The Hopeless Ones (Umutsuzlar)

The Hopeless Ones (Umutsuzlar) (translated)

Movie · 1971 · 8 people

Yılmaz Güney both wrote and directed Umutsuzlar ("The Hopeless Ones"), a Turkish film in which he plays the lead as Fırat. Released on 1 December 1971, the colour production from Akün Film tells the love of a tough guy and a ballerina through emotional drama, action and musical touches. It reunited Güney with Filiz Akın for the first time since Prangasız Mahkumlar (1964); the two acted together in only two films in their careers. Umutsuzlar is counted among the more important titles in both artists' filmographies, and it was also Hikmet Taşdemir's first screen role.

At the centre of the story are Fırat, one of Istanbul's best-known tough guys, and the ballerina Çiğdem (Filiz Akın). They are in love, but the business Fırat runs keeps them apart. Unable to bear the separation, Fırat tries to create moments when he and Çiğdem can be alone. Meanwhile Tahta Bacak (Kazım Kartal), who has his eye on Fırat's position, waits for the chance to get rid of him. The cast also includes Hayati Hamzaoğlu, Nihat Ziyalan, Memduh Ün, Tuncer Necmioğlu, Şükriye Atav, Leman Akçatepe and Hikmet Taşdemir as Parmaksız.

The producer was İrfan Ünal, the music is by Yalçın Tura and the cinematographer was Gani Turanlı. Sources give the running time as between 87 and 91 minutes.

DirectorYılmaz Güney
Production companyAkün Film

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Cast

Also in the cast: Nihat Ziyalan, Şükriye Atav

Through different eyes

Yeşilçam Nostalgic A viewer raised on the classics, looking for warm storytelling and strong acting.

Seeing Yılmaz Güney and Filiz Akın on the same poster is a gift in itself for anyone who loves Yeşilçam, all the more so since the two acted together in only two films. A tough guy in love with a ballerina may look like a familiar mould on paper, but in this story, which Güney both wrote and directed, it is the ache of a love kept apart that comes through. Yalçın Tura's music carries much of the feeling. The sentiment may feel heavy to today's audience and is best read in the language of its time. For eyes raised on the classics, it is one of the rare meetings of two great performers.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

In Umutsuzlar Yılmaz Güney wears three hats at once, as writer, director and lead, which invites you to read Fırat at the centre almost as a self-portrait. The attempt to combine emotional drama, action and musical touches is interesting, but the mix can make the shifts between genres abrupt; melodrama and the crime world do not always move to the same rhythm. Tahta Bacak lying in wait draws a line of tension through the story, yet the film's real weight lies in the two lovers' struggle to be alone together. Watching how Gani Turanlı's cinematography and Yalçın Tura's score build the atmosphere is a point of interest of its own for anyone curious about Güney as a director.

Action & Thriller Fan Puts pace, tension and set pieces first; little patience for slow drama.

Tough-guy turf, a rival lying in wait, a fight over position: on paper there is plenty of material for tension. Tahta Bacak eyeing Fırat's place gives the story a real threat. But the film's focus is mostly love and the pain of separation, so if you are waiting for clashes the emotional scenes may outweigh them. Still worth a try if you want to see Yılmaz Güney's hard-man charisma.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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