Book Series - Book No.
III
……………
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About 2 million words of original and daring views
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ﻣﺪﺣﺖ ﻣﺤﻔﻮﻅ
ﺍﻟﻠﻤﺒﻰ
… ﻭﳌﺎﺫﺍ ﺯﻟﺰﻝ ﻋﺮﻭﺵ ﺍﳌﺆﺳﺴﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ؟
Medhat Mahfouz
Al-Lemby
…Why It Trembled the Cultural Establishment!
► EveryScreen.com Book Series - Book No. III
► Original entry: http://everyscreen.com/views/popart.htm#EgyptianMovies2002
Date: Wednesday, August 7, 2002.
► This file: http://everyscreen.com/views/pdf/EveryScreen.com_PopArt_AlLemby.pdf
Created: Friday, February 24, 2006.
This version’s date: Monday, April 19, 2010.
► © 2002 - 2010 Medhat Mahfouz. All Rights Reserved.
► Reproduction, full or partial, in any form, printed or electronic, recent or future, is strictly forbidden without a thorough written permission from the author.
► Production of electronic edition: Author’s Office (MSoft)
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◄ ٧ﺃﻏﺴﻄﺲ : ٢٠٠٢
ﺍﻛﺘﻤﻠﺖ ﺍﻟﻴﻮﻡ ﺻﻮﺭﺓ ﺃﻓﻼﻡ
ﺍﻟﻌﺎﻡ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻜﺒﲑﺓ ،ﺑﻌﺮﺽ
ﺁﺧﺮ ﻣﺎ ﺗﺒﻘﻰ ﻣﻦ ﻃﺎﺑﻮﺭ ﺃﻓﻼﻡ
ﺍﻟﺼﻴﻒ ﺍﻟﻀﺨﻤﺔ .ﻏﻀﺐ
ﺍﳌﺜﻘﻔﲔ ﺻﺎﻧﻌﻰ ﺃﻫﻢ ﻫﺬﻩ
ﺍﻷﻓﻼﻡ ﳑﺎ ﳓﻦ ﻓﻴﻪ ﻣﻦ
ﲣﻠﻒ ،ﻫﻮ ﺍﻟﻜﻠﻤﺔ ﺍﻟﱴ
ﺗﻠﺨﺺ ﻫﺬﻩ ﺍﻷﻓﻼﻡ .
ﻧﺼﻒ ﺍﻟﺪﻗﻴﻘﺔ ﺍﻷﻭﱃ ﻣﻦ
ﻓﻴﻠﻢ ‘ ﺍﻟﻠﻤﱮ ’ ﻳﺴﺎﻭﻯ ﻣﺎﺋﺔ
ﻓﻴﻠﻢ ﻣﺼﺮﻯ ﻛﺎﻣﻠﺔ ،ﺃﻭ ﻟﻌﻠﻪ
ﺃﻋﻠﻰ ﻧﻘﻄﺔ ﺇﻃﻼﻗﺎ ﰱ ﻛﻞ
ﺍﻟﻨﺎﻃﻘﺔ ﺍﻟﺜﻘﺎﻓﺔ ﺗﺎﺭﻳﺦ
ﺑﺎﻟﻌﺮﺑﻴﺔ .ﺍﻟﺒﻄﻞ ﺍﻟﺒﻠﻄﺠﻰ
ﺍﻟﺴﻜﲑ ﺍﳌﻌﺪﻡ ﺍﻟﻌﺎﻃﻞ ﻳﺘﺮﻧﺢ
ﻟﻴﻼ ﰱ ﺍﻟﺸﺎﺭﻉ ﻭﳛﺎﻭﻝ ﺗﺬﻛﺮ
ﻛﻠﻤﺎﺕ ﺃﻏﻨﻴﺔ ﻣﺎ .ﲣﻴﻞ ﺃﻳﺔ
ﺃﻏﻨﻴﺔ ؟ ‘ ﻭﻗﻒ ﺍﳋﻠﻖ ’ ،
ﻭﻫﻮ ﻳﻘﻒ ﻋﻨﺪ ﻫﺎﺗﲔ
!Succeeded in What Crusades Failed: Conquering Jerusalem, Now a Public Hero of Egyptian Cinema ﺍﻟﻜﻠﻤﺘﲔ ،ﻭﻳﺘﺮﻛﻨﺎ ﻧﺘﺨﻴﻞ
ﺃﳎﺎﺩ ﻣﺼﺮ ﺍﻟﱴ ﲢﺪﺛﻨﺎ ﻋﻨﻬﺎ ﺑﻘﻴﺔ ﺍﻷﻏﻨﻴﺔ ،ﺑﻴﻨﻤﺎ ﻫﻮ ﻧﻔﺴﻪ ﻻ ﻳﺴﺘﻄﻴﻊ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺳﺎﻗﻴﺔ ﻛﻤﺎ ﺑﻘﻴﺔ ‘ ﺍﳋﻠﻖ ’ ﺃﻯ
ﺍﻟﺒﺸﺮﻳﺔ ،ﺍﻟﱴ ﲢﺎﻭﻝ ﺍﻷﻏﻨﻴﺔ ﺇﻓﻬﺎﻣﻨﺎ ﺃﻬﻧﺎ ﻣﺘﻴﻤﺔ ﺍﻧﺒﻬﺎﺭﺍ ﺑﻌﻈﻤﺔ ﻣﺼﺮ .ﻫﺬﺍ ﻟﻴﺲ ﻣﺴﺘﻐﺮﺑﺎ ﺑﺎﳌﺮﺓ ﻋﻠﻰ ﺍﳌﺆﻟﻒ ﺃﲪﺪ ﻋﺒﺪ
ﺍﷲ ،ﺑﻞ ﻭﺷﺨﺼﻴﺔ ﺍﻟﻠﻤﱮ ﻧﻔﺴﻬﺎ ﻣﺴﺘﻘﺎﺓ ﻣﻦ ﻓﻴﻠﻢ ‘ ﺍﻟﻨﺎﻇﺮ ﺻﻼﺡ ﺍﻟﺪﻳﻦ ’ ) ﺑﺬﺍﺕ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱴ ﺍﺳﺘﻘﻰ ﻬﺑﺎ ﻓﻴﻠﻢ ﺍﳌﻠﻚ
ﺍﻟﻌﻘﺮﺏ ﻣﻦ ﺃﻓﻼﻡ ﺍﳌﻮﻣﻴﺎﺀ ! ( .ﺍﻟﺘﻨﺎﻗﺾ ﺍﶈﻮﺭﻯ ﻫﻨﺎ ﻛﻤﺎ ﰱ ‘ ﺻﻼﺡ ﺍﻟﺪﻳﻦ ’ ،ﺍﳍﻮﺓ ﺑﲔ ﺍﻟﻜﻼﻡ ﻭﺍﻟﻮﺍﻗﻊ .
ﻫﻨﺎ ﺍﻷﻣﻮﺭ ﺃﻭﺿﺢ ،ﻟﻴﺲ ﻣﻦ ﻧﺼﻒ ﺍﻟﺪﻗﻴﻘﺔ ﺍﻷﻭﱃ ﺑﻞ ﻣﻦ ﻛﻞ ﺍﻟﻔﻴﻠﻢ .ﺃﲰﺎﺀ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺜﻼﺙ ﺍﻟﺮﺋﻴﺴﺔ ﻫﻰ
ﺇﺣﺎﻻﺕ ﺃﺟﻨﺒﻴﺔ .ﺍﻟﻠﻤﱮ ﺍﺳﻢ ﻳﺸﲑ ﻟﻠﭭﻴﺴﻜﺎﻭﻧﺖ ﺍﻷﻭﻝ ﺇﺩﻣﻮﻧﺪ ﻫﻨﺮﻯ ﺃﻟﻠﻴﻨﱮ ) ﻫﻞ ﲣﻴﻞ ﻫﺬﺍ ﺍﻟﻔﻴﻠﺪ ﻣﺎﺭﺷﺎﻝ ﺍﻹﳒﻠﻴﺰﻯ
ﻳﻮﻣﺎ ﺃﻥ ﺍﲰﻪ ﺳﻮﻑ ﻳﺼﺒﺢ ﺑﻌﺪ ﻗﺮﻥ ﻣﻦ ﺍﻟﺰﻣﺎﻥ ﻋﻨﻮﺍﻧﺎ ﻷﳒﺢ ﻓﻴﻠﻢ ﻣﺼﺮﻯ ﰱ ﺍﻟﺘﺎﺭﻳﺦ ! ( ،ﻫﻮ ﺍﻟﻘﺎﺋﺪ ﺍﻟﻌﺴﻜﺮﻯ ﺍﻟﺬﻯ
ﺣﻘﻖ ﻣﺎ ﻓﺸﻠﺖ ﻓﻴﻪ ﺍﳊﺮﻭﺏ ﺍﻟﺼﻠﻴﺒﻴﺔ ﻭﻫﻮ ﻓﺘﺢ ﺍﻟﻘﺪﺱ ،ﻭﻫﻮ ﺻﺎﺣﺐ ﻛﻞ ﺍﻟﻔﺘﻮﺣﺎﺕ ﺍﻟﱪﻳﻄﺎﻧﻴﺔ ﺍﻟﻌﻈﻤﻰ ﰱ ﺍﻟﺸﺮﻕ
٣
ﺍﻷﻭﺳﻂ ﰱ ﻋﺸﺮﻳﺎﺕ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ،ﲟﺎ ﻓﻴﻬﺎ ﺩﺣﺮ ﺍﻹﻣﭙﺮﺍﻃﻮﺭﻳﺔ ﺍﻟﻌﺜﻤﺎﻧﻴﺔ ،ﻭﻫﻮ ﺍﳌﻨﺪﻭﺏ ﺍﻟﺴﺎﻣﻰ ﺍﻟﱪﻳﻄﺎﱏ ﺍﻟﺬﻯ ﻋﲔ
ﺧﺼﻴﺼﺎ ﻟﻠﻘﻀﺎﺀ ﻋﻠﻰ ﻫﻮﺟﺔ ﺍﻟﺪﳘﺎﺀ ﰱ ﻣﺼﺮ ﺍﳌﺴﻤﺎﺓ ﺛﻮﺭﺓ ) ١٩١٩ﻫﻞ ﺗﻌﺘﻘﺪ ﻟﻠﺤﻈﺔ ﺃﻥ ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ﺍﻟﺬﻯ
ﺍﺳﺘﻌﺮﺽ ﻋﻀﻼﺗﻪ ﰱ ﺳﺮﺩ ﻛﻞ ﺍﻟﺘﺎﺭﻳﺦ ﺍﳌﺼﺮﻯ ﰱ ‘ ﺍﻟﻨﺎﻇﺮ ’ ﻭﲟﻨﻈﻮﺭ ﻓﻠﺴﻔﻰ ﺧﺎﺹ ﻛﺘﺎﺭﻳﺦ ﻗﻬﺮ ﻭﲣﻠﻒ ،ﻗﺪ ﺍﺧﺘﺎﺭ
ﺍﺳﻢ ﺍﻟﻠﻤﱮ ﰱ ﺳﻴﺎﻕ ﺫﻟﻚ ﺍﻟﻔﻴﻠﻢ ﻋﺒﺜﺎ ؟ ( .ﺣﺴﺐ ﺍﻟﺸﺨﺼﻴﺔ ﻭﻛﻠﻤﺎﺕ ﺍﻷﻏﺎﱏ ،ﺍﻟﻠﻤﱮ ﺃﻭ ﺃﻟﻠﻴﻨﱮ ﻛﻼﳘﺎ ﺭﻣﺰ ﻟﻠﻘﻮﺓ
ﻭﺍﳉﺮﺃﺓ ﻭﺍﻻﻗﺘﺤﺎﻡ ﺃﻳﺎ ﻣﺎ ﻛﺎﻧﺖ ﺍﻟﺼﻌﻮﺑﺔ .ﺍﻷﺩﻫﻰ ﺃﻧﻚ ﻟﻮ ﺳﺄﻟﺖ ﺻﻨﺎﻉ ﺍﻟﻠﻤﱮ ﳌﺎﺫﺍ ﺍﺧﺘﺎﺭﻭﺍ ﻫﺬﺍ ﺍﻻﺳﻢ ﺑﺎﻟﺘﺤﺪﻳﺪ ﺭﻣﺰﺍ
ﻟﻜﻞ ﻫﺬﻩ ﺍﻟﺼﻔﺎﺕ ﺍﻟﻔﺬﺓ ،ﻋﻠﻰ ﺍﻷﺭﺟﺢ ﺳﺘﻜﻮﻥ ﺇﺟﺎﺑﺘﻬﻢ ﳓﻦ ﱂ ﳔﺘﺮ ﺷﻴﺌﺎ ،ﺍﻟﺸﻌﺐ ﺍﳌﺼﺮﻯ ﻫﻮ ﺍﻟﺬﻯ ﺍﺧﺘﺎﺭ .ﻧﻌﻢ ،
ﺍﻟﺸﻌﺐ ﺍﳌﺼﺮﻯ ﺍﶈﺐ ﻛﺄﻯ ﺷﻌﺐ ﰱ ﺍﻟﺪﻧﻴﺎ ﻟﻠﻤﺴﺘﻌﻤﺮ ﺍﳌﺘﻘﺪﻡ ،ﻳﺴﻤﻰ ﺃﺑﻄﺎﻟﻪ ﺑﺄﲰﺎﺀ ﺗﻌﻈﻴﻢ ﻣﺜﻞ ﻧﺎﭘﻮﻟﻴﻮﻥ ﻭﺍﻟﻠﻤﱮ ،
ﻭﻳﺴﻤﻰ ﺍﻟﺜﻮﺭﺍﺕ ﺿﺪ ﻫﺬﺍ ﺍﳌﺴﺘﻌﻤﺮ ﺑﺄﲰﺎﺀ ﲢﻘﲑ ﻣﺜﻞ ﻫﻮﺟﺔ ﻋﺮﺍﰉ ﻭﻫﻮﺟﺔ ﺳﻌﺪ !
ﺭﲟﺎ ﻛﻞ ﺗﺎﺭﻳﺦ ﺍﻟﺴﻴﻨﻤﺎ ﺍﳌﺼﺮﻳﺔ ﻻ ﻳﻘﻮﻯ ﻋﻠﻰ ﻣﻨﺎﻓﺴﺔ ﻧﺼﻒ ﺍﻟﺪﻗﻴﻘﺔ ﺍﻷﻭﻝ ﻣﻦ ﻓﻴﻠﻢ ﺍﻟﻠﻤﱮ ،ﻟﻜﻦ ﻫﺬﻩ ﺍﻟﻨﻜﺘﺔ
ﺍﻟﱴ ﲰﻌﺘﻬﺎ ﻣﻦ ﺃﺣﺪ ﺍﻷﺻﺪﻗﺎﺀ ﻣﻦ ﻣﺪﻳﻨﺔ ﺍﻟﻌﺮﻳﺶ ﺗﺴﺘﻄﻴﻊ :
ﻧﺰﻝ ﺳﺎﺋﺢ ﻣﻦ ﻣﻄﺎﺭ ﻭﺭﻛﺐ ﺗﺎﻛﺴﻴﺎ .ﺍﻧﻄﻠﻖ ﺍﻟﺘﺎﻛﺴﻰ ﺑﺴﺮﻋﺔ ﻫﺎﺋﻠﺔ ﰱ ﻃﺮﻳﻖ ﺻﻼﺡ ﺳﺎﱂ .ﺍﻧﺰﻋﺞ ﺍﻟﺴﺎﺋﺢ
ﻭﺭﺍﺡ ﻳﺴﺘﺠﺪﻯ ﺍﻟﺴﺎﺋﻖ ﺍﻟﺘﻬﺪﺋﺔ ،ﺭﺩ ﺍﻟﺴﺎﺋﻖ ﺑﺜﻘﺔ ﻛﺒﲑﺓ ﻣﺸﲑﺍ ﻟﻨﻔﺴﻪ ﻻ ﲣﻒ ﻫﺬﺍ . Egyptian driverﺑﺪﺃ
ﺍﻟﻄﺮﻳﻖ ﻳﺰﺩﺣﻢ ﻭﺍﻟﺴﺎﺋﻖ ﻣﺼﻤﻢ ﻋﻠﻰ ﻣﺮﺍﻭﻏﺔ ﺍﳉﻤﻴﻊ ﻭﺍﻻﻧﻄﻼﻕ ﺑﺄﻗﺼﻰ ﺳﺮﻋﺔ .ﻳﺰﺩﺍﺩ ﺫﻋﺮ ﺍﻟﺴﺎﺋﺢ ﻟﻜﻦ ﺍﻷﻭﻝ
ﻳﻄﻤﺌﻨﻪ ﻣﻦ ﺟﺪﻳﺪ ﻣﺸﲑﺍ ﻟﻨﻔﺴﻪ ﻻ ﲣﻒ ﻫﺬﺍ . Egyptian driverﺍﻗﺘﺮﺑﺖ ﺇﺷﺎﺭﺓ ﲪﺮﺍﺀ ﻭﺍﻟﺴﻴﺎﺭﺓ ﻣﻨﺪﻓﻌﺔ
ﲣﺘﺮﻗﻬﺎ ﻭﺍﻟﺴﺎﺋﺢ ﻳﺮﺗﻌﺪ ﺑﺸﺪﺓ ﻭﺍﻟﺴﺎﺋﻖ ﻳﺸﲑ ﻣﻦ ﺟﺪﻳﺪ ﻟﻨﻔﺴﻪ ﻻ ﲣﻒ ﻫﺬﺍ . Egyptian driverﺍﻹﺷﺎﺭﺓ
ﺍﻟﺘﺎﻟﻴﺔ ﻛﺎﻧﺖ ﺧﻀﺮﺍﺀ ،ﻭﻬﺑﺪﻭﺀ ﺃﻭﻗﻒ ﺍﻟﺴﺎﺋﻖ ﺍﻟﺘﺎﻛﺴﻰ .ﺍﻟﺴﺎﺋﺢ ﻳﺸﲑ ﻟﻠﻀﻮﺀ ﺍﻷﺧﻀﺮ ،ﻭﻳﺴﺄﻟﻪ ﻣﺎ ﺍﳌﺸﻜﻠﺔ ،
ﲢﺮﻙ ،ﺇﻬﻧﺎ ﺧﻀﺮﺍﺀ .ﻳﺸﲑ ﺍﻟﺴﺎﺋﻖ ﻟﻠﻄﺮﻳﻖ ﺍﻟﻌﺮﺿﻰ ﻭﻳﻘﻮﻝ Maybe another Egyptian driver is
! coming
ﻧﻌﻢ ،ﻭﻗﻒ ﺍﳋﻠﻖ ،ﻓﻬﻰ
‘ ﻣﺼﺮ ﺍﻟﻌﻈﻴﻤﺔ ،ﻣﺼﺮ ﺍﳍﺰﳝﺔ ’
) ﻋﺒﺎﺭﺗﻨﺎ ﺍﳌﻌﻬﻮﺩﺓ ﺍﻟﱴ ﻳﺒﺪﻭ ﺃﻬﻧﺎ
ﻭﺟﺪﺕ ﺃﺧﲑﺍ ﻣﻌﺎﺩﻻ ﺑﺼﺮﻳﺎ
ﺳﻴﻨﻤﺎﺋﻴﺎ ﻣﺎ ﳍﺎ ! ( ‘ ،ﻣﺼﺮ ﺃﻡ
ﺍﻟﺪﻧﻴﺎ ،ﺃﻡ ﻛﻞ ﻛﻮﺍﺭﺙ
ﺍﻟﺪﻧﻴﺎ ’ ،ﺃﻡ ﻛﻞ ﺃﺧﻄﺎﺀ ﺍﻟﺪﻧﻴﺎ ،
ﲝﻴﺚ ﳑﺎﺭﺳﺔ ﺃﻯ ﺻﻮﺍﺏ ﻓﻴﻬﺎ ﻫﻮ
ﻋﲔ ﺍﳋﻄﺄ .ﻣﻦ ﻫﻨﺎ ،ﻃﺒﻴﻌﻰ
ﻟﻠﻐﺎﻳﺔ ﺃﻥ ﻳﻜﻮﻥ ﺍﺳﻢ ﺃﻡ ﺍﻟﻠﻤﱮ Allenby, France and Bach:
!All the Western Civilization Is Here. Finally Nousa Will Revolt the Bars
ﻓﺮﻧﺴﺎ .ﺍﻣﺮﺃﺓ ﻣﺘﻮﺳﻄﺔ ﺍﻟﻌﻤﺮ ﲡﻤﻊ ﻣﺎ ﺑﲔ ﺑﻘﺎﻳﺎ ﺍﳉﻤﺎﻝ ﺍﳊﺎﺳﺮ ﻭﺍﻟﺪﻻﻝ ﻭﺧﻔﺔ ﺍﻟﻈﻞ ﻭﺃﻳﻀﺎ ﺍﻟﺘﻔﻜﲑ ﺍﳌﺘﻔﺘﺢ .ﻭﻃﺒﻴﻌﻰ
ﺃﻥ ﻳﻜﻮﻥ ﺍﺳﻢ ﺻﺪﻳﻘﻪ ﻫﻮ ﺑﺎﺥ ،ﻋﺎﺯﻑ ﺍﻟﻜﻤﺎﻥ ﺍﻟﻜﻼﺳﻰ ﻭﻣﻊ ﺫﻟﻚ ﻳﺴﻜﻦ ﺫﺍﺕ ﺍﳊﻰ ﺍﻟﻔﻘﲑ ﻣﺼﺮ ﺍﻟﻘﺪﳝﺔ ﻭﻳﺴﺪ ﺭﻣﻘﻪ
ﺑﺎﻟﻜﺎﺩ .ﻋﻨﺪﻣﺎ ﻛﺎﻥ ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ﻳﻜﺘﺐ ﻟﻌﻼﺀ ﻭﱃ ﺍﻟﺪﻳﻦ ﻭﺷﺮﻳﻒ ﻋﺮﻓﺔ ،ﻛﺎﻧﺖ ﺍﻹﺣﺎﻻﺕ ﺍﻷﺟﻨﺒﻴﺔ ﺳﻬﻠﺔ ﻭﻻ ﺣﺼﺮ
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ﳍﺎ ،ﲝﻜﻢ ﺷﺨﺼﻴﺔ ﺍﻟﺒﻄﻞ ﻭﺍﳌﺨﺮﺝ ﻣﻌﺎ .ﻛﺎﻧﺖ ﺍﻷﻏﺎﱏ ﺍﻷﺟﻨﺒﻴﺔ ﲤﻸ ﺷﺮﻳﻂ ﺍﻟﺼﻮﺕ ،ﻭﺍﻟﺴﻠﻮﻛﻴﺎﺕ ﺍﳌﺘﺤﺮﺭﺓ ﲤﻸ
ﺍﻟﺼﻮﺭﺓ ﻭﺍﻟﻜﻼﻡ …ﺇﱁ .ﻭﻗﺪ ﻛﻨﺖ ﻣﺸﻔﻘﺎ ﻟﻠﻐﺎﻳﺔ ﻛﻴﻒ ﺳﻴﺠﻌﻞ ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ﻣﻦ ﺍﻟﻠﻤﱮ ﺑﻄﻼ ﻟﻪ ،ﻭﻫﻮ ﻻ ﻳﺮﻣﺰ ﺇﻻ
ﻟﻜﻞ ﻣﺎ ﺳﻔﻠﻰ ﰱ ﺍﺠﻤﻟﺘﻤﻊ ﺍﳌﺼﺮﻯ .ﻟﻜﻦ ﺍﳌﻌﺎﺩﻟﺔ ﳒﺤﺖ ﳒﺎﺣﺎ ﺑﺎﻫﺮﺍ ،ﻃﺒﻌﺎ ﻟﻴﺲ ﻓﻘﻂ ﻟﺘﻮﺍﺟﺪ ﺍﻟﻐﺮﺏ ﻭﺣﻀﺎﺭﺗﻪ ﻣﻦ
ﺧﻼﻝ ﺍﻷﲰﺎﺀ .ﺇﳕﺎ ﺃﺳﺎﺳﺎ ﻷﻥ ﺍﻟﺸﺨﺼﻴﺔ ﺭﺍﺋﻌﺔ ﰱ ﺣﺪ ﺫﺍﻬﺗﺎ .ﻭﳏﻤﺪ ﺳﻌﺪ ﺃﺩﺍﺀ ﻛﻮﻣﻴﺪﻯ ﺑﺪﱏ ﻭﻣﻮﺍﻗﻔﻰ ﻻ ﻳﺸﺒﻪ ﺃﺣﺪﺍ
ﻭﻻ ﻳﻘﺪﺭ ﲟﺎﻝ ،ﻭﻣﺴﺘﻮﻯ ﻣﻦ ﺗﻘﻤﺺ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻜﻮﻣﻴﺪﻳﺔ ﻻ ﻧﺮﺍﻩ ﻛﻞ ﻳﻮﻡ ) ﺭﲟﺎ ﻣﻨﺬ ﺷﺎﭘﻠﻦ ﻭﭼﲑﻯ ﻟﻴﻮﻳﺲ ،ﱂ ﻧﺮﻩ
ﺇﻻ ﰱ ﭼﻴﻢ ﻛﺎﺭﻯ ( ،ﻭﺍﳌﺆﻛﺪ ﺃﻧﻪ ﻳﺴﺘﺤﻖ ﻫﻮ ﻭﻛﺎﺗﺒﻪ ﻛﻞ ﺗﺬﻛﺮﺓ ﺣﺼﺪﺍﻫﺎ ﰱ ﺷﺒﺎﻙ ﺍﻟﺘﺬﺍﻛﺮ .
ﺍﻟﻔﻴﻠﻢ ﳛﺘﻔﻞ ﺑﺎﳋﻤﺮ ﻭﺑﺎﻟﺮﻗﺺ ،ﻭﳚﺪ ﳍﺬﺍ ﺣﻼ ﻟﻴﻘﺪﻣﻪ ﲝﺐ ﻭﺣﺴﻴﺔ ﰱ ﻣﺸﺎﻫﺪ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺮﺍﻗﻴﺔ ﻛﻤﺎ ﰱ ﻣﺸﺎﻫﺪ
ﺍﻟﺒﺴﻄﺎﺀ .ﺍﻟﻔﻴﻠﻢ ﺍﻟﺬﻯ ﺑﺪﺃ ﳏﻠﻘﺎ ﻣﻊ ‘ ﻭﻗﻒ ﺍﳋﻠﻖ ’ ،ﻳﻐﻠﻖ ﺃﻳﻀﺎ ﺑﺴﺨﺮﻳﺔ ﻣﻘﺬﻋﺔ ﺃﺧﺮﻯ ﻣﻦ ﺃﻡ ﻛﻠﺜﻮﻡ ) ﻟﻴﺴﺖ ﻏﺮﻳﺒﺔ
ﻋﻠﻰ ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ﺻﺎﺣﺐ ﻣﻬﺰﻟﺔ -ﺃﻭ ﻗﻞ ﻣﺬﲝﺔ -ﺍﻟﺸﻴﺦ ﺍﻟﺸﻌﺮﺍﻭﻯ ﺍﻟﺸﻬﲑﺓ ﰱ ﻣﺴﺮﺣﻴﺔ ﺃﻻﺑﺎﻧﺪﺍ ( .ﻳﺒﺪﺃ ﺍﻟﻌﺮﻳﺲ
ﺍﻟﻠﻤﱮ ﺃﻏﻨﻴﺔ ﻓﻠﻜﻠﻮﺭﻳﺔ ﺟﺪﺍ ﻋﻦ ﺍﻟﺪﻳﻮﻙ ﻭﺍﻟﻔﺮﺍﺥ ﻭﺍﻟﻜﺘﺎﻛﻴﺖ ،ﻟﻨﻜﺘﺸﻒ ﺑﻌﺪ ﻗﻠﻴﻞ ﺃﻬﻧﺎ ﻧﻔﺴﻬﺎ ﺃﻏﻨﻴﺔ ﺃﻡ ﻛﻠﺜﻮﻡ ‘ ﺣﺐ
ﺇﻳﻪ ؟ ’ .ﺍﻷﻏﻨﻴﺔ ﺃﺻﺒﺤﺖ ﻫﻨﺎ ﺳﻮﻗﻴﺔ ﺟﺪﺍ ﻭﻧﻮﻋﺎ ﻣﻦ ﺍﻟﺮﺩﺡ ﺍﻟﺮﺧﻴﺺ ،ﻭﺍﻟﺴﺒﺐ ﺑﺴﻴﻂ ﺟﺪﺍ :ﺃﻥ ﺍﻷﺻﻞ ﻧﻔﺴﻪ ﺳﻮﻗﻰ
ﺟﺪﺍ ﻭﻧﻮﻉ ﻣﻦ ﺍﻟﺮﺩﺡ ﺍﻟﺮﺧﻴﺺ ! ) ﺗﻨﺒﻬﻮﺍ ﳍﺬﺍ ﰱ ﺍﻷﻳﺎﻡ ﺍﻷﺧﲑﺓ ﻭﺃﻣﺮﺕ ﺍﻟﺮﻗﺎﺑﺔ ﲝﺬﻑ ﺍﻷﻏﻨﻴﺔ ﻣﻦ ﺃﻟﺒﻮﻡ ﺍﳌﻮﺳﻴﻘﻰ ،ﻣﺎ
ﱂ ﻳﺄﺕ ﺃﺻﺤﺎﺏ ﺍﻟﻔﻴﻠﻢ ﲟﻮﺍﻓﻘﺔ ﺃﺳﺮﺗﻰ ﺃﻡ ﻛﻠﺜﻮﻡ ﻭﺑﻠﻴﻎ ﲪﺪﻯ .ﻗﺎﻧﻮﻧﻴﺎ ﻭﺩﺳﺘﻮﺭﻳﺎ ﻫﺬﻩ ﳏﺎﻛﺎﺓ ﺳﺎﺧﺮﺓ ﻭﻣﻦ ﰒ ﻓﻬﻰ
ﺣﺮﻳﺔ ﺗﻌﺒﲑ ﻣﻄﻠﻘﺔ ،ﻭﻟﻴﺲ ﻣﻦ ﺣﻖ ﺃﺣﺪ ﺍﻟﺘﺤﻔﻆ ﻋﻠﻴﻬﺎ .ﺃﻭ ﻟﻌﻠﻬﻢ ﻧﺴﻮﺍ ﺃﻳﺎﻡ ﻛﺎﻥ ﺷﻜﻮﻛﻮ ﳜﺮﺝ ﲟﺤﺎﻛﺎﺓ ﺳﺎﺧﺮﺓ ﻷﻡ
ﻛﻠﺜﻮﻡ ﰱ ﺧﻼﻝ ﺃﺳﺒﻮﻉ ﻋﻠﻰ ﺍﻷﻛﺜﺮ ﻣﻦ ﻛﻞ ﺃﻏﻨﻴﺔ ﳍﺎ ،ﻭﻛﺎﻥ ﻟﻪ ﲨﻬﻮﺭﻩ ﺍﻟﺬﻯ ﻻ ﻳﻘﻞ ﲝﺎﻝ ﻋﻦ ﲨﻬﻮﺭ ﺃﻡ ﻛﻠﺜﻮﻡ ،
ﻟﻜﻨﻪ ﲨﻬﻮﺭ ﻣﻨﺴﻰ ﻻ ﺻﻮﺕ ﻟﻪ ﻭﻻ ﻳﻬﺘﻢ ﺑﻪ ﺃﺣﺪ ﻣﻦ ﺟﻬﺎﺑﺬﺓ ﺍﻟﻨﻘﺪ ﻭﺍﻟﻔﻜﺮ ،ﻭﱂ ﻳﺬﻫﺒﻮﺍ ﻗﻂ ﻷﻓﺮﺍﺣﻪ ﻭﺃﻋﻴﺎﺩ ﻣﻴﻼﺩﻩ
ﻟﻴﻌﺮﻓﻮﺍ ﺭﺃﻳﻪ ﰱ ﺃﻡ ﻛﻠﺜﻮﻡ ﻭﻃﺒﻘﺔ ﺍﻷﺻﻨﺎﻡ ﺑﺮﻣﺘﻬﺎ .ﻣﻦ ﻧﺎﻓﻠﺔ ﺍﻟﻘﻮﻝ ﺃﻳﻀﺎ ﺇﻥ ﺣﻘﻮﻕ ﻧﺴﺦ ﺃﻏﻨﻴﺔ ﳏﻤﺪ ﺳﻌﺪ ،ﻛﻤﺎ ﺍﳊﺎﻝ
ﻣﻊ ﻛﻞ ﺍﶈﺎﻛﺎﺕ ﺍﻟﺴﺎﺧﺮﺓ ،ﺗﺮﺟﻊ ﻓﻘﻂ ﳌﺆﻟﻔﻴﻬﺎ ﺍﳉﺪﺩ ،ﻭﻟﻴﺲ ﻷﻡ ﻛﻠﺜﻮﻡ ﺃﻭ ﺃﻯ ﻣﻦ ﺟﻴﻠﻬﺎ ﺍﻟﺴﻘﻴﻢ ﺍﳌﻬﺰﻭﻡ ﺣﻖ
ﺍﻻﻋﺘﺮﺍﺽ ﻋﻠﻰ ﺷﻰﺀ .ﺍﻷﻫﻢ ﻣﻦ ﻛﻞ ﺍﻷﺷﻴﺎﺀ ﺃﻥ ﺍﻷﻏﻨﻴﺔ ﻻ ﺗﻨﻘﻄﻊ ﺍﻵﻥ ﰱ ﺁﺫﺍﻧﻨﺎ ﻭﳓﻦ ﻧﺴﲑ ﰱ ﺷﻮﺍﺭﻉ ﻣﺼﺮ ،ﻭﻫﻰ
ﺣﻘﻴﻘﺔ ﺃﺧﺮﻯ ﻬﻧﺪﻳﻬﺎ ﳌﻦ ﻻ ﻳﺰﺍﻟﻮﻥ ﻳﻌﺒﺪﻭﻥ ﺍﻷﺻﻨﺎﻡ ! ( .ﺍﳌﻬﻢ ،ﻛﻞ ﺍﻟﺘﻬﺎﱏ ﳌﻦ ﺃﺑﺪﻋﻮﺍ ﺍﻷﻏﻨﻴﺔ ،ﲨﻴﻌﻨﺎ ﳓﺐ
ﺃﻏﻨﻴﺘﻜﻢ ،ﲤﺎﻣﺎ ﻛﻤﺎ ﺃﺣﺐ ﳒﻴﺐ ﳏﻔﻮﻅ ﺃﲪﺪ ﻋﺪﻭﻳﺔ ) ﺍﻧﻈﺮ ﺧﺎﲤﺔ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺮﺋﻴﺴﺔ ﺃﻋﻼﻩ ( .ﻟﻴﺲ ﻛﻤﺎ ﻳﻌﺘﻘﺪ
ﺍﻟﺒﻌﺾ ،ﻧﻜﺎﻳﺔ ﰱ ﺃﺻﻨﺎﻡ ﺍﻟﻨﺎﺻﺮﻳﺔ ﺃﻭ ﺁﻟﺘﻬﺎ ﺍﻹﻋﻼﻣﻴﺔ ﺍﳉﻬﻨﻤﻴﺔ ﺍﻟﱴ ﺟﻌﻠﺖ ﻣﻨﻬﻢ ﺁﳍﺔ ﺭﻏﻤﺎ ﻋﻨﺎ ،ﺇﳕﺎ ﻷﻥ ﺃﻏﻨﻴﺘﻜﻢ ﰱ
ﺣﺪ ﺫﺍﻬﺗﺎ ﻓﻦ ﻣﺒﺪﻉ ﺧﻼﻕ ﻭﺍﺳﻊ ﺍﳋﻴﺎﻝ ﻭﺗﻘﺪﻣﻰ ﺍﶈﺘﻮﻯ ،ﻭﻷﻬﻧﺎ ﲢﻤﻞ ﻓﻌﻼ ﺭﻭﺡ ﺍﻻﺳﺘﻨﺴﺎﺥ ﺍﻟﻔﻠﻜﻠﻮﺭﻯ ﻋﻨﺪ ﺍﻟﻄﺒﻘﺎﺕ
ﺍﳌﺘﻮﺍﺿﻌﺔ ﰱ ﺍﻷﻓﺮﺍﺡ ﻭﺍﳌﻮﺍﻟﺪ …ﺇﱁ ،ﻟﻸﻏﺎﱏ ﺍﻟﺸﻬﲑﺓ ﻣﻦ ﺍﻟﻔﻦ ﺍﳉﻤﺎﻫﲑﻯ ﻟﻠﻄﺒﻘﺔ ﺍﻟﻮﺳﻄﻰ .ﻋﺎﻣﺔ ﻳﻔﺘﺮﺽ ﺃﻥ ﺍﶈﺎﻛﺎﺓ
ﺍﻟﺴﺎﺧﺮﺓ ﻫﻰ ﻧﻮﻉ ﻣﻦ ﺍﳊﺐ ﻟﻸﺻﻞ ،ﻭﺇﲰﺎﻋﻴﻞ ﻳﺎﺳﲔ ﻏﲎ ﻳﻮﻣﺎ ‘ ﺣﱴ ﺷﻼﺿﻴﻤﻰ ﺍﻟﱴ ﺭﺑﻴﺘﻬﺎ ’ ،ﻟﻜﻦ ﺭﺳﺎﻟﺘﻜﻢ
ﻭﺻﻠﺖ ﻭﺷﻜﺮﺍ ،ﻓﻬﻤﻨﺎﻫﺎ ﲨﻴﻌﺎ ﻛﻤﺎ ﻓﻬﻤﻬﺎ ﻋﺒﺪﺓ ﺍﻷﺻﻨﺎﻡ ﻭﻓﻬﻤﺘﻬﺎ ﺍﻟﺮﻗﺎﺑﺔ .
ﺃﺿﻴﻒ :ﻟﺴﺘﻢ ﻭﺣﺪﻛﻢ ﻳﺎ ﺻﻨﺎﻉ ﺍﻟﻠﻤﱮ ! ﻛﻠﻨﺎ ﰱ ﺻﺒﺎﻧﺎ ﻛﻨﺎ ﻧﻨﻈﺮ ‘ ﻟﻜﻮﻛﺐ ﺍﻟﺸﺮﻕ ’ ﻛﻤﻐﻨﻴﺔ ﺳﻮﻗﻴﺔ ﺃﻏﻠﺐ
ﺍﻟﻮﻗﺖ ،ﺭﺟﻌﻴﺔ ﺑﻠﻴﺪﺓ ﻭﻣﺘﺤﺠﺮﺓ ﻃﻮﺍﻝ ﺍﻟﻮﻗﺖ .ﻭﻛﻨﺎ ﺑﻔﻄﺮﺗﻨﺎ ﻻ ﻧﺼﺪﻕ ﻣﺎ ﺗﻘﻮﻟﻪ ﻋﻦ ﺍﳊﺐ ﻭﻫﻰ ﻧﻔﺴﻬﺎ ﱂ ﺗﻌﺮﻓﻪ
ﺃﺑﺪﺍ .ﺍﻟﻜﻞ ﻛﺎﻥ ﻳﻌﺮﻑ ﺃﻥ ﺃﻡ ﻛﻠﺜﻮﻡ ﻟﻴﺴﺖ ﺃﻛﺜﺮ ﻣﻦ ﻣﻐﻨﻴﺔ ﻕ .ﻉ ، .ﻗﻄﺎﻉ ﻋﺎﻡ ﻳﻌﲎ ،ﳎﺮﺩ ﺳﻠﻌﺔ ﺃﺧﺮﻯ ﻣﻦ
ﺳﻠﻊ ﺑﻄﺎﻗﺔ ﺍﻟﺘﻤﻮﻳﻦ ﺍﻟﻔﺎﺳﺪﺓ ﻣﻨﺘﻬﻴﺔ ﺍﻟﺼﻼﺣﻴﺔ ﺍﻟﱴ ﻛﺎﻥ ﻳﻮﺯﻋﻬﺎ ﻋﺒﺪ ﺍﻟﻨﺎﺻﺮ ﻗﺴﺮﺍ ﻋﻠﻰ ﺍﻟﺸﻌﺐ ،ﻭﺣﱴ ﻟﻮ ﻛﺎﻥ
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ﻟﺪﻳﻚ ﻧﻘﻮﺩ ﺗﻜﻔﻰ ﻟﺸﺮﺍﺀ ﺷﻰﺀ ﺃﻓﻀﻞ ﻓﻠﻴﺲ ﺑﻮﺳﻌﻚ ﺫﻟﻚ ﻷﻥ ﺍﻟﺰﻋﻴﻢ ﺍﳌﻠﻬﻢ ﺃﻣﻢ ﻛﻞ ﺷﻰﺀ ﻭﱂ ﻳﻜﻦ ﻳﺴﻤﺢ ﺳﻮﻯ
ﺑﺒﻄﺎﻗﺎﺕ ﺍﻟﺘﻤﻮﻳﻦ ﺍﻟﱴ ﻛﺎﻧﺖ ﺃﻡ ﻛﻠﺜﻮﻡ ﺃﺷﻬﺮ ﻭﺃﻓﺴﺪ ﺳﻠﻌﻬﺎ ﻋﻠﻰ ﻭﺟﻪ ﺍﻹﻃﻼﻕ .ﻟﻸﺳﻒ ﻫﺬﺍ ﻻ ﻳﺰﺍﻝ ﻣﺴﺘﻤﺮﺍ
ﺣﱴ ﺍﻟﻴﻮﻡ ﰱ ﺇﺫﺍﻋﺔ ﺣﻠﻤﻰ ﺑﻜﺮ ،ﺃﻗﺼﺪ ﺇﺫﺍﻋﺔ ﺑﻄﺎﻗﺔ ﺍﻟﺘﻤﻮﻳﻦ ،ﺍﳌﺴﻤﺎﺓ ﺑﺈﺫﺍﻋﺔ ﺍﻷﻏﺎﱏ ،ﻣﻊ ﻓﺎﺭﻕ ﺃﻥ ﺍﻟﺴﻮﻕ ﻣﻠﻴﺌﺔ
ﺍﻵﻥ ﺑﺎﻟﺴﻠﻊ ﻭﻻ ﻳﻮﺟﺪ ﺃﺣﺪ ﻣﻀﻄﺮ ﻟﺴﻤﺎﻉ ﺗﻠﻚ ﺍﻹﺫﺍﻋﺔ ﺍﳌﺜﲑﺓ ﻟﻠﺸﻔﻘﺔ ﻭﺍﻟﺘﻘﺰﺯ ﻣﻌﺎ .ﺃﻣﺎ ﻓﻴﻤﺎ ﳜﺺ ﺍﻷﻏﻨﻴﺔ ﺍﻟﱴ
ﺳﺨﺮﰎ ﻣﻨﻬﺎ ﲢﺪﻳﺪﺍ ﰱ ﺍﻟﻔﻴﻠﻢ ﻓﻘﺪ ﻛﻨﺖ ﺃﻧﺎ ﺷﺨﺼﻴﺎ ﺍﺳﺘﺨﺪﻣﻬﺎ ﰱ ﺻﺒﺎﻯ ﻟﻠﺴﺨﺮﻳﺔ ﻣﻦ ﺗﻠﻚ ﺍﳌﻐﻨﻴﺔ ﺍﻟﺒﻠﻴﺪﺓ
ﺍﻷﺣﻔﻮﺭﺓ ﻓﺎﺳﺪﺓ ﺍﻟﺼﻼﺣﻴﺔ ﺍﳌﺴﻤﺎﺓ ﺑـ ‘ ﺍﻟﺴﺖ ’ ،ﻭﻛﻨﺖ ﺃﺩﻓﻊ ﻗﺒﻀﱴ ﰱ ﻛﺘﻒ ﺃﻭ ﺻﺪﺭ ﻣﻦ ﳛﺒﻮﻬﻧﺎ ﻗﺎﺋﻼ ‘ ﺃﻡ
ﻛﻠﺜﻮﻡ ﺇﻳﻪ ﺇﻟﻠﻰ ﺃﻧﺖ ﺟﺎﻯ ﺗﻘﻮﻝ ﻋﻠﻴﻪ ’ ،ﻭﱂ ﻳﻜﻦ ﻳﻬﺰﻣﲎ ﺳﻮﻯ ﺯﻣﻴﻞ ﺍﲰﻪ ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﻨﱮ ﻳﺴﺘﺨﺪﻡ ﺃﻟﻔﺎﻇﺎ ﺃﺩﺑﻴﺔ
ﺭﻓﻴﻌﺔ ﺃﻓﻀﻞ ﻣﲎ ﻛﺄﻥ ﻳﻘﻮﻝ ‘ ﺑﻨﺖ ﺍﻟﻮﺳـ ..ﻟﻐﺎﻳﺔ ﻣﺎ ﺗﻘﻮﻝ ﻳﺎ ﻣﺴﻬﺮﱏ ﻳﻜﻮﻥ ﻧﺺ ﺍﳉﻤﻬﻮﺭ ﻧﺎﻡ ! ’ .
ﺍﻷﺳﻮﺃ ﺃﻧﻪ ﺭﻏﻢ ﺃﻬﻧﺎ ﻛﺎﻧﺖ ﺍﻟﺼﻨﻢ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺮﲰﻰ ﺑﻘﺮﺍﺭ ﲨﻬﻮﺭﻯ ،ﺇﻻ ﺃﻥ ﺍﻷﻣﺮ ﱂ ﳜﻞ ﻣﻦ ﺧﻠﻖ ﺃﺻﻨﺎﻡ ﺃﺧﺮﻯ ﻣﻦ
ﻛﻞ ﱂ ﻳﺴﺘﻄﻴﻌﻮﺍ ﺍﺣﺘﻮﺍﺀﻩ ﻛﻤﺤﻤﺪ ﻋﺒﺪ ﺍﻟﻮﻫﺎﺏ ﻣﺜﻼ ﺍﻟﺬﻯ ﺣﺎﺻﺮﻭﻩ ﻭﺃﻓﺮﻏﻮﻩ ﻗﺪﺭ ﺍﻹﻣﻜﺎﻥ ﻣﻦ ﳏﺘﻮﺍﻩ ﺍﳊﺪﺍﺛﻰ .ﺣﱴ
ﺍﻟﺸﺒﺎﺏ ﺍﳉﻴﺪ ﺣﻰ ﺍﻟﺮﻭﺡ ﻧﺴﺒﻴﺎ ﻛﻌﺒﺪ ﺍﳊﻠﻴﻢ ﺣﺎﻓﻆ ،ﺍﻧﺘﻬﻰ ﺑﻪ ﺍﻷﻣﺮ ﰱ ﻣﺜﻞ ﺫﻟﻚ ﺍﳌﻨﺎﺥ ﺍﻻﺷﺘﺮﺍﻛﻰ ﺍﻟﻔﻘﲑ ،ﻭﺑﻌﺪ
ﺭﺣﻴﻞ ﺭﻋﻴﻞ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻌﻈﺎﻡ ﻣﻦ ﺟﻴﻞ ﻣﺎ ﻗﺒﻞ ﻳﻮﻟﻴﻮ ،ﺍﻧﺘﻬﻰ ﺇﱃ ﺗﺒﲎ ﻭﻓﺮﺓ ﻣﻦ ﺍﻟﺴﻮﻗﻴﺔ ﺑﺎﻟﺬﺍﺕ ﰱ ﺃﻏﺎﱏ ﳏﻤﺪ ﲪﺰﺓ
ﺍﻟﻄﻮﻳﻠﺔ ﺍﻷﺧﲑﺓ ﻟﻪ ،ﻭﻣﻊ ﺫﻟﻚ ﻳﻬﻮﻯ ﻋﺒﺪﺓ ﺍﻷﺻﻨﺎﻡ ﺗﺼﻨﻴﻤﻪ ﻫﻮ ﺍﻵﺧﺮ .ﻫﻨﺎ ﺃﻧﺘﻢ ﺗﺴﺘﺤﻘﻮﻥ ﲢﻴﺔ ﻣﺰﺩﻭﺟﺔ ﻟﻜﻮﻧﻜﻢ
ﻣﺒﺪﻋﲔ ﺑﺎﺭﻋﲔ ﻭﻟﻜﻮﻧﻜﻢ ﻣﻦ ﳏﻄﻤﻰ ﺍﻷﺻﻨﺎﻡ ،ﻓﻔﻰ ﺍﻟﻮﺍﻗﻊ ﻣﺴﻠﺴﻞ ﺍﻟﺘﺼﻨﻴﻢ ﺑﺎﻷﻭﺍﻣﺮ ﺍﻟﻌﻠﻴﺎ ﻻ ﻳﺰﺍﻝ ﻣﺴﺘﻤﺮﺍ ﻷﻥ ﺃﻭﻟﺌﻚ
ﺍﻟﻜﻬﻨﺔ ﻣﻦ ﻧﻮﻋﻴﺔ ﻣﻌﺪﻭﻣﻰ ﺍﳌﻮﻫﺒﺔ ﻛﺤﻠﻤﻰ ﺑﻜﺮ ﻻ ﻳﺘﻌﻴﺸﻮﻥ ﺇﻻ ﺑﻪ .ﺍﻵﻥ ﻫﻢ ﻳﺼﻨﻤﻮﻥ ﻣﺜﻼ ﻛﻠﻤﺎﺕ ﻧﺰﺍﺭ ﻗﺒﺎﱏ ﺳﻮﺍﺀ
ﺍﻟﱴ ﻳﻐﻨﻴﻬﺎ ﺃﻭ ﻻ ﻳﻐﻨﻴﻬﺎ ﻛﺎﻇﻢ ﺍﻟﺴﺎﻫﺮ .ﻋﻠﻤﺎ ﺑﺄﻧﻪ ﻻ ﻳﻮﺟﺪ ﰱ ﻛﻞ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﻣﺎ ﻳﻔﻮﻕ ﺃﻓﻜﺎﺭﻫﺎ ﺫﻛﻮﺭﻳﺔ ﻭﻓﻈﺎﻇﺔ
ﻭﭘﺎﺭﺍﻧﻮﻳﺎ ،ﻧﺎﻫﻴﻚ ﻋﻦ ﺃﻬﻧﺎ ﺑﻼ ﺍﺳﺘﺜﻨﺎﺀ ﺗﺘﺤﺪﺙ ﻋﻦ ﺍﳊﺐ ﺑﻠﻐﺔ ﺇﺩﺍﺭﺓ ﺍﻷﺯﻣﺎﺕ ﺃﻭ ﺑﻠﻐﺔ ﺃﲪﺪ ﺳﻌﻴﺪ ﰱ ﺇﺫﺍﻋﺔ ﺻﻮﺕ
ﺍﻟﻌﺮﺏ ،ﻭﲢﺘﺸﺪ ﺑﻜﻠﻤﺎﺕ ﺗﺼﻠﺢ ﻓﻘﻂ ﳌﺎﻧﺸﻴﺘﺎﺕ ﺍﻟﺼﺤﻒ ﺍﳊﺰﺑﻴﺔ ﺍﻟﺴﺮﻳﺔ ﺃﻭ ﺻﺤﻒ ﺣﺰﺏ ﺍﻟﺒﻌﺚ ،ﻭﻟﻴﺲ ﺑﺎﳌﺮﺓ
ﻟﻠﺸﻌﺮ ﺍﻟﻌﺎﻃﻔﻰ ﺍﻟﻮﺟﺪﺍﱏ .ﻭﻫﻰ ﺃﻟﻔﺎﻅ ﻭﻣﺼﻄﻠﺤﺎﺕ ﻳﺘﺤﺸﺎﻫﺎ ﺣﱴ ﺃﺻﺤﺎﺏ ﺍﻟﺸﻌﺮ ﺍﻟﺘﺤﺮﻳﻀﻰ ﺍﳌﻠﺘﻬﺐ ﺃﻣﺜﺎﻝ ﳏﻤﻮﺩ
ﺩﺭﻭﻳﺶ ﺍﻟﺬﻯ ﻳﻜﺘﺐ ﺷﻌﺮﺍ ﺣﻘﻴﻘﻴﺎ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﺧﻄﻞ ﻓﺤﻮﺍﻩ ) ﺭﺃﻳﻨﺎ ﺩﻭﻣﺎ ﺃﻥ ﳒﺎﺓ ﻫﻰ ﺍﻟﱴ ﻇﻔﺮﺕ ﺑﺎﻟﻘﺼﻴﺪﺓ ﺃﻭ
ﺍﺛﻨﺘﲔ ﺍﳉﻴﺪﺗﲔ ﻟﻠﺴﻴﺪ ﻗﺒﺎﱏ ،ﻭﻛﺎﻧﺖ ﺑﺎﳌﻨﺎﺳﺒﺔ ﻋﻦ ﻣﺸﺎﻋﺮ ﺍﳌﺮﺃﺓ ﻭﻟﻴﺲ ﻣﺸﺎﻋﺮ ﺳﻰ ﺍﻟﺴﻴﺪ .ﺃﻡ ﻛﻠﺜﻮﻡ ﻭﻋﺒﺪ ﺍﳊﻠﻴﻢ
ﻭﻓﺎﻳﺰﺓ ﻗﺒﻠﻮﺍ ﻣﻦ ﺑﻌﺪ ﲟﺎ ﻫﻮ ‘ ﻧﺺ ﻟﺒﺔ ’ ،ﺃﻣﺎ ﺍﳌﺴﻜﲔ ﻛﺎﻇﻢ ﺍﻟﺴﺎﻫﺮ ﻓﻬﻮ ﻳﺮﺗﻊ ﰱ ﺍﻟﻘﻤﺎﻣﺔ ﻻ ﺃﻛﺜﺮ ! ( .
ﺍﻟﻘﻮﳎﻴﻮﻥ ﺍﻟﻌﺮﲜﻴﻮﻥ ) ﻛﻤﺎ ﺗﻌﻠﻢ ! ( ﺃﻧﺎﺱ ﻣﺮﻫﻔﻮ ﺍﳊﺲ ﻓﻬﻤﻮﺍ ﻭﺗﺮﲨﻮﺍ ﺍﳍﺠﻮﻡ ﻋﻠﻰ ﺃﻡ ﻛﻠﺜﻮﻡ ﻋﻠﻰ ﻛﻮﻧﻪ
ﻫﺠﻮﻣﺎ ﻋﻠﻰ ﻋﺒﺪ ﺍﻟﻨﺎﺻﺮ .ﺑﺼﺮﺍﺣﺔ ﻫﻢ ﳏﻘﻮﻥ ﲤﺎﻣﺎ ! ﻣﺎ ﺍﺳﺘﻔﺰ ﻛﻞ ﺍﳌﺆﺳﺴﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﰱ ﻓﻴﻠﻢ ﺍﻟﻠﻤﱮ ﺃﻧﻪ ﺃﻭﻝ ﻫﺠﻮﻡ
ﻣﻀﺎﺩ ﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﳉﻤﺎﻫﲑﻳﺔ ﻳﻔﻀﺢ ﺟﻬﻠﻬﻢ ﻭﻋﺠﺰﻫﻢ ﻭﺭﺟﻌﻴﺔ ﺃﻓﻜﺎﺭﻫﻢ .ﻫﻢ ﺍﻋﺘﺎﺩﻭﺍ ﻋﻠﻰ ﺃﻥ ﻳﻬﺎﲨﻮﺍ ﻫﻢ ﻃﻮﺍﻝ
ﺍﻟﻮﻗﺖ ،ﻭﻻ ﻳﻬﺎﲨﻬﻢ ﺃﺣﺪ .ﺍﻟﻜﻞ ﳜﺠﻠﻮﻥ ﺃﻣﺎﻡ ‘ ﺛﻘﺎﻓﺘﻬﻢ ’ ﻭﻣﺰﺍﻳﺪﺍﻬﺗﻢ .ﻟﺬﺍ ﻓﺎﳍﺠﻮﻡ ﻋﻠﻴﻬﻢ ﻫﻮ ﻬﺗﺪﻳﺪ
‘ ﻟﻠﻤﺆﺳﺴﺔ ’ ﻛﻜﻞ ﺑﻌﻄﻮﻧﺘﻬﺎ ﺍﻟﻀﺎﺭﺑﺔ ﻭﺗﻌﻴﺸﻬﺎ ﻣﻦ ﺍﻹﺭﻫﺎﺏ ﺍﻟﻔﻜﺮﻯ ﻟﻜﻞ ﺍﻟﻨﺎﺱ ،ﻭﻳﺰﻋﺰﻉ ‘ ﺛﻮﺍﺑﺘﻬﺎ ’ ) ﺇﻥ
ﺍﺭﺩﻧﺎ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﺘﻌﺒﲑ ﺍﻷﺛﲑ ﻟﺒﺸﺎﺭ ﺍﻷﺳﺪ ( ﺍﻟﻌﺘﻴﺪﺓ ﺍﻟﱴ ﻻ ﺗﻠﲔ ﻣﻬﻤﺎ ﺗﻐﲑ ﺍﻟﻌﺎﱂ .
ﻫﻢ ﱂ ﻳﺮﻭﺍ ﺃﻧﻔﺴﻬﻢ ﻓﻘﻂ ﻋﻠﻰ ﺷﺎﺷﺔ ﺍﻟﻠﻤﱮ ،ﻓﺎﻷﺳﻮﺃ ﺃﻥ ﻛﺜﲑﺍ ﻣﻦ ﺍﻷﻣﻮﺭ ﺧﺎﺭﺝ ﺍﻟﺸﺎﺷﺔ ﻛﺎﻧﺖ ﻣﺸﺨﺼﻨﺔ ﺟﺪﺍ ،
ﻭﺍﻟﺸﺨﺼﻨﺔ ﻫﻰ ﺍﻟﺸﻰﺀ ﺍﻟﺬﻯ ﻳﺼﻞ ﳌﺪﺍﺭﻛﻬﻢ ﺍﶈﺪﻭﺩﺓ ﺑﺄﺳﺮﻉ ﻃﺮﻳﻖ ﳑﻜﻦ .ﻧﺸﻮﻯ ﻣﺼﻄﻔﻰ ﻋﻀﻮ -ﺃﻭ ﳓﻮ ﺫﻟﻚ -ﰱ
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ﺣﺰﺏ ﺍﻟﺘﺠﻤﻊ ﺍﻟﻴﺴﺎﺭﻯ ،ﻭﺍﻟﺴﺨﺮﻳﺔ ﺍﳌﺒﺎﺷﺮﺓ ﻣﻦ ﺍﻟﺮﺍﻗﺼﺔ ﺍﳌﺜﻘﻔﺔ ﺍﳌﺘﺤﺬﻟﻘﺔ ﺍﳌﻨﺎﻓﻘﺔ ﰱ ﺍﻟﺘﺘﺎﺑﻊ ﺍﻷﺧﲑ ﻫﻰ ﺳﺨﺮﻳﺔ ﻟﻴﺲ
ﻣﻦ ﺍﳌﺜﻘﻔﲔ ﻛﻤﺜﻘﻔﲔ ﻓﻘﻂ ،ﺇﳕﺎ ﻣﻦ ﻧﺸﻮﻯ ﻣﺼﻄﻔﻰ ﺷﺨﺼﻴﺎ ﻭﺑﺎﻟﺘﺎﱃ ﻣﻦ ﺣﺰﺏ ﺍﻟﺘﺠﻤﻊ ﻧﻔﺴﻪ .ﺍﻷﺳﻮﺃ ﻣﺎ ﺣﺪﺙ ﻣﻊ
ﻋﺒﻠﺔ ﻛﺎﻣﻞ ﻭﻫﻰ ﺃﺣﺪ ﺍﻷﺭﻛﺎﻥ ﺍﻟﻜﱪﻯ ﻭﺍﻟﻌﺮﻳﻘﺔ ﰱ ﺫﺍﺕ ﺍﳊﺰﺏ ﺍﳌﺬﻛﻮﺭ .ﻷﻭﻝ ﻣﺮﺓ ﺗﻀﺤﻚ ﻭﺗﺮﻗﺺ ﻭﺗﻐﲎ ﻭﺗﻀﻊ
ﺍﻟﺒﺴﻤﺔ ﻋﻠﻰ ﺷﻔﺎﻩ ﺍﻟﻨﺎﺱ ،ﺑﻌﺪ ﺃﻥ ﺍﻋﺘﺎﺩﻭﻫﺎ ﳏﺠﺒﺔ ﻣﺘﺠﻬﻤﺔ ﻛﺌﻴﺒﺔ ﰱ ﺑﻼﻫﺎﺕ ﺃﺳﺎﻣﺔ ﺃﻧﻮﺭ ﻋﻜﺎﺷﺔ ﺍﻟﺘﻠﻴﭭﺰﻳﻮﻧﻴﺔ ،
ﻭﻇﻴﻔﺘﻬﺎ ﺃﻥ ﺗﻘﻄﻊ ﺍﳋﻤﲑﺓ ) ﻣﻦ ﺍﳋﻤﺮ ( ﻣﻦ ﺍﻟﺒﻴﺖ ﻭﲡﻌﻠﻚ ﺗﻔﻜﺮ ﰱ ﺍﻟﺘﺨﻠﺺ ﻣﻦ ﺣﻴﺎﺗﻚ ﻷﻬﻧﺎ ﲬﲑﺓ ) ﻣﻦ ﺍﳋﻤﺎﺭ ( .
ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺘﺠﻤﻊ ﻭﻟﻠﻨﺎﺻﺮﻳﲔ ﻣﻌﺎ ،ﺍﻟﺬﻳﻦ ﻳﻌﺪ ﺍﻟﺴﻴﺪ ﻋﻜﺎﺷﺔ ﺑﺎﻷﺣﺮﻯ ﺃﺣﺪ ﺁﳍﺘﻬﻢ ،ﻓﺈﻥ ﻇﻬﻮﺭ ﻋﺒﻠﺔ ﻛﺎﻣﻞ ﻬﺑﺬﺍ ﺍﻟﺸﻜﻞ
ﺍﳉﻤﺎﻫﲑﻯ ﺍﶈﺒﺐ ﻫﻮ ﺳﺮﻗﺔ ﻭﺍﻏﺘﺼﺎﺏ ﻟﻔﻨﺎﻧﺔ ﻃﺎﳌﺎ ﺍﺣﺘﺴﺒﻮﻫﺎ ﺿﻠﻌﺎ ﰱ ﻣﻌﺴﻜﺮﻫﻢ ﺍﻟﻈﻼﻣﻰ ،ﻭﺟﺮﳝﺔ ﻻ ﳝﻜﻦ ﺃﻥ ﺗﻐﺘﻔﺮ
ﻟﻠﺴﻴﺪ ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ﻭﺷﺮﻛﺎﻩ .ﺍﻷﺳﻮﺃ ﻣﻦ ﻫﺬﺍ ﻭﺫﺍﻙ ﺃﻡ ﻛﻠﺜﻮﻡ ﻃﺒﻌﺎ ،ﻭﺣﺪﺙ ﻭﻻ ﺣﺮﺝ ﻓﻴﻤﺎ ﲤﺜﻞ ﺃﻡ ﻛﻠﺜﻮﻡ ﻋﻨﺪ
ﺍﻟﻨﺎﺻﺮﻳﲔ .ﻫﻰ ﺃﻫﻢ ﲟﺮﺍﺣﻞ ﻣﻦ ﻋﺒﻠﺔ ﻛﺎﻣﻞ ﻭﺃﺳﺎﻣﺔ ﺃﻧﻮﺭ ﻋﻜﺎﺷﺔ ،ﻭﺍﻟﺴﺨﺮﻳﺔ ﻣﻨﻬﺎ ﻛﻔﺮ ﺻﺮﻳﺢ ﺑﺎﳌﻘﺪﺳﺎﺕ .ﰱ ﺭﺃﻳﻬﻢ
ﻫﻰ ﺍﻟﺬﺭﺍﻉ ﺍﻷﳝﻦ ﻟﺪﻋﺎﻭﻯ ﻧﺎﺻﺮ ﺍﻟﻌﺮﲜﻴﺔ ،ﻭﻫﻰ ﺍﻟﻨﺼﺮ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻯ ﲡﺴﺪﺕ ﻓﻴﻪ ﺗﻠﻚ ﺍﻟﺪﻋﻮﺓ ﺍﻟﺸﻮﻓﻴﻨﻴﺔ ﺍﳍﻤﺠﻴﺔ ﺑﻴﻨﻤﺎ
ﻣﻨﻴﺖ ﺑﺎﳋﺮﻯ ﻭﺍﻟﻌﺎﺭ ﰱ ﻛﻞ ﺳﺎﺣﺎﺕ ﺍﳌﻌﺎﺭﻙ ﺍﻷﺧﺮﻯ .ﻛﺜﲑﻭﻥ ﻻ ﻳﺮﻭﻥ ﺻﻮﻬﺗﺎ ﺍﻷﺟﺶ ﲨﻴﻼ ،ﻭﻛﺜﲑﻭﻥ ) ﲟﻦ ﻓﻴﻬﻢ
ﻭﻓﺮﺓ ﻣﻦ ﺍﻟﻴﺴﺎﺭﻳﻦ ﻛﻴﻮﺳﻒ ﺇﺩﺭﻳﺲ ﻣﺜﻼ ( ﻳﺮﻭﻬﻧﺎ ﺳﻘﻴﻤﺔ ﻭﳑﻠﺔ .ﻃﺒﻌﺎ ﻫﻰ ﻟﻴﺴﺖ ﲜﻤﺎﻝ ﺻﻮﺕ ﺃﲰﻬﺎﻥ ﻭﻻ ﻓﲑﻭﺯ ،
ﻟﻜﻦ ﺣﱴ ﻟﻮ ﻛﺎﻧﺖ ﺃﲨﻞ ﺃﻭ ﺃﻗﻮﻯ ﻓﻤﺎ ﺍﻟﻔﺎﺋﺪﺓ ﻭﻗﺪ ﻭﻇﻔﺖ ﻟﺘﻜﺮﻳﺲ ﺍﻟﺘﺨﻠﻒ ﻭﺍﻟﺒﺪﺍﺀﺓ ﻭﻣﻮﺳﻴﻘﻰ ﺍﻟﻄﺮﺏ ﻭﺗﻨﻮﱘ
ﺍﻟﺴﻠﻄﺎﻥ ﻣﻊ ﺇﻳﻘﺎﻅ ﺷﻬﻮﺗﻪ ،ﻣﻮﺳﻴﻘﻰ ﺭﺑﻊ ﺍﻟﻨﻐﻤﺔ ﺍﻟﻮﺿﻴﻌﺔ ﺍﻟﺒﺎﺋﺪﺓ ،ﺍﳌﺴﻤﺎﺓ ﺍﳌﻮﺳﻴﻘﻰ ﺍﻟﻌﺮﺑﻴﺔ ،ﺑﻴﻨﻤﺎ ﻣﺎ ﻛﺎﻥ ﳚﺐ ﳍﺎ
ﺇﻻ ﺃﻥ ﺗﻨﻘﺮﺽ ﻭﺗﺘﻼﺷﻰ ﻭﲢﻞ ﳏﻠﻬﺎ ﻣﻮﺳﻴﻘﺎﺕ ﺃﻛﺜﺮ ﺣﺪﺍﺛﺔ .ﺍﻟﻨﺎﺻﺮﻳﻮﻥ ﻻ ﻳﻘﻮﻟﻮﻥ ﻫﺬﺍ ﻃﺒﻌﺎ ،ﻭﻗﺪ ﻣﺴﺖ ﺳﺨﺮﻳﺔ
ﺍﻟﻠﻤﱮ ﻣﻨﻬﺎ ﻭﺗﺮﺍ ﻫﺎﺋﻞ ﺍﳊﺴﺎﺳﻴﺔ ﻓﻴﻬﻢ !
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ﻟﻮ ﺧﺮﺟﻨﺎ ﻣﻦ ﺍﻟﺸﺨﺼﻨﺔ ﻗﻠﻴﻼ ﻟﻦ ﲡﺪ ﺍﻷﻭﺿﺎﻉ ﺃﻗﻞ ﺳﻮﺀﺍ .
ﺑﻴﻨﻤﺎ ﺃﻭﻟﺌﻚ ﺍﳌﺜﻘﻔﻮﻥ ﺍﻟﻌﺮﺏ ﻏﺎﺭﻗﻮﻥ ﲨﻴﻌﺎ ﰱ ﺃﭼﻨﺪﺓ ﺍﳌﺮﻭﻕ
ﻭﻣﻌﺎﺩﺍﺓ ﺍﻟﻌﺎﱂ ﺍﳌﺘﻘﺪﻡ ﺻﻬﻴﻮﻧﻴﺎ ﺇﻣﭙﺮﻳﺎﻟﻴﺎ ﺍﺳﺘﻌﻤﺎﺭﻳﺎ ﺟﻠﻮﺑﻴﺎ ،ﺃﻭ
ﺃﻳﺎ ﻣﺎ ﻛﺎﻥ ،ﻓﺈﻥ ﺣﺒﻴﺒﺔ ﺍﻟﺒﻄﻞ ﻫﻰ ﺍﻟﻌﻜﺲ ﻟﻜﻞ ﻣﺎ ﻳﺒﺸﺮﻭﻥ ﺑﻪ ،
ﻣﻦ ﻣﺎﺿﻮﻳﺔ ﻭﺍﻧﻐﻼﻕ ﻭﭘﺎﺭﺍﻧﻮﻳﺎ ﻭﻣﻮﺍﺟﻬﺔ ‘ ﻟﻠﻐﺰﻭ ﺍﻟﺜﻘﺎﰱ ’ .ﻫﻰ
ﻓﺘﺎﺓ ﺗﻌﺎﱏ ﻣﻦ ﻗﻤﻊ ﻭﺍﻟﺪﻫﺎ ﺍﻻﻧﺘﻬﺎﺯﻯ ﺍﳉﺸﻊ ﺍﻟﺬﻯ ﻳﺮﻳﺪ ﺗﺰﻭﳚﻬﺎ
ﻣﻦ ﻣﺪﺭﺱ ﺛﺮﻯ .ﻭﺍﻟﻔﻴﻠﻢ ﺍﺧﺘﺎﺭ ﳍﺬﺍ ﺍﻷﺏ ﻏﻄﺎﺀ ﺭﺃﺱ ﻳﺎﺳﺮ
ﻋﺮﻓﺎﺕ ﺍﻟﺸﻬﲑ ،ﺭﻣﺰﺍ ﳉﻴﻞ ﺍﻟﻘﻬﺮ ﻭﺍﳍﺰﳝﺔ ﻭﺍﻻﺭﺗﺰﺍﻕ ،ﺭﲟﺎ ﰱ
ﺃﻭﻝ ﺍﺳﺘﺨﺪﺍﻡ ﺳﻠﱮ ﳍﺬﻩ ﺍﻷﻳﻘﻮﻧﺔ ﺍﳌﻘﺪﺳﺔ ﻋﺮﺑﻴﺎ ﻭﺇﺳﻼﻣﻴﺎ
ﻭﺷﻴﻮﻋﻴﺎ ،ﻭﺍﻟﱴ ﱂ ﻳﻜﺴﺮ ﺟﻼﳍﺎ ﺳﻮﻯ ﻣﺮﺓ ﻭﺍﺣﺪﺓ ﰱ
ﻛﺎﺭﻳﻜﺎﺗﻮﺭﺍﺕ ﻣﺼﻄﻔﻰ ﺣﺴﲔ ﺃﻳﺎﻡ ﺃﻧﻮﺭ ﺍﻟﺴﺎﺩﺍﺕ ،ﻭﱂ ﻳﻜﺴﺮ
ﰱ ﻭﺳﻴﻂ ﻓﺎﺋﻖ ﺍﳉﻤﺎﻫﲑﻳﺔ ﻛﺎﻟﺴﻴﻨﻤﺎ ﺃﺑﺪﺍ .ﻫﻰ ﺍﻟﻮﺣﻴﺪﺓ ﺫﺍﺕ
ﺍﻻﺳﻢ ﺍﳌﺼﺮﻯ ﻧﻮﺳﺔ ،ﻭﺗﺼﻔﻬﺎ ﺃﻏﻨﻴﺔ ﰱ ﺃﻟﺒﻮﻡ ﺍﳌﻮﺳﻴﻘﻰ ﺑﺎﻟﻔﺘﺎﺓ
ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺘﻌﻠﻤﺔ ﺍﻟﺴﺎﻋﻴﺔ ﻟﻼﺭﺗﻘﺎﺀ ﺑﻨﻔﺴﻬﺎ ﺇﱃ ﺁﺧﺮ ﺍﻷﻭﺻﺎﻑ ﺍﻟﱴ
ﺍﻓﺘﻘﺪﻧﺎﻫﺎ ﻣﻨﺬ ﺯﻫﺮﺓ ﻣﲑﺍﻣﺎﺭ .ﻧﻮﺳﺔ ﻫﺬﻩ ﺗﺼﺎﱀ ﺑﻄﻠﻬﺎ ﻭﺗﺘﺰﻭﺟﻪ
!The Movie Ends with A-Lemby’s Son Learning English
ﺭﻏﻢ ﻣﺸﺎﻫﺪﻬﺗﺎ ﻟﻪ ﰱ ﻟﻴﻠﺔ ﲪﺮﺍﺀ ،ﺫﻟﻚ ﺃﻥ ﺍﳊﺐ ﺃﻗﻮﻯ .ﻭﻳﺎ ﳍﺎ
ﻣﻦ ﻣﻌﺎﱏ ﲢﺮﺭﻳﺔ ﻃﺎﻝ ﺍﻓﺘﻘﺎﺩﻧﺎ ﳍﺎ ﻣﻨﺬ ﺳﻴﻨﻤﺎ ﺃﻭﺍﺋﻞ ﺍﻟﺴﺒﻌﻴﻨﻴﺎﺕ .
ﻭﺃﺧﲑﺍ ﲤﺎﻣﺎ ﰒ ﺍﺧﺘﺘﺎﻡ ﺑﺈﺣﺎﻟﺔ ﺃﺟﻨﺒﻴﺔ ﺃﺧﺮﻯ ﻻ ﺗﺮﺿﻰ ﻣﺜﻘﻔﻴﻨﺎ ﻛﺜﲑﺍ ،ﺫﻟﻚ ﺑﻌﺪ ﲬﺲ ﺳﻨﻮﺍﺕ ﻣﻦ ﺯﻭﺍﺝ ﻣﻦ ﺍﻟﻮﺍﺿﺢ
ﺃﻧﻪ ﺳﻌﻴﺪ ،ﻭﺍﺑﻦ ﺃﻟﻠﻴﻨﱮ ﻳﺘﻌﻠﻢ ﺍﳊﺮﻭﻑ ﺍﻹﳒﻠﻴﺰﻳﺔ ) ﻟﻐﺔ ﺍﳌﺴﺘﻌﻤﺮ ( ﻋﻦ ﺃﺑﻴﻪ ،ﻫﺬﺍ ﺍﻟﺬﻯ ﻳﺒﺪﻭ ﺍﻵﻥ ﺃﻛﺜﺮ ﺍﺳﺘﻌﺪﺍﺩﺍ
ﻟﺘﺠﺎﻭﺯ ﻣﺎﺿﻴﻪ ﺍﳉﺎﻫﻞ ﺍﻟﻮﺿﻴﻊ ،ﻓﻼ ﺗﻨﺴﻰ ﺃﻥ ﺍﻟﺼﻮﺭﺓ ﺍﶈﻮﺭﻳﺔ ﻛﻤﺎ ﻋﱪﺕ ﻋﻨﻬﺎ ﺍﻟﺪﺭﺍﻣﺎ ﻭﺗﻄﻮﺭ ﺍﻟﺸﺨﺼﻴﺎﺕ ،ﻭﺃﻳﻀﺎ
ﻛﻞ ﻛﻠﻤﺎﺕ ﺍﻷﻏﺎﱏ ﲢﺮﺭﻳﺔ ﺍﳌﻌﺎﱏ ،ﻫﻮ ﺍﻟﺮﻏﺒﺔ ﰱ ﺍﻻﺭﺗﻘﺎﺀ ﻭﺣﺐ ﺍﻟﺘﺤﻀﺮ ﻭﺍﳌﺘﺤﻀﺮﻳﻦ ،ﻭﺍﳊﺐ ﻛﺎﻥ ﻓﻘﻂ ﺍﻟﺪﺍﻓﻊ
ﺍﻟﺬﻯ ﺣﺮﻙ ﻋﻨﺪ ﺍﻟﻠﻤﱮ ﻫﺬﻩ ﺍﻟﺮﻏﺒﺔ ) ﺍﳌﺸﻜﻠﺔ ﺍﻟﻮﺣﻴﺪﺓ ﺃﻥ ﺫﻟﻚ ﺍﻟﺘﻐﻴﲑ ﻗﺘﻞ ﻟﻠﻤﱮ ،ﻭﻣﻦ ﰒ ﻻ ﻳﻔﺘﺢ ﳎﺎﻻ ﻛﺒﲑﺍ ﻟﻠﻤﱮ
، ٢ﻟﻜﻦ ﻳﻈﻞ ﻛﻞ ﺷﻰﺀ ﳑﻜﻨﺎ ﻣﻊ ﻛﺎﺗﺐ ﲟﻮﻫﺒﺔ ﻭﺧﻴﺎﻝ ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ( .
ﺇﲨﺎﻻ :ﺇﻥ ﻣﺎ ﻧﺮﺍﻩ ﰱ ﺣﺎﺭﺓ ﺍﻟﻠﻤﱮ ﻫﻮ ﻧﻮﻉ ﻣﻦ ﺍﳉﻠﻮﺑﺔ ﺍﻟﺘﺼﺎﳊﻴﺔ ﺍﳉﻤﻴﻠﺔ ﺍﻟﱴ ﺗﺴﺘﺨﻒ ﺟﺬﺭﻳﺎ ﺑﻜﻞ ﻣﺎ ﻳﻘﻮﻟﻪ ﻟﻴﻼ
ﻭﻬﻧﺎﺭﺍ ﻣﺜﻘﻔﻮ ﻭﺳﺎﺳﺔ ﺍﻟﻌﺎﱂ ﺍﻟﺜﺎﻟﺚ ﺍﻟﻔﺎﺷﻠﲔ ﻋﻦ ﻣﻘﺎﻭﻣﺔ ﺍﳉﻠﻮﺑﺔ ﻭﺍﻟﻐﺰﻭ ﺍﻟﺜﻘﺎﰱ …ﺇﱁ .ﺍﻟﻠﻤﱮ ﺑﻜﻞ ﻭﺿﺎﻋﺔ ﺣﺎﻟﺔ ﻻ
ﻳﻌﺪﻡ ﺃﻳﺎ ﻣﻦ ﺍﻟﺼﻔﺎﺕ ﺍﳌﻤﻴﺰﺓ ﻟﻠﭽﻨﺮﺍﻝ ﺍﻹﳒﻠﻴﺰﻯ ﺍﻟﻌﻈﻴﻢ ﺇﺩﻣﻮﻧﺪ ﺃﻟﻠﻴﻨﱮ ،ﻭﺣﺴﺐ ﺍﻟﻨﺎﻇﺮ ﺻﻼﺡ ﺍﻟﺪﻳﻦ ﺍﻟﻨﺎﺱ ﻫﻢ ﺍﻟﺬﻳﻦ
ﺃﻃﻠﻘﻮﺍ ﻋﻠﻴﻪ ﻫﺬﺍ ،ﻭﻫﺬﻩ ﺣﻘﻴﻘﺔ ﻭﺍﻗﻌﺔ ﺣﱴ ﺍﻟﻴﻮﻡ ﰱ ﺣﻮﺍﺭﻳﻨﺎ ﻣﻦ ﺇﻃﻼﻕ ﺃﲰﺎﺀ ﺍﳌﺸﺎﻫﲑ ﺍﻷﺟﺎﻧﺐ ﻋﻠﻰ ﺍﳌﻤﻴﺰﻳﻦ ﻣﻦ
ﻋﻤﻮﻡ ﺍﻟﺸﻌﺐ ،ﻭﺍﻷﻏﺮﺏ ﺃﻥ ﺑﻌﻀﻬﻢ ﻳﺼﺒﺢ ﻣﺸﻬﻮﺭﺍ ﻛﻼﻋﱮ ﺍﻟﻜﺮﺓ ﻣﺜﻼ ﻭﻳﻈﻞ ﳛﻤﻞ ﺍﻻﺳﻢ ﺍﻷﺟﻨﱮ ! ﻭﺍﻟﻜﻞ ﻳﻔﻌﻞ
ﻫﺬﺍ ﲝﺐ ﻭﺇﻋﺠﺎﺏ ،ﻭﻻ ﻳﻔﻜﺮ ﰱ ﺍﻟﻐﺰﻭ ﺍﻟﺜﻘﺎﰱ ﺃﻭ ﺍﻟﺪﻳﻦ ﺇﱃ ﺁﺧﺮ ﻣﺎ ﺗﻌﺞ ﺑﻪ ﺍﻟﺼﺤﺎﻓﺔ .ﺃﻣﻪ ﺍﻟﻔﻬﻠﻮﻳﺔ ﺍﻟﺒﺨﻴﻠﺔ ﺍﻟﺴﻠﻴﻄﺔ
ﻟﻜﻦ ﺍﻟﻔﻄﺮﻳﺔ ﻣﻌﺎ ،ﻻ ﺗﻌﺪﻡ ﺻﻔﺎﺕ ﻓﺮﻧﺴﺎ ،ﺍﻟﱴ ﻳﺮﻯ ﻓﻴﻬﺎ ﺍﳌﺜﻘﻔﻮﻥ ﻋﻨﺪﻧﺎ ﻋﻠﻰ ﺍﻷﻗﻞ ) ﻭﺇﻥ ﻛﻨﺎ ﻟﺴﻨﺎ ﻣﻨﻬﻢ ( ﺭﻣﺰﺍ
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ﻟﻠﺠﻤﺎﻝ ﻭﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﻟﻔﻦ ،ﻭﺗﺎﺭﳜﻴﺎ ﺇﺳﻼﻣﻴﻮ ﺣﻰ ﻣﺼﺮ ﺍﻟﻘﺪﳝﺔ -ﺃﻭ ﺍﳌﺘﻌﺼﺒﲔ ﺍﻟﺪﳘﺎﺀ ﺣﺴﺐ ﺍﳉﱪﺗﻰ -ﻫﻢ ﺍﻟﺬﻳﻦ ﻃﺮﺩﻭﻫﺎ
ﻣﻦ ﻣﺼﺮ .ﺑﺎﺥ ﺍﻷﺷﻌﺚ ﺭﻏﻢ ﻛﻞ ﺇﺣﺒﺎﻃﺎﺗﻪ ﻭﻓﻘﺮﻩ ﻭﺍﻟﺘﺨﻠﻒ ﺍﳍﺎﺋﻞ ﺍﶈﻴﻂ ﺑﻪ ،ﻻ ﻳﺰﺍﻝ ﻳﻌﺰﻑ ﺍﳌﻮﺳﻴﻘﻰ ﺍﻟﻜﻼﺳﻴﺔ
ﲝﺐ ،ﻭﻳﻜﻔﻴﻨﺎ ﺍﳌﺸﻬﺪ ﺍﻟﻜﻮﻣﻴﺪﻯ ﺍﻟﺬﻯ ﳛﺎﻭﻝ ﺑﻐﻴﻆ ﺃﻥ ﳜﺮﻕ ﻓﻴﻪ ﺑﻌﺼﺎ ﺍﻟﻜﻤﺎﻥ ﺃﺫﻥ ﺍﻟﻠﻤﱮ ﺍﻟﻔﺎﺳﺪﺓ .ﻧﻮﺳﺔ -ﺃﻭ ﻣﺼﺮ
ﺇﺫﺍ ﻣﺎ ﺟﺎﺯ ﺍﻋﺘﺒﺎﺭﻫﺎ ﺭﻣﺰﺍ -ﺣﺒﻴﺴﺔ ﻟﻘﻴﻮﺩ ﺍﻟﻔﻘﺮ ﺍﻻﺟﺘﻤﺎﻋﻰ ﻭﺍﻟﺘﺰﻣﺖ ﺍﻷﺧﻼﻗﻰ ﻣﻌﺎ ،ﻟﻜﻦ ﺭﻭﺡ ﺍﳊﻴﺎﺓ ﱂ ﲤﺖ ﻓﻴﻬﺎ
ﺃﺑﺪﺍ .ﻭﰱ ﻣﺸﻬﺪ ﻃﺮﻳﻒ ﻭﺻﺮﻳﺢ ﲣﱪ ﺧﻄﻴﺒﻬﺎ ﺃﻬﻧﺎ ﻫﻰ ﺃﻳﻀﺎ ﻋﻨﺪﻫﺎ ﺷﻬﻮﺓ ﺟﻨﺴﻴﺔ ،ﻓﻤﺎ ﻛﺎﻥ ﻣﻨﻪ ﺇﻻ ﺃﻥ ﺗﻌﺠﺐ ﲟﺮﺡ
ﺣﻴﺚ ﻛﺎﻥ ﻳﻌﺘﻘﺪ ﺃﻬﻧﺎ ﺧﺎﺻﻴﺔ ﺃﻭ ﺣﻖ ﻟﻠﺮﺟﺎﻝ ﻓﻘﻂ ،ﺃﻭ ﻫﺬﺍ ﻣﺎ ﺃﻓﻬﻤﻪ ﺇﻳﺎﻩ ﺍﺠﻤﻟﺘﻤﻊ ﺍﻟﺬﻛﻮﺭﻯ .ﻭﺍﳌﻬﻢ ﻃﺒﻌﺎ ﺃﻥ ﻛﻞ ﺗﻠﻚ
ﺍﻟﻘﻴﻢ ﺍﻟﺘﺤﺮﺭﻳﺔ ،ﻭﲢﺪﻳﺪﺍ ﺍﻟﺜﻼﺛﺔ ﺃﺟﺎﻧﺐ ﺍﻷﲰﺎﺀ ،ﻫﻢ ﻣﻦ ﻛﺎﻓﺤﻮﺍ ﻛﻰ ﻳﺘﺤﻘﻖ ﺣﻠﻢ ﺍﳊﺐ ﻟﺪﻳﻬﺎ ،ﻫﺬﺍ ﺑﻨﻔﺲ ﺍﻟﻘﺪﺭ
ﺍﻟﺬﻯ ﻟﻌﺒﺖ ﺇﺭﺍﺩﺓ ﺍﳊﻴﺎﺓ ﻋﻨﺪﻫﺎ ﻭﻭﻗﻔﺘﻬﺎ ﺍﻟﺼﺎﺭﻣﺔ ﺃﻣﺎﻡ ﺃﺑﻴﻬﺎ ﺍﻟﺪﻭﺭ ﺍﻟﻔﺼﻞ ﻋﻨﺪﻣﺎ ﺟﺎﺀﺕ ﺍﻟﻠﺤﻈﺔ ﺍﳊﺎﲰﺔ .
ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ﻟﻴﺲ ﺃﺳﺎﻣﺔ ﺃﻧﻮﺭ ﻋﻜﺎﺷﺔ ،ﺍﻟﺬﻯ ﻳﻜﺮﻩ ﻣﻦ ﻫﻢ ﺃﺭﻗﻰ ﻣﻨﻪ ﺣﻀﺎﺭﻳﺎ ﻭﻳﺸﻜﻚ ﰱ ﻧﻮﺍﻳﺎﻫﻢ ﻭﳚﺰﻡ ﺑﺄﻬﻧﻢ
ﻳﺘﺂﻣﺮﻭﻥ ﻋﻠﻰ ﺍﻟﺸﻌﺐ ﺍﳌﺼﺮﻯ ) ﺑﺎﻟﺬﺍﺕ ! ( ﺃﺳﻮﺃ ﺍﳌﺆﺍﻣﺮﺍﺕ .ﻭﻟﻌﻞ ﻫﺬﺍ ﻗﺪ ﻳﻐﺮﻳﻨﺎ ﺑﺄﻥ ﻧﻨﻤﻰ ﻧﻈﺮﻳﺔ ﻓﺤﻮﺍﻫﺎ ﺃﻥ ﻣﻦ
ﻳﺆﻟﻒ ﺍﻷﻓﻼﻡ ﺍﳌﺼﺮﻳﺔ ﺍﺛﻨﺎﻥ ﻻ ﺛﺎﻟﺚ ﳍﻤﺎ :ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ﻭﺃﺳﺎﻣﺔ ﺃﻧﻮﺭ ﻋﻜﺎﺷﺔ .ﻣﺪﺭﺳﺔ ﺗﻘﻮﻝ ﳓﻦ ﻣﺘﺨﻠﻔﻮﻥ ﺣﱴ ﺁﺧﺮ
ﺗﻌﺮﻳﻒ ﳑﻜﻦ ﻋﺮﻓﺘﻪ ﺍﻟﺒﺸﺮﻳﺔ ﻟﻠﻜﻠﻤﺔ ،ﻭﺇﻧﻪ ﻻ ﺧﺮﻭﺝ ﻣﻦ ﺍﻟﺘﺨﻠﻒ ﺇﻻ ﺑﺎﻟﺘﻌﻠﻢ ﳑﻦ ﻫﻢ ﺃﻓﻀﻞ ﻣﻨﺎ ﻭﺣﺒﻬﻢ ﻭﺍﺣﺘﺮﺍﻣﻬﻢ
ﻭﺍﻻﺳﺘﻤﺎﻉ ﺇﻟﻴﻬﻢ .ﻭﻣﺪﺭﺳﺔ ﺗﻘﻮﻝ ﺇﻧﻨﺎ ﻛﻨﺰ ﺍﻷﺭﺽ ﻭﻓﺮﺩﻭﺳﻬﺎ ﺍﳌﻔﻘﻮﺩ ،ﻭﻛﻞ ﺍﻟﻌﺎﱂ ﻳﺘﻬﺎﻓﺖ ﻋﻠﻰ ﻬﻧﺒﻨﺎ ﻭ‘ ﺍﺳﺘﻬﺪﺍﻓﻨﺎ ’
ﻭﺍﻟﺘﺂﻣﺮ ﻋﻠﻴﻨﺎ .ﻭﺑﻴﻨﻤﺎ ﻻ ﻳﻮﺟﺪ ﺑﻌﺪ ﺗﻼﻣﻴﺬ ﻛﺜﲑﻭﻥ ﻟﻸﻭﻝ ،ﻓﺘﻼﻣﻴﺬ ﺍﻟﺜﺎﱏ ﻻ ﻬﻧﺎﻳﺔ ﳍﻢ ،ﻭﻟﻴﺴﻮﺍ ﻓﻘﻂ ﻣﻦ ﺟﻴﻠﻪ
ﺍﳌﻬﺰﻭﻡ ،ﺑﻞ ﲤﺖ ﺗﺮﺑﻴﺔ ﺃﺟﻴﺎﻝ ﺟﺪﻳﺪﺓ ‘ ﺍﻧﺘﻔﺎﺿﻴﺔ ’ ﻭﺍﻓﺮﺓ .ﻓﻘﻂ -ﻭﻣﻊ ﺍﻻﻗﺘﺼﺎﺭ ﻋﻠﻰ ﺃﻓﻼﻡ ﻫﺬﺍ ﺍﻟﺼﻴﻒ -ﺗﺄﻣﻞ ﺣﺠﻢ
ﺍﻟﭙﺎﺭﺍﻧﻮﻳﺎ ﺍﻟﱴ ﳛﻔﻞ ﻬﺑﺎ ﻓﻴﻠﻢ ‘ ﻫﻮ ﰱ ﺇﻳﻪ ’ ) ﺍﻟﺸﺮﻛﺎﺕ ﺍﻟﻌﺎﳌﻴﺔ ﻋﺼﺎﺑﺎﺕ ﻏﺎﻣﻀﺔ ﺗﺼﺤﻮ ﻭﺗﻨﺎﻡ ﲢﻠﻢ ﺑﻨﻬﺐ ﺧﲑﺍﺕ ﻣﺼﺮ
ﺍﻟﻮﻓﲑﺓ ﺟﺪﺍ ! ( ،ﺃﻭ ﻓﻴﻠﻢ ‘ ﻣﺎﻓﻴﺎ ’ ) ﺍﻟﺬﻯ ﻳﻬﺒﻂ ﻟﺪﺭﺟﺔ ﺃﻥ ﻳﺴﺎﻳﺮ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺴﻮﻗﻴﺔ ﺟﺪﺍ ﺃﻥ ﺍﳌﻮﺳﺎﺩ ﻭﺭﺍﺀ ﻛﻞ ﺷﻰﺀ ﲟﺎ
ﻓﻴﻪ ﺍﳌﻨﻈﻤﺎﺕ ﺍﻹﺭﻫﺎﺑﻴﺔ ﺑﻜﺎﻓﺔ ﻣﺸﺎﺭﻬﺑﺎ ! ( ،ﺃﻭ ﻓﻴﻠﻢ ﻫﻨﻴﺪﻯ ﺍﳉﺪﻳﺪ ‘ ﺻﺎﺣﺐ ﺻﺎﺣﺒﻪ ’ ) ﻛﺎﺭﺛﺘﻪ ﻣﺰﺩﻭﺟﺔ ﻛﻤﺎ
ﺳﻨﺮﻯ ( ،ﺃﻭ ﺗﺄﻣﻞ ﺣﺠﻢ ﺍﻷﺑﻮﻳﺔ ﺍﻟﱴ ﻳﻮﺭﺙ ﻬﺑﺎ ﺟﻴﻞ ﺍﳍﺰﳝﺔ ﺃﻓﻜﺎﺭﻩ ﺍﳌﻘﺪﺳﺔ ﻟﻸﺟﻴﺎﻝ ﺍﳉﺪﻳﺪﺓ ،ﺑﻴﻨﻤﺎ ﺍﻟﻠﻤﱮ ﻻ ﻳﺼﺮﺥ
ﺻﺮﺧﺘﻪ ﺍﳌﻜﺒﻮﺗﺔ ﺍﻟﺸﻬﲑﺓ ‘ ﺃﻧﺎ ﺍﲣﻨﻘﺖ ’ ﻗﺪﺭ ﻣﺎ ﻳﺼﺮﺥ ﻬﺑﺎ ﻷﻣﻪ ،ﺑﻞ ﻭﻷﺑﻴﻪ ﺭﻏﻢ ﺃﻥ ﻫﺬﺍ ﺍﻷﺧﲑ ﻣﻴﺖ .ﻭﻫﻰ ﺻﻮﺭﺓ
ﺑﺼﺮﻳﺔ ﺭﺍﺋﻌﺔ ﻷﻬﻧﺎ ﺫﺍﺕ ﺍﻟﻮﻗﺖ ﻣﻮﺟﻌﺔ ﺟﺪﺍ ﳌﻦ ﻳﻔﻬﻢ ،ﳉﻴﻞ ﻳﻌﺎﱏ ﻣﻦ ﳏﺎﻭﻟﺔ ﻓﺮﺽ ﺍﳉﻴﻞ ﺍﻟﺴﺎﺑﻖ ﻷﭼﻨﺪﺗﻪ ﻋﻠﻴﻪ ﻣﻦ
ﺍﻟﻘﱪ ،ﺑﻞ ﺍﻟﻮﺍﻗﻊ ﻛﻠﻤﺔ ‘ ﺍﲣﻨﻘﺖ ’ ﻫﻰ ﺑﺎﻟﻀﺒﻂ ﺃﺩﻕ ﻟﺴﺎﻥ ﺣﺎﻝ ﻟﻜﻞ ﺣﺎﱂ ﻭﻧﺼﲑ ﻟﻠﺤﻀﺎﺭﺓ ﰱ ﻣﺼﺮ ﺑﻞ ﻭﻛﻞ ﺍﻟﻌﺎﳌﲔ
ﺍﻟﻌﺮﰉ ﻭﺍﻹﺳﻼﻣﻰ ،ﺍﺧﺘﻨﻖ ﲟﺎ ﳛﻴﻂ ﺑﻪ ﻣﻦ ﲣﻠﻒ ﻭﻏﺜﺎﺀ .ﺃﻳﻀﺎ ﻣﻦ ﺍﳌﺜﲑ ﻟﻠﻔﻀﻮﻝ ﺃﻥ ﻛﺎﺗﺐ ﻓﻴﻠﻢ ﻫﻨﻴﺪﻯ ﻫﺬﻩ ﺍﳌﺮﺓ ،
ﻫﻮ ﻣﺎﻫﺮ ﻋﻮﺍﺩ ﻭﻫﻮ ﻣﻦ ﺭﻣﻮﺯ ﻣﺪﺭﺳﺔ ﺍﻷﻓﻼﻡ ‘ ﺍﻟﻔﻨﻴﺔ ﺟﺪﺍ ’ ﺍﻟﱴ ﻗﺘﻠﺖ ﺯﻭﺟﺘﻪ ﺳﻌﺎﺩ ﺣﺴﲎ ﻭﺣﺎﻭﻟﺖ ﻗﺘﻞ ﺷﺮﻳﻒ ﻋﺮﻓﺔ
ﻭﻣﺌﺎﺕ ﻏﲑﳘﺎ .ﻭﻃﺒﻌﺎ ﻋﻮﺍﺩ ﻭﺷﺮﻛﺎﻩ ﻫﻢ ﰱ ﺻﺪﺍﺭﺓ ﻣﻦ ﻭﲰﻮﺍ ﻛﻞ ﳒﻮﻡ ﺍﻟﻜﻮﻣﻴﺪﻳﺎ ﺍﳉﺪﺩ ﻭﻋﻠﻰ ﺭﺃﺳﻬﻢ ﻫﻨﻴﺪﻯ
ﺑﺎﻟﻄﺒﻊ ،ﺑﺎﳍﺒﻮﻁ ﻭﺍﻟﺴﻮﻗﻴﺔ ﻭﺍﻻﳓﻄﺎﻁ ﺍﻟﻔﻜﺮﻯ .ﻫﻞ ﺗﺮﻳﺪ ﺩﻟﻴﻼ ﺃﻛﺜﺮ ﻋﻠﻰ ﺍﻧﺘﻬﺎﺯﻳﺔ ﺍﻟﺸﻴﻮﻋﻴﲔ ﻭﺳﺎﺋﺮ ﺍﳌﺜﻘﻔﲔ ﺃﻛﺜﺮ ﻣﻦ
ﻫﺬﺍ ؟ ﺃﻡ ﻟﻌﻠﻬﻢ ﺍﻛﺘﺸﻔﻮﺍ ﻣﺘﺄﺧﺮﺍ ﻣﺎ ﻗﻠﻨﺎﻩ ﻣﻨﺬ ﺳﻨﻮﺍﺕ ﰱ ﺻﺪﺭ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺮﺋﻴﺴﺔ ﺃﻋﻼﻩ ،ﻣﻦ ﺃﻥ ﻫﻨﻴﺪﻯ ﻭﻋﻜﺎﺷﺔ
ﻭﺟﻬﺎﻥ ﻟﻌﻤﻠﺔ ﻭﺍﺣﺪﺓ ؟ ﺃﻡ ﻟﻌﻠﻨﺎ ﻗﺼﺪﻧﺎ ﺃﻥ ﻋﻜﺎﺷﺔ ﻫﻮ ﺍﻟﻜﺎﺗﺐ ﺍﳌﺜﺎﱃ ﳍﻨﻴﺪﻯ ،ﻭﻫﻨﻴﺪﻯ ﻫﻮ ﺍﳌﻤﺜﻞ ﺍﳌﺜﺎﱃ ﻟﻌﻜﺎﺷﺔ ؟ ﻭﻣﺎ
ﻓﻌﻠﻪ ﻋﻮﺍﺩ ﻫﻮ ﺧﻄﻮﺓ ﳓﻮ ﻟﻘﺎﺀ ﻻ ﺷﻚ ﺃﻧﻪ ﻛﺎﻥ ﻳﺴﺘﻌﺼﻰ ﻋﻠﻰ ﺧﻴﺎﻝ ﺍﳉﻤﻴﻊ ﺣﲔ ﻛﺘﺒﻨﺎ ﻣﺎ ﻛﺘﺒﻨﺎ ) ﻃﺒﻌﺎ ﻻ ﺃﺷﻚ ﺃﻬﻧﻢ
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ﺳﻮﻑ ﻳﺴﻤﻮﻧﻪ ‘ ﻟﻘﺎﺀ ﺍﻟﻌﻤﺎﻟﻘﺔ ’ ،ﻭﻫﻮ ﺑﺎﻷﺣﺮﻯ ﻟﻘﺎﺀ ﺍﻷﻗﺰﺍﻡ ﻟﻴﺲ ﻓﻘﻂ ﻟﻘﺼﺮ ﻗﺎﻣﺘﻴﻬﻤﺎ ،ﺇﳕﺎ ﺑﺎﻋﺘﺒﺎﺭ ﺃﻥ ﻋﻮﺍﺩ ﳎﺮﺩ
ﺑﺸﲑ ،ﻭﳑﺎ ﳛﺐ ﺩﻭﻣﺎ ﺍﻟﺘﺒﺸﲑ ﺑﻪ ﺃﻥ ﺑﺄﻥ ﺍﻷﻗﺰﺍﻡ ﻗﺎﺩﻣﻮﻥ .
ﻣﺎ ﺃﺭﺩﻧﺎ ﻗﻮﻟﻪ ﺇﻥ ﺃﲪﺪ ﻋﺒﺪ ﺍﷲ ﻫﻨﺎ ،ﲤﻜﻦ ﻣﻦ ﺍﻟﺘﻮﺻﻞ ﻟﻠﻤﻌﺎﺩﻻﺕ ﺍﻟﱴ ﺭﲟﺎ ﺑﺪﺕ ﻟﻮﻫﻠﺔ ﻣﺴﺘﺤﻴﻠﺔ ،ﻟﻘﺎﻟﺐ ﺍﳊﻜﻰ
ﺍﻟﻨﻤﻄﻰ ﺍﻟﻘﺪﱘ ﻟﻪ .ﻭﻫﻮ ﺩﺧﻮﻝ ﻭﱃ ﺍﻟﺪﻳﻦ ﺍﺑﻦ ﺍﻟﻌﺰ ﻟﺪﻧﻴﺎ ﺍﻟﺪﳘﺎﺀ ﰱ ﻋﺒﻮﺩ ﻭﺻﻼﺡ ﺍﻟﺪﻳﻦ ﻭﺍﺑﻦ ﻋﺰ ) ﲤﺎﺩﻯ ﰱ ﻫﺬﺍ
ﺍﻷﺧﲑ ﰱ ﺍﺯﺩﺭﺍﺀ ﺍﻟﻄﺒﻘﺎﺕ ﺍﻟﺪﻧﻴﺎ ﻓﻌﻮﻗﺐ ﺑﻘﺴﻮﺓ ﰱ ﺷﺒﺎﻙ ﺍﻟﺘﺬﺍﻛﺮ ( .ﺍﻵﻥ ﺃﺻﺒﺢ ﺩﺧﻮﻝ ﺍﻟﻠﻤﱮ ﻟﻠﻌﻮﺍﱂ ﺍﻟﻌﻠﻴﺎ ﻳﻨﻘﻞ ﻧﻔﺲ
ﺍﳌﻌﺎﱏ ﺗﻘﺮﻳﺒﺎ ﻣﻦ ﺭﻓﺾ ﺍﻟﺘﺨﻠﻒ ،ﻭﻫﺬﺍ ﺧﱪ ﺳﻌﻴﺪ ﺟﺪﺍ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻨﺎ ،ﻷﻧﻪ ﺳﻴﻔﺘﺢ ﺁﻓﺎﻕ ﺃﻋﻤﺎﻝ ﻛﺜﲑﺓ ﻷﲪﺪ ﻋﺒﺪ ﺍﷲ ،
ﲣﺮﺟﻪ ﻣﻦ ﻗﺎﻟﺐ ﻋﺒﻮﺩ ﻋﻠﻰ ﺍﳊﺪﻭﺩ .
ﺍﻟﻠﻤﱮ ﻣﻦ ﻗﺎﻉ ﺍﺠﻤﻟﺘﻤﻊ ﻟﻜﻦ ﻟﺪﻳﻪ ﻣﻦ ﺍﻟﺬﻛﺎﺀ ﻭﺍﻧﺒﺴﺎﻁ ﺍﻟﺸﺨﺼﻴﺔ ﻣﺎ ﳚﻌﻠﻪ ﻳﻔﻬﻢ ﺑﺴﺮﻋﺔ ﻛﻴﻒ ﺗﺴﲑ ﺍﻷﻣﻮﺭ ﰱ ﻓﻨﺎﺩﻕ
ﺷﺮﻡ ﺍﻟﺸﻴﺦ ﺃﻭ ﰱ ﻣﻨﺰﻝ ﺍﻟﺮﺍﻗﺼﺔ ﺍﻟﺘﻮﻧﺴﻴﺔ ) ﻭﻻﺣﻆ ﺃﻧﻪ ﻛﻤﺎ ﺃﻥ ﻋﺒﺪ ﺍﷲ ﻟﻴﺲ ﻋﻜﺎﺷﺔ ،ﻓﺈﻥ ﺳﻌﺪ ﺑﺪﻭﺭﻩ ﻟﻴﺲ
ﻫﻨﻴﺪﻯ ( .ﻭﻫﻮ ﻳﺘﺄﻗﻠﻢ ﻛﻞ ﻣﺮﺓ ﻣﻊ ﻭﻇﻴﻔﺘﻪ ﺑﺴﺮﻋﺔ ﻭﲟﺮﺡ ،ﺇﱃ ﺃﻥ ﻳﻄﺮﺩ ﻣﻨﻬﺎ ﻷﺳﺒﺎﺏ ﲣﺮﺝ ﻋﻦ ﺇﺭﺍﺩﺗﻪ ) ﲢﺪﻳﺪﺍ
ﺍﳊﻜﻮﻣﺔ ،ﻫﺬﻩ ﺍﻟﱴ ﻳﺒﺪﻭ ﺃﻬﻧﺎ ﺗﻘﻒ ﺑﺎﳌﺮﺻﺎﺩ ﳊﺮﻳﺔ ﺍﻟﺘﺠﺎﺭﺓ ﻭﺣﺮﻳﺔ ﺍﻟﻔﺮﺩ ﻣﻌﺎ ﺃﻭ ﻛﻞ ﻋﻠﻰ ﺣﺪﺓ .ﻭﺣﱴ ﻟﻮ ﻫﺬﻩ ﺗﻠﻔﻴﻘﺔ
ﻣﺎ ﻣﻦ ﺍﻟﻔﻴﻠﻢ ﺇﻻ ﺃﻬﻧﺎ ﺃﺩﺕ ﺍﻟﻐﺮﺽ ﺟﻴﺪﺍ ! ( .ﺇﻥ ﺫﻟﻚ ﺍﻟﻌﺎﱂ ﺍﻟﻔﻮﻗﻰ ﻟﻸﺛﺮﻳﺎﺀ ﻏﲑ ﻣﺪﺍﻥ ،ﻭﻫﺬﻩ ﺍﻟﻌﺎﺩﺓ ﺩﺍﺋﻤﺎ ﻋﻨﺪ ﺃﲪﺪ
ﻋﺒﺪ ﺍﷲ ،ﺫﻟﻚ ﺇﱃ ﺍﻟﻌﻜﺲ ﺑﺎﻟﻀﺒﻂ ﻋﻨﺪ ﻫﻨﻴﺪﻯ ﻭﻋﻜﺎﺷﺔ .ﻭﻣﺜﻼ ﺍﻟﻐﻨﺎﺀ ﺍﻟﻐﺮﰉ ﺇﻣﺎ ﺃﻥ ﻳﻨﻄﻠﻖ ﰱ ﺍﻟﻨﺎﻇﺮ ﺻﻼﺡ ﺍﻟﺪﻳﻦ
) ﺃﻭ ﺃﻣﲑ ﺍﻟﻈﻼﻡ ﺍﻟﺬﻯ ﺳﻨﺘﺤﺪﺙ ﻋﻨﻪ ﻟﻠﺘﻮ ﻣﻦ ﻣﺪﺭﺳﺔ ﺗﻘﺪﻣﻴﺔ ﺃﺧﺮﻯ ﻋﺮﻳﻘﺔ ﻫﻰ ﻋﺎﺩﻝ ﺇﻣﺎﻡ ( ،ﻭﺃﺷﺒﺎﻫﻬﻤﺎ ،ﻬﺑﺪﻑ
ﺍﳌﺘﻌﺔ ﻭﻷﻬﻧﺎ ﻣﻮﺳﻴﻘﻰ ﲨﻴﻠﺔ ﻭﻷﻬﻧﺎ ﺗﺘﻴﺢ ﻟﻨﺎ ﺭﺅﻳﺔ ﺣﺴﻨﺎﻭﺍﺕ ﻳﺮﻗﺼﻦ ﻋﻠﻴﻬﺎ ،ﻭﺇﻣﺎ ﺃﻥ ﺗﺼﺎﺣﺐ ﻫﺬﻩ ﺍﻷﻏﺎﱏ ﰱ ‘ ﻫﻮ ﰱ
ﺇﻳﻪ ؟ ’ ﻭﻛﻞ ﺍﳌﺪﺭﺳﺔ ﺍﻟﻌﻜﺎﺷﻴﺔ ،ﻋﺮﺿﺎ ﻟﻸﺯﻳﺎﺀ ﻫﻮ ﺳﺘﺎﺭ ﻟﻠﺼﻮﺹ ﺍﻷﺟﺎﻧﺐ ﺍﻟﺬﻳﻦ ﻳﻨﻬﺒﻮﻥ ﺍﻟﺒﻠﺪ .
ﺍﳌﺸﻜﻠﺔ -ﻭﺍﻷﻣﺮ ﻳﺴﺘﻮﻯ ﰱ ﻗﺎﻟﺐ ﺣﻜﻰ ﻭﱃ ﺍﻟﺪﻳﻦ ﺍﺑﻦ ﺍﻟﻌﺰ ﺃﻭ ﻗﺎﻟﺐ ﺣﻜﻰ ﺳﻌﺪ ﺍﺑﻦ ﺍﳊﻀﻴﺾ ،ﺣﻴﺚ ﻛﻼﳘﺎ
ﻳﻌﺮﻑ ﻣﺎ ﻫﻮ ﺍﻟﺘﻘﺪﻡ ﻭﻳﻘﻒ ﰱ ﺻﻔﻪ -ﺍﳌﺸﻜﻠﺔ ﻛﻤﺎ ﻗﻠﻨﺎ ﰱ ﺍﳍﻮﺓ ﺑﲔ ﺍﻟﻜﻼﻡ ﻭﺍﻟﻮﺍﻗﻊ .ﻫﻨﺎ ﻳﻨﺘﻬﻰ ﺩﻭﺭ ﺍﻷﻓﻼﻡ ﻭﺗﻌﺘﱪ
ﺃﺩﺕ ﺭﺳﺎﻟﺘﻬﺎ ﻋﻠﻰ ﺃﻛﻤﻞ ﻭﺟﻪ ،ﻭﻳﺒﺪﺃ ﺩﻭﺭ ﺍﳌﺸﺎﻫﺪ ﺍﻟﺬﻯ ﻋﻠﻴﻪ ﺃﻥ ﻳﻔﻬﻢ ﻣﻦ ﺍﻟﺼﻮﺭﺓ ﺍﻹﲨﺎﻟﻴﺔ ﺍﻟﱴ ﻗﺪﻣﺘﻬﺎ ،ﺍﻟﻔﺎﺭﻕ
ﺑﲔ ﺃﻥ ﻧﻘﻮﻝ ﺑﺪﳝﺎﺟﻮﭼﻴﺔ ﺃﻧﻨﺎ ﻟﺴﻨﺎ ﺿﺪ ﺍﻟﻌﻠﻢ ﻭﻻ ﺍﻟﺘﻘﻨﻴﺔ ﻭﻻ ﺍﻟﺒﻴﺰﻧﺲ ﻭﻻ ﺍﻟﺘﺤﺮﺭ ﺍﻻﺟﺘﻤﺎﻋﻰ ،ﻭﺑﲔ ﺃﻥ ﻛﻞ ﺧﻠﻴﺔ ﻓﻴﻨﺎ
ﺗﺮﻓﺾ ﻫﺬﺍ ﲝﺴﻢ .ﻭﺃﻥ ﻳﺪﺭﻙ ﺃﻥ ﻛﻞ ﺧﻄﺎﺑﻨﺎ ﺍﻹﻋﻼﻣﻰ ﻭﺍﻟﺜﻘﺎﰱ ﺍﳌﻌﺎﺩﻯ ﻷﻣﲑﻛﺎ ﻭﺇﺳﺮﺍﺋﻴﻞ ﺃﻭ ﺃﻳﺎ ﻣﺎ ﻛﺎﻧﺖ ﺭﻣﻮﺯ
ﺍﻟﺘﻘﺪﻡ ،ﻳﻌﺎﺩﻝ ﺑﺎﻟﻀﺒﻂ ﺃﻥ ﻧﻘﻮﻝ ‘ ﻭﻗﻒ ﺍﳋﻠﻖ ’ ،ﺑﻴﻨﻤﺎ ﻻ ﻧﻘﻮﻯ ﺃﻧﻔﺴﻨﺎ ﻋﻠﻰ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺳﺎﻗﻴﻨﺎ ،ﺃﻭ ﻻ ﺗﻘﻮﻯ
ﺫﺍﻛﺮﺗﻨﺎ ﺣﱴ ﻋﻠﻰ ﺗﺬﻛﺮ ﺑﻘﻴﺔ ﺍﻟﻌﺒﺎﺭﺓ ! ﻭﻋﻠﻰ ﺫﻛﺮ ﺍﳌﺆﻟﻒ ﻫﻨﺎ ،ﻣﻦ ﻧﺎﻓﻠﺔ ﺍﻟﻘﻮﻝ ﺃﻧﻪ ﻻ ﳚﺐ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ
‘ ﻧﻈﹼﺮ ’ ﻟﻜﻞ ﺷﻰﺀ ﺣﺮﻓﻴﺎ ﻛﻤﺎ ﻧﻔﻌﻞ ﳓﻦ ﻫﻨﺎ ،ﻓﺎﻹﺑﺪﺍﻉ ،ﺑﺎﻟﺬﺍﺕ ﺍﻟﻜﻮﻣﻴﺪﻯ ﻣﻨﻪ ،ﻻ ﳜﻀﻊ ﻟﺘﻨﻈﲑﺍﺕ ﻣﺴﺒﻘﺔ ،
ﻭﻛﺜﲑ ﻣﻨﻪ ﻳﺄﺗﻰ ﻋﻔﻮ ﺍﻟﻠﺤﻈﺔ ﻭﻳﻔﺮﺽ ﻧﻔﺴﻪ .ﻟﻜﻦ ﰱ ﺍﻟﻨﻬﺎﻳﺔ ﻫﺎ ﻫﻰ ﺇﻟﻴﻚ ﺣﺎﻟﺔ ﻛﻴﻒ ﻳﺸﺘﻐﻞ ﻋﻘﻞ ﲢﺮﺭﻯ ﻣﺴﺘﻨﲑ
ﻋﻨﺪﻣﺎ ﻳﺒﺪﻉ ،ﻭﻛﻴﻒ ﺗﺘﺴﻠﻞ ﺃﺷﻴﺎﺀ ﺭﺍﺋﻌﺔ ﺇﱃ ﺃﺩﱏ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺭﲟﺎ ﺩﻭﻥ ﺗﻌﻤﺪ ﻣﻨﻪ .ﻓﻘﻂ ﻣﻦ ﻋﻘﻠﻪ ﺍﻟﺒﺎﻃﻦ ﺇﱃ ﺍﻟﻮﺭﻕ
ﻣﺒﺎﺷﺮﺓ .
ﻧﻌﻢ ،ﺃﻓﻼﻡ ﻗﻠﻴﻠﺔ ﻟﻠﻐﺎﻳﺔ ) ﻭﻃﺒﻌﺎ ﻧﻜﺖ ﻗﻠﻴﻠﺔ ﺃﻳﻀﺎ ! ( ﺗﻠﻚ ﺍﻟﱴ ﺃﻣﺴﻜﺖ ﲟﺎ ﳝﻜﻦ ﺗﺴﻤﻴﺘﻪ ﺍﳌﺴﺄﻟﺔ ﺍﳌﺼﺮﻳﺔ .ﻧﺬﻛﺮ
ﻣﻨﻬﺎ ‘ ﻟﻠﺤﺐ ﻗﺼﺔ ﺃﺧﲑﺓ ’ ،ﻭ‘ ﺍﻟﻨﻮﻡ ﰱ ﺍﻟﻌﺴﻞ ’ .ﺍﳌﺴﺄﻟﺔ ﺍﳌﺼﺮﻳﺔ :ﻣﺴﺄﻟﺔ ﺍﻟﺘﺨﻠﻒ ،ﻣﺴﺄﻟﺔ ﺗﻜﻠﺲ ﳕﻂ ﺍﳊﻴﺎﺓ
ﻟﺴﺒﻌﺔ ﺁﻻﻑ ﺳﻨﺔ ،ﻭﻣﻦ ﰒ ﺍﻟﻠﻮﺍﺫ ﺑﺎﳋﺮﺍﻓﺔ ﻭﻏﻴﺎﺏ ﺍﻻﺳﺘﻌﺪﺍﺩ ﻟﻠﻤﺼﺎﳊﺔ ﻣﻊ ﺣﻘﺎﺋﻖ ﺍﻟﻌﺼﺮ ،ﻭﺍﻟﺘﻤﻨﻊ ﰱ ﺍﻟﺘﻮﺍﺿﻊ
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ﻭﺍﳊﺐ ﳓﻮ ﺍﻟﻐﲑ ﺍﳌﺘﻘﺪﻡ ،ﻭﰱ ﺍﶈﺼﻠﺔ ﺍﻟﻨﻬﺎﺋﻴﺔ ﺍﻟﻜﺴﻞ ﻭﺍﻟﻌﺠﺰ ﻭﺍﳍﺰﳝﺔ ﺍﳌﻄﻠﻘﺔ ﲨﻴﻌﺎ ‘ .ﺍﻟﻠﻤﱮ ’ ) ﻣﺜﻠﻪ ﻣﺜﻞ
‘ ﺧﻠﻠﻰ ﺑﺎﻟﻚ ﻣﻦ ﺯﻭﺯﻭ ’ ﺍﻟﻠﺬﺍﻥ ﻳﺸﺘﺮﻛﺎﻥ ﻣﻌﺎ ﰱ ﺑﺴﺎﻃﺔ ﺍﻟﻈﺎﻫﺮ ( ﻭﺍﺣﺪ ﻣﻦ ﻫﺬﻩ ﺍﻷﻓﻼﻡ .
ﻫﺬﺍ ﻣﻦ ﺣﻴﺚ ﳏﺘﻮﺍﻩ ﺍﻟﺘﻘﺪﻣﻰ ﺍﻟﺮﺍﻗﻰ ،ﺃﻣﺎ ﻛﻜﻞ ﻣﻦ ﺣﻴﺚ ﺍﻟﻘﻴﻤﺔ ﺍﻟﻜﻠﻴﺔ ﺃﻯ ﺍﶈﺘﻮﻯ ﻭﺍﻹﻣﺘﺎﻉ ﺍﻟﻔﲎ ﻣﻌﺎ ،ﻓﻬﻮ ﺑﻼ
ﺷﻚ ) ﻣﺜﻞ ‘ ﺯﻭﺯﻭ ’ ﺃﻳﻀﺎ ( ﻭﺍﺣﺪ ﻣﻦ ﺃﻓﻀﻞ ﺍﻷﻓﻼﻡ ﺍﳌﺼﺮﻳﺔ ﺇﻃﻼﻗﺎ ﻣﻨﺬ ﺭﺣﻴﻞ ﻋﺰ ﺍﻟﺪﻳﻦ ﺫﻭ ﺍﻟﻔﻘﺎﺭ ) ﻭﻣﺜﻞ ‘ ﺯﻭﺯﻭ ’
ﺃﻳﻀﺎ ﻟﻴﺲ ﻏﺮﻳﺒﺎ ﺃﻥ ﺍﺳﺘﺤﻖ ﺃﻥ ﻳﺼﺒﺢ ﰱ ﺣﻴﻨﻪ ‘ ﺃﳒﺢ ﻓﻴﻠﻢ ﰱ ﺗﺎﺭﻳﺦ ﺍﻟﺴﻴﻨﻤﺎ ﺍﳌﺼﺮﻳﺔ ’ .ﻭﻋﺎﻣﺔ ﻻ ﻳﺮﻗﻰ ﻟﻠﻘﺐ ﺃﺣﺴﻦ
ﻓﻴﻠﻢ ﻣﻨﺬ ﺭﺣﻴﻞ ﻋﺰ ﺍﻟﺪﻳﻦ ﺫﻭ ﺍﻟﻔﻘﺎﺭ ﺳﻮﻯ ﺣﻔﻨﺔ ﺃﻓﻼﻡ ﳏﺪﻭﺩﺓ ﺟﺪﺍ ﲨﻌﺖ ﻛﻞ ﺍﻟﻔﻀﺎﺋﻞ ﻣﻌﺎ ﲨﺎﻫﲑﻳﺔ ﻭﻓﻨﺎ ﻭﺭﺅﻳﺔ
ﻭﻓﻜﺮﺍ ،ﻭﻟﻌﻞ ﺃﺑﺮﺯﻫﺎ ﲨﻴﻌﺎ ‘ ﺿﺮﺑﺔ ﴰﺲ ’ ﶈﻤﺪ ﺧﺎﻥ ( .
ﻟﻜﻞ ﻫﺬﻩ ﺍﻷﺳﺒﺎﺏ ﻭﺗﻠﻚ ﳎﺘﻤﻌﺔ ،ﻛﺎﻥ ‘ ﺍﻟﻠﻤﱮ ’ ﺃﺣﺪ ﺃﺧﻄﺮ ﺍﻟﺘﻬﺪﻳﺪﺍﺕ ﺍﻟﱴ ﺗﻌﺮﺿﺖ ﳍﺎ ‘ ﺍﳌﺆﺳﺴﺔ ’ ﰱ
ﺍﳊﻘﺒﺔ ﺍﻷﺧﲑﺓ .ﻭﻬﺑﺠﻮﻣﻪ ﺍﻟﺴﺎﺣﻖ ﺍﳌﻔﺎﺟﺊ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻊ ﻋﻠﻴﻬﻢ ﰱ ﻋﻘﺮ ﺩﺍﺭﻫﻢ ،ﻓﻀﺢ ﻋﻄﻮﻧﺘﻬﻢ ﻭﺷﻌﺮ ﺍﳌﺜﻘﻔﻮﻥ
ﺑﺄﻥ ﺍﻷﺭﺽ ﻬﺗﺘﺰ ﲢﺖ ﺃﻗﺪﺍﻣﻬﻢ ،ﻭﻫﻢ ﺍﻟﺬﻳﻦ ﻃﺎﳌﺎ ﲢﺼﻨﻮﺍ ﺑﻌﺶ ﺍﻟﺪﺑﺎﺑﲑ ﻭﺍﻟﻌﻨﺎﻛﺐ ﻭﺍﻟﺼﺮﺍﺻﲑ ﺍﳌﺴﻤﻰ ﺑﺎﻟﺜﻮﺍﺑﺖ ،
ﻓﻤﺎ ﺑﺎﻟﻚ ﺇﺫﺍ ﻛﺎﻥ ﺍﳍﺠﻮﻡ ﺑﻜﺸﺎﻑ ﺿﻮﺀ ﻗﺪﺭﺗﻪ ٢٥ﻣﻠﻴﻮﻥ ﺟﻨﻴﻪ ﻣﺼﺮﻯ !
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ﻭﺑﻌﺪ ،ﻭﲟﻨﺎﺳﺒﺔ ﺍﳌﻮﻗﻒ ﺍﳌﺨﺠﻞ ﻟﻠﻐﺎﻳﺔ ﻟﻠﻨﻘﺎﺩ ﻣﻦ ﺍﻷﻓﻼﻡ ﺍﻟﻨﺎﺟﺤﺔ ﻋﺎﻣﺔ ﻭﻣﻦ ﺍﻟﻠﻤﱮ ﺑﺎﻟﺬﺍﺕ ﺍﻟﺬﻯ ﻭﺍﺟﻪ ﻫﺠﻤﺔ
ﺷﺮﺳﺔ ﻣﺬﺭﻳﺔ ،ﻣﺎ ﻛﺎﻥ ﻣﻦ ﳏﻤﺪ ﺳﻌﺪ ﺇﻻ ﺃﻥ ﺳﻔﻬﻬﺎ ﺑﻄﺮﻳﻘﺔ ﻃﺮﻳﻔﺔ ﻭﺫﻛﻴﺔ ﺣﻘﺎ ،ﻋﻨﺪﻣﺎ ﻗﺎﻝ ﺇﻧﻪ ﺍﺳﺘﻘﻰ ﺍﳋﻂ ﺍﻟﺪﺭﺍﻣﻰ
ﻣﻦ ﺃﺭﺳﻄﻮ .ﻭﻟﻌﻞ ﺍﻷﻣﺮ ﺑﺎﻟﻔﻌﻞ ﳛﺘﺎﺝ ﳌﺮﺍﺟﻌﺔ ﺑﻌﺾ ﺍﻷﺳﺎﺳﻴﺎﺕ ﺍﻟﻘﺪﳝﺔ ،ﻭﻣﻨﻬﺎ ﻣﺼﺎﺩﺭ ﺍﻟﺪﻫﺸﺔ ﰱ ﺍﻷﻓﻼﻡ ﻭﻟﻦ
ﻧﺬﻛﺮﻫﻢ ﲟﺎ ﳛﻜﻮﻧﻪ ﺩﻭﻣﺎ ﻋﻦ ﻓﻴﻠﻢ ﺍﻟﻘﻄﺎﺭ ﺍﻟﺼﺎﻣﺖ ﺍﻟﺬﻯ ﻓﺮ ﻣﻨﻪ ﲨﻬﻮﺭ ﺍﳌﺸﺎﻫﺪﻳﻦ ،ﺃﻭ ﻋﻦ ‘ ﻛﺎﺭﻛﺘﺮ ’ ﺷﺎﺭﱃ ﺷﺎﭘﻠﻦ
ﺃﻭ ‘ ﺍﻟﻄﻔﻠﺔ ﺍﳌﻌﺠﺰﺓ ’ ﺷﲑﱃ ﲤﭙﻞ ،ﺃﻭ ﺃﻯ ‘ ﻣﻌﺠﺰﺓ ’ ﺃﺧﺮﻯ ﺃﳍﺒﺖ ﺍﻧﻔﻌﺎﻻﺕ ﺍﳉﻤﻬﻮﺭ .ﻫﺬﻩ ﺍﻟﺪﻫﺸﺔ ﻫﻰ ﻣﺎ ﺗﻌﻨﻴﻪ
ﺍﻟﺴﻴﻨﻤﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻨﺎﺱ ،ﻭﻫﻰ ﻣﺎ ﻳﺪﻓﻌﻮﻥ ﻣﻦ ﺃﺟﻠﻪ ﺍﻟﻨﻘﻮﺩ ،ﻭﺍﻟﻘﺎﻧﻮﻥ ﺍﻟﺘﺠﺎﺭﻯ ﻳﻌﻄﻰ ﺍﳊﻖ ﳌﻦ ﻳﺪﻓﻊ ﺍﻟﻨﻘﻮﺩ ﰱ ﺃﻥ ﳜﺘﺎﺭ
ﺍﻟﺴﻠﻌﺔ ﺍﻟﱴ ﻳﺸﺎﺀﻫﺎ .
ﻣﻦ ﻫﻨﺎ ﻗﺪ ﻳﻄﻮﻝ ﺍﻟﻜﻼﻡ ﻭﻳﻜﻔﻴﻨﺎ ﻓﻴﻪ ﺇﳚﺎﺯﺍ ﺗﻜﺮﺍﺭ ﻣﺎ ﻛﺘﺒﻨﺎﻩ ﺃﻋﻼﻩ ﻋﻠﻰ ﻫﺎﻣﺶ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺮﺋﻴﺴﺔ ﳍﺬﻩ ﺍﻟﺼﻔﺤﺔ ﻋﻦ
ﺁﻟﻴﺎﺕ ﺍﻟﻔﻦ ﺍﳉﻤﺎﻫﲑﻯ ‘ :ﺍﻟﻨﺎﻗﺪ ﳚﻠﺲ ﰱ ﻗﺎﻋﺔ ﺍﻟﻌﺮﺽ ﻟﻴﻜﺘﺐ ﻣﺎ ﺷﻌﺮ ﺑﻪ ﲡﺎﻩ ﺍﻟﻔﻴﻠﻢ .ﻫﺬﻩ ﻟﻴﺴﺖ ﻭﻇﻴﻔﺘﻪ .
ﻭﻇﻴﻔﺘﻪ ﺃﻥ ﻳﻜﺘﺐ ﻣﺸﺎﻋﺮ ﺍﳌﺸﺎﻫﺪ ﰱ ﺍﳌﻘﻌﺪ ﺍﺠﻤﻟﺎﻭﺭ .ﻣﺸﻜﻠﺔ ﺍﻟﻨﻘﺎﺩ ﺃﻬﻧﻢ ﻳﻔﺘﺮﺿﻮﻥ ﺃﻥ ﺍﻷﻓﻼﻡ ﺗﺼﻨﻊ ﻟﺘﻌﺰﻳﺔ
ﻫﻮﺍﺟﺴﻬﻢ ﻫﻢ ﺍﻟﺬﻫﻨﻴﺔ ،ﺑﻴﻨﻤﺎ ﺍﳊﻘﻴﻘﺔ ﺃﻬﻧﺎ ﺗﺼﻨﻊ ﻣﻦ ﺃﺟﻞ ﺍﻟﻨﺎﺱ .ﻓﻘﻂ ﺩﻭﺭ ﺍﻟﻨﺎﻗﺪ ﺍﻟﺘﺄﻛﺪ ﻣﻦ ﺃﻬﻧﺎ ﺗﻨﺎﺳﺐ ﺍﳌﺴﺘﻮﻯ
ﺍﻟﻌﻘﻠﻰ ﻭﺍﻟﻮﺟﺪﺍﱏ ﳍﺬﺍ ﺍﻟﻌﻤﻮﻡ ﻣﻦ ﺍﻟﻨﺎﺱ ’ .
ﻧﻀﻴﻒ ﺳﺆﺍﻻ ﺟﺪﻳﺪﺍ ﻫﺬﻩ ﺍﳌﺮﺓ ﺗﻄﺮﺣﻪ ﻫﺬﻩ ﺍﻷﻓﻼﻡ ﺍﻟﱴ ﻧﺘﻜﻠﻢ ﻋﻨﻬﺎ ﺍﻟﻴﻮﻡ :ﳌﺎﺫﺍ ﻳﻘﺒﻞ ﺍﻟﻨﻘﺎﺩ ﻣﻦ ﺍﻟﺮﺳﻢ ﻭﺍﻟﺒﺎﻟﻴﻪ
ﻭﺍﳌﻮﺳﻴﻘﻰ ﺃﻥ ﺗﻜﻮﻥ ﻓﻨﻮﻧﺎ ﺗﻌﺒﲑﻳﺔ ،ﳛﺘﻞ ﺍﶈﺘﻮﻯ ﻓﻴﻬﺎ ﻣﻜﺎﻧﺎ ﺛﺎﻧﻮﻳﺎ ﺃﻭ ﺧﻔﻴﺎ ﺃﻭ ﻻ ﻭﺟﻮﺩ ﻟﻪ ﺑﺎﳌﺮﺓ ،ﻭﻳﺴﺘﻨﻜﺮﻭﻥ
ﺫﺍﺕ ﺍﻟﺸﻰﺀ ﻋﻠﻰ ﺍﻟﺴﻴﻨﻤﺎ ؟
ﺃﻭ ﺑﻼﺵ ،ﺇﻟﻴﻜﻢ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ ﺍﻷﺳﻬﻞ :ﺃﻯ ﺷﻰﺀ ﺗﻐﺰﻟﺘﻢ ﻓﻴﻪ ﰱ ﺃﻓﻼﻡ ﻣﻦ ﺗﺴﻤﻮﻬﻧﻢ ﺑﺎﳌﻬﻤﺸﲔ ﳑﻦ ﺻﻨﻌﻬﺎ
ﺍﳌﺘﻤﺘﻌﻮﻥ ﲞﺎﰎ ﺍﳊﺼﺎﻧﺔ ﺍﻷﻳﺪﻳﻮﻟﻮﭼﻰ ) ‘ ﻟﻴﻪ ﻳﺎ ﺑﻨﻔﺴﺞ ’ ﻣﺜﻼ ،ﺣﻴﺚ ﺍﻟﻐﺰﻝ ﻓﻴﻪ ﻛﺜﲑ ﺟﺪﺍ ﺳﻮﺍﺀ ﳏﻠﻴﺎ ﺃﻭ ﻣﻦ
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ﺍﻷﳑﻴﺔ ﺍﻟﺸﻴﻮﻋﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ ﺍﳌﺴﻤﺎﺓ ﲟﻬﺮﺟﺎﻧﺎﺕ ﺍﻟﺴﻴﻨﻤﺎ ( ،ﻭﻟﻴﺲ ﻣﻮﺟﻮﺩﺍ ﰱ ‘ ﺍﻟﻠﻤﱮ ’ ﺑﺸﻜﻞ ﺃﺭﻗﻰ ﻭﺃﻣﺘﻊ ﺑﻞ
ﻭﺃﻛﺜﺮ ﻓﻠﺴﻔﻴﺔ ﻭﺗﺄﻣﻼ ؟
ﺑﻼﺵ ﺩﻯ ﻛﻤﺎﻥ .ﺳﺄﺫﻛﺮﻛﻢ ﺑﻜﻠﻤﺔ ﺃﺧﺮﻯ ﺃﺳﻬﻞ ﻭﺃﺳﻬﻞ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺮﺋﻴﺴﺔ ﺇﻳﺎﻫﺎ :ﺳﻴﻨﻤﺎ ﺍﻟﻜﻮﻣﻴﺪﻳﺎ ﺇﻟﻠﻰ
ﻣﻮﺵ ﻋﺎﺟﺒﺎﻛﻢ ﺩﻯ ،ﻫﻰ ﺍﻟﺒﺪﺍﻳﺔ ﻟﺘﺄﺳﻴﺲ ﺍﻟﺴﻴﻨﻤﺎ ﻛﺼﻨﺎﻋﺔ ﻷﻭﻝ ﻣﺮﺓ ﰱ ﻣﺼﺮ ،ﺩﻯ ﺇﻟﻠﻰ ﻛﺎﻧﺖ ﻃﻮﻝ ﻋﻤﺮﻫﺎ
ﺳﻴﻨﻤﺎ ﻫﻮﺍﺓ ) ﺣﺎﺷﺎ ﻟﻠﺴﻴﻠﻠﻴﻮﻟﻴﺪ ﱂ ﺃﻗﺼﺪﻛﻢ ﺃﻧﺘﻢ ﺇﳕﺎ ﻗﺼﺪﺕ ﻋﺰ ﺍﻟﺪﻳﻦ ﺫﻭ ﺍﻟﻔﻘﺎﺭ ﻭﻛﻤﺎﻝ ﺍﻟﺸﻴﺦ ﻭﺑﺮﻛﺎﺕ
ﻭﺻﻼﺡ ﺃﺑﻮ ﺳﻴﻒ ،ﻭﺍﺭﺟﻌﻮﺍ ﻟﻠﻜﻼﻡ ( .ﻋﺎﺭﻑ ﺑﺄﻓﻜﺮﻛﻜﻢ ﺑﻴﻬﺎ ﻟﻴﻪ ؟ ﻋﻠﺸﺎﻥ ﺃﻗﻮﻝ ﻟﻜﻢ ﻣﻮﺗﻮﺍ ﺑﻐﻴﻈﻜﻢ ! ﺍﻟﺴﻴﻨﻤﺎ
ﺍﳌﺼﺮﻳﺔ ﲡﺎﻭﺯﺕ ﺍﻵﻥ ﻛﻞ ﻫﺬﺍ ﻭﻛﻞ ﺍﻟﺴﺠﻼﺕ ﺍﻟﻘﻴﺎﺳﻴﺔ :ﺇﻬﻧﺎ ﺍﻟﻴﻮﻡ ﺳﻴﻨﻤﺎ ﻋﺮﻳﻘﺔ ﺗﻀﺮﺏ ﲜﺬﻭﺭﻫﺎ ﰱ ﺃﻋﻤﺎﻕ
ﺗﺎﺭﻳﺦ ،ﻋﻤﺮﻫﺎ ﲡﺎﻭﺯ ﺍﻵﻥ ﺍﻟﺴﺖ ﺳﻨﻮﺍﺕ !
] ﲢﺪﻳﺚ ٧ :ﺳﭙﺘﻤﱪ : ٢٠٠٢ﻣﺆﺧﺮﺍ ﺍﻧﱪﺕ ﺑﻌﺾ ﺍﻷﺻﻮﺍﺕ ﻟﻠﺪﻓﺎﻉ ﻋﻦ ‘ ﺍﻟﻠﻤﱮ ’ .ﺑﻌﻀﻬﻢ ﻣﻦ
ﺍﻟﺼﻨﺎﻋﺔ ﻧﻔﺴﻬﺎ ،ﻭﺑﻌﻀﻬﻢ ﻣﻦ ﺍﻟﻜﺘﺎﺏ .ﺍﻟﺴﺒﺐ ﻫﻮ ﺍﳌﻼﺣﻘﺔ ﺍﻟﺮﻗﺎﺑﻴﺔ ﺍﳌﺴﺘﻔﺰﺓ ﳌﻨﻊ ﺗﺼﺪﻳﺮ ﺍﻟﻔﻴﻠﻢ ،ﻭﺣﱴ
ﻟﺸﺮﻳﻂ ﺍﳌﻮﺳﻴﻘﻰ .ﻟﻸﺳﻒ ﱂ ﻧﺴﻌﺪ ﻗﻂ ﺑﺄﻯ ﻣﻦ ﻫﺬﺍ ﺍﻟﺪﻓﺎﻉ .ﺍﻟﻜﻞ ﻳﺆﻛﺪ ﻋﻠﻰ ﺷﻰﺀ ﻭﺍﺣﺪ :ﺍﻟﻠﻤﱮ ﺷﺨﺼﻴﺔ
ﺳﻠﺒﻴﺔ ،ﻭﺍﻟﻔﻴﻠﻢ ﻳﺪﻳﻨﻬﺎ ! ﻣﺎ ﻫﺬﺍ ﺍﳍﺮﺍﺀ ،ﺑﺎﺳﺘﺜﻨﺎﺀ ‘ ﺯﺩ ’ ﻭﺃﻳﺎﻣﻪ ،ﱂ ﳛﺪﺙ ﻗﻂ ﺃﺩﺍﻥ ﻓﻴﻠﻢ ﺷﻴﺌﺎ ﻭﳒﺢ .ﻫﺬﺍ ﻛﻞ
ﻣﺎ ﻋﻨﺪﻯ ﻷﻗﻮﻟﻪ ! [ .
] ﲢﺪﻳﺚ ١٥ :ﺳﭙﺘﻤﱪ : ٢٠٠٢ﺍﻟﻴﻮﻡ ﲢﺪﺙ ﳏﻤﺪ ﻫﻼﻝ ﺻﺎﺣﺐ ﻛﻠﻤﺎﺕ ﺃﻏﺎﱏ ﺍﻟﻠﻤﱮ ﰱ ﺟﺮﻳﺪﺓ ﺍﲰﻬﺎ
ﺍﻟﺘﺠﻤﻊ .ﺍﻟﻜﻼﻡ ﺟﺎﺀ ﺻﺪﻯ ﳌﺎ ﻗﺎﻟﻪ ﺑﺎﻷﻣﺲ ﻣﺆﻟﻒ ﻣﻮﺳﻴﻘﻰ ﻋﺼﺎﻡ ﻛﺎﺭﻳﻜﺎ ﰱ ﻣﻠﺤﻖ ﺍﻟﺘﻠﻴﭭﺰﻳﻮﻥ ﻣﻊ ﳎﻠﺔ
ﺍﻷﻫﺮﺍﻡ ﺍﻟﻌﺮﰉ ،ﻭﺇﻥ ﺗﺮﻛﺰ ﻣﻌﻈﻤﻪ ﻋﻠﻰ ﺃﻏﻨﻴﺘﻬﻤﺎ ﻣﻌﺎ ‘ ﺷﻨﻜﻮﺗﻰ ’ .ﻋﺼﺎﻡ ﻛﺎﺭﻳﻜﺎ ﲢﺪﺙ ﺃﻛﺜﺮ ﻋﻦ ﺍﻟﻠﻤﱮ .
ﻗﺎﻝ ﺻﺮﺍﺣﺔ ﺃﻧﻪ ﺃﺭﺍﺩ ﺍﻟﺴﺨﺮﻳﺔ ﻣﻦ ﺃﻡ ﻛﻠﺜﻮﻡ ،ﻭﺃﻥ ﺃﻏﻨﻴﺘﻬﺎ ‘ ﺭﺩﺡ ’ ﻓﻌﻼ ! ﻭﺍﻋﺘﺮﻑ ﺑﺬﺍﺕ ﺍﳌﻌﲎ ﺍﻟﺬﻯ ﺗﻮﻗﻌﻨﺎﻩ
ﻋﺎﻟﻴﻪ ﺃﻧﻪ ﱂ ﻳﻔﻌﻞ ﺳﻮﻯ ﺃﻥ ﻧﻘﻠﻬﺎ ﻋﻦ ﺃﺣﺪ ﺍﻷﻓﺮﺍﺡ ﺍﻟﻔﻠﻜﻠﻮﺭﻳﺔ .ﺃﻳﻀﺎ ﺃﻓﺎﺩ ﰱ ﻣﻮﺿﻮﻋﺎﺕ ﺷﱴ ﻣﻨﻬﺎ ﻗﻮﻟﻪ ﻣﺜﻼ ﺇﻥ
ﳏﺎﻛﺎﺓ ﺍﻟﻐﺮﺏ ﻣﻄﻠﻮﺑﺔ ،ﻭﺑﺪﻭﻬﻧﺎ ﻟﻦ ﻧﺼﻞ ﺑﻔﻨﻮﻧﺎ ﳌﺴﺘﻮﻯ ﺍﻟﻌﺎﳌﻴﺔ ،ﻭﺃﻥ ﻣﺴﺄﻟﺔ ﻣﺎ ﻳﺴﻤﻮﻧﻪ ﺍﻟﻔﻦ ﺍﳍﺎﺑﻂ ﻛﻠﻬﺎ ﺣﻘﺪ
ﰱ ﻏﻴﻆ ﻣﻦ ﺃﻋﺪﺍﺀ ﺍﻟﻨﺠﺎﺡ .ﺍﻟﺸﺠﺎﻋﺔ ﻋﻤﻠﺔ ﻧﺎﺩﺭﺓ ﻫﺬﻩ ﺍﻷﻳﺎﻡ ،ﻣﻦ ﰒ ﻛﻞ ﺍﻟﺘﺤﻴﺔ ﻟﻜﺎﺭﻳﻜﺎ ،ﻭﺇﻥ ﻛﻨﺖ ﻻ ﺃﻓﻬﻢ
ﺟﺪﺍ ﻣﻌﲎ ﻫﺬﺍ ﺍﻻﺳﻢ ،ﻭﻻ ﺑﺄﺱ ،ﻓﻔﻰ ﺍﻟﻔﻦ ﺍﳉﻤﺎﻫﲑﻯ ﻟﻴﺲ ﻣﻄﻠﻮﺑﺎ ﺃﻥ ﺗﻔﻬﻢ ﻛﻞ ﺷﻰﺀ ! [ .
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