Alhamdulillah, after missing my trip last year I managed to visit the blessed Holy Land for my bi-annual Umrah trip - the third. Below are selected posts from my Instagram - visit @sanifoo for more pictures.
reflections of an observer and storyteller
Thursday, August 6, 2015
Sunday, August 2, 2015
15 minutes
The following article is reproduced from NewsLoop. Thank you so much.
This is part of a series of interviews by NewsLoop with prominent Singaporeans, to celebrate the nation’s 50th birthday. Visit NewsLoop regularly and tap on the “Exclusive SG50 Interviews″ trending topic for more of these stories.
15 Minutes With Top Malay Director, Sanif Olek
Long-time film-maker Sanif Olek may have worked on many television and short films since 1996, but his first feature film was only released in 2014. Sayang Disayang is produced in Malay language about the Malay community in Singapore.
With so many years of experience to back him up, it probably isn’t very surprising that the film has received such an acclaimed response. The film won Best Cinematography & Story at the World Film Awards 2014 held at Jakarta, and was nominated to represent Singapore in the Best Foreign Picture category of the Oscars 2015. The film is available on Singapore Airlines’ in-flight entertainment, so you can watch it the next time you travel by SIA!
We caught up with Sanif Olek over email to find out how his childhood in Singapore was like.
NewsLoop (NL): What is your fondest memory of growing up in Singapore?
Sanif Olek (Sanif): Before my family moved to the HDB estate in Jurong, we used to stay at a little sub-rural community near Nanyang estate (where the present Jurong West Sports Stadium stands). There used to be little dusty strip made up of trading shops where families make their weekly trips for groceries and general household items. There were also two barber shops that were run by a Chinese and an Indian man.
My fondest memory of growing up was the bi-weekly trips my father, my brothers and I used to make to the barber shops. My father would put me on his bicycle as he pushed it while my older brothers would walk alongside.
While waiting for our turns, my father would be chatting non-stop with the barber as the latter’s scissor snipped our hair. I seldom listened to their conversation. They would talk about family and the weather. I got bored whenever the conversation moved on to politics. I got restless easily, so I played with the equipment at the barber shop when not sitting on the barber’s chair.
After we had our haircuts, we would cross the road to the trading shops. I loved going to the trading shops as I enjoyed browsing at the latest plastic toys that were put on display. The shopkeeper was usually kind enough to let me play with the sample toys. On some days, he would hand me little sweets. He had children but they were unsociable girls older than me. They would leave me alone to do their homework behind the counters. My brothers would be outside to look after the bicycle and acting like the adults. These happened while my father settled payment for the groceries that my mother had bought during the week. Sometimes these visits at the trading shops would take some time as my father would be too caught up catching up with the friendly shop owners. I remembered that all these conversations my father had with the Indian and Chinese “uncles” were in bazaar Malay.
NL: What do you think has been the biggest change you’ve seen in Singapore in the past decade?
Sanif: On the surface, the most obvious transformation that has taken place in Singapore is the rapid urbanisation of its skyline.
Nevertheless, beyond this exterior transformation, the diverse communities that make up Singapore is evolving deeper into a cultural fusion. I remember perhaps ten years ago when one sat on the MRT trains, it was perhaps easy to distinguish the respective, main, local ethnic races, i.e. Chinese, Malay, Indian, that make up Singapore. However, if one happens to take the train these days, it is getting rather complicated to identify these respective “traditional” ethnic races.
Other than English, which is spoken by most commuters, we are also listening to other languages. Furthermore, the three main national languages may also be spoken with non-local or non-familiar “Singaporean” accents.
I think this simple observation speaks a lot about the diversity of people who currently live in Singapore. The cultural representation of the current third-generation Singaporean and general population who live in this country have moved in tangent to the first-generation of Singaporeans. This evolution with regard to the ethnic composition makes the population more dynamic for growth in the long run.
NL: What do you think it will mean to be “Singaporean” in years to come?
Sanif: I lived overseas for long periods of time while pursuing my studies, and subsequently for work. It was during these periods that the attachment to the homeland became impactful. I became fond of the familiar spaces and faces that I identify with in Singapore.
For the gentlemen, the shared experience during National Service often becomes typical ice-breakers during conversations. I remember on several occasions when I was overseas for long periods of time, it was comforting to hear Singlish from a mile away and subsequently speaking it in a conversation with fellow Singaporeans. Spicy local food that we used to take for granted at the neighbourhood hawker centres became comfort food in the middle of winter.
I also think many Singaporeans who grew up in Singapore will agree that it will take some time to adjust to the respective cultural attitudes overseas when it comes to studies and work. Furthermore, as more inter-marriages become common, Singaporeans have generally become more tolerant and I think this helps us to adapt easily in cross-cultural environment overseas. I suppose in years to come, there is not one identity that makes a “Singaporean”.
NL: What’s the one thing that you love about Singapore?
Sanif: I always have a peculiar sense of relief when I step into Changi International Airport after returning from overseas. This relief stems from the comfort that there is a system that not only “works”, but works effectively in Singapore. It’s like coming home to re-appreciate the familiar environment that we have taken for granted.
NL: What are your hopes and expectations for Singapore in the next 50 years?
Sanif: I consider the first 50 years as the first phase of identity building post-independence. During this first phase, we have sought to build ourselves economically and to some extent, socially. We can only move forward when Singaporeans have a strong mutual sense of belonging. This shared experience and identity are the qualities that shall keep us united to move forward and competitive as dynamic people. On that note, we also need to be able to maintain our tolerance to not only hear, but listen to the different voices that make up this multicultural homeland. Taking my own experience in the Commandos as an example, we need to be united in looking out for one another as brothers, sisters and family. It is only when these bonds are strong that we can grow together as Singaporeans and stay ahead of the competition. Each one of us is a pillar to remind one another that Singapore is our homeland. A home requires everyone’s responsibility to keep it comfortable and safe to survive the next 50 years and beyond.
SAF50 - Generations of Men
I'm a contributing writer for the SAF50 commemorative book, GIVING STRENGTH TO OUR NATION. The book is produced in conjunction with the 50th anniversary of the Singapore Armed Forces in 2015.
The following is reproduced from the "Generations Of Men" (page 55 onwards) in the publication.
Thank you to the Ministry of Defence and Singapore Armed Forces.
I'm honoured to represent my ex-NS unit - 1st Commando Battalion - this one's for the kickass band of brothers in 1st Company.
Some people have said that SAF training in the past was tougher than the present. What is your opinion on this?
In the first generation of the Army, training to be soldiers meant regimental authority was unquestioned, individuality was secondary and fleeting self-reflex was suppressed. The mantra to “sweat more during training to bleed less during war” further validated the idea that the self takes a backseat to achieve group goals.
Based on my commando background, training needs to be more about building rugged, mental strength and “survivability” during war, rather than largely driven by monetary incentives. Soldiers prioritise team objectives and thinks for their country and nation. In war, battle will proceed regardless if the weather is CAT 1 or 3.
Too much dependence on gadgets may also negate initiative and hamper natural, ground-survival instincts that are imperative during battle. When batteries for gadgets run flat or touchscreens crack, the soldier can depend only on his natural instincts to complete a task and sustain his survival at the battle zone.
Share a defining SAF moment.
Based on my commando background, training needs to be more about building rugged, mental strength and “survivability” during war, rather than largely driven by monetary incentives. Soldiers prioritise team objectives and thinks for their country and nation. In war, battle will proceed regardless if the weather is CAT 1 or 3.
Too much dependence on gadgets may also negate initiative and hamper natural, ground-survival instincts that are imperative during battle. When batteries for gadgets run flat or touchscreens crack, the soldier can depend only on his natural instincts to complete a task and sustain his survival at the battle zone.
Share a defining SAF moment.
The first defining, positive, moment for me was when I received my red beret. Throughout history, the red beret of the commando represents one of the ultimate achievement that a soldier can receive in the Army. For me, it was not just about personal achievement and glory, it was a bittersweet and humbling moment to be associated with glorious soldiers whose dedication to honour and excellence is second to none. Deep down I shed tears of joy at this accomplishment. It was also a moment when I understood the meaning of brotherhood and camaraderie, regardless of “race, language and religion”. In any battle, we seek to complete the task regardless of circumstances. Most importantly in the process, our bond grew tight that, no matter what, we never, ever leave a brother behind.
How have these instances and your SAF experience generally contributed to you as a person?
How have these instances and your SAF experience generally contributed to you as a person?
Even as a civilian, the manner I carry myself personally and professionally personify the high degree of expectations one would expect of an elite soldier. There is an expectation that I am someone they can trust to complete a task regardless of circumstances - higher-degree tasks and with mental preparation for contingencies. In all these life instances I have learnt that in life, respect is earned, never given.
How has your SAF experience connected you to people and society?
In the commandos we were taught to appreciate everything that life has to offer and to respect fellow human being regardless of their background in society. As many operations in the unit are done in small groups, I learnt that collaboration and tolerance are keys to connect with people. In professional capacities, I thrive as a leader who listens to collaborators and surbodinates, yet is firm in making decisions. I think these traits have allowed me to achieve many things as a professional creative director.
How would you like to see the SAF develop?
I would like to see the SAF as a sophisticated organisation where each soldier first and foremost understands the need to defend Singapore – not just the superficial, vague notion to defend itself from an enemy, but also the need to appreciate why we are defending it.
The SAF can only be successful when it truly integrates itself into the social fabric. Every Singaporean citizen can contribute as an individual, regardless of their background without prejudice, to the national defence. It is only when every citizen has a sense of belonging that everyone has the instinct to protect our homeland.
Imagine, within your experience, Singapore without the SAF. What do you see?
Without the SAF, each Singaporean will still need to live out the heart of national defence – to honour our citizenship.
We need to honour our duty as responsible and disciplined Singaporeans. It is only when every single citizen have a clear idea of this commonality as Singaporeans that we can stand together as one people in camaraderie. What we may lack in defence machinery, we can stand together and rise against the enemy in common spirit as Singaporeans – because history showed that the spirit of the mind is much stronger than all technology put together.
Sunday, May 31, 2015
U Thought music video
After months of delays and conceptualisation, here it is.
The music video.
Post-production at Flashforward Films (Singapore).
Thank you Mark Bonafide and Slate Entertainment. Finally, my thanks to all the hardworking production team (technical and make-up) and the beautiful cast.
The music video.
Post-production at Flashforward Films (Singapore).
Thank you Mark Bonafide and Slate Entertainment. Finally, my thanks to all the hardworking production team (technical and make-up) and the beautiful cast.
Wednesday, May 27, 2015
Sayang Disayang - a film review (via The Hollywood Reporter)
This article is reproduced from a review by Clarence Tsui of The Hollywood Reporter. Read the original review here.
Singapore's Oscar submission revolves around an Indonesian domestic helper melting her crabby, wheelchair-bound employer's veneer
For the second consecutive year, Singapore was represented on the Oscars' best foreign-language film longlist by a feature revolving around the struggle of a foreign domestic helper in accommodating the demands of her taxing employer. But that's where the similarities end: While Anthony Chen's 2012 Cannes prize-winner Ilo Ilo was a realist drama tackling the Southeast Asian city-state's economic meltdown in the late 1990s, Sanif Olek's Sayang Disayang - which, like Chen's film, failed to eventually make the Academy's shortlist - is a dreamy, sensual and feel-good romance drama nearly devoid of social commentary but gushing with beautiful sights and sounds.
Having traveled around the festival circuit since making its bow in late 2013 - a journey including stops around Southeast Asia, Hawaii and even Mexico - Sayang Disayang draws heavily on Singapore's historical and cultural legacy as part of the Malay archipelago. Featuring many renditions of classic ballads from decades past, the film takes its title from a legendary Malay-language ballad penned by Zubir Said for Rachun Dunia, a 1950 Singaporean film about a traditional family torn apart by modern vices. Olek's top-billing here is Rahim Razali, a veteran Malaysian actor-director-sports commentator, and there are close-ups aplenty of meticulous preparations of Malay food, specifically the delicacy of sambal goreng. With the film being a celebration of a part of Singapore's self-proclaimed multi-ethnic social fabric, it's hardly a surprise that Singapore Airlines has chosen to pick it up as part of its in-flight program.
To Olek's credit, Sayang Disayang - a lovelorn refrain that could be roughly translated as "Dear, oh dear" - appears much more lavish than its modest, partly crowdfunded budget would suggest, thanks to the first-time feature-filmmaker's eye for the poetic visual and his cinematographers M Senthilnathan and Vincent Wong. Their lighting and lensing brings out the melancholy in the Khaiz Noor and Jerry Tan-designed house in which most of the film is set. In effect, this is a story about two souls confined indoors: Razali's wheelchair-bound Harun is deprived of the public standing he once had as a neighborhood elder, while Indonesian caretaker Murni (Singaporean thespian-teacher Aidli Mosbit) remains attached to her roots in Aceh and is dismayed about not being able to bear witness to the changes in her village, which was stricken by the deadly tsunami in December 2004.
Murni's gentle culinary caressing of spring onions and spices, however, reveals another level of yearning at play. Somehow she has fallen for Harun, despite his demeaning remarks about her rural background and an all-around crabbiness brought about in part by his son's decision to relocate to Australia. What follows is a slow and gentle chronicle of the pair's evolving bond, with Harun's conversion stemming from his recollection (for the viewer's benefit, mostly) of the tragedy that left him widowed, and the reconciliation with what he has in his possession now.
With Razali and Mosbit delivering carefully calibrated performances, Olek could have easily allowed sensibility and sensuality to run amok. And the film is indeed at its most mesmerizing during its dialogue-free, narrative-defying sequences; the elaboration of the story through flashbacks actually undermines the magic of it all, the expositions carrying a slight whiff of soapy schmaltz. That's a minor quibble, perhaps, in an impressive debut from a filmmaker sensitive to his own culture and to the possibilities of rendering cinematic the traditions he holds dear.
Production company: Reeljuice
Cast: Rahim Razali, Aidli Mosbit, Asnida Daud
Director: Sanif Olek
Screenwriters: Gene Sha Rudyn, Sanif Olek
Producer: Sanif Olek
Directors of photography: M Senthilnathan, Vincent Wong
Interior designers: Khaiz Noor, Jerry Tan
Costume designer: Norehan Fong-Harun
Editor: Sanif Olek
International Sales: Reeljuice
In Malay and Indonesian
No rating; 70 minutes
Monday, May 18, 2015
Sayang Thailand!
To mark 50 years of endearing diplomatic relations between Singapore and Thailand, SAYANG DISAYANG (Singapore's entry at Oscars2015: Best Foreign Language) has been invited to be part of this historic occasion. I am much honoured.
A noteworthy entry is 2013's "Sayang Disayang" ("My Beloved Dearest"), the first Malay film produced in Singapore since the city declared independence in 1965. Directed by Sanif Olek, it is the tender portrait of the slowly developing relationship between an embittered, disabled elderly Muslim widower and his Indonesian housekeeper. Frequently prone to burst out in song, the stout maid Murni remains ever cheerful, despite her employer's refusal to accept that her diligent daily preparation of the traditional spicy dish sambal goreng is as good or maybe even better than his late wife's. "Sayang Disayang" won several accolades on the festival circuit, and was Singapore's submission to this year's Academy Awards.[THE NATION, Thailand]
SAYANG DISAYANG screens on 21 and 23 May at SF World Cinema at CentralWorld in Bangkok. More details here.
The spicy sambal goreng and tomyam certainly make delectable company.
Monday, April 27, 2015
MASTERA | SAKAT 2014 (amended 2015)
This paper was originally presented at the Seminar Kesusasteraan Antarabangsa Asia Tenggara (SAKAT) by the Majlis Sastera Asia Tenggara (MASTERA), Brunei Darussalam on 18 September 2014.
SASTERA
GLOBALISASI DAN TRANSNATIONALISME
Sanif Olek
Abstrak: Bagaimanakah penerbit filem Melayu Nusantara dapat membentuk
identiti mereka tersendiri di pentas antarabangsa seperti Bruce Lee, Jackie
Chan, Ang Lee, Satyajit Ray, Amitabh Bachchan dan Aishwarya Rai? Ramai peminat
filem Melayu di Singapura berpendapat bahawa puncak filem Melayu era P Ramlee yang
menjadi pujaan di layar perak tidak mungkin dapat dicapai lagi. Namun, adakah
relevan untuk kita membincangkan tentang ‘era gemilang’ filem-filem Melayu dalam
konteks Singapura hari ini? Perbincangan kita sewajarnya tertumpu kepada perkembangan
filem ber-identiti Nusantara yang boleh bersaing dengan filem-filem Bollywood
atau Cina.
Pengenalan
Saya ingin terlebih dahulu merakamkan
penghargaan kepada Dr Muhammad Ariff Ahmad, seorang sasterawan dan budayawan
negara Singapura, yang telah mencungkil jiwa dan membuka minda saya tentang pentingnya
peranan anak watan Melayu untuk menegakkan bahasa dan budaya ibundanya.
Dalam konteks Singapura hari
ini, jarang sekali kita dengar orang Melayu kita bertutur dalam bahasa ibundanya.
Semasa saya membesar, saya dikelilingi rakan-rakan bangsa asing. Orang tua saya
juga menggalakkan saya supaya bergaul dengan orang yang bukan Melayu. Saya
dibesarkan dalam keadaan yang serba tidak berkemampuan. Ibu bapa saya merupakan
pekerja kolar biru. Mereka berpendapat bahawa jika anak-anak mereka fasih
berbahasa Inggeris, kami dapat bersaing dengan bangsa lain di Singapura. Bahasa
Inggeris memainkan peranan yang penting dalam urusan harian kita di Singapura.
Walau bagaimanapun, ini tidak bermakna yang saya lupa dan tidak mengerti bahasa
Melayu kerana sememangnya saya orang Melayu.
Berbalik semula kepada Dr Muhammad
Ariff Ahmad, beliau pernah memberi nasihat yang hingga kini masih saya pegang: "Biar
bual Melayunya kurang, asal jangan hilang jiwa dan bahasanya."
Layar Perak Singapura
Masih ramai pencinta filem Melayu beranggapan bahawa zaman
kegemilangan atau ‘Golden Age’ layar perak Melayu ialah semasa studio Shaw Brothers
dan Cathay Keris menerbitkan filem-filem Melayu. Kedua-dua studio tersebut bertapak
di Jalan Ampas dan Jalan Buloh Perindu di Singapura yang pada ketika itu
sebahagian dari Malaya. Ketika itu, penerbit atau pengarah filem seperti P
Ramlee, M Amin dan Hussein Haniff amat prolifik. Selaras dengan lingua-franca
era tersebut, semua filem-filem mereka adalah dalam bahasa Melayu. Banyak
adengan dalam filem-filem tersebut mengupas mengenai kehidupan orang Melayu. Banyak
dialog filem mengandungi sindiran tentang masyarakat Melayu. Teguran yang
disampaikan secara santai dan menghiburkan mendapat sokongan dari masyarakat
umum. Sambutan yang kuat memberi keuntungan yang besar kepada studio-studio
tersebut. Sebelum P Ramlee, Hussein Haniff dan M Amin dikenali, filem-filem Melayu
diterbitkan oleh pengarah dan kakitangan studio yang dijemput khas dari luar
Malaya. Jalan cerita filem-filem tersebut banyak disesuaikan dari cerita-cerita
asing seperti yang tertera dalam filem-filem Laila Majnun dan Chinta.
Ramai pengarah yang diundang khas tidak fasih dalam
bahasa dan budaya Melayu. Jadi, studio-studio menggajikan penduduk tempatan sebagai
pembantu pengarah dan kakitangan studio. Tugas mereka ialah untuk menyesuaikan
cerita asing tersebut untuk santapan jiwa Melayu. Lama-kelamaan, kakitangan studio
menjadi mahir disebabkan oleh latihan yang diberikan. Kakitangan yang berbakat
seperti P Ramlee dan M Amin kemudiannya mendapat keyakinan daripada studio dan
dinaikkan pangkat menjadi pengarah. P Ramlee dan M Amin memulakan kerjaya mereka
sebagai pengarah dengan filem Penarik Beca dan filem Lancang Kuning.
Dari situlah bermula era gemilang bagi layar perak Melayu. Ini ialah kerana
filem-filem seperti Ibu Mertuaku, Antara Dua Darjat dan Semerah
Padi adalah karya yang dihasilkan dari kaca mata dan jiwa orang Melayu
sendiri. Selain cerita yang direka asal, terdapat juga sastera dan lagenda
Melayu yang disesuaikan untuk filem seperti Hikayat Hang Tuah, Lancang
Kuning, Dang Anom dan Batu Belah Batu Bertangkup.
Menjelang akhirnya zaman Malaya, pembikinan filem di
Singapura jatuh menjunam apabila Shaw Brothers menutup studio dan berpindah ke
Hong Kong pada tahun 1967. Studio Cathay-Keris pula ditutup pada tahun 1972. Kebanyakan
artis Melayu dan pengarah filem dari kedua-dua studio telah berpindah ke
Malaysia. Sebagai rakyat bumiputra di
Malaysia, artis-artis Melayu menerima penghormatan dan kehidupan yang
lebih senang. Artis-artis yang memutuskan untuk terus menetap di Singapura pula
mengalami kesusahan, hidup mereka melarat; mereka merempat bagaikan anak kucing
yang ditinggalkan ibu.
Walaupun industri perfileman di Malaysia berakar dan
berkembang, industri filem di Singapura terbantut. Apabila Singapura berpisah
dari Malaysia pada 1965, Singapura lebih mementingkan hal-hal pembinaan negara.
Seni dan budaya, termasuk pembikinan filem dianggap perkara yang remeh. Pada
masa yang sama, televisyen telah mula bertapak. Pengendali pawagam menayangkan
filem-filem dari Hollywood dan Bollywood kerana filem-filem tersebut membawa
keuntungan yang lebih besar. Sedang perindustrian semakin rancak, penghasilan
filem-filem di Singapura kering-kontang, malap berjerebu.
Lost Sole
Pada akhir tahun 2005, saya telah menerbitkan sebuah
filem pendek, Lost Sole mengenai
Haji Sabtu yang kehilangan seliparnya selepas solat Jumaat. Filem pendek
ini telah meraih penerimaan lebih tiga puluh festival filem antarabangsa
termasuk di Amerika Utara, Eropah, Afrika, Australia dan Nusantara. Ia mendapat
dua anugerah filem terbaik dari Iran dan India. Lost Sole disampaikan
dalam bahasa Bawean and Melayu. Idea ini tercetus semasa pendebatan bahawa
bahasa lain selain daripada bahasa rasmi iaitu Bahasa Melayu, Tamil, Mandarin
dan Bahasa Inggeris, tidak digalakkan dalam media massa. Ia juga merupakan kali
pertama dimana bahasa dialek Bawean telah digunakan dalam penyiaran dramatik di
Singapura.
Lost Sole telah juga
ditayangkan di Museum of Modern Art (MoMA) di New York. Pada tahun 2009,
penulis prolifik dan penerbit filem Malaysia, Amir Muhammad, memperkenalkan Lost
Sole sebagai satu filem Melayu yang akan mencetuskan fenomena di layar perak
Melayu di Singapura. Bagi saya, ini merupakan detik penting kerana dunia kini
mula menumpukan perhatian kepada ‘suara Melayu’ dalam layar perak dari
Singapura.
Tanggapan
Pengiktirafan Lost Sole membuka mata saya tentang
persepsi masyarakat yang kurang arif tentang filem Melayu Singapura. Semasa
sesi tayangan, saya sering ditanyakan soalan-soalan mengenali perbezaan di
antara “Malay, Malaya and Malaysia” (Melayu, Tanah Melayu dan Malaysia). Ada
kalanya, saya juga terpaksa menanya balik kepada si penanya, "Kenapa ada orang yang berkulit gelap
di Singapura?"
Pernah suatu ketika dahulu, ramai orang berketurunan
Bawean di Singapura tidak mahu dan malu untuk mengaku bahawa diri mereka orang
Bawean. Ramai generasi pelopor Singapura keturunan Bawean dikatakan suka
berdukun dan menyimpan saka. Maka itu, kita sering dengar cerita-cerita orang
Bawean yang berjaya hanya kerana mereka menggunakan kuasa ghaib. Dikatakan juga
yang ramai masyarakat bangsa Cina suka tinggal di kalangan orang Melayu berketurunan
Bawean kerana mereka ingin mendapat tuah dalam loteri. Perkara ini sangat ironik
kerana ramai para ulama Islam di Singapura berketurunan Bawean.
Lost Sole diterbitkan
sepuluh tahun selepas saya lulus dari sekolah filem pada tahun 1996. Saya memulakan
kerjaya saya dalam televisyen dimana saya telah menerima banyak anugerah dalam bidang
arahan, dan saya juga telah menghasilkan banyak program televisyen yang mempunyai
rating yang tinggi. Saya rasa, pengakuan yang saya berketurunan Bawean telah
‘membuka mata’ ramai orang. Saya juga merasakan bahawa Lost Sole adalah
satu sebab yang saya telah dianugerahkan ‘Bawean Teladan’ pada tahun 2010 oleh
Persatuan Bawean Singapura – saya merupakan penerima ke-enam dan termuda. Saya juga
bersyukur kerana pada awal tahun 2014, masyarakat Bawean telah diberi
penghormatan sebagai kumpulan etnik Melayu yang pertama untuk mempamerkan
kebudayaan kita dalam pameran LAAOBE (Sudah Berubah), anjuran Lembaga
Warisan Negara (National Heritage Board) di Taman Warisan Melayu.
Filem Melayu dan Nusantara
Kekurangan ikon yang dikenali dunia menyebabkan layar
perak Melayu tidak diberi perhatian bila filem-filem Melayu dibawa ke peringkat
antarabangsa. Layar perak Cina mempunyai Bruce Lee, Jackie Chan, kungfu dan Ang
Lee. Layar perak India pula mempunyai Bollywood, Satyajit Ray, A Rahman Khan,
Amitabh Bachchan dan Aishwarya Rai. Adakah Nusantara mampu mengeluarkan ikon
layar perak yang boleh mewakili filem Melayu di persada dunia?
Filem Melayu Singapura Bangkit
Sayang Disayang
Filem ‘putar-panjang’, Sayang Disayang, adalah sebuah ‘naskah’ yang merangkuli semua aspek
Nusantara yang kaya dengan khazanah makanan, muzik dan tata susilanya dalam
satu wadah. Filem ini ialah mengenai keluhan pembantu rumah, Murni, yang
mencari-cari ramuan khas sambal goreng untuk dimasak supaya dapat mengembirakan
majikannya.
Seperti Lost Sole,
saya mendapat banyak pertanyaan dan cemuhan tentang filem Sayang Disayang. Seorang penceramah mendakwa bahawa istilah ‘Nusantara’
hanya merangkumi tanah Indonesia. Beliau juga menambahkan bahawa sambal goreng
adalah “hak” mereka. Ramai orang Melayu di Malaysia merujuk kepada negara
Singapura dengan nama Inggerisnya, Singapore. Ramai pelakon dan penulis skrip
Malaysia mendebatkan penggunaan istilah ‘bilang’ yang lebih senang digunakan di
Singapura daripada istilah ‘cakap’. Ada penonton yang meminta penjelasan mengapakah
lagu Indonesia seperti Si Jali-Jali dan Pesan Kakek disaingkan
dengan lagu Sayang Disayang oleh Pak Zubir Said (kelahiran tanah Sumatra
Barat) dari Singapura dan Hanya Menari oleh penyanyi Imran Ajmain,
seorang artis kelahiran Singapura yang menetap di Malaysia. Ramai penonton
Melayu juga mempersoalkan pemilihan Aidli Mosbit (yang melakonkan watak Murni
dari Aceh) kerana beliau tidak kelihatan cukup keIndonesiaan.
Tin Kosong
Filem pendek Tin
Kosong saya telah diadaptasikan daripada sebuah cerpen tulisan Muhammad Salihin
Sulaiman, penerima hadiah Golden Point Award (National Arts Council) dan PENA-MAS
(Cikgu Ariff Ahmad Foundation). Ia adalah satu projek filem oleh Majlis
Kebudayaan Seni Singapura (National Arts Council) untuk Festival Penulis
Singapura (Singapore Writers Festival) 2014. Filem ini mengisahkan tentang
seorang warga tua yang bekerja sebagai seorang karung guni yang mengumpulkan
barang yang dibuang orang untuk dijual. Bagi saya, ini adalah projek filem
pertama saya di mana ceritanya diambil dari bahan sastera yang telah
diterbitkan.
Proses penterjemahan kandungan buku kepada wadah visual
bukanlah satu perkara yang mudah. Kaca mata pembuat filem berlainan dari kaca mata
penulis asal cerita. Namun begitu, filem adaptasi itu masih mengandungi
intipati cerita asalnya. Dalam sesi tayangan filem ini, ramai penonton
seolah-olah tidak menyedari sumbangan besar penyanyi malar hijau R Azmi kepada
muzik pop Melayu pada zaman era Malaya. Lagu Kalau Ke Singapura oleh R Azmi telah digunakan dalam filem Tin Kosong dalam satu adengan muzikal ala Bollywood. (Film review)
Persimpangan
Pada tahun 1993, Polyteknik Ngee Ann telah menubuhkan
Jabatan Filem, Bunyi dan Video yang menawarkan kursus perfileman. Kursus ini
merupakan kursus perintis bidang perfileman di Singapura. Sebanyak empat puluh
pelajar telah diterima untuk kursus Diploma tersebut. Pada 2014, selain
daripada Polyteknik Ngee Ann, Institut Pendidikan Teknikal (ITE) dan Universiti
Teknologi Nanyang (NTU) juga menawarkan kursus perfileman di peringkat sijil
dan ijazah. Kursus-kursus filem juga diluaskan ke sekolah-sekolah tersebut untuk
menjadikan Singapura sebagai pusat media yang unggul di Asia Tenggara.
Namun, kita kini menghadapi beberapa cabaran-cabaran
baru. Adakah bilangan graduan filem selaris dengan kualiti filem yang
dihasilkan? Sering diperdebatkan bahawa dalam dunia perfileman, daya naluri (aptitude)
lebih penting dari kertas kelayakan. Ada juga yang berpendapat bahawa kertas
kelayakan dari sekolah perfileman penting sebagai ilmu asas bagi mereka yang
ingin bertapak dalam seni tersebut. Pengarah Hollywood terkenal, Paul Thomas
Anderson, Quentin Tarantino dan Christopher Nolan, pernah mengatakan bahawa mereka
menganggap sekolah perfileman tidak berfaedah kerana filem lebih berkesan jika
dipelajari dengan hanya menonton banyak filem.
Namun demikian, saya percaya bahawa
setiap ilmu teori yang dipelajari itu penting kerana ia memberi asas mengenai
teknik dalam filem dan segi perfileman. Dari situlah, si pembuat filem boleh
menimbangkan tentang cara yang paling berkesan bila mereka membuat filem kelak.
Hakikat wadah filem sememangnya ialah untuk bercerita. Teknologi
mungkin memudahkan cara membuat filem, tetapi “Story is King”, yang paling
penting adalah ceritanya. Alfred Hitchcock pernah berkata, “Skrip, skrip dan
skrip adalah perkara yang anda perlukan untuk buat filem berkesan.”
Kamera DSLR telah menunjukkan yang filem boleh dibuat
oleh sesiapa sahaja yang mempunyai alat video digital boleh ‘buat filem’.
Memang seronok bila kita lihat semakin ramai yang merakamkan luahan jiwa
masing-masing dalam wadah filem. Tetapi, ramai yang tidak tahu bahawa apa yang mereka
rakamkan dalam kamera tidak semestinya berinti dan bernilai. Ilmu untuk membuat
filem bukan hanya terletak pada daya ‘cukup muat’ dengan suntingan yang mewah
(flashy edits) dan kesan khas (special effects).
Kesimpulan
Apabila kita menonton layar perak dari Cina dan
Bollywood-India, kita sering kagum dengan ikon-ikon mereka seperti Bruce Lee,
Jackie Chan, Ang Lee, Amitabh Bachchan dan Aiswarya Rai. Mungkin sudah tiba masanya
layar perak Melayu-Nusantara bersatu untuk menerbitkan satu identiti yang ikonik
dan dikenali di peringkat antarabangsa. Apabila kita bincangkan tentang
filem-filem Nusantara yang kononnya serumpun, konteks perbincangan tersebut
terhad pada satu-satunya negeri seperti Malaysia dan Indonesia. Ramaikan orang
di Indonesia kenal dengan Aaron Aziz? Dan ramaikah orang di Singapura dan
Malaysia yang kenal dengan Reza Rahardian?
Segelintir golongan romantis filem Melayu Singapura dan
Malaysia merungut bahawa ‘zaman kegemilangan’ layar perak Melayu sudah lenyap
dengan pemergian P Ramlee. Kononnya kemahiran P Ramlee dan ahli-ahli
seangkatannya tidak mampu ditiru oleh orang Melayu zaman ini. Tetapi, dengan
arus sosio-konteks sekarang, adakah tepat untuk kita mengaitkan filem-filem
hasil zaman tersebut dengan filem-filem Melayu zaman sekarang?
Alangkah menariknya sekiranya kita dapat pergi ke era
lima puluh tahun hadapan dan bertanyakan kepada masyarakat Melayu pada zaman itu
tentang ‘kegemilangan’ filem Melayu (zaman ini). Apakah yang mungkin mereka
katakan?
Nota:
Setakat ini, Singapura
telah menerbitkan dua filem putar-panjang jiwa Melayu; Sayang Disayang (2014, reeljuice films) dan Banting (2014, Papahan Films). Sayang Disayang telah dipilih sebagai
filem yang mewakili Singapura ke Academy Awards®/ Oscars® 2015 dalam kategori
Filem Terbaik Bahasa Asing. Ia adalah filem berbahasa Melayu yang pertama
dihantar untuk mewakili Singapura.
Sanif Olek merupakan seorang penerbit-pengarah filem
dan drama televisyen sejak 1996. Ketua konsultan reeljuice, Singapura. Filem arahannya, Sayang Disayang, mewakili Singapura ke
Oscars® 2015 dalam kategori Filem Bahasa Asing Terbaik.
Thursday, April 23, 2015
It's a great way to fly, Sayang.
I am very proud that my feature film, Sayang Disayang, is now screening inflight since February 2015 on all Singapore Airlines flights. It is an honour to be associated with the esteemed national carrier.
Here is an article that appears on Krisworld (February 2015), Singapore Airlines' inflight entertainment magazine. Sayang Disayang also receives the red thumbs-up by the magazine. Thank you so much!
Thus when you #flySQ, kindly look out for my film. Sayang Disayang is Singapore's entry at the 2015 Oscars (Best Foreign Language Film).
It's a great way to fly!
Monday, April 20, 2015
Pesta Perdana 2015 #PestaPerdana13
It was an evening full of blessings. The 13th edition of Pesta Perdana, Mediacorp's biannual prestigious television event where awards are handed to the the most deserving and popular in Singapore's Malay television, was held on 11 April 2015.
I received the award for "Best Directing" in a Drama Series. The drama in question is season 2 of BINGIT. The 2 episodes I directed deal with sexual addiction.
(Photo credit: Mediacorp Suria)
(Photo credit: Mediacorp Suria)
Unlike previous speech moments in past Pesta Perdana, I have learnt to KISS (Keep It Short Stupid), haha! Thank you to Mediacorp's Eaglevision for the opportunity to work on this important series - largely because I have the chance to bring forward this scarcely-discussed, challenging issue within the local Asian, Malay and Muslim community to the mainstream. My gratitude to the professional leads, Siti Hajar and Nick Mikhail. Also to the production crew (i.e. Sofyan 'lontong' and his crew) for being my important second eye. Filming for these episodes was made more challenging because the production took place during the Ramadan of 2014.
This is the 5th award I received in this category. Similar awards were received previously in the same television event. Alhamdulillah.
(Photo credit: Mediacorp Suria)
(Photo credit: Mediacorp Suria)
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