The Adopted Son (1998)
- General info
- Available formats
- Synopsis:
In a Kyrgyz village, five older women adopt an infant foundling. Jump ahead about 12 years: the boy, Beshkempir (Mirlan Abdykalykov), is entering puberty, the age, his granny says, when life goes berserk. He plays with friends, horsing around, sniggering about sex, going to an outdoor movie. He works, fishing and making bricks of mud. And, he's starting to notice girls. He and his best friend fight, and he learns to his consternation that he's a foundling. A death in the family pushes Beshkempir even faster toward adult roles: he must brush tears from his eyes, lead a funeral procession, and reconcile with his friend. Then, he borrows a bicycle and calls on Aynura (Albina Imasheva): courtship begins. - Actors:
- Mirlan Abdykalykov, Adir Abilkassimov, Mirlan Cinkozoev, Bakit Dzhylkychiev, Albina Imasheva, Talai Mederov
- Directors:
- Aktan Arym Kubat
- Producers:
- Irizbaj Alybayev, Marc Baschet, Frédérique Dumas-Zajdela, Cédomir Kolar
- Writers:
- Avtandil Adikulov, Aktan Arym Kubat, Marat Sarulu
- Aka:
- Beshkempir
- Genres:
- Children & Family, Drama
- Countries:
- Kyrgyzstan
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Reviews (1) of The Adopted Son
Beautiful to Look At, Less Easy to Love - The Adopted Son review by griggs
I expected to love The Adopted Son (Beshkempir) more than I did. Sadly, this Kyrgyz coming-of-age film from Aktan Arym Kubat promised more than it delivered.
The shape is simple: a boy called Beshkempir finds out he was adopted, falls out with his mates over it, runs off, comes back for a family occasion, grows up a notch. It's fine as a plot, though it never really surprises you — you can see most of the beats coming a mile off.
What it's actually got going for it is texture rather than story. Mud, dust, birdsong, kids messing about by the river — the village life on screen feels lived-in, even if it's a bit too pleased with itself for showing you all of it. The director cast his own son, Mirlan Abdykalykov, in the lead, which works better than it probably should, given how unpolished he is.
The colour-bursts-through-black-and-white trick is a nice idea, undercooked in practice. And the middle stretch really drags — there's only so much sulking a film can carry before you start checking how much is left.
Handsome, slight, and a touch too pleased with its own quietness.