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Golden Voices Movie Review & Film Summary

Golden Voices Movie Review & Film Summary – If we see the aesthetics of Northern European cinema in a film belonging to contemporary Middle Eastern cinema, we definitely expect a joke; Especially if the film is about the Gulf War period… I especially fit the language of Northern European cinema to comedy movies. However, I think that for this language to be suitable for a movie, the universe of the movie in question must be suitable for it. If I make a definition of this conformity “in my own way”; The reconstruction of the style and lifestyle brought by the civilization it belongs to as a comedy material. Therefore, unlike the comedy movies we are used to, this aesthetic style is not funny, the situation is funny; Contrast is created with form and situation. Well, can the Middle Eastern culture fit this aesthetic? If you don’t want an irony in the narrative, the answer is no.

Golden Voices movie: Familiar Stories, “Foreign” Voices

Two master voice actors, who dubbed films of Western cinema in Russian, migrated to Israel like many Jews after the dissolution of the USSR. While waiting to be treated as local artists here, the duo, who are welcomed as foreigners, have to use their voices, which are very valuable in the USSR, for other purposes due to their financial concerns. Raya (Mariya Belkina) starts working on erotic phone lines. Victor (Vladimir Friedman) dubs films in Russian at an under-the-stairs home theater shop. Faced with an unexpected life and incomprehension when they come to Israel, the couple starts looking for the Soviet Russia they left behind. The film, which fictionalizes concepts such as resting and being understood through immigrants, also tries to address their common problems.



Golden Voices movie is also a “genre” movie that we will distinguish as immigrant cinema. The director of the film, Evgeny Ruman, immigrated to Israel from Belarus with his family in 1990. In this respect, we can say that the film contains autobiographical elements. Immigrant cinema is generally fed and shaped by the directors’ own life stories or memories heard from the next generation of the director / writer. In these films, the representation of the foreign character oppressed by the dominant ethnic group is important. For example, if an immigrant character is extremely needy, the aim is to create a sense of compassion for that character in the audience. If this is reflected as a foreign comedy element, this time it is desirable to reduce its threat from foreignness. In both cases, the dramatic structure tries to underline the evolution of this immigrant character from stranger to the known. The humor we watch in Golden Voices also serves this. In the film, Raya and Victor’s strangeness is used as a comedy material and the concept of “foreigner” determined within very sharp boundaries in Israel is undermined. The form of this comedy reminds us of Northern European cinema. But the real problem arises right here. Neither the narrative nor the aesthetics of films about immigration and immigration draw a homogeneity. Filmmakers representing this genre — for example, Third World filmmakers — are generally outside the film industry and the dominant languages, their narrative schemes unfamiliar to us. In Altın Sesler, on the other hand, although the story begins quite differently, we follow an extremely familiar narrative structure. Even though the film has a universe, it certainly doesn’t have a language of its own.

The second half of the film, which moves forward with the experience of Raya and Victor, who are between returning to their roots and adapting to the new culture they came from, puts the concepts of immigration, belonging and strangeness to the background, and focuses entirely on the relationship between these two characters. From this point on, we can easily say that the film draws an ordinary narrative structure, and the radicalism that may come from the historical and cultural background of the story is blocked. Nevertheless, I think the fine humor of this film, which points to the lack of intercultural dialogue over the concepts of “hearing and calling”, is worth seeing.

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