Dry Summer is a film of passion. A passion for water as well as the obsessive passion created by forbidden love. […] Dry Summer is a film of captivity… Authorities at the time objected to Dry Summer representing Turkey overseas, which presented all kinds of obstacles when the film came to the Berlin Film Festival. The film walked away with the Golden Bear, but before success could even be celebrated it was ‘taken captive’ and completely forgotten for the next 45 years. Today, in these times of intellectually dry summers, when greed is driving humanity to the brink of starvation, this film could hardly be more valid. Dry Summer is one of the most important legacies of Turkish cinema, and thanks to restoration it can be re-discovered by the next generations of audiences all over the world. —Fatih Akin, May 2008
NOTES ON THE RESTORATION
The restoration of Susuz Yaz used the original 35mm camera negative and the original 17.5mm sound negative and recaptured the black and white film’s tonal nuances. The film’s producer, Ulvi Dogan, provided the prints. An interpositive preserved at the Friedrich Wilhelm Murnau Stiftung in Wiesbaden was used for the negative’s last missing reel. The opening and closing credits, missing from all available sources, have been digitally reconstructed.
Born in 1929, Metin Erksan is one of the first Turkish filmmakers who saw cinema as an art form apart from a mass entertaining medium. Having studied art history in Istanbul University and being the brother of a little known director named Cetin Karamanbey, Erksan found himself at a very early age in a favourable position to combine film practice with aesthetic concerns. He worked as his elder brother’s assistant for a short while and made his first debut with the script of “Binnaz” (1950) shot for Atlas Film Production Company. As many other filmmakers of the era who took the seventh art seriously, Erksan worked as a columnist in papers and film periodicals before engaging in active filmmaking.
Metin Erksan’s first film as a director that also heralded the unique and controversial place he would later occupy in the history of Turkish cinema was ‘Asik Veysel’ in “Hayati” (1952). Telling the dramatic life of the famous blind poet and song writer Asik Veysel, the film was later… read more
A timeless tale of larger than life themes: love, betrayal, sibling rivalry, class struggle. This is a great movie; you can feel the dust of the earth in your mouth watching it. It's bold and expressionistic but also gritty and violent and sensual. And of course there's some utter suckling, too. Still, Erksan's other movies seem even cooler and weirder!
Winner of the 1964 Golden Bear at the Berlin Film Festival, Dry Summer is a tense story of love and betrayal with wonderful performances throughout. It speaks of greed through the microcosmic Osman, whilst presenting an allegorical argument against the capitalist ideal. Tender, violent and superbly written.
There are some interesting connections between “Hanka” (1955) by Slavko Vorkapic and “Dry Summer” (1964) by Metin Erksan.
Both take place in a rural community. In “Hanka” it is a village in… read review
A dark drama about the covetous nature of man and the self-righteous abuse of power that ensues whenever it is acted on. Osman, the antagonist, instigates every conflict with his lustfulness and kiniving… read review
Metin Erksan portrays brilliantly the feud between Osman, his brother Hasan, who vies for equality and moral judgment with the local water source, and their neighbors. The direction of this movie is… read review