One of the hottest and most controversial topics in Germany currently concerns Turkish people living within Germany. They were brought in as guest workers and many have decided to stay, much to the consternation of a portion of the German population. This all serves as the backdrop for "The Edge of Heaven" but has almost nothing to do with the story. The tension isn't between the citizens of Germany and the guest workers from Turkey, as one might expect. Instead, the tension takes place within three different families. Very little of it is directed outward. What the characters of the three families don't know is that what is going on for them is affecting the others.
"The Edge of Heaven" is told in three very clearly delineated sections. The first concerns Ali Aksu (Tuncel Kurtiz) as an always-smiling pensioner who likes to use the services of Yeter (Nursel Köse), a lady of leisure. He soon falls for Yeter and asks her to come live with him instead of plying her trade. She initially refuses but comes around when she is threatened by two Islamic fundamentalists. Soon Yeter is dead. Ali Aksu's son, Nejat (Baki Davrak), a college professor becomes obsessed with locating Yeter's daughter who has disappeared in Istanbul.
The story switches to the tale of a two young women who meet and fall in love. While this part seems unrelated, it isn't. The stories are intricately interwoven but exactly how is revealed slowly. As we learn the relationships of all involved we become involved, too.
Despite examining a lot of very serious issues, including death and politics, "The Edge of Heaven" is an immensely low-key and almost calming film. The credit goes to Writer/Director Fatih Akin. He manages even the most harrowing scenes with a cold distance but that distance takes nothing away from its power. All of the actors underplay their roles except for, Ayten Ozturk aka Gül (Nurgül Yesiçay). She plays a young, idealistic revolutionary, so it is certainly justified.
About two thirds of the way through we become aware of the entire story that is operating on concurrent and parallel levels. Akin has designed it so that the stories never quite collide, although they often come tantalizingly close. It works better this way because to unravel everything for all concerned would have gravely taken away from the happenstance feel of all that occurs. We would have been forced into the usual reconciling and histrionics that go along with characters becoming more aware of their surroundings. By keeping his characters at least somewhat in the dark we can observe them more clearly. At the end of "The Edge of Heaven" we arrive back at the opening scene once again, only this time we understand what we are watching. The very last scene can be interpreted as either happy or tragic depending on your point of view. Either way, the scene is serene and peaceful and I think that is what Akin wants us to feel, no matter the reality that may or may not take place after the film draws to an end. Perhaps the last scene actually is the Edge of Heaven.
