Arifin C. Noer
出生 : 1941-03-10, Cirebon
死亡 : 1995-05-28
略歴
Arifin C. Noer (10 March 1941 – 28 May 1995) was an Indonesian poet, theater director, and film producer.
He studied Civil Administration at Cokroaminoto University [id] in Yogyakarta, Central Java, and began his theatrical career in the early 1960s as an actor in a study group in Central Java with W.S. Rendra. After finishing his degree in 1967, he moved to Jakarta and founded Teater Kecil (Little Theater), a laboratory where he and other actors could experiment using the workshop model, emphasizing the whole person, as introduced by W.S. Rendra, but Noer was focused on the practical aspect of cultivating acting skills. According to the Columbia Encyclopedia of Modern Drama, he was a prolific playwright and director from the 1970s until his death in 1995, directing all of his original plays including his best-known work, Kapai-Kapai ("Reaching Out"; translated as "Moths" in English) in 1970.
His screenplays have won numerous awards, including Pemberang, which won the Golden Harvest trophy for Best Dialogue at the Film Festival Asia (FFA) in 1972, Rio Anakku (1973), Melawan Badai (1974), Pengkhianatan G30S/PKI (1984), and Taksi (1990) which received Citra awards at the Indonesian Film Festival (FFI). Translations of his plays have appeared in several languages, including English, French, Swedish, and Chinese.
In 1972–73, he participated in the Iowa Writers' Workshop, an international writing program in the United States.
He received the S.E.A. Write Award in 1990. Two years later, his film Bibir Mer (Mer's Lips) was submitted for consideration as the Indonesian entry for the Academy Award for Best Foreign Language Film.
His most notable poetry works include Selamat Pagi Jajang (1979) and a collection of poetry published after his death, Nyanyian Sepi (1995).
(Courtesy Wikipedia)
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Indonesia's submission for the Academy Award for Best Foreign Language Film in 1992
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Indonesia's submission for the Academy Award for Best Foreign Language Film in 1992
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Indonesia's submission for the Academy Award for Best Foreign Language Film in 1992
Writer
A young Indonesian leaves her baby in a cab, so the driver takes the infant home, then tries to find the mother.
Director
A young Indonesian leaves her baby in a cab, so the driver takes the infant home, then tries to find the mother.
Screenplay
The official story about the events surrounding the 30 September 1965 coup d'etat carried out by Colonel Untung, the Commandant of the Cakrabirawa Battalion. Seven generals were murdered and Major General Soeharto is depicted as the saviour. A very detailed and "convincing" docudrama from a certain point of view.
Director
The official story about the events surrounding the 30 September 1965 coup d'etat carried out by Colonel Untung, the Commandant of the Cakrabirawa Battalion. Seven generals were murdered and Major General Soeharto is depicted as the saviour. A very detailed and "convincing" docudrama from a certain point of view.
Story
The film chronologically depicts the birth of the Eleventh March Warrant (Supersemar) in 1966. In an increasingly critical situation, Soekarno gives out authority in the form of Supersemar.
Writer
The film chronologically depicts the birth of the Eleventh March Warrant (Supersemar) in 1966. In an increasingly critical situation, Soekarno gives out authority in the form of Supersemar.
Director
The film chronologically depicts the birth of the Eleventh March Warrant (Supersemar) in 1966. In an increasingly critical situation, Soekarno gives out authority in the form of Supersemar.
Screenplay
Abused women rush off into the jungle to oppose their oppressors.
Screenplay
After the Japanese occupation, the Indonesian people began fighting for independence, culminating with the 1 March 1949 general attack on the Dutch-held capital at Yogyakarta, led by Suharto. Amidst this backdrop two families face their own, personal issues.
Director
After the Japanese occupation, the Indonesian people began fighting for independence, culminating with the 1 March 1949 general attack on the Dutch-held capital at Yogyakarta, led by Suharto. Amidst this backdrop two families face their own, personal issues.
Screenplay
Alex is thrown out of his parents’ house. This is a part of an ongoing conflict with his father because he is thought to have inherited his mother’s wild behaviour. Alex makes a mistake of raping his girlfriend, Joice. Later, Alex becomes an accomplished racer. He then receives affection from a friend of his mother. His damaged relationship with Joice is mended even though it doesn’t get family approval. He dates many women. Finally, he dies of a stray bullet in a mass riot.
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Script Editor
Students who come to Yogyakarta to study, also have their first taste of love and sex. Three friends, Benny, Lesmono, and Larso find this out for themselves. Benny, a ladies’ man, introduces his friends to prostitution. Lesmono is secretly in love with Indri, but she falls into the hands of Benny. Benny, who takes life very lightly, manages to smuggle Indri into his room in the lodging house. When he goes home to Jakarta, Indri is anxious because she misses her period. Lesmono helps her to find a shaman who can perform an abortion. But when she goes to see a doctor, she finds out that she is not pregnant after all. Lesmono hopes to get Indri back but his hopes vanish when Benny returns and Indri goes back to him. Attempting to represent the teenagers’ psychological state in relation to love and sex; the film only manages to be jokey and shallow.
Screenplay
In a university campus, most of the rich kids are driving sedans, except for the lovely Narti, who rides a rickshaw. Iwan, a friendly and sympathetic guy, rides his motorcycle, and they soon develop an intimate and playful relationship. There are also others such as the shy Hendro, and the disheveled and free-spirited Tari. The drama concerns some conflict between Iwan and his father, and also Narti’s parents’ attitude toward Iwan. The film highlights the young social life on campus and the appeal is in the fresh dialogue, which is sometimes critical.
Writer
Suci’s performance is exaggerated when she is with Oom Kapten, Mr. Dawud and Mr. Condro. The three men are her clients and she is mistress to them. But Suci, the prima donna of the people’s theatre (a srimulat troupe, a traditional theatre style from East Java), who performs in a squalid village area, has her own dreams.
Director
Suci’s performance is exaggerated when she is with Oom Kapten, Mr. Dawud and Mr. Condro. The three men are her clients and she is mistress to them. But Suci, the prima donna of the people’s theatre (a srimulat troupe, a traditional theatre style from East Java), who performs in a squalid village area, has her own dreams.
Screenplay
Parodying the TV police character Kojak, Leman, identifies himself with Kojak by his hat and lollipop, firmly stuck in his cheeks. He tries to help a woman by picking up a package that falls from her bag, and the package is filled with flour that he thinks is morphine. The woman turns out to be a flirtatious widow who wants to become a photo model. All the stories in the film are spoofs, and the suspected bandits reveal themselves as filmmakers.
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After Tini catches her boyfriend Narno trying to seduce her sister Tina and ends their relationship, she mysteriously dies from a snakebite. Narno's mother then visits a shaman to place a curse on one of Tina's potential suitors. As all of that is going on, a mysterious murderer is lurking around bumping off other members of both Tina and Narno's families.
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Director Wim Umboh experiments again and the first third of the movie is filled with a series of images almost without dialogue relating the work of brothers, Johanes and Leo Mokodompis.
Screenplay
Romi and Juli, junior high school friends, are in love with each other. But their parents; Sabar and Komar, are business rivals, and creates obstacles for them. Romi and Juli agree to run away from home and they get lost in a cave. Romi falls ill so Juli has to urgently find medicine. Meanwhile, their parents keep looking for them and finally make peace with each other after their children are found.
Story
Filled with surrealistic dream scenes, this fairy-tale-like film sees Buang, Bernardus, and Bakar, three prisoners who run away during a prison revolt. They meet Bunga, a small lonely girl whose parents are busy with work, and whose house is secluded from the neighbours. This meeting transforms the prisoners, into normal decent persons. Happy to find new friends, Bunga steals food from her house for the three new friends. The fairy tale ends when the three convicts are recaptured.
Screenplay
Filled with surrealistic dream scenes, this fairy-tale-like film sees Buang, Bernardus, and Bakar, three prisoners who run away during a prison revolt. They meet Bunga, a small lonely girl whose parents are busy with work, and whose house is secluded from the neighbours. This meeting transforms the prisoners, into normal decent persons. Happy to find new friends, Bunga steals food from her house for the three new friends. The fairy tale ends when the three convicts are recaptured.
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After the accidental drowning death of their son, a military truck driver begins to doubt the faithfulness of his wife.
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After her mother’s death, Yeyen’s father remarries and she now has a stepmother. Yeyen is then carried away by dreams and stories about stepmothers, and one day, after seeing an interesting event, she is so moved that she does not want to go home. She befriends homeless people and sees the joys of street life. Then the parents of her friend, Yoyo, help her realise that a stepmother is still a mother. She is advised to return home as her father, who accuses the stepmother of doing something bad to her, is frantic with worry. Yeyen finally goes home.
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A married man has two daughters with his mistress and then abandons her. Years later, the mother is killed in a train accident while the now-grown daughters become involved with prostitution, pimps, rape and incest.
Screenplay
Tempted by the presence of Kokom (Rima Melati) dangdut singer of a successful village in Jakarta, coaxing his uncle Sarkim (WD Mochtar) and the poverty that left three children died, Citizen (Henry Wanisar) decided to move to town with his wife and children are dumb, Iyom (Marisa Haque). In Jakarta they were under the influence Sarkim who became king of beggars. His home life is threatened. Iyom accused of fooling with another man, angry residents and leave his wife. Residents Seperginya, Iyom huts on fire. So the family was scattered. Residents Sarkim be assassin plunges, luxurious living and lives with his dream, Kokom. When he realized that all this caused Sarkim, Citizens kill Sarkim and go to jail. At the door he met with Iyom prison and his son. He asked for forgiveness.
Director
Tempted by the presence of Kokom (Rima Melati) dangdut singer of a successful village in Jakarta, coaxing his uncle Sarkim (WD Mochtar) and the poverty that left three children died, Citizen (Henry Wanisar) decided to move to town with his wife and children are dumb, Iyom (Marisa Haque). In Jakarta they were under the influence Sarkim who became king of beggars. His home life is threatened. Iyom accused of fooling with another man, angry residents and leave his wife. Residents Seperginya, Iyom huts on fire. So the family was scattered. Residents Sarkim be assassin plunges, luxurious living and lives with his dream, Kokom. When he realized that all this caused Sarkim, Citizens kill Sarkim and go to jail. At the door he met with Iyom prison and his son. He asked for forgiveness.
