Turkish cinema of the 1980s was mostly divided between very domestic comedies starring Kemal Sunal and / or Sener Sen and bleak sociopolitical dramas by Yilmaz Güney and / or Zeki Ökten. But there were some very good comedies and great actresses like Müjde Ar, who more than compensates for the film's low technical quality. The real star here is the screenplay which is chock full of one-liners such as the headline barb between two competing leading ladies. The fantasy of an actress who finds herself spirited away into the life of a homemaker she is portraying in a shampoo commercial is an allegory for women's standing in society, but it's handled with a light and hilarious touch. The final resolution is the best ending I've ever seen in a Turkish film. I'm writing this because a remake is about to released on Netflix, and I hope the update maintains the elegance and sarcasm of the original.
Review of Oh, Belinda
