Perhaps the two films in Güney's oeuvre with the most jarring tonal shifts are 1974's Arkadas (The Friend) and Anxiety. The former, one of his most ambitious works, is something of a departure in setting for the director, as its milieu is decidedly bourgeois. Güney plays Azem, a public worker who comes to visit his prosperous childhood friend Cemil (Kerim Afsar) amid the decade...
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Perhaps the two films in Güney's oeuvre with the most jarring tonal shifts are 1974's Arkadas (The Friend) and Anxiety. The former, one of his most ambitious works, is something of a departure in setting for the director, as its milieu is decidedly bourgeois. Güney plays Azem, a public worker who comes to visit his prosperous childhood friend Cemil (Kerim Afsar) amid the decadent tranquility of an upper middle-class summer tourist village. The militant, class-conscious Azem is angered by what he perceives as Cemil's selling out of his youthful activism and small-town roots. He finds himself at odds with Cemil's petit-bourgeois wife, and begins to try to indoctrinate the youth of the village into the class struggle. The film's idyllic, relatively conventional narrative style then gives way to a stylistically splintered, elliptical second half, much of it set among the rural poor, as Azem takes Cemil back to their village, where Cemil begins to see the error of his ways and becomes increasingly suicidal.
As might be evident from the above description, The Friend, made immediately after Güney's release from prison, seriously flirts with didacticism – in fact, at times plunges headlong into it. As such, it's a bit of a disappointment. Güney has never been known for his subtlety, but his indulgences are usually tempered by moments of surprising insight and tenderness, particularly in those films set among the rural Anatolian poor. The Friend's bourgeois setting thus becomes a liability for the director, as he allows the film to devolve into caricature. It's not without its moments of beauty or mystery – Güney the actor's gaze is characteristically hypnotic, and he gives one of his more complex performances here
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0 有用 小易甫 看过 2015-03-11 04:27:03
影片将资产阶级的堕落生活方式与无产者的世界对立，通过后者对前者的强烈影响暗示了政治意识形态带来的道德诉求，结尾的枪声更强调了阶级身份的难以改变，但这一点无法交代主角的朋友脱离无产身份的背景。另一方面，导演明显从男性统治视角来理解性别关系，而这恰恰又与传统的社会主义性别角色不符。
0 有用 茶博士 看过 2019-04-15 22:36:06
1996.03.22