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[sangkancil] KLue review of KAKI BAKAR
Kaki Bakar (currently screening in TGV Suria KLCC and GSC MidValley
Megamall. In Malay with English subtitles)
Review by Mel Tang.
http://www.klue.com.my
"Made in Malaysia" - words often met by a plethora of praises or a sock-full
of cynicism. Local filmdom has recently copped the best, and often the
worst, of the "Malaysia Boleh" syndrome - a paradox of self-compensation for
what's merely "good enough" and merited efforts clouded by escalated
expectations. As such, what can one expect from one of the most anticipated
Malaysian films in six years, directed by the most controversial local
film-makers of our time?
Those who have never watched a film by maverick director U-Wei Haji Saari
would wonder what the fuss is all about. But cryptic in his words and
cynical towards publicity, this is a film-maker's film-maker. Constantly
pushing the boundaries of Malaysian cinema (and those of our censors),
U-Wei's films are provocative, to say the least. Some may call them aloof or
detached (the box-office failure of his last two films being testament to
that), but as the director recently stated, "They (the censors) are
ignorant. Other people's ignorance is not my problem." So, where does Kaki
Bakar stand amongst the likes of your everyday Ali, Ah Kau and Ramasamy?
The film tells of Kakang (Khalid Salleh), an angst-ridden Javanese proud of
his heritage but oppressed by those around him. His meagre existence is
equally borne by his long-suffering family, particularly his young son
(Ngasrizal Ngasri). An explosive temperament combined with a fierce
integrity drives Kakang deeper into nowhere, ultimately leading him to burn
all that stands in his way.
To proclaim that this movie represents the Malay dilemma or the social
deficiencies of our nation would be pretentious, if not downright
insensitive. Like all great films, Kaki Bakar leaves it to the audience to
interpret the message behind its story. And like all great films, this one
demands the fullest attention and contemplation from them. Slow-paced but
carefully orchestrated, Kaki Bakar is not everyone's cup of teh tarik - its
deeply serious, dramatic insight into its subject matter has to be absorbed
entirely to fully appreciate the film.
Beyond the double talk and political nuances, an element most evident in the
film lies in the father-son relationship of its protagonists. A volatile
rapport where anger is the only catalyst to communication, father and son
emit an intensity that subscribes to a primal definition of manhood. Harsh
words mixed with an absence of intimacy draw not sympathy from the audience,
but a sense of realism opposed to the simple-mindedness of "traditional"
parent-child relationships. The performances of Khalid Salleh and Ngasrizal
Ngasri are crucial in bringing home this point and they prove to be
outstanding. An uncompromising show of talent and intensity by any
standards, the leads deserve outright recognition, not mere pats on the
back.
Director U-Wei's film-making approach on Kaki Bakar, while aggressive in
content, is carefully calculated in style. There is a constant closeness in
framing its characters, thus literally focusing on its story. Rarely are
there unnecessary wide-angled shots of postcard-like panorama (owing to its
low-budget video roots). Internationally acclaimed this film may be, but the
man's intentions obviously lie in telling a story, not selling one.
Kaki Bakar may not set the local box office ablaze, but it is bound to burn
its name into the history of true Malaysian cinema. Placing substance above
popularity, story above glory, U-Wei continues a lonely endeavour into fine
Malaysian film-making truly as a rebel without applause.
THE END.
