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Sang Pemimpi -17 Nov 2009 (sequel Laskar Pelangi : The Movie)
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Balas #180 aisyah_putri\ catat
Pintu Terlarang?mcm lucah je munyi..
Doa yg mengancam??
Wow tajuk hebat2nyer...
btw...Laskar pelangi dah evelebel link Rapidshare dah ada... |
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Mau donlot film Laskar Pelangi? Cuma 1GB aja, pm gue!
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mlm ni Fakulti Ekonomi & Pentadbiran Universiti Malaya ada buat tayangan filem Laskar Pelangi ni kat auditorium dorang....tiket RM5.... |
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from www.inilah.com
'Laskar Pelangi' lalu 'Garuda di Dadaku'
INILAH.COM, Jakarta - Kesuksesan film Laskar Pelangi yang diadaptasi dari novel dengan judul yang sama karya Andrea Hirata, menginspirasi Mizan Production kembali memproduksi film anak-anak bertitel Garuda di Dadaku.
Laskar Pelangi sampai saat ini termasuk film yang masih diputar di daerah-daerah dengan layar tancap dan masih menjadi film yang ditonton paling banyak, lebih dari 4,2 juta orang. Bahkan film ini juga akan diputar di beberapa kota di Asia, Australia dan Amerika.
Nah, rupanya kesuksesan Laskar Pelangi ini mendorong Mizan Production kembali membuat film berlatar pendidikan. Dan buku karya penulis anak-anak Benny Rhamdani menjadi pilihan, trilogi Garuda di Dadaku.
Buku pertama berjudul Mimpi Sang Garuda, diluncurkan di Gramedia Grand Indonesia, Jakarta, Jumat (20/3) bersamaan dengan prelaunching film Garuda di Dadaku.
Hadir dalam acara tersebut para pendukung film yang akan diputar di biskop mulai 8 Juni ini seperti Ikranegara, Maudy Koesnaedy dan pemain cilik Emir Salim. Hadir juga penulis skenario Salman Aristo.
Salman dikenal sebagai penulis skenario bertangan dingin. Film yang digarapnya menuai sukses secara pasar di antaranya Ayat Ayat Cinta, Laskar Pelangi dan Kambing Jantan.
Garuda di Dadaku bercerita tentang Bayu yang senang bermain sepak bola. Di lapangan ia biasa dipanggil Garuda. Bola, bila sudah dalam penguasaan kakinya sulit direbut lawan. Kaki Bayu seolah mencengkramnya sekuat burung Garuda.
Bayu punya impian untuk meneruskan cita-cita ayahnya yang ingin menjadi atlet sepakbola nasional namun kandas di tengah jalan. Tak seorang pun yang bisa membendung keinginan Bayu. Apalagi ia mendapat dukungan teman-teman serta ayahnya. Namun, dalam titik tertentu tiba-tiba halangan itu datang!
Diharapkan, film Garuda Di Dadaku akan mampu menangguk sukses yang tak jauh beda dengan film arahan Riri Riza 'laskar Pelangi' |
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forselab, menyampuk kejap ye.
saya dah baca 3 buku andrea- laskar pelangi, sang pemimpi dan edensor. Semuanya beli online dari bookcafe.com (buku2 PTS). Lain orang lain citarasa. Saya lebih suka yg diterjemah dlm bahasa malaysia. Lebih dekat dan terkesan di hati. Sekarang saya cuba baca MAryamah Karpov (dlm bahasa Indonesia) yg belum diterjemah lagi oleh PTS. |
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Sapa yang ada DVD atau VCD Laskar Pelangi ni, boleh tolong check tak soalan kuiz dlm kategori "hitung" yang dijawab oleh Lintang ...soalan no 2..
Aku dengar 17000 + 24268 dan dia jawab 50104
Kalau ikut pemahaman aku..jawapan nya ialah 41268.
So..aku assume aku x paham bahasa indonesia kot..
Tolong selesaikan masalah simple aku ni..
Thanks |
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Laskar Pelangi menang filem terbaik dalam Festival Film Bandung 2009, congratz!! 
senarai pemenang :
Kategori Filem :
1. Film Terpuji : Laskar Pelangi
2. Pemeran Utama Pria Terpuji : Aming (Doa Yang Mengancam)
3. Pelakon Utama Wanita Terpuji : Revalina S Temat (Perempuan Berkalung Sorban) & Cut Mini Theo (Laskar Pelangi)
4. Pelakon Pembantu Pria Terpuji : Ikranegara (Laskar Pelangi)
5. Pemeran Pembantu Wanita Terpuji : Widyawati (Perempuan Berkalung Sorban)
6. Sutradara Terpuji : Riri Riza (Laskar Pelangi)
7. Penata Musik Terpuji : Aksan dan Titi Sjuman (Laskar Pelangi)
8. Penata Artistik Terpuji : Eros Elfin (Laskar Pelangi)
9. Editing Terpuji : Cesa David Lukmansyah (Doa Yang Mengancam)
10. Penata Kamera Terpuji : Faozan Rizal (Perempuan Berkalung Sorban)
11. Penulis Skenario Terpuji : Jujur Prananto (Doa Yang Mengancam)
Kategori Sinetron :
1. Sinetron Terpuji : Rinduku Cintamu
2. Sinetron Remaja Terpuji : Kepompong
3. Sutradara Terpuji : Dedi Setiadi (Rinduku Cintamu)
Kategori Filem Asing :
1. Film Terpuji : Slumdog Millionaire
2. Film Laga Terpuji : The Dark Knight
3. Film Animasi Terpuji : Wall-E
4. Film Epic Terpuji : Red Cliff II
5. Film Remaja Terpuji : Twilight
6. Film Sejarah Terpuji : The Other of Boleyn Girl
7. Film Thriller Terpuji : Taken |
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baru tengok citer ni...two thumbs up aku bagi!
walaupun bukan filem kita aku tetap salut pembikin filem Indon dan khalayak penonton di sana yang menyanjung karya-karya sebegini. Bukan macam filem kita yang tak abih2 dengan filem komedi murahan, tahyul, & kisah mat rempit la, minah bohsia la..takder kreativiti langsung.
Btw, bukannya kita takder novel yang bagus yang boleh diangkat ke filem, banyak..contohnya novel2 faisal tehrani,,tinggal lagi pembikin filem kita takut menanggung risiko rugi sebab sikap orang kita sendiri yang lebih gemarkan filem2 hampeh dan picisan like pilim mamak mohidin dan sewaktu dengannya. |
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buat masa skrg Laskar Pelangi mcm takde stok...even publisher kat Malaysia PTS Litera pun takde stok....tp td cek website PTS dorang kata akan terbit semula pd 13hb Mei...
kalau nak novel2 lain Andrea Hirata cam Sang Pemimpi & Edensor boleh tgk kat MPH.... |
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Riri Riza takes Indonesia to Europe
Fri, 05/08/2009 1:21 PM
JAKARTA: After the tremendous success of Laskar Pelangi (Rainbow's Warrior), noted movie director Riri Riza will take center stage at this year's Indonesian Film Festival in Europe.
The festival, themed "Focus on Riri Riza", to be held from May 19 to June 10, will feature six of Riri's movies, which will be played in five European countries - Czechoslovakia, Austria, Slovenia, Serbia and Germany.
"Of course I said yes, because the offer came directly from author and Indonesian Ambassador to Czechoslovakia Salim Said. That made me proud because he's such an Indonesian movie hero and I have already read his books many times!" Riri says.
For the festival, Riri will be honored with screenings of his six movies: Laskar Pelangi, Gie, Eliana Eliana, Untuk Rena (For Rena), 3 Hari Untuk Selamanya (Three Days For Forever) and Petualangan Sherina (Sherina's Journey).
Riri dismisses concerns that his movies will attract only Indonesian audiences living in Europe, instead of targeting local viewers.
"We shouldn't worry about things like that. We have our embassy fellows there who already planned a good promotional strategy to attract the *European* viewers," he says. "They even decided to screen the movies in cinemas instead of at the embassy's compounds."
Riri says although the festival might not be a much-anticipated event for Europeans, "people who come and enjoy the movies will be those who have a deep interest in high-quality foreign movies". - Jakarta Post |
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Laskar Pelangi: A Hesitant Warrior among 'Laskar Pelangi'
oleh Ifan Adriansyah Ismail
In Indonesian media aware middle-class, if you don't know what Laskar Pelangi is, then you must have came from an uncool planet far far away. It's okay. Then, for you who came from another planet (although from another country would suffice for you to not know), I will tell the overview.
It All Began in Belitong
The story deals with a group of 10 poor children who attended a dying private school, Muhammadiyah Elementary School, at the island of Belitong, east south of Sumatra. In fact those ten were the only student the school had. It is The iron ic y is that the poverty-stricken island is actually rich in tin, clay, and silica sands . b But the natives rarely benefited from it, since all the resources were exploited by the giant state-run tin mining company, PT Timah. Not only that, the company also segregated the community by creating fenced housing, unequal opportunities and criminalizing the local miners. But among these hardships, in a tradition akin to Majid Majidi's Children of Heaven (1997), those children refused to surrender. They chose to see life as a great opportunity to explore, no matter what. Accompanied by their idealist teachers, Mrs. Muslimah (Cut Mini) and the principal Mr. Harfan (Ikranagara), they had to go through life with its bitterness, but without hate or prejudice. And with a deep sense of hope and perception on beauty, they called themselves ‘ L laskar P pelangi’ (lit erally . R rainbow W warriors).
Riri Riza's Creative Choices
Sounds motivational? Well, it should be. The film was adapted from a the same-titled book of the same name with, penned by probably the most spirited writer in Indonesia in this time, Andrea Hirata. The book Laskar Pelangi is actually a somewhat-fictionalized-and-dramatized autobiography of its author (His alter ego, the boy named Ikal, is one of those children). I put the word "somewhat" because the story's structure and style is quite odd. Maybe it is because Andrea is so highly spirited, that he chose not to meddle himself with literary theory. And that's why this book, while brimmed with positive aura, has so many anomaly and inconsistencies. It was filled with illogical dialogues and misplaced metaphors, not to mention his hyperbolic hyperboles. Believing a boy so genius that he could explain principles of optical phenomenon, Newton’s rings and Descartes in his preteen age is hard enough, let alone believing an elementary student contest would pose problem about that! Despite the flaws, Indonesians love the book, for it has brought them a story so allegedly enlivening, so praised and so popular that it has been reprinted more than 20 times. Only a matter of time before a film adaptation takes place. And this is where Riri Riza stepped in.
In adapting process, Riri Riza seemed to be aware exactly where the strength and the flaws lie in the book. For capturing the Belitong-ness effectively, he shot the film on location, and casts natives Belitong kids as the warriors. Books with so many different characters were always a monster for adaptation process, and Riri Riza successfully dodging the trap. He chose to focus his story on 3 boys only: the perceptive Ikal, the genius Lintang and the eccentric-artistry Mahar. He also put more light upon the teacher character, Mrs. Muslimah, to bring up her truthfulness and dedication, and also created new characters not found in the book. Riza's creative choices proved to be successful. The story is watered down, but lacking the book's flaws, retained its beautiful spirit, and the amateur kid-actors were amazingly natural and talented. Since Petualangan Sherina (Sherina's Adventure, 2000) and Untuk Rena (For Rena, 2005), Riri Riza has been known to be excellent at directing children. In general, he managed to retained Laskar Pelangi's positive aura, and in the same time, repressed its flaws. Unfortunately, Riri he cannot avoid his own flaws. What flaws? We will come back at that. It felt inappropriate to discuss flaws while highlighting its positive aspects. After all, it's a story with a strong inspirational tone, right?
A Story Oprah Would Love
But it's a story a Marxist would hate. Why is that? Because in Laskar Pelangi, poverty is basically portrayed as a mere nostalgic moment. Andrea Hirata, a.k.a Ikal is already a successful social climber, who can see his hardship-ridden childhood days as good old days gone past. I can't say the same for the rest of the warriors, especially Lintang, whose cleverness could not get him out of poverty circle. Once again, my memory flew back to Children of Heaven. Yes, they both put a Zen-like look at poverty, and yes, they did not resent to anger and suffering about it. And yes, both are using amateur children as the star. But there's a difference: Children of Heaven avoid romanticize the poverty, unlike the case with Laskar Pelangi. Casting amateur talents sometimes is believed to be able to bring a sense of realism and authentic-ness, but by romanticizing, it could not help. Because romanticizing anything has a danger putting the audience in some distance. Instead of an involved filmmaking, this method is known for creating the notorious effect of a house of glass. It's like observing another world from a safe distance. Hence, the audience cannot actually feel true empathy other than just feeling sorry. Riri Riza had been guilty of making a film with a house of glass attitude in 3 Hari Untuk Selamanya (3 Days to Forever, 2007). True, in Laskar Pelangi, the attitude has improved a little, if not to say ‘not at all’. |
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And then there's another distancing aspect: the humor. While Children of Heaven portrayed poverty as is, humbly living side by side with the rich, sometimes the situation evolved into small comedic moments, but we cannot laugh without any feeling of uneasiness. You must feel guilty for laughing at them. On the other hand, Laskar Pelangi consciously adds the humor parts and stripped down any uneasiness. Instead, it separated humor and tragedy in a stark contrast: on some scenes the children were seen doing funny things, and on another time, the film was tear-jerking the audience by killing one of its main casts. It felt like an old mixture reminiscence of any old melodrama.
Humor has always been used as magic-pills in Indonesian films. Add some humor, and your film may be saved from box-office nightmare. Allegedly, Riri Riza was using humor like some magic potion too here. Sure, it attracted millions of viewers and sparked some warm laughter among families. But humor is a double-edge knife. As amusing as it can be, it can also be an alienating effect. How can it be so? Take a glance on history. Indonesians, especially Javanese, are used to revert to humor when facing hardships. Since the ancient times, the lower class had genially created humor out of their sorrow in folks' show such as ludruk or dagelan Mataram (Mataram i an gags). But their exposure upon the upper class with the coming of media boom in the 20th century had caused an unanticipated effect: the upper class actually liked it. But one can question whether they actually laugh with them or at them.
Let's not forget that those "millions of viewers" and "families" are mainly urban middle and upper-class. The contemporary social gap is still so wide that its urban middle and upper class are — so to speak — alienated from the reality of their society and the younger they are, more severe the alienation is . The contemporary social gap is still so wide that its urban middle and upper class are — so to speak — alienated from the reality of their society. And it is more severe in its youth. For them, the story of poor boys from a far away island, even though is part of their country, echoed like a fairy tale. By putting those Belitong kids' hardships in a context of humor, the already alienated audiences are in danger of being mislead to view them as a distant other. For the urban youth, scenes where Lintang is forced to wait for a crocodile to cross before passing the rugged road may seem funny, but one has to wonder whether there's an honest empathy somewhere in there. The nostalgic struggle could lost its meaning when exposed carelessly to the audience already comforted by gadgets, air-conditioned rooms, malls, virtual hot spots and Starbucks. There is a danger that this supposedly inspiring story then be disregarded upon as just another tale in the movies. Of course, I'm not saying that Laskar Pelangi then would have to bear an unrealistic burden to soften the already stiff hearts, but their take on humor — this double-edged knife — could have been handled more carefully. Especially among our urban-saturated folks.
Nevertheless, the humor aspect served its main purpose: to grab the audience. And Riri Riza has succeeded in that. He made a film about a lot of things: poverty, struggling, dreams, voice of the marginalized, wisdom of life, social injustice, love, idealism, tragedy, flawed system..., wait. Wait. Is it that many? People said that a great works of art could hold a lot of meaning. But a work that is so indecisive could also hold a lot of meaning solely because it wants to say many things in a cluttered fashion. Which one of this does Laskar Pelangi belongs to?
Riri Riza's Creative Doubt -ness
Riri Riza may have his creative choices. He may choose to put more highlight upon social injustices in Belitong, in a dosage more than those in the book. In the opening sequence, he injected a historical context on why such injustices happened. But, like so many other sub-themes in Laskar Pelangi, it's just that. There were so many pieces of stories, failed to form a sense of coherence. One can defend this style as a mosaic-like work, where the theme don't have to tell the narrative linearly, but as a stream of pieces. But how can you defend the story about a missing rich girl, found, inexplicably attracted to Mahar, and then no more we hear from them? Maybe the rich girl was too interesting to be left out, initially. How can you defend a piece about the boys' adventure to a remote island to meet a shaman, without any significant link to the whole story? Maybe he felt the boys' absurd journey was too interesting to be left out, too. Even the most serious theme, its socio-political undertone, fell short. Maybe the director didn't want to include too much to avoid the film become too political. Or maybe he was just plainly indecisive.
With this too many 'maybes', one has to wonder where Riri Riza actually headed. He could play with one sub-theme more, but then he left it. Then there's another potential sub-theme, he took a piece of it, and then left it. The trace of his indecisiveness, sadly, is scattered around the film, and hurting the whole narrative.
Resurrecting an Old Tradition
But thankfully, just like the book, the positive messages were overshadowing its flaws in an entertaining way. Once again, we saw a phenomenon that has been lost for decades: whole families flocked to theaters, hopefully returning Indonesian cinema back into its heyday. There was a time where Indonesians routinely watching film, collectively with the whole family in Lebaran Holidays (Eid-al-Fitr Days), akin to westerners watching Christmas movies. In those times, the movies screened consisted only with comedies, especially from Warkop group, sometimes purposely released at Lebaran times. Untuk Rena was Riri Riza's experiment with creating a film specially released at Lebaran. It was a decent, small-budget movie with no pretension for a box office. But this time, with Laskar Pelangi he hit it big, and succeeded in resurrecting an old tradition among Indonesian cine-philes.
Riri Riza's geniality in directing and marketing overshadowed his hesitation concerning stories, and that alone would suffice to forgive and congratulate him. With this achievement, hopefully Indonesian mainstream cinema will retain its energy and spirit. There's a light at the end of the tunnel, and think positive. Besides, that's what Laskar Pelangi had taught us.
A Skeptical Rant as a Post-Scriptum:
And, the last problem lies with me. Once again I forgave a film's so many flaws only because there’s no other film like it. When the industry is blooming and the competition becomes fierce, and quality is harshly measured, these flaws will be unforgivable. I only pray that in the future, Indonesian cinema landscape would flourish and we don't have to make unnecessary apologies. Seeing that Laskar Pelangi may have launched the industry into its blooming state, I forgive it even more. Oh, my. |
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aku baru tengok film ni. Bagi aku filem ni best..dramatik.
Tetapi ada beberapa elemen yg aku rasa tak best.
1. Mood spjg filem ni berubah2 dgn pantas...di kala kita tgh sedih...tetiba ada mood lawak...lepas tu gembira...lepas tu sedih balik....tidak smooth. Adakah pengarahnya ingin menjadikan ia begitu supaya lain dr yg lain?
2. Watak utama yg ditonjolkan dlm citer ni adalah cikgu MAS...tp di akhir cerita tak der pulak diceritakan kesudahan cikgu MAS...watak ikal adalah setaraf jer dgn watak2 bebudak yg lain..tp perkembangan budak2 lain tidak pulak diceritakan di hujung cerita...menyebabkan aku tertanya...dan tak puas... |
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Belitong according to Laskar Pelangi
By Ekky Imanjaya, 03 Nov 2008
“Laskar Pelangi represents the other side of Indonesia. And it seems that our spectators had missed that kind of otherness” producer Mira Lesmana says. Why and how does the dynamic trio Riri Riza-Mira Lesmana-Salman Aristo (director, producer, scriptwriter, respectively) successfully depict Belitong in Laskar Pelangi (Rainbow Warrior)? I will elaborate it through two keywords: mental landscape and neorealist elements.
Mental Landscape
Mental landscape gives the soul of one city. The city depicted in a film is not merely a physical landscape with abstract identity, but it tells its stories and the activities. The spectators can immediately feel and understand that if a film set in Jakarta with its particular social problems, and it tells stories of people living in Jakarta. In short, it shows its certain “spiritual vitality” of the city.
It is notable film critic Andre Bazin who mentions “spiritual vitality” of one city on screen as an important aspect to depict mental landscape. This concept gives the soul and identity to one city so that the audiences are convinced with certain atmosphere and particular ambience of a city. Bazin uses it when he defends Rossellini’s Voyage to Italy. Bazin underlines that the recreated Naples on the film is not false, albeit it is not shot in the real Naples, because it has the quality of wholeness (including the geographical and social setting), and being “filtered” through the consciousness and the attitude of the main characters (Bazin 1972: 98-99). Through the main character’s awareness, the spectators can feel the wholeness and spiritual vitality of Naples.
In conclusion, amental landscape shows the “spiritual vitality” of one city on screen, construes something specific or certain indications referring that the city where the films are set is one particular city. And one aspect of the spiritual vitality is the reconstitution the city which supposedly signifying human achievement and progress.
Asrul Sani states that most of Indonesian films in his era are set in Jakarta, but actually they are not about Jakarta or its people, but rather about a large city with no name. He writes: “Jakarta is merely a set, a place for action because every story needs a setting” (Jufri (eds.) 1992: 23). Sani writes that the spectators rarely see anything specific or certain indications referring that the city where the films are set is Jakarta. Jakarta is only physical space completely voids the symbolic meaning (Jufri (eds.) 1992: 23). Sani writes that instead of the outer images or the physical aspect of life in the city, a mental landscape of Jakarta should be shown on screen. “For them, life is a physical expression. In fact, life is something more. There is a world of activity behind the buildings and beneath the skin of urban men” (Jufri (eds.) 1992: 26).
Sani states that the cities in Indonesian films are always pictured in stereotyped images, with highway full of cars and large and luxurious office building (Jufri (eds.) 1992: 24).One aspect of this kind of failure is that the filmmakers are not of an urban mind-frame; hence they do not get the spirit and the real condition and situation of urban life (Jufri et at (eds.) 1992: 23).
Sani mentions some examples on mental landscape, such as “…the fact that Jakarta is the meeting place for the people from all different sorts of ethnic and cultural backgrounds who are trying to find a social balance and in so doing producing a culture and social landscape that differs markedly from the respective regions in which they were raised” (Jufri (eds.) 1992: 25).
This lack of mental landscape happens, as Sani mentions, because the stories are not ones that originate in Jakarta, but only the offshoots of foreign films: a dramatic formula containing the attitudes and element found in foreign films about large urban areas (Jufri (eds.) 1992: 24).
Sani mentioned anomaly of Indonesian films that succeed to depict Jakarta and its resident not only as a physical but also a mental landscape which areSjuman Djaya’s Kerikil-Kerikil Tajam (Sharp Gravels) and Si Mamad, Arifin C Noer’s Yuyun Pasien Rumah Sakit Jiwa (Yuyun, Patient of a Mental Hospital) and Usmar Ismail’s Jakarta, the Big Village.
Laskar Pelangi belongs to anomaly cases. But, it is its unique credit, instead of Jakarta it shows the mental landscape of Belitong. The story is of the book which the film is based originates in Belitong. The novel writer, Andrea Hirata, is a Belitong-native, thus he knows exactly about the location and its people daily activities, problems, and stories. And the fact that the story is his semi-memoir strengthens its mental landscape. (a very rare cases in Indonesian cinema history! It successfully represents the other face of Indonesia) and its “spiritual vitality”. Location depicted in this film is not a nameless nowhere city.
There is no abstract identity in this film. The spectators can see the real locations and names such as SD Muhammadiyah Gantong, SD Timah, Manggar, Pantai Punai, Wisma Ria Lenggang 1, and PN Timah (some businessmen even arrange a “Laskar Pelangi” tour, such as www.belitungisland.com).
Surely, some of the places are not the real place, such as SD Muhammadiyah Gantong. But Riza and his art department crews recreated it as close as its reality. That is what mental landscape term all about. Hirata’s and the dynamic trio’s social awareness and educational consciousness reflected in the main characters’ awareness, consciousness and attitude strengthen the identity and wholeness of Belitong.
Some filmmakers use neorealism elements to reanimate the mental landscape, in order to make the film (including the location) closer to reality. And Riri Riza is one of them.
Neorealism elements
Italian Neorealism has several characteristics, but in fact, there is no manifesto of agreed aims and principles and no agreed method of filmmaking practice, only an array of negative convictions opposed to the formulaic depictions of commercial cinema and the belief that films should be a source of knowledge and reality (Hallam & Marshment 1988: 41)[1].
On discussion about the marks of neorealist films, many film scholars and critics describe neorealist films with some characteristics: the central characteristics consist of a method of filmmaking practice (location shooting and the use of nonprofessional actors), the attitude of the filmmakers (who aim to get close to their subject), their choice of subject matter (the loves of ordinary people, and as Bazin put it, “the concern with actual day-to-day events” (Bazin 1972: 20) and the ideological/political slant of the films (broadly left wing/liberal humanist) (Hallam & Marsment, 1988: 40).
Indeed, the term “neorealism” is not a simple and fixed definition. Film critic Mark Shiel writes that the realism of neorealism manifested itself in a distinctive visual style: preference for location filming, the use of nonprofessional actors, the avoidance of ornamental mise-en-scene, a preference for natural light, a freely-moving documentary style of photography, an non-interventionist approach to film directing and an avoidance of complex editing (Shiel 2006: 2). The neorealist city is more complex than it appears. For film scholar George Nowell-Smith, neorealism is above all a cinema of reconstruction, and its aesthetic in this respect follows its politics (Nowell-Smith 2001: 105). Accordingly, neorealist films do not declare “this is how things are”, but “this is how things were”. (Nowell-Smith 2001: 105). He illuminates two things on this matter. First, the films are a testimony to what the filmmaker saw at a particular time, and spectators watch it in other time. Second, the city is often a ruin, and the film states that the destruction and decoy should be restored (Nowell-Smith 2001: 105). Neorealist films also reveal poverty, unemployment and corruption in everyday life, and the effects on ordinary people, as a result of the social commitment and the political slant of the filmmakers (Hallam & Marshment 1988: 42). |
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Riri Riza uses neorealist elements to strengthen the mental landscape. Firstly, he used non-professional actors, a group of extremely talented Belitong-native young children. Mira Lesmana explains that they chose 12 little actor from Belitong is for the sense and taste of locality. “I cannot imagine if the characters of the children are played by Jakartans”, she says. Her second reason, she believes that great talents are not centered in Jakarta, but in other district such as Belitong.
As Bazin writes, in neorealist films, the use of nonprofessional actors is naturally chosen for their suitability for the part, either because they fit physically or because there is some parallelism between the roles and their lives (Bazin 1972: 24). Zulfanny (as Ikal) for example, was chosen because he looks like young Andrea Hirata, and he is the son of a poor watch seller in Tanjungpandang market, Belitong. Verry Yamarno (as Mahar) is a son of a tronton truck driver, and he loves to play guitar and kendang (traditional drums). Yoha Nugraha (as Kucai) is a son of a freelance worker and Elementary School’s officer. (Madina, Oktober 2008, p 18-19). For Harun case, there is interesting fact: Riza uses the read retarded boy to play retarded character. Those facts underline Bazin’s statement that, besides the faithfulness to everyday life in the scenario, the truth to his part in an actor is simply the basic materials of the aesthetic of neorealist films (Bazin 1972: 25). The Belitong ambience is embodied in those actors’s attitude and daily life, i.e. the dialect. Can we imagine if the children’s characters are played by Jakarta people such as Tora Sudiro and Rieke Dyah Pitaloka who cannot speak Melayu in good and fluent dialect? Or, how many months does it take to practice such kinds of embodied cultural gestures for non-Belitong young actors?
Secondly, it was shot on authentic location, in Belitong. Upon discussing the representation in a neorealistic way, Nowell-Smith mentions that one of the characteristics of neorealist films is location-shot, and the story happens in a place which is identifiable, very often named, and where the name may even form a part of the title (Nowell-Smith 2001: 101). And it can be touristic or shows aspects of cities which do not correspond to the audience’s pre-existing expectations (Nowell-Smith 2001: 101). Nowell-Smith also argues that shooting on location is either aesthetic or economic choice, or often mixtures.
Laskar Pelangi is set in real locations, Belitong, not set-up locations or in studio. The audience can feel that the ambience of certain spaces is closer to reality. The camera captures the atmosphere of minor details. The minor details construe, reconstitute and represent the mosaic of Belitong: the landscape, the beach, the fields, the market, the bicycles, Harimau’s chalk, and even some posters in class (KH Ahmad Dahlan, Buya Hamka, Rhoma Irama). Thus, it is a touristic experience for the spectators. The movie shows aspects of citiy which do not correspond to the audience’s pre-existing expectations.
How about other neorealist elements? Let me discuss them below.
The narrative technique applied in Laskar Pelangi is similar to Paisa (1946, a film by Roberto Rosselini one of neo-realist ‘founding fathers’) analyzed by Andre Bazin. Bazin writes that a film is always presented as a succession of fragments of imaged reality or a rectangular surface of given proportions, the ordering of the images and their duration on the screen determining its import (Bazin 1972: 30). And for Bazin, Paisa is the first film to resemble closely a collection of different short stories but “... their social, historical, and human foundation gives them a unity enough to constitute a collection perfectly homogeneous in its diversity” (Bazin 1972: 34). Bazin comments that in Paisa, the director “… chose these “facts” carefully while at the same time respecting their factual integrity” (Bazin 1972: 37) and “… manifest and equally concrete density” (Bazin 1972: 37).
Similar to Paisa, Laskar Pelangi is a multiplot film with stories about Ikal, Lintang, and Mahar, and other characters, including the stories of the minor details (stories of Bu Muslimah, Flo, etc) shown on screen. But their stories are interwoven and united by SD Muhammadiyah of Gantong and their educational and social issues or by, as Bazin puts it, “… their social, historical and human foundation.” Those fragments of stories become one entity.
On poverty as a theme, the film explains itself. We can witness how poor those children (and also their teachers) in daily life (at school, in their own houses, etc). Riza shows us the fragile, nearly-collapsed school building, flooded by the rains with leaky ceiling. When holiday comes, the students will work as labors. This kind of poverty sharpens when the movie compare it to luxury school called SD Timah, run by a Government owned company.
And, surely the spectators can feel the atmosphere of political slant and social commitment of the filmmakers. The city on screen is often a “ruin”, and the film states that “the destruction and decoy” should be restored (Nowell-Smith 2001: 105)--Riza puts chapter 31 of Indonesian Constitution at the end of the movie, it states: “every citizen has the right to education”. This movie is a statement of the filmmakers on educational condition. I argue that Laskar Pelangi’s aesthetic in this respect follows its politics (Nowell-Smith 2001: 105). And Riza and Mira (also Hirata) do not just declare “this is how things were”. (Nowell-Smith 2001: 105), but “this is how things are”, considering that the conditions in Indonesia are not very developing since 1979. |
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Minggu, 17/05/2009 00:26 WIB
'Laskar Pelangi' Jawara IMA 2009
Amelia Ayu Kinanti - detikhot
Jakarta Indonesia Movie Award (IMA) 2009 kembali digelar. Kali ini yang menjadi jawaranya adalah film 'Laskar Pelangi'. Laskar pelangi dinobatkan sebagai film terbaik.
Tak hanya itu, film arahan sutradara berbakat Riri Riza dan Mira lesmana itu juga berhasil mengantarkan beberapa nama untuk mendapat piala Layar Emas IMA.
Zulfani pemeran Ikal kecil dalam film 'Laskar Pelangi' dinobatkan sebagai Pendatang baru terfavorit. Sedangkan Pemeran Utama Pria dan Wanita terbaik adalah Cut Mini yang memerankan Bu Mus, serta Ikranegara yang memerankan Pak Harfan, sang kepala sekolah yang bijak. Tak hanya itu, Nidji sang pengisi soundtrack pun dinobatkan sebagai soundtrack film terbaik 2009 dengan lagu 'Laskar Pelangi'nya.
Rasanya tak berlebihan jika film yang diangkat dari novel karya Andrea Hirata itu dianggap sebagai film terbaik. Film yang menggambarkan tentang anak-anak yang serba kekurangan namun berani bermimpi telah memberikan banyak inspirasi bagi rakyat Indonesia.
(kee/kee) |
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dah tgk filem
tapi bg sesiapa yg xbaca buku dia, baik baca dulu sblom tgk,
cerita dia bergerak dgn pantas sbb nak cover kseluruhan novel.
kalau tak baca buku mmg akan terpinga-pinga kenapa cerita dah melompat gi cerita lain jer.
tp bila dah baca buku lebih mudah nak mencerna cerita tersebut,
Ada part yg tak ada dlm buku tapi ada dalam cerita dan juga sebaliknya.
cerita ni besh |
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Post time 5-4-2009 05:59 PM
kat maner nak beli yerkk
