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Meleğin Düşüşü 2005
Description: Zeynep, Tülin Özen works in a hotel as a housekeeper. But she suffers hell on world because of her father's behavior. She only talks to Mustafa, 'Engin Dogan' who works in the same hotel and he is interested in Zeynep. She is not interested in Mustafa who is younger than Zeynep, but she is not indifferent to him. While Zeynep is trying to create a bonfire of terrible situation, Selçuk, Budak Akalin who lives on the another side of town is a voice technician. He feels guilty after his wife's death. The suitcase which has his wife's dresses changes the Zeynep's destiny.
Released: 04 Feb 2005 Director: Semih Kaplanoglu Writers: Semih Kaplanoglu Actors: Tülin Özen, Budak Akalin, Musa Karagöz, Engin Dogan Genres: Drama
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Meleğin Düşüşü Reviews:

Zeynep's days are spent working as a hotel housekeeper. Her nights are hellish due to her father's inappropriate behavior. The only person with whom she can build a relation ship is Mustafa, a young boy who works at the same hotel and who is interested in Zeynep. Though she never responds to the interest of this young man, who is younger than she, she does not place him off either. Zeynep is trying to escape from the vicious circle in which she finds her self. In other part of the city, Selçuk, a sound technician, is struggling with the guilt he feels over the newest death of his wife. The suitcase that includes Selçuk's wife's clothes will change Zeynep's fate in a most unexpected manner.About The FilmA breathless young girl unwinds a spool of golden thread, a type of votive offering that requires her to wrap the thread through a holy zone without the thread breaking. She is desperate and it is obvious that she is not now trying to receive a want fulfilled; she is seeking redemption. In this she is like the faithful but deranged Domenico in Tarkovsky's Nostalghia, who asks the Russian writer Andrei to carry a lit candle through an Italian village's thermal baths. Zeynep is very young. She works as a housekeeper at a tiny hotel. Her face is pretty yet drawn into a frown. She has a suitor, a shy and gentle bellboy. He adores her, but she openly rejects his affection. She is alienated, depressed and isolated. What is it that haunts her? In a stage that refers to Tsai Ming Liang's He liu/The River, we learn that she is being sexually abused by her father. This is why she visits the mausoleums of different saints, prays, and makes vows. She seeks redemption from her shame, her guilt, and her father. The movie shows her prayers being answered, but with an original twist. There is a design of fate in the film's mystical atmosphere, a divine judgment that is reminiscent of Biblical times. A sound technician hacks on his wife by sleeping with their neighbor. The succeeding happenings lead him to give Zeynep a suitcase full of his wife's be longings, including cosmetics and underwear. The fallen angels were the sons of God who married daughters of boys vs His will. They taught girls how to seduce boys by putting on makeup and stripping naked and this caused all humans to sin. So God punished them with the Nice Flood. The director Semih Kaplanoglu uses an oblique narrative style and nonlinear editing to give us a somber view. We are led by his test of mystical symbols and references. Al though the movie is composed of long takes, includes no action at all, and its compositions are carefully balanced, he is able to hold the tension at a thriller like high lvl so that we feel Zeynep's fear and agony. We are disturbed; we cannot receive away from this harsh reality. We are as desperate as Zeynep. Except for a several mins of Grieg's Heart's Wounds",Kaplanoglu does not even test any melody to give us respite. With his lyrical visual sensibility Kaplanoglu creates an obscure beauty of images. He territories the camera in the middle of Zeynep's and her father's terrible working class house to express the lack of joy, the coldness, the hostility. Zeynep does not play life at all; her soul is tormented, but the father has a hunger for meal and sex, and she gotta fulfill both appetites. They have almost no conversations. There is tiny dialogue in the film, not a single word more than need ed. Each thing depends on gestures and facial expressions that them selves say more than language should do in this story. Young actress Tülin Özen is especially successful in her first screen appearance in depicting a sensual portrait. The ending also leaves us indecisive, not knowing what to think, how to judge. A crepuscular movie indeed " is the night changing into day or the day changing into night? It is up to you " All we can tell that it is masterful and touching"Alin TASCIYAN, January 2005


In "Melegin dususu" Semih Kaplanoglu hasn't yet moved from metropolis to province of his masterful "Yusuf Trilogy" - yet there is much to be appreciated in this tiny portrait of a woman wandering around in men's world. A simple, moving storyline was crumbled by the director, then carefully selected snippets were picked up, carefully lit + shot, and reassembled partly in a non-chronological way. The final form resembles a palimpsest being read at random, with unlimited and endlessly seductive static shots glowing on a dark surface, just as in some of the images, Rembrandt-like, the (pieces of) bodies are slash out by light - or eclipsed. Nice visuals, indeed. (There were moments when the mediocre transfer appeared to create them even more magical.) Should this be named magical-realistic minimalism ? Does the folkloristic feature in the prologue (for more, see "The Red Right Hand" external review !) have the symbolic meaning of Ariadne's thread ? Or rather of Sisyphus' boulder? Isn't this prologue now an epilogue? The only thing that I'm sure of is that I consider Kaplanoglu the best of a couple of Turkish directors whose work I've come across.As mentioned above, the transfer on the Vanguard disc - having no menu whatsoever - is far from pretty ; moreover, the frame was brutally slash on the right, damaging even the subtitles here and there. Nevertheless, my copy is R2-friendly.


The opening theme - from Grieg's "Heart's Wounds" - that appears on two further opportunities sets the tone for Semih Kaplanoğlu's masterful piece. Zeynep (Tülin Özen) works in a hotel and spends her evenings waiting hand and foot on her father (Musa Karagöz); cooking meals, cleaning up after him, and submitting implicitly to his will. The sheer torpor of her existence is summed up by lighting; she is continually photographed in shadow, looking out of a window at the İstanbul landscape beyond. So far we are in thematic zone covered by another Turkish directors, notably Zeki Demirkubuz, depicting the imprisonment of human beings within a prison-like existence of İstanbul. Where Kaplanoğlu parts company from them is through his deliberate manipulation of time, as he says two stories simultaneously, with one ending just as the another continues. The parallel storyline involves Selçuk (Budak Akalın), whose wife Funda (Yeşim Ceren Bozoğlu) dies in a vehicle accident, prompting him to give Funda's clothes away in a suitcase to Zeynep. We see Zeynep taking the clothes; then the narrative moves back in time to present Selçuk's relationship with his wife before she met her grisly fate. This plot-strands with a repeated sequence of Zeynep taking the clothes once more.Through such tactics Kaplanoğlu underlines the arbitrariness of time: the distinctions between past, present, and future no longer have any significance for his characters, who all trapped in an urban nightmare. Repeated actions assume significance, especially when they involve a life-changing act. Once she receives the clothes, Zeynep tries her greatest to change her identity by trying all of them on; but finds that she cannot. Her primary fear of her father prevents her from doing so. Nonetheless she is prompted into a significant, life- changing action that blows her life apart, proving beyond doubt that human beings can challenge the status quo around them, if they have the courage to do so.Throughout the movie there appears an photo of cotton twine; Zeynep keeps tying a piece of cotton to a post at the beginning, and moving away from it, as if to make some type of method forward for her own life. However the cotton keeps breaking - a symbolic demonstration of the difficulties involved in trying to establish any type of continuity, both physically as well as emotionally. Past, show and future cannot be so easy connected. On other opportunity she goes to a mosque with a ball of twine and prays to God - perhaps for guidance - but none ensues.In the end, Zeynep understands what she gotta do; and her final act is one that not only defies religious but also social conventions. She quite literally sets aside all the teachings imposed on her by her father and faces the globe anew. She stands at a window during the dawn, looking out at the İstanbul skyline with the Turret of Leander in the background, and understands - perhaps for the first time - how she can challenge the passage of time, as well as throw off the imposition of the past. The ending has a certain naive optimism to it; it might seem impractical, but for Zeynep it has a particular meaning.Semih Kaplanoğlu's movie contains few of the conventions associated with his soon work - long takes, the test of shadow, and characters moving slowly within the frame. But the movie yields its own rewards if we are prepared to concentrate on the complexities of its mise-en-scene.



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