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I came to Nuri Bilge Ceylan’s “Three Monkeys” (Üç Maymun) with high
expectations since his prior films—“Clouds of May”, “Distant” and
“Climates”—were extremely impressive despite holding one at arm’s length
using a kind of updated “alienation” effect associated with Antonioni.
Whatever his movies lacked in terms of plot, character development and
dialog—the customary building blocks of all drama—they made up for
through stunning cinematography and acting. The acting, it should be
stressed, was not of the classic Laurence Olivier variety, nor was it
the method acting of a Marlon Brando. It was instead mostly acting
geared to facial expressions and physical gestures, harking back in a
way to the era of silent film.
