In the present text I am going to discuss the characterisation of Can Yaman, as presented in the second scene of the romantic comedy “Erkenci Kus”(“Early Bird” in English).

 

 

Can Yaman is one of the protagonists in the comedy.

 

 

In order to reach my objective I will follow scene after scene all that the director chooses to do to introduce Can Yaman’s personality in the first episode.

It goes without saying that the function of the first episode is to introduce main and secondary characters and, last but not least, to raise curiosity so that the watcher will feel involved in the story and, as a result, go on watching between the lines and put themselves to test to decide how the comedy will develop.

 

 

The first time Can appears in the comedy is in the second scene: his brother Emre calls him at the phone while he is kayaking into the nature. Audience can have a general impression of Can’s personality: he is young, wild and freelance; he seems to come out from the blue. This effect is reinforced by the surrounding landscape: Can is in the middle of nature, alone.

The general view is very far from Istanbul, from where Emre calls his brother: these landscapes are in contrast each other, and that helps the watchers to focus attention on the protagonist.

Moreover, soundtrack and colors used (for example, Can’s kayak is red, symbol of energy and passion) contribute to the scene, underlining Can’s strong temper.

 

 

Can appears for the second time when Emre calls him one more time at the phone; during this call, who watch the video understand the good feeling between two brothers, despite of the differences of the respective natures: they both talk with irony and smiling.

The director continues to use opposite images: Can’s vest is very different from Emre’s dress and when the first is working hard to prepare his things to go, the second one is on a sofa in relax; therefore, the director gives to the audience some information about Can that differentiates him by the “normal” people and is useful to catch the attention and the curiosity about the protagonist.

 

 

The last time Can appears in scene two is at the end. He is walking into the agency; his dress style is casual, different from other workers, and he seems to be almost loved by people, especially by women; this effect is amplified by sweet sounds and by a slow-motion shot. The director uses these devices to make Can more important by other people.

When he meets Derain, who is felt in love with him, he is cold with her: for the moment he is not keen on girls or love, he wants not to depend by women and his only thought is to see his family.

 

 

At the end, I can say the director has create Can’s character smartly, underlining his differences between him and others; he characterized all-round Can, from his dressing style to his way to talk with friends, from relations to hobbies, and so much.