dannagarcia

1961

     The number of production fastly grows and reaches 113 titles. Türker İnanoğlu's Hancı (The Inn-keeper) and Ümit Utku's Yaban Gülü (The Wild Rose) are box-office hits. Nejat Saydam's Küçük Hanımefendi (Little Lady) provides actress Belgin Doruk with a further staring vehicle and starts a host of sequels and variations based on "little ladies" or "young gentlemen". Meanwhile, with Kolsuz Bebek (The Armless Doll), Münir Hayri Egeli directs a "first" feature grouping three separate stories.

      Actors Muzaffer Tema and Kenan Pars starts directing, followed by Ülkü Erakalın, Süreyya Duru, Natuk Baytan and Halit Refiğ who all signs their first film. Actor Orhan Günşiray, considered the "Turkish Mike Hammer", brings a new breath to the cops and robbers trend.

      Director Ertem Göreç and screenwriter Vedat Türkali come together in Otobüs Yolcuları (Buss Travelers), the story of a group of people fighting for their homes, thus signing one of the year's best film. Film critic Halit Refiğ directs his first film, Yasak Aşk (Forbidden Love), after having done a short period as assistant director.

      The Municipality of Istanbul promotes a "Turkish Film Contest", following its "Art Festival". The awards are as follows:

Best film: Memduh Ün's Kırık Çanaklar (Broken Dishes).

Best director : Memduh Ün.

Best screenplay: Metin Erksan, for Gecelerin Ötesi (Over The Nights).

Best photography: Turgut Ören, for Ölüm Peşimizde (Death on our Tracks).

Best actress: Lale Oraloğlu, for Kırık Çanaklar (Broken Dishes).

Best actor: Ekrem Kolçak, for Namus Uğruna (For the Honor).

Best character actress: Mualla Kaynak, for Kırık Çanaklar (Broken Dishes).

Best character actor: Kadir Savun, for Gecelerin Ötesi (Over The Nights).

Jury's special award: Atilla Tokatlı and Selçuk Bakkalbaşı for Denize İnen Sokak (A Street Toward The Sea).

Special award of the Municipality of Istanbul: Zeynep Değirmencioğlu, for Ayşecik (Little Ayşe). The "First Art Festival", held in Izmir, includes also a "Film Fair Contest" with awards distributed as follows:

Best film: Denize İnen Sokak (A Street Toward The Sea), directed by Atilla Tokatlı.

Best screenplay: Selçuk Bakkalbaşı, for Denize İnen Sokak (A Street Toward The Sea).

Best photography : Enver Burçkin.

Best actress: Nurhan Nur.

Best actor: Ulvi Uraz, for Denize İnen Sokak (A Street Toward The Sea). No "best director" awards was given.

1962

      131 feature films are produced. "Artist Film" (Recep Ekicigil), "Kazankaya Film" (Hasan Kazankaya) and "Sibel Film" (Müfit İlkiz) enters into production. Filiz Akın and Tanju Gürsu are the winners of a contest promoted by film magazine Artist. Akın becomes the new and modern "young girl" symbol of the Turkish screen. arada "hanımefendi-beyefendi" türünde dizilerin modasına da yol açtı. Münir Hayri Egeli Kolsuz Bebek'le ilk kez sinemamızda birbirinden bağımsız, üç öykülü film denemesini gerçekleştirdi.

      And the movies starts to attract the interest of well-known writers: short stories author Tarık Dursun Kakıç directs his first film and novelist Kemal Tahir signs some screenplays. And a new young director starts his career: Mehmet Dinler.

      With Yılanların Öcü (The Revenge of The Serpents), adapted from Fakir Baykurt's novel, Metin Erksan gives a successful example of "film and literature" relations. Erksan's film becomes, with its realistical approach, the event of the year. Once again confronted with the Board of Censors the director has to appeal to the, then, President Cemal Gürsel who, after a private showing held in Ankara, at the President's residence (Çankaya), congratulates all those involved in the shooting.

     Producer-Director Nevzat Pesen makes an unexpected break thanks to a screenplay, by Orhan Elmas, adapting John Steinbeck's "Of Mice and Men" under the title İkimize Bir Dünya (A World for us Two). Thanks to Pesen's apt direction the film came out as one of the most warm and human films of the Turkish cinema.

      Unfortunately İkimize Bir Dünya (A World for us Two) remained the first and last major work of Nevzat Pesen, backed by a memorable composition by character actor Kadir Savun.

1963

      Production totalizes 128 titles. The newcomers of the year are actress Ajda Pekkan and actor Tamer Yiğit, both winner of a contest promoted by film magazine "Ses".

      Comedian Öztürk Serengil starts his "golden age" with Adanalı Tayfur (Tayfur from Adana), directed by Zafer Davudoğlu; former assistant-director Zeki Ökten and journalist İlhan Engin, who had already signed some screenplays, direct their first features. çırpınan bir avuç insanın öyküsünü dürüst bir çaba içinde görüntülediği Otobüs Yolcuları, yılın en iyi filmlerinden biri oldu. Sinema eleştirmeni Halit Refiğ, geçirdiği asistanlık döneminden sonra Yasak Aşk'la bir ilk film ortaya koydu.

      Acı Hayat (Bitter Life) and Susuz Yaz (Waterless Summer), the year's two best films, are both signed by Metin Erksan.

      Acı Hayat (Bitter Life), a box-office hit, succeeds not only in relating a poignant love story set in the big city but also in bringing the Turkish cinema to the attention of a more sophisticated category of filmgoers while Susuz Yaz (Waterless Summer) combines a realistical rendering of rural life and problems with an almost clinical analysis of a sexual passion. Furthermore the film, backed by the acting of newcomer Hülya Koçyiğit and character actor Erol Taş, affirms itself as a key work of its director.Thus Erksan, with a sequel of achievements, proves to be a director continually trying to renew himself while Atıf Yılmaz goes along his way, a bit uncertain and repeating his past performances. Although considered one of the best film of the year Yarın Bizimdir (Tomorrow is for Us) is still unable to reach the level of Gelinin Muradı (The Bride's Wish).

      1963 sees the formation of two professional associations, "Türk Film Prodüktörleri Cemiyeti" (Association of Türkish Film Producers) and "Sine-İş" (Film Workers' Union).

      Actress Nilüfer Aydan receives a "diploma of honor" at the Moscow Film Festival for her part in "Şehirdeki Yabancı" (A stranger in town), directed by Halit Refiğ.

1964

      180 feature films are produced during the year. A further generation of young directors reaches the screen with new thesis, a fresher approach and a preference for social themes. Among them Feyzi Tuna hits the headlines with Aşka Susayanlar (Love Thirsty), Tunç Başaran, Kemal İnci and Remzi Jöntürk direct their first films and short-story writer Tarık Dursun Kakınç, author also of several screenplays, tries his hand at a more stylish Kelebekler Çift Uçar (Butterflies Flies in Pair).

      New directors Cevat Okçugil, Ertem Eğilmez, Orhan Aksoy, Yılmaz Atadeniz are going on while, among a majority of rather fair films, Nevzat Pesen's Ahtapotun Kolları (The Tentacles of The Octopus), Orhan Elmas's Duvarların Ötesi (Over The Walls) and Memduh Ün's Ağaçlar Ayakta Ölür (Trees Dies Standing) hit the first line.Atıf Yılmaz, from the middle generation, passes from one style to the other, trying to find his real personality and signing a sequel of features. Among them Erkek Ali (Ali, The Male) and Keşanlı Ali Destanı (The Legend of Ali From Keşan) stands as the more achieved. yapımevleri: Artist Film (Recep Ekicigil), Kazankaya Film (Hasan Kazankaya), Sibel Film (Müfit İlkiz).

      The year's most important films carries the signatures of Ertem Göreç, Halit Refiğ and Metin Erksan. Ertem Göreç's Karanlıkta Uyananlar (Those Awakening in The Dark), dealing with the workers of a factory, stands as the first "strike film" of the Turkish cinema;

      Halit Refiğ's Gurbet Kuşları (Birds of Nostalgia) follows the problems of a family migrating from a rural region to the big town (İstanbul) and Metin Erksan's Suçlular Aramızda (The Guilt ones are among Us) emerges as a "bourgeois melodrama" enriched with striking visual compositions. An esthete in his own way, at times influenced by foreign filmic schools, Erksan remains a controversial, polemic director but, undoubtedly, a real filmic personality.

     A new young actor enters the movies, Cüneyt Arkın, and with her parts in Halit Refiğ's Şehrazat (Shehrazat) and Erkan's Suçlular Aramızda (The Guilt ones are among Us), actress Leyla Sayar emerges as an erotic, a bit mysterious and somewhat fetichistic "vamp" figure.

      At the Berlin Film Festival the Turkish cinema wins its first international laurels with Metin Erksan's Susuz Yaz (Waterless Summer) being awarded with a Golden Bear as best film. In Turkey Ali İhsan Göğüş, Minister of Tourism and Information, awards all those involved in the shooting of the film during a press conference and Hülya Koçyiğit's is nominated "actress of the year" by the "Türk Kadınlar Birliği" (Union of Turkish Women). Çankaya Köşkü'nde izledikten sonra tüm sanatçıları kutladı.

      The First Antalya Film Festivali is organised by the "Association of Turkish Film Producers" and the Municipality of Antalya. The awards are given as follows:

Best film: Gurbet Kuşları (Birds of Nostalgia), directed by Halit Refiğ.

Best director: Halit Refiğ, for Gurbet Kuşları (Birds of Nostalgia).

Best photography: Ali Uğur, for Acı Hayat (Bitter Life).

Best actress: Türkân Şoray, for Acı Hayat (Bitter Life).

Best actor: İzzet Günay, for Ağaçlar Ayakta Ölür (Trees Dies Standing).

Best suporting actress: Yıldız Kenter, for Ağaçlar Ayakta Ölür (Trees Dies Standing).

Best suporting actor: Ulvi Uraz, for Yarın Bizimdir (Tomorrow is for Us).

      Meanwhile Metin Erksan's Susuz Yaz (Waterless Summer) gets a "Merito Biennale" award in Venice.

1965

      With production up to 213 films the Turkish cinema enters into an "inflation" period. Still deprived of an adequate technical basis and confronted with an unhealthy high rate of productions the Turkish film industry remains tied, on one part, to a heavy star sistem and on the other to the pressure put by regional distributors.

      The "two in a row" system of film shooting (being two features shoot at the same time with the same cast, same crew and identical indoor/ outdoors), started by producer-director Semih Evin, is sublimated by another producer, Hasan Kazankaya, a pioneer in "quickies" shoot in four or six days. This sub-standart policy causes the outcoming of a type of marginal, although high in number, cinema to be known as "confection cinema".

      In order to constantly provide such a cinema with thematical sources all and every type of stories and sources are used. Thus Nuri Akıncı starts with Hazreti Yusuf'un Hayatı (The Life of Prophet Joseph/ Joseph and his Brethren) a line of "religious" films. Aramızda'yla, çarpıcı görüntüler içeren bir burjuva melodramı sergiliyor. Erksan, estetik ustası bir sinemacı kuşkusuz. Yer yer yabancı etkiler taşıyan anlatımı çoğu kez polemikler yaratıyor. Hırçın bir yönetmen Erksan, ama sinemacı.

      Despite the large amount of "quickies" a certain number of worthy films emerges: former film critic Erdoğan Tokatlı signs a promising first film, Son Kuşlar (The Last Birds), Memduh Ün's former assistant, Bilge Olgaç, starts her career as a "woman director" and Haldun Dormen,

     A leading personality of the contemporary Turkish theatre, enters the film world directing Bozuk Düzen (Broken Order) and Güzel Bir Gün İçin (For A Beautiful Day).

      Duygu Sağıroğlu, known as an art director, gives with Bitmeyen Yol (The Unending Road) a highly realistical first film dealing with internal emigration and Feyzi Tuna directs a convincing film about the problems of the young generation,

     Yasak Sokaklar (Forbiden Streets). Among the highlights of the year one can include Abdurrahman Palay's İsyancılar (The Rebels), Atıf Yılmaz's Murad'ın Türküsü (Murad's Folk song) and Halit Refiğ's Kırık Hayatlar (Broken Lives).

     Türk Film Prodüktörleri Cemiyeti ve Antalya Belediyesi'nin ortak girişimleriyle, sinema tarihimizin hâlâ sürmekte olan en önemli Film Şenliği düzenlendi. Ve I. Antalya Film Festivali sonuçları:

      Vedat Türkali, a screen-writer who had given an influential contribution to the contemporary Turkish cinema, and novelist and journalist Cengiz Tuncer direct their first films. Tuncer's Sevmek Seni (To Love You), much too abstract and sophisticated for the normal audience, stands as a "cursed" work unable to have a theatrical release.

     The year's most important and discussed films carries the signatures of Metin Erksan and Halit Refiğ. Erksan's Sevmek Zamanı (A Time to Love) is the story of a passion or of an "amour fou" endowed with purely national elements. Still in the reactions of the main characters an alienation is heavily felt. As a result the film gains its dimention through a rich array of visual and aesthetic values who share, unmistikably, the mark of Erksan's personality.

      While Halit Refiğ's period piece, Haremde Dört Kadın (Four Women in A Harem), based on a script by novelist Kemal Tahir, wins the attention of a definite portion of the audience, Erksan's Sevmek Zamanı (A Time to Love) ends as a further film unable to reach the moviegoers.

      Apart from such "accursed", but in fact "pioneer" works, the box-office hits of the 1964/1965 season ranges between Ertem Eğilmez's Sürtük (The Trollop), a further adaptation of "Pygmalion", Hulki Saner's Fıstık Gibi Maşallah (Thanks God, she's cute) and Ümit Utku's Fabrikanın Gülü (The Rose of The Factory), a mixture of erotica and folk songs.

      According to the figures given by the Municipality of İstanbul audience had reached, during the year, 34.393.634 entries. Apparently the Turkish cinema was going through a "golden age" but with an audience still conditioned, if not subjugated, by an imposed tradition bir deyişle "konfeksiyon sineması" dönemini başlattı.

      Young theather actor Kartal Tibet rises to stardom by impersonating, on the screen "Karaoğlan", hero of a popular comic stripe while Tunç Okan and Selma Güneri enter the film world. Yılmaz Güney gains popular appeal with his small part in Tunç Başaran's On Korkusuz Adam (Ten Fearless Men), set in Cyprus, and soon confirm his acting qualities with a pathetic composition in Duygu Sağıroğlu's Ben Öldükçe Yaşarım (I Live in Death).

     The "Türk Sinematek Derneği" (Turkish Cinématheque Association) is founded during the year. The Association wins, right from the start, a large audience mostly composed of students and starts showing selected foreign and local features.

     In Antalya the Second Film Festival awards the following:

Best film: Aşk ve Kin (Love and Hate), directed by Turgut Demirağ.

Second best film: Keşanlı Ali Destanı (The Legend of Ali from Keşan), directed by Atıf Yılmaz.

Third best film: Karanlıkta Uyananlar (Those Awakening in The Dark), directed by Ertem Göreç.

Best director: Atıf Yılmaz, for Keşanlı Ali Destanı (The Legend of Ali from Keşan).

Best script: Vedat Türkali, for Karanlıkta Uyananlar (Those Awakening in The Dark).

Best photography: Gani Turanlı, for Aşk ve Kin (Love and Hate).

Best musical score: Nedim Otyam, for Karanlıkta Uyananlar (Those Awakening in The Dark).

Best actress: Fatma Girik, for Keşanlı Ali Destanı (The Legend of Ali from Keşan).

Best actor: Fikret Hakan, for Keşanlı Ali Destanı (The Legend of Ali from Keşan).

Best suporting actress: Aliye Rona, for Hepimiz Kardeşiz (We are All Brothers).

Best suporting actor: Erol Taş, for Duvarların Ötesi (Over The Walls).

Best studio: Acar Film.

Best short film: Bir Damla Suyun Hikayesi, (The Story of A Drop of Water), directed by Behlül Dal.

     Film sayısı 240. Oyuncu Yılmaz Güney, yönetmen olarak ilk filmini çekti: At, Avrat, Silah. Yücel Uçanoğlu, Nazmi Özer, Ferit Ceylan ve Yavuz Figenli yeni yönetmenler. Alp Zeki Heper, Soluk Gecenin Aşk Hikâyeleri'nde amatör oyuncular kullandı. Şiirsel görüntülere dayalı, ama soyut bir aşk filmi denemesi olan film, halk önüne çıkmadı. Yalnızca özel gösterilerde izlendi.

      In İzmir a First Film Festival is organised during the 34 th İzmir International Fair and the following awards are given

Best film: ÜçTekerlekli Bisiklet (The Three Wheeled Bycicle), directed by Lütfi Akad.

Second best film:Sahildeki Ceset (The Corpse on The Sea-side), directed by Natuk Baytan.

Third best film: Ahtapotun Kolları (The Tentacles of the Octopus), directed by Nevzat Pesen.

Best director: Metin Erksan, for Suçlular Aramızda (The Guilty ones are among Us).

Best script: Natuk Baytan, for Sahildeki Ceset (The Corpse on The Sea-side).

Best photography: Kriton İlyadis, for Ahtapotun Kolları (The Tentacles of the Octopus).

Best actress: Sezer Sezin, for ÜçTekerlekli Bisiklet (The Three Wheeled Bycicle).

Best suporting actress:Çolpan İlhan, for Ahtapotun Kolları (The Tentacles of the Octopus).

Best suporting actor: Erol Taş, for Sahildeki Ceset (The Corpse on The Sea-side).

Best studio: Acar Film.

Best musical score: Yalçın Tura, for Keşanlı Ali Destanı (The Legend of Ali from Keşan). kuramcılarının çeşitli kamplara ayrılıp "ATÜT sineması", "halk sineması", "ulusal sinema", "toplumsal gerçekçilik" gibi görüşleri tartıştıkları dönemde Lütfi Ö. Akad, çok önemli bir film patlattı: Senaryo çalışmasını Yılmaz Güney'le birlikte yaptığı Hudutların Kanunu, Türk sinema tarihinin en önemli filmiydi. Akad, ikinci kez doğarken, Yılmaz Güney'in "büyük oyun"u da uzun süre unutulmayacaktı.

      The First Film Festival held in Gaziantep awards, as its "best film", Halit Refiğ's Kırık Hayatlar (Broken Lives). And Metin Erksan's Suçlular Aramızda (The Guilty ones are among Us) wins in Milano, at the MIFED, an award as "best social film".

1966

      The Turkish cinema is soon to break its own record with a total of 240 feature films. Actor Yılmaz Güney directs his first feature film: At, Avrat, Silâh (Horse, Woman and Gun). Yücel Uçanoğlu, Nazmi Özer, Ferit Ceylan and Yavuz Figenli are the new directors of the year. Alp Zeki Heper uses non-professionals in his Soluk Gecenin Aşk Hikâyeleri (Love Stories of A Pale Night). An abstract love story sustained by lirical photographic work the film is unable to have a professional release, apart from some private showings.

      With Ölmeyen Aşk (Undying Love) Metin Erksan follows his very personal line of original cinema not aimed at the big audience.

      Osman Seden, adapting Reşat Nuri Güntekin's novel Çalıkuşu (The Wren), gives a two-part film who remains his best work. Atıf Yılmaz keeps on with his eclectism directing Toprağın Kanı (The Earth's Blood), Pembe Kadın (Pink Woman), Ah Güzel İstanbul (Ah, Beautiful Istanbul) and Ölüm Tarlası (The Filed of Death). And Lütfi Akad, with Sırat Köprüsü (The Sırat Bridge) gives to the Turkish cinema its first "big screen" (Cinemascope) feature.

      In a period rich in theoretical discussions opposing different groups debating on such topics as National Cinema, Social Realism, People's Cinema or Asiatic Type Production Styled Cinema, Lütfi Akad gives a top work. Based on a script by Akad and Güney, Hudutların Kanunu (The Law of The Border) confirms Akad's mastery, or Akad's "renaissance" and allows Güney to play an unforgettable part. Aşkı (Behlül Dal) Tunus'ta Kartaca Sinema Günü'nde Erksan'ın Yılanların Öcü şeref madalyası kazandı.

      Actor Göksel Arsoy changes his type in Altın Çocuk (Golden Boy) and its Bond-type sequels; Cüneyt Arkın brings to the screen actionpacked comic stripe's hero Malkoçoğlu and Sadri Alışık devotes himself to popular comedy with Turist Ömer (Ömer, The Tourist). Yılmaz Gündüz, a newcomer in the acting field, becomes a local James Bond in several cheap quickies.

     The Third Antalya Film Festival awards the followings:

Best film: Bozuk Düzen (Broken Order), directed by Haldun Dormen.

Second best film: Toprağın Kanı (The Blood of the Earth), directed by Atıf Yılmaz.

Third best film: Murad'ın Türküsü (Murad's Folk Song), directed by Atıf Yılmaz.

Best director: Memduh Ün, for Namusum İçin (For my Honor).

Best script: Erol Keskin and Haldun Dormen, for Bozuk Düzen (Broken Order).

Best photography: Mustafa Yılmaz, for Namusum İçin (For my Honor).

Best musical score: Nedim Otyam, for İsyancılar (The Rebels).

Best actress: Selma Güneri, for Son Kuşlar (The Last Birds).

Best actor: Ekrem Bora, for Sürtük (The Trollop).

Best suporting actress: Yıldız Kenter, for İsyancılar (The Rebels).

Best suporting actor : Müşfik Kenter, for Bozuk Düzen (Broken Order).

Best studio: Acar film, for Namusum İçin (For my Honor).

Best short film: Taşların Aşkı (Love of The Stones), directed by Behlül Dal. In Tunisia, at the Film Days of Carthagena, Metin Erksan's Yılanların Öcü (The Vengeance of The Serpents) is awarded a "medal of honor". Yurdatap Kadri ve sosyete terzisi Mualla Özbek Efes Film yapımevlerini kurdular.

1967

      209 features are produced. The popularity of the comic stripes and photo-novels, published in newspapers and magazines, reaches the screen and an era of "action" and "adventure" films starts. Thus Killing, Flash Gordon, Fantoma, Mandrake and Superman became the heroes of several cheap productions, mostly aimed at the juvenile audience.

      Meanwhile new producing companies are founded: "Ak-Ün Film" (İrfan Ünal), "Er Film" (Berker İnanoğlu), "Kadri Film" (Kadri Yurdatap), "Efes Film" (Mualla Özbek).

      Producer-Director Osman Seden goes on shooting his starpacked features; actress Türkân Şoray, backed by the ruling star system, creates her own myth with such films as Tapılacak Kadın (A Woan to Adore) and Ölümsüz Kadın (The Immortal Women); actor Ayhan Işık, the first "theorician" of the star system, mantains his power over all producers; Yılmaz Güney, the screen's lumpen hero and the antithesis of the good looking young actor, places himself against the conventional archetypes first with works bearing the signature of directors like Atıf Yılmaz and Lütfi Akad. In Akad's Kurbanlık Katil (The Victim Killer) and Kızılırmak

Karakoyun (Red River Black Sheep) as well as in Atıf Yılmaz's Balatlı Arif (Arif from Balat) and Kozanoğlu Güney confirms his personal acting style.

      Following Güney's choice Türkân Şoray also stars in a film directed by Lütfi Akad,

      Ana (Mother), and after her performances in Otobüs Yolcuları (Buss Travelers) and Acı Hayat (Bitter Life), portrays a convincing and realistic type of peasant woman. sonraları Atıf Yılmaz ve Lütfi Ö. Akad gibi düzeyli yönetmenlerle çalışarak bu aşamada gerçek oyunculuğu yakaladı. Örneğin Lütfi Ö. Akad'ın Kurbanlık Katil adlı filminde son derece şaşırtıcı bir oyun sergiledi. Aynı yıl gene Akad'ın Kızılırmak-Karakoyun'u, Atıf Yılmaz'ın Balatlı Arif ve Kozanoğlu adlı filmleri, yılın sağlam yapıtlarıydı. Özelliklede Kızılırmak-Karakoyun yılın filmiydi.

      At the 4 th Antalya Film Festival the followings are awarded:

Best drama: Zalimler (The Cruel Ones), directed by Yılmaz Duru.

Best costume film: Bir Millet Uyanıyor (A Nation Awakens), directed by Ertem Eğilmez.

Best comedy: Güzel Bir Gün İçin (For A Beautiful Day), directed by Haldun Dormen.

Best director: Yılmaz Duru, for Zalimler (The Cruel Ones).

Best script: Erol Günaydın and Haldun Dormen, for Güzel Bir Gün İçin (For A Beautiful Day).

Best photography: Ali Uğur, for Zalimler (The Cruel Ones).

Best actress: Fatma Girik, for Sürtüğün Kızı (The Trollop's Daughter).

Best actor: Yılmaz Güney, for Hudutların Kanunu (The Law of The Border).

Best suporting actress: Aliye Rona, for Zalimler (The Cruel Ones).

Best suporting actor: Erol Günaydın, for Güzel Bir Gün İçin (For A Beautiful Day).

Best studio: Acar Film, for Çalıkuşu (The Wren)

Best short film: Ay Doğarken (Moonrise), directed by Behlül Dal.

Second best drama: Hudutların Kanunu (The Law of The Border), directed by Lütfi Akad. sayılmazsa gerçekçi bir tipi canlandırıp bir köylü kadınını oynadı.

     The year also saw a Turkish film awarded at an international festival: Atıf Yılmaz's Ah Güzel İstanbul (Ah, Beautiful Istanbul) got the "Silver Tree" award at the "Comic and humoristic film festival" held in Bordighera (Italy).

1968

      177 feature films were produced and the number of color features increased. The new directors of the year are Aykut Düz, Çetin İnanç and Melih Gülgen. Among them Çetin İnanç held a first place as a director of low-budget, quickly made action pictures. And Uğur Güçlü enters the film world as a new young actor.

     Kara Sevda (Black Love), directed by Seyfi Havaeri, a mixture of folk music and melodramatic events, breaks all box-office records in Anatolia even causing riots.

     Top directors such as Atıf Yılmaz (Yasemin'in Tatlı Aşkı/ The Sweet Love of Yasemin; Köroğlu; Cemile), Memduh Ün (Vuruldum Bu Kıza/ I'm Crazy About that Girl; İlk ve Son/ The First and The Last),

     Lütfi Akad (Kader Böyle İstedi/ Fate Wanted It) are somewhat showing signs of tiredness. The only exception is Akad who with Vesikalı Yarim (My Prostitute Love) gives an appealing drama. Meanwhile Orhan Elmas signs, with Ezo Gelin (Ezo, The Bride) his best film.

      With Kuyu (The Well) Metin Erksan directs a further controversial work full of violence. The story of a tragical passion Kuyu asserts, once more, its director's virulent style and highly charged eroticism.

      One of the year's outstanding films is Yılmaz Güney's Seyyit Han, an example of popular cinema enriched with a poetical style and lirical pathos, a sort of legend fresh and steady in its approach.

     117 film çekildi. Renkli film yapımı hızlandırıldı. Yeni yönetmenler Aykut Düz, Çetin İnanç ve Melih Gülgen. Bu yenilerden Çetin İnanç, piyasa koşullarına uygun ucuz serüven filmleriyle ön plana çıktı. Yeni oyunculardan biri, Uğur Güçlü oldu.

      The by now traditional Antalya Film Festival awards the followings:

Best film: İnce Cumali, directed by Yılmaz Duru.

Second best film: Ölüm Tarlası (The Field of Death), directed by Atıf Yılmaz.

Best director: Yılmaz Duru, for İnce Cumali.

Best script: Türkân Şoray, for İnce Cumali.

Best photography: Gani Turanlı, for Ölüm Tarlası (The Field of Death).

Best actress: Türkân Şoray, for Vesikalı Yarim (My Prostitute Love).

Best actor: Fikret Hakan, for Ölüm Tarlası (The Field of Death).

Best suporting actress: Aliye Rona, for Son Gece (The Last Night).

Best suporting actor: Erol Taş, for İnce Cumali.

Best studio: Erman Film, for Kurbanlık Katil (The Victim Killer).

Best short film: Altın Bıçaklar (Golden Knives), directed by Behlül Dal. destansı anlatımı Türk sinemasına bir "umut ışığı" getiriyordu. Taze ve diri bir soluktu bu.

      In Paris the "Türk Film Arşivi" (Turkish Film Archive) organises, with the assistance of the Turkish Ministery of Foreign Affairs and the French Ministery of Culture, a week of Turkish films. The showing includes Metin Erksan's Sevmek Zamanı (A Time to Love), Lütfi Akad's Kızılırmak-Karakoyun (Red River-Black Sheep), Duygu Sağıroğlu's Bitmeyen Yol (The Unending Road) and Atilla Tokatlı's Denize İnen Sokak (A Street Toward The Sea).

1969

      Production goes up to 230 features. In a period where "Zorro" type action films are increasing Metin Erksan shows signs of regression with Ateşli Çingene (The Hot Gipsy) and Dağlar Kızı Reyhan (Reyhan, The Mountains'girl). As a reaction to a host of foreign comic stripes heroes a local one, a Central Asian warrior named "Tarkan" takes the stand. düzenlendi. Ve gösteriye Sevmek Zamanı (Metin Erksan), Kızılırmak-Karakoyun (Lütfi Ö. Akad), Bitmeyen Yol (Duygu Sağıroğlu), Denize İnen Sokak (Atilla Tokatlı) katıldılar.

      The year's most interesting film comes from director Halit Refiğ. Bir Türk'e Gönül Verdim (I Gave my Heart to A Türk), tells the story of a foreign woman and a Turkish man bound with a love full of humanity and a compassion who reaches universal heights is a work of Halit Refiğ. Based on a true story the film is also enriched by Ahmet Mekin's acting.

      In Adana the local film club, the Municipality and the "Turkish Film Archive" join together for the first Golden Silk Cocoon Film Festival with awards given to the followings:

Best film: Kuyu (The Well), directed by Metin Erksan.

Secont best film: Ezo Gelin (Ezo, The Bride), directed by Orhan Elmas.

Third best film: Seyyit Han, directed by Yılmaz Güney.

Best director: Metin Erksan, for Kuyu (The Well)

Best script: Safa Önal, for Menekşe Gözler (Violet Eyes)

Best photography: Gani Turanlı, for Seyyit Han

Best musical score: Nedim Otyam, for Seyyit Han

Best actress: Fatma Girik, for Ezo Gelin (Ezo, The Bride)

Best actor: Yılmaz Güney, for Seyyit Han.

Best suporting actress: Aliye Rona, for Kuyu (The Well) and Kader Böyle İstedi (Fate Wanted It)

Best suporting actor: Hayati Hamzaoğlu, for Kuyu (The Well)

Best studio: Lale Film

      At the 6 th Antalya Film Festival neither best film nor best director awards are given. The remaining awards are as follows:

Second best film: Bin Yıllık Yol (A Thousand Year's Road), directed by Yılmaz Duru.

Third best film: İnsanlar Yaşadıkça (As Long as People Live), directed by Memduh Ün.

Best script: Türkân Duru, for Bin Yıllık Yol (A Thousand Year's Road)

Best photography: Ali Yaver, for Öksüz (The Orphan)

Best actress: Hülya Koçyiğit, for Cemile

Best actor: Cüneyt Arkın, for İnsanlar Yaşadıkça (As Long as People Live)

Best suporting actress: Muazzez Arçay, for Bin Yıllık Yol (A Thousand Year's Road)

Best suporting actor: Ferit Şevki, for Cemile

Best child actor: Zafer Karakaş, for Cemile

Best short film: Rüya Gibi (Like a Dream), directed by Behlül Dal.

1970

      Production numbers 226 titles. Selda Alkor emerges as the year's new actress; Yücel Çakmaklı and Temel Gürsu direct their first pictures.

      Producer Türker İnanoğlu starts co-producing with Iran and coproductions leads to the big screen systems. With Ertem Göreç's Pamuk Prenses ve Yedi Cüceler (Snow White and The Seven Dwarfs) starts an era of "fairy tales movies", followed by a row of pictures starting child actors leaded by İlker İnanoğlu (Yumurcak/ The Kid) and Menderes Utku (Afacan/ The Handful Child). Çetin İnanç's action packed "Çeto" hits the box-office and Yılmaz Köksal, the film's leading actor, wins a chance to stardom.

     While top ranking directors are mostly busy with melodramas such as Metin Erksan's Eyvah (Alas!), Duygu Sağıroğlu's Meçhul Kadın (The Unknown Woman) and Atıf Yılmaz's Kara Gözlüm (My Dark Eyed One),

     Umut (Hope) becomes a turning point for the Turkish cinema. With Yılmaz Güney's simple, real and effective direction Umut (Hope) focuses also on a documentary line and approach. ağırlık verdikleri dönemde Umut, yeni bir "dönüm noktası" getirir Türk sinemasına. Çünkü, Yılmaz Güney'in mizansen cambazlıkları arkasına sığınmadan sade ve yalın bir dille meydana getirdiği Umut, gerçekçi çabaları belgeci bir tutumla en iyi yansıtan bir yapıttı. "Umudu umutsuzluğa dönüştüren" ilginç bir sinema örneğiydi kuşkusuz...

     Temel Gürsu's Dikkat Kan Aranıyor (Attention, Blood is Needed) and Bilge Olgaç's Linç (Lynching), adapted from Kerim Korcan's novel, are two of the year's interesting works and Yücel Çakmaklı's Birleşen Yollar (Uniting Roads) emerges as a first example of a "national cinema" based on an Islamic way of thoughts. The 2 nd Adana Film Festival's awards are:

Best film: Umut (Hope), directed by Yılmaz Güney.

Second best film: Bir Türk'e Gönül Verdim (I Gave my Heart to A Türk), directed by Halit Refiğ

Third best film: Linç (Lynching), directed by Bilge Olgaç

Best director: Bilge Olgaç, for Linç (Lynching)

Best script: Yılmaz Güney, for Umut (Hope)

Best photography: Ali Yaver, for Linç (Lynching)

Best musical score: Arif Erkin, for Umut (Hope)

Best actress: Fatma Girik, for Büyük Yemin (The Big Oath)

Best actor: Yılmaz Güney, for Umut (Hope)

Best suporting actress: Seden Kızıltunç, for Bir Türk'e Gönül Verdim (I Gave my Heart to A Türk)

Best suporting actor: Bilal İnci, for Büyük Yemin (The Big Oath)

Best studio: Lale Film Aranıyor, Bilge Olgaç'ın Kerim Korcan uyarlaması Linç, yılın sözü edilen filmleriydi. Yücel Çakmaklı ise, Birleşen Yollar'la İslam düşüncesinin ilk örneğini oluşturan, "milli sinema" akımını başlattı. And at the 7 th Antalya Film Festival the awards went as follows:

Best film: Bir Çirkin Adam (An Ugly Man), directed by Yılmaz Güney

Second best film: Kınalı Yapıncak (The Hennaed Grape), directed by Orhan Aksoy.

Third best film: Büyük Öç (The Big Revenge), directed by Yılmaz Duru.

Best director: Ertem Eğilmez, for Kalbimin Efendisi (The Master of my Heart)

Best script: Sadık Şendil, for Kalbimin Efendisi (The Master of my Heart)

Best photography: Kriton İlyadis, for Kınalı Yapıncak (The Hennaed Grape)

Best actress: Belgin Doruk, for Yuvanın Bekçileri (The Guardians of The Home)

Best actor: Yılmaz Güney, for Bir Çirkin Adam (An Ugly Man)

Best suporting actress: Lale Belkıs, for Kalbimin Efendisi (The Master of my Heart)

Best suporting actor: Hayati Hamzaoğlu, for Bir Çirkin Adam (An Ugly Man)

Best child actor: İlker İnanoğlu, for Yumurcak (The Kid)

Best short film: Vurgun (The Bends), directed by Behlül Dal. Two Turkish films were awarded in foreign festivals: Yılmaz Güney'sUmut (Hope) won a Special Jury Award at Grenoble (France) and Ümit Utku's Yara (The Wound) was choosen as Third Best Film at the Tangier Film Festival.
Tunalım...