Best Films and DVDs of 2010

Art and Literature, Film Diary, Film Review

The first half of 2010 I managed to watch an average 40 films a month (close to 240 in the first six month), but on the second (thanks to World Cup and moving back to Kurdistan) I managed to watch only 68 films in six Month.

Favorite  Films of 2010:

Certified Copy (Abbas Kiarostami, 2010) Kiarostami’s tribute to Rossollini’s Journey to Italy. A film that make you think about the nature of filmmaking itself, reality vs fiction, the real and the fake, the original and the copy.

Certified Copy (Abbas Kiarostami, 2010)

Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul) Every frame is magical…..

Uncle Boonmee Who Can Recall His Past Lives

Film Socialisme (Jean-Luc Godard) Everything that Godard touch, turns into GOLD

Film Socialisme (Jean-Luc Godard)

Liverpool (Lisandro Alonso) If Cinema had a definition and certain tendency to storytelling, Alonso had destroyed that. A film that I enjoyed very much, asked more questions than answers, each scene felt like an experimental short on time and space with characters playing minor rules.

Liverpool (Lisandro Alonso)

The Ghost Writer (Roman Polanski) An explosive film that get deep into the root of the Tony Blair presidency, the corrupt collaboration between him and the Bush administration,  a film that explore the corrupt nature of politic and its secrecy. A thrilling mystery that is among best of Polanski  since Chinatown.

The Ghost Writer (Roman Polanski)

Police, Adjective (Corneliu Porumboiu) A film about Dialectic. it is a bout language and cinema as a language that is used to the minimalism, time and space flow so realistically,  an intellectual film that uses language to its maximum. It was Hitchock who said, “Cinema is life without the boring part”,  this film is life with the boring parts, it create suspense  by eliminating  all the major actions.

Police, Adjective (Corneliu Porumboiu)

About Elly (Asghar Farhadi) About Elly is among the best to come out of Iranian Cinema in the past year, and Asghar Farhadi is a name that will be mentioned with giants of Iranian Cinema, the likes of Kiarostami, Makhmalbaf, Panahi, Ghobadi and Majidi. . Imagine Antonioni’s L’avventura (1960) with psychology, or a Hitchcock film with a mix of Fassbinder, or Kiarsotmai with a plot for story-line from Agatha Christi.

About Elly (Asghar Farhadi)

Bright Star (Jane Campion) Campion has created a tragic love story that is equal in power and beauty to the tragic romantic tales by masters such as Shakespeare, Tolstoy and Chekhov.

Bright Star (Jane Campion)

Vincere ( Marco Bellocchio) After a silence, Bellocchio is back with another thought provoking film about Mussolini’s wife and his child whom he abundance, the story is told from his wife’s POV, from the begging of Mussolin’s early start with the Communist to him becoming Il Douche of Italy, it is a film about Fascism, politic and government’s power over individuals.

Vincere ( Marco Bellocchio)

Welcome (Philippe Lioret) A heart breaking story about a friendship between a Kurdish immigrant trying to swim across the English channel into England and a French swimming teacher (Vincent Lindon), beautifully acted, the film slowly builds its pace toward the heartbreaking end.

Welcome (Philippe Lioret)

Wild Grass (Alain Resnais) Resnais is back again with force, beautiful is the word….

Wild Grass (Alain Resnais)

White Material (Claire Denis) The World as its today, nothing more……

White Material (Claire Denis)

Goodbye Solo (Ramin Bahrani) Characters in a Bahrani film is so real, that one wonders at how he achieves such greatness, nobody act in his film, they are who they are, there are Bresonian  touches, the use of acting as little as possible. A true auteur, the future is bright for Bahrani.

Goodbye Solo (Ramin Bahrani)

Best DVD Release:

City Girl [Blu-ray] (F.W. Murnau 1930) Masters of Cinema

City Girl

Dillinger Is Dead (Marco Ferreri, 1969) Criterion Collection

Dillinger Is Dead

Two Films by Yasujiro Ozu (The Only Son/There Was a Father) – Criterion

The Only Son

There Was a Father

Red Desert [Blu-ray] (Michelangelo Antonioni, 1964) Criterion

Red Desert

Close-Up [Blu-ray] (Abbas Kiarostami, 1990) Criterion

Close-Up

Modern Times [Blu-ray] (Charles Chaplin, 1936) Criterion

Modern Times

Vivre sa vie [Blu-ray] (Jean-Luc Godard, 1962) Criterion

Vivre sa vie

Metropolis Reconstructed & Restored [Blu-ray] (Fritz Lang, 1927) Masters of Cinema

Metropolis

The Night of the Hunter [Blu-ray] (Charles Laughton, 1955) Criterion

The Night of the Hunter

Will Success Spoil Rock Hunter? [Blu-ray] (Frank Tashlin, 1957) Masters of Cinema

Will Success Spoil Rock Hunter?

The Thin Red Line [Blu-ray] (Terrence Malick, 1998) – Criterion

The Thin Red Line

Merry Christmas Mr. Lawrence [Blu-ray] (Nagisa Oshima, 1983) – Criterion

Merry Christmas Mr. Lawrence

Breathless [Blu-ray] (Jean-Luc Godard, 1960) – Criterion Collection

Breathless

Old Discovery:

Broken Lullaby aka The Man I Killed (Ernst Lubitsch, 1932) A film that could make even a rock cry. Based Maurice Aostand’s play The Man I Killed, Broken Lullaby is a masterpiece from a master. Phillips Holmes gives one of the best performance from any film in the early sound era as an ex-French soldiers who is consciousness is guilty for killing a German solider during WWI, he set out to Germany to find his grave then his family in order to ask them for forgiveness. Among the greatest anti-war films,it is emotionally devastating.

The Man I Killed

Sonatine (Takeshi Kitano , 1993) Imagine a mix of Godard, Peckinpah and Ozu and you’ll have the cinema of Kitano, an abstract poetry in violence. Among the best of the Japanese cinema of the 90s.

Sonatine

The Sound Of Fury (Cy Endfield, 1950) The last 15 minute of The Sound of Fury aka Try and Get Me has to be among the most psychotic and explosive brutal  emotional climaxes of any film that portray the mob violence.

The Sound Of Fury

Good Sam (Leo McCarey, 1948) A film that warms your heart, that make you happy, it will make you a better person, and that should be the aim of art, not just to entertain but to educate and make you share your deepest emotion.

Good Sam

Arkadas (Yilmaz Güney, 1974) The revolution is dead, now let us live our lives……not yet, we must keep on fighting, one could only love one thing at a time, your ideology or your girl and desire.

Arkadas

Opfergang aka The Great Sacrifice (Veit Harlan ,1944) A melodramas in style of Sirk way before Sirk made any, a story about a married man who fall in love with a wild girl, an over-woman in Nietzsche’s term who alway swims and ride horses,  a wild spirit, but she is dying, it is her last days and falling in love with a married man does not make thing better. The film is a like a mystical folk German story mixed with a tragic love story, the acting is subtle almost Dryer like and transcendental.

Opfergang

The Great Consoler (Lev Kuleshov, 1933) This is a forgotten masterpiece, a landmark of cinema in term of narrative. It is hard to believe a film so fresh could had been made in the 30s. The Great Consoler is based on two short story by O’Henry told three times, once as a realistic and gritty narrative within the film that take part in the real life of O’Henry when he was in prison, the second a fictional and lighthearted comedy/adventure/Western/Gangster in the style of the Hollywood filmmaking that reflect the early short story’s of O’Henry, and the third is almost the dark side of O’Henry that later he became, the real  and gloomy side of life that he struggles to achieves in his work.

The Great Consoler

Non, ou A Vã Glória de Mandar (Manoel de Oliveira, 1990) A mix between Bitter Victory and Alexander Nevsky. The story is set among a group of Portuguese soldiering during Portuguese Colonial War (1961-1974) in Africa, among the group is Luís Miguel Cintra, a pessimistic soldier who tells the other about the sad history of failure and colonization of Portugal, the film is like a fable/thatrical narrative, at times actors takes the roles of historical figures in their stories and talks to the audience directly. It is anti-war film because it deals with the failures of war rather than the glory of it. A mix of fantasy, realism, naturalism and surrealism imagery.

Non

Dillinger e Morto (Marco Ferreri, 1969) A film that is only 90 minutes in length yet it feels like watching eternity. A film about a man, a house, a kitchen, a wife, a gun, Dillinger, experimental film, music, cooking, walking, killing, and on. It is hard to describe Ferreri’s film, one thing is clear, it is a unique film and a brilliant film in its uniqueness. Nihilism and existentialist , a tribute to Godard, a condemnation of a materialistic society, a Futuristic film. There has to be less than a page of dialogue, instead, we see, we hear, we react, it is everything that a true cinema should be.

Dillinger e Morto

Selvi boylum, al yazmalim aka The Girl with the Red Scarf (Atif Yilmaz, 1978) A film that is more about suppressing and hiding emotion that expressing it, with long gazes and multiple voiceover narration that uses first person, second, third, past and present tense, very similar to Guney’s Umutsuzlar. It is a tear choker. Simply Brilliant film from a giant of the Turkish cinema.

The Girl with the Red Scarf

Westfront 1918 aka Comrades of 1918 (Georg Wilhelm Pabst, 1930) A war film unlike any others, it open with laughter and end in a cry of madness among soldiers who are mutated or gone insane. Concentrating on a group of German soldiers in the trenches, the film is about their attempt of survival in a constant shilling and grenade attack from the French and at times from their own artillery, it is full textures; muds, woods, dusts, constant sound of bombardment on the background. As someone put it, “soldiers don’t think about country when they are in the trenches, they think about their next meal, their survival and keeping their feet warm”

Westfront 1918

The Three Crowns of the Sailor (Raúl Ruiz, 1983) As complex as Citizen Kane, The Three Crowns of the Sailor has to be viewed multiple times in order to understand it. Imagine Orson Welles, Arabian Nights, Film Noir, Godard, Bunuel, Surrealism, Abstraction, Literature and Tournuer all mixed and you will get this film. People speak in prose, they don’t act they recite, Godard’s Alphaville is present when it comes to the first person narration and the voice over, Ruiz manages to create bizarre imagery and mood with a simple set-up of camera angles which at times are very abstract.

The Three Crowns of the Sailor

Giorgobistve aka Falling Leaves (Otar Iosseliani, 1966) A favorite of Tarkovsky, Fallen Leaves has a loose narrative about a week in the live of Niko, a young man who get a job at a wine factory, it is a simple film that shows life as it is, Iosseliani manages to achieve a realism that is true to life, people don’t act, they are what they are. there is no plot, rather we sees daily life as it flows.

Giorgobistve aka Falling Leaves

True Heart Susie (D. W. Griffith ,1919) A favorite of both Rivette and Rohmer, True Heart Susie is one of the best work of Griffith and a forgotten masterpiece from the silent era. A story about innocent love and sacrifice that almost a century later still has the power to move us emotionally. Lillian Gish’s sensitive and beautiful performance is among the best of the silent era. It is a simple story about two simple people in a simple town, full of simple events, that could describe the whole cinema of Rivette and Rohmer, no wonder they admired the film so much. The first inter-title of the film tell the viewer that the film is made of everyday incidents. Griffith never force or try to manipulate the audience, rather he take his time with slow pace story telling, simple set-ups, cross-cutting and subtle acting, he manages to build up emotions and bring the audience to the edges of tears.

True Heart Susie

U samogo sinyego morya aka By the Bluest of Seas (Boris Barnet, 1936) Barnet’s film is one of a kind, neither %100 silent or talkie, musical or comedy, drama or documentary, it mixes all these elements to create a nostalgic, poetic, naturalistic film that will hunt ones memory with its beauty. The story is simple Yusuf and Alyosha are shipwrecked and they land in an Island at Azerbaijan in which they meet a beautiful comrade girl who run the place and they both fall in love with her, like other Barnet film, they are competing for her love, their friendship are about to break up because of their jealousy. Barnet’s naturalism is close to Flaherty and late Murnau, many times the film cuts into scene of nature; birds, wave of the sea, sun, it captures beautifully the landscape. There is a playfulness to the characters that the French New Wave took it to the extreme in later decades. Simply a marvelous film that one could only describe it as poetic.

By the Bluest of Seas

Aerograd aka Frontier (Alexander Dovzhenko, 1935) If there is such a thing as Poetic Propaganda, then Dovzhenko’s Aerograd has to be the father of them all. It is a poetic masterpiece with imagery that are equal to his lyrical film, Earth. The only flap in the film could be its patriotic drum beat for the Soviet, take that away and you got a film that is gold from its first frame to the last. It has a mystical power that is comical and tragic at the same time. According to Rosenbaum, the film was a favorite of Elia Kazan and James Agee.

Aerograd

Hitori Musuko aka The Only Son (Yasujiro Ozu) The Only Son is about a relationship between a Son and a Mother whom both think they failed each other in their obligation and regret their past, Ozu does not take politically the issue of being poor in a capitalist society, rather he tackle the simple story of a Son in a poor family with a single Mother going to a big city college to become somebody but turns out to become just another average Joe, that is the plot. What Ozu does is put the emotion and the heart-break of the Mother and Son into the screen with such sincerity and lyricism that breaks one’s heart at the end of the film, the Mother becomes everybody’s Mother and the Son everybody’ Son, for parents always want best for their children. Ozu is the closest thing that come to Tolstoy in cinema.

The Only Son

A Time for Dying (Budd Boetticher, 1969) Every film that I had seen so far by Boetticher has been a masterpiece and A Time for Dying is no different. Under 70 minutes, it is a film that one wished never to end and when it does we are left with a sadness and a nostalgia for the loss the two characters that are both doomed at the end of the film, the two that we laugh so much with and fall in love. This was Boetticher’s last film, a film about a man that we spent all the film with and at the end we don’t even know who he was. The old West is a cruel one, the good loses and evil triumph, and memory erases the trace of those who were good and the few that become legend are not all that nice.

A Time for Dying

Illusion Travels by Streetcar (Luis Bunuel, 1954) What could one say about Bunuel, he is a genius. He manages to create magic right in front of you, nothing is predictable in a Bunuel Film. Illusion Travels by Streetcar has to be among his best work in Mexico, a masterpiece of illusion, realism, surrealism, comedy and social satire all mixed into one. Bunuel is always a step ahead of its audience, just as we think we know what will happen next, the opposite is happening and we are left with more puzzles to fix. The story is centered around two streetcar employee who get drunk one night and decide to take a ride in a  Streetcar into the Mexico City street, they find themselves stuck with the machine and for the rest of the film we are stuck with them as they encounter different people and story. On the surface is seem like a simple film, but it’s very complex, we meet hundreds of characters, each as unique as the other one. The streetcar becomes  our eyes as we get a glimpse of the social and political problem of the city which is played out on the background of the story, poverty, crime, political corruption, religion superstitions, capitalism, etc…Bunuel manages to put them all on the screen within a span of 90 minutes.

Illusion Travels by Streetcar

Twilight’s Last Gleaming (Robert Aldrich, 1977)  Burt Lancaster play an escaped military general who takes over a nuke base and threaten to unleash 9 atomic bomb if the US President does not go on live TV and tell the world what the real reason was behind the Vietnam war, a provocative film that tackle the real issues that even today the main stream media hide from the public; the fact the the wars are for not what they appear but for military muscle exercise and interest of few over many.

Twilight’s Last Gleaming

The Old Dark House (James Whale, 1932 ) Boris Karloff seems to duplicate his character of Frankenstein a year after the popular success of the film, in this marvelous horror/comdey film which represent the pre-code Hollywood and a good example of Universal’s horror genre. It has a brilliant script with a humorous dialogue and a horror plot that was way ahead of its time, and let us not forget a marvelous cast and a great cinematography.

The Old Dark House

Hollywood or Bust (Frank Tashlin, 1956) The influence of Tashlin’s Hollywood or Bust if clear on such filmmakers as difference as Godard and Tim Burtons (Pee-Wee’s adventure is a clear rip-off), I came upon the film after noticing it on Godard’s list of the best films of 1956, and it is definitely among the greatest comedy and one of the best road film ever. Dean Martin and Jerry Lewis are wonderful as an odd couple who share a winning car and plan to take it to Hollywood to sell it and maybe meet Lewis’ favorite actress Anita Ekberg , that is the plot on the film, but on the way the film opens up to a serious of gags, songs and incidents, it is beautifully shot with mes-en-scenes that are as colorful as those of Tati.

Hollywood or Bust

Moonrise (Frank Borzage,1948) I can not believe that it took me this long to watch my first film from the great Frank Borzage, and what a film, one of the best Noir of the 40s. Dane Clark play Danny Hawkins, the son of a murderer, he is  haunted by his father’s past, from a young boy to a young man, he is been made fun and laughed at for his father’s  crime. Beautifully and masterful shot with acting and cinematography that are resemblance of the silent era.

Moonrise

El Patrullero (Alex Cox, 1991) Imagine a film that is mix from Luis Bunuel, Sam Pickinpah and John Ford and you will get The Patrolman, one of the best film of the 90s. It is a nostalgic tribute to  Bring me the Head of Alfredo Garcia, even the main character looks like Warren Oates (and the dark glasses he is wearing is the exact same), a western/surelasstic thriller about a young man who decide to become a highway patrolman, the film span about six year in the live of him.

El Patrullero

O Sangue (Blood) (Pedro Costa, 1989) “What was the greatest human invention?” a question that is been asked twice in O Sangue and we never get an answer, the film suggest that the invention is Cinema, and O Sangue is a tribute from Costa to Cinema, memory and life. The ending is a reflection of that, the best tribute to Murnau ever to be put on screen, a tribute to Sunrise that is equal in power and beauty as Sunrise itself. O Sangue is among the best black and white film that I have ever seen, it is equal in beauty to Sunrise and Ugutsu, two film that is stylistically must have had influence on this film. There are many filmmaker present in this film, Murnau and Mizoguchi in Cinematography. Ozu in compositions, Robert Bresson, Jean-Marie Straub, Danièle Huillet on acting, Godard’s Alphavile is present on the spirit of the film, and let is nor forget Tourneuer.

O Sangue

She Was Like a Wild Chrysanthemum (Keisuke Kinoshita, 1955) This is my second film from Kinoshita, the first being Twenty-Four Eyes, and both have moved to tears, for his films are about time, memory, past and a nostalgic, innocent vision of  a world that is long gone.

She Was Like a Wild Chrysanthemum

City Girl ( F.W,Murnau, 1930) A masterful film by the master F.W.Murnau, City Girl, another romantic tale between a country boy and a city girl like Sunrise, that is stunning visually, every gesture, every movement, ever frame is made of gold, Murnau manages to model his actors by creating movement and gestures that is long gone today, the silent cinema had the charm to tell a story without dialogue, what Murnau does is to make the visual stand out above all, just watch the ending of this film, it is a cinema that will break your heart for its beauty and perfectionism.

City Girl ( F.W,Murnau, 1930)

Tabiate bijan AKA Still Life (Sohrab Shahid Saless,1974) If one film had to be named as the father of the modern Iranian Cinema, this film is the one. Every shot, every frame, every cut in this film is made of gold. It is a masterpiece that questions the foundation of cinema itself.  This film has life, it lives, it has achieved simplify by using the elements of cinema to it’s basic form. If one want to learn how to set-up a camera, how to position it to tell a story, how to compose, how to cut, how to connect two shot, how to use sound, then Still Life is a perfect school for you.

Tabiate bijan

 

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Kurdish Cinema: Yol (Yilmaz Guney, 1982)

Film Diary, Film Review, Kurdish - نووسینی کوردی

YOL: The Road of Yilmaz Guney
by Karzan Kardozi

For more visual analysis of Yilmaz Guney’s cinema, read my article on Guney’ Arkadas (1974) HERE

Yol (Yilmaz Guney, 1982)

Yol is the gem of the Kurdish cinema, it is perhaps the best Kurdish film to have come out of the Kurdish cinema and still is the most honored of all the Kurdish films, winning Best Picture the Palm’Dor and International Critics’ Prize at at Cannes Film Festival in 1982. The film was written, partially directed and then after his escape from prison edited by Yilmaz Guney, who was in jail for alleged murder of a Judge. In September, 1980, the new Turkish military junta made a law to ban all of Yilmaz Guney’s works, including his films, book and publications. Knowing that all his future work will also be censured by the military, Guney declared, “There are only two possibilities: to fight or to give up, I chose to fight” and he fought back by making Yol.

Seyit Ali played by Tarık Akan

Yol chart the journey of 5 prisoners on paroles who are given a week to leave. The films open in the island prison of IMRALI, the prisoners take their journey in the vast landscape of Turkey in search of their freedom, all but one travel to ADANA in Kurdistan and the surrounding areas, each encounter an obstacles and have to face their past mistakes, it is Guney’s epic vision of a Turkish landscape under control of the military junta, a man’s search for its right and liberty.

BIRECIK

SEYIT ALI is on mission to do an honor killing, he travels eastward to the showy Kurdish mountain, to an isolated village of SANACK, from there he must find his wife in farm and punish her fro cheating on his with another man according to the local custom. MEHEMT, who is guilty of leaving his brother-in-Law to be killed after a failed bank robbery must travel to DIYARBAKIR in hope of meeting his wife and children, although his In-Law family are against seeing him and blame him for their son’s death. OMER, a Kurdish farmer, travel to his village, BIRECIK in occupied North Kurdistan, a village on the wired and minefield border between Turkey and Syria in order to meet his family, he find his village in a bloody battle between the Kurdish fighters and the Turkish army, he waits to hear news from his brother who is fighting with the Kurdish fighters to free North Kurdistan from Turkish occupation. OMER like other Kurds, find himself and his land under Turkish occupation that deny him his basic right to speak Kurdish. The Young YUSUF, who is traveling to meet his new young bride, goes as far as BURSA before being arrested again for forgetting his pass papers. Handsome, MEVLUT travel to GAZIANTEP to meet his fiancée under the watchful eyes of her family.  The journey end back to the prison in IMRALI for most, for others death is the only way out, and for some, a new-found freedom and redemption give them a glimpse of hope.

Hope

Making the film while in prison, Guney portray Turkey under the military dictatorship as an open prison, the outside world seems by far more dangerous and more of a threat to the prisoner than inside the prison. Perhaps none of the prisoner’s life is as desperate as young OMER, a former farmer who now return to his village only to find destruction and death as a result of a constant, bloody battles between the Turkish army and the Kurdish freedom fighters or separates as the army call them. Although he is love with a beautiful girl of the village, custom and tradition force him to marry his brother’s wife and take care of her children after tragedy strike and  he find out that his brother have been killed in the fight. Faced with a choice of going back to prison in IMRALI and marrying his brother’s wife, he decide to take off and ride to the snowy mountains and join the Kurdish  fighters in search of his freedoms.

Watchful Eyes

The dramatic appearance of the legendary Yilmaz Guney at the Cannes Film Festival ceremony and the winning of Palm Do’r after his escape from prison was  giving a standing ovation and weeping from the audience after showing of the film, chanting his name “Guney, Guney” and constant applauding, it was a tribute to a man who is by now considered the founding father of the Kurdish cinema, a man who spend timeless time in prison for standing up for the basic human rights of others. His arrival and the entry of Yol at Cannes was announced at the last-minute due to objection of Turkish government. The French government gave Guney immunity from extradition to Turkey and allowed him to stay in France for a temporary time.

Military Dictatorship

Yol had an ever lasting impact on the jury, the critics and the audience, it brought an everlasting fame and recognition to Yilmaz Guney known as  “The Ugly King” in Turkey, a bigger than life character , a one man show who was mix between Che Guevara, James Dean, Clint Eastwood and Pablo Pasolini. Even today the name Yilmaz Guney is closely mentioned with Yol , and the two name are still echoed  by young Kurdish filmmakers and critics alike. It has been almost 26 years since the death of Yilmaz Guney, he is still  an inspiration for all.

Yilmaz Guney at Cannes

Directors: Serif Gören, Yilmaz Güney
Writer: Yilmaz Güney

Original Music by :
Sebastian Argol
Zülfü Livaneli

Cinematography by:
Erdogan Engin

Film Editing by:
Hélène Arnal
Yilmaz Güney
Elisabeth Waelchli

Cast:

Tarik Akan     …     Seyit Ali
Serif Sezer     …     Ziné
Halil Ergün     …     Mehmet Salih
Meral Orhonsay     …     Emine
Necmettin Çobanoglu     …     Ömer
Semra Uçar     …     Gülbahar
Hikmet Çelik     …     Mevlat
Sevda Aktolga     …     Meral
Tuncay Akça     …     Yusuf
Hale Akinli     …     Seyran
Turgut Savas     …     Zafer
Engin Çelik     …     Mirza
Hikmet Tasdemir     …     Sevket
Osman Bardakçi     …     Berber Elim
Enver Güney     …     Cindé

سینه‌مای کوردی بۆ کوێ؟

Culture, Kurdish - نووسینی کوردی

سینه‌مای کوردی بۆ کوێ؟

نووسینی: کارزان کاردۆزی

An English version of this article can be found here…

 

له‌ رۆژانی ئه‌مرۆدا سینه‌ما چه‌کێکه‌ که  ‌ووڵات و  نه‌ته‌وه‌کانی جیهان به‌ کاری ده‌هێنن بۆ ناساندنی خۆیان به‌ جیهان، گه‌ ر سه‌یرێكی زاڵی که‌لتوری  ووڵاتێکی وه‌ک ئه‌مریکا بکه‌ین، هۆیه‌کی زاڵبوونی ئه‌و کلتوره‌ به‌ سه‌ر جیهاندا ده‌گه رێته‌وه‌ بۆ بڵاوبوونه‌وه‌ی فیلمه‌کانی هۆڵیوود به‌ ڕێژه‌یه‌کی زۆر به‌ جیهاندا. زیاتر له‌ هه‌موو هونه‌ره‌کانی تر، سینه‌ما ده‌توانێت مرۆڤه‌کان و کلتوره‌کان له‌ یه‌کتر نزیک بکاته‌وه‌. به‌ڵام به‌ داخه‌وه‌، ئه‌م هونه‌ره‌ تا ئێستا ڕه‌گێکی له‌ کلتور و بناخه‌ی کۆمه‌ڵگه‌ی کوردی دا نیه‌، هۆکاره‌کان زۆرن، ده‌توانین هۆکاری جیۆپۆڵیتیکی کوردستان و چه‌وسانه‌وه‌ی گه‌لی کورد و جه‌نگ و هۆکاری ئابووری و جیاوازی  زمان و گه‌لێک هۆکاری تر باس بکه‌ین که‌ خوێنه‌ر پێی ئاشکرایه‌،به‌ڵام با به‌ به‌ کورتی و به‌ پوخته‌ی لێکۆڵینه‌وه‌ له‌ سه‌ر چه‌ند هۆکارێکی تر بکه‌ین که به‌ هه‌مان شێوه‌ کاریگه‌ری له‌ سه‌ر دواکه‌وتنی سینه‌مای کوردی هه‌یه‌‌ .

نه‌بوونی ستۆدیۆی به‌رهه‌مهێنان و ستافی به‌رهه‌مهینانی فیلم: جیاوازی به‌رهه‌مهێنانی فیلم له‌گه‌ڵ هونه‌ره‌کانی تر ئه‌وه‌یه‌ که‌ فیلم پێویستی به‌ پاره‌ و که‌ره‌سته‌ی ته‌کنه‌لۆجی و ستافێکی شاره‌زای زۆره‌ بۆ درووستکردنی. نووسینی نۆڤڵێک، هۆنراوه‌یه‌ک، کێشانی وێنه‌یه‌ک وه‌ یان کۆمپۆسکردنی مۆسیکێک به‌رهه‌مهێنانه‌که‌ی ده‌که‌وێته‌ نێوان هونه‌رمه‌ند و هۆشی، به‌ڵام به‌رهه‌مهێنانی فیلم زیاتر له‌ هه‌وڵی هۆش و بیری هونه‌رمه‌ندی ده‌وێت. له‌ کوردستان دا تا ئێستا  ستۆدیۆیه‌کی به‌رهه‌مهێنان وه‌ یان بازارێک نیه‌ بۆ فرۆشتنی ئه‌و کارانه‌. گه‌ر سه‌یری سیستمی  هۆڵیوودی ئه‌مریکی وه‌ یان بۆڵیوودی هندستان وه‌ ته‌نانه‌ت گه‌ر سه‌یری ووڵاتانی دراوسێمان بکه‌ین وه‌ کوو تورکیا و ئێران که‌ ئێستا با زاره‌کانی ڕۆژهه‌ڵاتی ناوه‌راستیان داگیرکردووه‌ و رکابه‌ری هۆڵیوود و ىۆڵیوودیش ده‌که‌ن بکه‌ین، ده‌بینین که‌ که‌سانێک ده‌توان سیناریۆ وه‌یان بیری فیلمه‌کانیان ببه‌ن به‌ به‌رهه‌مهێنه‌رێک وه‌ یاخوود ستۆدیۆیه‌کی به‌رهه‌مهێنان و گه‌ر چانست هه‌بێت وه‌ سیناریۆکه‌ بازارێکی هه‌بێت ئه‌و سیناریۆیه‌ ده‌کرێت به‌ فیلم. به‌رهه‌مهێنانی ئه‌م فیلمه‌ و دۆزینه‌وه‌ی ئه‌کته‌ر و بوجه‌ی مادی و که‌ره‌سه‌ی ته‌کنه‌لۆجی و ستافی به‌رهه‌مهێنان و دا‌بینکردنی پێداویستی ڕۆژانه‌و دۆزینه‌وه‌ی شوێنی وێنه‌گرتن و وه‌رگرتنی مۆڵه‌تی یاسای و چه‌ندان شتی تر  له‌ لایه‌ن ستۆدیۆکه‌ وه‌ دابین ده‌کریت. دوای به‌رهه‌مهێنان، ئه‌رکی مۆنتاز و بڵاوکردنه‌وه‌ و ریکلامی هه‌ر ده‌که‌وێته‌ سه‌ر ئه‌ستۆی ئه‌و ستۆدیۆیه‌ وه‌ یان به‌رهه‌مه‌مهێنه‌ره‌. به‌ داخه‌وه‌ ئه‌م سیستمی به‌رهه‌مهێنانه له‌ کوردستان دا نیه‌، نه‌ که‌سانێک هه‌ن ئه‌رکی مادی و به‌رهه‌مهێنانی فیلم بگرنه‌ ئه‌ستۆ و نه‌ سیستمێک هه‌یه‌ بۆ درووستکردن و دابینکردنی کار بۆ ئه‌و که‌سانه‌ی له‌ بواری سینه‌مادا کار ده‌که‌ن. گه‌ر که‌سێک بیه‌ویت فیلمێک به‌رهه‌م بێنێت پێویسته‌ له‌ سه‌ری نه‌ک ته‌نها ئه و هۆشی فیلمه‌که‌ بێت به‌ڵکو ده‌بێت زۆربه‌ی هێزی خۆی دابین بکات بۆ دۆزینه‌وه‌ بووجه‌یه‌ک، ستافی به‌رهه‌م هێنان و ئه‌وئه‌رکانه‌ی که‌ ده‌که‌ونه‌ سه‌ر شانی ستۆدیۆ و به‌رهه‌مهێنه‌ر زۆربه‌ی ده‌که‌وێته‌وه‌ سه‌ر شانی ده‌رهێنه‌ر، ئه‌م گرفتانه‌ گرفتی گه‌وره‌ن، نه‌بووی که‌ش و هه‌وایه‌ک بۆ ره‌خساندنی ژینگه‌یه‌ک بۆ به‌رهه‌مهێنانی فیلم وا له‌ زۆر له‌ هونه‌رمه‌ندان ده‌کات که‌ خۆیان دوور له‌و ئه‌رکانه‌ ڕابگرن. له‌ رووی ته‌کنه‌لۆجیه‌وه‌ تا ئێستا  له‌ کوردستان دا ستافێکی پرۆفیشناڵ و که‌ره‌سته‌ی به‌رهه‌م هێنانی فیلم نیه‌ تا که‌سانێک پێبگه‌یه‌نن و هوشیار بکه‌ن بۆ درووستکردنی فیلم وه‌ نه‌ هه‌وڵدانێک هه‌یه‌ بۆ درووستکردنی، وه‌ به‌ داخه‌وه‌ ئه‌و ته‌له‌فزیۆن وه‌ یان ده‌زگایانه‌ی هه‌ن که‌ جار جار هه‌ڵده‌ستن به‌ یارمه‌تیدانی که‌سانێک بۆ دوورستکردنی فیلم، سه‌ربه‌ستیه‌کی هونه‌ری ناده‌ن به‌و که‌سانه‌ و به‌ربه‌ستیه‌کی زۆری بۆ داده‌نێن، وه‌ زۆربه‌ی جار ئه‌و به‌رهه‌مانه‌ وه‌کوو پرۆپاگه‌نده‌یه‌ک بۆ پیشخستنی خۆیان به‌کارده‌هێنن.

نه‌بوونی بازارێک بۆ بڵاوکردنه‌وه‌ی فیلم: گریمان هونه‌رمه‌ندێک فیلمێک به‌رهه‌م ده‌هێنێت دوای هه‌وڵدانێکی زۆر. با سه‌یری سیستمی بڵاوکردنه‌وه‌ی فیلم له‌  هۆڵیوود بکه‌ین و به‌راووردی بکه‌ین به‌ کوردستان، ڕه‌نگه‌ ئه‌م به‌راووردکرنه‌ له‌ جێگای خۆیدا نه‌بێت و خۆێنه‌ر بڵێت “‌هۆڵیوود له‌ کوێ و کوردستان له‌ کوێ؟” ، به‌ڵام ئه‌م به‌راووردکردنه‌ پێوویسته‌ بۆ ئه‌وه‌ی ئاشنا بین  به‌ زاڵبوونی سیستمی ‌‌‌‌هۆڵیوود به‌سه‌ر جیهان دا.له‌ دوای به‌رهه‌مهێنانی فیلمه‌که‌،  بووجه‌یه‌کی زۆری مادی دابینده‌کرێت بۆ ریکلامکردن و ئاگاریکردنه‌وه‌ی بینه‌ره‌کان به‌ بڵاوبوونه‌وه‌ی فیلمێک ، ریکلامی ته‌له‌فزیۆنی، رادیۆ ، ڕۆژنامه‌ی و ئه‌نته‌رنێت وا له‌ بینه‌ر ده‌کات که‌ شاره‌زا بێت به‌ ڕۆژی بڵاوکردنه‌وه‌ ئه‌و فیلمه‌و بابه‌تی فیلمه‌که‌. له‌ هه‌مان کای دیاریکراودا ، له‌ زۆربه‌ی شاره‌کان و سینه‌ماکانی ئه مریکا و جیهاندا ئه‌م فیلمه‌ بڵا‌و ده‌کرێته وه‌‌، گه‌ر فیلمێک ته‌نها بۆ ماوه‌ی یه‌ک هه‌فته‌ش کاربکات ئه‌وا گاره‌نتی ئه‌وه‌ هه‌یه‌ که‌ پاره‌ی به‌رهه‌مهێنانه‌که‌ی به‌ قازانجه‌وه‌ په‌یدا ده‌کات، ته‌نها له‌ ئه‌مریکا دا هه‌فتانانه‌ ملیۆنه‌هان که‌س بۆ سینه‌ماکان ده‌چن، دابوونه‌ریتی بینینی فیلم له‌ یه‌که‌م ڕۆژی بڵاوکردنه‌وه‌یدا دابوونه‌ریتێکی کلتوورییه‌ له‌ کۆمه‌ڵگه‌ی ئه‌مریکادا و ره‌گێکی سایکی چێنراوه‌. هه‌رزانترین نرخی بلیتێک بۆ بینینی فیلمێک 8$ . دوایپیشاندانی فیلم له‌ سینه‌ماکاندا بۆ چه‌ندان هه‌فته‌، فیلمه‌که‌ ده‌کشێندریته‌وه‌ ،فیلمه‌که‌ به‌ شێوه‌ی DVD ده‌که‌وێته‌ بازاره‌وه‌ ، ملیۆنه‌ها کۆپی به‌ بازاره‌کاندا بڵاوده‌کرێته‌وه‌ هه‌ریه‌ک به‌ نرخێک له‌ نێوان 10$ بۆ 20$ ، دوای ماوه‌یه‌ک له‌ بڵاو کردنه‌وه‌ی DVD وه‌ هه‌ندێک جار له‌ هه‌مان کاتدا، مافی په‌خشکردنی ئه‌م فیلمه‌ ده‌درێت به‌ ته‌له‌فزیۆنێک وه‌ یان چه‌ندان ته‌له‌فزیۆن له‌ ناوخۆی ئه‌مریکا و جیهاندا بۆ په‌خشکردن به‌ پاره‌یه‌کی زۆر،  با خوێنه‌ر بیر له‌ داهاتی ئه‌م فیلمه‌ بکاته‌وه‌.  وه‌کوو ده‌بینین، ئه‌ و ستۆدیۆیه‌ی وه‌ یان به‌رهه‌مهێنه‌ره‌ی که‌ فیلمێک ده‌خاته‌ بازاره‌وه‌ زۆربه‌ی کات به‌ قازانجه‌وه‌ پاره‌کی ده‌ست ده‌که‌وێت، ئه‌و ستۆدیۆیه‌ وه‌ یان به‌رهه‌مهێنه‌ر به‌ سوپاسه‌وه‌ ئاماده‌یه‌ بۆ به‌رهه‌م هێننانی فیلمێکی تر. ئه‌ی له‌ کوردستان ئه‌مانه‌مان هیچ هه‌یه‌؟ وه‌ڵامه‌که‌، نه‌خێر. ئێمه‌ له‌ کوردستان دا تا ئێستا سینه‌مایه‌کمان نیه‌ که‌ بینه‌ر بتوانێت سه‌یری فیلمێک بکات له‌ بارودۆخێکی گونجاودا وه‌ بازارێک نیه‌ بۆ بڵاوکردنه‌وه‌ی فیلم، گریمان گه‌ر هه‌موو شارێک و گوندێک چه‌ندانن سینه‌ماشیان تێدا بێت، بینه‌ری کورد ئه‌و خولیایه‌ی نیه‌ هه‌فتانه‌ سه‌ردانی سینه‌ما بکات،به‌ داخه‌وه‌ دابوونه‌ریتێکه‌ که‌ له‌ کۆمه‌ڵگای ئێمه‌دا نیه‌ له‌م کاته‌دا، به‌ نه‌بوونی شوێنێک وه‌ یاخوود بازارێک بۆ فیلم ئه‌وه‌ پێوه‌یست ناکات که‌ ریکلام بۆ فیلمه‌که‌ت بکه‌یت، به‌ بێ ریکلام تۆ ناتوانیت بینه‌ر ئاگادار بکه‌یته‌وه‌ به‌ بوونی فیلمه‌که‌ت. به‌داخه‌وه‌ هه‌مان شت راسته‌ بۆ بڵاوکردنه‌وه‌ی فیلمه‌که‌ت له‌ سه‌ر شاشه‌ی ته‌له‌فزیۆن وه‌ یان DVD، تا ئێستا له‌ کوردستان دا یاسایه‌ک نیه‌ بۆ پاراستنتی کارێکی هونه‌ری له‌ کۆپی کردن و بڵاوکردنه‌وه‌ی به‌ شیوه‌ی ساخته‌و  DVD له‌ بازاره‌کان دا. ئه‌م هۆیانه‌و چه‌ندان هۆی تر وها ده‌کات که‌ سیستمێکی به‌رهه‌مهێنان درووست نه‌بێت، گه‌ ر هه‌بێتیش ئه‌وا به‌رهه‌مهێنانی هه‌ر فیلمێک به‌ زه‌ره‌ری مادی ده‌گه‌رێته‌وه‌ بۆ ئه‌و ستۆدیۆیه‌ وه‌ یان به‌رهه‌مهێنه‌ره‌ و وای لێده‌کات نه‌توانێت فیلمێکی تر به‌رهه‌م بهێنێت. ته‌نها هیوایه‌ک بۆ هونه‌رمه‌ندانی سینه‌مای له‌م کاته‌نه‌دا ناردنی فیلمه‌کانیانه‌ بۆ فیستیڤاڵه‌ جیهانیه‌کان به‌ هیوای به‌ده‌ستهێنانی خه‌ڵاتێک وه‌ یان بڵاوکردنه‌وه‌ی ئه‌و فیلمه له‌ سینه‌مای ئه‌و ووڵاتانه‌ دا له‌ لایه‌ن کۆمپانیایه‌که‌وه‌.

نه‌بوونی هه‌ستێکی رۆشینبیری بۆ سینه‌ما: ناساندنی هه‌ر هونه‌رێک و درووستکردنی هونه‌رمه‌د پێویستی به‌ سیستمێکی ڕۆشینبیری و خوێندن هه‌یه‌، نه‌بوونی سیستمێکی هۆشیاری و خوێندن له‌ سه‌ر سینه‌ما، نه‌بوونی گۆڤار و بڵاکراوه‌ی سینه‌مای و کتیب به‌ زمانی کوردی، وه‌ یاخوود قووتابخانه‌یه‌ک به‌ ستافی پرۆفیشناڵه‌وه‌ بۆ درووست کردن و هۆشکردنه‌وه‌ی هونه‌رمه‌ند هۆیه‌کی تر که‌ کار له‌ سه‌ر دواکه‌وتنی سینه‌مای کوردی ده‌کات. ڕاسته‌ زۆربه‌ی گه‌وره‌ ده‌رهێنه‌ رانی جیهان قوتابخانه‌یه‌کی خوێندنی سینه‌ماییان   ته‌وا و نه کردووه‌، به‌ڵام زۆربه‌یان له‌ سیستمێکدا گه وره‌بوون که‌ فێربوونی ته‌کنیك و به‌رهه‌مهێنانی فیلم تێیدا هه‌ڵکه‌وتووه‌. گه‌ر سه‌یری گه‌وره‌ ده‌رهێنه‌رانی هۆڵیوود بکه‌ین،Studio System بوونی سیستمی ستۆدیۆی به‌رهه‌مهێنان  درووستکه‌ری سه‌ره‌کی ئه‌م که‌سانه‌ بوون. درووست بوونی شه‌پۆلی نوێی فه‌ره‌نسی  له‌ فه‌ره‌نسا له‌ لایه‌ن گه‌وره‌ ده‌رهێنه‌رانی وه‌.، Jean Luc-Godard ,Francois Truffaute، Jacques Rivette، هۆی سه‌ره‌کی ده‌گه‌رێته‌وه‌ بۆ هه‌بوونی سینه‌ماتیكی فه‌ره‌نسی به‌ سه‌رپه‌رشتی  و گۆڤار  که‌ به‌ پیشاندانی فیلم و نووسین و لێکۆڵینه‌ وه‌ له‌ سه‌ر ئه‌و فیلمانه‌ چه‌ندان له‌ هونه‌رمه‌ندی تازه‌یان پێگه‌یاند و شه‌پۆلێکی نوێیان له‌ مێژووی سینه‌ما دا درووستکرد. له‌ کوردسنتاندا نه‌ سیستمیكی پرۆفیشناڵی خوێندن هه‌یه‌ له‌ سه‌ر سینه‌ما (له‌ شارێکی وه‌کوو سلێمانی دا تا ئێستاش به‌ شێکی سینه‌مای وه‌  یان کۆرسێک نیه‌ له‌سه‌ر سینه‌ما له‌ زانکۆکاندا) ، وه‌ نه‌سینه‌ماتێکێک وه‌ یان شوێنێک هه‌یه‌ بۆ پێشاندانی فیلم و لێکۆڵینه‌وه‌ له‌ سه‌ری و وه‌ تا ئێستا بڵاوکراوه‌یکی په‌روه‌ره‌ده‌ی نیه‌ بۆ پێگه‌یاند و هۆشیارکردنی نه‌وه‌یه‌کی نوێ. به‌ داخه‌وه‌ هه‌و هۆشی سینه‌مایه‌ی که‌ له‌ ئێستا هه‌یه‌ زۆربه‌ی له‌ لایه‌ن که‌سانێکی تاکه‌وه‌ درووستکراوه‌ که‌ کاریگه‌ریه‌کی بازاری بازرگانی فیلمی هۆڵیوودی Blockbuster و زنجیره‌ دۆبلاجکراوه‌کان و ئه‌و ستایه‌ڵه‌یان له‌ سه‌ره‌ که‌ رۆژانه‌ له‌ ته‌له‌فزیۆنه‌ ناوخۆیه‌کان و ئاسمانیه‌کان دا ده‌یان بینین، درووستکردن و کۆپیکردنی ستایڵی که‌سانی تر درووستکردنی سینه‌ما نیه‌. زۆر جار ده‌بیستین که‌ هونه‌رمه‌ندان ناڕه‌زای ده‌رده‌برن له‌ ده‌زگا راگه‌یاندنه‌کان له‌ سه‌ر بڵاوکردنه‌وه‌ی ئه‌م جۆره‌ فیلمانه‌ و زنجیره‌ دۆبلاجکراوانه‌، من له‌گه‌ڵ ئه‌م ره‌خنه‌گرتنه‌دان، به‌ڵام با‌ ته‌نها ڕه‌خنه‌ نه‌گرین و سه‌یری هۆکانیش بکه‌ین،  بابیرمان نه‌چێت که‌ بینه‌ری کورد وه‌کوو هه‌موو بینه‌رێک ده‌یه‌وێت چێژێکی ده‌روونی و هه‌ستی entertainment وه‌ربگرێت له‌ سه‌یرکردن، به‌ نه‌بوونی فیلم و زنجیه‌ره‌ی  کوردی به‌ کواڵه‌تێکی به‌رز، بینه‌ر بۆ چێژلێوه‌رگرت و تێرکردنی ئه‌و حه‌زه‌ په‌نا ده‌باته‌ سه‌یرکردنی ئه‌و زنجیره‌ دۆبلاجکراوا‌نه‌ و فیلمانه‌، که‌واته‌ وه‌کوو بازنه‌یه‌ک، هۆکان به‌یه‌که‌وه‌ به‌ستراونه‌ته‌وه‌. ‌

سینه‌ما بۆ کوێ: ڕه‌نگه‌ خوینه‌ر دوای خوێندنه‌وه‌ی ئه‌و ووشانه‌ی سه‌ره‌وه‌ به‌ ره‌شبینیه‌وه‌ سه‌یری داهاتووی سینه‌ما بکات له‌ کوردستان. به‌ڵام من هه‌ست ده‌که‌م که‌ داهاتوو ڕه‌نگینه‌، گه لێک که‌ بتوانێت ده‌رهێنه‌رێکی وه‌ک یه‌ڵماز گۆنای درووستبکات که‌ چه‌ندان شاکاری سینه‌مای درووست کرد له‌ به‌رده‌م چه‌ندان  گرفت و که‌م و کوورتی دا، هه‌مان گه‌ل ده‌توانێت بنچینه‌یه‌کی سینه‌مای درووستبکات که‌ مێژوو و هه‌ست و نه‌ریتی ئه‌و گه‌له‌ به‌ جیهان بناسێنێت.به‌ڵام بۆ هاتنه‌دی ئه‌و خه‌ونه‌ ده‌بێت به‌ بیرێکی نوێ و به‌ پلانێکی تازه‌وه‌ بیر له‌ سینه‌ما و راهێنان و درووستکردنی نه‌وه‌یه‌کی تازه‌ بکرێت، ده‌بێت سینه‌مای کوردی له بنچینه‌وه‌ درووست بکرێکت گه‌ر بمانه‌وێت هه‌ر چانسێکمان هه‌بێت له‌ گه‌ڵ سینه‌مای ووڵاتانی تردا، نه‌وه‌یه‌کی نوێ و بیرێکی نوێ پێویسته‌

Recommended Reading: And Then There Were None by Agatha Christie

Art and Literature, Recommended Reading

And Then There Were None
by Agatha Christie

Then There Were None

Among of all works of Agatha Christie, And Then There Were None is my favorite, its also Christie’s best-selling book with over 100 million sales to date, which makes its the world’s best-selling mystery book ever.

The story and the  plot of the book are among the simplest yet most complicated puzzle mystery , I have read the book four times and watched two difference film version of it, yet, when I re-read it again last night, although I had a clear clue of who the murderer was, yet toward the end of the book, again doubt come in and I mistaken somebody else for the murder.

And Then There Were None (René Clair, 1945)

The story goes like this: Ten people, all strangers to each other have been invited to a big mansion in an island by a mysterious host, whom none of them know him personally. While waiting in the dinning room, a gramophone record player start playing, accusing each of the ten as been a murder and sentence them to death. Soon they all realize that they have been ticked into coming to the island, try to leave, but there are no boats and they are stuck there. That is when it all happen,  one of by on they get killed. They search for the murder in the island, but there is no one there except the ten of them. They come to a conclusion that the murderer is one of them, but who is it? They are all charming people and behave normally toward each other, yet one of them is the murderer, who can it be?

What is so great about Christie is that she gives you all the clues to the identity of the murder and most of the time even the plot twisting of the novel, yet, because she is a master of simplicity we are always tricked into a puzzle that toward the end we give up at solving the mystery and eagerly wait the outcome of the story.

Best among all the Film Adaptation

Take the nursery rhyme in the book. When the guest move into their rooms they each find in his/her room a framed copy of the nursery rhyme “Ten Little Soldiers” aka “Ten Little Indians” hanging on the wall, and that is the clue of their death, they soon realize how each of them gona die and the fact the murder is one of them, yet they are unable to stop the murders.  As a reader, toward the end of the boo, it seems to us that there are no logical explanation to the murders anymore, yet, there is one, it is very logical and very simple and we find out what it was, we take ourselves for  a fool. That is the mastery of Agatha Christie, she is always a few step ahead of us.

“Ten little Soldier boys went out to dine;
One choked his little self and then there were nine.

Nine little Soldier boys sat up very late;
One overslept himself and then there were eight.

Eight little Soldier boys traveling in Devon;
One said he’d stay there and then there were seven.

Seven little Soldier boys chopping up sticks;
One chopped himself in halves and then there were six.

Six little Soldier boys playing with a hive;
A bumblebee stung one and then there were five.

Five little Soldier boys going in for law;
One got in Chancery and then there were four.

Four little Soldier boys going out to sea;
A red herring swallowed one and then there were three.

Three little Soldier boys walking in the zoo;
A big bear hugged one and then there were two.

Two Little Soldier boys sitting in the sun;
One got frizzled up and then there was one.

One little Soldier boy left all alone;
He went out and hanged himself and then there were none”