{"id":10300,"date":"2026-10-25T00:54:41","date_gmt":"2026-10-25T00:54:41","guid":{"rendered":"https:\/\/revistakuvendi.org\/?p=10300"},"modified":"2026-10-25T00:54:41","modified_gmt":"2026-10-25T00:54:41","slug":"kur-zakoni-behet-fat","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=10300","title":{"rendered":"KUR ZAKONI B\u00cbHET FAT"},"content":{"rendered":"<h2>FERDINAND LAHOLLI<\/h2>\n<h2><strong>KUR ZAKONI B\u00cbHET FAT\u00a0 <\/strong><\/h2>\n<h2>Ese p\u00ebr serialin \u201cZakonet e maleve\u201d<\/h2>\n<h2>Ka histori q\u00eb nuk rr\u00ebfejn\u00eb thjesht nj\u00eb koh\u00eb t\u00eb shkuar, por e sjellin t\u00eb shkuar\u00ebn p\u00ebrpara nesh si nj\u00eb pasqyr\u00eb,ku befas mund t\u00eb dallojm\u00eb fytyr\u00ebn ton\u00eb. \u201cZakonet e maleve\u201d, seriali i ri filmik me skenar dhe regji t\u00eb Dibran Fyllit, i cili \u00ebsht\u00eb nj\u00ebkoh\u00ebsisht edhe pjes\u00eb e kastit t\u00eb aktor\u00ebve, i p\u00ebrket pik\u00ebrisht k\u00ebsaj kategorie. Ai nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb kthim n\u00eb bot\u00ebn e mal\u00ebsis\u00eb shqiptare, n\u00eb nj\u00eb koh\u00eb kur zakoni ishte ligj dhe nderi kishte pesh\u00ebn e nj\u00eb bes\u00eblidhjeje t\u00eb shenjt\u00eb, por \u00ebsht\u00eb edhe nj\u00eb p\u00ebrpjekje p\u00ebr t\u00eb hyr\u00eb n\u00eb at\u00eb hap\u00ebsir\u00eb t\u00eb err\u00ebt t\u00eb kujtes\u00ebs son\u00eb, ku jeta njer\u00ebzore shpesh vihej n\u00eb peshore me zakonet, gjakun dhe emrin e familjes. Por<\/h2>\n<h2>\u00e7far\u00eb \u00ebsht\u00eb nj\u00eb zakon kur pushon s\u00eb qeni thjesht zakon? Kur shnd\u00ebrrohet n\u00eb ligj? Dhe \u00e7far\u00eb ndodh me njeriun kur ligji nuk shkruhet n\u00eb let\u00ebr, por n\u00eb nd\u00ebrgjegje, n\u00eb gjak, n\u00eb frik\u00eb dhe n\u00eb kujtes\u00ebn e brezave?<\/h2>\n<h2>Pik\u00ebrisht k\u00ebtu nis udh\u00ebtimi tek \u201cZakonet e maleve\u201d.<\/h2>\n<h2>Seriali hapet me nj\u00eb muzik\u00eb kumbonj\u00ebse t\u00eb dal\u00eb nga shpirti i koh\u00ebs, e \u00ebmb\u00ebl dhe nj\u00ebher\u00ebsh rr\u00ebqeth\u00ebse,sikur prej s\u00eb largu t\u00eb d\u00ebgjohej nj\u00eb himn p\u00ebr jet\u00ebn, por q\u00eb n\u00ebn tingujt e tij t\u00eb fshihej q\u00eb n\u00eb fillim kori i nj\u00eb tragjedie. \u00cbsht\u00eb nj\u00eb muzik\u00eb q\u00eb nuk e shoq\u00ebron thjesht pamjen, por duket sikur i jep z\u00eb nj\u00eb bote t\u00eb t\u00ebr\u00eb, nj\u00eb bote ku bukuria dhe vdekja kan\u00eb m\u00ebsuar t\u00eb ecin pran\u00eb nj\u00ebra-tjetr\u00ebs.<\/h2>\n<h2>Pastaj shfaqet djali. I fshehur pas nj\u00eb gardhi p\u00ebrpiqet t\u00eb kap\u00ebrcej\u00eb me fishk\u00ebllim\u00ebn e tij nj\u00eb larg\u00ebsi t\u00eb vog\u00ebl fizike, por t\u00eb pafundme shoq\u00ebrore. \u201cHej, hej!\u201d Nj\u00eb thirrje e shkurt\u00ebr, gati f\u00ebmij\u00ebrore, nj\u00eb fjal\u00eb q\u00eb duket se nuk k\u00ebrkon asgj\u00eb tjet\u00ebr p\u00ebrve\u00e7 nj\u00eb p\u00ebrgjigjeje. P\u00ebrtej gardhit \u00ebsht\u00eb vajza. Ajo ndodhet brenda kufirit t\u00eb sht\u00ebpis\u00eb s\u00eb saj, brenda asaj hap\u00ebsire ku familja, zakoni dhe autoriteti mashkullor kan\u00eb ngritur muret e padukshme t\u00eb jet\u00ebs s\u00eb saj.<\/h2>\n<h2>Gardhi \u00ebsht\u00eb aty. Por gardhi nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb gardh. Ai b\u00ebhet q\u00eb n\u00eb fillim nj\u00eb nga simbolet qendrore t\u00eb serialit: kufiri midis dy t\u00eb rinjve, midis d\u00ebshir\u00ebs dhe ndalimit, midis asaj q\u00eb zemra k\u00ebrkon dhe asaj q\u00eb shoq\u00ebria lejon. \u00cbsht\u00eb nj\u00eb vij\u00eb e holl\u00eb prej druri q\u00eb ndan dy hap\u00ebsira, por n\u00eb kuptimin simbolik ndan dy bot\u00eb, bot\u00ebn e dashuris\u00eb dhe bot\u00ebn e zakonit. N\u00eb at\u00eb \u00e7ast kthehet i ati i vajz\u00ebs, Zuka, me kos\u00ebn mbi sup. Ai nuk sheh nj\u00eb djal\u00eb t\u00eb dashuruar. Ai sheh nj\u00eb cenim. Nuk d\u00ebgjon nj\u00eb fishk\u00ebllim\u00eb dashurie, d\u00ebgjon nj\u00eb<\/h2>\n<h2>k\u00ebrc\u00ebnim nderi. Dhe n\u00eb at\u00eb bot\u00eb nderi \u00ebsht\u00eb m\u00eb shum\u00eb se pron\u00eb individi. Ai \u00ebsht\u00eb pasuri familjare. \u00cbsht\u00eb emri i oxhakut.<\/h2>\n<h2>Nj\u00eb gjest i pafajsh\u00ebm i rinis\u00eb shnd\u00ebrrohet k\u00ebsisoj n\u00eb \u00e7\u00ebshtje nderi. Ngjarjet zhvillohen me nj\u00eb rit\u00ebm q\u00eb nuk i l\u00eb shikuesit koh\u00eb t\u00eb rehatohet n\u00eb nj\u00eb gjykim t\u00eb par\u00eb. Djali shfaqet rishtazi pas gardhit. P\u00ebrs\u00ebri fishk\u00ebllen.<\/h2>\n<h2>P\u00ebrs\u00ebri th\u00ebrret: \u201cHej, hej!\u201d Vajza mbledh rrobat e ndera n\u00eb telat e oborrit. \u00cbsht\u00eb nj\u00eb veprim i zakonsh\u00ebm, I p\u00ebrditsh\u00ebm. Por kinemaja e kthen k\u00ebt\u00eb p\u00ebrditshm\u00ebri n\u00eb nj\u00eb \u00e7ast t\u00eb ngarkuar me parandjenj\u00eb. Ajo mbledh rrobat. Pastaj hyn n\u00eb sht\u00ebpi. Dhe bashk\u00eb me rrobat duket sikur merr me vete edhe nj\u00eb frik\u00eb q\u00eb ende nuk e di se \u00e7far\u00eb forme do t\u00eb marr\u00eb.<\/h2>\n<h2>Zuka del n\u00eb dritare. Pushka b\u00ebhet zgjatimi i nj\u00eb ligji t\u00eb vjet\u00ebr. Krismat e saj nuk vrasin vet\u00ebm djalin e Bilalit, por nj\u00ebherazi duket sikur q\u00ebllojn\u00eb edhe mbi mund\u00ebsin\u00eb e brezit t\u00eb ri.<\/h2>\n<h2>Djali bie. Dhe bashk\u00eb me t\u00eb bie edhe iluzioni se dashuria mund t\u00eb kaloj\u00eb pa u v\u00ebn\u00eb re n\u00ebp\u00ebr hap\u00ebsirat e kontrolluara nga zakoni. Dhe pik\u00ebrisht k\u00ebtu seriali refuzon t\u00eb na jap\u00eb nj\u00eb p\u00ebrgjigje t\u00eb thjesht\u00eb morale. N\u00eb pamje t\u00eb par\u00eb, fabula duket e qart\u00eb dhe e thjesht\u00eb: dikush ka cenuar nderin e dikujt dhe e ka merituar nd\u00ebshkimin. Vrasja mund t\u00eb duket si p\u00ebrmbushje e nj\u00eb detyrimi. Por filmi e \u00e7on shikuesin p\u00ebrtej k\u00ebtij gjykimi t\u00eb par\u00eb. Befas, p\u00ebr nj\u00eb \u00e7ast, shikuesi gjendet n\u00eb an\u00ebn e vras\u00ebsit. Jo sepse vrasja b\u00ebhet e drejt\u00eb. Por sepse fillojm\u00eb t\u00eb kuptojm\u00eb se edhe vras\u00ebsi \u00ebsht\u00eb rob. Rob i nj\u00eb ligji m\u00eb t\u00eb vjet\u00ebr se vet\u00eb nd\u00ebrgjegjja e tij.<\/h2>\n<h2>Dhe, k\u00ebtu lind tragjedia e v\u00ebrtet\u00eb.<\/h2>\n<h2>Zuka nuk \u00ebsht\u00eb thjesht njeriu q\u00eb q\u00ebllon. Ai \u00ebsht\u00eb njeriu q\u00eb ka trash\u00ebguar nj\u00eb m\u00ebnyr\u00eb t\u00eb menduari. Vret p\u00ebr t\u00eb shp\u00ebtuar nderin, pa e kuptuar se n\u00eb t\u00eb nj\u00ebjtin \u00e7ast e fut veten n\u00eb nj\u00eb tjet\u00ebr rreth tragjedie. Sepse gjaku nuk e mbyll historin\u00eb. Gjaku e fillon at\u00eb.<\/h2>\n<h2>N\u00eb bised\u00ebn me pleq\u00ebsin\u00eb e fshatit Zuka k\u00ebrkon q\u00eb Bilali t\u00eb lajm\u00ebrohet menj\u00ebher\u00eb. Ai e di se nuk ka shp\u00ebtuar. Ka mundur t\u00eb \u201cshp\u00ebtoj\u00eb\u201d nderin e familjes, por nuk ka shp\u00ebtuar nga ligji i gjakut. P\u00ebrball\u00eb tij q\u00ebndron Bilali, i cili ka humbur t\u00eb birin. Nj\u00ebri ka vrar\u00eb p\u00ebr nder, tjetri ka humbur birin p\u00ebr shkak t\u00eb po atij nderi. Dhe k\u00ebshtu, nderi shfaqet n\u00eb trajt\u00ebn e tij m\u00eb tragjike: si nj\u00eb vler\u00eb q\u00eb duke k\u00ebrkuar t\u00eb ruhet, fillon t\u00eb ushqehet me jet\u00ebn e atyre q\u00eb betohen p\u00ebr t\u00eb.<\/h2>\n<h2>N\u00eb k\u00ebt\u00eb pik\u00eb, dramaciteti i serialit merr p\u00ebrmasat e nj\u00eb tragjedie t\u00eb mir\u00ebfillt\u00eb. Ligji kanunor k\u00ebrkon q\u00eb gjaku t\u00eb shlyhet me gjak. Nj\u00eb vdekje lind nj\u00eb tjet\u00ebr, pastaj nj\u00eb tjet\u00ebr, derisa hakmarrja b\u00ebhet nj\u00eb zinxhir q\u00eb nuk di m\u00eb se ku e ka fillimin dhe ku mund ta ket\u00eb fundin. Men\u00e7uria fisnore, e cila p\u00ebrpiqet t\u00eb shoshit\u00eb mosmarr\u00ebveshjet dhe t\u00eb mbaj\u00eb ekuilibrin mes familjeve, mbart brenda vetes edhe plag\u00ebn e epok\u00ebs: sado q\u00eb k\u00ebrkon drejt\u00ebsi, ajo rrezikon t\u00eb mbetet e burgosur n\u00eb logjik\u00ebn e hakmarrjes.<\/h2>\n<h2>Por, ja q\u00eb pik\u00ebrisht aty ku ligji i gjakut k\u00ebrkon t\u00eb sundoj\u00eb mbi jet\u00ebn, shfaqet dashuria. Lidhja e Elir\u00ebs me Albanin nuk \u00ebsht\u00eb thjesht nj\u00eb histori dashurie. Ajo \u00ebsht\u00eb nj\u00eb sfid\u00eb ndaj kujtes\u00ebs s\u00eb hakmarrjes. T\u00eb rinjt\u00eb jan\u00eb trash\u00ebgimtar\u00eb t\u00eb nj\u00eb t\u00eb shkuare q\u00eb nuk e kan\u00eb zgjedhur vet\u00eb. Ata kan\u00eb lindur n\u00eb familje me histori, me konflikte, me plag\u00eb dhe me emra q\u00eb mbartin kujtes\u00ebn e gjakut. Por ata nuk duan t\u00eb jen\u00eb vet\u00ebm vazhdim I asaj q\u00eb ka ndodhur. Duan t\u00eb besojn\u00eb se njeriu mund t\u00eb jet\u00eb m\u00eb shum\u00eb se trash\u00ebgimia e tij. Se mund t\u00eb zgjedh\u00eb. Se mund ta nd\u00ebrpres\u00eb zinxhirin. Se mund t\u00eb thot\u00eb: mjaft! N\u00eb k\u00ebt\u00eb kuptim, dashuria e tyre b\u00ebhet nj\u00eb akt rebelimi. Jo nj\u00eb rebelim me arm\u00eb, por nj\u00eb rebelim i zemr\u00ebs. Nj\u00eb kryengritje e heshtur kund\u00ebr fatit t\u00eb parashkruar.<\/h2>\n<h2>&#8220;N\u00ebse dashuria asht m\u00ebkat, at\u00ebher\u00eb le t\u00eb bahemi m\u00ebkatar\u00eb.\u201d<\/h2>\n<h2>Kjo fjali e Albanit nuk \u00ebsht\u00eb thjesht nj\u00eb deklarat\u00eb dashurie. Ajo mund t\u00eb lexohet si nj\u00eb manifest i t\u00eb rinjve kund\u00ebr nj\u00eb bote ku normat shoq\u00ebrore jan\u00eb b\u00ebr\u00eb m\u00eb t\u00eb shenjta se vet\u00eb jeta. N\u00ebse dashuria \u00ebsht\u00eb m\u00ebkat, at\u00ebher\u00eb m\u00ebkati b\u00ebhet liri. N\u00ebse bindja k\u00ebrkon vdekjen, mosbindja b\u00ebhet jet\u00eb. N\u00ebse e shkuara k\u00ebrkon p\u00ebrs\u00ebritjen e vetvetes, dashuria b\u00ebhet mund\u00ebsia e par\u00eb p\u00ebr ta nd\u00ebrprer\u00eb at\u00eb p\u00ebrs\u00ebritje. K\u00ebtu seriali kalon nga historia n\u00eb filozofi. Sepse \u00e7far\u00eb \u00ebsht\u00eb m\u00eb n\u00eb fund fati? \u00cbsht\u00eb ajo q\u00eb na kan\u00eb l\u00ebn\u00eb t\u00eb par\u00ebt, apo ajo q\u00eb<\/h2>\n<h2>guxojm\u00eb t\u00eb ndryshojm\u00eb? Ndoshta tragjedia njer\u00ebzore fillon pik\u00ebrisht at\u00ebher\u00eb kur e ngat\u00ebrrojm\u00eb trash\u00ebgimin\u00eb me fatin.<\/h2>\n<h2>\u201cZakonet e maleve\u201d e vendos k\u00ebt\u00eb pyetje n\u00eb qend\u00ebr t\u00eb nj\u00eb bote ku individi \u00ebsht\u00eb pothuajse gjithmon\u00eb I vog\u00ebl p\u00ebrball\u00eb familjes, fisit, emrit dhe zakonit. Njeriu lind me nj\u00eb histori q\u00eb nuk e ka shkruar. Por drama e v\u00ebrtet\u00eb \u00ebsht\u00eb n\u00ebse do t\u00eb pranoj\u00eb t\u00eb jetoj\u00eb deri n\u00eb fund si personazh i nj\u00eb historie t\u00eb shkruar nga t\u00eb tjer\u00ebt.<\/h2>\n<h2>N\u00eb k\u00ebt\u00eb pik\u00eb brisht\u00ebsia e jet\u00ebs merr nj\u00eb kuptim tjet\u00ebr dhe jeta mund t\u00eb kthehet n\u00eb nj\u00eb tjet\u00ebr drejtim.<\/h2>\n<h2>Kjo \u00ebsht\u00eb ajo q\u00eb seriali e b\u00ebn t\u00eb ndjeshme: se tragjedia nuk lind gjithmon\u00eb nga ngjarjet e m\u00ebdha. Shpesh ajo lind nga gj\u00ebrat m\u00eb t\u00eb vogla, nga ato q\u00eb n\u00eb nj\u00eb dit\u00eb t\u00eb zakonshme mund t\u00eb kalonin pa u v\u00ebn\u00eb re. Gjesti m\u00eb i vog\u00ebl mund t\u00eb marr\u00eb p\u00ebrmasat e nj\u00eb krimi. Gardhi i par\u00eb i serialit nuk \u00ebsht\u00eb vet\u00ebm gardhi i nj\u00eb oborri, por gardhi i nj\u00eb epoke. Nj\u00ebra an\u00eb ka dashurin\u00eb, tjetra ka zakonin. Nj\u00ebra an\u00eb ka t\u00eb ardhmen, tjetra ka kujtes\u00ebn. Dhe midis tyre q\u00ebndron njeriu, kjo qenie e brisht\u00eb q\u00eb p\u00ebrpiqet t\u00eb jetoj\u00eb edhe at\u00ebher\u00eb kur zakonet i k\u00ebrkojn\u00eb t\u00eb vdes\u00eb p\u00ebr t\u00eb. Gjaku trash\u00ebgohet, urrejtja trash\u00ebgohet. Por k\u00ebtu duhet p\u00ebrmendur trash\u00ebgimnia<\/h2>\n<h2>m\u00eb m\u00eb vler\u00eb e shqiptarit: bes\u00eblidhja. Ajo vjen nga thell\u00ebsit\u00eb e historis\u00eb jo thjesht si duarshtr\u00ebngim, por si p\u00ebrqafim shpirti, dhe si e till\u00eb mban t\u00eb bashkuara jo vet\u00ebm familjet, por nj\u00eb komb t\u00eb t\u00ebr\u00eb.<\/h2>\n<h2>Edhe frika trash\u00ebgohet. Por dashuria nuk trash\u00ebgohet si nj\u00eb detyrim. Ajo zgjidhet. N\u00eb k\u00ebt\u00eb kontekst \u201cZakonet e maleve\u201d nuk mbetet vet\u00ebm nj\u00eb rr\u00ebfim p\u00ebr nj\u00eb koh\u00eb t\u00eb shkuar. Ai b\u00ebhet nj\u00eb meditim mbi njeriun dhe mbi pushtetin q\u00eb kan\u00eb mbi t\u00eb ligjet e pashkruara t\u00eb shoq\u00ebris\u00eb. Pyetja q\u00eb ngre seriali nuk \u00ebsht\u00eb vet\u00ebm se kush ka t\u00eb drejt\u00eb dhe kush ka faj. Pyetja \u00ebsht\u00eb m\u00eb e vjet\u00ebr dhe m\u00eb e dhimbshme: a mundet njeriu t\u00eb \u00e7lirohet nga e shkuara pa e mohuar at\u00eb? Ndoshta p\u00ebrgjigjja gjendet pik\u00ebrisht te t\u00eb rinjt\u00eb q\u00eb zgjedhin dashurin\u00eb mbi hakmarrjen. Sepse aty ku brezat e m\u00ebparsh\u00ebm trash\u00ebguan gjakun, ata k\u00ebrkojn\u00eb t\u00eb trash\u00ebgojn\u00eb jet\u00ebn. Dhe aty ku dikur nj\u00eb fishk\u00ebllim\u00eb mund t\u00eb sillte vdekjen, dashuria p\u00ebrpiqet t\u00eb kthej\u00eb z\u00ebrin e njeriut.<\/h2>\n<p>&nbsp;<\/p>\n<p>\u00a9 Laholli<\/p>\n","protected":false},"excerpt":{"rendered":"<p>FERDINAND LAHOLLI KUR ZAKONI B\u00cbHET FAT\u00a0 Ese p\u00ebr serialin \u201cZakonet e maleve\u201d Ka histori q\u00eb nuk rr\u00ebfejn\u00eb thjesht nj\u00eb koh\u00eb t\u00eb shkuar, por e sjellin t\u00eb shkuar\u00ebn p\u00ebrpara nesh si nj\u00eb pasqyr\u00eb,ku befas mund t\u00eb dallojm\u00eb fytyr\u00ebn ton\u00eb. \u201cZakonet e maleve\u201d, seriali i ri filmik me skenar dhe regji t\u00eb Dibran Fyllit, i cili \u00ebsht\u00eb&hellip;<\/p>\n","protected":false},"author":1,"featured_media":10301,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-10300","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/10300","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10300"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/10300\/revisions"}],"predecessor-version":[{"id":10302,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/10300\/revisions\/10302"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/10301"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10300"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10300"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10300"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}