A dowdy university instructor Isa is an inattentive husband to his younger, TV-business wife Bahar. Self-absorbed and selfish, Isa only communicates in the most rudimentary way, while she, similarly, detaches into crying jags and juvenile behavior.
This is a movie within movie, which is almost recursive, i.e., the movie inside looks like director Ceylan's previous movie, Kasaba. It is about the movie director, Muzaffer, going back to ... See full summary »
A man's life, thoughts, feelings and his very own darkness... Adapted from Dostoevsky's novel "Notes from Undergroud", Demirkubuz follows Muharrem as he gets himself invited to a party ... See full summary »
Musa, who works as a bookkeeper in the customs office, believes in the emptiness and absurdity of life. He doesn't struggle to change his life; he lets himself flow along with events ... See full summary »
Near the Bosporus, Eyüp and Hacer live in a modest flat with their son Ismail, in his twenties, who's doing poorly in his studies. Few words pass between them, and a past family tragedy brings sorrow daily. On a rainy night, Eyüp's boss Servet, a wealthy businessman who's entering politics, hits a pedestrian on a lonely road. He drives off and offers money to Eyüp if Eyüp will take the fall - probably a six-month sentence. Eyüp agrees, and while he's in prison, Ismail wants his mother to ask Servet for enough money to buy a car. Servet, in turn, desires Hacer. How can this play out?Written by
Üç maymun (2008), directed by Nuri Bilge Ceylan, is a Turkish film shown in the United States with the title, "Three Monkeys." The film explores the dynamics of a working-class family when these dynamics are changed by the actions of an upper-class employer.
Yavuz Bingol plays Eyüp, who is a chauffeur for a wealthy businessman/politician. His wife, Hacer--played by the lovely Hatice Aslan--and his son, Ismail (Rifat Sungar) are the other two family members. Although many reviewers have called the family dysfunctional, I think that, at the outset of the film, they aren't much different from other families. We all know of families with two hard-working parents and a young-adult son who lives at home. The son is drifting towards trouble, but hasn't actually gotten there yet. The scenario isn't all that unusual.
At the very outset of the film, the chauffeur's employer has killed a pedestrian, and then left the scene of the accident. That sets the plot in motion--everything follows from that event.
This is a somber, thoughtful film. There's very little on-screen violence and almost no gaiety either. Ceylan reminds me of Chantal Ackerman in his use of long, middle-distance takes. If someone is going somewhere, we get long scenes in which we see the person walking, then riding on a train, then walking again. The scenes aren't random. At that point in the plot, the person must move from point A to point B. Most directors would show him or her leaving a house, and arriving at an office, or vice-versa. Ceylan shows us the character actually traveling from A to B.
Once I got into the rhythm of the film, I enjoyed this slow and careful directorial style. Whether or not you like the film may hinge on your acceptance or rejection of Ceylan's technique.
We saw this film in the wonderful Dryden Theatre at George Eastman House in Rochester, NY. I think it would work almost as well on DVD.
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