Analysis
Smart, independent reporting on Turkey's politics, economy and foreign affairs.
'Trees die standing.' That is the title of a play that has been staged in our theaters for many years. Müjdat Gezen is 83 years old and has been a performer for more than 60 years. Not just on stage — also a film actor and television personality. He has spent most of his life, in a sense, broadcasting live. His life is, in fact, a summary of Turkey's most turbulent era.
If Cyprus were a film, it would probably be The Truman Show. Not because anything dramatic is happening, quite the opposite. The genius of The Truman Show is that nothing seems to be happening at all.
Last week, Berlin experienced what felt like a Turkish procession. At the Berlinale — the Berlin International Film Festival, the home of the Golden Bear — two films from Turkey won the major prizes. The Golden Bear went to İlker Çatak with “Yellow Letters,” while Emin Alper got the Jury Grand Prize for “Salvation.”
The Casablanca line everyone remembers wrong is: “Play it again, Sam.” The film doesn’t actually include that. What Ilsa Lund says in the movie is quieter and more revealing: “Play it, Sam… Play ‘As Time Goes By.’”
In Turkey, the word “yangın” (fire) has been a literal and metaphorical agent of change, leaving lasting marks on cities, culture, and society. Fires frequently serve as dramatic turning points in Turkish popular culture, from the 1960 film “Fire,” an Ottoman-era period piece in which the daughter of a pasha falls for a tulumbacı (Ottoman firefighter), to the modern TV series “Cranberry Sorbet,” which united estranged lovers after a tragic blaze. Adopting the usual satirical tone for the Word of the Week is impossible as the nation mourns after the Grand Kartal Hotel fire at the Kartalkaya ski resort in Bolu. The blaze, which began in the restaurant section and quickly engulfed the 12-story building, claimed at least 78 lives, including children on winter break, and injured 51 others.
For the past week, many Turks have been uneasily following the unfolding of the murder of an eight-year-old girl at a southeastern village and its tangle of feudal ties, political influence and an unholy conspiracy of silence that may well belong to an Almodovar film.