THE WILD PEAR TREE

Turkey, 2018, 188 minutes, Colour.
Dogu Demirkol, Murat Cemcir, Bennu Yildrimlar.
Directed by Nuri Bilge Ceylan.

A vivid picture of life in a contemporary Turkish city.

Director Nuri Bilge Ceylan has become a significant world director since 1997, his succession of films winning awards and nominations. In many ways, he is the cinema face of Turkey to the world.

On the other hand, his films are an acquired taste, well-respected at film festivals the world over, gaining release at arthouse cinemas. The Wild Pear Tree is a worthy successor to his previous films.

For an audience deciding whether to see the film, it is probably important to know that it runs for 188 minutes, a long time without a break, requiring constant attention and audiences ready for such concentration.

The director trained in photography and this is evident in the beauty of this film, the capturing of landscapes in bright colour, characters moving in the landscapes, the contrast with close-ups, especially for conversations, many very long takes during the conversations, contrasting then with rapid editing for interactions. And then the film moves towards winter, fog and darkness.

The narrative concerns a young man, Sinan, who has completed his studies and returns home, having to do a final exam for a position as a primary school teacher. He has written a memoir and is eager for it to be printed, especially in his hometown. It turns out that he is a somewhat bitter young man, repressing his angers, especially at his father who is a schoolteacher but has become an inveterate gambler, losing his house, always with a furtive and shifty look. Sinan says about himself that it is strange for writer but he does not like other people.

The narrative line is fairly basic, Sinan making connections back home with family and friends, going to his exam, having a discussion with a popular novelist, encounters with two young imams, the publication of his book and the consequences.

But the film is also strong on verbal communication. In fact, the action frequently slows down the action, intense conversations, about love and ambitions with his former girlfriend in the town, a firm call with a friend who has become a policeman, a visit to the mayor to ask for financial subsidy for his book, the challenge to the novelist and discussions about what makes great fiction, very long conversation most at some depth about religion, belief, morality and responsibility, interpretation of the Koran, with the two imams. There are also long conversations both with his mother and with his father.

However, the director brings most of the conversations alive by having movement throughout, Sinan walking throughout the countryside, through the town on his phone, in a bookshop, then the street, then across a bridge with the novelist, travelling on the road with the imams. This means that while the content is often challenging, the audience can move with it because the action is not static, but moving, enhanced by the background and the scenery.

As with all the films by the director, personal relationships are most significant. While we have the portrait of the discontented young man, his aggressiveness, his sympathy for his mother, trying to understand and appreciate his father despite his disgust and resentment about the gambling, there are interesting moments with supporting characters, a crusty grandfather, another grandfather who is an imam, a bookseller, neighbours…

Which means then that the audiences had a long immersion into the Turkish countryside, exposure to Turkish characters and their issues, and appreciation of particular questions as well as the universal aspects of human nature. And, after the three hours, a glimpse of a moment of despair, a glimpse of the moment of hope.

1. The reputation of the film, the work of the director, his perspectives on Turkey, by storytelling and narration, by visual contemplation, invitation to reflection?

2. The Turkish city, the settings, the countryside? The village? Homes, streets? The woods, Rivers? Mountains? The musical score?

3. The title, the tree and symbolism, prickly and ugly, standing out, surviving?

4. Turkey and the 21st century, changes in society, in between Asia and Europe? The role of religion? Secular Turkey?

5. The film as a portrait of Sinan, seeing him in the city, his graduation, travelling home, arrival, the shop and the proprietor and his father’s borrowing coins, the edge with his father, the relationship with his mother? At home? His room?

6. The later discussion in the film about writing and Meta-novels? Not ordinary novels, but going beyond in terms of characters, social observations, comment and critique? The screenplay for this film as the visual equivalent of a meta—novel?

7. Sinan, his ambitions, having written the book, its tone, as wanting a publisher, the visit to the mayor, the discussions, the seeming affirmation, no money available for him, the reasons, reserve? His being referred to the farmer, his love of books, the discussion, the refusal to publish? Sinan and his interest in novels, the encounter with the novelist, meeting in the library and his research, the discussion, walking and talking, the bridge, the clashes? The discussions about the meta-novel? The contrast with his intentions and the novelist’s popularity in sales?

8. Going to work, with his father, the digging of the well, no water, with his grandfather, the hut? With his other grandparents, the imam, friendliness and support?

9. The encounter with Halice, the talk, standing together, the long time focusing on her, Sinan’s reactions? The issues, love in the past, work in the fields, women in Turkish society, expectations to wives and mothers? Halice and the kiss, her later marrying?

10. Sinan at home, working in his room, computer, the radio, the posters and books?

11. Sinan and h the is talking with his friend on the phone, wandering through the town, the opportunity for the audience to listen as well as see the town and the variety of locations? His friend joining the police?

12. The visit to the bar, the pool players, the men, the situations?

13. Sinan and his prospects, going for the exam, to be a primary teacher, going to the east and the small villages, like his father? His mother giving the money? His father going to the bus, wanting to cadge the money, the cigarettes, Sinan seeing his father the gambling connections? His going to the exam, the effect, talking with the author afterwards before going home?

14. The money stolen, his attack on those who might have stolen it?

15. His father, gambling, not having the money, leaving home, the electricity failing? Going to the farm, Sinan going to visit him, confronting him, the talk? The wild pear tree, the hanging – the sudden shock, Sinan and his digging the well?

16. The story of the child, the ants, the tree, and Sinan and the ants under the tree?

17. The discussions with his father, the excerpt about his novel in his father’s wallet? His father having read the book, his comments?

18. The significance of the long sequence with the young imams, getting the fruit, Sinan and the conversation, the activities in the village, funerals and the ministrations of the imams? Walking back into the town? The range of discussion material? Reflection and ideas? The quotation from the Koran and interpretation? The significance of Islam and literal interpretation? Issues of career, conscience, belief and responsibility, conscience and free will? Faith, the backbone for morality, faith and controlling the masses of people? The cosmic perspectives, living in a universe where God exists – or not? Controversies, the absurdity of life? That religion defines the world – and people finding the truth?

19. The end of the film, seen only in his life and career – and the career of a writer loathes people?