lewat djam malam restored
Post on 03-Jun-2018
282 Views
Preview:
TRANSCRIPT
-
8/12/2019 Lewat Djam Malam Restored
1/123
-
8/12/2019 Lewat Djam Malam Restored
2/123
-
8/12/2019 Lewat Djam Malam Restored
3/123
with support from:
-
8/12/2019 Lewat Djam Malam Restored
4/123
Lewat Djam Malam Restored
Writers:Lintang Gitomartoyo, Totot Indrarto,
Windu W Jusuf, Arie Kartikasari, Lee Chor Lin,
Adrian Jonathan Pasaribu, Davide Pozzi, Lisabona
Rahman, Amalia Sekarjati, Zhang Wenjie
English Translations:Rani Elsanti Ambyo, Ninus D
Andarnuswari, Adrian Jonathan Pasaribu, Alex Sihar
Editors:Adrian Jonathan Pasaribu, JB Kristanto
Publisher:Sahabat Sinematek
Email:info@sahabatsinematek.org
Website:sahabatsinematek.org
Cover Design:Rully SusantoLay-out:Dadang Kusmana, Agus Mediarta
Lewat Djam Malam Restored
x + 118 hlm ; 17 cm x 24 cm
-
8/12/2019 Lewat Djam Malam Restored
5/123
Contents
Foreword vii
Lewat Djam Malam Restoration 1Rediscovering the Link between Indonesia and Singapore 3
Recovering a Shared Heritage 7
On the Restoration Process 9
The Restoration Process in Chronological Sequence 15
International Presentations of the Restored Lewat Djam Malam 21
Before and After Restoration 25
Lewat Dj am Malam 35Lewat Djam Malam Credits 37
Lewat Djam Malam Synopsis 39Its Not Easy to be Indonesia 41
Biography: Usmar Ismail 51
On Usmar Ismail and Lewat Djam Malam:An Interview
with Misbach Jusa Biran 55
For a Nation of Dreams and Dead Ends 67
The Long Honeymoon between the Military and
the Bureaucracy 75
Sinematek Indonesia 85Are We Only Worthy of Watching Broken Films? 87Only 14% and They Are Decaying 93
Citizens Initiative to Save History 103
Special Gratitude 109Restoration Credits 112
The Writers 114
Committee 117
-
8/12/2019 Lewat Djam Malam Restored
6/123
FRIENDSHIP started all. It was Lisabona Rahman of Kineforum Jakarta Arts
Council, my co-editor in the book titled Indonesian Film Catalogue 2008,
who had been pushing me to convert the enormous data in that book into an
online database. So, when Konfiden Foundation (Alex Sihar, Agus Mediarta,
Dedy Arnov, and Lintang Gitomartoyo) decided to take the initiative into
their program on 2009, we started to have a series of intensive discussions to
create a holistic mapping. It was intended to be a comprehensive Indonesian
film database map, based on all the data taken from the book, with additional
Indonesian short films and documentaries data that Konfiden Foundation has
been collecting for the last 10 years. To correspond with the logic of internet andits user behaviors, we needed to create a good mapping design carefully before
developing the website.
On 31 December 2009 of the same year, an e-mail came in from our
Singaporean best friend, Philip Cheah, a well-noted programmer for at least five
international film festivals. He proposed that the Indonesian Film Catalogue
to be translated into English. At the same time, he was discussing the proposal
with the National Museum of Singapore to get some funding for the translation
works. I immediately responded: what if we use the funding for creating the
English version of the website, instead of a published book version, because at
first we intended to make a bilingual website.
Tit for tat. In his next e-mail, dated 8 January 2010, Philip not only
talked about the book and the website, but he also mentioned about a special
screening of one restored Indonesian classic film with English subtitles. After
Foreword
-
8/12/2019 Lewat Djam Malam Restored
7/123
viii
the screening, the museum will archive one 35mm copy of the film on March
2011. The National Museum of Singapore apparently intended to collect not
only their national cultural heritage, but also Southeast Asians. In the next
e-mail, 12 January 2010, Philip asked me to choose a single title of Indonesian
classic to be restored. Spontaneously, Lewat Djam Malamby Usmar Ismail
popped in my mind, as I consider it as the best Indonesian film of all time.
The film is significant not only for its aesthetical achievements, but also its
historical values. It illuminates the most authentic aspect of film as active
cultural artifactsit pushes its audience to have a direct lively reckoning with
the past, unlike other passive cultural artifacts that requires imagination to
interpret its meanings.
Everyones involved agreed with that proposal. The next step was to face
long administrative and bureaucracy works in Indonesia and Singapore, which
at times have made us down. Our friends in Singapore, Lee Chor Lin, Zhang
Wenjie, Teo Swee Leeng, Warren Sin, Low Zu Boon, and Jasmine Low, took
their hard parts and had chosen LImmagine Ritrovata in Bologna, Italythe
only film restoration-focused laboratory in the worldto become our technicalrestoration partner. Davide Pozzithe director of laboratoryand Cecilia
Cenciarelli a World Cinema Foundations staff, the organization which later
adopted this film into their list of world cinema heritage became our new best
friends in the next year-long process.
Inside the vault of Sinematek Indonesia, we managed to find the complete
reels ofLewat Djam Malam'soriginal negative prints, but we found only eight
reels of sound negative prints from ten reels in total. It was lucky there were also
some positive and negative dupe copies stored. All of them were in appalling
condition. We chose the best of what we can find from these decaying reels, to
be prepared and shipped to Bologna. The rights owner of the film permitted the
process. Berthy L. IbrahimHead of Sinematek Indonesiawas involved, and
the late Misbach Jusa Biranthe founder of Sinematek Indonesiagave us a lot
of background stories and information about this particular title.
-
8/12/2019 Lewat Djam Malam Restored
8/123
ix
The rest of the details can be found in later articles: on why the restoration
was needed and how the restoration process went. Along with that, this program
book includes writings on Lewat Djam Malamby young film observers and
enthusiasts, from whom we can get new perspectives on this classic title. One
article talks about Usmar Ismails position in the Indonesian film history, other
talks about the current condition of Sinematek Indonesia and its decaying
collections. Please keep in mind that those collections are our hidden treasures.
Parts of our heritage and future are stored in that vault.
The production of Lewat Djam Malam was based on the friendship of
two founding fathers of Indonesian cinema: Usmar Ismail and Djamaluddin
Malik, and its restoration works was based on the international friendship
that I have explained before. Later, the initiative will be continued by Sahabat
Sinematek (Friends of Sinematek)a not-for-profit organization which will
assist Sinematek Indonesia in friendly manners. I hope this friendship will keep
expanding, creating a bigger and bigger circle of friends.
JB Kristanto
-
8/12/2019 Lewat Djam Malam Restored
9/123
-
8/12/2019 Lewat Djam Malam Restored
10/123
Lewat Djam MalamRestoration
-
8/12/2019 Lewat Djam Malam Restored
11/123
Lee Chor Lin opening Merdeka! program at
National Museum of Singapore.
-
8/12/2019 Lewat Djam Malam Restored
12/123
Rediscovering the Link betweenIndonesia and Singapore
L E E C H O R L I N
OUR gratitude is greatly due to the visionary people in Indonesia for giving
the National Museum of Singapore this privilege to work with them to restore
Usmar Ismails work of art,Lewat Djam Malam. Although we had been fullyapprised of the social and artistic importance of this film, first of Indonesias
independent production by the founding father of Indonesian cinema, it was
not until very recently that we could fully appreciate, in its restored glory, how
bravely the film confronts the ghosts of the Revolution, and how honestly it
portrays the psychological and moral conflicts of the individuals who are often
trapped in the tumultuous turns of history.
As a national institution that is dedicated to Singapores history, our
involvement in this film is first driven by the urgent need for restoration of films
made in Southeast Asia. We were also moved by the passion and conviction
of our associates in Indonesia, whos seemed more able than many others to
transcend practical and technical issues for a greater cause.
Intellectually and historically, we have found no reasons for us to shy away
from what has now become a significantly successful collaboration. The destiny
-
8/12/2019 Lewat Djam Malam Restored
13/123
4 L E W AT D J A M M A L A M R E S T O R AT I O N
of the National Museum of Singapore, formerly the Raffles Museum, is rather
inseparable from the Indonesians. The museum collection started with deposits
by anthropologists and colonial administrators who stopped by Singapore from
their field trips in Indonesia. When the rulers of Riau and Lingga were deposed
by the Dutch in 1910 or so, entries of a number of things, including silver bowls
and plates with Jawi inscriptions started to appear on our museum register.
The historical link to Indonesia is heavily present in our Museum, for it sits
at the foot of Bukit Larangan (now Fort Canning), where the small royal court
of Temasek once presided. We know this royal court had Javanese leaning, as
Majapahit-styled gold ornaments had been excavated alongside foundations of
classical temple and apancur on this hill. These gold ornaments and other finds
form one of the first displays in the Singapore History Gallery in the museum,
where we also present throughfilmic tableaux the story of how Temasek became
Singapura, when the young prince from Palembang, stunned by the beauty and
veracity of the beast that jumped before him on our silvery white beach, named
our island after the lion he thought he saw. This is but a brief episode of the
intertwined history between the two nations.In late March, we viewed a version of the Lewat Djam Malam, which
was near complete restoration, with two other films by Usmar Ismail, paired
with three works by the talented Garin Nugroho. This small retrospective,
which explored the meaning of nationhood in two different times of modern
Indonesia, gave us much food for thought. Although the audience for this
retrospective was modest, we strongly believe that they came because they knew
and cared about Indonesia, they understood the shared heritage and history
between us and them, they appreciated the importance of a film like Lewat
Djam Malam, and they obviously welcomed this program, entitled Merdeka,
which was incidentally the very word our leaders exclaimed when independence
was gained.
-
8/12/2019 Lewat Djam Malam Restored
14/123
5L E W AT D J A M M A L A M R E S T O R AT I O N
This project of film restoration became a journey to rediscover the tenacity
our links and the dynamics of our differences. Once again we are grateful for the
privilege to work with the remarkable people: Mr. and Mrs. Irwan Usmar Ismail
from the family of Usmar Ismail, Berthy L Ibrahim of Sinematek Indonesia,
JB Kristanto, Lintang Gitomartoyo, Alex Sihar from Konfiden Foundation,
Lisabona Rahman from Kineforum of the Jakarta Arts Council, and LImmagine
Ritrovata of Bologna.
-
8/12/2019 Lewat Djam Malam Restored
15/123
Recovering a Shared Heritage
Z H A N G W E N J I E A N D L I S A B O N A R A H M A N
IN 2010, film critics Philip Cheah and JB Kristanto together with Konfiden
Foundation and the National Museum of Singapore came together to collaborate
on the English translation of Mr. Kristantos book Katalog Film Indonesia,
an extensive 400-plus page catalogue about Indonesian films. From this
collaboration, the idea to work together on the restoration of an Indonesian
film gradually took seed.
When asked by Mr. Cheah to select an Indonesian film to be restored, Mr.
Kristanto picked Usmar IsmailsLewat Djam Malam (After the Curfew, 1954).
Noting its narrative qualities and historical significance, Mr. Kristanto believesthe film would uncover important insights of a Southeast Asian society and its
transition into an independent nation. Once the title was selected, Mr. Cheah
worked together with Konfiden Foundation and Kineforum of the Jakarta Arts
Council to evaluate the availability and condition of the original film elements
kept by the Sinematek Indonesia. At the same time, the National Museum of
Singapore worked with LImmagine Ritrovata, a leading film laboratory in Italy
to arrange for the film elements to be examined.
From the research and examination, it was discovered that most of the
original camera and sound negative prints of Lewat Djam Malam are in their
complete form, but a number of them are in terrible condition, having suffered
various forms of environmental and handling damages over the years. Duplicate
positive copies were made from these negatives in the early 1990s in Indonesia
for screening purposes, but the damages of the original film elements were
-
8/12/2019 Lewat Djam Malam Restored
16/123
8 L E W AT D J A M M A L A M R E S T O R AT I O N
passed on to these screening copies. For audiences who had seen these copies
from the 1990s, shaky images, stark inconsistencies in lighting, scratches, as
well as poor audio quality will instantly come to mind.
With the blessings of the family of Usmar Ismail, the National Museum of
Singapore together with Konfiden Foundation and Kineforum of the Jakarta
Arts Council embarked on a full-scale restoration ofLewat Djam Malam. The
technical partner of this restoration laboratory which had restored important
classics of world cinema such as Edward YangsA Brighter Summer Day (1991)
and Federico Fellinis La Dolce Vita (1960). The entire restoration process
took about 7 months and over 2500 hours of digital restoration to complete.
Extensive restoration work was done to repair and reverse the damages of the
film elements so that the original visual and audio quality of the film could be
recovered. As the film was restored almost entirely from original camera and
sound negatives which is the first generation copy of the film, we are able to
once again witnessLewat Djam Malam as close as possible to Usmar Ismails
original vision.
Lewat Djam Malam is the first full-fledged restoration of an Indonesianfilm, initiated in light of the mission to sustain the shared film heritage of
Southeast Asian cinema. This is one example of how different organizations and
individuals, regional and international, can come together with a common love
for cinema, to share resources, collaborate, and bring an important Southeast
Asian film into the limelight again. Film is a perishable medium which will
deteriorate if it is not kept in the right conditions, and films in Southeast Asia
are especially susceptible to environmental damages because of the regions
climate. As resources for film archival and restoration are still quite limited in
Southeast Asia, it is crucial that institutions and organizations from the region
work together to safeguard our cinema heritage. A wealth of treasures from
our cinematic past are kept and maintained within different film archives and
institutions in the region, and it is our responsibility to ensure that they will be
available and accessible for future generations.
-
8/12/2019 Lewat Djam Malam Restored
17/123
On the Restoration Process
D A V I D E P O Z Z I
THE RESTORATION of Lewat Djam Malam is an important and ambitious
international project that involves a large number of people and institutions.
LImmagine Ritrovata was engaged as the film restoration laboratory back in
early 2011. Working with film coming from different countries means dealing
with specific problems related to the physical and climatic conditions of each
locale. Right from the start, we knew that the restoration ofLewat Djam Malamwould be a complex and intensive endeavor. The film elements are affected by
multiple scratches, mould and humidity marks, badly damaged parts, missing
frames, as well as vinegar syndrome, a form of decay common for films stored
in humid conditions. There is a substantial shrinkage, buckling of the film
emulsion, and the decay drew a semi-transparent pattern along all the reels. At
times, the decay can be an unsalvageable problem, since it affects the emulsion
of the film prints, which contain photosensitive materials, and spreads through
the image.
The first step involved a thorough research process. We studied and
compared all available film elements which consist of the original camera
negative, an interpositive, and duplicate negative copies. This study was
subsequently widened with the discovery of other elements for comparison,
such as a positive copy in which we found the 90 seconds of soundtrack that
-
8/12/2019 Lewat Djam Malam Restored
18/123
10 L E W AT D J A M M A L A M R E S T O R AT I O N
Before scanning the original film elements into a digital format, a series of manual
repairs was initiated. This includes the repairing of splices and tears on the film prints.
The original film elements were affected by various forms of environmental damage,
resulting in warping and shrinkage of the film prints.
-
8/12/2019 Lewat Djam Malam Restored
19/123
11L E W AT D J A M M A L A M R E S T O R AT I O N
A range of digital tools were utilized to correct effects of mould, dirt, scratches,
flicker and instabilities in the original film elements.
After film damages were corrected digitally, color correction was applied to give the
film the right saturation and optical density between black and white, in accordance
to the characteristics of the original picture.
-
8/12/2019 Lewat Djam Malam Restored
20/123
12 L E W AT D J A M M A L A M R E S T O R AT I O N
was missing in all other available elements. We used a comparative decoupage
to document a progressive list of shots for each reel, which includes information
such as narrative description, physical description, type of film element and
film stock, and the damages that have incurred. The comparative decoupage
functions as a key support and reference that informed the reconstruction of
the film throughout the restoration process.
The second step involved the physical restoration of the original film
elements in preparation for them to be scanned into a format for digital
restoration. As the film elements suffer from various forms of physical damage
that would affect the scan, we had to perform manual repairs to restore them
to an optimum condition, so that the image captured through the subsequent
scan will be as close to the original and the best quality possible; it will also
ensure that the film could be fed through the scanner successfully without
The digital restoration of the soundtrack involved fixing inconsistencies in the audio,
such as clicks, crackle, noise, and unbalanced sound levels.
-
8/12/2019 Lewat Djam Malam Restored
21/123
13L E W AT D J A M M A L A M R E S T O R AT I O N
incurring any further damage. These repairs involved fixing splices, perforation
reconstructions and tears sealing. All elements have also been cleaned in an
ultrasound washing machine.
Next, we ran a test that helped us to choose the best film elements for digital
restoration and the necessary resolution for the best quality. We decided to
scan the film elements in 4k resolution (approximately 4096 x 3112 pixels per
frame), as it enabled us to perform a deep level of restoration while maintaining
as much as possible the original quality of the film. As a safety measure, all
scanned data and every step of the restoration process have been completely
archived, so we can return to any stage of the process if need be.
After the scan was completed, digital restoration could finally begin. Our
standard digital restoration workflow begins with fixing instability and flicker.
This is followed by a meticulous process in which the effects of mould, dirt and
vinegar syndrome on each single frame are corrected with a range of automatic
and manual tools. Every shot was smoothed, cleaned, and color corrected
according to its specific characteristics, so that details of the original picture are
retained and reconstructed as accurately as possible.For the digital restoration of the soundtrack, the main issue is the lack
of uniformity between the types of material available, as well as its varying
conditions. The original soundtrack negative was shot on different film stocks
with different technology. Furthermore, two reels were missing from the
original soundtrack negative. Thus, we had to take the sound from the combined
interpositive prints.
The last 2 minutes of reel 5 were missing from both original soundtrack
negative and all duplicates. Fortunately they were later found in a positive copy.
The soundtrack was scanned using laser technology and the core of the digital
audio restoration consists of several phases of manual editing, high resolution
de-clicker and de-crackle, and multiple layers of fully automated noise reduction.
At the end of the restoration, the film was output to both new 35mm film
prints and digital cinema package format. We are glad with the result of the
-
8/12/2019 Lewat Djam Malam Restored
22/123
14 L E W AT D J A M M A L A M R E S T O R AT I O N
restoration, but more importantly, we are honored to have been given the
chance to rescue this film which is so crucial to Indonesian national cinema. This
project also points towards how critical it is to have an ongoing preservation and
restoration initiative and consciousness. Lewat Djam Malam is just one film
from the vast history of cinema that needs to be restored. The condition of many
film prints will continue to worsen through time if nothing is done to preserve
and restore them. We have to act fast. For now, it is heartening to know that
Lewat Djam Malamwill be reintroduced onto cinema screens, and its place
within cinema history reaffirmed.
-
8/12/2019 Lewat Djam Malam Restored
23/123
The Restoration Processin Chronological Sequence
L I N TA N G G I T O M A R TO Y O A N DA D R I A N J O N A T H A N P A S A R I B U
January 2010
Philip Cheah (National Museum of Singapore/NMS) contacted JB Kristanto
and Lisabona Rahman (Kineforum Jakarta Arts Council) with the proposal to
publish the English version of the book titledIndonesian Film Catalogueby JB
Kristanto. The launching event of that proposed book was planned to also holda screening of a restored Indonesian classic film. Noted that there was no single
title of Indonesian classic film was restored before. Ms. Rahman contacted Mr.
Kristanto about this restoration project proposal. After further discussion and
consultation,Lewat Djam Malam(After the Curfew) was chosen to be restored.
September 2010
Lisabona conducted a research on a physical state and availability of 35mm
copies ofLewat Djam Malamstored in the Sinematek Indonesias vault. This
research was needed for NMS to estimates the restoration cost. Research result:
10 reels of original negative prints, 8 reels of sound negative prints (reel no.8
and 9 is missing), all positive and negative dupe prints are complete (10 reels
each).
-
8/12/2019 Lewat Djam Malam Restored
24/123
16 L E W AT D J A M M A L A M R E S T O R AT I O N
NMS contacted LImmagine Ritrovata, asking them to become this project
technical partner. LImmagine Ritrovata is a film restoration-focused laboratory
in Bologna, Italy. This laboratory has worked on the restorations ofA Brighter
Summer Day (Edward Yang, 1991) and La Dolce Vita (Federico Fellini,
1960) before. Based on this known specialization and portfolios, NMS trusted
LImmagine Ritrovata to restoreLewat Djam Malam.
January 2011
NMS contacted LImmagine Ritrovata to prepare for Lewat Djam Malam
materials inspection, to find out the exact decayed condition of the reels. The
test materials were shipped on January 12 by Lintang Gitomartoyo (Konfiden
Foundation). It contained original negative prints (reel no. 1 and 9), negative
sound print (reel no. 1), positive dupe copies (reel no. 1 and 9). Seven reels in
total, shipped to Bologna.
March 2011
Davide Pozzithe Director of LImmagine Ritrovatapresented the testmaterials inspection results on March 3-4 at NMS. Ms. Rahman and Ms.
Gitomartoyo attended the presentation as Indonesian representatives, and
Zhang Wenjie of NMS hosted the event. Mr. Pozzi explained that the main
problem ofLewat Djam Malamsprints was a discovered live molds spreading
on the celluloid. If not handled properly, the molds would spread bigger and
slowly removed all images recorded on the emulsion over the celluloid.
Three options were given for the final restoration prints: 2K, 3K, and 4K. Mr.
Pozzi gave ten minutes duration samples for each option, to gives an overview
what would be the restored film looks like. After discussion and consultation,
NMS chose the one that will use lesser image-quality on each stage: scanning
stage in 4K, digitally cleaned and restored in 3K, and finalized in 2K celluloid
prints and DCP copies. 2K DCP copies were chosen because at the moment,
most of the digital projectors used in the world are 2K (especially in Southeast
-
8/12/2019 Lewat Djam Malam Restored
25/123
17L E W AT D J A M M A L A M R E S T O R AT I O N
Asia). 4K digital projectors distribution is very limited. 35mm celluloid prints
were also chosen because it is considered as the best and most durable film
storage medium.
June 2011
Written agreement was signed by NMS and Irwan Usmar Ismail, as Usmar
Ismails family representative and rights owner of the film. Three important
points summarized in the agreement: 1) Lewat Djam Malamwill be restored
in Limmagine Ritrovata with the funding from NMS; 2) Indonesian partner
will get one 35mm positive copy and DCP of the restored film, meanwhile NMS
will get and keep one 35mm positive copy also; and 3) NMS also get the non-
commercial rights to distribute the film.
August 2011
The shipment of the remaining reels was done on August 19 by Ms. Gitomartoyo.
Materials sent includes: original negative prints (reel no. 2-8 and 10), negative
sound prints (reel no. 2-7), negative dupe copy (reel no. 2-8 and 10), positivedupe copy (reel no. 2-8 and 10), trailer (1 reel), and title reel (1 reel). 33 reels in
total shipped to Bologna. Ms. Rahman also sent other Usmar Ismails films in
DVD format as color and treatment references for the digital restoration process.
One of them was The Long March(original title:Darah and Doa, 1950).
January 2012
While Ms. Rahman was in Bologna, she sent home an information that audio
track on the minutes 45 of reel no. 5, with total duration of 1 minute 46 seconds
was found missing. After thorough inspection, it was realized that all the copies
sent to Bologna share the same defects.
-
8/12/2019 Lewat Djam Malam Restored
26/123
18 L E W AT D J A M M A L A M R E S T O R AT I O N
February 2012
LImmagine Ritrovata gave a presentation on the restoration process
development on February 7 at NMS. From Indonesia, Mr. Irwan Usmar Ismail,
Mr. Kristanto, and Ms. Gitomartoyo attended the event. The film was 70%
restored. The whole audio tracks were restored (except for the 1 minute 46
seconds missing), while the images were only half done from the whole reels.
In this presentation, two problems were identified. First, most of the
molds could not be lifted or cleansed, because it was spread on the frames
that contained movements. The cleaning process will affect the quality of the
contained images. Second, no viable solution for the missing audio track, yet.
Dubbed reproduction and audio reconstruction methods were in discourse,
but the laboratory said that it would not fit smoothly in the original track. The
proposed solution given by the laboratory was to put two subtitles on that
particular frames (English and Bahasa Indonesia) telling that the required audio
data was not found.
In a discussion during the presentation in Singapore led to two further
comprehensive works for the laboratory. First, to conduct a research onIndonesian cinema. Second, to conduct a thorough search for the missing audio
track. On February 9-10, Davide Pozzi and Cecilia Cenciarelli visited Jakarta. Ms.
Cenciarelli is a representative of the Cineteca di Bologna the city of Bolognas
film archive institution that has a close relationship with the World Cinema
Foundation (WCF) a foundation chaired by Martin Scorsese. On the first day,
Mr. Pozzi and Ms. Cenciarelli met Kineforum Jakarta Arts Council, Sinematek
Indonesia, and the Konfiden Foundation for a short introduction to Indonesian
film industry, and an overview of film preservation activities in Indonesia. On
the second day, Mr. Pozzi and Ms. Gitomartoyo conducted a thorough search
inside the Sinematek Indonesias vault to find the missing audio data needed.
The missing track was finally found within the reels of copy D. After that,
Ms. Gitomartoyo shipped the complete audio tracks to Bologna on February 22.
-
8/12/2019 Lewat Djam Malam Restored
27/123
19L E W AT D J A M M A L A M R E S T O R AT I O N
The material sent was: positive copy D (reel no.1-5), and negative sound (reel
5/6). 6 reels in total were shipped.
March 2012
In the early March, World Cinema Foundation (WCF) contacted NMS and
Konfiden Foundation with the proposal to participate in theLewat Djam Malam
restoration project, and giving additional funding. If the particular request was
granted, the restored film will also be distributed by WCF, worldwide.
Mediated by Konfiden Foundation, Sinematek Indonesia and NMS were
having discussion on the matter. Mr. Irwan Usmar Ismail granted the rights
to Sinematek Indonesia, to open all the co-operation options with WCF. New
agreements were made between Sinematek Indonesia and WCF.
Two changes were made from the previous agreements. First, the restoration
credits will also include WCF as co-restorer of the film. That means, the three
institutions name (NMS, WCF, and Sinematek Indonesia) will occur on the
opening credit of the film, where ever its screened. Second, the films commercial
distribution license will be taken both by Sinematek Indonesia and WCF. Thisdevelopment has automatically affected further territorial distribution works.
For non-commercial distribution rights, NMS holds for Asian territories (except
for Indonesia), Sinematek Indonesia for Indonesia, while WCF for all over the
world except Asia. For commercial distribution rights, Sinematek Indonesia
holds its national distribution rights and WCF holds the rights for all over the
world, except Indonesia.
March 2012
The 90%-restored version ofLewat Djam Malamwas screened at NMS Theater
in Singapore on March 28. The event was a by-invitation only, with 240 seats
occupied out of 247 available. The film opened the Merdeka!Program, which
were hold by NMS Cinematheque at NMS Theater on March 28-31. Other two
titles of Usmar Ismails films were also screened in the program (The Long
-
8/12/2019 Lewat Djam Malam Restored
28/123
20 L E W AT D J A M M A L A M R E S T O R AT I O N
MarchandExalted Guest), along with three of Garin Nugrohos (Letter to an
Angel, A Poet, and The Blindfold). Indonesian representatives whose attended
the event were Mr. Kristanto, Ms. Gitomartoyo, Alex Sihar (Director of Konfiden
Foundation), Mr. and Mrs.Irwan Usmar Ismail, Berthy L. Ibrahim (Head of
Sinematek Indonesia), and A. Rahim Latif film distributor and also a close
friend of the late Usmar Ismail. Mr. Kristanto and Lee Chor Lin (Director of
NMS) opened the screening with their forewords.
May 2012
The 65th Cannes Film Festival holds a World Premiere event of a full restored
Lewat Djam Malamon May 17 at Salle Buuel, Palais des Festivals, France.
The film opened the Cannes Classics program, a special program that presents
best restored classics of the world. Each year, WCF has special slots in Cannes
Classics, as the organization was established in this festival, back in 2007. This
year, Lewat Djam Malamwas screened in WCFs slot with Indian restored
classic: Kalpana (Uday Shankar, 1948). The screening was opened with
forewords from ThierryFrmaux (Cannes Film Festival Director), Kent Jones(Executive Director ofWCF), Alex Sihar (Director of Konfiden Foundation),
Lee Chor Lin (Director of NMS), and Pierre Rissient (senior film critics from
French).
-
8/12/2019 Lewat Djam Malam Restored
29/123
International Presentations ofthe Restored Lewat Djam Malam
T O TO T I N D R A R TO
BEFORE it theatrical release in Indonesia starting June 2012, the restored
version ofLewat Djam Malamwas screened two times in foreign countries.
The first presentation was at the National Museum of Singapore (NMS) in 28
March 2012. Actually, it was only the 90%-restored version presented at that
time, with 240 guests filled the 247 seats-NMSs Basement Cinema.Lewat Djam Malam was the opening film of program Merdeka!, a six
films screening program containing Usmar Ismails and Garin Nugrohos
films, which considered as the pioneer and reformer of the modern Indonesian
Cinema. After opened by the Director of NMSLee Chor Lin, the projects
advisorJB Kristantogave a foreword for Lewat Djam Malam to the
audience, Usmar Ismail is the first Indonesian filmmaker that treated films as
a personal statement or a social critic. It was a quantum leap,compared to his
predecessors and to most of other contemporary filmmakers, who see films as
a mere entertainment.
The fully restored version was screened for the first time as World Premiere
in the Cannes Classics program, on the second day of the 65th Cannes Film
Festival, 17 May 2012. Around 300 people were in the audience that evening
filled SalleBuuel, Palais des Festivals. Alexander Paynefilm director and
-
8/12/2019 Lewat Djam Malam Restored
30/123
Lewat Djam Malamcatalogue, pamphlet, and admission ticket at Cannes Classics.
-
8/12/2019 Lewat Djam Malam Restored
31/123
23L E W AT D J A M M A L A M R E S T O R AT I O N
writer who received the Oscar as Best Screenplay for his film The Descendents,
and member of the Grand Jury for Cannes Main Competition 2012was also
share the joy in the audience.
Cannes Classics is a Cannes Film Festivals official selected program
for screening the worlds restored classics. This year, Lewat Djam Malam
and Kalpana (Uday Shankar, India, 1948) were screened as World Cinema
Foundation (WCF) presentation. Founded by Martin Scorsese, WCF which
operated from Genve and New York was established to save the worlds
neglected film treasures. These particular titles now are recognized as worlds
heritage besides world cinemas monuments, such as films from John Boorman,
Andrei Konchalovsky, Roman Polanski, Claude Miller, Alfred Hitchcock,
Keisuke Kinoshita, Roberto Rosselini, Steven Spielberg, Agnes Varda, Sergio
Leone, etc.
Lewat Djam Malam screening within the historical 65th anniversary
celebration of the most prestigious film festival in the world was opened by
forewords from Thierry Frmaux, (Director of Cannes Film Festival), Alex Sihar
(Director of Konfiden Foundation), Kent Jones (Executive Director of WCF),and Lee Chor Lin (Director of NMS).
Thierry Frmaux, Kent Jones, and Lee Chor Lin agreed in their forewords
that Usmar Ismails best film is part of worlds cinema heritage that worth being
restored, and they feel fortunate to be involved in the process. Meanwhile, Alex
Sihar in his foreword emphasized on the struggle of the Indonesian movie
enthusiasts in the pursuit of restoration and conservation of Indonesian classic
films, which mostly are in a decaying state.
This world premiere was also opened by Pierre Rissient senior film critic
from French who have seen this film in Jakarta, back in 1977. He was really
impressed, although he saw it without translated subtitles. He felt very fortunate
to have the opportunity to watch this restored version, and finally understand
the whole dialogues in the film, 35 years later. Rissient emphasized the
importance of restoring and re-watching this film that made by Usmar Ismail
-
8/12/2019 Lewat Djam Malam Restored
32/123
24 L E W AT D J A M M A L A M R E S T O R AT I O N
and Asrul Sani two Asian filmmakers that he admires.
This film will be presented as part of ASEACC (Association for Southeast
Asian Cinema Conference) in Singapore, 19 June 2012. And it will also take part
in the program of Il Cinema Ritrovata in Bologna, Italy, 23-30 June 2012.
For all party that have the interest in screening this film for non-commercial
purpose or film festival presentation in the future, can contact Sinematek
Indonesia (for inside Indonesia), NMS (for territory of Asia), or WCF (for the
rest of the world outside Asia).
Contact Addresses:
Sinematek Indonesia
Jl. H.R. Rasuna Said Kuningan, Kav. C-22 Jakarta 12940 INDONESIA
Ph.: 021-5268455, Fax.: 021-5268454
info@sinematekindonesia.com www.sinematekindonesia.com
or to:
Sahabat Sinematekinfo@sahabatsinematek.org www.sahabatsinematek.org
National Museum of Singapore (NMS)
93 Stamford Road, Singapore 178897
Special Attention to: Zhang Wenjie
ZHANG_wenjie@nhb.gov.sg www.nationalmuseum.sg
World Cinema Foundation (WCF)
110 W. 57th Street, 5th Fl., New York, NY 10019 USA
Special Attention to: Douglas Laible
info@worldcinemafoundation.org www.worldcinemafoundation.org
-
8/12/2019 Lewat Djam Malam Restored
33/123
Before and After
Restoration
-
8/12/2019 Lewat Djam Malam Restored
34/123
26 B E F O R A N D A F T E R R E S T O R AT I O N
-
8/12/2019 Lewat Djam Malam Restored
35/123
27B E F O R A N D A F T E R R E S T O R AT I O N
-
8/12/2019 Lewat Djam Malam Restored
36/123
28 B E F O R A N D A F T E R R E S T O R AT I O N
-
8/12/2019 Lewat Djam Malam Restored
37/123
29B E F O R A N D A F T E R R E S T O R AT I O N
-
8/12/2019 Lewat Djam Malam Restored
38/123
30 B E F O R A N D A F T E R R E S T O R AT I O N
-
8/12/2019 Lewat Djam Malam Restored
39/123
31B E F O R A N D A F T E R R E S T O R AT I O N
-
8/12/2019 Lewat Djam Malam Restored
40/123
-
8/12/2019 Lewat Djam Malam Restored
41/123
33B E F O R A N D A F T E R R E S T O R AT I O N
-
8/12/2019 Lewat Djam Malam Restored
42/123
-
8/12/2019 Lewat Djam Malam Restored
43/123
Lewat Djam Malam
-
8/12/2019 Lewat Djam Malam Restored
44/123
Iskandar (AN Alcaff) and Puja (Bambang Hermanto).
-
8/12/2019 Lewat Djam Malam Restored
45/123
Lewat Djam Malam Credits
CASTS
AN Alcaff Iskandar
Netty Herawati Norma
Dhalia Laila
Awaludin Gafar
Rd Ismail Gunawan
A Hadi Normas Father
Bambang Hermanto Puja
Aedy Moward Adlin
Titien Sumarni Ida
Astaman
Lukman Jusuf
S Taharnunu
Wahid Chan
CREW
Srijani S Costume Designer
Hanida Arifin Make-up Artist
E Sambas Sound Recordist
Bob Saltzman Sound Engineer
GRW Sinsu Music Director
Soemardjono Editor
Max Tera Director of Photography
Kasdullah Cameraperson
Abdul Chalid Art Director
MD Aliff Unit Manager
Asrul Sani Story and Scriptwriter
Djamaluddin Malik Producer
Usmar Ismail Producer
Usmar Ismail Director
Perfini Production Company
Persari Production Company
-
8/12/2019 Lewat Djam Malam Restored
46/123
Moments before execution
-
8/12/2019 Lewat Djam Malam Restored
47/123
Lewat Djam MalamSynopsis
THE FIRST image we see inLewat Djam Malam is a pair of Iskandars feet,
trying to find a way to his fiances home, on the very hour the curfew is enacted.Iskandar (AN Alcaff) is a former freedom fighter who just returns from the war
zones, only to be alienated by the societal changes in his beloved country.
The film chronicles Iskandars plight during his two-day stay in his
hometown. His consciousness is haunted by the killings he committed during
war times, as he tries to adapt to civilian life. Iskandar gets a desk job in the
bureaucracy, through the help of his father-in-law, but he finds it hard to get
along with his co-workers. Dispirited by the condition he encounters in the
office, Iskandar sets out to meet his partners during wartime. First, he visits
Gafar (Awaludin), who is now leaving a prosperous life as a contractor. Then, he
visits Gunawan (Rd. Ismail), an ex-commander who once ordered Iskandar to
execute a woman and her family. It is revealed that Gunawan seize the womans
belongings and use it as the capital for his enterprise. Iskandar could not believe
it. The values once held dear during the revolution are now subverted into
means for personal gains.
Fueled by rage and disappointment, Iskandar sets out on a personalmission. He flees his coming-home party, prepared by his fiance Norma (Netty
Herawati), to confront his former partner. Along with him is Puja, a fellow war
veteran who is now working as security guard of a brothel, which houses Laila
(Dahlia), a woman-for-hire who longs for a man to marry and a stable life to
live in. The police visits Normas house, at the same time Iskandar returns home
after he has completed his mission. He flees again, fearing the police might find
out what he has just done. However, as Iskandar runs away, the curfew begins.
Iskandar is shot by the patrol for breaking the rule. He dies in the loving arms
of Norma, the only person who is willing to understand Iskandar.
Lewat Djam Malamis Usmar Ismails best work. It is a social critique on
the struggling lives of the war veterans. It is for them; Usmar Ismail wrote this
tribute at the end of the film: For them who has sacrificed their lives, so that
we could live to enjoy the fruits of freedom. For them who have given and ask
nothing in return.
-
8/12/2019 Lewat Djam Malam Restored
48/123
40 L E W A T D J A M M A L A M
-
8/12/2019 Lewat Djam Malam Restored
49/123
Usmar Ismail 1950-1970
Its Not Easy to Become Indonesia
T O TO T I N D R A R TO
1.
THE HISTORY of Indonesian Cinema could not be written without Usmar
Ismails biography, said Asrul Sani. He meant that the Indonesian Cinema
history is in infancy, much younger than the Indonesian peoples experience inwatching and creating moving imageries. In fact, that even Usmar Ismails first
self-proclaimed film was made a half century long after cinema as entertainment
was introduced in this country.
Since the first cinema house at Jalan Kebon Jahe, Tanah Abang, was
established on 5 December 1900, the East Indies citizen had already experienced
the films sensations. Theatrical Cinema as new entertainment industry were
developed mainly after Chinese descendents jumped in to the business and
importing Hollywood, German, and Chinese films. But it took 26 years later for
G. Krugers, a Dutch documentary filmmaker, to finally produce the first full-
length feature film in Indonesia,Loetoeng Kasaroeng (1926).
After the next 25 years, at least 124 feature films were made by Dutch,
Chinese, and after them, Indonesians. Two ex-journalist, Bachtiar Effendy
(Njai Dasima, 1932) and Andjar Asmara (Kartinah,1940), became the pioneers
-
8/12/2019 Lewat Djam Malam Restored
50/123
42 L E W A T D J A M M A L A M
of indigenous-native Indonesian in the business, and then followed by other
Indonesian film directors including Usmar Ismail. He was working for South
Pacific Film Corporation at that time, and had the opportunity to make two
films in 1949,Harta Karunand Tjitra.
In its first quarter century, Indonesian films were made purely for
entertainment purpose and trade commoditiesshared the same prime motives
of the Chinese traders who controlled the cinema business in Indonesia.
This strong commercial-purposed motive has pushed Mr. Ismail to quit the
Dutch-owned film company, and along with some other Indonesian artists, he
established Perfin (Perusahaan Film National, the National Film Company). The
main cause was that he felt frustrated in constantly accommodates producers
commercial-centered agendas. With few capitals of his own pockets, plus some
upfront minimum guarantee payments from theater owners who are willing
to screen his film, in 1950 he made The Long March, which is more popular
with the titleDarah dan Doa. He acknowledged this particular title as his first
feature film.
Based on the story written by Sitor Situmorang, The Long Marchtells aboutthe historical journey of TNI Troops-Siliwangi Division from Yogyakarta to
Bandung, after the capital city was attacked and occupied by the Dutch military.
The plot centered on the military officer, Capt. Sudarto (Del Juzar), and his
affairs with two girls along the journey, even though he had already married.
The film also illustrates the tension against the threat of the Dutch attacks, in
addition to humanitarian issues appeared in such war, as fears, doubts, sorrows,
solidarity, betrayals, and others.
Despite its recognized position in the history of Indonesian cinema, The
Long Marchis not considered as his best film. He admitted, this film is not
focused, and ambitiously wanted to capture all major events that took place
in Indonesia due to the revolutionary era. He was also very much recognized
the technical shortcomings, including the lack of knowledge and experience in
writing and directing.
-
8/12/2019 Lewat Djam Malam Restored
51/123
43L E W AT D J A M M A L A M
The Long Marchis acknowledged as first Indonesian film ever produced,
and its first shooting date (March 30) is commemorated as the National Film
Day. Usmar Ismail is regarded as the pioneer of national cinema, and along with
Djamaluddin Malik, they are acclaimed as the Founding Fathers of Indonesian
Cinema.
2.
The acknowledgment of first Indonesian film ever made was given because The
Long Marchwas directed by an Indonesian, produced by Indonesian-owned
Company, and produced in Indonesia. Misbach Jusa Biran added that this film
illustrates the nationalism consciousness and hinted the starting point of the
history of Indonesian Cinema. Mr. Sani defined the film as the spokesperson of
the Indonesians struggles towards independency, and it plays an integral part
of the peoples struggling life stories.
Some foreign film critics and scholars disagreed with this abundant
adoration to Mr. Ismail and this particular film, because this kind of
acknowledgement would disregard the existence and contributions of otherproducers and film directors that made films in Indonesia some 25 years
before. They were the ones that have built and spawned Indonesian cinema
infrastructures, including high quality film stars that the audience loved, and
highly-skilled filmmakers such as Mr. Ismail himself.
Mr. Ismail himself said that The Long Marchwas not made based on any
commercial calculations, and purely motivated by his idealism. So at least there
were three main motives that underlying The Long March acknowledgment as
the first Indonesian film: the nationalism sentiment, political identity, and a
strong passion for idealism. The three obsessions that often occurred as citizens
anxiety of a new-birth nation.
It certainly was not a coincidence if that film, and next Mr. Ismails films
also includes those three issues. The issue of nationalism can easily read on
his political revolution-themed films: Enam Djam di Djogja (1951), Kafedo
-
8/12/2019 Lewat Djam Malam Restored
52/123
44 L E W A T D J A M M A L A M
(1953), Lewat Djam Malam(1954), Tamu Agung (1955), Pedjuang(1960),
Toha Pahlawan Bandung Selatan(1961),Anak-anak Revolusi(1964). In these
films Mr. Ismail have the tendency to use the antihero perspective, that shows
Indonesian fighters and combatants, who in history were regarded as hero,
as common people. In fact, as an ex-Indonesian military ranked Major, he
sincerely avoids heroism myth of posing innocent and perfect.
In the issue of political identity, or to be precise, about peoples cultural
uncertainty as independent new nation, Mr. Ismail often inserts social criticism
to a western-like tendencies of the Indonesian middle class. He interjects trivial
problems that continuously disturbed him, ones that never showed in any
Indonesian films before. Through those satires, he did not only inquire issues
on identity, but persistently remind his audience to share a strong identity as
an independent nation.
Notion of idealism is a consistent topic raised in almost of all his films,
represented mainly through conflicts between an idealist characters against a
pragmatist antagonist. And its very interesting to find that even when he always
put idealist characters as a protagonist, he never blindly defended them. Forexample, Iskandar (AN Alcaff) in Lewat Djam Malamwas shot dead because
of his pertinacious-ness, when he ran to meet the only person he believed can
understand his idealism and anxiety.
This kind of depiction actually shows Mr. Ismails passion and standpoint.
After we achieve our sovereignty, we have to face two options: being an idealist
or a pragmatist. An idealist is a front-guard of conscience that must exist to
nurture a balanced society, and cannot perform any stupidity, frustration, or
fatality, which will leads to death. In his films contexts, it obviously disrupts the
nations independence journey.
Those premises became basic strong arguments why The Long March
and all Mr. Ismails films aesthetically recognized as the Indonesian Cinema
prototype. His existence obviously symbolizes the uprising of Indonesian real
phenomenon-rooted films, not just some imaginary fictions.
-
8/12/2019 Lewat Djam Malam Restored
53/123
45L E W AT D J A M M A L A M
He did not capture Indonesia from short-sighted exotics perspectives
and exploit them for mere entertainment. He was anxious, and cultivated the
nations factual problems to be retold as personal expressions with genuine
ideas. In addition, he possessed a strong obsession with technical and
artistically perfection. This obsession made him accept Rockefeller Foundations
scholarship invitation to study film production in UCLA.
A year-long study and Hollywood studios visits, briefly changed Mr. Ismail
for a while. His first film after returning to Indonesia titled Kafedo, shows
American-influenced style and rhythm, including some exciting fighting scenes,
although the main story is about romance in revolution-era setting. The main
character is a nationalist living in Mentawai, that even when he mingles with
urban social circles, he keeps his indigenous custom values in tact in Mr.Ismail
words, The mixture of a man of nature and a civilized man.
After that film, he suddenly changed again. He made his next two films
with totally different concept and orientation, but shared the same success. In
that case, his duty as a pioneer has actually finished. He had proven that he is
capable to produce two kinds that always been contradicted of films: a box-office mainstream popular kind of film and an aesthetic-oriented kind of film
that was praised by critics and festival judges.
The first one titledKrisis(1953), a commercially-oriented comedy sketch
about residents life in a rented house. This film was a best-seller in that era,
right below Terang Boelan(Albert Balink, 1938). The second wasLewat Djam
Malam, co-produced with Persari (Indonesian Artist Company), and it was
oriented as a high quality artistic film to be presented in Asian Film Festival.
Although the presentation in Asian Film Festival was cancelled because of the
government restriction with regards due to the context of bilateral political
tension between Indonesia and Japan. The film successfully won five awards
in the Indonesian Film Festival 1955, including Best Picture, and considered as
one of the best film ever made in Indonesia.
-
8/12/2019 Lewat Djam Malam Restored
54/123
46 L E W A T D J A M M A L A M
The latest mentioned title was just restored by the National Museum of
Singapore and the World Cinema Foundation. Producer and Member of Film
Committee of the Jakarta Arts Council Abduh Aziz, mentioned that this film
represents the most contextual issues of its time. About the beginning phase
of nations physical infrastructure development issue, about the combatants
frustration issue, and on the issue of human as victims of turbulent history of
his time. This film finely captured those contextual problems.
This kind of appreciations given by people not living in the same time with
the filmmaker himself, have proven that the Indonesian value of Mr. Ismails
films are very authentic and tightly-fused within. We can sense its uniqueness.
Indonesia is the soul and at the same time the main factor that distinguished his
films from other 125 films published within 25 years before him and ironically,
also from thousands following titles produced by Indonesian up till today, 62
years later.
3.
There is no easy way to create something new and significant, including Mr.Ismails efforts to develop what we call Indonesian Cinema. Not only the film
that made in Indonesia or made by Indonesian.
As a businessman he had to face the reality of compromising in many ways.
Asrul Sani wrote, Maybe the only pure film was The Long March. In many
others he learned to compromise although in a very cynical gestures. The most
tangible compromise was when he had to made commercially-oriented films
although he did not like it, he tried to infuse some critical perspectives about his
social contexts. According to Misbach Jusa Biran words, they were not some
carelessly made entertainment.
After the sold-outKrisis, Mr. Ismail made Tamu Agung(1955),Lagi-lagi
Krisis(1955), Tiga Dara(1956),Delapan Pendjuru Angin(1958),Asrama Dara
(1958),Amor dan Humor(1961), danBig Village(1968). They were comedies,
but none title can equals the success ofKrisis. Tiga Dara, the musical one that
-
8/12/2019 Lewat Djam Malam Restored
55/123
47L E W AT D J A M M A L A M
rouses the popularity of Indriati Iskak was the next in a ticket-sales success
list afterKrisis.
Tamu Agung is a political satire about Soekarno the first President of
Republic of Indonesia, successfully stole national and foreign film critics
attention. This film is a social satire with complexity and sophisticated quality
equals to Jean Renoirs La Rgle du Jeu(1939). Two factors have to be noticed:
its wittiness in cinematic convention of musical film in the opening scenes,
counterbalanced by its fiddle gestures with the Indonesian rhetoric convention
in some other parts, praised David Hanan, a film and television studies
professor from Monash University, Melbourne.
The biggest challenge for Mr. Ismail as the creator came from the his own
nations conditions which in the phase of embracing new comprehension about
film as medium of interpretation and dramatization of life issues, not a medium
of mere entertainment, as usual. Hence, films that illustrate daily life were
widely seen as generalization of reality.
Many fighting/war scenes in The Long Marchwere censored because they
were seen too real and considered as too violent. This film also got protested bythe military because it illustrates a high rank officer as a common man and weak.
They also protested the romance scenes between the officer and a European
girl, and parts of the story that tells about Darul Islam (Islamic rebels) which
allegedly would evoke other Muslim extremists spirit to rebel. From the other
side, the PKI (Communist Party) protested the films depiction on communist
people that described as fanatic and vengeful.
Confronting that kind of over-generalizing paradigm, he had to make a lot
of improvisations in order to avoid offensive gestures in his following films.
He concluded, The Dutch are the only antagonist. All Indonesians are good
man, and by the time a character become a traitor, its forbidden to reveal its
background. That is the main reason why in Indonesian films, all bandits are
always came from the lowest social class, among others are businessman!
-
8/12/2019 Lewat Djam Malam Restored
56/123
48 L E W A T D J A M M A L A M
Norma (Netty Herawati) in the middle of a party.
-
8/12/2019 Lewat Djam Malam Restored
57/123
49L E W AT D J A M M A L A M
Further, this important artist and significant figure in cultural matters
(he was also the founder and chairperson of Lesbumi - Indonesian Moslem
Artist dan Culture-enthusiast Organization, 1962-1969), was dragged into
the big political and economic turmoil at that time. Within those years, the
ideological war between communists and nationalists were happening also in
the arts and cultural circles, which lead to the end of Soekarnos era. It was not
a surprise to find his name listed as people who will be eliminated by the PKI
(Communist Party) on 5 October 1965, because he was suspected by them as a
CIAs accomplice and AMPAIs (US film industry representative in Indonesia)
minion.
Practically, it was not even in ten years time Mr. Ismail have the opportunity
to make films in compromised-idealism situation, and reached the peak of his
career in Asrama Dara, the first film of Suzanna and received three awards
in FFI 1960. That very short period is considered significant enough to lay the
basic aesthetic foundation of Indonesian Cinema.
Lucky for Indonesia to have Usmar Ismail. In his hands, Indonesian cinema
was born, nurtured, and persistently striven for its ideal aesthetics values. Thesefacts could give a heavy burden for the next generations of filmmakers. A well-
noted scriptwriter Salman Aristo likens the situation as, Sadly, Indonesian
films started its history in a very high standard quality, and after that the figures
are declining. Not the other way around.
Any obstacles and challenges that Mr. Ismail faced in his time are still and
will keep on existing, some in different forms. But the spring of ideas like he
used to have is also available, and even more extensive and diverse. It means
that the Indonesian Cinema as constructed and pioneered by Mr. Ismail,
before will never die.
-
8/12/2019 Lewat Djam Malam Restored
58/123
51L E W AT D J A M M A L A M
Biography: Usmar Ismail
Born : Bukittinggi, 20 March 1921
Died : Jakarta, 2 January 1971
Educations
1928-1935 HIS (Hollandsch-Inlandsche School), Batusangkar
1935-1938 MULO (Meer Uitgebreid Lager Onderwijs)
class B Afd, Padang
1939-1941 AMS (Algemeene Middelbare School) Department A
(Literature-Cultural Department), Yogyakarta
1952-1953 UCLA (University of California in Los Angeles),
United States of America, Film Department
Occupations
1942-1945 Member of writer staff Jakarta Cultural Center
1945-1949 Indonesian Army ranked Major placed in Yogyakarta
1949 Film Director for South Pacific Film Corporation
1950-1970 Director, Producer, and Film Director for NV Pefini
1950-1970 Executive Director for Triple T Travel Bureau
1956-1960 Director for PT Bank Kemakmuran, Jakarta
1966-1969 Member of Indonesian Parliament/House of
Representatives
1967-1970 General Manager Miraca Sky Club, Jakarta
-
8/12/2019 Lewat Djam Malam Restored
59/123
52 L E W A T D J A M M A L A M
Other Activities
1943-1945 Head of Penggemar Maja Theater
1946-1947 Head of Indonesian Journalist Association (PWI)
1946-1948 Head of Indonesian Cultural Consultative Assembly
(BPKI), Yogyakarta and Head of Yogyakartas Theater
Actors/Actresses Union
1955-1965 Founder and Head of ATNI (National Theater
Academy of Indonesia), Jakarta
1956-1970 Ketua PPFI (Indonesian Film Company Association)
1962-1969 Founder and Head of Lesbumi (Indonesian Moslem
Artist dan Culture-ensthusiast Organization), Jakarta
1964-1969 Executive Board of PB NU (Nahdlatul Ulama), Jakarta
Awards
1962 Widjajakusumas Arts Award from the Government of
Republic of Indonesia the highest ranked culturalaward in Indonesia.
1970 Leading Exemplary Citizen of Jakarta Award from
the City of Jakarta.
1975 His name memorialized as the name of Film Center,
built by the Provincial Government of Jakarta and
Indonesian film stakeholders.
Filmography
1. The Treasure (lit.tr.)-Harta Karun(1949) Director, Scriptwriter
2. Tjitra(1949) Director, Story
3. The Long March- Darah dan Doa(1950) Director, Scriptwriter
4. Six Hours in Djogja (lit.tr.) -Enam Djam di Djogja(1951) Producer,
Director, Scriptwriter
-
8/12/2019 Lewat Djam Malam Restored
60/123
53L E W AT D J A M M A L A M
5. The Dew (lit.tr.) -Embun(1951) Story
6. The Unforgivable Sin (lit.tr.) -Dosa Tak Berampun(1951) Producer,
Director, Scriptwriter
7. Please Accept My Song (lit.tr.) -Terimalah Laguku(1952) Producer
8. Kafedo(1953) Producer, Director, Scriptwriter
9. The Crisis (lit.tr.) -Krisis(1953) Producer, Director
10. Harimau Tjampa(1953) Producer
11. After the Curfew -Lewat Djam Malam(1954) Producer, Director
12. Excited (lit.tr) -Heboh(1954) Producer
13. The Exalted Guest - Tamu Agung(1955) Director
14. Another Crisis (lit.tr.) - Lagi-lagi Krisis(1955) Producer, Director,
Story, Scriptwriter
15. The Three Girls (lit.tr.) - Tiga Dara(1956) Producer, Director, Story,
Scriptwriter
16. Three Fugitives (lit.tr.) - Tiga Buronan(1957) Producer
17. The Dispute (lit.tr.) -Sengketa(1957) Producer, Director
18. The Eight Cardinal Directions (lit.tr.) -Delapan Pendjuru Angin(1957) Producer, Director, Scriptwriter
19. Asrama Dara(1958) Producer, Director
20. Tjambuk Api(1958) Producer
21. Djenderal Kantjil(1958) Producer
22. The Fighter (lit.tr.) - Pedjuang (1960) Producer, Director, Story,
Scriptwriter
23. Laruik Sandjo(1960) Producer, Director, Scriptwriter (never released)
24. Toha, The Hero of Southern Bandung (lit.tr.) - Toha, Pahlawan
Bandung Selatan(1961) Producer, Director, Story, Scriptwriter
25. The Victim of Slander (lit.tr.) -Korban Fitnah(1961) Director
26. Amor dan Humor(1961) Director, Story, Scriptwriter
27. Shadow at Dawn (lit.tr.) -Bajangan Diwaktu Fadjar(1962) Producer,
Director, Story, Scriptwriter
-
8/12/2019 Lewat Djam Malam Restored
61/123
54 L E W A T D J A M M A L A M
28. Virgin in a Den of Thieves (lit.tr.) -Anak Perawan di Sarang Penjamun
(1962) Producer, Director, Scriptwriter
29. In Time of Hurricane and Storm (lit.tr.) - Masa Topan dan Badai
(1963) Director
30. Children of Revolution (lit.tr.) -Anak-anak Revolusi(1964) Director,
Story, Scriptwriter
31. Artists Holiday (lit.tr.) - Liburan Seniman (1965) Director, Story,
Scriptwriter
32. Behind Shimmering Lights (lit.tr.) - Dibalik Tjahaja Gemerlapan
(1966) Producer
33. Along the Bloody Trails (lit.tr.) -Menjusuri Djedjak Berdarah(1967)
Producer
34. Ja Mualim(1968) Director, Story, Scriptwriter
35. Big Village(1969) Producer, Director, Story, Scriptwriter
36. Ananda(1970) Director, Story, Scriptwriter
37. Bali(1970) Director, in collaboration with Ugo Liberator
-
8/12/2019 Lewat Djam Malam Restored
62/123
On Usmar Ismail andLewat Djam Malam:An Interview withMisbach Jusa Biran
A M A L I A S E K A R J AT I
MISBACH JUSA BIRAN is the founder and first director of Sinematek Indonesia.
Previously, he was active in Perfini, who producedLewat Djam Malam in 1954.
Mr. Biran passed away on 11 April 2012 at the age of 78. Originally, he was
planned to deliver the honorary remarks on the restored version ofLewat DjamMalam, when the film is launched in Jakarta in June.
This interview was conducted on Mr. Birans home, Bogor, at 14 February
2012. This interview aims to inquire details about Usmar Ismail and Lewat
Djam Malam. His experience in Perfini would be valuable inputs regarding the
historical context of the film and Indonesian film history in general.
Could you tell us about the conception of L ew a t D j am M a l a m ?
How could two contrast companies produce this film? Perfini has
ideological mission in their film productions, while Persari is closer
to produced popular-mere entertainment films.
In the Japanese occupation era, Usmar was the deputy of Theater Section
of Cultural Center in Yogyakarta, headed by Armijn Pane. At that time he was
only 21 years old. There was a mismatch between Armijn and Usmar. According
-
8/12/2019 Lewat Djam Malam Restored
63/123
56 L E W A T D J A M M A L A M
-
8/12/2019 Lewat Djam Malam Restored
64/123
57L E W AT D J A M M A L A M
to Armijn, many young artists at the time, including Usmar and Chairil Anwar
(both of them are relatives), were making performances and arts that goes
against the conventions. It was considered strange or unique, at that time.
Then Usmar madeMaya, a theater community. In one of their plays, he made
a character whose features are similar to Armijn. Usmar arguably mocked
Armijns fierce trait [Laughing]. Armijn knows about that.
During the revolution era, Usmar developed a good social background: he
had been a military officer ranked Major and placed in Yogyakarta (Republic
of Indonesias capital city at the time), and had also been a chairperson of
Indonesian Journalist Union. After the revolution was over, he went back to
Jakarta to get into one organization, but he found out that Armijn was already
there. That fact made him hard to get into that organization. So did Djamaluddin,
because he was considered as businessman. He made films only to help his
fellow artists who live in poverty. Persari, the film company he established, had
become an artists associations. The company existed just to support their lives.
No wonder they produced lots of popular entertainment films. Djamal has the
commercial talent and is a good businessman. On the contrary, Usmar is moreof an intellectual. Thats where they were polar opposites.
There was a conference for Asian film producers in 1953. Djamaludin Malik
and Usmar Ismail went there. Djamal was the producer from Persari. A true
entrepreneur. I dont really know how they got together at the first place, but
they represented Indonesia in that conference. During that conference, there
was a plan to hold the first Asian Film Festival in 1954 in Tokyo, Japan. Djamal
wanted to participate, but didnt have any good film to submit. So he asked
Usmar to make one, while he looked for the money.
Except for AN Alcaff and Bambang Hermanto, Persari provided all the
casts forLewat Djam Malam. Dhalia was the exception. She came from neither
of them. Bambang Hermanto used to play in many popular films. Once his
reputation significantly increased after a memorable performance inHarimau
Tjampa, Bambang joined Perfini. For Alcaff, it was the first time he worked
-
8/12/2019 Lewat Djam Malam Restored
65/123
58 L E W A T D J A M M A L A M
for Perfini. His first film is Dosa Tak Berampun (Sins without Salvation,
1951). He was a soldier from Jambi. He paid a visit to Perfini, said that he was
interested in acting. Usmar already had someone for the role, but auditioned
Alcaff anyway. It turned out that Alcaff had a good voice. Eventually, Alcaff got
to play in Lewat Djam Malam. Similar thing actually happened during Dosa
Tak Berampun. Alcaffs role was supposed to be played by Rendra Karno, but
Usmar chose Alcaff at the last minute. That created friction between Usmar and
Rendra Karno. Rendra was terribly heartbroken by Usmar.
So, that was how Lewat Djam Malam cames about. The film was made
through a collaboration of Perfini and Persari. Persari funded the whole project.
A film like Lewat Djam Malam required lots of money to produce. Perfini
provided the crew, as Perfini was full of artisans. Among them are Gajus Siagian
and Basuki Resbowo. They used to work in Perfini. They both make good films.
It was only natural that Usmar and Perfini took care of the artistic aspect of
Lewat Djam Malam.
The story of L ew a t D j am M a lam , whose idea was it? Was it Usmarsor Asrul Sanis, the scriptwriter?
It was Asruls. The idea, the story, the screenplay. It was all Asruls. I dont
know exactly who came up with the idea first. But, it was Djamal and Usmar
who worked really hard to get the film made. They really wanted to produce a
film worthy of a big film festival in Asia.
Actually, at the time, Usmar and Asrul werent on good terms. In the 1952,
Usmar was against censorship. He believed film requires lots of efforts to be
produced, and censorship is not the right way to appreciate such effort. Asrul
disagreed. Asrul supported censorship because it prevented the dissemination of
ideological misunderstandings. According to Asrul, Usmar is a good filmmaker,
but how about the popular film which are produced solely only to rake income?
Censorship, according to Asrul, is necessary, while Usmar wrote a lot in the
media about it.
-
8/12/2019 Lewat Djam Malam Restored
66/123
59L E W AT D J A M M A L A M
Asrul believed cinema is not merely a carrier for social messages, but also as
a cultural agent. That is why the board of censorship moved from the Ministry
of Information to the Ministry of Education and Culture. Then a change of
perspectives happened. Think about it. They managed to think about such
things when they were young.
How did the film do in the Asian Film Festival?
It didnt make it to the festival. When Usmar and Djamal about to go to
Japan for the festival, the government prevented them. Of course, there was
a political agenda behind the restriction. The government used it as a way to
protest the Japanese, because of the war compensation that hadnt been paid to
our country. Because of this, Djamal initiated the first Festival Film Indonesia
(Indonesian Film Festival) in 1955.
How much was the production cost for L ew a t D j am M a lam ?
Around 300,000 rupiahs. Usmars films and Perfinis, mostly were around
that figure. Chinese production companys films were usually below 200,000,and they made more money than Usmars films. Those cheap films have their
own market, while Usmars didnt. Tamu Agung(The Exalted Guest), one of
his more entertaining films, failed at the box office. It was meant to be funny
because the film tried to portray Soekarno (the Indonesian President at that
time) through the character of a fake medicine seller. People didnt get it. The
film was just too sophisticated.
Usmar deliberately used his films as political vehicle.Lewat Djam Malam
contained no pretty girls and musical scenes, two things that were popular in
the local cinema at the time.Lewat Djam Malam didnt attract a big audience
in the small towns. In the cities, perhaps, but not in the small towns. He wanted
his films to be a personal expression of his ideology, but the general audience
couldnt understand that.
-
8/12/2019 Lewat Djam Malam Restored
67/123
60 L E W A T D J A M M A L A M
When Usmar made L ew a t D j am M a lam , had he finished his study
in the United States?
Yes. He studied there for two years. There was a time when Usmar produced
Western-like movies, with cowboys in them. One of them isKafedo. Hollywood
influence is apparent in those movies, although it feels forced and unnatural. In
Long March, Usmar got better. He told his story more fluently. Its not dramatic,
but thefilm develops its conflict nicely. InLewat Djam Malam, Usmar managed
to be a bit more entertaining.
BeforeLewat Djam Malam, Perfini made Embun(Dew). Both films are
about war veterans who have trouble adjusting to civilian life. Lately, former
freedom fighters turn into corruptors once they have settled into a stable life.
I believe the films are actually better than their inspiration, The Best Years of
Our Lives, which depicts the societal changes in America after World War II. In
Lewat Djam Malam, the symbols are adapted into local context. Being a freedom
fighter was mandatory during revolution. There was no other choice. And that
was how things used to be during the war. The film depicts the independence
war as it was. That is what makes the film valuable, in my opinion.
Is it true that Usmar was influenced by Italian neo-realism?
In his first film, yes. Usmar asked his friends and colleagues to make a
film together. Eventually, they managed to raise 150.000 Rupiahs from various
sources, including personal savings. Long March was made on that budget.
In the film, there is a subplot about an army leader who falls in love with a
Dutch. What Usmar wanted to say is that the people were not in conflict, only
the governments. The stereotype at the time was that every Dutch is an evil
imperialist, and national cinema should not depict them in positive manner.
Usmar said, why not? They are humans. They are also capable of loving. Some
of the crews disagreed, but went on to make the film anyway.
It could be said that Usmar made Long Marchwith very little experience
in filmmaking, especially directing. Previously, he had worked as an assistant
-
8/12/2019 Lewat Djam Malam Restored
68/123
61L E W AT D J A M M A L A M
director in Australia for two years, in a Dutch production house. Specifically, he
worked as a dialogue trainer. He did so in one of Andjar Asmaras film,Djauh
di Mata. Not so long after that, Usmar directed two films:Harta Karun and
Tjitra. But, he disowned both films. He felt he had no artistic contribution to
the films, as his cinematographer dominated the shooting, including saying cut
in every single take.
Meaning that Usmar was conscious about the concept of auteur even
before the theory existed?
Its a matter of experience, really. Usmar is different from his
contemporaries. He is an intellectual. He graduated from a Dutch school and
spoke English fluently. He came from the country to enact his own cultural
mission. Indonesian cinema used to have this critical dimension, but two years
after the independence, it abated. Efforts had been made to make films not as
mere entertainments, unlike Dardanella (a well known group of touring theater)
in the 1930s and 1940s, but also as carrier of critical thoughts.
Unlike Usmar, Djamal was hardly an artisan. He was an entrepreneur, abusinessman. He likes to foster celebrities and develop his film studio, Persari.
Compared to Usmars Perfini, Persari is of course more prosperous. Persari
had three cars for film production, Perfini only one and its Usmars personal
car. Every Perfini film shooting always went like this: the female casts ride
with Usmar in his car, the males on a pick-up truck, and crews on a big truck.
Bambang Hermanto was an exception. He rode his own motorbike.
How long did Usmar manage to keep his idealism until he has to give
in to the economic reality of film industry?
Until the 1960s, I believe. There was a financial crisis in 1957. Bankruptcy
was everywhere. Many people quit their job or simply got fired by their
employers. And Perfini was taken over by the government. Usmar moved to
a smaller studio and directed Tiga Dara(Three Girls). That was the first time
-
8/12/2019 Lewat Djam Malam Restored
69/123
62 L E W A T D J A M M A L A M
he flirted with commercial films, and I see nothing wrong with that. DN Aidit
(a notable Communist party figure) said the film is good but bad. I dont know
what he meant by that. Usmar then directedAsrama Dara(Girls Dormitory).
The leading role was held by Bambang Hermanto. The film contains many
local songs, and carries a strong message about the social condition. Its an
entertaining film, yes, but also a well-made one. The film convinced the
government to support Usmar. Through the Department of Forestry, the
government cooperated with Usmar to make a film in the Borneo rainforests.
Two films resulted from that:Pedjuang(The Freedom Fighter)andAnak-anak
Revolusi(The Children of Revolution).
Eventually, financial meltdown could not be avoided. Along with it was
this anti-Western sentiment that resulted in the closing of all film studios.
Filmmakers moved into small-to-medium houses, and turned them into
makeshift studios. At the same time, Usmar was appointed to be the head of
Lesbumi, a cultural organization under Nahdlatul Utama (NU, biggest Islamic
organization in Indonesia). The president was wary of this development. NU
contained revolutionaries such as Asrul Sani, Usmar Ismail, and Farouk Afero(film star). As a cultural initiative, Lesbumi has quite a strong backing from
the public, especially from the Muslim. Soekarno, a Muslim himself, could
not do anything about the rise of Lesbumi. There were three pillars of power
during Soekarno era: PKI (communists), PNI (nationalists), and NU (Muslims).
Such concept was known to the public as Nasakom (roughly translated as
Nationalism, Religion and Communism).
Those are the bliss and blues of filmmaking. There were times when politics
enter into cinema, especially the communist party who uses films as cultural and
political agents. That was how they change the mindset of our people. It was not
economic imperialism, but ideological. Whenever a member of the communist
party spoke, the media reported it. If not, nothing happened.
-
8/12/2019 Lewat Djam Malam Restored
70/123
63L E W AT D J A M M A L A M
The communists learn from experience. They learn from history. Our people
could only treat history as nostalgia. That is why the communists use films for
their political campaign.
About Usmar Ismail, how was he as a person?
I wrote extensively about him in the bookPeran Anak Muda dalam Film
Nasional (The Role of Youth in National Cinema). I tried to expand it, but
nobody wanted to fund it, so I stored the book somewhere in Sinematek. I wrote
the book around 1950-1956. There, I explained in great details how and for
what Usmar made his films, includingLewat Djam Malam. Usmar wanted to
go international, but somehow he didnt make it.
What I can say is, Usmar learnt a lot during the Japanese imperialism.
When the Dutch ruled, he was still studying in high school and had learnt a
lot about art from the Dutch. Usmar was surprised when Japan came because
the Japanese at the time always said, Why should we be afraid of the Dutch?
They even considered Dutch as second-rate language. The Dutch, who were
once fierce conquerors, suddenly degraded to an insignificant role. Usmarsintellectual endeavor, a product of Dutch education system, underwent a
significant turbulence during the Japanese era.
Was Perfini a gathering place for artists?
It was. In the 50s, many artisans moved to Jakarta. Most of them used
cinema as medium for communication. Before that people used theater, then
literature, and now cinema. There was a sense of modernity going on, and many
people wanted to be part of it. Some stick to the theater, trying to modernize
it. The transfer of power from the Dutch to the Japanese also brought some
changes. Usmar watched many Japanese films, and saw in them images of
people fighting for their country against the Western imperialists. He never saw
such images in Hollywood films.
-
8/12/2019 Lewat Djam Malam Restored
71/123
64 L E W A T D J A M M A L A M
For some, it was a bit shocking to experience the transfer of power from
the Dutch to the Japanese. Once worshipped and feared, the Dutch were
suddenly gone and disappeared. Our people changed because of that. In every
film screening, before the film started, a picture of Indonesian red-and-white
flag appeared on the screen, then some texts were shown: God bless. Asia has
returned. The song played was Indonesia Raya, the national anthem. Such
connection to the local culture had made the Japanese look so friendly. It was
very different compared to the Dutch. It was the Japanese who inspired these
youngsters to delve deeper into the arts and create extraordinary things.
How did the government support national cinema?
In the 50s, there were efforts by the government to socialize some of the
unpopular films to the general public. None worked. The taxes were reduced, the
subsidy increased, and still nothing worked. What worked then? The film school
at the Jakarta Arts Institute. Education breeds appreciation. It is better this way
actually. The government would not be as helpful if they just handed out money
for filmmakers to make films. Education sows the seeds of change. The onlymoney the government should give is the money to build schools, to educate the
film workers. I tried to build an association for film workers once. Anyone who
wants to enter the film industry must study there first. Whether they like it or
not, they must study. Only by studying they can improve themselves.
For the future, we must formulate how we could use cinema for the benefit
of everyone. We must think forward, better our senses, and expand our tastes.
Every film must aim toward one of those goals. So people could grow and
mature. Cinema could capture beauty unexplained by words. Abstract. For
the communists, abstract is dangerous, because it doesnt engage the masses
directly. Films could also fulfill the basic emotional needs of human being,
whether its fear, happiness, comedy, or tragedy. I believe films must carry a
strong message within them. Films nowadays care more about the packaging
rather than having good substance.
-
8/12/2019 Lewat Djam Malam Restored
72/123
65L E W AT D J A M M A L A M
What is your opinion on the current condition of Sinematek?
Actually, most of the employees at the Sinematek now are not professional.
They are there not because they are qualified to do so. They work at the
Sinematek because they want to. They couldve had better jobs. Many still work
there, but only a few are professionals. They must prepare for the coming years.
They could ask for donation, or ask others to teach them about film archiving
and preservation. Sinematek has a lot of homework.
-
8/12/2019 Lewat Djam Malam Restored
73/123
For a Nation of Dreamsand Dead Ends
A D R I A N J O N A T H A N P A S A R I B U
Rumor has it that every third-world leader whispered the same phrases the
morning after independence: Now the real problems start. Indonesia is no
exception. Revolution brought about the much-sought independence, and
independence made way to the much-needed development. But development
has its costs. It relies on the same principles that the revolutionaries once foughtagainst: exploitation and domination. Where do the revolutionaries go from
here?
Usmar Ismail provided his answer through Lewat Djam Malam (After
the Curfew, 1954). According to Sitor Situmorang, Ismail created Indonesias
first modern psychological drama film in Lewat Djam Malam. On second
inspection, the filmbears resemblances to American film noir. Along with
top related