thevampiricnihal reblogged
Kay Adshead (Cathy) and Ken Hutchison (Heathcliff) in "Wuthering Heights" 1978 version.
I am really thinking of deleting this account too
thevampiricnihal reblogged
From Zeynep Çelik’s Europe Knows Nothing about the Orient
This attack on Orientalism in Aşk-ı Memnu is “brief and isolated” in the sense that it is short and is not repeated again in the book, but I would say that it is not an accidental insertion but the book justifying its own existence. Halit Ziya wanted to write a European-style domestic/adultery novel set among Turkish upper classes and he had to defend the Europeanness of his novel within the novel. In a way he had to make a political/cultural argument to defend the apolitical nature of his novel. Fascinating.
thevampiricnihal reblogged
THE SERVANT 1963, dir. Joseph Losey
I have just watched this film. It was absolutely magnificent, might have become one of my favorite films. I recommend it to everyone.
thevampiricnihal reblogged
I just learned how to edit and i spent my entire afternoon doing this. Its my first time watching mc, i'm trying to avoid bigger spoilers to draw my own conclusions.
Hurrem is a tough character, most of the time I wonder why they made her a protagonist (when I get annoyed by all her drama). She is stubborn, vindictive, suspicious, jealous, explosive and disrespectful.
This scene its on E38, she tried to kill Isabella because she had feelings (and sex) with her polygamous man (which it is something that it will always make me laugh), her monogamous christian spirit must be needing a break after living on a Harem, she literally want to destroy everything related romantically to Suleyman.
I used to see that as such childish thing to do, then i remembered E1 when she was sold as a slave - AS A SLAVE -, went through years without knowing nothing about her family - probably dead - AND THEN, the most powerful guy of their times falls in love with her, it's obvious that anyone in her shoes would grab that love with all their strength.
She was thrown into completely new customs and a system totally different from what she knew. Mahidrevan, Ibrahim and Valide has their bizarre aliance that repressed Hurrem - Daye Hatun, Sumbul, Gulsah too as pawns - without pity or mercy.
Valide shouldn't be surprised at all by her rebellious and vengeful way, In this particular episode she (and the other ladys) are expecting an extreme punishment to Hurrem and when it didn't happened they got sooo mad, they just wanted Hurrem gone so they can do nothing and nothing all day long.
In E38, Valide questions Suleyman about the immensity of Hurrem's power and how powerful the influence of this power is on him… He doesn't even give her a concrete answer, not only because he doesn't want to discuss this particular subject with his mom, but because he doesn't even know how to explain what that ruthena does with his heart, this clips above this text shows that, and yeah, I don't buy that when he said to Pargali that he was calm because he already knew where the princess were.
--
I want to bring more clips of nigar and Ibrahim, let it out my thoughts about this amazing ship but i read something here that told me that theres more coming soooo.....
If you read til here, please apologize the mistakes, i'm 🇧🇷, english its not my first language
Yayyy, a new Nibrahim shipper!!
Is Wuthering Heights’s narrative technique merely “flashback” or can it be considered a “story within a story”?
thevampiricnihal reblogged
(Ibrahim’s famous monologue):
(Episode 99):
Nowadays I see Nigar less as a concrete female character whose life Ibrahim has ruined and more as a symbol of the impossibility of “returning” in Ibrahim’s arc. This also makes her ending much more meaningful and endurable. (Also remember that Nigar too is from a port town, Sulina).
He can’t love Nigar because he is not Theo anymore, and both him and Nigar are too psychologically corrupted by the slave system. Ibrahim loves Hatice precisely because he is Ibrahim.
thevampiricnihal reblogged
15?? More like 5.
if you've been in one but not sure if you should count it (stopping in an airport, for instance) count it
(Ibrahim’s famous monologue):
(Episode 99):
Nowadays I see Nigar less as a concrete female character whose life Ibrahim has ruined and more as a symbol of the impossibility of “returning” in Ibrahim’s arc. This also makes her ending much more meaningful and endurable. (Also remember that Nigar too is from a port town, Sulina).
He can’t love Nigar because he is not Theo anymore, and both him and Nigar are too psychologically corrupted by the slave system. Ibrahim loves Hatice precisely because he is Ibrahim.
thevampiricnihal reblogged
Besides her actress failed in several scenes, in this one, she was more natural than ever, it brought me so much joy seeing them like this. And, Ibrahim after THAT scene with Nigar is hotter than hell, what a man omg, the way his dark eyes moves while he gives her encouragement words - good, very good, let it slide, slow, slowly - well.... I had to take this out of my chest, and from my [censured]
I don’t understand what you ship from this post, but I agree that he is hot, and I am less uncharitable to Hatibo than I used to be, so…
thevampiricnihal reblogged
“An Insignificant Death”, the best Magnificent Century fanfic I had written:
thevampiricnihal reblogged
Getting extra niche today
thevampiricnihal reblogged
faintingheroine-deactivated2024
(Fritz Eichenberg’s illustration of Catherine Earnshaw)
(“Christina’s World” by Andrew Wyeth)
“I was only going to say that heaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out into the middle of the heath on the top of Wuthering Heights; where I woke sobbing for joy.”
(Chapter 9, Wuthering Heights)
“But, supposing at twelve years old I had been wrenched from the Heights, and every early association, and my all in all, as Heathcliff was at that time, and been converted at a stroke into Mrs. Linton, the lady of Thrushcross Grange, and the wife of a stranger: an exile, and outcast, thenceforth, from what had been my world.”
(Chapter 12, Wuthering Heights)
***
Both Nigar and Ibrahim decide to help Hürrem in Episode 1 after finding a commonality with her (Nigar had a Ruthenian grandmother, Ibrahim was Orthodox).
thevampiricnihal reblogged
found some notes I took while watching a Wuthering Heights adaptation and one just says "Book Cathy could not be slut shamed. She did not care."
Catherine is slut-shamed by Joseph in the book and this is how it goes:
My assumption is that she could care a bit as an unmarried teen girl (which is when this scene takes place) but after Heathcliff’s return as a rich man she stopped caring for the most part.
I can’t believe that there are people out there in the world who wanted to watch Hatice and Ibrahim having a happy faithful marriage for 65 episodes. I would literally die of boredom and it would be such a disservice to Ibrahim’s potential.
thevampiricnihal reblogged
I cracked and read up to around chapter 15 of Ask-i memnu and I know this is not your main interest, but something that struck me is how modern Bihter and Peyker's relationship is, in the way that it feels like a cliché dynamic now but obviously it wasn't when it was written bc the actual cliché came after. It reminds me of the sisters in Smile or Martha Marcy May Marlene where there's the older sister who suffered more from the family "taint" and dysfunction (Peyker witnesses her dad's collapse, she thinks about being exposed to flirtations/harassment? On the promenades since she was a child etc) but who was also more easily able to leave it behind and now has a "perfect" life and didn't take the little sister with her, and now the little sister is more mired into the dysfunction and damaged and resents that. It kind of moved me to tears when she's like "of course Peyker loves her husband and there's an itty bitty Feridun between them" :( the psychological element of this book is just groundbreaking, obviously Nihal too was exactly as deliciously fucked up as you sold her!
Ah, this makes me so happy!
While my main Aşk-ı Memnu interest is (and probably will always be) Nihal, I am much more interested in and appreciative of Bihter nowadays than I used to be. Bihter is the emotional heart of this book, she is what gives it its pathos. And yes, the author really managed to flesh out a very dysfunctional dynamic between a family of women without spending too many words on it. I will look up the works you mentioned.
Peyker as a character intrigues me. I am glad that you noticed that she was the one who found her collapsing father! A critic pointed that out as the possible reason why Peyker is so adamant on not being like a typical woman of her family, but unfortunately that critic’s name escapes me now.
Little Feridun is also more relevant to me than he perhaps is in the book. He also is the element of the book that comes closest to making me cry in the last chapter, not through anything too significant, but just through calling Bihter “aunt” in a critical moment. I also find it significant that Peyker gives birth to a son (for he is a boy, though the Eva Deverell translation sometimes mixes up his pronouns) when we were informed in the first chapter that Melih Bey Set usually had daughters - it points to Peyker’s complete break from the family traditions. But also I think we are invited to question how much of Peyker’s “happy homemaker” persona is an act. Fascinating stuff.
Yes, the psychological aspect is curiously modern for an 1899-1900 work I think. The secularism of it all, almost everything about the characters’ personalities being tied to their relationships to their parents etc. It doesn’t feel like a 19th century novel sometimes. It feels post-Freud. Also more rudimentary things like the smallness of the families also feel curiously modern to me - in Halit Ziya’s novels no one has more than two children.
Yes, Nihal is deliciously fucked up! I sometimes doubt myself and ask whether I read too much into the actions of a fairly normal tween/teen girl but then I reread it and, no, she is pretty messed up. And increasingly I find the book’s main strength in the contrast between Nihal’s Gothic psychology and Bihter’s more grounded and normal loneliness.