FOUR WOMEN IN HAREM

This film, created by Halit Refig -remarkable director of new Turkish film language in 1960s- and Kemal Tahir -novelist and drama writer who is deeply interested in Turkish history and structure of state-, is considered as a milestone in Turkish film history. The valuable character of this film lies beneath its complex structure which focuses on ‘Jeune Turks’, daily life and struggles in 'harem', differences between east and west and governing power of Ottoman Empire by the end of 19th century.

‘Jeune Turks’ -as the word ‘jeune’ means ‘young’ in French- are a group of young and educated idealist men who fight against Sultan and his regime for a free and better country. They are organized in France and Germany and try to settle western values and life style in Ottoman land. In this film, France-wing are the subject. They are supported by western states against the regime but as history unfortunately would proof by 1910s, the intention behind that strong support was in fact the collapse of Ottoman Empire.

There are three women in harem belonging to Pasha, number of whom will turn to four in near future. Naturally, these three do not like the newcomer. And due to the imbalance of spouse-ship three to one, two of these women have developed a lesbian relation in between.

Differences between eastern and western life style and culture are stressed in every scene; by the French female tailor at home, night for New Year’s Eve, point of women in harem for concepts like democracy, freedom and women rights, for instance; also we can easily hear almost in every word of ‘Jeune Turk’ Dr. Cemal.

Governing authority of the state is squeezed between Germany, Britain and other European powers, trying to achieve a balanced foreign policy. Two pashas closed to Sultan are in a competition to be well-liked by Sultan and subject of the day is a project to be taken by Germans or the others.

With its successful symbolism –i.e. every character and every word signifies something noticeable in Ottoman social and political history-, carefully calculated camera usage and cuts, that film is considered as remarkable compared to former others.

Hande Sevilla / March 2005, Addis Ababa