Harem is an interesting attempt to separate fact from dark legend. Set in the Topkapi Palace in Istanbul during the reign of Suleiman the Magnificent in the 16th century, viewers get a glimpse into the lives of the concubines who worked and lived there.
Needless to say, many tales of the harem have been passed down through the years, becoming more imaginative and salacious with each generation. This posed a great challenge to modern researchers and enthusiasts of the time. This in-depth feature-length documentary presents the most historically accurate version of events currently available.
The harem is not the sex-filled place many people believe it to be. Concubines were trained and raised to reproduce, and the sultan was selective about who he would receive as his heir. Birth mothers do not have the same rights as Sudanese wives, but they are still entrusted with the care and upbringing of each child throughout their development. Of course, only one of them can be the heir. When that moment comes, custom dictates that they should fight for the throne, and the chosen one must murder his siblings.
The filmmakers illustrate how these young girls were accepted and shaped from an early age. At times, the harem resembles an all-female college setting, with each student receiving rigorous training in religion, etiquette, and embroidery. For the most part, women in the harem are better educated than most women in society.
The most striking part of the film deals with the unusual relationship between the sultan and his concubine Hurem, a slave from Russia who first entered the harem in 1520. She quickly became the sultan’s favorite and eventually bore four of the sultan’s five sons. The two deviate wildly from convention, fall in love and eventually marry. This sparked a debate with seismic and cultural repercussions.
Through meticulous reenactments and ongoing commentary by a team of seasoned historians, The Harem shows us how these young innocents would ultimately play a pivotal role in the region’s history.
Directed by: Paul Bryers
