Actor (B. May 5th, 1929, Konak / Izmir – D. June 16th, 1979, Istanbul, Turkey). His real name was Ayhan Işıyan and he was the youngest child of a family with six children. After having studied in Izmir for a while where he lost his father at the age of six, he went to Istanbul with his brother and completed his education in Istanbul. When he was a student, the famous educator, poet and writer Mahir İz was his school principal, the poet Salah Birsel was the vice principal and the poet-writer Rıfat Ilgaz was his literature teacher. After a period following his graduation from İstanbul Devlet Güzel Sanatlar Akademisi (T.N. Istanbul State Academy of Fine Arts (Mimar Sinan Fine Arts University)) (1953), he worked as a graphic artist-painter in Bab-ı Ali for a while. At that time, the comic books published by Türkiye Publishing House were being filmed. Ayhan Işık was said to be the real author and illustrator of one of these, “Aşka İnanmam” a comic novel.
Ayhan Işık, began his movie career in 1951 by winning the artist competition that was opened by the “Yıldız” magazine and the İstanbul Film Company. “Yavuz Sultan Selim ve Yençeri Hasan” was the first film he acted in (1951). Then, he became very famous by playing the leading role of the movie “Kanun Namına” directed by Ömer Lütfi Akad. Although he continued his painting studies occasionally in the later years of his life, acting became his actual work and occupation. In 1950s, he made the movies “İngiliz Kemal”, “Katil”, “Öldüren Şehir”, “Vahşi Bir Kız Sevdim”, “Kardeş Kurşunu” with Ömer Lütfi Akad, and “Bir Avuç Toprak” with Osman Seden in 1957.
Ayhan Işık wanted to try acting in
Işık returned to Yeşilçam with the movie “Otobüs Yolcuları” scripted by Vedat Türkali in the early 1960s. Afterwards, he acted again in the movie “Üç Tekerlekli Bisiklet” with Lütfi Akad scripted by Vedat Türkali from a novel of “Orhan Kemal”. At this period, he gained the appreciation of the public with the “Küçük Hanım” movie series where he took a role along with Belgin Doruk and he received the title of “Taçsız Kral” from the public. He filmed the movie “Örgüt” as the actor and director and in the meantime he starred in some TV commercials.
Being the most well-known male actor of the Turkish
cinema, Ayhan Işık stood out with his physics and talent after his second movie
and he always played the leading role in all of the movies he made until he was
death. He succeeded to impress in all kinds of roles and presented examples in
drama, political, romantic, comedy, adventure and other styles of cinema. He contributed
to the Turkish cinema since 1975 as producer, director and screenwriter. In the
same years, he made the movies “La Mano
Che Nutre La Morte” and “Le Amanti
Del Mostro” produced with Italian producers and where he shared the leading
roles with Klaus Kinski. Although these films were released in
Ayhan Işık followed the trend with other movie stars by getting onstage and recording music albums in the 1970s. He took lessons from Münir Nurettin Selçuk and had some Turkish music performing trials and he made a 45’s record, however he couldn’t continue. Thus, he couldn’t succeed in music, producing and directing. However, without any doubt, Ayhan Işık, who took roles in nearly 200 movies, had succeeded to become a famous movie star. A considerable number of female fan base was built especially with the movies he shared the leading role with Türkân Şoray.
Ayhan Işık died on June, 13th 1979 after the staying in coma for three days in the hospital where he was taken to, as a result of a brain hemorrhage due to sunstroke while sunbathing on the balcony of his house in Istanbul when he was 50 years old and was buried in Zincirlikuyu Cemetery.
He also acted in the productions where he played the character of “Cingöz Recai”, which was the screen adaptation of the novels of Peyami Safa. He especially stood out with the movies “Küçük Hanımın Şoförü” (1970), “Cingöz Recai” (1969), “Küçük Hanımefendi” (1967), “Acı Hayat” (1962), “Üç Tekerlekli Bisiklet” (1962), “Avare Mustafa” (1961), “Otobüs Yolcuları” (1961), “Yangın Var” (Eski İstanbul Kabadayıları, 1960), “Kanun Namına” (1952). He received the “Best Actor” awards in Türk Filmleri Festival (1954) and from Ses Magazine (1962) and Artist Magazine (1965).
Special Awards” were given in motion picture acting context for long years by