A Legendary Love

I was one of those people queuing up excitedly during Merdeka, hoping to enjoy the most expensive malaysian movie. Nonetheless, all the publicity in the newspapers, the huge banners along the roads, and a glimpse of the opening rehearsal in KLCC didn't amount to a good turnout. This movie, to some extent, failed to satisfy my needs as a viewer.

I have to admit that the settings for this movie is excellent and the costumes, though less extravagant in Majapahit terms, is very much compensated in the Malaccan palace. The yellow colour of the court is just marvelous. It stays true to the royalty of Malay courts at that time and the rich colour sort of signifies Malacca as the powerful Malay state. Gusti Puteri should have more accessories on her to signify her status as a princess. And perhaps Hang Tuah should have a more masculine colour on him like what the Bendahara is wearing.

Nevertheless, the movie is too long and viewers are put off by the lethargic movement of Gusti Putri. What I meant is that there is a difference between being graceful and slow. Being graceful doesn't mean you have to do everything in slow motion. Also, if some scenes are deleted it won't affect the storyline of the movie I think. Like the scene where Hang Tuah talked about Tuk Mudim or when Sabri Yunus joked about giving 'penampar Arab'. In the latter, the joke lost its purpose when told more than twice.

Gusti Putri did manage to show the theme of this movie; 'Cinta Agung', and she showed this in her willingness to sacrifice everything for Hang Tuah-by 'leaving her people behind' as Gusti Adipati suggested in their telepathic scene. Nevertheless, when Gusti Puteri is left alone with Hang Tuah, their scene is filled with (more) words when actions are more appropriate for two people madly in love. This movie can be a good portrayal of a great love story if only the characters aren't lacking vigour in portraying themselves as great lovers.

And the beginning of the movie, when Gusti Puteri is in the maze, which to me signifies confusion, is contradictory. How can Gusti Puteri be confused when she is very certain that she wants Hang Tuah and is willing to go to him? I also fell asleep in the middle of the movie when Hang Tuah was battling with Gusti Adipati. This should be one of the highlights in this movie but by this scene, I was already bored to death with the irrelevant scenes.

In a nutshell, this movie is too long, too wordy and some scenes are irrelevant to the title 'Puteri Gunung Ledang'.

Sure, the plot was a bit dragging, lame at times, illogical at others, but still, you must give credit for such a beautiful Malaysian movie. The cinematography (spelling?!) was fabulous, perhaps even up to Hollywood standards if i might say so myself.

so what if tiara's not really Javanese? nama pun acting. she played the role quite well, i can't really think of any other Malay actress who could pull it off better. The cast was quite nicely selected too, and aside for the Sabri Yunus jokes (which were one too many) while they were going up Gunung Ledang, the movie was really one of a kind.

Although they didn't win best movie for the FFM that year, I dare say they deserve credit for creating something as beautiful as that, definitely worth the millions spent.

I'd say the movie was a great achievement for the Malaysian movie industry, really, it'd be worth it just to watch it for the beautiful shots.

This handsomely mounted period epic set during the 16th century Malaccan empire is Malaysia's most expensive film at US$5M. The princess of Majapahit, Retno Dumillah, exiles herself to the Malaccan peak of Mount Ophir to entreat the company of her lover, the Malaccan warrior Hang Tuah. This is in open defiance of her brother, Gusti Adipati, the ruler of Majapahit, who had intended to marry her to a prince of the rival Demak empire. Adipati then decides to forge an alliance with the Malaccan sultanate instead by offering his sister as bride to the reigning Sultan, Mahmud. Hang Tuah's allegiance to duty is legendary. He slew his best friend, Hang Jebat, many years prior on the Sultan Mansor's orders. However, the Sultan Mahmud, a preening and decadent ruler, is a pale shadow of the glorious lineage of Malaccan royalty. Should Hang Tuah banish forever his love in favor of a vainglorious tyrant?

Production values are excellent in general. Picture overall has a glossy, polished sheen. Some inexperience in photography is evident – an intruding palm frond at the edges of the frame, actors half cut off at the sides, shot suddenly partially blocked by the back of an actor in front of the camera (!). The period milieu and mise-en-scene are gorgeous, the palace rituals and traditional malay / javanese speech appear authentic. Nice background research there. The music is excellent with a nice mix of western strings and Malay traditional instruments like the sruling during the love scenes and rebana in the palace scenes.

The acting is uniformly above par across the board, especially M. Nasir as the legendary warrior, Hang Tuah. Malaysian actors are some of the finest in this region and Nasir carries a screen presence that conveys the nobility of this most famous of perwira melayu. It is also nice to see Rahim Razali, a household screen personality, in an amiable performance as the Tok Bendahara. Tiara Jacquelina as the titular princess is adequately winsome. The script, however, does not allow her to show why she was such a sought after woman. Sofia Jane appears more assured as the Sultan's wife. Adlin Ramlee's alternately cocky, languid and foppish portrayal of Sultan Mahmud takes some getting used to, but in retrospect, it seems about right. Both the princess and the sultan get a chance to shine with a neat verbal confrontation near the end. The standout is Christine Hakim who, quite frankly, is a class act. Alex Komang is a washout in a poorly written role as the Majapahit prince, consisting exclusively of sneers and scowls.

The story overall could do with a lot more dramatic urgency. Many sequences look thrown in to appease the multiplex crowd, inserted without attention to the overall arc of the story. An earlier sequence of Hang Tuah taking on a posse of 'lanun darat' is very well done. However, there is a gratuitous action sequence which comes in so far off leftfield, involving some silly 70s- style kungfu fighting, that threatens to derail the entire film. This is the sort of action sequence where a fighter slashes his dagger in the air and ten fireballs erupt around him from the ground. Although this was meant as a 'battle of the mind', the overall effect is laughably cheesy. Worse, the whole sequence is arbitrarily inserted at a most inappropriate part of the narrative – there is no buildup and aftermath. Likewise, CGI superimposition of the 'seven requests of the princess', floating across the screen like a ticker tape, is ungainly.

Elsewhere, instead of character driven scenes, we get actors who pose and pose while mouthing purple prose. Many issues are unfocused as a result. Why and how did Hang Tuah and Dumillah fall in love? There are nice scenes of the couple riding horseback, doing an intricate courtship dance, at a lake. They look pretty, like postcards of two people in love, but the scenes lack actual resonance. At one point, Hang Tuah shows the princess his big Keris; she stares in awe at it. Unfortunately, no character driven dialog. The crucial scene where Hang Tuah meets his beloved atop Mount Ophir starts off nicely: like a breathless teenager hopelessly late for a date, he blurts: 'Dah tunggu lama ke?' ('Been waiting long?'). However, this is proceeded by endless swooping, panning and swirling of the camera around the actors including editing that I believe violate the 180 degree rule. All that 'technique' is frankly distracting. What's wrong with action-reaction, medium two shots and close-ups anyway? There are more than several shots where the emphasis was more on a sunset or a waterfall than the characters themselves. Anyway, the lovers go at it with dialog cribbed from a Harlequin romance.

Whither the inner conflict of the noble warrior between love and duty? We do get a solitary soliloquy of sorts: Hang Tuah talking to his reflection in a puddle of water like a refugee from an Ingmar Bergman film, and that's it. Why the great animosity between Hang Tuah and the Java prince? The film offers absolutely no exposition there.

Being a prestige film, direction is serious and high minded. However, this is largely betrayed by a dearth of psychological depth and dramatic weight. A certain lack of joie-de-vivre permeates the film, making one wish that the late great P. Ramlee could lend his charismatic presence to the whole proceedings.

The film ends poetically with Hang Tuah rushing up Mount Ophir in a sequence of solemn and hushed silence, in a moment of cathartic realization and sadness. The broad strokes for a grand tragedy are all there, but the interlocking narrative is unfocused. It's like hearing bits and pieces of a symphony from a distance. It's a shame: the money saved from that silly bit of aerial kungfu fighting could have gone towards additional scenes between the two main characters – the final sequence could have had much more impact.

I thought this movie was a good effort to move the Malaysian movie industry forward. Yes, it was abit slow paced, but at least it wasn't one of those stereotypical movies you had in the mid 90's. What I'm irritated about is the fact that you keep mentioning the fact that the bad movies are made by MALAY people and the movies are dominated by MALAY people. Whats your problem against the Malays? You're supposed to comment about the movie, no one cares about your involvement in the film,the fact that you're one of the musicians (big huge freakin deal) plus you're being a pure racist because you keep bringing up the point that despite the fact that the movie is made by a Chinese, its still slow moving. Are you trying to imply that it should have been better because it was made by a Chinese and if it was directed by a Malay , it would have sucked?! The oh-so rotten Malay movie scene? You mean MALAYSIAN movie scene don't you? Because other than Malay movies being made in Malaysia, we sure don't hear about Chinese people making movies in Malaysia, or do you? Why do you point out at the Malays so much? If you're going to post a comment about a movie, keep it real. No one wants to read your stupid racist comments or your minor involvement in the movie. Get over the race issue already and GROW up!

i was disappointed. i very much wanted to like this film as i'd like to hope high for Malaysian films. first the good - m nasir was very good. he met my expectation and handled a tedious script to his very best. sofia jane was excellent. if the stories that jaquelina instructed the removal of lots of jane's scenes are true (to take out screen "competition"... jaquelina co-produced this with her husband) then it is regrettable. it's just a rumor, but one does wonder why an excellent performer and performance ended up so maligned. moving on, the production values are all excellent. great set, nice cinematography, nice costumes... editing style was fine, though the decision to drag it out to 145 minutes was certainly ill-chosen.

now the bad. tiara jaquelina was really not fit to play this role. she is so limited, so one-dimensional and so wooden. she doesn't exude the grace nor the natural beauty demanded of the role, nor does she poses a voice (a bit croaky, isn't it?) to perform lengthy verses of spoken word poetry kinda dialogue and voice over. inevitable that she was the lead actress but deeply, deeply flawed decision for the film.

poor characterisation. didn't feel for them all. m nasir tries and succeeds somewhat to elicit a response from me but the rest of the leading cast are all cardboards. i'll blame the scriptwriter for this. just too much screen time for everyone but the film doesn't work hard enough to develop character, narrative and a love for the world. it's so easy already because everything's in place: great set, great story, great characters. in the end it just became a bad tiara star vehicle.

that's why i'm so disappointed.