{"id":12682,"date":"2014-05-14T18:27:18","date_gmt":"2014-05-14T18:27:18","guid":{"rendered":"https:\/\/patrioti.al\/?p=177"},"modified":"2014-05-14T18:27:18","modified_gmt":"2014-05-14T18:27:18","slug":"nostalghia-1983","status":"publish","type":"post","link":"https:\/\/patrioti.al\/de\/nostalghia-1983\/","title":{"rendered":"Nostalghia (1983)"},"content":{"rendered":"

nga Anisa Vrenozi<\/span><\/p>\n

Regjizor:<\/strong> Andrei Tarkovsky<\/em>
\nSkenari:<\/strong> Andrei Tarkovsky , Tonino Guerra<\/em>
\nAktor\u00eb:<\/strong> Oleg Yankovskiy, Erland Josephson, Domiziana Giordano<\/em><\/p>\n

\u201cNostalghia\u201d \u00ebsht\u00eb filmi i par\u00eb i Tarkovsky-t i prodhuar jasht\u00eb ish-Bashkimit Sovjetik, i filmuar n\u00eb Itali, p\u00ebrfshir\u00eb edhe inskenimet e vendlindjes s\u00eb tij n\u00eb Rusi, dhe me mb\u00ebshtetje financiare nga televizioni publik Italian dhe kompania e filmit \u201cGaumont\u201d n\u00eb Franc\u00eb. Filmit iu akordua \u00e7mimi special i juris\u00eb n\u00eb Festivalin e Filmit n\u00eb Kan\u00eb n\u00eb vitin 1984. \u201cNostalghia\u201d \u00ebsht\u00eb nj\u00eb udh\u00ebtim melankolik p\u00ebrmes historis\u00eb personale t\u00eb nj\u00eb poeti rus dhe ndjenjat e nostalgjis\u00eb p\u00ebr atdheun e tij.
\nFilmat e Andrei Tarkovsky-t konsiderohen si filma t\u00eb v\u00ebshtir\u00eb, tep\u00ebr personale n\u00eb konceptim dhe vizualisht shum\u00eb t\u00eb elaboruar. E v\u00ebrteta \u00ebsht\u00eb se Tarkovsky, i biri nj\u00eb poeti, p\u00ebrdor nj\u00eb qasje t\u00ebr\u00ebsisht poetike n\u00eb filmat e tij q\u00eb trim\u00ebrisht lejon audiencen t\u00eb deshifroj\u00eb vet\u00eb nj\u00eb pjes\u00eb t\u00eb mir\u00eb t\u00eb asaj q\u00eb \u00ebsht\u00eb p\u00ebr tu p\u00ebr\u00e7uar. Por, a nuk \u00ebsht\u00eb funksion i poezis\u00eb t\u00eb p\u00ebrdor\u00eb nj\u00eb gjuh\u00eb personale thuajse t\u00eb kodifikuar, p\u00ebr t\u00eb shprehur ide dhe bot\u00ebkuptime? At\u00ebher\u00eb pse \u00ebsht\u00eb kjo praktik\u00eb kaq e diskutuar n\u00eb prodhimin e filmave? A nuk jan\u00eb imazhet t\u00eb epsh\u00ebm porsi fjal\u00ebt? Pik\u00ebrisht filmat e Tarkovsky-t krijojn\u00eb nj\u00eb analogji vizuale me poezin\u00eb, nj\u00eb kodifikim t\u00eb imazheve n\u00eb mendime abstrakte dhe emocionet q\u00eb trokasin leht\u00eb por thell\u00eb n\u00eb n\u00ebnnd\u00ebrgjegje dhe kumbojn\u00eb n\u00eb t\u00eb nj\u00ebjt\u00ebn m\u00ebnyr\u00eb si poezia.<\/p>\n

Filozofi francez Henri Bergson besonte se p\u00ebrvojat tona jet\u00ebsore, t\u00eb mbledhura dhe t\u00eb ruajtura n\u00eb mendjet tona si kujtime, nuk mund t\u00eb harrohen kurr\u00eb. Sipas Bergson, ka dy lloje t\u00eb kujtes\u00ebs: kujtesa e p\u00ebrhershme (mekanizmat motorik\u00eb t\u00eb organizmit) dhe kujtesa e past\u00ebr (kujtime t\u00eb pavarur). Kujtimet e p\u00ebrhershme jan\u00eb t\u00eb ruajtura n\u00eb tru n\u00eb form\u00ebn e sjelljeve mekanike njer\u00ebzore, nd\u00ebrsa kujtimet e pavarura jan\u00eb t\u00eb ruajtura n\u00eb nd\u00ebrgjegje. Bergson hulumtoi se kujtimet e pavarura jan\u00eb superior\u00eb ndaj kujtimeve t\u00eb p\u00ebrhersh\u00ebm, sepse formimi i kujtimeve t\u00eb tilla mund\u00ebson kreativitet dhe individualitet. Gjithashtu, Bergsoni sugjeroi ekzistenc\u00ebn e nj\u00eb lloji t\u00eb tret\u00eb t\u00eb kujtes\u00ebs t\u00eb p\u00ebrshkruar si „t\u00eb dh\u00ebn\u00eb nga nevojat e perceptimit.“ Nocioni i \u201ckujtes\u00ebs s\u00eb pavullnetshme“, zhvilluar nga romancieri francez Marcel Proust, \u00ebsht\u00eb ekuivalente e kujtes\u00ebs pa em\u00ebr t\u00eb Bergsonit.<\/p>\n

Koncepti i kujtes\u00ebs s\u00eb pavullnetshme pasqyrohet n\u00eb shum\u00eb prej pun\u00ebve t\u00eb Tarkovsky dhe ve\u00e7an\u00ebrisht n\u00eb konceptimin kinematografik t\u00eb Nostalghia, n\u00eb t\u00eb cil\u00ebn realiteti jet\u00ebsor i protagonistit shkrihet vazhdimisht me kujtes\u00ebn e tij. Tarkovsky konsiderohet nj\u00eb nd\u00ebr kinematograf\u00ebt m\u00eb t\u00eb sofistikuar t\u00eb ish-Bashkimit Sovjetik, i cili vazhdimisht ndeshej me v\u00ebshtir\u00ebsit\u00eb e ngritura nga regjimi i dikursh\u00ebm p\u00ebr censurimin e pun\u00ebs s\u00eb tij krijuese dhe sidomos pik\u00ebpamjeve mbi Kristianizmin. Andaj, megjith\u00ebse shum\u00eb t\u00eb vler\u00ebsuar n\u00eb festivale nd\u00ebrkomb\u00ebtare, punimet e Tarkovsky-t ekspozoheshin vet\u00ebm p\u00ebr nj\u00eb audienc\u00eb tejet t\u00eb kufizuar n\u00eb vendlindjen e tij.
\nNe \u201cNostalghia\u201d, poeti Andrei Gortchakov (Oleg Yankovsky) p\u00ebrshkon nj\u00eb ekspedit\u00eb k\u00ebrkimore n\u00eb kodrat toskane t\u00eb Italis\u00eb p\u00ebr t\u00eb shkruar mbi jet\u00ebn e nj\u00eb kompozitori rus t\u00eb shekullit t\u00eb tet\u00ebmb\u00ebdhjet\u00eb i cili kishte studiuar dikur n\u00eb Itali. Shoq\u00ebruar nga p\u00ebrkthyesja e tij italiane, e bukura Eugenia (Domiziana Giordano), ai viziton uj\u00ebrat termal\u00eb t\u00eb Toskan\u00ebs ku vizitor\u00ebt shpresojn\u00eb t\u00eb gjejn\u00eb pavdek\u00ebsin\u00eb, dhe ku ai takon eksentrikun Domenico (aktor i madh suedez Erland Josephson, ikona e filmave t\u00eb Ingmar Bergman), nj\u00eb njeri t\u00eb frik\u00ebsuar nga plog\u00ebshtia shpirt\u00ebrore e bot\u00ebs, i cili dikur kishte mbyllur familjen e tij p\u00ebr shtat\u00eb vjet duke pritur fundin e bot\u00ebs q\u00eb nuk erdhi kurr\u00eb.<\/p>\n

Gjat\u00eb q\u00ebndrimit n\u00eb Itali, Gorchakov ndihet gjithnj\u00eb e m\u00eb shum\u00eb i tjet\u00ebrsuar dhe ai zhvillon nj\u00eb konflikt t\u00eb brendsh\u00ebm n\u00eb t\u00eb cil\u00ebn \u00ebsht\u00eb i pushtuar nga kujtimet e jet\u00ebs s\u00eb m\u00ebparshme n\u00eb Rusi. Gorchakov qart\u00ebsisht mish\u00ebron lidhjen e ngusht\u00eb emocionale q\u00eb shumica e rus\u00ebve ndjejn\u00eb p\u00ebr tok\u00ebn e tyre amtare. Ashtu si vet\u00eb Andrei Tarkovsky shkruan:
\n\u201cKam k\u00ebrkuar q\u00eb filmi t\u00eb jet\u00eb rreth lidhjes s\u00eb p\u00ebrjetshme t\u00eb rus\u00ebve me rr\u00ebnj\u00ebt e tyre komb\u00ebtare, t\u00eb kaluar\u00ebn e tyre, kultur\u00ebn e tyre, vendet amtare, familjet dhe miqt\u00eb; nj\u00eb lidhje t\u00eb cil\u00ebn e mbajn\u00eb me vete gjith\u00eb jet\u00ebn e tyre , pa marr\u00eb parasysh se ku mund t\u2019i \u00e7oj\u00eb fati.\u201d<\/p>\n

Filmi \u00ebsht\u00eb i strukturuar rreth koh\u00ebs s\u00eb brendshme dhe t\u00eb pafund t\u00eb protagonistit. Kjo struktur\u00eb, e krijuar si prej \u00ebndrre krijon nj\u00eb ndjenj\u00eb t\u00eb vazhdueshme paq\u00ebndrueshm\u00ebrie gjat\u00eb gjith\u00eb filmit q\u00eb ilustrohet me an\u00eb t\u00eb kalimeve t\u00eb befta mes gjendjeve t\u00eb ndryshme t\u00eb vet\u00ebdijes dhe p\u00ebrkohshm\u00ebris\u00eb. Pak ngjarje zhvillohen p\u00ebrgjat\u00eb filmit dhe t\u00ebr\u00eb bot\u00ebkuptimi p\u00ebrcillet dhe tranformohet p\u00ebrmes simbol\u00ebve pamore e m\u00eb pak p\u00ebrmes dialog\u00ebve dhe aksionit.
\nNd\u00ebr pjes\u00ebt m\u00eb mahnit\u00ebse t\u00eb filmit jan\u00eb reminishencat bardh e zit t\u00eb Andreit p\u00ebr vendlindjen e tij, nj\u00eb Itali e ndri\u00e7uar nga dielli e cila shp\u00ebrthen n\u00eb ngjyra t\u00eb blerta e blu dhe nj\u00eb p\u00ebrzjerje e dy bot\u00ebve: koha fizike q\u00eb Andrei p\u00ebrjeton dhe honi i tij shpirt\u00ebror, i nxitur ende m\u00eb t\u00ebj nga takimi me Domenico-n\u2026. dhe Tarkovsky q\u00eb rrjedhsh\u00ebm p\u00ebrshkon k\u00ebto dimensione: nuk ka prerje t\u00eb befta t\u00eb skenave apo tranzicione pa natyralitet. Leht\u00ebsia me t\u00eb cil\u00ebn Tarkovsky l\u00ebviz nga bota e ngjyrave n\u00eb at\u00eb monokrome jehon po at\u00eb tranzicion qe p\u00ebrjeton Andrei midis bot\u00ebs s\u00eb tij t\u00eb brendshme dhe asaj \u00e7ka e rrethon.
\nSkena m\u00eb mbres\u00ebl\u00ebn\u00ebse e filmit, me shum\u00eb gjasa, \u00ebsht\u00eb vizita e Andrei brenda sht\u00ebpis\u00eb \u201chyjnore\u201d t\u00eb Domenico-s, nj\u00eb hap\u00ebsir\u00eb e rr\u00ebnuar, irracionale q\u00eb \u00ebsht\u00eb nj\u00eb reflektim i mendjes s\u00eb tij t\u00eb \u201c\u00e7mendur\u201d. N\u00eb at\u00eb sht\u00ebpi, ku ai dikur kishte mbajtur familjen e tij t\u00eb burgosur p\u00ebr vite me rradh\u00eb, \u00ebsht\u00eb e plot me sekrete magjike\u2026 dhe kamera l\u00ebviz mbi dritare nga duken pyje tejet t\u00eb gjelb\u00ebruar, peisazhet toskane plot me kodra e lumenj t\u00eb kristalt\u00eb\u2026. dhe Andrei q\u00eb shfaqet n\u00eb \u00e7do cep, me sa duket pa l\u00ebvizur. Si nj\u00eb sh\u00ebnim final, dallon mbishkrimi n\u00eb mur \u201c1 + 1 = 1″:
\nnj\u00eb metafor\u00eb e ndjeshme q\u00eb Domenico e shpjegon plot\u00ebsisht n\u00eb nj\u00eb analogji aq t\u00eb thjesht\u00eb, por e cila gjithsesi duket tep\u00ebr irracionale e gdhendur n\u00eb sht\u00ebpin\u00eb e nj\u00eb njeriu t\u00eb marr\u00eb\u2026 por ama ata t\u00eb dy, Andrei dhe Domenico, jan\u00eb pjes\u00eb e t\u00eb nj\u00ebjt\u00ebs krijese t\u00eb qen\u00ebsishme: artisti dhe i marri ashtu si \u201c1+1=1\u201d.<\/p>\n

Nd\u00ebr personazh\u00ebt e pakt\u00eb t\u00eb filmit \u00ebsht\u00eb Eugenia. Karakteri i saj \u00ebsht\u00eb vazhdimisht i pak\u00ebnaqur. Ajo nuk mund t\u00eb kuptoj\u00eb grat\u00eb e devotshme t\u00eb cil\u00ebt luten t\u00eb gjunj\u00ebzuara tek \u201cMadonna e Lindjes\u201d, apo edhe t\u00eb bjer\u00eb n\u00eb gjunj\u00eb me respekt n\u00eb kish\u00eb dhe me kok\u00ebfort\u00ebsi kund\u00ebrshton iden\u00eb se grat\u00eb jan\u00eb krijuar p\u00ebr ti sh\u00ebrbyer m\u00ebm\u00ebsis\u00eb, por ama nuk ofron pik\u00ebpamje t\u00eb saj p\u00ebr t\u00eb kund\u00ebrshtuar k\u00ebt\u00eb ide. E frustruar n\u00eb dashurin\u00eb e saj t\u00eb nj\u00ebanshme p\u00ebr Andrei-n, Eugenia p\u00ebrfundon pran\u00eb nj\u00eb njeriu t\u00eb fuqish\u00ebm i cili e shp\u00ebrfill t\u00ebr\u00ebsisht.<\/p>\n

Ashtu si Eugenia, Andrei \u00ebsht\u00eb gjithashtu i pak\u00ebnaqur p\u00ebrgjat\u00eb pjes\u00ebs m\u00eb t\u00eb madhe t\u00eb filmit. Andrein e mb\u00ebrthen nj\u00eb nostalgji e thell\u00eb, por edhe nj\u00eb mall jo vet\u00ebm p\u00ebr atdheun (N\u00ebn\u00ebn Rusi), por p\u00ebr sht\u00ebpin\u00eb e tij shpirt\u00ebrore. Ende \u00ebsht\u00eb e paqart\u00eb s\u00eb \u00e7far\u00eb e shtyu Andrein t\u00eb plot\u00ebsoj\u00eb ritualin e premtuar Domenico-s p\u00ebr t\u00eb kaluar tejp\u00ebrtej hap\u00ebsir\u00ebs boshe t\u00eb vaskave termale me nj\u00eb qiri t\u00eb ndezur. E paqart\u00eb gjithashtu madje \u00ebsht\u00eb edhe n\u00ebse mbajtja e atij qiriu t\u00eb ndezur simbolizon shpengimin e tij shpirt\u00ebror. Simbolizmi i k\u00ebsaj skene p\u00ebrforcohet m\u00eb tej n\u00eb rifillimin e atij rituali deri n\u00eb momentin e kryerjes s\u00eb tij t\u00eb plot\u00eb me qiriun ndezur, sikund\u00ebr rifillimi i jet\u00ebs njer\u00ebzor\u00eb s\u00ebrishmi e s\u00ebrish, nga lindja deri n\u00eb vdekje…<\/p>\n

N\u00eb sken\u00ebn p\u00ebrfundimtare, Andrei dhe qeni i tij jan\u00eb t\u00eb mb\u00ebshtetur n\u00eb frontin e ferm\u00ebs s\u00eb tyre n\u00eb Rusi, t\u00eb kryq\u00ebzuar brenda natyr\u00ebs s\u00eb abacis\u00eb t\u00eb San Galgano\u2026 \u00ebsht\u00eb e bukur, por edhe e shum\u00ebkuptimt\u00eb. Ndoshta sugjeron q\u00eb dy bot\u00eb, ajo italiane dhe ajo ruse- materiale dhe shpirt\u00ebrore, q\u00eb Andrei mundi ti sintetizoj\u00eb, m\u00eb n\u00eb fund jan\u00eb bashkuar. Toni i p\u00ebrgjithsh\u00ebm i filmit, deri n\u00eb sekondat e fundit, p\u00ebrcjell vizione t\u00eb tilla t\u00eb bukuris\u00eb, nj\u00eb ndjenj\u00eb melankolie, nj\u00eb mall q\u00eb kurr\u00eb nuk t\u00eb l\u00ebshon dhe q\u00eb bie n\u00eb d\u00ebshp\u00ebrim dhe ngrihet s\u00ebrish p\u00ebr t\u00eb shpresuar. \u00cbsht\u00eb e v\u00ebshtir\u00eb p\u00ebr t\u00eb p\u00ebrjetuar k\u00ebt\u00eb imazh t\u00eb qet\u00eb p\u00ebrfundimtar si nj\u00eb shnd\u00ebrrim triumfues, apo t\u00eb imagjinohet se nostalgjia e Andrei-t \u00ebsht\u00eb sh\u00ebruar n\u00ebp\u00ebrmjet simbolizmit t\u00eb thjesht\u00eb.<\/p>\n

Edhe pse nuk mund t\u00eb v\u00ebrehet qart\u00ebsisht shprehja e Andreit n\u00eb sken\u00ebn finale, nuk mund t\u00eb imagjinohet me asgj\u00eb tjet\u00ebr p\u00ebrve\u00e7 se asaj maske melankolie sikund\u00ebr gjat\u00eb gjith\u00eb filmit. Tensioni i natyrsh\u00ebm n\u00eb at\u00eb sken\u00eb p\u00ebrfundimtare, sugjeron nj\u00eb hov t\u00eb papritur t\u00eb nj\u00eb hiri gati-gati qiellor, i papajtuesh\u00ebm me at\u00eb \u00e7ka \u00ebsht\u00eb paraqitur m\u00eb par\u00eb p\u00ebrgjat\u00eb filmit, p\u00ebr t\u00eb l\u00ebn\u00eb n\u00eb fund nj\u00eb ndjesi tep\u00ebr t\u00eb fuqishme.<\/p>\n

T\u00eb shikosh \u201cNostalghia-n\u201d \u00ebsht\u00eb si t\u00eb v\u00ebresh nj\u00eb telajo t\u00eb pikturuar magjish\u00ebm, i cili natyrsh\u00ebm transformohet her\u00eb pas here n\u00eb nj\u00eb tjet\u00ebr peisazh, po aq mbres\u00ebl\u00ebn\u00ebs dhe trondit\u00ebs sa ai i m\u00ebparshmi.<\/p>\n","protected":false},"excerpt":{"rendered":"

nga Anisa Vrenozi Regjizor: Andrei Tarkovsky Skenari: Andrei Tarkovsky , Tonino Guerra Aktor\u00eb: Oleg Yankovskiy, Erland Josephson, Domiziana Giordano \u201cNostalghia\u201d \u00ebsht\u00eb filmi i par\u00eb i Tarkovsky-t i prodhuar jasht\u00eb ish-Bashkimit Sovjetik, i filmuar n\u00eb Itali, p\u00ebrfshir\u00eb edhe inskenimet e vendlindjes s\u00eb tij n\u00eb Rusi, dhe me mb\u00ebshtetje financiare nga televizioni publik Italian dhe kompania e…<\/p>\n","protected":false},"author":2,"featured_media":12688,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[218],"tags":[217],"class_list":["post-12682","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-letersianeekran","tag-filma"],"_links":{"self":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts\/12682","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/comments?post=12682"}],"version-history":[{"count":0,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts\/12682\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/media\/12688"}],"wp:attachment":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/media?parent=12682"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/categories?post=12682"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/tags?post=12682"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}