Giovanna Montalbetti meets Turkey's prima donna in the shadow of the Pyramids In mythology, the sphinx and the siren share several traits. Both zoomorphic creatures have the power to see past and future; both act as guardians -- whether of secrets or of people -- and possess wisdom. They seem immune to the passing of time, as they wait for the next daring human to cross their path, for they are ultimately, deeply appealing to Man. This last is probably their strongest common feature, this attraction they exercise over the most daring and astute heroes, who will approach them despite the danger, lured by their promises. If there is one thing that sets them apart it is that, while sirens originally inhabited the Mediterranean waters, Hesiod's Theogony tells us how the original sphinx dwelled in Thebes' desert sands. No ancient poet dreamed two such creatures would meet. Of course, in our Age of Reason, sphinxes are mere statues while sirens have taken on a much more human form, the term being reserved for those ladies of the silver screen with the ability to exude sensual magnetism. This is why the chance to see Turkey's most famous siren, Hèlya Koçygit, on her first encounter with the Giza Sphinx had poetic value. Koçygit was the head of the jury of the 25th edition of the Alexandria International Film Festival. With over 200 films to her name, this woman has turned herself into a legend of Turkish cinema. She has starred in some of Turkey's most successful films ever, and has won many awards. Yet she has never lost touch with the common people, becoming a symbol for many generations of Turkish women. Moments before meeting her, we are told she is charming, humble and an extremely hard worker. Though this was her first trip to Egypt and she was naturally eager to tour the country, Koçygit did not leave the Festival for a minute. While she too was on a quick last minute tour of the country, the Palestinian filmmaker Annemarie Jacir -- also a member of the jury -- had nothing but praise for Koçygit: "She is wonderful. She was very patient as the head of the jury. She listened to all of us and helped us through although we had very diverse views. So she didn't have an easy job, but she did great." Koçygit always knew she wanted to perform. She started dancing at a very young age and was encouraged by her parents to join the conservatoire to study ballet at the age of seven. Although she would later enter the Ankara State Art Academy Ballet department, she joined the Istanbul City Theatre while completing her middle education, an experience that would prove transcendental. "I was filled by theatre," she remembers with emotion. "I loved dancing, but when I tried theatre I knew this was what I wanted to do. The way the people responded, the applause, it was wonderful. And then I did my first movie" I was fifteen years old." Her debut, Susuz Yar (Dry Summer) won the Golden Bear Award at the Berlin Film Festival, becoming the first Turkish film to receive such an honour. Koçygit didn't just enjoy the moment, but recognised the responsibility to maintain newly acquired status. Nonetheless, she not only managed to meet the expectations of both critics and audience, but also demonstrated an expert eye in her subsequent choice of projects: Derman was the first Turkish film to be shown in five continents, while Kurb ê �alar became the first Turkish movie to be bought by international TV channels. "At the beginning of my career I knew nothing of life, as I was just a child," she explains. "I learned about the lives of Turkish women as I portrayed them in the movies. I learned that many of these women have no real lives of their own as they struggle with hardship of all kinds. I decided I had to tell Turkey about these anonymous people; and that is how I choose the movies I work in. Since I started working as a film producer this has become easier. It is also a big responsibility, as many women who have no voice of their own look up at me to see what I say and do in my roles. I have to stand up to them and tell the world of their existence. I believe movies are not just entertainment but also education. You can learn a lot from cinema." Her movies are dramatically charged; they explore social issues and passions of the mind. When asked whether she has noticed any changes in her country's problems throughout her career, Koçygit does not mince her words: "The way of living may have changed, but many of the problems remain." The will to produce change is one of the things she admires about Derman director Serif Gören, whom she has worked with on several occasions: "He is full of energy and is highly interested in producing realistic and socially critical movies. He wants to change Turkey." Though most of her movies have a strong Turkish identity, she agrees many of the social problems are relevant to other regions, especially those of other Mediterranean societies. Koçygit maintains that the language of film is universal. Asked whether she thinks Egyptian and Turkish societies are similar, Koçygit says there are big differences but also many things in common. She thinks this partially explains the massive success of Turkish soap operas in Egypt, as people can relate to the characters easily. Koçygit says people here seem to take things easier than in Turkey, which is also a trait of the Egyptian films she has been able to see: "Things seem to be more slow-paced," she explains. For her part Koçygit keeps a busy schedule: Apart from starring in and producing movies, she also works on TV. One of her latest projects was the Turkish adaptation of the American 1980s hit series The Golden Girls. Despite being known as one of Turkey's most beautiful and independent women, she agreed to play the character with the least self- esteem in the show, Dorothy, originally depicted by Bea Arthur. The Turkish adaptation aimed to keep the spirit of the original series, in which controversial issues were approached with humor (the American show was pioneering in addressing subjects such as AIDS, homosexuality or terminal diseases back in the 1980s), but somehow the audience didn't respond as well as expected. "The audience didn't want to see us in a comedy," she ponders. "They are used to seeing me and my companions in dramatic roles and that is what they expected. Besides, the show was advertised as an American product, and nowadays that does not connect with the Turkish audience. I had a wonderful time though. I am sorry it didn't work out better." But Koçygit also dedicates time to fund raising. She recently starred in one of Murat Evgin's music videos, in which she portrayed the mother of a soldier leaving to war. "Armed conflicts lead nowhere, as it is all a matter of who wants to control a piece of land. This is an important issue in Turkey; many lives are lost for nothing. We should fight together, be one nation. Many mothers are crying. Murat's song says, 'Don't cry for me, Mother, sing instead.' I agreed to participate because I wanted to tell these mothers that I share their pain and feelings. All the money that was raised went to them." Speaking, Koçygit is overcome by emotion to the point when goose-bumps cover her skin despite the desert heat. She pulls herself together soon enough, however, and with a smile resumes the conversation as she pulls out her camera. For a few minutes she blends in with the tourists and just enjoys the sights. "I just wish I had more time to visit," she almost apologises. "This is very beautiful, and people are very kind." When asked what characteristics have struck her the most about Egyptian people on this, her first trip, Koçygit says, "They are very helpful." And then, with a smile: "Everything is very crowded!"
