Kaki Bakar and Jogho ( U-Wei Haji Saari )

1.      SYSNOPSIS OF KAKI BAKAR

Kakang is a person who proud of his Javanese heritage. He has two daughters and two sons. He is trying to bring up his children in Malaysia instill in them his own traditional values and beliefs. The youngest son Kesuma must forge his own identity against the intimidating presence of his father Kakang. Kakang counteracts by touching the property of those who slight him, leaving Kesuma simultaneously proud, fearful and ashamed. A conflict of wills is all but unavoidable. At the end of the story, Kesuma finally understood what his father Kakang pay for them. (Filem Malaysia, 1999)  

2.      SYSNOPSIS OF JOGHO

Mamat is a trainer of bullfighting, called “Jogho” in Thailand and outlawed in Malaysia. He has a wife and three daughters. His only son studies at a boarding school at Kelantan. This story begins when Lazim is killed by Isa at the bullfighting arena. Mamat arranged by his friends Jaafar to find and kill the perpetrators, at the same time, Lazim’s two sons managed to kill Isa’s son Hamdan and his assistant Dollah Mundak. At the end of the story, Isa comes to avenge the death of his son and he managed to shoot Mamat shoulder. However, Mamat has the chance to kill Isa, but he didn’t do that. Lazim’s son grabs the gun and kills Isa. Mamat surrenders himself and taken away by the Thai police. Although Mamat was tired of Malays killing Malays but the cycle of violence within Malay community continues. (Filem Malaysia, 1999)

3.      REVIEW

Both of these films were directed by U-Wei Haji Saari. Toward these two films, I found that these two films had strong Traditional Malays culture message, represent Malay society, had strong family linking, Faithful to their religions and loyalty. Director U-Wei Haji Saari tend to use male dominance rather than female dominance.

            Khalid Salled, is the main actor of these two films. He was playing a role like aggressive, tend to use his power to protect his own family or even villages. Hypermasculinity behavior was totally applied on these two characters, which is Kakang and Mamat. In “Kaki Bakar”, Kakang is trying to bring up his children in Malaysia instill in them his own traditional values and beliefs. He always teaches his son, to be a real Javanese. He tend to accept all the wronged that he did not done, is just to protect his family. In “Jogho” Mamat tend to pick up the responsibility of taking revenge on the death of Lazim. Besides that, he also wanted his wife to believe him can won the bullfighting. In the film, Mamat also had a strong religious believed. For example: when Mamat’s wife told him that is not enough money for house spending, he just replies as “believed our god”. I personal enjoy this two characters very much, it is because Khalid Salled really done a good job in acting. He can totally bring out the traditional role of men on that time.

            Besides that, both of these films also had portrayal of Femininity. Director U-Wei inserts the First Portrayal of Femininity on the film of “Kaki Bakar”. For example: When Kakang ask his wife to move to the others place, his are not dare to voice out anything and always listen to Kakang. Inside this film, Kakang’s wife is always hiding at behide of Kakang. He just follows the instruction that Kakang told her. The Second Portrayal of Femininity was inserts on the film of “jogho”. Mamat’s wife was dare to voice out that she is not willing Mamat to bullfighting at the village. When the time Mamat was in the jail, his wife tends to bring some money and save Mamat. It is shown that, Mamat’s wife are more independent that Kakang’s wife.

            Thus, these two films had also linking with family. For example: Kakang willing to do anything just because of him wanted to protect his family. Mamat gambling with bullfighting just wanted to let his wife believed that he can take some money going back. Director U-wei also tends to use loyalty always into his films. For example: In Kaki Bakar, even though Kakang was always scolding his wife, but his wife tends to loyal to her husband’s at the end. Same loyalty happened in “Jogho”. Even Mamat was in the jail, but his wife tends to protect his bull and save Mamat. Mamat’s wife did not say any bad toward Mamat. She just wills to do that.

            Then, from director U-Wei films, you can clearly saw that he like to use Trolley Tracking shot. When come to part that actors walk in or walk to the other place, Director U-Wei prefer to use Trolley Tracking. Neither is from left to right or right to left. I love these kinds of shot it is because it seems like I can go into the story. When comes to the end of the scenes, director U-Wei prefer to use till up. From these two films, he likes to till up to the sky then dissolves to the other scenes.

            At the conclusion, I enjoy the films that I watched. Personally feels that director U-Wei is trying to let the society more understand toward Malay. Enjoy the Trolley Tracking skills in the films and feels like I can applied this skills on my future production, if I able to do that.

4.      REFERENCES

Filem Malaysia. (1999). Filem Kita, Malaysia: Jogho, 1999. Retrieved Dec 3, 2011, from

   http://www.filemkita.com/filem/j/jogho_01.html

Filem Malaysia. (1999). Filem Kita, Malaysia: Kaki Bakar, 2001. Retrieved Dec 3, 2011,

   from http://www.filemkita.com/filem/k/kaki_bakar_01.html

Sinema Malaysia. (n.d.). Jogho. SinemaMalaysia.com.my ver.2 BETA.

    Retrieved Dec 2, 2011, from

    http://www.sinemamalaysia.com.my/film/info/?id=Jogho_274      

Sinema Malaysia. (n.d.). Kaki Bakar. SinemaMalaysia.com.my ver.2 BETA.

     Retrieved Dec 2, 2011, from

     http://www.sinemamalaysia.com.my/film/info/?id=Kaki_Bakar_69

Sinema Malaysia. (n.d.). U-Wei. SinemaMalaysia.com.my ver.2 BETA.

      Retrieved Dec 1, 2011, from

      http://www.sinemamalaysia.com.my/crew/info/?id=U-Wei_fDMxNjZ8

               

           

ABANG (1981)

1.                  ABANG (1981)

A film produced by Fleet Communications Sdn Bhd and directed by Rahim Razali in 1981. Starring by Rahim Razali, Ahmad Yatim, Adman Tarmimi Serigar, Noorkumalasari, Fauziah Ahman Daud, S.Roomai Noor, Umi Kalsum and Noriah Abdullah (Film Malaysia, 1999).

2.                  SYNOPSIS OF ABANG (1981)

The oldest son (Fuad Din) and heir apparent to a wealthy Kuala Lumpur family returns home after his sudden departure to London a decade ago.  His family struggle with their emotions about his return. Faud tries to make life as normal as he possibly know how and keep his secret intact. At the end of the film, he was died by leukemia (Film Malaysia, 1999).

3.                  MISE-EN-SCENE AND MISE-EN-SHOT OF ABANG (1981)

The setting of this film was 80 years, which located at Kuala Lumpur. For Kuala Lumpur, there was Fuad’s family living location. It is also the place that Faud facing obstacle when he came back from London.  The props that set in this film are also around 80 years.

            Besides that, this film contained a strong Malay Traditional Culture. For example, Faud and Diaman played “Tarik Upih” at kampung. In addition, in this film, Fuad used his right hand for eating; it is also one of the Malay Culture. (Adat Resam, n.d.) Their costume almost is Malay costume, for example: “Baju Kebaya” and “Baju Melayu”.(Adat Resam, n.d.)

            Character building of this film was strong, especially Faud. Toward the Malay culture, the eldest brother was always played an important role in the family. (Adat Resam, n.d.) In this film, you can clearly identify the important of Faud. For example: When Farid get in trouble , his wife run and find Farid’s eldest brother to ask for helped. Besides that, Fuad was always trying to help their family members.

            The lighting of this film was not really enough when come into the night scenes.  The editing of this film was considered as good during that time. There are only few jump cut happened. Overall, the visual and audio are matched.

4.                  HYBRIDITY

4.1 Cultural Hybridity

That was a cultural hybridity happened in the film. Even though, Fuad is Malay, but he is practice a western culture. For example, when Fuad house held a party, they are drinking wine instead of “Syrup”. When Dila sang in the club, there were playing western instrumental instead of Malay transitional instrumental.

            When they are working, there are wearing formal instead of “Baju Melayu”. From this film, we can ever know that the western culture were influences Malaysian at that time. Even they are comfortable practice with western culture, but they are didn’t forget their own culture and own root. Faud still wear “ Baju Melayu” to mosque or serious even.

            Because there was a Cultural Hybridity, When come to the scene that Fuad and Farid argued. Fuad mentioned that Farid was forgetting his own culture, his own root. It is because in Malay Cultural, Muslim is not allowed to drink alcohol and scold eldest.  Toward this scene, you can clearly saw that they are concern toward their own culture.

4.2              Language Hybridity

In this film, we can clearly saw that even though they are Malay, but they are practice to use English. Farid like to use “I” instead of “Aku” in this short film. When they are communicating with each others, sometimes they will use some English. For Example: “little boy”.

4.3 Gender Hybridity

The Gender Hybridity was applied on Dila. She is a girl, but she breaks the transitional role of girl. For example: she like racing. There is a scene shown that Dila had her own ambition, when she was drinking with Fuad, she is telling Fuad her ambition.       

5.                  WHAT DO I LIKE ABOUT THIS FILM? WHICH PART OF IT?

I like the overall performance of this film. When come to the part of Fuad’s family realized that Fuad had leukemia. This is the part I like the most. On that scene, there is the most emotional part of the story.

            Besides that, I love the story line of this film. It is because the film had given me a motivation to ask why fuad leaved home for decade years. After knowing the truth, there is a climax of emotion build up. I almost cry at that part.

6.                  REFERENCES

Adat Resam. (n.d). Traditional Attire. Retrieved Nov 28, 2011 from

http://members.tripod.com/kidd_cruz/adat_resam.htm

           

Filem Malaysia. (1999). Filem Kita, Malaysia:Abang /1981 .

Retrieved Nov 26, 2011, from http://www.filemkita.com/filem/a/abang_01.html

Ishak S.Z.A. (2011). Cultural Hybridity: Adapting and Filtering Popular Culture in Malaysian Television Programmes. Journal Pengajian Media Malaysia. 13(1). Retrieved Novemeber 28, from http://umrefjournal.um.edu.my/filebank/articles/2953/01_JPMM%202011_No_1.pdf

SELUBUNG

1.      SELUBUNG

A film produced by Identity Entertainers (M) Sdn. Bhd. and directed by Datuk Paduka Shuhaimi Baba in 1992. Genres of this film are drama and romance. Duration is 110 minutes and the language that used in film is Bahasa Melayu. (Film Malaysia, 1992)

Starring by M. Nasir (Kamal – Main Actor), Deanna Yusoff (Mastura – Main Actor), Ida Nerina (E.J. – Supporting Actor), Harith Iskander (Brother Musa – Supporting Actor), Liza Othman (Supporting Actor), Jit Murad (Supporting Actor), Hattan (Supporting Actor),   and Datuk Mahmud June (Supporting Actor). (Film Malaysia, 1992)

2.      SYNOPSIS OF SELUBUNG

Mastura, who is a student in Perth, Autralia, she failed to save E.J of religious extremist groups. E.J. has chosen to follow the path of religious extremist group led by Brother Musa. Mastura decides to pick up voluntary work as her mission to promote good will for society. Halim, who has had experiences working abroad serving the Middle East, supports Mastura’s good intention and encourages her to join “Rescaid”, a volunteer organization. In her line of duty in helping the children refugees from Palestine, Mastura falls in love with Kamal (Head of Research Department), a divorcee who shares the cause she is pursuing. Mastura managed to persuade E.J. and Kamal joined the charity. The success of a nation-wide charity concert promoted by Mastura and the team from “Rescaid” becomes the pride of the locals, until one day, tragedy strikes unexpectedly. However, it does not kill Mastura’s determination to protect the fate of the unfortunate. (Film Malaysia, 1992)

3.      MISE-EN-SCENE OF SELUBANG

3.1 SETTINGS

The film was setting at 90 years, which located at Perth, Palestinian and Malaysia. For Perth, there was a place for Mastura and E.J. studying. It’s also the place that E.J. decided to follow the path of religious extremist group led by Brother Musa. For Palestinian, there was a place for the war. Halim be a volunteer for helping victim at there. For Malaysia, most of the scenes were cover at Malaysia. The “Rescaid” volunteer organization also located at Malaysia. The props that set in this film are also around the 90 years. Even the car that they used as a prop is also belonging to 90s. So that it is matched with everything.

Besides the location, this film was setting up with a strong Malay religious culture. It is also portrayed traditional Malay women and westernizes Malay woman which is E.J. and Mastura. The “Redcaid” volunteer organization also set up a mission to understand and appreciation of Muslim in various parts of the world in pursuance of humanitarian rights and also to persuade the public and mobilize support for people struggling for self determination and suffer from war or other forms of dispossession.

3.2 COSTUME AND MAKE UP

The costumes of this film are matched with 90 years. For Mastura’s costume, because she is westernizes Malay woman, so that her costume will be a bit modern and trendy than others.    Compare with E.J, her costume will be more traditional and she will always cover her head by using a cloth. Toward the Malay culture, Malay women wear a mandatory piece of clothing, which is “tudung” or “selendang”. (Adat Resam, n.d.)  This scart covering the head, the ears, and the neck. (Adat Resam, n.d.) Even Mastura was westernizes Malay women, but when sometimes there is a dinner party, Mastura will wear “baju Kurung” also. It is proved that even she is modern and trendy, but she still is Malay.

            When come to the part of E.J was sick, the Makeup of Hani, which is Brother Musa another wife, is a bit horror and weird. It is shown that Hani had mental problem. When Hani is killed E.J.’s baby, she is trying to makeup herself like weird and different from others. It is strongly shown that she is trying to hide herself from the reality.              

3.3 LIGHTING

Lighting can always emphasize or hide some important detail. Toward this film, most of the scene is basically used mid-key lighting, low contrast, soft light and soft focus. This type of technique can appear soft to the eye. (Film School Online, n.d)

3.4 STAGING (MOVEMENT & ACTING)

Mastura and Kamal were the main actors on this film. For Mastura, she is further her studying from Terengganu to Perth. When the time she at Terengganu, she wear “Baju Kurung” at all, but after further her study, she become modern and trendy. The Second Portrayed of Femininity was totally applied on Mastura. She is progressive, independent, strong-minded, articulate and also speaks in a mixture of English and Malay. Even she was date with Kamal, but she is always has her own opinion.

For Kamal, he was the head of Mastura. He chased Mastura at the beginning of the story. He tends to help Mastura solve the budget problems toward “Rescaid” volunteer organization. When Mastura was not willing to meet with E.J., he was the person who persuade Mastura forgive E.J. This character is always built up with solving problems.

E.J. was a supporting actor in this film. She choose chosen to follow the path of religious extremist group led by Brother Musa. Strong religious culture and traditional Malay women was occurred in the storyline of E.J. She said: “A disobedient wife is a wife who has better education than her own husband”. She gives up her study at Perth and believed Brother Musa can save her soul and led her to the path of ALLAH. At the end, E.J’s baby was killed by Hani. Mastura was forgiven E.J. She chooses to work at “Rescaid” volunteer organization.

Brother Musa, who is the character strongly believed that his God (ALLAH) at all. You can clearly saw the religious of Islam on Brother Musa there.  

4.      MISE-EN-SHOT OF SELUBANG

4.1 EDITING

The editing of this film was not really good. There was a lot of jump cut while watching this film. When there is some part is haven’t finishes, but it been suddenly jump to another scene. Since this film is produced at 1992, so I can understand the editing skills. At that time, it might be good editing skills, but compared it to nowadays film; it is a lot of mistake.

4.2 AUDIO / SOUND

The audio of this film was good; many scenes were bringing it out by the audio. Especially, when Hani was killed E.J.’s baby that scene. 

4.3 CAMERA POSITION AND MOVEMENT

There is some camera position and movement that can clearly saw in the film. On this film, you can saw handheld camera movements. There were some scenes shaking. For example: When the part of the beginning, there was a mosque burned down. On that part, there were almost handheld camera movements.

When there was a conversation, most of it the over shoulder shot will occurred. Pan and till down were always used on this film also. Point of view was used in the part of E.J.’s friends realized that Hani was sit at the corner.

5.      WHAT DO I LIKE ABOUT THIS FILM? WHICH PART OF IT?

I like this film is it because after I watching it 5 times, but I still feels touching every times in the end of the film. I feel that it is really a meaningful film, since the “Rescaid” volunteer organization is keep on going to help the war victims. As a normal audience, I thinks it is also bring out a meaningful message to me, which is when u persistence something, it will successful at the end. For example: In the film, “the door” is always persistence his singing career, even though that is start from singing in a small café. 

            Since I had watched this 5 times, as a broadcasting student, I try to listen this film and without seeing any visual. At the end, I was surprise of that, because without seeing the visual, but I still can feels the exciting when listen the audio. While the film is come to the ending part, through the song that “The doors” sang, I still can feel the emotion and get some impact on it. When the visual and audio mix it, the audio was always grab my attention.

            There is a part I like it very much, which is when Hani found that E.J’s baby was crying, and she feels like so annoying. At the end she killed E.J’s baby. Hani realized that she was killed E.J’s baby and she trying to makeup as a different people. After that, Three of E.J.’s friends were came and visit her, When the time they are open Brother Musa house, they realized that Hani was sit at the corner. After a lot of questions that asked by E.J’s friends, they found that the baby was in the plastic bag. When Brother Musa and E.J. came back, E.J feels like can’t accept the reality and asked her friends do not touch her.

            I like this part very much it is because of the background music is very matched with the storyline on that part. The background music was successful grab the audience’s attention and makes it more attractive. Besides that, I also like the acting of Hani and E.J. on that part of scene. At that part, she is trying to act women who had mental problem. While E.J also play an important role on that part, because she have to act like can’t accept her baby was killed by Hani. Lastly, the lighting also play an important role at that part, while E.J’s friends look down and they found that Hani is sitting at the corner, there was a point of view shot, toward this shot, it is using low-key lighting and side lighting. It can totally portray that Hani had mental problem.  

            This is what I like about this film and which part that I like it so much.

6.      WHAT DO I DISLIKE ABOUT THIS FILM? WHICH PART OF IT?

I dislike the editing skills of this film. There is some scenes/footages were missing. That is a lot of jump cut happened in the film. For example: When Mastura go E.J’s house and decided to forgive E.J. When it comes to the toughing point, E.J. was hug Mastura and said thank you to her, there is a jump cut occurred. The scene was suddenly jumped to the radio’s scene. The jump cut was always annoyed my emotion and feeling toward this film. I also dislike the noise and on the footage

            When Mastura saw Kamal with his ex-wife together and realized that Kamal married. There was a quarrel toward Mastura and Kamal. After that, Mastura was very angry and leave from the scene. That is a part of the film I dislike. It is because; the lighting on that scene was not enough. I knew it was a night scene, but due to the lighting problems, I can’t really saw the actors’ facial expression.

            Furthermore, when came to the part of Mastura received Kamal called and prepared take lift to meet Kamal. Inside the building, you can clearly saw the actors’ shadow there. It is means that the director is not using three point lighting. The shadows were blocking some supporting actor’s expression. This type of lighting problems was not only occurred in this scene. It is also occurred at others scene.

            Toward this film, I dun really like the Malay sub-title colour. The Malay sub-title of this film were using yellow colour, and it is not really can saw clearly. Sometimes, the English sub-title was overlap with the Malay sub-title.

            This is what I dislike about this film and which part that I dislike it so much.

7.      REFERENCES

Adat Resam. (n.d.). Traditional Attire. Retrieved Nov 13, 2011 from 

               http://members.tripod.com/kidd_cruz/adat_resam.htm

Filem Malaysia. (1992). Filem Kita, Malaysia: Selubung / 1992. Retrieved Nov 13, 2011,

               from http://www.filemkita.com/filem/s/selubung_01.html

FILM MELAYU RETRO . (2009). Selubung 1992 SDTVRip – XviD-arYzs.  Retrieved

               Nov 13, 2011,from

               http://rapidsharefilemmelayuretro.blogspot.com/2009/09/selubung-1992-

               sdtvrip-xvid-aryzs.html

Film School Online. (n.d.). Attributes of The Visual Image. Retrieved Nov 13, 2011, from 

http://filmschoolonline.com/sample_lessons/sample_lesson_cinematography.htm

Sinema Malaysia. (2011). Selubung. SinemaMalaysia.com.my ver.2 BETA.

               Retrieved Nov 10, 2011, from

               http://www.sinemamalaysia.com.my/film/info/?id=Selubung_173

Selubung (1992) . Retrieved Nov 13, 2011, from 

               http://idanerina.net/index.php?option=com_content&task=view&id=21&Itemid

               =26 

The Malaysian Social Research Institute (MSRI) . (n.d.). Retrieved Retrieved Nov 13, 

               2011, from The Malaysian Social Research Institute (MSRI) website: 

               http://www.msri.org.my/about-us/history.php