Critics, fellow artists defend Arifin C. Noor's legacy

M. Taufiqurrahman, The Jakarta Post, Jakarta

During the New Order's heyday, the people -- probably against their will -- were obliged once a year to watch a propaganda film depicting how a small circle in the Indonesian Communist Party (PKI) attempted a coup, and the subsequent military campaign by the Indonesian Armed Forces (ABRI) to save the day.

The film, titled Pemberontakan G-30 S/PKI (The Rebellion of the PKI's 30th September Movement), a government-funded project aimed at demonizing the PKI and highlighting the military's role in defending the country, portrayed members of the communist party and its affiliated women's organization, Gerwani, as quite possibly the most brutal and blood-thirsty creatures ever to set foot on the face of the earth.

In the film's most memorable, if disturbing scene, female PKI members slit the face of pro-Western military generals in an orgy-like celebration before burying them in the Lubang Buaya well.

And the film's ultimate mission has apparently been accomplished, with this scene and countless other gory images remaining in the country's subconsciousness even though the film has no longer been screened on national television following the demise of the New Order regime.

Aside from the disturbing murder scene, another disturbing fact was that the film was directed by Arifin Chairin Noor, a director and playwright who had long been known for championing the cause of the common people.

Arifin took two years, from 1982 to 1984, to complete the sprawling three-and-a-half-hour movie, with almost unlimited funding from the government. The question still remains as to why Arifin was willing to take on such a project.

Critics and the public alike wondered why Arifin, who had long been known as a director who championed the cause of the common people, acquiesced with the Soeharto regime and take part in a pet project designed to sanctify the autocrat.

Ten years after Arifin's passing, those who were close to the Cirebon, West Java-born director, recently gave the answer.

"The G 30 S/PKI was living proof that Arifin was indeed a brilliant filmmaker. Someone who had mastered all the techniques of filmmaking, and the result was a stunning cinematographic work," film critic and leader of the Koma Theater Company, Nano Riantiarno, told a discussion on Sunday to mark the anniversary of Arifin's death.

Arifin passed away on May 28, 1995, from cancer.

Nano said that the film was meticulously produced using new techniques, which then represented a breakthrough in the history of the country's film industry.

"Arifin sent his man, Subarkah, to West Germany to study make- up for films. This indicates that Arifin was serious about the film," he said.

Despite its overtly propagandist theme, artistically the film was one of the best the country's film industry has ever produced. Its intelligent dialogue, breathtaking editing, the portrayal of each character, right through the score, all were the result of the brilliant work of Arifin.

Budi Setiawan, Arifin's long-time assistant, said that his boss had complete autonomy in making Pemberontakan and even stood on equal terms with the government in the film's production.

"Arifin set up an independent team of his own to verify the historical facts presented by the government. Among the members of the team were senior journalist Goenawan Muhamad, poet Taufiq Ismail and writer Bur Rasuanto," Budi said, adding that no stones were left unturned in Arifin's effort to find the truth about the abortive coup.

Budi said that Arifin had demanded that the government provide him with life insurance considering the dangers that could arise in connection with the project. "He was insured for Rp 120 million, then a huge sum of money, and it was the first time a film director got insured for making a film," he said.

Budi, who served as Arifin's assistant in almost all his feature films, said that Arifin had attempted to do justice to both sides. "Based on the script, we shot a scene in which female PKI members gouge out the eyeballs of the military generals. But, Arifin decided to shelve that scene as he believed that none of our people in their right minds could do something so cruel," Budi said.

Arifin's widow and his long-time collaborator, Jajang C. Noor, said that like any work of art, it was up to the audience to determine its meaning. "Arifin only presented the facts and it is up to the audience to interpret them," Jajang said.