Based on the novel Yolun açık olsun (“Let your path open”), by Hakan Evrensel.
Direction and script: Mehmet Ada Öztekin
Original Title: Yolun Açik Olsun
Origin: Turkey
Genre: Drama
Duration: 1h 59´
Premiere: May 23, 2022
Actors: Engin Akyürek, Tolga Saritas, Belfu Benian, Öykü Naz Altay
Soundtrack: Toygar Işıklı (composer)
Synopsis
In a succession of temporal leaps that join the story, “Godspeed” is like a puzzle of events, where the plot, with its narrative, makes the viewer aware of a cruel reality by means of a revelation directly related to the games of the mind and the tragedies that Salih drags, putting on the big screen a dramatic film, with bits of comedy.
It narrates the pain and trauma of a former captain of the Turkish army, Salih, who wants to stop the wedding of his friend’s girlfriend and companion, with another man, undertaking that pilgrim journey in a 70’s car. The tragedies of the past and sometimes their dazed present will ruin those plans.
Analysis
The film, which has renowned stars, tries aptly and sarcastically to make clear Salih’s friendship and humanity with his friend Kerim. The almost cynical behaviour on the part of the former captain is justified in the dialogues and scenes of his recent past, demonstrating great subtlety in a very well-structured script and in his excellently delineated characters.
The aim of director Mehmet Ada Öztekin is to leave to the world the dramatic vision of an area of his country, Turkey, in constant struggle against terrorism and to honour the memory, with figures, of those killed in combat.
The camera interacts in various ways with the elements of the image (people, objects, backgrounds, etc.).
The frame (fragment of the space that captures the lens of a camera and images that we perceive as visual sensory impression), is almost perfect and I say almost because surely there would be details to perfect.
Several types of angles are observed (points of the space where the camera is located with respect to the person or object filmed within a frame according to the height and direction): in the front plane, where the camera is placed parallel to the ground and at eye level of the characters or objects, it does not have much dramatic impact, but it is perceived that it was used to give naturalness to the scenes.
In the chopped plane it is sought to represent the protagonists on the battlefield finding themselves at a disadvantage and at the moment, they are losing the fight. The aim is also to demonstrate vulnerability and inferiority to the alleged enemy.
Also used was the zenithal plane, a type of aerial viewing angle that is usually filmed through drones and allows to observe the dimensions of space in a whole. In these cases, it was used to give an aesthetic effect in the shots, both in dramatic scenes and in those that are not.
The so-called aberrant plane was also used to convey instability, confusion and alienation to communicate that the main character is as stunned to hear a hum and also to give dynamism to those scenes, which were used with great tact not to overwhelm the eyes of the viewer.
Another angle used was the side plane where the camera was placed next to the characters seeing them in profile.
Always specifying the camera angles, it was used the foreshortening plane, one of the most used in cinema, through which we see the protagonists or people talking head on and the characters we hear are seen behind.
The dorsal plane gives us the perspective of the characters, for example in the scene where the two friends, sitting in the car looking at the sea, we, as spectators, have a broader vision including the protagonists in the frame.
With respect to the soundtrack, it fits very well to the scenes of the film; a set of sounds of excellent quality, soft, slow melody that corresponds to the scenarios that are seen, thus reflecting what was intended to convey.
The music expands and explains the images in the most emotional sense helping to create and reinforce certain atmospheres giving a sense of reality to the viewer in certain situations, as well as linking landscapes with sounds. Throughout the film the viewer is emotionally involved through music either when it comes to happy feelings, or when they are sad and dramatic.
What about the lighting used? It is clearly observed that natural light was used in many scenes, with sunny days unlike other Turkish films where rain is one more protagonist. In “Godspeed” the director also used lights and shadows which add even more drama, accompanying the emotions and actions manifested by the characters. In some other scenes, artificial light and dark used, some more intense than others, to make the backlight direction fit the selected plane, for example: in the scene where Duygu discusses with his parents there is clearer lighting while in the adjoining room we can see Salih practically in the shadows transmitting the sadness and trauma he is suffering.
The costumes of the characters are simple, soft colors, without too many changes in the costumes, on the contrary, the protagonists wear the same clothes throughout that journey. The changes occur in the dramatic images and in the rest of the characters. In the scenes at the end of the film and in the character Salih, a narrative of great weight is perceived; tones and colors are reflected combined in a natural space transmitting the peace and serenity that finally achieves with himself.
The makeup is very well related to the costumes and in the scenes of the war it is noticeable that it is used to give a blow of special effect: danger, pain, fear.
In general, when examining the montage or editing, the images and sounds arranged in units of time and space show the relationship between the scenes of the present and those of the past, in order to create plans, sequences and acts mentioned.
Conclusion
It is a dramatic film where the director leaves a very enlightening message, but if we look at it with a more critical eye we will realize that it is full of values, symbolism and subliminal messages such as friendship, love of animals, empathy, solidarity, respect, resilience, guilt and sure a few more.
The plot awakened in me mixed feelings, sadness and joy, melancholic and euphoric. The protagonists are not stereotyped or rigid, they move with total naturalness, which affirms and confirms the great performance of the two protagonists, achieving that the result of their actions, feelings and emotions reaches me very deep. A movie that will keep you expectant as it goes.
I cannot qualify it as this is an analysis based on my vision, what I can say is WATCH THIS MOVIE! And draw your own conclusions.
For my humble opinion and as a movie-loving spectator, it is a beautiful film, which in part will make you laugh, in part will make you tear, and where you will appreciate the great acting talent of Engin and Tolga, two great friends who came together to offer us this wonderful film project.
