Thursday, October 3, 2013

Kabut Sutra Ungu : starring Jenny Rachman, Roy Marten, and El Manik

Kabut Sutra Ungu

Kabut Sutra Ungu
Kabut Sutra Ungu
Kabut Sutra Ungu is a 1980 Indonesian film directed by Sjumandjaja and starring Jenny Rachman, Roy Marten, and El Manik. Adopted from the novel of the same name by Ike Soepomo, it follows a young widow who must overcome various obstacles before marrying again.
Miranti is left a widow after her pilot husband dies in an accident. She forces herself to work independently, despite feeling alienated. She soon learns that her brother-in-law Dimas (Roy Marten) cares greatly for her. Miranti ultimately realises that his feelings are more than just pity, and the two can unite.
Kabut Sutra Ungu was produced and directed by Sjumandjaja. It was his 1st film in over a year, following Yang Muda Yang Bercinta ; the film's extended issues with the Indonesian censorship bureau, as well as his own poor health, had led Sjumandjaja to take a hiatus.
Sjumandjaja adapted the screenplay from the novel of the same name by Ike Soepomo, who had recently made her debut. Although he had previously heard his friends praise the novel, he 1st read it when an attendant on a train offered him a selection of books as reading material. Ultimately Sjumandjaja put a planned film on the Wali Songo on hold and began an adaptation. Production began in October 1979.
The film, made for Matari Artis Jaya Film, saw Leo Fioole on camera and Berthy I Lindia as artistic director. In post-production Sudharnoto handled music while Suparman Sidik did sound. The film was edited by Janis Badar.
The film starred Jenny Rachman and Roy Marten, with other roles handled by actors including El Manik, Sys NS, Ami Priyono, and Citra Dewi. Rachman, then rising in popularity, refused several offers so that she could take a role in Kabut Sutra Ungu.
Kabut Sutra Ungu was released in early 1980. It proved the year's most popular Indonesian film, seeing almost half a million viewers in Jakarta. A review in Berita Yudha found the film to be well done, despite having extensive dialogue and Westernised symbolism. The reviewer considered the film to express the concerns faced by widows in Indonesia at the time.

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