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سید وحید موسوی راد؛ در میان انبوهِ آثاری با سوژه‌های خشونت‌آمیز، خبر پخش دو سریالِ «سووشون» و «بامداد خمار» خوب و خوشحال‌کننده خواهد بود. همین که کارگردانی به ساخت سریال‌هایی از داستان‌های مشهور ایرانی تمایل نشان داده را باید به فال نیک گرفت.

ما از واقع‌گرایی خسته‌کننده دنیا به ادبیات پناه می‌بریم. ادبیات در بسیاری از لحظات زندگی، میان ما و واقعیت فاصله می‌اندازد، دستمان را می‌گیرد و به سرزمین‌های دور می‌برد و با آدم‌هایی آشنا می‌کند، که کمتر امکان رودررو شدن با آنها را در دنیای واقع پیدا می‌کنیم.

ادبیات پناه جان‌های خسته است. داستان‌ها و رمان‌ها برای جان‌های خسته‌ای که دنبال لَختی آرامش در میان شلوغی‌های روز می‌گردند، وقفه‌هایی برای آرامش و رها شدن پدید می‌آورد. این معجزه ادبیات است. این قدرت داستانگویی در رمان‌ها و داستان‌هاست که ناگهان مثل یک ناجی از راه می‌رسد و خواننده‌اش را از روزمرگی‌ها جدا می‌کند و به او هیجانِ درکِ دنیاهای نزیسته را می‌دهد.

غفلت فیلمسازان از آثار ادبی

تاریخ داستان‌نویسی ما اگرچه قدمتش به برخی کشورهای پیشرو در این حوزه نمی‌رسد، اما آثار فاخر و خواندنی کم ندارد. نویسندگان معاصر ایرانی مثل بزرگ علوی، جلال آل‌احمد، اسماعیل فصیح، محمدعلی جمالزاده، گلی ترقی، صادق هدایت، سیمین دانشور و دهها نام بزرگ دیگر کتاب‌های جذاب و خواندنی زیادی از خودشان به یادگار گذاشته‌اند که ارزش‌های ادبی زیادی دارند.

بسیاری از این نویسندگان ذهن خلاقی برای تصویری نوشتن و خلق موقعیت‌های خاص و ویژه داشته‌اند. آنها علاوه بر خلاقیت ذهنی در فن و تکنیک نیز حرف‌های زیادی برای گفتن داشتند و کتاب‌هایشان به مرور زمان و به لحاظ ادبی ارزش و اعتبار زیادی پیدا کرده است.

اما متاسفانه به دلیل قطع بودن ارتباط میان نویسندگان و فیلمسازان، این آثار در کنج کتابخانه‌ها مانده‌اند و نتوانسته‌اند به راهی به سمت فیلم و سریال‌ها پیدا کنند. این تجربه دردناک و ناراحت‌کننده فضای هنری کشورمان است که در سال‌های اخیر بیش از گذشته به چشم می‌آید.

باز اگر فیلمسازان نسل قدیم مثل مهرجویی، ناصر تقوایی و کیومرث پوراحمد نگاهی به آثار ادبی کشورمان داشتند و فیلم‌هایی مثل «گاو» و سریال‌هایی مثل «قصه‌های مجید» می‌ساختند، اما هر چه جلوتر آمده‌ایم این ارتباط کمرنگ و کمرنگ‌تر شده است.

یکی از دلایل کمرنگ شدن این اتفاق به دوری فیلمسازان نسل جدید از کتاب‌ها برمی‌گردد. برخلاف کارگردانان اروپایی و آمریکایی که مدام میان داستان‌ها و رمان‌ها برای اقتباس و پیدا کردن داستان پرسه می‌زنند، کارگردانان جوانِ سینمای ایران، توجه کمتری به این موضوع نشان می‌دهند.

غرق شدن سریال‌های شبکه نمایش خانگی در خشونت

حتی با وجود پدید آمدن پلتفرم‌های نمایش خانگی و فرصتِ فوق‌العاده‌ای که این پلتفرم‌ها جهت ساختن سریال‌های اقتباسی به کارگردانان می‌دهند، باز هم شاهد رخ دادن اتفاق خاصی در این زمینه نبوده‌ایم. به جز چند تلاش از سوی محمد کارت و محمدحسین مهدویان، بقیه سریال‌های نمایش خانگی، غرقِ در خشونت و واقع‌گرایی صرف بوده‌اند.

بسیاری از این کارگردانان سنگِ بنای سریال‌هایشان را نه بر روی داستان‌ها و رمان‌ها، بلکه بر روی حوادثِ خشنِ اجتماعی گذاشته‌اند. این عارضه جدید فیلم و سینمای ایران است که کارگردانانش در صفحات حوادث رسانه‌ها به دنبال اتفاقات واقعی می‌گردند و می‌خواهند عینِ آن را در واقعیت پیدا کنند.

این سبک از فیلم و سریال‌سازی در صورت وجود ژانرهای مختلف سینمایی ایرادی نداشت ولی وقتی تلاش کارگردانان به ساختن آثاری از خشونت عریان در سطح جامعه خلاصه شود، این معنی را می‌رساند که فیلمساز به عنوان یک الیت اجتماعی، امکان و خلقِ موج و فضایی تازه در جامعه را ندارد.

بلکه برعکس او همچون انسانی منفعل گوشه‌ای نشسته تا ببیند جامعه به کدام سمت می‌رود تا بعد به دنبال او حرکت کند و متناسب با آن فضا اثری بسازد. سریال‌هایی مثل «داریوش»، «قورباغه»، «گردن زنی»، «جان سخت» و «جنگل آسفالت»، همه غرق در ترسیم و بازنمایی فضای خشونت‌آمیز طبقات پائین اجتماع هستند و به جز همان داستان‌های تکراریِ قتل و کشتن و زد و خورد، چیز دیگری به مخاطب‌شان نمی‌دهند. سریال تازه هومن سیدی به نام «وحشی» نیز از این فضا جدا نیست و در سریالش به سراغ یکی از پرونده‌های جنایی سال‌های اخیر رفته است.

حتی محمد کارت، محمدحسین مهدویان و امین حسین‌پور که در «یاغی»، «زخم کاری» و «بازنده» به سراغ اقتباس از آثار ادبی رفتند، باز انتخاب‌شان کتاب‌هایی با دوز بالای خشونت و انتقام‌گیری بوده است. به نظر می‌رسد، ژانرهای دیگر و پرطرفدار در سینمای جهان، خیلی مورد نظر و علاقه فیلمسازان و تهیه‌کنندگان نیست و آنها سعی کرده‌اند خیلی سفت و محکم به همان وقایع جاری در اجتماع بچسبند.

تغییر فضا با دو سریال اقتباسی

در چنین فضایی و در میان انبوهِ آثاری با سوژه‌های خشونت‌آمیز، خبر پخش دو سریالِ «سووشون» و «بامداد خمار» خوب و خوشحال‌کننده خواهد بود. همین که کارگردانی به ساخت سریال‌هایی از داستان‌های مشهور ایرانی تمایل نشان داده را باید به فال نیک گرفت. همین خرق عادت و فاصله گرفتن از سوژه‌های خشن و رفتن به سوی دنیایی دیگر می‌تواند برای مخاطبان سریال‌های شبکه نمایش خانگی، اتفاقی خوب و خوشایند باشد. شاید ساخت این سریال‌ها سنگ بنای خوبی را بگذارند تا دیگر کارگردانان با ادبیاتِ کشورشان آشتی کنند.

این اقتباس‌ها هم بیشتر به علقه و علاقه و سبقه نرگس آبیار برمی‌گردد. او زمانی خودش نویسنده بوده و خوشبختانه همچنان علاقه‌اش به ادبیات را حفظ کرده است و همین نشان می‌دهد وقتی فیلمسازی با فضای ادبی آشنایی داشته باشد، بیشتر به سمت اقتباس سوق پیدا می‌کند.

ارزش این کار وقتی بیشتر مشخص می‌شود که می‌بینیم فیلمساز باتجربه و پیشکسوتی مثل بهمن فرمان‌آرا به خاطر چالش‌های موجود جهت اقتباس از رمان «چشم‌هایش»، قید ساختن این سریال را زده است.

اقتباس از داستان‌های معروف ایرانی، فقط جنبه سرگرمی و پرکردن اوقات فراغت مخاطبان را ندارد. بلکه این فیلم و سریال‌ها، یک کار فرهنگیِ خوب و حساب شده جهت معرفیِ ادبیات ایران به مردم کشورهای دیگر، به ویژه کشورهای همسایه است. امروز در همه جای دنیا، مدیوم‌های تصویری مخاطب و قابلیت دربرگیری بیشتری دارد و بینندگان فیلم و سریال‌ها خیلی راحت‌تر و زودتر مخاطب فیلم‌ها و سریال‌ها می‌شوند.

اگر سریال‌های ایرانی در کشورهای مجاور و همسایه‌مان که با ما قرابت فرهنگی دارند بخش شوند، می‌توانند به خوبی مبلغِ ادبیات ایران هم باشند. باید دید «سووشون» و «بامداد خمار» پس از پخش چه سرنوشتی پیدا می‌کنند ولی از همین حالا می‌توان امیدوار بود که این سریال‌ها به لحاظ کیفی قدرت جذب مخاطب را داشته باشند و بتوانند در دنیای سریال‌های ایرانی، فضای تازه‌ای باز کنند.

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