Gie

this movie was one of my highly anticipated movie, but the result turns me down..basically, the plot is some what boring because of the inconstancy story narration makin its very confusing for me to follow the flow of the main character GIE, at the opening of this movie i already cant understand the whereabouts of gie, so pluralistic but cover almost nothing of gies unique personal background, the question in multidimensional opening scene that it has to cover the "who-why" aspect not just the who part and the why part, which to avoid an misinterpretation.

riri riza should have done more research on the issue of gie especially on hes mind set,in my perspective he himself doesn't understand GIE stand point way of mind where logically how can you expect hem to let the viewer know gie if he himself doesn't understand gie, which in the end he makes the looks of GIE struggle and stand point looks completely naive.

i understand the task in directing GIE is a hard task you have to know and understand philosophy to create the perfect composition of GIE, not just plainly adapting it from hes book which by the way is only a simple diary , plain adaptation of gie is which i think creates the roots of the storyline-disorder of this movie.

the poor artistic value and the unmet tone color of the movie ,even more makes me unattached to the movie , a more effort should have been done in both of the department, but overall i do appreciate riri riza and the gang for the moral effort of even have the boldness to picture a story like this ,salute......

"How a person masters his fate is more important than what his fate is".

-wilhem van Humboldt

This biopic avoids common genre pitfalls by steering clear of hagiography. Instead, it serves as a mood piece, presenting a series of incidental scenes that intersect with significant historical events, emphasizing their impact.

The film's portrayal of its central character is subtle and poetic, mirroring the understated beauty of the narrative. The cinematography is both strong and seamlessly integrated, balancing formal beauty with naturalism. The film's naturalism is enhanced by its gentle music and focus on small, intimate moments.

Set against a backdrop of political turmoil and corruption, the film's melancholic tone is underscored by the protagonist's love for nature and tranquility, which infuses the story with genuine heart and humanity. It contrasts the calm and serenity of the protagonist's world with the pervasive corruption of the times.

"Gie" stands out for its unique approach to important themes, blending a wistful and melancholic mood with a clear political intent to create a deeply emotional portrait of its era.

My biggest satisfaction in this movie is watching Nicolas acting out all the characters in Soe Hok Gie. I read the diary before watching the movie, and Nicolas is so spot-on about most of Soe Hok Gie. Superb. Love Nicolas sooooo much!

"Gie" is a movie based on the true story of the young Indonesian student activist Soe Hok Gie (1942-1969). He was a vocal, idealistic, often angry voice criticizing the government of Soekarno in the 1960's. The movie follows the life of Gie from childhood, showing the influences that shaped his uncompromising character. His early days as a schoolboy already shows signs of an unyielding will, especially in the face of unjust authority. Gie kept a diary of his thoughts and opinions, which forms the backbone of this film. He was a voracious reader, and was especially attracted to the existentialist thinking of Albert Camus. He was also a prodigious and articulate writer, penning countless critiques of the government, both as a student and later as a lecturer at the prestigious University of Indonesia. His diary is full of musings on different aspects of life. He led student anti-government rallies. Yet at heart he is a patriot, ultimately concerned with the well being of Indonesia and its poorest citizens. His untimely death at 26 due to accidental poisoning by noxious fumes from the Semeru mountain in Java ended a life of prodigious output. The movie does not reveal merely the political aspect of his life, but also poetry, love, and his passionate dedication to a self-examined life. At almost three hours long, it does not feel dull and at the end the viewer is cinematic ally satisfied. It reminds me of the intensely emotional dramas of Martin Scorsese, in particular the recent "Aviator". In technical respects the movie does not quite reach those heights, but it has the same intimate personal feel. You know from watching this film that the Director is passionate about the material. The cinematography is gorgeous, especially in the outdoor and mountain scenes. It is not perfect, some scenes feel a bit long, and some of the acting is uneven, but on the whole it is highly recommended, especially for young Indonesians striving for a sense of national identity and purpose in their lives.

Eventually, Gie was released. The latest production of Indonesian potential director, Riri Riza. Prior to the release, its pre-distribution strategy "Gie Road to Campus" had successfully created public opinion and awareness about the film.

In fact, during the first 15 minutes, the opening scenes failed to introduce the film to its audience, triggered by abundant amount of scenes on young Gie. As a result, these excessive scenes only had weakened 'the introduction' itself. Quite regrettably though, the story failed to focus since its first minutes.

The screenplay, written by Riza himself, left several chances to sharpen its angles. The director should not have depended heavily on its plotting structure that was already too linear. The emotional development, seemed uniform at almost all scenes and sequences. While motion picture consisted of such a complex dramaturgy, which meant emotional fluctuation of the story should be assured, the climax of Gie's anger, concern, idealism, and restlessness was nowhere to be felt.

It was not known in which drawer the director kept his film's climax. Apparently Riza was trapped by collecting piece by piece of Soe Hok Gie's masterpieces of thoughts and ideas. Yet, the director did not arrange them into a whole unity as a cinematography piece of work that obviously demanded entertainment values.

In addition, the narration technique was too weary to follow. Gie was preaching instead of talking. It was true, a personality like Soe Hok Gie by no means wrote his diary in such way as that of 'Boy' wrote his diary (Catatan si Boy/Boy's Diary, was the country's box office film in the 1990s). But again, this challenge should have been cracked in advance.

Yes, at the ending Riza had inserted narration to finally inform his audience that Soe Hok Gie was also an ordinary human being, who could be in love as well. Through the narration of his letter to Ira (Sita RSD), it was known that he too, could fall into such magnificent feeling of love. Sadly, the scenes depicting humanly sides of Gie were only found at the last minutes. Because from the beginning, Soe Hok Gie's was illustrated as rigid, idealistic and nearly utopian character.

The dramaturgy imperfection apparently had not been covered by strengthen other elements.

Characterization and relationship between characters were repeatedly neglected. Many characters and scenes occurred without sufficient explanation, or some hints to explain them.

What relationship Gie and Arief Budiman had? Why Father (Robbie Tumewu) was always quiet and looked sad? What kind of traumatic experiences he went through? Why Mother still could shop with bag full when others had to queue up for fuel? Why Gie was offered a prostitute? Why Ira, an activist and outspoken demonstrant, was just speechless when a man cheated on her? Who was Herman Lantang? Why for fighting, Gie was always protected by friends? Plenty characters were introduced, plenty scenes were performed, but plenty more empty spaces remained without fullfiling explanation.

However, Nicholas Saputra who played the lead role as adult Soe Hok Gie, had radiantly showed his exceptional acting talent. Plus his nearly perfect adaptation to his character. But again, linear plotting made Soe Hok Gie as student activist, lecturer, intimidation victim, or a man in love, occurred almost without different pulses.

This film could have been rescued by beautiful and accurate cinematography. Having Yudi Datau as the Director of Photography, however, it rarely depicted beautiful and impressive shots. Bear in mind, the demonstration scenes on the streets were potentially exploitable. These scenes should have been occupied by colossal and unforgettable shots, although idea of fists in close up was already powerful. However, up to the end of the movie, numerous scenes that were supposed to be dramatic fell flat on the camera.

It was true, the attempt to depict Jakarta in its 50s and 60s deserved appreciation. However, Iri Supit's effort as the Art Director was surprisingly not that tremendous. Jakarta just looked gloomy and filthy. Gie's books were as worn out as the wall in his house. Supit also used the same type of fonts on every board and sign.

However, what more urgent was, the failure to snatch the changing of sequences. Particularly from Gie as a student to the sequence of him being a lecturer, due to the artistic decision to provide similar wardrobe and hairstyle. Abruptly, during the ending scenes, Gie appeared wearing dark red shirt and modern jeans just like a cover boy model.

Despite all the restlessness, Riza and his team deserved appreciation and salute, for their bravery to dig down into the national dark history. The history, no matter dark or shiny, for long time seemed to be the government's property only.

Amongst increasing numbers of films produced and small numbers of quality ones, no doubt glorious expectation was addressed to this Miles production. Quite understandable, indeed, since it based on a true story of one of many unsung heroes. This time a bright student whose 'rebellious' thoughts had smashed the Old Order tyrant and in turn, smacked the New Order regime. Thus, for this decision alone, Riza and Mira Lesmana the producer deserved double thumb up.

Besides, Indonesian moviegoers had been hunger to watch films with accountable cinematographic qualities. They had been starving to have national films to be proud of. Although in this case, the Gie's cinematography achievement was not yet that satisfactory.

Along with the release of Gie, this country also released one of its duties, in order to pass on its great struggles to its young generations. From a person, who had left golden trail in this country's history to freedom and democracy. From Gie, from a promising filmmaker, Riri Riza. (nenen)