WCL 2352: Spring 2013
February 14, 2013
Analysis of Mis-En- scène in The Edge of Heaven
The film The Edge of Heaven by Fatik Akin is a film about different level of conflicts—both internal and external. From external authority level, the conflict transcends into individual level. Then at one point, the conflict becomes personal and internal. The theme of the film is about the inevitable aspects amongst human relationships- separation by collision or death, and reunion once the loved ones are found. The film is categorized under melodrama, and employs the components of social reform and poetic realism. To emphasize these components, mise-en- scène of The Edge of Heaven utilized technical dimensions such as the composition of the frame, space, and most significantly, the use of colors.
The color palette in The Edge of Heaven unfolds the binary conflicts between political authorities and the people. Throughout the film, Akin uses the two dominant colors: red and blue, to visually represent this relationship; where the color red represents revolution and independence, while blue represents independence and authority. All of the scenes that involve political chaos, such as the protests on the streets of Turkey, feature the color red and blue painted all over the picket signs and baseball caps. By repetitively placing these two contrast colors side by side in the protests, Akin wants to reveal the relentless tension between the two nationalities. The transcendence of political conflict to personal conflict is also shown through the scene where Ali entered the Red Light District in the midst of a political protest in Germany. There, he meets and lives with Yeter, a prostitute. During the time they are together, a small fight occurs that causes the accidental death of Yeter. The blue mise-en- scène once again comes in place in this significant scene, as Yeter wears a blue shirt while lying dead on the floor. The image of Ali hunching over her...