Another masterpiece by Pramoedya, I have to admit this book has taken me by surprise. The title said it from the beginning: “Tempo Doeloe: Antologi Sastra Pra-Indonesia,” and once I accidentally opened the book halfway before I started to read it, I was mixed with both surprise and thrill to find out that the book is written with the old Indonesian spelling.
The book, compiled by one of Indonesia’s most prominent writer, contains 8 short stories written not by Pram himself, but instead by various different writers in during the late 19th to early 20th century. This was when Indonesia was known as the Dutch East Indies back then. Even though he did discussed a number of literary works written in that era, Pram said that he decided to collect and select only the ones with similar theme that could chronologically sum up the progress of the politics-social-economic situations of the citizens, especially the ones that keeps getting worse towards the natives, starting from the 17th century up to the 19th century. Pram also decided not to change the language style and spelling of the original versions, although I kind of wonder whether he at least simplified it–and this is what I had previously stated as the one that had taken me by surprise earlier. Only recently finishing another book by Pramoedya, Sang Pemula, I decided to move on to this book just because Pram kept referring to this book in his biography of R. M. Tirto Adhi Soerjo. As soon as I found out that the stories are written in Bahasa Melayu Pasar (Malay), I recalled my experience of struggling with the language style used in Sang Pemula, which mostly consisted of articles written by Tirto Adhi Soerjo in Malay language used during his time. Therefore, it’s no wonder that I only expected to meet the same struggle. Turned out I was wrong, and this was what had really strike me.
Despite the old spelling and the old style, as well as the use of words that has now either unused or change in meaning, I found it much easier actually to understand the meaning. Even much easier than when reading Sang Pemula. Pram did provided footnotes for each stories with explanations of those long-forgotten words, but many times I found it unnecessary because I already deduced the meaning, and when I decided to double check, I only found confirmation of what I had guessed before.
Now, the 8 short stories in the book are: Dari Boedak Sampe Djadi Radja (A Slave Who Becomes A King) by F. Wiggers–which tells a story of Surapati, Pieter Elberveld by Tio Ie Soei, Tjerita Rossina (A Story About Rossina) & Tjerita Si Tjonat (A Story About Tjonat), both by F. D. J. Pangemanann, Tjerita Njai Dasima (A Story About Njai Dasima) by G. Francis, and the last two are Tjerita Kong Hong Nio (A Story About Kong Hong Nio) & Tjerita Nji Paina (A Story About Nji Paina) written by H. Kommer.
Looking into an insight of the Dutch East Indies, we could find out more about the condition and situation of the era from multiple perspective (the Natives’, the Chinese’s, and the Indo’s). My personal favorites are Tjerita si Tjonat and Tjerita Kong Hong Nio.
I did learned that the Dutch used to enforce a racial politics where people were supposed to dressed up based on their race, and they would need formal letter of permission to allow themselves wearing outfits belonging to other racial groups. Or that the term “Islam” or “Slam” was used to address the Natives, regardless of their actual religion.
Of course, as a language geek, the language style and the old spelling are amongst those that really intrigued me. Even simple stuff such as “kabaja” that apparently means pajamas, or the term “peloek dada” (literally “hugging one’s own breast”) means folding your arms, and “menjaru” means to disguise yourself, even those really captivates me.
What’s even more interesting is the thought-provoking comments on the back of the book that the enforced New Spelling created by Soeharto’s regime during the New Order is merely politics in disguise, yet it had unfairly treated literary works belonged to the previous Order as old and outdated.
Overall, again, I would highly recommend this book to you who are interested in Indonesian history, or you who are just a language geek like me (I’m still checking my geekiness level… Hold on), or perhaps are interested to the history of Indonesian language. I think at this point we can safely assume that I already fell in love with this book.
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.
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?