CHANTE USE OF BEYOĞLU

CHANTE USE OF BEYOĞLU (SÜRTÜK) 1965

Turkey | Betacam, Colour, 90’ |

Director:Ertem Eğilmez

Cast: Ekrem Bora, Türkan Şoray, Cüneyt Arkın, Melahat İçli, Ferah Nur

Who can deny the importance of Beyoğlu? It has been the epicenter of culture, art and entertainment for centuries. A neighborhood where ladies and gentlemen used to parade in their chic outfits on its main street while the back streets were a gathering place for subcultures… It’s surely not surprising that power struggles over Istanbul goes through Beyoğlu and there is no shortage of those who want to reshape this multi-cultural centre. These might not be the first to come to mind when talking about Sürtük, which tells the story of music hall boss Ekrem’s efforts to turn amateur singer Naciye into a headliner. But, things get complicated when Naciye falls for her pianist, because Ekrem wants to declare his dominance over his “work of passion”. He says to Naciye: “I used to shine boots on that Beyoğlu street. Now I make money by pulling the wool over people’s eyes by using the likes of you”. Just like Naciye, the night life of Beyoğlu is a project, a power domain for him. In fact, Ekrem really is sort of a “force” over everything. When the lovers try to declare their independence, he prevents them from working by purchasing relevant small establishments. But, unlike real-life power hungry men, he gives up on his insistence. After helping the lovers reunite, he leaves the music hall and walks alone on the streets of Beyoğlu. As the camera pulls out, Ekrem becomes smaller. He realizes he can own neither Naciye nor Beyoğlu. On the other hand Beyoğlu’nun Arka Yakası removes the varnish that Ekrem and his ilk try to put on this neighborhood. The film has this to say as it shows the back streets of Beyoğlu: “There’s nothing easier than disparaging and slandering Beyoğlu… A good interviewer slams Beyoğlu. I’m a novice interviewer. I’m going to praise Beyoğlu.” The film’s main character Haydar is a civil servant, who is taken for a ride by a prostitute and loses a month’s salary. At the end he will have to accept the fact that the girl in a white dress (a glossy Beyoğlu fantasy) he’s been chasing all night is not real, and he will leave the shot by becoming smaller just like Ekrem. Both films end by sending home empty-handed those who try to seize and figure out Beyoğlu.

Engin Ertan