Turkish Action Cinema – Öteki Sinema

3 Supermen

Murat Tolga Şen — Mon, 20 Oct 2008 22:19:15 +0000

Supermen (Supermenler / Tre Superuomini contro il padrino, 1979) is filmed in Istanbul as a chapter of serial comedy adventure, filmed in many big cities in different countries and made by Italian director/producer Italo Martinenghi and Turkish director/producer Turker Inanoglu – Erler Film.

The film is supposed to be a parody of the original Superman movie. Murat (Cuneyt Arkin) is a private detective, Yavsak (Nic Jordan/Aldo Conti) and Matrak (Sal Borghese) are 2 funny rackateers. Although they wear Superman-like costumes, they have no super-powers at all.The story begins with an invention; Prof. Vak Von Vong (Ali Sen), who examines Einstein’s formulas invents a time machine and makes the first test in Istanbul. The machine zaps the professor and his colleague (Orhan Elmas) to Byzantine age, and also it helps to locate a Byzant treasure.Time machine attracts the interest of the Godfather of the godfathers of New York (Aldo Sambrel) and his advisor (Toni Conti). In the meantime, the godfather struggles to control the heroin traffic and also to sort out some family issues. He continuously scuffles with his wife (Neriman Koksal) and by the way, his daughter Agata (Gungor Bayrak) intrigues him, ganging up with her lover (Unsal Emre) and she doesn’t want to get merry with her arranged fiancée Macaroni (Nejat Gurcen).The things get messy when the godfather and his gang come down Istanbul; time machine gets stolen, professor losses his memory, supermen try to fob off each other. Among these hassles, pursuit and the other funny things, supermen, professor and Murat’s girl friend (Andrea Gusson) set sail into an unknown adventure with the time machine.

Interview with Bill Barounis, President of Onar Films

Murat Tolga Şen — Sun, 15 Jun 2008 16:25:04 +0000

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.

Tarkan Versus The Vikings

Murat Tolga Şen — Sun, 15 Jun 2008 16:07:29 +0000

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.

Casus Kiran

Murat Tolga Şen — Fri, 13 Jun 2008 07:57:28 +0000

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.

Deathless Evil / Yilmayan Seytan

Murat Tolga Şen — Sun, 08 Jun 2008 17:10:03 +0000

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.

Yor, The Hunter from the Future

Murat Tolga Şen — Mon, 02 Jun 2008 09:40:09 +0000

“Yor the hunter of the future,” says, in two words, the story of a warrior of prehistory, in search of his past, he has just discovered another planet. Rahan discovers he does one with Luke Skiwalker! This highly outlandish premise, drawn from a comic Italian, “he Yor cacciatore,” Juan Zanotto, who won a true success in the years 1970, could have a successful movie if the means used were the arrivals the challenge. Dawson, alias Antonio Margheriti, has really succeeded his bet. Usually more inspired, this veteran of Italian cinema, who signs scenario, production and special effects, bogged down somewhat in that it designates itself as a big comic book good child.

This co-production Italo-Turkish tour in 1982 while the European genre cinema was in decline, trying to create an original to resist the wave “Star Wars” but is hampered by a lack of means making it totally challenge impossible: the special effects are rudimentary at the point of seeming to come straight years 1950 and the later “toc” of the company reflects on the same beautiful sceneries of Cappadocia, which come to resemble a wasteland as they are poorly exploited.

Turkish Bruce Lee and Rambo Clones

Murat Tolga Şen — Mon, 02 Jun 2008 06:57:36 +0000

80’s were the hard times for Yesilcam. Movie theatres were trying to attract the audience by showing either sex films or cheap science fiction and kung-fu films, came from Hong-Kong, Philippines and Italy. Some earnest (!) movie makers were joining this “sex films” party with some productions that created by a so called “intellectual vision on female sexuality” and some others like Cetin Inanc were insisting to make some adventure films, but these were just cheap productions and nothing was as good as it was in old times, especially for them.

So, in such an atmosphere, some talents like Nihat Yigit, Sonmez Yikilmaz and Serdar tried to reach the fame by these adventure films, mostly produced by Cetin Inanc. Sonmez Yikilmaz was a breached figure artist in adventure films of 70’s with his close friend, Yadigar Ejder. (I think the role of his life was in Muhsin Bey (Yavuz Turgul, 1987); he was playing himself, a figure artist, who makes body building exercises on the staircase of the apartment and how convinces the madame, the landlord not to pay the rental on every payment date) Nihat Yigit was a popular martial arts expert. And we have no information about Serdar‘s history, but we need to mention that the attractive part of his films is his partner, Filiz Tacbas‘s prudent sexuality, smelling like 80’s in clouds.

Sonmez Yikilmaz’s “Ramo” was just a Rambo imitation, produced directly for videofilm market. As for Nihat Yigit, he was aping Bruce Lee, also with his physical appearance and also with his fighting style. And Serdar was the mixture of Rambo and Mad Max, which is discernable on the posters of his films. Here you can find some posters of these Yesilcam veterans, who played the leading role even if in low budget (rather “0” budget) films in 80’s.

Fantastic in Turkish Cinema

Murat Tolga Şen — Wed, 28 May 2008 12:19:26 +0000

Once, the Turkish cinema as a whole was practically considered an “unknown” territory, only accessible to some specialized scholars or film historians. Then starting from the 80’s and thanks, mainly, to the works of director, screenwriter and actor Yılmaz Güney it gained world wide recognition and started participating in international film festivals collecting awards and recognitions. actually the Turkish cinema has gained a place in its own right among Europe’s national cinemas expanding it’s boundaries and getting attention through the works and arcievements of a brand new generation of talented cinematographers. Still there are a lot of things to be discovered in its 93 years old history (1914-2007).

The aim of this web site is present and investigate the “FANTASTIC TURKISH CİNEMA” under the title MASKE & YUMRUK (MASK & FIST) in its various aspects and examine its “genres” ranging from the Fairy Tale to Science Fiction, from Epic Fantasies to Weird Action films, from Super Heroes to Turkish Crazy Westerns. It must be underlined in its own right or researched on an historical basis. Obviously most of the films considered in this context are not “arthouse” films, the majority of them pertains to “B” movie category or double-bills. Nevertheless they remain a part of the industry and exist as surprising manifestations of “popular cinema” at its best or at its worst. Some of the feature films mentioned are actually available abroad, both in Europe and the United States on video casettes, some are already familiar to “B” movie buffs in fact from time to have been reviewed in video magazines or fanzines but the majority is yet to be discovered. Thus the aim of this web site (like Fantastic Turkish Cinema book by Giovanni Scognamillo and Metin Demirhan) is to lead the way for such a discovery and to recreate a world almost forgotten.

Altar / Turkish Conan

Murat Tolga Şen — Tue, 27 May 2008 08:03:21 +0000

You can estimate the age of all the historical fantastic Turkish films pass in, but Altar. Remzi Jonturk’s Altar (1985) is the only film in Yesilcam, tells from of an unknown, ancient, wild age.

Obviously, the film drawn Conan the Barbarian as sample. The story passes in ancient ages, in an unknown world. (however “Urartu” name is mentioned a few times, but actually, there is no connection) Zodiac the tyrant (Esref Kolcak) rules the land. Zodiac also possesses the Fire, and punishes those who use Fire without his permission with death. Zodiac is bearded by Utah (Sait Seyit), who forged a magnificent sword, made of a meteorite rock, fallen from the sky, and plunged it into a stone. (wasn’t that Excalibur?) His son, Altar (Cevat Pars) will rescue the land from Zodiac. Utah burns himself to death, Altar grows up and becomes a colossus warrior, but enslaved by Osep the slave trader (Kazim Kartal). Altar fights all day long, has sex all night long.

One day, Altar escapes from Osep, and encounters with Queen Alyoki‘s (who Altar‘s father knew) daughter, Nino (Cecilya Daymaz), and rapes her.(This must be a way for a man to get across with the girls in these times) Nino wounds Altar by a dagger (what a romantic answer!) but afterwards she cures him by some witchy magic tricks in a cave.

Nino leaves him and arrives in the castle of Hunka (Nuri Alço), son of Zodiac (who has been killed in the meantime) and captured by Hunka. And Altar comes to the place, removes his father’s sword from the stone, kills Hunka‘s men, rescues Nino, kills Hunka and rides his horse to the new adventures.

You can find properly good imaging in patches, diligently prepared masks and costumes in the film, but with its messy scenario, redundant dialogs, exaggerated acting and so much Conan flavour, it doesn’t get further than a “Kitsch” movie; with Altar‘s hard-to-lift-sword and half-dressed girls.

Before the film is released, its fragments have been shown in theatres for a long time. Remzi Jonturk has convinced the theatre owners of the provinces that he made an excellent fantastic film and he marketed it very well. Film’s fragments have been cleverly prepared that you could believe it’s made in Hollywood, and that increased the expectations of audience, who were hungry for a homebred fantastic film for a long time. But the result was a disappointment; weird dialogs and sticky sentimentalism made the audience disinclined of the movie. Here are some examples of the dialogs in the movie;

Master of Turkish PoP Cinema

Murat Tolga Şen — Mon, 26 May 2008 18:53:46 +0000

Metin Demirhan : This name is big master of Turkish fantastic cinema reviews, He was a friendly and lovely person for me and he was bring the courage for writing to me. But we lost himself past November… This article written by himself and presented for remember lovely memory

Yılmaz Atadeniz : Master of Turkish PoP Cinema (biography by Metin Demirhan)

Turkey’s important Cult, Fantastic, Action and Adventure Films director Yılmaz Atadeniz (R. Yılmaz Atadeniz) was born in Arnavutköy, İstanbul in February the 1st -1932. His family roots from Vezirköprü, Samsun. He studied Bebek primary school, Gaziosmanpaşa secondary school and Kabataş high school‘s Physics class in Istanbul. He started to study engineering in Robert College, he left the school and start to Cinema and movie business. He is the little brother of famous director and editor Orhan Atadeniz (director of Tarzan İstanbul’da-1952). Then, young Yılmaz Atadeniz started to work with his brother in film business like an editor assistant. But after early dying of his brother Orhan Atadeniz, he decided to became a director like his brother. First, he known like an editor, after some years, he has became an assistant director of well known directors like Faruk Kenç, Atıf Yılmaz, Nejat Saydam, Sırrı Gültekin…His first film, directed by himself is Yüz Karası (The Disgraceful-1963). In this movie played actress like Muhterem Nur and actors like Turgut Özatay, Feridun Çölgeçen.

Atadeniz has shot 98 films like a director (in some of them, also a producer) to the date. He made movies like Serial Films of 30’s and 40’s, or Fantastic Action and Adventure films of 60’s and 70’s. He is the most busy director who made movies with world famous actor Yılmaz Güney. He shot 13 movies with him. All of them are action and adventure films like; Çirkin Kral (The Ugly King-1966), Çirkin Kral Affetmez (The Ugly King don’t Forgive-1967), Güney Ölüm Saçıyor (Güney is Spreading Death-1969). After his shoot two Çirkin Kral (The Ugly King) films, The Ugly King has become Yılmaz Güney‘s nickname. Yılmaz Atadeniz is also one of the masters of world famous cult director Çetin İnanç (The Man Who Saves the World-1982) and Aykut Düz who is a director and actor in Turkish Action and Adventure films.

Turkish Supermen Movies

Murat Tolga Şen — Sun, 18 May 2008 09:17:41 +0000

Comic book superhero Superman, born in 1938 has also interpreted many times in Yesilcam Turkish Supermen Movies; “Super Adam” (Superman) (Cavit Yörüklü, 1971), “Super Adam Kadinlar Arasinda” (Superman Among Women) (Cavit Yörüklü, 1972), “Super Adam Istanbul’da” (Superman in Istanbul) (Yavuz Yalcinkilic, 1972), “Superman Donuyor” (Superman Returns) (Kunt Tulgar, 1979)…etc. There are also some examples such as; “Superman Dehset Saciyor” (Superman Spreads Terror), “Super Kadin Dehset Saciyor” (Supergirl Spreads Terror), “Supermanlar” (Supermen), “Uc Superman Olimpiyatlarda” (Three Supermen in Olympic Games)…etc.

In these Superman adaptations (rather imitations) the courage of Turkish Cinema is just astonishing and respectable, because of the efforts put in place, despite the technical impossibilities. While making a superman movie requires an army of crews, special effects (well, a bold budget in a word), and is a great challenge even for American Cinema; how come Turkish Cinema can dare this? So, the answer is simply the courage, and it probably comes from cheap Italian replicas, like “Three Fantastic Supermen” and the other old B films. Especially Kunt Tulgar’s “Superman Donuyor” is just an adventurousness! This film is not as popular as DKA’s, but is still a remarkable production, having lots of eager followers.

All Western Movies from Turkey

Murat Tolga Şen — Tue, 13 May 2008 11:17:20 +0000

Here you can see (below) some posters of Turkish Western movies, that you have possibly never seen before. However, some of them are common adventure movies but we added them all because of their posters are mostly connotative to Western movies.

Flood of western movies in Yesilcam raised in 1967, lasted for about 7 years and nearly 50 movies were made during this period. All of a sudden, Turkish Cangos, Ringos, Sabatas, Gringos, Banditos, hot Mexican/Turkish chicks, honest (or sometimes corrupt) Sheriffs, Gamblers, Rich Wild-West Bosses, Indians filled in Turkish cinema scene. You can see all the most famous contemporary Turkish actors, such as Ayhan Isik, Yılmaz Guney, Cuneyt Arkin, Kartal Tibet, Sadri Alisik, Ozturk Serengil, Yilmaz Koksal …etc. in these movies, which are mostly low-budget films.

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