Yilmaz Güney - Aç kurtlar AKA The Hungry Wolves (1969)

synopsis with spoilers:
Serçe Mehmet had been a teacher in a village near Siirt in South-East Anatolia. Bandits had kidnapped his wife, after seven months they returned her dead body, she had committed suicide out of shame. Mehmet then decided to leave the village and to devote the rest of his life to hunting bandits down. Here the film sets in.

In another village, bandits force the villagers to pay them large sums of money, threatening the villagers by killing some of the men and abducting some of the women. Serçe Mehmet arrives, kills several of the bandits, giving himself the name "Azrail". Everybody is afraid of him because of his reputation as a merciless killer.

He frees however a woman who had just been raped. Mehmet takes her back to the village, but her husband, also a teacher, doesn´t want to have her back. The woman implores Mehmet to shoot her, he answers that he will not waste a bullet on her if she doesn´t pay for it first. Since she has no money she collapses in the snow, then she follows Mehmet at a distance. Mehmet helps her after all and even convinces the husband to take her back. (Another woman is raped by the bandits, her husband is forced to sit in the next room, after the bandits have left, he hands her a revolver with which she shoots herself.)

Serçe Mehmet finishes off the bandits one after another and regularly visits the village inn bringing in their heads and crossing off their names from a wanted-list. In a final show-down in the mountains deep in snow, he awaits them, they surround him but are no match for him. (Their dead bodies are eaten by wolves in the night and discovered by the surviving bandits in the morning.) Finally a commando of gendarmes arrive and surround the shed Mehmet has hidden himself in. He pours himself a last glass of Rakı and prepares himself to die in the flames, as the gendarmes throw petrol over the shed. The flames also consume the patriotic, progress-praising posters on the walls.





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Zeki Ökten & Yilmaz Güney - Düsman AKA The Enemy (1979)

Güney and his work were almost entirely unknown outside of his Turkish homeland until his 1981 escape from imprisonment in Turkey and his "discovery" the following year at the Cannes Film Festival for his autobiographical screenplay for Yol (1982), the festival's grand prize winner. Born in 1937 in a village near the southern city of Adana, Güney studied law and economics at the universities in Ankara and Istanbul, but by the age of 21 he found himself actively involved in filmmaking. As Yesilcam, the Turkish studio system, grew in strength, a handful of directors, including Atif Yilmaz, began to use the cinema as a means of addressing the problems of the people. Only state-sanctioned melodramas, war films and play adaptations had previously played in Turkish theaters, but these new filmmakers began to fill the screens with more artistic, personal and relevant pictures of Turkish life. The most popular name to emerge from the Young Turkish Cinema was that of Yilmaz Güney. Güney was a gruff-looking young actor who earned the monicker "Cirkin Kral," or "the Ugly King." After apprenticing as a screenwriter for and assistant to Atif Yilmaz, Güney soon began appearing in as many as 20 films a year and became Turkey's most popular actor. More than a screen idol, Güney was a Turk who believed in the Turkish people and their way of life, as well as being personally committed to social change. Although the early 1960s brought some political reform to Turkey, Güney was imprisoned in 1961 for 18 months for publishing a "communist" novel. The country's political situation and Güney's relationship with the authorities only became more tense in the ensuing years. Not content with his star status atop the Turkish film industry, Güney began directing his own pictures in 1965 and, by 1968, had formed his own production company, Güney Filmcilik. Over the next few years, the titles of his films mirrored the feelings of the Turkish people: Umut (1970); Agit (1972); _Acý (1971)_; Umutsuzlar (1971). After 1972, however, Güney would spend most of his life in prison. Arrested for harboring anarchist students, Güney was jailed during preproduction on Zavallilar (1975) (completed in 1975), and before completing Endise (1974), which was finished in 1974 by Güney's assistant, Serif Gören. This was a cherished role that Gören would repeat over the next dozen years, directing several scripts that Güney wrote laboriously while behind bars. Released from prison in 1974 as part of a general amnesty, Güney was re-arrested that same year for shooting a judge. During this stretch of incarceration, his most successful screenplays were Sürü (1978) and Düsman (1979), both directed by Zeki Ökten. After escaping from prison in 1981 and fleeing to France, Güney was greeted at the Cannes Film Festival with a Palme d'Or for Yol (1982), again directed by Gören. It was not until 1983 that Güney resumed directing, telling a brutal tale of imprisoned children in his final film, Duvar (1983), made in France with the cooperation of the French government. At that point, Güney's name was unspeakable in his homeland; eleven of the films he directed or appeared in were confiscated and reportedly burned to ashes; even so much as writing about Güney was forbidden. Despite the great international success of YOL and DUVAR, Güney was ultimately a Turkish director for the Turkish people; his final separation from his home audience must have been even more painful to endure than his years of imprisonment. Yilmaz Güney/IMDb

Zeki Ökten's Düşman (The Enemy), from a script by Yılmaz Güney, deals with a contemporary social problem and actor Aytaç Arman, playing the part of Ismail the worker who, at first, gets abused until he starts to achieve his own consciousness, gives a top performance. Apart from its style Düşman (The Enemy) emerges also as a model in acting and actor's direction. Turk Sinemasi









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Yilmaz Güney - Arkadas AKA Friend (1974)

After betraying his social class, denying his peasant roots and fleeing his native village, Cemil has become a successful businessman and has found a place in the sun among the bourgeoisie. Azem, his childhood friend, has followed a quite different way, refusing the rat race, he has remained close to people of humble origin. Politically committed, he aspires to be useful to his country and more particularly to the forsaken rural world. The two former friends meet again. Due to the influence of Azem, Cemil gradually becomes aware that his life is a failure. (IMDb)

*

Güney and his work were almost entirely unknown outside of his Turkish homeland until his 1981 escape from imprisonment in Turkey and his "discovery" the following year at the Cannes Film Festival for his autobiographical screenplay for Yol (1982), the festival's grand prize winner. Born in 1937 in a village near the southern city of Adana, Güney studied law and economics at the universities in Ankara and Istanbul, but by the age of 21 he found himself actively involved in filmmaking. As Yesilcam, the Turkish studio system, grew in strength, a handful of directors, including Atif Yilmaz, began to use the cinema as a means of addressing the problems of the people. Only state-sanctioned melodramas, war films and play adaptations had previously played in Turkish theaters, but these new filmmakers began to fill the screens with more artistic, personal and relevant pictures of Turkish life. The most popular name to emerge from the Young Turkish Cinema was that of Yilmaz Güney. Güney was a gruff-looking young actor who earned the monicker "Cirkin Kral," or "the Ugly King." After apprenticing as a screenwriter for and assistant to Atif Yilmaz, Güney soon began appearing in as many as 20 films a year and became Turkey's most popular actor. More than a screen idol, Güney was a Turk who believed in the Turkish people and their way of life, as well as being personally committed to social change. Although the early 1960s brought some political reform to Turkey, Güney was imprisoned in 1961 for 18 months for publishing a "communist" novel. The country's political situation and Güney's relationship with the authorities only became more tense in the ensuing years. Not content with his star status atop the Turkish film industry, Güney began directing his own pictures in 1965 and, by 1968, had formed his own production company, Güney Filmcilik. Over the next few years, the titles of his films mirrored the feelings of the Turkish people: Umut (1970); Agit (1972); _Acý (1971)_; Umutsuzlar (1971). After 1972, however, Güney would spend most of his life in prison. Arrested for harboring anarchist students, Güney was jailed during preproduction on Zavallilar (1975) (completed in 1975), and before completing Endise (1974), which was finished in 1974 by Güney's assistant, Serif Gören. This was a cherished role that Gören would repeat over the next dozen years, directing several scripts that Güney wrote laboriously while behind bars. Released from prison in 1974 as part of a general amnesty, Güney was re-arrested that same year for shooting a judge. During this stretch of incarceration, his most successful screenplays were Sürü (1978) and Düsman (1979), both directed by Zeki Ökten. After escaping from prison in 1981 and fleeing to France, Güney was greeted at the Cannes Film Festival with a Palme d'Or for Yol (1982), again directed by Gören. It was not until 1983 that Güney resumed directing, telling a brutal tale of imprisoned children in his final film, Duvar (1983), made in France with the cooperation of the French government. At that point, Güney's name was unspeakable in his homeland; eleven of the films he directed or appeared in were confiscated and reportedly burned to ashes; even so much as writing about Güney was forbidden. Despite the great international success of YOL and DUVAR, Güney was ultimately a Turkish director for the Turkish people; his final separation from his home audience must have been even more painful to endure than his years of imprisonment. Yilmaz Güney/IMDb

Perhaps the two films in Güney's oeuvre with the most jarring tonal shifts are 1974's Arkadas (The Friend) and Anxiety. The former, one of his most ambitious works, is something of a departure in setting for the director, as its milieu is decidedly bourgeois. Güney plays Azem, a public worker who comes to visit his prosperous childhood friend Cemil (Kerim Afsar) amid the decadent tranquility of an upper middle-class summer tourist village. The militant, class-conscious Azem is angered by what he perceives as Cemil's selling out of his youthful activism and small-town roots. He finds himself at odds with Cemil's petit-bourgeois wife, and begins to try to indoctrinate the youth of the village into the class struggle. The film's idyllic, relatively conventional narrative style then gives way to a stylistically splintered, elliptical second half, much of it set among the rural poor, as Azem takes Cemil back to their village, where Cemil begins to see the error of his ways and becomes increasingly suicidal.

As might be evident from the above description, The Friend, made immediately after Güney's release from prison, seriously flirts with didacticism – in fact, at times plunges headlong into it. As such, it's a bit of a disappointment. Güney has never been known for his subtlety, but his indulgences are usually tempered by moments of surprising insight and tenderness, particularly in those films set among the rural Anatolian poor. The Friend's bourgeois setting thus becomes a liability for the director, as he allows the film to devolve into caricature. It's not without its moments of beauty or mystery – Güney the actor's gaze is characteristically hypnotic, and he gives one of his more complex performances here. Senses of Cinema












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Yilmaz Güney - Umut AKA Hope (1970)

Plot Synopsis from AllMovie
In this bleak tragedy, a crude and illiterate man who drives a horse-drawn taxi survives his meager existence by hoping each day that this will be the day he wins the lottery. One day his coach is hit by a car, killing one of his two horses and damaging the buggy. Because the automobile driver has social standing, the traffic judge rules in favor of the automobile driver, and does not give the poor man any damages. Creditors soon remove everything from his house except the remaining horse and damaged buggy. Despairing, he strikes out at his family and anyone weaker than he is. Eventually, he joins a wandering "holy man" on a quest for desert gold, and goes mad in the process.

Additional info from Wikipedia
Filming of Umut began in April 1970 in Çukurova, Turkey following the director's return from military service. Güney wanted Umut to be a film showing the defects and contradictions of a reality without any actualization of a revolution and the illness of the socio-economic system of its time.

Umut has a reputation for being the archetype of the revolutionist cinema and neo-realismo stream in Turkey. The film has been compared to films of Roberto Rossellini, Vittorio De Sica and Cesare Zavattini. A lot of foreign, as well as national, cinema critics wrote about Güney’s Umut in comparison to Ladri di Biciclette by De Sica and Zavattini, an Italian production shot in 1948, which captured the Oscar prize in 1950 and is an important example of the Italian neo-realismo stream.

Review from sensesofcinema.com
Güney's artistic breakthrough came with Umut (Hope) in 1970, generally acknowledged as his first masterpiece. In it, Güney himself plays Cabbar, an impoverished, naive horse-cab driver duped into searching for buried treasure. Those familiar with the actor/director's earlier work will recognise the victim narratives of those violent genre films in the early scenes of Umut. But instead of getting even, Güney's character descends further and further into delusion, until the film becomes an ironic, surreal, at times bitterly comic, repudiation of its title.

The actor's rough persona had not prepared Turkish moviegoers for the delicate, haunting nature of his mature cinematic work. Stylistically, Umut starts off as an exercise in stark realism, and gradually shifts to a more mytho-poetic register. But maybe not mytho-poetic enough: despite numerous awards and a theatrical run, the film was eventually deemed politically subversive and banned for a period by the authorities, which only helped make Güney even more popular than before among viewers.

Umut's troubles with the authorities proved to be prophetic in terms of Güney's cinema. Although the 1970s were his most artistically accomplished decade, Güney would spend most of this period in prison. He was arrested again in March 1972, for harboring anarchist refugees accused of a political assassination, only to be released under a general amnesty in 1974. But he was then re-arrested in September 1974, this time for the murder of a judge during a late night drunken brawl at a restaurant, during the shooting of Endise (Anxiety). The details of the event are still not clear: Güney's associates claimed that the director was merely recording gunshots for post-synchronisation purposes. Despite the unlikely nature of that story, much of Güney's mythology today rests on the belief that he was wrongfully convicted. Either way, he would spend the rest of the decade, as well as the early 1980s, in prison. Amazingly, some of his most notable films from this period, including 1978's Sürü (The Herd), 1979's Düsman (The Enemy) and 1982's Yol, were directed by proxy, with the convict-auteur writing, producing and smuggling out directions to trusted surrogates.

Review from Wikipedia
Güney asserted before any political action can be organized to change the economic system, the would-be actors must abandon the idea that they possess a self profoundly different from other selves, that they pursue a destiny which is uniquely their own as individuals. The basic aim of Umut is to demonstrate that people who fight alone have no alternative but to place their trust in luck (lottery) and magic (treasure hunting). Briefly, Güney tried to show ideology as ideology to those who would claim that Cabbar’s situation is a natural state of affairs. As Althusser has stated, consciousness of an ideology as ideology, is the moment in which ideology explodes, revealing the reality it had obscured.

This film, which carries some traces from Güney’s own life, manifested itself with its ability to describe the story with an extraordinary reality. Güney thought that we had to look at, to grab to, and reflect the realities of the streets we are wandering and passing rapidly through. The people shown in Umut are mostly “real” people, not actors or actresses. The environment and the living conditions are real, Güney did not use prepared film sets and lightings for Umut. The scenes showing Cabbar at home with his 5 children, wife, and mother are very good examples of his effort to show life and the environment closest to its reality. With this film, Güney introduces a kind of documentarism into the Turkish cinema.

As the neo-realismo movie makers, Güney created a cinema, where the audience is able to interpret the end of the film in whatever direction he/she wants. For instance, there is no definite ends in neo-realismo, likewise Umut’s end is not definite either, the future is uncertain.

Of course, it was not too late that Umut was censored. The prohibition of that film is a very good case to determine the social, economic, and political conditions of Turkey in 1970s. Although prohibited a copy of the film was smuggled abroad and showed in Cannes Film Festival. Afterwards, with the state council’s final decision the film was featured in Turkey as well as abroad, and attracted great attention. With this film, Güney captured prizes in Altin Portakal and Adana Film Festivals as best actor.










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