'Fatahillah' expected to prop up RI film industry
By Marselli Sumarno
JAKARTA (JP): The accelerated production of a film on the life of Fatahillah, the heroic Islamic figure who recaptured Jakarta from the Portuguese in the 16th century, is approaching its final stages. It is scheduled to be completed in March or before the general election in May, at the latest.
It is not the deadline that is important. Projected to cost Rp 2.5 billion (US$1.05 million), it will be the most expensive Indonesian film ever made. By way of comparison, the production of Tjoet Nya Dhien, directed by Eros Djarot in 1987, had a mere Rp 1 billion price tag.
The Jakarta Administration, as the producer of Fatahillah, will finance its cost with funds collected from the tax on cinema ticket sales.
There will be two versions of Fatahillah: one to be designed for the cinema and the other, with 13 one-hour episodes, for television. Its production requires two directors -- Chaerul Umam and Imam Tantowi.
The cooperation between Chaerul Umam, who is an expert in handling drama films -- he directed the production of Titian Serambut Dibelah Tujuh and Ramadhan and Ramona -- and Imam Tantowi, who is very much at home in making action films -- he directed the Saur Sepuh series -- is expected to yield a masterful film.
Fatahillah is the only film worth noting among those produced in 1996.
John Tjasmadi, the executive producer of Fatahillah, says: "It is hoped that Fatahillah will be the prime mover in national film production."
The year 1996 saw an output of 30 domestic films. This was an improvement over previous years, during which only about half of that total were produced. The higher level of production, however, did not bring better quality to the films. The majority of last year's films were characterized by sex exploitation and violence.
Just look at the film titles: Selingkuh (Dishonesty),Gejolak Nafsu (Passion Galore), Bisikan Nafsu (Whispers of Lust), Pelampiasan Nafsu (Release of Desire), Nafsu Terpendam (Hidden Desires), Kenikmatan Terlarang (Forbidden Pleasures), Ranjang Birahi (Bed of Passion), Nafsu X (Passion of X), Nafsu Liar (Savage Desires), Maniak (Maniac), Pelecehan Seksual (Sexual Harassment), Akibat Bebas Sex (Consequences of Free Sex), Gairah Malam (Nocturnal Passion), etc.
Four or five years ago, films with sex themes were made to boost the slack market. Some of them were commercially successful. Gairah Malam was a phenomenal box office success. But its sequels, Gairah Malam 2 and Gairah Malam 3, met with a cool reception.
Most film producers think TV films are the main cause for the slackness of the domestic film market. Even imported films have been affected.
It is also rare, they say, that Hollywood films become a box office success, while Mandarin action films have long been replaced by films about sex in order to lure viewers into the cinemas. Indian films are hardly shown anymore in cinemas because they can be viewed on television now.
In the given market condition, national producers increasingly curb production costs and the number of shooting days is often cut. A maximum cost of production is set at Rp 350 million so producers can hopefully recover their investments and make profits.
As a result, the films are carelessly made. Sex themes are treated in a cursory way and logic is often sacrificed. The public has lost interest in this type of film. When will this stagnant condition cease? It is difficult to say.
An ambitious project like Fatahillah is an exception. It would not be feasible for producers in general. Meanwhile, the plans of the National Film Evaluation Board to provide subsidies for national film production have not been realized.
An new artistic wave has been created by four young directors (Nan Triveni Achnas, Mira Lesmana, Rizal Matovani and M. Rivai Riza). Each of them has directed a film sequence of half an hour. The theme is young persons who have landed in an impasse in life.
Their four short films will be put together and shown in the cinemas under the title Kuldesac (cul-de-sac). It will be released in July, says Nan.
The year 1996 was characterized by stagnation in domestic film production, and it is difficult to be optimistic about the new year, despite the fresh departure from the norm created by the genesis of Fatahillah, Kuldesac and a number of new productions by well-known directors.
Directors Teguh Karya, Slamet Rahardjo and Garin Nugroho are preparing to work on TV films funded by the Johns Hopkins University of the United States. A similar project was sponsored a few years ago by the same university. Teguh, Slamet and the late Arifin C. Noer participated in the project, with the theme of population problems. This year's theme will be the health problems of mothers during childbirth.
After the TV film, Slamet will work on a widescreen film based on Putu Wijaya's novel Telegram. Putu himself will write the screenplay. Slamet says the film is a coproduction between his film company and a French producer.