Boenga Roos dari Tjikembang | |
---|---|
Directed by | The Teng Chun |
Written by | Kwee Tek Hoay |
Produced by | The Teng Chun |
Cinematography | The Teng Chun |
Production company | Cino Motion Pictures |
Release date |
|
Country | Dutch East Indies |
Boenga Roos dari Tjikembang (literally Rose from Cikembang) is a 1931 film from the Dutch East Indies directed, produced, and filmed by The Teng Chun. Based on a 1927 novel of the same name, it follows the complicated romantic situations of two generations of ethnic Chinese in the Indies. An early example of domestic sound films, the film was remade in 1975.
The plantation worker Oh Ay Ceng must leave his beloved, Marsiti, after his father arranges for him to marry his boss' daughter Gwat Nio. Accepting this in melancholy, Marsiti tells Oh to follow his father's wishes and leaves; she later leaves the plantation and dies. Gwat's father reveals that Marsiti had been his daughter with a native mistress and hints at another secret, one which he is unable to tell before he too dies. [1] [2]
Together, Oh and Gwat have a child named Lily. When she is older, Lily is betrothed to Sim Bian Koen, the child of a rich plantation owner. When Lily dies, Sim threatens to go to Guangdong and join the army there. Before his departure he goes back to his father's plantation. On the way, he is shocked when he meets Roosminah, Oh's illegitimate child with Marsiti who greatly resembles her half-sister, at a graveyard. Eventually Sim and Roosminah are married. [1]
Boenga Roos dari Tjikembang was produced, directed, and filmed by The Teng Chun, a peranakan Chinese film importer who had studied in Hollywood in the early 1920s before going to Shanghai to work in the film industry; [1] [3] for the film he established his own studio, Cino Motion Pictures. [4] The single-system camera used on the film was borrowed from a Mr Lemmens, a teacher at the Technische Hoogeschool in Bandung (now the Bandung Institute of Technology). [5] The film was based on the best-selling novel of the same name by Kwee Tek Hoay, which had been published over several instalments in Panorama in 1927; this story had later been adapted as a stage play by the Union Dalia Opera. [1] [6]
At the time, sound films had been shown in the Dutch East Indies for several years, beginning with Fox Movietone Follies of 1929 and The Rainbow Man (both 1929). [7] The Dutch film director George Krugers had released Karnadi Anemer Bangkong the year before; although that film has been credited as the first talkie, [8] the sinologist Leo Suryadinata gives Boenga Roos dari Tjikembang as the colony's first talkie. [3] These early films had poor sound and lots of static. [9]
Boenga Roos dari Tjikembang was released in 1931. It was reportedly well received by its target audience, the ethnic Chinese, although tickets for natives remained unsold. [2] The film critic Andjar Asmara, writing for Doenia Film, was highly critical of the film as he considered its sound quality quite poor. [1] By the following year they had returned with another Chinese-oriented film, Sam Pek Eng Tay , based on the Chinese legend The Butterfly Lovers . [10]
The film is likely a lost film. The American visual anthropologist Karl G. Heider writes that all Indonesian films from before 1950 are lost. [11] However, JB Kristanto's Katalog Film Indonesia (Indonesian Film Catalogue) records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service. [12]
In 1975 Boenga Roos dari Tjikembang was remade by Fred Young and Rempo Urip under the updated title Bunga Roos dari Cikembang. Although the main points of the story remained the same, several of the Chinese names were Indonesianised: Oh Ay Cheng, for example, was renamed Wiranta, while Gwat Nio was changed to Salmah. [13]
The Teng Chun, also known by his Indonesian name Tahjar Ederis, was an Indonesian film producer. Born to a rich businessman, The became interested in film while still a youth. After a period as an exporter, in 1930 he established Cino Motion Picture to produce films in the Dutch East Indies. In a little over a decade he and his company had released at least 31 films, including some of the country's first talkies. Although he experienced a brief resurgence during the 1950s, after Indonesia became independent, he spent the last years of his life as an English teacher.
Loetoeng Kasaroeng is a 1926 fantasy film from the Dutch East Indies which was directed and produced by L. Heuveldorp. An adaptation of the Sundanese folktale Lutung Kasarung, the film tells of a young girl who falls in love with a magical lutung and stars the children of noblemen. Details on its performance are unavailable, although it is known to have been of poor technical quality and thought to have performed poorly. It was the first film produced in the country and the first to feature a native-Indonesian cast. It is likely a lost film.
The Wong brothers were three ethnic Chinese film directors and cameramen active in the cinema of the Dutch East Indies. The sons of an Adventist preacher, the brothers – Nelson (1895–1945), Joshua (1906–1981), and Othniel (1908–1986) – received much of their education in the United States before going to Shanghai and establishing The Great Wall Productions.
Kris Mataram is a 1940 film from the Dutch East Indies that was directed by Njoo Cheong Seng and starred Fifi Young and Omar Rodriga as two lovers divided by class. Young's feature film debut, the film was the first produced by Oriental Film and depended on Young's stardom as a stage actress to attract viewers. It may be a lost film.
Njoo Cheong Seng was a Chinese-Indonesian playwright and film director. Also known by the pen name Monsieur d'Amour, he wrote more than 200 short stories, novels, poems and stage plays during his career; he is also recorded as directing and/or writing eleven films. He married four times during his life and spent several years travelling throughout Southeast Asia and India with different theatre troupes. His stage plays are credited with revitalising theatre in the Indies.
Karnadi Anemer Bangkong is a 1930 comedy from the Dutch East Indies directed by George Krugers. It is considered the country's first talkie, although parts were silent and the sound quality was poor. Based on a popular Sundanese novel, the film was considered controversial by the native audience.
Roekihati is a 1940 film from the Dutch East Indies. Directed by the brothers Joshua and Othniel Wong and produced by Tan's Film, it follows a young village woman who goes to the city and encounters various difficulties. Targeted at lower-class audiences, it was shot in black-and-white and starred Roekiah and Raden Djoemala.
Raden Inoe Perbatasari was an Indonesian politician turned film director and actor.
Siti Akbari is a 1940 film from the Dutch East Indies directed by Joshua and Othniel Wong and produced by Tan Khoen Yauw. Starring Roekiah and Rd Mochtar, it follows a couple while the husband commits adultery.
Indonesia Malaise is a 1931 film directed by the Wong brothers. It was the brothers' first sound film and one of the first such films in the Dutch East Indies. Billed as a comedy, the story follows a woman who is overcome by tragedy in her personal life. A commercial failure, it may be lost.
Sam Pek Eng Tay is a 1931 film directed and produced by The Teng Chun and released in the Dutch East Indies. It is based on the Chinese legend The Butterfly Lovers, which follows the doomed love between a rich girl and a commoner boy. The film was a commercial success, inspiring The Teng Chun to direct several further films based on Chinese mythology. The name derives from the given names of the legend's two main characters, Liang Shanbo (梁山伯) and Zhu Yingtai (祝英台).
Boenga Roos dari Tjikembang is a 1927 vernacular Malay-language novel written by Kwee Tek Hoay. The seventeen-chapter book follows a plantation manager, Aij Tjeng, who must leave his beloved njai (concubine) Marsiti so that he can be married. Eighteen years later, after Aij Tjeng's daughter Lily dies, her fiancé Bian Koen discovers that Marsiti had a daughter with Aij Tjeng, Roosminah, who greatly resembles Lily. In the end Bian Koen and Roosminah are married.
Oh Iboe is a 1938 film from the Dutch East Indies. Directed by The Teng Chun and starring Lo Tjin Nio and Bissu, it followed a suffering of a family after the matriarch dies. The film was one of several produced by The which dealt with modern stories, following Gadis jang Terdjoeal the year before. It is likely lost.
Si Tjonat is a likely lost 1929 bandit film from the Dutch East Indies directed by Nelson Wong and produced by Wong and Jo Eng Sek. Based on the novel by F.D.J. Pangemanann, the silent film followed an indigenous man who, having killed his fellow villager, flees to Batavia and becomes a bandit. After kidnapping an ethnic Chinese woman, he is defeated and brought to justice.
Sorga Palsoe is a 1941 film from the Dutch East Indies which was directed by Tan Tjoei Hock for Java Industrial Film. The tragedy, starring Lo Tjin Nio, Tong Hui, Lim Poen Tjiaw, and Rohana, was a commercial failure. It is likely lost.
Njai Dasima is a 1932 film from the Dutch East Indies which was directed by Bachtiar Effendi for Tan's Film. It was the second film adapted from G. Francis' 1896 novel Tjerita Njai Dasima, following a silent version in 1929. Starring Momo and Oesman, it followed a young Sundanese njai (concubine) who is tricked into marrying a man who does not love her and ultimately killed for her money. The film, the first talkie produced by its company, was also the first directed by a native Indonesian. The now-lost work received mixed critical reception.
Gadis jang Terdjoeal is a c. 1937 film from the Dutch East Indies. It was directed by The Teng Chun, his first film to recognise native interests.
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