Only for monsters

2022.04.09 04:00

Did we like Uysallar because it triggers emotions? Of course, that wasn’t the only reason we skimmed through the chapters without taking our eyes off them. The main reason was its strong connection to reality and the comfort of the creators’ cry.

Only for monsters


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Me, a scholar who is now forty, and me, who is a forty-year-old film writer, and me, who went to meet his friends in Köprüaltı Kemancı or Abdullah Sokak or Sirena or Haydar, ripping the mark off my jacket in jeans and drawing a peace sign on the back with wall spray, and the Istanbul underground punk scene of the time. I watched Uysallar with my wife, who is As individuals who had read and memorized The Steppewolf of Hesse in the 90s, it was perhaps a bit too much of an inner journey in some ways, unlike most . Those who rebelled against social impositions in the youth of the 90s will understand. Many rebellious souls who began life with literature and music accompanying the pains of existence have left us prematurely, some have gotten lost down the rabbit hole, and the majority of them have become part of the system. Did we like this series because it triggered all these startling emotions and thoughts? No, that wasn’t the only reason of course, that’s why we reversed the episodes without taking our eyes off them. In fact, it wasn’t the first time we’ve seen a production that has done this. The main reason was that the Uysals had a strong connection to reality and the real scream that erupted from within their creators was very pleasant to hear.


Oktay (Öner Erkan), our mature protagonist, is a character who wanders in despair and melancholy, in a world where he is not having fun, in a state of anxiety and futility. He is a homeless and lonely wanderer, even within his family, to the point where his suppressed anger meets his sense of alienation. With the fog surrounding him and him, Oktay’s turn to a quarter-surreal semi-real path, we are also subject to the prisons of the body, soul and spirit of every character in the story. . Oktay’s confrontation with himself and the repressed aspects of his personality is, on the one hand, the “Magic Theater” of Harry Haller. Not everyone can enter. For madmen only!” He actually stands in a place like seeing his neon sign and walking in. But at the same time, the show has other issues besides finding identity and confrontation. See the changes in society from a point of view close to critical realism, keeping the public in close contact with reality, not taking the public to the depths of its spirituality. In doing so, its assertive structure which does not compromise on aesthetics, unlike the socialist realism, brings it to an advanced level in the cinematographic sense. Onur Saylak has a cinematographic language close to art cinema but does not abandon classical narration. In fact, the language of Onur Saylak, which stands between- time, is a parallel situation with the pen of Hakan Günday, which can be included both in underground literature and in mainstream literature.In my opinion, the secret of the successful conclusion of the case arising from the cooperation of the two lies i this. Saylak’s construction of its narrative language and its more symbolic staging than the classic is more than a mechanical choice. This choice of the director is positioned in a courageous place, linked to the fact that he wants to see the scene he imagined in his head from his camera, as if he were ready to lose the general public.

Lost in self search

The drama, which has a very intense dramatic action, tells the thoughts and feelings of the times we live in, through the inner worlds of its heroes, with quality dialogues and understandable metaphors. If we add that the characters, especially Oktay, deal with the problem of identity from the point of view of social psychology and philosophy, it is possible to see how much pleasure the ironies of his story provide. Conceptualizing it in our lives, such as the smell of bureaucracy on Berhudar (Haluk Bilginer), Mert’s (İbrahim Selim) worries leading to the paranoia of the existing political atmosphere, Nil’s (Songül Öden) struggle with the concept of beauty, which turned into aesthetic value after the 18th century. It is possible to find many more things than we have discussed. In the breathtaking speed of the growing capitalist appetite, it is not possible for a person not to get lost. In this case, “Who am I?” It should not be denied that the individual seeks answers to the inner world of the person who develops after post-modernism from his own socio-economic and cultural framework. One of Uysallar’s messages that I find most valuable is Oktay’s “…I didn’t come out shouting a slogan. I don’t know, I didn’t carry a banner… I didn’t protest anything in this life,” reads his self-criticism. Oktay’s departure is made against unprinciples in an apolitical way, as those who are lost in their endless search for self are unaware of the great troubles of the society and the world in which they live.


Uysallar is one of the top three TV series made in Turkey. Although it is easy to understand at times, it is a difficult task for people who have not gone through a certain state of emotion and thought. Thanks to Uysallar, we have once again seen how important actor management is and what our actors can do with a good director and a good script. However, I would like to highlight one name in particular and congratulate Durukan Ordu. As someone who knows the Moloz very, very well, I watched in amazement as the Ordu captured and resurrected them in the right place, and found it hard to believe that Moloz was a fictional character for a long time. I love stories that lead the audience to salvation. For this reason, my favorite character in the series is Moloz (Durukan Ordu). If it was understood that Oktay could not be released in the order he had established in the solution of the problem to find or surrender? -, a way was found with Fevzi, but the most unique solution was presented through Moloz. I think the punk culture in the show is used as a stimulus and that preference is actually a nice sum of rebellious youth, especially from the 90s, made up of metalheads, rockers and hippies from Istanbul and Ankara. This is why those who put the show to the test of punk culture are in vain. Anyway, let’s not be too serious, “…Seriousness comes from overestimating time. I also once overestimated the value of time in my eyes, I had a desire to live a hundred years in my heart. In life, you know, time doesn’t exist; what we call eternity is but a moment…”*

*Hermann Hesse, Steppenwolf

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