Dry Summer Screen 5 articles

Dry Summer


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  • For too long, director Metin Erksan... [repeats] the same basic scenes over and over; the villagers complain, the selfish farmer’s kinder younger brother urges him to reconsider, and the bastard refuses. A mid-film plot twist in which the nice guy agrees to take his awful brother’s place in jail, however, transforms Dry Summer from a stodgy peasant war into a lurid Cain-and-Abel saga...

  • The film is pure melodrama, with Osman’s pride broken up with shots of Hasan constantly bedding his new bride, Bahar (Hülya Koçyiğit) and the brotherly strife leading to almost ludicrous ruin, but Erksan’s direction never settles too long on classical framing. Instead of fully static, intercut shots or smooth tracks, Erksan spends many shots panning after any movement or dialogue, adding a percussive visual punch to every gesture and line.

  • Comeuppance in Dry Summer is grave, and director Metin Erksan handles the vengeful aspects of his story without devolving into melodrama.

  • Metin Erksan’s Dry Summer (1964), a melodrama about a love triangle, was the first Turkish film to take home the Golden Bear from the Berlin Film Festival. Most striking here is the sense of setting. The film takes place in a rural Anatolian village, and the countryside’s atmosphere is made palpable by Erksan’s sensual style.

  • ...Even the Turkish melodrama, Dry Summer — an intensely, didactically filmed work with brutally expressive images — offers a critique of patriarchy and capitalism in a way that might make for a good double feature with, of all things, Chinatown (both involve missing water).

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