Quality quest for this year's marquee of local films
Quality quest for this year's marquee of local films
By Siti MB
JAKARTA (Antara): Cautious optimism may be warranted for the
local movie industry this year following production of several
relatively good films in 1997.
Noted director Garin Nugroho is among those feeling upbeat,
despite the currency crisis.
"True, there were only a few films in 1997, but in terms of
quality they were better and more artistically made than previous
ones," he said.
"If this trend continues we can hope for better in 1998."
Nugroho's Daun di Atas Bantal (A Leaf on a Pillow) was among
the critically acclaimed films last year.
Produced by Indonesia's internationally renowned actress
Christine Hakim as the debut vehicle of her newly established
film company, Christine Hakim Film (CHF), it had young Sarah
Azahari in a tale of street urchins. Production cost was Rp 700
million.
Christine, known for speaking out on problems in the industry,
returned to the spotlight after several years. She also starred
in a TV drama, Bukan Perempuan Biasa (No Ordinary Woman).
Other highlights were Kuldesak (Cul-de-sac), produced by Mira
Lesmana's Miles Production, Sri, the first film by film critic
Marselli Soemarno, and Telegram , an Indonesian-French joint
production from leading Indonesian director Slamet Rahardjo.
The latter was based on a novel of the same title by one of
the nation's most prolific authors, dramatists and directors,
Putu Wijaya.
The past year also saw the production of the colossal
Fatahillah, directed by Chaerul Umam and Imam Tantowi.
Produced by Sinema Abad 21, it cost more than Rp 2 billion,
higher than any other Indonesian film in history.
Otherwise, the picture was not pretty. Data is still
unavailable, but wide-screen productions are believed to have
been about 30, roughly the same as 1995.
Decline
Hopeful forecasts that 1997 would mark a turnaround after five
years of gloom in the industry came to naught.
In 1991, only 57 films were produced, less than half of the
115 the previous year. But 1992 was even worse with 31 films, and
a paltry 24 movies were made the following year.
Data from Sinematek Indonesia reveals that film production
rose slightly to 32 in 1994, but was down to 27 in 1995.
Production quantity has often been held up by both those in
the industry and outsiders as an indication of its soundness.
Low production numbers are taken as kisses of death.
Another yardstick is box-office numbers.
Actor Jim Carrey was once taken to task when his Hollywood
comedy, The Cable Guy, was a flop. Made for US$60 million, the
film came up $10 million short in receipts.
Fatahillah had the same problem. It had been touted as the
engine for an industry-wide revival, but was also a dud in the
market despite heavy publicity and promotion.
Is there no hope for these resuscitation attempts?
"We are trapped in slogans," said Putu Wijaya, adding that
Fatahillah could not be expected to be a single catalyst.
Films made after Fatahillah were not spurred by its example,
but came from the realization of some directors and producers of
the need to keep national film production going, Putu said.
Putu and Nugroho concurred that the problem was complicated.
It begins from production-related matters, such as human
resources, techniques and investment, and also covers
distribution concerns of movie theaters and audiences.
How to effect a real revival instead of chanting an empty
slogan?
The most important thing, said Putu, was "how we behave
towards it". He added that films were the nation's assets and
were therefore the responsibility of all.
"You can find national history, culture and thinking in a
film. Just imagine a nation without its films."
The government, producers, film directors, investors and other
relevant parties should shoulder great responsibility, he added.
Viewers
He was confident of the potential number of viewers.
"Take TV films," he said. "I am sure the community likes
domestic TV films. The market is there, but unfortunately many
parties have their own interest."
Garin agreed, although he himself is better known abroad
abroad than at home. One of his films, Bulan Tertusuk Ilalang
(..And The Moon Dances), won first prize in a Swedish film
festival. But local movie theater managements complain his films,
lacking heavy doses of sex and violence, are hard to sell.
Both Garin and Putu said competition from Hollywood was a
problem, but should not be used as a blanket excuse.
"Never be naive and expect protection, such as the termination
of film imports, especially in a free trade era," said Putu.
People should be motivated to make quality films which can
communicate with local audiences, Putu said.
"We have the potential. We can sell our tradition and the
uniqueness of Indonesia. These will be attractive to foreigners.
"Of course, in terms of technology, we are way behind
Hollywood. However, technology alone will sooner or later be
boring."
Garin noted that the films should be both artistic and
entertaining, and not just conform to insubstantial slogans.
"Also there should be no monopoly in film production because
monopoly makes films practically the same," said Putu.
While the crisis may be relied upon by some to shoulder blame
for future film woes, Putu and Garin obviously believe it should
not stand in the way of those who are committed to quality works.