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1951

     36 features are produced. With the start of the "period films" era movies dealing with the War of Independence or the Corean War raise in number. Some 13 historical films are shoot, 8 of them dealing with the War of Independence.

     Further producing companies enters the field: "Lale Film" (Cemil Filmer), "Adalı Film"(Handan Adalı), "Yakut Film" (Dr. Arşavir Alyanak) and Cahide Sonku's "Sonku Film". koyacaktır. Gerçekten Akad, yıllardır anlatım aksaklıklarıyla yaşamaya çalışan kekeme bir sinemaya bir dil kazandırıyor, yeni soluk getiriyordu. Yaşayan tipler, gündelik olaylar ve doğal çevrenin kullanımı Kanun Namına'yı tarihsel süreç içindeki yerine oturtuyordu.

     Nuri Akıncı, Dr. Alyanak and İhsan Tomaç are the new directors of the year while Orhon M. Arıburnu's "Sürgün" (The Exile) raises as one of the best production of 1951 and actor Turhan Seyfioğlu attracts attention as a promising new star.

1952

     The Turkish cinema tries to break its own record going up to 61 features. However 1952 was an important year.

     Lütfi Akad directs 4 films. Among them Kanun Namına (In The Name of The Law), adapted from a real story, becomes a milestone in the history of the Turkish screen. Really, Akad brought a new breath and caused to gain a new language to a cinema who tried to express itself for ages. Living characters, actual events and the usage of natural environment put Kanun Namına (In The Name of The Law) its place inside the historical process.

      Another important cinematographer, Metin Erksan, follows Akad's mastery. Although harassed by the censors Erksan is able to give, with his first directorial job, a realistical rural drama telling the life story of Anatolian bard Aşık Veysel. Thus with Karanlık Dünya / Aşık Veysel'in Hayatı (Dark World / The Story of Aşık Veysel) Metin Erksan easily proves that he has tinge to say and intends to say them. Derneği) kuruldu. Derneğin temel amacı: "Türk filmciliğinin sanat bakımından inkişafını ve milletlerarası filmcilik aleminde mümtaz ve mevkie ulaşmasını temin etmek" görüşüne dayanıyordu.

      Following a transition period the Turkish screen enters into a new phasis. Still the traditional Muhsin Ertuğrul style is around and among others influences a director such as Muharrem Gürses (Zeynep'in Gözyaşları / Zeynep's Tears), who in the following years became one of the leading names of the populist cinema and, at least for his capability of reaching a large number of spectators, a director of some notice. Moreover his naive approach lead to a sort of "Gürses school" who was to influence other popular moviemakers.

      During the year two actors from Ertuğrul's squad, Vahi Öz and Hayri Esen, directed their first films followed by Orhan Atadeniz, an editor working at the İpek Film's studios, and Nedim Otyam.

      With the year's most important film, Akad's Kanun Namına (In the name of the law), the Turkish screen gains its first big star: Ayhan Işık. Işık came to the movies through a contest promoted by a film magazine (Yıldız/Star) and, as a winner, got his first part in Yavuz Sultan Selim and Yeniçeri Hasan (The Sultan Yavuz Selim and Hasan the Janissary, 1951). Another winner of the same contest, Belgin Doruk, soon became also a top female star.

      The same year saw the foundation, by Lütfi Ö. Akad, Aydın Arakon, Orhon M. Arıburnu, the publisher Hüsamettin Bozok and the writers Burhan Arpad and Hıfzı Topuz of the "Türk Film Dostları Derneği" (Association of the friends of the Turkish Film). The aim of the Association was such expressed: "Provide so that the Turkish cinema may achieve artistic progress and take a special place in the international film world". Canavarı'nda Nazım İnan, yeni oyuncular olarak ilgi çekip ağırlıklarını koydular.

1953

      The year closes with a total of 44 films. Atıf Yılmaz, who had started his career as a director the year before, went on adapting popular novels in heavily melodramatic works such as Hıçkırık (Sob) Aşk Istıraptır (Love is Suffering). Atıf Yılmaz Batıbeki started as assistant director to Semih Evin before signing his first feature.

      After 6 years absence from the screen Muhsin Ertuğrul makes a come-back with Halıcı Kız (The Weaver) who, apart from being one of the first color productions of the Turkish cinema, ends in a total flop hastening Ertuğrul's retreat from the movies. Practically the first Turkish color film had been Salgın (The Plague), produced and directed by Ali Ipar staring Ipar's wife and Hollywood star Virginia Bruce, released after Ertuğrul's Halıcı Kız.

     Akad, during the year, follows his success with Katil (The Killer); Orhon M. Arıburnu with Kanlı Para (Bloody money) and Nedim Otyam with Toprak (The Land) give two interesting features while Kemal Kan and Şinasi Özonuk signed their first films. Özonuk gave also a first chance to young actor Eşref Kolçak in Affet Beni Allahım (Forgive me, my God) and İstanbul Canavarı (The Monster of Istanbul) stared another new player, Nazım Inan.

      Meanwhile the first "Turkish Film Festival" organised by the "Türk Film Dostları Derneği" (Association of the friends of the Turkish Film) awarded the followings:

Best film: Kanun Namına (In the Name of the Law), directed by Lütfi Ö. Akad.

Mentions: Kanlı Para (Bloody Mooney), directed by Orhan M.Arıburnu, İki Süngü Arasında (Between Two Bayonets), directed by Şadan Kamil, Drakula İstanbul'da (Dracula in Istanbul), directed by Mehmet Muhtar, Efelerin Efesi (The Master of all Masters) directed by Şakir Sırmalı.

Best directors:Lütfi Akad, Orhon M. Arıburnu, Şadan Kamil, Mehmet Muhtar, Şakir Sırmalı.

Best photography: Enver Burçkin, Kriton Ilyadis, Özen Sermet, İlhan Arakon, Şadan Kamil.

Best screenplays: Osman Seden, Adnan Fuat Aral, Orhon M. Arıburnu, Ümit Deniz.

Best musical score: Orhan Barlas, Nedim Otyam.

Best actors: Turhan Seyfioğlu, Ayhan Işık, Atıf Kaptan, Orhon M. Arıburnu.

Best actresses: Lale Oraloğlu, Nedret Güvenç, Ayfer Feray.

1954

      48 feature films are produced. Musicals featuring well-known singers ,first launched in the late 40's with Münir Nurettin Selçuk as a leading star, are back again this time with star singer Zeki Müren. During the year Akad signs another city drama, Öldüren Şehir (Killer City) and Şadan Kamil gives Kaçak (The Fugitive).

      The second film festival organised by the "Association of the friends of the Turkish Film" ends as follows without any "best film" awarded.

Best directors: Lütfi Akad (Öldüren Şehir/ Killer City), Ali Ipar (Bir Şehrin Hikayesi/ The Story of A City).

Best screenplay: Ali Ipak (Bir Şehrin Hikayesi/ The Story of A City).

Best photography:Yuvakim Filmeridis (Mahallenin Namusu/The Honor of the Neighbourhood), İlhan Arakon (Salgın/ The Plague), Mike Rafaelyan (Ölüm Saati/ Hour of Death), Kriton Ilyadis (Öldüren Şehir/ Killer City).

Best actor and actresses: Lale Oraloğlu (Leylaklar Altında/ Under The Lilacs), Aliye Rona (Mahallenin Namusu/ The Honor of The Neighbourhood), Belgin Doruk (Öldüren Şehir/ Killer City), Cahit Irgat (Altı Ölü Var/ Six Deads), Orhan Elçin (Ölüm Saati/ Hour of Death) .

Best musical score: Nedim Otyam (Ölüm Saati/ Hour of Death). dikkatleri üzerine topladı. Bu, bir oyuncu aşamasıydı kuşkusuz. Ve sinemaya ilk kez bir sahici oyuncu geliyordu.

1955

      The number of films produced reaches 61. Osman F. Seden, head of "Kemal Film" Turkey's first producing company, follows his career as screen-writer with a first directorial item: Kanlarıyla Ödediler (They payed it with their blood). Memduh Ün, Abdurrahman Palay and Mümtaz Alpaslan enters into the film world and the screen gains several new and different players such as Muhterem Nur, Lale Oraloğlu, Bülent Oran, Mualla Kaynak and Neşe Yulaç.

      Lütfi Akad, adapting a story by Yaşar Kemal, signs a further personal film with Beyaz Mendil (The White Handkerchief). Newcomer Fikret Hakan, playing the leading part in this realistically handed rural love drama, attracts praise and attention with his direct acting style bringing to the screen the personality of a "real actor".

      Beyaz Şehir (White City), directed by Sami Ayanoğlu, is dubbed into French and enters the Red Cross Congress, in Switzerland, wining a special award.

      The Third Turkish Film Contest, organised by the "Association of The Friends of The Turkish Film", awards the followings:

Best film: Kaçak (The Fugitive), directed by Şadan Kamil, Sevdiğim Sendin (Your Were The one I Loved), directed by Agâh Hün, Bulgar Sadık (Sadık, The Bulgarian), directed by Lütfi Akad.

Best directors: Şadan Kamil, Lütfi Akad, Agâh Hün.

Best screenplays: Haldun Taner, for Kaçak (The Fugitive), Lale Oraloğlu for Sevdiğim Sendin (You Were The one I Loved).

Best photography: Turgut Ören, for Sevdiğim Sendin (You Were The one I Loved), Kriton Ilyadis, for Bulgar Sadık (Sadık, The Bulgarian), Ilhan Arakon, for Kaçak (The Fugitive), Enver Burçkin, for Ecel Köprüsü (The Bridge of Death).

Best producers: Nazif Duru, for Kaçak (The Fugitive), Ali Oraloğlu, for Sevdiğim Sendin (You Were The one I Loved),.

Best actresses: Sezer Sezin, for Kaçak (The Fugitive), Lale Oraloğlu, for Sevdiğim Sendin (You Were The one I Loved),.

Best actors: Şevki Artun, for Bulgar Sadık (Sadık, The Bulgarian),Turan Seyfioğlu, for Kaçak (The Fugitive), Cahit Irgat, for Sevdiğim Sendin (You Were The one I Loved).

      Ekrem Bora, who started his career in Mehdi Özgürsel's Alın Yazısı (Fate), emerges as a promising new actor. Like Ayhan Işık and Belgin Doruk, Bora comes to the screen after a movie star contest sponsored by the film magazine Yıldız (Star).

1956

      50 features are produced. Muharrem Gürses, keen in following the popular taste, mostly in its rural melodramas, goes through a "golden era" directing seven features in a row.

      In Berlin, a documentary directed by Sabahattin Eyüpoğlu and Mazhar Şevket Ipşiroğlu (Hitit Güneşi/ The Hitit Sun) wins the Silver Bear Award.

1957

      61 features are produced. Gürses goes on with his fast melodramas and his style echoes also in Memduh Un's Yetim Ömer (Ömer, The Orphan) and Güllü Fatma (Fatma, The Rose). The new directors of the year are Nejat Saydam and Ziya Metin and the new formed companies are Muzaffer Aslan's "As Film" and Özdemir Birsel's "Birsel Film".

     A character actor, Osman Alyanak, steals the attention in Lütfi Akad's Ak Altın (White Gold) playing the part of Fettah while new actresses, Fatma Girik and Leyla Sayar, and a further new actor, Orhan Günşiray, starts a promising career.

      Atıf Yılmaz, a director since then mostly devoted to sentimental and popular melodramas, signs his first personal work with Gelinin Muradı (The Bride's Wish) adapting Kemal Bilbaşar's short stories set in a small town.

     At the Berlin Film Festival a further Turkish documentary short film, Sabahattin Eyüpoğlu and Mazhar Şevket İpşiroğlu's Siyah Kalem (Black Pencil), is the winner of a "mention".

1958

      Production goes up to 80 films. New production companies are founded such as "Güven Film" (Yuvakim Filmeridis), "Melek Film"(Şahan Haki), "Kervan Film"(Ümit Utku) and "Pesen Film" (Nevzat Pesen).

     New directors like Nuri Ergün, Hulki Saner, Nevzat Pesen, Nişan Hançer and new leading players such as Ahmet Mekin, Çolpan İlhan and Göksel Arsoy start their career.

      Uluslararası Berlin Film Şenliği bu yıl da Türk sineması adına küçük bir zaferle sonuçlandı.

      During the year the Turkish cinema witnesses a very important film event: Memduh Ün, a director formerly busy with second hand popular melodramas directs Üç Arkadaş (Three Friends). After Akad this stands as the second revelation of the Turkish screen and the film, with its intimate and sentimental style, its values based on friendship, love and solidarity is a further milestone enriched by moving performances from a cast composed of Fikret Hakan, Muhterem Nur, Salih Tozan and Semih Sezerli. Based on a screenplay by Aydın Arakon, Metin Erksan, Muammer Çubukçu, Memduh Ün, Ertem Göreç and Atıf Yılmaz with additional dialogues by Orhan Kemal Üç Arkadaş (Three Friends) thus owes most of its success to a calibrated collaboration between leading professionals.

      Another top film of the year is Metin Erksan's Dokuz Dağın Efesi (The Lord of Nine Mountains), about a fiery young paesant turned outlaw.

1959

      Production goes down to 76 features. With Aydın Arakon's Fosforlu Cevriye (Cevriye, The Phosphorescent) starts the era of the "mainly women heroes" with Neriman Köksal as its first representative. Meanwhile a new comic actor, Feridun Karakaya, starts a series with Cilalı İbo (Ibo, the Polished One). Cilalı İbo serisiyle de yeni bir güldürü oyuncusu doğdu; Feridun Karakaya.

      Adapted from a popular romantic novel Nevzat Pesen's Samanyolu (The Milky Way) launches leading actor Göksel Arsoy. Coupled with Belgin Doruk, Arsoy brings to the screen a different, blonde and baby-faced, sentimental "lady killer" type. The film's box-office success gives way to the first steady duo (Belgin Doruk

Göksel Arsoy) of the Turkish screen.

      Actor Suphi Kaner directs his first film and Yılmaz Güney starts his career acting in Bu Vatanın Çocukları (This Motherland's Childrens). Poet Attila İlhan, under the pen-name Ali Kaptanoğlu, signs the script of Lütfi Akad's Yalnızlar Rıhtımı (Wharf of The Lonely Ones). Akad's film and, mostly, Atilla İlhan's script, permeated with heavy foreign influences gives way to hard criticisms.

      With Bu Vatanın Çocukları (This Motherland's Childrens) and Karacaoğlan'ın Kara Sevdası (Karacaoğlan's Hopeless Love) Atıf Yılmaz signs the year's most polished productions and Nejat Saydam gives with Kalpaklılar (The Fur Capped Ones), a War of Independence epic, his best picture.

      He newly formed "Türk Sinema Sanatçıları Derneği" (Association of the Turkish Cinema Artists) launches a "Turkish Film Festival" together with the "Gazeteciler Cemiyeti" (Journalists Association). 15 movies are shown but no award is given for best film, best screenplay and best actress. The remaining awards are as follows: kadın oyuncu seçilmedi. Öteki sonuçlar:

Best director: Atıf Yılmaz Batıbeki.

Best photography : Kriton İlyadis, for Beraber Ölelim (Let's die Together).

Best musical score: Yalçın Tura, for Zümrüt (Emerald).

Best actor: Sadri Alışık, for Zümrüt (Emerald).

Jury's special award: Metin Erksan's Dokuz Dağın Efesi (The Lord of Nine Mountains).

1960

      78 films are produced. A host of producing companies are founded: Be-Ya Film (Nüsret İkbal), Saner Film (Hulki Saner), Uğur Film (Memduh Ün), Yerli Film (Atıf Yılmaz

Orhan Günşiray), Erler Film (Türker İnanoğlu), Metro Film (Aram Gülyüz), Site Film (İlham Filmer), Şan Film (Baki Üsküdarlı), Kurt Film (Mehmet Arancı).

      Ayşecik (Little Ayşe), staring child actress Zeynep Değirmencioğlu, starts the fashion of the "child heroes". With Ayşecik (Little Ayşe), directed by Memduh Ün, Zeynep Değirmencioğlu becomes the first child star of the Turkish screen.

     Turgut Ozatay, playing opposite leading star Ayhan Işık in Akad's period piece Yangın Var (Fire), stands easily the confrontation giving a noticeable performance.

      New actresses such as Türkân Şoray and Gönül Yazar, new directors like Türker Inanoğlu, Burhan Bolan, Hüsnü Cantürk, Yavuz Yalınkılıç and Fikret Uçak enters the field. Uçak yeni yönetmenler olarak sinemaya girdiler.Türk

      With the Turkish Armed Forces taking hold of the government on May 27 a new way of thought enters into the Turkish cinema. Known as social realism it starts with Metin Erksan's Gecelerin Ötesi (Over The Nights) and reflects itself in pictures such as Osman F. Seden's Namus Uğruna (For The Honor), Orhan Elmas's Kanlı Firar (Bloody Escape), Atıf Yılmaz's Dolandırıcılar Şahı (King of The Swindlers), Memduh Ün's Kırık Çanaklar (Broken Dishes) and Ateşten Gömlek (Shirt of Fire).

      Atilla Tokatlı's Denize İnen Sokak (A Street Toward The Sea), a very special and personal opus, becomes a box-office flop but is presented at Venice and Karlovy-Vary film festivals and wins a "diploma of honor" in Locarno.
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