Sen Kimsin? [2012)

It’s been a long time since I “visited” Turkey.

Indeed, it’s been awhile since I reviewed an actual movie 🙂

Film critics should review films, right?

Not sporting events.  Not YouTube videos.  Not the Double Windsor of Trump’s necktie.

Well, I am guilty as charged.

I like sports.

And occasionally a video on the Internet has immense impact on me.

And I like Trump.  Sometimes I disagree (strongly) with what he does.

But mostly I agree.

So far.

But as I was saying, I have not reviewed a Turkish film since my initial foray into the national cinema of Anatolia.

In retrospect, I actually reviewed two Turkish films long ago:  Hudutlarin Kanunu and Susuz Yaz.

What is really complex is the “i” with no dot.  I don’t think I have this anywhere on my WordPress possibilities.

But we will forget about that for now.

[at least I can copy and paste]

🙂

Which is to say, it is hard to top Yılmaz Güney.  Hudutlarin Kanunu is a really special film.

But we must move into the modern era…and see what the Turkish are doing now, right?

Well, Sen Kimsin? may not be a perfect film, but I really enjoyed it 🙂

There is something about Turkish humor which I love!

So let me tell you about this motion picture.

First of all, it is currently streaming on Netflix in the U.S. (!)…

Yes, Netflix seems to all-of-sudden be glutted with Turkish films (which is, for me, a good thing).

And we will get to geopolitics shortly (the strange case of U.S. forces “guarding” the Turkish border [to prevent attacks on the Kurds in Syria?!?]).

Actually, let’s get to that now.

Webster Tarpley (whom I stopped listening to quite awhile ago…when he started calling Trump a Nazi) was forever railing about closing the Jarabulus corridor.

Jarabulus is a Syrian city very near the Turkish border.

Tarpley maintained (if I remember correctly) that ISIS (which, like al-Qaeda, was created by the U.S. [according to Pieczenik]) was being supplied mainly from Turkey.

Tarpley continuously insisted that closing the “Jarabulus corridor” would starve the supply line(s) of ISIS.

And then today we have these headlines:  “US troops patrol Turkey-Syria border after strikes on Kurds”.

That was CNN.

It required immense (and worthwhile) effort to not click on that article.

Fuck CNN!

They don’t even deserve italics…

“US troops deployed at Syrian border to prevent clashes between Turkish & Kurdish forces”.

That’s RT.

[Russia Today]

Hmmm…

I thought Turkey was part of NATO?

I thought NATO was the greatest thing since sliced shawarma??

I thought the USA and Turkey were on the same side???

Well, maybe not.

Which brings us back to that “failed coup attempt” last year in Turkey.

July 15.

Now, if the U.S. is today (literally) protecting the Kurds from the Turkish (which even CNN and RT can agree upon).

And the U.S. has nuclear weapons at Incirlik Air Base in Adana, Turkey as part of NATO’s “nuke sharing” program (which is well-known).

Then what the fuck is going on here?

Is ErdoÄŸan such a dipshit that we have to work AGAINST him (while keeping nuclear weapons in his country)?

If that’s the case, then it would not be farfetched to think that the U.S. had some part to play in the failed coup attempt of last year.

Motive?  Check.  Means?  Check.  Opportunity?  Probably.

As for the U.S. forces on the Turkish border (inside Syria?), their location is not clear from the reportage I am seeing (whether Jarabulus or not).

In a moment of weakness, I clicked on CNN.

The gist there seems to be that the Turks and the Kurds hate each other, but that the Turks and the Kurds are the closest “anti-ISIS” allies of the U.S.. 🙂

Boy, if that’s not generalizing things…

Which is why we need comedy.

And why this will seek to be a film review from here on out.

First, let’s translate Sen Kimsin?:  “who are you?”.

Who are you?

This phrase becomes very important during the course of Sen Kimsin?.

Tolga Çevik is the star of our film 🙂

He’s very funny!

Truly, he has some great comedic talent!!

And so this whole film is a bit like The Pink Panther minus Peter Sellers.

But Tolga Çevik does a very admirable job 🙂

Actually, as you’ve noticed, I can’t stop smiling after this film.

There are so many wonderful parts to it.

Indeed, Çevik is the fumbling/bumbling detective (!) who gets made for a useful idiot.

But the ID was only half-right.

He’s an idiot, alright.

But he’s completely useless 🙂

And I know the feeling.

I really related to Tolga Çevik’s character Tekin.

Director Ozan Açıktan did an excellent job of letting Tolga’s talents come to the fore!

But this comedy of errors just wouldn’t be the same without the priceless contribution of Köksal Engür.

You know, the Turks are a brave people.

And seeing the great humor of Köksal Engür reminded me of that 🙂

But let us talk about the beautiful ladies of this film.

Zeynep Özder is really charming as Pelin 🙂

But I must also give credit to the villainess Pelin Körmükçü.

Wow!  What a beautiful 46-year-old woman!!!

Anyhow, these ladies are distracting.

But this is just a plain fun film.

It is meant for enjoyment.

And there is some great dialogue (particularly between Tekin and Ismail).

I thoroughly recommend this film as a fun way to learn a little more about Turkish culture 🙂

Thank you, my friends!

-PD

Hudutların Kanunu [1966)

I could have sworn the titles said Hududların Kanunu, but there’s never any mistakes on Wikipedia, right? 

So we are going with Hudutların Kanunu.

The Law of the Border.

And it is such an honor to review another Turkish film.

I must say, this one really “spoke” to me.

Not only does Yılmaz Güney play the lead role of Hidir, but this same actor also wrote the screenplay.

As I watched Yılmaz Güney’s wonderful portrayal of the smuggler Hidir, I was reminded of Antonin Artaud’s acting in La Passion de Jeanne d’Arc.

Güney’s penetrating eyes and stoic face are very similar to Artaud’s physical features.

But not only that.

It occurs to me that Güney bears a striking resemblance to a more contemporary figure:  Vladimir Putin.

This is all the more interesting when one considers that Güney was born Yılmaz Pütün.

Hmmm…

Güney was a Zaza Kurd who apparently got in trouble often with the Turkish government.

He died an early death at age 47 (in 1984).

Whether Hudutların Kanunu is propaganda is beside the point.

It certainly has traits of propaganda films, but it’s such a damn good movie that it doesn’t really matter.

Yes, there is a social justice angle to Güney’s story, but much credit should go to the wonderful directing job of Ömer Lütfi Akad.

Though Güney himself was a director as well, he did not direct this film.

Güney, by the way, had a fascinating life (including an escape from prison in 1981 and a subsequent Palme d’Or at Cannes for the film Yol).

[Sounds a bit like Timothy Leary’s prison-break and rendezvous in Switzerland with Ash Ra Tempel.]

If my numbers are correct, Güney acted in 14 films released in 1966 (!) [including this one] and also directed one as well.

Only one copy of Hudutların Kanunu survived Ahmet Kenan Evren’s 1980 coup in Turkey.

I would describe this wonderful film as being like a 1960s Turkish version of Sicario.

Though The Law of the Border is not a big-budget movie (a military officer comically says “let’s surround them” when he only has three soldiers [himself included]), the film is overall convincing.  It conveys a very powerful story.

As stated earlier, the principal activity at issue is smuggling.

What could be more timely to this day and age?

In the US it is drugs (from Mexico), and in Turkey it is perhaps other things (coming in and out of Syria).

And if the main character looks like Putin?!?

Well, it certainly confuses the meaning, but it still makes it like a Salvador Dalí dream.

It’s like a perfect storm of symbolism.

Furthermore, besides being a film set on a border, a main issue is education in Turkey.

This is, once again, a very timely issue.

As you might have heard last year, there were many protests by high school students in Turkey about the trend of religious schools replacing secular (or science) schools.

Incidentally, our director Ömer Lütfi Akad went to the oldest high school in Turkey:  Galatasaray Lisesi in Istanbul.  The school was started in 1481.

But let me tell you something important…

This film is very entertaining!!!

The gunfights!

Whizz!  Bing!  Pow!

It reminds me a bit of Howard Hawks’ Scarface from 1932.

Also at issue in this film is the concept of change.

Can a person change their beliefs?

Like me…

Can I change my beliefs?

I am 39.

Yılmaz Güney was 29 at the time of this film.

Can we change our beliefs?

And should we?

For Güney’s character Hidir, changing his beliefs is a Herculean effort.

And the moral of the somewhat-propagandistic story is that he’s a hero…JUST FOR TRYING.

He tried to change.

He makes a valiant effort.

A bit like Samuel L. Jackson’s character Jules Winnfield in Pulp Fiction.

This is the challenge for the world.

To look ourselves in our mirrors and make an effort.

Not physically (necessarily), but philosophically.

I’m not here to offer you propaganda.

But I am very concerned with the situation the real Vladimir Putin has been put in in Syria.

Why do we fight? [to echo the old series of American propaganda films from WWII]

We fight for the same reason anyone else does.

Or rather, Putin fights because he has drawn a line.

No more American aggression.

Syria is his line.

It’s not a game.

It’s real blood and real tears.

Proxy wars are not like AGMs (annual general meetings).

They are more like air-to-ground missiles (AGMs).

War is not a strictly academic affair.

It’s messy.  It’s sad.  It’s unnecessary (most of the time).

And the US and Russia have painted themselves into a corner.

That corner is Syria.

Perhaps Hudutların Kanunu is the Sholay of Turkey.

Perhaps it is The Good, the Bad and the Ugly of Anatolia.

One thing is sure:  Yılmaz Güney, “the Ugly King” (Çirkin Kral), was a brilliant man.

 

-PD

طعم گيلاس‎‎ [1997)

[TASTE OF CHERRY (1997)]

Don’t kill yourself, my friend.

I try to preserve the original language.

From France to Romania and now Iran.

It says Taste of Cherry.  And it is a film beyond perfection.  Directed by Abbas Kiarostami.

[if you are on a laptop or desktop it may appear to have no title…not very Farsi-friendly this WordPress]

Long ago I saw this quiet juggernaut.

If you’ve never seen an art film, you’ll know the genre when you see it.

Perhaps this was my first.

At an Alamo Drafthouse in Austin, Texas.

How did I end up there?

More importantly, how did I end up here?

This (the latter) seems to be the vexing question which actor Homayoun Ershadi is asking himself while embodying the suicidal character Mr. Badii.

Never have I seen an actor say so much with such economy of means.

Driving around.  Driving around.

We are suffocated by the expressionless Mr. Badii.

It reaches a head (of sorts) in the quarry.  He’s had enough.

Our protagonist cannot even secure the most essential human contact.  He cannot find even a marginal friend.

We do not know his story.  It would be impossible for anyone to have complete empathy.

He is right.  Your pain is yours alone.

But maybe a miracle is waiting…

Enter Abdolrahman Bagheri.

I have never felt such emotion in a film.

It is real.  As Mr. Bagheri (his name in the film and real life) recounts his own suicide attempt we are brought into a rarefied talent for dialogue which I have only seen in Louis-Ferdinand Céline’s novel Voyage au bout de la nuit.  Hope in the midst of nihilism.  The deepest, darkest desperation pierced by humor…or humanity.

It places Kiarostami (at least in this film) as a forerunner of the Romanian New Wave.  The trappings are similar.

We see the most depressing back alleys of urban sprawl.  Gravel paths not yet claimed entirely from the grasp of the earth.

Earth.

This film is all about earth.  Dirt.  The dust of impressionism.  Concrete.

Rocks being broken up.

A man (Mr. Badii) whose only longing is, seemingly, to be dead.

Earthmovers, earthmovers everywhere…and not a load to spare.

I have never seen a film like this.

Yes, it fits into the art film genre, and yet…it forges ahead…a new path…take the fork to the right, please.

This film is a testament of hope for the Afghan people.

A testament of hope for the Kurds.

A testament of hope for the Azeris.

And, most of all, this eternal masterpiece is a testament to the genius of Iran.

May the future be as beautiful as the colors of the setting sun.

Even if that sun must piece the sadness of cranes and smog in Tehran.

I will look for the sun if you will…my dear friends.

-PD