Last House in Istanbul (1974) sinopsis Turkish home invasion flick, slapped with the label “Turkish Last House in Istanbul”, obviously doesn’t have anything to do with Craven’s landmark movie, but in many ways ends up a darker and grimmer than the movie whoever stuck that dopey retelling thinks its trying to copy.
A wealthy Doctor Cevat (Dogan Bavli) and his posh wife Selma (Hülya Koçyigit) spend a fancy night on the town with their son. After getting home and putting junior to bed, three bandits in the run from the police trick their way into the house. The three men, lead by infamous Scorpion (Savas Basar), do what scumbags invading a home do. Drink their booze, tear up their house, and eat their food. As I’ve pointed out earlier, at times the villainous antics of Yesilçam antagonists seem to come off as a bunch of rambling buffoons rather than evil suppressors. Such is the case here too. When Scorpion points out that he doesn’t like a painting on the wall, he tosses his drink at it only to have one of his henchmen lift it off the wall and smash it over his head, all whist oafishly laughing.
Scorpion and his men want to spend the night in the house to evade the police, but the Cevat tries to offer them money instead so that they leave earlier. Tension builds, Scorpion and his men laugh at the check they have been given. They slap him around and get frisky with Selma as their little son Murat walks in the room. A game changer, Scorpion grabs Murat and tells him that they’re friends of his parents here to celebrate his birthday. In an almost absurd way, the three men stay in the house, sunbathing, swimming in the pool and enjoying snacks on the patio, but that’s merely a bizarre warm up for the shocking events that will end the movie.
Actually has some real nail biting moments, builds its tension really well and goes from farcical buffoonery to profoundly darkness in the last act, and the first time I’ve seen a Yesilçam movie that’s so elegantly made that it comes full circle in the final moments. Those at first randomly seeming opening shots, make full sense when you reach the end.
Quite possibly one of the darkest Yesliçam movies I’ve seen so far.
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|Director:||Osman F. Seden|