Frankly, as a metalhead and music lover, I have rarely listened to Anatolian rock. One of these rock legends is Cem Karaca. I remember Cem Karaca as he is a very cool and good voiced singer. I liked the movie and enjoyed it. It was a movie that was sometimes funny, sometimes serious, and sometimes dramatic. After reading about Cem Karaca after the movie, I learned that many things were not explained. Is this bad ? Of course. Cem Karaca grew up in an artist family. Moreover, they were not poor. That's why I appreciated that it wasn't explained since childhood. I also found it successful in terms of costumes, make-up and locations. The acting was also very good. I think the actors who played Cem Karaca's wives did not do a good job. Although Fikret Kuskan and Yasemin Yalçin overacted a little, they were generally very good. Ismail Hacioglu acted really well. He did a very successful performance, whether in terms of voice, speaking style or singing. He sang the songs of the movie himself, bravo! Finally, although I was a little annoyed that it didn't explain many things, it was still not a bad movie. At least we listened to Cem Karaca songs. Ismail Hacioglu's work was really good.
2 Reviews
A Superficial Glimpse into the Life of Turkish Rock Star Cem Karaca
abdullahayan31 January 2024
Review Summary
"Cem Karaca'nin Gözyaslari" attempts to depict the life of Turkish rock star Cem Karaca, but falls short due to historical inaccuracies and a superficial narrative. Key relationships and parts of Karaca's life, like his time in Germany and connections with other musicians, are omitted. Significant events and figures, including his musical career and close friends, are inadequately portrayed. The film's failure to include the song "Resimdeki Gözyaslari," which inspired its title, symbolizes its overall lack of depth and authenticity in capturing Karaca's legacy.
--- "Cem Karaca'nin Gözyaslari" is a biographical film attempting to chronicle a portion of the life of Cem Karaca, a legendary figure in Anatolian rock music, covering the years from the 1950s to 1988. However, it falls short due to a series of historical inaccuracies and superficial assessments of significant moments and relationships.
One of the most striking inaccuracies is its portrayal of Karaca's relationship with his father, also an artist. The film depicts their relationship as fraught with tension, a dramatic exaggeration that does not align with reality. This misrepresentation distorts Karaca's personal history and undermines the film's credibility.
The film also fails in accurately representing Karaca's educational background. Contrary to its portrayal, Karaca did not complete his education. This mistake is surprising, especially considering the involvement of Karaca's son, Emrah Karaca, as a consultant, and raises questions about the attention to detail in the film's production.
Karaca's significant musical journey is hastily narrated. The film includes only a few concert scenes and neglects to explore the depth and evolution of his music career. The narrative around the band Apaslar and its members is oversimplified, and important musician friends who played significant roles in Karaca's life are almost entirely absent, with only a few being relegated to minor roles; like Cahit Berkay and Seyhan Karabay.
The film's depiction of Karaca's exile in Germany is another major flaw. It simplifies this complex period by ignoring his active participation in the music scene, his efforts to address the problems faced by the Turkish diaspora, and his music, concert and theatrical works with the Die Kanaken group. This period was crucial in Karaca's life, and the film's failure to delve into these aspects represents a significant missed opportunity.
Furthermore, the film overlooks key figures in Karaca's life. Relationships with his mother Toto Karaca, his close musician friend Baris Manço, and his partner Meral in Germany are completely ignored. The film also fails to show the dissolution of his previous marriage. These parts are entirely skipped, possibly intentionally omitted by his son Emrah or the mother of his son, i don't know.
One of the most disappointing aspects of the film is its failure to include "Resimdeki Gözyaslari," the song that inspired its title. This omission highlights the film's overall superficial approach and its inadequacy in capturing the essence of Karaca's musical legacy.
"Cem Karaca'nin Gözyaslari" is riddled with inaccuracies and lacks the depth necessary to introduce Karaca's impact to new audiences or satisfy existing fans. The film's attempt to portray this Turkish rock legend is undermined by an incomplete story, poor makeup, and lacking cause-and-effect reasoning, failing to authentically depict a figure of such cultural significance. Unfortunately, the film misses the mark in truly honoring Cem Karaca's legacy, leaving much of the richness and complexity of his life unexplored.
--- "Cem Karaca'nin Gözyaslari" is a biographical film attempting to chronicle a portion of the life of Cem Karaca, a legendary figure in Anatolian rock music, covering the years from the 1950s to 1988. However, it falls short due to a series of historical inaccuracies and superficial assessments of significant moments and relationships.
One of the most striking inaccuracies is its portrayal of Karaca's relationship with his father, also an artist. The film depicts their relationship as fraught with tension, a dramatic exaggeration that does not align with reality. This misrepresentation distorts Karaca's personal history and undermines the film's credibility.
The film also fails in accurately representing Karaca's educational background. Contrary to its portrayal, Karaca did not complete his education. This mistake is surprising, especially considering the involvement of Karaca's son, Emrah Karaca, as a consultant, and raises questions about the attention to detail in the film's production.
Karaca's significant musical journey is hastily narrated. The film includes only a few concert scenes and neglects to explore the depth and evolution of his music career. The narrative around the band Apaslar and its members is oversimplified, and important musician friends who played significant roles in Karaca's life are almost entirely absent, with only a few being relegated to minor roles; like Cahit Berkay and Seyhan Karabay.
The film's depiction of Karaca's exile in Germany is another major flaw. It simplifies this complex period by ignoring his active participation in the music scene, his efforts to address the problems faced by the Turkish diaspora, and his music, concert and theatrical works with the Die Kanaken group. This period was crucial in Karaca's life, and the film's failure to delve into these aspects represents a significant missed opportunity.
Furthermore, the film overlooks key figures in Karaca's life. Relationships with his mother Toto Karaca, his close musician friend Baris Manço, and his partner Meral in Germany are completely ignored. The film also fails to show the dissolution of his previous marriage. These parts are entirely skipped, possibly intentionally omitted by his son Emrah or the mother of his son, i don't know.
One of the most disappointing aspects of the film is its failure to include "Resimdeki Gözyaslari," the song that inspired its title. This omission highlights the film's overall superficial approach and its inadequacy in capturing the essence of Karaca's musical legacy.
"Cem Karaca'nin Gözyaslari" is riddled with inaccuracies and lacks the depth necessary to introduce Karaca's impact to new audiences or satisfy existing fans. The film's attempt to portray this Turkish rock legend is undermined by an incomplete story, poor makeup, and lacking cause-and-effect reasoning, failing to authentically depict a figure of such cultural significance. Unfortunately, the film misses the mark in truly honoring Cem Karaca's legacy, leaving much of the richness and complexity of his life unexplored.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
