Voices of Malaysian Cinema (2)

Feature by: Hassan Muthalib

The Digital Filmmakers

Since the breakthrough by Amir Muhammad’s digital feature, Lips to Lips in the year 2000, others have come up with digital features or feature-length documentaries. Among them: Ho Yuhang, Ng Tian Hann, Ngai Low Yuen and James Lee collaborated on an anthology called Visits; Osman Ali: Bukak Api (Open Fire) and Malaikat Di Jendela (Angel By the Window); James Lee with Snipers, Ah Beng Returns, Room to Let and Beautiful Washing Machine; Eleanor Low and Linus Chung: Whispers My Heart; Ho Yuhang: Min and Sanctuary; Ng Tian Hann: First Take, Final Cut; Nam Ron: Gedebe (Gangsters); Deepak Kumaran Menon: Chemman Chaalai (The Gravel Road); Woo Ming Jin: Monday Morning Glory; Eng Yow: Ah Kew The Digger;Sandosh Kesavan: Aaandal and Naguib Razak: Glass Enclosure: Tokyo Invisible. Amir has since come up with The Big Durian (the first Malaysian entry to Sundance), Tokyo Magic Hour and The Year of Living Vicariously. He is currently shooting a documentary, The Last Male Communist and will soon be in production with Naeim Ghalili on a 35 mm cinema feature called Susuk (Amulet). Bernard Chauly’s first cinema feature, Gol dan Gincu (Goal and Lipstick) is currently playing the cinema circuits.

Digital shorts are now flooding the increasing number of venues that are showcasing the works of emerging talents. Keelab Seni Filem Malaysia, started in the 1970s, is the most popular, yearly having two crowded showings. The latest has been the Kontot Film Festival. The yearly Nokia Awards, Malaysia Video Awards, Freedom Fest and the Malaysian Film Festival see increasing number of young people submitting their works, either for exhibition or for competition. FINAS and the Multimedia Development Corporation offer monetary support while some of the filmmakers who have won awards garner grants from overseas. Two TV stations have been responsible for the rise of some of these talents. ASTRO, the satellite channel, supported Naguib Razak in his early attempts at making his documentary Anak Duyung(The Mermaid Child - later remade for Discovery Channel as The Boatmakers of Mermaid Island). The station has also screened many digital shorts. NTV7 employed Osman Ali, an able graduate of the Malaysia Film Academy, who in turn, was responsible for giving an opportunity to other digital filmmakers to make headway into the mainstream. Red Communications, a TV production company, is in the forefront, too, in giving opportunities for digital filmmakers to express themselves – and make some money in the process. They producedVisits, Gol dan Gincu (Goal and Lipstick) and a TV series, Shortcuts,that showcases short films Another TV series, Generasi Digital, was produced by Vision New Media and is a first for RTM, the government TV channel.

The support provided by Golden Screen Cinemas with their digital screenings has opened an avenue for digital filmmakers to showcase their works, thus bringing their works closer to the mainstream. Many of their works have participated and achieved recognition at prestigious festivals all over the world. In these young filmmakers’ hands, film is not just for entertainment. The outside world is finally beginning to see, consistently, Malaysian works that project the minds of these filmmakers and their thoughts about themselves, their country and the world.
Film in Malaysia was once dominated by Malay cinema, but now the Fifth Voice has gained momentum and – like it or not – is in the process of creating a new Malaysian Cinema, both independently and through the mainstream. And it is beginning to make its voice heard loud and clear.

http://www.criticine.com/feature_article.php?id=17

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.

http://www.criticine.com/feature_article.php?id=17

Star-Studded Opening For Australia Malaysia Film Festival

October 05, 2009 18:39 PM

By Neville D'Cruz

MELBOURNE, Oct 5 (Bernama) -- Malaysian producers and actors mingled with their Australian counterparts at the star-studded opening ceremony of the Australian and Malaysian Film Festival (AMFF) here on Monday night.

The four-day festival at the Australian Centre for the Moving Image, Federation Square here and dedicated to the "loving memory" of the late Yasmin Ahmad, will eTalentime, Geng the Movie, Cicakman 2-Planet Hitam, Pensil, Muallaf and My Telatori.

The Malaysian delegation included the secretary of the Malaysian Film Producers Association, Abdul Latiff Mohaideen, producers Ida Rahayu Yusoff, Ida Shaheera Azhar, actors Sharifah Aryana Syed Zainal Rashid and Jacyln Victor and Yasmin's production editor Raja Affandi.

Abdul Latiff said that after the outstanding success of last year's AMFF, he had no hesitation in bringing a Malaysian delegation to Australia this year.

"The organisers here, Kate Stephens and Ade Djajamihardja, always do a fabulous job and this year they have added Farah Azalea to the team," he said.

"It's a pleasure to come back to Australia for the film festival," Abdul Latiff said.

Affandi said he was " very happy" that the festival was dedicated to Yasmin.

" I don't think anyone can replace Yasmin. She was unique and was a wonderful person," he said.

Geng the Movie producer Ida Rahayu said the Australian film industry was much advanced and she was looking forward to learning new production techniques from the Australians.

Mukhsin actor Sharifah Aryana said she was excited about taking part in the festival and hoped to pick up ideas from her Australian counterparts.

-- BERNAMA

http://www.bernama.com/bernama/v5/newsgeneral.php?id=444588

NEW FILM GUIDELINE SOON

BY MAZWIN NIK ANIS

PUTRAJAYA: A 16-year-old guideline currently used by the National Censorship Board will be revamped with the promise to give film a certain level of flexibility and freedom without having to compromise on security, racial and religious harmony, socio-culture and values.
Home Ministry secretary-general Datuk Seri Mahmood Adam said a draft has been prepared and was being studied by film producers and script writers who were given the opportunity to give their views and suggestion on how the guideline should be shaped.
“What is special about the guideline is that it is drawn with the participation of the industry players, authorities and other interested parties.
“We are engaging in this open concept. This is not a rule set by the ministry and for others to follow. This is a set of rules which stakeholders had thrown ideas into.
“However, we expect them to abide by the rules later because they are the ones who had a hand in laying it down,” he told reporters after a dialogue session with players in the entertainment industry including film producers and script writers here on Saturday.
Mahmood said the guideline revolved around four elements - security and public order, religion, socio-culture and ethics values, citing an example that while there would not be an outright “no-no” for film producers to have a storyline on religion, it should not potray that one religion was better than the other.
“Crime and criminals can be highlighted, but it should not be in a way that will encourage audience to consider to commit crime. Likewise, certain harsh language may help enhance the dialogue of a film but not extreme profanities and vulgarities,” he said.
Mahmood said the film producers and script writers had about a month to study the draft guideline and another meeting would be convened to get feedback and ideas from them on how to further improve it.
“Today’s landscape and geo-politics have changed tremendously since the present guideline was introduced 16 years ago. We need a new one which suits todays environment and the need of a more demanding audience,” he said.

Cinema of Malaysia

Cinema of Malaysia
From Wikipedia, the free encyclopedia
The cinema of Malaysia revolves around a small film industry that dates back to the 1930s. At present, Malaysia produces about 15 feature films annually, and between 300 – 400 television dramas and serials a year apart from the in-house productions by the individual television stations. Malaysia also holds its own annual National Film Festival . There are about 250 movie theatres and cineplexes in Malaysia, showing not only local films but imported ones. Foreign film producers are welcome to shoot on location in Malaysia, undertake film co-production ventures so that local artistes and technicians have the opportunity of gaining exposure and experience.

Early films, 1933-48
Malaysian cinema began in 1933 with Laila Manjun, based on a classical Persian story of two ill-fated lovers. Directed by B.S. Rajhans and produced by the Singapore-based Motilal Chemical Company of Bombay, the cast was derived from a local opera group. Observing the success of this project, two brothers, Run Run and Run Me Shaw, were prompted in 1937 to import some equipment from Shanghai and start the production of Malay films from their small studio at Ampas Road in Singapore. However, they only managed to produce five or six movies prior to the Japanese invasion in 1941.
Following the end of World War II in 1945, the Shaw Brothers resumed production in 1947 with a Rajhans-directed film called Singapura Di Waktu Malam (Singapore by Night) starring Siput Sarawak. Backed by their chain of theatres, which they either owned or rented, the film enjoyed a good response. The Shaw Brothers proceeded to produce more films and introduced new faces, including the Sumatran-born Kasma Booty. Her first film, Cempaka, revolved around the life of a native island girl.
In 1948, P. Ramlee - who later became the living legend of the Malay film world, made his debut in the film Cinta (Love). P. Ramlee’s talents in music composing and singing brought him prominence. He was very versatile as a leading actor, a comic, dramatic artiste, scripwriter and film director. Most of the early films carried plenty of singing and dancing scenes, a trend introduced by the Indian film directors. After Rajhans, Shaw Brothers imported many other Indian film directors, among them S. Ramanathan, Shastri, Phani Majumdar and D. Ghoss. There were also some local film directors such as L. Krishnan and K. M. Bashker who learned the trade and techniques through experience and apprenticeship. By the 1960s, many of the expatriates were replaced by local directors.
Development and decline, 1948-75
The success enjoyed by the Shaw Brother’s film studio, known as the Malay Film Productions (MPP), encouraged a few other entrepreneurs to venture into the same business. There was a Nusantara film company started. In 1951, Hsu Chiu Meng started the Nusantara film company. However, he depended heavily on independent theatres, and after producing about a dozen films Nusantara closed down in 1954.
In 1952, Ho Ah Loke opened a studio in Tampines Road, Singapore, calling his company Rimau Film Productions. After producing one film, he changed its name to Keris Film Productions. Ho owned a few small theatres through his earlier venture as a film distributor. He managed to produce a number of films, and in 1956 merged with Cathay Organisation, owned by millionaire Loke Wan Tho. The company was renamed Cathy-Keris Film Productions with its studio in East Coast Road, Singapore. Supported by their own theatre chain throughout Malaya and Singapore, Cathay-Keris films posed a challenge to the films produced by Shaw’s MFP studios. Shaw studios produced about ten films a year, while Cathay-Keris too produced about the same number.
During those early years, all the films were in black and white. The studios had their own laboratories, recording and editing facilities. Direct sound recording was the practice from the beginning, until the advent of the 60s. Then, post-synching or dubbing system appeared and is still in use until today.
The screenplays were mostly based on folk tales, stage plays, legends of fictional or real historical heroes or events. MFP made the movie about the legendary Melaka warrior Hang Tuah who lived during the heyday of the Melaka Sultanate. In response, Cathay-Keris produced Hang Jebat who was Hang Tuah’s closest friend but due to unfortunate circumstances became involved in a life-or-death struggle with him.
Hang Tuah, done in Eastman Color, was directed by Indian director Phani Majumdar, who was specially brought in to ensure that the film made it to the East Asia Film Festival. P. Ramlee acted as Hang Tuah and also composed the background music, for which the film won an award.
Just before they ceased operations, both MFP and Cathay-Keris produced three colour films each. Shaw Brothers’ produced Ribut (Storm), Hang Tuah and Raja Bersiong (The Fanged King). The latter, a legend from the state of Kedah, was written by Malaysia’s first Prime Minister, the late Tunku Abdul Rahman Putra al-Haj.
Cathay-Keris produced Buluh Perindu (The Magic Flute), Cinta Gadis Rimba (The Virgin Of Borneo) and Mahsuri (The Maid of Langkawi), another Kedah legend written by Tunku Abdul Rahman Putra.
Although many companies emerged, such as Nusantara Films, Tan & Wong Film Company, Rimau Productions and Cathay-Keris, many closed down due to escalating production costs and diminishing audiences, leaving only MFP and Cathay-Keris both operating in Singapore.
In 1961, H. M. Shah bought over a piece of prime land on the fringe of Kuala Lumpur and turned it into Merdeka Studio. It had a meagre beginning, but once the top stars started their exodus from the two Singapore studios, its growth surged dramatically. Located adjacent to the National Zoo on Hulu Kelang Road, is 13 kilometres from the city. Today, it is the headquarters of the National Film Development Corporation, Malaysia (FINAS). The Shaw Brothers dispatched some of their Singapore film directors, among them L. Krishnan, P. Ramlee and Salleh Ghani, Jamil Sulong, Omer Rojik, S. Kadarisman, Sudarmaji, Naz Achnas, M. Amin and Datuk Jins Shamsudin, to make films at Merdeka.
[edit]Renaissance, 1975-present
In 1975, a renaissance prompted a revitalised growth when Sabah Films grossed huge profits with its maiden offering, Keluarga Comat (Comat’s Family). Soon, other companies mushroomed, such as Perfima, Syed Kechik Productions, Indra film Productions, Jins Shamsudin Production and others.
The '80s saw numerous changes. A vital one was the setting up of the National Film Development Corporation of Malaysia in 1981 to develop and stimulate the growth and maintain the standards of the film industry by various means, including the provision of research and advisory services. FINAS has since set up numerous facilities to promote the industry, including a credit facility scheme which enables young and untiring film-makers to test their potential. The revival in the industry also made changes to certain formats of the local film productions. Nearly all the films were made in colour, some using the scope format and some the standard format. There were no fixed salaries for artists attached to a certain company or studio. A company can only do two of three functions: production, distribution or exhibition in order to avoid a monopoly by a certain party. The producers also might be able to recover part of their investment by the return of the entertainment tax as a way of incentive. A further incentive to local film-makers is that they are invited to make television programmes either in film format or video format. As a result, there are now more than 300 film companies registered with FINAS.
edit]Films
Main article: List of Malaysian films
 Ahmad Albab,Ali Baba Bujang Lapok,Antara Dua Darjat,Bidasari,Cicak-Man,Ibu Mertuaku,Labu Dan Labi,Leftenan Adnan,Love Conquers All (film),Madu Tiga,Masam Masam Manis,Musang Berjanggut,Nasib Si Labu Labi,Paloh (film),Pendekar Bujang Lapok,Punggok Rindukan Bulan,Puteri Gunong Ledang,Puteri Gunung Ledang (film),Seniman Bujang Lapok,Sepet,Sumolah,Tiga Abdul

http://en.wikipedia.org/wiki/Cinema_of_Malaysia

Malaysian film wins top award in Locarno

Monday August 17, 2009
Malaysian film wins top award in Locarno

KUALA LUMPUR: Malaysian filmmaker Ho Yuhang’s At the End of Daybreak nabbed the NETPAC (Network for Promotion of Asian Cinema) prize for best Asian film at the 62nd Locarno International Film Festival.
Not only that, Ho has also made Malaysia proud as his fourth and latest full-length feature is the first Malaysian film to be screened in competition at the prestigious European film festival.
The multiple award-winning filmmaker was accompanied by producer Lorna Tee and his film’s Hong Kong lead actor Chui Man Kin (also known as Chui Tien You) at the film festival in Switzerland last week.
When contacted yesterday, Ho said he “had an enjoyable time in Locarno and was very happy to have won the award”.
The phone interview was conducted during a break in the filming of fellow Malaysian filmmaker Afdlin Shauki’s new horror flick Jalan Lama in which Ho has a cameo role.
Not one to rest on his laurels, Ho is already working on three other movie scripts: a noir comedy about revenge, a melodrama about a gambler and a Japanese film project which will take him to Tokyo next month.
At the End of Daybreak (Sham Moh in Cantonese) is a Malaysia-South Korea-Hong Kong co-production.
The tragic tale of two young lovers was filmed entirely in Malaysia, mainly Petaling Jaya and Kuala Lumpur.
Apart from Chui, the film’s main cast features Hong Kong actress Kara Wai Ying Hung and Malaysian actors Jane Ng Meng Hui, Chew Kin Wah and Mandy Chong.
Ho’s 94-minute film was one of 18 films from 15 countries – including seven first works – competing in the international competition category.
One of the oldest in the world, the film festival has been held annually in the city of Locarno, Switzerland, since 1946.Bottom of Formhttp://thestar.com.my/news/story.asp?file=/2009/8/17/nation/4532883&sec=nation

After we have met Pn. Rozmel for consultation, she asked us to do some corrections for our outline. With her guides, we're able to do a new outline as shown below.


MALAY FILMS BEFORE AND NOW


1.0 INTRODUCTION

1.1 Purpose of the research
1.2 Research objective
1.3 Research question

2.0 COMPARISON OF MALAY FILMS BEFORE AND NOW

2.1 Language
2.1.1 Before
2.1.2 Now
2.2 Culture
2.2.1 Before
2.2.2 Now
2.3 Genre
2.3.1 Before
2.3.2 Now
2.4 Technology
2.4.1 Before
2.4.2 Now

3.0 STRENGTH AND WEAKNESSES OF MALAY FILMS BEFORE AND NOW

3.1 Strength and weaknesses of Malay films before.
3.2 Strength and weaknesses of Malay films now.

4.0 CONCLUSION