Süt (Milk): 2008

Vision date: 2.01.2009

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Director: Semih Kaplano?lu

Duration: 1 hour 42 minutes

Actors: Melih Selçuk, Ba?ak Köklükaya, R?za Ak?n, ?erif
Erol, Saadet I??l Aksoy

Genre: Drama

Country: Turkey, France, Germany

 

                                                Süt (Milk) Film Review

Süt (Milk) (2008) is the second film by Yusuf Trilogy
(Yusuf Üçlemesi) of Semih Kaplano?lu. Süt (Milk) film, which Melih Selçuk
(Yusuf) and Ba?ak Köklukaya (Zahra-Yusuf’s mothers) starring roles share, with
films  the Süt (Milk) film describes the
adolescence period of Yusuf’s.

After finishing high school, Yusuf lives by selling milk
and dairy products in Tire he together with own mother who is a from the age
of  military  services and you can not win the university
exam.

Yusuf  trying to
get along by selling milk and dairy products, write poetry is  the greatest passion to for Yusuf and he will to
publish them somewhere. Yusuf sends his poems to unknown magazines. But Yusuf’s
work does not make his mother happy, whose work is not going very well. Yusuf
is not taken to the military because of epilepsy disease. Later, with the
arrival of the station chief (?erif Erol) in his mother’s life, life becomes
more difficult for Yusuf. Yusuf is physically deficient due to epilepsy disease.
Despite all these physical inadequacies, Yusuf finds the escape in the depths
of a mine.

 

 

The Süt (Milk) film begins with a stunning scene which a
woman is tied up and turned upside down by a snake is pulled out of her mouth and
the film ends with a scene in which Yusuf ‘s showed farewell to the poetry and
showed that he worked in the mine as his did like own age.

In addition, the Yusuf Trilogy(Yusuf Üçlemesi), which
also includes Süt (Milk) Film’s, has won numerous awards.

According to Box Office Turkey  the film has made a total of 58,12,50 per
proceeds.  

In addition, it has reached 6,613 spectators. (https://boxofficeturkiye.com/film/sut-2010071)

 

The film gives a break to past narrative forms and some
aspects of that rejects the New Turkey cinema’s product  New Turkish cinema portrays worried, unhappy,
stressful and broken lives. It’s talks about tragic events and the animated
people in the movies are unhappy. (Bayrakdar, D., Kotaman,A,, U?ursoy, A.S.) (
2009). Cambridge Scholars Publishing ,Cinema and Politics : Turkish Cinema and
The New Europe).

   In this film depicted
Yusuf character is also unhappy. The film all characters are live stressfull
lifes.

In the Süt (Milk) film, Yusuf steps into adulthood in
search of a father figure who will become a role model for him. He now wants to
be the owner of the house, the power, at least as a man.

Yusuf was not taken into military service, did not find a
real job , and in the field of literature he could not get what he wanted yet
and he is a loser. Military service is a prerequisite for being a man and
respecting in this society. Military service is a prerequisite for being a man
and respecting in this society.  The
withdrawal of troops has become traumatic for Yusuf. Yusuf does not have any
status in the social structure.

 Yusuf can not
escape the masculine press throughout the entire film. Because Zehra’s feminine
disturbed Yusuf, he did not approve of his mother’s relationship with the
station chief. But nothing comes at hand. He tries to come in from ignoring and
ignoring the man who aspires to his mother. The main reason why Yusuf’s mother
does not approve the relationship is social norms. According to social norms,
Zehra was a mother and therefore she should not show her femininity. A woman
can only exist in society as a mother or a sister. The main reason why Zehra
does not want to get married is still these social norms and woman can not live
alone without a man on her head. A widow does not look good.

Women must be absolutely married. It is a threat to
morality that a lover does not end with marriage (Dönmez-Colin, G. ( 2008). Turkish
Cinema: Identiy,Distance and Belonging).

This film tells how statehood is shaped by people as a
mentality and how difficult it is for individuals to exist.

The province is loaded with encirclement and encirclement
for Yusuf. Yusuf has become a source of unhappiness beyond being a country of
happiness.

Semih Kaplano?lu has made his way to becoming an
“auteur” director by placing his own artistic language in the films
he directed.  It is also useful to
mention the concept of “auteur” here. Auteur is the person who wrote
the film with his own thoughts and feelings (Brenner C. (1998).Psychoanalysis:
Basic Concepts).

It implements the filming personality with features such
as image editing, camera movements. (Özden,Z. (2004). Film Criticism (2nd
Printing) Istanbul: ?mge Bookshop.)

As an individual he puts a film on himself and becomes
“auteur” with the bloom he created. Auteur uses and repeats similar
themes and motifs in all own films that are important indicators of a director.

This is the case in Semih Kaplano?lu’s every film, seeing
repeated dreams, mixing reality and thinking, breaking time-space perception,
references to religious stories etc. it shows itself with elements. It is
undeniable that the connection between cinema and dream is very strong. The use
of dreams in cinema is a method that world cinema uses from the past. However, it
is seen that usage in Turkish cinema is very low. (Bak?r, B. (2008).Cinema and
Psychoanalysis Istanbul: The Phantom Bookstore).

Dream use is an important method in terms of giving the
director clues about the world of the mind as well as giving depth to the
cinema. Semih Kaplanoglu frequently uses this method in his films.

We see the use of dreams in Süt (Milk) film on Yusuf’s
broadcast fish and goosefield scene:

In this scene, Yusuf catches a broadcast fish as he
follows the chief of the station, who takes his mother’s hand, in the reed to
kill with stone. Station chief hunts goose.

The fact that Yusuf returned to his mother with his bow
tongue and that he had already begun digging, is what Yusuf lost in this
competition. We can interpret this scene according to Jung’s archetype theorem.
In this theorem, dragon or fish as the savior hero are the most known motifs
(Geçti, E. (1998) Psychoanalysis and Postmodern Istanbul: Remzi Kitabevi).

 

Yusuf, who comes home with a big fish in his hand, wants
to show that he is also a man. The goose seen in this dream sent Zeus to the
goose and to deceive a goddess. In mythology, Zeus deceived and acquired the
goddess Nemesis, who escaped from him and entered the goose saddle (Demiralp D.
(2010), “The Most Beautiful of the Ancient Anatolian Legends: Troy
Helena”, Academic View, 7, 202). The station chief also got a woman like
Zeus with a goose.

Finally, the director has used the heavier dose of
symbolism in the milk film than other films. In addition, Yücel Çakmakl? says that
films such as this film can serve as an example for national cinema; because he
considers such films to be internal narratives that portray our culture, our
lives and our values ?( Arslan, S. Cinema in Turkey: A New Criticial History
Introduction)

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