At the end of a fantastic promotional strategy implemented by BluTV over the past few weeks, the first two episodes of Yesilcam dropped on the platform promptly at 7 pm local Turkish time on April 22. Even though a series for the digital platform, the period piece boasts a rich tapestry of cinematic elements that makes it a visual treat as we get lost in the developing characters.
The Story & Characters
Semih Ates (Cagatay Ulusoy) is a passionate, creative and upstanding film producer who has recently lost his production company Ates Film to a low life character called Vehbi (Onur Bilge). This fills him with new vigor to produce another film, after a string of box office flops. His office mates at his new company Great Ates Film (Buyuk Ates Film) and supporting team includes womanizing Hakan (Semih's ex-wife Mine's brother, played by Bora Akkas), Mumtaz Bey (Altan Erkekli) who was entrusted with Semih as a teenager, and Nebahat (Nurcan Sirin), the office admin.
Semih's ex-wife Mine (Selin Sekerci), with whom the love story is 'complicated' to say the least, is the top billing actress in Yesilcam. She is often paired with Ayhan Isik (a real and famous actor from the Yesilcam era), and Semih knows that with that pair, alongside the famous director Atif Yilmaz (another real life famous personality of the Yesilcam era), Semih can get back into the game with a film, validating his mantra of "I make a film, the sick recovers and the season changes".
Detracting his efforts are Reha Esmer (Yetkin Dikinciler), a smooth talking power monger of Yesilcam. He is having a clandestine affair with Mine, and hides his dormant need to dominate Semih, disguising his devious nature under a seemingly benevolent benefactor for Semih, but it is obvious that Semih is aware of the duplicity. He wants to expel Semih from Istanbul and send him off to Adana, perhaps to remove his threat in the film business as well as with Mine, who obviously still carries a torch for Semih, and Semih seems to yearn for her as well.
Set within the backdrop of the political unrests of 1964 due to the Cyprus disputes that led to the expulsion of the Greeks from Istanbul, during a time of escalating intolerance for communist beliefs, Semih receives a script called "Two Sisters" from his good friend Turgut (Muhammet Kulu), who is being persecuted for being a communist. Semih falls in love with the script, and simultaneously meets Tulin Saygi, a fresh faced young girl looking to become an actress, and daughter to a social climbing single mother, Adviye (Nilufar Acikalin). He imagines Tulin as one of the leads for the script, with the second sister played by Mine, and signs her on to his company.
Tulin has also caught the eye of Izzet Orkan (Ozgur Cevik), a political sympathizer of Adnan Menderes, the Turkish Prime Minister who was tried and hanged after the coup d'etat of 1960. Izzet is recently returned from America and is a sadistic sexual predator who wants to own Tulin. He is also looking to do business with Reha, the two being well matched in their lack of morals.
Due to betrayals and politicking behind his back, Vehbi manages to wrest the script away from Semih's company, and Reha manipulates the loss of Tulin in a talent show designed to open doors in Yesilcam for the winner. Through his cleverness, Semih is able to turn the situation around, exposing his optimistic and fair nature, as he tells Tulin that he did it because he didn't want for her to leave.
Semih is a man who can discern talent and the soul of a story because of his deep love for cinema and has an admirer in Tulin, who loves Semih's masterpiece "Dovetail Season" (Kirlangic Mevsimi) starring Mine and Ayhan. Depicting a beautiful love story, both Tulin and Semih know the poetic dialogue by heart. "If I wasn't in love with you, my love, then I couldn't even grow up, my love. Falling in love with you was my destiny. Love means to be in love madly but not having each other. It means to be defeated, to be upset and to suffer". It foretells a tragic love story, yet to be seen for which pair within the possible love triangle of Mine, Semih and Tulin.
Through such filmic interludes, we get a wonderful character sketch of each of the protagonists, the inner tensions that draw them or repel them to and from each other. With an eye for details, director Cagan Irmak has created visually rich frames that speak its own story, some shots taken from interesting angles almost designed to pique the viewer's interest in the emotions being told by the inanimate objects on screen.
In its first two episodes, Yesilcam draws the viewers into the world of cinema from the 1960s. Scriptwriters Levent Centek and Volkan Sumbul have outdone themselves in how they reveal the narrative. Complementing the set design and costumes is the dialogue delivery and language, which seems to have a lyrical tilt that is different from modern day spoken language, paired with staid and stiff sets of gestures that are more archaic than the fluid motions of contemporary societies.
Cagatay is fantastic as Semih Ates, showcasing his versatility as an actor once again. Semih is sensual but also energetic, an idealist but also pragmatic, a lover at heart but carries himself with a nonchalance that hides his despair, generous in spirit but steely in his resolve. Within all the contradictions, Semih seems an inspirational character who rouses hope and excellence from those around him, possessing that special magic that threatens the manufactured personas like Reha and Izzet.
Cagatay gets to showcase some of his subtle but excellent comic timing, especially in some of the scenes designed to be a bit satirical. He is shown as a guileless character who gets overjoyed with the simplest things, and the scenes between him and Bora are somewhat reminiscent of the camaraderie Cagatay shared with Tamer Olmez in Medcezir. Brothers from a different mother! And as in Medcezir, embedded within some serious themes are threads of comedy that endears the audience to the characters. Fans are rightfully excited about this project and watching Cagatay in this new avatar.
In short, Yesilcam is worthy of its hype and we look forward to the unfolding of more layers in the characters and the story. Episode 3 will air on BluTV at 7 pm on April 29, 2021.
Article (c) CUNA & mh musings
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The highly anticipated series Yesilcam will be coming to BluTV on April 22, 2021. The platform has shared a number of trailers and teasers, and from all accounts, it seems to be an excellent production that not only captures the cinematic glory of the Yesilcam era of Turkish filmmaking, but also showcases the noteworthy filmmakers of today.
Cagan Irmak, who is a highly acclaimed director, is no stranger to paying homage to Yesilcam. He is the director of Unutursam Fisilda, a period piece focusing on the careers of musicians of the era. In a recent interview, Cagatay said of Cagan, "“Cagan is a very successful director who really loves his job, knows the period well, knows its textures, knows the lines between the lines, follows life in every aspect. His observation skills are very impressive."
The trailers reveal an intricate look at the world of Yesilcam filmmaking of the 60s, the peak of the industry when 200 - 300 movies were produced in a year, often on a shoe string budget. Artistes flocked to support the growth of the industry, often driven more by an entrepreneurial spirit rather than a sure shot at stardom.
Cagatay's Semih Ates is a young filmmaker who grew up in Yesilcam. As Cagatay describes in his interview with GQ Turkey, "It's one colorful world where we will watch how Semih Ateş, who was raised in Yeşilçam as a child, is trying to exist as a producer in Yeşilçam as an adult, his relationships, the balance of power and money, the organic and passionate relationships of the characters with one another and the ongoing story in this context. He himself is also the character that I have enjoyed playing the most to this day, the most colorful and the one that left a mark on me."
His ex-wife Mine Cansu played by Selin Sekerci is portrayed as a femme fatale who is the darling of Yesilcam. Tulin Saygi, played by Afra Sarracoglu, comes knocking on the doors of Yesilcam, and is seen to be the fresh new talent that turns heads. Semih falls in love with Tulin, presumably during his journey of re-establishing himself in the industry. The following photos were shared by BluTV, that provide a character sketch for the three main protagonists:
And all this will take place against the backdrop of the great political, cultural and social changes Turkey experienced between it's two coup d'etats in 1960 and 1980.
As the Yesilcam movies fell off its beloved perch with the advent of modern programming, it is no wonder that there is so much anticipation for this visually and aurally rich production that is now considered a point of local pride. A series about the lost glory of Turkish films, produced by local filmmakers, for a local streaming platform that is spreading its wings at an unprecedented rate!
As Semih Ates says, "Why is the cinema beautiful? Because life is a worthless monotony" ... "I make a movie. The sick recover. The season changes."
The series will come with English, Spanish and Arabic subtitles, and it may also get licensed by other major platforms such as Netflix.
And we all await this glorious experience with much anticipation.
Article (c) CUNA
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by mh musings
Cagatay Ulusoy is a man who not only dreams, but takes deliberate steps towards fulfilling those dreams. In October 2019 in an interview with GQ Middle East, Cagatay said “Just my close friends know I’m going to shoot a film as Director”, and by December of that year, the shooting for his short film “Birdie” had started.
Now playing at the Oxford Film Festival in Mississippi, scripted, directed and produced by Cagatay, Birdie is an obvious labor of love, aesthetically shot with minimal but well-placed dialogues. Shorts are distinguished by the clarity and simplicity of its story being told, and Birdie delivers perfectly towards this goal. A synchronicity and an inner alignment with life’s core values, a reverence for mother nature and the yin yang of the universe is captured beautifully in a 20 minute film, which also serves as a reflection of the understated Cagatay his fans have come to love.
In his 2020 feature article for Hello!, Cagatay shared two insights about his thought processes, that are captured in the story of Birdie. The first is “Whatever it is I need to learn to survive, I learnt it from the sea and the fish” and appropriately, the protagonist in his story is an elderly fisherman who leads a simple existence by himself in a sparsely populated part of the country.
Ensconced in a dilapidated shack by the river that is nestled in the reeds, Halit Amca’s life is sustained by his respectful relationship with nature. He only collects as much as he needs for his existence, either consuming his catch or bartering it for basic supplies from a local store.
During a medical visit, he is told of the need for an expensive surgery and that the failure to have timely intervention might lead to an amputated leg. Resigned to his fate, he accepts that he may lose his leg, and in a poignant moment where he converses with his two legs, it is as though he is chatting with two beloved pets and consoling one for the loss of its life-long pair.
Serendipitously, Halit saves a finch from a bird of prey and heals its broken wing with much love and care. The finch becomes his beloved companion and his day’s purpose now includes keeping the bird fed and nurtured. In turn, the bird entertains him with beautiful clear, tunes and is particularly responsive to a harmonica Halit collected in his net during one of his fishing expeditions.
Halit meets Mashallah, a simple shepherd who keeps finches as pets so he can participate in an annual tradition of the sport of finch-keeping in a café contest, a practice rooted in the Greek population of Turkey. Mashallah used to participate with his father but has never won the 50,000 lira prize. Mashallah wants to buy the finch, but Halit disdainfully turns him down as the bird is his friend and certainly not for sale.
Once healed, Halit frees the bird but almost as though the bird heard the call of Halit’s despair as his leg worsens, the bird comes back.
Halit consents to the competition and, through some wonderful cinematic crescendo of birdsongs, the “Kus” triumphs for Halit and Mashallah. This leads to Halit being able to avail the much-needed surgery to save his leg.
And this brings us to the second of Cagatay’s epiphanies that echoes in this story.
Just as Halit saves the bird’s broken wing, the bird saves Halit’s broken leg, and they heal each other in an exquisite way. There is indeed a give and take balance in nature, and in a world that we inhabit together, we are rewarded if we seek ways to co-exist in a respectful manner.
And Birdie is a story told simply about some of these fundamental wisdom in life.
Veteran actor Turgay Tanulku is perfection as Halit, who captures a spectrum of emotions of a simple man at the juncture of a difficult life situation. We see his sad acceptance, but also his resilience as he continues with life, giving back in ways he can. He makes one question the age-old dilemma about our wants versus needs, and illustrates how basic our needs can be in a world that thrives on conspicuous consumption. We experience his heartfelt joy alongwith him when his love for the bird reflects in the bird’s love for him.
In an unexpected appearance, we have Ersin Arici playing the role of Mashallah, and his small role is just as impactful as his role as Gonzi is in Paper Lives. A clear-hearted soul, he is driven by honoring his father’s memory. Subtle expressions and mannerisms portray his reverence towards the elderly, perhaps accentuated by the loss of his father. This is the strength of a good actor who does not require a depth of dialogue to convey the character’s inner soul.
Cagatay is fortunate to have such master acts as a part of his first major film project.
Underscoring the theme of the power of nature and how it can impact mankind in positive ways, the expansive shots are crisp and inviting, with muted and heart-pleasing colors. It is evidently captured by someone who appreciates the simple nuances of the natural world. There is a minimalism to the chosen locations and, unlike many Turkish shows that make it a point to display the majestic Istanbul, there is an intimacy to the shots as though the viewer is welcomed into the space to journey along with the characters.
An Old Soul
As we shared on the first day of the film’s release, the shack used for Halit Amca is the same one Cagatay is found in for his guest appearance on Menajerimi Ara in September 2020.
In Birdie, the shack is quite dilapidated and ill-kempt, whereas in Menajerimi Ara it is a well-maintained retreat. It may very well be owned by Cagatay as he claims in his appearance - it is the place he comes to so he doesn’t ‘lose himself”. The old soul in him translates into his first story that he has presented to the world, and it is as much an ode to his guiding principles in living an exploratory but meaningful life as it is to old traditions of his land.
We are very excited to support the growth of this movie and hope it gets accepted into other major film festivals such as Sundance, SXSW, Toronto, Telluride and more. As it is, this is Birdie’s third appearance at a festival with the first two being at the Montecatini International Short Film Festival in October 2020 and Santa Monica International Film Festival in November 2020. Birdie’s appearance at Oxford marks a regional premiere for the film.
Confirmed by Indie filmmakers in Hollywood, without the producer’s authorization, we cannot really share photos and videos of the movie, but we do have permission from the organizers of the Oxford Film Festival to share some screenshots. Here is a short video with highlights from the movie, where one can get an idea of the splendor of Cagatay’s cinematic eye.
As he says in his interview with GQ Turkey released today, “I am still on the journey, the process continues for me with a lot of learning.”
Your fans await more.
Article copyright (c) CUNA & mh Musings
by Eda Savaseri, guest blogger
“The best way to make children good is to make them happy.”
Children are our future. We always say this but which children do we mean when we say this? Our own children or children in general? Do we fail to remember that if we care about the future we need to start caring more about children in general? For instance, what about the children who have no homes, no parents, who are left to survive on their own?
Cagatay Ulusoy’s new movie on Netflix called Paper Lives made me think about this general problem in my country, Turkey. However I know that many other countries including Western countries struggle with this. We fail to protect kids. Even in their homes a lot of kids are abused, beaten, treated badly and suffer as the victim or the witness of domestic abuse. Then there are kids who think even these kids are lucky because they have to survive on the streets. They are the kids who have fallen between the cracks. They weren’t lucky enough to get protection from the government’s institutions or somehow they chose to turn their backs to the system for their own reasons.
I feel like the movie had to sugarcoat or maybe keep hidden a little of what life is really like for these kids. In reality, surviving the streets is even harder and, most of all, they don’t just have a difficult childhood but an overall difficult life because they don’t have proper education. A lot of these kids grow up to be criminals. As a society, sometimes we tend to look at criminals and think this is their choice but nobody would deliberately choose a life of crime if they had a childhood on the street.
Child Protection in Turkey
So how does the child protection system work in Turkey? It is important to understand that child abuse of any kind must be reported to the authorities immediately. One of the main reasons these things keep going on, and some children need to abandon their homes or are thrown out of their homes, is because families or friends of families don’t report these cases. Reporting these cases and giving free or cheap legal support is essential to help these children and/or their single parents.
If a report has been made, that’s when social services can intervene. Most of the time the child will be taken from the family and will either be left to foster care or will be put inside a private or public institution for children care and protection. Sometimes the government may also provide housing to the family or the parent.
Of course, providing care is the last measure. The first would be to provide counseling or education depending on the circumstances. Parents still have visiting rights when a child is in foster care. Some children can also be adopted, this is when the family is willing to give the child away completely.
At the moment Turkey also has a refugee problem. Some of the children on the streets are these refugees who have lost contact with their parents and some of them aren’t even registered so they are not able to seek legal protection or help. Turkey is working on helping these children as well and collaborates with organizations like UNICEF to help children who need protection.
Kids on the Streets
There are two types of children on the streets. The first kind is working kids, who are trying to help support their parent/s by selling water or tissue paper. Some of these kids go to school and most of them go home at night to their parents. The second kind is children who live on the streets, who have lost contact with their parents due to loss or sometimes they had to run away from abusive families. These children often hang out in groups to survive. Some of them work on the streets in various jobs like we saw in Paper Lives.
Unfortunately, as we saw in the movie, some get addicted to substances and end up hurting themselves and others. Where do they live? Mostly in abandoned apartments or unfinished construction buildings. Sometimes they break into apartments that have been empty for a long time. As I said, they almost always hang out in groups. This is necessary for their survival and I think it gives them a taste of the family they never had or lost.
Why is this happening, when the legal system is really protective of children? When the number of child protection centers are increasing and also the professionals trained in this area are increasing? Why are there still many children on the streets, especially in the suburbs if not in the biggest and richest neighborhoods? Mostly the problem lies in the system’s lack of awareness of all these kids who have not been reported. The system is only able to help those who ask for help. Even so, there is clearly still not enough housing to contain all these kids living on the streets.
Juvenile justice is also a problem because kids who commit a crime are seen as lost cases and, apart from personal efforts, the system and society don’t do what’s necessary to win these kids back and the kids find it easier to keep going in the same familiar direction.
Thankfully there are many organizations in Turkey apart from the public ones that are working on child protection. Whether it’s to help families who can’t afford their children’s education or it’s providing housing or financial help, these organizations do their best to help and to raise awareness of this social problem. I will include some of these organizations’ contact information for those who may want to hold the hand of these kids even with the smallest amount you can afford.
Everyone knows the fairy tale called Little Match Girl. It’s the saddest fairy tale. I remember reading it as a kid with tears in my eyes and asking myself, how is this possible? It’s hard to believe in such a modern world, there are still children who have to endure a tough life on the streets. Life on the street is already tough for an adult, but for a kid who needs to be nurtured and taken care of, it must be even harder.
We see them on the streets and we feel bad but we also get used to seeing them after a while. It’s a part of life, it’s not humane but still we get used to it. Today, let’s open our eyes to the truth. We don’t have to ignore them, let us open our hearts and our eyes and do the minimum we can. Firstly, never ever ignore an abused child and report immediately. Second, help whenever you can, you don’t have to take risks, you can help in a modest and risk free way by donating to many organizations and charities.
Children are our future. Not just the ones we brought to this world but all of them. When we start feeling responsible and do what we can, that’s when the world will become a better place and we will start to become better humans. Let’s build a better world together, a world ALL children deserve.
*Umut Çocukları Derneği
*Koruncuk Vakfı (Turkiye Korunmaya Muhtac Cocuklar)
Article (c) CUNA & Eda Savaseri
Eda Savaseri is a Turkish copywriter from Istanbul. She loves cats, books, chocolate and traveling. She loves sharing things that she learns and apply towards self-improvement.
She enjoys writing about a multitude of topics and loves to share her thoughts about TV Shows she's watching. You can find her blog here.
by mh musings
A look into the life story of Mehmet, a child who could never resolve his past as his future hung in the balance.
Spoiler Alert: If you wish to read a spoiler-free review of the movie, go here. This post delves deeper into the character of Mehmet, so beautifully brought to life by Cagatay Ulusoy
None of us came out with dry eyes after watching Paper Lives. Cagatay's soulful depiction of Mehmet is so beautifully done, capturing such a broad range of emotions, that it makes us want to go back again and again and, like him, search for the innocence of his childhood for him just so we can protect him for all that he endured in life.
Mehmet is no ordinary man. He didn't choose to be a part of an abusive household, and he didn't choose to be parted from his beloved mother. He didn't choose to be thrown out in the midst of a crusted neighborhood where survival instincts can rob people of their humanity. We see this in the group of trash collectors who beat up Mehmet before his last stint in the hospital. We only know that his mother put him in the cart, but we are not shown his history of how he eventually comes under the care of Tahsin Baba. What traumas did he live until we meet him in the present day?
By looking at visual and aural clues provided throughout the movie, we wanted to re-construct the life Mehmet lived and why his mental health became so fragile towards the end.
Scars & Physical Health
We are introduced to Mehmet's debilitating cough when Gonzi takes him to the hospital after his evening out in the rain. We see that he has a prominent scar on his nose, most likely from a brawl or a street fight to defend himself.
As he is waiting in the waiting room, we see his placid complexion, which can be indicative of lung issues as well as a failing kidney. He's a smoker, and we later come to learn that kids older than himself hurt him and abused him by forcing him to sniff glue, at the very least. Who knows what more he endured while he tried to find a home for himself.
He takes off his shirt for the doctor, and we see a jagged scar on his back. The crude nature of the scar can suggest that one of his kidneys got farmed against his wishes, which leads him to his weak health today as his body puts undue strain on his remaining kidney. We are also shown a brief glance of bloody urine, confirming the failing state of his kidney.
When we first meet Ali, he is bruised and battered. Through Mehmet's later flashbacks, we realize that he was beaten repeatedly and brutally by his stepfather, and his mother decides it is better to leave him in a garbage can than to run away with him and protect him.
He gets into another altercation with the street thugs in the Cihangir area, where his home used to be. Who knows how long his mind has been playing games on him and how many times he got beaten up in this manner elsewhere. Tahsin Baba may have provided them with work, but he is not shown to be around to provide physical protection at all times.
Despite the heroic figure he cuts for the youngsters in his neighborhood, Mehmet is deeply scarred, mentally and physically, and lives with the conflict of needing to dream so he can survive, and retreating into his imaginary world so he can cope.
His closest bond is with Gonzi, and it is obvious that they have grown up together. Gonzi loves him deeply and absorbs all of Mehmet's ventures in his alternate universe. To Gonzi, Mehmet is the stability of his known family and the way he holds up Mehmet time and again is the testament to how much he loves Mehmet; how much Mehmet means to his existence. Purged by their real families, they try to find meaning in bonds they are able to create and we see that in the bonds Mehmet formed. Bond of brotherhood with Gonzi, a father he can respect in Tahsin Baba, and big brother to all the young kids he tries to corral into choosing better than what he absorbed in his own life. He creates a tensous sense of family, but could never fill the hole in his heart left by his abandonment by his mother. And as such, every female figure in his universe looks like her.
The Past Defines The Future
From the time Mehmet sees his 'mother' at the hospital and how every female role in his life embodies her, speaks to the depth of loss he feels without her. He wants to believe that all mothers love their children and that she abandons him for his own good, because she had no other way. That she needs to be saved and it was because of money that she couldn't go with him. As such, saving up so that he can save her becomes a vision that gives him hope. He cannot possibly acknowledge the question Tahsin Baba asks him, "What if his mother threw him out willingly? Why isn't she looking for him all over Istanbul?"
When we see his recollections from the past and see that his mother just put him in the cart and let him go, we finally comprehend what Mehmet Ali fears in his heart all along. Much as he yearns to believe that his mother loved him deeply and must want to see him as much he wants to see her, the reality may be quite different. Their house was put up for sale soon after she left him and the sole photo he has of his mother with him is dug out from the trash can outside once his mother no longer lives there. As though she purged all her memories of Mehmet and disappeared. His mother chose to live her life with his stepfather over taking the responsibility for Mehmet. The reality of this is too tragic for Mehmet to accept and he builds a world in his mind where his mother loves him beyond reason and suffers because she does not have him. This is the only reality that helps the fragility of his mind, and both Gonzi and Tahsin Baba protect this reality for him by indulging his manic whims.
Unlike the child who is legitimately on the streets because his mother passed away, Mehmet is on the streets because his mother threw him away. Gonzi says, "Isn't it good that at least he has a home where he is beaten?" For the street children, an abusive household is preferable to no home at all; maybe it is preferable to be under the same roof as their parents than to feeling that they were an unwanted burden on their parents.
There are no good answers to this dilemma and the sad reality of this social system - where domestic abuse still exists, where women feel powerless from not having any financial independence, where children will take the brunt of adult problems - is that it leads to the kinds of tragic outcomes Cagatay so intricately portrays as the broken Mehmet Ali.
Tragedy Of A Life Not Lived
The fragility of Mehmet's mind stems from choices his mother makes on his behalf, launching him into a traumatic life where his innocence was robbed from him. He keeps going back to the only home he knew, in a nicer part of town in Cihangir. Maybe he felt guilt that he couldn't protect his mother but he also felt despair that his mother couldn't protect him.
Showing up to the house with a wad of cash is with a sense of achievement that he has overcome so much and perhaps now can buy back time with his mother, and save his childhood. His need to resolve this childhood trauma is so great, that he is willing to endanger his life and forego his surgery if it means that he is able buy time with his mother.
In his soulful song, Muslum Gurses sings,
"To loves that remain unfinished
To my borrowed smile
To dying before getting to live life
I have an objection"
In addition to all the pains Mehmet absorbs, perhaps these words describe him the most. A life on the streets cost him his health but his soul died a long time ago. His bucket list contains frivolous dreams except the one about finding his mother. His abandonment leaves such a big hole that it remains an unfinished love story. He laughs and bickers with his brothers, but these are borrowed moments masking the hollow caverns within; a daily effort at a normalcy that seems forced. And the fact that he dies even before he could fully learn what living meant, is indeed very objectionable.
And these are the stories that should open questions in society about our family systems that get fractured by toxic patriarchy, or irresponsible maternal instincts. Questions about the responsibilities the greater society has in providing security to children like Mehmet who did not choose this life of squalor nor was he born into it. How do we care for them?
Towards the end, Gonzi says, "We tried to build our lives with what other people threw away." Not only did they try to find their treasures in the trash of other people's lives, some of them were what other people threw away.
Cagatay as Mehmet
Cagatay provides a superlative performance as Mehmet. Once we realize that little Ali was a figment of his imagination, rewatching his scenes with Ali makes his portrayal even more poignant. In their togetherness, he has unfiltered joy on his face, a bravado and sense of purpose that we expect to see in a well-adjusted adult. This is the reality he wants. He is a protector not at the mercy of anyone, he is powerful at removing the threat of an abusive stepfather, he is worthy of reuniting a child with his mother.
We also see his panicked despair each time he thinks Ali has disappeared. He believes Ali has fallen prey to the unthinkable dangers he himself overcame when he was on the streets, he wants to protect Ali and hold him with the gentle regard a traumatized child like Ali deserves. When Ali awakens from his glue sniffing episode, he is a hardened resolved child, transformed from the innocence of the little Ali who just wanted to save his mother. Mehmet's psyche begins to break again with this episode, as Ali's transformation mirrors all the ways Mehmet was forced to change without ever being able to give up the vision of his mother. Even in his last moments as he stumbles back towards Mucadele Cikmazi, the street of his adopted home, and submits to the rains knowing it will be his death knell, he fingers his lone photo with his mother, a touch of the only real love he feels he had in life.
Cagatay's every gesture and emotion is measured and metered perfectly for what the role demands throughout Mehmet's expansive journey. A beautiful performance for a character well-written, and we hope Cagatay receives the kind of international recognition he deserves for his turn as Mehmet Ali.
Article (c) CUNA & mh musings
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