Mutluluk

Because I have read the novel, comparing novel and the movie is inevitable. In Livaneli's book there are political messages with the stories. Political side become more concrete than happenings. In the novel without giving an importance to characters all three characters – Meryem, Irfan, Cemal- were depicted in detail. Contrary to the novel, in movie there is Meryem in the center of the story. Irfan and Cemal were stayed at the side. Political views were not mentioned in the movie as in the novel.

If we take into consideration the total Mutluluk can be valued as a successful movie. Photographic scenes, music's, players, story are suit each other in great harmony. Ozgu Namal is so naive and so talented, Murat Han acted well, Talat Bulut could be more supportive, Lale Mansur is seen very few. Other players played in middle range.

Abdullah Oguz did well by Mutluluk. I got some questions in my mind. The story is told about the traditions. In Turkey there are traditions and these traditions can hurt the people and change their lives entirely. If you make a film of such a situation which is against the Turkey, it is easy to find a capital/support for movie. I wonder why.

Great movie and was particularly appealing as it covers so many topics/ angles/contrasts. It deals with many opposites.

Starts out with the portrayal of life in rural Turkey and ends up juxtaposing this with the new modern Turkish cultures and views. The opening scene of a barren lakeside with the lively visual of the teaming sheep being herded is breathtaking. It is still burned in my brain.

Displays people at their most inhuman and unfathomable to their most caring and compassionate. One moment you are repulsed by the depths of depravity that man can descend too and then rewarded by the caring and sublime that one can attain. You view parched, barren rocky landscapes then are treated to a seascape that makes you want to book an immediate trip to the Aegean.

There is a minor love story at play and all times the wonderful score interjects itself in the background. The scenery is transcendent. A must see.

Turkey, the exotic land of two continents. The westernized, colorful country in the large urban areas, and conservative, almost different century living in the remote, rural parts. Hence, the encounter between the jaded professor and the two lost young souls entangled in the madness of old traditions and beliefs. This beautifully filmed movie, slowly unravel these troubled lives. They touch upon each other, spend some time together and leave changed and perhaps a bit happier. Gentle, thoughtful film, acted with subtle passion and clarity, and above all, the stunning camera work.The breathtaking beauty of Turkish landscape tells the story of its own.

There are absolutely only two reasons why I loved this movie. First one is the way it was written. It is expected and unexpected at the same time. It takes so many different turns that it becomes hard to what to expect for the next second. The second one was of course the acting. Everyone played their parts extremely well. I felt like I was one of them and experiencing the same kind of emotions. I could not keep myself from crying and laughing at the same time. It really is hard to find movies like this. And of course what really impressed me was the ending. I have really found what I was looking for. It is kind of rare to find movies that have satisfying endings. I would also like to use this opportunity to recommend couple more movies for those who share the same kind of movie taste; Babam ve Oglum, Kabadayi

This delicately-paced story about the ironclad Turkish custom of honor killing encompasses all the restrictive practices of closed societies that grant no freedom to women and punish them for the sins of the men. Because young Meryem has been raped, she must be sent to Istanbul to be executed far from the shame at home.

Although the story has been told innumerable times, Bliss is as fresh as the Turkish breeze blowing over the sailboat Meryem and her cousin, Cemal, find refuge on after he fails to kill her transporting her to the city. It is difficult to expunge the images, like those in Knife in the Water, of purity and violation that hang around the boat while the skipper professor, knowing nothing of the horror Meryem has been through, takes on the couple as crew and eventually as students in the art of leading a happy life.

Director Abdullah Ogduz successfully mixes the lyrical escape with the impending doom, the happiness tainted by her past as an impure woman, and the relentless pursuit by a family bound to kill the young woman.

The three principals are as powerful as any others in this year's canon: Cemal is a robust young ex-soldier used to obeying officers and his father; Meryem, who refuses to accuse anyone of the rape, is a naïve with a second-grade education fascinated by the ship's map, a gentle metaphor for the transforming nature of the trip; professor Irfan, is a handsome, charismatic older man, who must navigate his own life to reach a more peaceful place, but not before he teaches the couple about love and life.

Bliss is an ironic title or not depending on your orientation. I recommend you make up you mind by seeing one of the simple sea stories that tells a much larger tale about repression and the emergence of women from imprisonment.

Maryem's innocent face will haunt you as the images of the romantic boat lull you into complacency about the hidden horrors of repressive societies.

Bliss is one of the best films to sail into theaters in the last two years.