Time to Love (1965)
(Sevmek Zamani)
Country: TUR
Technical: bw/1.37:1 86m
Director: Metin Erksan
Cast: Müsfik Kenter, Sema Özcan, Süleyman Tekcan, Fadil Garan
Synopsis:
When an heiress becomes aware that her housepainter has fallen in love with her portrait, she also is smitten. But he is shy of human contact, and can only conceive of love as something perfect, endless and unchanging, so he rejects her.
Review:
Erksan's beautifully shot but emotionally naïve meditation on romantic love is no Portrait of Jenny but a reworking through the lens of Antonioni's Il Grido (et al), in which alienated figures stare vacantly at the horizon or are seen frozen in interior compositions. The settings at times recall Angelopoulos, and the film must indeed have informed the work of Ceylan at some stage, notably Climates. In its glistening restoration it is nothing if not striking, some shots albeit straining for effect, as the lovers at different times stand at the end of a jetty jutting out from base of frame to vanishing point, his features blank and inscrutable, hers like that of a bereft Madonna. In narrative terms, the resilience of her love needs more than the abstract explanation afforded it, and the lurching transitions to quite different locations leave other questions unanswered. Another illuminating insight into how directors from the Eastern Mediterranean were informed by Western trends in arthouse cinema (cf. Youssef Chahine).
(Sevmek Zamani)
Country: TUR
Technical: bw/1.37:1 86m
Director: Metin Erksan
Cast: Müsfik Kenter, Sema Özcan, Süleyman Tekcan, Fadil Garan
Synopsis:
When an heiress becomes aware that her housepainter has fallen in love with her portrait, she also is smitten. But he is shy of human contact, and can only conceive of love as something perfect, endless and unchanging, so he rejects her.
Review:
Erksan's beautifully shot but emotionally naïve meditation on romantic love is no Portrait of Jenny but a reworking through the lens of Antonioni's Il Grido (et al), in which alienated figures stare vacantly at the horizon or are seen frozen in interior compositions. The settings at times recall Angelopoulos, and the film must indeed have informed the work of Ceylan at some stage, notably Climates. In its glistening restoration it is nothing if not striking, some shots albeit straining for effect, as the lovers at different times stand at the end of a jetty jutting out from base of frame to vanishing point, his features blank and inscrutable, hers like that of a bereft Madonna. In narrative terms, the resilience of her love needs more than the abstract explanation afforded it, and the lurching transitions to quite different locations leave other questions unanswered. Another illuminating insight into how directors from the Eastern Mediterranean were informed by Western trends in arthouse cinema (cf. Youssef Chahine).
(Sevmek Zamani)
Country: TUR
Technical: bw/1.37:1 86m
Director: Metin Erksan
Cast: Müsfik Kenter, Sema Özcan, Süleyman Tekcan, Fadil Garan
Synopsis:
When an heiress becomes aware that her housepainter has fallen in love with her portrait, she also is smitten. But he is shy of human contact, and can only conceive of love as something perfect, endless and unchanging, so he rejects her.
Review:
Erksan's beautifully shot but emotionally naïve meditation on romantic love is no Portrait of Jenny but a reworking through the lens of Antonioni's Il Grido (et al), in which alienated figures stare vacantly at the horizon or are seen frozen in interior compositions. The settings at times recall Angelopoulos, and the film must indeed have informed the work of Ceylan at some stage, notably Climates. In its glistening restoration it is nothing if not striking, some shots albeit straining for effect, as the lovers at different times stand at the end of a jetty jutting out from base of frame to vanishing point, his features blank and inscrutable, hers like that of a bereft Madonna. In narrative terms, the resilience of her love needs more than the abstract explanation afforded it, and the lurching transitions to quite different locations leave other questions unanswered. Another illuminating insight into how directors from the Eastern Mediterranean were informed by Western trends in arthouse cinema (cf. Youssef Chahine).