Introduction

Fatih Akin is no stranger to displaying the hardships of life in the international film industry. Since beginning his career with Short Sharp Shock and staying relevant with his 2017 film In the Fade, Akin delves within the topics of ethnic identity and how we value our history, all through a variety of film aesthetics. A mere example of this powerful display of raw human emotion is his well-known piece from 2004, Head-On. The Turkish-German drama tells the dangerous and toxic love story of mentally deranged Cahit and Sibel, and it shows the spiraling down of each character as they struggle to maintain their ethnic identities and their mental health. Through the power of music and costuming, Head-On shows the dangers of young love and the consequences of making rushed, irrational decisions in a gritty, urban environment. These dangers primarily affect Sibel as she falls apart and loses touch with her identity as a Turkish-German citizen. It is important to note that the film does handle severe mental health problems, including three scenes that involve self-harm or attempt at suicide, so take caution of viewing the film if it sparks sensitivity or feelings of unease.

Background on Akin and His Work

Fatih Akin focuses on artistic works that cross the geographic, political, and cultural borders between Turkey and Germany. Born in Germany to Turkish migrant parents, Akin translates his mutli-ethnic identity into what he presents for international audiences, and he acts as a public figure for the Turkish-German population. According to recent statistics, 5% of Germany’s population comprises of residents identifying as full Turkish or having Turkish roots. Socio-political and ethnic issues continue to arise for Turkish-Germans with Neo-Nazi terrorist and struggles to balance a transnational lifestyle, which the film In The Fade addresses. Despite the growing threats, Fatih Akin proudly displays his ethnic pride by having kickstarted the genre of Turkish-German cinema.

South Atlantic Review journalist James P. Martin argues that “much of his success is derived from the use of stereotyped images of Turks and other minorities,” which reflects on the commonly held views international audiences have on this subgroup[1]. Martin throughout his article notes how Akin orchestrates his cinematic art as an act of rebellion, showing audiences how these minorities truly live and the hardships they face growing up in a mutli-ethnic world. By not allowing for the negative stereotypes that other ethnic groups use to define Turkish-Germans, Akin allows for his characters on the screen to embrace their roots in a positive and educational manner. Martin also highlights in his article that while Akin initially struggled to debunk the commonly held myths surrounding Turkey, he worked to “experiment with the possibility of moving beyond strictly delineated identities and the concurrent restrictions which they impose upon the individual”[2]. Akin has the ability to take these cultural and ethnic challenges and paints a cinematic story for the education of international audiences, which makes him stand out as a filmmaker.

Head-On captures these challenges with an arthouse cinema approach, and with the elements of music and costuming, deconstructs the internal and externals struggles faced by Turkish-Germans like Sibel to educate and bring a better awareness to global viewers.

Costuming as a Film Aesthetic and a Social Commentary

The aesthetics of this film act as a visual indication for Sibel’s identity crisis and crippling mental health, from which Akin does not shy away. One indication of Sibel going through her crisis after marrying Cahit is through the change of her physical appearance, mainly her wardrobe. When the audience first sees Sibel, she is attached to her bulky white coat and keeps her spirits up in brighter clothing. This initial appearance goes against the stereotype of Turkish women, being covered up and wearing a head scarf. As she becomes involved in Cahit’s hardcore world, her wardrobe changes along with her personality. She exchanges the white coat for revealing dresses and shirts, allowing herself sexual liberation. Once Cahit is imprisoned and Sibel is forced to flee to Istanbul, her wardrobe changes once more – cutting her hair short and dressing more conservatively. Sibel’s drastic change, while heartbreaking and hard to watch, ultimately results from her own actions.

Sandra Berchtel takes note of Sibel’s fight for liberation through wardrobe and behavior in her analysis of the film. When evaluating Sibel, Berchtel strongly states that she “struggles for freedom without caring about anybody except herself,” which is a recurring characteristic starting as early as Sibel’s first appearance[3]. Her personal need to break free from her traditional Turkish family to pursue a German lifestyle affects her relationship with Cahit, and it also affects her own mental health. Berchtel notes in a harsh tone that “Sibel is guilty and responsible for Cahit’s violent actions, because her sexual behavior causes them”, yet her rebellion is only a factor in her and Cahit’s downfalls[4]. Her sexual behavior, as well as her desire to lead a German lifestyle with sex, drugs, and rock and roll, all cause her eventual refuge to Istanbul, where she must evaluate the ignorance of her actions and the loss of her family’s honor This unfortunate truth in Sibel’s character is a hard pill to swallow, but this flaw in her character acts as Akin’s crucial commentary on the desires for freedom Turkish-German women share. Because Akin can manipulate a character’s outward appearance, it makes his desires for multi-ethnic awareness much stronger. The portrayal of Sibel does lead to negative reception from audiences, claiming that Sibel deserved to undergo the consequences. Yet, Akin does not aim to romanticize her situation for emphasis on the drama, nor does he make her the main antagonist. Instead, he portrays Sibel in a realistic manner as a means to connect with Turkish-German audiences. A member of this ethnicity minority can relate to the complexities both Sibel and Cahit face, and they can learn from the flaws present in the film. Akin, therefore, succeeds at creating a modern tale, from the setting to the costuming, that brings to light the silent fears Turkish-German citizens deal with on a daily basis.

The Power of Music

Akin uses a unique compilation of music to merge Turkish and German cultures. The film does not include a traditional composed score, making itself distinguishable from Akin’s other works. Instead, there is a variation of traditional Turkish music for when dealing with Sibel’s family, and international punk rock songs in the German bars and clubs, which includes songs by Depeche Mode and Wendy Rene. This use of compiling a soundtrack with well-known musical artists worldwide strengthens the bond between the differing Turkish and German cultures, allowing for citizens to find a common ground that exceeds spoken language.

What also makes Head-On stand out musically is the use of a traditional Turkish band playing for the audience during the film’s transitions. Akin decided to include the Turkish band in a similar style to a Greek chorus, commonly found in the comedies and tragedies. This band includes seven different players in black and one female singer in red. Ayça Tunç Cox goes into more detail on the band in her analysis, stating that Akin integrates the band into various scenes of the film as a means of “mobilizing reflective nostalgia by the creative use of music”[5]. Cox sees the musical interludes as Akin’s cinematic efforts to reinforce his Turkish roots without drawing away from the main romance between Sibel and Cahit. The nostalgia that Akin relies on, according to Cox, is meant to reach out to Turkish-German audiences and bring awareness to part of their multi-ethnic identities. Cox also notes that Akin brings equal recognition to the setting that acts as the backdrop to the musical performance. What stands out is that these scenes with the band are set in Istanbul. Cox interprets the purpose of having the band located in Istanbul “as a strong metaphor for the connection, rather than disconnection, between the two supposedly disparate cultures provided by the identity orientation of the filmmaker himself as well as of the protagonists”[6]. Because Akin makes a connection to his own Turkish roots, as well as the Turkish roots of Cahit and Sibel, it makes Akin’s socio-ethnic and political message to audiences more poignant.

The music provokes an emotional rollercoaster for both the audience and the characters. Because Akin draws attention to the modern era by through the compilation soundtrack, and he provides multiple examples of entertaining Eastern music, it strengthens the overall aesthetic of the film. With that, he can mend a bridge between Turkey and Germany, which fosters a chance for these cultures to form a bond and prevents Turkish-Germans from losing touch with either side of their identities.

Reception

As noted by critics and film directors alike, Head-On gained successful ratings in the box offices globally, and it received notable recognition at various European Film Festivals in the initial years of its release. First, Akin’s graphic yet educational passion-project won the Golden Bear Award for the Best Film at the Berlin International Film Festival in 2004, which is the highest achievement a filmmaker can obtain for that event. Additionally, the film obtained high scores on both Rotten Tomatoes and IMDb, with the respective scores of 91%[7] and 7.9 out of 10[8].

Film critic Roger Ebert gives the film a 3 out of 4. In his review of Head-On from 2005, he focuses on the chaotic marriage between Sibel and Cahit. He aggressively states that the “marriage functions primarily to yank both parties out of their personal spirals of self-destruction,” and while it allows these characters some freedom to lead their own sexual desires, their marriage results in “a double helix of personal misfortune” for both Sibel and Cahit[9]. This interpretation of the central identity crisis theme stands out because that he acknowledges the downfall of both main characters instead of just Sibel. Ebert also catches onto the realities of life that lead the characters to make irrational choices, which is what Akin aims for with Head-On. There is a significant point brought up in the review, focusing on how Cahit views his Turkish-German identity. The important behavioral tendencies brought up include Cahit not wanting to engange in the Turkish language, showing no guilt over fighting strangers, and engaging in excessive drinking patterns. With this information, Ebert boldly argues “it is that he hates himself,” beyond his Turkish-German identity, and he makes the assumption that “Everyone in his world is a realist with no delusions”[10]. What makes this review different is that Ebert barely touches on Sibel and her complex journey – she is barely mentioned in the article, only to be brought up when summarizing the film and to make mention of her marriage to Cahit. The review by Ebert is a refreshing look on the film by covering Cahit’s downfall and not blaming one character over the other for their individual problems.

On another hand, writer Jonny Lieberman praises Sibel and Cahit for their messed-up lifestyles. He finds pleasure in the raw, angry emotions Cahit expresses throughout the film, and he supports the overall aesthetic of Akin’s gritty depiction of Germany. As Lieberman writes, “Cahit haunts the types of watering-holes that I reminisce about,” referring to the bars Cahit wastes his life away before meeting Sibel, which he describes as “The types of places where men go to be left alone and to become inebriated”[11]. Unlike Ebert’s review of Head-On, which acknowledge’s both characters’ flaws in a realistic analysis, Lieberman focuses his discussion on how he longs to lead a life in similar style to this character. His only commentary on Sibel centers around her physical attributes, barely commenting on her suicidal tendencies and her other characteristics. However, Lieberman does shed a light on the topic of mixed cultural and ethnic identities that is the dominant theme of Akin’s work. He notes on the mutual unhappiness Sibel and Cahit share of being multiethnic in a world that does not make it easy, as well as not knowing how to embrace their mixed cultural backgrounds. Lieberman commends Akin for his ability to “express the zeitgeist of what is means to be Turkish and German. What it means to be caught at the intersection of two fairly-radically different ways of being”[12]. As a Jewish American, he relates to their struggles and finds a commonality, which explains his attachment to Cahit as a character. By nurturing a story for the purposes of developing a relationship between fictional characters and international critics that can identify with similar difficulties, Akin succeeds at broadening his political message beyond Turkish and German borders.

Final Words

Fatih Akin left a powerful legacy in the film industry with Head-On. He took the struggles of his multicultural identity and crafted a chaotic and emotional love story with which audiences can relate. He succeeded at driving home his message of raising awareness for Turkish-German minorities, which he continues to touch on heavily in his newest works in both countries. While the film does drag in certain places, and some plotline elements become lost in the background, Head-On overall is an entertaining and educational film. It is graphic, poignant, and heartbreaking all at once. Yet, it is a film that anyone, no matter what nationality or ethnicity, should watch in their lifetime. Fatih Akin deserves the praise and recognition he has received over the years, and he will continue to stand out as a filmmaker and as a political advocate.

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The film is available on Amazon for Rent or Buy – https://www.amazon.com/Head-Geigen-Wand-Fatih-Akin/dp/B004I6G6VE/ref=sr_1_1?keywords=head+on&qid=1555514270&rnid=2470954011&s=instant-video&sr=1-1.

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[1], James P. Martin, “Crossing Bridges/Crossing Cultures: The Films of Fatih Akin,” South Atlantic Review 74, no. 2 (2009): 82–92.

[2] James P. Martin, “Crossing Bridges/Crossing Cultures: The Films of Fatih Akin.”

Martin examines how Akin breaks geographic and cultural barriers between Turkey and Germany. He covers the crucial films that specifically analyze this topic, including Head-On.

[3] Sandra Berchtel, “Identity, Cultural Representation and Feminism in the Movie Head-On,” CINEJ Cinema Journal 1 (2011): 126–39, https://doi.org/10.5195/CINEJ.2011.9.

[4] Sandra Berchtel, “Identity, Cultural Representation and Feminism in the Movie Head-On.”

Berchtel approaches Head-On with a feminist perspective. She goes from how Sibel behaves and dresses, to evaluating how the other women in the film go about their lives.

[5] Ayça Tunç Cox, Music in Turkish-German Diasporic Cinema, accessed May 16, 2019, https://www.academia.edu/3851671/Music_in_Turkish-German_Diasporic_Cinema.

[6] Ayça Tunç Cox, Music in Turkish-German Diasporic Cinema.

Cox focuses the assessment on how Akin uses music in his films. For when Head-On comes up, Cox breaks down the different elements of sound and how they contribute to Akin’s overall message.

[7] Fatih Akin, Head-On, Drama, Romance (Timebandits Films, 2004), http://www.imdb.com/title/tt0347048/.

The film on IMDb’s website covers who is in the cast and crew, how the film performed in theaters, and included insightful reviews of the film.

[8] “Head-On (2005) – Rotten Tomatoes,” accessed May 17, 2019, https://www.rottentomatoes.com/m/head_on_2005.

The film review site gave Head-On an official score of 91% from film critics and 93% from audiences. The high ratings contribute to Akin’s success and allowed him to take on other films with similar topics.

[9] Roger Ebert, “Head-On Movie Review & Film Summary (2005) | Roger Ebert,” accessed April 17, 2019, https://www.rogerebert.com/reviews/head-on-2005.

[10] Roger Ebert, “Head-On Movie Review & Film Summary (2005).

Ebert’s review values the realism that Akin displays. His review does not bash Cahit or Sibel for their irrational behaviors, but instead notes how their thought processes reflect what Turkish-Germans face.

[11] Jonny Lieberman, “HEAD ON (Gegen Die Wand),” Ruthless Reviews (blog), (2006), http://www.ruthlessreviews.com/1602/head-on/.

[12] Jonny Lieberman, “HEAD ON (Gegen Die Wand).”

Lieberman relates his own struggles as a Jewish American to Cahit’s character. His review praises the chaotic nature of the film and strongly recommends for others to view.

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