The Story Of Usmar Ismail: The Father Of Indonesian Films Who Has Difficulty Getting Slots In Cinemas

JAKARTA - The national film industry is like a guest in its own country in the Old Order era. Film filmmakers can't do anything with the invasion of imported films. Foreign films easily get a slot in theaters. It's different from Indonesian films that often don't get a place.

The narrative made Usmar Ismail furious, no joke. He tried to believe cinema entrepreneurs to play the film: Crisis. However, his efforts didn't hurt him. Usmar didn't want to give up. He tried the violent path: raw boy.

No one doubts the difficulty of building national film industry. Moreover, in the Old Order era. The government's attention is still focused on many things, from development to economic improvement. The government doesn't really care about national film affairs.

The government also does not provide assistance to filmmakers. The government's struggle is exacerbated by releasing films from abroad. Problems arise. The national film industry is on the way.

Film people who work in it like working alone. Filmmaking is not optimal. Sponsors are empty. The vacancy was utilized properly by movie importers and cinema entrepreneurs who brought films from abroad. All Indonesians are used to being tested with foreign films from Malaysia, India, to the United States.

Screening foreign films is a priority. Indonesian films only get less than 15 percent of the portion. Sometimes they also don't get the opportunity to air. People then considered the 1950s era as a phase of darkness for national films. Moreover, officials with their excitement continued to discuss western films, especially the cowboy themed.

This condition is getting worse with the western film which likes to monopolize first-class cinemas. There is no place for Indonesian films. This condition threatens the existence of national films. There is no room to introduce Indonesian film people's works.

Criticism and criticism of the government have emerged from everywhere. The strongest criticism confirms that cinemas in Indonesia are by the US and UK's own. However, the government is like closing its hopes. A response that made the national film industry destroyed.

"The conclusion that can be withdrawn is quite pessimistic, namely: let alone helping Indonesia's distinctive creation, Indonesian cinema is actually just a vehicle for various foreign fabrics and imaginations. Let alone emitting out - like Japanese and Indian films whose production is quite widely exported."

"Indonesia's film has truncated into. Indonesian films only (are able) to send several films to Malaysia, and have not actually succeeded in breaking through various international festivals," said historian Denys Lombard in the book Nusa Jawa Silang Budaya: Restrictions on Ratification (1996).

The difficulty of developing wings in the world of national cinema is felt by many parties. In fact, national film leaders, Usmar Ismail, felt the same way. The father of National Film considers the government's policy of opening the tap for importing films to trouble film people.

Usmar has difficulty promoting his film. He also had difficulty getting slots in several first-class cinemas. Take for example when the film Krisislahir was in 1953. Films that are clever at photographing the Indonesian situation which is currently in crisis get a positive response from the Indonesian people.

Usmar also expressed his desire for the film Crisis to get a slot showing in the Capitol cinema (now: it's gone) in Jakarta. However, Usmar's wish was dashed. Capitol boss Weskin doesn't want to show it.

Usmar was furious, no joke. His emotions exploded. A raw bomb was then released into the face of a man who is familiarly called Mister Weskin. The incident was not justified. Moreover, each problem should not be solved in a cowboy style -- without rules.

However, the raw bombs that Usmar gave became a symbol of the horror of national film filmmakers to cinemas who refused to play national films. In particular, after that incident, the film Crisis began to climb the screen everywhere. Usmar's Crisis film was able to match the western film that was screened, then the number of viewers was superior.

Since then Usmar Ismail and Mister Weskin who are bald and like to wear a butterfly tie have become friends. Usmar's film is played on the Capitol. There are no more problems in circulation. The problem is solved according to the cowboy style.

"Usmar is not a champion at all, not a scorer. He has beaten Mister Weskin because he does not see other ways to facilitate the circulation of the film," said Usmar's best friend, Rosihan Anwar in the book 'Petite Histoire' Indonesia Volume 2 (2004).