A large amount of money enters into the ordinary lives of Selim, his wife Ayla, and their neighbor Nihal, bringing a small crime and a big tragedy to their little worlds. There are dreams, there is tragedy, there are smiles and of course, there are tensions.
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Director Reha Erdem delivers an interesting character study in this well scripted tale about an inherently good man suddenly given the temptation of a better life when a windfall of stolen money falls into his hands. His slow corruption and moral decay are made explicit with a fine turn from the lead playing Selim. It does slowly loose its way with a implausible finish but is well worth the watch.
A theme conveyed with a narrative rigor that doesn't sacrifice humour, with a wonderfully deadpan ending. One major complaint though: despite strong male characterisation, the female characters are underdeveloped to the point of cliché. They behave as if their only goal in life is sex from the mopey protagonist. This is nothing if not weak, sexist writing.
I understand that it was some kind of primary idea but the thing with hunting down the viewer with money in every second of this movie made it unbearable to watch. Unfortunately, it doesn't say more than we had already heard in every story about greed. I couldn't stomach it.
As the montage opens and closes greatly, the overall flow of the film stumbles on the off camera angles and elementary school acting, not helped by the rather poor sound editing. A little over the top maybe, but I like the way the main character gets all kinds of signs in the form of a barking dog and sheep to the slaughterhouse.
Que se passe-t-il lorsqu'un modeste vendeur de chemises taiseux, pingre, honnête et mal à l'aise avec l'argent trouve dans un taxi le butin du braquage d'une banque? La réponse dans ce film haletant et plein d'humour où, dans la chaleur d'Istambul, parmi des personnages hauts en couleur, l'argent tient le rôle principal.
Avec un sujet éculé et un peu trop moralisant Reha Erdem réalise un grand film. L'argent ne fait pas le bonheur, il ne fait que confirmer le malheur qui existait déjà . Les plans et les angles de vue extraordinaires ne font que renforcer ce sentiment d'inéluctable dans une Istamboul impersonnelle et distante.
Il " takes the money but doesn't run" c'est le hic