Var\u0131\u015f noktas\u0131 belli olan bir yolculu\u011fun i\u00e7ine do\u011fduk hepimiz. Ya\u015fad\u0131\u011f\u0131m\u0131z s\u00fcrece bitmeyen, vard\u0131\u011f\u0131m\u0131z\u0131 sand\u0131\u011f\u0131m\u0131z her var\u0131\u015f\u0131n, ba\u015fka bir yolculu\u011fun ba\u015flang\u0131c\u0131na evrildi\u011fi yolculuklar silsilesidir hayatlar\u0131m\u0131z. \u00d6zlemlerimizin, beklentilerimizin, d\u00fc\u015flerimizin ya da mevcut ger\u00e7ekli\u011fimizin \u015fekillendirdi\u011fi bize has tek ve biricik ser\u00fcvenimiz.<\/p>\n
Paulo Coelho\u2019nun \u201cSimyac\u0131\u201d adl\u0131 eserinde, \u201cKi\u015fisel Menk\u0131be\u201d olarak ge\u00e7en durum; ki\u015finin yola \u00e7\u0131kma, yolda olma hikayesi, bir\u00e7ok sanat eserinin konusunu te\u015fkil ediyor. G\u0131lgam\u0131\u015f, Odysseia destanlar\u0131ndan Sufi gelene\u011fe; aslolan\u0131n var\u0131\u015f de\u011fil yolculuk oldu\u011funu ve insan\u0131 bir noktadan di\u011ferine ta\u015f\u0131yacak olan \u015feyin bu oldu\u011fu vurgulan\u0131r.<\/p>\n
Me\u015fhur Simyac\u0131 hikayesinde Santiago, yan\u0131ba\u015f\u0131nda duran hazineyi fark etmek i\u00e7in, (ya da bilmek i\u00e7in) koca bir \u00e7\u00f6l\u00fc ge\u00e7mek, hi\u00e7 bilmedi\u011fi insanlar\u0131 tan\u0131mak, bilmedi\u011fi diyarlar\u0131n havas\u0131n\u0131 solumak, suyundan i\u00e7mek zorundad\u0131r.<\/p>\n
Y\u00f6netmen Angelopoulos\u2019un Ulysses\u2019in Bak\u0131\u015f\u0131(1995) filmini Simyac\u0131 hikayesinden yola \u00e7\u0131karak izlersek e\u011fer benzer hikayeyi filmde de yakalamak m\u00fcmk\u00fcn.(Ger\u00e7i y\u00f6netmen Angelopoulos Odysseia\u2019n\u0131n yolculu\u011fundan esinlendi\u011fini s\u00f6yler.) Y\u00f6netmen A. (senaryoda A. olarak ge\u00e7iyor.) Simyac\u0131\u2019da ge\u00e7en Santiago\u2019nun bir hazinenin pe\u015fine d\u00fc\u015fmesi gibi, Manaki karde\u015flerin Balkan co\u011frafyas\u0131n\u0131 bir u\u00e7tan bir uca kay\u0131t alt\u0131na al\u0131rken kaybettikleri \u00fc\u00e7 ruloluk sinema \u00e7ekiminin pe\u015fine d\u00fc\u015fer. Ke\u015ffedilecek pek de bir \u015feyin kalmad\u0131\u011f\u0131 bir \u00e7a\u011fda bu \u00fc\u00e7 rulo bir y\u00f6netmen i\u00e7in ne ifade eder var\u0131n siz d\u00fc\u015f\u00fcn\u00fcn. Hala ke\u015ffedilmemi\u015f bir \u015feylerin oldu\u011fu, di\u011fer bir ifadeyle sakl\u0131 bir hazine, g\u00fcn y\u00fcz\u00fcne \u00e7\u0131kmay\u0131 bekleyen bir bak\u0131\u015f. Y\u00f6netmen A\u2019n\u0131n ifadesiyle ilk bak\u0131\u015f, kaybolmu\u015f bir bak\u0131\u015f, kaybolmu\u015f bir masumiyet.<\/p>\n
\u201cSonum ba\u015flang\u0131c\u0131m asl\u0131nda\u201d<\/p>\n
Manaki karde\u015fler y\u00fczy\u0131l\u0131n bas\u0131nda edindikleri bir kamerayla Balkan co\u011frafyas\u0131n\u0131 bir u\u00e7tan bir uca gezerek din, milliyet, \u0131rk ayr\u0131m\u0131 yapmaks\u0131z\u0131n kay\u0131t alt\u0131na al\u0131rlar. D\u00f6nemin hakim ideolojisi, konjonkt\u00fcr gere\u011fi burada ya\u015fayan halklar\u0131n farkl\u0131l\u0131klar\u0131 \u00fczerine in\u015fa edilmi\u015fken, Manaki karde\u015flerin bak\u0131\u015f\u0131 benzerlikler \u00fczerine kuruludur. Sonraki y\u0131llar\u0131n getirdi\u011fi karma\u015fa ve sava\u015f y\u0131llar\u0131 bu topraklarda g\u00fczel olan ne varsa al\u0131p g\u00f6t\u00fcrm\u00fc\u015ft\u00fcr. Belirsizlik, yabanc\u0131la\u015fma, yersizlik, yurtsuzluk, g\u00f6\u00e7ler ve y\u0131k\u0131mlarla y\u00fcz y\u00fcze gelmi\u015f sisler i\u00e7inde bir co\u011frafa\u2026 (Farkl\u0131l\u0131klar\u0131yla zengin, i\u00e7 i\u00e7e, ortakla\u015fa meydana getirilmi\u015f koca bir k\u00fclt\u00fcr yok olmu\u015ftur.)<\/p>\n
Filmin ilk b\u00f6l\u00fcm\u00fcnde Y\u00f6netmen A, yollarda nereden geldikleri ve nereye gittikleri belli olmayan, da\u011flara do\u011fru \u00fcmitle bakan, bulunduklar\u0131 yerde \u00e7ak\u0131l\u0131 kalm\u0131\u015f insanlara hayretle bakar. Bu insanlar\u0131n, ge\u00e7mi\u015fin o ihti\u015faml\u0131 g\u00fcnlerine \u00f6zlem duyan, ya\u015fad\u0131klar\u0131 yerlere yabanc\u0131la\u015fm\u0131\u015f belki de g\u00f6\u00e7e zorlanan, ne gidebilen ne de kalabilen b\u00f6lge halk\u0131n\u0131 temsil etti\u011fini rahatl\u0131kla s\u00f6yleyebiliriz.<\/p>\n
Angelopoulos olduk\u00e7a \u00f6zg\u00fcn, \u015fiirsel bir anlat\u0131m\u0131 olan, bu anlamda hakim sinema dilinden olduk\u00e7a ayr\u0131\u015fan bir y\u00f6netmen. \u00c7a\u011fda\u015f sinema dilinin, izleyiciye d\u00fc\u015f\u00fcnme pay\u0131 vermeyen, ne d\u00fc\u015f\u00fcnmeleri gerekti\u011fini haz\u0131r olarak sunan yap\u0131s\u0131n\u0131 reddeder ve bunun aksine uzun sekanslar, imgeler ve sembollerle izleyicinin anlam katmanlar\u0131nda gezmesine olanak sa\u011flar. \u00c7a\u011fda\u015f sinema dilinin tek anlaml\u0131l\u0131\u011f\u0131n\u0131 ya da anlam b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc bozar. \u00c7oklu anlam katmanlar\u0131 olu\u015fturur. \u00c7\u0131kt\u0131\u011f\u0131 yolculu\u011fa bir anlamda izleyiciyi de katm\u0131\u015f olur. Baz\u0131 kavramlar\u0131n da genel anlam\u0131 de\u011fi\u015fmi\u015ftir filmde. Mesela sisli manzaralar insanlar\u0131n \u00fczerinde genel anlamda belirsizlik, karamsarl\u0131k hisleri uyand\u0131r\u0131r ya\u2026 Filmde anlam ters y\u00fcz olur. Sis, Saraybosna\u2019da keskin ni\u015fanc\u0131lar\u0131n ve sava\u015f u\u00e7aklar\u0131n\u0131n g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131n\u0131 kapatt\u0131\u011f\u0131 i\u00e7in kente ge\u00e7ici de olsa sulh ve huzur ortam\u0131 getirir. Sarajevo Sinematekini korumaya \u00e7al\u0131\u015fan \u0130vo Levi sisle ilgili \u015fu \u00e7arp\u0131c\u0131 ifadeleri kullan\u0131r:<\/p>\n
\u201cBu \u015fehirde insan\u0131n en iyi dostu sistir. Burada sisli g\u00fcnler bayram gibidir\u201d<\/p>\n
Sisin insanda negatif etki uyand\u0131ran anlam\u0131, \u015fehrin i\u00e7inde bulundu\u011fu \u015fartlar gere\u011fi anlam de\u011fi\u015fimine u\u011frar. Sisi bir metafor olarak d\u00fc\u015f\u00fcn\u00fcrsek, ard\u0131m\u0131z\u0131 ve \u00f6temizi g\u00f6rmemizi engelleyen bir durum yarat\u0131r. Bunu anda kalma olarak da yorumlayabiliriz. Insan, ge\u00e7mi\u015f ve gelecek aras\u0131ndaki o dar alanda \u00e2n\u0131 ya\u015far. Sis bu anlamda \u00e2n\u0131 simgeler. \u0130nsanlar ge\u00e7mi\u015fin elemlerinden ve gelece\u011fin kayg\u0131lar\u0131ndan s\u0131yr\u0131labilir. \u00d6ld\u00fcr\u00fclme korkusuyla soka\u011fa \u00e7\u0131kamayan insanlar\u0131n sisle beraber bir bayram yerine d\u00f6n\u00fc\u015ft\u00fcrd\u00fckleri sokaklar bana bunlar\u0131 d\u00fc\u015f\u00fcnd\u00fcrd\u00fc.<\/p>\n
Angelopoulos\u2019un anlat\u0131m g\u00fcc\u00fc o kadar etkili ve \u00f6zg\u00fcn ki, Balkan co\u011frafyas\u0131n\u0131n be\u015f y\u0131l\u0131n\u0131(1945-50 aras\u0131) tek bir dans sekans\u0131yla anlat\u0131r. Sekans\u0131 geriye sar\u0131p tekrar tekrar hayranl\u0131kla izledim.<\/p>\n
Filmin, \u00fczerinde en \u00e7ok konu\u015fulan b\u00f6l\u00fcm\u00fc ise par\u00e7alanm\u0131\u015f koca Lenin heykelinin bir cenaze t\u00f6renini and\u0131ran k\u0131sm\u0131d\u0131r. Par\u00e7alara ayr\u0131lm\u0131\u015f Lenin heykelinin bir mavnaya y\u00fcklenerek Tuna nehri \u00fczerinde Balkanlar\u0131 dola\u015fmas\u0131 Sosyalizm mitinin \u00e7\u00f6k\u00fc\u015f\u00fc olarak yorumlanabilecek \u00e7arp\u0131c\u0131 bir anlat\u0131m. S\u00f6zlerle anlatmaya ne hacet! \u00dczerine sayfalarca yorum yap\u0131labilecek bir sekans Eleni Karaindru\u2019nun e\u015fsiz m\u00fczi\u011fiyle insan\u0131 derinden etkileyen bir anlat\u0131ma d\u00f6n\u00fc\u015f\u00fcyor. Neredeyse Lenin\u2019in ard\u0131ndan h\u00fcz\u00fcnlerece\u011fi geliyor insan\u0131n. Angelopoulos\u2019un bu sekansla, Sosyalizm d\u00fc\u015f\u00fcncesine, ya\u015fad\u0131\u011f\u0131 co\u011frafya ile beraber bir zamanlar inand\u0131\u011f\u0131 fakat miad\u0131n\u0131 doldurmu\u015f bir d\u00fc\u015f olarak bir cenaze t\u00f6reniyle bu d\u00fc\u015fe veda etti\u011fini s\u00f6yleyebiliriz. Bu vedayla beraber y\u00f6netmen A\u2019n\u0131n yolu karma\u015fa ve kaosun ayyuka \u00e7\u0131kt\u0131\u011f\u0131 Saraybosna topraklar\u0131na d\u00fc\u015f\u00fcyor. A\u2019n\u0131n hem fiili hem i\u00e7sel yolculu\u011fu Saraybosna\u2019da arad\u0131\u011f\u0131 \u00fc\u00e7 bobine ula\u015f\u0131p izlemesiyle son buluyor. \u0130zledikten sonra perdeye bakarak izleyiciye yolculu\u011funun sonucunda vard\u0131\u011f\u0131 yeri \u00f6zetliyor. Arad\u0131\u011f\u0131 \u015fey asl\u0131nda kendisiydi.<\/p>\n
\u201cD\u00f6nd\u00fc\u011f\u00fcmde, \u00fczerimde bir ba\u015fkas\u0131n\u0131n giysileri olacak. Bir ba\u015fkas\u0131n\u0131n ad\u0131yla \u00e7a\u011f\u0131r\u0131laca\u011f\u0131m. D\u00f6n\u00fc\u015f\u00fcm beklenmedik olacak ve sen o teredd\u00fctl\u00fc g\u00f6zlerle bana bak\u0131p sen o de\u011filsin diyeceksin. Sana \u00f6yle i\u015faretler g\u00f6nderece\u011fim ki bana inanacaks\u0131n. Sana, bah\u00e7endeki limon a\u011fac\u0131ndan s\u00f6z edece\u011fim ay \u0131\u015f\u0131\u011f\u0131yla ayd\u0131nlanan k\u00fc\u00e7\u00fck pencereden. Sonra v\u00fccudunda a\u015fk\u0131n i\u015faretlerini g\u00f6receksin. V\u00fccudun \u00fcrperti i\u00e7inde yukar\u0131daki odam\u0131za \u00e7\u0131karken, bir kucakla\u015fmayla di\u011feri aras\u0131nda, \u00f6p\u00fc\u015fmeler aras\u0131nda sana yolculu\u011fumu anlataca\u011f\u0131m. B\u00fct\u00fcn gece ve ard\u0131ndan gelen b\u00fct\u00fcn geceler boyunca, bir kucakla\u015fmayla di\u011feri, a\u015fk\u0131n iniltileri aras\u0131nda sana, insanl\u0131\u011f\u0131n bitmeyen \u00f6yk\u00fcs\u00fcn\u00fc anlataca\u011f\u0131m.\u201d<\/p>\n
Bu hitaptan da anl\u0131yoruz ki y\u00f6netmen A\u2019n\u0131n buldu\u011fu \u015fey, bu \u00fc\u00e7 bobinden ziyade asl\u0131nda kendisini ve insanl\u0131\u011f\u0131n bitmeyen \u00f6yk\u00fcs\u00fcn\u00fc tekrar ve tekrar anlatabilme g\u00fcc\u00fcn\u00fc ke\u015ffetmesi. T\u0131pk\u0131 Santiago\u2019nun arad\u0131\u011f\u0131 hazinenin asl\u0131nda en ba\u015f\u0131ndan beri yan\u0131ba\u015f\u0131nda oldu\u011funu ke\u015ffetmesi gibi.<\/p>\n","protected":false},"excerpt":{"rendered":"
Var\u0131\u015f noktas\u0131 belli olan bir yolculu\u011fun…<\/p>\n","protected":false},"author":27,"featured_media":9870,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[67,53],"tags":[],"_links":{"self":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/9855"}],"collection":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/users\/27"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9855"}],"version-history":[{"count":0,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/9855\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/"}],"wp:attachment":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9855"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9855"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9855"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}