Union Films was a film production company located in Batavia, Dutch East Indies (now Jakarta, Indonesia). Established by ethnic Chinese businessmen Ang Hock Liem and Tjoa Ma Tjoen in 1940, it produced seven black-and-white films before it was dissolved in 1942; all are thought to be lost. The company's films were directed by four men, mostly ethnic Chinese, and launched the careers of actors such as Rendra Karno and Djoewariah.
Established during the revival of the Indies film industry, Union released its first film, Kedok Ketawa, in July 1940. This was followed by a series of films penned by Saeroen which were increasingly oriented towards the Indies' growing intelligentsia and attempted to distance themselves from the theatrical conventions which were common in the contemporary film industry. This continued after Saeroen left for Star Film in 1941, with Union's final two productions emphasising realism. Following the Japanese occupation of the Indies in March 1942, Union was dissolved, though its films continued to be screened into the mid-1940s.
History
Following the commercial successes of Terang Boelan (Full Moon; 1937), Fatima (1938), and Alang-Alang (Grass; 1939), the film industry of the Dutch East Indies– which had been severely weakened by the Great Depression– was revived. Film production increased and, in 1940, four new production houses were opened, including Union Films.[1] The company was funded by ethnic Chinese businessman Ang Hock Liem, who is credited as producer for the majority of the company's releases;[2] daily operations, however, were handled by Tjoa Ma Tjoen.[3] Union was headquartered in Prinsenlaan, Batavia (now Mangga Besar, Jakarta), and, according to a press release, established to "improve the quality of Indonesian art".[lower-alpha 1][3]
A Dutch-language advertisement for Union's first film, Kedok Ketawa (1940)
The fledgling Union's first film, Kedok Ketawa, was released in July 1940. Following a young couple who face off against criminals with the help of a masked bandit,[4] this film was directed by Jo An Djan and starred Oedjang, Fatimah, and Basoeki Resobowo.[5] It received positive reviews; the journalist Saeroen wrote in Pemandangan that the film's quality was comparable to imported Hollywood productions,[6] and a review in Bataviaasch Nieuwsblad praised the cinematography.[7] Following these positive reviews, Union hired Saeroen– who had previously written Terang Boelan and several works for Tan's Film– as a screenwriter. He made his debut for the company with Harta Berdarah, directed by new hires R Hu and Rd Ariffien, following Jo An Djan's departure for Populair's Film. The film, in which a young man convinces a miserly hajji to be more charitable, was released in October 1940 and starred the singer Soelastri and martial artist Zonder.[8][9][10]
Union released their third production, Bajar dengan Djiwa, by February 1941.[11] Directed by R Hu, this film– a drama in which a young woman is sold to a loan shark in order to pay her father's debt[12]– marked the film debut of Djoewariah; she later became Union's leading lady.[13] Ariffien, meanwhile, was tasked with directing Asmara Moerni, based on a script by Saeroen. Attempting to reach the educated audiences by casting a young doctor, Adnan Kapau Gani, opposite Djoewariah,[14] this romance told of a young man who is ultimately able to marry his former maid after she receives an education.[15] Released in April, the film received mixed reviews: one, in the Bataviaasch Nieuwsblad, found the film "fascinating",[lower-alpha 2][16] while another for the same paper considered the film dependent on the stage traditions which its advertisements had denounced.[17]
Advertisement for Union's last production, Mega Mendoeng (1942)
In July 1941 Union released Wanita dan Satria, a Djoewariah vehicle which follows a well-born womaniser who abuses his social status to gain women's trust before ultimately getting his comeuppance.[18] In advertising Wanita dan Satria, the company again emphasised the non-theatrical background of the film's cast, which also included Moesa, Djoewita and Hidajat.[19] The film received positive reviews; one, from the Soerabaijasch Handelsblad, wrote that Wanita dan Satria "gives a clear picture of the precarious position of Indonesian women and motivates the desire for a firmer outline of her rights in the Moslem society".[lower-alpha 3][20] This was the company's last film to be directed by Ariffien or written by Saeroen; both men migrated to rival company Star Film soon afterwards.[21]
Hu remained with Union and directed the company's next production, Soeara Berbisa, with peranakan sound technician Boen Kin Nam serving as assistant director. Written by Djojopranoto, the work followed two young men who compete for the love of a woman before learning that they are long-lost brothers.[22] Djoewita had left the company at this point, and the studio hired Raden Soekarno for the leading role of this late 1941 release.[23] The company's final completed production, Mega Mendoeng, was directed by Boen and announced soon after shooting for Soeara Berbisa had begun. This film, a romance starring Soekarno and new find Sofiati, was released in early 1942.[24] In producing both films, Union emphasised realism and targeted educated audiences.[25]
By the end of 1941, the government of the Dutch East Indies were concerned that Empire of Japan could invade the colony.[26] This fear reached the general populace, and the February 1942 edition of the film magazine Pertjatoeran Doenia dan Film reported that several studios would move away from the colonial capital of Batavia or go on a production hiatus. Union, though already beginning production of a film set in the Majapahit era titled Damar Woelan, was forced to stop filming.[27] When the Japanese occupied the Indies in March 1942,[28] Union was closed, never to reopen.[29]
Aside from Ariffien, who continued directing into the 1960s,[30] none of Union's directors or producers returned to the film industry after the conclusion of the Japanese occupation in 1945. Several actors continued their careers. Djoewariah, for instance, made her first film after leaving Union, Sehidup Semati (One Life, One Death), in 1949, and continued acting until the mid-1950s.[13] Soekarno's career lasted through the 1970s; he was mostly credited as Rendra Karno after changing his name in the 1950s.[23] Others had careers behind the screen; Kedok Ketawa star Basoeki Resobowo, for instance, became art director on films such as Darah dan Doa (The Long March; 1950).[31]
In a period of two years, Union released seven films; all were feature length, made in black-and-white, and received wide releases in the Dutch East Indies.[8] Several were screened in nearby Singapore, including Bajar dengan Djiwa and Asmara Moerni.[32][33] Though its films were screened at least into the 1940s,[lower-alpha 4] the company's output is likely lost.[lower-alpha 5]
↑ Original: "... geeft een duidelijk beeld van de wankele positie der Indonesische vrouw en motiveert den drang naar een vaster omlijning harer rechten in de Mohammedaansche maatschappij."
↑ Movies were then shot on flammable and unstable nitrate film, and after a fire destroyed much of Produksi Film Negara's warehouse in 1952, old films shot on nitrate were deliberately destroyed (Biran 2012, p.291). As such, the American visual anthropologist Karl G. Heider suggests that all Indonesian films from before 1950 are lost (Heider 1991, p.14) However, J.B. Kristanto's Katalog Film Indonesia records several as having survived at Sinematek Indonesia's archives, and the film historian Misbach Yusa Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service (Biran 2009, p.351).
Related Research Articles
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Saeroen was an Indonesian journalist and screenwriter. Born in Yogyakarta, he became a journalist after a time working at a railway station. By the mid-1930s he had established the daily Pemandangan with Oene Djunaedi and was writing editorials with the pen name Kampret. When the paper was dissolved, Saeroen drifted into the film industry as a writer, making his debut with Albert Balink's Terang Boelan (1937). Much of his later life was spent working with several minor publications.
Pah Wongso Pendekar Boediman is a 1941 detective film from the Dutch East Indies. The first production by Star Film, it was produced by Jo Eng Sek and features camerawork by Cho' Chin Hsin. Starring Pah Wongso, Elly Joenara and Mohamad Arief, it follows the social worker Pah Wongso as he investigates a murder to clear his protégé's name.
Kedok Ketawa is a 1940 action film from the Dutch East Indies. Union Films' first production, it was directed by Jo An Djan. Starring Basoeki Resobowo, Fatimah, and Oedjang, the film follows a young couple who fight off criminals with the help of a masked man.
Air Mata Iboe is a 1941 drama film from the Dutch East Indies directed and written by Njoo Cheong Seng. Starring Fifi Young, Rd Ismail, Ali Sarosa, and Ali Joego, it followed a mother who raises her children lovingly but is ultimately betrayed by her eldest sons when she falls upon hard times. The film, billed as a "musical extravaganza," featured a soundtrack by R. Koesbini, and an eponymous title song written by Njoo.
Panggilan Darah is a 1941 film from the Dutch East Indies written and directed by Sutan Usman Karim and produced by Tjho Seng Han for Oriental Film. The black-and-white film starred Dhalia and Soerip as orphaned sisters trying to make a living in the colonial capital of Batavia before moving to Kudus to work at a clove cigarette factory.
Asmara Moerni is a 1941 romance film from the Dutch East Indies directed by Rd Ariffien and produced by Ang Hock Liem for Union Films. Written by Saeroen, the film followed a doctor who falls in love with his maid, as well as her failed romance with a fellow villager. Starring Adnan Kapau Gani, Djoewariah, and S. Joesoef, the black-and-white film was cast and advertised to cater to the growing native intelligentsia. Despite mixed reviews, it was a commercial success. As with most films of the Indies, Asmara Moerni may be lost.
Bajar dengan Djiwa is a believed lost 1941 film from the Dutch East Indies. Directed by R Hu and produced by Ang Hock Liem, it starred A Bakar, Djoewariah, O Parma, Oedjang, RS Fatimah, Soelastri, and Zonder. The story centers on two families torn apart by finances and clashes of personality.
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Mega Mendoeng is a black-and-white drama film from the Dutch East Indies directed by Boen Kin Nam and produced by Ang Hock Liem for Union Films. Starring Rd Soekarno, Oedjang, Boen Sofiati, and Soehaena, it follows two young lovers who are separated by lies but ultimately reunite at the village of Mega Mendoeng in Bogor. This film, Union's seventh and final production, was shot concurrently with Soeara Berbisa and completed over a period of three months. It was released in early 1942 and screened as late as July of that year, but may now be lost.
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![<i>Bajar dengan Djiwa</i> 1941 [[Dutch East Indies]] film](https://upload.wikimedia.org/wikipedia/commons/1/1f/14-Bajar-djiwa.jpg)
![<i>Wanita dan Satria</i> 1941 [[Dutch East Indies]] film](https://upload.wikimedia.org/wikipedia/commons/thumb/3/3b/Wanita_dan_Satria_cover.jpg/320px-Wanita_dan_Satria_cover.jpg)
![<i>Mega Mendoeng</i> 1942 [[Dutch East Indies]] film](https://upload.wikimedia.org/wikipedia/commons/4/4e/Poster_mega_mendoeng.jpg)
![<i>Pah Wongso Tersangka</i> 1941 [[Dutch East Indies]] film](https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Pah_Wongso_Tersangka_advertisement.jpg/320px-Pah_Wongso_Tersangka_advertisement.jpg)
