samkoseoglu
The opening scene of a movie is one of the most important scenes, covering some elements of cinema. "Yol" opens with an expressive, intense sound harmony that is synthesizer, and its high volume, and the guardian's voice of notifying the prisoners about the letters sent to them. One can clearly feel the hope of all the prisoners with this shivery musical tone. Their losses, expectations, melancholy, and radically quailed struggles are revealed early; however, this earliness is what the movie needs, thereof, the dramatic theme finalizes itself right on time, rather, apropos.Tolstoy's famous novel, "Resurrection", is one of best examples underlining the situation of political prisoners, and the laws. Yilmaz Güney's depiction of the prisoners situation with some scenes like the train voyage, recaptures the parts of Tolstoy's great book and its criticism. Rural area and the people of living dogmas, crime and marriage, are effectively connected. With a taste of authenticity, you feel the critical remarks behind. Having already won Palme d'Or in 1982, this movie deserves the prize of folk, and deserves to be announced as one of the best movies of Turkish Cinema.
ar656
You know you are reading, or watching, a very good story, when the story refers to people from another place, country, continent, and/or culture, where what happens is closely related to their particular environment, and yet, it touches you because what the story says it is also very much applicable to yourself, your situation, your place, your country, your continent, and your culture.The main points of the movie are: 1) You do not need to be behind bars in order to live in a prison. In fact, at some point it becomes evident that most of the main characters are safer in prison than outside. Their lives are certainly more at risk travelling through the country than behind bars.2) Sometimes you do what society tells you you have to do, even when nobody will be better off. This is particularly evident about the end of the movie (spoiler alert), when one of the main characters, upon learning of the death of his brother, tells the widow "I am now your husband; it is the code", even though he has his eyes on another woman in the village, that other woman likes him, he does not want to be the husband of his sister in law, and the widow and her children do not want him to become husband and father. But "it is the code", and that suffices. As when at the beginning one of the characters is out during a curfew that he did not know it was in effect, and is detained. Everybody understands his predicament, but the law says he has to be detained, and so he is. In another story, a man has to kill his unfaithful wife, even though he does not want to.This is a must see. This films will describe not just what was happening in Turkey 30 years ago, but what is happening everywhere today, in one way or another. It is about living in a prison, even though you are supposedly a free citizen.
coldrains_84
Yol was produced in 1982 but it was banned then.Because Yılmaz Guney was a political director so his film was the same.Especially the word Kurdistan was the first thing to be prohibited. If we look at the film the first thing to be said is that in this film we can see the "real" Turkey:what are(were) the conflicts of people in Turkey? How is (was) the atmosphere of politic? We can get the answers of these questions. Secondly there was a super scene which Seyid's wife is frozen and die next to horse which was frozen too.I think there is a message that women and animals have the same destiny in Turkey. The last thing I want to say that to say "Yol is a Turkish film" is incorrect because Yılmaz Guney was not Turc and in that films there are a lot of scenes from Diyarbakır,Urfa and other cities where Kurdish people is majority.
bausta-1
Yol has a very special place in Turkish cinema.It is a masterpiece in my opinion.What makes Yol different from other Turkish films.The most important reason is that it comes from its own culture.It doesn't try to imitate American films or some others.It has its own way.This is really very important in building a film.When Turkish directors catch this point like Yýlmaz Güney I believe very good Turkish films will exist in the future.
AD
