تاریخ انتشار : جمعه 29 دی 1402 - 11:56
40 بازدید
کد خبر : 208969

فیلم هریسون فورد که منجر به بایکوت آمیش شد

فیلم هریسون فورد که منجر به بایکوت آمیش شد

  به گزارش وبسایت دانلود فیلم و به نقل از برخورد دهنده هریسون فورد یکی از پرکارترین فیلم‌ها را در ژانر اکشن داشت، از بازی‌های نمادینش در نقش هان سولو و ایندیانا جونز گرفته تا فیلم‌های هیجان‌انگیزش در The Fugitive و Air Force One. هنگامی که انواع مختلفی از حریفان را روی صفحه بازی کرده

 

به گزارش وبسایت دانلود فیلم و به نقل از برخورد دهنده هریسون فورد یکی از پرکارترین فیلم‌ها را در ژانر اکشن داشت، از بازی‌های نمادینش در نقش هان سولو و ایندیانا جونز گرفته تا فیلم‌های هیجان‌انگیزش در The Fugitive و Air Force One. هنگامی که انواع مختلفی از حریفان را روی صفحه بازی کرده باشید، خود را در مکان‌های غیرمعمولی خواهید یافت. در بین کشف آثار باستانی، شرکت در جنگ بین کهکشانی و خنثی کردن هواپیماربایی، فورد در حومه هلند پنسیلوانیا فرود آمد. فیلم Witness به کارگردانی پیتر ویر که در سال ۱۹۸۵ منتشر شد، فورد را در نقش جان بوک دنبال می‌کند، کارآگاهی که در حال تحقیق در مورد قتل یک پلیس مخفی در مقابل یک پسر جوان آمیش است. ویر، چند سال قبل از موفقیت های عظیمش در کارگردانی Dead Poet’s Society و The Truman Show، فورد را در ستاره اصلی سینمای خود برای یک تریلر تند و قدرتمند که از نظر تجاری و انتقادی موج زد. Witness در یک ظاهر کوتاه، یک بازیگر تاثیرگذار به رهبری فورد و با حمایت دنی گلاور، کلی مک‌گیلیس، لوکاس هاس جوان و ویگو مورتنسن را معرفی می‌کند.

این فیلم با فروش چشمگیر باکس آفیس، قدرت ستاره هریسون فورد را ثابت کرد. Witness در رتبه دوم باز شد و این موقعیت را قبل از رسیدن به رتبه اول باکس آفیس هفتگی داخلی در پنجمین هفته اکران خود حفظ کرد. ثابت ماندن فیلم در نمودارها چندان رایج نیست. این نشان دهنده جذابیت یک ستاره واقعی سینما و اهمیت تبلیغات شفاهی خوب است. Witness از نظر منتقدان نیز موفقیت‌آمیز بود و هشت بار نامزدی جایزه اسکار، از جمله بهترین فیلم و در کمال تعجب، تنها نامزدی اسکار هریسون فورد را به دست آورد. در حالی که به نظر می رسید تماشاگران و منتقدان از این تریلر جنایی که در حومه آمیش ها می گذرد گرفته شده بودند، گروهی از مردم بودند که خیلی از فیلم هیجان زده نبودند: خود آمیش ها.

 

چرا “شاهد” هریسون فورد جامعه آمیش را ناراحت کرد؟

آمیش ها فرقه ای از مسیحیان در ایالات متحده هستند. آنها به سنت هایی پایبند هستند که ریشه در بیزاری از دنیاگرایی دارد، به همین دلیل است که آمیش ها لباس ساده می پوشند، از فناوری مدرن مانند اتومبیل دوری می کنند و با رسانه ها و فرهنگ پاپ درگیر نمی شوند. شاهد به دلایل مختلف از سوی برخی از رهبران آمیش مورد انتقاد قرار گرفت. کمیته ملی آزادی مذهبی آمیش ها بیانیه ای را در هفته اکران فیلم منتشر کرد و خواستار تحریم فیلم شد.

 

آنها به نگرانی‌های ناشی از توجه بی‌رویه به جامعه خود اشاره کردند و گفتند: “ازدحام، شکار سوغات، عکاسی و تجاوز به مزارع آمیش افزایش خواهد یافت.” این چیزی است که خود فیلم از آن آگاه است، همانطور که شخصیت مک‌گیلیس در طول صحنه‌ای در شهر به بوک اشاره می‌کند که معمولاً مردم آمیش در ملاء عام به عنوان یک جاذبه توریستی مورد توجه قرار می‌گیرند. این در Witness زمانی رخ می‌دهد که گروهی از مردم محلی در طول سفر به یک شهر همسایه آمیش‌ها را مورد آزار و اذیت قرار می‌دهند و بوک با ضرب و شتم آن‌ها تلافی می‌کند، که برخلاف قانون عدم خشونت آنهاست.

 

این گروه خاطرنشان کردند که خشونت در فیلم در تضاد با شیوه های فرهنگی آنها بود. لازم به ذکر است که آنها احساس نمی کردند که فیلم آنها را بد نیت به تصویر کشیده است. کمیته بیان کرد که فیلم در به تصویر کشیدن مردم آمیش “خصمانه” نبود، اما آنها همچنان با رفتارهایی که شخصیت های دیگر در ارتباط با جامعه خود روی صفحه نمایش می دهند مخالف بودند. با توجه به اینکه Witness شامل یک بن بست اوج در سرزمین آمیش ها می شود، قابل درک است که چرا آنها ممکن است توسط فیلم به تعویق افتاده باشند.

 

در حالی که سازندگان فیلم قطعاً قصد توهین نداشتند، همانطور که در نیویورک تایمز در حین تولید گزارش شد، نگرانی ها منطقی است زیرا آمیش ها سبک زندگی خصوصی دارند. آنها از دیدن فیلم خودداری می کنند اما احساس می کنند که تولید و اکران فیلم حضوری چشمگیر در جامعه است.

 

«شاهد» هریسون فورد درباره چیست؟

جان بوک از یک محیط شهری خشن در ویتنس می آید و روزهایش را در تعقیب جنایتکاران و کار با پلیس های کلاهبردار می گذراند. شخصیت‌های غیرآمیشی اهل فیلادلفیا هستند، محیطی کاملاً متفاوت با حومه هلندی پنسیلوانیا. علاوه بر این، همه آنها درگیر سبک زندگی و حرفه هایی هستند که شامل خشونت، جنایت و فساد است. این امر آنها را از نظر ایدئولوژیکی و رفتاری در تضاد با جامعه آمیش قرار می دهد که ناخواسته در تحقیقات قتل پلیس قرار می گیرد. داستان‌های جنایی دهه ۱۹۸۰ اغلب در پس‌زمینه‌ای از منظره‌ای تیره و تار شهری روایت می‌شوند. کروز، دزد، و ۴۸ ساعت. شما را به دنیای زیرین جنایت در شهر نیویورک، شیکاگو و سانفرانسیسکو می برد. این محیط‌های گسترده و شلوغ، جایی است که افرادی مانند Book تمایل به فعالیت دارند. قرار دادن او در یک منظره روستایی نسبتاً متروک منجر به تغییر سرعت و منظره می‌شود و Witness را در میان پانتئون فیلم‌های جنایی دهه ۸۰ برجسته می‌کند.

وقتی پسر جوان شاهد قتل دنی گلاور یک افسر پلیس است و گلوور را در ابتدای تحقیقات شناسایی می کند، بوک می داند که اگر حرفی در مورد هویت شاهد به گوش برسد، جان کودک در خطر است. این باعث می‌شود که بوک با آنها به خانه‌شان سفر کند و برای مدت کوتاهی در میان آنها زندگی کند. به او آداب و رسوم آمیش ها آموزش داده می شود و قبل از اینکه مجبور شود وقتی افسران پلیس فاسد در نهایت به محل زندگی آنها نزدیک شوند، با مک گیلیس رابطه برقرار می کند.

 

مجموعه اکشن نهایی علاقه موضوعی فیلم را در تضاد بین شیوه زندگی بوک و رویکرد آمیش متبلور می کند. در حالی که بوک تعدادی از پلیس فاسد گلاور را می کشد، از جمله مرگ بسیار آزاردهنده ای که بر اثر غلات غلات رخ می دهد، او در نهایت این درگیری را حل نمی کند. آمیش ها در نهایت کسانی هستند که از طریق نقش های خود به عنوان شاهد، خشونت را متوقف می کنند. درست در زمانی که گلوور در حال انجام یک حرکت نهایی در این بن بست اوج است، جامعه آمیش در یک مشاهده منفعلانه از اقدامات او گرد هم می آیند. گلوور متوجه می شود که نمی تواند با این همه نگاه به او فرار کند و در نهایت تسلیم می شود.

 

در حالی که بوک آخرین دستگیری خود را قبل از بازگشت به شهر انجام می دهد، به نظر می رسد که پس از برخورد غیرمنتظره و مرگباری که باعث شد در میان آمیش ها قرار بگیرد، جان تازه ای پیدا می کند. وضوح فیلم به وضوح نشان می دهد که بوک با همراهی او با آمیش ها مرد بهتری شده است. برخی از لبه های خشن او شن و ماسه شده اند. برخورد فرهنگی یک پلیس خشن شهری در محیطی عجیب و غریب و سنتی، در نهایت انسانیت را از جان بوک بیرون می‌آورد، کسی که دیگر بدبین یا مستعد خشم نیست. علیرغم تردید مردم آمیش در مورد شاهد، فیلم تمام تلاش خود را می کند تا جامعه را انسانی کند و آنها را به عنوان یک تأثیر اخلاقی مثبت بر شخصیت خشن و تلخ به تصویر می کشد.

 

“شاهد” خطوط مبهم بین بهره برداری و تصویر

هر فیلمی که یک رویداد دنیای واقعی یا یک فرهنگ واقعی را روی پرده به تصویر می‌کشد، خطر ناگواری را متحمل می‌شود. ممکن است در نهایت افرادی را که احساس می کنند به خاطر هنر شما نادرست معرفی شده اند، توهین یا ناراحت کنید. یک بحث واقعی در مورد اینکه مرز بین تصویرسازی و استثمار چیست وجود دارد. این مکالمه ای است که در سال های اخیر بارها مطرح شده است، نمونه ای از آن گفتمان فرهنگی پیرامون مارتین اسکورسیزی است که داستانی از رنج بومیان آمریکایی را با Killers of the Flower Moon روایت می کند. شرکت در این مکالمات محترمانه باید شامل گوش دادن به قصد هنرمندان و گوش دادن به بازخورد کسانی باشد که با موضوع ارتباط شخصی دارند. این نوع انتقادها می توانند بدون اینکه مخرب باشند معتبر باشند. بدون اینکه ادعا کنیم که فیلم یا کسانی که از آن لذت می برند ذاتا بد هستند.

شاهد فیلمی پرطرفدار و بسیار سودآور بود، بنابراین واضح است که تحریمی که توسط آن گروه های آمیش تایید شد، در نهایت کارساز نبود. این فیلم یکی از موفق‌ترین و تحسین‌شده‌ترین فیلم‌های فورد است، اما برای آمیش‌ها یک باخت کامل نبود. دیک تورنبورگ، فرماندار وقت پنسیلوانیا، پس از آزادی ویتنس موافقت کرد که دولت ایالتی کشور آمیش را به عنوان مکانی برای مجموعه فیلم های آینده تبلیغ نکند. اگر در اینجا باید درسی آموخت، شاید به سادگی این باشد که هر رسانه هنری ابزار قدرتمندی است که می تواند اثرات غیرمنتظره ای داشته باشد. هیچ فیلمساز یا مخاطبی نباید تصور کند که پاسخ معنای بهره برداری در مقابل تصویر کردن را برای داستان سرایی بداند، اما این سوالی است که ما نباید از آن به عنوان بخشی از فرآیند درگیر شدن با یک فیلم بترسیم.

 

هریسون فورد و پیتر ویر تصمیم گرفتند به سادگی یک فیلم جنایی سرگرم کننده و جذاب بسازند. آنها در نهایت در این هدف موفق بودند، و Witness نمونه قابل توجهی از اوج قدرت فورد به عنوان یک ستاره سینما باقی مانده است. داشتن یک فیلم اورجینال از این نوع، یک فیلم هیجان انگیز که به عنوان یک وسیله نقلیه ستاره بسته بندی شده است، از نظر تجاری، انتقادی، و با مراسم جوایز مهم، چیزی است که ما اغلب نمی بینیم. Witness یک همکاری بین یک ستاره سینما و کارگردانی است که در اوج خود هستند، که به ما نگاهی تازه به فرمول معمولی جنایی مهیج دهه ۱۹۸۰ می دهد. 

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