Mavi Boncuk |
ACCORDING TO MAVI BONCUK
BEST OF WORLD CINEMA
EARLY (1891-1936) Part 1 | Part 2 | Part 3
SILENT TO SOUND (1926-1929) Part 1
SOUND (1926-2022) Part 1 | Part 2 | Part 3 | Part 4
TURKISH CINEMA
TURKISH CINEMA PART 1 | EARLY
TURKISH CINEMA PART 2 (1932-1959)
TURKISH CINEMA PART 3 (1960-1999)
TURKISH CINEMA PART 4 (2000-2022)
The first film shooting in Turkey was carried out by the Macedonian Manaki Brothers.
During the First World War, cinema in Turkey was directed by the Army film units due to the war conditions.
During this period, the Army Film Department was created. Later, the subjects of the films were documentaries about war, the Commander-in-Chief, or the Sultan.
Sigmund Weinberg and Fuat Uzkınay, who were the directors of Ordu Film Department for a while and pioneered the opening of the first movie theaters in Turkey, adapted Moliere's famous play 'Zoraki Marriage' and made their debut with the title of 'Himmet Ağa's Izdivacı'. shot the movie. Later, Sedat Simavi directed the films 'Pençe' and 'Casus'.
With the defeat of the Ottoman Empire in the First World War, when it became necessary for the Army to transfer all kinds of ammunition and equipment to the occupying forces, the Ordu Film Center transferred all of its possessions to a front organization, which was founded under the name of "Disabled Veterans Association". Therefore, the activities in the first years of cinema in Turkey began to continue in this society.
The famous three-film 'Bican Efendi' series ('Bican Efendi Vekilharç', 'Bican Efendi Mektep Hocası' and 'Bican Efendi's Dream') was also shot by the Disabled Veterans Association.
With the start of the National Struggle in Anatolia, the Disabled Veterans Association transferred everything it had to the Government of the Turkish Grand National Assembly. After this period, some important documentaries were shot during the War of Independence.
LEBLEBICI HORHOR
LEBLEBICI HORHOR AĞA | 1916
CASUS / THE SPY | 1917
PENÇE/ CLAW | 1917
Sedat Simavi adapted Mehmet Rauf's play 'Pençe' to the
cinema. This was Turkey's first film about sexuality. The female lead actress
was Eliza Binemeciyan.
The play, in which Mehmet Rauf reveals the conflict of marriage and extramarital love, and for which he develops two parallel storylines, is Claw. The first of this series of events is the story of Pertev, a young poet. At the beginning of the play, Pertev has an in-depth discussion with his brother-in-law, Ferit Bey, who is married to his sister.
Ferit believed in established social institutions, especially in the sanctity of marriage, marriage is a must for humanity, and extramarital love is a 'claw'. According to Pertev, women are vulgar, lazy, ignorant creatures, marriage always leads to bad results, marriage is a monster's claw for humanity.
In extramarital love, it is up to the man to change the woman he loves whenever he wants. Vasfi Bey, whose friends are involved in this discussion, also believes in extramarital love.
After this discussion, the stories of Pertev and Vasfi develop parallel to each other. Both developments result in a way to show the evil of extra-marital love and the superiority of marriage. In Pertev's story, Pertev has a relationship with a young woman named Leman, a spiritual pervert who can't get enough of men and makes love even with an eunuch, and is shocked when she learns that Leman is sleeping with the man who comes before her. On the other hand, Vasfi is also making love to a married woman named Feride, and with this passion he even kicked his wife and child out of the house. However, Feride's husband, Cabir, caught the two of them red-handed, injured Vasfi with his gun, and Feride ran out into the street naked. Despite all this, Vasfi's wife turned to her husband and looked at his wounds. Ferit makes Pertev accept that marriage is superior to love by citing both events as an example.
MÜREBBIYE / THE GOVERNESS | 1919
The first censorship of Turkish cinema took place in this
period. Fuat Uzkınay's film "The Governess" was banned because it
contained references to the occupation forces.
The story of Anjel, a French slut who enters a Turkish family as a governess and seduces the men in the mansion. The first film attempt based on female personality in Turkish cinema. And it's the first movie to be censored. Due to the fact that the subject is based on an immoral French governess, it was forbidden to be shown in Anatolia by General Franchet d'esparay, the Commander of the Occupation Forces in Istanbul.
SAMSON / SAMSON |1919
BINNAZ | 1919
Binnaz, whose beauty is legendary, has two lovers. One is
Efe Ahmet, a janissary, and the other is Hamza Bey. In fact, he loves Hamza Bey
and cannot break away from him because he is afraid of Efe Ahmet. These two
lovers fight over Binnaz in a cafe they meet. Hamza Bey is injured, Efe goes to
jail, but escapes, and then withdraws.
Türk Tiyatrosu'nun Ermeni oyuncularından Eliza Binemeciyan, osmanlıca imzalı; Ed:Droguerie Ottoman Ekrem Nejib Constantinople produit de L.Liecher Berlin Almanya
Elisa Binemeciyan is an Actress, known for Binnaz, The Spy and Claw.
Elisa Binemeciyan (b. 1890, Istanbul – d. 1981, Toronto,
Canada) is an Ottoman-Armenian actress who is one of Ottoman theater.
Among the Armenian actors who were essential in creating and
sustaining Istanbul theaters at the turn of the twentieth century, Eliza
Binemeciyan (1890-1981) emerged as a prominent one. In the aftermath of taking
part in the play Kösem Sultan in 1912, she became the star of Istanbul theaters
for more than a decade until she left her beloved city when she was 35 years
old. She never returned to Istanbul, the city that was her home and where the
remains of her parents, both well known Armenian actors, were buried. Her story
as well as the stories of her Armenian colleagues reveal the decline of
cosmopolitanism and the rise of nationalism in Istanbul. The change of scene in
Istanbul theaters from multi-lingualism and cosmopolitanism to nationalism was
like a microcosm of the policies of Turkification during the decline of the
Ottoman Empire. In many memoirs about the era, Eliza Binemeciyan’s departure
was normalized since she was depicted as an actor whose absence fostered the
acting careers of Muslim Turkish women without much regard for her remarkable
presence in Istanbul theaters.
She grew up in theaters with her mother Aghavni Zabel and her father, Rupen Binemeciyan, who are actors of the Mınakyan ensemble, and appeared on the stage in the roles of girls and boys at an early age. She was educated at the notre Dame de Sion French School she. She started her professional acting career in 1908 on the Free Stage and continued in the Mınakyan ensemble. She later appeared on the stage in the Ottoman Naval Society Committee of Representatives, Yeni Sahne and Darülbedayi, respectively.
Binemeciyan, who went to Paris in 1924, went to Turkey in 1926 and performed for a while, then went to France again. Binemeciyan, who never returned to Turkey, became one of the most talented and famous actors of the Ottoman theater.
Eliza Binemeciyan, born in Istanbul in 1890, is a theater actress. Eliza's parents, who are the daughters of Rupen Binemeciyan and Agavni Binemeciyan, were also theater actors. Since she was brought up in the theater environment, she appeared on the stage as a girl and a boy in the Minakyan Ensemble, where her parents played, when she was only 10 years old. Eliza, who studied at the French School in Kadıköy and the Notre Dame de Sion French School, II. After becoming a professional in Armenian plays at the Free Stage, founded by Armenian youth in the first days of the Constitutional Monarchy, she joined the Minakyan Ensemble where she gradually shone.
He entered Darülbedayi by participating in the exam held in
1914 after the Representation of the Navy Society. He took part in the first
performance of Darülbedayi's first play, Çürük Temel, on January 20, 1916, and
in the first domestic play, The Owl. She joined Yeni Sahne, which was founded
by a group that left Darülbedayi in 1920. Another society founded in 1921 was
named Turkish Theater upon his suggestion. After returning to Darülbedayi,
Binemeciyan was on the board of directors as an artist representative.
She immigrated to France in 1924 when she was at the height of her fame. She came to Istanbul in 1926 at the invitation of Raşit Rıza, and after performing on stage during Ramadan, she went to France, never to return. II. After spending the World War II years in London, Binemeciyan returned to France in 1946, and there is no information about the aftermath of his life.
Eliza Binemeciyan was not only one of the most talented and
brilliant actresses of the Binemeciyan family but also of the Ottoman theater.
She did not speak Turkish fluently like other Armenian actors and took Turkish
lessons from Halid Ziya (Uşaklıgil) and İsmail Müştak (Mayakon). He formed a
successful duo with , especially in emotional comedies, and even in a research
conducted by Temaşa magazine in 1920, "Who would you give the first place
among the representatives and representatives in the Ottoman spectacle
life?" In the answers to the question, Eliza Binemeciyan was the first and
Raşit Rıza was the second.
It is known that Eliza Binemeciyan died in 1981 in Toronto, Canada.
BICAN EFENDI VEKILHARÇ / BICAN EFENDI STEWARD | 1921 ŞADI FIKRET KARAGÖZOĞLU
Bican Efendi Steward is a 1921 Turkish film. The film tells
the story of Bican Efendi, who works as a steward in a mansion. The movie is
the first comedy movie in Turkish cinema. Upon the film's acclaim, Turkish
comedy films called Bican Efendi Mektep Hocası and Bican Efendi's Dream, which
were sequels, were shot in 1921.
The tragic story of Bican Efendi, who works as a steward in
a mansion. Bican Efendi Vekilharç, which consists of consecutive comic events
and sketches, is one of the first comedy examples of Turkish cinema.
Theater actor Şadi Fikret Karagözoğlu (1890-1941), who was a famous comedy artist of the period, achieved great success with this typography on the theater stage. Thereupon, he rolled up his sleeves to transfer this success to the big screen as a film and created the first comedy genre in Turkish cinema with his 22-minute short film called “Bican Efendi Vekilharç“. Bican Efendi School Teacher and Bican Efendi's Dream gradually to form a series.
Only one of them has survived to the present day. Therefore, there is some doubt as to whether the others were actually made or not. For the movie Bican Efendi Steward, which has survived until today, Giovanni Scognamillo, in his work "History of Turkish Cinema"; While evaluating the film with its similarity to Chaplin's films and its closeness to the 1910s comedy, he mentions that the camera is more mobile than previous works as a novelty. (Okan Ormanlı, “Criticism in Turkish Cinema” p: 25)
Hüseyin Şadi Karagözoğlu (known as Fikret Şadi Karagözoğlu), (b. 1881, Istanbul - died. 29 December 1941 - Istanbul), Turkish actor, screenwriter and director.
Known for his role as Bican Efendi on stage, the artist wrote, directed and acted the script of the Bican Efendi film series, which was one of the first humorous films in the history of Turkish cinema during the armistice years. He is the founder of the touring company named Milli Sahne, one of the first private theater companies established after the proclamation of the Republic in Turkey.
He was born in Istanbul in 1881. His real name was Hüseyin.
He studied at Galatasaray High School. He appeared on the stage with Ahmet
Refet Muvahhit, Refik Halit and Refi' Cevat during his school years. He
continued acting after graduation. He used the name Fikret on stage.
After the proclamation of the Second Constitutional Monarchy, he joined the professional society founded by Reşat Rıdvan Bey and the playwright İbnürrefik Ahmet Nuri. In 1910, he participated in the Rumeli tour with the Burhaneddin Bey Ensemble. He left the company on his return. After working as a clerk in the Registry of the Police Department for a while,[he returned to the theater and worked in the Naval Society Theater Committee.
He was drafted into the army in World War I. The artist, who took on various roles in Darülbedayi after the armistice, was dismissed with Muhsin Ertuğrul with the decision of the Board of Directors convened on December 24, 1917, on the record of "due to disobedience", and was re-employed a month later.[2] He portrayed the character of Bican Efendi in the play Hisse-i Şayia, which was originally adapted by İbnürrefik Ahmet Nuri from Daniel Riche's play Bahane (Le Pretexte). Upon his success in the role of Bican Efendi, this name became his nickname.
The actor, who wanted to make a comedy movie to make the audience laugh in occupied Istanbul, decided to make a short film about "Bican Efendi" like "Charlo" after watching a Charlie Chaplin movie. He was both a screenwriter, director and actor in these films he made for the Invalid Veterans Association. Bican Efendi films, the first serial films of Turkish cinema, are among the first humorous films in the history of Turkish cinema. The series consisted of short films with names such as "Bican Efendi School Teacher", "Bican Efendi's Dream", "Bican Efendi's Steward", "Bican Efendi Damat".[4] Fikret Şadi married Şehper Hanım (real name Zabel), who is an actress like him. His wife, Sehper Hanım, acted with him in the films of Bican Efendi. The couple had a child named Gazanfer.
After the proclamation of the Republic, Fikret Şadi took an important part in the establishment of "Milli Sahne", a touring group. He established a society called "Turkish Theater Himaye Cemiyeti" and provided financial aid from the state through this association; thus, he became the first artist among private communities to receive aid from the state.
The National Stage disbanded in a short time. Fikret Şadi left the theater after 1927 due to the discomfort in his heart.[1] He rented the Ferah Theater and operated it as a cinema. He died on December 29, 1941 in Istanbul.
Films
BICAN EFENDI BELEDIYE MÜFETTIŞI |1917 ŞADI FIKRET
KARAGÖZOĞLU
BICAN EFENDI TEBDIL-I HAVADA | 1917 ŞADI FIKRET KARAGÖZOĞLU
BICAN EFENDI PARA PEŞINDE | 1918 ŞADI FIKRET KARAGÖZOĞLU
BICAN EFENDI YENI ZENGIN | 1918 ŞADI FIKRET KARAGÖZOĞLU
BICAN EFENDI VEKILHARÇ | 1920 ŞADI FIKRET KARAGÖZOĞLU
BICAN EFENDININ RÜYASI |1921 ŞADI FIKRET KARAGÖZOĞLU
BICAN EFENDI MEKTEP HOCASI | 1921 ŞADI FIKRET KARAGÖZOĞLU
BICAN EFENDI BELEDIYE MÜFETTIŞI – 1917
The first movie of the series, which was screened at the
Royal Cinema (September 24, 1917) and appeared before the public, is
"Bican Efendi Municipal Inspector". In addition, the first of the
series consisting of 7 films was shot by the Müdafa-i Milliye Cemiyeti, and the
later ones were produced by the Malul Gaziler Cemiyeti / Disabled Veterans Society
BICAN EFENDI TEBDIL-I HAVADA | 1917 ŞADI FIKRET KARAGÖZOĞLU
Short Film
"Bican Efendi asks his manager for permission due to
his illness, and in the meantime asks him to be paid a salary or two. He is
examined by the doctor and takes permission. While Bican Efendi was spending
his air transfer on Büyükada, he exceeded the time allowed in the pleasure of
the island. He realizes the situation by seeing the date of the last newspaper.
Leaving his lover, pleasure, everything, he runs to his pen (the flat where he
works). (Odabaşı, National Cinema, 45). Release: November 05, 1917
BICAN EFENDI PARA PEŞINDE | 1918 ŞADI FIKRET KARAGÖZOĞLU
Release: May 09, 1918
BICAN EFENDI YENI ZENGIN | 1918 ŞADI FIKRET KARAGÖZOĞLU
BICAN EFENDI VEKILHARÇ | 1920 ŞADI FIKRET KARAGÖZOĞLU
BICAN EFENDI'NIN RÜYASI / BICAN EFENDI'S DREAM | |1921 ŞADI FIKRET KARAGÖZOĞLU
Short story movie. And in all sources, the "Bican
Efendi" series takes place as a "trilogy". However, according to
a new document, 4 more short-story films were shot: “Bican Efendi Municipal
Inspector”, “Bican Efendi Tebdil-i Havada”, “Bican Efendi Yeni Zengin” and
“Bican Efendi Pursuit of Money”.
BICAN EFENDI MEKTEP HOCASI / BICAN EFENDI SCHOOL TEACHER | 1921 ŞADI FIKRET KARAGÖZOĞLU
Bican Efendi Mektep Hocası is a black and white, silent
short story film made in 1921 in Turkey. The film was directed by Şadi Fikret
Karagözoğlu, with actors Şadi Karagözoğlu, Galip Arcan and Behzat Butak.
The story of Bican Efendi, who works as a teacher. The Bican Efendi School teacher, which consists of funny events and sketches that follow each other, is one of the examples of comedy in Turkish cinema.
BOĞAZIÇI ESRARI MYSTERY OF BOSPHORUS |
ÇANAKKALE MUHAREBELERI / BATTLES OF ÇANAKKALE
ESIR İNGILIZ GENERALI/ CAPTIVE BRITISH GENERAL
FAHRI BEY MAKARNA TENCERESINDE/ FAHRI BEY IS IN THE PASTA POT
HIMMET AĞA'NIN İZDIVACI/ CONCUBINE OF HIMMET AĞA
The story of an old man who is forced to marry a young girl.
The first feature-length film in Turkish cinema, Himmet Ağa's film İzdivacı,
dated 1916, is based on the translation made in 1869 by Ahmet Vefik Pasha from
Moliere's play 'Le Marriage Force' with the name "Zor Wedding". Its
actors consisted of the artists of the operetta company of Arşak Benliyan, who
had staged this play many times before.
İSTANBUL'DA BIR FACIA-I AŞK/ A DISASTER OF LOVE IN ISTANBUL
İSTANBUL'DA ISTIRAP/ SUFFERING IN ISTANBUL
KIZ KULESINDE BIR FACIA/ A DISASTER IN THE MAIDEN'S TOWER
KORUYAN ÖLÜ/ THE PROTECTING DEAD
TOMBUL AŞIĞIN DÖRT SEVGILISI/ THE CHUBBY LOVER'S FOUR LOVERS
ANKARA POSTASI / ANKARA POST | 1929 MUHSIN ERTUĞRUL
Ankara Post is a 1929
silent film about the Turkish War of Independence, directed by Muhsin Ertuğrul.
Muhsin Ertuğrul translated the play adapted by Reşat Nuri Güntekin as "One Night Disaster" from the 1922 play "Terre Inhumaine" by the French writer François de Curel.[1] In the original work, the subject is set in Alsace Lorraine during World War I; The subject of the film takes place in Adapazarı during the Turkish War of Independence. Muhsin Ertuğrul, who took a break from filming after shooting 6 films for Kemal Film between 1921 and 1924, shot the film together with the brothers Fahir and İhsan İpekçi. His wife Neyyire Neyir played the role of Necmiye Sultan.
The movie, which was screened for the first time on October 2, 1929, at the Alhambra and Melek cinemas in Istanbul, was watched by 15 thousand people in Istanbul alone.[1] This was the country's biggest movie revenue ever reached. The commercial success of the film encouraged İpekçi Brothers to continue producing domestic films.
Posts
No comments:
Post a Comment