Crossing the Bridge: The Sound of Istanbul

Akin's prize-winning 2004 movie Head-On/Gegen die Wand depicted the appealingly chaotic world of a self-destructive but dynamic Turkish-German rocker named Cahit (Birol Ünel). This documentary is an offshoot of Head-On and explores the range of music one might find in Istanbul today if one were as energetic and curious as German avant-rock musician Alexander Hacke of the group Einstuerzende Neubauten (who arranged the sound track and performed some of the music for Head-On) and had the assistance of a film crew and Turkish speakers provided by director Akin. You get everything from rap to the most traditional Turkish classical song, with rock, Kurdish music, and Turkish pop in between. It's as chaotic and open-ended a world as Cahit's, one where East is East and West is West but the twain—somehow—do meet.

Like Istanbul itself, which sits on the edge between Europe and Asia and brings the two worlds together while remaining sui generis, this is a mélange that includes Turkish pop, Turkish traditional songs, Kurdish laments, Roma jazz musicians and group of street buskers (Siyasiyabend), lively and offbeat shots of Istanbul street life, and some talk on camera about synthesis and some personal and musical history by singers and musicians. Working out of the Grand Hotel de Londres in Istanbul's Beyoglu quarter where Cahit stayed at the end of Head-On while looking for his beloved, Hacke roams around the city with crew and equipment interviewing people and recording their music.

He begins with some loud rock by the "neo-psychedelic" band Baba Zula – these are musicians he bonded with while putting together Head-On's score and he stands in here for the absent bassist -- and by Turkish (including brave female) rappers – thus causing some oldsters to walk out of the theater early on and miss the predominantly tuneful and easy-to-listen-to sounds that makes up the bulk of the film. (Head-On's narrative excesses were tempered periodically by musical interludes performed by a traditional Turkish orchestra sitting outdoors on the other side of the Bosphorus.) Hacke gives us the opportunity to meet and hear performances by some of the best known living Turkish singers, including Müzeyyen Senar, a lady in her late eighties whose aging, elegant musicians remind one of the way the great Egyptian songstress Umm Kulsoum used to perform. Hacke gets songwriter-movie star Orhan Gencebay to do a striking solo on the long-necked oud he's written all his songs on, and persuades the now elusive great Sezen Aksu.to do a special performance of one of her most famous songs, "Memory of Istanbul." This is a coup, and so is the lament by a beautiful Kurdish songstress Aynar recorded in a bath whose acoustics are spectacular, if only they could have turned down the heat – singer and musician's faces stream with sweat. There is also a young Canadian woman, Brenna MacCrimmon, fluent in Turkish, who sings Turkish traditional folksongs with expression and fervor. The sound mix is of high quality throughout. One would like to see a sequel; many great exemplars of Turkish popular and classical music have necessarily been left out.

Film released summer 2005 and shown at festivals in 2005 and 2006. Opened at the Angelika Film Center in New York City in June 9, 2006.

Like many other commentators here, I went in expecting a taste of music that would satisfy my curiosity - and got more than I asked for. I heard and saw a powerful, exquisite, sometimes haunting, sometimes touching, lyrical, sentimental (in the truest way) and absolutely stunning blend of music and musicians. Reminded me a lot of some forms of Indian music (East Indian) but at the same time was very very different.

Starting from the the first track by Baba Zula to the Kurdish singer Aynur (what a voice) to Siyasiyabend to the jam session (or 'Jugalbandhi ' as we call it in India) in the small Turkish bar ft. Selim Seslar (Big fan now :) ), I enjoyed every minute and wished it wouldn't end.

One of the best music commentaries I have seen and heard in a long time.

I am craving for a CD of the sound-track and hope I can find it online somewhere soon and also for old and latest albums from Baba Zula.

A day later, the music is still etched in my brain and I don't want it to go away. Turkey and specifically Istanbul now seem such beautiful and exciting places - and I am going to start saving today to go take it in.

Faith Akin - this is a gem.

Faith Akin has made me realize once more the deepness of my passion for this city called Istanbul. Being addressed as a city of cultural mosaics, Faith Akin has contributed to that addressing through the mosaics of music performed in the film. What's more, the climax of the film,in my opinion, is the scene where Muzeyyen Senar (a Turkish music diva) sings at age 86 as well as she had done in her younger years and rolls the raki glass in the air without pouring out one drop, which is a traditional act in raki culture. She is just marvellous. Sezen Aksu (a Turkish pop singer) with her mystical and meaningful looks at the end of her song which gives the film its Turkish title makes the scene no less than a climax. Last but not least, the wonderful scenery of Istanbul can make you feel nostalgic if you are away. Beware!

This is a movie about the music that is currently being played in Istanbul. Istanbul was the center of the two Old World superpowers, the Byzantine Empire and the Ottoman Empire. Today, it is a megalopolis of almost 10 million. So it is to no ones surprise that a lot of music is being played in Istanbul, with a great variety of voices, styles, and influences from everywhere on the globe. It is Turkish music, of course, and I was fascinated by Turkish music ever since I bought my first record long time ago. The movie features different singers, instrumentalists and bands. Spoken comments from the musicians nicely illustrate the music being played, and the social context in modern Turkey. For my perspective, the most interesting comments were from Orhan Gencebay. Furthermore, the movies shows urban scenery mainly from Istanbul which is very pleasant to watch.

"Crossing the Bridge" is listed as a documentary and it includes music from minorities, e.g. Kurds and Roma. Other important topics are omitted such as Turkish jazz music, or music of the Armenians and Greeks.

This movie is strongly recommended for lovers of the music and culture of Turkey, the Balkans, the Eastern Mediterranean, and the Middle East. It may also be worthwhile for those with a keen interest in the global effects of musical styles such as Rock and Roll or Hip Hop.

This is such an exciting documentary, it was by far one of the most fun films I've ever seen. I highly recommend it to anyone. It's such a fun look at different musical styles, exciting people at the crossroads between modern and traditional that is Istanbul, and great cinematography that captures beautiful scenes in Istanbul and Thrace. Watching the film made me want to book a flight for Istanbul right away.

Great footage of Ceza, a Turkish rapper.

Also his sister, Ayben rapping - she is awesome.

Priceless performances by amazing Turkish musicians Orhan Gencebay, Sezen Aksu, Muzeyyen Senar.

The gorgeous voice of Aynur, singing in Kurdish.

And amazing clarinet and signing of a romany gypsy group from Thrace.

Last but not least, Istanbul bands mixing Turkish music and rock, as well as trance music -- Baba Zula, Orient Expressions, Duman, and others...