{"id":4284,"date":"2026-08-18T15:06:27","date_gmt":"2026-08-18T14:06:27","guid":{"rendered":"https:\/\/migjeni.se\/?p=4284"},"modified":"2026-08-18T15:06:32","modified_gmt":"2026-08-18T14:06:32","slug":"fatmir-terziu-kur-odiseu-degjon-shqiperine","status":"publish","type":"post","link":"https:\/\/migjeni.se\/index.php\/2026\/08\/18\/fatmir-terziu-kur-odiseu-degjon-shqiperine\/","title":{"rendered":"Fatmir Terziu: Kur Odiseu d\u00ebgjon Shqip\u00ebrin\u00eb"},"content":{"rendered":"
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Fatmir Terziu:<\/div>\n
Kur Odiseu d\u00ebgjon Shqip\u00ebrin\u00eb<\/div>\n<\/div>\n
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(Nga Bekim Fehmiu te Christopher Nolan dhe z\u00ebri i fsheht\u00eb shqiptar i detit)<\/div>\n
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Dje, n\u00eb nj\u00eb nga kinemat\u00eb VUE t\u00eb Londr\u00ebs, p\u00ebrpara se t\u00eb shfaqej The Odyssey e Christopher Nolanit, ndodhi di\u00e7ka e \u00e7uditshme. P\u00ebr gati tridhjet\u00eb minuta, filmi nuk kishte filluar ende. Reklama. Dritat. Ekrani q\u00eb nd\u00ebrrohej nga nj\u00eb produkt n\u00eb tjetrin. Kokoshkat p\u00ebrpara. Zhurma e leht\u00eb e sall\u00ebs. Pastaj, pik\u00ebrisht kur mendon se m\u00eb n\u00eb fund do t\u00eb hysh n\u00eb bot\u00ebn e Homerit, t\u00eb gjith\u00eb celular\u00ebt e sall\u00ebs u ndez\u00ebn nj\u00ebkoh\u00ebsisht. Nj\u00eb sinjal shtet\u00ebror britanik. Njoftim p\u00ebr vap\u00ebn, rrezikun e zjarreve dhe masat e kujdesit. Dhe papritur mendova se kjo nuk ishte aspak jasht\u00eb filmit. E dini pse? N\u00eb ransparenc\u00ebn time akademike, po aq dhe at\u00eb t\u00eb njohurive ballkanike, Odisea \u00ebsht\u00eb, n\u00eb thelb, nj\u00eb histori p\u00ebr njeriun q\u00eb p\u00ebrballet me natyr\u00ebn kur natyra nuk pranon t\u00eb jet\u00eb dekor. Pastaj celular\u00ebt hesht\u00ebn. Salla u err\u00ebsua. Dhe filloi deti.<\/div>\n<\/div>\n
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1. Nga sinjali i shtetit te z\u00ebri i Homerit<\/div>\n<\/div>\n
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Kishte di\u00e7ka simbolike n\u00eb k\u00ebt\u00eb kalim. Jasht\u00eb filmit, nj\u00eb shtet modern i thot\u00eb njeriut, ej Njeri, kujdes nga nxeht\u00ebsia, kujdes nga zjarri, respekto rregullat, ruaju nga forca e natyr\u00ebs. N\u00eb film, nj\u00eb bot\u00eb mij\u00ebra vjet m\u00eb e vjet\u00ebr i thot\u00eb njeriut di\u00e7ka tjet\u00ebr. Ti nuk e kontrollon dot natyr\u00ebn. Odiseu mund t\u00eb jet\u00eb mbret. Mund t\u00eb jet\u00eb strateg. Mund t\u00eb ket\u00eb ushtri. Mund t\u00eb mposht\u00eb Troj\u00ebn.<\/div>\n
Por sapo hyn n\u00eb det, pushteti i tij zvog\u00eblohet. Deti nuk njeh kuror\u00eb. Kjo \u00ebsht\u00eb nj\u00eb nga gj\u00ebrat q\u00eb Nolan e kupton m\u00eb mir\u00eb se shum\u00eb p\u00ebrshtatje t\u00eb m\u00ebparshme t\u00eb Homerit, Odisea nuk \u00ebsht\u00eb vet\u00ebm histori aventurash. \u00cbsht\u00eb histori e p\u00ebrplasjes nd\u00ebrmjet njeriut dhe asaj q\u00eb nuk mund t\u00eb komandohet.<\/div>\n
Dhe pik\u00ebrisht k\u00ebtu fillon ndryshimi i madh i Nolanit. Ai nuk e trajton Odiseun thjesht si heroin q\u00eb duhet t\u00eb kthehet n\u00eb sht\u00ebpi. Ai e trajton si nj\u00eb njeri q\u00eb duhet t\u00eb paguaj\u00eb \u00e7mimin e kthimit.<\/div>\n<\/div>\n
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2. Bekim Fehmiu, Odiseu q\u00eb vinte nga nj\u00eb bot\u00eb tjet\u00ebr<\/div>\n<\/div>\n
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K\u00ebtu kujtesa shqiptare ka t\u00eb drejt\u00eb t\u00eb ndalet. N\u00eb vitin 1968, Bekim Fehmiu ishte Odiseu. N\u00eb serialin italian Odissea, Fehmiu nuk ishte thjesht nj\u00eb aktor q\u00eb luante nj\u00eb figur\u00eb t\u00eb lasht\u00ebsis\u00eb. Ai i dha Odiseut nj\u00eb trup, nj\u00eb fytyr\u00eb dhe nj\u00eb heshtje q\u00eb mbet\u00ebn n\u00eb kujtes\u00ebn europiane. Seriali p\u00ebrb\u00ebhej nga tet\u00eb episode dhe Fehmiu interpretonte Ulissen, nd\u00ebrsa Irene Papas ishte Penelopa.<\/div>\n
Dallimi \u00ebsht\u00eb i madh. Odiseu i Fehmiut kishte nj\u00eb lloj tragjedie t\u00eb qet\u00eb. Ai dukej sikur e mbante brenda vetes pesh\u00ebn e t\u00eb gjith\u00eb udh\u00ebtimit.<\/div>\n
Odiseu i Matt Damonit \u00ebsht\u00eb tjet\u00ebr. Ai \u00ebsht\u00eb m\u00eb fizik. M\u00eb i ekspozuar. M\u00eb i ashp\u00ebr. M\u00eb strategjik. Nuk \u00ebsht\u00eb m\u00eb vet\u00ebm njeriu q\u00eb k\u00ebrkon sht\u00ebpin\u00eb. \u00cbsht\u00eb njeriu q\u00eb duhet t\u00eb kuptoj\u00eb se \u00e7far\u00eb ka b\u00ebr\u00eb me veten gjat\u00eb rrug\u00ebs p\u00ebr n\u00eb sht\u00ebpi. Dhe kjo \u00ebsht\u00eb ndoshta arsyeja pse krahasimi mes Fehmiut dhe Damonit nuk duhet b\u00ebr\u00eb n\u00eb pyetjen, se \u201cKush ishte Odiseu m\u00eb i mir\u00eb?\u201d Pyetja m\u00eb interesante \u00ebsht\u00eb, se \u00c7far\u00eb kohe p\u00ebrfaq\u00ebson secili Odise? Fehmiu i vitit 1968 ishte Odiseu i nj\u00eb kinemaje q\u00eb besonte ende te madh\u00ebshtia e heroit. Damon \u00ebsht\u00eb Odiseu i nj\u00eb kohe q\u00eb dyshon te heroi.<\/div>\n<\/div>\n
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3. Nolan nuk e filmon mitin, ai e zhvesh mitin<\/div>\n<\/div>\n
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K\u00ebtu q\u00ebndron risia m\u00eb e madhe e filmit. N\u00eb shum\u00eb p\u00ebrshtatje t\u00eb m\u00ebparshme, mitologjia shfaqej si nj\u00eb bot\u00eb e jasht\u00ebzakonshme. Nolan b\u00ebn t\u00eb kund\u00ebrt\u00ebn. Ai p\u00ebrpiqet ta b\u00ebj\u00eb t\u00eb jasht\u00ebzakonshmen t\u00eb duket materiale. E r\u00ebnd\u00eb, e ftoht\u00eb, e lag\u00ebsht, e lodhshme, e frikshme. Deti nuk \u00ebsht\u00eb vet\u00ebm bluja romantike e aventur\u00ebs. \u00cbsht\u00eb mas\u00eb, temperatur\u00eb, er\u00eb, err\u00ebsir\u00eb dhe humbje orientimi. Beteja nuk \u00ebsht\u00eb vet\u00ebm koreografi. \u00cbsht\u00eb trup. Udh\u00ebtimi nuk \u00ebsht\u00eb vet\u00ebm l\u00ebvizje. \u00cbsht\u00eb konsumim. Kjo lidhet me zgjedhjen e Nolanit p\u00ebr ta trajtuar bot\u00ebn e epok\u00ebs s\u00eb bronzit n\u00ebp\u00ebrmjet nj\u00eb realiteti sa m\u00eb fizik dhe sa m\u00eb pak dekorativ. Dhe muzika b\u00ebhet pjes\u00eb e k\u00ebtij projekti.<\/div>\n<\/div>\n
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4. Dhe pastaj d\u00ebgjohet Shqip\u00ebria<\/div>\n<\/div>\n
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K\u00ebtu filmi merr nj\u00eb kthes\u00eb q\u00eb, p\u00ebr nj\u00eb shqiptar, \u00ebsht\u00eb e pamundur t\u00eb mos e ndjesh ndryshe. Lud\u00ebig G\u00f6ransson udh\u00ebtoi n\u00eb jug t\u00eb Shqip\u00ebris\u00eb gjat\u00eb k\u00ebrkimit t\u00eb tingujve p\u00ebr filmin. Ai regjistroi iso-polifoni shqiptare dhe tinguj t\u00eb fyejve tradicional\u00eb t\u00eb barinjve. Regjistrimet nuk mbet\u00ebn thjesht materiale dokumentare. Ato u fut\u00ebn n\u00eb struktur\u00ebn e partitur\u00ebs. Kjo \u00ebsht\u00eb shum\u00eb m\u00eb e r\u00ebnd\u00ebsishme sesa t\u00eb thuash, se \u201cKa muzik\u00eb shqiptare n\u00eb film.\u201d Jo. Ajo q\u00eb ndodh \u00ebsht\u00eb m\u00eb interesante. Shqip\u00ebria nuk \u00ebsht\u00eb vet\u00ebm n\u00eb kolon\u00ebn zanore. Ajo \u00ebsht\u00eb n\u00eb m\u00ebnyr\u00ebn se si filmi e d\u00ebgjon bot\u00ebn e lasht\u00eb. Ky \u00ebsht\u00eb ndryshimi.<\/div>\n<\/div>\n
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5. Fyelli nuk \u00ebsht\u00eb dekor. \u00cbsht\u00eb kujtes\u00eb.<\/div>\n<\/div>\n
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Fyelli baritor ka nj\u00eb ve\u00e7anti t\u00eb jasht\u00ebzakonshme. Ai nuk ting\u00ebllon si instrument pallati. Nuk ka luks. Nuk ka madh\u00ebshti ceremoniale. \u00cbsht\u00eb tingulli i njeriut q\u00eb q\u00ebndron me kopen\u00eb, q\u00eb pret, q\u00eb ec\u00ebn, q\u00eb d\u00ebgjon er\u00ebn. Dhe kjo e b\u00ebn at\u00eb jasht\u00ebzakonisht t\u00eb p\u00ebrshtatsh\u00ebm p\u00ebr Odisean. Odiseu \u00ebsht\u00eb, n\u00eb nj\u00eb kuptim t\u00eb thell\u00eb, nj\u00eb bari i vetes s\u00eb tij, i cili humbet, kthehet, ndahet, ribashkohet.<\/div>\n
Pastaj ndjek nj\u00eb shenj\u00eb, d\u00ebgjon nj\u00eb z\u00eb, k\u00ebrkon nj\u00eb rrug\u00eb. Fyelli, pra, nuk \u00ebsht\u00eb vet\u00ebm tingull. \u00cbsht\u00eb tingulli i udh\u00ebs. N\u00eb t\u00eb dh\u00ebnat e ekipit muzikor t\u00eb filmit, Vendim Kapaj figuron si interpretuesi i fyellit, nd\u00ebrsa k\u00ebng\u00ebt tradicionale iso-polifonike jan\u00eb aranzhuar dhe interpretuar nga \u201cT\u00eb rinjt\u00eb e Delvin\u00ebs\u201d. Dhe kjo e ndryshon krejt m\u00ebnyr\u00ebn se si duhet d\u00ebgjuar filmi.<\/div>\n<\/div>\n
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6. Isoja shqiptare dhe problemi i vetmis\u00eb s\u00eb Odiseut<\/div>\n<\/div>\n
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Kjo, p\u00ebr mua, \u00ebsht\u00eb pika m\u00eb e bukur e gjith\u00eb k\u00ebtij zbulimi. Iso-polifonia shqiptare \u00ebsht\u00eb muzik\u00eb q\u00eb nuk ekziston p\u00ebrmes nj\u00eb z\u00ebri t\u00eb vet\u00ebm. Nj\u00eb z\u00eb udh\u00ebheq. T\u00eb tjer\u00eb p\u00ebrgjigjen. Nj\u00eb z\u00eb ngrihet. T\u00eb tjer\u00eb e mbajn\u00eb. Nj\u00eb z\u00eb largohet. T\u00eb tjer\u00eb e mbajn\u00eb hap\u00ebsir\u00ebn. Dhe \u00e7far\u00eb \u00ebsht\u00eb kjo, n\u00ebse jo nj\u00eb metafor\u00eb e p\u00ebrsosur p\u00ebr Odisean? Odiseu \u00ebsht\u00eb vet\u00ebm, por historia e tij nuk \u00ebsht\u00eb vet\u00ebm. Ai mbart Penelop\u00ebn, Telemakun, Itak\u00ebn, Troj\u00ebn. Ama edhe shok\u00ebt e humbur, Zotat, armiqt\u00eb, t\u00eb vdekurit, Detin, kujtes\u00ebn. N\u00eb k\u00ebt\u00eb kuptim, iso-polifonia nuk \u00ebsht\u00eb thjesht nj\u00eb element folklorik i vendosur mbi pamjet e Greqis\u00eb s\u00eb lasht\u00eb. Ajo b\u00ebhet nj\u00eb m\u00ebnyr\u00eb muzikore p\u00ebr t\u00eb shpjeguar vetmin\u00eb. Nj\u00eb njeri udh\u00ebton vet\u00ebm, por n\u00eb t\u00eb v\u00ebrtet\u00eb udh\u00ebton me shum\u00eb z\u00ebra.<\/div>\n<\/div>\n
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7. Zbulimi tjet\u00ebr, Shqip\u00ebria nuk p\u00ebrdoret p\u00ebr t\u00eb imituar Greqin\u00eb<\/div>\n<\/div>\n
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Kjo \u00ebsht\u00eb nj\u00eb pik\u00eb q\u00eb, sipas meje, duhet theksuar fort. G\u00f6ransson nuk shkoi n\u00eb Shqip\u00ebri p\u00ebr t\u00eb gjetur nj\u00eb \u201ctingull grek\u201d. Ai gjeti nj\u00eb tradit\u00eb shqiptare dhe e p\u00ebrdori si nj\u00eb nga shtresat e nj\u00eb bote muzikore q\u00eb duhej t\u00eb ting\u00ebllonte shum\u00eb m\u00eb e vjet\u00ebr se nj\u00eb orkest\u00ebr moderne hollivudiane.<\/div>\n
Vet\u00eb k\u00ebrkimi muzikor i filmit p\u00ebrfshiu edhe instrumente t\u00eb lashta si aulosi dhe lira, nd\u00ebrsa tingujt shqiptar\u00eb u nd\u00ebrthur\u00ebn me materialin e kompozitorit. Kjo \u00ebsht\u00eb arsyeja pse fjala \u201cautenticitet\u201d duhet p\u00ebrdorur me kujdes. Filmi nuk po thot\u00eb, se \u201cK\u00ebshtu ting\u00ebllonte Greqia e Homerit.\u201d Ai po nd\u00ebrton nj\u00eb univers t\u00eb mundsh\u00ebm tingullor p\u00ebr nj\u00eb bot\u00eb q\u00eb nuk ekziston m\u00eb.<\/div>\n
Dhe n\u00eb k\u00ebt\u00eb univers hyn edhe Shqip\u00ebria.<\/div>\n<\/div>\n
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8. Delvina, Gramshi, Vlora, gjeografia q\u00eb u b\u00eb tingull<\/div>\n<\/div>\n
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K\u00ebtu historia b\u00ebhet edhe m\u00eb interesante. Sipas t\u00eb dh\u00ebnave t\u00eb b\u00ebra publike nga studiuesit dhe bashk\u00ebpun\u00ebtor\u00ebt shqiptar\u00eb, nga qindra regjistrime G\u00f6ransson p\u00ebrzgjodhi disa burime kryesore, fyejt e Gramshit, z\u00ebrat e grupit \u201cT\u00eb rinjt\u00eb e Delvin\u00ebs\u201d dhe interpretimet e Vendim Kapajt. Secili tingull mori nj\u00eb funksion tjet\u00ebr dramatik. Fyelli lidhet me peizazhin, kurse z\u00ebrat lidhen me forc\u00ebn, betej\u00ebn dhe Odiseun. Fyelli i Kapajt lidhet edhe me bot\u00ebn e p\u00ebrtejme, sirenat, dhimbjen dhe humbjen. K\u00ebtu ndodh di\u00e7ka q\u00eb kinemaja rrall\u00eb e b\u00ebn. Gjeografia b\u00ebhet karakter. Gramshi nuk \u00ebsht\u00eb m\u00eb vet\u00ebm nj\u00eb vend n\u00eb hart\u00eb. Delvina nuk \u00ebsht\u00eb m\u00eb vet\u00ebm nj\u00eb qytet. Vlora nuk \u00ebsht\u00eb m\u00eb vet\u00ebm nj\u00eb hap\u00ebsir\u00eb regjistrimi. Ato b\u00ebhen frekuenca, b\u00ebhen frym\u00eb, b\u00ebhen kujtes\u00eb, b\u00ebhen det.<\/div>\n<\/div>\n
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9. Penelopa, personazhi q\u00eb nuk pret m\u00eb thjesht<\/div>\n<\/div>\n
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Nj\u00eb tjet\u00ebr ndryshim i r\u00ebnd\u00ebsish\u00ebm \u00ebsht\u00eb Penelopa. N\u00eb nj\u00eb lexim tradicional, ajo \u00ebsht\u00eb gruaja q\u00eb pret burrin, por nj\u00eb film modern nuk mund ta l\u00ebr\u00eb at\u00eb vet\u00ebm n\u00eb k\u00ebt\u00eb pozicion. Penelopa \u00ebsht\u00eb gjithashtu administruese e munges\u00ebs. Ajo duhet t\u00eb mbaj\u00eb sht\u00ebpin\u00eb gjall\u00eb nd\u00ebrsa Odiseu \u00ebsht\u00eb zhdukur. Kjo do t\u00eb thot\u00eb se nd\u00ebrsa ai udh\u00ebton n\u00ebp\u00ebr det, ajo udh\u00ebton n\u00ebp\u00ebr koh\u00eb. Dy udh\u00ebtime paralele. Nj\u00ebri fizik. Tjetri emocional. Dhe kjo e b\u00ebn marr\u00ebdh\u00ebnien Odise\u2013Penelop\u00eb m\u00eb interesante se vet\u00eb pyetja \u201ca do t\u00eb kthehet ai?\u201d Pyetja \u00ebsht\u00eb: A do t\u00eb jen\u00eb ende t\u00eb nj\u00ebjt\u00ebt njer\u00ebz kur t\u00eb kthehen?<\/div>\n<\/div>\n
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10. Telemaku: djali q\u00eb trash\u00ebgon nj\u00eb munges\u00eb<\/div>\n<\/div>\n
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Telemaku \u00ebsht\u00eb ndoshta personazhi m\u00eb modern i historis\u00eb. Ai nuk trash\u00ebgon vet\u00ebm nj\u00eb mbret\u00ebri. Trash\u00ebgon nj\u00eb pyetje. \u201cKush \u00ebsht\u00eb babai im?\u201d Dhe m\u00eb pas, pyetja kthehet filozofi, \u201cKush duhet t\u00eb b\u00ebhem un\u00eb?\u201d N\u00ebse Odiseu lufton p\u00ebr t\u00eb kthyer trupin n\u00eb sht\u00ebpi, Telemaku lufton p\u00ebr t\u00eb nd\u00ebrtuar identitetin e tij n\u00eb hijen e nj\u00eb babai q\u00eb \u00ebsht\u00eb b\u00ebr\u00eb legjend\u00eb. Kjo e b\u00ebn marr\u00ebdh\u00ebnien e tyre shum\u00eb m\u00eb tep\u00ebr se nj\u00eb histori baba-bir. \u00cbsht\u00eb p\u00ebrplasje nd\u00ebrmjet kujtes\u00ebs dhe s\u00eb ardhmes.<\/div>\n<\/div>\n
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11. Ciklopi, Circe, Sirenat, jo thjesht p\u00ebrbind\u00ebsha<\/div>\n<\/div>\n
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Edhe k\u00ebtu Nolan ndryshon qasjen. Ciklopi nuk funksionon vet\u00ebm si p\u00ebrbind\u00ebshi q\u00eb duhet mposhtur. Ai \u00ebsht\u00eb kufiri i trupit. Circe \u00ebsht\u00eb kufiri i d\u00ebshir\u00ebs. Sirenat jan\u00eb kufiri i d\u00ebgjimit. Kalipsoja \u00ebsht\u00eb kufiri i koh\u00ebs. Hadi \u00ebsht\u00eb kufiri i vdekjes. Deti \u00ebsht\u00eb kufiri i kontrollit. K\u00ebshtu, udh\u00ebtimi i Odiseut mund t\u00eb lexohet si nj\u00eb seri dyersh. \u00c7do krijes\u00eb q\u00eb ai takon \u00ebsht\u00eb nj\u00eb version tjet\u00ebr i dob\u00ebsis\u00eb njer\u00ebzore. Dhe muzika e G\u00f6ranssonit i lidh k\u00ebto dyer.<\/div>\n<\/div>\n
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12. Muzika nuk shoq\u00ebron figur\u00ebn. Ajo e paralajm\u00ebron at\u00eb.<\/div>\n<\/div>\n
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Kjo \u00ebsht\u00eb nj\u00eb nga arritjet m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb partitur\u00ebs. N\u00eb nj\u00eb film t\u00eb zakonsh\u00ebm, muzika vjen pas emocionit. K\u00ebtu, shpesh, ajo e paraprin. Ti d\u00ebgjon di\u00e7ka p\u00ebrpara se ta kuptosh plot\u00ebsisht se \u00e7far\u00eb po ndodh. Nndjen nj\u00eb frym\u00eb, nj\u00eb z\u00eb, nj\u00eb dredh\u00ebrim\u00eb, nj\u00eb tingull t\u00eb larg\u00ebt. Pastaj pamja. Kjo \u00ebsht\u00eb ve\u00e7an\u00ebrisht e r\u00ebnd\u00ebsishme n\u00eb Odisean, sepse Homerit nuk i mjafton ajo q\u00eb sheh njeriu. Gjithmon\u00eb ekziston di\u00e7ka q\u00eb d\u00ebgjohet p\u00ebrpara se t\u00eb shihet. Prandaj fyelli shqiptar ka nj\u00eb funksion pothuajse profetik. Ai vjen nga larg. Dhe kur afrohet, kupton se nuk ishte thjesht muzik\u00eb. Ishte paralajm\u00ebrim.<\/div>\n<\/div>\n
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13. \u201cOdiseu\u201d dhe \u201cItaka\u201d, dy pika t\u00eb t\u00eb nj\u00ebjtit udh\u00ebtim<\/div>\n<\/div>\n
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Albumi i G\u00f6ranssonit p\u00ebrmban 23 pjes\u00eb, mes tyre \u201cIthaca\u201d, \u201cPenelope\u201d, \u201cTelemachus\u201d, \u201cCyclops\u201d, \u201cTroy\u201d, \u201cCirce\u201d, \u201cHades\u201d, \u201cSirens\u201d, \u201cOdysseus\u201d dhe \u201c\u00cbhen I\u2019m Home\u201d. Vet\u00eb titujt tregojn\u00eb di\u00e7ka. \u201cOdiseu\u201d dhe \u201cItaka\u201d nuk jan\u00eb dy gj\u00ebra t\u00eb ndryshme. Jan\u00eb dy skaje t\u00eb t\u00eb nj\u00ebjtit identitet, sepse Itaka nuk \u00ebsht\u00eb thjesht vendi ku ai d\u00ebshiron t\u00eb shkoj\u00eb. Itaka \u00ebsht\u00eb ajo q\u00eb i tregon se kush \u00ebsht\u00eb. N\u00eb fillim, Odiseu mendon se po kthehet n\u00eb sht\u00ebpi. N\u00eb fund, kupton se duhet t\u00eb kthehet te vetja.<\/div>\n<\/div>\n
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14. Dhe k\u00ebtu kthehet Bekim Fehmiu<\/div>\n<\/div>\n
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Pik\u00ebrisht k\u00ebtu, n\u00eb err\u00ebsir\u00ebn e sall\u00ebs s\u00eb Londr\u00ebs, figura e Bekim Fehmiut m\u00eb duket sikur hyn n\u00eb film nga nj\u00eb der\u00eb tjet\u00ebr, jo si fantazm\u00eb, as si nostalgji, ama hyn si kujtes\u00eb. N\u00eb vitin 1968, kur un\u00eb isha vet\u00ebm kat\u00ebr vje\u00e7ar dhe kufiri shqip-shqip m\u00eb ndante me Bekimin e Madh, nj\u00eb shqiptar nga Ballkani interpretoi Odiseun p\u00ebr miliona shikues europian\u00eb. N\u00eb vitin 2026, nj\u00eb tjet\u00ebr Odise, k\u00ebt\u00eb her\u00eb i interpretuar nga Matt Damon, udh\u00ebton n\u00ebp\u00ebr nj\u00eb prodhim gjigant t\u00eb kinemas\u00eb bot\u00ebrore.<\/div>\n
Dhe mes k\u00ebtyre dy Odiseve ndodh di\u00e7ka e jasht\u00ebzakonshme. Shqiptari nuk \u00ebsht\u00eb m\u00eb vet\u00ebm aktori q\u00eb luajti Odiseun. K\u00ebt\u00eb her\u00eb, vet\u00eb Shqip\u00ebria \u00ebsht\u00eb b\u00ebr\u00eb nj\u00eb nga z\u00ebrat e Odiseut. Kjo \u00ebsht\u00eb nj\u00eb diferenc\u00eb historike. Fehmiu i dha Homerit fytyr\u00ebn shqiptare n\u00eb Europ\u00eb. G\u00f6ransson i dha filmit t\u00eb Nolanit nj\u00eb tingull shqiptar. Nj\u00ebri hyri n\u00eb mit me trupin e tij. Tjetri hyri n\u00eb mit p\u00ebrmes muzik\u00ebs.<\/div>\n<\/div>\n
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15. Dhe sinjali i celularit?<\/div>\n<\/div>\n
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Tani, kur e rikujtoj at\u00eb sinjal britanik n\u00eb sall\u00ebn e VUE-s\u00eb, m\u00eb duket edhe m\u00eb interesant. Nj\u00eb z\u00eb modern na tha: \u201cRuajuni nga nxeht\u00ebsia.\u201d Nj\u00eb film i lasht\u00eb na tha: \u201cRuajuni nga deti.\u201d N\u00eb t\u00eb dyja rastet, njeriu \u00ebsht\u00eb i nj\u00ebjti. Ka teknologji, ka anije, ka celular, ka satelit\u00eb, ka mbret\u00ebri, ka ushtri, ka qytet\u00ebrim. Por p\u00ebrball\u00eb nj\u00eb force m\u00eb t\u00eb madhe se vetja, njeriu mbetet ende njeri. Dhe ndoshta kjo \u00ebsht\u00eb arsyeja pse Odisea vazhdon t\u00eb rikthehet. Ai nuk \u00ebsht\u00eb histori e nj\u00eb greku t\u00eb lasht\u00eb. \u00cbsht\u00eb histori e njeriut.<\/div>\n<\/div>\n
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16. Shqip\u00ebria q\u00eb nuk shihet, por d\u00ebgjohet<\/div>\n<\/div>\n
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Kjo \u00ebsht\u00eb, n\u00eb fund, ajo q\u00eb do t\u00eb mbaja nga filmi, jo vet\u00ebm Troj\u00ebn, as vet\u00ebm Itak\u00ebn. Jo vet\u00ebm detin. Jo vet\u00ebm Odiseun. Por at\u00eb \u00e7ast kur, mes nj\u00eb produksioni kolosal t\u00eb Hollivudit, n\u00eb nj\u00eb bot\u00eb t\u00eb rind\u00ebrtuar nga Nolan, papritur hyn nj\u00eb frym\u00eb nga jugu shqiptar, me nj\u00eb fyell, pastaj nj\u00eb z\u00eb, pastaj disa z\u00ebra. Dhe isoja. Ama nuk ka flamur. Nuk ka titull q\u00eb thot\u00eb \u201cShqip\u00ebri\u201d. Mendoj se nuk ka nevoj\u00eb, sepse muzika nuk ka nevoj\u00eb t\u00eb tregoj\u00eb pasaport\u00ebn e saj. Ajo vet\u00ebm duhet t\u00eb ting\u00eblloj\u00eb. Dhe kur ting\u00ebllon n\u00eb nj\u00eb film t\u00eb Christopher Nolanit, n\u00eb nj\u00eb nga prodhimet m\u00eb t\u00eb m\u00ebdha t\u00eb kinemas\u00eb bashk\u00ebkohore, ajo b\u00ebn di\u00e7ka q\u00eb ndoshta nj\u00eb reklam\u00eb turistike nuk do ta arrinte kurr\u00eb, e vendos Shqip\u00ebrin\u00eb brenda kujtes\u00ebs akustike t\u00eb nj\u00eb miti bot\u00ebror.<\/div>\n
Prandaj The Odyssey e vitit 2026 mund t\u00eb lexohet edhe si nj\u00eb kthim i \u00e7uditsh\u00ebm i Shqip\u00ebris\u00eb n\u00eb lidhjen me Homerin. N\u00eb vitin 1968, Bekim Fehmiu u b\u00eb Odiseu. Pra, n\u00eb vitin 1968, Odisea kishte nj\u00eb sekret shqiptar q\u00eb kinematografia bot\u00ebrore ndoshta nuk e lexoi sa duhet. Odiseun e luante Bekim Fehmiu, shqiptari i Prizrenit, por dhe Penelop\u00ebn e luante Irene Papas, aktorja greke me prejardhje shqiptare. Pra, \u00e7ifti q\u00eb Homeri e vendosi n\u00eb Itak\u00eb, n\u00eb ekranin europian t\u00eb vitit 1968, u mish\u00ebrua nga dy figura q\u00eb, n\u00eb m\u00ebnyra t\u00eb ndryshme, lidheshin me t\u00eb nj\u00ebjt\u00ebn hap\u00ebsir\u00eb shqiptare. Dhe sot, m\u00eb shum\u00eb se gjysm\u00eb shekulli m\u00eb pas, kur Nolan e rikthen Odisean n\u00eb ekranin bot\u00ebror, Shqip\u00ebria nuk shfaqet m\u00eb vet\u00ebm p\u00ebrmes nj\u00eb aktori, ajo d\u00ebgjohet p\u00ebrmes iso-polifonis\u00eb dhe fyellit. Sikur historia t\u00eb ket\u00eb b\u00ebr\u00eb nj\u00eb rreth t\u00eb \u00e7uditsh\u00ebm. Dikur Shqip\u00ebria i dha Odises\u00eb fytyr\u00ebn e Bekim Fehmiut, tani i jep z\u00ebrin e saj. N\u00eb vitin 2026, Shqip\u00ebria b\u00ebhet z\u00ebri i udh\u00ebtimit t\u00eb tij. Dhe midis t\u00eb dyjave q\u00ebndron nj\u00eb det. Nj\u00eb det q\u00eb nuk ka komb. Nj\u00eb det q\u00eb nuk ka gjuh\u00eb. Por q\u00eb, k\u00ebt\u00eb her\u00eb, n\u00eb filmin e Nolanit, flet edhe shqip.<\/div>\n
Fatmir Terziu<\/span><\/span><\/a><\/span><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Fatmir Terziu: Kur Odiseu d\u00ebgjon Shqip\u00ebrin\u00eb (Nga Bekim Fehmiu te Christopher Nolan dhe z\u00ebri i fsheht\u00eb shqiptar i detit) Dje, n\u00eb nj\u00eb nga kinemat\u00eb VUE t\u00eb Londr\u00ebs, p\u00ebrpara se t\u00eb shfaqej The Odyssey e Christopher Nolanit, ndodhi di\u00e7ka e \u00e7uditshme. P\u00ebr gati tridhjet\u00eb minuta, filmi nuk kishte filluar ende. Reklama. Dritat. Ekrani q\u00eb nd\u00ebrrohej nga […]<\/p>\n","protected":false},"author":3,"featured_media":3985,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[],"class_list":["post-4284","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinione"],"_links":{"self":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4284","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/comments?post=4284"}],"version-history":[{"count":1,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4284\/revisions"}],"predecessor-version":[{"id":4285,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4284\/revisions\/4285"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/media\/3985"}],"wp:attachment":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/media?parent=4284"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/categories?post=4284"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/tags?post=4284"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}