Sir Nuri Alço Saved the Turkish Girls from Modern Day Slavery with the Help of John Carpenter

John Carpenter doesn’t know that his glorious theme to “The End“ is leading a parallel existence in Turkey. It is detached from the horror genre which is no thing over there, but serves as rape music in many films. More precisely, as the onset to an indicated and invisible rape after a K.O. pill was dropped into a woman’s drink.

Nuri Alço and Tecavüzcü Coşkun (“Rapist Coşkun“) are two legendary villains of Turkish Yeşilçam cinema of the 70s and 80s. Screw variety and the development as an artist- they would only play roles specialized on drugs, rape, and pimping, an artistic profile that gained them cult-status. A cult status which included being insulted and even beaten up regularly by viewers who took their villain roles too seriously in real life. Movies featuring Alço and Coşkun will guarantee three things: young people will be turned on drugs, women will be raped and often be turned into professional whores, families will be destroyed. Whereas the styles and operation techniques of both sex-offenders differ delicately for the meticulous viewer.

Coşkun is a hippie type dressed in flared denim and chucks, he is the Manson-Family / Woodstock style rapist. He usually operates in discos and night clubs, always high and dancing wildly to some hip tunes and in the manner of Charlie’s gang accurately fantasizing about “slaughtering people, making their red, warm blood splatter” and how much better all of this feels after dropping some LSD. Coşkun approaches young women with his dirty grin and cool mannerisms. The usual targets are  innocent, virginal girls who just recently have moved to the big city. The hippie is an asshole who wants to have fun and joyfully carries out the dirty work of the mafia- he makes the girls drunk ‘n high and rapes them at every opportunity, and when he gets caught, he will beg and cry like a worm while getting beaten up.

Nuri Alço is in another league and even more of a son of a bitch. With his trumpesque blonde hair and golden necklace on the hairy chest, he embodies the slick and polite yuppie-rapist in a Lacoste shirt. The sort that could be found at Jeffrey Epstein‘s sex-parties, only that this man was his own party. The bored upper class sprout has to own everything and everybody that he wants, and will invest a lot of time plotting under his dirty blonde mustache if necessary. Nuri Alço will  spot a young woman and feel the wish to have her, either for personal satisfaction or in order to exploit her, but most of the times the two goals are combined. Once targeted, he won’t let his victim go anymore while obsessively spinning his web of malicious intrigue.

His taste in women is more varied and more often emotionally based on his sadism and psychopathy: young wannabe-starlets in night clubs whom he will charm and flatter until he finally drops some Rohypnol in their drinks, or the poorish woman with a headscarf who is cleaning his bathroom floor, or just the beautiful girlfriend of someone else that he has to get by destroying the relationship maliciously, just to throw her away after using her a few times. He also has a much bigger inventory of evil ingenuity: he will secretly tape sex-videos and blackmail women, then become their pimp and force them to sell their bodies. In most cases, he uses the Rohypnol shortly before the assault, then the women wake up naked and scream out in terror, while Nuri Alço (bastardly dressed in a bathrobe and golden necklace) smiles at them politely and calmly thanks them for the beautiful night and pleasures, love. “Next time I want you unsedated“- a true motherfucker. There is a great psychopathy under the surface of his slimy grin, and infinite evil energy and malice.

One of his prime roles was in the over-the-top anti-classic Acıların Çocuğu („Child of Suffering“) starring the obnoxious arabesk child-star Emrah. Plot: Emrah’s father dies. Emrah moves to the hotbed of sins that is Istanbul with his mother and brother, in order to find work and take care of the family. Nuri Alço develops dangerous pimp-emotions towards the poor Mom, and creeps his way into the family as the ‘friendly uncle’ who wants to help the desperate family. You don’t know what’s worse, Emrah’s one-dimensional face-expression of suffering that is dominated by his thick eyebrows, or Nuri Alço’s sugary smugness. Finally, Nuri drops the pill into the Mom’s drink and her life is changed, slowly becoming that of a professional whore now. Emrah catches the two in bed together and feels betrayed by both, abandoning his mother as a consequence… it would take too much time to also recapture the second half of the film, absolute melodrama. That I caught a male family member crying while watching this film is a reason for cruel mockery and pure joy to this day.

The message of these films were clear: Girls, don’t trust these guys. They are charming, will promise you money, fame and the rest of the world, and then destroy your honor and lives. „Never, ever accept an open drink from anybody,“ my father would tell me constantly, and truth is that I never let myself invite to a drink if I couldn’t see how it was opened or being made. It wasn’t the worst advice, especially since the use of K.O. drugs like Rohypnol and Ketamine massively increased in rape crimes. And the films didn’t only warn of the male masters, but also their networks of ‘Madams’ and groomers, often prostitutes themselves but that start to groom and recruit new girls in hopes to climb up the ladder in the hierarchy, or to be set free even. Notorious examples of Madams and groomers in our days: Ghislaine Maxwell and the Epstein girls.

These films were a guilty pleasure we used to laugh at, because they always followed the same aforementioned patterns, which again turned them into trash-cult. But were they really so wrong and exaggerated?

I live in a city which is home to the largest brothel in the world, called “Pascha” (formerly “Eros Center”), which is within my quarter in the city center of Cologne. It rents 126 rooms to 150 prostitutes from many nations, and advertises with a ‘money-back guarantee’ if the men going there to buy these women’s bodies and fuck them in various ways are not satisfied. The ‘Pascha’ gives the false impression of all modern big buildings: that all business going on inside of it is regulated and controlled in lawful ways- clean, tidy, and civil. But the truth is that the Pascha only functions as compromise to reduce law enforcement by keeping prostitution off the streets while at the same time maintaining and capitalizing it as „sex-worker“ business.

Truth is, that nobody controls places like the Pascha. Just like in the trillions of porns on countless legal internet platforms, we don’t know who the women in there are. We don’t now their names and ages, we don’t know their stories and circumstances, and nobody seems to care. But some of these women will seek help from social workers and talk to them, and their accounts sound more like Nuri Alço films than romantic Pretty Woman fairy-tales. These are stories of modern day slavery, with thousands of young girls being brought to Western countries (about 8000 every year to Great Britain alone), and being sold to the vice industry. Many of these girls are from Eastern Europe, young women that grew up in poverty and dreamed of a better life in the rich West, then were groomed by their future ‘owners’ and duped into believing that they are going to normal jobs as housekeepers or au-pairs. All of them had their horrible awakening after crossing the border, having their passports being taken away from them, and being trafficked to brothels in the foreign country.

Or maybe they are child-refugees from war and catastrophe zones, which means that even less people care for them. According to Unicef, „nearly 10,000 Syrian refugee children are either unaccompanied or separated, and many of these children are vulnerable to exploitation, including child labour, due to lack of legal documentation,“. Many of these children end up in modern day slavery, as sex- or labour slaves. The demand is high- „refugee porn“ is the number one porn search term in Germany.

Or maybe they are one of the estimated 460,000 children that are reported missing in the United States every single year. Or one of those 112000 in Great Britain or 100000 children in Germany that go missing annually. In the country that Nuri Alço operates in, it’s 13000 children per year, although Turkey has almost the exact same population size as Germany (82 vs 83 millions)- it’s still a number that is bad enough. Having said all of that, the conclusion can only be that these were educational (albeit trashy) folk movies which were depicting no exaggeration but a reality for millions of young women and girls to this day. And the big question is why this reality doesn’t reflect in our Hollywood movies and why these topics seem taboo and don’t have uppermost priority in our societies. We grew up with Hollywood films and media teaching us fear and paranoia, but why didn’t they each us some paranoia about things that were much more real to the world we live in?

It would probably reveal too much about the generally inhumane capitalist and supremacist system we are living in. One last valuable lesson Nuri Alço teaches us is that of the material and degenerate world-view of the modern masters. In one scene, one of his prostitutes is brought to him because she has refused to do a job- she is crying and complaining about the ‘fat, sweaty men’, and that she cannot take it anymore.