Idealism versus Commercialism in Indonesian Cinema: A Neverending Battle?
By Ekky Imanjaya
Editor of Rumahfilm.org, Jakarta

Old Order Regime and Politics of Polarization

Usmar Ismail entitled his article concerning the political conflicts in 1960s Sejarah Hitam Perfilman Nasional (The Dark History of National Cinema) (Ismail 1986: 91-97).

In the last years of 1950s, Lembaga Kebudayaan Rakyat (Lekra, The Institute for People’s Culture) and Serikat Buruh Film dan Sandiwara (Sarbufis, the Film and Stage Workers Union), the leftist cultural and art organizations under PKI, continually attacked Ismail, Malik, Sani, and other non-Communist movements. They asked the government to close down PPFI member studios (Said 1991: 46). On the other hand, PPFI, under the leadership of Ismail and Malik, decided on 19th March 1957 to close all studios, in protest against Indian films domination over the market (Sen 1994: 31). Later the studio reopened, but a few days after the reopening, in May 1957, Malik was arrested. No clear or authoritative explanation was given as to why he was arrested. But rumors were spreading among Malik’s closest friends that he was arrested because of his political activities as one of the top leaders of NU[10] and he was being considered a candidate for the post of Junior Minister of Welfare (Said 1991: 46).

In that time, President Soekarno’s policy was close to those of the communist party and he ran a system of Demokrasi Terpimpin (Guided Democracy). In 1957, conflicts between the central and regional governments grew bigger and the rebellion of PRRI/Permesta (Pemerintah Revolusioner Republik Indonesia, the Indonesian Revolutionary Government) occurred (Said 1991: 60).

Salim Said illuminates that leftist politicians criticized and attacked anyone outside their ideology, especially when they suspected that the persons were close to America’s imperialism. They attacked Pagar Kawat Berduri (The Barbed Wire Fence, 1961) directed by Asrul Sani and adapted from Trisno Juwono’s novel, because the film was assumed to be speaking of universal humanism and had sympathy for the Dutch colonial’s characters. They objected that Koenan (a Dutch military officer, one of the main characters) was given the pivotal role as an embodiment of the principle of universal humanism—the principle which castrated the patriotism and heroism of revolutionary fighters, according to Lekra, and a ‘hero of humanity’ whose failures cause him, in the end, to commit suicide. They also considered the film a defender of imperialists and colonialists (Said 1991: 67). As a result, the film was confiscated by the military.

They also made sharp criticism against Anak Perawan di Sarang Penjamun (Trapped in a Robbers’ Lair, 1961), directed by Ismail and adapted from Sutan Takdir Alisjahbana’s novel, because it “...deviated from the revolutionary path” (Said 1991: 68).

Leftist politicians, with director Bachtiar Siagian as the main figure, founded Panitia Aksi Pengganyangan Film Imperalis Amerika Serikat (Parfias, Committee for the Boycott of American Imperialist Films) on 9 th May 1964. They boycotted Hollywood films (Said 1991: 69) and attacked other filmmakers who did not belong to their group and manifesto. Tauhid (literal meaning Oneness of God, about pilgrimage to Mecca) was almost banned, but President Soekarno helped the film to be on screen. Impian BukitHarapan (Dreams on Mount Hope, 1964), a movie about tea plantation workers directed by Wahyu Sihombing, was banned because it was “insulting to workers” (Said 1991: 73).

This political tension ended when the tragedy of G30S (September 30 Movement, the killing of six generals—the official version stated that the communist party attempted to gain political power) happened on 30 th September 1965. PKI was banned, and the new order regime under Soeharto began. Over half a million people were killed during the transition to the new order. The mass killing was aimed to purge the society from communist people[11].

[10] In response to Lekra’s influence in the artistic community, NU set up Lembaga Seniman Budayawan Muslim Indonesia (Lesbumi, the Institute of Islamic Culture) in 1962. Ismail and Malik were members together with a large number of film directors and other film professionals (Sen 1994:30). In Lekra, none of the top leader was filmmaker (Sen 1994: 30)

[11]Wikipedia. 30 th June 2008