The Cut is a film that is both political and epic in scope. On the hundredth anniversary of the Armenian Genocide many critics have argued that it is not appropriate for a director of Turkish descent to take on a story set in this time. Global cinema is vital to promote empathy and understanding. Anyone should be allowed to offer their perspective on any historical topic regardless of their geographic location or cultural background.
The Cut is directed by one of my all time favorite directors Fatih Akin. The first master stroke of genius I had the privilege to witness by Akin was Head-On. In that film Birol Unel gave one of the most unrestrained amazing performances I have ever seen. The film took place in Germany and had a conservative Turkish perspective and a punk rock one. Akin loves to press the envelope. The Edge of Heaven was about a Lesbian couple in Germany and again was fascinating. Soul Kitchen was his biggest commercial success about a Greek restaurant owner in Germany who revolutionizes his menu by getting a new chef. Birol Unel was the chef. Soul Kitchen was a comedy and arguably Akin's most accessible film. The comedy again has punk rock sensibilities and a great dose of humor.
Music is always one of Akin's best uses as a director his documentary Crossing the Bridge: to Istanbul does a great job of capturing such a wide range of music from that region. From hip-hop, punk rock, traditional music, and female vocalists.
The Cut is a film itself that is epic in scope. The movie covers continents and is essentially a survival tale. Akin had to move mountains to make this film. The fact that it is a period piece set in multiple countries around the turn of the century was practically biblical. The attention to historical detail and extras was awe-inspiring. I have never seen Cuba and the United States portrayed in such a historical way on such a limited budget.
The look of the film is one thing. The acting of Tahir Rahim who I have never seen before is another. The lead actor is essentially silent throughout the feature, but conveys such a range of emotions simply with his eyes. His speech has been removed for a variety of reasons. One being the physical and the other the emotional. This man has witnessed so much carnage and pressed through so much turmoil. When he watches the silent films of Charlie Chaplin at the refugee camp he is deeply affected.
Akin has a number of sequences where Rahim is walking for extended periods of time. I feel that sadly not enough contemporary films allow this to happen organically anymore. The Lawrence of Arabia sensation has vanished from so many screens. By the end of the film I felt I had been taken on a journey unlike any other in a long time.
The film is not just about politics, religion, or survival. The director hits on the human condition and history like Scorsese with The Last Temptation of Christ, Bertolucci with The Last Emperor and Oliver Stone with Alexander. The film has heart that will stay with you regardless of culture, status, or religion. When that happens you know the entire production has done it's job. Thank you Fatih Akin for staying true to art and continuing to inspire a sense of heart and self in audiences.
