Divagyrations

Rating:	★
Category:	Movies
Genre:	Drama

im just moving all this stuff from dunia-film@yahoogroups.com because i just found out this:

‘apalagi ini milis eksklusif. tidak semua orang bisa masuk milis ini.
hanya orang2 yang benar2 terlibat secara langsung dengan dunia perfilman.

jadi, milis ini sangat eksklusif, hanya penulis dan pekerja film yang
bisa masuk. dan karenanya, diperbolehkan untuk tukar menukar no hp,
email tokoh2 perfilman.’

– stern warning from the moderator who shall remain nameless unless i get really vindictive one day beware, Mon Dec 3, 2007 10:06 pm

who would wanna be in da club if da club is a bunch of fucks?

*memasuki isi perut richard oh or the one thing more painful than watching koper:*

– i think theres’ some unnecessary comedy in the script. you can
safely cut yahya getting stuck in the fence and yahya naked talking to
noni at the bus stop wihout losing anything. it has to do with the
tone of the movie; whatever comic moments you’re trying to slip in
between the melancholia just don’t fool me: you’re a sombre-romantic,
kinda like p. ramlee. remember how the kafe betawi regulars waltz to
his music? i think that’s the right tone and pace for the movie.

like how yahya would look up and stare at the advertising billboards.
if the pace is too fast, and comedy is fast, like the `adam subandi’
guerilla postering in janji joni, the moment will pass you by without
you feeling or even understanding much of what just happened.

and since these comedic moments are few and far between anyway, they
could derail the flow of the story, i feel this especially during the
naked yahya episode. he almost lost his suitcase to a gang of thugs,
but the relief he must’ve felt when he got it back, which we must feel
too, is diluted by his struggle to cover his dick with his suitcase.
the pissing dog is also a cheap laugh i think.

– the comedy doesn’t suit the yahya character i guess. he’s a serious
man. and he doesn’t have enough mongrel—as the aussies say it—in him
to react well to the misfortunes that give him the chance/space to be
a comic. he’s no woody allen.

– let’s go deeper into yahya’s character. he’s sometimes angry and
loud about it, like in the opening scenes when he walks down the
hallways of the national archive building, and at other times seems
too morose and gentle to be as loud as he sometimes is. he seems at
peace whenever he’s with noni and angsty when with others, his wife. i
guess this is the point, but is it too much so?

and how much does he love yasmin? or how much love does he have left
for her? would he have sold all his p. ramlee records to pay for her
surgery? i believe that you should not give the audience what they
want. at first it looks like this is what you’re doing by getting
yahya to sell all his p. ramlees. wouldn’t we want him to keep all
those shiny black vinyls? you break my heart. but then on closer
inspection, isn’t he just doing what’s expected of him? he’s a bit of
a goody two shoes, so he’ll sell all his records, “the only thing i
own that is worth something”, because he must, because he doesn’t care
anymore. is this the point? or does he still care about yasmin, even
if it’s only that he doesn’t want her to die?

the night before he sells his records he was at the kafe betawi
waltzing away with noni, and the night before that at noni’s flat
looking “awkwardly into each other’s eyes”. so he doesn’t really care
that much about yasmin. why not make him care even less?

get him to open the suitcase instead of selling his records?

– but then i understand that the suitcase is the only thing that
matters to him now. or rather returning it to its owner. i like this;
he doesn’t care about anything else anymore, and single-mindedly
pursues something that he thinks is only right and natural. returning
the suitcase fits into yahya’s idea of what that rightness and
naturalness demand from the world. people should not want, and people
around him want, want, want more and more and more out of life. he
wants nothing, as everyone should. in fact the world has given him
something, a manna of a suicase, and he doesn’t want it. as everyone
shouldn’t.

and so, this becomes what the audience deep in their guts want, for
yahya not to experiment with his strict moral calculus. for him to
return the suitcase to its rightful owner, and for him not to be
tempted even to see what’s inside it, the way we don’t want indy to
look inside the lost ark. of course we want to see what’s inside it
too but we expect indy, yahya, to be stronger than we are and resist
the temptation.

so why not make him give up to temptations? open the suitcase and
don’t sell the records.

it will only strengthen his bleak view of he world. man wants and
easily gives up to temptations. he doesn’t thinks he’s like that. but
what does he know, what do you know, he is.

the audience won’t want that, won’t want yahya to give up, and you’re
left with a better movie.

– there’s too much deus ex machina in the suitcase opening
accidentally when yahya bangs his fist on it. it’s too happy ending-y
really; you get to see yahya see what’s inside it (though we don’t
know what he sees, we’ll share his “amusement and sheer hilarity”) and
we don’t have to blame him (and we escape blame ourselves) for giving
in to the temptation to open it. the hand of god opens it for yahya,
for us. and we don’t have to wash the dirt of temptation off our hands.

what you need is more machina, less deus.

– or do you want yahya to care about nothing? not even the suitcase?
this is possible. he could care less about the reasons why he should
return it and do so only out of a vague obligation to act right. and
the movie will become even more nihilistic. but it does present and
internal problem of motivation for the movie. there will be no pothos,
something that yahya really wants, something that drives him (cf.
achilles’ honour in the iliad, paying back the stolen new beetle in
virgin), and the plot.

you have to choose one or the other of course, because the two yahyas
will lead different lives, at least two different movies.

– if you want yahya to care about the suitcase, which i think you
do—only when he’s with noni does he seem to forget all about it, then
you should get him to try to return it sooner. by my calculation a day
is lost before he attempts to find the owner of the suitcase. he’s at
the office all day, goes to kafe betawi in the evening and then goes
record-hunting with noni. it’s only the next day that he tells the
office boy he wants the phone number for the lost and found. already
around 36 hours after he found the suitcase!

i think you can solve this problem by:

1. getting the suitcase to fall closer to yahya from the harrier. he
sees the suitcase, shouts his “Hey! Hey!” to the car, picks the
suitcase up and maybe runs after the car a few metres, waving his
hands, and then when he realizes the man in the car doesn’t hear him
(or doesn’t want to) he looks at the numberplate and memorizes it.

2. next day at the office he starts to look for the lost and found
number but the cronies are hassling him already, he’s inundated with
work, perhaps thick piles of documents slam on his desks, and suddenly
his little clock rings in 7.30 pm! damn, it’s too late? he goes to
kafe betawi, and when he sees noni, get him to say a few things about
the suitcase, “man i wanted to return this suitcase but today the
office got all weird on me” or something. he doesn’t say anything
about the suitcase to noni in your script! as i said, he seems to
forget all about it when he’s with her and that’s fine but i think
this time he should, and before they go record-hunting!

– some problems of verisimilitude:

1. the jayas seem too rich and the yahyas not poor enough. they live
in an alley don’t they? with wafer-thin plank walls? if the jayas are
novices at corruption, which they must be since they haven’t moved to
pondok indah, then mbak sri won’t i don’t think offer “smoked ham
sandwiches”, maybe some roti bakar with ceres sprinkles, but not cold
cuts. and if the yahyas are poor then they wouldn’t have a washing
machine, yasmin will wash yahya’s clothes on a washboard
half-submerged in soapy water in an oblong baby washtub (this would
look better too wouldn’t it?). and if they did have a washing machine
it would probably be one of those old twin-tub ones (yasmin lifting
dripping clothes from the washer and pushing them into the spinner
would also look good), and certainly not a front-loading ge, even if
it’s old!

– some problems of continuity:

1. when yahya goes to see alatas (this reminds me of when meryl streep
went to see chris cooper in adaptation) he, disappointed, lugs his
suitcase and “threads his way along the rutted path toward the main
road”. but since the place is far out of the way and he got there on
the shop owner’s ford escape, he should surely be getting back into
the car rather than walk off?

2. page 21, after they go record-hunting, after noni’s “that must be
worth a fortune”, i think it needs a little goodbye but i really
really like you and i had so much fun much funner than with my wife scene.

– how much control do you want to have on the director? eg. when p.
ramlee’s wafting “over the balcony. over the parapet, along the alley,
in and out of the neighbors’ houses”, how do you want this to look
like? moving shots of the balcony, parapet etc., everything and
everyone silent but for p. ramlee? or are you going to leave it to the
director’s imagination?

on page 23 you wrote `the camera pans …” (from the no salesman etc.
welcome sign along the queue of hangers-on). you probably need to
decide whether or not to include strict directions like this in the
script. i prefer not. and just say what happens, i.e. a line of
salesman etc. snakes along the wall from in front of the office’s
door. above the door a sign: no salesman etc. welcome!

– i want to say a few things about the dialogue/language but i have to
go to work now. i’ll write them later.

mikael.

Rating:	★★★★
Category:	Movies
Genre:	Comedy

im just moving all this stuff from dunia-film@yahoogroups.com because i just found out this:

‘apalagi ini milis eksklusif. tidak semua orang bisa masuk milis ini.
hanya orang2 yang benar2 terlibat secara langsung dengan dunia perfilman.

jadi, milis ini sangat eksklusif, hanya penulis dan pekerja film yang
bisa masuk. dan karenanya, diperbolehkan untuk tukar menukar no hp,
email tokoh2 perfilman.’

– stern warning from the moderator who shall remain nameless unless i get really vindictive one day beware, Mon Dec 3, 2007 10:06 pm

who would wanna be in da club if da club is a bunch of fucks?

*dioyak mumu, eric lan akmal*

bajigur! lha iki kok kabeh kritik ketoke kok ora ono sing ngerti film
iki to? malah ketoke dho ora gelem ngerti, ora gelem ‘ngleboni wetenge
kreatore’ nek jarene koh oh wingi kae. sing ono meng ece2an soal
logika cerita sing ora logis, misale kenopo si cah ayu anyar eneh kae,
wah jan matur nuwun tenan mas rudy, kowe mung siji2ne sutradara sing
wani nganggo lan nggoleki bintang anyar nggo film2mu, jan untung tenan
kowe mbok aku melu nek casting, yo, kenopo dheweke kudu nganggo
hotpants terus. lha iki kritik2 iki opo ra tau nongkrong neng senayan
city opo yo? lha nek cah ayu kuwi, alah alaaah lucune nek cangkeme
nutup ning rodo ketahan behel, trus rodo mbuka ketahan sethithik, wah
seksine, lha nek dheke kesusu arep minggat terus waton wae nglebokke
klambi karo kathok neng tas yo mestine paling ora bakal ono 342
hotpants sing katut to! piye to wong2 iki dasar mas2 katro! trus soal
matine bapake, utawa kenopo dheweke minggat. lha kok akmal, Oh, Gusti!
kowe kok yo iso2ne nggambleh: ‘simaklah problem pemantiknya yang
klise: bapak Shanaz “harus” meninggal lebih dulu, dan sang ibu – betul
sekali! – punya rencana menikah lagi dengan seorang om botak yang luar
biasa membuat muak sang anak.’ (tempo, 27 mei 2007, 125) lha nek koyo
ngene iki sopo sing klise, rudi lan monty apa malah kowe dhewe? cah
ayu kuwi ngenyek ibune pelacur terus mlayu saka ngomah terus, mung
goro2 cah ayu neng eling, ISIH CILIK, kuwi ngomong ngono mau terus
kowe percaya wae nek masalahe mung kuwi? lha opo ra tau ndelok dr.
phil to? lha kan dheweke isih lara atine, nyesel dheweke ngapusi
bapake mlayu2 esok trus malah mati (yo iyo wong ra tau olahraga nyabu
terus piye to nduuuk nduk), lha ya gara2 kuwi to sakjane dheweke
mlayu. opo kowe ra nggatekne omongane cah ayu kuwi karo dwi sasono
neng mburi film pas si dwi ngomong yen dheke yo nyesel tenan ra iso
nulungi adhine pas gempa gara2 lagi pacaran karo ningsih terus adhine
mati. cah ayu kuwi meneng trus mbrebes lan ngomong lirih2 ‘o ya, aku
ngerti, ngerti banget rasane. kosong.’ nek menurutku yo jelas neng
kono cah ayu iki ora mung lagi ngomong yen dheweke ngerti artine
kelangan wong sing mbok tresnani tapi yo mungkin dheke lagi sadar,
mungkin iki, iki kenapa aku minggat soko ngomah wingi! aku isih
kelangan bapak, lan saiki aku lagi ‘gegabah’ ngisi atiku sing ‘kosong’
kuwi mau. persis koyo kandhane ningsih mau bengi. kabeh petualangan
iki, ngguya-ngguyu ndelehke sirahku neng pundhakke mas dwi iki, mung
nggo ngisi kothonge atiku mau. aku blas ra dhong, radhongblas!, kenopo
kritik2 kuwi koyo ra niat nonton film iki. ra gelem nyerah wae karo
critone, malah sibuk ngarang critone dhewe. iki kudune ngono, iku
kudune ngene. malah eric komplen soal lighting, walaaaaaaaaahhh. kuwi
neng tengah2 film ono awan kelire kuning endhog, indah to, sopo peduli
nek ora tau ana awan werna kuning endhog? lha iki nek menurutku
mamerke meneh yen akeh wong saiki, ra mung kritik2 iki wae, sing
ketoke isih wae nuntut film2 indonesia supoyo dadi realis. supoyo
nggambarke donya sing didelok saben dina karo wong2 kuwi. makane dho
pada seneng kala kabeh, soale meneng2 menurutku film kuwi malah realis
banget, negara antah berantah sing koyo indonesia tapi dudu indonesia
kuwi yo nyat indonesia! piye to! wong2 korup, ratu adil, dhemit,
kurang klise indonesia piye meneh! wong iki film kok, piye to. kowe
iso njeblugke donya terus sesukke ngopi2 neng starbucks, yo mungkin
wae! kowe nduwe kekuatan kuwi, lha ngopo ra digunakne. opo realis
misale aminah cendrakasih jugujug nyanyi2 neng trem jakarta, utawa
kate winslet diantemi karo prajurit lilin? (hayo neng film opooo den2
kritik?) yo apik2 wae to filme. lah nek menurutku film2e rudy lan
monty kuwi rodo koyo fabel, alegori, crito2 bibel. moralia ala
plutarch. mesti ono morale. ra penting realis opo ndobos! lha nek neng
film iki moraliane yo pas ningsih karo cah ayu mau dibandhemi botol
aqua pas kabeh wong akhire ngerti yen ningsih sakjane lonthe sarkem.
`nek kowe yakin kowe bener, ndhangak nduk, ndhangak,’ bisik ningsih
neng kupinge cah ayu mau. dheweke malah mung nangis. untung. dadi
nutupi sesenggrukanku. isin to. mas2 kok nangis. nyat dadi ono hal2
sing yo ketebak banget, koyo sepeda sing rem-e dhol kae. kabeh wong yo
pasti ngerti nek rem-e mengko ra didandakne yo mesti diganti mercy opo
opolah pokoke kuwi kan metafor nggo uripe mas dwi, uripe kabeh
karakter neng film kuwi, sing yo nyat kabeh nggoleki wong utawa hal
sing isa mekso dheweke mandheg wae, rasah mlayu meneh. sik, udud sik,
wah kok yo serius men, nggambleh wae aku iki. tingwe, tingwe wae. wah,
marem tenan iki mbako nggerjen. tekan ngendi mau? o iyo sakdurunge
lali, neng yogja ra ono gunung ric? kok yo percoyo wae karo mumu,
dheke kan wong solo, jelas ewa wae karo yogja. lha merapi kuwi neng
ndi? sleman? halah, tak kandakne sultane kowe mengko kabeh. arep melu2
mbah maridjan dadi separatis? hehe. bali meneh neng film-e, ngopo kowe
dho nggolek2 hubungane film iki mung karo mengejar matahari? mung ben
iso ngomong wooo kok ra ono hubungane to? ono ono, mengko tak jelaske,
tapi iki sik, kenopo ora nggoleki hubungane karo film-e rudy lan monty
sing liyane? ra sah mung sing judule yo ono ‘mengejar’-e, kok cethek
men to yooo. mungkin kuwi malah iso nulungi kowe luwih ngerteni film
iki, utawa paling ora ngerteni rudy lan monty? lha kan film iki
sakjane yo podho wae karo mendadak dangdut to? wong sugih mlayu neng
kampung, neng kono kudu urip, piye carane urip neng kampung, ra ono
starbucks ra ono aksara ra ono casa? trus saka wong2 mlarat kuwi wong
sugih mau ajar meneh carane urip sing (luwih) bener. lha ya mung ngono
to. dadi misale wong2 sing protes kenopo wong2 mlarat iki didadekne
dolanane rudy lan monty lha yo jelas to, film iki nyat didelok soko
mripate cah ayu behelan mau, yo wajar to nek dheweke nganggep uripe
wong mlarat mung koyo dolanan, gilo ning sekaligus pamer sok hardcore
karo kancane neng hapene bar mangan lesehan ‘neng pinggir got’, utawa
gilo karo ningsih sing wis nulungi, malah nyindir ‘aku perempuan baik2
kok’. aku malah seneng rudy lan monty ora nggawe cah ayu mau dadi
langsung seneng karo ningsih, langsung dadi aktivis lsm hiv/aids sing
dadane jembar (wis wis ojo saru!), malah dadi luwih wajar. nduk nduk
kok yo mesakke men kowe ra entuk dadi stereotipe abege wae, kudune
ngene kudune ngono. lha, iki yo nggawe aku mangkel. kritik2 iki kok yo
fasis men to? kathokan hot pants ra entuk, blangkonan ra entuk,
lurikan ra entuk, kayunen ra entuk. opo liyane hot pants, cah ayu mau
yo kudu nduwe legging motif macan, blus babydoll, skinny jins se7en,
lan paling ora telung pasang kaos kegedhen ala cindy lauper? opo mas
dwi kudune rambute luwih dowo meneh, nganggo kaos yukensi neng
ngendi-endi, kebak tato, nduwe pacar neng hamburg, köln lan perth,
senajan dheweke wong sarkem luwih ‘realistis’ yen dheweke dadi guide?
trus dina olivia kudune diganti sopo? mama loren? kok yo ngenyek men
kowe kabeh kuwi. ra tau neng sarkem po? sing luwih ayu mbangane dina yo
akeh! ra mung sing wedok lhooo. ngopo to kritik2 iki koyo ngono? kok
ngritik koyo film-e durung dadi wae, iki ngene kudune, sakjane, luwih
apike ngono, walaaah, telat mas! rasah dadi kritik sik nek isih gregetan
pingin nggawe film dhewe! o iyo mau hubungane film iki karo mengejar matahari.
ngene, dadi nek menurutku rudy kuwi ket mbiyen nyat tertarike karo piye
carane menungso kuwi iso tahan urip neng ndonya iki, mulane dheweke ketoke
mung tetarik karo menungso lanang, mengejar matahari, 9 naga, trus neng
mendadak dangdut dheweke wiwit nggatekke, lha nek wong wedok piye yo?
sik menurutku menarik, pas dheweke wiwit nggarap wong wedok iki, film-e
banting setir soko tragedi dadi komedi. kenopo? opo menurut rudy lan
monty wong wedok ra setragis wong lanang? ra semelankolis? luwih nduwe
balung lucu (nek nganggo ukarane koh oh meneh)? iki sing menarik! sing
kudune digatekne mas2 kritik kuwi! dudu ‘aspek teknis seperti pencahayaan’!
hehehe, kok aku yo melu2 dadi fasis! kudune ngene kudune ngono. hehehe.
yo wis ben. aku ngerti saiki. nyat marem tenan bulane nggambleh koyo ngene iki.

mas mikael.

Rating:	★★★
Category:	Movies
Genre:	Horror

im just moving all this stuff from dunia-film@yahoogroups.com because i just found out this:

‘apalagi ini milis eksklusif. tidak semua orang bisa masuk milis ini.
hanya orang2 yang benar2 terlibat secara langsung dengan dunia perfilman.

jadi, milis ini sangat eksklusif, hanya penulis dan pekerja film yang
bisa masuk. dan karenanya, diperbolehkan untuk tukar menukar no hp,
email tokoh2 perfilman.’

– stern warning from the moderator who shall remain nameless unless i get really vindictive one day beware, Mon Dec 3, 2007 10:06 pm

who would wanna be in da club if da club is a bunch of fucks?

—> this is a reply to a review in sossisag’s blog http://sossisag.multiply.com/reviews/item/80:

*hantu*
thetruthaboutjakarta wrote on Oct 17

menurut gue film ini bagus. banget. pertama adegan debus memakan hidup2 ular belang kuning hitam itu. terus dialog yg super natural. terus logika is there really a ghost or is this all in their heads yang rapi. terus casting yg pas, bahkan that dwi andhika guy, i can’t believe how good he is. terus konflik di antara karakter yg dipikirin banget, terasa real. dia suka sama cewek dia, dia pikir dia banci gak berani ngomong kalau dia suka dia, dia suka godain dia, dia gak suka digodaian dia, dia masih godain dia atau hantunya yg godain dia sekarang, etc. etc. dan soal ketahanan film ini memaksa penonton utk menebak semua ini sebenarnya hanya fantasi anak2 ini karena mereka stres di gunung (how lord of the flies) atau emang ada hantunya menurutku cukup istimewa untuk film horor asia. biasanya soal ada tidaknya hantunya kan dalam film horor asia tidak pernah begitu diperdebatkan. di kuntilanak adalah beberapa menit kemungkinan segala ketegangan ini hanya karena julie estelle stres nyari kos2-an. tapi kemudian jreng2! muncullah wanita berkaki kuda. bukan sesuatu yg orisinal tentu dalam konteks film horor per se, cf. rosemary’s baby, even the nightmare on elm street series (remember, freddy krueger appears IN YOUR DREAMS), etc. etc. tapi ini mungkin terlalu berteori. yg jelas menonton hantu seperti didongengi tanpa digoblok2kan, tanpa ada sesuatu yg gak logis yg coba disembunyikan, karena yg bikin gue rasa memang logis.

Rating:	★
Category:	Movies
Genre:	Horror

im just moving all this stuff from dunia-film@yahoogroups.com because i just found out this:

‘apalagi ini milis eksklusif. tidak semua orang bisa masuk milis ini.
hanya orang2 yang benar2 terlibat secara langsung dengan dunia perfilman.

jadi, milis ini sangat eksklusif, hanya penulis dan pekerja film yang
bisa masuk. dan karenanya, diperbolehkan untuk tukar menukar no hp,
email tokoh2 perfilman.’

– stern warning from the moderator who shall remain nameless unless i get really vindictive one day beware, Mon Dec 3, 2007 10:06 pm

who would wanna be in da club if da club is a bunch of fucks?

*get married? get fucked!*

betapa banyak orang yg bilang get married itu lucu, lumayan paling tidak
dibandingkan dgn film2 horor yg banyak banget sekarang, bahwa hanung
sudah berhasil menyelamatkan diri dari lobang neraka yg dia gali
sendiri—semua ini sudah sampai pada tahap yg mengkhawatirkan menurut
saya.

terus terang, saya nonton get married dengan harapan nanti bisa menulis
review dengan judul ‘get married lucu? get fucked!’ tapi dengan lapang
dada saya batalkan rencana saya itu karena ternyata di dalam bioskop
saya sempat beberapa kali tertawa. terutama saat aming berakting, atau
berGERAK lebih tepatnya, dan karena wajah bodyguard binaragawan yg komik
itu.

jadi okelah, get married bisa membuat saya tertawa.

tapi saya tertawa karena apa?

mumu bilang ada semacam keseriusan dalam film itu yg mungkin bisa
dibuatkan filmnya sendiri. keprimitifan bangsa indonesia yg mulia ini
dalam mengatasi perselisihan, bagaimana ternyata tidak ada bedanya
antara kaya dan miskin sama2 primitifnya, pertentangan klasik antara
kompleks v. kampung, sedikit kritik lingkungan, etc.

tapi apakah pantas bilang bahwa get married itu lumayan, lucu, lumayan
lucu, bahkan bagus, hanya karena dia sempat menyindir2 ttg berbagai hal
itu?

nggaklah.

coba ingat misalnya waktu voice over di awal film itu bilang dengan nada
sok dead-pan tentang bagaimana empat sekawan itu waktu kecil bahagia
bisa mandi di kali terus gambar di layar mempertunjukkan empat bocah
cilik berkecibung di sungai berair hitam penuh sampah yg sekilas
kelihatan seperti di pintu air maggarai. banyak penonton ketawa waktu
itu, tapi mereka tertawa pada apa?

dan mungkin yg lebih penting, si pembuat film, hanung, the scriptwriter,
sedang menertawakan apa?

yg jelas joke itu sebuah cheap shot, entah pada pemerintah dki, atau
pada orang2 miskin kampung yang malang, dan karena itu saya tidak
ketawa.

contoh lain misalnya waktu si cowok ganteng kaya itu pertama kali datang
ke rumah nirina dan disambut bapak ibunya dan bahasa si cowok yg tadinya
bersob2 ria berubah menjadi campuran patois puitis dan bahasa birokrat
kelurahan dan si babe tidak mengerti dan mengira pertama rumahnya mau
ditawar, kemudian mungkin si cowok itu lagi cari barang antik, dan semua
penonton tertawa.

hanung ingin menertawakan siapa dan ingin penonton menertawakan apa?

keluguan dan kebodohan orang betawi? atau stereotipe orang betawi yang
seperti itu? yg pertama saya rasa. sekali lagi, a cheap shot.

tapi sudahlah, misalnya sekarang saya tidak usahlah mempermasalahkan
kritik sosial hanung (betapa lame-nya) dalam film ini, dan melihatnya
sebagai cerita sajalah.

yg membuat saya kecewa pertama adalah, dengan ensemble cast seperti itu,
3 cowok pengangguran dan 1 cewek, saya rasa hanung punya kewajiban untuk
memberi tahu saya, atau paling tidak mencari tahu untuk dirinya sendiri,
bagaimana semua karakter itu bereaksi, memikirkan, kemudian mencari
jalan keluar, dari dilema yg dia (hanung) ciptakan.

tapi sekali lagi, semua karakter itu sampai akhir film ya gitu2 aja,
stereotipe anak kampung pengangguran, nongkrong seharian, main gaple,
berantem. apa yg ada di kepala mereka saya tetap nggak tahu. karena
memang nggak pernah diberi tahu.

ada mungkin beberapa clue, seperti mereka semua suka nongkrong di rumah
pohon, trope klasik untuk sebuah peter pan syndrome. anak2 itu tidak mau
beranjak dewasa, karena itu mereka menghabiskan waktu mereka di sana.
okelah. bisa juga. atau waktu scene yg dipaparkan satu2 setiap anak
bilang ragu2 pada ibunya bahwa mereka mungkin ingin menikah dengan
nirina, ini mungkin peluang untuk melihat background setiap karakter
itu, bagaimana mereka berbeda satu sama lain. ya ada perbedaannya, tapi
bentuknya ya stereotipe2 lagi, yg satu ibunya sunda, yg satu islam
banget, yg satu jawir.

sebagai sebuah film, yg punya begitu banyak kemungkinan untuk memberi
tahu kita begitu banyak ttg karakter seseorang, isi kepalanya, hatinya,
lewat bukan hanya kata2 tapi juga gestur, mimik, dan entah apa lagi,
apakah pantas dibilang bagus atau lumayan kalau
sutradara/scriptwriter-nya sendiri, memilih untuk menghiraukan semua
kemungkinan itu?

menonton get married jadi tak ada bedanya dengan membaca berita koran
ttg anak2 muda pengangguran di anyslum, jakarta. tak ada prospek, masa
depan suram (sama aja ya?), main gaple, tawuran. tapi berita di koran
mungkin cuma punya sekolom, jadi masih masih bisa dimaafkanlah
karikatur2 seperti itu (atau tidak?), sementara film ini punya 90 menit.

kadang2 saya berpikir apakah penonton2 yg memaafkan hanung (bukannya
lebaran udah lama lewat ya?) masih belum juga sembuh kekangenannya untuk
melihat semacam potret yg agak realislah dari kenyataan mereka sendiri
sehari2 setelah begitu lama film indonesia tidak ada sama sekali atau
diisi dengan fantasi2 ttg rumah pondok indah dan rumah pondok indah …
yg berhantu.

tapi tahu apalah juga penonton2 ini ttg kehidupan di rw 13 bawah tol
penjaringan misalnya? jadi saya juga curiga yg diingini penonton2 ini
adalah potret realisme jakarta di kepala mereka sendiri. yg mereka
dapatkan dari karikatur2 koran dan film2 simplistis macam get married
ini. segala macam stereotipe2 tadi. mereka tertawa terbahak2 karena puas
merasa mereka benar.

jadi buat saya tidak ada maaflah buat film2 seperti get married ini. yg
bukan hanya tidak jujur ttg dirinya sendiri (udahlah, comedy might sell
more than horror!), tapi bahkan terlalu malas untuk mencari tahu dirinya
sendiri seperti apa.

saya juga gak setuju dengan mumu yg bilang masa depan film indonesia
suram, karena saya bukan permadi, saya gak tahu masa depan bakal seperti
apa.

kalau masa kininya sih jelas, emang suram.

banget.

mikael.

Rating:	★
Category:	Movies
Genre:	Comedy

im just moving all this stuff from dunia-film@yahoogroups.com because i just found out this:

‘apalagi ini milis eksklusif. tidak semua orang bisa masuk milis ini.
hanya orang2 yang benar2 terlibat secara langsung dengan dunia perfilman.

jadi, milis ini sangat eksklusif, hanya penulis dan pekerja film yang
bisa masuk. dan karenanya, diperbolehkan untuk tukar menukar no hp,
email tokoh2 perfilman.’

– stern warning from the moderator who shall remain nameless unless i get really vindictive one day beware, Mon Dec 3, 2007 10:06 pm

who would wanna be in da club if da club is a bunch of fucks?

—> this one is my reply to a post by denny sakrie, the renowned music journo/guru, (if it is really him):

*Re: Musik Parodikah ? [dunia-film] Quickie Express: Mengkhianati “Warkop”*

hahaha kalo kalyana shira aja yg bikin lgsg jd parodi, atau pastiche, atau alusi, pasemon aja sekalian! hahaha! sementara kalau ekskul lgsg dihujat jadi plagiarisme! baca ini (a hyperlink to my posting on ekskul somewhere on this blog, its got riri riza on the title, do the search), scroll down ke alinea 15.

mikael.

— In dunia-film@yahoogroups.com, denny sakrie wrote:

Ketika menyaksikan film “Quickie Express” tiba-tiba saya disuguhkan atmosfer soundtrack era film-film Blaxploitation seperti “Shaft”,”Superfly” dan yang sejenis.Apakah ini memang sengaja untuk mendapatkan atmosfer parodi ?.Karena di film ini terdengar upaya memelintir theme song “Shaft” nya Isaac Hayes bahkan dalam adegan kejar kejaran di sekitar komidi putar terdengar lagi upaya memelintir theme music serial TV “Hawaii Five-O”. Juga ada yang nyerempet ke theme music “Mission Impossible” nya Lalo Schifrin.

Sengaja berparodikah ?

DS

Rating:	★
Category:	Movies
Genre:	Comedy

im just moving all this stuff from dunia-film@yahoogroups.com because i just found out this:

‘apalagi ini milis eksklusif. tidak semua orang bisa masuk milis ini.
hanya orang2 yang benar2 terlibat secara langsung dengan dunia perfilman.

jadi, milis ini sangat eksklusif, hanya penulis dan pekerja film yang
bisa masuk. dan karenanya, diperbolehkan untuk tukar menukar no hp,
email tokoh2 perfilman.’

– stern warning from the moderator who shall remain nameless unless i get really vindictive one day beware, Mon Dec 3, 2007 10:06 pm

who would wanna be in da club if da club is a bunch of fucks?

*holy crap*

waktu nonton quickie express pas scene casino dengan cameo joko anwar,
john badalu, vivian idris, teh nia, dan teh2 dan it people (so many! shd
i call them them people?) jakarta lain yg sibuk melambai dan menyelamati
diri sendiri dan satu sama lain, wasting their life away on the craps table, aku jadi sadar, inilah dunia-film indonesia sebenarnya! people wasting their life away on the crap table.

mikael.