Limitless Cinema in Broken English

April 29, 2008

“TURKEY HAS JUST DISCOVERED A GREAT FILMMAKER” AND HE IS SEMIH KAPLANOGLU

Filed under: Uncategorized — celinejulie @ 8:28 pm

 I just knew from Unspoken Cinema’s blog that LE MONDE published a review on EGG (2007, Semih Kaplanoglu, A+), written by Jean-Luc Douin.

http://unspokencinema.blogspot.com/2008/04/yumurta-dans-le-monde.html

You can read the review in French here: http://www.lemonde.fr/cinema/article/2008/04/22/yumurta-apres-la-mort-de-la-mere-parcours-elegiaque-vers-la-serenite_1036984_3476.html

Since I can’t read French, I used Altavista and Google Translate to translate the review into English. Here is the result:

“I lya first plan of an old woman walking in a fog of campaigning, background sound of barking dogs, bird song. She leaves the field, definitely. And this is now Yusuf, in Istanbul bookseller, poet. This information distilled over pictures apparently innocuous, but which contain a hidden meaning: Yusuf’s car in a long tunnel that leads to light, Yusuf sat near a body covered with a shroud, Yusuf before a tomb and as his shadow followed by a small boy, Yusuf lying in a forest and awakened by a cloud of birds.

Beautiful presentation, the lyricism discreet and psychoanalytic visions of what comes to live the hero, his mother’s death, his funeral in the village of Yusuf, a parade of emotions, sensations of chaos, who returned to his early childhood, back in time, mixing life and dreams.

Yusuf has repeatedly returned as soon as possible. But there is something that holds them, or rather someone who helps accomplished and to honour the wishes of the deceased, someone who reconciles with his memories and it opens the doors of the future . A young cousin, Ayla, dedicated to the mother in her last moments, the guarantor of tradition and the spiritual survival of the dead, humble servant girl pure and desirable.

A STRANGE COMA

Humility, as in an Ozu film or Satyajit Ray, Yumurta égrène small gestures harmless and isolated objects that have symbolic value. A flower planted in a pot a day of burial, a bowl of milk, a toothbrush, a pillar of wood shaped crucifix, a well invaded herbs, this egg, which gives the film its title, and were threatening the appearance, a sign of the link with the mother belatedly taken.

For the atheist Yusuf will save time to feel and externalize its grief. It will qu’Ayla insists he perform the rite promised by his mother before he died: sacrifice a ram in the mountains. It will take this strange coma in the courtyard of a notary and the irrational echo of a funeral prayer, the smell of an onion, a nightmare, encounters with ghosts of the past, the exorcism of a disappointment in love, and the discovery, over the hours and days, qu’Ayla is the messenger of its quiet serenity.

The neck of Ayla burning leaves, a color knitting, a power outage, a song of the rooster: Semih Kaplanoglu is constantly égrener symptoms, to speak unconscious by the conduct of everyday gestures, Departure constantly delayed Yusuf, the taciturn. The film consists of detailed frameworks, plans rigorous, a slow and harmonious, to spy on what is admirable in a man or a woman: dignity, loyalty, the greatness of soul, the eyes, patience, doubt and torment as well.

The old amnesiac who saw Yusuf and Ayla Overall, takes for newlyweds, is not mistaken for a lot. There is something that will illuminate this couple, for ever, when the hen has laid eggs. Semih Kaplanoglu mastered his elegiac style, clear and poetic, dark and bright. In the shadow of Nuri Bilge Ceylan, Turkey has just discovered a great filmmaker.”

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