Takva, l'homme qui craint Dieu

Takva - A Man's Fear of God is one of those films that playfully enact conflicts of fundamental importance for the world we live in. Takva starts off with humble Muharrem, an introverted single man living in Istanbul, being drawn into the inner circle of a Muslim brotherhood he has adhered to ever since his childhood days. When the erudite and strikingly pragmatic leader, Sheikh Cemal, appoints him as his financial organizer, Muharrem gets endowed with all the amenities and trappings of a modern world businessman. He has to collect rent and administer the order's finances. His naive will to live a life according to what he thinks is the will of God clashes not only with his unfulfilled sexual desires, but also with the mechanisms of power within the order. The brothers' lifestyle may be conservative, but they run an organization that is fully intertwined with the present day social, political and economic life of Turkey.

For Muharrem, who hardly understands any of this business, this means that every step he intends to make for the greater glory of God draws him ever deeper into the quagmire of corruption, lies and hypocrisy. The authority he is endowed with now makes him haughty and difficult to deal with, while his accumulated frustration increasingly throws him into literal fits. Everything escalates when he comes face to face with the woman he desires...

The plot for this great film is based on an old folk tale from Turkey about a man who refuses to marry the daughter of his spiritual master although he clearly loves her. In Onder Cakar and Omer Kiziltan's adaptation, the narrative serves to expose the inner mechanisms of puritan Muslim orders and throw light on the mental set-up of its loyal members. The film is pure fun to watch due to countless instances of great irony, a remarkable love for detail and breathtaking scenes of ecstatic rituals. While the filmmakers were very careful not to ridicule the milieu they're depicting, their critical approach accounts for a film that substantially helps understand the way political Islam "works".

the movie and it's consistency with,the reality of such kind of religion originated community, is marvelous since you feel familiar most of the stages with the man you recognize which is rigidly religious.It is rare and very difficult to create such kind of complicated film especially for a director which had directed only moderate TV series in Turkey.He surpassed the expectation thanks to his talent and observation.Besides director, the casting and performance of the actors is impressive since they really overcame the difficulty of the performing the characters who are rare in community and which differs from society by small details.The way pilot flows is satisfactory but on the other hand,the simplicity of some parts of the movie, especially in final minutes,does not meet the expectation of the audience which expects the ultimate end.The issue director criticize is imagined untouchable for the conservative parts of society.according to me we should congratulate the courageous and objective view of director.it is a good film for whom are open minded and opposing.

Saw Takva last night at The Sydney Film Festival 2007, utterly compelling, driven by Erkan Can's fine performance as Muharrem, a devout Muslim in contemporary Istanbul. Previous posts outline more.

I was fascinated by the way Takva engages with contemporary Turkey, a notionally democratic and secular society since the 1920s. Yes, Muharrem has an existential crisis, also familiar to audiences of Shrek 3 in another way ... dare I mention it, by profane comparison.

I suspect Takva has a satirical streak, once you imagine the dervishs's lodge could be the current government of Turkey.

Am I right? Responses from Turkish members most welcome.

This is a rare example of an inner look at the Islamic sects and their organizations. Although the movie is a fiction, at times you may think you are watching a documentary of a Turkish Islamic sect and its rituals.

Tha main character, Muharrem is a devout and simple believer and a follower of the sect. He gets selected by his Efendi (sheikh of the sect) for collecting the rent money of the sect. This purely financial act affects Muharrem morally and psychologically.

Erkan Can plays an excellent Muharrem. Guven Kirac (Rauf the vice sheikh) and Meray Ulgen (the sheikh) are very very believable in their roles.

This probably one of the finest examples of the new Turkish cinema.

I think it goes much to far to call this excellent film a documentary about the life of a Muslim sect or a critique of political Islam or even the role of the religious orders in Turkish economic life. Rather I would like to claim that it gives just an impression of the life Turkish religious orders, society and the mind of a devout religious man who previously led a uncritical life without real challenges and without deep thoughts about practical life and religion. Therefor he's unprepared for both of it.

I would guess that one could find his "state of mind" also with a range of uncritical believers of many religions who, although ardently believe stay shallow in their intellectual penetration of their believe and worldly life. They stay rather caught in conservative dogmas, which where made to control man and are far away from a healthy human experience.

Not everything shown in Film should be taken at face value. The depiction of the ritual life gives an impression of the ecstatic quality of such gatherings but is exaggerated in their frenetic appearance. There may have been reasons for this depiction but one should rather try not to confuse it with the an authentic account; this account one should rather get in contact with real orders.

The protagonist has high values which he fails to satisfy. This puts him in a moral dilemma which is very instructively set in contrast on one hand to worldly every day people and merchants with their cheating and accommodation with an imperfect world. On the other there is a religious order, which although is directed towards spirituality is of course also involved in worldly enterprises and has of course it financial interests. Nothing gets euphemised but the problems of both - profane and spiritual - get expounded in a way that a psychological profile of shallow but devote believer meets social criticism (not only hitting the Turkish Islamic milieu of its setting but also similar ones in other regions and religions).