺹ ﺁﺨﺭ ،ﻭﺘﻌﺘﻘﺩ ﺃﻨﻬﺎ ﻗﺩ ﺍﻜﺘﺸﻔﺕ ﻗﺎﺘـل
ﺍﻷﺭﺍﻤل ﺍﻝﺜﻼﺙ ،ﺃﻤﺎ ﺍﻝﺸﺎﺏ ﺍﻝﺫﻱ ﺘﺤﺭﺭ ﻤﻥ ﺍﻝﻤﺨﺒﺭﻴﻥ ﻓﻬﻭ ﻴﺭﻴﺩ ﺃﻥ ﻴﺒﻘﻰ ﻓﻲ ﺠﻭ ﻤﻥ ﺍﻝﺴﻼﻡ ﺍﻝﻌﺎﺌﻠﻲ ،ﻝﻜﻥ ﻭﺠﻭﺩ
ﺍﺒﻨﺔ ﺍﻷﺨﺕ ﻜﺎﻥ ﻴﺸﻜل ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻪ ﺘﻬﺩﻴﺩﹰﺍ ﻤﺴﺘﻤﺭﺍﹰ ،ﻓﺤﺎﻭل ﻗﺘﻠﻬﺎ ﺜﻼﺙ ﻤﺭﺍﺕ.
ﻭﺘﺄﺘﻲ ﺍﻝﻌﺩﺍﻝﺔ ﺍﻝﻤﻼﺯﻤﺔ ﻝﻸﻋﻤﺎل ﺍﻝﻤﻴﻠﻭﺩﺭﺍﻤﻴﺔ ﻤﻥ ﺨﻼل ﻗﻭﺍﻨﻴﻨﻬﺎ ﻓﻲ ﺍﻝﻠﺤﻅﺔ ﺍﻝﻤﻨﺎﺴـﺒﺔ :ﻴﺴـﻘﻁ ﺍﻝﺨـﺎل
ﺘﺸﺎﺭﻝﻲ ﻋﻠﻰ ﺴﻜﺔ ﺍﻝﻘﻁﺎﺭ ،ﻭﺘﺘﺯﻭﺝ "ﺘﻴﺭﻴﺯﺍ ﺭﺍﻴﺕ" ﻤﻥ ﻤﻔﺘﺵ ﺍﻝﻤﺒﺎﺤﺙ ﺍﻝﺸﺎﺏ ﺍﻝـﺫﻱ ﺘﻌﺭﻓـﺕ ﺇﻝﻴـﻪ ﺨـﻼل
ﺍﻝﺘﺤﺭﻴﺎﺕ.
ﻤﻥ ﺍﻝﻭﺍﻀﺢ ﺠﺩﹰﺍ ﺃﻥ ﻜﺎﺘﺏ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻝﻤﺨﺭﺝ ﻝﻡ ﺘﻜﻥ ﻝﺩﻴﻬﻤﺎ ﺍﻝﺸﺠﺎﻋﺔ ﻝﻠﺫﻫﺎﺏ ﻋﻤﻴﻘﹰﺎ ﺩﺍﺨل ﺍﻝﻤﻭﻀﻭﻉ،
ﻝﻘﺩ ﻜﺎﻨﺕ ﻫﻨﺎﻙ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻀﺭﻭﺭﻴﺔ ﻝﻠﻘﻴﺎﻡ ﺒﺩﺭﺍﺴﺔ ﻋﻤﻴﻘﺔ ﻝﻠﻌﺎﺩﺍﺕ ﻭﺍﻝﻁﺒﺎﻉ ،ﻭﻝﻭ ﺃﻥ ﺸﺨﺼﻴﺔ ﺍﻝﺨﺎل ﺘﺸـﺎﺭﻝﻲ
ﻜﺎﻨﺕ ﻗﺩ ﺼﻴﻐﺕ ﺒﺼﻭﺭﺓ ﺃﻜﺜﺭ ﻤﺘﺎﻨﺔ ﻝﺤﻭﻝﺕ ﻫﺫﻩ ﺍﻝﻠﻭﺤﺔ ﺍﻝﺠﻴﺩﺓ ﻝﻠﺤﻴﺎﺓ ﺍﻝﺭﻴﻔﻴﺔ ﺇﻝﻰ ﻋﻤل ﺴﺎﺨﺭ ﻻﻤﻊ.
ﻤﻥ ﻨﺎﺤﻴﺔ ﺃﺨﺭﻯ ﻴﻜﺸﻑ ﺍﻹﺨﺭﺍﺝ ،ﺒﻴﻥ ﺍﻝﺤﻴﻥ ﻭﺍﻵﺨﺭ ،ﻤﺎ ﻜﺎﻥ ﺒﺎﺴﺘﻁﺎﻋﺔ ﺍﻝﻔﻴﻠﻡ ﺃﻥ ﻴﺤﻘﻘﻪ ،ﻝﻭ ﺃﻨﻪ ﺍﺨﺘﺎﺭ
ﺒﺼﻭﺭﺓ ﻤﺘﺭﻭﻴﺔ ،ﺒﻴﻥ ﺍﻷﻤﻭﺭ ﺍﻝﻤﻁﺭﻭﻗﺔ ﻝﻬﺫﺍ ﺍﻝﻨﻭﻉ ،ﻭﻤﻭﻀﻭﻋﻪ ﺍﻝﺤﻘﻴﻘﻲ .ﻭﺃﻓﻜﺭ ﻓﻲ ﺘﻠﻙ ﺍﻝﻴﺩ ﺍﻝﺘﻲ ﺘﻠﻭﻱ ﻭﺭﻗﺔ
ﻜﻤﺎ ﻝﻭ ﻜﺎﻨﺕ ﺤﻨﺠﺭﺓ ﺍﻤﺭﺃﺓ؛ ﻭﻓﻲ ﺯﺍﻭﻴﺔ ﺍﻝﺩﺭﺝ ،ﺤﻴﺙ ﻴﺸﻌﺭ ﺍﻝﻘﺎﺘل ﺃﻥ ﻨﻅﺭﺓ ﺍﻝﻔﺘﺎﺓ ﺘﻠﻘﻲ ﺒﺜﻘﻠﻬﺎ ﻓﻭﻗﻪ؛ ﺃﻭ ﺍﻝﻠﻘﻁـﺔ
ﺍﻝﻘﺭﻴﺒﺔ ﺍﻷﺨﺭﻯ ﺍﻝﺘﻲ ﻨﻜﺘﺸﻑ ﻓﻴﻬﺎ ﺫﻝﻙ ﺍﻝﺘﺒﺩل ﺍﻝﻁﻔﻴﻑ ﻓﻲ ﻨﻅﺭﺓ ﺠﻭﺯﻴﻑ ﻜﻭﺘﻥ ،ﻤﺎ ﻴﻔﺼﺢ ﻋﻥ ﻓﻘـﺩﺍﻥ ﺍﻷﻤـل
ﻝﺭﺠل ﻤﺩﺍﻥ.
ﻤﺭﺓ ﺃﺨﺭﻯ ،ﻝﺩﻴﻨﺎ ﺍﻝﺒﺭﻫﺎﻥ ﻋﻠﻰ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﺘﺒﻠﻎ ،ﻭﻝﻭ ﻓﻲ ﻤﺭﺍﺕ ﻗﻠﻴﻠﺔ ،ﺴﻭﻴﺔ ﺍﻷﺩﺏ ﺍﻷﻤﺭﻴﻜـﻲ
ﺍﻝﻌﻅﻴﻡ ،ﻝﻴﺱ ﻷﻥ ﺇﻤﻜﺎﻨﺎﺕ ﺍﻝﺸﺎﺸﺔ ﻓﻲ ﺍﻝﺘﻌﺒﻴﺭ ﺃﺩﻨﻰ ﻤﻤﺎ ﻫﻲ ﻝﻠﻜﺘﺎﺏ ،ﺒل ﻷﻥ ﺍﻝﺴﻴﻨﻤﺎ ،ﺍﻝﺘﻲ ﻴﺠﺭﻱ ﺘﺤﻘﻴﻘﻬﺎ ﻋﺎﺩﺓﹰ،
ﺘﻤﻀﻲ ﻤﺘﺨﻠﻔ ﹰﺔ ﻋﻥ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﻌﺎﺩﻴﺔ ﻝﻠﻔﻥ.
)ﺍﻝﺸﺎﺸﺔ ﺍﻝﻔﺭﻨﺴﻴﺔ(1945/10/3 ،
ﻓﻴﻠﻡ ﻋﻥ ﺍﻝﺠﺎﺴﻭﺴﻴﺔ ﻻ ﻴﺒﺘﻌﺩ ﻋﻥ ﻜﻭﻨﻪ ﻓﻴﻠﻤﹰﺎ ﻋﻥ ﺍﻝﺠﺎﺴﻭﺴﻴﺔ .ﻭﻗﻭﺍﻋﺩ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻝﻴﺴﺕ ﺃﻗل ﻋﺎﻝﻤﻴﺔ ﻤـﻥ
ﺍﻷﻤﺭ ﻨﻔﺴﻪ .ﻝﻡ ﻴﺯﻋﺞ ﻜﺎﺘﺏ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ "ﺒﻴﻥ ﻫﻴﺸﺕ" ﻨﻔﺴﻪ ﻜﺜﻴﺭﹰﺍ ﻓﻲ ﻤﺭﺍﺠﻌﺔ ﺃﻭ ﺘﻁﻭﻴﺭ ﻫـﺫﻩ ﺍﻝﺘﺭﺠﻤـﺔ ﺇﻝـﻰ
"ﺍﻷﻤﺭﻴﻜﻴﺔ" ﻝـ"ﻤﺎﺭﺘﻪ ﺭﻴﺘﺸﺎﺭﺩ" :ﺍﻝﺠﺎﺴﻭﺴﺔ ﺍﻝﺠﻤﻴﻠﺔ ﺇﻴﻨﻐﺭﻴﺩ ﺒﻴﺭﻏﻤﺎﻥ ﺘﻭﺍﻓﻕ ،ﺒﺴﺒﺏ ﺤﺏ ﺍﻝﻌﻤﻴل ﺍﻝﺴﺭﻱ ﺍﻝﺠﻤﻴل
ﻻ ﻝﻠﻭﺍﺠﺏ ،ﻋﻠﻰ ﺍﻝﺯﻭﺍﺝ ﻤﻥ ﺍﻝﺨﺎﺌﻥ "ﻜﻠﻭﺩ ﺭﻴﻨﺯ" ،ﺍﻝﺫﻱ ﻴﻤﺘﻠﻙ ﺒﻌﺽ ﺍﻷﺴﺭﺍﺭ ﺍﻝﻬﺎﻤﺔ ﺤﻭل
ﻜﺎﺭﻱ ﻏﺭﺍﻨﺕ ،ﻭﺍﻤﺘﺜﺎ ﹰ
ﻜﻤﻴﺔ ﻤﻥ ﺍﻝﻴﻭﺭﺍﻨﻴﻭﻡ .ﻴﺘﺤﻘﻕ ﻏﺭﻀﻬﺎ ﻝﻜﻥ ﺯﻭﺠﻬﺎ ﻭﻭﺍﻝﺩﺘﻪ ﻴﺭﺘﺎﺒﺎﻥ ﺒﻬﺎ ﻭﻴﺸﺭﻋﺎﻥ ﺒﺘﺴﻤﻴﻤﻬﺎ ﺒﺒﻁﺀ .ﻴﺼل ﻜﺎﺭﻱ
ﻏﺭﺍﻨﺕ ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﻤﻨﺎﺴﺏ ﻭﻴﻌﻠﻡ ﺒﻤﺎ ﺤﺼل ﻭﻴﻨﻘﺫ ﺍﻝﺒﻁﻠﺔ ﻤﻥ ﻋﻭﺍﻗﺏ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻹﺸﻌﺎﻋﻲ .ﻭﻨﺭﻯ ﻫﻨﺎ ﺃﻥ ﺍﻝﻤﻭﻗﻑ
ﺍﻝﺘﻘﻠﻴﺩﻱ ﻝﻠﺠﺎﺴﻭﺴﻴﺔ ،ﺍﻝﻤﻀﺤﻴﺔ ﺒﻁﻬﺎﺭﺘﻬﺎ ﻤﻥ ﺃﺠل ﺒﻌﺽ ﺃﺴﺭﺍﺭ ﺍﻝﺩﻭﻝﺔ ،ﻗﺩ ﺘﺤﺴﻥ ﺒﺼﻭﺭﺓ ﻤﺤﺴﻭﺴﺔ.
ﻼ ﻗﺭﻴﺒﹰﺎ ﻤﻥ ﺍﻝﺘﻤﻴﺯ ،ﻭﺤﺎﻝﺕ ﺍﻻﻫﺘﻤﺎﻤﺎﺕ ﻏﻴﺭ ﺍﻝﻤﻔﻬﻭﻤـﺔ
ﻗﺩﻡ ﻝﻨﺎ ﺁﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ ﻓﻲ "ﻅل ﻤﻥ ﺍﻝﺸﻙ" ﻋﻤ ﹰ
ﻝﻠﻤﻭﺯﻋﻴﻥ ﺤﺘﻰ ﺍﻵﻥ ﺩﻭﻥ ﻤﺸﺎﻫﺩﺘﻨﺎ "ﻗﺎﺭﺏ ﺍﻝﻨﺠﺎﺓ" ،ﻭﻫﻭ ﻓﻴﻠﻡ ﺘﺩﻭﺭ ﺠﻤﻴﻊ ﺃﺤﺩﺍﺜﻪ ﻓﻲ ﻗﺎﺭﺏ ﻨﺠﺎﺓ ﻭﻴﻘﺎل ﻋﻨﻪ ﺇﻨﻪ
ﻤﻤﺘﺎﺯ .ﻝﻜﻨﻬﻤﺎ ،ﻋﻠﻰ ﻤﺎ ﻴﺒﺩﻭ ،ﺍﻝﻌﻤﻼﻥ ﺍﻝﺠﻴﺩﺍﻥ ﺍﻝﻭﺤﻴﺩﺍﻥ ﻤﻥ ﺒﻴﻥ ﻤﺎ ﺤﻘﻘﻪ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﺼﺎﺤﺏ "ﺍﻝﺩﺭﺠﺎﺕ ﺍﻝﺘﺴﻊ
ﻭﺍﻝﺜﻼﺜﻭﻥ" .ﺇﻥ ﺒﻼﻏﺔ ﻫﻴﺘﺸﻜﻭﻙ ﻫﻲ ﺍﻵﻥ ﺍﻷﻜﺜﺭ ﺒﺭﻴﻘﹰﺎ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ،ﻭﻨﻌﺭﻑ ﺍﻵﻥ ﺃﻥ ﻝﻴﺱ ﻫﻨﺎﻙ ﻤﻥ ﻴﻤﺎﺜﻠﻪ ﻓـﻲ
ﻤﻬﺎﺭﺘﻪ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﻤﺘﺤﺭﻜﺔ ،ﻭﻓﻲ ﺍﻝﺘﻌﺒﻴﺭ ﺍﻷﻜﺜﺭ ﺒﺭﺍﻋﺔ ﻋﻥ ﺍﻝﻘﻠﻕ ﻭﺍﻝﺸﻙ .ﻝﻜﻥ ،ﺇﻥ ﻜﺎﻨـﺕ ﺍﻝﻜـﺎﻤﻴﺭﺍ
ﺍﻝﺫﺍﺘﻴﺔ ﺠﻤﻴﻠﺔ ،ﻓﺈﻥ ﻋﻠﻴﻬﺎ ﺃﻴﻀﹰﺎ ﺃﻥ ﺘﻤﺘﻠﻙ ﻤﻭﻀﻭﻋﹰﺎ" .ﺍﻝﺴﻴﺊ ﺍﻝﺴﻤﻌﺔ" ،ﻭﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﺴﻴﺊ ﺍﻝﺫﻱ ﻝﻡ
ﺘﻜﻥ ﻫﻨﺎﻙ ﺃﻴﺔ ﺇﻤﻜﺎﻨﻴﺔ ﻹﻨﻘﺎﺫﻩ ،ﻫﻭ ﻤﻊ ﺫﻝﻙ ﺃﻓﻀل ﻤﻥ "ﺭﻴﺒﻴﻜﺎ".
ﻓﻲ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻷﺤﻴﺎﻥ ﻴﺼل ﺍﻹﺘﻘﺎﻥ ﻓﻲ ﺍﻝﺘﻘﻨﻴﺔ ﺇﻝﻰ ﺃﻥ ﻴﺒﺙ ﻓﻲ ﺍﻝﺸﺨﺼﻴﺎﺕ ﺤﺎﻝﺔ ﻤﺘﺄﻝﻘﺔ ﻤﻥ ﺍﻝﺤﻀﻭﺭ،
ﻭﺃﻨﺎ ﺃﻓﻜﺭ ﺒﺼﻭﺭﺓ ﺨﺎﺼﺔ ﻓﻲ ﺫﻝﻙ ﺍﻝﻤﺸﻬﺩ ﺍﻷﻭل ﺤﻴﻥ ﻴﺘﺭﻨﺢ ﺍﻝﻤﺩﻋﻭﻭﻥ ﻤﻥ ﺍﻝﺴﻜﺭ ﻭﺍﻹﺭﻫﺎﻕ ﺒﻴﻨﻤﺎ ﻜﺎﻥ ﻴﻁﻔـﻭ
ﺠ ﻭ ﺜﻘﻴل ﻭﻤﺜﻴﺭ ﻝﻠﻀﻴﻕ ﻴﻌ ﺭﻑ ﺒﺎﻝﺸﺨﺼﻴﺎﺕ ﻤﻨﺫ ﺍﻝﺒﺩﺍﻴﺔ ﺒﺸﻜل ﺠﻴﺩ ﺠﺩﹰﺍ.
ﻤﻊ ﺭﺍﺌﺤﺔ ﺍﻝﺘﺒﻎ ﻭﺍﻝﻭﻴﺴﻜﻲ
ﺇﻴﻨﻐﺭﻴﺩ ﺒﻴﺭﻏﻤﺎﻥ ﻫﻲ ﺇﻴﻨﻐﺭﻴﺩ ﺒﻴﺭﻏﻤﺎﻥ ،ﺍﻝﺘﻲ ﻴﻘﺩﺭﻫﺎ ﺍﻝﻘﺎﺭﺉ.
ﻴﺠﺏ ﺍﻝﻘﻭل ﺇﻥ ﺍﻝﻨﺠﺎﺡ ﺍﻝﻨﻘﺩﻱ ﻭﺍﻝﺠﻤﺎﻫﻴﺭﻱ ﻝـ"ﻗﻀﻴﺔ ﺒﺎﺭﺍﺩﺍﻴﻥ" ،ﻭﺍﻹﻋﺠﺎﺏ ﺒﺎﻝﻤﺄﺜﺭﺓ ﺍﻝﺘﻘﻨﻴﺔ ﻝـ "ﺍﻝﺤﺒل"،
ﻻ ﻨﻘﺩﻴﹰﺎ :ﺇﻥ ﻫﻴﺘﺸﻜﻭﻙ ﻝﻡ ﻴﻘﺩﻡ ﺸـﻴﺌﹰﺎ ﺃﺴﺎﺴـﻴﹰﺎ ﺇﻝـﻰ ﺍﻹﺨـﺭﺍﺝ
ﻗﺩ ﺍﺴﺘﻁﺎﻋﺎ ﺍﻝﺘﺄﻜﻴﺩ ﻋﻠﻰ ﻤﺎ ﻴﺒﺩﻭ ﻝﻲ ﺍﻵﻥ ﺍﺤﺘﻴﺎ ﹰ
ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻤﻨﺫ ﻋﺎﻡ ،1941ﻭﺇﻥ ﺇﻴﺭﺍﺩ ﺍﺴﻤﻪ )ﻭﻫﻭ ﻤﺎ ﻜﻨﺕ ﻤﺨﻁﺌﹰﺎ ﻓﻴﻪ ﺴﺎﺒﻘﹰﺎ( ﺇﻝﻰ ﺠﺎﻨﺏ ﺃﻭﺭﺴﻭﻥ ﻭﻴﻠﺯ ﺃﻭ ﻭﺍﻴﻠﺭ
ﻜﻭﺍﺤﺩ ﻤﻥ ﺍﻝﺭﻭﺍﺩ ﺍﻝﺭﺌﻴﺴﻴﻴﻥ ﻝﻠﻁﻠﻴﻌﺔ ﺍﻝﻬﻭﻝﻴﻭﻭﺩﻴﺔ ،ﻨﺎﺘﺞ ﻋﻥ ﻭﻫﻡ ﺃﻭ ﻋﻥ ﺨﻁﺄ ﺃﻭ ﻋﻥ ﺘﻌﺴﻑ ﻓﻲ ﺍﻝﺜﻘﺔ.
ﺒﺎﻝﺘﺄﻜﻴﺩ ،ﻴﺠﺏ ﺃﻥ ﻨﺤﺘﻔﻅ ﺒﺎﻝﺘﺭﺍﺘﺒﻴﺔ .ﻓﻬﻴﺘﺸﻜﻭﻙ ﻤﺎ ﻴﺯﺍل ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺍﻝﻤﺨﺭﺠﻴﻥ ﺍﻷﻜﺜﺭ ﺒﺭﺍﻋﺔ ﻓﻲ ﺍﻝﻌـﺎﻝﻡ،
ﺃﺤﺩ ﺜﻼﺜﺔ ﺃﻭ ﺃﺭﺒﻌﺔ ﻫﻡ ﺍﻷﻓﻀل ﻤﻌﺭﻓﺔ ﺒﻤﻬﻨﺘﻬﻡ .ﻴﺤﺩﺜﻨﺎ J.Quevalﻋﻥ ﺃﻓﻼﻤﻪ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ﺍﻝﺘﻲ ﺘﺘﺼﻑ ﻝـﻴﺱ
ﻓﻘﻁ ﺒﺎﻝﺠﺩﺍﺭﺓ ﺍﻝﺘﻘﻨﻴﺔ ﺍﻻﺴﺘﺜﻨﺎﺌﻴﺔ ،ﺒل ﻭﺃﻴﻀﹰﺎ ﺒﺎﻝﺫﻜﺎﺀ ﻭﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻝﻔﻜﺎﻫﺔ ،ﻤﻤﺎ ﻴﺠﻌل ﻤﻨﻪ ﺭﺍﺌﺩﹰﺍ ﻝﻨﻬﻀﺔ ﺍﻝﺴـﻴﻨﻤﺎ
ﻼ ﻋﻥ ﺍﻻﺒﺘﻜﺎﺭ ﺍﻝﻭﺍﻀﺢ ،ﺒﺎﻝﺠﺩﺓ ﻭﺍﻷﺼﺎﻝﺔ ﻓـﻲ
ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ﺍﻝﺤﺎﻝﻴﺔ .ﻭﻻ ﺸﻙ ﻓﻲ ﺃﻥ "ﻅل ﻤﻥ ﺍﻝﺸﻙ" ﻴﺘﻤﺘﻊ ،ﻓﻀ ﹰ
ﻜل ﺸﻲﺀ ،ﺒﻤﺎ ﻓﻲ ﺫﻝﻙ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ،ﻭﺜﻤﺔ ﺒﻌﺽ ﺍﻷﺼﺩﺍﺀ ﺍﻝﻐﺭﻴﺒﺔ ﻝﻔﻭﻝﻜﻨﺭ ﻭﺩﻭﺴﺘﻭﻴﻔﺴﻜﻲ .ﻭﺃﺼل ﺤﺘﻰ ﺇﻝﻰ ﺍﻝﻘﻭل
ﺇﻥ "ﺍﻝﺴﻴﺊ ﺍﻝﺴﻤﻌﺔ" ،ﺍﻝﻔﻴﻠﻡ ﺍﻝﺫﻱ ﻝﻡ ﻴﻜﻥ ﻤﻔﻬﻭﻤﹰﺎ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ ﻤﺜل "ﺠﻴﻠﺩﺍ" ،ﻴﻤﺘﻠﻙ ﻤﺫﺍﻗﹰﺎ ﺨﺎﺼﹰﺎ ﻭﺭﺍﺀ ﻤﺎ ﻗﺩ ﻴﺒﺩﻭ
ﺕ ﺍﻝﻴﻭﻡ ﻋﻠﻰ ﺍﺴﺘﻌﺩﺍﺩ ﻝﻤﻬﺎﺠﻤﺔ ﻤﺨـﺭﺝ
ﻤﻥ ﻤﻅﺎﻫﺭ ﻻﻓﺘﺔ ﻷﺴﻭﺃ ﻤﺎ ﻓﻲ ﺍﻷﻋﻤﺎل ﺍﻝﺘﻘﻠﻴﺩﻴﺔ .ﻭﺒﺘﺩﻗﻴﻕ ﺃﻜﺒﺭ :ﺇﺫﺍ ﻜﻨ ﹸ
ﻴﻌﺘﺒﺭﻩ ﺒﻌﺽ ﺃﺼﺩﻗﺎﺌﻲ ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺃﻋﻤﺩﺓ "ﺍﻝﻁﻠﻴﻌﺔ" ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﻤﻌﺎﺼﺭﺓ ،ﻓﻠﻴﺱ ﻤﻌﻨﻰ ﻫﺫﺍ ﺃﻥ ﻨﺸﻜﻙ ﺒﻬﺫﺍ ﺍﻝﺭﺃﻱ
ﺍﻝﺫﻱ ﻻ ﺨﻼﻑ ﻋﻠﻴﻪ .ﻓﻠﻴﺤﻴﺎ ﻫﻴﺘﺸﻜﻭﻙ ،ﻭﻝﻭ ﺃﻥ ﻫﺫﺍ ﻴﺯﻋﺞ ﺃﻜﺜﺭﻴﺔ ﻤﻨﺘﻘﺩﻴﻪ! ﻝﻜﻥ ﻝﻨﻘﻠﻬﺎ ﺒﻭﻀﻭﺡ :ﻝﻘـﺩ ﺨﹶـﺩﻋﻨﺎ،
ﻻ ﻤﻥ ﺃﻥ ﻨﺘﺭﻙ ﺍﻷﻤﺭ ﻓﻲ ﺨﺩﻤﺔ ﺍﻝﺠﺭﺃﺓ ﺍﻝﺯﺍﺌﻔﺔ ﻭﺍﻝﻁﻠﻴﻌﻴﺔ ﺍﻝﺘﻘﻠﻴﺩﻴﺔ .ﻭﻤﻊ ﺫﻝـﻙ،
ﻝﺩﻴﻨﺎ ﺍﻝﺸﺠﺎﻋﺔ ﻷﻥ ﻨﻘﻭل ﺫﻝﻙ ﺒﺩ ﹰ
ﻨﺄﻤل ،ﻭﺒﻌﺩ ﻋﺸﺭ ﺴﻨﻭﺍﺕ ﻤﻥ ﺍﻷﺨﻁﺎﺀ ،ﺃﻥ ﻴﻌﻭﺩ ﻫﻴﺘﺸﻜﻭﻙ ﺫﺍﺕ ﻴﻭﻡ ﺇﻝﻰ ﺤﻅﻴﺭﺘﻨﺎ .ﻭﺃﺴﻭﺃ ﻤﺎ ﻓﻲ ﺍﻷﻤـﺭ ﺃﻨـﻪ
ﻗﺎﺩﺭ ﻋﻠﻰ ﺫﻝﻙ.
ﻫﺫﺍ ﻤﺎ ﺃﺭﺍﻩ :ﻝﻨﺘﺭﻙ ﺠﺎﻨﺒﹰﺎ "ﺍﻝﻤﺴﺤﻭﺭ" ﻭﺃﻓﻼﻤﹰﺎ ﺃﺨﺭﻯ ﻤﻥ ﻁﺭﺍﺯ "ﺘﺨﺭﻴﺏ" .ﻝﻨﺄﺨﺫ ﺃﻓﻀل ﺜﻼﺜﺔ ﺃﻓﻼﻡ ﻝﻪ ﻤﻨﺫ
"ﻅل ﻤﻥ ﺍﻝﺸﻙ" ،ﺃﻱ "ﻗﺎﺭﺏ ﺍﻝﻨﺠﺎﺓ" )ﻝﻡ ﻴﻌﺭﺽ ﺒﻌﺩ ﻓﻲ ﻓﺭﻨﺴﺎ( ،ﻭ"ﻗﻀﻴﺔ ﺒﺎﺭﺍﺩﺍﻴﻥ" ﻭ"ﺍﻝﺤﺒـل" .ﺍﻷﻭل )ﺍﻝـﺫﻱ
ﺸﺎﻫﺩﺘﻪ ﻓﻲ ﺴﻭﻴﺴﺭﺍ( ﻫﻭ ﺍﻷﻓﻀل ،ﻭﺇﺫﺍ ﻜﺎﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻤﺒﺘﻜﺭﹰﺍ ﻭﻤﺅﺜﺭﹰﺍ )ﺘﺩﻭﺭ ﺠﻤﻴﻊ ﻭﻗﺎﺌﻊ ﺍﻝﻔﻴﻠﻡ ﻓـﻲ ﻗـﺎﺭﺏ
ﻨﺠﺎﺓ( ،ﻓﺈﻥ ﺠﺭﺃﺘﻪ ،ﻓﻲ ﺠﺎﻨﺏ ﻜﺒﻴﺭ ﻤﻨﻬﺎ ،ﺸﻜﻠﻴﺔ .ﻤﻥ ﺍﻝﻤﺅﻜﺩ ﺃﻥ ﻫﺫﻩ ﺍﻝﻭﺤﺩﺓ ﻓﻲ ﺍﻝﻤﻜﺎﻥ ﺘﺯﻴﺩ ﻤﻥ ﺤﺩﺓ ﺍﻝﺘـﻭﺘﺭ،
ﻝﻜﻥ ﻜﺎﻥ ﻋﻠﻴﻪ ﺃﻴﻀﹰﺎ ﺃﻥ ﻴﻜﻭﻥ ﺒﺎﺭﻋﺎﹰ ﺠﺩﹰﺍ ﻓﻲ ﺤل ﺍﻝﻤﺴﺎﺌل ﺍﻹﺨﺭﺍﺠﻴﺔ ﺍﻝﺘﻲ ﺘﻨﺸﺄ ﻋﻥ ﺤﺎﻝﺔ ﻜﻬﺫﻩ .ﻜﺎﻥ ﻫﻴﺘﺸﻜﻭﻙ
ﺒﺎﺭﻋﹰﺎ ﻝﻜﻥ ﺩﻭﻥ ﺃﻥ ﻴﺴﺘﺨﺩﻡ ،ﻭﻻ ﻓﻲ ﺃﻴﺔ ﻝﺤﻅﺔ ،ﺃﺩﺍﺓ ﻏﻴﺭ ﺍﻷﺴﻠﻭﺏ ﺍﻝﺘﻘﻠﻴﺩﻱ ﻓﻲ ﺘﻠﻙ ﺍﻷﻤﺘﺎﺭ ﺍﻝﻤﺭﺒﻌﺔ ﺍﻝﻘﻠﻴﻠـﺔ.
ﻓﻲ"ﻗﻀﻴﺔ ﺒﺎﺭﺍﺩﺍﻴﻥ"ﻝﻡ ﻴﺴﺘﻁﻊ ﺇﺯﺍﻝﺔ ﺍﻝﺸﻜﻭﻙ ﺤﻭل ﻤﺩﻯ ﺍﻻﺒﺘﻜﺎﺭ ﻝﺩﻴﻪ ﻓﻲ ﺍﻝﻠﻐﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ .ﻤﻥ ﺍﻝﺼﻌﺏ ﺃﻥ ﻨﺠﺩ
ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻝﻘﻁﺘﻴﻥ ﻻ ﺘﺘﺼﻔﺎﻥ ﺒﺎﻝﻤﻔﻬﻭﻡ ﺍﻝﺘﻘﻠﻴﺩﻱ ،ﻭﺃﺘﺤﺩﺙ ﻋﻥ ﻝﻘﻁﺘﻴﻥ ﺍﺜﻨﺘﻴﻥ ﻷﻥ ﻫﻨﺎﻙ ﻭﺍﺤﺩﺓ ﻤـﺅﺜﺭﺓ ﺩﻭﻥ
ﺃﺩﻨﻰ ﺸﻙ ،ﻫﻲ ﺘﻠﻙ ﺍﻝﻠﻘﻁﺔ ﺍﻝﺒﺎﻨﻭﺭﺍﻤﻴﺔ ﻝـ "ﻝﻭﻴﺱ ﺠﻭﺭﺩﺍﻥ" ﺤﻭل ﻗﻔﺹ ﺍﻝﻤﺘﻬﻤﺔ "ﺁﻝﻴﺩﺍ ﻓﺎﻝﻲ" ،ﻝﻜﻥ ﻝﻘﻁﺔ ﻭﺍﺤـﺩﺓ
ﻫﻲ ﺸﻲﺀ ﻗﻠﻴل ﻓﻲ ﻓﻴﻠﻡ ﻴﻘﺩﻡ ﻋﻠﻰ ﺃﻨﻪ ﺘﺤﻔﺔ ﺇﺨﺭﺍﺠﻴﺔ .ﺃﻤﺎ ﺴﺭ"ﻗﻀﻴﺔ ﺒﺎﺭﺍﺩﺍﻴﻥ" ﻓﻴﻜﻤﻥ ﻓـﻲ ﺒﺭﺍﻋـﺔ ﻫﻴﺘﺸـﻜﻭﻙ
ﺒﺎﺴﺘﺨﺩﺍﻡ ﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﺎﺘﺠﺎﻩ ﺸﺨﺼﻴﺎﺘﻪ .ﺇﻥ ﺍﻻﻨﻁﺒﺎﻉ ﺍﻝﺸﻬﻴﺭ ﺤﻭل ﻜﻭﻨﻪ ﺨﺒﻴﺭﹰﺍ ﻓﻲ ﺼﻨﻊ ﺍﻝﺘـﻭﺘﺭ ،ﻴﻌـﻭﺩ،
ﺒﺼﻭﺭﺓ ﺨﺎﺼﺔ ،ﺇﻝﻰ ﻁﺒﻴﻌﺔ ﺴﺭﻋﺘﻪ ﻭﺇﻝﻰ ﻝﻘﻁﺎﺕ ﺍﻝﺒﺩﺍﻴﺔ ﻭﺍﻝﻨﻬﺎﻴﺔ.
ﻨﺼل ﺃﺨﻴﺭﹰﺍ ﺇﻝﻰ "ﺍﻝﺤﺒل" ﺍﻝﺫﻱ ﹸﻗﺩﻡ ﺇﻝﻴﻨﺎ ﻋﻠﻰ ﺃﻨﻪ ﺫﺭﻭﺓ ﺍﻝﺜﻭﺭﺓ ﻓﻲ ﺍﻹﺨﺭﺍﺝ ﻷﻥ ﺍﻝﻤﺨﺭﺝ ﺼـ ﻭﺭﻩ ﻓﻘـﻁ
ﺒﻌﺸﺭ ﻝﻘﻁﺎﺕ :ﻝﻘﻁﺔ ﻤﻥ ﻋﺸﺭ ﺩﻗﺎﺌﻕ ﻓﻲ ﻜل ﻤﻥ ﺍﻝﺒﻜﺭﺍﺕ ﺍﻝﻌﺸﺭ) .(1ﻤﺎ ﻫﻲ ﺍﻝﻨﺘﻴﺠﺔ؟ ﺇﻨﻬﺎ ﻤﻤﺘﻌﺔ ﻁﺒﻌﺎﹰ ،ﻭﺃﻗـل
ﻤﺩﻋﺎﺓ ﻝﻠﻤﻠل ﻤﻥ "ﺴﻴﺩﺓ ﻓﻲ ﺍﻝﺒﺤﻴﺭﺓ" ،ﺍﻝﻌﻤل ﺠﻴﺩ ،ﻭﻤﻭﻀﻭﻋﻪ ﻴﺒﺭﺯ ﺍﻝﺼﻌﻭﺒﺔ ﺍﻻﺴﺘﺜﻨﺎﺌﻴﺔ ﻓـﻲ ﺘﺤﻘﻴـﻕ ﺘﺘـﺎﺒﻊ
ﺍﻝﻠﻘﻁﺎﺕ .ﻓﻤﺸﻬﺩ ﺍﻝﺸﺒﺎﻥ ﺍﻝﻘﺘﻠﺔ ﺍﻝﺫﻴﻥ ﻴﻨﻅﻤﻭﻥ ﺤﻔﻠﺔ ﻷﺼﺩﻗﺎﺀ ﻭﻷﺒ ﻭﻱ ﻀﺤﻴﺘﻬﻡ ،ﺒﻴﻨﻤﺎ ﺍﻝﺠﺜـﺔ ﻤﻭﻀـﻭﻋﺔ ﻓـﻲ
ﺼﻨﺩﻭﻕ ﻤﻐﻠﻕ ﻴﺤﻭﻱ ﺍﻝﻤﺸﺭﻭﺒﺎﺕ ﻭﺍﻝﺸﻁﺎﺌﺭ ،ﺠﺭﻯ ﺘﺼﻭﻴﺭﻩ ﺒﻁﺭﻴﻘﺔ ﻤﻜﺜﻔﺔ ﻭﺼﺎﺭﻤﺔ ﺘﺨﻠﻕ ﺘﻭﺘﺭﹰﺍ ﻻ ﻴﻌـﺭﻑ
ﺍﻻﻨﻘﻁﺎﻉ ،ﻝﻜﻥ ﺍﻝﺘﻘﻁﻴﻊ ﺍﻝﻔﻨﻲ ﻝﺩﻯ ﻫﻴﺘﺸﻜﻭﻙ ﻴﺒﻘﻰ ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ﺘﻘﻁﻴﻌﹰﺎ ﺘﻘﻠﻴﺩﻴﺎﹰ ،ﻭﻝﻭ ﺃﻨﻪ ﻴﻔﺎﺠﺌﻨﺎ ﺩﺍﺌﻤﹰﺎ ﺒﻘﺩﺭﺍﺘـﻪ،
ﻓﺒﻌﺩ ﺃﻥ ﺘﻐﱠﻠﺏ ﻋﻠﻰ ﻜﻡ ﻫﺎﺌل ﻤﻥ ﺍﻝﺼﻌﻭﺒﺎﺕ ،ﻫﺎ ﻫﻭ ﻴﺴﺘﺨﺩﻡ ﺘﺒﺎﺩل ﺘﺭﻜﻴﺯ ﺍﻝﻭﻀﻭﺡ ﻓﻲ ﺍﻝﻠﻘﻁﺔ ﻨﻔﺴﻬﺎ ﻤﺎ ﺒـﻴﻥ
ﻻ ﻤﻥ ﺍﻝﻌﻤل ﺒﻁﺭﻴﻘﺔ ﺍﻝﻠﻘﻁﺎﺕ ﺍﻝﻤﻨﻔﺼﻠﺔ ﺍﻝﻤﺘﻌﺩﺩﺓ.
ﺍﻝﺒﻌﺩ ﺍﻷﻭل ﻭﺍﻝﺒﻌﺩ ﺍﻝﺜﺎﻨﻲ ،ﺒﺩ ﹰ
ﻭﻫﺫﺍ ﺍﻷﺴﻠﻭﺏ ﺍﻹﺨﺭﺍﺠﻲ ﺍﻝﺫﻱ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻴﻪ ﺒﺎﺴﺘﻤﺭﺍﺭ ﻴﺨﺘﻠﻑ ﻜﻠﻴﹰﺎ ﻋﻥ "ﺍﻝﻠﻘﻁﺔ ﺍﻝﺜﺎﺒﺘﺔ" ﻝـ"ﻭﺍﻴﻠﺭ"،
ﺃﻭ ﻝـ "ﻭﻴﻠﺯ" ﺍﻝﺫﻱ ﺍﺴﺘﻁﺎﻉ ﺃﻥ ﻴﺠﻤﻊ ﻓﻲ ﻝﻘﻁﺔ ﻭﺍﺤﺩﺓ ﻝﺤﻅﺎﺕ ﻤﺘﻌﺩﺩﺓ ،ﻤـﻥ ﺨـﻼل ﺍﻝﻤﻭﻨﺘـﺎﺝ ﺍﻻﻓﺘﺭﺍﻀـﻲ
)ﺍﻝﺩﺍﺨﻠﻲ(.
ﺍﻨﺘﻘل ﻫﻴﺘﺸﻜﻭﻙ ،ﻓﻲ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﺒﺩﺃﻫﺎ ﺍﻝﻴﻭﻡ ،ﺇﻝﻰ ﺇﻋﻁﺎﺀ ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﺘﻘﻠﻴﺩﻱ ﻁﺎﺒﻌ ﹶﺎ ﻏﻴﺭ ﻤﺄﻝﻭﻑ ،ﻭﻗﺩﺭﺓ
ﻋﻠﻰ ﺨﻠﻕ ﺘﺄﺜﻴﺭﺍﺕ ﻨﺎﺩﺭﺓ .ﺇﻨﻪ ﺴﻴﺩ ﺍﻝﺘﺭﻗﺏ.
ﻴﺒﺩﻭ ﺃﻥ ﺍﻝﺘﻭﺯﻴﻊ ﺍﻝﺘﺠﺎﺭﻱ ﺃﺨﺫ ﻴﺘﺒﻊ ﻴﻭﻤﹰﺎ ﺒﻌﺩ ﻴﻭﻡ ﺃﺴﻠﻭﺏ ﺍﻷﻨﺩﻴﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ،ﻓﻲ ﺇﻋﺎﺩﺓ ﻋـﺭﺽ ﺍﻷﻓـﻼﻡ
ﺍﻝﻘﺩﻴﻤﺔ ﺍﻝﺘﻲ ﺘﺴﺘﺤﻕ ﺫﻝﻙ .ﻭﺒﺎﻝﻔﻌل ،ﻝﻤﺎﺫﺍ ﻻ ﺘﻠﺠﺄ ﺍﻝﺴﻴﻨﻤﺎ ﺇﻝﻰ ﺍﻝـ"ﺭﻴﺒﻴﺭﺘﻭﺍﺭ" ،ﻤﺜﻠﻤﺎ ﻴﻔﻌل ﺍﻝﻤﺴﺭﺡ.
ﻭﻫﻜﺫﺍ ﻨﺴﺘﻁﻴﻊ ﺃﻥ ﻨﻬﻨﺊ ﺃﻨﻔﺴﻨﺎ ﺒﺈﻋﺎﺩﺓ ﻋﺭﺽ "ﺍﻝﺩﺭﺠﺎﺕ ﺍﻝﺘﺴﻊ ﻭﺍﻝﺜﻼﺜﻭﻥ" ﻵﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ ،ﻫﺫﺍ ﺍﻝﻔـﻴﻠﻡ
ﻼ ﻋﻥ ﻜﻭﻨـﻪ ﻗـﺩ
ﺍﻝﺫﻱ ﺠﺭﻯ ﺘﺤﻘﻴﻘﻪ ﻋﺎﻡ 1935ﻤﻥ ﻗﺒل ﻤﺨﺭﺝ "ﻗﻀﻴﺔ ﺒﺎﺭﺍﺩﺍﻴﻥ" ﻭ"ﺍﻝﺤﺒل" ،ﻭﺍﻝﺫﻱ ﻫﻭ ،ﻓﻀ ﹰ
ﺃﻭﺼل ﻤﺨﺭﺠﻪ ﺇﻝﻰ ﺍﻝﺸﻬﺭﺓ ﺍﻝﻌﺎﻝﻤﻴﺔ ،ﻋﻤﻠﻪ ﺍﻷﻜﺜﺭ ﺃﻫﻤﻴﺔ ،ﻭﺍﻝﻤﺜﺎل ﺍﻝﺒﺎﺭﺯ ﻝﻠﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﺒﻭﻝﻴﺴﻴﺔ.
ﻭﻤﺜﻠﻤﺎ ﻫﻭ ﺍﻷﻤﺭ ﻓﻲ ﺭﻭﺍﻴﺔ ﻏﺭﺍﻫﺎﻡ ﻏﺭﻴﻥ :ﺸﺨﺼﻴﺔ ﺒﺭﻴﺌﺔ ﺘﺠﺩ ﻨﻔﺴﻬﺎ ﻤﺘﻭﺭﻁﺔ ،ﺒﺎﻝﺭﻏﻡ ﻤﻨﻬﺎ ،ﻓﻲ ﺸـﺄﻥ
ﺠﺎﺴﻭﺴﻲ ﻤﺭﻋﺏ ﻻ ﺘﻌﺭﻑ ﺘﻔﺎﺼﻴﻠﻪ ،ﻝﻜﻥ ،ﻭﻤﻊ ﺫﻝﻙ ،ﻻ ﺒﺩ ﻤﻥ ﺤﻠﻪ ﻤﻬﻤﺎ ﻜﻠﻑ ﺍﻷﻤﺭ .ﻗﺩﺭ ﺴﺎﺨﺭ ﻴﺴﻤﺢ ﻝﻬـﺫﺍ
ﺍﻹﻨﺴﺎﻥ ﺒﺄﻥ ﻴﻨﺠﻭ ﻤﻥ ﻫﺫﻩ ﺍﻝﻤﺸﻜﻠﺔ ،ﻝﻜﻥ ﻝﻴﻘﻊ ﻤﻥ ﺠﺩﻴﺩ ،ﻭﺒﺼﻭﺭﺓ ﺩﺍﻫﻤﺔ ،ﻓﻲ ﻤﺸﻜﻠﺔ ﺃﻜﺜـﺭ ﺨﻁـﻭﺭﺓ .ﻫـﺫﻩ
) (1ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ،ﺼﻭﺭ ﻫﻴﺘﺸﻜﻭﻙ ﺍﻝﻔﻴﻠﻡ ﺒﻠﻘﻁﺔ ﻭﺍﺤﺩﺓ ،ﻭﺍﻻﻨﺘﻘﺎل ﺍﻝﺫﻱ ﻴﺘﻡ ﻤﻥ ﺒﻜﺭﺓ ﺇﻝﻰ ﺍﻝﺘﻲ ﺘﻠﻴﻬﺎ ،ﻭﻫﻭ ﻤﺎ ﻓﺭﻀـﺘﻪ ﺍﻝﻀـﺭﻭﺭﺓ
ﺍﻝﺘﻘﻨﻴﺔ ،ﻜﺎﻥ ﻏﻴﺭ ﻤﺤﺴﻭﺱ.
ﻋ ﺩ ﻋﻨﻪ ﺍﻝﻔـﻴﻠﻡ.
ﺍﻝﺤﻜﺎﻴﺔ ﺭﻭﺍﻫﺎ ﺍﻝﻔﻴﻠﻡ ﺒﺭﻭﺡ ﻤﻥ ﺍﻝﻔﻜﺎﻫﺔ ،ﻝﻡ ﺘﻜﻥ ﻭﺍﻀﺤﺔ ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﺍﻷﺼل ﺍﻝﺫﻱ ُﺃ
ﻭﻨﺩﺭﻙ ،ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻤﺘﻌﺔ ،ﻤﻊ ﻤﺸﺎﻫﺩ ﻤﻌﻴﻨﺔ ﺘﺘﻤﻴﺯ ﺒﺎﻝﺠﺭﺃﺓ ﻭﺍﻝﻔﻁﻨﺔ ،ﻜﻴﻑ ﺘﺤﻭﻝﺕ ﺍﻝﺴﻴﻨﻤﺎ ،ﻤﻨﺫ ﻨﺤـﻭ ﺨﻤـﺱ
ﻋﺸﺭﺓ ﺴﻨﺔ ،ﺇﻝﻰ ﺴﻴﻨﻤﺎ ﻝﻬﺎ ﺘﻘﺎﻝﻴﺩﻫﺎ .ﺇﻴﻘﺎﻉ ﺭﺍﺌﻊ ﺩﻭﻥ ﺃﻴﺔ ﻝﺤﻅﺎﺕ ﻀﻌﻑ ﺃﻤﺴﻙ ﺒﺎﻝﻔﻴﻠﻡ ﻤﻨﺫ ﺍﻝﺒﺩﺍﻴﺔ ﻭﺤﺘﻰ ﺍﻝﻨﻬﺎﻴﺔ.
ﺭﺒﻤﺎ ﻴﻜﻭﻥ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺘﻘﻨﻲ ﻭﻜﺫﻝﻙ ﺍﻝﺘﻤﺜﻴل ﻗﺩ ﺘﺠﺎﻭﺯﻫﻤﺎ ﺍﻝﺯﻤﻥ ﻗﻠﻴﻼﹰ ،ﻝﻜﻥ ﺍﻝﺴﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ ﻨﻔﺴﻪ ﻝﻥ ﻴﺴﺘﻁﻴﻊ ﺃﻥ
ﻴﺤﻘﻕ ﺃﻓﻼﻤﹰﺎ ﻜﻬﺫﺍ ﺍﻝﻔﻴﻠﻡ ،ﻭﻋﻠﻴﻨﺎ ﺃﻥ ﻨﺘﻌﻭﺩ ﻨﺴﻴﺎﻥ ﺍﻝﺘﺴﻠﺴل ﺍﻝﺯﻤﻨﻲ ﻝﺒﻌﺽ ﺍﻷﻓﻼﻡ ،ﻋﻠﻴﻨﺎ ﺃﻥ ﻻ ﻨﻔﻜﺭ ﺒﻬﺫﺍ ﺍﻷﻤﺭ.
) (1951/6/17
ﻻ ﻴﺸﻙ ﺃﺤﺩ ﻓﻲ ﺃﻥ ﺁﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ ﻫﻭ ﺍﻝﺭﺠل ﺍﻷﻜﺜﺭ ﺒﺭﺍﻋﺔ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ ،ﻜل ﻓﻴﻠﻡ ﻤﻥ ﺃﻓﻼﻤﻪ
ﻫﻭ ﺭﺤﻠﺔ ﻤﺩﻫﺸﺔ ﺇﻝﻰ ﺃﻋﻤﺎﻕ ﺍﻝﺘﻘﻨﻴﺔ ،ﻝﻜﻨﻬﺎ ﻨﻔﺱ ﺩﻫﺸﺘﻨﺎ ﻤﻊ ﺍﻷﻝﻌﺎﺏ ﺍﻝﻨﺎﺭﻴﺔ ،ﺤﻴﻥ ﻨﺘﻔﺭﺝ ﻭﻨﺤﻥ ﻨﺘﺭﻗﺏ ﻤﻌﺭﻓﺔ
ﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﻫﻨﺎﻙ ﺍﻝﻤﺯﻴﺩ.
ﻋﻨﺩﻤﺎ ﺘﺭﻙ ﻫﻴﺘﺸﻜﻭﻙ ﺍﻻﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ﻝﻴﺫﻫﺏ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ﻋﺎﻡ ،1939ﻜﺎﻥ ﻗﺩ ﻗﺩﻡ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ
ﺍﻝﺒﺭﻴﻁﺎﻨﻴﺔ ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﻘﻠﻴﻠﺔ ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﻭﺼﻔﻬﺎ ﺒﺄﻨﻬﺎ ﻋﻠﻰ ﺠﺎﻨﺏ ﻜﺒﻴﺭ ﻤﻥ ﺍﻷﻫﻤﻴﺔ :ﺍﻝـﺩﺭﺠﺎﺕ ﺍﻝﺘﺴـﻊ
ﻭﺍﻝﺜﻼﺜﻭﻥ ،ﺍﻝﺫﻱ ﺃﺘﻴﺤﺕ ﻝﻨﺎ ﻤﺸﺎﻫﺩﺘﻪ ﻤﺅﺨﺭﹰﺍ .ﻤﻨﺫ ﻋﺎﻡ 1935ﻭﺤﺘﻰ ﺍﻵﻥ ﻤﺎ ﻴﺯﺍل ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻤﺤﺎﻓﻅـﹰﺎ ﻋﻠـﻰ
ﺠﺩﺘﻪ ،ﺒﺎﺴﺘﺜﻨﺎﺀ ،ﺭﺒﻤﺎ ،ﺒﻌﺽ ﺍﻝﺘﻔﺎﺼﻴل ﺍﻝﺘﻘﻨﻴﺔ ﺍﻝﺜﺎﻨﻭﻴﺔ .ﺇﻻ ﺃﻥ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺘﻘﻨﻲ ﻝﻠﻔﻴﻠﻡ ﻴﺤﺘل ﺃﻫﻤﻴﺔ ﻗﻠﻴﻠـﺔ ،ﻓﻬـﻭ
ﺒﺸﻜل ﺠﻭﻫﺭﻱ ﻓﻴﻠﻡ ﺴﻴﻨﺎﺭﻴﻭ )ﻭﺃﻱ ﺴﻴﻨﺎﺭﻴﻭ!( ﻭﺇﺩﺍﺭﺓ ﻤﻤﺜﻠﻴﻥ .ﻜﺎﻥ ﻫﻴﺘﺸﻜﻭﻙ ﻝﺩﻯ ﻭﺼﻭﻝﻪ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ ﻤﺼ ﱠﻨﻔﺎﹰ،
ﺒﺎﻝﺘﺄﻜﻴﺩ ،ﻜﺎﺨﺘﺼﺎﺼﻲ ﻓﻲ ﺍﻷﻓﻼﻡ ﺍﻝﺒﻭﻝﻴﺴﻴﺔ ﺫﺍﺕ ﺍﻷﺠﻭﺍﺀ ﺍﻝﻨﻔﺴﻴﺔ ،ﻝﻜﻥ ﻝـﻴﺱ ﻜﺄﺤـﺩ ﺍﻝﺒـﺎﺭﻋﻴﻥ ﻓـﻲ ﻤﺠـﺎل
ﻻ ﺃﻨﻪ ﻤـﻥ ﻨﺎﺤﻴـﺔ
ﺍﺴﺘﺨﺩﺍﻤﺎﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ .ﻭﻤﺎ ﺤﺩﺙ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ ،ﻫﻭ ﺃﻨﻪ ﺃﻜﺩ ﺴﻤﻌﺘﻪ ﻓﻴﻤﺎ ﻴﺘﺼل ﺒﺎﻝﻤﻭﺍﻀﻴﻊ ،ﺇ ﹼ
ﺃﺨﺭﻯ ،ﺃﻅﻬﺭ ﺒﺴﺭﻋﺔ ،ﻤﺭﺓ ﺒﻌﺩ ﺃﺨﺭﻯ ،ﻭﻝﻌﻪ ﺒﺎﺴﺘﻨﺒﺎﻁ ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺘﻘﻨﻴﺔ ﻭﺍﻹﻨﺠﺎﺯﺍﺕ ﺍﻹﺨﺭﺍﺠﻴﺔ ،ﻝﻴﺱ ﺒﺎﻝﻤﻔﻬﻭﻡ
ﺍﻻﺴﺘﻌﺭﺍﻀﻲ ،ﺒل ﺒﺎﻝﻤﻌﻨﻰ ﺍﻷﻜﺜﺭ ﻋﻤﻘﹰﺎ ﻭﺫﻜﺎﺀ ﻝﻠﺘﻌﺒﻴﺭ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ .ﺒﻌﺩ "ﻅل ﻤﻥ ﺍﻝﺸـﻙ" ﻭ"ﺘﺨﺭﻴـﺏ" ﻭ"ﺍﻝﺴـﻴﺊ
ﺍﻝﺴﻤﻌﺔ" ﻭ"ﻗﺎﺭﺏ ﺍﻝﻨﺠﺎﺓ" ﺃﺼﺒﺢ ﻫﻴﺘﺸﻜﻭﻙ ،ﺩﻭﻥ ﺸﻙ" ،ﺴﻴﺴﻴل ﺏ .ﺩﻱ ﻤﻴل" ﺍﻝﻤﻭﻨﺘﺎﺝ .ﺘﺤﻔﺘﺎﻥ ﻓﺭﻴـﺩﺘﺎﻥ ﻓـﻲ
ﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎ ،ﻋﻠﻰ ﺤﺩﻭﺩ ﺍﻝﻤﺴﺘﺤﻴل ،ﺇﻥ ﻝﻡ ﻴﻜﻥ ﻏﻴﺭ ﺍﻝﻤﻌﻘﻭل ،ﺘﻤﺜﻼﻥ ﻤﺭﺍﺤل ﻫﺫﻩ ﺍﻝﺘﺠﺭﺒﺔ .ﻓﻲ "ﻗﺎﺭﺏ ﺍﻝﻨﺠﺎﺓ"
ﺘﻘﺘﺼﺭ ﻭﺤﺩﺓ ﺍﻝﻤﻜﺎﻥ ﻋﻠﻰ ﻤﻘﺎﺴﺎﺕ ﻗﺎﺭﺏ ﺍﻝﻨﺠﺎﺓ ،ﻭﻓﻲ "ﺍﻝﺤﺒل" ﻴﺼل ﺍﻝﺘﺄﻜﻴﺩ ﻋﻠﻰ ﻭﺤﺩﺓ ﺍﻝﻤﻜﺎﻥ ﺇﻝﻰ ﺩﺭﺠـﺔ ﺃﻥ
ﺍﻝﻔﻴﻠﻡ ﻗﺩ ﺠﺭﻯ ﺘﺼﻭﻴﺭﻩ ﺒﻠﻘﻁﺔ ﻭﺍﺤﺩﺓ ﺩﻭﻥ ﺃﻱ ﺍﻨﻘﻁﺎﻉ )ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﻫﻲ ﻋﺸﺭ ﻝﻘﻁﺎﺕ ﻷﻥ ﺍﻝﺒﻜﺭﺓ ﺍﻝﻭﺍﺤﺩﺓ ﺘﺤﺘﻭﻱ
ﻓﻘﻁ ﻋﻠﻰ ﺜﻼﺜﻤﺎﺌﺔ ﻤﺘﺭ ﺫﺍﺕ ﺍﻝﺩﻗﺎﺌﻕ ﺍﻝﻌﺸﺭ ،ﻭﺍﻝﻤﺴﺄﻝﺔ ﺘﻘﻨﻴﺔ ﺼﺭﻓﺔ ،ﻓﺎﻝﺭﺒﻁ ﻴﺘﻡ ﺒﻴﻥ ﺍﻝﻔﺼﻭل ﻓﻲ ﻨﻬﺎﻴـﺔ ﺍﻷﻤـﺭ
ﺩﻭﻥ ﺃﻥ ﻴﻠﺤﻅ ﻋﻠﻰ ﺍﻹﻁﻼﻕ(.
ﻋﻠﻤﻨﺎ ﺒﻭﺠﻭﺩ "ﻅل ﻤﻥ ﺍﻝﺸﻙ" ﻭ"ﺍﻝﺴﻴﺊ ﺍﻝﺴﻤﻌﺔ" ﺒﻌﺩ ﺍﻨﺘﻬﺎﺀ ﺍﻝﺤﺭﺏ ،ﻭﺘﻘﺭﻴﺒﹰﺎ ﻓﻲ ﻨﻔﺱ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﻋﺭﻓﻨـﺎ
ﻓﻴﻪ ﺒـ"ﺍﻝﻤﻭﺍﻁﻥ ﻜﻴﻥ" ﻷﻭﺭﺴﻭﻥ ﻭﻴﻠﺯ ﻭ"ﺜﻌﺎﻝﺏ ﺼﻐﻴﺭﺓ" ﻝﻭﻝﻴﻡ ﻭﺍﻴﻠﺭ .ﻜﺎﻥ ﺍﻻﻨﻁﺒﺎﻉ ﻋﻅﻴﻤﹰﺎ ﺠﺩﺍﹰ ،ﻭﺍﻋﺘﺒﺭ "ﺍﻝﻨﻘﺩ
ﺍﻝﺸﺎﺏ" ﻫﻴﺘﺸﻜﻭﻙ ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺁﻝﻬﺘﻪ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ .ﹸﻗ ﺩﻡ ﻜﻭﺍﺤﺩ ﻤﻥ ﺍﻵﻤﺎل ﺍﻝﻜﺒﺭﻯ ﻝﻠﺘﻁﻭﺭ ﺍﻝﺭﺌﻴﺱ ﺍﻝﺫﻱ ﺤﺼل ﻓﻲ
ﻫﻭﻝﻴﻭﻭﺩ ﺒﻴﻥ ﻋﺎﻤﻲ ،1944 -1940ﻭﻗﺩ ﺠﺭﻯ ﺍﻜﺘﺸﺎﻓﻪ ﺒﺼﻭﺭﺓ ﻤﻔﺎﺠﺌﺔ .ﻜﺎﻨﺕ ﺘﻠﻙ ﺍﻝﻤﺭﺤﻠﺔ ﻫﻲ ﺍﻝﺘﻲ ﺃﻁﻠـﻕ
ﻓﻴﻬﺎ "ﺍﻝﻜﺴﺎﻨﺩﺭ ﺁﺴﺘﺭﻭﻙ" ﻜﻠﻤﺔ ﺍﻝﺴﺭ "ﺍﻝﻜﺎﻤﻴﺭﺍ – ﺍﻝﻘﻠﻡ" .ﻭﺇﺫﺍ ﺘﺤﺩﺜﻨﺎ ﻋﻥ "ﺍﻷﻗﻼﻡ" ﻓﺈﻥ ﻜﺎﻤﻴﺭﺍ ﻫﻴﺘﺸﻜﻭﻙ ﻜﺎﻨﺕ ﻗﻠﻡ
ﺒﺎﺭﻜﺭ ﻤﻥ ﻁﺭﺍﺯ ﺭﻓﻴﻊ ،ﺍﺴﺘﻁﺎﻉ ﺃﻥ ﻴﺴﺘﻜﺘﺒﻪ ﻜل ﺸﻲﺀ ،ﺘﺤﺕ ﺍﻝﻤﺎﺀ ،ﻭﺍﻷﻗﺩﺍﻡ ﻓﻭﻕ ﺍﻝﺠـﺩﺍﺭ ،ﻭﺍﻷﻴـﺩﻱ ﺨﻠـﻑ
ﺍﻝﻅﻬﺭ… ﺍﻨﺴﺎﺒﺕ ﺍﻝﺼﻭﺭﺓ ﻓﻭﻕ ﺍﻝﻔﻴﻠﻡ ﻤﻥ ﺩﻭﻥ ﺫﻝﻙ ﺍﻝﻜﻡ ﺍﻝﻜﺒﻴﺭ ﻤﻥ ﺍﻹﺯﻋﺎﺠﺎﺕ ﺍﻝﺼﻐﻴﺭﺓ ﺍﻝﺘﻘﻠﻴﺩﻴﺔ ﻝــ"ﺍﻵﻝـﺔ
ﺍﻝﻜﺎﺘﺒﺔ" ﺍﻝﻤﻭﻨﺘﺎﺠﻴﺔ.
ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﻲ ،ﻭﻗﺩ ﺨﺎﺏ ﺃﻤﻠﻲ ﻤﻨﺫ ﺒﻌﺽ ﺍﻝﻭﻗﺕ ،ﺘﺒﺨﺭﺕ ﺁﺨﺭ ﺃﻭﻫﺎﻤﻲ ﻤﻊ "ﺍﻝﺤﺒل" ،ﺤﻴﺙ ﻝﻡ ﻴﻀﻑ ﺸﻴﺌﹰﺎ
ﻤﻬﻤﹰﺎ ﻤﻥ ﺍﻝﻨﺎﺤﻴﺔ ﺍﻝﺒﺼﺭﻴﺔ .ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ﻝﻡ ﺘﻜﻥ ﻫﻨﺎﻙ ﻤﻘﺎﺭﻨﺔ ﻤﻤﻜﻨﺔ ﺒﻴﻥ ﻤﺎ ﺠﺎﺀ ﺒﻪ ﻭﻴﻠﺯ ﺃﻭ ﻭﺍﻴﻠﺭ ﻭﺍﻝﻁﺭﻴﻕ ﺍﻝﺘﻲ
ﺍﻨﺘﻬﺠﻬﺎ ﻫﻴﺘﺸﻜﻭﻙ ،ﻭﻻ ﺃﺭﻴﺩ ﺍﻝﻘﻭل ﺇﻥ ﺇﻨﺠﺎﺯﺍﺘﻪ ﺍﻝﺘﻘﻨﻴﺔ ﻝﻴﺴﺕ ﺒﺫﺍﺕ ﺃﻫﻤﻴﺔ .ﻝﻘﺩ ﺠﺭﻯ ﺍﻝﺒﺤﺙ ،ﻭﻤﺎ ﺯﺍل ﻤﺴﺘﻤﺭﺍﹰ،
ﺤﻭل ﺤﻘﻴﻘﺔ ﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﺘﺒﻌﻬﺎ ﺒﻭﻋﻲ ﻜﺎﻤل ،ﻫﻲ ﺃﻨﻪ ﻝﻴﺱ ﻫﻨﺎﻙ "ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻴﻀﺎﻑ ﺇﻝﻴﻪ ﺍﻹﺨﺭﺍﺝ" ﻤﺜﻠﻤﺎ ﻴﺤﺼل ﻤﻊ
ﺍﻝﻨﺹ ﻓﻲ ﺍﻝﻤﺴﺭﺡ ،ﺒل ﻫﻨﺎﻙ ﻓﻘﻁ ﺍﻝﻜﺘﺎﺒﺔ ﻭﺍﻷﺴﻠﻭﺏ ،ﻜﻤﺎ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ .ﻭﺃﻫﻤﻴﺔ ﺍﻝﺒﺤﺙ ﻓﻲ ﻤﺴﺄﻝﺔ ﻜﻬﺫﻩ ﻻ ﺘﺘﻌﻠﻕ
ﺒﻤﺩﻯ ﺇﻏﻨﺎﺀ ﺘﻘﻨﻴﺔ ﺍﻝﺴﻴﻨﻤﺎ ،ﺇﺫ ﺒﻬﺫﺍ ﺍﻝﻤﻌﻨﻰ ،ﻝﻡ ﻴﺒﺘﻜﺭ ﻫﻴﺘﺸﻜﻭﻙ ﺸﻴﺌﹰﺎ ﺠﻭﻫﺭﻴﹰﺎ )ﻭﻜﺫﻝﻙ ﺍﻷﻤﺭ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻭﻴﻠﺯ( ،ﺒل
ﺍﺴﺘﺨﺩﻡ ﻫﺫﻩ ﺍﻝﺘﻘﻨﻴﺔ ﺒﻁﺭﻕ ﻤﺨﺘﻠﻔﺔ.
ﻴﻤﻜﻥ ﺃﻥ ﻨﺩﺭﻙ ﺇﺫﻥ ﺃﻥ ﺍﻝﺨﻴﺎل ﻭﺍﻝﺠﺭﺃﺓ ﺍﻝﺸﻜﻠﻴﻴﻥ ﻷﻋﻭﺍﻡ 45-40ﺍﻨﺘﻬﻴﺎ ﺇﻝﻰ ﺍﻝﺒﺴﺎﻁﺔ ،ﺇﻝﻰ ﺍﻝﻌﻭﺩﺓ ﻝﺘﻌﺭﻴﺔ
ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺫﻱ ﻴﺠﺭﻱ ﺘﻨﺎﻭﻝﻪ .ﺍﻝﻁﻠﻴﻌﻴﺔ ﺍﻝﻴﻭﻡ ﻝﻴﺴﺕ ﻓﻲ "ﻋﻤﻕ ﺍﻝﻤﺠﺎل" ﻭﻓﻲ ﺍﻝﻠﻘﻁﺎﺕ ﺍﻝﻁﻭﻴﻠﺔ ،ﺒل ﻫـﻲ ﻓـﻲ
ﺍﻝﺼﻭﺕ ،ﻭﻓﻲ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺤﺭﻴﺎﺕ ﺍﻝﺠﺩﻴﺩﺓ ﻝﻸﺴﻠﻭﺏ ،ﻤﻥ ﺃﺠل ﺘﺤﻘﻴﻕ ﺘﻘﺩﻡ ﻓﻲ ﺁﻓﺎﻕ ﺍﻝﺴﻴﻨﻤﺎ .ﻗﺩﻡ ﻝﻨﺎ ﺠﺎﻥ ﺭﻴﻨﻭﺍﺭ
ﻻ ﻴﺘﺼﻑ ﺒﺎﻷﺴﺘﺎﺫﻴﺔ ﻝﻬﺫﺍ ﺍﻷﻤﺭ ﻓﻲ "ﺍﻝﻨﻬﺭ" ،ﻭﻜﺎﻥ ﻓﻲ "ﻗﻭﺍﻋﺩ ﺍﻝﻠﻌﺒﺔ" ﺭﺍﺌﺩ ﻫﺫﻩ ﺍﻝﺜﻭﺭﺓ ﺍﻝﺘﻲ ﹸﺘﻅﻬـﺭ ﺍﻝﻴـﻭﻡ
ﻤﺜﺎ ﹰ
ﻝﻠﺠﻤﻴﻊ ﻜﻴﻑ ﻗﺎﺩﺕ ﺇﻋﺎﺩﺓ ﺍﻝﻨﻅﺭ ﺒﺄﺸﻜﺎل ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﻘﺩﻴﻤﺔ ﺇﻝﻰ ﺘﺤﻘﻴﻕ ﻁﺎﻗﺔ ﺘﻌﺒﻴﺭﻴﺔ ﺃﻜﺒﺭ ﺒـ"ﺴـﻴﻨﻤﺎ" ﺃﻗـل .ﺇﻥ
ﺍﻹﺨﻼﺹ ﺍﻝﺤﻘﻴﻘﻲ ﻝـ"ﺍﻝﻤﻭﺍﻁﻥ ﻜﻴﻥ" ﻫﻭ ﻓﻲ "ﺴﺎﺭﻕ ﺍﻝﺩﺭﺍﺠﺔ" ﻭ"ﻴﻭﻤﻴﺎﺕ ﺭﺍﻫﺏ ﻓﻲ ﺍﻷﺭﻴﺎﻑ" ،ﻭﻫـﺫﺍ ﻤـﺎ ﻝـﻡ
ﻼ ﺒﻐﻤـﻭﺽ
ﻼ ﻜﺜﻴﻔﺎﹰ ،ﻤﺘﻤﻴﺯﺍﹰ ،ﺤﺎﻓ ﹰ
ﻴﺩﺭﻜﻪ ﻫﻴﺘﺸﻜﻭﻙ ،ﻭﻜﺎﻥ ﺘﻁﻭﺭﻩ ﻓﻲ ﻤﻨﺤﻰ ﻤﻌﺎﻜﺱ .ﻜﺎﻥ "ﻅل ﻤﻥ ﺍﻝﺸﻙ" ﻋﻤ ﹰ
ﺤﻘﻴﻘﻲ ﻭﺒﺸﺎﻋﺭﻴﺔ ﻤﺅﺜﺭﺓ ،ﻝﻜﻥ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺘﻘﻨﻲ ﻝﻡ ﻴﻜﻥ ﻋﻠﻰ ﻨﻔﺱ ﻫﺫﻩ ﺍﻝﺴﻭﻴﺔ.
ﺭﺃﻴﻨﺎ ،ﻤﻥ ﻓﻴﻠﻡ ﺇﻝﻰ ﺁﺨﺭ ،ﻜﻴﻑ ﺘﻜﺎﺜﺭﺕ ﺍﻻﻨﺘﻘﺎﻻﺕ ﺍﻝﻤﻌﻘﺩﺓ ،ﻭﻜﻴﻑ ﺍﺯﺩﺍﺩﺕ ﺒﻬﻠﻭﺍﻨﻴ ﹰﺔ .ﻓﻲ "ﺘﺨﺭﻴﺏ" ﻨﺸﺎﻫﺩ
ﻋﻴﻨﹰﺎ ﺘﻤﻸ ﺍﻝﺸﺎﺸﺔ ﺜﻡ ﺘﺘﺤﻭل ﺍﻝﺤﺩﻗﺔ ﺇﻝﻰ ﻤﺭﺁﺓ ﻝﻠﺠﺭﻴﻤﺔ .ﻓﻲ "ﻏﺭﺒﺎﺀ ﻓﻲ ﻗﻁﺎﺭ" ﺤﺼل ﺘﻘﺩﻡ ،ﺇﺫ ﻨﺭﻯ ﺍﻝﻘﺘﻴل ﻤـﻥ
ﺨﻼل ﺍﻻﻨﻌﻜﺎﺱ ﺍﻝﻤﺸﻭﻩ ﻝﺯﺠﺎﺝ ﻨﻅﺎﺭﺓ ﺍﻝﻀﺤﻴﺔ ،ﺍﻝﺘﻲ ﺴﻘﻁﺕ ﻭﺴﻁ ﺍﻷﻋﺸﺎﺏ .ﻭﻤﻊ ﺫﻝﻙ ﻓﺎﻝﺩﻗﺎﺌﻕ ﺍﻝﻌﺸـﺭﻭﻥ ﺃﻭ
ﺍﻝﺨﻤﺱ ﻭﺍﻝﻌﺸﺭﻭﻥ ﺍﻷﻭﻝﻰ ﻝﻠﻔﻴﻠﻡ ﻤﻤﺘﺎﺯﺓ ،ﻭﺍﻝﻔﻜﺭﺓ ﺍﻝﺒﻭﻝﻴﺴﻴﺔ ﺃﻜﺜﺭ ﻤﻥ ﺤﺎﺫﻗﺔ .ﺍﻝﻔﻴﻠﻡ ﻴﻠﻴﻕ ﺒﺎﻝﺭﻭﺍﻴـﺎﺕ ﺍﻝﺒﻭﻝﻴﺴـﻴﺔ
ﺍﻝﺠﻴﺩﺓ ﻝﻐﺭﺍﻫﺎﻡ ﻏﺭﻴﻥ ،ﻭﺒﺼﻭﺭﺓ ﺃﻜﺜﺭ ﺘﺩﻗﻴﻘﹰﺎ ﺃﻗﻭل ﺇﻥ ﺍﻹﺨﺭﺍﺝ ﻫﻭ ﺃﻜﺜﺭ ﻤﻼﺀﻤﺔ ﻤﻥ ﺘﻌﺒﻴﺭﻴﺔ ﻜﺎﺭﻭل ﺭﻴﺩ ﻓـﻲ
"ﺍﻝﺭﺠل ﺍﻝﺜﺎﻝﺙ" .ﻝﻜﻨﻪ ﺃﺨ ﹶﺫﻨﺎ ﻤﻥ ﺜﻡ ﺇﻝﻰ ﺩﻭﺍﻤﺔ ﻤﻥ ﻋﺩﻡ ﺍﻻﺴﺘﻘﺭﺍﺭ ،ﻭﻓﻲ ﺴﺒﻴل ﺫﻝﻙ ،ﻓﺈﻥ ﻜل ﺍﻝﻭﺴﺎﺌل ﻤﻤﻜﻨﺔ ﻝﺩﻯ
ﻫﻴﺘﺸﻜﻭﻙ ،ﺒﻤﺎ ﻓﻲ ﺫﻝﻙ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﺴﺘﺨﺩﺍﻡ "ﺍﻝﺘﺭﻗﺏ" ﺍﻝﻘﺩﻴﻡ ﻝﻠﻤﻭﻨﺘﺎﺝ ﺍﻝﻤﺘﻭﺍﺯﻱ ،ﺍﻝﺫﻱ ﺍﺒﺘﻜـﺭﻩ ﻏﺭﻴﻔﻴـﺙ ﻓـﻲ
"ﺍﻝﺘﻌﺼﺏ" ،ﻭﺍﻝﺫﻱ ﻝﻡ ﻴﻌﺩ ﺃﺤﺩ ﻴﺠﺭﺅ ﻋﻠﻰ ﺍﺴﺘﺨﺩﺍﻤﻪ ،ﺤﺘﻰ ﻓﻲ ﺃﻓﻼﻡ ﺍﻝﻐﺭﺏ ﻤﻥ ﺍﻝﺩﺭﺠﺔ ﺍﻝﺜﺎﻨﻴﺔ :ﺼـﺭﺍﻉ ﻤـﻊ
ﺍﻝﺯﻤﻥ ،ﺒﻴﻥ ﺍﻝﺠﺎﻨﻲ ﺍﻝﺫﻱ ﻜﺎﻥ ﻗﺩ ﺫﻫﺏ ﺇﻝﻰ ﻤﻭﻗﻊ ﺍﻝﺠﺭﻴﻤﺔ ﻜﻲ ﻴﺘﺭﻙ ﻫﻨﺎﻙ ﻗﺩﺍﺤﺔ ﺍﻝﺭﺠل ﺍﻝﻤﺸﺘﺒﻪ ﺒـﻪ ،ﻭﻫـﺫﺍ
ﻼ ﻝﻼﺸﺘﺒﺎﻩ ﺒﻪ.
ﺍﻷﺨﻴﺭ ﺍﻝﺫﻱ ﻋﻠﻴﻪ ،ﻗﺒل ﺃﻥ ﻴﺫﻫﺏ ،ﺍﺴﺘﻌﺎﺩﺓ ﻫﺫﺍ ﺍﻝﻐﺭﺽ ﺍﻝﺫﻱ ﻴﻤﺜل ﺩﻝﻴ ﹰ
ﺍﻝﻤﻌﺠﺒﻭﻥ ﺒﻬﻴﺘﺸﻜﻭﻙ ،ﻤﻬﻤﺎ ﻜﺎﻥ ﺍﻷﻤﺭ ،ﻴﺭﺩﻭﻥ ﺒﺄﻨﻲ ﺃﺭﻴﺩ ﺃﻥ ﺃﻨﻔﻲ ﺍﻝﻔﻜﺎﻫﺔ ،ﺍﻝﻨﺎﺒﻌﺔ ،ﺒﻘﺼﺩ ،ﻭﺘﺤﺩﻴﺩﹰﺍ ،ﻤﻥ
ﺍﻝﻔﻅﺎﻅﺔ ﻓﻲ ﺍﻷﺴﻠﻭﺏ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻤﻥ ﻗﺒل ﺭﺠل ﻋﻠﻰ ﺩﺭﺠﺔ ﻋﺎﻝﻴﺔ ﻤﻥ ﺍﻝﻤﻬﺎﺭﺓ .ﻫﺫﺍ ﺼﺤﻴﺢ ،ﻭﻫﻭ ﻴﻤﺜل ﻓﺴـﺤﺔ
ﺍﻷﻤل ﺍﻝﻤﺘﺒﻘﻴﺔ ﻓﻲ ﻫﺫﺍ ﺍﻝﻌﻤل ،ﻭﻤﻥ ﺨﻼﻝﻬﺎ ﺘﺘﺴﺭﺏ ﺇﻝﻴﻨﺎ ﺒﻌﺽ ﺍﻹﻀﺎﺀﺍﺕ .ﻨﻌﺭﻑ ﺃﻥ ﻝﺩﻯ ﻫﻴﺘﺸـﻜﻭﻙ ﻫﻭﺴـﹰﺎ
ﻝﻠﻅﻬﻭﺭ ﻓﻲ ﺠﻤﻴﻊ ﺃﻓﻼﻤﻪ ﻝﺒﺭﻫﺔ ﻗﺼﻴﺭﺓ؛ ﻓﻲ "ﻗﺎﺭﺏ ﺍﻝﻨﺠﺎﺓ" ﻜﺎﻥ ﺫﻝﻙ ﻋﺒﺭ ﺼﻭﺭﺓ ﻓﻭﺘﻭﻏﺭﺍﻓﻴﺔ ﻓﻲ ﻤﺠﻠﺔ ﻤﻠﻁﺨﺔ
ﺒﺯﻴﺕ ﺍﻝﻔﻴﻭل ﺘﺘﻁﺎﻴﺭ ﺒﻴﻥ ﺤﻁﺎﻡ ﺍﻝﺒﺎﺨﺭﺓ ،ﺃﻤﺎ ﻫﻨﺎ ﻓﻨﺭﺍﻩ ﻤﻭﺴﻴﻘﻴﹰﺎ ﻀﺨﻡ ﺍﻝﺠﺜﺔ ﺠﺎﻝﺴـﹰﺎ ﻓـﻲ ﻗﻁـﺎﺭ ﻤـﻊ ﺁﻝـﺔ
ﻜﻭﻨﺘﺭﺒﺎﺹ؛ ﻭﻴﺠﺏ ﺃﻥ ﻨﺭﻯ ﻓﻲ ﻫﺫﺍ ﺃﻜﺜﺭ ﻤﻥ ﻤﺠﺭﺩ ﺘﻌﻭﻴﺫﺓ ﻝﻤﺨﺭﺝ ،ﺇﻨﻬﺎ ﻝﻤﺴﺔ ﺴﺨﺭﻴﺔ ﺘﺅﺜﺭ ﻓﻲ ﻜﺎﻤل ﺍﻝﻌﻤل،
ﻝﻤﺴﺔ ﺍﻨﺘﺒﺎﻩ ،ﻝﻤﻥ ﻴﻌﺭﻑ ﻜﻴﻑ ﻴﺭﻯ ﻤﺎ ﻫﻭ ﺃﺒﻌﺩ ﻤﻤﺎ ﻫﻭ ﻅﺎﻫﺭ ،ﺇﻝﻰ ﻗﺭﺍﺀﺓ ﺜﺎﻨﻴﺔ ﻝﻠﺴﻴﻨﺎﺭﻴﻭ .ﻴﻁﻠﻕ ﻫﻴﺘﺸـﻜﻭﻙ،
ﻋﺒﺭ ﺍﻝﺴﺎﺩﻴﺔ ﺍﻝﺒﻠﻴﻐﺔ ،ﺍﻝﻤﺘﻌﺎﺭﻑ ﻋﻠﻴﻬﺎ ،ﻭﺴﻁ ﺼﺭﺨﺎﺕ ﺭﻋﺏ ﺍﻝﻀﺤﺎﻴﺎ ،ﺼﺭﺨﺔ ﻝﻠﻤﺘﻌﺔ ﺍﻝﺤﻘﻴﻘﻴﺔ ﻝﻴﺱ ﻓﻴﻬـﺎ ﺃﻱ
ﺨﺩﺍﻉ :ﺇﻨﻬﺎ ﺼﺭﺨﺘﻪ ﻫﻭ.
)(1952/1/17 L`Observateur
ﻏﺭﺒﺎﺀ ﻓﻲ ﻗﻁﺎﺭ
ﻫﻨﺎﻙ ﺩﺍﺌﻤﹰﺎ ﺃﻫﻤﻴﺔ ﺨﺎﺼﺔ ﻝﻔﻴﻠﻡ ﺠﺩﻴﺩ ﻵﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ .ﻫﺫﺍ ﺍﻝﺴﻤﻴﻥ ﺫﻭ ﺍﻝﻤﻅﻬﺭ ﺍﻝﻔﻅ ﺭﺒﻤﺎ ﻫـﻭ ﺍﻝﺭﺠـل
ﺍﻷﻜﺜﺭ ﺒﺭﺍﻋﺔ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ .ﻜﺎﻥ ﺍﻨﺘﻘﺎﻝﻪ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ،ﺒﻼ ﺸـﻙ ،ﺍﻝﺨﺴـﺎﺭﺓ ﺍﻷﻜﺜـﺭ ﻓﺩﺍﺤـﺔ ﻝﻠﺴـﻴﻨﻤﺎ
ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ،ﺍﻝﺘﻲ ﻤﺎ ﻜﺎﻨﺕ ﻨﻬﻀﺘﻬﺎ ﻝﺘﺘﺭﺍﺠﻊ ﻝﻭ ﺃﻥ ﻤﺤﻘﻕ "ﺍﻝـﺩﺭﺠﺎﺕ ﺍﻝﺘﺴـﻊ ﻭﺍﻝﺜﻼﺜـﻭﻥ" ﺒﻘـﻲ ﻴﻌﻤـل ﻓـﻲ
ﺍﺴﺘﻭﺩﻴﻭﻫﺎﺘﻬﺎ .ﻝﻜﻨﻲ ﻝﺴﺕ ﻤﺘﺄﻜﺩﹰﺍ ﻤﻥ ﺃﻥ ﻫﺫﺍ ﺍﻝﺫﻱ ﻜﺴﺒﺘﻪ ﻫﻭﻝﻴﻭﻭﺩ ﻝﻡ ﻴﺨﺴﺭﻩ ﻫﻴﺘﺸﻜﻭﻙ ،ﻓﻲ ﺃﺤﺩ ﺠﻭﺍﻨﺒﻪ .ﻫـﺫﺍ
ﺍﻝﺘﻘﻨﻲ ﺍﻻﺴﺘﺜﻨﺎﺌﻲ ﺍﻝﻘﺎﺩﺭ ﻋﻠﻰ ﺃﻥ ﻴﺼﻨﻊ ﺒﺂﻝﺔ ﺍﻝﺘﺼﻭﻴﺭ ﻤﺎ ﻴﺭﻴﺩ ،ﻭﺠﺩ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ ،ﻭﻻ ﺸﻙ ،ﺒﻌـﺽ ﺍﻝﻭﺴـﺎﺌل
ﻋﻠﻰ ﻤﻘﺎﺴﻪ ،ﻝﻜﻨﻪ ،ﻭﻜﻤﺎ ﻴﺤﺼل ﻫﻨﺎﻙ ﻜﺜﻴﺭﺍﹰ ،ﻭﻀﻊ ﻀﻤﻥ ﺇﻁﺎﺭ ﻤﻌﻴﻥ ﻤﻥ ﻗﺒل ﺍﻝﻤﻨﺘﺠﻴﻥ ،ﻤـﻊ ﺴـﻴﻨﺎﺭﻴﻭﻫﺎﺕ
ﺘﺘﻔﻕ ﻭﺃﺴﻠﻭﺒﻪ .ﻝﻘﺩ ﺘﺤﻭل ﺇﻝﻰ ﺇﻤﺒﺭﺍﻁﻭﺭ "ﺍﻷﻋﻤﺎل ﺍﻝﺒﻭﻝﻴﺴﻴﺔ ﺍﻝﻨﻔﺴﻴﺔ" ﻭﺍﻹﺜﺎﺭﺓ ﺍﻝﺫﻫﻨﻴﺔ ﻭﺍﻝﺘﺭﻗﺏ .ﻝﻴﺱ ﻫﻨﺎﻙ ﻤﻥ
ﻫﻭ ﺃﻜﺜﺭ ﺘﻤﻜﻨﹰﺎ ﻤﻨﻪ ﻓﻲ ﺍﻝﺘﺤﻜﻡ ﺒﺎﻝﻤﺸﺎﻫﺩ ،ﻭﻓﻲ ﺘﻘﺩﻴﻤﻪ ﺇﻝﻴﻪ ﺍﻝﺠﺭﻋﺔ ﺍﻝﻤﺤﺩﺩﺓ ﻤﻥ ﺍﻹﺜﺎﺭﺓ ﺍﻝﻤﻘﺭﺭﺓ.
ﻝﻜﻥ ،ﻭﻤﺎﺫﺍ ﻴﻌﻨﻲ ﻫﺫﺍ؟ ﻝﻴﺱ ﻫﺫﺍ ﻜل ﺸﻲﺀ ،ﻓﻠﻴﺱ ﺍﻹﻨﺴﺎﻥ ﺁﻝﺔ ﻴﺠﺭﻱ ﺘﺯﻴﻴﺘﻬﺎ ﻭﺘﺸﺤﻴﻤﻬﺎ ﺒﺼﻭﺭﺓ ﺠﻴـﺩﺓ
ﻜﻴﻤﺎ ﻴﺼﺎﺭ ﺇﻝﻰ ﺇﺜﺎﺭﺓ ﺭﺩﻭﺩ ﺃﻓﻌﺎﻝﻬﺎ ﻭﻓﻕ ﺍﻝﻁﻠﺏ ﻭﺒﻨﺎﺀ ﻋﻠﻰ ﺁﻝﻴﺔ ﻤﺤﺩﺩﺓ ﻭﻤﺘﺒﺩﻝﺔ ﻤﻥ ﺍﻝﻤﺸﺎﻋﺭ.
ﺠﻤﻴﻊ ﺍﻷﻋﻤﺎل ﺍﻝﺒﻭﻝﻴﺴﻴﺔ ﺍﻝﻜﺒﻴﺭﺓ ﺘﺫﻫﺏ ،ﺒﻁﺭﻴﻘﺔ ﺃﻭ ﺒﺄﺨﺭﻯ ،ﺇﻝﻰ ﺃﺒﻌﺩ ﻤﻥ ﻤﺠـﺭﺩ ﺍﻝﻤﺘﻌـﺔ ﺍﻝﺒﻭﻝﻴﺴـﻴﺔ،
ﻓﺄﻋﻤﺎل ﺴﻴﻤﻴﻨﻭﻥ ﺃﻭ ﻏﺭﺍﻫﺎﻡ ﻏﺭﻴﻥ ﺘﺘﻀﻤﻥ ﻤﺎ ﻫﻭ ﺃﺒﻌﺩ ﻤﺩﻯ ﻤﻥ ﺘﺩﺒﻴﺭ ﺍﻝﻤﻜﺎﺌﺩ.
ﻭﺒﺼﻭﺭﺓ ﺃﻜﺜﺭ ﺘﺤﺩﻴﺩﺍﹰ ،ﻨﻌﺘﺭﻑ ﺒﺄﻥ ﺍﻝﻔﻴﻠﻡ ﻤﺒﻨﻲ ﺒﺸﻜل ﺠﻴﺩ :ﺯﻭﺝ ﺸﺎﺏ ،ﻤﺨﺩﻭﻉ ،ﻴﺭﻴﺩ ﺍﻝﻁﻼﻕ ﻝﻠـﺯﻭﺍﺝ
ﻤﻥ ﺍﻝﻤﺭﺃﺓ ﺍﻝﺘﻲ ﻴﺤﺏ ،ﺇﻻ ﺃﻥ ﺍﻝﺯﻭﺠﺔ ﺘﺭﻓﺽ ﺫﻝﻙ ،ﻏﻴﺭ ﻋﺎﺒﺌﺔ ﺒﻪ .ﻴﻠﺘﻘﻲ ﺫﺍﺕ ﻴﻭﻡ ،ﻓﻲ ﻗﻁﺎﺭ ،ﺸﺨﺼﻴﺔ ﻏﺭﻴﺒﺔ
ﺘﻘﺘﺭﺡ ﻋﻠﻴﻪ ﺼﻔﻘﺔ ﻓﺭﻴﺩﺓ" :ﺯﻭﺠﺘﻙ ﺘﻘﻑ ﻋﺎﺌﻘﹰﺎ ﺃﻤﺎﻤﻙ ،ﻭﺃﻨﺎ ﺃﻜﺭﻩ ﺃﺒﻲ ،ﻭﻝﻜﻲ ﻨﻀﻠل ﺭﺠﺎل ﺍﻝﺸﺭﻁﺔ ،ﺘﻌﺎل ﻨﺘﺒﺎﺩل
ﻻ ﻋﻥ ﻤﺠﻨﻭﻥ ،ﺃﻭ ﻋﻥ
ﻼ ﻭﺘﺠﻌﻠﻨﻲ ﻴﺘﻴﻤﹰﺎ" .ﻝﻜﻨﻪ ﻴﺭﻯ ﺃﻥ ﻫﺫﺍ ﺍﻝﻌﺭﺽ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﺼﺩﺭ ﺇ ﹼ
ﺍﻝﺠﺭﻴﻤﺔ؛ ﺃﺠﻌﻠﻙ ﺃﺭﻤ ﹰ
ﺭﺍﻏﺏ ﺒﺈﻁﻼﻕ ﺩﻋﺎﺒﺔ ﺴﻭﺩﺍﺀ .ﺜﻡ ﻴﺄﺘﻲ ﺫﻝﻙ ﺍﻝﻴﻭﻡ ﺍﻝﺫﻱ ﻴﻌﻠﻡ ﻓﻴﻪ ﺒﻤﻭﺕ ﺯﻭﺠﺘﻪ ﻤﺨﻨﻭﻗﺔ ﻓﻲ ﺇﺤﺩﻯ ﺍﻝﺤﺩﺍﺌﻕ ،ﻭﺘﺒﺩﺃ
ﻤﻌﺎﻨﺎﺘﻪ ﻤﻊ ﺍﺒﺘﺯﺍﺯ "ﺸﺭﻴﻜﻪ ﻓﻲ ﺍﻝﺠﺭﻴﻤﺔ" .ﻭﺒﻤﺎ ﺃﻥ ﻤﻀﻤﻭﻥ ﺃﻓﻼﻡ ﻫﻴﺘﺸﻜﻭﻙ ﻴﺭﺘﺒﻁ ﻜﺜﻴﺭﹰﺍ ﺒﻤﺴﺄﻝﺔ ﺍﻹﺨﺭﺍﺝ ،ﻤﻤﺎ
ﻴﺤﻭل ﺩﻭﻥ ﺇﻤﻜﺎﻨﻴﺔ ﺘﻠﺨﻴﺹ ﺍﻝﻔﻴﻠﻡ ﺒﺼﻭﺭﺓ ﻭﺍﻓﻴﺔ ،ﺇﺫﻥ "ﻻ ﺒﺩ ﻤﻥ ﻤﺸﺎﻫﺩﺘﻪ".
ﻻ ﺩﺍﻋﻲ ﻝﻌﺘﺏ ﻤﻥ ﻴﺤﺒﻭﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺒﻭﻝﻴﺴﻴﺔ ﺒﺴﺒﺏ ﻤﺎ ﺃﻭﺭﺩﺘﻪ ﻤﻥ ﻤﻼﺤﻅﺎﺕ ،ﻓﺎﻷﻤﻭﺭ ﻜﻠﻬﺎ ﻨﺴﺒﻴﺔ .ﻝﻘـﺩ
ﺨﺴﺭ ﻫﻴﺘﺸﻜﻭﻙ ﺸﻴﺌﹰﺎ ﻤﻥ ﺇﻨﺴﺎﻨﻴﺘﻪ ﻭﺸﻴﺌﹰﺎ ﻤﻥ ﻓﻜﺎﻫﺘﻪ ،ﻝﻜﻥ ﻴﺒﻘﻰ ﻝﻪ ﺍﺴﺘﺤﻘﺎﻗﻪ ﻝﻠﺘﻘﺩﻴﺭ ،ﻗﻴﺎﺴﹰﺎ ﺒﺎﻹﻨﺘﺎﺝ ﺍﻝﻤﻌﺘﺎﺩ .ﻫﺫﻩ
ﺍﻝﺴﺨﺭﻴﺔ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﻤﺴﺄﻝﺔ ﺍﻝﻤﻭﺕ ،ﻭﺍﻝﻘﺴﻭﺓ ﺍﻷﻜﺜﺭ ﺸﺩﺓ ﻤﻤﺎ ﻗﺩ ﻴﺒﺩﻭ ﻝﻠﻭﻫﻠﺔ ﺍﻷﻭﻝـﻰ ،ﻭﺍﻝﺠـﺭﺃﺓ ﻓـﻲ ﺍﻝﻬﺠـﺎﺀ
ﺍﻻﺠﺘﻤﺎﻋﻲ ،ﻜل ﻫﺫﺍ ﻴﺠﻌل ﺼﻭﺕ ﺼﺭﻴﺭ ﺍﻵﻝﺔ ﻴﻌﻠﻭ ﻓﻲ ﺒﻌﺽ ﺍﻷﻭﻗﺎﺕ ﻝﺘﺫﻜﻴﺭ ﺍﻝﻤﺸﺎﻫﺩ ﺒﺄﻥ ﻫﻨﺎﻙ ﻤﺎ ﻴﺩﻋﻭ ﺇﻝﻰ
ﺍﻝﺨﻭﻑ ،ﻭﻝﻴﺱ ﺇﻝﻰ ﺍﻝﻀﺤﻙ.
ﻭﻜﻤﺎ ﻫﻲ ﺍﻝﻌﺎﺩﺓ ،ﻓﺎﻝﺘﻤﺜﻴل ﺘﺤﺕ ﺇﺩﺍﺭﺓ ﻤﺨﺭﺝ ﻤﺜل ﻫﻴﺘﺸﻜﻭﻙ ،ﻫﻭ ﺩﺍﺌﻤﹰﺎ ﻤﺘﻘﻥ ،ﺴﻭﺍﺀ ﻓﻲ ﺍﻷﺩﻭﺍﺭ ﺍﻷﻜﺜـﺭ
ﺃﻫﻤﻴﺔ "ﻓﻴﺭﻝﻲ ﻏﺭﺍﻨﺠﺭ" ﻭ"ﺭﻭﺙ ﺭﻭﻤﺎﻥ" ﻭ"ﺭﻭﺒﻴﺭﺕ ﻭﺍﻜﺭ" ﺃﻡ ﻓﻲ ﺃﺩﻭﺍﺭ ﺍﻝﻨﺴﻕ ﺍﻝﺜﺎﻨﻲ.
1952/1/10
ﺍﻝﺴﻴﺩﺓ ﺘﺨﺘﻔﻲ
ﺃ ﺩﺕ ﺍﻝﺸﻬﺭﺓ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻝﻬﻴﺘﺸﻜﻭﻙ ﻓﻲ ﻓﺘﺭﺓ ﻤﺎ ﺒﻌﺩ ﺍﻝﺤﺭﺏ ﺇﻝﻰ ﻨﺴﻴﺎﻥ ﺃﺼـﻭﻝﻪ ﻭﺃﻓﻼﻤـﻪ ﺍﻹﻨﻜﻠﻴﺯﻴـﺔ،
ﻭﻫﻨﺎﻙ ﺍﺘﺠﺎﻩ ﻝﻼﻋﺘﻘﺎﺩ ﺒﺄﻥ ﺃﻋﻤﺎﻝﻪ ﺘﺤﺘﺴﺏ ﻓﻘﻁ ﺍﺒﺘﺩﺍ ﺀ ﻤﻥ ﻗﺩﻭﻤﻪ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ،ﻭﻜﺎﻨﺕ ﺍﻝﻌـﻭﺩﺓ ﺇﻝـﻰ ﻋـﺭﺽ
"ﺍﻝﺩﺭﺠﺎﺕ ﺍﻝﺘﺴﻊ ﻭﺍﻝﺜﻼﺜﻭﻥ" ﻓﻲ ﺍﻝﻌﺎﻡ ﺍﻝﻤﺎﻀﻲ ،ﻜﺎﻓﻴﺔ ﻝﻭﻀﻊ ﺍﻷﻤﻭﺭ ﻓﻲ ﺇﻁﺎﺭﻫﺎ ﺍﻝﺤﻘﻴﻘﻲ .ﻭﻴﺄﺘﻲ ﻋﺭﺽ "ﺍﻝﺴﻴﺩﺓ
ﺘﺨﺘﻔﻲ" ،ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﺒﻭﻝﻴﺴﻴﺔ ﺍﻝﺘﻲ ﺠﺭﻯ ﺘﺼﻭﻴﺭﻫﺎ ﻋﺎﻡ 1938ﻭﻝﻡ ﻴﺴﺒﻕ ﺃﻥ ﻋﺭﻀﺕ ﻓﻲ ﻓﺭﻨﺴﺎ ،ﻝﻴﺅﻜﺩ ﻤﺎ ﻜﻨﺎ
ﻗﺩ ﺭﺃﻴﻨﺎﻩ ﺤﻭل "ﺍﻝﺩﺭﺠﺎﺕ ﺍﻝﺘﺴﻊ ﻭﺍﻝﺜﻼﺜﻭﻥ".
ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻤﺘﻘﻥ ﻭﺫﻭ ﻨﻜﻬﺔ ﻁﻴﺒﺔ ﻷﺴﺒﺎﺏ ﻜﺜﻴﺭﺓ ،ﻭﺘﻜﺸﻑ ﻤﺸﺎﻫﺩﺘﻪ ﻋﺎﻡ ،1952ﻭﺒﺩﺭﺠﺔ ﻤﺜﻴﺭﺓ ،ﻁﺒﻴﻌﺘـﻪ
ﺍﻝﻤﺘﻨﺒﺌﺔ .ﺤﻜﺎﻴﺔ ﺍﻝﺠﺎﺴﻭﺴﻴﺔ ﻓﻲ ﺍﻝـ"ﺘﻴﺭﻭل" ﺍﻝﺘﻲ ﻴﺘﺠﺎﺒﻪ ﻓﻴﻬﺎ ﻋﻤﻴل ﻝﻼﺴﺘﺨﺒﺎﺭﺍﺕ ﺍﻝﺒﺭﻴﻁﺎﻨﻴـﺔ ﻤـﻊ ﺠﺎﺴـﻭﺱ
ﻼ.
ﺃﻝﻤﺎﻨﻲ ،ﺘﻔﺘﺭﺽ ﺍﻗﺘﺭﺍﺏ ﺍﻝﺤﺭﺏ .ﻫل ﻜﻨﺎ ﻨﺘﻭﻗﻌﻬﺎ ﺒﻬﺫﺍ ﺍﻝﻭﻀﻭﺡ ﻋﺎﻡ 1938؟ ﺭﺒﻤﺎ ،ﻝﻜﻥ ﻫﺫﺍ ﻤﺎ ﻨﺴﻴﻨﺎﻩ ﻗﻠﻴ ﹰ
ﻭﻜﻤﺎ ﻫﻲ ﺍﻝﺤﺎل ﻓﻲ "ﺍﻝﺩﺭﺠﺎﺕ ﺍﻝﺘﺴﻊ ﻭﺍﻝﺜﻼﺜﻭﻥ" ﻓﺈﻥ "ﺍﻝﺴﻴﺩﺓ ﺘﺨﺘﻔﻲ" ﻫﻭ ﻓﻴﻠﻡ ﺴﻴﻨﺎﺭﻴﻭ ،ﻭﻗﺩ ﻜﺘﺒﻪ ﻜل ﻤﻥ
ﺴﻴﺩﻨﻲ ﺠﻴﻠﻴﺎﺕ ﻭﻓﺭﺍﻨﻙ ﻻﻭﻨﺩﺭ ،ﺍﻝﻠﺫﻴﻥ ﻜﺘﺒﺎ ﻭﺃﺨﺭﺠﺎ ﻤﻨﺫ ﺫﻝﻙ ﺍﻝﺤﻴﻥ ﻋﺩﺩﹰﺍ ﻤﻥ ﺃﻜﺜﺭ ﺍﻷﻓـﻼﻡ ﺨﺼﻭﺼـﻴﺔ ﻓـﻲ
ﺍﻹﻨﺘﺎﺝ ﺍﻹﻨﻜﻠﻴﺯﻱ ،ﻤﻥ ﺃﺒﺭﺯﻫﺎ "ﺍﺭﺘﻘﺎﺀ ."Rakeﺃﻤﺎ ﻫﻨﺎ ﻓﻨﺠﺩ ﻤﺎ ﻫﻭ ﺠـﻭﻫﺭﻱ ﻓـﻲ ﻤﻭﺍﺼـﻔﺎﺕ ﺍﻝﻜﻭﻤﻴـﺩﻴﺎ
ﺍﻝﺒﺭﻴﻁﺎﻨﻴﺔ ﺍﻝﻤﻌﺎﺼﺭﺓ ،ﻭﺭﺒﻤﺎ ﻤﻊ ﻗﺩﺭ ﺃﻗل ﻤﻥ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ - ،ﻝﻜﻥ ﻫل ﻫﺫﺍ ﻫﻭ ﺃﻓﻀل ﻤﺎ ﻝﺩﻯ ﺍﻝﻤﺩﺭﺴﺔ
ﺍﻝﺤﺎﻝﻴﺔ؟ ،-ﻭﻤﻥ ﺠﻬﺔ ﺜﺎﻨﻴﺔ ،ﻤﻊ ﻗﺩﺭ ﺃﻜﺒﺭ ﻤﻥ ﺍﻝﺴﺨﺭﻴﺔ ﺍﻝﻼﺫﻋﺔ ،ﺤﻴﺙ ﻝﻡ ﻴﺫﻫﺏ ﺍﻝﻨﻘﺩ ﺍﻝـﺫﺍﺘﻲ ﺍﻝـﻭﻁﻨﻲ ﻋﻠـﻰ
ﺍﻹﻁﻼﻕ ﺇﻝﻰ ﺃﺒﻌﺩ ﻤﻤﺎ ﺫﻫﺏ ﺇﻝﻴﻪ ﻫﻴﺘﺸﻜﻭﻙ ﻓﻲ "ﺍﻝﺴﻴﺩﺓ ﺘﺨﺘﻔﻲ" ،ﻭﺇﺫﻥ ،ﻓﺈﻥ ﻤﺎ ﺃﻋﻁﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺒﺭﻴﻁﺎﻨﻴﺔ ﻨﺠﺎﺤﻬﺎ
ﺍﻵﻥ ﻝﻡ ﻴﻭﻝﺩ ﻤﻊ "ﺠﻭﺍﺯ ﺴﻔﺭ ﻝـ ." Pimlico
ﻓﻲ ﻤﻜﺎﻥ ﻤﺎ ﻤﻥ ﺍﻝـ"ﺘﻴﺭﻭل" ،ﻴﺤﺘﺠﺯ ﻋﺩﺩ ﻤﻥ ﺍﻝﻤﺴﺎﻓﺭﻴﻥ ﻤﻥ ﺠﻨﺴﻴﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﻓﻨﺩﻕ ﺠﺒﻠـﻲ ﺒﺴـﺒﺏ
ﺨﺭ ﺍﻨﻁﻼﻕ ﺍﻝﻘﻁﺎﺭ .ﻫﻨﺎﻙ ،ﺒﺸﻜل ﺨﺎﺹ ،ﺇﻨﻜﻠﻴﺯﻴﺎﻥ ﻋﺎﺌﺩﺍﻥ ﺇﻝﻰ ﻝﻨﺩﻥ ﻝﻠﻤﺸﺎﺭﻜﺔ ﻓﻲ ﻤﺴﺎﺒﻘﺔ
ﺘﺴﺎﻗﻁ ﺍﻝﺜﻠﻭﺝ ﺍﻝﺫﻱ ﺃ ﹼ
ﻜﺒﺭﻯ ﻝﻠﻜﺭﻴﻜﻴﺕ؛ ﺍﻝﺸﻲﺀ ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﻴﻌﻨﻴﻬﻤﺎ ﻤﻥ ﻜل ﺃﻭﺭﻭﺒﺎ ﻫﻭ ﻫﺫﻩ ﺍﻝﻤﺴﺎﺒﻘﺔ .ﻫﻨﺎﻙ ﺃﻴﻀﹰﺎ ﺸﺎﺒﺔ ﺘﻌـﻭﺩ ﺇﻝـﻰ
ﺇﻨﻜﻠﺘﺭﺍ ﻜﻲ ﺘﺘﺯﻭﺝ ﻤﻥ ﺭﺠل ﻻ ﻴﺭﻴﺩ ﺫﻝﻙ ،ﻭﺸﺎﺏ ﻤﺘﺨﺼﺹ ﻓﻲ ﻋﻠﻭﻡ ﺍﻝﻤﻭﺴﻴﻘﺎ ﻴﺠﺭﻱ ﺃﺒﺤﺎﺜﹰﺎ ﻓﻲ ﺍﻝﻔﻭﻝﻜﻠـﻭﺭ،
ﻭﺴﻴﺩﺓ ﺇﻨﻜﻠﻴﺯﻴﺔ ﻤﺴﻨﺔ ﻏﺎﻴﺔ ﻓﻲ ﺍﻝﺘﻬﺫﻴﺏ ﺘﺒﺩﺃ ﻤﺭﺤﻠﺔ ﺍﻝﺘﻘﺎﻋﺩ .ﺘﺘﺼﺎﺩﻕ ﺍﻝﺴﻴﺩﺓ ﻤﻊ ﺍﻝﺸﺎﺒﺔ ﺒﻌﺩ ﺤﺎﺩﺙ ﻋﺠﻴﺏ ﻜـﺎﺩ
ﻴﻭﺩﻱ ﺒﺤﻴﺎﺓ ﺍﻝﺜﺎﻨﻴﺔ .ﺍﺴﺘﻘﺭﺘﺎ ﻓﻲ ﻨﻔﺱ ﺍﻝﻤﻘﺼﻭﺭﺓ .ﻨﺎﻤﺕ ﺍﻝﺸﺎﺒﺔ ﻝﺒﺭﻫﺔ ﻭﻋﻨﺩﻤﺎ ﺍﺴﺘﻴﻘﻅﺕ ﻜﺎﻨـﺕ ﺼـﺩﻴﻘﺘﻬﺎ ﻗـﺩ
ﺍﺨﺘﻔﺕ .ﺍﺴﺘﻭﻀﺤﺕ ﺍﻷﻤﺭ ﻤﻥ ﺠﻴﺭﺍﻨﻬﺎ ﺍﻝﺫﻴﻥ ﺃﺒﺩﻭﺍ ﺩﻫﺸﺘﻬﻡ ﻭﺫﻜﺭﻭﺍ ﺃﻨﻬﺎ ﻜﺎﻨﺕ ﺩﺍﺌﻤﹰﺎ ﻭﺤﻴﺩﺓ .ﻤﺎ ﺘﺒﻘﻰ ﻤﻥ ﺯﻤﻥ
ﺍﻝﻔﻴﻠﻡ ﻫﻭ ﻝﻠﺒﺤﺙ ﺍﻝﻴﺎﺌﺱ ﻤﻥ ﻗﺒل ﺍﻝﺸﺎﺒﺔ ،ﺒﻤﺴﺎﻋﺩﺓ ﺍﻝﻤﻭﺴﻴﻘﻲ ،ﻭﺒﺈﺼﺭﺍﺭ ،ﻝﻜﺸﻑ ﻫﺫﺍ ﺍﻝﺴﺭ ،ﻭﻫﻭ ﺍﻝﺸﻲﺀ ﺍﻝﺫﻱ ﻝﻥ
ﺃﻓﻌﻠﻪ ﻤﻊ ﺍﻝﻘﺎﺭﺉ .ﻭﻝﻠﻌﻠﻡ ﻓﺤﺴﺏ ،ﻴﺸﺎﺭﻙ ﻓﻲ ﺍﻝﺤﻜﺎﻴﺔ ﺃﻴﻀﹰﺎ ﺃﺴﺘﺎﺫ ﺃﻝﻤﺎﻨﻲ ﻓﻲ ﻋﻠﻡ ﺍﻷﻋﺼﺎﺏ ،ﻭﻤﺸﻌﻭﺫ ،ﻭﻤﺤﺎ ﹴﻡ
ﺇﻨﻜﻠﻴﺯﻱ ﻓﻲ ﺭﺤﻠﺔ ﺴﺭﻴﺔ ﻤﻊ ﻋﺸﻴﻘﺘﻪ ،ﻭﺭﺍﻫﺒﺔ ﺫﺍﺕ ﺤﺫﺍﺀ ﺒﻜﻌﺏ ﻋﺎل ،ﻭﻋﺩﺓ ﺸﺨﺼﻴﺎﺕ ﺃﺨﺭﻯ ﺃﻗل ﺃﻫﻤﻴﺔ.
ﺒﻌﺩ ﺜﻼﺙ ﺴﻨﻭﺍﺕ ،ﺼﻭﺭ ﻫﻴﺘﺸﻜﻭﻙ ﻓﻲ ﺃﻤﺭﻴﻜﺎ "ﻅل ﻤﻥ ﺍﻝﺸﻙ" ،ﻭﻤﻥ ﺍﻝﻨﺎﺤﻴﺔ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜـﻭﻥ
ﺍﻝﻔﺎﺼل ﺒﻴﻥ ﺍﻝﻌﻤﻠﻴﻥ "ﺇﺨﺭﺍﺠﻴﹰﺎ" ﻋﺸﺭ ﺴﻨﻭﺍﺕ .ﺠﻤﻴﻊ ﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻝﺘﻲ ﺘﺭﻭﻕ ﻝﻤﺨﺭﺝ "ﺍﻝﺴﻴﺊ ﺍﻝﺴﻤﻌﺔ" ﺘﺘﻀـﻤﻨﻬﺎ
ﺃﻓﻼﻤﻪ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ،ﻝﻜﻨﻪ ﻜﺎﻥ ﻴﻘﻴﺩ ﻨﻔﺴﻪ ﺒﺄﺴﻠﻭﺏ ﻤﻭﻨﺘﺎﺠﻲ ﻜﻼﺴﻴﻜﻲ ،ﺃﻤﺎ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﻓﻘﺩ ﺘﺤﻭل ،ﻭﺩﻭﻥ ﻤﻘﺩﻤﺎﺕ،
ﺇﻝﻰ ﻤﺨﺭﺝ ﺁﺨﺭ .ﻝﻭ ﻜﺎﻥ ﻝﻨﺎ ﺃﻥ ﻨﺤﺘﺴﺏ ﺍﻝﻨﺴﺒﺔ ﺍﻝﻤﺌﻭﻴﺔ ﻝﻜل ﻤﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ ﻷﻋﻁﻴﻨﺎ ﻝﻔﻴﻠﻤﻲ"ﺍﻝﺩﺭﺠﺎﺕ
ﺍﻝﺘﺴﻊ ﻭﺍﻝﺜﻼﺜﻭﻥ" ﻭ"ﺍﻝﺴﻴﺩﺓ ﺘﺨﺘﻔﻲ" 75ﺒﺎﻝﻤﺎﺌﺔ ﻝﻠﺴﻴﻨﺎﺭﻴﻭ ﻭ25ﺒﺎﻝﻤﺎﺌﺔ ﻝﻺﺨﺭﺍﺝ ،ﻭﻫﻭ ﺘﻨﺎﺴﺏ ﻤﺸﺎﺒﻪ ﻝﻤﺎ ﻴﻤﻜﻥ ﺃﻥ
ﻨﺸﺎﻫﺩﻩ ﻓﻲ ﺍﻝﻤﺴﺭﺡ ﺃﻭ ﻓﻲ ﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻝﺴﻨﻭﺍﺕ ﺍﻝﺜﻼﺜﻴﻨﺎﺕ .ﺃﻤﺎ ﺃﻋﻤﺎل ﻫﻴﺘﺸﻜﻭﻙ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻓﻘﺩ ﹸﻜﺘﺒـﺕ
ﺒﺎﻝﺴﻴﻨﻤﺎ ،ﻭﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻴﺩﺨل ﻓﻲ ﻨﺴﻴﺞ ﺍﻹﺨﺭﺍﺝ ،ﻤﺜﻠﻤﺎ ﻴﺩﺨل ﻤﺤﺘﻭﻯ ﺍﻝﺭﻭﺍﻴﺔ ﻀﻤﻥ ﺸﻜل ﺍﻝﻜﺘﺎﺒﺔ .ﻓﻲ ﺇﻨﻜﻠﺘـﺭﺍ،
ﻫﻨﺎﻙ ﻋﺩﺩ ﻏﻴﺭ ﻗﻠﻴل ﻤﻥ ﺍﻝﻤﺨﺭﺠﻴﻥ ،ﺍﻝﺫﻴﻥ ﺒﺈﻤﻜﺎﻨﻬﻡ ﺃﻥ ﻴﺼﻨﻌﻭﺍ ﻤﻥ ﺴﻴﻨﺎﺭﻴﻭ "ﺍﻝﺩﺭﺠﺎﺕ ﺍﻝﺘﺴﻊ ﻭﺍﻝﺜﻼﺜﻭﻥ" ﻨﺘﻴﺠﺔ
ﺘﻘﺎﺭﺏ ﻓﻲ ﺍﻝﺠﻭﺩﺓ ﻤﺎ ﺃﻨﺠﺯﻩ ﻫﻴﺘﺸﻜﻭﻙ ،ﻝﻜﻨﻲ ﻭﺍﺜﻕ ﻤﻥ ﺃﻥ ﻝﻴﺱ ﺒﻴﻨﻬﻡ ﻤﻥ ﻴﻤﻜﻨﻪ ﺃﻥ ﻴﺨﺭﺝ "ﺍﻝﺴﻴﺩﺓ ﺘﺨﺘﻔﻲ" .ﻫل
ﻴﻌﻨﻲ ﻫﺫﺍ ﺃﻥ ﻫﻴﺘﺸﻜﻭﻙ ﺍﻷﻤﺭﻴﻜﻲ ﻴﺘﻔﻭﻕ ﻋﻠﻰ ﻫﻴﺘﺸﻜﻭﻙ ﺍﻹﻨﻜﻠﻴﺯﻱ؟ ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﺒﺩﺃ ،ﻴﻤﻜﻥ ﺃﻥ ﻴﻜـﻭﻥ ﺍﻷﻤـﺭ
ﻻ ﻓﻜﻴﻑ ﻴﻤﻜﻥ ﺇﺫﻥ ﺃﻥ
ﻜﺫﻝﻙ ﻤﺜﻠﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻓﻥ ﺍﻝﻜﺎﺘﺏ ﺃﻭ ﺍﻝﺭﺴﺎﻡ ﺃﻋﻠﻰ ﻤﺭﺘﺒﺔ ﻤﻥ ﻓﻥ ﻤﺨﺭﺝ ﺍﻝﻤﺴﺭﺡ ،ﻭﺇ ﹼ
ﺴﺭ ،ﻭﺒﺎﺴﺘﺜﻨﺎﺀ ﻓﻴﻠﻤﻴﻥ ﺃﻭ ﺜﻼﺜﺔ ﻤﻥ ﺃﻋﻤﺎﻝﻪ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﺍﺘﺨﺎﺫ ﺍﻝﺭﺃﻱ ﺍﻝﻤﺨﺎﻝﻑ؟ ﺭﺒﻤﺎ ﻷﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻻ ﻴﺴـﻤﺢ
ﻴﻔ
ﺒﺘﺤﻘﻴﻕ ﺍﻝﺨﺩﻉ ﺍﻝﺘﻘﻨﻴﺔ .ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﺠﻴﺩ )ﺃﻋﻨﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﺫﻱ ﻴﺫﻜﺭ ﺒﺎﻝﺘﻔﺼﻴل ﻭﺒﺸﻜل ﺠﻴﺩ ﺠﺩﹰﺍ ﻜل ﻤـﺎ ﻴﺘﻌﻠـﻕ
ﺒﺎﻝﺤﺭﻜﺔ ﻭﺒﺎﻝﺸﺨﺼﻴﺎﺕ( ﻫﻭ ﺘﻘﺭﻴﺒﹰﺎ ﻓﻴﻠﻡ ﺠﻴﺩ .ﻭﺍﻻﻨﺸﻐﺎل ﺍﻝﻤﺴﺒﻕ ﺒﺎﻹﺨﺭﺍﺝ ﻝﺩﻯ ﻫﻴﺘﺸﻜﻭﻙ ﻫﻭ ﺇﻏﻭﺍﺀ ﻻ ﻴﻌﺭﻑ
ﻜﻴﻑ ﻴﻘﺎﻭﻤﻪ ،ﻭﻝﺫﻝﻙ ﻴﺼﺒﺢ ﺫﻝﻙ ﻋﻠﻰ ﺤﺴﺎﺏ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ.
)(1952/4/10 ،L`Observateur
ﺃﻨﺎ ﺃﻋﺘﺭﻑ
ﻜﻭﻥ ﺁﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ ﻫﻭ ﺍﻝﺭﺠل ﺍﻷﻜﺜﺭ ﻤﻌﺭﻓﺔ ﻓﻲ ﺍﻝﻌـﺎﻝﻡ ﺒﺠﻤﻴـﻊ ﺍﻝﻤﺘﻁﻠﺒـﺎﺕ ﺍﻝﺩﺭﺍﻤﻴـﺔ ﻝﻺﺨـﺭﺍﺝ
ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ،ﻭﻴﻤﺎﺭﺴﻬﺎ ﺒﺄﺴﺘﺎﺫﻴﺔ ،ﻫﻭ ﻤﺎﻻ ﻴﻜﺫﺒﻪ "ﺃﻨﺎ ﺃﻋﺘﺭﻑ" .ﻭﺇﺫﺍ ﻜﺎﻥ ﺍﻝﻔﻴﻠﻡ ﻗﺩ ﺒﺩﺍ ﺃﻗل ﺒﺭﻴﻘـﹰﺎ ﻤـﻥ "ﺍﻝﺴـﻴﺩﺓ
ﺘﺨﺘﻔﻲ" ﺃﻭ "ﺍﻝﺴﻴﺊ ﺍﻝﺴﻤﻌﺔ" ،ﻓﺴﺒﺏ ﺫﻝﻙ ،ﻋﻠﻰ ﻤﺎ ﻴﺒﺩﻭ ،ﺃﻥ ﺍﻝﺠﻬﺩ ﺍﻝﺘﻘﻨﻲ ﺍﻝﺫﻱ ﺒﺫﻝﻪ ﻫﻴﺘﺸﻜﻭﻙ ﻫﺫﻩ ﺍﻝﻤـﺭﺓ ،ﻝـﻡ
ﻲ ﺍﻹﻨﻜﻠﻴﺯﻱ ﺍﻝﻤﻬﺎﺠﺭ ﺇﻝﻰ ﻫﻭﻝﻴﻭﻭﺩ ،ﻓﻲ ﻤﻌﺭﻓﺔ
ﻴﻜﻥ ﻓﻲ ﻤﺴﺘﻭﺍﻩ ﺍﻝﻤﻌﺘﺎﺩ .ﻝﻴﺱ ﻫﻨﺎﻙ ﻤﻥ ﻴﺘﻔﻭﻕ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﺸﻴﻁﺎﻨ
ﻜﻴﻔﻴﺔ ﺸﺤﻥ ﻝﻘﻁﺎﺘﻪ ﺒﺎﻝﺘﻭﺘﺭ ﺍﻝﻼﺯﻡ ﻷﻏﺭﺍﻀﻪ ،ﻭﻓﻲ ﺍﺴﺘﺨﺩﺍﻡ ﻤﻌﺭﻓﺘﻪ ﺍﻻﺴﺘﺜﻨﺎﺌﻴﺔ ﺒﺄﺴﺭﺍﺭ ﺍﻝﺼـﻭﺭﺓ ،ﻭﺇﺩﺭﺍﻜـﻪ
ﻱ ﻤﻥ ﺃﻓﻼﻡ ﻫﻴﺘﺸﻜﻭﻙ ﺃﺩﻨﻰ ﺇﻀﺎﻋﺔ ﻝﻠﻁﺎﻗﺔ ﺍﻝﺩﺭﺍﻤﻴﺔ ،ﺇﻨﻪ ﻴﻤﺎﺭﺱ ﺘـﺄﺜﻴﺭﻩ
ﺍﻝﻌﻤﻴﻕ ،ﺍﻝﻭﺍﺜﻕ ،ﻝﻁﺎﻗﺎﺘﻪ .ﻻ ﻨﺠﺩ ﻓﻲ ﺃ ﹴ
ﻋﻠﻰ ﺃﻋﺼﺎﺏ ﺠﻤﻴﻊ ﺍﻝﻤﺸﺎﻫﺩﻴﻥ ،ﻤﻬﻤﺎ ﻜﺎﻨﺕ ﺃﻋﻤﺎﺭﻫﻡ ،ﺃﻭ ﺃﻤﺯﺠﺘﻬﻡ ،ﺃﻭ ﺩﺭﺠﺔ ﺫﻜﺎﺌﻬﻡ ﺃﻭ ﺜﻘﺎﻓﺘﻬﻡ .ﺇﻨﻪ ﻴﺸﺒﻪ ﺁﻝﺔ
ﺠﺭﻯ ﺘﻁﻭﻴﺭﻫﺎ ﺇﻝﻰ ﺩﺭﺠﺔ ﻋﺎﻝﻴﺔ ﻤﻥ ﺍﻝﻜﻤﺎل ،ﺒﺤﻴﺙ ﻻ ﻨﺴﺘﻁﻴﻊ ﺒﻌﺩ ﺫﻝﻙ ﺃﻥ ﻨﻀﻴﻑ ﺇﻝﻴﻬﺎ ﺃﻱ ﺸﻲﺀ ،ﻤـﺎ ﻋـﺩﺍ
ﺒﻌﺽ ﺍﻝﺘﺤﺴﻴﻨﺎﺕ ﺍﻝﻁﻔﻴﻔﺔ ﺠﺩﹰﺍ.
ﻜﻴﻑ ﻴﻤﻜﻥ ﻝﻨﺎ ﺇﺫﻥ ﺘﻔﺴﻴﺭ ﻜﻭﻥ "ﺃﻨﺎ ﺃﻋﺘﺭﻑ" ﻗﺩ ﺨﺫﻝﻨﺎ ﺇﻝﻰ ﺤﺩ ﻤﺎ ،ﻭﺃﻜﺜﺭ ﻤﻥ ﻤﻌﻅـﻡ ﺃﻓـﻼﻡ ﻫﻴﺘﺸـﻜﻭﻙ
ﺍﻷﺨﺭﻯ؟ ﺭﺒﻤﺎ ﻴﻌﻭﺩ ﺫﻝﻙ ﻝﻜﻭﻥ ﻫﺫﻩ ﺍﻝﺴﻴﻨﻤﺎ ﺘﺘﻭﺠﻪ ﻓﻘﻁ ﻨﺤﻭ ﺍﻝﻨﻅﺎﻡ ﺍﻝﻌﺼﺒﻲ ﻝﻠﻤﺸﺎﻫﺩ .ﻴﺼﻌﺩ ﻫﻴﺘﺸـﻜﻭﻙ ﺒﻨـﺎ
ﺒﺎﺘﺠﺎﻩ ﺍﻝﻘﺸﺭﺓ ﺍﻝﺩﻤﺎﻏﻴﺔ ،ﻜﻲ ﻴﺤﺭﺽ ﻓﻜﺭﻨﺎ ،ﻭﻫﻜﺫﺍ ﻓﺈﻥ ﺍﻝﺤﺭﻜﺔ ﻻ ﺘﻨﻁﻠﻕ ﺃﺒﺩﹰﺍ ﻤﻥ ﺩﺍﺌﺭﺓ ﺍﻝﺩﻤﺎﻍ ﺒﺎﺘﺠﺎﻩ ﺩﺍﺌـﺭﺓ
ﺍﻝﻘﻠﺏ ،ﺃﻭ ﺒﺎﺘﺠﺎﻩ ﺍﻝﺸﻌﻭﺭ.
ﻨﺘﺄﻜﺩ ﻤﻥ ﻫﺫﺍ ﺍﻷﻤﺭ ﺘﺤﺩﻴﺩﺍﹰ ،ﻤﻊ ﻤﻭﻀﻭﻉ ﻁﻤﻭﺡ ﺫﻱ ﺭﻓﻌﺔ ﺃﺨﻼﻗﻴﺔ ،ﻭﻴﻔﺘﺭﺽ ﺃﻥ ﻴﻜﻭﻥ ﻤﺅﺜﺭﹰﺍ ،ﺇﺫ ﺇﻨـﻪ
ﻴﺘﺄﺴﺱ ﻋﻠﻰ ﻗﺩﺍﺴﺔ ﺴﺭ ﺍﻻﻋﺘﺭﺍﻑ :ﻜﺎﻫﻥ ﺸﺎﺏ ﻫﻭ ﺍﻷﺏ ﻝﻭﻏﺎﻥ ﻴﺴﻤﻊ ﺨﻼل ﺍﻋﺘﺭﺍﻑ ﺴﺎﺩﻥ ﻓﻲ ﺍﻝﻜﻨﻴﺴﺔ ﺃﻨـﻪ
ﹶﻗﺘل ﻤﺤﺎﻤﻴﹰﺎ ﻓﻲ ﺍﻝﻤﺩﻴﻨﺔ ،ﻭﻗﺩ ﺍﺭﺘﺩﻯ ﻋﻨﺩ ﺘﻨﻔﻴﺫ ﺠﺭﻴﻤﺘﻪ ﺜﻭﺏ ﻜﺎﻫﻥ ،ﻭﻫﻨﺎﻙ ﺸﺎ ﻫﺩ ﺭﺁﻩ ﻝﺩﻯ ﺨﺭﻭﺠﻪ ﻤﻥ ﺍﻝﻤﻨﺯل.
ﻭﺘﻜﺸﻑ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ ﺃﻥ ﻝﻠﻜﺎﻫﻥ ﻤﺼﻠﺤﺔ ﻓﻲ ﺍﻝﻘﻀﺎﺀ ﻋﻠﻰ ﺍﻝﻤﺤﺎﻤﻲ ﺍﻝﺫﻱ ﻜﺎﻥ ﻗﺩ ﻗﺎﻡ ﺒﺎﺒﺘﺯﺍﺯ ﺍﻤﺭﺃﺓ ﺸﺎﺒﺔ ﻤﺘﺯﻭﺠﺔ
ﻜﺎﻨﺕ ﻓﻴﻤﺎ ﻤﻀﻰ ﺨﻁﻴﺒ ﹰﺔ ﻝﻸﺏ ﻝﻭﻏﺎﻥ .ﺇﺫﻥ ،ﻓﺎﻝﺸﺭﻁﺔ ﻝﺩﻴﻬﺎ ﻜل ﺍﻷﺴﺒﺎﺏ ﻝﻼﺸﺘﺒﺎﻩ ،ﺘﺤﺩﻴﺩﺍﹰ ،ﺒﺎﻝﺸﺨﺹ ﺍﻝﻭﺤﻴـﺩ
ﺍﻝﺫﻱ ﻴﻌﺭﻑ ﻤﻥ ﻫﻭ ﺍﻝﻘﺎﺘل ﺍﻝﺤﻘﻴﻘﻲ ،ﺇﻻ ﺃﻨﻪ ،ﻭﺍﺤﺘﺭﺍﻤ ﹰﺎ ﻝﺴﺭ ﺍﻻﻋﺘﺭﺍﻑ ،ﻻ ﻴﺴﺘﻁﻴﻊ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻭﺴﻴﻠﺔ ﺍﻝﺘﻲ ﺘﻤﻜﻨﻪ
ﻤﻥ ﺇﻅﻬﺎﺭ ﺒﺭﺍﺀﺘﻪ .ﻭﻜل ﻤﺎ ﻜﺎﻥ ﺒﺈﻤﻜﺎﻥ ﺍﻝﺸﺎﺒﺔ ﺃﻥ ﺘﻘﻭﻝﻪ ﻝﺼﺎﻝﺤﻪ ،ﻭﺍﻝﺘﻲ ﻤﺎ ﺘﺯﺍل ﺘﺤﺒﻪ ،ﻴﺴﻬﻡ ﻓﻲ ﺘﻘﺩﻴﻡ ﺃﺴﻠﺤﺔ
ﺍﺘﻬﺎﻡ ﺠﺩﻴﺩﺓ .ﻝﻜﻥ ،ﻭﻝﺤﺴﻥ ﺍﻝﺤﻅ ،ﻭﺃﺨﻴﺭﺍﹰ ،ﻭﺒﺼﺤﻭﺓ ﻀﻤﻴﺭ ،ﺘﻌﺘﺭﻑ ﺯﻭﺠﺔ ﺍﻝﺴﺎﺩﻥ ﺒﺠﺭﻴﻤﺔ ﺯﻭﺠﻬـﺎ ﻓﺘﺤـﻭل
ﺩﻭﻥ ﺃﻥ ﻴﺸﻨﻕ ﺍﻝﻜﺎﻫﻥ ﺍﻝﺫﻱ ﻜﺎﻥ ﻗﺩ ﺼﺩﺭ ﻋﻠﻴﻪ ﺍﻝﺤﻜﻡ ﺒﺎﻹﻋﺩﺍﻡ.
ﻴﻤﻜﻥ ﺍﻝﺘﺄﻜﺩ ﻤﻥ ﺃﻥ ﺍﻝﻤﻅﻬﺭ ﺍﻝﻌﺎﻁﻔﻲ ﻭﺍﻷﺨﻼﻗﻲ ﻝﻠﺴﻴﻨﺎﺭﻴﻭ ﻝﻡ ﻴﻜﻥ ﻗﻠﻴل ﺍﻷﻫﻤﻴﺔ .ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ،ﻝﻡ ﻴﺘﻌﺎﻤـل
ﻫﻴﺘﺸﻜﻭﻙ ﺇﻁﻼﻗﹰﺎ ﻤﻊ ﻨﻔﺴﻪ ،ﺒل ﻤﻊ ﺘﺸﻐﻴل ﺁﻝﻴﺎﺘﻪ ﺍﻝﺩﺭﺍﻤﻴﺔ ،ﻓﺎﻝﺤﺏ ﺃﻭ ﺍﻝﻭﺍﺠﺏ ﺍﻝﺩﻴﻨﻲ ﻫﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴـﻪ ﻤﺠـﺭﺩ
ﻤﺯﻴﺩ ﻤﻥ ﺍﻝﻤﺴﻨﻨﺎﺕ ﻓﻲ ﺁﻝﺘﻪ ﺍﻝﺘﻲ ﻴﺼﻨﻊ ﻓﻴﻬﺎ ﺍﻝﺘﻭﺘﺭ .ﻝﻜﻥ ﻫﺫﻩ ﺍﻝﺨﻴﺎﻨﺔ ﻝﻬﺎ ﻋﻘﻭﺒﺘﻬﺎ :ﻓﻤﻬﺎﺭﺓ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﻘﺩﺭ ﻤـﻥ
ﺍﻝﺘﻤﻴﺯ ﺩﻭﻥ ﺍﻻﻗﺘﺭﺍﺏ ﻤﻤﺎ ﻫﻭ ﺃﺴﺎﺴﻲ ﻻ ﺘﻘﻭﺩ ﺴﻭﻯ ﺇﻝﻰ ﺍﻝﻤﻠل ،ﻭﻜﻨﺎ ﻨﺭﻏﺏ ﺒﺄﻥ ﻨﺤﺏ ﺍﻝﺸﺨﺼﻴﺎﺕ ﻭﺃﻥ ﻨﺘﻌﺎﻁﻑ
ﻻ ﻤﻥ ﺃﻥ ﻴﺴﺘﻐﺭﻗﻨﺎ ﺍﻻﻫﺘﻤﺎﻡ ﺒﻤﺸﺎﻜﻠﻬﺎ ﻭﺒﺸﻘﺎﺌﻬﺎ.
ﻤﻌﻬﺎ ﺒﺩ ﹰ
ﺘﻐﻴﺭﺕ ﺁﻥ ﺒﺎﻜﺴﺘﺭ ﻜﺜﻴﺭﹰﺍ ﻤﻨﺫ "ﺁﻤﺒﺭﺴﻭﻥ ﺍﻝﺭﺍﺌﻊ" ،ﺍﻜﺘﺴﺏ ﻭﺠﻬﻬﺎ ﻗﺴﻭﺓ ﻤﺒﺘﺫﻝﺔ ،ﻝﻜﻨﻬﺎ ﻭﻅﻔﺘﻬﺎ ﻫﻨﺎ ﺒﺼﻭﺭﺓ
ﺠﻴﺩﺓ ﻝﺼﺎﻝﺢ ﺍﻝﺸﺨﺼﻴﺔ .ﻤﻭﻨﺘﻐﻭﻤﺭﻱ ﻜﻠﻴﻔﺕ ﻫﻭ "ﺃﺏ ﻝﻭﻏﺎﻥ" ﺴﻘﻁ ﻓﻲ ﻓﺦ ﻭﺍﺠﺒﻪ ﺒﻁﺭﻴﻘﺔ ﺸﺒﻪ ﺴﺎﺫﺠﺔ ،ﻭﻗﻠﻤـﺎ
ﻜﺎﻥ ﻭﺠﻬﻪ ﻴﻐﻴﺭ ﻤﻥ ﺘﻌﺒﻴﺭﻩ ،ﻝﻜﻨﻨﺎ ﺼﺩﻗﻨﺎﻩ.
) (1952/7/2
ﺴﻴﻜﻭﻥ ﻤﻥ ﺍﻝﻤﻨﺎﺴﺏ ﺠﺩﹰﺍ ﺃﻥ ﻴﻘﺎﺭﻥ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻝﻬﻴﺘﺸﻜﻭﻙ ﻤﻊ "ﺍﻝﺸﻴﻁﺎﻨﻴﺎﺕ") .(1ﻫـﺫﺍﻥ ﺍﻝﻔﻴﻠﻤـﺎﻥ ﻴﻤﻜـﻥ
ﺍﻋﺘﺒﺎﺭﻫﻤﺎ ،ﻓﻲ ﺍﻝﻭﺍﻗﻊ ،ﻝﻠﺘﺴﻠﻴﺔ ،ﻤﻘﺎﺭﻨﺔ ﺒﺄﻋﻤﺎل ﺃﻜﺜﺭ ﻁﻤﻭﺤ ﹰﺎ ﻤﺜل "ﺃﻨﺎ ﺃﻋﺘﺭﻑ" ﺃﻭ "ﺜﻤﻥ ﺍﻝﺨﻭﻑ") .(2ﻭﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ
ﺒـ"ﺍﺘﺼﺎل ﻡ .ﺍﻝﻬﺎﺘﻔﻲ ﻤﻥ ﺃﺠل ﺍﻝﻘﺘل" ،ﻓﺈﻥ ﻁﺒﻴﻌﺔ ﺍﻝﺘﺴﻠﻴﺔ ﺍﻝﺸﻜﻠﻴﺔ ﺘﺘﺄﻜﺩ ﺃﻴﻀﹰﺎ ﻤﻥ ﺨﻼل ﺘﻘﻨﻴﺎﺕ ﺍﻝﺘﻨﻔﻴـﺫ ،ﻓﻘـﺩ
ﺠﺭﻯ ﺘﺼﻭﻴﺭ ﺍﻝﻔﻴﻠﻡ ﺒﻁﺭﻴﻘﺔ ﺍﻷﺒﻌﺎﺩ ﺍﻝﺜﻼﺜﺔ ﺍﻝﻤﺠﺴﻤﺔ ،ﻭﻜﺎﻨﺕ ﻫﺫﻩ ﺃﻭل ﻓﺭﺼﺔ ﻨﺸﺎﻫﺩ ﻓﻴﻬﺎ ﻓﻴﻠﻤﹰﺎ ﺒﻬﺫﻩ ﺍﻝﻁﺭﻴﻘـﺔ
ﻝﻤﺨﺭﺝ ﺴﻴﻨﻤﺎﺌﻲ ﻜﺒﻴﺭ ﻤﺘﺨﺼﺹ ﺒﺎﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺘﻘﻨﻴﺔ ،ﻝﻜﻥ ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﻘﻭل ﺇﻥ ﺍﻝﻤﻭﻀﻭﻉ ﻝﻡ ﻴﻜﻥ ﻴﺘﻁﻠـﺏ ﻋﻠـﻰ
ﺍﻹﻁﻼﻕ ﻁﺭﻴﻘﺔ ﺍﻷﺒﻌﺎﺩ ﺍﻝﺜﻼﺜﺔ ،ﻓﺒﺎﺴﺘﺜﻨﺎﺀ ﻤﺸﻬﺩ ﺍﻝﺠﺭﻴﻤﺔ ،ﻭﺭﺒﻤﺎ ﺃﻴﻀﹰﺎ ﻤﺸﻬﺩ ﺍﻝﻤﺤﺎﻜﻤﺔ ،ﻝﻡ ﻴﻜﻥ ﺍﻝﻔﻴﻠﻡ ﻝﻴﺨﺴـﺭ
ﺸﻴﺌﹰﺎ ﺠﻭﻫﺭﻴﹰﺎ ﺩﻭﻥ ﺍﺘﺒﺎﻉ ﻫﺫﻩ ﺍﻝﻁﺭﻴﻘﺔ.
ﻫﻭ ﺇﻋﺩﺍﺩ ﺃﻤﻴﻥ ﻝﻌﻤل ﺒﻭﻝﻴﺴﻲ ﺇﻨﻜﻠﻴﺯﻱ ﹸﻗﺩﻡ ﻓﻲ ﺒﺎﺭﻴﺱ )ﻓﻲ ﺍﻵﻤﺒﺎﺴﺎﺩﻭﺭ ﺒﻤﺸﺎﺭﻜﺔ ﺒﻴﺭﻨﺎﺭ ﺒﻠﻴﻴﻪ ﻭﺠﺎﻜﻠﻴﻥ
ﺒﻭﺭﻴل( ﺘﺤﺕ ﻋﻨﻭﺍﻥ "ﺍﻝﺠﺭﻴﻤﺔ ﺍﻝﻜﺎﻤﻠﺔ" .ﻭﻜﻤﺎ ﻫﻭﺍﻷﻤﺭ ﻓﻲ"ﺍﻝﺤﺒل" ،ﻓﻘﺩ ﺍﺤﺘﺭﻡ ﻫﻴﺘﺸﻜﻭﻙ ﺒﺎﻝﻜﺎﻤل ﻭﺤﺩﺓ ﺍﻝﻤﻜﺎﻥ،
ﺇﺫ ﺇﻥ ﺍﻝﺤﺩﺙ ﻴﺠﺭﻱ ﺒﺭﻤﺘﻪ ﺩﺍﺨل ﻤﻨﺯﹶﻝﻲ ﺍﻝﻘﺎﺘل ﻭﺍﻝﻀﺤﻴﺔ.
ﻴﻨﺘﻤﻲ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺇﻝﻰ ﺃﻓﻀل ﺘﻘﺎﻝﻴﺩ ﺍﻷﻋﻤﺎل ﺍﻝﺒﻭﻝﻴﺴﻴﺔ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ،ﻭﻴﺘﻜﻭﻥ ﻤﻥ ﺃﺭﺒﻌـﺔ ﺃﺯﻤﻨـﺔ ﻤﻨﻁﻘﻴـﺔ
ﻭﺩﺭﺍﻤﻴﺔ .ﻴﻜﺘﺸﻑ ﺍﻝﺯﻭﺝ ﺃﻥ ﺯﻭﺠﺘﻪ ﻗﺩ ﺃﻗﺎﻤﺕ ﻋﻼﻗﺔ ﻤﻊ ﺃﺤﺩ ﺃﺼﺩﻗﺎﺌﻪ ،ﺍﻝﺫﻱ ﻫﻭ ﻤﺅﻝﻑ ﺭﻭﺍﻴـﺎﺕ ﺒﻭﻝﻴﺴـﻴﺔ،
ﻓﻴﻘﺭﺭ ﺍﻝﺘﺨﻠﺹ ﻤﻨﻬﺎ ﺒﺠﺭﻴﻤﺔ ﻜﺎﻤﻠﺔ .ﻴﻘﻭﻡ ﺒﺈﻋﺩﺍﺩ ﺨﻁﺔ ﺘﺘﻴﺢ ﻝﻪ ﺃﻥ ﺘﻜﻭﻥ ﺍﻝﺠﺭﻴﻤﺔ ﻗﺩ ﺠﺭﻯ ﺘﻨﻔﻴﺫﻫﺎ ﻤﻥ ﻗﺒل ﺃﺤﺩ
ﺯﻤﻼﺀ ﺍﻝﻤﺩﺭﺴﺔ ﺍﻝﻘﺩﺍﻤﻰ ﻜﺎﻥ ﻗﺩ ﻋﺎﺩ ﻝﻴﻠﺘﻘﻴﻪ ،ﺒﻌﺩ ﺍﻜﺘﺸﺎﻓﻪ ﺃﻥ ﻝﺩﻯ ﻫﺫﺍ ﺍﻝﺯﻤﻴل ﺒﻌﺽ ﺍﻷﺴﺭﺍﺭ ﺍﻝﺘﻲ ﻴﻤﻜـﻥ ﺃﻥ
ﺘﻀﻌﻪ ﺘﺤﺕ ﺍﻝﺸﺒﻬﺎﺕ ،ﻭﺇﺫ ﻴﺭﻯ ﺃﻥ ﻫﺫﺍ ﺍﻝﺯﻤﻴل ﺃﺼﺒﺢ ﺘﺤﺕ ﺭﺤﻤﺘﻪ ،ﻴﻘﺘﺭﺡ ﻋﻠﻴﻪ ﻤﺒﻠﻎ ﺃﻝﻑ ﺠﻨﻴﻪ ﻴﺴﺎﻋﺩﻩ ﻓﻲ
ﻗﺘل ﺯﻭﺠﺘﻪ ،ﻤﻊ ﻭﻋﺩ ﻝﻪ ﺒﺈﺒﻘﺎﺌﻪ ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﺍﻝﺸﺒﻬﺎﺕ .ﻴﺠﺏ ﺃﻥ ﻴﺠﺭﻱ ﺍﻝﻘﺘل ﻓﻲ ﻨﻔﺱ ﺍﻝﻠﺤﻅﺔ ﺍﻝﺘﻲ ﻴﻘـﻭﻡ ﻓﻴﻬـﺎ
ﺍﻝﺯﻭﺝ ﺒﺎﺘﺼﺎل ﻫﺎﺘﻔﻲ ﻝﻴﻠﻲ ،ﻤﻥ ﺍﻝﻨﺎﺩﻱ ،ﺒﺯﻭﺠﺘﻪ .ﻜﺎﻥ ﻜل ﺸﻲﺀ ﻤﻌﺩﹰﺍ ﺒﺼﻭﺭﺓ ﻜﺎﻤﻠﺔ ،ﻻ ﻴﺨﺎﻁﺭ ﻓﻴﻬﺎ ﺍﻝﻘﺎﺘـل،
ﻨﻅﺭﻴﺎﹰ ،ﺒﺸﻲﺀ .ﺘﺠﺭﻱ ﺍﻷﻤﻭﺭ ﻭﻓﻘﹰﺎ ﻝﻤﺎ ﻜﺎﻥ ﻤﺨﻁﻁﹰﺎ ﻝﻬﺎ ،ﻤﻊ ﺍﻝﻔﺎﺭﻕ ﺒﺄﻥ ...ﺍﻝﻘﺎﺘل ﻫﻭ ﺍﻝﺫﻱ ﻴﻤـﻭﺕ؛ ﺤـﻴﻥ
ﺘﺘﻤﻜﻥ ﺍﻝﺯﻭﺠﺔ ﻤﻥ ﺍﻝﺩﻓﺎﻉ ﻋﻥ ﻨﻔﺴﻬﺎ ﺒﻁﺭﻴﻘﺔ ﻓﻌﺎﻝﺔ .ﺒﻌﺩ ﻫﺫﺍ ﺍﻝﺫﻱ ﺤﺼل ﺒﺎﺴﺘﻁﺎﻋﺘﻨﺎ ﺍﻻﻋﺘﻘﺎﺩ ﺃﻥ ﺍﻝﺯﻭﺝ ﻗـﺩ
ﺨﺭﺝ ﺨﺎﺴﺭﹰﺍ .ﺇﻻ ﺃﻨﻪ ،ﻭﺨﻼل ﺍﻝﺘﺤﺭﻴﺎﺕ ،ﻴﺘﻤﻜﻥ ﻤﻥ ﺍﺴﺘﻌﺎﺩﺓ ﺯﻤﺎﻡ ﺍﻝﻤﻭﻗﻑ ،ﻓﻴﺘﻔﺎﺩﻯ ﺃﻥ ﻴﺼﺒﺢ ﻤﺸﺘﺒﻬﹰﺎ ﺒﻪ ،ﺒل
ﻭﻴﺩﻓﻊ ﺍﻝﺸﺭﻁﺔ ﺇﻝﻰ ﺍﻻﻋﺘﻘﺎﺩ ﺒﺄﻥ ﺍﻝﻤﺭﺃﺓ ﻗﹶﺘﻠﺕ ،ﻭﻋﻥ ﻋﻤﺩ ،ﺍﻝﺭﺠل ﺍﻝﺫﻱ ﻫﺩﺩﻫﺎ ﺒﺎﻻﺒﺘﺯﺍﺯ.
ﺃﻤﺎ ﺍﻝﻔﺼل ﺍﻝﺭﺍﺒﻊ ﻓﻬﻭ ﻤﺨﺼﺹ ﻁﺒﻌﹰﺎ ﻤﻥ ﺃﺠل ﺇﻋﺎﺩﺓ ﺍﻝﺤﻘﻴﻘﺔ ﺇﻝﻰ ﻤﻜﺎﻨﻬﺎ ﺒﻔﻀل ﺫﺭﺓ ﺭﻤل ﻤﺘﻨﺎﻫﻴﺔ ﻓﻲ
ﺍﻝﺼﻐﺭ ﺘﺴﺭﺒﺕ ﺇﻝﻰ ﺍﻵﻝﺔ ،ﻭﻫﻭ ﻤﺎ ﻝﻥ ﺃﻜﺸﻔﻪ ﻝﻠﻘﺎﺭﺉ.
ﻗﺎﺭﺏ ﺍﻝﻨﺠﺎﺓ
ﻴﻌﺭﺽ ﺤﺎﻝﻴﹰﺎ ﻓﻲ ﺴﻴﻨﻤﺎ ﺒﺭﻭﺩﻭﺍﻱ ﺃﺤﺩ ﺍﻷﻓﻼﻡ ﺍﻷﻜﺜﺭ ﺒﺭﻴﻘﹰﺎ ﻝﻬﻴﺘﺸﻜﻭﻙ ﻝﻡ ﻴﺴﺒﻕ ﺃﻥ ﺸـﺎﻫﺩﻨﺎﻩ ،ﺭﻏـﻡ ﺃﻥ
ﺇﻨﺘﺎﺠﻪ ﻴﻌﻭﺩ ﺇﻝﻰ ﻋﺎﻡ ،1943ﻭﻴﺘﻨﺎﻭل ﻤﻭﻀﻭﻋﹰﺎ ﺭﺍﻫﻨﹰﺎ ﺒﺸﻜل ﻭﺍﻀﺢ .ﻜﺎﻥ ﻤﻥ ﺍﻝﻤﻔﺭﻭﺽ ﺃﻥ ﻴﻌﺭﺽ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ
ﻓﻲ ﻓﺭﻨﺴﺎ ﺒﺼﻭﺭﺓ ﻁﺒﻴﻌﻴﺔ ﻋﺎﻡ 1946ﺃﻭ .1947ﻝﻤﺎﺫﺍ ﺒﻘﻲ ﻓﻲ ﻋﻠﺏ ﺍﻝﻤﻭﺯﻋﻴﻥ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ؟ .ﺭﺒﻤـﺎ ﻴﻤﻜـﻥ
ﺍﻝﺘﺄﻜﻴﺩ ﺃﻥ "ﻗﺎﺭﺏ ﺍﻝﻨﺠﺎﺓ" ﻜﺎﻥ ﻀﺤﻴ ﹰﺔ ﻝﺠﺭﺃﺓ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ .ﻝﻘﺩ ﻗﺎﻡ ﻫﻴﺘﺸﻜﻭﻙ ﻓﻲ ﻫﺫﺍ ﺍﻝﻔـﻴﻠﻡ ﺒﺎﻝﻤﺭﺍﻫﻨـﺔ
ﺍﻷﻜﺜﺭ ﺃﻫﻤﻴﺔ ﺨﻼل ﻤﺴﻴﺭﺘﻪ ﺍﻝﻤﻬﻨﻴﺔ ،ﺒﺎﺴﺘﺜﻨﺎﺀ ﺘﻠﻙ ﺍﻝﺘﻲ ﺨﺎﻀﻬﺎ ﻓﻲ "ﺍﻝﺤﺒل".
ﻴﺠﺭﻱ ﺍﻝﺤﺩﺙ ﺒﺎﻝﻜﺎﻤل ،ﻭﺤﺼﺭﺍﹰ ،ﺩﺍﺨل ﻗﺎﺭﺏ ،ﺤﻴﺙ ﻴﺘﺠﻤﻊ ﺜﻤﺎﻨﻴﺔ ﻨﺎﺠﻴﻥ ﺒﻌﺩ ﺃﻥ ﺃﻏﺭﻗﺕ ﻗﺫﻴﻔﺔ ﻁﻭﺭﺒﻴﺩ ﺴـﻔﻴﻨﺔ
ﺸﺤﻥ ،ﻭﻜﺎﻥ ﻤﻥ ﺒﻴﻨﻬﻡ ﻗﺎﺌﺩ ﻗﺎﺫﻓﺔ ﺍﻝﻁﻭﺭﺒﻴﺩ ﺍﻷﻝﻤﺎﻨﻴﺔ ﺍﻝﺘﻲ ﻏﺭﻗﺕ ﻫﻲ ﺃﻴﻀﹰﺎ .ﻜﻴﻑ ﺴﻴﻜﻭﻥ ﺴﻠﻭﻙ ﻫﺅﻻﺀ ﺍﻷﺸـﺨﺎﺹ،
ﻓﻴﻤﺎ ﺒﻴﻨﻬﻡ ،ﻭﺃﻤﺎﻡ ﺍﻝﺨﻁﺭ ،ﺍﻨﻁﻼﻗﹰﺎ ﻤﻥ ﺃﺼﻭﻝﻬﻡ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ،ﻭﻁﺒﺎﻋﻬﻡ ،ﻭﺁﻤﺎﻝﻬﻡ ،ﻭﻤﻬﻨﻬﻡ ،ﻭﻜﺫﻝﻙ ﺃﻭﻀﺎﻋﻬﻡ ﺍﻝﺼـﺤﻴﺔ
)ﺃﺤﺩﻫﻡ ﻜﺎﻥ ﻗﺩ ﺠﺭﺡ ﻓﻲ ﺴﺎﻗﻪ ،ﺍﻝﺘﻲ ﺃﺨﺫﺕ ﺘﺘﻌﻔﻥ(؟ ﻜﻴﻑ ﺴﻴﺘﺼﺭﻑ ﺒﺸﻜل ﺨﺎﺹ ﻫﺅﻻﺀ ﺍﻷﻤﺭﻴﻜﻴﻭﻥ ﺘﺠﺎﻩ ﺍﻷﻝﻤـﺎﻨﻲ
ﺍﻝﻤﺴﺅﻭل ﻋﻥ ﻤﺼﻴﺒﺘﻬﻡ؟ .ﻓﻴﻤﺎ ﺒﻌﺩ ،ﻴﺒﺩﺃ ﺍﻝﺤﺩﺙ ﻴﺘﻁﻭﺭ ﺤﻭل ﻫﺫﻩ ﺍﻝﺸﺨﺼﻴﺔ ،ﻭﺍﻷﻓﻀل ﺃﻥ ﻴﻘﺎل ﺇﻨﻪ ﻴﺘﺒﻠﻭﺭ .ﻭﻴﺒﺩﻭ ﻫﺫﺍ
ﺍﻝﻨﺎﺯﻱ ،ﻓﻲ ﺍﻝﻭﺍﻗﻊ ،ﺍﻷﻜﺜﺭ ﻤﻘﺩﺭﺓ ﻋﻠﻰ ﺍﻝﺘﻌﺎﻤل ﻤﻊ ﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﻤﻭﻗﻑ ،ﻓﻬﻭ ﻁﺒﻴﺏ ﺠﺭﺍﺡ ﻓﻲ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻤﺩﻨﻴﺔ ،ﻭﻴﺴـﺘﻁﻴﻊ
ﺇﺠﺭﺍﺀ ﻋﻤﻠﻴﺔ ﻝﻠﺸﺨﺹ ﺍﻝﺠﺭﻴﺢ ،ﻜﻤﺎ ﺃﻨﻪ ،ﻜﻀﺎﺒﻁ ﻓﻲ ﺍﻝﺒﺤﺭﻴﺔ ،ﺍﻝﻭﺤﻴﺩ ﺍﻝﻘﺎﺩﺭ ﻋﻠﻰ ﺘﻭﺠﻴﻪ ﺍﻝﻤﻼﺤﺔ ﺍﻝﻤﻀﻁﺭﺒﺔ ﻝﻘـﺎﺭﺏ
ﺍﻝﻨﺠﺎﺓ.
ﻭﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﻨﻔﻭﺭ ﻫﺅﻻﺀ ﺍﻝﻨﺎﺠﻴﻥ ﻤﻨﻪ ﻓﻬﻡ ﻴﺠﺩﻭﻥ ﺃﻨﻔﺴﻬﻡ ﻤﻀﻁﺭﻴﻥ ﻝﻼﺘﻜﺎل ﻋﻠﻴﻪ .ﻭﻴﺘﺤـﻭل ﻫـﺫﺍ
ﺍﻷﺴﻴﺭ ،ﺒﺴﺒﺏ ﻤﻬﺎﺭﺘﻪ ﺍﻝﺘﻘﻨﻴﺔ ،ﺇﻝﻰ ﺴﺠﺎﻥ ﻝﻬﻡ ،ﻭ ﻴﺴﺘﻐل ﺍﻝﻤﻭﻗﻑ ﺒﺄﻥ ﻴﻘﻭﺩ ﺍﻝﻤﺭﻜﺏ ،ﻝﻴﺱ ﺒﺎﺘﺠﺎﻩ ﺍﻝﺸﺎﻁﺊ ،ﻜﻤﺎ
ﻗﺎل ﻓﻲ ﺍﻝﺒﺩﺍﻴﺔ ،ﺒل ﺒﺎﺘﺠﺎﻩ ﻤﻜﺎﻥ ﻴﻌﺭﻓﻪ ،ﺤﻴﺙ ﺘﻭﺠﺩ ﺴﻔﻴﻨﺔ ﺃﻝﻤﺎﻨﻴﺔ .ﻭﻋﻨﺩﻤﺎ ﻴﻌﻠﻡ ﺍﻝﻨﺎﺠﻭﻥ ﺒﻬﺫﺍ ﺍﻷﻤﺭ ،ﻴﺼﺎﺭﺤﻬﻡ
ﻻ ﻤﻥ ﺃﻥ ﻴﺼﺒﺤﻭﺍ ﺃﻤﻭﺍﺘﹰﺎ ﻓﻭﻕ ﻗـﺎﺭﺏ
ﺒﺄﻥ ﻝﻴﺱ ﻝﺩﻴﻬﻡ ﺃﻱ ﻤﺨﺭﺝ ،ﻭﻤﻥ ﺍﻷﻓﻀل ﻝﻬﻡ ﺃﻥ ﻴﺘﺤﻭﻝﻭﺍ ﺇﻝﻰ ﺴﺠﻨﺎﺀ ﺒﺩ ﹰ
ﺘﺘﻘﺎﺫﻓﻪ ﺍﻝﺘﻴﺎﺭﺍﺕ .ﻭ ﹸﺘﺴﹼﻠﻡ ﺍﻝﻤﺠﻤﻭﻋﺔ ﺃﻤﺭﻫﺎ ﺇﻝﻴﻪ .ﻝﻜﻥ ﻋﻨﺩﻤﺎ ﻴﺒﺩﺃ ﻤﺎ ﻝﺩﻴﻬﻡ ﻤﻥ ﻤﻭﺍﺩ ﻏﺫﺍﺌﻴﺔ ﻭﻤﺎﺀ ﺒﺎﻝﻨﻔﺎﺩ ،ﻻ ﻴﺘﺭﺩﺩ
ﺍﻷﻝﻤﺎﻨﻲ ،ﺍﻝﺫﻱ ﻜﺎﻥ ﻗﺩ ﺃﻨﻘﺫ ﺤﻴﺎﺓ ﺍﻝﺭﺠل ﺍﻝﺠﺭﻴﺢ ﺒﻘﻁﻊ ﺭﺠﻠﻪ ،ﻓﻲ ﺍﻹﻝﻘﺎﺀ ﺒﻬﺫﺍ ﺍﻝﺭﺠل ﺇﻝـﻰ ﺍﻝﺒﺤـﺭ" ،ﻹﻴﻘـﺎﻑ
ﻤﻌﺎﻨﺎﺘﻪ" ﻤﻥ ﻨﺎﺤﻴﺔ ،ﻭ"ﻹﻝﻐﺎﺀ ﻓﻡ ﻏﻴﺭ ﻤﻔﻴﺩ" ﻤﻥ ﻨﺎﺤﻴﺔ ﺃﺨﺭﻯ .ﻭﻴﺼﺒﺢ ﺍﻷﻤﺭ ،ﺒﺫﻝﻙ ،ﻓﻭﻕ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺍﻻﺤﺘﻤﺎل،
ﻭﻴﻘﺭﺭ ﺍﻝﻨﺎﺠﻭﻥ ﻗﺘل ﺃﺴﻴﺭﻫﻡ .ﻭﻜﺄﻥ ﻓﻲ ﻫﺫﺍ ﻤﺎ ﻴﺭﻤﺯ ﺇﻝﻰ ﺍﻝﻐﻀﺏ ﺍﻝﻌﺎﺩل ﺍﻝﺫﻱ ﻴﺠﺏ ،ﻓﻲ ﺍﻝﻨﻬﺎﻴـﺔ ،ﺃﻥ ﻴﻠﻐـﻲ
"ﺍﻝﻠﻴﺒﺭﺍﻝﻴﺔ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻷﻨﻜﻠﻭﺴﺎﻜﺴﻭﻨﻴﺔ".
ﻨﺴﺘﻁﻴﻊ ،ﻋﻠﻰ ﻤﺎ ﺃﻋﺘﻘﺩ ،ﺃﻥ ﻨﺠﺩ ﻓﻲ ﺠﻤﻴﻊ ﺃﻓﻼﻡ ﺍﻝﺤﺭﺏ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﻤﻘﻭﻻﺕ ﻀﻤﻨﻴﺔ ﺘﺘﺠﻪ ﻨﺤﻭ ﻨﻔـﺱ
ﺍﻝﻨﻬﺎﻴﺔ ،ﻝﻜﻥ ﻴﺼﻌﺏ ﺃﻥ ﻴﻌﺒﺭ ﻋﻨﻬﺎ ﺩﺍﺌﻤﹰﺎ ﺒﻁﺭﻴﻘﺔ ﺤﺎﺫﻗﺔ .ﻭﻋﻠﻴﻨـﺎ ﺍﻻﻋﺘـﺭﺍﻑ ﺃﻨـﻪ ،ﻤـﻊ ﻫـﺫﻩ ﺍﻝﺘﻭﺠﻬـﺎﺕ
ﺍﻹﻴﺩﻴﻭﻝﻭﺠﻴﺔ ،ﻤﻥ ﺍﻝﺼﻌﺏ ﺠﺩﹰﺍ ﺘﺤﻘﻴﻕ ﻓﻴﻠﻡ ﻜﻬﺫﺍ ﺒﺼﻭﺭﺓ ﺃﻜﺜﺭ ﺤﺫﻗﹰﺎ ﻭﻤﻬﺎﺭﺓ.
ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﻭﺠﻭﺩ ﻫﺫﻩ ﺍﻝﺘﻭﺠﻬﺎﺕ ،ﺍﻝﺘﻲ ﺘﺯﻋﺠﻨﻲ ،ﻓﻘﺩ ﺍﺴﺘﻤﺘﻌﺕ ﺒﻬﺫﻩ ﺍﻝﺤﻜﺎﻴـﺔ .ﺍﻝﺤﻘﻴﻘـﺔ ﺃﻥ ﺍﻵﺭﺍﺀ
ﺘﺘﻀﺎﺭﺏ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺠﺎل ﺒﺼﻭﺭﺓ ﻜﺒﻴﺭﺓ ،ﻜﻤﺎ ﺃﻥ ﻫﺫﻩ ﺍﻝﻤﺴﺄﻝﺔ ﻻ ﺘﺯﻋﺞ ﺒﻌﺽ ﺃﺼﺩﻗﺎﺌﻲ.
ﻝﻜﻥ ،ﺤﺘﻰ ﻤﻊ ﺍﻝﻨﻅﺭﻴﺎﺕ ﺍﻷﻜﺜﺭ ﺘﺸﺩﺩﹰﺍ ﺇﺯﺍﺀ ﺍﻝﻤﻅﺎﻫﺭ ﺍﻝﺘﺒﺭﻴﺭﻴﺔ ،ﻴﺒﻘﻰ ﺍﻝﻔﻴﻠﻡ ﻤﺩﻫﺸـﺎﹰ ،ﻭﺃﺘﺨﻴـل "ﻗـﺎﺭﺏ
ﺍﻝﻨﺠﺎﺓ" ﻤﻥ ﺩﻭﻥ ﺸﺭﻴﻁﻪ ﺍﻝﺼﻭﺘﻲ ،ﻓﻨﺭﺍﻗﺏ ﺍﻝﺸﺨﺼﻴﺎﺕ ﻭﺘﺼﺭﻓﺎﺘﻬﺎ ﻭﺤﺭﻜﺎﺘﻬﺎ ،ﻤﺠﺭﺩﺓ ﻋﻥ ﺃﻴﺔ ﺇﻴـﺩﻴﻭﻝﻭﺠﻴﺎﺕ،
ﻭﺃﻋﺘﻘﺩ ﺃﻨﻨﺎ ﺴﻨﺠﺩ ﺍﻝﻔﻴﻠﻡ ﺤﻴﻨﺌ ﺫ ﻗﺭﻴﺒﹰﺎ ﻤﻥ ﺍﻝﻜﻤﺎل ،ﻭﺃﻥ ﻤﺎ ﻫﻭ ﺠﻭﻫﺭﻱ ﻓﻲ ﺒﻠﻭﻏﻪ ﻫﺫﺍ ﺍﻝﻤﺴﺘﻭﻯ ﺇﻨﻤﺎ ﻴﻨﺒـﻊ ﻤـﻥ
ﺍﻹﺨﺭﺍﺝ ،ﺃﻋﻨﻲ ﺃﻨﻪ ﻫﻭ ﺍﻝﺫﻱ ﻴﺸﻜل ﻤﺎﺩﺓ ﺍﻝﻌﻤل.
)(1956/6/1 ،L'Observateur
ﻫﻴﺘﺸﻜﻭﻙ ﻀﺩ ﻫﻴﺘﺸﻜﻭﻙ
ﻝﺴﺕ ﺭﺍﻏﺒﹰﺎ ﻓﻲ ﺃﻥ ﺃﺨﻴﺏ ﻅﻥ ﺃﻭﻝﺌﻙ ﺍﻷﻜﺜﺭ ﺘﻌﺼﺒﹰﺎ ﻤﻥ ﺒﻴﻥ ﺃﻨﺼﺎﺭ ﻫﻴﺘﺸﻜﻭﻙ ،ﺒﺘﺭﺩﺍﺩ ﺤﻜﺎﻴﺘﻲ ﺍﻝﻤﺴﺘﻤﺭﺓ
ﺤﻭل ﻋﻼﻗﺘﻲ ﺒﻪ ،ﻭﺭﺒﻤﺎ ﺴﻴﺫﻫﺒﻭﻥ ﺇﻝﻰ ﺤﺩ ﺍﺘﻬﺎﻤﻲ ﺒﺄﻨﻲ ﻝﻡ ﺃﻜﻥ ﺠﺩﻴﺭﹰﺍ ﺒﻤﻜﺎﻨﺘﻲ ﻝﻌﺩﻡ ﻤﻭﺍﻓﻘﺘﻲ ﻋﻠﻰ ﻜل ﻤﺎ ﻝﺩﻴﻬﻡ
ﻤﻥ ﺁﺭﺍﺀ .ﻋﻨﺩ ﺍﻝﺸﻙ ﻓﻀﻠﺕ ﺍﺨﺘﻴﺎﺭ ﺠﺎﻨﺏ ﺍﻝﺜﻘﺔ ﻭﺍﻹﻋﺠﺎﺏ .ﻻ ﻴﻤﻜﻨﻨﻲ ﺍﻝﻘﻭل ﺇﻥ ﺍﻝﺠﻬﻭﺩ ﺍﻝﻤﺠﺘﻤﻌﺔ ﻝـ "ﺭﻭﻤﺭ"
ﻭ "ﺁﺴﺘﺭﻭﻙ" ﻭ "ﺭﻴﻔﻴﺕ" ﻭ"ﺘﺭﻭﻓﻭ" ﻗﺩ ﺘﻤﻜﻨﺕ ﻤﻥ ﺇﻗﻨﺎﻋﻲ ﺒﻌﺒﻘﺭﻴ ﺔ "ﻫﻴﺘﺸﻜﻭﻜﻴﺔ" ﺨﺎﻝﻴﺔ ﻤﻥ ﺍﻝﻌﻴﻭﺏ ،ﻭﺒﺨﺎﺼﺔ ﻓﻲ
ﺃﻋﻤﺎﻝﻪ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﺇﻻ ﺃﻨﻬﻡ ﺘﻤﻜﻨﻭﺍ ﻤﻥ ﺃﻥ ﻴﻀﻌﻭﺍ ﺍﺭﺘﻴﺎﺒﻲ ﻤﻭﻀﻊ ﺍﻝﺸﻙ .ﻝﻘﺩ ﻗﻤﺕ ،ﻭﺃﺠﺭﺅ ﻋﻠﻰ ﺘﺄﻜﻴـﺩ ﺫﻝـﻙ،
ﻭﺒﺄﻗﺼﻰ ﻗﺩﺭ ﻤﻥ ﺤﺴﻥ ﺍﻝﻨﻴﺔ ،ﺒﻁﺭﺡ ﻫﺫﻩ ﺍﻝﺘﺴﺎﺅﻻﺕ ﻤﻥ ﺨﻼل ﺍﻫﺘﻤﺎﻤﻲ ﺒﺘﺒﻨﻲ ﻭﺠﻬﺔ ﺍﻝﻨﻅﺭ ﺍﻷﻜﺜﺭ ﻗﺭﺒﹰﺎ ﻤـﻥ
ﻤﺤﺎ ﺩﺜﻲ ،ﻭﺒﻁﺭﻴﻘﺔ ﻤﻨﻬﺠﻴﺔ ،ﻤﻊ ﺇﺭﺍﺩﺓ ﺩﻓﻌﻪ ﺇﻝﻰ ﺃﻥ ﻴﻜﺘﺸﻑ ﻓﻲ ﺃﻋﻤﺎﻝﻪ ﺃﻗﺼﻰ ﻤﺎ ﻜﺎﻥ ﺍﻝﻨﻘﺩ ﺍﻝﻔﺭﻨﺴﻲ ﻗﺩ ﺍﻋﺘﻘـﺩ
ﺃﻨﻪ ﻗﺩ ﻭﺠﺩﻩ ﻓﻴﻬﺎ .ﻭﺤﺘﻰ ﺃﻜﺜﺭ ﻤﻥ ﺫﻝﻙ ،ﻜﻨﺕ ﺴﺄﺠﺩ ﻨﻔﺴﻲ ﺴﻌﻴﺩﺍﹰ ،ﻭﺃﻗﺴﻡ ﻋﻠﻰ ﻫﺫﺍ ،ﻝﻭ ﺃﻥ ﺃﺠﻭﺒﺘﻪ ﻗﺩ ﺍﺴﺘﺼﻭﺒﺕ
ﻤﺎ ﺫﻫﺏ ﺇﻝﻴﻪ ﺃﻨﺼﺎﺭﻩ ﻭﺃﺯﺍﻝﺕ ﺍﻝﺘﺤﻔﻅﺎﺕ ﺍﻝﺘﻲ ﺃﺒﺩﻴﺘﻬﺎ ﺃﺤﻴﺎﻨﹰﺎ ﺤﻭل ﺃﻓﻼﻡ ﻤﺜل "ﺍﻝﺤﺒل" ﻭ"ﻗﻀﻴﺔ ﺒـﺎﺭﺍﺩﺍﻴﻥ" ﻭ"ﺃﻨـﺎ
ﺃﻋﺘﺭﻑ".
ﻝﻜﻥ ﻗﺒل ﺃﻥ ﺃﺘﺎﺒﻊ ،ﺃﺭﻴﺩ ﺃﻥ ﺃﺼﻭﻍ ﺒﻌﺽ ﺍﻝﺒﺩﻫﻴﺎﺕ ﺍﻝﻨﻘﺩﻴﺔ ،ﻤﻊ ﺃﻥ ﺍﻝﻬﻴﺘﺸﻜﻭﻜﻴﻴﻥ ﺍﻝﻤﺘﻁﺭﻓﻴﻥ ﺴﻴﺴﺘﻬﻴﻨﻭﻥ ﺒﻤـﺎ
ﺴﻴﺒﺩﻭ ﻝﻬﻡ ﺇﻀﺎﻓﺔ ﻏﻴﺭ ﻤﻔﻴﺩﺓ ﻭﻏﻴﺭ ﺫﺍﺕ ﺃﻫﻤﻴﺔ.
ﺴﺄﺒﺩﺃ ﺒﺤﻜﺎﻴﺔ ﺃﻋﺘﻘﺩ ﺃﻨﻬﺎ ﺫﺍﺕ ﺩﻻﻝﺔ .ﻜﻨﺕ ﻗﺩ ﻗﻤﺕ ،ﻤﻨﺫ ﺯﻤﻥ ،ﺒـﺎﻝﺘﻌﻠﻴﻕ ﻋﻠـﻰ ﻤﺸـﻬﺩ ﻤـﻥ "ﺍﻝﺜﻌﺎﻝـﺏ
)(1
ﻓﻭﻕ ﺍﻝﺩﺭﺝ ،ﻓﻲ ﺍﻝﺒﻌﺩ ﺍﻝﺜﺎﻨﻲ ،ﺒﻴﻨﻤﺎ ﻨﺭﻯ "ﺒﻴﺘﻲ ﺩﻴﻔﻴﺯ" ﻓـﻲ ﺍﻝﺒﻌـﺩ ﺍﻷﻭل، ﺍﻝﺼﻐﻴﺭﺓ" ،ﺤﻴﺙ ﻴﻤﻭﺕ "ﻤﺎﺭﺸﺎل"
ﺴﺎﻜﻨﺔ ﺩﻭﻥ ﺃﻴﺔ ﺤﺭﻜﺔ .ﻭﻗﺩ ﺒﺩﺍ ﻝﻲ ﺃﻥ ﺜﺒﺎﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻜﺎﻥ ﻤﺸ ﺩﺩﹰﺍ ﻋﻠﻴﻪ )ﺇﻥ ﻝﻡ ﺘﺨﻨﻲ ﺍﻝـﺫﺍﻜﺭﺓ ،ﻜـﺎﻥ ﺩﻴﻨـﻴﺱ
ﻤﺎﺭﻴﻭﻥ ﻫﻭ ﺍﻝﺫﻱ ﻻﺤﻅ ﺫﻝﻙ( ،ﺇﺫ ﻴﻐﺎﺩﺭ ﺍﻝﻤﻤﺜل ﺍﻝﻜﺎﺩﺭ ﻝﻴﻌﻭﺩ ﺇﻝﻴﻪ ﺒﻌﺩ ﺒﺭﻫﺔ ﻗﺼﻴﺭﺓ ،ﺩﻭﻥ ﺃﻥ ﺘﻜﻠﻑ ﺍﻝﻌﺩﺴـﺔ
ﻨﻔﺴﻬﺎ ،ﻭﻫﻲ ﺍﻝﻤﺘﻤﺎﻫﻴﺔ ،ﺒﺼﻭﺭﺓ ﻤﺎ ،ﻤﻊ ﺒﻴﺘﻲ ﺩﻴﻔﻴﺯ ،ﻋﻨﺎﺀ ﻤﺘﺎﺒﻌﺘﻪ .ﺨﻼل ﻤﻬﺭﺠﺎﻥ ﺒﺭﻭﻜﺴﻴل ﺘﻌﺭﻓـﺕ ﺒــ
"ﻭﻴﻠﻴﺎﻡ ﻭﺍﻴﻠﺭ" -ﻭﻝﻐﺘﻪ ﺍﻷﻡ ﻫﻲ ﺍﻝﻔﺭﻨﺴﻴﺔ – ) ،(2ﻭﺫﻜﺭﺕ ﻝﻪ ﻫﺫﻩ ﺍﻝﻤﻼﺤﻅﺔ ،ﻓﻠﻡ ﻴﻌﺭﻫﺎ ﺍﻫﺘﻤﺎﻤﹰﺎ ﻜﺒﻴﺭﺍﹰ ،ﻤﻭﻀﺤﹰﺎ
ﺃﻥ ﺍﻝﻤﺴﺄﻝﺔ ﻜﺎﻨﺕ ﺒﺴﻴﻁﺔ ﺠﺩﺍﹰ ،ﻭﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﺨﺭﻭﺝ ﺍﻝﻤﻤﺜل ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻗﺎل ﺇﻥ ﺍﻷﻤـﺭ ﻝـﻪ ﺤﻜﺎﻴـﺔ ﺨﺎﺼـﺔ،
ﻓـ"ﻤﺎﺭﺸﺎل" ﻝﻪ ﺴﺎﻕ ﺨﺸﺒﻴﺔ ﻭﻴﺘﻌﺫﺭ ﻋﻠﻴﻪ ﺼﻌﻭﺩ ﺍﻝﺩﺭﺝ ﺒﺼﻭﺭﺓ ﻤﺭﻴﺤﺔ ،ﻭﺨﺭﻭﺠﻪ ﻝﻠﺤﻅﺎﺕ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﺴـﻤﺢ
ﺒﺈﺤﻼل ﺍﻝﺒﺩﻴل ﻤﻜﺎﻨﻪ ﻤﻥ ﺃﺠل ﺇﻨﺠﺎﺯ ﺍﻝﺜﻭﺍﻨﻲ ﺍﻝﻘﻠﻴﻠﺔ ﺍﻝﻤﺘﺒﻘﻴﺔ ﻝﻠﻨﻬﺎﻴﺔ.
ﺍﻝﺤﺎﺩﺜﺔ ﻤﻀﺤﻜﺔ ،ﻭﻗﺩ ﺭﻭﻴﺘﻬﺎ ﻝـ"ﺍﻝﺸﺎﺸﺔ ﺍﻝﻔﺭﻨﺴﻴﺔ" ﺒﺘﻭﻗﻴﻊ "ﻤﻴﻨﻭﺘﺎﻭﺭﻭ" ،ﻭﻤﺎ ﺃﺯﺍل ﻋﻨﺩ ﻤﻼﺤﻅﺘﻲ .ﻫـﺫﺍ
ﻲ ﻭﻤﻭﺠﻬـﹰﺎ
ﺠﻌﻠﻨﻲ ﺃﺘﻠﻘﻰ ﺫﺍﺕ ﻴﻭﻡ ﺭﺴﺎﻝﺔ ﻤﻥ ﺃﺒﻠﻪ ،ﻤﻸﻯ ﺒﺎﻝﺴﺨﺭﻴﺔ ﻤﻥ ﺍﻝﻨﻘﺎﺩ ﺫﻭﻱ ﺍﻝﺴﻭﻴﺔ ﺍﻝﻤﺘﺩﻨﻴﺔ ،ﻤﻠﻤﺤﹰﺎ ﺇﻝـ
ﻤﻼﺤﻅﺔ ﻝـ"ﻤﻴﻨﻭﺘﺎﻭﺭﻭ" ﺒﺄﻨﻪ ﻜﺎﻥ ﻤﻥ ﺍﻝﻭﺍﺠﺏ ﺍﻝﺘﺭﺍﺠﻊ ﻋﻤﺎ ﻜﺘﺏ ،ﻭﺃﻥ ﻨﺩﻉ ﻝﻭﺍﻴﻠﺭ ﺘﻔﺴﻴﺭﺍﺘﻪ ﺍﻝﺠﻤﺎﻝﻴﺔ.
ﻫﺫﻩ ﺍﻝﺤﻜﺎﻴﺔ ﻫﻲ ﻤﺠﺭﺩ ﻤﺜﺎل ،ﻭﻗﺩ ﺒﺭﻫﻨﺕ ﻤﺭﺍﺕ ﻋﺩﻴﺩﺓ ﻋﻠﻰ ﺃﻨﻬﺎ ﺤﻘﻴﻘـﺔ ﻭﺍﻗﻌـﺔ .ﻭﺒﺎﺴـﺘﺜﻨﺎﺀ ﺒﻌـﺽ
ﺍﻝﻤﺨﺭﺠﻴﻥ ،ﻭﺃﻨﺎ ﺃﺘﺤﺩﺙ ﻋﻥ ﺍﻝﺠﻴﺩﻴﻥ ﻤﺜل "ﺭﻴﻨﻴﻪ ﻜﻠﻴﻤﺎﻥ" ﺃﻭ "ﻻﺘﻭﺍﺩﺍ" ،ﻤﻥ ﺍﻝﺫﻴﻥ ﻴﺘﻤﺘﻌﻭﻥ ﺒﻭﻋﻲ ﺠﻤﺎﻝﻲ ﻭﻴﻘﺒﻠﻭﻥ
ﺒﺎﻝﻨﻘﺎﺵ ،ﻓﺈﻥ ﻤﻌﻅﻡ ﺍﻵﺨﺭﻴﻥ ﻴﻌﺘﺭﻀﻭﻥ ﻋﻠﻰ ﺍﻝﺘﻔﺴﻴﺭﺍﺕ ﺍﻝﻨﻘﺩﻴﺔ ،ﻭﺒﻁﺭﻴﻘﺔ ﺘﺘﺠﺎﻭﺯ ﻤﺠﺭﺩ ﻋﺩﻡ ﺍﻝﺭﻀﺎ ،ﻝﺘﺼـل
ﺇﻝﻰ ﺍﻻﻨﻔﻌﺎل ﻭﺍﻝﻐﻀﺏ .ﻭﻤﻊ ﺫﻝﻙ ،ﻓﺈﻥ ﻋﺩﻡ ﺍﻝﺭﻀﺎ ﻫﺫﺍ ﻫﻭ ﺼﺎﺩﻕ ﻭﻴﻤﻜﻥ ﺘﻔﻬﻤﻪ ،ﻓﻲ ﺤﻴﻥ ﺃﻥ ﺍﻝﻐﻀﺏ ﻴﻨﺘﺞ ﻓﻲ
ﻁ ﻤﺎ ﻝﺭﺅﻴﺔ ﺘﻔﻜﻙ ﺁﻝﻴ ﺔ ﻜﺎﻥ ﻏﺭﻀﻬﺎ ،ﺘﺤﺩﻴﺩﺍﹰ ،ﺇﻋﻁﺎﺀ ﺍﻻﻨﻁﺒـﺎﻉ ﺒﺘﻤﺎﺴـﻜﻬﺎ )ﻓﻘـﻁ
ﺍﻝﻐﺎﻝﺏ ﻋﻥ ﺍﻝﻐﻴﻅ ﻤﻥ ﺇﺤﺒﺎ
ﻤﺘﻭﺴﻁﻭ ﺍﻝﺸﺄﻥ ﻫﻡ ﻤﻥ ﻴﺠﻨﻭﻥ ﻓﺎﺌﺩﺓ ﻤﻥ ﻫﺫﻩ ﺍﻝﻤﺴﺄﻝﺔ ﺒﺴﺒﺏ ﻋﺩﻡ ﻭﺠﻭﺩ ﺁﻝﻴ ﺔ ﺘﻌﻤل( .ﻭﻗﺩ ﺤﺩﺙ ﺃﻥ ﻤﺨﺭﺠﹰﺎ ﻋﻠﻰ
ﺩﺭﺠﺔ ﻋﺎﻝﻴﺔ ﻤﻥ ﺍﻝﺫﻜﺎﺀ )ﻭﺍﻝﻭﻋﻲ( ﻫﻭ ﺠﺎﻥ ﻏﺭﻴﻤ ﻴﻭﻥ ﺃﻓﺴﺩ ﻝﻲ ﻤﻨﺎﻗﺸﺔ ﺤﻭل "ﻀﻭﺀ ﺍﻝﺼﻴﻑ" ﻝﺴﺒﺏ ﻭﺍﻀﺢ ،ﻫﻭ
ﺕ ﺇﻝﻰ ﺇﻅﻬﺎﺭﻩ ﻋﻠﻰ ﺃﻨﻪ ﻤﺨﻁﺊ؟!.
ﺃﻥ ﻭﺠﻬﺔ ﻨﻅﺭﻱ ﻝﻡ ﺘﻜﻥ ﻜﻭﺠﻬﺔ ﻨﻅﺭﻩ .ﻜﻴﻑ ﺫﻫﺒ ﹸ
ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ،ﺍﻝﻤﻭﻗﻑ ﻓﻲ ﻏﺎﻴﺔ ﺍﻝﺒﺴﺎﻁﺔ ،ﻭﻫﺫﺍ ﺍﻝﺘﻌﺎﺭﺽ ﺍﻝﻅﺎﻫﺭ ﺒﻴﻥ ﺍﻝﻨﺎﻗﺩ ﻭﺍﻝﻤﺨﺭﺝ ﻻ ﻴﺠﺏ ﺃﻥ ﻴﺯﻋﺞ
ﺃﺤﺩﹰﺍ ،ﺇﻨﻪ ﻤﻥ ﺍﻝﻨﻅﺎﻡ ﺍﻝﻁﺒﻴﻌﻲ ﻝﻸﻤﻭﺭ ،ﺫﺍﺘﻴﹰﺎ ﻭﻤﻭﻀﻭﻋﻴﹰﺎ؛ ﺫﺍﺘﻴﹰﺎ ﻷﻥ ﺍﻝﺨﻠﻕ ﺍﻝﻔﻨﻲ -ﺒﻤﺎ ﻓﻲ ﺫﻝﻙ ﻤـﻊ ﺍﻷﻤﺯﺠـﺔ
ﺍﻷﻜﺜﺭ ﺜﻘﺎﻓﺔ -ﻫﻭ ﻤﻥ ﺍﻝﻨﺎﺤﻴﺘﻴﻥ ﺍﻝﺒﺩﻫﻴﺔ ﻭﺍﻝﻌﻤﻠﻴﺔ ،ﻭﺒﺼﻭﺭﺓ ﺠﻭﻫﺭﻴﺔ :ﻋﺒﺎﺭﺓ ﻋﻥ ﺘﺄﺜﻴﺭ ﻴﺭﺘﺠﻰ ﺒﻠﻭﻏـﻪ ﻭﻤـﺎﺩﺓ
ﻴﺭﺘﺠﻰ ﺍﻝﻅﻔﺭ ﺒﻬﺎ .ﻭﻤﻭﻀﻭﻋﻴﺎﹰ ،ﻷﻥ ﺍﻝﻌﻤل ﺍﻝﻔﻨﻲ ﻴﺨﺭﺝ ﻤﻥ ﺒﻴﻥ ﻴﺩﻱ ﻤﺒﺩﻋﻪ ،ﻝﻴﺫﻫﺏ ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﻨﻭﺍﻴﺎﻩ ﺍﻝﻭﺍﻋﻴﺔ،
ﻭﻓﻘﹰﺎ ﻝﺴﻭﻴﺘﻪ ،ﻭﺘﻜﻤﻥ ﺃﺴﺱ ﻫﺫﻩ ﺍﻝﻤﻭﻀﻭﻋﻴﺔ ﺃﻴﻀﹰﺎ ﻓﻲ ﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﺍﻹﺒﺩﺍﻉ ،ﺒﺎﻝﻤﻌﻴﺎﺭ ﺍﻝﺫﻱ ﻻ ﻴﻘﻭﻡ ﺍﻝﻔﻨﺎﻥ ﺒﻤﻭﺠﺒﻪ
ﺒﻌﻤﻠﻴﺔ ﺍﻝﺨﻠﻕ ﺤﻘﻴﻘﺔﹰ ،ﺒل ﻫﻭ ﻓﻘﻁ ﻴﺒﻠﻭﺭ ﻭﻴﻨﻅﻡ ﺍﻝﻁﺎﻗﺎﺕ ﺍﻝﺴﻭﺴﻴﻭﻝﻭﺠﻴﺔ ،ﻭﺍﻝﺸﺭﻭﻁ ﺍﻝﺘﻘﻨﻴﺔ ﺍﻝﺘﻲ ﺘﺘﻌﺎﻤل ﻤﻌﻬﺎ .ﻫﺫﺍ
) Janséniste (1ﻫﻭ ﻤﻥ ﻴﺘﺒﻊ ﺍﻝﻤﺫﻫﺏ ﺍﻝﺩﻴﻨﻲ Jansénismeﺍﻝﺫﻱ ﺃﺘﻰ ﺒﻪ "ﺠﻨﺴﻴﻨﻴﻭﺱ" ﺃﺴﻘﻑ ﺇﻴﺒﺭ ﻓﻲ ﻜﺘﺎﺒﻪ "ﺃﻭﻏﺴـﻁﻴﻨﻭﺱ"
–1640ﻡ -ﻭﺍﻨﺘﺸﺭ ﻓﻲ ﻓﺭﻨﺴﺎ ﻤﻨﺫ ﺫﻝﻙ ﺍﻝﺤﻴﻥ ﻋﻠﻰ ﻴﺩ ﺭﻫﺒﺎﻥ ﻭﺭﺍﻫﺒﺎﺕ ﺩﻴﺭ "ﺒﻭ ﺭﻭﻴﺎل" .ﻭﻴﻌﻨﻲ ﻫـﺫﺍ ﺍﻝﻤـﺫﻫﺏ ﻓـﻲ ﻋﻠـﻡ
ﺍﻝﻼﻫﻭﺕ ،ﺍﻹﻴﻤﺎﻥ ﺒﻘﻀﺎﺀ ﺍﷲ ﻭﻗﺩﺭﻩ ﻤﻨﺫ ﺍﻷﺯل ،ﻭﺃﻥ ﺍﻝﺴﻠﻁﺔ ﺍﻝﻤﻁﻠﻘﺔ ﻫﻲ ﻝﻠﻨﻌﻤﺔ ﺍﻹﻝﻬﻴﺔ ،ﻭﻴﻨﻔﻲ ﺤﺭﻴﺔ ﺍﻹﻨﺴﺎﻥ ﻓـﻲ ﺍﺨﺘﻴـﺎﺭ
ﻤﺼﻴﺭﻩ .ﺃﻤﺎ ﺍﻝﺠﺎﻨﺏ ﺍﻷﺨﻼﻗﻲ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺫﻫﺏ ،ﻓﻴﻘﻀﻲ ﺒﺎﻝﺘﺯﺍﻡ ﻓﻀﻴﻠﺔ ﺼﺎﺭﻤﺔ ﻤﺘﻘﺸﻔﺔ) .ﺍﻝﻤﺘﺭﺠﻡ(
ﺒﻤﺎ ﺃﻨﻨﺎ ﻜﻨﺎ ﻗﺩ ﺘﺤﺩﺜﻨﺎ ﻋﻥ ﻫﺫﺍ ﺍﻷﺨﻴﺭ ،ﻤﺎ ﺍﻝﺫﻱ ﻴﻌﺠﺒﻙ ﻓﻲ ﺍﻷﻭل ﺒﺼﻭﺭﺓ ﺨﺎﺼﺔ؟" :ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ
ﻭﺍﻝﻨﻔﺴﻴﺔ ،ﻭﺍﻝﻤﺯﺝ ،ﻁﺒﻌﹰﺎ ،ﺒﻴﻥ ﺍﻝﻔﻜﺎﻫﺔ ﻭﺍﻝﺩﺭﺍﻤﺎ ،ﺍﻝﺫﻱ ﻜﻨﺎ ﻗﺩ ﺘﺤﺩﺜﻨﺎ ﻋﻨﻪ".
ﺍﻝﻠﻘﺎﺀ ﻴﻤﻀﻲ ﻨﺤﻭ ﻨﻬﺎﻴﺘﻪ ،ﻝﻴﺱ ﻷﻥ ﻤﺤﺩﺜﻲ ﻗﺩ ﻨﻔﺩ ﺼﺒﺭﻩ ،ﺒل ﻷﻨﻲ ﻝﻡ ﺃﻋﺩ ﺃﺭﻯ ﻜﻴﻑ ﻴﻤﻜﻨﻨـﻲ ﺍﻝﻌـﻭﺩﺓ
ﺒﺎﻝﺤﺩﻴﺙ ﻤﺘﺠﻬﹰﺎ ﻨﺤﻭ ﻤﺎ ﻫﻭ ﺃﺴﺎﺴﻲ .ﻭﺃﻁﺭﺡ ﺍﻵﻥ ﺃﺴﺌﻠﺔ ﺜﺎﻨﻭﻴﺔ ﻭﺸﻜﻠﻴﺔ :ﻫل ﺼﺤﻴﺢ ﺃﻨﻙ ﻻ ﺘﻨﻅﺭ ﻋﻠﻰ ﺍﻹﻁﻼﻕ
ﻤﻥ ﺨﻼل ﺍﻝﻜﺎﻤﻴﺭﺍ؟" :ﺼﺤﻴﺢ ،ﻫﺫﺍ ﺍﻷﻤﺭ ﻏﻴﺭ ﻤﺠ ﺩ ﺒﺎﻝﻤﺭﺓ ،ﻓﻜل ﺍﻝﻠﻘﻁﺎﺕ ﻤﺤﻀﺭﺓ ﻤﺴﺒﻘﹰﺎ ﺒﺭﺴﻭﻡ ﺼﻐﻴﺭﺓ ﻓـﻲ
ﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﺘﻘﻁﻴﻊ ﺍﻝﻔﻨﻲ ،ﺇﻻ ﺇﺫﺍ ﺘﻁﻠﺏ ﺍﻷﻤﺭ ﺇﺤﺩﺍﺙ ﺒﻌﺽ ﺍﻝﺘﻌﺩﻴﻼﺕ ،ﻓﺄﻗﻭﻡ ﺒﺈﺠﺭﺍﺌﻬﺎ ﻓﻲ ﺤﻴﻨﻬﺎ" .ﻭﺃﺴﻤﺢ ﻝﻨﻔﺴﻲ
ﺒﺄﻥ ﺃﻀﻴﻑ ﻫﻨﺎ ﺘﻌﻠﻴﻘﹰﺎ ﺸﺨﺼﻴﹰﺎ :ﻓﻘﺩ ﺒﺩﺍ ﻝﻲ ﻤﻥ ﺨﻼل ﺒﻌﺽ ﺍﻝﻨﻘﺎﻁ ﺍﻝﺘﻲ ﺃُﺜﻴﺭﺕ ﺨﻼل ﺍﻝﺤﻭﺍﺭ ،ﻭﻜﺫﻝﻙ ﻤﻥ ﺨﻼل
ﻤﻼﺤﻅﺎﺕ ﻭﺸﻬﺎﺩﺍﺕ ﺍﻝﻌﺎﻤﻠﻴﻥ ﻤﻊ ﻫﻴﺘﺸﻜﻭﻙ ،ﺃﻥ ﺘﺼﻭﺭﹰﺍ ﻤﺘﺤﺭﻜﺎﹰ ،ﺒﺸﻜل ﻤﺴﺘﻤﺭ ،ﻴﺩﻭﺭ ﻓﻲ ﺫﻫـﻥ ﻫﻴﺘﺸـﻜﻭﻙ
ﺤﻭل ﻤﺎ ﻴﻘﻭﻡ ﺒﻪ ﺨﻼل ﺍﻝﻌﻤل؛ ﺇﻨﻪ ﺍﻝﺘﻭﺘﺭ ﺩﺍﺨل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻭﺍﺤﺩﺓ ،ﺘﻭﺘﺭ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﺨﺘﺯل ﺒﺎﻝﻤﺴﺘﻭﻯ ﺍﻝﺩﺭﺍﻤﻲ ﺃﻭ
ﺒﺎﻝﻤﺴﺘﻭﻯ ﺍﻝﺘﺸﻜﻴﻠﻲ ،ﺇﻨﻪ ﺫﻝﻙ ﺍﻝﺫﻱ ﻴﺘﺸﺎﺭﻙ ﻓﻴﻪ ﺍﻷﻤﺭﺍﻥ ﻓﻲ ﺁﻥ ﻤﻌﺎﹰ ،ﻋﺒﺭ ﻋﻤﻠﻴﺔ ﺨﻠﻕ ﺘﺠﺭﻱ ﺨـﻼل ﺍﻝﺘﻨﻔﻴـﺫ،
ﺍﻨﻁﻼﻗﹰﺎ ﻤﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ،ﻝﻜﻥ ،ﻭﻗﺒل ﻜل ﺸﻲﺀ ،ﻤﻥ ﺨﻼل ﺍﻝﻁﺎﻗـﺔ ﺍﻝﺘﻌﺒﻴﺭﻴـﺔ ﻝﻠﺼـﻭﺭﺓ ﻭﻝﻺﻀـﺎﺀﺓ ،ﻭﻋﻼﻗـﺔ
ﺍﻝﺸﺨﺼﻴﺎﺕ ﻤﻊ ﺍﻝﺩﻴﻜﻭﺭ ،ﺩﻭﻥ ﺍﺴﺘﻘﺭﺍﺭ ﺠﻭﻫﺭﻱ ﻝﻠﺼﻭﺭﺓ ،ﻭﻫﻜﺫﺍ ،ﻓﺈﻥ ﻜل ﻝﻘﻁﺔ ﻋﺒﺎﺭﺓ ﻋﻥ ﺘﻬﺩﻴـﺩ ،ﺃﻭ ﻋﻠـﻰ
ﺍﻷﻗل ﻫﻲ ﺍﻨﺘﻅﺎﺭ ﻤﺘﻭﺘﺭ ،ﻭﻗﺩ ﺃﻓﺎﺩ ﺒﻼ ﺸﻙ ﻤﻥ ﺩﺭﻭﺱ ﺍﻝﺘﻌﺒﻴﺭﻴﺔ ﺍﻷﻝﻤﺎﻨﻴﺔ ﻭﺘﺄﺜﺭ ﺒﻬﺎ ﻜﺜﻴﺭﺍﹰ ،ﻭﻓﻕ ﻤﺎ ﺍﻋﺘﺭﻑ ﺒﻪ
ﺃﻤﺎﻤﻲ ،ﺨﻼل ﻓﺘﺭﺓ ﻭﺠﻭﺩﻩ ﻓﻲ ﺍﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﻤﻴﻭﻨﻴﺦ .ﻝﻜﻨﻪ ﻻ ﻴﺨﺩﻉ ﺍﻝﻤﺸﺎﻫﺩ ﺒﻤﺠﺭﺩ ﺍﻫﺘﻤﺎﻡ ﺩﺭﺍﻤﻲ ﻝﺘﺤﻘﻴﻕ ﺤﺎﻝﺔ
ﻤﻥ ﺍﻝﺘﻭﺘﺭ ،ﻭﻓﻀﻭﻝﻨﺎ ﻻ ﻴﻨﺒﻊ ﻤﻥ ﺤﺎﻝﺔ ﺍﻝﻐﻤﻭﺽ ﺃﻭ ﻋﺩﻡ ﺘﺤﺩﻴﺩ ﻤﺼﺩﺭ ﺍﻝﺘﻬﺩﻴﺩ ﻭﺍﻝﺘﻭﺘﺭ ،ﻜﻤﺎ ﺃﻥ ﺍﻷﻤﺭ ﻝﻴﺱ ﻤﺴﺄﻝﺔ ﺨﻠﻕ
"ﺃﺠﻭﺍﺀ" ﺘﺘﺩﻓﻕ ﻓﻴﻬﺎ ﺍﻷﺨﻁﺎﺭ ﻜﺎﻝﻌﺎﺼﻔﺔ ،ﺒل ﻫﻭ ﺤﺎﻝﺔ ﻤﻥ ﻋﺩﻡ ﺍﻝﺘﻭﺍﺯﻥ ،ﻤﺜل ﻜﺘﻠﺔ ﻤﻥ ﺍﻝﻔﻭﻻﺫ ﺍﻝﺜﻘﻴل ﺍﻝﺘﻲ ﺘﻨﻔﻠﺕ ﻭﺘﻨﺯﻝﻕ
ﻋﻠﻰ ﺴﻁﺢ ﻤﺎﺌل ﻭﺃﻤﻠﺱ ،ﺒﺤﻴﺙ ﻴﻤﻜﻨﻨﺎ ،ﻭﺒﺴﻬﻭﻝﺔ ،ﺃﻥ ﻨﺤﺴﺏ ﻤﻘﺩﺍﺭ ﺘﺴﺎﺭﻋﻬﺎ.
ﻓﺎﻹﺨﺭﺍﺝ ﻫﻭ ،ﺇﺫﻥ ،ﻓﻥ ﺇﻅﻬﺎﺭ ﺍﻝﺤﻘﻴﻘﺔ ،ﻓﻲ ﺘﻠﻙ ﺍﻝﻠﺤﻅﺔ ﺍﻝﺘﻲ ﻴﺨﺭﺝ ﻓﻴﻬﺎ ﺫﻝﻙ ﺍﻝﺨﻁ ﺍﻝﻌﻤﻭﺩﻱ ﺍﻝﻤﺭﺘﺴـﻡ
ﻤﻥ ﻤﺭﻜﺯ ﺍﻝﺜﻘل ﺍﻝﺩﺭﺍﻤﻲ ،ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﺍﻝﻤﻀﻠﻊ ﺍﻝﺫﻱ ﻴﺤﺘﻭﻴﻪ ،ﻏﻴﺭ ﻋﺎﺒﺊ ﻻ ﺒﻘﻭﺓ ﺍﻝﺩﻓﻊ ﺍﻻﺒﺘﺩﺍﺌﻴﺔ ﻭﻻ ﺒﺘﻠﻙ ﺍﻝﺼﺩﻤﺔ
ﺍﻝﻨﻬﺎﺌﻴﺔ ﺍﻝﻨﺎﺘﺠﺔ ﻋﻥ ﺍﻝﺴﻘﻭﻁ .ﺇﻥ ﻤﻔﺘﺎﺡ ﺃﺴﻠﻭﺏ ﻫﻴﺘﺸﻜﻭﻙ ،ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻲ ،ﻫﻭ ﺃﻨﻨﺎ ﻨﺘﻌﺭﻑ ﻋﻠﻴﻪ ﻓﻲ ﺍﻝﺤﺎل ،ﺤﺘـﻰ
ﻓﻲ ﺃﺒﺴﻁ ﻝﻘﻁﺔ ﻤﻥ ﺃﻓﻼﻤﻪ ،ﺇﻨﻪ ﻴﻜﻤﻥ ﻓﻲ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻝﻤﺩﻫﺸﺔ ﺍﻝﻤﻤﻴﺯﺓ ﻝﻌﺩﻡ ﺍﻝﺘﻭﺍﺯﻥ ﻫﺫﺍ.
ﻭﺯﻴﺎﺩﺓ ﻓﻲ ﺍﻻﻁﻤﺌﻨﺎﻥ ﻜﺎﻥ ﻫﻨﺎﻙ ﺴﺅﺍل ﺁﺨﺭ ،ﻴﻤﻜﻥ ﺇﺩﺭﺍﻙ ﺠﻭﺍﺒﻪ ﺒﺴﻬﻭﻝﻪ :ﻫل ﺘﺭﺘﺠل؟ :ﻋﻠﻰ ﺍﻹﻁﻼﻕ.
ﻼ ﻤﻨﺫ ﻨﺤﻭ ﺸﻬﺭﻴﻥ ،ﻝﻬﺫﺍ ﻭﺠﺩﺘﻪ ﻤﺴﺘﺭﺨﻴﹰﺎ ﺨﻼل ﺍﻝﻌﻤـل .ﺜـﻡ ،ﺃﻀـﺎﻑ
ﻝﺩﻴﻪ ﻓﻲ ﺫﻫﻨﻪ "ﺍﻝﻘﺒﺽ ﻋﻠﻰ ﻝﺹ" ﻜﺎﻤ ﹰ
ﺒﺎﺒﺘﺴﺎﻤﺔ ﻝﻁﻴﻔﺔ ﺃﺸﺎﺭﺕ ﺇﻝﻰ ﺍﻨﺘﻬﺎﺀ ﺍﻝﻠﻘﺎﺀ" :،ﻜﻴﻑ ﻜﻨﺕ ﺴﺄﺴﺘﻁﻴﻊ ﺇﺫﻥ ﺘﺨﺼﻴﺹ ﻫﺫﻩ ﺍﻝﺴﺎﻋﺔ ﻓﻲ ﻏﻤﺭﺓ ﺍﻝﻌﻤل ﻝﻭ
ﻲ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﺃﻥ ﺃﻓﻜﺭ ﻓﻲ ﻓﻴﻠﻤﻙ؟!" .ﻭﻜﺎﻨﺕ ﻁﺭﻴﻘﺔ ﺠﻤﻴﻠﺔ ﺠﺩﹰﺍ ﻹﻨﻬﺎﺀ ﻝﻘﺎﺌﻨﺎ.
ﻜﺎﻥ ﻋﻠ
)ﺩﻓﺎﺘﺭ ﺍﻝﺴﻴﻨﻤﺎ – (1954/10
ﺨﻼل ﺍﻷﺤﺎﺩﻴﺙ ﺍﻝﺘﻲ ﺍﺴﺘﻁﻌﺕ ﺃﻥ ﺃﺠﺭﻴﻬﺎ ﻤﻌﻪ ﻋﻨﺩﻤﺎ ﻜﺎﻥ ﻴﺼﻭﺭ ،ﻭﺒﺼﻭﺭﺓ ﺨﺎﺼﺔ ﻓﻲ ﺭﻜﻥ ﻤﻥ ﺍﻝﻜﻭﺕ
ﺩﺍﺯﻭﺭ ،ﻭﻜﻨﺕ ﻓﻲ ﺇﺠﺎﺯﺓ ،ﻗﺎل ﻝﻲ ﺁﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ ﺇﻨﻪ ﻴﻌﺘﺒﺭ "ﺍﻝﻘﺒﺽ ﻋﻠﻰ ﻝﺹ" ﻓﻴﻠﻤﹰﺎ ﺘﺠﺎﺭﻴـﹰﺎ ﻋـ ﺭﺽ ﻓﻴـﻪ
ﺤﺭﻓﻴﺔ ﻝﻠﺨﻁﺭ ،ﻭﺭﺒﻤﺎ ﻜﺎﻥ ﻓﻲ ﻜﻠﻤﺎﺘﻪ ﺒﻌﺽ ﺍﻝﺘﻜﻠﻑ ،ﺃﻤﺎ ﺍﻵﻥ ﻓﻴﺒﺩﻭ ﻝﻲ ،ﻤﻥ ﺍﻝﻭﺍﻀﺢ ﻭﻤﻤﺎ ﻻ ﻤﺠـﺎل
ﺴﻤﻌﺘﻪ ﺍﻝ
ﻝﻠﺸﻙ ﻓﻴﻪ ،ﺃﻥ "ﺍﻝﻘﺒﺽ ﻋﻠﻰ ﻝﺹ" ﻻ ﻴﻤﻜﻥ ﻝﻪ ﺃﻥ ﻴﺤﺘل ﻤﻭﻗﻌﹰﺎ ﺒﻴﻥ ﺃﻋﻤﺎل ﻫﻴﺘﺸﻜﻭﻙ ﻴﻤﺎﺜل ﻤﺎ ﻴﺤﺘﻠـﻪ "ﺍﻝﻨﺎﻓـﺫﺓ
ﺍﻝﺨﻠﻔﻴﺔ" ﺃﻭ "ﺃﻨﺎ ﺃﻋﺘﺭﻑ" .ﺇﻨﻪ ﺒﺎﻝﺘﺄﻜﻴﺩ ﻓﻴﻠﻡ ﺘﺴﻠﻴﺔ ،ﻝﻜﻥ ﻋﻠﻴﻨﺎ ،ﺒﻌﺩ ﺃﻥ ﻨﻘﻭل ﺫﻝﻙ ،ﺍﻝﻤﺒﺎﺩﺭﺓ ﻓﻭﺭﹰﺍ ﺇﻝﻰ ﺇﻀﺎﻓﺔ ﺃﻨﻨﺎ ﻻ
ﻴﻤﻜﻥ ﺃﻥ ﻨﻨﻜﺭ ﻋﻠﻰ "ﺍﻝﻘﺒﺽ ﻋﻠﻰ ﻝﺹ" ﻜﻭﻨﻪ ﻓﻴﻠﻤﹰﺎ ﻤﻤﺘﺎﺯﹰﺍ ،ﻀ ﻤﻨﻪ ﻫﻴﺘﺸﻜﻭﻙ ﺸﻴﺌﹰﺎ ﺃﻜﺜﺭ ﻤﻥ ﺍﻝﺒﺭﺍﻋﺔ ،ﺍﻝﺘﻲ ﻫـﻲ
ﺍﻷﻜﺜﺭ ﻋﻅﻤﺔ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ،ﺇﺫ ﻤﻥ ﺍﻝﺴﻬل ﺃﻥ ﻨﺠﺩ ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻝﺘﻲ ﻴﺤﺒﻬﺎ ﻭﺍﻝﺘﻲ ﻴﺒﺩﻭ ﺃﻥ ﺍﻝﻨﻘﺩ ﺍﻝﻔﺭﻨﺴﻲ
ﺍﻝﻬﻴﺘﺸﻜﻭﻜﻲ ﺍﻝﺸﺎﺏ ﻗﺩ ﺍﻜﺘﺸﻔﻬﺎ ،ﻭﺍﻝﺘﻲ ﻝﻡ ﻴﻠﺘﺯﻡ ﻫﻴﺘﺸﻜﻭﻙ ﺒﻬﺎ ﺒﺎﻝﻜﺎﻤل ﻓﻲ ﻓﻴﻠﻤﻪ ﻫﺫﺍ ،ﺒل ﺘﻌﺎﻤل ﻤﻌﻬﺎ ﺒﻁﺭﻴﻘـﺔ
ﺸﻜﻠﻴﺔ ﻭﺨﺎﺭﺠﻴﺔ ﻨﺴﺒﻴﺎﹰ ،ﻭﺇﻥ ﻜﺎﻨﺕ ﺘﺒﺩﻭ ،ﻭﺒﺼﻭﺭﺓ ﺃﻜﺜﺭ ﻭﻀﻭﺤﺎﹰ ،ﻓﻲ ﺫﻝﻙ ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺫﻱ ﺍﻨﺘﺒﻪ ﻝـﻪ ﺘﺭﻭﻓـﻭ،
ل ﻤﺎ ،ﺃﻨﻁﻭﻝﻭﺠﻲ ،ﻜﻤﺎ ﺃﻨﻪ ﺃﻴﻀﹰﺎ ﻤﻔﺘﺎﺡ ﻝﻠﻔﻌل.
ﻭﻫﻭ ﺍﻝﻤﺘﻌﻠﻕ ﺒﺘﻤﺎﻫﻲ ﺸﺨﺼﻴﺔ ﻤﻊ ﺃﺨﺭﻯ ،ﺘﻤﺎﻩ ،ﻫﻭ ﺒﺸﻜ ٍ
ﻑ ﻋﻥ ﻫﺫﺍ ﺍﻝﺴﻠﻭﻙ ﺒﻌﺩ ﺃﻥ
ﺍﻨﻅﺭﻭﺍ :ﻝﺹ ﻗﺩﻴﻡ ،ﺒﻬﻠﻭﺍﻥ ،ﻴﺩﻋﻰ "ﺍﻝﻘﻁ" ،ﺍﺨﺘﺼﺎﺼﻲ ﻓﻲ ﺴﺭﻗﺔ ﺍﻝﺠﻭﺍﻫﺭ ،ﻜ ﱠ
ﻭﻀﻊ ﻝﻔﺘﺭﺓ ﺘﺤﺕ ﺍﻝﻤﺭﺍﻗﺒﺔ ﻓﻲ ﺇﻗﺎﻤﺔ ﺇﺠﺒﺎﺭﻴﺔ ،ﻭﺃﺼﺒﺢ ﻴﻌﻴﺵ ﺤﻴﺎﺓ ﻫﺎﺩﺌﺔ .ﺇﻻ ﺃﻥ ﺒﻌـﺽ ﺍﻝﻠﺼـﻭﺹ ﺍﻝﺠـﺩﺩ
ﻴﺭﺘﻜﺒﻭﻥ ﺴﺭﻗﺎﺕ ﺒﻨﻔﺱ ﺃﺴﻠﻭﺒﻪ ،ﻭﺍﻋﺘﻘﺩ ﺭﺠﺎل ﺍﻝﺸﺭﻁﺔ ﺃﻥ "ﺍﻝﻘﻁ" ﻗﺩ ﻋﺎﺩ .ﻴﻠﻘﻰ ﺍﻝﻘﺒﺽ ﻋﻠﻴﻪ ،ﺜﻡ ﻴﻁﻠﻕ ﺴﺭﺍﺤﻪ
ﺒﺼﻭﺭﺓ ﻤﺅﻗﺘﺔ ،ﻤﻊ ﺇﻨﺫﺍﺭ ﻝﻪ ،ﺒﺄﻥ ﻋﻠﻴﻪ ،ﻤﻥ ﺃﺠل ﺇﺜﺒﺎﺕ ﺒﺭﺍﺀﺘﻪ ،ﺍﻝﻤﺴﺎﻋﺩﺓ ﻓﻲ ﺍﻜﺘﺸﺎﻑ ﻤﻨﺘﺤل ﺸﺨﺼﻴﺘﻪ ،ﺨﻼل
ﻋﺸﺭﺓ ﺃﻴﺎﻡ .ﻴﺘﻤﻜﻥ ﻤﻥ ﺍﻝﺤﺼﻭل ،ﻤﻥ ﻤﻨﺩﻭﺏ ﺍﻝﺘﺄﻤﻴﻥ ،ﻋﻠﻰ ﻗﺎﺌﻤﺔ ﺒﺎﻝﺴﻴﺩﺍﺕ ﺍﻝﻤﺴﻨﺎﺕ ﺍﻷﻜﺜﺭ ﻏﻨـﻰ ،ﺍﻝﻠـﻭﺍﺘﻲ
ﻴﻤﺘﻠﻜﻥ ﻜﻤﹰﺎ ﻜﺒﻴﺭﹰﺍ ﻤﻥ ﺍﻝﺠﻭﺍﻫﺭ ،ﻭﻴﺒﺩﺃ ﺒﺎﻝﺘﺨﻤﻴﻥ ﻋﻤﻥ ﻴﻤﻜﻥ ﻝﻤﻘﻠﺩﻩ ﺃﻥ ﻴﺘﻭﺠﻪ ﺇﻝﻴﻬﻥ .ﻭﺒﺎﻝﻁﺒﻊ ،ﻝـﻥ ﺃﺭﻭﻱ ﻝﻜـﻡ
ﻜﻴﻑ ﺴﻴﺘﻡ ﺤل ﻫﺫﺍ ﺍﻝﻠﻐﺯ ،ﻭﻜﻴﻑ ﺴﺘﺘﻡ ﻤﻌﺭﻓﺔ ﻤﻥ ﻫﻭ ﺒﺩﻴل ﻜﺎﺭﻱ ﻏﺭﺍﻨﺕ ،ﻤﻥ ﺒﻴﻥ ﺴﺎﺌﺭ ﺍﻝﺸﺨﺼﻴﺎﺕ ﺍﻝﻤﺤﻴﻁﺔ
ﺒﻪ.
ﻼ ﺁﺨﺭ .ﻜﺎﻥ ﻫﻴﺘﺸﻜﻭﻙ ﻗﺩ ﺭﻭﻯ ﻝﻲ ﻓﻲ ﻨﻴﺱ ﻝﻜﻥ ،ﺃﺩﻉ ﺠﺎﻨﺒﹰﺎ ﻫﺫﺍ ﺍﻝﺘﻔﺼﻴل ﺍﻹﺨﺭﺍﺠﻲ ،ﻷﻜﺸﻑ ﻝﻜﻡ ﺘﻔﺼﻴ ﹰ
ﻼ ﻓﻲ ﻏﺭﻓﺘﻬﺎ ﺒﺎﻝﻜﺎﺭﻝﺘﻭﻥ ﺒﺤﺠﺔ ﺭﻏﺒﺘﻪ ﺒﺄﻥ ﻴﺘـﺎﺒﻊﻤﺸﻬﺩﹰﺍ ﻴﻌﺘﺯ ﺒﻪ .ﺫﻫﺏ ﻜﺎﺭﻱ ﻏﺭﺍﻨﺕ ﻝﺯﻴﺎﺭﺓ ﻏﺭﻴﺱ ﻜﻴﻠﻲ ﻝﻴ ﹰ
ﻤﻥ ﻫﻨﺎﻙ ﻤﺸﺎﻫﺩﺓ ﺃﻝﻌﺎﺏ ﻨﺎﺭﻴﺔ ﺒﺼﻭﺭﺓ ﺃﻓﻀل .ﻭﻷﻥ ﺍﻷﻤﻭﺭ ﺘﻁﻭﺭﺕ ﺒﺎﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻴﻤﻜﻨﻨﺎ ﺘﺼﻭﺭﻫﺎ ،ﻭﻝﻜـﻭﻥ
ﺍﻝﺭﻗﺎﺒﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺘﻤﻨﻊ "ﺍﻷﻤﻭﺭ ﺍﻝﻤﺴﺘﻨﻜﺭﺓ" ،ﻓﻘﺩ ﺃﺩﻤﺞ ﻫﻴﺘﺸﻜﻭﻙ ﻗﺒﻠ ﹰﺔ ﻤﻊ ﺴﻬﻡ ﻨﺎﺭﻱ .ﻭﺃﻋﺘﺭﻑ ﺒﺄﻨﻲ ﻗﺩ ﻓﻜـﺭﺕ
ﻓﻲ ﺃﻥ ﺍﻝﻤﺨﺭﺝ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻓﺭﹺﺤﹰﺎ ﺒﻬﺫﺍ ﺍﻝﺤل ،ﺍﻝﺫﻱ ﻴﻔﺘﻘﺭ ﺇﻝﻰ ﺍﻝﺭﻗﺔ ،ﻝﻘﺩ ﺒﺩﺍ ﻝﻲ ﺤﺘﻰ ﺇﻨﻪ ﺴﻴﺊ ﺇﻝﻰ ﺤـﺩ
ﺒﻌﻴﺩ.
ﻭﻤﻊ ﺫﻝﻙ ،ﻓﺎﻝﻤﻘﻁﻊ ﻤﺅﺜﺭ ﻓﻌﻼﹰ ،ﻝﻜﻥ ،ﻭﻝﺴﺒﺏ ﻝﻡ ﻴﺸﺭ ﺇﻝﻴﻪ ﻫﻴﺘﺸﻜﻭﻙ ،ﻭﺭﺒﻤﺎ ﺤﺘﻰ ﺇﻨﻪ ﻝﻡ ﻴﻌﺭﻑ ﻜﻴـﻑ
ﻴﻭﻀﺤﻪ ﺒﻁﺭﻴﻘﺔ ﻤﻨﻁﻘﻴﺔ ،ﺒﺴﺒﺏ ﻜﺜﺎﻓﺔ ﺍﻝﻤﺤﺘﻭﻯ ﺍﻝﺒﺼﺭﻱ ﻝﻠﺼﻭﺭﺓ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﻓﻲ ﺫﻫﻨﻪ ،ﻓﻘﺩ ﺸﺭﻋﺕ ﻏـﺭﻴﺱ
ﻜﻴﻠﻲ ﺒﺈﻏﻭﺍﺀ ﻜﺎﺭﻱ ﻏﺭﺍﻨﺕ ﻋﻥ ﻁﺭﻴﻕ ﻤﺠﻭﻫﺭﺍﺘﻬﺎ ،ﺇﺫ ﺘﺭﻜﺘﻪ ﻴﺩﺍﻋﺏ ﻋﻘﺩ ﺍﻝﻤﺎﺱ ﺍﻝﺫﻱ ﺘﻀﻌﻪ ﺤﻭل ﻋﻨﻘﻬﺎ .ﻜﺎﻥ
ﻫﺫﺍ ﺍﻝﻤﺸﻬﺩ ،ﺫﻭ ﺍﻝﻁﺎﺒﻊ ﺍﻝﺠﻨﺴﻲ ﺍﻻﺴﺘﺜﻨﺎﺌﻲ ،ﻗﺎﺌﻤﹰﺎ ﻋﻠﻰ ﺍﻻﻝﺘﺒﺎﺱ ﻓﻲ ﺍﻝﺭﻏﺒﺔ ﺍﻝﻤﺜﺎﺭﺓ ﻝﺩﻯ ﺍﻝﺒﻁل ،ﻓﻔـﻲ ﺒﺩﺍﻴـﺔ
ﺍﻝﻤﺸﻬﺩ ،ﻜﺎﻨﺕ ﺍﻷﺴﻬﻡ ﺍﻝﻨﺎﺭﻴﺔ ﺍﻝﺘﻲ ﻨﺸﺎﻫﺩﻫﺎ ،ﺘﻠ ﻤﺢ ﺒﺼﻭﺭﺓ ﺭﻤﺯﻴﺔ ،ﻝﻴﺱ ﻝﻺﺜﺎﺭﺓ ﺍﻝﺠﻨﺴﻴﺔ ،ﺒل ﻝﺒﺭﻴﻕ ﺍﻝﺠﻭﺍﻫﺭ،
ﻝﻜﻥ ،ﻭﻓﻴﻤﺎ ﺒﻌﺩ ،ﺘﺒﺩﺃ ﺍﻷﺴﻬﻡ ﺍﻝﻨﺎﺭﻴﺔ ﻓﻲ ﺍﻜﺘﺴﺎﺏ ﻤﻌﻨﻰ ﺭﻤﺯﻱ ﺠﻨﺴﻲ ،ﻓﻲ ﻨﻔﺱ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﺃﺨﺫﺕ ﻓﻴﻪ ﺍﻝﺭﻏﺒﺔ
ﺘﺤﺘﺩﻡ ﻝﺩﻯ ﻜﺎﺭﻱ ﻏﺭﺍﻨﺕ.
ﻭﻤﺩﻝﻭل ﺍﻷﺴﻬﻡ ﺍﻝﻨﺎﺭﻴﺔ ﺍﻷﺨﻴﺭﺓ ﻝﻡ ﻴﻜﻥ ﻤﻠﺘﺒﺴﺎﹰ ،ﻷﻥ ﺍﻝﻔﻌل ﺍﻝﻤﻭﺤﻰ ﺒﻪ ﻝﻡ ﻴﻜﻥ ﻤﻠﺘﺒﺴـﹰﺎ .ﻭﻴـﻨﻘﺹ ﻫـﺫﺍ
ﺍﻝﺘﻌﻠﻴﻕ ،ﺒﺎﻝﻁﺒﻊ ،ﻤﺎ ﻜﺎﻥ ﻝﻠﻌﻴﻥ ﺃﻥ ﺘﺩﺭﻜﻪ :ﺍﻝﻜﻤﺎل ﺍﻝﺒﺼﺭﻱ ﻝﻠﺼﻭﺭﺓ .ﺇﻥ ﺃﻴﺔ ﻓﻜـﺭﺓ ﻻ ﺘﺼـﺒﺢ ﺫﺍﺕ ﻗﻴﻤـﺔ،
ﻭﺃﺼﺎﻝﺔ ﻭﺍﺒﺘﻜﺎﺭ ،ﺩﻭﻥ ﺇﺭﺠﺎﻋﻬﺎ ،ﺒﻘﻭﺓ ﺍﻹﺨﺭﺍﺝ ،ﺇﻝﻰ ﺒﻜﺎﺭﺘﻬﺎ ﺍﻝﻔﻜﺭﻴﺔ.
ﻭﺃﻭﺩ ﺃﻥ ﺃﻀﻴﻑ ﺸﻴﺌﹰﺎ ﺁﺨﺭ ﺃﻴﻀﹰﺎ .ﺇﺫ ،ﻭﺇﻥ ﻜﺎﻥ ﻨﺼﻑ ﺍﻝﻤﻤﺜﻠﻴﻥ ﻫﻡ ﻤﻥ ﺍﻝﻔﺭﻨﺴﻴﻴﻥ – ﺃﻭ ﺒﺎﻷﺤﺭﻯ ،ﻝﻬـﺫﺍ
ﻀل ﺃﻥ ﻴﺸﺎﻫﺩ ﻓﻴﻠﻡ "ﺍﻝﻘﺒﺽ ﻋﻠﻰ ﻝﺹ" ﺒﻠﻐﺘﻪ ﺍﻷﺼﻠﻴﺔ .ﻝﻜﻥ ﺇﻥ ﺃﺭﺩﺘﻡ ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ
ﺍﻝﺴﺒﺏ ﺍﻹﻀﺎﻓﻲ ﺘﺤﺩﻴﺩﹰﺍ – ،ﻴﻔ
ﻤﻥ ﻜل ﺸﻲﺀ ،ﻤﺸﺎﻫﺩﺓ ﺍﻝﻨﺴﺨﺔ "ﺍﻝﻤﺩﺒﻠﺠﺔ" ،ﻓﻌﻠﻰ ﺍﻷﻗل ﺍﺫﻫﺒﻭﺍ ﻝﻤﺸﺎﻫﺩﺘﻬﺎ ﻓﻲ ﺴﻴﻨﻤﺎ ﺒﺎﺭﺍﻤﻭﻨـﺕ ﺤﻴـﺙ ﻴﻤﻜـﻥ
ﺍﻻﺴﺘﻤﺘﺎﻉ ﺒﺘﻘﻨﻴﺔ "ﻓﻴﺴﺘﺎﻓﻴﺯﻴﻭﻥ" ،ﺃﻱ ﺍﻝﺸﺎﺸﺔ ﺍﻝﻜﺒﻴﺭﺓ ،ﻭﻫﺫﺍ ﺃﻓﻀل ﻤﻥ ﻤﺸﺎﻫﺩﺓ ﺍﻷﻓﻼﻡ ﺍﻝﻘﺩﻴﻤﺔ ﻋﻠـﻰ ﺍﻝﺸﺎﺸـﺎﺕ
ﺍﻝﺘﻘﻠﻴﺩﻴﺔ.
)(1955/12/29 ،L’Observateur
ﺍﻝﻨﺎﻓﺫﺓ ﺍﻝﺨﻠﻔﻴﺔ
"ﺍﻝﻨﺎﻓﺫﺓ ﺍﻝﺨﻠﻔﻴﺔ" ﻫﻭ ﺒﺎﻝﺘﺄﻜﻴﺩ ﺍﻝﻔﻴﻠﻡ ﺍﻷﻓﻀل ﻭﺍﻷﻜﻤل ﺘﻘﻨﻴﹰﺎ ﺒﻴﻥ ﺃﻓﻼﻡ ﺁﻝﻔﺭﻴﺩ ﻫﻴﺘﺸﻜﻭﻙ .ﻭﺤﺘﻰ ﺇﻥ ﺘﺤﻘﻴـﻕ
ﺘﻠﻙ ﺍﻻﺴﺘﻤﺭﺍﺭﻴﺔ ﻓﻲ ﺘﺘﺎﺒﻊ ﻝﻘﻁﺎﺕ ﻓﻴﻠﻡ "ﺍﻝﺤﺒل" ﻻ ﻴﺭﺘﻘﻲ ﺇﻝﻰ ﺍﻝﻤﻘﺎﺭﻨﺔ ﺒﺤﺠﻡ ﺍﻝﺼﻌﻭﺒﺎﺕ ﺍﻝﺘﻘﻨﻴﺔ ﺍﻝﻜﺜﻴﺭﺓ ﺍﻝﺘﻲ ﻜﺎﻥ
ﻋﻠﻰ ﻫﻴﺘﺸﻜﻭﻙ ﺍﻝﺘﻐﻠﺏ ﻋﻠﻴﻬﺎ ﻫﻨﺎ .ﺍﻝﻔﻜﺭﺓ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻠﺴﻴﻨﺎﺭﻴﻭ ﻫﻲ ﺘﺼﻭﺭ ﺇﺨﺭﺍﺠﻲ ﺠﺭﺕ ﺘﺠﺯﺌﺔ ﺘﻨﻔﻴـﺫﻩ ﺇﻝـﻰ
ﻤﺠﻤﻭﻋﺎﺕ ﻤﻥ ﺍﻝﻤﺸﻜﻼﺕ ﺘﺘﻌﻠﻕ ﺒﺒﻨﺎﺀ ﺍﻝﺩﻴﻜﻭﺭ ﻭﺍﻝﺘﺼﻭﻴﺭ ﻭﺍﻝﺘﺴﺠﻴل ﺍﻝﺼﻭﺘﻲ.
ﺼﺤﻔﻲ ﺸﻬﻴﺭ ﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻝﺘﺤﺭﻙ ﻷﻥ ﺇﺤﺩﻯ ﻗﺩﻤﻴﻪ ﻤﻭﻀﻭﻋﺔ ﻓﻲ ﺍﻝﺠﺹ ،ﻭﻴﻨﺘﻅﺭ ،ﻓﻲ ﺸـﻘﺘﻪ ﺒﻤﺩﻴﻨـﺔ
ﻨﻴﻭﻴﻭﺭﻙ ،ﺍﻝﻴﻭﻡ ﺍﻝﺫﻱ ﻴﺴﺘﻁﻴﻊ ﻓﻴﻪ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺇﻤﻜﺎﻨﻴﺔ ﺍﻝﺘﻨﻘل ﻓﻲ ﺍﻝﻌﺎﻝﻡ .ﻫﺫﺍ ﺍﻝﻌﺠﺯ ﺍﻝﻤﺅﻗﺕ ﻴﺘﻴﺢ ﻝﺼﺩﻴﻘﺘﻪ ﺍﻝﻠﻁﻴﻔﺔ
ﺃﻥ ﺘﻜﺜﻑ ﻤﻥ ﺠﻬﻭﺩﻫﺎ ﻹﻗﻨﺎﻋﻪ ﺒﺎﻝﺘﺨﻠﻲ ﻋﻥ ﺤﻴﺎﺓ ﺍﻝﻤﻐﺎﻤﺭﺓ ،ﻭﺍﻝﺯﻭﺍﺝ ﺒﻬﺎ .ﺯﻴﺎﺭﺍﺘﻬﺎ ﺍﻝﻤﺘﻜﺭﺭﺓ ﻻ ﺘﻔﻴﺩ ﻓﻲ ﺼﺭﻑ
ﺍﻫﺘﻤﺎﻡ ﺍﻝﺼﺤﻔﻲ ﻋﻥ ﺍﻻﺴﺘﻌﺭﺍﻀﺎﺕ ﺍﻝﻌﺩﻴﺩﺓ ﺍﻝﻤﺘﺎﺤﺔ ﺃﻤﺎﻡ ﻨﻅﺭﻩ ﻓﻲ ﺍﻝﺸﻘﻕ ﺍﻝﻤﻘﺎﺒﻠﺔ .ﺍﻝﺠﻭ ﺤﺎﺭ ﺠـﺩﹰﺍ ﻭﺍﻝﻨﻭﺍﻓـﺫ
ﻼ ﻤﻨﺎﺴﺒﹰﺎ ﻝﻜﻨﻪ ﻤﺜﻴﺭ ﻝﻠﻔﻀﻭل .ﻫﻨﺎﻙ ﺯﻭﺠﺎﻥ ﻤﺴـﻨﺎﻥ
ﻤﻔﺘﻭﺤﺔ ﺒﺎﺴﺘﻤﺭﺍﺭ .ﻤﺘﺎﺒﻌﺔ ﺤﻴﺎﺓ ﻭﺴﻠﻭﻙ ﺍﻝﺠﻴﺭﺍﻥ ﻝﻴﺱ ﻋﻤ ﹰ
ﺭﻭﻀﺎ ﻜﻠﺒﻬﻤﺎ ﻋﻠﻰ ﺍﻝﻨﺯﻭل ﻤﻥ ﺍﻝﻁﺎﺒﻕ ﺍﻝﺜﺎﻨﻲ ﻀﻤﻥ ﺴﻠﺔ ﻜﻲ ﻴﺘﺒﻭل ﻓﻲ ﺒﻬﻭ ﺍﻝﻤﺒﻨﻰ .ﻋﺎﺯﻑ ﺒﻴﺎﻨﻭ ﻜﺎﻥ ﻗﺩ ﺘﻠﻘﻰ
ﻋﺩﺓ ﺨﻴﺒﺎﺕ ﻋﺎﻁﻔﻴﺔ ،ﻭﻴﺩﻤﻥ ﺍﻝﻤﺸﺭﻭﺒﺎﺕ ﺍﻝﻜﺤﻭﻝﻴﺔ ﻓﻲ ﻤﺤﺎﻭﻝﺔ ﻝﻨﺴﻴﺎﻨﻬﺎ .ﻋﺎﻨﺱ ،ﺃﺩﺕ ﺒﻬﺎ ﺍﻝﻭﺤـﺩﺓ ﺇﻝـﻰ ﺤﺎﻝـﺔ
ﺘﻘﺘﺭﺏ ﻤﻥ ﺍﻝﺠﻨﻭﻥ ،ﺘﻘﻭﻡ ﺒﺎﺴﺘﻤﺭﺍﺭ ﺒﺈﻋﺩﺍﺩ ﺘﺭﺘﻴﺒﺎﺕ ﻋﺸﺎﺀ ﺩﺍﻓﺊ ﻝﺸﺨﺼﻴﻥ ﺇﻻ ﺃﻨﻬﺎ ﺘﺠﻠﺱ ﺇﻝﻴﻪ ﻭﺤﻴـﺩﺓ ﺩﺍﺌﻤـﹰﺎ.
ﺯﻭﺠﺎﻥ ﺸﺎﺒﺎﻥ ﻴﺒﻘﻴﺎﻥ ﻋﻠﻰ ﺴﺘﺎﺌﺭ ﺸﻘﺘﻬﻤﺎ ﻤﻔﺘﻭﺤﺔ ﻭﺍﻷﻨﻭﺍﺭ ﻤﻀﺎﺀﺓ ﺒﺎﺴﺘﻤﺭﺍﺭ .ﺭﺍﻗﺼﺔ ﻭﻓﺘـﺎﺓ ﻏـﻼﻑ ﺘﺸـﻜل
ﺃﻝﻌﺎﺒﻬﺎ ﺍﻝﺠﻤﺒﺎﺯﻴﺔ ﻋﺭﻭﻀﹰﺎ ﻝﻁﻴﻔﺔ.
ﺃﺨﻴﺭﹰﺍ ،ﺒل ،ﻗﺒل ﻜل ﺸﻲﺀ ،ﻫﻨﺎﻙ ﻤﻨﺩﻭﺏ ﺘﺠﺎﺭﻱ ﻴﺘﺎﺒﻊ ﺒﺈﺨﻼﺹ ﻤﺜﻴﺭ ﻝﻠﺸﻔﻘﺔ ﻤﻌﺎﻝﺠﺔ ﺍﻤﺭﺃﺓ ﺘﺎﻓﻬﺔ ﺘﺘﻅﺎﻫﺭ
ﺒﺎﻝﻤﺭﺽ ﻹﻀﺠﺎﺭ ﺯﻭﺠﻬﺎ .ﺘﺒﺩﺃ ﺍﻝﺤﺒﻜﺔ ﻤﻊ ﻫﺫﻴﻥ ﺍﻝﺯﻭﺠﻴﻥ .ﻴﻼﺤﻅ ﺍﻝﺼﺤﻔﻲ ﺫﺍﺕ ﻝﻴﻠﺔ ﺃﻥ ﺍﻝﻤﻨﺩﻭﺏ ﺍﻝﺘﺠـﺎﺭﻱ
ﺨﺭﺝ ﻤﻥ ﺒﻴﺘﻪ ﻋﺩﺓ ﻤﺭﺍﺕ ﻤﻊ ﺤﻘﻴﺒﺔ ﻤﻥ ﺍﻷﻝﻤﻨﻴﻭﻡ ،ﻭﻜﺎﻥ ﻫﺫﺍ ﺍﻝﺨﺭﻭﺝ ﺜﻡ ﺍﻝﻌﻭﺩﺓ ﺍﻝﻤﺘﻜﺭﺭﺍﻥ ﻭﺍﻝﻤﺜﻴﺭﺍﻥ ﻝﻠﻔﻀﻭل
ﻏﻴﺭ ﻗﺎﺒﻠﻴﻥ ﻝﻠﺘﻔﺴﻴﺭ .ﻓﻲ ﺼﺒﺎﺡ ﺍﻝﻴﻭﻡ ﺍﻝﺘﺎﻝﻲ ،ﻜﺎﻨﺕ ﻨﺎﻓﺫﺓ ﺍﻝﻤﺭﺃﺓ ﻤﻐﻠﻘﺔ ،ﻭﺍﻝﺭﺠل ﻤﻨﻬﻤﻙ ﻓﻲ ﺘﻨﻅﻴﻑ ﺍﻝﺒﻴﺕ .ﻤـﻥ
ﺍﻝﻭﺍﻀﺢ ﺃﻥ ﺍﻝﻤﺭﺃﺓ ﻏﻴﺭ ﻤﻭﺠﻭﺩﺓ .ﺘﺘﻜﻭﻥ ﻝﺩﻯ ﺍﻝﺼﺤﻔﻲ ،ﺍﻝﻤﺤﻘﻕ ﺍﻝﻬﺎﻭﻱ ،ﻅﻨﻭﻥ ﺒﺄﻨﻬﺎ ﺭﺒﻤﺎ ﺘﻜﻭﻥ ﻗـﺩ ﹸﻗﺘﻠـﺕ
ﻭﺠﺭﻯ ﺘﻘﻁﻴﻊ ﺠﺴﺩﻫﺎ ﻤﻥ ﻗﺒل ﺍﻝﺯﻭﺝ .ﻤﻥ ﺍﻝﻤﻤﻜﻥ ﺃﻴﻀﹰﺎ ﺃﻥ ﺘﻜﻭﻥ ﻗﺩ ﺴﺎﻓﺭﺕ ،ﻭﻫﺫﺍ ﻫﻭ ﺍﻻﺴﺘﻨﺘﺎﺝ ﺍﻝﺫﻱ ﺘﻭﺼل
ﺇﻝﻴﻪ ﻤﺤﻘﻕ ﻤﺤﺘﺭﻑ ﺼﺩﻴﻕ ﻝﻠﺼﺤﻔﻲ ،ﻭﻫﻭ ﺍﺴﺘﻨﺘﺎﺝ ﻝﻡ ﻴﻘﻨﻊ ﺍﻝﺼﺤﻔﻲ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ،ﻭﻜﺫﻝﻙ ﻝﻡ ﻴﻘﻨﻊ ﺼـﺩﻴﻘﺘﻪ،
ﺍﻝﺘﻲ ﺒﺩﺃﺕ ﺘﻬﺘﻡ ،ﻓﻴﻤﺎ ﺒﻌﺩ ،ﺒﺎﻝﺘﺤﺭﻴﺎﺕ ﺍﻝﺒﻭﻝﻴﺴﻴﺔ.
ﻻ ﺃﺠﺩ ﻤﻥ ﺍﻝﻤﻔﻴﺩ ﻜﺸﻑ ﺍﻝﻤﺯﻴﺩ ﻤﻥ ﺃﻤﻭﺭ ﺍﻝﻔﻴﻠﻡ ،ﻓﻬﺫﻩ ﺍﻝﺨﻼﺼﺔ ﺍﻝﻤﺨﺘﺼﺭﺓ ﻜﺎﻓﻴﺔ ﻤﻥ ﺃﺠل ﻫﺫﻩ ﺍﻝﻜﺘﺎﺒـﺔ
ﺍﻝﻨﻘﺩﻴﺔ .ﺇﻨﻪ ﻝﻴﺱ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﻓﻴﻠﻤﹰﺎ ﺒﻭﻝﻴﺴﻴﺎ ﻤﻥ ﻨﻤﻁ "ﺍﻝﺸﻴﻁﺎﻨﻴﺎﺕ"" .ﺍﻝﻨﺎﻓﺫﺓ ﺍﻝﺨﻠﻔﻴﺔ" ﻓﻴﻠﻡ ﻴﻤﻜﻥ ﺃﻥ ﻨﻌﻭﺩ ﺇﻝـﻰ
ﻤﺸﺎﻫﺩﺘﻪ ﻤﺭﺓ ﺃﺨﺭﻯ ،ﺃﻭ ﺃﻥ ﻨﺸﺎﻫﺩﻩ ﻭﻨﺤﻥ ﻋﻠﻰ ﺩﺭﺍﻴﺔ ﺒﻤﺎ ﺴﺘﺅﻭل ﺇﻝﻴﻪ ﻋﻘﺩﺘﻪ.
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ﻫﻜﺫﺍ ﺇﺫﻥ ،ﺘﺼﻭﺭ ﻫﻴﺘﺸﻜﻭﻙ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻝﻔﻴﻠﻡ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﺒﻁﻠﻪ ،ﻭﺍﺴﺘﺒﻌﺩ ﻜل ﻤﺎ ﻻ ﻴـﺭﺍﻩ ﺠـﻴﻤﺱ
ﺴﻴﺘﻭﺍﺭﺕ ﺃﻭﻴﺴﻤﻌﻪ ﻭﻫﻭ ﺠﺎﻝﺱ ﻋﻠﻰ ﻜﺭﺴﻴﻪ ﺫﻱ ﺍﻝﻌﺠﻼﺕ .ﻭﻤﻊ ﺫﻝﻙ ﻓﻬﻭ ﻝﻴﺱ ﻓﻴﻠﻤﹰﺎ ﺫﺍﺘﻴﺎﹰ ،ﻓﻭﺠﻬﺔ ﺍﻝﻨﻅﺭ ﺍﻝﺘـﻲ
ﺍﺨﺘﺎﺭﻫﺎ ﻫﻲ ﻤﻨﻁﻘﻴﺔ ﻭﻤﺎﺩﻴﺔ ،ﻭﻨﺤﻥ ﺇﻝﻰ ﺠﻭﺍﺭ ﺠﻴﻤﺱ ﺴﻴﺘﻭﺍﺭﺕ ﻭﻝﺴﻨﺎ ﺩﺍﺨﻠﻪ .ﺘﻜﻤﻥ ﺍﻝﺤﻴﻠـﺔ ﺍﻝﺒﻭﻝﻴﺴـﻴﺔ ﻓـﻲ
ﺼﻌﻭﺒﺔ ﺇﻋﺎﺩﺓ ﺒﻨﺎﺀ ﻤﺎ ﻫﻭ ﻤﺘﺤﺭﻙ ،ﻭﻤﻌﺎﻝﺠﺔ ﺠﺭﻴﻤﺔ ﺍﻨﻁﻼﻗﹰﺎ ﻤﻥ ﺍﻝﻤﺭﺍﻗﺒﺔ ﻋﻥ ﺒﻌﺩ ،ﻭﺒﺼﻭﺭﺓ ﻤﺠ ﺯﺃﺓ ﻭﻤﺘﻘﻁﻌﺔ.
ﻭﻝﻜﻲ ﺘﻜﻭﻥ ﻫﺫﻩ ﺍﻝﻤﺴﺄﻝﺔ ﻗﺎﺒﻠﺔ ﻝﻠﺘﺤﻘﻕ ﻭﺘﺴﻤﺢ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﺒﺎﻝﺘﺩﺨل ﺍﻝﻤﻌﻘﺩ ﻓﻲ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻤﺸﺘﺭﻜﺔ ﻝﻠﺒﻨﺎﻴﺔ ،ﺍﻝﺘﻲ
ﺘﺒﺩﻭ ﻤﻥ ﺨﻼل ﻨﻭﺍﻓﺫﻫﺎ ،ﻓﻘﺩ ﺒﻨﻰ ﻫﻴﺘﺸﻜﻭﻙ ﺩﻴﻜﻭﺭﹰﺍ ﺍﺴﺘﺜﻨﺎﺌﻴﺎﹰ ،ﻭﺍﻗﻌﻴﹰﺎ ﺇﻝﻰ ﺩﺭﺠﺔ ﺍﻝﻜﻤﺎل ،ﻭﺠـﺭﻯ ﻓﻴـﻪ ﺘـﺩﻗﻴﻕ
ﻤﺨﺘﻠﻑ ﺍﻝﺘﻔﺎﺼﻴل ﺍﻝﻼﺯﻤﺔ ﺒﻜل ﺩﻫﺎﺀ ،ﻭﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﺍﻝﺸﺎﺭﻉ ﺍﻝﻤﻘﺎﺒل ،ﺍﻝﺫﻱ ﻴﺒﺩﻭ ﻤﻥ ﻓﺘﺤﺔ ﺒﻴﻥ ﺠـﺩﺍﺭﻴﻥ.
ﻜﺎﻥ ﻤﻥ ﺍﻝﺼﻌﺏ ﻤﺘﺎﺒﻌﺔ ﺍﻷﺒﻁﺎل ﻓﻘﻁ ﻤﻥ ﺨﻼل ﺍﻝﻤﺴﺎﻓﺔ ﺍﻝﺤﻘﻴﻘﻴﺔ ﺍﻝﻘﺎﺌﻤﺔ ﻤﺎ ﺒﻴﻥ ﺍﻝﻤﺒﻨﻴـﻴﻥ ،ﻝـﺫﻝﻙ ﻜـﺎﻥ ﻤـﻥ
ﺍﻝﻀﺭﻭﺭﻱ ﺍﻝﺘﺒﺩﻴل ﻓﻲ ﺃﺤﺠﺎﻡ ﺍﻝﻠﻘﻁﺎﺕ ،ﺩﻭﻥ ﺍﺨﺘﺭﺍﻕ ﺒﻴﻭﺕ ﺍﻝﺠﻴﺭﺍﻥ ﺃﻭ ﺍﻝﺨﺭﻭﺝ ﻋـﻥ ﺍﻝﻤﺴـﻠﻤﺎﺕ ﺍﻝﻤﻨﻁﻘﻴـﺔ
ﺍﻷﺴﺎﺴﻴﺔ ،ﻭﻗﺩ ﺭﺘﺏ ﻫﻴﺘﺸﻜﻭﻙ ﻫﺫﺍ ﺍﻷﻤﺭ ﺒﺼﻭﺭﺓ ﺘﻘﻨﻴﺔ ﺤﺎﺫﻗﺔ ،ﻓﻤﻬﻨﺔ ﺠﻴﻤﺱ ﺴﺘﻴﻭﺭﺍﺕ ﺘﺴـﻤﺢ ﻝـﻪ ﺒـﺎﻤﺘﻼﻙ
ﻤﻨﻅﺎﺭ ﻤﻘﺭﺏ ،ﺒل ﻭﻋﺩﺴﺔ ﻤﻘﺭﺒﺔ ﺠﺩﹰﺍ ﻴﻤﻜﻥ ﺘﺭﻜﻴﺒﻬﺎ ﻋﻠﻰ ﺁﻝﺔ ﺍﻝﺘﺼﻭﻴﺭ ،ﻭﻫﻜﺫﺍ ﻜﺎﻥ ﻤﻥ ﺍﻝﻤﻨﻁﻘـﻲ ﺘﺒﺭﻴـﺭ ﺃﻱ
ﺘﺒﺩﻴل ﻓﻲ ﺍﻝﻌﺩﺴﺎﺕ ،ﺒﻤﺎ ﻓﻲ ﺫﻝﻙ ﺘﻨﻔﻴﺫ ﺍﻝﻠﻘﻁﺎﺕ ﺍﻝﻘﺭﻴﺒﺔ ﺠﺩﹰﺍ.
ﺠﺭﻯ ﺃﻴﻀﹰﺎ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻠﻭﻥ ﺒﺄﺴﺘﺎﺫﻴﺔ ﻭﺍﻀﺤﺔ ﻝﺘﺤﻘﻴﻕ ﺒﻌﺽ ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺩﺭﺍﻤﻴﺔ ،ﻭﻫﻭ ﻤﺎ ﻜﺎﻥ ﻗﺩ ﺘﻡ ﺒﻨﺎﺅﻩ
ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ ،ﻭﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﺘﻤﺕ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﻭﺠﻭﺩ ﺍﻝﻘﺎﺘل ﻓﻲ ﺍﻝﻐﺭﻓـﺔ ﻭﻫـﻲ ﻤﻁﻔـﺄﺓ
ﻼ ﺇﻝﻰ ﺍﻝﺤﻤﺭﺓ ،ﻭﻤﻥ ﺨﻼل ﺍﻨﻌﻜﺎﺱ ﺯﺠـﺎﺝ ﻨﻅﺎﺭﺘـﻪ،
ﺍﻷﻨﻭﺍﺭ ،ﻤﻥ ﺨﻼل ﻭﻤﻴﺽ ﺍﺸﺘﻌﺎل ﻝﻔﺎﻓﺘﺔ ،ﺍﻝﻀﺎﺭﺏ ﻗﻠﻴ ﹰ
ﻭﻜﺫﻝﻙ ﻴﺴﺘﻨﺘﺞ ﺠﻴﻤﺱ ﺴﺘﻴﻭﺭﺍﺕ ﺃﻥ ﺍﻝﺠﺜﺔ ﻗﺩ ﺘﻡ ﺩﻓﻨﻬﺎ ﻓﻲ ﺍﻝﺒﻬﻭ ،ﻋﻨﺩﻤﺎ ﻗﺎﺭﻥ ﻝﻭﻥ ﺇﺤﺩﻯ ﺍﻝﻨﺒﺘﺎﺕ ﻤـﻊ ﺼـﻭﺭﺓ
ﺸﻔﺎﻓﺔ ﻤﻠﻭﻨﺔ ﻜﺎﻥ ﻗﺩ ﺍﻝﺘﻘﻁﻬﺎ ﻤﻥ ﻨﺎﻓﺫﺘﻪ ﻗﺒل ﻋﺩﺓ ﺃﻴﺎﻡ ﻝﻠﺭﻜﻥ ﺍﻝﺫﻱ ﺘﻭﺠﺩ ﻓﻴﻪ ﻫﺫﻩ ﺍﻝﻨﺒﺘﺔ.
ﻤﻥ ﺍﻝﻭﺍﻀﺢ ﺃﻥ ﺠﻴﻤﺱ ﺴﺘﻴﻭﺭﺍﺕ ﻜﺎﻥ ﺒﺈﻤﻜﺎﻨﻪ ،ﻤﻥ ﺨﻼل ﻤﺭﺼﺩﻩ ،ﻓﻘﻁ ﺃﻥ ﻴﺭﻯ ،ﻝﻜﻥ ﺩﻭﻥ ﺃﻥ ﻴﺴـﻤﻊ.
ﺇﺫﻥ ﻓﺈﻥ ﺠﺯﺀﹰﺍ ﻜﺒﻴﺭﹰﺍ ﻤﻥ ﺍﻝﻔﻴﻠﻡ ﻜﺎﻥ ﺸﺒﻪ ﺼﺎﻤﺕ ،ﻭﻋﻠﻴﻨﺎ ﺃﻥ ﻨﻌﻴﺩ ﺒﻨﺎﺀ ﺍﻝﺤﻭﺍﺭ ﺍﻨﻁﻼﻗﹰﺎ ﻤﻤﺎ ﻨﺸﺎﻫﺩﻩ ﻤﻥ ﺇﺸﺎﺭﺍﺕ
ﻭﺘﺤﺭﻜﺎﺕ .ﻝﻡ ﻨﻜﻥ ﻗﺎﺩﺭﻴﻥ ﻋﻠﻰ ﻓﻬﻡ ﺍﻝﻜﻠﻤﺎﺕ ،ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﺼﻠﻨﺎ ﺒﺼﻭﺭﺓ ﺸﺒﻪ ﻫﺎﻤﺴﺔ ،ﻋﺒﺭ ﻀـﺠﻴﺞ ﺨﺎﻓـﺕ،
ﻤﺼﻨﻭﻉ ﺒﻐﺎﻴﺔ ﺍﻝﺩﻗﺔ ،ﺃﻀﺎﻑ ﺇﻝﻰ ﻫﺫﺍ ﺍﻝﺩﻴﻜﻭﺭ ﻓﻀﺎﺀﻩ ﺍﻝﺼﻭﺘﻲ.
ﻼ ﺴﻴﻨﻤﺎﺌﻴﹰﺎ ﻝﺤﺒﻜﺔ ﻭﻝﺒﺼﻴﺭﺓ ﺘﺜﻴـﺭﺍﻥ
ﻭﻫﻜﺫﺍ ﻨﺭﻯ ﺃﻥ "ﺍﻝﻨﺎﻓﺫﺓ ﺍﻝﺨﻠﻔﻴﺔ" ﻴﺸﻜل ،ﻗﺒل ﺃﻱ ﺍﻫﺘﻤﺎﻡ ﺩﺭﺍﻤﻲ ،ﺤﺎﻤ ﹰ
ﺍﻹﻋﺠﺎﺏ.
ﺒﻘﻲ ﺍﻵﻥ ﺃﻥ ﻨﻌﺭﻑ ﻓﻴﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﻫﺫﺍ ﺍﻝﻌﻤل ﺠﺩﻴﺭﹰﺍ ﺒﻜل ﻫﺫﻩ ﺍﻝﺠﻬﻭﺩ ﺍﻝﻤﺒﺫﻭﻝﺔ ﻝﻠﺘﻐﻠﺏ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﻜﻡ ﻤـﻥ
ﺍﻝﺼﻌﻭﺒﺎﺕ.
ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺒﻼﻏﺔ ﻭﺇﺼﺭﺍﺭ ﺍﻝﻨﻘﺩ ﺍﻝﻬﻴﺘﺸﻜﻭﻜﻲ ﺍﻝﺸﺎﺏ ،ﺃﻋﺘﺭﻑ ﺒﺄﻨﻲ ﻝﻡ ﺃﻜﻥ ﻤﻌﺠﺒﹰﺎ ﺒﻜل ﺸﻲﺀ ﻓﻲ ﻫﺫﺍ
ﺍﻝﻔﻴﻠﻡ .ﻭﻻ ﺃﻨﻜﺭ ﺒﺎﻝﻁﺒﻊ ﺃﻥ ﺍﻝﻔﻴﻠﻡ ﺍﺤﺘﻭﻯ ﻋﻠﻰ ﻋﻨﺎﺼﺭ ﺸﺩﻴﺩﺓ ﺍﻹﻗﻨﺎﻉ .ﻓﺎﻝﺴﻴﻨﺎﺭﻴﻭ ﻴﻤﻜﻥ ﺘﻘﺴـﻴﻤﻪ ﺇﻝـﻰ ﺜﻼﺜـﺔ
ﻤﻭﺍﻀﻴﻊ ﻤﺘﺩﺍﺨﻠﺔ ﺒﺼﻭﺭﺓ ﻭﺜﻴﻘﺔ ﺠﺩﺍﹰ ،ﻝﻜﻨﻬﺎ ﻤﻊ ﺫﻝﻙ ﻤﺨﺘﻠﻔﺔ ﺍﻝﻁﺒﻴﻌﺔ :ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺠﻨﺴﻲ ﺤﻭل ﺍﻝﻌﻼﻗـﺔ ﺒـﻴﻥ
ﻏﺭﻴﺱ ﻜﻴﻠﻲ ،ﺍﻻﻤﺭﺃﺓ ﺍﻝﺠﻤﻴﻠﺔ ﻭﺍﻝﺫﻜﻴﺔ ،ﺍﻝﻌﺎﺸﻘﺔ ﺒﺸﻜل ﺠﻨﻭﻨﻲ؛ ﻭﺠﻴﻤﺱ ﺴﺘﻴﻭﺭﺍﺕ ،ﺍﻝﺫﻱ ﻫﻭ ,ﻤﻊ ﻋﺩﻡ ﺍﺴﺘﻬﺎﻨﺘﻪ
ﺒﻬﺎ ،ﻏﻴﺭ ﺭﺍﻏﺏ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﺒﺎﻝﺘﺨﻠﻲ ﻋﻥ ﺤﻴﺎﺓ ﺍﻝﻌﺯﻭﺒﻴﺔ .ﻫﺫﻩ ﺍﻝﻌﻼﻗﺔ ﻋﻭﻝﺠﺕ ﺒﻁﺭﻴﻘﺔ ﺘﻠﻤﻴﺤﻴﺔ ،ﻝﻜﻥ ﺩﻭﻥ ﺃﻥ
ﺘﺩﻉ ﺃﻱ ﻤﺠﺎل ﻝﻠﺸﻙ ﻝﺩﻴﻨﺎ ﺤﻭل ﻁﺒﻴﻌﺘﻬﺎ ﺍﻝﺠﺴﺩﻴﺔ ﻭﺍﻝﺴﻴﻜﻭﻝﻭﺠﻴﺔ .ﺜﻡ ﻗﻠﺔ ﺍﻝﺤﺸﻤﺔ ﺍﻝﺘﻲ ﺘﺼﺭ ﻋﻠﻴﻬﺎ ﻏﺭﻴﺱ ﻜﻴﻠﻲ،
ﻭﺇﻥ ﻓﻲ ﺤﺩﻭﺩ ﻤﺤﺘﻤﻠﺔ ،ﺃﻤﺎﻡ ﺭﺠل ﻴﻔﻜﺭ ،ﻗﺒل ﺃﻱ ﺸﻲﺀ ﺁﺨﺭ ،ﺒﺈﺯﻋﺎﺠﺎﺕ ﺍﻝﺠﺹ ،ﻭﺒﺈﺯﻋﺎﺠﺎﺕ ﺍﻝﺯﻭﺍﺝ.
ﻭﺃﻨﺘﻘل ﺇﻝﻰ ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺜﺎﻨﻲ ،ﻓﺄﺘﺤﺩﺙ ﻋﻥ ﺍﻝﺘﻨﺎﻭل ﺍﻝﺠﺯﺌﻲ ﻝﻠﺸﺨﺼﻴﺎﺕ ،ﺍﻝﺘﻲ ﻫﻲ ﻗﻴـﺩ ﺍﻝﻤﺭﺍﻗﺒـﺔ ﻓـﻲ
ﻲ ،ﻫﻭ ﺍﻷﻜﺜﺭ ﻤﺩﻋﺎﺓ ﻝﺨﻴﺒﺔ ﺍﻷﻤل ،ﺤﻴﺙ "ﺍﻷﻜﺜﺭ ﺼﻌﻭﺒﺔ" ﻫﻭ ﺍﻷﻜﺜﺭ
ﺍﻝﻁﻭﺍﺒﻕ ﺍﻝﻤﺨﺘﻠﻔﺔ ،ﻭﻫﺫﺍ ﺍﻷﻤﺭ ،ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝ
ﻭﻀﻭﺤﹰﺎ ﻭﺍﻷﻜﺜﺭ ﺇﻏﺎﻅﺔ ،ﻭﻫﻭ ﺃﻴﻀﹰﺎ ﺍﻝﺫﻱ ﻨﺠﺩ ﻓﻴﻪ ،ﻭﻋﻠﻰ ﻋﻜﺱ ﻤﺎ ﻓﻲ ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺴـﺎﺒﻕ ،ﺍﻝﺘﺯﺍﻤـﹰﺎ ﺃﻜﺒـﺭ
ﺒﺎﻝﻤﻴﺜﻭﻝﻭﺠﻴﺎ ﺍﻝﻬﻭﻝﻴﻭﻭﺩﻴﺔ ﻋﺒﺭ ﻤﺎﺩﺓ ﺍﺠﺘﻤﺎﻋﻴﺔ ،ﻭﻨﻼﺤﻅ ﻗﺒل ﻜل ﺸﻲﺀ ،ﺇﺭﺍﺩﺓ ﺇﻨﺠﺎﺯ ﺴﻠﺴﻠﺔ ﻤـﻥ ﺍﻻﺴﻜﺘﺸـﺎﺕ
ﺍﻝﻼﻤﻌﺔ ،ﻭﺒﻜل ﻤﻬﺎﺭﺓ ،ﺒﺎﻝﺘﺯﺍﻤﻥ ﻤﻊ ﺍﻝﺘﻁﻭﺭ ﺍﻝﻌﺎﻡ ﻝﻠﺤﺒﻜﺔ ،ﻭﻤﻊ ﻨﻬﺎﻴﺔ ﺍﻝﻔﻴﻠﻡ ﻨﻌﺭﻑ ﻜل ﺸـﻲﺀ ﻋـﻥ ﻤﺎﻀـﻲ
ﻭﻤﺴﺘﻘﺒل ﻫﺫﻩ ﺍﻝﺸﺨﺼﻴﺎﺕ ،ﺍﻝﺘﻲ ﻝﻡ ﻨﺸﺎﻫﺩﻫﺎ ﺇﻻ ﻗﻠﻴﻼﹰ ،ﻓﻼ ﻴﺒﻘﻰ ﺃﻱ ﺸﻲﺀ ﻏﺎﻤﻀﺎﹰ ،ﻭﻻ ﺤﺘﻰ ﻤﺎ ﻜﺎﻥ ﻴﺠـﺏ ﺃﻥ
ﻴﻜﻭﻥ ﻜﺫﻝﻙ ﺒﺴﺒﺏ ﻋﺩﻡ ﻜﻔﺎﻴﺔ ﻭﺴﺎﺌل ﺍﻁﻼﻋﻨﺎ ،ﻭﻋﺒﺜﹰﺎ ﻨﺘﻁﻠﻊ ،ﺒﻨﻔﺎﺩ ﺼﺒﺭ ،ﺇﻝﻰ ﺇﻤﻜﺎﻨﻴﺔ ﺃﻥ ﻨﺠﻬـل ﺸـﻴﺌﹰﺎ ﻋـﻥ
ﺸﺨﺼﻴﺔ ﻤﺎ ،ﻭﺇﻝﻰ ﺃﻴﺔ ﺁﻓﺎﻕ ﺘﺴﻤﺢ ﻝﻬﺫﻩ ﺍﻝﻤﺨﻠﻭﻗﺎﺕ ﺒﺄﻥ ﺘﻭﺠﺩ ﺨﺎﺭﺝ ﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﻔﻴﻠﻡ.
ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺒﻭﻝﻴﺴﻲ ﻨﻔﺴﻪ ﻜﻼﺴﻴﻜﻲ ﺠﺩﺍﹰ ،ﻭﺍﻝﺠﺩﻴﺩ ﻓﻴﻪ ﻫﻭ ﻓﻘﻁ ﻁﺭﻴﻘﺔ ﺘﻘﺩﻴﻤﻪ ،ﻭﻝﻴﺱ ﻝﻨﺎ ﺇﻻ ﺃﻥ ﻨﻌﺠـﺏ
ﺒﻤﻌﺎﻝﺠﺘﻪ .ﻭﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﹶﺘﺴ ﻤﻡ ﺍﻝﻜﻠﺏ ،ﺍﻝﺫﻱ ﺘﺤﻭل ﺇﻝﻰ ﺸﺎﻫﺩ ﻤﺯﻋﺞ ﻤﻨﺫ ﺃﻥ ﺃﺨﺫ ﻴﺤﻔﺭ ﻓﻲ ﺃﺭﺽ ﺍﻝﺒﻬـﻭ،
ﺇﻨﻪ ﻤﺸﻬﺩ ﻓﻲ ﻏﺎﻴﺔ ﺍﻝﻤﻬﺎﺭﺓ .ﻭﻨﺠﺩ ﺃﻨﻔﺴﻨﺎ ﺃﻤﺎﻡ ﻫﺩﻑ ﻤﺯﺩﻭﺝ ،ﺍﻷﻭل ﻭﺍﻀﺢ ﻭﻴﺴﻤﺢ ﺒﺄﻥ ﻴﺤﻘﻕ ﻤﺸﻬﺩﹰﺍ ﺍﺴﺘﺜﻨﺎﺌﻴﹰﺎ،
ﻋﻨﺩﻤﺎ ﺘﻜﺘﺸﻑ ﻤﺭﺒﻴﺔ ﺍﻝﻜﻠﺏ ﻤﻭﺘﻪ؛ ﻭﺍﻵﺨﺭ ﻏﻴﺭ ﻤﺒﺎﺸﺭ ،ﻭﻴﻅﻬﺭ ﻝﻨﺎ ﻓﻘﻁ ﻋﻨﺩﻤﺎ ﻨﻔﻜﺭ ﻓﻴﻪ .ﺍﻝﻤﻨـﺩﻭﺏ ﺍﻝﺘﺠـﺎﺭﻱ
ﺠﺩﻴﺭ ﺒﺎﻝﺸﻔﻘﺔ ﺃﻜﺜﺭ ﻤﻥ ﻜﻭﻨﻪ ﺇﻨﺴﺎﻨﹰﺎ ﻏﻴﺭ ﻤﻘﺒﻭل؛ ﻭﻜﻨﺎ ﻋﻠﻰ ﺍﺴﺘﻌﺩﺍﺩ ﻝﻨﻌﺫﺭ ﺫﻝﻙ ﺍﻝﺭﺠل ﺍﻝﻤﺴﻜﻴﻥ ﺍﻝﺫﻱ ﺘﺨﻠـﺹ
ﻤﻥ ﺘﻠﻙ ﺍﻝﻘﺒﻴﺤﺔ ﺍﻝﺨﺒﻴﺜﺔ ،ﻝﻜﻥ ﺩﻭﻥ ﺃﻥ ﻴﻔﻴﺩ "ﺍﻝﻤﺠﺭﻡ" ﻤﻤﺎ ﻗﺩ ﻴﺤﻤل ﻨﻔﻌﹰﺎ .ﺠﻴﻤﺱ ﺴﺘﻴﻭﺭﺍﺕ ،ﺍﻝﺫﻱ ﻴﻔﺘﺭﺽ ﺃﻨـﻪ
ﻥ
ل ﺍﻝﻜﻠﺏ ﺍﻝﺼﻐﻴﺭ ﻴﺴﻤﺢ ﺒﺤﺩﻭﺙ ﺘﺒﺩل ﻋﻤﻴﻕ ﻝﺩﻯ ﺍﻝﻤﺸـﺎﻫﺩ ،ﻫـﻭ ﺃ
ﺇﻨﺴﺎﻥ ﻋﺎﺩل ،ﻜﺎﻥ ﺩﻭﺭﻩ ﻗﻠﻴل ﺍﻝﺠﺎﺫﺒﻴﺔ .ﻗﺘ ُ
ﻼ ﻤﻤﻜﻨﹰﺎ.
ﺘﻘﻁﻴﻊ ﺍﻤﺭﺃﺓ ﻝﻡ ﻴﻜﻥ ﻓﻌ ﹰ
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ﻫﻨﺎﻙ ﺇﺫﻥ ﻓﻲ "ﺍﻝﻨﺎﻓﺫﺓ ﺍﻝﺨﻠﻔﻴﺔ" ﺜﻼﺜﺔ ﺃﻓﻼﻡ ﻓﻲ ﻓﻴﻠﻡ ﻭﺍﺤﺩ .ﺤﻜﺎﻴﺔ ﺍﻝﻌﻼﻗﺔ ﺍﻝﺠﻨﺴﻴﺔ ﺒﻴﻥ ﺭﺠل ﻭﺍﻤﺭﺃﺓ ،ﻭﻫﺫﺍ
ﺠﺎﻨﺏ ﻤﻤﺘﺎﺯ .ﻭﻓﻴﻠﻡ ﺒﻭﻝﻴﺴﻲ ﺤﺎﺫﻕ ﻝﻜﻨﻪ ﻜﻼﺴﻴﻜﻲ .ﻭﻓﻴﻠﻡ ﻤﻥ ﻤﺠﻤﻭﻋﺔ ﺍﺴﻜﺘﺸﺎﺕ ﻤﺒﻨـﻲ ﺒﻁﺭﻴﻘـﺔ ﺒﺎﺭﻋـﺔ ﻭﻻ
ﻼ ﺠﺩﻴﺭﹰﺍ ﺒﺎﻻﻋﺘﺒﺎﺭ ،ﻝﻜﻥ ﻴﺒﺩﻭ ﻝﻲ ﻤﻥ ﺍﻝﻤﺴﺘﺤﻴل،
ﻨﺼﺩﻕ ﺸﺨﺼﻴﺎﺘﻪ ﻭﻝﻭ ﻝﻠﺤﻅﺔ ﻭﺍﺤﺩﺓ .ﺭﺒﻤﺎ ﻴﺸﻜل ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻋﻤ ﹰ
ﻼ ﺼﺎﺩﻗﹰﺎ ،ﻴﺭﺘﻘﻲ ﺇﻝﻰ ﺃﻋﻠﻰ ﻤﻥ ﻤﺴﺘﻭﻯ ﺼﻴﻐﺔ ﻤﺴﻠﻴﺔ ﺫﺍﺕ ﺴﻭﻴﺔ ﺭﻓﻴﻌﺔ.
ﻤﻊ ﺫﻝﻙ ،ﺃﻥ ﻨﺸﺎﻫﺩ ﻓﻴﻪ ﻋﻤ ﹰ
ﺍﻝﺭﺠل ﺍﻝﺫﻱ ﻋﺭﻑ ﺃﻜﺜﺭ ﻤﻤﺎ ﻴﺠﺏ
ﻝﻡ ﺃﺘﻤﻜﻥ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﻤﻥ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﻤﺎ ﻭﺼل ﺇﻝﻴﻪ ﺒﻌﺽ ﺯﻤﻼﺌﻲ ،ﺃﻭﺤﺘﻰ ﺒﻌﺽ ﺃﺼـﺩﻗﺎﺌﻲ ،ﻤـﻥ
ﺇﻋﺠﺎﺏ ﻻ ﺤﺩﻭﺩ ﻝﻪ ﺒﻬﻴﺘﺸﻜﻭﻙ ،ﻭﻝﻭ ﺃﻨﻲ ﺃﻋﺘﺭﻑ ﺒﺄﻥ ﺇﺼﺭﺍﺭﻫﻡ ﻭﻤﻬﺎﺭﺓ ﺘﺤﻠﻴﻠﻬﻡ ﺭﺒﻤﺎ ﻗﺩ ﻓﺎﻗﺎ ﺘﺤﻔﻅـﺎﺘﻲ ﺇﺯﺍﺀ
ﺃﻋﻤﺎﻝﻪ .ﻭﻤﻊ ﺫﻝﻙ ﻓﺄﻓﻼﻤﻪ ﺍﻝﻁﻤﻭﺤﺔ ﻤﺜل "ﺃﻨﺎ ﺃﻋﺘﺭﻑ" ﺃﻭ"ﺍﻝﻨﺎﻓﺫﺓ ﺍﻝﺨﻠﻔﻴﺔ" ﻻﺘﺼل ﺇﻝﻰ ﺩﺭﺠﺔ ﺇﺜﺎﺭﺓ ﺤﻤﺎﺴﻲ ،ﻋﻠﻰ
ﺍﻝﺭﻏﻡ ﻤﻥ ﺇﻋﺠﺎﺒﻲ ﺍﻝﺫﻱ ﻻ ﻴﻤﻜﻨﻨﻲ ﺇﻨﻜﺎﺭﻩ؛ ﻓﻲ ﺤﻴﻥ ﺃﻥ ﺃﻋﻤﺎﻝﻪ ﺍﻝﺘﻲ ﻫﻲ ﻤﺤﺽ ﺃﻓﻼﻡ ﻝﻠﺘﺴﻠﻴﺔ ،ﻤﺜـل "ﺍﻝﻘـﺒﺽ
ﻋﻠﻰ ﻝﺹ" ﺃﻭ"ﻝﻜﻥ ،ﻤﻥ ﻗﺘل ﻫﺎﺭﻱ؟" ﺃﻭ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ "ﺍﻝﺭﺠل ﺍﻝﺫﻱ ﻋﺭﻑ ﺃﻜﺜﺭ ﻤﻤﺎ ﻴﺠﺏ" ،ﺘﻀﻌﻨﻲ ﻓﻲ ﺤﺎﻝﺔ ﻤـﻥ
ﺍﻻﻨﺸﺭﺍﺡ .ﺃﻝﻴﺱ ﺍﻷﻤﺭ ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﻜل ﺸﻲﺀ ،ﻫﻭ ﺃﻥ ﻫﻨﺎﻙ ﻤﺎ ﻴﻨﻘﺹ ﺍﻷﻭﻝﻰ ،ﺒﻴﻨﻤﺎ ﺃﻥ ﺍﻝﺜﺎﻨﻴﺔ ﻤﻤﺘﻌﺔ ﻝﻜﻨﻬﺎ
ﻻ ﺘﻌﺩ ﺒﺸﻲﺀ؟ ﻗﺎل ﻫﻴﺘﺸﻜﻭﻙ ﻤﺭﺍﺕ ﻋﺩﻴﺩﺓ ،ﻭﻝﻴﺱ ﻝﻲ ﻓﺤﺴﺏ ،ﺇﻥ ﻤﺎ ﻴﻬﺘﻡ ﺒﻪ ﻫﻭ ،ﻓﻘﻁ ،ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻴﺭﻭﻱ ﺒﻬﺎ
ﺍﻝﺤﻜﺎﻴﺔ .ﺃﻭﺍﻓﻕ ﻋﻠﻰ ﺃﻥ ﺁﺨﺫ ﻓﻲ ﺤﺴﺒﺎﻨﻲ ﻤﺴﺄﻝﺔ ﺍﻝﺩﻋﺎﺒﺔ ﻭﺍﻝﺘﻜﻠﻑ ،ﺇﻻ ﺃﻥ ﺍﻫﺘﻤﺎﻡ ﻫﻴﺘﺸﻜﻭﻙ ﻴﺘﻤﺜل ،ﺘﺤﺩﻴﺩﺍﹰ ،ﻓـﻲ
ﺘﺤﻭﻴل ﺍﻝﺸﻜل ﺇﻝﻰ ﺠﻭﻫﺭ ﺍﻝﺤﻜﺎﻴﺔ ﻨﻔﺴﻬﺎ ،ﺃﻱ ﺃﻥ ﺍﻷﻤﺭ ﻝﻴﺱ ﻤﺠﺭﺩ ﻁﺭﻴﻘﺔ ﺭﻭﺍﻴﺔ ﺍﻝﺤﻜﺎﻴﺔ ،ﻝﻜﻨﻪ ﻨﻭﻉ ﻤﻥ ﺍﻝﺭﺅﻴﺔ
ﺍﻝﻤﺴﺒﻘﺔ ﻝﻠﻜﻭﻥ ،ﻭﺍﻝﻨﻅﺭﺓ ﺍﻝﺠﺒﺭﻴﺔ ﺇﻝﻰ ﺍﻝﻌﺎﻝﻡ ﻨﺤﻭ ﻋﻼﻗﺎﺕ ﺩﺭﺍﻤﺎﺘﻴﻜﻴﺔ ﻤﻌﻴﻨﺔ.
ﻀﻤﻥ ﻫﺫﻩ ﺍﻝﺸﺭﻭﻁ ،ﻴﻤﻜﻥ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﻤﻴﺘﺎﻓﻴﺯﻴﻘﻴﺔ ﻝﻬﻴﺘﺸﻜﻭﻙ ،ﻝﻜﻨﻬﺎ ﻀﻤﻨﻴﺔ ﻭﻏﻴﺭ ﻤﺒﺎﺸﺭﺓ .ﻭﺘﻅﻬﺭ ﻫﺫﻩ
ﺤﺭ ﻴﺔ ،ﻓﻘﻁ ﺒﺎﻝﻤﻘﻴﺎﺱ ﺍﻝﺫﻱ ﻻ ﺘﺘﺒﺩﻯ ﻓﻴﻪ ﺃﻴﺔ ﻤﻴﺘﺎﻓﻴﺯﻴﻘﻴﺔ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ،ﻭﺒﺎﻝﻤﻌﻴﺎﺭ ﺍﻝﺫﻱ ﻫﻲ ﻓﻴـﻪ
ﺍﻝﻤﻴﺘﺎﻓﻴﺯﻴﻘﻴﺔ ﹺﺒ
ﺃﻴﻀﹰﺎ ﻤﺠﺭﺩ ﻝﻌﺒﺔ ﻝﻸﺸـﻜﺎل ﻭﻝﻠﺒﻨـﺎﺀ ،ﺒﻤﻌـﺯل ﻋـﻥ ﺍﻝﺴـﻴﻜﻭﻝﻭﺠﻴﺎ ﻭﺍﻝﺴﻭﺴـﻴﻭﻝﻭﺠﻴﺎ ،ﻭﻻ ﻴﻌﻨـﻲ ﻫـﺫﺍ ﺃﻥ
ﻻ ﺘﻜﻭﻨﺎ ﺤﺎﻀﺭﺘﻴﻥ .ﻭﻴﻤﻜﻥ ﺍﻝﻘﻭل ﻫﻨﺎ ﺇﻥ ﻫﻴﺘﺸﻜﻭﻙ ﻫﻭ ﺃﻜﺜﺭ ﺠﺩﻴﺔ ﻤﻤﺎ ﻴﺘﻁﻠﻊ ﺇﻝﻴﻪ ،ﻝﻜﻥ ﺃﻗل ﻤﻤـﺎ ﻴﺭﻴـﺩ ﺃﻥ
ﻴﺠﻌﻠﻨﺎ ﻨﻌﺘﻘﺩﻩ.
ﻴﻨﺘﻤﻲ"ﺍﻝﺭﺠل ﺍﻝﺫﻱ ﻋﺭﻑ ﺃﻜﺜﺭ ﻤﻤﺎ ﻴﺠﺏ" ،ﺒﺼﻭﺭﺓ ﻭﺍﻀﺤﺔ ،ﺇﻝﻰ ﺫﻝﻙ ﺍﻝﻨﻭﻉ ﻤﻥ ﺴﻴﻨﺎﺭﻴﻭﻫﺎﺕ ﻫﻴﺘﺸﻜﻭﻙ
ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ،ﻤﺜل "ﺍﻝﺩﺭﺠﺎﺕ ﺍﻝﺘﺴﻊ ﻭﺍﻝﺜﻼﺜﻭﻥ" ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﻝﻴﺱ ﻓﻘﻁ ﻷﻥ ﻤﻭﻀﻭﻉ ﺍﻝﻔﻴﻠﻡ ﻫﻭ ﺍﻝﺠﺎﺴﻭﺴـﻴﺔ،
ﺒل ،ﻭﻗﺒل ﻜل ﺸﻲﺀ ،ﺒﺴﺒﺏ ﻋﺩﻡ ﺇﻤﻜﺎﻨﻴﺔ ﺍﻝﺘﺼﺩﻴﻕ ،ﻭﻋﻥ ﻋﻤﺩ ،ﻝﺘﻔﺎﺼﻴل ﺍﻝﻤﺸﻜﻠﺔ .ﻫﺫﻩ ﺍﻝﻤﺭﺓ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋـﻥ
ﻤﺼﺎﺌﺏ ﺯﻭﺠﻴﻥ ﺃﻤﺭﻴﻜﻴﻴﻥ ،ﺠﻴﻤﺱ ﺴﺘﻴﻭﺭﺍﺕ ﻭﺩﻭﺭﻴﺱ ﺩﺍﻱ :ﺨﻼل ﺇﺠﺎﺯﺓ ﻓﻲ ﻤﺭﺍﻜﺵ ،ﻴﺘﻭﺭﻁﺎﻥ ،ﻋﻥ ﻁﺭﻴﻕ
ﺍﻝﺨﻁﺄ ،ﻭﺒﺎﻝﺭﻏﻡ ﻤﻨﻬﻤﺎ ،ﻓﻲ ﺼﺭﺍﻉ ﺒﻴﻥ ﻋﻤﻴل ﻓﺭﻨﺴﻲ ﻝﻤﻜﺎﻓﺤﺔ ﺍﻝﺠﺎﺴﻭﺴﻴﺔ )ﺩﺍﻨﻴﻴل ﺠﻴﻼﻥ( ،ﻭﺯﻭﺠﻴﻥ ﺇﻨﻜﻠﻴﺯﻴﻴﻥ
ﻤﺩﻓﻭﻋﻴﻥ ﻤﻥ ﻗﺒل ﻗﻭﺓ ﺃﺠﻨﺒﻴﺔ ﻏﺎﻤﻀﺔ ،ﺠﺎﺀﺍ ﺇﻝﻰ ﻤﺭﺍﻜﺵ ﻤﻥ ﺃﺠل ﺘﺠﻨﻴﺩ ﺭﺍﻤﻲ ﻤﺴﺩﺱ ﻝﻘﺘل ﺭﺌﻴﺱ ﻭﺯﺍﺭﺓ ﺨﻼل
ﺤﻔل ﻤﻭﺴﻴﻘﻲ ﻓﻲ ﻗﺎﻋﺔ ﺁﻝﺒﺭﺕ ﻫﻭل ﺒﻠﻨﺩﻥ .ﻭﻝﻼﻁﻤﺌﻨﺎﻥ ﺇﻝﻰ ﺍﻝﺘﺯﺍﻤﻬﻤﺎ ﺍﻝﺼﻤﺕ ﻴﻘﻭﻡ ﺍﻝﻤﺘﺂﻤﺭﺍﻥ ﺒﺎﺨﺘﻁﺎﻑ ﻁﻔـل
ﻼ ﺍﻝﺼﻤﺕ ،ﺘﺤﺕ ﺍﻝﺘﻬﺩﻴﺩ ،ﺇﻻ ﺃﻨﻬﻤﺎ ﻴﻘﺭﺭﺍﻥ ﺃﻴﻀﹰﺎ ﺍﻝﺫﻫﺎﺏ ﻝﻠﻌﺜﻭﺭ ﻋﻠﻰ ﺍﺒﻨﻬﻤﺎ ﻓﻲ
ﺍﻷﻤﺭﻴﻜ ﻴﻴﻥ ،ﺍﻝﻠﺫﻴﻥ ﻴﻘﺭﺭﺍﻥ ﻓﻌ ﹰ
ﺇﻨﻜﻠﺘﺭﺍ ﻗﺒل ﺃﻥ ﻴﻘﻊ ﺍﻻﻏﺘﻴﺎل.
ﻴﻌﺜﺭ ﺍﻝﺯﻭﺠﺎﻥ ﻋﻠﻰ ﺍﻝﺨﺎﻁﻔﻴﻥ ،ﻝﻜﻥ ﻝﻴﺱ ﺒﺎﻝﺴﺭﻋﺔ ﺍﻝﻼﺯﻤﺔ ،ﺤﻴﺙ ﻜﺎﻥ ﺍﻝﻁﻔل ﻗﺩ ﹸﻨﻘل ﺇﻝﻰ ﻗﺒـﻭ ﺍﻝﺴـﻔﺎﺭﺓ
ﺍﻝﻐﺎﻤﻀﺔ ،ﻫﺫﺍ ﻤﻥ ﻨﺎﺤﻴﺔ ،ﻭﻤﻥ ﻨﺎﺤﻴﺔ ﺃﺨﺭﻯ ﻜﺎﻥ ﺍﻝﻘﺎﺘل ﻗﺩ ﺘﻤﺭﻜﺯ ﻓﻲ ﺇﺤﺩﻯ ﻤﻘﺼﻭﺭﺍﺕ ﺁﻝﺒﺭﺕ ﻫﻭل ﻓﻲ ﺯﺍﻭﻴﺔ
ﻁﻲ ﺘﺭﻗﺏ ﻤﺤ ﹶﻜﻤﻴﻥ ،ﺍﻷﻭل ﻴﺘﻌﻠﻕ ﺒﺎﻻﻋﺘﺩﺍﺀ ﺍﻝﺫﻱ
ﻤﻨﺎﺴﺒﺔ ﻝﻠﺘﺴﺩﻴﺩ .ﺃﻤﺎ ﺍﻝﻘﺴﻡ ﺍﻷﺨﻴﺭ ﻤﻥ ﺍﻝﻔﻴﻠﻡ ﻓﻬﻭ ﻤﺨﺼﺹ ﻝﺨ ﱠ
ﺴﻴﻘﻊ ﺨﻼل ﺍﻝﺤﻔل ﺍﻝﻤﻭﺴﻴﻘﻲ )ﺍﻝﻘﺎﺘل ﻴﺠﺏ ﺃﻥ ﻴﻁﻠﻕ ﺍﻝﻨﺎﺭ ﻓﻲ ﻝﺤﻅﺔ ﻤﻌﻴﻨﺔ ﻤﻥ ﻁﻐﻴﺎﻥ ﺼﻭﺕ ﺍﻝﻤﻭﺴﻴﻘﺎ ﻝﻠﺘﻐﻁﻴﺔ
ﻋﻠﻰ ﺼﻭﺕ ﺍﻝﻤﺴﺩﺱ ،ﻭﺘﺤﺩﻴﺩﹰﺍ ﻤﻊ ﺼﻭﺕ ﻗﺭﻉ ﺍﻝﺼﻨﻭﺝ( ،ﺃﻤﺎ ﺍﻝﺨﻁ ﺍﻝﺜﺎﻨﻲ ﻓﻴﺘﻌﻠﻕ ﺒﻤﺴﺄﻝﺔ ﺍﺴﺘﺭﺩﺍﺩ ﺍﻝﻁﻔل ﺨﻼل
ﺤﻔل ﺍﺴﺘﻘﺒﺎل ﻴﺠﺭﻱ ﻓﻲ ﺍﻝﺴﻔﺎﺭﺓ.
ﻼ ﻤﻤﺎ ﻜﺎﻥ ﻴﺴﻤﺢ ﺒﻪ ﺤﺭﺼﻲ ﻋﻠﻰ ﺍﻻﺤﺘﻔﺎﻅ ﻝﻠﻘﺎﺭﺉ ﺒﻤﻔﺎﺠﺂﺕ
ﺇﺫﺍ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﺨﻼﺼﺔ ﻗﺩ ﻁﺎﻝﺕ ﺃﻜﺜﺭ ﻗﻠﻴ ﹰ
ﺍﻝﻔﻴﻠﻡ ،ﻓﺫﻝﻙ ﻷﻥ ﻫﻴﺘﺸﻜﻭﻙ ﻴﺘﺼﻨﻊ ﻤﻔﺎﺠﺄﺘﻨﺎ ﺒﻴﻨﻤﺎ ﻫﻭ ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ﻴﻔﻜﺭ ﺃﻜﺜﺭ ﺒﻤﺴﺄﻝﺔ ﺍﻝﺘﺭﻗﺏ .ﺍﺒﺘﻜﺎﺭﻩ ،ﺃﻭ ﺠﺭﺃﺘﻪ،
ﺘﻜﻤﻥ ﻋﻤﻠﻴﹰﺎ ﻓﻲ ﺃﻨﻪ ﻴﻘﺩﻡ ﺇﻝﻴﻨﺎ ﺒﻨﻰ ﺩﺭﺍﻤﻴﺔ ﻗﺩﻴﻤﺔ ﻭﺘﻘﻠﻴﺩﻴﺔ ،ﻴﺤﺩﺜﻬﺎ ﺒﺼﻭﺭﺓ ﻜﺒﻴﺭﺓ ،ﻤﻥ ﺨـﻼل ﻤﻬﺎﺭﺘـﻪ ،ﻭﻓـﻲ
ﺍﻝﺘﻐﻴﻴﺭﺍﺕ ﺍﻝﺫﻜﻴﺔ ﺍﻝﻤﺤﺴﻭﺴﺔ ﻓﻲ ﺍﻝﺘﻔﺎﺼﻴل .ﻭﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﻭﻀﺢ ﻝﻜﻡ ﻫﺫﺍ ﺒﺄﻥ ﺁﺨﺫ ،ﻜﻤﺜﺎل ،ﻤﻘﻁﻌﹰﺎ ﻤﺘﻤﻴﺯﹰﺍ ﻤـﻥ
ﺍﻝﻔﻴﻠﻡ ،ﻫﻭ "ﺍﻝﺘﺭﻗﺏ" ﺨﻼل ﺍﻝﺤﻔل ﺍﻝﻤﻭﺴﻴﻘﻲ ،ﺤﻴﺙ ﻨﻨﺘﻅﺭ ﺍﺼﻁﻔﺎﻕ ﺍﻝﺼﻨﻭﺝ )ﻭﻁﻠﻘﺔ ﺍﻝﻤﺴﺩﺱ( ﺒﻴﻨﻤﺎ ﺩﻭﺭﻴـﺱ
ﺩﺍﻱ )ﻭﻫﻲ ﺘﺠﻬل ﻁﺒﻌﹰﺎ ﺍﻹﺸﺎﺭﺓ ﺍﻝﻤﺘﻔﻕ ﻋﻠﻴﻬﺎ( ﺘﺒﻜﻲ ﻓﻲ ﺩﻫﺎﻝﻴﺯ ﺍﻝﻤﺴﺭﺡ ﺒﺴﺒﺏ ﻋﺩﻡ ﻗﺩﺭﺘﻬﺎ ﻋﻠـﻰ ﻋﻤـل ﺃﻱ
ﺸﻲﺀ ،ﻓﻲ ﺤﻴﻥ ﻴﻔ ﺭ ﺠﻴﻤﺱ ﺴﺘﻴﻭﺭﺍﺕ.
ﻭﻜﻤﺎ ﻓﻲ "ﺍﻝﺴﻴﺩﺓ ﺘﺨﺘﻔﻲ" ،ﻝﻜﻥ ،ﺒﺭﺃﻴﻲ ،ﺒﻁﺭﻴﻘﺔ ﺃﻜﺜﺭ ﺘﺄﻝﻘﹰﺎ ﻫﻨﺎ ،ﻴﺴﺘﺨﺩﻡ ﻫﻴﺘﺸﻜﻭﻙ ﺒﻜل ﺒﺴﺎﻁﺔ ﺍﻝﻤﻭﻨﺘـﺎﺝ
ﺍﻝﻤﺘﻭﺍﺯﻱ ،ﺃﻗﺩﻡ ﺃﺴﺎﻝﻴﺏ "ﺍﻝﺘﺭﻗﺏ" ،ﺍﻝﺫﻱ ﺍﺒﺘﻜﺭﻩ ﻏﺭﻴﻔﻴﺙ ،ﻜﻤﺎ ﻨﻌﺭﻑ ﺠﻤﻴﻌﺎﹰ ،ﻓﻲ ﻤﻘﻁﻊ ﺸﻬﻴﺭ ﻤﻥ "ﺍﻝﺘﻌﺼـﺏ"،
ﻭﺃﺼﺒﺢ ﺍﻵﻥ ﺒﻌﺩ ﺃﻥ ﺠﺭﻯ ﺍﺴﺘﺨﺩﺍﻤﻪ ﻜﺜﻴﺭﺍﹰ ،ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺍﻷﺴﺎﻝﻴﺏ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﻌﺭﻴﻘﺔ ،ﻝﻜﻥ ﺍﻷﻜﺜﺭ ﺴـﺫﺍﺠﺔ .ﺇﻥ
ﻻ ﻓـﻲ
ﻁﺒﻴﻌﺔ ﺍﻝﻔﻌﺎﻝﻴﺔ ﺍﻝﺸﻜﻠﻴﺔ ﻭﺍﻵﻝﻴﺔ ﻝﻬﺫﺍ ﺍﻷﺴﻠﻭﺏ ﻻ ﺘﺴﻤﺢ ﻝﻤﺨﺭﺝ ﻻ ﻴﻤﺘﻠﻙ ﺍﻝﺠﺭﺃﺓ ﺒﺄﻥ ﻴﺴﺘﺨﺩﻤﻪ ﻤﺠـﺩﺩﹰﺍ ،ﺇ ﹼ
ﺒﻌﺽ ﺍﻷﻨﻭﺍﻉ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﺴﺎﺫﺠﺔ ،ﻜﺄﻓﻼﻡ ﺍﻝﻐﺭﺏ ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل .ﺍﻝﻤﺨﺭﺠﻭﻥ ﻋﺎﺩﺓﹰ ،ﺒﺎﺴـﺘﺜﻨﺎﺀ ﻫﻴﺘﺸـﻜﻭﻙ،
ﺍﻝﺫﻱ ،ﻭﻜﻤﺎ ﺴﺒﻕ ﺃﻥ ﺃﺸﺭﺕ ،ﻴﺠﻌل ﻤﻥ ﻜﻴﻔﻴﺔ ﺒﻨﺎﺀ ﺍﻝﺤﻜﺎﻴﺔ ﻤﻭﻀﻭﻋﹰﺎ ﻝﻠﻔﻴﻠﻡ ،ﻴ ﺭﻭﻥ ﺃﻥ ﺍﻷﺴﻠﻭﺏ ﺍﻷﻓﻀـل ﻫـﻭ
ﺍﻷﺴﻠﻭﺏ ﺍﻷﻜﺜﺭ ﺍﺘﻔﺎﻗﹰﺎ ﻋﻠﻴﻪ .ﻻ ﻴﺘﺴﺎﺀل ﺍﻝﻤﺸﺎﻫﺩ ﻤﻊ ﺃﻋﻤﺎل ﻫﻴﺘﺸﻜﻭﻙ ﻋﻤﺎ ﺴﻴﺤﺼل ،ﺒﻘﺩﺭ ﻤـﺎ ﻴﺘﺴـﺎﺀل ﻋـﻥ
ﺍﻝﻜﻴﻔﻴﺔ ﺍﻝﻤﺒﺘﻜﺭﺓ ﺍﻝﺘﻲ ﺴﻴﺩﻴﺭ ﺒﻬﺎ ﺍﻷﻤﻭﺭ … ﻭﻝﺴﺕ ﺃﺒﺎﻝﻎ ﺇﻁﻼﻗﹰﺎ .ﻭﺒﺴﺒﺏ ﻋﺩﻡ ﺍﻝﺩﺭﺍﻴﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﻜﺎﻓﻴﺔ ﻝـﺩﻯ
ﺍﻝﻤﺸﺎﻫﺩ ،ﻴﻭﺍﻓﻕ ﻋﻠﻰ ﺍﻝﺘﻭﺍﻁﺅ ﻤﻊ ﺍﻝﻤﺨﺭﺝ )ﻭﻴﺒﺩﻭ ﺫﻝﻙ ﻤﻥ ﺨﻼل ﺍﻝﻀﺤﻜﺎﺕ ﻓﻲ ﺍﻝﺼﺎﻝﺔ( ،ﻭﺍﻝﺒﺭﻫﺎﻥ ﺍﻷﻭل ﻋﻠﻰ
ﻫﻴﻤﻨﺔ ﻫﻴﺘﺸﻜﻭﻙ ﻫﻭ ﺃﻨﻪ ﻭﺼل ﺇﻝﻰ ﻤﺭﺤﻠﺔ ﻤﻥ ﺍﻷﺴﺘﺎﺫﻴﺔ ﻴﺴﺘﻁﻴﻊ ﻤﻌﻬﺎ ﺃﻥ ﻴﺤﻘﻕ ﻤﺸﺎﺭﻜﺔ ﺍﻝﺠﻤﻬﻭﺭ ،ﻭﺒﺎﻝﻀﺒﻁ
ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﻴﺭﻴﺩﻩ.
ﻴﺴﺘﺨﺩﻡ ﻫﻴﺘﺸﻜﻭﻙ ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﻤﺘﻭﺍﺯﻱ ﺒﺼﻭﺭﺓ ﻀﻤﻨﻴﺔ ،ﻭﻜﺸﻜل ﻤﻥ ﺃﺸﻜﺎل ﺍﻝﺒﻼﻏـﺔ ﺍﻝﺴـﻴﻨﻤﺎﺌﻴﺔ ،ﻝﻜـﻥ
ﺒﺒﺭﺍﻋﺔ ﺘﺘﺠﺎﻭﺯ ﺫﻜﺭﻴﺎﺕ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ،ﻭﻤﻥ ﺨﻼل ﻋﻨﺎﻴﺔ ﺭﻓﻴﻌﺔ ﺒﺘﺤﻘﻴﻕ ﺘﻔﺎﺼﻴل ﻏﻴﺭ ﻤﺘﻭﻗﻌﺔ .ﻭﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل،
ﻜﺎﻥ ﻴﻔﺘﺭﺽ ﻭﺼﻭل ﺠﻴﻤﺱ ﺴﺘﻴﻭﺭﺍﺕ ﺇﻝﻰ ﻤﻘﺼﻭﺭﺓ ﺍﻝﻘﺎﺘل ﻗﺒل ﺜﺎﻨﻴﺔ ﻭﺍﺤﺩﺓ ﻤﻥ ﺍﻨﻁﻼﻕ ﺼـﻭﺕ ﺍﻝﺼـﻨﻭﺝ.
ﻨﻌﺭﻑ ﺃﻥ ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﻤﺴﻤﻰ "ﻤﺘﻭﺍﺯﻴﹰﺎ" ﻫﻭ ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ،ﻤﻭﻨﺘﺎﺝ ﻤﺘﺯﺍﻤﻥ :ﻓﻌﻼﻥ ﻴﺠﺭﻴﺎﻥ ﻓﻲ ﺁﻥ ﻭﺍﺤﺩ ،ﺇﻻ ﺃﻨﻬﻤﺎ
ﻤﻨﻔﺼﻼﻥ ﻓﻲ ﺍﻝﻤﻜﺎﻥ ،ﻭﻋﻠﻴﻬﻤﺎ ﺃﻥ ﻴﺘﺤﺩﺍ ﻗﺒل ﺃﻥ ﻴﺤﺩﺙ ﻤﺎ ﻻ ﻴﻤﻜﻥ ﺘﻔﺎﺩﻴﻪ؛ ﺇﻥ ﺭﺍﻋﻲ ﺍﻝﺒﻘﺭ ﺍﻝﺠﻴﺩ ﻴﻅﻬﺭ ﻋﻠـﻰ
ﺤﺼﺎﻨﻪ ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﻤﻨﺎﺴﺏ ﺘﻤﺎﻤﹰﺎ ﻹﻨﻘﺎﺫ ﺍﻝﻔﺘﺎﺓ ﺍﻝﺘﻲ ﻜﺎﺩﺕ ﺃﻥ ﹸﺘﺨﺘﻁﻑ ﻤﻥ ﻗﺒل ﺭﺠل ﺍﻝﻌﺼﺎﺒﺔ ،ﻭﻝﻭ ﻜﺎﻥ ﺭﺍﻋﻲ
ﻻ ﻴﻜـﻭﻥ
ﺍﻝﺒﻘﺭ ﻗﺩ ﻭﺼل ﻤﺘﺄﺨﺭﹰﺍ ﻝﺒﺩﺕ ﻜل ﺍﻝﻤﻌﺎﻝﺠﺔ ﺍﻝﺒﻠﻴﻐﺔ ﻏﻴﺭ ﺫﺍﺕ ﺠﺩﻭﻯ .ﻭﺍﻝﻘﻠﻕ ﺍﻝﺫﻱ ﹸﻨﺸﺤﻥ ﺒﻪ ﻻ ﻴﺠﻭﺯ ﺃ ﹼ
ﻼ.
ﻤﺘﻔﺎﺌ ﹰ
ﺇﻥ ﻤﻔﺎﺠﺄﺘﻨﺎ ﺒﻨﻬﺎﻴﺔ ﻤﺄﺴﺎﻭﻴﺔ ﺃﻤﺭ ﻻ ﻴﻠﻴﻕ ﺒﻬﻴﺘﺸﻜﻭﻙ ،ﻭﺒﺭﺍﻋﺘﻪ ﺘﻜﻤﻥ ﻓﻲ ﺍﺴﺘﻨﺒﺎﻁ ﺤل ﻴﺘﺄﺴﺱ ﻋﻠﻰ ﹶﻗﻁﹾـﻊ
ﺍﻝﻁﺭﻑ ﺍﻝﻁﻭﻴل ﻭﺍﻝﻤﺸﺤﻭﺫ ﻝﺤﺯﻤﺔ ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﻤﺘﺯﺍﻤﻨﺔ .ﻴﺼل ﺴﺘﻴﻭﺭﺍﺕ ﻤﺘﺄﺨﺭﹰﺍ ﻗﻠﻴﻼﹰ ،ﺍﻝﺼـﻨﻭﺝ ﺘﻜـﻭﻥ ﻗـﺩ
ﻗﺭﻋﺕ ،ﺇﻻ ﺃﻥ ﺩﻭﺭﻴﺱ ﺩﺍﻱ ،ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﻗﺩ ﺸﺎﻫﺩﺕ ﻤﺎﺴﻭﺭﺓ ﺍﻝﻤﺴﺩﺱ ،ﺘﺼﺭﺥ ،ﻭﺒﺎﻝﻀﺒﻁ ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﻤﻨﺎﺴﺏ،
ﻓﺘﻔﺎﺠﺊ ﺍﻝﻘﺎﺘل ﻭﺘﺘﺴﺒﺏ ﻓﻲ ﺍﻨﺤﺭﺍﻑ ﺍﻝﻁﻠﻘﺔ ،ﻭﻻﻴﺼﺎﺏ ﺍﻝﻤﺴﺅﻭل ﺴﻭﻯ ﺒﺠﺭﺡ ﺒﺴﻴﻁ.
ﻝﻘﺩ ﺃﺒﺭﺯﺕ ﻫﻨﺎ ﻤﺠﺭﺩ ﻤﺜﺎل ﻝﻔﻥ ﻫﻴﺘﺸﻜﻭﻙ ،ﻝﻜﻥ ﺭﺒﻤﺎ ﻜﺎﻥ ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﺸﻴﺭ ﺇﻝـﻰ ﺍﻝﻤﺯﻴـﺩ ﻤـﻥ ﺍﻷﻤﺜﻠـﺔ،
ﻲ ﺃﻴﻀﹰﺎ ﺃﻥ ﺃﺸﻴﺭ ﺇﻝـﻰ
ﺴﻠﹼﻭﺍ ﺒﺎﻝﺒﺤﺙ ﻋﻨﻬﺎ! ..ﻭﻋﻠ
ﻭﺒﺨﺎﺼﺔ ﻓﻲ ﻤﺠﺎل ﺍﺒﺘﻜﺎﺭﺍﺘﻪ ﺍﻝﺒﻭﻝﻴﺴﻴﺔ ،ﻜﺎﻝﻁﺭﻕ ﺍﻝﻤﻀﱢﻠﻠﺔ :ﹶﺘ
ﺫﻝﻙ ﺍﻝﻔﻥ ﺍﻝﻜﺎﺭﻴﻜﺎﺘﻭﺭﻱ ﺍﻝﺭﻓﻴﻊ ،ﻭﻤﺎﺩﺘﻪ ﻫﺫﻩ ﺍﻝﻤﺭﺓ ﺴﻭﺴﻴﻭﻝﻭﺠﻴﺔ ،ﻭﺃﻗﺩﻡ ﻤﺜﺎﻝﻴﻥ ﻋﻠﻰ ﺫﻝﻙ :ﺍﻝﺒـﻭﻝﻴﺱ ﺍﻝﻔﺭﻨﺴـﻲ
ﺍﻝﺫﻱ ﻴﺸﺎﻫﺩ ﻓﻲ ﺍﻝﺒﺩﺍﻴﺔ ﺒﺼﻭﺭﺓ ﺴﺭﻴﻌﺔ ،ﻭﺍﺨﺘﻴﺎﺭ ﺍﻝﻤﻼﺒﺱ ﺒﺩﺀﹰﺍ ﻤﻥ ﺍﻝﻠﺤﻅﺔ ﺍﻝﺘﻲ ﻨﻜﻭﻥ ﻓﻴﻬﺎ ﺒﺈﻨﻜﻠﺘﺭﺍ.
ﻝﻜل ﻫﺫﻩ ﺍﻷﺴﺒﺎﺏ ،ﻴﺒﺩﻭ ﻝﻲ "ﺍﻝﺭﺠل ﺍﻝﺫﻱ ﻋﺭﻑ ﺃﻜﺜﺭ ﻤﻤﺎ ﻴﺠﺏ" ،ﺃﻜﺜﺭ ﻜﻤﺎﻻﹰ ،ﻓﻲ ﻨﻭﻋﻪ ،ﻤـﻥ "ﺍﻝﻘـﺒﺽ
ﻋﻠﻰ ﻝﺹ" ﺃﻭ "ﻝﻜﻥ ،ﻤﻥ ﻗﺘل ﻫﺎﺭﻱ؟" ،ﻭﻻ ﺃﺭﻴﺩ ﺃﻥ ﺃﻏﺎﻝﻲ ﻓﻲ ﺘﻤﻴﺯﻩ ﺍﻝﻤﻁﻠﻕ ،ﻝﻜﻥ ،ﻭﻷﻭﻝﺌﻙ ﺍﻝﺫﻴﻥ ﻴﺭﻴﺩﻭﻥ ﺃﻥ
ﻴﻠﺘﻘﻁﻭﺍ ﺍﻝﻔﻥ ﺍﻝﻬﻴﺘﺸﻜﻭﻜﻲ ﻓﻲ ﺃﻗﺭﺏ ﺤﺎﻻﺘﻪ ﻤﻥ ﺍﻝﻜﻤﺎل ،ﻓﺈﻥ "ﺍﻝﺭﺠل ﺍﻝﺫﻱ ﻋﺭﻑ ﺃﻜﺜﺭ ﻤﻤﺎ ﻴﺠﺏ" ﻴﻘﺩﻡ ﺒﻼ ﺸـﻙ
ﺍﻝﻭﺠﻪ ﺍﻷﻜﺜﺭ ﺭﻭﻋﺔ ﻝﻌﺒﻘﺭﻴﺘﻪ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ.
) (1956 /10/18 ، L'Observateur
ﻫﻴﺘﺸﻜﻭﻙ
ﻋﻨﺩﻤﺎ ﻜﻨﺕ ﻁﻔﻼﹰ ،ﺸﺎﻫﺩﺕ ﻓﻲ ﻤﻜﺎﻥ ﻤﺎ ﺨﻠﻑ ﺍﻝـ"ﺇﻴﺘﻭﺍل" ،ﻭﺍﺠﻬﺔ ﺘﻌﺭﺽ ﺠﻬﺎﺯﹰﺍ ﺃﺜﺎﺭ ﺩﻫﺸـﺘﻲ .ﻜﺎﻨـﺕ
ﺘﺒﺩﻭ ﻓﻴﻪ ﻋﺠﻠﺔ ﻤﻥ ﺍﻝﻔﻭﻻﺫ ﺘﺘﺤﺭﻙ ﺜﻡ ﺘﺘﻭﻗﻑ ﻋﻥ ﺍﻝﺤﺭﻜﺔ ﺒﺩﻓﻊ ﺫﺍﺘﻲ ،ﺘﺘﺼل ﺒﻌﺩﺩ ﻤﻥ ﺍﻝﺒﻜﺭﺍﺕ ﺒﺤﻭﺍﻤل ﺠﻠﺩﻴﺔ.
ﻜﺎﻨﺕ ﺤﺭﻜﺔ ﺁﻝﻴﺔ ﻤﺴﺘﻤﺭﺓ ،ﺩﻭﻥ ﺃﻱ ﺘﺩﺨل ﺇﻨﺴﺎﻨﻲ ،ﻭﺩﻭﻥ ﺃﻴﺔ ﻓﺎﺌﺩﺓ .ﺃﺘﺫﻜﺭ ﺃﻴﻀﹰﺎ ﺃﻨﻲ ﺸﺎﻫﺩﺕ ﻭﺍﺤﺩﺓ ﺃﺨﺭﻯ ﻤﻥ
ﻫﺫﻩ ﺍﻵﻻﺕ ﺍﻝﻔﻭﻻﺫﻴﺔ ،ﺒﺫﻝﻙ ﺍﻝﺒﺭﻴﻕ ﺍﻝﺠﻤﻴل ،ﻭﻜﺎﻨﺕ ﺤﺭﻜﺘﻬﺎ ﺘﺴﺘﻤﺭ ﺒﺼﻭﺭﺓ ﻻ ﺘﺘﻭﻗﻑ ﺒﺴﺒﺏ ﺴﻘﻭﻁ ﻨﻘﻁﺔ ﻤـﻥ
ﺍﻝﻤﺎﺀ ﻜل ﺩﻗﻴﻘﺔ .ﺇﻻ ﺃﻥ ﺃﻜﺜﺭ ﻤﺎﻜﺎﻥ ﻴﺜﻴﺭ ﺍﻫﺘﻤﺎﻤﻲ ﻫﻭ ﻝﻌﺒﺔ ﺘﺤﺘﻭﻱ ﻋﻠﻰ ﻜﺭﺓ ﻤﻥ ﺍﻝﻔﻭﻻﺫ ﺘﺴﻘﻁ ﻓـﻭﻕ ﺼـﻔﻴﺤﺔ
ﻤﻌﺩﻨﻴﺔ ﻤﺼﻘﻭﻝﺔ ﺜﻡ ﺘﺭﺘﺩ ﻤﺭﺍﺕ ﻤﺘﺘﺎﺒﻌﺔ ﻓﻭﻕ ﺴﻠﺴﻠﺔ ﻤﻥ ﺍﻝﺼﻔﺎﺌﺢ ﺍﻝﻤﻌﺩﻨﻴﺔ ﺍﻷﺨﺭﻯ ،ﻝﺘﺴﺘﻘﺭ ﺃﺨﻴﺭﹰﺍ ﻀﻤﻥ ﻤﺭﺒﻊ
ﻀﻴﻕ ﻴﺘﻠﻘﻔﻬﺎ ﺒﺼﻭﺭﺓ ﻤﺤﻜﻤﺔ ...ﻭﺃﺘﻤﻨﻰ ﺃﻥ ﻴﻌﺘﺒﺭ ﺭﻭﻤﺭ ﻭﺸﺎﺒﺭﻭل ﻜﻭﻥ ﻜﺘﺎﺒﻬﻤﺎ ﺤﻭل ﻫﻴﺘﺸﻜﻭﻙ ﻗﺩ ﻋﺎﺩ ﺒﻲ ﻓﻲ
ﺍﻝﺫﺍﻜﺭﺓ ﺇﻝﻰ ﺘﻠﻙ ﺍﻝﺼﻭﺭ ﺍﻝﺘﻲ ﻜﺩﺕ ﺃﻨﺴﺎﻫﺎ ،ﺒﻤﺜﺎﺒﺔ ﺘﺤﻴﺔ ﺘﻘﺩﻴﺭ ﻝﻬﻤﺎ.
ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻨﻌﺭﻑ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ ،ﺒﻌﺩ ﻗﺭﺍﺀﺘﻪ ﺍﻝﻤﻤﺘﻌﺔ ،ﺇﻥ ﻜﺎﻥ ﻜﻤﺎل ﺍﻝﻤﻨﻬﺞ ﻭﺩﻗﺘﻪ ﺍﻝﻤﺘﻨﺎﻫﻴﺔ ،ﻭﻫﻭ ﻤـﺎ
ﻴﺘﺭﺍﻓﻕ ﻤﻊ ﺃﻨﺎﻗﺔ ﺍﻝﺘﻌﺒﻴﺭ ﻭﻤﺘﺎﻨﺔ ﺍﻝﻨﺹ ،ﻴﻨﺒﻊ ﻜﻠﻪ ﻤﻥ ﺍﻷﻋﻤﺎل ﺍﻝﺘﻲ ﻗﺎﻤﺎ ﺒﺘﺤﻠﻴﻠﻬﺎ ﺃﻡ ﺃﻨﻪ ﻓﻘﻁ ﺜﻤﺭﺓ ﻝﻔﻜﺭﻫﻤﺎ ،ﻝﻜﻥ
ﻫﻨﺎﻙ ﺃﻤﺭﹰﺍ ﺃﻜﻴﺩﺍﹰ ،ﺃﺘﺠﺭﺃ ﻋﻠﻰ ﺘﺴﻤﻴﺘﻪ ﺒﺎﻝﻌﺭﺽ ﺍﻝﻔﻜﺭﻱ ،ﺍﻝﻤﺜﺎﻝﻲ ،ﺍﻝﻔﻌﺎل ،ﺍﻝﺫﻱ ﻴﺅﺜﺭ ﻓﻲ ﺃﺭﻭﺍﺤﻨﺎ ﻭﺍﻝـﺫﻱ ﻫـﻭ
ﺤﺩ ﺍﻝﻤﻨﻬﺞ ﻤﻊ ﺍﻝﻐـﺭﺽ ،ﻓـﺈﻥ
ﺒﺎﻝﺘﺄﻜﻴﺩ ﺃﻓﻀل ﻤﻥ ﺃﻓﻼﻡ ﻫﻴﺘﺸﻜﻭﻙ .ﻭﺇﺫﺍ ﻜﺎﻥ ﺒﺎﺴﺘﻁﺎﻋﺘﻨﺎ ﺍﻋﺘﺒﺎﺭﻩ ﻨﻘﺩﹰﺍ ﻤﺜﺎﻝﻴﹰﺎ ﻴﻭ
ﻜﺘﺎﺏ ﺭﻭﻤﺭ ﻭﺸﺎﺒﺭﻭل ﺍﻝﻘﻴﻡ ﻝﻴﺱ ﻓﻘﻁ ﺇﺤﺩﻯ ﻗﻤﻡ ﺍﻝﻨﻘﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ،ﺒل ﻭﺃﻴﻀﹰﺎ ﺃﺤﺩ ﺍﻷﻤﺜﻠﺔ ﺍﻷﻜﺜﺭ ﺭﻓﻌﺔ ﻓﻲ ﺍﻝﻨﻘﺩ
ﻷﺨﻭﺓ ﻝﻥ ﺘﻤﻨﻌﺎﻨﻲ ﻤﻥ ﺍﻝﻘﻭل ،ﺇﻥ ﺩﺭﺍﺴﺘﻬﻤﺎ
ﺍﻝﻔﻨﻲ ﻭﺍﻷﺩﺒﻲ ﺍﻝﻔﺭﻨﺴﻲ ﺨﻼل ﺍﻝﺴﻨﻭﺍﺕ ﺍﻷﺨﻴﺭﺓ .ﻋﻠﻰ ﺃﻥ ﺍﻝﺼﺩﺍﻗﺔ ﻭﺍ ُ
ﺍﻝﺭﺍﺌﻌﺔ ﻝﻡ ﺘﺘﻤﻜﻥ ﻤﻊ ﺫﻝﻙ ﻤﻥ ﺇﻗﻨﺎﻋﻲ ،ﻝﻜﻥ ﻫﺫﺍ ﻻ ﻴﻬﻡ ،ﻭﺃﻋﺘﺭﻑ ﻝﻬﻤﺎ ﺒﺎﻝﻔﻀل ﺒﺄﻨﻬﻤﺎ ﺠﻌﻼﻨﻲ ﺃﻜﺘﺸﻑ ﻤﺎ ﻜﺎﻥ
ﻲ ﺃﻥ ﺃﻋﺠﺏ ﺒﻪ ،ﺤﻴﺜﻤﺎ ﻜﺎﻨﺎ ﻋﻠﻰ ﺤﻕ.
ﻋﻠ
ﻫل ﻫﻤﺎ ﻋﻠﻰ ﺨﻁﺄ؟ ﻫﺫﺍ ﺒﺎﻝﻀﺒﻁ ﻤﺎ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻘﺎل ﺩﻭﻥ ﺃﻥ ﹸﺘﻨﻘﺽ ﻭﺠﻬﺔ ﻨﻅﺭﻫﻤﺎ ﻓﻲ ﺇﻁﺎﺭ ﺍﻝﻤﺴﺘﻭﻯ
ﺍﻝﺫﻱ ﻭﻀﻌﺕ ﻓﻴﻪ؛ ﻭﻀﻤﻥ ﻫﺫﻩ ﺍﻝﺸﺭﻭﻁ ،ﻝﻴﺱ ﻋﻠﻴﻬﻤﺎ ﺃﻥ ﻴﺨﺸﻴﺎ ﺸﻴﺌﹰﺎ .ﻭﻝﻥ ﺃﻗﻭﻡ ﺒﺄﻴﺔ ﻤﺨﺎﻁﺭﺓ ،ﻭﺃﻨﺎ ﻤﻌﺠـﺏ،
ﻭﻤﺴﺭﻭﺭ ،ﻝﻴﺱ ﺒﺎﻝـ "ﻫﻴﺘﺸﻜﻭﻙ" ﺍﻝﺫﻱ ﺭﺃﻴﺘﻪ ﺒل ﺒﺎﻝﺫﻱ ﺠﻌﻼﻨﻲ ﺃﺭﺍﻩ).(1
ﺒﺤﺜﺕ ﻋﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻤﻔﺘﺎﺡ ﻫﺫﺍ ﺍﻝﻌﺭﺽ ﺍﻝﻤﺘﻘﻥ ،ﺍﻝﻤﻌﺎﺩل ﻝﺘﻠﻙ ﺍﻻﺴﺘﺩﺍﺭﺓ ﺍﻝﻜﺎﻤﻠﺔ ﻝﻜﺭﺍﺕ ﺍﻝﻔﻭﻻﺫ ﻓﻲ
ﺘﻠﻙ ﺍﻝﻠﻌﺒﺔ ﺍﻝﺘﻲ ﺘﺤﺩﺜﺕ ﻋﻨﻬﺎ ،ﻭﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻴﻜﻤﻥ ﻓﻲ ﺃﻓﻼﻁﻭﻨﻴﺔ ﻫﻴﺘﺸﻜﻭﻙ .ﻴﺼل ﺍﻝﺘﺤﻠﻴل ﺩﺍﺌﻤﹰﺎ ﺇﻝﻰ ﺃﻥ ﻴﻜﺸﻑ ﻝﻨﺎ
"ﺍﻹﺨﺭﺍﺝ" ﻜﺎﻨﻁﺒﺎﻉ ﺨﺎﻝﺹ ﻋﻥ ﺍﻝﺤﻘﻴﻘﺔ ﺍﻝﻤﺸﻬﺩﻴﺔ ﻝﻔﻜﺭﺓ ﺃﺴﺎﺴﻴﺔ ﻤﺤﺩﺩﺓ ﻤﻥ ﻗﺒل ﻤﺅﻝﻔﻴﻨﺎ ،ﺒﺫﻜﺎﺀ ﻴﺼل ﺩﺍﺌﻤﹰﺎ ﺇﻝـﻰ
ﺍﻻﺒﺘﻌﺎﺩ ﻋﻥ ﻁﺒﻴﻌﺔ ﺍﻝﻤﻭﻀﻭﻉ .ﻭﻤﻬﻤﺎ ﻜﺎﻥ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻝﻤﻭﻀﻭﻉ ﻓﺈﻥ ﺭﻭﻤﺭ ﻭﺸـﺎﺒﺭﻭل ﻴﺠـﺩﺍﻥ ﺍﻝﻤﻭﻀـﻭﻉ
ﺍﻝﺩﺭﺍﻤﻲ ،ﻭﻜﺫﻝﻙ ﺍﻝﻔﻜﺭﺓ ﺍﻷﺨﻼﻗﻴﺔ ﺍﻝﺘﻲ ﻴﺒﺩﻭ ﻝﻬﻤﺎ ﺃﻥ ﺍﻝﻔﻴﻠﻡ ،ﻭﺒﺒﺴﺎﻁﺔ ،ﻴﻁﻤﺢ ﺇﻝﻰ ﺘﺤﻘﻴﻘﻬﺎ .ﻭﺒﺎﻝﻁﺒﻊ ،ﻭﻫﺫﺍ ﻤـﺎ
ﻨﻌﺭﻓﻪ ،ﻓﺈﻥ ﺍﻝﻐﺭﺽ ﻤﻥ ﺫﻝﻙ ﻫﻭ ﺃﻥ ﻴﺘﻡ ﻓﻲ ﻫﺫﺍ ﺍﻝﺘﻨﻭﻴﻊ ﺇﻅﻬﺎﺭ ﻤﻭﺍﻀﻴﻊ ﺜﺎﺒﺘﺔ ﻭﻫﺎﻤﺔ ﻤﺜل "ﺍﻝﺘﻐﻴﻴﺭ" ﺍﻝﺫﻱ ﻴﺼﺒﺢ
ﻤﻌﻪ ﺃﻱ ﺴﻴﻨﺎﺭﻴﻭ ﻝﻴﺱ ﺃﻜﺜﺭ ﻤﻥ ﺸﻜل ﻤﺎ ،ﻭﻤﻥ ﺘﻨﻭﻴﻊ ﺠﺩﻴﺩ .ﻏﻴﺭ ﺃﻥ ﺍﻝﺠﺩﻝﻴﺔ ﻝﺩﻯ ﻤﺅﻝﻔﻴﻨﺎ ﻝﻴﺴﺕ ﻫﻲ ،ﻤﻊ ﺫﻝﻙ،
ﻓﻲ ﺍﻝﻌﺜﻭﺭ ﻜل ﻤﺭﺓ ،ﻋﻠﻰ ﺒﻌﺽ ﻤﺎ ﻫﻭ ﺠﺩﻴﺩ ﻭﻏﻴﺭ ﻤﺘﻭﻗﻊ ﻭﻤﺎ ﻴﺒﺩﻭ ﻓﻘﻁ ﻓﻴﻤﺎ ﺒﻌﺩ ﻀﺭﻭﺭﻴﹰﺎ ﻭﻻﻴﻤﻜﻥ ﺘﻔﺎﺩﻴـﻪ.
ﻴﺼﻼﻥ ﺃﻴﻀﹰﺎ ﺇﻝﻰ ﺇﻋﻁﺎﺌﻨﺎ ﺍﻻﻨﻁﺒﺎﻉ ﺍﻝﻤﺅﺜﺭ ﻋﻥ "ﻫﻴﺘﺸﻜﻭﻙ ﻤﺩﻫﺵ" ﺒﺼﻭﺭﺓ ﺩﺍﺌﻤﺔ ،ﻭﺃﻤﻴﻥ ﻝﻤﺸﺎﺭﻴﻌﻪ ﺍﻷﺴﺎﺴﻴﺔ،
ﻻ ﻤﻥ ﺒﻴﻥ ﻤﺎﺌﺔ ،ﻭﺃﺨﺘﺎﺭﻩ
ﺇﻥ ﻝﻡ ﻴﻜﻥ ﺃﻤﻴﻨﹰﺎ ﻝﻨﻔﺴﻪ ﻫﻭ .ﻝﻜﻨﹼﻲ ﺘﺤﺩﺜﺕ ﻋﻥ ﺍﻷﻓﻼﻁﻭﻨﻴﺔ ،ﻭﺍﻷﻓﻀل ﻫﻭ ﺃﻥ ﺁﺨﺫ ﻤﺜﺎ ﹰ
ﻤﻥ ﺍﻝﻨﺎﻓﺫﺓ ﺍﻝﺨﻠﻔﻴﺔ ،ﻓﻲ ﺍﻝﻔﻘﺭﺓ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒـ"ﺍﻝﻌﺯﻝﺔ"" :ﻓﻜﺭﺓ ﺘﺠﺴﺩﺕ ﻤﺎﺩﻴﺎﹰ ،ﻤﻥ ﻨﺎﺤﻴﺔ ﺒﺴﺒﺏ ﻋﺠﺯ ﺍﻝﺼﺤﻔﻲ ﻋـﻥ
ﺍﻝﺘﺤﺭﻙ ﻤﻥ ﻜﺭﺴﻴﻪ ،ﻭﻤﻥ ﻨﺎﺤﻴﺔ ﺜﺎﻨﻴﺔ ﻤﺠﻤﻭﻋﺔ "ﺍﻝﺠﺤﻭﺭ" ﺍﻝﻤﻭﺯﻋﺔ ﺒﺸﻜل ﺠﻴﺩ ،ﻭﻫﻲ ﺍﻝﺸﻘﻕ ﺍﻝﺘﻲ ﻴﺸﺎﻫﺩﻫﺎ ﻤﻥ
ﺨﻼل ﻨﺎﻓﺫﺘﻪ .ﻭﻭﺍﻗﻌﻴﹰﺎ ﺃﻴﻀﺎﹰ ،ﻭﻜﺎﺭﻴﻜﺎﺘﻭﺭﻴﹰﺎ .ﺇﻥ ﺫﻝﻙ ﺍﻝﻌﺎﻝﻡ ﺍﻝﻤﻐﻠﻕ ﺩﺍﺨل ﻫﺫﺍ ﺍﻝﻌﺎﻝﻡ ﺍﻵﺨﺭ ﺍﻝﻤﻐﻠﻕ ،ﺍﻝـﺫﻱ ﻫـﻭ
ﺍﻝﻤﺩﻴﻨﺔ ﺍﻝﺘﻲ ﻨﻠﻤﺤﻬﺎ ﻤﻥ ﺨﻼل ﻓﺠﻭﺓ ﻝﺯﻗﺎﻕ ﻀﻴﻕ ،ﻴﺘﻜﻭﻥ ﻤﻥ ﻋﺩﺓ ﻋﻭﺍﻝﻡ ﺼﻐﻴﺭﺓ ﻤﻐﻠﻘﺔ ﻝﻬﺎ ﺒﻀﻊ ﻨﻭﺍﻓﺫ ،ﻭﻫـﻲ
ﻤﻭﺠﻭﺩﺓ ﻻ ﻜﺄﺸﻴﺎﺀ ﻗﺎﺌﻤﺔ ﺒﺫﺍﺘﻬﺎ ،ﺒل ﻜﺈﺸﺎﺭﺍﺕ ﻭﺩﻻﻻﺕ .ﻜل ﺸﻲﺀ ﻴﺠﺭﻱ ﻜﻤﺎ ﻝﻭ ﺃﻨﻪ ﻤﺠﺭﺩ ﻋﺭﺽ ﻝﺘﻔﻜﻴﺭ -ﺃﻭ
ﻝﺭﻏﺒﺔ -ﻫﺫﺍ ﺍﻝﻔﻀﻭﻝﻲ ﺍﻝﺫﻱ ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﺒﺩﹰﺍ ﺃﻥ ﻴﻜﺘﺸﻑ ﻤﻨﻬﺎ ﺇﻻ ﻤﺎ ﻴﺘﺎﺡ ﻝﻪ .ﺇﻨﻨﺎ ﻨﺨﺎﻁﺭ ﺒﻬﺫﺍ ﺍﻝﺘﺄﻭﻴل ﺇﺫ ﻝﻡ ﺘﻜﺫﺒﻪ
ﺍﻷﻓﻼﻁﻭﻨﻴﺔ ﺍﻝﻤﺴﺘﻤﺭﺓ ﻝﻸﻋﻤﺎل ﺍﻝﻬﻴﺘﺸﻜﻭﻜﻴﺔ .ﻭﺘﻤﺎﻤﹰﺎ ﻤﺜل ﺍﻝﺤﻜﺎﻴﺎﺕ ﺍﻻﺴﺘﺜﻨﺎﺌﻴﺔ ﻝـ "ﺇﺩﻏﺎﺭ ﺁﻻﻥ ﺒﻭ" ﺤﻴﺙ ﺫﻝـﻙ
ﺍﻻﺴﺘﻨﺎﺩ ﺇﻝﻰ ﺃﺴﺎﺱ ﻀﻤﻨﻲ ﻝﻔﻠﺴﻔ ﺔ ﻝﻸﻓﻜﺎﺭ ،ﻓﺎﻷﻓﻜﺎﺭ ﻫﻨﺎ -ﺤﺘﻰ ﻭﻝﻭ ﺍﻗﺘﺼﺭﺕ ﻋﻠﻰ ﻜﻭﻨﻬﺎ ﻓﻜﺭﺓ ﺨﺎﻝﺼﺔ ﻝﻠﻤﻜﺎﻥ
ﻭﺍﻝﺯﻤﺎﻥ ﺃﻭ ﻝﻠﺭﻏﺒﺔ – ﺘﺒﺭﺯ ﺇﻝﻰ ﺍﻝﻭﺠﻭﺩ ﻭﺍﻝﻅﻬﻭﺭ".
ﻴﺤﺩﺩ ﺭﻭﻤﺭ ﻭﺸﺎﺒﺭﻭل ﺩﺍﺌﻤﹰﺎ ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺫﻱ ﻴﺘﺼﺩﺭ "ﺍﻹﺨﺭﺍﺝ" ،ﻤﻥ ﺨﻼل ﺍﻝﻔﻜﺭﺓ ﺍﻝﻤﺠﺭﺩﺓ ﺃﻜﺜﺭ ﻤﻥ ﺘﻠﻙ
ﻲ ﺇﻜﻤﺎل ﻫﺫﺍ ﺍﻝﻤﻘﺎل ﺒﺎﺴﺘﺸﻬﺎﺩ ﻤﻥ ﺭﺴﺎﻝﺔ ﻜﺎﻥ ﺁﻨﺩﺭﻴﻪ ﺒﺎﺯﺍﻥ ﻗﺩ ﺒﻌﺙ ﺒﻬـﺎ
) (1ﻓﻴﻤﺎ ﻴﻠﻲ ﺇﻀﺎﻓﺔ ﻤﻥ ﻓﺭﺍﻨﺴﻭﺍ ﺘﺭﻭﻓﻭ" :ﺃﻋﺘﻘﺩ ﺃﻥ ﻋﻠ
ﻻ ﻤﻥ ﺍﻝﺨﻤﺴﻴﻥ
ﻲ ﻗﺒل ﺨﻤﺴﺔ ﺃﺸﻬﺭ ﻤﻥ ﻭﻓﺎﺘﻪ" :ﺍﻨﺘﻬﻴﺕ ﻤﻥ ﺇﻨﺠﺎﺯ ﻨﺼﻲ ﺤﻭل ﺃﻭﺭﺴﻭﻥ ﻭﻴﻠﺯ ،ﺍﻝﺫﻱ ﺃﺼﺒﺢ ﺜﻤﺎﻨﻴﻥ ﺼﻔﺤﺔ ﺒﺩ ﹰ
ﺇﻝ
ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﻤ ﹶﻘ ﺩﺭﺓ .ﻭﺤﻭل ﻫﺫﺍ ﺍﻝﺘﻘﺭﻴﻅ ﻝﻬﻴﺘﺸﻜﻭﻙ ﻤﻥ ﺭﻭﻤﺭ ﻭﺸﺎﺒﺭﻭل ،ﻭﺍﻝﺫﻱ ﻻ ﺃﺸﻌﺭ ﺘﺠﺎﻫﻪ ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻔﺨﺭ ،ﻓﺈﻥ ﺃﻓﻀـل
ﻤﺎ ﻓﻲ ﺍﻷﻤﺭ ﻫﻭ ﺒﺎﻝﺘﺄﻜﻴﺩ ﻤﺎ ﺴﺄﻭﺭﺩﻩ" :ﻫﺫﺍ ﺍﻝﻜﺘﺎﺏ ﻫﻭ ﺃﺜﺭ ﻨﻘﺩﻱ ،ﻭﺭﺍﺌﻌﺔ ﻤﻥ ﺭﻭﺍﺌﻊ ﺍﻝﻜﺘﺎﺒﺔ .ﻝﻜﻥ ﻤﻥ ﺴﻴﻬﺘﻡ ﺒﺫﻝﻙ؟ ﻜﺎﻥ ﺍﻝﺠﻬﺩ
ﻥ ﻜﺘﺎﺏ ﺭﻭﻤﺭ ﻭﺸﺎﺒﺭﻭل ﻝﻴﺱ ﻜﺫﻝﻙ ،ﺇﻨﻪ ﻴﻘﺘﺭﺏ ﻤﻥ ﺍﻝﺴﻤﻭ ،ﹸﻗلْ
ﻀﺎﺌﻌﹰﺎ ﻤﺴﺒﻘﹰﺎ .ﺇﻥ ﺃﻫﻤﻴﺔ ﻫﻴﺘﺸﻜﻭﻙ ﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ﺃﻗل ﻤﻥ ﺫﻝﻙ ،ﻝﻜ
ﻝﺭﻭﻤﺭ ﺇﻥ ﺘﻘﺭﻴﻅﻲ ﻫﻭ ﻤﺠﺭﺩ ﺘﺤﻴﺔ ﻤﻥ ﻗﻠﺒﻲ…".
ﺍﻝﻘﺎﺒﻠﺔ ﻝﻠﺘﻌﺒﻴﺭ ﻋﻨﻬﺎ ،ﻭﻫﻭ ﻤﺎ ﻴﻁﻠﻘﺎﻥ ﻋﻠﻴﻪ ،ﻭﺒﺤﻕ ،ﻓﻲ ﺍﻝﻨﻘﺩ ﺍﻝﺨﺎﺹ ﺒـ "ﻏﺭﺒﺎﺀ ﻓﻲ ﻗﻁﺎﺭ"" :ﺍﻝﻌﺩﺩ ﻭﺍﻝﺸـﻜل".
ﻜﺫﻝﻙ ﻤﻥ ﺍﻝﻤﺴﺘﺤﻴل ﻤﻘﺎﻭﻤﺔ ﺍﻝﺘﻔﺴﻴﺭ ﺍﻝﻤﻤﺘﺎﺯ ﻝـ"ﺍﻝﺴﻴﺩﺓ ﺘﺨﺘﻔﻲ" ﻭﻓﻘﹰﺎ ﻝﻤﻭﻀﻭﻋﻴﻥ ﻫﻨﺩﺴﻴﻴﻥ :ﺍﻝﺨﻁ ،ﺭﻤﺯ ﺍﻝﺘﻐﻴﻴﺭ
ﻭﺍﻝﺘﺒﺩل ،ﻭﺍﻝﺩﺍﺌﺭﺓ ﺍﻝﺘﻲ ﺘﻨﻔﻲ ﺍﻝﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻻﻨﻌﺯﺍل ﻭﺍﻷﻨﺎﻨﻴﺔ ﻭﺍﻝﺴﻠﺒﻴﺔ .ﻭﺍﻷﻓﻀل ﺃﻥ ﻨﻭﺭﺩ ﻝﻤﺅﻝﻔﻴﻨـﺎ ﻤـﺎ ﻗـﺎﻻﻩ
ﺤﺭﻓﻴﹰﺎ:
"ﻓﻲ ﺍﻝﺸﻜل ،ﻭﻫﻭ ﻤﺎ ﺴﺒﻕ ﺃﻥ ﻗﻠﻨﺎﻩ ﻜﺜﻴﺭﺍ ،ﻴﺠﺏ ﺍﻝﺒﺤﺙ ﻋﻥ ﺍﻷﻋﻤﺎﻕ ،ﺍﻝﺘﻲ ﺘﺤﺘﻭﻱ ﻋﻠﻰ ﻤﻴﺘﺎﻓﻴﺯﻴﻘﻴﺔ ﺩﻓﻴﻨﺔ.
ﻤﻥ ﺍﻝﻤﻬﻡ ﺇﺫﻥ ﺃﻥ ﻨﻨﻅﺭ ﺇﻝﻰ ﺃﻋﻤﺎل ﻫﻴﺘﺸﻜﻭﻙ ﺘﻤﺎﻤﹰﺎ ﺒﻨﻔﺱ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻨﻨﻅﺭ ﻓﻴﻬﺎ ﺇﻝﻰ ﺃﻋﻤﺎل ﺭﺴﺎﻡ ﺃﻭ ﺸـﺎﻋﺭ
ﻏﺎﻤﻀﻴﻥ .ﺇﺫﺍ ﻝﻡ ﻴﻜﻥ ﻤﻔﺘﺎﺡ ﺍﻝﻤﻨﻬﺞ ﻤﻭﺠﻭﺩﹰﺍ ﺩﺍﺌﻤﹰﺎ ﺘﺤﺕ ﺍﻝﺒﺎﺏ ،ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻷﺒﻭﺍﺏ ﻤﻭﺍﺭﺒﺔ ﺒﺒﺭﺍﻋﺔ ،ﻓﻠﻴﺱ ﻓـﻲ
ﻑ ﻝﻠﺼﺭﺍﺥ ﻭﺍﻝﺯﻋﻡ ﺒﺄﻥ ﻝﻴﺱ ﺜﻤﺔ ﺸﻲﺀ ﻓﻲ ﺍﻝﺩﺍﺨل .ﺇﺫﻥ ﻓﺎﻷﻤﺭ ﻋﺒﺎﺭﺓ ﻋﻥ ﻤﺘﺎﺒﻌﺔ ﺇﻝـﻰ ﺍﻷﻤـﺎﻡ،
ﺫﻝﻙ ﻤﺒﺭﺭ ﻜﺎ
ﻭﻋﺩﻡ ﺍﻻﻜﺘﻔﺎﺀ ﺒﺎﻜﺘﺸﺎﻑ ﺸﻲﺀ ﻤﻥ "ﺍﻝﻔﻴﺘﻴﺸﻴﺔ" ﻝﻠﻤﻭﺍﻗﻑ ﻭﻝﻸﻏﺭﺍﺽ ،ﺒل ﺒﺎﻝﺒﺤﺙ ﻋﻥ ﺍﻝﻌﻼﻗﺔ ﺍﻝﺘﻲ ﺘﺭﺒﻁ ﻤﺎ ﺒـﻴﻥ
ﻫﺫﻩ ﺍﻝﻤﻭﺍﻗﻑ ﺃﻭ ﻫﺫﻩ ﺍﻷﻏﺭﺍﺽ .ﻴﺠﺏ ﺃﻥ ﻨﻌﻭﺩ ﺒﺎﺘﺠﺎﻩ ﺍﻝﺠﻭﻫﺭ ﺍﻝﺤﻘﻴﻘﻲ ﻝﻠﺸﻜل ﻭﻝﻠﻌﺩﺩ.
" ﻨﺠﻌل ﺇﺫﻥ ﻓﻜﺭﺓ )ﺍﻝﺘﻐﻴﻴﺭ( ﺃﻜﺜﺭ ﺘﺠﺴﺩﹰﺍ ﺘﺤﺕ ﺸﻜل ﻤﻥ ﺍﻝﻤﺭﺠﻌﻴﺔ ،ﻨﺨﺘﺭﻕ ﻫﺫﺍ ﺍﻝﺨﻁ ﺍﻝﻤﺴﺘﻘﻴﻡ ﺒـﺩﺍﺌﺭﺓ،
ﻨﺤﺭﻙ ﻫﺫﺍ ﺍﻝﺭﻜﻭﺩ ﺒﺤﺭﻜﺔ ﺩﻭﺭﺍﻨﻴﺔ ،ﻭﻫﻜﺫﺍ ﻴﺘﻡ ﺒﻨﺎﺀ ﺍﻝﺸﻜل ﻝﺩﻴﻨﺎ ،ﻭﻴﺠﺭﻱ ﺘﻨﺸﻴﻁ ﺭﺩﻭﺩ ﺃﻓﻌﺎﻝﻨﺎ .ﻝﻴﺱ ﻫﻨـﺎﻙ ﺃﻱ
ﺇﻨﺠﺎﺯ ﻓﻲ "ﻏﺭﺒﺎﺀ ﻓﻲ ﻗﻁﺎﺭ" ﻻ ﻴﻨﺩﺭﺝ ﻓﻲ ﻫﺫﺍ ﺍﻝﻘﺎﻝﺏ .ﻴﺒﺩﺃ ﺍﻝﻔﻴﻠﻡ ﺒﻠﻘﻁﺎﺕ ﻗﺭﻴﺒﺔ ﻝﺨﻁـﻭﺍﺕ :ﻫـﺫﻩ "ﺍﻝﻠﻘﻁـﺎﺕ
ﺍﻝﻘﺭﻴﺒﺔ" ﺘﻌﻁﻲ ﺍﻹﻴﻘﺎﻉ ﻭﺍﻝﺼﺒﻐﺔ .ﻴﻌﻭﺩ ﻫﻴﺘﺸﻜﻭﻙ ﺒﻔﻌﺎﻝﻴﺔ ﺇﻝﻰ ﺃﺴﻠﻭﺏ ﺍﻝﺘﻘﻁﻴﻊ ،ﻷﻥ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺼﻐﻴﺭ ﺠﺩﹰﺍ ﻝﺩﻴﻜﻭﺭ
ﻭﺍﺤﺩ ﻤﺘﺼل ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﺴﺘﻭﻋﺏ ﺍﻝﺨﻁﻭﻁ ﺍﻝﻤﺴﺘﻘﻴﻤﺔ ﺍﻝﺘﻲ ﻴﻨﺒﻐﻲ ﺇﻁﺎﻝﺘﻬﺎ ﻫﻨﺎ ﺇﻝﻰ ﺃﻗﺼﻰ ﺤﺩ ﻤﻤﻜﻥ ،ﺇﺫ ﻤـﻥ
ﺍﻝﻤﻬﻡ ﺨﻠﻕ ﺇﺤﺴﺎﺱ ﺒﺎﻝﻔﺭﺍﻍ ﺍﻝﺫﻱ ﻴﻔﺼل ﻤﺎ ﺒﻴﻥ ﺍﻝﺭﻓﻴﻘﻴﻥ ،ﺇﻻ ﺃﻥ ﺍﻝﻔﺭﺍﻍ ﻴﺴﺘﻤﺭ ﻤﻭﺠﻭﺩﹰﺍ ﻭﻤﺤﺴﻭﺴﹰﺎ ﺒﻪ .ﺒﻌﺩ ﺫﻝﻙ
ﻨﺠﺩ ﺃﻨﻔﺴﻨﺎ ﻓﻲ ﺍﻝﻘﻁﺎﺭ ،ﺤﺎﻤل ﻫﺫﻩ ﺍﻻﺴﺘﻤﺭﺍﺭﻴﺔ ﺍﻝﻤﻔﺘﺭﻀﺔ؛ ﻓﻲ ﺇﺤﺩﻯ ﺍﻝﻤﻘﺼﻭﺭﺍﺕ ﺭﺠﻼﻥ ﻴﺘﺤﺎﺩﺜـﺎﻥ :ﺍﻷﻭل،
"ﻏﻲ" – ﻓﻴﺭﻝﻲ ﻏﺭﺍﻨﺠﺭ ،-ﻻﻋﺏ ﻜﺭﺓ ﻤﻀﺭﺏ ﻤﺤﺘﺭﻑ ،ﻭﺍﻵﺨﺭ" ،ﺒﺭﻭﻨﻭ" –ﺭﻭﺒﺭﺕ ﻭﻭﻜﺭ ،-ﺍﻝﺫﻱ ﻴﻨﻁﻠﻕ ﻤﻥ
ﺇﺤﺩﻯ ﻀﻐﺎﺌﻨﻪ ،ﻤﺘﺤﺩﺜﹰﺎ ﻋﻥ ﺩﻭﺍﻤﺔ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻤﻌﺎﺼﺭﺓ ،ﻭﻋﻥ ﻨﺸﻭﺓ ﺍﻝﺴﺭﻋﺔ ،ﻭﻓﻴﻤﺎ ﺒﻌﺩ ﻴﻘﺘﺭﺡ ﺍﻝﺘﺎﻝﻲ ﻋﻠﻰ "ﻏﻲ":
ﻤﺎ ﻴﺠﻌل ﺠﺭﻴﻤﺔ ﻤﺎ ﻏﻴﺭ ﻜﺎﻤﻠﺔ ﻫﻭ ﺍﻝﺘﻨﻘل ﺍﻝﺫﻱ ﻴﺘﺴﺒﺏ ﺒﺎﻜﺘﺸﺎﻑ ﺍﻝﻔﺎﻋل .ﻨﺘﺒﺎﺩل ﺤﺭﻜﺔ ﺍﻝﺘﻨﻘل ﻋﻥ ﻁﺭﻴﻕ ﺘﺒﺎﺩل
ﺠﺭﻴﻤﺘﻴﻥ؛ ﺃﻗﻭﻡ ﺃﻨﺎ ﺒﻘﺘل ﺯﻭﺠﺘﻙ ،ﺍﻝﺘﻲ ﻻ ﺘﺭﻴﺩ ﺍﻝﻁﻼﻕ ﻤﻨﻙ ،ﻭﺃﻨﺕ ﺘﻘﺘل ﺃﺒﻲ .ﻴﺭﻓﺽ "ﻏﻲ" ﻋﺭﺽ "ﺒﺭﻭﻨـﻭ"،
ﻤﻊ ﺃﻨﻪ ﻻ ﻴﺘﻤﻜﻥ ﻤﻥ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﺍﺘﻔﺎﻕ ﻤﻊ ﺯﻭﺠﺘﻪ؛ ﺍﻝﺘﻲ ﺘﻌﻤل ﺒﺎﺌﻌﺔ ﻓﻲ ﻤﺤل ﻝﺒﻴﻊ ﺍﻻﺴﻁﻭﺍﻨﺎﺕ ،ﻜﻲ ﻴﺴﺘﻁﻴﻊ
ﺒﺎﻝﺘﺎﻝﻲ ﺍﻝﺯﻭﺍﺝ ﻤﻥ ﺤﺒﻴﺒﺘﻪ "ﺁﻥ" .ﻭﻴﻘﺭﺭ "ﺒﺭﻭﻨﻭ" ﺃﻥ ﻴﺘﺼﺭﻑ ،ﻭﻴﺘﺭﺼﺩ ﺯﻭﺠﺔ "ﻏﻲ" ﻭﻫﻲ ﺫﺍﻫﺒـﺔ ﺇﻝـﻰ ﺃﺤـﺩ
ﺍﻝﻤﻌﺎﺭﺽ ﺒﺭﻓﻘﺔ ﺒﻌﺽ ﺍﻷﺼﺤﺎﺏ ،ﺍﻝﺫﻴﻥ ﻴﻨﻁﻠﻘﻭﻥ ،ﻤﻥ ﺜﻡ ،ﺇﻝﻰ ﻨﺯﻫﺔ ﻗﺭﺏ ﺇﺤﺩﻯ ﺍﻝﺒﺤﻴﺭﺍﺕ ،ﻭﻫﻨﺎﻙ ﺍﻨـﺩﻓﻌﻭﺍ
ﻴﻠﻬﻭﻥ ﻓﻲ ﻝﻌﺒﺔ ﻤﻁﺎﺭﺩﺓ ﻭﺍﺨﺘﺒﺎﺀ .ﻭﺘﺤﻴﻥ ﺍﻝﻔﺭﺼﺔ ﻝﺒﺭﻭﻨﻭ ﻝﻼﻨﻔﺭﺍﺩ ﺒﺯﻭﺠﺔ "ﻏﻲ" ،ﻓﻴﺴـﺘﻐﻠﻬﺎ ،ﻭﻴﺨﻨـﻕ ﺒﻴﺩﻴـﻪ
ﺍﻝﺤﻨﺠﺭﺓ "ﺍﻝﻤﺴﺘﺩﻴﺭﺓ" .ﻭﻗﺩ ﺠﺭﻯ ﺘﺼﻭﻴﺭ ﺍﻝﻤﺸﻬﺩ ﻤﻨﻌﻜﺴﹰﺎ ﻋﻠﻰ ﺯﺠﺎﺝ ﻨﻅﺎﺭﺘﻬﺎ ﺍﻝﺘﻲ ﺴﻘﻁﺕ ﻓﻭﻕ ﺍﻝﻌﺸﺏ .ﺜﻡ ﻴﺒﺩﺃ
ﺍﻝﻘﺎﺘل ﺒﺎﺒﺘﺯﺍﺯ ﻻﻋﺏ ﻜﺭﺓ ﺍﻝﻤﻀﺭﺏ ،ﻤﺘﻬﻤﹰﺎ ﺇﻴﺎﻩ ﺒﺘﺤﻤل ﺍﻝﻤﺴﺅﻭﻝﻴﺔ ،ﻭﻜﺫﻝﻙ ﺒﺄﻨﻪ ﺍﻨﺘﻔﻊ ﺒﺎﻝﺠﺭﻴﻤﺔ.
"ﺇﻻ ﺃﻥ ﻫﺫﺍ ﺍﻻﺨﺘﺼﺎﺼﻲ ﺍﻝﺒﺎﺭﻉ ﻓﻲ ﺍﻝﺠﺭﻴﻤﺔ ،ﻫﻭ ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﻤﺨﺘل ﺍﻷﻋﺼﺎﺏ ،ﻭﻗﺩ ﻜﺎﻥ ﺨﻨـﻕ ﺯﻭﺠـﺔ
"ﻏﻲ" ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻪ ﻤﺠﺭﺩ ﻤﺘﻌﺔ ﺒﺴﻴﻁﺔ ﻤﺜل ﺇﺠﺭﺍﺀ ﻋﻤﻠﻴﺔ ﺤﺴﺎﺒﻴﺔ .ﺇﻥ ﺍﻝﻜﺭﺍﻫﻴﺔ ﺍﻝﺘﻲ ﻴﻜﻨﻬﺎ ﻷﺒﻴﻪ ،ﻭﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ
ﻴﻌﺘﻨﻲ ﻓﻴﻬﺎ ﺒﺄﻤﻪ ،ﻭﺭﻏﺒﺘﻪ ﻓﻲ ﺍﻝﺘﺩﻤﻴﺭ ،ﻭﻓﻲ ﺍﻝﺘﻤﻠﺹ ،ﻭﺨﺒﻠﻪ ﺫﺍ ﺍﻝﻤﻴﻭل ﺍﻝﻜﻴﺩﻴﺔ… ﻜل ﻫﺫﺍ ﻻ ﻴﺘﺭﻙ ﺃﻱ ﻤﺠـﺎل
ﻝﻠﺸﻙ ﺤﻭل ﺍﻷﺴﺎﺱ ﺍﻷﻭﺩﻴﺒﻲ ﻝﻬﺫﺍ ﺍﻝﻤﺭﺽ ﺍﻝﻨﻔﺴﻲ ،ﻓﻠﻘﺩ ﻓﺘﻨﺘﻪ "ﺍﻨﺤﻨﺎﺀﺍﺕ" ﻭ"ﻝﺩﻭﻨﺔ" ﻫﺫﻩ ﺍﻝﺤﻨﺠـﺭﺓ .ﻭﺴـﺒﻕ ﺃﻥ
ﺠﻌﻠﺘﻪ ﻫﺫﻩ ﺍﻝﻔﻜﺭﺓ ﺍﻝﻤﺘﺴﻠﻁﺔ ﻴﺘﻅﺎﻫﺭ ،ﻤﺩﺍﻋﺒﺎﹰ ،ﺒﺨﻨﻕ ﺇﺤﺩﻯ ﺍﻝﺴﻴﺩﺍﺕ ﻓﻲ ﻤﻨﺎﺴﺒﺔ ﺍﺠﺘﻤﺎﻋﻴﺔ ،ﻭﻫﻴﺘﺸﻜﻭﻙ ﺍﻝﻘـﺎﺩﺭ
ﻋﻠﻰ ﺭﺴﻡ ﺠﻤﻴﻊ ﺍﻻﺤﺘﻤﺎﻻﺕ ﺍﻝﻤﻤﻜﻨﺔ ،ﻴﺠﻌﻠﻨﺎ ،ﻭﺒﻁﺭﻴﻘﺔ ﺃﺴﺘﺎﺫﻴﺔ ،ﻨﺸﺎﺭﻙ ﻫﺫﻩ ﺍﻝﺴﻴﺩﺓ ﺭﻋﺒﻬﺎ ،ﻭﺍﻝﺘﻲ ﺘﻜﺘﺸﻑ ﻓﻴﻤﺎ
ﺒﻌﺩ ﺃﻨﻬﺎ ﻜﺎﻨﺕ ﺃﺩﺍﺓ ﻝﺭﻏﺒ ﺔ ﺫﻫﺒﺕ ﺍﻤﺭﺃﺓ ﺃﺨﺭﻯ ﻀﺤﻴﺘﻬﺎ .ﻭﻴﻘﺭﺭ "ﺒﺭﻭﻨﻭ" ﺍﻝﺫﻱ ﺃﺼﺒﺢ ﻤﺘﻭﺭﻁﺎﹰ ،ﻓﻲ ﻤﺤﺎﻭﻝﺔ ﻤﻨﻪ
ﻝﺨﻠﻕ ﺍﻻﻝﺘﺒﺎﺱ ،ﺃﻥ ﻴﺘﺭﻙ ﻫﻨﺎﻙ ﺍﻝﻘﺩﺍﺤﺔ ﺍﻝﺘﻲ ﻜﺎﻥ ﻗﺩ ﺴﺭﻗﻬﺎ ﻤﻥ "ﻏﻲ" ﺨﻼل ﻝﻘﺎﺌﻪ ﺍﻷﻭل ﺒﻪ ﻓﻲ ﺍﻝﻘﻁﺎﺭ ،ﺇﻻ ﺃﻨﻪ
ﻴﻀﻴﻊ ﺍﻝﻭﻗﺕ ﺒﺎﺤﺜﹰﺎ ﻋﻨﻬﺎ ﺒﻌﺩ ﺃﻥ ﺴﻘﻁﺕ ﻤﻨﻪ ﻓﻲ ﺃﺤﺩ ﻤﺠﺎﺭﻱ ﺼﺭﻑ ﺍﻝﻤﻴﺎﻩ .ﺜﻡ ،ﻭﺒﻴﻨﻤﺎ ﻫﻭ ﻴﻘﻑ ﻋﻨﺩ ﺸـﺎﻁﻰﺀ
ﺍﻝﺒﺤﻴﺭﺓ ﻤﻨﺘﻅﺭﹰﺍ ﺩﻭﺭﻩ ﻝﻠﺼﻌﻭﺩ ﺇﻝﻰ ﺯﻭﺭﻕ ،ﻭﻜﻤﺎ ﻫﻭ ﺍﻷﻤﺭ ﻓﻲ "ﺍﻝﺤﺒل" ،ﻴﺘﺤﻭل ﺍﻝﻤﺴﺎﺭ ﺍﻝﻁﺒﻴﻌﻲ ﻝﻠﻭﻗـﺕ ﺇﻝـﻰ
ﺍﻝﺯﻤﻥ ﺍﻝﻤﺼﻨﻭﻉ ﻝﻠﺘﺭﻗﺏ ،ﺜﻡ ،ﺍﻝﻨﻬﺎﻴﺔ؛ ﺇﺫ ﻴﺘﻡ ﺍﻜﺘﺸﺎﻑ ﺒﺭﻭﻨﻭ ﻤﻥ ﻗﺒل ﻗﺎﻁﻊ ﺍﻝﺘﺫﺍﻜﺭ ،ﻓﻼ ﻴﺠـﺩ ﺃﻤﺎﻤـﻪ ﺴـﻭﻯ
ﺃﺭﺠﻭﺤﺔ ﻜﺒﻴﺭﺓ ﻴﻘﻔﺯ ﺇﻝﻴﻬﺎ ﺨﻼل ﺩﻭﺭﺍﻨﻬﺎ ،ﻭﻴﺤﺎﻭل ﺼﺎﺤﺒﻬﺎ ﺇﻴﻘﺎﻓﻬﺎ ﻋﺒﺜﹰﺎ… ،ﺜﻡ ﺘﺘﺼـﺎﻋﺩ ﺴـﺭﻋﺔ ﺩﻭﺭﺍﻨﻬـﺎ
ﺒﺼﻭﺭﺓ ﻫﺎﺌﻠﺔ ،ﻭﺍﻷﻁﻔﺎل ﺍﻝﻤﺘﺠﻤﻌﻭﻥ ﻴﻀﺤﻜﻭﻥ ﻅﻨﹰﺎ ﻤﻨﻬﻡ ﺃﻥ ﺍﻷﻤﺭ ﻤﺠﺭﺩ ﻝﻌﺒﺔ ﻤﻥ ﺃﻝﻌﺎﺏ ﺍﻝﺘﺴﻠﻴﺔ ،ﻓﻲ ﻗﺴـﻭﺓ
ﻫﻴﺘﺸﻜﻭﻜﻴﺔ ﺃﻋﺎﺩ ﻓﻴﻬﺎ ﻤﺎ ﻜﺎﻥ ﻓﻲ ﻓﻴﻠﻡ "ﺘﺨﺭﻴﺏ" .ﻭﺃﺨﻴﺭﹰﺍ ﻴﺩﺭﻙ ﺍﻷﻁﻔﺎل ﻤﺎ ﻜﺎﻥ ﻴﺠﺭﻱ ،ﻭﻴﺼـﺎﺒﻭﻥ ﺒﺎﻝـﺫﻋﺭ،
ﻭﺨﻼﻓﹰﺎ ﻝﻤﺎ ﻜﻨﺎ ﻨﺘﻭﻗﻌﻪ ،ﺘﻨﺨﻠﻊ ﺍﻷﺭﺠﻭﺤﺔ ﺍﻝﻀﺨﻤﺔ ﻤﻥ ﻤﻜﺎﻨﻬﺎ ﻭﺘﻨﻬﺎﺭ ﻤﺘﺤﻁﻤﺔ ﻤﻊ ﻋﺭﺒﺎﺘﻬﺎ ﻭﺩﻋﺎﻤﺎﺘﻬﺎ .ﻭﻴﻤﻭﺕ
"ﺒﺭﻭﻨﻭ" ﻭﻴﻘﻁﻑ "ﻏﻲ" ﺜﻤﺭﺓ ﺠﺭﻴﻤﺔ ﻝﻡ ﻴﺭﺘﻜﺒﻬﺎ.
"ﺃﻨﺘﻡ ﺃﺤﺭﺍﺭ ﺠﺩﹰﺍ ﺇﺫﺍ ﺯﻋﻤﺘﻡ ﺃﻥ ﻫﺫﻩ ﺍﻷﻏﺭﺍﺽ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻝﻠﺨﻁ ﺍﻝﻤﺴﺘﻘﻴﻡ ،ﻭﻝﻠﺩﺍﺌﺭﺓ ،ﻭﻝﻺﻋﺼـﺎﺭ ،ﻭﻝﻠـﺭﻗﻡ
ﺍﺜﻨﻴﻥ ،ﻗﺩ ﻭﺠﺩﺕ ﻤﺠﺘﻤﻌﺔ ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺒﻤﺤﺽ ﺍﻝﺼﺩﻓﺔ .ﻝﻜﻥ ،ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﺎﻝﺔ ،ﻻ ﺒﺩ ﻤﻥ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﻨﻔﺱ ﻫـﺫﻩ
ﺨﻠﻬﺎ
ﺍﻝﺼﺩﻓﺔ ﻝﺘﺒﺭﻴﺭ ﻭﺠﻭﺩﻫﺎ ﻓﻲ ﺃﻴﺔ ﻤﻥ ﺍﻝﺤﻜﺎﻴﺎﺕ ﺍﻝﻤﺘﻤﻴﺯﺓ ﻝـ "ﺇﺩﻏﺎﺭ ﺁﻻﻥ ﺒﻭ" .ﻝﻴﺱ ﻤﻥ ﺍﻝﻭﺍﻀﺢ ﺠﺩﹰﺍ ﺃﻥ ﺘـﺩ ﹼ
ﻫﻭ ﺇﺭﺍﺩﻱ ﺩﺍﺌﻤﹰﺎ ﻓﻲ ﺃﻋﻤﺎل "ﺒﻭ" ،ﻤﺜﻠﻤﺎ ﻫﻲ ﺍﻝﺤﺎل ﻜﺫﻝﻙ ﻓﻲ ﺃﻋﻤﺎل ﻫﻴﺘﺸﻜﻭﻙ .ﺤﺘﻰ ﺇﻥ ﻫﺫﺍ ﻏﻴﺭ ﻤﺭﻏﻭﺏ ﻓﻴﻪ.
ﺇﻥ ﺍﻝﻤﺒﺩﻉ ﺍﻝﻜﺒﻴﺭ ﻫﻭ ﻤﺜل ﻤﻬﻨﺩﺱ ﺠﻴﺩ ،ﺤﻴﺙ ﺍﻝﻨﻭﺍﻴﺎ ﺘﺴﺒﻕ ﻭﺘﺭﺸﺩ ﺍﻝﺘﻌﻠﻴل :ﻴﻘﻭﻡ ﺒﺈﻨﺠﺎﺯ ﺒﻨﺎﺌﻪ ،ﺘﺎﺭﻜﹰﺎ ﻝﻠﺩﺍﺭﺴـﻴﻥ
ﺍﻝﺨﻴﻁ ﺍﻝﺼﻌﺏ ﻹﻗﺎﻤﺔ ﺍﻝﺩﻝﻴل ﻭﺍﻝﺒﺭﻫﺎﻥ…".
ﺤﺎﻭﻝﻨﺎ ﺃﻥ ﻨﺩﺭﻙ ﻓﻲ ﻫﺫﺍ ﺍﻝﺘﻔﺴﻴﺭ ﺍﻝﻤﺜﻴﺭ ﻝﻺﻋﺠﺎﺏ ﻤﺎ ﻴﻤﺜل ،ﺭﺒﻤﺎ ،ﺍﻝﻭﺠﻪ ﺍﻷﻜﺜﺭ ﺇﺩﻫﺎﺸﹰﺎ ﻷﺴﻠﻭﺏ ﺭﻭﻤـﺭ
ﻭﺸﺎﺒﺭﻭل .ﻫﺫﺍ ﺍﻝﻌﻤل ﻫﻭ ،ﺒﺼﻭﺭﺓ ﺃﺴﺎﺴﻴﺔ ،ﺃﻁﺭﻭﺤﺔ ﻨﻘﺩﻴﺔ ﺫﺍﺕ ﺴﻭﻴﺔ ﺭﻓﻴﻌﺔ ،ﺘﻭﺼﻼ ﺇﻝﻰ ﺇﻋﻁﺎﺌﻬﺎ ،ﻤﻥ ﺍﻝﻨﺎﺤﻴﺔ
ﺍﻝﺒﻨﺎﺌﻴﺔ ،ﺍﻝﺸﻜل ﺍﻝﺘﻭﺼﻴﻔﻲ ﻭﺍﻝﺘﺄﺭﻴﺨﻲ ،ﺩﻭﻥ ﺃﻥ ﻴﻨﺼﺒﺎ ﺃﻴﺔ ﻓﺨﺎﺥ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ،ﻤﺘﻔﺤﺼﻴﻥ ،ﺒﻬـﺫﻩ ﺍﻝﻁﺭﻴﻘـﺔ،
ﻭﺒﺒﺴﺎﻁﺔ ،ﻓﻴﻠﻤﹰﺎ ﺒﻌﺩ ﺁﺨﺭ.
ﻝﻥ ﻨﺫﻫﺏ ﺇﻝﻰ ﺍﻻﻋﺘﻘﺎﺩ ،ﺍﻨﻁﻼﻗﹰﺎ ﻤﻥ ﺍﻝﺘﺤﻠﻴﻼﺕ ﺍﻝﻤﺠﺭﺩﺓ ﻨﺴﺒﻴﺎﹰ ،ﺍﻝﺘﻲ ﺃﻭﺭﺩ ﹸﺘﻬﺎ ﺤﺘـﻰ ﺍﻵﻥ ،ﺃﻥ ﺍﻝﻜﺘﺎﺒـﺎﺕ
ﺍﻝﻨﻘﺩﻴﺔ ﻝﺭﻭﻤﺭ ﻭﺸﺎﺒﺭﻭل ﺘﺨﺘﺎﺭ ﺒﺼﻭﺭﺓ ﻗﺴﺭﻴﺔ ﻭﻤﻥ ﺨﺎﺭﺝ ﻤﺎﺩﺓ ﺍﻝﻔﻴﻠﻡ ،ﻤﻨﻅﻭﺭﹰﺍ ﻤﺜﺎﻝﻴﹰﺎ ﻴـﺅﺩﻱ ﺇﻝـﻰ ﻀـﻴﺎﻉ
ﺍﻝﺘﻔﺎﺼﻴل ﺍﻝﻤﺤﺩﺩﺓ ﻝﻌﻤﻠﻴﺔ ﺘﺤﻘﻴﻕ ﺍﻝﻔﻴﻠﻡ ،ﺒل ﻫﻤﺎ ،ﻭﻋﻠﻰ ﺍﻝﻌﻜﺱ ﻤﻥ ﺫﻝﻙ ،ﻴﻌﺭﻓﺎﻥ ﺘﻤﺎﻤﹰﺎ ﻜﻴﻑ ﻴﺒﺭﺯﺍﻥ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺃﻭ
ﺍﻝﺘﻔﺎﺼﻴل ﺍﻝﻤﺤﺩﺩﺓ ﻷﺤﺩ ﺍﻝﻤﻘﺎﻁﻊ ،ﻋﻨﺩﻤﺎ ﻴﻜﻭﻥ ﺫﻝﻙ ﻫﺎﻤﹰﺎ .ﻭﺃﻗﺩﻡ ﻫﻨﺎ ﻤﺎ ﻜﺘﺒﺎﻩ ﺤﻭل ﻤﺸﺎﻫﺩ ﺍﻝﻘﹸﺒل ﻓـﻲ "ﺍﻝﺴـﻴﺊ
ﺍﻝﺴﻤﻌﺔ":
"ﻴﺴﻴﻁﺭ ﻓﻲ )ﺍﻝﺴﻴﺊ ﺍﻝﺴﻤﻌﺔ( ﻤﻨﺎﺥ ﻤﻥ ﺍﻝﺸﻬﻭﺍﻨﻴﺔ ﺍﻝﻁﺎﻏﻴﺔ ،ﺍﻝﺘﻲ ﻻ ﺘﻘﻠل ﻤﻥ ﺍﻝﺘﺠﺭﻴﺩ ﻓﻲ ﺍﻷﺴﻠﻭﺏ .ﻓـﻲ
ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺫﻱ ﺍﻝﻠﻘﻁﺎﺕ ﺍﻝﻘﺭﻴﺒﺔ ،ﺘﺘﺄﻝﻕ ﻤﺎﺩﺘﻪ ﺍﻝﺘﻲ ﻭﻀﻊ ﻝﻬﺎ ﺍﻹﻀﺎﺀﺓ ﺒﻁﺭﻴﻘﺔ ﻤﺘﻤﻴﺯﺓ "ﺘﻴﺩ ﺘﻴﺘﺴﻼﻑ" )ﺍﻝﻭﺠـﻭﻩ،
ﺍﻝﻤﻌﺎﺩﻥ ،ﺍﻝﺯﺠﺎﺝ ،ﺍﻝﻤﺠﻭﻫﺭﺍﺕ ،ﺍﻝﺴﺠﺎﺩ ،ﺍﻷﺭﺼﻔﺔ (..ﺒﺒﺭﻴﻕ ﻴﺘﻌﺎﻗﺏ ﻓﻴﻪ ﺍﻝﺒﺎﺭﺩ ﻭﺍﻝﺤﺎﺭ .ﻝﻴﺱ ﻫﻨﺎﻙ ﻤﻥ ﺭﺍ ﹴﻭ ﻓﻲ
ﻫﺫﻩ ﺍﻝﺤﺒﻜﺔ ﺍﻝﻤﻨﺴﻭﺠﺔ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ ﻭﻜﺘﻤﺎﻥ ﺍﻝﺤﻘﺎﺌﻕ ،ﺴﻭﻯ ﺍﻹﺸﺎﺭﺍﺕ؛ ﺇﻻ ﺃﻨﻬﺎ ،ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻤﺠﺭﺩ ﻭﺍﺠﻬﺔ.
ﻫﻨﺎﻙ ﻤﺸﻬﺩﺍ ﺤﺏ :ﺍﻷﻭل ،ﻋﻠﻰ ﺍﻝﺸﺭﻓﺔ ،ﻭﻻ ﻴﺘﺠﺎﻭﺯ ﻤﺴﺘﻭﻯ ﺘﻼﻤﺱ ﺍﻝﺸﻔﺎﻩ ﺒﻴﻥ ﻜﺎﺌﻨﻴﻥ ﻤﺸﺩﻭﺩﻴﻥ ﺍﻝﻭﺍﺤﺩ ﺇﻝـﻰ
ﺍﻵﺨﺭ ،ﺃﻤﺎﻡ ﻨﻅﺭﺍﺘﻨﺎ .ﻭﻫﺫﺍ ﺍﻝﺘﻌﻁﺵ ﺇﻝﻰ ﺍﻝﻘﺒل ﺍﻝﺫﻱ ﻻ ﻴﺒﺩﻭ ﻤﺸﺘﺭﻜﺎ ،ﻴﻌﺒﺭ ﻋﻥ ﺘﻭﺍﻀﻊ ﻗﻴﻤﺔ ﺍﻝﺸﻬﻭﺍﻨﻴﺔ ﻋﻨﺩﻤﺎ ﻻ
ﻴﻜﻭﻥ ﻫﻨﺎﻙ ﺤﺏ .ﻭﻓﻲ ﺍﻝﻤﺸﻬﺩ ﺍﻝﺜﺎﻨﻲ ،ﺍﻷﻤﺭ ﻴﺘﺠﺎﻭﺯ ﺍﻝﺘﻼﻤﺱ ﺍﻝﺠﺴﺩﻱ ،ﺇﻝﻰ ﺍﻝﻤﺸﺎﻋﺭ ﺍﻝﺤﻘﻴﻘﻴﺔ :ﻋﻨـﺩﻤﺎ ﻴـﺄﺘﻲ
ﻼ
"ﺩﻴﻔﻠﻴﻥ" ﻝﺘﺨﻠﻴﺹ "ﺁﻝﻴﺴﻴﺎ" ﻤﻥ ﺍﻝﻤﻭﺕ ،ﻴﻅﻬﺭ ﻓﻲ ﺍﻝﻅل ،ﺒﻨﻔﺱ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻜﺎﻥ ﻗﺩ ﻅﻬﺭ ﺒﻬﺎ ﻋﻨﺩﻤﺎ ﻜﺎﻥ ﺜﻤـ ﹰ
ﻓﻲ ﻤﻴﺎﻤﻲ ،ﺒﺤﺭﻜﺔ ﺘﻁﻔﺢ ﺒﺎﻝﺤﻨﺎﻥ ﻭﺒﺎﻝﺸﻬﻭﺓ ﺍﻝﻤﺤﺘﺩﻤﺔ ،ﻭﺘﺩﻭﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺤﻭل ﺍﻝﻌﺎﺸﻘﻴﻥ ﻭﺘﻠﺘﻤﻊ ﺍﻝﺸﺎﺸـﺔ ﺒﻬـﺫﺍ
ﺍﻝﺠﻤﺎل ﺍﻝﺫﻱ ﻻ ﻴﻤﻜﻥ ﻭﺼﻔﻪ ،ﻭﺍﻝﺫﻱ ﻭﺠﺩ ﻫﻴﺘﺸﻜﻭﻙ ﺴﺭﻩ ﻝﺩﻯ "ﻤﻭﺭﻨﺎﻭ" .ﻭﺤﺘﻰ ﻓﻲ ﺘﻠﻙ ﺍﻝﻠﺤﻅﺎﺕ ﺍﻝﺘﻲ ﻴﻜﺒﺤﺎﻥ
ﻓﻴﻬﺎ ﻤﺸﺎﻋﺭﻫﻤﺎ ﻝﺩﻯ ﺤﻀﻭﺭ ﺍﻵﺨﺭﻴﻥ؛ ﻋﻨﺩﻤﺎ ﻴﻔﺎﺠﺄ "ﺩﻴﻔﻠﻴﻥ" ﺒﺼﺎﺤﺏ ﺍﻝﻤﻨﺯل ،ﻭﻴﺘﻅﺎﻫﺭ ،ﻤﺨﺎﺩﻋﺎﹰ ،ﺒﺄﻨﻪ ﻴﻀـﻡ
"ﺁﻝﻴﺴﻴﺎ" ﻓﻲ ﻋﻨﺎﻕ ﻏﻴﺭ ﺤﻘﻴﻘﻲ؛ ﻓﺈﻥ ﻗﺒﻠﺘﻪ ﺍﻝﻤﺼﻁﻨﻌﺔ ﺘﺼﺒﺢ ﻗﺒﻠﺔ ﺤﻘﻴﻘﻴﺔ".
ﻴﺴﺘﻁﻴﻊ ﺭﻭﻤﺭ ﻭﺸﺎﺒﺭﻭل ﺍﻻﺴﺘﻨﺘﺎﺝ ﺩﻭﻥ ﺃﻴﺔ ﻤﺒﺎﻝﻐﺔ ،ﺃﻥ ﻤﺨﺭﺠﻬﻤﺎ "ﻫﻭ ﻭﺍﺤـﺩ ﻤـﻥ ﺃﻋﻅـﻡ ﻤﺒﺘﻜـﺭﻱ
ﺍﻷﺸﻜﺎل" ﻋﻠﻰ ﻤﺩﻯ ﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎ .ﻭﺭﺒﻤﺎ ﻝﻴﺱ ﻫﻨﺎﻙ ﻤﻥ ﻴﻘﺎﺭﻥ ﺒﻪ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺠﺎل ﻏﻴﺭ ﻤﻭﺭﻨﺎﻭ ﻭﺇﻴﺯﻨﺸﺘﻴﻥ .ﺇﻥ
ﻤﻬﻤﺘﻨﺎ ﻝﻥ ﺘﺫﻫﺏ ﺴﺩﻯ ﺇﺫﺍ ﻜﻨﺎ ﻗﺩ ﺃﻭﻀﺤﻨﺎ ،ﻭﺍﻨﻁﻼﻗﹰﺎ ﻤﻥ ﻫﺫﻩ ﺍﻝﺼﻴﻐﺔ ،ﻭﺒﺩﻻﻝﺔ ﺼﺭﺍﻤﺘﻪ ﻫﻭ ،ﻜﻴﻑ ﺃﻨﻪ ﺍﺴﺘﻁﺎﻉ
ﺃﻥ ﻴﺼﻨﻊ ﻜﻭﻨﹰﺎ ﺃﺨﻼﻗﻴﹰﺎ .ﺇﻥ ﺍﻝﺸﻜل ،ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﺎﻝﺔ ،ﻭﻋﻠﻰ ﻤﺎ ﻴﺭﻯ ،ﻝﻴﺱ ﺯﺨﺭﻓﺔ ﻝﻠﻤﻀﻤﻭﻥ.
ﺍﻝﻔﺼل ﺍﻝﺴﺎﺩﺱ
ﺁﻜﻴﺭﺍ ﻜﻭﺭﻭﺴﺎﻭﺍ
AKIRA KUROSAWA
* ﻤﻥ ﺃﻫﻡ ﺃﻋﻤﺎﻝﻪ):(1
ﺃﺴﻁﻭﺭﺓ ﺍﻝﺠﻭﺩﻭ ) .(1943ﺍﻷﺠﻤل ) .(1944ﺍﻝﺭﺠﺎل ﺍﻝﺫﻴﻥ ﺩﺍﺴﻭﺍ ﻋﻠﻰ ﺫﻨﺏ ﺍﻝﻨﻤﺭ ) .(1945ﻻ ﺃﺴـﻑ
ﻋﻠﻰ ﺸﺒﺎﺒﻨﺎ ) .(1946ﺍﻝﻤﻼﻙ ﺍﻝﺜ ﻤل ) .(1948ﺍﻝﺼﺭﺍﻉ ﺍﻝﺼـﺎﻤﺕ – ﺍﻝﻜﻠـﺏ ﺍﻝﻀـﺎل ) .(1949ﺭﺍﺸـﻭﻤﻭﻥ
) (1ﺭﺃﻴﺕ ﻤﻥ ﺍﻝﻤﻔﻴﺩ ﺍﺴﺘﻜﻤﺎل ﻋﻨﺎﻭﻴﻥ ﺃﻫﻡ ﺃﻓﻼﻡ "ﻜﻭﺭﻭﺴﺎﻭﺍ" ﺍﻝﺘﻲ ﺤﻘﻘﻬﺎ ﺒﻌﺩ ﺃﻥ ﹶﻨﺸﹶـﺭ "ﺘﺭﻭﻓـﻭ" ﻜﺘﺎﺒـﻪ ﻫـﺫﺍ ،ﹸﻗ ﺒﻴـل ﺭﺤﻴﻠـﻪ،
)ﺍﻝﻤﺘﺭﺠﻡ( ).(1984/10/21-1932/2/6
) .(1950ﺍﻷﺒﻠﻪ ) .(1951ﺍﻝﻌﻴﺵ ) .(1952ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ ) .(1954ﻤﻼﺤﻅﺎﺕ ﻜـﺎﺌﻥ ﺤـﻲ ).(1955
ﻋﺭﺵ ﻤﻥ ﺩﻡ – ﺍﻷﻋﻤﺎﻕ ﺍﻝﺴﺤﻴﻘﺔ ) .(1957ﺍﻝﺤﺼﻥ ﺍﻝﺨﻔﻲ ) .(1958ﺍﻝﺴﻴﺊ ﻴﻨـﺎﻡ ﺠﻴـﺩﹰﺍ ) .(1960ﺤـﺎﺭﺱ
ﺸﺨﺼﻲ ) .(1961ﺴﺎﻨﺠﻭﺭﻭ ) .(1962ﺍﻝﻌﺼﻔﻭﺭ ﺍﻷﺤﻤﺭ ) .(1965ﺩﻭﺩﻴﺴـﻜﺎﺩﻴﻥ ) .(1970ﺩﻴﺭﺴـﻭ ﺃﻭﺯﺍﻻ
) .(1975ﻤﺤﺎﺭﺏ ﺍﻝﻅل ) .(1980ﺭﺍﻥ ) .(1985ﺃﺤﻼﻡ ﺁﻜﻴـﺭﺍ ﻜﻭﺭﻭﺴـﺎﻭﺍ ) .(1990ﺭﺍﺒﺴـﻭﺩﻱ ﻓـﻲ ﺁﺏ
) .(1991ﻤﺎﺩﺍﺩﺍﻴﻭ ).(1993
ﺒﺭﻭﺯ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ﻫﻭ ﺒﻼ ﺸﻙ ﺍﻝﺤﺩﺙ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻷﻜﺜﺭ ﺃﻫﻤﻴﺔ ﻤﻨﺫ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ ﺍﻹﻴﻁﺎﻝﻴﺔ ،ﻭﻗـﺩ
ﺍﻜﺘﺸﻔﻨﺎﻫﺎ ﻤﺘﺄﺨﺭﻴﻥ ﺠﺩﺍﹰ ،ﻭﻫﻭ ﺘﺄﺨﺭ ﻴﺩﺤﺽ ﻜﻭﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻨﹰﺎ ﺫﺍ ﺍﻨﺘﺸﺎﺭ ﺠﻐﺭﺍﻓﻲ ﻭﺍﺴﻊ ﻭﺴﺭﻴﻊ ،ﻤﻘﺎﺒل ﺍﻝﻔﻨـﻭﻥ
ﺍﻝﺘﻘﻠﻴﺩﻴﺔ ﺍﻝﺘﻲ ﺘﻨﺘﺸﺭ ﻓﻘﻁ ﺒﻤﺴﺎﻋﺩﺓ ﺍﻝﺯﻤﻥ .ﺍﻨﺘﺸﺎﺭ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ﻓﻲ ﺍﻝﻐﺭﺏ ﻫﻭ ﺃﻗل ﻜﺜﻴﺭﹰﺍ ﻤﻥ ﺍﻨﺘﺸﺎﺭ ﺍﻝﺭﺴﻡ ﺃﻭ
ﺍﻝﻨﺤﺕ .ﻴﺘﻡ ﺘﻭﺯﻴﻊ ﻫﺫﻩ ﺍﻷﻓﻼﻡ ﻓﻘﻁ ﻋﺒﺭ ﺃﻗﻨﻴﺘﻬﺎ ،ﺇﺫ ﻗﻠﻤﺎ ﺘﻘﻭﻡ ﺒﺘﻭﺯﻴﻌﻬﺎ ﺸﺒﻜﺎﺕ ﺼﺎﻻﺕ ﺍﻝﻌـﺭﺽ ﺍﻝﺴـﻴﻨﻤﺎﺌﻲ
ﺍﻝﺘﺠﺎﺭﻴﺔ .ﻜﺎﻥ ﺍﻹﻨﺘﺎﺝ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﻴﺎﺒﺎﻨﻲ ﻗﺒل ﺍﻝﺤﺭﺏ ﻴﻔﻭﻕ ﻓﻲ ﺤﺠﻤﻪ ﺇﻨﺘﺎﺝ ﻫﻭﻝﻴﻭﻭﺩ ،ﻭﻤﻊ ﺫﻝﻙ ﻓﻘﺩ ﺍﺴﺘﻤﺭ ﻏﻴﺭ
ﻤﻌﺭﻭﻑ .ﻭﻓﻲ ﻋﺎﻤﻲ 1937ﻭ 1938ﻗﺩﻡ ﻤﻬﺭﺠﺎﻥ ﺍﻝﺒﻨﺩﻗﻴﺔ )ﺤﻴﺙ ﺤﻠﺕ ﺍﻝﺴﻴﺎﺴﺔ ﺁﻨﺌﺫ ﻤﺤل ﺍﻻﻗﺘﺼﺎﺩ( ﻤﻼﻤـﺢ
ﻫﺫﻩ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺸﺭﻗﻴﺔ ﻝﺒﻀﻊ ﻤﺌﺎﺕ ﻤﻥ ﺍﻷﻭﺭﻭﺒﻴﻴﻥ .ﻭﻤﺭﺓ ﺃﺨﺭﻯ ،ﻓﻲ ﻤﻬﺭﺠﺎﻥ ﺍﻝﺒﻨﺩﻗﻴﺔ ﻋﺎﻡ ،1952ﻭﻤﻊ "ﺨﺒﻁﺔ"
ﺭﺍﺸﻭﻤﻭﻥ ،ﻓﹸﺘﺤﺕ ﺍﻝﺴﻭﻕ ﺍﻝﻐﺭﺒﻴﺔ ﺃﻤﺎﻡ ﻫﺫﺍ ﺍﻹﻨﺘﺎﺝ ﺍﻝﺫﻱ ﻨﻅﺭﻨﺎ ﺇﻝﻴﻪ ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻹﻋﺠﺎﺏ ،ﺴﻭﺍﺀ ﻓﻲ ﺍﻝﻤﻬﺭﺠﺎﻨﺎﺕ
ﺃﻡ ﻓﻲ ﺒﻌﺽ ﺍﻝﺼﺎﻻﺕ ﺍﻝﻌﺎﻤﺔ ،ﻋﺒﺭ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺭﻓﻴﻌﺔ ﺍﻝﻤﺘﻨﻭﻋﺔ.
ﻭﻤﻊ ﺍﻷﺨﺫ ﺒﻌﻴﻥ ﺍﻻﻋﺘﺒﺎﺭ ﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﻁﺭﺡ ﻤﻥ ﺃﻴﺔ ﻭﺠﻬﺎﺕ ﻨﻅﺭ ﺤﻭل ﺍﻝﺘﻅﺎﻫﺭﺍﺕ ﺍﻝﺭﺴﻤﻴﺔ ﻝـ"ﺍﻝﺒﻨﺩﻗﻴﺔ"
ﻭﻝـ"ﻜﺎﻥ" ،ﻓﻌﻠﻰ ﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎ ﺃﻥ ﻴﻌﺘﺭﻑ ﻝﻬﺫﻴﻥ ﺍﻝﻤﻬﺭﺠﺎﻨﻴﻥ ﺒﺄﻨﻬﻤﺎ ﺴﺎﻋﺩﺍ ﻓﻲ ﺍﻻﻨﺘﺸﺎﺭ ﺍﻝﺘﺠﺎﺭﻱ ﺍﻝﻜﺒﻴﺭ ﻝﻬـﺫﻩ
ﺍﻝﺴﻴﻨﻤﺎ ،ﺍﻝﺫﻱ ﺃﺩﻯ ،ﻝﻴﺱ ﻓﻘﻁ ﺇﻝﻰ ﺍﻝﻤﺴﺎﻋﺩﺓ ﻓﻲ ﺘﺤﻘﻴﻕ ﻫﺫﻩ ﺍﻝﻜﺸﻭﻓﺎﺕ ﺍﻝﻬﺎﻤﺔ ﺍﻝﻤﺴﺘﺒ ﻌﺩﺓ ﻓﻲ ﺍﻝﻠﻌﺒﺔ ﺍﻝﻌﺎﺩﻴﺔ ﻝﻤﺴﺄﻝﺔ
ﺍﻝﺘﻭﺯﻴﻊ ،ﺒل ﻭﺃﻴﻀﺎﹰ ،ﻭﻤﻥ ﺤﻴﺙ ﺍﻝﻨﺘﻴﺠﺔ ،ﺇﻝﻰ ﺘﻭﺠﻪ ﻤﺨﺘﻠﻑ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎ .ﻝﻴﺱ ﺃﻜﻴﺩﺍﹰ ،ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜـﺎل،
ﺃﻥ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ ﺍﻹﻴﻁﺎﻝﻴﺔ ﻜﺎﻥ ﻝﻬﺎ ﺃﻥ ﺘﻨﺠﺢ ﻭﺘﺘﺠﺎﻭﺯ ﺘﺤﻔﻅﺎﺕ ﺠﻤﻬﻭﺭﻫﺎ ﺍﻝﻤﺤﻠﻲ ﻭﺍﻝﻤﻨﺘﺠﻴﻥ ﻝﻭ ﻝﻡ ﺘﻭﻓﺭ ﻝﻬﺎ
ﺍﻝﻤﻬﺭﺠﺎﻨﺎﺕ ﻓﻲ ﺍﻝﺨﺎﺭﺝ ﻨﺠﺎﺤﹰﺎ ﻨﻘﺩﻴﹰﺎ ﻤﺩﻭﻴﹰﺎ .ﻭﻋﻨﺩﻤﺎ ﺒﺩﺃﺕ ﻓﻌﺎﻝﻴﺔ ﺘﺠﺎﺭﺓ ﺍﻝﺘﻭﺯﻴﻊ ﺍﻝﺨﺎﺭﺠﻲ ،ﺭﺍﺤـﺕ ﺍﻝﻭﺍﻗﻌﻴـﺔ
ﻻ ﺁﺨﺭ ،ﻓﺒﻌﺩ ﺃﻥ ﻜـﺎﻥ
ﺍﻝﺠﺩﻴﺩﺓ ﺍﻹﻴﻁﺎﻝﻴﺔ ﺘﻐﺯﻭ ﺸﻴﺌﹰﺎ ﻓﺸﻴﺌﹰﺎ ﺴﻭﻗﻬﺎ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻨﻔﺴﻬﺎ .ﻜﻤﺎ ﺃﻥ ﺤﺎﻝﺔ ﺒﻭﻨﻭﻴل ﺘﺸﻜل ﻤﺜﺎ ﹰ
ﻤﺨﺘﻔﻴﺎﹰ ،ﻤﺒﺘﻌﺩﺍﹰ ،ﻀﺎﺌﻌﹰﺎ ﻓﻲ ﺍﻝﻤﻴﻠﻭﺩﺭﺍﻤﺎﺕ ﺍﻝﺭﺨﻴﺼﺔ ﻝﻼﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﺍﻝﻤﻜﺴﻴﻜﻴﺔ ،ﺃﻋﺎﺩﻩ ﺇﻝﻴﻨﺎ ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ ﻋـﺎﻡ
،1952ﻜﻲ ﻴﺩﻫﺸﻨﺎ… ﻭﻜﻲ ﻴﺩﻫﺵ ﻨﻔﺴﻪ ﺃﻴﻀﹰﺎ .ﻭﺍﺴﺘﻁﺎﻉ ﺒﻭﻨﻭﻴل ،ﻤﻨﺫ ﺫﻝﻙ ﺍﻝﺘﺎﺭﻴﺦ ،ﻤـﺩﻋﻤﹰﺎ ﺒﺘﻘـﺩﻴﺭ ﺩﻭﻝـﻲ،
ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﺩﺨﻭل ﻓﻲ ﺘﺸﻜﻴل ﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻨﻤﺎ.
* ﺇﻋﺠﺎﺏ ﻭﺴﺫﺍﺠﺔ
ﻝﻜﻥ ،ﻨﻌﻭﺩ ﺇﻝﻰ ﻴﺎﺒﺎﻨﻴﻴﻨﺎ ،ﻭﺠﻤﺎل ﺃﻓﻼﻤﻬﻡ ﺍﻝﺫﻱ ﻭﺼل ﺇﻝﻴﻨﺎ ﻤﺘﺄﺨﺭﺍﹰ ،ﻤﺜل ﻀﻭﺀ ﺍﻝﻨﺠﻭﻡ ﺍﻝﺒﻌﻴﺩﺓ ،ﻓﺈﻥ ﺍﻝﺒﻌﺽ
ﺃﺒﺩﻯ ﺘﺸﺩﺩﹰﺍ ﺒل ﻭﺴﺨﺭﻴﺔ ﺇﺯﺍﺀ ﺴﺫﺍﺠﺔ ﺇﻋﺠﺎﺒﻨﺎ .ﻭﺒﻨﻔﺱ ﺍﻝﻁﺭﻴﻘﺔ ،ﻓﺈﻥ ﻫﺅﻻﺀ ﺍﻷﺼـﺩﻗﺎﺀ ،ﻭﻷﻨﻬـﻡ ﻻ ﻴﻔﻬﻤـﻭﻥ
ﺍﻹﻴﻁﺎﻝﻴﺔ ﺠﻴﺩﺍﹰ ،ﺠﻬﺩﻭﺍ ﻓﻲ ﺇﻗﻨﺎﻋﻨﺎ ﺒﺄﻨﻨﺎ ﻜﻨﺎ ﺴﻨﺼﺒﺢ ﻤﺘﺨﻤﻴﻥ ﻤﻥ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ ﻝﻭ ﻜﻨﺎ ﻨﻔﻬﻡ ﺍﻝﺤﻭﺍﺭﺍﺕ .ﺨﻼل
ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ ﻝﻠﻌﺎﻡ ﺍﻝﻤﻨﺼﺭﻡ ،ﺃﺜﻴﺭﺕ ﻀﺠﺔ ﻀﺩ "ﺒﻭﺍﺒﺔ ﺍﻝﺠﺤﻴﻡ") ،(1ﻭﺍﺼﻔ ﹰﺔ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺒﺄﻨﻪ ﻤﺠـﺭﺩ ﻤﻴﻠﻭﺩﺭﺍﻤـﺎ
ﻤﺭﻴﻌﺔ.
* ﻨﺒل ﺍﻝﻤﻴﻠﻭﺩﺭﺍﻤﺎ
) (1ﻓﻴﻠﻡ "ﺒﻭﺍﺒﺔ ﺍﻝﺠﺤﻴﻡ" ﺩﺭﺍﻤﺎ ﺘﺎﺭﻴﺨﻴﺔ ﻝﻠﻤﺨﺭﺝ ﺍﻝﻴﺎﺒﺎﻨﻲ .(1982 -1896) Teinosuke Kinugasaﻭﻜﺎﻥ ﻝﻠﻔـﻴﻠﻡ ﺩﻭﺭ ﺭﻴـﺎﺩﻱ ﻓـﻲ
ﺍﻻﺴﺘﺨﺩﺍﻡ ﺍﻝﻤﺘﻤﻴﺯ ﻝﻸﻝﻭﺍﻥ ،ﻭﺤﺎﺯ ،ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺠﺎﺌﺯﺓ ﺍﻝﻜﺒﺭﻯ ﻓﻲ ﻤﻬﺭﺠﺎﻥ ﻜﺎﻥ ،ﻋﻠﻰ ﺃﻭﺴﻜﺎﺭ ﺃﻓﻀل ﻓـﻴﻠﻡ ﺃﺠﻨﺒـﻲ ﻭﺃﻭﺴـﻜﺎﺭ
ﺃﻓﻀل ﺘﺼﻤﻴﻡ ﺃﺯﻴﺎﺀ .ﻜﻤﺎ ﻜﺎﻥ ﻝﻬﺫﺍ ﺍﻝﻤﺨﺭﺝ ﺩﻭﺭ ﻫﺎﻡ ﻓﻲ ﺘﻁﻭﻴﺭ ﺍﻻﺴـﺘﺨﺩﺍﻤﺎﺕ ﺍﻝﻔﻨﻴـﺔ ﻝﻠﺸﺎﺸـﺔ ﺍﻝﻌﺭﻴﻀـﺔ "."Wide Screen
)ﺍﻝﻤﺘﺭﺠﻡ(
ﺍﻝﻤﻌﺘﻤﺩﺓ ﺒﺼﻭﺭﺓ ﻋﺎﻤﺔ ﻤﻥ ﻗﺒل ﻨﻘﺎﺩ ﺍﻝﺒﻠﺩ ﺍﻝﻤﻌﻨﻲ .ﻝﻘﺩ ﺤﻠل ﺠﺎﻙ ﺩﻭﻨﻴﻭل – ﻓﺎﻝﻜﺭﻭﺯ ﺫﺍﺕ ﻤـﺭﺓ ﻤﺴـﺄﻝﺔ ﺍﻝﻨﻘـﺩ
ﺍﻹﻨﻜﻠﻴﺯﻱ ﻝﻸﻓﻼﻡ ﺍﻝﻔﺭﻨﺴﻴﺔ ،ﻭﻨﻼﺤﻅ ﻤﻥ ﺨﻼل ﺫﻝﻙ ﺃﻥ ﻝﻴﺱ ﺜﻤﺔ ﻤﺎ ﻴﺠﻤﻊ ﺒﻴﻥ ﺫﻝﻙ ﺍﻝﻨﻘﺩ ﻭﺍﻝﻨﻘﺩ ﻝﺩﻴﻨﺎ ،ﻝﻜﻥ ﻫﺫﺍ
ﻻ ﻴﺼل ﺇﻝﻰ ﺩﺭﺠﺔ ﺍﻝﺘﻨﺎﻗﺽ ،ﻭﺍﻝﻠﺒﺱ ﺍﻝﺫﻱ ﺃﺘﺤﺩﺙ ﻋﻨﻪ ﻫﻭ ﺃﻜﺜﺭ ﺨﻁﻭﺭﺓ ﻤﻤﺎ ﻗﺩ ﻴﺒﺩﻭ ﻋﻠﻴﻪ ،ﺇﺫ ﺇﻥ ﺫﻝﻙ ﻴﻤﻜـﻥ
ﺃﻥ ﻴﺤﺩﺙ ﻓﻘﻁ ﺒﻴﻥ ﻨﻭﻋﻴﻥ ﻤﻥ ﺍﻝﻤﺸﺎﻫﺩﻴﻥ ،ﻴﻔﺼل ﺒﻴﻨﻬﻤﺎ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻤﺴﺎﻓﺔ ﺍﻝﺠﻐﺭﺍﻓﻴﺔ ﻭﺍﻝﻤﺯﺍﺠﻴﺔ ،ﻭﻻ ﺸﻙ ﺃﻨﻪ
ﺜﻤﺭﺓ ﻤﻌﺭﻓﺔ ﻤﺠﺘﺯﺃﺓ ﺠﺩﹰﺍ ﺤﻭل ﺍﻹﻨﺘﺎﺝ ﺍﻝﺫﻱ ﻴﺠﺭﻱ ﺍﻝﺤﺩﻴﺙ ﻋﻨﻪ .ﻭﻴﻤﻜﻥ ﺃﻥ ﻨﻠﺨﺹ ﺍﻷﻤﺭ ﻫﻜـﺫﺍ :ﻤـﺎ ﺃﺜـﺎﺭ
ﺇﻋﺠﺎﺏ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ ﻓﻲ "ﺍﺒﻨﺔ ﺤﻔﺎﺭ ﺍﻵﺒﺎﺭ" ﻝﻴﺱ ﻫﻭ ﺍﻝﻔﻴﻠﻡ ،ﻭﻝﻴﺱ ﺒﺎﻨﻴﻭل ،ﺒل ﻫﻲ ﺤﺭﻴﺔ ﺍﻹﺨﺭﺍﺝ ﻓـﻲ ﺍﻝﺴـﻴﻨﻤﺎ
ﺍﻝﻔﺭﻨﺴﻴﺔ ،ﻭﺒﺼﻭﺭﺓ ﻋﺎﻤﺔ ،ﺍﻹﻋﺠﺎﺏ ﺒﻔﺭﻨﺴﺎ .ﻭﺍﺒﺘﺩﺍﺀ ﻤﻥ ﺍﻝﻠﺤﻅﺔ ﺍﻝﺘﻲ ﻴﺄﺨﺫ ﻓﻴﻬﺎ ﺍﻝﻤﺸﺎﻫﺩ ﺒﺎﻝﺘﻌﻭﺩ ﻋﻠـﻰ ﻫـﺫﻩ
ﺍﻷﻋﻤﺎل ،ﺫﺍﺕ ﺍﻝﺴﻤﺎﺕ ﺍﻝﻤﺸﺘﺭﻜﺔ ،ﻴﺘﺤﻭل ﺇﻝﻰ ﺍﻝﺘﻤﻴﻴﺯ ﻓﻴﻤﺎ ﺒﻴﻨﻬﺎ .ﻭﻫﺫﺍ ﻴﻌﻨﻲ ﺃﻥ ﻝﻨـﺎ ﺍﻝﺤـﻕ ﻓـﻲ ﺃﻥ ﻨﻌﺘﺒـﺭ
"ﻤﺎﺭﻴﻭﺱ" ﺃﻭ "ﺯﻭﺠﺔ ﺍﻝﺨﺒﺎﺯ" ﻋﻤﻠﻴﻥ ﺭﻓﻴﻌﻴﻥ ،ﻭﺃﻥ ﻻ ﻨﻨﻅﺭ ﺒﺘﻘﺩﻴﺭ ﺇﻝﻰ "ﺍﺒﻨﺔ ﺤﻔﺎﺭ ﺍﻵﺒﺎﺭ" ،ﻝﻜﻥ ،ﻓﻴﻤـﺎ ﻴﺘﻌﻠـﻕ
ﺒﺎﻷﻤﺭﻴﻜﻲ ﺍﻝﺫﻱ ﻴﺸﺎﻫﺩ ﻓﻴﻠﻤﻴﻥ ﻓﺭﻨﺴﻴﻴﻥ ﻓﻲ ﺍﻝﺴﻨﺔ ،ﻝﻴﺴﺕ ﻝﻬﺫﻩ ﺍﻝﻔﺭﻭﻗﺎﺕ ﺍﻝﻜﺒﻴﺭﺓ ﺃﻴﺔ ﺃﻫﻤﻴﺔ ،ﻷﻥ ﻤﺎ ﻴﻌﺠﺒﻪ ﻝﻴﺱ
ﺡ ﻓﻨﻴﺔ ،ﺒل ﻤﺎ ﻫﻭ ﻤﺸﺘﺭﻙ ﻓﻲ ﺠﻤﻴﻊ ﺃﻓﻼﻡ ﺒﺎﻨﻴﻭل ،ﻭﺍﻝﺘﻲ ﺘﺤﺩﺩ ﻓﻌﻠﻴﹰﺎ ﻤﺎ ﻓﻴﻬﺎ ﻤﻥ
ﻫﻭ ﻤﺎ ﻴﺘﻀﻤﻨﻪ ﻓﻴﻠﻡ ﻤﺎ ﻤﻥ ﻨﻭﺍ ﹴ
ﺠﺩﻴﺩ .ﻴﻤﻜﻨﻨﺎ ﺃﻥ ﻨﻼﺤﻅ ﻤﻥ ﻨﺎﺤﻴﺔ ﺃﺨﺭﻯ ،ﺃﻥ ﻤﺎ ﻴﺜﻴﺭ ﺇﻋﺠﺎﺒﻨﺎ ،ﺘﺎﺭﻴﺨﻴﺎﹰ ،ﻴﺘﻭﻗﻑ ﻜﺜﻴﺭﺍﹰ ،ﻭﺩﻭﻥ ﺃﻥ ﻨﻠﺤﻅ ﺫﻝـﻙ،
ﻋﻠﻰ ﻨﻔﺱ ﺍﻝﻅﺎﻫﺭﺓ .ﻫل ﺤﻘﹰﺎ ﺃﻨﻨﺎ ﻤﺘﺄﻜﺩﻭﻥ ﻤﻥ ﺃﻥ "ﻓﻴﻨﻭﺱ ﻤﻴﻠﻭ" ﻫﻭ ﻋﻤل ﻤﻥ ﺃﻓﻀل ﺍﻷﻤﺜﻠﺔ ﻝﻔﻥ ﺍﻝﻨﺤـﺕ ﻓـﻲ
ﻋﺼﺭﻩ؟ ﺇﻥ ﻤﺎ ﻴﺜﻴﺭ ﺇﻋﺠﺎﺒﻨﺎ ﻓﻴﻪ ﺤﻘﹰﺎ ﻫﻭ ﻝﺤﻅﺔ ﻤﻌﻴﻨﺔ ﻓﻲ ﺍﻝﻔﻥ ﺍﻝﻴﻭﻨﺎﻨﻲ.
ﺘﻠﻌﺏ ﺍﻝﻤﺴﺎﻓﺔ ﺍﻝﺠﻐﺭﺍﻓﻴﺔ ﻭﺍﻝﺸﺭﻭﻁ ﻏﻴﺭ ﺍﻝﻤﺴﺘﻘﺭﺓ ﻝﻠﺘﻭﺯﻴﻊ ،ﻨﻔﺱ ﺍﻝﺩﻭﺭ ﺍﻝﺫﻱ ﻴﻠﻌﺒﻪ ﻤﺭﻭﺭ ﺍﻝﺯﻤﻥ .ﺼﺤﻴﺢ
ﺃﻨﻨﺎ ﻨﻌﺘﺒﺭ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻴﺎﺒﺎﻨﻲ ﺃﻭ ﺫﺍﻙ ﺒﻤﺜﺎﺒﺔ "ﺨﺒﻁﺔ" ،ﺃﻭ ﻨﻌﺘﺭﻑ ﻝﻪ ﺒﺄﻫﻤﻴﺘﻪ ﺍﻝﺨﺎﺼﺔ ،ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﻤﻀﺎﻫﺎﺘﻬﺎ ﺒﺎﻝﻔﻥ
ﺍﻝﻴﺎﺒﺎﻨﻲ ﺒﻌﺎﻤﺔ؛ ﻭﺃﻨﺎ ﺃﺭﻯ ﻓﻲ ﻫﺫﺍ ﺘﺄﻜﻴﺩﹰﺍ ﻝﻠﺠﺩﺍﺭﺓ ﺍﻝﻤﻤﻴﺯﺓ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ .ﺭﺒﻤﺎ ﻝﻴﺱ ﻫﻨﺎﻙ ﺃﻱ ﺇﻨﺘﺎﺝ ﺴـﻴﻨﻤﺎﺌﻲ
ﻻ ﻓﻲ ﺍﻝﺘﺠﺎﻨﺱ ﻤﻊ ﺍﻝﻌﺒﻘﺭﻴﺔ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺤﻀﺎﺭﺓ ﺍﻝﺘـﻲ ﻴﻨﺘﻤـﻲ ﺁﺨﺭ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ﺒﺈﻤﻜﺎﻨﻪ ﺃﻥ ﻴﻌﻁﻴﻨﺎ ﺇﺤﺴﺎﺴﹰﺎ ﺃﻜﺜﺭ ﻜﻤﺎ ﹰ
ﺇﻝﻴﻬﺎ .ﻝﻘﺩ ﺸﺎﻫﺩﺕ ﻨﺤﻭ ﻋﺸﺭﻴﻥ ﺃﻭ ﺨﻤﺴﺔ ﻭﻋﺸﺭﻴﻥ ﻓﻴﻠﻤﹰﺎ ﻴﺎﺒﺎﻨﻴﹰﺎ ﻤﻥ ﻨﻤﺎﺫﺝ ﻤﺨﺘﻠﻔﺔ ﺠﺩﹰﺍ ﻭﻤﺘﺒﺎﻋﺩﺓ ﻜﺜﻴـﺭﹰﺍ ﻓـﻲ
ﺩﺭﺠﺎﺕ ﻨﺠﺎﺤﻬﺎ ،ﻤﺎ ﺒﻴﻥ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ ﺍﻝﺤﺴﺎﺴﺔ ﻭﺍﻝﺤﻤﻴﻤﺔ ﻝـ ،(1)Okasanﺇﻝـﻰ ﺍﻝﺭﻭﻤﺎﻨﺴـﻴﺔ ﺍﻝﺒﺎﺭﻭﻜﻴـﺔ
ﺍﻝﺤﺴﻴﺔ ﻝـ"ﺍﻝﺤﺴﻨﺎﺀ ﻭﺍﻝﻠﺹ") ،(2ﺇﻝﻰ ﺍﻝﻁﻘﺴﻴﺔ ﺍﻝﺒﺎﺫﺨﺔ ﻭﺍﻝﺘﺭﺍﺠﻴﺩﻴﺔ ﻝـ"ﺒﻭﺍﺒﺔ ﺍﻝﺠﺤـﻴﻡ" ،ﻤـﺭﻭﺭﹰﺍ ﺒﺎﻝﻤﻴﻠﻭﺩﺭﺍﻤـﺎ
ﻼ ﺃﻭ ﺴـﺎﺫﺠﹰﺎ ﺃﻭ ﻏﻴـﺭﺍﻝﻁﺒﻴﻌﻴﺔ ﻝـ "ﺍﻝﺸﻴﻁﺎﻥ ﺍﻝﺫﻫﺒﻲ" ،ﺇﻻ ﺃﻥ ﻤﺎ ﻝﻡ ﺃﺸﺎﻫﺩﻩ ﺒﻌﺩ ،ﺤﺘﻰ ﺤﻴﻥ ﻴﻜﻭﻥ ﺍﻝﻌﺭﺽ ﻤﻤ ﹰ
ﻲ ﻜﻐﺭﺒﻲ ،ﻫﻭ ﻓﻴﻠﻡ ﻴﺎﺒﺎﻨﻲ ﻤﺒﺘﺫل ﺃﻭ ﺴﻴﺊ ﺍﻝﺫﻭﻕ. ﻤﻤﺘﻊ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝ
ﺭﺒﻤﺎ ﺃﻥ ﺍﻻﻨﺤﺴﺎﺭ ﺍﻝﻤﻀﻁﺭﺩ ،ﻤﻨﺫ ﺍﻝﻘﺭﻥ ﺍﻝﺜﺎﻤﻥ ﻋﺸﺭ ،ﻝﻌﺎﺩﺓ ﺇﻏﻔﺎل ﺍﻷﺴﻤﺎﺀ ،ﻫﻭ ﺍﻝﺴﺒﺏ ﻓﻲ ﻨﺸـﻭﺀ ﻓﻨﻨـﺎ
ﺍﻝﻐﺭﺒﻲ ،ﻭﻓﻲ ﺍﻨﻔﺼﺎﻝﻪ ﻋﻥ ﺍﻝﺸﻌﺏ ،ﻭﺘﻔﺎﻗﻡ ﻓﺭﺩﻴﺘﻪ .ﺍﻷﺴﻠﻭﺏ ﻫﻭ ﺍﻹﻨﺴﺎﻥ ،ﻝﻜﻨﻪ ﻝﻴﺱ ﺍﻝﺤﻀﺎﺭﺓ .ﻝـﺩﻴﻨﺎ ﺭﺴـﺎﻤﻭﻥ
ﻜﺒﺎﺭ ﻭﻜﺘﺎﺏ ﻜﺒﺎﺭ ،ﻭﺤﺘﻰ ﺴﻴﻨﻤﺎﺌﻴﻭﻥ ﻜﺒﺎﺭ ،ﻝﻜﻥ ﻝﻴﺱ ﻝﺩﻴﻨﺎ ،ﻓﻲ ﺍﻝﻭﺍﻗﻊ ،ﺃﺩﺏ ﻋﻅﻴﻡ ،ﺃﻭﺴﻴﻨﻤﺎ ﻋﻅﻴﻤـﺔ .ﺇﻥ ﺍﻷﻜﺜـﺭ
ﺇﺜﺎﺭﺓ ﻝﻺﻋﺠﺎﺏ ﻓﻲ ﻤﺠﺎل ﺍﻷﺩﺏ ﺍﻝﻜﻼﺴﻴﻜﻲ ﻝﻴﺱ "ﺭﺍﺴﻴﻥ" ﺃﻭ"ﻤﺩﺍﻡ ﺩﻭﺴﻴﻔﻴﻨﻴﻴﻪ" ،ﺒل ﺃﻭﻝﺌﻙ ﺍﻝﺫﻴﻥ ﺍﺴﺘﻁﺎﻋﻭﺍ ﺃﻥ ﻴﻜﺘﺒﻭﺍ
ﻓﻲ ﺍﻝﻴﺎﺒﺎﻥ ،ﻨﺠﺩ ﺍﻻﺴﺘﺜﻨﺎﺀ ﺒﺼﻭﺭﺓ ﻤﻌﻜﻭﺴﺔ؛ ﻓﻤﻥ ﺍﻝﺼﻌﺏ ﺃﻥ ﻨﺭﻯ ﻤﺒﺩﻋﹰﺎ ﻓﻅـﹰﺎ ﺃﻭ ﻏﻴـﺭ ﻤﺜﻘـﻑ ﺃﻭ ﻻ
ﻴﺘﻀﻤﻥ ﻋﻤﻠﻪ ،ﻭﺒﺼﻭﺭﺓ ﺘﻠﻘﺎﺌﻴﺔ ،ﺃﻓﻀل ﺍﻝﺘﻘﺎﻝﻴﺩ ﺍﻝﺘﺸﻜﻴﻠﻴﺔ ﻝﻠﻔﻥ ﺍﻝﺸﺭﻗﻲ ،ﻤﺜﻠﻤﺎ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻨﺠﺩ ﺴﻴﺩﺓ ﻴﺎﺒﺎﻨﻴﺔ ﺘﺴﻔﺢ
ﺍﻝﺸﺎﻱ ﻓﻭﻕ ﺍﻝﻁﺎﻭﻝﺔ ،ﺃﻭ ﺃﻥ ﻨﺠﺩ ،ﻋﻠﻰ ﺍﻤﺘﺩﺍﺩ ﺍﻷﺭﺨﺒﻴل ،ﺸﺠﺭﺓ ﻜﺭﺯ ﺴﻴﺌﺔ ﺍﻝﺘﺸﺫﻴﺏ؛ ﻭﻤﺎ ﺃﻗﻭﻝﻪ ﺤﻭل ﺸـﺠﺭﺍﺕ
ﺍﻝﻜﺭﺯ ﻭﺍﻹﺨﺭﺍﺝ ﻴﻨﻁﺒﻕ ﺃﻴﻀﺎﹰ ،ﺒﺎﻝﻁﺒﻊ ،ﻋﻠﻰ ﺍﻷﺤﺎﺴﻴﺱ ﻭﻋﻠﻰ ﻁﺒﻴﻌﺔ ﺘﻌﺒﻴﺭﻫﺎ ﺍﻝﺩﺭﺍﻤﻲ .ﺇﻥ ﺍﻜﺘﺸﺎﻑ ﺍﻝﺴـﻴﻨﻤﺎ
ﻑ ﻝﺤﻀﺎﺭﺓ ﻜﺎﻤﻠﺔ.
ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ﻓﻲ ﻫﺫﺍ ﺍﻝﺩﺭﺱ ﺍﻝﻤﺩﻫﺵ ﻭﺍﻝﻔﺭﻴﺩ ،ﻴﺘﺠﺎﻭﺯ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻤﺒﺩﻉ ،ﺇﻝﻰ ﺍﻜﺘﺸﺎ
)(1955/3/15-9 ،Arts
ﺭﺍﺸﻭﻤﻭﻥ
ﺍﻝﺴﻭﻴﺔ ﻭﺍﻷﺼﺎﻝﺔ ﻭﺍﻷﻫﻤﻴﺔ ﺍﻝﺘﻲ ﻴﺘﺼﻑ ﺒﻬﺎ ﻋﻤل ﻤﺜل "ﺭﺍﺸﻭﻤﻭﻥ" ﻫﻲ ﺃﻤﻭﺭ ﻤﺤﻴﺭﺓ ﻝﻠﻨﻘﺩ ﺒﺼﻭﺭﺓ ﻜﺒﻴﺭﺓ.
ﻴﻐﺭﻕ ﺍﻝﻤﺸﺎﻫﺩ ﻓﻲ ﺍﻝﺤﺎل ﻓﻲ ﻋﺎﻝﻡ ﺠﻤﺎﻝﻲ ﺸﺭﻗﻲ ﺒﺼﻭﺭﺓ ﻤﻁﻠﻘﺔ ،ﺒﻔﻀل ﺘﻘﻨﻴﺔ ﺴﻴﻨﻤﺎﺌﻴﺔ )ﺘﺼـﻭﻴﺭ ﻭﻤﻭﻨﺘـﺎﺝ(
ﺘﺘﻁﻠﺏ ﺍﺴﺘﻴﻌﺎﺒﹰﺎ ﻋﻤﻴﻘ ﹰﺎ ﻝﻤﺠﻤل ﺘﻁﻭﺭ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻐﺭﺒﻴﺔ؛ ﻝﺫﻝﻙ ﻓﺎﻝﻔﻴﻠﻡ ﻴﻨﺘﻤﻲ ﺒﺸﻜل ﻜﺎﻤل ﺇﻝﻰ ﻨﻅﺎﻡ ﺃﺠﻨﺒﻲ ﺒﻤﺠﻤﻠﻪ.
ﺍﻷﻓﻼﻡ ﺍﻝﻬﻨﺩﻴﺔ ﺒﻁﻴﺌﺔ ،ﻭﺍﻷﻓﻼﻡ ﺍﻝﻤﺼﺭﻴﺔ ﻤﺒﺘﺩﺌﺔ ؛ ﺘﺩﺨل ﺒﻴﻥ ﺍﻝﺤﻜﺎﻴﺔ ﺍﻝﺘﻲ ﻴﺭﻭﻭﻨﻬﺎ ﻭﺒﻴﻨﻨﺎ ﺴﻠﺴﻠﺔ ﻤﻥ ﺍﻝﻤﺭﺸﺤﺎﺕ
ﺍﻝﻨﻔﺴﻴﺔ ﺍﻝﺘﻲ ﻻ ﺘﻔﺼﺢ ﻋﻥ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻝﻤﺎﺩﻴﺔ ،ﺒل ﺘﺤﺩﺩ ﺒﻌﺽ ﺍﻝﻤﻭﺍﺼﻔﺎﺕ ﺍﻝﺘﻘﻨﻴﺔ :ﻁﻭل ﺍﻝﻠﻘﻁﺎﺕ ،ﺍﻝﺒﻁﺀ ﻓﻲ ﺃﺩﺍﺀ
ﺍﻝﺘﻤﺜﻴل ،ﺘﻭﺍﻀﻊ ﺍﻝﻤﻭﻨﺘﺎﺝ ،ﻏﻴﺎﺏ ﺍﻝﻤﻌﺎﻨﻲ ﺍﻝﻤﻀ ﻤﺭﺓ … ،ﺘﺒﺩﻭ ﻝﻨﺎ ﺘﻘﻨﻴﺔ ﺭﺍﺸﻭﻤﻭﻥ ﺃﻗل ﻏﺭﺍﺒﺔ ﻤﻥ ﺘﻘﻨﻴـﺔ ﻓـﻴﻠﻡ
ﺴﻭﻓﻴﻴﺘﻲ ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﻭﺃﻅﻥ ﺃﻴﻀﹰﺎ ﺃﻥ ﻫﺫﻩ ﺍﻝﻅﺎﻫﺭﺓ ،ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﺴﻴﻨﻤﺎﺌﻴﺔ ،ﻫﻲ ﻨﺘﻴﺠﺔ ﺘﻁﻭﺭ ﻤﺘﻤﻴـﺯ
ﻋﺎ ﻡ ﻝﻠﻴﺎﺒﺎﻥ ﻤﻨﺫ ﻨﺤﻭ ﺨﻤﺴﻴﻥ ﻋﺎﻤﹰﺎ )ﺃﻱ ﻤﻨﺫ ﺍﺨﺘﺭﺍﻉ ﺍﻝﺴﻴﻨﻤﺎ( ،ﺇﺫ ﺘﻌﻭﺩ ﺍﻷﻓﻼﻡ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ﺍﻷﻭﻝﻰ ﺇﻝﻰ ﻋﺎﻡ .1902
ﺇﻥ ﻤﻔﺎﺠﺄﺘﻨﺎ ﺃﻤﺎﻡ "ﺭﺍﺸﻭﻤﻭﻥ" ﻫﻲ ﺍﻝﺼﺩﻯ ﺍﻝﺒﻌﻴﺩ ﻝﻤﻔﺎﺠﺄﺓ ﺍﻝﻌﺎﹶﻝﻡ ﺍﻝﻐﺭﺒﻲ ﺇﺯﺍﺀ ﺍﻝﻬﺯﻴﻤﺔ ﺍﻝﺭﻭﺴﻴﺔ ﻋﺎﻡ ،1905ﻭﻓﻴﻤﺎ
ﺒﻌﺩ ،ﺇﺯﺍﺀ ﺒﻴﺭل ﻫﺎﺭﺒﻭﺭ .ﺃﺭﻴﺩ ﺍﻝﻘﻭل ﺇﻥ ﺍﻝﻁﺎﻗﺔ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ﻋﻠﻰ ﺍﺴﺘﻴﻌﺎﺏ ﺘﻘﻨﻴﺎﺕ ﺍﻝﻤﺩﻨﻴﺔ ﺍﻝﻐﺭﺒﻴﺔ ،ﺘﺤﺎﻓﻅ ﻓﻲ ﺍﻝﻭﻗﺕ
ﻨﻔﺴﻪ ﻋﻠﻰ ﺍﻝﻤﻴﺘﺎﻓﻴﺯﻴﻘﺎ ،ﻭﻋﻠﻰ ﻓﻠﺴﻔﺔ ﺍﻷﺨﻼﻕ ،ﻭﻋﻠﻰ ﺍﻝﻨﻔﺴﻴﺔ ﺍﻝﺸﺭﻗﻴﺔ.
ﻓﻲ ﻜل ﺍﻷﺤﻭﺍل ،ﺘﹶﺴﺘﺨﺩﻡ ﻤﻬﺎﺭ ﹸﺓ ﺍﻹﺨﺭﺍﺝ ،ﻭﺘﺤﺩﻴﺩﹰﺍ ﻓﻲ "ﺭﺍﺸﻭﻤﻭﻥ" ،ﻝﻴﺱ ﻓﻘﻁ ﺘﻠﻙ ﺍﻝﻭﺴﺎﺌل ﺍﻝﺘﻘﻨﻴﺔ ﻭﻓـﻕ
ﻨﻅﺎﻡ ﻫﻭﻝﻴﻭﻭﺩ ،ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ،ﻭﺇﻨﻤﺎ ﺃﻴﻀﹰﺎ ﺘﻌﻜﺱ ﺍﺴﺘﻴﻌﺎﺒﹰﺎ ﻝﻤﺠﻤل ﻭﺴﺎﺌل ﺍﻝﺘﻌﺒﻴﺭ ﺍﻝﺴـﻴﻨﻤﺎﺌﻴﺔ :ﻓﺎﻝﻤﻭﻨﺘـﺎﺝ
ﺤﺭ ﻴﺔ ﻭﺒﺄﺴﺘﺎﺫﻴﺔ.
ﻭﻋﻤﻕ ﺍﻝﻤﺠﺎل ﻭﺍﻝﺘﻜﻭﻴﻥ ﻓﻲ ﺍﻝﻜﺎﺩﺭ ﻭﺤﺭﻜﺎﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ ،ﻜﻠﻬﺎ ﻤﺴﺘﺨﺩﻤﺔ ﻝﺨﺩﻤﺔ ﺍﻝﻤﻭﻀﻭﻉ ﺒ
ﻤﻊ ﺫﻝﻙ ،ﻓﺈﻥ ﻫﺫﺍ ﺍﻝﻤﻭﻀﻭﻉ ﻫﻭ ﻴﺎﺒﺎﻨﻲ ،ﻤﻥ ﺤﻴﺙ ﺍﻝﻨﻭﻉ ،ﻓﻲ ﻤﻀﻤﻭﻨﻪ ،ﻭﺭﺒﻤﺎ ﺃﻴﻀﹰﺎ ﻓﻲ ﺒﻨﺎﺌﻪ .ﻴـﺩﻭﺭ
ﺍﻝﺤﺩﺙ ﻓﻲ ﺍﻝﻌﺼﻭﺭ ﺍﻝﻭﺴﻁﻰ :ﺭﺤﺎﻝﺔ ﻏﻨﻲ ﻭﺯﻭﺠﺘﻪ ﻴﺠﺘﺎﺯﺍﻥ ﺇﺤﺩﻯ ﺍﻝﻐﺎﺒﺎﺕ؛ ﻴﻅﻬﺭ ﻝﻬﻤﺎ ﻗﺎﻁﻊ ﻁﺭﻴﻕ ﻴﺸـﺘﺒﻙ
ﻤﻊ ﻫﺫﺍ ﺍﻝﺭﺠل ﻭﻴﺘﻤﻜﻥ ﻤﻥ ﺸﺩ ﻭﺜﺎﻗﻪ ﺇﻝﻰ ﺸﺠﺭﺓ ،ﻭﻴﻘﻭﻡ ﺒﺎﻏﺘﺼﺎﺏ ﺯﻭﺠﺘﻪ ﺃﻤﺎﻤﻪ ،ﺜﻡ ﻴﻘﺘﻠﻪ .ﻜﺎﻥ ﺃﺤﺩ ﺍﻝﺤﻁﺎﺒﻴﻥ
ﺸﺎﻫﺩﹰﺍ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﺤﺎﺩﺙ .ﻭﺨﻼل ﻤﺤﺎﻜﻤﺔ ﻗﺎﻁﻊ ﺍﻝﻁﺭﻴﻕ ،ﺍﻝﺫﻱ ﺃﻝﻘﻲ ﺍﻝﻘﺒﺽ ﻋﻠﻴﻪ ﺒﻌﺩ ﺃﻴﺎﻡ ،ﻴﺭﻭﻱ ﻜل ﻭﺍﺤﺩ ﻤﻥ
ﺍﻝﺜﻼﺜﺔ ،ﺍﻝﺫﻴﻥ ﺒﻘﻭﺍ ﻋﻠﻰ ﻗﻴﺩ ﺍﻝﺤﻴﺎﺓ ،ﺼﻴﻐﺔ ﻤﺨﺘﻠﻔﺔ ﻝﻠﻭﺍﻗﻌﺔ .ﻴﻘﺩﻡ ﺍﻝﻔﻴﻠﻡ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺎﺕ ﺍﻝﺜﻼﺙ ﺒﺼﻭﺭﺓ ﻤﺘﻌﺎﻗﺒـﺔ،
ﺃﻭﻋﻠﻰ ﺍﻷﺼﺢ ،ﺍﻝﺭﻭﺍﻴﺎﺕ ﺍﻷﺭﺒﻊ ،ﻓﻬﻭ ﻴﻘﺩﻡ ﺃﻴﻀﺎﹰ ،ﻭﺒﺠﺭﺃﺓ ﻓﺫﺓ ،ﺍﻝﺼﻴﻐﺔ ﺍﻝﺘﻲ ﻴﺭﻭﻴﻬﺎ "ﺍﻝﻤﻭﺕ" ،ﻋـﻥ ﻁﺭﻴـﻕ
ﺇﺤﺩﻯ ﺍﻝﺴﺎﺤﺭﺍﺕ؛ ﺩﻭﻥ ﺃﻥ ﻴﻜﻭﻥ ﻫﻨﺎﻙ ﻤﺎ ﻴﺩﻋﻭ ﺇﻝﻰ ﺍﻻﻋﺘﻘﺎﺩ ﺒﺄﻥ ﺍﻝﻤﻭﺕ ﻫﻭ ﺃﻜﺜﺭ ﺼﺩﻗﹰﺎ ﻤﻥ ﺍﻵﺨـﺭﻴﻥ .ﻫـﺫﺍ
ﺍﻝﻔﻌل ﺍﻝﺫﻱ ﻴﺒﺩﻭ ﻭﻜﺄﻨﻪ ﻋﻠﻰ ﻨﻤﻁ "ﺒﻴﺭﺍﻨﺩﻴﻠﻠﻭ" ﻝﻪ ﻫﺩﻑ ﺃﺨﻼﻗﻲ :ﻝﻴﺴﺕ ﻫﻨﺎﻙ ﺍﺴﺘﺤﺎﻝﺔ ﺃﻤﺎﻡ ﻤﻌﺭﻓﺔ ﺍﻝﺤﻘﻴﻘﺔ ﻤـﻥ
ﺨﻼل ﺍﻝﻀﻤﻴﺭ ﺍﻹﻨﺴﺎﻨﻲ ،ﻭﻜﺫﻝﻙ ،ﻭﺒﺎﻝﺩﺭﺠﺔ ﺍﻷﻭﻝﻰ ،ﻤﻥ ﺨﻼل ﺍﻹﻴﻤﺎﻥ ﺒﻁﻴﺒﺔ ﺍﻹﻨﺴﺎﻥ؛ ﻓﻔﻲ ﻜل ﻭﺍﺤﺩﺓ ﻤﻥ ﻫﺫﻩ
ﺍﻝﺭﻭﺍﻴﺎﺕ ،ﺘﺒﺩﻱ ﺍﻝﺸﺨﺼﻴﺎﺕ ﺠﺎﻨﺒﻬﺎ ﺍﻝﺴﻴﺊ .ﺒﻭﺴﻌﻨﺎ ﺍﻻﻓﺘﺭﺍﺽ ﺃﻥ ﻫﺫﺍ ﺍﻝﺘﺸﺩﺩ ﺼﺎﺩﻕ ﺇﻝﻰ ﺤﺩ ﺒﻌﻴﺩ؛ ﺇﺫﺍ ﻋﺭﻓﻨـﺎ
ﺃﻥ ﺍﻝﻜﺎﺘﺏ ﺍﻝﻴﺎﺒﺎﻨﻲ "ﺭﻴﻭﻨﻭﺴﻭﺘﺸﻪ ﺃﻜﻭﺘﺎﻏﺎﻭﺍ" ،ﺍﻝﺫﻱ ﺃُﺨﺫ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻋﻥ ﺃﺤﺩ ﺃﻋﻤﺎﻝﻪ ،ﻗﺩ ﺍﻨﺘﺤﺭ ﻋﺎﻡ .1927
ﺘﺤﺩﺜﺕ ﻋﻥ ﺍﻝﺘﻤﻜﻥ ﻤﻥ ﺘﺤﻘﻴﻕ "ﻤﻌﺎﺩل" ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﻐﺭﺒﻴﺔ ﺍﻷﻜﺜﺭ ﺘﻁﻭﺭﺍﹰ ،ﻭﻝﻡ ﺃﻗل "ﺘﻤﺎﺜل" ،ﻷﻥ ﺍﻝﻔﻴﻠﻡ ﻫـﻭ
ﻋﻤل ﻴﺎﺒﺎﻨﻲ ﺨﺎﻝﺹ ،ﻭﻓﻲ ﺍﻝﻤﻘﺎﻡ ﺍﻷﻭل ﻤﻥ ﺤﻴﺙ ﺍﻝﺤﺩﺙ ،ﻜﻤﺎ ﺭﺃﻴﻨﺎ .ﻫل ﻴﻤﻜﻥ ﺃﻥ ﻨﺘﺼﻭﺭ ﻭﺠﻭﺩ ﺴﻴﻨﺎﺭﻴﻭ ،ﻓﻲ
ﺃﻤﺭﻴﻜﺎ ﺃﻭ ﻓﻲ ﺃﻭﺭﻭﺒﺎ ،ﻴﻘﻭﻡ ﻋﻠﻰ ﺤﺎﻝﺔ ﺒﻬﺫﻩ ﺍﻝﺠﺭﺃﺓ :ﺍﻏﺘﺼﺎﺏ ﺍﻤﺭﺃﺓ ﺃﻤﺎﻡ ﺯﻭﺠﻬﺎ؟ ﺜﻡ ،ﻭﻗﺒل ﻜل ﺸﻲﺀ ،ﻫﻨـﺎﻙ
ﺍﻝﺘﻤﺜﻴل ،ﻓﻲ ﺤﻀﻭﺭ ﻭﺍﻀﺢ ﻝﻤﺴﺭﺡ ﺍﻝـ"ﻨﻭ" ،ﻭﻝﻭ ﺃﻥ ﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﺤﻘﻴﻘﻴﺔ -ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﻓﻘﻁ ﻻﺨﺘﺼﺎﺼﻲ ﺃﻥ ﻴﺠﻴﺏ
ﻋﻠﻴﻬﺎ -ﻫﻲ ﻓﻲ ﻤﻌﺭﻓﺔ :ﻜﻴﻑ ،ﻭﺇﻝﻰ ﺃﻱ ﻤﺩﻯ ،ﺠﺭﻯ ﺇﺩﺨﺎل ﺘﻘﺎﻝﻴﺩ ﺍﻝﺘﻤﺜﻴل ﺍﻝﻤﺴﺭﺤﻲ ﺍﻝﻴﺎﺒﺎﻨﻲ ﺇﻝﻰ ﻫـﺫﺍ ﺍﻝﻌﻤـل
ﺍﻝﺴﻴﻨﻤﺎﺌﻲ .ﻓﻲ ﺍﻝﻭﺍﻗﻊ ،ﻴﺒﺩﻭ ﻝﻨﺎ ﺍﻝﺘﻤﺜﻴل ﺩﺍﺌﻤﹰﺎ ﻤﺒﺎﻝﻐﹰﺎ ﻓﻴﻪ ،ﻝﻴﺱ ﺭﺩﻴﺌﺎﹰ ،ﻭﻫﻭ ﺃﻴﻀﹰﺎ ﻝﻴﺱ ﺭﻤﺯﻴﹰﺎ؛ ﻭﺒﻜﻠﻤﺎﺕ ﺃﺨﺭﻯ،
ﺇﻥ ﺃﺴﻠﻭﺏ ﺍﻝﻤﻤﺜﻠﻴﻥ ﻫﻭ ﻤﻥ ﺘﻘﺎﻝﻴﺩ ﺍﻝﺘﺭﺍﺠﻴﺩﻴﺎ )ﺍﻝﺘﻲ ﺘﺴﺘﻌﻴﻥ ﺒﺎﻝﻘﻨﺎﻉ( ،ﺩﻭﻥ ﺍﻝﺘﺨﻠﻲ ﺒﺫﻝﻙ ﻋﻥ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺍﻝﻨﻔﺴـﻴﺔ،
ﻭﺩﻭﻥ ﺃﻱ ﺍﺨﺘﻼﻑ ﻋﻥ ﺍﻝﺘﻤﺜﻴل ﺍﻝﻤﺒﺎﻝﻎ ﻓﻴﻪ ﻭﺍﻝﻤﺅﻜﺩ ﻋﻠﻴﻪ ﺒﺎﻝﻤﺎﻜﻴﺎﺝ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﺎﻤﺘﺔ ﺍﻝﺘﻌﺒﻴﺭﻴﺔ .ﺍﻝﻤﻤﺜل ﻫـﻭ
ﺘﺭﺍﺠﻴﺩﻱ ﻭﻁﺒﻴﻌﻲ ﻓﻲ ﺁﻥ ﻤﻌﺎﹰ ،ﻭﻴﺘﻜﺎﻤل ﺘﻤﺎﻤﹰﺎ ﻤﻊ ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﺤﻘﻴﻘﻲ ﺍﻝﺫﻱ ﻴﺘﺤـﺭﻙ ﻓﻴـﻪ .ﺍﻝﻤﺸـﻜﻠﺔ ﺍﻷﺴﺎﺴـﻴﺔ
ﻝﻸﺴﻠﻭﺏ ﺍﻝﺘﺭﺍﺠﻴﺩﻱ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻐﺭﺒﻴﺔ ﺃﻨﻬﺎ ﻝﻡ ﺘﻌﺜﺭ ﻋﻠﻴﻪ ﺇﻻ ﻤﻥ ﺨﻼل ﺍﺴﺘﺜﻨﺎﺀﺍﺕ ﻗﻠﻴﻠﺔ ﻭﻤﺘﻔﺭﻗﺔ )ﻭﻋﻠﻰ ﺴﺒﻴل
ﺍﻝﻤﺜﺎل :ﻨﻭﺴﻔﻴﺭﺍﺘﻭ -ﺁﻻﻡ ﺠﺎﻥ ﺩﺍﺭﻙ -ﺴﻴﺩﺍﺕ ﻏﺎﺒﺔ ﺒﻭﻝﻭﻨﻴﺎ -ﻫﺎﻤﻠﺕ( .ﻜﺫﻝﻙ ﻝﻴﺱ ﻫﻨﺎﻙ ﺃﻱ ﺍﻨﻔﺼﺎل ﺃﻭ ﺘﻌﺎﺭﺽ
ﺒﻴﻥ ﺃﺴﻠﻭﺏ ﺍﻝﺘﻤﺜﻴل ﻭﺍﻝﻤﻭﻨﺘﺎﺝ ،ﻭﻝﻭ ﻜﺎﻥ ﺒﺎﻹﻤﻜﺎﻥ ﺍﻋﺘﺒﺎﺭ ﺍﻝﺴﻴﻨﻤﺎ ﻤﺴﺄﻝ ﹰﺔ ﻤﻥ ﺍﻫﺘﻤﺎﻤﺎﺕ ﻋﻠﻤﺎﺀ ﺍﻝﻠﻐﺔ ﻭﺍﻝﻤﻨﻁـﻕ،
ﻝﺸ ﹼﻜل ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻤﻘﻭﻝﺔ ﻤﺘﻴﻨﺔ .ﻝﻴﺱ ﺒﺎﺴﺘﻁﺎﻋﺘﻨﺎ ﺍﻝﻘﻭل ﺇﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻫﻨﺎ ﻴﻨﺴﺦ ﻤـﻥ ﺍﻝﺴـﻴﻨﻤﺎ ﺍﻝﻐﺭﺒﻴـﺔ ﺃﻭ ﺇﻨـﻪ
ﻴﺴﺘﻭﺤﻲ ﻤﻨﻬﺎ؛ ﺇﻨﻪ ﻴﺼل ﺇﻝﻰ ﺍﻝﻨﺘﻴﺠﺔ ﻨﻔﺴﻬﺎ ﺒﻔﻀل ﻭﺤﺩﺓ ﻭﻋﺎﻝﻤﻴﺔ ﺍﻝﻤﻔﺭﺩﺍﺕ ﻭﺍﻝﻘﻭﺍﻋـﺩ ﻭﺍﻝﺒﺤـﺙ ﺍﻷﺴـﻠﻭﺒﻲ
ﻝﻠﺸﺎﺸﺔ .ﻓﺤﺭﻜﺔ "ﺘﺭﺍﻓﻴﻠﻴﻨﻎ" ﻝﻠﻜﺎﻤﻴﺭﺍ ﻫﻲ ﺤﺭﻜﺔ ﺘﺭﺍﻓﻴﻠﻴﻨﻎ ،ﺴﻭﺍﺀ ﺃﻜﺎﻨﺕ ﻴﺎﺒﺎﻨﻴﺔ ﺃﻡ ﻓﺭﻨﺴﻴﺔ ﺃﻡ ﺃﻤﺭﻴﻜﻴﺔ ،ﻝﻜﻥ ﻫﻨﺎﻙ
ﺇﻴﻘﺎﻋﹰﺎ ،ﻭﺴﺭﻋﺔ ،ﻭﻋﻼﻗﺔ ﻤﺎ ﺒﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ،ﻭﻫﻭ ﻤﺎ ﻴﺠﻌل ﺤﺭﻜﺎﺕ ﺍﻝﺘﺭﺍﻓﻴﻠﻴﻨﻎ ﻓﻲ ﺭﺍﺸﻭﻤﻭﻥ ﺫﺍﺕ
ﺃﻫﻤﻴﺔ ﻤﺴﺎﻭﻴﺔ ﻷﺩﺍﺀ ﺍﻝﻤﻤﺜل .ﻭﺇﺫﺍ ﺃﺭﺩﻨﺎ ﺇﻴﺭﺍﺩ ﻤﺜﺎل ﺁﺨﺭ ﺃﻜﺜﺭ ﺩﻻﻝﺔ ،ﻭﻴﺘﻌﻠﻕ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺍﻝﺼﻭﺕ ،ﻓﻬﻭ :ﺍﻝﺭﻭﺍﻴـﺔ
ﺍﻝﺨﺎﺼﺔ ﺒﺎﻝﻤﻭﺕ ﺍﻝﺘﻲ ﺘﺄﺘﻲ ﻋﻠﻰ ﻝﺴﺎﻥ ﺇﺤﺩﻯ ﺍﻝﺴﺎﺤﺭﺍﺕ ﺒﺼﻭﺕ ﺭﺠل ﻓﻘﺩ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﻗﻭﺘﻪ؛ ﻭﺍﻷﺜﺭ ،ﻜﻤﺎ ﻴﻤﻜﻨﻨﺎ
ﺃﻥ ﻨﺘﺼﻭﺭ ،ﻫﺫﻴﺎﻨﻲ؛ ﻭﺇﻨﺠﺎﺯ ﻜﻬﺫﺍ ﻴﻔﺘﺭﺽ ﺍﺴﺘﻴﻌﺎﺒ ﹰﺎ ﻝﻠﻭﺴﺎﺌل ﺍﻝﺘﻘﻨﻴﺔ ﻭﺍﺴﺘﻘﻼﻝﻴﺔ ﻓﻲ ﻜﻴﻔﻴﺔ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ،ﻓﻲ ﺤـﻴﻥ
ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻐﺭﺒﻴﺔ ﻝﻡ ﺘﻬﺘﻡ ﻜﺜﻴﺭﹰﺍ ﺒﺎﻝﺘﻌﺒﻴﺭﻴﺔ ﺍﻝﺼﻭﺘﻴﺔ.
ﻻ ﺘﺅﺩﻱ ﻜل ﻫﺫﻩ ﺍﻷﺴﺒﺎﺏ ﺇﻝﻰ ﺍﻻﻋﺘﺭﺍﻑ ﺒﻬـﺫﺍ ﺍﻝﻌﻤـل ﺩﻭﻥ ﺘﺤﻔـﻅ ﺃﻭﺘـﺭﺩﺩ؟ ﺇﻥ
ﻭﺇﺫﻥ ،ﻜﻴﻑ ﻴﻤﻜﻥ ﺃ ﹼ
ﺭﺍﺸﻭﻤﻭﻥ ﻴﺩل ﻋﻠﻰ ﻭﺠﻭ ﺩ ،ﻗﺩﻴ ﹴﻡ ﻭﻗﺎﺩﻡ ،ﻹﻨﺘﺎﺝ ﺭﺍﺴﺦ ﻭﻤﺘﻴﻥ ،ﻴﻨﻬﺽ ﺒﻪ ﺘﻘﻨﻴﻭﻥ ﺤﺎﺫﻗﻭﻥ ،ﻭﻓﻨـﺎﻨﻭﻥ ﻤﺅﻫﻠـﻭﻥ
ﻍ ﺴﻴﻨﻤﺎﺌﻲ ﻭﻁﻨﻲ ،ﻭﺃﺨﻴﺭﺍﹰ ،ﻓﻬﻭ ﻭﻀﻊ ﻴﻤﻜﻥ ﺃﻥ ﻴﻘﺎﺭﻥ ﺒﻤﺎ ﻫﻭ ﻋﻠﻴﻪ ﺍﻝﺤﺎل ﻓﻲ ﺇﻨﻜﻠﺘﺭﺍ
ﺒﺼﻭﺭﺓ ﻜﺎﻤﻠﺔ ،ﻭﻋﻠﻰ ﻨﺒﻭ ﹴ
ﺃﻭ ﻓﺭﻨﺴﺎ ،ﺃﻜﺜﺭ ﻤﻤﺎ ﻫﻭ ﺍﻷﻤﺭ ﻓﻲ ﺍﻝﻤﻜﺴﻴﻙ .ﻭﻤﻊ ﺫﻝﻙ ،ﻓﺈﻝﻰ ﺠﺎﻨﺏ ﺍﻹﺩﻫﺎﺵ ﺍﻝﻤﺫﻫل ﺍﻝﺫﻱ ﺘﺤﻘﻘﻪ ﻝﻨﺎ ﺃﻋﻤـﺎل
ﻜﻬﺫﻩ ،ﻫﻨﺎﻙ ﻤﻠﻤﺢ ﻻﺤﺘﻤﺎل ﺍﻝﺘﺒﺎﺱ ﻤﺎ؛ ﻓﺭﺍﺸﻭﻤﻭﻥ ،ﻭﻋﻠﻰ ﻁﺭﻴﻘﺘﻪ ،ﻫﻭ ﻓﻴﻠﻡ ﻝﻪ ﻨﻤﻁﻪ ،ﻻ ﻨﺤﺼل ﻤﻌﻪ ﻋﻠﻰ ﻨﻔﺱ
ﺍﻹﺤﺴﺎﺱ ﺍﻝﺫﻱ ﻨﺤﺼل ﻋﻠﻴﻪ ﻋﻨﺩﻤﺎ ﻨﺸﺎﻫﺩ ،ﻝﻠﻤﺭﺓ ﺍﻷﻭﻝﻰ ،ﻓﻴﻠﻤﹰﺎ ﺃﻤﺭﻴﻜﻴﹰﺎ ﺠﻴﺩﹰﺍ .ﻨﻜﺘﺸﻑ ﻤﻊ ﺍﻷﻴﺎﻡ ،ﺃﻥ ﺒﻼﻏﺔ ﻤﺎ،
ﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻷﻤﺭ ،ﻭﻤﻥ ﺤﻴﺙ ﺍﻝﻨﺘﻴﺠﺔ ،ﻝﻴﺴﺕ ﺃﻜﺜﺭ ﻤﻥ ﻤﺠﺭﺩ ﺒﻼﻏﺔ ،ﻭﺃﻥ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻌﻅﻴﻡ ﻫﻭ ﺸﻲﺀ ﺃﻜﺜﺭ ﻤﻥ ﺫﻝﻙ.
ﺃﺨﻴﺭﺍﹰ ،ﺃﻭﺩ ﺃﻥ ﺃﺩﻗﻕ ﻓﻲ ﻤﺴﺄﻝﺔ ﺍﻻﺒﺘﻜﺎﺭ ﻓﻲ ﺭﺍﺸﻭﻤﻭﻥ ،ﺩﻭﻥ ﺃﻥ ﺃﻨﻔﻲ ﻋﺩﻡ ﻤﻌﺭﻓﺘﻲ ﺍﻝﺠﻴﺩﺓ ،ﻓﻬﻨﺎﻙ ﻨﻘـﺹ ﻤـﺎ،
ﺸﻲﺀ ﻤﺎ ﻴﻔﺘﻘﺭ ﺇﻝﻴﻪ ﻜﻤﺎل ﺍﻝﻌﻤل ،ﻴﻘﻠل ﻤﻥ ﻤﺘﻌﺘﻲ ﺒﻪ .ﺇﻻ ﺃﻥ ﻫﺫﺍ ﺍﻝﺘﺤﻔﻅ ،ﻫﻭ ،ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ،ﺒﻤﺜﺎﺒﺔ ﺘﺤﻴﺔ ﻝﻪ.
ﻗﻴل ﻝﻲ ﺇﻥ ﺍﻝﻴﺎﺒﺎﻥ ﺘﻨﺘﺞ ﺃﻓﻼﻤﹰﺎ ﺃﻓﻀل؛ ﻭﺃﻨﺎ ﺃﻋﺘﻘﺩ ﺫﻝﻙ ،ﻭﻝﻥ ﺃُﻓﺎﺠﺄ ﻜﺜﻴﺭﹰﺍ ﺒﺄﻥ ﻴﻘﺎل ﺇﻥ ﺁﻜﻴـﺭﺍ ﻜﻭﺭﻭﺴـﺎﻭﺍ ﻫـﻭ
"ﺩﻭﻓﻴﻔﻴﻴﻪ" ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ.
)(1952/4/24 ،L'Observateur
ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ
ﺩﺭﺠﺕ "ﺍﻝﻤﻭﻀﺔ" ﻋﻠﻰ ﺇﻅﻬﺎﺭ ﺍﻻﺯﺩﺭﺍﺀ ﺘﺠﺎﻩ ﺍﻷﻓﻼﻡ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ﻭﺠﻌل ﺍﻵﺨﺭﻴﻥ ﻴﻔﻬﻤﻭﻥ ﺃﻥ ﻤﺎ ﻫﻭ ﻏﺭﻴﺏ
ﺴﺫﱠﺝ ،ﻭﺃﻥ ﺍﻷﺼﻴﻠﻴﻥ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻨﺨﺩﻋﻭﺍ .ﻭﻝﻨﻭﺭﺩ ﻫﺫﻩ ﺍﻝﻤﻼﺤﻅﺔ ﺍﻝﺠﻴﺩﺓ :ﺇﺫﺍ ﺃﺨﺫﻨﺎ ﺒﺎﻝﺘﺼﻨﻴﻑ
ﻻ ﻴﺨﺩﻉ ﺴﻭﻯ ﺍﻝ
ﺍﻝﺫﻱ ﻗﺎﻡ ﺒﻪ ﺍﻝﻨﻘﺩ ﺍﻝﻴﺎﺒﺎﻨﻲ ﻝﻸﻓﻼﻡ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ،ﺍﻝﻤﻨﺸﻭﺭ ﻓﻲ ﺍﻝﻌﺩﺩ ﺍﻝﻤﺘﻤﻴﺯ ﻤـﻥ "ﺴـﻴﻨﻤﺎ ) "55ﺍﻝﻌـﺩﺩ ﺍﻝﺴـﺎﺩﺱ-
ﺤﺯﻴﺭﺍﻥ /ﺘﻤﻭﺯ( ،ﻨﺠﺩ ﺃﻥ "ﺭﺍﺸﻭﻤﻭﻥ" ﻗﺩ ﺠﺭﻯ ﺘﺼﻨﻴﻔﻪ ﻓﻲ ﺍﻝﻤﺭﺘﺒﺔ ﺍﻝﺨﺎﻤﺴﺔ ﻝﻌﺎﻡ ،1950ﻭ"ﺤﻜﺎﻴﺔ ﺠﻴﻨﺠﻲ" ﻓﻲ
ﺍﻝﻤﺭﺘﺒﺔ ﺍﻝﺴﺎﺒﻌﺔ ﻝﻌﺎﻡ ،1951ﻭ"ﺃﻭﻜﺎﺴﺎﻥ" ﻓﻲ ﺍﻝﻤﺭﺘﺒﺔ ﺍﻝﺘﺎﺴﻌﺔ ﻝﻌﺎﻡ ،1952ﻭ"ﺤﻜﺎﻴﺎ ﺍﻝﻘﻤﺭ ﺍﻝﺸﺎﺤﺏ" ﻓﻲ ﺍﻝﻤﺭﺘﺒﺔ
ﺍﻝﺜﺎﻝﺜﺔ ﻝﻌﺎﻡ ،1953ﻤﻊ "ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ" ،ﺍﻝﺫﻱ ﻨﺤﻥ ﺍﻝﻴﻭﻡ ،ﻓﻲ ﻋﺎﻡ ،1954ﺒﺼﺩﺩﻩ .ﻤﻥ ﺍﻝﻤﻔﻴﺩ ﺇﺫﻥ ﻤﻌﺭﻓﺔ
ﺃﻥ ﻫﺫﻩ ﺍﻷﻓﻼﻡ ،ﻗﺩ ﺴﺒﻘﺘﻬﺎ ﻓﻲ ﺍﻝﺘﺭﺘﻴﺏ ﺃﻓﻼﻡ ﺃﺨﺭﻯ ﻜﺜﻴﺭﺓ ﻻ ﻨﻌﺭﻑ ﻋﻨﻬﺎ ﺸﻴﺌﹰﺎ.
ﻭﺍﻵﻥ ،ﻫل ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﺄﻨﻑ ﻤﻤﺎ ﻨﺴﺘﻤﺘﻊ ﺒﻪ؟ ﻤﻥ ﺍﻝﻤﻤﻜﻥ ﺃﻥ ﺍﻝﻐﺭﺍﺒﺔ ﻭﻋﺩﻡ ﺍﻝﻤﻌﺭﻓﺔ ﻴﻠﻌﺒﺎﻥ ﺩﻭﺭﹰﺍ ﻓﻲ ﻜﻴﻔﻴﺔ
ﺇﻋﺠﺎﺒﻨﺎ ،ﻭﺃﻋﺭﻑ ﺃﻥ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ ﻴﺒﺩﻭﻥ ﻨﻔﺱ ﺍﻝﺩﺭﺠﺔ ﻤﻥ ﺍﻝﺘﻘﺩﻴﺭ ﻝﻸﻓﻼﻡ ﺍﻝﺠﻴﺩﺓ ﻭﻝﻸﻓﻼﻡ ﺍﻝﺴﻴﺌﺔ ﻝـ"ﺒﺎﻨﻴﻭل" .ﺇﻨﻬﻡ
ﻝﻴﺴﻭﺍ ﻤﺨﻁﺌﻴﻥ ﻜﻠﻴﺎﹰ ،ﺃﻭﻻﹰ ،ﻷﻨﻬﻡ ﻤﻥ ﺨﻼل ﻤﺸﺎﻫﺩﺓ ﻋﺩﺩ ﻗﻠﻴل ﻭﺒﺼﻭﺭﺓ ﺨﺎﺭﺠﻴﺔ ،ﻴﺼﺒﺢ ﺒﺎﻨﻴﻭل ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻴﻬﻡ ﻫﻭ
ﺒﺎﻨﻴﻭل .ﻝﻘﺩ ﺸﺎﻫﺩﺕ ،ﻋﻠﻰ ﺍﻷﻗل ،ﻨﺤﻭ ﻋﺸﺭﻴﻥ ﻓﻴﻠﻤﹰﺎ ﻴﺎﺒﺎﻨﻴﺎﹰ ،ﻭﻫﻭ ﻋﺩﺩ ﻗﻠﻴل ﺒﻼ ﺸﻙ ،ﻝﻜﻥ ﺭﺒﻤﺎ ﻴﻜﻭﻥ ﻜﺎﻓﻴﹰﺎ ﻜﻲ
ﻴﺴﻤﺢ ﻝﻨﺎ ﺒﺎﻝﺘﻤﻴﻴﺯ ،ﻭﺒﺄﻥ ﻨﻘﻭل ﺇﻨﻨﺎ ﻨﻔﻀل ﺃﻓﻼﻤﹰﺎ ﻋﻠﻰ ﺃﻓﻼﻡ ﺃﺨﺭﻯ.
* ﺴﻴﻨﻤﺎ ﺠﻴﺩﺓ
ﺤﺴﻥ! ﻝﻨﻘل ﺇﻥ ﺁﻜﻴﺭﺍ ﻜﻭﺭﻭﺴﺎﻭﺍ ،ﻤﺨﺭﺝ "ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ" ﻭ"ﺭﺍﺸـﻭﻤﻭﻥ" ﻝـﻴﺱ ﻫـﻭ ﺃﻜﺜـﺭ ﻤـﻥ
ﻜﺭﻴﺴﺘﻴﺎﻥ-ﺠﺎﻙ ﻴﺎﺒﺎﻨﻲ ،ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل .ﺴﺄﻗﻭل ﺤﻴﻨﺌﺫ":ﻜﻡ ﻫﻡ ﻤﺤﻅﻭﻅﻭﻥ ﻓﻲ ﺍﻝﻴﺎﺒﺎﻥ ،ﻓﻜﻡ ﺩﻴﻼﻨﻭﻱ ﺴﻴﻜﻭﻥ
ﻝﺩﻴﻬﻡ ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﺎﻝﺔ"! .ﻤﻨﺫ ﻨﺤﻭ ﺨﻤﺱ ﺴﻨﻭﺍﺕ ﻭﺃﻨﺎ ﺃﻨﺘﻅﺭ ﺃﻥ ﻴﺘﻀﺎﺀل ﺇﻋﺠﺎﺒﻲ ،ﻭﺃﻥ ﺃﻜﺘﺸﻑ ﻜل ﻋﺎﻡ ﻤﺎ ﻜﻨﺕ
ﻋﻠﻴﻪ ﻤﻥ ﺴﺫﺍﺠﺔ ﻓﻲ ﺍﻝﻌﺎﻡ ﺍﻝﺫﻱ ﺴﺒﻘﻪ .ﻝﻜﻥ ،ﻭﻋﻠﻰ ﺍﻝﻌﻜﺱ ﻤﻥ ﺫﻝﻙ ،ﻓﺈﻥ ﻜل ﻤﻬﺭﺠﺎﻥ ﻴﺄﺘﻲ ﻝﻴﺅﻜﺩ ﺸﻌﻭﺭﻱ ﺒﺄﻨﻲ
ﺃﻤﺎﻡ ﻜل ﻤﺎ ﻴﺅﺴﺱ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﺠﻴﺩﺓ :ﺍﻗﺘﺭﺍﻥ ﺤﻀﺎﺭﺓ ﻋﺭﻴﻘﺔ ﻤﻊ ﺘﻘﺎﻝﻴﺩ ﻤﺴﺭﺤﻴﺔ ﻋﻅﻴﻤﺔ ﻭﺘﺭﺍﺙ ﺘﺸﻜﻴﻠﻲ ﻏﻨﻲ.
ﻭﺃﻋﻭﺩ ﺇﻝﻰ ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ .ﺃﻨﺎ ﻤﺘﺄﻜﺩ ﻤﻥ ﺃﻥ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻝﻴﺱ ﻫﻭ ،ﻋﻠﻰ ﺍﻹﻁﻼﻕ ،ﺃﻓﻀل ﻤﺎ ﻓﻲ ﺍﻹﻨﺘﺎﺝ
ﺍﻝﻴﺎﺒﺎﻨﻲ .ﺭﺒﻤﺎ ﺃﻨﻨﺎ ﻋﻠﻰ ﺤﻕ ﻓﻲ ﺘﻔﻀﻴﻠﻨﺎ ﺍﻝﺸﺎﻋﺭﻴﺔ ﺍﻝﺭﻗﻴﻘﺔ ،ﻭﺍﻝﺸﻌﺭ ﺍﻝﻤﻭﺴﻴﻘﻲ ﺍﻝﺸﻔﺎﻑ ﻝـ"ﻤﻴﺯﻭﻏﻭﺸﻲ" ﺼﺎﺤﺏ
ﻼ ﺒﺴﻴﻁﹰﺎ
ﻓﻴﻠﻤﻲ "ﺃﻭﻫﺎﺭﻭ" ﻭ"ﺤﻜﺎﻴﺎ ﺍﻝﻘﻤﺭ ﺍﻝﺸﺎﺤﺏ" ،ﺇﻻ ﺃﻥ "ﺭﺍﺸﻭﻤﻭﻥ" ﻭ"ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ" ،ﺍﻝﻠﺫﻴﻥ ﻴﻅﻬﺭﺍﻥ ﺘﻤﺜ ﹰ
ﺠﺩﹰﺍ ﻝﺒﻌﺽ ﻋﻨﺎﺼﺭ ﺍﻝﺠﻤﺎﻝﻴﺔ ﺍﻝﻐﺭﺒﻴﺔ ﺍﻝﻤﻤﺯﻭﺠﺔ ﺒﺒﺭﺍﻋﺔ ﻤﻊ ﺍﻝﺘﻘﺎﻝﻴﺩ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ،ﻴﺘﻤﺘﻌﺎﻥ ﺒﺒﻨﺎﺀ ﺭﻭﺍﺌﻲ ﺤﺎﺫﻕ ﺒﺼﻭﺭﺓ
ﺸﻴﻁﺎﻨﻴﺔ ،ﻤﻊ ﺍﻫﺘﻤﺎﻡ ﺫﻜﻲ ﺒﺘﺼﺎﻋﺩ ﻫﺫﺍ ﺍﻝﺒﻨﺎﺀ ﻭﺇﺘﻘﺎﻥ ﺇﻴﻘﺎﻋﻪ ،ﻤﻥ ﺨﻼل ﺘﻁﻭﺭ ﻤﻀﻁﺭﺩ ﻝﻌﻤل ﻴﻤﺘﺩ ﻋﻠﻰ ﻤﺴﺎﺤﺔ
ﺯﻤﻨﻴﺔ ﻁﻭﻴﻠﺔ.
* ﺘﺼﻭﻴﺭ ﺍﻹﻨﺴﺎﻨﻴﺔ
ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺘﺒﺎﻋﺩ ﺍﻝﻤﺴﺎﻓﺎﺕ ،ﻓﺈﻥ "ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ" ﻫﻭ ﻨﻭﻉ ﻤﻥ ﺃﻓﻼﻡ ﺍﻝﻐﺭﺏ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ،ﻝﻜﻨﻪ ﻤـﻥ
ﺘﻠﻙ ﺍﻷﻓﻼﻡ ﺍﻝﺠﺩﻴﺭﺓ ﺒﺄﻥ ﺘﻘﺎﺭﻥ ﺒﺎﻝﻨﻤﺎﺫﺝ ﺍﻝﺭﺍﺌﻌﺔ ﻝﻬﺫﺍ ﺍﻝﻨﻭﻉ ﺍﻝﺫﻱ ﺘﻨﺘﺠﻪ ﺃﻤﺭﻴﻜﺎ ،ﻭﺒﺨﺎﺼﺔ ﺃﻓﻼﻡ ﺠﻭﻥ ﻓﻭﺭﺩ .ﺇﻻ
ﺃﻥ ﻫﺫﻩ ﺍﻝﻌﻼﻗﺔ ﻻ ﺘﻘﺩﻡ ﺴﻭﻯ ﻓﻜﺭﺓ ﺘﻘﺭﻴﺒﻴﺔ ﻋﻥ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﺫﻱ ﺍﻝﻁﻤﻭﺡ ﻭﺍﻝﺘﺭﻜﻴﺏ ﺍﻝﻠﺫﻴﻥ ﻴﺘﺠﺎﻭﺯﺍﻥ ﻜﺜﻴﺭﹰﺍ ﺍﻷﻁﺭ
ﺍﻝﺩﺭﺍﻤﻴﺔ ﻷﻓﻼﻡ ﺍﻝﻐﺭﺏ" .ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ" ﻝﻴﺱ ﺤﻜﺎﻴﺔ ﻤﻌﻘﺩﺓ ﻤﻥ ﻨﻤﻁ "ﺭﺍﺸﻭﻤﻭﻥ" ،ﺒل ﻋﻠﻰ ﺍﻝﻌﻜﺱ ،ﻓـﺎﻝﺨﻁ
ﺍﻝﺭﺌﻴﺱ ﻫﻭ ﻤﻥ ﺃﺒﺴﻁ ﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﻭﺠﺩ ،ﻝﻜﻨﻬﺎ ﺒﺴﺎﻁﺔ ﺘﺘﻐﺫﻯ ﻤﻥ ﺩﻗﺔ ﺍﻝﺘﻔﺎﺼﻴل ﻭﻤـﻥ ﻭﺍﻗﻌﻴﺘﻬـﺎ ﺍﻝﺘﺎﺭﻴﺨﻴـﺔ
ﻭﺤﻘﻴﻘﺘﻬﺎ ﺍﻹﻨﺴﺎﻨﻴﺔ.
ﻨﺴﺘﻁﻴﻊ ﺃﻥ ﻨﻠﺨﺹ ﺍﻝﻔﻴﻠﻡ ﺒﻬﺫﻩ ﺍﻝﻜﻠﻤﺎﺕ ﺍﻝﻘﻠﻴﻠﺔ :ﻗﺭﻴﺔ ﺘﺠﺭﻱ ﺍﻹﻏﺎﺭﺓ ﻋﻠﻴﻬﺎ ﺒﺼﻭﺭﺓ ﻤﺘﺘﺎﻝﻴﺔ ،ﻝﻨﻬﺒﻬﺎ ﻤﻥ ﻗﺒل
ﻋﺼﺎﺒﺔ ﻤﻥ ﺍﻝﻠﺼﻭﺹ ،ﻭﺘﻘﻭﻡ ﺍﻝﻘﺭﻴﺔ ﺒﺤﺸﺩ ﺴﺒﻌﺔ ﻤﻥ ﺭﺠﺎل ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﻝﺤﻤﺎﻴﺘﻬﺎ .ﻴﺘﻡ ﺍﻝﻘﻀﺎﺀ ﻋﻠﻰ ﺍﻝﻠﺼﻭﺹ
ﺍﻷﺭﺒﻌﻴﻥ ،ﻭﺍﺤﺩﹰﺍ ﺒﻌﺩ ﺍﻵﺨﺭ ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺃﻨﻬﻡ ﻴﺤﻤﻠﻭﻥ ﺃﺴﻠﺤﺔ ﻨﺎﺭﻴﺔ ﻝﻡ ﺘﻜﻥ ﻤﻌﺭﻭﻓﺔ ﻜﺜﻴﺭﹰﺍ ﻓﻲ ﻴﺎﺒﺎﻥ ﺍﻝﻘﺭﻥ
ﺍﻝﺴﺎﺩﺱ ﻋﺸﺭ .ﺃﺭﺒﻌﺔ ﻤﻥ ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﻴﻘﺘﻠﻭﻥ ،ﻝﻜﻥ ﺍﻝﻘﺭﻴﺔ ﺘﺘﻤﻜﻥ ﻤﻥ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺤﻴﺎﺘﻬﺎ ،ﻭﺇﻝﻰ ﻋﻤﻠﻬـﺎ ،ﺒﻜـل
ﺍﻁﻤﺌﻨﺎﻥ ،ﻓﻲ ﺯﺭﺍﻋﺔ ﺍﻷﺭﺯ .ﻭﻤﺎ ﻴﻌﺒﺭ ﻋﻥ ﺍﻝﻤﻬﺎﺭﺓ ﻭﺍﻝﺠﻤﺎل ﻓﻲ ﻫﺫﻩ ﺍﻝﺤﻜﺎﻴﺔ ﻫﻭ ﺍﻝﺭﺒﻁ ﺍﻝﻘﺎﺌﻡ ﻤﺎ ﺒﻴﻥ ﺒﺴـﺎﻁﺔ
ﺨﻁﻬﺎ ﺍﻝﻌﺎﻡ ،ﻭﻏﻨﻰ ﺍﻝﺘﻔﺎﺼﻴل ﺍﻝﺫﻱ ﻴﺘﺒﺩﻯ ﺸﻴﺌﹰﺎ ﻓﺸﻴﺌﹰﺎ .ﻭﻴﺫﻜﹼﺭﻨﺎ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻤﻥ ﺍﻝﺤﻜﺎﻴﺔ ،ﺒﻜل ﻭﻀﻭﺡ ،ﺒـ"ﺍﻝﻌﺭﺒﺔ"
ﻭ"ﺍﻝﺩﻭﺭﻴﺔ ﺍﻝﺘﺎﺌﻬﺔ" ،ﻝﻜﻨﻨﺎ ﻫﻨﺎ ﻤﻊ ﺒﻨﻴﺔ ﺭﻭﺍﺌﻴﺔ ﺃﻜﺜﺭ ﺘﺭﻜﻴﺒﺎﹰ ،ﻭﻜﺫﻝﻙ ﻤﻊ ﺍﺘﺴـﺎﻉ ﻭﺘﻨـﻭﻉ ﻓـﻲ ﺘﻘـﺩﻴﻡ ﺍﻝﺼـﻭﺭﺓ
ﺍﻻﺠﺘﻤﺎﻋﻴﺔ.
ﻭﻤﺜﻠﻤﺎ ﺃﻥ ﺍﻝﻤﺭﺠﻌﻴﺎﺕ ﻏﺭﺒﻴﺔ ﺠﺩﺍﹰ ،ﻓﺈﻥ ﻨﺴﻴﺞ ﺍﻝﻌﻤل ،ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﻀﻤﻭﻥ ،ﻫﻭ ﻴﺎﺒﺎﻨﻲ ﺠﺩﹰﺍ .ﻭﺃﻓﻀل ﻤـﺎ
ﻴﻤﻜﻥ ﻝﻲ ﺃﻥ ﺃﻓﻌﻠﻪ ﺨﺘﺎﻤﺎﹰ ،ﺃﻥ ﺃﻗﺩﻡ ﻫﺫﻩ ﺍﻝﺸﻬﺎﺩﺓ ﻤﻥ ﻜﻭﺭﻭﺴﺎﻭﺍ:
"ﺇﻥ ﻓﻴﻠﻡ ﺤﺭﻜﺔ " "Actionﻻ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻜﻭﻥ ﺇﻻ ﻓﻴﻠﻡ ﺤﺭﻜﺔ .ﻝﻜﻥ ﻜﻡ ﺴﺘﻜﻭﻥ ﺍﻝﻤﺴﺄﻝﺔ ﺃﻜﺜﺭ ﺭﻭﻋﺔ ﻝـﻭ
ﺕ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻤﻥ ﺃﻥ ﺃﺼﻭﺭ ﺍﻹﻨﺴﺎﻨﻴﺔ! ﻜﺎﻥ ﻫﺫﺍ ﺘﻁﻠﻌﻲ ﻤﻨﺫ ﺍﻷﻴﺎﻡ ﺍﻝﺘﻲ ﻜﻨﺕ ﻓﻴﻬﺎ ﻤﺴﺎﻋﺩﹰﺍ .ﻤﻨﺫ ﻨﺤـﻭ
ﺘﻤﻜﻨ ﹸ
ﻋﺸﺭ ﺴﻨﻭﺍﺕ ،ﻭﺃﻨﺎ ﺃﺭﻏﺏ ﺒﺘﻘﺩﻴﻡ ﺍﻝﺩﺭﺍﻤﺎ ﺍﻝﻘﺩﻴﻤﺔ ﻤﻥ ﺨﻼل ﻭﺠﻬﺔ ﺍﻝﻨﻅﺭ ﻫﺫﻩ".
)(France Observateur
ﺍﻝﻌﻴﺵ
ﺃﻴﺔ ﺒﻌﻭﻀﺔ ﻝﺴﻌﺕ ﺼﺩﻴﻘﻨﺎ "ﻤﻭﻝﻴﻪ" ﻜﻲ ﻴﻜﺘﺏ ﻓﻲ ﺍﻝﻌﺩﺩ ﺍﻷﺨﻴﺭ ﻤـﻥ Petit Journalﺤـﻭل ﺍﻝﻌـﺭﻭﺽ
ﺍﻻﺴﺘﻌﺎﺩﻴﺔ ﻷﻓﻼﻡ ﻜﻭﺭﻭﺴﺎﻭﺍ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎﺘﻴﻙ ﺍﻝﻔﺭﻨﺴﻴﺔ؟؛ ﻭﻷﻨﻪ ﻜﺎﻥ ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﺘﺎﺒﻌﻬﺎ ،ﻝﻡ ﻴﺘﻤﻜﻥ ﺃﺤﺩ ﻤﻥ ﺍﻝﺭﺩ
ﻋﻠﻴﻪ .ﻜﺫﻝﻙ ،ﻜﺎﻥ ﻤﺨﺭﺝ "ﺭﺍﺸﻭﻤﻭﻥ" ﻀﺤﻴﺔ ﻓﻲ "ﺩﻓﺎﺘﺭ ﺍﻝﺴﻴﻨﻤﺎ" ﻝﺘﻘﻴﻴﻡ ﻓﻲ ﻏﻴﺭ ﺼﺎﻝﺤﻪ ،ﺍﺘﻜﺄ ﻋﻠﻰ ﺍﻝﺸـﺎﻋﺭﻱ
ﻭﺍﻝﻤﻭﺴﻴﻘﻲ "ﻤﻴﺯﻭﻏﻭﺸﻲ" .ﻭﺴﺄﻋﻭﺩ ﻝﻠﺤﺩﻴﺙ ﺤﻭل ﻫﺫﺍ ﺍﻷﻤﺭ ،ﻝﻜﻥ ﺒﺎﺴﺘﻁﺎﻋﺘﻲ ﺍﻵﻥ ﺍﻝﻘﻭل ﺇﻥ ﺍﻝﻤﺒﺎﺩﺭﺓ ﺍﻝﻬﺎﻤـﺔ
ﺍﻝﺘﻲ ﻗﺎﻤﺕ ﺒﻬﺎ ﺍﻝﺴﻴﻨﻤﺎﺘﻴﻙ ،ﻜﺎﻥ ﻤﻥ ﺸﺄﻨﻬﺎ ﺃﻥ ﺘﺴﻤﺢ ﻝﻨﺎ ﺒﻤﺭﺍﺠﻌﺔ ﺭﺃﻴﻨﺎ ﺤﻭل ﻜﻭﺭﻭﺴـﺎﻭﺍ ،ﻏﻴـﺭ ﺍﻝﻤﻌـﺭﻭﻑ
ﺒﺼﻭﺭﺓ ﻜﺎﻓﻴﺔ ﻓﻲ ﻓﺭﻨﺴﺎ ،ﺤﻴﺙ ﻝﻡ ﻴﻌﺭﺽ ﻝﻪ ﺴﻭﻯ ﻓﻴﻠﻤﻴﻥ ﻫﻤﺎ "ﺭﺍﺸﻭﻤﻭﻥ" ﻭ"ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ".
ﻤﻊ ﺫﻝﻙ ،ﻤﻥ ﺍﻝﻤﺅﻜﺩ ﺃﻥ ﻫﺫﻴﻥ ﺍﻝﻔﻴﻠﻤﻴﻥ ﻴﻅﻬﺭﺍﻥ ﺘﺄﺜﺭﹰﺍ ﺤﺎﺫﻗﹰﺎ ﺠﺩﹰﺍ ﺒﺎﻝﻐﺭﺏ ،ﻭﻗـﺩ ﺠـﺭﻯ ﺘﻭﻀـﻴﺢ ﻫـﺫﺍ
ﺍﻝﻤﻭﻀﻭﻉ ﻭﺘﺤﻠﻴﻠﻪ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ ﻓﻲ ﺍﻝﻜﺘﻴﺏ ﺍﻝﻤﺘﻤﻴﺯ ﻝـ Shinobuﻭ ) Marcel Giuglarisﻤﺠﻤﻭﻋﺔ ﺍﻝﻔـﻥ
ﺍﻝﺴﺎﺒﻊ( .ﻭﺁﻜﻴﺭﺍ ﻜﻭﺭﻭﺴﺎﻭﺍ ،ﺍﻝﺫﻱ ﻴﻨﺘﻤﻲ ﺇﻝﻰ ﺠﻴل ﺸﺎﺏ ﻨﺴﺒﻴﹰﺎ ) ﻭﻝﺩ ﻋﺎﻡ 1910ﺒﻴﻨﻤﺎ ﺘﻭﻓﻲ ﻤﻴﺯﻭﻏﻭﺸـﻲ ﻓـﻲ
ﺍﻝﺜﺎﻨﻴﺔ ﻭﺍﻝﺨﻤﺴﻴﻥ ﻤﻥ ﺍﻝﻌﻤﺭ( ،ﻫﻭ ﻋﻤﻠﻴﹰﺎ ﻤﺨﺭﺝ ﻓﺘﺭﺓ ﻤﺎ ﺒﻌﺩ ﺍﻝﺤﺭﺏ ،ﻭﻗﺩ ﺘﺄﺜﺭ ﻜﺜﻴﺭﹰﺍ ﺒﺎﻝﺴﻴﻨﻤﺎ ﺍﻝﻐﺭﺒﻴﺔ ﺍﻝﺘﻲ ﺘﻌﻭﺩ
ﺇﻝﻰ ﺴﻨﻭﺍﺕ ،1940-1930ﻭﺭﺒﻤﺎ ﺃﻨﻪ ﻗﺩ ﺘﺄﺜﺭ ﺤﺘﻰ ﺒﺎﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺃﻜﺜﺭ ﻤﻤﺎ ﺘـﺄﺜﺭ ﺒﺎﻝﻭﺍﻗﻌﻴـﺔ ﺍﻝﺠﺩﻴـﺩﺓ.
ﻭﺇﻋﺠﺎﺒﻪ ﺒﺠﻭﻥ ﻓﻭﺭﺩ ﻭﻓﺭﻴﺘﺯ ﻻﻨﻎ ﻭﺸﺎﺒﻠﻥ ،ﺒﺼﻭﺭﺓ ﺨﺎﺼﺔ ،ﻭﺍﻀﺢ ﺒﻤﺎ ﻓﻴﻪ ﺍﻝﻜﻔﺎﻴﺔ؛ ﻝﻜﻥ ﻫﺫﺍ ﺍﻝﺘﺄﺜﺭ ﻝـﻡ ﻴﻜـﻥ
ﻅﻑ ﻫﺫﺍ ﺍﻝﺘﻤﺜل ﻓﻲ ﺘﻘﺩﻴﻡ ﺼـﻭﺭﺓ
ﺴﻠﺒﻴﹰﺎ ﻭﻏﻴﺭ ﻓﺎﻋل ،ﺇﺫ ﻝﻡ ﻴﻘﺘﺼﺭ ﺍﻫﺘﻤﺎﻤﻪ ﻋﻠﻰ ﺘﻤﺜل ﺘﺠﺭﺒﺘﻬﻡ ﻓﺤﺴﺏ ،ﺒل ﻭ ﹼ
ﻝﻠﺘﻘﺎﻝﻴﺩ ﻭﻝﻠﺜﻘﺎﻓﺔ ﻓﻲ ﺍﻝﻴﺎﺒﺎﻥ ،ﻭﺒﺼﻭﺭﺓ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﺃﻋﻴﻨﻨﺎ ﻭﺇﻝﻰ ﺃﺭﻭﺍﺤﻨﺎ .ﻭﻤﺎ ﺃﻨﺠﺯﻩ ﻤـﻥ ﺨـﻼل
ﻼ ﺒﻔﺘﺢ ﺃﺒﻭﺍﺏ ﺍﻝﻐﺭﺏ ﺃﻤﺎﻡ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ .ﻝﻜﻥ،
"ﺭﺍﺸﻭﻤﻭﻥ" ﻫﻭ ﺃﻨﻪ ﺠﻌﻠﻨﺎ ﻨﺴﺘﻁﻴﻊ ﺍﻝﻘﻭل ﺇﻥ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻗﺎﻡ ﻓﻌ ﹰ
ﺇﻝﻰ ﺠﺎﻨﺏ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ،ﺠﺎﺀﺕ ﺃﻓﻼﻡ ﺃﺨﺭﻯ ﻋﺩﻴﺩﺓ ،ﻭﺒﺨﺎﺼﺔ ﺃﻓﻼﻡ ﻤﻴﺯﻭﻏﻭﺸﻲ ،ﺍﻝﺘﻲ ﻜﺸﻔﺕ ﻝﻨﺎ ﻋﻥ ﺇﻨﺘﺎﺝ ،ﺇﻥ ﻝﻡ
ﻴﻜﻥ ﺃﻜﺜﺭ ﺃﺼﺎﻝﺔ ،ﻓﻬﻭ ﻋﻠﻰ ﺍﻷﻗل ﺃﻜﺜﺭ ﺨﺼﻭﺼﻴﺔ ﻭﻨﻘﺎﺀ ،ﻭﺭﺍﺡ ﺒﻌﺽ ﺍﻝﺫﻴﻥ ﻴﺘﻅﺎﻫﺭﻭﻥ ﺒﺎﻻﻫﺘﻤﺎﻡ ﺒﻜل ﻤﺎ ﻫﻭ
ﻏﺭﻴﺏ ،ﻴﻨﺩﺩﻭﻥ ﺒﻜﻭﺭﻭﺴﺎﻭﺍ ،ﻭﺒﺘﺴﻭﻴﺎﺘﻪ ﻭﺘﻭﻓﻴﻘﻴﺘﻪ ﻤﻊ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻐﺭﺒﻴﺔ ،ﻤﻤﺎ ﻴﺒﺩﻭ ﻅﺎﻫﺭﹰﺍ ﺒﺼﻭﺭﺓ ﺨﺎﺼـﺔ ﻓـﻲ
"ﺍﻝﺴﺎﻤﻭﺭﺍﻱ ﺍﻝﺴﺒﻌﺔ" ،ﺍﻝﺫﻱ ﻭﺼﻔﻭﻩ ﺒﺄﻨﻪ ﻓﻴﻠﻡ ﻤﻥ ﺃﻓﻼﻡ ﺍﻝﻐﺭﺏ ﻝﺠﻭﻥ ﻓﻭﺭﺩ ،ﺤﻭل ﻤﻭﻀﻭﻉ ﻴﺘﻌﻠﻕ ﺒﺎﻹﻗﻁﺎﻉ.
ﻝﺴﺕ ﺃﺩﺭﻱ ﺇﻥ ﻜﺎﻨﺕ ﺍﻝﻜﺘﺎﺒﺎﺕ ﺍﻝﻨﻘﺩﻴﺔ ،ﺒﻤﺠﻤﻠﻬﺎ ،ﻭﺍﻝﺘﻲ ﻜﺎﻥ ﻝﻲ ﻓﻴﻬﺎ ﻨﺼﻴﺏ ،ﻫﻲ ﺍﻝﺘـﻲ ﺤﺠﺒـﺕ ﻨﻅـﺭ
ﻲ ﺘﻘﺩﻴﻡ ﺸﻬﺎﺩﺓ ﻤﻌﺎﻜﺴﺔ ﺘﺘﻌﻠﻕ ﺒﻭﺍﺤﺩ
"ﻤﻭﻝﻴﻪ" ﻋﻥ ﺭﺅﻴﺔ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺠﺭﻯ ﺘﻘﺩﻴﻤﻬﺎ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎﺘﻴﻙ .ﻭﺃﻋﺘﻘﺩ ﺃﻥ ﻋﻠ
ﻤﻨﻬﺎ ﻋﻠﻰ ﺍﻷﻗل .ﺇﻨﻪ ﻓﻴﻠﻡ "ﺍﻝﻌﻴﺵ" ،ﺍﻝﺫﻱ ﻜﺘﺏ ﻋﻨﻪ "ﻤﻭﻝﻴﻪ" ،ﻭﺒﻜل ﺒﺴﺎﻁﺔ ،ﺃﻨﻪ ﺤﻘﻕ ﺍﻝﺭﻗﻡ ﺍﻝﻘﻴﺎﺴﻲ ﻓـﻲ ﺇﺜـﺎﺭﺓ
ﻻ ﻭﺍﻷﻜﺜﺭ ﺤﻜﻤﺔ ﻭ ﺘﺄﺜﻴﺭﺍﹰ ،ﻤﻥ ﺒﻴﻥ ﻤﺎ ﺍﺴﺘﻁﻌﺕ ﺃﻥ ﺃﺸﺎﻫﺩﻩ ﺍﻝﺴﺨﺭﻴﺔ؛ ﺒﻴﻨﻤﺎ ﻫﻭ ﺒﺭﺃﻴﻲ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻴﺎﺒﺎﻨﻲ ﺍﻷﻜﺜﺭ ﺠﻤﺎ ﹰ
ﻋﻠﻰ ﺍﻷﻗل ،ﺒﻴﻥ ﺍﻹﻨﺘﺎﺠﺎﺕ ﺍﻝﺤﺩﻴﺜﺔ.
ﺇﻻ ﺃﻨﻨﺎ ﻨﺸﺩﺩ ،ﻓﻲ ﺍﻝﻤﻘﺎﻡ ﺍﻷﻭل ،ﻋﻠﻰ ﺃﻨﻪ ﺴﻴﻨﺎﺭﻴﻭ ﻤﻌﺎﺼﺭ ،ﻭﺃﻥ ﻫﺫﻩ ﺍﻝﺭﺍﻫﻨﻴﺔ ﹸﺘﺒ ﺩل ﺒﺼﻭﺭﺓ ﺠﺫﺭﻴﺔ ﻓـﻲ
ﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﻤﺜﺎﺭﺓ ﺤﻭل ﺍﻝﺘﺄﺜﻴﺭﺍﺕ" .ﺍﻝﻌﻴﺵ" ﻫﻭ ،ﻷﻝﻑ ﺴﺒﺏ ﻋﻤﻴﻕ ،ﻓﻴﻠﻡ ﻴﺎﺒﺎﻨﻲ ﻨﻭﻋﻴﺎﹰ ،ﺇﻻ ﺃﻥ ﻤﺎ ﻴﻔﺎﺠﺊ ﻓﻲ ﻫـﺫﺍ
ﺍﻝﻌﻤل ﻭﻤﺎ ﻴﺅﺜﺭ ﻓﻲ ﺍﻝﺭﻭﺡ ،ﻫﻭ ﺍﻝﻘﻴﻤﺔ ﺍﻝﻜﻭﻨﻴﺔ ﻝﺭﺴﺎﻝﺘﻪ ،ﻭﺒﺘﺤﺩﻴﺩ ﺃﻜﺒﺭ ،ﻓﺈﻥ "ﺍﻝﻌﻴﺵ" ﻫﻭ ﻴﺎﺒﺎﻨﻲ ﺒﻨﻔﺱ ﺍﻝﻤﻌﻨـﻰ
ﺍﻝﺫﻱ ﻨﺼﻑ ﻓﻴﻪ "ﺴﻔﺎﺡ ﺩﻭﺴﻠﺩﻭﺭﻑ" ﺒﺄﻨﻪ ﺃﻝﻤﺎﻨﻲ ،ﺃﻭ ﺃﻥ "ﺍﻝﻤﻭﺍﻁﻥ ﻜﻴﻥ" ﻫﻭ ﺃﻤﺭﻴﻜﻲ .ﻝﻴﺴﺕ ﻫﻨـﺎﻙ ﻀـﺭﻭﺭﺓ
ﻝﺘﺭﺠﻤ ﺔ ﺫﻫﻨﻴﺔ ﻤﻥ ﻨﻤﻁ ﺜﻘﺎﻓﻲ ﺇﻝﻰ ﺁﺨﺭ ﻜﻲ ﻨﺤﻘﻕ ﻗﺭﺍﺀﺓ ﻭﺍﻀﺤﺔ ،ﻭﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻜﻲ ﻨـﺩﺭﻙ ﺍﻝﺨﺼﻭﺼـﻴﺔ
ﻭﺍﻝﺩﻻﻝﺔ ﺍﻝﻌﺎﻤﺔ .ﺇﻥ ﻋﺎﻝﻤﻴﺔ "ﺍﻝﻌﻴﺵ" ﻝﻴﺴﺕ ﺠﻐﺭﺍﻓﻴﺔ ﺒل "ﺠﻴﻭﻝﻭﺠﻴﺔ" ،ﺘﺒﺤﺙ ﻓﻲ ﺃﻋﻤﺎﻕ ﺍﻝﻁﺒﻘﺔ ﺍﻷﺨﻼﻗﻴﺔ ﺘﺤـﺕ
ﺍﻷﺭﺽ ،ﺤﻴﺙ ﻋﺭﻑ ﻜﻭﺭﻭﺴﺎﻭﺍ ﻜﻴﻑ ﻴﺫﻫﺏ ﻝﻠﺒﺤﺙ ﻋﻨﻬﺎ .ﻭﻝﻜﻭﺭﻭﺴﺎﻭﺍ ﺍﻝﺤﻕ ﺒﺎﻝﺫﻫﺎﺏ ﻝﻠﺒﺤـﺙ ،ﺒـﻴﻥ ﺤـﻴﻥ
ﻭﺁﺨﺭ ،ﻓﻲ ﺍﻝﺒﻼﻏﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﻌﺎﻝﻤﻴﺔ ،ﻤﺜل ﺠﻴﻤﺱ ﺠﻭﻴﺱ ﻓﻲ ﺒﺤﺜﻪ ﻋﺒﺭ ﻤﻔﺭﺩﺍﺕ ﺠﻤﻴﻊ ﺍﻝﻠﻐﺎﺕ ،ﻜﻲ ﻴﻌﻭﺩ ﻤﻥ
ﺜﻡ ﺇﻝﻰ ﺍﺒﺘﻜﺎﺭ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ،ﻭﻫﻲ ﺇﻨﻜﻠﻴﺯﻴﺔ ﻴﻤﻜﻨﻨﺎ ﺍﻻﻋﺘﻘﺎﺩ ﺒﺄﻨﻬﺎ ﻗﺩ ﹸﺘﺭﺠﻤﺕ ﺴﺎﺒﻘﺎﹰ ،ﺇﻻ ﺃﻨﻬﺎ ﻤﻊ ﺫﻝﻙ ﻋﺼﻴﺔ ﻋﻠـﻰ
ﺍﻝﺘﺭﺠﻤﺔ.
ﻭﺭﺒﻤﺎ ﻝﻬﺫﺍ ﺍﻝﺴﺒﺏ ﺠﺭﻯ ﺘﺼﻨﻴﻑ "ﺍﻝﻌﻴﺵ" ﻋﻠﻰ ﺭﺃﺱ ﺃﻓﻀل ﻋﺸﺭﺓ ﺃﻓﻼﻡ ﻴﺎﺒﺎﻨﻴﺔ ﻋﺎﻡ 1952ﻤـﻥ ﻗﺒـل
ﺍﻝﻨﻘﺎﺩ ﺍﻝﻴﺎﺒﺎﻨﻴﻴﻥ ،ﺍﻝﺫﻴﻥ ،ﻭﻜﻤﺎ ﻨﻌﺭﻑ ،ﻴﺘﺤﻔﻅﻭﻥ ﺇﺯﺍﺀ ﻤﺸﺎﺭﻜﺔ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺘﻌﻠﻕ ﺒﺎﻝﺴﺎﻤﻭﺭﺍﻱ ﻓﻲ ﺍﻝﻤﻬﺭﺠﺎﻨﺎﺕ.
ﻭﺃﺘﺴﺎﺀل ،ﻝﻤﺎﺫﺍ ﻴﻨﻅﺭ ﺇﻝﻰ ﺍﻝﺘﻭﺠﻪ ﺍﻝﻌﺎﻝﻤﻲ ﻝﻜﻭﺭﻭﺴﺎﻭﺍ ﻜﺭﻏﺒﺔ ﻓﻲ ﺇﻴﺠﺎﺩ ﺤﻠﻭل ﺘﻭﻓﻴﻘﻴﺔ ﻤﻊ ﺍﻝﺴـﻴﻨﻤﺎ ﺍﻝﺘﺠﺎﺭﻴـﺔ،
ﺸ ﺭ ﺘﻘﺩ ﹴﻡ ﻓﻲ
ﻻ ﻤﻥ ﺃﻥ ﻴﻨﻅﺭ ﺇﻝﻰ ﻫﺫﻩ ﺍﻷﻋﻤﺎل ،ﻋﻠﻰ ﺃﻨﻬﺎ ﹸﺘﻤ ﹼﺜل ﻤﺅ ﹼ
ﻻ ﺫﺍﺕ ﺴﻭﻴﺔ ﺭﻓﻴﻌﺔ ،ﺒﺩ ﹰ
ﺤﺘﻰ ﻋﻨﺩﻤﺎ ﻴﺤﻘﻕ ﺃﻋﻤﺎ ﹰ
ﻀل ﺸﺨﺼﻴﹰﺎ ﺃﺴﻠﻭﺏ ﻤﻴﺯﻭﻏﻭﺸﻲ ،ﻤﺜل ﺍﻝﻤﻭﺴﻴﻘﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ﺍﻝﻨﻘﻴﺔ ﺍﻝﺘﻲ ﻴﺴـﺘﻠﻬﻤﻬﺎ،
ﻤﺴﺎﺭ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ .ﺭﺒﻤﺎ ﺃﻓ
ﺇﻻ ﺃﻨﻲ ﺃﻨﺤﻨﻲ ﺃﻤﺎﻡ ﺍﺘﺴﺎﻉ ﺍﻵﻓﺎﻕ ﺍﻝﻔﻜﺭﻴﺔ ﻭﺍﻷﺨﻼﻗﻴﺔ ﻭﺍﻝﺠﻤﺎﻝﻴﺔ ﺍﻝﺘﻲ ﻴﻘﺩﻤﻬﺎ ﻓﻴﻠﻡ ﻤﺜل "ﺍﻝﻌﻴﺵ" ،ﺍﻝﺫﻱ ﻴﻤﺘﻠﻙ ﻗﻴﻤﹰﺎ
ﻓﻲ ﻏﺎﻴﺔ ﺍﻷﻫﻤﻴﺔ ،ﺴﻭﺍﺀ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺃﻡ ﻋﻠﻰ ﻤﺴﺘﻭﻯ ﺍﻝﺸﻜل.
ﻝﻥ ﺃﻋﻭﺩ ﻝﻠﺤﺩﻴﺙ ﻋﻥ ﺍﻝﺨﻼﺼﺔ ﺍﻝﺼﻐﻴﺭﺓ ﻝـ"ﻤﻭﻝﻴﻪ" ،ﻭﺍﻝﺘﻲ ﻫﻲ ﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻝﻤﻁﺎﻑ ﻝﻴﺴﺕ ﺴﻭﻯ ﺨﻴﺎﻨـﺔ
ﻝﻠﻔﻴﻠﻡ ،ﺇﺫ ﺍﺴﺘﺒﻌﺩﺕ ﺘﻨﺎﻭل ﺍﻝﻤﻀﻤﻭﻥ ﻭﺍﻹﺨﺭﺍﺝ .ﻋﻠﻰ ﺃﻴﺔ ﺤﺎل ،ﺃﺭﻴﺩ ﺃﻥ ﺘﻼﺤﻅﻭﺍ ﻜﻭﻥ ﺍﻷﻤﺭ ﻫﻭ ،ﺒﺼﻭﺭﺓ ﻤﺎ،
ﺘﻘﺩﻴﻡ ﻤﻌﻜﻭﺱ ﻝﻤﻭﻀﻭﻉ ﻓﺎﻭﺴﺕ :ﻴﺘﻤﻨﻰ ﺍﻝﻁﺒﻴﺏ ﺍﻝﻌﺠﻭﺯ ﻝﻭ ﻴﻌﻭﺩ ﺇﻝﻰ ﺸﺒﺎﺒﻪ ﻜﻲ ﻴﻌﻴﺵ ﺤﻴﺎﺘﻪ ﻤﻥ ﺃﺠل ﺍﻝﺘﺨﻔﻴﻑ
ﻤﻥ ﺍﻵﻻﻡ .ﻴﻌﺭﻑ ﺒﻁل "ﺍﻝﻌﻴﺵ" ﺃﻨﻪ ﻫﺎﻝﻙ ،ﻭﻴﺴﻌﻰ ،ﺒﺴﻼﻤﺔ ﻨﻴﺔ ،ﺇﻝﻰ ﺍﻝﺘﻌﺭﻑ ،ﺨﻼل ﺍﻷﺸﻬﺭ ﺍﻝﻘﻠﻴﻠﺔ ﺍﻝﻤﺘﺒﻘﻴﺔ ﻝﻪ،
ﻋﻠﻰ ﺍﻝﺤﻴﺎﺓ ﺍﻝﺘﻲ ﺭﻓﺽ ﺍﻻﻋﺘﺭﺍﻑ ﺒﻬﺎ ﺒﺼﻭﺭﺓ ﻏﻴﺭ ﻭﺍﻋﻴﺔ .ﻴﻜﺘﺸﻑ ﺃﻥ ﺃﺴﻬل ﺸﻲﺀ ﻴﻤﻜﻥ ﻝﻪ ﺃﻥ ﻴﻔﻌﻠﻪ ،ﻭﻫـﻭ
ﺍﻝﻤﻭﻅﻑ ﻓﻲ ﺍﻝﺒﻠﺩﻴﺔ ،ﺍﻝﻘﻴﺎﻡ ﺒﺎﻝﻌﻤل ﺍﻻﺠﺘﻤﺎﻋﻲ ﺍﻝﺠﻴﺩ ﺍﻝﺫﻱ ﻫﻭ ﺒﻤﺘﻨﺎﻭل ﻴﺩﻩ .ﻭﻴﺘﺤﻭل ﺍﻝﻌﺠﻭﺯ ﺇﻝﻰ ﻗﺩﻴﺱ ﺩﻭﻥ ﺃﻥ
ﻴﺩﺭﻱ ﻫﻭ ﺒﺫﻝﻙ ،ﻭﻻ ﺍﻵﺨﺭﻭﻥ ،ﻝﻴﺼل ﺇﻝﻰ ﺍﻝﻁﺭﻴﻕ ﺍﻷﻗﺼﺭ ﻤﺎ ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﺍﻝﺤﻴﺎﺓ.
ﻭﻨﺘﺄﻤل ﻓﻲ ﺍﻝﻤﺨﺎﻁﺭ ﺍﻝﺘﻲ ﺘﻜﺘﻨﻑ ﻤﻭﻀﻭﻋﹰﺎ ﻜﻬﺫﺍ :ﺍﻝﻌﺎﻁﻔﻴﺔ ،ﺍﻝﻤﻴﻠﻭﺩﺭﺍﻤﺎ ،ﺍﻷﻁﺭﻭﺤﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ،ﻭﺍﻝﺘـﻲ
ﻻ ﺫﺍﺕ ﺒﻨﻴﺔ ﺴﺭﺩﻴﺔ ﺫﻜﻴﺔ ﻤﺫﻫﻠـﺔ .ﻭﻤـﺎ ﻴـﺩﻋﻭﻩ "ﻤﻭﻝﻴـﻪ"
ﺍﺴﺘﻁﺎﻉ ﻝﻴﺱ ﻓﻘﻁ ﺃﻥ ﻴﺘﻔﺎﺩﺍﻫﺎ ،ﺒل ﻭﺃﻥ ﻴﺠﺩ ﻝﻬﺎ ﺤﻠﻭ ﹰ
ﺒـ"ﻤﺭﺍﺴﻡ ﺩﻓﻥ ﻻ ﺘﻨﺘﻬﻲ" ﻭﺘﺤﺘل ﻤﺎ ﻴﻘﺭﺏ ﻤﻥ ﻨﺼﻑ ﺍﻝﻔﻴﻠﻡ ،ﻫﻲ ﺠﺭﺃﺓ ﻻ ﺘﺼﺩﻕ ﻓﻲ ﻁﺭﻴﻘﺔ ﺍﻝﺴﺭﺩ .ﻓﻌﻠﻰ ﻤﺩﻯ
ﺴﺎﻋﺔ ﻜﺎﻤﻠﺔ ﻨﺭﻯ ﻭﻨﺼﻐﻲ ﺇﻝﻰ ﺍﻷﺼﺩﻗﺎﺀ ﻭﺍﻷﻗﺎﺭﺏ ﻭﺍﻝﺯﻤﻼﺀ ﺍﻝﺫﻴﻥ ﻴﺸﺎﺭﻜﻭﻥ ﻓﻲ ﻤﺭﺍﺴﻡ ﺍﻝﺩﻓﻥ ﻭﻫﻡ ﻴﺘﺤـﺩﺜﻭﻥ
ﻋﻥ ﺍﻝﻤﻴﺕ ،ﻭﻴﺸﺭﺒﻭﻥ ﺨﻼل ﺫﻝﻙ ﻜﺤﻭل ﺍﻷﺭﺯ ﻭﻴﺄﻜﻠﻭﻥ ﻗﻁﻊ ﺍﻝﺤﻠﻭﻯ .ﻭﺘﺘﺨﻠل ﻫﺫﻩ ﺍﻷﺤﺎﺩﻴﺙ ﻝﻘﻁﺎﺕ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ
ﺍﻝﻤﺎﻀﻲ ،ﺍﻝﺘﻲ ﺘﻜﺸﻑ ﻝﻨﺎ ﺸﻴﺌﹰﺎ ﻓﺸﻴﺌﺎﹰ ﻓﻌﺎﻝﻴﺎﺕ ﺍﻝﺒﻁل ﻗﺒل ﻤﻭﺘﻪ ،ﻭﻤﻥ ﺨﻼﻝﻬﺎ ،ﺸﺨﺼﻴﺘﻪ ﺍﻝﺤﻘﻴﻘﻴﺔ .ﺇﻻ ﺃﻥ ﻤﻘﺎﻁﻊ
ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﻤﺎﻀﻲ ﻗﺼﻴﺭﺓ ﺠﺩﹰﺍ ،ﻭﻻ ﺘﺘﻜﻰﺀ ،ﺇﻁﻼﻗﺎﹰ ،ﻋﻠﻰ ﻨﻘﺎﺸﺎﺕ ﺍﻝﻤﺩﻋﻭﻴﻥ ﻝﺘﺠﻌل ﻤﻨﻬﺎ ﻤﺠﺭﺩ ﺤﻴﻠﺔ ﺒﺴـﻴﻁﺔ
ﻝﻠﺘﻘﺩﻴﻡ .ﺘﺘﻜﻭﻥ ﻤﺎﺩﺓ ﺍﻝﻔﻴﻠﻡ ﺇﺫﻥ ﻤﻥ ﺍﻝﺤﺎﻀﺭ ﻭﺍﻝﻤﺎﻀﻲ ،ﻭﻴﻨﺸﺄ ﺍﻝﺘﻭﺘﺭ ﻓﻲ ﺍﻝﺴﺭﺩ ﻤﻥ ﺨـﻼل ﺘﻀـﺎﻓ ﹴﺭ ،ﻴﺘﻁـﻭﺭ
ﺒﺼﻭﺭﺓ ﻤﺘﻨﺎﻤﻴﺔ ،ﻤﺎ ﺒﻴﻥ ﺍﻝﺤﻘﻴﻘﺔ ﺍﻝﺨﻔﻴﺔ ﻝﻠﻭﺍﻗﻊ ،ﺍﻝﺘﻲ ﺘﺘﻜﺸﻑ ،ﻭﺇﺩﺭﺍﻜﻬﺎ ﺍﻝﺫﻱ ﻴﺘﺤﻘﻕ ﺸﻴﺌﹰﺎ ﻓﺸﻴﺌﹰﺎ ﻝﺩﻯ ﺍﻝﺸﻬﻭﺩ :ﻝﻘﺩ
ﻋﺭﻑ ﺃﻨﻪ ﻫﺎﻝﻙ ﻭﻀﺤﻰ ﺒﺂﺨﺭ ﺃﻴﺎﻤﻪ ﻤﻥ ﺃﺠل ﻤﻬﻤﺔ ﻨﻤﻭﺫﺠﻴﺔ .ﻝﻜﻥ ﺤﻴﻨﺌ ﺫ ﻜﺎﻨﻭﺍ ﺠﻤﻴﻌﹰﺎ ﻗﺩ ﺜﻤﻠﻭﺍ ،ﻭﺘﺼـل ﻫـﺫﻩ
ﺍﻝﺤﻘﻴﻘﺔ ﻓﻘﻁ ﺇﻝﻰ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺴﻜﺎﺭﻯ ،ﺍﻝﺠﺩﻴﺭﻴﻥ ﺒﻬﺎ ،ﻝﻜﻨﻬﺎ ﺴﺘﻜﻭﻥ ﻏﺩﹰﺍ ﻁﻲ ﺍﻝﻨﺴﻴﺎﻥ.
ﻜﺎﻨﺕ ﻝﺩﻱ ﺃﺸﻴﺎﺀ ﻜﺜﻴﺭﺓ ﺃﺨﺭﻯ ﺃﻗﻭﻝﻬﺎ ﺤﻭل "ﺍﻝﻌﻴﺵ" ،ﻭﺒﺨﺎﺼﺔ ﺤﻭل ﺩﻭﺭ ﺍﻝﺯﻤﻥ ﻓﻲ ﺍﻝﺴﺭﺩ ،ﺍﻝﺫﻱ ﻴﺨﺘﻠﻑ
ﻋﻥ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺩﺭﺍﻤﻴﺔ ﺍﻝﻐﺭﺒﻴﺔ ﻭﺘﻨﺎﺴﻘﻬﺎ ﺍﻝﻤﺼﻁﻨﻊ .ﻝﻡ ﺘﻜﻥ ﻫﻨﺎﻙ ﺩﻗﻴﻘﺔ ﻭﺍﺤﺩﺓ ﻴﻤﻜﻥ ﺍﻋﺘﺒﺎﺭﻫﺎ ﻤﺠﺎﻨﻴﺔ؛ ﻭﻫـﺫﺍ
ﺍﻝﺘﺭﻜﻴﺏ ﻫﻭ ﺃﻜﺜﺭ ﺤﻜﻤﺔ ﻭﺃﻜﺜﺭ ﺩﻗﺔ .ﻭﻨﺄﻤل ﺒﺄﻥ ﻴﻘﻭﻡ ﺃﺤﺩ ﺍﻝﻤﻭﺯﻋﻴﻥ ﺍﻝﻔﺭﻨﺴﻴﻴﻥ ﻗﺭﻴﺒﹰﺎ ﺒﺘﻘﺩﻴﻡ ﻫﺫﺍ ﺍﻝﻌﻤل ﺍﻝﺭﺍﺌﻊ،
ﻭﻋﻨﺩﺌ ﺫ ﺴﺘﺘﺎﺡ ﻝﻨﺎ ﻓﺭﺼﺔ ﺍﻝﻌﻭﺩﺓ ﻝﻠﺤﺩﻴﺙ ﻋﻨﻪ ﻤﺭﺓ ﺃﺨﺭﻯ .