Watch Alone For Free

hyped garbage

Bad Acting and worse Bad Screenplay

A Major Disappointment

The film may be flawed, but its message is not.

one of Turkish films about solitude, the other and love. seductive for atmosphere and for tension and for the manner to escape from yourself. simple, delicate, wise. one of films about the meet who change everything and who becomes not exactly essential but the fundamental choice for discover yourself. like many Turkish contemporary films, after its end, the only great memory remains the flavor. like the cinnamon flavor. sad. and refreshing. and this is all.

This is perhaps Çağan Irmak's best movie to date - an anti-romantic drama set in and around Beyoğlu that ostensibly analyzes the crisis of contemporary masculinities, but ends up showing how self- interested people actually are.Alper (Cemal Hünal) is a successful chef with a penchant for collecting 80s pop LPs. In public he comes across as a generous, though perfectionist boss; in private he lives a life of solitude and self-interest, as he regularly haunts out local whores for a spot of S&M. Into his life comes Ada (Melis Birkan), a clothes-shop owner who initially rejects him but responds eventually to his persistent advances. The two of them fall in love but inevitably the affair ends in tears.That is the entire plot of the movie; but nonetheless Irmak retains our interest by making telling thematic points. Alper's fondness for 80s music is part of his conquest strategy; chat the girl up, take her home, cook her a meal, put on some soft music and sexual success will inevitably follow. Unable - or is it unwilling - to acknowledge his true feelings, he inhabits a mental prison, despite his conquests. This is suggested through a regular use of shots showing him driving a car through the streets of İstanbul, with the camera outside focusing on his expression behind the wind-shield. On other occasions Irmak uses prison-images - for example, photographing Alper in close-up behind a metal bed-head, with iron bars obscuring his face. The film's narrative unfolds in a series of two-shots and shot/reverse shots, which might suggest a concentration on character. However Irmak intersperses these shots with a series of jump-cuts - for example, when Alper prepares his dinner, or when Ada cooks breakfast one morning after a night of sexual passion. This technique suggests that the protagonists are somehow in a hurry; they want to get as quickly as possible through their daily rituals so that they can move on to something else. They cannot reflect on their emotions or their feelings towards one another.The final sequence is particularly memorable. Ada and Alper re- encounter one another in Beyoğlu: by now Ada is married to someone else, while Alper is still isolated. As they exchange banalities with one another, we hear their true feelings expressed in voice-over. We learn from Ada that she has a memory of her time with Alper - a 45 rpm record that she took from his mother's house - that Alper knows nothing about. Here is the true source of nostalgia; not necessarily a mood, or a piece of music, but an object that recalls the past. Alper can, and never will, discover how this works, being too much concerned with himself alone.

Instilling vigor to the once-bedridden Turkish movie industry with his original work "Mustafa Hakkinda Her Sey", Cagan Irmak pays homage to the basics of his career in his last installment "Issiz Adam", which once again evolves around the ordinary lives of ordinary people; abandoning the mystic atmosphere set in his previous movie "Ulak". Probably, nobody expected Cagan Irmak to top his story-telling in his highly acclaimed movie "Babam ve Oglum" (and probably they are still right) but surprisingly, it takes only five minutes to realize that "Issiz Adam" races in a completely divergent category with a totally different aim. Setting out to scrutinize the concept of "relationship" in the new era, "Issiz Adam" introduces two main characters; Ada and Alper that anyone can easily relate to and actually, the simplicity of this projection remains as the movie's strongest suit throughout the runtime. On one side of the scale we have Alper, the "isolated man" (not "the lonely man"!), who by definition consumed much out of life and got himself stuck in a corner that is beyond help. It is a dark corner built initially by choice and structured deeply by later habit (feel free to add the "modern life" ingredient) and unfortunately, this corner gives no room for another person to fit in, not even for Ada, who oppositely is willing to give and sacrifice more for love. "Issiz Adam" tells exactly the story of this scale, the constant changing in its balance and its breaking point. The story is further embellished by genuine colloquy (contrary to people who find the dialog fictitious and unrealistic, there are young educated people who are able to integrate words and quotations in a smart way as depicted in the movie), touching music(deference to 70s Turkish music which is sadly followed by a cursory and inattentive soundtrack album) and solid performances (those who denounce the acting should take into account that the movie offers rather tough lines to perform in the silver screen and the actors did their best in this respect).Already a phenomenon in Turkey, "Issiz Adam" is an emotional experience and more of a roller-coaster ride that puts a smile on your face during elevation until the deep fall.

Irmak has finished analyzing his audience. Now he can do the best shots. Not only shooting the unforgettable frames but also the deepest parts in the hearts. And again, he took the advantage of doing "this thing" near the end, and in an inconvenient moment that the audience having no time for recovery. The hope of an "Island" to survive for a "Lonely guy" was successfully injected to us who still believe in that magic word. The soundtracks themselves are quite impressive, as if they were written for the movie after decades. Sometimes I'm wondering whether Irmak shot this movie for only those old songs. Just watch it, do not see, do not hear and do not talk.