hoarding nature
by Douglas Messerli
Metin Erksan, Kemal İnci, and İsmet
Soydan (screenplay, based on a story by Necati Cumalı), Metin Erksan (director)
Susuz Yaz (Dry Summer) / 1964
The Turkish film Dry Summer features an outright
old-fashioned villain, Osman (Erol Taş) who suddenly one day maliciously
decides to damn up a spring on his property, the source of water for his
tobacco-farming neighbors as well.
His more handsome and caring younger brother, Hasan (Ulvi Dogan) attempts to dissuade him in his decision, explaining that such an act will surely go well with the neighbors and the community at large. But Osman refuses to listen, and goes ahead with his plan. The younger brother, Hasan, and his local fiancée Bahar (Hülya Koçyiğit) have little choice but to go along with him.
Rather than accept the natural world in which he lives, Osman has
determined to steal what the villagers describe as “earth’s blood,” holding
onto the natural resource for use only on his own land. Obviously, in attempting to go
against the dictates of the natural—the water naturally flows from the spring
to the farms below—Hasan’s prediction comes true: things do go terribly wrong.
At first, the locals take Osman to court where they win, the damn being
removed by authorities.
But when Osman countersues, and the verdict is reversed by a higher
judge, the same authorities are forced restore the small, home-made damn. As
their crops shrivel up in the title’s dry summer, the neighbors take things
into their own hands, moving towards Osman’s spring en masse; amazingly he battles them off. But when later a couple
of the men return to remove the damn, he demands that his brother join him in
shooting expedition that ends with the death of one of the men.
In this fable-like story, the innocent is sent to prison, while the greedy brother remains at home to tend the farm and lust after Bahar. When she and Osman attempt to visit Hasan in prison, we discover that Hasan has been sent to another prison, further away. And soon after we discover that Osman has been ripping up his brother’s letters instead of passing them on to his wife.
Like a hungry panther, Osman circles
Bahar, watching her undress through a slat of wood, intensely staring at her—at
one point, while milking a cow in her presence, sucking on the beast’s tits—
and finally touching up against her, ready for the rape. When she finally hears
that Hasan had died in prison, she gives in to Osman’s demands.
Hasan, we discover soon after, has not
died, and upon being given his freedom is warned by a lawyer to lay low.
As I have suggested, there is a fable-like quality to this work; and it
ends in that magical world: Bahar has not been killed, but only wounded, and is
carried to safety by her husband.
Erksan’s work was highly influenced by Italian neo-realism;
yet, with its surrealist-like images and fabulist trappings, it is a great
statement of Turkish cinema, winning the Golden Bear Prize at the Berlin
International Film Festival.
Never before had a Turkish product
been so highly awarded, and one might have thought that this film would have
led to a new level in Turkish film-making. But its very success caused a huge
uproar among other film directors for the government to permit the showing of
European and American works, resulting in a near abandonment of serious local
filmmaking. Only in his last years of his life did the director—who was
censored and finally left the film industry, producing primarily TV work—see his
1964 film restored and his countrymen giving new respect for his and other
Turkish film pioneer’s works.
At 83, Erksan died this year (2012) of complications from kidney
disease.
Los Angeles, November 21, 2012
Reprinted from World Cinema Review (November 2012).
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