The Bride, which depicts the struggles of a migrant Anatolian family to adapt to and survive in the very different conditions of urban Istanbul, is one of the best presentations of internal migration in Turkish cinema. It is also the first, and most accomplished film in Ömer Lütfi Akad’s celebrated trilogy, which with The Wedding (Dügün, 1973) and Blood Money (Diyet) has earned a respected place in world cinema for its thematic unity. The Bride masterfully exposes the evolution of ‘little Anatolia’ in Istanbul, a phenomenon that would go on to acquire far larger dimensions.
The streets of Istanbul are paved with gold – or so people believe… The Bride portrays the migrant mentality with disarming realism: the unfaltering determination to build a ‘present’ and ‘future’ in the big city, even if that means selling everything back home. And the exceptional performance of Hülya Koçyigit in the role of Meryem reinforces the pathos. Here is a film of ‘one-way’ journeys: we see the young Meryem … as life grows ever harsher; we follow her to the local factory, where she eventually signs on; we watch parallel developments in the family she married into. And their respective odysseys are central to the ‘great leaps forward’ of Turkish cinema at the beginning of the 1970s.
Akad uses the experiences of a provincial family as his medium for drawing attention to a period of disintegrating feudal relationships and burgeoning proletarianism. And this strikes the kind of political chord that is rarely encountered now in Turkish cinema; an approach that is borne out by the film’s ‘happy ending’. The Bride is profoundly impressive as a film that explores and comments on the painful period of change sweeping Turkey at the time, but also for its standpoint, a combination of social realism and socialist reality.
The Bride stands out for its economic perspective on the problems of the time, for its allegorical quality, its simple and well-structured narrative and a memorable soundtrack, which merely reinforces its realism. (-Ankara Film Festival)
Director: Omer Lutfi Akad
Ömer Lütfi Akad was born in Istanbul in 1916. He finished French Saint Jeanne d’ Arc School and Galatasaray High School and graduated from Istanbul College of Economics and Business. After working at Osmanlı Bank for a while, he served as an accountant in the Lale Film. He began writing plays for theater and films. He then worked as a financial consultant and film director in the Sema Film. In 1947 he started directing film with Seyfi Havaeri’s “Damga”. In 1949, Akad debuted as a film director with “Vurun Kahpeye” (Kill the Whore) an adaptation of Halide Edip Adıvar′s book. Akad attempted different kinds of themes: fiction (Tahir ile Zühre, 1951), detective story (Kanun Namına, 1952), adventure (İngiliz Kemal Lavrens′e Karşı, 1952), musical (Çalsın Sazlar Oynasın Kızlar, 1953), melodrama (Kalbimin Şarkısı, 1955), comedy (Cilalı İbo′nun Çilesi, 1957), documentary (Tanrı′nın Bağışı Orman, 1964), Anatolian folklore (Kızılırmak Karakoyun, 1967), love story (Vesikalı Yarim, 1968) and songs (Bir Teselli Ver, 1971).
Akad became one of the pioneers of the period in the “Director Generation”. The 1970s trilogy: Gerin (The Bride, 1973), Düğün (The Wedding, 1974) and Diyet (The Sacrifice, 1975) is considered his masterpiece. Afterwards, he withdrew from movie making instead directing adaptations for TV: Topuz, Ferman, Pembe İncili Kaftan, Diyet, Bir Ceza Avukatının Anıları, Dört Mevsim İstanbul. In 2009, Akad received an honorary award in the 16th Altın Koza Film Festival. He taught at the Cinema and TV Institute of the Mimar Sinan University.
2.13GB | 1h 27m | 1920×1080 | mkv