Did we love Uysallar because it stirs emotions? Of course, that wasn’t the only reason we skimmed through the chapters without taking our eyes off them. The main reason was its strong connection with reality and the comfort of the creators’ cry.
Me, an academic who is now forty years old, and I, a forty-year-old film writer, and me, who met up with his friends in Köprüaltı Kemancı, or Abdullah Sokak, or Sirena, or Haydar, using the brand of my denim jacket and with a wall spray painting peace signs on his back, and the underground punk scene of Istanbul at the time. I was watching Uysallar with my wife, who is as individuals who had read and memorized the Steppenwolf from Hesse in the 90s , unlike most, it was perhaps a little too much of an inner journey in some ways. Anyone who rebelled against social impositions in the 1990s will understand that. Many of the rebellious souls who began life with literature and music that accompanied the pains of existence left us prematurely, some of them lost themselves down the rabbit hole, and most of them became part of the system. Did we love this series because it evoked all those striking emotions and thoughts? No, that wasn’t the only reason, of course, so we flipped the episodes without taking our eyes off them. In fact, it wasn’t the first time we’ve seen a production do this. The main reason was that the Uysals had a strong connection to reality and the true scream erupting from their creators was very pleasing to hear.
MORE SYMBOLIC THAN CLASSIC
Oktay (Öner Erkan), our mature protagonist, is a character who wanders desperately and melancholy in a world where he is not enjoying himself, in a state of fear and futility. He is a homeless and lonely wanderer, even within his family, to the point where his suppressed anger meets his sense of alienation. With the fog surrounding him and him, Oktay turns to a semi-real, quarter-surreal path, and we’re also exposed to the prisons of the body, soul, and spirit of every character in the story. On the one hand, Oktay’s confrontation with himself and the repressed aspects of his personality is Harry Haller’s “Magic Theatre. Not everyone can enter. For crazy people only!” It actually stands in place as if seeing its lighted sign and stepping inside. But at the same time the series has other problems than identity search and confrontation. Seeing the changes in society from a place close to critical realism, keeping the audience in close contact with reality and not taking the audience into the depths of their spirituality. His assertive structure, which, in contrast to socialist realism, makes no compromises in terms of aesthetics, raises it to an advanced level in the cinematic sense. Onur Saylak has a cinematic language that is close to art cinema, but does not leave the classic narrative. In fact, Onur Saylak’s language, which has now become established, is a parallel situation to Hakan Günday’s pen, which can be classified simultaneously in underground literature and mainstream literature. In my opinion, this is the secret of the successful business deal from the cooperation between the two. Saylak’s construction of his narrative language and mise-en-scene more symbolic than the classical one is more than a mechanical fondness. This director’s choice is positioned at a bold point, as he wants to see the scene he has envisioned in his head from his camera, as if ready to lose the general audience.
Lost in the search for yourself
The drama, which has a very intense dramatic plot, tells the thoughts and feelings of the time we live in through the inner worlds of its heroes, with quality dialogues and understandable metaphors. If we add that the characters, especially Oktay, treat the identity problem from a socio-psychological and philosophical point of view, one can see the joy of irony in his story. Conceptualizing it in our lives, like the smell of bureaucracy on Berhudar (Haluk Bilginer), Mert’s (İbrahim Selim) worries leading to paranoia from the existing political atmosphere, Nils (Songül Öden) struggles with the concept of beauty, that turned into aesthetic value after the 18th century. It is possible to find many more things that we have discussed. In the overwhelming speed of growing capitalist appetites, it’s impossible for people not to get lost. In this case “Who am I?” It should not be denied that the individual seeks answers to the inner world of the post-postmodern human being evolving from his own socio-economic and cultural framework. One of Uysallar’s messages that I find most valuable is Oktay’s “…I didn’t go out and shout a slogan. I don’t know, I didn’t carry a banner… I didn’t protest anything in this life,” I find in his self-criticism. Oktay’s departure addresses lack of principle in a non-political way, as those lost in their endless search for themselves ignore the major problems in the society and world in which they live.
STORIES THAT LEAD THE AUDIENCE TO DELIVERANCE
Uysallar is one of the top three TV series from Turkey. Although easy to understand at times, it is a difficult task for people who have not passed through a certain state of feeling and thought. Thanks to Uysallar we saw once again how important acting management is and what our actors can achieve with a good director and script. However, I would like to highlight one name in particular and congratulate Durukan Ordu. As someone who knows the Molozs very, very well, I watched in amazement as the Ordu captured them and resurrected them in the right place, and had a hard time believing that Moloz was a fictional character for long. I like stories that lead the audience to salvation. Moloz (Durukan Ordu) is my favorite character in the series for exactly this reason. While it was clear that Oktay could not be freed in the order he established in solving the problem of finding oneself or giving up oneself, a way was found in Fevzi, but the most unique solution was presented through Moloz. I think that the punk culture is used as a stimulant in the series and this fondness is actually a nice sum of the rebellious youth, especially from the 90’s, consisting of Istanbul and Ankara metalists, rockers and hippies. That’s why those who put the show to the test about punk culture are dealing in nonsense. Anyway, let’s not get too serious, “…seriousness comes from overestimating time. I also once overestimated the value of time in my eyes, I wished to live a hundred years in my heart. You know, in life there is no time; What we call eternity is but a moment…”*
*Hermann Hesse, Steppenwolf
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