In the most beautiful scene of his film about hatred, slaughter, and the meanness of a world abandoned by all the gods, Fatih Akin summons the power of the cinema giving consolation. In 1921, the hero, a abgezehrter, schlotternder in shabby clothes young man, in a backyard in the Syrian Alepppo stumbles there. He discovered a crowd that staring staring at a wall. There, the black and white pictures of Charlie Chaplin’s film jerking the kid. And suddenly the hero with all the others from hunger, fear of death and war is terribly beaten people into a big laughter. The man who laughs, here is dumb. Fatih Akin’s new film the cut, world premiere in the competition of the 71st celebrated Venice Film Festival on Sunday night, tells the drama of the Armenian village blacksmith robbed his voice Nazareth Manoogian. The brave craft man, played by actor Tahar Rahim, lives peacefully and initially happily talking with a beautiful wife and two twin girls in the Ottoman town of Mardin. In 1914 he brought by Turkish gendarmes out of bed and forced labor. He is yelled at and flogged. He must watch rapes and summary executions. He learns that his loved ones at a death camp were driven. And he carried himself almost in the hereafter: Nazareth survived only because the Turk split for its slaughter not as ordered slitting the throat him, but stands only deep in the throat. It steals the voice. A little later, the Turk helps the injured to flee. The cut will now begin the font display once upon A time,., it was once,., and the summoning of an Armenian family Idyll in the House of the blacksmith Nazareth. This Idyll is too bright, that she could be out of this world. Similar to surreal are the horrors that the hero will soon have to face, loud and bizarre nightmare tear: Nazareth discovered the intertwined bodies of ghastly massacred men, women and children in a fountain. In a death camp naked dying in the light of flickering fires wind, while Nazareth on is begged by his sister-in-law, plague, but please to redeem them from their suffering. The cut tells the story of the man of Nazareth, who survived the horrors of the genocide, loses faith in any God and yet not the courage down stunning images sometimes proudly exhibiting their Monumentality. Nazareth finds his mission when he learns in Aleppo that his twin daughters have survived: he goes for years of wandering To find them. It will take him to the Lebanon, Cuba and in the United States. He jumps on trains, he scrubs the deck of an ocean liner as a sailor and he shrugged to a homicidal Wegelagerers by himself bumping off the attacker. So, the peace-loving man who was named after the Place of birth of Jesus, spotted his own hands with blood. Turkey already the announcement, has ensured that Akins film in Venice of the world would presented, that the Director has received from Turkish nationalists murder raw conditions. Today, many of the nationalists denied that there has been genocide perpetrated by Turks of Armenians at all. Now Abass on Sunday at a press conference in Venice was asked whether he had fear. Its Very much cheerfully by reply: It speaks for the art, that there is this threat. The actor Simon Abkarian, who has Armenian ancestors and in the cut a starring role playing, said during the same press conference: Fatih Akin has made At last the film, Armenians have been waiting throughout the world for many years. The political explosiveness of the cut the human seriousness may not always keep up with. A strangely naive martyr hero, who always wears a frightened wonderment in the face, and even in those moments not to hate seems capable, in which he invites blame shuffles through the center of the film. That the hero remains silent most of the time, the thing does not make easier – even if one understands that the man is vicariously condemned for his half-deleted people silenced. So you can admire the filmmaker akin for the consequence with which he tells the passion of the Christ of Nazareth Manoogian as anthropological parable: Ballad of a man of who is forced, the evil in the world to take on it, it loses all certainties and a new, disturbing freedom gaining him themselves most of all. But you can feel the greatest passion and narrative power in this film whenever leaving warlike horsemen in the steppe country revived the myth of the classic American westerns, when in a factory in Minneapolis factory workers can be seen at their sewing machines and it reminiscent of the Office girl of Hollywood films of the 1930s, or when the Gehampel Charlie Chaplin’s ecstatic residents of Aleppo. . For more information about this subject click http://5a82c9593782d2a5497c8efa72fc14e2.bloggerpemula.com.