Voices of Malaysian Cinema (1)

Feature by: Hassan Muthalib

The Early Days

Wayang kulit, the Malay shadow play, gave the earliest inhabitants of Southeast Asia their first experience of ‘cinema.’ But narrative cinema as it is today only began in Malaysia, with the production of Laila Majnun in 1933, directed by B S Rajhans and produced by Motilal Chemical, a Bombay-based company in Singapore. In 1938, two brothers from Hong Kong, Run Run and Run Me Shaw, set up a film unit and produced (unsuccessful) films using Chinese-based stories. With the advent of the Second World War and the Japanese Occupation of Malaya, local film production ceased. After the war, a new company, Malayan Arts Production produced Seruan Merdeka(The Call to Independence - the first with the theme of patriotism). B S Rajhans was again the director. However, it was the establishment of the studio system modeled after Hollywood by the Shaw Brothers, and their company, Malay Film Productions, that gave impetus to the film industry and resulted in other studios being set up.

From the late 40s to the early 50s, the films were directed by Indian directors imported from India. Among them were B S Rajhans, S Ramanathan, L Krishnan, B N Rao and Phani Majumdar. Though overly melodramatic with stylized acting and song-and-dance, their films went down well with the local populace. Stars were created and audiences flocked to the cinemas. It was not long before the locals were given a chance to helm productions. The first one, Permata di-Perlembahan (Pearls in the Valley, 1952) by Haji Mahadi, an actor, failed at the box-office. Filipino directors were then called in. Among them: Ramon Estella, Lamberto Avellana and Eddy Infante. However, it was the entry of other Malay directors (and in particular, P. Ramlee, a versatile actor and singer), who transformed the Malay cinema of the times with familiar themes and techniques that resounded with the movie-going public. Though the ubiquitous song-and-dance was still there, the over-acting and heavily Indian-influenced stories had faded. In place were themes related to issues more in tune with the times.

Among the local directors who quickly made a name for themselves were M. Amin, Omar Rojik, Hussein Hanif, Salleh Ghani, Jamil Sulong, S. Kadarisman and Mat Sentol. However, it was P. Ramlee and his unique brand of storytelling and techniques that consistently drew the crowds. Among his most cinematic works are Bujang Lapok (Raggedy Bachelors, 1955), Semerah Padi (The Village of Semerah Padi, 1956),Sumpah Orang Minyak (The Curse of the Oily Man, 1957), Antara Dua Darjat (Between Two Classes, 1960), and Ibu Mertua-ku (My Mother-in-Law, 1961). As a ‘thinking’ filmmaker, P. Ramlee felt the need to make use of the film medium to comment upon the lot of his race, calling upon them to come out of the drudgery and backwardness that they were in.

New Beginnings in Kuala Lumpur

The late 50s and early 60s were bad times for the industry. Production costs mounted and the introduction of television resulted in a fall in cinema audiences. Singapore split from Malaysia in 1965 and two years later, the studio system of Shaws and Cathay (now called Cathay-Keris), collapsed in Singapore (Shaw Brothers, because of union problems). Shaws decided to move their business to Merdeka Studios in Kuala Lumpur, taking P. Ramlee and Saloma, one of the stars with them. But this was to be the beginning of the end for the shining star of Malaysian cinema. Without the facilities of the studio system, P. Ramlee was forced to be involved in every aspect of production. Budget and location constraints led to the cutting of corners – and it showed on the screen. Audiences began to stay away from his films and also that of other directors employed by Merdeka Studios. They turned instead to Indonesian films that had better storylines and higher production values.

Seeing the need for a change, Shaws decided to bring in other (Singapore) directors who were now attached to the government documentary film unit, Filem Negara Malaysia. Among them were Jamil Sulong and Salleh Ghani. Crew from Hong Kong were brought in to support them. A new look (but similar to films from Hong Kong), emerged. This did not go down well with the audience, especially with a younger, more educated and discerning group. The entry of Hafsham (a film graduate) with Adik Manja (Affectionate Child, 1979), for Merdeka Studios, gave a glimmer of hope for the industry. However, Shaws decided to close down in 1980, and Chinese domination of the film industry came to a decisive end. The time now was ripe for the locals to take over.

Kuala Lumpur’s first feature film was actually produced by Filem Negara Malaysia, the Government documentary film studios. Set up in 1946 by the British, the unit produced Abu Nawas in 1957, with the main stars and music personnel coming from Singapore. The film was about the communist insurgency that began just after the War. A number of the unit’s production personnel became employed at both Shaws and Cathay-Keris in Singapore. A few others (like Hafsham), found easy employment in the advertising industry in Kuala Lumpur. P Ramlee had actually been in discussion with the Filem Negara to produce a police series in the late 60s but nothing came out of it and Roomai Noor, an actor/director formerly in Singapore, took over the helm.

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