
The Day the Fish Came Out
1967

1973
Director
Günay Kosova
Runtime
62 minutes
Average Rating
No ratings yetSynopsis
From 1973, it's a Turkish Batman and Robin ignoring a Commissioner Gordon type before fighting a Blofeld-esque villain (bald, strokes cat) while spending their downtime in strip clubs! Yep, there's more nudity in this film than every other Batman movie combined, which admittedly isn't much but we'll take what we can get. For some reason the dynamic duo sometimes have capes and sometimes don't. In one scene Batman even picks up a gun and shoots a couple of bad guys before tucking the gun into his belt. You won't see that in the comics. This time no clips from other films (that I noticed anyway) but lots of music is lifted from elsewhere, including the James Bond theme.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks explicit depictions of same-sex intimacy or non-cisnormative identities. However, the focus on nightlife and strip clubs creates a sense of social fluidity that departs from rigid heteronormative structures.
Gender Representation
The narrative deconstructs traditional masculinity by placing heroes in strip clubs and environments featuring frequent nudity. This shifts the focus away from stoic, patriarchal authority toward a more chaotic portrayal of gender.
Racial & Ethnic Diversity
As a Turkish production, the film provides a localized perspective on Western icons. By recontextualizing American myths within a Turkish setting, it offers a non-Anglo-Saxon lens on the superhero genre.
Religious & Cultural Diversity
The film subverts Western institutions by stripping superheroes of their moral compass. It prioritizes individualistic, chaotic agency over state authority, framing justice as subjective rather than tied to legal order.
Disability Representation
There is no evidence of characters with visible or invisible disabilities being portrayed with agency or used as central plot devices.
Strengths
Areas for Improvement
AI Analysis
Bedmen (1973) functions as a stylistic deconstruction of Western superhero archetypes. It replaces the disciplined morality of the traditional Dynamic Duo with a sense of lawlessness and social transgression, utilizing a comedic, low-budget science fiction lens. The film's diversity is most evident in its cultural recontextualization. By reclaiming a Western mythos for a Turkish audience, it disrupts the Anglo-centric nature of the genre, even if the cast remains largely homogeneous within its regional context. Ultimately, the work achieves moderate progressive value through its refusal to adhere to traditional heroic tropes. It embraces moral relativism and social disruption rather than providing explicit intersectional character development.

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