Kaki Bakar and Jogho

Kaki Bakar ,this Malaysian drama examines the tragic results of conflicts that center on generational, cultural, and class differences between islanders. The story begins with an embittered wandering laborer, Kakang, who acts out his rage by burning buildings. He is first seen being cast out of a village by frustrated officials who suspect him of the crimes, but are unable to prove it. His sons must lie for their father to keep him from being killed. Kakang's youngest son does not want to lie in front of his neighbors, and when he hesitates, he is later severely beaten by his father who believes that his strictness is good for the boy. The family moves on to a new village where Kakang begins working for a wealthy Malay landowner. Again, Kakang cannot keep from venting his rage, and more trouble erupts between himself and his youngest son.(The Internet Movie Base,nd)

Malaysian 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. The film begins with the murder of Lazim, the leader of the small village. Mamat is held responsible for the mayhem that follows and is locked up. The cycle of violence continues. (The internet movie Based.nd)

Kaki Bakar and Jogho are the film produced and directed by U-Weo Bin Hajisaari.Both movie almost have the same theme which is about religion,family, cultural and tradition.Identity was one of the themes that we can found from these 2 movie.U-Wei creates a character which going against the mainstream,he unleashes a relentless portrait of the Malay male by contrasting the hyper-masculine Malay make archetypes in the rural settings.This establishes his discussion of adat and the tradition of the mould of the Malay male and his handlings with the people and environment around him.In Kaki Bakar, Kakang pround of his Javanese heritage is trying to instill his own traditional value and beliefs to his son, Kasuma.He scold Kasuma as he think he is weak and always ask Kasuma act like a male.In the other hand,in Jogho, Mamat has continue making his living as trainer of fighting bulls in South Thailand.Although he has let Kelantan to South Thailand, but he still never forget his identity as Malaysian.This is what we can see through the conversation between Mamat and his wife at the back of his house. The identity of being a bull fighting trainer also can be seen through the character of Mamat. He always wishes to win money from bull fighting activity to make his family living.

Besides, in U-Wei film we always can see the family and the unconditional love.It's always must be on the side of the family, no matter what.Kaki Bakar, Kusuma who is loyal to his family did not say the name out when being question by Tok Empat about the fire of the smokehouse although he know that the person who did it is actually his father. In the other hands, in the film Jogho, after Lazim was killed, Mamat gives the money that earns from the bull fighting activity to Lazim’s family and hope that money can reduce the burden of Lazim’s family in their living. This has showed the unconditional love toward the family members.

The theme of role and voice of the male and female is also showed in these 2 movie.We can see from this 2 movie male in the film always have to take care of the family and earning money money for the family.When Tok Empat asked Kakang to leave Kakang shouted at his wife when she attempted to clean Kasuma's face."He's not a girl coddle with",followed by a tilt review his daughter in the back of the truck, along with the older son.Meanwhile, in Jogho, the bull fighting activity is a masculine activity where woman are not allow to step in to the arena of bull fighting. We also can see during the funeral of Lazim, all women are stand far apart while the man is burying the dead body.

The film style of U-Wei in these 2 film are similar where he liked to used slow dolly tracking shots to reveal the whole entire misc-en-scene.For example, a scene when Kakang scolding Kasuma when on the way to Tok Empat there.The whole scene U-Wei used dolly tracking to shoot the entire shot. A slow dolly tracking shot was used to show the expression of each listener in the grocery store and the shot ended with the guy who is actually speaking. Almost the same techniques also apply during the staring of Jogho where a slow pan and tracking shot started from the scenery of Patani and ended with the funeral of Lazim. In addition, the use of diegetic sound with the camera movement is what the director trying to do in order drag audience to the source of the sound and this also highlighted the event that seen after the end of the camera movement is important throughout the films.

From the similarity that we can see throughout these 2 films, U-Wei is transcends the script by imposing his film style and vision, blending subjective and personalized filmmaking practices across his films. So that, it had become a symbolic icon of all his film, audiences that watched the film will know that this is a U-Wei film.

Reference

The Internet Movie Database. (n.d.). Kaki Bakar (1995). Retrieved November 2, 2011,

from

http://www.imdb.com/title/tt0110229/plotsummary

The Internet Movie Database. (n.d.). Jogho (199). Retrieved November 2, 2011, from

http://www.imdb.com/title/tt0241604/plotsummary