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

Abang

Abang directed by Rahim Razali at 1981. The oldest son 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 while he tries to make life as normal as he possibly know how and keep his secret intact. 

We can see from this movie “Abang” is a hybridity which mixture within culture, language and racial. Basically is about east meets west. The way of life of the family influenced by western culture. We can see that Fuad’s family very westernBut when Fuad spent 10years in London but still when he comes back he's what we see as righteous Malay. In the movie, Fuad’s family highlighted that-own business &quite rich and educated.

Cultural hybridity had present in one of the scene in the car, Fuad’s brother Farid and his wife nazreen were discussing about being in a relationship. They actually practice open relationship. This is not right in Malay culture at all because Malay married by actual rights and law should not practice open relationship. Besides, Muslim are not supposed to be drinking alcohol .Throughout movie see them indulged in westernized lifestyle. Nazreen being in the fashion industry, in general we don't associate the fashion  industry with Malay women.Her clothing depicts her manner as a modern Malay woman. In the beginning of film we can see Dila racing, later see her singing at a disco with modern clothing. Cultural hybridity is the influence of other cultures or western cultures, nevertheless they're still Malay.Scene where party was held at Fuad’s family house. Farid was pissed drunk and parents made a remark to not wait for abang Fuad, in Malay culture, you're always supposed to wait for the elder/senior, so we can see in the movie that Faizal and Mona went home. Their mum told them to go home, told Farid to not wait and go to sleep. The whole family have accept towards western culture and extremely westernized. Faud comes back from London after 10years, he portrays the opposite of his family.One can be modern,one can be successful, can be educated without losing their own cultural identity.Quote from movie, the scene where Farid was drunk and Fuad comes in later in the night,they kinda have a fight, Fuad told him u have actually forgotten your roots, he said Farid has forgotten what his real culture and roots were. The characteristic of Farid actually it was a lifestyle and so common to him to drink and party. Although Farid is so called the rebellious son, there is still a hint of authentic culture in him, where he actually respects his parents. In one scene, Farid made a comment about Fuad returning from London and said that he's no longer gonna be a Malay because he's been outside and he's been in London for 10yearsFarid himself was drunk, shown with bottles around him, by the pool with nazreen and open relationship some more. Sometimes when you incorporate western culture, it kinda highlights a person in a negative way.The basic identity of the film is the search of what it means to be Malay,the basic identities of being a Malay. And this is the reason whyI like this movie is because Rahim Razali had successful present the hybridity into the movie and charater.

                             

What Abang did throughout the movie was to rectify the western culture existing in his family. In order to be successful, what Abang represents is concern for his family, culture, religion which plays his priority in these things,looking after his adat.In order to be successful, one does not need to let go of own identity. Also, must place priority on family, culture and religion. Movie highlights that people must be modern and educated and at the same time maintain their cultural identity. For example, Abang still wanted to eat his traditional food, the scene by the river where his dad met him, he reminded his dad to tell his mom to have his favourite food (pulut) prepared for him.In the scene at night in the living room, when dad asked Faisal to read the telegram from Fuad,father was dressed traditionally as if after prayers,YET he was holding a cigi in his hand.Fuad was a very righteous person,doesnt do illegal things, in the scene where he met Johan,he said he didn't want duit haram,threw the cheque back to JohanDespite being modern,they still followed what the elders say,Farid and nazreen in the car,in the beginning of the film,nazreen didn't wanna go back,although she didn't like it,they still went back home, respect was shown by going back despite not wanting to.

In the whole movie, we can see that English is occasionally being used in their conversations in the film. And it’s clearly shows that the family is highly educated and modern. In their dialogue , they often used I and you instead of aku or saya. This is one of the hybridity of language. For example, Faizal also mentioned a direct idiom, "a ghost from the past", Farid standing  near the swimming pool, said that he's fed up and when Dila asked Faisal whether he missed abang, he replied "that's a silly question!"

Racial Hybridity can find in the movie of “Abang”. Racial hybridity means when you actually see people of different ethnics in a scene, it depicts racial hybridity. In the film which related to business. Second and third scene when movie started, in elevator scene, we can see a Chinese guy and lady, this highlights racial hybridity. Also in the scene where they organized party for Fuad at home, multicultural people which include Chinese, Indians and Malay. It's like a national identity Malaysian. Besides, the father's secretary is actually a Chinese lady. At the party, when Mona was clad in her baju  kebaya, she was fanning herself using the Chinese fan. Also throughout the movie,the family was always dining on very westernized food, always caterers and orange juice, As opposed to Fuad where in the scene in his friend’s house, he was served coffee and kuih kochi.Malaysia shown as very modern, urban and progressive country, nevertheless cultures were still preserved where we see multi ethnicity people were shown, as well as cultural performances .Traditional Malay culture prefers boys compared to girls, this was highlighted in a scene between Fuad and Mona, Fuad asked Mona if Faisal loves their son. We see that Mona highlighted Malay culture where to some certain extent boys are preferred. In the scene towards the end, we see Dila confronting Farid and tells him off in the face because he's wrong, not respecting elders.In the movie we can see how a person can be modernness and westernized and at the same time be traditional. Mona was actually Fuad's fiancé, practiced modern lifestyle, had a baby (which was actually fuad's baby)

As a conclusion, person does not need to let go of his own identity in order to be modern, successful and educated. Throughout the movie, even if they were modern and all, they still feared Abang, the elder that has the most dominant power and say, everybody was shaken up when they knew he was coming back/we can still see a subtle hint of Malay culture in then.

SELUBUNG

Synopsis

Selubung is a drama film directed by Suhaimi Baba starring by M.Nasir, Deanna Yusoff, Ida Nerina and Harith Iskandar in 1992.Mastura (Deanna Yusoff), who returns from her studies at Perth and lose her best friend, E.J (Ida Nerina). who has chosen to follow the path of the religious extremist group led by Brother Musa (Harith Iskandar). Mas 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 (M. Nasir), a divorcee who shares the cause she is pursuing. The success of a nation-wide charity concert promoted by Mastura and the team from RESCAID becomes the pride of the locals. One day, the bombing of Rescaid office seriously injures Mastura but still can’t stop her to work in RESCAID after she comes out from coma.

For me, Selubung is typically Malaysia film which focus on beautiful, young people and especially young women. I like the way that Suhaimi Baba develop the character of Mastura. This film also won the best story and the best actress award at Malaysia film Festival in that year. Mastura is a young, independent, strong minded and able to stand up to any modern challenges that the future might pose. Mastura choose to actively involved in RESCAID and choose her own career after come back from Perth.  She met the manager of RESCAID, Dr Sardar who appeared as a functional role model of Mas. Mas also not forget the importance of Terengganu and Mas visits her father after she finish meeting Dr Sardar. Besides, the love story between Kamal and Mas has dominates the entire film. Story started with Mas meet Kamal in the accident and after that met him in the office. When the branch manager introduce Kamal to Mas that his is their employer. But love story between them still continue even Mas knew that Kamal is a married man.For the female filmmaker like Suhaimi Baba always focus on modern female characters which does not involve female emancipation. Indeed Suhaimi Baba presented  a second portrayal of femininity on Mastura.

I don’t like the style of editing. The flow of the entire film make the audience confuse make people confuse flashback. So that I need to watch this movie several times to understand the entire story. The scene jumping from real life to Perth life about Hani and E.J. had created a big question mark to the audience.

From my point of view, I like the part when Pintu (Hattan) appear in the movie. The way of Suhaimi Baba to present of character of Pintu is interesting and the way he talks and acts bring a lot of fun to me. Pintu has created great atmosphere to the entire movie even though he is an unimportant character. Kamal called to RESCAID office to explain everything to Mas, but Pintu answered and trying to become middle person of Mas and Kamal. The way he talking to Kamal is really funny and make the scene become more warmly.

One of the scene in the Terengganu, when Mas was a girl with her godfather with the drum ceremony.She is suddenly surrounded by a multitude of butterflies and contain the impact of Malay cultural tradition. And her godfather told her that the butterflies can bring her luck. Suhaimi Baba  in this condition still won’t forget to apply some Malay cultural inside to remind us this is a Malaysia film. The bombing of the RESCAID office seriously injured Mas. On the other side, Mas’s godfather and his fellow villages starting to pray for Mas. And again, butterflies appear inside her hospital room. Luckily, she comes out of the coma.

I choose this particular scene to become the Misc en Scene and Misc en shot references. The whole entire scene starting with Kamal stood beside his car overlooking Kuala Lumpur at dawn, Mas lying on the bed in hospital and some cutaway shot of Dr. Sardar, Palestine children and Mas and her godfather. Let’s talk about Kamal first, he stood in tears next to his car and phone rang before the prayers began. Next, Mas seriously injured and lying on the bed and butterflies appear in every single shot because Dr. Sardar giving Mas hope on RESCAID, Palestine children with Zac and Halim who work at there and giving hope to the children and last Mas and her godfather who always taught Mas to become a good girl. Finally, I choose the shot when Pintu bring Kamal to Mas’s room to have look at the butterflies. On that shot, we can the canopy of light shines upon Mas. Besides, we can see the try to put the overlay of butterflies when come to editing. And the background sound creates curiosity to the audience.

References

Levitin, J., Raoul, V., & Plessis, J. (2003). Women Filmmakers. In Refocusing. (1st ed.). Canada: Book Publishing Industry Development Program. Retrieved from http://books.google.com/books?id=bxO38D-I1UoC&pg=PA238&lpg=PA238&dq=Suhaimi+Baba+in+Selubung&source=bl&ots=J8tnyrft-Z&sig=Uz04rGgm3BdPTUbQLXDc3VfHHyM&hl=en&ei=JEq_Tu-lDozMrQfD_dW7AQ&sa=X&oi=book_result&ct=result&resnum=10&ved=0CGEQ6AEwCQ#v=onepage&q=Hattan&f=false

Cheng, K. G. (2006). Reclaiming Adat. InContemporary Malaysia Film and Literature. (1st ed.). Singapore: NUS Publishing. Retrieved from http://books.google.com/books?id=3u9XF4naanMC&pg=PA127&lpg=PA127&dq=Suhaimi+Baba+in+Selubung&source=bl&ots=cHCZXBmwHF&sig=NfHNo6szSAwCigRZeLoL5LU5wkI&hl=en&ei=JEq_Tu-lDozMrQfD_dW7AQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CC4Q6AEwAg#v=snippet&q=Hattan&f=false