Three Monkeys

When I saw Distant (2002) by the same director, Nuri Ceylan, I was suitably impressed with his cinematic technique: sparse dialog, enclosed simple sets, very long takes, long static shots, little or no music sound track, minimal cast of characters – and essentially allows the story to unfold by simply observing what people do. The next film of Ceylan's I saw, Climates (2006), used similar techniques and followed a similar pattern; but I liked Distant more, at that time.

With this one, Nuri Ceyaln has proved that he is truly a master of visual story-telling. Moreover, this is a more compelling and a more intense story than the above two because it delves into the daily, banal evil that occurs – and is often covered up – in families in all cultures in real life, all of which is implicitly contained within the title. Curiously, as a boy long ago whenever I visited my paternal grandmother, I would almost always pick up the same ornament – a trio of monkeys in a row and in appropriate poses – with the words Hear No Evil, See No Evil, Speak No Evil inscribed in the base. At that time, I thought it was quite funny to look at...

This story illustrates those frailties when Servet (Ercan Kesal), a local businessman and wannabe politician, accidentally kills a pedestrian with his car at night and desperately pressures his chauffeur, Eyup (Yavuz Bingol) to take the rap for him – for a good price – which inevitably leads to the spiral of doubt, distrust and evil that eventually overshadows Eyup, his wife, Hacer (Hatice Aslan) and his son, Ismail (Ahmet Sungar). And throughout the story, the lack of dialog heightens the disconnect that grows between the father, mother and son, all of whom live at the top of a reasonably affluent blocks of apartments overlooking a railway which parallels a freeway, and with the open sea as a backdrop .

Those who know Ceylan's films know he likes long, static takes in either extremely long shot or medium to extreme close up; so, viewers won't be disappointed at all. Coupled with Ceylan's proclivity to have the actors face on to the camera more than any other director I've seen (and without breaking the fourth wall), viewers can savor and even wonder at the effect the actors have upon them as they watch – an effect so strong that I, at least, actually have the feeling of being there; and in this film particularly.

Complications continue, though, when Hacer thinks she is falling in love with Servet (who is married, of course) after he seduces her just once; thereafter, she won't let him go, much to his displeasure and despite his threats directed to her. And, after Eyup is released from prison nine months later, things really go down the toilet when he begins to suspect what we, as voyeurs, know already; and they reach rock bottom when Servet is found dead, murdered. Meanwhile, young Ismail attempts to make his way in the world while silently witnessing his parents' difficulties.

Overshadowing the family's problems is the poignant memory of the son who apparently drowned while still very young – a recollection that still affects all three.

One thing, of course, always leads to another. But here, not only is the resolution of the murder a surprise, but the aftermath is what really got me: a totally unexpected, but deliciously ironic narrative closure that makes diabolical sense in yet another oh-so-real-life story about the devil's playground viz. human relationships.

Do see this movie from one of the best directors in the world today. And take note of the quality of the actors and the stunning photography – particularly the long, final shot of Eyup atop his apartment as he looks out to sea – while you are entertained with a story as old as antiquity. I look forward to seeing Once Upon a Time in Anatolia. I hope you also feel the same.

Highly recommended – but definitely not for action/thriller fans and rev-heads.

March 8, 2012

I can't remember if I've ever seen a Turkish film before, which is a pity, because if Three Monkeys is anything to go by, I have missed some terrific movies.

This is a dark, stylish, noir thriller which sees a man agreeing to take the rap for his political master who is involved in a car accident. In return for doing time for a crime he did not commit, his boss will continue to pay his salary to his family, and also settle the 'debt' with a lump sum payment when the man is eventually released. While he is in prison, his wife is left to hold the family together and she and her son quickly get caught up in a web of passion and betrayal.

Director, Nuri Bilge Ceylan carried off the Best Director Award at Cannes for this, his fifth feature, and it's not hard to see why.

Three Monkeys is is a dark, brooding film, where every shot has been thought through and framed with meticulous detail. Long, intense close ups of the principal characters produces sustained psychological tension as unspoken words seem to fly through the air like knives.

The principal cast of Three Monkeys; Yavuz Bingöl, Hatice Aslan, Ahmat Rifal Sungar, and Ercan Kesal, are universally good, but top credits should go to Hatice Aslan, the femme fatale of the piece, who has the ability to convey many layers of meaning by saying little and feeling much.

Highly recommended.

Extremely emotional. Sadness, happiness, love, family relationships, in a brief, you can find every emotion that we have in the movie. Well acting, good screenplay, enough picture. One of my favorite.

The first and the most important thing to say about "Uc Maymun" is already said at the 2008 Festival de Cannes; the directing is incredibly strong! The usage of every cinematographic material shows and once again proves that Nuri Bilge Ceylan is a great auteur of our time. I really don't agree with the critiques that have been made about how too technical and photographical the movie is. Simply because it's not. It's just irritating as life itself. It's reality what was filmed and so; very irritating as it should have been. It's the first movie of the auteur in which act professional actors; therefore it tastes and seems different somehow. Plus the way it's made was meant to be different than the former ones as far as I am concerned. Yet I don't think that the movie lacks the sincerity which always has been the most important reason for me to like the movies of N.B.C. Actually I think that it is more movie-like this time; thus experimental for the director, no need to say.

Although it can be argued that its local touches can be appreciated more fully by Turkish audiences, "3 Monkeys" is a film that can definitely appeal to all film-lovers all over the world. It is a human drama, centered around the family of a fall-guy for a small-time politician. It is also a story of betrayal, longings and revenge. No shot is "left there" just for the effect. Even while you are watching someone walk under a train crossing, you find yourself thinking about what she might be feeling, thinking, not because you force yourself to, but because the film successfully makes you. Visuals are great, as always is with Ceylan, but this time they are superior, and the film, with both its screenplay and visuals has a black-and-white feeling, although it is not a black-and-white picture. At the end, you find yourself wondering who the "three wise monkeys" really are. Is it the family of 3, whose members have different agendas and do not want to see or hear or tell, or is it us, for knowing, but not wanting to know about all this human drama and social corruption? I hope "3 Monkeys" can gain international distribution besides film festivals and be given a chance to be appreciated by everyone.