Quality quest for this year's marquee of local films<\/p>\n
By Siti MB<\/p>\n
JAKARTA (Antara): Cautious optimism may be warranted for the
\nlocal movie industry this year following production of several
\nrelatively good films in 1997.<\/p>\n
Noted director Garin Nugroho is among those feeling upbeat,
\ndespite the currency crisis.<\/p>\n
\"True, there were only a few films in 1997, but in terms of
\nquality they were better and more artistically made than previous
\nones,\" he said.<\/p>\n
\"If this trend continues we can hope for better in 1998.\"<\/p>\n
Nugroho's Daun di Atas Bantal (A Leaf on a Pillow) was among
\nthe critically acclaimed films last year.<\/p>\n
Produced by Indonesia's internationally renowned actress
\nChristine Hakim as the debut vehicle of her newly established
\nfilm company, Christine Hakim Film (CHF), it had young Sarah
\nAzahari in a tale of street urchins. Production cost was Rp 700
\nmillion.<\/p>\n
Christine, known for speaking out on problems in the industry,
\nreturned to the spotlight after several years. She also starred
\nin a TV drama, Bukan Perempuan Biasa (No Ordinary Woman).<\/p>\n
Other highlights were Kuldesak (Cul-de-sac), produced by Mira
\nLesmana's Miles Production, Sri, the first film by film critic
\nMarselli Soemarno, and Telegram , an Indonesian-French joint
\nproduction from leading Indonesian director Slamet Rahardjo.<\/p>\n
The latter was based on a novel of the same title by one of
\nthe nation's most prolific authors, dramatists and directors,
\nPutu Wijaya.<\/p>\n
The past year also saw the production of the colossal
\nFatahillah, directed by Chaerul Umam and Imam Tantowi.<\/p>\n
Produced by Sinema Abad 21, it cost more than Rp 2 billion,
\nhigher than any other Indonesian film in history.<\/p>\n
Otherwise, the picture was not pretty. Data is still
\nunavailable, but wide-screen productions are believed to have
\nbeen about 30, roughly the same as 1995.<\/p>\n
Decline<\/p>\n
Hopeful forecasts that 1997 would mark a turnaround after five
\nyears of gloom in the industry came to naught.<\/p>\n
In 1991, only 57 films were produced, less than half of the
\n115 the previous year. But 1992 was even worse with 31 films, and
\na paltry 24 movies were made the following year.<\/p>\n
Data from Sinematek Indonesia reveals that film production
\nrose slightly to 32 in 1994, but was down to 27 in 1995.<\/p>\n
Production quantity has often been held up by both those in
\nthe industry and outsiders as an indication of its soundness.<\/p>\n
Low production numbers are taken as kisses of death.<\/p>\n
Another yardstick is box-office numbers.<\/p>\n
Actor Jim Carrey was once taken to task when his Hollywood
\ncomedy, The Cable Guy, was a flop. Made for US$60 million, the
\nfilm came up $10 million short in receipts.<\/p>\n
Fatahillah had the same problem. It had been touted as the
\nengine for an industry-wide revival, but was also a dud in the
\nmarket despite heavy publicity and promotion.<\/p>\n
Is there no hope for these resuscitation attempts?<\/p>\n
\"We are trapped in slogans,\" said Putu Wijaya, adding that
\nFatahillah could not be expected to be a single catalyst.<\/p>\n
Films made after Fatahillah were not spurred by its example,
\nbut came from the realization of some directors and producers of
\nthe need to keep national film production going, Putu said.<\/p>\n
Putu and Nugroho concurred that the problem was complicated.
\nIt begins from production-related matters, such as human
\nresources, techniques and investment, and also covers
\ndistribution concerns of movie theaters and audiences.<\/p>\n
How to effect a real revival instead of chanting an empty
\nslogan?<\/p>\n
The most important thing, said Putu, was \"how we behave
\ntowards it\". He added that films were the nation's assets and
\nwere therefore the responsibility of all.<\/p>\n
\"You can find national history, culture and thinking in a
\nfilm. Just imagine a nation without its films.\"<\/p>\n
The government, producers, film directors, investors and other
\nrelevant parties should shoulder great responsibility, he added.<\/p>\n
Viewers<\/p>\n
He was confident of the potential number of viewers.<\/p>\n
\"Take TV films,\" he said. \"I am sure the community likes
\ndomestic TV films. The market is there, but unfortunately many
\nparties have their own interest.\"<\/p>\n
Garin agreed, although he himself is better known abroad
\nabroad than at home. One of his films, Bulan Tertusuk Ilalang
\n(..And The Moon Dances), won first prize in a Swedish film
\nfestival. But local movie theater managements complain his films,
\nlacking heavy doses of sex and violence, are hard to sell.<\/p>\n
Both Garin and Putu said competition from Hollywood was a
\nproblem, but should not be used as a blanket excuse.<\/p>\n
\"Never be naive and expect protection, such as the termination
\nof film imports, especially in a free trade era,\" said Putu.<\/p>\n
People should be motivated to make quality films which can
\ncommunicate with local audiences, Putu said.<\/p>\n
\"We have the potential. We can sell our tradition and the
\nuniqueness of Indonesia. These will be attractive to foreigners.<\/p>\n
\"Of course, in terms of technology, we are way behind
\nHollywood. However, technology alone will sooner or later be
\nboring.\"<\/p>\n
Garin noted that the films should be both artistic and
\nentertaining, and not just conform to insubstantial slogans.<\/p>\n
\"Also there should be no monopoly in film production because
\nmonopoly makes films practically the same,\" said Putu.<\/p>\n
While the crisis may be relied upon by some to shoulder blame
\nfor future film woes, Putu and Garin obviously believe it should
\nnot stand in the way of those who are committed to quality works.<\/p>",
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