Bill, Martha and their little child Hal are spending a quiet winter Sunday in their cosy house when they get an unexpected visit from Mike Nickerson and Tony Rodriguez. Mike and Tony are ... See full summary »
Elia Kazan, ethnic Greek but Turkish by birth, tells the story of the struggles of his uncle - in this account named Stavros Topouzoglou - in emigrating to America. In the 1890's, the young, kind-hearted but naive Stavros lived in Anatolia, where the Greek and Armenian minorities were repressed by the majority Turks, this repression which often led to violence. Even Stavros being friends with an Armenian was frowned upon. As such, Stavros dreamed of a better life - specifically in America - where, as a result, he could make his parents proud by his grand accomplishments. Instead, his parents, with most of their money, sent Stavros to Constantinople to help fund the carpet shop owned by his first cousin once removed. What Stavros encountered on his journey, made on foot with a small donkey, made him question life in Anatolia even further. Once in Constantinople, his resolve to earn the 110 Turkish pound third class fare to the United States became stronger than ever. But try after try,...Written by
Kazan began shooting in Istanbul, but was concerned that Turkish officials would object to some of the material content and moved his base of production to Greece. See more »
[On his knees to Stavros without sincerity and finishing on a note of menace]
I beg your forgiveness. I cannot live without your forgiveness. Before all this company I beg your forgiveness. Brother, don't leave me on my knees like this. Don't insult my soul. Brother, I have never been on my knees to a Greek. Brother, I'm warning you, with a Turk there can be brotherliness or its opposite. I'm warning you, brother... brother... brother... Too bad... oh... Too bad.
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Director Elia Kazan narrates the main portion of the closing credits, reading the words as they appear on the screen, using complete sentences such as "The cinematography was by Haskell Wexler." See more »
This is a superb piece of filmmaking which has, unfortunately, been all but forgotten. The only weakness is in its star (Stathis Gialellis), but the film is so good that it doesn't matter (and, on second viewing, he's really not all that bad). I have seen this film many, many times on video and once I was privilaged to see it on on the "big Screen" at the Los Angeles County Museum of Art. I highly recommend it. The black and white cinematography by Haskell Wexler is top-notch. This film is a testament to the human spirit.
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