BENİM DÜNYAM has a plot strongly reminiscent of THE MIRACLE WORKER (1962), although the earlier movie is not credited. In Uğur Yücel's sentimental piece, a young deaf and dumb girl Eda (Beren Saat) is gradually socialized into a normal life through the efforts of a dedicated teacher Mahir (Yücel). The process is not without its problems; her father (Turgay Kantürk) would much rather see her in a mental home. Out of sight, out of mind, as they say.
The plot is a familiar one; and Yücel's film is not helped by a rudimentary shooting-style, alternating between shot/reverse shot and group shots. He employs only one really effective technique as he zooms slowly into close-ups of the characters' faces at moments of extreme emotion.
The film is full of anachronisms - although supposed to take place over a thirty-year period, neither Eda's father or mother (Ayça Bingöl) seem to age much - unlike Mahir, who sprouts a distinguished head of gray hair as the movie unfolds. The Seventies sequences are marred by jarring moments; it highly unlikely that a bride and groom would kiss one another on the lips immediately after the wedding ceremony, especially if they were in public. Mahir's descent into Alzheimer's Disease seems unconvincing; he moves in and out of forgetfulness, and then is suddenly robbed of the power of speech until Eda "redeems" him right at the end. I wish that the disease could be so easily alleviated.
Nonetheless, BENİM DÜNYAM remains highly watchable on account of Yücel's towering central performance as Mahir. His obsession is well illustrated through gestures; and his emotional concern for Eda's welfare is underlined during one particularly moving sequence when he reads out a speech prepared by her at a dinner, but finds himself unable to continue as the tears well up inside him. Yücel is supported by an effective cameo from Erdal Küçükkömürcü as a university administrator - although conscious about his position and the future of his institution, he tempers efficiency with human feeling, especially where Eda's and Mahir's futures are concerned.
Perhaps the music could have been a little less intrusive - it forms a mournful backdrop to most of the scenes - but nonetheless BENİM DÜNYAM is worth a look.
The plot is a familiar one; and Yücel's film is not helped by a rudimentary shooting-style, alternating between shot/reverse shot and group shots. He employs only one really effective technique as he zooms slowly into close-ups of the characters' faces at moments of extreme emotion.
The film is full of anachronisms - although supposed to take place over a thirty-year period, neither Eda's father or mother (Ayça Bingöl) seem to age much - unlike Mahir, who sprouts a distinguished head of gray hair as the movie unfolds. The Seventies sequences are marred by jarring moments; it highly unlikely that a bride and groom would kiss one another on the lips immediately after the wedding ceremony, especially if they were in public. Mahir's descent into Alzheimer's Disease seems unconvincing; he moves in and out of forgetfulness, and then is suddenly robbed of the power of speech until Eda "redeems" him right at the end. I wish that the disease could be so easily alleviated.
Nonetheless, BENİM DÜNYAM remains highly watchable on account of Yücel's towering central performance as Mahir. His obsession is well illustrated through gestures; and his emotional concern for Eda's welfare is underlined during one particularly moving sequence when he reads out a speech prepared by her at a dinner, but finds himself unable to continue as the tears well up inside him. Yücel is supported by an effective cameo from Erdal Küçükkömürcü as a university administrator - although conscious about his position and the future of his institution, he tempers efficiency with human feeling, especially where Eda's and Mahir's futures are concerned.
Perhaps the music could have been a little less intrusive - it forms a mournful backdrop to most of the scenes - but nonetheless BENİM DÜNYAM is worth a look.