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included the songs " Terang Boelan " and "Boenga Mawar" ("Rose"), required its |
cast to sing keroncong music (traditional music with Portuguese influences); |
because Mochtar's voice was ill-suited to the task, the musician Ismail |
Marzuki – who also composed the film's score – sang while Mochtar lip synced . |
[19] Release and reception [ edit ] Terang Boelan premiered on 8 December 1937 |
at the Rex Theatre in Batavia, the capital of the Dutch East Indies; it played |
to a nearly full theatre. [20] Also marketed under the Dutch title Het Eilan |
der Droomen , the film was advertised as showing that the Indies were as |
beautiful as Hawaii , a popular island paradise in Hollywood films. Posters |
also emphasised the use of Indonesian-language dialogue. [21] William van der |
Heide, a lecturer on film studies at the University of Newcastle in Australia, |
notes that the film continued a trend of "Indonesianisation", or the |
application of a national (Indonesian) understanding to borrowed concepts; for |
Terang Boelan this indigenisation process involved the inclusion of "exotic |
local settings" and keroncong music. Such adaptations of foreign films had |
arisen several years earlier and continued long after Terang Boelan 's |
release. [22] The film was a commercial success, both in the Indies and nearby |
British Malaya . Native audiences filled the cinemas, most of them working- |
class people, including native fans of toneel and keroncong who rarely watched |
films. [23] After being licensed by RKO Radio Pictures , the film was screened |
in British Malaya, where it was advertised as "the first and best Malay |
musical" and earned 200,000 Straits dollars (then equivalent to US$ 114,470 |
[24] ) in two months. [25] Terang Boelan proved to be the most successful |
production in the area until Krisis ( Crisis ) in 1953, released after the |
Netherlands recognised Indonesia's independence in 1949. [26] Despite the |
success, ANIF was displeased with the film and halted its other non- |
documentary productions; one of the studio's cameramen, an Indo man named |
J.J.W. Steffens, [c] suggested that ANIF's management preferred works of non- |
fiction as a more intellectual medium. Disappointed by the company's reaction, |
Balink left the Indies and emigrated to the United States in March 1938. [27] |
Terang Boelan 's cast left ANIF not long afterwards and, after briefly touring |
Malaya, joined Tan's Film . [28] They made their first film for Tan's, Fatima |
, in 1938. Mochtar, who soon married fellow Terang Boelan actress Soekarsih, |
continued to be cast as Roekiah's lover; the two were a popular screen couple |
until Mochtar left Tan's in 1940 over a wage dispute. [29] Legacy [ edit ] |
Roekiah and Rd Mochtar (pictured in Siti Akbari ) continued to be cast as |
lovers until 1940. The success of Terang Boelan led to an increase in film |
production in the colony, many of the films following the same formula, |
including songs, beautiful scenery and romance. [30] Before Terang Boelan , |
local studios had generally been unsuccessful in finding a formula popular |
with audiences, [31] but the triple successes of Terang Boelan , Fatima , and |
Alang-Alang ( Grass , 1939) revived the industry. [32] Four new production |
houses were established in 1940, [33] and actors and actresses previously |
attached to theatrical troupes entered the film industry, which was reaching |
new audiences. [34] Most locally produced films released in the Indies were |
made between 1939 and the Japanese occupation in 1942. [35] Meanwhile, in |
Malaya, the brothers Run Run and Runme Shaw , drawing inspiration from Terang |
Boelan and Alang-Alang 's success with Malay audiences , established Malay |
Film Productions in Singapore, where it became one of the more successful |
production houses. [36] Heider considered Terang Boelan one of the two most |
important cinematic works from the Dutch East Indies during the 1930s; |
Balink's earlier film Pareh was the other. He notes that Terang Boelan "set |
the tone for popular Indonesian cinema", a tone that remained dominant into |
the 1990s. [14] Biran considered the film a turning point in the history of |
Indonesian cinema , showing the possibilities of the medium and serving as a |
catalyst for further development. [11] Said concurred, describing the film as |
a milestone in Indonesia's history because of the widespread formula it |
introduced. [16] The repeated use of Terang Boelan 's formula has been |
criticised. The director Teguh Karya , for instance, denounced films that used |
it without building on it, leaving the formula "undeveloped and static". [37] |
Terang Boelan is considered lost , [38] as are most domestic productions from |
the era. [d] The Filipino film historian and director Nick Deocampo noted that |
productions made with nitrate film – such as Terang Boelan – burned easily and |
were thus easily lost, but suggested that copies of the film may have survived |
until the 1970s. [18] In a 1991 publication Said, Heider, and the American |
translator John H. McGlynn expressed hope that a copy of the film might be |
lying around in someone's attic or closet in Indonesia or the Netherlands. |
[38] See also [ edit ] List of lost films Explanatory notes [ edit ] ^ Some |
sources, such as Anwar (2004 , p. 84), incorrectly give the film's release |
year as 1938. ^ Plot summary derived from Said (1982 , pp. 24–26) and Biran |
(2009 , pp. 169–170). ^ Biran does not indicate his full name. ^ Heider (1991 |
, p. 14) writes that all Indonesian films from before 1950 are lost. However, |
JB Kristanto's Katalog Film Indonesia ( Indonesian Film Catalogue ) records |
several as having survived at Sinematek Indonesia 's archives, and Biran (2009 |
, p. 351) writes that several Japanese propaganda films have survived at the |
Netherlands Government Information Service . Footnotes [ edit ] ^ a b Biran |
2009 , pp. 380–382. ^ a b Biran 2009 , pp. 147–150. ^ Biran 2009 , p. 145. ^ |
Jakarta City Government, Albert Balink . ^ Biran 2009 , pp. 155, 159. ^ a b c |
Biran 2009 , pp. 160–162. ^ Biran 2009 , pp. 165–168; Said 1982 , p. 142. ^ |
van der Heide 2002 , p. 128; Biran 2009 , p. 169. ^ Biran 2009 , p. 170. ^ |
Said 1982 , p. 11. ^ a b Biran 2009 , p. 169. ^ Filmindonesia.or.id, Kredit |
Lengkap ; De Indische Courant 1937, Maleische Muzikale Film ; De Indische |
Courant 1937, Een Film in Wording ^ Biran 2009 , pp. 165–168. ^ a b Heider |
1991 , pp. 15–16. ^ Biran 2009 , p. 146. ^ a b Said 1982 , pp. 23–24. ^ Esha |
et al. 2005 , p. 32; Filmindonesia.or.id, Terang Boelan ^ a b Deocampo 2006 , |
pp. 1917–1919. ^ van der Heide 2002 , p. 128; Said 1982 , pp. 23–24. ^ |
Bataviaasch Nieuwsblad 1937, Terang Boelan . ^ Filmindonesia.or.id, Terang |
Boelan . ^ van der Heide 2002 , p. 128. ^ van der Heide 2002 , p. 128; Said |
1982 , p. 25; Deocampo 2006 , pp. 1917–1919. ^ New York Times 1938, Foreign |
Exchange . ^ Biran 2009 , p. 171; Esha et al. 2005 , p. 33; Barnard 2010 , p. |
52. ^ Anwar 2004 , p. 84. ^ Biran 2009 , pp. 172–173; Bataviaasch Nieuwsblad |
1938, Albert Balink ^ Biran 2009 , p. 174; Esha et al. 2005 , p. 33. ^ |
Filmindonesia.or.id, Terang Boelan ; Biran 2009 , p. 214; Filmindonesia.or.id, |
Pareh ^ Biran 2009 , p. 25; Said 1982 , p. 25. ^ Biran 2009 , p. 87. ^ Biran |
2009 , p. 182. ^ Biran 2009 , p. 205. ^ Said 1982 , p. 27. ^ Biran 2009 , pp. |
383–385. ^ Khoo 2006 , p. 90. ^ Heider 1991 , pp. 6, 16. ^ a b Said, McGlynn & |
Heider 1991 , p. 31. Works cited [ edit ] "Albert Balink" . Bataviaasch |
Nieuwsblad (in Dutch). Batavia: Kolff & Co. 14 March 1938. p. 3 . Retrieved 22 |
January 2013 . "Albert Balink" . Encyclopedia of Jakarta (in Indonesian). |
Jakarta City Government. Archived from the original on 17 October 2012 . |
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