We couldn’t decide how to begin to tell about this film, Musallat (Haunt) for long. Starting in a positive way or the opposite may mean to direct you into a wrong way. So we, as the fantastic & thriller fans decided to begin with a positive preface. But that doesn’t mean we’ll ignore the unripe fruits in the basket.

As a new production, the film has shown on the movie theatres and its DVD versions have been just released, here we briefly tell you about the film: Suat and Nurcan, who are in a great love with each other live a good life in a village, and the time for a good marriage is near. But when they decide to marry, a great evil haunts them; an evil being from a different world causes many strange, unexplainable affairs around them, and affects their entire life. So, neither their life nor their love is great anymore.

Musallat’s Producer is Mia-Dada Film, Director and Scenarist is Alper Mestci and the principal performers are Burak Ozcivit, Bigkem Karavus and Kurtulus Sakiragaoglu. However the film is not a brilliant example of recent Turkish fantastic films, but it’s still a cozy film. First of all, the film takes itself seriously and does the most possible to convey its own emotion; but it has some problems with style and the handling the scenario.

Musallat’s structural frame is as minimalist as Semum, but we can say it stumbles less than Semum does, because it handles the scenario in accordance with the culture, what inspired it and also its cinematic language is more mature and richer than Semum’s. Musallat’s successful part is creating the athmosphere to obtain the scariest expression (it tries at least), just like Far East’s thriller tradition, which also influenced the contemporary European cinema. But the shocking sound and visual effects in this simple tranquility banalize the film for whom already saw thousands of examples in Hollywood; and they’re actually not even scary.

Another weak part of the film is; the hidden surprise of the film is shown on the film’s poster! Just think, Shyamalan was written “the village was isolated, they were living in late 20^th century” on the poster of “The Village“; so, it would be a scandal! Or you write “Servant is the murderer” on the film’s poster, and you’ll try to hide this surprise until the end of the film; oh, come on!

Director Alper Mestci has designed Musallat as a thriller, but if you ask us, the film is a fantastic drama. Actually the idea behind the scenario would be fit for an episode of a TV series. But he tried to overcome this handicap by an interesting time-trick, and honestly, he did it. Film’s music is impressive and the music and scene are in a very good harmony time to time.

The film is composed of two chapters; the first one, a confusing (because you wouldn’t expect it after the fragment) and a too long chapter, passes in Germany. Imaging directory in this chapter is remarkable. And the second chapter passes in Turkey, and because of we face with scant places, we actually get bored. As for the visual effects; computer generated imagery (CGI) doesn’t leap to the eye, we can say visual effects are convincing enough; especially the dummy, used in lieu of a new born baby in birth scene is very impressive; and render unto Caesar which is Caesar’s.

However Musallat is not achieved its real purpose; in consequence of it has adapted the “fantastic” spirit into a common story and of the original ideas, such as Medium boy in the basin, and finally, as a harbinger of a new director, who can make qualified thrillers in the future; we suggest you to take look at Musallat.

The Turkish film industry went through a huge boom during the 1960s and 1970s, with everything from homegrown action films like the Tarkan films, to copyright-unfriendly mix-and match movies like The Man who Saved the World (aka Turkish Star Wars), to serials and sexploitation fare. Unfortunately, the vast majority of Turkish films of the era remain largely inaccessible today, on DVD or otherwise - something CSB correspondents can well attest to after years of watching un-subtitled, bleary VCDs. At long last, some of these films are getting proper treatment on DVD, with Mondo Macabro’s release of Tarkan vs. the Vikings and The Deathless Devils, and Onar Films’ releases of several Kilink movies and 3 Dev Adam (which features an evil Spiderman fighting Captain America and El Santo).

Cinema Strikes Back’s David Austin recently had a chance to interview Bill Barounis, owner and founder of Onar Films in Greece, about his company’s releases so far, his history with Turkish cinema, the difficulty of salvaging these films, and what to expect from Onar in the future.

• Tell us a little bit about your background?

First, it is a great honour to give me the chance to say a couple of things about Onar Films. I’ve been collecting old cult videos for 15 years and been a cinema-goer for about 30. I started trading and selling this kind of things 10 years ago. I used to be HADES FILMS, then GREECE VIDEO, then - till today - DEATHLAND at eBay. Onar Films was born in March 2005.

• Why did you decide to start your own DVD label?

I believe 1000’s of true fans would love to start their own DVD label, but what with financial problems and lack of confidence and experience, they never give it a try. I just happened to make a personal bet. I got a bitter loan from a bank and said “what the hell…” Besides, I’m a bit crazy anyway, and a fool to boot.

• How did you first become interested in Turkish cinema?

I first got seriously intrigued during the 80’s. Greece was a favourable market for Turkish films, mainly dramas and crime thrillers. I got hooked up with Cuneyt Arkin’s crime epics. Later on, I managed to obtain dozens of bootlegs with genre stuff, superhero stuff, trash etc. And that was the last straw.

• What are some of your favorite Turkish films and directors/actors?

Well, I like all of Cuneyt Arkin’s crime and fantasy films. BABALIK,
HEART OF A FATHER, DEATH WARRIOR, KOROGLU are a small sample. Then, the ones I have already released and will soon release are personal favourites. Yilmaz Atadeniz, Cetin Inanc, T. Fikret Ucak, Atif Yilmaz, Mehmet Aslan are a few great directors. Cuneyt Arkin, Aytekin Akkaya, Altan Gunbay, Kadir Inanir, Tarik Akan, Yildirim Genser, Irfan Atasoy are some of my best actors.

• Any good stories from the golden age of Turkish cinema?

If you check the interviews in my releases you will find lots of interesting stories. The golden age seems to start in 1967 and end in the late 70’s. Just before the 80’s people started demanding more sex and drama and less exploitation and fantasy. But the golden age owes its glory and reputation to its countless ripoffs besides local interest themes. I dare compare that era to the Greek one. We Greeks never even tried to shoot any kind of ripoffs, neither make any horror or fantasy or superhero movies. Turkish cinema was unrepeatable and unparalleled. No country whatsoever produced such films.

• What makes Turkish cinema unique from that of other countries?

Every single movie has incorporated, to a varied extent, the unique Turkish culture that stands out from other cultures. You may not find it agreeable but you will sure find it unique. I also consider it a big plus the fact that those guys never hesitated to rip off any Hollywood movie as well as many European ones. For instance, they ripped off a Spanish giallo/horror called A CANDLE FOR THE DEVIL. But they did it THEIR WAY! And I find this enormously fun.

• How do you feel about the state of Turkish cinema today?

I don’t give a damn. Now they have bigger budgets and more talented actors but they prefer to make artistic films or silly stuff that desperately and unsuccessfully attempts to imitate western themes. They “lost that loving feeling”.

• Where do you find the prints/video masters you use?

From Turkey of course….except 3 Dev Adam for which I used a German VHS I had received from an Italian collector! The Turkish producer couldn’t believe his eyes when I sent him the DVD. He had lost all his prints of 100’s of movies in a fire in 1998.

• What is the process by which you obtain translations of the Turkish
movies you release?

At first I hired some Greek translators but their work was despicable so I managed to find a Turkish guy in Istanbul. I send him the movie and he sends me a file with the English subs and then I do the Greek subs myself.

• Please give us a little bit of detail about each of the films you plan on releasing. Names, genre, something to look forward to …

In the summer there will be a double bill with a giallo and a gothic horror: ASKA SUSAYANLAR SEKS VE CINAYET (THIRSTY FOR LOVE SEX AND BLOOD) & OLULER KONUSMAZ KI (THE DEAD DON’T TALK). Both from the 70’s. I’m particularly proud of the latter one as it has been a lost film, never before on VHS or VCD or DVD or even aired on TV. Plus, the print was in great condition.

Then, early autumn, a double bill with superguys: SUPERMEN DONUYOR (SUPERMAN RETURNS!!!) & DEMIR YUMRUK DEVLER GELIYOR (IRON FIST THE GIANTS ARE COMING). The former one is a blatant ripoff of the original Superman and the latter features another masked guy with a cape and a blouse reading “S”. Both from the 70’s. Then in winter, a double bill with 2 Tarzan films: TARZAN ISTANBUL’DA (50’s) & TARZAN KORKUSUZ ADAM (70’s). Later on, more superheroes, like CASUS KIRAN, DEMIR PENCE KORSAN ADAM, MASKELI SEYTAN etc.

Next year I plan to secure lots of Cuneyt Arkin films too and more crazy stuff like SEYTAN, DRACULA ISTANBUL’DA etc etc.

• What the Holy Grail of Turkish film? In other words, what missing/lost/unavailable film do you most hope can be found and restored?

My dream is to find 2 films based on the cult Italian comic strip hero ZAGOR. But according to everyone, everywhere, they are lost! Then, there are 8 KILINK films that seem to be lost for ever. And some more films based on Italian comic heroes like CAPTAIN SWING and TOM BRAKS. Lost too. Then, ORUMCEK ADAM (SPIDER MAN!), 2 Fantomas films and many more.

• I understand that you had a difficult time in the release of 3 Dev Adam. What is the story behind that release?

It’s a sad and disturbing story with supernatural extensions! The guy who would find me the rights was attacked by gangsters, got injured and hid away for months. The translator fell from the 4th floor while in the lift. One of the guys in Greece who would do the authoring broke his leg. Then, dozens of outrageous technical problems here that made people swear they would not do business with me again because I’m a JINX…

• What is it like being a distributor of Turkish films based in Greece, given the long history of difficulties between the two countries? Are there any legal or cultural problems in the importation or display of films? Were (and are) Turkish films popular in Greece and vice versa?

Despite our historical and political differences, we’re doing great on cultural level. In the 80’s, over 500 Turkish films were released in Greece by minor independent labels. Sadly, 99% of them were dramas and crime action flicks. But in the last 15 years that trend blew over due to the absence of those little companies. Now, there’s a remarkable revival regarding TV series, both ways. However, the stuff I release is generally ignored and scoffed at by the Greek market not because of its origin but because of its genre. The Greeks are not really fond of trash and cult and obscure stuff in general.

• Anything else interesting we should know about the business?

If you want to waste cash, see your hair grow grey, and feel like shit then all you have to do is release Turkish films. I mean, if I released DVDs with paint getting dry or my mother-in-law washing dishes, sales would be much better. Now, sales simply suck. Each new release is doing
worse than the previous one. Most of the wholesale dealers that used to buy from me now dumped me for some reason. Nobody gives me a chance. Only XPLOITEDCINEMA (www.xploitedcinema.com) in the States proved to be a great friend who has been supporting me steadily. All the others - so far - have decided to pass or just order 5-10 DVD’s just to prove their buyers they carry something special.

My ultimate dream is to eventually become able to offer my DVD’s exclusively from my site, www.onarfilms.com. Even better, the ideal thing would be to issue only 200-300 DVD’s per title and sell them exclusively at my site, at attractive prices. I firmly believe the real fans are no more than that. And I don’t want to become rich with this business. All I want is to get my money back plus a few bucks to allow me to buy more titles. Pete Tombs [of Mondo Macabro] told me that this kind of films is addressed to people who like READING or WRITING about them at sites/forums/blogs…BUT when they actually come out on official DVD THEY LOSE INTEREST and avoid buying. HE COULDN’T BE MORE PRECISE!

Well, we at Cinema Strikes Back hope that Bill’s pessimism about the market for Turkish films is proven wrong. Anyone who hasn’t seen these movies should give them a try. The Kilink and Tarkan films in particular are full of fun and energy – genuinely enjoyable, not just “so bad it’s good” filmmaking.

Thanks to Bill for cooperating with this interview, and we look forward to the next release.

Related Links:
::: Onar Films
::: CSB review of Tarkan vs. the Vikings

Tarkan Versus the Vikings, Turkey’s answer to the Italian sword and sandal films, is more fun than the proverbial barrel of monkeys and just as crazed. Everything in this movie is energetic, outsized, colorful and wacky, from Tarkan’s mighty moustache to the Vikings’ red and blue fuzzy underoos. Tarkan doesn’t just walk around, like Hercules - he runs, he leaps, he literally bounces from place to place. The gigantic melees capture the frenetic flavor of old Errol Flynn movies, but up the ante of sex and violence to please ‘70s moviegoers. It’s like Conan the Barbarian done on $10,000 and amphetamines.

Tarkan is a fantastic bit of trash cinema from the now largely defunct Turkish film industry. During a brief, glorious period in the ’60s and ‘70s, Turkey pumped out a huge number of pulp masterpieces, perhaps the most famous of which is the excellent Kilink Istanbul’da. Turkish movies blended the sensibilities of comic books, serials, and violent ‘70s pulp entertainment, into a uniquely strong Turkish brew. While some may only be familiar with the rip-offs of Western pop culture like The Man Who Saved the World (Star Wars) or 3 Dev Adam (Turkish Captain America and El Santo vs Evil Turkish Spiderman), there was quite a bit of original film-making going on also. Read the rest of this entry »

Starring: Irfan Atasoy, Sevda Ferda, Yidirim Gencer, Suzan Avci, Reha Yurdakul, Cahit Irgat, Erol Gunaydin, Faruk Panter, Huseyin Zan, Haydar Karaer, Mehmet B. Gungor, Zeki Sezer, Umil Kader, Mete Mert, Feridun Cakar

Director: Yilmaz Atadeniz Writer: Cetin Inanc Cinematographer: Rafet Siriner Producer: Yilmaz Atadeniz

It’s hard to write about these old Turkish superhero movies–especially those directed by Yilmaz Atadeniz–without making reference to the Republic serials of the 1940s. The problem with doing so, however, is that many of you young people out there, with your newfangled transistor radios and souped-up hotrods, will have no idea what the hell I’m talking about. I suppose the appropriately curmudgeonly response to that would be to refuse to continue this review until you’ve educated yourselves on the topic, instead filling space with horrific, Andy Rooney-like ruminations on how butter doesn’t taste the way it used to and why on earth is the print in Reader’s Digest so small until you return with at least one complete viewing of The Perils of Nyoka or some-such under your belts. But, as much as the thought of such an exercise appeals to me, I’m afraid I can’t do so in good conscience. Read the rest of this entry »

Yılmaz Atadeniz’s “Deathless Evil” (Yilmayan Seytan, 1973) is not well known in its homeland. But the film has been published by an American company, Mondo Macabro as DVD. This DVD also includes Tarkan vs. Vikings (Tarkan Viking Kani, 1971). But we don’t know why Yilmaz Atadeniz’s name is mentioned as Robert Gordon, and lead actor Kunt Tulgar’s as Kunt Brix on this DVD.

One day, a warlike young boy Tekin learns that his father is not his real father; and his real father was a superhero, called Bakirbas (Copperhead) and was killed by an evil guy, called Dr. Satan. As soon as Tekin learns this truth, the revenge becomes the reason of his existence. He collects his father’s superhero stuffs (a mask and a plastic snake… most useful equipments, a superhero can get) and starts working on revenge plans. At that time, his opponent, Dr Satan is very busy with his evil plans. He plans to steal an invention of a professor, what is made of a very rare material, Tangayt, (and also having flashy lights) and to equip this device on his robots and seize the planet. But Tekin the Copperhead will definitely not allow him. Read the rest of this entry »