Cubussoli
Very very predictable, including the post credit scene !!!
Lovesusti
The Worst Film Ever
Rosie Searle
It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.
zirekmehmet
The composer of the film music proved to be the best one in Turkish film industry and created a unique style which can be even defined as a new genre of his own. The rhythm changes according to the pace of the film, but melody fits to the dramatic or cheerful scenes without changing and loss of continuity. I suggest a quick search of Cahit Berkay and Husnu Senlendirici (the clarinet) for Selvi Boylum Al Yazmalım.
Eda Nihan Algan
Selvi Boylum Al Yazmalim (The girl with the red scarf) is a romantic drama, originally written by Chingiz Aitmatov and later directed by Atif Yilmaz. The film was released in 1978, falling under the "Postmortem Yesilcam" category. This indicates the fact that the film represents some elements that would generally be found in that time period. Some of which include the Turkish mentality in the late 1970s, the connotations of masculinity and a man's possession over his family, the reliance of Yesilcam films on the audience, where they showed the viewers what they wanted to see and what the lower and/or middle class people could relate to. As a further matter, the metaphorical elements of the political differences between one word titles and longer titles in the Yesilcam industry, illustrates the importance of politics in film as well, particularly during this time period. What unites all of these elements together, is the fact that they all relate back to the audience and would not have been as successful without such consideration. The film paints a dramatic picture of the Turkish culture within powerful emotions sending deep messages to the audience, and showing the importance of social and cultural issues which impact the Turkish mindset.
l_rawjalaurence
Shot on a shoestring in the countryside, SELVI BOYLUM AL YAZMALIM is an acknowledged classic of Turkish cinema. The plot is straightforward enough: village girl Asya (Turkan Sorak) falls in love with itinerant truck-driver Ilyas (Kadir Inanir). They get (unofficially) married and have a child, but Ilyas cannot adjust to life as a husband and seeks solace elsewhere. Asya leaves home for good, and is left alone on the road until Good Samaritan Cemsit (Ahmet Mekin) takes her in. After a whole, during which time Cemsit proves a good father to Asya's son Samet, the two get married. However Ilyas returns quite unexpectedly to the scene, forcing Asya to make a choice between past and present lives. Yilmaz's direction is straightforward; while allowing the plot to unfold at a cracking pace, he uses the shot/reverse strategy to powerful effect, especially at the end. The three central performances are just brilliant: Soray and Inanir were never better during their entire careers as the ill-fated couple, while Mekin has a wonderful talent for showing repressed emotion in a single expression. SELVI BOYLUM AL YAZMALIM has proved highly influential: the 2012 films ARAF and GOZETLEME KULESI both have sequences borrowed from the film.
Aytaç Demir
"Selvi Boylum Al Yazmalim" is further than a milestone for Turkish cinema history and it takes a place among the most impressive and best films in Turkish cinema history as well. The film leaves a dramatic effect and many questions behind after leaving the theater. The story is based on "Cengiz Aytmatov"s novel named in Turkish "Yol Arkadasi" and screened by the direction of "Atif Yilmaz". In my opinion, the film has an allegoric exposition in which love and exertion usually clash each other though, the power of the exertion becomes superior at the end, is analogous with the spirit of communism. Meanwhile, the book mentioned above, also won the 1963 Lenin award. Audience can find great number of details about the praising of the strive. Performance of the players also seem excellent in this movie. Woman character; Asya; Turkan Soray, stuck in the middle of two men. On the one side her love and father of child, Ilyas; Kadir Inanir, whereas on the other side is desperately but constantly struggling man Cemsit; Ahmet Mekik. She is uncertain about where to go, whom to choose; love or exertion ?
