Memduh Ün
2021He graduated from Vefa Lisesi in 1937. In 1938, he dropped out of Istanbul University Faculty of Medicine in the third year of his education.
Ün changed the language of cinema by going beyond the melodrama mould with the film Üc Arkadas in 1958. The film was considered one of the best films of Turkish cinema. Thanks to his success in this film, he was invited to the Film Friends Association and became one of the important directors of Turkish cinema. During this period, he started to live with Fatma Girik and the couple's relationship continued for life.
In 1960, he started the era of child stars in Turkish cinema history with the film Aysecik. After his success with Aysecik, his partnership with Arsavir Alyanak at Yakut Film ended and he founded Ugur Film.
In 1990, he made his first self-financed film, Tüm Kapilar Kapaliydi, in which he turned to a subject and cinematography not seen in his previous films. This was followed by the films Gün Ortasinda Karanlik and Zikkimin Kökü, which received many awards. The last film he directed was Sinema Bir Mucizedir (2005), but due to his illness he could not complete the film and handed it over to Tunc Basaran.
He worked as a lecturer at Mimar Sinan University Cinema-TV Department.
Film worker Memduh Ün died on 16 October 2015 at the age of 95 in Bodrum where he was being treated.
IMDb mini bio by; yusufpiskin
Zübük
Kartal Tibet
Kemal Sunal, Nevra Serezli
This is the story of the politician named Zübük. He gets expelled from the political party that he is a member of, due to corruption. The journalist Yaşar wants to make a news story about his case and investigates Zübük's doings. Yaşar gets baffled at the sly tricks Zübük played on his village people. In the end, he feels sorry about Zübük's present situation, however, as things happen he becomes aware that Zübük has been tricking him.
Zübük
Remake, Remix, Rip-Off: About Copy Culture & Turkish Pop Cinema
Cem Kaya
Cüneyt Arkın, Yılmaz Atadeniz
Turkey in the 1960s and 1970s was one of the biggest producers of film in the world. In order to keep up with the demand, screenwriters and directors were copying scripts and remaking movies from all over the world. This documentary visits the fastest working directors, the most practical cameramen and the most hardheaded actors to have a closer look into the country's tumultuous history of movie making.
Remake, Remix, Rip-Off: About Copy Culture & Turkish Pop Cinema
Serseri
Osman Nuri Ergün
Sadri Alışık, Sema Özcan
Kazım earns his living by fishing and selling books on the street. The lonely life he has been leading for many years in his small hut, has made him despise all humans and himself. But a new encounter reminds him that he is human again.
Vagabond
Tricycle
Memduh Ün, Lütfi Ömer Akad
Ayhan Işık, Sezer Sezin
Üç tekerlekli bisiklet (Tricycle aka The Three-Wheeled Bicycle, I962) is a love story about a lonely woman with a small child and the man she hides in her house, who is chased and trapped, one of the staple motifs of Lutfi Akad’s cinema.
Tricycle
Üç arkadas
Memduh Ün
Muhterem Nur, Fikret Hakan
Three men live in an abandoned building and try to eke out a living by pooling their meagre resources. They come upon a lonely blind girl one night, befriend her, and take her in as their guest, pretending they are rich. They learn that 800 lira will cure her blindness. One of the three decides to get the money by any means necessary, because he has fallen in love with her.
Three Friends
Üç Arkadaş
Memduh Ün
Hülya Koçyiğit, Kadir İnanır
A blind panhandler girl as an idealist dreamer joins three cronies in a supper, after which the cronies decide to rob a rich man's villa to collect enough money for her to recover from blindness. But they'd never guessed what would happen when her eyes see the daylight.
Three Friends
Devlet Kuşu
Memduh Ün
Kemal Sunal, Serpil Çakmaklı
This is one of the tragicomic films of Kemal Sunal who is most "serious-comic" artist of the Turkish cinema. This film also reflects socio-economic and cultural life of the 70's-80's Turkiye. The film obviously talk to Turkish audience but who wonder that era of Turkiye can taste of it. The film underlines of love, friendship and -richness in the poorness- and also is a story about the people who prefers love, instead of money and fortune. The theme and narration may include some populist elements -like most Kemal Sunal films- but generally tells its story as well. The story is familiar to Turkish audience: A young man loves young girl. In most Turkish love films one of the partners is rich or poor according to the other but in this movie both sides are poor and they have many difficulties to reach happy end. In my opinion, these kind of movies always gives hope to people to get over it.
State Bird
Umutsuzlar
Yılmaz Güney
Yılmaz Güney, Filiz Akın
O.K. so the serious bad-ass badman Firat can not have this gorgeous blonde with huge hair and equally huge false eyelashes not because he is a bad-ass outlaw that she will have to worry about reading his obituary every day. They can not consummate their passions because... now brace yourself, because Firat's badman partners won't allow him (Firat is the top crime dog) to have a girl friend.
The Hopeless Ones
