Selasa, 08 Februari 2011

MISTIK / MISTICS in Bali / Punahnya Rahasia Ilmu Iblis Leak / 1981

RAHSIA ILMU IBLIS

Film ini tidak masuk dalam daftar di International dan nasional, tetapi disutradarai oleh Tjut Djalil. Dilihat dari Judul setting dan pemainnya, mungkin ini film /ceritanya sebelum Mistik in Bali di buat, atau mungkin sisa yang panjang di buat lagi...enggak tau, bingung juga.


FULL MOVIE
ANOTHER VERSION
































 
MISTIK / MISRTICS in Bali / Punahnya Rahasia Ilmu Iblis Leak

Film ini dalam Bahasa Indonesia adalah Mistik (Punahnya Ilmu Iblis Leak) judulnya, lalu ada yang menuliskan Leak, dan untuk international Mystics in Bali lebih baik karena mengambil kalimat Bali yang terkenal dengan pulau yang mystics dan indak, tradisonal yang purba dan juga mitos-mitosnya. In this shocking horror favorite, Cathy (Ilona Agathe Bastian) is an American tourist in Bali who learns the powerful black magic of the Leyak cult. But as she readies to leave the country, her Leyak mentor has other plans for the foreign apprentice. Now, an ancient spell sends a bodiless Cathy on a grisly hunt for fresh blood. Sofia W.D., Yos Santo and W.D. Mochtar also star in this eerie classic of Asian cult cinema.
Adaptasi dari novel "Leak Ngakak".

Cathy (Ilona Agathe Bastian), mahasiswi asal Australia yang telah fasih berbahasa Indonesia, ingin meneliti dan menulis tentang dunia ilmu gaib Leak di Bali. Ia dibantu oleh pemuda kenalannya, seorang pelaut bernama Mahendra (Yos Santo). Berkat bantuan teman Mahendra, Cathy berhasil bertemu dengan Ratu Leak (Sofia WD, Debby Cynthia Dewi) dan mendapatkan ilmunya. Hubungan antara Cathy dan Mahendra semakin intim. Sementara itu Mahendra juga bertanya tentang cara menangkal ilmu Leak dari I Wayan Jereg (WD Mochtar). Tidak disangka, Cathy diperalat oleh Ratu Leak. Kepalanya dipinjam untuk membunuh beberapa bayi, dengan mengisap darahnya. Situasi kampung di Bali itu menjadi gempar. Tetapi I Wayan Jereg mengetahui siapa sebenarnya yang telah memperalat Cathy. Dalam pertempuran kesaktian I Wayan Jereg melawan Ratu Leak, dan menang. Dalam pertempuran akhir itu, tampil juga leak ketiga yang ternyata adalah Tantri (Itje Trisnawati), yang diam-diam mencintai Mahendra dan tewas dalam pertarungan itu. Cathy pun terpaksa tewas.


 



 


















Mystics in Bali -Trailler
Mystics in Bali - Women into Pigs!
Mystics In Bali (1981) /clip
Mystics In Bali
/ clip
Mystics in Bali
/ clip



TRILLER & CLIPS




FULL MOVIE

NEWS


DIA baru saja menyudahi hidu ji seorang wanita yang siap melahirkan. Dia mengisap darah dan memakan bayi habis-habisan. Makhluk yang gemar mencari darah secara paksa tersebut-di Bali disebut Leak --berusaha memperpanjang hidup dan menambah kesaktiannya. Tapi sang leak berambut pirang (penjelmaan Cathie, mahasiswi berkebangsaan Australia) tidak berumur panjang. Aktivitas ilmu hitamnya segera dihentikan penduduk suatu desa. Dalam suatu duel (hingga fajar) melawan sejumlah orang berilmu putih, Cathie tewas bersama guru ilmu leaknya. Itulah potongan kisah dalam film Mistik (produksi PT Pan Asiatic) yang diputar (sejak 8 Desmber) di sejumlah bioskop utama (jalur B) Jakarta.











 










Kendati tidak digarap dengan baik, film cerita bertema seram (horror) sernacam itu tampaknya menyedot banyak penonton. Sebelumnya, beberapa film dengan tema serupa, yang diangkat dari legenda suatu daerah, juga laris di pasaran. Sundel Bolong (antara lain dibintangi Suzanna), misalnya, menyerap hampir 300 ribu penonton. Sementara itu, Pengabdi Setan, Ratu Pantai Selatan, dan Kutukan Nyai Roro Kidul masing-masing menyedot 102 ribu, 150 ribu, dan 120 ribu penonton. Kaum produser tampak terdorong menghasilkan film seram dengan cepat dan murah (tanpa memasang pemeran terkenal). Mereka mengabaikan kualitas. Dari 67 film (sampai awal November) yang dihasilkan tahun ini, sedikitnya 10 bertema cerita seram. Film jenis ini hanya dua dari 74 produksi tahun lalu. "Film horror kini sedang bagus pemasarannya," kata Gobind Samtani, Direktur PT Rapi Film. Dia juga menyebut Singapura, Malaysia, dan Brunai sebagai pasar yang baik untuk film jenis itu. Dari enam produksi perusahaan tersebut tahun ini, dua bertema cerita seram. Tapi, menurut Yan Senjaya, Direktur Pelaksana PT Pan Asiatic Film, sesungguhnya tidak semua film seram bisa laku. Penonton, katanya, terutama hanya menyukai film seram berbau mistik yang diangkat dari legenda suatu daerah. Dia menyebut film Mistik, produksinya, yang laku keras di Bali, tempat asal legenda tersebut. Gobind Samtani membenarkan anggapan itu. Sundel Bolon, produksinya, laku sekali terutama di Jawa Timur.
 Di Jakarta, film jenis itu mampu juga menembus bioskop utama jalur B (kelompok Djakarta Theatre) dan jalur C (kelompok New Garden Hall Theatre) - dengan masa putar sekitar lima hari. Di bioskop tahap bawah (move over) -- di seluruh Jakarta berjumlah 64 film seram bahkan marnpu bertahan lebih larna. Maka berkata salah satu staf PT Sumber Jaya Pawitra Film, pengedar utama film bioskop tahap bawah: "Pendeknya sekarang ada kegandrungan penonton melihat film seram herbau legenda. " Humor Dan Seram L.J.N. Iloffman, Seljen Persatuan Perusahaan Film Indonesia (PPFI), sependapat. Serela masyarakat, katanya, kini cenderung beralih ke film seram. "Masyarakat kini sudah mulai jenuh dengan film bertema percintaan remaja." Pendeknya "film percintaan remaja sekarang ini sudah lewat," tambah Gobind Samtani. Benarkah? Hampir semua film bertema remaja yang diedarkan tahun 1981 (di bioskop utama dan sliding) dapat jumlah penonton di bawah 80 ribu. Bahkan Gadis Penakluk, yang memperoleh Citra untuk penulisan skenario, hanya mampu menyedot 77 ribu penonton. Hanya Usia 18 (dibintangi Jessy Gusman, dan disutradarai Teguh Karya) yang mampu mengumpulkan 106 ribu penonton. Sementara itu, film humor (yang banyak dibintangi Warung Kopi Prambors) tetap pengumpul teratas tahun ini. Pintar-Pintar Bodoh, misalnya, berhasil mengumpulkan 475 ribu penonton . Memang, tahun ini di Indonesia merupakan periode film humor dan seram yang juga disukai di Singapura, Malaysia dan Brunai. Kabarnya ketika film Dendam Manusia Harimau sedang dibuat satu distributor Singapura sudah memesan, dan menongkrongi pembuatannya. Tapi untuk membuat film seram, produser terpaksa menanamkan uang cukup banyak -- terutama buat menyajikan adegan tipuan (trick) yang memerlukan ketrampilan teknis mengerjakan special effect. Special effect untuk film Mistik (yang memungkinkan penggalan kepala tampak terbang) menelan biaya Rp 20 juta -- sementara biaya produksi seluruhnya Rp 175 juta.

Dengan alasan laboratorium di Jakarta belum lengkap (PT Inter Cine Studio), banyak produser lebih suka mengerjakan special effect film terutama di Hongkong. Di sana, biayanya pun lebih murah. Produser toh tetap ingin menekan biaya produksi serendah mungkin. Caranya? Pertama, mengurangi pemakaian artis-artis tenar yang biasanya meminta imbalan tinggi. Dan kedua, membuat adegan tipuan yang dikerjakan sendiri di studio (bukan laboratorium). Bahkan, jika perlu, memotong sejumlah adegan film asing. Peristiwa badai dalam film Ratu Pantai Selatan, menurut S. Paria, penata art dan special effect, berasal dari guntingan film Hurricane. "Itu namanya memang pencurian," kata S. Paria. Tapi film seram, karena terlalu banyak produser membuatnya, menurut Gobind Samtani dan Hoffman, mungkin laris sampai Maret saja.


News

In the traditional Indonesian gamelan music, there is no set tuning system. When the musicians make their instruments, they are instructed to "tune to their hearts"; that is, they should rely on their ears and their instincts, and on the hints provided by the instrument itself as it takes shape. This is not to say that they just do whatever they want: they use their knowledge of the gamelan tradition, so that the sounds of the instruments they create, however individually crafted, will sound well in a full gamelan orchestra.

I bring this up because the approach seems similar to the method used by Indonesian director H. Tjut Djalil to create his horror film Mystics in Bali. The film bears just enough resemblance to a conventional horror film to be recognizeable as such, but its structure is entirely its own. Djalil films whatever he thinks he needs to convey his story, whether it makes sense in a conventional, narrative way or not. There are almost no attempts at graceful transitions between scenes or ideas. If we don't need to see it, we don't see it, even if the transitions would make it easier to understand what's going on.
















 









Cathy Keene is an American anthropology student whose special interest is primitive black magic. Her theory is that to truly understand the traditions of black magic, she must study them herself as though she were a real initiate. She has already been to Africa studying voodoo first-hand, and now she has come to Indonesia to find out about the local form of witchcraft called leyak.

Cathy has some help in her quest from a local man named Mahendra, or Hendra for short. Cathy and Hendra had met just a short time before, but already they've become close enough for Hendra to leave his girlfriend for Cathy. We don't actually learn about Hendra's ex-girlfriend until the last five minutes of the film, but I felt it was worth mentioning because it illustrates what a complete schmuck this Hendra is. As the movie progresses, we will see that practically everything that goes bad can be directly or indirectly traced to Hendra. In fact, if he hadn't done such great comedy over the years with Christopher Guest, I wouldn't even mention him at all.

Anyway, Cathy enlists Hendra's help finding a leyak master who will take her as a student. Hendra is more than happy to oblige. This is a little like Hendra coming to, say, New Gretna, New Jersey and announcing to Cathy that he'd like to study Satanism, and asking if she knew of anyone who might help him out. And if Cathy did put him in touch with some rabid local warlock, we'd know very well who to blame when Hendra turned into a pea-soup-vomiting killing machine in the third act, wouldn't we? Yet Hendra's complicity is worse, because except for occasional appearances by the Jersey Devil, New Gretna, New Jersey doesn't really have a strong tradition of Satanism and demonic possession; while the leyak, according to Cathy, are among the most primitive and powerful of black magicians.

The powers of the leyak include the ability to transform into other things -- people, animals, or plants. They're also very tricky creatures, because they almost never appear in the same form more than once. When we see for a moment what appears to be a tree with a human face in it, we think that perhaps the leyak had found out about Cathy's interest. Actually, it's Hendra's ex spying on the couple, though again I must explain that we won't realize this until the very end of the picture.

Hendra takes Cathy to a cemetery, where Cathy sniffs a skull and remarks how it doesn't smell... clearly a sign of magic. As Hendra and Cathy make casual conversation, the camera pans restlessly across the landscape of skulls and bones. We get the sudden feeling that Cathy's research isn't going to go as well as she hopes.


The pair go to meet the leyak in the middle of the night, on a lonely stretch of countryside. A sudden thunderstorm warns them of the witch's approach; then, in the distance, they see a dim figure moving towrads them in crazy spirals. A ghastly cackle rends the air, a laugh Hendra identifies with the very vilest sect of leyak. Soon, a huddled shape appears in front of them: it's an old crone with wild hair and long, hideous, Coffin Joe-like talons. The old woman, who claims to be the Queen of leyak and the most powerful wizard in the world, agrees to take Cathy as her disciple. The lessons will start the following night.

"But how will we know you?" asks Hendra; after all, they can't see her clearly.
"You want to see my face?" purrs the old woman. "You won't soon forget it!" She pulls aside her hair to reveal the ravaged ruin where her face once was, and cackles again at their horrified reactions. This is her real face, she tells them, but she will look different every time they see her.

Before they part, the old woman remarks that she's heard that Western people seal their bargains by shaking hands. She offers her ghastly claw to Cathy, and runs away laughing when Cathy accepts the handshake. Cathy is nauseated to discover the old crone has left her hand behind, still clutching hers. When Cathy throws down the limb in disgust, it scrabbles off to join its owner...

(The more I think about it, the more it occurs to me that this scene offers a better metaphor for the movie than my gamelan image. "Well," says Djalil; "you want a Western-style horror movie? Fine. Put 'er there, pal... MWA-HA-HA-HAAA!")

And suddenly it's the next night, and the old woman comes to greet them. It's difficult to tell at first that a whole day has passed, and if the witch didn't helpfully mention that it was the next night, we'd be even more confused. The leyak, after all, looks different (as she said she would), so it takes us a moment to comprehend who the heck she is and what she's doing there (though her lunatic laugh helps us identify her). There's also been no intervening daylight scene to prepare us for the second night's scene -- there was nothing important to show during the day, so Djalil didn't waste film on it. Until the witch tells us, the only clue we have to the timeframe is that Cathy and Hendra are wearing different clothes... and even this is no solid clue: in a lapse of continuity later in the film, Hendra changes T-shirts in mid-scene.

So how different does the leyak look? It's hard to say, because all we get to see is her tongue. All thirty feet of it. The leyak licks some jewels off Cathy's hands as an offering of trust; then she drinks several bottles of blood which Cathy and Hendra have brought with them. When she's satisfied with the offering — "Mmm, good blood!" she gurgles — she demands that Cathy take off her skirt. Hendra is appalled, but the old woman (or at least her tongue) insists. The leyak's tongue then tattoos mystical designs on Cathy's inner thigh, "where no one will see them."
(Ancient evil is a little old-fashioned in some respects.)

But someone -- namely, Hendra -- does end up seeing them. Cathy invites Hendra back to her room, where she strips down to a bikini and asks him to come closer -- closer -- and take a good, long look at her thigh. The invitation turns Hendra into an even bigger dope than usual: he just has no idea what the form is for a situation like this. Their whole relationship so far seems to be very pre-junior-high-school, consisting mainly of holding hands and babbling variations on the theme of "Gee, you're cute!" So when Cathy, in her expressionless sort of way, seems to be turning on the heat, Hendra is completely lost. "Well? What do you see?" she asks. Yeah, Hendra; what do you see? London? France? Hendra tries to decipher some of the writing he finds... there's a le, followed by a yak... Hmmmm. It must have something to do with French talk radio. This may be too difficult for our nominal hero.

Just as Hendra seems to be warming to his task, perhaps finally figuring out what Cathy's really asking him to do, Cathy says, "OK, that's enough," and goes to get dressed for her next lesson in magic.

This time we cut directly from the middle of the midnight lesson to the next day, as Cathy tells Hendra what went on. No sooner have we had time to register that it's the next morning when we're plunged via flashback into the scene we've just left! Cathy and the leyak begin to swell up and change shape, and quicker than you can say "Larry Talbot" the two of them have changed into pigs (Djalil has evidently decided that we needed to know that Cathy told Hendra about her experience, but didn't want to repeat anything needlessly... so he's merely jumped ahead to the explanation, and then gone back to finish the scene).

But the magic lessons are beginning to worry Cathy, especially when Hendra tries to make sense of the images she brings back from her transformations. According to Hendra, some of the visions she's experienced are Indonesian symbols of death. Cathy is aghast to think she might have killed someone in her leyak trance, but Hendra (grinning idiot that he is) tries to reassure her: after all, it wasn't really her fault.
That's right, you moron: it's yours, to be perfectly clear about it.

In another "lesson", and one of the most impressive, Cathy and the leyak take the form of floating balls of fire. Suddenly, they are attacked by a third ball of fire, a rival leyak. Cathy is dashed to the ground, where she resumes her human form in a cloud of smoke. The two leyakleyak throws down her opponent into a lake. Up from the smoking water rises the other wizard's charred corpse.

On yet another night, Hendra (who has been banned from the sessions as an unwanted visitor) watches from his hiding place as the two women transform into snakes and crawl away. Cathy remembers this experience as being taken to a magnificent banquet where she got to feast on wonderful delicacies. She awakens the next morning as Hendra tries to kiss her while she's still asleep (are you beginning to dislike this creep as much as I do?); all at once she jumps out of bed, gagging, and runs to the bathroom. Hendra doesn't seem too surprised by her reaction, and frankly, Hendra's reaction doesn't surprise me -- back in my dating days that's the sort of thing I came to expect when I tried to kiss a girl... but I digress. Hendra is a little surprised by what happens next: Cathy starts vomiting live mice, worms and insects. At this point she tells Hendra about her dream of the feast, and muses that perhaps the "food" upset her stomach. Hendra just nods and grins, as usual, though you'd hope he's merely humoring her. Either that or Indonesan food is just a tad more exotic than I've been led to believe.

Finally, the night comes for Cathy's last lesson, after which she plans to go back to being the "old Cathy" Hendra knew. She hasn't been feeling very well lately -- there's been a burning sensation in her stomach, and she's felt tired and woozy -- but the leyak has assured her it's to be expected, and that she will be cured that very night. Hendra congratulates her, but Cathy insists, "It's all because of you, Hendra!"

Everybody sees what's coming next, right?
Cathy meets with her teacher to bid her farewell, but no sooner has she left when the old woman goes into one of her cackling fits. "Catherine!" she calls, even though the girl has passed out of earshot, "I gave you invaluable lessons in the Black Arts. And now, it is time for you to pay!"

And suddenly, it's the next night, again with no transition and no chance for us to get our bearings. Cathy has been summoned back, whether she wanted to come or not, and the leyakpenanggalan, a traditional Indonesian vampire, sent out to gather the blood of newborns so that she might feed the leyak.

And this is the point where the metaphorical gamelan orchestra suddenly breaks out kazoos, krummhorns and electric guitars and starts wailing. If you've found the movie so far to be bizarre, there are far, far stanger things in store.

A local woman is struggling with a long and difficult labor, while her husband and family wait outside. Suddenly, Cathy's head 'n' guts sail through the window: she lands between the expectant mother's thighs and begins to feed. We can see the woman's belly deflating as she does so... hearing the disturbance, the midwife runs to see what's the matter, only to be knocked through a wall by the departing head.

Cathy, needless to say, has no memories of her existence as a penanggalan, even though she sometimes wakes up with blood dripping from her lips. Hendra, in the meantime, has been consulting with his Uncle, who is a sort of holy man (Bali, unlike much of Indonesia, is not Islamic). His Uncle tells him there are several simple spells and prayers which are effective against leyak, some of which have been in the family since Uncle's own uncle stole them from a powerful witch. Note, please, that Hendra does not confide his misgivings directly to Cathy; nor does he reveal to her any of the protective magic he's been told about by his Uncle. Instead, he keeps up his goofy junior-high-school relationship, even as the girl he "loves" turns into a bloodsucking monster.

On Cathy's second rampage, the girl who is yet to be identified as Hendra's ex sees the hideous noggin floating out the window, and runs off to tell Uncle. After two nights of terror, Uncle and the village elders decide they must do something to fight the floating-head vampire. While Uncle prepares his spells, the leyak comes to Cathy in the form of a young woman (I think that this actress is the same one who plays the leyak in all her stages; if so, she's wonderful. She's one of the most convincing old/young women I've ever seen in a horror movie, and she gives a whole-hearted and convincing performance as the evil spirit). She demands payment from Cathy, who misunderstands and asks: how much? But the leyak has no desire for money. What she wants is life and youth, and to get that she needs Cathy's head one more time.

Uncle follows the signs of spiritul disturbance to Cathy's house. Entering, he finds her headless body leaning against her closet door. Uncle sticks three long spikes into her empty neck, so that the head cannot rejoin the trunk. When the head returns, having been thwarted in its final mission by torch-bearing villagers, it attempts to pull out the spikes with its teeth; but it fails to finish before sunrise. With a howl of fury, the head flies off, and the body falls lifeless to the floor.

Hendra's been off working aboard a ship while all this is going on — and a good thing, too — so he's a little shocked to find his girlfriend lying decapitated on the floor. Uncle explains to him that Cathy's ordeal is not yet over: if her head is allowed to rejoin her body in the tomb, she will rise again as a vampire and be nearly unstoppable.

"This is all my fault!" gushes Hendra. (Yes, it is.)

Uncle pats him on he shoulder and tells him to look on the bright side; he shouldn't let it get him down; he has his whole life blah blah blah; and holy man or no holy man, you start wanting to smack Uncle around a little, too. This is all Hendra's fault, and the little twerp should feel absolutely miserable for the rest of his life.

So the two men go off to perform a vigil over Cathy's grave (Djalil killed the heroine! Djalil killed the heroine! Three cheers for Djalil!). And sure enough, at nightfall the leyak comes with Cathy's floating head close behind. Cathy's body stands up in its grave, and the head floats over to join it. In the meantime, Uncle and the leyak get into a fight to see whose Balinese mystical kung-fu is stronger. Uncle holds his own for a while, deflecting the leyak's lightning bolts and floating around in a green haze; but he is distracted for a moment when that dolt Hendra starts falling for the old "please-don't-kill-me-I-may-be-dead-but-I'm-your-girlfriend" routine, and the witch tears his throat out.

Then suddenly Hendra's ex comes leaping out of the forest to save him — only to be shredded by the old witch's magic (how many people have to die on this idiot's behalf?). Hendra crouches over her mangled body (and this is where we finally find out who this character really is, and that her name is Maya. Hi, Maya!). The dying Maya tells Hendra she did it because she (sob) still loves him; while in the meantime, we can imagine the offscreen leyak is tapping her foot impatiently and waiting for the director's permission to resume the ass-kicking. We sympathize.

Just as it seems Hendra is about to get what he so richly deserves — ahem — just as it seems evil is about to triumph, who should happen to show up but... uhhhh... someone we've never seen or heard of before! It's Hendra's other Uncle, a portly man in a head-scarf and, um, bath-towel thingy, whose spiritual kung-fu makes deceased Uncle's look like, oh, I don't know: bad special effects, or something.

The leyak recognizes the newcomer, even if we don't: "Iki Oka, the greatest one of all!" she cries. The leyak suffers the worst of it in the ensuing battle, and reverts to her disfigured-old-crone guise. Snarling that the world will hear from her again, she tries to slink off with her pet vampire in tow... and for a moment it seems as though Oka is going to let her escape. But Oka is really just biding his time, for reasons that will become apparent later.

When Oka does catch up with the leyak, an even more furious fight breaks out. The witch assumes a bewildering variety of forms, including a leering masked spectre and — most memorably — a fat, naked, bipedal pig with huge pendulous breasts. Once again it seems like the Good Guy has met his match, but just as things look bleakest, the sun pops up like a spring-loaded cat. The leyak melts in cartoon fire; Cathy falls over on Hendra and dies permanently; and the movie, having nothing more to say, ends immediately. No epilog, no credits, no final summing up — that's it.

I want to stress that the bizarre structure of the film (overlooking one or two easily-forgiveable continuity errors) does not come from lack of talent or lack of training. Djalil and his crew seem to know exactly what they're doing. They seem to be making a film that falls somewhere between the expectations of local and export audiences. True, they have a lousy male lead character, but that's the norm for movies like this. True, they have a less-than-stellar actress as Cathy, but when we find out that she was really not an actress at all, but a European tourist the filmmakers chose at random, you really have to be impressed that she did as well as she did. She gave an admirable performance in a film whose bizarre nature would have thrown many seasoned professionals off their guard.

Mystics in Bali lives up to its hype: it really is unlike any other film a Western horror aficionado is likely to have seen. In spite of its extremely irregular structure, its deliberate lack of balance, its sometimes ghastly tastelessness and its reliance on myths which are totally unfamiliar to most Western audiences, the movie is never anything less than fun. There is a vivid imagination at work creating the action and shock sequences, and in spite of the fractious narrative and relatively crude special effects, the technique on display is really very solid. masters begin a dramatic midair battle, until Cathy's takes her first "payment" from her. She makes some mystical gestures, and Cathy's head and entrails separate from her body and float off into the night. She has become a

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