Skip to main content

A Scene From "Once Upon a Time in Anatolia' by Nuri Bilge Ceylan

Roughly halfway through Nuri Bilge Ceylan's 'Once Upon a Time in Anatolia', after a long night in search of a body through remote Turkish hillsides, a weary parade of officials and the accused stop for sustenance.  Tiredness and confusion has muddled the mind of the suspect over the whereabouts of the body.  The search party, consisting of a police commissioner, doctor, prosecutor and driver, are all past the point of tiredness.  They've all written the night off and have resigned themselves to the fact that they're unlikely to return to town with either a confession or the missing body.  In the early hours of the morning, the  three-car parade stop for a break in a village and gather in the darkness of the local mayor's home.  All the men are physically and emotionally spent.  Even in the darkness, the stresses and strains of their working and personal lives are discernable through the shadows thrown on each of their faces.  Cracks are showing that may never go away.  These men are at odds with themselves as the night's seemingly endless objective serves as a macabre catalyst for deep introspection over an inner struggle.  They are all caught in this contemplation when the mayor's daughter - lamplit and dazzling in her youthfulness - enters the room unnoticed to serve drinks.  It is a scene almost completely free of dialogue as the light from the girl's candle illuminates each of the men's faces as she moves about the room.  The camera catches their reaction in turn as she serves each of them tea.  One man double-takes, one triple-takes, another wakes from a light sleep and looks at her as if she were just a continuation of his dream.  The girl's illuminated presence serves as a reminder to the men that truth and beauty can exist in the most ugly of circumstances, untangling their troubles by reducing them to their lowest common denominator.  Her presence has the most outwardly profound effect on the murderer, convincing him to make his confession before the search is recommenced.  It is an extraordinarily nuanced and expertly choreographed scene.




Comments

Popular posts from this blog

Mr Pebble Pockets

I’ve called him Mr Pebble Pockets because if I don’t make a joke out of it I’ll cry.  It was about 10:30pm, I’d just got back to the boat from a late shift and I was waiting for my Deliveroo.  He was standing a little further down the towpath and staring at the water.  The night was clear and crisp and there was enough moonlight to see the shape of him: he was tall, late twenties and had a powerful sporty look to him.  He wasn’t crying, but he was shaking and he stood crooked.    Well, it doesn’t take a genius, does it?  I only came out to wait for a bloody curry.  Mother Florence bloody Teresa Nightingale springing into action, hungry and as tired as fuck and now having to stop this guy from jumping into the canal with an anchor for a coat.     I know now that the best thing to do was offer him a cigarette.   I don’t know why I didn’t.   I had the packet and the lighter in my hand. ‘Excuse me,’ I said.   ‘Ar...

An Expert Analysis of Michael Fassbender's Running Style From the Film 'Shame'

Tom Wiggins: What are your first impressions of Michael Fassbender/Brandon's running style? Paul Whittaker: He's running nice, smooth and relaxed. He seems like he has a good amount of fitness and he is running well within himself in terms of pace.   TW: What improvements could he make to his running style? PW: The main improvement I'd make is his foot plant.  He lands heel first and this causes a 'breaking' effect when travelling forwards.  If he landed on his mid-foot/forefoot, this would be a much better for impact stress and propulsion going forward into the next running stride. TW: Regarding his speed, how many minutes per mile is he running? PW : I would say he is running approx 7-7.30 minutes per mile. TW:   What do you make of his stride lengths?  Is he overstriding/understriding? PW:  The actor is definitely overstriding in this clip.  It would help if his feet landed underneath and below his centre of gravit...

Samsa & Shabeezi

Samsa was now a human.  He’d recently become a human after his architect decided to put a human heart in him and give him feelings.  The five litres of blood that now pumped around his body warmed him up.  It made for incredible nose bleeds, spasms, cramps and bruising, to name o nly a small fraction of the symptoms, but his architect assured him that it would all be worth it and that he'd feel normal very soon.  He didn't know what normal was, but he knew it wasn't puking and shitting and bleeding all over the place for the first two months and then just feeling terrible for several weeks after that.  Human life is agony, he thought, but he trusted the process.  One day, a little over twelve weeks after the operation, he woke up from his first good night's sleep and was able to open the curtains without the light splitting his skull in two.  Samsa had known Shabeezi before she became a human woman.   All they had done was fight.   Samsa es...