Modern day storytelling is varied. Along with conventional oral storytelling, authors take pleasure in numerous other narrative models and genres although depicting the human affliction. Phase and display performing also engage in a job in the artwork. On the other hand, despite the simple fact that every movie depends on a script, which is, in point, a kind of a story, and that many motion picture directors usually are previous or lively literary authors, most of the actors are not good at composing.
There are often exceptions, while. For example, actor Viggo Mortensen, who is a true international phenomenon in today’s filmmaking business, is also a proficient poet and photographer. Gene Hackman, one more phenomenal actor, also wrote three novels. Likewise, it’s difficult to determine regardless of whether Woody Allen is a filmmaker or an writer.
As for the Turkish cinema, some well-known actors such as Cüneyt Arkın, Yılmaz Güney and Fikret Hakan started building videos following makes an attempt to make a reputation in literature. All three have been quick fiction writers included with the modernist literary actions of the 1950s, including Mavi Hareketi (the Blue Motion), which was initiated by big poet Attila Ilhan, prior to they became everlasting stars of Yeşilçam, the nickname of the classical Turkish cinema. Arkın did not insist on composing a great deal, although Güney’s leftist circle has often proven their respect to the cult star by republishing his stories. On the other hand, Hakan turned to crafting in his senior decades and put his signature on a thick quantity of Turkish cinema history.
Fikret Hakan was born Bumin Gaffar Çıtanak on April 23, 1934, in western Balıkesir province to a humble middle-class spouse and children of community servants. His father Abdullah Gaffar Çıtanak, who used “A. Gaffar Güney” as a pen title, was a instructor and translator, while his mother Fatma Belkıs was a nurse at a public healthcare facility. Abdullah Gaffar was a revered personality inside of the literary circles of the capital Ankara ahead of he left his spouse and son and started to are living a mysterious lifetime. At the time, some thought he had misplaced his sanity, although some others recommended he experienced fallen in appreciate with another woman.
Fikret Hakan lived with his mom after his parents’ divorce and frequented many metropolitan areas in Anatolia due to the fact of his mother’s work. He attended numerous universities in the western provinces of Bursa, Eskişehir and Istanbul, the place he left school for excellent. His legitimate enjoy was for the arts. He printed some small stories and acted at private theaters in Istanbul at the age of 16.
Hakan released his early tales in the Istanbul Ekspres newspaper, though his initially part was at a modest opera staged at the Ses Theater in 1950. He entered the cinema organization in 1952 with the film “Köprüaltı Çocuklar” (“Homeless Boys”). On the other hand, he built his genuine debut with “Beyaz Mendil” (“White Handkerchief”), a film by important film director Lütfi Akad, in 1955. “Beyaz Mendil” was a passionate film with a social sensible environment and comprehensive of people themes. Hakan performed a brave younger villager in love with a younger lady from an additional village, whilst enmity in between the two villages potential customers to deadly outcomes.
Revenge of the snakes
Hakan served in the military involving 1958 and 1960 before he took the foremost part in director Metin Erksan’s “Yılanların Öcü” in 1962. “Yılanların Öcü” is regarded just one of the finest motion pictures of the Turkish cinema record. The story of the film revolves around a dramatic clash among two families and resistance in opposition to oppression. The movie became politically well-liked and served open up a new era for Turkish cinema.
Hakan took the main position in a different remaining-wing political movie two yrs later, “Karanlıkta Uyananlar” (“Those who Wake up at Dark”), scripted by well known communist creator Vedat Türkali and directed by Ertem Göreç. The political film was based on real functions. Like the “Yılanların Öcü,” “Karanlıkta Uyananlar” also noticed mixed attractiveness. Some folks liked the movie, even though the anti-communist associations intensely criticized it declaring that it was mere propaganda. From today’s position of view, most critics believe that that the film was artistically a results of realism in cinema.
Hakan remained one particular of the heroes of the socio-political cinema of Turkey until his afterwards decades, while he also took part in many film genres which includes gangster films, comedies, et cetera. He played in more than 200 movies in the course of his entire vocation.
Hakan posted his early tales with his later literary is effective. He wrote the story of his father and also revealed a quick selection of poems. Another interesting created work by him is a large volume on Turkish cinema background. Hakan taught cinema for some decades at Osmangazi College in Eskişehir.
He married a number of times. His wives ended up Lale Sarı, Semiramis Pekkan, who is the sister of renowned musical diva Ajda Pekkan, Neşecan Paşmak, famed singer and actress Hümeyra, Fatma Zeynep Mirgün and Tijen Kılıç.
Hakan received many nationwide and intercontinental cinema awards. Furthermore, Osmangazi University granted him an honorary doctorate. He was also a recipient of the honorary Condition Artist, a title awarded by the Turkish government.
He died on July 11, 2017, in Istanbul.