The Cut

I found "The Cut" to be quite an amazing film. The story is epic almost biblical and unforgettable. Through the horrors of the Armenian genocide a few acts of humanity make all the difference. It's probably not the best film for the flapjack eating simpleton but if you can handle subtitles, respect other cultures and appreciate profound human experience, pick this one up. It certainly beats the prepackaged, formula, market tested, predictable hogwash vomited out of Hollywood year after year.

I'm a little confused by the cool critical reception this received on release in the U.S.. Yes, it's uneven at times, and it's slightly distanced emotionally for an epic historical melodrama about one of the terrible genocides of the 20th century. Yes, it occasionally traffics in clichés, and there are some clunky lines and awkward moments of dubbing.

But that is more than offset by spectacular photography, tremendously affecting scenes of horror, loss, sadness, hope, anachronistic but extremely effective music, and an intelligent attempt to deal with not only the Armenian genocide, but what it means to be a refugee, the nature of silence, the complexity of morality in a morally confusing world, and many other themes that raise it above most of the Hollywood historical melodramas we see, including many that win Oscars and are great successes (many of which also traffic in clichés and have some awkward dialogue). If it's not quite as great as the far more personal and quirky films that are the very best of Akin's work; Head-On, The Edge of Heaven, Crossing the Bridge , it's still a thoughtful and intelligent film by one of the most interesting film-makers in the world today.

It tells the story of an Armenian who is forced to leave his family and perform slave labor after the Ottoman Empire enters the first world war, and follows him into ever worse layers of personal hell. Rather than trying to capture the scope of the genocide all around him, for a long while we get only hints and glimpses of the horrible larger truth, seeing only those things our character does. It's an intimate experience of genocide. The second act of the film, once the war is over, is our hero's long and winding journey to try and find what might be left of his family. Not the first time such a subject has been dealt with on film, but this does it with an off-beat and almost dreamlike tone, and a meditative pace. I found myself thinking of filmmakers like Lisandro Alonso as much as Steven Spielberg. It's a strong and worthwhile cross between art-house and old school epic melodrama. If you are willing to forgive the occasional lapse, it's very worth seeing.

A note of caution: The German blu-ray, while great looking, does not have English subtitles. The film is largely, but not completely in English (English stands in for Armenian), but some crucial scenes are in Turkish or Arabic, with no translations offered - a real problem. On the other hand, the US DVD has the film mostly dubbed into Armenian (which Akin approves of), and completely subtitled in English, which, strangely was more effective in some ways than the English track (and I usually HATE dubbing). But in this case many of the supporting actors clearly are not native English speakers, and the performances get very stiff and off-putting for it at times. When I saw the film a second time, in the Armenian dub with all English subtitles, it actually helped a lot of those performances flow better, and I found the film a more affecting experience overall. However, I wish there was a release that offered both the original English track with subtitles for all other languages (which doesn't seem to exist), AND the Armenian dubbed track with English titles, as on the US DVD. And while I'm at it, I'd like all that on a blu-ray, since this is a beautifully shot film. Sigh...

I should say Faith Akin is currently one of the most important directors from Germany of Turkish descent. He brought a fresh spirit to German and Turkish film scene. He shows also great courage with the theme Armenian Genocide. He explains a personal story, but also takes a step to the Armenians from Turkish side, and try to say "we understand your suffering." Regrettably that is enough to be excommunicated from Turkish community, because it is still a taboo to talk about Armenian problem in such a way.

It is a pity that he missed such a great chance to create a good film with his humanistic intentions. Most of the scenes feel like staged, acting is mostly average. The main problem with the movie is the atmosphere. When I see a good movie, I forget that it is a movie and create an emotional connection with the characters. That is the most important thing for me as I evaluate a film. And it lacked completely for me. It could be the worst cinematographic work of Faith Akin till now. Still deserves above average from me.

Faith Akin's epic tale of hope and survival, set in the time of the Armenian Genocide amidst the Great War and the resulting diaspora all over the world. I watched 'The Cut' lately during the London Film Festival, and found it worth the time in general and definitely had its good moments. It did not go for over-sentimentality and didacticism but rather showed an impressive journey of search and survival. For me, the wide shots in the desert and in the streets of Cuba were special, and there was very good work with costumes and set decoration. Some might argue that Armenians and Turks speaking English felt unnatural but it was totally justified for me.

However, the film fell short in several aspects, and during viewing I constantly had the feeling that much more could have been done with the powerful story that could have greatly enriched and added more depth to the end-product. The poor screenplay dialogue was the most obvious shortcoming in the film, and while its over-simplicity can be regarded by some as appealing minimalism, it remained a huge disappointment. One scene epitomised the problem here, when the protagonist discovered that his daughters were still alive, his friend shouted exuberantly with no more than "This is good .. this is good ". It is possible here that using the English language presented a problem. The contrived ending was, to a lesser extent, irritating as well but the slow camera work saved it. I found a particular scene very interesting, when the Turks were evacuating the Syrian city and a Turkish boy got injured by a thrown stone, and the protagonist's reaction, and I wish there were more of these side stories, like watching Chaplin's 'The Kid'.

In addition to screenplay, several techniques could have added more to the story; exposition by flashbacks at different parts of the journey (some dreams were deployed but to a limited effect), voice- overs contemplating the condition of humanity at the time of war. A good soundtrack could have made a big difference as well, and in such a film I think dispensing of such a poor soundtrack altogether could have yielded a better result and added a minimalistic touch, although of course this would have been difficult with the protagonist speech handicap and the lack of a narrator.

The challenging task for the main actor, to rely entirely on facial expressions and body gestures because of handicap early in the narrative, was met by a solid performance, but could be easily overlooked by general audience because of the shortcomings of the other narration elements.

An impressive story of survival, and a very important yet overlooked subject in recent history compared with others of even less scale, but less impressive film. The beautiful shots and powerful story were not enough to elevate it to the epic legendary status, but it is still worth watching.

It has taken a certain courage for Akin Faith, a Turk, to make 'The Cut', a tale of wandering of an Armenian in the aftermath of the Armenian genocide a century ago in the twilight hours of the Ottoman Empire. It also helps that Akin doesn't live in Turkey, but Germany, which spares him of a danger to his life were in Turkey. Technically, the film is well shot, but, alas, too long as Nazarat Moonogian takes up the pilgrim's staff to find his twin daughters. As Nazarat (Nazareth), Akin chose well: the Cesar winning actor Rahim Tahar, who does a yeoman's job as the wandering Armenian, as he goes from Syria to Lebanon then Cuba to Minneapolis and finally to the snow driven plains of North Dakota to find his daughter. As his name implies he is the embodiment of a Christian hero who has suffered much, for like his namesake, he is the branch of family that although disfigured by a Turkish massacre, he remains rooted in the soil of his determination and his ethnicity that is still capable of bearing fruit and surviving. 'The Cut' is a cinematic thanksgiving of survival, grit and determination to withstand the vagaries of Turkish prejudice. And, it is to Akin camera that honesty in dealing with a genocide which even today Turkey denies.