Smartorhypo Highly Overrated But Still Good

Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

Donald Seymour This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

dromasca 'Crossing the Bridge: The Sound of Istanbul' is one of the best music documentaries that I have seen lately and is more than a film about music. It is also a musical love declaration about a fabulous city, one of the greatest city in Europe and the world, one of the most important cities for Europe history and for Islam, the city that may bridge in the future Europe and the Middle East or may signify once again, as is already happened in history the precipice between two worlds.Then there is the music. The interesting approach that the film takes with regard to music is that it starts from modern music, and we hear a lot of (good) rock and rap in the first third of the film. An then, like a backwards move in time the soundtrack takes us to the roots, to Turkish traditional music, to commercial romances, and to the exotic instruments that are basic elements in the landscape of Turkish music. In such a complex and conflict ridden country as Turkey is the film does not avoid some of the political aspects, like censorship introduced by the military rule in the 80s or the relevance of the songs of the minorities especially the Kurdish one. One of the best musical moments is actually provided by a Kurdish singer with a fantastic voice singing in a cathedral-shaped hamam (Turkish bath).One gets to love the city and its music by the end of the viewing and hearing of this film. I have never been to Istanbul but after having seen this film I am sure that I want to visit this place soon.

Chris Knipp Akin's prize-winning 2004 movie Head-On/Gegen die Wand depicted the appealingly chaotic world of a self-destructive but dynamic Turkish-German rocker named Cahit (Birol Ünel). This documentary is an offshoot of Head-On and explores the range of music one might find in Istanbul today if one were as energetic and curious as German avant-rock musician Alexander Hacke of the group Einstuerzende Neubauten (who arranged the sound track and performed some of the music for Head-On) and had the assistance of a film crew and Turkish speakers provided by director Akin. You get everything from rap to the most traditional Turkish classical song, with rock, Kurdish music, and Turkish pop in between. It's as chaotic and open-ended a world as Cahit's, one where East is East and West is West but the twain—somehow—do meet.Like Istanbul itself, which sits on the edge between Europe and Asia and brings the two worlds together while remaining sui generis, this is a mélange that includes Turkish pop, Turkish traditional songs, Kurdish laments, Roma jazz musicians and group of street buskers (Siyasiyabend), lively and offbeat shots of Istanbul street life, and some talk on camera about synthesis and some personal and musical history by singers and musicians. Working out of the Grand Hotel de Londres in Istanbul's Beyoglu quarter where Cahit stayed at the end of Head-On while looking for his beloved, Hacke roams around the city with crew and equipment interviewing people and recording their music.He begins with some loud rock by the "neo-psychedelic" band Baba Zula – these are musicians he bonded with while putting together Head-On's score and he stands in here for the absent bassist -- and by Turkish (including brave female) rappers – thus causing some oldsters to walk out of the theater early on and miss the predominantly tuneful and easy-to-listen-to sounds that makes up the bulk of the film. (Head-On's narrative excesses were tempered periodically by musical interludes performed by a traditional Turkish orchestra sitting outdoors on the other side of the Bosphorus.) Hacke gives us the opportunity to meet and hear performances by some of the best known living Turkish singers, including Müzeyyen Senar, a lady in her late eighties whose aging, elegant musicians remind one of the way the great Egyptian songstress Umm Kulsoum used to perform. Hacke gets songwriter-movie star Orhan Gencebay to do a striking solo on the long-necked oud he's written all his songs on, and persuades the now elusive great Sezen Aksu.to do a special performance of one of her most famous songs, "Memory of Istanbul." This is a coup, and so is the lament by a beautiful Kurdish songstress Aynar recorded in a bath whose acoustics are spectacular, if only they could have turned down the heat – singer and musician's faces stream with sweat. There is also a young Canadian woman, Brenna MacCrimmon, fluent in Turkish, who sings Turkish traditional folksongs with expression and fervor. The sound mix is of high quality throughout. One would like to see a sequel; many great exemplars of Turkish popular and classical music have necessarily been left out.Film released summer 2005 and shown at festivals in 2005 and 2006. Opened at the Angelika Film Center in New York City in June 9, 2006.

deniz-gurtin Crossing the Bridge: the Sound of Istanbul received one of the most rapturous applause from the audience when it ended and very deservingly so. I did not expect too much from a musical documentary but the movie proved to be much more than that. It was also a visual documentary of Istanbul with stark contrasts of old and new, western and eastern, poor and rich, modern and traditional. Black and white photographs of old Istanbul by world famous Armenian photographer Ara Guler were exceptional. But of course main theme was music, and by God, what a variety of it! It was in a way similar to Bueno Vistas Social Club; the love and the respect of the interviewer -Alexander Hacke here replacing Ray Cooder- for the musicians exuded from the screen and engulfed us all. The music was mostly very interesting. The jazz session by a group of Romany gypsies in a small Western Turkish town was mind blowing. I will not be surprised if the travel agents start getting group booking requests for Kesan after the movie is released. But I most loved Muzeyyen Senar who looked amazingly elegant in a sort of burlesque way and whilst tipping her "Raki" declared courageously: "My voice and I are 86 years old!" Well done Faith Akin. I bet there are many more Turkish musicians who are feeling left out: Go for Volume II please.

karnibahar Turkish culture is complete with lots of different cultures. different cultures have different styles of music. Istanbul is like the mixture of turkey. it has mostly the same language but different dialects. this documentary shows us these different kinds of music with different dialects and different instruments. you can watch reportings with singers and groups, their performances , their daily life and learn their thoughts of music. the movie includes not only the music of Istanbul but the life in Istanbul , how people communicate and what they eat and drink. the surprising part is although i live in Istanbul i learned lots of things from this movie.