It is about characters in a specific time frame -- namely the Ottoman court near the end of the 18th century -- who must live up to the responsibilities of their titles: when you're summoned by imperial authorities, you oblige and that's that. Beyond that, the strength of the film lies in the careful balance it maintains between historical accuracy and human drama. Surprisingly, this movie was made by French director Jacques Dechamps; he seems to understand the Ottomans better than some of us in Turkey.

We are introduced to Dede Efendi (veteran Turkish thespian Emin Olcay). Although he was a prominent Ottoman pasha, when his wife passes away he chooses to lead his life as a Mevlevi dervish. His helper Halil Can (Metin Hara), who keeps the daily journals of the dervish order, tells us unhurriedly the quiet story that will enfold. Halil Can, just like Dede Efendi, has devoted his life to the search for truth, peace and universal love. Unfortunately, the times are changing, the empire is getting weak and Gen. Napoleon Bonaparte of France has set his sights on Egypt, an Ottoman colony. Dede Efendi and some of his old friends from the French Embassy wish to resolve the issue diplomatically to avoid a declaration of war. A series of unofficial diplomatic discussions commence involving Dede Efendi, Sultan Selim III's sister Beyhan Sultan, a handful of palace bureaucrats and a newly arrived French delegation.

Meanwhile, Dede Efendi is assigned a young palace doctor, Tabip Halil (Alican Yucesoy), and Beyhan Sultan's lady-in-waiting, Gülnihal Kalfa (Ahu Türkpençe), to care for his failing health. The doctor and the fair maiden cannot stand each other at first, but they eventually fall in love. They are both aware of their chemistry, but their feelings can never be expressed outright. How could they? They are both servants of the imperial family without private lives, so they cannot engage in any move without permission. In parallel, we anticipate the development of the budding romance and the results of the ongoing diplomatic meetings. Both take time, and both are intense because, in essence, the happenings are the same: they are platonic flirtations.

Most audiences might not adapt to the delicate stride of "Dinle Neyden." Indeed most of our modern nerves are intolerant of waiting. Yet, this film is exactly about the frailty and importance of patience, whether its results are favorable or not.

With the help of a well-written script and Deschamp's skillful directing, almost everyone in the ensemble cast presents truly convincing performances. Thankfully real French actors were chosen for the francophone roles, parting from the tradition of dubbing of Turkish actors. Emin Olcay glows with warmth and wisdom as Dede Efendi, Alican Yücesoy's tight-lipped doctor, is appropriately restrained yet sensitive and Türkpençe's piercing gaze shines through her tamed exterior. Respected actress Lale Mansur could not have been better as the sultan's powerful sister Beyhan. It is especially satisfying to see strong female characters in a period film where one would expect women to be sidelined despite the significant political power they held in the Ottoman palace.

Like most period films, a generous portion of the budget was utilized for art direction and costume. There are no disappointments in this regard. One particular scene showing a musical gathering at Beyhan Sultan's palace astutely brings to life the dreamy grandeur seen in sketches and paintings of the period.

But "Dinle Neyden" is a film produced in celebration of the 800th anniversary of the birth of Mevlana Muhammed Jelaluddin Rumi, so it does not indulge in the unnecessary overplaying and extravagance commonly seen in Ottoman period movies. It follows profound and unpretentious characters audiences can identify with, who are trying to establish peace and harmony in their own lives within an unstable empire. They may have failed, but that is not the issue. History did not take place only in the battlefields, but also during elongated gatherings and discussions between real men and women.


todayszaman