JP\/18\/BANYU
\nI prefer second title if possible... thnks
\nCinematic chemistry brews a heady concoction in `Banyu Biru'<\/p>\n
Cinematic chemistry brews groundbreaking genre in Indonesian film<\/p>\n
Paul F. Agusta
\nContributor\/pfa0109@yahoo.com<\/p>\n
Take one talented music video director with a simple yet unusual
\nstory idea, add in two of Indonesia's most innovative
\nscreenwriters, a no-holds-barred cinematographer, along with a
\nthematically adventurous producer, and you get Banyu Biru, which
\nwas premiering in theaters nationwide on Thursday.<\/p>\n
Teddy Soeriatmadja, Prima Rusdi, Rayya Makarim, Faozan Rizal
\nand Shanty Harmayn put their heads and their considerable talents
\ntogether to create a delightfully layered film in a style that
\nblurs but does not sunder the lines dividing the genres of drama,
\ncomedy and fantasy.<\/p>\n
"I knew what I wanted visually, I knew how I wanted the
\ncharacters to say their lines, I knew how they wanted to move, I
\nknew what the color of the film was going to be like. I always
\nknew how I wanted to shoot it," Teddy told The Jakarta Post
\nduring a recent discussion of their newly finished film with
\nPrima Rusdi. Rayya Makarim could not join the interview as she is
\ncurrently in England continuing her studies.<\/p>\n
"It all started with an incomplete script. It was called Dream
\nwith Fish. I started writing that in 1992 when I was still
\nstudying. Then one day after a film premier, Shanty (Harmayn)
\ncame up to me and said "Let's work on something together", so I
\ngave her like five or six synopses and she called me two days
\nlater ... and said she wanted to do this one, she wanted to do
\nDream with Fish," Teddy explained.<\/p>\n
Because the script was raw, Shanty and Teddy brought in Prima
\nand Rayya to write the script and complete the film with the
\nessence of the initial script.<\/p>\n
"It took about six drafts. It was interesting -- The story was
\na little bit out there at first, and Shanty wanted to make it a
\nlittle more -- it was a lot darker than the way it is now," Prima
\nsaid.<\/p>\n
"I just wanted to write about how someone who's dying and who
\ndecides to change -- the course of his life," Teddy said. "But it
\nbecame -- with more colorful characters created by the writers --
\nas light as possible."<\/p>\n
"Shanty, as the producer, felt that the film had to be -- a
\nlittle more digestible for an Indonesian audience," Teddy added.<\/p>\n
"We finished the last draft in 2003. It took us quite long, a
\nyear and a half. But it didn't feel that long because there were
\nso many people involved and we had so much fun doing it," Prima
\ncommented.<\/p>\n
The film, which was finally titled Banyu Biru eventually
\nevolved into a surreal comedy, which weaves fantasy with reality
\nand the pain of existence.<\/p>\n
"The humor was, I would say," Prima paused, and Teddy
\ninserted, "always there."<\/p>\n
I think the best part about it, to me anyway, since I was
\nfortunate enough to meet people like Prima, Rayya and Shanty,we
\nshare the same sense of humor -- I think that was one of the
\nbiggest plus points of the writing process," Teddy explained
\nenthusiastically.<\/p>\n
To bring this story about a young man's journey toward making
\npeace with his father to life on screen, Teddy had a long wish
\nlist of seasoned actors, whom he was fortunate enough to bring on
\nboard. The film features stellar Indonesian performers of several
\ngenerations, including Slamet Rahardjo, Rima Melati, Didi Petet,
\nand Butet Kertaradjasa, as well as the younger stars Tora Sudiro,
\nDian Sastrowardoyo and Ladya Cheryl, and fashion designer Oscar
\nLawalatta, who steals the show in a stunning depiction of a long-
\nlost friend.<\/p>\n
"He always knew who he wanted to work with. For some
\ncharacters, there were, like, no fallbacks. It had to be them or
\nelse. It was quite scary," Prima laughed.<\/p>\n
To capture the visual style he envisioned for the film, Teddy
\nenlisted the help of maverick cinematographer and internationally
\nrenowned experimental filmmaker Faozan Rizal, who is better known
\nas Pao.<\/p>\n
"Pao is one of those crazy cinematographers who would dare to
\ndo many weird things. I needed someone like that for this film.
\nHe was perfect for it," Teddy enthused.<\/p>\n
"We needed that naughtiness in a cameraman, and he delivered
\nthe goods," Teddy said.<\/p>\n
Banyu Biru, screened in major cities, is subtitled in English
\nat Plaza Senayan, Jakarta, to allow access by a larger, wider
\naudience. It is a new kind of Indonesian film, born of serious
\nand dedicated collaboration among massively gifted film
\nprofessionals.<\/p>\n
Although it bends genres and almost defies description, Banyu
\nBiru should be readily accessible to a mass audience, as well as
\nsatisfying to even the most discriminating of cinema
\nconnoisseurs, simply because it works on so many levels.<\/p>\n
It is a deftly layered piece of filmmaking that enriches with
\nthe first viewing, but entices the viewer to return over and over
\nto savor the flavors they may have missed.<\/p>\n
"I hope that people will like to see this again and again
\nbecause it gives you a different impact every time," Prima
\ncommented.<\/p>\n
"It better be watched repeatedly," Teddy concluded, laughing.<\/p>", "url": "https:\/\/jawawa.id\/newsitem\/jp18banyu-1447899208", "image": "" }, "sponsor": "Okusi Associates", "sponsor_url": "https:\/\/okusiassociates.com" }