Kadir Savun. Geboren: August ; Verstorben: Oktober Weitere Infos: TMDB Profil · IMDB Profil · Mitgespielt (2). Foto of kadir savun for Fans of Yesilcam Kadir Savun ist ein Schauspieler. Entdecke seine Biographie, Details seiner 36 Karriere-Jahre und alle News.
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Kadir Savun Kadir Savun Birthday and Date of Death VideoKadir Savun,Erol Taş efsane diyalog 'Bir şeyler yapmak lazım' Kadir Savun ist ein Schauspieler. Entdecke seine Biographie, Details seiner 36 Karriere-Jahre und alle News. Entdecke die Biographie von Kadir Savun, seine ersten Schritte auf der Leinwand und Höhepunkte seiner Karriere. Hulusü Kentmen Kadir Savun. Gefällt Mal. değerli sanatçılarımız ağır abi tatlı sert tonton dede rollarının adamı hulusü kentmen ve kadir savun. Profile von Personen mit dem Namen Kadir Savun anzeigen. Tritt Facebook bei, um dich mit Kadir Savun und anderen Personen, die du kennen könntest, zu.
Born: August 15 , in Ergani, Diyarbakir, Turkey. Died: October 10 , age 69 in Istanbul, Turkey. Quick Links Biography Awards Photo Gallery.
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Sheikh Ahmed's Grandson Actor. Görünmeyen Düsman Kaptan. Academy Award winner Marlee Matlin reveals how she felt the first time she ever saw a deaf actress on television and discusses the importance of authentic representation on screen.
The film deals with the migration from the village to the city with a realistic narrative. The immigration phenomenon described in workers' hands in a factory refers to both the modernization process in the period and the unionization.
Hacer emigrates to Istanbul with his father, two children and his wife. Her husband left her and she was a helpless. Hacer was influenced by the union of the working factory, who owns the crippled friends.
Hacer thought very much about to traditions versus modernization. It is the last of the film of director Ömer Lütfi Akad's Bridal-Wedding-Recoup trilogy.
And it is still the inaccessible film of Turkish cinema history with its movie theme, cast, and acting success. Written by by ekrem akdeniz. Set in the half-built world of mid-Seventies Istanbul, DIYET tells a familiar Yesilcam story of a married woman Hulya Kocyigit falling in love with another man Hakan Balamir and wanting to set up a new life together.
They envisage a world free from care, where they can enjoy building a new home with a garden where their stepchildren can run happily around without running the risk of being mown down by any of the traffic that dominates their local community.
Unfortunately the passage of true love never did run smooth. Both work in a factory overseen by a self-interested supervisor Erol Tas and an equally obnoxious boss Erol Gunaydin.
They force the workers to complete unreasonable shifts during night and day, with little concern for their welfare. Inevitably one of the workers gets hurt, as he falls into a machine and is paralyzed.
The workers' response is divided: some of them decide to join a union, others prefer to continue working like Trojans for fear of losing their jobs.
The two lovers become embroiled in the conflict, and eventually love and loyalty prove irreconcilable. Shot on a low budget in the suburbs of Istanbul, DIYET portrays a working-class world of small communities whose women have to combine domestic duties with full-time work, and the men have to help out.
Their offspring run happily round the streets, taking pleasure in such innocent baubles as balloons and paper windmills no computer games here! This world would be safe and stable enough, were it not for the fact that many of its people are readily exploited by the capitalist bosses, who make strenuous efforts to suppress any union initiatives.
Such paranoia has been characteristic of Turkish labor relations for decades now; it seems that no one, especially those in power, can contemplate the idea of encountering collective resistance.
The photography by Hurrem Erman uses some repeated close-ups of the machinery in the factory, with the actors standing behind, to show how people's lives have become so automated that they have little or no power of self-determination.
The union is a good idea, despite what the bosses think, if only to provide individuals with the kind of security that is conspicuously absent from their working lives.
The ending, although tragic, reinforces the point. DIYET contains most of the stylistic devices characteristic of Yesilcam - music, sudden zooms into the characters' faces to heighten the emotion of a scene - but it has an edge that makes the film refreshingly watchable.
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