NEWSLETTER FROM LONDON NUMBER 13.

Full title: A Man Reading (Saint Ivo?)
Artist: Workshop of Rogier van der Weyden
Date made: about 1450

 August 2018

So I'm nearly at the end of Mrs Fazilet and her daughters now. Watching a Turkish series is like a metaphysical experience. Since each episode is just short of two and a half hours long. And the series averages 50 or more even, episodes. 

You need the patience of a Saint to watch Turkish series. Leaving aside the more recent 2017-2018 new series on Netflix. The more recent series are faster paced and shorter.

However I think I prefer the more classic Turkish TV dramas of the time period of the ones I have watched.: which is roughly 2013-2017/2018. I reckon. I would have to check: this was my list anyways..

In rough order: 
Nb. All Netflix shows were watched in the United Kingdom.
Postcript author's note added later, March 2022: I have annotated an 18 rating to the more recent, modern Turkish shows on Netflix, that have scenes of severe violence in them: as this is not usually the case in the regular/classical Turkish series.


Filinta. Netflix. (No translation as Filinta is the name of the hero). Ezel.(no translation into English as Ezel is the name of the hero). Intersection/Kordugum. Winter Sun/ Kogaicsi.Netflix. Kacak/ The Fugitive.Series One on Netflix. Bu Sehir Gelenden Gelecek/ In The Heart of The City. Online sites. Cesur Ve Guzel/ The Brave & the Beautiful. Online sites. Siyah Biyah ask/ Black & White Love. Online sites. Ask Ve Ceza/ Love & Punishment. Online sites. Kara Para Ask/ Black Money, Love. On Netflix. Ozunboyan/ Black Heart. Netflix. But only has six episodes-was cancelled. 20 Minutes/ 20 Dakika.On Netflix.Rated 18. The End/Son.On Netflix.Rated 18. 46/ Yok Olan. On Netflix.Rated 18. Beni Boye Sev/ Love Me As I am. Series One, Two & Three. On Netflix. Mrs Fazilet & Her Daughters/ Fazilet Hanim ve Kizlari.Youtube/ Online. Istanbul Bride/ Istanbul Gellin. Online sites. Gonul/ Memories of Hatirla
. Netflix.


Would like to see but not translated:
(at the time of writing-this may now have changed)

Broken Pieces/ Paramaparca.
Kacak/The Fugitive-Series Two.
1001 Nights/ Bin Bir Gece.
Istanbul Bride/ Istanbullu Gelin. Series Two.
August 2018 Continued.
Newsletter from London Number 13.
OK so The Bridge after apart from a handful of exceptions, a complete glut of Turkish dramas: was very weird indeed. In comparison. Yes, The Bridge was very very odd after watching Turkish dramas for literally months and months on end. You see The Bridge is like the complete opposite culturally and emotionally as in the antithesis to the Turkish dramas. I have become so used to the hysteria of the emotional outbursts in Turkish shows. Well hysteria by Western standards. I have realised from watching Scandinavian dramas, Swedish, Danish, Icelandic and Finnish included, that all of those dramas show characters with stiff upper lips, like the English.

The humour and acerbic sarcastic sarcasm present in the Norwegian series Varg Veum is an example of an understandable culture of humour to most Europeans and or Anglo Saxons. Am I allowed to say that. I'm not sure.
PERDIDA Netflix. So I just watched a very odd but stylish Argentinian film on Netflix originals. I haven't watched a film in absolutely ages. Well apart from the beginning of a Turkish film. Which was also a bit strange, but interesting However it had the heroine from at least three different Turkish dramas in that I have seen. And I just find her severely annoying. Beautiful. Yes. But annoying. Perdida was stylish and atomospheric in its setting, especially in the beginning. If a little too officially glossy and laden with cliche's for me. There was a kernel of a good story within it which unfortunately devolved into ludicrous VHS Video 90's schlock. Those plastic boxes with the alluring covers. Promising nefarious things. That never happened. They usually involved a brave and sexy heroine. Often in a strange Leotard top. But I digress. I loved those videos actually. Howver in the case of Perdida, it was a new Netflix film, an original I believe and mostly I have been watching (2017 going backwards to 2015 or earlier in date) Turkish dramas. I have noted in my previous Newsletters that Netflix shows were succumbing to propaganda.



Approximately September 2018

DEADWIND.

In Swedish with English subtitles.
Netflix in the United Kingdom.




DEADWIND Series One & Two. Netflix in the United Kingdom. So I stupidly watched another Scandi-Noir series: this time on Netflix. Deadwind is set in Finland, which I kept having to remind myself, was not Iceland. it's just that the scenery was really reminding me of the front covers of a Detective series set in Iceland, starring a sardonic Detective. But I digress. That would have been Reyjkavik in Iceland whereas Deadwind is set mainly in Helskinki, and the surrounding countryside: farms, isolated country houses.
Here, there is a house on an island. No popping up to the shop for something there then.
This distribution, of lots of apartment high rise blocks in the cities and larger ones in the country, is reminiscent to me of the Wallander series set in Sweden. Is all of this because I have happy memories of my Scandi-Noir Library book reading phase. Enjoyable mysteries prone to having informative maps of the areas in the story: like Greenland for example. Wonderful stories often set in the present day but linked with an historical tale.
So Deadwind was enjoyable overall.Mind you I nearly ditched early on but the appearance of the offically cultural new partner in the form of an excellent actor playing an Italian Financial Crimes Unit Detective: was a welcome bit of life. In the soulless, emotionless dystopian world. In which the grieving, ever tousled and forever beautiful Detective lives
. I delved back into Scandi-Noir after watching Turkish drama series (continuously); which was very weird indeed. I mainly watched Deadwind for Finland and the rookie Detective. Otherwise the heroine was increasingly watcheable as the driven uber-feminist Homicide Detective, of course.

Cliche's ensue. I was almost chuckling inwardly to myself as I realised all my joking proposals that I predicted for themes in this Scandi-Noir offering; had all been ticked off. Amazing. It's like Bingo.
Sorry, correction: Fin-Noir. Yes, hilariously, all the boxes were ticked off. And more. Still, I carried on watching Deadwind as a journey through Finland, some excellent acting from all involved and an enjoyable murder mystery. However the propaganda quotient was a 10 out of 10. I spent some time confused that the Detective's daughter's dialogue was translated as "he". But she's a girl, with long, very long curly blond hair. And is Emile a girl or boy's name? I wasn't sure. Then I decided they must have translated it wrong, like they do with gender pronouns in Turkish series sometimes. However later, after finishing Deadwind, it slowly dawned on me, Emile was a boy. I suppose it was meant to have been sign-posted for us, I realised; since they showed Emile playing football computer games and a shootout. But me, I thought nothing of that playing, either way. But clearly, I was meant to. What a bore. So it was the propaganda that was rigid. As it always is. This realisation didn't change the drama much for me except for then wandering if him being a boy was why his mother seemed fairly unbothered when he went missing, briefly. But then that really would be gender specific treatment, wouldn't it. I give up. Maybe Finland is really safe. Me, I kept looking at the frozen to half frozen lake, that forever seemingly lay, on the left hand side of the scene. Just a few yards away. With no fencing. But I guess they are used to it there. However Emile being a boy did then put a different spin on his Mum telling him to get into bed with his sister. His Stepsister.

The poor kid was getting nightmares and phoning his Mum up in the middle of the night. When she was off on yet another madcap escapade, alone. Again. A dangerous excursion without letting anyone know. On reflection later, the nightmares take on a more sinister aspect. I should say no more.
Even though the final reveal was a bit underwhelming. I had guessed who it was from the begininning. They kind of ruin the forensic puzzle by even missing that out too: as they throw in last minute changes to clues, oh well.

None of this really matters of course now, as the story serves the politically correct tick boxes: ie the tiresome every present propaganda.
So because of all this and knowing how the entire construct of the series is that men, or more specifically the ever maligned local men, are evil:
So that knowledge of that inescapable dogma of the evil patriarchy so to speak: means that along with the puzzle of the whodunnit being sacrificed at the altar ofpolitical corect themes, you can pretty much guess who did it too. All on the basis of man hatred, Well we can rule out 50% aproximately, of the population for a start. I did get an initial shock, on first watching Deadwind. In fact a culture shock. I found myself comparing the two depictions of forms of State. Or States. The family as State or the State as family. That is, the classical single parent in Finland. Then there is the family first, then the State. Or family and state. But in that order. That is the Turkish dramas. I was like: where are her parents? Or where are her (ex) husband's parents. Why haven't they come to stay? They always do in Turkish dramas. They would have arrived forthwith and come to live with her to look after the children. And fuss. And nag. And cook. And start talking to the neighbours and friends. But I digress. Oh yes, the family or friends would have accompanied her to all serious events and places: hospital, Jails, Court Houses. Graveyards. Everywhere-pretty much. Whole groups of people will wait outside that glass sliding door of the operating theatre room: in Turkish hospitals. They will wait for days. Taking turns. Yes, noone went with her to any serious events, nor did she experience any of these events, properly. As in beyond zooming in and out of that place, superficially emotionless. All the time. Basically. I guess the Homicide Detective is always in a hurry. We get it. All of this I have described I have only noticed in comparison to Turkish drama series. I might not have noticed these aspects so much before. Before I defected from the propaganda. But I still would have noticed them. Deadwind was enjoyable for the metaphorical journey through Finland and the eponymous rookie sidekick. The heroine, whilst increasingly watcheable throughout: is an uber-feminist in this souless dystopian dross. The entire drama is carefully and deliberately configured to portray and confirm: that basically, men are evil. Yep, prone to murdering their partners at the drop of a hat. This statement is repeated several times throughout. A Cop cheerfully declares: All a Finn needs is a bottle and his knife in his pocket. And so it goes on. Yes, as per usual. Nb.Author's postscript 22nd of March 2022 Deadwind series Two-a small paragraph goes here-however i cannot find it!
This will be inserted at the end of the above review, once found.



Approximately October 2018.

MYSTERY ROAD
BBC 4

So I dared to delve back into the world of BBC Four/4 showing Mystery Road mainly because it was set in Australia, possibly the Outback.Which I love to see.

I can see the Australian Boradcasting Service/ ABC in the credits so I know that this is the Australian equivalent of the BBC. I don't know that for sure, but I am guessing on the basis of previous output from the ABC. It is classic BBC propaganda. However the Outback beckoned..


So the scenery is stunning and the sun bakes down. The Aboriginal Detective wears a cowboy hat, jeans and denim shirts. And Judy Davis sizzles in her part.

But then Judy Davis always was brilliant. I did question whether her general cocky man-like stance was a little exagerated as in overacted even. For her character. Like she was the officially poor little woman trying to assert her authority in that ever evil patriarchy. yawn. Like she wouldn't have figured that out by now. Mind you she was a bit wee in size standing next to some of the men. I'm just so bored with this woman stuff. Just get on with it. But I digress.

Still, it's Judy Davis. And the Detective, though a bit glum of face close-up and consequently a bit hard to read, gets away with his general dead-pan air on account of a solid screen presence.

OK, I mainly like a guy in a Cowboy hat. To be fair. Oh and Cowboy boots. And a moody stare.

However apart from the usual tiresome negative small town fok stereotypes: an icky piece of moral relativising on a usually taboo subject soon appeared. As a theme inherent in a storyline. (or two). Compare and contrast if you like. I am trying not to be too spoilery.

Basically the usual bad guy but not really bad guy because x, y, z. Or they happen to be a a designated role model of identity politics. Pretty much. Yawn.

When I say taboo, I mean a class of bad guy that is usually exempt from all the above qualifications. Or excuses. Although in this case the person has attributes of some of them. Of course.

I have seen signs of this area of taboo busting before, in a series of (BBC) The Missing. Where the drama showed us sympathetic well superficially sympathetic perhaps, but impartially offered support might be more corect: of this type of offender. Strange. Maybe this is the next big thing.



October 2018.


ULTRAVIOLET
A Polish series with English subtitles.
On Netflix in the United Kingdom at the time of watching.

So I thought I would try something different. Test the rest of Netflix (apart from Turkish dramas): for propaganda. How far has Netflix gone?
To the dark side..

I have tried. I really have. Lately. Deadwind, Then Borderliner. I had to give up on Sniffer series Two: sadly. It was the eponymous hunting scene which did it for me. And the little Squirrelly, roasting on a spit, on the evil hunter's table. Of course: the evil hunter stereotype. Don't tell me, in a minute he will hit his wife...and he did.

They ruined Sniffer. Yes, at one time I would have thought boo hiss, evil hunter (man) too. Now I just think its a caricature of the evil small townsfolk stereotype. And I reject it.



A heroic woman taxi driver is the eponymous woman/heroine. A Polish sort of amatueur sleuths en masse online: join improbably with the Homicide team. Just from pure noisiness really. A wee bit Stalinesque in all. Propaganda tropes ensue by episode three.

Unfortunately reminiscent of a car advert for millenials. The sort of Ad which, like some drama series, includes the use of a mobile phone and computer as part of the action. As a character almost, that is visibly shown as that character as technology if you like: is both part of life and makes that life better and easier.

I find the computer and mobile phone aspect in modern dramas a bit tiresome really. After the intitial OK it's cool and enjoyable for a while feeling.

The focus on technology like it was a force in itself magically creating action and solving problems, like it was a charatcer itself is, objectively speaking odd and overblown as a premise to me.

Plus the ever present seemingly, held up filming mobile phone of the main character. The usual blank-faced heroine. Though engagingly watcheable.

When the cliche's come a calling however, the use of the voyeuristic watching and filming mobile phone: is used to pile on yet more cloying judgemental tones to the scene being filmed in real life.

Because the amateur sleuths have all joined together online to help the Police. All jolly and wonderful. I suppose. But mainly they are doing this out of pure noisiness and dissatisfaction with the job done by the Police, on a particualar case for example.So they basically inveigle themselves both technologically and physically: into the Police Homicide Squad. In that city. Without any vetting or entrance procedures, or exams. Bingo.

They are like the invisible and then not invisible, super cool hipsterish sleuth team. Made of up the Neighbourhood Watch: they're just not wearing those scary high viz/visibility yellow sleeveless jacketes worn these days by those who must keep them in a drawer.





Yes, I have watched several series now as just as a travelogue really. It is tiresome now that I can guess the outcome.

Watching Turkish dramas spoils you for other dramas because they have a proper build up to the story, the characterisation of the characters, explanations of their emotions and you get wonderful music too. Well one episode is 2:22 minutes long! As against the inexplicable deluge of emotions in scenes in other dramas.








October 2018

THE FOREST
On Netflix.

The Forest was faily atmospheric if a little lurid in lighting and flavour at times. In that I was distracted by the annoying overacting of the officially fearsome Woman Detective: mainly because she pinched the show and the limelight from the ever excellent and smokily smouldering, Captain Decker.

Proaganda quotient: High.

Eponymous fearsome woman detective gets a pass on being hysterical, angry and violent and withholding information from the case. Unprofessional. All due to personal woman related problems. Saving other women or taking care of other women. Or girls.

Nb. There might be a lone brother to the sister in dramas, but he is never the victim: or the hero. The girls are. It's all about the girls, the daughters. Yep: completely and utterly woman centric.

Oh yes and men are nasty, evil and brutish. They are the evil, mad murdering (prone to) rapey patriarchy. That the women are forever battling, Amazon-like and warrior-like against. In their own minds. Of the men-haters. The misandrists.



October 2018.
THE CHALET
On Netflix.

Well I started watching The Chalet as a default back leap so to speak from my latest Turkish TV series: Can't Run From Love. However I discovered that Netflix only has the first series: of 24 episodes. And Wikpedia says there are 43. You have to be extremely quick and swift on Wikipedia, when looking up Turkish series.

Since they, Wiki or whomsoever, have a terrible tendency to blurt out the whole plot. Just like Turkish drama review websites, just in the description of the synopsis:of the story. If this isn't enough: the copious comments below, all are full of spoilers. So are Facebook groups too.

I have had two series ruined by Wiki descriptions. I won't say which ones. Theoretically one could argue that it's spoilery mentioning the spoilers. Ad infinitum so to speak. But I digress.

All this is hard won knowledge of the ongoing story of watching Turkish TV/ Television series: or more correctly, finding them, choosing them researching them.On Youtube & various sites online. And wishing Netflix just got the whole set of series. Pleeez.

Yes, I digress. The Chalet. Well I was faltering at continuing to watch the Chalet, by the time a girl locked herself in a cupboard and screamed. Sounds so simple, doesn't it. But it works. Well things have been getting weird for a while there, already..

I note that The Chalet's opening credits is very similar to that of the opening scene of Wayward Pines, the model village. I could also mention a certain model train set, in a Turkish gangster series, but I won't.

The Chalet is increasingly creepy. Seriously sinister in fact. I might even have to ditch and that would be a first for me. Oh wait, A Year In Havana. I just leap-frogged out of a Year In Havana. That was Netflix too.

Soon, all or most of Netflix will fall, to the propaganda. Theoreticaly speaking of course.

This slow creep of message-laden morality plays for today, marches on. This sad fact is why I mainly watch Turkish TV series or newer, more modern Turkish Netflix short series. They are relatively unscathed from the propaganda.

These series portray, well apart from the historical ones on the Ottoman Empire, the land of Attaturk.




Drama series are obsessed at the moment with the theme of righteous vengeance taken, for past wrongs that were done to the vengeance taker.

As in the past wrongs lately are all mainly womens' issues. yawn. Just that I'm at overkill on this women stuff. Not that I don't care. You see: that's just how far political correctness reaches now: even into a review. I feel like I should clarify. The plain text might be read wrong.

I mean the womens' sexual crimes/ abuse issues propaganda, that's all. As previously discussed in these past Circulars/Newletters. I guess this is just the propaganda issue of the day.

What I have noticed in these type of vengeance-for-some-past offence dramas, is that the actual murder mystery is often no more than an appendage to this main theme: of morally righteous vengeance.

Righteous as to the person/ victim that is, not necessarily righteous to us. If we were called on to judge. I wish I didn't feel like we were in fact, being implored, by the makers of the drama to judge the righteousness of this vengeance: but we are.

Worse than this, by a deliberate emotional manipulation in the drama by painting the vengeance-taker victim as sympathetic, with emotional music attached: whilst portraying the offender (from however long ago) as necessarily nasty, brutish, crude.

Oh and always (well in my experience lately) a man. But of course. Because this is all anti-male propaganda. Anti-masculinity, misandrism.

We are also expected, along with the Detective or other characters, themselves, to eschew all normal boundaries. Of Professionalism or ethics, in order to assuage the feelings of the vengeance taker.




29th/30th October 2018.

So the Chalet was engaging enough. And a lot can be forgiven for a Chalet with a green turfed roof, to look at.

I did feel manipulated as a viewer however, into agreeing with certain themes, That's all I can say. Boring. As described.

So that has been: Deadwind, Borderliner, The Forest, Frozen Dead, Black Heart/ Oyunbozan, The Chalet, some of Can't Run from Love, now I am thrilled to find a whole new, well for me in not having seen: Turkish dramas series, Mrs Fazilet and Her Daughters/ Fazilet Hanim ve Kizlari.
A TV/ Televison series I believe. All of Series/ Season One and Two translated on Youtube, I read on a Turkish series 'Facebook group. Which one I can't remember.

People are obsessed with Cukur/ The Pit by the way. Or so I have noticed. I couldn't possibly comment. Facebook groups, like Turkish drama reviews, Wikipedia, even short Youtube trailers of TV shows: are all full of spoilers.

I just watched bits I hadn't even seen yet, checking out a trailer for Faizelet Hanim and her Daughters/ Fazilet Hani ve Kizlari. My latest Turkish series. And I'm on episode four.



Author's note-warning-possible spoilers contained within these various notes on Beck!
Sunday 23rd November 2018. BECK. BECK SERIES EIGHT EPISODE ONE. Swedish series with English subtitles. I thought I would watch Beck for a change but it was crap. Of course they showed the Swedish Policeman as nearly shooting the wrong guy-boo-hiss and then feeling all guilty and really shooting the right guy! Like they would really wait around for a suicide bomber with a button in his hand. December 2018 Beck Series 8 Episode 1 So every now and then I make myself delve back into some Western dramas: outside of permanently watching Turkish TV dramas. Which are such fun to watch. Along with being superlative sagas of family dynasties, working class families & everything previously described. Not that they're funny. And are relatively propaganda free. And above all things: are still stories. But I digress. So Beck was tiresome and predictable. The bad guy was deliberately portrayed as sympathetic. Some of the plot and clues are ludicrous and confusing even. There seemed an extreme lack of sympathy for the victim. I can say no more. See what you think. Oh yes and Scandi-noir, as I have proposed in past circulars/ Newsletters, is now one of the most propagandised dramas.Well along with the UK. That I know. They ruined Spiral so throw in France too. Oh yes, the got to The Bridge/Broen. What a shame. Beck-in Tweet form. Tiresome & predictable Scandi propaganda. November 2018. BECK SERIES EIGHT EPISODE ONE. Review. Tiresome and predictable story line and themes. Not very escapist really, into the bargain.This drama appears to be strangely dated and bland. In flavour. Propaganda quotient: 10. Only the lugubrious and lanky Inspector now retired and his ever annoying neighbour, as a duo make this in anyway worthwhile. Although there is an odd moment with the forever neck-braced posibly mad neighbour. When he tells a tale about the Viet Cong. Did he fight on their side we wonder? As he chuckles abokut the Viet Cng's success in booby-trapping and blowing up Americans. Was he chuckling at the cleverness of the devices, so simple against the Napalm he had described, "with all their napalm" against the Viet Cong with their home-made booby trapped explosives?

However I wondered if it was a concidence that he mentions Playboy magazine, when the Inspector asks him what the Viet Cong used as a lure. For the Americans to want to pick it up.
Why did I question the inclusion of Playboy? Because it seemed to me that a nightclub had somehow, subtly, been presented and deliberately portrayed as a den of iniquity.
December 2018. BECK. Swedish series with English subtitles. A Detective murder mystery series. Series 8 Episode TWO.
OK so I was bored with Mrs. Fazilet because I knew it was getting very intense as well-towards the end. And had done so much episode hopping that I had kind of lost the thread of continuity. From being impatient. Plus now I wasn't sure if I had seen some scenes in continuous watching now or whether they were bits I had seen on my hopping around. To see what happened later. Especially with a certain storyline. But boy is this hard going now. Bcause I'm waiting (all the time) for the tragedy to happen. Dramatically speaking. But I digress. So I thought I'd make an effort to give Beck another chance: maybe episode 2 wasn't so tiresome and predictable and strangely dated as number 1. Wrong.. Beck has gone the full propaganda Monty now. December 2018 MRS FAZILET & HER DAUGHTERS/ FAZILET HANIM VE KIZLARI So I love the mansions next to the Bosphorous. The stories of love, loss abandonment,tragedy, mysterious pasts and dark secrets. The rich family and the working class family, the clash of the cultures and customs between the families. Different ideas of honour, dignity & shame. Orphanages, orphans, with often, orphans being brought up within a family. This happens in both rich and poor families. Rich families will take in a young man for example, and pay for his education. Then the young man, though sometimes it will be a young woman, will work as staff for the rich family. They might be their Lawyer or loyal right hand man for example. But I digress. So I'm really enjoying FH & Her daughters. It has the excellent actress who played Asli in Kara Para Ask/ Black Money, Love. Plus the husband of the mother of the hero of Winter sun is a father and husband here. And as I have described in previous reviews of Turkish series, these series portray Fatherhood, fully fleshed out as an equal contender to the Motherhood. Mothers in Turkish dramas having a revered and respected status. As Mothers. Including Grandmothers. There is brilliant head of a clan who is a Grandmother in one series. I shall not name. Believe me, mad matriarchs abound in Turkish series. Plus chillingly evil men too . Venerable baddies all round in fact. I could elaborate about just one character I shall not name, feeding ice cream to a loveable moppet chld in Intersection, and just smiling, with all his teeth visible somehow. But that would be too spoilery.

November 2018. So you will find out more in my court circulars/ Newsletters from London, about things you will find in Turkish dramas, but here are some helpful hints for watching them: They are very slow paced. Almost glacial. Well apart from a few, more modern recent exceptions: 20 Minutes/ 20 Dakika, The End/ Son.Maybe Icerde, though I've only seen part of the first episode. All of these mentioned are faster in pace, but still have may of the same elements.Such as family, to a lesser extent in the more modern ones mentioned, Brotherhood, Fatherhood,Motherhood. Sisterhood but not in the uber-feminist incarnation of the meaning of that word. Turkish heroines don't need to be uber-feminists, because they are too busy being mad matriarchs, evil plotting vengeful mothers, fiercely fighting for sons, daughters or family friends. Neighbourhood folks and or the friends of their daughters and sons who they consider to be their sons and daughters too. Likewise their daughter's husband gains a new father who treats him as a son. And so on. Quite often an abandoned son or daughter, or whose parent has died (or is evil) gets a new Dad or Mother. Who is better. Or replaces a loss for him in some way.




Some dialogue from Mrs. Fazilet & Her daughters/ Fazilet Hanim ve Kizlari.

Hero/ Him:
My soul want to be next to you
My soul wants to see you
Heroine/Her:
Your souljust wants to play games,
new ones every day..

Further down the road she stops to cry
Beautiful clarinet music has been playing, all the while.

I have recognised a piece of music from Leyla & Macnun.I think. But it's definitely played by the same Orchestra.



So Fazilet Hanim ve Kizlari/ Mrs Fazilet & her Daghters has all my favourite ingredients: fabulous houses right on the edge of the Bosphorus, family sagas of poor and rich families, a love story. OK a love story is not strictly my favourite ingredient.But it's still one essential (if you are romantically inclined) ingredient. Plus terribly handsome heroes. Of course.











 
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