Released in 1970 in it's native Turkey under the title 'Kizim Icin' this is a not untypical example of the commercial Turkish cinema of the late 20th century, with booming, echoey studio amplified soundtrack, rough editing, other technical crudities, and absurdly overdone melodrama, making it look (visually, audibly and dramatically) akin to a Bollywood film at times. This feature film is a cliché ridden Istanbul set gangster action thriller about ex-gangster Asim Mavzer (Yilmaz Guney) returning to the city to see his daughter (after the death of her mother), and trying to put his gangster past behind him. Unfortunately several people - including gang boss Bilal (Bilal Inci) - have other ideas and are seeking revenge on Mavzer. Directed by Serif Goren the main point of interest of this film is the involvement of Guney (who apparently wrote the screenplay) in an otherwise rather tedious mess, which features a music soundtrack which seems (in places) to have escaped from a Hitchcock film, a duel on a beach, Mavzer's black and red suit, a familiar revenge theme (Mavzer moving effortlessly from peacenik back to brutal gangster - snake rape!), a possible 'Wild Bunch' reference, a slashing faces theme (a pinch of sadism here), and a moustache theme (almost all the men seem to have moustaches here). This compares badly with British and US gangster thrillers like 'Get Carter' and 'Point Blank', and with the more serious political cinema Guney became increasingly involved with as a director in the 1970s.

Turkish cinema reflects the country's position between East and West, combining melodrama, political allegory, and contemplative realism. It often explores identity, memory, and the tension between tradition and modernity. The Yeşilçam era was prolific, while modern auteurs have gained festival prominence.

Tarık Akan and Şerif Sezer in Yol (1982)

The action genre features fast-paced, thrilling, and intense sequences of physical feats, combat, and excitement. The characters of these stories are involved in daring and often dangerous situations, requiring them to rely on their physical prowess, skills, and quick thinking to overcome challenges and adversaries.

The crime genre features criminal activities, investigations, law enforcement, crimes, and the pursuit of justice. Crime stories often revolve around the planning, execution, and consequences of criminal acts, as well as the efforts to solve and prevent such acts. They explore various aspects of criminal behavior, motives, and the moral dilemmas faced by both perpetrators and those seeking to uphold the law.

James Gandolfini, Edie Falco, Sharon Angela, Max Casella, Dan Grimaldi, Joe Perrino, Donna Pescow, Jamie Lynn Sigler, Tony Sirico, and Michael Drayer in The Sopranos (1999)

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

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Asim, a former thug, clashes with Bilal, a gangster, in 1970s Istanbul. Asim protects his real daughter as Bilal's quest for revenge puts Asim and his daughter in danger.

Hülya Darcan, Yildirim Gencer, Şerif Gören, Yılmaz Güney, Bilal İnci, Ahmet Danyal Topatan, and Erdo Vatan in Canli Hedef (1970)

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Gülsen Alniaçik and Yılmaz Güney in Hope (1970)

Hülya Darcan and Yılmaz Güney in Canli Hedef (1970)

Hülya Darcan, Yildirim Gencer, and Yılmaz Güney in Canli Hedef (1970)

Yılmaz Güney and Ahmet Danyal Topatan in Canli Hedef (1970)

Hülya Darcan, Yildirim Gencer, Yılmaz Güney, Bilal İnci, Ahmet Danyal Topatan, and Erdo Vatan in Canli Hedef (1970)

Yildirim Gencer and Yılmaz Güney in Canli Hedef (1970)

Yildirim Gencer, Yılmaz Güney, and Ahmet Danyal Topatan in Canli Hedef (1970)

Canli Hedef

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