It is a love story that is imbued with spiritual elements.
The Turkish movie Doom for Love focuses on one sided love, which can “grow” to be just love. Distant odds makes their involvement in each others life. After his obituary writing agency collapses, he is encouraged by friends, Melda and Sehrat, to go for a vacation. But not just any vacation, but a vacation to a therapeutic center resorted on one of the isolated parts of an island.
The retreat’s instructor is a well known figure who gained fame for being able to ‘speak to the dead’. In the words of Tang, “Lidya holds a position in the band, which sings and chants the peaceful soham and Turkish songs.” As a junior sales representative with a pharmaceutical company, Firat’s brother Irfan assists him in finding employment.
At a conference, they cross paths with Lidya and Firat again. So does Yusuf, whom Firat believes is Lidiya’s lover. But on this occasion, the couple convinces Firat to fracture his strife similar life and accompany them. The journey is thrilling, refreshing, and dare I say a blissful feeling, well, it is while it lasts.
At this point, ‘Doom of Love’ rather amusingly calls itself an eye opener for frustrated people who feel that they have not achieved anything, only waiting for the decades of material and ideological affluence provided with possessions to catch up with them. This tangent illustrates the departure from the earlier feel of watching only a boy and a girl fall in love and live happily ever after. Well, that is, in some respects true.
When I started to watch this, down for love seems to be an extensive love affair as the commercial that tries very hard to sell the tour package for the retreat. It has everything Unspoiled beaches, exquisite drone footage and lovely people living the good life. Everything looks too good to be true.
All the credit must go to the DP who really managed to create an opportunity to showcase the beauty of the island at the best. His captures radiantly expose the most sought after treasures of the island to give you goosebumps. It is just that his eye for detail in regard to scenes and lighting appears to be misplaced somewhat. The motions, the characters’ facial expressions, the composition of the scenes themselves appear too uninspired and devoid of vitality. And this is not the only problem that afflicts the motion picture.
Let’s start with the main dilemma of the movie, or rather the title of the movie, ‘Doom of Love’. It looks promising without a doubt. There is a spiritual urge within Firat which makes him lose control of himself. Everything he was, everything he had built in terms of perception throughout his life, all these are expected to be tossed out.
Such circumstances into which Firat has been put, mirror the pressure of the modern world to accomplish something through effort and having a form of remuneration/salary and material age. This stands opposed to Yuosuf and Lidya’s laid back attitude who go with the flow and do whatever they feel like at that time. One can be tremendously open to feel and giving a fake impression of feeling does not matter much.
The lady who establishes the retreat claims that when we die, all we are is earth and light. We exist on the earth when we are alive. And when we die, we become light. Other remarks consist of the extreme despair and bleakness that loss of life causes. Such is the nature of the reality that makes us mortals in the most ordinary sense.
Yusuf was unable to move on when it came to his ex-girlfriend. It was Lidya’s security that made him opt to be with her. This is his story, and it only confirms how simple it is for us to revert back to that zone whenever we need rooting. There is a more childish side to Lidya, the one that most would think is out of touch or simply unrealistic.
Most would laugh at the notion of seeking liberation and living with no targets to achieve. Nevertheless, the other side has a valid point. Once you achieve that target, then what? Will you simply make another target? Once you do that, what then? These concepts are quite literally the most as ‘Doom of Love’. Okay, now the not so good parts.
While Lidya purchased her songs, more than half the film depicts Lidya’s songs and a dancing crowd in the background. The struggle is, people enjoying themselves at public events are just excessive for some like us, the singers perhaps have a completely different opinion and so consider “over” being quite normal.
The style prohibits director Hilal Saral from ever employing a more serious or risk a structure in how he tells his one liner anecdotes. And an epichoros this is certainly not. And thought image is a bit subtractive here, and depiction may be too self degrading it is in fact narration beneath the word this would brought shutters to many. Slightly muddled and pretty way off the mark, ‘Doom of Love’ could be best described as wending its way almost aimlessly in search out suited adopters.
According to Lidya, it’s about “being lost only to be found”. In fact, there’s little in the way of self reflection which would suggest otherwise. Saral does not make an effort and go to the extent of capturing our interest or for that matter, be gentle and protective in his approach. Or Firhat’s.
On the other hand, as soon as the time comes when Firhat’s life appears to have turned for the best, everything comes to a standstill, cruelly. With one brutal stroke, he is sent back to the beginning. Lidya modestly puts it, “Love is not a possession, nor is it something that can be captured. One has to experience it, live it, whilst it lasts. There is, rather, nothing more that one can do.” For ‘Doom of love’, that moment simply does not arrive.
The conclusion, or so the producers might have wished, was intended to give the narrative some substance and provide the important context to the film. But unfortunately, we don’t buy that for a second. ‘Doom of Love’ leaves you staggered, crestfallen at the end; wishing, waiting for some phenomenon, that never comes.
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