Iyi Seneler Londra (2007)

User Rating:

6.3/10   

Director:

Berkun Oya

Writer:

Berkun Oya (writer)

Release Date:

28 December 2007 (Turkey)

Genre:

Drama

Plot:

What if the unexpected becomes your faith? Would you lay claim to it and stay or would you run away...

Cast

Pola Anton	...	Alicja
Ali Atay	...	Firuz
Ulku Duru	...	Yasar Nur
Hubertus Geller	...	Daniel
Vahide Gördüm
Hugh Hayes	...	Peter
Bill Hurst	...	Harling
Muzz Khan	...	Bellboy
Denis Lavant	...	Gerard
Zuhal Olcay	...	Zeynep
Can Togay	...	Enver

Runtime:

90 min

Country:

Turkey | UK

Language:

French | English | Turkish

Color:

Color

Filming Locations:

Istanbul, Turkey

Company:

ZZ Productions

Lack of communication and fear of taking responsibility for one's actions lead the characters to a catastrophic ending.

*** This comment may contain spoilers ***

Lack of communication and fear of taking responsibility for one's actions lead the characters to a catastrophic ending which brings death not only to them but also to the innocent bystanders. Ironically, it all takes place a few days before New Year's eve when the city of London and London-dwellers are all in a mood of celebration.

I've seen the world premiere of Iyi Seneler: Londra/Happy New Year: London, the first movie of a trilogy of independent episodes. You need to see the movie more than once to fully appreciate its cinematography. To mention but one detail, surprise surprise, Berkun Oya makes constant use of the color white to signify the emptiness or rather meaninglessness of language, human emotions and life itself.

First, there is the language barrier and cultural differences among the French, English and Turkish characters but then again even when they speak the same language the characters fail to communicate with one another. This communication problem becomes almost tangible when Yasar Nur the Turkish jazz singer cannot tell her problem to either the Turkish steward or to her French admirer/fan but is misunderstood in both cases. Both men assume she is after casual sex. Strangely, it seems that the characters find it easier to communicate when they are not speaking as Yasar Nur and her pianist do when they smile at one another during their performance at the beginning of the movie.

As for the human emotions the white night-gown of Yasar Nur and the white front door of Evren and his black and white photos depict that they are devoid of any emotions whatsoever. Yasar Nur has no feelings for either of the men from whom she seeks help or to the baby she should have been taking care of instead of drinking and dozing off. Evren's photos showing him 20 years ago signify that he is still entrapped in those years. It is also significant that there are no family photos but those of Evren. The white front door devoid of any affection and warmth also hints the condition of his married life and his detachment. The white blanket the baby is wrapped in symbolizes its purity and innocence and yet these are not enough to protect it from death.

Berkun Oya is a genius.