This paper focuses on the life of Ali Kemal Sunal, arguably the funniest and most prolific comedian in Turkish cinematography, and the making of ?aban-the Cow, his “immortal” comic cinema character who became almost identical with him. In the hard times of the 1970s and 1980s when the political polarization between the Left and Right divided especially the young generation, economic turmoil stratified Turkey into upper and middle-classes, and cultural confrontation between the high and popular culture became the norm, Sunal’s ?aban-the Cow showed, and to some extent convinced his audience, that the accommodation between political radicals, solidarity between classes, and fraternity between sub-cultures, all of which seemed hardly possible, were possible. In twenty years (1973 to 1999), ?aban acted in ninety-two movies and four TV series. In almost all, ?aban plays a naive, poor, and burlesque character. However, behind the naive, poor, and burlesque nature of this character lay a more sophisticated, optimist, lucky, goodwilled and patriotic personality who is ready to sacrifice himself for “others,” be it neighbors, a village or the nation. Considering the social and cultural discourse it belongs, this paper suggests, ?aban-the Cow is representative of what I call a sui generis Turkish “reculturation,” “deotherization,” and cultural consolidation of Turkish revolution project based on Ataturk’s vision. In brief, this paper attempts to convey a sense of not only ?aban’s legacy but also the confluence of ?aban’s achievements and cultural implications, and the genre it is a part of. Contemporary newspapers, interviews, the movies and documentaries are consulted to this end.