The real-life story of Dublin folk hero and criminal Martin Cahill, who pulled off two daring robberies in Ireland with his team, but attracted unwanted attention from the police, the IRA, ... See full summary »
On October 6, 1970 while boarding an international flight out of Istanbul Airport, American Billy Hayes is caught attempting to smuggle 2 kilos of hashish out of the country, the drugs strapped to his body. He is told that he will be released if he cooperates with the authorities in identifying the person who actually sold him the hash. Billy's troubles really begin when after that assistance, he makes a run for it and is recaptured. He is initially sentenced to just over four years for possession, with no time for the more harsh crime of smuggling. The prison environment is inhospitable in every sense, with a sadistic prison guard named Hamidou ruling the prison, he who relishes the mental and physical torture he inflicts on the prisoners for whatever reason. Told to trust no one, Billy does befriend a few of the other inmates, namely fellow American Jimmy Booth (in for stealing two candlesticks from a mosque), a Swede named Erich, and one of the senior prisoners having already ... Written by
The scene in which Brad Davis' character bites out the tongue of a fellow inmate upset the crew so much that they all walked off the set, leaving Alan Parker to shoot it with his two actors. For the scene, Davis carried a pig's tongue around in his mouth. See more »
The Turkish spoken by the Turkish characters in the film is uniformly broken. The actors are obviously not Turkish; sometimes the language is so broken it is difficult for native speakers to understand what they are saying. See more »
[Susan makes her way through a line at an airline checkpoint]
Excuse me... Excuse me... Excuse me... Excuse me.
[she reaches Billy in line]
Geez, I hate flying.
It's something I ate. I think I've been poisoned.
Or you're just excited about getting home.
No, I think it's the baklavas.
[...] See more »
The 40+ in town should find Giorgio Moroder's powerful original music very familiar. In their teenage days, their most frequented discos must have played this music. And the very first thing about "Midnight Express" I got contact with was this music. It's modern, it's sinister, it's tense. Listening to it with eyes closed, you can imagine a frantic chasing scene: a cold quiet killer running after a frightened sweating guy in any sleazy areas of any big city. Running, yes there must be some running.
Watching stalwart Sir Alan Parker's movie, viewers need to be psychologically prepared for the dark elements he often employs on the, to some degree, shocking scenes. I still cannot stomach Bob Geldof's "suicide pool" (Pink Floyd The Wall).
Crime and punishment, humanitarianism, use of drugs, liberal and repressed societies etc can all be discussed after one has seen the movie. I watched this one when I was about 15. When the Turkish jailers wanted to rape Billy, I was so silly to ask my brother (who is five years younger than I am) what they were doing and he told me their intention. Shocked. And I more or less have very little interest in prison movie afterwards. Later I have a chance to read a little of the book, not a very well-written one, more like a report. The movie, at my viewing, somehow reminded me of "Papillon", another escape from a foreign land. That one is less nauseating.
Seeing west Turkey some ten years ago, I talked with some Turks about the movie. Quite a number of them watched it outside the country. The truth is that they don't mind how ugly the west portrays their prison or even their country because the movie only told partial truth, and this has already confirmed by B Hayes himself. According those Turks, the Turkish jailers would rather have women than men because they are not that easily available. The west still conquers the world mass media. Viewers have to keep their heads clear.
19 of 35 people found this review helpful.
Was this review helpful to you?