M. K. Ataturk (1881- 1938) on Cinema

Cinematic studies in Turkey first began with the establishment of the Ordu Cinema Center during World War I. The proclamation of the Republic brought revolutionary transformations to every aspect of society, particularly in law, education, and the arts. During this period, when almost every branch of the arts was supported by the state, Turkish cinema survived thanks to the efforts of private production companies. Mustafa Kemal Atatürk was not only the most important political and military leader of his era, but also a statesman who followed all kinds of innovations and developments in the arts. 

Mustafa Kemal Atatürk considered cinema, the seventh art of our time, a great invention and stated that it should be supported by the state. In this study, we will explore Mustafa Kemal Atatürk's thoughts and contributions to cinema, which he considered extremely important, as well as the ways in which Mustafa Kemal Atatürk was represented within the context of the War of Independence, which emerged as a category within Turkish cinema, and biographical productions. 

When it came to creating a film about Atatürk, the political and social conditions of Turkey, as well as the film's perspective on history, became the primary determinants of the film. This makes Mustafa Kemal Atatürk one of the characters who most acutely experienced these difficulties and turmoil.

It is known that Gazi made references to cinema in some of his speeches. The most famous of these is the remark Gazi made to Münir Hayri Egeli [1] during the script development of his film "I Am a Child of Revolution." As you know, Egeli met with Gazi numerous times to discuss the script of this film. During these meetings, the script was discussed, and Gazi made numerous remarks about the importance of the art of cinema and filmmakers. Egeli later summarized what he heard from Gazi as, "Cinema is such a discovery that one day it will be seen that it will change the face of world civilization more than the discovery of gunpowder, electricity, or continents..." Similarly, on May 18, 1931, after watching Charlie Chaplin's film "City Lights" at the Ankara Yeni Sineması, he said of filmmakers, through Chaplin: "These are the great men of the world. They are instrumental in the advancement of humanity."

Mustafa Kemal Atatürk, as head of state, also sought to maintain a close interest in Turkish cinema. Faruk Kenç, one of the transitional directors who filmed Atatürk's funeral, described this special interest i: 

“Atatürk was at Dolmabahçe at the time. They sent me away. After a while, he summoned me and asked who I was. My father had served as Central Commander in Thessaloniki, and he knew him from there. He asked me what I did. I said, ‘I've finished school, and I'm going to Germany to study film.’ He said, ‘Look, that's a wonderful thing.’ In Turkey, we need experts in every field. When you finish your studies and return, prepare a good report for me on European and Turkish filmmaking. I said, ‘Okay,’ kissed his hand, and left. When I returned, I prepared the report.”   Cumhuriyet Newspaper, 27.11. 1989. 

The idea of ​​filming Atatürk's life first surfaced in 1936. This project, which would blend the Turkish Revolution and Atatürk's life story through the lens of a teacher, was titled "I Am a Child of Revolution." The script, co-written by Atatürk and Münir Hayri Egeli, was revised twice by Egeli. Furthermore, in his revisions, he chose to portray the film's main character as a teacher rather than a general, stating, "The spark that will carry the Revolution to future generations will come from teachers. Tarık is more suitable as a teacher. He should be corrected accordingly..." This reiterated the importance he placed on education for the revolution.

Münir H. Egeli, Atatürk’ün Bilinmeyen Hatıraları. İstanbul: Yenilik Basımevi, 1954, 20; Granda, Atatürk’ün Uşağı’nın, 138.  

The 137-page script depicts Atatürk's human side rather than his political personality. Preparations for the film began at İpek Film Studios, but turmoil within the CHP led to Egeli's withdrawal from the project. While Atatürk was known to have wanted to star in the film, his deteriorating health prevented this, and the plan was not realized. Özön, Türk Sineması Tarihi, 210-211.  

This script is now lost.

These are the words Gazi spoke to Münir Hayri Egeli during the script development of his film "I Am a Child of Revolution." As you know, Egeli met with Gazi numerous times to discuss the script. During these meetings, Gazi discussed the script and offered numerous insights into the importance of the art of cinema and filmmakers. Egeli later summarized what he heard from Gazi as, "Cinema is such a discovery that one day it will be seen to change the face of world civilization more than the discovery of gunpowder, electricity, or continents..."

Mavi Boncuk |

M. K. Ataturk (1881- 1938) Founder and First President of Turkish Republic.

Sinema öyle bir kesiftir ki bir gün gelecek barutun, elektrigin ve kitalarin kesfinden çok, dünya uygarliginin görünüsünü degistirecegi görülecektir. Sinema dünyanin en uzak uçlarinda oturan insanlarin birbirlerini tanimalarini, sevmelerini saglayacaktir. Sinema, insanlar arasindaki görüs, görünüs farklarini silecek, insanlik ülküsünün gerçeklesmesine en büyük yardimi yapacaktir. Sinemaya layik oldugu önemi vermeliyiz

"A day will come when the invention of the cinema will seem to have changed the face of the world more than the invention of gun powder, electricity or the discovery of new continents. The cinema will make it possible for people living in the most remote comers of the earth to get to know and love one another. The cinema will remove differences of thought and outlook, and will be of great assistance in realizing the ideals of humanity. It is essential that we treat the cinema with the importance it deserves." (1937)

English Translation by Billie Uluisik

"Un jour viendra où l'on verra que le cinéma aura bien plus changé la face du monde que la découverte de la poudre, de l'électricité ou de nouveaux continents. Le cinéma permettra aux hommes répartis aux quatre coins de la Terre de mieux se connaître et de s'apprécier. Le cinéma supprimera les différences de vue et d'opinion; il contribuera de façon primordiale à la réalisation des idéaux de l'humanité. Nous devons reconnaître au cinéma l'importance qu'il mérite."(1937)

French Translation by Maurice Asseo

"Der Tag wird kommen, wenn die Erfindung des Films das Antlitz der Welt wesentlicher veraendert zu haben scheint als die Erfindung des Schwarzpulvers, der Elektrizitaet oder der Entdeckung neuer Kontinente. Der Film ermoeglicht es, dass Menschen in den entfernesten Teilen der Welt sich kennenlernen und einander zugeneigt fuehlen koennen. Der Film wird die Unterschiede zwischen Gedanken und Gesichtspunkten ueberbruecken, und er wird einen grossen Beitrag leisten zur Erlangung der humnitaeren Ideale. Es ist daher wichtig, dass wir dem Film das Ansehen geben, welches er verdient." (1937)

German Translation by Dieter A. Thiemann

Sinema öyle bir kesiftir ki bir gün gelecek barutun, elektrigin ve kitalarin kesfinden çok, dünya uygarliginin görünüsünü degistirecegi görülecektir. Sinema dünyanin en uzak uçlarinda oturan insanlarin birbirlerini tanimalarini, sevmelerini saglayacaktir. Sinema, insanlar arasindaki görüs, görünüs farklarini silecek, insanlik ülküsünün gerçeklesmesine en büyük yardimi yapacaktir. Sinemaya layik oldugu önemi vermeliyiz

Reprinted from Turkish Cinema Newsletter Copyright ©1996 - 2003, Washington D.C.

[1] Münir Hayri Egeli (b. 1903, Istanbul, Turkey; d. October 25, 1970) was a Turkish writer, filmmaker, and sculptor. He studied cinema at Atatürk's request, directed a film about him, and, at Atatürk's request, wrote novels, librettos, and plays. He is a versatile artist.