Film Review: Apa jang Kau Tjari, Palupi? (1969)
It starts with a title sequence that reminds me of the French New Wave films. I’m not so sure that in the 1960s there were other Indonesian films whose title sequences were as expressive as this film. Farida Sjuman’s name is listed as Palupi, who I know is a controversial ballet dancer with one of her choreographic works, Putih Putih (1976).
Please take a note that Putih Putih performs ballet dancers who wear white mukena and do ballet movements as if they were praying. Unfortunately, the performance drew a lot of criticism from the Muslim circles, especially from Buya Hamka and Taufiq Ismail.
In addition, as I know, Farida is the first wife of director Sjumandjaja and mother of my favorite Indonesian jazz drummer, Aksan Sjuman. I immediately had a good feeling that this would be a film that I had to watch until the end. Yes, it turns out that the synopsis also supports:
It is a deep void for a woman who actually has a lot of potential for a career in the arts. Here, Palupi Haidar is already married to a screenwriter, a housewife without a child, and is over 30 years old.
Palupi is sick of seeing the face of her husband, Haidar (Ismed M. Noor), after being married for many years and living in a 4x4 meter house. When Palupi wanted to play in a film, the public judged him that she was too old and lacking in talent to play the main role. When Palupi wants to divorce her husband, opens her heart to a director Chalil (Pitrajaya Burnama), and gives her body to a rising businessman named Sugito (Aedy Moward), the two men are even more interested in living a romantic life with a woman who is much younger than Palupi.
I was made to chuckle by the dark comedy element brought by the screenwriter and director Asrul Sani. Palupi, disappointed by Chalil and Sugito, walked home alone (I think if I’m not mistaken, Palupi walked on Jl. Jend. Sudirman — M.H. Thamrin above the Ciliwung River — near KRL Sudirman Station) at midnight. Then she was offered to go home with the garbage collector, where Palupi had to ride in the back of the truck.
Asrul Sani, who is also the founder of LESBUMI, the institute of Indonesian Muslim cultural artists which is the underbouw of the leading Islamic organization in Indonesia, Nahdlatul Ulama, incorporates Islamic elements into this film. Like when a group of the group of women playing rebana who suddenly appeared when Chalil and Palupi were alone on the beach and the sound of the Fajr prayer’s call when Palupi wanted to run away from a house party. Raising the unanswered question in my mind is religion the final path for Palupi’s future? Is, in the same universe, Putih Putih is the answer? Hahaha.
If I look at it as a whole, this film is a film that is intellectually and emotionally quite entertaining. I suggest that young people watch this film so that it becomes a new insight, especially for those who are going through the Quarter Life Crisis phase.
