Netflix\u2019in uzun s\u00fcredir beklenen Masumiyet M\u00fczesi uyarlamas\u0131 nihayet ekranlara d\u00fc\u015ft\u00fc. Zeynep G\u00fcnay\u2019\u0131n rejisi, 1970\u2019lerin \u0130stanbul\u2019unu adeta bir tablo gibi \u00f6n\u00fcm\u00fcze sererken, Selahattin Pa\u015fal\u0131 ve Eyl\u00fcl Lize Kandemir\u2019in performanslar\u0131, hik\u00e2yeyi bir d\u00f6nem dizisi olman\u0131n \u00f6tesine ta\u015f\u0131y\u0131p psikolojik bir gerilime d\u00f6n\u00fc\u015ft\u00fcr\u00fcyor. Ancak dizinin ba\u015far\u0131s\u0131, bizi o kadim ve rahats\u0131z edici sorudan uzakla\u015ft\u0131rm\u0131yor: Kemal\u2019in hissetti\u011fi a\u015fk m\u0131, yoksa m\u00fclkiyet tutkusuyla \u00f6r\u00fclm\u00fc\u015f bir s\u0131n\u0131f kibri mi?<\/p>\n
Orhan Pamuk\u2019un k\u00fclt roman\u0131ndan uyarlanan yap\u0131m; 1975 y\u0131l\u0131nda, varl\u0131kl\u0131 bir ailenin o\u011flu olan Kemal Basmac\u0131\u2019n\u0131n, kendi s\u0131n\u0131f\u0131ndan Sibel ile ni\u015fanlanmak \u00fczereyken, uzak ve yoksul akrabas\u0131 F\u00fcsun ile kar\u015f\u0131la\u015fmas\u0131yla ba\u015fl\u0131yor. Bir butikte tezgahtarl\u0131k yapan 18 ya\u015f\u0131ndaki F\u00fcsun ile Kemal aras\u0131nda ba\u015flayan yasak ve tutkulu ili\u015fki, Kemal\u2019in ni\u015fan\u0131 bozmas\u0131yla sonu\u00e7lan\u0131r. Ancak F\u00fcsun ortadan kaybolur. Sekiz y\u0131l sonra F\u00fcsun\u2019u evli bir kad\u0131n olarak bulan Kemal, onu g\u00f6rebilmek i\u00e7in sekiz y\u0131l boyunca o eve gider ve F\u00fcsun\u2019a ait her nesneyi (sigara izmaritlerinden tuzluklara kadar) toplayarak bir \u201cm\u00fcze\u201d in\u015fa eder.<\/p>\n
\u200bKemal\u2019in labirentinde F\u00fcsun bir nesne mi sorusu da izleyicinin akl\u0131nda ? Kemal Basmac\u0131, her ne kadar Bat\u0131 terbiyesi alm\u0131\u015f, modern bir burjuva gibi g\u00f6r\u00fcnse de, F\u00fcsun\u2019a olan ilgisi ba\u015flad\u0131\u011f\u0131 andan itibaren \u201ctoplay\u0131c\u0131\u201d bir i\u00e7g\u00fcd\u00fcyle hareket ediyor. Dizideki o b\u00fcy\u00fcleyici \u0131\u015f\u0131k ve mekan kullan\u0131m\u0131, Kemal\u2019in F\u00fcsun\u2019u ula\u015f\u0131lamaz buldu\u011fu noktada nas\u0131l bir \u201cm\u00fcze par\u00e7as\u0131na\u201d d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fcn\u00fc \u00e7ok iyi yans\u0131t\u0131yor. \u00c7al\u0131nan e\u015fyalar bir a\u015fk\u0131n hat\u0131ras\u0131 m\u0131d\u0131r, yoksa Kemal\u2019in F\u00fcsun\u2019u kendi d\u00fcnyas\u0131na hapsedemedi\u011fi i\u00e7in nesneler \u00fczerinden kurdu\u011fu bir h\u00fck\u00fcmranl\u0131k m\u0131?<\/p>\n
Ele\u015ftirmen tad\u0131nda bakarsak; Kemal, F\u00fcsun\u2019u de\u011fil, F\u00fcsun\u2019un kendi \u00fczerinde b\u0131rakt\u0131\u011f\u0131 o \u201cmasumiyet\u201d etkisini seviyor ve onu bir koleksiyon par\u00e7as\u0131 olarak m\u00fclkiyetine ge\u00e7iriyor da diyebiliriz.<\/p>\n
Gelelim en \u00e7ok tart\u0131\u015f\u0131lan soruya: F\u00fcsun\u2019un duygusu ger\u00e7ekten a\u015fk m\u0131yd\u0131? 18 ya\u015f\u0131nda, hayalleri olan bir gen\u00e7 k\u0131z\u0131n, zengin ve evlenmek \u00fczere olan akrabas\u0131 Kemal ile kurdu\u011fu ba\u011fda \u201cs\u0131n\u0131f atlama\u201d arzusu ne kadar etkiliydi? 1970\u2019lerin kat\u0131 s\u0131n\u0131f ayr\u0131mlar\u0131nda F\u00fcsun\u2019un Kemal\u2019e y\u00f6nelmesi sadece kalp meselesi miydi? Kemal zengin olmasayd\u0131, F\u00fcsun toplumsal bekaret bask\u0131s\u0131n\u0131 bu kadar kolay g\u00f6ze al\u0131r m\u0131yd\u0131? F\u00fcsun\u2019un annesinin bu durumdan haberdar olmas\u0131 ve sessiz kal\u0131\u015f\u0131, alt orta s\u0131n\u0131f bir ailenin, k\u0131zlar\u0131 arac\u0131l\u0131\u011f\u0131yla “\u00fcst lige” t\u0131rmanma umudunu sessizce onaylamas\u0131 gibi okunabilir. F\u00fcsun i\u00e7in Kemal, hem bir arzu nesnesi hem de s\u0131n\u0131fsal bir kurtulu\u015f bileti olma potansiyeli ta\u015f\u0131yordu.<\/p>\n
Dizinin cesur sahnelerdeki yakla\u015f\u0131m\u0131, T\u00fcrkiye dizi sekt\u00f6r\u00fc i\u00e7in ger\u00e7ek bir \u00e7\u0131ta y\u00fckseltmesi. Ancak burada dikkat \u00e7eken, bu sahnelerin sadece estetik ba\u015far\u0131s\u0131 de\u011fil, kad\u0131na bak\u0131\u015f a\u00e7\u0131s\u0131d\u0131r. T\u00fcrkiye\u2019de bu t\u00fcr sahneler genellikle kad\u0131n oyuncu \u00fczerinden h\u0131rpalanarak tart\u0131\u015f\u0131l\u0131rken, bu dizideki performans hik\u00e2yenin dramatik yap\u0131s\u0131na (o d\u00f6nemdeki bekaret tabusuna ve s\u0131n\u0131f fark\u0131na) hizmet ediyor. F\u00fcsun\u2019un o sahnelerdeki teslimiyeti, asl\u0131nda onun hayat\u0131ndaki en b\u00fcy\u00fck kumar\u0131 oynad\u0131\u011f\u0131n\u0131n kan\u0131t\u0131. Erkek (Kemal) her zaman stat\u00fcs\u00fcne d\u00f6nebilirken, kad\u0131n\u0131n (F\u00fcsun) t\u00fcm varl\u0131\u011f\u0131n\u0131 bu ili\u015fkiye yat\u0131rmas\u0131, o g\u00fcn\u00fcn ve bug\u00fcn\u00fcn toplumsal ikiy\u00fczl\u00fcl\u00fc\u011f\u00fcne tutulmu\u015f bir ayna olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor.<\/p>\n
Diziyi izledikten sonra elimizde kalan; sadece h\u00fcz\u00fcnl\u00fc bir a\u015fk hikayesi de\u011fil, m\u00fclkiyet duygusunun a\u015fk\u0131 nas\u0131l kemirdi\u011fidir. Kemal, F\u00fcsun\u2019a de\u011fil, F\u00fcsun\u2019un hayat\u0131ndaki \u201ceksikli\u011fe\u201d a\u015f\u0131kt\u0131r. F\u00fcsun ise belki de Kemal\u2019e de\u011fil, Kemal\u2019in temsil etti\u011fi o ula\u015f\u0131lmaz ve \u0131\u015f\u0131lt\u0131l\u0131 d\u00fcnyaya. Masumiyet M\u00fczesi, bize a\u015fk\u0131n en saf halini de\u011fil; s\u0131n\u0131f fark\u0131n\u0131n, bekaret tabusunun ve sahip olma arzusunun insan ruhunda a\u00e7t\u0131\u011f\u0131 yaralar\u0131 g\u00f6steriyor.<\/p>\n
Zeynep G\u00fcnay ve t\u00fcm ekibi, bu zor metni sinemasal bir dile bu kadar ba\u015far\u0131yla d\u00f6kt\u00fckleri i\u00e7in tebrik etmek gerek. T\u00fcrkiye\u2019de bu t\u00fcr nitelikli i\u015flerin artmas\u0131, sekt\u00f6r\u00fcn ne kadar ilerledi\u011finin en somut kan\u0131t\u0131.<\/p>\n
Sonu\u00e7 olarak ba\u015far\u0131l\u0131 m\u0131? Evet kesinlikle.
\nEklemeden bitirmek istemedi\u011fim birka\u00e7 c\u00fcmlem daha olacak. Dizinin yay\u0131na girmesiyle birlikte Google aramalar\u0131nda kitap sat\u0131\u015flar\u0131nda patlama ya\u015fand\u0131\u011f\u0131 Stoklar\u0131n t\u00fckendi\u011fi, ve Orhan Pamuk\u2019un yeniden “trend” oldu\u011fu g\u00fcndemde bir di\u011fer konu.
\n\u201cDizinin yay\u0131nlanmas\u0131yla beraber dijital aramalar\u0131n zirveye ula\u015fmas\u0131 ve kitap raflar\u0131n\u0131n yeniden Masumiyet M\u00fczesi ile dolmaya ba\u015flamas\u0131 , pop\u00fcler k\u00fclt\u00fcr\u00fcn edebiyat \u00fczerindeki \u2018hat\u0131rlat\u0131c\u0131\u2019 g\u00fcc\u00fcn\u00fc bir kez daha kan\u0131tlam\u0131\u015f oldu. \u201d<\/p>\n
Ancak bu tabloya bir \u015ferh d\u00fc\u015fmek gerek: Edebiyat\u0131n, sadece g\u00f6rsel bir t\u00fcketim nesnesine d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcnde “hat\u0131rlan\u0131yor” olmas\u0131 ne kadar sa\u011fl\u0131kl\u0131?<\/p>\n
Modern okur, 600 sayfal\u0131k bir metne dalmak i\u00e7in illa ki Netflix k\u00fct\u00fcphanesinden bir onay m\u0131 bekliyor? Sinema ve dizinin edebiyat\u0131 beslemesi sekt\u00f6rel bir ba\u015far\u0131d\u0131r, evet; ancak kitab\u0131n de\u011ferinin bir algoritma s\u0131\u00e7ramas\u0131na ba\u011flanmas\u0131, derinlikli okuma k\u00fclt\u00fcr\u00fcn\u00fcn “izle ve ge\u00e7” h\u0131z\u0131na yenik d\u00fc\u015ft\u00fc\u011f\u00fcn\u00fcn de bir kan\u0131t\u0131d\u0131r.<\/p>\n
Mit Liebe...<\/p>","protected":false},"excerpt":{"rendered":"
Dizinin cesur sahnelerdeki yakla\u015f\u0131m\u0131, T\u00fcrkiye dizi sekt\u00f6r\u00fc i\u00e7in ger\u00e7ek bir \u00e7\u0131ta y\u00fckseltmesi.<\/p>","protected":false},"author":30,"featured_media":282784,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[286],"tags":[289],"class_list":{"0":"post-282783","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-yazarlar","8":"tag-manset"},"_links":{"self":[{"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/posts\/282783","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/users\/30"}],"replies":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/comments?post=282783"}],"version-history":[{"count":1,"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/posts\/282783\/revisions"}],"predecessor-version":[{"id":282785,"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/posts\/282783\/revisions\/282785"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/media\/282784"}],"wp:attachment":[{"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/media?parent=282783"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/categories?post=282783"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/halkweb.com.tr\/de\/wp-json\/wp\/v2\/tags?post=282783"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}