{"id":5905,"date":"2016-08-21T13:24:33","date_gmt":"2016-08-21T06:24:33","guid":{"rendered":"http:\/\/arkipel.org\/?p=5905"},"modified":"2017-08-02T19:18:42","modified_gmt":"2017-08-02T12:18:42","slug":"hidden-behind-comedy","status":"publish","type":"post","link":"https:\/\/arkipel.org\/hidden-behind-comedy\/","title":{"rendered":"Hidden Behind Comedy"},"content":{"rendered":"[vc_row][vc_column][vc_column_text]\n

Tersembunyi di balik Genre Komedi<\/h2>\n

 <\/p>\n

TIDAK\u00a0butuh waktu lama agar saya bisa menemukan Kineforum di kompleks Taman Ismail Marzuki. Dengan napas yang masih setengah terengah-engah, saya menoleh ke arah jam tangan saya dan mendapati bahwa sebenarnya masih tersisa 30 menit sebelum Program Kuratorial di hari Sabtu, 20 Agustus, 2016, ini dimulai. Alih-alih makan siang, saya lebih tertarik untuk membaca terlebih dahulu tentang Program Kuratorial hari ini di katalog ARKIPEL social\/kapital.<\/p>\n

\"Bunga

Bunga Siagian.<\/p><\/div>\n

Bunga Siagian, anggota Forum Lenteng dan kontributor tetap Jurnal Footage<\/em>, menjadi kurator untuk dua filem yang disutradarai oleh Nawi Ismail. Kita biasa mengenal nama Nawi Ismail dari filem-filemnya yang dibintangi oleh Benyamin Sueb dan juga Warkop DKI. Filem yang dikurasi ke dalam Program Kuratorial bertajuk \u201cYang Kritikal dari Komedi Nawi\u201d adalah Benyamin Tukang Ngibul<\/em> (1975) dan Ratu Amplop<\/em> (1974). Hari itu adalah giliran Benyamin Tukang Ngibul<\/em> untuk ditayangkan.<\/p>\n

Tak lama setelah saya membalik-balik halaman katalog, saya dan 17 orang lainnya dipersilakan masuk ke dalam sebuah bioskop kecil. Setelah itu, sang kurator filem memberikan beberapa kata pengantar.<\/p>\n

\u201cKuratorial ini berangkat dari sebuah keresahan: Kenapa, sih<\/em>, kalau kita ngomongin<\/em> filem Indonesia, selalu ngomonginnya<\/em> Usmar Ismail atau nama besar lainnya,\u201d ungkap Bunga Siagian. \u201cSementara, ada orang-orang seperti Nawi Ismail yang…, pasti kita semua pernah nonton filem Benyamin, entah itu di TV maupun di YouTube. Tapi, orang-orang seperti ini yang tidak pernah diperhatikan oleh banyak kritikus. Kenapa\u2026?\u201d<\/p>\n

Masa pascakolonial, para intelektual yang memiliki kekuatan dalam bidang ilmu pengetahuan mulai berlomba-lomba untuk mendefinisikan arti kata nasionalisme, termasuk juga istilah filem nasional. Filem-filem Nawi sering dianggap sebagai filem yang hanya berfungsi untuk hiburan sehingga dikategorisasikan ke dalam \u201cgenre komedi\u201d. Namun sebenarnya, filem Nawi yang dianggap remeh ini memiliki sebuah potensi kritik yang luar biasa.<\/p>\n

\"dscf8957\"<\/p>\n

Lampu studio dimatikan dan filem kemudian dimulai. Seisi studio yang awalnya hening mendengarkan kata pengantar dari Bunga Siagian lantas berubah menjadi gelak tawa oleh lawakan-lawakan dari filem tersebut. Gaya bahasa yang santai, menunjukan bahwa filem ini sangat erat dengan realita seakan membuat saya seperti sedang menertawai kehidupan saya sendiri.<\/p>\n

Nawi, lewat Benyamin yang sangat lincah dalam memerankan tokoh yang ia mainkan, piawai mengungkai konstruksi filemnya. Si tokoh Benyamin bisa menempatkan dirinya menjadi sebuah impian semua orang pada masa itu: mengadu nasib di Jakarta. Meskipun demikian, ia juga dapat menghancurkan impian manis orang-orang dengan berbagai kesialan yang ia dapatkan selama di Jakarta.<\/p>\n

Sebuah adegan dalam filem cukup menarik untuk saya perhatikan, yakni sebuah simbol sampingan yang justru menjadi pusat perhatian dari tengah hingga akhir filem. Persis seperti apa yang ditulis Bunga Siagian dalam katalog, sepatu boots<\/em> yang menjadi sumber kesialan untuk Benyamin dan tampaknya ingin \u2018mengusir\u2019 Benyamin dari Jakarta. Sepatu boots<\/em> tersebut sangat erat dipersepsikan menjadi sebuah simbol militer, sedangkan pada masa itu militer dianggap sebagai sesuatu yang sering \u2018meneror\u2019.<\/p>\n

Meskipun demikian, beberapa orang yang mungkin tidak memperhatikan secara lebih saksama tentang simbol sepatu boots<\/em> itu hanya akan menganggapnya sebagai hiburan sehingga dapat lulus sensor di mata pemerintah di masa itu. Menurut saya, itulah kehebatan Nawi yang membalut dan menyembunyikan kritiknya kepada pemerintah dengan hiburan dan lawakan dari filem yang dibuatnya.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n

Hidden Behind Comedy<\/span><\/h2>\n

 <\/p>\n

It didn\u2019t take long time to find Kineforum at Taman Ismail Marzuki complex. As I was out of breath due to exhaustion, I realized that there were still 30 minutes to go before Curatorial Program on August 20th, 2016. Nevertheless, I skipped the mandatory lunch and read more about today curatorial program on the catalogue instead.<\/span><\/p>\n

A Forum Lenteng activist and Jurnal Footage <\/em>contributor, Bunga Siagian was the curator for two Nawi Ismail\u2019s films. We were quite familiar with the name of Nawi Ismail since his films were starred by Benyamin Sueb and also Warkop DKI. The curated film were \u201cBenyamin Tukang Ngibul<\/em>\u201d (1975) and Ratu Amplop <\/em>(1974). Both of the films were under curatorial program titled \u201cNawi\u2019s Comedy: Revealing Social Criticism<\/em>\u201d.<\/span><\/p>\n

After long reading on catalogues, the 17 people and me were allowed to enter small cinema room, and we had the curator speech for introduction.<\/span><\/p>\n

\u201cThis program was derived from a simple question, \u2018why do we keep talking about Usmar Ismail or other famous name to start talking about Indonesian cinema?\u2019,\u201d said Bunga Siagian. \u201cWhile Nawi Ismail\u2019s films\u2026 how to say it? We often watch them, whether they are on YouTube or TV. But critics rarely discuss him or his works. Why is that so?\u201d<\/span><\/p>\n

In the postcolonial era, the intellectuals began to define what nationalism meant, this included \u2018national film\u2019. In this context, Nawi\u2019s films were merely seen as entertainment, then they were easily put into \u2018comedy\u2019. However, the underrated Nawi\u2019s works were actually rich sources for critics to social life.<\/span><\/p>\n

Once the studio light were dimmed, having been so serious for Bunga Siagian\u2019s introduction, the audience then turned into a ball of laughter. Hilarious yet relax visual language used to narrate the story in the film made me feel like I was laughing at my own life.<\/span><\/p>\n

Through the notoriously-volatile character of Benyamin S, Nawi succesfully constructed his work. Benyamin was nothing but every person in Jakarta that time: surviving our heartless capital city. On the other hand, his sweet surviving dreams were often negated by his own jinx.<\/span><\/p>\n

A very interesting scene for me was side symbol that became the center of his film since its middle part to ending scene. Precisely as Bunga Siagian wrote on the catalogue, boots symbolized bad luck for Benjamin as he tried to cope the merciless Jakarta. Boots were embodiment of military power in that time, regarded as a terror.<\/span><\/p>\n

Yet, some people might not aware with that tiny detail, and boots were regarded only as a superficial joke, and perhaps that was how Benyamin Tukang Kibul<\/em> got through New Order\u2019s censorship. For me, that unnoticed detail was the power of Nawi that hid his critics for government with his entertaining demeanor and jokes within the film.<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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