The year in Turkish movies, the good and the bad
Güncelleme Tarihi:
by Emrah Güler
Oluşturulma Tarihi: Aralık 27, 2008 00:00
ISTANBUL - In Turkish cinema, international success means less audience and bad publicity means big box office. Check out our list of last year’s most anticipated, most controversial, and most successful movies. And scroll down for some samples of bad filmmaking.
The busy year for Turkish cinema provided ample material for the media. More movies meant more anticipation, more controversy, some awards in prestigious
international festivals and a tad too many mediocre movies. Here’s our list of last year’s movies that filled theater seats and made headlines for totally different reasons.
THE MOST ANTICIPATED: ’A.R.O.G.’
The slightest mention of the name Cem Yılmaz is enough to stir a buzz in Turkish pop culture. When we heard that Yılmaz would bring back his protagonist, the carpet-seller Arif from his previous box office hit "G.O.R.A." in another big production, "A.R.O.G.," we held our breaths for another promising comedy-fest. Anticipation reached a peak with the weird teaser trailers playing in movie theaters last summer. "A.R.O.G" finally found its way to movie theaters in the last Bayram holiday, gathering crowds for another taste of the trademark humor of the talented stand-up comedian, writer, director, actor and cartoonist. Yılmaz (multitasking as a director, writer and actor) took Arif back to the Stone Age, with impressive CG effects, and a sharp script, making light of the idiosyncrasies of the everyday Turkish man, once again with fresh brutality.
THE MOST CONTROVERSIAL: ’MUSTAFA’
When renowned documentary director Can Dündar’s biopic of Turkey’s deified leader Atatürk hit the theaters on Republic Day, thousands rushed to see the obsessive researcher and romantic director’s commentary on the most familiar life story in Turkey’s history. The movie instantly created so much mayhem that, ironically, the fanatic crucifiers of the film made sure that people with no desire to see the film bought their movie tickets just to become part of these heated discussions. The mostly petty controversies surrounding the film unfortunately once again showed the insecurities of our nation, as most of the anger focused on such details as depiction of Atatürk as an aficionado of coffee, alcohol and cigarettes, and that he felt alone when founding a nation that required a vision worthy of the 21st century. When the discussions faded, a worn-out Dündar found he got more than he bargained for, publicity-wise and financially.
THE BOX-OFFICE SUCCESS: ’RECEP İVEDİK’
If "Mustafa" weren’t released this year, then "Recep İvedik" would definitely crown our list as the most controversial movie of the year. Reminiscent of SachaBaron Cohen’s masterpiece of political incorrectness and vulgarity, the "Borat" movie, comedian Şahan Gökbakar reprised his character of Recep İvedik from his sketch shows. The ignorant, vulgar but loveable goof made a whole nation laugh last February, and managed to raise more than a few eyebrows among the elite. The film played as a gag reel of sketches, a substantial portion of the jokes relying on profanity. The movie lacked a good story, if there was any. "Recep İvedik" became the highest earning movie at the box office, sadly becoming a testament to the deteriorating sense of humor of Turkish people.
THE INTERNATIONAL SUCCESS: ’ÜÇ MAYMUN’
The movie that was revered the most in international festivals, most probably, was the least watched movie in its home country. Director Nuri Bilge Ceylan’s "Üç Maymun" (Three Monkeys) came home with the Best Director award from the Cannes Film Festival, adding another trophy from Cannes to his collection of international awards. With his debut feature "Kasaba" (Small Town), Ceylan instantly became a favorite among the highbrow cinephiles. His latest, "Üç Maymun," showed his trademark minimalist style, with long sequences, still photography of vast landscape, themes of alienation and returning home. The family tragedy, featuring his wife, Ebru Ceylan, and famous folk singer, Yavuz Bingöl, managed to become a box-office flop among tens of mediocre Turkish movies.
AND THE WORST...
A surprising number of 50 Turkish movies were released last year, which meant that we would meet our fair share of average and less than average movies. Unfortunately, we got more than our fair share. An increased number of movies meant more mediocre stories, more stilted dialogue, more amateur acting, and more sloppy movies.
’SON DERS: AŞK VE ÜNİVERSİTE’ (FINAL LESSON: LOVE AND UNIVERSITY)
By two newcomer directors featured one of the most respected stage actors Ferhan Şensoy in its leading role. Aspiring to become Turkey’s answer to "Dead Poets Society," the film managed to set a new standard in lows, with cardboard characters, no insight into the psyche of young people, and some of the worst dialogue Turkish cinema has ever seen.
’RUMİ: THE DANCE OF LOVE’
Came to theaters as rather an ambitious project, aspiring to chronicle the life of the 13th century mystic, poet, and theologian, his life-changing encounters with Shams, the origins of whirling, how his philosophical outlook influenced the subsequent religious cultures, and his legacy. Scattering a few interviews from academics from unknown universities in the United States, not talking to a single person from Turkey or Iran, with too many ludicrous re-enactments by actors with even more ludicrous fake beards, the documentary turned out to be a great disappointment.
’AŞK TUTULMASI’ (ECLIPSE OF LOVE)
Brought a whole new dimension to romantic comedy, with both the romance and the comic timing falling under an eclipse of bad directing and even worse acting. The biggest lesson for moviegoers (and perhaps moviemakers) was how a tried-and-tested formulaic structure can fail in the hands of the wrong people.
international festivals and a tad too many mediocre movies. Here’s our list of last year’s movies that filled theater seats and made headlines for totally different reasons.
THE MOST ANTICIPATED: ’A.R.O.G.’
The slightest mention of the name Cem Yılmaz is enough to stir a buzz in Turkish pop culture. When we heard that Yılmaz would bring back his protagonist, the carpet-seller Arif from his previous box office hit "G.O.R.A." in another big production, "A.R.O.G.," we held our breaths for another promising comedy-fest. Anticipation reached a peak with the weird teaser trailers playing in movie theaters last summer. "A.R.O.G" finally found its way to movie theaters in the last Bayram holiday, gathering crowds for another taste of the trademark humor of the talented stand-up comedian, writer, director, actor and cartoonist. Yılmaz (multitasking as a director, writer and actor) took Arif back to the Stone Age, with impressive CG effects, and a sharp script, making light of the idiosyncrasies of the everyday Turkish man, once again with fresh brutality.
THE MOST CONTROVERSIAL: ’MUSTAFA’
When renowned documentary director Can Dündar’s biopic of Turkey’s deified leader Atatürk hit the theaters on Republic Day, thousands rushed to see the obsessive researcher and romantic director’s commentary on the most familiar life story in Turkey’s history. The movie instantly created so much mayhem that, ironically, the fanatic crucifiers of the film made sure that people with no desire to see the film bought their movie tickets just to become part of these heated discussions. The mostly petty controversies surrounding the film unfortunately once again showed the insecurities of our nation, as most of the anger focused on such details as depiction of Atatürk as an aficionado of coffee, alcohol and cigarettes, and that he felt alone when founding a nation that required a vision worthy of the 21st century. When the discussions faded, a worn-out Dündar found he got more than he bargained for, publicity-wise and financially.
THE BOX-OFFICE SUCCESS: ’RECEP İVEDİK’
If "Mustafa" weren’t released this year, then "Recep İvedik" would definitely crown our list as the most controversial movie of the year. Reminiscent of SachaBaron Cohen’s masterpiece of political incorrectness and vulgarity, the "Borat" movie, comedian Şahan Gökbakar reprised his character of Recep İvedik from his sketch shows. The ignorant, vulgar but loveable goof made a whole nation laugh last February, and managed to raise more than a few eyebrows among the elite. The film played as a gag reel of sketches, a substantial portion of the jokes relying on profanity. The movie lacked a good story, if there was any. "Recep İvedik" became the highest earning movie at the box office, sadly becoming a testament to the deteriorating sense of humor of Turkish people.
THE INTERNATIONAL SUCCESS: ’ÜÇ MAYMUN’
The movie that was revered the most in international festivals, most probably, was the least watched movie in its home country. Director Nuri Bilge Ceylan’s "Üç Maymun" (Three Monkeys) came home with the Best Director award from the Cannes Film Festival, adding another trophy from Cannes to his collection of international awards. With his debut feature "Kasaba" (Small Town), Ceylan instantly became a favorite among the highbrow cinephiles. His latest, "Üç Maymun," showed his trademark minimalist style, with long sequences, still photography of vast landscape, themes of alienation and returning home. The family tragedy, featuring his wife, Ebru Ceylan, and famous folk singer, Yavuz Bingöl, managed to become a box-office flop among tens of mediocre Turkish movies.
AND THE WORST...
A surprising number of 50 Turkish movies were released last year, which meant that we would meet our fair share of average and less than average movies. Unfortunately, we got more than our fair share. An increased number of movies meant more mediocre stories, more stilted dialogue, more amateur acting, and more sloppy movies.
’SON DERS: AŞK VE ÜNİVERSİTE’ (FINAL LESSON: LOVE AND UNIVERSITY)
By two newcomer directors featured one of the most respected stage actors Ferhan Şensoy in its leading role. Aspiring to become Turkey’s answer to "Dead Poets Society," the film managed to set a new standard in lows, with cardboard characters, no insight into the psyche of young people, and some of the worst dialogue Turkish cinema has ever seen.
’RUMİ: THE DANCE OF LOVE’
Came to theaters as rather an ambitious project, aspiring to chronicle the life of the 13th century mystic, poet, and theologian, his life-changing encounters with Shams, the origins of whirling, how his philosophical outlook influenced the subsequent religious cultures, and his legacy. Scattering a few interviews from academics from unknown universities in the United States, not talking to a single person from Turkey or Iran, with too many ludicrous re-enactments by actors with even more ludicrous fake beards, the documentary turned out to be a great disappointment.
’AŞK TUTULMASI’ (ECLIPSE OF LOVE)
Brought a whole new dimension to romantic comedy, with both the romance and the comic timing falling under an eclipse of bad directing and even worse acting. The biggest lesson for moviegoers (and perhaps moviemakers) was how a tried-and-tested formulaic structure can fail in the hands of the wrong people.