Mehmet Özekit

People mistake a naive extra for his lookalike gangster and cause funny events.

Saban, Ramazan and Bayram are sailors in an Ottoman Navy and Hüsamettin is their commander. Hüsamettin's aide Ramazan, Saban who is foster son of Hüsamettin's sister and Bayram who is married to Hüsamettin's niece stays at Hüsamettin's family residence. Hüsamettin's sister thinks Ramazan is her foster son Saban when she realizes her mistake she introduces Ramazan to her brother as her son in law Bayram since she was afraid of Hüsamettin's short-tempered character. Things get complicated when real Saban and Bayram come to the residence. Now Saban has to be Ramazan and Bayram has to be Saban. Meanwhile, a gulyabani (a ghoul from Turkish folklore) haunts the residence.

The film deals with the migration from the village to the city with a realistic narrative. The immigration phenomenon described in workers' hands in a factory refers to both the modernization process in the period and the unionization. Hacer emigrates to Istanbul with his father, two children and his wife. Her husband left her and she was a helpless. Hacer was influenced by the union of the working factory, who owns the crippled friends. Hacer thought very much about to traditions versus modernization. It is the last of the film of director Ömer Lütfi Akad's Bridal-Wedding-Recoup trilogy. And it is still the inaccessible film of Turkish cinema history with its movie theme, cast, and acting success.

About the robbery attempt of a journalist known for his clumsiness. Yaman, despite being clumsy, is a courageous journalist. No one takes her seriously except Gül in the newspaper she works for. Everybody makes fun of him. Gül is in love with him.