THE BANDIT

THE BANDIT (EŞKIYA) , 1996

Turkey | 35mm, Colour, 121’ |

Director: Yavuz Turgul

Cast : Şener Şen, Uğur Yücel, Kamuran Usluer, Sermin Hürmeriç, Yeşim Salkım, Ülkü Duru, Özkan Uğur, Kayhan Yıldızoğlu

It would not be an exaggeration to claim that the popularity of these two films have changed the course of Turkish Cinema history, at times when very few people frequented movie halls. Friend tells the story of a reunion between two old friends, Cemil (Kerim Afşar) and Azem (Yılmaz Güney), who are originally from the countryside. Cemil has come to a big city and gotten rich; Azem, on the other hand, has remained loyal to his humble past and his life is devoted to his people's problems. The film marks the emergence of Yılmaz Güney as a political auteur. Azem is the embodiment of an idealist leftist intellectual of his time. Portrayed as a thinking being, freed from all bodily needs–especially sex–he does not have any human flaws. Azem is determined not to feel joy until the day all the oppression ends, and also, finds joy somewhat intolerable. All the other characters look vain, greedy and egotistical, when compared to him. Despite an unforgettable highway scene and indubitable intentions, Azem's political power is limited by his rather narrow outlook. The film unnecessarily directs all its animosity toward Cemil's wife Necibe (Azra Balkan), by blaming the country's problems on this 'corrupt' woman of the big city. Although not openly mentioned in the film, Azem is also an early portrayal of an idealized Kurdish male identity. Many years later, eminent filmmaker Yavuz Turgul would turn this idealized character into the legendary hero Baran (Şener Şen) in the film The Bandit. This film also portrays the reunion of two old friends, however, this time by totally different intentions. We notice many negative changes in society and see that the real bad guys are still out of our reach. The major claim of the previous film remains unchanged: The corrupt city woman (Yeşim Salkım) once more proves that she is our greatest enemy. This film marks the rebirth of Turkish Cinema after many years of silence. Seeing these two successful productions, which appealed to mass audiences at their time, will be an absolute treat for everyone.

Serazer Pakerman