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.