A girl is the most precious for a father. A girl commits adultery even though she is not an adult. A father's heart shatters. A family saddens. A father tries to kill his precious to gladden his small community. Allah is ever-sending signs to dehort a father from misdoings.
A father poisons a girl. A girl poisons herself. A father dies. Or his innocence...
Let's hold our horses for a clarification that'd help us understand this movie in a better way.
There's a process in the Turkish Cinema, of which most people are not aware; a process called Milli Sinema / National Religious Cinema (pronounciation: Melee Cinema) that unites the movie-makers, who hold Islamic ideals, in their diversity as the movement started during the mid-40s in Necip Fazil Kisakurek's writings, and later on developed in the 60s as Yucel Cakmakli wrote down articles until the moment he finally produced his first movie called Birlesen Yollar in 1970 which ignited the wick for the movement in its embodiment.
Through political hardships as well as psychosocial inhibitions this movement upskilled great names such as Mesut Ucakan, Metin Camurcu, Salih Diriklik, Mehmet Tanrisever, Nurettin Ozel, and last but not least; Ismail Gunes, and bore some fruits such as:
"Kurulus Osmancik, 1988, Yucel Cakmakli", "Yalniz Degilsiniz, 1990, Mesut Ucakan", "Minyeli Abdullah, 1990 Yucel Cakmakli", "Surgun, 1992, Mehmet Tanriverdi", "Besinci Boyut, 1993, Nurettin Ozel", "Danimarkali Gelin, 1993, Salih Diriklik", "Bize Nasil Kiydiniz, 1994, Metin Camurcu", and finally, "The Imam, 2005, Ismail Gunes."
The movement meant to reflect the customs, the way of life of- more importantly, the examples for the religious betterment of- the people of Turkey, despite the fact that these movies disprofit more often than not, and the kemalist mentality that had its ties in every official / non-official office would not let these people act freely.
As the AKP came to power, the movement started to decline as it should had flourished for the inner circle of the AKP is religious-thriving.
As the reason behind this fall would be the prosperity the religious people came to reach and their ever-expanding pleasure-seeking, or their lack of ideals, some names still continued to bear fruits that would not receive much attention nor praise due to the rise in their quality.
This is one of them. This is of the last links in the chain.
Let's examine it.
The long-take where Aisha was going from one room to another in the house at the beginning of the film is very promising. The timing of the actors is good. The overall acting too starts nicely.
The woodnote, the natural noises, and the rural way of living makes things brighter for the movie.
Then the movie starts to slip for some of the lines would not make sense or some scenes would end rather abruptly as it seems they're overcut.
As the story unfolds and the drama starts to kick in, the eyes water and the heart aches. But there is another problem. During some scenes, the actors are not believable as we cannot feel the heavy burden they are supposed to be carrying. And maybe the bad writing contributes to this problem.
E. g.: Near the end, when Aisha faints for the last time, Osman moves at a snail's pace. And that, ladies and gentlemen, is either bad writing or bad acting.
But there may be a reason for that. Ismail Gunes and the staff has no great amount of money. Truth be told, they perform miracles out of bad conditions. That's why we feel that some scenes could be better shot twice.
They story is good. The acting is good. The execution is good.
Ismail Gunes steps up to the plate for he could have made / could make money off of stupidity or nudity, and he chooses not to.
Which is why, this movie is as good as it can get.
Allah knows the best.
Here is a Verse of my culture:
"These are the ones who, when they commit any indecency and wrong against themselves, instantly remember Allah and implore forgiveness for their sins - for who forgiveth sins save Allah only? - and who will not knowingly persist in the wrong they did."
The 135th Verse in the 3rd Chapter called 'The Family of Imran' in the Gracious Koran.
Amen.
A father poisons a girl. A girl poisons herself. A father dies. Or his innocence...
Let's hold our horses for a clarification that'd help us understand this movie in a better way.
There's a process in the Turkish Cinema, of which most people are not aware; a process called Milli Sinema / National Religious Cinema (pronounciation: Melee Cinema) that unites the movie-makers, who hold Islamic ideals, in their diversity as the movement started during the mid-40s in Necip Fazil Kisakurek's writings, and later on developed in the 60s as Yucel Cakmakli wrote down articles until the moment he finally produced his first movie called Birlesen Yollar in 1970 which ignited the wick for the movement in its embodiment.
Through political hardships as well as psychosocial inhibitions this movement upskilled great names such as Mesut Ucakan, Metin Camurcu, Salih Diriklik, Mehmet Tanrisever, Nurettin Ozel, and last but not least; Ismail Gunes, and bore some fruits such as:
"Kurulus Osmancik, 1988, Yucel Cakmakli", "Yalniz Degilsiniz, 1990, Mesut Ucakan", "Minyeli Abdullah, 1990 Yucel Cakmakli", "Surgun, 1992, Mehmet Tanriverdi", "Besinci Boyut, 1993, Nurettin Ozel", "Danimarkali Gelin, 1993, Salih Diriklik", "Bize Nasil Kiydiniz, 1994, Metin Camurcu", and finally, "The Imam, 2005, Ismail Gunes."
The movement meant to reflect the customs, the way of life of- more importantly, the examples for the religious betterment of- the people of Turkey, despite the fact that these movies disprofit more often than not, and the kemalist mentality that had its ties in every official / non-official office would not let these people act freely.
As the AKP came to power, the movement started to decline as it should had flourished for the inner circle of the AKP is religious-thriving.
As the reason behind this fall would be the prosperity the religious people came to reach and their ever-expanding pleasure-seeking, or their lack of ideals, some names still continued to bear fruits that would not receive much attention nor praise due to the rise in their quality.
This is one of them. This is of the last links in the chain.
Let's examine it.
The long-take where Aisha was going from one room to another in the house at the beginning of the film is very promising. The timing of the actors is good. The overall acting too starts nicely.
The woodnote, the natural noises, and the rural way of living makes things brighter for the movie.
Then the movie starts to slip for some of the lines would not make sense or some scenes would end rather abruptly as it seems they're overcut.
As the story unfolds and the drama starts to kick in, the eyes water and the heart aches. But there is another problem. During some scenes, the actors are not believable as we cannot feel the heavy burden they are supposed to be carrying. And maybe the bad writing contributes to this problem.
E. g.: Near the end, when Aisha faints for the last time, Osman moves at a snail's pace. And that, ladies and gentlemen, is either bad writing or bad acting.
But there may be a reason for that. Ismail Gunes and the staff has no great amount of money. Truth be told, they perform miracles out of bad conditions. That's why we feel that some scenes could be better shot twice.
They story is good. The acting is good. The execution is good.
Ismail Gunes steps up to the plate for he could have made / could make money off of stupidity or nudity, and he chooses not to.
Which is why, this movie is as good as it can get.
Allah knows the best.
Here is a Verse of my culture:
"These are the ones who, when they commit any indecency and wrong against themselves, instantly remember Allah and implore forgiveness for their sins - for who forgiveth sins save Allah only? - and who will not knowingly persist in the wrong they did."
The 135th Verse in the 3rd Chapter called 'The Family of Imran' in the Gracious Koran.
Amen.
