Fire (Yangın)

Fire (Yangın) (translated)

Movie · 1977 · 4 people

Ahmet Üstel wrote the screenplay for Yangın (Fire), a 1977 Turkish adventure drama directed by Atıf Yılmaz. It is a Yeşilçam adaptation of an episode of the foreign television series Petrocelli from the 1970s, and runs 82 minutes. The film opened on 1 April 1977, and was produced by İrfan Ünal for Akün Film. As the last film of Ayhan Işık, it holds a particular place in Turkish cinema history.

Ayhan Işık plays Selçuk Ünver, a stern public prosecutor devoted to his principles. Necla Nazır plays his wife Nevin, and Fikret Hakan is Kenan, the childhood friend who visits the couple after seven years apart. The reunion is cut short when Kenan is held over a robbery in which two people died. Selçuk believes in his innocence, but the police file reveals a past full of armed raids, gambling and smuggling. The story turns on Kenan's devotion to Belkıs, a young woman who is the lover of a heroin smuggler, and tension climbs until Nevin is kidnapped. The cast also includes Gönül Hancı, Kenan Pars and Tugay Toksöz as the police commissioner.

Erdoğan Engin shot it. The score borrows pieces by John Williams from Earthquake and The Towering Inferno.

DirectorAtıf Yılmaz
Production companyAkün Film

Reactions

You can pick up to 3 reactions.

Cast

Also in the cast: Gönül Hancı

Through different eyes

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

Being Ayhan Işık's last film gives Yangın a particular poignancy. As Selçuk, the prosecutor who will not bend his principles, he shows once more the dignified bearing audiences loved for years. His childhood friendship with Fikret Hakan's character is the real heart of the story: a man caught between faith in a friend and the pursuit of the truth. Necla Nazır brings a graceful warmth to Nevin. The script gives in to adventure formulas at times, but for anyone who wants to witness the close of an era it is a film worth having.

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

A deadly robbery, heroin smugglers, fights, ships and a kidnapping: on paper Yangın is a full thriller package. On one side a prosecutor who believes in his friend, on the other a dirty record, and that dilemma feeds the tension nicely. You do have to allow for seventies pacing, though, and some stretches may feel slow to modern eyes. The way the tension climbs towards the end is good work.

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

Atıf Yılmaz's name alone sparks curiosity, but Yangın does not look like one of his more personal works. It is adapted from an episode of the foreign TV series Petrocelli, and that source seems to have seeped into its structure: a case file, a suspect friend, a crisis that escalates step by step. Ahmet Üstel's script is functional but leans on formula rather than surprise. The real problem is the music: a score built on borrowed pieces from John Williams's Earthquake and The Towering Inferno makes it hard for the film to find a voice of its own. Still, Erdoğan Engin's camerawork and the seaside atmosphere give it some texture. As Ayhan Işık's final performance, it earns its place of interest in film history.

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

Reviews (0)

Log in Log in to write a review.

Comments