READING the synopsis of the film Haru Biru is like reading passages from a cheap romance novel. However, the script by theater maverick Adlin Aman Ramlie boasts strong character development, and to back it up, the main cast underwent a three-month training under Adlin himself. That makes all the difference.
The story revolves around three good friends: a young male executive Kid (Que Haidar), a beautiful model Ariana (Dynaz), and a freelance photographer Dani (Ijoy Azhari).
Kid gets cozy with Ariana while Dani, putting friendship above all else, hides his feelings for Ariana.
Then another part of the story is about Suzi (Betty Banafe), Kid's ex-girlfriend who is a mistress to a mysterious Big Daddy. Despite living a luxurious life, it is not too long before she feels exploited. She is unhappy, and hankers for Kid to save her. Kid, a reluctant party, eventually relents, but with terrible consequences, as Abang Kecik (Eman Manan), Big Daddy's henchman, is sent to teach Kid a lesson.
This is not your usual local feel-good movie: a lot of scenes considered taboo in local films are thrown in, such as the youngsters' hedonistic drinking and drug-taking exploits, a heavy dose of expletives, and suggestive touchy-feely scenes between Kid and Ariana.
Kid, a complex character, goes on a cocaine-snorting rampage whenever life disappoints him. The crowning glory of this film is the scene where Abang Kecik crushes Kid, mafia-style. As a result, the film's atmosphere takes an intense, uncompromising stance.
It is no wonder that five scenes were taken out of the film, including one where the youngsters resorted to making ice, and an explicit sexual scene between Betty Banafe and Eman Manan.
If I have to make a comparison, I would say that this is a combination of violent B-grade Hollywood flick a la City of Industry and teen television series a la Beverly Hills 90210.
Haru Biru is not exceptional in terms of story or quality, but it is refreshing to see a production that doesn't pander to the industry standards of what constitutes a "commercial, viewer friendly film".
This piece of work was shot in digital format in 2004, and was intended for television. It was only at the coaxing of film director U-Wei Saari that its executive producer, Raja Azmi, decided to push it for the big screen and transferred it to 35mm format.
The soundtrack is also worth a note. Produced by Roslan Aziz, the songs are sung by Garring, aLi and Joe Flizzow.
The story revolves around three good friends: a young male executive Kid (Que Haidar), a beautiful model Ariana (Dynaz), and a freelance photographer Dani (Ijoy Azhari).
Kid gets cozy with Ariana while Dani, putting friendship above all else, hides his feelings for Ariana.
Then another part of the story is about Suzi (Betty Banafe), Kid's ex-girlfriend who is a mistress to a mysterious Big Daddy. Despite living a luxurious life, it is not too long before she feels exploited. She is unhappy, and hankers for Kid to save her. Kid, a reluctant party, eventually relents, but with terrible consequences, as Abang Kecik (Eman Manan), Big Daddy's henchman, is sent to teach Kid a lesson.
This is not your usual local feel-good movie: a lot of scenes considered taboo in local films are thrown in, such as the youngsters' hedonistic drinking and drug-taking exploits, a heavy dose of expletives, and suggestive touchy-feely scenes between Kid and Ariana.
Kid, a complex character, goes on a cocaine-snorting rampage whenever life disappoints him. The crowning glory of this film is the scene where Abang Kecik crushes Kid, mafia-style. As a result, the film's atmosphere takes an intense, uncompromising stance.
It is no wonder that five scenes were taken out of the film, including one where the youngsters resorted to making ice, and an explicit sexual scene between Betty Banafe and Eman Manan.
If I have to make a comparison, I would say that this is a combination of violent B-grade Hollywood flick a la City of Industry and teen television series a la Beverly Hills 90210.
Haru Biru is not exceptional in terms of story or quality, but it is refreshing to see a production that doesn't pander to the industry standards of what constitutes a "commercial, viewer friendly film".
This piece of work was shot in digital format in 2004, and was intended for television. It was only at the coaxing of film director U-Wei Saari that its executive producer, Raja Azmi, decided to push it for the big screen and transferred it to 35mm format.
The soundtrack is also worth a note. Produced by Roslan Aziz, the songs are sung by Garring, aLi and Joe Flizzow.
