Indonesian cinematheque/cinemantique

Earliest Titles With Location Matching "Indonesia" 1911-1980

2012-01-18T20:48:00.000-08:00

Life in Java (Documentary 1911 - UK)- Release Date: 5 April 1911 (USA)-Making Bamboo Hats in Java- Location: Java Indonesia.

Sumatra (Documentary 1918 - UK)- Release Date:27 October 1918 (USA) Documentary/ travelogue exhibiting sights and native peoples of the Malay Archipelago.

Shipwrecked Among Cannibals (Documentary 1920 - USA) -Release Date: 4 July 1920 (USA) Dir: William F. Adler - A travelogue/documentary including explorations of the fauna and people of Siam, New Guinea, and Java, with interpolations of an apparently fictitious encounter between the filmmakers and cannibalistic natives of Frederick Henry Island in the South Pacific.

Bali, the Unknown (Documentary 1921 USA) -Release Date: 27 February 1921 (USA) - Dir: Harold H. Horton- A documentary on the people, customs, and wildlife of the Southeast Asian island of Bali.

In the Garden of the East (Documentary 1921-USA)-Release Date: March 1921 (USA)

The Battak of Sumatra (Documentary 1929-USA) -A study of the Battak people of Sumatra, Indonesia (then called the Dutch East Indies), conducted by the Anthropology Department of Harvard University.

Java - The Fragrant Isle sunset, ocean liner, map of Indonesia, crossing the equator King Neptune ceremony in swimming pool on ship, Batavia, street car tram, steam train, horse carts, main street, canals, laundry, washing clothes, sarong, street vendor with cracked ice drink, baskets of fruit balanced on poles, funeral procession with dead body, country village, Buitenzorg botanical garden, estate of governor general, lily pads, Notes:
Java is an island of Indonesia and the site of its capital city, Jakarta. Once the centre of powerful Hindu kingdoms and the core of the colonial Dutch East Indies, Java now plays a dominant role in the economic and political life of Indonesia. Housing a population of 130 million in 2006, it is the most populous island in the world, ahead of Honshū, the main island of Japan. Java is also one of the most densely populated regions on Earth. Formed mostly as the result of volcanic events, Java is the 13th largest island in the world and the fifth largest island in Indonesia. A chain of volcanic mountains forms an east-west spine along the island. It has three main languages, and most residents are bilingual, with Indonesian as their second language. While the majority of Javanese are Muslim, Java has a diverse mixture of religious beliefs and cultures.

Sumatra, Indonesia (1930) by: Filmmaker: Andre de la Varre. Description: 01:12:29:19 B/W 1930 Padang? Sumatra, Indonesia VS Burton Holmes sitting on stoop & looking at trinkets sold by street vendors. VS street vendors w/ goods. Nias, North Sumatra, Indonesia Village of thatched roofs. Indonesian boys / young men performing stone jumping (hombo batu), leaping over large boulder in middle of village (Megalithic culture, stone blocks). LS WS Caucasian tourists walking in Indonesian village. VS headshots (portraits) Indonesian men in native clothing (traditional clothing). VS Indonesian men dressed in armor & holding spears / shields performing traditional war dance (traditional culture, tribal dancing). Indonesian men dressed in armor holding spears staging fight. (good shots, traditional culture, native culture, Indonesian culture, Indonesian history, tribal culture, tribal dancing).

Explorers of the World (Documentary 1931-USA) - Director:Harold Noice-Writers:Harold McCracken (narrative), James L. Clark (narrative)-Stars: Richard E. Byrd Jr., Harold McCracken and Gene Lamb. A compilation film, produced by the American Museum of Natural History, with footage from six major expeditions of the 20th-Century; the Stoll-McCracken Siberian Artic expedition, for the American Museum of Natural History, on the schooner "Morrissery."; the exploration of Borneo and Bali by Gene Lamb; an African expedition by James L. Clark, vice-director of the American Museum of Natural History; the Imperial-Trans-Atlantic Expedition under the guidance of Lieutenant Commander J. R. Stenhouse that made it to the Ross Sea; footage from the Byrd Antartic Expedition, shot by Dr. Laurence E. Gould, geologist and second-in- command; and footage from the Tarlano Ethnological Expedition of the Amazon River by Harold Noice. Raspin Production presents Explorers of the World, directed by Harold Noice, the wildest adventures ever filmed, all real, all true

Virgins of Bali (Documentary 1932 -USA) - Release Date:September 1932 (USA) -Director: Deane H. Dickason -Stars:Ni Wayan Tagai, Ni Wayan Ugambon and T. Kaler -On the Indonesian island of Bali, two young native women are shown how they spend their days leading up to their wedding ceremonies.

Isle of Paradise (1932 Documentary)- Release Date: 20 July 1932 (USA)- Director: Charles T. Trego Writer:Richard Mack Stars:David Ross - Shot over a period of six months in the island of Bali, in the Dutch East Indies, the film put together by Charles T. Trego, sets out to show that the scenic splendor and the beauty of the island lives up to the heralding both had from visitors. Any-and-everything shown seems to have happened in a natural way without being forced, and carries out the spirit of the legend that Bali is the one place on earth where happiness is the business. The narration is by David Ross, a popular New York City radio announcer of the time.

Bali, the Island Paradise (1932 Documentary-USA) - Stars: James A. FitzPatrick

Back to the Sun (1933 Documentary-USA)

Insel der Dämonen (Germany-1933) - Director:Friedrich DalsheimWriters:Friedrich Dalsheim, Baron Victor von Plessen, and 1 more credit »Stars:Lombos, Sari and Nodonk. Pulau setan diculik di sihir dan mitos Bali, karena mereka tidak lagi ada saat ini. Direktur Friedrich Dahlheim dikembangkan dari cerita dan laporan dari penduduk sebuah pulau kecil perpaduan budaya Bali dan film, mewakili warga dalam mitos-mitos kehidupan khusus mereka sendiri. Disajikan adalah kehidupan sehari-hari dari masyarakat desa, kehidupan mereka, pekerjaan mereka dan kehidupan kultis sangat spesifik melalui sebuah cerita yang seharusnya terjadi, menurut cerita cara ini: Penyihir desa, sekutu dirinya dengan dewi kematian. Mantra jahat aliansi ini runtuh dalam kemalangan kuburan desa. Hal ini menyebabkan penyakit yang membunuh banyak anak-anak desa untuk korban. Marah orang tua menuntut kematian penyihir di desa, yang mereka menyalahkan atas bencana itu. Oleh oracle si penyihir melihat komunitas memutuskan untuk ritual untuk memberi penghormatan kepada para dewa yang baik dan setan untuk mematahkan mantra ... Para aktor yang semua orang Bali, yang bermain dalam film banyak peran mereka sehari-hari.

A Jungle Gigolo (1933 Documentary- USA) -Writers:Allyn B. Carrick (story), Forrest Izard (narration)Stars: Edward Powell -The ups and downs of a man living on the Indonesian island of Sumatra who has more wives than he can support.

Glimpses of Picturesque Java (1933) Batavia, ships in port, Tanjong Priok, harbor, steam train, boiler, pov through city, Batavia Centrum, colonial houses, natives doing laundry in canal, washing, Djocka, nobleman visits Sultan, procession, soldiers with rifles, walking barefoot, coolies with ox carts, men carrying furniture, pots and pans, batik cloth shop, merchant showing cloth, women making batik, applying dye, dipping in water, rainstorm, horse drawn cart, Boroboedoer buddhist memorial, temple, bas-reliefs of life of Buddha, pilgrims pray and burn incense, Buddhist temples, Surabaya, traffic, policeman, rice-taffle, rijstaffel, dinner being served to dutch businessmen at long table, eating,

Inyaah (Jungle Goddess) (1934) - Director:J.C. CookStars:Gayne Whitman - STRICTLY VIRGIN is the law... BREAK IT and you die!- Release Date: 1 November 1937 (Portugal).

Legong: Dance of the Virgins (1935 Short Film) - Dir: Henri de la Falaise With: Poetoe Aloes Goesti, Bagus Mara Goesti, Saplak Njoman - Release Date:15 November 1935 (USA) -In Balinese villages, pageant, dance, music, story-telling, and religion dominate the culture. Young women may be the aggressor in love, but disgrace befalls her whose choice rejects her. Poutou, a nubile maiden who dances at the temple, lives with her jovial father and lovely younger sister, Saplak. Poutou falls in love with Nyong, a musician new to the village. He returns her interest, so her father and she make plans for a marriage, and she arranges to perform her final temple dance. Then Nyong's eyes light on Saplak. How will each character react?-Legong: Dance of the Virgins is a new and invaluable addition. Photographed in the early 1930’s on the island of Bali, the simple love story takes place in and around a primitive culture blissfully unaware of its proximity to extinction. In just a few short years, tourism and land development would implement profound, irreversible and damaging changes, eradicating the innocence captured in this film.Upon its release, scenes of cockfighting and topless female natives were removed from Legong by American and European censors. Though accompanied by a full-length musical score, the picture had been shot silent at the moment when silent cinema fell to the new rage of sound. And its costly two-strip red and green Technicolor was upstaged by the experimental three-strip process employed to great effect by Rouben Mamoulian in Becky Sharp that same year. Nevertheless, Legong was popular in its day, and re-released several times, once by exploitation distributor Alexander Beck who hyped it as “Nudity without crudity! A film for all audiences!” Director Henri Marquis de la Falaise co-wrote Legong with Gaston Glass, basing their idea on lines from an old Balinese love song.

It was written, oh virgin of Bali

When love fills your heart

Beware!!

If he, who you chose,

Does not respond to your love

The disdain and wrath of the Gods

Will be yours.

From this stanza, the uncomplicated scenario follows a young woman shamed by loving and pursuing a man who’s more interested in her sister. Slight as it sounds, the triangle premise is nonetheless compelling, the minimalism of story and storytelling allowing an unencumbered glimpse at everyday Balinese living, dances and gestures to the gods, courtship, ancient games and sport, and spiritual ceremonies and customs — most of it steeped in lush color and pageantry. The islanders’ values and reliance on prayer and worship may be lost on jaded western eyes some seventy years after the fact, but Robert Snyder’s documentary, Gods of Bali, thoughtfully included with Legong on the DVD, is an excellent reference source. It explains and illustrates primeval Balinese practices, from the fixed training of their children all the way to public cremation services for the departed.

On location to shoot Legong and faced with the language barrier and snags with translators, Gaston Glass, by that time an established performer, acted out scenes for the inexperienced native cast to emulate. Their lack of polish compliments the unobtrusive style of Henri de la Falaise, who was relatively green to the picture business himself. A decorated war hero, the Marquis moved from Europe to America, had been married briefly to Gloria Swanson, and then to actress Constance Bennett who set up a production company, most likely as a means to travel and keep hubby busy. For Legong, they entrusted the photography — its pivotal ingredient — to William H. Green when he was a second-unit journeyman and employee of the Technicolor Corporation. Fortunately the gamble paid off, and the combination of new and untried talent is as unpretentious as the setting itself.

The UCLA Film and Television Archive restored Legong using prints from the United States, Canada, and the United Kingdom. Seen today, the two-strip Technicolor recalls the gentle yet defined color of pre-1960’s rotogravure printing. The original soundtrack music by Abe Meyer sounds fine, but Milestone commissioned an alternate-track score composed by Richard Marriott and I Made Subandi (both of whom are interviewed on the DVD), performed by Gamelan Sekar Jaya and the Club Foot Orchestra. Purists may balk at such revisions, and the brilliant sound of the new recording juxtaposed with the older film may at first be a distraction. But it ultimately lends body and dimension, underlining the imagery and scenario with perhaps more compassion and understanding than Meyer would allow.

Henri de la Falaise continued exploring primitive civilization with Kliou, the Killer. Filmed in two-strip Technicolor in Vietnam, it follows a young hunter tracking down the tiger responsible for killing villagers and livestock. Although not as elaborate as the earlier picture, Kliou is equally as valuable. Milestone has included it on the DVD as well, albeit struck from a less-than-pristine 16mm black and white print. (Complete color versions are believed to be gone forever.) Together these films form a rare portrait of regions and people who stood within reach of the Neolithic Age — less than one hundred years ago.

Suikerfreule (1935)- Dir: Haro van Peski With: Aaf Bouber, Johan Elsensohn, Annie Van Duyn - Country: Netherlands Release Date: 14 November 1935 (Indonesia) - A woman follows her husband to Indonesia because he'll be away for 5 years. She is surprised to find he has a grown up daughter from an earlier marriage there. -
Sosial drama dengan nada lucu tentang seorang wanita yang bergabung suaminya Di Hindia Belanda. Dirk van der Kooy dan kembali ke Hindia Belanda selama lima tahun bertugas sebagai administrator dari sebuah pabrik gula. Betje istri kedua tak terduga menemukan ia dapat menjual toko kecil dan... baca lebih lanjut memutuskan untuk bergabung dengannya. Sesampai di sana, dia merasa sulit untuk menyesuaikan dan fakta bahwa Dirk memiliki seorang putri dari pernikahan sebelumnya dengan seorang wanita Jawa membuat semua lebih sulit bagi Betje. Ada baris dan kelimpahan kesalahpahaman namun Dirk dan Betje akhirnya mencium dan make up dan menikahinya dipuja putrinya Dolly asisten administrator. Film ini sebagian besar Di Hindia Belanda tetapi Sebagian besar difilmkan di studio diatur dalam Cinetone Duivendrecht. Arsip rekaman lama dari lanskap Bahasa Indonesia digunakan sebagai latar belakang serta bahan lokal ditembak dari sumber lain. Suikerfreule dan Karet merupakan salah satu pra-perang beberapa film yang otentik # on-the-spot melihat cuplikan dari Hindia Belanda dapat.
YOU CAN WATCHING HERE (CLICK) http://www.filminnederland.nl/en/film/suikerfreule

Rubber (1936) Directors: Johan De Meester, Gerard Rutten Writers: Madelon H. Székely-Lulofs (play), Gerard Rutten (screenplay), and 1 more credit »Stars: Jules Verstraete, Enny Meunier and Philip Dorn - Set in a Sumatran plantation, the film focuses on a Dutch newlywed trying adjust to the rough lives in the jungle. Release Date: 3 September 1936 (Netherlands). The film Rubber is unique in the sense, that it is probably the onlyDutch fictional film made in the colonial Indonesia ("Dutch India").There are several other Dutch fictional films about our colonial past,but they were all produced after the declaration of independence. Wellknown examples are the impressive "Max Havelaar"(1975) and the subtle"Van oude mensen, de dingen die voorbij gaan" (1975, TV). All thesefilms were based upon famous novels; to be precise, the authors ofthese novels were respectively M. Lulofs, Multatuli (=E. Douwes Dekker)and L. Couperus. The colonial life in Dutch India (the wealth, exoticnature, climate) stirred the imagination, whereas the other parts ofour colonial empire (f.i. Suriname) got significantly less attention.Dutch India laid the foundation of several Dutch transnationalcorporations, f.i. Shell and Billiton. In addition it was for threecenturies a pillar for our international shipping trade. Many parts ofthe film Rubber (1936) were recorded in Dutch India itself, and for thefirst time allowed the excited Dutch public to see live impressionsfrom our Asian province. The story of Rubber is partly autobiographic,sketching the life of a young woman similar to Madelon Lulofs. She hada rather frivolous nature, and married three times (at the time anoutrage in the religious Dutch society, but perhaps less so in thecolonies). However, the main body of the film concerns the life of theDutch planters. At the time Dutch India housed already 60 millionnatives, and only a quarter of a million Dutchmen, with the centres ofgravity in the cities. So the planters and their families lived inrelative isolation, which was a mental burden for the women, especiallyif they had migrated from the Netherlands. The daily life can be calledtypical for any plantation anywhere in the world, although the nativeswere formally not slaves. The planters were business men in anuncivilized surroundings (and migrants are a strange breed anyhow). Thefilm gives a convincing sketch of their rude and adventurousactivities. Typical is the example of the planter, who is forced toprey on his rubber-producing trees, because the economy is temporarilybooming. And then there are the luxurious stays in the colonial clubs,the gossiping etc. Of course a part of the Dutch managers were actuallyshort term fortune seekers, hoping to get rich quick. The romancebetween the married couple, and the subsequent adultery of the wife,seem minor events in the broader picture of the colonial setting(although they may perhaps mirror the loose morals and lifestyle).Finally the couple is reunited, which was a concession to the prudishDutch public (as said, Lulofs actually left her first two men in tenyears time). So this must be how our expats in Baghdad and Kabul spendtheir days. This is not my thing and thus for me a one-day outing.Nevertheless. it is recommended, if you are curious about the habits ofcolonial business communities.

Nias and Sumatra, Islands of Netherlands India (1936 Documentary USA) - Director:André de la Varre Writer: Paul P. Devlin -

Ceremonies in Bali (1936 Documentary USA) - Director: André de la Varre- Bali, Indonesia VS procession for cremation ritual. Women in traditional dress carrying offerings on their heads along procession. Coffins in shapes of cows. 02:01:28:15 Bali, Indonesia Procession for cremation ritual. Procession of men carrying winding sheet, end of which is wrapped around reed-enclosed corpse body, which is flanked by crowds as it is carried. People climbing on corpse being carried. Women on platforms being carried by men. Huge procession of coolies carrying ornately decorated bamboo raft Pylon w/ corpse body. 02:03:24:29 Bali, Indonesia Procession for cremation ritual. Huge procession of coolies carrying coffin (in shape of cow) w/ people riding on coffin over river, people splashing water around. Pylon being carried down slope & across river, people splashing water around. Coolies carrying coffin in shape of cow running it in circles around field (field of cremation). Balinese women in traditional dress carrying pots on their heads. Burning coffin (& body) on funeral pyre. 02:05:32:15 Bali, Indonesia Courtyard of White Coral Temple. VS Hindu High Priest (Brahmin) praying & performing Mudras ritual (intricate hand gestures). 02:06:18:02 Bali, Indonesia Balinese gamelan orchestra performing (traditional Balinese music). VS musicians in traditional dress performing w/ hand-made instruments (most percussion). VS young girls in ornate costumes performing Legong dances (traditional Balinese dancing). (very good shot, native dances / music, folkdances, folk music) 02:08:18:24 Bali, Indonesia Teenage girls & boys in ornate costumes performing "modern" Balinese dances (traditional Balinese dancing). Title card: "The End: A Screen Traveler Picture."

Kopfjäger von Borneo (1936 Documentary Germany-Netherland) -Director: Baron Victor von Plessen Writers: Walter Kiaulehn, Gregor von Rezzori. -Release Date: 1936 (Austria)- Loc: Longlelu Kalimantan

Precious Herbs: The Story of Tea (1937 Documentary USA) - Director: André de la Varre - Description: Documentary from 1937 filmed in the small Indonesian West Java town of Malabar. Follows the entire process of tea manufacturing from being grown and harvested in the fields, ground and processed in the factory, and eventually shipped out to countries around the world. Excellent footage of Indonesian men and women working in fields and factories, being paid meager wages by Caucasian superiors, and the inner-workings of a factory. Great shot of an ocean liner passenger sitting in a deckchair relaxing over a cup of tea.

1930s, Malay Archipelago, Southeast Asia, Southeast Indonesians, Indonesians, South East Asia, Indonesians, Javanese, Sudanese, Madurese, Indonesian Chinese, Cirebonese, field workers, field hands, agricultural hand tools, female workers, women, industrialization, industry, industries, modernization, cruise ship, cruisers, cargo ships, ocean liners, third world countries, 3rd world countries, poverty, poor, agricultural economies, farming economies, Malabar Tea Garden, babies, conveyor belts, cranes, doctors, factories, factory workers, farmers, farms, agricultural fields, furnaces, harvesting, herbs, logging, lumberjacks, machinery, medical, money, mothers, mountains, planting, ports, refineries, scales, shipping, shipping ports, trucks, drinking, natives, native cultures 01:00:13:09 Malabar, West Java, Indonesia WS PAN mountain range (landscape) (Mount Malabar - Gunung Malabar?). TD trees & plants in fertile area. LA tree falling. TU Indonesian loggers chopping down large tree w/ axes. VS LA trees falling to ground. 01:01:40:22 Malabar, West Java VS Indonesian loggers in forest chopping foliage off branches w/ axes & machetes, using wood for lumber & throwing scraps into bonfire. VS Indonesian field hands in agricultural field digging irrigation trenches & ditches. CU Indonesian field hands measuring plots to plant crops in soil. VS Indonesian female field hands planting seeds in soil. PAN Indonesian female field hands in the field inspecting crops / plants. 01:03:46:23 Malabar, West Java WS workers walking through patch of tall crops in field. Indonesian field hands cutting down tall crops. CU using sickle to chop off crops. HA field hands picking up chopped down tea leaves from soil. HA digging up soil w/ shovel near freshly barren crops. WS Indonesian field hands digging up soil w/ shovels. 01:05:07:05 Malabar, West Java WS PAN Indonesian field hands planting crops in field. HA Indonesian female field hand planting crop in ditch, another field hand shoveling dirt over ditch to cover crop. CU planting crop in soil along ditch. MS man packing soil around planted crop held in place by field hand. HA patting down soil w/ feet. Field hands smoothing down soil w/ shovels. WS PAN field hands planting crops in field. Indonesian female field hand smoothing out soil. HA "newborn" crops in soil near irrigation ditch. CU hand inspecting leaves of crops. 01:06:37:02 Malabar, West Java Man inspecting patch of crops. LS men walking along patch of trees near field. CU tea leaves on branches. Indonesian field hands cutting off branches from bushes. CU using sickle to cut off branches. CU HA branches naked of foliage. PAN agricultural fields of crops & trees. 01:08:14:16 Malabar, West Java TRACKING SHOT past agricultural fields w/ mountain range in BG (Mount Malabar - Gunung Malabar?). WS PAN rolling hills of agricultural fields w/ Indonesian field hands working. VS Indonesian female farm hands (some wearing coolie hats) working on field. MS female field hands picking tea leaves off crop bushes. LA CU picking tea leaves off crop bushes. 02:00:13:19 Malabar, West Java WS PAN row of Indonesian female field hands sitting on ground in field sorting through piles of crops, male supervisor watching over. MS woman collecting discarded crops in blanket. VS Indonesian female field hands picking up sacks full of tea leaf crops which are weighed by male supervisors. Indonesian female field hands dumping sacks of tea leaf crops into barrels. Supervisor instructing row of Indonesian field hands to lift barrels of tea leaf crops carried along their backs on poles (good shot, agricultural economy, farming economy, third world country). Field hands carry barrels of tea leaf crops along forested area & deposit them outside building. 02:01:35:22 Malabar, West Java VS Indonesian female field hands carrying sacks of tea leaf crops on their heads walking through fields & up to building (good shots, agricultural economy, farming economy, third world country). VS Indonesian female field hands in courtyard being paid by Caucasian supervisor sitting at table, women bowing & kneeling in subordination. CU Indonesian worker talking (reading out amount collected by field hand). CU hand of Caucasian supervisor picking up coin from pile to give to female field hand. VS Indonesian worker handing coins to kneeling female field hands, who bow in appreciation. (excellent shots, agricultural economy, third world country, subordination, oppression) 02:03:05:28 Malabar, West Java Barrels of tea leaf crops loaded by Indonesian workers into back of truck which drives off. Truck backs up into loading dock & barrels of tea leaf crops are unloaded. OS Indonesian worker logging weight of crop barrels. Barrels being loaded onto dumbwaiter. Oxen pulling large cart operated by Indonesian workers along road. 02:04:26:08 Malabar, West Java Indonesian workers loading barrels of tea leaf crops onto pulley w/ cables transporting barrels over field to main building. Indonesian workers unloading barrels from cable when they arrive at building & placing on dumbwaiter. Workers transporting barrels on hand trucks inside hallway. CU dumping tea leaf crops into machine & Indonesian woman dispersing leaves on racks (drying racks?). 02:06:23:27 Malabar, West Java Silhouetted view of fan starting to move. WS rain pouring in yard outside building. WS huts nestled in farmland. HA rows of huts. VS EXTS large huts & buildings, Indonesian people walking by. Caucasian doctor in clinic giving check up to Indonesian baby held by mother. VS EXT & facade large institutional building w/ mountain in BG (hospital?). 02:07:58:00 Malabar, West Java PAN group of Indonesian women wearing shawls kneeling on courtyard, male supervisor gives order & they walk into building. INT factory Indonesian female worker shaking racks full of tea leaves so that they fall on ground. Indonesian female worker pushing piles of tae leaves into hole in ground. Indonesian worker inspecting machines. 02:08:52:08 Malabar, West Java INT factory Indonesian workers dumping tea leaves into revolving machines. VS CU machine grinding tea leaves. Worker pulling out tray from underneath machine w/ coarsely ground up tea leaves & transporting to another machine. Indonesian workers loading coarsely ground up tea leaves into machine & dispersing material on tray. HA fragmented grounds of tea leaves on ground underneath machine. Indonesian worker filling baskets w/ grounds spit out by machine. LS Indonesian worker sweeping floor. Indonesian worker dumping basket of coarsely ground tea leaves onto table which worker disperses evenly out. 03:00:13:28 Malabar, West Java INT factory VS Indonesian workers pushing carts of equipment, dumping material into machines. MS Indonesian worker throwing lumber into furnace. CU scattering tea leaf grounds into machine which further grounds it. CU conveyor belt within machine slowly moving. Grounds being ejected from machine & scooped up by worker. Worker dumping grounds into machine which further processes it. 03:01:43:06 Malabar, West Java INT factory Indonesian female worker walks by machine which starts up. VS machine sifting tea leaf grounds. WS PAN factory w/ Indonesian female workers working at different stations / machines (good establishing shot, factories, industrial). CU woman dispersing tea leaf grounds on sifting machine. CU examples of tea "before and after" (both in leaves & final, ground product). 03:03:07:13 Malabar, West Java VS rows of Indonesian female workers in traditional dress sitting at tables sorting tea leaf grounds. Caucasian men doing taste test on different teas. TU full shelves of stacked tinfoil packages. Indonesian worker loading crates onto cart which he pushes away from main building. 03:04:29:19 Malabar, West Java Worker lifts door of container & pours discarded material into it (disposing of trash?) Indonesian workers lift door along wall & collect tea leaf grounds that fall out, keep carrying grounds to center of room & eventually form huge mound. Indonesian worker constructs wood box by hammering wood panels & placing tinfoil on inside. Indonesian workers dump grounds into large funnels on top of machine. CU machine spitting out grounds (blurry). 03:06:20:16 Malabar, West Java Indonesian worker seals box containing tea grounds by placing tinfoil & hammering board on top. Indonesian worker stencils label onto top of box which reads "Malabar Orange Pekoe." Indonesian workers carrying boxes of tea & loading into back of truck. CU Indonesian workers carrying boxes w/ International cities printed on them. Truck full of tea crates driving off. 03:07:14:01 Port of Cirebon, West Java, Indonesia LS railroad train driving away into distance. VS crates in net being hoisted by crane onto ocean liner (loading). Indonesian workers lining up crates on deck of ship. Indonesian sailors on pier unraveling mooring rope from bollard, ocean liner starts to back up from pier. LA WS TD passengers on deck of ocean liner w/ streamers to people on pier waving to passengers. LS WS ocean liner slowly departs. Male passenger relaxing in deckchair on deck of ocean liner w/ legs propped up enjoys cup of tea! (great shot, leisure) 03:09:57:22

Glimpses of Java and Ceylon (1937 Documentary-USA) - Company: Metro-Goldwyn-Mayer (MGM)- Stars: James A. FitzPatrick - A visit to the island of Java when it was part of the Dutch East Indies, and Sri Lanka when it was still called Ceylon.

Man's Paradise (1938 Documentary) - Director: Leon Shamroy Writer: Walter Woods Stars: Walter Woods -USA -A documentary about an ethnographic expedition to the island of Bali, Indonesia.

Beautiful Bali (1940 Documentary) - Stars: James A. FitzPatrick -Release Date: 26 September 1940 (USA) - A look at Bali, in the Dutch East Indies, 90 miles long, 45 miles wide, and home to a million people. After a quick reference to its history, we see its rice paddies, markets, and fishing. Rice is a cash crop, and the distribution of wealth, according to the narrator, is the most equal in the world. Girls dance at the temples, from age four to fourteen. Each community has its orchestra and often a popular dancer. We watch Gigi and his back-up musicians. On the shore, tourists are just beginning to discover Bali's beauty.

High Stakes in the East (1942 Documentary) -Netherland- Outstanding OSCAR 1942 -

The Dutch Next Door (1942 Documentary) - UK-

People of the Indies (1942 Documentary)- Netherland -U.S. military film about the inhabitants of the East Indies in the 1940s. Dutch east indies, Java, WWII soldiers with cannons, periscope, map of Indonesia, rice paddies, women picking tea leaves, piles of rice cuttings, pounding rice, Indonesian dancers, batik sewing and dyeing, woman with babies and batik clothes, metal workers making pots with hammers, making silk flowers, boys carrying flowers on head, crowds going to temple, umbrellas on tall sticks, temple carvings and statues, Banyan dancers, gamalan orchestra, Java, banquet, eating sitting on ground, volcanos, hot springs, city, Batavia (now Jakarta ), traffic, government buildings, industrial machinry, factory workers, weaving cloth, assembly line, paper maker, people leaving factory, rice paddies, women harvesting rice, sisal plantation, hemp, loading boxes of tea, trucks on country roads, building roads, kids on bicycles, students, schools, businessmen, soldiers, science laboratory, airmen with leather helmets, getting into planes, Indonesia airmen, war planes, Notes:
Java is an island of Indonesia and the site of its capital city, Jakarta. Once the centre of powerful Hindu kingdoms, Islamic sultanates, and the core of the colonial Dutch East Indies, Java now plays a dominant role in the economic and political life of Indonesia. Home to a population of 130 million in 2006[1], it is the most populous island in the world, ahead of Honshū, the main island of Japan. Java is also one of the most densely populated regions on Earth. If the island was a country, it would be the tenth most populous in the world, just ahead of Japan. Formed mostly as the result of volcanic events, Java is the 13th largest island in the world and the fifth largest island in Indonesia. A chain of volcanic mountains forms an east-west spine along the island. It has three main languages, and most residents are bilingual, with Indonesian as their second language. While the majority of Javanese are Muslim, Java has a diverse mixture of religious beliefs and cultures.

Trance and Dance in Bali (1952 Documentary USA)- Directors: Gregory Bateson, Margaret Mead\ Writer:Margaret MeadStars: Margaret Mead -Trance and Dance in Bali (1937-39) The film was produced by Gregory Bateson and Margaret Mead and records a performance of the Balinese ceremonial kris (dagger) dance-drama, which depicts the never-ending struggle between witch (death-dealing) and dragon (life-protecting), as it was given in the village of Pagoetan in the late 1930s. The dancers experience violent trance seizures, turn their krises against their breasts without injury, and are restored to consciousness with incense and holy water. Narrated by famed anthropologist Margaret Mead against a background of Balinese music. This “ecstatic ethnography” was an extraordinary effort to use film and photography in the field, and the precursor to much of the visual anthropology that has gone on since then

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One of the earliest ethnographic films made by trained anthropologists, Trance and Dance in Indonesia was shot in the 1930s by Margaret Mead and Gregory Bateson. Edited years later by Mead, it is a remarkable record of the Balinese ceremonial kris dance, which depicts the struggle between the death-dealing witch and the life-protecting dragon and captures imagery of the dancers turning daggers against their chests.

Records a performance of the Balinese ceremonial kris (dagger) dance-drama, which depicts the never-ending struggle between witch (death-dealing) and dragon (life-protecting), as it was given in the village of Pagoetan in the late 1930s. The dancers experience violent trance seizures, turn their krises against their breasts without injury, and are restored to consciousness with incense and holy water. Narrated by Margaret Mead against a background of Balinese music. From the Character Formation in Different Cultures series. Produced by Gregory Bateson and Margaret Mead

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OTRA OPCIÓN / OR:

http://rapidshare.com/files/384987072/Trance.and.Dance.in.Bali.1952-SMz.avi.001
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http://rapidshare.com/files/384980032/Trance.and.Dance.in.Bali.1952-SMz.avi.003

This World of Ours: Bali (1954 Documentary USA)- Stars: Art Gilmore-Travelogue highlighting the island of Bali, Indonesia.

The Mating Urge (1959 Documentary USA)- Stars: Art Gilmore - An exploitation pot-boiler, posing as an anthropology art-film, and supposedly filmed by seventeen different cameraman in Africa, Malaya, India, Ceylon, Bali, New Guinea and New Hebrides. It probably was over about that many different years, as it is stock-and-archive footage from front-to back, including the New Hebrides segment, where the males have to leap from tall trees (and towers) with a vine attached to their ankles that stops them just short of a grand splattering on hard New Hebrides ground. An early-day version of bungee-jumping that is a macho-virility proving exercise that delights the village maidens. The art-house aspects and come-on was that it depicted strange love-rites in strange lands, even if some of them were re-enactments in color, in places of the black-and-white stock footage that had been serving in several reincarnations over the years. Highlights include "The...

Orient (1960 Documentary-Norwey)- Director:Arne HvervenStars:Jan Frydenlund and Sigurd Tønsberg -

Operation Kalimantan Operation Kalimantan (Akce Kalimantan) (1962 Czechoslovakia )- Director: Vladimír Sís Writers:Vladimír Sís, S. Suryadama Stars: Piet Burnama, Bambang Hermanto and Gustav Heverle - Letnan Bitah (Bambang Hermanto) dan Bambang Irawan, prajurit AURI ikut dalam operasi ke Kalimantan. Ia tertangkap Belanda. Rd. Ismail dan Pitrajaya Burnama, penduduk asli Kalimantan, berhasil meloloskan dua prajurit itu, hingga terdampar di sebuah pulau yang ternyata sudah dekat pulau Jawa. Bitah selamat, tapi Bambang Irawan tewas.

Vladimír Sís

(1925-2001) Screenwriter, director, lyricist and novelist Filmography (full-length films only): The Road To Tibet (1956; doc.),Life For Jan Kašpar (1959), Ice Men (1960),Here In Mechov (1960), Operation Kalimantan (Czechoslovakia/Indonesia 1962), King Of The Comedians (1963; joint dir. Rudolf Jaroš; found footage f.), 90 Minutes Of Surprise (1963, joint dir. Rudolf Jaroš; found footage f.), Picnic (1967; joint dir. Ladislav Smoček), The Man Who Dispensed Laughter (1970; found footage f.), Solo For Jaroslav Marvan (1971; found footage f.), Singing Film (1972; found footage f.), Music Of The Colonnades (1975), Ballad For A Bandit (1978), Blues For EFB (1980), The Hunters' Ball (1981), Barrandov Nocturne or How Film Danced and Sang (1984; found musical footage), Night Dream… (1985; ballet), Jonáš And Melicharová (1986; cabaret), Jonáš II, or The Importance of Having Melicharová (1988; cabaret).

Romeo und Julia 70 (1969 Mini-Series- West Germany)- Director: Michael PflegharWriter:Michael Pfleghar Stars:Hampton Fancher, Tina Sinatra and Christiaan Bernard. Film Location Bali-Indonesia.

Romeo Und Julia 70 was a lavishly produced 2-part tv mini-series directed and written by Michael Pfleghar (1933 - 1991), at the time Germany's most famous TV director. Its first episode was aired, in German, by ZDF (who also coughed up the $2 million dollar budget) on 14 May 1969, but it was also distributed in English for other markets.

The ambition was to present a modern Romeo And Juliet, strongly trying to use contemporary-modern TV semiology to make it arty (and a bit pretentious). The two protagonists followed the dramatic Shakespearean storyline, but, quite anachronistically they also regularly consulted celebrities on what to do next, to avoid the expected dramatic outcome of the steadily developing tragedy. One of these celebs was Ray Charles. I remember him sitting at his piano, offering a piece of advise to Julia, and singing a few bits.

Hampton Fancher played the role of Romeo Müller, and Tina Sinatra - at the time living together with director Michael Pfleghar in Munich - played Julia Smith.Among the other artists were The Bee Gees, the Kessler Twins, the Dutch singer Liesbeth List, Eartha Kitt, Jerry Lewis, Dionne Warwick, Frank Sinatra and Nancy Sinatra, but there were also sequences with public figures like Christiaan Bernard, Hugh Hefner, Richard Nixon, Queen Sirikit, Gunter Sachs, Wernher von Braun, and the Maharishi Mahesh Yogi.
The filming locations were Bali, Bangkok, Heidelberg, Baden-Württemberg, Tokyo, Las Vegas, Nevada, Washington DC, and Ray's RPM Studios in Los Angeles.

A little more than 2 months ago a German jazz photo enthusiast published a hitherto unknown photo reportage on Flickr. This is how he described his lucky find: "These are proofs I found at the trade market Ostbahnhof. The seller told me, the shots were taken at Geiselgasteig [in] 1967 during a session with German film producer Michael Pfleghar [Gieselgasteig is the ,film city' to the south of Munich, the head office of Bavaria Film - BS]. Since I could´t find any of these pictures anywhere on the net, I post them on Flickr."
The materials must be "Making Of" shots (in the last photo we see Michael Pfleghar) from the Romeo Und Julia shooting with Ray, at his RPM studios in Los Angeles.
See the slideshow on Flickr - here. Or admire the astounding quality of the pics below:

Raelette Susaye Greene, then Ray's sweetheart, left:

Edgar Willis in the back:

Tina Sinatra in the middle:

Hampton Fancher left, Michael Pfleghar right (Edgar Willis in the background?):

Island of the Spirits (1970s)

Among the Hindus of Bali, cremation is thought to release the soul for its journey to Nirwana. The joyous and spectacular ceremony shown in Island of the Spirits is reserved for high-born princes today. Hugely costly, the preparations for the cremation of Prince Sudharsana include the building of fantastic effigies and a tower nine stories high. Eight hundred men carry the tower in procession through the hundred thousand celebrants. The body of his small granddaughter and the souls of twenty-seven villagers accompany the prince. At the close of this long and auspicious day, when towers and effigies together with coffins, food, money, and incense have long been consumed by flames, when the crowds have departed, the ashes of the dead will be cast into the sea. Only then will the newly liberated spirits rise unrestrained to join the heavenly soul of all the universe, Nirwana.

Ma’Bugi: Trance of the Toraja (USA 1972)A film by. Eric Crystal, Catherine Crystal, and Lee. Rhoads. Color, 21 minutes. This film depicts an unusual trance ritual that functions to restore the balance of well-being to an afflicted village community. The film communicates both the psychological abandon of the trance state and the often neglected motivation underlying activities such as the ascent of a ladder of knives and the supernatural curing of the chronically ill. Ma’Bugi portrays the song, dance and pulsating tension that precede dramatic instances of spirit possession in the Toraja highlands Sulawesi (Celebes) Island, Indonesia.

Morning of the Earth (Australia- 1971) - Director:Albert Falzon Stars:Stephen Cooney, Terry Fitzgerald and Barry Kanaiaupuni-One Ocean once covered the world ... it was The Morning of the Earth. - A fantasy of surfers living in three unspoiled lands and playing in nature's ocean -Morning of the Earth is a 1971 classic surf film by Alby Falzon and David Elfick. The film's soundtrack was produced by G. Wayne Thomas and included music and songs by noted Australian music acts Tamam Shud, John J. Francis, Brian Cadd and G. Wayne Thomas. The record became the first Australian Gold soundtrack album. The film portrays surfers living in spiritual harmony with nature, making their own boards (and homes) as they travelled in search of the perfect wave across Australia's north-east coast, Bali and Hawaii.

Jalan, Jalan: A Journey in Sundanese Java (1973 Documentary- Canada)- Director: Michael Rubbo Writer: Michael Rubbo- Production Agency National Film Board of Canada- This is a film without commentary but with all the sights and sounds, color and tempo of life of the exotic Indonesian islands in the Java Sea. Here Jalan, Jalan can mean either going on a journey or simply taking a stroll. It is a film full of suprises--in the bustling half-modern, half-ancient city of Jakarta, capital of the island republic, and in the lovely countryside. Film without words.-

Savage Man Savage Beast/ Ultime grida dalla savana (original title)( 1975 Documentary -Australia) - Directors:AntonioClimati, Mario MorraWriters:Antonio Climati (story), Mario Morra (story)Stars: Alberto Moravia - A notorious mondo film depicting unbelievable and bizarre rituals, animal killing and cruelty, and people being killed and eaten, all by either animals or humans against each other or themselves.

Wet Earth and Warm People (1975 Documentary-Canada)- Director:Michael Rubbo Writer: Michael Rubbo- This documentary by Michael Rubbo (Waiting for Fidel) offers candid glimpses of Indonesia and its people. Filming in and around the capital of Jakarta, the cameras follow where chance leads, capturing the flavour of life in this fertile crescent of tropical islands. Throughout the film, the focus is on a society caught between the past and the conflicting options for the future – to change or not to change from long-established patterns of life to ones more influenced by western technology. YOU CAN WATCHING FILM CLICK HERE

This is an absurd film that manages by its informality to convey a great deal of the unexpected attractions and amusing con- tradictions of Indonesia. Purportedly, the film documents the haphazard wanderings and nai’ve inquiries of a Canadian film team in Jakarta and in some Sunda villages of west
Java. The group’s spokesman describes them as feeling lost and out of place like “freaks in a cage of people.” Yet they keep their camera going and portray, in a succession of scenes and interviews, the ordinary sights, common sounds, and striking contrasts that a more contrived film might have failed to present. This film was taken around 1970 and begins by focusing on the plight of some 200,000 becak or pedicab drivers who were, by orders of Jakarta’s governor, being ex- cluded from the inner city during daytimeSprager produced by Kieth Lorenz, camera by Vishnu Mathur. Color, 35 minutes. Avail- able from Visionquest. Rental $45.00, purchase $300 .OO.

In Search of Tubular Swells (Australia- 1976) - Directors:Dick Hoole, Jack McCoy Stars:Michael Ho, Michael Petersen and Marc Richards- Exploring The Limits Of Performance Surfing [Australia]

Spinnin' Wheels (1976 Documentary USA) -Director:Chris Carmichael Writer:Brian Gillogly (screenplay) -Stars:Wayne Bartholomew, Larry Bertleman and Ian Cairns

De kris Pusaka (1977 Mini-Series-Netherland) - Stars:Willem Nijholt, Erik van 't Wout and Zuly Chudori - De Kris Pusaka is another exiting children's serial produced by CarlTewes for the KRO in the seventies. You know, the kind of series theyjust don't seem to make any more. Coming of the success of Q & Q, youngErik van 't Wout co-stars with Willem Nijhold as two brothers who findthemselves entranced by the mystical power of an ancient Indonesiandagger, or 'Kris' . It was producer Tewes' idea to base a series in andaround Indonesia, a country which shares a strong bond with TheNetherlands, being a former colony. Writer Anton Quintana was asked todo research and come up with a suitable 13 part story, half of whichtakes part in the Netherlands, the other in Indonesia.

Willem Nijhold is Ben van Rooyen, an employee of the tropical institutein Amsterdam and quite an expert in Indonesian antiques. When avaluable Kris comes up for auction, he quickly deduces it must be a'Pusaka' or heirloom. At the auction he cannot help himself but keepbidding against an untrustworthy antique dealer named Santos until theKris is in his. However, it soon becomes clear that Santos won't take'goin once, going twice, sold' for an answer. First Ben's apartment isturned upside down by a silent Chinaman, then the Kris is stolen fromunder the nose of a kindly professor who offered to help Ben find it'srightful owner. Santos, for it is clearly him who is behind all this,is also planning to get the Pusaka back to Indonesia, only his plan isto make a healthy profit selling it back to the original family.

Ben's younger brother Mark (Van 't Wout) somehow manages to juggle hisexams and judo classes with some amateur detective work. It is he whocatches Santos speaking to the criminal Chinaman, a feat that none ofthe policemen on the case are able to manage. During the prolongedchase scene in and around the docks of Rotterdam the coppers even allowthe teenage Mark to tag along and lead the way. This did seem ratherunbelievable to me, but hey, the series is aimed at his age group afterall. Still unable to pin a thing on Santos, the action moves toIndonesia as the criminal manages to slip the Kris past security at theairport and the two brothers travel to exactly the same hotel (!) forbusiness (that is to say, Ben is on business, Mark is allowed to tagalong because he passed his exams). Now according to what I've read onother sites, this is the part where a lot of young viewers originallygave up, as the setting changed mid way through the series and they hadto invest in a whole new set of supporting characters. On the otherhand, the series probably picked up a lot of Indonesian viewers livingin the Netherlands at this point to split the difference.

While Mark meets a young girl named Wati who starts showing him thesites around town, Ben finds out that the Kris has been found andproceeds to learn the entire history of the Kris from the rightfulowner, Hanindyo. It turns out that two nearly identical Krisses weremade for two identical brothers, which soon led to a falling outbetween them. One of the Krisses became cursed and has caused historyto repeat itself amongst brothers in the same family. Now it looks likeBen and Mark might have a falling out as each takes side with one ofthe current generation of brothers, Hanindyo and Sudjono.

Before the story heads towards a climax, there are many twists andturns to go through for all the characters involved. Erik van 't Woutgets to be involved in another couple of suspenseful chase scenes (thistime accompanied by Wati) but Willem Nijhold remains a passive observerfor most of the time. It all leads up to a fight scene between twomasters of the 'Silah' martial arts. Unfortunately the final episodefails to deliver as the long awaited fight is over before you realizeit. Afterwards the story just goes along for a little while longer totie up lose ends. Rather a shame that was. At least writer Quintanaimproved on this when he concocted a far more memorable and hauntingparting shot for his next 13 part mystery, "Duel in de Diepte".

The Eleven Powers: The Festival of Eka Dasa Rudra (1979 Documentary Australia)- Director: Frank Heimans Stars: Orson Welles - The documentary focuses on the Eka Dasa Rudra, or One Hundred Year Ceremony, which took place in Bali at the mother temple Bersakih in 1979 - Another important documentary is The Eleven Powers (1979) produced by Larry Gartenstein and Frank Heimans. The 54 minute piece documented the Eka Dasa Rudra, a major Balinese Hindu ritual that takes place at the Besakih temple once every century. The documentary was chosen as best film at the 1981 New York Film Festival.

On the last day of the lunar year a purification sacrifice (taur kasanga) must be held at Besakih (and elsewhere). However during a Saka year that 'ends in a zero' as the Balinese phrase it, that is every decade, a much larger sacrifice called Panca Wali Krama should rightly be held. And every century, during the Saka year ending in two zeros, the enormous sacrifice of Eka Dasa Rudra should be held. The texts do not indicate any particular day for the ceremony during that double-zero year. For the Eka Dasa Rudra of Saka year 1900, the new moon of the ninth month (28 March 1979) was chosen, a day eminently suitable for a great demonic sacrifice. If Eka Dasa Rudra should rightly be held during a double-zero Saka year, why then was it also held in 1963 (Saka 1884), only 16 years ago? Texts dealing with Eka Dasa Rudra do allow the possibility of holding the ceremony at other times, should natural and human disharmony (such as earthquakes, eruptions, plagues, wars) indicate the impure state of the world. The events of past decades such as the Indonesian revolution of 1945-1949, were deemed to be of such a nature.

However the holding of Eka Dasa Rudra in 1963 had an additional significance. For several centuries the ceremony had not been held, and so as a redemption or an acknowledgement of this neglect, it was thought necessary to hold it at that time. For this reason it was called an Eka Dasa Rudra Peneregteg (from tegteg, firm, constant, upright). That festival began on 10 October 1962 and continued till 20 April 1963, with the great Eka Dasa Rudra sacrifice falling on 8 March 1963. In February of that year, as preparations were underway, Mt. Agung erupted causing considerable loss of life and widespread damage to farm lands.
Surviving texts do not state clearly just when the ceremony was held in centuries gone by. The frequency of texts dealing with Eka Dasa Rudra and the detailed instructions about offerings and so on, suggests, that it indeed must once have been held. It seems most probable that Eka Dasa Rudra was held during the reign of Dalem Baturenggong towards the middle of the sixteenth century when the kingdom of Gelgel was at the height of its power, under the direction of the very influential court priest Danghyang Nirartha (Padanda Sakti Wawu Rauh).

Before discussing the significance of Eka Dasa Rudra a distinction must be made between two uses of the term. Karya (literally work) Eka Dasa Rudra refers to the whole festival consisting of several separate ceremonies spread over a period of two months. The most important of these ceremonies, the climax of the festival, is the Taur Eka Dasa Rudra, the enormous purification sacrifice that falls on the last day of Saka year 1900 (28 March 1979).
"Taur" is a technical term used to refer to the larger ceremonies grouped under the classification b'huta yadnya. Bhuta yadnya ceremonies are one of five classifications of Hindu ritual, the so-called panca yadnya, the others being dewa yadnya (ceremonies directed to the gods), manusa yadnya
(directed to human beings, rites of passage), pitra yadnya (directed to the spirits of the dead) and rsi yadnya (directed to holy men). Bhuta yadnya ceremonies are directed to potentially disruptive nether world forces, the demons. Bhuta means element; and kala, another word for demon, means time or energy. Demons are personifications of forces derived from the five elements (panca mahabhuta) at such times as these forces exceed their normal intensity and bring misfortune to man. To keep these elemental forces at the right level, to create harmony in the world of man and the world of nature, i.e. to placate the demons, is the purpose of the bhuta yadnya ceremonies.
Bhuta yadnya rituals with the generic name caru begin with the offering of one fowl (eka sata) of multi-coloured plumage placed at the foot of a little bamboo shrine (sanggar cucuk). The next level is five fowl (panca sata) and five shrines, the colour of ech fowl's plumage corresponding to its direction.
Larger bhuta yadnya ceremonies, called taur, require sacrifice of four-footed animals as well as fowls, a greater number of associate offerings, the tali elaborate sanggar tawang shrine, and the presence of the high priest. There are several graded divisions of taur sacrifices, gradually increasing in size from taur agung to tabuh gentuh to Panca Wali Krama and finally Eka Dasa Rudra (the Eleven Rudra).

Rudra, meaning "howler", is a god associated with wildness and danger, the Vedic antecedent of Siwa with whom he later became associated. Often one meets the compound terms Siwa Rudra or Kala Rudra (Kala is the destructive aspect of Siwa). Since Siwa is another name for Sanghyang Widhi Wasa in the Siwa-siddhanta seel of Hinduism which became dominant in Bali, these terms refer to Sanghyang Widhi Wasa in His terrifying state, the source of wild and violent energy. Likewise, of the three gods Brahma, Wisnu and Siwa who make up the Hindu Trinity (Trimurti), the three manifestations of Sanghyang Widhi Wasa, Siwa is the dissolver as well as being the destroyer of sins and calamities.

The use of the number "eleven" expresses the idea that Sanghyang Widhi Wasa dan His manifestation as Rudra Siwa is omnipresent. He is found everywhere in ali directions: east, south, west, north, southeast, southwest, northwest, northeast, nadir (down), zenith (up) and at the center - 11 in all. These eleven directions signify total space.

In a phrase found in several texts, Eka Dasa Rudra ia a "bringer of good fortune to the world" (pamahayu jagat). It brings good fortune and harmony to the world in both its aspects: the world of nature (macrocosm) and the world of man (microcosm). For one aim of the festival is to affeel and strengthen the spiritual life of those taking part, leading to harmony, justice, and prosperity.

It was a heavy overcast morning, hardly auspicious weather for the opening ceremonies of Eka Dasa Rudra. Rain continued on and off for the next week, but then a change came and fine days lasted through till the end of the festival.
A small crowd gathered for the ceremonies, including members of the organizing committee and government district officials representing Bali's 1500 or so traditional villages. Rows of bright orange safari jeeps filled the carpark for most officials had a vehicle of the same colour. Wearing traditional dress of batiks and colourful sashes that broke the greyness of the morning: everyone made their way to the second terrace of Pura Panataran Agung, the ritual center of Besakih.

On the flagstones in front of the Triple Lotus shrine sat a group of Besakih pemangku (priests), dressed in white. With just a few offerings, they performed almost unnoticed the small ritual of matur piuning on behalf, ultimately, of all Hindus in Indonesia. The ceremony ritually 'announced' the intention of holding Eka Dasar Rudra which had in fact long been in the planning, and requested that Sanghyang Widhi Wasa bestow His blessings upon the undertaking so that the festival proceed without mishap.
Then it began to rain. People crowded the steps around the pavilion where three priests were performing their ritual of hymns and mantras, hand movements (mudra), ringing of bells and flicking of flowers. For this and other major ceremonies throughout the Eka Dasa Rudra festival, high priests from both Siwa and Buda branches of the brahmana caste officiated.
In the middle of his ritual, under the shelter of an umbrella, the Buda high priest performed the rite of mabumisuda, joining with lines of rice flour the opposite sides and corners of a small square defined also by rice flour, a rite to purify the temple precincts of past and future impurities. Beside it, arrayed on the ground in front of the tall sanggar tawang shrine were the offerings for the sacrifice (taur) called balik sumpah (reserve the curse). The sacrifice was structured about eleven
little bamboo shrines (sanggar cucuk), one for each of the eleven directions, each with its sacrificial animal. making it in effect a vastly smaller prelude to the enormous Eka Dasa Rudra sacrifice a month later.

The priests prepared holy water which together with other purificatory substances was sprinkled by the temple priests (pemangku) over offerings and shrines. This purification ritual, called malis from the palm leaf wand (lis) used as holy water sprinkler, was part of every ceremony where high priests officiated. At the end of their ritual the priests led the worshippers in homage to Sanghyang Widhi, uttering their mantras as the worshippers performed the act of muspa, from puspa 'flower', for homage is done by holding a flower between the outstretched fingers of the hands held palm to palm and raised up to the forehead. Afterwards temple priests sprinkled and distributed the holy water. In essence, all high priests' rituals follow this basic structure, though specific ceremonies call forth additional hymns and formulas.
At this opening ceremony of Eka Dasa Rudra, the priests also prepared special holy water called tirta guru piduka, symbolizing the request that Sanghyang Widhi forgive all shortcomings and mistakes that might occur in celebrating such a huge festival as Eka Dasa Rudra. The two kinds of holy wuter were poured into separate sets of high earthenware jars in front of the two meru, from which people filled the two short bamboo tubes they brought with them in readiness.
Each district official on returning home with the holy water distributed them to village leaders who in turn gave them out to the villagers to be sprinkled over all members of the community, young and old. These village rituals, being part of an island-wide cleansing, made people aware that Eka Dasa Rudra, after months of planning and talk, had really begun, and asked them to become actively involved in its implementation and to enter into the spirit of this the greatest of their festivals.

Most importantly they were requested not to cremate their dead, and not even to announce
publically, by beating the wooden slit-gongs ( kulkul), that a death had occurred. Instead bodies were carried to the graveyard stealthily by members of the immediate family. Post-cremation rites that purify the soul (the body already having been cremated) could be held however, and a very large ceremony of this kind took place in Sanur during March.
The ceremonies at Besakih that opening morning were over by midday and people soon left, some carrying portions of rice from the sacrifice, endowed with cleansing properties. The offerings from the tall sanggar tawang shrine were brought down and the shrine itself dismantled, for it could not be used again. 28 February, the second day of the festival, dawned lightly overcast. It was a slow day with no ceremonies till mid-afternoon. Down in Suci, the ritual kitchen, women and girls prepared offerings and men made artifacts out of bamboo. Two high priests sat quietly in a pavilion.

Up on the third terrace Pande Riyanta, his son and a couple of helpers were busy making eleven sacred sunar; flutes. Old Pak Pande, decaying teeth chomping a wad of tobacco, had for years now made these huge flutes, a full mature bamboo in length, which produce a series of beautiful low hums as the wind blows across the holes. The holes came in four shapes (circular. slit-like, triangular, half-moon), the better to catch the wind from whatever direction it blew

The number of holes depended on the direction where it was placed, for each direction is associated with a specific number. One sunari was placed by the shrine in the ritual kitchen, the rest in and around the main courtyard of the temple, each with a little piece of cloth whose colour also corresponded with its direction. Monkeys of sugar-palm fibre scurried up the poles. When the wind blows crisply the sound of a sunar; is wondrous to listen to. The Balinese say it calms the mind and creates harmony between man and nature. No wonder it is the delight of Dewi Sri, goddess of rice.
In the main courtyard pemangku prepared the posts and poles for the tall sanggar tawang shrine to replace the one pulled down the day before. The four main posts were areca-palm trunks, the rest of the structure being bamboo. This sanggar tawang was the most prominent of the nonpermanent shrines inside the temple (a second one put up by the Klungkung royal family played a minor role ritually), and, later, eleven such shrines dominated the sacrificial enclosure. It is a tripartite shrine, the center being slightly higher, and is dedicated to Brahma (whose colour is red), Wisnu (black) and Siwa (white), the three gods of the Trimurti, who are requested to witness the festivities. Cloths of these respective colours decorated the compartments.

Negtegang, the main ceremony of the day, which took place in the main courtyard, began at midafternoon. The door of the nine-roofed meru dedicated to Ratu Kubakal was opened, the shrine inside hung with cloths, and offerings placed there. The attention given this meru expressed the relationship between Ratu Kubakal, an Old Balinese deity, and Dewi Sri, for the negtegang ceremony requests of Sanghyang Widhi in His manifestation as the goddess of rice that all materials used for the ceremony be pure and of the highest quality, and that they not be wasted.
Two Siwa high priests performed the ritual, seated in the bale kembangsirang. The cleansing ritual of malis, indicating as always which shrines were the focus of the ceremony, was carried out at the shrine inside the meru and at the shrine in Suci, the ritual kitchen. While this ceremony was going on, the pemangku raised the main posts of the sanggar tawang.

As dusk was falling the final ceremony of the day, the measuring and laying out of the enclosure for, the Eka Dasa Rudra sacrifice, took place in the forecourt of Pura Panataran Agung. The measurements for enclosure and shrines were based on specific body measurements of the officiating high priest (Padanda Gede Tembau from Aan, Klungkung),for a central doctrine of Balinese Hinduism is, the intimate correlation between microcosm (here the priest) and macrocosm (represented by the endosure). Beginning at the northeast corner of the projected enclosure, the priest marked a spot on the ground from where the man who carried a length of bamboo measured off a distance equal to 14 times that of the stick. The stick, it turned out. equalled the total length of the priest's outstretched arms plus that from elbow to fingertips plus the breadth of closed hand (depa hasta musti). To 14 times this length a further hasta and musti were added. The north and south sides were one stick shorter so the enclosure was not a perfect square.

After the enclosure was marked out the priest conducted a brief ritual on the ground at the center, dedicating offerings with the request that the spirits of the area leave and not disturb. Later the enclosure was given a dedication ceremony (malaspas).
The offerings throughout the Eka Dasa Rudra festival were astonishing, both in their striking beauty and in their enormous quantities. The ornamental sarad offerings several meters high, fashioned from rice dough were works of art as fine as anything produced in Bali, their richness and colour adding a stunning splash of brightness to courtyard and enclosure.
Their beauty was a thing of passing moment, caught only by the camera, for they lasted only as long as the ceremony. And an offering once presented cannot be offered again. The art of the Balinese offering is a transitory art, like that of the great cremation towers and sarcophagi which are made one day and burned almost the next.

This element of the transitory - made one day, gone the next - is prominent in Balinese art. In the case of offerings it is determined by the very nature of the materials used, such as palm leaf and flowers. The ingredients of an offering are the fruits of the earth and are always close to hand and only time and effort are required to transform them.
Much of the meaning of the offering lies in the effort expended, and the sincerity which with which it is offered. And in Bali presenting an offering to demon or deity is the simplest and most prevalent of religious acts. As a symbol it expresses the profound thanks of the worshipper towards Sanghyang Widhi for all His bountiful gifts to mankind. Some among the hundreds of offerings are directed towards specific gods or manifestations of Sanghyang Widhi, with specific cosmic powers or associated with specific aspects of the created world. All offerings, however, have specific functions, some with general application, others restricted to certain rituals. Ceremonies may be performed at one of three basic levels – utama, madia, nista, or elaborate, average, simple-which are sometimes further sub-divided, and the quantity of offerings varies. However there is but one kind of Eka Dasa Rudra, and the offerings needed for it are mindboggling in number - more than 50 buffaloes, scores of other animals, thousands of ducks and chickens, tens of thousands of bananas, eggs and coconut, tones and ride.

Small wonder that hundreds, sometimes thousands,of people worked for weeks to prepare everything. Besides the Besakih villages who helped throughout, visiting groups of villagers, schoolchildren and students lent a hand, and each of the eight administrative regencies of Bali sent, a contingent. Headed by several high priestesses, experts in the arcane world of offerings, each contingent had the task of preparing the offerings for a particular part of the ritual. Although groups of offering makers worked in several in the smaller Besakih temples, the center of activities was the kitchen enclosure called Suci that abuts the main courtyard of Pura Panataran Agung. There are in fact two linked enclosures, when necessary the outer one being distinguished as Suci Tambar. Ritually however they are very different. Suci proper is the ritual kitchen where women prepared offerings and whose ritual purity was closely guarded. A jar of holy water was set beside the entrance for those who needed to purify themselves, and all the women wore white headbands, likewise a mark of holiness. Every day someone placed offerings on the small shrine in the northeast corner of the enclosure. Suci Tambar is the secular kitchen which became headquarters of the committee in charge of ritual and where meals were cooked for the many helpers, and coffee and cakes prepared for guests and those whose duties brought them there.

The women in Suci, several of them high priestesses, were always doing something. In the early stages making jaja occupied much of their time.Jaja (or jaja cacalan) are cookies or biscuits (no English word quite fits) made of rice dough, fashioned by nimble practised fingers into an incredible variety of shapes. Many jaja were multicoloured but others were all white, red yellow or black, the colours associated with the cardinal directions (east. south, west. north) Offerings placed in a specific direction had to be a certain colour.

One very important offering, the catur, follows the four-fold directional structure within itself ingredients, placed within a single large high-sided cylindrical container, were divided into four groups (catur means 'four) according to colour. There was rice of four colours (ordinary white rice, red upland rice, rice to which curcuma was added to turn it yellow. and injin, (a natural variety of black rice), bananas of four varieties (distinguished by variation of skin colour), jaja of four colours, and so on.
Jaja are components of almost every offering. The catur, for example, and the suci and bebangkit offerings, contain scores of the strangest jaja, quite unlike those colourful cookies of the typical family offering seen at every temple festival. Instead, they are many of them quite small, being called after leaves or seeds or flowers. Others represent the heavenly bodies or the weapons of the gods of the nine directions. Jaja contained in the bebangkil offering often depict little scenes with human beings and dogs. But the sarad were the real showpieces, where the art of making and assembling jaja attained astonishing heights. Thousands of women-hours of work were needed to fashion all these jaja, after which they were deep fried in coconut oil. The cooking fire was never without its offering to god Brahma.
lord of fire.

Besides jaja, another important element of all offerings are the parts made of palm leaf. Like Balinese women everywhere, the women working in Suci were remarkably skilful at cutting, twisting and fastening bits of palm leaf into containers, beautiful decorative crowns, and a range of ritual artifacts. An offering must have a container: the catur employs a high cylindrical one, the suci a series of round trays. The bebangkit, however, uses squares of bamboo wicker fastened together into a box. Others use bamboo rice¬winnowing trays. Individual components are often placed in their own smaller containers.
On the top of the offering is the dominant decorative element of an offering usually called the sampian, wherein lies much of the offering's beauty. On larger offerings and at the ends of overarching penjor poles, they are wonderfully elaborate, delicate as lace. Since sampian are of quickwithering young palm leaf, the women fashioned them a day or two before they were to be used.

Of the ritual artifacts of palm leal; the lis and the pring showed another aspect of the art. Both comprise some 40 separate elements, many of intricate design, and many named after parts of the body. Those for the lis were made from young coconut palm those for the pring from mature sugar-palm leaf.
In the lis, they were simply tied together in a bunch and used as a wand for sprinkling holy water. In the pring they were embodied as it were in human guise, male and female, for they always come in pairs. They accompanied the tili mamah buffalo offering that appeared in pamendak and mapeselang rituals. Gradually the women in Suci fashioned and gathered together the necessary ingredients of an offering, and then assembled them, not one at a time, but by adding one component to all of a group of a particular offering, like an assembly line.The offering experts, co-ordinated by the committee in charge of ritual, knew how many catur would be needed, how many suci and bebangkit and so on, and they prepared accordingly.

Although making offerings was primarily in the hands of women, men were not left out entirely, for the preparation of all flesh offerings was their responsibility. Men prepared the many offerings made from pig skin, fat and entrails, cut into strange shapes. They turned the roast pigs, grilled the chickens or ducks placed on many offerings, and prepared the sacrificial animals for demonic-oriented rituals, especially the Eka Dasa Rudra sacrifice itself. Also the men's responsibility were all temporary shrines and ritual accessories and artifacts made from bamboo. For several days the temple pemangku constructed frames for the tall and striking dangsil offerings, like a meru or pagoda in shape. The roofs, always odd in number, were later covered with palm leaf and hung with colourful jaja. Men built sanggar tawang and associated shrines and pavilions in each of the Besakih temples. Many others worked at the sacrificial enclosure, transforming the bare bit of land marked out on the second day into an amazing yet ordered mass of shrines and pavilions, constructed almost entirely out of bamboo.

During the three weeks till the arrival of the gods, two ceremonies were directly concerned with ingredients of offerings. The first was a series of rituals that accompanied the preparation
of a sacred substance called madu parka (honey pot), an ingredient of the important catur and suci offerings.
The rituals which took place in and around Suci, began on Saturday, 10 March, with the arrival at Besakih of two cows, one a sacred white cow from Taro, an ancient village said to have been founded by Sri Markandeya, the legendary founder of Besakih itself. Purificatory offerings and sacred grasses were given to the cows to eat. Next day, washed and adorned with white cloth and a ribbon of white thread around the neck they were led into Suci proper where a high priest performed a further ritual of purification, after which the cows were milked three times, the first time by the priest himself.

On the day of the new moon (13 March) the ritual of preparing madu parka was conducted by a group of high priestesses in front of the shrine in the northeast corner of Suci. Madu parka consists of nine substances, symbols of the nine gods of directions and center, including ghee from the milk of the sacred cows (representing Iswara), cane sugar (Brahma), honey (Wisnu), rice wine (Sangkara), and even powdered rhinoceros horn (Mahesora). These were cooked together with black rice over a small fire of sandlewood shavings, and then poured into round trays. It was largely a woman's affair; a high priest performed only a couple of brief ritual interludes. The rituals of preparing madu parka and particularly the role of the sacred cows reflect the impact of Indian Siwaite practice.

The other ceremony associated with ingredients for offerings was called ngingsah, washing the rice. held the day the gods arrived (21 March). At the head of the bale kembangsirang where two Siwa high priests conducted the ritual, seemingly like any other offering, was an object called daksina palinggih, symbol of Dewi Sri, goddess of rice, to whom the ceremony was directed. Within the pavilion were four baskets of rice, two of ordinary white rice, to one of which curcuma was later added to turn it yellow, another of red upland rice, and the fourth of black rice. After the priests' ritual, the rice was carried outside where, one basket at a time, high priestesses washed it first with fresh water, then with holy water from three Besakih springs (Tirta Sangku, Empul, and Sudamala). Sanctified rice of the four colours of the cardinal directions was an ingredient, as we have seen, of offerings such as the catur.
All these preparations took place in a Besakih radically changed from its old self. Ever-present crowds of people, streams of trucks, buses, cars and motorbikes coming and going at the two carparks, a hundred or more food and drink stalls serving visitors, peddlers selling all sort of merchandise, dance or drama performances almost every night, and even electric lights - the whole place looked like some country fair. The very landscape was changing. Carparks were built, a new side road pushed through to the main temple, a vast packed-dirt terrace constructed just down from the sacrificial enclosure. Kiosks were moved to the carparks, giving a spacious view of the temple as one approached. Many water points and toilets were built. Work went on till the last minute.

But most of all it was the people who brought the change in atmosphere. There were thousands of people everywhere at all times. Groups of villagers and townsfolk from early morning to late at night came to worship or help for the day. The resident population swelled several times. At night people packed every available space in and around the temples, filled the homestays, took rooms in village homes, vacated by the family for the sake of the soaring price of a room for a night.

On the same day as the madu parka ceremony at Pura Besakih, 13 March a unique event was taking place on the the slopes of Mt Semeru in East Java. A volcano like Mt Agung, Mt Semeru is the highest mountain in Java and plays an honoured role in the mythology of early Hinduism in Indonesia. The story goes that the islands of java, Bali and Lombok were not yet stable, so to stop their wobbings, Mt Mahameru the central holy mountain of Hinduism and the abode of the gods, was transferred to Java where it became known as Mt Semeru. Part of the mountain was carried to Bali where it became Mt. Agung, and part to Lombok where it became Mt. Rinjani. According to this myth, the god of Mt. Semeru, Pasupati, is the father of the god of Mt Agung and that of Mt Rinjani. For Eka Dasa Rudra, and this festival alone, the gods of Mt Semeru and Mt Rinjani were invited to attend, in each case represented by holy water obtained with due ritual from a sacred spring high up on the volcano's slope. The holy water (tirta) was placed in a sujang, a tube of bamboo wrapped in white cloth and stoppered with sacred leaves. Shaded by a white umbrella it was borne with all the honour due a deity, for indeed it symbolized the god's presence and power, and was usually referred to as Bhatara Tirta, God Holy Water. The holy water was brought to Bali and enthroned in the Denpasar state temple, Pura Jagatnatha. Several days later (20 March) holy water was requested at nine sacred places in Bali either associated with the mountains or with the waters of lake or sea, mountain and sea being the poles of Balinese sacred geography. The deity of Mt Agung was represented by holy water from the sacred spring Girikusuma, half way to the summit from Besakih. The deities of other mountains were represented by holy water from temples on Mts. Lempuyang, Andakasa, Batur, Mangu (Bratan) and Batukaru. Representing the waters were the deities of Pura Ulun Danu, the lake temple at Batur, and the sea temple of Ulu Watu which is closely related to Besakih. Also' present was holy water from Pura Panataran Peed on the shores of Nusa Penida. So in all there were eleven visiting gods, each represented by holy water, two of them from neighbouring islands. Several of these- holy waters arrived at Besakih on the afternoon of 20 March and were temporarily enshrined in Pura Manik Mas, or in the case of that from Mt. Agung in Pura Gelap. The rest were brought to Besakih the next day. Homage was paid also at many other important temples in Bali, without holy water being requested.

Wednesday, 21 March, began like any other day of preparations. Activities continued non-stop in Suci, where groups of high priestesses and other women helpers readied the offerings required for the several ceremonies later in the afternoon. Down the main flight of steps decorated with umbrellas and penjors, a long piece of white cloth was laid. On the ground at the foot of the steps women laid out what is called a titi mamah - the head, hide and hooves of a buffalo, flanked be tall palmleaf figures (pring) besides an amazing assortment of offerings. Other offerings were placed on a platform and on a shrine to Surya, god of the sun, as witness. A titi mamah is required at the largest kind of pamendak or 'welcoming' ceremony, for a buffalo is the most honoured, vehicle with which to welcome the gods.

Although laid on the ground it is not an offering to the demons. But first of all the gods and goddesses of all the Besakih temples had to be 'brought down' (nedunang), a brief ritual in which the deities were requested to descend and take up residence in statues or other sacred objects, such symbols being called pratima. In the Pura Panataran Agung this ceremony took place at the kehen (storehouse) building on the third terrace, a three-roofed structure like a meru save it is rectangular rather than square in plan. After a brief ritual, pemangku entered the building and passed out one by one the sacred pratima. Two pralima of particular importance were large flat rectangular objects wrapped in white cloth, each large enough to need two men to carry them. These were the wooden inscriptions dated 1444 and 1458.

Usually the pratima are carried straight to the gods' meeting pavilion in the main courtyard, but for Eka Dasa Rudra, just as a host must go outside his door to receive exalted guests, so the deities of Besakih welcomed the eleven visiting gods at the foot of the main steps outside the temple, the gods of Mt. Semeru, Mt. Rinjani and Pura Ulu Watu having arrived from Denpasar just minutes before. The gods, gathered in an open square facing the titi mamah and the steps rising beyond, were there presented the ceremony of welcome (pamendak) that ushered in the series of core rituals culminating a week later in the enormous Eka Dasa Rudra sacrifice. When the Siwa high priest had concluded his ritual and the buffalo and offerings sprinkled with holy water, the gods were carried one by one across the buffalo on the ground and up into the main courtyard of Pura Panataran Agung. The gods of Besakih were seated in their meeting pavilion (bale pasamuhan agung) just behind the Triple Lotus shrine. The visiting gods were enshrined on the tall sanggar tawang shrine, the god of Mt. Agung in the exalted position at the center, shaded by an umbrella. Also present was the god of Pura Gunung Raung, a temple in the village of Taro associated with Sri Markandeya, founder of Besakih.

In the evening after the gods were duly enshrined Padanda Gede Tembau conducted the ngaturang ayaban ceremony offering homage to the gods. Afterwards the priest purified and blessed a group of some 25 men to help the official Besakih pemangku in sprinkling and distributing. holy water to the thousands of worshippers who continued to visit Besakih every day

The Gods Journey to the Ocean
It was great spectacle. To the steady thud of the wooden slit gongs, led by men, bearing colourful banners, umbrellas and sacred weapons, the gods of Besakih went forth from the temple on their long journey to the seacoast at Klotok.

First among the gods, like a guard of honour, came the gods of the four subsidiary clan temples, Bhatara Ratu Pande, god of metalsmiths, at their head, in an all red palanquin as befits a deity so closely associated with fire, followed by Bhatara Ratu Pasek, Bhatara Ratu Panyartkan and Bhatara Ratu Segening.
Next in line came the gods of the smaller Besakih temples, each in his painted and gilded palanquin borne on the shoulders of four bearers. And in the exalted position at the rear of the kilometer long procession came the gods of Pura Panataran Agung. Some two thousand followers took part in the procession, including 100 people from each of the eight pamaksan into which Besakih and neighbouring hamlets are grouped.

Barely half a kilometer out of Besakih the procession ground to a halt. Bhatijra Panataran Agung, the most temperamental of the Besakih gods refused to pass under an electricity line strung accross the road. 30 people could not budge the 4-man palanquin. Pemangku Dalem tried some words of encouragement but the god would not budge. The line had to come down! Which it did and the procession moved on.
Another three miles down the road the procession was again halted by a similar obstacle. It was obvious every offending wire between Besakih and Klotok could not be taken down and the palanguin was sneaked under the wire. At this point the palanquin became possessed of great strength and screamed past the other gods ricocheting diagonally down the roadway in a fit of outrage. Peace was finally restored and the procession continued.

At each village the gods were greeted by the local gamelan orchestra spiriting the march onwards. Platforms of offerings were laid along the way
around which villagers prayed to the gods as they passed . Tall decorative bamboo penjor poles were placed every ten yards defining a long gothic arch through which the procession moved. At the base, of each penjor a young coconut full of milk sat on a special 'tee' for thirsty followers.
The procession grew with each village. By Klungkung it was a mile in length. The coloured umbrellas and standards of the gods were only sporadically visible in the sea of devotees. At Klungkung buckets of punch were handed out. The family of Dewa Agung, head of the former royal house of Klungkung, dressed in beautiful silver-thread songket cloth, joined the surging mass for the last six kilometers.

While the procession was on its way to Klotok beach, ngeed ceremonies, held only in conjunction with Eka Dasa Rudra, were performed at nine different places-on the east, south, 'west and north coasts of Bali, at Lake Batur, and at four smaller temples at Besakih: Pura Manik Mas (directed to Saptapatala, the Underworld), Pura Bangun Sakti (directed to Kentel Gumi, the surface layer of the earth), Pura Basukian (directed to the village of Besakih and to Mt. Agung) and Pura Pangubengan (directed to Luhuring Akasa, the Heavens). These nine ngeed ceremonies requested of Sanghyang Widhi that the oceans, lakes, earth, mountains and heavens be pure and so bring prosperity and harmony to mankind. Each ceremony consisted of a caru sacrifice directed towards the negative forces (or demons) that disturb the welfare of the world, and a pakelem ritual that 'drowns' the sacrifice into the ocean, lake, etc. A buffalo was required for both parts, for the caru a dead one, specially cut up and placed on the ground, and for the pakelem a live one that was drowned in the ocean or lake, thrown into the crater in the case of the ceremony directed to Mt. Agung, or let free to roam in the other three cases.
The procession from Besakih arrived at Klotok after the ceremonies of cleansing the ocean had taken place. On the black sands of Klotok, the gods lined up in front of long altars overflowing with offerings. Bhatara Panataran Agung refused to take his seat until crowds of tourist photographers, grouped on a terrace above the gathering, were moved by an irate Besakih priest. The followers dived into a nearby estruary to clean off the dust of the last 28 kilometers as Padanda Dawan, one of Bali's most revered high priests, performed his part of the malasti ceremony. Ma/asti, a ritual that cleanses or purifies the statues of the gods, is by no means special to Besakih but takes place yearly throughout Bali. At the same time water from the ocean, considered as the essence of life (amerta) was placed in a special bamboo tube (sujang) and carried back to Besakih for use in further rituals. This holy water is believed to bring fertility and prosperity to mankind and the world of nature.

At the end of the ceremony, the buffalo, decked out with gold horn caps, a gold flower on its head and gold anklets, was taken by boat a short distance from shore and thrown overboard.
The procession then returned to Klungkung to spend the night in the Pura Panataran Agung (there are many temples of this name), there to receive the homage of their devotees. Next day they proceeded to Pura T abola in the village of Sidemen where again they. spent the night and were entertained by dancing. The procession left in the early hours of the morning and by seven o'clock of 26 March the loudspeakers were already announcing the arrival of the gods at Besakih.
At the bottom of the main flight of steps of Pura Panataran Agung the gods were 'welcomed' home with a pamendak ceremony, essentialy the same as that held five days earlier. After the ceremony, one by one, the gods were carried across the buffalo laid out on the ground and into the temple. They were placed in their meeting pavilion where they resided until the close of the Eka Dasa Rudra festival.

To The Crater of Mt. Agung
The ngeed ceremony at Pura Basukian directed towards the God of Mt. Agung was a long one lasting some three hours. With holy water prepared by Siwa and Buda high priests, the buffalo, goat and duck to be sacrificed at the volcano's crater were cleansed and blessed.
Afterwards the animals were taken by vehicle to the village of Sebudi, north of Selat, well to the east of Besakih. The expedition to the summit left very early the next morning. A buffalo is not a strong walker, what's more up 45 degree slopes, kilometer after kilometer. It had to be carried all the way an exhausting task for the men assigned to it. From Sebudi the path passed over an ash flow from the 1963 eruption, through the village of Surga and up through unfarmed scrub and wasteland to a temple called Pura Pasar Agung, altogether about seven kilometers. People arrived there just as the sun rose over Mt. Rinjani, the peak of Lombok Gradually the shadow of Mt. Agung over the lands to the west crept back into itself. The view were superb. There was no ceremony at the temple, for it had yet to be rededicated after its total destruction in 1963. From the temple to the summit was said to be another nine kilometers. The path climbed sharply through the scrub, passing a sacred watering place where everyone stopped and prayed, sprinkling themselves with the water.
The trees soon stopped and at times one had to scramble up bare stony sixty degree slopes. Everyone made his or her own way as best he could, in small groups or singly, at one's own pace. Towards the top mists swirled in and sealed the view, giving mirage-like visions of the next rise, only to find another one beyond. The weaker would climb a hundred meters or two and collapse gasping for breath, heart pounding.
Gradually a hundred or more villagers, men and women and boys, reached the summit at a point where sharp outcrops of rock jut up from the crater's rim, leaving just a very narrow gap of two to three meters where one could look down into the crater. Wisps of smoke rose from a few places
in the crater's bottom hundreds of feet below and occasionally a whiff of sulphur reached the people on the rim. One had to move up very gingerly to this narrow gap for the slope was steep and it was easy to slip or dislodge loose stones that bounded down towards those below, As people reached the summit they took their offerings to the crater's rim and paid homage to the god of Mt. Agung. The last to arrive were the men carrying the live buffalo . Taking it up to the narrow gap they placed it on the very edge its head looking over.
It gave a low moo. Then, in the presence of the pemangku and his wife but virtually without ceremony the buffalo was heaved over the edge. The goat and the birds were thrown over as well as offerings. No sooner than done and everyone
left immediately on the long trip back down to their villages. Two intrepid men, however descended into the crater using a buffalo hide rope, and retrieved the duck and Chinese coins.

Ceremony of the Animals
During the previous week the secular, part of Suci had become something of a zoo, and like any zoo attracted a steady stream of curious visitors.
Prime attraction after he arrived was the garuda, a regal white-backed black-winged eagle. By the morning of the 27 March, the collection had grown to some 60 varieties of animals, birds and insects. The creatures were required for the enormous Eka Dasa Rudra sacrifice the next day. The structure of the sacrifice was based on the 11 directions, an outer group consisting of the cardinal and intermediate directions, and the central group of nadir, zenith and center.

Animals were assigned to particul3r directions. However, the animals of the central group were further divided into an 11-fold structure, forming as it were a pair of concentric circles.
The animals of the outer circle included white cow, goose, duck (east), goat (southeast), cow (south), dog (southwest), buffalo (west), deer (northwest), black monkey and garuda (north) and horse (northeast). The bulk of the animals fell into the inner circle and were divided into the 11 groups according to their nature. For example birds other than fowls were placed in the northeast footed reptiles in the west, fishes in the north, creatures that crawl (centipede, snake) in the nadir, beetles in the zenith, flies and hornets in the center. Such divisions tie in with other aspects of Hinduism imposed on this directional structure, of which colour and deity are only two of a list that runs into dozens. North, to give but one example, is associated with black, with Wisnu, with water. And so the black monkey is placed in the north, and so are the fishes, Garuda is the mount of Wisnu so it is placed there too.

On the morning of the ceremony, secular Suci was like some strange market, everyone admiring the amazing collection of animals being led around. The animals or their containers were decorated with strips of coloured cloth, the buffaloes, as usual, being covered with white cloth. Before the creatures were carried or led from Suci up to the main courtyard of Pura Panataran Agung they were sprinkled with holy water (panglukatan). The ceremony in the temple was conducted by two Siwa high priests seated in a temporary pavilion. After the offerings were cleansed and blessed, they were presented to the animals either by wafting their essence towards them or by actually giving them bits of the offerings to eat, such as the fruit or cakes.

After this ritual the procession descended the main flight of steps and circled the Pura Panataran Agung three times clockwise. It was led by a member of the metal-smiths clan carrying a sacred sword kept in Besakih's Pura Ratu Pande, followed by a man carrying a special object symbolizing the souls of the creatures that were ritually killed during the high priests' ritual. Then came all the animals, some among them such as the garuda and the white cow being honoured with an umbrella held over them.
After the third circumambulation each animal in turn was symbolically killed by the sacred sword held by the smith. In essence this ceremony of mapepada requests approval of Sanghyang Widhi to sacrifice the creatures for a ritual purpose, so that their flesh be pure and their souls be granted favour in the afterworld. The creatures were actually killed later, outside the temple.

Shadow Master (1979 USA) - Director:Larry Reed- Shadow Master is a dramatic documentary about a family of performers in Bali. Shadow Master is a dramatic documentary about a family of dancers and shadow masters in Bali. The film is a dramatization of events which occurred during the filming process, and during the two years Reed spent living and studying with dalang (shadow master) I Nyoman Rajeg and his extended family.

When I think of home, I remember how proud the little girls are when it's time to give offerings, and how much time there is in a day.

Told from the point of view Suartini, the dalang's daughter, all the actors in the film are members of the family and co-creators of the story. Koman Negara, just 5 years old when the film was shot, is now himself the village dalang.

Filmed in 1979 by John Knoop and Larry Reed before the onslaught of mass tourism, the film has high historical and cultural value. It has aired on PBS and the Discovery Channel.The film is an inside view of Balinese life which reveals the cultural context of theater, music, and dance on the island. The film is a dramatization of events which occurred during the filming process and during the two years the director, Larry Reed, spent living and studying with 'dalang' (shadow master) and his extended family. The dalang's daughter as she remembers the summer before she left home, and the boy she left behind. He is an apprentice to her father and wants to become the shadow master for his generation. By contrast, his brother wants girls, motorcycles, and money. The film follows the two brothers as each attempts to realize his dream.

Ci-Gisent (France -1981 Documentary)- Director: Valérie Moncorgé - Indonesia Sumatra/Tiger -

Storm Riders (Australia-1982) - Directed by Dick Hoole -David Lourie- Jack McCoy -Stars: Wayne 'Rabbit' Bartholomew- Gerry Lopez- Mark Richards. This is the iconic 80's surfing film. STORM RIDERS are ready for anything as they travel to five continents to discover the exotic jungles of Sumatra, Java, romantic Bali, Africa, Hawaii and the blistering desert outback of The Great Australian Bight.

Featured surfers are Mark Richards, Wayne Lynch, Rabbit Bartholomew, Gerry Lopez, Simon Anderson, Shaun Tomson, Joe Engel, Thornton Fallander, Peter McCabe and Tom Carroll.

The extensive soundtrack includes music by The Doors, Australian Crawl, Little River Band, Split Enz, Men At Work, Matt Finish, The Church, Sharon O'Neill and more!

Treasure Hunt (1982 TV Series)Episode: Indonesia: Bali (1982)- Director: James Hodgetts Writer: Jacques Antoine (idea) Stars: Anneka Rice, Kenneth Kendall and Ann Meo. -Helicopter skyrunner Anneka Rice races against the clock to find directions to treasure at locations worked out by studio guests from cryptic clues.

Hijacked to Hell/ Danger - Keine Zeit zum Sterben (original title) (Germany- 1984) - Director: Helmut Ashley - Stars: John Phillip Law, Horst Janson and Grazyna Dylong -

Kemudian dirilis pada video sebagai The Hunt dari Macan Emas, menggabungkan Bahaya - Tidak ada waktu untuk mati kekuatan yang berbeda, termasuk produser serigala C. Hartwig, salah satu film terakhirnya, pekerjaan ini. Schoolgirl Laporan Nya pada dia bilang itu tidak penting seberapa baik film diukur dengan standar mereka sendiri. Ini akan menjadi penting bahwa orang akan membayar untuk melihat produk. Dan di sinilah aku sekarang pembeli bangga VHS tape efusi ini, bahkan bertahun-tahun dalam sebuah kotak yang membusuk sebelum dia, bagi saya, film aksi Jerman dan percakapan singkat dengan Bapa McKenzie lagi dibuat sadar bagian ini.

Aksi Jerman diproduksi di Indonesia, saya menemukan yang menarik untuk waktu yang lama sebelum proyek kami. Setidaknya di sini bekerja cepat dan Lisa dengan NDR dan Rapi Films, yang terakhir bertanggung jawab untuk mencapai ambang nyeri Howler Trash Shout dari kanibal dari Jaka, pemberontak, untuk Pedang Setan. Hal ini ditulis dan disutradarai oleh ahli kriminal Helmut Ashley. Bintang sesungguhnya dari film tapi sebenarnya musik Hans Schmid palu. Komposer lama Hildegard Knef menulis antara lain, ingatlah melodi ke Klinik Black Forest dan beberapa mata pelajaran yang digunakan di sini sebagai kejutan untuk bekerja di pulau mimpi dan mimpi kapal.

Saya ingin tetapi tidak mulai menenun legenda tentang sebuah film yang menarik hanya sebagian dari kondisi penasaran nya kultus potensial. Pada intinya, Bahaya - Tidak ada waktu untuk mati strip petualangan yang agak berpikiran sederhana tanpa pahlawan sejati, karena semua orang di sini telah lumpur di sepatunya. Dengan diperkenalkannya karakter Ashley adalah lebih baik dengan gaya Asia yang menggunakan tindakan sehingga-sehingga opsi yang diberikan. Dengan kecepatan semua tidak, bagaimanapun, bahwa pria tangguh dan tinggal yang sangat menyenangkan untussige Grazyna Dylong hanya decals kabur.Helmut Ashley dan rekan-penulis berusaha jujur dengan sumber daya yang sederhana ke dalam tindakan untuk membawa latar belakang eksotis. Sebagai McGuffin laser yang menyenangkan harus melayani, ingin transportasi sebuah perusahaan berlian dan mencuri Finster gnome. Tekanan meningkat karena driver memiliki referensi pribadi dalam kedua arah. Tiba-tiba musuh di leher dan saudara yang terperangkap di tambang berlian. Tentu saja, hanya laser masih bisa kaki untuk menyelamatkan.

Garis ini harus membuat cukup jelas bahwa hanya tindakan yang dramatis dan canggih koreografi yang Eurasia kerjasama dapat membuat Barat yang baik, yang Dangerfield - Tidak ada waktu untuk mati sebenarnya dalam pembangunan. Mereka memutuskan, bagaimanapun, cenderung ke arah spekulatif, yang dalam versi video Jerman tidak lagi utuh.

Namun beberapa kejadian kejutan tiba-tiba dengan konten kekerasan mereka. Para protagonis, namun sopan membiarkan babi keluar. Pada roda adalah minum sibuk dan merokok, untuk banyak tersenyum Schenkelklopfer kantong-eruppierender dari laci bawah, yang bertindak hari ini seolah-olah perjalanan akan berputar jenggot sekali di sekitar pulau Jawa. Para Sesame Street selalu menahan diri Horst luar biasa.Sementara musik sekarang dengan beberapa kendala seperti jembatan rusak atau tegangan yang dihasilkan cukup bidang tambang, adalah palu-Schmid loungig melodi menerawang dengan liburan santai geslaptem bass didukung ditempatkan tidak selalu cocok dengan sempurna. Aksi cepat terlihat dari repertoar standar hanya bagus, tetapi tidak pernah inovatif. Film ini kurang dalam karakter, agak melengking, spektakuler atau hanya lawan yang lebih tinggi-profil.

Jadi Bahaya - Tidak ada waktu untuk mati terus daherplätscherndes aksi-petualangan yang tentu tidak menyebabkan rasa sakit, namun dalam penciptaannya lebih menarik untuk sejarah film Jerman, seperti dalam hasilnya. Jerman bioskop telah mati tapi tidak sempat, tapi era format internasional Deutschploitation sini mungkin akhir lambat. Aku ingin melihatnya pula dan saya juga dibayar, karena Hartwig juga telah terbukti benar.

The Last Sailors: The Final Days of Working Sail (USA-1984 Documentary)- Directors: Neil Hollander, Harald Mertes Stars: Orson Welles -

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"Neil Hollander and Harald Mertes searched around the sea ports of the world for nearly two years, from 1981 to 1983, for a vanishing breed of sailors and their craft. Despite the predominance of steel hull and diesel engine, traditional wooden hulled sailing craft remain. The men who sail them represent more than the physical accomplishments of fishing, trading and transporting goods and passengers in some remote and inhospitable locations.

These men, who harness the wind and the sea to make their living, are ever dwindling in number, and yet, in some far corners of the globe, vestiges of this traditional way of life remain. The project captured on film and page, as a record and reminder of a bygone era. Eight surviving craft, representative of a distinct culture or location were included; the Windward Islands schooner, the Brazilian jangada, Chilean lancha chilota, Egyptian aiyassa, Sri Lankan oruwa, Bangladeshi shampan, Chinese junk, and Indonesian pinisi..

Disappearing along with the craft are the men who sail them, sailors who work six days a week, fourteen hours a day. The authors were able to spend time with these men, working alongside them as crew-members where possible, gaining their trust and respect, not simply interviewing or photographing them. The book benefits from the viewpoints and often humorous personal experiences of the ordinary working sailors as a result.

The gap of nearly two years between the first voyages and the return with the film crew gives another, sometimes sadder dimension. On returning to the south of Chile, they found the raw, sleepy frontier atmosphere gone. The construction of the three-thousand mile highway spanning the country had implications for the isolated inhabitants. Employment on the project, although temporary, had taken men away from the sea. For some, the highway offered a way to leave for the cities, frustrating promises of prosperity reaching the remote south. Others preferred things as they were.

In Brazil, government cutbacks had seen the transfer of Jody de Silva from working with the jangadieros, to work in the slums, trying to help migrant labourers cope with urban life-“the same impossible task” he called it. The government had curtailed assistance to the fishing villages as part of an austerity program and the jangadieros were left to fend for themselves. Roberto, the fisherman they spent time sailing with previously, had sadly had a serious accident leaving him crippled. One man’s personal tragedy sometimes sums up the entire picture.

The Last Sailors is now a two and a half hour film narrated by Orson Welles, a document that cannot be remade. The world of working sail is shrinking rapidly. Every day sails are furled that will never be hoisted aloft again. The Last Sailors is a unique picture of that world, inherently photogenic. Men, sails and water are dramatic in almost any combination, and in any weather, but it surely cannot simply be nostalgia to hope this story has a future?"

Indonesia: Dance of Life (IMAX-USA1984 Documentary)-Film negative format (mm/video inches) 65 mm (horizontal) Cinematographic processIMAX Printed film format70 mm (horizontal)-Aspect ratio1.44 : 1-Director: Greg MacGillivray- Beautifully photographed in the Indonesian archipelago, DANCE OF LIFE is an exciting and artistic portrait of the mysteries and artistic beauty so much a part of the Indonesian culture. The film provides the viewer with a unique view of art, ritual, dance, literature and social customs, all of which play major roles in all aspects of Indonesian life.-This sensitive and poetic film probes beneath the surface of the Indonesian culture to give Western audiences a glimpse of the mysteries and artistic beauty that are so much a part of this island nation.

Moments of Play (Denmark-1986 Documentary)- Director: Jørgen Leth Writer: Jørgen Leth Stars: Asger Leth, Jørgen Leth and Torben Ulrich- A personal essay about how children and adults play. The film is split in 9 chapters.- A visually rich travelogue from Bali, Brazil, England, Haiti, Spain and the U.S.A., with a couple of scenes from China originally shot for Notater fra Kina, and a number of scenes with Leth's children in Denmark. Under thematic intermediate titles such as "Exploring, investigating reality" and "Being in another world, dreaming", the nine sections of the film present themselves as a series of loosely linked scenes or observations, with the clear point that play is a cross-cultural phenomenon and a human condition, not something naive or childish that we grow out of. The cinematography takes us close to the many manifestations of play, the soundtrack communicates the warm fundamental tone of the film while the narrator talks vividly about play and intones the poem "Jeg er klar nu", which may be seen as a personal approach to poetry. It includes the words "I play...

The Emperor's Naked Army Marches On /Yuki Yukite shingun (original title) (Japan- 1987 Documentary) - Director: Kazuo Hara Stars: Kenzo Okuzaki, Riichi Aikawa and Masaichi Hamaguchi -This documentary was five years in the making, and revolves around 62-year-old Okuzaki Kenzo, a survivor of the battlefields of New Guinea in World War II who gained notoriety by slingshooting steel pinballs at Emperor Showa to protest against what he considered to be the ruler's war crimes. Setting out to conduct interviews with survivors and relatives, he finds the truth of the past to be elusive, achieving a breakthrough only when he confronts ex-Sergeant Yamada, who grudgingly admits the occurrence and instructional source of certain atrocities.

Though Okuzaki ultimately holds Emperor Hirohito accountable for all the suffering of the war, ("I hate irresponsible people...the most cowardly man in Japan, is the Emperor Hirohito"), he painstakingly tracks down former soldiers and officers, coaxing them into telling him about the deaths, often abusing them verbally and at times physically in the process (at one point, Okuzaki states that "violence is my forte"). The people he talks to give different accounts of what transpired almost 40 years earlier, some saying that those killed were executed for desertion after the war was already over, while others state that they were shot for cannibalizing New Guinea indigenous people.
At the end of the war, the Japanese garrison in New Guinea was crammed into a small area and almost completely cut off from food supplies, leading to starvation and according to some of the interviewed, also to cannibalism. According to them, indigenous people were euphemistically called "black pigs" while American soldiers were "white pigs" - although one of the interviewed says there was a ban on eating "white pigs". The sister of one of the executed at one point states her belief that the two (low-ranking privates) were killed so that the officers would have something to eat.
During the course of Okuzaki's investigation a captain named Koshimizu is said to have issued the order to execute the pair, with a couple of the interviewed also stating that he personally finished them off with his pistol after the firing squad failed to kill them outright, something the captain denies.
Okuzaki also discovers that there has been another suspicious death in his unit and seeks out a former sergeant who is the sole survivor of his regiment. After much coaxing and a physical altercation the sergeant tells him that he personally killed a fellow soldier who had been stealing food and that the corpse was then eaten. He also states that the indigenous were not cannibalized as they were too quick to catch. Instead, Japanese soldiers were marked for death and cannibalism (the immoral and selfish ones first). The sergeant states that he only survived because he could make himself useful as a jungle guide, for instance finding fresh water for the other soldiers.
A written panel then states that the documentary crew and Okuzaki traveled to New Guinea but that the footage was confiscated by the Indonesian government.
After that there is an epilogue with pictures of newspaper headlines where it is revealed that Okuzaki attempted to kill Koshimizu, whom he holds responsible for the deaths of the two soldiers. Not finding him at home Okuzaki settled for shooting Koshimizu's son, who was seriously wounded. It is then stated that Okuzaki was sentenced to 12 years of hard labor for attempted murder.

An Interview with Kazuo Hara

By Kenneth Rudoff

Question: With your present film, about the noted postwar writer Inoue Mitsuharu, you are hoping to understand the process by which fiction is born from reality, actuality, or real experiences. Could you give us an example of the process that you are trying to trace?

Hara: A documentary, you know, is not totally "real." When one is in front of the camera, one cannot help being conscious of the camera. Even when people are not in front of the camera, in normal life, people act. This is normal. Mr. Inoue has had numerous experiences. He writes fiction. He is a writer who has been thinking about matters of fiction and reality. He has written a lot of fiction based on his own experiences. Thus, when we read his fiction we tend to miss the reality hidden behind this fiction. Of course Inoue understands this well. This is Inoue's way of writing fiction; he doesn't simply adopt a bunch of facts, but rather he writes fiction that should be written in the future.
For example, Inoue writes about numerous subjects--religion, right-wing youths, the war, socialism in the Soviet Union. Among his writings are some stories about a leader of a small new religious group, a group with many women led by a man. The leader really resembles Inoue. When you read the story, it really makes one think of Inoue. Inoue says it is fiction, however. But a writer can't write if he doesn't have real experiences. We wonder what the author's experiences are. As a matter of fact, Inoue is a man who has had a lot of relationships with various women--sexual relations. A lot of women were involved. He is a playboy. But he is also a family man. Inoue writes about politics, about a lot of things, but I am interested in his writings about sex, about male-female relationships. Inoue writes fiction based on his real relationships with women. I am interested in what happens with these relationships.
I learned that this is a very difficult thing to find out, however. Okuzaki, for example, was a man who cared nothing about his own privacy. Inoue, because he is a writer, uses his own experiences to write. But when I, with the camera, try to get him to deal with these things, he shuts himself off from me.
From my viewpoint, a documentary should explore things that people don't want explored, bring things out of the closet, to examine why people want to hide certain things. When people are talking about themselves, they put limits and taboos on what they are willing to talk about, and these personal taboos and limitations reflect societal taboos and limitations. I want to get at just the things they don't want to talk about, their privacy. Therefore I want to get at Inoue's "privacy." Since Inoue is a writer, he immediately understands what I am up to, and he puts his guard up. I want to understand, with reference to Inoue, the process by which fiction is born from reality, with regards to his relationships with women.
My second film was all about my "privacy." It was about a triangle between myself, my former wife, and my present wife. You know, I make documentaries, and as for reality and fiction, well, we call them documentaries, but they are really made up. In 1974 I made Very Private Eros Love Story 1974, about my relationships with two women. And then when I saw Inoue lecture, I thought about my second movie, and I really sympathized with him. We shared the same feelings. I wanted to know more about Inoue, the "real" Inoue. And I wanted to know what the women in his life feel about him, and vice versa. At the beginning I thought Inoue would show me a lot more.

Q: What will be the "action" of this film--what will appeal to an audience?
Hara: First, when we make a documentary, we make it about something we don't know much about. As for my in-progress film, exactly what I will come to understand, well I just don't know yet. That is why I am continuing to film. I can't tell you what the action will be. I am wondering myself what the action will be. This is a real difference between documentaries and drama films. The director himself doesn't understand what will happen. This was certainly the case with The Emperor's Naked Army Marches On. I had no idea how that film would turn out when I was making it. I made the film to explore what type of person Okuzaki was, and when I was done I was surprised with how audiences reacted to Okuzaki, how they saw him. "Ahh, that's how they 'see' the film," I thought. So I really can't surmise how the audiences will react to this film.

Q: Shortly after you decided to make this film, three years ago, Inoue learned that he had cancer. You will be documenting his struggle against cancer. In Japan, however, it is somewhat rare for doctors to even inform patients that they have cancer. But here is a man who has agreed to have his struggle against cancer filmed. It would seem that once again you are making a film about a subject entangled by taboos. Hara: Before patients with cancer were generally not told about their diagnosis. But things have changed recently. The sentiment that patients should be informed is growing stronger. Thus the case of Inoue--the fact that he knows his condition--is not especially rare. There have been documentaries about cancer patients on television, so our filming of Inoue's battle is not unique. This is not taboo. What is unique is the fact that he is a famous writer, a man skilled at expressing himself--this will be the first extended film about such a man--this the uniqueness of the film. We have already filmed the operation during which Inoue had three-quarters of his liver removed at Tokyo University Hospital. He gave us permission, and so did the doctors; of course we had to film it looking down through glass from another room. Filming the operation of a famous writer is rare. My motive, well it is like I said at the beginning, is to make a documentary about how Inoue writes fiction based on his sexual relationships. And the second thing is to capture an image of how he, as a writer facing his death, fights cancer.

Q: I suppose that the end of this film about Inoue, how shall I say, the ending is already set, isn't it?
Hara: Ah, his death. I am going to tell you something that I would never tell Inoue. While Inoue is alive, the people around him will not talk. I think that they will talk to me after Inoue dies, however. And so I will continue to film after his death. It can't be helped, when the person is alive, no one will talk about him.

Q: Are you referring to the women in his life?
Hara: Yes. All of the women are ordinary people, unlike Okuzaki. Since they are ordinary people, they guard their privacy. And I am thinking that the film won't be done until these people talk.

Q: Every year numerous films are made. Thus, how do you go about making a distinct film?
Hara: My position, well I feel I am outlaw. My outlaw complex is very strong. I don't feel I am in the middle of society, I am in the lower part. Those people on the bottom disdain those people in the mainstream. A movie director from the "bottom" does not make movies that portray mainstream society nicely. I make bitter films. I hate mainstream society. As for the film about handicapped people, the handicapped are "outside" Japanese society. When you're making a film about people on the margin, if you don't make a film that changes the way people think, well it doesn't have meaning. There were lots of films and television shows about handicapped people, but I wanted to make something completely different. So I made Goodbye CP. As for Very Private Eros: Love Song 1974, during the 60s and 70s there was the revolutionary student and labor movement. This deeply influenced me. I was wrestling with question of what I could do during that era when I made Very Private Eros: Love Song 1974. In the case of The Emperor's Naked Army Marches On, well in the history of postwar Japan the only man to throw pachinko balls at the emperor was Okuzaki. And it wasn't that Okuzaki just threw pachinko balls at the emperor and that was it; instead he continued his actions. I wanted to understand this man's energy.
You know Imamura started to make a film about Okuzaki, for television. Imamura has made a series of documentaries about soldiers of Pacific War. You know there are many soldiers who went off to war, survived, but did not return to Japan. Imamura made a television series about these men. In the middle of this series, Imamura started to film Okuzaki. But you know that there are many emperor system taboos in the mass media, so Imamura couldn't do it. When I took over making a film about Okuzaki, no companies would give me money, so I borrowed money from friends. It was really a film that could only be made independently. I had no money, but I had time and freedom. Time and freedom were weapons to make a film about a taboo subject. The reason that lots of people came to see my film was that I used the power of time and freedom. It was a film that touched upon taboos, a powerful film.
Earlier you asked me about action, well the action of my films might be how forcefully I can show freedom in my films. What I mean by freedom, in other words, there must be some pressure or resistance against it. The reason that I want to break taboos, there was a movement in the 60s and 70s to attack taboos, and I feel the need to live up to that. This sense of the freedom to break taboos, this emancipation, helped me to start making films. I would like to express that type of freedom in my movies.

Q: Can you detail more how you were influenced by the demonstrations of the 1960s? What demonstrations did you participate in?
Hara: Ahh, you see, I did not go to college. I did not participate in the demonstrations. I was on the outside looking in. Among the people who participated, there are those who "quit" and those who did not quit. Some entered publishing or the movie industry. The movement is not dead, but many people regret that the movement was a failure. The sense of failure among those who participated was strong. But I was not directly involved, so I don't have this feeling of failure; I was always looking in from the outside, thinking to myself, "how wonderful." The 60s and 70s continue to shine in my mind.

(Zenshin Shosetsuka, 1994)

Q: Has The Emperor's Naked Army Marches On been shown on Japanese television?
Hara: No.

Q: Will it be shown in the future?
Hara: Some producers have seriously considered showing it, but it never happened. Maybe it will not.

Q: Why?
Hara: Because it is a film about the emperor system, about Okuzaki, a movie about the man who shot pachinko balls at the emperor.

Q: Where does the pressure not to have the film shown come from?
Hara: From the television executives themselves.

Q: How about from the right-wing groups?
Hara: From them too, a little.

Q: When one hears the word documentary film, one thinks of educational films that strictly attempt to chronicle actuality, but your films, they are called documentaries, but they really resemble action drama films.
Hara: This relates to fiction and reality. Life is acting. There are two sides to people. The person one wants to be, and the person one is. I want the people in my movies to act the way they want to be. With Okuzaki, we discussed before-hand how we would make the film. I found out about the execution incidents first. Movies must have good and evil, bad men and heroes. It is like Batman and Superman. It was the same with Okuzaki, he needed an opponent. In this way, I like to make dramatic movies. I feel strongly about this, more than other directors. I love Hollywood action films, and I wanted Okuzaki to act like an action star. I want to make action documentary films.
It was the same thing with Takeda Miyuki. She said she wanted to go to Okinawa. It was difficult for her to give birth by herself. Nobody had ever shot a movie of someone giving birth, so she wanted to do it, and I agreed to film it. That shocked a lot of people. I am not the type of director to shoot something just happening [like a demonstration], but rather I like to make something happen and then shoot it. For this reason, I haven't yet filmed, as someone "objectively" looking in from the outside, a workers' movement, for example. Whenever there is a camera, people are conscious of it.

Q: How has the success of The Emperor's Naked Army Marches On facilitated making your next movie?
Hara: With the receipts from the film showings of The Emperor's Naked Army Marches On, I was able to repay all the money I had borrowed. And with the commissions from video rentals of the movie, I am making the film about Inoue.

Q: The English translation of your most recent movie, Yukiyukite shingun, is The Emperor's Naked Army Marches On. This would seem to be a mistranslation. How did this misleading translation get tagged to your film?
Hara: Karatani Kojin said he likes the Japanese title, but hates the translation. To tell you the truth, when it became necessary to attach an English title to the movie for international showings, well this was also the time that I wanted to make a 35mm print from the original 16mm print. This is a very expensive process, 3000000 Yen [about $22,000]. So I asked the Kawakita Memorial Film Institute for a grant. They said they would give me the money. There was a nice old man there who had been helpful to me, and he said, "I'll think about an English title for you." You see, well in Japan you know, I just couldn't refuse. It was in this way that the English title was attached. It's a little embarrassing. The sense is different in English than in the original Japanese. At the time, however, I didn't understand that--I had not yet been abroad, you know. The character "shin" is very difficult to translate; one might say God but that is not exact sense in Japanese. The English title suggests that Okuzaki continues to fight for the emperor. At the time, it seemed like a title that foreign audiences could understand. This is what the man who attached the English title insisted. At the time, I agreed. The title is ironic, but it turned out well.

Q: Do you feel that your film, on the international scene, was sometimes treated as exotica?
Hara: No. In Berlin, in Paris, in New York, just like in Tokyo, it was possible to predict who would love this film, and who would hate it. Along the same lines, there were people who liked Okuzaki and people who found him distasteful. The division is generally the same, wherever the film is shown.
By the way, Okuzaki is a very argumentative person, he was always fighting with the staff. Some of the younger staff members quit. I, too, really came to dislike Okuzaki. He was chaotic. In the movie he sounds logical only because of skillful editing. The way he speaks is often incoherent. I thought people would hate the movie. I thought it would be nice if two out of ten people who saw the movie liked it. I never thought so many people would see the movie and like it.

Q: How would you respond to criticism that it was immoral for you to film Okuzaki beating up old men? Some people would say that you should have stopped filming to intervene.
Hara: Maybe I should have intervened. It was really a case by case decision. He wasn't killing anybody, just scuffling. You know, when we were filming, we never knew what Okuzaki was going to do. He is frightening. Remember when Okuzaki attacked Yamada, the old man, that was frightening. I had a little feeling that I should stop filming. But within the minds of movie makers, there is a feeling that the filming must go on, when one is behind the camera, you know. If I had not been holding the camera, it might have been another story. A person with a camera thinks he must film. In the Yamada scene, one of the younger staff members asked me if he should stop it, and I said no. Why? First, because I was afraid to get involved. And second I thought the filming should go on. Somewhere in my mind I thought it was alright not to stop it, but I really don't know what I would have done if, for example, Okuzaki had had a knife or a gun. Perhaps I would have thought it necessary to intervene.

Q: I understand that Okuzaki came to you and asked you to film him kill someone.
Hara: This was a very delicate problem. I had to decide if I should film it or not. I still have not made up my mind. One reason that I didn't film it is that I had become really sick of Okuzaki. I might have filmed it. Human beings have dark sides, and people want to see something frightening. People want to see the evil side of people. A little bit of me says I would like to see it. I went to speak to Imamura Shohei. His opinion was really different. He told me not to do it. But the real reason that I didn't film it was that I was fed up with Okuzaki.

Q: You have been quoted as saying that, with The Emperor's Naked Army Marches On, instead of wanting to make a movie about the war, you wanted to make a movie about the present. In what ways did the film accomplish this?
Hara: What I wanted to do was trace how the war survives in Japanese society today. The postwar democracy began in 1945, the year I was born. Our values of the postwar democracy are always in question. I wanted to see what the war continues to mean to my parents' generation, how it affects their lives today. I wanted to see what had changed, and what had remained the same. Military "organizations" continue to exist today in Japan. The Nanking Massacre, the experiments conducted on humans by Unit 731, etc., even among the victims, there are few people willing to talk about such events. Why? The war is over, so why don't they talk about it? Because the war values continue to exist in Japanese society. I wanted to film the segment of Japanese society that still maintains values of the wartime era.

Q: Will you be making other films related to the war?
Hara: I have plans for few films, I am doing some preparation now. You know the Burma-Siam railroad made famous by the movie Bridge on the River Kwai, well, there were thousands of Asians who died constructing that railroad. I'm thinking that I should make a film about that next year or the year after--it will take several years to finish.

Q: It is true that The Emperor's Naked Army Marches On, even for Okuzaki's indictment of the emperor and its taboo-breaking effects, is about crimes committed against Japanese soldiers by their superiors.
Hara: That's true, its about what Japanese did to other Japanese.

Q: About how many people saw The Emperor's Naked Army Marches On?
Hara: I'm not exactly sure, but including people who have seen it on video, I would say that about a million people have seen it in Japan.

Q: What influence did it have?
Hara: The film came out a little bit before the Shõwa Emperor died. While this was by no means only as a result of my film, after the emperor died the taboos surrounded the emperor system weakened. I suppose my film had a small influence on this.
Second, this film caused a great shock to people who work in television in Japan. There were many people in the TV world who, after seeing this film, were dissatisfied with their own documentaries and wished to make ones that, like The Emperor's Naked Army Marches On, are powerful.
Third, this film was an inspiration to independent film-makers. After seeing it, they seemed to think, "If my film is interesting, well it will have an audience." It gave them hope.

Q: How much did the film cost to make?
Hara: About 30000000 Yen. [$222,000 dollars at 135 Yen to the dollar.]

(Yuki Yukite Shingun, 1987)

Q: The first movie-theater to show the film was the Euro Space, a small independent theater in Tokyo. When did you first know that the film would be popular?
Hara: From before then. You see, in Japan, at the film laboratories, there are small showing rooms, places where about 25 people can see a film. The first time I showed it I asked about four or five people to attend. The next time there were about five or six people. And then my phone started to ring--it was people requesting to see the film. This was in August, 1986. The thing that astounded me about the people who saw the film, well they were mostly young people, and they laughed and laughed. I wondered what they found so funny. And my phone continued to ring. Almost everyone who saw the film had the same worry--that the right-wing would come. They warned me to be careful. Much to my amazement, I was awarded the New Director Prize by the Directors Guild of Japan at the end of 1986. There is always a ceremony for that. It was held in a hall in Ginza owned by the Asahi Newspaper Company, in the area where the DaiNippon Aikokutõ conducts daily activities. I was worried about the right-wing, so I hired six strong young men--guards for the ceremony.
In early 1987, the Euro Space theater offered to show the film. By this time, however, I was wondering if some of the large companies, like Iwanami, Shochiku, Tõhõ, or Seibu, would show it. I went to meet their representatives. For example, the Shochiku people told me that they would like to show the film, but if they did the right-wing would visit them, that they would protest with their sound-trucks in front of the theaters. They all said the same thing--we'd like to show it, but we can't.
The Euro Space was also worried that the right-wing would come. Previously, the Euro Space had had an incident where members of a right-wing group came and threw eggs, etc., at the screen. They agreed to show it all the same, and the right-wing did not come. Well, there was one incident where members of a right-wing group came to see the film in Kyoto in the fall of 1987. The film was shown in a hall for about three days. I was told that when the right-wing members emerged from the film, they were afraid. I was told that they bought Okuzaki's book, and said they understood his feelings.

Q: Who distributes the film in Japan?
Hara: We do, Shissõ Productions.

Q: How did the various political parties react to the film?
Hara: The Communist Party, in its newspaper Akahata, criticized the film. Newspapers connected to the Japan Socialist Party supported, recommended the film. The Liberal Democratic Party had no comment, nor did the imperial household agency.

Q: How about Veteran's Associations?
Hara: There were some veterans who sympathized with Okuzaki.

Q: How about left-wing intellectuals?
Hara: Karatani Kojin, the sixties generation, people conscious of the emperor system, all these people were, I think, shocked by the film. You see, Okuzaki threw pachinko balls at the emperor. But intellectuals, you know, they debate ideas, but they can't do anything. There were many of these people who were shocked by the film.

Q: As for Very Private Eros Love Song 1974, why would you make a movie about private family life?
Hara: In the sixties and seventies, there was a feeling that if the individual did not cause change, nothing would change. At the time, I wanted to make a movie, and I was wondering how I could make a statement for change. At the time, there was much talk of familial imperialism [kazoku teikokushugi]. One of the strong sentiments of the time was that familial imperialism should be destroyed. I thought that if I could put my own family under the camera, all our emotions, our privacy, I wondered if I might break taboos about the family.

Q: Saitõ Masaharu called you a masochist after you made Very Private Eros Love Song 1974. Could you comment on this?
Hara: When the subject of my film was perceived to be stronger than I, as Takeda Miyuki [the main character of Very Private Eros Love Song 1974] was, I was called a masochist; when the subject was perceived to be weaker, I was called a sadist. Instead of being a masochist or a sadist, I would say that the nature of documentary filmmaking is that the director puts himself in various situations.

Q: How was the movie received?
Hara: Very well. One funny thing was that the birthing scene, well it seemed to be the women who felt uneasy about the scene, they sometimes got up and left. The men, however, had no chance at that time to see a baby born, so they came to see the film, and watched the birthing scene spellbound.
At that time, among men who saw the film, there were those men who thought, "My, that Takeda Miyuki is some woman," and others who thought, "I can't stand that woman." As for women who saw the film, well there were those who thought, "I'd like to do the same type of things as Takeda Miyuki," and others who thought, "Her life is not for me."

Q: The sound and picture are not synchronous. Why?
Hara: I was very poor at the time. I could not afford a camera that would do the sound with the pictures.

Q: I understand that your film Sayonara CP caused quite a stir when it was released.
Hara: In Japan we say that dirty things should be hidden away. This was the prevailing sentiment about handicapped people in the early 1970s, when I made the film. What I wanted to do with the film is show exactly what people did not want to see, to expose the hidden. It is difficult to look at handicapped people's bodies, for example, so that's what I wanted to show.
There was Yokota Hiroshi, the main character. He is a poet. The interesting thing about this film was that his wife finally said that she would divorce him if I did not stop filming. I was called a sadist for filming "weak" people. People asked me why I was making such a film. Why did I make such a film? Before in Japan, you know we had the four-class system [samurai, peasants, artisans, merchants], now that is not the case. But today, where do the handicapped people fit in? Or the burakumin? At the very bottom. How do you change this? By changing their negative image. With this film, my end-goal was clear from the beginning.

Q: What influence did it have?
Hara: Not much in the film world, but among people working in social services, it was deeply influential. I can say with confidence that it changed the way social service people thought about the handicapped. I was repeatedly asked to come and speak about handicapped issues. The movie was my contribution, however. To this day, the film continues to be shown, for example, to college freshmen to make them think about treatment of the handicapped.

Q: You've made three films. With the first film, you clearly understood your end goal, but with the others?
Hara: No. No. There is a common thread, to change the world. With the other films, I had much less of an idea how the story would develop, but even this was true with the first one as well. For example, the wife of Yokota turned against the project--this became a drama that I had not expected. Still, the common thread of change runs through all three; this was the spirit of the sixties and seventies.

Des trains pas comme les autres (1987 TV Series )-Director: Bernard d'Abrigeon Stars:François Gall- perjalanan dengan kereta api di seluruh dunia: François Gall- Addis Ababa, Ethiopia Argentina Australia Bali, Indonesia Brazil Burma China Djibouti Florence, Tuscany, Italy Greece India Jakarta, Indonesia Jordan Mexico Morocco Paraguay Peru Poland Russia Sicily, Italy Singapore South Africa South Korea Syria Thailand Vietnam- Setiap episode memiliki satu (atau lebih) negara melalui kursus pada jalur kereta api nasional. Dari panggung ke panggung, kita menemukan kereta api yang tidak biasa, kuno atau modern, negara atau kereta lokal istana bergulir, pada kursus atau kecil besar, tetapi juga sejarah, budaya dan masyarakat masing-masing negara. Tiga puluh episode ditembak pada tahun 1991. Sejak Juli 2011, saluran televisi Prancis 5 telah mengangkat isu tersebut dengan presenter Philippe Gougler. YOU CAN WATCHING FILM CLICK HERE

Diamond Run (USA/Indonesia-1988) Java Burn (original title) -Director: Robert Chappell Writer: Robert Chappell Stars: Ayu Azhari, Peter Bodzek and Peter Fox -Back alleys are home to Nicky, who handles women and his fists with equal style. When he unknowingly sets up his girlfriend in an assassination plot, she escapes, only to become the hitman's next target and now Nicky must save her and himself.- Written and directed by cinematographer Robert Chappell, the Indonesian actioner Java Burn stars William Penn Sullivan as Nicky Hogan, your basic stubble-chinned American expatriate. While shacking up with local prostitute Aileen (Ayu Azhari), Hogan answers the mysterious summons of American woman Samantha (Ava Lazar). The latter wants to compromise a high-ranking government official, with the help of Hogan and Aileen. When said official is murdered, Hogan becomes the target of seemingly every CIA agent and paid assassin in the Far East. The "maguffin" in Java Burn is a packet of secret documents: Who's got them, who wants them, and who can be trusted? ~ Hal Erickson, Rovi

Sea Turtles: Ancient Nomads (USA 1988 Documentary)- Director: Robert Nixon Writer:Robert Nixon- A documentary examining the plight of a seriously endangered species, the sea turtle, and the efforts of one scientist, the late Archie Carr, to save it from extinction.

Orangutans: Grasping the Last Branch (Canada-1989 Documentary)- Stars: Betty Thomas and Birute Galdikas -Destruction of the rain forests threatens the continued existence of the orangutan (Pongo pygmaeus) and possibly other species through global warming caused by the "greenhouse effect" as carbon dioxide begins to build up without the plants of the tropical forest to convert it into oxygen. Orangutans are seen in the wilds of Borneo, at the rehabilitation center of Birute Galdikas, and in captivity at the Los Angeles Zoo. Efforts to battle poachers dealing in illegal animal trade and the efforts of Galdikas' rehabilitation camps are investigated by nature photographers David Root and Evelyn Gallardo through the story of a typical orang infant named Roger. This film is narrated by Betty Thomas. It includes a suggested reading list.

Beyond the Ocean (Italy/1990)/ Oltre l'oceano (original title) Director: Ben Gazzara Writers:Ben Gazzara, Anthony Foutz Stars: Ben Gazzara, Peter Riegert and Rebecca Glenn- A successful American industrialist retreats unexpectedly to Bali to review his life.- John owns an important software company in New York, but despite his success he finds he no longer relates to the frenetic world around him. He makes a completely irrational decision and catches the next plane to Bali, checks into the best hotel and isolates himself completely, in order to take a good look at his life. By chance he meets Marissa and allows himself to be seduced by the mysterious girl with a troubled past and present.
John’s new found tranquillity is interrupted by the unexpected arrival of his wife and bother, but his marriage is over and decides to stay to sort his life out.
At a party organized by Marissa, John hurts himself while fooling around, and Jenny, a painter, takes care of him. She has painted Marissa as Kali, the Hindu goddess of death and destruction, but unexpectedly leaves for Singapore with Marissa’s partner. John and Marissa remain alone on the island, where she is involved in an accident which sends her into shock, revealing the truth about her terrible past. Will the two ever find peace? YOU CAN WATCHING FILM CLICK HERE

Sleep When You're Dead (Australia- 1990 Documentary) Director: Clem Maloney Writers: Tony Paterson, Clem Maloney Stars: Jaci Edwards, Clem Maloney and Hirokazu Shirado - Imagine planning a great adventure - trekking through the dense jungles of Papua New Guinea, feasting on crocodile in a remote village, visiting an island of dragons, climbing the world's most destructive volcano, gasping in awe at the beauty of the Taj Mahal and climbing to Mt Everest Base Camp. These are only a few of the challenges faced by 2 young Australians as they undertake an 8 month journey across Asia from Australia to Nepal.

The Indonesian Experience (USA-1990 Video)- Directors:Tom Boyle, Chris Rust
Writer:Tom Boyle Stars:Brian Kalopodes, Jack Lindholm and Kainoa McGee - Jade Mornings and Emerald Afternoons

Baraka (USA-1992 Documentary)- Directed by Ron Fricke Writing credits Ron Frick (concept) & Mark Magidson (concept) Ron Fricke (scenario) & Mark Magidson (scenario) Genevieve Nicholas (treatment) & Constantine Nicholas (treatment) & Ron Fricke (treatment) - Without words, cameras show us the world, with an emphasis not on "where," but on "what's there." It begins with morning, natural landscapes and people at prayer: volcanoes, water falls, veldts, and forests; several hundred monks do a monkey chant. Indigenous peoples apply body paint; whole villages dance. The film moves to destruction of nature via logging, blasting, and strip mining. Images of poverty, rapid urban life, and factories give way to war, concentration camps, and mass graves. Ancient ruins come into view, and then a sacred river where pilgrims bathe and funeral pyres burn. Prayer and nature return. A monk rings a huge bell; stars wheel across the sky.- Runtime: 96 min Sound Mix: 70 mm 6-Track (70 mm prints) | Dolby SR (35 mm prints) Color: Color Aspect Ratio: 2.20 : 1

Triller

WATCHING BARAKA

BALI, exploitasi awal mulanya

2012-01-15T21:12:00.000-08:00

Covarrubias, si Meksiko trendy itu, boleh jadi orang yang mencitrakan Bali sebagaimana yang dikenal atau, lebih tepat, diingat kita sekarang ini. Bukunya yang klasik, Island of Bali, memang menghadirkan sosok perempuan gemulai nan elok yang mengusung sesaji, atau tengah mandi tak berbusana di pancuran. Itulah yang kemudian menjadi realitas imajiner yang melekat di benak, bahkan jauh sebelum kita mengalami kenyataan Bali sebenarnya. Tapi, bukankah pencitraan memang kerap unggul atas realitas sejatinya!

Nama Bali, bagi pelancong mana pun, selama puluhan tahun selalu menimbulkan citra eksotis, pendeknya gambaran suatu firdaus duniawi. Dalam pencitraan tersebut, tak tertolak peran yang dimainkan oleh pengarang Meksiko yang merangkap kartunis dan illustrator itu. Bukunya tentang Bali kini tercatat sebagai paparan terbaik mengenai pulau yang, anehnya, oleh kebanyakan orang Indonesia juga diidamkan sebagai pulau "dewata" itu.

Siapakah Miguel Covarrubias (1904-1957) ini? Tentu dia bukan sembarang pelancong. Berbeda dengan pengunjung Bali tahun 30-an umumnya, dia bukanlah datang dari Eropa atau Amerika Serikat, melainkan dari Meksiko, dengan latar keluarga yang bukan kebanyakan. Sosok yang unik itu tak tuntas bersekolah di SMA: dia mencederai kepala gurunya. Namun, ia memang disuratkan punya jalan nasib tak biasa. Dikaruniai pesona dan bertalenta sebagai illustrator serta kartunis, namanya cepat mencuat dan harum di tengah kalangan elite negaranya, bahkan sampai Paris dan New York-tempat ia berteman dengan kaum jetset kosmopolitan. Selama di Meksiko, Covarrubias juga berkarib akrab dengan pelukis mural ternama, Diego Rivera, sang pelopor gerakan modernis seni non-Eropa. Seperti Diego Rivera, dia tertarik dengan garis kontur khas yang melengkung tak bersiku, warisan kebudayaan pra-Colombian di Meksiko itu.

Lalu, sihir apakah gerangan yang membuatnya terpikat datang ke Bali bersama istrinya, Rose, yang baru saja dinikahinya itu? Tak lain adalah pesona wanita Bali tengah mandi di pancuran, tanpa busana, yang dilihatnya di foto-foto Gregor Krause (1920), seorang dokter Jerman yang sempat bermukim di Bali menjelang Perang Dunia Pertama. Foto-foto itu menyiratkan masyarakat yang belum tercemari oleh kemodernan maupun kemunafikan moral. Pada waktu itu sebagian seniman dan intelektual memang sedang dihantui kesangsian besar tentang ke arah mana kebudayaan Barat pasca-Perang Dunia Pertama, dengan kemelut ekonomi tahun 1929 dan demam revolusi Bolshevik yang merebak ke mana-mana. Mereka, kaum kaya terdidik itu, merindukan sebuah negeri utopis tempat menghindari silang-sengkarut budaya. Para penghayat keragaman kultur ini pada galibnya merupakan lapisan tersendiri. Di antara mereka yang datang ke Bali dan membangun citra pulau ini terdapat sederet nama harum, semisal pelukis Jerman kelahiran Moskow Walter Spies, antropolog Amerika Margaret Mead dan Gregory Bateson, serta sutradara film Goona-Goona Victor von Plessen. Tentu Covarrubias adalah bagian dari kaum yang ber-"kelas" itu.

Semula, pria pesolek terakhir ini sekadar ingin singgah. Setelah enam minggu terayun di atas kapal api di lautan, setiba di Bali, dia seketika jatuh cinta pada kultur dan alamnya, lalu bertekad akan datang kembali. Bukunya yang terkenal itu dikerjakan setelah kunjungannya yang kedua, pertengahan tahun 1933, yang dibiayai oleh Yayasan Guggenheim. Jarang yang mengetahui, naskah asli buku yang melahirkan citra Bali nan memikat itu sesungguhnya ditulis dalam bahasa ibunya, Spanyol, bertajuk Isla de Bali. Deskripsinya tentang Pulau Dewata layaknya sebuah catatan etnografi, akan tetapi ditulis dengan bahasa populer yang lugas, disertai luapan empati kepada penduduk dan tradisi asli Bali.

Dengan jarak sejarah, kehadiran Covarrubias serta rekan-rekannya seperti Spies dan Bonet itu kini patut direnungkan ulang. Di dalam buku Bali Paradise Created, A. Vickers mempertanyakan peranan orang asing yang, dengan mengkonstruksi citra Bali sebagai surga terakhir, mengabaikan kenyataan adanya konflik kasta, kekejaman penjajahan, dan kekerasan lainnya. Tak terhindarkan, kelompok pelancong asing di atas pada hakikatnya adalah juga bagian dari sistem kolonial tersebut. Disadari atau tidak, mereka menempati dan sekaligus menikmati status serta penghormatan tersendiri yang memposisikan mereka dalam keunggulan terhadap kaum pribumi. Namun, kini, lebih tepat dikatakan bahwa mereka pada dasarnya berada di dua simpang historis dominasi. Yaitu yang bersifat kolonial, melalui kuasa langsung atas nasib kaum terjajah, dan dominasi melalui pariwisata, yang kini merajalela, di mana orang asing "mengkonsumsi" kebudayaan-kebudayaan yang diminatinya.

Adalah keniscayaan tak terelakkan, siapa pun orangnya pastilah terbawa di dalam dirinya suatu sistem dominasi yang akan berlaku semasa hidupnya. Maka, sulit mengharapkan dari pihak-pihak yang terkungkung dalam "ketenteraman" akan adanya kesadaran yang mendahului zamannya. Namun, apa pun biasnya, buku seperti Island of Bali menandakan adanya upaya berkomunikasi dengan "kelainan" kultural-sesuatu yang tidak lazim untuk zaman itu, tahun 1930-an, yang sarat dengan semangat ultra-nasionalis dan fasis itu.

Di antara hal yang dikupas oleh Covarrubias adalah kecemasannya akan masa depan Bali, dan akibat negatif pariwisata dan budaya asing. Memang, Covarrubias telah mengkhawatirkan hancurnya kebudayaan Bali di hadapan "pembaratan" dan serbuan kaum turis. Di lain pihak, dia menyadari mustahilnya pulau ini bertahan sebagai museum hidup sebagaimana digagas kaum kolonial zaman itu. Kenyataannya, kini Bali tak seperti yang diprihatinkan oleh Covarrubias. Justru setelah Indonesia merdeka, Bali memperlihatkan kemampuan bertahan yang tak terduga. Orang Bali, dengan diakuinya agama mereka resmi oleh negara, dan kini dengan desentralisasi, telah menemukan perangkat institusional yang memungkinkan mereka mengekspresikan jatidirinya dalam kesatuan negara multikultural ala Indonesia. Kristenisasi yang dicemaskan oleh Covarrubias malahan tak terjadi.

Apakah optimisme masih layak? Dalam kurun tak lebih dari 30 tahun saja, sepanjang gerusan Orde Baru, Pulau Bali telah terkikis oleh modal raksasa, asing maupun nasional, yang telah merombak segenap tatanan perekonomian dan sosial dan menempatkan kebudayaan Bali yang dikaguminya itu tak lebih dari suatu unsur minor dari keseluruhan sistem sosial yang ada di Bali. Akibatnya, terbentuklah suatu alienasi yang tak jelas juntrungannya ini.

Goona-Goona (also called The Kris), 1930

2012-01-15T17:45:00.000-08:00

GOONA-GOONA; AN AUTHENTIC DRAMA OF THE ISLE OF BALI
  KRISS, THE SWORD OF DEATH
  LOVE POWDER
  KRISS, THE
  LOVE POWDER

Its American title was Love Powder, but most exhibitors preferred to stick to the film's original moniker Goona-Goona. This was the second of the many exotic documentaries assembled by intrepid explorer-hunters Andre Roosevelt and Armand Denis. Amidst reams of authentic expedition footage, the producers endeavored to contrive a dramatic plotline involving the romance between a Balinese prince and a servant girl. Our hero finally wins the heroine's love with the help of a magic potion concocted by the local witch doctor. Goona-Goona was re-edited to conform to American censorship restrictions by Al Friedlander, the head of First Division Pictures.

The remote little island only became news to the rest of the Western world with the advent, a few years ago, of a series of documentary films of Bali with a strong emphasis on sex appeal. These films were a revelation and now everybody knows that Balinese girls have beautiful bodies and that the islanders lead a musical-comedy sort of life full of weird, picturesque rites. The title of one of these films, Goona-goona, the Balinese term for "magic", became at the time newyorkese for sex allure. The newly discovered "last paradise" became the contemporary substitute for the nineteenth-century romantic conception of primitive Utopia, until then the exclusive monopoly of Tahiti and other South Sea islands. And lately travel agencies have used the alluring name of Bali to attract hordes of tourists for their round-the-world cruises that make a one-day stop on the island."
(Miguel Covarrubias, Island of Bali, 1937)

Actual organised tourism came to Bali in the 1920's. By 1930 up to 100 visitors a month were arriving, mostly by sea. Their ecstatic reports were so positive that by 1940 this figure had increased to about 250 per month, not including the passengers on the various cruise ships that advertised a day or two in Bali as the highlight of their winter schedules.

The Dutch Steamship Line, K.P.M., initiated the first tourist passages to Bali on its cargo ships and several enterprising characters were quick to take advantage of these developments. A Persian-Armenian, M.J. Minas, was the first to realise the tourist potential. He introduced moving pictures to the villages, travelling with a portable projector, and he established the first movie theatre in Buleleng. Minas started picking up passengers off the K.P.M. ships in about 1920. An American adventurer, Andre Roosevelt, arrived in Bali in 1924 and joined Minas, bringing American Express and Thomas Cook patronage with him. Andre Roosevelt undertook in the 1920s to develop the tourist market, although this did not deter him from suggesting measures to preserve the integrity of Balinese society and its culture:

Having leisure, my friend Spies and I started a scheme which would tend to slow down the invading forces from the West and keep the Balinese in their happy, contented ways for a few decades longer ….. We want to make of Bali a national or international park, with special laws to maintain it as such.
(in Hickman Powell, The Last Paradise, 1930: xiv-xvi)

The black-and-white film Goona-Goona, An Authentic Melodrama, also called Der Kris and The Kris, was originally shot in 1928 and 1929 by Andre Roosevelt and Armand Denis with assistance at the outset from Spies. Walter Spies wrote about his collaboration with Roosevelt: "I'm doing the directing and most of the work; a certain Mr Roosevelt turns the handle. I've got a marvellous, very simple story for it and have found some very good actors."

Much of it was re-filmed in 1929 after a processing accident in Surabaya in November 1928. Walter Spies was not involved in the re-shooting. The film was first released in America in 1930.

Goona-Goona was most likely the movie which inspired K'tut Tantri, author of Revolt in Paradise, and later famous as Surabaya Sue, to travel to Bali in 1932:

It was a rainy afternoon and, walking down Hollywood Boulevard, I stopped before a small theatre showing a foreign film and on the spur of the moment, decided to go in. The film was entitled Bali, the Last Paradise.
I became entranced. The picture was aglow with an agrarian pattern of peace, contentment, beauty and love. Yes, I had found my life. I recognised the place where I wished to be.
(K'tut Tantri, Revolt in Paradise, 1960)

Although K'tut Tantri mentions that her decision to travel to Bali in 1932 was inspired by a film entitled Bali, the Last Paradise, this must be incorrect. Hickman Powell published a book about Bali with a similar title in 1930, but there was never any film of that name. There was a film entitled Bali, the Lost Paradise, a 12-mm black-and-white film made by Michael Lerner but this was American, not foreign, and was not made until 1939, seven years after K'tut Tantri's arrival in Bali. Der Insel der Dämonen was not released until 1933 and so Goona-Goona was probably the only film of Bali that could have been viewed in America in 1932.

The film was very successful and actually started an American craze for all things Balinese. In New York high society goona-goona, a Malay and Javanese term for love magic, was turned into a popular phrase. Goona-Goona can be credited with linking sex and magic in the popular image of Bali.

Calon Arang, / 1927

2012-01-15T17:23:00.000-08:00

Calon Arang, 1927

In 1927 the image of the witch was brought to the screen in the first fiction film set on Bali, Calon Arang. Little is known of this film, and no copies survive, but the makers probably had links with the Italians who owned the moving picture theatre in Denpasar, where Charlie Chaplin played on the screen for enthusiastic Balinese audiences. The film Calon Arang was described as a tropical romance featuring palm trees, beachcombers, and 'the inevitable bevy of dusky beauties such as never were seen on land or seas'. This comment tells little about the film, but it does show how conscious the image-makers of Bali were of trying to add depth and respectability to the idea of Bali.

The Rangda (witch-heroine of the Calon Arang story) and the kris dance eventually became the most potent of all the elements of Bali's image, and could be counterpoised to the superficial image of the tropical paradise. The gentle figure of the young female dancer of the Sang Hyang trance dance was balanced by the horrible figure of the witch of Calon Arang. If Dr Krause tried to emphasise harmony and the organic community in his description of Bali, then the Rangda represented the other side of this image, the feeling that lurking under the harmony there were wild forces ready to run amok. The 'Island of the Gods' has also been called 'The Island of the Demons', most notably in a German film shot in 1931, and later in a Dutch novel of 1948.

Little is known of a Dutch film titled Mahasoetji: Van Java's Vulkanengweld en het Wondere Bali made in 1929 by NIFM. However, the next important movie shot in Bali has the most wonderful title of Goona-Goona, An Authentic Melodrama.

Sang Hyang and Kecak Dance / (1926)

2012-01-15T08:03:00.000-08:00

Sang Hyang and Kecak Dance (1926)

A film by (Willy) W. Mullens

Bali - Sanghijang und Ketjaqtanz (Sang Hyang and Kecak Dance)

The Sanghyang is a trance dance performed by young girls. We can imagine that the sight of little girls swaying in an incense-filled atmosphere, surrounded by seated men with arms akimbo, must have looked particularly weird to Europeans in 1926. Mullens may have worked with Gregor Krause, who was based in Bangli, especially since these images fit into the scheme of Krause's book. They add depth to the idea of Bali's culture, but present some of the most extreme and exotic visual aspects of that culture.

MULLENS, WILLY

ALBERTS, WILLY

Bali - Leichenverbrennung und Einascherung einer Fürstebwitwe (Royal Cremation) and Bali / 1926

2012-01-15T06:51:00.000-08:00

Bali - Leichenverbrennung und Einascherung einer Fürstebwitwe (Royal Cremation) and Bali

in 1926 the first moving pictures of Bali were made available to the world by a Dutch film-maker named (WILLY) W. Mullens.

The royal cremation featured the corpse of a queen of Bangli being carried on to a cremation tower before being taken to the graveyard and burnt in a lion-shaped sarcophagus.

Film pertama mengenai Bali adalah film dokumenter “Royal Cremation”. Film ini dibuat oleh seorang Belanda yang bernama W. Mullens pada 1926 (Anda bisa lihat seperti apa isi film tersebut melalui video klip RIA Novosti yang diambil gambarnya dalam masa 82 tahun [hyperlink]. Jadi Anda bisa bayangkan, pengaruh apa yang dapat diberikan oleh pertunjukan serupa terhadap orang-orang Eropa yang hidup di tahun 20-an ketika film belum menjadi pesona). Film tersebut ditakdirkan sukses, dan setelah “kesuksesan pertama” ini, seniman sinematografi dari Prancis, Jerman, dan Amerika silih berganti membuat filmnya di Bali

The 'Bali Hai' of South Pacific (1958)

2012-01-15T06:16:00.000-08:00

The 'Bali Hai' of South Pacific (1958)

The 'Bali Hai' of South Pacific (1958) had nothing directly to do with Bali, but everything to do with Bali's image. The island shown as Bali Hai was not in the right ocean, but the name and the soothing sea-breeze-like notes of the hit song were thought to be sufficiently close to something resembling "Bali". Hollywood made Bali the paradise of paradises by combining all the ideals of the South Seas into one.

In the last ten years this island has been written about, filmed, photographed, and gushed over to an extent which would justify nausea. I went there half-unwillingly, for I expected a complete "bali-hoo", picturesque and faked to a Hollywood standard; I left there wholly unwillingly, convinced that I had seen the nearest approach to Utopia that I am ever to see.

In the 1958 film version, Bali Ha'i is portrayed by the real-life island of Tioman in Malaysia. However, the scene^{[clarification needed]} was filmed on the north shore of Kauaʻi and Mount Makana was used as Bali Hai which is still known as Bali Hai today. Tunnel's Beach is often referred to as "Nurses' Beach" and the scene where Bloody Mary sings of Bali Ha'i takes place on Hanalei Bay.

South Pacific is a 1958 musical romance film adaptation of the Rodgers and Hammerstein musical South Pacific, and based on James A. Michener's Tales of the South Pacific. The film was directed by Joshua Logan and starred Rossano Brazzi, Mitzi Gaynor, John Kerr and Ray Walston in the leading roles with Juanita Hall as Bloody Mary, the part that she had played in the original stage production.

Following the success of the film version of Rodgers & Hammerstein's Oklahoma!, the producers decided to tackle a big-screen adaptation of South Pacific as their next project.

The film was produced by "South Pacific Enterprises," a company created specifically for the production, owned by Rodgers, Hammerstein, Logan, Magna Theatre Corporation (owners of the Todd-AO widescreen process the film would be photographed in), and Leland Hayward, producer of the original stage production.^[3] 20th Century Fox partially invested in the production in exchange for some distribution rights. Additionally, all the departments and department heads were Fox's.

The producers' original plan was to have the two leads of the original Broadway cast reprise their respective roles for the film. Ezio Pinza, the actor who originated the role of male lead Emile de Becque, had recently died. Had Pinza survived long enough to perform in the film, the producers would have cast Mary Martin, who played love interest Nellie Forbush on stage.^[4] Doris Day was offered the part of Nellie, but passed; Elizabeth Taylor tested for the same role, but was rejected by Logan after listening to her singing voice.^[4] Mitzi Gaynor, who had prior work in musical films, tested twice for Nellie, and ultimately received the part.^[4] Rossano Brazzi landed the part of Emile, a role that was also offered to established stars Charles Boyer, Vittorio De Sica, and Fernando Lamas.^[3] Walston, a noted Broadway musical actor, played the part of Seabee Luther Billis, which he previously played on stage in London.^[4]

Hanalei Bay on Kauai, one of the Hawaiian Islands, together with Portinax Beach and the island of Es Vedrà in Ibiza (Balearic Islands) served as the filming locations for the film, with special effects providing distant views of the fantastic island Bali Ha'i (Es Vedrà). A second-unit filmed aerial views of Fijian islands while some sources claim footage of Tioman Island, off Malaysia's south east coast, were also featured, though this seems unlikely given the logistics involved. Location filming provided sweeping shots of tropical island scenes, as well as a new sequence not in the stage version, in which Billis, having parachuted from a damaged plane, has a boat dropped on him, then comes under a series of attacks, following his fatalistic "Oh, it's going to be one of those days, huh?"

The film includes the use of colored filters during many of the song sequences,^[5] which has been a source of criticism for the film. Director Joshua Logan wanted it to be a subtle change, but 20th Century Fox, the company that would distribute the 35mm version, made it an extreme change and since tickets to the film were pre-sold (it was a roadshow attraction), they had no time to correct it.^[4]

All of the songs from the stage production were retained for the film. A song entitled My Girl Back Home, sung by Lt. Cable and Nellie, cut from the Broadway show, was added.^[6]

One of the differences between the film version and the Broadway version of the musical is that the first and second scenes of the play are switched around, together with all the songs contained in those two scenes. The stage version begins with Nellie and Emile's first scene together on the plantation, then proceeds to show Bloody Mary, Lieutenant Joe Cable, and the Seabees on the beach, while in the film version Lieutenant Cable is shown at the very beginning being flown by plane to the island, where the Seabees and Bloody Mary have their first musical numbers. (The first musical number in the film is Bloody Mary Is the Girl I Love, sung by the Seabees, while in the stage version it is Dites Moi, sung by Emile's children.) Emile is not shown in the film until about thirty minutes into it; in the film, Nellie first appears during the scene with the Seabees. Because of the switch, the show's most famous song, Some Enchanted Evening, is not heard until nearly forty-five minutes into the film, while in the show it is heard about fifteen minutes after Act I starts.

Juanita Hall sang in the stage production and took part in the recording of the stage production cast album. However, she had her singing dubbed for the film version by Muriel Smith, who played Bloody Mary in the London stage production.^[4] Metropolitan Opera star Giorgio Tozzi provided the singing voice for the role of Emile de Becque in the film.^[4] John Kerr starred as 2nd Lt. Joseph Cable, USMC and his voice was dubbed by Bill Lee.^[4] Ken Clark, who played Stewpot, was dubbed by Thurl Ravenscroft (who sang "You're a Mean One, Mr. Grinch" and was the voice of Tony the Tiger). Gaynor and Walston were the only principal cast members whose own singing voices were used.

BALI -INCONTRO D'AMORE BALI INCONTRO D'AMORE A BALI AVVENTURA A BALI / 1970

2012-01-14T10:34:00.000-08:00

BALI -INCONTRO D'AMORE
  BALI
  INCONTRO D'AMORE A BALI
  AVVENTURA A BALI

Director by: UGO LIBERATORE

Italy

A photographer, obsessed by the memory of his wife who left him, imagines that a girl he meets is his wife. When she also decides to leave him, he is unable to accept the separation and kills her in the belief that he has killed his wife........

SUKRENI GADIS BALI / 1955

2012-01-14T10:14:00.000-08:00

SUKRENI GADIS BALI

Tidak ada data yang menjelaskan sutradara dari film ini. Tetapi data dari CITWF film ini di produksi oleh BALI FILM Ltd. Mungkin sudah pasti orang Bali sendiri yang menyutradarai film ini. Dan juga hanya satu film ini saja yang terproduksi oleh Bali Film Ltd.

Namun ini berdasarkan novel sastrawan terkenal Anak Agung Pandji Tisna Atau nama samaran A.A Pandji Trisna. Beberapa cerita yang beredar adalah A.A Pandji Trisna ini sendiri yang membuat film itu yang berdasarkan pada novelnya sendiri yang muncul pada tahun 1936, dalam judul bahasa inggrisnya The Rape of Sukreni.

A.A Pandji Trisna membuat film ini dikatakan orang sebagai film independent-nya dia,

Dalam cerita ini pengarang mengisahkan nasib malang yang di derita oleh seorang gadis bali bernama Sukreni.Pada awalnya nama Sukreni waktu kecil adalah Ni Widi.Sukreni adalah anak Men Negara,seorang perempuan anak orang kaya dari Karang Asem dan telah bersuami dengan I Nyoman Raka.Ketika Ni Widi (Sukreni ) masih berumur delapan bulan Men Negara meninggalkannya.Ia meninggalkan suami anak dan orangtuanya.
Dari pengembaran Men Negara tibalah Ia di desa Bingin Banjah.Di sinilah Dia berrsuami dan mempunyai anak gadis bernama Ni Negari. Karena kecntikan anaknya tersebut, Men Negara memanfaatkan anaknya untuk menunggu warung .Warung Men Negara laris sekali, hal ini karena salah satu sebabnya adalah ditunggu oleh Men Negari anaknya tersebut.
Melihat kecantikan Ni Negari ,I Gusti Made Tusan salah satu pelanggan warung dan juga seorang kaya di kampong terebut mencintai Ni Negari.Tetapi sayang Ni Negari tidak suka kepadanya.
Pada suatu hari Men Negara kedatangan tamu, yaitu I Made Samba dan Sukreni. Melihat Sukreni yang mempunyai wajah lebih cantik dari Ni Negari timbul niat jahat I Made Tusan untuk memperangkap Sukreni..
Oleh Men Negara Sukreni disuruh menginap di warungnya.Sukreni diminta tidur bersama Ni negari anaknya.Rupanya sebelum itu Men Negara telah disuap oeh I Made Tusan,yang memeng menginginkan Sukreni tersebut.Karena akal busuk Men Negara dan I Made tusan tersebut, maka di warung tersebut I Made Tusan berhasil merusak kehormatan Sukreni..
Karena malu,maka Sukreni meninggalkan tempat terkutuk tersebut tanpa sepengetauan Men Negara menuju Singaraja, menumpang di sebuah milik orang Tionghoa.Di situ ia mengubah namanya menjadi Ni Made Sari, agar orang tidak mengenalnya lagi.
Setelah kejadian tersebut,,paginya I Sudiana teman menginap Sukreni menceritakan kepada Men Negara, bahwa sesungguhnya Sukreni adalah Ni Widi, anak Men Negara Sendiri.Mendengar penjelasan tersebut bukan main menyesalnya Men Negara.Karena ia telah mencelakakan anaknya sendiri.
Kabar tentang Sukreni yang telah ternoda tersebut sampailah kepada orangtuanya.Mula-mula Sukreni diusir dari keluarganya,karena dituduh telah berbuat nista atas kemauannya sendiri.Tetapi setelah mengetahui bahwa perbuatan tersebut merupakan paksaan dari I Made Tusan,akhirnya timbul rasa iba orangtua Sukreni,sehingga ia disuruh pulang.

Dikisahkan pula perbuatan terkutuk I made Tusan mengakibatkan Sukreni melahirkan seorang anak laki-laki yang diberi nama I gustam. Gustam mempunyai perangai tidak baik.Pekerjaannya adalah berjudi dan mengadu ayam. Sekolahnya ditinggalkan.Ketika umurnya Sembilan belas tahun ia dihukium karena mencuri di sebuah warung milik orang tionghoa di Singaraja.Ketika anaknya dihukum itulah Sukreni berniat pulang kerumah orangtuanya. Karena kesedihannya memikirkan anaknya tersebut akhirnya Sukreni meninggal dunia.
Sementara itu I gustam di dalam penjara berkenalan dengan orang-orang jahat yang suka merampok.Keluar dari tahanan Gustam melakukan perampokan-perampokan di mana –mana. Pada suatu kesempatan rumah yang dirampok oleh Gustam dan kawan-kawan adalah rumah Men Negara.Kebetulan saat itu yang menjaga adalah I Made Tusan. Rumah Men Negara dibakar.Terjadilah pertempuran hebat.anta I Gustam dan I Made Tusan. I Gustam tertembak olejh Made Tusan sehingga meninggal dunia.Sebaliknya I Made Tusan terluka parah oleh parang I Gustam. Sebelum I Made Tusan meninggal karena lukanya,ia mendengar suara dari Made Asman, anak buahnya bahwa I Gustam yang dia bunuh itu adalah anaknya sendiri. I made Tusan merangkul anaknya, karena lukanya yang parah I Made Tusan pun akhirtnya menyusul meninggal dunia.

Island of the Demons (The Island of The God) / 1933

2012-01-10T00:05:00.000-08:00

ISLAND of THE DEMONS

The 'Island of the Gods'
INSEL DER DAEMONEN
(Pulau Para Iblis)

INSEL DER DAMONEN, DIE
BALI -KLEINOD DER SUDSEE
WAJAN
BLACK MAGI

INSEL DER DAMONEN, DIE

Film ini di sutradarai oleh

FRIEDRICH DALSHEIM

Germany 1933

The 'Island of the Gods' has also been called 'The Island of the Demons', most notably in a German film shot in 1931, and later in a Dutch novel of 1948.

Probably not released until 1933, Der Insel der Dämonen was also known as The Island of Demons and confusingly, also as Black Magic. Credits for the film include Producer-Director, Baron Viktor von Plessen; Camera, Dr Dalsheim; Scenario, casting and choreography, Walter Spies.

During 1931, Walter Spies' house in Campuhan, Ubud was packed with a crowd of film people. Viktor Baron von Plessen was making the classic Bali-film, Insel der Dämonen with a collaborator, Dr. Dalsheim. Spies's name was the guarantee for a scenario faultlessly faithful to Bali with the right actors and effective choreography. This was the occasion for which Spies remodelled the kecak , the so-called monkey-dance. He increased the number of participants to more than a hundred young men sitting in a circle, and also introduced the figure of the dancer-narrator who recites, in the light of a central standing lamp, tales from the Ramayana involving the exploits of Hanoman, the monkey-general.

The film was a love story about two peasants. Their harmonious village life was destroyed by a Rangda-like witch who created an epidemic which devastated the happy village community. Only exorcistic rituals could stop her and return the village to its normal state. The film runs the full gamut of the images that interested Spies. It starts with beautifully-filmed landscapes featuring water-filled rice terraces reflecting the sky, and scenes of hard-working (but happy) farmers in the fields. Then came the ideal community, disrupted by a bitter woman whose shifty looks betrayed her evil nature, who was eventually revealed in the form of Rangda. Throughout the scenes of witchcraft and exorcism Spies wove documentation of Balinese dances and rituals. This documentation guaranteed the authenticity of the scenes, showing that they were giving an insight into the 'real' Bali behind the superficial tourist images.

LEMPAD OF BALI / 1980

2012-01-09T23:57:00.000-08:00

LEMPAD OF BALI

Documentary film by

LORNE BLAIR
JOHN DARLING

U can watching here: http://www.ovguide.com/movies_tv/lempad_of_bali.htm#

A re-release of an acclaimed documentary classic by John Darling - A film about the life and death of the 116-year-old Balinese Master-Artist.

In April 1978, in a village situated in the fertile central hills of Bali, the island's greatest living artist died at the age of 116. Lempad's longevity was cause enough for wonder, but the magnificent body of art and architecture that he left behind is a greater tribute to an unusual man. He lived his creative life through the most traumatic century of Balinese history.

LEMPAD OF BALI tells the story of this remarkable person against the background of the island's changing fortunes over the past one hundred years. It begins by showing him just before his death and then follows the elaborate preparations for his cremation and the consequent release by fire of his spirit into the next world. A wide selection of Lempad's work is shown including the drawings, paintings, sculpture and architecture which have enriched the cultural life of Bali. As a counterpoint to the art, the story of the island itself is given through the use of archive film and photographs, including the several waves of invasions that it has experienced, occupation by the Dutch and the Japanese and, in more recent times, by international tourists.

The production of this DVD has been made possible by the generosity of the Australia -Indonesia Institute.

This DVD has both an English and a Bahasa Indonesia soundtrack.
________________________________________________________________

“A stunning documentary” – Hollywood Reporter

“A documentary gem” – Clement Semmler, Sydney Morning Herald

"There are few documentaries I’ve ever seen that can equal
LEMPAD OF BALI’s depth, symbolism and lyricism.” – Joe Quiriro, AsiaWeek

“The most accessible, thorough commentary on Balinese life to date." - Made Wijiya, Bali Post (English edition)

INDUSTRI FILM DI INDONESIA DARI AWAL

2012-01-08T06:07:00.000-08:00

INDUSTRI FILM DI INDONESIA

Loetoeng Kasaroeng, produksi Java Film Co (L. Heuveldirp) tahun 1926, dapat disebut sebagai film cerita pertama yang diproduksi Indonesia dengan menampilkan kisah legendaris Sunda yang dikenal oleh semua orang di Jawa Barat.

Film yang dibuat oleh orang asing itu, mengungkapkan secara detail isi cerita dalam bentuk gambar, dan sekalipun BISU, semua orang yang melihatnya bisa menangkap secara runtun dan mengerti dialog yang terucap walau tanpa kata. Hal ini terjadi karena para penontonnya sudah menghafal seluruh adegan cerita, sehingga semua dialog tanpa suara dalam Loetoeng Kasaroengdidengar oleh hati para penonton.

Loetoeng Kasaroeng terbilang sukses sekalipun hanya dengan 7 hari pemutaran, dari tanggal 31 Desember 1926 hingga 6 Januari 1927. Kesuksesan itu bukan karena anak-anak Bupati Bandung Wiranata Kusumah ikut membintangi film tersebut, melainkan karena kesuksesan L. Heuveldirp – yang sekalipun orang asing, memiliki kemampuan luar biasa dalam menyuguhkan rekaman Budaya Sunda secara utuh melalui kisah Loetoeng Kasaroeng – sehingga para penontonnya terikat secara emosional, secara tumbal balik, dan larut dalam jalannya penceritaan.

Demikian juga dengan kepiawaian G. Krungers yang bertindak sebagai penata kamera. Sekalipun hanya menampilkan gambar-gambar yang monoton hitam putih, visualisasi hitam-putih itu diciptakan ke berbagai nuansa hingga ia selalu berwarna dalam imajinasi penonton.

Kesuksesan Loetoeng Kasaroeng tahun 1926 selalu dikenang sebagai sebuah awal yang cemerlang dari industri film di negeri ini. Karena itu, pada tahun 1952 dan 1983, film tersebut diproduksi ulang dengan judul yang sama. Tentu saja dengan tambahan kecanggihan peralatan yang berkembang.

Setidaknya ada dua film yang sukses dan cukup laris pada tahun ‘20-an. Selain Loetoeng Kasaroeng, sebuah lagi produksi Java Film berjudul Eulis Atjih juga tentang kisah dari Tanah Priangan. Eulis Atjih diputar di seluruh Jawa dengan mendulang uang yang lumayan banyak dan kesuksesannya berlipat ketika diekspor ke Singapura pada tahun 1927.

Diakui pula, belum banyaknya masalah yang timbul di seputar awal kebangkitan perfilman di Indonesia sepanjang tahun ‘20-an, bukan karena industri film baru dikenal, melainkan juga karena judul-judul yang diangkat masih sangat dekat dengan irama kehidupan masyarakat, misalnya Lily van Java yang diproduksi pada tahun 1928 dan merupakan film pertama yang melibatkan Kongsi Tionghoa dalam industri film di negeri ini (South Sea Film Co.).

Ketika Lily van Java akan diproduksi Liem Goan Lian dan Tjam Tjoen Lian, sang pemilik industri menyadari, bahwa jalan cerita film yang dibuatnya menyimpang dari tradisi penceritaan dalam konteks lokal. Karena itu Lien Goan Lian merasa perlu mengajukan skenario film Lily van Java ke Film Commissie (Badan Sensor) untuk dicermati. Barulah setelah memperoleh persetujuan dari Film Commissie, Lily van Java diproduksi dan memperoleh sukses sepanjang tahun 1928.

Pada tahun 1930, mulai muncul protes terhadap film Karnadi Anemer Bangkong. Pribumi (masyarakat Indonesia) marah terhadap film itu karena memperlihatkan pribumi makan kodok. Setelah itu Film Commissie meminta lagi sebuah film untuk ganti judul karena protes orang banyak. Film Lari ke Mekkah (Meka) oleh Film Commissie diganti Menjadi Lari Ke Arab. Dari pergantian ini tampak bahwa sejak awal Badan Sensor sudah berperan dan sudah berfungsi seiring tumbuhnya industri film di Indonesia.

Sepanjang tahun ‘30-an, industri film tampaknya baru mencari bentuknya melalui judul-judul lama dari tradisi penceritaan lokal yang masih mendominasi gambar-gambar Bisu di negeri ini. Nyai Dasima, Si Ronda, Nyai Siti, Melati van Agam mendominasi judul-judul tahun 1930. Barulah setelah tahun 1931, dengan munculnya adegan suara dalam film, industri perfilman menjadi kian semarak dan judul-judul film pun mulai beraneka ragam serta penceritaan kian menjadi kaya.

Pada tahun 1934, Cino Motion Picture (The Teng Chun) memperkenalkan DOEA SILOEMAN OELAR, diangkat dari cerita klasik Cina. Sejak itulah cerita-cerita siluman sambung-menyambung pada tahun ‘30-an, yaitu Siloeman Babi (1935), Anak Siloeman Oelar Poeti(1936), Siloeman Tikoes (1936), Moesnahnya Gowa Siloeman Poetih, dan sebagainya. Film-film siloeman pada tahun 1930-an ternyata diproduksi hanya untuk memenuhi selera pasar “murahan” dan tidak memberi arti yang besar bagi perkembangan perfilman secara kualitatif.

Memang pada tahun ‘30-an tema-tema film dalam negeri (Indonesia) mulai bervariasi dibanding awal kebangkitannya pada tahun ‘20-an. Tema-tema patriot/pendekar yang bercampur mistik bermunculan. Hal itu bisa dimengerti, karena industri perfilman didominasi oleh pengusaha-pengusaha film dari kelompok masyarakat Tionghoa (Cina) yang diwakili oleh produksi film Batavia Motion Picture dari Jo Eng Sek dan Nelson wong.

Dominasi itu masih berlangsung hingga akhirnya pada tahun ‘30-an diproduksi si Ronda dari Tan’s Film (Tan Koen Youw). Karena itu, tidak mengherankan jika cerita-cerita film yang beredar di Indonesia ketika itu, banyak mengambil tema dari cerita Tiongkok (Cina) yang diadopsi langsung dari buku-buku komik. Seperti film Poi Si Giok Pa Loi Tay (1935) diambil dari Kiam Liang Koen Yoe Kang atau Anaknya Siloeman Oelar Poetri (1936) dari Java Industrial Film (The Teng Chun).

Selain mengambil tema-tema cerita dari kisah-kisah klasik Tionghoa (Cina), industri film juga mengambil dari repertoar panggung dan gambang kromong dengan mengadopsi lakon lokal seperti Sam Pek Eng Tay produksi Cino Motion Picture (The Teng Chun) tahun 1931.

Dengan munculnya kegiatan perfilman sebagai sebuah industri yang dapat menghasilkan “Oeang” pada tahun ‘30-an, industri ini dengan cepat di “keroyok” oleh para pengusaha Tionghoa (Cina) yang ada di Indonesia, Singapura, dan Malaya. Bagi mereka, film adalah sebuah mata tambang baru yang dapat menghasilkan uang. Karena itu, industri film pun mulai bermunculan, dan pengusaha-pengusaha Tionghoa yang semula bergerak di berbagai bidang usaha segera banting stir ke usaha perfilman yang lebih menjanjikan, maka muncullah:

South Sea Film & CO (Liem Goan Lian, Tjan Tjoe Lian)

Nancing Film Co.

Tan’s Film (Tan Koen Youw)

Halimoen Film (Nelson Wong)

Batavia Motion Picture (Jo Eng Sek)

Batavia Film Industri (Jo Kim Tjem)

Java Industrial Film (The Teng Chun)

Cino Motion Picturs (The Teng Chun)

Union Film Coy (Ang Hoek Liem)

New Java Industrial Film (The Teng Chun)

Action Film (The Teng Chun)

Star Film (Jo Eng Sek)

Oriental Film (Tjan Hoek Siong)

Majestic Film Coy (Fred Young)

Jacarta Picture (The Teng Chun)

Populer Film (Jo Kim Tjan), dan

Standard Film (Touw Ting Lem).

Barulah setelah film Het Eilan der Droomen, film Terang Boelan produksi ANIF yang disutradarai oleh Albert Balink, menyuguhkan romantika penceritaan dengan nuansa pribumi yang sangat kental, dengan bintang-bintangnya Rd. Moechtar, Roekiah, ET. Effendi, Tjitjih, Muhin dan Kartolo. Industri film tersentak untuk kembali menggunakan kekuatan/keunikan dari tema-tema lokal dengan menggarapnya dengan sepenuh hati. Terang Boelan adalah film terlaris sepanjang tahun ‘30-an dan ditayangkan selama dua bulan di Singapura pada tahun 1938 dengan penghasilan S$ 200.000.

Setelah itu, muncullah judul-judul bernuansa lokal seperti Fatimah (1938), Oh Iboe (1938), Tjiandjoer (1938), Impian di Bali (1939), dan Siti Akbari (1939). Sepanjang tahun 1940 sampai dengan 1941 mulailah muncul “action” dalam film Indonesia seperti Kedok Ketauan (1940), Kris Mataram (1940), Matjan Berbisik (1940), Pak Wongso Pendekar Boediman (1940), Rentjong Atjeh (1940),Boejoekan Iblis (1941), Elang Darat (1941), Garoeda Mas (1941), Lintah Darat (1941), Matula (1941), Pak Wongso Tersangka (1941),Poesaka Terpendam (1941), Singa Laoet (1941), Srigala Item (1941), Tengkorak Hidoep (1941), ditutup dengan munculnya filmTjioeng Wanara (1941).

Film Tjioeng Wanara merupakan film kolosal pertama yang diproduksi secara cermat, dengan menunjuk secara khusus Prof. Dr. R. Poerbotjoroko, sebagai penasihat sejarah yang mengisahkan tentang Raja Galuh. Setelah itu, pada era pendudukan Jepang, film yang diproduksi tidak lepas dari kontrol penguasa Jepang, seperti film Berjoeang (1943), Di Desa (1943), Di Muara (1943), Djatoeh Berkait (1944), Gelombang (1944), Hoejan (1944), serta Koeli dan Romoesa (1944). Semua film itu diproduksi dalam rangka propaganda Dai Nippon di Asia.

Pada era kemerdekaan hingga tahun 1950-an, judul-judul film telah menjadi sangat romantis. Berbagai judul yang sangat indah, antara lain Air Mata Mengalir di Tjitarum (1948), Anggrek Bulan (1948), Bengawan Solo (1949), Gadis Desa (1949), Harta Karun(1949), Menanti Kasih (1949), Saputangan (1949), Sehidup Semati (1949), dan Tjitra (1949).

Mencapai puncak romantik pada film Antara Bumi dan Langit (1950). Film itu menuai kritik masyarakat luas, karena merupakan film Indonesia yang pertama menampilkan adegan ciuman. Gelombang protes melanda hingga kemudian direvisi dengan menghilangkan adegan ciumannya dan mengganti judulnya menjadi Frieda. Film Antara Bumi dan Langit membuka lembaran baru dalam industri film Indonesia tahun 1950-an dan era itu dapat dianggap sebagai masa keemasan film Indonesia.

Salah satu yang sangat penting pada era 1950-an, ialah ketika Usmar Ismail mengangkat tulisan Sitor Situmorang menjadi film berjudul The Long March, yang kemudian diberi judul Darah & Do’a. Film itu menjadi sangat penting, bukan semata-mata karena mengisahkan romantika perjuangan prajurit RI yang diperintahkan kembali dari Yogyakarta ke Jawa Barat, melainkan lebih dari itu, dianggap sebagai film nasional pertama karena kandungannya memuat pesan-pesan patriotisme dan nasionalisme yang mendalam.

Karena itulah, Dewan Film Indonesia, pada tanggal 11 Oktober 1962 menetapkan hari shooting pertama The Long March (30 Maret 1950) menjadi Hari Film Indonesia. Banyak bintang film yang mulai muncul pada era ‘30-an, ‘40-an, seperti Rd. Mochtar, Roekiah, Kartolo, Annie Landouw, Mas Sardi, ET. Effendi, Tan Tjeng Bok, R. Hidayat, Sofia WD, Djouhari Effendi, A. Hamid Arif, Netty Herawaty, Darussalam, S. Bono, Grace Panji Anom, dll. Para aktor dan aktris itu kemudian menemukan bentuk dan kualitas pribadinya sebagai pemain yang berkarakter, sebagai bintang film tenar yang memiliki kepribadian dan warna sendiri pada era ‘50-an, pada saat industri film nasional mencapai puncak keemasannya.

Di antara lebih dari 250 judul film yang diproduksi pada 1950-an, hanya satu adegan yang mengundang kontroversi, yaitu ketika S. Bono mencium Grace dalam film Antara Bumi dan Langit. Semua film tahun ‘50-an sangat jelas, penceritaannya mudah dimengerti, indah penceritaannya, dan senantiasa mengajak orang harus menonton agar dapat mengungkit teka-teki lakon di balik judul-judul itu, seperti Antara Bumi dan Langit (1950), Dendam Asmara (1950), Harumanis (1950), Meratap Hati (1950), Musim Melati (1950),Nusakambangan (1950), Pantai Bahagia (1950), Ratapan Ibu (1951), Antara Tertawa dan Air Mata (1951), Bunga Rumah Makan(1951), Di Tepi Bengawan Solo (1951), Hampir Malam di Yogya (1951), Air Mata Pengantin (1952), Dr. Sanusi (1952), Redrigo de Villa (1952) bekerja sama dengan LVN Studio (Filipina), Solo di Waktu Malam (1952), Aladin (1953), Belenggu Masyarakat (1953),Harimau Tjampa (1953), Lenggang Jakarta (1953), Musafir Kelana (1953), Sapu Tangan Sutra (1953), Antara Dua Sorga (1954),Jakarta Bukan Hollywood (1954), Jakarta Waktu Malam (1954), Halilintar (1954), Kopral Djono (1954), Lewat Jam Malam (1954),Dibalik Dinding (1954), Kabut Desember (1955), Tiga Dara (1956), Air Mata Ibu (1957), Seroja (1958), Tjambuk Api (1958) dan banyak lagi.

Semaraknya industri film tahun ‘50-an ditutup oleh Titian Serambut Dibelah Tudjuh (1959) produksi Murni Film dengan sutradara Asrul Sani. Dibanding tahun ‘50-an, grafik industri perfilman nasional pada tahun ’60-an, agak menurun dari segi jumlah. Film yang diproduksi hanya sekitar 178 judul. Akan tetapi, dari segi kualitas, adegan film tahun ‘60-an tampak lebih kaya nuansa. Pemain-pemain lama mencapai puncak ketenarannya, di samping aktor dan aktris baru yang mulai menanjak menapak kesuksesan.

Pada tahun 1960-an, Bambang Hermanto sebagai Aktor Terbaik di Festival Film Internasional Moskow 1961 melalui filmperdjuangan, dianggap sebagai ikon film tahun 1960-an. Film perdjuangan didukung oleh aktris/aktor terbaik ketika itu seperti Bambang Hermanto, Chitra Dewi, Rendra Karno, Bambang Irawan, Farida Aryani, Ismed M. Noor, Lies Noor, Soendjoto Adibroto, Pietrajaya Burnama, Mansur Syah dll. Selain itu, muncul nama-nama seperti Dicky Zoelkarnain, Ratno Timoer, Farouk Affero, Rahayu Effendi, WD. Mochtar, Rahmat Hidayat, Rima Melati, Mieke Wijaya, Rahmat Kartolo, Ami Priyono, Widyawati, Connie Suteja, Rita Zahara, Marlia Hardi, Maruli Sitompul, Hadisyam Tahax, Wahab Abdi dan banyak lagi.

Banyak dari nama-nama aktor/aktris terbaik tahun ‘60-an itu masih menguasai layar-layar perak tahun ‘70-an. Seiring dengan besarnya jumlah produksi tahun 1970 hingga mencapai 630-an judul film dalam 10 tahun, ini berarti tidak kurang dari 52 judul film yang diproduksi setiap tahun.

Pada tahun 1961, Rita & Rina Film memproduksi sebuah film berjudul KUNTILANAK. Film itu sebenarnya bukan menampakkan wujud kuntilanak, melainkan hanya suara tertawa yang menyerupai tawa kuntilanak. Barulah setelah tahun 1971, permainan hantu, berawal ketika PT Tidar Film memproduksi Beranak Dalam Kubur dengan Suzanna sebagai bintang utamanya. Kemudian, pada tahun-tahun selanjutnya, mulailah judul-judul seperti Lantai Berdarah (1971), Dendam Si Anak Haram (1972), Pemburu Mayat(1972), Ratu Ular (1972), Cincin Berdarah (1972), Mayat Cemberut (1972), Simanis Jembatan Antjol (1973), Kuntilanak (1974),Kemasukan Setan (1974), Raja Jin Penjaga Pintu Kereta (1974), Arwah Penasaran (1975) Penghuni Bangunan Tua dan banyak lagi.

Apa yang dituliskan secara beruntun di sini tentang judul-judul film dengan tema-tema mistik dan hantu, hanyalah sebagian kecil dari judul-judul mistik dan hantu yang menguasai layar-layar perak di negeri ini pada sekitar tahun ‘70-an, dan mencapai puncaknya ketika PT Tobah Indah Film memproduksi Penangkal Ilmu Teluh (1979) dan Tuyul Perempuan, (1979). Setelah itu, pada tahun 1980-an, ketika produksi film mencapai 680-an dalam 10 tahun, atau sekitar 57 film setiap tahun, ada 70 judul film di antarannya berhantu dan penuh dengan alur-alur cerita mistik.

Pertanyaannya adalah, apakah ada hubungan antara kondisi sosial-politik-ekonomi dengan kreativitas dan keleluasaan imajinasi dalam penciptaan tema-tema film? Tentu saja jawabannya ya, dalam arti bahwa di era kekuasaan orde baru pada tahun ‘70-an-‘80-an yang sangat ketat dalam berbagai kontrol, justru mendorong kreativitas penciptaan dengan munculnya judul-judul kemanusiaan, etika, dan lakon-lakon sosial yang lebih menonjolkan sisi kemanusiaan sebagai jawaban atas situasi yang dianggap sangat terawasi. Sementara lakon-lakon mistik dan hantu-hantu, tetap gentayangan karena dianggap lebih aman.

Namun, satu hal yang penting untuk diketahui, bahwa hantu-hantu ini tidak lepas dari lakon sosial yang dapat dijelaskan dalam berbagai alasan dan pembenaran budaya. Misalnya Godaan Siluman Perempuan (PT Leuser Film, 1978), Tuyul (PT Sinar Tekun Film), atau Kutukan Nyai Roro Kidul.

Demikian juga pada tahun 1980, hampir semua film mistik dan hantu masih bertaut dengan kehidupan masyarakat sehari-hari, dalam arti makhluk halus dan hantu-hantunya serta adegan mistik dalam lakon-lakon film nasional masih dikenal dalam kolektifmemory masyarakat. Barulah setelah Pengabdi Setan (1980), PT Rapi Film mulai mengajak secara profesional setan dan hantu-hantu sebagai bintang film dalam film Indonesia. Karena sejak itu setan dan hantu-hantu sudah diberi peran sesuai skenario manusia, sementara sebelumnya judul-judul film produksi Rapi Film sangat melankolis penuh perasaan terkadang sedikit genit misalnya Akibat Godaan (1978), Dang Ding Dong (1978), Rahasia Perawan (1978), Cubit-Cubitan (1979), Kerinduan (1979), Pelajaran Cinta (1979), Wanita Segala Zaman (1980), Anak-anak Tak Beribu (1980), dan Warna Cinta (1980).

Konteks cerita Pengabdian Setan memang konteks cerita Indonesia, tetapi hantu dan roh-roh halus yang bermain, sudah menjadi bagian dari kehidupan metropolitan. Apakah hantu dan roh-roh yang bermain di sini sudah hantu dan roh impor yang dipinjam dari alur penceritaan film impor? Kalau ini benar, maka posisi hantu-hantu Tionghoa, yang sudah mendominasi wajah perfilman Indonesia sejak tahun 1930-an, sudah habis masa kontraknya dan perannya diambil alih oleh hantu-hantu Indonesia yang kemasukan roh dan mahkluk-mahkluk halus global.

Dibanding pada tahun ‘80-an, pada era tahun ‘90-an industri perfilman mengalami penurunan, setidaknya dari jumlah produksi, hanya sekitar 453 judul film dalam 10 tahun, berarti hanya diproduksi sekitar 37-an film dalam setahun.

Sampai dengan pertengahan tahun 1990-an, tema-tema film nasional kita didominasi oleh tema-tema drama rumah tangga, sedikitaction, dan kisah-kisah pendekar. Sementara tema-tema hantu dan mistik seakan jalan di tempat. Akan tetapi, setelah tahun 1995, terjadi perubahan dalam selera penceritaan.

Dimulai dengan judul Bebas Bercinta oleh Rapi Film (1995), lakon-lakon yang menyerempet-nyerempet ke tema-tema seks mulai menghangat. Karena setelah itu, sepanjang tahun 1995 hingga memasuki tahun 2000-an, tema berbau seks tidak terbendung lagi dengan munculnya Cinta Terlarang (1995), Dibalik Pelukan Laki-laki (1995), Gairah & Dosa (1995), Gairah Malam Yang Kedua (1995),Gairah Terlarang (1995), Hangatnya Cinta (1995), Lembah Dosa (1995), Pergaulan Intim (1995), Pergaulan Metropolis (1995),Permainan Binal (1995), Pesona Gadis Sampul (1995), Rayuan Cinta (1995), dan Skandal Binal (1995).

Memang masih perlu penelitian yang cermat tentang munculnya tema-tema seks pada era tahun 1900-an, yang sesungguhnya mencapai puncaknya pada tahun 1996-1997-1998, pada era peralihan kekuasaan orde baru ke era reformasi. Bisa dibayangkan, dalam 1 tahun saja (1997) diproduksi 21 film bertema “seks”

Tidak dapat dipungkiri bahwa dalam dua dasawarsa terakhir ini, era tahun 1990-an dan 2000-an, industri perfilman di Tanah Air diramaikan dengan munculnya industri sinetron untuk konsumsi televisi yang jumlahnya kian bertambah dalam 20 tahun terakhir.

Baik industri film layar lebar maupun televisi menciptakan lapangan kerja bagi sekian banyak orang. Masalah yang dihadapi sekarang menjadi sangat multidimensi. Mutu sumberdaya pemain, kualitas-kreativitas penciptaan cerita (skenario), promosi/iklan yang etis, termasuk pemilihan judul yang tepat dan yang terpenting adalah tanggung jawab moral terhadap dampak yang diakibatkan sebuah film.

Apakah ia diproduksi semata-mata hanya untuk hiburan sesaat tanpa pesan-pesan moral yang dititipkan oleh si pembuat film, karena memang sang film diciptakan hanya sebagai tontonan pelipur lara. Kalau dari awal niatnya memang hanya untuk pelipur lara demi uang, maka kita pun tidak dapat berharap banyak akan munculnya pemain-pemain/aktor-aktor yang memiliki kualitas pribadi yang tangguh. Karena untuk film yang diciptakan hanya sekadar pelipur lara yang mengikuti selera penonton seketika, kata lain dari murahan, akhir-akhir ini mulai mendatangkan pemain-pemain asing sebagai bintang tamu dari sebuah film nasional.

Apa arti semua ini, ialah penonton kita sudah mulai jenuh dan jemu dengan wajah pemain-pemain kita yang setiap hari kelihatan di judul-judul film yang berbeda-beda dan di puluhan sinetron dengan lakon yang beraneka ragam, tetapi dengan karakter/kepribadian yang sama.

Bali: Island of the Gods / 1979

2012-01-08T06:05:00.000-08:00

Bali: Island of the Gods
Director: PHIL NOYCE

Documentary film, Australia
This film was made as an in-flight program for passengers traveling to Bali on the Australian Qantas Airlines flights.

A touching memoir of Bali from the 1970′s during a time of innocence, before things got complicated on the island of the Gods…

Bali 1979.

The flight from Sydney to Denpasar had gone smoothly enough. Now it was just a matter of getting through customs and down to the coast where I’d been promised a room within spitting distance of the beach, three meals a day and a guide with extensive local knowledge. All free of charge. Of course there was a catch. Standing nervously over by the baggage carousel was my Dad. Not far away was my Mum. Next to her, my kid sister and, somewhere out of sight lurked an older brother.

Bali. 1979. Not every story that starts with those words is a story of empty surf breaks, glassy barrels and something a little bit to the left of the law. Sometimes it’s simply a story about a family holiday. Kuta or Sanur. They were the options back then. We were at Kuta. Even 30-odd years ago it was a bit of a dive with Europeans, Japanese and Australians sprawled out along a small stretch of the beach, all saying ‘yes’ or ‘no’ to a constant stream of locals peddling woodwork, sarongs or an oil massage that left you gritty with sand. One main street led back from the beach and there were some crossroads. Bungalows and low-rise concrete hotels were scattered between lush gardens. I remember a pub (called The Pub), Poppies restaurant, a disco or two. And enough shops to keep a teenage girl busy. I soon had the hippie-chic look sorted: hand-made lace, woven vest, drawstring pants with dragon print and lace-up leather sandals. For the beach, there were batik bikinis. I was quite taken by these and at dinner one night wondered about the possibilities of buying them in bulk for sale back home. My Dad said I’d have to pay duty at customs; it would end up costing me more than I’d get for them; I was sure there’d be a way around it.

Kuta had a nice beach and warm water, but it didn’t take us kids long to figure out that the real Bali experience was elsewhere – with a family in a losmen, somewhere north or south of where we were. We got on our bikes and went hunting, cycling out along a busy pot-holed road to a place called Legian. From the main road we went down a sandy track to an unspoiled beach. There was a warung, not much else. We sat for a while with a couple of surfers who were out of action – one from a scrape along the reef that had got infected, the other from a nasty burn which made me less keen to get a motorbike of my own. Further down the beach, there was a slab of concrete and some bamboo scaffolding. The first stage of a three-story resort.

Our parents meanwhile had been doing a bit of research of their own and it wasn’t long before they broke camp and set themselves up in a Balinese paradise over at Sanur in a villa that had a private garden, a pool, a fountain and the beginnings of a small exotic zoo. The décor was all wood, black stone, and traditional fabric with not an artificial surface in sight. It was quieter over that side, the general flavour more European with lake-like swimming in the reef-protected bay and civilised frisbee throwing on the sand. Nice, but kind of boring.

Back in Kuta and free of adult supervision we went our separate ways: I went shopping, my sister got sunburnt and my brother found out about magic mushroom omelettes. The place to go was down a back path to a warung with a sandy floor and a stick-like tree decorated with broken egg shells. ‘It’s an egg-tree,’ the 12 year-old who served our omelettes told us, before she sat back to watch us ‘go funny’. I don’t remember what we’d done with our little sister (something responsible I hope), but I had a pretty nice afternoon wandering around, watching the people and the colours in the soft afternoon light of the monsoon season, getting my picture taken with a bunch of Japanese tourists who had gone swimming in their underwear and sitting on the sand watching friendly hallucinatory spiders crawl all over my legs. At some point, I bought a lot of batik bikinis.

When our parents returned we set off to see a bit more of the island, driving around in an old Cadillac-turned-taxi and joining up with one of those culture-slash-shopping-slash-culinary ventures designed to give tourists a taste of the real Bali. We went to Tanah Lot and saw the temple and then up to Ubud. There were visits to workshops of local artists, a spectacular festival ceremony, a chook fight (men only), incredible food, breathtakingly lush country-side and people more lovely than you could imagine.

I was in Bali in 1979 and I didn’t surf. So I can’t tell you about scoping missions in search of stand-up barrels or epic sessions on virgin waves with just me and a mate. All I can tell you is the fragments of memories of a 16-year-old girl on her last family holiday. Of how a ladder went through the fuselage just before take off and how a plane-load of hot, sweaty tourists spent the night grounded on the tarmac without water, food or air conditioning. Of how there were bad moods all round by the time we finally made it back to Sydney. And how, as we headed towards customs, I was thinking about my stash of 100 bikinis and how maybe I should have listened to my father after all.

Kuta Beach - wonder where they are now? Taken on my Kodak Instamatic

Tanah Lot - Big Brother getting into the groove with a 'Man-Bag'

Cock Fight - My Dad and brother snuck off to this one.

On the way to Ubud. Just beautiful

Up from Sanur, test-driving bikinis.