Arif V 216 (2018)

2004s Turkish sci-fi G.O.R.A. is a modern comedy classic, while its sequel A.R.O.G. is generally liked though its caveman themed time travel plot felt a bit different to what everyone expected from a follow-up. It seemed like that was it, until 10 years later, when a third (and possibly final) entry to the series finally came out-Arif V 216...

Regular yet gifted Turkish dude Arif is enjoying his life and galactic-themed popularity. This reverie is broken with the arrival of alien robot 216, who announces his desire to stay on Earth for a while, and learn to be more human. His presence is immediately met with hostility by paranoid officials, who give chase. Arif gets them out of hot water with his time machine, taking them to 1969 Istanbul. Arif's protests that they not stay fall to the wayside when 216 falls in love with an innocent blind girl. He feels the whole reason he came to Earth is right here. A rift soon grows between the friends, exacerbated by a greedy toy manufacturer. An accidental trip back to the present shows a horribly distorted timeline where 216 rules as an absolute dictator, and Arif's work is cut out for him if he's gonna repair their friendship and the timeline...

Arif V 216 is a = time to say the least. Many fans were hoping for a return to the source, with another Goran adventure. On one hand that'd be good, since A.R.O.G. was a detour, and that setting is what people really enjoyed. On the other hand swinging back to the original setting for the 3rd entry would leave the 2nd as the odd one out! What Arif V 216 does is a mix of both. It returns to some elements from the 1st film, though only characters, not the setting. Instead the focus of this 3rd entry is...Yeşilçam cinema! Turkey's golden age of movies.

The story here opens with a nice montage of Arif's past exploits, and acquired fame. Despite this he's still slumming it as a cheap hawker. This is despite being happily married, and a father now, but for some reason they stay on planet Gora and he's at his own pad on Earth. The arrival of alien robot 216 spices things up quickly. [Despite idolising a guy famous for visiting other planets, the whole neighbourhood suddenly become alien racist, leading to a quick getaway.

Time travel to the past sees the world turn to black-and-white, like an old movie, which is silly in either a fun way or just plain dumb. Considering we've seen time travel in this series before and it didn't happen I'd go with dumb, but it's a harmless joke. And it leads to a great sequence when the blind girl is rescued by 216 from an oncoming car, and colour returns to the world as he cradles her

The Yeşilçam tribute here was mixed for me. As a big fan of those movies I was on board, especially as someone who wants to write my own homages! I wasn't much a fan of how it was done though. It feels like the movie's constantly namedropping, or having as many references as it can, with all the subtlety of a hammer to the face. If you're familiar with this stuff you might be amused by some of it, or just be annoyed. If you're not familiar, then you'll have no idea what this word salad of a film is on about!

One mild criticism I've read for this film is that it's too loving towards the old Yeşilçam films, and never really roasts them. On one hand I get this point, but on the other this is meant to be a tribute. And coming down harshly on those films could be mean spirited, when all they ever were was good-hearted innocent entertainment.

It's been so long since the original G.O.R.A., itself beloved by the Turkish public, that the film has nostalgia for itself. Some of this is also just namedropping, while other bits are nice. There's a youthful cameo near the end that I was simultaneously annoyed by, but also slightly appreciating

Arif V 216 is a densely packed movie, and this makes it feel slow at times, especially with the punishing 2 hour runtime. Things start picking up by the hour mark, when the plot finally stops being a GG and real stakes occur. Suddenly Arif and co must prevent a nightmarish vision of the future from coming to pass! This means, however, going back to the past. The film slows down again, with yet more references. At points I had no idea what was happening or why. Although the use of the blind cure trope (usually for pretty young maidens) for established old coot Garavel is genius!

Near the end I was begging for it to just be over. My ideal for this film would've been to cut it down to 90 minutes, divide past and future a little more evenly, and not hammer in the Yeşilçam tropes so constantly. That subtlety would be appreciated!

Thankfully things pick up again for the finale. There's a plane chase, with swinging music. It felt fun in an Austin Powers style way, and things get a fun resolution, not to mention entirely ridiculous (in a good way!). Arif gets a nice speech as farewell to everyone in the 60s, and the movie hits what'd be a sudden but effective end point. But then it keeps going! With yet more actor references (this time though with the real deal). There was a meta ending joke that didn't amuse me, but other bits I did like.

Arif V 216 is a funny movie, though not all the comedy worked for me. Some is a bit flimsy, other bits I just didn't find that funny. But there was enough to make it worth more than a few chuckles. Some gags I liked were =, =, and the sudden costume changes. On the other side, there are recurring comments about the Germans that I never got. The film also seems to have it in for Zeki Müren! Although I don't think this was genuinely meant as an attack, and he ends up helping the heroes in the end.

There are plenty of characters here to keep track of. Arif is his usual self. A bit scuzzy and uncouth, but generally good at heart. His friendship with 216 is well-rounded, with highs and lows. In some ways he doesn't treat him the best, but in others he really goes to the bat. The only element to Arif I didn't like this time round was his complete abandonment of his family! It's glossed over entirely, as if the writers just wanted an excuse to have him by himself.

216 is a likeable sidekick. A big fan of old movies, and a hopeless romantic, this causes trouble, especially when he falls in with the wrong crowd. We see plenty of his personality here, from his hopes to his anxieties. He never comes across too unlikeable ,for the most part. Also, in the first movie he felt gay coded, but not here. Dunno if that's a regression, but his romance here feels natural enough.

The supporting cast are fine. Pembeşeker (or Alev, as it turns out, because of course!) is just cute at first. There's a twist regarding her character and friends, which at first flummoxed me, but pretty soon I felt it had its place. And it allowed for richer characterisation for her too. She may not really love 216 exactly, but she still cares for him, enough to sway him back to good. For his own sake as well as preventing the apocalypse. And she rightfully banks on reciprocating but saying he has to return to his home time. Overall she's a smart character, and figures things out quickly.

The villains are good. Just the right mix of scummy, but lighthearted and almost harmless. Though I wish some of them got more to do (like the femme fatale). Evil alternate 216 is a great genuine antagonist, but never appears again after his first scene.

A few Yeşilçam stars show up as characters, and are generally treated like the most awesome people around. This could feel like ego stroking, but having different actors play them helps remedy/prevent this. The highlight for me was the fight scene with Ayhan Işık!

The cast here does a fun job, though may not be to everyone's taste. Leading man Cem Yılmaz most exemplifies this. He's a bit much at times, but does well, and gets across the character's likeable side. Ozan Güven is a strong co-star, getting plenty of material to chew on here! From optimism, to pathos/tragedy, and a bit of evil too! According to Wikipedia he also plays Barış Manço which I kept an eye out for the whole time, but never saw. Yılmaz meanwhile pulls double duty as Erşan Kuneri, in an dd musical aside. Seda Bakan is gorgeous and bubbly, making for a good sidekick! Almost enough for me to miss the presence of Özge Özberk, who gets all of two or three cameos and that's it. Özkan Uğur returns to the series, doing a fun job as Garavel, getting to ham it up.

One thing to note is that Yeşilçam actors/people spoke in a different dialect to modern Turks. Whether or not it's reproduced here I can't say. Since I'm English I can't actually tell the difference. Which says one thing...When I speak in Turkish I probably sound like a walking time machine! 

The effects here are a high point! 216 is convincingly robot-y enough, while still giving the actor plenty of movement. There are also some neat CGI landscapes in the bad future scenes, which reminded me of Lexx. Then there's how well the movie recreates 1960s era Turkey. It's fun, colourful, and I liked all the little tributes too, like the Kilink and Tarkan posters in the background. The wild costumes are funny, though some verge on just plain silly (perhaps that's Zeki Müren's fault)

The direction in general is very good, with some neat shots, and choreography. The black-and-white stuff is well-shot too, particularly how the colour seeps in.

There's a fun score here, with good sci-fi beats and comedy tracks. There are plenty of songs too, and they're mostly neat (I even found the electro hip-hop one not too intolerable). One observation though is they didn't really sound classical, like an actual period song by, say, Şenay. Maybe I just don't have a good enough ear for Turkish music though. Also, Cem Yılmaz gets to not only sing with an obviously fake voice, and a jokey bad one, but sings with his own voice in a way that keeps his unique sound while actually sounding good!

Overall, Arif V 216 is a good movie, but not great I felt. It's worth watching for fans of the series, but if you're new to Turkish cinema you may want to avoid this for now. It's at least to be appreciated for taking the series is yet another new direction. As for the future, Yılmaz has come out with a follow-up TV spinoff focusing on bit player Erşan Kuneri. I've no idea why when he was in all of one scene in G.O.R.A., nearly 20 years ago, but I guess he has a soft spot for the character, especially after his return here. As for Arif V 216, if this is to be a finale to the series proper, it's a good note to end on...

Kemal Sunal: Turkish King (1976-1980)

Kapıcılar Kralı (1976)

Seyit is a much put-upon janitor in a busy apartment building, constantly doing favours to improve his standing, yet his clumsiness and gullibility often work against him, as does the strong dislike everyone around him expresses. Things reach a head with the arrive of two new tenants, secretly crooks, and the balance of power threatens to explode. And only one man may be able to fix it...if he doesn't make it worse...

The first in a cycle of films starting famed Turkish comic Kemal Sunal, Kapıcılar Kralı (King of the Doormen) is a decent comedy, with a more thoughtful side to it if you're familiar with its country's history. The title conjures to mind a hotel doorman, which could easily make for a good Kemal film (and may have, if memory serves correctly!), but this follows a different line.

Seyit is not quite a landlord, but an apartment housekeeper, who tries to be the big man doing all these favours and errands in order to curry favour with the other tenants, until they see him as an equal, or a better. Unfortunately for him it isn't quite working out, as they see him as easy labour to walk all over. The more he does for them the less they respect him for it.

The story here is linked with themes of the day, from general Turkish character studies, to the then-ongoing political violence, and is still relevant to this day. Not so much in the specific content, since I don't think 'doormen' like this still exist, but the people with this kind of social-climbing attitude, consequences and other people be damned, are very much still present. In fact they might be part of why Turkey's economy is consistently awful, alongside scummy politicians.

Whether or not Seyit is a likeable character is an interesting question. His goals are pretty dodgy, and his motives not the brightest. But he also represents the common man trying to triumph over the bullies of the world no matter what. Unfortunately his methods basically turn him into just as big a bully. His treatment of his family is what I considered to be his lowest quality.

The other tenants aren't much better. A bunch of amcıklar if you ask me! They are so touchy they threaten to call the police on those who dare use their brooms to clean their apartments  and the second Seyit can't shop for them they conspire to get him kicked out, and chase him down to steal his tips. My favourite were the two adorably psychopathic girls!

The villains meanwhile are a conniving pair, though not much worse than everyone else here. They get their just desserts, while the rest of the tenants and the brutish landlord get theirs too, when their whipping boy fulfills his dreams of domination.

The comedy here is fairly amusing. Some of it worked for me, and some was a bit much. The fire extinguisher scene most of all just made me groan. Like how stupid can some people be, really?

The score here is weird, and emblematic of what happens when you give a Turk a synthesiser. It sounds kinda like the dying squeals of a casio, but the tune has a fun ring to it, and it's not so warbly it's unlistenable. It's got a certain charm and high energy.

Kapıcılar Kralı is a good example of the political side Turkish comedies could have, and is a decent film in its own right. It'd have to be for anyone outside of Turkey to get any enjoyment out of it! I didn't find it a masterpiece or anything, but it's a fine watch...

Çöpçüler Kralı (1977)

I generally enjoy classic Turkish films, particularly those starring Kemal Sunal. But this isn't always the case. There was one that I took a strong dislike to-Çöpculer Krali. I'm possibly the only one though, as it's frequently regarded one of the country's best comedies! Since I did watch the film without subtitles last time, and my Turkish wasn't yet at a fluent level, I thought maybe I just misunderstood. I decided to give the film another chance and go into it with an open mind when the time eventually came for a review...

Apti is a poor but humble street sweeper, who has feelings for neighbour Hacer. She's also the object of desire for a municipal officer, who does everything he can to make Apti's life miserable. Things seem to work out in the cleaner's favour, until a string of bad luck. He goes from romantic betrayals, to life-or-death chases and near misses, and even has time to find fame as a lounge singer. All in a day's work for an average street sweeper?...

Çöpçüler Kralı (King of the Street Cleaners) is a quintessential story of the little guy and their struggles against the world. Be it authority, bullies, or toxic partners. All three in this case, as street cleaner Apti tries to navigate them without crashing

Part of why this movie didn't gel with me is that as it went on it hadn't really accomplished much. What also rubbed me up the wrong way was that the romance seemed to take a turn for the worse, with the marriage breaking off and love interest Hacer suddenly hating our hero. This did make more sense on a 2nd viewing though, once I separated the actors from the characters, and noticed the flaws in the character and relationship more.

Then in the last 20 minutes the film takes a sudden detour! After running from pissed off in-laws, Apti stumbles into a nightclub, where he performs an impromptu number on the stage and becomes a famous nightclub singer, using his street image as his persona. I don't know if it's this whole turn that bugs me, or how late in the game it is. It felt a bit jarring.

The ending was mixed for me. It all felt a bit mean. Hacer is still a bitch and their romance is never rekindled, and she ends up with the rival boss she hates, while they scream at each-other in a loveless marriage. While Apti meanwhile discovers how fleeting fame is, and is soon back to his old job like nothing happened. The 'landing back where you started from' angle is also a bit obvious, but handled well. In a way it is effective how his poor and clumsy exterior is a novelty for the ritzy audience, until it becomes an inconvenience for them, and they boo him off the stage.

Apti is a nice enough leading man, innocent and simpleminded, and doing his thankless job with relish, despite everything thrown at him. He keeps his self-respect, and is happy by the end, and hopeful for better things. One moment near the end I liked is when he starts singing, then pauses for a moment as he remembers what's come before, but continues happily.

This isn't to say he's a flawless character, as he gets pretty irate when rejected by Hacer, trying (and immediately failing) to...umm, 'take his husbandly reward'. This verges on uncomfortable, especially since this is an otherwise innocent film, but it's probably that innocence that stops it from being creepier, since we know Apti's not really gonna do anything more (well, we hope so anyway!).

Apti's rival is municipal boss Şakir, who tries eliminating his rival either by trying to get him fired, or giving him impossible tasks, so that he might win Hacer's affections instead. Despite his higher rank in the community, Şakir is himself a small cog in the system. Big enough to boss his underlings around, but not enough to use his status to win over Hacer, until he caves to her whims with a little attempted defenestration.

Hacer starts off nice enough, if a little detached, but as the film goes on we see her uglier sides, and she's a bit of an opportunist, cut from the same cloth as the rest of her family.

Kemal gives a well-remembered performance as a typical everyman, with comedic exaggerations, while Aysen Gruda is certainly meaner than usual! She's still cute in her distinct way, though gets more subtly bitchy and conniving moments. Şener Şen is an amusing presence, just as wild and angry as you'd expect. The rest of the cast does fine, and look Turkish all-round.

The music is nice enough, with some notable tracks, and a decent song or two. The lip sync can look a little off at times, although at least it's clearly still Sunal singing.

I rate Çöpçüler Kralı a bit higher than my last watch, and I felt I did understand certain things better this time round, but it's still not my favourite. Still, if it sounds up your alley and you don't mind comedies that are a little mean (this is hardly Crank or anything!), watch if you like...

Bekçiler Kralı (1979)

Şaban is a newly graduated member of the police force. He may only be a watchman, but he inflicts the full letter of the law upon any he sees, no matter how high. This earns him the admiration of the people, but the enmity of local businessmen and bigwigs. They thrive on corruption, and officers who do what they're told, but an honest cop could upset their apple cart. Can their efforts tempt or break Şaban, or will he upend the whole system?...

Bekçiler Kralı (King of the Watchmen) is a bit of a budgetary downgrade compared to the previous two entries, and has a slightly different feel. But it's a good movie regardless, and I liked it more than Çöp. The commentary is still there, with Sunal once again playing a symbol of society.

The story is a good one, simple but amusing. Our hero is a somewhat naive but eager rookie, who's accidentally privileged when a misunderstanding leads his bosses to think he's the nephew of the police chief. By, shock horror, actually following the law as intended, he becomes a hero to the people, openly stopping bad people and practices the authorities normally let slide under mounds of red tape. And since he's the chief's nephew, corruption of another sort has an unintended positive side effect!

Bek has good themes on how policeman ought to act in a just society, versus how they might otherwise act when bureaucracy stops them from doing anything meaningful. It's cathartic, if sadly unlikely, seeing these usually untouchable figures being succesfully challenged by this honest citizen.

The film also does have a (perhaps) unintended message, that following the law to the letter can be authoritarian, and that an occasional bending of the rules is necessary for a free society. Otherwise the cops breathing down your neck for the tiniest offense every single time could feel stifling, akin to a dictatorship. This message doesn't stick till the ending though, since Şaban never oversteps any bounds with us or the people.

Our hero's personality is fairly basic, in a good way. Policing takes up his whole life, and while those graduating him don't expect anything of note, he shows them wrong. With is trademark whistle he wanders around town in search of wrongs to right, and thinks on his feet, with effective, if disastrous consequences. He goes unopposed for much of the first hour, until the bad guys try taking him down a peg.

Şaban's love interest is nice enough. Unfortunately his idea of flirting is reprimanding her for legal violations, earning her ire. Eventually though she falls for him, just in time to step up and do the right thing.

The villains here are fairly non-descript. They're just random authority figures, who try bribing their problem away, then using his would-be girlfriend against him. The townspeople are likewise ok but nothing special. And of course there's Şaban's dog, who's a little cutie.

Aside from Kemal, the cast here is pretty unfamiliar to me. They do decently, even if there's no-one really distinctive besides the leading man.

Bekçiler Kralı is a pretty low budget affair, but works well within its means. Maybe this nature is why even the so-called 'Restorasyonlu' on Youtube looks pretty brownish and murky. It's be nice to see the movie get properly spiffed up, if possible.

The music here is a pretty good, and varied. There's a warbly and slightly deafening theme over the credits, some funky tunes throughout, including one with a reverse sort of sound to it (best way I can describe it).

Bekçiler Kralı is an alright film. I wouldn't recommend it unless you're already a fan of Sunal or Turkish cinema, since it's definitely on the more minor side of things, but it's still a nice enough time...

Gol Kralı (1980)

Bride-to-be Sevim is in trouble for her wanton ways, and tries impressing her family by seducing Sait, a clumsy and near-sighted but well-meaning millionaire. He falls head over heels, and decides to take up sports to impress her, and win her back when she throws one of her moods. But he may have much more on his horizon than one fickle partner, as he becomes a real sporting success, and may find true love along the way...

Gol Kralı (...Goal King, it's how it sounds!) is the last in this 'series', and brings it into the 80s. I don't know how deliberate the King motif was, but if I had to guess the first two were linked by the same creative team, and both Bek and Gol were just random films capitalising on the title.

Whatever the origin, this is a decent enough film. Sunal is a shoe-in for a sports comedy, with his weedy and gawky physique tailormade for an athletics comedy.

Despite the name, sports plays a surprisingly small role for the first half hour, though is still an omnipresent element in the background. Romantic shenanigans take up much of the runtime. It's not laugh-out-loud funny, but decent enough. The film's fairly low on the social commentary front, setting this apart from even Bek, let alone the more politically overt first two films. This isn't a big issue though, and the film stands well on its own merits.

 

Sait is a good protagonist. On paper it's hard to feel bad for someone rich and privileged, but he comes off as a humble, generous, and curious guy, and just happened to be born into a wealthy family. And he's pushed around and abused by others keen on taking his wealth for themselves, which makes him more sympathetic in our eyes.

Sevim is an unlikeable girl, trying to schmooze Sait at first, but after a certain point stops making the slightest effort, and breaks off the engagement for the most minor of reasons. Then she acts outraged when he finds someone else.

There's soon another woman in the picture, who turns out to be married! An increasingly desperate Sevim sees her as an obstacle, leading to a cat fight between the two, while an amused Sait watches on, and gives a sportsy commentary.

Sait's ultimate love interest is the short-haired nurse who helps train him, and they share disappointingly little time together. Pretty much their only romantic scene is at the very end, and we just assume they end up happy. It's a shame we don't see more of them, but the film does right by having the hero kicking the wrong girls to the kerb.

The last act is the most disappointing for me. Everything is resolved, but the execution left a little to be desired. After being sidelined, sport is finally at the forefront in the last 20 minutes. I expected there to be tension whether newcomer Sait can win the match, but no. He's just a genuinely great player, the crowds all love him, and he wins the final matches without much trouble. Not the most dramatically satisfying! The ending is nice enough though.

Sunal gives a performance that's mature yet kind. The girls here entertain in different ways, ranging from gorgeous yet bitchy, to cute. The remainder of the cast are ok, from grizzled old trainers, to stern patriarchs, young sportsmen, etc. Then there's the Turkish sports announcer, who rivals the enthusiasm of South American commentators, like "Abalarfflrrlrnvnfzzoiozizpo, GOAL! GOAL! GOAL!!!"

Gol King is another lower budget film, and handles these limitations admirably. You can tell how scenes were done, with the wide stadium footage shot separately, and the field scenes on off hours, or on a random green lawn, and it's zoomed in juuust enough to hide the seams, but not so much that it's taking the piss.

Gol Kralı is a pretty decent comedy. It doesn't totally live up to the promise of its premise, but is certainly watchable, and never annoying. As an ending spot for the 'King' series it's pretty random, but that's what you can expect for such a loose collection. The fact that it's good is the most satisfying ending such a series could hope for...