A good laugh, but stronger direction needed

The Jakarta Post ,  Jakarta   |  Sun, 06/24/2007 10:05 AM  |  Life

Rizal Iwan, Contributor, Jakarta

(Comedy, about 90 minutes) Starring Ringgo Agus Rahman, Mulan Kwok, Shanty, Eddie Karsito, M. Miftahur Rizky. Directed by Monty Tiwa. Produced by Sinemart Pictures. (Bahasa Indonesia)

Whatever the case -- an overflowing cup of talent, or ego -- Monty Tiwa makes it clear that he refuses to be defined as one thing.

As a prolific screenwriter, he has tackled a wide range of genres, from musical (Biarkan Bintang Menari) to horror (Pocong 2).

If that isn't enough as a illustration of versatility, he also writes books and songs, and in his recent film as a screenwriter (Mengejar Mas-Mas), he even sings them. This doesn't include some editing and sound work in some of his latest films.

Now, he is adding another feather to his cap. With his directorial debut, Tiwa has come from being director Rudy Soedjarwo's favorite screenwriter to Soedjarwo's protg.

His first outing at the helm is a comedy with a classic theme of blunders and mistaken identities.

Dibyo (Rahman) is an unemployed loser who is trying to make ends meet by being a movie extra. One day he gets a little too intimate with Mira (Kwok, in a bad wig), and accidentally gets her pregnant.

What the girl didn't tell him is that she is still married to Lamhot Simamora (Karsito), a feared leader of a gang of thugs -- or, as we Jakartans refer to say, preman.

In his reluctant effort to rectify things with Lamhot, Dibyo befriends the thug -- even living in his house -- assuming another identity as John Sidabutar, a fellow North Sumatran.

Through luck, he wins Lamhot's heart, and when Lamhot gets arrested, he even appoints Dibyo to replace him as gang leader in a turf war with a rival gang.

To add to the complication, Lamhot's sister Butet (Shanty) has the hots for Dibyo/a.k.a. John, and when her brother catches them in bed together, he forces them to get married.

Meanwhile, Mira, who is waiting for Dibyo to fix the predicament, finds out that he's about to marry another woman, and is ready to throw their relationship down the drain.

Looking at his portfolio, I dare say that Tiwa is arguably one of the best screenwriters -- or at least dialog writers -- working today.

He is known for his sharp, witty lines and wordplay that can elevate the most ordinary of scenes to another level. So, in most cases, no matter how flawed the films are, we still have fun watching just for the dialog alone.

Similarly with this film. Script-wise, Tiwa knows his grammar: He preps his characters with enough motivation.

Just when we are asking why Dibyo puts up with his act while the situation is getting more and more dangerous for him, he says he needs the money that the thugs are earning to run away and pay for his wedding to Mira.

Tiwa also plays a classic but effective card in stories like this: Dibyo is enjoying his status as a false hero as opposed to his pathetic life in reality.

He keeps the narrative's logic pretty intact. Just when we wonder why Mira conveniently disappears during Dibyo's stay at Lamhot's house, he gives us a scene of her knocking at Dibyo's rented room, looking for him.

Tiwa also effectively uses dialog to establish his characters. Dibyo's first response when Mira tells him about her pregnancy is, ""We'll get married tomorrow!""

With that line, Dibyo the irresponsible slacker has secured viewers' sympathy.

However, Tiwa has yet to master directing skills. It is hard to shake off the fact that Tiwa derives his influence from Rudy Soedjarwo (he even includes a tribute to his mentor in one scene) -- and this is not just about the rogue title, which has become Soedjarwo's trademark lately.

Soedjarwo's attempt at realism with his filmmaking style has proven to be effective, whereas Tiwa's ends up awkward, leaving us with some weird angles, uncomfortable blocking and bumpy editing.

His attempt to create a realistically frenzied party sequence, for example, ends up looking like a messy cut-and-paste from the editing room floor.

Dibyo's attraction to Mira in the scene when he sees her singing is also badly composed and thus doesn't really give us a thrill.

Tiwa also doesn't maintain the consistency of Butet's character, after he so successfully establishes her explosive nature in her first appearance.

From there, her character goes downhill and gets more subdued -- it's like we're not seeing the same person. Too bad, because Shanty gives a hoot of an entrance scene.

Controversy aside (the ethnic-specific jokes might push some buttons for some people; in its first day of release, the filmmakers received a complaint), the film makes for entertaining comedy.

Some jokes hit, some miss, but at least Tiwa makes a point that by adding yet another string to his bow, he's not biting off more than he can chew. Not yet, anyway. **1/2 (out of *****)

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