There have been reports of a ‘mountain lion’. The danger
that came down from a reserve and waited crouching
in grey grass at the side of the road had eyes
emitting rays to hypnotise hunters and children.
The announcements paralysed us. We did not think
that in our despair we gave everything we owned
to the rich and scientists who perfected lying
for theorems whose only purpose was deceit. The voters
got up to no good at night in parks set aside
for the betterment of us all, dressed up as crazy beasts
as celebrities, symbolists and as fortune-tellers
and let the animals loose. In Celebration Park there are no super-heroes, and not even any heroes in this dire plot: we are the wildlife, it is our nature stripped and bare-ass naked. There is a map for everywhere except the private places of a few who can afford silence.
Senator Cory Bernardi, Liberal member of the Australian parliament, has weighed into the marriage equality debate by saying that businesses—any businesses—should be allowed to refuse service to whomever they want. This means that, even if the marriage equality debate ended happily with an agreement of a majority of Australia’s elected representatives to permit marriage between two people regardless of sex, the question of ‘business freedoms’ would still need to be resolved. Why should anyone be forced to provide goods or services to anyone else, Senator Bernardi wants to know. It conjures up the prospect of future legislation to protect businesses from legal actions: a ‘Pâtissier Freedom Act‘ perhaps? I would like to see it, to tell the truth. Pastry chefs deserve this recognition. And those gays, they just want to have their cake and eat cock, too.
While we are waiting for these events to unfold, I’ve created a register for businesses wishing to announce they will refuse to supply goods and services to Senator Cory Bernardi. There are fairly broad options for classifying the kind of services: everything from catering services to psychotherapy to resuscitation.
I encourage you to add your business to the register, and to pass on the URL to any business-owners you think may be interested.
Please note: The registration website has now been closed. Thank you to the thousands of businesses and individuals who participated.
We have invented the faggot.
I did not invent him.
Straight people invented him.
I have always known, have known since I was seventeen
years old, what you were describing was not me, and
what you were afraid of was not me. It had to be
something else. You had invented it.
So it had to be something you were afraid of
you invested me with. I learned this
because I had to learn it.
But you still think, I gather, that the faggot is necessary.
Well, it is not necessary to me.
So it must be necessary to you.
So I give you your problem back.
You are the faggot, baby.
It isn’t me.
Metin Erksan (1929–2012) was no slouch. His movies were entered into major international competitions and sometimes won them. When Turkish cinema was having its heyday, in the 1950s and 1960s, Erksan was there. In the 1970s, though, he started making movies aimed at commercial success—or so the story goes—and on a couple of occasions at least, this seemed to involve taking well-known masterpieces of cinema and giving them a Turkish (and possibly Islamist) makeover for Turkish-speaking audiences.
The Yeşilçam (‘green pine’) period of Turkish cinema had entered its decline as Erksan was hitting his stride in the mid- to late 1960s. Making almost a shot-for-shot remake of ‘The Exorcist’ for Turkish cinema audiences must have seemed like a good idea. Erksan did it on a small budget and without much in the way of special effects. The makeover attempts to reproduce many effects of art direction, set design and music, but not very successfully. He gives it his best shot. In fact, he just steals the music. Erksan’s version, called ‘Şeytan’, was in Turkish cinemas at nearly the same time as Friedkin’s original. What was the point?
‘Şeytan’ (1974) removes all visual and narrative trace of Catholic heresy from William P. Blatty’s story. There are no Catholic priests in ‘Şeytan’, no cassocks, no seminaries and no desecrated statues of the Virgin Mary. When the possessed teenage girl is hovering above her own bed it is not “the power of Christ” that compels her to get back between the sheets, but an all-powerful Allah. So, at one level, Erksan was presenting Turks with a ‘Halal version’ of Blatty’s screenplay.
In the years following ‘Şeytan’, Erksan made five Turkish short stories into television features. Then, in 1977, he made a Turkish version of Shakespeare’s Hamlet, and he based it on the great, Soviet, cinema version of the play made by Grigori Kozintsev in 1964. This Soviet version was itself built upon a translation by Boris Pasternak and featured original music by Dimitri Shostakovich.
This time Erksan went further than making a Turkish Hamlet on the cheap. He added an unexpected extra element to the mix: he made Hamlet a woman. Highly-regarded Turkish actress, Fatma Girik, played the “Avenging Angel” of the title. “Hamlet” was the subtitle used on the posters, though the movie is usually listed as “Kadin Hamlet” or ‘Woman Hamlet’. Again, Erksan stole whatever was useful, chopping up Shostakovich’s score ruthlessly to make it fit his scenes, and echoing elements of the set and art direction. The effects fall short of Erksan’s aspirations: the ghost in ‘Kadin Hamlet’ looks less like King Hamlet than a somnambulant Bela Lugosi.
‘Kadin Hamlet’ was shown at the Filmex movie festival and was accepted into competition at the 10th Moscow International Film Festival (1977). At Filmex it was shown during the festival’s 50-hour movie marathon and greeted with hilarity. There’s no record of whether the jury was laughing in Moscow where, I imagine, there may have been serious discussion about the nature of cinematic homage, the political turmoil in Turkey, and the credit given to Shostakovich but not to Kozintsev.
Should we be laughing? I did. I’m not ashamed. But I wondered, also, whether there was something missing from this reaction, and if a cult of incompetence has grown up around certain movies—and ways of making movies—that makes it easier to laugh at them than to see what they were trying to show us. Erksan’s Hamlet stays in the background of her mother’s wedding, and she is dressed in a modern 1970s white suit. There is disco music in the background as the film’s first exchange takes place. Erksan appears to be making serious claims on behalf of his audience, including that Turkey’s decades-long reforms in favor of modernity, and equality for women, were not going away. Erksan smartly turns the duel between Hamlet and Laertes into a shooting-match with rifles in a forest.
Within a few years, the political situation in Turkey even more chaotic, other film-makers began cobbling together less respectful and less competent rip-offs of Hollywood hits. ‘Dünyayı Kurtaran Adam’ (1982), known as the Turkish Star Wars, is the most notorious example. It’s awful, and awfully funny.
Turkey was not the only country performing this kind of cultural appropriation. There is a Japanese version of Star Wars, called ‘Message from Space’ (1978) and an Italian Star Wars called ‘Star Odyssey’ (1979).
Do popular songs aim low? According to the French wikipedia, Serge Gainsbourg’s ‘Le Poinçonneur des Lilas’ was a hit in 1959. It is a poem about a ‘ticket puncher’ in Mairie des Lilas (a railway station in Paris) who talks very quickly about punching holes in tickets all day and about someone making a final hole for him, where he won’t have to listen to talk about holes any more.
(The original music video—with English subtitles—is also on YouTube, but the audio track is not clear.)“The main road,” which the persona of the poem says he hopes to leave, is actually, in the French lyric, “la grand’route” or ‘the great highway’—surely a reference to the road we all take to the grave.
The song is a poetic and political act of empathy, and of a kind that has become rare in the sanitised marketplace of popular songs. And it is the poetry that saves it from being only political ideology and lifts it into the realm of art.
Gainsbourg died in 1991, having established himself as one of the world’s most influential popular composers and performers.