Some TV films retain quality despite crisis

Some TV films retain quality despite crisis

By Marselli Sumarno

JAKARTA (JP): Soaring prices have nearly dealt a fatal blow to
national film production which was already expensive before the
onset of the economic crisis. There is concern, therefore, that
production levels will plummet.

Producers of as many as 25 professional domestic films,
generally categorized as "hot" films, have been unable to afford
to copy print their works at the Interstudio laboratory due to
skyrocketing costs.

A number of films made by Film and TV school students at the
Jakarta Arts Institute have likewise suffered the same fate.

Due to such difficulties, the government could perhaps lend a
hand to the industry by providing a subsidy. However, creativity
is not destined to die. Where there is a will, there is a way.

Artistic audiovisual works can be shot on video rather than
film and then aired on TV.

If such video works are of good enough quality, they could
later be transferred onto celluloid. Although the transfer cost
is quite high, it could be covered with the proceeds generated
from its distribution internationally.

The production of unserialized TV films is not something new.
Interestingly, such films have been making more regular
appearances lately. These films share many of the same
characteristics in that they are often based on selected short
stories, are produced by a talented cast and crew and are
artistic in nature.

Three titles worth noting are Kado Istimewa (A Special Gift),
Dalam Bayangan Ibu (In Mother's Image) and Penari (A Dancer). All
are about 70 minutes in duration and are, coincidentally, the
works of Jakarta Arts Institute graduates. The producers of these
works have yet to sign any contracts with local TV stations to
air the films.

In 1993, Enison Sinaro directed Parmin, based on a short story
by Jujur Prananto. Parmin was declared the best feature film in
the 1993 Festival of Indonesian TV Films.

Enison's new work, Kado Istimewa, is based on a short story by
the same writer. The film's leading star is veteran actress Rima
Melati and the producer is Multivision Plus.

Dalam Bayangan Ibu, made by Sam Sarumpaet, is based on a short
story by Nadjib Kartapati. The main cast includes Niniek L. Karim
and Monica Oemardi and the producer is Sinema Sejati.

Sam reasons that when filmmakers grow bored with making
serialized films, they should try their hand at expressive TV
films. Such films are usually not expensive to make because they
have limited sets and casts. Dalam Bayangan Ibu, for example,
cost only Rp 82 million to produce. But in order for such a film
to be successful, the story must be really good.

Penari, also produced by Sinema Sejati, had a higher price tag
of Rp 125 million. The film, based on a short story by Seno
Gumira Ajidarma, was directed by Nan Triveni Achnas.

Relatively new actors and actresses are in its cast. The core
crew members, however, were quite experienced. They included
cameraman Rudy Kurwet, editor Sentot Sahid and music director
Dian AGP.

Penari dwells on the life of Silawati (Lola Amaria), a
nightclub dancer. When Sila, as she is preferred to be called,
was a small girl, she admired her mother for her beauty, modesty
and soft-spoken nature. As an adult, however, Sila comes to hate
her mother for her meekness with her father.

Sila decides to rebel against her destiny by becoming a
nightclub dancer. She feels a satisfaction watching men become
sexually aroused when she gyrates her body on stage.

Another act of rebellion manifests itself when she insists on
dating a married man, Ubed (Roy Halim): "Dating Ubed is just
another habit of mine."

The film begins with Sila being chased by two murderers on her
way home from work. She becomes trapped in a dilapidated building
and is overwhelmed by fear, taking her back to her past. A
flashback mixed with her adult reality shows a little Sila
rehearsing a traditional dance with images of a wild, grown-up
Sila dancing on a nightclub stage. The lights and glitter of the
nightclub image sharply contrast with the silence and horror of
the building she is trapped in.

Sila is a victim of circumstance. The short story version
focuses on the mystery behind Sila's death. Did Ubed, Ubed's wife
or one of Ubed's female friends kill her? The story begins a few
hours before the murder.

The film version leads viewers to one female figure who seems
to be in control of everything. Her victim is Sila, also a woman.
The story begins a full day and a night before the murder.

Nan's directing is quite good in this film. Her background in
making documentaries and commercials has perhaps led Nan to
present eye-stimulating images that glue the watcher to the
screen. Penari is expressive, with many of the scenes relying
heavily on the strength of visual images supported by a strong
narrative.

Nan's images draw strength in their composition, viewpoints
and picture transition. In short, she is fully aware of the
medium at her disposal and knows exactly how to explore it.

The writer is a film observer and lecturer at the Jakarta Arts
Institute.