Let This Be the Last Time (Bu Son Olsun)

Let This Be the Last Time (Bu Son Olsun) (translated)

Movie · 2012 · 16 people

Bu Son Olsun is Orçun Benli's first feature film, a Turkish dark comedy that looks at the September 12, 1980, coup with humor. Benli wrote and directed it, with Şükrü Üçpınar co-writing the script. It opened across Turkey on January 6, 2012, stayed 18 weeks, was seen by 79,663 viewers and grossed 615,512 TL.

Yaşar (Mustafa Uzunyılmaz), Apo (Orhan Eşkin), Kovboy Ali (Ferit Kaya), Cevat (Volga Sorgu) and Ertuğrul (Ufuk Bayraktar) are five friends living on the street whose only concerns are filling their bellies and never being parted from wine. When a curfew is declared on the morning of the coup, even the street is closed to them, and a chain of mix-ups lands them in a prison full of political detainees. There, warden Hızır (Engin Alkan) is locked in a power struggle with Captain Kenan (Serdar Orçin), appointed after the coup, and the five exploit the confusion. But Yaşar's conscience cannot bear what goes on inside, and he plans to free the prisoners he knows and reunite Sinan (Engin Altan Düzyatan) and Lale (Hazal Kaya), a couple kept apart by the walls. Deniz Uğur plays Nurse Nimet.

The music is by Cahit Berkay and the cinematography by Vedat Özdemir. Uzak Yakın Film Yapımcılık produced it; Özen Film distributed.

DirectorOrçun Benli
Production companyUzak Yakın Film Yapımcılık
Let This Be the Last Time (Bu Son Olsun) Let This Be the Last Time (Bu Son Olsun) Let This Be the Last Time (Bu Son Olsun)

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Cast

Also in the cast: Mustafa Uzunyılmaz (Yaşar)

Through different eyes

History & Society Lens Asks about the period, the social background and what the work reflects.

Bu Son Olsun chooses to tell the story of the September 12, 1980, coup through the eyes of five street dwellers on the very margins of society. The curfew closing even the street to them shows, through a small but telling detail, how the coup suspended everyday life. A prison full of political detainees, and the power struggle between the warden and the captain appointed after the coup, open up with humor the confusion within the period's own authority. Dark comedy is a risky route into so grim a period, and in places the film may struggle to balance laughter and pain. Even so, it opens a door for younger viewers who know nothing of the era.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Orçun Benli's first feature, co-written with Şükrü Üçpınar, picks an ambitious tone: telling the story of September 12 through dark comedy. The structure rests on a group of five who land in prison through a chain of mix-ups, which narrows the space and leans on the interplay between characters. The size of the group is also a risk: as Yaşar's crisis of conscience moves to the center, the others are in danger of becoming merely functional. The power struggle between warden Hızır and Captain Kenan is the most fertile line, where the humor gains political weight. Cahit Berkay's score adds a layer of its own. Staying in cinemas for eighteen weeks and reaching close to 80,000 viewers suggests a small but loyal audience; a brave debut that does not always hold its tone with the same conviction.

Yeşilçam Nostalgic A viewer raised on the classics, looking for warm storytelling and strong acting.

Bu Son Olsun brings back a figure Yeşilçam loved: poor, alone in the world, but good-hearted people of the street. Of five friends whose only concern is filling their bellies, Yaşar's conscience cannot bear what goes on in the prison, and that recalls the humane vein of our old comedies. The wish to reunite Sinan and Lale, kept apart by the walls, is a classic touch, and Cahit Berkay's music supports that familiar air. Yet telling the story of a period as bitter as the coup through dark comedy may at times unsettle an eye expecting a warm, old-fashioned comedy.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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