Three monkeys (film)

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Movie
German title Three monkeys
Original title Üç maymun
Country of production Turkey , France , Italy
original language Turkish
Publishing year 2008
length 109 minutes
Age rating FSK 16
Rod
Director Nuri Bilge Ceylan
script Nuri Bilge Ceylan
Ebru Ceylan
Ercan Kesal
production Zeynep Özbatur
Nuri Bilge Ceylan
Cemal Noyan
Valerio De Paolis
camera Gokhan Tiryaki
cut Nuri Bilge Ceylan
Ayhan Ergürsel
Bora Göksingöl
occupation

Three monkeys ( Üç maymun ) is a film drama by the Turkish filmmaker Nuri Bilge Ceylan from 2008. Co-authors of the script are his wife Ebru Ceylan and the actor Ercan Kesal . The title is based on the motif of Japanese provenance of the three monkeys who see, hear or say no evil. If this is considered clever and diplomatic in East Asia, it is seen as a weakness in Europe. At Ceylan it is not clear what understanding he will follow. The three main characters - father, mother and son of a Turkish petty-bourgeois family - practice for a long time in not wanting to perceive each other and concealing their problematic actions and their consequences. But the later not overlooked has just as tragic consequences. The story also addresses the passing on of guilt in society. The film was funded as a Turkish-French-Italian co-production. At the Cannes Film Festival in 2008 , the jury awarded Ceylan the directing award . The work opened in German cinemas on March 19, 2009 and in Swiss cinemas on May 14 of the same year.

action

Eyüp is employed by Servet as a driver. One night, Servet ran over someone on a country road and hit a hit. In order not to jeopardize his chances in the upcoming election to political office, he offers Eyüp continued wages and a substantial sum if the latter takes responsibility for the accident and goes to prison for him. The chauffeur agrees. His wife, Hacer, and his adult son, Ismail, spend the time waiting for their father and for the money promised when he was released from prison.

Ismail did not pass the university entrance exam, but he withheld it from his father. Worried about Ismail hanging out with shady pals, Hacer accepts his suggestion to ask Servet for an advance payment and buy a car. The young man wants to use it to set up a driving service. Hacer's visit to Servet promptly leads the two to start a sexual relationship. When Ismail unexpectedly has to break off a visit to his father's prison, he finds Servet in his mother's apartment and sneaks out unnoticed. He then indicates to her that he knows. During his subsequent visits to the father, he does not reveal anything about the affair. It turns out that the family also had a second son who drowned in childhood and whom they never speak of, but who are haunted by the memory of him. Ismail picks him up in the car when Eyüps is released early. The father is angry that his wife and son have spent so much money without asking him. He soon realizes that Hacer must be in a relationship with Servet, and harshly attacks her, but does not openly express the suspicion. Despite her husband's return, Hacer is unable to calm her strong emotional need for Servet. Servet meets Hacer one last time to order her not to chase him any longer. Days later, Servet is found murdered. The police interrogate Eyup and inform him via his wife's text message to Servet; he denies any involvement in the murder. In the evening Ismail confessed to his mother that he had committed the crime. Hacer is about to jump into a deep abyss; Eyup asks her not to. The next day, he offers an impoverished tearoom apprentice a lot of money to go to jail for the murder instead of Ismail.

German-language reviews

If the film was an “emotional thriller” or an “oppressive psychological thriller” for some critics, Marli Feldvoss denied in the Neue Zürcher Zeitung that the film would ever become a thriller: “The story stumbling forward with agonizing slowness, told in a minimalist manner, which actually towards a discharge or some kind of solution, but does not condense into a thriller, but rather shows picture for picture - and that to the point of pain - what one has to read as alienation or fatefulness. "Some spoke of the gripping script, as the director" knows how to conjure up great cinema out of a banal everyday story ”, others were long drawn out some moments that were tough and meaningful. The often mentioned gloom would be offset by a subtle humor.

The picture compositions are overwhelming, " worthy of comparison with Antonioni or Ozu ", impressive and "like remaining stock from reality", but also "exquisite, sometimes almost too well designed", with hanging clouds, the inclusion of the weather seems "sometimes a little exaggerated" .

Referring to the melodrama in many Turkish films, the epd film critic Heike Kühn said: "Nuri Bilge Ceylan has drawn a realistic and nightmarish-looking portrait of a society in which exaggerated feeling is supposed to make people forget the suppressed truth." …] The facade of the ideal world in this family is far too poorly made to withstand a shock, ”said Susan Vahabzadeh in the Süddeutsche Zeitung . The director “declines all forms of oppression, psychological, intellectual, political, emotional, sexual.” And shows a society “that passes on all guilt until the weakest are caught.” In contrast, Rüdiger Suchsland, Ceylan, complained in the film service show the patriarchal father figure "surprisingly much sympathy" and thus do not represent a progressive position with regard to gender roles. After all, he exposes “male violence as powerlessness in disguise”. The director is looking for and discovering a language for new feelings. “At the same time, Ceylan makes himself guilty of the speechlessness and monotony that he ascribes to his characters. They are made up, symbolic, passive beings into which the viewer can interpret a lot, sometimes everything. But they never speak back. "

epd film Gripping script; overwhelming images; realistic as well as nightmarish portrait of Turkish society; 5 out of 5 stars.
film service Exquisite, sometimes exaggerated images; tough and overstretched in places; ambivalent regarding the understanding of masculinity.
The New Zurich Times “Simply masterful”, “great cinema”; impressive, sometimes exaggerated images; subtle humor.
Southgerman newspaper Emotional density and picture compositions with classics like Ozu and Antonioni worthy of comparison; v. a. Aslan plays great.

Web links

Individual evidence

  1. a b c d e f Rüdiger Suchsland: Three monkeys . In: film-dienst No. 6/2009, p. 64
  2. a b c d e Susan Vahabzadeh: Happiness is a fragile structure of lies . In: Süddeutsche Zeitung , March 19, 2009, p. 12
  3. a b c d e f Marli Feldvoss: Reality in Twilight . In: Neue Zürcher Zeitung , May 14, 2009, p. 41
  4. a b c d Heike Kühn: Three monkeys . In: epd Film No. 3/2009, p. 34