She was born in 1902 as Münire Eyüp at Istanbul, Ottoman Empire. She graduated from Teachers' School for Girls in Istanbul, and then attended the American College for Girls Istanbul without finishing it. During her time at the college, she was a member of the school's theatre club.
In 1929, she married Muhsin Ertuğrul (1892–1979), whom she met during her first movie performance in 1923.
Neyyire Neyir was hospitalized in October 1942 due to intense chest pain she experienced during a rehearsal on stage. The heart disease caused her death at the age of 41 on 13 February 1943. She was laid to rest at the Zincirlikuyu Cemetery in Istanbul. Neyire Neyir was survived by her husband Muhsin Ertuğrul.
Her professional acting career began when she featured in the 1923 movie Ateşten Gömlek (The Daughter of Smyrna) directed by Muhsin Ertuğrul. Muhsin Ertuğrul was about to film a very popular novel written by Halide Edib Adıvar (1884-1964), which featured some dramatic events of the Turkish War of Independence (1919–1923). Adıvar, a women's rights activist, who actually participated in the Turkish War of Independence, stipulated that she would only permit her novel be filmed when the lead role is featured by a Turkish Muslim woman. In the Ottoman Empire, acting of Muslim women in movies was not allowed for reasons of religion. In all the movies, the woman roles were played by the Christian or Jewish women of minorities in Turkey. The newly married wife Bedia Muvahhit (1897–1994) of Muhsin Ertuğrul's friend accepted to perform for the lead role. For casting the supporting female role, an advertisement was published in a newspaper. The only application came from Münire Eyüp, who was still a college student. She played in the movie under the pseudonym Neyyire Neyir, and became so one of the first ever Muslim women to feature in the cinema in Turkey.
Neyyire Neyir starred in the same year also in the Muhsin Ertuğrul's next movie Kız Kulesinde Bir Facia (A Tragedy at Leander's Tower).[2] After a brief period of acting with a theatre company in Izmir, she returned 1924 to Istanbul and joined theatre of Muhsin Ertuğrul. In later years, she performed in a movie under her real name. However, she devoted herself to stage theater.
She acted on stage of Istanbul Municipal Theatre (Ottoman Turkish: Darülbedayi), of which director Muhsin Ertuğrul was appointed. Neyyire Neyir participated in guest plays of the theatre touring in Egypt and Cyprus.
Filmography
Ateşten Gömlek (1923) as Kezban
Ateşten Gömlek (The Daughter of Smyrna or The Shirt of
Flame) is a 1923 black-and-white Turkish drama film, co-produced by Kemal Seden
and Şakir Seden, written and directed by Muhsin Ertuğrul based on a memoir of
the same title (The Turkish Ordeal, published first in English) by Halide Edib
Adıvar. The movie marks a milestone in the cinema of Turkey as for the first
time ever Turkish Muslim actresses, namely Bedia Muvahhit and Neyyire Neyir,
featured in a movie.It is in general about some events during the Turkish War
of Independence (1919–1923).Its remake with the same title was released in
1950, directed by Vedat Örfi Bengü.
The movie was premiered on 23 April 1923, the third anniversary of Grand National Assembly of Turkey's foundation at Palas Sinema in Beyoğlu, Istanbul. It was shown to audience in two separate ticketed screens.
The husband and the little son of Ayşe, featured by Bediha Muvahhit, are killed by Greek troops during the occupation of Izmir (1919–1922) after World War I (1914–1918). With the help of an Italian Levantine family, Ayşe, slightly wounded, goes to Istanbul, where she lives in the home of her paternal first cousin Peyami. There, she meets Major İhsan, a friend of Peyami. The three takes part at protest rallies against the occupation of Izmir held at Sultanahmet Square. However, following the occupation of Istanbul by the Allied forces briefly after, she is forced to escape to Anatolia accompanied by Peyami. The two joins the military unit of the Turkish National Resistance led by Major İhsan. Ayşe helps by nursing and Peyami becomes an officer subordinate to İhsan. Both men, İhsan and Peyami, fall in love with Ayşe. This love turns into a "shirt of fire" (Ateşten Gömlek) for both. Ayşe, however, has a heart for İhsan only. İhsan gets wounded in action, and she treats him. Meanwhile, İhsan promises to marry her after he enters Izmir as the first Turkish soldier. In order to draw Ayşe's attention, Peyami intends also to be the first soldier in Izmir. Peyami is killed in action soon after. Ayşe, hearing the bad news, runs to the front, but she is also killed by enemy shrapnel shell.
The novel Ateşten Gömlek written by Halide Edib Adıvar (1884–1964), a women's rights activist, who actually participated in the Turkish War of Independence, was first appeared as serial in the newspaper İkdam between 6 June and 11 August 1922 before it was published in book form. Since it became of great interest, its filming came into question.
In the Ottoman Empire, acting of Muslim women in movies was not allowed for reasons of religion. In all the movies, the woman roles were played by the Christian or Jewish women of minorities in Turkey. Adıvar stipulated that she would only permit her novel be filmed when the lead role is featured by a Turkish Muslim woman.
Muhsin Ertuğrul (1892–1979) asked his friend Ahmet Refet Muvahhit whether his newly married wife Bedia Muvahhit (1897–1994) would be eligible for the lead role. She accepted to feature as Ayşe. For the supporting female role of Kezban in the movie, a newspaper advertisement was published. Only one woman, Münire Eyüp (1902–1943), applied. She played in the movie under the pseudonym Neyyire Neyir. She later married to Muhsin Ertuğrul.
TURKISH SYNOPSIS: Ayşe İzmir'in düşman kuvvetleri tarafından işgali sırasında kocasını ve çocuğunu kaybeder. Sonrasında milli mücadeleye destek olmak için Anadolu’da hastabakıcılık yapmaya başlar. Savaş ortamında tanıştığı Binbaşı İhsan'a aşık olur. Fakat aşkları mutlu sona eremeyecektir...
A man and his son work together as officers in a lighthouse in Istanbul. The son is bitten by a dog before his duty and as time passes by, he begins to behave strange and in the meantime women at the home begin to worry about this man and his son since the light of lighthouse is not turned on.
Director: Muhsin Ertugrul
Writers: Paul Autier, Paul Cloquemin (play "Les Gardiens de Phare")[1],Muhsin Ertugrul
Stars:Muhsin Ertugrul, Neyyire Neyir, Emin Belig Belli,
Ankara Postası (1928)
Necmiye Sultan who is the wife of a commander arrives to
Adapazari in order to meet with her husband. Necmiye meets with Kudret who is
the courier of Turkish Nationalist Forces in the house where Necmiye stops
over. Afterwards, Necmiye and Kudret begins to have a forbidden love. In the
meantime Kudret must deliver some news to relevant authorities.
Director: Muhsin Ertugrul; Writers: François de Curel[2], Muhsin Ertugrul, Resat Nuri Güntekin; Stars: Neyyire Neyir, Nafia Arcan, Ismet Sirri
Turkish Synopsis: Cephede bulunan kocası, Kuvva-i İnzibatiye komutanı Şerafettin Paşa'yı görmek üzere Necmiye Sultan, İstanbul'dan Adapazarı'na gelir ve kaymakamın aracılığıyla Melek Hanım'ın evine misafir olur. Melek Hanım'ın büyük oğlu Kudret, Kuvva-i Milliyeci'lere çalışan bir kuryedir. Bu sebeple o günün akşamı bir uçak, Kudret'i Adapazarı'na indirir. Kendisinin geldiğini gören bir masum ihtiyarı öldürmek zorunda kalan Kudret eve gelir. Orada Necmiye Sultan'la tanışırlar. Ölüm haberini duyan Sultan, bunun Kudret'in gelişiyle ilişkili olduğunu anlar. Kudret belki bu yabancıyı da öldürmek zorundadır. Ama o gece konuşurlarken, birbirlerinden hoşlandıklarını anlarlar, sevişirler. Necmiye Sultan ertesi gün, bilerek Kudret'in kardeşi aracılığıyla onu ele vermek ister. Bu durumda Melek Hanım, Sultan'! öldürmek zorunda kalır. Diğer yandan Kudret'in geldiği duyulmuştur ve ikinci bir haberi Adapazan'ndaki ilgililere ulaştıramadan bir dere boyunda yaptığı silahlı çatışmada Kudret ölmüştür. Bu durumda postayı kardeşi Osman'a bırakır.. Osman postayı getirirken, yıkık değirmelner bir kadın çığlığı duyar. Bu ses nişanlısı Ayşe'ye aittir. Kasabanın üç kötü kişisi, İmam, Muhtar ve Dalyan Mustafa kızı kaçırarak buraya getirmişler, kötülük yapmak üzeredirler. Uzun bir çatışma sonunda Osman, üç kötüyü de haklar ve yaralı bir durumda arabaya atlayarak kaçarlarken kız da vurulur, Atlar, arabayı varmak istenen yere kendiliğinden getirir. İlgililer postayı alırlar. Bu, Büyük Taarruz emridir. O sabah şafakla birlikte büyük taarruza geçilir ve zafer kazanılır.
For the curious: Remade from François de Curel source by Claude Autant-Lara as Le bois des amants(1960). An impossible love between a French resistant fighter and a German officer's wife during WW2.
The Lighthouse Keepers MovieIn padding Autier and Cloquemin’s one act drama (which spans a little over eight pages in its English translation) The dog in question is rabid, and bites Yvon, one of the two lighthouse keepers of the title. The other lighthouse keeper is Yvon’s father, with whom Yvon is holed up in the lighthouse for thirty days. On the first of those days the rabies-infected Yvon finds himself overcome with sickness and fatigue, with his concerned father powerless to do anything to help. As the days go on Yvon finds himself assailed by thirst but can’t drink and experiences unsettling hallucinations. Eventually the atmosphere turns toxic as Yvon is overcome with viciousness and paranoia. In the melee the lighthouse light is switched off, and Yvon’s father finally strangles his son—which occurs just as a ship is making its way toward the shore of the lightless lighthouse.
[2] François, vicomte de Curel, (born June 10, 1854, Metz, France—died April 26, 1928, Paris), French dramatist and novelist, one of the brightest lights of André Antoine’s famous Théâtre-Libre, which was founded, in reaction to the established French commercial theatre, as a forum for original dramatic art.
Curel, a member of an old noble family, studied engineering, but his career was interrupted by the surrender of his native province of Lorraine to Germany in 1871, and he turned to literature.
Curel’s austere dramas show the working out of social, moral, or psychological conflicts: the destructiveness of an embittered woman in L’Envers d’une sainte (1892; A False Saint); the decadence of a noble family in Les Fossiles (1892; The Fossils); the impulses of love and revenge in L’Invitée (1893; “The Guest”); capital-labour relations in Le Repas du lion (1897; “The Lion’s Meal”); and the cult of science at the expense of human value in La Nouvelle Idole (1895; “The New Idol”). Unlike the popular “thesis plays” of his time, which emphasized abstractions, Curel’s dramas of ideas emphasized the characters’ emotions and actions. After 1906, Curel abandoned writing for several years. When he resumed, his work was comic and ironic in tone. L’Âme en folie (1919; “The Soul Gone Mad”), his only popular success, was a comedy comparing human and animal emotions. Curel was elected to the Académie Française in 1918.
Grave of Muhsin Ertuğrul and his wife Neyyire Neyir at Zincirlikuyu Cemetery
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