Funny thing about the James Bond movies is that, while they are models of conspicuous consumption, their basic tropes are so much just that –- basic –- that one could recreate them in a backyard home movie and still have them be easily identifiable. Make your bald headed uncle wear his shirt backwards and put him in a high-backed chair with a cat in his lap and you have your villain. Get the babysitter to dance around in a swimsuit to a Ventures record and you have your credit sequence. Make sure that your hero’s suit has at least been recently pressed, and that he can hold a cocktail glass in a somewhat rakish manner, and you’re good to go. Then you can have your mom… Well, that got weird awful fast, didn’t it? Anyway, you see my point.
You’d think that it would be this aspect of the Bond films that made them ideal fodder for the make do, cash poor cinema of 1960s Turkey. But the fact is that’s not the reason that Altin Cocuk, Turkey’s answer to James Bond –- aka Golden Boy –- was made at all. Altin Cocuk was made because it was 1966 and, in 1966, every country on Earth with a functioning movie industry was constructing their answer to James Bond.