Water, Fights, Rivalry - What Else Could Viewers Wish For?

Erksan has wasted the potential of the first 30 minutes ... bad script, awful dialogues and terrible acting dominate this disappointing work...

Ayhan Isik and Türkan Soray in Bitter Life (1962)

Müsfik Kenter, Sema Özcan, and Süleyman Tekcan in Time to Love (1965)

Ekrem Bora and Erol Tas in The Guilty Are Among Us (1964)

Ekrem Bora and Gülben Alpkaya in The Guilty Are Among Us (1964)

Belgin Doruk and Tamer Yigit in The Guilty Are Among Us (1964)

Belgin Doruk in The Guilty Are Among Us (1964)

Ekrem Bora and Belgin Doruk in The Guilty Are Among Us (1964)

Ekrem Bora and Leyla Sayar in The Guilty Are Among Us (1964)

Ekrem Bora, Belgin Doruk, and Atif Kaptan in The Guilty Are Among Us (1964)

Belgin Doruk

Tamer Yigit

Ekrem Bora

Metin Erksan

Dirty world that a wealthy family expertly hide.

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Metin Erksan&apos;s melodrama contains familiar ingredients - the passive heroine (Belgin Doruk), the clean-cut hero (Tamer Yigit) and the bad guy (Ekrem Bora). Set in and around the sea, it is another tale of love, deceit and rapacity characteristic of Yesilcam. There are plenty of fight sequences, even though the sound of fist hitting chin is not quite in sync with the on screen action. There is also fake blood that appears on the face of one of the combatants, even though it did not seem to be there before. However the film has mote than its fair share of entertaining moments - the sequence of rapid close-ups between the three protagonists sets the mood for the beginning and end of each sequence; the music - often dramatic at times - sets the scene; and the beach-party atmosphere, evoked with a decorum quite foreign to the American equivalent, is redolent of a time long passed. Definitely one of the nostalgia freak.

Metin Erksan's melodrama contains familiar ingredients - the passive heroine (Belgin Doruk), the clean-cut hero (Tamer Yigit) and the bad guy (Ekrem Bora). Set in and around the sea, it is another tale of love, deceit and rapacity characteristic of Yesilcam. There are plenty of fight sequences, even though the sound of fist hitting chin is not quite in sync with the on screen action. There is also fake blood that appears on the face of one of the combatants, even though it did not seem to be there before. However the film has mote than its fair share of entertaining moments - the sequence of rapid close-ups between the three protagonists sets the mood for the beginning and end of each sequence; the music - often dramatic at times - sets the scene; and the beach-party atmosphere, evoked with a decorum quite foreign to the American equivalent, is redolent of a time long passed. Definitely one of the nostalgia freak.

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