Senay Aydemir. Revenge is a dish best served cold. Referans.
Although Turkish director Zeki Demirkubuz’s latest movie, ‘Kıskanmak’ (Envy), is above average for Turkish cinema, it will not rank at the top of the director’s filmography. The movie tells the story of an ugly woman who seeks revenge on her handsome brother and his beautiful wife
Since the release of his movie “Masumiyet” (Innocence) in 1997, director Zeki Demirkubuz has been one of the most discussed filmmakers in Turkish cinema.
What makes him the source of so much debate is the atmosphere and storyline of his films, which Demirkubuz describes as attempts “to understand the creatures called humans.”
Each film Demirkubuz directs features a protagonist laden with concepts such as good, evil and – especially – guilt. His strong scripts are one of the most important features differentiating him from members of the generations that started making films in the second half of the 1990s and are now in their period of maturity.
The director is well versed in literature and philosophy, and has succeeded in shooting scenes that have made their mark on the history of Turkish cinema, such as the fight scene between the leading characters Haluk Bilginer and Derya Alabora in “Masumiyet.”
Visually satisfying
Though his first films were criticized for not giving importance to visual quality, Demirkubuz showed great improvement in his previous film, “Kader” (Fate). His latest work, “Kıskanmak” (Envy), which was released last week, showed the same improvement. But it is difficult to say that the director has made a better movie than his earlier ones, especially “Masumiyet,” “İtiraf” (Confession), “Yazgı” (Destiny) and “Kader.”
The biggest problem of “Kıskanmak,” which premiered at the Antalya Golden Orange Film Festival, where its female lead won the Best Actress Award, is with its plot. This is perhaps because Demirkubuz, who wrote the storylines for his previous films, has now used somebody else’s story for the first time.
Based on writer Nahit Sırrı Örik’s book of the same title, “Kıskanmak” does not have as strong a storyline as Demirkubuz’s previous films and fails to make the most of its challenging title. Many people have said that there are significant differences between the book and the film.
“Kıskanmak” tells a story set in the Black Sea city of Zonguldak in the 1930s, some time after the main characters – mining engineer Halit, his beautiful wife, Mükerrem, and his sister Seniha – moved to the city. The film opens with the Republic Ball organized on the night of Oct. 29, Republic Day. Mükerrem’s beauty is discussed by the popular women in society and does not escape the attention of Nüzhet, the spoiled son of the city’s richest family. Seniha, who notices the warm relationship between Mükerrem and Nüzhet but ignores it, subsequently opens the door to a process that will bring disaster upon herself, her brother and his wife.
Arbitrary evil
From its opening scene, “Kıskanmak” goes very well. The period costumes are accurate and the film benefits from the opportunities afforded by the geography where it was shot. But somehow, the film cannot manage to convey its main subject, that of envy.
Viewers do not understand the reason for Seniha’s hatred of her brother and his wife, how this hatred turns to envy or how all these things relate to Seniha’s ugliness. Demirkubuz shows that Seniha and Halit had been different from each other since childhood. He also shows that Seniha looks for the reason for her ugliness in the beauty of Halit and his wife. But these things are not enough to reach the core of the story.
In considering this point, it is necessary to remember the concept of “arbitrary evil” that Demirkubuz employs in such situations. He believes that human beings can commit arbitrary acts of evil; that this is in their nature. Even if we think like the director and stop looking for a reason for Seniha’s wickedness, the “arbitrary evil” in the film is not convincing, nor does it explain the reason for Seniha’s “arbitrary goodness.”
Pluses and minuses of the film
The film’s acting also has its pluses and minuses. Serhat Tutumluer (Halit), with his plain and simple acting, is one of the bright spots, and Nergis Öztürk, who plays the role of Seniha, shows that she deserved her Golden Orange. Hasibe Eren, Mustafa Uzunyılmaz, Nihal Koldaş and Serdar Orçin also do their best in supporting roles.
However, there are problems with the casting of Berrak Tüzünataç, who plays the role of Mükerrem, and Bora Cengiz, who plays Nüzhet. Though Tüzünataç is quite beautiful, this beauty rarely meets with femininity. Thus she projects a lusterless air even in the scenes in which people talk about her beauty.
It is also a problem that Nüzhet is depicted by such a baby-faced actor. In the scene where Nüzhet and Mükerrem are confronted by Halit, Nüzhet seems like a child rather than a man. With the choice of these two actors, Demirkubuz’s attention to casting fails.
However, it should be remembered that the basis for all this criticism is Demirkubuz’s previous work. When compared instead to many recent Turkish films, “Kıskanmak” is not perfect, but it is a good movie with much to offer those who follow Demirkubuz’s cinema and try to understand the human soul.
Senay Aydemir. Referans. November 11, 2009.
