2006, Germany/Turkey
Drama, Fantasy
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When religion consumes a man's every moment, how does he determine whether he is excessively devout or being tested for the next level of faith?
Özer Kiziltan directs his first feature film, Takva: A Man's Fear of God, about a strict Muslim in Istanbul who desires to be faithful to God in every small way possible. Muharrem, a clerk, is devoted to his boss and a sense of order; he holds no ambition for promotion.
When a religious leader, Seyh, takes note of Muharrem's devotion in both life and religious ceremonies, he assigns him a new position as rent collector for the monastery. Hesitant to fill such a lofty position and gain the associated respect, he turns to God for help.
He is soon challenged by all of the temptations he had previously avoided: nice clothes, attentive assistants and the temptation of the flesh when offered a bride. Muharrem's world is spun on its head by the representatives of the Muslim faith to which he has devoted himself. Erkan Can skillfully portrays Muharrem's complex struggle.
To gain perspective of the central character, the film provides a fascinating study in ceremony. There is no explanation of the process and meaning behind the dhikr, but the trancelike cadence is meditative. Careful attention is given to vocalizations and movements, and the procedure should be intriguing to those unfamiliar with the practice.
Muharrem even battles taboos represented by increasingly stressful dreams, and his indefatigable sense of devotion is evident. When a man of simple means is presented with excess goods and power, his ability to remain dutiful is questioned. The man who was for so long an apprentice becomes the master, and the change in routine becomes frightful.
Moving from a home infused with the spirits of a watchful family to a place in the monastery with an unfamiliar presence, Muharrem begins to fear his own actions. His new occupation leads him through confusing territory, as he enters modern malls and is faced with indecency. He is forced to choose levels of morality when sympathizing with his tenants' payment problems, and he cannot seek religious council as Seyh has entered seclusion. Every decision Muharrem makes becomes an increasing burden.
Muharrem's transformation becomes a literal interpretation for being challenged by the doctrines of faith and a physical manifestation of being tested for worthiness when seeking the next stage of religious understanding. Kiziltan tackles a hefty and complex topic, and delivers it with thoughtful consideration.