Tuesday 24 June 2008

Love Story: AK Party & the EU, USA

Every day it's becoming more and more obvious why the EU & USA love and support the AK Party in Turkey, the current ruling party against which there is a constitutional court case to ban them from politics. Condoleezza Rice recently said that their relationship with the AK Party has been nothing less than perfect and that Turkey comes to mind when she's asked about what democracy would look like in the Middle-East. The biggest support came from the EU though when Hans-Gert Pöttering, current president of the European Parliament, mentioned that Turkey's ascension to the EU might be suspended if the AK Party were to get banned by the Turkish Constitutional Court. Can you feel the love?

The answer lies in the political ambitions of both super-powers over Turkey and the Middle-East in general. Both feel a sense of responsibility for the disasters in the Middle-East and after trying to topple governments, bring democracy and preach pro-USA and EU attitudes in the region, they've learned that these values can't be imported into a country without its citizens demanding them. These values need to evolve on their own to have a strong founding that will last generations, but they don't have the patience for that. Giving up on the dream of secular democracies for Muslim-majority countries, they're falling on the second-best option: pro-west Islamic republics. Now all they need is an example that they can fling at the faces of the likes of Iran and Iraq to prove that Islam and democracy can live hand-in-hand, happily forever, and who else other than Turkey to help them in this endeavor. Both love the AK Party because they see this popular party with roots in political Islam as the key to change Turkey, which has already internalized democracy more or less, into an exemplary Islamic democracy that the Middle East can look up to as the model for peace and prosperity. An Islamic democracy that's friendly to the west would be a first (as if Turkey wasn't already a first in the Muslim world by being the only secular country with a majority of Muslim population) and might just render all arguments set by Islamic terrorist organizations foolish in the eyes of millions of Muslims. The Muslim world might finally say "wait a second, the West doesn't hate Islam!"

Basking in the comfort of international support they're getting, the AK Party is growing more and more defiant against the Turkish army and the Constitutional Court and giving speeches to foreign newspapers about the constitutional case against them. They are maximising the force of their international support to pressure the Constitutional Court and army by enraging the Turkish public against these two institutions that are guardians of secular and modern Turkey. This has already worked with the army where they've become absolutely powerless to direct coups anymore. Now, the second target is the Constitutional Court, which they want to blame for Turkey's future with the EU. At the same time, they're doing a fantastic job at painting themselves as the innocent by labeling the secular foundations of Turkey as a trauma so they can prove to the world that the revolutions and principles introduced by Ataturk at the start of modern Turkey are the real roots of the current political crisis in Turkey, not their political agenda and haphazard treatment of the headscarf issue.

After all, it's been decades since the world applauded Ataturk for founding a republic from the ashes of the Ottoman Empire and giving power to the people instead of announcing himself as another sultan like the Shah of Iran did during the same time, for supporting the multi-party system early on as he knew it would lead to a healthy democracy, for introducing the Latin alphabet and a national school system to improve the horrible levels of literacy, for adopting the Western calendar to make trade with the west easier and more efficient, for secularising the governing institutions to shield the Turkish people from religious propaganda, and for leading the world on issues of women's rights, which were all tools that young Turkey needed to grow into the world player that she is now. But AK Party figures these were decades ago and many must have forgotten so why not rewrite history. Let's call all of these advances traumatic and problematic. The absence of any meaningful opposition makes this all the more easier to achieve.

There are certain concepts upon which modern Turkey is founded and which has helped Turkey withstand the turbulence of the Middle East. The EU and USA need to look further to understand the consequences of their support for the AK Party. After all, plans in the Middle East seldom go the way the western world wants them to, so it is a dangerous game they're playing. I don't support coups as they interfere with true democracy, but I also don't support any international pressure on the Turkish Constitutional Court when it comes to the case against AK Party as I have more faith in my own court that has been dealing with these issues since the foundation of Turkey than any foreign country using Turkey as a pawn in their political agenda. Having said that I also believe that a ban on AK Party will not solve anything as the root of the issue doesn't lie with Erdogan or the party. It lies with the confusion the majority of the Turkish population has over the definition of secularism and how it relates to them individually given their religious and cultural backgrounds. But that's a topic for another column.

Tuesday 17 June 2008

A Tribute to Jean Moreau - Part II

La Notte (1961) - dir. Michelangelo Antonioni
Antonioni spends too much time in establishing the lead couple's issues and wasting precious time in re-proving the obvious for the first half of the film. The couple finally face each other and let out the truth over the course of one night spent at an extravagant party in the country, complete with unexpected heavy showers, a jazz band that plays all night long and some unavoidable flirting. Moreau's most somber, depressive and solemn character I have ever witnessed... All in all, a good film yet a bit slow. As Mr. Gherardini's daughter claims towards the end: "You've exhausted me... the pair of you..."

Ascenseur pour l'Échafaud/Lift to the Scaffold (1958) - dir. Louis Malle
The brilliant script and cinematography really shines through in Malle's feature, which he shot when he was only 24. The film predates the New Wave film movement in France but one can easily see fragments bubbling to the surface even in Malle's script. The well-thought-out script even has a place for youthful criminals who have the wildest dreams, while Moreau and Maurice Ronet's characters play out the film noir story with a twist. As for the cinematography, the use of natural light even during the night shots through Paris proves realistic and refreshing. It also literally makes the film a film noir (pun intended!). No wonder this film propelled Moreau from the stage to the big screen when it was released.

Lumière (1976) - dir. Jeanne Moreau
Written and directed by Moreau herself, Lumière depicts the lives of four actresses from different generations. It's a film about films, actresses, the back-stage and the rest. Moreau plays the main character, Sarah, whom she had initially wanted Audrey Hepburn to play, but Hepburn was already busy shooting another film. The acting all-around is top-notch, and the film feels airy eventhough it deals with potentially-heavy material with a light heart. Music composed by Astor Piazolla complete the package, which is a rare opportunity to see an actress pull together all she has learned from the wonderful directors she has worked with in her career. As Moreau herself declares "When someone who has eaten only the best food becomes a cook, there really is no excuse for her dishes to be poor." (Marianne Gray, La Moreau A Biography of Jeanne Moreau, Little, Brown and Company, 1994)

More to come...!

Monday 2 June 2008

A Tribute to Jean Moreau - Part I

The BFI (British Film Institute) dedicated the month of June 2008 to Jeanne Moreau, one of the greatest actresses of the French film industry. She was the youngest actress to join the celebrated Comédie-Française in the late 50's and went on to work with some of the biggest directors of the New Wave, such as François Truffaut and Jean Luc Godard. With the international success of Truffaut's film Jules et Jim, she continued to work with internationally-acclaimed directors such as Luis Buñuel, Michelangelo Antonioni, and Orson Welles. I took this once-in-a-lifetime opportunity and saw as many of the films screened at the BFI as possible. Below are my short reactions and thoughts from each film so far. I will divide the tribute to multiple posts so I can write as I see the films throughout June.

La Baie des Anges (1963) - dir. Jacques Demy
The film opens with a shot of Moreau walking along the promenade at Nice and then quickly leaves her in the distance as the camera moves steadily backwards along the shore. It's a very fitting start for the film as this addicted gambler can't seem to have enough willpower to leave Nice and get on with her life. Her daily promises to leave this life behind and start anew get left to chance again and again as she makes her way back to the casinos every chance she gets. Her salvation embodies itself in a fellow gambler with whom she can walk through the halls of her church one last time. Moreau's wonderfully playful character, who is as likely to get bored in one instant as she is likely to get excited the next, not only enchants the men in the casinos but the viewers as well.


The Trial/Le Procès (1962) - dir. Orson Welles
Now I know which film inspired David Lynch to start a film career. This Kafka adaptation by Orson Welles feels as nightmarish as Lynch's Mulholland Drive but shot about 30 years prior. Welles directs an international cast in this claustrophobic film in which Moreau plays a small part towards the beginning. The film's Doctor Caligari style surreal sets and high contrast imagery with jarring editing of long distance and close-up shots definitely creates the necessary nightmarish feeling but all in all can't save it from being a mediocre film. Welles might have impregnated Citizen Kane, which is regarded by some to be the best film ever made, but this film is proof that he made some pretty bad films in his time.

More to come soon!

Sunday 1 June 2008

McDonagh's screen debut is promising, not as good as his plays

In Bruges (2008) - dir. Martin McDonagh - 4 stars

After Colin Farrell's character repeatedly disses Bruges in every manner possible, it's just fitting that Bruges takes her revenge on him when he is forced to face his demons in the town square. A little hide-out plan gone sour, two assassins try to lay low in Bruges until they get their next orders when things take a U-turn. At times grotesque and morbid, the film has a nice balance between noir and comedy. The acting take top honors in this tale of friendship among rats of humankind, especially since the script is lacking some of McDonagh's sharp and insightful dialog from his plays. Even though his genius shines through the first part of the film when the two hitmen carry on a series of conversations about religion, murder, life, and being a tourist among other things, his script gets muddied by the action once the gunfights begin.

Colin Farrell and Brendan Gleeson are the perfect pair for this film so kudos to the casting. The calm, fatherly figure that Gleeson portrays is an almost exact opposite to the impatient, spontaneous, and fearless character Farrell brings to life. The conversations between these two odd-ends remind me a bit of Tarantino's films where gangsters get disgusted by mayo on fries and learn to swing dance. Ralph Fiennes completes the trio with his focused and cold-blooded character who is also a disciplined father of three. These men seem more real and human than any other assassin you might have gotten the privilege to get to know on screen. This is attributable to both McDonagh's script and the trio's acting.

I can't write about this film without talking briefly about its visuals as it uses the dark, old and cold streets of Bruges to full effect to create its brooding atmosphere. All in all, this is a film I would definitely recommend as it is witty and entertaining; a successful screen debut for McDonagh.