The opening film of the Cairo Film Festival, The Cut (injury), forcing the director Fatih Akin being exposed to ultra-nationalists of his country, Turkey. A work on the Armenian genocide in 1915, but also the contemporary political wars and conflicts
A subject taboo, forbidden and dangerous, but I have the courage to tackle it on the screens in favor of those who lost their lives free. “ Thus, the German director of Turkish origin Fatih Akin, describes his film, The Cut (injury), screened at the opening of the 36th Cairo International Film Festival.
The Cut is the third part of the trilogy of Fatih Akin on Love, Death and the Devil, and after Head On the other hand, winning at Cannes. Making his first international this year’s Venice Film Festival, The Cut back on the Armenian genocide of 1915 that caused the death of nearly one and a half million Christians, mostly Armenians, but also Greeks.
During World War I, the Ottomans killed 1.5 million Armenians, according to them and speak of “genocide”. Turkey, it refuses the term and denies that figure, arguing that there was a maximum of 500,000 Armenian victims and they perished in battle or died of starvation. The Cut then tells the story of a man who lives in Mardin, a city in south-eastern Turkey, which had escaped the massacre of Armenians in 1915 and went in search of his daughters.
In the international press, Fatih Akin said that Turkey is “mature enough” to receive and accept this film. “I tell those who are afraid: It’s only a movie. But I am sure that the Turkish society, including myself, is mature enough to welcome “. However, the film starts, and not surprisingly, strong criticism in Turkey as to assert its director death threats.
Faced with such difficulties, it took eight years for Akin to accomplish this project, as it has faced many obstacles, including the inability to find a Turkish actor to play the lead character in the film.
The young filmmaker insisted that the role to be played by a Turk, believing in the importance of “a Turkish film”. “A French or American actor could not play the character of Hrant Dink,” he said before the screening of his film at the Venice Film Festival. “It is up to us – the Turks – confront us with this issue,” he said.
But finally, he gave up the lead role entrusted to a Turk, being obliged to give it to Tahar Rahim, a young French actor of Algerian origin. The latter excelled embody Nazaret young blacksmith, a victim of the Turkish army in 1915.
As its name suggests, Nazaret Manoogian has the misfortune to be part of the Christian Armenians. One night, the army knock on his door to incorporate strength. After a few dozen months breaking stones in the desert, he was offered as to other prisoners to convert to Islam. Disobedient as he unfortunately slain but Nazaret falls on a sensitive executioner let him live, but not without him anyway split the vocal cords, reducing him to silence for the rest of the film.
Released Nazaret discovers that only his twin daughters survived the horrors of war, and he began to find them during a trip that will take him to Cuba and in different states of America Florida.
Sumptuous but bland Illustration
Side forms, co-written by Martin Mardik scenario brings some visual beauty and a panoramic photo 35 mm, to give the film touches of Hollywood blockbuster. However, sometimes it during the 140 minutes of the film, printing a succession of scenes exposure, almost all at the same pace. Moreover, the dialogue is sometimes oversimplified, and the fact of the Armenian characters speak in English, while all other languages are subtitled, was not the right solution to make the attached or nearby public content.
Akin clearly seeks to address a contemporary audience, either through dialogue or through an electric musical band’s wrong with this kind of historical films. Moreover, some images remind wars underway in the Middle East, with the refugee camps and the suffering of free citizens, but an own perspective to the director.
Regarding the interpretation in this epic, Rahim proves once again its abilities to change depending on the character’s skin, or rather by the challenge. He excels at using his talent to face this almost silent role, thus requiring a physical game worked well, despite some moments of flatness in rhythm. Because the scenario can be summarized in a series of sometimes excessive testimonials. However, this does not affect the quality of the film, entered as a good example, even though direct perfected.
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