The phenomenon of Garin<\/p>\n
Lei Hua, Contributor, Jakarta<\/p>\n
Membaca Film Garin (Reading Garin's Films); Team of Editors:
\nPhilip Cheah, Taufik Rahzen, Ong Hari Wahyu and Tonny Trimansanto;
\nPustaka Pelajar, March 2002; 208 pp<\/p>\n
Garin Nugroho is an extraordinary phenomenon in Indonesia's film
\nworld. He emerged with his first full-length feature film, Cinta
\ndalam Sepotong Roti (Love on a Piece of Bread) in 1991, when
\nIndonesia's film world was already at its ebb.<\/p>\n
He made this film against all the conventions of the period.
\nHe was not a member of the government-sanctioned Association of
\nFilm and TV Workers (KFT), an organization that was authorized to
\nbaptize a new film maker. Against all the long bureaucratic
\nrequirements set by the then ministry of information, Garin
\nestablished his name with his first full-length feature film.
\nThis first film was named the best film in 1991\/1992 Indonesian
\nFilm Festival.<\/p>\n
Then, quite regularly, he made more films and earned more
\nawards, both at home and abroad. Yet, there are frequent
\ncomplaints that his films are not easy to understand. It is to
\nhelp people understand Garin's films better that this book has
\nbeen published.<\/p>\n
It is a collection of essays by two Indonesians and six
\nforeigners, all well-versed in films as a means of communications
\nin a modern world, viewed from a modernist or sometimes post-
\nmodernist perspective.<\/p>\n
Seno Gumira Adjidarma, one of the contributors to this
\ncollection and also a critical observer of Indonesian films,
\nbelieves that Garin has its own narrative style which is strange
\nto most Indonesian viewers. This means that Garin has his own way
\nof telling a story in his film. A good film is one that can win a
\nprize in a film festival, an indication that it is understood by
\nfilm critics, and at the same time make the cinemas at home
\npacked with viewers, a sure sign that it is well accepted by the
\ndomestic audience.<\/p>\n
In the case of Garin, his films have won prizes in various
\nfestivals but have also made people knit their brows. It means
\nthat his way of telling a story in his films is not popular among
\nlay viewers. Then there must be a regular communication between
\nGarin's films and his audience. In any event, a film presents the
\nfilm maker's interpretation of life.<\/p>\n
Garin's style of narration may be an uncommon one but over
\ntime, if the audience is exposed to more of his films and more
\nexplanations are made about the films, the audience will not find
\nthese films strange anymore because they have tried to view life
\nas Garin the film maker does.<\/p>\n
The book also traces Garin's early life and how he got exposed
\nto art in general. He went to an Islamic elementary school but
\ncontinued his studies in Catholic secondary schools. His father
\npublished books in Javanese but had a library lending books by
\nvarious writers from Sukarno to William Saroyan. Garin,
\ntherefore, was exposed to both Javanese and non-Javanese
\nliterature.<\/p>\n
In his childhood, Indonesia's film world was at its heyday but
\nwhen he made his first full-length feature film, local film world
\nwas its ebb. Contrasting situations, therefore, have shaped
\nGarin's life and his view of life. His films, therefore, show
\nthese paradoxes when compared with the time setting of their
\ncreation.<\/p>\n
When Soeharto emphasized uniformity in thought, Garin went
\nforward with his films that in a way champion individual values.
\nWhen other films makers needed the blessings of certain
\ngovernment officials to get into international film festivals,
\nGarin went ahead by himself and won prizes from international
\nfestivals. In short, Garin offers an alternative to what is
\nconsidered the mainstream.<\/p>\n
Reading the articles in this collection will open up our
\nhorizons so that we can see Garin's film not in the light of
\nprevailing conventions but in the perspective of Garin himself as
\na film maker. When you get more insight and more interpretation
\nabout an object, you will understand it better. When you can
\nunderstand it better, you can enjoy it better. This is the role
\nplayed by this book. It enlightens the readers about the presence
\nof alternative films and prepares them to understand these
\nalternative films.<\/p>\n
A film is to be seen, not to be read. However much you read
\nabout a film, you will never understand it until you see it. If
\nyou complain that Garin's films are difficult to understand, read
\nthis book first. It will tell you virtually all aspects of his
\nfilms. Then see the films. You will find that the better you
\nunderstand the person -- through your reading -- the better the
\nfilms will communicate with you. So, Garin's films, like any
\nother films on earth, are a matter of interpretation.<\/p>\n
Your interpretation will hit home if you have a good
\nunderstanding of the films. To get this understanding, you must
\nread what critics say about the film. You may agree or disagree,
\nbut you know your position and are ready to make your own
\ninterpretation. In short, understand Garin better and you will
\nunderstand his films better too. The book is indeed published for
\nthis purpose.<\/p>",
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