{"id":331785,"date":"2023-09-23T19:58:19","date_gmt":"2023-09-23T17:58:19","guid":{"rendered":"https:\/\/zjarr.tv\/?p=331785"},"modified":"2023-09-24T09:21:02","modified_gmt":"2023-09-24T07:21:02","slug":"aleksander-kronike-e-nje-lundrimi-tragjik","status":"publish","type":"post","link":"https:\/\/zjarr.tv\/en\/aleksander-kronike-e-nje-lundrimi-tragjik\/","title":{"rendered":"\u201cALEKSAND\u00cbR\u201d \u2013 KRONIK\u00cb E NJ\u00cb LUNDRIMI TRAGJIK"},"content":{"rendered":"

Nga: G\u00ebzim Puka<\/p>\n

P\u00ebr t\u00eb rr\u00ebfyer nj\u00eb ngjarje duhet fjala, por kur rr\u00ebfimtari nuk e gjen dot at\u00eb (we cannot find the words), at\u00ebher\u00eb nd\u00ebrhyn gjuha filmike e Ardit Sadikut. Skenaristi dhe regjisori i ri shkodran \u00ebsht\u00eb takuar n\u00eb Amerik\u00eb me Aleksand\u00ebr Grud\u00ebn, protagonistin e nj\u00ebrit prej aksioneve m\u00eb rr\u00ebqeth\u00ebse t\u00eb fundkomunizmit n\u00eb Shqip\u00ebri. Arratisja e 18 personave me anijen luftarake p\u00ebrmes liqenit t\u00eb Shkodr\u00ebs m\u00eb 11 shtator 1990, duke marr\u00eb peng rojet kufitare, ishte sfida m\u00eb e madhe q\u00eb iu b\u00eb atij regjimi t\u00eb eg\u00ebr.<\/p>\n

Qysh prej lasht\u00ebsis\u00eb njeriu e ka par\u00eb lirin\u00eb si vij\u00eb horizonti, gjithmon\u00eb t\u00eb tentueshme p\u00ebr t\u2019u mb\u00ebrritur. Aleksandri i filmit dokumentar e ka t\u00eb brendashkruar q\u00eb n\u00eb em\u00ebr madh\u00ebshtin\u00eb e b\u00ebm\u00ebs. Ai \u00ebsht\u00eb mekaniku i anijes ushtarake, q\u00eb ndodhej pak p\u00ebrtej rras\u00ebs s\u00eb tret\u00eb n\u00eb Shirok\u00eb. Nism\u00ebtari i eksodit t\u00eb par\u00eb, pak koh\u00eb para r\u00ebnies s\u00eb regjimit komunist. Ka me vete gruan shtatz\u00ebn\u00eb dhe vajz\u00ebn 5-vje\u00e7are. Bresh\u00ebrit\u00eb e plumbave t\u00eb kalibrit 12.7 shoq\u00ebrojn\u00eb gjith\u00eb lundrimin e shkurt\u00ebr t\u00eb anijes dit\u00ebn p\u00ebr diell. Pak pa mb\u00ebrritur n\u00eb uj\u00ebrat e Jugosllavis\u00eb, anija p\u00ebson avari. Pes\u00ebmb\u00ebdhjet\u00eb minuta i duhen mekanikut, q\u00eb tashm\u00eb \u00ebsht\u00eb kapiten, p\u00ebr t\u00eb rindezur motorin e shuar dhe shpres\u00ebn drejt liris\u00eb. Anija n\u00eb mes t\u00eb liqenit goditet nga t\u00eb gjitha an\u00ebt.<\/p>\n

\"\"<\/p>\n

Nj\u00ebri prej tyre shpon \u00e7elikun e anijes, b\u00ebn rikoshet tek portreti i diktatorit n\u00eb kabin\u00eb dhe p\u00ebrshkon ballin e vajz\u00ebs s\u00eb vog\u00ebl. Nj\u00eb tragjedi e v\u00ebrtet\u00eb, q\u00eb ia kalon disa her\u00eb tragjedive q\u00eb mbartin motivin e sakrific\u00ebs. Anija arrin t\u00eb arratiset, por me Anis\u00ebn e vog\u00ebl t\u00eb sakrifikuar n\u00eb bordin e saj.<\/p>\n

\u00cbndrra e liris\u00eb kthehet n\u00eb mort.<\/p>\n

\u201cErdha nga tmerri n\u00eb gazep,\u201d- shprehet protagonist diku nga fundi i filmit.<\/p>\n

Jehona e ngjarjes<\/strong><\/p>\n

Shum\u00ebkush nga ne, q\u00eb tashm\u00eb i kemi pes\u00eb dekada mbi shpin\u00eb, e kujtojm\u00eb at\u00eb mjet lundrues ushtarak, q\u00eb q\u00ebndronte diku pas rras\u00ebs s\u00eb tret\u00eb. Edhe filmin autori prej k\u00ebsaj jehone e fillon. D\u00ebshmitar \u00ebsht\u00eb nj\u00eb lund\u00ebrtar q\u00eb shprehet se ai akt, n\u00eb at\u00eb koh\u00eb, ishte \u201cnj\u00eb \u00e7menduri\u201d.<\/p>\n

Njer\u00ebz dhe gazetar\u00eb jan\u00eb mbledhur rreth p\u00ebrkujtimores p\u00ebr t\u00eb kujtuar at\u00eb sakrific\u00eb. Autori i filmit nuk na e ka hequr mund\u00ebsin\u00eb e pjes\u00ebmarrjes ne, spektator\u00ebve t\u00eb djesh\u00ebm e t\u00eb sot\u00ebm. E vetmja gj\u00eb q\u00eb mungon jan\u00eb pamje t\u00eb s\u00eb kaluar\u00ebs. E shkuara \u00ebsht\u00eb n\u00eb vendin e saj vet\u00ebm si histori. P\u00ebrjashtim nga ky rregull p\u00ebrb\u00ebn leximi i komunikat\u00ebs s\u00eb shtetit komunist, sipas t\u00eb cilit protagonist\u00ebt ishin terrorist\u00eb.<\/p>\n

T\u00eb gjith\u00eb personazhet rr\u00ebfejn\u00eb nga koha e sotme, kjo \u00ebsht\u00eb strategjia q\u00eb do t\u00eb ndiqet p\u00ebrgjat\u00eb gjith\u00eb filmit nga regjisori. Ai p\u00ebrdor pauzat p\u00ebr t\u00eb na p\u00ebrfshir\u00eb kujtimet apo kuptimet tona p\u00ebr ngjarjen. Paradoksalisht kemi nj\u00eb \u201cDuel t\u00eb heshtur\u201d t\u00eb lexuar mbrapsht. Duke par\u00eb filmin nuk mund t\u2019i shp\u00ebtoja dot shoq\u00ebrizimit t\u00eb mendimit edhe un\u00eb. Policin e rr\u00ebmbyer e pata njohur n\u00eb vitin 1995, kur punoja n\u00eb nj\u00eb fshat kufitar. Ai nuk kishte pranuar t\u00eb q\u00ebndronte n\u00eb Jugosllavi dhe kishte ngulmuar p\u00ebr t\u2019u kthyer. E meq\u00eb njer\u00ebzit (por jo kufiri) kishin ndryshuar, ne b\u00ebnim humor me vendimin e k\u00ebtij \u201cheroi t\u00eb heshtur\u201d, p\u00ebr t\u00eb mos e \u201ctradhtuar\u201d atdheun. Edhe n\u00eb filmin e Ardit Sadikut, p\u00ebrmendet, por nuk trajtohet ky personazh.<\/p>\n

\"\"<\/p>\n

Nd\u00ebrtimi i filmit<\/strong><\/p>\n

M\u00eb shum\u00eb se 33 vjet m\u00eb von\u00eb autori i filmit ka mbledhur disa nga \u201caktor\u00ebt\u201d e k\u00ebsaj tragjedie, p\u00ebr ta rind\u00ebrtuar tmerrin e asaj dite. Personazhi kryesor fillon t\u00eb gjej\u00eb fjal\u00ebt pik\u00ebrisht aty n\u00eb vendet e ngjarjeve, n\u00eb lagjen e tij n\u00eb Shkod\u00ebr, n\u00eb Shirok\u00eb, n\u00eb Zogaj, n\u00eb Kraj\u00eb. Kineasti k\u00ebrkon pamjet, aktori k\u00ebrkon fjal\u00ebt. K\u00ebshtu, p\u00ebrmes k\u00ebtij procedimi, nd\u00ebrtohet filmi. Nj\u00eb film ku si n\u00eb nj\u00eb roman, historia dhe skenari krijojn\u00eb tension. Skenari rrjedh i fragmentuar p\u00ebr t\u00eb nj\u00ebjt\u00ebn histori q\u00eb e rr\u00ebfejn\u00eb disa z\u00ebra. Tre jan\u00eb m\u00eb kryesor\u00ebt: Aleksandri, Marjani dhe d\u00ebshmitari ish-ushtarak.
\nAleksandri e fillon prej \u201c\u00ebndrr\u00ebs\u201d amerikane t\u00eb realizuar. I pamposhtur nga stuhit\u00eb e jet\u00ebs. Interpreton plot patos, \u00ebsht\u00eb optimist dhe energjik prej natyre, por ai ka ndryr\u00eb brenda zemr\u00ebs dhembjen. Punon si portier e recepsionist prej shum\u00eb vitesh p\u00ebr nj\u00eb kompani t\u00eb Donald Trump.<\/p>\n

\"\"<\/p>\n

Po si vjen protagonisti tek shikuesi?<\/p>\n

K\u00ebndv\u00ebshtrimi i ngjarjes nga autori ka synim rigjall\u00ebrimin e emocionit. Ky \u00ebsht\u00eb thelbi i inkuadraturave t\u00eb Ardit Sadikut. Filmi sfondit i jep nj\u00eb fizionomi po aq t\u00eb fuqishme, sa edhe njeriut. Vlen t\u00eb p\u00ebrmendet sfondi nd\u00ebrmend\u00ebs gri i anij\u00ebs ushtarake n\u00eb SHBA, q\u00eb shkrihet po me ngjyr\u00ebn gri t\u00eb flok\u00ebve dhe veshjen e personazhit.<\/p>\n

N\u00eb film pejzazhi \u00ebsht\u00eb n\u00eb l\u00ebvizje. Inkuadratura q\u00eb nd\u00ebrrohen shpesh duke fuqizuar ritmin. Prapakthimi i Aleksandrit vjen me disa detaje, vende, imazhe q\u00eb zgjojn\u00eb kujtes\u00ebn e tij dhe t\u00eb t\u00eb tjer\u00ebve. L\u00ebvizja n\u00eb koh\u00eb dhe n\u00eb hap\u00ebsir\u00eb \u00ebsht\u00eb shum\u00eb e shpejt\u00eb, ashtu si\u00e7 \u00ebsht\u00eb edhe jeta e njeriut. Inkuadratura dhe rr\u00ebfimi filmik vjen skajshm\u00ebrisht njer\u00ebzor, i besuesh\u00ebm, i sinqert\u00eb, por edhe reflektiv. Dokumentari sjell Aleksandrin q\u00eb rr\u00ebfen dhe emocionohet. N\u00eb ndonj\u00eb rast revoltohen ndaj s\u00eb kaluar\u00ebs, q\u00eb nuk ndryshohet dot. T\u00eb gjith\u00eb k\u00ebta koha i ka shnd\u00ebrruar nga njer\u00ebz t\u00eb aksionit, n\u00eb njer\u00ebz meditativ\u00eb. Jan\u00eb b\u00ebr\u00eb pak filozof\u00eb. Kamera k\u00ebrkon ta fokusoj\u00eb k\u00ebt\u00eb pjekuri, q\u00eb dhembja ka p\u00ebrcjell\u00eb nd\u00ebr vite.
\n\u201cDoes God choose?\u201d (A zgjedh Zoti?), jan\u00eb fjal\u00eb q\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyre godasin jo vet\u00ebm n\u00eb aspektin e p\u00ebrkujtimit t\u00eb viktim\u00ebs s\u00eb pafajshme, por edhe memorien kolektive p\u00ebr t\u00eb shkuar\u00ebn. Drita, err\u00ebsira, ritmi, muzika ia shtojn\u00eb vler\u00ebn k\u00ebtij filmi.<\/p>\n

\"\"<\/p>\n

Skenari i filmit vet\u00ebkrijohet n\u00eb vendngjarje edhe p\u00ebrmes pjes\u00ebmarrjes s\u00eb d\u00ebshmitar\u00ebve t\u00eb tjer\u00eb. Jan\u00eb edhe banor\u00ebt e p\u00ebrtejkufirit q\u00eb e kan\u00eb jetuar ngjarjen me shum\u00eb ankth. T\u00ebr\u00eb zona ka vajtuar vajz\u00ebn e vog\u00ebl, viktim\u00ebn e vetme t\u00eb ngjarjes. E gjith\u00eb kjo atmosfer\u00eb vjen n\u00ebn ritmin ngjeth\u00ebs t\u00eb muzik\u00ebs.<\/p>\n

Udh\u00ebtimi nga Shiroka drejt molit t\u00eb Skjes\u00eb ka shenjuar jet\u00ebn e personazhit. Nga vuajtja n\u00eb mort, por me besim t\u00eb jeta. Filmi, nd\u00ebr ato t\u00eb paktat her\u00eb ku ka dialog, p\u00ebrpiqet t\u00eb jet\u00eb prek\u00ebs. I till\u00eb \u00ebsht\u00eb takimi i Aleksandrit me Brankon, q\u00eb ka qen\u00eb organizatori i funeralit. Aleksandri bashk\u00eb me vajz\u00ebn ka varrosur nj\u00eb cop\u00ebz vetveteje, por me pjes\u00ebn e mbijetuar ka nd\u00ebrtuar nj\u00eb jet\u00eb n\u00eb SHBA. Pik\u00ebv\u00ebshtrimi i kameras \u00ebsht\u00eb pjesa m\u00eb mbres\u00ebl\u00ebn\u00ebse e k\u00ebtij dokumentari. Filmi ka impresioniz\u00ebm. Planet jan\u00eb montuar me ritmin e duhur, duke e zhvendosur personazhin nga periferia n\u00eb qend\u00ebr t\u00eb ngjarjes. Kamera q\u00eb l\u00ebviz duke gjetur detaje t\u00eb ngushta dhe t\u00eb gjera. Liqeni i Shkodr\u00ebs b\u00ebhet po aq personazh. I filmuar prej nj\u00eb gryke bunkeri apo dritareje, ai i ngjan nj\u00eb deti. Uj\u00eb q\u00eb t\u00eb shpie drejt liris\u00eb.<\/p>\n

\"\"<\/p>\n

P\u00ebrmes nj\u00eb tregimi paralel vjen Marjani, rr\u00ebfimtari tjet\u00ebr n\u00eb Australin\u00eb e larg\u00ebt. \u00cbsht\u00eb shoku i tij i veprimit, q\u00eb tani p\u00ebrdor anglishten e m\u00ebsuar me shum\u00eb mund, p\u00ebr ta z\u00ebvend\u00ebsuar gjuh\u00ebn e shtetit t\u00eb vet, q\u00eb nuk e deshi kurr\u00eb. Ka mbetur si nj\u00eb personazh me v\u00ebshtrim nga deti. N\u00eb kontinentin e larg\u00ebt, ai e ka konsumuar jet\u00ebn e tij si ka mundur, por krenar p\u00ebr at\u00eb q\u00eb ka b\u00ebr\u00eb. Ligj\u00ebrata e tij e p\u00ebrvijon kontekstin me pak ironi, sidomos nga nd\u00ebrhyrjet e miqve australian\u00eb q\u00eb e rrethojn\u00eb. Dikush prej tyre shprehet se midis socializmit dhe komunizmit \u00ebsht\u00eb faza e alkoolizmit. I bllokuar brenda \u201c\u00ebndrr\u00ebs\u201d australiane personazhi her\u00eb e vonon, her\u00eb e humbet fjal\u00ebn. Pik\u00ebrisht at\u00ebher\u00eb autori fillon t\u00eb ligj\u00ebroj\u00eb me imazhe, nd\u00ebrsa shikuesi plot\u00ebson me mendim.<\/p>\n

Rr\u00ebfimtari i tret\u00eb i r\u00ebnd\u00ebsish\u00ebm flet prej an\u00ebs tjet\u00ebr t\u00eb historis\u00eb. Ai ka qen\u00eb me sh\u00ebrbim ushtarak asokohe dhe gjendej n\u00eb krahun e atyre q\u00eb e gjuanin anijen. Edhe at\u00eb jeta e ka b\u00ebr\u00eb m\u00eb filozof e m\u00eb njoh\u00ebs t\u00eb politik\u00ebs s\u00eb madhe. \u201cGorba\u00e7ovi e nd\u00ebrroi historin\u00eb! Pse kush un\u00eb a?!\u201d- v\u00ebren ai. Nuk harron se vet\u00eb ka qen\u00eb n\u00eb an\u00ebn e bregut, dometh\u00ebn\u00eb t\u00eb zjarrit, por ngush\u00ebllohet me faktin se ka par\u00eb nj\u00eb heroiz\u00ebm t\u00eb madh. Nj\u00eb anije q\u00eb lundron drejt liris\u00eb n\u00eb luft\u00eb me nj\u00eb ushtri. Inkuadratura luan me efektin e kontrastit. Ky personazh v\u00ebshtrohet nga brenda bunkerit. M\u00eb pas tregon vendit nga ku 12,7-shi villte zjarr at\u00eb dit\u00eb, pik\u00ebrisht n\u00eb at\u00eb vend ku tani kullotnin lop\u00ebt dhe blet\u00ebt. Personazhi p\u00ebrhumb n\u00eb \u00ebndrra ardhm\u00ebrie, kur Shqip\u00ebria do t\u00eb shnd\u00ebrrohet nj\u00eb azil ideal p\u00ebr t\u00eb moshuarit nga Gjermania. Ka ve\u00e7 ironi i gjith\u00eb pik\u00ebv\u00ebshtrimi dhe ligj\u00ebrimi i k\u00ebtij narratori.<\/p>\n

Kur shkon af\u00ebr final\u00ebs s\u00eb filmit ka nj\u00eb sken\u00eb gazi dhe hareje t\u00eb Aleksandrit, nd\u00ebrsa kridhet n\u00eb detin e kalt\u00ebr. Mundet edhe t\u00eb t\u00eb nd\u00ebrmendet \u201cPapillon-i\u201d i famsh\u00ebm i Steve Mcqueen, q\u00eb ik\u00ebn nga ishulli-burg n\u00eb oqean drejt liris\u00eb.
\nEdhe pse autori e ka konsideruar film dokumentar, kjo nuk na e heq t\u00eb drejt\u00ebn p\u00ebr ta par\u00eb edhe si nj\u00eb film t\u00eb mir\u00ebfillt\u00eb artistik. N\u00ebse nuk do t\u00eb ishin provat, d\u00ebshmitar\u00ebt dhe faktet p\u00ebr k\u00ebt\u00eb ngjarje, shum\u00ebkush k\u00ebt\u00eb histori t\u00eb madhe emocionuese t\u00eb koh\u00ebs, do ta kishte konsideruar vep\u00ebr artistike, dometh\u00ebn\u00eb trillueshm\u00ebri, ose m\u00eb mir\u00eb \u201c\u00e7menduri\u201d.
\nM\u00eb von\u00eb nga vendi yn\u00eb ik\u00ebn plot anije t\u00eb tjera. Shum\u00eb viktima q\u00eb arratiseshin nga diktatura, lufta, varf\u00ebria humb\u00ebn uj\u00ebrave. Shum\u00eb filma u b\u00ebn\u00eb me k\u00ebt\u00eb tem\u00eb, por brenda k\u00ebsaj universaleje \u201cAleksandri\u201d i Ardit Sadikut e ka ve\u00e7antin\u00eb e tij t\u00eb spikatur.<\/p>\n

Akoma pa dal\u00eb n\u00eb kinema, kritika e huaj e ka mir\u00ebpritur me vler\u00ebsime shum\u00eb t\u00eb larta filmin, duke e par\u00eb at\u00eb sidomos n\u00eb rrafshin simbolik, si edhe p\u00ebr mesazhin e lart\u00eb njer\u00ebzor q\u00eb p\u00ebrcjell. S\u00eb shpejti \u201cAleksandri\u201d do t\u00eb jet\u00eb edhe n\u00eb kinemat\u00eb tona p\u00ebr t\u00eb na kujtuar nj\u00eb cop\u00ebz histori, q\u00eb nuk duhet harruar.<\/p>","protected":false},"excerpt":{"rendered":"

Nga: G\u00ebzim Puka P\u00ebr t\u00eb rr\u00ebfyer nj\u00eb ngjarje duhet fjala, por kur rr\u00ebfimtari nuk e gjen dot at\u00eb (we cannot find the words), at\u00ebher\u00eb nd\u00ebrhyn gjuha filmike e Ardit Sadikut. Skenaristi dhe regjisori i ri shkodran \u00ebsht\u00eb takuar n\u00eb Amerik\u00eb me Aleksand\u00ebr Grud\u00ebn, protagonistin e nj\u00ebrit prej aksioneve m\u00eb rr\u00ebqeth\u00ebse t\u00eb fundkomunizmit n\u00eb Shqip\u00ebri. Arratisja […]<\/p>\n","protected":false},"author":2037,"featured_media":331791,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[241,5380,231,235],"tags":[],"class_list":{"0":"post-331785","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-aktualitet","8":"category-kryesore","9":"category-lajme","10":"category-vendi"},"_links":{"self":[{"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/posts\/331785","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/users\/2037"}],"replies":[{"embeddable":true,"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/comments?post=331785"}],"version-history":[{"count":3,"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/posts\/331785\/revisions"}],"predecessor-version":[{"id":331796,"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/posts\/331785\/revisions\/331796"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/media\/331791"}],"wp:attachment":[{"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/media?parent=331785"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/categories?post=331785"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/zjarr.tv\/en\/wp-json\/wp\/v2\/tags?post=331785"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}