Classic Indonesian films receive rare showing

By Marselli Sumarno

JAKARTA (JP): From its independence in 1945 until today, Indonesia has produced some 2,000 feature films. That is not a big quantity compared with the output from India and the United States where film-making is already an industrial undertaking. However, it is not easy to determine, out of this relatively small number, titles which may appropriately be categorized as classic works.

The main obstacle is the unavailability of copies of the films which are considered good, because the negative could be damaged or unavailable for example. Take the film titled Embun (Dew, 1951) by Djajakusuma or a work by Usmar Ismail, which is relevant to the present condition, Krisis (Crisis, 1953).

Therefore, to determine classic Indonesian films to be included in a section at the Jakarta International Film Festival, the selection was based on the best films of a number of leading film directors on condition, of course, that the copies were available. Seven films were picked, namely: Si Mamad (Mamad), Suci Sang Primadona (Suci the Primadonna), Pengemis dan Tukang Becak (A Beggar and a Pedicab Driver), Doea Tanda Mata (Two Souvenirs), Kejarlah Daku Kau Kutangkap (Chase Me and It's You that I'll Catch), Langitku Rumahku (My Sky My Home) and Cinta Dalam Sepotong Roti (Love in a Piece of Bread).

Si Mamad was directed by Sjumandjaja in 1973. This film tells the life of Mamad, a civil servant, who has to violate his principle of honesty. He is engaged in minor corruption, such as taking home some paper from the office, when his wife becomes pregnant with their seventh child. His dishonesty tortures him. He wants to own up to his superior, who is also freely engaging in corruption.

At first Si Mamad was going to be titled Matinya Seorang Pegawai Negeri (Death of Civil Servant), or Renungkanlah Si Mamad (Contemplate on Mamad), but finally the film was simply titled Si Mamad. This film, a tragicomedy, clearly shows Sjumandjaja's social attitude. When Sjumandjaja died at 54 in 1985, most films underlined that he was a social critic through his works.

Arifin C. Noer was known as a noted playwright and actor before he tried his hand at making a film in 1977. His first film was called Suci Sang Primadona. This is the story of three men who fall in love with Suci, the primadonna of a popular theater. Suci (played by Joice Erna) chooses a young man in search of his own identity (played by Rano Karno).

With the experience he gathered from the theatrical world, Arifin successfully directed all the cast in this comic film to appear convincing. While the cinematography is not unusual, in its entirety the film presents honesty and innocence. We are taken into an atmosphere which usually prevails at a popular theater, a world filled with dreamers.

Wim Umboh traversed a long journey before he finally decided to become a film director. At first, he was a cleaner at the studio. He was promoted to positions in film production until he finally became a film director in the early 1970s. His films usually have the theme of love enveloped in the life of the upper middle class in Jakarta.

Therefore, it is quite interesting to note that in 1978 he worked on a film with a social theme titled Pengemis dan Tukang Becak. The plot is highly melodramatic and is helped a lot by the excellent acting of the leading actress, Christine Hakim. Christine plays the role of a maid who is almost raped by a member of the family she works for. Accompanied by a pedicab driver, she flees to Jakarta. While making this film, Wim Umboh was ill and filmmaking was continued by his cameraman Lukman Hakim Nain.

Talking about classic Indonesian films would not be complete without a look at Teguh Karya. He has won the most prizes as best director at the annual Indonesian Film Festival. And Doea Tanda Mata (1984) is one of his masterpieces.

The protagonist in this film is Gunadi (played by newcomer Alex Komang), a young man who was just married but becomes charmed by a resistance movement against the Dutch in the 1930s. He leaves his wife in a small town and joins up with an underground movement printing illegal leaflets. He strikes up a relationship with a young woman called Inin, and then clashes with his group after his friend is shot dead by the Dutch.

Throughout the film, Teguh echoes loudly the theme which has been his lifelong obsession: the search for identity. The film was supported by strong acting, beautiful pictures and nice music.

Most Indonesian comedies are vulgar and artificial, but if you want to see the best, you should see Kejarlah Daku Kau Kutangkap (1985), directed by Chaerul Umam. The storyline is simple: love and the position of a husband and wife in a family. It must be acknowledged that the script, written by Asrul Sani, contributes a lot to the comic nature of this film.

Film director Slamet Rahardjo is represented by his 1989 film, Langitku Rumahku. This is a story of the friendship between the child of a well-off family (Andri) and one of a poor family (Gempol). Andri is envious of Gempol, who seems to be living freely without any binding norms. Their friendship grows stronger when Gempol, who wants to go to school, peeps into his friend's house and is thought to be a thief. The two have an adventure out of town, which gives a great shock to Andri's family.

The film stirred up some trouble in its distribution because of unfair treatment when it was competing with imported films. The case was brought to court.

Cinta Dalam Sepotong Roti (1990) is directed by a young director, Garin Nugroho, who is a graduate of the school of film at the Jakarta Arts Institute (IKJ). Mayang, a writer of a column in a women's magazine, is married to Haris, a professional. Both have a mutual friend, Topan, a photographer. Mayang and Haris go for a holiday to settle a marriage problem. Topan joins them. During the journey, the problem involving the three of them is revealed.

Through his first feature film, and later echoing in his next films, Garin offers an approach to poetic pictures.

Apart from the section of classic Indonesian films, the Jakarta International Film Festival is scheduled to screen three relatively new releases in the New Indonesian Cinema section. They are: Garin Nugroho's Daun di Atas Bantal (Leaf on a Pillow), Kuldesak (directed by Nan Triveni Achnas, Mira Lesmana, Riri Riza, Rizal Mantovani) and Marselli Sumarno's Sri.