Кинематографический язык в фильме Юсупа Разыкова Турецкое Седло

Abstract

In this article, the film 《Turkish Saddle》 was analyzed mainly in the formal aspect, that is, in the aspect of the cinematic language. The main cinema language - the audiovisual image used in this film - is the sound of a mezzo-soprano song, actually performed by Alyona’s lover, the image of the staircase as a symbolic simplicity, the image and the sound of boiling eggs, which mean Ilyich’s everyday and boring life, eggshells embedded in a bottle, revolving the door of Ilyich’s workplace, and regular sounds to check the entrance to the building. The footage where Ilyich strokes his shirt, spraying water from his mouth and having sex with a housekeeper on Sunday, represents a type of life in Soviet times. The topic 《The wrong person》 is connected with the fact that the former KGB officer Ilyich suffers from the Turkish saddle syndrome, and now he has a problem with recognizing reality. In addition, his illness explains that he, as a man of the Soviet generation, is no longer able to accurately understand modern Russian society. Now Ilyich, who had the ability to observe, could not correctly understand the new era. Part of the reality that he cannot sing and present in the film is depicted in black and white frames, so one of the main features is the contrast between black and white and color. The film 《Turkish Saddle》 also continues the tradition of the history of Soviet-Russian cinema. The director uses 《vertical editing》 and 《audiovisual counterpoint》 defined by Sergey Eisenstein. In other words, this painting uses a technique that enhances the emotional effect with the mismatch of visual and auditory images on the screen. The film was shot on the basis of a great script, written by director Yusup Razykov. who is also a capable screenwriter. The main key images presented at the beginning of the picture play a decisive role in the second half of the film, so that the audience will be carried away by the film. For example, Alena’s energetic and lively steps are compared with Ilyich’s regular and decent steps. The image of the violin case that the pornographic actress had was associated with the violin case of Alyona. Ilyich incorrectly recognized both cases. Wrong identification of Ilyich on the second case turns out to be a harbinger of an unexpected turn in the narration of the film. The bicycle that Alena lost leads to the bicycle that a man rides across the bridge. The beautiful voice heard from the top floor of Ilyich’s house is comparable to the voices of the boys singing in the concert hall, and the homosexuality of a suicide man, called 《General》, leads to the homosexuality of Alena’s lover. Officially, both men committed suicide, but in fact, the second male lover Alena was killed by Ilyich. We can say that the motive for suicide in this film is not simple. In addition to the arrogance of a man 《general》, Alena’s lover and former colleague Tikhonov did not commit suicide, and they were killed. This means that in Russia there are still authorities like the KGB in the Soviet era, which can replace the murder with suicide. As described above, the film рец Turkish Saddle》 can be evaluated as a film that has reached a certain level of completeness both in topic and in form thanks to the masterful use of the cinematic language and the plot of the life of a former KGB officer, who was rarely in the history of Soviet-Russian cinema.