Showing posts sorted by relevance for query benyamin. Sort by date Show all posts
Showing posts sorted by relevance for query benyamin. Sort by date Show all posts

Tuesday, December 12, 2017

Mengenang Encing Benyamin Sueb

Oleh: Ekky Imanjaya

Sebagian dari tulisan ini dimuat di majalah Matra edisi September 2004,
Tulisan ini dimuat dalam buku A to Z about Indonesian Film"

Image may contain: 1 person
"Gue mau dong rekaman kayak penyanyi beneran" ungkap Benyamin Sueb kepada Harry Sabar, di tahun 1992. Maka, bersama Harry Sabar, Keenan Nasution, Odink Nasution, dan Aditya, jadilah band Al-Haj dengan album Biang Kerok. Inilah band dan album terakhir Benyamin. "Di lagu itu, entah kenapa, Ben menyanyi seperti berdoa, khusuk.Coba saja dengar Ampunan," jelas Harry, sang music director. "Mungkin sudah tahu kalau hidupnya tinggal sebentar," imbuhnya. Memang betul, setelah album itu keluar, Benyamin sakit keras, dan rencana promosi ditunda-dan tak pernah lagi terwujud kecuali beberapa pentas. Di album ini, Benyamin menyanyi dengan "serius". Tetapi, lagi-lagi, seserius apa pun, tetap saja orang-orang yang terlibat tertawa terpingkal-pingkal saat Benyamin rekaman lagu I’m a Teacher dan Kisah Kucing Tua dengan penuh improvisasi. Sementara lagu Dingin Dingin Dimandiin dan Biang Kerok bernuansa cadas. Dan Ampunanmu kental dengan progressive rock, diantaranya nuansa Watcher of the Sky dari Genesis era Peter Gabriel.
Yang menarik, masih menurut Harry, saat Benyamin menonton Earth, Wind, and Fire di Amerika-saat menjenguk anaknya yang kuliah disana-dia langsung komentar:"Nyanyi yang kayak gitu, asyik kali ye?", dan nuansa itu pun hadir di beberapa lagu di album itu, salah satunya dengan sedikit sentuhan Lady Madonna dari The Beatles.
Agaknya semua media sudah memuat profil, prstasi, dan kelegendarisan sang Ikon betawi ini.. Lantas, apa yang tersisa. Ape ye yang tersisa dari budayawan betawi yang wafat 5 September 1995 ini?
Seniman asli Betawi kelahiran Kemayoran, 5 Maret 1939 ini main film dengan judul yang menjual namanya--sedikit sekali film di Indonesia yang menjual nama bintangnya, tercatat diantaranya Benyamin, Bing Slamet,Ateng, dan Bagyo. Judulnya, antara lain Benyamin Biang Kerok (Nawi Ismail, 1972), Benyamin Brengsek (Nawi Ismail, 1973), Benyamin Jatuh Cinta (Syamsul Fuad, 1976), Benyamin Raja Lenong (Syamsul Fuad, 1975), Benyamin Si Abunawas (Fritz Schadt, 1974), Benyamin Spion 025 (Tjut Jalil, 1974), Traktor Benyamin (Lilik Sudjio, 1975), Jimat Benyamin (Bay Isbahi, 1973), dan Benyamin Tukang Ngibul (Nawi Ismail,1975).Dia juga main di film seperti Ratu Amplop (Nawi Ismail, 1974), Cukong Blo'on (Hardy, Chaidir Djafar, 1973),Tarsan Kota (Lilik Sudjio, 1974),Samson Betawi (Nawi Ismail, 1975), Tiga Janggo (Nawi Ismail, 1976)--,Tarsan Pensiunan (Lilik Sudjio, 1976), Zorro Kemayoran (Lilik Sudjoi, 1976). Sementara Intan Berduri (Turino Djunaidi, 1972) membuat dirinya, dan Rima Melati, meraih Piala Citra 1973, selain karena Si Doel Anak Modern yang digarap Sjuman DJaya.
Benyamin juga membuat perusahaan sendiri bernama Jiung Film--diantara produksinya Benyamin Koboi Ngungsi (Nawi Ismail, 1975)--bahkan menyutradarai Musuh Bebuyutan (1974) dan Hippies Lokal (1976).
Tetapi, jangan salah, Encing Ben tidak menjadi bintang utama di setiap filmnya. Seperti layaknya semua orang,ada proses dimana Encing Ben "hanya" menjadi figuran atau paling mentok actor pembantu. Dalam hal ini, paling tidak ada dua nama yang patut disebut, yaitu Bing Slamet dan Sjuman Djaya. Walau sudah merintis karir sebagai "bintang film" lewat film perdananya, Banteng Betawi (Nawi Ismail,1971) yang merupakan lanjutan dari Si Pitung (Nawi Ismail, 1970), tetapi kedua nama besar itulah yang mempertajam kemampuan akting Encing BenDalam "berguru" dengan Bing Slamet, Benyamin tidak saja bekerja sama dalam hal musik-seperti dalam lagu Nonton Bioskop dan Brang Breng Brong. Tapi dalam hal film pun dilakoninya. Terlihat dengan jelas, di film Ambisi (Nya Abbas Acup, 1973) -sebuah "komidi musikal" yang diotaki oleh Bing Slamet-Benyamin menjadi teman sang actor utama, Bing Slamet menjadi penyiar Undur-Undur Broadcasting. Di film ini, sudah terlihat gaya "asal goblek" Encing yang penuh improvisasi dan memancing tawa. Di sini, dia berduet dengan Bing Slamet lewat lagu Tukang Sayur. Tetapi, sebenarnya, setahun sebelumnya, Encing Ben juga diajak ikutan main Bing Slamet Setan Djalanan (Hasmanan, 1972). Karena itulah, saat sahabatnya itu wafat pada 17 Desember 1974, Encing Ben tak dapat menahan tangisnya.Dengan Sjuman Djaya, Encing Ben diajak main Si Doel Anak Betawi (Sjuman Djaya, 1973).
Dirinya menjadi ayah si Doel, yang diperankan oleh Rano Karno kecil. Perannya serius tapi, seperti stereotipe orang Betawi, kocak dan tetap "asal goblek".
Adegan terdasyat film ini adalah saat pertemuan antara abang-adik yang diperankan olehs Benyamin dan Sjuman Djaya sendiri, terlihat ketegangan dan kepiawaian akting keduanya yang mampu mengaduk-aduk emosi penonton. Talenta itu direkam oleh ayah dari Djenar Maesa Ayu dan Aksan Syuman, dan dua tahun kemudian Encing Ben pun main film sekuelnya, Si Doel Anak Modern (Sjuman Djaya, 1975). Kali ini Encing Ben menjadi bintang utamanya, dan meraih Piala Citra!Yang menarik, lebih dari dua puluh tahun kemudian Rano Karno membuat versi sinetronnya. Castingnya nyaris sama: Rano sebagai Si Doel, Benyamin sebagai ayahnya-selain theme songnya dan settingnya yang hanya diubah sedikit saja.
Lagi-lagi Encing Ben menjadi actor pendukung, tapi kehadirannya sungguh bermakna.Sebenarnya ada satu lagi film yang dirinya bukan aktor utama, tetapi sangat dominan bahkan namanya dijadikan subjudul atawa tagline: Benyamin vs Drakula. Film itu adalah Drakula Mantu, karya si Raja Komedi Nyak Abbas Akub tahun 1974). Film bergenre komedi horor itu "memaksa" Encing Ben beradu akting dengan Tan Tjeng Bok, si actor tiga zaman.Begitulah, meski beberapa pernah tidak "menjabat" sebagai actor utama, tetapi kehadirannya mencuri perhatian penonton saat itu.
Tidak selamanya kegiatan Encing Ben ada di dunia seni budaya. Encing Ben selepas dari SMA Taman Madya Jakarta (1958), melanjutkan ke Akademi Bank Jakarta, tapi tidak tamat.
Anak bungsu yang pernah bercita-cita menjadi pilot-tapi dilarang ibunya-itu pernah juga Krusus Lembaga Pembinaan Perusahaan dan Pembinaan Ketatalaksanaan (1960), Latihan Dasar Kemiliteran Kodam V Jaya (1960), Kursus Administrasi Negra (1964). Pernah juga jadi pedagang roti dorong, Kondektur Bus trayek Lapangan Banteng-Pasar Rumput (1959), Bagian Amunisi Peralatan AD (1959-1960), Bagian Musk Kodam V Jaya (1957-1969), dan Kepala Bagian Perusahaan Daerah Kriya Jaya (1960-1969).
Tapi, semua itu tidak membuatnya surut untuk menjadi seorang entertainer sejati di Indonesia. Sebab, baginya: "Kepuasan adalah suatu kemunduran". Sepertinya, Indonesia masih saja kehilangan sosok Encing Benyamin yang wafat 5 September, 9 tahu lalu. Indonesia masih saja mencari sosok budayawan yang menghibur sekaligus mendidik bangsa.Jadi, tepat dong kalau, mengutip salah satu kaosnya: "Wanted: Benyamin Sueb, Biang Kerok!"

Sayup-sayup, dari salah satu stasiun swasta, terdengar Encing Ben bernyanyi sendu tapi tetap mengundang tawa di film Tiga Djanggo:
"Djanggo pintar pintar bodo
Djanggo tidak suka baso
Djanggo suka ngangon kebo
Djanggo kalau tidur ngigo"
(eimanjaya@yahoo.com)

Wednesday, March 25, 2015

The Special Issue is Out! "The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies"

Plaridel  Journal, Special Issue, Vol 11, Issue No. 2, 2014.
Guest Editor: Ekky Imanjaya
(PhD Candidate, University of East Anglia, UK;
faculty member, school of Film, Binus International, Bina Nusantara University, Indonesia)



1.      A Note from the Editor : The Significance of Indonesian Cult, Exploitation,  and B-Movies
By Ekky Imanjaya (guest editor; PhD Candidate, University of East Anglia;  Lecturer, Bina Nusantara University)  http://plarideljournal.org/article/significance-indonesian-cult-exploitation-and-b-movies



2.      Exploiting Indonesia: From “Primitives” to “Outraged Fugitives”
By Thomas Barker (Assistant Professor of Film and Television,  the University of Nottingham Malaysia Campus)

3.              The Raiding Dutchmen: Colonial stereotypes, identity and Islam in Indonesian B-movies

By Eric Sasono  (postgraduate student at Film Studies Department, King’s College, London)


4.      The Earth is Getting Hotter: Urban Inferno and Outsider Women’s Collectives in Bumi Makin Panas
By Dag Yngvesson (PhD Candidate, University of Minnesota)

5.       Challenging New Order’s Gender Ideology in Benyamin Sueb’s Betty Bencong Slebor: A Queer Reading
By Maimunah Munir (doctoral program student , South East Asian Studies, the University of Sydney,  Australia)

6.      Genre versus Local Specificity: Configuring Rangda and Durga in Balinese and Bengali Films
By Makbul Mubarak  (Lecturer, Universitas Multimedia Nusantara)—coming soon.
Abstract:


7.      Beneath Still Waters: Brian Yuzna and the Transnational Indonesian Terror Text
By Xavier Mendik  (Associate Head in the School of Art, Media and Design at the University of Brighton, Director of Cine-Excess International Film Festival

Documents:

1.      When East Meets West: American and Chinese influences on early Indonesian Action cinema

The List of Filmography of Early Indonesian Action Movies (1926-1941)
compiled by by Bastian Meiresonne (Asian movies specialist, director of Garuda Power: The Spirit Within)

2.      On Lady Terminator
Interview with Barbara Anne Constable
By Andrew Leavold (Ph.D. candidate, Griffith University, director of “The Search for Weng Weng”)

3.      Beneath Still Waters: The Brian Yuzna Interview http://plarideljournal.org/article/beneath-still-waters-brian-yuzna-interview
By Xavier Mendik

4.      Scripting an Indonesian Monster: The John Penney Interview:   http://plarideljournal.org/article/scripting-indonesian-monster-john-penney-interview

By Xavier Mendik  

Monday, November 24, 2014

Sneak Peek: Table of Content & Abstracts of Plaridel special issue: "The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies"

The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies

Plaridel  Journal, Special Issue, Vol 11, Issue No. 2, 2014.

Guest Editor: 
Ekky Imanjaya 
(PhD Candidate, University of East Anglia, UK; 
faculty member, school of Film, Binus International, Bina Nusantara University, Indonesia)

Coming soon: December 18, 2014

Table of Content and Abstracts:


1.     The Significance of Indonesian Exploitation and Cult Cinema: An Introduction to Special Issue

By Ekky Imanjaya (guest editor; University of East Anglia and Binus Nusantara University)


2.     Exploiting Indonesia: From Primitives to Outraged Fugitives
By Thomas Barker (University of Nottingham Malaysia)

3.     The Raiding Dutchmen: The Dutch Stereotypes in Indonesian Action Movies
By Eric Sasono  (RumahFilm.org)

4.       The Earth is Getting Hotter: Urban Inferno and Outsider Women’s Collectives in Bumi Makin Panas
By Dag Yngvesson (University of Minnesota)

5.        Challenging New Order’s Gender Ideology in Benyamin Sueb’s Betty Bencong Slebor: A Queer Reading
By Maimunah Munir (University of Airlangga)

6.       Genre versus Local Specificity: Configuring Rangda and Durga in Balinese and Bengali Films
By Makbul Mubarak  (Universitas Multimedia Nusantara)


7.       Beneath Still Waters: Brian Yuzna and the Transnational Indonesian Terror Text
By Xavier Mendik  (University of Brighton, Director of Cine-Excess Film Festival)


Documents
WHEN EAST MEETS WEST:
1.      American and Chinese influences on early Indonesian Action cinema

The List of Filmography of Early Indonesian Action Movies (1926-1941)
compiled by by Bastian Meiresonne

2.    On Lady Terminator
Interview with Barbara Anne Constable
By Andrew Leavold

3.     Beneath Still Waters: The Brian Yuzna Interview
By Xavier Mendik
4.     Scripting an Indonesian Monster: The John Penney Interview

By Xavier Mendik

Wednesday, March 26, 2014

Call for Papers: The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies

CALL FOR PAPERS

Plaridel Journal
Special Issue

The Bad, The Worse, and The Worst:
The Significance of Indonesian Cult, Exploitation, and B Movies

Guest editor: Ekky Imanjaya (University of East Anglia & Bina Nusantara University)

In Indonesia, popular Indonesian films, especially exploitation and B-movies, are overlooked and underrated by most film critics, film journalists, and film scholars.  Until recently, these kinds of films have not been commonly considered as “official” representations of Indonesian cinema, let alone Indonesian culture. Majority of books, works of journalism, and academic papers dealing with Indonesian cinema history, both in English and Indonesian, generally exclude the significance of classic “exploitation” cinema. These works only discuss such films if there are controversial issues associated with them, or if representations of social classes and gender are explored.  Only a few texts have discussed the phenomenon of exploitation films as such.

Interestingly, instead of art-house films directed by auteur directors, or films that attempt to represent “Indonesian faces on screen”—which are commonly considered and celebrated as the official representation of Indonesian culture by the Indonesian government and culture elites--“low art,”, “lowbrow” or “bad” movies are exported to and disseminated by the international film markets in Manila, Cannes, Berlin, etc. since 1982. Apparently, exploitation movies could well fit with the demands of international distributors.  

In addition, many such films are still very popular among the working-class and lower-class spectators, with some even becoming box-office hits. Borrowing Barry Keith Grant’s term, these films became “Mass Cult” for local fans (Grant 1991, 123). The “Mass Cult” status of the films is important to highlight, because these films were not marginalized by mainstream audience in Indonesia. However, these films were discriminated against by the Politics of Tastes of culture elites, and their cult status was partly shaped by New Order policies. The films were circulated freely and massively through LayarTancap (mobile cinema) and Misbar (seasonal movie theatre) during New Order era in rural and suburban areas, which were out of New Order radar until 1993. These kinds of distribution and exhibition became channels of alternative distribution and exhibition for those “marginalized” films and have produced their own dynamics and characteristic subcultures.

This raises several questions:  How were film cultures and cinematic production, mediation, and consumption generated in Indonesia and beyond? To what extent can we consider these “bad” exploitation films important and significant culturally, socially, politically, and economically? How and why do many of these kinds of films become cult films abroad and celebrated by global fans? How and why do Indonesian films texts achieve cult status? How might they differ from so-called mainstream films? To what extent can we still consider these media ‘cult,’ given global media reach? What of other exploitation films which were not exported, such as dangdut musicals by Rhoma Irama or comedy films starred by Benyamin Sueb and Warkop DKI? What of recent exploitation and B-movies, like the virtual discussion on Azrax (Melawan Sindikat Perdagangan Wanita) <Azrax (Against Women Trafficking Syndicate)> or discussion on works by Koya Pagayo and KK Deraj in “#Vividism” fan culture? Finally, what can all of these reveal about other critical concerns, from industry culture, to (re)distribution, consumption, and reception?

This edition of Plaridel: A Philippine Journal of Communication, Media, and Society will provide an opportunity to share research on any aspect of these practices and initiate dialogue on Indonesian cult, exploitation, and B-grade films.  Topics might include but are not limited to the following:

·         The Production of Indonesian Cult, Exploitation and B-movies
·         Networks, Co-productions, and/or Financing
·         Exploitation Film and Policy (censorship, etc.)
·         Indonesian B-movie cult stardom and celebrities  (Barry Prima, Suzanna, Bing Slamet, Benyamin, Rhoma Irama, Eva Arnaz, etc)
·         The Roles of International Star movies (Peter O’Brien, Cynthia Rothrock, Chris Mitchum, etc).
·         Indonesian cult Auteurs (Arizal, Sisworo Gautama, Tjut Djalil, etc)
·         Genres in Indonesian cult cinema
·         The Marketing of Indonesian Cult Movies and the Institutions of Film Markets
·         Indonesian B-movie Channels of Distribution
·         Indonesian and International politics of taste and cultural distinction
·         Indonesia and International cult fandoms and communities
·         Indonesian Exploitation Films and Theories of cult Internet fandom
·         Local media and global receptions
·         Emerging marginalised Indonesian  cult films


Abstracts should be submitted via email to plarideljournal@gmail.com, on or before 10 April 2014. The deadline for full papers by authors whose Abstracts have been selected is 10 June 2015.


About Plaridel Journal

Plaridel: A Philippine Journal of Communication, Media, and Society was first published in 2004 as a national journal of communication and has since been released on a regular bi-annual basis. Eventually, the journal expanded its scope to include regional (i.e., Asian and Southeast Asian) topics and began to publish papers from other Asian countries. Papers published in Plaridel Journal are original researches emanating from various disciplines that engage with media and communication studies. Such papers may include qualitative or quantitative researches concerned with media effects, industry practices, political economy, cultural and subcultural formations, reception and consumption, among others.

Current and past issues are available at www.plarideljournal.org.


Information for Authors

Plaridel: A Philippine Journal of Communication, Media, and Society is a refereed bi-annual journal published by the University of the Philippines, College of Mass Communication (UP CMC). It publishes papers on any aspect of Asian and Southeast Asian communication and media. Reviews of books, films, websites, television and radio programs, and other media texts are also accepted for publication.

All articles should have a high degree of scholarship. All article submissions are vetted by the issue and/or associate editor and then blind reviewed by at least two experts in the field.

All articles should be written with proper citations using the American Psychological Association (APA) style. Articles must not exceed a maximum of 10,000 words, while reviews must have at least 1,500 words. Articles in English or Filipino may be submitted.

Articles should be accompanied by an abstract of 100 to 150 words. Abstracts for contributions written in Filipino must be written in English.

Article submissions are to be e-mailed to the Editor-in-Chief at plarideljournal@gmail.com in MS Word format without any identifying information such as author(s) name and institutional affiliations. Authors should submit a separate document with the manuscript title, author name(s), institutional affiliation and contact information.

Authors submitting articles for consideration should not simultaneously submit the same articles to publications or journals. Articles should not have been published elsewhere in substantially similar form or with substantially similar content. Authors are responsible for gaining permission for including any copyrighted material that needs permission, including quotations of more than 300 words and illustrations.


Plaridel Journal Refereeing Process

Plaridel Journal publishes original articles that have gone through a rigorous double-blind peer-review process. Papers submitted to the journal for publication consideration undergo an initial editorial review by issue and/or associate editors. At this stage, papers can be accepted or rejected. Papers that are favorably reviewed move forward to the blind peer-review process. Referees or reviewers are selected based on their publication history and expertise in the field where the article seeks to make a contribution.


CHED Accreditation

The Plaridel Journal is accorded Category A-2 status in the Philippines by the Commission on Higher Education (CHED) Journal Accreditation System since 2010.


For further information, call (02) 9206864 or UP trunkline 981-8500 loc. 2668 or email Patrick F. Campos (Plaridel Journal Managing Editor) at <plarideljournal@gmail.com>.


Tuesday, April 8, 2014

Tukang Obat dan Kampanye Caleg di Sinema Kita

link: Tukang Obat dan Kampanye Caleg di Sinema Kita



Atas: lagu "Tukang Obat" di film Benyamin "Tukang Ngibul".
Bawah: Film "Benyamin Tukang Ngibul" di Youtube

Tuesday, December 9, 2014

RIP Lilik sudjio, the director of "Queen of Black Magic"

I just read from El –Badrun’s Facebook status, that #liliksudjio just passed away today  (9 dec), at 07.30, in Jakarta.

Liliek Sudjio  was the first director who received Citra awards in the 1st Festival Film Indonesia. He outdid Usmar Ismail, “the father of Indonesian cinema”.  He directed Ratu Ilmu Hitam (Queen of The Black Magic, 1979), one of the earliest exploitation films exported overseas in the early 1980s and recirculated in the 2000s.

But Liliek’s works are beyond that. He directed several superhero movies such as GundalaPutra Petir (Indonesia's Flash)  and Darna Ajaib (Indonesia's Wonder Woman). He also directed comedy starring the icons of  the 1980s namely Gepeng and Benyamin Sueb.

In 1968, he was one of the chosen director that has been selected by Dewan Film Nasional (National Film Council) to produce a film related to the project of “searching of Indonesian faces on screen”. Instead of making art-house films, like other directors, he chose to make genre film, Djampang Mentjari Naga Hitam (Djampang Searches for the Black Dragon).


a review on Queen of Black Magic in DVD Drive-In 

a review on Queen of Black Magic (Oh The Horror)   
A review on Queen of Black Magic (Fright) ( 


Tuesday, December 31, 2019

Kaleidoskop 2019

Januari
Got interviewed by Dr. Billy Proctor in Prof. Henry Jenkins' website, consisting of two parts

March
Diskusi Benyamin Sueb di Bentara Budaya Jakarta. Pertemuan terakhir dengan almarhum mas Abduh.

London Book Fair! I was invited as a speaker on Film Adaptation at Olympia. And I co-organized a film screenings and discussion at SOAS

May
Jadi narasumber di video dokumenter tentang Layar Tancap.

June
UK Visit:  Matilda the Musical! Lebaran di Edinburgh
Official Launching of Medina Candy Club Youtube Channel. Please check, follow, and subscribe here
The Significance of Garin Nugroho was published in Taipei International Film Festival.



July

Asian Film Archive, Singapore. Paper lama saya terpilih untuk masuk dalam antologi tulisan The State of Motion 2019: Fear of Monsters. Order here. Dan saya diundang ke Singapura untuk jadi salah satu pembicaranya.

Cobain LRT pertama kali
Badass, Kineforum. Putar film dan Diskusi, bareng Dennis Adhiswara. Dan tentunya ada putar film rahasia!

August
Akreditasi BAN PT. Prodi Film Universitas Bina Nusantara menjadi Program Studi Film pertama dan satu-satunya di Indonesia yang terakreditasi A.

Raker di Semarang, Ziarah ke Masjid Kudus dan Demak.


September
Friendly City Conference, Medan. Scopus Warrior. Eksplorasi Medan.

October
Reuni SMP1 angkatan 1989. Ngeband bareng The WildBoys band, band saya sejak SMP.

Launching n diskusi Mencari Film Madani di Madani Film Festival.
Yes, Finally I published a book, after a while. Alhamdulillah.
Untuk mendapatkan bukunya secara gratis (hanya ganti ongkos kirim), daftar ke sini:
Bagian dari Seri Wacana Sinema dari Komite Film Dewan Kesenian Jakarta.


November
UK (re)visit.
Jogja Netpac Asia Film Festival: Menjadi pembicara Seminar Film Horor (bersama Christine Hakim, Joko Anwar,  Ifan Ismail,dan Ismail Basbeth. Juga pembicara di diskusi 3 buku Seri Wacana Sinema, khususnya buku "Tilas Kritik".
Medina Got an Award! Yay!
Des
Buku tebal "Kilas Kritik: Kumpulan Tulisan Rumah Film 2007-2012" terbit. Saya dan Hikmat Darmawan  jadi editornya. Bagian dari Seri Wacana Sinema dari Komite Film Dewan Kesenian Jakarta.
Jadi narasumber dari #SiasatSinema Studio Antelope

Resolution 2020:
(1) Publishing my PhD thesis, both in Indonesian and English.
(2) Be with my family for good.

Sunday, April 12, 2020

Nonton Gratis dan Legal Film Indonesia (2): Film Klasik


 Jual Warkop : Pintar Pintar Bodoh (Vcd Original) di lapak Z Z Shop ...
Pengantar:

Temuan saya seputar kategori Film Indonesia Klasik, rupanya memang didominasi oleh film-film komersial seperti yang dibintangi Suzanna dan Warkop DKI. Tapi, menariknya, Benyamin Sueb tidak ada di OTT yang saya jelajahi. Hal menarik yang saya temukan adalah film semacam Ranjang Pengantin dan Samson dan Delilah yang cukup langka di Indonesia (kecuali dalam semacam DVD 5 in 1), namun  acap dibicarakan oleh penggemar film B/eksploitasi global di berbagai forum online dan dilabeli #CrazyIndonesia,
Film-film favorit saya dari sutradara favorit saya juga tidak saya temukan sewaktu ngubek-ngubek situs-situs itu. Misalnya Usmar Ismail (kecuali Darah dan Doa), Syuman Djaya, Nyak Abbas Akub, atau Garin Nugroho.  Namun, surprisingly, saya menemukan satu film karya Chaerul Umam (ada di Favorit Utama) dan Arifin C Noer, (ada di wishlist).

Untuk pengkategorian, ada yang berdasarkan genre, ada yang berdasarkan sineas/aktornya. Suzanna, Ateng-Iskak,  dan Warkop saya jadikan sebuah kategori khusus karena mereka telah menjadi ikon, sesuatu yang hampir tidak terjadi di era sekarang.

Daftar di bawah ini, sayangnya, tidak mencantumkan film-film yang sudah direstorasi secara digital oleh Flik. Juga tidak memasukkan film-film yang sudah direstorasi oleh beberapa pihak, termasuk yang sudah ada dalam daftar Pusbang Film  (sebelum berubah nama). Karena belum  bisa diakses secara online dan gratis.

Favorit Utama
Gundala Putera Petir (liliek Sudjio, 1981):   https://www.iflix.com/id/en/title/movie/170931
O0m Pasikom (Parodi Ibukota (Chaerul Umam, 1990): https://www.iflix.com/my/en/title/movie/170929


Horor
Pengabdi Setan (Sisworo Gautama, 1980) : https://www.iflix.com/id/en/title/movie/198720
Ranjang Setan (Tjut Djalil, 1986): https://www.iflix.com/id/en/title/movie/111412

Suzanna
Ratu Sakti Calon Arang (Sisworo Gautama, 1985): https://www.iflix.com/id/en/title/movie/106642
Ratu Buaya Putih (Tjut Djalil, 1988) : https://www.iflix.com/id/en/title/movie/170167
Samson dan  Delilah (Sisworo Gautama Putra, 1987) https://www.iflix.com/id/en/title/movie/106643
Santet (Sisworo Gautama Putra, 1988): https://www.iflix.com/id/en/title/movie/116558
Telaga Angker(SIsworo Gautama Putra, 1984): https://www.iflix.com/id/en/title/movie170999
Usia dalam Gejolak (Sisworo Gautama Putra, 1984): https://www.iflix.com/id/en/title/movie/179624
Wanita HArimau (Santet 2) (Sisworo Gautama 1989): https://www.iflix.com/id/en/title/movie/179626
Sangkuriang (Sisworo Gautama 1982): https://www.iflix.com/id/en/title/movie/276056


Komedi

Doyok-Kadir
Makelar Kodok (Norman Benny 1989): https://www.iflix.com/id/en/title/movie/243136

Warkop


Ateng-Iskak
Ateng Sok Tahu (Hasmanan, Soendoro, 1979): https://www.iflix.com/id/en/title/movie/250854
Ateng the Godfather (Hasmanan, 1976): https://www.iflix.com/id/en/title/movie/251177
Ateng Sok Tahu (Hasmanan, Soendoro, 1976): https://www.iflix.com/id/en/title/movie/250541
Eh Tuyul Ketemu Lagi (Liliek Sudjio, 1979): https://www.iflix.com/id/en/title/movie/179628



Laga/Silat
Pasukan Berani Mati (Imam Tantowi, Subagio Samtani, 1982): https://www.hooq.tv/id/movies/pasukan-berani-mati-69f60d71-0eab-486c-b675-73b89d56a437
Ferocious Female Freedom Fighters (Perempuan Bergairah, Jopi Burnama, 1982) (versi Troma): https://www.youtube.com/watch?v=HCljpl9EOpw&t=252s



Seri Jaka Sembung
Jaka Sembung Sang Penakluk (Sisworo Gautama Putra, 1981): https://www.hooq.tv/id/movies/jaka-sembung-649f52b3-7fdb-4ff1-b569-1630e74b85d4
Si Buta Lawan  Jaka SEmbung (Dasri Yacob, 1983): https://www.iflix.com/id/en/title/movie/276057


Drama
Darah dan Doa (Usmar Ismail 1950) https://www.youtube.com/watch?v=espUqXyjlF8&t=299s 

Wish List
Biarkan Bulan Itu (Arifin C Noer, 1986): https://www.hooq.tv/id/play/202e5ead-d5d6-4b57-80a3-1dfb32bbd9ff
Romi dan Juli (Hasmanan, 1974), pasangan bintang Rano Karno dan Yessi Gusman. Co-writernya Arifin C Noer: https://www.hooq.tv/id/movies/romi-juli-fec299f7-fc03-46c5-b49e-094d144429d9
Inem Nyonya Besar (Mochtar Soemodimedjo, 1977, Semesta Inem Pelayan Seksi): https://www.hooq.tv/id/play/7e5ebe7b-e8c0-4fd3-9564-d6dc6a7ab7c9


Berikutnya:
Nonton Gratis dan Legal Film Indonesia (3): Film Kiwari  https://findingjakasembung.blogspot.com/2020/04/nonton-gratis-dan-legal-film-indonesia_20.html




Tautan terkait:

Seri Nonton Gratis dan Legal Film Indonesia:

Nonton Gratis dan Legal Film Indonesia (1): Pengantar dan Rekomendasi Utama   : https://findingjakasembung.blogspot.com/2020/04/nonton-gratis-dan-legal-film-indonesia.html
Nonton Gratis dan Legal Film Indonesia (4): Film Pendek  
https://findingjakasembung.blogspot.com/2020/04/nonton-gratis-dan-legal-film-indonesia_47.html