Mustafa Hakkinda Hersey

Nice attempt to improve the Turkish Movie Industry but its plot is not an original idea. The performances of the players are praiseworthy, but it seems to me that it has some inefficiencies in screenplay. Especially, after the kidnapping of Fikret, the dialogs between him and Mustafa are sometimes very hilarious. I mean this is a high tension movie (at least it is expected to be) and those ridiculous speeches cause me to lose my attention and desire to the kidnapping incident. Fikret Kuskan and Nejat Isler were so successful, and even her small part Basak Koklukaya was awesome.. Despite of all above negative points, I think it is worth to watch this movie; 6.5/10

No doubt the lead characters has given some really good performance and somehow decent quality production for Turkish cinema. the plot is not that new , there are such same movies like same plot where wife died and husband found out that she was unfaithful (red shoe diaries by zalman king).

the movie has some huge flaw in start , the reason behind why wife goes unfaithful ? because husband is busy or very uptight ? and when the story starts about the wife when she sitting n crying in Cab , then later there is no such thing that why she was crying that moment.

the movie also some side story line of husband too but it doesnt connect to the main plot but it does connect to the ending which make it not satisfying or good ending.

With everyone around him faking it and him being ignorant to the actual feelings of people in his life, Mustafa gets sucked into a paradigm shift after an unlucky(?) accident places a stranger as the key to piece together his collapsed life. Yet, Mustafa will find more than what he was looking for and maybe much more than he wished for as he listens to his life told to him in a way he never perceived before. The more it is revealed, the more he discovers what has been told cannot be untold and its ramifications keeps resonating until one becomes part of oblivion. Sometimes to live on, we choose what we see and what we believe in even if it is a lie and Mustafa will not have that luxury to live on as he used to from now on, not anymore...and you will have your share of it after Mustafa touches your life. With Mustafa going through a wide spectrum of emotional turmoil, Fikret Kuskan(Mustafa)'s performance is the highlight of the movie while Nejat Isler(Fikret)'s performance shouldn't be left unnoticed as his character goes through his share of frustration and victim psychology. Even though there were some plot problems with the coherence of the movie, overall this movie was a long due achievement for the Turkish Movie Industry with the wonderful choice of "Mor ve Otesi" as the soundtrack. Get a glass of wine and enjoy this wonderful movie and maybe you will get the urge to see the fireflies as well before everything is over.

With the potential of many alternative endings, "Mustafa Hakkinda Hersey" is a very successful movie. It is about some two or three days of a man who lost his wife in a surprising manner, and a lot more. The translation of the title is "Everything about Mustafa" since it covers his all life with minor flashbacks. The cinematography, the scenario, the rhythm and the actors are superb. I would be sorry if the movie is kept in the domestic market and not distributed to western audiences as well. Since I watched it on DVD, which is also well prepared in picture & sound quality, I'd advise all to find and watch it. The soundtrack made by "Mor ve Otesi" is also a good choice and goes parallel with the scenario. Mustafa ( Fikret Kushan ) presents an unexpected character with all details. Overall, for me an 8.5 rating won't be generous too.

Sometimes it's wise to set aside one's prejudices against a film and consider it on its own merits as a contribution to the knowledge of the society that produces it.

Such is the case with MUSTAFA HAKKINDA HERŞEY (ALL ABOUT MUSTAFA). A Gothic melodrama reveling in its extremities, Çağan Irmak's film in my opinion piles absurdity on absurdity culminating in a sentimental denouement. But perhaps I am looking at it through jaundiced eyes.

The plot is straightforward: Mustafa (Fikret Kuşkan) is a successful businessman with a wife (Başak Köklükkaya) and son (Arda Seçgün) who runs his own film and advertising business. Life seems fairly good to him, although he does seem a little extreme in his reactions, especially during meetings. His wife Ceren dies unexpectedly in a car accident, that sends Mustafa into paroxysms of grief. Later on he discovers that she had had an affair with taxi-driver Fikret (Nejat İsler), so Mustafa determines to wreak revenge by imprisoning Fikret in a lonely house and forcibly extracting the truth from him. As time passes, we learn that Mostafa has had a highly troubled childhood, which explains why he reacts so excessively to the news of his wife's death.

The film is full of lurid sequences using tilted cameras and vivid colors to denote Mustafa's tortured state of mind. While alone with Fikret, he subjects the unfortunate taxi-driver to extreme forms of punishment, often involving S&M, which makes us feel that there is a sexual dimension to his sadism. The film includes tropes familiar from other Çağan Irmak films - the isolated house recalls KAÇAN FIRSATLAR LİMİTED; the sculptures adumbrate TAMAM MİYİZ?, and the sadism recalls KARANLIK TAKİLER. Throughout we are led to believe that Mustafa's behavior can be attributed to his childhood, especially his relationship to his father (who was equally sadistic).

At the same time he is portrayed as a family man with a touching concern for Kerem. This suggests some kind of cathartic desire; once he has exorcised the devil of childhood from his consciousness, he can be somehow released from mental torment. The diabolic aspects of the film are well brought out through the use of fast cutting.

The film does not tell us much about contemporary Turkish society; rather it suggests that human beings have to find their own means of coping with existence. Sometimes they cannot do this, and hence descend into abnormality.