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Thursday, February 21, 2013

Max Havelaar 1976 sebuah film bagus yang tertahan 10 tahun di Badan Sensor Film Jaman Orba

Menarik disimak buat kalian yg mmg suka dengan sejarah atau kalian yang punya minat banyak terhadap film berlatar sejarah, dokumentri atau sejenisnya. Film ini sangat baik karena dikerjakan dengan keseriusan pada detail agar mendekati situasi dijaman itu di Lebak Banten tahun 1800 an. Dijaman Orba film ini dilarang beredar, dan sekarang ada di youtube. Silahkan disimak.

Sumber WIKI:
Max Havelaar of de koffieveilingen der Nederlandsche handelsmaatschappij.:
Film ini tertahan di Badan Sensor Film (BSF) selama sepuluh tahun sebelum beredar dan sewaktu awal pembuatannya sudah menimbulkan kericuhan. DA Peransi yang pada awalnya menjadi ko-sutradara menarik diri karena perbedaan prinsip mengenai cara penangan kisah, sehingga penyelesaian film ini memakan waktu tiga tahun


Review New York Times


Max Havelaar (1976)
'Max Havelaar,' a Dutch Film About the Evils 
of Colonizing:The Cast

By VINCENT CANBY
Published: January 21, 1979
"Max Havelaar," the Dutch film that is competing for this year's Oscar as best foreign-language film, is an exceedingly long, sincere, elaborately produced contradiction in terms. It's a movie that exposes the evils of 19th-century Dutch colonialism in terms that are so naive and romantic that the audience will always be ahead of it even while taking in the exotic flora and fauna of Indonesia, where much of the film was shot. It's as if the Hardy Boys had dipped into the works of Frantz Fanon and decided that now was the time to grant independence to Algeria. The movie's heart is in the right place, but its mind is muddled.

The film, which opens today at the Plaza Theater, is the work of Fons Rademakers, one of the more prominent directors in the Netherlands. It's based on a 19th-century novel by Multatuli, the pen name of Eduard Douwes Dekker, a Dutch civil servant who became his nation's Harriet Beecher Stowe, fictionalizing his experiences on behalf of justice for the wretched of the Dutch colonized earth in the East Indies.

The title character, played by Peter Faber with the uncomplicated vigor one associates with old-fashioned costume pictures, believes himself to be a man with a mission to reform Dutch colonial rule in Java. He's the sort of fellow who doesn't hesitate to dive into shark-infested waters to save his son's small dog or to intervene when some gross white settlers are verbally abusing a pretty Javanese girl. One has the feeling that Max would help an old lady to cross a street even if she didn't want to go, though the movie makes nothing of the vanity that is integral to his obsession.

When Max is posted to the poor Javanese province of Lebak, he attempts to expose the corruption of the native regent only to earn the enmity of his superiors in the civil service and of the regent. Ultimately it isn't the regent who gets bounced, but Max.

The physical scale of "Max Havelaar" is so big that it almost invests the film's essential clumsiness with the properties of myth. At its best moments, which are very few, the movie has a kind of fairy-tale simplicity. Occasionally it aspires to a sophistication that seems completely out of character, as in one scene in which Max confounds his dinner guests with a definition of beauty that seems beyond the comprehension of the man we know.

Contradictions of all sorts sap the movie's credibility. Mr. Rademakers frames the narrative with heavily ironic shots of righteous, well-fed Dutch burghers singing for the salvation of their colonial subjects, but ends his film with a montage showing Dutch soldiers putting down rebellion in a manner that seems meant to recall My Lai. Because the Netherlands did not give up its East Indian colonies until after World War II, one must wonder how the locals survived until then.

Must peculiar is the film's introduction, early on, of the titles of some of the works that Max Havelaar wrote ("Marriage as Prostitution," "Slavery in Europe"), which suggest that he might have a mind much more interesting and complex than is demonstrated by the film itself.

Though "Max Havelaar" now runs close to three hours, one suspects that some helpful footage has been cut. Either that or Dutch viewers know the story well enough to fill in what seem to be gaps to us. To someone coming on the film cold, "Max Havelaar" is a very mixed pleasure, Its most interesting aspect is the color photography of Jan De Bont, which, in certain sequences, recalls the muted tones that John Huston sought in his "Moby Dick" by (if I remember correctly) printing a black-and-white negative over the color negative. The purpose was to create the effect of a sort of liberated sepia — that is, a sepia in which other colors supplement the sepia tones. Whatever the method, the results are sometimes very beautiful.


The Cast

MAX HAVELAAR, produced and directed by Fons Rademakers; screenplay (Dutch with English subtitles) by Gerard Soeteman, based on the novel by Eduard Douwes Dekker; director of photography, Jan De Bont; film editor, Pieter Berpema; released by Atlantic Distributing Corp. At the Plaza Theater. Running time: 2 hours, 45 minutes. This film has not been rated.
Max Havelaar . . . . . Peter Feber
Tina . . . . . Sacha Bulthuis
Regent . . . . . Elang Mohanad Adenan Soesilaningrat
Demang . . . . . Maroeli Sitompul
Resident . . . . . Carlvander Plas
Verbrugge, Controller . . . . . Krijn ter Braak
Slotering . . . . . Joop Admiraal
Mrs. Slotering . . . . . Rima Melati
Duciari . . . . . Rutger Hauer
Djaksa . . . . . Pitradjaia Burnama
Govenor-General . . . . . Frans Vorstman
Saidjah . . . . . Henry Iantho
Adinda . . . . . Henry Zulaini
Saidjah's Father . . . . . Minih bin Misan




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