It's a good thing that this restaurantion didn't remove all the scratches. Scorsese described this as a "western", and there's certainly a case to be made for that: violence also isn't used here at random for example. But beside the strong narrative angle to this movie (trying to establish self-esteem among the children of the village), there's that gorgeous father/son-relation to fully comes alive near the end.
It took me a little while into its short running time to enter the Border space, what with its snappy introduction to characters and plot, but once there I understood its reassessment in the landscape of the history of film. Its fusion of neorealism and Western is a perfect means to underline the tradition and modernity in conflict. The standoff staging is exquisite.
Beyond the lmitations of a butchered extant print and the somewhat rudimentary acting at points, the rest is a gripping folk 'western' set in Turkey's vast rural lanscapes.Traditional honor codes, feuds and contraband confront modernization, which appears here through the project of building a school. Alas! Tragedy will unfold, leading to some superbly orchestrated violence and dramatic peak of family schism.
Un des tous premiers films marquant le renouveau (in)espéré du cinéma turc, avec comme emblématique acteur principal l'incontournable et futur réalisateur Yilmaz Güney, qui met en lumière les graves problèmes endémiques du pays résultant du manque général d'instruction et d'éducation, handicap majeur bloquant toutes évolutions d'une société repliée sur d'ancestraux codes désuets et mortifères ,www.cinefiches.com
THE LAW OF THE BORDER is like a narcotic experience. Also more than a little like a psychedelic experience. But it isn't really anything like the narcotic/psychedelic experiences other movies that offer narcotic/psychedelic experiences have offered me. I guess really it does beyond-commendably what first turned me on about world cinema as a youngster: it introduces me to strange places and slightly alien mindsets.
Stark landscapes, jagged shootouts, a clash with modernity—this is a Turkish Western, and a good deal like our own. The cinematic/narrative construction isn't seamless, and the ending could use a subtler touch. But the way it sketches the relations between its community and the authorities trying to force them to modernize is as thoughtful, sensitive, and—yes—subtle as any genre film we were home-growing over here.