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الخميس , فبراير 21 2019
الرئيسية / فنون وآداب / أفلام / إحنا بتوع الأتوبيس.. مصر خلف الأسوار

إحنا بتوع الأتوبيس.. مصر خلف الأسوار

مدحت الريس – كاتب وناقد فني

 

– مين بقى علمك السياسة؟

– والدي.

– هو كان سياسي؟

– ما عندكش فكرة سيادتك.. كان دايمًا يقول لي: يا جابر, سايس الناس.

بهذه السذاجة الصادقة أجاب المواطن القروي البسيط جابر (عادل إمام)، على أسئلة ضابط المخابرات، رمزي (سعيد عبد الغني) الذي يحاول بشتى الطرق أن يلصق به التهم المكتوبة أمامه بالمحضر المكتوب بإجاباته حتى قبل دخول جابر غرفة التحقيق.

المفارقة عبثية، رمزي يريد أن يلتقط من فم جابر كلمات دلالية لا صلة لها بالسياسة ليحولها إلى جريمة سياسية من أجل التباهي أمام رجال السلطة والحصول على الترقية على حساب الأبرياء.. بينما جابر لا يعبأ بهذا كله، ويركز فقط على مسايرة رغبة الضابط وقول ما يريده، علّه يمنحه إذن الخروج من هذا القبر، والعودة إلى البيت، وإلى الحياة من جديد.

إحنا بتوع الأتوبيس (بالعربية: نحن أصحاب الحافلة) هو فيلم مصري اُنتج عام 1979 في 137 دقيقة، تدور أحداثه حول التعذيب الذي حدث في معتقلات الرئيس العسكري الأسبق جمال عبد الناصر، ومدى الاستهانة بآدمية البشر في ظل الحكم البوليسي ودولة أجهزة الأمن العسكرية آنذاك.

 

فريق العمل

الفليم مبني على قصة حقيقية بعنوان “حوار خلف الأسوار”، من تأليف الكاتب الصحفي جلال الدين الحمامصي، وسيناريو فاروق صبري، وتصوير محسن نصر، وتحرير رشيدة عبد السلام، وإخراج حسين كمال.

أما فريق التمثيل فضم بطولة كلٍ من عبد المنعم مدبولي، في دور مرزوق، وعادل إمام في دور جابر، ومشيرة إسماعيل في دور منى، وجمال إسماعيل في دور حارس الزنزانة عبد المعطي، وسعيد عبد الغني في دور رمزي، ووجدي العربي في دور محمود، وعقيلة راتب في دور زوجة مرزوق، ويونس شلبي في دور علي.

 

قصة الفيلم

يتحدث الفيلم عن مجموعة المواطنين البسطاء الذين لا صلة لهم بالسياسة.. ورغم ذلك، بسبب حرص رجال المخابرات الزائد على الحفاظ على الخضوع التام للزعيم المتسلط، يتم القبض على أولئك المواطنين أثناء ممارسة الأنشطة اليومية، ويتعرضون للتعذيب والتنكيل للاعتراف بجرائم لا يفهمون معناها من الأساس.

تقع أحداث الفيلم عام 1967 قبل حصول نكسة احتلال قوات الاحتلال الصهيوني لسيناء المصرية.. وتبدأ حين يستقل جابر (عادل إمام) ومرزوق (عبد المنعم مدبولي) الأتوبيس (الحافلة)، قبل أن تحصل مشاجرة بينهما ومع المُحصل؛ فيذهبون جميعًا إلى قسم الشرطة.

وبعد أيام من الاحتجاز، يتم الإفراج عن المُحصل؛ بينما يتم حجز جابر ومرزوق عن طريق الخطأ المتعمد، بتهمة معاداة نظام الحكم؛ حيث يلجأ بعض الضباط لاحتجاز أي شخص لتقفيل القضايا السياسية.. وعليه، فقد تم شحنهما إلى السجن الحربي، سلخانة تعذيب معارضي الجنرال جمال عبد الناصر.

وفي السجن الحربي، يكون ”رمزي“ ”سعيد عبد الغني“ مدير السجن في استقبال جابر ومرزوق وغيرهما من أعداء الوطن! وطبعا، يتهم مدير السجن الحربي جابر ومرزوق بانضمامهما إلى تنظيم سري مناهض للحكم ويقومان بتوزيع منشورات تدعو إلى قلب نظام الحكم.

يطلب الضابط منهما التوقيع على اعتراف بذلك، ولكنهما يرفضان التوقيع ويرددان: “إحنا بتوع الأتوبيس”.. ليقول رمزي لمرزوق: فيه ناس مجانين كثيرة جاءوا هنا، وقالوا (إحنا بتوع الأتوبيس، وبتوع الطيارات، وبتوع الكارو، ولكن إحنا عقّلناهم)!

التعقيل الذي يقصده عبارة عن حفلات للتعذيب والسحل والإهانة أيامًا عصيبة على العروسة الشهيرة (أداة تعذيب) في السجن الحربي، ويُجر مرزوق من رقبته وهو يسحب بحبل مثل الكلب، ويأمره رمزي بأن يقول “هَوْ هَوْ” بفتح الهاء وتسكين الواو مثل الكلب، ويهان جابر، ويفعل ما يأمرونه به على الأرض مثل تمثيل “عجين الفلاحة” ويتقلب على الأرض وهو يمثل “نوم العازل” غير التعذيب على الصفيح الساخن، والجلادون ينادون عليه بسخرية وصخب “يا ميمون، يا ميمون” كأنه قرد!

وتحت وطأة التعذيب الرهيب، يوقع مرزوق وجابر على المحضر الملفق الذي يدينهما، ويُجبران على الاعتراف بالجرائم المنسوبة إليهما، ويقبلان بمصيرهما المحتوم، قبل أن ينتهي الفيلم بقيام حرب 1967 وتمرد المعتقلين في السجن، لكن بطلا الفيلم يموتان في نهايته بعد ٥ سنوات من التعذيب بلا ذنب.

 

رسائل العمل

كان هذا الفيلم انعكاسًا لانتهاك حقوق الإنسان خلال حكم عبد الناصر، نحن إزاء فيلم سينمائي يتخذ من تعذيب المسجونين مادة أساسية لتكوين أحداثه ووقائعه، حيث يثير الفيلم القضايا الثلاث التقليدية في مجال العلاقة بين الأجهزة الأمنية والمواطنين – في هذا النظام – في أحوال الضبط والقبض والاحتجاز والتحقيق والمعاملة أثناء هذه الإجراءات، وهي قضايا “الاختفاء القسري” و”التعذيب” و”الاعتراف تحت ظروف الإكراه”.

فخلال العمل، نواجه نوعًا مستجداً من حالات الاختفاء القسري للمواطنين، فـ”جابر” و”مرزوق” يذهبان إلى قسم الشرطة في مشاجرة عادية.. وبسبب النشاط العالي للأجهزة الأمنية في القبض على عدد كبير من الأشخاص المنسوب إليهم الاشتراك في مؤامرة لقلب نظام الحكم، يجد كل من “جابر” و”مرزوق” نفسيهما ضمن المقبوض عليهم في هذه الحملة الأمنية ذات الطابع القمعي.

سبب الاختفاء القسري هنا يبدو عبثيًا تمامًا، فمجرد تواجد الشخصية مصادفة بمقر مخفر الشرطة، ينتهي بهما إلى الاعتقال بتهمة سياسية لا علاقة لأي منهما بها على الإطلاق.

أما التعذيب في الفيلم، فأودى بعدد من المساجين إلى الجنون، كما حدث مع السجين الذي عاصر موت أحد رفاق محبسه (أبو فتحي) بسبب التعذيب، فيظل يتصور أن “أبو فتحي” يأتيه من العالم الآخر، من حين لآخر، حاملاً معه الصحف وبعض الطعام.

وفيما يخص إجبار المعتقلين على الاعتراف بتهم تحت الإكراه، فجاءت الجرائم الملفقة في الفيلم سياسية بامتياز، وتتصل بفكرة تغيير نظام الحكم بالقوة، وما يتصل به من جرائم التحريض وبث المنشورات المناهضة لنظام الحكم وحيازتها، وحيازة الأدوات والمواد الخاصة بالتفجيرات أو حيازة الأسلحة النارية أو الأسلحة البيضاء، وهكذا. وفى فيلم “إحنا بتوع الأتوبيس” يقتصر الغرض من التعذيب على الحصول على توقيع باعترافات بتهم الشروع أو التآمر لقلب نظام الحكم بالقوة.

 

نقد العمل

يعد هذا الفيلم أول عمل كوميديا سوداء في تاريخ السينما المصرية، فالأحداث مأساوية، لكن عرضها ساخر ومضحك. وقد احتوي الفيلم على حوالي ٢٠ مشهد تعذيب كانت مثار جدل في الرقابة، حيث طلبوا حذفها في وقت لاحق، لكن المؤلف رفض، ويقول إن الرئيس الأسبق أنور السادات تدخل وقتها وسمح بعرض الفيلم كاملاً دون حذف.

يُعاب على الفيلم خلوه من الإشارة إلى الانتهاكات الجنسية التي يتعرض لها المسجونون أو ذووهم على أيدي رجال مراكز القوى أو أتباعهم، والتي كانت مستشرية في سجون عبد الناصر بحسب شهادات مئات المسجونين الذين وثقوا تجربتهم خلال رحلة الاعتقال.

ورغم أن الثنائي عادل إمام وعبد المنعم مدبولي هما في الأصل ممثلان كوميديان، لكنهما أجادا باحتراف هذا الدور التراجيدي إلى درجة مؤثرة.. وربما ساعد عادل إمام في إتقان دوره -فضلا عن موهبته- إجادته لدور الموظف “الغلبان” الذي يقع في المشكلات بسبب سذاجته ونيته الطيبة، كما فعل في أعمال عدة أشهرها مسرحية “شاهد ما شافش حاجة”.

أما شخصية الطاغية رمزي الذي قام بدوره (سعيد عبد الغني) فهي شخصية سينمائية قابلة للدراسة، وربما يمكن اعتباره الأكثر إجادة لدوره بين ممثلي العمل، فنجده يعاني من قلق نفسي ووسواس عال حول النظافة الشخصية، يمسح دائما يديه بمنديل عليه عطر كولونيا ويشم الورد، لكنه رغم ذلك بارد الأعصاب في التعامل مع المعتقلين، ويخفي بداخله مكنوناته الظالمة تجاههم.

الشاويش عبد المعطي (جمال إسماعيل) الساعد الأيمن لرمزي، الذي يقوم بتعذيب السجناء، فالفيلم يخصص مشاهد هامشية لحياته الشخصية ونكتشف أنه جاهل وساذج، لا يعرف القراءة ولا الكتابة، ويعتقد أن السلطة على الحق دومًا، لكن عندما قام بتعذيب الشاعر الممثل السجين محمود (وجدي العربي) الذي أخذ ينطق كلمات أثرت في أعماقه، خاطرته الشكوك في كون السلطة ليست على الحق دومًا، ليكتشف أخيرًا أنه كان يخدم نظامًا استبداديًا وقمعيًا.

وعلى الرغم من إنتاج الفيلم عام 1979، إلا أنه ظل أيقونة للواقع الأمني المصري والعربي وكثير من دول العالم المتخلفة في حقوق الإنسان، حيث ما زالت تعيش تلك الشعوب مَشاهده حتى اللحظة، وتستمر أنظمتها القمعية في انتهاك حريات الإنسان وتسلُّط الجهات الأمنية على حياته، متجاهلة نداءات الشعوب بالحرية ومحاولاتهم لنيلها؛ فشعارات “العيش” و”الحرية” و”الكرامة الإنسانية” التي نادت بها ثورات الربيع العربي، سرعان ما تبدَّدت بعد ما لاقته هذه الهبَّات الشعبية من مقاومة عنيفة من القوى المضادة لها، وارتدَّت إلى الخلف خطوات لتعود ربما أسوأ مما كانت  عليه من قبل، وليحرم فيها الإنسان من حقه في الكرامة والعدالة والعيش الكريم.

 

لمشاهدة الفيلم : هنا

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