Gönül yarasi, blessures du coeur

I think the movie is a masterpiece.Turkey's best actor Sener Sen acts wonderfully from beginning to the end and when the movie ends you thank him for the job he made.The movie is about a teacher working in east part of Turkey for several years and got used to life there.When he comes back to the place he was born it would be hard for him to get used to life again.He becomes to work as a taxi driver and meets a singer then his life would never be the same again.Wonderful scenario,actors filled into the roles perfectly,dramatic story and a different ending.I recommend this movie to everyone.Sener Sen is the rising star of Turkey and soon he should be rewarded with an award.

The plot seems simple. A woman with her child who is unable to speak due to some psychological conditions, leaves the obsessive husband. She goes to the city and tries to stand on her own feet through singing in once popular traditional night clubs. Her husband comes after of course. Meanwhile an idealist teacher retires from the very east rural side of Turkey and returns home. He had a strong connection with his students and local people but interestingly not with his own kids, who were now grownups. As he's back, his old friends welcome him more sincerely. Consequently, teacher (the leading actor) takes the night shift of his close friend's taxi to make some money. One night he meets the runaway woman...

Script is astonishing. I would compare some of the monologues to Shakespeare at best. There is no reduction in the harmony. Consistency is seamless. The storyline captivates the viewer in such a soft way. All of a sudden you find yourself in between the lives of five characters; retired teacher, his son, his daughter, runaway woman and her husband. You can easily sympathize with all of them.

This movie depicts many conflicts innate to human nature. The characters are so well developed you might come across one of them anytime. If you are living in a sterile world, you might find it melodramatic. If you are searching for realism in symbolic elements, an emphasized full moon will ring your bell. The truth is, even an overly melodramatic and unrealistic story telling could be OK, cause the cinema is art, not necessarily documentary.

In the case of Gonul Yarasi, the movie has an intense texture, yet there is also a hopeful outlook. Just like hope and despair, fun and tears, fear and courage, idealism and realism and many other humanly concepts are balanced. The ending is an extraordinary summary of this manifestation in that sense.

Gonul Yarasi (Lovelorn) demonstrates all the qualities of cinema as an art. It is the best Turkish movie I have ever seen and one of the best among all. Awards are well earned... I would give 9-10 out of 10. And guess what, I did :)

I'd like to assume that the commentator who compared this movie to Mexican soap operas has never viewed anything from Hollywood

Yavuz Turgul's cinema has always been so kind to human's soul. The only comment that can be made for this film is: If there is sadness than there is always hope... Sener Sen (Turkey's best actor)is an idealist teacher who has never give enough care to his family, Devin Özgün Çinar(Sener Sen's daughter who has never seen enough care from her father), Meltem Cumbul (a singer who has problems with her psychologically unstable husband)and Timuçin Esen (husband of Meltem Cumbul) did an excellent work of acting. Soundtrack of film contains songs from some big singers of Turkish traditional music. Yavuz Turgul has a great observation talent and always uses this ability generously. I recommend this film everyone who liked Roberto Benigni's masterwork La vita è Bella...

I haven't seen many Turkish films, but this was great. The acting of Sen and Cumbul were impressive. A definite contender for Best Foreign Film at the Oscars of 2006. Anyone with intelligence and pluck should see this movie. Could win an award also at Cannes BAFTA , probably not at SAG. However its really good. Could help EU prospects of Turkey, for Europeans to see the culture in such powerful films. I have seen a few other films of Cumbul and Sen after this movie. The Turkish film called Propaganda was very impressive as well, nothing of coarse compared to this movie but still very impressive. This movie on the whole is quite dark, one has to honest. The other third protagonist of the film, dint know his name was also good, though his acting is overshadowed by the other two.

As a person who has written a 100-page thesis on Turkish 'sinema,' I concur with populist sentiment that "Gonul Yarasi/Lovelorn" is an exceptional film. I think it tops "Eskiya/The Bandit" and now has to be considered Yavuz Turgul's best film. It is amazing to think that someone who first directed a Kemal Sunal (Turkey's closest equivalent to Jerry Lewis, alas Sunal is no longer with us) film in 1976 is among the masters of contemporary Turkish film. He has formed an excellent artistic partnership with Sener Sen, who is once as brilliant here he was in "Eskiya." And, enough words of praise can not be given to Meltem Cumbul. I loved her in "Propganda," loved her even more in Faith Akin's "Head-On," and this is a captivating performance here. I think the fact that her character is named Dunya, which means WORLD in English, hints that her character is a symbol for Turkey's acceptance into the outside world. Dunya's struggles and her bitter setbacks make me believe this might well be Turgul's intentions. I think her ex-husband, represents Turkey's modern state and Sen is a symbol of Turkey's once prosperous past. There is almost too much going on at once to concentrate fully on what is going on in the film! I think one thing which has been incorrectly cited as a flaw in this film is the melodrama element. I think this is such a central element to all Turkish films, whether they be the American film rip-offs of the '70s (Dunyayi Kurtaran Adam/Turkish Star Wars) or the great films of Yilmaz Guney, "Yol" and "Arkadas/The Friend," there is always that aspect of Turkish films. The notable exception seems to be the films of Zeki Demirkubuz and Nuri Bilge Ceylan, but both have stated they have been more influenced by Russian and French filmmakers, such as Tarkovsky and Bresson, than the likes of Guney or Atif Yilmaz, considered to be a pioneer of Turkish cinema- he directed in Sen in many films as well. But, "Gonul Yarasi" is splendid. It is well-edited, well-cast and well-directed. If a person knows nothing about Turkey or Turkish cinema, they may not fully appreciate this film, but I firmly feel that just about anyone who does will really like this film tremendously.