Midnight Express was also criticized for its unfavorable portrayal of Turkish people. In her 1991 book Turkish Reflections: A Biography of Place, Mary Lee Settle wrote: "The Turks I saw in Lawrence of Arabia and Midnight Express were like cartoon caricatures, compared to the people I had known and lived among for three of the happiest years of my life."[18] Pauline Kael, in reviewing the film for The New Yorker, commented, "This story could have happened in almost any country, but if Billy Hayes had planned to be arrested to get the maximum commercial benefit from it, where else could he get the advantages of a Turkish jail?
Who wants to defend Turks? (They don’t even constitute enough of a movie market for Columbia Pictures to be concerned about how they are represented.)"[19] One reviewer, writing for World Film Directors, wrote: "Midnight Express is 'more violent, as a national hate-film than anything I can remember', 'a cultural form that narrows horizons, confirming the audience’s meanest fears and prejudices and resentments'."[20]
David Denby of New York criticized Midnight Express as "merely anti-Turkish, and hardly a defense of prisoners' rights or a protest against prison conditions."[21] Denby said also that all Turks in the film – guardian or prisoner – were portrayed as "losers" and "swine", and that "without exception [all the Turks] are presented as degenerate, stupid slobs".[21]
The well-known Spanish film magazine Fotogramas had this to say: "One of the most sibylline exercises in racism ever produced, and one peddled under a progressive label to boot. The true story of an
American arrested in Turkey for drug trafficking becomes a nightmare resolved with a sensationalism that is impactful yet worthy of a better cause, as is always the case in its director's career".[22]
Norman Stone described it as a "brilliant, but quite misleading, film".[23]
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