Drei Affen

The first and the most important thing to say about "Uc Maymun" is already said at the 2008 Festival de Cannes; the directing is incredibly strong! The usage of every cinematographic material shows and once again proves that Nuri Bilge Ceylan is a great auteur of our time. I really don't agree with the critiques that have been made about how too technical and photographical the movie is. Simply because it's not. It's just irritating as life itself. It's reality what was filmed and so; very irritating as it should have been. It's the first movie of the auteur in which act professional actors; therefore it tastes and seems different somehow. Plus the way it's made was meant to be different than the former ones as far as I am concerned. Yet I don't think that the movie lacks the sincerity which always has been the most important reason for me to like the movies of N.B.C. Actually I think that it is more movie-like this time; thus experimental for the director, no need to say.

Three Monkeys proved to me that Turkish cinema can rub shoulders with the very best in contemporary cinema.

It has a certain maturity and mastery of the medium even if it follows the patterns of Tarkovsky, Terrence Mallick and Zvyagintsev, with its ability to externalize the internal feelings of individuals and catapult those feelings in context with the well-chosen exteriors—sometimes natural environments and sometimes man-made structures. It's a film that makes the capability of a director and art director stand out even to a village idiot viewing cinema.

The title of the film does refer to the proverbial three monkeys; one who refuses to hear, one who refuses to see, and one who refuses to speak. It is an interesting contemporary tale revolving around three adults that make up a Turkish urban nuclear family. The husband drives the car of a politician to make a living, the wife works in a kitchen of a large establishment, and their adult son is a student dreaming of owning a car. It is a tale that could take place in Turkey or any other part of the world suggesting that tales of individual angst fall within some external matrix that a viewer can either glimpse or reject as a cosmic play of dice.

The three "monkeys" are a husband, wife and son living a cohesive, stable life. A fourth character is a typical creepy politician whose actions disrupt the tranquil life of the cohesive trio by a chain of lies, deceit, lust and avarice—all brought about by the ripple effect of an external request. Here is a tale of three essentially good people who become entwined in actions that threaten to break up their happy but mundane middle-class lives.

What is the external request that leads to the domino effect on the family? The politician falls asleep while driving a sedan and knocks down an unknown person on a remote road and the incident is noticed by a passing car. To preserve his political chances at the soon-to-be-held elections, he requests his regular driver to take the rap and go to prison for the crime he did not commit, while the politician promises to continue paying his salary and provide a large sum at the completion of his jail term. The first "monkey" gets hooked to the suggested plan that he hears.

The son dreams of a family car that could be acquired with an advance on the politician's final payment to his father and goads his mother to meet the politician with the request. And you soon have two other "monkeys" trapped by their own innocent actions that spiral into grievous crimes because they choose not to see, hear or speak. Interestingly, each of the three is essentially a well-meaning, ethical individual. However, the external request of a politician to the head of the family of the trio opens up vistas for three good persons to choose a deviant path they might not have chosen otherwise.

The filmmakers go on to suggest that the pattern could spillover to upset another sedate life of a good man at the end. Those affected do not seem to learn from history. The cosmic tale carries on like a Shakespearean or Tolstoyan tragedy, even as dark clouds gather over the magical landscape on the coasts of the Marmara Sea (Black Sea) captured with the digital magic of Gokhan Tiryaki (the cinematographer of Ceylan's Climates as well). Are we individuals truly in control of what happens to us in life? This is the implicit question the film asks of the viewer. Do events in our life force us take paths we never would have taken otherwise? Do we learn from our mistakes or prefer to make bigger mistakes like a "monkey"? Ironically, the film itself is a product of another family—but this one is incredibly talented. The husband and wife team of Nuri Bilge Ceylan (director, editor, and writer of Three Monkeys, and actor of his earlier films Distant and Climates) and Ebru Ceylan (writer and art director of Three Monkeys, actor of Distant and Climates and an award-winning short-filmmaker) team up with Ercan Kesal (actor in Three Monkeys, playing the politician in the movie) to write up this interesting film.

The story is only a small part of the film's broad enjoyment spectrum. Take the art direction—-the building in which the trio live looks imposing at the start of the movie. Only towards the end of the movie as the lives of the individuals fall apart you see the building has an imposing front but is actually a poor tenement with a fabulous view. The railroad becomes a flight path to freedom from the drudgery of the house, but tenants of the house need to cross physical (symbolic) barriers to reach the station. Interestingly, the head (and face) of the son poking out of the train form the poster of the film a shot that is repeated with differing expressions as the film progresses.

In this film, the husband-wife team of the Ceylans stays behind the camera. They introduce a TV actor Hatice Aslan who plays Hacer, the mother/wife role in the film. The performance is nothing short of spectacular. The sudden action of kicking up of her shoes while sitting and breaking into smiles of freedom is unforgettable; the true implications of the scene revealed to the viewer only much later.

Turkish cinema has thrown up great filmmakers. Yilmaz Guney was my favorite Turkish filmmaker from that country. Now I have added Ceylan (and his talented wife) to that list. Guney took up subjects that mirrored politics and got into trouble for that. Ceylan appears to be apolitical except for his dark universal swipe at politicians as a tribe. Or is he?

I can't remember if I've ever seen a Turkish film before, which is a pity, because if Three Monkeys is anything to go by, I have missed some terrific movies.

This is a dark, stylish, noir thriller which sees a man agreeing to take the rap for his political master who is involved in a car accident. In return for doing time for a crime he did not commit, his boss will continue to pay his salary to his family, and also settle the 'debt' with a lump sum payment when the man is eventually released. While he is in prison, his wife is left to hold the family together and she and her son quickly get caught up in a web of passion and betrayal.

Director, Nuri Bilge Ceylan carried off the Best Director Award at Cannes for this, his fifth feature, and it's not hard to see why.

Three Monkeys is is a dark, brooding film, where every shot has been thought through and framed with meticulous detail. Long, intense close ups of the principal characters produces sustained psychological tension as unspoken words seem to fly through the air like knives.

The principal cast of Three Monkeys; Yavuz Bingöl, Hatice Aslan, Ahmat Rifal Sungar, and Ercan Kesal, are universally good, but top credits should go to Hatice Aslan, the femme fatale of the piece, who has the ability to convey many layers of meaning by saying little and feeling much.

Highly recommended.

Although ambitious and picture perfect, the feeling of exaggeration cannot be shaken from "Üç Maymun", a drama set in Turkey following the exploits and heartbreak of a nuclear family. Thwarted desires and desire-less characters are plenty; Nuri Bilge Ceylan helms the film that feels it has more style rather than substance. Could possibly be taken more as a meditative form of tragic cinema, it still cannot compare to the likes of Ki-duk Kim, also going for the same moody dialogue-less craving audience. In competition at Cannes 2008, creates more intrigue rather than a cinematic full circle.

Film follows a surname-less nuclear family as they come to grips with the paternal character, Eyüp (Yavoz Bingol), who goes to prison for 9 months with either altruistic or financial reasons in mind. He leaves his wife Hacer (Hatice Aslan), who clearly needs more than what her husband can deliver and son Ismail (Ritaf Sungar), an overgrown teenager who cannot find any sort of direction in life, eventually leading himself to lethargy and apathy. Characters are definitely flawed and are interesting, however delivery of the family on celluloid still seem to be somewhat lacking.

Technically, the film triumphs as it conveys more towards the plot than the characters. Cinematographer Gőkhan Tiryaki paints the image with a dull rusty palette perfectly mirroring the doom and depression the characters wear on their sleeves. Also, by the camera angles itself, film clearly wants its audience to be as disjointed to the characters as possible making them feel more voyeuristic rather than empathetic. Certain scenes filled with dramatic desperation are filmed behind the bushes, both making moments like that intensely private but nevertheless distant.

As with the stylish overcast weather this universe is subjected to, the film is intensely meditative as it strictly confines these characters to themselves through limitations of the spoken word. Almost half of the film is indulged in shots that are introspective and deeply personal. It works to an extent as it diverts the thinking to the audience, although picture doesn't really have much to allow the audience to chew on. Like the sky, filled with clouds desperate to rain, audiences will be left wanting to connect with these characters. It does rain, although it only pour before the end credits. A point of liminal, it doesn't make it clear though on what's there to be liminal about.

Picture's ace is Hacer. Played with much desperation by Hatice Aslan, she remains the only character with an overwhelming desire to be happy. Character takes the opportunity to explore happiness whilst her husband is away. But, the thing is, this source of pleasure is normally deemed as unorthodox even if it gives her a reason for being. Once this source of contentment is stripped off, clear anxiety strikes her as she borderlines the bathetic. Indeed a flawed character, she still becomes the reference point to the masculine characters who desire something more tangible.

"Üç maymun" is a cinematic experience that gets richer in retrospect. Definitely not a form of transient entertainment, it caters to a specific audience devotedly. However, feeling of an overstretched plot on a surrealist setting can be a hindrance to full appreciation. It also feels rather indulgent. Extended shots could have been excised, taking with it the impression of a pretentious, not a nirvana-driven, production.

The three monkeys in the title of this film refer to both the classic "See No Evil, Speak No Evil, Hear No Evil" maxim and to the compact family of three depicted in the film. These three characters are Eyup, his wife Hacer, and their son Ismail. Each of these people seem to live by the maxim of the monkeys so much that they hardly talk to each other at all. Events unfold with a tragic inevitability after Eyup agrees to confess to a crime committed by his boss Servet to shield him from political disgrace in exchange for a large payoff. The shattered family then attempts to go on about their lives as if nothing had ever happened, even when more things do happen. Problems that normally would be relatively routine when faced by a united family thus become a devastating cycle that threatens to destroy their lives.

The material here is good but it likely would have devolved into histrionic melodrama in the hands of a less restrained director. Ceylan is a minimalist and as such he tends to allow the actions of the character to speak for themselves. In a way the lack of exposition puts the viewer in a similar situation to that of the family; we don't know exactly what they are thinking either.

Ceylan's greatest strength is in visuals: his landscapes look unlike anyone else's. The colors are often desaturated; I generally think this visual technique is a mistake but it looks great in his films. Like all Ceylan films, Three Monkeys is worth seeing for the indescribable visuals alone, but this film in particular also offers a perfectly executed family tragedy. Ceylan really outdid himself this time, this is one of the best films of the decade.