It has been 13 years since the "Aşk-ı Memnu" series, which stirred up storms in Turkish television between 2008 and 2010, captivated fans by airing its final, tragic episode. Even after more a decade, the re-run broadcast every summer still surpasses the viewership ratings of current shows.

Now, the series is being adapted into a film with a new perspective, focusing on the protagonist, Bihter, bearing the same name as the movie.

The groundbreaking made-for-TV production is already categorized as what we call a "cult classic." When it aired, everything from accessories worn in the series to clothing became iconic. Even those unfamiliar with the book the adaptation is based on became accustomed to it. It surely had its place in Turkish popular culture too.

So, what makes this work so indispensable, leading to the creation of numerous other works, and still relevant even 13 years later?

Uşaklıgil’s solid ground

In the Servet-i Fünun literary movement of Turkish literature, where Turkish literature took on a distinctly European nature in terms of mindset, themes and even techniques, Halid Ziya Uşaklıgil's "Aşk-ı Memnu" is considered the first major Turkish novel. This literary movement coincided with the reign of Ottoman Sultan Abdülhamid II, and the publication date of the novel provides significant insights into the spirit of that era. Throughout the narrative, Uşaklıgil skillfully and realistically reflects everything he observed in his society. His profound exploration of gender roles, the inner worlds of characters, and the creation of "real" novel characters essentially elevate the work to a masterpiece on its own.

Although Uşaklıgil often employs dense language in his novels, which could potentially hinder readability, the plot is so compelling that it does not allow the barrier of language to detach you from the story. In fact, Uşaklıgil mentions this in the preface of the book. He emphasizes the importance of not simplifying versions, noting that the sentence structures remain exactly the same. He laments that future generations might embark on a life without knowing their own language due to confusion stemming from Turkish spelling during that era. Nevertheless, from the very first page, the book demonstrates its fluency.

Moreover, as the title suggests with its translation as "Forbidden Love," the novel revolves around the forbidden love of a young girl named Bihter. The headline undoubtedly contributes to making the novel intriguing. Uşaklıgil's mastery lies in his profound depiction of the structure of the high society of the late 19th century, and the conflicts characters experience both among themselves and internally, which he constructs quite convincingly.

"Aşk-ı Memnu" fundamentally addresses issues that are still, and probably will continue to be, prevalent in many societies. One of these issues is problematic marriage due to the age difference between spouses such as Bihter marrying Adnan Bey, who is significantly older than her, while Nihal psychologically struggles as Adnan Bey's daughter. Another theme is the realization that material wealth alone does not guarantee happiness as Bihter's initiation of a love affair with Adnan Bey's nephew Behlül comes to the surface, and the resulting tragic situations arising from the clash of expectations and reality are all explored in the novel.

The family Bihter is a part of the known "Melih Bey lineage," consisting of the late Melih Bey's two daughters Bihter and Peyker, and his roving-eyed wife Firdevs, lacking strong nobility. Yet their most significant characteristic, after their penchant for entertainment, is their fashion sense. They are famous in Istanbul's world of pleasure and entertainment. Everyone knows them, and they are trendsetters. Their boat is most often followed on the moonlit nights of the Bosporus. People frequently stand in front of their mansion, carefully peeking through the windows, paying attention to a piano melody or a couple of elegant silhouettes glimpsed behind the curtains. They stand out everywhere. However, according to Uşaklıgil's narration, each one of them is having their own personal struggles in life, especially the negative label that comes along with Firdevs.

On the other hand, Bihter's mother, Firdevs Hanım, sees her children as rivals and is devoid of maternal feelings, consumed by her efforts to appear distinct. This internal struggle constantly plagues her throughout the novel.

Nihal, on the other hand, battles with a constant feeling of disconnect from her father, and coupled with Behlül's desire to cleanse his sin of being involved with Bihter by marrying Nihal, adds to the intricate web of events, serving as a counterpart to Bihter's character development.

Adnan's daughter Nihal and his new young wife Bihter share similar character traits as both are hungry for love. Even after marrying Adnan Bey, Bihter cannot find happiness because she is emotionally unsatisfied. After falling in love with Behlül, she seeks his complete devotion, but Behlül, with his Don Juan character traits, distances himself when he becomes bored with the relationship, as usually flirts from one woman to another.

TV series adaptation

The series with its exceptionally perfect cast, including names such as Selçuk Yöntem, Nebahat Çehre, Kıvanç Tatlıtuğ and Beren Saat, managed to turn itself into a memorable production, taking Uşaklıgil's work to a different dimension.

Every year, on the anniversary of the final episode where Bihter's death is portrayed, there are social media events like "mevlüt" (Islamic memorial service) events and symbolic offerings of food in her name. There are even legends about the night of the final episode, claiming that the streets were unusually quiet and the entire country was glued to the screen.

Also, thanks to the series, the famous mansion of the Ziyagil family used as the setting received tens of thousands of visitors for years and it still welcomes people who want to vivify their memories of the show. While the mansion in Sarıyer currently hosts a carpet exhibition, everyone who sees it from the outside experiences sad nostalgia, associating it with the desolation after Bihter's death, as the series was so realistic that it blurred the lines between reality and fiction.

Considering that the original publication date of the book was 1899, the TV series masterfully managed to modernize costumes and themes while retaining the connection between the two works, becoming one of the factors that turned the series into a legend. Also, the chemistry between Beren Saat (Bihter) and Kıvanç Tatlıtuğ (Behlül) was so perfect that it entranced the audience throughout the 79 episodes. At times, most probably, the audience was so engulfed in this passion that they almost believed what they were watching was real.

As in the novel, the characters came to face their sad fate in the adaptation too. Adnan Bey's insatiable nature led him into a situation where he married a much younger woman, resulting in unfortunate consequences.

Bihter, driven by a desire to avoid emulating her mother, initially felt a fondness for Adnan Bey due to her admiration for her father. Over time, her infatuation consumed her, leading to a tragic realization of her resemblance to her mother and culminating in her own heartbreaking demise.

From the outset, Behlül was portrayed as a reckless and flirtatious individual. However, instead of acknowledging his mistakes, he sought redemption by forming a relationship with Nihal.

Upon examining these characters and considering the concluding episode of the series, it becomes evident that none of them achieve happiness. Instead, their individual stories conclude with sorrowful outcomes, emphasizing on the themes of obsession, manipulation and the detrimental pursuit of self-interest at the expense of others.

Now, all eyes are turned toward the film adaptation. From the shared images, it seems that the cinematic version will be more faithful to the original novel and will capture the period accurately. However, will it manage to recreate the wonderful atmosphere that the series established? I believe not. Sometimes, it is necessary to leave certain things in their most beautiful state.