Big budget 'Fatahillah' is in the spirit of Islam<\/p>\n
By Yenni Kwok<\/p>\n
JAKARTA (JP): Fatahillah has resources that are but a dream
\nfor other local film producers.<\/p>\n
Big, important names are behind the making of the historical
\nepic. Imam Tantowi and Chaerul Umam, two experienced filmmakers,
\ndirected. Jakarta Governor Surjadi Soedirdja and Johan Tjasmadi,
\nthe chairman of Indonesia's Movie Business Association, are the
\nproducers.<\/p>\n
While most film productions scramble to find financial
\nbackup, Fatahillah had no such worries. The Jakarta city
\ngovernment allocated its tax funds to finance the movie's Rp 3
\nbillion production costs.<\/p>\n
Screening venues are no headache. After years of shunning
\nIndonesian movies, the upmarket Studio 21 movie theater franchise
\nwhich monopolizes the market, agreed to screen Fatahillah.<\/p>\n
In addition to being screened domestically, Fatahillah may
\nalso play to international audiences under the title Battle of
\nJayakarta. Johan plans to sell the film to Germany, France,
\nCanada, Australia, South Korea and the United States.<\/p>\n
The film premiered around the nation on June 20, two days
\nbefore Jakarta's 470th anniversary celebration. The Jakarta city
\ngovernment supported this production because the film focuses on
\nJune 22, 1527 when Fatahillah ousted the Portuguese from this
\narea. June 22 is recognized as the founding date of the capital.<\/p>\n
"People now only think of Jakarta as a business or trade
\ncity," said Surjadi Soedirja. "We are trying to popularize the
\nimage that Jakarta is a city of struggle, too."<\/p>\n
The history of Fatahillah himself is sketchy (see accompanying
\narticle on this page). Scholars hold different theories about who
\nFatahillah really was. One version says Fatahillah was Sunan
\nGunung Jati, one of the first Islamic preachers in Java.<\/p>\n
Screenwriter Misbach Yusa Biran chose the version that
\nFatahillah, whose real name was Fadhillah Khan, was a Pasai ulema
\nwho later married the daughter of Sunan Gunung Jati.<\/p>\n
The tale unfolds in the early 16th century. The Portuguese are
\nadvancing through the area now known as Indonesia, first in
\nMalacca, then the spice islands of Molucca (Maluku). They then
\nturn their sights on Java. They managed to strike an agreement
\nwith Hindu Pajajaran Kingdom, who fear Islam's growing influence.
\nThe Pajajaran king allows the Portuguese to build a fortress in
\nSunda Kelapa, present day Jakarta.<\/p>\n
The Moslem leaders of Java are jittery after hearing of
\nPortuguese atrocities in the Moluccas and their designs on Java.
\nThey ask Fatahillah (Igo Ilham) to drive the Portuguese from
\nSunda Kelapa. Helped by Moslem leaders and Chinese merchants,
\nFatahillah sets a strategy to attack the Portuguese.<\/p>\n
Leading inexperienced, poorly armed troops, Fatahillah's
\nmission seems to be impossible. Several soldiers are pessimistic
\nof the battle against the more modern and stronger Portuguese
\nforces.<\/p>\n
A devout Moslem, Fatahillah gives assurances to his people
\nthrough preaching the Koran. The end of the story, as we probably
\nknow from our history textbooks, is that Fatahillah's troops
\ndefeat and drive away the Portuguese. Fatahillah renames Sunda
\nKelapa, calling it Jayakarta, or "City of Victory".<\/p>\n
Fatahillah gives Islamic words of wisdom to boost the troops'
\nspirit. Quotations from the Koran occasionally appear on the
\nscreen, especially during the battle between Fatahillah and the
\nPortuguese.<\/p>\n
"This film has a mission of preaching Islam," said Igo,
\na newcomer to films who was chosen from 40 actors auditioned for
\nthe role.<\/p>\n
The choice of 27-year-old Igo was based on his religious
\nbackground. "He is an ustadz (a teacher of Islamic studies), and
\nhe has devout religious feeling," said director Chaerul Umam,
\nfamous for highly acclaimed Islamic-themed films, such as Titian
\nSerambut Dibelah Tujuh (The Path of Believers) and Nada dan
\nDakwah (The Tune and Propagation). For this film, he is
\nresponsible for directing the actors.<\/p>\n
Indeed, the film is aimed at young people, who are currently
\nbombarded with what many believe are morally depraved Western
\nvalues. "It is about defending the good according to Islam's
\nway," said producer Johan Tjasmadi.<\/p>\n
Interesting is the inclusion of a Chinese-Moslem merchant as
\nFatahillah's ally. The presence of Kim San (Robert Santosa) and
\nother foreign traders reflects how multiculturally diverse the
\nIndonesian city was and is.<\/p>\n
Nevertheless, Kim San is a Moslem, siding with Fatahillah to
\nfight the Catholic Portuguese and the Hindu Pajajaran.<\/p>\n
"None of them carry the Holy War signs," Misbach says. "But
\nthe story teaches how we should fight evil and injustice, no
\nmatter how weak we are."<\/p>\n
Effects<\/p>\n
Fatahillah's strength lies in its special effects. The ships
\nmade especially for the movie are impressive, as are the onboard
\nbattles. The settings and the costumes are beautiful. Imam
\nTantowi, whose body of work includes the big budget, action Saur
\nSepuh films, was in charge as the art director.<\/p>\n
However, the movie's characters are not developed well and are
\nmerely two-dimensional. The emotional conflict between Fatahillah
\nand his soft-hearted second wife, Ratu Ayu (Yuyun Sulistyawati),
\nwho is reluctant to see her husband go to war, is only skin deep.<\/p>\n
Indeed, there is hardly any emotion throughout the movie. Igo
\ngives a wooden performance as Fatahillah. The emotion is dry and
\ndialog flat. The actors keep stern and stiff faces throughout.
\nThe quality of their acting is no better than that found in local
\ntelevision soap operas.<\/p>\n
Ironically, Fatahillah is already a television production.
\nConcurrently with the film production, Chaerul Umam and Imam
\nTantowi also shot the Fatahillah series. The series is scheduled
\nto be aired six months after the film screening.<\/p>\n
Long before Fatahillah finished production, it was already the
\ntalk of the nation. The public and mass media hailed the film as
\nbeing able to jumpstart Indonesia's sluggish film industry.<\/p>\n
With its aggressive marketing, Fatahillah may well attract
\nmany viewers, proving that vehicles other than soft porn
\nIndonesian movies can also sell. If the simple theory holds, it
\nshould lure businesses and artists back to the industry.<\/p>",
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