*Originally published in Turkey Tribune.
It is 9pm in Pakistan. An estimated thousands sit intently to watch what will unfold in a mansion scenically facing a shore of the Bosphorus, and in lives of the people who dwell in it. A handsome, philandering blonde, his sturdy uncle’s young gorgeous wife, her conniving mother and the mansion’s elegant governess. Characters that have eased into a part of their own lives.
These Pakistanis sit in anticipation of what will unfold in the Ziyagil Mansion. And so was the routine for them since months, until ‘Ishq-e-Mamnuu’ ended last December.
What began as a venture by a new channel last year eventually evolved into a nation-wide mania of ‘Ishq-e-Mamnuu’ (Urdu for ‘Aşk-ı Memnu‘).
The first of its kind in the country, the UAE-based channel Urdu1 became available in Pakistan in June 2012 by broadcasting two foreign TV dramas dubbed immaculately in Urdu, one Spanish and the other Turkish.The latter’s fresh storyline, cast and their convincing performances set in the ambience of Turkish culture and the picturesque locales of Istanbul, within a matter of months ensconced itself in a large Pakistani urban audience.
A diverse audience composed by people belonging to both sexes of all ages, occupations, backgrounds, stripes and walks of life. And Toygar Işiklı’s masterly music production only augmented its appeal for them.
During its run on TV, it was not an uncommon sight to see many Pakistanis jestingly meeting each other in the Turkish style of greeting with a peck on each cheek, the two genders swooning over Kıvanç Tatlıtuğ, Beren Saat and Hazal Kaya and women raving about Firdevs Yöreoglu’s and her daughters’ fashion. Hearing ‘Aşk-ı Memnu’s theme music as ringtones and heated discussions on the drama, with the obligatory dental clicking for poor Adnan Ziyagil, in various cafes, lounges, restaurants was an even more ordinary scene.
It was, literally, the talk of the town.
Considering Pakistan’s long-standing cultural, historical, bilateral and exceptional brotherly relations with Turkey, Pakistani interest in the Turkish state and nation is rather natural. Turkey frequently occupies a place in Pakistan’s political discourse; as an ideal political model. Recently, amid the fluttering of Pakistani and Turkish flags all over Lahore and much fanfare and excitement, the provincial government of Punjab inaugrated Pakistan’s first Metro Bus service in the city modeled on the Turkish system of this public transportation. It was also attended by the deputy prime minister of Turkey.
Add to this, the creation of frenzy owed to ‘Aşk-ı Memnu‘ . The massive following of the drama furthered the fascination with Turkey, its people, language and culture. Inevitably causing a shift in people’s travel preferences, wanderlust towards it and a surge in plans for Turkish vacations. It would come as no surprise, if soon Turkish tourism is compelled to welcome eager and swelling Pakistani throngs.
Televised the entire week, ‘Ishq-e-Mamnuu’ propelled the remarkable skyrocketed ratings for the channel, blurring behind well-established rival entertainment channels. This disconcertedness forced them to jointly file a petition in court against the Urdu1. While equally upset were and still are the numerous local producers and veteran drama actors and actresses, openly clamoring for protectionism for the entertainment and drama industry in Pakistan, with direct reference to ‘Ishq-e-Mamnuu’ whose sensational rise has posed a threat to them and their own soaps and TV shows.
In contrast to this, one notable veteran Adnan Siddiqui, who also played a role alongside Angelina Jolie in the film ‘A Mighty Heart’ , had a different approach and reaction. Succinctly writing a note on ’Ishq-e-Mamnuu’ which acknowledged it’s attributes, he called on the Pakistani entertainment industry to accept it (the Turkish soap) as ’a production which is a learning mechanism to provide our industry with better quality for work’ and to learn from its causes of swift success to espouse professionalism and up their standards in conformity with international ones.
Presenting and dealing with subjects ranging from alcohol consumption, adultery to abortion under its themes of glamour, deception and betrayal, it came as surprise that it stirred no significant controversy involving conservative groups in Pakistan.
The slashing of steamier scenes in ‘Aşk-ı Memnu’ under the scanner and sword of censorship paved the way for its social and cultural acceptance but generally, the soap fuelled attraction and greater want for Turkish TV dramas in Pakistan.
The sudden popularity of actors Kıvanç Tatlıtuğ and Beren Saat in Pakistan along with the striking success of ‘Ishq-e-Mamnuu’ has led to many other entertainment channels following the trend set by Urdu1: with “Asi”, that started during ’Ishq-e-Mamnuu’ to have recently ended and replaced by “Menekşe ile Halil” by one channel, and “Gümüş” now being televised as “Noor” by a separate one.
Urdu1 has also replaced ‘Aşk-ı Memnu’ with the dubbed version of “Fatmagülün suçu ne?” which it proudly calls on its official Facebook page ‘A perfect successor to Ishq-e-Mamnu!’ due to its successful maintenance of the highest ratings amongst other dramas during prime time that the former achieved. It has become apparent that ‘Aşk-ı Memnu’ might just have been to Pakistan what “Gümüş” was to the Arab world: a flare that ignited a boom in dubbed Turkish dramas.
With Adnan, Bihter, Behlul household names in Pakistan, several other Turkish soaps being shown and the final episode of ‘Aşk-ı Memnu’ having surpassed local blockbusters by garnering record-breaking ratings; Turkey’s current greatest cultural export, which has and continues to captivate millions around the world, should add another country to its map. For Pakistan has been swept, taken and transfixed by the thrilling storm of Turkish dramas!
~ Hafsa Khawaja
Hafsa Khawaja's Blog 