Summary
There is nothing new to offer in the story, but In Good Hands remains a watchable film due to its hard-hitting emotions and mature themes.
Netflix’s Turkish film In Good Hands has all the elements of an emotional potboiler. The loving relationship between a mother and her son, a troubled past, and the catharsis from that, in the end, the film has it all. Some of these elements can already be seen multiple times in mainstream films, yet they work out quite well here. Yes, there are places where the story lags and goes on the path of becoming pretentious, but the overall effect it creates can’t be overlooked.
In Good Hands tells the story of Melisa, a single mother who lives with her only son, Can, who suddenly finds out about her terminal illness and only has five months to live. Melisa confesses that this news does not affect her as she lives life to the fullest. But the only thought she harbors is what will happen to Can when she is no more.
Can is her apple of the eye. Both share a unique bond, and both are like their own friends rather becoming the mother and the son. So, Melisa decides to seek help from Firat, a flamboyant young businessman, from the worry of making sure about Can’s parenting. But after the entry of Firat into the lives of Can and Melisa, some old chapters of their past resurface in their life, turning their lives upside down.
The key elements of the film are not as unique or exciting as they have been used in films multiple times before. But these known elements are handled quite well by the director Hakan ‘Ketche’ Kirvavac. His craft puts the right amount of emotions in the needed places. Often melodramatic, there are certain places where the story gets simplified in the narrative, and the conflicts get loose and miss the hard-hitting resolutions.
Asli Enver, as Melisa, is tormented from the inside but a jolly, loveable mother from the outside. The impending doom she is awarely approaching is meticulously portrayed with some hard-hitting performance. In the end, when her character comes to her fate, it becomes an agonizing burst of emotions.
Kaan Urgancioglu, as Firat, is also good in his respective roles. But the show-stealer for me is Mert Ege Ak. The little boy who plays the role of Can is just slick in his performance. He never drifts away from the pitch of his character and becomes the most memorable character in the entire film.
As the final verdict, In Good Hands is beautifully shot, talking about the mature subject matter of parenting and fate. Though having some rough spots, it is a watchable film due to its handling of emotions. As if there is nothing to offer in terms of the story, it may be predictable in many senses, but taking that aside, it successfully provides escapism mixed with its emotions.
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