Once Upon a Time in Anatolia (2011)
2xDVD9 | VIDEO_TS | PAL 16:9 | 02:30:48 | 7,95 Gb + 7,83 Gb
Audio: Turkish AC3 5.1/2.0 @ 448/192 Kbps | Subs: English, French, Turkish SDH
Genre: Crime, Drama
2xDVD9 | VIDEO_TS | PAL 16:9 | 02:30:48 | 7,95 Gb + 7,83 Gb
Audio: Turkish AC3 5.1/2.0 @ 448/192 Kbps | Subs: English, French, Turkish SDH
Genre: Crime, Drama
Director: Nuri Bilge Ceylan
Stars: Muhammet Uzuner, Yilmaz Erdogan, Taner Birsel
A night spent gathering evidence of a killing reveals a great deal about both the criminals and the men bringing them to justice in this drama from Turkish filmmaker Nuri Bilge Ceylan. Kenan (Firat Tanis) and Ramazan (Burhan Yildiz) are two men who have confessed to murder, and Naci (Yilmaz Erdogan) is the police detective who has been assigned to wrap up the details of the case. With several of his colleagues in tow, Naci heads out to the woods with the killers in order to find and recover the body. However, Kenan and Ramazan's memories about the night of the killing are foggy, and it takes far longer than anyone expected to arrive at the scene of the crime. Over the course of a long night, the men talk about many different aspects of life, and their conversation explores their attitudes about life in Turkey and the human condition in general. Bir Zamanlar Anadolu'da (aka Once Upon a Time In Anatolia) was an official selection at the 2011 Toronto International Film Festival.
An overnight search for a missing body yields a quietly poignant autopsy on the human condition in "Once Upon a Time in Anatolia." Nuri Bilge Ceylan's somber, rigorous new feature is a meditative procedural that expands what would normally consume the first five minutes of a "Law & Order" episode into a slow-moving, nearly three-hour portrait of men at work, taking stock of the enormous social and moral burdens they bear. Beautifully crafted, ultra-rarefied pic won't expand the audience for the Turkish auteur's work, though festgoers will again appreciate Ceylan's marvelous eye and surprising reserves of humor.
"Anatolia's" imposing title and 157-minute running time would seem to signify a butt-numbing endurance test for all but the most hardened festival and arthouse patrons. Doing little to quell this perception, more than half of this intensely male-centric film unfolds under cover of darkness, as a prosecutor, a doctor, several police officers and two murder suspects navigate the sloped, winding roads of the Anatolian steppe in search of a corpse; its eventual discovery around the 90-minute mark drew sarcastic applause from some of the press corps assembled at the film's first Cannes screening.
Ceylan's characters themselves would probably sympathize. Though never less than professional, they're an impatient, exhausted bunch, having spent hours driving around with two self-confessed killers, Kenan (Firat Tanis) and Ramazan (Burhan Yildiz), who can't remember exactly where they buried the man they bumped off a few days earlier. In the film's many establishing and re-establishing shots, the darkness is penetrated only by the high beams of three cars winding across this barren yet beautiful terrain, where trees are sparse and each landscape looks more or less like the last (hardly a complaint, given Gokhan Tiryaki's stunning widescreen compositions).
Along the way there's plenty of downtime, during which these glum officials crack jokes, bicker over their next course of action and make revealing personal disclosures. Commissar Naci (Yilmaz Erdogan) gruffly orders his men around and occasionally rebukes Kenan, whose connection to the crime supplies one of the few surprises in the script (which the helmer penned with his wife, Ebru Ceylan, and Ercan Kesal). The two most developed characters are older prosecutor Nusret (Taner Birsel) and younger doctor Cemal (Muhammet Uzuner), whose mild disagreement over the meaning of a seemingly random anecdote speaks volumes about their disparate worldviews: one hopeful, one skeptical.
Ceylan is as calculatedly withholding a storyteller as ever, and as one might expect, "Anatolia" never comes right out and explains itself, though the men's free-ranging conversations suggest the film has much on its mind: the consequences of adultery; the suffering of children and the limited hope for the future they represent; the shortage of resources in a rural village where the men enjoy a latenight repast with the mayor (co-scribe and Ceylan regular Kesal); or the recessive role of women in Turkish society, underlined by the presence of only two actresses in brief, virtually dialogue-free performances. However specific its concerns, the film feels universal in its diagnosis of collective malaise.
After the intense dramatic exertions of "Three Monkeys," Ceylan seems to have deliberately moved into less accessible, more oblique territory. The drama unfolding just offscreen is, in fact, as rife with deception, betrayal and violence as that of "Monkeys," but this time the helmer seems to be observing it all from a mournful side angle. Yet despite or perhaps due to its relative lack of incident, "Anatolia" feels like the more mature work, suffused with a wry, tolerant humanity that finds its chief expression in the strong, character-rich performances. As aimless as the men's wanderings feel, there turns out to be nothing arbitrary about the carefully chosen timeframe. From first moment to last, this is a story overshadowed by death, allowing its characters the space in which to reflect on their lives.
Though its glacial pacing will represent a significant hurdle for many viewers, the film grows steadily more involving as dawn breaks and the men make their way back home, and its unflinching observations of the legal and medical establishment at work frequently rivet. Visually, it's as gorgeous a film as Ceylan has made. Tiryaki works a steady stream of miracles in the nighttime passages; rarely have faces been more beautifully illuminated by firelight, in images that have the graceful glow of a Vermeer painting.
This film won the Grand Prix in Cannes, and it was deserved. A team goes into the countryside to find the body of a murder victim. The team includes the two men accused of the murder,one of whom has confessed and says he wills show them where they buried the body, the police chief, prosecutor, doctor, diggers, and guards. As the night drags on into the next day and the body is not found, the men grow more and more tired. Much of the film is beautifully shot in the dark or semi-dark, lit only by the headlights of the cars or a lamp in the village where they stop to rest. The filming is slow, showing the beautiful countryside and vignettes that wonderfully shed light on the different characters. What seems to be a simple task grows more and more complex; everything in the movie turns out to be more complicated than it first seems. Everyone seems to be guilty of something, so the film becomes a question not only of will the body be found, but who is guilty of what?
One could say that the film is too slow, but just as the team grows more and more tired, so arewe as the viewers, participating in the fatigue of the team, drawn into the feelings of the characters. Women and children are present only as lovely cameos in the film, but are behind almost everything. The actors are all superb, and it was amazing to me that Ceylan could show such depth and breadth of character and emotion and drama with only a few lines of dialog and amazing closeups of the faces.IMDB Reviewer
Special Features (Disc 2):
On Turkish with English subs
- Behind the scenes featurette (01:32:42)
- "Anatolia" in Cannes documentary (0:48:38)
- Interview with NBC (TV broadcast) (0:23:48)
- Trailer (0:01:23)
Many Thanks to EceAyhan
No More Mirrors, Please.
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