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
where can i watch them?
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