Film Bocugu

Logan – Wolverine Finali

Wolverine’i de vururlar. Veyahut kurt kocayınca köpeklerin maskarası olur.

 

Logan – Hugh Jackman’ın canlandırdığı Wolverine serisinin son filmi. Tabi bu kadar fazla sayıda hayranı olan bir kahramanın hepten ölmesi söz konusu değil, ancak en azından bu filmin sonunda Wolverine huzura kavuşuyor.

Film çok uzak olmayan gelecekte, 2029 yılında geçiyor. Xavier bunamış, Logan’ın kankası Gambit dahil X-Menler ortadan yok olmuşlar. Çizgi-roman takipçileri için bir başka alternatif gelecek senaryosu. Sırf Logan için yaratıldığından mıdır bilemiyorum, oldukça yapay bir dünya söz konusu. Logan’ın sarhoşluğu şaşırtıyor mu, aslında hayır. Ama tamamen iyi karakterlerin belgeseli haline dönüşen bir aksiyon filminde kötü karakterleri çoluk çocuk dövüyorsa insan olmaz olsun böyle Wolverine demeden edemiyor. Logan zaten oldu olası depresif bir karakter. Kendini jiletleyince derisinde iz kalmaması en büyük derdi. Her hafta birilerini öldürdüğünden kederlenecek bi şey bulması da zor olmuyor. Yapımcılar da oturmuşlar, düşünmüşler, bu Wolverine’e etmediğimiz ne kaldı, bari gömelim de helvasını yeriz demişler. Çok afedersiniz, ne anası, ne bacısı ne karısı kalmıştı. Bari yattığı yerde huzur bulsun.

Filmin konusu kısaca: Eğer Wolverine iyileşme yeteneğini de kaybederse ne yapar? Bir de üstüne çocuğu için ölme şansı olursa, daha nolsun. Film gelecek nesil x-menlere göz kırpayım, Logan’ı ağır abi göstereyim, önceki x-menlerin çanına ot tıkayayım derken ortaya karışık yapmış. Bir x-men aksiyonu için bile çok zorlama bir senaryo. En güzel tarafı hiç kuşkusuz Johnny Cash’in ‘Hurt’ şarkısı. Şarkı X-men içindeki (belki de yaşından ötürü) en felsefi karakter olan Wolverine’e ölümü göze alan mahallenin sığ bıçkın delikanlısı muamelesi yapılması ile tezat oluşturuyor. Christopher Nolan bir de Wolverine’e el atsa fena olmazmış dedirtiyor insana.

 

“I will let you down

I will make you hurt

I would keep myself

I would find a way…”

T2 Trainspotting 2

Trainspotting 2: Bir baltaya sap olamayanların hikayesi.

Eğer ilk filmi izlediyseniz zaten bu adamlardan bi bok olmaz demişsinizdir. İşte bu ikinci hikaye ilkini doğrular nitelikte. Tabi Star Wars gibi aynı senaryoda sadece karakter isimleri ve macera süreleri değiştirilmemiş. Karakterler aynı, maceralar farklı.

Aynı oyuncuların 20 yıl sonra tekrar bir araya gelebilmesi hiç kuşkusuz ilk filmdeki hikayenin herkes gibi oyuncuları da içine çekmesinden. Trainspotting’in devam kitabı niteliğinde olan ‘Porno’ kitabındaki gibi 10 yıl değil arada 20 yıllık bir süre var. Yönetmen Boyle bunun sebebini oyuncuların iyice yaşlanmasını beklemesine bağlıyor :). Aslında ilk filmin sonunda arkadaşlarına kazık atıp paraları alıp kaçan Renton bu filmin başında bir kalp spazmı geçirmese 20 yıl sonra bizler de eski mahalleyi biraz zor görürdük. Filmde denildiği gibi, dünya değişmiş, herkes ona ayak uyduramasa da. Tabi burada bir parantez açmak gerek. Filmde dünyayı kimlerin ne yönde değiştirdiğine dair bazı göndermeler var, ancak detaylar yok. Dünyayı filmde izlediklerimizle aynı kuşağın değiştirdiğine şüphe yok. Google, Apple gibi şirketler aynı jenerasyonun şirketleri. Ahlakları da filmde izlediğimiz karakterlerden çok farklı değil. Neticede aynı devrin çocukları. Bir baltaya sap olmuş olmalarının belki de en büyük sebebi biraz daha uslu çocuk olup büyük patronu kazıklamamış olmaları. Neyse parantezi kapatalım.

Renton mahalleye dönünce arkadaşları hem dövüyor hem seviyor. Eh haksız sayılmazlar. 20 yıldır insan bir arayıp sorar. Gerçi onun da haklı sebepleri var. Amsterdam’a gitmiş, evlenmiş, iş güç sahibi olmuş. İşsiz kalmasa zaten dönmezdi. Arkadaşlar bir araya gelirse ne yapar: eskileri yad ederler. Hele bunu yeni neslin önünde yapmaları ayrı bir tat. Eskiden atari vardı, ne biçim oynardık diye bir nostalji gibisi var mı? İşte o sırada dışarıdan nasıl gözüktüğünüzü bu filmde görebilirsiniz. Ama tabi ben öyle yapmıyorum, benimkilerin hepsi çok ilginç ve eğlenceli anılar.

Eskiden gençlik vardı, tek dertleri biraz uyuşturucu ve alkol için para bulmaktı. Bu sefer ekmek elden su gölden değil. Para bulmaları şart. Karakterlerimizden hiçbirisinin iş güç sahibi olmadığı düşünülürse bu zor işin üstesinden gelmeleri bir film konusu oluyor. Tadınızı kaçırmamak için şu kadarlık bir tüyo vereyim: Avrupa Birliğinden kerhane açmak için kültürel miras projesi geçirmeniz film hilesi değil ;). Saçma sapan işlere para almak için Avrupa vatandaşı olmanız ve işin içine kültür katmanız muhtemelen yeterli. Peki film nerede karışıyor derseniz şiddet yanlısı dostları Franco hapisten kaçıp kendisini kazıklayan Renton’un şehre döndüğünü duyunca diyelim.

Choose life demeden Trainspotting olur mu, olmaz. İlk filmi izledikten sonra ODTÜ kütüphanesinden bulduğumuz senaryodan ezberlediğimiz bu replik için şimdi internette bir arama yeterli:

“Choose life
Choose Facebook, Twitter, Instagram and hope that someone, somewhere cares
Choose looking up old flames, wishing you’d done it all differently
And choose watching history repeat itself
Choose your future
Choose reality TV, slut shaming, revenge porn
Choose a zero hour contract, a two hour journey to work
And choose the same for your kids, only worse, and smother the pain with an unknown dose of an unknown drug made in somebody’s kitchen
And then… take a deep breath
You’re an addict, so be addicted
Just be addicted to something else
Choose the ones you love
Choose your future
Choose life”

Bu filmden ilk filmin etkisini beklemeyin. Belki de siz yaşlanmışsınızdır, olamaz mı?

PS: İlk film uyuşturucuyu özendiriyordu filan diyorsanız bunu izlemeyin. Sonra istifa filan edersiniz, şantaj videoları çekmeye kalkıp filmin üstüne atarsınız 😉

Big Eyes – From Big Eyes to Crazy Eyes…

bigeyes“I think what Keane has done is just terrific. If it were bad, so many people wouldn’t like it”, says Andy Warhol while the screen slowly turns out to Big Eyes of Tim Burton.

Big Eyes begins in 1958 in North California where the artist Margaret Ulrich (Amy Adams) leaves her town and her first marriage behind, to set a new life in San Francisco with her little daughter and paintings on the back seat. While she is trying to adapt a new life with a new job in a furniture company, she meets Walter Keane (Christoph Waltz) who introduces himself as an artist that has to deal with real estate business to support himself better as an artist. Margaret, influenced by Walter and his romantic gestures, accepts his proposal, and the couple gets married.

Margaret Keane keeps on drawing her expressionistic paintings that are typically known for her saucer-eyed creations and as she calls them ‘eyes are windows to the soul’. The honey months of this supportive and happy marriage will evolve into something harsh after Walter initiates a business on the art of Margaret’s by acknowledging that this artwork belongs to his own.

Based on a true story, it shows, mainly, the cruel face of human soul that can spread like an opportunistic infection when it finds a liable environment in all means. The story by Scott Alexander and Larry Karaszewski (Ed Wood, Man on the Moon) progresses in an appreciable balance where Walter‘s commercial talent becomes insidiously an evil for the family. The dramatic climax in this true story is where Margaret accepts Walter‘s lies as truth at first hand, and allows him to pursue his lies. The writers have done a successful job; first, by having an in-depth investigation over the event and characters, second by aligning them in a perfect order easily to follow, third by enriching the plot with supporting scenes such as the Good vs Bad Art discussions and the role of the critic in arts, and fifth by achieving to take us sides with Margaret. Perhaps, there are only two questions that could be raised regarding the script: One of them is whether it could have been a rather soft transition regarding that psychopathic match striking scene to be more in line with Walter‘s personality that has been expressed till that moment. The other one is whether Margaret‘s decision to divorce Walter could have been based on a more convincing or solid ground rather than a spiritualistic awakening.

Amy Adams as Margaret does a great acting to display this sensitive and vulnerable beautiful soul. She acts so realistically naive and over-patient that the audience is fully engaged to the painter with deep sympathies by the end of the movie. Christoph Waltz as Walter draws a cartoonish character that sometimes takes us to Hans Landa in Inglorious Bastards.

It is noted that Margaret Ulrich, the real self, can also be seen in the movie on a park bench reading a book when Margaret and Walter are in front of the San Francisco palace of Fine Arts. As another available filming note, some of the outdoors have been shot in Vancouver, Canada, where the steepy streets resemble San Francisco very much.

Tim Burton‘s static camera and symmetric shoots in the introduction gives us the hints of a dramatically balanced and perspectively designed 106 minutes movie. Together with Bruno Delbonnel‘s (Amélie, Inside Llewyn Davis) cinematography, Burton uses a non-invasive technique with no brain- and eye-killing approach but a highly internally penetrating artistically portray. Yet, the photography is literally customized for Big Eyes 1950s and 1960s atmosphere.

Burton, who has collected himself Margaret Keane’s artwork for years, and Big Eyes invites Burton fans and cinema lovers to see the transforming story of an initially charming husband into a domineering monster over a naive and talented wife, just maybe an everyday life of a woman on the edges of losing her voice in a male dominant environment.

The Imitation Game – A war hero or a criminal?…

The_Imitation_Game

The Imitation Game – A war hero or a criminal?…

‘Are you paying attention?’ is the opening sentence of Morten Tyldum‘s, 2014 year movie, The Imitation Game. It is a dramatic story that intends to pay our attention to the spotlights of Alan Turing‘s (Benedict Cumberbatch) life as the British mathematician who cracked the Nazis’ Enigma code in World War II and who is the inspiration of Turing Machines, known as computers today.

The opening sentence in the interrogation room is depicted as a result of a burglary investigation in Turing‘s house in 1952 although Turing insists that nothing has been stolen from home. Then, the story takes us to London of 1939 where it all starts. Turing has applied for a top secret position in Bletchley and is called for a job interview with Commander Denniston (Charles Dance). Commander is very much impressed with this 27-year old prodigy in Cambridge despite his vain-in-modest refusals that he could not be claimed as a prodigy.

At the end of the interview, Turing is offered a top secret role as the Enigma codebreaker which is described as impossible and he accepts it. After some time, he has problems with his superior, Commander, regarding the funding of a devised machine to crack the code. And he talks to British Secret Intelligence Service Chef Stewart Menzies (Mark Strong), and decides to take the issue up with Winston Churchill.

Churchill agrees funding his machine and appoints him as the team leader where Turing rebuilds the team by narrowing it down with Hugh Alexander (Matthew Goode), John Cairncross (Allen Leech), Peter Hilton (Matthew Beard), and Joan Clarke (Keira Knightley). Clarke as a new comer to the team is a math genius herself and a loyal support to Turing throughout her life. Thenceforth, movie combines the story of Turing himself with his homosexual orientation in UK in 1950s and all the challenges that he faced, and decoding of Enigma by a group of genius young people leaded by Turing.

The Imitation Game is known as the highest-grossing independent film of 2014. The Norweggian director, Morten Tyldum, does an excellent job in the management of cast, crew and the story in order to make this movie overall a masterpiece of all the times. It is an extraordinary story telling and a memorable way of melting the script and a staggering human rights issue together in one pot. The script is adapted from the book of Andrew HodgesAlan Turing: The Enigma‘ by Graham Moore. It is obviously designed in a structured and ordered manner that could be taught, by default, as a best practice in any of the cinema schools. When this faultless script has met its Director and stellar cast, the inevitable cinematic miracle is born.

Regarding the performances, Benedict Cumberbatch is glorious in his role as Alan Turing. He reflects the arrogance and naiveness at the same time which sounds impossible to perform. He wears Turing not simply as a character, but also echoes his reactions and emotions via diversifying them per each occurence.

Ultimately, all cast does an amazing job in this 114 minutes movie. One of the most remarkable supporting characters is created by Mark Strong with his poker face, cold manner and deeply convincing voice as in the role of MI6 Chef. He fixes his physical liability into the role so successfully that there is not even a bit of overacting despite the character’s tendency to that. Cinema fans could remember him recently from Before I Go to Sleep (2014) and Tinker Tailor Soldier Spy in 2011.

The Imitation Game, mainly, talks about the obvious codes used in war and obscure codes used against man by law and public. Both the script and direction are perfectly tailored to imply it. Life struggle of such an extraordinary genius is worth shooting this deep picture indeed and should be behaved as key take-aways for the dark and bitter face of civilized-called humanbeings in order not to repeat it again. Turing changed the course of the world history by revealing the secret. On the other hand, he was in a never-ending fight with human’s jealousy and irrationalism of being pleaded guilty for simply being a homosexual only. So, the question is: Was he a war hero or a criminal against British law in 1950s?… Was he able to unlock the cruel judgement on different tastes and different preferences? Or just because someone is thinking different than you still mean that he / she should be judged and charged to death in depth?…

From the beginning, the story raises an indestructible morality and strengthens it with scenes and quotes such as the following: ”If you fire Alan, then you have to fire me too (by each individual in his team to the upper management)” or ”We are not like other people, we love each other in our own way, and we can have the life together that we want (Clarke to Turing)” or ”The world is an infinitely better place precisely because you weren’t (normal)” or ”Humans find violence deeply satisfying. But remove the satisfaction, and the act becomes… hollow”. This finely plot setting apparently magnifies the end of the film to grow impressively striking for the audience. The entire scenario is enriched with unforgettable dialogues that would serve as quotes to the next generations for decades, ”Sometimes it is the people who no one imagines anything of who do the things that no one can imagine” is one of the most recognizable ones…

Finally, this is an amazingly inspirational story to be heard. More than a story, it is the history where 49,000 homosexual men were convicted of gross indecency under British law between the years 1885 and 1967 where their punishment for being a homosexual ended with mostly a jail imprisonment or enforced chemical castration therapy. Benedict Cumberbatch, who is nominated for the Best Performance by an Actor in a Leading Role in Academy Awards 2015, has already put his name to an open letter urging the British government to give royal pardon to those men convicted of gross indecency. If life demands struggle, via the help of an expression in the movie, God does not win the war, humans win the war.

As Turing asks, can we judge whether he is a machine or a humanbeing? … and history is the sharpest self-evident judgement in the world ever… noone can ever imagine it.

”Sometimes it is the people who no one imagines anything of who do the things that no one can imagine.”

Film Bocugu – Feb, 2015