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‫ﺻﻔﺤﻪ ‪5‬ـ ‪ Page 5‬ـ ﺷﻤﺎﺭﻩ ‪1‬‬                                                      ‫و ه ﻮروز‬
‫ﺷﻨﺒﻪ ‪ 21‬ﻣﺎﺭﺱ ﺗﺎ ﭼﻬﺎﺭﺷﻨﺒﻪ ‪ 2‬ﺁﻭﺭﻳﻞ ‪2015‬‬

‫ﺍﻻﻫﻪﺑﻘﺮﺍﻁ ﻛﺘﺎﺑﮕﺰﺍﺭﻯ‬  ‫»ﺍﻋﻼﻣﻴﻪ ﻓﻮﺕ« ﻣﻬﻨﺪﺱ ﺣﺴﻴﻦ ﻭﺣﺪﺕ ﺣﻖ‪:‬‬                                                                      ‫ﺁﺯﺍﺩﻩ ﻛﺮﻳﻤﻰ‬                            ‫ﮔﻔﺖ ﻭ ﮔﻮ ﺑﺎ ﻋﻠﻰ ﺍﺣﻤﺪﺯﺍﺩﻩ‬

                      ‫ﻧﻮﻉ ﺑﻴﻤﺎﺭﻯ‪ :‬ﺗﻴﺮﺑﺎﺭﺍﻥ!‬                                                                                             ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢ »ﻣﺎﺩﺭ ﻗﻠﺐ ﺍﺗﻤﻰ«‬

‫]ﺩﺭﺑﺎﺭﻩ ﻛﺘﺎﺏ »ﻣﺎﺟﺮﺍﻯ ﻋﺪﺍﻟﺖﺧﻮﺍﻫ ِﻰ ﻣﻦ«؛ ﭘﺮﻳﺪﺧﺖ ﻭﺣﺪﺕﺣﻖ؛ ‪ 382‬ﺻﻔﺤﻪ؛ ﺁﻟﻤﺎﻥ ‪[2014‬‬                                                             ‫ﻳﻚ ﺩﻳﻜﺘﺎﺗﻮﺭ ﻣﺴﺖ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎﻯ ﺗﻬﺮﺍﻥ‬

                                       ‫ﻫﻤﻪ ﭼﻴﺰ ﻣﺎﻧﻨﺪ ﺳﺮﻧﻮﺷﺖ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺷﻬﺮﻭﻧﺪﺍﻥ ﺑﻬﺎﻳﻰ ﺩﺭ ﺍﻳﺮﺍﻥ‪ ،‬ﺍﺯ‬                                                                      ‫»ﻣﺎﺩﺭ ﻗﻠﺐ ﺍﺗﻤﻰ« ﺳﺎﺧﺘﻪ ﻋﻠﻰ ﺍﺣﻤﺪﺯﺍﺩﻩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻜﻰ‬
                                       ‫ﻣﺰﺍﺣﻤﺖﻫﺎﻯ ﺗﻠﻔﻨﻰ ﺍﺯ ﺳﻮﻯ ﻧﻬﺎﺩﻫﺎﻯ ﺍﻣﻨﻴﺘﻰ ﻭ ﺑﺴﻴﺠﻰﻫﺎ ﻭ ﭘﺎﺳﺪﺍﺭﺍﻥ‪،‬‬                                                                     ‫ﺍﺯ ﺳﻪ ﻧﻤﺎﻳﻨﺪﻩ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﻛﻨﺎﺭ »ﺗﺎﻛﺴﻰ« )ﺟﻌﻔﺮ‬
                                       ‫ﻣﺮﺍﺟﻌﻪ ﻣﺪﺍﻭﻡ ﺑﻪ ﺧﺎﻧﻪ‪ ،‬ﭘﻴﮕﺮﺩ ﻭ ﺩﺳﺘﮕﻴﺮﻯ ﺁﻏﺎﺯ ﮔﺸﺖ ﻭ ﺑﻪ ﻣﺼﺎﺩﺭﻩ ﺧﺎﻧﻪ‬                                                                 ‫ﭘﻨﺎﻫﻰ( ﻭ »ﭘﺮﻳﺪﻥ ﺍﺯ ﺍﺭﺗﻔﺎﻉ ﻛﻢ« )ﺣﺎﻣﺪ ﺭﺟﺒﻰ( ﺩﺭ‬
                                       ‫ﺷﺨﺼﻰ‪ ،‬ﻣﺤﺮﻭﻣﻴﺖ ﺍﺯ ﺣﻘﻮﻕ ﺍﺟﺘﻤﺎﻋﻰ‪ ،‬ﺯﻧﺪﺍﻥ ﻭ ﺗﻴﺮﺑﺎﺭﺍﻥ ﻭ ﺣﺘﺎ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ‬                                                                 ‫‪65‬ﺍﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻓﻴﻠﻢ ﺑﺮﻟﻴﻦ ﺣﻀﻮﺭ ﺩﺍﺷﺖ‪.‬‬
                                                                                                                                                                       ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺑﺴﺘﺮ ﺷﺒﮕﺮﺩﻯ ﺩﻭ ﺩﺧﺘﺮ ﺟﻮﺍﻥ ﺑﺎ ﺑﺎﺯﻯ ﺗﺮﺍﻧﻪ‬
                                                  ‫ﺩﻓﻦ ﭘﻴﻜﺮ ﺑﻬﺎﻳﻴﺎﻥ ﻭ ﺁﻧﮕﺎﻩ ﺑﻰ ﻧﺎﻡ ﻭ ﻧﺸﺎﻥ ﻛﺮﺩﻥ ﮔﻮﺭﻫﺎ ﺍﻧﺠﺎﻣﻴﺪ‪.‬‬                                                           ‫ﻋﻠﻴﺪﻭﺳﺘﻰ ﻭ ﭘﮕﺎﻩ ﺁﻫﻨﮕﺮﺍﻧﻰ‪ ،‬ﻭﻗﺎﻳﻊ ﺭﻭﺯ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ‪،‬‬
                                                                                                                                                                       ‫ﻣﺸﻜﻼﺕ ﺟﻮﺍﻧﺎﻥ‪ ،‬ﺗﺤﺮﻳﻢ ﺍﻗﺘﺼﺎﺩﻯ ﻭ ﻣﺴﺎﺋﻞ ﺳﻴﺎﺳﻰ ﺭﺍ‬
                                       ‫ﺍﺯ ﻫﻤﺎﻥ ﺭﻭﺯﻫﺎﻯ ﻧﺨﺴﺖ ﭘﻴﺮﻭﺯﻯ ﺍﻧﻘﻼﺏ‬       ‫ﻛﺘﺎﺏ »ﻣﺎﺟﺮﺍﻯ ﻋﺪﺍﻟﺖﺧﻮﺍﻫ ِﻰ ﻣﻦ« ﺩﺭ‬                                                         ‫ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻓﻀﺎﻯ ﻭﺍﻗﻊﮔﺮﺍ ﺑﺎ ﺣﻀﻮﺭ ﺷﺨﺼﻴﺘﻰ‬
                                       ‫ﺍﺳﻼﻣﻰ ﺁﺯﺍﺭ ﻭ ﻓﺸﺎﺭ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪.‬‬          ‫ﺷﺶ ﻓﺼﻞ ﺗﻨﻈﻴﻢ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻓﺼﻞ‬                                                                ‫ﺑﺎ ﺑﺎﺯﻯ ﻣﺤﻤﺪﺭﺿﺎ ﮔﻠﺰﺍﺭ ﺑﻪ ﺩﻧﻴﺎﻳﻰ ﻓﺮﺍﻭﺍﻗﻌﻰ ﺑﺪﻝ ﻣﻰﺷﻮﺩ‪.‬‬
                                       ‫ﻣﻬﻨﺪﺱ ﺣﺴﻴﻦ ﻭﺣﺪﺕﺣﻖ ﻛﻪ ﻫﻢ‬                ‫ﺷﺸﻢ ﺑﺎﻟﻎ ﺑﺮ ﭘﻨﺠﺎﻩ ﺻﻔﺤﻪ ﺷﺎﻣﻞ ﺍﺳﻨﺎﺩ‬
         ‫ﺍﻻﻫﻪ ﺑﻘﺮﺍﻁ‬                    ‫ﺑﻬﺎﻳﻰ ﺑﻮﺩ ﻭ ﻫﻢ ﺍﺭﺗﺸﻰ‪ ،‬ﺍﺯ ﺩﻭ ﺯﺍﻭﻳﻪ ﺯﻳﺮ‬  ‫ﻭ ﻣﺪﺍﺭﻛﻰ ﺍﺳﺖ ﻛﻪ ﺟﺎﻯ ﺑﺮﺧﻰ ﺍﺯ ﺁﻧﻬﺎ‬             ‫ﻋﻠﻰﺍﺣﻤﺪﺯﺍﺩﻩﺩﺭﺑﺮﺍﺑﺮﭘﻮﺳﺘﺮﻓﻴﻠﻢﺍﺵ‪:‬ﻣﺎﺩﺭﻗﻠﺐﺍﺗﻤﻰ…‬                                                    ‫ﻋﻠﻰ ﺍﺣﻤﺪﺯﺍﺩﻩ‬
                                       ‫ﻧﻈﺮ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺳﺘﮕﻴﺮ‬       ‫ﺑﻰﺗﺮﺩﻳﺪ ﺩﺭ »ﺁﺭﺷﻴﻮ ﻣ ّﻠﻰ ﺍﻳﺮﺍﻥ« ﺧﻮﺍﻫﺪ‬
‫ﻛﻪ ﺍﻳﻦ ﺭژﻳﻢ ﺍﺳﻼﻣﻰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺣﻜﻮﻣﺖ‬       ‫ﻣﻰﺷﻮﺩ‪ .‬ﺷﺮﺡ ﺗﻠﺦ ﻭ ﺗﻜﺎﻥﺩﻫﻨﺪﻩ ﺍﻳﻦ‬         ‫ﺑﻮﺩ‪ .‬ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﭼﻨﻴﻦ ﺁﺭﺷﻴﻮﻯ ﺑﻪ‬              ‫ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﺩﻳﺎﻟﻮگﻫﺎ‪ ،‬ﺣﺮﻑﻫﺎﻯ‬            ‫ﻛﻪ ﻣﺜﻼ ﺻﺪﺍﻡ ﺣﺴﻴﻦ ﺭﺍ ﺳﻮﺍﺭ ﻣﺎﺷﻴﻦ‬         ‫»ﻣﻬﻤﻮﻧﻰ ﻛﺎﻣﻰ« ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪ‬
        ‫ﻣﻰﻛﻨﺪ‪ ،‬ﭘﺎﻳﺎﻥ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬      ‫ﻣﺎﺟﺮﺍ ﺭﺍ ﺑﺎﻳﺪ ﺩﺭ ﺧﻮﺩ ﻛﺘﺎﺏ ﺧﻮﺍﻧﺪ‪.‬‬       ‫ﺻﻮﺭﺕ ﺭﺳﻤﻰ ﻭ ﻣﺴﺘﻘﻞ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‬                 ‫ﺭﻭﺯﻣ ّﺮﻩ ﺧﺎﻧﻮﺍﺩﻩ‪ ،‬ﺩﻭﺳﺘﺎﻧﻢ ﻭ ﺩﻳﮕﺮﺍﻥ ﺭﺍ‬                           ‫ﻣﻰﻛﻨﺪ‪.‬‬        ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺍﺣﻤﺪﺯﺍﺩﻩ ﺑﺎ ﻣﺸﻜﻼﺕ‬
                                       ‫ﻓﻘﻂ ﻳﺎﺩﺁﻭﺭﻯ ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ‬       ‫ﺑﻠﻜﻪ ﻳﻚ »ﺳﺎﺯﻣﺎﻥ ﺍﺳﻨﺎﺩ ﻣﻠﻰ ﺍﻳﺮﺍﻥ«‬             ‫ﺿﺒﻂ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻫﻤﻪ ﺑﺤﺚﻫﺎﻯ ﺟﺪﻯ‬                                                    ‫ﺳﺎﻧﺴﻮﺭ ﺭﻭﺑﺮﻭ ﻭ ﻫﺮﮔﺰ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﻧﻴﺎﻣﺪ‪.‬‬
‫ﻣﺎﺩﺭ ﭘﺮﻯﺩﺧﺖ ﻭﺣﺪﺕﺣﻖ ﺑﻪ ﺧﺎﻧﻪ‬             ‫ﺑﻪ ﻧﻘﻞ ﺍﺯ ﻛﺘﺎﺏ »‪ 160‬ﺳﺎﻝ ﻣﺒﺎﺭﺯﻩ ﺑﺎ‬      ‫ﺍﺯ ﺳﺎﻝ ‪ 1349‬ﺑﻪ ﺗﺼﻮﻳﺐ ﺷﻮﺭﺍﻯ ﻣﻠﻰ‬               ‫ﺳﻴﺎﺳﻰ ﻣﺎ ﺩﺭ ﻛﻨﺎﺭ ﺧﻮﺭﺩﻥ ﺷﺎﻡ‪ ،‬ﺧﺮﻳﺪ‬       ‫ﻭﻗﺘﻰ ﺍﺯ ﺍﺣﻤﺪﺯﺍﺩﻩ ﺩﺭﺑﺎﺭﻩ ﺣﻤﺎﻳﺖﺍﺵ‬        ‫ﻫﺮ ﭼﻨﺪ »ﻣﺎﺩﺭ ﻗﻠﺐ ﺍﺗﻤﻰ« ﻫﻢ ﻣﺠﻮﺯ‬
‫ﺧﻮﻳﺸﺎﻭﻧﺪﺍﻥ ﻓﺮﺳﺘﺎﺩﻩ ﻣﻰﺷﻮﺩ ﻭ‬             ‫ﺩﻳﺎﻧﺖ ﺑﻬﺎﻳﻰ«‪ ،‬ﺩﺭ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ‬          ‫ﺍﻳﺮﺍﻥ ﺗﺄﺳﻴﺲ ﺷﺪ ﻛﻪ ﺁﻥ ﻫﻢ ﺩﺭ ﺳﺎﻝ‬               ‫ﻛﺮﺩﻥ ﻳﺎ ﺩﺭ ﻣﺴﻴﺮ ﺍﺳﺖ‪ .‬ﻫﻴﭻ ﻭﻗﺖ‬                                                  ‫ﻭﺭﻭﺩ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﻓﺠﺮ ﺭﺍ ﻛﺴﺐ‬
‫ﭘﺮﻯﺩﺧﺖ ﺭﻭﺯﻫﺎﻯ ﻣﺘﻤﺎﺩﻯ ﺩﺭ ﺳﺮﻣﺎﻯ‬          ‫»ﺑﺰﺭگﺗﺮﻳﻦ ﻛﺸﺘﺎﺭ ﺑﻬﺎﻳﻴﺎﻥ ﺩﺭ ﺩﻭ‬          ‫‪ 1381‬ﺩﺭ »ﻛﺘﺎﺑﺨﺎﻧﻪ ﻣﻠﻰ ﺍﻳﺮﺍﻥ« ﺍﺩﻏﺎﻡ‬           ‫ﻣﻦ ﺑﺎ ﻛﺴﻰ ﺗﻤﺎﺱ ﻧﻤﻰﮔﻴﺮﻡ ﺗﺎ ﺑﮕﻮﻳﻢ‬        ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻭ ﺭﺍﻭﻯ ﺩﺍﺳﺘﺎﻥ‬        ‫ﻧﻜﺮﺩ ﻭ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺑﺨﺶ ﻓﻮﺭﻭﻡ‬
‫ﺯﻣﺴﺘﺎﻥ ﺩﺭ ﺁﺳﺎﻧﺴﻮﺭ ﺧﺎﻧﻪﺍﺵ ﺯﻧﺪﮔﻰ‬         ‫ﺩﻭﺭﻩ ﺍﻧﺠﺎﻡ ﮔﺮﻓﺖ‪ .‬ﺩﻭﺭﻩ ﻧﺨﺴﺖ‪ ،‬ﺩﻭﺭﺍﻥ‬      ‫ﮔﺸﺖ ﻭ ﻋﻨﻮﺍﻥ »ﺁﺭﺷﻴﻮ ﻣﻠﻰ«* ﺭﺍ‬                  ‫ﻣﻰﺧﻮﺍﻫﻢ ﺩﺭﺑﺎﺭﻩ ﻣﺬﺍﻛﺮﺍﺕ ﻫﺴﺘﻪﺍﻯ‬                                                 ‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﺑﺮﻟﻴﻦ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﺷﺪ‪.‬‬
‫ﻣﻰﻛﻨﺪ! ﺳﺮﺍﻧﺠﺎﻡ ﻧﻴﺰ ﺧﺎﻧﻪ ﺭﺍ ﻛﻪ ﺣﺎﺻﻞ‬     ‫ﺭﻳﺎﺳﺖ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﺍﺑﻮﺍﻟﺤﺴﻦ‬            ‫ﺗﻨﻬﺎ ﺩﺭ ﺯﻳﺮﻣﺠﻤﻮﻋﻪ »ﺳﺎﺯﻣﺎﻥ ﺍﺳﻨﺎﺩ ﻭ‬            ‫ﺣﺮﻑ ﺑﺰﻧﻢ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺍﻳﻦ ﻗﺪﺭ ﻋﺎﺩﻯ‬         ‫ﺍﺯ ﺩﻭ ﺩﺧﺘﺮ ﻓﻴﻠﻢ ﻣﻰﭘﺮﺳﻢ‪ ،‬ﻣﻰﮔﻮﻳﺪ‪:‬‬        ‫ﺩﺭ ﮔﻔﺘﮕﻮﻳﻰ ﻛﻪ ﺑﺎ ﻋﻠﻰ ﺍﺣﻤﺪﺯﺍﺩﻩ‬
‫ﺳﺎﻝﻫﺎ ﻛﺎﺭ ﻭ ﻛﻮﺷﺶ ﺍﻳﻦ ﺯﻭﺝ ﺑﻮﺩ‪،‬‬          ‫ﺑﻨﻰﺻﺪﺭ ﻭ ﻧﺨﺴﺖﻭﺯﻳﺮﻯ ﻣﺤﻤﺪﻋﻠﻰ‬             ‫ﻛﺘﺎﺑﺨﺎﻧﻪ ﻣﻠﻰ ﺍﻳﺮﺍﻥ« ﻣﻰﺗﻮﺍﻥ ﻳﺎﻓﺖ ﺑﺎ‬           ‫ﻭ ﺑﺨﺸﻰ ﺍﺯ ﺯﻧﺪﮔﻰ ﺍﺳﺖ ﻛﻪ ﺣﺘﻰ ﺩﺭ‬          ‫ﻋﻠﻰ ﺍﺣﻤﺪﺯﺍﺩﻩ ﺩﺭ ﺑﺮﺍﺑﺮ ﭘﻮﺳﺘﺮ ﻓﻴﻠﻢ‬
‫ﻣﺼﺎﺩﺭﻩ ﻣﻰﻛﻨﻨﺪ ﻭ ﻭﺳﺎﻳﻞﺍﺵ ﺭﺍ ﺣﻘﻴﺮﺍﻧﻪ‬     ‫ﺭﺟﺎﻳﻰ ]ﺑﻮﺩ ﻛﻪ[ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﺑﻪ ﻣﺪﺕ‬      ‫ﺍﺳﻨﺎﺩﻯ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺁﻧﻜﻪ »ﻣ ّﻠﻰ« ﺑﺎﺷﻨﺪ‪،‬‬         ‫ﺑﻘﺎﻟﻰ ﻫﻢ ﺩﺭ ﻣﻮﺭﺩ ﺳﻴﺎﺳﺖﻫﺎﻯ ﺍﺗﻤﻰ‬                                                ‫ﺩﺍﺷﺘﻢ‪ ،‬ﺩﺭﺑﺎﺭﻩ ﻣﻴﺰﺍﻥ ﺗﺎﺛﻴﺮ ﮔﺮﻭﻩ‬
                                       ‫ﻳﻚ ﺳﺎﻝ ﻭ ﻫﺸﺖ ﻣﺎﻩ ﺟﻤﻌﺎ ‪ 70‬ﺑﻬﺎﻳﻰ‬                                                      ‫ﻭ ﺑﻨﺰﻳﻦ ﻣﻰﺷﻮﺩ‪ ،‬ﺷﻨﻴﺪ‪ .‬ﺩﺭ ﺩﻭﺭﺍﻥ‬                        ‫ﺍﺵ‪ :‬ﻣﺎﺩﺭ ﻗﻠﺐ ﺍﺗﻤﻰ‪...‬‬
                   ‫ﺑﻪ ﺗﺎﺭﺍﺝ ﻣﻰﺑﺮﻧﺪ‪.‬‬    ‫ﺑﻪ ﺷﻬﺎﺩﺕ ﺭﺳﻴﺪﻧﺪ‪ .‬ﺩﻭﺭﻩ ﺩﻭﻡ‪ ،‬ﺩﻭﺭﺍﻥ‬                           ‫ﺩﻭﻟﺘﻰ ﻫﺴﺘﻨﺪ‪.‬‬             ‫ﺍﺣﻤﺪﻯ ﻧﮋﺍﺩ ﺍﻧﺮژﻯ ﻫﺴﺘﻪﺍﻯ ﺑﺨﺸﻰ ﺍﺯ‬        ‫ﻭﺍﻛﻨﺶ ﺁﻧﻬﺎ ﺑﻪ ﺷﺨﺼﻴﺖ ﺩﻳﻜﺘﺎﺗﻮﺭ‬           ‫ﻣﻮﺳﻴﻘﻰ ﭘﻴﻨﮓ ﻓﻠﻮﻳﺪ ﺩﺭ ﺍﻧﺘﺨﺎﺏ‬
‫ﭘﺮﻯﺩﺧﺖ ﺍﻣﺎ ﺍﺯ ﭘﺎﻯ ﻧﻤﻰﻧﺸﻴﻨﺪ‪ .‬ﻫﻤﻪ‬        ‫ﺭﻳﺎﺳﺖ ﺟﻤﻬﻮﺭﻯ ﺣﺠﺖﺍﻻﺳﻼﻡ ﻋﻠﻰ‬              ‫ﻛﺘﺎﺏ »ﻣﺎﺟﺮﺍﻯ ﻋﺪﺍﻟﺖ ﺧﻮﺍﻫﻰ ﻣﻦ«‬                                                        ‫ﻓﻴﻠﻢ‪ ،‬ﻭﺍﻛﻨﺶ ﻣﻦ ﺍﺳﺖ‪ .‬ﺍﺗﻔﺎﻗﺎ ﻋﻴﻦ‬
‫ﺍﻳﻨﻬﺎ ﺭﺍ ﻳﺎﺩﺩﺍﺷﺖ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﻧﺎﻣﻪﻫﺎ‬     ‫ﺧﺎﻣﻨﻪﺍﻯ ﻭ ﻧﺨﺴﺖﻭﺯﻳﺮﻯ ﻣﻴﺮﺣﺴﻴﻦ‬            ‫ﻳﻚ ﺳﻨﺪ ﺗﺎﺭﻳﺨﻰ ﺩﺭﺑﺎﺭﻩ ﺳﺮﻛﻮﺏ ﻣﺪﺍﻭﻡ‬                  ‫ﺯﻧﺪﮔﻰ ﻣﺎ ﺷﺪ ﻭ ﻫﻨﻮﺯ ﻫﻢ ﻫﺴﺖ‪.‬‬        ‫ﺑﻰ ﻭﺍﻛﻨﺸﻰ ﺍﺳﺖ ﻭ ﺟﺎﻳﻰ ﺑﺮﺍﻯ‬                 ‫ﻋﻨﻮﺍﻥ ﺍﺛﺮﺵ ﻣﻰﭘﺮﺳﻢ‪ ،‬ﻣﻰﮔﻮﻳﺪ‪:‬‬
‫ﻣﻰﻧﻮﻳﺴﺪ‪ ،‬ﻭ ﺍﺯ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ ﺑﻪ ﻫﺮ‬     ‫ﻣﻮﺳﻮﻯ ﺑﻪ ﻣﺪﺕ ﻫﺸﺖ ﺳﺎﻝ‪ .‬ﺑﻬﺎﻳﻴﺎﻧﻰ‬                                                                                             ‫ﻭﺍﻛﻨﺶ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ! ﻣﻮﻗﻊ ﻧﻮﺷﺘﻦ ﺍﻳﻦ‬       ‫ﻳﻚ ﺑﺎﺭ ﻣﻮﻗﻊ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻢﻧﺎﻣﻪ‪ ،‬ﺁﻟﺒﻮﻡ‬
‫ﺷﻜﻞ ﺣﺘﺎ ﺑﺴﻴﺎﺭ ﺧﻄﺮﻧﺎﻙ‪ ،‬ﺍﺯ ﺍﺳﻨﺎﺩ‬         ‫ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺑﻪ ﺷﻬﺎﺩﺕ ﺭﺳﻴﺪﻧﺪ ﺑﻪ‬             ‫ﺷﻬﺮﻭﻧﺪﺍﻥ ﺑﻬﺎﻳﻰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‬            ‫ﺍﺣﻤﺪﺯﺍﺩﻩ ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﺍﻳﻨﻜﻪ ﺳﻴﻨﻤﺎﻯ‬      ‫ﺷﺨﺼﻴﺖ‪ ،‬ﺑﺮﺍﻳﺶ ﻣﺎﺑﻪ ﺍﺯﺍﻯ ﺑﻴﺮﻭﻧﻰ ﻫﻢ‬       ‫»ﻣﺎﺩﺭ ﻗﻠﺐ ﺍﺗﻤﻰ« ﭘﻴﻨﮓ ﻓﻠﻮﻳﺪ ﺭﺍ‬
‫ﻭ ﻣﺪﺍﺭﻙ ﻣﺨﺘﻠﻒ ﻛﭙﻰ ﺗﻬﻴﻪ ﻛﺮﺩﻩ‬            ‫‪ 119‬ﺗﻦ ﺑﺎﻟﻎ ﮔﺮﺩﻳﺪ«‪ .‬ﻣﻬﻨﺪﺱ ﺣﺴﻴﻦ‬         ‫ﻛﺘﺎﺏ »ﻣﺎﺟﺮﺍﻯ ﻋﺪﺍﻟﺖ ﺧﻮﺍﻫﻰ ﻣﻦ«‬                                                        ‫ﺩﺍﺷﺘﻢ ﻭ ﺳﻌﻰ ﻛﺮﺩﻡ ﺣﺘﻰ ﺳﺮﺑﺴﺘﻪ ﻫﻢ‬         ‫ﮔﻮﺵ ﻣﻰﻛﺮﺩﻡ؛ ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﻛﻪ‬
‫ﻭ ﺑﻪ ﺩﻭﺳﺘﺎﻥ ﺧﻮﺩ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ‬        ‫ﻭﺣﺪﺕﺣﻖ ﻳﻜﻰ ﺍﺯ ﺁﻧﻬﺎ ﺑﻮﺩ ﻛﻪ ﺩﺭ ‪9‬‬                                                      ‫ﺍﻳﺮﺍﻥ ﭘﺮ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﻭﺍﻗﻊﮔﺮﺍ ﺷﺪﻩ‪،‬‬       ‫ﺑﮕﻮﻳﻢ ﻛﻪ ﭼﻪ ﻛﺴﻰ ﺭﺍ ﻣ ّﺪ ﻧﻈﺮ ﺩﺍﺭﻡ‪.‬‬      ‫ﭼﻘﺪﺭ ﺍﻳﻦ ﺍﺳﻢ‪ ،‬ﺑﺮﺍﻯ ﻓﻴﻠﻢﺍﻡ ﻣﻨﺎﺳﺐ‬
‫ﻣﻰﺭﺳﺎﻧﺪ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻳﻚ ﻛﭙﻰ ﺍﺯ »ﺍﻋﻼﻣﻴﻪ‬     ‫ﺍﺳﻔﻨﺪ‪ 1360‬ﺩﺭ ﺯﻧﺪﺍﻥ ﻗﺼﺮ ﺗﻴﺮﺑﺎﺭﺍﻥ ﺷﺪ‪.‬‬    ‫ﺑﺎﻧﻮ ﭘﺮﻯ ﺩﺧﺖ ﻭﺣﺪﺕ ﺣﻖ ﻧﻮﻳﺴﻨﺪﻩ‬                                                        ‫ﻭﻗﺘﻰ ﺷﺨﺼﻴﺘﻰ ﺍﻳﻦ ﭼﻨﻴﻨﻰ ﻭﺍﺭﺩ‬             ‫ﺍﺳﺖ‪ .‬ﭼﻮﻥ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺍﺳﻤﻰ ﺑﺮﺍﻯ‬
‫ﻓﻮﺕ« ﻫﻤﺴﺮﺵ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﻛﺎﺭﻛﻨﺎﻥ‬           ‫ﻫﻤﻪ ﭼﻴﺰ ﻣﺎﻧﻨﺪ ﺳﺮﻧﻮﺷﺖ ﺑﺴﻴﺎﺭﻯ‬            ‫ﻛﺘﺎﺏ »ﻣﺎﺟﺮﺍﻯ ﻋﺪﺍﻟﺖ ﺧﻮﺍﻫﻰ ﻣﻦ«‬                                          ‫ﻣﻰﮔﻮﻳﺪ‪:‬‬       ‫ﺯﻧﺪﮔﻰﺍﺕ ﻣﻰﺷﻮﺩ‪ ،‬ﺟﺎﻳﻰ ﺑﺮﺍﻯ ﻭﺍﻛﻨﺶ‬         ‫ﺷﻬﺮ ﺗﻬﺮﺍﻥ ﭘﻴﺪﺍ ﻛﻨﻢ ﺗﺎ ﺍﺳﻢ ﻓﻴﻠﻢ ﻫﻢ‬
‫ﻣﺴﻠﻤﺎﻥ ﺑﻬﺸﺖ ﺯﻫﺮﺍ ﺍﻣﺎ ﺑﻪ ﺷﺪﺕ ﺧﺴﺘﻪ‬       ‫ﺍﺯ ﺷﻬﺮﻭﻧﺪﺍﻥ ﺑﻬﺎﻳﻰ ﺩﺭ ﺍﻳﺮﺍﻥ‪ ،‬ﺍﺯ‬                                                      ‫ﺳﻴﻨﻤﺎﻯ ﻣﺎ ﺑﻪ ﺳﻤﺖ ﻭﺍﻗﻊﮔﺮﺍﻳﻰ ﺭﻓﺘﻪ‬        ‫ﺟﺪﻯ ﻧﻤﻰﮔﺬﺍﺭﺩ‪ .‬ﺗﺮﺍﻧﻪ ﻭ ﭘﮕﺎﻩ‪ ،‬ﻫﺮ ﺟﺎﻯ‬     ‫ﺑﺎﺷﺪ‪ .‬ﺳﻜﺎﻧﺴﻰ ﻛﻪ ﻛﺎﻣﻰ‪ ،‬ﺧﻮﺍﺏ ﺍﻧﻔﺠﺎﺭ‬
‫ﺍﺯ ﻛﻔﻦ ﻭ ﺩﻓﻦ ﻛﺸﺘﻪﺷﺪﮔﺎﻧﻰ ﻛﻪ ﻫﺮ‬          ‫ﻣﺰﺍﺣﻤﺖﻫﺎﻯ ﺗﻠﻔﻨﻰ ﺍﺯ ﺳﻮﻯ ﻧﻬﺎﺩﻫﺎﻯ‬                ‫ﺍﻛﻨﻮﻥ ‪ 83‬ﺳﺎﻝ ﺩﺍﺭﺩ‬                     ‫ﺍﺳﺖ‪ .‬ﻣﺎ ﺳﻴﻨﻤﺎ ﻧﻤﻰﺑﻴﻨﻴﻢ‪ ،‬ﺑﻠﻜﻪ ﻓﻘﻂ‬       ‫ﻓﻴﻠﻢ ﻣﻰﺧﻮﺍﻫﻨﺪ ﻭﺍﻛﻨﺶ ﻧﺸﺎﻥ ﺩﻫﻨﺪ‪،‬‬         ‫ﺗﻬﺮﺍﻥ ﺭﺍ ﺑﺮﺍﻯ ﺩﺧﺘﺮﻫﺎ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﺪ‪،‬‬
‫ﺭﻭﺯ ﺗﺤﻮﻳﻞ ﻣﻰﮔﺮﻓﺖ‪ ،‬ﺑﻨﺎ ﺑﻪ ﻗﻮﻟﻰ ﻛﻪ‬       ‫ﺍﻣﻨﻴﺘﻰ ﻭ ﺑﺴﻴﺠﻰﻫﺎ ﻭ ﭘﺎﺳﺪﺍﺭﺍﻥ‪ ،‬ﻣﺮﺍﺟﻌﻪ‬                                                 ‫ﺧﻮﺩﻣﺎﻥ ﻭ ﺍﻃﺮﺍﻓﻴﺎﻥﻣﺎﻥ ﺭﺍ ﻣﻰﺑﻴﻨﻴﻢ‪.‬‬       ‫ﻣﻮﻓﻖ ﻧﻤﻰﺷﻮﻧﺪ ﻭ ﺣﺘﻰ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ‬           ‫ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﺍﺳﻢ ﺗﻬﺮﺍﻥ ﺑﻪ »ﻣﺎﺩﺭ‬
‫ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﺧﻮﺩﺵ ﺑﻪ ﺧﺎﻧﻪ ﭘﺮﻯﺩﺧﺖ‬          ‫ﻣﺪﺍﻭﻡ ﺑﻪ ﺧﺎﻧﻪ‪ ،‬ﭘﻴﮕﺮﺩ ﻭ ﺩﺳﺘﮕﻴﺮﻯ‬         ‫ﻳﻚ ﺳﻨﺪ ﺗﺎﺭﻳﺨﻰ ﺩﺭﺑﺎﺭﻩ ﺳﺮﻛﻮﺏ ﻣﺪﺍﻭﻡ‬             ‫ﺩﺭ ﺳﻴﻨﻤﺎ ﺑﺎﻳﺪ ﻓﻀﺎ ﻭ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ‬         ‫ﺍﺯ ﺩﺳﺖ ﺍﻭ ﻓﺮﺍﺭ ﻛﻨﻨﺪ‪ .‬ﺷﺨﺼﻴﺘﻰ ﻛﻪ‬         ‫ﻗﻠﺐ ﺍﺗﻤﻰ« ﺗﻐﻴﻴﺮ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺳﻜﺎﻧﺲ‬
‫ﻭﺣﺪﺕﺣﻖ ﺑﺮﺩ ﻭ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻭﻯ ﻧﻬﺎﺩ‪.‬‬        ‫ﺁﻏﺎﺯ ﮔﺸﺖ ﻭ ﺑﻪ ﻣﺼﺎﺩﺭﻩ ﺧﺎﻧﻪ ﺷﺨﺼﻰ‪،‬‬              ‫ﺷﻬﺮﻭﻧﺪﺍﻥ ﺑﻬﺎﻳﻰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‬            ‫ﺟﺪﻳﺪ ﺩﺍﺷﺖ‪ ،‬ﺗﺎ ﻛﻰ ﺭﺋﺎﻟﻴﺴﻢ ﺑﺒﻴﻨﻴﻢ؟!‬      ‫ﻣﺤﻤﺪﺭﺿﺎ ﮔﻠﺰﺍﺭ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ‪ ،‬ﻧﻤﻮﻧﻪ‬        ‫ﺩﻳﮕﺮﻯ ﻫﻢ ﻛﻪ ﺻﺤﺒﺖ ﺍﺯ ﻋﻤﻞ ﺟﺮﺍﺣﻰ‬
                                       ‫ﻣﺤﺮﻭﻣﻴﺖ ﺍﺯ ﺣﻘﻮﻕ ﺍﺟﺘﻤﺎﻋﻰ‪ ،‬ﺯﻧﺪﺍﻥ ﻭ‬                                                    ‫ﺳﻴﻨﻤﺎﻯ ﻣﺴﺘﻨﺪﮔﻮﻧﻪ ﻭ ﻭﺍﻗﻊﮔﺮﺍ ﻣﺪ‬          ‫ﻫﻤﻪ ﺩﻳﻜﺘﺎﺗﻮﺭﻫﺎﻯ ﺗﺎﺭﻳﺦ ﺑﺮﺍﻯ ﻣﻦ‬          ‫ﻣﺎﺩﺭ ﺗﺮﺍﻧﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﺻﺤﺒﺖ ﺍﺯ ﺍﺗﻢ ﺑﻪ‬
          ‫ﺩﺭ ﺍﻳﻦ ﺳﻨﺪ ﺍﺳﺖ ﻛﻪ ﺁﻣﺪﻩ‪:‬‬      ‫ﺗﻴﺮﺑﺎﺭﺍﻥ ﻭ ﺣﺘﺎ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﺩﻓﻦ ﭘﻴﻜﺮ‬     ‫ﺍﺳﻨﺎﺩ ﺳﺮﻛﻮﺏ ﺍﻣﺎ ﺑﻪ »ﺁﺭﺷﻴﻮ ﻣﻠّﻰ‬               ‫ﺷﺪﻩ ﻭ ﻣﻦ ﺳﻌﻰ ﻛﺮﺩﻡ ﺑﻪ »ﻣﺎﺩﺭ ﻗﻠﺐ‬         ‫ﺍﺳﺖ ﻛﻪ ﺳﻌﻰ ﻛﺮﺩﻡ ﺩﺭ ﻳﻚ ﻓﻀﺎﻯ‬
‫ﻧﻮﻉ ﺑﻴﻤﺎﺭﻯ‪ :‬ﺗﻴﺮﺑﺎﺭﺍﻥ؛ ﭘﺰﺷﻚ ﻣﻌﺎﻟﺞ‪:‬‬      ‫ﺑﻬﺎﻳﻴﺎﻥ ﻭ ﺁﻧﮕﺎﻩ ﺑﻰ ﻧﺎﻡ ﻭ ﻧﺸﺎﻥ ﻛﺮﺩﻥ‬     ‫ﺍﻳﺮﺍﻥ« ﺗﻌﻠﻖ ﺩﺍﺭﺩ‪ .‬ﺁﺭﺷﻴﻮﻯ ﻛﻪ ﺑﺨﺶ‬              ‫ﺍﺗﻤﻰ« ﺳﻮﺭﺭﺋﺎﻟﻴﺴﻢ ﺭﺍ ﻫﻢ ﺗﺰﺭﻳﻖ ﻛﻨﻢ‪.‬‬                                                                  ‫ﻣﻴﺎﻥ ﻣﻰﺁﻳﺪ‪.‬‬
‫ﺩﺍﺩﺳﺮﺍﻯ ﺗﻬﺮﺍﻥ؛ ﺻﺎﺩﺭﻩ ﺍﺯ‪ :‬ﺩﺍﺩﮔﺎﻩ‬                                               ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺷﻬﺮﻭﻧﺪﺍﻥ ﺑﻬﺎﻳﻰ ﺩﺭ ﺁﻥ ﻗﻄﻌﺎ‬           ‫ﺍﻧﺘﺨﺎﺏ ﺳﺨﺘﻰ ﺑﻮﺩ؛ ﺍﻣﺎ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺁﻥ‬                       ‫ﻓﺎﻧﺘﺰﻯ ﻧﺸﺎﻥ ﺩﻫﻢ‪.‬‬       ‫ﺍﺯ ﺍﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺟﻮﺍﻥ ﻣﻰﭘﺮﺳﻢ‬
                                                           ‫ﮔﻮﺭﻫﺎ ﺍﻧﺠﺎﻣﻴﺪ‪.‬‬     ‫ﺷﺎﻣﻞ ﺍﺳﻨﺎﺩ ﻣﺸﺎﺑﻪ ﺁﻧﭽﻪ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ‬           ‫ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﻨﻢ ﻭ ﻓﻴﻠﻢ ﺑﻌﺪﻯﺍﻡ ﺭﺍ ﻫﻢ ﺩﺭ‬
                           ‫ﺍﻧﻘﻼﺏ!‬      ‫ﺍﺳﻨﺎﺩﻯ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭﺑﺎﺭﻩ ﻣﺼﺎﺩﺭﻩ‬    ‫ﻓﻘﻂ ﻧﻤﻮﻧﻪﺍﻯ ﺍﺯ ﺁﻧﻬﺎ ﺩﺭ ﻛﺘﺎﺏ »ﻣﺎﺟﺮﺍﻯ‬                                                 ‫ﺍﻧﺘﺨﺎﺏ ﻣﺤﻤﺪﺭﺿﺎ ﮔﻠﺰﺍﺭ ﻛﻪ ﭼﻬﺮﻩ‬           ‫ﭼﻪ ﭼﻴﺰ ﺑﺎﻋﺚ ﺷﺪ ﺗﺎ ﻭﺟﻮﻩ ﺟﻬﺎﻧﻰ‬
‫ﭘﺲ ﺍﺯ ﺳﺎﻝﻫﺎ ﻛﻪ »ﻋﺪﺍﻟﺖ ﺧﻮﺍﻫﻰ«‬           ‫ﺧﺎﻧﻪ ﻭ ﺍﻣﻮﺍﻝ‪ ،‬ﻣﺤﺮﻭﻡ ﻛﺮﺩﻥ ﺍﻳﻦ ﺧﺎﻧﻮﺍﺩﻩ‬   ‫ﻋﺪﺍﻟﺖﺧﻮﺍﻫﻰ ﻣﻦ« ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺧﻰ ﺍﺯ‬                           ‫ﺍﻳﻦ ﻓﻀﺎ ﻛﺎﺭ ﻣﻰﻛﻨﻢ‪.‬‬
‫ﺍﻳﻦ ﺑﺎﻧﻮﻯ ﺑﻬﺎﻳﻰ ﺑﻪ ﺟﺎﻳﻰ ﻧﻤﻰﺭﺳﺪ‪،‬‬        ‫ﺑﻬﺎﻳﻰ ﺍﺯ ﺣﻘﻮﻕ ﺍﻧﺴﺎﻧﻰ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺳﺎﻗﻂ‬    ‫ﺍﻳﻦ ﺍﺳﻨﺎﺩ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻛﺘﺎﺏ »‪ 160‬ﺳﺎﻝ‬                                                  ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺍﻯ ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﺗﺠﺎﺭﻯ‬           ‫ﻭ ﺁﺷﻨﺎ )ﻣﺜﻞ ﻣﻮﺳﻴﻘﻰ ﻭ ﭼﻬﺮﻩﻫﺎﻯ‬
‫ﻫﻤﻪ ﺍﻳﻨﻬﺎ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﺧﺎﻃﺮﺍﺗﻰ ﻛﻪ ﻫﺮ‬     ‫ﻛﺮﺩﻥ ﺁﻧﻬﺎ ﺍﺯ ﻳﻚ ﺯﻧﺪﮔﻰ ﻋﺎﺩﻯ ﺩﺭ‬          ‫ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺩﻳﺎﻧﺖ ﺑﻬﺎﻳﻰ« ﻧﻮﺷﺘﻪ ﻓﺮﻳﺪﻭﻥ‬          ‫ﻋﻠﻰ ﺍﺣﻤﺪﺯﺍﺩﻩ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ‬
                                                                                                                                                                  ‫ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻓﻴﻠﻤﻰ ﺟﺸﻨﻮﺍﺭﻩﺍﻯ‬          ‫ﺳﻴﺎﺳﻰ ﺩﻧﻴﺎ( ﺭﺍ ﺩﺭ ﻓﻴﻠﻢﺍﺵ ﺟﺎﻯ‬
‫ﺯﻭﺝ ﺟﻮﺍﻥ ﺩﺭ ﺳﺎﻝ ﻫﺎﻯ ﺧﻮﺵ ﺯﻧﺪﮔﻰ‬                                                                       ‫ﻭﻫﻤﻦ ﺍﺳﺖ‪.‬‬              ‫ﺍﻳﻦ ﭘﺮﺳﺶ ﻛﻪ ﺁﻳﺎ ﻫﺮﺍﺳﻰ ﺍﺯ‬
                                                                              ‫ﺑﺎﻧﻮ ﭘﺮﻯﺩﺧﺖ ﻭﺣﺪﺕ ﺣﻖ ﺍﻛﻨﻮﻥ ‪83‬‬                                                        ‫ﻛﻪ ﭼﺸﻢ ﺍﻧﺪﺍﺯ ﺟﻬﺎﻧﻰ ﺩﺍﺭﺩ‪ ،‬ﭘﺮﺳﺶ‬                        ‫ﺩﻫﺪ‪ ،‬ﭘﺎﺳﺦ ﻣﻰﺩﻫﺪ‪:‬‬
‫ﺑﺎﺭ ﺍﺷﻚ ﺍﺯ ﭼﺸﻢ ﺟﺎﺭﻯ ﻣﻰﻛﻨﺪ‪ ،‬ﮔﺮﺩ‬         ‫ﻛﺸﻮﺭ ﺧﻮﺩﺷﺎﻥ ﻭ ﺭﺍﻧﺪﻥ ﺁﻧﺎﻥ ﺍﺯ ﺍﻳﺮﺍﻥ‬      ‫ﺳﺎﻝ ﺩﺍﺭﺩ‪ .‬ﻭﻯ ﻣﻄﺎﻟﺐ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ‬               ‫ﻭﺍﻛﻨﺶ ﻣﻨﻔﻰ ﺗﻤﺎﺷﺎﮔﺮ ﻧﺴﺒﺖ ﺑﻪ‬                                                    ‫»ﻣﻬﻤﻮﻧﻰ ﻛﺎﻣﻰ« ﻛﺎﻣﻼ ﻓﻀﺎﻯ ﺟﻮﺍﻧﺎﻥ‬
‫ﺁﻭﺭﺩﻩ ﻭ ﻣﻀﻤﻮﻥ ﻛﺘﺎﺑﻰ ﻣﻰﺳﺎﺯﺩ ﻛﻪ ﺩﺭ‬       ‫ﺁﻣﺪﻩ ﺑﻪ ﺍﻧﺪﺍﺯﻩﺍﻯ ﺗﻜﺎﻥ ﺩﻫﻨﺪﻩ ﺍﺳﺖ ﻛﻪ‬     ‫ﻛﻪ ﻣﺎﺟﺮﺍﻯ ﺯﻳﺮ ﭘﺎ ﻧﻬﺎﺩﻥ ﺣﻘﻮﻕ ﻭﻯ‬                                                      ‫ﺑﺮﺍﻧﮕﻴﺰ ﺍﺳﺖ‪ .‬ﻛﺎﺭﮔﺮﺩﺍﻥ »ﻣﺎﺩﺭ ﻗﻠﺐ‬        ‫ﺍﻣﺮﻭﺯﻯ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﻭ ﻛﺎﻣﻼ ﺍﻳﺮﺍﻧﻰ‬
‫ﻣﺎﺭﺱ ‪ 2014‬ﺩﺭ ﺁﻟﻤﺎﻥ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪ‪.‬‬        ‫ﮔﺎﻩ ﺑﺎﻭﺭ ﺍﻳﻦ ﻫﻤﻪ ﺭﺫﺍﻟﺖ ﻭ ﭘﺴﺘﻰ ﻭ ﺣﻴﻠﻪ‬   ‫ﻭ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺗﻮﺳﻂ ﻣﺴﺌﻮﻻﻥ ﻗﻀﺎﻳﻰ‬                ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﻨﻔﻮﺭﻯ ﭼﻮﻥ ﻫﻴﺘﻠﺮ‬                                                     ‫ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺍﺯ ﺍﺑﺘﺪﺍ ﻗﺼﺪ ﺩﺍﺷﺘﻢ »ﻣﺎﺩﺭ ﻗﻠﺐ‬
‫»ﻣﺎﺟﺮﺍﻯ ﻋﺪﺍﻟﺖ ﺧﻮﺍﻫﻰ ﻣﻦ« ﮔﺬﺷﺘﻪ ﺍﺯ‬       ‫ﻭ ﺣﻘﻪﺑﺎﺯﻯ ﺑﺮﺍﻯ ﺗﺼﺎﺣﺐ ﻭ ﻏﺼﺐ ﺍﻣﻮﺍﻝ‬       ‫ﻭ ﺍﻣﻨﻴﺘﻰ ﺭژﻳﻢ ﺍﺯ ﻫﻤﺎﻥ ﺁﻏﺎﺯ ﺗﺄﺳﻴﺲ‬                                                    ‫ﺍﺗﻤﻰ« ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﻧﻪ ﭼﻨﺪﺍﻥ‬       ‫ﺍﺗﻤﻰ« ﻓﻀﺎﻳﻰ ﺟﻬﺎﻧﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬
‫ﺣﺎﺷﻴﻪﻫﺎﻳﻰ ﻛﻪ ﺩﺭﺑﺎﺭﻩ ﺩﻳﺎﻧﺖ ﺑﻬﺎﻳﻰ ﺩﺭ‬     ‫ﺩﻳﮕﺮﺍﻥ ﺍﺯ ﺟﻤﻠﻪ ﺑﻪ ﺑﻬﺎﻯ ﻛﺸﺘﻦ ﺁﻧﻬﺎ‬       ‫ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﺍﺳﺖ ﺩﺭ ﻃﻮﻝ‬                                       ‫ﻧﺪﺍﺷﺘﻪ‪ ،‬ﻣﻰﮔﻮﻳﺪ‪:‬‬                                              ‫ﻳﻌﻨﻰ ﺷﺨﺼﻴﺖﻫﺎ ﺍﺯ ﺟﻬﺎﻥ ﺣﺮﻑ‬
‫ﺁﻥ ﺁﻣﺪﻩ ﻭ ﻫﻢ ﭼﻨﻴﻦ ﺭﻳﺰﻩﻛﺎﺭﻯﻫﺎﻳﻰ ﻛﻪ‬                                             ‫ﺳﺎﻟﻴﺎﻥ ﮔﺮﺩ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ‬                ‫ﻣﻄﻤﺌﻨﺎ ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﺑﺮﺍﻯ ﺧﻮﺩﻡ‬                            ‫ﻣﻌﻤﻮﻝ ﻣﻰ ﮔﻮﻳﺪ‪:‬‬        ‫ﺑﺰﻧﻨﺪ‪ ،‬ﺍﺯ ﺻﺪﺍﻡ‪ ،‬ﭼﺎﻭﺯ‪ ،‬ﻫﻴﺘﻠﺮ ﻳﺎ ﺳﻰ‬
‫ﮔﺎﻩ ﺳﺮﻧﻮﺷﺖ ﺍﺻﻠﻰ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻫﻤﺴﺮﺵ‬                      ‫ﺩﺷﻮﺍﺭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪.‬‬      ‫ﻛﺘﺎﺏ ﺍﻳﻦ ﻣﻄﺎﻟﺐ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﻛﭙﻰ ﻭ‬               ‫ﻫﻢ ﺁﺯﺍﺭﺩﻫﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﻤﺎﻳﺶ ﺩﺭ‬         ‫ﻣﺤﻤﺪﺭﺿﺎ ﮔﻠﺰﺍﺭ ﺑﺮﺍﻳﻢ ﺧﻴﻠﻰ ﺷﺒﻴﻪ ﻳﻚ‬       ‫‪ . 27‬ﺣﺘﻰ ﻓﻜﺮ ﻛﺮﺩﻡ ﺍﮔﺮ ﺍﻳﻦ ﺁﺩﻡﻫﺎ‬
‫ﺭﺍ ﺩﺭ ﺳﺎﻳﻪ ﻗﺮﺍﺭ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﻣﺎﻧﻨﺪ ﻫﻤﻪ‬      ‫ﭘﺮﻯﺩﺧﺖ ﻭﺣﺪﺕﺣﻖ ﻭ ﻣﺎﺩﺭ ﭘﻴﺮﺵ‬              ‫ﻧﺎﻣﻪ ﺑﻪ ﺧﺎﺭﺝ ﻣﻰﻓﺮﺳﺘﺎﺩ‪ .‬ﺧﻮﺩﺵ ﻫﻢ‬               ‫ﻭﺍﻗﻊ ﻭﺍﻛﻨﺶ ﻣﻦ ﻧﺴﺒﺖ ﺑﻪ ﺁﺯﺍﺭﻯ ﺍﺳﺖ‬        ‫ﻧﺎﺑﺎﺯﻳﮕﺮ ﺑﻮﺩ ﻭ ﺍﺯ ﻃﺮﻓﻰ ﺩﺭ ﺍﺑﻌﺎﺩ ﺟﻬﺎﻧﻰ‬  ‫ﻣﻮﺳﻴﻘﻰ ﮔﻮﺵ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﻣﻮﺳﻴﻘﻰ‬
‫ﻛﺘﺎﺏﻫﺎ ﻭ ﺧﺎﻃﺮﺍﺗﻰ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﺴﺘﻨﺪ‬       ‫ﺭﺍ ﺩﺭ ﺧﺎﻧﻪ ﺧﻮﺩﺷﺎﻥ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻥ‬     ‫ﺩﺭ ﺍﻳﺮﺍﻥ ﻳﺎ ﺑﺮﺍﻯ ﺁﺯﺍﺩﻯ ﻫﻤﺴﺮﺵ‪،‬‬                ‫ﻛﻪ ﺩﺭ ﭼﻨﺪ ﺳﺎﻝ ﺍﺧﻴﺮ ﺩﺭ ﻛﺸﻮﺭﻡ ﺩﻳﺪﻡ‪.‬‬      ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﻧﻴﺴﺖ‪ .‬ﺭﺿﺎ ﺍﻧﺘﺨﺎﺏ‬           ‫ﺁﺷﻨﺎ ﺑﺮﺍﻯ ﻫﻤﻪ ﺟﻬﺎﻥ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﻫﻨﻮﺯ‬
‫ﺍﺯ ﺯﻧﺪﺍﻥ ﻭ ﺳﺮﻛﻮﺏ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ‬          ‫ﻣﺤﺮﻭﻡ ﻣﻰ ﻛﻨﻨﺪ! ﺍﺗﺎﻕ ﺧﻮﺍﺏ ﺭﺍ ﻗﻔﻞ‬        ‫ﻣﻬﻨﺪﺱ ﺣﺴﻴﻦ ﻭﺣﺪﺕ ﺣﻖ ﺗﻼﺵ‬                       ‫ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﺑﺮﺍﻳﻢ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰ‬          ‫ﺧﻴﻠﻰ ﺧﻮﺑﻰ ﺍﺳﺖ ﺑﺮﺍﻯ ﺍﻳﻦ ﺷﺨﺼﻴﺖ‬           ‫ﻫﻢ ﺑﻪ ﻧﻈﺮﻡ ﻳﻚ ﺳﻜﺎﻧﺲﻫﺎﻳﻰ ﻛﺎﻣﻼ‬
‫ﺳﺨﻦ ﻣﻰﮔﻮﻳﻨﺪ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺍﺳﻨﺎﺩ ﻭﺍﻗﻌﻰ ﻭ‬      ‫ﻣﻰ ﻛﻨﻨﺪ‪ ،‬ﺗﻠﻔﻦﺷﺎﻥ ﺭﺍ ﺍﺯ ﺁﻧﻬﺎ ﻣﻰﮔﻴﺮﻧﺪ‪،‬‬   ‫ﻣﻰﻛﺮﺩ‪ ،‬ﻳﺎ ﺑﺮﺍﻯ ﺁﺯﺍﺩﻯ ﺧﻮﺩﺵ ﻛﻪ ﺩﺭ‬              ‫ﻧﻴﺴﺘﻨﺪ ﻭ ﺑﺮﺍﻯ ﺩﻳﮕﺮﺍﻥ ﻫﻢ ﻧﻤﻰ ﺗﻮﺍﻧﻨﺪ‬     ‫ﻭ ﺧﺼﻮﺻﻴﺎﺗﻰ ﺍﺯ ﺁﻥ ﺭﺍ ﺩﺭ ﺧﻮﺩﺵ ﺩﺍﺭﺩ‪.‬‬
‫ﻣﻬﻢ ﺩﻭﺭﺍﻥ ﺣﻜﻮﻣﺖ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ‬           ‫ﭘﺎﺳﺪﺍﺭ ﻭ ﻛﻤﻴﺘﻪﭼﻰ ﻣﺎﻧﻨﺪ ﺻﺎﺣﺐﺧﺎﻧﻪ‬        ‫ﭘﻰ ﻋﺪﺍﻟﺖﺧﻮﺍﻫﻰ ﭘﻴﮕﻴﺮﺍﻧﻪﺍﺵ ﺑﻪ ﺯﻧﺪﺍﻥ‬            ‫ﺑﺎﺷﻨﺪ‪ .‬ﻓﻴﻠﻢ ﻣﻦ ﻧﻤﻰﮔﻮﻳﺪ‪ ،‬ﻫﻴﺘﻠﺮ‬          ‫ﻭﺍﻛﻨﺶ ﻫﺎ‪ ،‬ﺭﻳﺰﻩﻛﺎﺭﻯﻫﺎ ﻭ ﻭﺟﻮﻫﻰ ﻛﻪ‬                        ‫ﻣﺨﺘﺺ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪.‬‬
‫ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪ .‬ﺍﺳﻨﺎﺩﻯ ﻛﻪ ﺩﻳﺮ ﻳﺎ‬        ‫ﻫﺮ ﻭﻗﺖ ﻛﻪ ﺩﻝﺷﺎﻥ ﺧﻮﺍﺳﺖ ﻣﻰﺁﻳﻨﺪ‬           ‫ﺍﻓﺘﺎﺩ ﻭ ﻳﺎ ﺑﺮﺍﻯ ﺑﺎﺯﭘﺲ ﮔﺮﻓﺘﻦ ﺍﻣﻮﺍﻝ ﻭ‬          ‫ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﺑﻠﻜﻪ ﻛﺎﺭﺍﻛﺘﺮ ﻓﻴﻠﻢﺍﻡ‬       ‫ﺩﺭ ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﻧﻴﺎﺯ ﺑﻮﺩ‪ ،‬ﺩﺭ ﭼﺸﻢﻫﺎ‪،‬‬       ‫ﻭﻗﺘﻰ ﻋﻠﺖ ﻧﻔﻮﺫ ﺭﺋﺎﻟﻴﺴﻢ ﺭﺍ ﺣﺘﻰ ﺩﺭ‬
‫ﺯﻭﺩ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﻧﻬﺎ ِﺩ ﻣﺴﺘﻘ ِﻞ »ﺁﺭﺷﻴﻮ‬   ‫ﻭ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﻣﺎﺩﺭ ﻭ ﺩﺧﺘﺮ ﻓﻘﻂ‬       ‫ﺧﺎﻧﻪ ﺷﺨﺼﻰﺍﺵ ﻛﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺑﻪ ﺟﺎﻳﻰ‬               ‫ﻣﻰﮔﻮﻳﺪ‪ .‬ﻛﺎﺭﺍﻛﺘﺮ ﻓﻴﻠﻢ‪ ،‬ﻣﻮﺯﻳﻚ ﻣﻮﺭﺩ‬       ‫ﺻﻮﺭﺕ ﻭ ﺭﻓﺘﺎﺭ ﻣﺤﻤﺪﺭﺿﺎ ﮔﻠﺰﺍﺭ ﭘﻴﺪﺍ‬
‫ﻣﻠّﻰ ﺍﻳﺮﺍﻥ« ﮔﺮﺩ ﺧﻮﺍﻫﻨﺪ ﺁﻣﺪ ﺗﺎ ﺑﻴﺎﻧﮕﺮ‬   ‫ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺩﺭ ﺧﺎﻧﻪ ﺧﻮﺩ ﺍﺯ ﻫﺎﻝ‬     ‫ﻧﺮﺳﻴﺪ‪ .‬ﻫﻢ ﻫﻤﺴﺮﺵ ﺭﺍ ﺍﻋﺪﺍﻡ ﻛﺮﺩﻧﺪ‪،‬‬              ‫ﻋﻼﻗﻪﺍﺵ ﺻﺪﺍﻯ ﻫﻴﻠﺘﺮ ﺍﺳﺖ‪ .‬ﻣﻦ ﺣﺘﻰ‬          ‫ﻣﻰﺷﺪ‪ .‬ﺍﻭ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻣﻬﺮﺑﺎﻥ‪ ،‬ﺟﺬﺍﺏ‬         ‫ﺩﻝ ﻓﺮﺍﻭﺍﻗﻌﻴﺖ ﻓﻴﻠﻢ ﺟﻮﻳﺎ ﻣﻰﺷﻮﻡ‪،‬‬
‫ﺩﻭﺭﺍﻥ ﺳﻴﺎﻫﻰ ﺑﺎﺷﻨﺪ ﻛﻪ ﺭﻭﺯﻯ ﺍﻳﺮﺍﻧﻴﺎﻥ‬     ‫ﻭ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ! ﺍﻳﻦ ﻫﻤﻪ‬       ‫ﻫﻢ ﺍﻣﻮﺍﻟﺶ ﺭﺍ ﺑﺮﺩﻧﺪ ﻭ ﻫﻢ ﺭﺍﻩ ﺧﻮﺩ ﻭ‬            ‫ﻧﻤﻰﺩﺍﻧﻢ ﻫﻴﺘﻠﺮ ﺩﺭ ﺍﻳﻦ ﺳﺨﻨﺮﺍﻧﻰ ﻛﻪ‬        ‫ﻭ ﺗﺮﺳﻨﺎﻙ ﺑﺎﺷﺪ ﻭﻟﻰ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‬
‫ﺑﻪ ﺩﻻﻳﻞ ﺳﻴﺎﺳﻰ ﻭ ﻋﻘﻴﺪﺗﻰ ﺍﺯ ﺳﺮ‬           ‫ﺑﺲ ﻧﺒﻮﺩ‪ ،‬ﺍﺯ ﺁﻧﻬﺎ ﺑﺮﺍﻯ ﺧﺎﻧﻪ ﺷﺨﺼﻰ‬        ‫ﻓﺮﺯﻧﺪﺍﻧﺶ ﺑﺮﺍﻯ ﻣﺎﻧﺪﻥ ﻭ ﻳﺎ ﺑﺎﺯﮔﺸﺖ ﺑﻪ‬           ‫ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻡ‪ ،‬ﭼﻪ ﻣﻰﮔﻮﻳﺪ‪ .‬ﺣﺘﻰ‬           ‫ﭘﻴﺎﻧﻮ ﺑﻨﻮﺍﺯﺩ‪ .‬ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﮔﻠﺰﺍﺭ‬                       ‫ﭼﻨﻴﻦ ﻣﻰﮔﻮﻳﺪ‪:‬‬
                                       ‫ﺧﻮﺩﺷﺎﻥ‪ ،‬ﻣﺎﻫﻴﺎﻧﻪ ﺍﺟﺎﺭﻩ ﻣﻰﮔﻴﺮﻧﺪ!‬                                                      ‫ﺗﺮﺍﻧﻪ ﻋﻠﻴﺪﻭﺳﺘﻰ ﭘﻴﺸﻨﻬﺎﺩ ﺩﺍﺩ ﺗﺎ ﺑﺮﺍﻳﻢ‬    ‫ﺗﻨﻬﺎ ﻛﺴﻰ ﺑﻮﺩ ﻛﻪ ﻫﻤﻪ ﺍﻳﻦ ﺧﺼﻮﺻﻴﺎﺕ‬        ‫»ﻣﺎﺩﺭ ﻗﻠﺐ ﺍﺗﻤﻰ« ﺩﻭ ﻟﺤﻦ ﺩﺍﺭﺩ‪ ،‬ﻭﺍﻗﻌﻰ‬
                        ‫ﮔﺬﺭﺍﻧﺪﻧﺪ‪.‬‬      ‫ﺳﺮﺍﻧﺠﺎﻡ ﻫﻢ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﺧﺎﻧﻪﺷﺎﻥ ﺑﻴﺮﻭﻥ‬                      ‫ﻣﻴﻬﻦ ﺑﺴﺘﻪ ﺷﺪ‪.‬‬              ‫ﺗﺮﺟﻤﻪﺍﺵ ﻛﻨﺪ ﻭﻟﻰ ﻣﻦ ﺑﻪ ﻋﻨﻮﺍﻥ‬            ‫ﺭﺍ ﺩﺭ ﺧﻮﺩﺵ ﺩﺍﺷﺖ‪ .‬ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﺍﻭ‬          ‫ﻭ ﻓﺮﺍﻭﺍﻗﻌﻰ‪ .‬ﺑﺨﺶ ﺍﻭﻝ ﻓﻴﻠﻢ ﺩﺍﺳﺘﺎﻥ‬
‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺩﺭ ﻛﻨﺎﺭ ﺷﺮﺡ‬                                               ‫ﭘﺮﻯﺩﺧﺖ ﺟﻮﺍﻥ ﺍﻫﻞ ﻳﺰﺩ ﺑﺎ ﻣﺎﺩﺭﻯ‬                 ‫ﻳﻚ ﺍﻳﺪﻩ ﺻﻮﺗﻰ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻡ‪.‬‬       ‫ﺍﺯ ﺑﺎﻗﻰ ﮔﺮﻭﻩﺍﻡ ﺟﺪﺍ ﺑﻮﺩ‪ .‬ﺗﺮﺍﻧﻪ‪ ،‬ﭘﮕﺎﻩ‬    ‫ﺩﻭ ﺩﺧﺘﺮ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻳﻚ ﻣﻬﻤﺎﻧﻰ ﺑﺎﺯ‬
‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻓﺠﺎﻳﻌﻰ ﻛﻪ ﺑﺮ ﺑﻬﺎﻳﻴﺎﻥ ﺍﻳﺮﺍﻥ‬                            ‫ﻣﻰﻛﻨﻨﺪ‪.‬‬       ‫ﺯﺭﺗﺸﺘﻰ ﻭ ﭘﺪﺭﻯ ﺑﻬﺎﻳﻰ ﺑﺰﺭگ ﻣﻰﺷﻮﺩ‬               ‫ﺳﺨﻨﺮﺍﻧﻰﻫﺎﻯ ﻫﻴﺘﻠﺮ‪ ،‬ﺻﺪﺍﻳﻰ ﺧﺸﻦ ﻭ‬          ‫ﻭ ﻣﻬﺮﺩﺍﺩ )ﺻﺪﻳﻘﻴﺎﻥ( ﻛﺎﻣﻼ ﺭﺋﺎﻟﻴﺴﺘﻰ‬       ‫ﻣﻰﮔﺮﺩﻧﺪ ﻭ ﺑﺨﺶ ﺩﻭﻡ ﻓﻴﻠﻢ ﺭﻭﻳﺎﺭﻭﻳﻰ‬
‫ﺭﻓﺘﻪ ﻭ ﻣﻰﺭﻭﺩ‪ ،‬ﺳﻨﺪ ﺩﻳﮕﺮﻳﺴﺖ ﺑﺮ ﺭﺩ‬        ‫ﻣﺎﺟﺮﺍﻯ ﻣﺼﺎﺩﺭﻩ ﺧﺎﻧﻪ ﺧﺎﻧﻮﺍﺩﻩ‬             ‫ﻭ ﺧﻮﺩ ﻧﻴﺰ ﭘﺲ ﺍﺯ ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺁﻳﻴﻦ ﺑﻬﺎﻳﻰ‬         ‫ﭘﺮ ﺍﺯ ﺧﻮﻥ ﻭ ﺧﺸﻢ ﺍﺳﺖ ﻭ ﻧﻴﺎﺯ ﻧﻴﺴﺖ‬        ‫ﺑﺎﺯﻯ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﻳﻦ ﻣﺪﻝ ﺑﺎﺯﻯ ﺭﺍ ﺧﻮﺏ‬      ‫ﺑﺎ ﺷﺨﺼﻴﺖ ﺩﻳﻜﺘﺎﺗﻮﺭ ﻓﻴﻠﻢ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢ‬
‫ﺍﻳﻦ ﺍﺩﻋﺎﻯ ﭘﻮچ ﺯﻣﺎﻣﺪﺍﺭﺍﻥ ﺟﻤﻬﻮﺭﻯ‬         ‫ﻭﺣﺪﺕﺣﻖ ﻭ ﺣﻴﻠﻪﻫﺎﻳﻰ ﻛﻪ ﻣﺄﻣﻮﺭﺍﻥ‬           ‫ﺑﻪ ﺁﻥ ﺍﻳﻤﺎﻥ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺍﻭ ﺩﺭ ‪ 19‬ﺳﺎﻟﮕﻰ‬           ‫ﻣﻌﻨﻰ ﺣﺮﻑﻫﺎﻳﺶ ﺭﺍ ﺑﺪﺍﻧﻴﻢ‪ .‬ﺷﺨﺼﻴﺖ‬          ‫ﻣﻰﺩﺍﻧﻨﺪ ﻭﻟﻰ ﮔﻠﺰﺍﺭ ﻧﻮﻋﻰ ﺍﺯ ﺳﻴﻨﻤﺎ ﺭﺍ‬     ‫ﻫﻤﺎﻥ ﻗﺪﺭ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﻓﻴﻠﻢ ﺗﺮﺍﻧﻪ ﻭ‬
‫ﺍﺳﻼﻣﻰ ﻛﻪ ﻫﺮ ﺑﺎﺭ ﺗﻜﺮﺍﺭ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻫﺮﮔﺰ‬     ‫ﺷﺮﻉ ﻣﻰﺯﻧﻨﺪ ﺗﺎ ﺳﺎﺧﺘﻤﺎﻥ ﻭ ﻭﺳﺎﻳﻞﺍﺵ‬        ‫ﺩﺭ ﺷﻴﺮﺍﺯ ﺑﺎ ﻫﻤﺴﺮ ﺁﻳﻨﺪﻩﺍﺵ‪ ،‬ﻣﻬﻨﺪﺱ‬              ‫ﻓﻴﻠﻢ ﻣﻦ ﻫﻢ ﺑﻪ ﻭﺍﺳﻄﻪ ﻣﺨﺘﺼﺎﺗﺶ‪،‬‬           ‫ﻛﺎﺭ ﻛﺮﺩﻩ ﻛﻪ ﻧﻤﺎﻳﺸﻰ ﺍﺳﺖ ﻭ ﭼﻮﻥ‬           ‫ﭘﮕﺎﻩ ﺑﺎﺷﺪ‪ ،‬ﻓﻴﻠﻢ ﻣﺤﻤﺪ ﺭﺿﺎ ﮔﻠﺰﺍﺭ ﻫﻢ‬
‫ﺑﻬﺎﻳﻴﺎﻥ ﺭﺍ ﺑﻪ ﺩﻟﻴﻞ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺁﻧﺎﻥ ﻣﻮﺭﺩ‬  ‫ﺭﺍ ﻛﺎﻣﻼ ﻗﺎﻧﻮﻧﻰ ﺑﻪ ﺳﻮﺩ ﺧﻮﺩ ﻏﺼﺐ‬          ‫ﺣﺴﻴﻦ ﻭﺣﺪﺕﺣﻖ ﺍﺯﺩﻭﺍﺝ ﻣﻰﻛﻨﺪ‪.‬‬                    ‫ﺻﺪﺍﻯ ﻫﻴﺘﻠﺮ ﺭﺍ ﮔﻮﺵ ﻣﻰﻛﻨﺪ‪ .‬ﻣﺜﻼ‬           ‫ﺍﻳﻦ ﻭﺟﻪ ﻧﻤﺎﻳﺸﻰ ﺭﺍ ﺩﺍﺷﺖ‪ ،‬ﺣﺘﻰ ﺩﺭ‬         ‫ﻫﺴﺖ‪ .‬ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﻧﻴﻤﻪ ﻧﺨﺴﺖ‬
‫ﭘﻴﮕﺮﺩ ﻭ ﻣﺼﺎﺩﺭﻩ ﺍﻣﻮﺍﻝ ﻭ ﺩﺳﺘﮕﻴﺮﻯ‬         ‫ﻛﻨﻨﺪ‪ ،‬ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺗﻤﺎﻣﻰ ﺭژﻳﻢﻫﺎﻯ‬  ‫ﻫﻤﺴﺮﺵ ﻣﺴﻠﻤﺎﻥﺯﺍﺩﻩﺍﻯ ﺍﺳﺖ ﺍﺯ ﻳﻚ‬                 ‫ﻣﺤﻤﺪ ﺭﺿﺎ ﮔﻠﺰﺍﺭ ﮔﻔﺖ ﺯﻣﺎﻧﻰ ﻛﻪ‬            ‫ﺟﺎﻫﺎﻳﻰ ﺍﺟﺎﺯﻩ ﻣﻰﺩﺍﺩﻡ ﻛﻪ ژﺳﺖ ﺑﮕﻴﺮﺩ‬       ‫ﻓﻴﻠﻢ‪ ،‬ﻓﻀﺎﻯ ﺯﻧﺪﮔﻰ ﺟﻮﺍﻧﺎﻥ ﺍﻣﺮﻭﺯﻯ ﺭﺍ‬
‫ﻭ ﺯﻧﺪﺍﻥ ﻭ ﺍﻋﺪﺍﻡ ﻗﺮﺍﺭ ﻧﺪﺍﺩﻩﺍﻧﺪ‪ .‬ﻋﻼﻭﻩ‬    ‫ﺍﻳﺪﺋﻮﻟﻮژﻳﻚ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻛﻪ ﺑﻪ ﺑﻬﺎﻧﻪﻫﺎﻯ‬     ‫ﺧﺎﻧﻮﺍﺩﻩ ﺭﻭﺣﺎﻧﻰ ﻛﻪ ﺍﻭ ﻧﻴﺰ ﺑﻬﺎﻳﻰ ﺷﺪﻩ‬           ‫ﺻﺪﺍﻯ ﻫﻴﺘﻠﺮ ﺷﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ؛ ﮔﺮﻳﻪ‬                                                  ‫ﻧﺸﺎﻥ ﺩﻫﺪ ﻭﻟﻰ ﻭﻗﺘﻰ ﻣﺤﻤﺪﺭﺿﺎ ﮔﻠﺰﺍﺭ‬
‫ﺑﺮ ﺗﺒﻌﻴﺾ ﻭ ﻓﺸﺎﺭﻯ ﻛﻪ ﺷﻬﺮﻭﻧﺪﺍﻥ‬           ‫ﻃﺒﻘﺎﺗﻰ ﻭ ﻧﮋﺍﺩﻯ ﻭ ﺍﻋﺘﻘﺎﺩﻯ‪ ،‬ﺑﻪ ﺟﺎﻥ ﻭ‬     ‫ﺑﻮﺩ‪ .‬ﻫﺮ ﺩﻭ ﺑﻪ ﺷﺪﺕ ﻣﺆﻣﻦ ﻭ ﻣﻌﺘﻘﺪ‬               ‫ﻛﻨﺪ‪ .‬ﻭﻟﻰ ﻣﻦ ﮔﻔﺘﻢ ﺗﻮ ﺑﺎﻳﺪ ﺍﺯ ﺷﻨﻴﺪﻥ‬                         ‫ﻭ ﺧﻮﺩﺵ ﺑﺎﺷﺪ‪.‬‬        ‫ﻭﺍﺭﺩ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺷﻮﺩ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺭﻧﮓ‬
‫ﺑﻬﺎﻳﻰ ﺍﻳﺮﺍﻥ ﺑﻪ ﻃﻮﺭ ﺭﻭﺯﺍﻧﻪ ﺗﺠﺮﺑﻪ‬        ‫ﻣﺎﻝ ﻭ ﺣﻘﻮﻕ ﺷﻬﺮﻭﻧﺪﺍﻧﻰ ﺗﻌﺮﺽ ﻛﺮﺩﻩﺍﻧﺪ‬      ‫ﺑﻪ ﺁﻳﻴﻦ ﺑﻬﺎﻳﻰ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺁﮔﺎﻩ ﺑﻪ‬
‫ﻣﻰﻛﻨﻨﺪ‪» ،‬ﻣﺎﺟﺮﺍﻯ ﻋﺪﺍﻟﺖﺧﻮﺍﻫﻰ ﻣﻦ«‬         ‫ﻛﻪ ﺑﻪ ﻃﺒﻘﻪ ﻳﺎ ﻧﮋﺍﺩ ﻭ ﻳﺎ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺁﻧﻬﺎ‬  ‫ﺍﺳﻼﻡ‪ ،‬ﻭ ﺁﻥ ﺭﺍ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﺩﻳﮕﺮ ﺍﺩﻳﺎﻥ‬                 ‫ﺍﻳﻦ ﺻﺪﺍ ﻟﺬﺕ ﺑﺒﺮﻯ ﻭ ﺑﺨﻨﺪﻯ‪.‬‬        ‫ﺍﺣﻤﺪﺯﺍﺩﻩ ﺩﺭﺑﺎﺭﻩ ﺭﺿﺎﻳﺖ ﮔﻠﺰﺍﺭ ﺍﺯ‬                             ‫ﺩﻳﮕﺮﻯ ﺑﮕﻴﺮﺩ‪.‬‬
‫ﺳﻨﺪﻯ ﺗﺎﺭﻳﺨﻰ ﻭ ﺍﻧﻜﺎﺭﻧﺎﭘﺬﻳﺮ ﺑﺮ ﺗﻼﺵ‬       ‫ﺗﻌﻠﻖ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺍﻣﺎ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺗﻮﺟﻪ‬     ‫ﻣﺤﺘﺮﻡ ﻣﻰﺷﻤﺎﺭﻧﺪ‪ .‬ﺑﻨﺎ ﺑﺮ ﺁﻳﻴﻦ ﺑﻬﺎﻳﻰ‪،‬‬                                                                                         ‫ﺍﺣﻤﺪﺯﺍﺩﻩ ﻣﻰ ﮔﻮﻳﺪ‪» :‬ﻣﺎﺩﺭ ﻗﻠﺐ ﺍﺗﻤﻰ«‬
‫ﺳﺎﺯﻣﺎﻥﻳﺎﻓﺘﻪ ﻭ ﻫﺪﻓﻤﻨﺪ ﺭژﻳﻢ ﺍﺳﻼﻣﻰ‬        ‫ﺷﻮﺩ ﻫﻨﻮﺯ ﭘﺲ ﺍﺯ ﺳﻪ ﺩﻫﻪ ﻋﻴﻦ ﻫﻤﻴﻦ‬         ‫ﺟﺎ ﺑﻪ ﺟﺎ ﺩﺭ ﻛﺘﺎﺏ‪ ،‬ﺍﺯ ﺳﻮﻯ ﻧﻮﻳﺴﻨﺪﻩ‬             ‫ﺍﺯ ﺍﺣﻤﺪﺯﺍﺩﻩ ﺩﺭﺑﺎﺭﻩ ﻋﺎﻗﺒﺖ ﻓﻴﻠﻢﻫﺎﻯ‬           ‫ﺣﻀﻮﺭﺵ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﻰﮔﻮﻳﺪ‪:‬‬          ‫ﺷﺨﺼﻴﺖ ﻳﻚ ﺩﻳﻜﺘﺎﺗﻮﺭ ﻣﺜﻞ ﻫﻴﺘﻠﺮ ﻳﺎ‬
‫ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﻧﺎﺑﻮﺩﻯ ﺑﻬﺎﻳﻴﺎﻥ ﻭ ﻳﺎ ﺭﺍﻧﺪﻥ‬   ‫ﻣﺎﺟﺮﺍ ﻋﻠﻴﻪ ﺷﻬﺮﻭﻧﺪﺍﻥ ﺑﻬﺎﻳﻰ ﻫﻢ ﭼﻨﺎﻥ‬      ‫ﻭ ﻫﻢ ﭼﻨﻴﻦ ﺑﻪ ﻧﻘﻞ ﺍﺯ ﻫﻤﺴﺮﺵ ﺩﺭ‬                                                        ‫ﺍﻭ ﺩﺭ ﺍﺑﺘﺪﺍ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻛﻪ ﻧﻘﺶ ﺍﺻﻠﻰ‬      ‫ﺻﺪﺍﻡ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻣﺴﺖ ﻭ‬
                                       ‫ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ ،‬ﺟﺎﻯ ﻫﻴﭻ ﺗﺮﺩﻳﺪﻯ ﺑﺎﻗﻰ‬        ‫ﺯﻧﺪﺍﻥ‪ ،‬ﻣﺮﺗﺐ ﺗﺄﻛﻴﺪ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﻬﺎﻳﻴﺎﻥ‬           ‫ﺗﻮﻗﻴﻔﻰﺍﺵ ﻭ ﺍﺣﺘﻤﺎﻝ ﻋﺎﻗﺒﺘﻰ‬               ‫ﻓﻴﻠﻢ ﻧﻴﺴﺖ ﻭﻟﻰ ﺑﺮﺍﻯ ﻣﻦ ﺷﺨﺼﻴﺖ‬
                ‫ﺁﻧﺎﻥ ﺍﺯ ﻛﺸﻮﺭ ﺍﺳﺖ‪.‬‬      ‫ﻧﻤﻰﻣﺎﻧﺪ ﻛﻪ ﺳﺮﻛﻮﺏ ﺑﻬﺎﻳﻴﺎﻥ ﺗﺎ ﺯﻣﺎﻧﻰ‬      ‫»ﻣﻄﻴﻊ ﺣﻜﻮﻣﺖ ﻭﻗﺖ« ﻫﺴﺘﻨﺪ »ﺣﺎﻝ‬                                                         ‫ﺍﺻﻠﻰ ﻓﻴﻠﻢ ﺍﺳﺖ؛ ﻫﺮ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ‪30‬‬              ‫ﺧﻤﺎﺭ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﭘﺮﺳﻪ ﻣﻰﺯﻧﺪ!‬
                                                                                                                           ‫ﻳﻜﺴﺎﻥ ﺑﺮﺍﻯ ﻓﻴﻠﻢﻫﺎﻯ ﺁﻳﻨﺪﻩﺍﺵ‬             ‫ﻭﺍﺭﺩ ﻓﻴﻠﻢ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺍﻭ ﺧﻴﻠﻰ‬        ‫ﻭ ﺑﻌﺪ ﺷﺨﺼﻴﺖ ﻳﻚ ﺩﻳﻜﺘﺎﺗﻮﺭ ﺧﻤﺎﺭ‬
                                                                                      ‫ﻫﺮ ﻛﻪ ﺑﺎﺷﺪ ﻭ ﻫﺮ ﭼﻪ ﺑﺎﺷﺪ«‪.‬‬                                                   ‫ﻣﺘﻮﺟﻪ ﻧﺒﻮﺩ ﻛﻪ ﺩﺍﺭﺩ ﭼﻪ ﺷﺨﺼﻴﺘﻰ‬
                                                                              ‫ﺍﻣﺎ ﺍﻳﻦ ﺍﻋﺘﻘﺎﺩ ﻭ ﺗﻜﺮﺍﺭ ﺁﻥ ﺩﺭ ﺑﺮﺍﺑﺮ ﺑﺎﺯﺟﻮﻳﺎﻥ‬             ‫ﻣﻰﭘﺮﺳﻢ‪ ،‬ﻭ ﺍﻭ ﻣﻰﮔﻮﻳﺪ‪:‬‬        ‫ﺭﺍ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﻭﻟﻰ ﺍﻻﻥ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ‬                 ‫ﺭﺍ ﭼﻨﻴﻦ ﺗﺸﺮﻳﺢ ﻣﻰﻛﻨﺪ‪:‬‬
                                                                              ‫ﻭ ﺩﺍﺩﮔﺎﻩﻫﺎﻯ ﺷﺮﻉ ﻭ ﺍﻧﻘﻼﺏ ﺳﺒﺐ‬                  ‫ﻭﻗﺘﻰ ﻳﻚ ﻓﻴﻠﻢ ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ‪ ،‬ﺧﻴﻠﻰ‬          ‫ﺗﻔﺎﺳﻴﺮﻯ ﻛﻪ ﺍﺯ ﻓﻴﻠﻢ ﺷﺪﻩ‪ ،‬ﻫﻢ ﺗﺮﺳﻴﺪﻩ‬      ‫ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺷﺨﺼﻴﺖ ﻣﺤﻤﺪﺭﺿﺎ‬
                                                                              ‫ﻧﻤﻰﺷﻮﺩ ﻛﻪ ﺣﻜﻮﻣﺖ ﺍﺳﻼﻣﻰ ﺩﺭ ﺍﻳﺮﺍﻥ‬               ‫ﺑﺮﺍﻳﻢ ﻣﻬﻢ ﻧﻴﺴﺖ؛ ﻫﺮ ﺍﺗﻔﺎﻗﻰ ﻣﻰﺧﻮﺍﻫﺪ‬      ‫ﻭ ﻫﻢ ﺷﻮﻛﻪ ﺷﺪﻩ ﺍﺳﺖ! ﭼﻮﻥ ﻓﻴﻠﻢ‬            ‫ﮔﻠﺰﺍﺭ ﻏﻴﺮﻗﺎﺑﻞ ﺑﺎﻭﺭ ﺑﺎﺷﺪ‪ .‬ﻳﻌﻨﻰ ﻫﺮ‬
                                                                              ‫ﺑﻪ ﭘﻴﺮﻭﺍﻥ ﺑﻬﺎﻳﻴﺖ ﻛﺎﺭﻯ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬          ‫ﺑﻴﺎﻓﺘﺪ؛ ﻧﻤﺎﻳﺶ ﺑﺪﻫﻨﺪ ﻳﺎ ﻧﻪ ﺍﻫﻤﻴﺘﻰ‬                                              ‫ﭼﻘﺪﺭ ﻛﻪ ﺩﺧﺘﺮﻫﺎ ﺑﺎﻭﺭﭘﺬﻳﺮ ﻫﺴﺘﻨﺪ‪،‬‬
                                                                                                                           ‫ﻧﺪﺍﺭﺩ‪ .‬ﻣﻦ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﻓﻴﻠﻢ ﺑﻌﺪﻯﺍﻡ‬                   ‫ﺳﻴﺎﺳﻰ ﻭ ﻓﺎﻧﺘﺰﻯ ﺍﺳﺖ‪.‬‬        ‫ﺷﺨﺼﻴﺖ ﻣﺤﻤﺪﺭﺿﺎ ﺭﺍ ﻧﻤﻰﺷﻮﺩ ﺑﺎﻭﺭ‬
                                                                                                                           ‫ﺭﺍ ﭼﻄﻮﺭ ﺑﺴﺎﺯﻡ ﻛﻪ ﻛﺴﻰ ﺧﻮﺷﺶ‬                                                     ‫ﻛﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻛﺎﺭﻫﺎﻳﻰ ﻛﻪ ﺍﻳﻦ ﺷﺨﺼﻴﺖ‬
                                                                                                                           ‫ﺑﻴﺎﻳﺪ؛ ﺳﻌﻰ ﻣﻰﻛﻨﻢ ﺑﺮﺍﻯ ﻓﻴﻠﻤﻰ ﻛﻪ‬         ‫ﺍﺯ ﻛﺎﺭﮔﺮﺩﺍﻥ »ﻣﺎﺩﺭ ﻗﻠﺐ ﺍﺗﻤﻰ«‬            ‫ﺩﻳﻜﺘﺎﺗﻮﺭ‪ ،‬ﺩﺭ ﺣﺎﻟﺖ ﺳﺮﺧﻮﺷﻰ ﻣﺮﺗﻜﺐ‬
                                                                                                                           ‫ﺧﻮﺩﻡ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺑﺴﺎﺯﻡ‪ ،‬ﻳﻚ ﺭﺍﻫﻰ‬                                                 ‫ﻣﻰﺷﻮﺩ‪ ،‬ﺧﻄﺮﻧﺎﻙ ﻭ ﻏﻴﺮﻭﺍﻗﻌﻰ ﺍﺳﺖ‪.‬‬
                                                                                                                                                                  ‫ﺩﺭﺑﺎﺭﻩ ﭘﺮﺩﺍﺧﺖ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﺭﻭﺯﻣ ّﺮﻩ‬       ‫ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪ ﺳﻤﺘﻰ ﻣﻰﺑﺮﺩ‬
                                                                                                                                                   ‫ﭘﻴﺪﺍ ﻛﻨﻢ‪.‬‬      ‫ﻛﺸﻮﺭ ﺍﻳﺮﺍﻥ ﻣﻰﭘﺮﺳﻢ‪ ،‬ﭘﺎﺳﺦ‬

                                                                                                                           ‫]ﻋﻜﺲ ﻫﺎ ﺍﺯ ﻋﻠﻰ ﺍﺷﺘﻴﺎﻕ[‬                                           ‫ﻣﻰﺩﻫﺪ‪:‬‬
                                                                                                                                                                  ‫ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺯ ﺻﺒﺢ ﺗﺎ ﺷﺐ ﻣﺎ ﻫﻤﻴﻦ ﺍﺳﺖ‬
                                                                                                                                                                  ‫ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻦ ﺣﺘﻰ‬
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