![]() In stark contrast, the dangdut song on the soundtrack of the eponymous film Cubit-cubitan would likely get one’s toes tapping and hips gyrating. A frequent feature of some melodramas, the mournful, haunting sound of Idris Sardi’s violin had the capacity to break the most stoic viewer’s heart. I recall films highlighting the youthful fervour of adolescence, featuring high school and college adolescents embarking upon their first romantic dalliances. ![]() I recall the whoosh accompanying gravity-defying stunts, enhanced somewhat dramatically by laser-light special effects that became the hallmark of countless horror, fantasy, and action-adventure films. ![]() Paramount among them were elements of gore, the grotesque, and mysticism. I was particularly struck by a range of sights and sounds, many of which remain evocative even today. During my early years, I viewed many Indonesian films either in cinemas, on television, or via rented videocassettes. One of the fond memories I treasure of growing up in my home town of Sungai Petani in the northern state of Kedah, Malaysia, in the 1980s is my early encounter with Indonesian cinema-the cinema I grew up with and still care about, alongside Malaysian, Indian, Hong Kong and Anglo-American films. Advertisement Poster for Semalam Di Malaysia (1976, directed by Nico Pelamonia) ![]()
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