Pawlikowski's Ida and Erguven's Mustang are different films however they are considered related based on the process of their development with respect to the finals scenes which is focused on resolving dramatic action of the film. Nevertheless, the two films emerged award winning in the end despite the challenges their individual creation from scripting to the final stages. Besides, the society attached to the given storylines had varying options in which a good number celebrated the approach of the filmmakers while an equally significant number of people presented various forms of criticism. In Mustang as directed by Erguven the continuity of the film is influenced by an unprofessional young cast revolving around the lives and experiences o five orphan sisters who are facing significant oppression. The plot of the cinema is used to represent the couture of the society of Turkey in which child abuse is a considerable issue of concern specifically to the female ones. For the case of Ida as represented by Pawlikowski, the director reflects on the strategies he used in Making up the Ida in the filmmaking exercise. The director is even surprised when he witnessed people celebrating the cinema while the practical actions are significantly different from the actual script. It, therefore, implies the process of developing the individual films did not follow the regular and professional approaches; however, the end produced something that exceeded the expectations of spectators and the society as a whole since the dramatic aspects were skillfully implemented. This paper argues that the final scenes of the two films were effectively manipulated in a way that resolves the dramatic action of the films, which had great impacts on the viewers.
Resolution to the Dramatic Film
The Image of Christ and the Snow
The director would, at some point, realize a phenomenon which could be effective and use it to immediately change the focus of the film provided the storyline would still flow. The idea used the image of Christ to serve as one of the greatest symbols in the cinema to contribute to the significant scenes from the continuity of the storyline of Ida. The filmmaker noticed Jagna Dobesz, a woman who presented the face of an angel and touching the face of Christ with a brush. In this scene, there was tension and the love that was depicted by the image served as a way of controlling the situation.
Consequently, the director was able to develop a series of events and was able to realize how the images of Christ started to be of great use in the monastery, became the key image. He therefore immediately adopted this for the purpose of the message he wanted to pass in Ida (Pawlikowsk). Besides, the image, the director was keen on the various occurrences in the environment in he noticed the snow, which according to him was a great bonus. These two aspects enabled the director to develop two important graphic top shots which would ultimately make IDA dramatic.
Limited Dialogue and Adding Powerful Shots
The author realized that the film lacked sufficient text which would be accepted for a professional level cinema. However, the worry of the director did not last long when he was able to tweak the implications of the situation. The director instead deployed the weakness in a different way and decided to consider the inadequacy of text as a strength for the dramatic aspects. Subsequently, the director suggested the use of more simple shots than unnecessary dialogues and text during the actions as a way of filling the limiting texts.
On this note, the director went ahead to replace a good number of pages of scenes of dialogue and fluffy scenes which were lacking events with a series of shots. This interventional approach was effective in the establishment of a powerful approach and helped in the setting up of the important tone which would make the whole film proceed perfectly (Pawlikowsk). The director could not have been against a good dialogue but was rather trying to avoid bringing ineffective conversations to a film which rather gives information. The film, therefore, succeeded in establishing the active role of the characters to guarantee the availability of the dramatic occurrence even when another important aspect of a film like music could be lacking.
The Filming Approaches
The director was focused coming up with good photos, therefore, it was very important to influence the implementation of the most applicable filming strategies. The filming was highly regarded based on the director's idea that the film could e able to narrate the story itself by including sufficient pictures. Based on this argument, the texts which would later serve as dialogue were not as important as the filming products (Pawlikowsk). The filming was therefore based on the application of the strong shots made to be side by side. The exercise involved both long and wide shots which would leave some aspects to the imagination. It would serve as meditation as much as a story by complementing the information required for the continuity.
Besides, the filming involved the choice of the most effective angle; this later helped in working and reworking other filming elements. These elements include light, framing, dialogue, movement, and gesture. The film production, therefore, involved refining until the right rhythm and life were achieved. The recorded scene was surprisingly appealing to the viewers who did not notice the lack of professional application in the practice; they had the reason to continue viewing and staying in touch with cinema. This allowed the film director to drop ineffective scenes and lines without necessarily having to damage the story. In this way, the director was interested in achieving the flow of the story specifically.
Ida in her aunt's House
Ida's relationship with the saxophonist seems not to work especially as a result of her close relationship with her aunt. Consequently, she chooses to leave and head towards an unknown destination. The finals stages of the film feature Ida mostly concerning her interaction with her lover and the aunt. Ida loses her aunt she dies after committing suicide and therefore she is a little confused because the latter somehow served as a role model whose teachings she always wanted to follow. The death of the aunt leaves her with the option of staying in the apartment lone or spending with her lover. However, she appears to be overwhelmed and wishes to leave and go somewhere which is not identified in the storyline. She tries her clothes and takes time to look at herself in for not of the mirror (Pawlikowski). She has authority over the properties of the aunt who has now died and wears her clothes.
Effect on the Spectator
The course of the film up to its end has some implications with which the viewers may be concerned. For instance, the scene experienced at the end of the film which features Ida operating in her aunt's house is very significant. This reveals that all the events which were incorporated by the director ended with the encounter of Ida as the major character. In this case, the viewers realize that the purpose of the cinema was achieved at this given stage. Besides, it is also important to note that the aunt had a significant role to play in helping in the continuity of the storyline; this is because she commits suicide and dies just around the end of the film. The viewers learn that she is through with her role at this stage and therefore Ida could continue with her role even with the demise.
Resolution to the Dramatic Film
View of the Female Children
The film shows that female children are lowly regarded in Turkish society. The interaction between boys and girls is not accepted and is associated with evil deeds. The film has indicated the children were playing innocently on their home from school however the villagers in the given region had a different interpretation of their play. Based on their culture, girls require close supervision to prevent them from ending up in a situation which may bring shame to their families. This is probably applicable to the case of the orphans who are being oppressed where they are staying (Erguven). The scene begins when Lale and her four sisters play with the local boys without having any hidden ill motive. However, the intervention of some of the prying villagers suspects that there could be an associated bad behavior influencing their play with the boys. Besides, they are expected to repent of their acts which ultimately lead them to escalated problems. There was a baseless belief that their behavior had an impression that they lacked respect for their family and the village as a whole, and so they deserved serious punishment.
Limiting Female Children
The female children have limited opportunities relative to the experiences of their fellow male counterparts. Having been reported with false accusations they are featured in the film locked in rooms and given no more chance of continuing with their studies. Being of school-going age they are rather forced to attend cookery classes. Besides, they are restricted from exercising their freedom of movement and remained indoors most of the time. the orphans therefore completely lack a home with regular conditions. Their home now turns to be a prison in which are continually locked. The only future plan available for them is the arrangement for marriage despite being o tender age. In spite of the authoritative treatment from their homes, the get the courage of fighting for their rights, which, nevertheless, appears not to be effective. They continue to fight back and let the society show that they limited and they are not happy with the situation.
Forced Marriage and Subsequent Oppression
Girls are forced into marriage in which they have limited choice and may end up marrying who is far older than they are. Mustang narrates that her aunt took her somewhere he did not know and she was not allowed o question, otherwise, her acts would be treated as rude. She found herself where she was not expecting; she was to marry a man of age 40 while she only 15. Moreover, such marriages involve partners who are never equal; the husband is always superior and feels it is his right to oppress the wife (Erguven). Mustang remembers when the man would drug her to the bedroom where he would have fun pulling her hair which was not an enjoyable experience to her. This made her decide on cutting the hair short so that the man would not have anywhere held.
Effect on the Spectator
The dramatic aspect of the film is properly achieved and the climax is witnessed as the film ends. However, the active aspects of the drama reveal that Turkish culture is not a good place for female children who are not treated like their male counterparts. The viewers could easily realize that the girls have no choice and can experience any form of inhuman treatment is just considered very normal. Girls do not have the freedom to lead the life of their choice; for instance, they may not have the opportunity to hair grown hair concerning the fear of oppressive men pulling them. Furthermore, they may thrive to break the limitation affecting their life; for example, at a certain point, the younger girl is seen putting on heels (Erguven).
The two films have succeeded in resolving the dramatic aspect of individual cinema. This has been achieved through the manipulation of the actions represented by the various characters. Besides, filming was another way through which the director focused on achieving the targeted resolution to provide the desired types of images. The films have also depicted that the end of the cinema is the most important aspect to which all the previous scenes are moving towards achieving.
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