'TPI' presents maternity-theme trilogy<\/p>\n
By Marselli Sumarno<\/p>\n
JAKARTA (JP): Three renowned directors, Garin Nugroho, Slamet
\nRahardjo and Teguh Karya, have something in common. Each of them
\nhas made a film with the same theme of maternity.<\/p>\n
The trilogy is produced in cooperation with John Hopkins
\nUniversity, the National Coordinating Family Planning Board and
\nTPI.<\/p>\n
TPI showed the first film, Garin's Angin Rumput Savana (Wind
\nof the Savanna), on Tuesday while the second film, Slamet's
\nSelamat Pagi Ayah dan Ibu (Good Morning Mom and Dad), was shown
\non Thursday. Each of them was shown twice, at 10 a.m. and at 7:30
\np.m. The third, Teguh's Perkawinan Siti Zubaedah (Siti Zubaedah's
\nWedding), is scheduled to be shown on Tuesday, at the same hours.
\nThe three directors underline the importance of maternity health
\nin childbirth.<\/p>\n
Indonesian film directors started their cooperation with John
\nHopkins in the early 90s. John Hopkins, which is based in
\nBaltimore, Maryland, United States, is an institute dealing with
\nhealth communications. The projects, involving the late Arifin C.
\nNoer, Teguh Karya and Slamet Rahardjo, have a theme of population
\nand the environment.<\/p>\n
The subject of maternity health was chosen this time because
\nof the high mortality rate in Indonesia, which reached a number
\nof 425 per 100,000 people, which was disclosed during a recent
\npress conference.<\/p>\n
Garin Nugroho was the first to complete his 74-minute film, at
\na cost of Rp 200 million. The film, written by Adi Nugroho, was
\nshot on Sumba Island. The main character is a woman named Wulang
\n(Maudy Koesnadi) who goes to a medical school in Java. Wulang
\nreturns home and meets two of her childhood friends, Umbu Awang
\nand Intan, who are already married.<\/p>\n
Wulang is coerced into marriage by her parents who want her to
\nbecome the second wife of Umbu Awang. An educated woman, she
\nrefuses the arranged marriage. Also, because Intan is about to
\ngive birth to a child.<\/p>\n
The conflicts, combined with the traditional setting of a
\nvillage dominated by a wide and vast landscape, makes Garin's
\nfilm an expressive piece of art. He tries to mix anthropology
\nwith an artistic touch, which is typical of his craft.<\/p>\n
Slamet Rahardjo chose Sukabumi, West Java, as the location for
\nSelamat Pagi Ayah dan Ibu. He too used relatively new performers
\nfor his film.<\/p>\n
The story focuses on a woman who had a traumatic experience
\nwhen she was small: witnessing her mother's death after
\nchildbirth.<\/p>\n
The girl became a teacher when she grew up. She was reluctant
\nto get married (not to mention deliver a baby) because of her
\ntraumatic experience during childhood.<\/p>\n
After a skirmish plot, written by Slamet Rahardjo and Jujur
\nPrananto, she decides to marry. A happy ending.<\/p>\n
Meanwhile, Teguh Karya chose Jakarta, including his workshop
\nSanggar Teater Populer, as backdrop for Perkawinan Siti Zubaedah.
\nTeguh transformed his workshop into a Betawi wedding house. He
\nalso recruited former Teater Populer artists like Alex Komang and
\nAyu Azhari for his film.<\/p>\n
Zubaedah is a neglected wife. When Zubaedah (played by Ayu
\nAzhari) is in the hospital, her husband (Alex Komang) hardly ever
\ncomes home. And when she has a hemorrhage giving birth, she is
\nconfronted with the fact that her husband marries another woman.<\/p>\n
While Garin Nugroho uses an anthropological approach, Slamet
\nRahardjo uses a psychological one, and Teguh Karya looks at the
\nproblem through a sociological lens. Who is the best among the
\nthree? The answer to this question is not important compared to
\nthe question: Would the viewers be able to get the message of
\nthese educational films? or Could an educational film be
\nentertaining?<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/tpi-presents-maternity-theme-trilogy-1447893297",
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