The Malay Film Productions Ltd., also known as the Shaw Studio, is a former film studio located on Jalan Ampas in Balestier, Singapore. The studio operated from 1947 to 1969 with more than 150 movies produced, and was a major contributor to the Golden Age of Malay Cinema.[1][2] Many of the films are critically acclaimed, a significant number of which involved P. Ramlee as actor, director, writer or composer.[3]
The Shaw brothers had established a chain of cinemas in Malaya and Singapore by the 1930s, and were interested in producing films for the local market. They started making plans for film production in Malay in 1937; equipment was imported from Hong Kong, film directors were recruited to make films with a local Malay cast in Malaya, although it is unclear if any films were released in this period.[4] In 1940, a studio was set up on Moulmein Road in Singapore, and the first Singapore-made Malay film, Mutiara, was produced by Shaw with Malay actors and Chinese directors Hou Yao and Wan Hoi Ling.[4] Seven Malay films were released in all by the directors.[4]
Plans for expansion with the construction of a new film studio on No.8 Jalan Ampas in Balestier were first announced by John Laycock, representing the Shaw Organisation, on 17 June 1941.[5][6][7] The location on Jalan Ampas was originally a warehouse occupied by Indian washermen, who were ejected from the premises by 31 August 1941.[8][9] The film studio facility was initially named Singapore Film Studios, before becoming the Malay Film Productions (MFP) in 1943,[10] but it was not formally incorporated until 23 August 1949.[4] The new studio was originally intended to produce films in Malay and Cantonese and establish a newsreel service, but the Japanese invasion in 1942 halted the plan and no films were produced.[11]
Early film productions at Jalan Ampas
The studio building in 2015
The Jalan Ampas studio reopened after World War 2 in 1947.[12] Instead of Chinese directors previously used, the Indian director B. S. Rajhans was chosen to lead the studio, and he was its only film director until 1950, with eight films produced in this period.[13] Rajhans made films based on Indian myths and folklore as well as on contemporary societal issues. The first film released by the studio in 1947 was Singapura di Waktu Malam[ms] ("Night Time in Singapore"), a film which explores the social issues of Malay youths who left the kampongs for the city.[13][14]
The early films of Rajhans proved successful, and the success led to further recruitment of two more Indian filmmakers: S. Ramanathan and L. Krishnan[ms]. Many of the films by Indian directors had strong Indian influence, and the Indian directors were better suited to Malay culture, furthermore their song-and-dance film style was also popular with audience of different ethnicities.[15] Instead of relying on Bangsawan actors, Rajnans also started to scout for Malay talent who would become significant figures in the Malay film industry, including Jamil Sulong and Omar Rojik. The most important figure he recruited was P. Ramlee, who would become a key figure in Malay popular entertainment. The first film Ramlee appeared in was the 1948 film Chinta ("Love"), where he played the villain and performed five songs as a playback singer, providing the vocals for the lead actor Roomai Noor.[16][15]
The studio expanded quickly, and by 1948, the studio was using up-to-date sound recording apparatus and motion picture cameras from the United States, and had 160 permanent staff.[17][18]
Heyday
The MFP had a virtual monopoly of Malay films in the early days, and film production increased rapidly. The studio reached its peak in the 1950s, when it was producing over 10 films a year,[11] with the most being in 1952 when it made 13 films.[19] The increase in production in the 1950s led to the expansion of the studio into neighbouring plots of land for the construction of new sound stages, with quarters on Boon Teck Road where its employees were housed. The original studio on 8 Jalan Ampas were also rebuilt.[11] Two filmmaking units, A and B, were formed, and they used the studio in turns; if unit A was filming in the studio, unit B would do the filming outdoors. The processing of the film was also located at Jalan Ampas. Each film was budgeted at around Malayan $30,000 (around US$10,000), and from its conception to its release, each film can usually be completed in three months.[19] By 1958, the studio had produced over a hundred movies, some of which won awards at Asian film festivals.[10]
Other film directors recruited in the 1950s included B.N. Rao[ms], Filipino director Ramon A. Estella, and Malay director Hussein Haniff[ms].[20][21] Rao popularised the supernatural and horror genre with the film Roh Membela ("Revenge of the Spirit").[22] L Krishnan left after directing 8 films for MFP to help found a rival studio, the Cathay-Keris Film Productions[ms], in 1954, and Rao also left in 1956. Rao was replaced by Phani Majumdar, who directed Rumah Panjang ("The Long House") filmed in Borneo, and the big-budget film Hang Tuah, considered one of the most significant Malay films ever produced in that time.[23]Hang Tuah was nominated for the Golden Bear at the 7th Berlin International Film Festival, and won best musical score (P Ramlee) at the Asian Pacific Film Festival. Several Malay directors and scriptwriters were also employed to direct films that were more attuned to Malay culture.[20]
P Ramlee quickly became the most important star of the MFP. Ramlee appeared in his first leading role in the 1950 film Bakti ("Devotion"), which was Krisnan's first Malay film, with story based on Wuthering Heights and Les Misérables.[13] He was the first actor to sing in his own voice in the film Bakti.[15] In his following films such as Juwita in 1951 and Ibu ("Mother") in 1953, he firmly established himself as a major star. Ramlee directed his first feature film Penarek Becha[ms] ("Trishaw Man") in 1955, and started the Bujang Lapok comedy series in 1957.[22] One of these, Pendekar Bujang Lapok, won the Best Comedy award at the Asia Pacific Film Festival.[24]
1957 labour strike
In 1954, many of the employees of the studio formed Persama (Persatuan Artis Malaya, the Malayan Artists Union), with P Ramlee its first president.[25] In 1957 they demanded increases in their wage, payment for overtime, half-day work on Saturdays with Sundays off, as well as bigger bonuses for each completed film. The leading actors at that time were paid on average $250 a month, and leading actresses were paid $150 a month, with a bonus of $400–500 for each completed film, while supporting actors and actresses were paid between $80–120 a month, and were given a bonus of $150 for each completed film.[26] However, Shaw did not respond to the list of demands submitted by the union.[27]
Following the strike a meeting for a negotiation, which was advised by the Tunku, was held, during which the Shaw Organisation revealed that it had not been making a profit from producing movies in years.[28] The union made an appeal to the Menteri Besar of the nine Federation states for support in the dispute over the dismissal over the five employees.[33] The strike ended on 8 April 1957, after the reinstatement of the five actors and actresses.[34] Following the end of the strike, work on the film Pancha Delima[ms], which had been put on hold due to the strike, resumed.[35] An agreement for the new wage for 36 employees was reached in April 1963.[36]
In November 1964, the union gave an ultimatum to the studio, stating that it had to settle the wages of 70 technicians employed at the studio.[37] Following this, employees of the studio went on strike again on 8 December 1964. The strike ended on 29 January 1965, after the mediation of a third party resulted in agreements made during negotiations.[38]
Closure
In the 1960s, the studio suffered heavily from the increasing wages of employees, competition from the Cathay-Keris Studio, popularity of foreign films, and an increasing public interest in television. Film production slowed down, and several stars, such as P. Ramlee and Kasma Booty, also moved to Malaysia to seek for better opportunities.[2][39] The Shaw Organisation moved its headquarters to Malaysia in 1964, and by October 1965, 105 actors, actresses and technicians had been retrenched. In 1967, the Jalan Ampas studio was closed down, and the company voluntarily liquidated.[40][41]
Among the last films produced by MFP was Raja Bersiong of 1968, a lavish production that nevertheless failed at the box office.[42] Three Malay films were shot in Hong Kong after the Jalan Ampas studio closed.[43] By the time of the studio ceased production, the studio had produced 162 films.[42]
Shaw Brothers (HK) Limited was the largest film production company in Hong Kong, and operated from 1925 to 2011.
Sir Run Run Shaw, also known as Shao Yifu and Siu Yat-fu, was a Hong Kong businessman, filmmaker, and philanthropist. He was one of the foremost influential movie moguls in the East Asian and Hong Kong entertainment industry. He founded the Shaw Brothers Studio, one of the largest film production companies in Hong Kong, and TVB, the dominant television company in Hong Kong.
Tan Sri Datuk Amar Teuku Zakaria bin Teuku Nyak Puteh, better known by his stage name P. Ramlee, was a Malaysian actor, filmmaker, musician, and composer famous in modern-day Singapore, Malaysia, Indonesia and Southern Thailand. Born in Penang, Malaya, he is regarded as a prominent icon of Malay language entertainment.
The cinema of Malaysia consists of feature films produced in Malaysia, shot in the languages Malay, Mandarin, Cantonese, Tamil, various indigenous languages, and English.
In Malay ghost beliefs, the Orang Minyak is a supernatural creature coated with shiny black grease who abducts young women by night. The legend of the figure is first mentioned in a report from the Singaporean newspaper Berita Harian dated 12 October 1957.
Angkasapuri is the main governmental building for Malaysia's Ministry of Information and it is also the headquarters for Radio Television Malaysia (RTM) located in Lembah Pantai, Kuala Lumpur, Malaysia.
Jalan Ampas is a street near Balestier Road in Singapore where the movie studios Malay Film Productions and Shaw Brothers were located.
Tiga Abdul is a 1964 Malaysian comedy film directed by and starring Malaysian silver-screen icon P. Ramlee. It tells the story of three brothers who are caught in a web of trickery set by the cunning Sadiq Segaraga, who uses his three daughters to try and fleece the three brothers of all their wealth. The movie is a tribute to traditional folktales with a moral set into the story and is set in a fictional Middle Eastern country named Isketambola, loosely based on Istanbul, Turkey. It was the last film to be directed by P. Ramlee in Singapore before he moved to his new workplace in Merdeka Studios, Kuala Lumpur in 1965.
Balestier is a sub zone located in the planning area of Novena in the Central Region of Singapore. The main road, Balestier Road, links Thomson Road to Serangoon Road and the road continues on as Lavender Street. The area is home to rows of shophouses, such as the Sim Kwong Ho shophouses, the Balestier Art Deco shophouses, 412-418 Balestier Road, and 601-639 Balestier Road, low-rise apartments and commercial buildings as well as a shopping mall known as Shaw Plaza. Balestier also has another mall, Zhongshan Mall. There are several lighting and electrical shops along Balestier Road, which is also home to the Ceylon Sports Club and the Indian Association. The area is known for its food such as bak kut teh and chicken rice. In the area, there are several apartments, condominiums, and budget hotels.
Salmah binti Ismail, better known by her stage name Saloma, was a Singaporean-Malaysian singer, film actress, trendsetter and a fashion icon of Banjar and Bawean descent who became well known in the late 1950s.
The Jalan Ampang Muslim Cemetery is a cemetery at the Kuala Lumpur city centre, Malaysia. It is located at Jalan Ampang near Kuala Lumpur City Centre. The cemetery was established on 1819.
Bujang Lapok is a 1957 Singaporean Malay-language black-and-white comedy film directed and performed by P. Ramlee. This is the first of the Bujang Lapok series of films.
Chinta is a 1948 Singaporean Malay-language black-and-white romantic drama film directed by B. S. Rajhans and produced by Malay Film Productions. It was released on 31 October 1948.
Mariam Baharum was an early Singaporean Malay film actress who was known for her work during the 1950s and 60s. She was nicknamed Mariam Tahi Lalat by her fans.
Shamsuddin bin Dali, better known as S. Shamsuddin, was a Singaporean actor and comedian who appeared in Malayan films during the 1950s and 1960s.
Nasib is a 1949 Singaporean Malay-language black-and-white romantic drama film directed by B. S. Rajhans and starred S. Roomai Noor, Siput Sarawak, Daeng Harris, and P. Ramlee.
Mohamed Zain "Jins" Shamsudin was a Malaysian film actor, director, politician, writer and producer.
Siti Mariam binti Ismail, better known by her stage name Mariani, was a Malaysian-Singaporean Malay actress, singer and model popular during the 1950s and 1960s. She was the older sister of Biduanda Saloma and sister-in-law of P. Ramlee. Mariani was one of the most popular actresses at Jalan Ampas Studios in Singapore at the time, dubbed the "Golden Age of Malay Cinema" at the time. She starred in more than 30 films over her 63-year career span.
Pontianak is a 1957 Malay horror film directed by Indian film director Balakrishna Narayana Rao, popularly known as B.N. Rao, and starring Maria Menado and M. Amin. Based on the Malay folktales of a blood-sucking ghost born from a woman who dies in childbirth, the smash hit premiered on 27 April 1957 and screened for almost three months at the local Cathay cinemas. Its success spawned two other sequels, Dendam Pontianak and Sumpah Pontianak. It is also said to have launched the Pontianak genre in Malaysia and Singapore, with rival Shaw producing its own Pontianak trilogy and several movies of the same genre were also made in Malaysia.
↑ Driskell, Jonathan (2014). Lies Lanckman, Tamar Jeffers McDonald (ed.). Star Attractions. University of Iowa Press. p.111. ISBN9781609386733– via Google Books.
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