Mehmet은 누구인가? 외국과 우리네 가족관계의 번역 문제

영화 후반부에 들면서 Mehmet이 일정부분 중요한 단초가 된다.
이름이 불리워지지 않았다면 그 메멧이 누군지 가늠하기 힘들다.
시나리오상의 문제이기도 하겠지만...

일반적으로 서양문화권이든 동양문화권이든
분명한 남자형제, 여자형제 서열이 이름만 부르는 경우 아주 불분명해진다.
친인척 간의 관계에서도...

이 영화는 그런 형제간, 가족간, 친인척간의 갈등이 주된 것인데...
한국적 정서로, 그 호칭으로 풀기가 참 어렵다.

그네들은 이름만을 부름으로서 해결하니까...

케말의 경우...우리나라 같으면 이서방, 김서방 등등
성에 서방을 써서 자식의 남편을 호칭한다..
그런데 이 영화는 여전히 줄곧 이름이다...

그렇다고..
케말의 성씨를 언급하냐?
아니다...예를 들어 케데르라고 하자
그게 케말의 성씨면 한국적인 언어적 사용에 있어선...
케데르 서방이라고 해야한다.
헌데...케말은 우마이의 남편의 이름이다.
성씨의 언급은 없다.

그럼 그 이국적인 외국적인 정서 그대로 케말이라고 번역할 수 밖에 없는가?

이름만 부르기에 등장인물 중 우마이의 형제인 아카는 남동생임을 외모와 행동에서 알 수 있었지만...
그 다른 형제는 도무지 외모로서 판단하기 어렵다.
오빤지 동생인지...
부족한 시나리오상, 대사상, 인물의 외모상, 행동상의 정보로 번역하기가 얼마나 힘든가???!!!!

Mehmet이란 인물이 후반부 등장하면서 이게 도대체 누군지 가늠하기 힘들다.
Imbd에서 그 해당 인물의 배우명을 검색하고
그 인물의 사진을 찾아봐도 
그 인물이 어떤 역할을 하는 인물인지 찾기가 어렵다.

영화를 한 번 보고...
그 인물들의 이름을 숙지를 못 한 탓도 있겠지만...

인물들의 관계 
호칭을 설정하기가 번역하면서 너무 어렵다.

메멧에 대한 정보는 아래와 같다.

Director: Feo Aladag

Writer(s): Feo Aladag

Starring: Sibel Kekilli, Nizam Schiller, Derya Alabora, Settar Tanriogen, Tamer Yigit

When Umay (Sibel Kekilli) flees Istanbul with Cem, her five-year-old son (Nizam Schiller), in order to escape her abusive husband (Ufuk Bayraktar), she never truly contemplates just how unwelcome her family reception in Berlin will be. Never mind that her husband beat her regularly and cruelly punishes their son, the worst evil committed is the loss of honor to her conservative Turkish immigrant family name. (“The hand that strikes is also the hand that soothes… A slap or two is no reason to run.”) Umay is dubbed the “deutschwhore” sister and shunned as the family outcast. Exiled from her family home Umay soldiers on, lugging her son between safe houses and friends’ homes all the whileattempting to rebuild her life in Berlin. (It is worth noting that the German title,Die Fremde, translates to “The Foreign” or “The Stranger” — Umay is clearly viewed by her family, as well as Berlin’s close-knit Turkish immigrant community, as a stranger.)

Her father (Settar Tanriogen) is not just the family patriarch, he is a man drowning in his family’s circumstances. As much as he appears to love Umay, he cannot risk his family’s happiness and well being for his rebellious daughter. It is the Muslim men of When We Leave who have never learned to discuss their problems (a situation that becomes most apparent when Umay’s father travels back to his home village to meet with his own father—both men sit facing each other, but no words are ever spoken); it is the men who never question tradition or their repressive conservative values. Umay’s older brother, Mehmet (Tamer Yigit), is the most close-minded and conservative of Umay’s family, therefore he holds the most resentment towards her. Unfortunately for Umay, Mehmet is a raging testosterone-fueled bully who only knows how to deal with his problems by using aggression. It is only Umay’s youngest brother, Acar (Serhad Can), who is able to see his sister as a human being, not a filthy monster. (It is not without bitter irony that Acar is the one who is holding a gun to Umay’s head in the opening scene.)

Umay must not only free herself from her abusive marriage but also from the entangled web of related cultural prejudices. Umay stops wearing a headscarf as a sign of rebellion, but she is not rebelling against Muslim traditions in general, only against the brutal treatment of women. It is also interesting that even though Umay and her parents are practicing Muslims, it is very clear thattheir religious faith is not in question. Umay’s predicament is purely a question of societal pressures. (“God has nothing to do with this.”)

A heart-wrenching saga of a woman who attempts to dodge extreme cultural prejudices and judgments in order to escape domestic abuse, Austrian director Feo Aladag’s When We Leave brutally — yet quite effectively — examines Umay’s struggle for personal freedom; it is through the brutality that wediscover When We Leave is also a story about the struggle for compassion and the inescapable pull of family love.

When We Leave is based on the real life story of Hatun Sürücü, a woman of Turkish-Kurdish descent who was born in Germany. Sürücü escaped her arranged marriage in Turkey with her child, to live independently in Berlin where she returned to school and commenced an apprenticeship as an electrician. Sürücü met the same fate as Umay, because as the saying goes: What must not be, cannot be.

When We Leave has been collecting awards around the world: Best Actress in a Narrative Feature Film Award and the Founders Award for Best Narrative Feature at the 2010 Tribeca Film Festival; LUX Cinema Prize for Best European Film; Outstanding Individual Achievement – Actress and third place for Outstanding Feature Film at the German Film Awards (where When We Leavewas nominated for eight awards and competed against The White Ribbon andEveryone Else); Mostra Award for Best Film at the 34th São Paulo International Film Festival; Public’s Choice Award – Best Actress at the 39th Festival du Nouveau Cinéma de Montréal.

When We Leave has been nominated for seven German Film Critics Awards (Best Film, Best Debut Film, Best Actress, Best Cinematography, Best Director, Best Soundtrack, and Best Editing) and was submitted by Germany as their official selection for the 2011 Academy awards. If nominated, WhenWe Leave will be my choice for the Best Foreign Language Film of the Year Oscar.

Rating: 9/10

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 http://smellslikescreenspirit.com/2011/01/when-we-leave-die-fremde-review/

다시 영화를 한 번 더 봐야할 것 같다.

어렵다...번역^^;;