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Yol (1982)

Yol (1982)

Tarik AkanSerif SezerHalil ErgünMeral Orhonsay
Serif Gören,Yilmaz Güney


Yol (1982) is a Turkish,Kurdish movie. Serif Gören,Yilmaz Güney has directed this movie. Tarik Akan,Serif Sezer,Halil Ergün,Meral Orhonsay are the starring of this movie. It was released in 1982. Yol (1982) is considered one of the best Drama movie in India and around the world.

A harsh portrait of Turkey, its people and its authorities, shown through the stories of five prisoners given a week's home leave, and the problems they encounter in adjusting to the world outside.

Yol (1982) Reviews

  • Best Turkish film of the 1980s


    I am completing a thesis on Turkish cinema. I have seen many Turkish films, and I think this is definitely one of the five best and certainly the best one of its' era though the underrated "Polizei" which "Yol"'s co-director Serif Goren helmed is right up there. "Yol" is amazing for many reasons. I have heard some amazing Hollywood back stories of how films like "MASH" and "Apocalypse Now" were hellish shoots. But, none of them matches what the filmmakers did on this project. "Yol" was secretly filmed, and the entire cast, which included box office icon Tarik Akan risked being blacklisted. The film was subsequently banned in Turkey until 1992, and it was not shown theatrically there until 1999. It is a scathing indictment of political and social oppression in Turkey in the early 1980s. Symbolism is used throughout the film, with birds representing freedom, horses representing virtue, and women representing oppression. Many Westerneners have labeled Yilmaz Guney, Turkey's best known director who envisioned "Yol" from his prison and then while in exile, a champion of feminist ideals. But, if one sees some of his earlier film like "Canli Hedef/Live Target" they might be in for a surprise (that film features an off-camera rape of a 10-year old girl). I like Guney's films but I agree with Serif Goren's assessment that his contributions to "Yol" were completely overlooked. Goren proved to be a capable director in his own right, and his film "10 Kadin/10 Women" is perhaps the essential film for expressing ideals which are sympathetic to feminism- a movement that I sympathize with in terms of Turkey, but am neutral towards in the West. "Yol" also deals with Kurdish suppression. One of the more poignant moments in the film comes when Halil Ergun's character comes to back to his hometown Diyarbakir (in Eastern Turkey) on the train during his prison leave. He comments how strange it is to be back home. The central theme of the film is that the oppressive elements of prison life are evident just as much on the outside. Personally, I think Turkey has made significant progress in recent years. It is a shame that except for Michael Moore, Barbara Kopple, and Tim Robbins, very few American film makers take these kinds of risks that Guney and Goren did with "Yol." In my view, the more recent Turkish film "Distant" has surpassed "Yol" as the best Turkish film ever made, but this is still a magnificent artistic achievement which can be merited as a classic in terms of international cinema.

  • A wonderful movie about alienation


    YOL is a wonderful movie in which five Turkish prisoners, who are alienated by imprisonment, are granted one week of permission and discover that the Turkish society itself also alienates its inhabitants. The stories of these five men going back home for one short week are five tragedies : one of them has an unfaithful wife whose family orders him to kill her, in order to avenge the clan's honor. Another one is in love with a young girl of his village, but is compelled, by tradition, to marry his sister-in-law when his brother is killed by soldiers. Another one cannot see his wife or his children because his family-in-law cannot forgive him for giving up their son to the police when they both tried to rob a bank. All these men are confronted with the harsh rules of tradition that impede on their own freedom and feelings. This is a beautiful and never boring movie that is simply unforgettable.

  • Roads do end


    Five prisoners are given permission to visit their homes, and they get on their ways. Once out, we discover that we all live in a big prison, on endless roads which start and seem not to end. All roads end. Eventually. Absolutely harsh, touching, fierce, itching and scratching, disturbing movie about reality. A must see for those who have their own cliché definitons of how a "road movie" must be like.

  • One of the Top 10 Best Films I Have Ever Seen


    Yol tells the story of several prisoners on leave in Turkey. Seyit Ali (Tariq Akan) finds that his wife (Serif Sezer) has cheated on him, but when her family insists on an honor killing, he cannot make himself kill her. Mehmet Salih (Halil Ergun) was arrested after trying to pull of a heist with his brother-in-law, whom he abandoned as he was being shot by the police. His in laws want nothing to do with him, and he is forced to finally tell his wife Emine (Meral Orhonsay) the truth. Omar (Nedgmettin Chobanoglu) returns to his village to find that it has been caught up in Turkey's civil war, and is in ruins. They all must deal with how their worlds have changed since being behind bars. This film is so startlingly beautiful. I am not Turkish, but I am Muslim and speak some Turkish, and it was nice to see something from a Muslim director, who was not trying to copy Hollywood. This was a Turkish film, and Sherif Goren did not try to make it for anyone else. Turks are interesting people; their country has problems, and when they appear strong on the outside, on the inside, they always seem to be in pain, from their heart; yet, they always manage to be happy. They have great perseverence. Anyway, Yilmaz Guney wrote such a great script, he captured a peice of his culture a put it in a medium most people can understand. It's a masterpeice, giving a glimpse of people with a beautiful religion and culture that anyone could watch. An excellent film.

  • this movie is a lesson about life


    This excellent movie shows how people in their life are the prisoner of their situation. The live in a world and society that expects them things to do and behave, and the do and behave as expected, even if they don't feel happy with it, or hurts them. They have to. This is a lesson for myself, and life as I experience it. Yhis is dramatically illustrated in the movie in the scene in which the husband is forcing his wife to go with him through the mountains, through the snow. Which has a bad ending. I remember this scene even more than 20 years after I saw it ever. This 'being prisoner of your situation' is not specific for the Turkish or any culture. I think it is typical for humans in general. Look around and you will see.


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