The mystical delinquent antihero Wiro Sableng returns to the big screen in his move to assert a place in Indonesian pop culture of this era.

Directed by Angga Dwi Sasongko and produced by Sheila Timothy, the strengths of the rebooted Wiro Sableng 212 come mainly from the meticulousness of the silat choreography and an ensemble cast of both experienced and inexperienced actors and actresses, all of whom own their respective roles in individual ways.  

The best parts of the film come from the fight choreography, especially when screen time is given to the main villain, Mahesa Birawa, played by formidable silat master Yayan Ruhian, whose kinetic style of fight choreography in the hugely popular The Raid franchise has influenced Hollywood action movies such as the Captain America series.

Performances by Teuku Rifnu Wikana, Lukman Sardi, Aghniny Haque and Ruth Marini also stand out, particularly the two latter women — with Aghniny delivering poise as Rara Murni, while relative newcomer but highly experienced acting mentor Ruth breathes wise life into the role of Wiro’s mentor, Sinto Gendeng.

Lead actor Vino G. Bastian as Wiro Sableng fares alright in what he describes is the most difficult role he has ever taken on, considering the high hopes placed on his shoulders as the son of the original Wiro Sableng books’ creator, Bastian Tito.

It seems, however, since his success in the Warkop DKI reboot films, he is still unable to shake the characteristics and mannerisms of that kind of comedy, therefore bringing them to Wiro Sableng as well. This might not be his fault, as people loved him in Warkop so much he feels safe to settle into that comedic pattern.

The hero: Vino G. Bastian takes the lead as Wiro Sableng, which is part of his family’s legacy as his late father Bastian Tito is the creator and author of the original Wiro Sableng series and books.

But then again, Wiro Sableng is supposed to be funny, and the humor style of the 1990s television show is crude and slapstick to the core anyway. This film does not really have any problems when it comes to comedy. Vino’s antics are balanced by the onscreen glee of Fariz Alfarazi and Andy /rif.

In another case where a lead actor fares only fairly, Sherina Munaf looks like she is trying her best to readapt into film, especially with this being her very first film role as an adult.

As lead female Anggini, she does not shine as much as she should, often being upstaged onscreen by her fellow cast members, but this is understandable, considering her cast members have far more experience in films than she does.

Maybe in the upcoming Wiro Sableng sequel films planned for the next few years, her character will have more onscreen time to develop, and by then perhaps Sherina will have also gained more confidence as an
actress.

Since the film’s story tries to be faithful to the first four Wiro Sableng books (out of 185), the reboot struggles to present itself as something entirely new to audiences who are unfamiliar with the character. Some, however, may find it hard to point out why they should care, as the movie basically assumes the audience knows all about him.

Mystical bachelor: Fariz Alfarazi stars as Bujang Gila Tapak Sakti in the movie.

Crucial characters are introduced as if people already know who they are, potentially making casual filmgoers scratch their heads as to why certain characters are there. It is a 40-year-old franchise, of course, but no matter how legendary it is, it needs to reintroduce itself properly to maintain relevance.

This reintroduction is not the film’s biggest letdown. It’s the editing, which shows cut scenes that are messy, sloppy fight choreography and awkward character entrances.

Maybe the filmmakers are trying to go for those crude shifts that are symbolic of the 90s Wiro Sableng television series, in an attempt to stay true to the iconic aspects of the franchise. If this is their intention, then they have done it well.

However, if the intention is to make Wiro Sableng relevant again in today’s pop culture in an era where film technology is at its best, the move can be considered a gamble.

Crucial fight scenes, such as one where Wiro and friends face the phantom Kala Hijau (Gita Arifin) on a dark spell cast hill, or the big melee in the woods between King Kamandaka’s (Dwi Sasono) forces and Mahesa Birawa’s squad, look convoluted and at times, disorienting.

Another technical discomfort is the poor sound mixing, with the cinematic soundtrack often obstructing the performers’ dialogue.

It is unfortunate that glitches hinder a promising film like Wiro Sableng from reaching its true potential considering that the film also receives support from 20th Century Fox. It is these little things that need to be considered if more Wiro Sableng films are to be released. The film is doing an alright job so far in terms of story and casting so there is no reason for them to stop there.

Storyteller space: The storyteller priest, played by Yayu Unru, sets up the film’s story.

— Photos courtesy of Lifelike Pictures

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Wiro sableng 212

(Lifelike Pictures, 20th Century Fox; 123 minutes)
Director: Angga Dwimas Sasongko
Cast: Vino G. Bastian, Sherina Munaf, Marsha Timothy, Yayan Ruhian and Ruth Marini