Английская Википедия:Djaoeh Dimata

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Шаблон:Use British English Шаблон:Use dmy dates Шаблон:Short description Шаблон:Featured article Шаблон:Infobox film Djaoeh DimataШаблон:Efn (Шаблон:IPA-id; Perfected Spelling: Jauh di Mata; Indonesian for Out of Sight) is a 1948 film from what is now IndonesiaШаблон:Efn written and directed by Andjar Asmara for the South Pacific Film Corporation (SPFC). Starring Ratna Asmara and Ali Joego, it follows a woman who moves to Jakarta to find work after her husband is blinded in an accident. SPFC's first production, Djaoeh Dimata took two to three months to film and cost almost 130,000 gulden.

The first domestically produced feature film to be released in five years, Djaoeh Dimata received favourable reviews, although financially it was outperformed by Roestam Sutan Palindih's Air Mata Mengalir di Tjitarum (released soon after). The film's cast remained active in the Indonesian film industry, some for another 30 years, and SPFC produced six more works before closing in 1949. A copy of the film is stored at Sinematek Indonesia.

Plot

Файл:Ratna Asmara, Ali Yugo, and Iscandar Sukarno in Djaoeh di Mata, Peran Pemuda dalam Kebangkitan Film Indonesia, p50.jpg
Ratna Asmara, Ali Joego, and Iscandar Sukarno in a scene from the film

A poor villager, Asrad (Ali Joego), is blinded following a traffic accident and thus unable to work. As a result, his wife Soelastri (Ratna Asmara) travels to the capital, Jakarta, to find a job. As Asrad does not trust his wife and fears she may be unfaithful, he writes her a letter telling her not to return. Soelastri becomes a singer, and – unknown to Asrad – soon achieves wide acclaim. Her most popular song, "Djaoeh Dimata", receives heavy airplay on the radio and soon becomes one of Asrad's favourites. Ultimately Soelastri is brought home by Soekarto (Iskandar Sucarno), who attempts to pass her off as a maid for Asrad. When Asrad recognises his wife's voice, they are reconciled.[1]

Background

The first two years of the 1940s saw a growth in the cinema of the Dutch East Indies, with over forty domestic productions released.Шаблон:Sfn Following the Japanese occupation in February 1942, production slowed greatly and nearly all film studios were closed. The last studio, the ethnic Chinese-owned Multi Film, was confiscated by the Japanese to establish the film production company Nippon Eigasha in Jakarta, the colony's capital. This included Multi Film's equipment, with which Nippon Eigasha produced one feature film – Rd Ariffien's Berdjoang (Struggle; 1943) – six short films, and several newsreels. All were pro-Japanese propaganda.Шаблон:Sfn

After the Japanese surrender in August 1945, a number of native Indonesian employees of Nippon Eigasha formed Berita Film Indonesia, which first made use of the studios. This company was allied with the newly proclaimed Indonesian government.Шаблон:Sfn During the ensuing revolution, allied Dutch and British forces occupied Jakarta in November 1945. The Dutch took over the studio, and production of newsreels at Multi Film's studios began in 1947 under the banner Regerings Film Bedrijf. The following year the Dutch established a subsidiary company to produce fictional films. This new company, the South Pacific Film Corporation (SPFC), was subsidised in part by the Netherlands Indies Civil Administration, a continuation of the former Dutch colonial government of the Indies.Шаблон:Sfn

Production

Шаблон:Multiple image SPFC hired Andjar Asmara, a former journalist and stagewriter who had been active with The Teng Chun's Java Industrial Film before the Japanese occupation, to direct Djaoeh Dimata;Шаблон:Sfn he based the screenplay on his stageplay of the same name.Шаблон:Sfn However, as with his pre-war ventures, the native Indonesian Andjar was more of an acting and dialogue coach; the Dutch cinematographer, A.A. Denninghoff-Stelling, held more creative power over the final product.Шаблон:Sfn Max Tera served as assistant cinematographer on this black-and-white film.Шаблон:Sfn

The film starred Ratna Asmara (wife of Andjar), Ali Yugo, Iskandar Sucarno, and Djauhari Effendi,Шаблон:EfnШаблон:Sfn all of whom had previous theatrical experience. Ratna and Ali, together with Andjar, had been members of the travelling troupe Dardanella in the early 1930s and entered the film industry together in 1940 with Kartinah.[2] Iskandar and Djauhari, meanwhile, had been active in the theatre during the occupation; both made their feature film debuts with Djaoeh Dimata.[3]

Principal photography was conducted on sets constructed by artistic director Hajopan Bajo Angin in SFPC's studio in Jakarta. The company's equipment was of good quality, but conditions were detrimental to filming; a contemporary report notes that one take, done inside the studio, was ruined by the sound of a passing car.Шаблон:Sfn Filming, which took twoШаблон:Sfn to three months,Шаблон:Sfn was completed on 10 November 1948.Шаблон:Sfn Production costs were almost 130,000 gulden,Шаблон:Efn which was partially obtained from ethnic Chinese backers.[4] The film included multiple songs, including Gesang Martohartono's 1940 hit "Bengawan Solo".Шаблон:Sfn

A documentary detailing one day of the production, called Er wordt een film gemaakt ("A film is being made") exists in the Netherlands.[5][6]

Release and reception

Djaoeh Dimata was released in late 1948, the first domestic feature film since Berdjoang.Шаблон:Sfn Despite this five-year gap, film critic Usmar Ismail writes that it did not stray from the formula which had been proven before the war,Шаблон:Sfn one which Indonesian film historian Misbach Yusa Biran notes focused on songs, beautiful scenery and romance.Шаблон:Sfn Roestam Sutan Palindih's Air Mata Mengalir di Tjitarum (Tears Flow in Citarum), which had similar themes, was released shortly after Djaoeh Dimata by the rival Tan & Wong Bros.; it proved the greater financial success.Шаблон:Sfn Only three domestic productions were released in 1948; the last was another SPFC production, entitled Anggrek Bulan (Moon Orchid), which was also directed by Andjar.Шаблон:Sfn

Reviews of the film, which was rated for all ages,Шаблон:Sfn were mixed. One in the Jakarta-based Het Dagblad found the film to have many (unspecified) weak moments as well as strong ones. It particularly praised Ali's acting as a blind man, as well as Denninghoff-Stelling's camerawork.Шаблон:Sfn Another reviewer, in the magazine Mestika, described Ratna as an "unprecedented tragedienne"Шаблон:Efn capable of making viewers cry "unrestrained tears of emotion".Шаблон:Efn[7] After Djaoeh Dimata was released in Singapore in June 1949, a reviewer for The Straits Times praised the film's "fine photography and almost perfect sound".Шаблон:Sfn

Andjar directed two further films for South Pacific, Anggrek Bulan and Gadis Desa (Maiden from the Village; 1949).Шаблон:Sfn Ratna had no further acting roles, although in 1950 she became Indonesia's first female director with Sedap Malam (Sweetness of the Night), for Djamaluddin Malik's company Persari.Шаблон:Sfn Ali, Iskandar, and Djauhari remained active as actors, Ali and Iskandar through the 1960s and Djauhari until the 1970s.[8] SPFC made another six films before shutting down at the end of the Indonesian National Revolution in 1949.Шаблон:EfnШаблон:Sfn A 35 mm copy of Djaoeh Dimata is stored at Sinematek Indonesia in Jakarta.Шаблон:Sfn

Notes

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References

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Works cited

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  1. ↑ Шаблон:Harvnb; Шаблон:Harvnb
  2. ↑ Шаблон:Harvnb; Шаблон:Harvnb
  3. ↑ Шаблон:Harvnb; Шаблон:Harvnb; Шаблон:Harvnb
  4. ↑ Шаблон:Harvnb; Шаблон:Harvnb
  5. ↑ Шаблон:Cite web
  6. ↑ Шаблон:Cite web
  7. ↑ Quoted in Шаблон:Harvnb
  8. ↑ Шаблон:Harvnb; Шаблон:Harvnb; Шаблон:Harvnb
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