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Re: HALIT ERGENC
Scris de DENISA Sam 21 Mai 2011, 6:02 pm
‘Misafir’: Knock knock, who’s there?
Ozan Aksungur’s debut feature “Misafir” (The Guest) is an idiosyncratic film, surprisingly pleasant and unexpected in its hardcore melancholy.
Set against a backdrop of the provincial life in the central Aegean city of Kütahya, here is a daringly erotic story about a doomed affair and its doomed protagonist. Despite its flaws (its overbearing length), I ** incredibly curious as to how such a unique film has not been exhibited at any of the Turkish film festivals this year.
Meet Oktay (Halit Ergenç): solemn and frowning, he doesn’t look the least bit happy to return to his family home in Kütahya for the holidays from Paris (well, who would, really?), where he runs a small shop. Oktay is not only a “guest” in France but he has also become a foreigner to his own turf. The indifferent welcome of his father and older brother, who are more interested in the goods Oktay has brought from abroad than having a decent conversation with him, pushes Oktay to the brink. He storms out of the house, gets in his car, drinks a bottle of whiskey and starts roaming the city aimlessly. He is an alcoholic, but who wouldn’t be, with such a family? Take a careful note of these car sequences, for they clearly illustrate the mindset of the man; he always seems to be in transit mentally and physically.
When Oktay encounters a distant relative, the 20-something Ahmet (Murat Mahmut Yazıcıoğlu), who insists that he stay at his house, he halfheartedly accepts. Little does Oktay know that this accommodation will be a life changer. When Ahmet’s mother Ayşe (Lale Mansur) opens the front door, there is a strange look on her face when she sees Oktay after such a long time. It is a look of anticipation and enthrallment.
And so, Oktay takes his place in the guest room. He is more comfortable here than he has ever been anywhere. Ayşe is married, but this does not stop him from noticing her elegance and beauty, and it does not stop her from noticing his manly charisma while her uninterested husband is absent. The tension rises as these two give each other minor glances, meticulously study the little details of the other that secretly take their breath away. Director Aksungur does a fine job of establishing a premise where two people who crave each other suppress their emotions because of the heavily traditional values of their environs.
But of course, the tension will boil at one point, and soon enough Ayşe and Oktay find themselves in a highly dangerous and sensual affair. But even here, there is an interesting surprise; whereas Oktay thinks that he might be dealing with a housewife who is essentially a doormat for her son and husband, he is mistaken. For Ayşe, despite her taciturn and harmless surface, is an insatiable woman who is hungry to get out of her stagnated existence. Oktay proposes that they escape to Paris together, and she accepts. The question remains whether Ayşe’s newly admitted emotions are deep enough to stand against the obstacles of her responsibilities to her family and the very present threat that literally a massacre might happen if the larger family finds out.
“Misafir” is above all Oktay’s story, which is a desolate journey through alcoholism, alienation and the need to connect to life by way of Ayşe, a woman who seems to be his last hope at a decent life.
Ergenç, whom many will know through Turkish soap operas, the last and most famous one being “Muhteşem Yüzyıl” (The Magnificent Century), is utterly perfect in the role of Oktay. He brings it to life in places where the screenplay sometimes fails and polishes the character even further in the scenes that are already strong. It is amazing to see an actor change from the role of Süleyman the Magnificent, a fiery and headstrong sultan, to an everyday wreck of a man who is tormented by his own demons. Ergenç is not afraid to take the big leap in being vulnerable and confused for his character in this film -- at the risk of conflicting with his current screen persona in the series “Muhteşem Yüzyıl.” But that’s what great actors do.
[Trebuie sa fiti inscris si conectat pentru a vedea acest link]
Ozan Aksungur’s debut feature “Misafir” (The Guest) is an idiosyncratic film, surprisingly pleasant and unexpected in its hardcore melancholy.
Set against a backdrop of the provincial life in the central Aegean city of Kütahya, here is a daringly erotic story about a doomed affair and its doomed protagonist. Despite its flaws (its overbearing length), I ** incredibly curious as to how such a unique film has not been exhibited at any of the Turkish film festivals this year.
Meet Oktay (Halit Ergenç): solemn and frowning, he doesn’t look the least bit happy to return to his family home in Kütahya for the holidays from Paris (well, who would, really?), where he runs a small shop. Oktay is not only a “guest” in France but he has also become a foreigner to his own turf. The indifferent welcome of his father and older brother, who are more interested in the goods Oktay has brought from abroad than having a decent conversation with him, pushes Oktay to the brink. He storms out of the house, gets in his car, drinks a bottle of whiskey and starts roaming the city aimlessly. He is an alcoholic, but who wouldn’t be, with such a family? Take a careful note of these car sequences, for they clearly illustrate the mindset of the man; he always seems to be in transit mentally and physically.
When Oktay encounters a distant relative, the 20-something Ahmet (Murat Mahmut Yazıcıoğlu), who insists that he stay at his house, he halfheartedly accepts. Little does Oktay know that this accommodation will be a life changer. When Ahmet’s mother Ayşe (Lale Mansur) opens the front door, there is a strange look on her face when she sees Oktay after such a long time. It is a look of anticipation and enthrallment.
And so, Oktay takes his place in the guest room. He is more comfortable here than he has ever been anywhere. Ayşe is married, but this does not stop him from noticing her elegance and beauty, and it does not stop her from noticing his manly charisma while her uninterested husband is absent. The tension rises as these two give each other minor glances, meticulously study the little details of the other that secretly take their breath away. Director Aksungur does a fine job of establishing a premise where two people who crave each other suppress their emotions because of the heavily traditional values of their environs.
But of course, the tension will boil at one point, and soon enough Ayşe and Oktay find themselves in a highly dangerous and sensual affair. But even here, there is an interesting surprise; whereas Oktay thinks that he might be dealing with a housewife who is essentially a doormat for her son and husband, he is mistaken. For Ayşe, despite her taciturn and harmless surface, is an insatiable woman who is hungry to get out of her stagnated existence. Oktay proposes that they escape to Paris together, and she accepts. The question remains whether Ayşe’s newly admitted emotions are deep enough to stand against the obstacles of her responsibilities to her family and the very present threat that literally a massacre might happen if the larger family finds out.
“Misafir” is above all Oktay’s story, which is a desolate journey through alcoholism, alienation and the need to connect to life by way of Ayşe, a woman who seems to be his last hope at a decent life.
Ergenç, whom many will know through Turkish soap operas, the last and most famous one being “Muhteşem Yüzyıl” (The Magnificent Century), is utterly perfect in the role of Oktay. He brings it to life in places where the screenplay sometimes fails and polishes the character even further in the scenes that are already strong. It is amazing to see an actor change from the role of Süleyman the Magnificent, a fiery and headstrong sultan, to an everyday wreck of a man who is tormented by his own demons. Ergenç is not afraid to take the big leap in being vulnerable and confused for his character in this film -- at the risk of conflicting with his current screen persona in the series “Muhteşem Yüzyıl.” But that’s what great actors do.
[Trebuie sa fiti inscris si conectat pentru a vedea acest link]
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Re: HALIT ERGENC
Scris de DENISA Dum 22 Mai 2011, 1:58 pm
Halit Ergenç'in yasak aşkı!
Halit Ergenç ve Lale Mansur’un başrolü paylaştığı, Ozan Aksungur’un senaryosunu yazıp yönettiği “Misafir” filmi önceki gün vizyona girdi
Hayatı boyunca yalnız kalan ve yalnızlığı Paris’te geçirdiği yıllar boyunca daha da derinleşen Oktay ile büyük hayalleri küçük hayatına sığmayan taşralı ev kadını Ayşe’nin yasak aşkını konu alan filmde, Ergenç ve Mansur’un cesur sevişme sahneleri dikkat çekti. Filmdeki dikkat çekici diğer bir detaysa Ergenç’in “Pencereden Kar Geliyor” türküsünü çıplak sesle söylemesi oldu.
Büşra BOZOK
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Re: HALIT ERGENC
Scris de DENISA Lun 23 Mai 2011, 2:30 pm
"Evlilik Ağaca Benzer Tohumu da Aşktır"
Ömür Gedik'in 'Cinemania' programına konuk olan Halit Ergenç birbirinden çarpıcı açıklamalarda bulundu.
Gedik'in "Mutlu bir evliliğin sırrı nedir?" sorusuna ünlü oyuncu, şöyle cevap verdi: "Evlilik bir ağaç gibi. Tohumu çok önemli ve o tohum da aşk. Eğer âşık olduğunuz kişiyle evlenirseniz, fırtınaları atlatıyorsunuz. Kimse hayatı tozpembe yaşamıyor. İş olsun, hayat şartları olsun, bir sürü şey insanı zorluyor, evliliği sınıyor. Birbirine tutunabildiğin, saygı gösterebildiğin kadar ayakta kalıyor evlilik... Köklerin dibe doğru uzuyor, uzadıkça da dalları yukarı çıkmaya başlıyor. Yani çiftlerin birbirine karşı duydukları aşk en önemlisi. Ancak aşka âşık bir insansan, aşk bitince tabii ki başka aşk istersin."
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Re: HALIT ERGENC
Scris de GUMUS-NOOR Mar 24 Mai 2011, 6:01 pm
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Re: HALIT ERGENC
Scris de elena50 Joi 02 Iun 2011, 7:16 am
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Re: HALIT ERGENC
Scris de iulia1965 Joi 02 Iun 2011, 9:42 pm
O inregistrare din 2003, se pare... Nu stiu unde au gasit-o bulgaroicele, dar... le multumesc !!
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» 45. Gönülçelen -Inima furata - Heart Stealer - General Discussions - Comentarii
» 1. MUHTEŞEM YÜZYIL.....Suleyman magnificul sub domnia iubirii... (serial 2011 cu Halit Ergenc)
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