Biyografi Dünyası
Ya Ya Ya Sha Sha Sha (Ya Ya Ya Şa Şa Şa)

Ya Ya Ya Sha Sha Sha (Ya Ya Ya Şa Şa Şa) (translated)

Movie · 1985 · 13 people

Ümit Efekan directed Ya Ya Ya Şa Şa Şa from a script by Gökhan Akçura, a 1985 Turkish film. Ali Kocabekir produced it for Hür Film. Despite its funny scenes, it is at heart a cautionary story of rise and fall. It was shot by Rafet Şiriner. A young man rises from neighborhood pitches to the professional league.

İlyas, the doorman Selami’s son, would rather chase a ball than help his father, who disapproves, and secretly joins an amateur team. He loves Ayşe, the daughter of the bank manager Enver Bey from the same building, and the grocer Şevket writes letters to her for him. Spotted on the amateur side, İlyas is transferred to the third-division club Çelikspor. Once football brings money he wants to marry Ayşe, but Enver Bey thinks him unworthy and turns the family away. Fame and money reverse the roles; the fast life drives İlyas into mistakes and a fall from grace.

İlyas Salman leads, joined by Münir Özkul as Selami, Deniz Akbulut as Ayşe and Erdal Özyağcılar as Şevket, with Hüseyin Kutman and İhsan Yüce in support. Footballers of the day, among them Rıdvan Dilmen, Cem Pamiroğlu and Selçuk Yula, also appear.

DirectorÜmit Efekan
Production companyHür Film

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Cast

Erdal Özyağcılar Erdal Özyağcılar Actor · 78 years old Şevket İlyas Salman İlyas Salman Actor · 77 years old İlyas Deniz Akbulut Ayşe Münir Özkul Münir Özkul Film actor · died at 92 Selami Diler Saraç Ayşe's mother İhsan Yüce Actor · died at 61 Coach Hüseyin Kutman Enver Zeki Gökalp Ahmet Kostarika Ahmet Kostarika Actor · 1927 – 1994 Butcher Güner Teoman Feryal Feray Kemal Uzun Footballer Selim Rıdvan Dilmen Rıdvan Dilmen Footballer · 64 years old Sarıyerli Futbolcu

Also in the cast: Canan Suavi, Cem Pamiroğlu (Fenerbahçe footballer), İlyas Tüfekçi (Fenerbahçe footballer), Selçuk Yula (Fenerbahçe footballer)

Titles sharing this cast

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Through different eyes

AI-assisted editorial takes written from different viewer perspectives. They are not reader reviews; those are below.

Yeşilçam Nostalgic A viewer raised on the classics, looking for warm storytelling and strong acting.

Made in the mid-eighties, this film takes a story Yeşilçam always loved, the neighborhood boy tested by money and fame on his way up, and moves it onto the football pitch. With the doorman Selami and the bank manager Enver Bey living in the same building, it draws the class divide with the familiar finesse of the old melodramas, and the romance woven through the letters the grocer Şevket writes has almost the warmth of a folk tale. Beneath the funny scenes lies a cautionary tale; the film isn't afraid to ask what the climb costs, and that moral center saves it from being an ordinary comedy.

History & Society Lens Asks about the period, the social background and what the work reflects.

The film reads a world in which football is seen as both a ladder up and a door to money through the class map of a single apartment building: the doorman's family and the bank manager's family live under one roof but in entirely different worlds. The way fame and money reverse the roles shows how fast, and how fragile, social mobility can be. Appearances by footballers of the day such as Rıdvan Dilmen, Cem Pamiroğlu and Selçuk Yula add the value of a time capsule. It's an interesting example of how fast money and a fast fall were told in 1980s Turkey.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Gökhan Akçura's script tries to carry two films at once: a neighborhood comedy on one side, a drama of the fall that fame brings on the other. The mix has its logic, since the story is set up from the start as a rise and fall; but the shift isn't prepared well enough, and the lightness of the comic scenes can't fully bear the dramatic weight that follows. The moral message is also spelled out too bluntly at times; instead of leaving the audience room to draw conclusions, the film reads its lesson aloud. Among the local comedies of its day it stands out for its subject, but it never finds its tonal balance.

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