Kamis, 03 Februari 2011

IMAM TANTOWI 1982-2009









IMAM TANTOWI

DIRECTOR FILM & SCENARIO WRITER




JENDRAL SUDIRMAN 1993 NURHADIE IRAWAN
Director
KNIGHT OF MADANGKARA, THE 1987 IMAM TANTOWI
Director
SI BADUNG 1989 IMAM TANTOWI
Writter
FATAHILLAH 1996 CHAERUL UMAM
Director
PEMBALASAN SI MATA ELANG 1989 IMAM TANTOWI
Director
PASUKAN BERANI MATI 1982 IMAM TANTOWI
Director
MENUMPAS TERORIS 1986 IMAM TANTOWI
Director
SAUR SEPUH III 1989 IMAM TANTOWI
Director
SAUR SEPUH II 1988 IMAM TANTOWI
Director
SAUR SEPUH 1988 IMAM TANTOWI
Director
TERTEMBAKNYA SEORANG RESIDIVIS 1985 IMAM TANTOWI
Director
SAUR SEPUH IV 1991 IMAM TANTOWI
Director
SILUMAN SRIGALA PUTIH 1987 IMAM TANTOWI
Director
SOERABAIA 45 1990 IMAM TANTOWI
Director
DIA SANG PENAKLUK 1984 IMAM TANTOWI
Director
LEBAK MEMBARA 1982 IMAM TANTOWI
Director
CAROK 1985 IMAM TANTOWI
Director
7 MANUSIA HARIMAU 1986 IMAM TANTOWI
Director
PELET 1987 IMAM TANTOWI
Director
KELABANG SERIBU 1987 IMAM TANTOWI
Director.


Filmography as a writer:
Ira Maya dan Kakek Ateng (1979)
Nakalnya Anak-anak (1980)
Primitif (1980)
Tutur tinular (1997)
Saur sepuh 2 pesanggrahan keramat (1989)
Saur sepuh satria madangkara (1988)
Devil's Sword (1984)
Lebak membara (1983)
Pasukan berani mati (1982)
Jaka Sembung (1981)
Ratu Ilmu Hitam (1981)
Pasukan Berani Mati (1982)
Lebak Membara (1982)
Jaka Sembung dan Bajing Ireng (1983)
Dia Sang Penakluk (1984)
Residivis (1985)
Preman (1985)
Teroris (1986)
Kelabang Seribu (1986)
Tujuh Manusia Harimau (1986)
Siluman Serigala Putih (1987)
Saur Sepuh 1 (1987)
Saur Sepuh 2 (1988)
Saur Sepuh 3 (1988)
Soerabaia 45 (1989), bersama Gatut Kusumo
Saur Sepuh 4 (1991)
Ketika Cinta Bertasbih (2009)
Ketika Cinta Bertasbih 2 (2009)



Seperti Nya Abas Akub yang suka dengan film komedi, mungkin Imam Tantowi penyuka film laga, horor, dan petualangan yang dipadukan. Mungkin Imam Tantowi terlalu banyak baca komik atau buku-buku silat kopingho mungkin dulunya. Banyak penggemar film-filmnya di Indonesia dan bahkan juga di luar negeri. Sebahagian orang menyebutnya film Absurt, penuh dengan perkelahian, darah dan sex. Tidak apalah, namanya juga film.


WHO'S IMAM TANTOWI

Sutradara senior Indonesia ini lahir di Tegal, Jawa Tengah, 13 Agustus 1946. Berlatar belakang Pendidikan Fakultas Hukum Universitas Cokroaminoto Solo (tidak selesai), sempat mengikuti pendidikan Elementery Cinematography (Biro Pendidikan Organisasi Karyawan Film Televisi).

Awal karirnya dimulai dalam lakon sandiwara, sebagai pemain dan sutradara Teater Pelajar Islam Indonesia cabang Tegal (1966-1969). Pernah bekerja sebagai pembuat poster film. Tahun 1971, pindah ke Jakarta dan mendapat kesempatan untuk terlibat dalam pembuatan film Biarkan Musim Berganti (1971), sebagai dekorator. Di tahun yang sama, ia menjadi pembantu penata artistik untuk produksi film Tjintaku Djauh di Pulau. Jabatan itu di pegangnya sampai tahun 1973. Setelah itu, ia memperoleh kesempatan memegang jabatan sebagai penata artistik penuh dalam film Si Rano (1973). Menjadi asisten sutradara dalam film Tukang Kawin (1977), penulis skenario untuk film Dang Ding Dong (1978), menjadi sutradara dalam film Pasukan Berani Mati (1982).

Masuk dalam nominasi pemenang FFI di Yogyakarta kategori Penulis Skenario terbaik dalam film garapannya Lebak Membara, dan kemudian ia juga mendapat nominasi kategori Cerita Asli untuk film Carok dalam FFI di Bandung. Berhasil menyabet Piala Citra kategori Penulis Cerita Asli terbaik dalam film Si Badung di FFI 1989, Jakarta. Film garapannya, Si Badung juga mendapat berbagai penghargaan kategori Film musikal terbaik dan Film anak-anak Terbaik. Kembali menyabet Piala Citra untuk Sutradara Terbaik dalam film Soerabaia 45 pada FFI 1991, disamping mendapat nominasi sebagai Penulis Skenario dan juga Penyunting Terbaik.

Mulai menulis cerita dan skenario untuk sinetron ketika dunia perfilman Indonesia mati suri, dan lagi-lagi dalam festival Sinetron dia pun sering masuk sebagai nominasi maupun sebagai pemenang. Berhasil menyabet Piala Vidya sebagai Penulis Cerita Asli terbaik dalam Festival Sinetron Indonesia 1994 lewat sinetron Madu Racun Dan Anak Singkong, dan Penulis Cerita Asli terbaik dalam Festival Sinetron Indonesia tahun 1995 lewat sinetron Jejak Sang Guru. Meraih penghargaan sebagai penulis skenario komedi dan meraih predikat terbaik dalam Festival Sinetron Indonesia 1996 dalam Sinetron komedi Suami-Suami Takut Isteri. Melalui judul sinetron yang sama, ia juga mendapat penghargaan sebagai Penulis Cerita Asli Komedi Terbaik.

Di tahun 1996-1997, menyutradarai film layar lebar Fatahillah, bersama Chaerul Umam. Selain itu ia juga banyak menciptakan karya kolosal untuk layar lebar maupun sinetron antara lain, film Saur Sepuh (l - IV) dan sinetron Kaca Benggala.

Masih rajin menulis cerita dan scenario sampai sekarang. Karya terbarunya adalah Bang Jagur dan Maha Kasih, dengan sebuah episodenya yang fenomenal, Tukang Bubur Naik Haji yang langsung menduduki rating pertama pada tayangan perdananya. Sementara tayangan ulangnya seminggu kemudian, menduduki rating ke-2. Sering diundang menjadi pembicara dalam berbagai forum diskusi.

An Interview With Imam Tantowi

Several weeks ago I was contacted by Peter Tombs, a director & writer, who was looking for an assistance in translating an interview with Imam Tantowi, one of Indonesia's outstanding directors. Most of Indonesian movie-goers and TV audiences have heard of Tantowi, of course. He had quite an achievement as director and writer. Just in case you didn't know Pete Tombs, he is the co-author (with Cathal Tohill) of Immoral Tales: European Sex & Horror Movies 1956-1984 - A History of the European Sex & Horror Film, a 1994 non fiction book that won the Bram Stoker Award for Best Non-Fiction, and Mondo Macabro - a look at the wilder side of world cinema. Tombs co-owns the UK based film, television and DVD production company, Boum Productions who produced the Eurotika and Mondo Macabro TV series for UK-based Channel Four Television. If you want to know more about him, you can read this interview with Pete Tombs and Andy Starke.

The following script depicts the contents of the interview between Tombs and Tantowi. The interview took place (I assume) during the shooting for 'Angling Dharma' TV series, which was still ongoing back then. What you read here is not chronologically in order. I made several sections that cover Tantowi's general ideas mentioned in the interview.


On How His Career Began And How It Goes

I came from theater, then in 1971 I became a decorator. in 1973 became an art director and ever since got involved in movie making. Yes, it was my ambition. I actually wanted to be famous. Either a comic artist, a novelist, the key is to be famous. So I played in theater, and as it happened I have a friend in movie industry who then asked me to join in.

I had no plan to be a script writer. It was after becoming an assistant director, and back then the director was also a script writer and when he failed to finish the script he asked for my assistance. it turned out that he was satisfied with my work and he encouraged me to start writing. So I started writing.

The movie which had influence to me was 'Biarkan Musim Berganti' (Let Seasons Change), and I remember the director was my friend Motinggo Boesye, who was also a novelist, and he was the one who took me in.

Budget really influenced my writing. For an example, a new director is being tested by the producer with a movie project, and the producer asks me to make a script for a low-budget movie. So I made one.

In 1982, I made the film 'Pasukan Berani Mati' (Death Squad), an epic about Indonesian struggle to defend the independence. I also made 'Jaka Sembung & Bajing Ireng' (Jaka Sembung & Black Squirrel). I chose these kind of movies, because most of the new directors of that time made teen movies or comedy. Making action movies differed me from them.

The movies I made? Actually children movies are what I like best, I made the script and directed the movie “Si Badung” (The Naughty), and it won the award for best story in 1989 Indonesian Film Festival (FFI). I directed 15 movies so far. I didn't know that any of our movies were distributed and shown abroad. Only the producers know about this. If I remember correctly, 'Pasukan Berani Mati' was also distributed abroad. I don't know what the title is in English. It didn't win any award. Only 'Si Badung' and 'Surabya 45' did. I won the best director award for 'Surabaya 45', a movie I made in 1989.

Today I enjoy writing more than directing. I am an old man now. I'm tired. It's only an escape to me. I'm still hoping for the revival of Indonesian movie industry.

These days? I make a television series based on the legend of Angling Dharma. A fictional story, actually. To add some spices, we create some martial art characters, the heroes being martial artists themselves. In short, we provide the clashes of martial artists, wrapped up in a story based on the legend. It's not even finished these days, and now we're reaching episode 70. One episode has to be finished within one week in the making. That's why we have a director for the drama scenes, and another director to take care of the action scenes.

(About how long the 'Angling Dharma' story would go) It's pretty weird actually. as long as the rating is still good – today 'Angling Dharma' is in stays in the 3rd place, out of hundreds others – so the story will be prolonged as long as it can be, until the rating goes down. When the rating is no longer good, a closing episode is created. That's it.


On the Decline of Indonesian Movie Industry

When I started working in movie industry, the Indonesian movie industry was pretty good. The movie theaters were free from American influence. It was a very good thing, because each region had each own movie brokers, making the price competitive. But then came American network and Studio 21 network, and every region no longer had bargaining power. Making movies in Indonesia became a non profitable industry. They network 'owned' the theaters, and they dictated the price. That's what happened in the 1990s, while the 1970s and 1980s were good periods.

There were American movies in the 1970s, but it was a free and fair competition back then, as they hadn't owned the theater network. Every theater was owned by individual or small group. When the network appeared, and Studio 21 ruled nearly all movie theaters, from the capital to the small towns, they practically ruled the movies distribution, That's when Indonesian movie industry met its demise.

It's after the emergence of American movie network in Indonesia. Before the network came to existence, every movie theater has their own distributor and can freely show American, European, or Indonesian movies. Afterward, those who didn't join the network had no access to buy American movies and automatically died out as the Indonesian movie production didn't supply enough movies for them. Those belong to the network refuse to show Indonesian movies, arguing that they're of low quality and any other excuse. They also made a bookers guild to dictate the price. That's how Indonesian movie were destroyed. No one is willing to create a movie that can't bring any profit.

They simply owned the theaters network, and we had none.

With good planning, the Indonesian movie industry can still be revived. The good planning I mean hear is to make sure there is a dichotomy between Indonesian movie and television. Let those already in television stay in television, and built new ones for the movie industry. Let television star stay a television star, and create new star for the movie. We shouldn't mix-up movie and television. That way there's still a chance for Indonesian movie revival. Otherwise, no. It would only be a dream. Unfortunately, that's what happens these days. Movie workers move in into television, and vice versa. Indonesian movie industry was in ruined, so the movie workers moved in into television, which didn't have enough human resource at that time. Those who made television series, or electronic cinema, are originally the same people who used to work in the movie industry, simply because they had no choice, no work, due the the Indonesian movie industry being destroyed. This will not help national movie revival.

At that time the Indonesian audience wanted to see Indonesian movies, yes, although not all. The best thing is to free the market, making it a fair competition, no monopoly. We only want a fair chance to compete. That's all.


On Horror, Thriller & Action Movies

I don't like horror movies. I made horror movies simply to follow the market. Indonesian movies must survive, and the easiest way to exist among Indonesian-movie goers - who mostly come from middle and low class societies – is to follow their taste: horror & teen movies.

In “Ratu Ilmu Hitam” (Queen Of Black Magic) - I was the script writer and assistant director - the idea came from the real black magic practices still existing in Indonesia. For real. The people - especially in East Java - back then and even until today were executing the black magic practitioners by burning them alive. My message in the movie is to reconsider that the victims might not be real black magic practitioners. The character of the movie suggested the victim to report to the police, but the victim argued that it was impossible to prove the crime, deadly and painful as it is. An innocent character in the movie was accused of black magic practice, and later became a real black magic practitioner as a result. That's the general idea. It's a film with a mission. It's an observation on black magic, as it bears a message against lawless punishment to black magic practitioners.


On Influential Elements, Ideas, And Messages In Indonesian Movies

There's not much influence from Indonesian tradition in its movie industry. However, when make a movie like like what we are making now, we usually took a theme from traditional stories. This 'Angling Darma' is based on a Ketoprak (a traditional Javanese folk drama) story. At least there are some innovations to be shown to the audience of traditional theater, showing them that this is the movie version of the story.

Actually Indonesian (action) movie style is closer to Hong Kong movies style rather than to American movie style. Hong Kong action movies had great influence to Indonesian movies. In the late 1960s and early 1970s there were a lot of Hong Kong martial-art movies distributed in Indonesia, especially those produced by Shaw Brothers, and it influence Indonesia action movie style heavily.

There were some influence from comic, but mostly as a story reference and ideas. “Jaka Sembung” was based on comic books very well known in late 1960s. It is common enough or a producer to make a movie based on something well-known. It was my suggestion to make the movie. The producer was interested, I made the script, the movie was made, and was very well-received among Indonesian-movie goers. It was based on a comic, the story was readily available, so I finished in only a week. I simply write the script. The story already existed.

(The fighting scene in 'Jaka Sembung' where a villain's head and limbs were cut off but were soon re-attached to the body) originally came from the Indonesian version of Ramayana. A man possessing 'Rawarontek' technique can be killed, but whenever touching the ground he will come back to life. And people, especially those from Banten, even today still believe in the existence of this technique.

This kind of movie is popular in Indonesia, maybe because the way of thinking of most of our people is still heavily influenced by mystical ideas. Or maybe because we don't have much things to be proud of, except for the comic book characters. They are looking for a model that can only be found in this kind of stories; powerful, invincible heroes. It was like this: historically we're defeated by the Dutch, so we created character who resisted and even prevailed against the Dutch. Like America who lose in Vietnam and then created Rambo; something like that.

The anti-imperialism idea of that movie is not the one that made it successful. We are very forgiving people. It's a kind of apology of our defeat, by trying to show that we did fight back and even win some battle. However the fact remains that we were colonized by the Dutch for 350 years. It's just to show today's generation that we did fight, but we were defeated.

I didn't really want Barry Prima to play the part of Jaka Sembung, as he looks more European than Indonesian. It was the producer who wanted him. The producer used Prima's popularity to boost the movie. As the writer, I think he was not the right man for the part. It was actually a miracle that the film made it abroad. all of our equipments were inferior. Very primitive. We originally had no plan to sell the movie abroad. I was really surprised to learn that the film made it abroad. Very surprised indeed.

That kind of movie, in my opinion, should be aimed to middle and low class societies. Our high class society consist of people he really despise Indonesian work. Everything made in Indonesia is bad to them. Why should I make movies for such people? So I make movies for the middle and low class people, whose number is far greater. I think they only expect entertainment from a movie. They're happy when entertained by heroic stories.

(About the long hairstyle commonly found in Indonesian movies warriors) A particular habit of the mystically powerful man or hermit is to keep the hair long. To some of them, the hair is also a tool to measure their invincibility; when the hair cannot be cut it means the owner is invincible. That's why they, never cut their hair.

(About the less important role in Indonesian movies) I don't think it's only in Indonesia. Most of us still hold on to the patriarchal view, but it's beginning to change. maybe someday Indonesia will have female superhero like the American counterpart, you know, Wonder Woman. Not now, though, but it's beginning.

The idea for the movie 'Primitive', where I was the assistant director and writer, came from an American movie starring Claudia Cardinale (at the time I made the translation, I couldn't place the last name, but I suspect it is Claudia Cardinale, one of Europe's iconic movie stars and among the most versatile), but I forget the title.

There was no political message in that movie. No message, only pure entertainment. The producer wanted to make a cheap movie that sells. The message about the importance of education found in that movie was just a slogan, to make the movie not too empty. We tried to insert some messages, but it's just that.

But recently, with setting of ancient times, I'm portraying the current political situation and problems. You can see it in “Angling Darma”, “Tutur Tinular”, and many others that I've made.

So that's all. There are actually some other things said but not included in the above text, simply because I found them trivial and cannot find or make up the right section for them.

Pete and Andy, I'd like to thank you both for giving me the permission to publish the interview here. Translating the interview gave me more understanding on what a man like Tantowi thinks.

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Music Copy Right Violation In Indonesian Films?


Imam Tantowi Skenario FILM
Menurut Imam Tantowi, sebelum menulis skenario ada 7 pertanyaan pokok yang harus dijawab, yaitu:

1. siapa satu tokoh utamanya
2. apa yang menjadi masalah utama dari 1 tokoh utamanya
3. apa saja yang selalu berusaha menghambat pencapaian tokoh utamanya
4. bagaimana pada akhirnya tokoh utama dalam mencapai gol/keinginannya. Semakin unik caranya akan lebih semakin menarik
5. apa yang ingin dicapai pada ending cerita
6. bagaimana anda mengisahkannya apa yang ingin dicapai tokoh utamanya
7. bagaimana perkembangan tokoh utama dan tokoh pendukung.

Imam Tantowi juga menjelaskan bahwa adaptasi bukanlah transkripsi dari bentuk novel ke dalam bentuk skenario, adaptasi adalah interpretasi dari sebuah cerita novel. Yang harus diperhatikan oleh penulis skeario haruslah melengkapi apa yang dibutuhkan nivel itu agar menjadi yang lebih bagus. Sebuah skenario adaptasi dari novel dianggap berhasil, kalau skenario itu sukses menangkap ruh dan essensi cerita serta jiwa dari novel aslinya.

Penulis novel pasti memiliki misi, pesan esensial yang mau disampaikan kepada khalayak pembaca. Ketika misi dari filmnya melenceng, atau malah bertolak belakang, maka adaptasi itu gagal menangkap ruh dan esensi novelnya, dan penggemar novel yang fanatis akan marah. Karena filmnya dianggap jauh berbeda dengan novel. Karena penulis skenario dan sutradara adalah juga seorang kreator, maka bisa terjadi novel yang sarat dengan dakwah, begitu menjadi film bisa dibalik menjadi anti dakwah, mungkin karena pebulis skenario dan sutradara tidak bisa menangkap misi dari novel. Atau mungkin sengaja melencengkan pesan novel tersebut, demi kepentingan tertentu.

Banyak sekali skenario adaptasi yang penyajiannya berbeda dengan novelnya, seperti The Godfather karya Mario Puzo. Film jauh lebih bagus melampaui novelnya sendiri. Skenario untuk film ditulis oleh Mario Puzo sendiri bersama sutradara, Francis Ford Coppola. Karena Mario Puzo sangat tahu apa yang paling esensial dari ceritanya, sementara Capollo sangat tahu bagian-bagian yang paling dramatik dari novel yang dibacanya. sebaliknya film The Lord of the Rings, untuk mendapatkan ruh, esendi serta jiwa dari novelnya, adaptasi untuk skenario film justru hampir seperti novel aslinya.

Yang penting dilakukan dalam adaptasi sebuah novel keskenario film, kemampuan memilah mana yang penting untuk cerita, dan mana yang sekedar bunga. Mana plot utama dan mana yang hanya cabang. jangan sampai plot cabang mengganggu plot intinya. Segera tentukan siapa protagonis, dan siapa tokoh antagonisnya. Lalu sebaiknya cerita berjalanmengikuti sang protagonis. Prinsipnya hanya ada satu protagonis yang menjadi alur cerita. Kalau terjadi ada alur kembar, penonton akan bingung. kemudian persiapkanlah perubahan demi perubahan tokoh utama dan tokoh pendukung dengan progres yang mencepat sampai mencapai klimak, sambil memberikan ruang kepada penonton untuk menduga-duga. Jika semakin banyak penonton yang salah duga tergadap tokoh pendukung, akan semakin menarik.


NEWS

Imam Tantowi: “Visi Berkarya Saya Sekarang Pencerahan”

Annida-Online--Pasang surut dunia perfilman Indonesia membuatnya tetap bertahan. Sempat berhenti menulis skenario dan menjadi sutradara karena menyadari “kegelisahan” karyanya sebagai seorang Muslim, yang juga pernah aktif di Pelajar Islam Indonesia (PII). Setelah sekian lama bergelut dengan karya yang tunduk pada pasar atau produser semata, kini sosok ini tegas menyampaikan visi berkaryanya. “Tetap karya yang ingin saya tampilkan adalah sebuah karya yang apa pun bentuknya, seperti action misalnya hanyalah bumbu. Isinya tetap pencerahan.”

Lalu munculnya kontribusinya yang bermuatan dakwah dalam film Fatahillah (sutradara), Ketika Cinta Bertasbih dan Ketika Cinta Bertasbih 2 (penulis skenario). Termasuk juga menulis skenario sinetron Mahakasih, Jalan Takwa, Astaghfirullah, Bang Jagur, dan sinetron lainnya.

Dialah Imam Tantowi, satu dari sedikit penulis skenario dan juga sutradara Indonesia yang tetap menjaga kualitas supaya penonton mendapat nilai plus usai menikmati sebuah tontonan. Jika sekarang dia yakin harus menolak membuat film yang tidak mendatangkan manfaat bagi dakwah, itu karena yakin pula Allah akan menggantikannya dengan yang lain. Perjalanan karirnya yang berujung me-reform visi kekaryaan cukup panjang. Hijrah ke Jakarta, lelaki kelahiran Tegal (13 Agustus 1946) ini tak berambisi menjadi orang film, keinginannya menjadi ilustrator di majalah. Meskipun sebenarnya di Semarang bergabung dengan teater Angkatan Muda PII.

“Saya bertemu dengan orang yang baik sekali, Has Manan yang yang mencurahkan ilmu art director pada saya, lalu mendapat kesempatan menulis dari Motinggo Busye. Kalau menjadi asisten sutradara, formal dengan Has Manan, informal dengan Motinggo Busye. Sebelum itu saya sudah pernah mengasisteni Motinggo Busye, tapi nggak ada di credit tittle. Film komedi yang pemainnya Jalal, saya lupa judulnya,” kenang Imam. Sejak itulah bapak enam anak ini merasa dunia film adalah pilihannya.

Untuk menjadi sutradara, zaman ketika dirinya berkecimpung dalam film harus ada pengukuhan dari Karyawan Film dan Televisi (KFT). Film pertamanya Pasukan Berani Mati (1982) lulus uji, tapi Imam belum berani maju. Ketika banyak sutradara memilih genre seks, komedi atau remaja, untuk film yang akan mengukuhkannya sebagai sutradara Imam memilih lain. “Saya akan dianggap sutradara yang nothing kalau membuat film begitu. Saya membuat film perang, dan perhitungan saya tepat sampai masuk Koran Kompas, Suara Pembaruan, dan majalah Tempo. Seorang produser memercayakan film perang pada sutradara baru. Alhamdulillah, film itu laris.” Lewat film keduanya Lebak Membara (1983), Imam maju untuk pengukuhan namun dianggap belum layak. Beberapa bulan setelah itu Lebak Membara mendapat tiga nominasi; penulisan skenario terbaik, aktris utama terbaik, dan penata musik terbaik. Artinya film itu di-manage dan disutradarai dengan baik sehingga mendapat apresiasi juri. Cukup aneh memang, sementara film yang dikukuhkan ada yang tidak mendapat nominasi sama sekali. Ditawarkan KFT untuk mengajukan satu film lagi untuk pengukuhan Imam menolak dan memilih mulai dari asisten sutradara lagi.

“Tapi sutradara itu akan saya "injak-injak". Saya diajak sutradara yang dulu saya langgar dan itu saya lakukan. Di film Jaka Sembung Kecil, saya ingin menghina organisasi saya saja, he he he ...Semua orang tahu film itu saya yang mengerjakan cuma namanya saja bukan. Dan itu sutradara lulusan KFT. Saya memberontak karena saya tahu saya dikerjain,” tukasnya. Setelah beberapa kali akhirnya ia mengalah dan mendapat pengukuhan.

Prestasi membanggakan adalah ketika Imam membuat film Saur Sepuh, Saur Sepuh 2, Saur Sepuh 3, dan Saur Sepuh 4. Film Saur Sepuh yang berbiaya Rp 1, 2 milyar -waktu itu budget film biasa maksimal 250 juta- sangat fenomenal dan menjadi film terlaris dengan penjualan tiket full. Sebenarnya Imam sempat meminta agar Saur Sepuh cukup sampai Saur Sepuh 3, menghindari kejenuhan film. Sampai akhirnya ia keluar dan membuat film perang kembali Soerabaia 45, yang menjadi piala pertamanya sebagai sutradra terbaik Festival Film Indonesia (FFI) 1991. Setelah film Indonesia kolaps, Imam beralih ke sinetron dan menulis skenario sinetron laga seperti Kaca Benggala dan Angling Dharma.

Menjawab pertanyaan film yang berkesan, Imam menyebutkan rata-rata adalah film yang diinginkannya dan memberikan pesan moral, yaitu film anak-anak. Si Badung adalah salah satunya, film yang menceritakan perjuangan siswa SD membelikan sepede untuk guru idola mereka. Juga beberapa skenario film Nakalnya Anak-Anak (1979), lalu ada Ira Maya dan Kakek Ateng (1980). Tahun 1997 adalah tahun penting ketika bersama ia bersama Chaerul Umam membuat film layar lebar Fatahillah. “Itu yang pada akhirnya menyeret saya untuk menuju jalan yang benar. Dulu kan yang penting film saya itu tidak merusak moral, isinya mengajak kebaikan, tapi tidak ada berdakwah Islam. Nah, perkenalan dengan Chaerul Umam yang selalu dikawal dengan Abu Ridho dan Ustadz Muhammad Ridwan me-reform karya saya. Belum 100 persen memang, karena waktu itu saya sedang membuat Tutur Tinular dan Kaca Benggala, tapi tetap dengan moral Islam,” ujarnya.

“Saya sempat juga ditegur secara bercanda oleh Hosein Nurseha, senior saya di PII Semarang, kamu orang Islam bikin film Hindu. Saya bilang saya sudah stop bikin film Hindu, bikin yang baru sekarang. Apa? Film Budha!” kenang Imam sembari tertawa.

Seiring dengan perjalanan dan kesadaran untuk menjadi lebih baik, sekarang tawaran untuk film-film demikian berhenti. Banyak pihak telah mengetahui spesialisasi Imam. Apalagi ketika oleh umat Hindu Bali Angling Dharma sempat diprotes karena dia menyisipkan tokoh Islam asal Gujarat yang mengejar musuh sampai ke kerajaan Angling Dharma. Meskipun yakin tidak bersalah karena konsep kerja sama lintas agama melawat kebatilan menurutnya lebih baik daripada berseteru. “Itu mungkin sentilan dari Allah. Setelah itu saya stop. Nggak mau lagi, sejak itu saya keluar. Disuruh membuat cerita itu nggak mau, ini nggak mau. Akhirnya nganggur. Lalu kembali ketemu Chaerul Umam disuruh membuat Astaghfirullah di televisi, cerita tentang rukhyah syar’i. Saya jadi mengenal yang demikian, lalu Jalan Takwa, Matahari Cinta dan lainnya.”

Dan memang benarlah. Puncak prestasi apalagi yang mengangkat status kemanusian seorang kreator, selain karyanya mampu berkontribusi bagi kebaikan orang banyak, terlebih bagi agamanya. Bagaimana, sepakat bukan? [Elzam


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