Garin is swimming against the current<\/p>\n
By Marseli Sumarno<\/p>\n
JAKARTA (JP): It's fortunate we still have Garin Nugroho. In
\nthe past few years, with the Indonesian film industry in a
\ndoldrums, the name Garin Nugroho has continued to ascend. Last
\nyear, film reporting in the Indonesian media was dominated by
\ndiscussions about Garin's second work, Surat untuk Bidadari
\n(Letter to an Angel).<\/p>\n
A string of commendations was accorded to Surat throughout
\n1994, beginning with one awarded by the German newspaper Berliner
\nZeitung at a ceremony during the Young Cinema festival in Berlin.
\nSuccessively, Surat was named best film at the Taormina festival
\nin Italy, earned Garin the honor of being named best director at
\nthe Non-Aligned countries film festival in North Korea and was
\nnamed best film in the Young Cinema section of the Tokyo Film
\nFestival.<\/p>\n
The young graduate of the Jakarta Art Institute also received
\nawards in Indonesia, including one from the literary magazine
\nHorison and one from the newspaper Republika.<\/p>\n
Ironically, Surat untuk Bidadari has not been shown in movie
\ntheaters in Indonesia. Controversy over the film's merit has
\narisen. One observer, complained about the demanding film
\nlanguage Garin employed. At the other end, there are observers
\nwho are prepared to extend the director the appreciation that is
\nhis due but argue that Garin is intentionally taking an
\nuncompromising stance with regard to market preferences.<\/p>\n
Garin is swimming against the current. As a consequence, a
\nspecial network of theaters is needed to present such works,
\nwhich require a certain finesse to appreciate.<\/p>\n
Garin, who is 32 years old, shows little concern for the
\ncontroversy. On one occasion he made it clear that he was
\ndetermined to place himself in the position of a \"voyager\" by
\ncontinuing to pursue his creative journey without allowing
\nhimself to be confined by any restrictions. He believes that
\ntaking such an attitude is one of the important steps that has to
\nbe taken to improve the crisis situation in which the Indonesian
\nfilm industry is currently immersed.<\/p>\n
At present, Garin, who has been engaged in making
\ndocumentaries, appears to be searching for new artistic and
\nthematic expressions. In the thematic context, the boy Lewa in
\nSurat untuk Bidadari is a representation of his own self, which
\nis constantly seeking answers to questions.<\/p>\n
Garin and his crew are busy finishing his third work, Bulan
\nTertusuk Ilalang. The estimated Rp 600 million (US$300,000) in
\nproduction costs will be provided by the National Film Board.<\/p>\n
While Surat untuk Bidadari was shot entirely on the island of
\nSumba, his newest film will be shot on location in and around the
\ncity of Surakarta in Central Java. Some of the oldest parts of
\nthe kraton (royal court) will be part of the film's setting.<\/p>\n
Bulan tells the story of a 25-year-old Javanese composer named
\nIlalang, a young man beset by many traumatic experiences
\nconcerning his relationship with his parents. In his childhood,
\nIlalang witnessed his mother die slowly in solitude after his
\nfather forbade her to dance.<\/p>\n
Ilalang later took lessons from a master gamelan player by the
\nname of Waluyo, who has a young wife named Bulan. In time,
\nIlalang fell in love with Bulan and this was reflected in his
\nmusical compositions.<\/p>\n
Suspecting the nature of the relationship between Ilalang and
\nBulan, Waluyo burned all of Ilalang's compositions on the pretext
\nthat they were \"shallow and lacking in sincerity\". The
\nrelationship between the two, however, continued and Ilalang
\ncompleted his crowning composition.<\/p>\n
Although ill, Waluyo tried to burn this composition too, but
\ninadvertently dropped the kerosene lamp with which he was
\nlighting the paper. The fire swept through the house, killing
\nWaluyo.<\/p>\n
\"Bulan (the moon) is a symbol of blood-stained beauty,\" says
\nGarin, explaining the theme of this tragedy.<\/p>\n
In his first film Garin chose to use unknown actors. His
\nreason: \"I wanted to give a distinct nuance to my film. Using
\nactors who are already known would give it a different image. As
\nan idea it would not be complete.\"<\/p>\n
He applied the same ploy to his following films. He chose a
\nnative Sumba boy to play the key role in Surat untuk Bidadari and
\ninvited a freelance photographer by the name of Norman whom he
\naccidentally met in Jakarta to play the part of Ilalang in Bulan
\nand Ilalang.<\/p>\n
With the shooting completed, Garin expects the post-production
\nwork on Bulan to continue until next month and hopes the film
\nwill be ready to represent Indonesia at the Asia-Pacific Film
\nFestival in Jakarta in July.<\/p>\n
As for this year's plans, Garin says he is looking forward to
\nworking on a film for TV in cooperation with Rano Karno, the
\nactor-producer whose popularity soared after his successful
\nacting, producing and directing of the television serial Si Doel
\nAnak Sekolahan.<\/p>\n
Meanwhile, another feature film is already in the planning.
\nAlthough a title has not been found, the funds are already
\navailable, thanks to the Rp 400 million prize Garin won at the
\nTokyo Film Festival.<\/p>",
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