This is a biographical movie telling the love story of the former Indonesian president, B. J. Habibie and his one and only wife, the late Hasri Ainun Besari (later Ainun Habibie). Adapted from a book with the same title, written by Habibie himself, this movie takes the audience into a roller-coaster of emotion revolving around their life. Going back to the days when they were together in high school, the movie portrays further their life onwards up to the day Ainun passed away, which means this include the day they got married, moved to Germany, and then went back to Indonesia and the day Habibie became the vice president and later, the 3rd president of Indonesia.
The lead actor, Reza Rahadian, is one of the main reason I so badly wanted to see this movie. I saw him acted before in three different movies which I’ve come to like: Alangkah Lucunya (Negeri Ini), 3 Hati 2 Dunia 1 Cinta, and Tanda Tanya, and his performance in this movie haven’t change my opinion of how good he is as an actor. I never really saw him act like he was in the movie–he became a completely different person, with a different attitude and even the way he altered his intonation and articulation when he speak is brilliantly meticulous. Of course, I might be clouded by me being a fan of his already, but I do think it deserves an applause.
As for the lead actress, the prominent Indonesian actress Bunga Citra Lestari played Habibie’s wife, Ainun. I believe that Bunga (also known with her initial: BCL) is a very good and talented actress, and she did played Ainun wonderfully. My favorite scene is probably (SPOILER ALERT!) the one when she got homesick during the early years of her marriage with Habibie, and she tried to hold it back inside, but when her husband asked, she finally spilled and cried. Another one is the scenes when she got diagnosed with ovarian cancer and finally hospitalized. Probably one of the most touching scene throughout the movie, we could see a very strong connection between Habibie and his wife when he got anxious waiting outside the operation room and insisted to get inside and accompanied his wife because he thought she might be worried about him. Then when he finally got in after the operation, he asked gently what got Ainun worried sick. She weakly shook her head when he asked whether she felt any pain (there’s one more question but I forgot), but she finally nodded her head when he asked whether she’d been worried about him instead. Then he reassured her that he’d taken his meds (he was diagnosed with tuberculosis early in the movie, when he was still young). Most certainly, this got me and the girls sitting next to me sobbing badly. And the way BCL depicted Ainun’s last days on bed, when she got very sick that she could not talk and had to struggled hard to merely lift her hands was really touching and brought me into tears. However, I don’t think this movie has really shown the extent of what BCL could do with her act. For me, at least, it’s not enough.
One thing that got me pretty disappointed is the lack of a full portrayal of the time when Habibie got involved in politics and then elected as the vice-president to the late Soeharto. All we see is Habibie got home one day after the night before promising Ainun a cruise trip, telling her that they might have to delay that because he’s gonna be the vice president of Indonesia. Of course, later I remembered that this is a story of both Habibie AND Ainun, not just Habibie himself, but still, I was hoping they would show more of his journey of becoming the vice president. But again, I haven’t really read the book itself, Habibie & Ainun, so I don’t really know whether Habibie also wrote a lot about that one as well or not.
But overall, I really enjoy the movie, and despite usually preferring other movies than a cliché and cheesy romance, I’d definitely looking forward to buy the DVD later. …or maybe I again got clouded by this idea that no matter how cheesy these romances are, they did happened for real.
I’m not sure whether this is a movie guys would want to see because I know several guys who did watched it and liked it, and I also know those who lacked interest in watching it (which made it so hard for me to find companion to watch it), but I’d definitely recommend this movie.
FYI, this movie is delivered in two different languages: Bahasa Indonesia and Germany, but movies like this usually got me in doubt of how good the foreign language is in the movie (in this case, the Germany language), so I don’t know whether the Germany spoken by Indonesians in the movie a natural, good Germany or a broken one instead, but considering the frequency of the language spoken (which is a lot), I’d assumed that it has to be quite good, at least.
Lewat Djam Malam (After the Curfew) is actually a 1954 Indonesian movie which was played in the Cannes Film Festival last May, and was restored by the Italian L’immagine Ritrovata, funded, not even by the Indonesian government, but instead by the National Museum of Singapore and the World Cinema Foundation, based on an article I read in The Jakarta Globe.
This is an old movie, even older than my parents, so why oh why, instead of making a newer version of the film, they insisted on restoring it instead? This has sure piqued my curiosity.
The movie summarize the story where idealism meets reality as Iskandar, who, as a soldier, once fought for the Indonesian revolution, hoping that the country he fought for would become a better country, which would provide a better future for its citizens, ended up in a broken heart as he found out that apparently the country turned out to be nothing at all like what he’d imagined. First of all, as he returned to a society life in Bandung, West Java, and stayed at his fiancé’s house along with her family, he found that readjusting to a life post-independence wasn’t as easy as he thought. Initially he told his fiancé, Norma, that all he wanted was to live a quiet life in the suburbs as a peaceful farmer with Norma by his side. But as he started his first job in the governor’s office due to his future father-in-law’s pressure, he started to question himself. Whether his very definition of his country actually exist at all. Whether his fight back then during the revolution was really a fight for the cause of the country he loves. Then he met his friends who used to serve with him in the army, and he became even more brokenhearted finding out that the fight he fought was merely to fulfill his the personal ambition of his superior, Gunawan to get his hands on wealth and fortune. Iskandar had suspected all along as he saw how the figure he used to honor and follow became a part of a corrupted capitalists. And despite trying her best to understand him, Iskandar didn’t think Norma ever understood exactly his grief of the nation’s fate going down, because Norma came from a bourgeois family, belonged to the upper class society, who were not familiar with despair, hunger and tarnished wishes. On the other hand, when he met Laila, a prostitute kept by his former subordinate in the army, Puja, he saw the suffering of the low class society as they could do nothing but hope for a better life they’d never cease to wish for, yet in the end, the hope stays merely as a hope, an unfulfilled one.
As the frustrated Iskandar tried to resolve this problem and agitation on his own, his own fate was determined toward the end of the movie.
“Siapa yang tidak kuat melawan kelampauan akan hancur.” ~Gafar, Lewat Djam Malam
“Those who cannot fight the past would vanish.” ~Gafar, After the Curfew (roughly translated by me)
Starring A. N. Alcaff as Iskandar and Netty Herawati and directed by Usmar Ismail, I think this movie is totally a must-watch one, despite me being put off now and then by Laila’s brief-but-constant singing in a few scenes (I mean, they didn’t have Sinetron back then, right?). I agree with the review I read in the Hey Diaspora! magazine that the movie deserves more attention, because of its first class quality in the themes, plot, and act. Of course it’s incomparable in the matter of cinematography and sound effects (it’s a restored movie, come on!) with the modern-day movies as they did admit that the restoration took “great pains,” but overall, I was glad that I decided to watch the movie. Yet despite all that, there were hardly 20 audiences in the theater when despite it being only the 2nd day it was played in Surabaya (and only one theater out of fifteen), and less than a week after I watched it, it was no longer played when I checked the 21 Cineplex website. Too bad. I love every part of the movie (yes, despite the brief-but-constant singing), the story, the act (how deeply explored each character was, in my opinion), the language–oh yes, the language! The movie used a more formal, Malay Indonesian, or more of what I’d like to refer to as the Transatlantic Indonesian. There are many terms and expressions unfamiliar to the Javanese-Indonesian used around me nowadays, such as, “Mengekori sarung kebaya,” (means chasing women; “sarung kebaya” refers to the outfit worn by women at that time), or “Kita mesti gasak semua penghalang” (means “We must banish all the obstacles,” but “gasak” is a word seldomly used in the contemporary Indonesian now, as far as I know). And I can’t even believe that I’ve forgotten the existence of the word “Semampai.” I remember getting really excited as the movie started, seeing so many Indonesian words in the movie credits (the verb “Mempersembahkan” instead of “Presents,” “Tjerita Asli dan Skenario” instead of “Original Story and Scenario,”Iringan Musik oleh” instead of “Music Accompaniments by,” or “Produksi” instead of “Production”), and all of them are written using the old Indonesian Spelling (“Tj” for “C”, “Dj” for “J,” also “J” for “Y”). Yes, yes, I’m such a nerd, but those are words and language that I don’t think I ever find in the modern day movie nowadays (as we now become more and more of an English mania).
As for the title itself, “Lewat Djam Malam” which is translated into “After the Curfew”, although I kind of think “Past Curfew” might fit better, refers to the curfew first pointed out at the beginning of the story, which was 10 PM, and the scenes occurred after the set curfew at that time.
I kept thinking that I would definitely go and watch the movie for the second time, but now, knowing that it’s not even played anymore, I suppose I’d go for the DVD instead. Yes, it’s worth-watching, and yes, now I see why they went through “great pains” to restore an old movie such as this.
* * *
“Kepada mereka jang telah memberikan sebesar-besar pengorbanan njawa mereka
Supaya kita jang hidup pada saat ini dapat menikmat segala kelezatan buah kemerdekaan…..
Kepada mereka jang tidak menuntut apapun buat diri mereka sendiri.”
~Lewat Djam Malam
“To those who have given the biggest sacrifice in the form of life
So that we who live today could have freedom and all that come with it…..
To those who did not pursue their personal desire.”
~After the Curfew, roughly translated by me (they did have the translation in the movie, perhaps a more proper one)
I’ve been meaning to write this post ever since I watched the movie on the 8th of June, but of course, procrastination always gets the better of me, so here I am, finally writing this post. (SPOILER ALERT!)
The title of this movie is taken from the name of the first Javanese Catholic pastor in the former Indonesia (known as the Dutch East Indies) who was later named as one of Indonesian national hero, Albertus Soegijapranata. Soegija is said to be his nickname. Nevertheless, the movie itself is not actually a biographical movie about him, but instead, it involves around the life of multiple character around Soegija. There were at least about 7 notable characters, including Sogija (played by Nirwan Dewanto) himself, each with their own life turmoils in the midst of a chaotic country, looking for an identity of a nation.
There were Mariyem, a Catholic nurse (played by Annisa Hertami Kusumastuti) who was entangled in a search of her brother and the pursue of a Dutch reporter falling in love with her, Hendrick (played by Wouter Braaf). Meanwhile, Hendrick himself was torn between his love for Mariyem, passion and pity towards Indonesians’ fate intertwined between one colonialism over another colonialism (the movie moves chronologically forward from the end of the Dutch colonialism, Japanese afterwards, and then the Indonesian independence, and lastly the Dutch military aggression post-Independence day in order to re-colonized Indonesia), as well as his loyalty towards his own country. His friendship with a Dutch soldier, Robert (played by Wouter Zweers) didn’t help either as Robert is cruel and racist towards Indonesian, thinking that he’s way superior than Indonesian (which was a typical mindset at that time). He always looked down on Indonesian thinking of them as nothing but people who ought to be ruled by his country. One scene stands out, though. It was during the post-Independence time, when the Dutch was trying to take over Indonesia once again, and he searched the citizens’ houses to look for Indonesian soldiers, a native man didn’t want to move from where he stood even when Robert and his soldier threatened to kill him because they thought he was trying to hide something or someone. Only when they finally shot him did they realize the native man was merely trying to protect his baby. Then Robert approached the baby, and when I thought he was about to kill him, instead he took the baby into his arms, and then cuddled him. When the baby was crying, he was trying to calm him, and kept on doing so whilst walking out of the house. That scene really touched me, as it shows how someone portrayed as cruel as Robert is also shown to have a gentle, soft side within him.
Then there’s Ling Ling (played by Andrea Reva), who got caught up in the midst of chaos in the country as well, as her mom (played by Olga Lidya) was taken away by the Japanese as they took over Indonesia in the 2nd World War. She and her grandfather (played by Henky Solaiman) were forced to take refuge in the Catholic church, and this was where their fates crossed over with other characters in the movie since the church was where everybody else sought comfort and protection as Soegija shielded the people from colonialists. And that was also where Mariyem cared and tended the locals and at the same time tried to look for his missing brother amongst the war victims. Hendrick was also there, trying to help the people and reporting as well, including trying to win Mariyem’s heart. The first time they met, Hendrick called Mariyem as Maria, but she refused and insisted to be called Mariyem. By the end of the movie, though, she addressed herself as Maria. I suppose this would mean that she’d come to love Hendrick, eh?
Another notable character is a Japanese comrade, Nobuzuki (played by Nobuyuki Suzuki), who was not free from conflict as well. Once the Japanese ruled, he captured the Dutch soldiers and killed them, and many times local people also got involved. Every things related to the Dutch were banished and forbidden, and there was this one scene where he met a bunch of musician and prohibited them to play any western song. Then after he asked them whether they could play any other pieces, they played Bengawan Solo, and he grew fond of it. Later I found out from this blog that Bengawan Solo is a famous song in Japan. It is a beautiful classic, indeed.
The main character himself didn’t really stand out to me. I mean, it was clear that he was trying to protect the people as a pastor and as an Indonesian as well. Since he was an important person, the people looked up to him and listened to what he said. And as a pastor, he was having the privilege to do certain things that others couldn’t do. For example, when both the Dutch and the Javanese were trying to take the church down, he defended the church because it was actually a refugee for the poor and starving citizens. And he cared for the people. When people were trying to give him comfort (since, of course, he’s no ordinary person), he told everyone to care for the people first, and not him. One line that really touches me is when he said that whenever there’s food, pastors and evangelists are supposed to be the last to eat and they are also supposed to be the ones to starve when food is scarce. Touché. Then during the aggression by the Dutch, he seek recognition for Indonesian independence from Vatican right away, and Vatican was amongst the first countries to acknowledge and admit that Indonesia is one free country.
The movie itself is very good and vivid portrayal of Indonesia at that time. We know that many, many people lived under poverty at that time, and many times they got killed for no reason. The movie gives a very good depiction on how difficult that time must seemed, and the cinematography is awesome. At least that’s what I think. There’s one scene where people were marching at either dawn or dusk (I couldn’t tell the difference, sorry) and it shows the silhouette of people lining up. It was so beautiful.
Yet, I hate to admit that the movie itself looks like nothing but a documentary with a very good cinematography to me. Watching the movie from beginning to end, I felt like I was merely shown an event over another event in history chronologically. It lacks heavy conflicts and climax, and if it’s line graph, it would be a flat line to me. Of course, this is merely what I think and it might differ greatly with others’ interpretation. Despite showing how significant Soegija’s role at that time, his image throughout the movie felt to me like someone so far above the people, where, in contrast with the citizens’ struggle with the situation at that time in the movie, he looked well-fed, healthy and always at peace to me. I mean, if he was fighting for the people, sure he couldn’t look that good! He was mostly siting, writing, walking around, thinking, and constantly in comfort behind the walls and under the roofs. There was even a scene where he got his servant cut his hair while he was reading the news paper, and they looked so relaxed talking to each other and even joking around. It was completely different with the depiction of other characters’ conflicts.
Another thing is the act. I mean, they acted well, but nothing too wow to me, except for Wouter Zweers’ act as Robert, perhaps, because his portrayal of a loony, cruel, yet somehow with little compassion left in him looked so convincing to me. And some scenes looked too staged for me, like when Mariyem was trying to sent the Dutch soldiers away from the hospital when they were looking for Indonesian soldiers. As Soegija pointed out, she told the soldiers that everybody in the hospital were patients, not soldiers or anything else, and as a nurse, she and the doctors ought to do their job that is to care for them. Then suddenly she simply crouched, on her knees, and tending an old woman lying sick on the floor, yet that old woman barely did anything significant. She looked like she was sleeping to me, so what on earth did she crouched for, out of the blue? Or when Ling Ling was praying in front of Mary’s statue, and then out of nowhere, she just slowly (veeeeery slowly, and, of course, very dramatically) turned around, only to found her mother was standing behind her. Wow, did she have a sixth sense? The next thing that happened was even more dramatic as Ling Ling and her mother were running toward each other, and there was this slow motion until they finally hugged, cried, and laughed.
Again, that’s just my opinion.
Nevertheless, I think the movie is worth-watching. What really excites me throughout the movie is how each character switched from one language to another. I mean, the Dutch were speaking Dutch, and sometimes speak Indonesian a little, and most Indonesian in the movie speak Javanese, and the Japanese speak Japanese. It was really fun watching how the movie depicts a radio announcer reporting events in a high level Javanese (we called it “Krama Inggil”, a Javanese language used only when talking to noblemen, royalties, and elder people; see, Javanese has three different kinds of language for talking to people with different social class and status–the Ngoko, Krama Madya, and Krama Inggil). Since the movie was set in Central Java and more specifically Semarang and other regions near Semarang, the dialects used are mostly of Semarang dialect (I didn’t say Central Javanese dialects since the dialect from my hometown which is also located in Central Java is completely different).
All in all, this movie was not one without controversy. Even before it got premiered on June 7th, a group of a hard-line Moslem, famously known as FPI–Front Pembela Islam (Islamic Defender Front)–(and news about them never fail to piss me off) protested that this is a Christian movie and meant to change people’s belief. Even Garin Nugroho (the director) commented that this is a movie about humanity. Whatever it is, the protest itself sounds ridiculous to me, for it sounds like nothing but FPI people’s insecurities that Moslem people would convert into Christians or Catholics. What the hell is that if not insecurities?
I promised myself that I would write something about the movie Sang Penari (The Dancer) which was inspired by Ahmad Tohari’s book titled Ronggeng Dukuh Paruk as soon as I finished the book.
And now I’ve finished the book. So here we go.
First of all, I usually try to discipline myself in a way that I ought to always read the book first before I watch the movie (of course, we’re talking about movies which are adapted from the book). But then Sang Penari came up, and I was so intrigued by the trailer alone. Then I met my friends and we talked about it. I was actually thinking: “Okay. Let’s gamble. I’ll ask her if she’d watch the movie with me, but if she–like me, insisted on reading the novel first, then I’d read the novel first no matter what. The movie came later.” Yet when I met my friends, my lips are locked. I don’t know. I feel like I ought not to gamble on this one. Or maybe I’m just too afraid of getting the answer and see how it’d turned out. (Really? Over a movie and a novel?–Yes, really really.)
Then something unexpected happened. My friend, out of nowhere, became the one who asked me, “Hey, do you remember the movie Sang Penari? Do you want to watch it togehter?”
I could hardly contain myself, really. The movie it is!!
So, anyway, here’s a bit of the trailer for you guys to see:
In brief, Sang Penari tells a story which revolves around a girl, which turned into a beautiful woman called Srintil. Srintil was born and raised in a small village in a rural area called Dukuh Paruk. This village is crucial as it becomes a place which pretty much shape Srintil’s destiny and personality.
There’s a tradition which has been going on and on for years in Dukuh Paruk, where they would always have an icon called Ronggeng. Put it in a simple way, Ronggeng is pretty much similar to Japanese Geisha. The difference here is the role of Ronggeng in the society especially the society of Dukuh Paruk. Ronggeng is the symbol of art and sex, I’d say. Ronggeng usually dances and performs in various villages and places during the day, and though the dance is pretty much a Javanese dance, but from what I’ve seen and read, I got the impression that the dance is more of an erotic dance, where people would shout remarks which refer to sex. The audience were also able to give tips to the Ronggeng by slipping money in the inside part of her clothes which cover her breasts. Later at night, men, who are mostly married, would pay as much as they could to have sex with her. Surprisingly, their wives would not mind at all since they believe that after their husband have sex with the Ronggeng, their husband would be able to give them offsprings. There’s this one scene where a housewife picked up her husband, and thanked Srintil the Ronggeng then expressed her wish that she now hope she could get pregnant again.
Srintil had been dreaming to become a Ronggeng all her life, so when she finally became a Ronggeng, she was really excited. There’s only one problem: Rasus. Rasus is her childhood friend and later became her lover. At least until she finally became a Ronggeng. To think logically, who could stand having your girl friend becoming a public’s “property” anyway? So Rasus fled the village and joined the army, leaving Srintil broken hearted.
Basically, the movie is a love story between Rasus and Srintil who ended up getting caught up in the midst of the chaos of the 30 September movement. Srintil and all her friends and relatives in Dukuh Paruk ended up suffering in a concentration camp for suspected communists while Rasus is a part of the army who put people in the camp. He was tormented between choosing to follow orders as a soldier or to follow his heart in Dukuh Paruk. He ended up going from camp to camp looking for Srintil though. Did they finally reunited and get the happy ending? Well, do you really want spoilers?
Now, the book.
My curiosity was pumped after watching the movie. And I’m getting even more excited as soon as I found out that I could get a 20% off in the bookstore if I purchased the book with the movie ticket. So I called the bookstore. After making sure that I’d get the 20% off, I bought the book. (Okay fine, it’s only 20%, but it could actually save me a meal, believe me. It’s worth it!)
Now, one thing you must know is that this newer version of Ronggeng Dukuh Paruk (the cover above) is actually a 3 in 1 version of a trilogy. The whole movie itself is actually inspired by the whole trilogy.
The first part of the trilogy is titled, of course, Ronggeng Dukuh Paruk, followed by the second part of the trilogy: Lintang Kemukus Dini Hari, and the last part: Jantera Bianglala.
The decision to name the whole 3 in 1 version as Ronggeng Dukuh Paruk is not a bad one, I guess, since the story itself focus indeed on the Ronggeng.
Reaching the first five pages of the book, I thought, “Damn. Thank God I watch the movie first.” I know I’m gonna hate the movie if I read the novel beforehand.
The thing is, for you who actually expect the movie to be exactly or at least 80% similar to the book or vice versa, you’d definitely get disappointed.
I mean it.
But then, I also remembered that ever since the trailer came out, it was never said that movie was “adapted from” the book. They always put it as “inspired by” the book. Not adapted. Inspired.
So I was kinda guessing, actually, (with fear, of course) that the book might actually be completely different from the movie.
And my hunch was right.
One of the main difference that I noticed right away is the age of the main characters.
In the movie, both Srintil and Rasus were already grown-ups (at least Srintil must be in her early 20s) when she became a Ronggeng and finally lost her virginity. In the book, Srintil was only 11 and Rasus was 14. Of course, it shouldn’t be a surprise considering the area where they live and grew up. They was born and raised in a rural area, where young marriage (an extraordinarily young marriage) was considered pretty common, not to mention it was only 1960s at that time, which make it more common, supposedly. Yet the movie make it so different. On the other hand, I think many people would definitely surprised and protest if they actually bring an 11 year old girl to merely act like she was losing her virginity to a 14 year old boy. Fine, of course, that might happen here and there, but to display that in a movie might still be a contradiction. I remember that they actually need to ask for Olivia Hussey’s permission before she could actually showed up naked in the 1968’s version of Romeo and Juliet.
Another difference is the plot. They still do include the conflict and tragedy of the 30 September movement, including the communist influence of small villages like Dukuh Paruk, but the whole story is pretty much more complicated in the novel. (Of course, it’s a novel, AND a trilogy, to be exact, so what do you expect, eh?)
Despite the differences, I have to say that I love both the novel and the movies, and I then realize that to keep comparing the movie with the novel is a useless effort. The movie was inspired by the book, not adapted. So what I’m actually doing right now is treating the novel and the movie as two different work of art and literature. They’re similar but different. That’s it. I love the movie. And I love the novel. I love both plots. I love both endings. (You still don’t want spoilers, don’t you?) I love each of the characters.
Since the novel has no visual, of course it relies heavily of Ahmad Tohari’s narrative throughout the novel. And I have to say: wow. The way he narrates things, I was wow-ed with the way he played with words alone. Not to mention the way he takes his readers to this rural areas where Dukuh Paruk is located, where its citizens all live in poverty, yet none of them seem to want to have better life–they simply thought that that is what life is all about: acceptance of their poverty, despite the fact that they don’t eat good food, they suffer from malnutrition and other horrible stuffs. To them, having a rice and scrambled eggs are already considered luxury.
The movie, on the other hand, has many elements in it. One the most important element is of course the act of the actress and actor. The actress playing Srintil is, later I found out, a new actress in the movie industry: Prisia Nasution and the actor playing Rasus is Oka Antara. I have to say that I’m not very familiar with Indonesian actress and actor since I’m not used to watch many Indonesian movies before. Other than Sang Penari and Laskar Pelangi (Rainbow Troops), I used to have this stereotype that Indonesian movies are mostly teenlit, and is definitely not my favorite genre. Of course I was wrong. There are plenty other movies which are definitely not teenlit or chicklit. So right now, I’m trying to catch up by following some famous titles such as Perempuan Punya Cerita, Merah Putih and Merantau. Anyway, I heard some people said that Prisia Nasution is not the right actress to play Srintil in the movie because she looked like a dark-skinned Japanese. Well, she has narrow eyes, indeed, but I think she did splendidly in the movie. I was wow-ed with the way she played with the emotion inside Srintil: when she was about to lose her virginity to a guy she didn’t like, but then Rasus suddenly showed up. Her despair and broken heart toward Rasus, the way she danced and sing, the way she act like a woman who’s desperate for a child. Wow. I think she acted so well there in the movie. And Oka Antara? Same wow. One
thing that really surprised and excited me when I was watching the movie is that the language used in the movie is the Banyumasan Javanese–the Javanese with the local accent used in my hometown. Of course, I was then like, “Right. Ahmad Tohari is from somewhere near my hometown, of course his story would revolve around the places around it and of course the people in the story would talk like that.” But still, I was surprised. Now, in the movie, Oka Antara played a young man named Rasus, who went from this stupid guy from a small village and can’t even read, and can barely shout or speak firmly the first time he join the army. I chuckled every time I remember him speaking, “I can’t read, sir,” to his commander in the army with a thick local accent. When the army took him to their place, he looked like this lost little kid and seemed scared of everything and everybody. But the army educated him, and then he became this firm, stern-looking guy who’s considered one of the best soldier in the army. I mean, how many people can actually showed such a progress so obviously and yet so naturally? Really, wow.
Another character that really wow-ed me is this character named Sakum. He’s one of the musician who always accompany Srintl whenever she performs. What’s special about Sakum is that he’s the complement of each show. He’s the one who always make each performance spicy and lively with his obscene remarks. What makes it even more special is that he’s blind. He can’t see. But he’s one of the musician. He is said to have a sharp sense on things around him. He’s one person you look up to because he’d know what you feel inside you just by listening to your voice and smelling your aura. And the guy playing Sakum in the movie picture this perfectly.
Of course there are plenty other elements in the movie, including the costumes, the setting, etc etc. But what really left a deep impression in me is the emotion conveyed by each actors and actresses. I’m gonna say it again: I love them. The movie and the novel. Such a masterpiece.