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The Club Review 2021 Tv Show Series Season Cast Crew Online
Morton Deutsch states that trust involves a sensitive juxtaposition of people’s highest hopes and needs regarding their deepest anxieties and darkest fears. As a result of having such opposing feelings, a person experiences a strong approach-avoidance conflict when he feels vulnerable and needs to trust someone. Jeffry A. Simpson, who compiles the findings on the sense of trust within the framework of attachment and psychosocial development theories, starting with Morton Deutsch, who is accepted as the founder of the modern theory on trust, draws attention to the fact that the individual’s experiences of this emotion at an early age structure their future relationships. The experiences in question depend on the individual – what type (love, friendship, etc.) ) – influences their decisions about whether to start and maintain a relationship. Directed byIn Netflix’s new series Club , undertaken by Zeynep Günay Tan and Seren Yüce , it is the feeling of trust that mostly shapes the relationships of the characters in the narrative time in connection with their past. The presence or absence of this emotion causes solidarity or conflicts between the characters. The main story is based on Matilda’s ( Gökçe Bahadır ) attempt to fill the gap in childhood and youth of her daughter Raşel ( Asude Kalebek ) , who never knew her, by getting out of prison with a general amnesty seventeen years later . Other stories that develop parallel to the relationship between Matilda and Rashel also shape the personal and dual adventures of the characters.
Matilda’s relationship with Rachel begins in a place of high tension. Rasel, who grew up in an orphanage while Matilda was in prison, is told another story about her family. When they face each other seventeen years later, they have a long way to go. The scene in the second episode where Raschel shows Matilda the scars on her body makes her feel that this path cannot be taken so easily. It is difficult for a person to establish a close relationship with someone who does not know where and how his wounds were opened, and Rasel has difficulty in establishing a mother-daughter relationship where everything is fine with someone she sees for the first time, and even resists not to establish such a relationship. The completion of the deficiencies in her life and the healing of the wounds that she cannot show depend on the steps that Matilda will take towards her, without expecting anything in return and with patience. For this reason, the moment Matilda should return to remind her is when the first bond between her and her daughter was established, but later this bond could not be strengthened because she was in prison. In other words, Matilda must remind Rachel that she knows a much older trail that no one else knows, and more importantly, she must tell her own story.
While Rasel is trying to digest that there is a reality other than the one she was told in her childhood, new gaps open in her past and new question marks come with her. He wonders who his father is. The story of Matilda begins to be told, with sections from seventeen years before the narrative time given at the beginning of each chapter. Each new piece of information that Raschel learns about her mother sometimes causes the distance between them to stay the same – like the fact that Matilda went to jail for killing someone – sometimes, when she learns the truth directly from Matilda, it opens the door for the conflict to turn into solidarity. In this context, one of the important scenes in the narrative is the evening where Matilda takes Rashel in front of the house where she spent her childhood and tells many things in that place. Despite Matilda’s father paying their share of the wealth tax, someone causes his father and older brother to be taken to the Aşkale labor camp on an unfounded claim. The day they are taken to Aşkale is the last time Matilda sees her father and brother. The one who betrayed them was Mümtaz, Raschel’s father, who was her father’s most trusted employee. Matilda then says that she killed Mumtaz, but she cannot tell her daughter that that man is Rasel’s father. Telling his story, even if it is incomplete, is an important stage for the two of them. Fatmagul Berktay, He then says that he killed Mumtaz, but he cannot tell his daughter that that man is Raschel’s father. Telling his story, even if it is incomplete, is an important stage for the two of them. Fatmagul Berktay, He then says that he killed Mumtaz, but he cannot tell his daughter that that man is Raschel’s father. Telling his story, even if it is incomplete, is an important stage for the two of them. Fatmagul Berktay,While drawing attention to the importance of transferring the experiences of women from different generations in Gender of History , the transfer brings the two women closer and paves the way for them to understand each other, just like Matilda and Rasel; because Matilda’s personal history is very different from what is recorded and what appears. The quoting of Rumi’s phrase “do not settle for the visible” in a scene in the later parts of the narrative can also be read in this context.
Insecurity, which is the main problem in Rasel’s ability to establish a strong bond with her mother, is actually a feeling that has turned Matilda’s life upside down long before. The anxieties caused by this emotion reveal Matilda’s reflex to interfere with her daughter’s relationships with others. Rasel’s with Ismet ( Baris Arduç)) is uneasy about his relationship; because this relationship reminds him of his past with Mümtaz. Rasel hides from Ismet that she is Jewish and says her name is Aysel. Matilda realizes that Raschel continues this relationship by hiding her identity and they will break up when her secrets are revealed. Mümtaz knows that Matilda is Jewish; however, shortly before declaring them, he says that they cannot get approval for their relationship because they are from different religions, and he prepares a way for himself to escape after his betrayal, or tries to “clear” his conscience. Matilda warns Rachel not to go through the same paths as she does. He learned by experience that antisemitism and the political climate affect not only large-scale but also small-scale relationships. Thus, While Matilda’s concerns about her daughter continue, Rasel’s and İsmet’s relationship progresses to the same end, perhaps in different ways. When Rachel reveals her real name and that she is Jewish, İsmet gets slapped. Ali Şeker’s son İsmet, who is constantly inflicting physical violence on his wife, responds to her with physical violence – instead of understanding Rasel – by continuing the role of masculinity he inherited from his father, with whom he is in conflict. When antisemitism is combined with patriarchy, Raschel is an ‘other’ pushed further to the periphery. When you see the trace of this slap by Matilda When antisemitism is combined with patriarchy, Raschel is an ‘other’ pushed further to the periphery. When you see the trace of this slap by Matilda When antisemitism is combined with patriarchy, Raschel is an ‘other’ pushed further to the periphery. When you see the trace of this slap by Matilda”Did he promise you this as love?” The unanswered answer to the question reveals the original, the feeling of worthlessness felt by the other party, along with physical violence, instead of the image of the relationship presented in a glittery package under the name of love. Rasel’s romance, which draws attention in the questions she asks her mother (who kissed first, etc.) due to her age, leaves its place to reality as she experiences life. At the end of the first half of the series, she explains to Mordo, with whom she was promised, that she was pregnant during her relationship with İsmet. By accepting Mordo’s offer to go to Israel and start a new life for them, she chooses a partnership with İsmet in which she can trust someone instead of dragging her into a relationship where her feeling of worthlessness will increase at every opportunity and where it will end.
Matilda’s experiences not only affect her relationship with her daughter, but also cause her to cross paths with the people in the Club, the main setting of the narrative. The key character here is Çelebi. When Rachel gets into trouble with Çelebi, Matilda agrees to work as a laundress at the Club so that Çelebi can withdraw her complaint about her daughter. Pigeons are the main indicator that we can trace the tension between Matilda and Çelebi, whose background is fully revealed towards the end of the narrative, starting from the first chapter. Pigeons and wing sounds used as a leitmotif; It evokes the past, secrets and reckoning that concern Matilda, Mümtaz and Çelebi. The first place we hear the wings of the pigeons is the scene where Matilda kills Mumtaz. In the second part, the flashback scene of Çelebi with pigeons and before that, begins to make these connections. When Çelebi first came to Istanbul, he got a job as a tea maker with Matilda’s father. As the narrative progresses, Çelebi, whose real name is Aziz Somuncuoğlu, writes a letter stating that Mümtaz cannot be trusted in a scene from the past at the beginning of the episode. It is not known whether this letter will reach its purpose and addressee; However, Matilda learns that Çelebi, together with his real name, went to jail for robbing his father’s safe on Purim, celebrated as the day when the enemy’s plans were revealed, and that he is from the same village as Mümtaz. At the end of the first half, Çelebi frees the pigeons; But his anger still did not go away. It is a defeat for Matilda to learn of her identity and past, and one day Matilda arrives at the Club and sees her packing her things. He goes by admitting that he has lost; but this scene Is it the end of their conflict? It is possible that this question will be answered after the second half of the series will be published.
While the conflict between Matilda and Çelebi, which continues throughout the narrative in the Club, is based on a past showdown, Çelebi -especially in the last chapters- sends Matilda several times to the new headliner of the venue, Selim Songür ( Salih Bademci).) is noteworthy to warn him not to trust too much. Seventeen years ago, Matilda’s writing a letter in which she warned her father about Mümtaz, questions Çelebi’s purpose, and in the first half of the narrative, considering the relationship that other people (Matilda-Selim and Orhan-Selim) have established, he concludes that he is wrong about Selim. While the relations between Matilda and Rasel and Çelebi and Matilda mostly proceed on the basis of conflict – at least for a while – albeit for different reasons, the relationships between the characters in the narrative and relationships based on trust enable the plot of the story to be evaluated from a different perspective. The determining factor in Selim’s relationship with other characters is this time the trust others have in him, not his opponent. Selim, who wants to present a show that is not accustomed to the nightlife of the 1950s, He is always turned away from the doors he knocks to tell his troubles. Even the collar is fired. In the eyes of his family, he is a jester who is a source of shame. Club owner Orhan Şahin (who gave him a chance by trusting him)Metin Akdülger) It is possible. When Selim Songür’s posters cover the walls and newspapers of Beyoğlu, on the day he takes the stage for the first time, the reaction he gets from his family causes him to abandon everything and run away. Matilda, who helped her escape by letting her escape instead of forcing her when she thought she couldn’t go on stage and perform the show she dreamed of, takes the first step of a trust-based relationship between them and becomes one of the rare characters that Selim feels close enough to show his wounds. One of the character’s goals is to fulfill his dreams, while the other is to gain the approval of his family, especially his father. Selim experiences the greatest internal conflict between these two main goals. One day, when Orhan told him about the program offer from the radio, he did not want to go to the radio first because he presented a performance where visuality was dominant. Then he explains to Matilda the reason for accepting this offer. He dreamed of the moment when his father listened to him on the radio. Again, he wants to be heard by his father, to get his approval.
A similar issue between Selim and his father can be felt between Orhan and his mother Mevhibe, albeit under different circumstances. Orhan, who is in his position in many narratives and is a distinctive club owner with the deep processing of conflicts he has experienced both within himself and with others, unlike the stereotype of the boss, who is usually described as tough-tempered or simply evil, presents a show abroad by presenting an unprecedented show in Istanbul nightlife. It wants to introduce innovations that will set a model even for the world. Behind this great assertion and power is another Orhan, who could not win the appreciation of his mother. He slammed his failure in the face and said to his son, “Now what’s next? What business are you going to screw up?” Mevhibe finds it meaningless for Orhan to be so assertive. Due to Mevhibe’s identity, there are traumas from the past that she tries to hide. It is as if he is unaware that while he is uneasy about his son’s publicity, he is behaving in a way that brings him down. His own fears and anxieties prevented his son from realizing the conflicts he was experiencing. In those days, plans to completely remove non-Muslims from the entertainment industry came to the fore and this demand was conveyed to Orhan. In return for being rewarded as the business person of the year, he is asked to fire non-Muslims from his business. When she brings this subject up to Mevhibe, she says, “It’s not heavier than what you made me pay, my mother,” without mentioning the expected reward. Orhan is conscientiously disturbed by fulfilling the request; because the price he would make the non-Muslims in his business pay because of their identity, by deleting his name and identity in the past, changed and paid. He remembers a memory from his childhood at the ceremony where the award will be presented to him. It is hidden somewhere. There is a knock on the door, one after the other, and someone tells him repeatedly.”What’s your name?”he asks. Orhan built a new life by hiding his real name, Niko, and thus his identity, and thus he was able to survive. When he returns to the moment when the award will be given, a second award comes from Mevhibe. Mevhibe calls her son by his real name and says that he is proud of him. By hiding that he is non-Muslim, Orhan tries to adapt to the new order and the political climate and continue his life by dismissing those who have the same identity as him but do not hide it, but this choice seems to bring about an internal conflict. When Çelebi says that Agop will also be fired after the newcomer learns about the job, it is perceived in Orhan’s eyes that the decision he made, the choice he made did not permeate him, that he was uneasy and aware of his mistake. political conditions, In an environment where personal conflicts determine everything, Orhan is the only character with whom Selim can be in solidarity with Matilda and who can get him back up when he falls. Orhan gives Selim a chance by taking a risk because of Mevhibe, who does not fully trust him and is sure that he will mess everything up. When Selim couldn’t find the strength to go on stage on the first night, he said that he didn’t want a “boring singer whose dreams were castrated and whose enthusiasm was tamed”, and he stood up so that he could continue to dream and turn them into reality.
Club series, the first six episodes of which were published last week, takes its place as an elaborate and qualified production among domestic productions published on digital platforms, considering the plot, interactions between characters, and its characters, written and animated in the depth that can exist in the narrative, not as a type, but as a character. The presence and absence of self-confidence, which is the main problem of many characters, feeds the basic structure of the story along with the conflicts of the characters, and within the framework of this emotion – as in Rasel’s story – changing characters appear. While they are infiltrating each other’s lives through those gaps of trust, they either try to fill that gap like Matilda and transform the place where they live into another place, or as seen in the solidarity between Selim and Orhan, someone,