13 Haziran 2010 Pazar
13 Mayıs 2009 Çarşamba
Collection of Movie Articles as printed in The New Anatolian
Chasing the barbarity: 'Bliss'
Haldun Armagan
No matter what adjective you put up front, the pain linked with the region that won't change the reality of murder becomes a subject of popular cinema for the first time. With the film "Mutluluk" (Bliss) an opportunity arises: The reflection of the brutality of "honor" killings to the great masses, and creating an awareness. "Bliss" manages to achieve this with a great cinema soul without being didactic. However, it is impossible not to be sad while watching "Bliss" at the theater together with an audience in which 80 percent is comprised of women. I wonder, where all the men who should watch this movie are?
Even in the surveys carried out among university students, to remember that there are people supporting the understanding where honor and murder completes each other, killing a human is pardoned, happiness will become real if "Bliss" reaches many people and especially men.
There are many sad stories in societies where people torture each other, where there is intolerance. There is no need to go far, it is enough to just look around. The stories of young people in love that belong to families that are in a blood feud with each other, couples that are not allowed to get married as one is an Alevi and the other Sunni, and the "honor" executions of people whose only fault is to love each other.
Reading some newspaper articles is like an extract from a horror film scenario: The woman stoned to death by her own brother and cousins as she is in a love affair out of wedlock; a married couple from Antep who came to reconcile their family sprayed with bullets or numerous people killed due to their sexual preferences, are all living in the same geography.
At this point, "Bliss'" importance mounts one more time. Above all, it has something important to say which is made through a good cinematic feeling. Without a doubt every film should have a matter, but to tell it through cinema is the hardest part. That is why we crown the films that do it together.
For example while "Beynelmilel" (International) discusses a difficult subject like the Sept.12 military coup, not with a slogan but through cinematic language. "Bliss" on the other hand, is a film that everyone should see and one some fractions should watch to learn a lesson from.
"Bliss" is adapted from Zulfu Livaneli's novel and is as effective cinema work as his novel, due to its flawless portrayal that focuses on an example of barbarity of this geography: "honor" killings. Especially the violence against women, legitimatize brutality by grounding it to customs, and families that murder their own children. Unfortunately, all of them are true, all of them have been experienced before and still continue to be.
"Bliss" is not a story that can be easily forgotten after being watched on the silver screen. Abdullah Oguz strengthens his success in directing with this film. Ozgu Namal, who plays the character Meryem, deserves heavy praises for her acting. Murat Han successfully portrays a man forced to choose between customs and his feelings, even though it is his first movie. This is definitely a film not to be missed.
March 24, 2007
----------------------------------------
2 jewels at the Istanbul Film Fest: 'Kader' and 'Beynelmilel'
Haldun Armagan
The countdown has begun for the Istanbul Film Festival (March 31-April 15). Like always, this year the festival offers a rich list of films for movie lovers. We must spare time for this year's national competition section, because when you look at its films, one can truly say that Turkish cinema's rise is no longer a mere wish but has become a reality.
When you look at last year's box office figures, the Turkish cinema, after losing people's interest in the 1980s, not only won back this audience, but also became a strong rival to imported films.
Especially "Kader" (Destiny) and "Beynelmilel" (International), the two worthy Turkish films slated for the festival, must be seen to have a proper idea of Turkish cinema.
Director Zeki Demirkubuz's strong cinematic talent in visualizing the world of people successfully tops "Destiny." There isn't even one failed moment, and you can't leave the theater without feeling melancholy. It's a film that is brisk on love but also twists your heart. Demirkubuz finds the best expression of the concepts of "hopeless love" and "destiny" in such a successful way that he makes this a unique piece of work.
To find the expression of love at first sight, to harmonize this feeling with mercy, passion, habituation and searching for oneself, and to insist on going to the brink. To resist those who tries to change your path and to run to the line of destiny that is reminiscent of a disaster. This is the summary of the world of "Destiny." In the end isn't the love that blinds one's eye a matter of insanity...
Although Bekir's passion for Ugur, Ugur's Zagor obsession seem like harming oneself willingly, in the film "Destiny" the ways to the human soul are complicated, and one can face a new, unexpected situation.
The leading characters in "Destiny" are typical Turkish with their egos, alter egos and with their character weaknesses in which they have difficulty making a difference. Moving ahead with these points, the film reaches a story about the human soul and succeeds in becoming an example of world-class cinema.
One can find the truest scenes in the Turkish cinema yet about the local coffeehouse culture, the insincerity of conservative morality, intense love and passion in the film "Destiny."
We can now say that this film is a contemporary classic of the Turkish cinema.
"Beynelmilel," which deals with the effects of the Sept. 12, 1980 coup on people, is a flawless film technically and a wonderful film in content.
The film deals with the country's general outlook following the military coup. In order to welcome the military council members who will visit the southeastern city of Adiyaman, a semi-military orchestra is formed with the force of the local military garrison. Within this main axis, the film rotates around two old nightclub singers' drama, a young girl preparing for the university entrance exam, a young revolutionary she secretly falls in love with, a father with a uniform who represents a foe against the French, and other village people's tragicomic lives.
In "Beynelmilel," everyone can find a hint of their personal memories, where all people of the country in uniforms are portrayed in such a tragicomic way.
"Kader" and "Beynelmilel" are two good examples of the development of Turkish cinema that succeeds in touching our hearts.
March 17, 2007
------------------------------------------------------------------
Twin sisters: Hulya Avsar and Jennifer Lopez?
Haldun Armagan
From time to time I can't help thinking that Jennifer Lopez and Turkish actress Hulya Avsar are soul twins. Both of them have had great opportunities in the movie world, but succeeded in turning them into disaster.
Being an artist requires creativity and it is quite understandable to be ambitious career-wise. The question here is whether there is a talent to balance ambition or not. As in other countries (let us not forget that Lopez is still continuing to act in movies) there is an ongoing ambition-talent-intelligence problem. Those who are not talented make their names far better known, grab many opportunities and their mistakes start to be accepted as right.
"Bir Ihtimal Daha Var, o da Olmek mi Dersin" (There is one more possibility, and is it to die?) is one of the most beautiful songs of classic Turkish music. Now the song has become an inspiration for a film, which has a mission to revive Turkish music.
Five like-minded friends who receive their music education together -- played by Avsar, Mujdat Gezen, Savas Dincel, Mustafa Alabora and Osman Yagmurdereli -- plan to revive the love of music with soul, like the Blues Brothers. Above all, it's not like doing it all ourselves but with a militant demonstration, invading a Madonna concert to make Turkish music known worldwide.
I tried to tolerate the movie's by "old wolves fantasy." However, my effort to see it like that didn't work as the screenplay and acting are no good. Just at that time, Jennifer Lopez came to my mind. "A flat and lifeless lump" is a common comment made about her films. Almost the same is said about Hulya Avsar films. When you look at her film career, there's a list of stars that ranges from Kutlug Ataman and Irfan Tozum to Sinan Cetin, which is unbelievable. The result is clear; none of these films will be remembered in the history of movies.
Is Jennifer Lopez, or "J-Lo" if you like, any different from that? She has acted with Richard Gere, Ralph Fiennes and Jane Fonda, and added bad film after bad film to their career. As a critic, I have difficulty understanding how a director like Michael Apted can't understand that she doesn't have the capacity to act and how she destroys the soul of a character from the beginning.
In short, we are face to face with an example of how popularity is sacrificed to character acting and how ignorant the cinema business is. I'm afraid that although countless Hulya Avsars, J-Lo's and others manage to make films without a soul, simplicity and shallowness have turned into a global phenomenon in today's world, and they will continue to be seen as masters in all fields of art.
March 10, 2007
---------------------------------------------------
A week of promising flix: New films, Oscars and indies
Haldun Armagan
There are a lot of good-quality films ready for you to see right now. The !F Independent Film Festival just ended, but the Oscar winds are still blowing.
"Notes on a Scandal" tells the story of a teacher who has an affair with her student. When Judi Dench and Kate Blanchett play teachers, this film tops the list of the films that must been seen. I advise those who love thrillers to see "Number 23": Jim Carrey is great as an obsessive man whose life changes after he reads a book. Walter Sparrow (Carrey) loses his control, fearing that the things written in the book might happen to him, in the second interesting film of the week. "Pursuit of Happyness" which Will Smith and his son star in with a philosophy of "Keep your hope even if you lose everything," is one the movies that was mentioned at Oscar time.
Nor is Turkish cinema laying low. Our first choice is "Romantic," which is being screened after collecting dust for some time. (Sinan Cetin shot this film nearly 10 years ago. It will be very interesting for those who are curious to see how Singer Teoman and TV star Okan Bayulgen looked like then). The other movie is "Adem'in Trenleri," directed by Baris Pirhasan, about a imam who protects a women who was raped despite the atmosphere of the village. The movie is inspired by real-life stories. This film is especially a career test for the couple of Nurgul Yesilcay and Cem Ozer.
The passion of a Turkish crime novel: Sis ve Gece
Ahmet Umit has enriched contemporary literature with his many crime novels. "Sis ve Gece" (Fog and Night) is one of the novels he will be remembered for. Years ago director Sinan Cetin wanted to make this literary novel into a movie. Those who have read the novel should watch "Romantic" more carefully. This movie ends up succeeding in reaching everything besides the core of the novel. Anyway, Umit shelved his "Sis ve Gece" project when he wasn't happy from this adaptation nine years ago.
When Turgut Yasalar convinced him with an exciting project, "Sis ve Gece" was born. Now both of these films are being shown in theaters. Even if the work carries the same name as the novel and even if the film version is loyal to Umit's work, it can't escape decades of bad habits of the Turkish cinema. The first is the habit of shooting a film with the actors' own voices overdubbed by "voice actors," a technique not even seen in third world countries. Even if you have an award-winning actor and star in the film, if you dub his voice the result is inevitable: artificiality, insincerity and an air of unreality. Even the most experienced director, Ugur Yucel, made the same mistake and failed with his film "Hayatimin Kadinisin" (You're the Woman of My Life), whose dubbing made characters which looked great on paper fall flat on the silver screen.
"Sis ve Gece" follows the same path. Above all the dubbing of Ugur Polat and other actors is done so carelessly that the synchronization fails in many parts of the movie. As a result neither the actors nor the tension in the story manage to draw us in. Once again "Sis and Gece" becomes the victim. In addition, I really can't understand why the director stays aloof from Ugur Polat with the same type of acting and facial expression to lead the film.
Oscars winds blowing, and the return of 'Babel'
Haldun Armagan
Movie theaters began the week with seven films. Last week I highlighted the fact that five of the movies showing on local screens are competing for Oscars. When we look at this week's list, it's easy to conclude that the movie theaters are under the influence of the Oscar winds blowing in from the Atlantic. There is a wonderful opportunity to live the Academy Awards excitement with joy until late Sunday night. Nearly all the nominated films that will compete for Oscars are being screened at local theaters, like "Dreamgirls" (The story of three young girls who become famous through a song contest similar to "Popstar"), "Letters From Iwo Jima" (a masterpiece that focuses on the Battle of Iwo Jima, an island the could have been the launching point for a Japanese invasion by the U.S. during World War II, through the eyes of the Japanese), "The Queen," (a look back at the time following Princess Diana's death, the film criticizes the British royal family and the political system with a critic's consistency, with Helen Mirren as Elizabeth II), "The Last King of Scotland" (an interesting film about African dictator Idi Amin), "Babel," "Black Dahlia," "Blood Diamond," "Little Children," "Happy Feet," and "An Inconvenient Truth." It's almost time to sit in front of the TV, well-equipped. Speaking of TV, I must remind you that you have to be prepared to stay awake all night, as the Oscars will be broadcast live on NTV with simultaneous translation (in Turkish) and by CNBC-e in English.
'Babel' back in theaters
We started with the Oscars, let's continue with them. Although it's not yet certain which films will grab awards, it is clear that theater owners have given the Oscar statuette to "Babel." Although the film was shown earlier at movie theaters, it has started to be screened again. Brad Pitt and Cate Blanchett star in "Babel," which is generally a successful film that talks about four events that happen on three different continents through parallel editing. It deals with the world's problematic aspects like lack of communication, loneliness, discrimination and vulgar capitalism. However, this is not the best film from director Alejandro Gonzalez Inarritu,when we look at his masterpieces "21 Grams" and "Amores Perros / Love Dogs." The director uses his old will in "Babel" that winks at the Oscars (how many times can the fraction expression technique be repeated?).If you ask me whether it's worth watching or not, my answer is: Absolutely!
And the Oscar goes to ...
The Academy Awards will be announced on Sunday night, but my Oscar picks are as follows:
Best Actor: Leonardo DiCaprio ("Blood Diamond")
Best Supporting Actor: Djimon Hounsou ("Blood Diamond")
Best Actress: Helen Mirren ("The Queen")
Best Supporting Actress: Cate Blanchett ("Notes on a Scandal")
Best Director: Martin Scorsese ("The Departed")
Best Picture: "Letters from Iwo Jima"
February 14, 2007
Movie Diaries
Oscar rehearsal in the theaters
While the 79th Annual Academy Awards are less than a week away, you can do your own Oscar rehearsal at your local theater. Five movies which have been nominated for awards in various categories, including "Black Dahlia," "Happy Feet," "An Inconvenient Truth," "Little Children" and "Blood Diamond," are now showing in Turkish theaters.
There's nothing wrong in declaring my vote for the best film. For my own Oscar dry run, I will give top marks to "Blood Diamond" and "Little Children."
Leonardo DiCaprio and Djimon Hounsou both turn in great performances in "Blood Diamond." Also we should take note of Jackie Earle Haley of "Little Children," who portrays an evil character with great persuasiveness and sincerity.
You may well hear from both of these films on the night of Feb. 25.
The ordeal of the world and humanity
Although the documentary "An Inconvenient Truth" and "Blood Diamond" are in different dimensions, both have a cautionary tale for our affairs with our world.
While "Blood Diamond" tells how a country rich with natural resources doesn't necessarily bring prosperity to its own people, "An Inconvenient Truth" presents former American Vice President Candidate Al Gore using plain language to draw attention to global warming and how humanity's consumption constantly pollutes the world, reminding us that ecological catastrophe would mean that not only natural assets, but also humanity would vanish.
Watch 'Blood Diamond' with eyes open wide
Even though one can fall into dreams while watching movies, sometimes movies open up our eyes wide due to their cautionary tales. Oscar-nominated "Blood Diamond" falls in the second category. It underlines a very important problem, giving messages about humanity. Have you ever thought how the diamonds that symbolize grandeur in Western culture are brought to the display windows of jewelry shops? "Blood Diamond," with its screenplay enriched with real-life events, takes place in Sierra Leone, Africa, and it discusses how natural resources are exploited. Western companies cause conflict among the public for political or other reasons. In the meantime, valuable diamonds are smuggled to the Netherlands and other countries for stonework. It is a problem societies face in continuing their "rightful struggle" as they cause conflict even among children who have been armed as arms brokers and supply equipment to both sides.
"Blood Diamond" is a great movie for its flawless pacing, among other characteristics. It not only emphasizes how the civilized world ignores the problems in Africa but also warns that diamond, gold, black diamonds and the rest are smuggled from their natural homes with similar methods. The old African man in the movie who was fed up being in the middle of a crossfire, laments, "All this fight is for diamonds, what would we do if it was for petroleum?" This is a very significant statement, if we remember that the film is a product of the Western world. Director Edward Zwick deserves special praise for his consistency and honesty.
Leonard DiCaprio once again proves that he has reached maturity in character acting after the film "Departed." Jennifer Connelly also adds great persuasiveness to her American journalist role. Another star of the film is without a doubt Djimon Hounsou: He plays an African who can only be a slave to his country's natural richness. My vote this year is for DiCaprio and Hounsou to take the Oscar statuettes home.
Haldun Armagan
No matter what adjective you put up front, the pain linked with the region that won't change the reality of murder becomes a subject of popular cinema for the first time. With the film "Mutluluk" (Bliss) an opportunity arises: The reflection of the brutality of "honor" killings to the great masses, and creating an awareness. "Bliss" manages to achieve this with a great cinema soul without being didactic. However, it is impossible not to be sad while watching "Bliss" at the theater together with an audience in which 80 percent is comprised of women. I wonder, where all the men who should watch this movie are?
Even in the surveys carried out among university students, to remember that there are people supporting the understanding where honor and murder completes each other, killing a human is pardoned, happiness will become real if "Bliss" reaches many people and especially men.
There are many sad stories in societies where people torture each other, where there is intolerance. There is no need to go far, it is enough to just look around. The stories of young people in love that belong to families that are in a blood feud with each other, couples that are not allowed to get married as one is an Alevi and the other Sunni, and the "honor" executions of people whose only fault is to love each other.
Reading some newspaper articles is like an extract from a horror film scenario: The woman stoned to death by her own brother and cousins as she is in a love affair out of wedlock; a married couple from Antep who came to reconcile their family sprayed with bullets or numerous people killed due to their sexual preferences, are all living in the same geography.
At this point, "Bliss'" importance mounts one more time. Above all, it has something important to say which is made through a good cinematic feeling. Without a doubt every film should have a matter, but to tell it through cinema is the hardest part. That is why we crown the films that do it together.
For example while "Beynelmilel" (International) discusses a difficult subject like the Sept.12 military coup, not with a slogan but through cinematic language. "Bliss" on the other hand, is a film that everyone should see and one some fractions should watch to learn a lesson from.
"Bliss" is adapted from Zulfu Livaneli's novel and is as effective cinema work as his novel, due to its flawless portrayal that focuses on an example of barbarity of this geography: "honor" killings. Especially the violence against women, legitimatize brutality by grounding it to customs, and families that murder their own children. Unfortunately, all of them are true, all of them have been experienced before and still continue to be.
"Bliss" is not a story that can be easily forgotten after being watched on the silver screen. Abdullah Oguz strengthens his success in directing with this film. Ozgu Namal, who plays the character Meryem, deserves heavy praises for her acting. Murat Han successfully portrays a man forced to choose between customs and his feelings, even though it is his first movie. This is definitely a film not to be missed.
March 24, 2007
----------------------------------------
2 jewels at the Istanbul Film Fest: 'Kader' and 'Beynelmilel'
Haldun Armagan
The countdown has begun for the Istanbul Film Festival (March 31-April 15). Like always, this year the festival offers a rich list of films for movie lovers. We must spare time for this year's national competition section, because when you look at its films, one can truly say that Turkish cinema's rise is no longer a mere wish but has become a reality.
When you look at last year's box office figures, the Turkish cinema, after losing people's interest in the 1980s, not only won back this audience, but also became a strong rival to imported films.
Especially "Kader" (Destiny) and "Beynelmilel" (International), the two worthy Turkish films slated for the festival, must be seen to have a proper idea of Turkish cinema.
Director Zeki Demirkubuz's strong cinematic talent in visualizing the world of people successfully tops "Destiny." There isn't even one failed moment, and you can't leave the theater without feeling melancholy. It's a film that is brisk on love but also twists your heart. Demirkubuz finds the best expression of the concepts of "hopeless love" and "destiny" in such a successful way that he makes this a unique piece of work.
To find the expression of love at first sight, to harmonize this feeling with mercy, passion, habituation and searching for oneself, and to insist on going to the brink. To resist those who tries to change your path and to run to the line of destiny that is reminiscent of a disaster. This is the summary of the world of "Destiny." In the end isn't the love that blinds one's eye a matter of insanity...
Although Bekir's passion for Ugur, Ugur's Zagor obsession seem like harming oneself willingly, in the film "Destiny" the ways to the human soul are complicated, and one can face a new, unexpected situation.
The leading characters in "Destiny" are typical Turkish with their egos, alter egos and with their character weaknesses in which they have difficulty making a difference. Moving ahead with these points, the film reaches a story about the human soul and succeeds in becoming an example of world-class cinema.
One can find the truest scenes in the Turkish cinema yet about the local coffeehouse culture, the insincerity of conservative morality, intense love and passion in the film "Destiny."
We can now say that this film is a contemporary classic of the Turkish cinema.
"Beynelmilel," which deals with the effects of the Sept. 12, 1980 coup on people, is a flawless film technically and a wonderful film in content.
The film deals with the country's general outlook following the military coup. In order to welcome the military council members who will visit the southeastern city of Adiyaman, a semi-military orchestra is formed with the force of the local military garrison. Within this main axis, the film rotates around two old nightclub singers' drama, a young girl preparing for the university entrance exam, a young revolutionary she secretly falls in love with, a father with a uniform who represents a foe against the French, and other village people's tragicomic lives.
In "Beynelmilel," everyone can find a hint of their personal memories, where all people of the country in uniforms are portrayed in such a tragicomic way.
"Kader" and "Beynelmilel" are two good examples of the development of Turkish cinema that succeeds in touching our hearts.
March 17, 2007
------------------------------------------------------------------
Twin sisters: Hulya Avsar and Jennifer Lopez?
Haldun Armagan
From time to time I can't help thinking that Jennifer Lopez and Turkish actress Hulya Avsar are soul twins. Both of them have had great opportunities in the movie world, but succeeded in turning them into disaster.
Being an artist requires creativity and it is quite understandable to be ambitious career-wise. The question here is whether there is a talent to balance ambition or not. As in other countries (let us not forget that Lopez is still continuing to act in movies) there is an ongoing ambition-talent-intelligence problem. Those who are not talented make their names far better known, grab many opportunities and their mistakes start to be accepted as right.
"Bir Ihtimal Daha Var, o da Olmek mi Dersin" (There is one more possibility, and is it to die?) is one of the most beautiful songs of classic Turkish music. Now the song has become an inspiration for a film, which has a mission to revive Turkish music.
Five like-minded friends who receive their music education together -- played by Avsar, Mujdat Gezen, Savas Dincel, Mustafa Alabora and Osman Yagmurdereli -- plan to revive the love of music with soul, like the Blues Brothers. Above all, it's not like doing it all ourselves but with a militant demonstration, invading a Madonna concert to make Turkish music known worldwide.
I tried to tolerate the movie's by "old wolves fantasy." However, my effort to see it like that didn't work as the screenplay and acting are no good. Just at that time, Jennifer Lopez came to my mind. "A flat and lifeless lump" is a common comment made about her films. Almost the same is said about Hulya Avsar films. When you look at her film career, there's a list of stars that ranges from Kutlug Ataman and Irfan Tozum to Sinan Cetin, which is unbelievable. The result is clear; none of these films will be remembered in the history of movies.
Is Jennifer Lopez, or "J-Lo" if you like, any different from that? She has acted with Richard Gere, Ralph Fiennes and Jane Fonda, and added bad film after bad film to their career. As a critic, I have difficulty understanding how a director like Michael Apted can't understand that she doesn't have the capacity to act and how she destroys the soul of a character from the beginning.
In short, we are face to face with an example of how popularity is sacrificed to character acting and how ignorant the cinema business is. I'm afraid that although countless Hulya Avsars, J-Lo's and others manage to make films without a soul, simplicity and shallowness have turned into a global phenomenon in today's world, and they will continue to be seen as masters in all fields of art.
March 10, 2007
---------------------------------------------------
A week of promising flix: New films, Oscars and indies
Haldun Armagan
There are a lot of good-quality films ready for you to see right now. The !F Independent Film Festival just ended, but the Oscar winds are still blowing.
"Notes on a Scandal" tells the story of a teacher who has an affair with her student. When Judi Dench and Kate Blanchett play teachers, this film tops the list of the films that must been seen. I advise those who love thrillers to see "Number 23": Jim Carrey is great as an obsessive man whose life changes after he reads a book. Walter Sparrow (Carrey) loses his control, fearing that the things written in the book might happen to him, in the second interesting film of the week. "Pursuit of Happyness" which Will Smith and his son star in with a philosophy of "Keep your hope even if you lose everything," is one the movies that was mentioned at Oscar time.
Nor is Turkish cinema laying low. Our first choice is "Romantic," which is being screened after collecting dust for some time. (Sinan Cetin shot this film nearly 10 years ago. It will be very interesting for those who are curious to see how Singer Teoman and TV star Okan Bayulgen looked like then). The other movie is "Adem'in Trenleri," directed by Baris Pirhasan, about a imam who protects a women who was raped despite the atmosphere of the village. The movie is inspired by real-life stories. This film is especially a career test for the couple of Nurgul Yesilcay and Cem Ozer.
The passion of a Turkish crime novel: Sis ve Gece
Ahmet Umit has enriched contemporary literature with his many crime novels. "Sis ve Gece" (Fog and Night) is one of the novels he will be remembered for. Years ago director Sinan Cetin wanted to make this literary novel into a movie. Those who have read the novel should watch "Romantic" more carefully. This movie ends up succeeding in reaching everything besides the core of the novel. Anyway, Umit shelved his "Sis ve Gece" project when he wasn't happy from this adaptation nine years ago.
When Turgut Yasalar convinced him with an exciting project, "Sis ve Gece" was born. Now both of these films are being shown in theaters. Even if the work carries the same name as the novel and even if the film version is loyal to Umit's work, it can't escape decades of bad habits of the Turkish cinema. The first is the habit of shooting a film with the actors' own voices overdubbed by "voice actors," a technique not even seen in third world countries. Even if you have an award-winning actor and star in the film, if you dub his voice the result is inevitable: artificiality, insincerity and an air of unreality. Even the most experienced director, Ugur Yucel, made the same mistake and failed with his film "Hayatimin Kadinisin" (You're the Woman of My Life), whose dubbing made characters which looked great on paper fall flat on the silver screen.
"Sis ve Gece" follows the same path. Above all the dubbing of Ugur Polat and other actors is done so carelessly that the synchronization fails in many parts of the movie. As a result neither the actors nor the tension in the story manage to draw us in. Once again "Sis and Gece" becomes the victim. In addition, I really can't understand why the director stays aloof from Ugur Polat with the same type of acting and facial expression to lead the film.
Oscars winds blowing, and the return of 'Babel'
Haldun Armagan
Movie theaters began the week with seven films. Last week I highlighted the fact that five of the movies showing on local screens are competing for Oscars. When we look at this week's list, it's easy to conclude that the movie theaters are under the influence of the Oscar winds blowing in from the Atlantic. There is a wonderful opportunity to live the Academy Awards excitement with joy until late Sunday night. Nearly all the nominated films that will compete for Oscars are being screened at local theaters, like "Dreamgirls" (The story of three young girls who become famous through a song contest similar to "Popstar"), "Letters From Iwo Jima" (a masterpiece that focuses on the Battle of Iwo Jima, an island the could have been the launching point for a Japanese invasion by the U.S. during World War II, through the eyes of the Japanese), "The Queen," (a look back at the time following Princess Diana's death, the film criticizes the British royal family and the political system with a critic's consistency, with Helen Mirren as Elizabeth II), "The Last King of Scotland" (an interesting film about African dictator Idi Amin), "Babel," "Black Dahlia," "Blood Diamond," "Little Children," "Happy Feet," and "An Inconvenient Truth." It's almost time to sit in front of the TV, well-equipped. Speaking of TV, I must remind you that you have to be prepared to stay awake all night, as the Oscars will be broadcast live on NTV with simultaneous translation (in Turkish) and by CNBC-e in English.
'Babel' back in theaters
We started with the Oscars, let's continue with them. Although it's not yet certain which films will grab awards, it is clear that theater owners have given the Oscar statuette to "Babel." Although the film was shown earlier at movie theaters, it has started to be screened again. Brad Pitt and Cate Blanchett star in "Babel," which is generally a successful film that talks about four events that happen on three different continents through parallel editing. It deals with the world's problematic aspects like lack of communication, loneliness, discrimination and vulgar capitalism. However, this is not the best film from director Alejandro Gonzalez Inarritu,when we look at his masterpieces "21 Grams" and "Amores Perros / Love Dogs." The director uses his old will in "Babel" that winks at the Oscars (how many times can the fraction expression technique be repeated?).If you ask me whether it's worth watching or not, my answer is: Absolutely!
And the Oscar goes to ...
The Academy Awards will be announced on Sunday night, but my Oscar picks are as follows:
Best Actor: Leonardo DiCaprio ("Blood Diamond")
Best Supporting Actor: Djimon Hounsou ("Blood Diamond")
Best Actress: Helen Mirren ("The Queen")
Best Supporting Actress: Cate Blanchett ("Notes on a Scandal")
Best Director: Martin Scorsese ("The Departed")
Best Picture: "Letters from Iwo Jima"
February 14, 2007
Movie Diaries
Oscar rehearsal in the theaters
While the 79th Annual Academy Awards are less than a week away, you can do your own Oscar rehearsal at your local theater. Five movies which have been nominated for awards in various categories, including "Black Dahlia," "Happy Feet," "An Inconvenient Truth," "Little Children" and "Blood Diamond," are now showing in Turkish theaters.
There's nothing wrong in declaring my vote for the best film. For my own Oscar dry run, I will give top marks to "Blood Diamond" and "Little Children."
Leonardo DiCaprio and Djimon Hounsou both turn in great performances in "Blood Diamond." Also we should take note of Jackie Earle Haley of "Little Children," who portrays an evil character with great persuasiveness and sincerity.
You may well hear from both of these films on the night of Feb. 25.
The ordeal of the world and humanity
Although the documentary "An Inconvenient Truth" and "Blood Diamond" are in different dimensions, both have a cautionary tale for our affairs with our world.
While "Blood Diamond" tells how a country rich with natural resources doesn't necessarily bring prosperity to its own people, "An Inconvenient Truth" presents former American Vice President Candidate Al Gore using plain language to draw attention to global warming and how humanity's consumption constantly pollutes the world, reminding us that ecological catastrophe would mean that not only natural assets, but also humanity would vanish.
Watch 'Blood Diamond' with eyes open wide
Even though one can fall into dreams while watching movies, sometimes movies open up our eyes wide due to their cautionary tales. Oscar-nominated "Blood Diamond" falls in the second category. It underlines a very important problem, giving messages about humanity. Have you ever thought how the diamonds that symbolize grandeur in Western culture are brought to the display windows of jewelry shops? "Blood Diamond," with its screenplay enriched with real-life events, takes place in Sierra Leone, Africa, and it discusses how natural resources are exploited. Western companies cause conflict among the public for political or other reasons. In the meantime, valuable diamonds are smuggled to the Netherlands and other countries for stonework. It is a problem societies face in continuing their "rightful struggle" as they cause conflict even among children who have been armed as arms brokers and supply equipment to both sides.
"Blood Diamond" is a great movie for its flawless pacing, among other characteristics. It not only emphasizes how the civilized world ignores the problems in Africa but also warns that diamond, gold, black diamonds and the rest are smuggled from their natural homes with similar methods. The old African man in the movie who was fed up being in the middle of a crossfire, laments, "All this fight is for diamonds, what would we do if it was for petroleum?" This is a very significant statement, if we remember that the film is a product of the Western world. Director Edward Zwick deserves special praise for his consistency and honesty.
Leonard DiCaprio once again proves that he has reached maturity in character acting after the film "Departed." Jennifer Connelly also adds great persuasiveness to her American journalist role. Another star of the film is without a doubt Djimon Hounsou: He plays an African who can only be a slave to his country's natural richness. My vote this year is for DiCaprio and Hounsou to take the Oscar statuettes home.
TULOS
TULOS, i.e. THE UNBEARABLE LIGHTNESS OF SEQUELS
HALDUN ARMAGAN
A magnificent comeback from the “Invincible Man,” the papers reported. Although we all wished him happy retirement after seeing five “Rocky” movies, Sylvester Stallone obviously had a stellar comeback in mind. Yes, there will be a "Rocky" movie (for the 6th time) to prove Sylvester's long-forgotten existence. As if this weren't enough, we started watching Sharon Stone touring around the world to promote her new movie, “Basic Instinct 2,” some 15 years after the original. You might call it artistic ambition, while I call it sheer greed. The number of sequels to original movies seems to be a never-ending nightmare. What's really happening to Hollywood actors I wonder? Isn't there a pension system in L.A., or is there a special clinic injecting ego-boosting hormones to some actors and directors? Will common sense ever prevail in Hollywood to realize so that every sequel destroys the original and turns everything to a commercial market for boosted egos?
This season alone we’re about to see almost 20 Hollywood sequels, some for the second time, some for the fourth. “Basic Instinct 2” opens nationwide at the end of this month. And be ready for others like “Bambi-2,” “Ice Age 2,” “Goal-2,” “Garfield 2,” “Pirates of the Caribbean 2,” and “Sin City 2.”
The fun does not end there because third installments are on the way to a theatre near you, with “The Fast and the Furious 3,” “Spider Man 3,” “Shrek 3,” “X-Man III,” “Final Destination 3,” and “Mission Impossible:III.”
Feel tired? Don't even think of it before seeing fourth installments which actually is my favorite (!) category. “Scary Movie 4,” “Indiana Jones 4,” “Die Hard 4” and “Jurassic Park 4.”
Let's take a moment and focus on the fourth-time around efforts. I really want to know more about the psychology behind the urge to making a sequel to a modern classic like "Indiana Jones" and "Jurassic Park." Can we start a pension fund for Bruce Willis, Harrison Ford and certainly for Sharon Stone and Sylvester Stallone so that they give up and live only in our good memories with their classics. If you think I am over-reacting, please consider your judgment twice and let me give you a hint: Sharon Stone claims beauty and skill for even more indecent-toned “Basic Instinct 3” sometime after the second one. If Mr. “Rocky Bilbao” takes Ms. “Catherina Tramell” as a role model, we might end up seeing "Rocky 15" or something like that as a final and lethal blow to all cinematic criteria.
Given the hard and crude competition, I can hardly blame the Hollywood executives who basically think nothing but making money. What’s more difficult to understand is how come the prominent Hollywood leads seem so ready to sell their souls. I don't even want to think that Harrison Ford or Bruce Willis, for instance, aren’t capable of realizing the obvious threat to their esteem and charisma when they play “Indiana Jones” or “Die Hard” for the fourth time.
There’s no good news from the executives’ desk either. Hollywood is suffering from a dramatic decline in box office revenues. Last year box office receipts saw a 6 percent fall from the previous year, a $9 billion loss. Big-budget thrillers or remakes, as well as sequels, do not make business any more. The only exception to this trend are movies with fanatical followers such as "Star Wars" and "Harry Potter" which obviously did not help to fill the deficit in the end. I don't think that those second, third, fourth and fifth timers ever make a positive contribution to the morale of Hollywood executives. As history repeats itself, Hollywood keeps repeating its mistakes and it seems there’s still a long way to go before the mistake is realized.
March 24, 2006 The New Anatolian daily
HALDUN ARMAGAN
A magnificent comeback from the “Invincible Man,” the papers reported. Although we all wished him happy retirement after seeing five “Rocky” movies, Sylvester Stallone obviously had a stellar comeback in mind. Yes, there will be a "Rocky" movie (for the 6th time) to prove Sylvester's long-forgotten existence. As if this weren't enough, we started watching Sharon Stone touring around the world to promote her new movie, “Basic Instinct 2,” some 15 years after the original. You might call it artistic ambition, while I call it sheer greed. The number of sequels to original movies seems to be a never-ending nightmare. What's really happening to Hollywood actors I wonder? Isn't there a pension system in L.A., or is there a special clinic injecting ego-boosting hormones to some actors and directors? Will common sense ever prevail in Hollywood to realize so that every sequel destroys the original and turns everything to a commercial market for boosted egos?
This season alone we’re about to see almost 20 Hollywood sequels, some for the second time, some for the fourth. “Basic Instinct 2” opens nationwide at the end of this month. And be ready for others like “Bambi-2,” “Ice Age 2,” “Goal-2,” “Garfield 2,” “Pirates of the Caribbean 2,” and “Sin City 2.”
The fun does not end there because third installments are on the way to a theatre near you, with “The Fast and the Furious 3,” “Spider Man 3,” “Shrek 3,” “X-Man III,” “Final Destination 3,” and “Mission Impossible:III.”
Feel tired? Don't even think of it before seeing fourth installments which actually is my favorite (!) category. “Scary Movie 4,” “Indiana Jones 4,” “Die Hard 4” and “Jurassic Park 4.”
Let's take a moment and focus on the fourth-time around efforts. I really want to know more about the psychology behind the urge to making a sequel to a modern classic like "Indiana Jones" and "Jurassic Park." Can we start a pension fund for Bruce Willis, Harrison Ford and certainly for Sharon Stone and Sylvester Stallone so that they give up and live only in our good memories with their classics. If you think I am over-reacting, please consider your judgment twice and let me give you a hint: Sharon Stone claims beauty and skill for even more indecent-toned “Basic Instinct 3” sometime after the second one. If Mr. “Rocky Bilbao” takes Ms. “Catherina Tramell” as a role model, we might end up seeing "Rocky 15" or something like that as a final and lethal blow to all cinematic criteria.
Given the hard and crude competition, I can hardly blame the Hollywood executives who basically think nothing but making money. What’s more difficult to understand is how come the prominent Hollywood leads seem so ready to sell their souls. I don't even want to think that Harrison Ford or Bruce Willis, for instance, aren’t capable of realizing the obvious threat to their esteem and charisma when they play “Indiana Jones” or “Die Hard” for the fourth time.
There’s no good news from the executives’ desk either. Hollywood is suffering from a dramatic decline in box office revenues. Last year box office receipts saw a 6 percent fall from the previous year, a $9 billion loss. Big-budget thrillers or remakes, as well as sequels, do not make business any more. The only exception to this trend are movies with fanatical followers such as "Star Wars" and "Harry Potter" which obviously did not help to fill the deficit in the end. I don't think that those second, third, fourth and fifth timers ever make a positive contribution to the morale of Hollywood executives. As history repeats itself, Hollywood keeps repeating its mistakes and it seems there’s still a long way to go before the mistake is realized.
March 24, 2006 The New Anatolian daily
Oscars 2006
COUNTDOWN TO OSCARS: WANNA BET?
HALDUN ARMAGAN
Something happened to the Oscars this year. Something nice and miraculous. After a very long tradition of boosting tear-jerkers and soap-opera glamour, Oscar seems to have decided to go liberal. Looking at the nominees for Best Picture, one may wonder if the list is copied from the Berlin or Cannes festivals. Some movies in the best actor category can easily be advised for the rainbow section of any international film festivals.
All right, time to confess: We all gave a standing ovation to mediocre movies just for the sake of Oscar spirit. From "Rocky" to "Titanic," from "Million Dollar Baby" to "Kramer vs. Kramer," the conservative/mediocre tradition always prevailed. But this year, the 78th Oscars tell us “let's all get real.” This is good, this is very encouraging for the future. I think we’ve had enough of movies with no character and more computer images. I think we’ve already passed the tolerable limit of chick-flicks and tear-jerkers. Does anyone out there still fondly remember the Oscar-hit "Million Dollar Baby"? Only a year has passed and the movie is gone without leaving any traces in our souls. It's not the movie's fault, if you ask me, the mistake belongs to the Academy for overblowing it or this kind of mediocre taste.
That's why the 78th Oscars are important and provide a good reason to stay awake all night on Sunday. Nominees for the Best Motion Picture this year are a flawless quintet: “Brokeback Mountain,” “Capote,” “Crash,” “Good Night, and Good Luck,” and “Munich.” My heart belongs to all of them, and this is the very first time, I should mention in my capacity of following the Oscars every year. All five have something in common: They are character-driven, story oriented movies. They take power from real lives and real characters. And this is a real first for the Oscars as they now embrace character-driven movies while laying the big-budget mediocrities aside.
A nice thing about Oscar is the thrill of betting: Who's gonna win? Here is my personal "Oscar Goes To" list.
Best Movie: Brokeback Mountain
Best Director: Ang Lee
Best Actor: Philip Seymour Hoffman for "Capote"
Best Supporting Actor: Jake Gyllenhaal for "Brokeback Mountain"
Best Actress: Reese Witherspoon for 'Walk the Line"
Best Supporting Actress: Michelle Williams for "Brokeback Mountain"
The article appeared in the New Anatolian on March 3, 2006.
HALDUN ARMAGAN
Something happened to the Oscars this year. Something nice and miraculous. After a very long tradition of boosting tear-jerkers and soap-opera glamour, Oscar seems to have decided to go liberal. Looking at the nominees for Best Picture, one may wonder if the list is copied from the Berlin or Cannes festivals. Some movies in the best actor category can easily be advised for the rainbow section of any international film festivals.
All right, time to confess: We all gave a standing ovation to mediocre movies just for the sake of Oscar spirit. From "Rocky" to "Titanic," from "Million Dollar Baby" to "Kramer vs. Kramer," the conservative/mediocre tradition always prevailed. But this year, the 78th Oscars tell us “let's all get real.” This is good, this is very encouraging for the future. I think we’ve had enough of movies with no character and more computer images. I think we’ve already passed the tolerable limit of chick-flicks and tear-jerkers. Does anyone out there still fondly remember the Oscar-hit "Million Dollar Baby"? Only a year has passed and the movie is gone without leaving any traces in our souls. It's not the movie's fault, if you ask me, the mistake belongs to the Academy for overblowing it or this kind of mediocre taste.
That's why the 78th Oscars are important and provide a good reason to stay awake all night on Sunday. Nominees for the Best Motion Picture this year are a flawless quintet: “Brokeback Mountain,” “Capote,” “Crash,” “Good Night, and Good Luck,” and “Munich.” My heart belongs to all of them, and this is the very first time, I should mention in my capacity of following the Oscars every year. All five have something in common: They are character-driven, story oriented movies. They take power from real lives and real characters. And this is a real first for the Oscars as they now embrace character-driven movies while laying the big-budget mediocrities aside.
A nice thing about Oscar is the thrill of betting: Who's gonna win? Here is my personal "Oscar Goes To" list.
Best Movie: Brokeback Mountain
Best Director: Ang Lee
Best Actor: Philip Seymour Hoffman for "Capote"
Best Supporting Actor: Jake Gyllenhaal for "Brokeback Mountain"
Best Actress: Reese Witherspoon for 'Walk the Line"
Best Supporting Actress: Michelle Williams for "Brokeback Mountain"
The article appeared in the New Anatolian on March 3, 2006.
MUNICH
MUNICH: AT LAST, A PERFECT POLITICAL THRILLER
HALDUN ARMAGAN
Making movies is a challenge in itself, both economically and on social-political grounds. And there’s usually a paradox: Working in an established environment, you are free but not independent, as studio executives impose on directors. Let's reverse the situation and say you are acting on your own with no movie moguls interfering. In this case acting being independent is one thing to envy in show business as long as you don't hear “show me the money” as Tom Cruise said in “Jerry Maguire,” which described the situation perfectly.
Steven Spielberg is among the very few lucky ones in Hollywood who is more or less able to say, "I want to make this movie at all costs." A brilliant strategy on his part is to each time make one movie for the box office and one for personal taste, so that it ends up a win-win situation. His last movie, "The War of the Worlds," was the one for the studio’s accounts, if you ask me, and now with his latest movie "Munich," he is redeeming himself by offering a masterpiece of the genre.
Dealing with real political stuff in the commercialized movie world is very rare. By sailing into the safe waters of fiction, none of the big-budget thrillers, such as "Patriot Games," "Enemy of the State," "Clear and Present Danger" and "The Siege," dared to touch hot potatoes. That is exactly the difference with "Munich:” It is totally inspired by, as well as partly based on, true events. Spielberg starts from a real event, the kidnapping and deaths of Israeli athletes at the 1972 Munich Olympics and the Israeli secret revenge team who went after 11 Palestinian terrorists. The story then follows an unconventional path as Spielberg deliberately stays away from making another "heroic hit men" story. While five-men team carry out their mission they also start questioning it. By standing right between the Israelis and Palestinians, Spielberg has accomplished a very important thing. The movie is so well balanced that along with the revenge squad the audience is given the sentiments of both sides. As the story unfolds, we mourn the tragic fate of the Israeli athletes while we also realize that revenge might not be the right approach, since each eliminated terrorist is replaced by another even more dangerous one.
By delivering a clear message about violence breeding more violence, as rightfully expressed by the team’s leader Avner (beautifully and convincingly played by Eric Bana), "Munich" deserves to be treated as special in its genre. Bearing in mind the Spielberg’s walk down a thorny path, there are very few movies like "Munich" which are strongly acted, efficiently balanced and effectively delivered. "Munich" is certainly one of this season's best films, and Spielberg's finest since "Schindler's List."
HALDUN ARMAGAN
Making movies is a challenge in itself, both economically and on social-political grounds. And there’s usually a paradox: Working in an established environment, you are free but not independent, as studio executives impose on directors. Let's reverse the situation and say you are acting on your own with no movie moguls interfering. In this case acting being independent is one thing to envy in show business as long as you don't hear “show me the money” as Tom Cruise said in “Jerry Maguire,” which described the situation perfectly.
Steven Spielberg is among the very few lucky ones in Hollywood who is more or less able to say, "I want to make this movie at all costs." A brilliant strategy on his part is to each time make one movie for the box office and one for personal taste, so that it ends up a win-win situation. His last movie, "The War of the Worlds," was the one for the studio’s accounts, if you ask me, and now with his latest movie "Munich," he is redeeming himself by offering a masterpiece of the genre.
Dealing with real political stuff in the commercialized movie world is very rare. By sailing into the safe waters of fiction, none of the big-budget thrillers, such as "Patriot Games," "Enemy of the State," "Clear and Present Danger" and "The Siege," dared to touch hot potatoes. That is exactly the difference with "Munich:” It is totally inspired by, as well as partly based on, true events. Spielberg starts from a real event, the kidnapping and deaths of Israeli athletes at the 1972 Munich Olympics and the Israeli secret revenge team who went after 11 Palestinian terrorists. The story then follows an unconventional path as Spielberg deliberately stays away from making another "heroic hit men" story. While five-men team carry out their mission they also start questioning it. By standing right between the Israelis and Palestinians, Spielberg has accomplished a very important thing. The movie is so well balanced that along with the revenge squad the audience is given the sentiments of both sides. As the story unfolds, we mourn the tragic fate of the Israeli athletes while we also realize that revenge might not be the right approach, since each eliminated terrorist is replaced by another even more dangerous one.
By delivering a clear message about violence breeding more violence, as rightfully expressed by the team’s leader Avner (beautifully and convincingly played by Eric Bana), "Munich" deserves to be treated as special in its genre. Bearing in mind the Spielberg’s walk down a thorny path, there are very few movies like "Munich" which are strongly acted, efficiently balanced and effectively delivered. "Munich" is certainly one of this season's best films, and Spielberg's finest since "Schindler's List."
Life at Movies
UNIVERSAL STORY OF REPRESSED LOVE: BROKEBACK MOUNTAIN
HALDUN ARMAGAN
There are movies for fast and easy consumption while others, a rare occurrence, require longer time than usual to digest and later become lifetime classics. Ang Lee's internationally acclaimed award-winning movie "Brokeback Mountain" stands right in the middle of both. For a careless viewer with fast-food movie culture, "Brokeback Mountain" is about a love story between two adult men. Then so what? And what's the big deal one may wonder: Place the movie in the gay and lesbian films category and put its success down to the clout of gay lobbying in Hollywood.
This is what you may heard or read so far about "Brokeback Mountain," and I strongly resent that shallow interpretation. Let me say, without waiting for the last line, that “Brokeback Mountain” is a timeless classic with a story which goes beyond the boundaries of a gay love affair. It’s been described as a gay cowboy movie, as in the Turkish media like in many others, including the U.S.’, but this is just a way of seeing this movie with prejudices attached and souls left out. A universal theme accompanies the agony of Jack and Ennis: Love and affection repressed by society.
In the Turkish context, try to imagine a Sunni who falls deeply in love with an Alevi, or a young girl from the country who falls in love with a boy while both sides are involved in a blood feud. You can develop empathy for Jack and Ennis, who tried not live despite themselves, and it only requires seeing the world through your heart, if you ask me. Every country has its own limitations and taboos. My examples of repressed feelings are about religious sects or rules imposed by tribal traditions, but the civilized world isn’t exempt from this either. If you think obstacles to love are an oxymoron in European Union norms, continue reading. Even today, two people from Belgium, the very essence of the EU, are being given a very hard time by their own communities about living their love. A man and a woman love each other but face problems in Brussels because one is from Flanders and the other is from Wallonia. Their story has been in the press for some time, and, even more oddly, one of them happens to be a lawmaker, a member of the Belgium parliament.
Jack and Ennis come from the thinly populated state of Wyoming with different family backgrounds, and they both discover themselves during a seasonal shepherding job on Brokeback Mountain. The intimacy and power of nature provide the necessary courage for them to express their affections for each other. Ennis seems more reserved and conservative. In fact both of them were ready to live the lives determined for them by society: Find a job, get married and raise children. The nature whispers to them, “Be natural, be yourself” and they listen. Jack adapts himself to the situation while it’s really hard for Ennis, who carries a trauma related to his father with him: "Two men who love each other deserve to die brutally," the father thought, and took Ennis and his brother to a rural hate crime scene.
Following a seasonal vacation, the bitter realities of Wyoming society in the 1960s prevail as both heroes did everything as they’re supposed to. Ennis marries Alma, and Jack falls into the unspoken world of a dual life after marrying to Lureen.
At this point the movie surpasses traditional story telling and treats each of its characters equally. We can empathize with Jack's struggle to not deny his heart, while we also understand that the main female characters suffer just as much. Lureen is victimized by her father's domination and apparently can’t run her life on her own, and Alma faces the challenge of accepting her genuine feelings about a store manager. The bottom line of "be yourself" is easy to say in this world of double standards, but reality is almost the opposite.
I left the movie theatre with complex feelings of sadness as well as hope. The movie ends on a sad note but we still should remain hopeful that things will change for the better even if we only have a couple of shirts and some ambiguous remarks from Jack's parents. In any case, the movie makes us realize that things could have been a lot different if people didn’t follow rules based on the repression of feelings.
Ang Lee deserves all the credit he gets for his directorial success of turning an affair between two men into a universal story of love made impossible by society. Equally important are the shining performances by Jake Gyllenhall and Heath Ledger, who make "Brokeback Mountain" a must-see for everybody with a heart and soul.
April 14, 2006 – The New Anatolian
HALDUN ARMAGAN
There are movies for fast and easy consumption while others, a rare occurrence, require longer time than usual to digest and later become lifetime classics. Ang Lee's internationally acclaimed award-winning movie "Brokeback Mountain" stands right in the middle of both. For a careless viewer with fast-food movie culture, "Brokeback Mountain" is about a love story between two adult men. Then so what? And what's the big deal one may wonder: Place the movie in the gay and lesbian films category and put its success down to the clout of gay lobbying in Hollywood.
This is what you may heard or read so far about "Brokeback Mountain," and I strongly resent that shallow interpretation. Let me say, without waiting for the last line, that “Brokeback Mountain” is a timeless classic with a story which goes beyond the boundaries of a gay love affair. It’s been described as a gay cowboy movie, as in the Turkish media like in many others, including the U.S.’, but this is just a way of seeing this movie with prejudices attached and souls left out. A universal theme accompanies the agony of Jack and Ennis: Love and affection repressed by society.
In the Turkish context, try to imagine a Sunni who falls deeply in love with an Alevi, or a young girl from the country who falls in love with a boy while both sides are involved in a blood feud. You can develop empathy for Jack and Ennis, who tried not live despite themselves, and it only requires seeing the world through your heart, if you ask me. Every country has its own limitations and taboos. My examples of repressed feelings are about religious sects or rules imposed by tribal traditions, but the civilized world isn’t exempt from this either. If you think obstacles to love are an oxymoron in European Union norms, continue reading. Even today, two people from Belgium, the very essence of the EU, are being given a very hard time by their own communities about living their love. A man and a woman love each other but face problems in Brussels because one is from Flanders and the other is from Wallonia. Their story has been in the press for some time, and, even more oddly, one of them happens to be a lawmaker, a member of the Belgium parliament.
Jack and Ennis come from the thinly populated state of Wyoming with different family backgrounds, and they both discover themselves during a seasonal shepherding job on Brokeback Mountain. The intimacy and power of nature provide the necessary courage for them to express their affections for each other. Ennis seems more reserved and conservative. In fact both of them were ready to live the lives determined for them by society: Find a job, get married and raise children. The nature whispers to them, “Be natural, be yourself” and they listen. Jack adapts himself to the situation while it’s really hard for Ennis, who carries a trauma related to his father with him: "Two men who love each other deserve to die brutally," the father thought, and took Ennis and his brother to a rural hate crime scene.
Following a seasonal vacation, the bitter realities of Wyoming society in the 1960s prevail as both heroes did everything as they’re supposed to. Ennis marries Alma, and Jack falls into the unspoken world of a dual life after marrying to Lureen.
At this point the movie surpasses traditional story telling and treats each of its characters equally. We can empathize with Jack's struggle to not deny his heart, while we also understand that the main female characters suffer just as much. Lureen is victimized by her father's domination and apparently can’t run her life on her own, and Alma faces the challenge of accepting her genuine feelings about a store manager. The bottom line of "be yourself" is easy to say in this world of double standards, but reality is almost the opposite.
I left the movie theatre with complex feelings of sadness as well as hope. The movie ends on a sad note but we still should remain hopeful that things will change for the better even if we only have a couple of shirts and some ambiguous remarks from Jack's parents. In any case, the movie makes us realize that things could have been a lot different if people didn’t follow rules based on the repression of feelings.
Ang Lee deserves all the credit he gets for his directorial success of turning an affair between two men into a universal story of love made impossible by society. Equally important are the shining performances by Jake Gyllenhall and Heath Ledger, who make "Brokeback Mountain" a must-see for everybody with a heart and soul.
April 14, 2006 – The New Anatolian
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