Lewat Djam Malam Restored

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with support from:


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Lewat Djam Malam Restored

Writers:Lintang Gitomartoyo, Totot Indrarto,

Windu W Jusuf, Arie Kartikasari, Lee Chor Lin,

Adrian Jonathan Pasaribu, Davide Pozzi, Lisabona

Rahman, Amalia Sekarjati, Zhang Wenjie

English Translations:Rani Elsanti Ambyo, Ninus D

Andarnuswari, Adrian Jonathan Pasaribu, Alex Sihar

Editors:Adrian Jonathan Pasaribu, JB Kristanto

Publisher:Sahabat Sinematek

Email:[email protected]

Website:sahabatsinematek.org

Cover Design:Rully SusantoLay-out:Dadang Kusmana, Agus Mediarta

Lewat Djam Malam Restored

x + 118 hlm ; 17 cm x 24 cm


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Contents

Foreword vii

Lewat Djam Malam Restoration 1Rediscovering the Link between Indonesia and Singapore 3

Recovering a Shared Heritage 7

On the Restoration Process 9

The Restoration Process in Chronological Sequence 15

International Presentations of the Restored Lewat Djam Malam 21

Before and After Restoration 25

Lewat Dj am Malam 35Lewat Djam Malam Credits 37

Lewat Djam Malam Synopsis 39Its Not Easy to be Indonesia 41

Biography: Usmar Ismail 51

On Usmar Ismail and Lewat Djam Malam:An Interview

with Misbach Jusa Biran 55

For a Nation of Dreams and Dead Ends 67

The Long Honeymoon between the Military and

the Bureaucracy 75

Sinematek Indonesia 85Are We Only Worthy of Watching Broken Films? 87Only 14% and They Are Decaying 93

Citizens Initiative to Save History 103

Special Gratitude 109Restoration Credits 112

The Writers 114

Committee 117


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FRIENDSHIP started all. It was Lisabona Rahman of Kineforum Jakarta Arts

Council, my co-editor in the book titled Indonesian Film Catalogue 2008,

who had been pushing me to convert the enormous data in that book into an

online database. So, when Konfiden Foundation (Alex Sihar, Agus Mediarta,

Dedy Arnov, and Lintang Gitomartoyo) decided to take the initiative into

their program on 2009, we started to have a series of intensive discussions to

create a holistic mapping. It was intended to be a comprehensive Indonesian

film database map, based on all the data taken from the book, with additional

Indonesian short films and documentaries data that Konfiden Foundation has

been collecting for the last 10 years. To correspond with the logic of internet andits user behaviors, we needed to create a good mapping design carefully before

developing the website.

On 31 December 2009 of the same year, an e-mail came in from our

Singaporean best friend, Philip Cheah, a well-noted programmer for at least five

international film festivals. He proposed that the Indonesian Film Catalogue

to be translated into English. At the same time, he was discussing the proposal

with the National Museum of Singapore to get some funding for the translation

works. I immediately responded: what if we use the funding for creating the

English version of the website, instead of a published book version, because at

first we intended to make a bilingual website.

Tit for tat. In his next e-mail, dated 8 January 2010, Philip not only

talked about the book and the website, but he also mentioned about a special

screening of one restored Indonesian classic film with English subtitles. After

Foreword


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viii

the screening, the museum will archive one 35mm copy of the film on March

2011. The National Museum of Singapore apparently intended to collect not

only their national cultural heritage, but also Southeast Asians. In the next

e-mail, 12 January 2010, Philip asked me to choose a single title of Indonesian

classic to be restored. Spontaneously, Lewat Djam Malamby Usmar Ismail

popped in my mind, as I consider it as the best Indonesian film of all time.

The film is significant not only for its aesthetical achievements, but also its

historical values. It illuminates the most authentic aspect of film as active

cultural artifactsit pushes its audience to have a direct lively reckoning with

the past, unlike other passive cultural artifacts that requires imagination to

interpret its meanings.

Everyones involved agreed with that proposal. The next step was to face

long administrative and bureaucracy works in Indonesia and Singapore, which

at times have made us down. Our friends in Singapore, Lee Chor Lin, Zhang

Wenjie, Teo Swee Leeng, Warren Sin, Low Zu Boon, and Jasmine Low, took

their hard parts and had chosen LImmagine Ritrovata in Bologna, Italythe

only film restoration-focused laboratory in the worldto become our technicalrestoration partner. Davide Pozzithe director of laboratoryand Cecilia

Cenciarelli a World Cinema Foundations staff, the organization which later

adopted this film into their list of world cinema heritage became our new best

friends in the next year-long process.

Inside the vault of Sinematek Indonesia, we managed to find the complete

reels ofLewat Djam Malam'soriginal negative prints, but we found only eight

reels of sound negative prints from ten reels in total. It was lucky there were also

some positive and negative dupe copies stored. All of them were in appalling

condition. We chose the best of what we can find from these decaying reels, to

be prepared and shipped to Bologna. The rights owner of the film permitted the

process. Berthy L. IbrahimHead of Sinematek Indonesiawas involved, and

the late Misbach Jusa Biranthe founder of Sinematek Indonesiagave us a lot

of background stories and information about this particular title.


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ix

The rest of the details can be found in later articles: on why the restoration

was needed and how the restoration process went. Along with that, this program

book includes writings on Lewat Djam Malamby young film observers and

enthusiasts, from whom we can get new perspectives on this classic title. One

article talks about Usmar Ismails position in the Indonesian film history, other

talks about the current condition of Sinematek Indonesia and its decaying

collections. Please keep in mind that those collections are our hidden treasures.

Parts of our heritage and future are stored in that vault.

The production of Lewat Djam Malam was based on the friendship of

two founding fathers of Indonesian cinema: Usmar Ismail and Djamaluddin

Malik, and its restoration works was based on the international friendship

that I have explained before. Later, the initiative will be continued by Sahabat

Sinematek (Friends of Sinematek)a not-for-profit organization which will

assist Sinematek Indonesia in friendly manners. I hope this friendship will keep

expanding, creating a bigger and bigger circle of friends.

JB Kristanto


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Lewat Djam MalamRestoration


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Lee Chor Lin opening Merdeka! program at

National Museum of Singapore.


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Rediscovering the Link betweenIndonesia and Singapore

L E E C H O R L I N

OUR gratitude is greatly due to the visionary people in Indonesia for giving

the National Museum of Singapore this privilege to work with them to restore

Usmar Ismails work of art,Lewat Djam Malam. Although we had been fullyapprised of the social and artistic importance of this film, first of Indonesias

independent production by the founding father of Indonesian cinema, it was

not until very recently that we could fully appreciate, in its restored glory, how

bravely the film confronts the ghosts of the Revolution, and how honestly it

portrays the psychological and moral conflicts of the individuals who are often

trapped in the tumultuous turns of history.

As a national institution that is dedicated to Singapores history, our

involvement in this film is first driven by the urgent need for restoration of films

made in Southeast Asia. We were also moved by the passion and conviction

of our associates in Indonesia, whos seemed more able than many others to

transcend practical and technical issues for a greater cause.

Intellectually and historically, we have found no reasons for us to shy away

from what has now become a significantly successful collaboration. The destiny


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4 L E W AT D J A M M A L A M R E S T O R AT I O N

of the National Museum of Singapore, formerly the Raffles Museum, is rather

inseparable from the Indonesians. The museum collection started with deposits

by anthropologists and colonial administrators who stopped by Singapore from

their field trips in Indonesia. When the rulers of Riau and Lingga were deposed

by the Dutch in 1910 or so, entries of a number of things, including silver bowls

and plates with Jawi inscriptions started to appear on our museum register.

The historical link to Indonesia is heavily present in our Museum, for it sits

at the foot of Bukit Larangan (now Fort Canning), where the small royal court

of Temasek once presided. We know this royal court had Javanese leaning, as

Majapahit-styled gold ornaments had been excavated alongside foundations of

classical temple and apancur on this hill. These gold ornaments and other finds

form one of the first displays in the Singapore History Gallery in the museum,

where we also present throughfilmic tableaux the story of how Temasek became

Singapura, when the young prince from Palembang, stunned by the beauty and

veracity of the beast that jumped before him on our silvery white beach, named

our island after the lion he thought he saw. This is but a brief episode of the

intertwined history between the two nations.In late March, we viewed a version of the Lewat Djam Malam, which

was near complete restoration, with two other films by Usmar Ismail, paired

with three works by the talented Garin Nugroho. This small retrospective,

which explored the meaning of nationhood in two different times of modern

Indonesia, gave us much food for thought. Although the audience for this

retrospective was modest, we strongly believe that they came because they knew

and cared about Indonesia, they understood the shared heritage and history

between us and them, they appreciated the importance of a film like Lewat

Djam Malam, and they obviously welcomed this program, entitled Merdeka,

which was incidentally the very word our leaders exclaimed when independence

was gained.


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5L E W AT D J A M M A L A M R E S T O R AT I O N

This project of film restoration became a journey to rediscover the tenacity

our links and the dynamics of our differences. Once again we are grateful for the

privilege to work with the remarkable people: Mr. and Mrs. Irwan Usmar Ismail

from the family of Usmar Ismail, Berthy L Ibrahim of Sinematek Indonesia,

JB Kristanto, Lintang Gitomartoyo, Alex Sihar from Konfiden Foundation,

Lisabona Rahman from Kineforum of the Jakarta Arts Council, and LImmagine

Ritrovata of Bologna.


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Recovering a Shared Heritage

Z H A N G W E N J I E A N D L I S A B O N A R A H M A N

IN 2010, film critics Philip Cheah and JB Kristanto together with Konfiden

Foundation and the National Museum of Singapore came together to collaborate

on the English translation of Mr. Kristantos book Katalog Film Indonesia,

an extensive 400-plus page catalogue about Indonesian films. From this

collaboration, the idea to work together on the restoration of an Indonesian

film gradually took seed.

When asked by Mr. Cheah to select an Indonesian film to be restored, Mr.

Kristanto picked Usmar IsmailsLewat Djam Malam (After the Curfew, 1954).

Noting its narrative qualities and historical significance, Mr. Kristanto believesthe film would uncover important insights of a Southeast Asian society and its

transition into an independent nation. Once the title was selected, Mr. Cheah

worked together with Konfiden Foundation and Kineforum of the Jakarta Arts

Council to evaluate the availability and condition of the original film elements

kept by the Sinematek Indonesia. At the same time, the National Museum of

Singapore worked with LImmagine Ritrovata, a leading film laboratory in Italy

to arrange for the film elements to be examined.

From the research and examination, it was discovered that most of the

original camera and sound negative prints of Lewat Djam Malam are in their

complete form, but a number of them are in terrible condition, having suffered

various forms of environmental and handling damages over the years. Duplicate

positive copies were made from these negatives in the early 1990s in Indonesia

for screening purposes, but the damages of the original film elements were


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passed on to these screening copies. For audiences who had seen these copies

from the 1990s, shaky images, stark inconsistencies in lighting, scratches, as

well as poor audio quality will instantly come to mind.

With the blessings of the family of Usmar Ismail, the National Museum of

Singapore together with Konfiden Foundation and Kineforum of the Jakarta

Arts Council embarked on a full-scale restoration ofLewat Djam Malam. The

technical partner of this restoration laboratory which had restored important

classics of world cinema such as Edward YangsA Brighter Summer Day (1991)

and Federico Fellinis La Dolce Vita (1960). The entire restoration process

took about 7 months and over 2500 hours of digital restoration to complete.

Extensive restoration work was done to repair and reverse the damages of the

film elements so that the original visual and audio quality of the film could be

recovered. As the film was restored almost entirely from original camera and

sound negatives which is the first generation copy of the film, we are able to

once again witnessLewat Djam Malam as close as possible to Usmar Ismails

original vision.

Lewat Djam Malam is the first full-fledged restoration of an Indonesianfilm, initiated in light of the mission to sustain the shared film heritage of

Southeast Asian cinema. This is one example of how different organizations and

individuals, regional and international, can come together with a common love

for cinema, to share resources, collaborate, and bring an important Southeast

Asian film into the limelight again. Film is a perishable medium which will

deteriorate if it is not kept in the right conditions, and films in Southeast Asia

are especially susceptible to environmental damages because of the regions

climate. As resources for film archival and restoration are still quite limited in

Southeast Asia, it is crucial that institutions and organizations from the region

work together to safeguard our cinema heritage. A wealth of treasures from

our cinematic past are kept and maintained within different film archives and

institutions in the region, and it is our responsibility to ensure that they will be

available and accessible for future generations.


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On the Restoration Process

D A V I D E P O Z Z I

THE RESTORATION of Lewat Djam Malam is an important and ambitious

international project that involves a large number of people and institutions.

LImmagine Ritrovata was engaged as the film restoration laboratory back in

early 2011. Working with film coming from different countries means dealing

with specific problems related to the physical and climatic conditions of each

locale. Right from the start, we knew that the restoration ofLewat Djam Malamwould be a complex and intensive endeavor. The film elements are affected by

multiple scratches, mould and humidity marks, badly damaged parts, missing

frames, as well as vinegar syndrome, a form of decay common for films stored

in humid conditions. There is a substantial shrinkage, buckling of the film

emulsion, and the decay drew a semi-transparent pattern along all the reels. At

times, the decay can be an unsalvageable problem, since it affects the emulsion

of the film prints, which contain photosensitive materials, and spreads through

the image.

The first step involved a thorough research process. We studied and

compared all available film elements which consist of the original camera

negative, an interpositive, and duplicate negative copies. This study was

subsequently widened with the discovery of other elements for comparison,

such as a positive copy in which we found the 90 seconds of soundtrack that


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Before scanning the original film elements into a digital format, a series of manual

repairs was initiated. This includes the repairing of splices and tears on the film prints.

The original film elements were affected by various forms of environmental damage,

resulting in warping and shrinkage of the film prints.


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A range of digital tools were utilized to correct effects of mould, dirt, scratches,

flicker and instabilities in the original film elements.

After film damages were corrected digitally, color correction was applied to give the

film the right saturation and optical density between black and white, in accordance

to the characteristics of the original picture.


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was missing in all other available elements. We used a comparative decoupage

to document a progressive list of shots for each reel, which includes information

such as narrative description, physical description, type of film element and

film stock, and the damages that have incurred. The comparative decoupage

functions as a key support and reference that informed the reconstruction of

the film throughout the restoration process.

The second step involved the physical restoration of the original film

elements in preparation for them to be scanned into a format for digital

restoration. As the film elements suffer from various forms of physical damage

that would affect the scan, we had to perform manual repairs to restore them

to an optimum condition, so that the image captured through the subsequent

scan will be as close to the original and the best quality possible; it will also

ensure that the film could be fed through the scanner successfully without

The digital restoration of the soundtrack involved fixing inconsistencies in the audio,

such as clicks, crackle, noise, and unbalanced sound levels.


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incurring any further damage. These repairs involved fixing splices, perforation

reconstructions and tears sealing. All elements have also been cleaned in an

ultrasound washing machine.

Next, we ran a test that helped us to choose the best film elements for digital

restoration and the necessary resolution for the best quality. We decided to

scan the film elements in 4k resolution (approximately 4096 x 3112 pixels per

frame), as it enabled us to perform a deep level of restoration while maintaining

as much as possible the original quality of the film. As a safety measure, all

scanned data and every step of the restoration process have been completely

archived, so we can return to any stage of the process if need be.

After the scan was completed, digital restoration could finally begin. Our

standard digital restoration workflow begins with fixing instability and flicker.

This is followed by a meticulous process in which the effects of mould, dirt and

vinegar syndrome on each single frame are corrected with a range of automatic

and manual tools. Every shot was smoothed, cleaned, and color corrected

according to its specific characteristics, so that details of the original picture are

retained and reconstructed as accurately as possible.For the digital restoration of the soundtrack, the main issue is the lack

of uniformity between the types of material available, as well as its varying

conditions. The original soundtrack negative was shot on different film stocks

with different technology. Furthermore, two reels were missing from the

original soundtrack negative. Thus, we had to take the sound from the combined

interpositive prints.

The last 2 minutes of reel 5 were missing from both original soundtrack

negative and all duplicates. Fortunately they were later found in a positive copy.

The soundtrack was scanned using laser technology and the core of the digital

audio restoration consists of several phases of manual editing, high resolution

de-clicker and de-crackle, and multiple layers of fully automated noise reduction.

At the end of the restoration, the film was output to both new 35mm film

prints and digital cinema package format. We are glad with the result of the


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restoration, but more importantly, we are honored to have been given the

chance to rescue this film which is so crucial to Indonesian national cinema. This

project also points towards how critical it is to have an ongoing preservation and

restoration initiative and consciousness. Lewat Djam Malam is just one film

from the vast history of cinema that needs to be restored. The condition of many

film prints will continue to worsen through time if nothing is done to preserve

and restore them. We have to act fast. For now, it is heartening to know that

Lewat Djam Malamwill be reintroduced onto cinema screens, and its place

within cinema history reaffirmed.


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The Restoration Processin Chronological Sequence

L I N TA N G G I T O M A R TO Y O A N DA D R I A N J O N A T H A N P A S A R I B U

January 2010

Philip Cheah (National Museum of Singapore/NMS) contacted JB Kristanto

and Lisabona Rahman (Kineforum Jakarta Arts Council) with the proposal to

publish the English version of the book titledIndonesian Film Catalogueby JB

Kristanto. The launching event of that proposed book was planned to also holda screening of a restored Indonesian classic film. Noted that there was no single

title of Indonesian classic film was restored before. Ms. Rahman contacted Mr.

Kristanto about this restoration project proposal. After further discussion and

consultation,Lewat Djam Malam(After the Curfew) was chosen to be restored.

September 2010

Lisabona conducted a research on a physical state and availability of 35mm

copies ofLewat Djam Malamstored in the Sinematek Indonesias vault. This

research was needed for NMS to estimates the restoration cost. Research result:

10 reels of original negative prints, 8 reels of sound negative prints (reel no.8

and 9 is missing), all positive and negative dupe prints are complete (10 reels

each).


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NMS contacted LImmagine Ritrovata, asking them to become this project

technical partner. LImmagine Ritrovata is a film restoration-focused laboratory

in Bologna, Italy. This laboratory has worked on the restorations ofA Brighter

Summer Day (Edward Yang, 1991) and La Dolce Vita (Federico Fellini,

1960) before. Based on this known specialization and portfolios, NMS trusted

LImmagine Ritrovata to restoreLewat Djam Malam.

January 2011

NMS contacted LImmagine Ritrovata to prepare for Lewat Djam Malam

materials inspection, to find out the exact decayed condition of the reels. The

test materials were shipped on January 12 by Lintang Gitomartoyo (Konfiden

Foundation). It contained original negative prints (reel no. 1 and 9), negative

sound print (reel no. 1), positive dupe copies (reel no. 1 and 9). Seven reels in

total, shipped to Bologna.

March 2011

Davide Pozzithe Director of LImmagine Ritrovatapresented the testmaterials inspection results on March 3-4 at NMS. Ms. Rahman and Ms.

Gitomartoyo attended the presentation as Indonesian representatives, and

Zhang Wenjie of NMS hosted the event. Mr. Pozzi explained that the main

problem ofLewat Djam Malamsprints was a discovered live molds spreading

on the celluloid. If not handled properly, the molds would spread bigger and

slowly removed all images recorded on the emulsion over the celluloid.

Three options were given for the final restoration prints: 2K, 3K, and 4K. Mr.

Pozzi gave ten minutes duration samples for each option, to gives an overview

what would be the restored film looks like. After discussion and consultation,

NMS chose the one that will use lesser image-quality on each stage: scanning

stage in 4K, digitally cleaned and restored in 3K, and finalized in 2K celluloid

prints and DCP copies. 2K DCP copies were chosen because at the moment,

most of the digital projectors used in the world are 2K (especially in Southeast


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Asia). 4K digital projectors distribution is very limited. 35mm celluloid prints

were also chosen because it is considered as the best and most durable film

storage medium.

June 2011

Written agreement was signed by NMS and Irwan Usmar Ismail, as Usmar

Ismails family representative and rights owner of the film. Three important

points summarized in the agreement: 1) Lewat Djam Malamwill be restored

in Limmagine Ritrovata with the funding from NMS; 2) Indonesian partner

will get one 35mm positive copy and DCP of the restored film, meanwhile NMS

will get and keep one 35mm positive copy also; and 3) NMS also get the non-

commercial rights to distribute the film.

August 2011

The shipment of the remaining reels was done on August 19 by Ms. Gitomartoyo.

Materials sent includes: original negative prints (reel no. 2-8 and 10), negative

sound prints (reel no. 2-7), negative dupe copy (reel no. 2-8 and 10), positivedupe copy (reel no. 2-8 and 10), trailer (1 reel), and title reel (1 reel). 33 reels in

total shipped to Bologna. Ms. Rahman also sent other Usmar Ismails films in

DVD format as color and treatment references for the digital restoration process.

One of them was The Long March(original title:Darah and Doa, 1950).

January 2012

While Ms. Rahman was in Bologna, she sent home an information that audio

track on the minutes 45 of reel no. 5, with total duration of 1 minute 46 seconds

was found missing. After thorough inspection, it was realized that all the copies

sent to Bologna share the same defects.


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February 2012

LImmagine Ritrovata gave a presentation on the restoration process

development on February 7 at NMS. From Indonesia, Mr. Irwan Usmar Ismail,

Mr. Kristanto, and Ms. Gitomartoyo attended the event. The film was 70%

restored. The whole audio tracks were restored (except for the 1 minute 46

seconds missing), while the images were only half done from the whole reels.

In this presentation, two problems were identified. First, most of the

molds could not be lifted or cleansed, because it was spread on the frames

that contained movements. The cleaning process will affect the quality of the

contained images. Second, no viable solution for the missing audio track, yet.

Dubbed reproduction and audio reconstruction methods were in discourse,

but the laboratory said that it would not fit smoothly in the original track. The

proposed solution given by the laboratory was to put two subtitles on that

particular frames (English and Bahasa Indonesia) telling that the required audio

data was not found.

In a discussion during the presentation in Singapore led to two further

comprehensive works for the laboratory. First, to conduct a research onIndonesian cinema. Second, to conduct a thorough search for the missing audio

track. On February 9-10, Davide Pozzi and Cecilia Cenciarelli visited Jakarta. Ms.

Cenciarelli is a representative of the Cineteca di Bologna the city of Bolognas

film archive institution that has a close relationship with the World Cinema

Foundation (WCF) a foundation chaired by Martin Scorsese. On the first day,

Mr. Pozzi and Ms. Cenciarelli met Kineforum Jakarta Arts Council, Sinematek

Indonesia, and the Konfiden Foundation for a short introduction to Indonesian

film industry, and an overview of film preservation activities in Indonesia. On

the second day, Mr. Pozzi and Ms. Gitomartoyo conducted a thorough search

inside the Sinematek Indonesias vault to find the missing audio data needed.

The missing track was finally found within the reels of copy D. After that,

Ms. Gitomartoyo shipped the complete audio tracks to Bologna on February 22.


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The material sent was: positive copy D (reel no.1-5), and negative sound (reel

5/6). 6 reels in total were shipped.

March 2012

In the early March, World Cinema Foundation (WCF) contacted NMS and

Konfiden Foundation with the proposal to participate in theLewat Djam Malam

restoration project, and giving additional funding. If the particular request was

granted, the restored film will also be distributed by WCF, worldwide.

Mediated by Konfiden Foundation, Sinematek Indonesia and NMS were

having discussion on the matter. Mr. Irwan Usmar Ismail granted the rights

to Sinematek Indonesia, to open all the co-operation options with WCF. New

agreements were made between Sinematek Indonesia and WCF.

Two changes were made from the previous agreements. First, the restoration

credits will also include WCF as co-restorer of the film. That means, the three

institutions name (NMS, WCF, and Sinematek Indonesia) will occur on the

opening credit of the film, where ever its screened. Second, the films commercial

distribution license will be taken both by Sinematek Indonesia and WCF. Thisdevelopment has automatically affected further territorial distribution works.

For non-commercial distribution rights, NMS holds for Asian territories (except

for Indonesia), Sinematek Indonesia for Indonesia, while WCF for all over the

world except Asia. For commercial distribution rights, Sinematek Indonesia

holds its national distribution rights and WCF holds the rights for all over the

world, except Indonesia.

March 2012

The 90%-restored version ofLewat Djam Malamwas screened at NMS Theater

in Singapore on March 28. The event was a by-invitation only, with 240 seats

occupied out of 247 available. The film opened the Merdeka!Program, which

were hold by NMS Cinematheque at NMS Theater on March 28-31. Other two

titles of Usmar Ismails films were also screened in the program (The Long


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MarchandExalted Guest), along with three of Garin Nugrohos (Letter to an

Angel, A Poet, and The Blindfold). Indonesian representatives whose attended

the event were Mr. Kristanto, Ms. Gitomartoyo, Alex Sihar (Director of Konfiden

Foundation), Mr. and Mrs.Irwan Usmar Ismail, Berthy L. Ibrahim (Head of

Sinematek Indonesia), and A. Rahim Latif film distributor and also a close

friend of the late Usmar Ismail. Mr. Kristanto and Lee Chor Lin (Director of

NMS) opened the screening with their forewords.

May 2012

The 65th Cannes Film Festival holds a World Premiere event of a full restored

Lewat Djam Malamon May 17 at Salle Buuel, Palais des Festivals, France.

The film opened the Cannes Classics program, a special program that presents

best restored classics of the world. Each year, WCF has special slots in Cannes

Classics, as the organization was established in this festival, back in 2007. This

year, Lewat Djam Malamwas screened in WCFs slot with Indian restored

classic: Kalpana (Uday Shankar, 1948). The screening was opened with

forewords from ThierryFrmaux (Cannes Film Festival Director), Kent Jones(Executive Director ofWCF), Alex Sihar (Director of Konfiden Foundation),

Lee Chor Lin (Director of NMS), and Pierre Rissient (senior film critics from

French).


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International Presentations ofthe Restored Lewat Djam Malam

T O TO T I N D R A R TO

BEFORE it theatrical release in Indonesia starting June 2012, the restored

version ofLewat Djam Malamwas screened two times in foreign countries.

The first presentation was at the National Museum of Singapore (NMS) in 28

March 2012. Actually, it was only the 90%-restored version presented at that

time, with 240 guests filled the 247 seats-NMSs Basement Cinema.Lewat Djam Malam was the opening film of program Merdeka!, a six

films screening program containing Usmar Ismails and Garin Nugrohos

films, which considered as the pioneer and reformer of the modern Indonesian

Cinema. After opened by the Director of NMSLee Chor Lin, the projects

advisorJB Kristantogave a foreword for Lewat Djam Malam to the

audience, Usmar Ismail is the first Indonesian filmmaker that treated films as

a personal statement or a social critic. It was a quantum leap,compared to his

predecessors and to most of other contemporary filmmakers, who see films as

a mere entertainment.

The fully restored version was screened for the first time as World Premiere

in the Cannes Classics program, on the second day of the 65th Cannes Film

Festival, 17 May 2012. Around 300 people were in the audience that evening

filled SalleBuuel, Palais des Festivals. Alexander Paynefilm director and


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Lewat Djam Malamcatalogue, pamphlet, and admission ticket at Cannes Classics.


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writer who received the Oscar as Best Screenplay for his film The Descendents,

and member of the Grand Jury for Cannes Main Competition 2012was also

share the joy in the audience.

Cannes Classics is a Cannes Film Festivals official selected program

for screening the worlds restored classics. This year, Lewat Djam Malam

and Kalpana (Uday Shankar, India, 1948) were screened as World Cinema

Foundation (WCF) presentation. Founded by Martin Scorsese, WCF which

operated from Genve and New York was established to save the worlds

neglected film treasures. These particular titles now are recognized as worlds

heritage besides world cinemas monuments, such as films from John Boorman,

Andrei Konchalovsky, Roman Polanski, Claude Miller, Alfred Hitchcock,

Keisuke Kinoshita, Roberto Rosselini, Steven Spielberg, Agnes Varda, Sergio

Leone, etc.

Lewat Djam Malam screening within the historical 65th anniversary

celebration of the most prestigious film festival in the world was opened by

forewords from Thierry Frmaux, (Director of Cannes Film Festival), Alex Sihar

(Director of Konfiden Foundation), Kent Jones (Executive Director of WCF),and Lee Chor Lin (Director of NMS).

Thierry Frmaux, Kent Jones, and Lee Chor Lin agreed in their forewords

that Usmar Ismails best film is part of worlds cinema heritage that worth being

restored, and they feel fortunate to be involved in the process. Meanwhile, Alex

Sihar in his foreword emphasized on the struggle of the Indonesian movie

enthusiasts in the pursuit of restoration and conservation of Indonesian classic

films, which mostly are in a decaying state.

This world premiere was also opened by Pierre Rissient senior film critic

from French who have seen this film in Jakarta, back in 1977. He was really

impressed, although he saw it without translated subtitles. He felt very fortunate

to have the opportunity to watch this restored version, and finally understand

the whole dialogues in the film, 35 years later. Rissient emphasized the

importance of restoring and re-watching this film that made by Usmar Ismail


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and Asrul Sani two Asian filmmakers that he admires.

This film will be presented as part of ASEACC (Association for Southeast

Asian Cinema Conference) in Singapore, 19 June 2012. And it will also take part

in the program of Il Cinema Ritrovata in Bologna, Italy, 23-30 June 2012.

For all party that have the interest in screening this film for non-commercial

purpose or film festival presentation in the future, can contact Sinematek

Indonesia (for inside Indonesia), NMS (for territory of Asia), or WCF (for the

rest of the world outside Asia).

Contact Addresses:

Sinematek Indonesia

Jl. H.R. Rasuna Said Kuningan, Kav. C-22 Jakarta 12940 INDONESIA

Ph.: 021-5268455, Fax.: 021-5268454

[email protected] www.sinematekindonesia.com

or to:

Sahabat [email protected] www.sahabatsinematek.org

National Museum of Singapore (NMS)

93 Stamford Road, Singapore 178897

Special Attention to: Zhang Wenjie

[email protected] www.nationalmuseum.sg

World Cinema Foundation (WCF)

110 W. 57th Street, 5th Fl., New York, NY 10019 USA

Special Attention to: Douglas Laible

[email protected] www.worldcinemafoundation.org


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Before and After

Restoration


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26 B E F O R A N D A F T E R R E S T O R AT I O N


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27B E F O R A N D A F T E R R E S T O R AT I O N


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Lewat Djam Malam


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Iskandar (AN Alcaff) and Puja (Bambang Hermanto).


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Lewat Djam Malam Credits

CASTS

AN Alcaff Iskandar

Netty Herawati Norma

Dhalia Laila

Awaludin Gafar

Rd Ismail Gunawan

A Hadi Normas Father

Bambang Hermanto Puja

Aedy Moward Adlin

Titien Sumarni Ida

Astaman

Lukman Jusuf

S Taharnunu

Wahid Chan

CREW

Srijani S Costume Designer

Hanida Arifin Make-up Artist

E Sambas Sound Recordist

Bob Saltzman Sound Engineer

GRW Sinsu Music Director

Soemardjono Editor

Max Tera Director of Photography

Kasdullah Cameraperson

Abdul Chalid Art Director

MD Aliff Unit Manager

Asrul Sani Story and Scriptwriter

Djamaluddin Malik Producer

Usmar Ismail Producer

Usmar Ismail Director

Perfini Production Company

Persari Production Company


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Moments before execution


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Lewat Djam MalamSynopsis

THE FIRST image we see inLewat Djam Malam is a pair of Iskandars feet,

trying to find a way to his fiances home, on the very hour the curfew is enacted.Iskandar (AN Alcaff) is a former freedom fighter who just returns from the war

zones, only to be alienated by the societal changes in his beloved country.

The film chronicles Iskandars plight during his two-day stay in his

hometown. His consciousness is haunted by the killings he committed during

war times, as he tries to adapt to civilian life. Iskandar gets a desk job in the

bureaucracy, through the help of his father-in-law, but he finds it hard to get

along with his co-workers. Dispirited by the condition he encounters in the

office, Iskandar sets out to meet his partners during wartime. First, he visits

Gafar (Awaludin), who is now leaving a prosperous life as a contractor. Then, he

visits Gunawan (Rd. Ismail), an ex-commander who once ordered Iskandar to

execute a woman and her family. It is revealed that Gunawan seize the womans

belongings and use it as the capital for his enterprise. Iskandar could not believe

it. The values once held dear during the revolution are now subverted into

means for personal gains.

Fueled by rage and disappointment, Iskandar sets out on a personalmission. He flees his coming-home party, prepared by his fiance Norma (Netty

Herawati), to confront his former partner. Along with him is Puja, a fellow war

veteran who is now working as security guard of a brothel, which houses Laila

(Dahlia), a woman-for-hire who longs for a man to marry and a stable life to

live in. The police visits Normas house, at the same time Iskandar returns home

after he has completed his mission. He flees again, fearing the police might find

out what he has just done. However, as Iskandar runs away, the curfew begins.

Iskandar is shot by the patrol for breaking the rule. He dies in the loving arms

of Norma, the only person who is willing to understand Iskandar.

Lewat Djam Malamis Usmar Ismails best work. It is a social critique on

the struggling lives of the war veterans. It is for them; Usmar Ismail wrote this

tribute at the end of the film: For them who has sacrificed their lives, so that

we could live to enjoy the fruits of freedom. For them who have given and ask

nothing in return.


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40 L E W A T D J A M M A L A M


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Usmar Ismail 1950-1970

Its Not Easy to Become Indonesia

T O TO T I N D R A R TO

1.

THE HISTORY of Indonesian Cinema could not be written without Usmar

Ismails biography, said Asrul Sani. He meant that the Indonesian Cinema

history is in infancy, much younger than the Indonesian peoples experience inwatching and creating moving imageries. In fact, that even Usmar Ismails first

self-proclaimed film was made a half century long after cinema as entertainment

was introduced in this country.

Since the first cinema house at Jalan Kebon Jahe, Tanah Abang, was

established on 5 December 1900, the East Indies citizen had already experienced

the films sensations. Theatrical Cinema as new entertainment industry were

developed mainly after Chinese descendents jumped in to the business and

importing Hollywood, German, and Chinese films. But it took 26 years later for

G. Krugers, a Dutch documentary filmmaker, to finally produce the first full-

length feature film in Indonesia,Loetoeng Kasaroeng (1926).

After the next 25 years, at least 124 feature films were made by Dutch,

Chinese, and after them, Indonesians. Two ex-journalist, Bachtiar Effendy

(Njai Dasima, 1932) and Andjar Asmara (Kartinah,1940), became the pioneers


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of indigenous-native Indonesian in the business, and then followed by other

Indonesian film directors including Usmar Ismail. He was working for South

Pacific Film Corporation at that time, and had the opportunity to make two

films in 1949,Harta Karunand Tjitra.

In its first quarter century, Indonesian films were made purely for

entertainment purpose and trade commoditiesshared the same prime motives

of the Chinese traders who controlled the cinema business in Indonesia.

This strong commercial-purposed motive has pushed Mr. Ismail to quit the

Dutch-owned film company, and along with some other Indonesian artists, he

established Perfin (Perusahaan Film National, the National Film Company). The

main cause was that he felt frustrated in constantly accommodates producers

commercial-centered agendas. With few capitals of his own pockets, plus some

upfront minimum guarantee payments from theater owners who are willing

to screen his film, in 1950 he made The Long March, which is more popular

with the titleDarah dan Doa. He acknowledged this particular title as his first

feature film.

Based on the story written by Sitor Situmorang, The Long Marchtells aboutthe historical journey of TNI Troops-Siliwangi Division from Yogyakarta to

Bandung, after the capital city was attacked and occupied by the Dutch military.

The plot centered on the military officer, Capt. Sudarto (Del Juzar), and his

affairs with two girls along the journey, even though he had already married.

The film also illustrates the tension against the threat of the Dutch attacks, in

addition to humanitarian issues appeared in such war, as fears, doubts, sorrows,

solidarity, betrayals, and others.

Despite its recognized position in the history of Indonesian cinema, The

Long Marchis not considered as his best film. He admitted, this film is not

focused, and ambitiously wanted to capture all major events that took place

in Indonesia due to the revolutionary era. He was also very much recognized

the technical shortcomings, including the lack of knowledge and experience in

writing and directing.


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43L E W AT D J A M M A L A M

The Long Marchis acknowledged as first Indonesian film ever produced,

and its first shooting date (March 30) is commemorated as the National Film

Day. Usmar Ismail is regarded as the pioneer of national cinema, and along with

Djamaluddin Malik, they are acclaimed as the Founding Fathers of Indonesian

Cinema.

2.

The acknowledgment of first Indonesian film ever made was given because The

Long Marchwas directed by an Indonesian, produced by Indonesian-owned

Company, and produced in Indonesia. Misbach Jusa Biran added that this film

illustrates the nationalism consciousness and hinted the starting point of the

history of Indonesian Cinema. Mr. Sani defined the film as the spokesperson of

the Indonesians struggles towards independency, and it plays an integral part

of the peoples struggling life stories.

Some foreign film critics and scholars disagreed with this abundant

adoration to Mr. Ismail and this particular film, because this kind of

acknowledgement would disregard the existence and contributions of otherproducers and film directors that made films in Indonesia some 25 years

before. They were the ones that have built and spawned Indonesian cinema

infrastructures, including high quality film stars that the audience loved, and

highly-skilled filmmakers such as Mr. Ismail himself.

Mr. Ismail himself said that The Long Marchwas not made based on any

commercial calculations, and purely motivated by his idealism. So at least there

were three main motives that underlying The Long March acknowledgment as

the first Indonesian film: the nationalism sentiment, political identity, and a

strong passion for idealism. The three obsessions that often occurred as citizens

anxiety of a new-birth nation.

It certainly was not a coincidence if that film, and next Mr. Ismails films

also includes those three issues. The issue of nationalism can easily read on

his political revolution-themed films: Enam Djam di Djogja (1951), Kafedo


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(1953), Lewat Djam Malam(1954), Tamu Agung (1955), Pedjuang(1960),

Toha Pahlawan Bandung Selatan(1961),Anak-anak Revolusi(1964). In these

films Mr. Ismail have the tendency to use the antihero perspective, that shows

Indonesian fighters and combatants, who in history were regarded as hero,

as common people. In fact, as an ex-Indonesian military ranked Major, he

sincerely avoids heroism myth of posing innocent and perfect.

In the issue of political identity, or to be precise, about peoples cultural

uncertainty as independent new nation, Mr. Ismail often inserts social criticism

to a western-like tendencies of the Indonesian middle class. He interjects trivial

problems that continuously disturbed him, ones that never showed in any

Indonesian films before. Through those satires, he did not only inquire issues

on identity, but persistently remind his audience to share a strong identity as

an independent nation.

Notion of idealism is a consistent topic raised in almost of all his films,

represented mainly through conflicts between an idealist characters against a

pragmatist antagonist. And its very interesting to find that even when he always

put idealist characters as a protagonist, he never blindly defended them. Forexample, Iskandar (AN Alcaff) in Lewat Djam Malamwas shot dead because

of his pertinacious-ness, when he ran to meet the only person he believed can

understand his idealism and anxiety.

This kind of depiction actually shows Mr. Ismails passion and standpoint.

After we achieve our sovereignty, we have to face two options: being an idealist

or a pragmatist. An idealist is a front-guard of conscience that must exist to

nurture a balanced society, and cannot perform any stupidity, frustration, or

fatality, which will leads to death. In his films contexts, it obviously disrupts the

nations independence journey.

Those premises became basic strong arguments why The Long March

and all Mr. Ismails films aesthetically recognized as the Indonesian Cinema

prototype. His existence obviously symbolizes the uprising of Indonesian real

phenomenon-rooted films, not just some imaginary fictions.


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He did not capture Indonesia from short-sighted exotics perspectives

and exploit them for mere entertainment. He was anxious, and cultivated the

nations factual problems to be retold as personal expressions with genuine

ideas. In addition, he possessed a strong obsession with technical and

artistically perfection. This obsession made him accept Rockefeller Foundations

scholarship invitation to study film production in UCLA.

A year-long study and Hollywood studios visits, briefly changed Mr. Ismail

for a while. His first film after returning to Indonesia titled Kafedo, shows

American-influenced style and rhythm, including some exciting fighting scenes,

although the main story is about romance in revolution-era setting. The main

character is a nationalist living in Mentawai, that even when he mingles with

urban social circles, he keeps his indigenous custom values in tact in Mr.Ismail

words, The mixture of a man of nature and a civilized man.

After that film, he suddenly changed again. He made his next two films

with totally different concept and orientation, but shared the same success. In

that case, his duty as a pioneer has actually finished. He had proven that he is

capable to produce two kinds that always been contradicted of films: a box-office mainstream popular kind of film and an aesthetic-oriented kind of film

that was praised by critics and festival judges.

The first one titledKrisis(1953), a commercially-oriented comedy sketch

about residents life in a rented house. This film was a best-seller in that era,

right below Terang Boelan(Albert Balink, 1938). The second wasLewat Djam

Malam, co-produced with Persari (Indonesian Artist Company), and it was

oriented as a high quality artistic film to be presented in Asian Film Festival.

Although the presentation in Asian Film Festival was cancelled because of the

government restriction with regards due to the context of bilateral political

tension between Indonesia and Japan. The film successfully won five awards

in the Indonesian Film Festival 1955, including Best Picture, and considered as

one of the best film ever made in Indonesia.


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The latest mentioned title was just restored by the National Museum of

Singapore and the World Cinema Foundation. Producer and Member of Film

Committee of the Jakarta Arts Council Abduh Aziz, mentioned that this film

represents the most contextual issues of its time. About the beginning phase

of nations physical infrastructure development issue, about the combatants

frustration issue, and on the issue of human as victims of turbulent history of

his time. This film finely captured those contextual problems.

This kind of appreciations given by people not living in the same time with

the filmmaker himself, have proven that the Indonesian value of Mr. Ismails

films are very authentic and tightly-fused within. We can sense its uniqueness.

Indonesia is the soul and at the same time the main factor that distinguished his

films from other 125 films published within 25 years before him and ironically,

also from thousands following titles produced by Indonesian up till today, 62

years later.

3.

There is no easy way to create something new and significant, including Mr.Ismails efforts to develop what we call Indonesian Cinema. Not only the film

that made in Indonesia or made by Indonesian.

As a businessman he had to face the reality of compromising in many ways.

Asrul Sani wrote, Maybe the only pure film was The Long March. In many

others he learned to compromise although in a very cynical gestures. The most

tangible compromise was when he had to made commercially-oriented films

although he did not like it, he tried to infuse some critical perspectives about his

social contexts. According to Misbach Jusa Biran words, they were not some

carelessly made entertainment.

After the sold-outKrisis, Mr. Ismail made Tamu Agung(1955),Lagi-lagi

Krisis(1955), Tiga Dara(1956),Delapan Pendjuru Angin(1958),Asrama Dara

(1958),Amor dan Humor(1961), danBig Village(1968). They were comedies,

but none title can equals the success ofKrisis. Tiga Dara, the musical one that


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rouses the popularity of Indriati Iskak was the next in a ticket-sales success

list afterKrisis.

Tamu Agung is a political satire about Soekarno the first President of

Republic of Indonesia, successfully stole national and foreign film critics

attention. This film is a social satire with complexity and sophisticated quality

equals to Jean Renoirs La Rgle du Jeu(1939). Two factors have to be noticed:

its wittiness in cinematic convention of musical film in the opening scenes,

counterbalanced by its fiddle gestures with the Indonesian rhetoric convention

in some other parts, praised David Hanan, a film and television studies

professor from Monash University, Melbourne.

The biggest challenge for Mr. Ismail as the creator came from the his own

nations conditions which in the phase of embracing new comprehension about

film as medium of interpretation and dramatization of life issues, not a medium

of mere entertainment, as usual. Hence, films that illustrate daily life were

widely seen as generalization of reality.

Many fighting/war scenes in The Long Marchwere censored because they

were seen too real and considered as too violent. This film also got protested bythe military because it illustrates a high rank officer as a common man and weak.

They also protested the romance scenes between the officer and a European

girl, and parts of the story that tells about Darul Islam (Islamic rebels) which

allegedly would evoke other Muslim extremists spirit to rebel. From the other

side, the PKI (Communist Party) protested the films depiction on communist

people that described as fanatic and vengeful.

Confronting that kind of over-generalizing paradigm, he had to make a lot

of improvisations in order to avoid offensive gestures in his following films.

He concluded, The Dutch are the only antagonist. All Indonesians are good

man, and by the time a character become a traitor, its forbidden to reveal its

background. That is the main reason why in Indonesian films, all bandits are

always came from the lowest social class, among others are businessman!


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Norma (Netty Herawati) in the middle of a party.


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Further, this important artist and significant figure in cultural matters

(he was also the founder and chairperson of Lesbumi - Indonesian Moslem

Artist dan Culture-enthusiast Organization, 1962-1969), was dragged into

the big political and economic turmoil at that time. Within those years, the

ideological war between communists and nationalists were happening also in

the arts and cultural circles, which lead to the end of Soekarnos era. It was not

a surprise to find his name listed as people who will be eliminated by the PKI

(Communist Party) on 5 October 1965, because he was suspected by them as a

CIAs accomplice and AMPAIs (US film industry representative in Indonesia)

minion.

Practically, it was not even in ten years time Mr. Ismail have the opportunity

to make films in compromised-idealism situation, and reached the peak of his

career in Asrama Dara, the first film of Suzanna and received three awards

in FFI 1960. That very short period is considered significant enough to lay the

basic aesthetic foundation of Indonesian Cinema.

Lucky for Indonesia to have Usmar Ismail. In his hands, Indonesian cinema

was born, nurtured, and persistently striven for its ideal aesthetics values. Thesefacts could give a heavy burden for the next generations of filmmakers. A well-

noted scriptwriter Salman Aristo likens the situation as, Sadly, Indonesian

films started its history in a very high standard quality, and after that the figures

are declining. Not the other way around.

Any obstacles and challenges that Mr. Ismail faced in his time are still and

will keep on existing, some in different forms. But the spring of ideas like he

used to have is also available, and even more extensive and diverse. It means

that the Indonesian Cinema as constructed and pioneered by Mr. Ismail,

before will never die.


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Biography: Usmar Ismail

Born : Bukittinggi, 20 March 1921

Died : Jakarta, 2 January 1971

Educations

1928-1935 HIS (Hollandsch-Inlandsche School), Batusangkar

1935-1938 MULO (Meer Uitgebreid Lager Onderwijs)

class B Afd, Padang

1939-1941 AMS (Algemeene Middelbare School) Department A

(Literature-Cultural Department), Yogyakarta

1952-1953 UCLA (University of California in Los Angeles),

United States of America, Film Department

Occupations

1942-1945 Member of writer staff Jakarta Cultural Center

1945-1949 Indonesian Army ranked Major placed in Yogyakarta

1949 Film Director for South Pacific Film Corporation

1950-1970 Director, Producer, and Film Director for NV Pefini

1950-1970 Executive Director for Triple T Travel Bureau

1956-1960 Director for PT Bank Kemakmuran, Jakarta

1966-1969 Member of Indonesian Parliament/House of

Representatives

1967-1970 General Manager Miraca Sky Club, Jakarta


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Other Activities

1943-1945 Head of Penggemar Maja Theater

1946-1947 Head of Indonesian Journalist Association (PWI)

1946-1948 Head of Indonesian Cultural Consultative Assembly

(BPKI), Yogyakarta and Head of Yogyakartas Theater

Actors/Actresses Union

1955-1965 Founder and Head of ATNI (National Theater

Academy of Indonesia), Jakarta

1956-1970 Ketua PPFI (Indonesian Film Company Association)

1962-1969 Founder and Head of Lesbumi (Indonesian Moslem

Artist dan Culture-ensthusiast Organization), Jakarta

1964-1969 Executive Board of PB NU (Nahdlatul Ulama), Jakarta

Awards

1962 Widjajakusumas Arts Award from the Government of

Republic of Indonesia the highest ranked culturalaward in Indonesia.

1970 Leading Exemplary Citizen of Jakarta Award from

the City of Jakarta.

1975 His name memorialized as the name of Film Center,

built by the Provincial Government of Jakarta and

Indonesian film stakeholders.

Filmography

1. The Treasure (lit.tr.)-Harta Karun(1949) Director, Scriptwriter

2. Tjitra(1949) Director, Story

3. The Long March- Darah dan Doa(1950) Director, Scriptwriter

4. Six Hours in Djogja (lit.tr.) -Enam Djam di Djogja(1951) Producer,

Director, Scriptwriter


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5. The Dew (lit.tr.) -Embun(1951) Story

6. The Unforgivable Sin (lit.tr.) -Dosa Tak Berampun(1951) Producer,

Director, Scriptwriter

7. Please Accept My Song (lit.tr.) -Terimalah Laguku(1952) Producer

8. Kafedo(1953) Producer, Director, Scriptwriter

9. The Crisis (lit.tr.) -Krisis(1953) Producer, Director

10. Harimau Tjampa(1953) Producer

11. After the Curfew -Lewat Djam Malam(1954) Producer, Director

12. Excited (lit.tr) -Heboh(1954) Producer

13. The Exalted Guest - Tamu Agung(1955) Director

14. Another Crisis (lit.tr.) - Lagi-lagi Krisis(1955) Producer, Director,

Story, Scriptwriter

15. The Three Girls (lit.tr.) - Tiga Dara(1956) Producer, Director, Story,

Scriptwriter

16. Three Fugitives (lit.tr.) - Tiga Buronan(1957) Producer

17. The Dispute (lit.tr.) -Sengketa(1957) Producer, Director

18. The Eight Cardinal Directions (lit.tr.) -Delapan Pendjuru Angin(1957) Producer, Director, Scriptwriter

19. Asrama Dara(1958) Producer, Director

20. Tjambuk Api(1958) Producer

21. Djenderal Kantjil(1958) Producer

22. The Fighter (lit.tr.) - Pedjuang (1960) Producer, Director, Story,

Scriptwriter

23. Laruik Sandjo(1960) Producer, Director, Scriptwriter (never released)

24. Toha, The Hero of Southern Bandung (lit.tr.) - Toha, Pahlawan

Bandung Selatan(1961) Producer, Director, Story, Scriptwriter

25. The Victim of Slander (lit.tr.) -Korban Fitnah(1961) Director

26. Amor dan Humor(1961) Director, Story, Scriptwriter

27. Shadow at Dawn (lit.tr.) -Bajangan Diwaktu Fadjar(1962) Producer,

Director, Story, Scriptwriter


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28. Virgin in a Den of Thieves (lit.tr.) -Anak Perawan di Sarang Penjamun

(1962) Producer, Director, Scriptwriter

29. In Time of Hurricane and Storm (lit.tr.) - Masa Topan dan Badai

(1963) Director

30. Children of Revolution (lit.tr.) -Anak-anak Revolusi(1964) Director,

Story, Scriptwriter

31. Artists Holiday (lit.tr.) - Liburan Seniman (1965) Director, Story,

Scriptwriter

32. Behind Shimmering Lights (lit.tr.) - Dibalik Tjahaja Gemerlapan

(1966) Producer

33. Along the Bloody Trails (lit.tr.) -Menjusuri Djedjak Berdarah(1967)

Producer

34. Ja Mualim(1968) Director, Story, Scriptwriter

35. Big Village(1969) Producer, Director, Story, Scriptwriter

36. Ananda(1970) Director, Story, Scriptwriter

37. Bali(1970) Director, in collaboration with Ugo Liberator


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On Usmar Ismail andLewat Djam Malam:An Interview withMisbach Jusa Biran

A M A L I A S E K A R J AT I

MISBACH JUSA BIRAN is the founder and first director of Sinematek Indonesia.

Previously, he was active in Perfini, who producedLewat Djam Malam in 1954.

Mr. Biran passed away on 11 April 2012 at the age of 78. Originally, he was

planned to deliver the honorary remarks on the restored version ofLewat DjamMalam, when the film is launched in Jakarta in June.

This interview was conducted on Mr. Birans home, Bogor, at 14 February

2012. This interview aims to inquire details about Usmar Ismail and Lewat

Djam Malam. His experience in Perfini would be valuable inputs regarding the

historical context of the film and Indonesian film history in general.

Could you tell us about the conception of L ew a t D j am M a l a m ?

How could two contrast companies produce this film? Perfini has

ideological mission in their film productions, while Persari is closer

to produced popular-mere entertainment films.

In the Japanese occupation era, Usmar was the deputy of Theater Section

of Cultural Center in Yogyakarta, headed by Armijn Pane. At that time he was

only 21 years old. There was a mismatch between Armijn and Usmar. According


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to Armijn, many young artists at the time, including Usmar and Chairil Anwar

(both of them are relatives), were making performances and arts that goes

against the conventions. It was considered strange or unique, at that time.

Then Usmar madeMaya, a theater community. In one of their plays, he made

a character whose features are similar to Armijn. Usmar arguably mocked

Armijns fierce trait [Laughing]. Armijn knows about that.

During the revolution era, Usmar developed a good social background: he

had been a military officer ranked Major and placed in Yogyakarta (Republic

of Indonesias capital city at the time), and had also been a chairperson of

Indonesian Journalist Union. After the revolution was over, he went back to

Jakarta to get into one organization, but he found out that Armijn was already

there. That fact made him hard to get into that organization. So did Djamaluddin,

because he was considered as businessman. He made films only to help his

fellow artists who live in poverty. Persari, the film company he established, had

become an artists associations. The company existed just to support their lives.

No wonder they produced lots of popular entertainment films. Djamal has the

commercial talent and is a good businessman. On the contrary, Usmar is moreof an intellectual. Thats where they were polar opposites.

There was a conference for Asian film producers in 1953. Djamaludin Malik

and Usmar Ismail went there. Djamal was the producer from Persari. A true

entrepreneur. I dont really know how they got together at the first place, but

they represented Indonesia in that conference. During that conference, there

was a plan to hold the first Asian Film Festival in 1954 in Tokyo, Japan. Djamal

wanted to participate, but didnt have any good film to submit. So he asked

Usmar to make one, while he looked for the money.

Except for AN Alcaff and Bambang Hermanto, Persari provided all the

casts forLewat Djam Malam. Dhalia was the exception. She came from neither

of them. Bambang Hermanto used to play in many popular films. Once his

reputation significantly increased after a memorable performance inHarimau

Tjampa, Bambang joined Perfini. For Alcaff, it was the first time he worked


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for Perfini. His first film is Dosa Tak Berampun (Sins without Salvation,

1951). He was a soldier from Jambi. He paid a visit to Perfini, said that he was

interested in acting. Usmar already had someone for the role, but auditioned

Alcaff anyway. It turned out that Alcaff had a good voice. Eventually, Alcaff got

to play in Lewat Djam Malam. Similar thing actually happened during Dosa

Tak Berampun. Alcaffs role was supposed to be played by Rendra Karno, but

Usmar chose Alcaff at the last minute. That created friction between Usmar and

Rendra Karno. Rendra was terribly heartbroken by Usmar.

So, that was how Lewat Djam Malam cames about. The film was made

through a collaboration of Perfini and Persari. Persari funded the whole project.

A film like Lewat Djam Malam required lots of money to produce. Perfini

provided the crew, as Perfini was full of artisans. Among them are Gajus Siagian

and Basuki Resbowo. They used to work in Perfini. They both make good films.

It was only natural that Usmar and Perfini took care of the artistic aspect of

Lewat Djam Malam.

The story of L ew a t D j am M a lam , whose idea was it? Was it Usmarsor Asrul Sanis, the scriptwriter?

It was Asruls. The idea, the story, the screenplay. It was all Asruls. I dont

know exactly who came up with the idea first. But, it was Djamal and Usmar

who worked really hard to get the film made. They really wanted to produce a

film worthy of a big film festival in Asia.

Actually, at the time, Usmar and Asrul werent on good terms. In the 1952,

Usmar was against censorship. He believed film requires lots of efforts to be

produced, and censorship is not the right way to appreciate such effort. Asrul

disagreed. Asrul supported censorship because it prevented the dissemination of

ideological misunderstandings. According to Asrul, Usmar is a good filmmaker,

but how about the popular film which are produced solely only to rake income?

Censorship, according to Asrul, is necessary, while Usmar wrote a lot in the

media about it.


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Asrul believed cinema is not merely a carrier for social messages, but also as

a cultural agent. That is why the board of censorship moved from the Ministry

of Information to the Ministry of Education and Culture. Then a change of

perspectives happened. Think about it. They managed to think about such

things when they were young.

How did the film do in the Asian Film Festival?

It didnt make it to the festival. When Usmar and Djamal about to go to

Japan for the festival, the government prevented them. Of course, there was

a political agenda behind the restriction. The government used it as a way to

protest the Japanese, because of the war compensation that hadnt been paid to

our country. Because of this, Djamal initiated the first Festival Film Indonesia

(Indonesian Film Festival) in 1955.

How much was the production cost for L ew a t D j am M a lam ?

Around 300,000 rupiahs. Usmars films and Perfinis, mostly were around

that figure. Chinese production companys films were usually below 200,000,and they made more money than Usmars films. Those cheap films have their

own market, while Usmars didnt. Tamu Agung(The Exalted Guest), one of

his more entertaining films, failed at the box office. It was meant to be funny

because the film tried to portray Soekarno (the Indonesian President at that

time) through the character of a fake medicine seller. People didnt get it. The

film was just too sophisticated.

Usmar deliberately used his films as political vehicle.Lewat Djam Malam

contained no pretty girls and musical scenes, two things that were popular in

the local cinema at the time.Lewat Djam Malam didnt attract a big audience

in the small towns. In the cities, perhaps, but not in the small towns. He wanted

his films to be a personal expression of his ideology, but the general audience

couldnt understand that.


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When Usmar made L ew a t D j am M a lam , had he finished his study

in the United States?

Yes. He studied there for two years. There was a time when Usmar produced

Western-like movies, with cowboys in them. One of them isKafedo. Hollywood

influence is apparent in those movies, although it feels forced and unnatural. In

Long March, Usmar got better. He told his story more fluently. Its not dramatic,

but thefilm develops its conflict nicely. InLewat Djam Malam, Usmar managed

to be a bit more entertaining.

BeforeLewat Djam Malam, Perfini made Embun(Dew). Both films are

about war veterans who have trouble adjusting to civilian life. Lately, former

freedom fighters turn into corruptors once they have settled into a stable life.

I believe the films are actually better than their inspiration, The Best Years of

Our Lives, which depicts the societal changes in America after World War II. In

Lewat Djam Malam, the symbols are adapted into local context. Being a freedom

fighter was mandatory during revolution. There was no other choice. And that

was how things used to be during the war. The film depicts the independence

war as it was. That is what makes the film valuable, in my opinion.

Is it true that Usmar was influenced by Italian neo-realism?

In his first film, yes. Usmar asked his friends and colleagues to make a

film together. Eventually, they managed to raise 150.000 Rupiahs from various

sources, including personal savings. Long March was made on that budget.

In the film, there is a subplot about an army leader who falls in love with a

Dutch. What Usmar wanted to say is that the people were not in conflict, only

the governments. The stereotype at the time was that every Dutch is an evil

imperialist, and national cinema should not depict them in positive manner.

Usmar said, why not? They are humans. They are also capable of loving. Some

of the crews disagreed, but went on to make the film anyway.

It could be said that Usmar made Long Marchwith very little experience

in filmmaking, especially directing. Previously, he had worked as an assistant


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director in Australia for two years, in a Dutch production house. Specifically, he

worked as a dialogue trainer. He did so in one of Andjar Asmaras film,Djauh

di Mata. Not so long after that, Usmar directed two films:Harta Karun and

Tjitra. But, he disowned both films. He felt he had no artistic contribution to

the films, as his cinematographer dominated the shooting, including saying cut

in every single take.

Meaning that Usmar was conscious about the concept of auteur even

before the theory existed?

Its a matter of experience, really. Usmar is different from his

contemporaries. He is an intellectual. He graduated from a Dutch school and

spoke English fluently. He came from the country to enact his own cultural

mission. Indonesian cinema used to have this critical dimension, but two years

after the independence, it abated. Efforts had been made to make films not as

mere entertainments, unlike Dardanella (a well known group of touring theater)

in the 1930s and 1940s, but also as carrier of critical thoughts.

Unlike Usmar, Djamal was hardly an artisan. He was an entrepreneur, abusinessman. He likes to foster celebrities and develop his film studio, Persari.

Compared to Usmars Perfini, Persari is of course more prosperous. Persari

had three cars for film production, Perfini only one and its Usmars personal

car. Every Perfini film shooting always went like this: the female casts ride

with Usmar in his car, the males on a pick-up truck, and crews on a big truck.

Bambang Hermanto was an exception. He rode his own motorbike.

How long did Usmar manage to keep his idealism until he has to give

in to the economic reality of film industry?

Until the 1960s, I believe. There was a financial crisis in 1957. Bankruptcy

was everywhere. Many people quit their job or simply got fired by their

employers. And Perfini was taken over by the government. Usmar moved to

a smaller studio and directed Tiga Dara(Three Girls). That was the first time


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he flirted with commercial films, and I see nothing wrong with that. DN Aidit

(a notable Communist party figure) said the film is good but bad. I dont know

what he meant by that. Usmar then directedAsrama Dara(Girls Dormitory).

The leading role was held by Bambang Hermanto. The film contains many

local songs, and carries a strong message about the social condition. Its an

entertaining film, yes, but also a well-made one. The film convinced the

government to support Usmar. Through the Department of Forestry, the

government cooperated with Usmar to make a film in the Borneo rainforests.

Two films resulted from that:Pedjuang(The Freedom Fighter)andAnak-anak

Revolusi(The Children of Revolution).

Eventually, financial meltdown could not be avoided. Along with it was

this anti-Western sentiment that resulted in the closing of all film studios.

Filmmakers moved into small-to-medium houses, and turned them into

makeshift studios. At the same time, Usmar was appointed to be the head of

Lesbumi, a cultural organization under Nahdlatul Utama (NU, biggest Islamic

organization in Indonesia). The president was wary of this development. NU

contained revolutionaries such as Asrul Sani, Usmar Ismail, and Farouk Afero(film star). As a cultural initiative, Lesbumi has quite a strong backing from

the public, especially from the Muslim. Soekarno, a Muslim himself, could

not do anything about the rise of Lesbumi. There were three pillars of power

during Soekarno era: PKI (communists), PNI (nationalists), and NU (Muslims).

Such concept was known to the public as Nasakom (roughly translated as

Nationalism, Religion and Communism).

Those are the bliss and blues of filmmaking. There were times when politics

enter into cinema, especially the communist party who uses films as cultural and

political agents. That was how they change the mindset of our people. It was not

economic imperialism, but ideological. Whenever a member of the communist

party spoke, the media reported it. If not, nothing happened.


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The communists learn from experience. They learn from history. Our people

could only treat history as nostalgia. That is why the communists use films for

their political campaign.

About Usmar Ismail, how was he as a person?

I wrote extensively about him in the bookPeran Anak Muda dalam Film

Nasional (The Role of Youth in National Cinema). I tried to expand it, but

nobody wanted to fund it, so I stored the book somewhere in Sinematek. I wrote

the book around 1950-1956. There, I explained in great details how and for

what Usmar made his films, includingLewat Djam Malam. Usmar wanted to

go international, but somehow he didnt make it.

What I can say is, Usmar learnt a lot during the Japanese imperialism.

When the Dutch ruled, he was still studying in high school and had learnt a

lot about art from the Dutch. Usmar was surprised when Japan came because

the Japanese at the time always said, Why should we be afraid of the Dutch?

They even considered Dutch as second-rate language. The Dutch, who were

once fierce conquerors, suddenly degraded to an insignificant role. Usmarsintellectual endeavor, a product of Dutch education system, underwent a

significant turbulence during the Japanese era.

Was Perfini a gathering place for artists?

It was. In the 50s, many artisans moved to Jakarta. Most of them used

cinema as medium for communication. Before that people used theater, then

literature, and now cinema. There was a sense of modernity going on, and many

people wanted to be part of it. Some stick to the theater, trying to modernize

it. The transfer of power from the Dutch to the Japanese also brought some

changes. Usmar watched many Japanese films, and saw in them images of

people fighting for their country against the Western imperialists. He never saw

such images in Hollywood films.


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For some, it was a bit shocking to experience the transfer of power from

the Dutch to the Japanese. Once worshipped and feared, the Dutch were

suddenly gone and disappeared. Our people changed because of that. In every

film screening, before the film started, a picture of Indonesian red-and-white

flag appeared on the screen, then some texts were shown: God bless. Asia has

returned. The song played was Indonesia Raya, the national anthem. Such

connection to the local culture had made the Japanese look so friendly. It was

very different compared to the Dutch. It was the Japanese who inspired these

youngsters to delve deeper into the arts and create extraordinary things.

How did the government support national cinema?

In the 50s, there were efforts by the government to socialize some of the

unpopular films to the general public. None worked. The taxes were reduced, the

subsidy increased, and still nothing worked. What worked then? The film school

at the Jakarta Arts Institute. Education breeds appreciation. It is better this way

actually. The government would not be as helpful if they just handed out money

for filmmakers to make films. Education sows the seeds of change. The onlymoney the government should give is the money to build schools, to educate the

film workers. I tried to build an association for film workers once. Anyone who

wants to enter the film industry must study there first. Whether they like it or

not, they must study. Only by studying they can improve themselves.

For the future, we must formulate how we could use cinema for the benefit

of everyone. We must think forward, better our senses, and expand our tastes.

Every film must aim toward one of those goals. So people could grow and

mature. Cinema could capture beauty unexplained by words. Abstract. For

the communists, abstract is dangerous, because it doesnt engage the masses

directly. Films could also fulfill the basic emotional needs of human being,

whether its fear, happiness, comedy, or tragedy. I believe films must carry a

strong message within them. Films nowadays care more about the packaging

rather than having good substance.


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What is your opinion on the current condition of Sinematek?

Actually, most of the employees at the Sinematek now are not professional.

They are there not because they are qualified to do so. They work at the

Sinematek because they want to. They couldve had better jobs. Many still work

there, but only a few are professionals. They must prepare for the coming years.

They could ask for donation, or ask others to teach them about film archiving

and preservation. Sinematek has a lot of homework.


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For a Nation of Dreamsand Dead Ends

A D R I A N J O N A T H A N P A S A R I B U

Rumor has it that every third-world leader whispered the same phrases the

morning after independence: Now the real problems start. Indonesia is no

exception. Revolution brought about the much-sought independence, and

independence made way to the much-needed development. But development

has its costs. It relies on the same principles that the revolutionaries once foughtagainst: exploitation and domination. Where do the revolutionaries go from

here?

Usmar Ismail provided his answer through Lewat Djam Malam (After

the Curfew, 1954). According to Sitor Situmorang, Ismail created Indonesias

first modern psychological drama film in Lewat Djam Malam. On second

inspection, the filmbears resemblances to American film noir. Along with

Documents

Lewat Djam Malam Restored