Selasa, 23 Januari 2007

Syaitan (Malaysia/2007) - apa yg suspens? apa yg thriller?

"The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown." ~Howard Phillips Lovecraft

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“Pulangan pembikinan sesebuah filem bukan sekadar dilihat kepada wang ringgit semata-mata. Saya berbangga kerana kebanyakan skrip filem saya bersama Tayangan Unggul menjadi kajian pelajar di menara gading. Sutradara Bade Azmi mengakui filem berat bertemakan suspens-thriller, Syaitan arahan terbarunya agak mengelirukan. Bagaimanapun, katanya, terpulang kepada penonton membuat tafsiran menerusi perspektif tersendiri." ~Bade Azmi @ Harian Metro
Maka izinkan saya utk mengkaji Syaitan dr kacamata saya yg kabur & keliru. Juga kerana Bade memulangkan kpd khalayak utk menginterpretasikan filem ini melalui perspektif masing2.
1. a state or condition of mental uncertainty or excitement, as in awaiting a decision or outcome, usually accompanied by a degree of apprehension or anxiety.
2. a state of mental indecision.
3. undecided or doubtful condition.
4. the state or condition of being suspended.
5. saspens/suspens - keadaan teruja, tegang, cemas, bimbang, dsb ketika menunggu sesuatu berita atau menghampiri sesuatu klimaks (Kamus Dewan 4th ed ms.1396)
1. a person or thing that thrills.
2. an exciting, suspenseful play or story, esp. a mystery story.
3. yg mengerikan (Collins Gem Bm-Eng Dictionary ms.581; 'thriller' TIADA dlm Kamus Dewan 4th ed!)
Saya cadangkan anda membaca cerapan dr wikipedia ini utk memahami Syaitan krn mungkin filem ini berlatarkan penceritaan literary genre yg diperkenalkan oleh Tzvetan Todorov berdasarkan bukunya The Fantastic.
The Fantastic is a literary term that describes a quality of other literary genres, and in some cases is used as a genre in and of itself, although in this case it is often conflated with the Supernatural. The term was originated in the structuralist theory of critic Tzvetan Todorov in his work "The Fantastic". He describes the fantastic as being a liminal state of the supernatural. A truly fantastic work is subtle in the working of the feeling, and would leave the reader with a sense of confusion about the work, and whether or not the phenomenon was real or imagined. Todorov compares this with two other ideas: The Supernatural Explained, wherein the phenomenon turns out to have a rational explanation such as in the gothic works of Ann Radcliffe; or the Uncanny, where there truly is a supernatural explanation for the phenomenon.
There is no truly typical "fantastic story", as the term generally discusses works of the horror or gothic genre. But two representative stories might be:
1. Algernon Blackwood's story "The Willows", where two men travelling down the Danube River are beset by an eery feeling of malice and several improbable setbacks in their trip; the question that pervades the story is whether they are falling prey to the wilderness and their own imaginations, or if there really is something horrific out to get them.
2. Edgar Allan Poe's story "The Black Cat", where a murderer is haunted by a black cat; but is it revenge from beyond the grave, or just simply a cat?
There isn't a clear distinction between the Fantastic and
Magical Realism, but the latter seems generally to include a higher proportion of non-real elements.
The Fantastic is sometimes erroneously called the Grotesque or Supernatural fiction, because both the Grotesque and the Supernatural contain fantastic elements, yet they are not the same, as the fantastic is based on an ambiguity of those elements.
Filem2 rujukan utk memahami struktur cerita Syaitan mungkin:
A bright-eyed young actress travels to Hollywood, only to be ensnared in a dark conspiracy involving a woman who was nearly murdered, and now has amnesia because of a car crash. Eventually, both women are pulled into a psychotic illusion involving a dangerous blue box, a director named Adam Kesher, and the mysterious night club Silencio.
Seorang Pak Guru/Ruzlan yg didekati oleh Iblis (secara langsung) utk menyesatkannya dari kepercayaan kpd Allah & ajaran Al-Quran. Dimana filem ini dibikin secara dream-sequence.
The film tells the story of the deranged Doctor Caligari and his faithful sleepwalking Cesare and their connection to a string of murders in a German mountain village, Holstenwall. Caligari presents one of the earliest examples of a motion picture "frame story" in which the body of the plot is presented as a flashback, as told by Francis.
updated: 24/01/07

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Adakah buku
The Coma oleh Alex Garland ini ialah rujukan plot Syaitan?
The Coma begins with the narrator, Carl, coming home from work on the London Underground where he's brutally beaten by a gang of thugs. Carl wakes in a hospital and suffers through a series of experiences that don't quite seem right, until he realizes he's really in a coma. He struggles to find a waking trigger, a memory that will bring him out of the coma, but he can't even remember his last name. As Carl experiences each new event, he, as well as the reader, is not sure which is reality and which is a dream.
In 'The Coma' a man wakes -- or appears to wake -- from a coma to discover that the world around him has changed. Nothing as dramatic as a night of the living dead, nothing he can even put his finger on, just lots of small, unnerving mutations. He suffers a strange hallucination in which wounds, received at the hands of muggers, start bleeding copiously through his bandages. He perceives his best friend as being oddly cold and unsympathetic. And he realizes that he can't recall what he does for a living or where he grew up. A dream? Amnesia? Or the disjointed inner thoughts of a man who is still in a coma?
Carl apparently wakes up, is discharged from the hospital and returns home, only to find blood soaking through his bandages: ''I began to think for the first time that my psychological fallout might be more severe than I had anticipated.'' While at a friend's house, he thinks that he might be suffering from brain damage, and then wonders how he could possibly have gotten to his friend's house -- having no wallet, it being the middle of the night, and so on. Thus follows a fugue of existential anxiety, wherein Carl tries to determine whether he is experiencing a hallucination or reality. It takes a conversation with his girlfriend, Catherine, for him eventually to figure out what's been going on. Waking, being questioned by the police, returning home, going to his friend's house and, indeed, talking to Catherine -- none of these things (he realizes) have happened. ''In reality, I'm lying in a hospital bed, with flowers on the side table, and falling pollen, and this is the dream I'm having while I sleep.'' Now what he has to do is wake up.
The tale, which despite the brief violence is at first light and airy, grows steadily darker as Carl begins to realize there is something amiss with the world to which he's woken up. His sense of passing time is oddly compressed, old friends act strangely toward him, a simple mug of hot coffee is suddenly and indescribably just, well, off.
Carl is living, in the vernacular of the drug world, totally in his head. His reality may be fractured, but he clings to the idea that he is still himself — he is his consciousness, not his body.
Shortly after being discharged from hospital, Carl experiences an intimation that "something strange will happen". Instead, he finds himself considering a cup of coffee: "I had hoped that the strange thing would be more spectacular ... as an illustration of an unusual event, the making and offering of a cup of coffee seemed to err on the side of subtlety."
Carl has lost part of his memory, and also his sense of reality. He goes to see his friend, whose lack of sympathy seems at first outrageous, then positively sinister. The friend is like a robot, and the awful truth dawns on Carl. He has not recovered. He is still in hospital, still in a coma, and everything around him is a dream.
Carl, the narrator, gets beaten up on the Tube and finds himself in hospital. He checks himself out, but soon finds that reality is determined to mess with his head. Low-level weirdness increases until he figures out that he 's dreaming: Carl is in a coma, and now he must try to wake up.
Ulasan saya:
Syaitan ialah sebuah cerita mengenai.. ops! saya sendiri tak tahu bagaimana hendak menghabiskan ayat itu? Anda perlu saksikan sendiri di pawagam mulai 25 Jan 2007! Apa yg dapat saya katakan bahawa filem ini bergerak ke depan dgn timbunan suspen yg mengunung perlahan-lahan dari hasil kerja kamera yg draggy & muzik versi ambient (dark ambient) yg mencurigakan setiap kali 'kesyaitanan' menghampiri Muslim atau Dalila.
Mungkin filem sebegini bukan disasarkan kpd penonton yg tidak sabar. Kelebihan membuat filem berlatarkan koma/mimpi sebegini ialah ketaklogikan yg boleh dilogikkan dlm apa jua bentuk! Campaklah apa saja babak yg mustahil dimana di akhir cerita ia akan masuk akal! Cuma ia akan memberi risiko kpd khalayak yg tidak bersedia utk filem semacam ini kerana mereka yg pada mulanya akan teruja utk mengikuti what is going to happen next? mungkin akan kepenatan apabila next yg mereka tunggu tidak tiba dgn segera! Ertikata lain, khalayak perlu bersabar banyak banyak banyak!
Ini ialah filem non-linear dimana plotnya bergerak ke depan & ke belakang sesuka hati! Khalayak perlu menonton sehingga habis utk menyempurnakan jln ceritanya, mengaitkan watak2nya dan mengelakkan dari cemuhan keluar dari mulut sekiranya khalayak menonton sekerat jln!
Walau apapun tafsiran anda tentang Syaitan, saya tetap tabik pd Bade krn berjaya membikin sebuah filem yg berkualiti dr segi visual & kesan bunyi juga BUKAN TIPIKAL filem Melayu terdahulu! Kredit saya juga kpd lakonan BUKAN KEBIASAAN utk teraju2nya Rosyam Nor, Lis Dawati, Zulhuzaimi, Que Haidar, Nur Khiriah, Liyana Jasmay, Azri Iskandar, Ellie Suriati & Khushayry.
Adakah fungsi filem ini kesampaian? Jawapan saya ialah ya!
Adakah filem sebegini akan laris di pasaran? Jawapan saya ialah mungkin!
rebiu yg bagus2:
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